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王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,25,26,27,28,7,29,30,31,32,33,34,35,36,37,38],"高清","国画","书画","长卷","青绿","设色","山水","山峰","河流","湖泊","小船","树木","房屋","桥梁","云雾","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","宋画精选",[42,44,45],"人物画精选","设色画精选",22979,181,0,"795548",{"id":51,"slug":52,"title":53,"dynasty":54,"author":55,"museum":56,"description":57,"tags":58,"thumbUrl":66,"material":67,"size":68,"collection":44,"collections":69,"showCount":70,"zanCount":71,"manualWeight":48,"mainColor":49},221115,"zan-hua-shi-nv-tu-juan-zhou-fang-221115","簪花仕女图卷","唐","周昉","辽宁省博物馆","《簪花仕女图》传为唐代周昉绘制的一幅粗绢本设色画。\n作品现藏于 。\n画中描写了六位衣着艳丽的贵族妇女及其侍女于春夏之交赏花游园。\n画作不设背景，以工笔重彩绘仕女五人，女侍一人，另有小狗、白鹤及辛夷花点缀其间。\n全图六个人物的主次、远近安排巧妙，景物衬托少而精。\n两只小狗、一只白鹤、一株辛黄花使原本显得孤立的人物产生了左右呼应、前后联系的关系。\n半罩半露的透明织衫，使人物形象显得丰腴而华贵。\n而用笔和线条却细劲有神，流动多姿。\n浓丽的设色，头发的钩染、面部的晕色、衣着的装饰，都极尽工巧之能事，较好地表现了贵族妇女的细腻柔嫩的肌肤和丝织物的纹饰。\n《簪花仕女图》是 贵族人物画风格的代表。\n同时也体现出贵族仕女养尊处优、无所事事、游戏于花蝶鹤犬之间的生活情态。\n画面左端开始婷婷而立的髻插芍药花的贵族仕女，浅紫色的纱衫上，有以四个斜角田宇为一组的菱纹。\n白地帔子绘有彩色云鹤，从肩后身向前胸下垂。\n她右手举着刚捕捉的蝴蝶，左手提起帔子，使它成为垂直。\n她上身往前微倾，以迎接向她跑来的小狗。\n画面左起第二位妇女身材娇小，神情庄重，身着朱红披风，外套紫色纱罩，从远处巧移莲步而来。\n发髻上插海棠花，脖子饰金质云纹项圈。\n白裙上的紫色团花，从纱衫的下面透出，显得十分艳丽。\n破子从后肩向两臂平分下垂，双手抓紧薄纱，掩着帔子，同时也紧束了宽大的衣服。\n画面左起第三位贵族女人髻插荷花，身披白花格子纱衫，胸前束朱色斜格长裙曳于地而，紫色帔子上有粉和青花枝纹样。\n她右手略向上举，反掌拈红花一枝，左手髻上取下金钗朝着右边移去，目光注视新折下来的花枝，凝神遐思，准备将它插上发髻最显眼的地方。\n在她的面前有一只举足欲行的丹顶鹤，似乎引不起她一点兴趣。\n画面左起第四位侧立着的侍女执长柄团扇，团扇上绘着盛开的牡丹，红花绿叶相衬托，格外亮丽。\n她的妆扮，有异于卷中的其他贵族仕女。\n她也有一头浓密的黑发，梳成两个十字相合的发髻，中间用红缎带把那个髻子束在一起。\n她穿的朱色菱角纹的斜领处露出一部分，白色圈花的纱带，绕过纱衫一圈之后，在腹前打了个结子。\n白色的软底鞋尖，从彩色的衬裙下露出，它的形制不同于其他几位贵族妇女所穿的重台履。\n她的表情安祥却又若有所思，在当时嬉戏场合形成鲜明的对比。\n画面左起第五位仕女，发髻上插的红瓣花枝，纱衫上有深白色的菱形纹样。\n胸下的夹撷长裙曳于地而，紫绿色的团花平均分布在鲜明的朱红的地子之上，显得典雅、富丽；经纱衫掩盖过的部分，颜色相应减退。\n紫色的帔子上，彩绘着云风纹样，往后垂了下去，她轻举右手，用纤细的食指和拇指提起贴在脖肩上的纱衫领子，似有不胜初夏闷热气候的样子。\n她左手从纱衫的侧面伸出，手指向背而嬉戏的小狗打招呼，希望小狗也来给她逗趣。\n画面左侧起最后一位是一个贵族妇女，体态丰硕，发髻高大，上插牡丹花一枝，髻前饰玉步摇，那珍珠在不停地摇晃。\n她头上的髻发和短鬓，茸茸地分披在丰满的额前和耳边，显得青春焕发。\n她圆润的而庞，浮起了淡薄的红晕；瓜子形的黛画短眉，浓淡适宜地斜峙在粉额之前，眉间金色花子的点饰如豆般大小，朱唇小到恰好与整个而庞隐隐相称，她侧身作向右倾斜的姿势，外披紫色纱罩衫，衫上的龟背纹尚隐约可辨。\n朱色的长裙上，画有斜格纹样。\n紫绿色花纹的洁白丝绸衬裙，长过纱衫，拖曳到地而上。\n右手摆向前侧，靠着纱衫；左手执纬子前伸，纬穗的摆动，逗引着小狗作戏，而小狗深通人意，它朝纬穗不停地张嘴摆尾，作出扑跳的姿态。\n在贵族仕女们嬉游处的尽头，树立着一而玲珑石。\n石后有盛开的辛夷花，紫色的花朵，陪衬着少许的绿叶。\n石头下的地上有一丛绿油油的杂草，一起点缀着视野广阔的空间。\n卷无作者款印，亦无历代题跋及观款。\n以后，当代统治阶级为了粉饰太平，提倡所谓“文治”，也正好吻合了当时人民历经战乱、渴望安宁社会的生活的心情，宴游的风气从此大开，奢侈之风成为天宝以后统治者崇尚的对象，到了贞元年间，这种风气就更为突出。\n杜牧当时这样描述：至于贞元末，风流悠绮靡。\n周昉的《簪花仕女图》正是这个时期的典型代表，画家如实的描绘了在奢靡风气支配下的唐代宫廷仕女嬉游生活的典型环境。\n最早著录此卷的是清安岐《 》，认为是唐周昉所绘，其后《石渠宝笈·续编》及《 》皆沿用该观点，俱著录为《周昉仕女图》，然近代研究亦有持异议者。\n1972年，对此图进行重新装裱时，有人发现此图系后拼接而成，较明显者为左数第二个比例较小的仕女为后嵌入，而白鹤与画左小狗亦为剪裁而来，有研究者据此认为其原为屏风画。\n作品创作的时代问题也存在争议。\n学术界主要有三种观点：唐代说、五代南唐说和宋代说。\n唐代说：唐玄宗先天二年（公元71年）八月，太平公主谋反被诛杀，其在积善坊的府邸被没收。\n寿王李瑁与杨玉环大婚前，唐玄宗将太平公主的这处宅园赐给李瑁，成为寿王府。\n上巳节后的一天，长宁公主、咸宜公主等四位贵夫人前来寿王府，杨玉环领她们到花园赏花。\n这时，年轻的宫廷画家周昉奉诏为杨玉环画像，他来到寿王府。\n李瑁将周昉引至花园中，周昉见这五位贵妇人正游玩簪花，就静静地在旁边观察。\n几日后，周昉根据当日的场景，画出了《簪花仕女图》。\n作品从当时社会的现实生活出发，将现实生活中的贵族妇女，画得雍容华贵，画出一种闲适无聊的生活本质，表现出娇、奢、雅、逸的气息和女性柔软、温腻、动人的姿态，赋予作品鲜明的时代感。\n作品渲染的快乐而又略带懒散的情绪和气氛，正是恰当地层示了属于那个时代整个贵族有闲阶级的时代气氛；在表面华丽雍容的物质繁华背后，隐藏着人物内心深深的凄寂和幽怨。\n《簪花仕女图》中作者对人物神态抓得较好，注重挖掘仕女精神上的苦闷和空虚，反映了贵族奢侈生活后面的精神困境。\n其中，有别于其他五位的那个执扇侍女，表情相当安详，默默中若有所思的神情，与其他五位仕女的神态构成了鲜明的对比，这在反映现实的同时，在一定程度上也预示出唐代后期审美意趣由宏丽转向婉约的变化。\n另外，体态动势也是表达人物内心精神的重要因素，如果把动态处理得宜，也可以加强人物精神性格的表现。\n就画中人物的姿态而高，各不相同。\n左起第一位仕女因为有摇头摆尾、深通人意的小狗在其右侧，作为逗引小狗作戏的她，侧身玉立，上身向右倾斜，右手无意识地摆向前侧，左手执拂子向前伸向小狗，接养右侧的是一位婷婷玉立披白色纱衣的仕女，她漫不经心地举养右手，用纤细的食指和拇指提起贴在脖子上的纱衫领子，似有不胜闷热气候的沉重之感。\n她左手从纱衫的侧而伸出，似乎在向背着她作戏的小狗打着招呼。\n接着就是右后方侧立着执长柄团扇的侍女，她闲静自然。\n侍女的右前方也相当于她的左侧之处，是一位持花的仕女，她右手略向上举，反掌拈红花一枝，左手从发髻上取下金钗朝右边移去，似乎要把它插在最引人注意的地方，从远处姗姗而来的是一位身材小巧的仕女，她双手紧操着薄纱，掩着帔子，紧束着宽大的衣服，作向前迈步的姿势。\n最后一位仕女右手举着一只蝴蝶，左手提着帔子，要迎接从后而向她跑过来的小狗，她上身往前微倾，头往右微侧，在丰韵之中又平添了窈窕婀娜之态。\n由此可见，作者在人物姿态的处理上，为避免相同，又不失统一，颇费心思。\n画家在全幅构图中以相等的间隔安排了几位贵族妇女，一段一段地看去，仿佛每个妇女形象从眼前一幕一幕地移动，这种构图的规律，看完了整个场景，仿佛同画面人物一起游完了庭园。\n人物之间似有联系，又似独自悠闲。\n所以《簪花仕女图》的画而完整性并不是依靠空间、时间上的一致性诉诸观者的，它是依靠人与人之间的呼应和所营造的整个闲适和谐的气氛，这样一个独特的形式传达给观者的。\n在画而中，横列的散点视线之内，多半用静穆的姿态分战了适当的位置；又把她们之中的两位妇女安置在距离较远的后方，因之增大了广阔的视野，也就扩展了空间，不至于把观者的视线囿于狭小的画而之中。\n庭园里不藉更多什物作为衬托，但它的趣味并不因此而显得单调和贫乏，反而觉得愈益接近事物的真相。\n这种构图上的独特风格，具有强烈的时代气息。\n除了画面的并序排列外，《簪花仕女图》在人物比例的处理上也出现了一种有趣的现象，观者可以发现画面左起第二个妇女的比例是按照近大远小的原则安排的。\n从她的服饰和仪态来看，她是画家为了扩展观者的视野、开拓空间，而刻意安排在较远的地方，并不是因为身份的关系“近大远小”与按身份安排人物比例两种构图方法同时出现在一张画面上的。\n《簪花仕女图》画面上独到之处是精致细腻的画笔，作者以线造型，成功地描绘了妇女身上轻柔透亮的薄纱披肩，以及薄纱下隐约可见的手臂，并自始至终毫无变化地使用定型的线描，对仕女面部和手的描制，下笔稳重准确，力求匀称，衣裙图案花纹的用笔，信笔而成，转折处若断若续，似规整但又非常流动，使通常流于对称刻版的图案，重新赋予了灵巧而生动的活力。\n至于仕女的髻发和鬓丝，精细过于毫毛，根根可数，笔笔有飞动之感。\n对人物画的手部刻画，甚是到位。\n《簪花仕女图》中的贵族仕女袒胸露臂，双手毫无遮蔽，描绘起来，实非易事。\n作者用简洁遒劲的线条，准确地表现了各种不同的手势，骨法用笔的线条对作品产生了决定性的意义。\n《簪花仕女图》的线条达到了“骨法用笔”的高度统一，使之成为独立的存在，支配着整幅画的灵魂。\n《簪花仕女图》在赋彩的技巧上，恰当地运用了复杂的色调，重复中不觉得单调。\n紫色纱衫的一再出现，即是一个突出的例子。\n紫色与花青一并涂施，历有“青间紫，不如死”之说，而此图作者对其运用，似乎不受限制和约束。\n在紫色桩上有两处用花青勾画纹样，反而觉得十分典雅，正是作者在克服色彩运用矛盾的独到之处。\n从色彩的搭配到赋彩的层次，画家用纯净透明的白色穿插在各种色彩之中，使黑、白和许多明丽的色彩相互衬托又相互制约，形成了沉着和明快相结合的矛盾统一。\n赋彩上的层次清晰，分开丝绸间的叠压关系，使之有空气流动之感。\n纱衫笼罩下的肌肤和衣裙就如一层薄雾所掩盖，因而原来的肌肤和衣裙随之改变了颜色，但它却不因此而使人离开肌肤和衣裙原有色调的联想力。\n如此，各种颜色所涂成纱衫的质感，更深刻地映入观者的脑海里。\n《簪花仕女图》是全世界范围内唯一认定的唐代仕女画传世孤本。\n除了唯一性之外，其作品的艺术价值也很高，是典型的唐代仕女画标本型作品，是能代表唐代 风格的绘画作品。\n《簪花仕女图》这种仕女画风格在当时画坛上颇为流行，极大地影响了唐末乃至以后各朝代的仕女画坛和佛教艺术 。\n该作展现了极为浓郁的时代特色和民族气息，是中国传统绘画史上非常重要的一部作品。\n1984年月，中国邮电部特别发行《簪花仕女图》特种邮票和小型张。\n此卷曾经南宋内府收藏，南宋末归 所有，元、明间流传无考，清初为梁清标、安岐收藏，后入清内府。\n1924年，末代皇帝溥仪出宫，但在此前，他用了一年时间整理了1余件举世罕见的书画作品。\n在溥仪逊位前，溥仪便以“恩赐”名义，将内府所藏珍贵字画赏赐给其弟 、溥佳，让他们利用每日下学出宫机会，用黄绫包袱将书画带出，《簪花仕女图》就在其中。\n盗运出宫的书画起初存放在醇王府内。\n1925年，在 人协助下，这批书画被运抵天津，随溥仪先后在日租界内的张园、静园收藏。\n194年，溥仪到长春做了 皇帝，这批书画被运至当时的长春伪皇宫小白楼内。\n“小白楼”是一幢二层日式钢筋水泥楼，是日本人为溥仪修的保存善本图书及古玩字画的库房，内存藏品总数约1件，对外名曰“图书馆”。\n1945年8月，日本宣布战败投降前，日本关东军准备将伪满洲国迁到通化。\n8月17日，溥仪乘飞机企图逃往日本时，被 俘获，其携带的一部分书画和珠宝由苏联红军查扣，并转交 ，几经辗转后，《簪花仕女图》藏于辽宁省博物馆。\n217年7月，辽宁省博物馆举办《艺术·生活——辽宁省博物馆研发文创作品展》，展出镇馆之宝《簪花仕女图》。\n219年1月7日至22年1月5日，该作品在辽宁省博物馆将举办大型文物特色展览“又见大唐”中展出。\n22年9月28日，厦门海丝艺术品中心推出“复现——荣宝斋木版水印中秋特展非遗交互体验展”，展出木版水印作品《簪花仕女图》。\n周昉，生卒年不详，唐代画家，字仲朗，一字景玄，京兆（今陕西省西安市）人。\n出身于仕宦之家，曾官越州长史、宣州长史别驾。\n好属文，穷丹青之妙，擅画肖像、尤工仕女，初学张萱而加以写生变化，多写贵族妇女，所作悠游闲适，容貌丰腴，衣着华丽，用笔劲简，色彩柔艳，为当时宫廷、士大夫所重，称绝一时。",[23,24,7,28,59,60,61,62,63,64,65],"美人","鹤","狗","花","衣帽","饰品","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94df61ee873fdda8506e777d2dd87070.jpg","绢本","纵46厘米，横180厘米",[44,45],15398,116,{"id":73,"slug":74,"title":75,"dynasty":76,"author":77,"museum":78,"description":79,"tags":80,"thumbUrl":99,"material":100,"size":101,"collection":44,"collections":102,"showCount":103,"zanCount":104,"manualWeight":48,"mainColor":49},217887,"qing-ming-shang-he-tu-chou-ying-217887","清明上河图","明","仇英","美国大都会艺术博物馆","此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。",[23,24,26,7,28,81,82,83,84,85,86,34,87,88,89,90,91,92,93,94,95,96,97,98],"界画","临摹","人物","楼阁","小桥","流水","商铺","船只","街市","车马","建筑","庭院","行人","市集","舟楫","道路","市井","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102b4f88d7b2d81f25208305d2123fef.jpg","绢本,设色","29.2x645.2cm",[44,45],11185,132,{"id":106,"slug":107,"title":75,"dynasty":18,"author":108,"museum":20,"description":109,"tags":110,"thumbUrl":121,"material":122,"size":123,"collection":42,"collections":124,"showCount":126,"zanCount":127,"manualWeight":48,"mainColor":49},221320,"qing-ming-shang-he-tu-zhang-ze-duan-221320","张择端","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,25,26,81,7,28,83,84,85,86,111,112,113,34,89,114,36,115,116,31,117,118,93,119,35,96,120],"船","马","牛","店铺","城墙","车","码头","货船","商贩","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[42,125],"水墨画精选",8462,106,{"id":129,"slug":130,"title":131,"dynasty":132,"author":133,"museum":134,"description":135,"tags":136,"thumbUrl":140,"material":100,"size":141,"collection":44,"collections":142,"showCount":143,"zanCount":144,"manualWeight":48,"mainColor":145},216930,"han-xi-zai-ye-yan-tu-gu-hong-zhong-216930","韩熙载夜宴图","五代十国","顾闳中","台北故宫博物院","他出生于江南，在南唐时担任元宗父子的御史，与周文儒同时。据传说，韩熙载是一个很好的声乐表演者，他是夜里喝酒的特殊客人。后者想看看台阶灯、台阶蜡烛和摇曳的筹码，所以他命令马德在晚上监视他，上面画的就是这幅画。这是人物画的最后一部分，只有八个人物，没有任何痕迹，这幅画非常古老，虽然不是顾雏军的原作，但可能是很早的一个大师的摹本。",[23,24,137,26,7,28,83,59,63,138,139],"名画","乐器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3e16a6989ea7dc1166ef8b9300366.jpg","27.9x69",[44],6027,25,"BDBDBD",{"id":147,"slug":148,"title":149,"dynasty":150,"author":151,"museum":152,"description":153,"tags":154,"thumbUrl":160,"material":100,"size":161,"collection":44,"collections":162,"showCount":163,"zanCount":164,"manualWeight":48,"mainColor":49},214875,"gui-fei-chu-yu-tu-gu-jian-long-214875","贵妃出浴图","清","顾见龙","美国克利夫兰艺术博物馆","该图描绘了杨贵妃沐浴的情景，她赤身裸体，身披绣花红纱，身体半遮半掩，有古画人体的失落感，腿长，三寸金莲。戒指上有湖泊、石头和竹子以及红色的窗帘等奢侈的装饰，表示皇室和财富。画笔和颜料很重但不浑浊，金泥的中间轮廓很独特。",[23,137,24,25,155,7,28,83,59,156,157,158,63,159],"立轴","竹","荷","器","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39bc5a717a934b272fce5bd0a4f3c219.jpg","96.5x44.1",[44],5763,38,{"id":166,"slug":167,"title":168,"dynasty":76,"author":77,"museum":169,"description":170,"tags":171,"thumbUrl":179,"material":180,"size":181,"collection":182,"collections":183,"showCount":184,"zanCount":185,"manualWeight":48,"mainColor":49},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[23,137,24,25,26,27,28,7,172,173,29,174,83,84,85,86,175,176,34,177,178],"皴法","印章","桃花","孤舟","亭","田园","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 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雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这12幅行乐图展现了其在圆明园生活的各个场景，也表现了12个月的不同节令风俗。\n该幅为其中的三月赏桃",[23,24,28,7,81,83,84,29,174,34,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feca8fa167788554a7fc5800090ce37.jpg","纵188.2厘米，横102.2厘米",[237,45],1764,14,{"id":539,"slug":540,"title":541,"dynasty":150,"author":542,"museum":78,"description":543,"tags":544,"thumbUrl":545,"material":235,"size":546,"collection":237,"collections":547,"showCount":548,"zanCount":479,"manualWeight":48,"mainColor":145},216258,"jing-fu-si-qi-dong-jing-tu-qian-wei-cheng-216258","景敷四气冬景图","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n拒霜因可入初冬，袅袅芳姿照浦秾。迴顾水华似相傲，耐寒还属木芙蓉。钤印：几席有余香",[24,25,212,7,28,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a25f1df3c06bf2bd6d2c19564df959a.jpg","21.9 × 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创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[23,24,137,25,519,28,7,595,212,298,596,597,173],"没骨","叶子","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[237,45],1541,7,{"id":605,"slug":606,"title":607,"dynasty":18,"author":608,"museum":134,"description":609,"tags":610,"thumbUrl":613,"material":100,"size":614,"collection":42,"collections":615,"showCount":602,"zanCount":616,"manualWeight":48,"mainColor":145},216083,"qiu-kui-tu-li-shi-zhong-216083","秋葵图","李士忠","写秋葵一枝，工笔勾勒填彩，花瓣用粉细勾，叶用重绿，姿韵生动，重彩渲染，布局严谨。两朵开着的花与疏疏的叶子，充分表现出秋葵的神态，是南宋写生佳作。",[23,137,24,25,7,28,212,611,62,612,597],"秋葵","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e4f46a0ef378e801baa321bbe7168c.jpg","25x28cm",[42,237],10,{"id":618,"slug":619,"title":620,"dynasty":76,"author":77,"museum":434,"description":621,"tags":622,"thumbUrl":626,"material":627,"size":628,"collection":182,"collections":629,"showCount":630,"zanCount":400,"manualWeight":48,"mainColor":49},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,24,25,155,27,28,7,29,83,84,85,34,211,37,91,38,623,624,625],"山峦","溪流","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 设色","纵175厘米，横66.7厘米",[182,45],1533,{"id":632,"slug":633,"title":634,"dynasty":132,"author":295,"museum":245,"description":635,"tags":636,"thumbUrl":638,"material":639,"size":640,"collection":42,"collections":641,"showCount":642,"zanCount":643,"manualWeight":48,"mainColor":49},221429,"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[23,137,24,25,26,7,28,212,637,178,299,62],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm",[42,237,45],1532,29,{"id":645,"slug":646,"title":647,"dynasty":228,"author":648,"museum":406,"description":649,"tags":650,"thumbUrl":656,"material":100,"size":220,"collection":237,"collections":657,"showCount":658,"zanCount":144,"manualWeight":48,"mainColor":49},214254,"qiu-shui-fu-yi-tu-ren-ren-fa-214254","秋水凫鹥图","任仁发","秋水凫鹥图是元朝作者任仁发的一幅代表作。这幅画作描绘了秋天的水鸟生活。\n\n在这幅画作中，任仁发巧妙地捕捉了秋天的水鸟的生活情景。他用浓墨重彩的画法，勾勒出了水鸟的身形。他还用细腻的线条勾勒出了水鸟的面容，让人感受到了水鸟的自然和优美。\n\n此外，任仁发在这幅画作中还描绘了水鸟周围的景色。他用色彩丰富的画法，描绘了水鸟周围的山川和河流。这些景色与水鸟的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，秋水凫鹥图是一幅精美的画作，描绘了秋天的水鸟生活。它让我们感受到了元朝作者任仁发对自然的崇敬之情，也让我们感受到了元朝文化的魅力。\n\n在这幅画作中，任仁发运用了丰富的色彩和细腻的线条，将水鸟的生活场景展现得淋漓尽致。他还用精美的画法描绘了水鸟周围的景色，让人感受到了自然与动物的和谐共存。\n\n秋水凫鹥图是元朝文化中的经典之作，也是任仁发的代表作之一。它不仅展现了任仁发的艺术才华，也是一幅能够唤起人们对自然的崇敬之情的画作。",[23,24,7,28,212,178,651,652,159,488,653,654,372,655],"水禽","鸭子","树枝","花叶","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65117c93f7cf534891203b9f9c5bbf5.jpg",[237],1515,{"id":660,"slug":661,"title":662,"dynasty":18,"author":663,"museum":230,"description":664,"tags":665,"thumbUrl":666,"material":100,"size":667,"collection":42,"collections":668,"showCount":669,"zanCount":334,"manualWeight":48,"mainColor":49},218573,"lu-chi-zhuo-su-tu-wu-bing-218573","渌池擢素图","吴炳","吴炳，生卒年不详，南宋画家。毗陵武阳（今江苏常州）人。工画花鸟，写生折枝，妙夺造化，彩绘精致富丽。绍熙初（公元1131-1162年），宋光宗赵悼皇后李氏，赏识其画，授画院待诏，赐金带。。画风谨守院体，作品较多。画迹有《春池睡鸭》、《山茶鹁鸽》、《鸳鸯瑞莲》、《宝珠玉蝶》、《折枝绛桃》等二十六件，著录于《绘事备考》。传世作品有《出水芙蓉图》、《竹雀图》、《嘉禾草虫图》、《枇杷绣羽图》等。",[137,24,25,7,28,212,248,249,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6610c8fae2457627a5a08640bf940f45.jpg","25.4×26cm",[42,237],1495,{"id":671,"slug":672,"title":673,"dynasty":76,"author":674,"museum":230,"description":675,"tags":676,"thumbUrl":678,"material":100,"size":679,"collection":237,"collections":680,"showCount":681,"zanCount":537,"manualWeight":48,"mainColor":145},220230,"hua-niao-chong-cao-xie-sheng-ce-die-dian-chun-hua-chen-hong-shou-220230","花鸟虫草写生册-蝶点春花","陈洪绶","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,677,24,25,519,28,7,212,174,411,409,452],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d24e4e72e70775f7e4626a7a610564.jpg","21.5×16cm",[237],1477,{"id":683,"slug":684,"title":685,"dynasty":150,"author":592,"museum":78,"description":686,"tags":687,"thumbUrl":692,"material":693,"size":694,"collection":237,"collections":695,"showCount":696,"zanCount":334,"manualWeight":48,"mainColor":697},220992,"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[23,24,25,26,28,595,7,212,409,298,688,689,248,174,492,487,690,489,691,486,411,452],"百合","菊","水仙","芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[237,45],1418,"F48FB1",{"id":699,"slug":700,"title":701,"dynasty":18,"author":702,"museum":152,"description":703,"tags":704,"thumbUrl":707,"material":100,"size":708,"collection":42,"collections":709,"showCount":710,"zanCount":711,"manualWeight":48,"mainColor":145},214253,"mu-niu-tu-li-chun-214253","牧牛图","李椿","牧牛图是宋代画家李椿的一幅代表作。这幅画作描绘了牧牛的生活场景。\n\n在这幅画作中，李椿巧妙地捕捉了牧牛的生活状态。他用浓墨重彩的画法，勾勒出了牧牛的身形。他还用细腻的线条勾勒出了牧牛的面容，让人感受到了牧牛的温顺和和蔼。\n\n此外，李椿在这幅画作中还描绘了牧牛周围的景色。他用色彩丰富的画法，描绘了牧牛周围的山川和河流。这些景色与牧牛的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，牧牛图是一幅精美的画作，描绘了牧牛的生活场景。它让我们感受到了宋代画家李椿对动物的喜爱之情，也让我们感受到了宋代文化的魅力。",[23,24,28,7,113,313,83,705,197,706],"草地","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95035fbb75855fef24415203e134b8ac.jpg","24.8x25.7",[42],1394,5,{"id":713,"slug":714,"title":715,"dynasty":76,"author":716,"museum":152,"description":717,"tags":718,"thumbUrl":720,"material":100,"size":721,"collection":44,"collections":722,"showCount":723,"zanCount":361,"manualWeight":48,"mainColor":697},214294,"xiang-shan-jiu-lao-tu-xie-huan-214294","香山九老图","谢环","谢环（1830-1888）是清代著名的画家，他的《山九老图》是其代表作之一。\n\n《山九老图》描绘了九位老僧依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出九位老僧与山林的和谐关系。谢环在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《山九老图》被认为是谢环画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《山九老图》也是收藏家们青睐的经典之作。",[23,24,25,26,7,28,83,29,176,313,211,719],"仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e446d85f920ac135920733919a6fd0a.jpg","29.4x148.2",[44],1379,{"id":725,"slug":726,"title":727,"dynasty":18,"author":326,"museum":56,"description":728,"tags":729,"thumbUrl":731,"material":424,"size":732,"collection":42,"collections":733,"showCount":734,"zanCount":334,"manualWeight":48,"mainColor":49},221339,"rui-he-tu-zhao-ji-221339","瑞鹤图","《瑞鹤图》描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。\n《瑞鹤图》，其不仅具神性的光辉与君主的华贵，也有仙音袅袅、高雅灵动之感。一方面，皇宫殿宇端端正正置于画面下方，均衡对称，留出三分之二湛蓝天空，正大光远，大气天成，颇具皇家风范。围绕殿宇的祥云打破屋宇水平线，稳重端庄的画面于是气韵流转，一派天趣。另一方面，仙鹤有表明志向高洁、品德高尚之意。停留在屋顶上的两只仙鹤，袅袅婷婷，以静寓动，与空中缭绕的鹤群相呼应，款款生姿。整个画面又多了一分高洁隽雅、飘逸灵秀之气。",[23,24,25,26,28,81,7,730,178,84],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef20e4191bb4faf39fae804720c95f29.jpg","纵51厘米，横138.2厘米",[42,237],1376,{"id":736,"slug":737,"title":738,"dynasty":150,"author":592,"museum":230,"description":739,"tags":740,"thumbUrl":742,"material":235,"size":220,"collection":220,"collections":743,"showCount":744,"zanCount":274,"manualWeight":48,"mainColor":145},214738,"hua-hui-ce-4-yun-shou-ping-214738","花卉册-4","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,24,25,519,595,7,28,174,300,409,453,741],"红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326abb94d57aaaefc22233506e6e8c26.jpg",[],1350,{"id":746,"slug":747,"title":748,"dynasty":76,"author":77,"museum":134,"description":749,"tags":750,"thumbUrl":752,"material":100,"size":753,"collection":182,"collections":754,"showCount":755,"zanCount":479,"manualWeight":48,"mainColor":49},216757,"shang-lin-tu-juan-chou-ying-216757","上林图卷","这卷书也在台北故宫，有一个类似的形象。它似乎比第一幅好，只是皴笔更简略一些",[23,24,25,26,27,28,7,81,29,83,84,34,31,751,211,38],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166b13b5b6a049210ce9da368f29e43b.jpg","44.8x1208",[182],1347,{"id":757,"slug":758,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":759,"thumbUrl":39,"material":40,"size":41,"collection":220,"collections":774,"showCount":775,"zanCount":776,"manualWeight":48,"mainColor":49},232934,"qian-li-jiang-shan-tu-juan-wang-xi-meng-232934",[23,137,24,26,760,28,7,623,761,762,763,764,765,766,767,768,83,769,770,771,772,773],"青绿山水","江河","飞瀑","房舍","林木","渔村","水榭","长桥","渔舟","亭台","烟波","曲径","茅屋","游船",[],1322,12,{"id":778,"slug":779,"title":780,"dynasty":18,"author":354,"museum":245,"description":355,"tags":781,"thumbUrl":786,"material":220,"size":220,"collection":220,"collections":787,"showCount":788,"zanCount":537,"manualWeight":48,"mainColor":49},226698,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-226698","韩熙载夜宴图(宋摹本)",[23,82,7,28,26,284,173,83,59,471,138,139,782,215,783,63,784,785],"床榻","桌案","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2423c850e2ffa06c685670994844.jpg",[],1302,{"id":790,"slug":791,"title":792,"dynasty":150,"author":260,"museum":134,"description":793,"tags":794,"thumbUrl":798,"material":424,"size":799,"collection":237,"collections":800,"showCount":801,"zanCount":603,"manualWeight":48,"mainColor":49},222779,"bai-jun-tu-lang-shi-ning-222779","百骏图","《百骏图》是意大利籍清代宫廷画家郎世宁创作的绘画作品，是中国十大传世名画之一。此图稿本为纸质，原作分别收藏于美国纽约大都会博物馆（纸质稿本）和中国台北故宫博物院（绢本）\n此图共绘有100匹骏马，姿势各异，或立、或奔、或跪、或卧，可谓曲尽骏马之态。画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n此图为一长卷，从右至左，画面开始是两棵参天的老松树，透过松枝的空隙，露出了牧马人搭建的简易白色帐篷，有三个身穿满族服装的牧人在帐篷前，二人倦怠地或坐或卧，还有一人双手拄着套马杆立在那里，看着不远处的马匹，一只牧犬从帐篷内伸出了半个身子。\n近处是一匹浑身滚圆的白马悠然而立，旁边的两匹花马在低头啃草，由此引出了后面千姿百态的群马。在草地上，一群肥瘦不一的马匹各自在觅食、躺卧、翻滚嬉闹。\n远处群山连绵，草木丛生，一个牧马人正用套杆套一匹跑远的马，另一牧人则在赶拢跑散的八九匹小马驹，此处近景也是几棵盘根虬枝的古松，一大群不同花色的骏马或立或卧或昂首或低头，还有几匹在追逐打闹。\n画面中段，在一片树木坡石间又有一群马在休息，其中有一对母子，母马正看着在吃奶的小马驹，旁边一匹马正在古松上蹭痒，惹得一牧人扭头观看。\n画卷再向左侧展开是一片湖水，湖岸边芦苇郁郁葱葱，马匹则在水边嬉闹。湖中有一人正在为一花马擦洗，湖中倒影清晰可见。\n过了水面窄处而后湖水又逐渐开阔，湖滩的沙地上长满了芦苇和杂草，另有一小群马在一个骑马的牧人带领下，泅过不宽的水面到对面去。\n画面的结尾是一个手持套马杆的牧人。在画幅的左下角，署有画家名款：“雍正六年，岁次戊申仲春，臣郎世宁恭画。”画幅上钤乾隆印多方。\n此图描绘了姿态各异的骏马百匹放牧游息的场面，画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n《百骏图》长卷洋洋洒洒，塑造了一大群或站或卧、或翻滚嬉戏、或打斗觅食的骏马，它们聚散不一，自由、舒闲。画作中除了上百匹骏马之外，还有人物、山水、草木，无不精致写实，形象逼真，给予人们足够的空间，令人产生无边的遐想。同时花卉的形态和神态作者也通过西画的透视和光感等技巧表现出来，画得相当精细，立体感强。\n此画上，作者运用中国的毛笔、纸绢和色彩，却以欧洲的绘画方法注重于表现马匹的解剖结构、体积感和皮毛的质感，使得笔下的马匹形象造型准确、比例恰当、凹凸立体，而不像中国古代画\n家采用延绵遒劲的线条来勾勒物象轮廓的方法。他是以细密的短线，按照素描的画法，来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅，来表现马匹的凹凸肌肉，与传统中国绘画中的马匹形象迥然有别。以中国传统绘画技法加入西洋光影透视法及西画颜料，以显示中西趣味兼容并蓄的画面。如画中马匹、人物、树木、土坡皆应用了光的原理，使物象极富立体感；而如松针、树皮、草叶等的墨线勾勒，石块土坡的皴擦等仍含有中国传统手法，即使是马匹及树干上的阴影表现，亦是以中国传统的渲染方法来完成的。\n此画构图复杂，风格独特，极具意趣，别具一格。尽管全图包含了马匹、牧者、帐篷、树木等众多景物，但作者充分显示了其“虚实相间”的构图功力，画面由牧者引出，又以牧者结束，而作为主角的百匹骏马均在牧马人的引导控制之下活动。整幅画面聚散、稀疏的设置充满了节奏感。\n中国画是散点透视，西画是焦点透视。这种透视效果在这幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。注重形象的解剖结构、光影效果及立体感。并且，在此画上，作者将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。",[23,7,28,26,795,112,34,31,705,83,796,29,797,624],"中西合璧","帐篷","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b30b71123be3a26bafdc83b49d1c5e.jpg","纵102厘米，横813厘米",[237,45],1291,{"id":803,"slug":804,"title":805,"dynasty":18,"author":806,"museum":20,"description":807,"tags":808,"thumbUrl":810,"material":811,"size":812,"collection":42,"collections":813,"showCount":814,"zanCount":458,"manualWeight":48,"mainColor":49},221559,"pi-pa-shan-niao-tu-lin-chun-221559","枇杷山鸟图","林椿","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。\n《石渠宝笈三编》著录。",[23,137,24,25,7,28,519,212,809,178,173],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195499e5cd6dd07045004c96458c8a96.jpg","绢本 ，设色","纵26.9cm，横27.2cm",[42,237,45],1282,{"id":816,"slug":817,"title":818,"dynasty":76,"author":819,"museum":230,"description":820,"tags":821,"thumbUrl":824,"material":100,"size":220,"collection":237,"collections":825,"showCount":826,"zanCount":827,"manualWeight":48,"mainColor":145},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[23,24,519,28,7,173,284,285,212,637,822,689,157,174,298,823,159,655],"兰","石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[237],1280,21,{"id":829,"slug":830,"title":831,"dynasty":18,"author":191,"museum":20,"description":832,"tags":833,"thumbUrl":835,"material":100,"size":836,"collection":42,"collections":837,"showCount":838,"zanCount":616,"manualWeight":48,"mainColor":145},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,25,26,82,283,28,7,284,285,834,173,83,59,29,175,84,86,34],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[42],1270,{"id":840,"slug":841,"title":842,"dynasty":76,"author":77,"museum":134,"description":843,"tags":844,"thumbUrl":845,"material":100,"size":846,"collection":182,"collections":847,"showCount":848,"zanCount":274,"manualWeight":48,"mainColor":49},214746,"bao-hui-tang-chou-ying-214746","宝绘堂","这是王诜和苏轼欣赏书画的一个场景。画面以蓝色和绿色为基调，远处山峰高耸，山脚下桃花灼灼，不远处的房子里聚集着几个人，其中几个人正坐在桌前研究画卷。",[24,27,28,7,29,83,84,176,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691070a2939592e5e3866e2392e29bbe.jpg","188.8x99.3",[182],1260,{"id":850,"slug":851,"title":852,"dynasty":150,"author":592,"museum":230,"description":739,"tags":853,"thumbUrl":856,"material":235,"size":220,"collection":220,"collections":857,"showCount":858,"zanCount":711,"manualWeight":48,"mainColor":145},214734,"hua-hui-ce-6-yun-shou-ping-214734","花卉册-6",[23,24,25,137,519,595,28,212,409,197,7,854,855],"草本植物","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6add9c0b73e67c0dfd0de7e7d098a1.jpg",[],1228,{"id":860,"slug":861,"title":862,"dynasty":863,"author":864,"museum":865,"description":866,"tags":867,"thumbUrl":869,"material":218,"size":220,"collection":870,"collections":871,"showCount":872,"zanCount":458,"manualWeight":48,"mainColor":145},220450,"lian-chi-lin-yu-shan-220450","莲池","民国","林玉山","国立台湾美术馆","这幅《莲池》是民国画家林玉山的工笔花鸟佳作，可从以下几方面鉴赏：\n\n一、技法表现：工笔精谨，写实入微\n林玉山擅长工笔重彩，这幅画以精细工笔技法刻画物象：荷叶的脉络、荷花的瓣层、白鹭的羽毛都被细腻勾勒，线条匀净流畅，尽显工笔“精工细作”的特质；同时融入写实观察，让荷花、荷叶的形态、白鹭的动态都极具自然真实感，体现他“写生入画”的创作理念。\n\n二、构图布局：疏密有致，动静相生\n画面布局繁而不乱：大片荷叶荷花层层叠叠，疏密、虚实对比鲜明；左下角的白鹭成为视觉焦点，以其灵动姿态打破静态莲池的沉寂，形成“静（莲荷）动（白鹭）相生”的节奏，让画面既有满幅的丰富感，又有视觉的呼吸感。\n\n三、色彩格调：典雅和谐，层次丰盈\n采用工笔重彩设色法，背景的暖棕色调与荷叶的蓝绿色调形成雅致对比，荷花的粉白、白鹭的素净又在色彩层次中穿插呼应，既保留了传统工笔的富丽感，又通过色调调和营造出莲池清幽朦胧的氛围，尽显色彩的抒情性。\n\n四、意境与风格：传统意趣与现代写实的融合\n画面营造出“清幽雅致”的田园意境，莲池的静谧、白鹭的灵动，传递出自然生机与文人式的闲逸情致。同时，林玉山将西方写实技法融入传统工笔，既延续了中国花鸟画的装饰美感与意境追求，又以写实观察赋予物象鲜活生命力，是民国时期“传统笔墨现代化”的典型探索，展现了他在工笔花鸟领域“古今融合、中西通汇”的独特风格。\n\n综上，这幅《莲池》以精湛工笔、精妙构图、典雅色彩，勾勒出诗意莲池的生动图景，既是林玉山个人艺术风格的凝练，也折射出民国时期传统绘画在现代转型中的探索与成就。",[23,24,25,7,28,212,248,249,868,196],"白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ee7c758c3a5d09e9063bab49500b45.jpg","花鸟精选",[870],1224,{"id":874,"slug":875,"title":876,"dynasty":54,"author":55,"museum":20,"description":877,"tags":878,"thumbUrl":879,"material":880,"size":881,"collection":220,"collections":882,"showCount":883,"zanCount":479,"manualWeight":48,"mainColor":49},227085,"hui-shan-shi-nv-tu-juan-zhou-fang-227085","挥扇仕女图卷","《挥扇仕女图》卷，传为唐周昉绘，绢本，设色，纵33.7厘米，横204.8厘米。\n无作者款印。引首清高宗弘历题“猗兰清画”四字。钤明韩世能 “韩世能印”、“韩仲子氏”、“世能”，清梁清标“蕉林书屋”、“蕉林居士”、“蕉林考藏”，清高宗弘历“古希天子”、“乾隆御览之宝”、“石渠宝笈”、“乾隆鉴赏”等鉴藏印，共31方。\n此图描绘了13位头挽高髻、细目圆面、长裙曳地的妃嫔和宫女形象。全幅以横向排列的形式展示了人物的各种活动：执扇慵坐、解囊抽琴、对镜理妆、绣案做工、挥扇闲憩等。作者注意画面横向疏密、松紧的韵律变化，纵向高低错落的层次变化，从而使得画面结构井然有序，并避免了构图上的单调呆板。图中色彩丰富，以红色为主，兼有青、灰、紫、绿等各色。冷暖色调相互映衬，显现出人物肌肤的细嫩和衣料的华贵。衣纹线条近铁线描，圆润秀劲，富有力度和柔韧性，较准确地勾画出了人物的种种体态。\n画家周昉出身于豪门显宦，因此，他对于贵族阶层绮靡奢华的生活非常熟悉。其仕女画不以烈女、贤妇、仙女等为表现对象，而是取材于现实生活中贵族妇女的行乐活动，具有强烈的时代感，从而迎合了中晚唐时期大官僚贵族们的审美意趣。其作品在张扬唐王朝繁华兴盛的物质生活的同时，亦揭示了贵妇们极度贫乏的精神世界。此图中嫔妃们体貌丰腴，衣饰华丽，但她们面含幽怨，举止慵倦，毫无生气。\n明张丑《清河书画舫》，清内府《石渠宝笈续编》，清阮元《石渠随笔》著录。",[23,24,25,26,7,28,83,470,59,173,63,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d64d42508b0dd39153cc6c8554c273c.jpg","纸本 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亭花，这可能是后来明代的仿制品。",[23,137,24,25,155,7,28,212,409,1091,211,198,1092,299],"禽鸟","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9",[42],864,{"id":1098,"slug":1099,"title":1100,"dynasty":18,"author":326,"museum":134,"description":1101,"tags":1102,"thumbUrl":1111,"material":100,"size":1112,"collection":44,"collections":1113,"showCount":1114,"zanCount":943,"manualWeight":48,"mainColor":49},214251,"wen-hui-tu-zhao-ji-214251","文会图","文会图是宋代诗人赵佶的一幅代表作。这幅画作描绘了文会图的美丽风景。\n\n文会图位于宋代的江西省，是一座著名的风景名胜。它有着壮丽的山水景色，群山环绕，江河纵横。这里的山川秀美，让人流连忘返。\n\n在这幅画作中，赵佶巧妙地捕捉了文会图的美丽景色。他用浓墨重彩的画法，勾勒出了文会图的群山和江河。他还描绘了文会图周围的古迹和古建筑，让人感受到了宋代文化的博大精深。\n\n总之，文会图是一幅精美的画作，描绘了文会图的美丽风景。它让我们感受到了宋代诗人赵佶对自然的崇敬之情，也让我们感受到了宋代文化的魅力。",[23,24,25,28,7,83,34,92,1103,1104,1105,471,1106,284,1107,1108,216,1109,1110],"饮酒","桌椅","餐具","聚会","场景描绘","细致写实","园林","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9e09405eba855cbe3e826712631928.jpg","184.4x123.9",[44],862,{"id":1116,"slug":1117,"title":75,"dynasty":18,"author":108,"museum":20,"description":109,"tags":1118,"thumbUrl":1120,"material":424,"size":1121,"collection":42,"collections":1122,"showCount":1123,"zanCount":895,"manualWeight":48,"mainColor":49},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,26,81,28,1119,7,83,84,85,86,88,89,87,34,90,113,112,91,97,96,92,119,93],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","宽24.8厘米、长528.7厘米",[42,44,45],858,{"id":1125,"slug":1126,"title":1127,"dynasty":228,"author":1128,"museum":1129,"description":1130,"tags":1131,"thumbUrl":1132,"material":424,"size":1133,"collection":237,"collections":1134,"showCount":1135,"zanCount":895,"manualWeight":48,"mainColor":49},221850,"mu-dan-hu-die-tu-shen-meng-jian-221850","牡丹蝴蝶图","沈孟坚","日本京都国立博物馆","图绘牡丹一枝，彩蝶二只，牡丹花以粉色为主色，尽显娇嫩、华丽，彩蝶闻花而来，翩翩起舞。此图构图精巧，勾画精细，动静相宜，栩栩如生。",[23,24,7,28,212,298,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e410cee36c9d4dcc1b24a9edab13549.jpg","26.9×27cm",[237,45],854,{"id":1137,"slug":1138,"title":1139,"dynasty":18,"author":1140,"museum":245,"description":1141,"tags":1142,"thumbUrl":1143,"material":67,"size":1144,"collection":42,"collections":1145,"showCount":1146,"zanCount":274,"manualWeight":48,"mainColor":49},221182,"mei-zhu-tu-ye-ma-lin-221182","梅竹图页","马麟","绿竹丛中逶迤伸出白梅两枝，清丽冷艳",[23,137,24,25,519,7,28,212,637,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d26a148f7c6e0c7598c67b7543456d8.jpg","纵26厘米，横26.5厘米",[42,237,45],851,{"id":1148,"slug":1149,"title":1150,"dynasty":18,"author":1151,"museum":20,"description":1152,"tags":1153,"thumbUrl":1154,"material":424,"size":1155,"collection":42,"collections":1156,"showCount":1157,"zanCount":776,"manualWeight":48,"mainColor":49},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 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在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,26,27,28,7,172,29,85,86,176,34,623,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","24cmx254cm",[42,182,45],840,{"id":1159,"slug":1160,"title":1161,"dynasty":150,"author":1162,"museum":134,"description":1163,"tags":1164,"thumbUrl":1166,"material":235,"size":1167,"collection":237,"collections":1168,"showCount":1169,"zanCount":616,"manualWeight":48,"mainColor":145},219433,"teng-hua-shao-yao-zhou-zou-yi-gui-219433","藤花芍药轴","邹一桂","紫藤藤蔓虬曲伸展，紫蓝花穗垂落如串串玉珠，枝叶葱茏带露；下方芍药竞放，白瓣皎洁如霜，粉蕊柔婉似云，红苞艳若丹砂，叶片舒展有致，脉络清晰可见。设色清丽雅致，线条细腻灵动，花叶的姿态鲜活自然，尽显春日芳菲的生机与韵致。笔墨间藏着对自然的深情体察，每一处细节都透着工笔花卉的精妙之美，雅致中蕴蓬勃活力，宛如将春日一隅凝于绢素之上。",[24,25,155,7,28,212,1165,691,173,409],"藤花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a37dff9eccfbfc632eca571c3b1785.jpg","129.1x60.8",[237],836,{"id":1171,"slug":1172,"title":1173,"dynasty":18,"author":191,"museum":134,"description":1174,"tags":1175,"thumbUrl":1176,"material":100,"size":1177,"collection":237,"collections":1178,"showCount":1179,"zanCount":616,"manualWeight":48,"mainColor":49},218394,"shan-cha-mei-hua-tu-yi-ming-218394","山茶梅花图","此幅绘腊梅，山茶，麻雀。设色雅丽，笔墨造型古拙，唯用笔布置更接近陈洪绶、王武画格，故宋画气息不足。",[23,24,25,155,212,7,28,520,521,299,453,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1719fc6f38b792b19b924b5c41056d6.jpg","33.6x46.7",[237],833,{"id":1181,"slug":1182,"title":887,"dynasty":18,"author":505,"museum":134,"description":1183,"tags":1184,"thumbUrl":1186,"material":218,"size":1187,"collection":42,"collections":1188,"showCount":1189,"zanCount":587,"manualWeight":48,"mainColor":49},221299,"sui-chao-tu-zhao-chang-221299","与过年有关的节令画在古代多称之为“岁朝图”，大致兴起于宋代，徽宗时期宫廷绘画艺术得到了空前的发展。《岁朝图》的本质就是高级年画。所谓“岁朝”是一年之初的文艺叫法。历来的文人皇帝很喜欢用这样的画往来友人赏赐臣下，恭贺新禧。",[23,137,24,25,155,28,7,212,409,1185,887],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda10c5d8b72f237927104c275194e0a4.jpg","103.8×51.2cm",[42,237,45],830,{"id":1191,"slug":1192,"title":1193,"dynasty":132,"author":1194,"museum":134,"description":1195,"tags":1196,"thumbUrl":1197,"material":100,"size":1198,"collection":44,"collections":1199,"showCount":1200,"zanCount":479,"manualWeight":48,"mainColor":49},218529,"shi-nv-tu-zhou-wen-ju-218529","仕女图","周文矩","这幅画表现的是一个在桐荫的女人与一个奴隶贩子在栅栏上摊开她的画卷。画中没有名字，而衣服的图案，僵硬曲折，与文姬的风格相去甚远，很可能是后来的收藏家擅自给它起了个名字，所以才有了这个标题",[23,24,28,7,83,59,581,178,411,313,409,314,344,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb332ba757d3b97ebad0f1f7b7982c84e.jpg","180.9x102.1",[44],820,{"id":1202,"slug":1203,"title":1204,"dynasty":18,"author":19,"museum":20,"description":21,"tags":1205,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":1207,"showCount":1208,"zanCount":616,"manualWeight":48,"mainColor":49},221382,"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图",[23,24,137,25,26,27,28,7,172,29,623,31,85,34,769,1206,37,38],"舟船",[42,44,45],809,{"id":1210,"slug":1211,"title":1212,"dynasty":76,"author":77,"museum":20,"description":1213,"tags":1214,"thumbUrl":1216,"material":40,"size":1217,"collection":44,"collections":1218,"showCount":1219,"zanCount":895,"manualWeight":48,"mainColor":145},222194,"ren-wu-gu-shi-tu-gui-fei-xiao-zhuang-chou-ying-222194","人物故事图-贵妃晓妆","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,137,25,7,28,83,59,84,34,214,972,178,409,1215,63],"器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6305566e747339ff404852138f61f051.jpg","每开纵41.4厘米，横33.8厘米",[44,45],808,{"id":1221,"slug":1222,"title":1223,"dynasty":18,"author":191,"museum":406,"description":1224,"tags":1225,"thumbUrl":1226,"material":100,"size":1227,"collection":42,"collections":1228,"showCount":1229,"zanCount":349,"manualWeight":48,"mainColor":49},218560,"ye-he-hua-tu-yi-ming-218560","夜合花图","画的是一枝两朵夜来香花，右枝花含苞待放，左枝花半开半合，洁白如玉，气质高雅。花朵被轻轻地勾勒和上色，用白色粉末点缀花蕊，用少量浅色墨水给拖曳的花朵上色。绿叶前后间隔，白花绿叶，色彩淡雅，让人赏心悦目。",[137,24,25,914,28,7,212,62,596,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405700bb70527a1c1a9640d967df709.jpg","23.9x25.4",[42,237],804,{"id":1231,"slug":1232,"title":1233,"dynasty":18,"author":505,"museum":134,"description":1234,"tags":1235,"thumbUrl":1236,"material":235,"size":1237,"collection":237,"collections":1238,"showCount":1239,"zanCount":349,"manualWeight":48,"mainColor":49},214815,"hua-niao-tu-zhao-chang-214815","花鸟图","这幅以元明风格绘制的水墨花卉画",[137,24,7,28,299,62,453,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111da4cdbebe9fd7bbaf5fcd9d2e5a34.jp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长恨歌图卷(下卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,25,26,28,7,81,83,84,29,34,85,86,1206,769,211,751,92,1247,1068,1248,31,623,91],"人群","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[44,45],775,{"id":1254,"slug":1255,"title":1256,"dynasty":76,"author":1013,"museum":406,"description":1014,"tags":1257,"thumbUrl":1259,"material":235,"size":1017,"collection":220,"collections":1260,"showCount":1261,"zanCount":479,"manualWeight":48,"mainColor":145},216661,"hua-niao-ce-3-sun-ke-hong-216661","花鸟册-3",[24,519,28,7,212,178,1258,453,173],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcfb02f16a9dcdf42f888f2dbea6731.jpg",[],774,{"id":1263,"slug":1264,"title":243,"dynasty":18,"author":191,"museum":406,"description":1265,"tags":1266,"thumbUrl":1267,"material":100,"size":1268,"collection":237,"collections":1269,"showCount":1270,"zanCount":616,"manualWeight":48,"mainColor":49},218552,"he-hua-tu-yi-ming-218552","画中的荷叶和菖蒲随风右旋，重叠的花瓣逐渐张开，荷叶花瓣用金笔精巧地勾勒，用红色到粉色的渐变画出。这是南宋时期的生活绘画杰作，其精致丰富的画风源于南宋花鸟画家吴炳。",[24,914,212,7,28,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496db9762ca838af4ae8501a774c94ef.jpg","25.1x25.7cm",[237],765,{"id":1272,"slug":1273,"title":1274,"dynasty":18,"author":1275,"museum":245,"description":1276,"tags":1277,"thumbUrl":1278,"material":100,"size":1279,"collection":237,"collections":1280,"showCount":1281,"zanCount":895,"manualWeight":48,"mainColor":145},218581,"hua-niao-shan-shui-xiao-pin-ce-shan-cha-ma-yuan-218581","花鸟山水小品册-山茶","马远","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,24,25,519,212,28,7,173,520,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e793eaf7b0fe061b674b3389ac383bd.jpg","33*19",[237],763,{"id":1283,"slug":1284,"title":1285,"dynasty":76,"author":674,"museum":78,"description":1286,"tags":1287,"thumbUrl":1289,"material":100,"size":220,"collection":237,"collections":1290,"showCount":1291,"zanCount":1084,"manualWeight":48,"mainColor":145},218031,"za-hua-ce-chen-hong-shou-218031","杂画册","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[24,28,7,519,212,452,1288,453],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c5103e3f5c96e67bf35677653152a4.jpg",[237,182,44],758,{"id":1293,"slug":1294,"title":1295,"dynasty":150,"author":578,"museum":406,"description":1296,"tags":1297,"thumbUrl":1298,"material":100,"size":1296,"collection":237,"collections":1299,"showCount":1300,"zanCount":603,"manualWeight":48,"mainColor":145},218893,"fu-rong-bai-mao-tu-zhou-ren-yi-218893","芙蓉白猫图轴","纵134.2厘米，横47.8厘米",[23,24,137,25,155,7,28,212,492,581,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ad6bc3e192fef53d9ce6256744d731.jpg",[237],755,{"id":1302,"slug":1303,"title":1304,"dynasty":132,"author":295,"museum":134,"description":1305,"tags":1306,"thumbUrl":1309,"material":100,"size":1310,"collection":237,"collections":1311,"showCount":1312,"zanCount":776,"manualWeight":48,"mainColor":145},218753,"xie-sheng-zhi-zi-xu-xi-218753","写生栀子","雪白的栀子花与绿叶相映成趣，麻雀站在树枝上，试图捕食被花香吸引的黄蜂。蜜蜂的发音与 封 相同，麻雀的发音与 爵 相似，所以用 爵 的谐音来表示祝贺，这是一幅成功的宫廷画。",[23,24,7,28,212,450,1307,299,494,612,1308],"栀子","枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8936453d77d3d3461e49f1fe82137570.jpg","24.7x26.5",[237],744,{"id":1314,"slug":1315,"title":1316,"dynasty":76,"author":77,"museum":134,"description":1317,"tags":1318,"thumbUrl":1320,"material":100,"size":1321,"collection":182,"collections":1322,"showCount":1323,"zanCount":776,"manualWeight":48,"mainColor":49},218389,"chun-shan-yin-shang-zhou-chou-ying-218389","春山吟赏轴","此图绘溪山胜景，高士游春。虽是青绿之作，不见富贵，唯有逸气绕耳目，学赵伯驹，仇英得其韵矣。",[24,155,28,7,172,29,83,176,313,1319,624,211,84,1028],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7562c788ce2b4470b544a9e0121bd8b5.jpg","157.5x63.2公分",[182],732,{"id":1325,"slug":1326,"title":1327,"dynasty":76,"author":674,"museum":406,"description":1328,"tags":1329,"thumbUrl":1330,"material":100,"size":220,"collection":237,"collections":1331,"showCount":1332,"zanCount":616,"manualWeight":48,"mainColor":49},219749,"chun-feng-jia-die-tu-chen-hong-shou-219749","春风蛱蝶图","陈洪绶（1598-1652年），字章侯，号老莲，别号老迟、悔迟，浙江诸暨人。此图作于顺治八年（1651)，画赠老友戴茂齐。所绘山雀、竹枝、海棠、水仙、蛱蝶、怪石、梨花，设色妍丽，富有装饰意味。卷末有作者自题，据此可知：是年秋天，画家曾以一金购得文徵明画一幅，戴茂齐喜之，遂赠之。后数日，友人丁秋平之子病重，陈氏借戴一金，赠以资汤药。孟冬，画家又作《博古叶子》一本赠戴，时家中乏米，借戴一金，故作此卷酬之。",[24,25,26,28,7,283,173,284,212,637,822,156,690,411,299,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f9e4cf48118d09a7f3ae27d2908752.jpg",[237],712,{"id":1334,"slug":1335,"title":1336,"dynasty":76,"author":1013,"museum":406,"description":1014,"tags":1337,"thumbUrl":1338,"material":235,"size":1017,"collection":220,"collections":1339,"showCount":1340,"zanCount":895,"manualWeight":48,"mainColor":145},216657,"hua-niao-ce-7-sun-ke-hong-216657","花鸟册-7",[24,212,7,28,519,299,411,298,62,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff897e750bd1ed3249f4a3116da11c224.jpg",[],706,{"id":1342,"slug":1343,"title":1344,"dynasty":150,"author":592,"museum":406,"description":1345,"tags":1346,"thumbUrl":1347,"material":1348,"size":1349,"collection":237,"collections":1350,"showCount":1351,"zanCount":711,"manualWeight":48,"mainColor":145},219822,"hua-hui-shi-kai-yun-shou-ping-219822","花卉十开","此作以没骨法写就牡丹，不用墨线勾勒轮廓，纯以色彩晕染塑形。两朵粉牡丹或侧或正，花瓣由淡粉渐次过渡至胭红，层层叠叠，柔润舒展，仿佛凝着朝露尽显娇妍。叶片以深浅绿意晕染，脉络隐现，俯仰生姿，枝叶错落相依，衬得花头愈发雍容秀雅。\n\n整体设色清和柔润，褪去牡丹常有的艳俗，只留清雅端方的韵致，将春日盛放的花姿凝于绢上，带着恬淡平和的意趣，把草木的生机与温婉雅致尽数藏于笔墨晕染之间，淡而不薄，丽而不妖，尽显一花一叶的灵动情致。",[137,24,25,519,28,212,298,595,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6f10f9ed98e171597fc55f333a01f8.jpg","设色,绢本","20.4×29.2厘米",[237],704,{"id":1353,"slug":1354,"title":1355,"dynasty":150,"author":1356,"museum":56,"description":1357,"tags":1358,"thumbUrl":1364,"material":1365,"size":1366,"collection":44,"collections":1367,"showCount":1368,"zanCount":616,"manualWeight":48,"mainColor":49},222820,"gu-su-fan-hua-tu-xu-yang-222820","姑苏繁华图","徐扬","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,137,24,25,26,28,7,81,83,84,85,86,88,89,87,1359,34,97,91,117,93,118,1360,1361,1362,1363],"河道","民居","车船","茶馆","酒肆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61ae38c127eaa89b842ad3f8d842d7a.jpg","设色 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",[237,45],661,{"id":1441,"slug":1442,"title":1443,"dynasty":76,"author":191,"museum":1444,"description":1445,"tags":1446,"thumbUrl":1447,"material":1053,"size":1448,"collection":44,"collections":1449,"showCount":1450,"zanCount":711,"manualWeight":48,"mainColor":49},222148,"san-da-shi-tu-shui-yue-yi-ming-222148","三大士图-水月","法海寺","观音又作观世音、观自在、光世音，这佛教中西方极乐世界教主阿弥陀佛左胁侍。水月观音图在法海寺壁画中最为出色。人物刻画既有传统的形制，又具有与实的基本手法，突破了僵硬的模式和程式，绘制技术精细完美，细微处一丝不苟。\n水月观音是三十三观音之一，面目端庄，大慈大悲。法海寺的水月观音，曲右腿，盘左膝，右肘膝托，左掌下抵，半跏坐于噍岩之上。面如满月，超然脱俗。是佛，却微露慈母的温情，是神，但足显处子般的恬静，给人以清新吸净之美感。穿着装饰，有宝冠、耳环、项圈、璎珞花饰、手钏、，手镯、络腋、宝带等八饰，样样齐全。观音莹莹酥胸坦露，纤纤玉手自然下垂，丰腴温暖富有弹性。轻纱蔽体，轻纱蔽体，脚锣上碎铃环绕“漫腰束饰，赤了一双脚”，使人更感到菩萨的慈悯可亲。\n唐宋以来，历代绘画都喜欢用纱布反映仕女的披肩来表现绘画的技巧，唯独法海寺壁画的薄纱占的面积那么大，线条那么精细、均匀、工整、挺拔，堪称壁画中的一绝。披纱上的图案是六菱花瓣，每一花瓣都由40多根金线组成，沥沥贴金，闪闪发光，细如蛛丝，薄如蝉翼，好象水月观音在轻纱下微微呼吸。\n水月观音一组画面是一个完整的体系。背景是浩淼的云水，缀以紫竹林、红牡丹、清泉流水，衬托出“诸天无实体，水月皆虚空”的佛理。水月观音左下部是五十三参后获得正果、成为观音胁侍的善财童子。善财童子，头略抬起，凝眸欲语，双手合十，虔诚中又带着几分稚气，生活气息浓郁。画工精细，连一根眉毛也不放过，眉根生肉，更显出纯洁无邪的童心。观音图右下角绘有观音菩萨的坐骑金毛犼，又叫狻猊，似犬，凶猛食人，每与龙斗，口中喷火数丈，龙往往不能取胜。左上部绘有一只鹦鹉，传说安息国人不知佛法，阿弥陀佛化为鹦鹉教化国人。右上部绘有韦驮护法神。",[23,24,1053,194,28,7,83,199,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49aff56b059e667a9f0d7f368960c4be.jpg","450x450厘米",[44],658,{"id":1452,"slug":1453,"title":1454,"dynasty":18,"author":326,"museum":20,"description":1455,"tags":1456,"thumbUrl":1457,"material":40,"size":1458,"collection":42,"collections":1459,"showCount":1460,"zanCount":1084,"manualWeight":48,"mainColor":697},221329,"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[23,24,137,25,155,7,28,83,1068,156,138,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","纵147.2 厘米，横51.3 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45.7厘米",[237,42],641,{"id":1506,"slug":1507,"title":1508,"dynasty":150,"author":310,"museum":20,"description":1509,"tags":1510,"thumbUrl":1511,"material":424,"size":1512,"collection":237,"collections":1513,"showCount":1514,"zanCount":479,"manualWeight":48,"mainColor":145},223161,"song-mei-shuang-he-tu-shen-quan-223161","松梅双鹤图","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。\n将工笔、写意、兼工带写、重彩、淡彩、没骨、水墨、白描、勾勒填彩、钩花点叶等绘画技法在写生中灵活运用并加以发展，既重形似，又重神似。",[23,24,25,7,28,212,1068,637,60,156,211,1288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc931c0442a93ab3c28aef5baea6bb17.jpg","191cm×98.cm",[237],633,{"id":1516,"slug":1517,"title":1233,"dynasty":150,"author":1518,"museum":367,"description":1519,"tags":1520,"thumbUrl":1522,"material":100,"size":1523,"collection":237,"collections":1524,"showCount":1525,"zanCount":616,"manualWeight":48,"mainColor":49},219051,"hua-niao-tu-zhou-quan-219051","周铨","绘河塘的一角，铺天盖地的荷叶和花朵高高耸立，白色花瓣中的黄色花蕊错落有致，刚刚冒出的小荷叶和花蕾展现出勃勃生机；地面上，一只羽毛斑斓、微闭双眼的野鸭子似乎正在打盹。",[23,24,28,7,155,212,248,249,1521,250],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74352fefe18eb2942c55d970a733680.jpg","94x48.6cm",[237],628,{"id":1527,"slug":1528,"title":1529,"dynasty":18,"author":191,"museum":134,"description":1530,"tags":1531,"thumbUrl":1533,"material":100,"size":220,"collection":44,"collections":1534,"showCount":1525,"zanCount":1020,"manualWeight":48,"mainColor":49},215043,"mo-gu-kai-zhi-luo-shen-fu-yi-ming-215043","摹顾恺之洛神赋","《洛神赋图》，相传是东晋名画家顾恺之根据曹植文学作品《洛神赋》的故事情节所创作的故事画。曹植原文借对梦幻之镜中人神恋爱的追求，抒发了爱情失意的自我感伤。",[23,24,25,26,7,28,82,83,59,341,582,173,1532],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c126a717e9affa0b4017e209a0f9a9.jpg",[44],{"id":1536,"slug":1537,"title":1538,"dynasty":190,"author":191,"museum":1539,"description":1540,"tags":1541,"thumbUrl":1542,"material":1397,"size":1398,"collection":220,"collections":1543,"showCount":1544,"zanCount":711,"manualWeight":48,"mainColor":145},226505,"na-mo-guan-shi-yin-pu-sa-xiang-li-zhou-yi-ming-226505","南无观世音菩萨像立轴","敦煌","这尊工笔重彩立像温婉静美，菩萨含笑垂目，宝冠璎珞华美庄重，手持净瓶拈花，尽显悲悯柔和。衣袂飘带层叠舒展，石青、石绿晕染出沉雅古拙的色调，局部描金虽斑驳黯淡，仍可见旧日精工。\n\n足踏莲台，旁侧缠枝花卉灵动舒展，清劲流畅的线条带着敦厚朴拙的气韵，将观音的端严慈悲与盛唐遗风相融，残损纸面晕开岁月沉香，尽显沉静古雅的禅意。",[24,155,28,194,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3999fc8fbc543a1a23451c0cb2a2a358.jpg",[],620,{"id":1546,"slug":1547,"title":1548,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":1551,"thumbUrl":1559,"material":67,"size":1560,"collection":44,"collections":1561,"showCount":1544,"zanCount":895,"manualWeight":48,"mainColor":145},222876,"hong-lou-meng-tu-ce-sun-wen-222876","红楼梦图册","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,7,28,83,84,92,214,1552,59,159,34,1553,91,470,1554,1555,1556,1557,1558],"廊庑","古典园林","庭院景观","传统服饰","园林建筑","彩色绘制","精细勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f1fb4911504a20d8c776ac2c7c4877.jpg","纵43.3厘米、横76.5厘米",[44],{"id":1563,"slug":1564,"title":1565,"dynasty":150,"author":447,"museum":20,"description":1566,"tags":1567,"thumbUrl":1569,"material":100,"size":1570,"collection":237,"collections":1571,"showCount":1544,"zanCount":1020,"manualWeight":48,"mainColor":145},219334,"hai-tang-qin-tu-tu-hua-yan-219334","海棠禽兔图","华嵒的花鸟画丰富了传统的“黄家富贵，徐熙野逸”的审美情趣，寓真情实感于创作，使作品具有丰富的感情和个性，具有雅俗共赏的特征。此图是他晚年的代表作，画家运用拟人化的手法，将鹦鹉按捺不住的欣喜和黑兔胆小好奇的神态表现得生动传神。在画法上，华嵒从恽寿平淡雅清丽的没骨花卉入手，涉猎诸家，形成了鲜明的个人风格。此图结构新奇，笔法将宋人工笔花鸟之细腻工致与写意花鸟之秀逸洗练相结合，敷色活泼。海棠以胭脂及白粉点染，树叶颜色用石青、石绿，其间又有微带白黄色的大叶，颜色浓丽湿润，黑兔的墨色变化更为微妙丰富，浓淡之间表现出柔软疏松的质感，并与树木花卉的暖色调和谐统一，使整幅画面洋溢着花香鸟语的初春气氛。",[23,24,155,28,7,212,915,1568,178,173],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd34c59b5ebbf048bf68fd04c4a04bed.jpg","纵135.2厘米，横52.8厘米",[237,45],{"id":1573,"slug":1574,"title":1575,"dynasty":18,"author":663,"museum":245,"description":1576,"tags":1577,"thumbUrl":1578,"material":220,"size":220,"collection":220,"collections":1579,"showCount":1580,"zanCount":603,"manualWeight":48,"mainColor":697},227811,"chu-shui-fu-rong-tu-ye-wu-bing-227811","出水芙蓉图页","《出水芙蓉图》页，宋， ，设色，纵2.8cm，横25cm。\n本幅无款。\n有残印一角。\n裱边贴签：“吴炳 ”。\n一朵盛开的粉红色荷花占据整个 ，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。\n莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。\n画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。\n至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！ 旧题吴炳绘，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,24,137,25,519,7,28,212,248,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d8a0e1d27a9d9e1ea0a726ac79344.jpg",[],616,{"id":1582,"slug":1583,"title":1584,"dynasty":18,"author":1585,"museum":382,"description":1586,"tags":1587,"thumbUrl":1589,"material":28,"size":1590,"collection":42,"collections":1591,"showCount":1592,"zanCount":274,"manualWeight":48,"mainColor":49},221468,"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","鲁宗贵","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[23,24,137,25,7,28,212,823,1588,454,596,173],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米",[42,237,45],615,{"id":1594,"slug":1595,"title":1596,"dynasty":279,"author":280,"museum":56,"description":1597,"tags":1598,"thumbUrl":1601,"material":67,"size":1602,"collection":182,"collections":1603,"showCount":1604,"zanCount":274,"manualWeight":48,"mainColor":49},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,25,26,7,28,83,59,1599,29,34,1600,178,176,173,284,285,834,137],"舟","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[182,45],613,{"id":1606,"slug":1607,"title":1608,"dynasty":18,"author":1609,"museum":1129,"description":1610,"tags":1611,"thumbUrl":1612,"material":424,"size":1613,"collection":42,"collections":1614,"showCount":1615,"zanCount":603,"manualWeight":48,"mainColor":49},221594,"hong-bai-fu-rong-tu-li-di-221594","红白芙蓉图","李迪","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。\n《红白芙蓉图》是双幅画，描写红白芙蓉盛开的景色。红、白芙蓉各两朵，都画盛开时的花瓣，红色娇艳鲜嫩，白色粉白如玉，花叶为深绿色。",[23,24,25,212,7,28,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a01f8634d699b1442498a83bf153de.jpg","纵25.2×横26.cm×2",[42,45,237],609,{"id":1617,"slug":1618,"title":1619,"dynasty":76,"author":1013,"museum":406,"description":1014,"tags":1620,"thumbUrl":1621,"material":235,"size":1017,"collection":220,"collections":1622,"showCount":1623,"zanCount":1020,"manualWeight":48,"mainColor":145},216659,"hua-niao-ce-5-sun-ke-hong-216659","花鸟册-5",[24,519,7,28,212,299,62,653,596,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc762cbbb53d0597b5436b458f6ea96.jpg",[],599,{"id":1625,"slug":1626,"title":1627,"dynasty":150,"author":433,"museum":20,"description":1628,"tags":1629,"thumbUrl":1632,"material":40,"size":1633,"collection":237,"collections":1634,"showCount":1635,"zanCount":711,"manualWeight":48,"mainColor":49},222873,"wu-tong-shuang-tu-tu-leng-mei-222873","梧桐双兔图","此图似为中秋佳节而作。图中野菊满地，桂花飘香，高大的梧桐树下，两只肥硕的白兔惬意地在草地上嬉戏。双兔写实，造型准确生动，皮毛以细笔一一画出，具有柔软的质感。兔目用白色点出高光，令眼神活灵活现顿生神采。山石以折带笔方正写出，于坚硬中见峻峭之美。构图疏密有致，设色注重冷暖色调的对比。整幅作品大气秀美，富丽堂皇，受到了西洋绘画技法的影响，具有康熙朝宫廷绘画的风貌。",[23,24,7,28,582,1568,1630,315,214,1631,173],"梧桐","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d226d3f4c0a53ecbb5a2d754ae2b5b.jpg","纵176.2厘米，横95厘米",[237,45],595,{"id":1637,"slug":1638,"title":1639,"dynasty":76,"author":1640,"museum":134,"description":1641,"tags":1642,"thumbUrl":1643,"material":235,"size":1644,"collection":237,"collections":1645,"showCount":1646,"zanCount":827,"manualWeight":48,"mainColor":145},218793,"pi-pa-zhen-qin-tu-zhou-zhi-mian-218793","枇杷珍禽图","周之冕","画面中，枇杷枝叶舒卷，翠叶如盖，嫩黄果实攒聚枝间，饱满莹润。一只禽鸟栖于枝桠，羽色柔和，神态闲静，似在细赏花叶，又若欲振翅，姿态鲜活传神。画家运笔细腻，勾勒花叶轮廓精准，设色淡雅清逸；叶片脉络、果实肌理刻画入微，禽鸟羽毛层次分明，质感逼真。枝叶穿插自然，虚实相生，画面疏密有致，气韵流动。整体风格宁静雅致，融工笔之精丽与写意之灵动，尽显自然生机与闲适意趣，如同一帧鲜活的春日小景，引人驻足细品。",[137,24,25,155,7,28,212,809,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b876424f375b541ae9f0153ebc04f8d.jpg","71.4x30.4cm",[237],594,{"id":1648,"slug":1649,"title":1650,"dynasty":18,"author":191,"museum":245,"description":1651,"tags":1652,"thumbUrl":1654,"material":100,"size":220,"collection":42,"collections":1655,"showCount":1656,"zanCount":943,"manualWeight":48,"mainColor":49},218608,"xian-tao-tu-yi-ming-218608","仙桃图","绢本之上，三枚仙桃饱满圆润，似凝脂般温润的底色晕开淡粉霞彩，如晨露轻染的娇羞。枝干以苍劲线条勾勒，转折间藏着自然生机，叶片墨色层次分明，脉络清晰如触手可及。背景素净无华，更衬出果实的鲜嫩与枝干的挺括。整幅画取境简约却意韵悠长，写实技法中透着宋人对自然的细腻观察与雅致情怀。每一处晕染、每一笔线条，都藏着古画独有的温润静美，仿佛能让观者在静谧里嗅到果实的清甜，沉浸于宋代花鸟画的空灵之境，感受那份跨越千年的自然诗意与艺术匠心。",[24,25,212,7,28,1653,453],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de9cd90dd79570e54237657db38ac34.jpg",[42],588,{"id":1658,"slug":1659,"title":1660,"dynasty":863,"author":1661,"museum":1662,"description":1663,"tags":1664,"thumbUrl":1665,"material":220,"size":220,"collection":220,"collections":1666,"showCount":1667,"zanCount":1020,"manualWeight":48,"mainColor":145},220496,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-gong-yang-pu-sa-xiang-zhang-da-qian-220496","张大千临摹敦煌壁画初唐供养菩萨像","张大千","四川博物院","此作还原初唐造像典雅风骨，菩萨面庞莹润温婉，眉眼低垂自带静穆慈悲。华美发髻缀满宝饰，璎珞飘带线条细劲流畅，晕色承袭敦煌古制，石青、朱砂配色厚重明艳，尽显大唐华贵雍容。菩萨持香具安坐莲台，姿态松弛悠然，舒展的莲瓣层次分明，既有宗教造像的庄严端凝，又带着东方古典的柔润气韵，完美复刻敦煌壁画的堂皇雅致，让千年古韵跃然绢上。",[23,82,1539,1053,194,28,7,83,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42ad28d51906c73465cc7295981261.jpg",[],577,{"id":1669,"slug":1670,"title":1671,"dynasty":18,"author":1151,"museum":134,"description":1672,"tags":1673,"thumbUrl":1677,"material":100,"size":1678,"collection":42,"collections":1679,"showCount":1680,"zanCount":895,"manualWeight":48,"mainColor":49},219699,"nian-cha-tu-liu-song-nian-219699","撵茶图","《撵茶图》为工笔白描，描绘了宋代从磨茶到烹点的具体过程、用具和点茶场面。画中左前方一仆设坐在矮几上，正在转动碾磨磨茶，桌上有筛茶的茶罗、贮茶的茶盒等。另一人伫立桌边，提着汤瓶点茶(泡茶)，他左手边是煮水的炉、壶和茶巾，右手边是贮水瓮，桌上是茶筅、茶盏和盏托。一切显得十分安静整洁，专注有序。画面右侧有三人，一僧伏案执笔作书，传说此高僧就是中国历史上的“书圣”怀素。一人相对而坐，似在观赏，另一人坐其旁，正展卷欣赏。\n刘松年传世作品很多，仅涉及到茶事内容的就有《斗茶图》、《卢仝烹茶图卷》、《茗园赌市图》、《博古图》、《撵茶图》等多幅，对了解宋代茶事有很高的学术参考价值。《撵茶图》从一个侧面充分展示了贵族官宦之家讲究品茶的生动场面，是宋代茶叶品饮的真实写照。",[24,137,25,7,28,283,83,1674,783,1675,471,1676,216],"茶具","棕榈","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e804e0a8eabdd2d17d440cc528efba.jpg","纵44.2厘米，横66.9厘米",[42,44],574,{"id":1682,"slug":1683,"title":243,"dynasty":150,"author":191,"museum":245,"description":1684,"tags":1685,"thumbUrl":1686,"material":220,"size":220,"collection":220,"collections":1687,"showCount":1688,"zanCount":1084,"manualWeight":48,"mainColor":145},223629,"he-hua-tu-yi-ming-223629","此作用笔秀润，设色清妍雅致。粉瓣荷花亭亭舒展，晕染出柔媚鲜活的层次，荷叶或苍绿如盖、或半卷含露，墨色浓淡尽显舒展生机。枯瘦莲蓬擎立，自带幽寂禅意。池中游鱼轻摆尾鳍，黑蜂振翅悬于淡赭素色的虚空，静中藏动，将夏日荷塘的鲜活气意晕开。整幅构图疏朗空灵，以浅淡底色晕出水汽氤氲的朦胧，不见满幅堆砌的繁复，将江南莲塘的清润宁和尽数铺陈，尽显文人画的悠然意趣，把溽暑里的荷塘清韵定格在绢素之上。",[23,137,24,25,155,28,7,212,157,249,555,557,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d474cb4c4b95102723b2afdeb3c667a.jpg",[],572,{"id":1690,"slug":1691,"title":1692,"dynasty":18,"author":505,"museum":134,"description":1693,"tags":1694,"thumbUrl":1697,"material":100,"size":1698,"collection":237,"collections":1699,"showCount":1688,"zanCount":616,"manualWeight":48,"mainColor":145},218393,"xie-sheng-xing-hua-tu-zhao-chang-218393","写生杏花图","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[23,137,24,25,914,7,28,450,212,1695,597,1092,1696],"杏花","花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","25.2x27.3",[237],{"id":1701,"slug":1702,"title":1703,"dynasty":150,"author":191,"museum":20,"description":1704,"tags":1705,"thumbUrl":1709,"material":40,"size":534,"collection":44,"collections":1710,"showCount":1711,"zanCount":1020,"manualWeight":48,"mainColor":49},236166,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236166","雍正十二月行乐图","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,28,7,81,1706,29,84,927,178,1707,211,83,1708],"行乐图","池塘","中式园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa170ee7ea987eca05f818f0474a20d1.jpg",[44,45],568,{"id":1713,"slug":1714,"title":1715,"dynasty":863,"author":1716,"museum":1717,"description":1718,"tags":1719,"thumbUrl":1724,"material":1725,"size":220,"collection":220,"collections":1726,"showCount":1727,"zanCount":1084,"manualWeight":48,"mainColor":145},220590,"zhu-zi-he-kun-chong-qi-bai-shi-220590","竹子和昆虫","齐白石","Oscar Niemeyer Museum","这幅画作以工写结合尽显意趣。焦墨挥就柳干，苍劲老拙，淡绿晕染柳叶，条缕垂坠如沐晚风，尽显柔曼舒展之态。枝头鸣蝉与藏于叶间的蚱蜢，用工笔细勾，翅脉纤毫毕现，身形灵动鲜活，仿佛能闻声感其振翅之姿。大写意的疏朗野逸，搭配工笔草虫的精致入微，将乡野秋日常见小景，化为充满生机的雅致画面，藏着画家对乡野闲趣的细腻体察，笔简而意足，平淡中尽显鲜活秋意。",[24,855,28,7,1720,156,1721,1722,1723],"写意","蝉","螳螂","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfeb1ed36cc88bbc8986e7ccf8468de5.jpg","Watercolor on paper",[],566,{"id":1729,"slug":1730,"title":1731,"dynasty":54,"author":381,"museum":20,"description":1732,"tags":1733,"thumbUrl":1734,"material":67,"size":1735,"collection":1478,"collections":1736,"showCount":1737,"zanCount":274,"manualWeight":48,"mainColor":145},221064,"bu-nian-tu-quan-juan-yan-li-ben-221064","步辇图全卷","此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。\n字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。\n全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。\n此卷则为千年传世之本，首尾俱全。\n卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。\n研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。\n它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。\n卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,24,25,26,7,28,83,63,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795330e305e920af26685bf0960da803.jpg","纵38.5厘米，横129厘米。",[1478,1480],564,{"id":1739,"slug":1740,"title":1741,"dynasty":76,"author":77,"museum":245,"description":1742,"tags":1743,"thumbUrl":1746,"material":100,"size":220,"collection":44,"collections":1747,"showCount":1748,"zanCount":711,"manualWeight":48,"mainColor":49},216291,"er-shi-si-xiao-tu-ce-chou-ying-216291","二十四孝图册","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[137,24,25,519,7,28,83,1744,1745,1631,198],"孩童","土墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9bda63260d3643cffa6017775670d8.jpg",[44],563,{"id":1750,"slug":1751,"title":1752,"dynasty":54,"author":1753,"museum":1754,"description":1755,"tags":1756,"thumbUrl":1757,"material":1397,"size":1398,"collection":220,"collections":1758,"showCount":1759,"zanCount":895,"manualWeight":48,"mainColor":49},289801,"jiang-fan-lou-ge-tu-li-si-xun-289801","江帆楼阁图","李思训","台北故宫博物馆","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[23,137,24,155,27,28,7,29,84,175,83,86,927,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7533e67426c0003e89910674d0b6ce8c.jpg",[],556,{"id":1761,"slug":1762,"title":1763,"dynasty":150,"author":191,"museum":20,"description":1764,"tags":1765,"thumbUrl":1766,"material":67,"size":220,"collection":44,"collections":1767,"showCount":1768,"zanCount":1769,"manualWeight":48,"mainColor":145},236173,"yin-zhen-ban-shen-xiang-zhou-yi-ming-236173","胤禛半身像轴","清朝人画的胤禛像。爱新觉罗·胤禛（1678—1735） 雍正，满族，是清朝第五位皇帝，入关后第三位皇帝，清圣祖康熙第四子，母为孝恭仁皇后，即德妃乌雅氏，1722—1735年在位，年号雍正，庙号清世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之清泰陵。",[24,83,7,28,155,63,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f705ee2f9ff7c893abe608f40192e4d.jpg",[44,45],553,1,{"id":1771,"slug":1772,"title":1773,"dynasty":18,"author":1774,"museum":20,"description":1775,"tags":1776,"thumbUrl":1777,"material":424,"size":1778,"collection":42,"collections":1779,"showCount":1780,"zanCount":274,"manualWeight":48,"mainColor":49},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[23,24,25,26,27,28,29,211,34,31,84,769,7,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[42,237,45],551,{"id":1782,"slug":1783,"title":1784,"dynasty":150,"author":260,"museum":20,"description":1785,"tags":1786,"thumbUrl":1788,"material":40,"size":1789,"collection":44,"collections":1790,"showCount":1791,"zanCount":1769,"manualWeight":48,"mainColor":145},222723,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-222723","乾隆皇帝大阅图轴","本幅无作者款印，据作品画风，无疑系郎世宁真笔。\n乾隆四年（1739年），皇帝弘历亲临南苑检阅八旗军的队列及各种兵器、火器的操练活动，乾隆每3年大阅一次，以壮军威，鼓士气。\n本幅系弘历29岁时的戎装像，精神焕发，亦系郎世宁的盛年佳作。但此时画家对传统中国绘画尚处在学习阶段，图中的表现技法基本上是采用中国传统的绘画工具和材料而取得了西方细笔油画的艺术效果。作者减弱了对景物、人马的素描手法，以平光处理明暗，线条在起到轮廓线的作用后几乎被色彩隐去，天空中云彩的画法全出自西法，近景的草叶近乎西方的静物写生，只有远山的结构保留了清宫写实山水的一些程序。",[23,155,7,28,83,112,29,63,1787],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ee2f5e76e9f30efbdf7e15fcadde66.jpg","纵332.5厘米，横232厘米",[44],548,{"id":1793,"slug":1794,"title":979,"dynasty":76,"author":77,"museum":367,"description":1795,"tags":1796,"thumbUrl":1798,"material":100,"size":1799,"collection":182,"collections":1800,"showCount":1791,"zanCount":1769,"manualWeight":48,"mainColor":49},218370,"shan-shui-tu-chou-ying-218370","这幅画描绘了一座山和一个深谷，一个有学问的人看着泉水，正在乘凉，一个有学问的人抱着琵琶走在山路上，而羊群和牛郎在溪流对岸嬉戏。这是大英博物馆收藏的唯一一幅仇英的真迹，因为它在对树木、岩石和人物的描绘方面接近仇英的实际笔触。",[23,24,137,7,28,172,29,34,1797,83,86,1288],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc24e2d4b1b7e561820f510b15f9bc13.jpg","138.8x72.5",[182,44,45],{"id":1802,"slug":1803,"title":1804,"dynasty":150,"author":1805,"museum":245,"description":1806,"tags":1807,"thumbUrl":1808,"material":220,"size":220,"collection":237,"collections":1809,"showCount":1810,"zanCount":479,"manualWeight":48,"mainColor":145},228928,"hua-hui-hu-die-tu-juan-ma-quan-228928","花卉蝴蝶图卷","马荃","此作工写相融，以没骨法绘就群蝶，翅翼薄如蝉翼，晕染出绒毛的柔润质感，墨色浓淡相宜，黑蝶沉雅莹润，白蝶清透灵动。群蝶翩跹往复，似循着花香振翅而来，各有姿态，灵动生趣。\n\n间缀芍药、佛手数处，设色柔婉秀雅，花叶舒展自然，与蝶影相映成趣，将花底群蝶相逐的春日清景缓缓铺展。引首题字娟秀端丽，书画合璧，将闺中细腻意趣融于笔底，晕开一卷悠然雅致的花间清梦。",[23,24,25,26,28,7,285,173,212,409,411,298,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[237],537,{"id":1812,"slug":1813,"title":1814,"dynasty":18,"author":191,"museum":134,"description":1815,"tags":1816,"thumbUrl":1818,"material":100,"size":1819,"collection":44,"collections":1820,"showCount":1821,"zanCount":943,"manualWeight":48,"mainColor":49},216215,"xian-yan-shou-lu-tu-yi-ming-216215","仙岩寿鹿图",""仙岩寿鹿图" 是宋朝时期的一幅绘画作品，其作者不详。这幅作品描绘了一处神奇的山洞，里面生活着许多寿鹿。寿鹿是一种传说中的动物，身体像鹿，有着长长的寿命。在这幅画中，寿鹿被描绘成了幸福、健康、长寿的象征。整幅画浓郁的山水意境，深深地吸引着观众的眼球。",[137,24,25,155,28,7,83,59,1817,582,159,1797],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44803965d1305ff70dab68b3132a40c5.jpg","117.2x61.3cm",[44],533,{"id":1823,"slug":1824,"title":1825,"dynasty":18,"author":1826,"museum":382,"description":1827,"tags":1828,"thumbUrl":1829,"material":100,"size":1830,"collection":42,"collections":1831,"showCount":1832,"zanCount":349,"manualWeight":48,"mainColor":1833},218605,"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[23,137,24,25,155,194,7,28,83,211,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[42,44],530,"37474F",{"id":1835,"slug":1836,"title":1837,"dynasty":18,"author":1838,"museum":134,"description":1839,"tags":1840,"thumbUrl":1842,"material":235,"size":220,"collection":44,"collections":1843,"showCount":1844,"zanCount":711,"manualWeight":48,"mainColor":49},216963,"guan-fu-xi-ying-tu-su-han-chen-216963","灌佛戏婴图","苏汉臣","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[24,137,25,7,28,83,298,156,313,1841,214],"假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc85835c28e628810548dd2c93dbfbd.jpg",[44],525,{"id":1846,"slug":1847,"title":1848,"dynasty":150,"author":592,"museum":134,"description":1849,"tags":1850,"thumbUrl":1853,"material":218,"size":1854,"collection":237,"collections":1855,"showCount":1856,"zanCount":776,"manualWeight":48,"mainColor":145},220986,"yan-xi-yu-le-zhou-yun-shou-ping-220986","燕喜鱼乐轴","本幅以没骨法绘成，直接用色点染，再略加勾画叶脉筋络。全幅设色典雅，有脱俗的气质",[23,24,25,155,7,28,212,174,1851,1852,557,178],"柳","燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813b61c4d298e29291dcdde76707c2d.jpg","120.5×61.2",[237,45],522,{"id":1858,"slug":1859,"title":1233,"dynasty":228,"author":191,"museum":134,"description":1860,"tags":1861,"thumbUrl":1862,"material":100,"size":1863,"collection":237,"collections":1864,"showCount":1865,"zanCount":943,"manualWeight":48,"mainColor":49},216222,"hua-niao-tu-yi-ming-216222","一对锦鸡被描绘成在花朵和岩石间游动，而一对燕子和喜鹊则各自点缀着这一场景。雉鸡的羽毛鲜艳夺目，与盛开的鲜花交相辉映。这幅画的色彩斑斓和绚丽通过笔法的运用得到了加强。花和鸟的笔触相当细致，有一种优雅的品质。叶子的着色似乎是杂乱无章的，有几处已经模糊或剥落。这幅画没有标记，但仍有元代的题记。",[24,25,137,7,28,212,299,62,159,488,688,597,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ce90ed3be06a8274a00daaccbc1bec.jpg","167.6x101.9cm",[237],520,{"id":1867,"slug":1868,"title":1869,"dynasty":150,"author":592,"museum":134,"description":1870,"tags":1871,"thumbUrl":1872,"material":100,"size":1873,"collection":220,"collections":1874,"showCount":1875,"zanCount":1020,"manualWeight":48,"mainColor":145},214305,"mu-dan-ce-5-yun-shou-ping-214305","牡丹册-5","用宋人没骨法作此册，不是黄筌的美作，也不是赵昌的刻本，而是徐冲子的另一种画法",[24,25,137,519,28,7,212,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3772de09b7a0a9f5b1dbfb42e2091f.jpg","41x38",[],516,{"id":1877,"slug":1878,"title":1879,"dynasty":150,"author":260,"museum":20,"description":1880,"tags":1881,"thumbUrl":1886,"material":40,"size":1887,"collection":182,"collections":1888,"showCount":1889,"zanCount":349,"manualWeight":48,"mainColor":49},222770,"wu-rui-tu-lang-shi-ning-222770","午瑞图","这是一幅近似于欧洲静物画的作品，青瓷瓶内插着蒲草叶、石榴花和蜀葵花，托盘里盛有李子和樱桃，几个粽子散落一旁。图中的粽子、蒲草等物暗示此画是为中国的传统节日——端午节而绘制的。就构图而言，画中物品聚散有致，呈正三角形布局，给人的视觉以稳定感。而绘制方法则采用色彩深浅及光影明暗的变化展示花叶、水果和瓷瓶的立体感，尤其是瓷瓶肩部见于欧洲绘画而中国画绝无的“高光”手法，能令观者清晰地体会到西方油画的技巧。虽然画面没有落年款，但根据清内务府造办处的档案记载，此图应作于雍正十年（1732年），属郎世宁在中国的早期作品。\n作为异域来客，为了使基督教广布中国，明末清初抵华的众多传教士们采取了将东西方文化相融合，而后循序渐进地推行教义的传教策略，郎世宁无疑是一位彻底的实践者。尽管此图中他对静物的表现技法源自欧洲油画，然而其内容反映的却是蕴含华夏民族两千余年文化精髓的风俗。正是由于借助兼得中外、博取东西的折衷技巧与迎合中国皇帝趣味的题材择选，才使郎世宁成为深得雍正、乾隆两位帝王赏识、并且大加重用的西洋画家，他有为数不少的画作存世亦得益于此。",[23,24,7,28,1882,251,1883,409,454,1884,173,1885],"中西结合","青瓷","粽子","静物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cf54c3f7bd81efc6632c675afac9c4.jpg","纵140厘米，横84厘米",[182,45],514,{"id":1891,"slug":1892,"title":1893,"dynasty":190,"author":1894,"museum":245,"description":1895,"tags":1896,"thumbUrl":1898,"material":1397,"size":1398,"collection":220,"collections":1899,"showCount":1900,"zanCount":1084,"manualWeight":48,"mainColor":49},231825,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231825","花园仕女图轴","上村松园","上村松园（1875——1949）生于京都，她是明治、大正、昭和时期十分活跃的女画家，她以日本画的传统手法为基础描绘出格调高的美女画，她画的美人惟妙惟肖、出神入化，受到人们的好评。12岁小学毕业后进入日本刚刚成立不久的绘画学校。后相继师事铃木松年、幸野梅岭、竹内栖凤等大师。15岁时以作品《四季美人图》参展第三次内国劝业博览会，获得一等褒奖，被传为京都天才少女。",[23,137,24,155,7,28,83,59,1897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公分",[182],501,{"id":1913,"slug":1914,"title":259,"dynasty":150,"author":191,"museum":20,"description":261,"tags":1915,"thumbUrl":1917,"material":100,"size":1918,"collection":44,"collections":1919,"showCount":1911,"zanCount":1769,"manualWeight":48,"mainColor":49},214678,"xiao-sheng-xian-huang-hou-chao-fu-xiang-yi-ming-214678",[23,24,7,28,83,265,264,266,1916],"珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631a192117b99cc7e5402bb134df43bd.jpg","248.7x116.8",[44],{"id":1921,"slug":1922,"title":1923,"dynasty":76,"author":924,"museum":134,"description":1924,"tags":1925,"thumbUrl":1927,"material":235,"size":1928,"collection":182,"collections":1929,"showCount":1930,"zanCount":895,"manualWeight":48,"mainColor":145},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[23,24,25,155,28,29,83,285,173,7,172,1926,927,176,86,85,313,211],"山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[182,125],498,{"id":1932,"slug":1933,"title":1934,"dynasty":228,"author":648,"museum":1935,"description":1936,"tags":1937,"thumbUrl":1938,"material":235,"size":1939,"collection":237,"collections":1940,"showCount":1941,"zanCount":616,"manualWeight":48,"mainColor":145},216741,"wu-wang-zui-gui-tu-ren-ren-fa-216741","五王醉归图","上海龙美术馆","《五王醉归图》出自元代画坛巨匠任仁发之手，描绘唐玄宗登基前，与四位兄弟出游饮宴，醉后策马归途的景象。据《旧唐书》记载，唐玄宗登基前，在兴庆坊西南方置楼，常邀诸王宴饮，赋诗燕嬉，感情深厚。本幅便是描绘其身为临淄王时醉后策马的景象。画中主角包括李隆基长兄宋王李宪、二兄申王李撝、四弟岐王李范，以及五弟薛王李业，另尚有四名侍从，合乘九匹骏马。\n任仁发的画马成就，堪与同时代的赵孟頫媲美。 《五王醉归图》是其笔下罕见的纸本作品，宋笺纸质细密，包浆良好，色彩明亮；用笔轻松自然，整幅线条勾勒凝练潇洒，人马排列为平铺式构图，是唐人造型和元人用笔之结合。",[23,24,25,26,7,28,83,112,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3028cb21d01ead2581ac3d3aa2d0dcc1.jpg","35x368cm",[237],497,{"id":1943,"slug":1944,"title":1945,"dynasty":76,"author":77,"museum":152,"description":1946,"tags":1947,"thumbUrl":1948,"material":100,"size":1949,"collection":44,"collections":1950,"showCount":1941,"zanCount":1769,"manualWeight":48,"mainColor":145},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,26,25,7,28,81,29,83,84,176,85,86,156,34,211,92,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[44],{"id":1952,"slug":1953,"title":1954,"dynasty":150,"author":260,"museum":134,"description":1955,"tags":1956,"thumbUrl":1957,"material":424,"size":1958,"collection":237,"collections":1959,"showCount":1960,"zanCount":895,"manualWeight":48,"mainColor":697},222780,"hua-yin-shuang-he-tu-zhou-lang-shi-ning-222780","花阴双鹤图轴","此图是郎世宁花鸟画的代表作。画面描绘一对绚丽丰润的仙鹤，和两只小鹤。一只仙鹤阔步行走回首下顾，注视着满身细毛茸茸的小鹤；另一只仙鹤转颈整理羽毛，一脚举起，神态安详。他吸收并采用中国画的传统技法，糅合中西画法进行创作。是二百年前外来文化“中国化”的尝试，是别具一格的杰作。",[23,155,7,28,212,60,487,159,198,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c3aa01f28ae73498d5f6eecf70dfd2.jpg","170.7厘米×93.1厘米.",[237,45],495,{"id":1962,"slug":1963,"title":1964,"dynasty":18,"author":326,"museum":134,"description":1965,"tags":1966,"thumbUrl":1968,"material":100,"size":1969,"collection":42,"collections":1970,"showCount":1960,"zanCount":603,"manualWeight":48,"mainColor":49},219194,"ci-xiong-bai-ji-tu-zhao-ji-219194","雌雄白鸡图","红冠如焰，燃亮白羽霜华。雄鸡昂首振翅，尾羽若流云舒展；雌鸡依偎身侧，软羽轻覆，尽显亲昵。枝叶舒展间，墨色淡染，衬得禽鸟生动如活。笔锋细腻处，羽丝根根分明，冠色层层晕染，既见写实功力，更含脉脉温情。素朴背景中，生灵之趣与雅致之美交融，似闻晨啼轻响，恍见晨光微熹，尽显对生命意趣的细腻捕捉与诗意表达。",[23,137,24,25,155,7,28,212,1967,198],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d30065e7ab2d7ef0ea568cb41dfe6c1.jpg","纵152横37.4cm",[42,237,45],{"id":1972,"slug":1973,"title":1974,"dynasty":76,"author":191,"museum":245,"description":1975,"tags":1976,"thumbUrl":1977,"material":1397,"size":1398,"collection":220,"collections":1978,"showCount":1979,"zanCount":1084,"manualWeight":48,"mainColor":1833},228413,"shui-yue-guan-yin-xiang-yi-ming-228413","水月观音像","位于法海寺大殿内的壁画 距今已有六百多年",[24,7,28,194,83,1600,178,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab14eeab9a7f06bbdb65fb5f0a0afc0.jpg",[],494,{"id":1981,"slug":1982,"title":1983,"dynasty":150,"author":433,"museum":367,"description":1984,"tags":1985,"thumbUrl":1986,"material":235,"size":1987,"collection":44,"collections":1988,"showCount":1989,"zanCount":1020,"manualWeight":48,"mainColor":145},219543,"mei-ren-tu-leng-mei-219543","美人图","这幅画被称为美人画（“美人画”），传统可以追溯到唐代（618-906）周放（约730-800）的画作。 这位女士坐在质朴的座位上，手里拿着一本书。 她随意的姿势、精致的外表和透明的衣着表明冷梅可能一直在描绘一个妓女。 艺术家的技巧可以从纺织品设计的细腻渲染和帷幔的流畅线条中看出。",[23,24,7,28,83,59,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c1e3b4f1eb980004fca2e6dfb0e546.jpg","纵90 厘米横31 厘米",[44],489,{"id":1991,"slug":1992,"title":1993,"dynasty":150,"author":1162,"museum":134,"description":1994,"tags":1995,"thumbUrl":1997,"material":235,"size":1998,"collection":237,"collections":1999,"showCount":1989,"zanCount":349,"manualWeight":48,"mainColor":145},216219,"bi-tao-chun-niao-tu-zou-yi-gui-216219","碧桃春鸟图","碧桃春鸟图是清朝时期画家邹一桂的一幅名作。这幅画描绘了一只翠绿色的春天鸟儿，它正在一棵桃树上欢快地唱歌。画中的色彩鲜艳，线条流畅，构图精美，反映了邹一桂独特的画风。\n\n邹一桂（1630年～1708年）是清朝时期著名的画家，也是邹氏画派的创始人之一。他的作品擅长描绘自然景观，尤其擅长画鸟。邹一桂的碧桃春鸟图被认为是他的代表作之一，并被广泛收藏和喜爱。",[24,137,1996,28,7,174,178,173],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf75f4e0b3c61e6c01028b990b23d999.jpg","29.2x21.6公分",[237],{"id":2001,"slug":2002,"title":2003,"dynasty":18,"author":663,"museum":2004,"description":2005,"tags":2006,"thumbUrl":2007,"material":100,"size":2008,"collection":42,"collections":2009,"showCount":2010,"zanCount":603,"manualWeight":48,"mainColor":49},218635,"shan-cha-tu-wu-bing-218635","山茶图","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[24,25,137,212,7,28,520,597,596,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[42,237],487,{"id":2012,"slug":2013,"title":2014,"dynasty":228,"author":191,"museum":2015,"description":2016,"tags":2017,"thumbUrl":2018,"material":1053,"size":2019,"collection":220,"collections":2020,"showCount":2021,"zanCount":711,"manualWeight":48,"mainColor":49},221842,"yong-le-gong-bi-hua-san-qing-dian-bi-hua-chao-yuan-tu-yi-ming-221842","永乐宫壁画三清殿壁画朝元图","山西永乐宫","永乐宫在山西最南端的芮城县郊外，《朝元图》在永乐宫的三清殿（又名无极殿）内，是永乐宫壁画中的重点，画幅面积为403.34平方米，主尊人物高达3米，最低的也有2米，共绘人物近300身，距今近700多年，是留存下来的最精彩的元代壁画。永乐宫始建于元代全真教兴盛时期，宫殿内部的墙壁上，布满了精心绘制的壁画，其艺术价值之高，数量之多，实属世上罕见。\n该壁画泰定三年（1325年）由河南画家马君详、马七等人绘制而成，描绘了诸神朝拜元始天尊的故事。画面上共有人物 290个左右，以8个高3米的主像（南极、北极、东极、玉皇、勾陈、木公、后土、金母）为中心，其余人物按对称仪仗形式排列，以南墙的青龙、白虎星君为前导，分别画出天帝、王母等28 位主神。围绕主神，28宿、12宫辰等“天兵天将”在画面上徐徐展开。画中主像庄严肃穆，群像环立，形象丰满圆润，个个神采奕奕，无一雷同。他们之间有的对语，有的倾听，有的沉思，有的注视，神情姿态彼此呼应，成为有机的整体。整个画面，气势不凡，场面浩大。\n壁画中人物服饰冠戴华丽辉煌，衣纹多用吴道子“莼菜条”线条，用笔劲健而流畅，既含蓄又有力度，衣带飞舞飘逸，有如满墙风动，充分发挥了线条的高度表现力。用色方面，采用重彩勾填，色彩厚重而丰富，绚烂而协调，道具在背景上都富有装饰性，在冠戴、衣襟、薰炉等处沥粉贴金，绚烂夺目。",[23,1053,194,7,28,83,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3db7198209c86d23475d84a3d7cee5.jpg","426×9468cm",[],484,{"id":2023,"slug":2024,"title":2025,"dynasty":228,"author":191,"museum":230,"description":2026,"tags":2027,"thumbUrl":2029,"material":100,"size":2030,"collection":237,"collections":2031,"showCount":2032,"zanCount":1020,"manualWeight":48,"mainColor":49},216732,"ju-hua-xiao-niao-tu-yi-ming-216732","菊花小鸟图","菊花小鸟图 是一幅来自中国元朝时期的著名图画。这幅图画被认为是元朝时期最著名的菊花图案之一，也是当时最具代表性的艺术品之一。\n\n这幅图画中的小鸟是鸟类中常见的山雀，它们正在菊花丛中欢快地嬉戏。菊花是中国传统文化中非常重要的象征，象征着品德高尚、忠诚可靠。在这幅图画中，菊花丛与小鸟的自然互动，展现出人与自然和谐相处的美好愿景。\n\n虽然这幅图画的作者并不是众所周知的，但它仍然是元朝时期艺术史上的重要作品，在当时的艺术市场上也颇受欢迎。如今，菊花小鸟图仍然是许多人所熟知和喜爱的著名图画之一。",[23,24,7,28,212,488,2028],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8acc0d8c6d4a1dedbc8b9a6a108b16.jpg","22.5x26.6cm",[237],479,{"id":2034,"slug":2035,"title":2036,"dynasty":76,"author":674,"museum":367,"description":2037,"tags":2038,"thumbUrl":2039,"material":235,"size":2040,"collection":44,"collections":2041,"showCount":2042,"zanCount":1084,"manualWeight":48,"mainColor":49},219532,"ma-gu-xian-shou-tu-chen-hong-shou-219532","麻姑献寿图","“麻姑献寿”是传统绘画特别是民间年画的常见题材。传说三月三日西王母寿辰，麻姑在绛珠河畔以灵芝酿酒，为王母祝寿。麻姑是神话人物，晋代葛洪《神仙传》说她是建昌人，修道于牟州东南姑余山。此画描写麻姑和侍女二人，均面相端庄美丽。麻姑一手执仙杖，杖端系有盛灵芝酒的宝葫芦，另一手执玉盘。衣纹用线钩勒粗简方折，而衣上带图案的银白色花纹却描绘得极工细匀整，既素雅又华丽，显示出人物的非凡身份和在祝寿的特定情境中对寿者(西王母)的尊敬和虔诚。麻姑身后的侍女双手捧花瓶，瓶插雪白的梅花和红艳的山茶花，与麻姑面向一致，目视前方，神情专注。",[23,24,25,155,7,28,83,59,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe811cb5aa985accd1f172e8ea3508614.jpg","190.2x104.6厘米",[44,45],478,{"id":2044,"slug":2045,"title":2046,"dynasty":150,"author":2047,"museum":245,"description":2048,"tags":2049,"thumbUrl":2051,"material":1397,"size":1398,"collection":220,"collections":2052,"showCount":2053,"zanCount":616,"manualWeight":48,"mainColor":145},235526,"he-hua-liao-shi-tu-zhou-wang-wu-235526","荷花蓼石图轴","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[137,24,25,155,28,7,248,249,2050,196,655,212],"蓼石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4adc90c09b933312107f54c136768ed.jpg",[],477,{"id":2055,"slug":2056,"title":2057,"dynasty":54,"author":191,"museum":2058,"description":2059,"tags":2060,"thumbUrl":2061,"material":2062,"size":220,"collection":44,"collections":2063,"showCount":2064,"zanCount":1020,"manualWeight":48,"mainColor":49},217282,"jiang-mo-bian-dun-huang-tu-juan-yi-ming-217282","降魔变·敦煌图卷","法国国家图书馆","纤细灵动的墨线勾勒出神态各异的人物，衣袂飘举间藏着唐代绘画的潇洒韵致。残存的朱红、赭石色调虽经岁月晕染，仍可窥见当初设色的浓淡相宜。画面分段铺陈降魔故事：左侧人物群像或肃穆或专注，似在静待一场斗法开启；中间帐幔低垂，端坐者的静谧与周遭张力暗合；右侧则将神魔相搏的激烈瞬间定格，动态构图尽显情节跌宕。整幅作品以叙事性画面传递佛教义理，线条流转与情节起伏相映成趣，既是唐代佛教艺术的生动遗存，也为后世窥见当时审美与信仰世界的窗口。",[137,24,25,26,28,7,194,83,1539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a40ea02cdf882170b7ef7d5d3e495f.jpg","设色,拓本",[44],473,{"id":2066,"slug":2067,"title":2068,"dynasty":76,"author":77,"museum":134,"description":2069,"tags":2070,"thumbUrl":2072,"material":1348,"size":2073,"collection":237,"collections":2074,"showCount":2075,"zanCount":943,"manualWeight":48,"mainColor":145},220126,"shui-xian-la-mei-tu-chou-ying-220126","水仙腊梅图","仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,24,25,7,28,212,690,2071,173],"腊梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c69768c6eb0147608000594b1c8c39.jpg","纵47厘米，横25厘米",[237],467,{"id":2077,"slug":2078,"title":2079,"dynasty":150,"author":2080,"museum":134,"description":2081,"tags":2082,"thumbUrl":2084,"material":235,"size":2085,"collection":237,"collections":2086,"showCount":2087,"zanCount":943,"manualWeight":48,"mainColor":145},220335,"cao-chong-hua-hui-hu-shi-si-ping-zi-wei-ju-lian-220335","草虫花卉湖石四屏-紫薇","居廉","居廉对岭南画派的影响十分深远，岭南画派创始人高剑父、陈树人均师从居廉。“二居”所创立的十香园成为岭南画派发源之地，当时岭南绘画界八成以上的人都出自十香园门下或是经受过二居绘画艺术的熏陶，在中国美术史上垂名的杰出弟子多达三十余人。二居以革命精神开创的“撞水”、“撞粉”技法被后来者沿袭至今，二居、二高一陈富于创新的革命艺术精神更使得岭南画派开一时风气之先，在中国画坛独领风骚。",[23,24,25,212,7,28,409,410,159,468,2083,1722],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3161675f1c6cc75d7b4fb092b58090a4.jpg","113×26.5厘米",[237],464,{"id":2089,"slug":2090,"title":2091,"dynasty":150,"author":2092,"museum":134,"description":2093,"tags":2094,"thumbUrl":2096,"material":100,"size":2097,"collection":44,"collections":2098,"showCount":2099,"zanCount":616,"manualWeight":48,"mainColor":145},219480,"mai-jiang-tu-yao-wen-han-219480","卖浆图","姚文瀚","这幅画是市场上卖纸浆的场景。 十个人，男女老少，聚在一起，或搅炉熬浆； 或者提着锅卖掉； 对纸浆和器物的描述细致入微。 整幅作品色彩鲜艳、干净、美观，笔触细腻牢固，人物稍有浓淡，给人立体感。",[23,24,25,28,7,83,158,97,2095,344,1676,173],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a90c6c57541d710ff9ec582ae42b876.jpg","59.3x108cm",[44,45],463,{"id":2101,"slug":2102,"title":2103,"dynasty":279,"author":280,"museum":20,"description":991,"tags":2104,"thumbUrl":2105,"material":994,"size":995,"collection":44,"collections":2106,"showCount":2107,"zanCount":895,"manualWeight":48,"mainColor":145},221041,"nv-shi-zhen-tu-juan-quan-juan-gu-kai-zhi-221041","女史箴图卷全卷",[23,24,25,26,283,7,83,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e325b86458ef996bbbc4b4e8cbd033.jpg",[44,125],458,{"id":2109,"slug":2110,"title":2111,"dynasty":18,"author":191,"museum":367,"description":2112,"tags":2113,"thumbUrl":2114,"material":100,"size":2115,"collection":182,"collections":2116,"showCount":2107,"zanCount":711,"manualWeight":48,"mainColor":49},218620,"luo-shen-fu-tu-yi-ming-218620","洛神赋图","这幅卷轴是暗示顾恺之时代的众多卷轴之一，其中两幅在北京紫禁城和辽宁省博物馆。然而，大英博物馆有一幅与北京紫禁城流传下来的南宋亲笔画类似的画卷，这两幅画都是重新创作的版本，人物和风景之间的关系更加协调。故宫博物院研究员于辉认为，这卷书是抄自紫禁城内的南宋卷，可追溯到明朝初期。如果对两卷进行仔细比较，本卷明显优于南宋宫廷卷，应抄袭本卷，本卷应在南宋初年完成。不幸的是，这卷书损坏太严重，很少能买到。这个博物馆恰好有两卷高分辨率的图像，有识之士可以查看其装饰性，或者说剩下的字是不是假的。",[23,26,7,28,83,29,341,1599,1600,34,211,769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daa44aeeabdd0261586d0876b40f8f4.jpg","53.7x832.8",[182,42],{"id":2118,"slug":2119,"title":2120,"dynasty":150,"author":2121,"museum":367,"description":2122,"tags":2123,"thumbUrl":2124,"material":100,"size":220,"collection":237,"collections":2125,"showCount":2126,"zanCount":1020,"manualWeight":48,"mainColor":49},219036,"mu-dan-yu-lan-tu-jiang-ting-xi-219036","牡丹玉兰图","蒋廷锡","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[23,24,25,212,7,28,298,300,299,62,1308,612,211,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[237],456,{"id":2128,"slug":2129,"title":2130,"dynasty":18,"author":1040,"museum":134,"description":2131,"tags":2132,"thumbUrl":2134,"material":67,"size":2135,"collection":42,"collections":2136,"showCount":2137,"zanCount":349,"manualWeight":48,"mainColor":49},221490,"hua-lan-tu-li-song-221490","花篮图","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注由此跃然于绢上。",[23,137,24,25,519,7,28,212,158,2133,298,688,409,596],"花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","26.1 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26.3公分",[42,237,45],454,{"id":2139,"slug":2140,"title":2141,"dynasty":76,"author":924,"museum":406,"description":2142,"tags":2143,"thumbUrl":2144,"material":100,"size":220,"collection":44,"collections":2145,"showCount":2146,"zanCount":711,"manualWeight":48,"mainColor":697},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[23,24,25,26,28,29,83,34,772,927,284,285,173,7,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg",[44,182],452,{"id":2148,"slug":2149,"title":2150,"dynasty":18,"author":229,"museum":134,"description":2151,"tags":2152,"thumbUrl":2153,"material":28,"size":2154,"collection":45,"collections":2155,"showCount":2156,"zanCount":349,"manualWeight":48,"mainColor":49},219050,"zhen-guo-tu-qian-xuan-219050","珍果图","果篮静卧素绢间，缠枝纹饰与环扣精巧，线条婉转如流泉绕石。篮中珍果错落，桃实丰腴带粉晕，叶瓣脉络分明，翠色欲滴处间杂赭红，似凝着晨露的润意。叶片边缘微卷，若有风过轻颤。色彩晕染细腻却不艳俗，绢本的古雅底色衬得果物愈发温润。笔触工致中藏文人清逸，无匠气之拘，寻常果实成诗中意象，藏宋人的生活雅趣与自然观照。细节处见沉静美感，如摩挲旧物，触得到时光沉淀的温润。每一笔都似含着慢时光里的用心，将日常小景绘成耐品的雅致画卷。",[23,137,24,7,28,454,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae85b115ae664ba777870700c2dcc5d.jpg","25.6x26.3",[45],451,{"id":2158,"slug":2159,"title":2160,"dynasty":228,"author":229,"museum":463,"description":2161,"tags":2162,"thumbUrl":2163,"material":235,"size":2164,"collection":44,"collections":2165,"showCount":2166,"zanCount":603,"manualWeight":48,"mainColor":145},220289,"yang-gui-fei-shang-ma-tu-qian-xuan-220289","杨贵妃上马图","《杨贵妃上马图》描绘唐玄宗与贵妃杨玉环准备出游的情景，玄宗骑马在前，回头望着贵妃，贵妃在两侍女协助下正往马鞍上爬，娇态毕现。\n作品构图接近唐代，人物分组而呈错落有致的横向排列，以人物间的顾盼联系各段，将全画串联起来，犹同舞台效果。\n《杨贵妃上马图》收录于《石渠宝笼续编·御书房》，画卷上现在仍可以清楚看到“御书房鉴藏宝”、“乾隆御览之宝”、“嘉庆御览之宝”等印，居中位置可看到“宣统御览之宝”的字样。说明一直为皇室所收藏，但不见《佚目》记载，未便肯定为《佚目》外的“东北货”。清王朝覆灭后，“末代皇帝”溥仪对故官藏画进行整理时，此画还在官中。后来随着太监的盗卖、溥仪对弟弟溥杰的“赏赐”以及其他流失途径，流出宫外，为湖州张珩购得，后经其叔张叔驯携带到美国出售他人，此画便流出国门，后进入美国弗利尔美术馆。",[23,24,25,26,7,28,83,59,112,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff618d905a3604488c129f373b3e069d1.jpg","纵29.5厘米，横117厘米",[44,45],448,{"id":2168,"slug":2169,"title":2170,"dynasty":150,"author":2171,"museum":367,"description":2172,"tags":2173,"thumbUrl":2175,"material":100,"size":220,"collection":44,"collections":2176,"showCount":2166,"zanCount":274,"manualWeight":48,"mainColor":49},219574,"tian-nv-san-hua-tu-xu-mei-219574","天女散花图","徐玫","此作中天女身姿婉柔，发髻轻簪雅饰，宽袖长裙随云舒卷，衣带如流风回雪，将凌虚而行的轻盈尽显。她手托花盏，眉目低垂含婉，似正将满捧花雨播向凡尘。细劲灵动的墨线勾勒仙袂翩跹的柔美，淡彩晕染裙间纹饰，古旧绢底晕开朦胧云霭，愈衬得天女出尘脱俗，仿佛携着缥缈仙气自云间缓步而来，将神女温婉端丽与飘逸灵动融为一体，尽显清丽秀雅的仕女画格调，余韵悠然绵长。",[23,24,25,155,7,28,83,59,2174],"飘带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c2b641db2cfe3c536c5c9f958366b5.jpg",[44,45],{"id":2178,"slug":2179,"title":2180,"dynasty":76,"author":191,"museum":134,"description":2181,"tags":2182,"thumbUrl":2186,"material":100,"size":2187,"collection":44,"collections":2188,"showCount":2166,"zanCount":274,"manualWeight":48,"mainColor":49},214833,"ru-bi-tu-yi-ming-214833","入跸图","这是一幅皇帝扫墓的画，队伍从左到右，沿着水路往回走，战车和卫兵，以及大部分不能坐船的羽林军，沿着岸边行驶。从这幅画的特点和个别地理位置来看，这幅画中的皇帝不是别人，正是明朝的皇帝朱翊钧。明神宗是一位在历史上有很大争议的皇帝，但这幅画还是清楚地表明了明朝当时处于权力的巅峰。",[23,137,24,26,7,28,83,84,34,90,2183,2184,2185],"仪仗","皇家出行","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f5863d9951f963431189cd4b5e922e.jpg","92.10x3003.6",[44],{"id":2190,"slug":2191,"title":2192,"dynasty":18,"author":505,"museum":245,"description":2193,"tags":2194,"thumbUrl":2195,"material":220,"size":220,"collection":220,"collections":2196,"showCount":2197,"zanCount":1769,"manualWeight":48,"mainColor":49},231852,"song-hui-zong-ti-hua-niao-tu-zhao-chang-231852","宋徽宗题花鸟图","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。\n赵昌，字昌之，北宋时期（公元11世纪)，广汉剑南（今四川剑阁之南）人，生卒年不详。性情爽直高傲，刚正不阿。时州伯邵牧争求笔迹，不肯轻与。\n工书，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后过其艺，亦效徐崇嗣“没骨法”，常于清晨朝露未干，围绕花圃观察花木神态，调色描绘，自号“写生赵昌”。当时盛行厚彩重色，而赵昌所作一片平滑，明润匀薄，活色生香。真宗大中祥符（1008-1016）间，声誉益隆。丁朱崖奉白金五百为寿，昌感其意，亲往谢之。此时，朱崖邀其至东阁，求画生菜数窠及烂瓜生果等，昌挥笔遽成而去。晚年其自矜所作，往往深藏不市，若见自家画作流落市井，则复自购以归之，故世罕传。",[23,24,25,155,7,28,212,637,156,299,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4595cc6a353626e75beccdda5e1c00e.jpg",[],447,{"id":2199,"slug":2200,"title":2201,"dynasty":150,"author":191,"museum":245,"description":2202,"tags":2203,"thumbUrl":2204,"material":100,"size":220,"collection":44,"collections":2205,"showCount":2206,"zanCount":711,"manualWeight":48,"mainColor":49},216695,"hong-lou-meng-fu-tu-ce-yi-ming-216695","红楼梦赋图册","疏朗庭院间，虬枝松叶覆半面轩窗，雕花棂格透出彩绸轻曳。廊下女子或凭栏低语，或执扇凝眸；阶前二人衣袂相叠，似在话叙家常。坡上苔石生绿，丛花点染胭脂色，远处水榭隐于烟柳后，添几分悠远。淡彩晕染的笔触细腻勾勒园林景致，将红楼女儿的闲雅日常融于其间。温婉氛围如轻烟绕梁，既见深宅里的温柔情致，又藏着一丝难以言说的怅惘，似在静静诉说着那些藏于书页间的细腻心事。",[23,24,25,519,7,28,83,59,84,176,313,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf370b172b95445b5b66d2705d0e226e.jpg",[44],446,{"id":2208,"slug":2209,"title":2210,"dynasty":18,"author":326,"museum":20,"description":2211,"tags":2212,"thumbUrl":2213,"material":67,"size":2214,"collection":42,"collections":2215,"showCount":2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伯牙鼓琴 的典故。树木的叶子是用双钩和填充的方法进行层压和绘画的。石头的纹理是用斧头表达的，这使它们具有很好的质感。松针画得非常仔细，笔法严谨而纯粹。",[23,24,25,28,83,927,211,34,195,138,172,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf693032a9cf5c8cec0275d6ef70b42.jpg","166.50x99厘米",[44],402,{"id":2336,"slug":2337,"title":2338,"dynasty":132,"author":2339,"museum":2004,"description":2340,"tags":2341,"thumbUrl":2342,"material":100,"size":2343,"collection":237,"collections":2344,"showCount":2345,"zanCount":711,"manualWeight":48,"mainColor":49},219095,"shou-tao-tu-ding-qian-219095","寿桃图","丁谦","桃实饱满，粉白肌理间晕开胭脂般的红晕，似刚从枝头摘下，还带着晨露的润意。环绕的叶片深浅交织，墨绿老叶与黄绿新叶相映，蜷曲叶缘藏着自然生机，叶脉走向如细密思绪，勾勒出叶片柔软质感。绢本古旧色调裹着画中鲜活，笔墨轻缓却藏饱满情致，仿佛把一段丰收与吉祥的时光定格，每一笔都透着中式美学的雅致，让人在静谧中感受生命的温润与美好。",[24,7,28,1653,596,597,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f630b561defc6ba2065e820e3396041.jpg","纵24.1横48.6厘米",[237],399,{"id":2347,"slug":2348,"title":2349,"dynasty":18,"author":505,"museum":134,"description":2350,"tags":2351,"thumbUrl":2352,"material":100,"size":2353,"collection":237,"collections":2354,"showCount":2355,"zanCount":711,"manualWeight":48,"mainColor":49},219031,"mu-dan-tu-zhao-chang-219031","牡丹图","湖石下的鸢尾花、兰花和灵芝，以及湖石后盛开的牡丹，让人眼前一亮。虽然丝绸已经发黄发旧，但仍有光泽的感觉。",[23,137,24,25,7,28,212,298,596,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8b5880085e0d0be159ea0e1946d21d.jpg","143.5x59.3",[237],397,{"id":2357,"slug":2358,"title":2359,"dynasty":18,"author":326,"museum":230,"description":2360,"tags":2361,"thumbUrl":2363,"material":100,"size":220,"collection":237,"collections":2364,"showCount":2355,"zanCount":1084,"manualWeight":48,"mainColor":49},216940,"yu-ying-tu-zhao-ji-216940","御鹰图","御鹰图是赵佶的一幅画作。赵佶是宋朝的一位著名的画家，他的画作被认为是中国画的典范，很受人们的喜爱。\n\n御鹰图描绘了一只雄健的鹰，看起来非常壮观。赵佶用细腻的笔法和精湛的技巧描绘了鹰的羽毛，使得整幅画看起来栩栩如生。\n\n赵佶的御鹰图被认为是宋朝画的代表作之一，它的风格独特，表现力强，被认为是宋朝画的典范。它被广泛收藏，并在许多艺术展览中展出。",[137,24,25,7,28,67,155,2362,1091,653],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3210a771bedb5e6e81fe9066e3c66e.jpg",[237],{"id":2366,"slug":2367,"title":2368,"dynasty":76,"author":2369,"museum":20,"description":2370,"tags":2371,"thumbUrl":2372,"material":2373,"size":2374,"collection":237,"collections":2375,"showCount":2355,"zanCount":603,"manualWeight":48,"mainColor":145},216204,"zhu-qin-tu-lv-ji-216204","竹禽图","吕纪","此幅景物简洁，一竿修竹自左下斜出，呈对角线贯穿画面。主干秀挺，侧枝细劲，叶片疏密有致，是宋元文人画竹之法。两只喜鹊在枝头鸣叫，带有吉祥平安的寓意。作品构图明朗，风格清秀，用小写意笔法，设色清新淡雅，与吕纪其他作品富贵面貌有所不同。",[24,25,155,7,28,212,156,1091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9dc4cfeb5b56018cf4b7bdb04e8a8c.jpg","纸本,水墨","纵148.5厘米，横467.7厘米",[237],{"id":2377,"slug":2378,"title":2379,"dynasty":228,"author":2380,"museum":20,"description":2381,"tags":2382,"thumbUrl":2383,"material":2373,"size":2384,"collection":237,"collections":2385,"showCount":2386,"zanCount":1084,"manualWeight":48,"mainColor":145},214583,"si-qing-tu-li-kan-214583","四清图","李衎","它原本是一个长卷，但在明朝中期被分成了两卷。此副是故宫博物院的部分，即后卷。兰、竹、石、梧被称为四清，比喻君子的高贵品格。虽然枝叶茂密，但笔触优雅简洁，墨色自然多变。",[23,137,24,25,26,855,285,173,7,172,156,314,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3499d343c9e9aef13f39fb8034bcc7.jpg","35.6x359.8",[237],394,{"id":2388,"slug":2389,"title":2390,"dynasty":76,"author":77,"museum":134,"description":2391,"tags":2392,"thumbUrl":2393,"material":235,"size":2394,"collection":44,"collections":2395,"showCount":2396,"zanCount":943,"manualWeight":48,"mainColor":145},219374,"guan-shi-yin-pu-sa-chou-ying-219374","观世音菩萨","“观音大师踩一朵青色莲花，捧一柳，一盏水杯，从云端而来。他头上的皇冠离开了梨花佛的位置，但他没有画佛像，说明此作 这幅画卷的色彩明快、纯洁、淡雅，除了用细致的线条勾勒出轮廓外，脸部、手部和衣服也被晕染，表现出立体的效果。虽然有秋影（ 约1494-1552年）画中不过，这支卷轴笔和秋影的笔触与描绘的精细度，还是有相当大的差距，应该是后人冒用秋影之名的作品。",[137,24,25,155,194,83,7,28,1600,173,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纵104.2横52.5厘米",[44,45],393,{"id":2398,"slug":2399,"title":2400,"dynasty":150,"author":310,"museum":230,"description":2401,"tags":2402,"thumbUrl":2403,"material":235,"size":2404,"collection":237,"collections":2405,"showCount":2406,"zanCount":603,"manualWeight":48,"mainColor":49},219131,"xi-que-shuang-xi-tu-shen-quan-219131","喜鹊双喜图","虬枝盘曲间，梅蕊初绽如雪，几点淡红晕染枝头，似早春私语。一只喜鹊翘尾立于枝上，羽色浓淡相宜，墨羽如缎，白腹似雪，喙尖微抬，似欲鸣春；另一只栖于老干，回眸相顾，长尾垂落如墨线，与枝干的苍劲相映成趣。旁侧新竹数竿，青影摇曳，添几分生机。工笔细描见匠心，枝干皴擦显古拙，花瓣晕染含雅致，禽鸟神态毕肖。动静之间，春意流转，喜意暗生。整幅画韵致清和，既有自然野趣，又藏吉祥寓意，尽显传统花鸟之雅韵，观之令人心生愉悦。",[23,137,24,25,155,7,28,212,637,156,178,1091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe247e4c33f78d42b4640f989a2d41eb8.jpg","131x53.5cm",[237],391,{"id":2408,"slug":2409,"title":2410,"dynasty":150,"author":2411,"museum":245,"description":2412,"tags":2413,"thumbUrl":2414,"material":1397,"size":1398,"collection":220,"collections":2415,"showCount":2416,"zanCount":943,"manualWeight":48,"mainColor":145},290612,"he-hua-zhou-wang-tu-bing-290612","荷花轴","王图炳","王图炳（1668-1743）：清朝江南华亭县（今上海市金山区）张堰镇人，一品大学士王顼龄之子。康熙五十一年（1712年）御赐进士，选庶吉士，授编修，官至礼部侍郎，降官侍读，加詹事衔。清代著名诗人、书画家。",[24,155,7,28,212,248,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6326436ed40ce4fc7bdd96e5c4b3674d.jpg",[],390,{"id":2418,"slug":2419,"title":2420,"dynasty":18,"author":326,"museum":230,"description":2421,"tags":2422,"thumbUrl":2424,"material":100,"size":2030,"collection":237,"collections":2425,"showCount":2426,"zanCount":943,"manualWeight":48,"mainColor":49},218932,"you-hua-xiao-qin-tu-zhao-ji-218932","幽花小禽图","古绢底色如浸了岁月的茶褐，晕开一层幽淡气息。三丛菊花攒聚枝头，瓣瓣纤柔层叠，白蕊间泛着浅金，似把秋阳的暖融凝在花芯。枝叶以墨绿勾染，脉络纤细如丝，笔致细腻入微。一只小禽栖于枝侧，羽色褐棕相间，喙尖轻垂，仿佛正凝睇花叶，又似在聆听风过叶隙的轻响。鸟的灵动与花的静婉相映成趣，于静谧中暗涌着鲜活生机。整幅画工细却不板滞，色彩古雅而含清润，将宋人的审美意趣藏于方寸间——于细微处见天地，于幽花间蕴生机。",[137,24,25,7,28,212,689,2423,173],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5909a4d473eb21332f4d99779aadd870.jpg",[237],389,{"id":2428,"slug":2429,"title":2430,"dynasty":18,"author":1774,"museum":134,"description":2431,"tags":2432,"thumbUrl":2433,"material":100,"size":2434,"collection":182,"collections":2435,"showCount":2436,"zanCount":1084,"manualWeight":48,"mainColor":145},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","仙山楼阁图","这幅仙山仙阁的画作，色彩鲜艳，白云在山腰盘旋，显得格外高雅。这幅画是由黄君璧捐赠的。",[23,24,25,155,27,28,7,81,29,84,34,37,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[182],388,{"id":2438,"slug":2439,"title":2440,"dynasty":76,"author":77,"museum":367,"description":2441,"tags":2442,"thumbUrl":2443,"material":100,"size":220,"collection":44,"collections":2444,"showCount":2445,"zanCount":895,"manualWeight":48,"mainColor":49},219568,"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,24,25,26,7,28,81,83,84,34,211,112,176,92,178,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[44,45],384,{"id":2447,"slug":2448,"title":2449,"dynasty":76,"author":2450,"museum":406,"description":2451,"tags":2452,"thumbUrl":2453,"material":100,"size":2454,"collection":237,"collections":2455,"showCount":2456,"zanCount":711,"manualWeight":48,"mainColor":145},218891,"bi-ye-xiu-yu-tu-zhou-wen-chu-218891","碧叶绣羽图轴","文俶","文俶（1594-1634），字端容，文徵明孙文从简之女，丈夫是其父的弟子赵灵均。天性明慧，善绘花鸟虫草，鲜妍生动。\n是图署款“辛未小春天水赵氏文俶画。”为崇祯四年（1631）作者37岁时的作品。",[137,24,25,155,7,28,212,299,62,596,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ef736a39cccb63352eef972c85eb35.jpg","纵78.5厘米，横49.5厘米",[237],381,{"id":2458,"slug":2459,"title":2460,"dynasty":76,"author":77,"museum":245,"description":2461,"tags":2462,"thumbUrl":2466,"material":1397,"size":1398,"collection":220,"collections":2467,"showCount":2468,"zanCount":1769,"manualWeight":48,"mainColor":49},287636,"mo-li-zhao-dao-ming-huang-xing-shu-tu-quan-juan-chou-ying-287636","摹李昭道明皇幸蜀图全卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,24,26,82,7,27,28,29,83,112,2463,85,623,2185,2464,2465],"古道","侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg",[],380,{"id":2470,"slug":2471,"title":2472,"dynasty":76,"author":2473,"museum":2474,"description":2475,"tags":2476,"thumbUrl":2478,"material":100,"size":220,"collection":237,"collections":2479,"showCount":2480,"zanCount":1084,"manualWeight":48,"mainColor":49},219280,"feng-huang-mu-dan-tu-sun-yi-219280","凤凰牡丹图","孙忆","九州国立博物馆","凤凰顾盼生姿，翎羽层叠如锦缎铺展，青绿冠羽衬得朱喙明艳，蓝红翅羽与尾羽眼斑流转虹光，每缕纹理皆细腻入毫。牡丹雍容吐蕊，白瓣胜雪、红瓣似霞，枝叶缠络间缀细碎白花，与凤凰相映成趣。古雅绢本色调晕染出静谧祥瑞，工笔线条精准流畅，设色浓淡相宜，华贵中透着清雅。整幅画将凤凰的祥瑞之气与牡丹的富贵之姿融于一体，尽显盛世花鸟的雍容气象，笔墨间藏着对美好生活的祈愿，是工笔花鸟里兼具艺术性与寓意的佳作。",[24,25,7,28,212,316,298,409,2477],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8785c401d091b29709625d8b0cf4c0e9.jpg",[237],379,{"id":2482,"slug":2483,"title":2484,"dynasty":76,"author":77,"museum":230,"description":2485,"tags":2486,"thumbUrl":2488,"material":100,"size":2489,"collection":44,"collections":2490,"showCount":2491,"zanCount":895,"manualWeight":48,"mainColor":49},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,24,25,519,7,28,81,27,29,83,84,176,86,175,85,178,286,2487,199,2463,59,159],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[44],376,{"id":2493,"slug":2494,"title":2495,"dynasty":18,"author":2496,"museum":134,"description":2497,"tags":2498,"thumbUrl":2501,"material":100,"size":2502,"collection":42,"collections":2503,"showCount":2504,"zanCount":711,"manualWeight":48,"mainColor":145},219198,"ying-tao-huang-que-tu-ma-shi-chang-219198","樱桃黄雀图","马世昌","画中樱桃正熟，禽鸟顾盼，一派初夏光景。",[23,137,24,25,519,7,28,212,2499,2500,178,453],"樱桃","黄雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce24ced8f0f9757eb0cf1f98628ecd12.jpg","27x25.3cm",[42,237],375,{"id":2506,"slug":2507,"title":2508,"dynasty":76,"author":2509,"museum":230,"description":2510,"tags":2511,"thumbUrl":2512,"material":235,"size":2513,"collection":237,"collections":2514,"showCount":2504,"zanCount":1084,"manualWeight":48,"mainColor":2515},216264,"ming-za-hua-ce-wang-zhong-216264","明杂画册","汪中","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[24,25,519,7,28,212,156,158,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334fee082046ab9e1386c51d5de90a35.jpg","30x27cm",[237],"FDD835",{"id":2517,"slug":2518,"title":2519,"dynasty":132,"author":2520,"museum":245,"description":2521,"tags":2522,"thumbUrl":2524,"material":1397,"size":1398,"collection":220,"collections":2525,"showCount":2526,"zanCount":1769,"manualWeight":48,"mainColor":49},288331,"xie-sheng-zhen-qin-tu-huang-quan-288331","写生珍禽图","黄荃","图中画了鹡鸰、麻雀、鸠、龟、昆虫等动物二十余件，排列无序，但每一件动物都刻画得十分精确、细微，甚至从透视角度观之也无懈可击。",[23,137,24,26,7,28,212,178,1091,452,2523,173],"龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05a94c2863cccdf9561bc75fe1e17b4.jpg",[],371,{"id":2528,"slug":2529,"title":2530,"dynasty":150,"author":191,"museum":245,"description":2531,"tags":2532,"thumbUrl":2535,"material":1397,"size":1398,"collection":220,"collections":2536,"showCount":2537,"zanCount":1769,"manualWeight":48,"mainColor":49},288183,"mu-dan-yu-mao-tu-ye-yi-ming-288183","牡丹与猫图页","画面以工笔细绘庭院小景，蜷卧的白猫团作软雪，顶间墨斑与尾尖玄色相映，将睡梦憨态勾勒得灵动传神，似能轻闻浅鼾。旁侧牡丹柔瓣层叠，晕染出匀净粉白，枝叶舒展间带着温婉柔媚，古拙湖石皴擦苍劲，刚柔互衬晕开雅致意趣。整体色调清和古雅，绢底肌理晕开淡旧古韵，将庭院午后悠然静谧的闲情尽数铺展，笔意细腻写实，把日常小景绘得诗意悠然。",[23,24,7,28,298,581,2533,2534],"湖石","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd65baef04b6a9c9fcdd55cfc5d2c2c7.jpg",[],370,{"id":2539,"slug":2540,"title":2541,"dynasty":150,"author":2542,"museum":20,"description":2543,"tags":2544,"thumbUrl":2546,"material":599,"size":2547,"collection":237,"collections":2548,"showCount":2549,"zanCount":895,"manualWeight":48,"mainColor":145},236307,"pu-tang-qiu-yan-zhou-yun-bing-236307","蒲塘秋艳轴","恽冰","荷，是南方最常见的水生植物，以历代文人墨客吟之以诗，形之以画。作者以写实的手法，成功地刻画了蒲塘秋日的丽景：碧水之上萍藻点点，绿荷盈盈。\n荷花在荷叶的衬托下，以含苞、初绽、怒放的三种生命形态展示着自然美。整幅运用仿恽南田笔意的没骨法，萍藻以色彩直接点就，显现出灵秀生动的物性。荷花以粉红色点染花尖，旋即以清水迅速晕开，色阶层次丰富，色调深浅过度自然，真实地展现出花瓣清淡雅丽之美以及荷花“出淤泥而不染，濯清涟而不妖”的内在神韵。\n恽冰，字清於，号浩如，别号兰陵女史，亦署南兰女子；卒年不详，武进（今江苏常州）人。清代乾隆、嘉庆、道光年间深得家传的一位女画家，诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[24,25,155,7,28,212,157,248,249,555,2545],"水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9622bb894e71ccc81a2bebb607fb57db.jpg","纵126.41cm 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等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,25,26,81,7,283,83,84,85,86,111,112,113,34,89,87,116,2556,31,35,117,93],"轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],{"id":2560,"slug":2561,"title":2562,"dynasty":228,"author":2563,"museum":367,"description":2564,"tags":2565,"thumbUrl":2566,"material":424,"size":2567,"collection":237,"collections":2568,"showCount":2549,"zanCount":711,"manualWeight":48,"mainColor":145},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","谢楚芳","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 “最珍贵的十种馆藏中国文物之一，在英国的中国文物收藏史上占有特殊的地位。",[23,24,25,26,28,7,212,156,411,493,409,410,198,284,285,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","27.8x352.9cm",[237,45],{"id":2570,"slug":2571,"title":2572,"dynasty":228,"author":229,"museum":20,"description":2573,"tags":2574,"thumbUrl":2575,"material":599,"size":2576,"collection":182,"collections":2577,"showCount":2549,"zanCount":349,"manualWeight":48,"mainColor":49},221710,"shan-ju-tu-qian-xuan-221710","山居图","卷尾作者自题：“山居惟爱静，日午掩柴门。寡合人多忌，无求道自尊。鷃鹏俱有志，兰艾不同根。安得蒙庄叟，相逢与细论。吴兴钱选舜举画并题。”钤“舜举印章”、“舜举”、“钱选之印”三方。卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。",[23,137,24,25,26,27,28,7,172,284,173,29,1926,196,313,927,85,86,35,175,159,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[182,45],{"id":2579,"slug":2580,"title":2581,"dynasty":150,"author":191,"museum":367,"description":2582,"tags":2583,"thumbUrl":2584,"material":100,"size":220,"collection":44,"collections":2585,"showCount":2586,"zanCount":48,"manualWeight":48,"mainColor":49},219541,"luo-shen-tu-yi-ming-219541","洛神图","洛神凌波徐行，素色罗裙晕着浅蓝镶边，飘带随水波漾动缱绻，将乘虚而行的柔婉轻盈尽数勾勒。她手持灵草，眉含轻愁、眼波低垂，清冷眉目间带着神女独有的幽怨缱绻。暗沉底色衬出人物素洁清丽，线条秀雅工细，设色简淡古雅，将洛神出尘仙姿与脉脉情思揉入笔底，把缥缈神女的古典美感定格于绢素之上，尽显传统仕女画的含蓄温婉意韵。",[23,137,24,25,28,7,83,59,2174,1555],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93171803f70c792a8db19d4ca0123d4b.jpg",[44],367,{"id":2588,"slug":2589,"title":2590,"dynasty":54,"author":1473,"museum":20,"description":2591,"tags":2592,"thumbUrl":2593,"material":599,"size":2594,"collection":220,"collections":2595,"showCount":2596,"zanCount":603,"manualWeight":48,"mainColor":697},232938,"wu-niu-tu-juan-han-huang-232938","五牛图卷","本图无作者款印，本幅及尾纸上有赵孟頫、孙弘、项元汴、弘历、金农等十四家题记。\n《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[24,25,26,28,7,113,582,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51331287195c83fe7996d6c65918e66c.jpg","纵20.8厘米，横139.8厘米",[],364,{"id":2598,"slug":2599,"title":727,"dynasty":18,"author":326,"museum":245,"description":2600,"tags":2601,"thumbUrl":2605,"material":1397,"size":1398,"collection":220,"collections":2606,"showCount":2607,"zanCount":711,"manualWeight":48,"mainColor":49},288330,"rui-he-tu-zhao-ji-288330","描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。",[23,137,24,25,26,28,7,178,719,84,2602,751,730,2603,284,2604],"祥云","瘦金体","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a2bced096b89031018940195e15452.jpg",[],362,{"id":2609,"slug":2610,"title":2611,"dynasty":150,"author":191,"museum":245,"description":2612,"tags":2613,"thumbUrl":2615,"material":220,"size":220,"collection":220,"collections":2616,"showCount":2607,"zanCount":1020,"manualWeight":48,"mainColor":49},230349,"yong-zheng-shi-er-mei-ren-tu-yin-zhen-mei-ren-tu-yi-ming-230349","雍正十二美人图(胤禛美人图)","仕女侧身凭门，眉眼含柔静赏修竹，暗纹黄衫绣饰精巧，鬓边珠翠轻缀，温婉娴静的闺阁气韵尽显。庭院中奇石错落，盆梅初绽、兰草幽柔，案头盆花清雅动人。画作以框景巧构，将室内外景致相融，淡雅设色晕染出悠然氛围，笔触写实细腻，衣料柔润质感、竹影婆娑意态皆被精妙还原，将深闺女子的闲情意趣与中式园林的雅致意境融为一体，尽显东方古典美学含蓄温婉之韵。",[23,7,28,59,156,211,2614,409,214,92,344,155],"盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a850643fba7892c7c56dbf39750b66e.jpg",[],{"id":2618,"slug":2619,"title":2620,"dynasty":54,"author":2621,"museum":134,"description":2622,"tags":2623,"thumbUrl":2624,"material":218,"size":2625,"collection":44,"collections":2626,"showCount":2607,"zanCount":895,"manualWeight":48,"mainColor":49},221075,"mu-ma-tu-han-gan-221075","牧马图","韩干","描画了一位虬须戴巾、腰插马鞭的奚官准备出外放牧的情景。主题明瞭，情节简单，图中黑白双马，奚官虬髻戴头巾，手执缰缓行。此图线条纤细遒劲，勾出马的健壮体形，黑马身配朱地花纹锦鞍，更示出其神彩；人物衣纹疏密有致，结构严谨，用笔沉着，神采生动。",[23,24,137,25,7,28,83,112,582,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8144ec5912ae9e8da1db7870cd9b68a.jpg","纵27.5cm，横34.1cm",[44,125],{"id":2628,"slug":2629,"title":2630,"dynasty":150,"author":2542,"museum":20,"description":2631,"tags":2632,"thumbUrl":2633,"material":496,"size":220,"collection":237,"collections":2634,"showCount":2635,"zanCount":711,"manualWeight":48,"mainColor":145},236979,"zi-teng-yue-ji-zhou-yun-bing-236979","紫藤月季轴","恽冰，清代乾隆、嘉庆、道光年间深得家传的一位女画家，生卒年不详。字清於，号浩如，别号兰陵女史，亦署南兰女子。武进（今江苏常州）人。诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[24,25,155,28,7,212,486,487,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374a2ed75db25d5c170942d267887b07.jpg",[237],360,{"id":2637,"slug":2638,"title":2639,"dynasty":150,"author":2231,"museum":20,"description":2640,"tags":2641,"thumbUrl":2643,"material":100,"size":2644,"collection":44,"collections":2645,"showCount":2635,"zanCount":603,"manualWeight":48,"mainColor":49},220398,"shi-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《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,137,1996,7,28,2680,2681,492,2682,211,2683,2684],"黄莺","野鸭","杜鹃","水岸","夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f39703be94e381648560a821fb184e.jpg","176.0×100.8",[237,45],358,{"id":2690,"slug":2691,"title":2692,"dynasty":18,"author":2693,"museum":134,"description":2694,"tags":2695,"thumbUrl":2697,"material":218,"size":2698,"collection":42,"collections":2699,"showCount":2688,"zanCount":711,"manualWeight":48,"mainColor":49},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[23,24,137,25,155,7,28,212,582,1568,178,1499,655,2696],"土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","纵193.7厘米、横103.4厘米",[42,237,45],{"id":2701,"slug":2702,"title":2703,"dynasty":2704,"author":191,"museum":230,"description":2705,"tags":2706,"thumbUrl":2710,"material":100,"size":220,"collection":237,"collections":2711,"showCount":2712,"zanCount":943,"manualWeight":48,"mainColor":49},216908,"lu-yan-fu-rong-tu-yi-ming-216908","芦雁芙蓉图","隋","芦雁芙蓉图是一幅佚名的隋代画作，它的创作时间大约在6世纪中期。这幅画的主题是芦雁和芙蓉，被认为是隋朝时期最优秀的花卉画之一。\n\n芦雁是一种常见的水鸟，在古代中国文学中常被描写为优美、品性高尚的鸟类。芙蓉是一种常见的花卉，被认为是一种具有极高艺术价值的植物。在这幅画中，芦雁和芙蓉被描绘得栩栩如生，使用的颜色十分丰富，线条流畅，构图巧妙，是一幅充满美感的艺术品。\n\n芦雁芙蓉图被认为是隋朝时期花卉画的代表作之一，其创作背景和风格反映了当时的文化、艺术特点。它对后世的艺术家们也产生了深远的影响。",[23,24,28,7,155,212,2707,492,2708,196,197,1091,409,198,2709],"雁","芦苇","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg",[237],356,{"id":2714,"slug":2715,"title":2716,"dynasty":76,"author":2717,"museum":434,"description":2718,"tags":2719,"thumbUrl":2720,"material":2721,"size":2722,"collection":237,"collections":2723,"showCount":2724,"zanCount":1769,"manualWeight":48,"mainColor":145},222369,"mu-dan-tu-zhou-lu-zhi-222369","牡丹图轴","陆治","画卷绘折枝牡丹二枝，枝头各自开放花朵，棕色在前，金色略被遮挡，花朵硕大饱满，花瓣层层叠叠，中间配以鹅黄花蕊。技法上，花朵以墨晕染，再以鹅黄点缀花蕊，绿叶细笔深绿构绘叶脉，后以淡绿晕染，清新脱俗。\n陆治，字叔平，明代画家。因居包山，自号包山。善行、楷，尤通绘事，点染花鸟竹石清新自然，山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格。",[23,24,25,155,28,7,298,453,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd605f4b1d772948191c493247cd631c3.jpg","纸本设色","31.7x102.8厘米",[237,45],354,{"id":2726,"slug":2727,"title":2728,"dynasty":18,"author":326,"museum":245,"description":2729,"tags":2730,"thumbUrl":2731,"material":1397,"size":1398,"collection":220,"collections":2732,"showCount":2733,"zanCount":1084,"manualWeight":48,"mainColor":49},289007,"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-zhao-ji-289007","摹张萱虢国夫人游春图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,137,24,26,28,83,112,59,7,82,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb526d78da24aa77a7005eb850f4b55.jpg",[],352,{"id":2735,"slug":2736,"title":2737,"dynasty":76,"author":77,"museum":134,"description":2738,"tags":2739,"thumbUrl":2740,"material":952,"size":2741,"collection":182,"collections":2742,"showCount":2743,"zanCount":711,"manualWeight":48,"mainColor":145},222196,"xian-shan-lou-ge-tu-zhou-chou-ying-222196","仙山楼阁图轴","仇英此图即脱胎于南宋“院体”，又兼容文人画之长，具雅逸之致。\n画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。特写的景致，劲遒的松枝，坚峭的山石，劲利的用笔，以及小斧劈皴等，都存“院体”遗规。\n而构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和，色调明快。\n如杨翰在《扫石轩画谈》中所评：“笔笔皆如铁丝，有起有止，有韵有情，亦多疏散之气，如唐人小楷、令人探索无尽。”\n画面上方楷书为陆师道所提，乃明代官员，师承文徵明，严整恭谨的概述与仇英的画面配合的相得益彰。",[23,24,25,155,81,7,28,29,84,211,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc6047fc5802e4c930601cc55e6e5e9.jpg","110.5x42.1",[182,45],351,{"id":2745,"slug":2746,"title":2747,"dynasty":150,"author":516,"museum":134,"description":517,"tags":2748,"thumbUrl":2751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45.7公分",[237],343,{"id":2766,"slug":2767,"title":2768,"dynasty":54,"author":191,"museum":134,"description":2769,"tags":2770,"thumbUrl":2771,"material":100,"size":2772,"collection":44,"collections":2773,"showCount":2774,"zanCount":895,"manualWeight":48,"mainColor":49},223394,"tang-ren-gong-le-tu-zhou-yi-ming-223394","唐人宫乐图轴","图描写後宫嫔妃十人，围坐於一张巨型的方桌四周，有的品茗，也有的在行酒令。中央四人，则负责吹乐助兴。所持用的乐器，自右而左，分别为筚篥、琵琶、古筝与笙。旁立的二名侍女中，还有一人轻敲牙板，为她们打著节拍。从每个人脸上陶醉的表情来推想，席间的乐声理应十分优美，因为连蜷在桌底下的小狗，都未被惊扰到！\n这件作品并没有画家的款印，原本的签题标为「元人宫乐图」。仔细观察画中人物的发式，有的发髻梳向一侧，是为「坠马髻」，有的把发髻向两边梳开，在耳朵旁束成球形的「垂髻」，有的则头戴「花冠」，凡此，都符合唐代女性的装束。另外，绷竹席的长方案、腰子状的月牙几子、饮酒用的羽觞，还有琵琶横持，并以手持拨子的方式来弹奏等，亦在在与晚唐的时尚相侔。所以，现在画名已改定成「唐人宫乐图」画题《韩干呈马图》",[23,137,24,25,155,7,28,83,59,138,139,581],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb907e859af37c3582daa5bb82bd4794.jpg","48.7x69.5",[44],342,{"id":2776,"slug":2777,"title":2778,"dynasty":150,"author":2779,"museum":20,"description":2780,"tags":2781,"thumbUrl":2785,"material":100,"size":2786,"collection":44,"collections":2787,"showCount":2788,"zanCount":1020,"manualWeight":48,"mainColor":49},214366,"bing-xi-tu-jin-kun-214366","冰嬉图","金昆","金昆（1734-1798）是清代著名的画家，他的作品《冰嬉图》是其代表作之一。\n\n《冰嬉图》描绘了一群人在冰上嬉戏的画面。金昆在画中运用了精细的笔墨和细腻的造型，勾勒出人物的动态感和气氛的欢乐。作品中的人物衣着艳丽，手持冰鞋、冰鞭，在冰上滑行、打闹，形成了一幅生动的冬日画面。\n\n《冰嬉图》被认为是金昆写意人物画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《冰嬉图》也是收藏家们青睐的经典之作。\n\n金昆的《冰嬉图》是一幅描绘冬日活动的画作，它体现了中国传统文化中“冰上嬉戏”的理念。在中国传统文化中，冰上嬉戏是冬日的休闲活动之一，人们可以在冰上滑行、打闹，享受冬日的清新气息。金昆的《冰嬉图》不仅是一幅精美的画作，更是一首关于冬日活动的诗篇。",[23,7,28,83,84,34,2782,2783,2784,751],"旗帜","队列","冰面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff197d6b8677f087f4ec01dfab7441fea.jpg","35.2x581",[44],337,{"id":2790,"slug":2791,"title":2792,"dynasty":150,"author":2793,"museum":367,"description":2794,"tags":2795,"thumbUrl":2801,"material":100,"size":220,"collection":44,"collections":2802,"showCount":2803,"zanCount":603,"manualWeight":48,"mainColor":145},218432,"wan-guo-lai-chao-ban-hua-wang-jun-fu-218432","万国来朝版画","王君甫","祥云缭绕的宫殿之下，万国使者簇拥而至，构成喧腾热闹的朝贺图景。不同服饰的人物或携奇珍、或奏乐舞，神态各异却皆含恭谨；瑞兽与祥云交织，添几分祥瑞之气。线条工细流畅，设色明艳雅致，凝清代外交盛况于一纸。画面层次丰富而错落有致，人物繁而不乱，每处细节——使者的异域衣冠、手中珍玩器物，皆藏对盛世的期许与民间巧思。这幅图景不仅描摹外邦来朝盛景，更折射当时大国气象与文化自信，尽显传统版画的精湛技艺与深厚底蕴，让往昔荣光在纸间流转生辉。",[23,137,24,2796,2797,28,7,81,83,84,2602,2798,178,2183,216,344,2799,2800],"版画","木刻","车驾","异兽","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351671075a325173ad4852fd1aab53ec.jpg",[44],336,{"id":2805,"slug":2806,"title":2807,"dynasty":18,"author":1151,"museum":134,"description":2808,"tags":2809,"thumbUrl":2810,"material":100,"size":2811,"collection":44,"collections":2812,"showCount":2803,"zanCount":349,"manualWeight":48,"mainColor":49},215045,"tian-nv-xian-hua-tu-liu-song-nian-215045","天女献花图","本幅为「名绘集珍」册第十二幅，绘一菩萨身披璎珞，坐于华座之上，旁立比丘三人，均神情专注地看着文殊菩萨座前的天女与舍利弗。天女左手捧花盘，二指捻花，转身回首，比丘则双唇微启，二人似在对话，人物神情生动。此作原来可能为「维摩演教卷」的一部份，但因后半残损，重裱时，遂将其改为册页形式。",[23,137,24,25,194,83,7,28,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d05d689ac3a90b6dfe91a9190be229.jpg","26.6x51.4cm",[44],{"id":2814,"slug":2815,"title":2816,"dynasty":18,"author":191,"museum":245,"description":2817,"tags":2818,"thumbUrl":2821,"material":220,"size":220,"collection":237,"collections":2822,"showCount":2823,"zanCount":603,"manualWeight":48,"mainColor":49},223631,"lian-chi-shui-qin-tu-zhou-dui-zhou-yi-ming-223631","莲池水禽图轴对轴","此作设色清雅古拙，将夏末荷塘景致凝于绢素。粉荷或粲然盛放，或半含待绽，圆阔荷叶交错叠覆，枯荣相携，细茎缀着淡粉小花，晕开幽柔生机。\n\n两只白鹭一动一静，振翅者俯身掠空，尖喙直指水面，将俯冲的凌厉之势藏于翩然羽翼间；引颈者独立浅泽，昂首似作长鸣，意态娴静悠然。\n\n画笔工致写实，花叶勾勒细腻，禽鸟晕染层次丰盈，古雅的矿物色历经岁时依旧温润。静塘藏动意，野趣暗生，把江南水泽的澹澹诗意晕开在古绢之上，尽显清寂悠然的雅致意趣。",[23,137,24,25,155,28,7,706,248,249,2819,651,2820,178,1707],"莲","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab72c6cd475fe4f0cd76844911ed7c4.jpg",[237],334,{"id":2825,"slug":2826,"title":75,"dynasty":150,"author":2827,"museum":134,"description":2828,"tags":2829,"thumbUrl":2836,"material":67,"size":2837,"collection":44,"collections":2838,"showCount":2839,"zanCount":711,"manualWeight":48,"mainColor":49},222686,"qing-ming-shang-he-tu-sun-hu-222686","孙祜","此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n“清院本”《清明上河图》开卷是远山、宽阔河面，柳林田畦、童手挑夫，比“明本”娶亲队伍，人数更多，色彩更鲜艳，场面也更热闹。“清院本”戏台上下也比“明本”规模大，用木柱基座搭建的席棚戏台上，演员表演认真，观众在蒙蒙细雨中翘首欣赏，观众身份不同，神态也各异。一片早春田园欢乐景象。离席台稍远处：文人模样男子站在高凳上，拈须而观，仆人高举雨伞为他遮雨；河畔船夫坐在船头船顶观看；女子足不出户却携子爬到屋顶远看；树上、戏台支架杆上及台后都有观众，凝神而视。河面拉船纤夫、赶猪牵牛放羊倌、骑驴抬轿推车赶车者，挑夫贩夫、打铁卖茶，好个热闹。\n在去“虹桥”的河两岸，人流不息。河北侧的禁军演武场，旌旗招展，骑兵飞奔，比“明本”更壮观。“清院本”的“虹桥”是一座石材拱桥，桥上和桥头的地面有明显的石料接缝。河面大船行驶，“虹桥”右侧停泊着正装卸的商船，左侧有高悬龙旗的官船。桥上两边排列着四十多个前后带沿边的店铺，比“明本”数量更多更整齐有序。桥头，吃喝的、说书的、看相的、修脚的、议价的，形象生动。临近城门，还有女子在走索表演。\n接下来是城楼，“清院本”的城楼，和“明本”城楼格局相似，都绘有长长城墙，不似“宋本”只有城楼没有城墙。“清院本”城楼为重檐歇山，加腰檐和擎檐柱，红柱、绿沿、黑瓦，雕梁画栋，城墙也比“明本”更宽。“清院本”“明本”的入城门比较相似，陆门和水门并列，均有瓮城。\n“清院本”的城内，有成片房屋建筑，路北首处房屋和“明本”相同，都是公所衙门。“清院本”和“明本”画面在城内“U”字形处，都有显赫的府邸，“明本”是“学士”“世登两府”，“清院本”则是“圣书”“状元及第”。“清院本”府邸，牌楼后是三进宅院，还有一座观波楼和一座桥亭，长堤横跨湖塘。庭院中楼台、亭桥、水榭环湖而建，园内假山、湖石藤萝架、绿树、桃花融合相配，别具一格。比“明本”更显富贵。\n“明本”和“清院本”与染坊相邻处，都绘有一座富丽堂皇的院落建筑，“明本”是高大粉墙、楼阁长廊、雕梁画栋。“清院本”是“虎皮”石墙、庭院深处有灰砖高楼、顶部塔形装饰物，似乎带有阿拉伯风格；湖水碧波荡漾、卷棚歇山顶楼阁、各色亭阁、游廊环绕、假山耸立、嘉木成林、桃花盛开、仕女荡秋千；院墙东门外有马夫、轿夫等待主顾。如此豪华之建筑，尽显主人地位不凡。\n城内街道上人声鼎沸，多种车辆络绎不绝。各行商贩神态各异。另外，出现“宋本”和“明本”只有药店诊所，“清院本”出现古医科的分支的咒禁科诊所。“清院本”还增添了踏青、表演、戏剧、猴戏、特技、擂台等明清时代的特殊风俗，画面较“宋本”和“明本”更加丰富多彩。\n画作至接近皇家御苑处是一码头，这是“宋本”“明本”所没有的。\n清院本清明上河图是按照各朝的仿本、集各家所长之作品，再加上明清时代特殊风俗，如踏青、表演等等娱乐活动，因此增加了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，画的事物繁多，虽然失去了宋代古制，却是研究明清之际社会风俗不可缺的材料。\n由于西洋画风的影响，街道房舍，均以透视原理作画，并有西式建筑列置其中。此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n作品以长卷形式，采用散点透视构图法，生动记录了清初中国城市生活的面貌。虽然并不是宋朝原作，但一定程度上也反映了明清时期人们的生活，具有很高的历史价值和艺术价值。\n全画使用了除花鸟画以外的许多画科的技法，如人物马用工笔设色、山水树石系用青绿曲法、建筑舟船用界田法、浮云流水用白描曲法，总的来看，该图属于工笔画。画家们用局部近似焦点透视、整体属于散点透视的取景方法展现了18世纪的以苏州城为主要特色的城市风貌该图的总体布局系陈枚的思路，十分紧凑，全无拖沓之嫌，画中高潮送起，将动态的高潮与静态的高潮巧妙地结合起来，一浪高过一浪，即充满节奏感、又戒除单调重复，富有戏剧性的艺术变化。如最早的动态小高潮是前段的娶亲活动，之后的静态小高湖是看戏活动。画中最热闹的大高潮是中段虹桥上下的人物与车船的活动，最清幽的静态大高潮是最后一段的皇家御苑。各高潮之间的过渡段均起到了视觉衔接、防止审美疲劳的作用。全卷宛如一曲交响乐，从曲调悠扬到渐渐亢奋，最后进入庄重和优雅的境界。\n全卷设色独具风格，色彩在柔和中显得主富而统用色较为简明，用笔颜具特色，润在天水，浓在林木，重在山石，红在木柱，鲜在佳丽，明在人物，艳在春色，稳在建筑。这是清宫院体高头大卷人物画风的基本特性。\n此画卷布局疏密、近远、简繁相间。全图对复杂的生活作了集中、生动的概括、以简练的笔法动静结合，再现了当时的汴京风貌，是艺术性与真实性的高度融合，为建筑、交通、车船制造、商业、饮食、医药、服饰、民俗等学科研究提供了可靠依据。在艺术手法上，画面以俯视角度摄取景物，场面宏伟，而众多人物、建筑等的安排有条不紊，结构严谨，人物形象生动传神。它有界画工整准确的优点，又充分发挥了半工半写人物画生动活泼的长处。此画卷用笔熟练，界画桥梁屋宇以及人物，无不精妙。设色用赭笔微加匀梁，自创新法而有雅澹之韵，为清院画中之佳作。",[23,7,28,81,26,2830,83,84,85,86,88,34,35,94,90,2831,2832,87,93,31,36,92,91,2833,2834,2835],"风俗","城郭","街道","自然景观","交通工具","市集场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba48e0062ff6d8804c1adc57bd629c2b.jpg","纵35．6厘米，横1152．8厘米",[44,45],333,{"id":2841,"slug":2842,"title":2843,"dynasty":76,"author":888,"museum":20,"description":2844,"tags":2845,"thumbUrl":2846,"material":40,"size":2847,"collection":44,"collections":2848,"showCount":2849,"zanCount":895,"manualWeight":48,"mainColor":49},222351,"wang-shu-gong-ji-tu-zheng-ben-tang-yin-222351","王蜀宫妓图正本","此图原名《孟蜀宫妓图》，俗称《四美图》，由明末汪砢玉《珊瑚網·画录》最早定名，沿用至今。近经专文考证，当改为《王蜀宫妓图》，描绘的是五代前蜀后主王衍的后宫故事。画面四个歌舞宫女正在整妆待君王召唤侍奉。她们头戴金莲花冠，身着云霞彩饰的道衣，面施胭脂，体貌丰润中不失娟秀，情态端庄而又娇媚。蜀后主王衍曾自制“甘州曲”歌，形容著道衣的宫妓妩媚之态：“画罗裙，能结束，称腰身。柳眉桃脸不胜春，薄媚足精神。可惜许，沦落在风尘。”唐寅创作此画，则旨主揭示前蜀后主王衍荒淫腐败的生活，寓有鲜明的讽喻之意。\n此图为唐寅人物画中工笔重彩一路画风的代表作品，显示出他在造型、用笔、设色等方面的高超技艺。仕女体态匀称优美，削肩狭背，柳眉樱髻，额、鼻、颔施以“三白”，既吸收了张萱、周昉创造的“唐妆”仕女造型特色，又体现出明代追求清秀娟美的审美风尚。四人交错而立，平稳有序，并通过微倾的头部、略弯的立姿和攀连的手臂，形成动态的多样变化和相互的紧密联系，加强了形象的丰富性和生动感。笔墨技巧近法杜堇，远宗唐人，衣纹作琴弦描，细劲流畅，富有弹性和质感，冠服纹饰描画尤见精工，细致入微。设色鲜明，既有浓淡、冷暖色彩的强烈对比，又有相近色泽的巧妙过渡和搭配，使整体色调丰富而又和谐，浓艳中兼具清雅。作品画风带有雅俗共赏的艺术特色。",[23,24,25,155,28,7,83,59,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6a69f4c7f9bc4763217d4951ac15c8.jpg","纵124.7厘米，横63.6厘米",[44,45],332,{"id":2851,"slug":2852,"title":2853,"dynasty":228,"author":2854,"museum":20,"description":2855,"tags":2856,"thumbUrl":2857,"material":424,"size":2858,"collection":182,"collections":2859,"showCount":2849,"zanCount":1769,"manualWeight":48,"mainColor":49},221858,"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[23,24,25,155,7,28,172,29,175,83,84,34,211,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[182,125],{"id":2861,"slug":2862,"title":2863,"dynasty":76,"author":77,"museum":463,"description":464,"tags":2864,"thumbUrl":2865,"material":100,"size":476,"collection":220,"collections":2866,"showCount":2867,"zanCount":48,"manualWeight":48,"mainColor":49},216363,"xi-xiang-ji-tu-ye-2-chou-ying-216363","西厢记图页-2",[24,25,519,7,28,83,112,85,86,29,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f417418f71dda24d7c8dff0d64502.jpg",[],331,{"id":2869,"slug":2870,"title":2871,"dynasty":150,"author":2872,"museum":134,"description":2873,"tags":2874,"thumbUrl":2875,"material":100,"size":220,"collection":45,"collections":2876,"showCount":2877,"zanCount":603,"manualWeight":48,"mainColor":145},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,137,24,25,26,7,28,82,83,84,85,86,34,113,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[45],329,{"id":2879,"slug":2880,"title":2881,"dynasty":76,"author":2450,"museum":434,"description":2882,"tags":2883,"thumbUrl":2885,"material":424,"size":2886,"collection":237,"collections":2887,"showCount":2888,"zanCount":943,"manualWeight":48,"mainColor":49},222080,"qiu-hua-jia-die-tu-wen-chu-222080","秋花蛱蝶图","赵文俶(1595-1634年)字端容，今苏州人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名“寒山草木昆虫状”，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。",[23,24,25,7,28,212,2268,2884,198,453],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336545c0cf2814e864937a1efd910257.jpg","纵105厘米，横67厘米",[237,45],328,{"id":2890,"slug":2891,"title":947,"dynasty":76,"author":2892,"museum":134,"description":2893,"tags":2894,"thumbUrl":2896,"material":496,"size":2897,"collection":182,"collections":2898,"showCount":2888,"zanCount":48,"manualWeight":48,"mainColor":49},221921,"tai-ping-chun-se-zhou-qian-gong-221921","钱贡","本幅画农家丰年度岁之情景:厅堂盆火高烧,儿童围炉展纸,一人搦管欲书;屋外寒梅怒放,群儿欢聚嬉戏,一老叟策杖行于桥上。画面上一派生机盎然的景象。",[23,155,7,28,83,84,85,286,92,211,1744,2895,34,35],"炉火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3fd06b089f3ed8156b696b2d89afe7.jpg","122cm ×49.8cm",[182,45],{"id":2900,"slug":2901,"title":2902,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":2904,"thumbUrl":2905,"material":1397,"size":1398,"collection":237,"collections":2906,"showCount":2907,"zanCount":1084,"manualWeight":48,"mainColor":145},239249,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239249","牡丹十六种册","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,25,519,28,7,212,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e4a8c5c08aea53092bfe51363d6ad0.jpg",[237,45],327,{"id":2909,"slug":2910,"title":2911,"dynasty":54,"author":2912,"museum":406,"description":2913,"tags":2914,"thumbUrl":2915,"material":67,"size":2916,"collection":44,"collections":2917,"showCount":2918,"zanCount":895,"manualWeight":48,"mainColor":49},221083,"gao-yi-tu-sun-wei-221083","高逸图","孙位","《高逸图》是孙位唯一存世的作品，也为目前屈指可数的几件唐代作品之一。画中表现的是魏晋时期著名的“竹林七贤”，目前画面仅剩四人，经考证是山涛、王戎、刘伶与阮籍。在技法上，孙位继承了顾恺之“劲紧连绵如吐丝”的行云流水的风格，但更加成熟。线条的变化更丰富，人物造型刻画更真实细致。《高逸图》著录于宋徽宗的《宣和画谱》里，画上钤印“宣和七玺”。作品的装裱保留了北宋的形式。",[23,24,25,26,28,83,159,927,7,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83ff393ed82ede490cdbdd60bca7d62.jpg","纵45.2厘米，横168.7厘米",[44,45],326,{"id":2920,"slug":2921,"title":1233,"dynasty":150,"author":260,"museum":20,"description":2922,"tags":2923,"thumbUrl":2925,"material":100,"size":2926,"collection":237,"collections":2927,"showCount":2928,"zanCount":895,"manualWeight":48,"mainColor":145},219111,"hua-niao-tu-lang-shi-ning-219111","此图笔法精工细腻，色调绚丽多彩，造型抽象生动，注重展现禽鸟翎毛的细腻、花叶的阴阳向背以及明暗层次的差异，具有鲜明的西洋花鸟写实画的色调。",[23,7,28,173,212,298,299,286,2924,409,453],"蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bf0edaaa3f25a2c4a60fa09e4aa741.jpg","纵63.7厘米，横32.3厘米",[237],323,{"id":2930,"slug":2931,"title":2932,"dynasty":18,"author":191,"museum":20,"description":2933,"tags":2934,"thumbUrl":2935,"material":855,"size":220,"collection":42,"collections":2936,"showCount":2937,"zanCount":1769,"manualWeight":48,"mainColor":697},214846,"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[23,24,25,855,28,7,283,172,284,173,83,35,34,211,1674,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[42],322,{"id":2939,"slug":2940,"title":2941,"dynasty":18,"author":191,"museum":406,"description":2942,"tags":2943,"thumbUrl":2945,"material":100,"size":2946,"collection":237,"collections":2947,"showCount":2948,"zanCount":895,"manualWeight":48,"mainColor":49},218540,"shu-kui-tu-yi-ming-218540","蜀葵图","这幅画描绘的是两枝蜀葵，枝头花开，粉红色和红色的花瓣清新娇艳，绿色的茎叶茂盛繁多。描绘细致工整，色彩丰富，墨线几乎看不到，着色漂亮，把花开的样子表现得淋漓尽致，令人陶醉。",[24,25,137,914,28,7,212,2944,62,612],"蜀葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409cefad89ff6783fe33bcc0e3b49c14.jpg","21.5x22.9cm",[237],320,{"id":2950,"slug":2951,"title":2952,"dynasty":150,"author":260,"museum":20,"description":2953,"tags":2954,"thumbUrl":2958,"material":627,"size":2959,"collection":44,"collections":2960,"showCount":2961,"zanCount":1769,"manualWeight":48,"mainColor":49},222724,"qian-long-huang-di-chao-fu-xiang-lang-shi-ning-222724","乾隆皇帝朝服像","画中的乾隆皇帝慈眉善目，端庄大方，透露着一国之君的威严。郎世宁所画的肖像画，都有着造型准确，并富有立体感的特点;同时为了适合东方民族的欣赏习惯与审美心理，在画面光线的运用上，一律取正面光照，从而使人物面部五官都处在明亮部位，观之非常清晰。\n该作品是根据清代宫廷礼制的需要，每位皇帝、皇后以及主要的嫔妃都画有穿戴整齐的朝服像，这些作品华丽工细，格式相似。此幅即是郎世宁为乾隆皇帝所画的朝服像。",[23,28,2955,7,83,341,2956,784,785,2957,63,216],"油画","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea3a27eb07c0608d6f69acd2f551812.jpg","52cmx35cm",[44],318,{"id":2963,"slug":2964,"title":2965,"dynasty":18,"author":2966,"museum":134,"description":2967,"tags":2968,"thumbUrl":2971,"material":2373,"size":2972,"collection":182,"collections":2973,"showCount":2961,"zanCount":1769,"manualWeight":48,"mainColor":145},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","李公麟","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,137,26,283,7,855,29,211,34,1319,83,2969,85,86,2970,624,1797],"洞穴","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg","28.9x364.6",[182],{"id":2975,"slug":2976,"title":2977,"dynasty":150,"author":542,"museum":78,"description":2978,"tags":2979,"thumbUrl":2980,"material":235,"size":546,"collection":220,"collections":2981,"showCount":2982,"zanCount":1769,"manualWeight":48,"mainColor":145},216252,"jing-fu-si-qi-dong-jing-tu-6-qian-wei-cheng-216252","景敷四气冬景图-6","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n不妨叶面擎微雪，雅称花心射晓晖。独恨品题遗陆羽，仍慙色相号杨妃。钤印：会心不远、徳充符",[24,25,7,28,173,212,520,596,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e691047e218ba377e5b36caab22cef1.jpg",[],317,{"id":2984,"slug":2985,"title":2986,"dynasty":150,"author":433,"museum":367,"description":2987,"tags":2988,"thumbUrl":2989,"material":100,"size":2990,"collection":44,"collections":2991,"showCount":2992,"zanCount":48,"manualWeight":48,"mainColor":145},218338,"shen-xian-gu-shi-tu-ce-leng-mei-218338","神仙故事图册","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,7,28,519,83,313,211,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3701c85d791f88982b1c29414dcbb054.jpg","38x42",[44],314,{"id":2994,"slug":2995,"title":2996,"dynasty":150,"author":2997,"museum":20,"description":2998,"tags":2999,"thumbUrl":3001,"material":2373,"size":3002,"collection":237,"collections":3003,"showCount":2992,"zanCount":943,"manualWeight":48,"mainColor":145},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","王时敏","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[23,137,24,25,155,855,28,212,7,409,198,596,1092,3000],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","100.8x40.1",[237],{"id":3005,"slug":3006,"title":3007,"dynasty":76,"author":2369,"museum":20,"description":3008,"tags":3009,"thumbUrl":3011,"material":3012,"size":3013,"collection":237,"collections":3014,"showCount":3015,"zanCount":943,"manualWeight":48,"mainColor":49},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,137,24,25,155,7,28,212,3010,689,178,159,653,409,1091],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[237,45],312,{"id":3017,"slug":3018,"title":3019,"dynasty":150,"author":191,"museum":245,"description":3020,"tags":3021,"thumbUrl":3026,"material":220,"size":220,"collection":220,"collections":3027,"showCount":3028,"zanCount":1084,"manualWeight":48,"mainColor":49},234383,"yin-zhen-shi-er-yue-jing-xing-le-tu-dan-pian-yi-ming-234383","胤禛十二月景行乐图单片","满池荷田田铺展，夏意随水汽漫过错落亭台。凭栏雅士闲赏菡萏，凌波画舫载着清趣缓行，庭院间仆从往来忙活，处处漾着松弛鲜活的意趣。\n设色柔润明丽，界画工细严整，人物情态鲜活入微，将消夏雅集的日常铺陈开来。笔底藏着雅致心思，把盛夏水乡的闲逸日常勾勒得细腻生动，尽显升平安逸的烟火意趣。",[24,81,28,7,83,84,248,86,3022,92,3023,3024,3025],"画舫","消夏","闲逸","雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F508d9ece16a44c74182184ecba879fff.jpg",[],311,{"id":3030,"slug":3031,"title":3032,"dynasty":18,"author":1140,"museum":1129,"description":3033,"tags":3034,"thumbUrl":3036,"material":424,"size":3037,"collection":42,"collections":3038,"showCount":3028,"zanCount":1020,"manualWeight":48,"mainColor":49},221184,"mei-hua-shuang-que-tu-ma-lin-221184","梅花双雀图","《中国历代精品梅兰竹菊(卷一):梅卷》介绍了梅花具有顶风凌雪、先春而发的高尚品格，颇可象征刚正忠贞、横而不流的人格，因此也就自然成为文人骚客反复咏叹的对象。\n在中国文学史上，对梅花的咏赞往往都寓托了作者深远的精神内涵，如陈同甫之诗云“疏枝横玉瘦，小萼点珠光”，是赞美梅花的清贵高古；陆放翁云“当年走马锦城西，曾为梅花醉似泥”，表达出对梅的喜爱之情已臻如痴如醉之境；谢枋得在抗元失败后，隐居武夷，作诗称“几生修得到梅花”，更是以梅花坚贞的品格自期。\n同样，在中国画创作中，梅也是一个重要的题材，它与兰、竹、菊合称为“四君子”。\n并逐渐成为中国花鸟画基本功训练的重要内容，尤其是在意笔花鸟画兴起之后，但凡有成就者，几乎没有不擅长梅、兰、竹、菊的。",[23,24,25,137,519,7,28,212,637,3035],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49bdbf46314f2ed5ab10d9d675a4e7b.jpg","纵28厘米，横29厘米",[42,237,45],{"id":3040,"slug":3041,"title":3042,"dynasty":150,"author":2092,"museum":134,"description":3043,"tags":3044,"thumbUrl":3049,"material":235,"size":3050,"collection":44,"collections":3051,"showCount":3052,"zanCount":776,"manualWeight":48,"mainColor":145},218296,"mo-song-ren-wen-hui-tu-yao-wen-han-218296","摹宋人文会图","唐太宗为秦王时，府中蓄有十八谋士，登基后，特命阎立本画十八学士图，宋以后常以文人雅集的方式呈现。姚文瀚此卷绘于乾隆十七年，上有嵇璜楷书〈十八学士赞〉，与院藏〈刘松年唐十八学士图〉构图相同，设色明净秀丽，用笔精细挺劲，人物开面略施阴影，具立体感，对各类家具器物的细节描绘考究。姚文瀚（生于西元一七一三－卒年不详），北京人。号濯亭。乾隆时供奉内廷，工佛道人物。",[24,26,82,7,28,83,3045,1744,1068,60,3046,3047,3048,730],"文人雅集","书房","文房四宝","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57554a37f077ed634f35ee35c88231b9.jpg","46.8x196.1cm",[44],309,{"id":3054,"slug":3055,"title":309,"dynasty":132,"author":295,"museum":463,"description":3056,"tags":3057,"thumbUrl":3059,"material":100,"size":3060,"collection":237,"collections":3061,"showCount":3062,"zanCount":1020,"manualWeight":48,"mainColor":145},220047,"bai-niao-chao-feng-tu-xu-xi-220047","构图开阔舒展，右侧古木荫翳，灵凤独立石上，翎羽妍丽夺目。百禽翔游栖止各尽其态，或振翅穿林、或浮波弄影、或凝立枝梢，品类繁富灵动鲜活。汀渚花木错落，烟水澹澹，赤日悬于淼茫之上，晕开融融暖意。\n\n设色古雅温润，勾勒兼具工致与野逸，将百朝灵瑞的吉庆之意，融于苍润悠然的自然之境，既见写生妙趣，亦托太平祥瑞之思，淡远雅致，余韵悠长。",[23,137,24,26,7,28,212,178,213,60,34,315,211,86,3058],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dbcbe061745c03e7b73b79d4def2e8.jpg","34.3 x 236.9",[237],308,{"id":3064,"slug":3065,"title":3066,"dynasty":18,"author":191,"museum":134,"description":1174,"tags":3067,"thumbUrl":1176,"material":100,"size":220,"collection":42,"collections":3068,"showCount":3069,"zanCount":943,"manualWeight":48,"mainColor":49},220213,"mei-hua-shan-cha-tu-yi-ming-220213","梅花山茶图",[23,24,25,7,28,212,637,520,299],[42,237],307,{"id":3071,"slug":3072,"title":3073,"dynasty":76,"author":77,"museum":463,"description":464,"tags":3074,"thumbUrl":3075,"material":100,"size":476,"collection":220,"collections":3076,"showCount":3069,"zanCount":1769,"manualWeight":48,"mainColor":49},216364,"xi-xiang-ji-tu-ye-4-chou-ying-216364","西厢记图页-4",[24,7,28,81,519,59,83,92,1028,1841,85,62,783,214,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9370c6adea01f708797c2450551be843.jpg",[],{"id":3078,"slug":3079,"title":3080,"dynasty":150,"author":191,"museum":230,"description":3081,"tags":3082,"thumbUrl":3085,"material":100,"size":3086,"collection":237,"collections":3087,"showCount":3088,"zanCount":48,"manualWeight":48,"mainColor":49},216676,"long-bao-tu-yi-ming-216676","龙豹图","龙豹图是清朝时期的一幅画作，画中描绘了龙和豹子在一起的情景。这幅画通常被认为是一幅象征着力量、权威和尊严的画作。它的作者不详，因此被称为佚名。这幅画通常被收藏在博物馆或私人收藏家手中。",[23,137,24,25,28,7,855,341,3083,582,211,3084,37],"豹","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cbd30f1bf0791c595f6774cc1116d.jpg","87x82cm",[237],306,{"id":3090,"slug":3091,"title":3092,"dynasty":18,"author":806,"museum":245,"description":3093,"tags":3094,"thumbUrl":3095,"material":220,"size":220,"collection":220,"collections":3096,"showCount":3097,"zanCount":943,"manualWeight":48,"mainColor":49},227973,"guo-shu-lai-qin-tu-ye-lin-chun-227973","果熟来禽图页","设色清润柔和，工细写实，将秋日枝桠间的小景勾勒得鲜活灵动。饱满的海棠果粉白晕染如凝脂，带着熟透的温润质感，叶片或舒展或蜷曲，虫蚀残痕都细腻入微，尽摹自然生趣。娇俏禽鸟侧身栖于细枝，绒毛细密蓬松，圆目灵动似在细听秋声，姿态悠然闲适。\n\n全画无繁复构图，却以精妙笔触将蔬果禽鸟的神韵刻画尽致，把寻常秋意酿成隽永诗意，于方寸间尽显雅致空灵的田园意趣，融写生工致与文人雅韵为一体，静逸鲜活，尽显独有的雅致审美。",[23,137,24,25,519,7,28,212,454,1091,653,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a8fd70bb850781c10c7ecb22f43905.jpg",[],304,{"id":3099,"slug":3100,"title":3101,"dynasty":150,"author":310,"museum":1065,"description":3102,"tags":3103,"thumbUrl":3104,"material":3105,"size":3106,"collection":237,"collections":3107,"showCount":3097,"zanCount":895,"manualWeight":48,"mainColor":49},223166,"he-tang-yuan-yang-tu-shen-quan-223166","荷塘鸳鸯图","夏天，荷花风光，荷叶盛开，老嫩枯萎，随风飘扬，荷花枝叶高高突出。\n荷花或盛开，或抱以待放。 淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[23,24,25,137,155,7,28,212,248,249,1435,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[237,45],{"id":3109,"slug":3110,"title":3111,"dynasty":863,"author":1661,"museum":1662,"description":3112,"tags":3113,"thumbUrl":3115,"material":220,"size":220,"collection":220,"collections":3116,"showCount":3097,"zanCount":48,"manualWeight":48,"mainColor":145},220497,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-ji-le-pu-sa-si-shen-xiang-zhang-da-qian-220497","张大千临摹敦煌壁画初唐伎乐菩萨四身像","四身伎乐菩萨环立莲台，眉目温婉静穆，气韵安然祥和。诸人各执乐器，或按排箫、或拨琵琶、或持拍板、或摇铃鼓，神态各殊却皆浸在丝竹雅韵之中。\n\n画作敷色浓烈妍丽，朱砂石青交相辉映，承袭初唐敦煌壁画的富丽厚重。铁线描勾勒衣袂婉转流动，晕染沉实细腻，精准复刻出古壁画的庙堂质感，将盛唐伎乐的雍容之美凝于绢上，让千年敦煌的梵音雅乐跃然眼前。",[23,24,25,82,1539,7,28,194,83,3114,138],"菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203948a899df0e2d4917b8f5c73e4421.jpg",[],{"id":3118,"slug":3119,"title":3120,"dynasty":18,"author":191,"museum":134,"description":3121,"tags":3122,"thumbUrl":3124,"material":100,"size":220,"collection":44,"collections":3125,"showCount":3097,"zanCount":1020,"manualWeight":48,"mainColor":1833},216983,"yu-lan-guan-yin-tu-yi-ming-216983","鱼篮观音图","鱼篮观音图是宋代佚名画家的作品，其中描绘了观音菩萨手持鱼篮的场景。观音菩萨是佛教中的一位观世音，被认为能够拯救苦难的众生。鱼篮观音图通常被用作冥想祈福的辅助图片，并且也被认为具有招财进宝的功效。这幅画作品流传至今，并且在许多佛教寺庙中都可以看到。",[24,25,137,155,194,83,7,28,173,3123],"鱼篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6e54f1af2dc55c1055152c478f86c4.jpg",[44],{"id":3127,"slug":3128,"title":3129,"dynasty":150,"author":592,"museum":134,"description":1870,"tags":3130,"thumbUrl":3131,"material":100,"size":1873,"collection":220,"collections":3132,"showCount":3133,"zanCount":1020,"manualWeight":48,"mainColor":145},214304,"mu-dan-ce-2-yun-shou-ping-214304","牡丹册-2",[137,24,25,7,28,519,212,298,2257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c4f68ab97598a41c207c5c41a0ddba.jpg",[],302,{"id":3135,"slug":3136,"title":3137,"dynasty":150,"author":592,"museum":245,"description":3138,"tags":3139,"thumbUrl":3140,"material":1397,"size":1398,"collection":220,"collections":3141,"showCount":3142,"zanCount":943,"manualWeight":48,"mainColor":145},290526,"hua-hui-zhou-yun-shou-ping-290526","花卉轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[137,24,25,155,28,7,212,298,300,1068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060eeb289a0dda1a06b4c11a188ac1f7.jpg",[],301,{"id":3144,"slug":3145,"title":3146,"dynasty":228,"author":229,"museum":134,"description":3147,"tags":3148,"thumbUrl":3154,"material":67,"size":3155,"collection":42,"collections":3156,"showCount":3142,"zanCount":711,"manualWeight":48,"mainColor":145},221708,"hua-cao-mi-feng-qian-xuan-221708","花草蜜蜂","早晨披衣晨起，气温已升高，只有些微凉意。春天所剩只有两日，人生恨不得能大醉千百场。芳草随着渐行渐远的旅人连绵到天涯，柳丝百丈，也比不得旅人的愁闷那么长。花花朵朵已经没有了，但还有几分春色被蜜蜂藏起了蜂蜜里。\n烂醉恨无千百场：苏轼有词：百年里，浑教是醉，三万六千场。\n这首诗作于嘉泰元年（1201），作者时在山阴。",[23,24,137,28,7,315,556,197,212,25,3149,3150,3151,409,452,211,2800,3152,3153,3084,508],"设色花鸟","工笔花鸟","元代绘画","工笔设色","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd7df0fb4cdfe9a940d95305f727f55.jpg","26.6x23cm",[42,237,45],{"id":3158,"slug":3159,"title":2944,"dynasty":18,"author":191,"museum":134,"description":3160,"tags":3161,"thumbUrl":3162,"material":100,"size":220,"collection":237,"collections":3163,"showCount":3142,"zanCount":711,"manualWeight":48,"mainColor":145},216104,"shu-kui-yi-ming-216104","画面中蜀葵悄然绽放，花瓣层叠如轻绡，粉晕从瓣尖漫向花心，似沾了晨露的柔媚。叶片脉络纤细如丝，墨绿间晕染浅碧，藏着风过的微颤。枝干斜逸有致，不带刻意雕琢的匠气，却透着自然生长的生趣。古雅的底色衬得花姿愈发清雅，每一笔都凝着宋人对万物的细腻观照——不追繁复，只撷取蜀葵最动人的一瞬，以温润笔触将娇妍与静谧锁于方寸。无炫技的华丽，唯有物态的鲜活与文人的雅致，恰是宋画“以形写神”的韵味：似能嗅到淡香浮动，触到叶片微凉，让观者于静穆中感知生命的鲜活。",[23,1424,24,137,914,7,28,212,2944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b86c98450e1da128f001588b205adf.jpg",[237],{"id":3165,"slug":3166,"title":3167,"dynasty":76,"author":77,"museum":134,"description":3168,"tags":3169,"thumbUrl":3171,"material":952,"size":3172,"collection":237,"collections":3173,"showCount":3174,"zanCount":1020,"manualWeight":48,"mainColor":145},222200,"shui-xian-la-mei-zhou-chou-ying-222200","水仙蜡梅轴","本幅画水仙两本，蜡梅一枝，以勾勒填彩法成之，着意无多，而清丽雅澹之韵，盎然绢素，乃仇英之精者，款书十五字，出项元汴手笔。此图另存一幅，现流传于国外。",[23,24,25,155,7,28,212,690,3170,173],"蜡梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16cf1c9094975ec18e1391b0dc61eace.jpg","195.8x44厘米",[237,45],300,{"id":3176,"slug":3177,"title":3178,"dynasty":54,"author":55,"museum":463,"description":3179,"tags":3180,"thumbUrl":3182,"material":100,"size":3183,"collection":44,"collections":3184,"showCount":3174,"zanCount":349,"manualWeight":48,"mainColor":49},219044,"nei-ren-shuang-lu-tu-zhou-fang-219044","内人双陆图","该画描绘了唐装贵族妇女以棋戏消遣的生活。图中间为二盛装贵族妇女对坐行棋，左右有亲近观棋，侍婢应候。",[23,24,25,26,7,28,83,59,63,3181],"博弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc354550c4476e6ac7c7f894f8e14d12.jpg","纵30.7厘米，横64.4厘米",[44],{"id":3186,"slug":3187,"title":1193,"dynasty":132,"author":1194,"museum":367,"description":3188,"tags":3189,"thumbUrl":3191,"m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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[137,24,25,83,28,7,927,1674,3334,471],"斗茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd293d5a9de59641719f10323cd0d6158.jpg",[],281,{"id":3339,"slug":3340,"title":3341,"dynasty":18,"author":1275,"museum":134,"description":3342,"tags":3343,"thumbUrl":3345,"material":424,"size":3346,"collection":42,"collections":3347,"showCount":3348,"zanCount":1020,"manualWeight":48,"mainColor":49},221513,"yi-yun-xian-xing-tu-ye-ma-yuan-221513","倚云仙杏图页","此图绘一枝杏花轻灵润秀、堆粉砌霜之姿。用笔精细工整，设色淡雅，气韵生动。",[23,24,25,519,28,7,212,3344,173],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691f620dcbbcac861019cd1c8d7a54bc.jpg","25.8X27.3",[42,237,45],280,{"id":3350,"slug":3351,"title":3352,"dynasty":76,"author":77,"museum":56,"description":3353,"tags":3354,"thumbUrl":3355,"material":424,"size":3356,"collection":182,"collections":3357,"showCount":3358,"zanCount":603,"manualWeight":48,"mainColor":49},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,25,137,26,27,28,7,29,85,86,84,176,156,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 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色的工笔重彩人物画作品。图中的李世民、禄东赞等人应当带有肖像画特征。",[23,137,24,25,26,28,83,7,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c10940154a8e201509088f4822cf0.jpg","纵38.5厘米，横129厘米",[125,1478],262,{"id":3564,"slug":3565,"title":1893,"dynasty":190,"author":1894,"museum":245,"description":1895,"tags":3566,"thumbUrl":3568,"material":1397,"size":1398,"collection":220,"collections":3569,"showCount":3562,"zanCount":1769,"manualWeight":48,"mainColor":145},231826,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231826",[23,24,25,155,7,28,83,59,344,65,173,637,3567],"花瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a3c759e4883325592f1223e2b185251.jpg",[],{"id":3571,"slug":3572,"title":3573,"dynasty":76,"author":1013,"museum":20,"description":3574,"tags":3575,"thumbUrl":3576,"material":235,"size":3577,"collection":237,"collections":3578,"showCount":3562,"zanCount":274,"manualWeight":48,"mainColor":49},219121,"yu-tang-zhi-lan-tu-sun-ke-hong-219121","玉堂芝兰图","图绘拳石之旁，玉兰、兰花竞相开放。花、石的技法均极工细，玉兰花用粉多次轻染分出浓淡，再用工笔勾勒烘托出花瓣的肥大白嫩。枝干双勾填色并施以皴擦，极富质感。山石的技法是先以淡墨勾出轮廓，然后用浓淡墨多次晕染，逐渐加深，直至显现出丰富的前后层次及石体的细腻。山石玲珑剔透而刚硬，玉兰和兰花​​​​​​​婀娜多姿而柔媚。本幅设色明丽清亮，层次细密，变化微妙，典雅端丽，属作者绘画山水之作品。",[23,24,25,155,7,28,212,300,822,211,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb622e2d3d8f5803168e0fa600c2995e.jpg","横59厘米，纵135厘米",[237],{"id":3580,"slug":3581,"title":3582,"dynasty":150,"author":516,"museum":134,"description":517,"tags":3583,"thumbUrl":3585,"material":235,"size":524,"collection":220,"collections":3586,"showCount":3587,"zanCount":711,"manualWeight":48,"mainColor":145},219875,"er-shi-si-fan-hua-xin-feng-tu-hai-tang-yu-qiang-wei-dong-gao-219875","二十四番花信风图-海棠与蔷薇",[137,24,25,519,28,7,284,915,3584,409],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff95e31a5963a95c6acd4e4eb61d50b.jpg",[],261,{"id":3589,"slug":3590,"title":3591,"dynasty":2704,"author":191,"museum":406,"description":3592,"tags":3593,"thumbUrl":3594,"material":100,"size":3595,"collection":44,"collections":3596,"showCount":3597,"zanCount":48,"manualWeight":48,"mainColor":49},218466,"qing-you-zun-zhe-xiang-yi-ming-218466","庆有尊者像","尊者面容褶皱如苍松凝霜，双目微阖藏禅意，嘴角轻扬带几分超脱。衣袍纹样交错，黑白菱形间暗纹隐现，披帛垂落如流云卷舒，线条勾勒如铁线银钩，织物质感触手可及。手中竹杖纹理斑驳，似经岁月摩挲；脚边小兽蜷卧，双目半睁若伴若侍，憨态中藏灵韵。画面设色沉雅古朴，褐蓝主调衬出人物沉静，细节处见匠心——衣纹转折流畅，毛发蓬松柔软，杖身肌理分明，皆细腻传神。整体姿态闲适，静中蕴动，禅意与生活气息交融，尽显古画的厚重与灵动，观之如临禅境，心自澄明。",[24,25,194,7,28,83,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13174c2841fec92e686a973c4f67e315.jpg","127.3x62.8",[44],258,{"id":3599,"slug":3600,"title":3601,"dynasty":76,"author":191,"museum":78,"description":3602,"tags":3603,"thumbUrl":3604,"material":100,"size":3605,"collection":44,"collections":3606,"showCount":3597,"zanCount":1084,"manualWeight":48,"mainColor":49},218278,"ba-xian-tu-dui-fu-yi-ming-218278","八仙图对幅","这幅画的主角是吕洞宾、韩湘子、张果老和何仙姑。其中，张果老倒骑毛驴，而南极则骑着仙鹤漂浮在空中。",[137,24,25,155,28,7,83,178,216,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4836b19ce99b951c2196e0bdabb8b82a.jpg","139.7x78.7",[44],{"id":3608,"slug":3609,"title":3610,"dynasty":18,"author":326,"museum":3611,"description":3612,"tags":3613,"thumbUrl":3614,"material":424,"size":3615,"collection":42,"collections":3616,"showCount":3617,"zanCount":1084,"manualWeight":48,"mainColor":49},221335,"tao-jiu-tu-zhao-ji-221335","桃鸠图","日本民间","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。\n此图桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。流传日本已久，长期以来被作为徽宗的真迹，受到良好的保护，现在是日本的国宝级文物。\n本图有“大观丁亥御笔天”的题记，丁亥年是1107年，这一年徽宗26岁，是画家早期的作品。\n从这幅画来看，描法纤细，傅染鲜润，与徐熙（五代）的水墨画要素和徐崇嗣的色彩为中心的没骨法花鸟比较接近。总的看来，色彩的表现给人以强烈的视觉感受，但仔细观察就会发现细部的轮廓线仍然非常明确。\n此册页在传为宋徽宗的作品中比较特别。桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽。传其为画家二十六岁时的作品。\n赵佶观察事物细致入微，这幅《桃鸠图》，画中的桃花与枝叶勾勒精工，栖息在树上的鸠鸟动态自然而生动，用生漆点睛，富有神采，整体色彩华丽，洋溢着悠扬的神韵，此画被誉为折枝花鸟画的典型。",[23,24,25,212,7,28,174,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19169b4c41d86b4cbbb34e3bf4af4222.jpg","28.5X27厘米",[42,237,45],257,{"id":3619,"slug":3620,"title":3621,"dynasty":150,"author":3622,"museum":20,"description":3623,"tags":3624,"thumbUrl":3626,"material":235,"size":3627,"collection":237,"collections":3628,"showCount":3617,"zanCount":1020,"manualWeight":48,"mainColor":145},220380,"hong-lian-lv-zao-tu-tang-guang-220380","红莲绿藻图","唐炗","此图是唐炗（音光）与恽寿平联手为祝王翚40岁诞辰所作。唐炗绘荷花，恽寿平画荇藻。荷花与荇藻皆采用了没骨法，透露出轻盈飘逸与湿润的感觉。微风中，仿佛莲叶与荷花的清香淡淡而来。水塘里荇藻则用一笔点画。状物形神兼备，风格清新淡雅。",[23,24,25,155,7,28,212,248,249,3625],"绿藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce64fa92c044787704676762c01daae.jpg","纵135.7厘米，横59厘米",[237,45],{"id":3630,"slug":3631,"title":3632,"dynasty":132,"author":1194,"museum":367,"description":3633,"tags":3634,"thumbUrl":3636,"material":100,"size":220,"collection":44,"collections":3637,"showCount":3617,"zanCount":1020,"manualWeight":48,"mainColor":49},219500,"juan-xiu-tu-zhou-wen-ju-219500","倦绣图","此作用柔婉工笔铺陈深闺日常，床帏内仕女斜倚，眉宇间带着绣作之余的慵懒倦怠，身侧侍女静立侍奉。左侧侍者端物缓步而来，右侧仕女凭桌伫立，似在打理妆台。边角案几陈设着盆栽器物，衬出闺阁的雅致静谧。设色清淡古雅，线条匀细柔丽，将深阁女子闲散松弛的情态刻画入微，晕染出日常闺中休憩的幽柔氛围，藏着平淡雅致的闺中诗意。",[23,137,24,25,26,7,28,83,59,3635,198,1104,173],"床帐","https:\u002F\u002Foss.chuangq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求高古奇骇的古拙之美，在色墨运用上崇尚淡彩的雅丽之美。\n他笔下的女性人物形象既具备了明清 时期女性纤弱清秀的时代气质，又通过“诗画相生”的艺术表达体现出中国文人画家的精神特质， 对后世女性人物形象塑造，乃至人物画的发展都产生了深刻影响。",[23,24,7,28,83,59,159,637,63,65,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebe8c0fcec8f056598c9426139fbf89.jpg","纵173.5横95.3厘米",[44,45],249,{"id":3696,"slug":3697,"title":3698,"dynasty":150,"author":592,"museum":134,"description":1870,"tags":3699,"thumbUrl":3700,"material":100,"size":1873,"collection":220,"collections":3701,"showCount":3702,"zanCount":1769,"manualWeight":48,"mainColor":145},214301,"mu-dan-ce-4-yun-shou-ping-214301","牡丹册-4",[24,137,519,28,7,212,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62788f0a49f55255a39ab916f86585a7.jpg",[],248,{"id":3704,"slug":3705,"title":3706,"dynasty":150,"author":3707,"museum":245,"description":3708,"tags":3709,"thumbUrl":3710,"material":220,"size":220,"collection":220,"collections":3711,"showCount":3712,"zanCount":943,"manualWeight":48,"mainColor":49},229041,"xi-huang-shang-ren-hua-niao-tu-ce-pu-ru-229041","羲皇上人花鸟图册","溥儒","此作为工笔小帧，虬曲梅枝缀满初绽花苞，粉白柔瓣轻晕胭脂色，深浅层叠间漾开融融春意。\n\n一只禽鸟振翅俯身，羽色晕染细腻写实，翅尖微张、爪部轻抬，将探花一瞬的灵动意态定格。古旧绢底晕开沉褐底色，愈发衬得花鸟鲜活清隽。笔致秀逸温婉，既得院体花鸟精工之妙，又裹挟文人画疏澹雅逸，将春日闲趣藏入古雅底色，把禽鸟探春的幽恬意韵勾勒入微，淡而不寡，静中生趣。",[24,25,519,28,7,212,178,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88269039c0cef8c5cb52798546158853.jpg",[],247,{"id":3714,"slug":3715,"title":3716,"dynasty":863,"author":1661,"museum":3717,"description":3718,"tags":3719,"thumbUrl":3720,"material":220,"size":220,"collection":220,"collections":3721,"showCount":3712,"zanCount":1084,"manualWeight":48,"mainColor":145},220502,"xiu-zhu-shi-nv-zhang-da-qian-220502","修竹仕女","龙美术馆西岸馆","画面里仕女黛眉轻蹙，腮凝新荔，手托香腮作沉思状，发髻簪花，温婉娴静的闺怨之态呼之欲出。衣纹勾勒秀劲舒展，青蓝衣袍配朱红卷草纹饰，浓丽雅致，尽显东方女性柔婉仪态。\n\n左侧修竹以淡墨写意挥就，笔致清劲挺秀，竹影扶疏间衬出仕女的幽寂怅惘，柔媚人物与清逸修竹相映成趣，将传统工笔的细腻与写意的简淡融为一体，晕染出清远雅致的古典意境，把闺中女子的缱绻情思藏进幽篁清影之中。",[24,28,7,83,59,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548ed3ebfb17697cfd9745a87b1dadc6.jpg",[],{"id":3723,"slug":3724,"title":969,"dynasty":150,"author":3725,"museum":20,"description":3726,"tags":3727,"thumbUrl":3728,"material":100,"size":3729,"collection":45,"collections":3730,"showCount":3712,"zanCount":1084,"manualWeight":48,"mainColor":49},219090,"han-gong-chun-xiao-tu-yuan-yao-219090","袁耀","此图名为汉代宫殿之景，实际上表现的是作者想象中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其活泼的蕴藉不仅展现出石质的厚实，同时加强了场景的动势，与工整精巧的殿宇楼阁形成粗放与华美、活泼与整洁的鲜明对比。",[24,137,81,28,7,29,84,85,86,176,34,211,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa2766d2513288b462cece660309b69.jpg","纵250厘米，横162厘米",[45],{"id":3732,"slug":3733,"title":3734,"dynasty":150,"author":516,"museum":134,"description":517,"tags":3735,"thumbUrl":3740,"material":235,"size":524,"collection":220,"collections":3741,"showCount":3742,"zanCount":1769,"manualWeight":48,"mainColor":145},219872,"er-shi-si-fan-hua-xin-feng-tu-mu-dan-yu-liu-hua-dong-gao-219872","二十四番花信风图-牡丹与柳花",[137,24,25,519,28,7,298,3736,3737,3738,597,3739],"柳花","花枝","柳叶","题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09a9f572835af6efd69b2ef51c9f79a.jpg",[],246,{"id":3744,"slug":3745,"title":3746,"dynasty":76,"author":3747,"museum":20,"description":3748,"tags":3749,"thumbUrl":3751,"material":100,"size":3752,"collection":182,"collections":3753,"showCount":3754,"zanCount":1020,"manualWeight":48,"mainColor":49},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","戴进","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,24,137,25,155,28,172,29,83,927,211,772,2653,86,176,3750,7],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[182],244,{"id":3756,"slug":3757,"title":3758,"dynasty":76,"author":888,"museum":152,"description":3759,"tags":3760,"thumbUrl":3763,"material":3764,"size":3765,"collection":182,"collections":3766,"showCount":3767,"zanCount":1020,"manualWeight":48,"mainColor":49},222352,"qiu-shan-gao-shi-tu-juan-tang-yin-222352","秋山高士图卷","绘童子拱手侍立，圆凳旁之地面，铺设有席，席上散置纸笔书砚等物。中部三人相对畅谈，背景画树石苔草，运笔条畅有力，浓淡交织，极为精采。幅末设石桌，上置瓶炉，另一卷垂挂在地。",[23,24,26,28,29,172,7,3761,3762,175,86,176,34,211,35],"秋山","高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2acdbaf836a548b0d716e2dd10782a.jpg","纸本，水墨","23.7＊352cm",[182,45],242,{"id":3769,"slug":3770,"title":3771,"dynasty":18,"author":1040,"museum":20,"description":3772,"tags":3773,"thumbUrl":3776,"material":40,"size":3777,"collection":220,"collections":3778,"showCount":3767,"zanCount":711,"manualWeight":48,"mainColor":49},221491,"huo-lang-tu-quan-juan-li-song-221491","货郎图全卷","古吴轩出版社主编的《李嵩货郎图》是《历代名画宣纸高清大图》系列之一，采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负地弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。\n画家借助货郎这一题材表现了南宋市井生活的一个侧面，是民俗学家不可多得的珍贵史料。",[23,137,24,25,26,7,283,28,83,1744,3774,3775,216,34,2709,61,173],"妇女","货担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff486169f4887c2ad43e56c3c00718926.jpg","纵25.5厘米，横70.4厘米",[],{"id":3780,"slug":3781,"title":3782,"dynasty":18,"author":2693,"museum":134,"description":3783,"tags":3784,"thumbUrl":3785,"material":100,"size":3786,"collection":42,"collections":3787,"showCount":3767,"zanCount":1084,"manualWeight":48,"mainColor":49},219216,"zhu-ou-tu-cui-bai-219216","竹鸥图","本幅画翠竹、芦草随风摇曳，水波也起伏荡漾，白鹭一只立于水中，则是放低了姿势，采逆向迎风、涉水而行的姿态，动静之间，形成均衡画幅的力量。幅上虽有崔白二字款，若和院藏崔白的「双喜图」相比较，在刻划花鸟的情态、掌握自然环境中一刹那生动的情景，两者的风味相类；但在用笔方面，崔白的笔墨线条，无论粗细柔劲、浓淡干湿、起伏顿挫，都为表现物象的质感、动态，随物变化。而在「竹鸥图」中，画白鸥的线条细挺，画竹子、芦草和坡石则是时有断续、富有弹性的线条，与院藏宋人「翠竹翎毛」中那种起伏变化明显，偏向于南宋风格的线条较为接近，因此本幅虽非崔白所作，但属宋代受崔白影响的作品之一。崔白（活动于11世纪后半），字子西，濠梁（今安徽凤阳）人。宋仁宗时（1022-1062）画院学艺。举凡道释、人物、禽兽、花卉无不精绝，尤擅长于花竹、山兔、枯荷、水凫、野雁之类。",[23,24,212,28,7,156,868,1797,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de49481fe805ec1b96d44ffd87decef.jpg","101.3x49.9cm",[42,237,45],{"id":3789,"slug":3790,"title":3791,"dynasty":150,"author":191,"museum":367,"description":3792,"tags":3793,"thumbUrl":3795,"material":235,"size":220,"collection":237,"collections":3796,"showCount":3767,"zanCount":711,"manualWeight":48,"mainColor":49},216736,"hu-tu-yi-ming-216736","虎图","猛虎蹲踞于地，双目炯炯凝视前方，蓄势待发的姿态暗藏山林王者的威慑。墨线勾勒斑纹，浓淡交错间晕染出毛发的细腻层次，笔触兼具工致与雄健。背景丛草以简笔写意，虚实相生中凸显虎的主体地位。整体色调古朴沉敛，虽佚名却见娴熟笔墨功底，将虎的威猛与沉静之态融于画面，尽显清代兽畜画写实与传神的特质，静中寓动，气韵生动。",[24,25,251,28,7,3794,582,655],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93c5c1a0ef67b390978f2e35d1221fd.jpg",[237],{"id":3798,"slug":3799,"title":3800,"dynasty":18,"author":191,"museum":134,"description":3801,"tags":3802,"thumbUrl":3804,"material":3805,"size":3806,"collection":220,"collections":3807,"showCount":3808,"zanCount":943,"manualWeight":48,"mainColor":1833},223425,"song-ren-xi-mao-tu-zhou-yi-ming-223425","宋人戏猫图轴","本幅传为宋人所画，在庭园一角嬉戏的大小猫咪一共八只。画栏围绕，锦障高下相连，使园中彷佛别有洞天。群猫嬉戏於湖石、竹丛、桃树、牡丹之间，或静或动，生态盎然。画家观察入微，以瞳孔缩成线状的猫眼，点出了这场猫戏的时序，应该是日光强烈的日间。",[23,137,24,155,28,7,581,582,409,313,3048,158,3803],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ef8f54780c0c3ec5ce4fde928d99fc.jpg","轴 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用笔圆劲，轩昂洒落，画风秀润处过于乃父。 ​",[23,24,25,7,28,212,823,178,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e0f84a2d62c330aaeff7eb6de993c8.jpg",[42,237,45],{"id":3883,"slug":3884,"title":3885,"dynasty":18,"author":1838,"museum":134,"description":3886,"tags":3887,"thumbUrl":3888,"material":67,"size":3889,"collection":42,"collections":3890,"showCount":3891,"zanCount":1020,"manualWeight":48,"mainColor":49},221355,"qiu-ting-xi-ying-tu-su-han-chen-221355","秋庭戏婴图","该画作描绘了在秋天的一富家庭院里，姐弟俩正围着螺钿漆墩玩着自制的小玩具的情景。急躁的小弟弟全神贯注，衣领滑下了肩，显示出他顽皮、好动的外向性格；细心的姐姐耐心地照看着小弟弟，她性情沉静温和。两个孩子玩得着了迷，似乎忘记了刚才发生的一切。在他们身后的另一张螺钿漆墩上，杂乱地摆放着其他玩具，可能刚才他们曾在花丛边追打嬉闹过。 [2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[23,24,137,25,155,7,28,83,1744,159,492,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[42,237,44,45],237,{"id":3893,"slug":3894,"title":3895,"dynasty":150,"author":516,"museum":134,"description":517,"tags":3896,"thumbUrl":3898,"material":235,"size":524,"collection":220,"collections":3899,"showCount":3891,"zanCount":1084,"manualWeight":48,"mainColor":145},219881,"er-shi-si-fan-hua-xin-feng-tu-ying-tao-yu-ying-chun-dong-gao-219881","二十四番花信风图-樱桃与迎春",[24,25,519,28,7,212,2499,3897,653,1092,596,284,173],"迎春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbb4551c35981c815d28fac994eeefc.jpg",[],{"id":3901,"slug":3902,"title":3903,"dynasty":150,"author":516,"museum":134,"description":517,"tags":3904,"thumbUrl":3906,"material":235,"size":524,"collection":220,"collections":3907,"showCount":3891,"zanCount":1084,"manualWeight":48,"mainColor":145},219874,"er-shi-si-fan-hua-xin-feng-tu-mu-lan-yu-li-hua-dong-gao-219874","二十四番花信风图-木兰与梨花",[24,25,519,28,7,212,3905,1258,597,1092,284,173],"木兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7899210f12729525c86d211dedbbfe.jpg",[],{"id":3909,"slug":3910,"title":3911,"dynasty":150,"author":3912,"museum":367,"description":3913,"tags":3914,"thumbUrl":3915,"material":100,"size":3916,"collection":44,"collections":3917,"showCount":3891,"zanCount":1769,"manualWeight":48,"mainColor":145},218354,"shi-nv-tu-ce-li-ting-xun-218354","仕女图册","李廷薰","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为秦贤和花痴，是一位罕见的艺术家，或者说是广东人。",[24,25,519,28,7,83,59,344,1787,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a6f600a83e3dfe0c423dd1fddcced.jpg","19x28",[44],{"id":3919,"slug":3920,"title":3921,"dynasty":18,"author":3922,"museum":134,"description":3923,"tags":3924,"thumbUrl":3926,"material":100,"size":3927,"collection":237,"collections":3928,"showCount":3929,"zanCount":603,"manualWeight":48,"mainColor":145},215112,"xie-sheng-ying-su-tu-ai-xuan-215112","写生罂粟图","艾宣","此册共二十六开，包含许多精采的宋元册页。各别的作品曾经过南宋内府、十四世纪安徽收藏家吴志淳、十五世纪黔宁王沐璘、十七世纪山东收藏家张笃行等人收藏过。裱装形式上，除了少数有对题者，左边空白对幅皆以明代流行的金粟山藏经纸裱装之，并有风格统一的题签。配合裱纸上梁清标（一六二○－一六九一） 的收藏印，及比较院藏其他梁清标之题签，推测此册可能为梁清标所集，显示明末清初所理解的宋元画。",[23,137,24,25,914,7,28,212,3925,409,453],"罂粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad36eaac06d8f20b835860208428a2.jpg","23.7x24.3cm",[237],236,{"id":3931,"slug":3932,"title":3933,"dynasty":18,"author":806,"museum":134,"description":3934,"tags":3935,"thumbUrl":3937,"material":100,"size":3938,"collection":237,"collections":3939,"showCount":3940,"zanCount":1769,"manualWeight":48,"mainColor":145},218939,"xie-sheng-yu-zan-tu-lin-chun-218939","写生玉簪图","这幅画描绘了玉针花站在一个妃子身上，其香味吸引了蝴蝶飞来飞去。花和蝴蝶都是先用细墨线勾勒，然后上色的。白色的花瓣和绿色的叶子使芬芳的花朵更加美丽。在左下角的叶子下面可以看到林椿的签名。",[23,24,137,914,7,28,450,212,3936,411],"玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbcbd3282deb21b8a8f4f226720bde.jpg","23.6x24.6",[237],235,{"id":3942,"slug":3943,"title":3505,"dynasty":18,"author":191,"museum":230,"description":3944,"tags":3945,"thumbUrl":3946,"material":100,"size":3947,"collection":237,"collections":3948,"showCount":3940,"zanCount":616,"manualWeight":48,"mainColor":49},218554,"ping-hua-tu-yi-ming-218554","画的是一个中心中空的竹制花篮，篮子里有几朵菊花和木槿。芙蓉花瓣由内而外由紫变淡红，大方得体，而粉色和白色的菊花层层叠叠，繁而不乱，画面不大，却诠释了秋天的多种色彩。",[24,25,28,7,212,689,158,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92ea7ee08022ee5215dc568f32303c97.jpg","21x19cm",[237],{"id":3950,"slug":3951,"title":3952,"dynasty":76,"author":3953,"museum":245,"description":3954,"tags":3955,"thumbUrl":3956,"material":220,"size":220,"collection":237,"collections":3957,"showCount":3958,"zanCount":1020,"manualWeight":48,"mainColor":49},238075,"song-he-ling-xiao-zhou-wang-wei-lie-238075","松鹤凌霄轴","王维烈","王维烈字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。\n王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[24,25,155,7,28,212,1068,60,211,409,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd83a04879ea1f1f5ef9c405bd25556.jpg",[237],233,{"id":3960,"slug":3961,"title":3962,"dynasty":76,"author":191,"museum":78,"description":3963,"tags":3964,"thumbUrl":3965,"material":100,"size":3966,"collection":44,"collections":3967,"showCount":3958,"zanCount":1084,"manualWeight":48,"mainColor":49},218402,"song-zi-guan-yin-tu-yi-ming-218402","送子观音图","这块板子描绘了头戴王冠的观音菩萨，上面有一尊变身佛。他戴着耳环、项链、手镯、手链和腰部装饰品来装饰他的整个身体。她的面容庄重、慈悲、平和，她抱着一个用珠宝装饰的美丽孩子。观音菩萨坐在狮子座上，左脚上有一朵莲花。幸运的男孩在狮子的尾巴上拜了菩萨。笔触精准，色彩优雅，画风接近丁云鹏。",[23,677,24,25,155,194,7,28,83,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d664823f52846dd02b7281134809d0.jpg","120.7x60.3",[44],{"id":3969,"slug":3970,"title":3971,"dynasty":54,"author":3972,"museum":245,"description":3973,"tags":3974,"thumbUrl":3975,"material":100,"size":220,"collection":220,"collections":3976,"showCount":3958,"zanCount":1769,"manualWeight":48,"mainColor":49},218279,"ren-wang-pu-sa-xiang-xin-cheng-218279","仁王菩萨像","辛澄","仁王坐在一朵大莲花中，身穿朱红色袈裟，头戴圆形光环，气势磅礴，神情庄重。",[24,25,155,194,28,7,83,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ba5477aefb276616bf3deed39787a7.jpg",[],{"id":3978,"slug":3979,"title":3980,"dynasty":76,"author":2369,"museum":230,"description":3981,"tags":3982,"thumbUrl":3984,"material":100,"size":3985,"collection":237,"collections":3986,"showCount":3987,"zanCount":1020,"manualWeight":48,"mainColor":49},218918,"fu-gui-rong-hua-tu-lv-ji-218918","富贵荣华图","吕纪，花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。",[23,137,24,25,155,7,28,67,677,212,741,3983,2257,597],"白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcefe113f289970b9573cff9f3de1c6.jpg","49x25cm",[237],232,{"id":3989,"slug":3990,"title":3991,"dynasty":76,"author":888,"museum":367,"description":3992,"tags":3993,"thumbUrl":3994,"material":100,"size":3995,"collection":44,"collections":3996,"showCount":3997,"zanCount":895,"manualWeight":48,"mainColor":49},219530,"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[23,24,137,155,28,7,83,59,313,409,158,63,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[44],231,{"id":3999,"slug":4000,"title":4001,"dynasty":18,"author":4002,"museum":245,"description":4003,"tags":4004,"thumbUrl":4006,"material":1397,"size":1398,"collection":220,"collections":4007,"showCount":4008,"zanCount":48,"manualWeight":48,"mainColor":49},288951,"shu-kui-you-mao-tu-mao-yi-288951","蜀葵游猫图","毛益","毛益（公元12世纪）〔南宋〕昆山（今属江苏）人，一作沛（今江苏沛县）人，生卒年不详。孝宗乾道(1165-1173)间画院待诏，工画翎毛、花竹，尤能渲染，似欲飞鸣。",[24,7,28,581,2944,690,4005],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe227c92570f7b4b3865f10d691aa7f.jpg",[],230,{"id":4010,"slug":4011,"title":4012,"dynasty":150,"author":542,"museum":78,"description":4013,"tags":4014,"thumbUrl":4015,"material":235,"size":546,"collection":220,"collections":4016,"showCount":4008,"zanCount":1769,"manualWeight":48,"mainColor":145},216248,"jing-fu-si-qi-dong-jing-tu-9-qian-wei-cheng-216248","景敷四气冬景图-9","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n小艇沿溪兴致高，南枝春信屡相遭。还应傲得襄阳孟，何必探寻踏雪劳。钤印：得佳趣",[24,25,28,7,212,62,596,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b750876d25321dfc423a8a3b9d04e.jpg",[],{"id":4018,"slug":4019,"title":4020,"dynasty":150,"author":447,"museum":134,"description":448,"tags":4021,"thumbUrl":4024,"material":235,"size":220,"collection":220,"collections":4025,"showCount":4026,"zanCount":1769,"manualWeight":48,"mainColor":145},214862,"xie-sheng-ce-3-hua-yan-214862","写生册-3",[24,25,519,855,28,7,4022,4023,582,468,596,454,173],"松鼠","鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F479bc39b276eae548d0b8940a600d55f.jpg",[],228,{"id":4028,"slug":4029,"title":4030,"dynasty":228,"author":3524,"museum":20,"description":4031,"tags":4032,"thumbUrl":4033,"material":4034,"size":4035,"collection":44,"collections":4036,"showCount":4037,"zanCount":711,"manualWeight":48,"mainColor":145},220829,"ren-qi-tu-zhao-meng-fu-220829","人骑图","本幅绘一戴官帽腰系玉带的红袍青年男子骑于马背之上，男子微有髭须，左手牵缰，右手持鞭，右脚轻踩马镫，神态优雅自足。马匹孔健有力，左前蹄微起，呈行进之势。画面布局、人物形象和马匹写实画法，都深受唐代画马图影响。",[23,24,25,26,28,7,83,112,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267dc888b93d2680f156c8524c0ca2da.jpg","纸本 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[1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[23,24,25,28,7,212,690,159,4242,173,284],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f14912099b74f3d5a6aa2685fc8db4.jpg",[],218,{"id":4247,"slug":4248,"title":4249,"dynasty":76,"author":77,"museum":463,"description":464,"tags":4250,"thumbUrl":4252,"material":100,"size":476,"collection":220,"collections":4253,"showCount":4245,"zanCount":48,"manualWeight":48,"mainColor":49},216361,"xi-xiang-ji-tu-ye-3-chou-ying-216361","西厢记图页-3",[24,7,28,81,4185,83,59,4251,84,34,248,1707,214,92],"男子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8160bed9793b09c0f8860270b639bc52.jpg",[],{"id":4255,"slug":4256,"title":4257,"dynasty":18,"author":2693,"museum":20,"description":4258,"tags":4259,"thumbUrl":4260,"material":40,"size":4261,"collection":42,"collections":4262,"showCount":4263,"zanCount":711,"manualWeight":48,"mainColor":49},221445,"han-que-tu-juan-cui-bai-221445","寒雀图卷","本幅署款“崔白”二字，有清高宗弘历题诗一首。卷后明文彭题跋。\n图绘枯木及9只麻雀飞动或栖止其间的情景。9只小雀依飞鸣动静之态散落树间，自然形成三组。构图巧妙，布局得当，在动与静之间既有分割又有联系。\n作者以干湿兼用的墨色、松动灵活的笔法绘麻雀及树干。麻雀用笔干细，敷色清淡。树木枝干多用干墨皴擦晕染而成，无刻划痕迹，明显区别于黄筌画派花鸟画的创作技法。尽管此图在形势、风格上还较为工致优雅，但在北宋花鸟画中占主导地位的平和、富丽的特色，在崔白的作品中已不见，反映了北宋宫廷花鸟画在审美感受上进入了新的阶段。崔白新创的花鸟画改变了流传百年的黄筌画派的一统格局，推动了宋代花鸟画的发展。",[23,137,24,25,26,212,7,178,1499,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c651618a9378a8dc159bf2a2ceb5781.jpg","纵25.5厘米，横101.4厘米",[42,237,45],217,{"id":4265,"slug":4266,"title":4267,"dynasty":18,"author":1151,"museum":230,"description":4268,"tags":4269,"thumbUrl":4270,"material":100,"size":220,"collection":182,"collections":4271,"showCount":4263,"zanCount":1769,"manualWeight":48,"mainColor":49},218580,"he-ting-xiao-xia-tu-liu-song-nian-218580","荷亭消夏图","竹影筛风，亭榭浮凉。几竿修竹环绕临水敞亭，亭中素衣人或凭栏观荷，或闲坐展卷，墨香混着竹韵漫开。下方溪流清浅，碎石错落，一士人曳杖徐行，童子负物紧随，身影在树荫与水光间轻晃。山石以细皴晕染，纹理温润如触；竹叶用劲挺笔触勾勒，层次疏密有致。\n\n风过竹梢的沙沙声，溪水叮咚的回响，与亭中人的静默相映，滤去夏日燥热，只留清幽雅致。笔墨细腻却不繁缛，每处细节都藏着宋时文人的闲适——仿佛能隔着千年，触到竹间那缕凉意，窥见他们把暑气酿成诗意的模样。整幅画如同一盏冰茶，入口清润，余味悠长。",[24,137,25,155,7,172,29,83,176,156,86,211,34,624,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d87850a086dc74d33f9a716e43966.jpg",[182],{"id":4273,"slug":4274,"title":4275,"dynasty":76,"author":4276,"museum":134,"description":4277,"tags":4278,"thumbUrl":4279,"material":100,"size":4280,"collection":237,"collections":4281,"showCount":4263,"zanCount":1769,"manualWeight":48,"mainColor":49},216220,"fu-rong-bai-lu-tu-zheng-shi-216220","芙蓉白鹭图","郑石","郑石的《芙蓉白鹭图》是一幅著名的绢本花鸟画。这幅画描绘了一只芙蓉花和二只白鹭鸟，画面非常精致优美。这幅画是郑石最著名的作品之一，被认为是明朝花鸟画的代表作之一。郑石是明朝时期著名的画家，他的画风清新自然，画面精致细腻，对后世艺术家产生了很大的影响。",[23,677,24,25,155,7,28,212,492,868,1028,409,1091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[237],{"id":4283,"slug":4284,"title":4285,"dynasty":76,"author":1640,"museum":245,"description":4286,"tags":4287,"thumbUrl":4289,"material":1397,"size":1398,"collection":220,"collections":4290,"showCount":4291,"zanCount":274,"manualWeight":48,"mainColor":49},287613,"si-shi-hua-niao-tu-zhou-zhi-mian-287613","四时花鸟图","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,24,26,28,7,212,637,156,298,492,174,178,1091,409,4288],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,{"id":4293,"slug":4294,"title":4295,"dynasty":150,"author":516,"museum":134,"description":517,"tags":4296,"thumbUrl":4298,"material":235,"size":524,"collection":220,"collections":4299,"showCount":4291,"zanCount":1084,"manualWeight":48,"mainColor":145},219878,"er-shi-si-fan-hua-xin-feng-tu-li-hua-yu-xing-hua-dong-gao-219878","二十四番花信风图-李花与杏花",[24,28,7,284,173,4297,1695,159,653,1092],"李花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985d944013ffd751b9d943e22980248d.jpg",[],{"id":4301,"slug":4302,"title":780,"dynasty":18,"author":354,"museum":245,"description":355,"tags":4303,"thumbUrl":4309,"material":1397,"size":1398,"collection":220,"collections":4310,"showCount":4311,"zanCount":1084,"manualWeight":48,"mainColor":49},288520,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-288520",[23,24,137,25,26,4304,7,28,1395,83,1103,4305,4306,4307,4308,284,173],"人物画","乐舞","听乐","观舞","休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde43b93040d57e342c67c97ee8336009.jpg",[],214,{"id":4313,"slug":4314,"title":4315,"dynasty":54,"author":4316,"museum":230,"description":4317,"tags":4318,"thumbUrl":4320,"material":67,"size":4321,"collection":220,"collections":4322,"showCount":4311,"zanCount":48,"manualWeight":48,"mainColor":49},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","王维","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,24,25,26,28,27,81,7,29,84,85,83,211,34,91,4319],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","纵194.5cm，横60.5cm",[],{"id":4324,"slug":4325,"title":4326,"dynasty":18,"author":326,"museum":3836,"description":4327,"tags":4328,"thumbUrl":4329,"material":100,"size":4330,"collection":237,"collections":4331,"showCount":4311,"zanCount":1769,"manualWeight":48,"mainColor":49},219138,"mei-que-tu-zhao-ji-219138","梅雀图","枝桠遒劲，凝着早春的清寒，几簇白梅点缀其间，花瓣薄如蝉翼，花蕊纤毫毕现，似有暗香浮动。一只麻雀敛翅而立，羽色层次分明，从褐棕的背羽到浅黄的腹羽，过渡细腻如天然；墨点的眼珠炯炯有神，喙尖微挑，仿佛正细嗅梅香。古雅的底色衬得生灵与花枝愈发鲜活，笔意工致却不刻板，枝桠的顿挫、羽毛的丝缕、花瓣的晕染，皆藏着对自然的敬畏与细腻感知。静穆中透着生机，仿佛能听见风过枝桠的轻响，看见雀儿转颈的灵动，将转瞬的雅致凝为永恒，尽显笔墨间的生趣与文人清逸。",[23,24,137,25,7,28,914,212,637,3035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51843aee1c6bdffdd691d63bea2ddcbd.jpg","23.0×24.2cm",[237],{"id":4333,"slug":4334,"title":4335,"dynasty":150,"author":4336,"museum":20,"description":4337,"tags":4338,"thumbUrl":4339,"material":220,"size":220,"collection":44,"collections":4340,"showCount":4341,"zanCount":1020,"manualWeight":48,"mainColor":145},237110,"shi-nv-ce-cui-wei-237110","仕女册","崔鏏","工人物、仕女，擅写真，宗法宫廷画家焦秉贞，略得西洋晕染技法，画面颇有古风，布局饱满，用笔细致，有宋院体画之风，带有受郎世宁画风影响的痕迹。描染净丽，格调婉约。",[24,28,7,519,83,59,158,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbff89887b390659e0e35416e22bea5.jpg",[44],213,{"id":4343,"slug":4344,"title":1055,"dynasty":150,"author":4345,"museum":245,"description":4346,"tags":4347,"thumbUrl":4349,"material":220,"size":220,"collection":220,"collections":4350,"showCount":4341,"zanCount":1084,"manualWeight":48,"mainColor":145},224110,"lian-hua-mian-yi-224110","绵亿","此作用色秀润柔和，盛放的主莲粉瓣晕染自然，金蕊明媚醒目，一旁花苞半敛，晕出柔婉的粉紫色泽。阔大荷叶以石绿晕绘，叶脉勾勒纤细清晰，舒展间带着水润生机。淡蓝碎花与纤柔细草错落点缀，衬出莲的清雅出尘。\n\n笔致轻柔秀雅，工细却无板滞之感，将莲的高洁清灵与柔媚娇美相融，淡素底色晕开夏日水畔的清和诗意，把水生花卉的静雅之美凝于尺幅，观之仿佛能嗅到浅淡荷香，尽显娴静悠远的文人意趣。",[24,25,212,7,28,248,249,2545,4348],"小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25226c11c993dc0c02d852defc77b4af.jpg",[],{"id":4352,"slug":4353,"title":4354,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":4356,"thumbUrl":4358,"material":1397,"size":1398,"collection":220,"collections":4359,"showCount":4360,"zanCount":895,"manualWeight":48,"mainColor":145},226215,"ku-zhu-shi-zao-jing-yi-ming-226215","窟主室藻井","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[137,24,1053,194,7,28,341,409,4357],"卷草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9523ba3f8abaac0ac6ff9edee579d76d.jpg",[],212,{"id":4362,"slug":4363,"title":4364,"dynasty":150,"author":516,"museum":134,"description":517,"tags":4365,"thumbUrl":4367,"material":235,"size":524,"collection":220,"collections":4368,"showCount":4360,"zanCount":943,"manualWeight":48,"mainColor":145},219882,"er-shi-si-fan-hua-xin-feng-tu-shan-fan-yu-lan-hua-dong-gao-219882","二十四番花信风图-山矾与兰花",[24,25,519,28,7,409,4366,489,197,284,173],"山矾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa300fd27248f7782bac6bc2754e41f05.jpg",[],{"id":4370,"slug":4371,"title":4372,"dynasty":150,"author":4373,"museum":134,"description":4374,"tags":4375,"thumbUrl":4376,"material":235,"size":4377,"collection":44,"collections":4378,"showCount":4360,"zanCount":1020,"manualWeight":48,"mainColor":145},216965,"ba-jiao-mei-ren-tu-xu-liang-biao-216965","芭蕉美人图","许良标","在这幅画中，一位面容姣好的少女坐在湖边的岩石上，手里拿着一把扇子，望着栏杆外的荷花田，陷入沉思。景物清晰，色彩鲜艳，构图上远近透视标准，色彩刻意镂空，可能是受到西方绘画的影响。",[24,137,25,28,7,59,466,248,176,85,159,214,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[44],{"id":4380,"slug":4381,"title":4382,"dynasty":76,"author":77,"museum":463,"description":464,"tags":4383,"thumbUrl":4384,"material":100,"size":476,"collection":220,"collections":4385,"showCount":4360,"zanCount":48,"manualWeight":48,"mainColor":49},216357,"xi-xiang-ji-tu-ye-7-chou-ying-216357","西厢记图页-7",[137,24,25,28,7,83,84,86,59,156,92,34,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2092ecff88dc4c51551d1cdeaf7c87.jpg",[],{"id":4387,"slug":4388,"title":4389,"dynasty":76,"author":77,"museum":134,"description":4390,"tags":4391,"thumbUrl":4392,"material":100,"size":4393,"collection":45,"collections":4394,"showCount":4395,"zanCount":1769,"manualWeight":48,"mainColor":49},219318,"zhou-jin-tang-zhou-chou-ying-219318","昼锦堂轴","〈相州昼锦堂记〉是北宋欧阳修（1007-1072）为宰相韩琦（1008-1075） 所做的一篇记文，指出衣锦还乡本人之常情，且古今所同，而韩琦却建昼锦堂以为鉴诫，并未因富贵而夸耀，高节值得推崇。本幅又是所谓文征明书写题记，仇英绘图的合璧之作。苏州作坊多有这种形式的制作，优雅又具文化意涵，用来馈赠为官或显贵者，颇为恰当。画幅左方先图绘韩琦轻骑简装于返乡途中，接着越过山岭，则见到回到家中创建有昼锦堂的韩琦，正素衣凭几而坐。形成中国叙事画中所谓异时同图的表现方式。画家同时也采取了象征的手法，堂前的松树与堂",[24,137,25,155,7,27,28,29,84,83,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb655f51653565200dcbc0cddbe1a8ccf.jpg","192.7x 96.3",[45],211,{"id":4397,"slug":4398,"title":4399,"dynasty":18,"author":663,"museum":406,"description":4400,"tags":4401,"thumbUrl":4402,"material":100,"size":4403,"collection":237,"collections":4404,"showCount":4395,"zanCount":1020,"manualWeight":48,"mainColor":49},219174,"zhu-que-tu-wu-bing-219174","竹雀图","此图写棘竹丛生，枝桠横出，枝头有一雀鸟正在悠闲地啄理羽毛。整幅场景景物聚于下侧，可见南宋构图新风的影响。图中竹枝用双钩技法，雀鸟在用颜色没骨画出后，重点部位再用墨线描出。这是吴炳传世佳作中的代表作。",[137,24,25,7,28,212,156,3035,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20dd6d46a7daa28f75681df47a33321.jpg","纵25厘米，横25厘米",[237],{"id":4406,"slug":4407,"title":4408,"dynasty":76,"author":77,"museum":463,"description":464,"tags":4409,"thumbUrl":4410,"material":100,"size":476,"collection":220,"collections":4411,"showCount":4395,"zanCount":48,"manualWeight":48,"mainColor":49},216359,"xi-xiang-ji-tu-ye-6-chou-ying-216359","西厢记图页-6",[7,28,519,83,59,84,86,248,156,176,214,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F770eb7aaf55cdeaa8253a4ef63c814ab.jpg",[],{"id":4413,"slug":4414,"title":4415,"dynasty":18,"author":2693,"museum":245,"description":4416,"tags":4417,"thumbUrl":4418,"material":1397,"size":1398,"collection":220,"collections":4419,"showCount":4420,"zanCount":1769,"manualWeight":48,"mainColor":49},287576,"shuang-xi-tu-cui-bai-287576","双喜图","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[23,137,24,155,7,28,178,1568,1499,212,582,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg",[],210,{"id":4422,"slug":4423,"title":4424,"dynasty":54,"author":4316,"museum":3452,"description":4425,"tags":4426,"thumbUrl":4428,"material":28,"size":220,"collection":44,"collections":4429,"showCount":4420,"zanCount":1084,"manualWeight":48,"mainColor":49},219167,"fu-sheng-shou-jing-tu-wang-wei-219167","伏生授经图","图中的伏生席地而坐，手持书卷，形象清矍苍老，似正在认真讲授。其神情专注而和蔼。从画中清晰可见伏生额头的皱纹与身体上极为松弛的皮肤，非常生动而且真实的描绘出了当时伏生的身体状况。通过画面中对伏生神态的描绘，可以想象，年老的伏生讲授《尚书》时的吃力。此图线描手法高超，敷色清雅。",[23,24,25,83,7,283,28,173,4427,63],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8701c647bf80d991a6ae005e685af840.jpg",[44],{"id":4431,"slug":4432,"title":4433,"dynasty":132,"author":1194,"museum":134,"description":4434,"tags":4435,"thumbUrl":4436,"material":100,"size":4437,"collection":44,"collections":4438,"showCount":4420,"zanCount":1020,"manualWeight":48,"mainColor":49},218748,"an-le-tu-zhou-wen-ju-218748","按乐图","这幅画描绘了一个有朱色栅栏的花园，花台上种着一棵香蕉，还有五个宫廷女乐师，两个人吹着竹笛和琵琶，一个人打着拍板，另外两个人拍着手掌，很和谐。这些人物身着双球，头发上插着半月形的角梳，每个人都有丰富的色彩。笔触如丝，色彩优雅明快，说明是南宋绘画大师所作。女士坐在朱漆的方凳上，藤椅的轮廓在两腿之间巧妙地形成了壶门的形状，腿和脚则是如意的形状。院子里的帐篷，有一根长长的横杆，两端都有灵芝花的装饰，上面挂着带有莲花图案的锦缎披风。",[23,24,914,7,28,83,59,138,159,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0036a38b7087699df87e8643fee08137.jpg","23.5x24.9",[44],{"id":4440,"slug":4441,"title":4442,"dynasty":150,"author":900,"museum":901,"description":902,"tags":4443,"thumbUrl":4444,"material":100,"size":905,"collection":220,"collections":4445,"showCount":4420,"zanCount":1769,"manualWeight":48,"mainColor":49},214431,"xiu-yuan-tu-4-wang-yun-214431","休园图-4",[23,24,28,81,7,84,34,211,199,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a073b1ae9a5267aafce1e667ff03c94.jpg",[],{"id":4447,"slug":4448,"title":4449,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":4450,"thumbUrl":4453,"material":28,"size":1081,"collection":220,"collections":4454,"showCount":4455,"zanCount":48,"manualWeight":48,"mainColor":145},222729,"xian-e-chang-chun-tu-bai-he-hua-yu-chan-zhi-mu-dan-lang-shi-ning-222729","仙萼长春图百合花与缠枝牡丹",[23,137,24,25,7,28,212,688,4451,4452,453],"牡丹花","缠枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c55f7cc59936a5a8c9fc4611e39f44d.jpg",[],209,{"id":4457,"slug":4458,"title":4459,"dynasty":150,"author":516,"museum":134,"description":517,"tags":4460,"thumbUrl":4463,"material":235,"size":524,"collection":220,"collections":4464,"showCount":4455,"zanCount":1769,"manualWeight":48,"mainColor":145},219876,"er-shi-si-fan-hua-xin-feng-tu-tang-di-yu-tao-hua-dong-gao-219876","二十四番花信风图-棠棣与桃花",[137,24,25,519,28,7,212,4461,174,4462,284,173],"棠棣","花信风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba17cf988bcf65f78a9b85775c599311.jpg",[],{"id":4466,"slug":4467,"title":4468,"dynasty":150,"author":310,"museum":406,"description":4469,"tags":4470,"thumbUrl":4471,"material":235,"size":4472,"collection":237,"collections":4473,"showCount":4455,"zanCount":1769,"manualWeight":48,"mainColor":145},218903,"hua-niao-tu-zhou-shen-quan-218903","花鸟图轴","沈铨善绘花鸟翎毛，用笔细腻传神，设色富贵浓艳。他的绘画多以描绘松、梅、竹、鹿、鹤、雉等寓意祥瑞富贵的题材为多。是图设色名丽脱俗，极富装饰性。琵琶树下，繁花斗艳，一对锦鸡嬉戏其间，树梢果实累累，绿叶掩映，群鸟相鸣，给人喜庆祥和的视觉感受。此作绘于乾隆二十七年（壬午，1762），作者时年八十一岁。",[137,24,7,28,212,178,34,1092,453,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab98048035316f1f40ef1a094497f236.jpg","纵171.6厘米，横95.9 厘米",[237],{"id":4475,"slug":4476,"title":4477,"dynasty":18,"author":1140,"museum":230,"description":4478,"tags":4479,"thumbUrl":4481,"material":100,"size":4482,"collection":237,"collections":4483,"showCount":4455,"zanCount":711,"manualWeight":48,"mainColor":49},218555,"mo-li-shu-fang-tu-ma-lin-218555","茉莉舒芳图","绢本古雅的底色上，茉莉枝蔓婉转伸展，白花团簇如凝雪，瓣瓣细腻温润，似含轻露未干。叶片以深浅墨绿晕染，脉络清晰可见，老叶的厚重与新叶的鲜嫩相映成趣。枝梗用笔挺劲又不失灵动，穿插错落间留白恰到好处，尽显疏密有致的构图巧思。整幅画精工雅致，将茉莉的清芬与静谧之美凝于绢素，仿佛能闻见淡淡花香，尽显南宋花鸟的细腻与诗意。笔墨间藏着对自然生灵的细致观察，每一处细节都透着温婉的匠心，让清雅之气溢于画面，是兼具技法与意境的佳作。",[137,24,25,7,28,212,4480,453,173],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9afa3f161454d0740d10b8abcc3695ff.jpg","22.8x22.8cm",[237],{"id":4485,"slug":4486,"title":4487,"dynasty":54,"author":4488,"museum":134,"description":4489,"tags":4490,"thumbUrl":4491,"material":100,"size":4492,"collection":182,"collections":4493,"showCount":4494,"zanCount":1769,"manualWeight":48,"mainColor":49},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","李昭道","李昭道（675年－758年），字希俊，陇西成纪 （今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[137,24,25,26,27,28,7,81,29,84,83,86,88,34,769,36,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[182],208,{"id":4496,"slug":4497,"title":4498,"dynasty":150,"author":260,"museum":20,"description":4499,"tags":4500,"thumbUrl":4501,"material":40,"size":4502,"collection":44,"collections":4503,"showCount":4504,"zanCount":1769,"manualWeight":48,"mainColor":2515},222796,"yong-zheng-chao-fu-xiang-zhou-lang-shi-ning-222796","雍正朝服像轴","此幅画面上雍正皇帝身着明黄色彩云金龙夏朝服，头戴夏朝冠，顶贯珠三重，冠前饰金佛。胸前佩戴东珠朝珠，其上间系绿松石纪念三串，腰系朝带，足蹬石青色朝靴，这是雍正皇帝参加盛大典礼时的服饰。此图用笔工整精致，色彩华丽鲜艳，人物神态端庄威严，是宫廷画家精心创作的皇帝肖像画。从“冠上无梁”（“梁”为清帝朝冠顶座左右两侧的n形装饰，雍正晚期出现）的装饰风格看，当属雍正早期的绘画作品。\n一代冠服自有一代之制。清代满族统治者传承中国古代传统文化的精髓，把“衣作绣，锦为缘”、“续衽钩边”和“朝服祭服，襞积（朝袍腰部叠褶处称襞积）无数”这些中国古代服饰的传统形制与带有满民族风格的“披肩领”和“马蹄袖”巧妙地结合起来，不仅彰显了其“马上得天下”的辉煌历史，同时亦注重到实用性，并最终使其制度化，成为中国古代服饰制度改革中的典型范例。\n清代冠服制度规定：朝服分蓝、红、月白、明黄四种颜色，根据不同的礼仪功能和场合穿用不同颜色的朝服。祭天穿蓝色，祭日穿红色，祭月穿月白色，而明黄色朝服一般用于典礼（登基、元旦、万寿、金殿传胪、颁诏受贺等）和祭祀（祭太庙、先农坛、社稷坛、先师孔子、历代帝王等）活动。典礼和祭祀穿着的明黄色朝服又有区别，典礼朝服衣袖为石青色，而祭祀朝服衣袖为明黄色。",[23,28,7,83,341,63,65,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f084389b4a5403ca87fac736d099533.jpg","纵277厘米，横143厘米",[44,45],207,{"id":4506,"slug":4507,"title":4508,"dynasty":76,"author":191,"museum":1444,"description":4509,"tags":4510,"thumbUrl":4514,"material":1053,"size":4515,"collection":220,"collections":4516,"showCount":4504,"zanCount":1020,"manualWeight":48,"mainColor":49},222144,"di-shi-tian-tu-dong-bi-yi-ming-222144","帝释天图东壁","帝释梵天图位于大殿内后墙壁两侧，共两铺，高3.2米,长14米，面积44.8平方米。壁画主要内容是以帝释梵天为首的二十诸天礼佛护法的行进队伍，故全称为帝释梵天礼护法图。绘二十诸天及侍从共36人物，每一人物高1.2米——1.6米。诸路天神鬼众浩浩荡荡，敬佛护法，各显其能。气势森严，排列有序，三五不一，相互呼应。纷至遝来，令人目不暇接。\n佛教壁画中表现帝释梵天的作品，在南朝梁代（400——450年）已见描绘，到唐、五代就广为流行，不少著名的画家都表现过这一题材。在唐两京、成都等地寺院就画过不少释梵天众图像。这些作品的内容不尽相同，技艺亦各异。诸天不仅为护法神，也被视为是方便导化众生的佛的化身。宋元以后，特别是明清，寺院的壁画中帝释梵天图极为流行。同时由于后期佛道掺杂，佛教图像中有了不少道教的神像，如道教中的紫微大帝、东岳大帝、雷神、风神等，也进入佛教图像行列，变为二十四天、三十三天等。法海寺壁画帝释梵天图基本上是按唐代的内容画出来的，二十诸天中没有道教神像，而且构图布局和形象处理与早期有着更多的传承关系。要看唐宋时代佛教一脉相承的“帝释梵天图”的形象，只能在法海寺壁画中看到。\n法海寺壁画完全保留了原来的密宗体系，具有唐代传统的模式，但法海寺壁画中人物形象又有着明显的时代特征。“一图说破天下事，诸般神灵眼内观”。帝释梵天图是我们了解佛教文化的一个窗口。（点击各图进入详解）",[23,1053,24,194,7,28,83,2602,4511,4512,4513],"神兽","神话","华丽服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8069c6224709f156398f01bf2c3e79a0.jpg","高3.2米,长14米",[],{"id":4518,"slug":4519,"title":4520,"dynasty":18,"author":1040,"museum":245,"description":4521,"tags":4522,"thumbUrl":4523,"material":40,"size":812,"collection":42,"collections":4524,"showCount":4504,"zanCount":1020,"manualWeight":48,"mainColor":49},221586,"guo-qin-tu-ye-li-song-221586","果禽图页","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[23,24,25,7,28,212,451,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d0bec16d60826eb99359fe54491c93.jpg",[42,237,45],{"id":4526,"slug":4527,"title":4528,"dynasty":76,"author":674,"museum":4529,"description":4530,"tags":4531,"thumbUrl":4532,"material":100,"size":4533,"collection":44,"collections":4534,"showCount":4504,"zanCount":1769,"manualWeight":48,"mainColor":1833},218407,"yin-cha-tu-chen-hong-shou-218407","饮茶图","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[23,24,25,7,28,83,159,157,158,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg","86x47",[44],{"id":4536,"slug":4537,"title":4538,"dynasty":150,"author":578,"museum":901,"description":4539,"tags":4540,"thumbUrl":4542,"material":235,"size":4543,"collection":44,"collections":4544,"showCount":4504,"zanCount":1769,"manualWeight":48,"mainColor":145},217065,"san-yang-kai-tai-tu-ren-yi-217065","三羊开泰图","这是一幅三羊开泰的画作，象征着三羊开泰 的含义。这幅画画在生纸上，是艺术的杰作，人物形象显著，有老莲的传承。三只羊的排列也很引人注目，黑羊只露出眼睛和两个长角，进一步显示了作者的创造性和天才。",[23,24,28,855,7,155,83,4541,582],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaf294ec271b5da04f59a3aa051ce5f.jpg","145x75",[44],{"id":4546,"slug":4547,"title":4548,"dynasty":76,"author":191,"museum":4063,"description":4549,"tags":4550,"thumbUrl":4552,"material":100,"size":220,"collection":237,"collections":4553,"showCount":4504,"zanCount":943,"manualWeight":48,"mainColor":49},216906,"lian-chi-cang-lu-tu-yi-ming-216906","莲池苍鹭图","莲池苍鹭图是明朝时期的一幅著名图画，作者不详。这幅图画描绘了一个山间池塘，池塘中有许多莲花，并有一只苍鹭在池塘中游荡。图画中还有许多树木和山峰，构成了一幅优美的山水画。莲池苍鹭图被认为是明朝时期山水画的代表作之一，其中融合了中国传统的山水画风格和新兴的写意山水画风格，反映了明朝时期的艺术特点。",[23,24,28,7,155,212,248,249,4551,178],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08681f58d681525cfd1a7c86c9d4cc8.jpg",[237],{"id":4555,"slug":4556,"title":3670,"dynasty":150,"author":592,"museum":245,"description":3138,"tags":4557,"thumbUrl":4558,"material":1397,"size":1398,"collection":220,"collections":4559,"showCount":4560,"zanCount":1769,"manualWeight":48,"mainColor":145},239444,"hua-niao-ce-yun-shou-ping-239444",[24,25,519,28,7,212,178,655,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19250735f901fd0882f83c6edac72376.jpg",[],206,{"id":4562,"slug":4563,"title":4564,"dynasty":228,"author":3524,"museum":20,"description":4565,"tags":4566,"thumbUrl":4568,"material":40,"size":4569,"collection":237,"collections":4570,"showCount":4560,"zanCount":1084,"manualWeight":48,"mainColor":49},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,24,25,26,28,7,285,284,112,83,313,4567,705,86,173],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[237,45],{"id":4572,"slug":4573,"title":4574,"dynasty":76,"author":77,"museum":20,"description":4575,"tags":4576,"thumbUrl":4578,"material":100,"size":4579,"collection":182,"collections":4580,"showCount":4581,"zanCount":711,"manualWeight":48,"mainColor":145},216385,"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[23,24,26,25,7,27,28,83,29,34,90,4577,284,285],"职贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147faf5fa860f47d5379f373a9bfd3bd.jpg","29.5*580.3",[182,44],205,{"id":4583,"slug":4584,"title":4585,"dynasty":18,"author":326,"museum":406,"description":4586,"tags":4587,"thumbUrl":4590,"material":496,"size":4591,"collection":42,"collections":4592,"showCount":4593,"zanCount":48,"manualWeight":48,"mainColor":49},221334,"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[23,137,24,25,26,7,28,1028,4588,2708,4589,2653,178,173],"乌鸦","大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纵34厘米，横223.2厘米",[42,237,45],204,{"id":4595,"slug":4596,"title":4597,"dynasty":150,"author":191,"museum":230,"description":4598,"tags":4599,"thumbUrl":4601,"material":100,"size":4602,"collection":237,"collections":4603,"showCount":4593,"zanCount":1769,"manualWeight":48,"mainColor":49},218956,"gui-he-yan-nian-tu-yi-ming-218956","龟鹤延年图","丹顶朱冠，白羽墨翅，仙鹤或昂首引颈似欲唳天，或曲颈垂首若啄苔矶，姿态灵动。修竹挺翠，叶影婆娑，掩映其间；侧畔飞瀑流泉，漱石鸣玉，云雾氤氲如缕，漫笼山隰。笔墨古雅，设色沉朴，仙鹤的灵秀与竹石的清逸相映成趣，流露出祥瑞康宁的意蕴。画面古朴静谧，仿佛将自然生机凝于绢素之上，尽显岁月沉淀下的雅致与吉祥。",[24,7,28,156,60,2523,86,211,212,4600],"长寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cfda5f494d8b62a606671a72d79ae1.jpg","111x54cm",[237],{"id":4605,"slug":4606,"title":4607,"dynasty":76,"author":4608,"museum":230,"description":4609,"tags":4610,"thumbUrl":4612,"material":235,"size":4613,"collection":182,"collections":4614,"showCount":4593,"zanCount":943,"manualWeight":48,"mainColor":49},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,24,28,29,7,172,1926,196,313,176,175,4611,85,86,211,37,173],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[182,45],{"id":4616,"slug":4617,"title":4618,"dynasty":150,"author":191,"museum":2058,"description":4619,"tags":4620,"thumbUrl":4621,"material":496,"size":220,"collection":44,"collections":4622,"showCount":4593,"zanCount":1084,"manualWeight":48,"mainColor":1833},216870,"xi-xiang-ji-tu-ce-yi-ming-216870","西厢记图册","清辉漫洒的月夜，太湖石皱透玲珑，似藏幽怀几许。垂丝柳如缕拂墙，枝丫间漏下细碎银光。石畔佳人绿衫红襟，凭石凝眸，眉梢轻锁着朦胧心事；墙侧书生探身倚柳，目光灼灼，暗将情愫托与风。阶前细草缀淡紫小花，与石上苔痕相映成趣，更衬天地幽寂温柔。画面以淡彩晕染，线条婉转，凝住西厢记里墙头遥望的经典场景——不须言语，只眼波流转、柳丝轻拂，便把欲说还休的情愫，揉进月色朦胧的园囿中。",[24,28,7,519,83,59,159,199,1028,214,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd228540a2e55badb58a67f3b014301b9.jpg",[44,45],{"id":4624,"slug":4625,"title":4626,"dynasty":150,"author":260,"museum":20,"description":4627,"tags":4628,"thumbUrl":4629,"material":100,"size":4630,"collection":237,"collections":4631,"showCount":4632,"zanCount":1084,"manualWeight":48,"mainColor":145},216752,"wan-ji-shuang-lang-shi-ning-216752","万吉骦","乾隆八年（1743年，癸亥），郎世宁绘制《十骏图》轴，万吉骦被称赞为十骏之首。画上文字记载：“喀尔喀郡王多尔济札尔进，高四尺二寸、长七尺一寸五分。乾隆癸亥孟春，海西臣郎世宁恭画”\n载于《石渠宝笈初编》，收贮于御书房，由郎世宁一人所画，十幅十马分别命名为奔霄骢、赤花鹰、雪点雕、霹雳骧、薾云驶、万吉骦、阚虎骝、狮子玉、自在驈、英骥子。",[23,137,24,25,7,28,112,582,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71c71a91f3ec9d93f4380b8fbbde8b.jpg","纵239厘米，横269厘米",[237],203,{"id":4634,"slug":4635,"title":4636,"dynasty":76,"author":4637,"museum":245,"description":4638,"tags":4639,"thumbUrl":4640,"material":220,"size":220,"collection":220,"collections":4641,"showCount":4642,"zanCount":1020,"manualWeight":48,"mainColor":49},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[23,137,24,25,677,28,7,212,213,298,34,4288,211,1092,1091,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,{"id":4644,"slug":4645,"title":4646,"dynasty":190,"author":191,"museum":245,"description":4647,"tags":4648,"thumbUrl":4652,"material":235,"size":220,"collection":44,"collections":4653,"showCount":4654,"zanCount":943,"manualWeight":48,"mainColor":145},215033,"ri-ben-jie-tou-sheng-huo-tu-juan-yi-ming-215033","日本· 街头生活图卷","长卷铺展，市井烟火缓缓流淌。画面中，人物百态跃然绢上：挑担商贩步履匆匆，执伞行人衣袂轻扬，孩童追蝶跑过街巷，工匠俯身专注劳作。半掩的店门后，掌柜笑脸依稀；巷口茶摊边，老者围坐闲谈。伞的弧线、担的轮廓、车的轱辘，交织成动态的生活图景。每一处细节都藏着鲜活故事，仿佛能听见吆喝声、欢笑声、器物碰撞声，在时光里轻轻回响。这是对日常的温柔描摹，将平凡岁月里的热闹与鲜活，永远定格在素净的绢帛之上，让观者瞬间跌入那充满烟火气的旧时光。",[23,4649,137,26,28,7,283,83,1360,2832,119,93,2709,97,114,4650,4651],"日本画","摊位","日常","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e3a1210052e7e7d88509d4781dd6f9.jpg",[44],200,{"id":4656,"slug":4657,"title":4658,"dynasty":150,"author":900,"museum":901,"description":902,"tags":4659,"thumbUrl":4662,"material":100,"size":905,"collection":220,"collections":4663,"showCount":4664,"zanCount":1769,"manualWeight":48,"mainColor":49},214432,"xiu-yuan-tu-3-wang-yun-214432","休园图-3",[23,24,25,7,28,81,176,4660,34,2653,178,83,92,1109,91,4661],"回廊","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f04a94cbad1ffb2d8f40ee56dc85b8.jpg",[],199,{"id":4666,"slug":4667,"title":4668,"dynasty":228,"author":3524,"museum":20,"description":4669,"tags":4670,"thumbUrl":4671,"material":67,"size":4672,"collection":44,"collections":4673,"showCount":4674,"zanCount":943,"manualWeight":48,"mainColor":1833},220856,"yu-ma-tu-juan-zhao-meng-fu-220856","浴马图卷","画上有一湾溪水，清澈透亮，溪水边有梧桐和垂柳，绿色成荫相映成趣，溪水中和岸边还有十四匹骏马，九名马倌。绘画中马的姿态各不相同，每一匹马的神态都非常生动，有的在水中站立，有的在喝水，有的在吃草，有的还在昂首嘶叫，有的卧在地上还在左顾右盼。马倌们牵着马在溪水边，有的人在给马洗澡，有的人在河岸边休息。在画面中，一位马倌洗完马后骑在马背上，等着马喝完水便准备上岸；一人一马，马在回眸主人而人则右手舀水，左手为马擦拭，眼神与马相对，表现爱惜之情，此时的人和马似乎心神交会了；马倌赤着上身坐在水边的岩石上，一只脚穿靴，而另一只脚却光着，悠闲地翘着二郎腿，面带微笑，马匹昂首目视前方，神气十足。\n唐宋绘画严谨的法度意趣建立在文学化境界上，元代以后绘画体现为书法化写意性和对于宣纸、水性的把握上，《浴马图》就体现了这种画风明显的演变过渡痕迹。\n《浴马图》是元武宗的命题之作，赵孟頫不敢大意，除了连日到宫中的养马之处现场观察外，他还细心揣摩元武宗的意图。元武宗是在一场血腥的宫延政变中上台执政的，当上皇帝后他大兴土木、对外用兵，和察合台汗国联手干掉了窝阔台汗国，结果引发了财政危机；他又滥发银钞，引发了严重的通货膨胀，但他却命令赵孟頫要在这幅关于马的画作里，表现出和平盛世的气氛。赵孟頫冥思苦想之后，终于创作出了《浴马图》。此画是赵孟俯中年时的作品。\n水中正在洗马的几个马倌，多是半裸，这在古代绘画中比较少见。人物的衣纹飘逸流动，面孔正侧向背各有特征，人和马之间，充满了一种友爱的感情。\n背景的笔法古朴遒劲，树干坡石，被法洗练而结实，无论是清澈透明的溪水，还是婆要多姿的水草，双钩填绿的梧桐、柳树及其他夹叶树，画法皆有特色。\n此画的特点之一，在画中有阳光感，与清澈的河水和岸边梧桐垂柳荫形成鲜明的冷热对照。这种表现手法在赵氏的其他作品中很少见。在技法方面，此画用工笔重彩，刻意学唐人，画法精工细致，这种工细紧密的线描似唐人手笔。人物造型趋肥胖，个个面如傅粉，华滋润泽，马体肥硕，追踪唐马造型。同时此画作者将书法用笔落于绘画之中，如人马线描工细劲健，犹如篆籀，古朴严谨中而蕴隽秀。\n《浴马图》场面宏大，共画马倌九人，骏马十四匹。马的造型准确，各种姿态跃然纸上，形态肤色各不相同；人物形象俊美，年龄、相貌、动作皆富于个性。\n骏马体格雄健，神态各异，或低头饮水，或引颈嘶鸣，或昂首顾盼，或卧在岸边，或在低首吃草等，意态生动。马倌有老少之别，穿着各种不同颜色服装，或立在水中为马洗刷，或牵马临溪，或跨马下水，或驱马上岸，或骑马上张望，或在岸边小憩等动态多样。河边绿茵如席，梧桐垂柳，婀娜多姿，环境清爽怡人。图中所有的形象有动有静，疏密有致，既不相扰，又互为照应，其人和马的动作互相呼应，生动有致，既突出了主题，又给观者以回味的余地。\n此图为工笔着色画。故马有黑、白、红、黄、灰、花斑诸色。画树、坡岸行笔凝重，勾、皴、染并用，苍逸中含清润，其背景用青绿敷染。人物鞍马分别施不同色彩，设色浓润，风格清新秀丽。",[23,24,25,26,28,7,112,83,313,86,113,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc608c918408f5c92a9bf9ef5f91842ca.jpg","纵28.5cm,横154cm",[44,45],198,{"id":4676,"slug":4677,"title":4678,"dynasty":18,"author":1040,"museum":134,"description":4679,"tags":4680,"thumbUrl":4681,"material":100,"size":4682,"collection":42,"collections":4683,"showCount":4684,"zanCount":1084,"manualWeight":48,"mainColor":49},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[23,24,25,155,28,81,7,83,84,85,178,29,34,211,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[42,44,45],197,{"id":4686,"slug":4687,"title":4688,"dynasty":228,"author":2854,"museum":134,"description":4689,"tags":4690,"thumbUrl":4691,"material":100,"size":4692,"collection":44,"collections":4693,"showCount":4684,"zanCount":1084,"manualWeight":48,"mainColor":49},216989,"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[137,24,28,81,7,172,29,84,85,83,927,37,176,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[44,182],{"id":4695,"slug":4696,"title":4697,"dynasty":150,"author":4698,"museum":245,"description":4699,"tags":4700,"thumbUrl":4701,"material":220,"size":220,"collection":220,"collections":4702,"showCount":4703,"zanCount":1020,"manualWeight":48,"mainColor":145},230215,"hua-niao-tu-ce-yu-zhi-230215","花鸟图册","余穉","此作工致秀雅，以桃花翠竹绘就春日小景。枝头桃花柔媚绽放，粉白花瓣晕染匀净，尽显娇妍之态，间杂翠绿竹叶，挺括舒展，鲜润清雅。\n\n三只春燕情态各异，两只红襟燕栖于花枝，羽翼丝缕毕现，绒羽蓬松柔软，神色悠然；一只白燕翩跹掠飞，灵动轻盈，动静相映成趣。整体设色明丽柔和，笔触细腻入微，将春日融融的生机与雅致融为一体，兼具写实之真与古典雅致之美，尽显清逸温婉的花鸟意趣。",[24,7,28,212,174,156,178,173,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f1730fb5283ee2b7dc13a5bfb558b7.jpg",[],196,{"id":4705,"slug":4706,"title":4707,"dynasty":150,"author":4708,"museum":134,"description":4709,"tags":4710,"thumbUrl":4711,"material":424,"size":4712,"collection":220,"collections":4713,"showCount":4714,"zanCount":1769,"manualWeight":48,"mainColor":145},232816,"mo-chou-ying-xi-yuan-ya-ji-tu-ding-guan-peng-232816","摹仇英西园雅集图","丁观鹏","丁观鹏在乾隆朝曾绘制大量摹古作品，然其仿制的对象有许多已被证实为明代商业伪作，此即一例。此幅底本目前仍藏台北故宫博物院，全幅以白描画成，由其较为修长瘦弱的造型判断，很接近尤求的白描风格，这类白描作品在苏州片伪古书画作品中常被冠以仇英之名。乾隆皇帝在此底本题诗表示「底须著色求形肖」，也成为此摹作用力之处。丁观鹏摹作在构图上保留原图，然在人物、家具与植物部分施彩，如吴派之淡雅，然更为明亮。亭子屋顶结构、柱子、湖石等，则具有西洋素描般的渐层光影效果，整幅作品可说是明代商业白描风格、吴派风格与外来西洋画法的结合。",[24,25,155,82,28,7,83,176,313,314,214,783,471,1106,173,284,285,92,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","95.1×43.9cm",[],195,{"id":4716,"slug":4717,"title":4718,"dynasty":150,"author":4719,"museum":245,"description":4720,"tags":4721,"thumbUrl":4722,"material":220,"size":220,"collection":44,"collections":4723,"showCount":4714,"zanCount":48,"manualWeight":48,"mainColor":145},223079,"shui-hu-ren-wu-ren-xun-223079","水浒人物","任薰","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称"三任"，合任预为"四任"，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,137,24,25,155,28,7,83,63,1787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc87cbb4b2700dc7566d2985222762f7.jpg",[44],{"id":4725,"slug":4726,"title":4727,"dynasty":76,"author":4728,"museum":134,"description":4729,"tags":4730,"thumbUrl":4731,"material":2246,"size":4732,"collection":237,"collections":4733,"showCount":4714,"zanCount":1769,"manualWeight":48,"mainColor":49},214733,"mei-hua-tu-lu-fu-214733","梅花图","陆复","这幅《雪梅图》是元末王冕画法的衍生品，略有不同。枝干用飞白涂抹，然后用淡墨勾勒，花瓣则用油脂沾染，轻轻勾勒，红色的花蕊也被晒干，增强了梅花的优雅精神。",[24,155,28,7,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4128fe7627228b3bb64d50437c275998.jpg","205.3x108.7",[237],{"id":4735,"slug":4736,"title":4737,"dynasty":150,"author":542,"museum":134,"description":4738,"tags":4739,"thumbUrl":4740,"material":599,"size":4741,"collection":237,"collections":4742,"showCount":4743,"zanCount":48,"manualWeight":48,"mainColor":145},222697,"hua-chun-hua-san-zhong-zhou-qian-wei-cheng-222697","画春花三种轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,24,25,137,155,28,7,212,409,298,300,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","260x101.4",[237,45],194,{"id":4745,"slug":4746,"title":4747,"dynasty":76,"author":77,"museum":4748,"description":4749,"tags":4750,"thumbUrl":4751,"material":67,"size":4752,"collection":182,"collections":4753,"showCount":4754,"zanCount":1084,"manualWeight":48,"mainColor":145},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","美国纳尔逊阿特金斯艺术博物馆","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,25,26,27,28,7,285,284,29,175,83,176,86,85,84,34,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[182,45],193,{"id":4756,"slug":4757,"title":4758,"dynasty":76,"author":77,"museum":134,"description":4759,"tags":4760,"thumbUrl":4761,"material":100,"size":4762,"collection":45,"collections":4763,"showCount":4754,"zanCount":48,"manualWeight":48,"mainColor":49},219315,"yuan-lin-qing-ke-tu-zhou-chou-ying-219315","园林清课图轴","林竹繁茂的乡野，有一座院落人家，院中布置著厅堂、房舍、书斋、作坊；穿过花篱是为园池区，馆舍、亭榭围绕池畔而构筑。有读书、涤砚、纺纱、游园等活动。使富有园林之胜的画面，充满雅逸的生活情趣。",[137,24,7,28,81,1109,84,29,34,83,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236c98ca348fc2e3b6d92db44b00431.jpg","82.8x106.5",[45],{"id":4765,"slug":4766,"title":4767,"dynasty":76,"author":2892,"museum":78,"description":4768,"tags":4769,"thumbUrl":4770,"material":100,"size":220,"collection":44,"collections":4771,"showCount":4754,"zanCount":1769,"manualWeight":48,"mainColor":145},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,24,25,26,855,28,7,172,29,83,176,85,86,34,314,284,3025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[44],{"id":4773,"slug":4774,"title":4775,"dynasty":150,"author":191,"museum":4776,"description":4777,"tags":4778,"thumbUrl":4779,"material":100,"size":4780,"collection":44,"collections":4781,"showCount":4754,"zanCount":1020,"manualWeight":48,"mainColor":49},214337,"da-bei-shen-zhou-fo-xiang-yi-ming-214337","大悲神咒佛像","普林斯顿大学图书馆","描绘了《大悲咒》的前四十三句及其插图，最后一页为护法韦驮尊天菩萨。书中有一句话和一幅插图，经文在青色书中，解释在朱色书中。",[23,24,28,7,83,194,1055],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e895004504e57c59c94e87ae8fcdf58.jpg","27.5x16",[44],{"id":4783,"slug":4784,"title":4785,"dynasty":18,"author":191,"museum":20,"description":4786,"tags":4787,"thumbUrl":4788,"material":4789,"size":4790,"collection":42,"collections":4791,"showCount":4792,"zanCount":1769,"manualWeight":48,"mainColor":49},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,26,7,28,283,83,59,29,1206,341,178,34,211,84,112,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[42,44,45],192,{"id":4794,"slug":4795,"title":4796,"dynasty":76,"author":4797,"museum":367,"description":4798,"tags":4799,"thumbUrl":4804,"material":100,"size":4805,"collection":44,"collections":4806,"showCount":4792,"zanCount":711,"manualWeight":48,"mainColor":49},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,137,24,25,155,81,28,7,4800,84,751,83,112,4801,91,4802,2183,4803,2464,34,36,115],"宫城","驴","城池","官员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[44,45],{"id":4808,"slug":4809,"title":4810,"dynasty":18,"author":326,"museum":4748,"description":4811,"tags":4812,"thumbUrl":4813,"material":100,"size":220,"collection":42,"collections":4814,"showCount":4792,"zanCount":1084,"manualWeight":48,"mainColor":145},219112,"si-qin-tu-zhao-ji-219112","四禽图","枝桠横斜间，禽鸟各呈姿态：或敛翅静栖于梅梢，羽翎纹理纤毫毕现；或侧首凝睇，眼神藏着未语的灵秀；或振翅欲飞，翅尖似带起微风轻响。淡墨勾枝，浅彩点花，笔意清逸如春风拂过，花枝摇曳间，暗香仿佛浮动。\n\n行间题字与朱印错落，墨迹温润与朱砂明艳交织，似时光屐痕，与花鸟相映成趣，更添古雅之韵。每一笔透着对自然的敬畏，每处细节藏着文人闲情——不刻意雕琢，却于平淡中见真味，将生机与静谧凝于尺幅。\n\n整卷如流动的诗画，春日灵趣与岁月沉淀融于一体，读来心远尘嚣，仿佛置身鸟语花香的清境，忘却俗事纷扰。",[24,26,7,283,212,299,637,156,173,855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c879664cc93247940a1bf71e75def95.jpg",[42,237],{"id":4816,"slug":4817,"title":4077,"dynasty":18,"author":1275,"museum":134,"description":4818,"tags":4819,"thumbUrl":4820,"material":100,"size":4821,"collection":182,"collections":4822,"showCount":4792,"zanCount":1769,"manualWeight":48,"mainColor":49},218867,"xue-jing-ma-yuan-218867","枝条扭曲而低垂，叶子被剥落，枝条像弯曲的铁一样结实，有马远的 拖枝法 和角落构图的传承。山丘和石头是用淡墨画的，没有用粉笔，表面用白粉染色，使整幅画雪亮。建筑物的门窗用破碎的、颤动的线条代替尺子来画，从外面可以看到内部的情况。高石和仆人男孩弯着脖子坐在火上取暖，使室内外充满了寒冷。",[23,24,25,28,7,29,84,83,1499,1500,172,4184,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f0c0719bf8c7117400a007cafca3c6.jpg","26.7x27",[182],{"id":4824,"slug":4825,"title":1193,"dynasty":150,"author":191,"museum":2004,"description":4826,"tags":4827,"thumbUrl":4828,"material":100,"size":4829,"collection":44,"collections":4830,"showCount":4792,"zanCount":1769,"manualWeight":48,"mainColor":49},218422,"shi-nv-tu-yi-ming-218422","画面中仕女身姿窈窕，衣袂轻垂如流云。左侧二人发髻簪饰精致，神态温婉相依，似低语絮谈；右侧小鬟恭立，身形纤弱，尽显娴静恭谨之态。线条细腻婉转，勾勒衣纹柔缓褶皱；设色古朴淡雅，棕褐基调晕染时光沉淀的温润质感。背景素净无华，更衬人物清雅气韵。虽佚名之作，细节处见匠心：发间金饰隐现微光，腰间丝带垂坠有致，衣料纹理细腻传神。笔墨间传递传统仕女画的含蓄之美，尽显闺阁女子温婉情致与古典韵致，如一缕旧时光里的清风，拂过观者心田。",[24,25,28,7,83,59,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5a96fcffa4d742d6230cf50a67fe0a.jpg","115x60.4",[44],{"id":4832,"slug":4833,"title":4834,"dynasty":863,"author":1716,"museum":20,"description":4835,"tags":4836,"thumbUrl":4839,"material":235,"size":4840,"collection":237,"collections":4841,"showCount":4792,"zanCount":48,"manualWeight":48,"mainColor":145},216931,"zong-shu-guo-guo-tu-qi-bai-shi-216931","棕树蝈蝈图","赭色树干以浓淡墨线勾皴，如老藤盘结，墨叶纷披似风过梢头，洒脱不羁。画面一隅，蝈蝈翅脉分明，肢足灵动，朱红与赭黄晕染出鲜活质感，似欲振翅而鸣。工细的虫与豪放的树形成鲜明对照，笔意间藏着对生活的细腻观察。简淡的纸本上，墨色苍劲与设色明丽相映成趣，寻常景物里溢出盎然生机，尽显白石老人以小见大、以俗见雅的艺术妙趣。",[23,24,28,855,7,212,4837,4838,173],"棕树","蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34160a48a9de7587fb99671f3678ca1f.jpg","69.5x34.3cm",[237],{"id":4843,"slug":4844,"title":4845,"dynasty":228,"author":4846,"museum":230,"description":4847,"tags":4848,"thumbUrl":4849,"material":235,"size":4850,"collection":237,"collections":4851,"showCount":4792,"zanCount":1084,"manualWeight":48,"mainColor":49},216665,"ba-jun-tu-zhao-yong-216665","八骏图","赵雍","该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代"青绿山水"，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中"夹叶填彩"的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做"披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,25,26,7,28,112,313,159,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a3902ef0909cc4272f189e62ad7bd.jpg","36x270cm",[237],{"id":4853,"slug":4854,"title":4855,"dynasty":76,"author":4856,"museum":245,"description":4857,"tags":4858,"thumbUrl":4859,"material":40,"size":4860,"collection":237,"collections":4861,"showCount":4862,"zanCount":1020,"manualWeight":48,"mainColor":49},222574,"ju-hua-li-zhou-lu-kui-222574","菊花立轴","陆逵","图绘秋日之景色，树叶凋零，几片枝头叶片，摇摇欲坠；秋菊开放，叶茂花艳，数朵菊花争相开放。此图绘枯树时有些讨巧，枯树的枝杆上半部分如长在湖石上，与湖石融为一体，观之惊叹。陆逵，字仪吉，善人物及花草，明代画家。",[23,137,24,25,155,28,7,212,488,286,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","48.4x169cm",[237,45],191,{"id":4864,"slug":4865,"title":4866,"dynasty":18,"author":1275,"museum":20,"description":4867,"tags":4868,"thumbUrl":4869,"material":40,"size":4870,"collection":42,"collections":4871,"showCount":4862,"zanCount":1084,"manualWeight":48,"mainColor":49},221534,"bai-qiang-wei-tu-ye-ma-yuan-221534","白蔷薇图页","画中的白蔷薇花朵硕大，枝叶繁茂，光彩夺目。画家以细笔勾出花形，用白粉晕染花瓣，以深浅汁绿涂染枝叶，笔法严谨，一丝不苟，画风清丽活泼，颇具生气，代表了南宋画院花鸟画的典型风貌。\n宋代画院花鸟画继承了五代的传统，并在此基础上有所创新，黄荃“勾勒填彩、旨趣浓艳”的富贵风格统治着画坛近百年。其画法先以极工细的线条勾出轮廓，然后敷以重彩，层层晕染，往往掩盖住黑线，展现出一种极为工稳细腻和华贵富丽的风韵。",[23,137,24,25,7,28,212,3584,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd668d914b96b091a563b3ef5d0520878.jpg","纵26.2厘米，横25.8厘米",[42,182,45],{"id":4873,"slug":4874,"title":4875,"dynasty":18,"author":1151,"museum":78,"description":4876,"tags":4877,"thumbUrl":4878,"material":424,"size":4879,"collection":42,"collections":4880,"showCount":4862,"zanCount":1020,"manualWeight":48,"mainColor":49},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[23,24,137,25,26,7,172,855,29,1500,1499,211,35,31,175,4611,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[42,182,45],{"id":4882,"slug":4883,"title":4884,"dynasty":18,"author":4885,"museum":78,"description":4886,"tags":4887,"thumbUrl":4888,"material":4889,"size":4890,"collection":42,"collections":4891,"showCount":4892,"zanCount":1084,"manualWeight":48,"mainColor":49},221576,"jin-wen-gong-fu-guo-tu-li-tang-221576","晋文公复国图","李唐","此图绘于北宋末年，描述了晋文公（重耳）被他父亲放逐在外19年后即位复国的故事。全图共分六段，采用连环绘图的形式进行描绘，晋文公的形象多次出现，可每段都有树石、车马、房屋作配景。所绘人物形象各具神态，文公的雍容庄重，侍臣的恭敬、武士的威严、仕女的秀雅以及仆役的畏怯等，都刻画得细致入微、准确生动、栩栩如生。整个横幅图式处理得疏密有致，线条的粗细、曲直、虚实、轻重，富于变化，恰到好处。图中人物的服饰尽可能还原春秋时的模样。北宋末年，康王赵构的经历和艰难与重耳类似，所以图中以宋高宗赵构手书的《左传》作暗景，目的是激发南宋君臣，不怕困难，不畏艰险，忍辱负重，为复国雪耻而努力。这种隐喻可谓饱含深情、用心良苦，可惜的是赵构不是重耳，他不听劝阻，也没有复国的决心与愿望，甚至为了贪图个人享乐和一己之私，甘愿偏安一隅，不惜谋害忠良，重用奸佞之臣等。",[23,24,25,26,28,7,173,83,112,286,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47339394ffdf5384ea908fa5ebe6c90.jpg","绢本 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佚名，绢本，设色，纵2.9 横25.4厘米 上海博物馆藏 图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。\n花朵轻勾淡染，用白粉点画花蕊，用四绿加少量淡墨分染花拖，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之，最后用焦茶描绘其杆。\n绿叶穿插向背，白花绿叶，色泽淡雅，使人赏心悦目。",[23,137,24,25,7,28,4185,212,4915,173],"夜合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31ecf760311e803b651aa46969280b1.jpg",[],189,{"id":4920,"slug":4921,"title":4922,"dynasty":18,"author":4923,"museum":134,"description":4924,"tags":4925,"thumbUrl":4929,"material":496,"size":4930,"collection":44,"collections":4931,"showCount":4918,"zanCount":1020,"manualWeight":48,"mainColor":49},221217,"hua-fan-xiang-juan-zhang-sheng-wen-221217","画梵像卷","张胜温","《大理国梵像卷》是大理国（937－1254）（与五代和宋代同一时代）传世的唯一画卷，全卷设色贴金，绘製精谨，共分四段：第一段画大理国王利贞皇帝礼佛图，第二段绘佛、菩萨、佛母、天王和护法等数百位佛教人物，第三段为多心和护国宝幢，第四段是十六国王图。全卷内容丰富，素有「南天瑰宝」之誉。 内容大致为蛮王礼佛国、四金刚护法、八大龙王、十六观世音菩萨、五佛会图。 七佛图、维摩经变、四大菩萨、六佛母、十六罗汉、禅宗六祖、人大高僧、十二天神、宝塔经幢、十六国主众等组成。 《梵像卷》反映了佛教在南诏、大理国时期十分兴盛的历史， 是研究当时大理国崇奉密宗的历史和文化艺术的珍贵资料。",[23,24,25,26,194,7,28,83,4926,3114,4927,4928,173],"佛像","飞天","经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b98f57c5c0b171cfb25668ee54783e.jpg","全长1635.5厘米，宽30.4厘米",[44,45],{"id":4933,"slug":4934,"title":4935,"dynasty":76,"author":191,"museum":230,"description":4936,"tags":4937,"thumbUrl":4938,"material":100,"size":220,"collection":237,"collections":4939,"showCount":4918,"zanCount":1084,"manualWeight":48,"mainColor":49},216749,"hai-tang-fei-qin-tu-yi-ming-216749","海棠飞禽图","海棠花是一种常见的中国花卉，通常被认为是爱情、美好愿望和幸福的象征。这幅画的画风精细，笔法优美，极富艺术魅力。",[137,24,25,7,28,212,915,178,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131241bc6542bdd047d08b2abfb54967.jpg",[237],{"id":4941,"slug":4942,"title":4943,"dynasty":150,"author":516,"museum":134,"description":517,"tags":4944,"thumbUrl":4947,"material":235,"size":524,"collection":220,"collections":4948,"showCount":4949,"zanCount":1084,"manualWeight":48,"mainColor":145},219879,"er-shi-si-fan-hua-xin-feng-tu-cai-hua-yu-wang-chun-dong-gao-219879","二十四番花信风图-菜花与望春",[24,25,28,7,519,284,285,4945,4946,315],"菜花","望春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d78a5260915fc3e83cdf201b35e28e.jpg",[],188,{"id":4951,"slug":4952,"title":4953,"dynasty":132,"author":1194,"museum":3281,"description":4954,"tags":4955,"thumbUrl":4956,"material":100,"size":220,"collection":44,"collections":4957,"showCount":4949,"zanCount":943,"manualWeight":48,"mainColor":49},219590,"xiu-zhu-mei-ren-tu-zhou-wen-ju-219590","修竹美人图","幽庭春深，修竹亭亭映着绽蕊花枝。仕女发髻高绾，衣袂轻垂，静立凝望稚童，眉梢眼底浸着世家深宅的温婉闲静。红衣稚童攀折花枝，鲜活灵动的身影，恰好衬出仕女的娴柔静穆。\n\n笔墨苍润清逸，淡墨晕染竹木，细劲线条勾勒人物体态，设色古雅柔和，将深闺春日里闲散静好的日常晕染开来，把缱绻柔婉的东方诗意藏在花木竹石间，尽现古典雅致的闺中幽情。",[23,24,25,155,7,28,83,59,1744,156,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3506e1a0eb430a5f568336d083e69bc2.jpg",[44],{"id":4959,"slug":4960,"title":4961,"dynasty":76,"author":674,"museum":367,"description":4962,"tags":4963,"thumbUrl":4964,"material":100,"size":4965,"collection":44,"collections":4966,"showCount":4949,"zanCount":1084,"manualWeight":48,"mainColor":49},219531,"bu-gun-tu-chen-hong-shou-219531","补衮图","衮是古代君王的礼服，补衮有补救规谏帝王过失的寓意。图中绘有四人，发髻高耸，雍容华贵。",[23,24,25,7,28,83,59,158,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0bcfbcf40168efa236701b517fe221.jpg","纵109横78.5cm",[44,45],{"id":4968,"slug":4969,"title":4970,"dynasty":18,"author":191,"museum":245,"description":4971,"tags":4972,"thumbUrl":4973,"material":220,"size":220,"collection":220,"collections":4974,"showCount":4975,"zanCount":1084,"manualWeight":48,"mainColor":49},227352,"fu-gui-li-mao-tu-yi-ming-227352","富贵狸猫图","宋朝人喜欢猫，原因归根于宋朝建立后，随着绝对君权的建立与官僚体制的完善，文人士大夫的社会地位有了很大提高，但也逐步失去了盛唐人那种“致君尧舜上”的历史条件。\n\n同时，宋代封建经济的发展水平远超过唐代，手工业、农业、商业的发展使得中小地主日益兴盛起来，商品经济更加活跃，城市经济繁荣发达，市民队伍迅速壮大。民众安居乐业，故而从曾经追求事业成功的“外王” 转变为重个体修养的 “内圣”之中；人们的审美情趣，也从盛唐的“大漠孤烟直，长河落日圆”了，转而变为“庭院深深深几许，杨柳堆烟”，“衣带渐宽终不悔，为伊消得人憔悴”这样的深庭小院式的浅吟低唱，细琐平易，浅斟低唱，走进更为细腻的官能感受和情感色彩捕捉追求中，更加重视对日常狭小生活的兴致。",[24,137,7,28,298,581],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40deffda1a591cba6dd3190f0d63c8c.jpg",[],187,{"id":4977,"slug":4978,"title":4979,"dynasty":18,"author":1609,"museum":245,"description":4980,"tags":4981,"thumbUrl":4982,"material":100,"size":4983,"collection":237,"collections":4984,"showCount":4975,"zanCount":943,"manualWeight":48,"mainColor":49},218538,"ming-hua-yan-se-tu-li-di-218538","名花艳色图","绢本底色如陈年素笺，托出一朵淡粉牡丹。花瓣层叠若堆雪，边缘晕染浅绯，似被晨雾轻笼；花心处颜色稍浓，藏着几分含蓄的艳。墨叶以中锋勾筋，浓淡相间的绿里，叶脉如丝缕清晰，翻卷姿态带着自然野趣。宋人的笔触不疾不徐，于细腻中见真意：没有浓妆艳抹，却让花的柔润与叶的苍劲相映成趣。整幅画如无声的诗，将名花的雍容与雅致凝于方寸，静立眼前，似能嗅到穿越千年的清淡花香，沉于这片刻古典诗意里。",[23,24,25,137,7,28,212,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b4d04bd069c3b826fdbe71d4b8e325.jpg","30x34",[237],{"id":4986,"slug":4987,"title":4988,"dynasty":150,"author":2080,"museum":245,"description":4989,"tags":4990,"thumbUrl":4994,"material":220,"size":220,"collection":220,"collections":4995,"showCount":4996,"zanCount":48,"manualWeight":48,"mainColor":145},224380,"hua-hui-chong-cao-ju-lian-224380","花卉虫草","这套册页小品十二帧各成天地，明丽柔润的设色晕开草木清辉。花卉姿态各异，或是垂枝含露、或是灼灼盛放，以太湖石为衬，衬出花木的绰约清姿。\n\n笔墨兼具工细与写意，虫草点缀其间，翅脉纹路纤毫毕现，似将振翅而起，把四季花木的生机封藏尺幅间。不做繁复铺陈，尽显细腻写实的画韵，一花一叶皆藏灵趣，浅淡花香仿佛随画漫出，虫翼轻振的细碎声响似在耳边，将庭院闲趣绘成隽永诗意，把山野小景晕染成清逸雅致的东方意趣。",[23,24,25,137,4185,28,212,409,4991,4992,7,1720,4993],"虫草","太湖石","清逸雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ccd78c842f80eedfe55c2cef019efe.jpg",[],186,{"id":4998,"slug":4999,"title":5000,"dynasty":18,"author":191,"museum":5001,"description":5002,"tags":5003,"thumbUrl":5005,"material":28,"size":5006,"collection":44,"collections":5007,"showCount":4996,"zanCount":1769,"manualWeight":48,"mainColor":49},220245,"rui-guang-ta-si-tian-wang-xiang-yi-ming-220245","瑞光塔四天王像","苏州瑞光寺塔","是可供研究唐代吴道子画风的一件重要绘画遗存。\n吴道子一生以宗教画创作为主，留下壁画三百余壁，但从唐武宗会昌五年（845）废寺毁佛像以后，存留就寥寥无几了。不过，他的画风由唐代粉本，和后世画家的仿作中所保存下来的还是不少。四天王像的创作年代在大中祥符六年（1013）之前，距吴道子逝世两个半世纪左右，当时，吴画原作还有少量寺庙壁画遗存。他的画风在宗教画中有强大影响。从四天王像中，就明显地可以看到吴道子画风的几个富有特征的表现。",[18,194,83,28,7,582,5004],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb600a4c58790b06121a6db55967ede52.jpg","42.5X123厘米",[44],{"id":5009,"slug":5010,"title":4335,"dynasty":150,"author":5011,"museum":406,"description":5012,"tags":5013,"thumbUrl":5021,"material":235,"size":220,"collection":44,"collections":5022,"showCount":4996,"zanCount":274,"manualWeight":48,"mainColor":145},218255,"shi-nv-ce-wu-jia-you-218255","吴嘉猷","细腻笔触晕染出闺阁的温婉时光。仕女们或临窗研墨，或凭栏观鸟，或围坐品茗，或抚琴寄怀。庭院花木扶疏，轩窗屏风雅致，每一处细节都藏着东方生活的诗意。衣袂褶皱、器物纹理、人物神态皆被精心勾勒，尽显古代女性的娴静灵秀。一幅幅日常场景串联成流动画卷，将清人闺阁的雅致情趣与审美意趣悄然铺展，引人沉醉于那份古典的温柔与从容。笔墨间流淌的不仅是生活片段，更是东方美学里独有的温婉与雅致，让观者仿佛踏入时光回廊，触摸到古代仕女的细腻心境。",[23,24,519,7,28,470,59,92,84,5014,215,3437,178,5015,5016,5017,5018,5019,5020,216,1109],"轩窗","抚琴","品茗","研墨","温婉","娴静","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbf079b3eb908aacb932a649ab3bd75.jpg",[44],{"id":5024,"slug":5025,"title":4468,"dynasty":150,"author":260,"museum":20,"description":5026,"tags":5027,"thumbUrl":5029,"material":40,"size":2926,"collection":220,"collections":5030,"showCount":5031,"zanCount":1084,"manualWeight":48,"mainColor":145},233878,"hua-niao-tu-zhou-lang-shi-ning-233878","此图笔法精工细腻，色调绚丽多彩，造型写实生动，注重描绘禽鸟翎毛的质感、花叶的阴阳向背以及明暗层次的变化，具有鲜明的西洋花鸟写实画的风格。",[24,25,7,28,174,299,653,315,5028,173],"老干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f9fa2985d7c169d06da5861e1fdfec.jpg",[],185,{"id":5033,"slug":5034,"title":5035,"dynasty":132,"author":1194,"museum":245,"description":5036,"tags":5037,"thumbUrl":5038,"material":220,"size":220,"collection":220,"collections":5039,"showCount":5031,"zanCount":1020,"manualWeight":48,"mainColor":145},226711,"zhong-ping-hui-qi-tu-juan-zhou-wen-ju-226711","重屏会棋图卷","《重屏会棋图》卷，五代，周文矩绘，绢本，设色，纵40.3厘米，横70.5厘米。\n本幅无作者款印。经徐邦达先生鉴定，此系宋人摹本。尾纸除有明代沈度、文徵明的伪款题跋外，还有近人于怀的墨题真迹。钤元柯九思“緼真斋”，清安仪周“棠邨审定”、“安仪周家珍藏”及清内府“乾隆御览之宝”等鉴藏印共16方。其中的“緼真斋”、宋徽宗的“双龙小玺”、“宣和”、“政和”等宋元诸印均伪。\n图绘摆设精美的室内，四位身份高贵的男子于棋桌前的情景。他们神态各异，举止不同，有的催促落子，有的举棋不定，有的观棋不语，真实地反映出观棋者与弈棋者不同的神态。画中没有标注这些人物的姓名。目前，经过几代学者的深入研究，才逐渐确认出本幅作品的画面主人公及其内容。图中描绘的是五代南唐中主李璟的宫廷行乐生活。有关此图情节的记载最早见于北宋《王文公集》卷五十中王安石的《江邻几邀观三馆书画》诗，诗中指认出图中头戴高帽者为李璟；南宋初年的王明清在《挥尘三录》中记载了他以家藏的李璟肖像画与此图进行考辨的过程；元代袁桷《清容居士集》和陆友仁《研北杂志》则考证出会棋者是李璟兄弟四人，屏风所画为白居易《偶眠》诗意。最终指明图中人物具体方位的是清吴荣光《辛丑销夏记》所录庄虎孙的跋语：“图中一人南面挟册正坐者，即南唐李中主像；一人并榻坐稍偏左向者，太北晋王景遂；二人别榻隅坐对弈者，齐王景达、江王景逿。”\n作为写实性的绘画作品，作者在逼真地刻画出人物肖像特征的同时，也真实地描绘出室内的生活用具，如投壶、屏风、围棋、箱箧、榻几、茶具等，为后人研究五代时期各种生活器用的形制以及中国早期皇室的行乐雅集活动提供了重要的形象资料。作者以“颤笔描”绘制图中人物的衣纹，表现出布纹的质感，并准确地勾勒出不同动态下人物的形体变化，展示了周文矩以线塑型的深厚功底。此图的设色虽多用矿物颜料，但未层层积染或浓涂重抹，而只是在勾线后清淡地施以颜色。在几案边的花纹上勾染了略显深重的石青、石绿；而李璟的衣袍虽也用朱砂晕染，却甚为简淡，只是侍童的衣带用较重的朱砂，以与浅淡的衣袍形成对比。其余三人的衣着竟一色不染。\n由于此图背景的屏风中还画有屏风，因此人们称此图为“重屏”图。它受到了历代画家广泛的传移摹写，并被宋内府《宣和画谱》、明张丑《清河书画舫》、清卞永誉《式古堂书画汇考》等数十种书著录。故宫所藏的这幅画即使不是周文矩原作，也应是接近于原作的宋人摹本精品。\n此图自清宣统朝流出宫廷后散落民间。1949年后，国家文物局从吉林省长春文物商于莲客手中购得此图，随后将它与元代高克恭《秋山暮霭图》、任仁发《二马图》卷一并入藏故宫博物院。\n清安仪周《墨缘汇观》、胡敬《西清札记》、内府《石渠宝笈三编》等著录。\n周文矩，生卒年不详，活动于10世纪，句容（今属江苏）人，南唐画院翰林待诏。中主李璟时，他便以擅绘人物、车马、界画楼台以及宫廷贵族生活题材画而知名。后主李煜执政期间，他常受诏作画，曾像顾闳中一样被派去窥绘韩熙载的夜宴生活，只是他所画的韩氏夜宴图未能传世。他的画风受后主李煜的颤笔法影响很大，喜以瘦挺颤掣的笔法入画，以别具特色的画风称誉画坛。",[23,24,25,26,7,28,283,284,173,83,3048,158,2642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9f5fda46eb059b27ecc01f52d1e757.jpg",[],{"id":5041,"slug":5042,"title":5043,"dynasty":76,"author":888,"museum":245,"description":5044,"tags":5045,"thumbUrl":5046,"material":100,"size":220,"collection":44,"collections":5047,"showCount":5031,"zanCount":48,"manualWeight":48,"mainColor":49},218408,"wang-xian-zhi-xiu-qi-tang-yin-218408","王献之休妻","疏柳垂丝如诉，嶙峋山石衬出几分萧索。白衣男子立于其间，衣袂轻扬却难掩眉宇间的复杂——是决绝？还是隐于礼法下的无奈？旁侧两位女子相拥而立，罗裙轻垂，身影柔弱如风中飘絮，彼此依偎的姿态似是对命运的无声抵抗。\n\n线条流转细腻，设色淡雅却见功底，人物神情的描摹尤见匠心：男子微蹙的眉头藏着隐衷，女子低垂的眼眸裹着悲戚，连垂落的柳枝都似在替人拭泪。整幅画以景衬情，将旧闻里的礼法束缚与情长纠葛凝于笔墨间，每一处细节都在轻声诉说：那些被时光掩埋的无奈，从来都藏在人物的一颦一笑、山石草木的一呼一吸里。",[137,24,25,155,28,7,83,29,286,211,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c441d0be13c6b563da78fdded2b86c.jpg",[44],{"id":5049,"slug":5050,"title":1233,"dynasty":76,"author":2369,"museum":367,"description":5051,"tags":5052,"thumbUrl":5054,"material":100,"size":5055,"collection":237,"collections":5056,"showCount":5031,"zanCount":1769,"manualWeight":48,"mainColor":49},216730,"hua-niao-tu-lv-ji-216730","吕纪明朝画家，也被称为吕笃简。他是著名的花鸟画家，并且在当时期间担任过朝廷画家。吕纪的花鸟画精细细腻，注重画面的组合构图，对后世的花鸟画产生了很大的影响。他的著名作品有《花鸟图》和《四季花卉图》。",[23,24,7,28,212,1028,652,178,5053,3737,313],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc9c824b65ade19907e1c12b75fb4b1.jpg","200x102.8cm",[237],{"id":5058,"slug":5059,"title":5060,"dynasty":76,"author":5061,"museum":245,"description":5062,"tags":5063,"thumbUrl":5064,"material":220,"size":220,"collection":220,"collections":5065,"showCount":5066,"zanCount":895,"manualWeight":48,"mainColor":49},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","文徴明","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[23,24,25,26,28,29,285,172,7,176,85,86,34,83,173,1068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],184,{"id":5068,"slug":5069,"title":1233,"dynasty":150,"author":1805,"museum":245,"description":5070,"tags":5071,"thumbUrl":5072,"material":5073,"size":5074,"collection":237,"collections":5075,"showCount":5066,"zanCount":895,"manualWeight":48,"mainColor":49},222662,"hua-niao-tu-ma-quan-222662","马荃（生卒年不详），字江香，江苏常熟人。清代女画家。马元驭之（1669—1722）女（一作马元驭孙女），逸妹。生活于康熙、乾隆年间，\n时与女画家恽冰齐名。\n龚克和妻。工花卉，妙得家法。其夫亦工书、画，偕游京师，以绘事给衣食，颇怡。夫亡归里，绸缠染翰，饮冰茹茶，而名益高，四方以缣素兼金求画者益聚。常蓄婢数人，悉令调铅杀粉。而琴川多贵游士女，皆来求授指法。时常州恽冰画以没骨名，而江香以勾染名，江南人谓之双绝。康熙三十五年（1696）作花卉草虫册十二页，乾隆四年（1739）作琳池草虫扇。马荃代表作品价位2008年行情在3—5万\u002F平尺，市场升值潜力较大，为很多书画收藏家所追捧。",[23,24,137,25,155,7,28,212,411,688,3925,159,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ce5762f0e4335685920a74b317b42.jpg","设色绢本","82cm 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lin-fu-tu-juan-chou-ying-228437","上林赋图卷","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,24,137,25,26,27,28,7,29,83,84,927,178,211,34,4188,5151,92,86],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg",[],180,{"id":5156,"slug":5157,"title":5158,"dynasty":863,"author":1716,"museum":5159,"description":5160,"tags":5161,"thumbUrl":5164,"material":5165,"size":220,"collection":220,"collections":5166,"showCount":5154,"zanCount":1769,"manualWeight":48,"mainColor":145},220587,"hua-he-kun-chong-qi-bai-shi-220587","花和昆虫","Hwajeong Museum","这幅长卷以兼工带写之法绘就，泼墨挥写折枝花草，葫芦藤蔓蜿蜒豪放，墨叶酣畅淋漓，牵牛、萱花、海棠设色明妍鲜活，笔意朴拙老辣，尽显秋花野逸生机。\n工笔草虫穿插其间，蟋蟀、天牛、蜻蜓、蛱蝶皆纤毫毕现，翅脉通透轻薄，肢体灵动鲜活，将小虫的灵动神态刻画入微。大写意的烂漫朴拙与工笔的精细雅致相映成趣，把乡郊秋日的鲜活野景凝于卷上。搭配古雅题款与篆刻，整体意趣天然浑融，将乡野小景化作文人雅韵，尽显独有的花鸟意致。",[23,137,24,25,26,28,855,7,1720,212,62,452,5162,5163,468,596,411,493,1723,3084],"葫芦","丝瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39df443cbe832b9d4633286bff1506d1.jpg","color on paper",[],{"id":5168,"slug":5169,"title":5170,"dynasty":18,"author":326,"museum":134,"description":5171,"tags":5172,"thumbUrl":5173,"material":100,"size":220,"collection":42,"collections":5174,"showCount":5154,"zanCount":1769,"manualWeight":48,"mainColor":145},219191,"song-zhi-huang-li-zhao-ji-219191","松枝黄鹂","黄鹂栖于松枝，喙微张似欲啼鸣，羽色暖润如凝脂，翼尖墨痕利落，尾羽晕染出自然层次。松针以劲挺线条勾勒，疏密有致，苍劲中见清逸。古绢底色沉雅，衬得禽鸟鲜活灵动，仿佛能闻其婉转之声。笔墨精工却不刻板，于细节处藏着对生命的细腻体察，尽显宋画工致与生机交融的雅致韵致，将瞬间的灵动定格为永恒的诗意。",[23,137,24,25,519,7,28,212,927,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74de9e3f8a19ac72f67df2bc65ede2d5.jpg",[42,237],{"id":5176,"slug":5177,"title":5178,"dynasty":18,"author":505,"museum":367,"description":5179,"tags":5180,"thumbUrl":5182,"material":100,"size":220,"collection":42,"collections":5183,"showCount":5154,"zanCount":1769,"manualWeight":48,"mainColor":49},219008,"shuang-e-tu-zhao-chang-219008","双鹅图","画面中央下方画着两只鹅，黑白相间的鹅蹲在前面，转头拂动羽毛，纯白的鹅蹲在后面，脖子弯曲，都是自然舒适的状态。",[23,137,24,25,155,7,28,212,5181],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c1b4c1ebc02a4130ffab5754faea5d.jpg",[42,237],{"id":5185,"slug":5186,"title":5187,"dynasty":150,"author":5188,"museum":406,"description":5189,"tags":5190,"thumbUrl":5191,"material":100,"size":220,"collection":220,"collections":5192,"showCount":5154,"zanCount":48,"manualWeight":48,"mainColor":145},214610,"hong-lou-meng-ren-wu-ce-ye-2-yu-lan-214610","红楼梦人物册页-2","喻兰","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[24,28,7,519,285,284,81,176,156,83,59,86,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f5029b6dd2fd7aaf133fd9faf6ce40.jpg",[],{"id":5194,"slug":5195,"title":5196,"dynasty":150,"author":191,"museum":20,"description":1704,"tags":5197,"thumbUrl":5198,"material":40,"size":534,"collection":220,"collections":5199,"showCount":5200,"zanCount":48,"manualWeight":48,"mainColor":49},236172,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236172","雍正十二月行乐图轴",[24,7,81,28,29,83,84,34,5053,92,214,211,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a7368abaea9d15bd4eedf67eb66b.jpg",[],179,{"id":5202,"slug":5203,"title":5204,"dynasty":132,"author":5205,"museum":134,"description":5206,"tags":5207,"thumbUrl":5212,"material":220,"size":220,"collection":220,"collections":5213,"showCount":5200,"zanCount":1084,"manualWeight":48,"mainColor":49},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,137,24,25,26,28,7,5208,1499,2708,175,4611,86,83,5209,5210,5211,3487,33,250],"江岸","寒林","沙洲","初雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],{"id":5215,"slug":5216,"title":5217,"dynasty":18,"author":1609,"museum":406,"description":5218,"tags":5219,"thumbUrl":5220,"material":424,"size":5221,"collection":42,"collections":5222,"showCount":5200,"zanCount":1020,"manualWeight":48,"mainColor":49},221596,"xue-shu-han-qin-tu-li-di-221596","雪树寒禽图","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。\n此图绘写寒气凛冽的深冬，天空中飘扬着霏霏絮雪，山野坡地上一枝落尽残叶的棘树在寒风中挺立。一丛修篁傍树而生，积雪的竹叶依然清翠晶亮。在这冷寂的雪天里，一只孤单的伯劳鸟，似乎倦于飞翔，在这里暂且栖息，它安详地停立在枝头上。凝视着微茫的雪色",[23,24,137,25,155,7,28,1500,1499,299,2653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1115e9ff920959c5d8924f9a138d9fa.jpg","纵115.7厘米，纵52.8厘米",[42,237,45],{"id":5224,"slug":5225,"title":5226,"dynasty":18,"author":5227,"museum":134,"description":5228,"tags":5229,"thumbUrl":5230,"material":952,"size":5231,"collection":42,"collections":5232,"showCount":5200,"zanCount":48,"manualWeight":48,"mainColor":49},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,137,24,25,26,82,81,7,28,29,84,85,86,175,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[42,182,125],{"id":5234,"slug":5235,"title":5236,"dynasty":863,"author":1716,"museum":1717,"description":5237,"tags":5238,"thumbUrl":5241,"material":1725,"size":220,"collection":220,"collections":5242,"showCount":5200,"zanCount":48,"manualWeight":48,"mainColor":145},220588,"shu-cai-he-san-zhong-kun-chong-qi-bai-shi-220588","蔬菜和三种昆虫","以大写意挥毫白菜，浓墨铺陈菜叶，枯湿浓淡间尽显舒展之姿，朴拙厚重藏着清新生气，寥寥数笔便写出白菜的莹润鲜活。朱红辣椒点缀，艳色跳脱墨色，冷暖撞色生出明快野趣。\n\n工笔草虫细致入微，蜻蜓薄翼通透纤毫毕现，鸣虫灵动宛似欲振翅低吟，将草野生机凝于尺幅。题字苍劲老辣，书画印浑然相融，将田家寻常蔬食化为清趣盎然的雅境，以烟火日常寄寓冲淡天真的意趣，把乡野小景晕染成饱含诗意的鲜活画卷，尽显雅俗共赏的笔墨情致。",[23,24,855,28,1720,7,155,284,173,5239,5240,493,1723],"白菜","辣椒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02273d02cbd82e57c1882fb536b59302.jpg",[],{"id":5244,"slug":5245,"title":5246,"dynasty":18,"author":1275,"museum":134,"description":5247,"tags":5248,"thumbUrl":5251,"material":100,"size":5252,"collection":237,"collections":5253,"showCount":5200,"zanCount":48,"manualWeight":48,"mainColor":145},219203,"mei-zhu-shan-zhi-tu-ma-yuan-219203","梅竹山雉图","此图突出一个“简”，着墨甚少，然而笔精墨妙。图中梅树一棵，翠竹一枝，孤石一块，以简练的笔法画之，虽梅枝不多，怒张而有放射之态；翠竹柔姿与梅媲美；作者以浓墨大斧劈及丁头鼠尾画法相结合，石块质坚、方硬。只有图中的山雉，作者用笔精练，神彩俱牛，雄雉身上的背羽部分黑斑点，在银光闪烁的白羽上更黑更突出红脸上的黑眼，显得很有神态，黑颈白肚中夹着红色的胸羽，是画面中最能令人注目的视点。一只小小雌雉依偎在旁，更显雄者的威武，虽只有这一对雉，却使画面点缀得有声有色。",[23,24,137,25,914,28,7,855,172,156,637,5249,159,5250,212],"山雉","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eef8b55514c8cfe1d3ed17f0508b497.jpg","纵24.1厘米，横25.2厘米",[237,42],{"id":5255,"slug":5256,"title":5257,"dynasty":76,"author":191,"museum":463,"description":5258,"tags":5259,"thumbUrl":5261,"material":100,"size":5262,"collection":44,"collections":5263,"showCount":5200,"zanCount":48,"manualWeight":48,"mainColor":49},218294,"xiang-long-luo-han-tu-yi-ming-218294","降龙罗汉图","罗汉袒胸盘坐，红衣如焰翻卷，青带若云流转，神情从容间藏着威严。手中钵盂盛翠，似凝天地生机；法杖拄地，顶轮熠熠，似镇世间妄念。足下蛟龙蜷身，鳞爪毕现却温顺俯首，龙须轻摆仍余灵动，尽显降伏之态。背景幽岩深暗，衬出主体鲜活。线条劲健流畅，衣纹褶皱如行云流水；设色浓淡相宜，红与蓝的碰撞点亮画面。整作将罗汉法力无边与慈悲相济凝于笔端，龙的驯服更显佛法庄严，尽显明代佛画的精湛造诣与精神内核，观之令人心生敬畏与宁静。",[24,194,83,341,28,7,155,211,5260],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bcc5483184976244b0b04126d77aa8.jpg","172.2x109.2",[44],{"id":5265,"slug":5266,"title":5267,"dynasty":76,"author":819,"museum":134,"description":5268,"tags":5269,"thumbUrl":5271,"material":235,"size":5272,"collection":237,"collections":5273,"showCount":5274,"zanCount":1020,"manualWeight":48,"mainColor":145},219468,"pan-tao-tu-xiang-sheng-mo-219468","蟠桃图","这帧折枝蟠桃，老干自上而下蜿蜒伸展，皴擦点苔尽显苍古拙朴。仙桃晕染柔润清妍，粉白底色过渡自然，桃尖晕开胭脂红，饱满鲜活似凝着晨露，恍若可触其清甜。叶片舒展有致，色泽分染出深浅层次，清雅秀逸。\n\n题诗与绘境相得益彰，书画合璧添文韵，鉴藏朱印错落排布，晕开古雅氛围。整作不尚浓艳，以写实笔触勾勒出仙桃灵秀清润，将蟠桃延寿的祥瑞寓意融于淡冶笔墨之中，尽显明代文人画雅致隽秀的意趣风骨，是文气与赏玩性兼具的小品佳制。",[24,155,28,7,5270,451,453,173],"桃树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88cbc4a96a4d38d9e8c7a095345af2a.jpg","111.3x31.4厘米",[237],178,{"id":5276,"slug":5277,"title":5278,"dynasty":18,"author":191,"museum":134,"description":5279,"tags":5280,"thumbUrl":5281,"material":100,"size":5282,"collection":45,"collections":5283,"showCount":5274,"zanCount":943,"manualWeight":48,"mainColor":49},219187,"hua-wang-tu-yi-ming-219187","花王图","深红牡丹层叠如绮，凝脂染霞般盛放，花叶脉络分明，翠色欲滴。彩蝶翩跹其间，或停驻瓣尖，或振翅穿叶，灵动如生。下方拳石皴法古拙，纹理苍劲，与柔艳花簇相映成趣。笔墨工致却不刻板，设色浓妍而不失清雅，于绚烂中藏静穆，富贵气里透逸韵。一花一叶皆含生机，蝶影石姿俱见匠心，尽显宋代花鸟画状物传神之妙，仿佛能闻暗香浮动，触花叶温润，堪称工笔花鸟的典范之作。",[23,24,137,25,155,7,28,212,298,411,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e51ff66eaeeb48311a78d2dc98d048e.jpg","117.2x72.3公分",[45],{"id":5285,"slug":5286,"title":5287,"dynasty":18,"author":1774,"museum":134,"description":5288,"tags":5289,"thumbUrl":5290,"material":100,"size":5291,"collection":44,"collections":5292,"showCount":5274,"zanCount":1769,"manualWeight":48,"mainColor":49},216969,"yu-wang-kai-shan-tu-juan-zhao-bo-ju-216969","禹王开山图卷","赵伯驹，是中国宋代画家。他的作品《禹王开山图卷》是一幅著名的山水画，是他最著名的作品之一。\n\n《禹王开山图卷》画中描绘的是禹王开山垦沼的故事，以及禹王统治时期的生活和文化。画面上的人物和建筑都极具细致和生动，山水风光也非常优美。\n\n赵伯驹的画风风格独特，他擅长用细腻的线条勾勒出各种题材，并运用浓淡自然的墨色，使画面充满生机和活力。《禹王开山图卷》是宋代著名的山水画之一，被视为赵伯驹的代表作。",[137,24,25,26,27,28,7,172,29,83,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ff12f946a0ce4f72da37bbe835ca4f7.jpg","35x221.1",[44],{"id":5294,"slug":5295,"title":5296,"dynasty":150,"author":447,"museum":134,"description":448,"tags":5297,"thumbUrl":5298,"material":235,"size":220,"collection":220,"collections":5299,"showCount":5274,"zanCount":48,"manualWeight":48,"mainColor":145},214857,"xie-sheng-ce-7-hua-yan-214857","写生册-7",[24,25,519,28,7,212,1722,1721,653,452,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ba9d88617d284f8015ae6e16d9ed3fb.jpg",[],{"id":5301,"slug":5302,"title":1508,"dynasty":150,"author":310,"museum":20,"description":5303,"tags":5304,"thumbUrl":5305,"material":424,"size":5306,"collection":220,"collections":5307,"showCount":5308,"zanCount":1769,"manualWeight":48,"mainColor":49},234328,"song-mei-shuang-he-tu-shen-quan-234328","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。",[24,25,137,155,7,28,212,1068,637,60,211,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36593b35e7fbbcd65293d043000633a0.jpg","191cm×98.3cm",[],177,{"id":5310,"slug":5311,"title":5312,"dynasty":150,"author":5313,"museum":245,"description":5314,"tags":5315,"thumbUrl":5316,"material":220,"size":220,"collection":220,"collections":5317,"showCount":5308,"zanCount":1769,"manualWeight":48,"mainColor":145},230172,"hua-niao-hua-shi-er-kai-10-yu-zhi-230172","花鸟画十二开-10","余稚","此作设色明丽清雅，工致写实。柔婉桃枝缀满粉英，嫩蕊轻绽，与旁侧劲挺翠竹相映，柔刚相济，晕开融融春意。三只春燕刻画入微，两只栖于花枝，黑亮绒羽莹润细腻，红颈点点鲜活灵动，似在私语春景；另一只振翅掠空，身姿轻盈舒展，尽现翩跹之态。\n\n画师笔触细腻传神，将花瓣肌理、禽鸟绒羽一一摹绘，敷色温婉秀润，无半点艳俗之感。构图疏密相宜，枝桠错落舒展，留白恰到好处，将暮春柔暖生机尽数铺陈，尽显娴静雅致的中式春日意趣，是工笔花鸟里隽秀动人的佳作。",[137,24,7,28,519,212,178,174,2653,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af12c534f45c29139f1d53485b1c0e.jpg",[],{"id":5319,"slug":5320,"title":5321,"dynasty":18,"author":108,"museum":134,"description":5322,"tags":5323,"thumbUrl":5325,"material":28,"size":5326,"collection":42,"collections":5327,"showCount":5308,"zanCount":1084,"manualWeight":48,"mainColor":49},221319,"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[23,137,24,25,26,7,81,283,28,83,36,88,84,114,89,90,31,34,91,97,2095,5324],"宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 38x673.4公分；隔水一 38x14.5公分；引首一 38x98.5公分；隔水二 38x14.3公分；引首二 38x50.9公分；隔水三 38x14.2 公分；隔水四 38x14.2公分；拖尾一 36x50.8公分；隔水五 14.2公分；拖尾二 28.2x55.2公分；隔水六 14.2公分。",[42,45],{"id":5329,"slug":5330,"title":5331,"dynasty":18,"author":191,"museum":134,"description":5332,"tags":5333,"thumbUrl":5334,"material":100,"size":220,"collection":42,"collections":5335,"showCount":5308,"zanCount":1084,"manualWeight":48,"mainColor":49},218967,"la-mei-han-qin-tu-yi-ming-218967","腊梅寒禽图","寒汀疏影里，腊梅枝桠斜逸，点点白花似凝着清霜，在冷寂中透出淡香。岸畔山茶红萼灼灼，与枯瘦的梅枝相映，暖了一帧冬景。两只水禽悠游浅波，羽色素净，颈间一抹白如落雪，姿态闲逸得像在细品风的轻语。远处山影淡如烟岚，天际归鸟三两，更衬出天地的旷远。\n\n笔墨细腻却不刻意，草木的情态、水禽的姿态皆得自然之趣。宋人的心境藏在这帧画里：于寻常冬景中撷取宁静与生机，让清寂时光浸着温润诗意——没有浓墨重彩的渲染，却以极简的笔触，将冬的清寒与生命的从容，凝成了可触摸的温润。",[23,137,24,25,7,28,212,637,2423,159,5053,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a6138737b9901f57872732e5659ef9.jpg",[42,237],{"id":5337,"slug":5338,"title":5339,"dynasty":150,"author":5340,"museum":463,"description":5341,"tags":5342,"thumbUrl":5344,"material":235,"size":5345,"collection":45,"collections":5346,"showCount":5347,"zanCount":1084,"manualWeight":48,"mainColor":49},219264,"jin-ding-he-mei-tu-gai-qi-219264","金鼎和美图","改琦","画面中仕女群像情态和融，居中者衣袂温婉，手持细物若有所思；旁侧侍女或捧壶侍立，或举灯相照，姿态轻柔。案上金鼎、茶具雅致，衬出闺阁的娴静。线条细劲如丝，衣纹飘逸灵动，设色温润淡雅，发髻钗饰精巧入微。人物间互动自然，暖意融融，将日常闺中场景绘成一幅清丽雅致的和美图卷，尽显清代仕女画的秀逸韵致。",[23,24,25,155,7,28,83,59,5343,344,158,1674],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9eae989c0fdce3e7f5b0ecf0ef7bb.jpg","190 × 67.7 cm",[45],176,{"id":5349,"slug":5350,"title":5351,"dynasty":150,"author":5352,"museum":367,"description":5353,"tags":5354,"thumbUrl":5355,"material":100,"size":220,"collection":237,"collections":5356,"showCount":5347,"zanCount":1084,"manualWeight":48,"mainColor":49},219033,"mao-tu-ying-zhao-219033","猫图","应召","蜷坐的花猫毛色斑斓，黑褐与橘白交织晕染，绒毛质感蓬松柔软。它回眸的瞬间，瞳仁如墨点般清亮，双耳微竖，似正留意周遭动静。淡赭色的背景上，散落着几枚浅墨点染的细石，简淡中见意趣。画家以细腻笔触捕捉猫的慵懒与机警，线条温婉却不失骨力，色彩雅致而富有层次。画面留白处更显空灵，虽无繁复布景，却于极简中藏生机，仿佛能感受到猫的呼吸与轻缓的尾摆，尽显写生之妙与文人画的雅致意韵。",[23,24,25,155,28,7,581,582,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d01ae3c172c6d7532860b25005a89da.jpg",[237],{"id":5358,"slug":5359,"title":5360,"dynasty":18,"author":191,"museum":245,"description":5361,"tags":5362,"thumbUrl":5363,"material":220,"size":220,"collection":220,"collections":5364,"showCount":5365,"zanCount":1020,"manualWeight":48,"mainColor":697},227904,"bi-tao-tu-ye-yi-ming-227904","碧桃图页","《碧桃图》是宋代佚名画家创作的一幅绢本设色画，现藏于北京故宫博物院。\n该图绘碧桃两枝，枝上的碧桃花有的吐露盛开，有的含苞欲放。\n花瓣用细笔勾描后多层晕染，富有层次变化和立体感。\n全图用笔精细，设色淡雅，画面虽小，意趣无穷。\n在纨扇面上画红白碧桃两枝，枝上的桃花有的吐露盛开，有的含苞欲放，其花蕾、枝叶互相穿插其间，争奇斗艳，竞相怒放。\n左枝挺干盛开，右枝则斜向争艳，从这两枝繁花簇簇，苞蕾盈枝的描绘中，清香宜人的花味如绢中溢出，感到了春色的浓郁，花木葱郁茂盛的欣欣向荣气象呈现在眼前。\n本幅有：“于”“腾”联珠白文、“阿蒙精赏”朱文。\n宋代的花鸟画，在皇室的倡导下，已发展到了黄金时期。\n对客观物象的观察和描绘已丝丝入微，重“格物、穷理”已成为那一时期花鸟画坛的时尚，花鸟册页是其中的代表。\n该图是散页，已无从查考出处，观其画风，应是南宋初院人作品，是南宋写生作品，画面无款。\n宋人画风崇尚真实自然，在真实中求得词一般的境界。\n该图描绘的是一派春意盎然的景象，表现的是一红一白两枝桃花相互交错，花朵饱满丰盈，枝叶葱郁。\n该图没有繁杂的布势表现，但通过对花、叶、枝及嫩芽的精微生动的描绘，着实传达出春花怒放、春日融融的情意感觉。\n其中，尤以那层层叠叠的花瓣最引人注目，且每个花朵的形态走向各有差异，可以说无论是花朵的局部表现，还是整体的布势都是精彩的。\n该图构图简洁，在许多方面都留有写生的痕迹，比如，花瓣的开合、叶子的正反、刚出的嫩芽等表现，无不鲜活入微。\n然而，这种生活化的写生表现，确丝毫没有影响画家依照情意处理画面平面空间分割的意图。\n可能正是由于这种生活中形状的刺激，使得作者在画面的平面分割中，才采用了扇形分割，扇形成为作品中形状的主基调。\n作品从整体画面的团扇形到每一簇花朵，乃至每一簇叶子都呈各自不同的扇形分割，在这个分割中扇形可谓是变化至极。\n这种扇形能够给人以渐展、开阔的生发感觉，这就吻合了作品的情意内容，即由弱到强的春季桃花的生命气象。\n该图艺术精湛，花枝、花茎、花叶全用双勾。\n勾线细秀，赋色轻清。\n其中花瓣用细笔勾描后多层晕染。\n花叶的筋脉一丝不苟，丝丝入扣，有水分的质感，桃干的勾线，顿挫转折，笔笔中锋，凝重而空灵，富有层次变化和立体感。\n中国美术研究所研究员梁济海：这幅画在艺术手法上与《出水芙蓉》不一样，花枝茎叶全用双勾，不过用笔极为轻细，傅色也很淡雅，碧桃的丰盈、柔嫩和姣好的姿容，形成一种素雅的艺术格调。\n由本幅鉴藏印可知，该图曾经清代鉴藏家于腾收藏，经《中国古代书画目录》第二册著录。\n现藏于北京故宫博物院。",[23,137,24,25,519,28,7,212,174,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492d139f03f73b41512b3e28ecc1aab5.jpg",[],175,{"id":5367,"slug":5368,"title":5369,"dynasty":18,"author":1040,"museum":20,"description":5370,"tags":5371,"thumbUrl":5375,"material":67,"size":5376,"collection":220,"collections":5377,"showCount":5365,"zanCount":1084,"manualWeight":48,"mainColor":145},221493,"ku-lou-huan-xi-tu-li-song-221493","骷髅幻戏图","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。\n此《骷髅幻戏图》为扇面册页，左侧署有李嵩的名款，画面有“信公珍赏”“会侯珍藏”等多方收藏印章。 [1] 画面中心人物是一戴幞头、穿透明纱袍的大骷髅，席地而坐，左腿曲折着地，左手按左大腿，右腿弓起，右肘支右膝，坐姿十分舒适自便。右手提控一小骷髅，应为提线木偶（傀儡），上下牙列开张，似在说笑。小骷髅即提线木偶（傀儡）右脚着地，左脚抬起，两臂做招手状，很是活泼。小骷髅对面为一小儿，其左手与双足俱着地，昂首伸右臂，似要伸手抓小骷髅，顽皮而好奇。小儿身后为一青年妇人，双手伸出似作阻拦状，表情看似有些干着急。大骷髅身后安坐一青年妇人，半袒胸，怀抱中小儿正食其乳。目光安详，稍侧身，正注视着眼前之事。人物描画十分生动细致，仿佛能听见他们各自的声音。特别是骷髅的造型十分精准。\n对幅有王玄真书黄公望《醉中天》曲：\n没半点皮和肉，有一担苦和愁。傀儡儿还将丝线抽，寻一个小样子把冤 家逗。识破个羞那不羞？呆兀自五里已单堠。\n曲末题署： 至正甲午春三月十日大痴道人作，弟子休休王玄真书，右寄醉中天。\n画幅之核心主题，当为生死转化及其因果轮回。画家将画一分为二，生死各半。左边画一大骷髅，头戴朴头，身着色衣，关节以线穿连，为艺人的演戏傀儡，含有死之意；右边则画一小儿，手足着地，仰首伸臂，带有生之欲。生死既分，却又互相吸引，故画幅中央被大骷髅戏弄的小骷髅，面向小儿，作躬身招呼状。此是戏中之戏，亦是精心之笔。啸髅躯架刻画准确，小儿动态神气表现生动，大骷髅身後，一妇人袒胸露乳，喂哺幼儿，神色不安地注视着骷髅戏婴之情景，与画幅右边神情恐惧、伸手阻拦那趴地小儿的另一妇人恰成对照，呈现一种静与动、思与行的对立。\n此图还存在着三重幻戏结构：一是两个操控，即大骷髅对于小骷髅的操控，无形之手对于大骷髅的操控；二是交相生发的幻术结构，甚至观图者也会不自觉地落入其中；三是各种背反之表现，尤其是观者明、当局者迷，令人难忘。\n构图的黑白市置上，画家将示死气之骷髅衬于密线重墨组成的墩子、货担之前，增添了阴森、黑暗及恐怖的气氛；同时，却将表现生的小儿置于简写的土地及大片空白的背景上，加强了晴朗、光明及欣喜的感觉。\n单纯从笔墨技法上看，李嵩发挥了自己擅于勾勒、界画之才能，线条坚韧扎实，墨色精致细腻。衣纹用线劲利，或纤柔、或飘动、或挺拔，皆依形态动作而生变化。器物用笔工整严细，笔笔送到，不见轻率浮滑。骨骼、肌肤用笔略有差别，前者刚健，凝重，后者圆转，富于弹性。至于浓淡设色，基本为层层渲染，渐次加深浓重程度，直至轮廓空间毕现方止。染工严谨、古雅，颇具宋朝院体画之特色。",[23,28,7,83,5372,1744,5373,216,5374],"骷髅","妇人","怪诞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b944972848e948075643620ba0a8fb.jpg","纵27厘米，横26.3厘米",[],{"id":5379,"slug":5380,"title":5381,"dynasty":150,"author":5382,"museum":78,"description":5383,"tags":5384,"thumbUrl":5387,"material":100,"size":5388,"collection":44,"collections":5389,"showCount":5365,"zanCount":943,"manualWeight":48,"mainColor":49},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,26,7,28,172,29,83,84,85,86,176,34,5385,5386,96,112,31,623,37],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[44,182],{"id":5391,"slug":5392,"title":5393,"dynasty":228,"author":229,"museum":230,"description":5394,"tags":5395,"thumbUrl":5397,"material":100,"size":220,"collection":237,"collections":5398,"showCount":5365,"zanCount":1084,"manualWeight":48,"mainColor":49},219186,"fu-rong-yuan-yang-tu-qian-xuan-219186","芙蓉鸳鸯图","芙蓉枝蔓自右上垂落，花叶丰腴，白瓣晕染淡红，似含晨露。一对鸳鸯相倚岸汀，羽色层次分明，红喙翠翎与素白绒羽相映，姿态亲昵如诉温情。画面设色温润雅致，绢本底色衬出古雅意蕴，笔墨工细却不刻板，于静谧中藏生机，尽显自然之美与缱绻意趣。枝间花叶错落有致，岸畔草石点缀生姿，整体构图虚实相生，将禽鸟的亲昵与花木的清妍融于一体，传递出恬淡悠然的古典情韵。",[23,137,24,7,28,212,492,1435,159,453,5396],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226d4750da5198d9248ca7382ce9bb70.jpg",[237,45],{"id":5400,"slug":5401,"title":5402,"dynasty":18,"author":191,"museum":463,"description":832,"tags":5403,"thumbUrl":5404,"material":100,"size":5405,"collection":44,"collections":5406,"showCount":5365,"zanCount":48,"manualWeight":48,"mainColor":145},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[23,24,25,26,82,28,283,7,83,59,29,175,84,34,4319,211,2799,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[44],{"id":5408,"slug":5409,"title":5410,"dynasty":18,"author":191,"museum":382,"description":5411,"tags":5412,"thumbUrl":5414,"material":40,"size":5415,"collection":220,"collections":5416,"showCount":5417,"zanCount":1020,"manualWeight":48,"mainColor":145},223523,"li-hua-ying-wu-tu-yi-ming-223523","梨花鹦鹉图","画面上满是梨花，雪白的碎片，三种绿色，红顶红嘴鹦鹉站在树枝上，俯身闻着梨花的芬芳。 从技术上讲，梨花被涂成白色，茎是浅绿色； 鹦鹉是用每一根粗毛笔画出来的，丝绸蓬松，身体圆润，非常可爱！",[23,137,24,25,7,28,212,1258,5413,173],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58717acba13d2d5091e6b0c695bb5c0e.jpg","27.6x27.6cm",[],174,{"id":5419,"slug":5420,"title":5421,"dynasty":76,"author":674,"museum":20,"description":5422,"tags":5423,"thumbUrl":5424,"material":40,"size":5425,"collection":44,"collections":5426,"showCount":5417,"zanCount":1769,"manualWeight":48,"mainColor":49},221884,"xi-ying-tu-you-ming-tong-zi-li-fo-tu-chen-hong-shou-221884","戏婴图（又名童子礼佛图）","《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。",[23,24,7,28,83,159,158,194,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa41ef319564f201fad45f52a944993.jpg","纵150厘米，横67.3厘米",[44,45],{"id":5428,"slug":5429,"title":5430,"dynasty":54,"author":381,"museum":134,"description":5431,"tags":5432,"thumbUrl":5438,"material":218,"size":5439,"collection":44,"collections":5440,"showCount":5417,"zanCount":943,"manualWeight":48,"mainColor":49},221066,"zhi-gong-tu-yan-li-ben-221066","职贡图","该画描绘的是唐太宗时，婆利国和罗刹国千里迢迢前来朝贡的情景。画中共有二十七人，其中白衣虬髯骑白马的人是罗刹国使者，身后有仆从打着伞执着扇，抬着礼物。左边穿长袍手里托着珊瑚打着伞盖的人是婆利国使者，他的随从也带着各式各样的礼物。整幅画设色淡雅，人物造型奇特，线条流畅自然。",[23,24,25,137,26,7,28,83,5433,112,2709,216,2183,5434,5435,5436,344,5437],"异域人物","推车","随从","伞盖","行进场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e8b3405f3cc59b7a13648e7f06f67.jpg","纵61.5cm，横191.5cm",[44,45],{"id":5442,"slug":5443,"title":5444,"dynasty":150,"author":5445,"museum":901,"description":5446,"tags":5447,"thumbUrl":5449,"material":100,"size":5450,"collection":44,"collections":5451,"showCount":5417,"zanCount":1084,"manualWeight":48,"mainColor":49},220442,"chun-ye-yan-tao-li-yuan-tu-lv-huan-cheng-220442","春夜宴桃李园图","吕焕成","此图与吕焕成的传世作品《春山听阮图》（现藏旅顺博物馆）、《西溪图》（上海博物馆）的画法相类似，勾皴挺拔秀劲，人物生动细劲，意境幽深，既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n此幅绘李白春夜宴桃李园故事，人物刻画生动，桃园布置幽雅，桃树夭夭，灼灼其华，湖石玲珑，远山壮美。用笔细劲，敷色精诣，吕吉文做为清初吴门画派领军人物，此作名不虚传。",[23,24,25,155,7,28,83,29,174,314,5448,1103,313],"宴乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b1cce1cef029536624dbe6f4f8c3e5.jpg","199X96cm",[44,45],{"id":5453,"slug":5454,"title":5455,"dynasty":54,"author":1753,"museum":367,"description":5456,"tags":5457,"thumbUrl":5458,"material":100,"size":5459,"collection":182,"collections":5460,"showCount":5417,"zanCount":1769,"manualWeight":48,"mainColor":1833},219766,"qing-lv-shan-shui-tu-li-si-xun-219766","青绿山水图","李思训（651-716，一作653-718）唐代书画家。字建睍，一作建景。出身唐宗室。唐高祖从弟长平王李叔良孙，李孝斌子。陇西成纪(今甘肃天水市)人。唐高宗(650-683)时为江都令，武则天朝(684-704)弃官潜匿，唐中宗朝出为宗正卿，唐玄宗开元初，官至左武卫大将军，因玄宗时官至右武卫大将军，所以被称为“大李将军”。擅画青绿山水，受展子虔的影响，笔力遒劲。题材上多表现幽居之所。传为他的作品有台北故宫博物院藏的《江帆楼阁图》轴，画游人在江边活动，以细笔勾勒山石轮廓，赋重青绿色，富于装饰性。此画虽今被认定为宋人手笔，但可以反映他的画风。他的儿子李昭道，官至太子中舍人，也是著名的画家，人称“小李将军”，秉承家学，亦擅青绿山水，风格工巧繁缛。藏于台北故宫博物院的《明皇幸蜀图》画唐玄宗及随从逃难四川的情形，宋以来相传为他的作品，现被断为宋人摹本。此派的山水风格，在初唐的章怀太子墓和懿德太子墓壁画中亦可看到。",[23,137,24,25,155,27,28,7,81,29,84,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d907e9ba09310c5bbacf3e00fd591b.jpg","纵 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代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,251,24,25,155,7,28,212,5413,62,313,597,1092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea923f5fc4a6a88156616b48b14abb.jpg","立轴 纸本","128x34",[],{"id":5517,"slug":5518,"title":5519,"dynasty":228,"author":5520,"museum":20,"description":5521,"tags":5522,"thumbUrl":5523,"material":40,"size":5524,"collection":44,"collections":5525,"showCount":5496,"zanCount":1020,"manualWeight":48,"mainColor":49},221827,"long-gong-shui-fu-tu-zhu-yu-221827","龙宫水府图","朱玉","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。\n《石渠宝笈三编·乾清宫》著录。",[23,24,28,7,173,83,341,112,196,84,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d2e44d7f8f6c34cd2ea480ccffe619.jpg","纵45.6厘米，横43.3厘米",[44,45],{"id":5527,"slug":5528,"title":1233,"dynasty":76,"author":2717,"museum":134,"description":5529,"tags":5530,"thumbUrl":5531,"material":100,"size":220,"collection":237,"collections":5532,"showCount":5496,"zanCount":48,"manualWeight":48,"mainColor":49},219462,"hua-niao-tu-lu-zhi-219462","虬曲苍劲的老梅盘错伸展，柔粉新花缀满枝桠，垂拂的柳丝轻曳，晕开春日的软柔生机。两只白羽鹦鹉或栖或飞，姿态悠然闲适，绿羽鹦鹉俯身探向花枝，翠色翎毛鲜妍亮眼，鲜活灵动。\n\n画作兼取院体工致与文人雅意，墨笔勾勒梅骨古拙苍劲，禽鸟晕染细腻写实，设色柔丽雅致。将花木的清隽幽淡与禽鸟的鲜活灵韵相融，动静交织间，晕开春日独有的悠然闲情，尽显明丽雅致的花鸟意趣。",[24,25,7,28,212,299,5413,178,637,653,62,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450a7cb42a9f747df8719efb27c47.jpg",[237],{"id":5534,"slug":5535,"title":715,"dynasty":18,"author":5536,"museum":463,"description":5537,"tags":5538,"thumbUrl":5539,"material":100,"size":5540,"collection":44,"collections":5541,"showCount":5496,"zanCount":1084,"manualWeight":48,"mainColor":145},216922,"xiang-shan-jiu-lao-tu-ma-xing-zu-216922","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,137,24,26,7,28,83,156,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F695cadd81d87bdb7478f46096b1241a9.jpg","27.1x217.2",[44],{"id":5543,"slug":5544,"title":5545,"dynasty":150,"author":260,"museum":245,"description":5546,"tags":5547,"thumbUrl":5552,"material":1397,"size":1398,"collection":220,"collections":5553,"showCount":5554,"zanCount":1084,"manualWeight":48,"mainColor":49},290019,"qian-long-di-sui-chao-xing-le-tu-zhou-lang-shi-ning-290019","乾隆帝岁朝行乐图轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,155,28,7,81,83,84,92,5548,927,637,4077,5549,5550,5551],"雪山","岁朝行乐","宫廷","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7cec0bd92f397ff05871378734d78.jpg",[],171,{"id":5556,"slug":5557,"title":5558,"dynasty":132,"author":1194,"museum":245,"description":5559,"tags":5560,"thumbUrl":5561,"material":220,"size":220,"collection":220,"collections":5562,"showCount":5554,"zanCount":349,"manualWeight":48,"mainColor":49},228384,"guan-wu-shi-nv-tu-zhou-wen-ju-228384","观舞仕女图","松奇石秀的庭院中，仕女们各尽其态，晕开一段闲雅深闺意趣。前景舞女立在红毡之上，扬袖振腕，身姿柔婉灵动，将舞蹈的曼妙尽致展现。侧旁侍女跪坐调鼓，应和节拍，另有仕女相携私语，目光流连。远景榻上仕女斜偎观舞，侍女垂手侍立身侧，尽显松弛慵闲。\n\n画作以铁线描勾勒衣袂裙裾，线条细劲流畅，设色古雅沉静，晕染柔和雅致，将仕女温婉娟秀的仪态，贵族深闺宴乐的慵懒柔靡尽数铺陈，把闺中日常的悠然意趣定格在古绢之上，尽显精工雅致的笔情墨韵。",[23,24,25,155,28,7,83,59,470,138,34,211,92,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba11e752bd59ac0714e9fc60eac044.jpg",[],{"id":5564,"slug":5565,"title":5566,"dynasty":18,"author":5567,"museum":134,"description":5568,"tags":5569,"thumbUrl":5574,"material":100,"size":220,"collection":44,"collections":5575,"showCount":5554,"zanCount":1084,"manualWeight":48,"mainColor":49},216731,"wen-ji-gui-han-tu-chen-ju-zhong-216731","文姬归汉图","陈居中","旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,25,26,7,28,83,29,112,34,211,5570,2464,5571,2798,5572,5573],"旌旗","骑兵","郊野","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ccb7fb1bc626b0b7aa8fc314796013.jpg",[44],{"id":5577,"slug":5578,"title":5579,"dynasty":228,"author":229,"museum":245,"description":5580,"tags":5581,"thumbUrl":5582,"material":220,"size":220,"collection":220,"collections":5583,"showCount":5584,"zanCount":1020,"manualWeight":48,"mainColor":49},228020,"hua-lan-tu-ye-qian-xuan-228020","花篮图页","棕褐绢底晕开古雅底色，竹编花篮篾条交错，纹理写实朴拙，似可触手可感。篮中群芳错落排布，柔粉芍药舒展娇瓣，乳白月季凝含清韵，朱红小花点染亮色，碧色青叶俯仰生姿，花叶的阴阳向背层次分明。设色妍丽却不浓艳，工笔细绘暗含文人雅意，褪去刻板匠气，将折枝花卉的鲜活生机与花篮的质朴融于方寸之间，把秋日花篮的雅致鲜活定格绢上，晕染出静谧隽永的古典诗意，尽显幽淡雅致的审美意趣。",[23,24,137,28,7,212,62,158,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ef07ac91ee4d635310b37558cfb414.jpg",[],170,{"id":5586,"slug":5587,"title":1100,"dynasty":18,"author":326,"museum":134,"description":5588,"tags":5589,"thumbUrl":5590,"material":67,"size":5591,"collection":42,"collections":5592,"showCount":5584,"zanCount":1769,"manualWeight":48,"mainColor":49},221331,"wen-hui-tu-zhao-ji-221331","该画作描绘的是文人学者以文会友饮酒赋诗的场景。园林中绿草如茵，雕栏环绕，树木扶疏，九名文士围着坐在桌子的周围，树下立谈的二人，另外有童仆侍从者九人，人物姿态生动有致，呈现出文人学士饮酒赋诗畅谈之景。",[23,24,137,25,7,28,83,34,783,216,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a52bb2f5e40f63f9d730b696f39f122.jpg","纵184.4厘米，横123.9厘米",[42,182,45],{"id":5594,"slug":5595,"title":5596,"dynasty":150,"author":592,"museum":134,"description":5597,"tags":5598,"thumbUrl":5601,"material":28,"size":5602,"collection":237,"collections":5603,"showCount":5584,"zanCount":1084,"manualWeight":48,"mainColor":145},220984,"yin-xing-li-fang-yun-shou-ping-220984","银杏栗房","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[23,24,25,519,595,28,7,5599,5600,453,198],"银杏","栗房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79d66c05b6bf9a17cc28bba35d1c764.jpg","50.8厘米",[237,45],{"id":5605,"slug":5606,"title":5607,"dynasty":150,"author":516,"museum":134,"description":517,"tags":5608,"thumbUrl":5611,"material":235,"size":524,"collection":220,"collections":5612,"showCount":5584,"zanCount":1769,"manualWeight":48,"mainColor":145},219873,"er-shi-si-fan-hua-xin-feng-tu-tong-hua-yu-mai-hua-dong-gao-219873","二十四番花信风图-桐花与麦花",[24,25,519,28,7,284,285,5609,5610,198,409,453,173],"桐花","麦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb86962c9013f1d6120ae7f94813ca0.jpg",[],{"id":5614,"slug":5615,"title":5616,"dynasty":150,"author":5617,"museum":20,"description":5618,"tags":5619,"thumbUrl":5620,"material":220,"size":220,"collection":237,"collections":5621,"showCount":5622,"zanCount":1084,"manualWeight":48,"mainColor":145},236628,"zi-teng-you-yu-zhou-yun-qing-236628","紫藤游鱼轴","恽青","此作以没骨法绘就，上方紫藤柔枝舒展，翠叶敷色清润，紫白花穗垂曳，似有暗香浮动，搭配题诗更添文韵。下方水面澹澹，数尾游鱼摆尾穿行，笔墨简逸却将悠游之态尽显。\n\n静立的花木与灵动的游鱼相映成趣，整作设色雅致柔和，笔意秀润空灵，将花下观鱼的闲逸禅意晕染开来，尽显文人清雅意趣，淡而有味，余韵悠长。",[24,25,155,28,7,212,486,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a686f222042b05ac0a21c956e3be3d9.jpg",[237,45],169,{"id":5624,"slug":5625,"title":4372,"dynasty":150,"author":5626,"museum":463,"description":5627,"tags":5628,"thumbUrl":5629,"material":235,"size":5630,"collection":44,"collections":5631,"showCount":5622,"zanCount":48,"manualWeight":48,"mainColor":145},219434,"ba-jiao-mei-ren-tu-fei-dan-xu-219434","费丹旭","图为一名女子坐在巨大的芭蕉叶下的石凳上，手握横琴，右手解开绳索。",[24,28,7,155,83,59,466,2653,211],"https:\u002F\u002Foss.ch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y":76,"author":191,"museum":245,"description":5790,"tags":5791,"thumbUrl":5794,"material":1397,"size":1398,"collection":220,"collections":5795,"showCount":5796,"zanCount":48,"manualWeight":48,"mainColor":1833},228414,"shui-yue-guan-yin-zuo-xiang-yi-ming-228414","水月观音坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[677,24,25,28,7,194,83,37,5470,5474,5792,2602,5793],"衣纹勾勒","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5ec879dad57cb6f26224e6447e0ea1.jpg",[],164,{"id":5798,"slug":5799,"title":5800,"dynasty":18,"author":326,"museum":134,"description":5801,"tags":5802,"thumbUrl":5803,"material":952,"size":5804,"collection":42,"collections":5805,"showCount":5796,"zanCount":48,"manualWeight":48,"mainColor":49},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,24,25,26,7,283,855,212,178,248,555,2708,250,159,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[42,237,125],{"id":5807,"slug":5808,"title":5809,"dynasty":18,"author":191,"museum":134,"description":5810,"tags":5811,"thumbUrl":5815,"material":100,"size":220,"collection":42,"collections":5816,"showCount":5796,"zanCount":1020,"manualWeight":48,"mainColor":49},220204,"bo-gu-tu-yi-ming-220204","博古图","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[23,24,25,28,7,83,1068,314,637,5812,216,92,1744,471,783,5813,5814,3437],"古物","古玩","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[42,44],{"id":5818,"slug":5819,"title":5820,"dynasty":18,"author":191,"museum":5821,"description":5822,"tags":5823,"thumbUrl":5825,"material":100,"size":5826,"collection":237,"collections":5827,"showCount":5796,"zanCount":943,"manualWeight":48,"mainColor":145},216748,"jia-die-tu-ye-yi-ming-216748","蛱蝶图页","辛辛那提艺术博物馆","蛱蝶图页是一幅著名的宋朝绘画，被认为是宋朝早期艺术发展的重要代表作之一。这幅画是由佚名艺术家创作的，其名字尚不为人所知。\n\n蛱蝶图页描绘了一只蛱蝶飞舞的场景，画面上的蛱蝶美丽、优美，表现出轻盈、自然的感觉。画中的蛱蝶身体清晰可见，细腻地描绘了蛱蝶的身体结构和色彩。蛱蝶的翅膀上有精细的花纹，使得整幅画充满了生动的艺术气息。\n\n蛱蝶图页是宋朝绘画发展的一个里程碑，它体现了宋朝早期艺术家对自然界的观察和描绘能力的高超。这幅画也是宋朝艺术史上非常重要的一件作品，被认为是宋朝绘画艺术的重要代表作之一。",[23,137,24,25,914,4185,7,28,212,411,2268,5824,198],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50bde642897008fa269f1fcefa22eeff.jpg","25.4x24.8cm",[237],{"id":5829,"slug":5830,"title":4399,"dynasty":18,"author":191,"museum":5831,"description":5832,"tags":5833,"thumbUrl":5834,"material":100,"size":5835,"collection":237,"collections":5836,"showCount":5796,"zanCount":1769,"manualWeight":48,"mainColor":49},216724,"zhu-que-tu-yi-ming-216724","德国国立民族博物馆","竹雀图是一幅中国宋朝时期的山水画。它的作者不详，因此被称作佚名。这幅画展现了一只竹雀坐在枯竹上，它仰望天空，看起来沉思，非常感人。背景是一片山林，山上有云雾，枯竹上有苔藓。这幅画浓烈的山水意境和出色的线条勾勒，使得它成为了一幅经典的中国画作品。",[23,137,24,25,914,7,28,212,156,3035,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a620d767f5903f90715fcce25b8448e.jpg","24.1x23.4cm",[237],{"id":5838,"slug":5839,"title":5840,"dynasty":18,"author":326,"museum":169,"description":5841,"tags":5842,"thumbUrl":5843,"material":67,"size":5844,"collection":42,"collections":5845,"showCount":5846,"zanCount":1084,"manualWeight":48,"mainColor":145},221328,"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[23,137,24,25,26,7,28,212,637,5413,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[42,237,45],163,{"id":5848,"slug":5849,"title":5850,"dynasty":150,"author":516,"museum":245,"description":5851,"tags":5852,"thumbUrl":5853,"material":1397,"size":1398,"collection":237,"collections":5854,"showCount":5855,"zanCount":1084,"manualWeight":48,"mainColor":145},238883,"hua-hui-ce-dong-gao-238883","花卉册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,25,519,7,28,212,409,62,612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5565de81860414a56e206c890dc9266.jpg",[237,45],162,{"id":5857,"slug":5858,"title":5859,"dynasty":150,"author":592,"museum":20,"description":5860,"tags":5861,"thumbUrl":5864,"material":599,"size":5865,"collection":220,"collections":5866,"showCount":5855,"zanCount":1769,"manualWeight":48,"mainColor":145},233791,"liao-ting-yu-zao-tu-zhou-yun-shou-ping-233791","蓼汀鱼藻图轴","该幅是恽氏触景生情的写生之作。构图简洁无远、中、近景之分，仅绘青山园池的一隅：蓼花、翠竹与湖石构筑出典雅平和的意境，数尾游鱼惬意的神态又为全幅平添了几分生机和意趣。恽寿平在《瓯香馆集补遗画跋》曾言：“以古人为师犹未能臻妙，必进而师抚造化，庶几极妍尽态而为大雅之宗。” 此图便体现了他这种在传统的绘画之外，更注重师法自然的美学思想。在表现技法上，恽寿平采用的是他出古入新创制的“没骨”画风，即不用笔勾勒物象的轮廓线，而全以色彩点染而成。竹、芦、蓼叶及水藻施以浓淡不同的花青、淡赭、浅红等，每片叶均一笔撇出，缺少轮廓线的束缚，物象更具摇曳多姿的生动性。湖石以淡花青为主调，施用大量的水分晕染，没有干笔勾线，枯笔皴擦，湖石固然失去了石体坚硬的质感，但其玲珑剔透的秀润之美倍增。",[24,28,7,212,159,557,5862,250,5863],"蓼草","藻类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9bc3daeb5afc87149b9699423ade1b.jpg","纵135厘米，横62.6厘米",[],{"id":5868,"slug":5869,"title":5870,"dynasty":76,"author":2369,"museum":463,"description":5871,"tags":5872,"thumbUrl":5873,"material":100,"size":5874,"collection":237,"collections":5875,"showCount":5855,"zanCount":48,"manualWeight":48,"mainColor":49},218959,"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[23,24,137,7,28,927,1435,178,212,409,286,5053,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[237],{"id":5877,"slug":5878,"title":5879,"dynasty":228,"author":191,"museum":134,"description":5880,"tags":5881,"thumbUrl":5882,"material":67,"size":5883,"collection":220,"collections":5884,"showCount":5885,"zanCount":1769,"manualWeight":48,"mainColor":49},231477,"wen-shu-pu-sa-yi-ming-231477","文殊菩萨","菩萨垂目敛神，面庞圆融柔和，静穆间自含慈悲沉静的气韵。朱红衬袍搭配织金纹饰的华彩僧衣，衣纹流转自然，晕染得宜，古雅厚重的设色尽显质感。\n\n身下青狮昂首蹙眉，獠牙毕露，卷曲如棘的鬃毛发散周身，狞猛威悍的模样，恰好衬出菩萨的超然平和。画面仅以淡墨晕出圆光，素净背景将视觉焦点全然落于主仆二者之上。\n\n构图疏密得当，将神性肃穆与瑞兽犷悍融于一轴，用笔精细却无匠气，尽显此件佛造像兼具美学价值与精神意蕴的独特风貌。",[24,28,7,194,83,582,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c29bb18dc9a52f9c138d2229b1e27e.jpg","30.4x59.8厘米",[],161,{"id":5887,"slug":5888,"title":1193,"dynasty":76,"author":888,"museum":245,"description":3332,"tags":5889,"thumbUrl":5890,"material":220,"size":220,"collection":44,"collections":5891,"showCount":5885,"zanCount":943,"manualWeight":48,"mainColor":145},222333,"shi-nv-tu-tang-yin-222333",[23,24,7,28,173,83,59,159,1675,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a1ac006358157f9823c6c6e26a159a.jpg",[44,45],{"id":5893,"slug":5894,"title":5895,"dynasty":18,"author":1838,"museum":134,"description":5896,"tags":5897,"thumbUrl":5901,"material":67,"size":5902,"collection":42,"collections":5903,"showCount":5885,"zanCount":943,"manualWeight":48,"mainColor":49},221380,"huo-lang-tu-su-han-chen-221380","货郎图","画面上描绘一位走乡串村的老货郎，推着小货车，走到一棵老梅树下的空旷场院上，货郎的到来，给孩子们带来了极大的快乐：货郎车上挂满了木叉、们‘耙，帽子、围巾、布兜、小风车、拨浪鼓、花篮、糖葫芦、花灯笼，各种佩饰等，品种繁多，琳琅满日。连货郎肩上、腰间、背后都有货物。由于货郎的到来，引来了四面八方的孩子，欣喜若狂地在货车周围戏耍。靠近货郎的一个背着小弟弟的男娃子，好像刚刚跑到这里，眼巴巴地瞧着货郎车上的东西，似有想买又没有买到的样子，所以老货郎的目光投向了这个背着弟弟而迟到的男娃子，停止了车，一手撒把指着小花鼓招引孩子：在车轮旁两个小孩，由于买到了喜爱的玩物，离开货车转身就跑，其中大的孩子手持糖葫芦满面笑容，兴高彩烈的样子。另一个小的孩子满心欢跳，一不小心，仰面跌了一个大跟斗，但是双眼还在找他喜爱的玩具。车头前又有两个站着的孩子，头上、身上戴着佩饰的那个孩子，一手指着货郎车的东西，似在告诉另一个孩子什么玩具好。头戴帽子穿着长袍的孩子，举起双手摇摆着，似有不让货郎车走开的意思。",[23,24,137,7,28,83,5898,637,198,64,5899,5900,409],"儿童","日用品","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca69375cfc2c3f744733e8fa2fb6541.jpg","纵159.2厘米，横97厘米",[42,44,45],{"id":5905,"slug":5906,"title":5907,"dynasty":18,"author":5908,"museum":134,"description":5909,"tags":5910,"thumbUrl":5911,"material":100,"size":220,"collection":237,"collections":5912,"showCount":5885,"zanCount":711,"manualWeight":48,"mainColor":49},219722,"hua-die-tu-li-zhong-xuan-219722","花蝶图","李仲宣","此作取景雅致，草木错落排布，野趣盎然。挺秀的秋菊缀着金黄花盘，柔润白花轻绽，带露红浆果垂于青绿叶间，茎叶舒展的姿态写实入微，设色古雅沉稳，晕染细腻尽显草木鲜活生机。\n\n翩跹蝶虫刻画精细，翅脉纹理纤毫毕现，振翅姿态灵动逼真，仿佛携着花间微风扑面而来。整体构图疏密相宜，留白得当，以工笔技法写形传神，既有精致不苟的写实功力，又暗藏平淡天真的诗意，将秋日郊野一隅的闲适意趣定格，尽显创作者观照自然的细腻心境。",[24,137,7,28,212,411,62,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65cb4af11c29f63da0e9192564f9ae77.jpg",[237],{"id":5914,"slug":5915,"title":5916,"dynasty":228,"author":3524,"museum":367,"description":5917,"tags":5918,"thumbUrl":5919,"material":100,"size":5920,"collection":237,"collections":5921,"showCount":5885,"zanCount":1084,"manualWeight":48,"mainColor":49},219098,"shi-ma-tu-zhao-meng-fu-219098","十马图","群马姿态各异，或昂首伫立，或低头啮草，或相互亲昵，动静交织间满溢生机。线条勾勒细腻传神，鬃毛飘逸如丝缕，马尾垂落似流瀑，马匹肌理与灵动之态毕现。设色淡雅温润，赭墨晕染出毛色层次，古朴绢底衬得画面沉静雅致。马匹互动自然和谐，似能闻蹄声轻响，尽显画家对生命的细致体察与文人画的清逸韵味。",[23,24,25,26,7,28,112,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7681aecb61572b4fba7da83735ac45.jpg","纵26横233厘米",[237],{"id":5923,"slug":5924,"title":5925,"dynasty":150,"author":592,"museum":434,"description":5926,"tags":5927,"thumbUrl":5929,"material":100,"size":5930,"collection":220,"collections":5931,"showCount":5885,"zanCount":1084,"manualWeight":48,"mainColor":49},216109,"yun-shou-ping-hua-guo-shu-cai-ce-ye-2-yun-shou-ping-216109","恽寿平花果蔬菜册页-2","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[137,24,25,519,28,7,156,5928,655,173],"竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29bf8f805f27469ebc51bee115db2b4.jpg","26.1x19.9cm",[],{"id":5933,"slug":5934,"title":5935,"dynasty":150,"author":310,"museum":56,"description":5936,"tags":5937,"thumbUrl":5938,"material":100,"size":5939,"collection":237,"collections":5940,"showCount":5941,"zanCount":1084,"manualWeight":48,"mainColor":49},219126,"shuang-lu-tu-shen-quan-219126","双鹿图","这幅画描绘了在秋季深山里，一对野鹿的生活状态。画面右边是高山悬崖的一段，崖壁上生长着盘如巨龙的古松，虽饱经风霜，仍然枝叶繁茂，粗大的树干上缠绕着藤本植物，从松、藤之间的上部缝隙里，可以看到一条瀑布，它穿过树叶的遮挡，飞流直下，形成巨大的水流，与画面下部的小溪相互呼应。悬崖的左边大幅留白，虽然没有具体描绘，应该能想象为山谷中弥漫着的雾气，在此处取得了无胜于有的效果。上述描绘景色，构成了本幅画的背景，说明了双鹿活动的大环境。双鹿为一公一母，一站一卧，它们伸长了耳朵正在倾听，身处深山老林，时刻保持高度警惕，这幅画正是描绘了这一刻的动态。双鹿周围，是一些正在盛开的白色野菊，山坡间生长着一丛丛色彩暗淡的野草，较好地表明了野草即将衰败、天气已届深秋。",[23,24,137,7,28,582,1817,29,34,2653,1319,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c88b537cee852bc63fd476f497b04f.jpg","120x50.5cm",[237],160,{"id":5943,"slug":5944,"title":4399,"dynasty":228,"author":5636,"museum":2004,"description":5945,"tags":5946,"thumbUrl":5947,"material":100,"size":5948,"collection":237,"collections":5949,"showCount":5941,"zanCount":1769,"manualWeight":48,"mainColor":49},219077,"zhu-que-tu-wang-yuan-219077","三月，万物复苏，荆棘的枯叶和果实尚未脱落，杂草和绿竹已逐渐变绿，四只羽毛蓬松、身体圆润的鹌鹑在一起玩耍、进食。",[24,25,137,5396,155,7,28,212,156,299,197,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32bae4473f9f585646637c2c7a6b60d.jpg","53x38cm",[237],{"id":5951,"slug":5952,"title":5953,"dynasty":18,"author":5954,"museum":230,"description":5955,"tags":5956,"thumbUrl":5957,"material":100,"size":5958,"collection":237,"collections":5959,"showCount":5941,"zanCount":48,"manualWeight":48,"mainColor":1833},216667,"san-bai-tu-wang-shen-216667","三百图","王诜","王诜是宋朝时期的一位著名的绘画家，他是宋朝最伟大的画家之一。他的作品具有极高的艺术价值，被广泛收藏和珍藏。王诜以其精细的画风和生动的写实风格而闻名，他创作的作品涵盖了各种题材，包括人物画、山水画和花鸟画。",[24,25,137,7,28,178,2708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36792841b89168ee95409f74824b325c.jpg","131.5x82.5cm",[237],{"id":5961,"slug":5962,"title":5963,"dynasty":54,"author":191,"museum":134,"description":5964,"tags":5965,"thumbUrl":5968,"material":100,"size":2772,"collection":44,"collections":5969,"showCount":5970,"zanCount":1084,"manualWeight":48,"mainColor":49},288360,"gong-le-tu-yi-ming-288360","宫乐图","本图描写后宫嫔妃十人,围坐于一张巨型的方桌四周,有的品茗,有的在行酒令。中央四人,则负责吹乐助兴。所持用的乐器,自右而左,分别为筚篥、琵琶、古筝与笙。",[23,24,25,28,7,83,59,470,138,581,5966,5967],"宫廷宴乐","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39857b914581e42221c8c2d3a920666e.jpg",[44],159,{"id":5972,"slug":5973,"title":5974,"dynasty":76,"author":77,"museum":245,"description":5975,"tags":5976,"thumbUrl":5977,"material":1397,"size":1398,"collection":220,"collections":5978,"showCount":5970,"zanCount":1769,"manualWeight":48,"mainColor":49},287927,"qing-ming-shang-he-tu-ju-bu-chou-ying-287927","清明上河图(局部)","《清明上河图》是明代画家仇英创作的一幅重彩风俗画作品，现收藏于辽宁省博物馆。 现存世作品《清明上河图》有多本传为仇英所作，除此卷外，另有青州市博物馆藏本 ，台北故宫博物院藏本 ，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[137,24,26,28,7,83,84,85,86,1206,112,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg",[],{"id":5980,"slug":5981,"title":701,"dynasty":54,"author":1473,"museum":4063,"description":5982,"tags":5983,"thumbUrl":5984,"material":100,"size":5985,"collection":44,"collections":5986,"showCount":5970,"zanCount":1769,"manualWeight":48,"mainColor":49},218385,"mu-niu-tu-han-huang-218385","平坡旷野间，双牛安卧，墨色晕染出厚重肌理，犄角宛转，似带泥土气息。牧童蜷身酣眠，草帽斜倚，竹杖横陈，尽是天真慵懒。旁侧老枝虬劲，竹影疏疏，墨痕浓淡交织出野趣。整幅画无喧嚣，唯留田园静穆。笔墨简括却神形毕肖，牛的憨态、牧童的自在，皆藏于线条间。盛唐乡野的悠然时光，仿佛凝在绢上，望之忘俗，心生惬意。",[137,24,25,28,7,83,113,156,159,173,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30f0dc982c6116348e28f459cb13d33.jpg","27.9x31.4",[44],{"id":5988,"slug":5989,"title":5990,"dynasty":150,"author":447,"museum":134,"description":448,"tags":5991,"thumbUrl":5992,"material":235,"size":220,"collection":220,"collections":5993,"showCount":5970,"zanCount":48,"manualWeight":48,"mainColor":145},214856,"xie-sheng-ce-8-hua-yan-214856","写生册-8",[24,25,519,28,7,212,299,555,157,2653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f47f6cc86c0d02af35246389a450d2.jpg",[],{"id":5995,"slug":5996,"title":5997,"dynasty":150,"author":260,"museum":245,"description":5546,"tags":5998,"thumbUrl":6000,"material":1397,"size":1398,"collection":220,"collections":6001,"showCount":6002,"zanCount":1084,"manualWeight":48,"mainColor":49},234708,"hua-guo-qin-wang-xiang-zhou-lang-shi-ning-234708","画果亲王像轴",[24,25,155,7,28,83,112,63,1787,5999],"弓箭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7698ac22bf24965860eb90abe749727.jpg",[],158,{"id":6004,"slug":6005,"title":6006,"dynasty":76,"author":674,"museum":20,"description":6007,"tags":6008,"thumbUrl":6011,"material":424,"size":5425,"collection":182,"collections":6012,"showCount":6013,"zanCount":48,"manualWeight":48,"mainColor":145},221880,"pin-cha-tu-li-zhou-chen-hong-shou-221880","品茶图立轴","画中两人相对而坐,似是一主一客。蕉叶铺地,主人坐于其上,旁置茶炉壶具，炉中炭火正炽。客人坐一怪石上，又以一方奇石为琴台，古琴已收入锦缎琴套中。此时，琴弦歇，茶正熟，两人手持茶盏，四目相视，正闻香品啜，耳边琴声犹在。此中乐趣,任凭读者遐思。读陈洪绶《品茶图》,至少能读出三点明代茶事信息来。",[23,137,24,25,155,28,7,83,158,248,6009,467,6010,437],"衣袍","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d2687f6bef527a3ee9c1f39e3b3a0.jpg",[182],157,{"id":6015,"slug":6016,"title":6017,"dynasty":18,"author":6018,"museum":1129,"description":6019,"tags":6020,"thumbUrl":6021,"material":67,"size":6022,"collection":42,"collections":6023,"showCount":6013,"zanCount":1020,"manualWeight":48,"mainColor":49},221464,"tu-tu-sun-long-221464","兔图","孙隆","孙隆（生卒年未详），一作孙龙，字纵吉，又字廷振，号都痴，武进（今江苏常州）人。开国忠愍侯孙兴祖之孙，宣德(1426-1435)间入值内廷，曾为“金门侍御”(翰林待诏)。生性颖敏，有仙人风度。工画花鸟，得徐熙、赵昌“没骨图法”，所绘禽鱼草虫不先勾勒定形而直接以色彩点染物象，此一画技可谓另开蹊径，自成一家，丰富了花鸟画传统技法，对后世泼彩写意影响深远。亦擅山水，宗宋代米芾、米友仁父子。从艺活动约在永乐、宣德、正统间，与林良(1416-1480)同时。传世作品有《雪禽梅竹图》轴、《芙蓉游鹅图》轴，现藏故宫博物院；《花鸟草虫图》卷藏吉林省博物馆；《花鸟草虫图册》十二页藏上海博物馆；《牡丹图》册页藏辽宁省博物馆。",[23,24,25,1424,28,7,582,1568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ec09cc9935e1e2fa5e683514485bfa.jpg","21.2×27.0",[42,237,45],{"id":6025,"slug":6026,"title":6027,"dynasty":18,"author":326,"museum":6028,"description":6029,"tags":6030,"thumbUrl":6031,"material":100,"size":6032,"collection":237,"collections":6033,"showCount":6013,"zanCount":1020,"manualWeight":48,"mainColor":49},219170,"la-mei-shuang-qin-tu-zhao-ji-219170","腊梅双禽图","四川博物馆","描绘两只山雀栖止于梅树枝头，梅花含苞欲放，仅一朵绽开花蕾。梅之清韵与枝头的小鸟相映成趣，花鸟优美动人。全画以细劲的笔致、单纯秀雅的色调精妙入微地刻画花鸟形象，梅花轻柔美丽，山雀毛羽似泛光泽，其情态特征精细入微。",[23,137,24,25,7,28,212,637,299,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ef81c59e68fc11da552ce3e803576c.jpg","纵25.8厘米，横26.1厘米",[237],{"id":6035,"slug":6036,"title":6037,"dynasty":18,"author":806,"museum":230,"description":6038,"tags":6039,"thumbUrl":6041,"material":100,"size":6042,"collection":237,"collections":6043,"showCount":6013,"zanCount":1084,"manualWeight":48,"mainColor":49},218964,"li-zhi-bai-xian-tu-lin-chun-218964","荔枝白鹇图","白鹇羽毛质感细腻，墨点顶冠与素白翎毛相映成趣，尾羽舒展如流云，俯身时翅尖微颤，似欲啄取枝间荔枝。荔枝殷红如丹，果皮肌理以细笔勾出，衬着墨绿的叶，浓淡间尽显生趣。枝干虬曲，墨线老劲，与禽鸟的柔媚形成巧妙对比。绢本古雅底色上，设色温润不艳，工笔细描中藏着自然的灵动，仿佛能闻见果熟的甜香，窥见禽鸟的轻啼。整幅画于精微处见真意，是宋人对生命意趣的细腻捕捉，静穆中透着鲜活生机，尽显院体花鸟的雅致与精妙。",[24,25,137,7,28,212,1588,6040,299,653],"白鹇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7609305a0e20c4b4fa153525254ded.jpg","26x26cm",[237],{"id":6045,"slug":6046,"title":6047,"dynasty":54,"author":55,"museum":463,"description":6048,"tags":6049,"thumbUrl":6050,"material":100,"size":6051,"collection":44,"collections":6052,"showCount":6013,"zanCount":1769,"manualWeight":48,"mainColor":1833},218270,"wei-mo-yan-jiao-tu-zhou-fang-218270","维摩演教图","文殊菩萨和维摩诘一直是绘画的常见主题。这幅画在一个宏大而丰富的场景中展示了大量的人物。在这幅画中，弟子们和文殊菩萨的马聚集在寺庙前，一位天女乘云而起，在寺庙中央，维摩诘和文殊菩萨在沙发上正在进行辩论。虽然画家也试图再现维摩诘的 清秀、脆弱和病态的外表，但花园和亭子的画法非常细致和细腻，是对当时文人和学者的家庭生活的歪曲表现。",[23,24,7,28,194,155,83,84,34,211,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44bcbc35fc6a4d4d7c2ebfa883cf4d08.jpg","113.5x41.8",[44],{"id":6054,"slug":6055,"title":3433,"dynasty":76,"author":77,"museum":134,"description":6056,"tags":6057,"thumbUrl":6060,"material":100,"size":6061,"collection":44,"collections":6062,"showCount":6013,"zanCount":1084,"manualWeight":48,"mainColor":49},218222,"ying-xi-tu-chou-ying-218222","孩子们在花园里玩耍的快乐场景。他们可能在弹钢琴、骑木马或看书，显示出对儿童生活的兴趣。",[24,25,7,28,83,1744,313,60,92,6058,2800,6059],"玩耍","明式风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605a2acb64c38c0548f9ab700825bd08.jpg","182x58.9",[44],{"id":6064,"slug":6065,"title":1703,"dynasty":150,"author":191,"museum":20,"description":1704,"tags":6066,"thumbUrl":6067,"material":40,"size":534,"collection":220,"collections":6068,"showCount":6069,"zanCount":48,"manualWeight":48,"mainColor":145},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167",[24,25,27,28,7,29,84,85,86,176,83,34,248,211,1028,1707,214,4660,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg",[],156,{"id":6071,"slug":6072,"title":6073,"dynasty":76,"author":77,"museum":20,"description":6074,"tags":6075,"thumbUrl":6078,"material":40,"size":6079,"collection":182,"collections":6080,"showCount":6069,"zanCount":1084,"manualWeight":48,"mainColor":145},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[23,24,25,137,155,28,7,29,34,35,6076,86,175,173,6077],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[182,45],{"id":6082,"slug":6083,"title":6084,"dynasty":54,"author":191,"museum":20,"description":6085,"tags":6086,"thumbUrl":6087,"material":100,"size":6088,"collection":45,"collections":6089,"showCount":6069,"zanCount":1020,"manualWeight":48,"mainColor":49},219760,"bai-ma-tu-yi-ming-219760","百马图","此图卷共描绘各种马95匹，牧马的奚官与圉人41人在一条河中及岸边洗马、戏马、驯马、饲马的场面。这幅图中所描绘的近百匹黑、白、红、花等各色马，有动有静，姿态各异，生动活泼。画家对马的描绘，极善抓住其动态和神情，运动中的马被表现得活泼顽皮，静立时的马又被表现得庄重威武。画中笔法清秀温雅，敷色清淡，可以看出唐法向宋元法变化的痕迹。",[23,137,24,25,26,28,7,112,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34693ea712a5b338887d9f2f6f7455af.jpg","纵68厘米、横1010厘米",[45],{"id":6091,"slug":6092,"title":6093,"dynasty":18,"author":663,"museum":134,"description":6094,"tags":6095,"thumbUrl":6096,"material":100,"size":6097,"collection":42,"collections":6098,"showCount":6069,"zanCount":48,"manualWeight":48,"mainColor":145},219144,"zhu-cong-bai-tou-weng-tu-wu-bing-219144","竹丛白头翁图","画面中白头翁栖于竹枝，翎羽纤毫毕现，墨色晕染间绒羽柔润若触，喙爪劲挺见骨。竹丛枝叶交叠，线条清劲似铁线勾勒，翠色浅淡却透着生机，新篁嫩芽更显稚拙可爱。鸟的姿态灵动，似欲引吭或侧耳倾听，打破竹林静谧却又与清雅环境相融。画作以细腻写实之笔，精准捕捉禽鸟与植物形神，色彩淡雅温润，构图疏密有致，尽显宋代工笔花鸟的雅致韵致。方寸间藏自然生机与文人意趣，观之如置身幽篁深处，闻得禽鸣竹语，心随景静。",[23,137,24,25,914,7,28,212,156,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a323ffe8ba1cd4340700718353b5a8.jpg","26.1x27.5cm",[42,237],{"id":6100,"slug":6101,"title":6102,"dynasty":228,"author":3524,"museum":230,"description":6103,"tags":6104,"thumbUrl":6106,"material":100,"size":220,"collection":237,"collections":6107,"showCount":6069,"zanCount":943,"manualWeight":48,"mainColor":49},216265,"xiang-ma-tu-ye-2-zhao-meng-fu-216265","相马图页-2","相马图是赵孟頫的一幅画作，产生于中国的元朝时期。它是赵孟頫的最著名的作品之一，并被认为是中国传统水墨画的杰作。\n\n相马图的绘画技巧非常精湛，色彩浓艳，线条优美。赵孟頫在画作中运用了中国传统的水墨画技法，并将其与西方的绘画技法相结合，创造出了独特的艺术风格。相马图被广泛认为是中国传统水墨画的经典之作，也是赵孟頫最著名的画作之一。",[23,24,25,137,28,7,519,83,112,6105,582],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfd49003f7298ef9c725d3bbc85f0cf.jpg",[237],{"id":6109,"slug":6110,"title":6111,"dynasty":150,"author":674,"museum":230,"description":675,"tags":6112,"thumbUrl":6115,"material":100,"size":679,"collection":237,"collections":6116,"showCount":6117,"zanCount":1084,"manualWeight":48,"mainColor":49},220229,"hua-niao-cao-chong-xie-sheng-ce-shou-gu-qi-shi-chen-hong-shou-220229","花鸟草虫写生册-瘦古奇石",[23,137,24,25,519,28,7,172,159,6113,1185,6114],"瘦石","古石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8282cc767771cda337f1fc5a93cfc5cd.jpg",[237],155,{"id":6119,"slug":6120,"title":6121,"dynasty":54,"author":1473,"museum":20,"description":6122,"tags":6123,"thumbUrl":6124,"material":235,"size":2594,"collection":45,"collections":6125,"showCount":6117,"zanCount":1020,"manualWeight":48,"mainColor":145},219970,"wu-niu-tu-han-huang-219970","五牛图","《五牛图》中的五头牛从右至左一字排开，各具状貌，姿态互异。一俯首吃草荆棵蹭痒，一翘首前仰缓步前行，一纵峙而鸣，一回首舐舌，一络首而立。整幅画面除最后右侧有一小树外，没有其他的背景，因此每头牛可独立成章。",[23,24,25,26,28,7,173,284,285,113,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00eb300bc9aeab656f3c3031a5036af.jpg",[45],{"id":6127,"slug":6128,"title":1233,"dynasty":150,"author":6129,"museum":367,"description":6130,"tags":6131,"thumbUrl":6133,"material":100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横25.7厘米",[42],{"id":6166,"slug":6167,"title":6168,"dynasty":150,"author":6169,"museum":134,"description":6170,"tags":6171,"thumbUrl":6176,"material":235,"size":6177,"collection":237,"collections":6178,"showCount":6154,"zanCount":943,"manualWeight":48,"mainColor":145},219454,"tian-zhong-jia-hui-tu-chen-shu-219454","天中佳卉图","陈舒","藤蔓扶摇向上，粉紫蜀葵次第绽放，花瓣轻透如绢，晕染出柔婉韵致。明黄百合斜逸生姿，金蕊微吐；暗红小花簇簇点缀，似燃细碎火苗。底部果实饱满如金丸，墨叶苍劲托衬，与嫩茎细草相映成趣。笔墨兼工带写，线条流转见生机，设色清雅却明艳，凝草木鲜活灵秀于尺幅，如沐和风，满纸溢自然温润雅致。",[24,25,155,28,7,173,212,2944,5773,6172,6173,6174,6175],"红色花卉","绿色叶片","细长草茎","黄色果实状花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91eeed2afbd9f96dd49ad53ecc3d2d1.jpg","115.8×46.1cm",[237],{"id":6180,"slug":6181,"title":6182,"dynasty":18,"author":1040,"museum":134,"description":6183,"tags":6184,"thumbUrl":6185,"material":100,"size":6186,"collection":42,"collections":6187,"showCount":6154,"zanCount":1020,"manualWeight":48,"mainColor":145},218926,"tian-zhong-shui-xi-tu-li-song-218926","天中水戏图","这幅画表现的是一艘用金色画成的巨大龙舟，上面有雕梁画栋和花窗装饰，宏伟而精致。龙头高耸，眉毛突出，张牙舞爪，舌头张开，船身密布鳞片，船尾高度弯曲上翘，给人一种威严的形象。",[23,24,137,25,519,81,28,7,84,341,1206,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cc9b39f9dfd96d1ccdd35955b36a94.jpg","24.5x25.1",[42],{"id":6189,"slug":6190,"title":6191,"dynasty":150,"author":1162,"museum":245,"description":3224,"tags":6192,"thumbUrl":6195,"material":1397,"size":1398,"collection":220,"collections":6196,"showCount":6197,"zanCount":711,"manualWeight":48,"mainColor":145},288274,"du-mu-shi-yi-tu-li-zhou-zou-yi-gui-288274","杜牧诗意图立轴",[23,137,24,25,155,212,7,28,409,371,6193,6194],"顽石","竹草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedd022cd80eec5e9b9f4773b20b52dd.jpg",[],153,{"id":6199,"slug":6200,"title":685,"dynasty":18,"author":191,"museum":20,"description":6201,"tags":6202,"thumbUrl":6204,"material":496,"size":6205,"collection":220,"collections":6206,"showCount":6197,"zanCount":1020,"manualWeight":48,"mainColor":145},231540,"bai-hua-tu-juan-yi-ming-231540","此幅画四季花卉约60种，长近17米，堪称辉煌巨制。尾纸钤鉴藏印“棠村”、“蕉林梁氏书画之印”等，有乾隆、嘉庆、宣统鉴赏印及清内府鉴藏印多方。\n此图绘四季花卉五十余种，其中主要有梅花、山茶、牡丹、百合、芍药、海棠、萱花、含笑、碧桃、桃花、梨花、石竹花、罂粟、打破碗花、栀子、蕙兰、荷花、并蒂莲、鸡冠花、蓼花、芙蓉、扁豆花、石蒜花、桂花、菊花、山丹、牵牛花、凤仙花、蜀葵、秋葵等。\n花间分别点缀禽鸟、蜻蜓、蝴蝶、蜜蜂、蚱蜢、小鱼等，颇具自然生机和情趣。图中花卉和动物，都用细线勾描，浓淡墨多层晕染，花之娇态、层次，页之筋脉、转折、凹凸刻画得很细致。全图用笔工细，用墨于单纯中求丰富，统一中求变化，使画面富有秀雅之美。图卷首段的梅花的画法接近南宋扬无咎的风格而又有变化。这种工而不板，艳二不火的画风，开文人花鸟画的先河。画中钤有「乾隆御览之宝」、「三希堂精鉴玺」、「嘉庆御览之宝」、「宣统御览之宝」等印玺多方。无作者款印，曾经清内府收藏，《石渠宝笈三编》著録。\n画面上花鸟之间穿插自然，毫无牵强拼凑之意。其间又点缀蜂、蚊、蜻蜓、蝴蝶、游鱼、青蛙之类，显得生意盎然。全卷纯使水墨，亦加白描花卉，除卷首的梅花近似扬无咎的画法略带写意笔外，其他全用墨笔工写，以墨代色，兼勾勒墨染与白描，且融入了没骨画法，体现了宋工笔花鸟精密不苟的画风。又以单纯的水墨代替艳丽的设色，呈现出清淡典雅的情趣。一脱繁复刻板的院体末路，突破了传统花鸟画的时空限制，呈现出崭新的面貌。这种技法对元代钱选、王渊、赵衷的墨笔花卉以及后来文人水墨花卉都有一定的影响。",[23,137,24,25,26,7,28,212,6203,411,493,299,298,492,174,487],"百花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd98aa4ddc30bf83c5a67d1f1c11a05a.jpg","纵31.5厘米、横1679.5厘米",[],{"id":6208,"slug":6209,"title":2130,"dynasty":18,"author":191,"museum":245,"description":6210,"tags":6211,"thumbUrl":6212,"material":424,"size":6213,"collection":220,"collections":6214,"showCount":6197,"zanCount":48,"manualWeight":48,"mainColor":49},223466,"hua-lan-tu-yi-ming-223466","笔重，小花篮五彩，竹篮内荷花兰花盛开，竹丝，趋瘦高大，工笔画重，小花篮 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这张图强调颜色，勾勒出图案，是素描笔画的一个很好的例子。",[23,137,24,25,7,28,212,158,822,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed81165b01055d89197d62fd13fc09c.jpg","19.1cm×26.5cm",[],{"id":6216,"slug":6217,"title":6218,"dynasty":76,"author":888,"museum":78,"description":6219,"tags":6220,"thumbUrl":6221,"material":100,"size":6222,"collection":182,"collections":6223,"showCount":6197,"zanCount":1084,"manualWeight":48,"mainColor":49},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,24,25,26,855,28,29,7,172,285,173,85,86,176,84,175,178,83,286,3487,2463,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[182,45],{"id":6225,"slug":6226,"title":6227,"dynasty":150,"author":191,"museum":463,"description":6228,"tags":6229,"thumbUrl":6230,"material":100,"size":220,"collection":44,"collections":6231,"showCount":6197,"zanCount":943,"manualWeight":48,"mainColor":49},219491,"liu-yin-dou-cha-tu-yi-ming-219491","柳荫斗茶图","君德壶之所以受世人推崇，很大一部分原因是，君德脱胎于梨形，即经典脱胎于经典。\n耿宝昌先生曾在《明清瓷器鉴定》一书中谈到：“梨壶，因造型类似梨而得名。元代始烧造，其后历明、清两代，经久不衰”，是传承了几百年的经典之器。",[24,25,28,7,83,286,158,3334,705,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5a6d9aeb8db5fa496b3792c21d17.jpg",[44],{"id":6233,"slug":6234,"title":6235,"dynasty":228,"author":6236,"museum":245,"description":6237,"tags":6238,"thumbUrl":6241,"material":220,"size":220,"collection":220,"collections":6242,"showCount":6243,"zanCount":943,"manualWeight":48,"mainColor":49},228054,"bai-mei-tu-shou-juan-wang-zhen-peng-228054","百美图手卷","王振鹏","此作以长卷舒展，仕女群像错落排布，或展卷挥毫、调弦抚琴，或拈花私语、临案观画，尽现闺中清趣。线条细劲如春蚕吐丝，将云鬓花钗、襦裙飘带勾勒得柔婉细腻，仕女顾盼间尽显温婉秀逸之态。设色古雅淡和，赭黄绢底衬得朱蓝粉白衣袂清雅脱俗，与满卷题字错落呼应，诗画相映成趣，将深闺日常的娴静雅意缓缓铺陈，晕染出女子的幽微心绪与雅致韵致，宛如一卷鲜活的闺中清欢图，余韵悠长。",[23,24,25,26,7,28,83,59,63,138,6239,6240],"案几","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff76a94e092ff1a1c143055113ceff3b.jpg",[],152,{"id":6245,"slug":6246,"title":6247,"dynasty":76,"author":77,"museum":20,"description":1213,"tags":6248,"thumbUrl":6250,"material":40,"size":1217,"collection":220,"collections":6251,"showCount":6243,"zanCount":1769,"manualWeight":48,"mainColor":145},222193,"ren-wu-gu-shi-tu-zhu-yuan-pin-gu-chou-ying-222193","人物故事图-竹院品古",[23,24,25,7,28,83,156,158,1744,5343,92,5812,6249],"品古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f688d90551ee6db64df0e5d88db472f.jpg",[],{"id":6253,"slug":6254,"title":6255,"dynasty":18,"author":1826,"museum":382,"description":6256,"tags":6257,"thumbUrl":6258,"material":424,"size":6259,"collection":42,"collections":6260,"showCount":6243,"zanCount":1084,"manualWeight":48,"mainColor":49},221658,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-221658","《五百罗汉图》之《应身观音》","画五百罗汉故事，包含佛教诸多教义僧人生活情境。有罗汉结集论事故事，有佛道斗法情境，有僧人日常生活状貌，也有长途跋涉稍作休憩游行僧形象。",[23,24,25,137,7,28,194,83,156,37,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg","111.5x53.1cm",[42,44,45],{"id":6262,"slug":6263,"title":5267,"dynasty":150,"author":1162,"museum":6264,"description":6265,"tags":6266,"thumbUrl":6268,"material":100,"size":6269,"collection":237,"collections":6270,"showCount":6243,"zanCount":1084,"manualWeight":48,"mainColor":49},219539,"pan-tao-tu-zou-yi-gui-219539","承德避暑山庄博物馆","画面两只丹顶鹤立于青石之上姿态悠闲，石隙间画桃树一株硕果累累富有质感，峰峦之间瀑布鞋飞流而下。",[23,24,25,155,7,28,60,1653,211,86,6267,34],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6b446064c15c3f90edacbf7bbc946c.jpg","166cm×87cm",[237],{"id":6272,"slug":6273,"title":6274,"dynasty":150,"author":592,"museum":245,"description":6275,"tags":6276,"thumbUrl":6277,"material":220,"size":220,"collection":220,"collections":6278,"showCount":6279,"zanCount":943,"manualWeight":48,"mainColor":145},233907,"hua-hui-shan-shui-ce-yun-shou-ping-233907","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[137,24,25,519,28,595,7,212,490,468,596,558,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141cf9f332104177044cc00b6174e0b6.jpg",[],151,{"id":6281,"slug":6282,"title":6283,"dynasty":132,"author":2758,"museum":134,"description":6284,"tags":6285,"thumbUrl":6286,"material":218,"size":6287,"collection":237,"collections":6288,"showCount":6279,"zanCount":1084,"manualWeight":48,"mainColor":1833},221151,"shan-zhe-ji-que-tu-huang-ju-cai-221151","山鹧棘雀图","山鹧棘雀图是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,137,24,7,28,212,178,1499,159,2653,655,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5a20f43ca35824f3daa158e61bf297.jpg","纵97厘米，横53.6厘米",[237,45],{"id":6290,"slug":6291,"title":6292,"dynasty":54,"author":2621,"museum":230,"description":6293,"tags":6294,"thumbUrl":6295,"material":100,"size":220,"collection":237,"collections":6296,"showCount":6279,"zanCount":1769,"manualWeight":48,"mainColor":49},218745,"ma-xing-tu-han-gan-218745","马性图","骏马昂首伫立，体态劲健挺拔。鬃毛与躯干墨色晕染层次分明，颈间浅褐渐过渡至腰背浓黑，肌理质感毕现。四肢修长稳健，蹄足勾勒简洁有力，似藏奔腾之势。绢本自然龟裂如时光印记，旁侧墨迹题识与朱红印章相映，更添古朴厚重。作品以简练传神之笔，捕捉马的灵动神韵，尽显古典绘画的雅致生机。",[23,24,25,7,28,112,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F044321ad98ba7228339779ee43a3fc62.jpg",[237],{"id":6298,"slug":6299,"title":6300,"dynasty":76,"author":888,"museum":78,"description":6301,"tags":6302,"thumbUrl":6306,"material":28,"size":1398,"collection":220,"collections":6307,"showCount":6308,"zanCount":1084,"manualWeight":48,"mainColor":145},289993,"chang-e-zhi-gui-tu-zhou-tang-yin-289993","嫦娥执桂图轴","图中嫦娥裙带飘飘，神形温婉美丽，手持挂花，头部线条圆和流畅，勾染得当，美人风姿毕现，面容白色晕染，如月色清凝，皎洁典雅。",[24,155,28,7,83,59,6303,6304,284,173,6305],"嫦娥","桂花","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff870a7fc8cbcdde03510dd532e6c43cd.jpg",[],150,{"id":6310,"slug":6311,"title":6312,"dynasty":54,"author":381,"museum":20,"description":6313,"tags":6314,"thumbUrl":6316,"material":994,"size":6317,"collection":44,"collections":6318,"showCount":6308,"zanCount":1020,"manualWeight":48,"mainColor":49},222242,"suo-jian-tu-juan-yan-li-ben-222242","锁谏图卷","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。\n以此图与现藏美国弗利尔艺术馆、相传为唐代阎立本所绘的《锁谏图》相比照，人物的位置、动作基本没有太多变化，罗氏之作只是省略了皇后一侧的假山石与树丛，添加了陈元达右侧的几名侍卫。另外，罗聘还将原本用设色之法图写的表现形式改作白描，使画作平添了些许雅致。",[23,24,25,26,7,28,83,6315,34,211,63,1787,173],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41980eacf357c3e6917c0ffd1915bdef.jpg","纵32厘米，横208厘米",[44,45],{"id":6320,"slug":6321,"title":6322,"dynasty":863,"author":1661,"museum":1662,"description":6323,"tags":6324,"thumbUrl":6325,"material":220,"size":220,"collection":220,"collections":6326,"showCount":6308,"zanCount":1769,"manualWeight":48,"mainColor":145},220492,"zhang-da-qian-liu-yin-shi-nv-tu-zhang-da-qian-220492","张大千柳荫仕女图","仕女眉如远黛，眼含幽绪，樱唇轻抿，鬓发匀整服帖。素色襦裙配云纹领饰，雅致端方，手倚苍润湖石，身姿柔婉，似在春荫下凝伫遐思。旁侧垂柳柔丝纷披，如烟似雾，晕开融融春意，墨竹清劲萧疏，与柳条柔媚相映成趣。\n\n笔墨清圆秀润，设色淡雅明净，细劲线条勾勒出人物妍丽温婉的体态，淡墨晕染出柳色空濛，将闺中女子的闲愁静穆烘托恰到好处，诗画相融，尽现雅致恬和的古典意韵。",[23,24,25,155,28,7,83,59,1028,2653,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe418926e4c8fcd1998df4816716ffb22.jpg",[],{"id":6328,"slug":6329,"title":4053,"dynasty":150,"author":6330,"museum":901,"description":6331,"tags":6332,"thumbUrl":6333,"material":100,"size":6334,"collection":182,"collections":6335,"showCount":6308,"zanCount":1020,"manualWeight":48,"mainColor":49},218715,"peng-lai-xian-jing-tu-xu-wen-218715","徐玟","这幅青绿山水边框画属于赵伯驹、赵孟頫、仇英一脉，山石皴擦少，傅色细雅，边框画精美。",[23,24,28,81,7,29,84,34,37,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5656eb494ec10d4f4e9a3529db76a4.jpg","172x100cm",[182],{"id":6337,"slug":6338,"title":6339,"dynasty":150,"author":592,"museum":245,"description":3138,"tags":6340,"thumbUrl":6342,"material":1397,"size":1398,"collection":220,"collections":6343,"showCount":6344,"zanCount":1084,"manualWeight":48,"mainColor":49},290523,"yu-zao-tu-zhou-yun-shou-ping-290523","鱼藻图轴",[137,24,25,155,28,7,212,557,250,6341,486],"浮萍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748fd697006adc0f65ec737a5e5f60cf.jpg",[],149,{"id":6346,"slug":6347,"title":1804,"dynasty":150,"author":1805,"museum":245,"description":6348,"tags":6349,"thumbUrl":6350,"material":220,"size":220,"collection":237,"collections":6351,"showCount":6344,"zanCount":1084,"manualWeight":48,"mainColor":145},228929,"hua-hui-hu-die-tu-juan-ma-quan-228929","此卷以没骨法绘就，蝶群翩跹百态各异，翅脉纤毫毕现：或墨色沉凝如漆，或晕染粉白通透，振翅翻飞间灵动宛然。间缀佛手、牡丹与素花，设色清润柔雅，花叶舒展柔媚，衬得蝶群更显鲜活生机。\n\n卷后题笔文辞清丽，笔墨秀雅与画境相融，尽显创作者细腻入微的观察力，将草间花蝶相依的悠然灵趣定格长卷，温婉雅致，意韵盎然，是闺阁花鸟画里的精巧之作。",[23,137,24,25,26,28,7,212,411,409,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3906603e4a8bf2dc062465a3550f3584.jpg",[237],{"id":6353,"slug":6354,"title":6355,"dynasty":150,"author":6356,"museum":367,"description":6357,"tags":6358,"thumbUrl":6359,"material":100,"size":6360,"collection":44,"collections":6361,"showCount":6344,"zanCount":1769,"manualWeight":48,"mainColor":49},218420,"fang-wu-dao-zi-wu-liang-shou-zun-zhe-xiang-li-gen-218420","仿吴道子无量寿尊者像","李根","面容饱满圆润，眉眼含笑间藏着悲悯与智慧，耳垂丰腴垂坠，尽显尊者气度。袈裟层叠厚重，墨黑与棕褐交织的纹理间，露出青绿裙摆，绣纹繁复精致，足见匠心。手中竹杖纹理清晰，似能触到岁月的质感，步履间衣袂轻扬，暗合吴带当风之韵。笔墨流转传神，设色古雅沉静，将尊者的慈悲与自在跃然绢上，尽显传统人物画的传神妙趣，观之令人心生敬意与平和。",[23,24,25,155,194,28,83,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3ebcf7aef87cf32d2b60941bb44dc0.jpg","168x83",[44],{"id":6363,"slug":6364,"title":6365,"dynasty":150,"author":1162,"museum":245,"description":6366,"tags":6367,"thumbUrl":6368,"material":1397,"size":1398,"collection":220,"collections":6369,"showCount":6370,"zanCount":1769,"manualWeight":48,"mainColor":145},235132,"tao-hua-tu-zhou-zou-yi-gui-235132","桃花图轴","“丙戌”是清乾隆三十一年（1766年），邹一桂时年79岁。图绘在月季的衬托下斜入画面的桃树。全图笔法轻快疏秀，设色淡雅清丽，花之媚，叶之柔，充分表现了桃树的独特魅力。作者不刻意求工、求似，唯求自然天趣，揭示出平淡超逸的审美意趣，不仅表现出春回大地桃花含烟带雾的诗意，而且具有富贵长春的吉祥寓意。",[24,137,155,28,7,212,174,298,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdadd8bce962dd2da11a1ab2141bebd95.jpg",[],148,{"id":6372,"slug":6373,"title":6374,"dynasty":76,"author":191,"museum":245,"description":6375,"tags":6376,"thumbUrl":6377,"material":220,"size":220,"collection":220,"collections":6378,"showCount":6370,"zanCount":711,"manualWeight":48,"mainColor":49},234656,"ming-ren-he-hua-tu-shan-ce-yi-ming-234656","明人荷花图扇册","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,25,914,28,7,212,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e90a226e32a8455678335f042760aa.jpg",[],{"id":6380,"slug":6381,"title":6382,"dynasty":18,"author":5686,"museum":245,"description":6383,"tags":6384,"thumbUrl":6385,"material":67,"size":6386,"collection":42,"collections":6387,"showCount":6370,"zanCount":1020,"manualWeight":48,"mainColor":49},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,137,24,25,26,28,7,212,582,1568,178,299,62,4079,3084,211,5100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[42,237,45],{"id":6389,"slug":6390,"title":1054,"dynasty":76,"author":77,"museum":134,"description":6391,"tags":6392,"thumbUrl":6393,"material":100,"size":220,"collection":44,"collections":6394,"showCount":6370,"zanCount":1769,"manualWeight":48,"mainColor":49},219376,"guan-yin-chou-ying-219376","画中十六罗汉供奉观音，观音坐南海普陀山传法。 十六罗汉被他们包围。 布局很巧妙。",[24,25,155,194,7,28,83,2602,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b7fd836ea2e1389bb6b95dda24eb6b.jpg",[44],{"id":6396,"slug":6397,"title":6398,"dynasty":18,"author":191,"museum":134,"description":6399,"tags":6400,"thumbUrl":6403,"material":235,"size":6404,"collection":42,"collections":6405,"showCount":6370,"zanCount":1020,"manualWeight":48,"mainColor":145},218728,"qiu-gua-tu-yi-ming-218728","秋瓜图","地上长着三个秋瓜，景观中还有藤蔓、树叶和花朵。瓜皮用老绿色着色，瓜棱用赭石填充，精致而有节奏。瓜的叶子被仔细地勾勒出来，藤蔓也是圆润而细致的。这幅画没有刻上作者的名字，但我们收藏的另外两幅画《宋代草木瓜》和《钱玄同秋瓜》在构图上与此框相似，而且此卷的笔法精细，与《宋代草木瓜》相似。",[23,24,25,7,28,212,6401,468,6402,173,519],"秋瓜","叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0270d205fb5d6c396d4cfa437041b14a.jpg","26.8x45.5厘米",[42],{"id":6407,"slug":6408,"title":6409,"dynasty":18,"author":191,"museum":245,"description":6410,"tags":6411,"thumbUrl":6412,"material":1397,"size":1398,"collection":220,"collections":6413,"showCount":6414,"zanCount":1084,"manualWeight":48,"mainColor":49},227839,"qian-shou-guan-yin-li-xiang-yi-ming-227839","千手观音立像","千手观音又称千手千眼观世音、千眼千臂观世音等，是我国民间信仰的四大菩萨之一。千手观音是阿弥陀佛的左胁侍，与阿弥陀佛、大势至菩萨(阿弥陀佛的右胁侍)合称为“西方三圣”。",[23,24,25,155,28,7,194,83,2464,5467,344,5468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be631ea3bf397f44a3c3ff849e91dc8.jpg",[],147,{"id":6416,"slug":6417,"title":6418,"dynasty":54,"author":381,"museum":20,"description":6419,"tags":6420,"thumbUrl":6421,"material":67,"size":6422,"collection":44,"collections":6423,"showCount":6414,"zanCount":1084,"manualWeight":48,"mainColor":145},221065,"kong-zi-di-zi-xiang-yan-li-ben-221065","孔子弟子像","《孔子弟子像》全图采取平列式构图，无背景，墨笔勾勒，着色，人物形象各异，须眉生动。绘孔子弟子立像五十九人，无名款。从体貌上对照，第三人即为孔子，以后诸人亦形态相仿，顺序一致，惟个别处有遗漏或增补，如子迟和子贡之间缺子夏，孔子前多出两人。但根据北京故宫博物院藏的宋无款《七十二贤相》卷进行对比，本幅画所绘为孔子及弟子像内容是确凿无疑的。",[23,24,137,25,26,7,28,283,83,173,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62b0109df8752c442e8801281dc33fb.jpg","纵32.3厘米，横870厘米",[44,45],{"id":6425,"slug":6426,"title":6427,"dynasty":150,"author":191,"museum":367,"description":6428,"tags":6429,"thumbUrl":6431,"material":100,"size":220,"collection":237,"collections":6432,"showCount":6414,"zanCount":1084,"manualWeight":48,"mainColor":49},219057,"he-lu-tu-yi-ming-219057","荷鹭图","画的是两枝青莲，各有一枝莲花和莲穗，细长的茎上有白色和绿色的花瓣；两只鹭鸶站在水中，雪白的羽毛和尖尖的喙，平静地站在水中，一动不动。",[23,24,25,155,28,7,212,248,6430],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85725455913aa679061881f4d5d01b14.jpg",[237],{"id":6434,"slug":6435,"title":6436,"dynasty":150,"author":260,"museum":134,"description":5546,"tags":6437,"thumbUrl":6438,"material":1397,"size":1398,"collection":220,"collections":6439,"showCount":6440,"zanCount":1769,"manualWeight":48,"mainColor":145},230204,"xian-e-chang-chun-tu-lang-shi-ning-230204","仙萼长春图",[23,24,137,25,519,7,28,212,298,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dee7461512292d25946deeb4c5ea582.jpg",[],146,{"id":6442,"slug":6443,"title":6444,"dynasty":76,"author":191,"museum":1444,"description":6445,"tags":6446,"thumbUrl":6447,"material":1053,"size":220,"collection":44,"collections":6448,"showCount":6440,"zanCount":1769,"manualWeight":48,"mainColor":49},222152,"fu-hui-xi-yi-ming-222152","赴会西","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,24,1053,194,28,7,83,2602,34,85,315,211,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a3843792607369b3d33ef8fab9484.jpg",[44],{"id":6450,"slug":6451,"title":6452,"dynasty":18,"author":1040,"museum":134,"description":6453,"tags":6454,"thumbUrl":6456,"material":100,"size":6457,"collection":42,"collections":6458,"showCount":6440,"zanCount":1769,"manualWeight":48,"mainColor":49},220253,"fen-xiang-zhu-sheng-tu-li-song-220253","焚香祝圣图","描绘了依山临水的华美殿阁之中，一白衣男子携女眷焚香礼拜之景。画作巧妙运用远观视角，将画栋飞甍、风帘翠幕置于月色流转与烛影摇曳之间，望之宛如琼楼仙馆，绮丽艳逸。此图据称是依据南宋皇家园林绘制而成，画面细致地再现了南宋宫苑建筑的风格与细节，史学价值极高。",[23,24,137,25,81,28,7,194,83,84,313,6455,173],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9f3c35ee5b3ba72fc5b5432c4379a8.jpg","纵24.8厘米，横25.8厘米",[42],{"id":6460,"slug":6461,"title":6462,"dynasty":76,"author":191,"museum":463,"description":6463,"tags":6464,"thumbUrl":6465,"material":235,"size":220,"collection":44,"collections":6466,"showCount":6440,"zanCount":48,"manualWeight":48,"mai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这幅画是根据宋徽宗爱画白鹰奇石的传说.",[23,24,137,25,155,7,28,178,2423,156,159,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f082a50222716196107d33d5784d0f.jpg","141.7x59.5厘米",[237,45],{"id":6476,"slug":6477,"title":6478,"dynasty":18,"author":191,"museum":245,"description":6479,"tags":6480,"thumbUrl":6483,"material":220,"size":220,"collection":220,"collections":6484,"showCount":6485,"zanCount":1084,"manualWeight":48,"mainColor":145},227882,"liu-zhi-huang-niao-tu-yi-ming-227882","榴枝黄鸟图","《 》是宋代佚名创作的绢本设色画，现藏于北京故宫博物院。\n此图绘 一只，嘴啄小虫，栖止于榴枝上，神形毕肖。\n图中枝梗从右向左斜出，沉甸甸的石榴挂于枝干。\n榴叶萧瑟，鸟的羽毛用淡黄染色后，再用粉白以短而细的笔触勾描，具有毛茸茸的质感。\n鸟的翅膀和尾部等处，浓淡墨色参用。\n画面设色侬艳而又对比鲜明。\n深秋时节， 成熟，绽开表皮，露出累累果实。\n石榴叶已由绿变黄，有的枯萎，有的被虫蛀蚀，写出了秋日的萧瑟。\n一只肥硕的黄鹂衔着小虫栖于榴枝上，悠然自得。\n黄鹂的羽毛经淡赭、黄色晕染后再用白线勾描，近于“没骨”。\n石榴枝叶赋色对比鲜明。\n对幅有清乾隆御题诗一首：“榴子熟时莺转时，野虫衔得集横枝。\n笑他自喜权供饱，忘却有人弹挟之。\n辛亥清和御笔。\n”钤“ ”、“ ”、“八征耄念”、“自强不息”玺印。\n本幅无款。\n钤鉴藏印“张笃行印”，另有2印不辨。\n清《石渠宝笈》著录。",[23,24,25,519,7,28,212,6481,6482,454,453,285,173],"榴枝","黄鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2351453d665df0945037e4ac4a342f.jpg",[],145,{"id":6487,"slug":6488,"title":6489,"dynasty":76,"author":6490,"museum":20,"description":6491,"tags":6492,"thumbUrl":6495,"material":424,"size":6496,"collection":44,"collections":6497,"showCount":6485,"zanCount":1084,"manualWeight":48,"mainColor":49},222154,"guan-yu-qin-jiang-tu-shang-xi-222154","关羽擒将图","商喜","此图描绘的是三国时期的大将关羽水淹七军、活捉敌将庞德的故事。画中关羽长须美髯，气宇轩昂，身穿铠甲，斜披绿袍，手抱单膝坐于青松之下，神态从容自得，周仓手持青龙偃月刀侍立一旁。而庞德衣衫尽褪被绑在木桩之上，兀自咬牙眦目，挣扎不休，不甘受缚的心态跃然纸上。\n本图虽是宫廷绘画，但表现的对象是家喻户晓的历史人物关羽，描绘的情节是人们喜闻乐见的三国故事。在题材的选取上与民间美术有不谋而合之处，体现了人们对英雄形象普遍的崇拜心理。在画法上，人物用工笔重彩，浓艳亮丽的色彩夺人眼目，人物形象的塑造吸收了民间美术的造型特点，特征突出，带有一定的程式化。画面尺幅巨大，构图宏伟壮观，反映了皇家艺术的豪华气派。",[23,137,24,25,7,28,83,6493,1787,313,6494,4188,96],"武将","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cfe2aa230b981d80a1e2084434ca2c.jpg","纵198厘米，横236厘米",[44,45],{"id":6499,"slug":6500,"title":6501,"dynasty":76,"author":191,"museum":1444,"description":6502,"tags":6503,"thumbUrl":6504,"material":1053,"size":1448,"collection":220,"collections":6505,"showCount":6485,"zanCount":1020,"manualWeight":48,"mainColor":1833},222147,"san-da-shi-tu-wen-shu-yi-ming-222147","三大士图-文殊","文殊菩萨图位于水月观音图之西。文殊全称文殊师利，又作曼殊室利，意为妙德、吉祥，又译作妙吉祥，是众菩萨之首，通常作释迦佛的左胁侍，专司“智慧”，表“大智”。此菩萨顶髻，以五字五髻文殊为本体最为常见，五髻表示内证五智，以表大日之五智五佛，手持剑，以表智慧之利剑，能斩断一切无明烦恼，有时手持如意，似表吉祥如意，坐骑青狮，以表智慧之威猛。佛经对文殊的顶髻、宝冠、肤色、手持法器、坐骑等，都有种种模式要求。法海寺壁画对佛像的塑造，既继承佛典的模式要求，又有新的突破，突出了写实手法，使文殊菩萨的形象与水月观音形象大体相似。\n文殊菩萨的左下侧，绘坐骑青狮与驯狮人。驯狮人身披甲胄，威武森严，拱手而立，佩带鱼形宝刀，刀鞘沥粉贴金，鳞甲闪闪，凹凸画面，豪化富丽，格外醒目。文殊的右下侧绘有一信士，一说是古印度的月盖长者，他常入维摩方长，听不二法门。长者身着黄袍，右手持杖，左手遮荫，嘴略张开，似笑非笑。满面苍须，随风飘动，虔诚地仰望着天空，好像在祈请西方三尊拯救国内恶疫。颜面肌肤，眼角鱼尾，手指关节，其神态风韵，每一个细部，都精确地表现出老人的生理和心理特征，充分体现了壁画现实性的特征。",[23,1053,194,7,28,83,582,29,37,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c5d9d23ca7de5aae9bb98569f7acd7.jpg",[],{"id":6507,"slug":6508,"title":5895,"dynasty":76,"author":6509,"museum":367,"description":6510,"tags":6511,"thumbUrl":6513,"material":100,"size":6514,"collection":44,"collections":6515,"showCount":6485,"zanCount":1020,"manualWeight":48,"mainColor":49},219564,"huo-lang-tu-cui-zi-zhong-219564","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[23,24,7,28,155,1119,83,1744,6512,927,211,315,178,216,34],"货郎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[44,45],{"id":6517,"slug":6518,"title":6519,"dynasty":18,"author":191,"museum":78,"description":6520,"tags":6521,"thumbUrl":6522,"material":235,"size":6523,"collection":237,"collections":6524,"showCount":6485,"zanCount":1020,"manualWeight":48,"mainColor":49},218851,"liu-ma-tu-yi-ming-218851","六马图","画面中六匹骏马神态各异，或低头啮草，或昂首嘶鸣，或随人徐行，鬃毛飞扬间尽显灵动生机。人物衣着朴素却细节饱满，牵马者的专注、骑马者的悠然、树下交谈者的闲适，皆通过简练线条勾勒得栩栩如生。背景以淡墨晕染山石，枯树虬枝点缀其间，营造出清旷悠远的氛围。整幅画作线条细腻流畅，设色淡雅自然，构图疏密有致，将人与马的日常互动融入山水意境中，既见写实之妙，又含雅致情韵，于静谧中藏生动，于细微处见匠心。",[23,24,26,28,7,83,112,313,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba5c4f2cdf33d8406cb0ae099666d89.jpg","46.2x168.3cm",[237],{"id":6526,"slug":6527,"title":6528,"dynasty":150,"author":592,"museum":434,"description":5926,"tags":6529,"thumbUrl":6532,"material":100,"size":5930,"collection":220,"collections":6533,"showCount":6485,"zanCount":1084,"manualWeight":48,"mainColor":49},216107,"yun-shou-ping-hua-guo-shu-cai-ce-ye-4-yun-shou-ping-216107","恽寿平花果蔬菜册页-4",[24,519,28,7,595,212,6530,6531,612],"蔬菜","茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6bc6ad63fe8327a7125c68b0f32629.jpg",[],{"id":6535,"slug":6536,"title":3670,"dynasty":76,"author":6537,"museum":245,"description":6538,"tags":6539,"thumbUrl":6540,"material":220,"size":220,"collection":237,"collections":6541,"showCount":6542,"zanCount":1084,"manualWeight":48,"mainColor":145},237664,"hua-niao-ce-ling-bi-zheng-237664","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[137,24,25,519,28,7,212,597,596,1092,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb686e450eda3e1b564356a6d16a40e28.jpg",[237,45],144,{"id":6544,"slug":6545,"title":6546,"dynasty":18,"author":326,"museum":20,"description":6547,"tags":6548,"thumbUrl":6549,"material":424,"size":6550,"collection":42,"collections":6551,"showCount":6542,"zanCount":48,"manualWeight":48,"mainColor":49},221365,"dai-sheng-tu-zhao-ji-221365","戴胜图","宋徽宗赵佶（1082年11月2日-1135年6月4日） [6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,137,24,25,7,28,212,178,409,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[42,237,45],{"id":6553,"slug":6554,"title":6555,"dynasty":76,"author":1640,"museum":134,"description":6556,"tags":6557,"thumbUrl":6558,"material":100,"size":6559,"collection":237,"collections":6560,"showCount":6542,"zanCount":1084,"manualWeight":48,"mainColor":49},218792,"hua-zhu-an-chun-tu-zhou-zhi-mian-218792","花竹鹌鹑图","瘦长的画幅，主景放置在幅右，秋日,石上几株绿竹，间杂著娇媚的蜀葵、牵牛花。石下一对鹌鹑，临风处有一只大凤蝶飞来。整幅画充满著婀娜明艳的光辉。题句多，亦足以让人诗画共赏。",[24,28,7,156,492,5649,411,211,212,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a00ce3772da92e745cee036acd9c15.jpg","111.7x29.7cm",[237],{"id":6562,"slug":6563,"title":2349,"dynasty":18,"author":191,"museum":6564,"description":6565,"tags":6566,"thumbUrl":6567,"material":100,"size":6568,"collection":237,"collections":6569,"showCount":6542,"zanCount":1769,"manualWeight":48,"mainColor":1833},218645,"mu-dan-tu-yi-ming-218645","福冈市立美术馆","沉棕底色如旧绢凝香，中央牡丹姿态雍容却不失清雅。花瓣层叠如浪，米白与浅褐的晕染间藏着淡粉的柔韵，似被时光打磨出温润质感。墨线勾出的叶片翠意内敛，叶脉纤细如丝，与花的柔婉相映成趣。整幅画作工致细腻，尽显宋画的沉静风骨，将牡丹的端庄神韵凝于方寸之间，仿佛能窥见千年之前画者笔下那一抹含蓄的生机，静谧中流淌着古雅的诗意。",[23,137,24,25,212,7,28,298,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7837e7613763e599f5ea1a410e470c01.jpg","26.7x31.2",[237],{"id":6571,"slug":6572,"title":6573,"dynasty":76,"author":191,"museum":134,"description":6574,"tags":6575,"thumbUrl":6576,"material":100,"size":6577,"collection":44,"collections":6578,"showCount":6542,"zanCount":1084,"manualWeight":48,"mainColor":145},216959,"ming-tai-zu-ban-shen-xiang-yi-ming-216959","明太祖半身像","这幅画表现了朱元璋的壮年时期，他的脸几乎是正面的。他的脸是红色和紫色的，留着短胡须，眼睛有光泽，采取坐姿，双手自然放在膝盖上，暗示着一种权力和力量的感觉。他头上戴着头巾，穿着带有龙纹图案的明黄色御用长袍，腰间系着蟒蛇腰带，脚穿皂靴，看起来就像一个统治世界的国王。",[24,7,28,83,341,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1c716274a71c68d6b068424ee8dfa.jpg","270x163.6",[44],{"id":6580,"slug":6581,"title":1848,"dynasty":150,"author":592,"museum":245,"description":3138,"tags":6582,"thumbUrl":6584,"material":1397,"size":1398,"collection":220,"collections":6585,"showCount":6586,"zanCount":1084,"manualWeight":48,"mainColor":145},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536",[24,137,155,25,7,28,212,174,557,178,284,173,6583],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20aff2a060a96207e9cbb6a8febec6d9.jpg",[],143,{"id":6588,"slug":6589,"title":6590,"dynasty":6591,"author":6592,"museum":245,"description":6593,"tags":6594,"thumbUrl":6596,"material":220,"size":220,"collection":220,"collections":6597,"showCount":6586,"zanCount":1084,"manualWeight":48,"mainColor":145},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","南北朝","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[23,137,24,25,26,7,28,83,112,6595,173,284,285,2956,784,785,2957,63],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],{"id":6599,"slug":6600,"title":4528,"dynasty":18,"author":191,"museum":245,"description":6601,"tags":6602,"thumbUrl":6603,"material":220,"size":220,"collection":220,"collections":6604,"showCount":6586,"zanCount":1769,"manualWeight":48,"mainColor":49},223683,"yin-cha-tu-yi-ming-223683","《宋饮茶图》是宋代佚名创作的绢本设色画，现藏于美国弗利尔美术馆。\n图中画一侍女双手捧茶盘，一妇人伸手盘中拿茶具。\n右边一贵夕面向她们而立，仪态端庄娴静。\n后随侍女双手捧一锦盒。\n画风承唐代周吩，典雅浓丽。\n旧题南唐 画，然观其时代气息，应为宋人所作。",[23,24,137,914,7,28,83,59,1674,173,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783b061be5eddc485e3cd90b44470fd.jpg",[],{"id":6606,"slug":6607,"title":6608,"dynasty":228,"author":5636,"museum":134,"description":6609,"tags":6610,"thumbUrl":6613,"material":952,"size":6614,"collection":237,"collections":6615,"showCount":6586,"zanCount":1769,"manualWeight":48,"mainColor":145},221838,"tao-zhu-jin-ji-tu-zhou-wang-yuan-221838","桃竹锦鸡图轴","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[23,24,6611,7,212,155,1653,156,938,1797,6612,3153],"水墨画","水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14268d3dd72321107b543bb80edf552.jpg","纵102.3cm，横55.4cm",[237,125],{"id":6617,"slug":6618,"title":6619,"dynasty":18,"author":505,"museum":20,"description":6620,"tags":6621,"thumbUrl":6622,"material":67,"size":6623,"collection":42,"collections":6624,"showCount":6625,"zanCount":1769,"manualWeight":48,"mainColor":49},221373,"jin-hui-dui-tu-juan-zhao-chang-221373","锦灰堆图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。作者不愧有“写生赵昌”的美誉。\n此图流传有绪。通过图上所钤印文可知，它最早为南宋权相贾似道收藏，德祐年时，贾似道以卖国获罪，此卷遂被官府没收。入元后，它为元仁宗爱育黎拔力八达之姊鲁国大长公主所收藏。明初，被内府典礼纪察司收存。清代，它转入大收藏家梁清标之手，旋即又归入清内府，备受乾隆皇帝赏识。晚清宣统时又流入民间，为伪满“国兵”朱国恩抢得，存放于吉林长春的家中。1952年东北文化部组织的工作小组于长春获得此卷，交由原东北博物馆收藏，后博物馆将它与北宋崔白《寒雀图》卷、吴元瑜《荔枝图》卷一同送交国家文物局，文物局将它们转入故宫博物院庋藏。",[23,24,137,26,7,28,212,411,493,452,315,454,596,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9b890e9249dec5b777dd3cfaf3145a.jpg","29.4x174.6cm",[42,237,45],142,{"id":6627,"slug":6628,"title":6629,"dynasty":18,"author":1040,"museum":134,"description":6630,"tags":6631,"thumbUrl":6632,"material":100,"size":6633,"collection":44,"collections":6634,"showCount":6625,"zanCount":1769,"manualWeight":48,"mainColor":49},219975,"ting-ruan-tu-li-song-219975","听阮图","此图园中高木奇石，枝叶掩映翁郁，树下士人持拂闲坐于榻上，左腿盘起，聆听拨阮演乐并赏古玩。旁有仪态娇美仕女，焚香、拈花、持扇随侍。人物线条流畅，绘法近似明代画家杜蓳、唐寅。",[24,137,25,155,7,28,83,471,470,5343,138,313,466,409,783,3048,63,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f429ae99228b49a6346c6be40873864.jpg","177.5x104.5公分",[44],{"id":6636,"slug":6637,"title":6638,"dynasty":150,"author":2254,"museum":245,"description":6639,"tags":6640,"thumbUrl":6644,"material":220,"size":220,"collection":220,"collections":6645,"showCount":6646,"zanCount":943,"manualWeight":48,"mainColor":49},229035,"yue-man-qing-you-tu-ce-chen-mei-229035","月曼清游图册","此作工致细腻，庭院春梅如云盛放，元宵宫灯悬于枝梢檐下，晕开融融暖意。楼下女眷三两围聚，私语笑谈，情态温婉柔媚；楼上闺人凭窗远眺，共赏灯景。设色明妍柔丽，线条精细雅致，将深闺女子元宵嬉游的闲雅意趣尽数铺展，仕女的温婉仪容、娇柔神态刻画入微，带着院体画的精致考究，晕染出古典深闺的春日雅兴，尽显清代仕女画的典雅意韵。",[23,137,24,519,7,28,83,470,59,637,6641,92,84,6642,6643],"宫灯","闲雅","仕女画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029ff8b8e58621845ff72b54766a782f.jpg",[],141,{"id":6648,"slug":6649,"title":6650,"dynasty":54,"author":191,"museum":245,"description":4355,"tags":6651,"thumbUrl":6652,"material":1397,"size":1398,"collection":220,"collections":6653,"showCount":6654,"zanCount":48,"manualWeight":48,"mainColor":49},231004,"mo-gao-ku-329-yi-ming-231004","莫高窟329",[1053,194,28,83,1539,5091,313,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4418173c3cc1ad02ff65e163e5c89e84.jpg",[],140,{"id":6656,"slug":6657,"title":6658,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":6659,"thumbUrl":6660,"material":28,"size":1081,"collection":220,"collections":6661,"showCount":6654,"zanCount":48,"manualWeight":48,"mainColor":145},222754,"xian-e-chang-chun-tu-08b-ju-hua-lang-shi-ning-222754","仙萼长春图-08b（菊花）",[23,137,24,25,519,28,7,212,689,299,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea32cfd2d4eabbf19626d6b6e93697f.jpg",[],{"id":6663,"slug":6664,"title":2952,"dynasty":150,"author":191,"museum":20,"description":6665,"tags":6666,"thumbUrl":6667,"material":100,"size":6668,"collection":44,"collections":6669,"showCount":6654,"zanCount":1020,"manualWeight":48,"mainColor":49},219633,"qian-long-huang-di-chao-fu-xiang-yi-ming-219633","此作工笔细腻，写实传神。画中帝王面容俊朗，神色端凝沉稳，自带不怒自威的从容气度。明黄朝服遍绣祥龙，十二章纹错落排布，金线勾勒下瑞兽纹样鲜活灵动，珠玉朝珠垂坠于前，礼制森严间尽显极致华贵。髹金龙椅雕刻繁复精妙，卷云虬龙层层环绕，衬出帝王的独尊地位。\n\n画面底色素净克制，将视觉重心全然倾注于人物之上，设色富丽却不俗艳，工整细致的笔触，将盛世帝王的威仪气度凝于绢素，尽显宫廷肖像画的典雅规整，让观者仿佛能窥见当年紫禁城中的肃穆华贵。",[23,137,24,25,155,7,28,83,63,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0605e9fa04d93aeb448927849ebb7b94.jpg","纵271厘米，横142厘米",[44],{"id":6671,"slug":6672,"title":6673,"dynasty":76,"author":674,"museum":245,"description":4094,"tags":6674,"thumbUrl":6675,"material":1397,"size":1398,"collection":220,"collections":6676,"showCount":6677,"zanCount":1769,"manualWeight":48,"mainColor":49},287343,"he-hua-yuan-yang-tu-juan-wen-chen-hong-shou-287343","荷花鸳鸯图(绢纹)",[23,137,24,25,155,1996,7,28,248,1435,411,159,249],"http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title":4548,"dynasty":76,"author":191,"museum":463,"description":6747,"tags":6748,"thumbUrl":6749,"material":100,"size":6750,"collection":237,"collections":6751,"showCount":6714,"zanCount":943,"manualWeight":48,"mainColor":49},219268,"lian-chi-cang-lu-tu-yi-ming-219268","墨绿荷叶如伞盖层叠，粉嫩荷花亭亭绽于其间，瓣尖晕染淡红，花心素白如雪。几只苍鹭姿态各异：一者振翅展羽，翎毛纤毫毕现；一者引颈长唳，喙尖微张似欲唤侣；另有两羽相偎，身形依偎间流露亲昵。背景深褐如古绢晕染，衬得花叶禽鸟愈发清雅。笔触细腻处见工致，羽毛的柔滑、荷叶的脉络皆清晰可触，却又不失写意的空灵。整幅画氤氲着静谧生机，似将莲池畔的刹那闲趣凝于绢上，尽显雅致韵致，观之如临清池，闻得荷风与禽鸣交织，恍若触到古绢上凝住的清润时光。",[23,24,137,25,28,7,212,4551,248,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da87412892d3bb3ded765cef53220cf.jpg","纵97.7横43.1厘米",[237],{"id":6753,"slug":6754,"title":6755,"dynasty":76,"author":6756,"museum":245,"description":6757,"tags":6758,"thumbUrl":6759,"material":220,"size":220,"collection":220,"collections":6760,"showCount":6761,"zanCount":1769,"manualWeight":48,"mainColor":145},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,24,25,26,7,28,212,637,822,298,492,174,690,487,2682,688,520,915,1307,4480,409,453,1092,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":6763,"slug":6764,"title":6765,"dynasty":150,"author":6766,"museum":20,"description":6767,"tags":6768,"thumbUrl":6769,"material":235,"size":6770,"collection":45,"collections":6771,"showCount":6761,"zanCount":1084,"manualWeight":48,"mainColor":145},219175,"shuang-mao-kui-yu-tu-cheng-zhang-219175","双猫窥鱼图","程璋","此图绘制的是一幅秋天的美好图景。一弯池水迂回荡漾，岸边苇草萌发，树枝随风而动，显得古朴与优雅。池塘边两只花猫，葡匐在岸上，双眼紧盯着沟渠中的游鱼。仿佛在欣赏他们惬意的身姿，溪水对岸，淡色轻染，烟霭迷濛。全画以水彩设色技法来体现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是因为画家懂得生物百态，所以画的木头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能符合自然景物的真实性。并利用干、湿、浓、淡的笔力墨法所产生的差异，整体变得稳重、秀润。",[23,137,24,25,155,28,7,855,581,557,1499,197,655,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 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厘米",[182,45],{"id":6906,"slug":6907,"title":6908,"dynasty":18,"author":326,"museum":6909,"description":6910,"tags":6911,"thumbUrl":6912,"material":100,"size":6913,"collection":237,"collections":6914,"showCount":6895,"zanCount":1084,"manualWeight":48,"mainColor":49},218921,"ya-tu-zhao-ji-218921","鸭图","东京五岛美术馆","这幅画代表了徐熙的画派，虽然整幅画是彩色的，但水墨淋漓，充满了野趣。这幅画据说是徽宗所画，但由徽宗所画的可能性较小，但仍然是宋代花鸟画的代表作。",[23,137,24,25,155,7,28,212,1521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff029476e533b2343127e16bcd597c59e.jpg","37.9x25.8cm",[237],{"id":6916,"slug":6917,"title":4538,"dynasty":150,"author":260,"museum":134,"description":6918,"tags":6919,"thumbUrl":6921,"material":100,"size":6922,"collection":237,"collections":6923,"showCount":6895,"zanCount":943,"manualWeight":48,"mainColor":145},218854,"san-yang-kai-tai-tu-lang-shi-ning-218854","其画风中融合特殊中西笔触，尤其是运用写实画派光影透视技巧，郎氏画作特别讨喜尤受皇帝欣赏。\n三羊开泰用于岁首祝福时，人们也常用“三羊”来代替“三阳”，把“三阳开泰”写成“三羊开泰”，乃取其谐音而已。根据泰卦的释义，“三阳开泰”的引申意思，则有好运即将降临之意。\n拿“三羊”来代替“三阳”，除了“羊”与“阳”两字谐音而外，也还有寓有更隐蔽的深层的文化含义。",[23,251,24,7,28,795,6920,4541,582,637,156,314,705,198,155],"写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b031b067e2d9172399a90dab58307e.jpg","横60厘米 纵98厘米",[237],{"id":6925,"slug":6926,"title":6927,"dynasty":150,"author":6928,"museum":20,"description":6929,"tags":6930,"thumbUrl":6931,"material":40,"size":6932,"collection":44,"collections":6933,"showCount":6934,"zanCount":943,"manualWeight":48,"mainColor":49},234307,"li-chao-xian-hou-gu-shi-tu-ce-jiao-bing-zhen-234307","历朝贤后故事图册","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[137,24,25,519,7,28,81,83,59,84,176,34,972,29,92,158,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34017010e0ed0cafb36850368bb3c4.jpg","纵30.8厘米，横37.4厘米",[44,45],134,{"id":6936,"slug":6937,"title":6938,"dynasty":150,"author":191,"museum":245,"description":6939,"tags":6940,"thumbUrl":6941,"material":220,"size":220,"collection":220,"collections":6942,"showCount":6934,"zanCount":1084,"manualWeight":48,"mainColor":49},230304,"fang-lin-chun-cui-zhu-hua-niao-tu-shen-se-yi-ming-230304","仿林椿翠竹花鸟图（深色）","此作用色明丽雅致，以赭色绢底托举春日景致。艳红山茶缀于虬曲枝桠，青嫩新篁挺拔舒展，柔媚花枝与劲竹相映成趣。十余只禽鸟灵动错落，或栖于枝头理羽，或两两依偎低语，羽色晕染细腻柔和，将禽鸟绒羽的鲜活质感尽数呈现。\n\n画师以工细笔触勾勒花叶禽鸟，既承袭院体花鸟的精工写实，又暗合文人画的清幽意趣，将林泉春日里花木禽鸟的自在天趣铺展在尺幅间，生机盎然中尽显闲雅静谧的林下意韵。",[23,137,24,25,26,7,28,82,212,156,299,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae43cbb6fe15b0c90b72712f15b33f1.jpg",[],{"id":6944,"slug":6945,"title":6946,"dynasty":76,"author":191,"museum":245,"description":6947,"tags":6948,"thumbUrl":6949,"material":28,"size":220,"collection":45,"collections":6950,"showCount":6934,"zanCount":1769,"manualWeight":48,"mainColor":49},219904,"cha-mei-san-qin-tu-yi-ming-219904","茶梅三禽图","画面章法错落，斜出的花枝贯穿画面，山茶如烈焰点染绢素，梅花似堆雪缀于枝桠，红白相映，撞色鲜活亮眼。\n\n枝上双禽依偎理羽，姿态闲静安适；石畔绶带鸟垂首啄饮，灵动生趣。湖石、幽竹与冰姿玉骨的水仙铺陈下景，衬出花木禽鸟的清隽雅致。\n\n设色妍丽不失清雅，工笔勾勒禽鸟羽毛、花瓣脉络，晕染柔和自然，写意绘就湖竹野趣，将隆冬时节的盎然生机定格，尽显院体花鸟雅致隽永的东方意趣，藏着岁末清和的鲜活生机。",[23,24,137,7,28,212,637,299,156,314,655,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbd5614909282f3d3a425af305ca027.jpg",[45],{"id":6952,"slug":6953,"title":4399,"dynasty":228,"author":5636,"museum":3452,"description":6954,"tags":6955,"thumbUrl":6956,"material":2373,"size":6957,"collection":237,"collections":6958,"showCount":6934,"zanCount":1020,"manualWeight":48,"mainColor":145},219062,"zhu-que-tu-wang-yuan-219062","画家在这幅画中使用了水墨，做了黑白的勾勒，描绘了竹叶的起伏、花朵和湖中不平整的石头。\n这幅画在构图和技法上与印第安纳波利斯艺术博物馆收藏的王原的《花竹山禽图》相似，但《花竹山禽图》的笔触更显年轻，可能是后来的摹本。这幅画上还刻有 摹黄筌竹雀图 的字样，构图与台北故宫的黄居寀画的鹧鸪和麻雀相似，仍保留了唐代画树下花鸟的传统，所以这幅画也许确实是仿黄筌的原作。",[137,24,6611,7,283,212,156,299,411,211,315,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","139.3x49.9cm",[237],{"id":6960,"slug":6961,"title":607,"dynasty":18,"author":191,"museum":406,"description":6962,"tags":6963,"thumbUrl":6964,"material":100,"size":6965,"collection":237,"collections":6966,"showCount":6934,"zanCount":943,"manualWeight":48,"mainColor":49},218563,"qiu-kui-tu-yi-ming-218563","画面中，秋葵舒展的花瓣如凝脂般温润，白中透粉的晕染似含朝露，娇嫩欲滴。花蕊以深褐点染，在素净花瓣间格外醒目，几笔细致勾勒便显生机。叶片脉络清晰，边缘锯齿纹理与枝干苍劲形成呼应，花苞或敛或绽，层次错落间见自然意趣。\n\n笔墨工致却不刻意，色彩淡雅而富韵致，尽显写生之妙——于细微处见真章，将秋葵清雅姿态凝于绢素。无繁复布景，仅以一花一叶情态，传递自然生命的静美与从容，仿佛能嗅到初秋清晨的微凉气息，藏着宋人对日常草木的深情观照。",[24,137,25,7,28,212,611,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabea7ea1898f36c4440d93cfb77bd36.jpg","25.6x25.7",[237],{"id":6968,"slug":6969,"title":6970,"dynasty":76,"author":2717,"museum":134,"description":6971,"tags":6972,"thumbUrl":6973,"material":100,"size":6974,"collection":237,"collections":6975,"showCount":6934,"zanCount":1769,"manualWeight":48,"mainColor":49},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，在吴门派画家中具有一定新意，与陈淳并重于世。",[24,25,137,155,7,28,212,213,298,34,211,5141,3983,677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[237],{"id":6977,"slug":6978,"title":5196,"dynasty":150,"author":191,"museum":20,"description":1704,"tags":6979,"thumbUrl":6980,"material":40,"size":534,"collection":220,"collections":6981,"showCount":6982,"zanCount":48,"manualWeight":48,"mainColor":49},236171,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236171",[24,28,7,81,29,83,84,92,174,211,176,86,34,4660,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg",[],133,{"id":6984,"slug":6985,"title":6986,"dynasty":228,"author":191,"museum":134,"description":6987,"tags":6988,"thumbUrl":6989,"material":235,"size":6990,"collection":44,"collections":6991,"showCount":6982,"zanCount":1769,"manualWeight":48,"mainColor":145},214807,"zhi-sheng-xian-xian-ban-shen-xiang-ce-ye-yi-ming-214807","至圣先贤半身像册页","这本60页的画册展示了从孔子到许衡（1209-1281），从春秋时期（公元前770-476年）到元朝的121位著名学者，最初被放置在清宫的南董殿，那里保存着皇帝、皇后和贤臣的图像。",[23,24,25,519,28,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe748c6349b35f74a47a36a974a96d104.jpg","33.3x24.3",[44],{"id":6993,"slug":6994,"title":6995,"dynasty":150,"author":191,"museum":20,"description":6996,"tags":6997,"thumbUrl":6998,"material":67,"size":6999,"collection":44,"collections":7000,"showCount":104,"zanCount":943,"manualWeight":48,"mainColor":49},236174,"yin-zhen-mei-ren-tu-yi-ming-236174","胤禛美人图","仕女于圆窗前端坐，轻倚桌案，一手闲雅地捻着念珠，正观赏两只嬉戏顽皮的猫咪。此图的取景面很小，仅透过二分之一的圆窗来刻画繁复的景致，但由于画家参用了西洋画的焦点透视法，将远、中、近三景安排得有条不紊，从而扩展了画面空间的纵深感，显得意韵悠长。窗下钟声滴答，近处猫咪玩闹，时光便在这似有似无中悄悄流逝。",[24,25,7,28,83,59,581,158,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd53a373485a1fc514f0f01339644f52.jpg","纵184厘米，横98厘米",[44,45],{"id":7002,"slug":7003,"title":7004,"dynasty":54,"author":2621,"museum":78,"description":7005,"tags":7006,"thumbUrl":7007,"material":496,"size":220,"collection":1478,"collections":7008,"showCount":104,"zanCount":1020,"manualWeight":48,"mainColor":145},221074,"zhao-ye-bai-han-gan-221074","照夜白","这幅画是用水墨线描完成的，描绘的是唐玄宗 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以从画中感受到它不甘于束缚、怒目圆睁、昂首嘶鸣，飘逸的鬃毛、耸起的耳朵和抬起的前蹄，加强了画面所要透露的紧张感。\n据考证，马的头、颈、前身为真迹，而后半身为后人补笔，马尾巴已不存。",[23,855,7,496,26,25,112,582,173,284,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[1478,1480],{"id":7010,"slug":7011,"title":7012,"dynasty":228,"author":5636,"museum":134,"description":7013,"tags":7014,"thumbUrl":7016,"material":100,"size":7017,"collection":237,"collections":7018,"showCount":104,"zanCount":1769,"manualWeight":48,"mainColor":145},219136,"hua-hui-ce-ya-zhi-cao-wang-yuan-219136","花卉册-鸭跖草","淡赭绢面上，鸭跖草细叶舒展如碧带，脉络隐现于墨痕的深浅交错间。数点蓝花轻缀叶丛，似星子落于草梢，带着未散的晨露莹光。两只蜻蜓姿态各异：红身者尾尖微垂，翅脉如丝缕勾勒，似欲栖于叶上；浅色者翼薄如纱，透着朦胧光影，正振翅掠过花丛。笔墨细腻却不繁琐，草叶的柔韧、花的娇俏、蜻蜓的轻盈皆藏于线条与淡色中。画面虽小，却凝住了一瞬的生机：风过草叶的轻颤，蜻蜓振翅的微响，都在古雅的底色里漫开，似夏日闲窗下偶然瞥见的小景，清宁而动人。",[23,137,24,25,519,28,7,212,7015,493],"鸭跖草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331c3055f4bc0f80bc6e1a1d4988a133.jpg","25.9x23.6cm",[237],{"id":7020,"slug":7021,"title":7022,"dynasty":150,"author":260,"museum":20,"description":7023,"tags":7024,"thumbUrl":7025,"material":100,"size":7026,"collection":237,"collections":7027,"showCount":104,"zanCount":711,"manualWeight":48,"mainColor":145},218996,"han-hu-liu-zhou-lang-shi-ning-218996","阚虎骝轴","绢本之上，骏马昂首挺立，身姿矫健如虎。毛发质感细腻入微，鬃尾似流云垂落，斑纹错落间晕染出肌肉的起伏与光影变化，尽显写实功底。线条勾勒与色彩晕染相融，既有西方绘画的立体感，又不失东方笔墨的雅致。背景素净，题跋与朱印相映成趣，添几分古雅意蕴。此作将异域技法与本土审美巧妙结合，绘就骏马的灵动神韵，亦藏跨文化艺术碰撞的妙趣。",[23,24,25,155,7,28,112,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e691cfea774237a293ec3b0231849.jpg","纵270横240.3厘米",[237],{"id":7029,"slug":7030,"title":3433,"dynasty":150,"author":7031,"museum":406,"description":7032,"tags":7033,"thumbUrl":7034,"material":100,"size":220,"collection":44,"collections":7035,"showCount":104,"zanCount":48,"manualWeight":48,"mainColor":49},218250,"ying-xi-tu-luo-pin-218250","罗聘","孩子们被描绘成在一棵树下以不同的姿势玩耍，有非常不同的、诙谐的行为。",[24,25,28,7,83,1744,313,2653,85,214,705,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10da7efee8c25f6e93f8c2460e80de8.jpg",[44],{"id":7037,"slug":7038,"title":7039,"dynasty":150,"author":260,"museum":20,"description":7040,"tags":7041,"thumbUrl":7042,"material":40,"size":7043,"collection":182,"collections":7044,"showCount":7045,"zanCount":1769,"manualWeight":48,"mainColor":145},236176,"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[251,24,137,25,28,7,83,29,112,3794,582,927,1499,1797,3750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[182,45],131,{"id":7047,"slug":7048,"title":7049,"dynasty":18,"author":191,"museum":245,"description":7050,"tags":7051,"thumbUrl":7052,"material":220,"size":220,"collection":220,"collections":7053,"showCount":7045,"zanCount":48,"manualWeight":48,"mainColor":145},227856,"shan-cha-hu-die-tu-ye-yi-ming-227856","山茶蝴蝶图页","以没骨晕染绘就白茶，瓣色柔润留白如凝脂莹洁，盛放与初绽花苞错落排布。浓墨绘叶，晕染出深浅枯润，将叶片舒展的柔劲姿态尽显。墨笔勾绘蝴蝶，翼上纹理纤毫毕现，振翅欲落的灵动，为静雅花枝添了鲜活意趣。\n\n赭色古雅底色衬得花木蝶影愈发清隽，构图疏朗秀逸。画面工致间带着写意韵致，将晴日山茶间的悠然小景定格，带着宋人的清雅审美，把一花一蝶的幽微之美晕染出隽永诗意，观之便好似踏入春日晴光，细品蝶绕山茶的闲静意趣。",[137,24,25,914,7,28,212,520,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f81ba4e7647a8fb90303638a82667e5.jpg",[],{"id":7055,"slug":7056,"title":7057,"dynasty":76,"author":77,"museum":367,"description":7058,"tags":7059,"thumbUrl":7061,"material":100,"size":7062,"collection":44,"collections":7063,"showCount":7045,"zanCount":1769,"manualWeight":48,"mainColor":49},219528,"yu-yin-tu-chou-ying-219528","渔隐图","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[23,24,25,137,7,28,27,29,34,7060,86,159,3487,155],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[44,45],{"id":7065,"slug":7066,"title":7067,"dynasty":150,"author":1162,"museum":134,"description":7068,"tags":7069,"thumbUrl":7070,"material":28,"size":7071,"collection":237,"collections":7072,"showCount":7045,"zanCount":1769,"manualWeight":48,"mainColor":145},219435,"shu-kui-shi-liu-zhou-zou-yi-gui-219435","蜀葵石榴轴","画面中蜀葵藤蔓舒展，淡紫花瓣层叠晕染，花蕊明黄点缀其间，叶片脉络清晰如缕，尽显工笔之细腻。旁侧石榴花枝虬劲，红橙花朵簇生，与蜀葵的柔婉形成鲜明对比，红绿相映间生机勃发。笔墨温婉雅致，设色清丽明快，枝叶的交错、花瓣的肌理皆刻画入微，既保留了自然野趣，又蕴含规整韵致。题跋与朱印错落有致，文气与画意交融，似将夏日的绚烂与清雅凝于一纸，观之如沐和风，满溢生机与雅致。",[24,25,155,28,7,212,2944,823,596,1092,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5048cc1dc3f6fc3cf98be5ce658aca31.jpg","83.4x44.6",[237],{"id":7074,"slug":7075,"title":7076,"dynasty":18,"author":1585,"museum":134,"description":7077,"tags":7078,"thumbUrl":7079,"material":100,"size":7080,"collection":42,"collecti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观音及孩童面目、手脚以淡墨细笔勾勒，由人物开面、体态、发髻样式及回首姿态，该幅观音当为晚明作品。",[23,137,24,25,155,194,7,28,83,1055,677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8336ee8a1cdacdeb0cfb8d89211b8fc.jpg","98.1x35.6公分",[],{"id":7100,"slug":7101,"title":7102,"dynasty":150,"author":260,"museum":134,"description":7103,"tags":7104,"thumbUrl":7106,"material":424,"size":7107,"collection":182,"collections":7108,"showCount":7089,"zanCount":48,"manualWeight":48,"mainColor":49},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,7,28,29,84,86,211,34,2970,83,92,7105,1106],"行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm",[182,45],{"id":7110,"slug":7111,"title":7112,"dynasty":18,"author":1151,"museum":134,"description":7113,"tags":7114,"thumbUrl":7115,"material":28,"size":7116,"collection":42,"collections":7117,"showCount":7089,"zanCount":48,"manualWeight":48,"mainColor":49},221554,"xi-yuan-ya-ji-juan-liu-song-nian-221554","西园雅集卷","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。",[23,137,24,25,26,7,28,83,34,211,466,783,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00b965e299d9c4feb3a56ffa3172034.jpg","34×191cm",[42,44,45],{"id":7119,"slug":7120,"title":7121,"dynasty":18,"author":1140,"museum":56,"description":7122,"tags":7123,"thumbUrl":7125,"material":424,"size":7126,"collection":42,"collections":7127,"showCount":7089,"zanCount":1020,"manualWeight":48,"mainColor":49},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,137,24,25,26,28,7,172,29,1028,85,88,83,31,7124,95,93,34],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[42,182,45],{"id":7129,"slug":7130,"title":969,"dynasty":18,"author":1774,"museum":134,"description":7131,"tags":7132,"thumbUrl":7133,"material":100,"size":220,"collection":42,"collections":7134,"showCount":7089,"zanCount":48,"manualWeight":48,"mainColor":1833},219942,"han-gong-chun-xiao-tu-zhao-bo-ju-219942","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,24,81,28,27,7,29,84,176,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ccd5ae19644bbac9117abbd0f0ff532.jpg",[42],{"id":7136,"slug":7137,"title":7138,"dynasty":18,"author":191,"museum":2004,"description":7139,"tags":7140,"thumbUrl":7141,"material":100,"size":220,"collection":44,"collections":7142,"showCount":7089,"zanCount":1769,"manualWeight":48,"mainColor":49},219575,"zhu-lin-shi-nv-tu-yi-ming-219575","竹林仕女图","画面晕染出幽谧清寂的林下氛围，修竹扶苏、虬枝横斜，苍苔覆着湖石，漫溢出山野闲静之气。白衣仕女款步而立，素裙曳地，怀拥器物，眉目温婉沉静，似在静听林风穿叶，将闺中闲思融于林泉烟霭之中。\n\n用笔细劲清润，设色浅淡古雅，虚实相生间将留白藏进幽独娴静的意韵里，不见丝毫喧嚣。把仕女的温婉闲情与林泉野趣糅合一处，尽显雅致内敛的东方意趣，寥寥尺幅间，澹澹诗意漫溢开来。",[137,24,25,7,28,83,59,156,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11033c937ae94ae2e0cc9b0a16169bd3.jpg",[44],{"id":7144,"slug":7145,"title":7146,"dynasty":76,"author":924,"museum":134,"description":7147,"tags":7148,"thumbUrl":7150,"material":2373,"size":7151,"collection":125,"collections":7152,"showCount":7089,"zanCount":48,"manualWeight":48,"mainColor":145},219519,"qin-he-tu-wen-zheng-ming-219519","琴鹤图","水墨晕染出淡远山居，苍松茂林环合小院。堂前二人对坐，似正横琴晤谈，院外童子携鹤缓步而来，将林泉雅趣揉进日常闲情里。\n\n笔致秀润温婉，枝叶晕染细腻，远山轻笼烟岚，留白里漾着闲澹松弛的意趣。题诗朱印与画面相融，把文人幽居自适、琴鹤相伴的林下风流，藏进每一缕墨色之中，淡而不寡，静中藏雅，尽显江南文人心底的归栖之乐。",[24,25,28,7,284,285,173,83,34,211,60,3527,7149,159],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[125],{"id":7154,"slug":7155,"title":7156,"dynasty":76,"author":3496,"museum":152,"description":7157,"tags":7158,"thumbUrl":7160,"material":496,"size":7161,"collection":220,"collections":7162,"showCount":7163,"zanCount":1769,"manualWeight":48,"mainColor":145},231544,"huang-ju-dan-gui-tu-shen-zhou-231544","黄菊丹桂图","沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。\n王渊（公元13世纪-14世纪中叶），元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。工于花鸟、人物、山水。天历年间曾与唐棣在南京龙翔寺曾画过壁画，尤精于花鸟，堪称元代花鸟画巨擘。\n《黄菊丹桂图》明沈周仿自元画家王若水之作，图绘菊花，桂树，芙蓉，翠竹。并一双飞鸟巨石，画面静雅，傅色清新，所绘繁多而布置深稳，是石田习古佳作。",[23,24,28,155,7,172,313,689,299,159,409,178,7159],"丹桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69bac105908ae029d92cf2cc1b6e776.jpg","288.5X106.3\u002F397.1x127.4厘米",[],129,{"id":7165,"slug":7166,"title":7167,"dynasty":18,"author":7168,"museum":245,"description":7169,"tags":7170,"thumbUrl":7172,"material":220,"size":220,"collection":220,"collections":7173,"showCount":7163,"zanCount":1084,"manualWeight":48,"mainColor":49},227763,"xing-tao-zhi-cui-niao-tu-li-zhi-227763","杏（桃）枝翠鸟图","李志","仲夏时节，古人会用新收获的樱桃祭献宗庙。东汉时，有将樱桃赏赐给官员的礼制。\n\n唐代时，皇帝大摆宴席，邀请重臣体验采摘樱桃之乐，吃饱喝足后，再赠点儿樱桃给众臣，已成为一种宫廷传统。",[137,24,25,18,7,28,212,7171,6161,451,2257],"桃枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84468418d02fa7f462bcd1b1fe5fc83a.jpg",[],{"id":7175,"slug":7176,"title":7177,"dynasty":132,"author":1194,"museum":134,"description":7178,"tags":7179,"thumbUrl":7181,"material":100,"size":7182,"collection":44,"collections":7183,"showCount":7163,"zanCount":1084,"manualWeight":48,"mainColor":145},218751,"shui-xie-kan-fu-tu-zhou-wen-ju-218751","水榭看凫图","亭子的窗户敞开，帘子高高卷起，内部装饰着水波纹的座屏，座屏的边缘是红色的悬卷金花，这是宋代的一种时尚。两张方凳并排放置，凳子是用棕色藤条编织的，脚是如意形状。另一边是一张单剖面和双剖面的方桌，上面覆盖着白色披肩，摆放着金铜香炉和书籍。湖中有鸭子和海凫相互嬉戏，自然景观丰富。水榭旁有桃花、竹子和柳树等植物，还有一个覆盖着河边花草树木的私人大厅和亭子。露台的边上是水边的栏杆，女士从那里惊讶地看着这一幕。",[23,24,25,28,7,81,83,59,766,176,34,7180,86,214],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6128558cce10db8152fce876cb20fb95.jpg","24.5x26.7厘米",[44],{"id":7185,"slug":7186,"title":7187,"dynasty":54,"author":7188,"museum":134,"description":7189,"tags":7190,"thumbUrl":7191,"material":100,"size":7192,"collection":44,"collections":7193,"showCount":7163,"zanCount":1084,"manualWeight":48,"mainColor":49},218614,"hu-guo-tian-wang-xiang-yu-chi-yi-seng-218614","护国天王像","尉迟乙僧","本幅画手托宝塔的托塔天王，即世所谓之北方天王，为盛唐以后极受尊奉的佛像之一，其旁环侍之人物造型已为佛道相参之势。原谓尉僧乙僧所画，然细审其笔墨，应属明人风格。",[137,24,25,155,194,28,83,7,173,1539,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc1080a34fa72ca4f6198a683dc47ce.jpg","109x39.2cm",[44],{"id":7195,"slug":7196,"title":7197,"dynasty":132,"author":295,"museum":245,"description":7198,"tags":7199,"thumbUrl":7200,"material":220,"size":220,"collection":220,"collections":7201,"showCount":7202,"zanCount":1020,"manualWeight":48,"mainColor":49},228764,"jin-hui-dui-tu-xu-xi-228764","锦灰堆图","此作以散落折枝、蔬果翎羽、虫草顽石攒合成卷，不假刻意经营却浑然谐和。笔底写生工致入微，设色清润古雅，将四时风物杂糅一堂，野卉柔叶、鲜菌佳果皆含生趣，蛱蝶蜻蜓穿梭其间，野逸灵动，尽显江南画派的淡冶生机。\n\n画间题跋盛赞其写生神妙，兼具宋人的写实工致与元人的简逸意趣，寻常野趣被点染成清雅可观的长卷，淡墨轻色间铺陈出闲散雅致的文人意韵，是草虫蔬果写生的绝佳范本。",[23,24,25,26,28,7,212,411,493,452,315,453,454,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61754fc4a7f484e9027edfa11300a3.jpg",[],128,{"id":7204,"slug":7205,"title":7206,"dynasty":18,"author":1140,"museum":78,"description":7207,"tags":7208,"thumbUrl":7209,"material":424,"size":7210,"collection":42,"collections":7211,"showCount":7202,"zanCount":1084,"manualWeight":48,"mainColor":49},221670,"shi-liu-la-zui-tu-ma-lin-221670","石榴蜡嘴图","马麟是马远之子，生卒年不详。马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。此《石榴蜡嘴》图页传为马麟所作，但据考，未确认。",[23,137,24,25,7,28,212,823,299,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7383521319c32631aeca0f4aaf74fe.jpg","纵27.3厘米，横27.3厘米",[42,237,45],{"id":7213,"slug":7214,"title":7215,"dynasty":18,"author":7216,"museum":134,"description":7217,"tags":7218,"thumbUrl":7221,"material":100,"size":7222,"collection":237,"collections":7223,"showCount":7202,"zanCount":1769,"manualWeight":48,"mainColor":49},218870,"song-yuan-ji-hui-lu-zhou-feng-die-li-de-mao-218870","宋元集绘-芦洲蜂蝶","李德茂","这幅画来自《宋元画集》。在风景的一角，一些芦苇从地面升起，沿着画的整个长度运行，使地平线感觉特别低，天空更加开阔。一对粉红色的蝴蝶和一对红色的蜻蜓在小花间飞来飞去。虽然简单，但这个缩影是大自然的一个美丽缩影。李德茂（13世纪下半叶）来自河南省的孟县。在南宋理宗时期，他是一名宫廷画师。他从其父亲李迪那里学到了他的绘画风格，但技术稍逊一筹。",[23,24,137,7,28,2708,7219,7220,5141],"洲渚","蜂蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec12d3d398f5c08cd9cdb2c137c6921.jpg","25x26.7",[237],{"id":7225,"slug":7226,"title":7227,"dynasty":18,"author":191,"museum":134,"description":7228,"tags":7229,"thumbUrl":7231,"material":100,"size":7232,"collection":42,"collections":7233,"showCount":7202,"zanCount":1769,"manualWeight":48,"mainColor":49},218801,"tao-li-yuan-tu-yi-ming-218801","桃李园图","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭亭台，有渔人在溪边垂钓，无所谓岁月。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它看起来更像是吴镇或其流派的画家的作品。",[23,24,137,28,81,7,172,29,84,176,83,927,1653,7230,211,34],"李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a3b07bae6cc5546e3f59ca75ecae6e.jpg","19.7x24.3",[42],{"id":7235,"slug":7236,"title":7237,"dynasty":76,"author":77,"museum":134,"description":7238,"tags":7239,"thumbUrl":7240,"material":100,"size":7241,"collection":44,"collections":7242,"showCount":7202,"zanCount":1020,"manualWeight":48,"mainColor":49},218532,"guan-bang-tu-chou-ying-21853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是一幅江伯川所作的画作，出自明朝时期（1368-1644年）。江伯川是一位著名的中国画家，他的作品风格独特，富有表现力，为明朝画风做出了巨大贡献。\n\n花蝶图是一幅典型的明朝山水画，画中绘制了一片美丽的花园，空气中弥漫着花香。画面中的花蝶翩翩起舞，为整幅画增添了活力和热情。这幅画中使用了鲜艳的色彩，搭配精细的线条勾勒出了花朵、蝴蝶、树木等景物的细节，让人看起来十分美妙。",[24,25,137,155,7,28,212,62,7249,453],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa424ceb845aca879a2e4daa3861c09.jpg",[237],{"id":7253,"slug":7254,"title":7255,"dynasty":18,"author":806,"museum":245,"description":7256,"tags":7257,"thumbUrl":7260,"material":1397,"size":1398,"collection":220,"collections":7261,"showCount":7262,"zanCount":48,"manualWeight":48,"mainColor":49},289560,"pu-tao-cao-chong-tu-lin-chun-289560","葡萄草虫图","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[24,914,7,28,7258,410,1722,493,7259,1996],"葡萄","蚱蜢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd265e60b95e8fc8b7f968d06de63bf6.jpg",[],127,{"id":7264,"slug":7265,"title":7266,"dynasty":150,"author":191,"museum":245,"description":7267,"tags":7268,"thumbUrl":7269,"material":1397,"size":1398,"collection":237,"collections":7270,"showCount":7262,"zanCount":1084,"manualWeight":48,"mainColor":145},238919,"qing-ren-mu-dan-pu-ce-yi-ming-238919","清人牡丹谱册","此作以设色小笔写牡丹，花瓣水红晕染，由尖至根渐次浅淡，柔瓣舒展层叠，将初绽盛放的娇妍之态尽显无余。浓黄点染花蕊，醒目鲜活，仿若能引蜂蝶驻足。叶片以墨骨打底，敷石绿再晕赭色叶边，既有鲜嫩生机，又带着清润古雅的质感，苍劲朴拙的简笔枝干暗藏风骨。\n\n画面留白空灵雅致，仅取一花数枝，便将牡丹的华贵温婉凝于尺幅，将写实写生与写意抒情相融，尽显古典花鸟画清隽静雅的文人意趣，淡冶宜人，意韵悠长。",[24,25,519,28,7,212,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2cc58af73fe9e9ebcec8d4b817842b.jpg",[237,45],{"id":7272,"slug":7273,"title":7274,"dynasty":76,"author":191,"museum":1129,"description":7275,"tags":7276,"thumbUrl":7278,"material":67,"size":7279,"collection":220,"collections":7280,"showCount":7262,"zanCount":48,"manualWeight":48,"mainColor":145},223462,"shan-cha-hua-xiao-qin-tu-yi-ming-223462","山茶花小禽图","本图描绘了一株披覆着少许薄雪的山茶花，还有一只停留枝上的小鸟。周凤的题诗中提到，山茶花彷佛象征冬天，而小鸟则象征了春天的到来。",[23,24,137,155,28,7,212,7277,299,453],"山茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5da1382bff49e60e04c2e2c6d9f0b84.jpg","32X86",[],{"id":7282,"slug":7283,"title":7284,"dynasty":228,"author":3524,"museum":20,"description":7285,"tags":7286,"thumbUrl":7289,"material":100,"size":7290,"collection":44,"collections":7291,"showCount":7262,"zanCount":943,"manualWeight":48,"mainColor":145},218772,"tian-ma-tu-bing-shu-ge-juan-zhao-meng-fu-218772","天马图并书歌卷","《天马图》中奚官控辔于前，马匹静立在后。人物面部刻画粗疏，衣纹绘制单薄板滞，马匹线条迟涩乏力，均与赵孟頫《人骑图》等真迹相去甚远。图后篆书杜甫《天育骠骑歌》，行笔无赵书出入李斯、李阳冰小篆的婉转轻灵，笔力尤欠圆劲，加之松雪并无署款所称延祐四年（1317）“奉使开平日久”之事，故为伪作。",[23,5396,25,26,28,7,83,112,1030,285,7287,284,4304,7288],"墨笔","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a51b24ca51e47b9ac121ccd854e27b.jpg","纵32.2厘米，横62.5厘米",[44,1478],{"id":7293,"slug":7294,"title":7295,"dynasty":132,"author":1194,"museum":245,"description":7296,"tags":7297,"thumbUrl":7298,"material":220,"size":220,"collection":220,"collections":7299,"showCount":7300,"zanCount":1020,"manualWeight":48,"mainColor":145},227269,"he-le-shi-nv-tu-juan-zhou-wen-ju-227269","合乐仕女图卷","周文矩，善于深入观察和体会现实生活中的各色人物，把握他们的思想感情和性格特征，因此塑造出来的人物各不相同，达到形神兼备的艺术境界。他的仕女画从题材内容到表现形式，都继承了唐代周昉的传统。",[23,137,24,25,26,7,28,83,59,138,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a4a4fc246817c7f82bed9a7d2c919.jpg",[],126,{"id":7302,"slug":7303,"title":7304,"dynasty":76,"author":191,"museum":1444,"description":7305,"tags":7306,"thumbUrl":7308,"material":1053,"size":7309,"collection":220,"collections":7310,"showCount":7300,"zanCount":1020,"manualWeight":48,"mainColor":1833},222142,"san-da-shi-tu-pu-xian-yi-ming-222142","三大士图-普贤","普賢菩薩圖位於水月觀音圖之東。普賢菩薩梵文為“三曼多跋羅”，即普遍賢善之意，通常作釋迦佛的右脅侍，專司“理德”，表“大行”。普賢的特徵是頭戴五佛寶冠，乘騎六牙白象，一般手執蓮花，上有利劍”。同一菩薩，不同經書，對手持法物有不同解釋。法海寺壁畫普賢是右手持蓮花，蓮花上置一寶卷。\n普賢的坐騎六牙白象，並不是自然界中真實動物，六牙白像是一種象徵，表示到達彼岸的六種方法。六牙白象雖非真實動物，但壁畫中的六牙白象，捲曲蹲坐的姿態，具有大威力感。再細看白象眼睛是淚汪汪的，具有情感，強化了它的性善柔順，“佛眼淚眼”，突出了普賢的“大慈”形象。感染力很強，沒有高超的繪畫技巧，是不會引起觀眾共鳴的。\n普賢菩薩的左下部繪一信士，稱最勝老人。最勝老人是古印度念佛行者、施主、供養人的尊稱。老人身著綠袍，兩腳分開，雙手胸前相合，目視前方，長髯自然下垂，在沉思，在默禱，像在祝願十方世界救出眾生、脫離苦海。壁畫上這一信士和文殊右下部那一信士，東西對稱，他們同是老人，信仰一致，願望相同，而一仰望一沉思，一扶杖抬手一雙合十，一動一靜，神態各異，反映了現實生活的多樣性，也反映了壁畫構思的巧秒。",[23,1053,28,7,194,83,7307,63],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe8d5a14d19329266f0933f5ed0a3b3.jpg","摹本的尺寸規格分別是壁畫約四分之一和二分之一；",[],{"id":7312,"slug":7313,"title":7314,"dynasty":18,"author":7315,"museum":1129,"description":7316,"tags":7317,"thumbUrl":7320,"material":67,"size":7321,"collection":42,"collections":7322,"showCount":7300,"zanCount":1020,"manualWeight":48,"mainColor":49},221555,"yuan-tu-mao-song-221555","猿图","毛松","这幅猴图在表现上非常出色，超越了单纯的写实，在众多的宋画当中亦堪称名品。据说所画的是日本猴而非中国猴，除水墨之外还使用了金泥，工笔细腻自然。南宋画院画家毛松所作的说法始于狩野探幽，但此说缺乏依据。曾由武田信玄捐赠与曼殊院觉如。该图在褐色的底色上，利用金泥所绘线条的交织，表现出绒毛的光泽。又以细腻的笔致，表现其面部的皱纹、嘴势、眼神以及颇有戏剧性的爪足，极其逼真地将这只金毛浓淡有致、赤面红耳的猿猴画了出来。",[23,137,24,25,7,855,28,7318,582,7319,6920],"猴","金泥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5893ea0ae36c7bc5b4c46f296e8fce.jpg","纵：47.0cm，横：36.5cm",[42,237,45],{"id":7324,"slug":7325,"title":7326,"dynasty":863,"author":7327,"museum":3717,"description":7328,"tags":7329,"thumbUrl":7332,"material":220,"size":220,"collection":220,"collections":7333,"showCount":7300,"zanCount":48,"manualWeight":48,"mainColor":145},220516,"zhong-kui-hui-jian-tu-pu-xin-she-220516","钟馗挥剑图","溥心畬","画面以枯松开篇，老干蟠曲、松枝萧疏，晕染出清寂古雅的氛围。红袍钟馗虬髯戟张，怒目圆睁，按佩剑挺立，威仪赫赫震慑鬼魅。身旁青面小鬼敛神吹笛，戏谑间更衬出钟馗的刚正威严。\n\n笔墨极具文人意趣，线条凝练古拙，设色清雅沉静，红袍醒目却不俗艳，淡墨勾勒松枝小鬼，尽显空灵雅致。整作以极简笔意，将钟馗的凛然正气与幽寂古意相融，寄寓驱邪安良的传统意涵，尽显雅致国风意蕴。",[24,28,7,83,286,1787,7330,7331,173],"剑","小鬼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a4169a576aae56350305e55cb3aa56.jpg",[],{"id":7335,"slug":7336,"title":7337,"dynasty":76,"author":77,"museum":134,"description":7338,"tags":7339,"thumbUrl":7340,"material":100,"size":7341,"collection":44,"collections":7342,"showCount":7300,"zanCount":1020,"manualWeight":48,"mainColor":49},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[23,24,137,25,7,28,81,83,84,29,34,178,1600,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[44,45],{"id":7344,"slug":7345,"title":887,"dynasty":18,"author":191,"museum":134,"description":7346,"tags":7347,"thumbUrl":7349,"material":100,"size":7350,"collection":237,"collections":7351,"showCount":7300,"zanCount":1769,"manualWeight":48,"mainColor":49},219277,"sui-chao-tu-yi-ming-219277","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[23,137,24,25,155,7,28,212,637,156,299,7348,211,409],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[237],{"id":7353,"slug":7354,"title":7355,"dynasty":190,"author":191,"museum":78,"description":7356,"tags":7357,"thumbUrl":7358,"material":100,"size":7359,"collection":44,"collections":7360,"showCount":7300,"zanCount":1769,"manualWeight":48,"mainColor":49},218314,"fang-yuan-zui-yue-tu-yi-ming-218314","芳园醉月图","月夜清辉漫洒芳园，嶙峋山石旁花木扶疏，枝桠间繁花如雪，月下更显幽逸。园内人影错杂，或围坐醉谈，或信步寻幽，或凭栏浅笑，动静交织成一派闲适图景。小桥卧波，流水潺潺，石径蜿蜒穿林，远处奇峰隐现于月色朦胧中，添了几分旷远之致。人物衣袂轻扬，神态鲜活，生动勾勒出园居宴乐的融融暖意。笔墨细腻温婉，设色淡雅清和，山石皴染见古意，花木点描显灵秀，构图疏密得宜，将园林的清幽之境与人间的欢悦之情相融相契，尽展古典雅韵与生活意趣。",[137,24,25,155,28,7,83,85,86,211,34,199,637,1109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5dcf17369c07d5993485e20a0c645b.jpg","155.5x102.3",[44],{"id":7362,"slug":7363,"title":7364,"dynasty":228,"author":3524,"museum":230,"description":6103,"tags":7365,"thumbUrl":7366,"material":100,"size":220,"collection":237,"collections":7367,"showCount":7300,"zanCount":943,"manualWeight":48,"mainColor":49},216266,"xiang-ma-tu-ye-1-zhao-meng-fu-216266","相马图页-1",[23,24,25,137,519,28,7,283,83,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d24237744a85c7ce0038010bf1cae6e.jpg",[237],{"id":7369,"slug":7370,"title":7371,"dynasty":150,"author":244,"museum":245,"description":7372,"tags":7373,"thumbUrl":7374,"material":220,"size":220,"collection":220,"collections":7375,"showCount":7376,"zanCount":1020,"manualWeight":48,"mainColor":145},233230,"hong-lian-tu-ce-xie-sun-233230","红莲图册","画上自题：己未春日写似，伴翁老先生，谢荪。 钤一印。按己未为清康熙十八年，即公元1679年。\n谢荪（生卒年未详），清代画家。字缃酉，又字天令，常住南京。擅长画山水、花卉，与龚贤、樊圻齐名，为“金陵八家”之一。作品有《青绿山水图轴》等。",[137,24,28,7,519,248,249,250,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437de0e69fce243e2beeaba3fd223383.jpg",[],125,{"id":7378,"slug":7379,"title":7380,"dynasty":150,"author":260,"museum":245,"description":7381,"tags":7382,"thumbUrl":7383,"material":220,"size":220,"collection":220,"collections":7384,"showCount":7376,"zanCount":1084,"manualWeight":48,"mainColor":49},230202,"qian-long-di-hou-fei-xiang-juan-lang-shi-ning-230202","乾隆帝后妃像卷","郎世宁绘制的《乾隆肖像》是圆明园 珍品，是乾隆皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n原属圆明园收藏 【名称】：乾隆肖像 【类别】：字画 【年代】：清 【文物原属】：原属 收藏 【文物现状】： 【简介】： 绘制的《乾隆肖像》是 艺术品珍品，是 皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n乾隆皇帝主政的六十年中，甚为重视学术文化的整理和弘扬。\n其中以乾隆叁十八年（177）开始的 编纂工作最为令人称道。\n他聚集 、 、 、 等著名学者，将中国历代重要典籍整理并钞录下来，分隶于四部四十四类之下。\n全书卷帙浩繁、包罗万千，可谓中国传统学术文化的一次总整理，也是十八世纪当时学风的充分呈现。\n郎世宁（Giuseppe Castiglione‎,1688—1766）是意大利人，生于米兰，清康熙帝五十四年（1715）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙帝、雍正帝、乾隆帝的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾隆帝时 的代表人物。\n他的代表作品有《聚瑞图》、《嵩献英芝图》、《百骏图》（见插图）、《弘历及后妃像》、《 》等。",[23,24,25,251,7,28,26,83,63,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d20cbf88f26d2d9ea6382115ba01bed.jpg",[],{"id":7386,"slug":7387,"title":7388,"dynasty":18,"author":191,"museum":134,"description":7389,"tags":7390,"thumbUrl":7391,"material":424,"size":7392,"collection":220,"collections":7393,"showCount":7376,"zanCount":1020,"manualWeight":48,"mainColor":49},223516,"tao-hua-shan-niao-tu-yi-ming-223516","桃花山鸟图","此图采用双钩填彩法，用线工整挺秀、生动流畅、柔中带刚，画家追求的不是线的形式变化，而是对质感的表达。花瓣密集写实，鸟的羽毛细而柔，尾羽敷红色，有透明感。画面色彩雅致，鲜花轻敷淡染，一点也不矫揉造作。",[23,137,24,25,7,28,212,174,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8e8efee647a398a24f78c3f1f84561.jpg","纵23.8厘米横24.4厘米",[],{"id":7395,"slug":7396,"title":7397,"dynasty":18,"author":1151,"museum":134,"description":7398,"tags":7399,"thumbUrl":7400,"material":424,"size":7401,"collection":42,"collections":7402,"showCount":7376,"zanCount":48,"manualWeight":48,"mainColor":49},221544,"shi-ba-xue-shi-tu-juan-liu-song-nian-221544","十八学士图卷","作品描绘十八学士们的雅集生活。唐初十八学士这一历史，传到两宋，已经成为了典故。这些雅集活动大多不可缺少琴、棋、书、画四样东西。此外，歌舞曲艺、古玩彝器、诗词歌赋酒美食也都成为宋人文人雅集时候所常见的内容。",[23,24,25,26,7,28,83,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292859c44e3f3bde81de6bbfbd870ca.jpg","44.5x182.3",[42,44,45],{"id":7404,"slug":7405,"title":2932,"dynasty":228,"author":229,"museum":134,"description":7406,"tags":7407,"thumbUrl":7409,"material":100,"size":7410,"collection":44,"collections":7411,"showCount":7376,"zanCount":48,"manualWeight":48,"mainColor":145},219444,"lu-tong-peng-cha-tu-qian-xuan-219444","画中主人是卢同，唐朝济源人。学问非常渊博，并擅长诗文。隐居在少室山，不愿出来作官。他特别喜欢喝茶。这幅就是描绘卢同与童子，坐芭蕉下烹茶的情景。",[24,25,155,28,7,83,7408,159,158,173,285],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc5d62829496182e3834aaa1c88ab2a.jpg","128.7x37.3",[44],{"id":7413,"slug":7414,"title":7415,"dynasty":228,"author":3524,"museum":230,"description":7416,"tags":7417,"thumbUrl":7418,"material":2246,"size":220,"collection":237,"collections":7419,"showCount":7376,"zanCount":943,"manualWeight":48,"mainColor":49},219039,"bo-le-xiang-ma-tu-zhao-meng-fu-219039","伯乐相马图","画面疏密相生，左畔士人聚首，或坐案前持杖凝思，或立侧畔低语颔首，衣袂飘举间藏着识才的审慎；右方骏马昂首卓立，鬃毛如泼墨流转，肌理起伏尽是神骏之姿，侍从俯身理具，观者围立赞叹。\n\n白描线条圆劲如铁线，人物衣纹转折灵动，马身墨色浓淡晕染，层次分明。整幅场景似将伯乐相马的典故凝作静默对话：坐者的凝思、立者的专注、骏马的神俊，在古朴绢本底色衬映下，暗合“慧眼识珠”的咏叹——既有文人雅致，亦含对贤才的期许，寥寥细节间，情境与意蕴共生。",[23,24,137,283,7,855,28,83,112,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1dc7c2c172b3837c2820d3610aa60b.jpg",[237,44],{"id":7421,"slug":7422,"title":7423,"dynasty":18,"author":806,"museum":134,"description":7424,"tags":7425,"thumbUrl":7426,"material":100,"size":7427,"collection":237,"collections":7428,"showCount":7376,"zanCount":1769,"manualWeight":48,"mainColor":145},218395,"qiu-qing-cong-ju-tu-lin-chun-218395","秋晴丛菊图","绢本之上，丛菊攒簇若繁星，瓣瓣晕染细腻，边缘隐带淡白如凝秋霜，似含晴阳余温。叶片脉络清晰，叠翠间藏露生机，全无萧瑟之感。淡赭底色如晴秋薄暮，衬得菊色愈显清妍。旁侧墨笔题跋与朱印相映，文气与画韵交融，尽得雅致。笔触轻细却含筋骨，没骨技法藏锋于柔，将秋晴时菊丛的疏朗鲜活凝于尺幅，观之如沐和风，似闻暗香浮动，心随花影渐远，满溢淡然幽趣。",[23,137,24,25,7,28,212,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750cb01efbb3fd284998c56993afeae5.jpg","25x26.5cm",[237],{"id":7430,"slug":7431,"title":7432,"dynasty":18,"author":5954,"museum":20,"description":7433,"tags":7434,"thumbUrl":7437,"material":40,"size":7438,"collection":220,"collections":7439,"showCount":7440,"zanCount":1769,"manualWeight":48,"mainColor":145},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,25,26,855,28,172,7,29,765,7435,211,34,86,175,4611,7436,85,178,37,284,285,173],"小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],124,{"id":7442,"slug":7443,"title":7444,"dynasty":54,"author":7445,"museum":134,"description":7446,"tags":7447,"thumbUrl":7449,"material":28,"size":7450,"collection":237,"collections":7451,"showCount":7440,"zanCount":1769,"manualWeight":48,"mainColor":49},219724,"qiu-shi-shan-qin-tu-bian-luan-219724","秋实山禽图","边鸾","此作以精工之笔描摹秋隅小景，黑羽山禽昂首枝上，翎羽纤毫毕现，油亮光泽宛若可触，尖喙微张似将引吭，灵动神态跃然绢上。枝桠间垂挂饱满秋瓜，表皮肌理莹润逼真，衬叶或鲜或残，脉络清晰可见，将秋日萧疏与生机相融。\n\n设色调和雅致，以沉稳古色晕染绢底，把草木禽鸟的鲜活神韵尽数铺陈，写实中暗藏雅致意趣，将刹那间的秋意生机定格成永恒，尽显工笔花鸟的细腻精妙，内敛古朴间流露着静谧悠然的秋日况味。",[24,25,519,7,28,212,7448,454,453,5091,137],"山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f4300f8a942f5a262a8fc8beee2aea.jpg","26.9x27.4",[237],{"id":7453,"slug":7454,"title":4326,"dynasty":18,"author":191,"museum":134,"description":7455,"tags":7456,"thumbUrl":7457,"material":100,"size":7458,"collection":237,"collections":7459,"showCount":7440,"zanCount":1020,"manualWeight":48,"mainColor":49},219236,"mei-que-tu-yi-ming-219236","图绘细雪飘花，山喜鹊一双，倚偎于梅梢上。梅枝勾勒，线条精整，画中梅，圈瓣以淡墨细线为之，外围复以白粉提醒，萼则以胭脂红敷染，色彩搭配，虽不繁复，令人有如于雪光下，见清雅君子，一尘不染。宋人作画重理，画花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余下四人为随从仆役，九人九骑，神态各异，呼之欲出\n2020年10月8日，在香港苏富比古代书画拍卖中，《五王醉归图》最终以3.065亿港币（折合约2.7亿元人民币）成交。\n《五王醉归图》描绘了唐代临淄王李隆基（即唐玄宗，712-756年在位）与他的四个兄弟宋王李成器、申王李成礼和岐王李范、薛王李业出游饮酒，醉后骑马回家的情景。据唐郑处诲《明皇杂录》中记载，五王少时感情和睦，常一同宴饮，或喝酒、下棋，或斗鸡、击球，或打猎、游赏。此卷画中共有五王，四个侍从，九骑九乘。其中，穿深红色衣服，由两个侍从搀扶者为李隆基，坐骑为“照夜白”；在李隆基后面的是身着淡黄衣、骑乌骓马、面部醉红的宋王李宪；接着是顾前盼后、骑玉花骢的岐王李范和骑黄骢骠的薛王李业；需要侍从侧骑服侍、伏鞍欲吐者为申王李撝，坐骑为九花虬。伺从挽着袖子，一边照料身旁醉得快坐不住的王，一边还要回头问后边那位能否撑得住，好不生动。",[23,24,26,28,7,83,112,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb754a83b3cca8f419f2c984d519f85bc.jpg","35.5x212.5厘米",[44,45],{"id":7635,"slug":7636,"title":7637,"dynasty":18,"author":1609,"museum":134,"description":7638,"tags":7639,"thumbUrl":7641,"material":100,"size":7642,"collection":42,"collections":7643,"showCount":7580,"zanCount":1769,"manualWeight":48,"mainColor":49},220356,"feng-yu-gui-mu-tu-li-di-220356","风雨归牧图","绘两牧童沿柳岸归牧，风雨大作，柳枝、丛芦在风雨中摇荡。牧童策牛逆风徐行，一牧童披蓑衣俯身紧拉住斗笠，另一牧童的斗笠被风吹落。画家善于从江南乡村常见的景象中挖掘出美感，非常富有生活气息。全图用笔工细严谨，牧童的神情、水牛的憨态也都描绘得很真切。",[23,24,7,28,172,113,582,83,313,4611,7640],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdacf6fa6d8af2dba4881d869e5c6742d.jpg","纵120.7cm，横102.8cm",[42],{"id":7645,"slug":7646,"title":7647,"dynasty":228,"author":7648,"museum":134,"description":7649,"tags":7650,"thumbUrl":7651,"material":2373,"size":7652,"collection":237,"collections":7653,"showCount":7580,"zanCount":48,"manualWeight":48,"mainColor":49},214818,"jia-tu-guan-dao-sheng-214818","茄图","管道升","管道升（生卒年不详）是中国元代（1271年 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1368年）的画家。他主要以写意山水画著称。管道升的茄图是一幅以茄子为主题的山水画。茄子是一种常见的蔬菜，被广泛用于烹饪。这幅画中的茄子极具写意，呈现出自然的姿态和神韵。管道升善于运用水墨画的技法，表现出山水中的细腻和精致。\n\n管道升的茄图是一幅脍炙人口的名作，被广泛传颂和收藏。它的笔墨简洁，意境深远，描绘出了大自然的美丽和生机。这幅画不仅描绘了山水的美景，而且也表达了作者对生活的感悟和思考。管道升的茄图是中国山水画史上的经典之作，对中国画坛产生了深远的影响。",[24,25,855,7,212,6531,597,596,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2d3ee1317752964db7545c6ea152f.jpg","52.1x28.4",[237],{"id":7655,"slug":7656,"title":7657,"dynasty":228,"author":191,"museum":245,"description":7658,"tags":7659,"thumbUrl":7660,"material":220,"size":220,"collection":220,"collections":7661,"showCount":7662,"zanCount":1084,"manualWeight":48,"mainColor":49},228216,"mu-dan-hua-hui-tu-zhou-yi-ming-228216","牡丹花卉图轴","以深沉绢地托举群芳，白牡丹莹洁似凝脂，红牡丹浓艳若燃霞，紫牡丹晕染出雅致柔韵。花姿或肆意盛放、或含苞颔首，俯仰之间各有姿态。叶片以细腻晕染分出阴阳向背，脉络清浅舒展，将草木柔润生机尽藏笔底。构图繁而不乱，错落排布尽显繁茂却不觉拥塞，将牡丹的雍容富贵融于清雅古拙的笔意之中，尽显花鸟写生的精湛功力，把国色天香的神韵晕染得恰到好处。",[23,137,24,25,155,7,28,298,409,2257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f44b549ecd7f5efb68ebd193de03a4a.jpg",[],121,{"id":7664,"slug":7665,"title":7666,"dynasty":132,"author":191,"museum":134,"description":7667,"tags":7668,"thumbUrl":7669,"material":218,"size":7670,"collection":220,"collections":7671,"showCount":7662,"zanCount":1769,"manualWeight":48,"mainColor":49},223336,"dan-feng-you-lu-tu-yi-ming-223336","丹枫呦鹿图","《丹枫呦鹿图》描绘的是群鹿游憩于色彩斑斓的秋林中的情景，造型生动真实，颇具情趣。其构图繁密饱满，形式美感强烈，装饰味浓。\n《丹枫呦鹿图》中，作者使用传统的皴法、勾勒之法较少，却大幅度使用了类似西方的光影之法来表现鹿的立体感，且敷色富丽鲜艳又有别干常见的没骨山水。实异于汉族文化地区之画作，属辽画之精品。",[23,24,25,137,155,28,7,3486,1817,582,34,1288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a0c1c1455178893acd65ad00afdad0.jpg","纵118.5cm，横64.6cm",[],{"id":7673,"slug":7674,"title":7675,"dynasty":150,"author":7676,"museum":245,"description":7677,"tags":7678,"thumbUrl":7679,"material":599,"size":7680,"collection":237,"collections":7681,"showCount":7662,"zanCount":711,"manualWeight":48,"mainColor":145},223158,"qun-xian-zhu-shou-tu-fu-dao-ren-xiong-223158","群仙祝寿图佛道","任熊","此幅图画场面宏大，共绘神仙达22位之多，八仙中的七仙，寒山、拾得等包括佛教、道教及民间信仰的各路神仙。",[23,24,137,25,26,194,7,28,83,84,29,34,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea49554b72b9cdd2c017d8d51d64b0c0.jpg","86X170cm",[237],{"id":7683,"slug":7684,"title":7685,"dynasty":150,"author":2047,"museum":134,"description":7686,"tags":7687,"thumbUrl":7688,"material":7689,"size":7690,"collection":237,"collections":7691,"showCount":7662,"zanCount":48,"manualWeight":48,"mainColor":145},222807,"zhu-xia-hong-mei-wang-wu-222807","竹下红梅","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[23,24,25,519,28,7,212,156,637,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28b7f42c49990357f197784cca3d392.jpg","紙","27.9×36.3",[237,45],{"id":7693,"slug":7694,"title":7695,"dynasty":76,"author":2318,"museum":134,"description":7696,"tags":7697,"thumbUrl":7698,"material":100,"size":7699,"collection":237,"collections":7700,"showCount":7662,"zanCount":1084,"manualWeight":48,"mainColor":49},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[23,24,7,28,155,212,1068,156,637,299,178,159,597,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[237,45],{"id":7702,"slug":7703,"title":7704,"dynasty":863,"author":1716,"museum":7705,"description":7706,"tags":7707,"thumbUrl":7709,"material":7710,"size":220,"collection":220,"collections":7711,"showCount":7662,"zanCount":48,"manualWeight":48,"mainColor":145},220589,"hua-cao-gong-chong-ce-ye-lv-e-qi-bai-shi-220589","花草工虫册页 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“文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[23,24,28,7,4304,7765,7766,7767,5879,927,2653,85,86,211,7768,2464,7769,7770,7771],"画中画","佛教","普贤菩萨","帝王","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纵136.4厘米，横62厘米",[44,45],{"id":7776,"slug":7777,"title":7778,"dynasty":76,"author":674,"museum":152,"description":7779,"tags":7780,"thumbUrl":7781,"material":519,"size":220,"collection":237,"collections":7782,"showCount":7739,"zanCount":1769,"manualWeight":48,"mainColor":145},221905,"hua-niao-jing-pin-ce-chen-hong-shou-221905","花鸟精品册","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[24,25,519,28,7,212,159,653,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852ddfb4bab4ecb9d65b1c1507a19737.jpg",[237,45],{"id":7784,"slug":7785,"title":7786,"dynasty":228,"author":5636,"museum":20,"description":7787,"tags":7788,"thumbUrl":7789,"material":40,"size":7790,"collection":237,"collections":7791,"showCount":7739,"zanCount":1769,"manualWeight":48,"mainColor":49},221839,"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[23,228,24,25,155,7,28,212,1967,156,159,178,315,1797,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[237,45],{"id":7793,"slug":7794,"title":7795,"dynasty":76,"author":77,"museum":406,"description":7796,"tags":7797,"thumbUrl":7798,"material":100,"size":7799,"collection":182,"collections":7800,"showCount":7739,"zanCount":48,"manualWeight":48,"mainColor":49},219780,"lin-song-ren-hua-ce-chou-ying-219780","临宋人画册","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[24,137,25,519,82,7,28,29,178,159,86,286,927,1797,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[182,44],{"id":7802,"slug":7803,"title":7804,"dynasty":76,"author":77,"museum":134,"description":7805,"tags":7806,"thumbUrl":7809,"material":100,"size":7810,"collection":44,"collections":7811,"showCount":7739,"zanCount":1084,"manualWeight":48,"mainColor":145},218181,"chun-xiao-tu-chou-ying-218181","纯孝图","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[137,24,25,519,7,28,83,84,7807,7808],"孝道","母爱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb17260b42142b1b7cf5eaa6624bcc18.jpg","32.8x21.9",[44],{"id":7813,"slug":7814,"title":7815,"dynasty":76,"author":191,"museum":134,"description":7816,"tags":7817,"thumbUrl":7819,"material":235,"size":220,"collection":44,"collections":7820,"showCount":7739,"zanCount":1020,"manualWeight":48,"mainColor":49},217063,"ming-dai-di-hou-ban-shen-xiang-yi-ming-217063","明代帝后半身像","宪宗纯皇帝与孝贞纯皇后",[24,25,7,28,83,7818,341,63,64,677],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4dd485eb0cd4eaa47ae7a14e2407c.jpg",[44],{"id":7822,"slug":7823,"title":7824,"dynasty":150,"author":191,"museum":245,"description":7825,"tags":7826,"thumbUrl":7827,"material":1397,"size":1398,"collection":220,"collections":7828,"showCount":7829,"zanCount":48,"manualWeight":48,"mainColor":145},236741,"huang-ju-mao-die-wan-shan-yi-ming-236741","黄鞠猫蝶纨扇","这帧纨扇小品取右虚左实之构图，苔石隐于浅草花丛间，乌背白腹的狸奴踞坐其上，圆瞳灼灼，紧盯翩跹粉蝶，蓬松绒毛以晕染细笔勾绘，憨态灵动，将花猫窥蝶的凝神一瞬定格。\n\n左上花枝柔曼，粉花轻缀，没骨笔法晕染出淡冶花色，明丽雅致。侧旁题笔规整清雅，与画面相映成趣。\n\n整幅小品以清隽设色勾勒日常闲趣，将庭间小景的恬淡野趣尽数铺陈，温婉雅致的意趣浸透绢面，尽显小品画的悠然雅韵。",[24,25,137,914,28,7,251,581,411,62,197,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6235c2fe94225bf65dcfca3543ed3c.jpg",[],119,{"id":7831,"slug":7832,"title":5196,"dynasty":150,"author":191,"museum":20,"description":1704,"tags":7833,"thumbUrl":7836,"material":40,"size":534,"collection":220,"collections":7837,"showCount":7829,"zanCount":48,"manualWeight":48,"mainColor":49},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170",[137,24,25,155,7,28,81,29,84,176,7834,86,2533,174,34,83,92,4188,7835],"廊","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg",[],{"id":7839,"slug":7840,"title":7841,"dynasty":150,"author":7842,"museum":245,"description":7843,"tags":7844,"thumbUrl":7845,"material":220,"size":220,"collection":44,"collections":7846,"showCount":7829,"zanCount":1084,"manualWeight":48,"mainColor":145},234263,"ren-wu-gu-shi-ce-fan-xue-yi-234263","人物故事册","范雪仪","范雪仪〔清〕女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。\n康熙(1662-1722)间吴郡(今苏州)妇女善书画者甚多，范雪仪与傅德容两人才能最为突出，两人均擅人物画，范尤在傅上，为吴门女画家之翘首，所画内容多历史故事、神话传奇。所作用笔工细，线条流畅，神态生动，设色艳丽。传世作品有《张敞画眉图》《寿阳梅花妆图》《班昭续汉书图》《苏蕙织锦回文图》《木兰从军图》《公孙大娘舞剑器图》《白傅姬人试舞图》《秦女吹箫图》《裴航兰桥遇仙图》《交甫解佩图》及《月宫折桂图》扇、《采药图》扇，藏故宫博物院。",[23,7,28,81,83,59,84,313,158,92,214,972],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3ccc5f64642ebe7afbee730b09f5c1.jpg",[44,45],{"id":7848,"slug":7849,"title":7850,"dynasty":228,"author":191,"museum":245,"description":7851,"tags":7852,"thumbUrl":7853,"material":67,"size":7854,"collection":220,"collections":7855,"showCount":7829,"zanCount":1084,"manualWeight":48,"mainColor":1833},223496,"pu-xian-pu-sa-xiang-yi-ming-223496","普贤菩萨像","普贤菩萨，佛教菩萨名，梵文Samantabhadra的意译，也曾译为遍吉菩萨，音译为三曼多跋陀罗。普贤菩萨是中国佛教的四大菩萨之一，象征着理德、行德，与象征着智德、正德的文殊菩萨相对应，同为释迦牟尼佛的左、右胁侍。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。",[23,24,25,155,194,28,83,582,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a209573aaa667331b08a345b2354a2.jpg","71x71",[],{"id":7857,"slug":7858,"title":7859,"dynasty":150,"author":542,"museum":134,"description":7860,"tags":7861,"thumbUrl":7862,"material":2721,"size":7863,"collection":237,"collections":7864,"showCount":7829,"zanCount":1769,"manualWeight":48,"mainColor":145},222694,"mei-cha-shui-xian-zhou-qian-wei-cheng-222694","梅茶水仙轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,137,24,25,155,7,28,521,395,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb394ac89657041d7c37b5fb8d711ba23.jpg","114.1x75.6",[237,45],{"id":7866,"slug":7867,"title":7868,"dynasty":76,"author":674,"museum":434,"description":7869,"tags":7870,"thumbUrl":7880,"material":424,"size":7881,"collection":44,"collections":7882,"showCount":7829,"zanCount":1084,"manualWeight":48,"mainColor":49},221914,"jiao-lin-zhuo-jiu-tu-chen-hong-shou-221914","蕉林酌酒图","该图设色画夏日庭园，湖石玲珑，蕉竹摇翠，月季盛开。花石丛中，一老人傍石案，手把古爵，悠然酌酒。下有一仕女、一婢女，正忙于漉酒。画面器物，如鼎、壶、琴、书等，皆为古物，反映出主人的身份，是一位超然世外的好古博雅之士。\n线条:全画线条细劲，画法全用细劲的线描勾勒而成，衣褶用笔，细劲清圆，芭蕉奇石用笔简净而抑健，线条有如刀刻，呈现出刚柔、曲折，变化多端，功力极其精湛。其线描的长短、疏密、粗细均服从于写实要求，更多地按照画面构成的需要，产生一种略有装饰的效果，具有较高的审美价值。赋色淡雅透明，即使古铜器上的石绿、石青锈斑，也不作浓涂厚抹。\n色彩:此画总体来说，以青绿冷色凋为主，仅在蕉花、靠垫和仕女的内衣部位点染朱红，万绿丛中有几点红，因而观之对比鲜明而强烈，色彩较为艳丽，但却没有艳俗火气，充分说明画家在用墨设色方面，已达到了炉火纯青的境界。",[23,24,28,7,7871,27,7872,7873,466,2533,487,83,1103,7874,7875,3527,6595,7876,7877,139,7878,7879],"线描","夏日","庭园","漉酒","青铜器","鼎","壶","冷色调","悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722b97356d758cf77ecdb51664e87f38.jpg","纵156.2厘米，横107厘米",[44,45],{"id":7884,"slug":7885,"title":7886,"dynasty":18,"author":7887,"museum":134,"description":7888,"tags":7889,"thumbUrl":7891,"material":28,"size":7892,"collection":237,"collections":7893,"showCount":7829,"zanCount":1084,"manualWeight":48,"mainColor":49},219945,"zhong-si-mian-die-tu-han-you-219945","螽斯绵瓞图","韩祐","本幅选自“宋元集绘”册第十三开。描写田间一角，花叶生长茂盛，瓜果也已熟透，引来了两只觅食的螽斯。",[23,137,24,25,7,28,452,7890,596,62,468],"瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233d23d19042c4fdd48f185c470972b0.jpg","25.3 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26公分",[237],{"id":7895,"slug":7896,"title":7897,"dynasty":76,"author":2717,"museum":134,"description":7898,"tags":7899,"thumbUrl":7900,"material":100,"size":7901,"collection":45,"collections":7902,"showCount":7829,"zanCount":48,"manualWeight":48,"mainColor":49},219456,"jiu-an-da-ji-tu-lu-zhi-219456","久安大吉图","苍劲古木虬枝盘结，葫芦藤蔓攀援其上，累累硕果垂挂如盏，青绿叶片间点缀嫩黄，生机漫溢。枝头红羽轻栖，喙啄新晴，似与藤蔓私语。树下草间，数只鹌鹑闲步，羽纹细腻如织，憨态可掬。葫芦谐音福禄，藤蔓绵延喻长久；鹌鹑踱步藏“安”意，红鸟报喜兆吉昌。赭黄绢本为底，设色清雅却层次分明，古木苍朴与蔬果鲜活相映，禽鸟灵动与草石静谧相谐。将俗世祈愿化作笔底清欢，尽显文人画“托物言志”的雅趣，观之如沐春风，心随画境渐入平和吉庆之境。",[24,7,28,155,313,5162,299,468,596,3153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa955d93748bcf719728ffee49b118d33.jpg","189.4×81.4cm",[45],{"id":7904,"slug":7905,"title":7906,"dynasty":76,"author":2369,"museum":367,"description":7907,"tags":7908,"thumbUrl":7910,"material":100,"size":220,"collection":237,"collections":7911,"showCount":7829,"zanCount":1020,"manualWeight":48,"mainColor":49},219005,"shou-zhu-heng-chun-tu-lv-ji-219005","寿祝恒春图","该场景描绘了一对公鸡和母鸡在一个有花有竹的郁郁葱葱的院子里。这幅画被认为是吕纪的作品，但除了鸡群与蓝山鹊很像吕纪的笔触外，湖石和花竹都与吕纪无关，印记也不是真的。然而，画家的作品是如此深刻，以至于可以作为边景昭画派的作品来欣赏。",[23,24,25,212,7,28,155,156,1967,7909,315,211],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa63c8c7a0ec2a692f833b7185730dd23.jpg",[237,45],{"id":7913,"slug":7914,"title":7915,"dynasty":76,"author":2369,"museum":230,"description":3981,"tags":7916,"thumbUrl":7917,"material":100,"size":7918,"collection":237,"collections":7919,"showCount":7829,"zanCount":1084,"manualWeight":48,"mainColor":49},218920,"fu-rong-shuang-yan-tu-lv-ji-218920","芙蓉双雁图",[23,24,137,7,28,212,492,2707,198,597,596,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8fb431edd8bf3e6cbb2221cc53cd04.jpg","114x52cm",[237],{"id":7921,"slug":7922,"title":7923,"dynasty":150,"author":592,"museum":434,"description":5926,"tags":7924,"thumbUrl":7926,"material":100,"size":5930,"collection":220,"collections":7927,"showCount":7829,"zanCount":48,"manualWeight":48,"mainColor":49},216105,"yun-shou-ping-hua-guo-shu-cai-ce-ye-6-yun-shou-ping-216105","恽寿平花果蔬菜册页-6",[24,25,519,595,28,855,7,6530,7925,284,173],"花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3724ec920b115a05ae3e781e2301e54f.jpg",[],{"id":7929,"slug":7930,"title":7931,"dynasty":76,"author":191,"museum":20,"description":7932,"tags":7933,"thumbUrl":7934,"material":424,"size":220,"collection":44,"collections":7935,"showCount":7936,"zanCount":1769,"manualWeight":48,"mainColor":145},236158,"han-xin-xiang-zhou-yi-ming-236158","韩信像轴","原清宫内务府广储司茶库旧藏。茶库旧藏历代功臣像为轴二十有一",[137,24,25,155,7,28,83,1787,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1956b8da97887c124abf6a3d65a946c6.jpg",[44,45],118,{"id":7938,"slug":7939,"title":7940,"dynasty":18,"author":7941,"museum":245,"description":7942,"tags":7943,"thumbUrl":7944,"material":67,"size":7945,"collection":220,"collections":7946,"showCount":7936,"zanCount":1020,"manualWeight":48,"mainColor":49},232879,"li-nu-xian-qu-tu-juan-liang-kai-232879","狸奴闲趣图卷","梁楷","宋代画坛，因为有皇家画院的支持和倡导，各类题材的国画大多崇尚描摹精微、细致逼真的画风。这种风格将我国古代工笔画推向了顶峰，也长久以来占据主流地位。但物极必反，严整的工笔画到达极致，必定会走向散乱的写意。这一方面，梁楷可谓是我国古代写意画的开山祖师。\n梁楷是南宋著名画家，师从贾师古。贾师古以师法吴道子的写实工笔著称，而梁楷能在其基础上更胜一筹，青出于蓝。梁楷曾在宁宗朝的画院供职，他继承吴道子写实技法的画风，无疑是非常受皇帝青睐的。他常常奉皇帝诏令，画了许多细腻严整的工笔画。\n这一时期的梁楷已经享有盛名，人们见到他精妙的画作，“无不敬服”。比如《狸奴闲趣图卷》里面的猫，形态各异细腻活泼，通体的毛都纤毫毕现。更不必说周围逼真的山石、花草、蝴蝶，刻画之精细，给人如在目前之感。",[23,24,137,26,28,7,581,156,62,7249,314,655,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980cc771075692f3c9ed45d7b13dcd33.jpg","33.2x185.4厘米",[],{"id":7948,"slug":7949,"title":7950,"dynasty":150,"author":2080,"museum":245,"description":7951,"tags":7952,"thumbUrl":7954,"material":220,"size":220,"collection":220,"collections":7955,"showCount":7936,"zanCount":48,"manualWeight":48,"mainColor":145},224363,"fu-gui-bai-tou-tu-ju-lian-224363","富贵白头图","《富贵白头图》为光绪十三年（公元1887年）居廉晚年之作。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。\n收藏于 。\n《富贵白头图》为纸本，设色，纵12.1厘米，横74.82厘米，收藏于 。\n图中所绘牡丹艳放，在春风中姹紫嫣红，争奇斗妍，引得蜜蜂、蝴蝶在花间流连嬉戏，石上停息着一双白头翁鸟，神态娴静，与喧闹的蜂蝶相映成趣。\n湖石坚实厚重，衬出花卉的秀美。\n图中偏右一侧一块硕大而玲珑剔透的太湖石兀然而立，湖石的周围一丛盛开的牡丹，姹紫嫣红，争奇斗艳，或低首沉吟，或迎风怒放，引来一群蜜蜂、彩蝶在花丛之中追逐嬉戏，流连忘返，给人一种明媚而又温暖的春天气息。\n在湖石的上端栖停着一对白头翁鸟，一俯一仰，怡然自得，与上下翻飞，喧闹不已的蜂蝶，一动一静，相映成趣，美不胜收。\n该画鸟、蜂、蝶以工笔重彩画出，形态生动。\n花朵的红色、粉色、黄色晕染，非常写实。\n敷以深浅绿叶，以浓墨和红色勾筋。\n线条圆润饱满，叶片清秀洒脱，疏密有致；设色浓淡相依，明丽艳秀。\n而花中奇石用积墨与淡墨晕染相结合绘出，素雅动人。\n在绘画技法上，整幅画作的格调极为工致，造型准确，赋色艳丽，然而却又没有丝毫单滞、艳俗之感，可算得是居氏画作中的精品。\n（1828-194），字古泉，自号隔老人，广西桂林人，占籍广东番禹（今广州），居巢之堂弟。\n善画花鸟、草虫及人物，尤以写生见长。\n初学宋光宝及孟丽堂，亦得恽南田遗意，后吸收诸家之长，自成一体。\n笔法工整，设色妍丽，在继承和发展恽南没骨画法的基础上，创造出撞水法和撞粉法，为岭南派的重要奠基人之一，“二高一陈”皆出自其门下。\n《富贵白头图》自识“丁亥”，应为光绪十三年，也即公元1887年，乃其晚年之笔。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。",[23,24,25,155,7,28,212,298,7953,411,211],"白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575773c294369c3e892af56386f46796.jpg",[],{"id":7957,"slug":7958,"title":7959,"dynasty":150,"author":310,"museum":230,"description":5741,"tags":7960,"thumbUrl":7965,"material":424,"size":7966,"collection":237,"collections":7967,"showCount":7936,"zanCount":1769,"manualWeight":48,"mainColor":145},223163,"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）",[23,24,26,7,28,212,7961,316,719,213,178,34,521,298,7962,1028,211,86,7963,7611,7964],"百鸟","翠竹","繁花","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[237,45],{"id":7969,"slug":7970,"title":7971,"dynasty":18,"author":5567,"museum":134,"description":7972,"tags":7973,"thumbUrl":7975,"material":28,"size":7976,"collection":42,"collections":7977,"showCount":7936,"zanCount":1769,"manualWeight":48,"mainColor":49},221456,"qie-zi-tu-juan-chen-ju-zhong-221456","茄子图卷","陈居中（生卒年不详），南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年（1207年）为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。 虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[23,137,24,25,26,7,28,6531,453,1092,452,7974],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 191.2",[42,237,45],{"id":7979,"slug":7980,"title":7981,"dynasty":150,"author":2080,"museum":134,"description":7982,"tags":7983,"thumbUrl":7985,"material":235,"size":2085,"collection":220,"collections":7986,"showCount":7936,"zanCount":1769,"manualWeight":48,"mainColor":145},220334,"cao-chong-hua-hui-hu-shi-si-ping-xiu-qiu-ju-lian-220334","草虫花卉湖石四屏-绣球","这四屏分写牡丹、凌霄、绣球、紫薇等时卉，并配以湖石、蜂、蝶、知了、螳螂。于精密写实之外，饶富没骨花卉清新典丽的特质，虽因重装颜色稍褪，犹可清晰得见居氏惯采的撞水与撞粉画技，笔法工整，设色妍丽，让人赏心悦目。",[23,24,25,212,155,7,28,7984,411,2533],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245a38d04b5ce9f9c1b46c5c7acdf76a.jpg",[],{"id":7988,"slug":7989,"title":7990,"dynasty":132,"author":1194,"museum":230,"description":7991,"tags":7992,"thumbUrl":7994,"material":100,"size":220,"collection":44,"collections":7995,"showCount":7936,"zanCount":1084,"manualWeight":48,"mainColor":49},219495,"ming-huang-hui-qi-tu-zhou-wen-ju-219495","明皇会棋图","南唐画家周文矩的《明皇会棋图》。 画面上有八个人物，明皇坐位前置一棋局，官员一人、和尚二人、道士二人、 优人一人、侍从内官一人。关于画面上的八个人物有各种不同说法，至今未 有定论。有人认为，跟唐明皇下棋的是日本留学僧辨正；有人说，在是棋待 诏郑观音。不论画中的人物是谁，这幅作品都真实地反映了唐代宫廷中的围棋活动",[7,28,26,83,7993,63,173,284],"棋盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F004c58d3b635335bb0e20419635d93d8.jpg",[44],{"id":7997,"slug":7998,"title":7999,"dynasty":76,"author":77,"museum":406,"description":8000,"tags":8001,"thumbUrl":8002,"material":2373,"size":220,"collection":44,"collections":8003,"showCount":7936,"zanCount":1769,"manualWeight":48,"mainColor":145},219403,"liu-xia-mian-qin-tu-zhou-chou-ying-219403","柳下眠琴图轴","柳丝轻垂，拂过苍劲老干，似携幽微风意。树下文人斜卧，衣袂舒展，琴置身侧，眉宇间尽是悠然散淡。童子捧物而立，眸中带着稚气的专注，悄然侍立，不扰这份清宁。山石寥寥数笔见嶙峋之态，草色浅淡更衬天地宽闲。笔墨工致中藏写意，线条柔中带刚，将文人林下之趣、物我两忘的心境悄然铺展。仿佛能闻柳间蝉鸣，听风过琴弦余韵，一派魏晋风骨般的疏朗自在，尽在尺幅间流转。",[24,25,155,7,855,28,83,1028,3527,159,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e410afa50f999f6c817fada7ee75f.jpg",[44],{"id":8005,"slug":8006,"title":8007,"dynasty":76,"author":191,"museum":230,"description":8008,"tags":8009,"thumbUrl":8010,"material":100,"size":8011,"collection":237,"collections":8012,"showCount":7936,"zanCount":48,"manualWeight":48,"mainColor":49},216673,"mei-hua-xiao-niao-tu-yi-ming-216673","梅花小鸟图","梅花小鸟图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了一只小鸟停在一棵梅花树上，周围是一片茂密的树林。图画中使用了精致的线条和细腻的色彩，捕捉了小鸟和树林的美妙景象。这幅图画被认为是明朝时期图画艺术的杰作，具有极高的艺术价值。",[24,25,914,28,7,212,637,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef71e1b2dede42b0a2dc0768e23aa09f.jpg","24.5x25cm",[237],{"id":8014,"slug":8015,"title":8016,"dynasty":76,"author":77,"museum":245,"description":8017,"tags":8018,"thumbUrl":8020,"material":1397,"size":1398,"collection":220,"collections":8021,"showCount":8022,"zanCount":1020,"manualWeight":48,"mainColor":49},287560,"gong-nv-you-yuan-tu-juan-chou-ying-287560","宫女游园图卷","此图中的女子涵盖量是真的不少了，有围坐对弈的，有团团坐斗草的，更有乐器演奏的，梳妆熏香烫衣一样不少，慢慢均是仪式感的古代慢生活",[23,24,26,7,28,470,84,92,2533,8019],"游园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed9f08f4878403d82d79b31123c8e1d.jpg",[],117,{"id":8024,"slug":8025,"title":8026,"dynasty":76,"author":674,"museum":20,"description":8027,"tags":8028,"thumbUrl":8029,"material":811,"size":8030,"collection":44,"collections":8031,"showCount":8022,"zanCount":1020,"manualWeight":48,"mainColor":49},237386,"shi-nv-zhou-chen-hong-shou-237386","仕女轴","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[24,25,155,28,7,83,59,6010,409,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113668156e4a80c8b3cb0d089b3479d4.jpg","纵173.5cm，横95.3cm",[44],{"id":8033,"slug":8034,"title":8035,"dynasty":150,"author":260,"museum":134,"description":8036,"tags":8037,"thumbUrl":8038,"material":627,"size":8039,"collection":237,"collections":8040,"showCount":8022,"zanCount":1769,"manualWeight":48,"mainColor":145},222775,"hua-shi-jun-quan-jin-chi-xian-zhou-lang-shi-ning-222775","画十骏犬金翅猃轴","画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[155,7,28,582,6315,927,286,62,655,159,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d9b7654a0339edd6a81f4425fe0115.jpg","每幅纵246.6厘米，横163.9厘米",[237,45],{"id":8042,"slug":8043,"title":8044,"dynasty":18,"author":191,"museum":245,"description":8045,"tags":8046,"thumbUrl":8047,"material":100,"size":220,"collection":42,"collections":8048,"showCount":8022,"zanCount":48,"manualWeight":48,"mainColor":49},218401,"e-xi-tu-yi-ming-218401","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[23,24,137,914,7,28,5181,157,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[42],{"id":8050,"slug":8051,"title":8052,"dynasty":18,"author":1151,"museum":245,"description":8053,"tags":8054,"thumbUrl":8056,"material":100,"size":8057,"collection":44,"collections":8058,"showCount":8022,"zanCount":711,"manualWeight":48,"mainColor":49},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,7,28,26,285,284,81,83,84,92,34,211,214,972,5900,176,90,8055,1028,927],"人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[44],{"id":8060,"slug":8061,"title":8062,"dynasty":18,"author":191,"museum":134,"description":8063,"tags":8064,"thumbUrl":8066,"material":100,"size":8067,"collection":237,"collections":8068,"showCount":8022,"zanCount":1769,"manualWeight":48,"mainColor":145},216598,"xiu-huang-quan-hua-hua-niao-ce-1-yi-ming-216598","绣黄筌画花鸟册-1","绣线摹写黄筌笔意，工致入微。禽鸟翎羽以细针密缕铺陈，绒光流转间似含振翅之态；喙爪纹理清晰，两两相顾的闲趣跃然绢上。花草茎脉如丝，花瓣晕染若初绽，嫩黄与绯红相映，衬出枝叶的翠色层次。石矶以淡墨绣线勾勒，朴拙中见古雅。整幅绣品将宋画的清隽风骨凝于针下，每一处细节皆藏巧思——无论是禽鸟的灵动神情，还是草木的自然生机，都在方寸间流转，尽显宋代绣艺摹古传真的妙境与对自然意趣的细腻捕捉。",[18,8065,28,212,1967,62,159,198,519,7],"绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb50574abd884824c93c805bfc865464.jpg","23.1x21.1cm",[237],{"id":8070,"slug":8071,"title":8072,"dynasty":132,"author":2758,"museum":245,"description":8073,"tags":8074,"thumbUrl":8075,"material":1397,"size":1398,"collection":220,"collections":8076,"showCount":71,"zanCount":1769,"manualWeight":48,"mainColor":49},290143,"yao-miao-san-tu-tu-huang-ju-cai-290143","药苗三兔图","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[24,137,26,7,28,212,1568,178,409,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb438f57aef3d2f318cc466e59d223e48.jpg",[],{"id":8078,"slug":8079,"title":8080,"dynasty":150,"author":4708,"museum":20,"description":8081,"tags":8082,"thumbUrl":8087,"material":8088,"size":8089,"collection":220,"collections":8090,"showCount":71,"zanCount":895,"manualWeight":48,"mainColor":1833},223246,"wu-liang-shou-fu-tu-ding-guan-peng-223246","无量寿佛图","祥云朵朵，周围站立四大金刚及佛祖两大弟子伽叶、阿难，前有女信徒合掌跪拜，旁立哼、哈二将。线条工细，佛像脸部、手部及莲座，均用晕染法，显出明暗凹凸之感。以''钉头鼠尾''描表现的衣纹于规整中又平添几分洒脱。采用''勾勒填金''的方式，以泥金为墨绘在瓷青纸上，使画面色泽深重雅丽。",[23,251,24,137,7,8083,28,194,83,8084,8085,8086,84,2602,173],"描金","佛","弟子","护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ded1bcb112cae3a4d25a8535de94a4.jpg","瓷青纸金画","纵99．3厘米，横61．9厘米",[],{"id":8092,"slug":8093,"title":8094,"dynasty":18,"author":191,"museum":230,"description":8095,"tags":8096,"thumbUrl":8098,"material":100,"size":220,"collection":237,"collections":8099,"showCount":71,"zanCount":1769,"manualWeight":48,"mainColor":49},218950,"cao-chong-tu-yi-ming-218950","草虫图","藤蔓如蚓，蜿蜒牵惹着几片翠叶与明黄的花，柔劲的线条里藏着自然的生趣。笼栅细劲，圈住一只草虫——翅翼的纹理纤毫毕现，触须轻颤似在嗅闻叶间清香，敛足欲跃的姿态，让静穆画面漫出一丝灵动。绢本的古褐底色如陈年书卷，淡绿与嫩黄的晕染，似将春日温煦凝在绢上。\n\n宋人画草虫向来重写实却不泥于形，这帧小品无浓墨喧阗，只有对生命细微处的温柔体察：藤蔓卷舒、花叶轻颤、草虫意态，都藏着文人案头的闲雅时光。风过叶隙时，仿佛能听见那若有若无的虫鸣，漫溢出清宁的田园况味，古雅的色调里，沉淀着时光的温煦与悠然。",[23,24,7,28,212,410,468,596,1092,8097],"虫笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd768168c81591ad3b140352772d501.jpg",[237,42],{"id":8101,"slug":8102,"title":8103,"dynasty":150,"author":447,"museum":134,"description":448,"tags":8104,"thumbUrl":8105,"material":235,"size":220,"collection":220,"collections":8106,"showCount":71,"zanCount":1769,"manualWeight":48,"mainColor":145},214837,"xie-sheng-ce-23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咸丰三年（1853）太平天国克扬州，迁邵伯，又迁郭村，逾年返扬。有请画南北斗星君像，乃诣蕃厘观图其塑像为稿本，其虚心若此。篆刻效法汉印，为画名所掩。卒年八十四。",[24,25,519,7,28,83,59,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bcbec6b44d875f6875f0d4a4e8faa49.jpg",[44],{"id":8299,"slug":8300,"title":8301,"dynasty":150,"author":578,"museum":245,"description":8302,"tags":8303,"thumbUrl":8305,"material":40,"size":8306,"collection":237,"collections":8307,"showCount":8272,"zanCount":48,"manualWeight":48,"mainColor":145},234983,"hua-hui-ling-mao-ping-ren-yi-234983","花卉翎毛屏","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,28,212,155,7,2477,409,1675,8304],"枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd890e2f692a2d99201f17f205a6278b8.jpg","149 x 61 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作也。画未署款，惟石角水陬，分钤三印。竹树双钩，如唐人小楷，笔笔尽法。山石带皴带砍，要与斧劈为近，重而不滞，轻而不浮。点景人物，尤尽传神之妙。有项元汴，安岐藏印。",[23,137,24,25,155,28,7,172,29,83,8429,175,8430,211,34,1288],"江水","秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d22204dd46057a8ac8e4dd002a40813.jpg","155.4x133.4公分",[182,45],{"id":8435,"slug":8436,"title":8437,"dynasty":18,"author":8438,"museum":20,"description":8439,"tags":8440,"thumbUrl":8441,"material":8442,"size":8443,"collection":220,"collections":8444,"showCount":8403,"zanCount":48,"manualWeight":48,"mainColor":49},221675,"wan-song-jin-que-tu-juan-quan-juan-zhao-bo-su-221675","万松金阙图卷全卷","赵伯骕","该图画江南的湖畔松岭和楼阁，松树茂密，山巅蜿蜒，上有琼楼金阙。\n该图属青绿山水，笔法清细繁复，格调柔丽雅洁，显示出南宋皇家贵胄的审美情趣。\n该图的出现，标志着宋代山水画的表现对象从北方雄浑的山川转移到江南的青山绿水。\n图绘南宋都城临安郊外风凰山一带景色碧波万顷，红日初升，茂林长松，惊起翔鹤飞鸿，川间琼楼金阙隐约可见。\n该图尾纸有元代赵孟頫、倪瓒、张绅题跋。\n赵伯骕唯一存世的画迹是《万松金阙图》卷，幅上虽无作者款印，但后纸有宋宗室后裔元代赵孟頫的鉴定题记，将此作定为赵伯骕的奉敕之作。\n图中所画是临安皇城之北的万松岭，“金阙”是特指皇帝的宫殿。\n绍兴八年（118年），赵构定都临安，以行宫为基础，东起凤山门，西至凤凰山麓，南抵笤帚湾，北达万松岭，在这方圆18里的范围内营造了南宋皇朝宫殿。\n万松岭相当于宫城的后花园，在那里，有供皇室四季游玩的亭台楼阁，如夏季可在翠寒宫避暑。\n冬季可在明远楼避寒，中秋可在依桂阁赏月，还有专供醉卧用的钟美堂……。\n赵伯骕所绘的“万松”和“金阙”正是此处，画中的金阙周围有许多仙鹤和瑞禽，皇家宫阚掩映在万松之中，在万松的尽头，是钱塘江畔，在潮起潮落之后，是一片宁静，一轮初升的太阳映照山川，其画意在于祷祝宋室江山如松林常青、似日月永年。\n赵伯骕是一位富有艺术情感的画家，他认为： “画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[23,24,137,26,27,28,7,172,29,927,84,211,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],{"id":8446,"slug":8447,"title":4564,"dynasty":228,"author":3524,"museum":20,"description":4565,"tags":8448,"thumbUrl":8451,"material":40,"size":220,"collection":237,"collections":8452,"showCount":8403,"zanCount":1020,"manualWeight":48,"mainColor":145},220868,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220868",[23,28,7,26,284,173,112,34,31,83,8449,29,8450],"秋天","牧放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c122896a7022800e9082ba42a60e43f.jpg",[237,45],{"id":8454,"slug":8455,"title":8456,"dynasty":150,"author":592,"museum":406,"description":8457,"tags":8458,"thumbUrl":8459,"material":100,"size":1349,"collection":220,"collections":8460,"showCount":8403,"zanCount":1769,"manualWeight":48,"mainColor":145},219817,"hua-hui-shi-kai-6-yun-shou-ping-219817","花卉十开-6","此作以没骨法绘就，以色代笔晕染柔润。粉白花瓣清透柔和，从边缘淡紫晕向花心莹白，将海棠怯怯娇柔的姿态尽显。叶片分敷粉绿，色泽过渡自然细润，以劲细线条勾勒叶脉，摹画出叶片舒展之态。\n\n整体格调清逸淡雅，摒弃轮廓勾勒的硬挺，纯以色彩晕染出花木鲜活生机，尽显文人情致里的秀润空灵，仿佛将庭前暮春幽花轻绽之景凝于绢上。笔简意足，将草木柔婉清丽的天趣诗意展现淋漓尽致。",[24,212,519,595,28,7,409,596,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe782f4173741fead3fb94a5abbe98375.jpg",[],{"id":8462,"slug":8463,"title":8464,"dynasty":76,"author":2717,"museum":134,"description":8465,"tags":8466,"thumbUrl":8468,"material":100,"size":8469,"collection":45,"collections":8470,"showCount":8403,"zanCount":48,"manualWeight":48,"mainColor":145},219463,"zhu-bao-ping-an-tu-lu-zhi-219463","竹报平安图","湖石朴拙矗立，青竹斜曳，叶叶清劲如裁，凌霄花攀缠绽蓝，晕染出柔润鲜活。三只鹌鹑姿态各异，或低首啄食细草，或两两偎依小憩，羽色晕染细腻，绒毛细密宛然。另有枯残秋叶秋意澹澹，衬出庭中一隅的幽寂生机。\n\n此作工写相融，设色雅致恬淡，淡赭底晕开古雅氛围。以幽竹暗合平安意涵，将清秋闲景揉入温润期许，笔致秀逸静美，尽显写生的雅致风神。",[137,24,25,155,28,7,156,314,299,468,8467,7974,173],"枯叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776f1def841c12e7af55aa92f83b859e.jpg","117.9x43.1",[45],{"id":8472,"slug":8473,"title":8474,"dynasty":76,"author":191,"museum":134,"description":8475,"tags":8476,"thumbUrl":8478,"material":100,"size":8479,"collection":44,"collections":8480,"showCount":8403,"zanCount":48,"manualWeight":48,"mainColor":49},218437,"shi-jia-mu-ni-fu-yi-ming-218437","释迦牟尼佛","该图像描绘了佛祖坐在三个小孩子的身体上，这种仪式很少见。台北故宫的这幅画是由一位不知名的明代艺术家所作，但与宋旭的佛像画有一定的联系，面板上也有他的印记和印章，所以可以说是他的作品。",[24,28,7,194,155,83,8084,7331,313,8477],"衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7058a98101b5e16f2e6e599d46b8955b.jpg","135.7x76.8",[44],{"id":8482,"slug":8483,"title":7584,"dynasty":150,"author":7492,"museum":134,"description":8484,"tags":8485,"thumbUrl":8486,"material":235,"size":220,"collection":237,"collections":8487,"showCount":8403,"zanCount":1020,"manualWeight":48,"mainColor":145},216102,"shu-guo-tu-zhang-xiong-216102","清朝张熊的蔬果图是指18世纪末19世纪初的清朝画家张熊所创作的一幅著名的绘画作品，其中描绘了许多种类的水果和蔬菜。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。\n\n张熊是一位著名的清朝画家，他的蔬果图是他的代表作之一。这幅画作品描绘了许多种类的水果和蔬菜，包括苹果、梨、桃子、柑橘、葡萄、菠萝、香蕉、西瓜、茄子、辣椒、芹菜、芥菜、豆芽等。画中的水果和蔬菜都按照真实的外观进行描绘，颜色鲜艳，造型生动。\n\n张熊的蔬果图是以轮廓线和色彩为主要表现手法的，在描绘水果和蔬菜的同时，还表现了每种水果和蔬菜的独特的形态和质地。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。",[23,24,25,28,7,7588,7593,7590,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf464bdc7825df56f0578c227961066.jpg",[237],{"id":8489,"slug":8490,"title":8491,"dynasty":228,"author":229,"museum":434,"description":8492,"tags":8493,"thumbUrl":8494,"material":8495,"size":8496,"collection":237,"collections":8497,"showCount":8498,"zanCount":48,"manualWeight":48,"mainColor":145},221715,"hua-niao-tu-juan-qian-xuan-221715","花鸟图卷","第一段桃花翠鸟，画一枝春桃花繁叶茂，枝头站立一只通体羽毛幽蓝的翠鸟，小鸟身体直立，极目远眺，正是鸟儿振翅起飞前的瞬间写照。第二段牡丹，画一束绿叶中，盛开着两朵淡粉的牡丹，叶子向左下微垂，似有阵阵清风掠过。第三段干枝梅，画一棵梅枝垂挂而下，错节的大小梅枝上许多梅花盛开。钱选画花鸟善于捕捉实景中最生动自然的情形，形态逼真富有情趣，此卷正是钱选这一画风的充分体现。图画设色淡雅清丽，精巧传神，洋溢着隽秀清高之美，构图虽简，但更显画家的技法精湛。\n如此形象准确，神态生动，笔力遒劲的得意之作，钱选自然要赋诗题上。在每段画的后面，都有钱选自题的七言诗一首。第一段和第三段的题诗已漫漶不能全识，第二段题诗如下：头白相看春又残，折花聊助一时欢。东君命驾归何连，犹有余情在牡丹。题诗以行楷书写，含蓄内敛、平淡天真，严谨而朴拙，颇有钟繇遗风。画卷诗情画意相得益彰，为钱选花鸟画的至精之作。卷尾署“至元甲午画于太湖之滨并题，习懒翁钱选舜举”。可知这是钱选晚年所作，正值钱选诗书画印诸艺炉火纯青之时。",[23,24,25,26,28,7,212,174,298,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ccc0a162c10a33940263f3fc4a9708.jpg","纸本 设色","纵38厘米 横316.7厘米",[237,125],111,{"id":8500,"slug":8501,"title":8502,"dynasty":18,"author":326,"museum":134,"description":8503,"tags":8504,"thumbUrl":8506,"material":40,"size":8507,"collection":42,"collections":8508,"showCount":8498,"zanCount":48,"manualWeight":48,"mainColor":49},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 五字，左下角钤“宣和殿制”印并“天下一人”画押。\n这是一幅描绘冬日雪景的山水画。画面起首远山平缓，进入中段以后，山势渐渐高耸，转而趋于平缓，整幅画面富有高低错落的节奏感，使观者仿佛身临其境，坐于舟船中，沿江眺望窗外时时变换的景色，充分展示了长卷绘画的特点和魅力。全卷用笔细劲，笔法流畅，意境肃穆凝重，代表了宋徽宗时期画院的艺术水平。",[23,26,7,172,855,28,285,730,173,29,175,8505,34,211,95],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1036396b87433672d8f6f1cab8e3a99f.jpg","纵30.3厘米，横190.8厘米",[42,182,125],{"id":8510,"slug":8511,"title":8512,"dynasty":228,"author":229,"museum":5821,"description":8513,"tags":8514,"thumbUrl":8516,"material":235,"size":8517,"collection":237,"collections":8518,"showCount":8498,"zanCount":1020,"manualWeight":48,"mainColor":145},219118,"shuang-jiu-tu-qian-xuan-219118","双鸠图","画面描绘了一根梨枝的主干，枝头有许多枝条，枝条上盛开着洁白的梨花。 树枝上栖息着两只鸽子，一只低着脖子哼了一声，一只好奇地盯着树枝。",[24,25,7,28,8515,653,409,284,173],"鸠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c9c5dce479a9ec47c315e8badbe4e8.jpg","30.5x97.8cm",[237],{"id":8520,"slug":8521,"title":8522,"dynasty":150,"author":8523,"museum":134,"description":8524,"tags":8525,"thumbUrl":8526,"material":235,"size":8527,"collection":237,"collections":8528,"showCount":8498,"zanCount":1084,"manualWeight":48,"mainColor":145},218916,"feng-huang-wu-tong-tu-yang-da-zhang-218916","凤凰梧桐图","杨大章","设色画梧桐竹石，众鸟翔集。凤凰、白鹤、鸳鸯双栖其下，色彩鲜艳，呈现一片祥瑞之气。当时宫廷绘画喜好吉祥，本幅题材与画风即属此类。",[24,25,155,7,28,212,316,1630,60,211,34,1091,3084,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff067e5de5237cf8c1c1b5a25bd6bdb9b.jpg","337.3x122.6cm",[237],{"id":8530,"slug":8531,"title":8532,"dynasty":150,"author":2121,"museum":245,"description":8533,"tags":8534,"thumbUrl":8535,"material":220,"size":220,"collection":220,"collections":8536,"showCount":8537,"zanCount":1769,"manualWeight":48,"mainColor":49},228958,"lan-hua-yue-ji-tu-jiang-ting-xi-228958","兰花月季图","此作用笔兼工带写，右方湖石以水墨晕染，苍朴温润，月季柔枝缠石而上，粉花轻绽，翠叶扶疏，娇妍鲜活。左侧兰叶舒展有姿，柔韧挺拔，幽兰隐于草间，清寂出尘。\n\n设色淡雅克制，月季粉柔、兰叶苍绿与湖石墨色相互调和，把花木的柔媚与清逸平衡得当。搭配题诗，诗画映合，将春日幽隅的清雅小景晕染出温婉意趣，既得院体花鸟的细腻秀润，又饱含文人写意的疏朗书卷气，把草木闲情与文心雅意相融，尽显雅致幽隽的古典情致。",[23,137,24,25,155,28,7,489,487,211,7974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7b6a2a772a0f5b748d8b4c9f8b7624.jpg",[],110,{"id":8539,"slug":8540,"title":8541,"dynasty":150,"author":260,"museum":134,"description":8542,"tags":8543,"thumbUrl":8544,"material":40,"size":8545,"collection":237,"collections":8546,"showCount":8537,"zanCount":1769,"manualWeight":48,"mainColor":145},222778,"bai-gu-tu-lang-shi-ning-222778","白鹘图","乾隆十六年，郎世宁六十二岁作山涧里，一湾小瀑，松干横空而出，一白鹘踏枝上，似闻声惊起。画白鹘以白粉精细描绘，松石配景全然中国写意笔墨，清代白鹘图为大学士忠勇公傅恒所进。郎世宁六十二岁作。\n图中白鹘栖息于涧松之上,于传统画法中,参用光影透视,遂使画面突出于绢上 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脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 有的怀抱包裹，有的身背行囊，有的手架猎鹰，有的马上驮着毡毯。画面最后，是一头戴皮帽、身潸窄袖长袍、腰携箭饩、右手架鹰、左手执缰，骑于马上的武士，正驱马追赶行进的队伍，马旁还紧跟一猎犬。",[23,137,24,26,283,7,83,112,61,63,173,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3649796ffeb0f1854f87bb5103aa850a.jpg","纵29cm，横129cm",[42,44,45],{"id":8646,"slug":8647,"title":8648,"dynasty":228,"author":3524,"museum":20,"description":8649,"tags":8650,"thumbUrl":8652,"material":2721,"size":8653,"collection":44,"collections":8654,"showCount":8625,"zanCount":1769,"manualWeight":48,"mainColor":49},220886,"zhu-ge-liang-xiang-zhou-zhao-meng-fu-220886","诸葛亮像轴","绘诸葛亮手持如意，凭隐囊而坐。隐囊的渊源在印度，汉译佛经中名作丹枕或倚枕，系印度上流社会日常生活中的习用之具。丹枕很早就进入中土（中原），传播时改名为隐囊。此图像中的隐囊既有图式相因的成分，也有着生活中的真实为依凭。",[23,24,25,155,28,7,83,173,5900,782,8651],"鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff49140761c7111aa118768ff034947.jpg","纵208.4厘米,横100.6厘米",[44,45],{"id":8656,"slug":8657,"title":8658,"dynasty":150,"author":260,"museum":8659,"description":8660,"tags":8661,"thumbUrl":8662,"material":100,"size":8663,"collection":237,"collections":8664,"showCount":8625,"zanCount":1769,"manualWeight":48,"mainColor":145},220370,"ba-jun-tu-juan-lang-shi-ning-220370","八骏图卷","江西省博物馆","是为康熙第二十一子慎郡王允禧所作。八匹骏马神情、姿态各异，是其晚年的精品之作",[23,137,24,25,26,7,28,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d5c37a9d55cc287a2651cfb1a099453.jpg","52.7厘米* 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247.7cm",[],{"id":8722,"slug":8723,"title":8724,"dynasty":228,"author":191,"museum":245,"description":8725,"tags":8726,"thumbUrl":8729,"material":1397,"size":1398,"collection":220,"collections":8730,"showCount":8699,"zanCount":1084,"manualWeight":48,"mainColor":49},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[23,24,25,26,81,283,7,341,84,8259,111,83,2782,196,8727,95,8728,2683],"宫殿式建筑","龙舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg",[],{"id":8732,"slug":8733,"title":8734,"dynasty":228,"author":191,"museum":245,"description":8735,"tags":8736,"thumbUrl":8737,"material":220,"size":220,"collection":220,"collections":8738,"showCount":8699,"zanCount":1769,"manualWeight":48,"mainColor":49},228168,"fang-qian-xuan-hua-niao-hua-yi-ming-228168","仿钱选花鸟画","画面取春日一角，海棠柔枝斜出，白花轻绽，晕染出温润秀雅的底色。两只禽鸟动静相映，一只伫立于高枝，羽色晕染细腻柔和，神态悠然自若；另一只俯身枝桠，似在啄弄新蕊，灵动尽显。右上角飞虫轻掠，更添鲜活生趣。\n\n整幅设色浅淡清丽，勾勒线条柔婉精细，尽得原作花鸟古雅秀润之韵，将春日林禽的恬然意趣收于尺幅之间，笔墨雅致内敛，闲静雅致的小景里，藏着春日最动人的温柔生机。",[23,24,137,25,82,7,28,212,299,62,653,596,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0e41ae4620431cb6be12a31d46f40a.jpg",[],{"id":8740,"slug":8741,"title":8742,"dynasty":18,"author":7716,"museum":245,"description":8743,"tags":8744,"thumbUrl":8745,"material":220,"size":220,"collection":220,"collections":8746,"showCount":8699,"zanCount":711,"manualWeight":48,"mainColor":145},227939,"qing-chun-die-xi-tu-li-an-zhong-227939","晴春蝶戏图","《宋李安忠晴春蝶戏图》是南宋画家李安忠所创作的一幅设色扇面画，藏于 。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[23,137,24,25,914,7,28,212,411,173,284,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],{"id":8748,"slug":8749,"title":8750,"dynasty":863,"author":1661,"museum":1662,"description":8751,"tags":8752,"thumbUrl":8753,"material":220,"size":220,"collection":220,"collections":8754,"showCount":8699,"zanCount":1769,"manualWeight":48,"mainColor":145},220491,"zhang-da-qian-yang-xiong-du-shu-tu-zhang-da-qian-220491","张大千杨雄读书图","此作用淡墨铺就清寂意境，右侧枯木虬劲苍古，枝桠错落间漫出萧索秋意。嶙峋湖石立在一旁，苔痕轻缀，晕开幽幽古意。\n\n榻上主人眉目疏朗静和，正浸在书卷意趣里神游，身侧侍童垂首伫立，一室安闲自适。案头笔墨横陈，暗合读书主题。\n\n左上角题笔行书舒展雅致，书画相映，文气暗生。全幅以水墨淡绘，摒去浓丽敷色，以极简笔触勾勒人物情态与周遭景致，将贤士沉湎诗书、物我两忘的静穆心境，晕染得淋漓尽致，尽显林下雅逸风流。",[23,24,25,155,855,7,83,159,286,4427,2956,784,785,2957,5004,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb9c04228945a41faa0f8502855c33b.jpg",[],{"id":8756,"slug":8757,"title":8758,"dynasty":150,"author":4708,"museum":463,"description":8759,"tags":8760,"thumbUrl":8762,"material":235,"size":8763,"collection":44,"collections":8764,"showCount":8699,"zanCount":1769,"manualWeight":48,"mainColor":145},220140,"shi-nv-xi-ying-tu-juan-ding-guan-peng-220140","仕女戏婴图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年（1770年）以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[23,7,28,26,173,83,59,3435,344,8761,705],"羽扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff310295ea2961dee759cc9fec13486b2.jpg","24.64*167.48厘米",[44],{"id":8766,"slug":8767,"title":8768,"dynasty":228,"author":191,"museum":134,"description":8769,"tags":8770,"thumbUrl":8771,"material":100,"size":8772,"collection":237,"collections":8773,"showCount":8699,"zanCount":1020,"manualWeight":48,"mainColor":49},219956,"fu-rong-hua-ya-tu-yi-ming-219956","芙蓉花鸭图","画面取境清寂悠然，芙蓉从左畔斜逸而上，莹白花头晕染出柔润娇嫩，墨色叶片苍劲厚重，明暗间衬出花之柔媚与枝叶的朴拙苍润。池沼间两只水鸭亲昵相依，以细笔丝毛刻画翎羽，浓淡墨色晕出绒羽蓬松质感，憨态毕现。浅绿点染浮萍水波，愈发衬出水畔安闲静谧。\n\n工写兼融，设色秀雅沉稳，将花木的柔、禽鸟的憨静交织一处，把秋日池隅的悠然意韵定格绢素，内敛雅致中藏着鲜活生趣，尽显花鸟小品的隽永意境。",[137,24,25,155,7,424,212,492,652,651,409,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d272febbf98aa5b9a5dc38399cd4a67.jpg","119.3x45.8",[237],{"id":8775,"slug":8776,"title":8777,"dynasty":18,"author":326,"museum":134,"description":8778,"tags":8779,"thumbUrl":8780,"material":100,"size":8781,"collection":237,"collections":8782,"showCount":8699,"zanCount":48,"manualWeight":48,"mainColor":49},219243,"la-mei-shan-qin-tu-zhao-ji-219243","蜡梅山禽图","画中有蜡梅一枝，自右下方向左上方挺生，枝细瘦，却用双线勾成，并略加晕染，勾出结节。蜡梅花用勾线填色法画成，疏朗地缀于枝头。一对白头翁安逸地栖于枝上，形态各异，用笔精炼准确，形象生动。",[23,24,25,155,7,28,212,637,1091,690,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e78e323c8fc6210fddf024e14353a71.jpg","纵83.3横53.3厘米",[237,42,45],{"id":8784,"slug":8785,"title":8786,"dynasty":18,"author":1275,"museum":8787,"description":8788,"tags":8789,"thumbUrl":8790,"material":100,"size":8791,"collection":237,"collections":8792,"showCount":8699,"zanCount":1084,"manualWeight":48,"mainColor":1833},218913,"mei-shi-tu-ma-yuan-218913","梅石图","伯克利艺术博物馆","这幅画描绘了一棵老梅树从深谷野塘边的一块巨大岩石中探出头来，一只野凫藏在水草中。岩石的凿刻和梅树的拖曳枝条都是马远的绘画风格。",[23,137,24,25,855,28,29,637,159,982,286,7,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2985d0d4a51d33cf93ad74d8c4c3a87b.jpg","横46.99纵80.01cm",[237,182],{"id":8794,"slug":8795,"title":8796,"dynasty":18,"author":191,"museum":2004,"description":8797,"tags":8798,"thumbUrl":8800,"material":100,"size":8801,"collection":237,"collections":8802,"showCount":8699,"zanCount":1084,"manualWeight":48,"mainColor":49},216740,"san-yu-tu-yi-ming-216740","三鱼图","这幅图画的主题是三条鱼在水中游动的场景。它展示了鱼的姿态和运动，并且运用了对比和张力来营造水中的氛围。这幅图画被认为是宋朝时期优秀的艺术作品之一，其中包含了许多关于生命、自然和哲学的意义。",[1424,24,25,855,7,557,8799],"水藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f3f9bce549922eda47d25a4226234d.jpg","22.2x22.9cm",[237],{"id":8804,"slug":8805,"title":8806,"dynasty":150,"author":8807,"museum":134,"description":8808,"tags":8809,"thumbUrl":8810,"material":235,"size":8811,"collection":182,"collections":8812,"showCount":8699,"zanCount":48,"manualWeight":48,"mainColor":145},214537,"wu-she-jie-han-tu-yu-sheng-214537","无射戒寒图","余省","这幅画描绘的是九月初九在福海北岸的高阁上游乐的场景，其实高阁只有三四米高，远没有画面上的那么陡峭，所谓的 升天 只是象征性的。",[24,28,7,172,29,84,176,85,86,83,34,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b971ceb4fd2fd33ceb99ce9b77277c4.jpg","180x106.3",[182],{"id":8814,"slug":8815,"title":8816,"dynasty":150,"author":8817,"museum":245,"description":8818,"tags":8819,"thumbUrl":8820,"material":220,"size":220,"collection":220,"collections":8821,"showCount":8822,"zanCount":1769,"manualWeight":48,"mainColor":145},234589,"hai-tang-wan-shan-zhang-zhao-xiang-234589","海棠纨扇","张兆祥","张兆祥(1852年-1908年),，画家， 字和庵。天津人。师从孟绣村，多才多艺，通晓西洋照相技法和诗文书画，尤擅写生，画花鸟，并吸收郎世宁西洋画法，开一代画坛新风，自成一派。其作品传世甚少，尤为宝贵。藏于天津市艺术博物馆的《石榴花》，色彩浓艳，风姿绝伦，堪称珍品。其弟子陆文郁等人也在画坛名噪一时。",[24,25,914,28,7,212,915,453,1092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c0b8090cb60efc3ac11e58b2f23728.jpg",[],107,{"id":8824,"slug":8825,"title":8826,"dynasty":76,"author":191,"museum":245,"description":5790,"tags":8827,"thumbUrl":8829,"material":1397,"size":1398,"collection":220,"collections":8830,"showCount":8822,"zanCount":48,"manualWeight":48,"mainColor":1833},228412,"wen-shu-pu-sa-zuo-xiang-yi-ming-228412","文殊菩萨坐像",[24,25,194,7,28,83,29,37,84,34,211,2602,8828,27,81],"古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83145718fc035e6637afa89f6ad83dea.jpg",[],{"id":8832,"slug":8833,"title":8834,"dynasty":18,"author":505,"museum":245,"description":8835,"tags":8836,"thumbUrl":8837,"material":220,"size":220,"collection":220,"collections":8838,"showCount":8822,"zanCount":48,"manualWeight":48,"mainColor":49},227518,"mo-li-hua-tu-zhao-chang-227518","茉莉花图","赵昌（730—814），字洪祚，天水人。祖不器，父居贞，皆有名于时。李承昭为昭义节度，辟昌在幕府。贞元七年，为虔州刺史。属安南都护为夷獠所逐，拜安南都护，夷人率化。十年，因屋坏伤胫，恳疏乞还，以检校兵部郎中裴泰代之，入拜国子祭酒。及泰为首领所逐，德宗诏昌问状。昌时年七十二，而精健如少年者，德宗奇之，复命为都护，南人相贺。",[23,137,24,25,706,914,7,28,595,212,4480,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c26aa0a5bf06d8540629ecbc54cada7.jpg",[],{"id":8840,"slug":8841,"title":8842,"dynasty":150,"author":2254,"museum":434,"description":2255,"tags":8843,"thumbUrl":8844,"material":67,"size":2259,"collection":220,"collections":8845,"showCount":8822,"zanCount":1020,"manualWeight":48,"mainColor":145},222680,"si-ji-hua-niao-tu-ping-3-chen-mei-222680","四季花鸟图屏3",[23,24,25,137,155,7,28,212,491,299,3983,2257,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb354d235264b4e3fbffcc1189098cae9.jpg",[],{"id":8847,"slug":8848,"title":8849,"dynasty":18,"author":326,"museum":78,"description":8850,"tags":8851,"thumbUrl":8852,"material":424,"size":8853,"collection":42,"collections":8854,"showCount":8822,"zanCount":48,"manualWeight":48,"mainColor":145},221343,"zhu-qin-tu-quan-juan-zhao-ji-221343","竹禽图全卷","这幅《竹禽图》横55.4厘米，纵33.8厘米。宋人花鸟画都是以小品画见长，又以精细而见功。此画也不例外。在粗略的崖石间伸出两枝翠竹，一上一下形成一个侧着的“V”字。竹枝和竹叶都没有勾勒，此画法与赵佶的《芙蓉锦鸡图》等以往的画作有所不同。翠竹下面的还有一丛荆棘。一上一下的竹枝上停着两只小鸟。下面的那只鸟侧对着人们，它仰着头在看上面的那只鸟。上面的那只鸟腹部正对着人们，头向右侧着，它回望着下面的那只鸟。两小鸟目光相对，互相顾盼，仿佛就差嘴巴一张一合鸣叫的瞬间了。这两只小鸟是画面的主角。看着它们就使人想起杜甫的那句“两个黄鹂鸣翠柳”。不妨换一下，“两只小鸟鸣翠竹”。\n全画竹草崖石用写意画的方法处理，两小鸟用工笔画的方法绘制。粗细方法互助也显示了徽宗的绘画技艺的高妙。画卷后面有皇室后裔赵孟頫的题跋：“道君聪明，天纵其于绘事，尤极神妙。动植物无不曲尽其性，殆若天地生成，非人力所能及。此卷不用描墨，粉彩自然，宜为世宝。然丛尔小禽蒙圣人所录，抑何幸耶。”",[23,24,25,26,7,28,284,173,212,156,159,1091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","画心纵33.8厘米，横55.5厘米",[42,3307],{"id":8856,"slug":8857,"title":8858,"dynasty":863,"author":1661,"museum":8859,"description":8860,"tags":8861,"thumbUrl":8866,"material":220,"size":220,"collection":220,"collections":8867,"showCount":8822,"zanCount":1020,"manualWeight":48,"mainColor":145},220504,"mo-gao-ku-152-hao-tang-dai-zhu-guang-guan-yin-di-58-hao-lin-mo-ben-zhang-da-qian-220504","莫高窟152号唐代珠光观音第58号临摹本","國立故宮博物院","静穆安和的观音结跏趺坐莲台，垂敛双目，神容慈悲恬然。朱砂覆肩贴身，金线勾缠的璎珞臂钏层层叠叠，朱红宝色点缀其间，华贵不失清雅。头光晕染出青绿鎏金的柔和渐变，褪去窟壁千年斑驳，以明丽鲜亮的色彩复刻唐风遗韵。\n\n笔底既恪守古制风骨，又融个人意趣，将敦煌造像的庄严端凝晕化为绢上温润神采。敷色厚艳而不俗，线条匀净柔韧，把观音的圣洁与雍容揉合一处，观之令人心宁神定，尽显东方造像的静美禅意。",[137,24,25,83,194,28,7,82,1539,1054,8862,8863,8864,8865],"莲台","禅意","圣洁","雍容","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316b140450a1e3ec56ec1be1b10e6be1.jpg",[],{"id":8869,"slug":8870,"title":8871,"dynasty":228,"author":648,"museum":152,"description":8872,"tags":8873,"thumbUrl":8874,"material":100,"size":220,"collection":44,"collections":8875,"showCount":8822,"zanCount":1020,"manualWeight":48,"mainColor":145},220368,"ren-ma-tu-juan-ren-ren-fa-220368","人马图卷","图绘四名奚官牵三匹骏马出圉的情景，人马神态各异。人物衣冠皆着唐代服饰，神情姿态写实生动，最前一位奚官双手自然置于体前，手里拿着刷马身的平口鬃刷和整理鬃毛的小耙子，回头看马队是否跟随，第二位坐骑棕色骏马略有警惕，奚官怕马受惊抓紧缰绳，最后面一位加快步幅紧跟队伍。三马雄壮矫健，皮鬃致密纤细，造型生动，尤以第二匹马最显俊伟驯顺，颈系红缨闲庭信步，很是惬意。",[23,137,24,25,26,7,28,285,284,173,83,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0dfb37038038db76139bdd3b1af6847.jpg",[44,45],{"id":8877,"slug":8878,"title":8879,"dynasty":150,"author":8880,"museum":134,"description":8881,"tags":8882,"thumbUrl":8887,"material":28,"size":8888,"collection":45,"collections":8889,"showCount":8822,"zanCount":1084,"manualWeight":48,"mainColor":145},219889,"bo-gu-hua-cao-zhou-chen-zhao-feng-219889","博古花草轴","陈兆凤","画面左置开光山水瓷瓶，攒插幽竹、紫藤与素叶秋枝，清竹疏朗挺拔，紫穗垂曳如瀑，花叶素净雅致，暗合案头插花的闲趣章法。右侧圆缸承于铜架，朱红墨色琉金金鱼穿曳萍藻之间，摆尾摇鳍暗藏灵动。全作工笔淡彩晕染清妍，线条匀净秀劲，将案头清供的静雅和游鱼的生机相融，把书斋里冲淡安闲的幽居雅兴尽藏笔底，淡寂中透着雅致生机，尽显中式文人清隽的赏玩意趣。",[24,25,155,28,7,6010,8883,8884,315,486,8885,8886,158,212],"金鱼","金鱼缸","陶瓷","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c3ec770138bc377e1486617d4e9536.jpg","231.7x117.7",[45],{"id":8891,"slug":8892,"title":8893,"dynasty":150,"author":592,"museum":406,"description":8894,"tags":8895,"thumbUrl":8896,"material":100,"size":1349,"collection":220,"collections":8897,"showCount":8822,"zanCount":943,"manualWeight":48,"mainColor":145},219814,"hua-hui-shi-kai-9-yun-shou-ping-219814","花卉十开-9","这幅没骨花卉，以淡色晕染出栀子清姿，不用墨线拘囿轮廓，色阶自然过渡，将花瓣莹白温润的质感描摹入微。盛放的花朵舒展柔瓣，如琼玉初绽；待放的花苞敛藏静美，浓淡不一的青叶或苍润鲜碧，或带枯斑，枯荣相衬，更显生机清隽。左上角题诗与画意相融，笔墨间漫溢着文人画的清雅淡远，将江南草木的温婉灵秀，化作平和冲淡的审美意趣，尽显雅致脱俗的笔墨格调。",[24,25,519,28,7,595,212,409,596,597,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1235f17160dbe697ecea3722caedca0e.jpg",[],{"id":8899,"slug":8900,"title":3433,"dynasty":18,"author":1838,"museum":245,"description":8901,"tags":8902,"thumbUrl":8905,"material":100,"size":220,"collection":44,"collections":8906,"showCount":8822,"zanCount":48,"manualWeight":48,"mainColor":1833},218273,"ying-xi-tu-su-han-chen-218273","孩童发髻疏朗，衣袂轻垂，坐于鼓形座上。小手拢着衣角，似藏着几分娇憨。鼓身镶边缀点，旁侧鼓槌斜倚，小鞋散落，细节里尽是日常的鲜活。绢本的棕褐晕染出时光的温软，线条简淡却藏着细腻——衣纹褶皱随姿态舒展，孩童眼神澄澈如溪，悄然勾连起宋人对稚子生活的珍视。没有繁复布景，天真却漫溢开来，仿佛能触到柔软布料，听见孩童细碎笑语。画中藏不住的生动与温情，将寻常童趣凝作永恒的画面，让时光在此刻慢了下来。",[24,137,25,7,28,83,3435,8903,8904,63],"鼓","鼓槌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f3549cbb86ed88cd0157c95e237591.jpg",[44],{"id":8908,"slug":8909,"title":8910,"dynasty":150,"author":4373,"museum":134,"description":8911,"tags":8912,"thumbUrl":8914,"material":100,"size":8915,"collection":44,"collections":8916,"showCount":8822,"zanCount":1020,"manualWeight":48,"mainColor":145},216966,"xian-ren-tu-xu-liang-biao-216966","仙人图","仙女被描绘成骑着一只凤凰，或西方的王母。仙女拿着一顶花帽，并由一只携带生日珍珠的白鹿陪伴。景色清晰，色彩鲜艳，是对长寿的长久赞美。人物、凤凰和白鹿的着色受到西方绘画的明暗影响。",[137,24,25,155,7,28,8913,1817,409,2653,1600],"仙人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0446b8d31845aaa90342626f5354c64.jpg","260.5x142.6",[44],{"id":8918,"slug":8919,"title":8920,"dynasty":76,"author":6490,"museum":134,"description":8921,"tags":8922,"thumbUrl":8923,"material":100,"size":8924,"collection":237,"collections":8925,"showCount":8822,"zanCount":48,"manualWeight":48,"mainColor":49},216213,"xie-sheng-tu-shang-xi-216213","写生图","商喜是明朝时期的一位著名画家。他的写生图是指他在观察实物的基础上进行的写生画。这些画作经常描绘自然风景、动物、人物等，体现出商喜对于自然现象的敏锐观察力和细腻的描绘能力。商喜的写生图具有浓郁的生活气息和生动的感染力，为后世留下了宝贵的艺术瑰宝。\n\n商喜的写生图作品较多，涵盖了多种题材。其中，他的花鸟画尤其出色，作品中常常出现各种花卉和鸟类，每一幅画作都能够流露出自然的美丽与生机。此外，商喜还绘制了许多人物画，其中有写实的肖像画，也有富有想象力的设计人物。他的人物画作品体现了商喜对人物形态和神态的细致捕捉，能够生动地展现人物的个性和心理。商喜的写生图作品为后世留下了深刻的印象，为中国画的发展做出了重要贡献。",[24,25,7,28,212,582,581,61,178,156,62,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae66413060d9efa0846a06cffbc58a1.jpg","84.6x61.8cm",[237],{"id":8927,"slug":8928,"title":8929,"dynasty":150,"author":592,"museum":245,"description":3138,"tags":8930,"thumbUrl":8931,"material":1397,"size":1398,"collection":220,"collections":8932,"showCount":127,"zanCount":1769,"manualWeight":48,"mainColor":49},290529,"zhu-bai-chang-chun-zhou-yun-shou-ping-290529","竹柏长春轴",[137,24,25,155,28,212,156,1248,159,409,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb714bb59defcdde65007397212cbb037.jpg",[],{"id":8934,"slug":8935,"title":8936,"dynasty":18,"author":1609,"museum":8937,"description":8938,"tags":8939,"thumbUrl":8940,"material":496,"size":8941,"collection":220,"collections":8942,"showCount":127,"zanCount":1084,"manualWeight":48,"mainColor":49},232874,"pan-tao-qing-niao-tu-juan-li-di-232874","蟠桃青鸟图卷","美国弗瑞尔美术馆","此幅重色画蟠桃青鸟，用笔应物象形，禽鸟造形精确，蟠桃用没骨画法，枝叶安排妥帖，整体观之，明代宫廷画家所作的可能性大一些。 李迪，生卒年不详。",[23,137,24,25,26,7,28,212,451,178,34,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],{"id":8944,"slug":8945,"title":8946,"dynasty":18,"author":1151,"museum":8226,"description":8947,"tags":8948,"thumbUrl":8949,"material":424,"size":8950,"collection":42,"collections":8951,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","雪山行旅图","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[23,24,137,25,155,855,28,29,5548,211,1499,85,86,2463,172,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[42,182],{"id":8953,"slug":8954,"title":8955,"dynasty":150,"author":260,"museum":8956,"description":8957,"tags":8958,"thumbUrl":8959,"material":424,"size":8960,"collection":237,"collections":8961,"showCount":127,"zanCount":1769,"manualWeight":48,"mainColor":49},222774,"liu-yin-shuang-jun-tu-lang-shi-ning-222774","柳荫双骏图","镇江市博物馆","《柳荫双骏图》卷绘两匹马一立一卧，一棵老柳树，斜在背景中，马匹及树木均画出了明暗和凹凸，强调物象的质感和立体感。郎世宁书款中不署“臣”字，显然该作品不是为皇帝画的，受画者应当是某位有着亲王或郡王身份的满洲贵族。",[23,137,24,25,7,28,112,1851,286,1797,705,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b142639faf49024649f5fe7e4a3f35c.jpg","横62厘米，纵115.1厘米",[237,45],{"id":8963,"slug":8964,"title":8965,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":8966,"thumbUrl":8968,"material":28,"size":1081,"collection":220,"collections":8969,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":145},222753,"xian-e-chang-chun-tu-08a-ji-guan-hua-lang-shi-ning-222753","仙萼长春图-08a（鸡冠花）",[23,251,24,25,212,7,28,8967,159,596,468],"鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcd6f6155e0f1e2f0398d2738fe5f5a.jpg",[],{"id":8971,"slug":8972,"title":8973,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":8974,"thumbUrl":8975,"material":28,"size":1081,"collection":220,"collections":8976,"showCount":127,"zanCount":1769,"manualWeight":48,"mainColor":145},222741,"xian-e-chang-chun-tu-02a-shao-yao-lang-shi-ning-222741","仙萼长春图-02a（芍药）",[23,24,137,7,28,212,691,62,612,597,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c91a3aea82e716ab6aa9b460afb178.jpg",[],{"id":8978,"slug":8979,"title":8980,"dynasty":76,"author":77,"museum":20,"description":8981,"tags":8982,"thumbUrl":8984,"material":40,"size":8985,"collection":182,"collections":8986,"showCount":127,"zanCount":1020,"manualWeight":48,"mainColor":49},222185,"lin-xi-shui-ge-tu-chou-ying-222185","临溪水阁图","仇英“初为漆工，兼为人彩绘栋宇，后徙而业画，工人物楼阁。”或许是出身的关系，其笔下的楼阁多用界笔，刻画精工，但与纯界画不同的是，仇英的绘画技艺同时受到职业画师和文人画家的双重影响。此幅亦是将文人山水与界笔水阁巧妙结合的作品，追求含蓄蕴藉的格调，着意塑造文人高士所欣赏的艺术形象。",[23,24,28,7,29,82,8983,86,927,211,1319,83,623],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg","纵41.1厘米，横33.8厘米",[182,45],{"id":8988,"slug":8989,"title":8990,"dynasty":18,"author":1275,"museum":134,"description":8991,"tags":8992,"thumbUrl":8993,"material":28,"size":8994,"collection":42,"collections":8995,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},221533,"hua-xue-jing-zhou-ma-yuan-221533","画雪景轴","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[23,24,25,155,7,172,28,29,4077,176,1068,112,83,85,1319,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[42,182,45],{"id":8997,"slug":8998,"title":487,"dynasty":863,"author":8999,"museum":9000,"description":9001,"tags":9002,"thumbUrl":9003,"material":220,"size":220,"collection":220,"collections":9004,"showCount":127,"zanCount":1084,"manualWeight":48,"mainColor":145},220524,"yue-ji-xu-bei-hong-220524","徐悲鸿","中央美术学院美术馆","以浅赭绢底烘托素白月季，花瓣以淡彩轻晕，层层叠叠如凝霜含露，将白花柔润清雅的质感尽数铺展。枝蔓棘刺历历分明，叶片以浓淡墨色晕染，苍劲中带着鲜活生机。笔意兼用工写，将写实的鲜活感融入传统花鸟笔墨，褪去浓艳，独留清隽格调，把月季素净温婉却坚韧的姿态勾勒入微。淡远沉静的底色里，花木如携晚风朝露，灵秀雅致中暗涌生命张力，打破程式化的花鸟范式，尽显温婉又坚韧的雅致意趣。",[24,7,28,487,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9ac48078259be0067175805c7578624.jpg",[],{"id":9006,"slug":9007,"title":9008,"dynasty":132,"author":1496,"museum":367,"description":9009,"tags":9010,"thumbUrl":9011,"material":100,"size":220,"collection":237,"collections":9012,"showCount":127,"zanCount":1084,"manualWeight":48,"mainColor":49},219025,"ban-jiu-tu-huang-quan-219025","斑鸠图","画的是一棵顶部断裂的枯树干，一只鸽子站在树干上，蓬松的羽毛中夹杂着白色的毛发，盯着树根处发芽的树枝，绿叶红花。",[23,137,24,25,519,7,28,212,178,299,62,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51e04c34bcf36d6653aa90ca568823.jpg",[237],{"id":9014,"slug":9015,"title":9016,"dynasty":150,"author":2121,"museum":134,"description":9017,"tags":9018,"thumbUrl":9020,"material":100,"size":9021,"collection":237,"collections":9022,"showCount":127,"zanCount":1769,"manualWeight":48,"mainColor":49},218778,"si-rui-qing-deng-tu-jiang-ting-xi-218778","四瑞庆登图","蒋廷锡（西元一六六九－一七三二年），江苏常熟人。字扬孙，号酉君，又号西谷。官至文华殿大学士，工画花卉草虫，以逸笔写生，没骨花鸟画继承恽寿平风格。\n画两棵高梁结满穗粒，并点缀有白头翁、菊花和泉石。画法承恽氏之风，虽用笔工致，但不板滞，兼有写生之趣。此时蒋氏五十五岁，调任礼部侍郎，同年又调任户部。蒋氏鲜少在画上落款处加官职，此图以端正楷书写上礼部右侍郎等字，应是应制之作。而四瑞写各种祥瑞事物，应是称颂雍正皇帝继承帝位是顺天应民之意。",[24,28,7,212,155,299,178,9019,197,488,173],"高粱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73b7e62a8dadfcb098962fa2d8a6e8a.jpg","185.2x87.2cm",[237],{"id":9024,"slug":9025,"title":9026,"dynasty":18,"author":5567,"museum":230,"description":9027,"tags":9028,"thumbUrl":9029,"material":235,"size":220,"collection":44,"collections":9030,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},218541,"zhong-xing-rui-ying-tu-chen-ju-zhong-218541","中兴瑞应图","苍莽绢素间，人马奔涌如沸，旌旗翻卷似火，甲胄冷光与衣袍艳色在青绿底色上跃动。左侧群鸟振翅惊飞，羽翼划破暮霭；右侧峭岩劲松静立，与奔涌的动势形成奇妙张力。笔锋细腻处，鞍马筋肉、人物神情历历可辨；设色古朴中，山水悠远衬出叙事沉厚。奔突的队列藏着热望，翻飞的翎羽似携吉兆，将历史壮阔与人心祈盼凝作绢上流转的光影——每一处细节都在诉说那段岁月里，对“中兴”的期盼与激昂，让沉厚的过往在笔墨间鲜活如初。",[24,7,28,83,112,178,29,34,2782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0604cba49667b67c7ec636b0895bcd.jpg",[44,45],{"id":9032,"slug":9033,"title":9034,"dynasty":132,"author":1496,"museum":2004,"description":9035,"tags":9036,"thumbUrl":9037,"material":100,"size":9038,"collection":237,"collections":9039,"showCount":127,"zanCount":1769,"manualWeight":48,"mainColor":49},216746,"xie-sheng-yuan-yang-tu-huang-quan-216746","写生鸳鸯图","画面描绘了一棵古老的梅花树，枝干粗壮，梅花枝条细长，树下有一丛绿竹；右下方是一对羽毛鲜艳的鸳鸯，一只蹲在地上，扭曲的头和嘴藏在羽毛中。",[24,25,914,7,28,212,1435,286,5250,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78b5310b6859685fde5b35c131cf676e.jpg","23.6x24.2cm",[237],{"id":9041,"slug":9042,"title":9043,"dynasty":76,"author":191,"museum":245,"description":5790,"tags":9044,"thumbUrl":9045,"material":1397,"size":1398,"collection":220,"collections":9046,"showCount":9047,"zanCount":1769,"manualWeight":48,"mainColor":1833},287649,"shui-yue-guan-yin-zuo-xiang-wu-se-cha-ban-yi-ming-287649","水月观音坐像（无色差版）",[23,24,25,194,28,7,83,1054,195,1817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b48459cb8a2b78d98dd220d80ef855.jpg",[],105,{"id":9049,"slug":9050,"title":9051,"dynasty":132,"author":295,"museum":20,"description":9052,"tags":9053,"thumbUrl":9055,"material":67,"size":9056,"collection":220,"collections":9057,"showCount":9047,"zanCount":1769,"manualWeight":48,"mainColor":49},233213,"dou-jia-qing-ting-tu-ye-xu-xi-233213","豆荚蜻蜓图页","图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。画面构图简洁自然，疏密得体。画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。其中蜻蜓的描绘神妙入微。画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙入微。蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织，都细微地表现了出来。蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。从绘画题材及笔墨技巧上看，具有徐熙画的特征。《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写”。但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。旧题为徐熙作。徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。写意出古人之外，自造于妙。尤能设色，绝有生意”。从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜓尤备极工细，神韵奕奕。对花写照的写生功力，令人惊叹。色调素雅，变化层次微妙，工写兼施，相映成趣。构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思（以景喻理）。",[137,24,25,212,7,28,9054,493,596,62,173],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880a27b634787e986672e82222fc17bb.jpg","纵27厘米，横23厘米",[],{"id":9059,"slug":9060,"title":3835,"dynasty":18,"author":1151,"museum":245,"description":9061,"tags":9062,"thumbUrl":9064,"material":220,"size":220,"collection":220,"collections":9065,"showCount":9047,"zanCount":711,"manualWeight":48,"mainColor":49},227801,"gong-nv-tu-liu-song-nian-227801","桐荫覆满深院，围栏外花木萦回，三位宫女消磨着悠长白日。红衣女子斜身倚过小杌，抬手遥遥指向前方，似唤榻上友人共赏景致，罗裙纹饰随抬手动作柔婉舒展。榻上宫女支颐托腮，目光追着前者指尖，眉眼浸着慵懒娇柔。立在侧旁的侍女垂眸静立，敛着恭谨自持。\n\n全幅设色古雅妍丽，衣物质感纤毫毕现，花木围栏皆以细笔晕染，棕褐绢底衬得满幅宁和。画中无宫闱沉郁，只将深宫日常里松弛闲散的片刻定格，把少女间的娇憨意趣藏在细腻笔触中，晕开宋时独有的雅致闲淡。",[23,24,137,25,914,7,28,83,59,313,4187,9063,65,63],"凳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc5296a5a36c0ab6eb8605bdcbdefd0.jpg",[],{"id":9067,"slug":9068,"title":9069,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":9070,"thumbUrl":9071,"material":28,"size":1081,"collection":220,"collections":9072,"showCount":9047,"zanCount":1769,"manualWeight":48,"mainColor":145},222751,"xian-e-chang-chun-tu-07a-lang-shi-ning-222751","仙萼长春图-07a",[23,24,25,7,28,212,248,411,249,409,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb31a611f6bc17b2cd92a02ab60f10f.jpg",[],{"id":9074,"slug":9075,"title":9076,"dynasty":228,"author":229,"museum":1129,"description":9077,"tags":9078,"thumbUrl":9079,"material":40,"size":9080,"collection":44,"collections":9081,"showCount":9047,"zanCount":1769,"manualWeight":48,"mainColor":49},221714,"ba-jiao-tang-zi-tu-qian-xuan-221714","芭蕉唐子图","图绘三个孩童呆在一个似沙窖一样的场地里，二孩端坐，一孩侧卧，皆专心致志玩耍；后面一块蓝色湖石耸立，形状奇特，数棵芭蕉长势茂盛，叶面碧绿宽大，生机勃勃。",[23,24,28,7,83,195,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adc604b34d72f5e7124ec9b6584ce7d.jpg","25.2×21cm",[44,45],{"id":9083,"slug":9084,"title":9085,"dynasty":18,"author":326,"museum":134,"description":9086,"tags":9087,"thumbUrl":9088,"material":67,"size":9089,"collection":42,"collections":9090,"showCount":9047,"zanCount":1769,"manualWeight":48,"mainColor":49},221344,"la-mei-shan-qin-tu-zhou-zhao-ji-221344","腊梅山禽图轴","画面构图十分简约，两丛开花的萱草，一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁。\n画家笔墨细致。萱草、梅树、花朵的轮廓，都用工细线条勾勒，树杆的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。\n两只挤在一起的白头翁最为传神，鸟头都朝向左前方，呼应着左边的留白。身体成交叉向，两只鸟眼圆溜溜，显得机警而敏感，似乎一有风吹草动，随时就要腾空而去。",[23,24,137,155,7,28,212,637,822,7448,173,284,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbda2c89bcfa6df1b60effce2a1968.jpg","82.8x52.8cm",[42,237,45],{"id":9092,"slug":9093,"title":9094,"dynasty":132,"author":9095,"museum":20,"description":9096,"tags":9097,"thumbUrl":9098,"material":122,"size":9099,"collection":182,"collections":9100,"showCount":9047,"zanCount":48,"manualWeight":48,"mainColor":145},221160,"gao-shi-tu-juan-wei-xian-221160","高士图卷","卫贤","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。\n此图曾经宋周密《云烟过眼录》，明张丑《清河书画舫》、清孙承泽《庚子销夏记》、安岐《墨缘汇观》、《石渠宝笈·续编》、阮元《石渠随笔》等书著录，是一件递藏有绪、鉴定界公认的五代卫贤真迹。",[23,24,7,81,28,172,29,83,84,34,1797,92,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd234cb19159b5ecad6fb82a14b63fd9.jpg","纵134.5厘米，横52.5厘米。",[182,125],{"id":9102,"slug":9103,"title":9104,"dynasty":150,"author":2080,"museum":134,"description":7982,"tags":9105,"thumbUrl":9106,"material":235,"size":2085,"collection":220,"collections":9107,"showCount":9047,"zanCount":1769,"manualWeight":48,"mainColor":145},220332,"cao-chong-hua-hui-hu-shi-si-ping-ling-xiao-ju-lian-220332","草虫花卉湖石四屏-凌霄",[23,24,137,155,28,7,298,410,159,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c30eb79bde7328d62f40006fb6c480.jpg",[],{"id":9109,"slug":9110,"title":3433,"dynasty":18,"author":191,"museum":245,"description":9111,"tags":9112,"thumbUrl":9113,"material":100,"size":9114,"collection":45,"collections":9115,"showCount":9047,"zanCount":1084,"manualWeight":48,"mainColor":49},219054,"ying-xi-tu-yi-ming-219054","苍树虬枝荫蔽下，一架斜搭的棚架成了稚子的欢闹场。红衣孩童伏在架面，似要顺着木纹滑下，姿态憨拙可爱；旁侧小儿伸手引伴，另一个正手脚并用地向上攀爬，顶端的孩子扬臂欢笑，满是得意。笔墨细腻处，衣纹的褶皱、孩童的发髻皆清晰可见，质朴的色调晕染出温润的氛围。画面无繁复修饰，却将童年的天真烂漫描摹得淋漓尽致，仿佛能听见稚子的嬉笑声穿透时光，让观者也不禁被这份纯粹的欢愉所感染，沉醉在那片无忧的童趣里。",[137,24,25,7,28,83,3435,313,1029,6142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cdaf16c7bbadec7066e3e97e58d9b97.jpg","22.3x20.7",[45],{"id":9117,"slug":9118,"title":1233,"dynasty":76,"author":191,"museum":367,"description":9119,"tags":9120,"thumbUrl":9121,"material":100,"size":9122,"collection":237,"collections":9123,"showCount":9047,"zanCount":48,"manualWeight":48,"mainColor":49},216733,"hua-niao-tu-yi-ming-216733","花鸟图是中国明朝时期的一种流行的图画作品，通常用来装饰宫殿、庙宇、寺庙和民间住宅。花鸟图画的主题是花和鸟，这些图画通常具有浓郁的艺术气息，并且富有想象力。花鸟图画的风格各异，有的呈现出绚丽多彩的色彩，有的则更加简洁和精细。花鸟图画被广泛地应用于家具、屏风、纸品等各种物品上，为人们的生活带来美感和情感的满足。",[23,24,25,28,7,212,299,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ee16ee0d6aa3b7e54d2fc25984cc1c.jpg","26x22.2cm",[237],{"id":9125,"slug":9126,"title":9127,"dynasty":150,"author":2092,"museum":245,"description":9128,"tags":9129,"thumbUrl":9133,"material":1397,"size":1398,"collection":220,"collections":9134,"showCount":9135,"zanCount":1769,"manualWeight":48,"mainColor":49},290321,"sui-chao-huan-qing-tu-zhou-yao-wen-han-290321","岁朝欢庆图轴","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[137,24,155,28,7,81,83,84,98,1744,9130,730,173,9131,9132],"欢庆","岁朝","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf8387fdb8f15f8876fbb2dd7fcc6d29.jpg",[],104,{"id":9137,"slug":9138,"title":9139,"dynasty":150,"author":9140,"museum":245,"description":6375,"tags":9141,"thumbUrl":9143,"material":220,"size":220,"collection":220,"collections":9144,"showCount":9135,"zanCount":48,"manualWeight":48,"mainColor":145},234591,"jin-yu-wan-shan-duan-xue-hai-234591","金鱼纨扇","段学海",[24,25,914,7,28,212,8883,250,9142],"松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f8c809ca71eff535a97f2bdaa63cab.jpg",[],{"id":9146,"slug":9147,"title":9148,"dynasty":150,"author":578,"museum":245,"description":9149,"tags":9150,"thumbUrl":9151,"material":220,"size":220,"collection":220,"collections":9152,"showCount":9135,"zanCount":48,"manualWeight":48,"mainColor":145},230120,"ping-lan-shang-he-tu-ren-yi-230120","凭栏赏荷图","《任伯年绘画作品图录》是 27年5月1日出版的图书，由任伯年编著。\n出版社: ; 第1版 (27年5月1日) ISBN: 755441 条形码: 尺寸: 22.2 7.5 cm 重量: .9 Kg 《任伯年绘画作品图录(套装上下卷)》内容简介：任伯年的艺术像海派诸家一样，以个性鲜明的艺术风貌反映了怫郁昂藏而又充满生机的时代气息，一变晚清文人画家笔下的雅人高致、陈陈相因与不食人间烟火，作品立意由出世而入世，艺术趣味由雅转“俗”，艺术形式由千篇一律而化为多姿多彩。\n他的艺术风格生动雅丽，明快清新，既不同于赵之谦的朴茂道艳，虚谷的冷隽超逸，也有别于吴昌硕的苍浑醇厚，加以多能兼善，题材广泛，意趣盎然，技艺超妙，诗情洋溢，某些人物画更是寄托深远，所以生前身后，声誉极高，一直被认为是海派的重要代表之一。\n《任伯年绘画作品图录(套装上下卷)(上卷)》目录： 1865年 乙丑 1.仕女图 1866年 丙寅 2.小浃江话别图 .悔花仕女图 1867年 丁卯 4.松下问道图 5.孔雀牡丹图 6. 7.范湖居士六十八岁小像 8.授书图 9.四李人物屏之一 1.四季人物屏之二 11.四季人物屏之三 12.四季人物屏之四 1868年 戊辰 1.斗梅图 14.沙馥三十九岁小像 15.佩秋夫人小像(合作) 16.横云山民行乞图 17.陈允升像 18.榴生像 19.任阜长像 2.水草金鱼图 21. 22.悟生出尘图 2.梅柏白鹏图 1869年 己巳 24.任淞云像(合作) 187年 庚午 25.新秋鹅浴图 26.松鹤图 27.吹箫引凤图 28.访友图 29.人物图 1871年 辛未 .孔雀芭蕉图 1872年 壬申 1.钟馗图 2.凤凰牡丹图 .献瑞图 4.钟馗图 5.礼佛图 6.花蝶图 7.南瓜三鸡图 8.水仙飞禽图 9.芭蕉燕子图 4.夜荷栖鸭图 41.蕉花母鸡图 42.牡丹猫石图 4.山雨欲来风满楼 44.花鸟册(合作) 45.游艇吟箫图 46.凭栏赏荷图 187年 癸酉 47.爱莲图 48.葵花双鸡图 49.残荷鹭鸶图 5.茂叔爱莲图 51.葛仲华二十七岁小像 52.松鹤寿柏图 5.三思图 54.牵牛菖蒲图 1874年 甲戌 55.钟馗图 56.二老并坐图 57.苏武牧羊图 58.女仙图 59.红薇飞禽图 6.苏武牧羊图 61.富贵长寿 62.三羊开泰 6.芍药幽禽图 64.花鸟扇 1875年 乙亥 65.牡丹图 …… 《任伯年绘画作品图录(套装上下卷)(下卷)》目录： 1886年 丙戌 76.三仙图 77.东坡玩砚图 78.东坡玩砚图 79.桃花八哥 8.深山观泉图 81.牧羊图 82.仙鹤 8.听溪图 84.承天夜游图 85. 86.芦鸭图 87.幽鸟鸣春图 88.隔帘规梅图 89.松鹤竹石图 9.桃石群鸟图 91.桃源问津图 92.苍松紫藤图 9.枇杷栖禽图 94.临八人山人八哥图 95.仿高克恭云山图 96.山水阁页 97.玉兰四禽图 98.花鸟册 99.桃花小鸟图 4.仿石田山水图 41.银河秋浅图 1887年 丁亥 42.村居立锄图 4.钟馗图 44.高邕之像 45.松下论诗图 46.童子斗蟋蟀图 47.寒林高士 48.苏长公石钟辨讹图 49.策马图 41.牧羊图 411.岁朝图 412.松鸠图 41.桃鹅图 414.花鸟册 415.封侯图 416.萍花八哥图 417.江上秋痕图 418.天竹白猫图 419.焦叶题书图 42.秋江渔父图 421.紫微鸳鸯图 422.桃石图 1888年 戊子 42. 424.女娲炼石图 425.归牧图 426. 427.寒林牧马图 428.玉局参禅图 429.金谷园图 4.芭蕉狸猫图 41.苏武牧羊图 42.羲之爱鹅图 4.仕女图册之一 44.仕女图册之二 45.仕女图册之三 46.仕女图册之四 47.仕女图册之五 48.仕女图册之六 49.仕女图册之七 44.仕女图册之八 441.仕女图册之九 442.仕女图册之十 44.仕女图册之十一 444.仕女图册之十二 445.午瑞图 446.白猫双雀图 447.岁朝清供图 448.雀声藤影 449.猫鸟图 45.柳塘清趣图 451.红松仙鹤图 ……",[23,137,24,25,155,28,7,83,157,248,214,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66ee07d43326e2168f004fc64dd0a95.jpg",[],{"id":9154,"slug":9155,"title":9156,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":9157,"thumbUrl":9158,"material":1397,"size":1398,"collection":220,"collections":9159,"showCount":9135,"zanCount":48,"manualWeight":48,"mainColor":145},228959,"mu-dan-tu-ce-jiang-ting-xi-228959","牡丹图册",[23,25,7,28,212,298,285,284,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb801dbc41af410daf446972498e3c49f.jpg",[],{"id":9161,"slug":9162,"title":9163,"dynasty":18,"author":191,"museum":245,"description":9164,"tags":9165,"thumbUrl":9166,"material":40,"size":9167,"collection":220,"collections":9168,"showCount":9135,"zanCount":1084,"manualWeight":48,"mainColor":49},223374,"feng-huang-tu-zhou-yi-ming-223374","凤凰图轴","图上一只蓝翎凤凰立于花丛中，红冠鲜艳，眼神威严、犀利，羽毛七彩斑斓，尾翎修长，单脚站立彰显百鸟之王的尊贵；四周牡丹盛开，花团锦簇，丹顶鹤、鸳鸯数只陪伴左右。此幅无款无印，应出自宫廷画家之手，宫廷风格甚浓。",[23,137,24,155,7,28,212,316,60,1435,298,34,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b738fbba9f87096a63c79173451352a.jpg","92x43cm",[],{"id":9170,"slug":9171,"title":9172,"dynasty":150,"author":433,"museum":20,"description":9173,"tags":9174,"thumbUrl":9175,"material":9176,"size":9177,"collection":44,"collections":9178,"showCount":9135,"zanCount":943,"manualWeight":48,"mainColor":49},222874,"bai-zi-tu-leng-mei-222874","百子图","百子的典故最早出于《诗经》，是歌颂周文王子孙众多的。画面常用谐音谐意，寓意多福多寿，多子多孙，子孙昌盛，万代延续。《百子图》描绘了一百个天真烂漫的孩子在亭台楼阁间互相追逐嬉戏，他们有的手执彩旗，好像在站岗放哨，还有的在捉迷藏、打秋千、下棋、乘船、玩木偶、放鞭炮…每个孩子神态各异，无一雷同，惟妙惟肖，栩栩如生。孩童服饰色泽艳丽，线条流畅，刻画精致形像都各不相同，表情天真可爱，十分有趣，将小孩的调皮可爱之处都表现得淋漓尽致。背景配以湖水荡漾，荷花盛开，岸柳垂荫，芭蕉葱郁，古木森天景色；将亭台、楼阁、水榭、宫室，因地制宜，聚散错落，一应纳入，园林界画，景色秀丽，令人应接不暇。\n笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔法极精细。绘画用料为内廷专供，尤其色料多为专用的矿物制品，色泽鲜艳明丽，特征明显，是典型的宫廷题材珍品。\n通篇气度雍容典雅，构图疏密有致，其用笔细腻、精工，设色妍丽清秀而注意质感，不乏对光影明暗的追求与立体透视的体现，显然受到西洋绘画技巧的影响",[23,7,28,26,83,176,84,1707,248,1599,34,214,92,249,5898,91,8259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80e3fe3947e693b07fbefa84c8d0fd0.jpg","设色，绫本，手卷","纵40厘米，横200厘米",[44],{"id":9180,"slug":9181,"title":9182,"dynasty":76,"author":6899,"museum":134,"description":6900,"tags":9183,"thumbUrl":9184,"material":67,"size":9185,"collection":44,"collections":9186,"showCount":9135,"zanCount":48,"manualWeight":48,"mainColor":145},222066,"mi-le-fo-wu-bin-222066","弥勒佛",[23,24,25,28,7,194,83,519,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce39456c770de63cb1cae3b58b4969d.jpg","62.3 x 35.3厘米",[44,45],{"id":9188,"slug":9189,"title":9190,"dynasty":18,"author":1838,"museum":1129,"description":9191,"tags":9192,"thumbUrl":9194,"material":424,"size":9195,"collection":42,"collections":9196,"showCount":9135,"zanCount":943,"manualWeight":48,"mainColor":49},221353,"zhen-tong-kui-lei-tu-su-han-chen-221353","侲童傀儡图","本画署款苏汉臣所作，苏汉臣（1094―1172），汴梁（今河南开封）人，宋代宫廷画家，历徽宗、高宗、孝宗三朝。苏汉臣画师刘宗古，善画仙佛人物，尤以婴戏图题材最为著名。苏汉臣在宋代画家中以画儿童婴戏著称，因此后世凡见宋人无款婴戏图常题苏汉臣作用来提高画的价值。宋朝社会流行木偶戏，宋人称之为“傀儡戏”，同时傀儡也被制成了儿童的玩具。本幅苏汉臣所画的《侲童傀儡图》描绘的正是三个小童在玩“杖头傀儡”的场景。作者笔下的小童神情专注，笔法简洁细劲，设色典雅。石色的使用最忌板滞轻浮，而本画中的石色明丽沉稳，堪称典范。图中假山的画法与宋徽宗《祥龙石图》如出一辙，阴阳凹凸皆以龙麟状的墨块点画而成，这与南宋院体画喜用小斧劈皴不同。这也在一定程度上反映了作者传承的是北宋宣和院体画风。",[23,137,24,7,28,83,5898,9193,34,706],"傀儡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128d6f14c797843ff768db6c9441c208.jpg","23.6×23.2cm",[42,44,45],{"id":9198,"slug":9199,"title":9200,"dynasty":18,"author":1774,"museum":134,"description":9201,"tags":9202,"thumbUrl":9203,"material":100,"size":9204,"collection":182,"collections":9205,"showCount":9135,"zanCount":943,"manualWeight":48,"mainColor":49},218527,"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[23,137,24,25,26,27,28,83,29,7,211,31,34,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[182],{"id":9207,"slug":9208,"title":9209,"dynasty":18,"author":9210,"museum":4748,"description":9211,"tags":9212,"thumbUrl":9213,"material":100,"size":9214,"collection":44,"collections":9215,"showCount":9135,"zanCount":943,"manualWeight":48,"mainColor":145},215008,"xie-shen-lao-jun-bian-hua-shi-shi-tu-wang-li-yong-215008","写神老君变化十式图","王利用","道教以老子为祖先，赋予这位先秦哲人以神秘而神圣的光芒，赋予他自己神奇的力量。在这幅画中，老子被分段描绘在横幅上，从天地初开到殷商时期，老子化身为顾主、金阙皇帝、玉华子、大成子、广寿子、广成子、镇星子、解颐子、牟成子、川桓子等真实人格。宋朝皇帝提倡道教，所以这类题材的绘画很受欢迎。",[23,137,24,25,26,7,28,194,83,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474edbfbed198eb48c688584feee12ec.jpg","44.8x188.4",[44],{"id":9217,"slug":9218,"title":9219,"dynasty":228,"author":648,"museum":3836,"description":9220,"tags":9221,"thumbUrl":9223,"material":100,"size":9224,"collection":237,"collections":9225,"showCount":9135,"zanCount":1769,"manualWeight":48,"mainColor":49},214823,"da-dou-tu-ren-ren-fa-214823","大豆图","任仁发是中国元代的一位画家，他的作品中有一幅著名的名为《大豆图》的画作。《大豆图》是一幅巨幅的屏风画，画面上描绘了一片肥沃的大豆田，田里满是绿油油的大豆苗和成熟的大豆果实，非常生动形象。据说，这幅画是任仁发在他的经历过艰苦卓绝的农村生活后创作的，他希望通过这幅画向人们展示农村的美好景象，并寄托对故乡的怀念之情。任仁发的《大豆图》被誉为元代绘画的杰作，并被认为是中国古代农业画的典范。",[24,28,7,9222,612,158],"大豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fabe52ec754cf337e53d8710c0851e8.jpg","18.7x19.4cm",[237],{"id":9227,"slug":9228,"title":9229,"dynasty":190,"author":9230,"museum":245,"description":9231,"tags":9232,"thumbUrl":9233,"material":1397,"size":1398,"collection":220,"collections":9234,"showCount":9235,"zanCount":1769,"manualWeight":48,"mainColor":49},230653,"fo-tuo-xiang-li-zhou-xi-zang-tang-ka-230653","佛陀像立轴","西藏唐卡","西藏唐卡是用彩缎装饰成的一种卷轴画，多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡，历来被人们视为珍宝。\n西藏唐卡是用彩缎装饰成的一种卷轴画，具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，历来被人们视为珍宝。唐卡的质地是多种多样的。多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡。西藏唐卡的主要内容是反映宗教这一主题，作为宗教文化，唐卡是前人留下来的历史遗产，是研究古代绘画艺术的宝贵资料。",[23,155,194,28,83,2602,409,5468,5467,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840c96ea911ffbfafc10c83a61d794ef.jpg",[],103,{"id":9237,"slug":9238,"title":9239,"dynasty":150,"author":2254,"museum":434,"description":2255,"tags":9240,"thumbUrl":9241,"material":67,"size":2259,"collection":220,"collections":9242,"showCount":9235,"zanCount":943,"manualWeight":48,"mainColor":145},222683,"si-ji-hua-niao-tu-ping-6-chen-mei-222683","四季花鸟图屏6",[23,24,7,28,212,492,299,159,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78822ac937e1da347d3173f152b03859.jpg",[],{"id":9244,"slug":9245,"title":9246,"dynasty":18,"author":9247,"museum":134,"description":9248,"tags":9249,"thumbUrl":9252,"material":100,"size":9253,"collection":42,"collections":9254,"showCount":9235,"zanCount":48,"manualWeight":48,"mainColor":49},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,137,24,25,26,28,7,29,85,86,113,34,9250,9251,178,176],"农舍","农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[42,182],{"id":9256,"slug":9257,"title":9258,"dynasty":76,"author":191,"museum":134,"description":9259,"tags":9260,"thumbUrl":9263,"material":100,"size":9264,"collection":45,"collections":9265,"showCount":9235,"zanCount":48,"manualWeight":48,"mainColor":49},219353,"hua-niao-tu-xing-hua-shuang-ya-yi-ming-219353","花鸟图-杏花双鸭","此幅绘柳岸池塘，杏花繁茂，双燕翻飞，翠鸟窥机、二鸭嬉戏。",[24,28,7,212,1695,9261,1028,178,5053,197,9262],"双鸭","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08be92aa3800553c043da2d21b1ba09.jpg","161.5x80.1",[45],{"id":9267,"slug":9268,"title":9269,"dynasty":76,"author":4637,"museum":9270,"description":9271,"tags":9272,"thumbUrl":9274,"material":100,"size":9275,"collection":237,"collections":9276,"showCount":9235,"zanCount":1769,"manualWeight":48,"mainColor":49},219115,"zao-chun-hua-qin-tu-yin-hong-219115","早春花禽图","金贝尔艺术博物馆","枯枝盘曲如铁，山茶吐艳似燃，几枝早梅缀着淡粉花苞，悄然泄露春讯。禽鸟或栖于岩畔顾盼，或立于枝间啁啾，翅羽纹理细如毫发，喙爪色泽鲜妍如生。地面鹌鹑缩颈梳羽，与岩上对视双鸟相映成趣，动静之间满是早春的慵懒与生机。设色温润雅致，墨骨与彩晕交融，既见工笔细腻，又含写意灵动。整幅画如无声春曲，将料峭时节的萌动鲜活凝于绢素，观者仿佛能嗅到微香、听见轻啼，尽览自然生机的悄然苏醒。",[23,24,25,7,28,212,211,86,409,1091,34,9273],"早春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569747867dc70978b50213d39ad4728a.jpg","纵168.7cm横102.7cm",[237],{"id":9278,"slug":9279,"title":9280,"dynasty":18,"author":326,"museum":134,"description":9281,"tags":9282,"thumbUrl":9283,"material":2373,"size":9284,"collection":42,"collections":9285,"showCount":9235,"zanCount":48,"manualWeight":48,"mainColor":49},218788,"hua-ying-tu-zhao-ji-218788","画鹰图","该图描绘了一只雄鹰威风凛凛地站在一棵枯树的树干上，在孔武有力的鹰嘴帮助下，仰头梳理自己的羽毛。",[23,24,25,7,855,212,2362,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff856060d6a30964688536f3e2943de33.jpg","88.8x43",[42],{"id":9287,"slug":9288,"title":9289,"dynasty":228,"author":5636,"museum":406,"description":9290,"tags":9291,"thumbUrl":9292,"material":2373,"size":9293,"collection":237,"collections":9294,"showCount":9235,"zanCount":48,"manualWeight":48,"mainColor":145},218762,"zhu-shi-ji-qin-tu-wang-yuan-218762","竹石集禽图","王渊（生卒年不详），字若水，号澹轩，钱塘（今浙江杭州）人。元代后期职业画家，擅画水墨花鸟、竹石、山水等。\n此图又名《花竹禽雀图》，以墨笔描绘园中禽雀栖息翱翔的场景。画面以一雄一雌的两禽为主体，雄禽立于湖石之上，炯炯有神，展现出胸部美丽斑斓的羽毛；辞禽于湖石下仰头回眸。在石后杜鹃盛开、竹枝生长，竹稍鸟群或栖息欲飞、或翻飞腾跃。\n技法上，王渊充分发挥墨彩的效果，通过运用浓淡枯湿的不同墨色，将水墨皴染和细笔勾勒等多种手法相结合，生动写实地表现出湖石、花朵、竹枝、禽鸟的不同质感，呈现出禽鸟的丰富神态，绘画细腻写实，是元代水墨画中的典型作品。",[23,24,137,25,155,855,7,173,156,314,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5497a6ceb9b1d521898be3b33cd857fc.jpg","纵137.5 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横5厘米。",[137,24,25,155,28,7,212,298,927,299,211,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4c0d3181e223fbb9eb02524df05a4.jpg",[],{"id":9540,"slug":9541,"title":9542,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":9543,"thumbUrl":9547,"material":28,"size":1081,"collection":220,"collections":9548,"showCount":9530,"zanCount":48,"manualWeight":48,"mainColor":145},222752,"xian-e-chang-chun-tu-07b-lang-shi-ning-222752","仙萼长春图-07b",[23,137,24,25,519,28,7,212,178,9544,9545,9546],"麻雀","豆花","稷穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d348e9e77d0b308e8a29479ec471bb0.jpg",[],{"id":9550,"slug":9551,"title":9552,"dynasty":150,"author":592,"museum":406,"description":9553,"tags":9554,"thumbUrl":9555,"material":100,"size":1349,"collection":220,"collections":9556,"showCount":9530,"zanCount":1084,"manualWeight":48,"mainColor":145},219818,"hua-hui-shi-kai-5-yun-shou-ping-219818","花卉十开-5","此作用没骨法绘就，不见墨线勾勒，纯以色泽晕染造型。粉紫月季花瓣自瓣根至瓣尖由深渐浅，层层晕开，盛放者娇柔饱满，含苞花蕾玲珑含露，柔媚动人。叶片以深浅青绿区分阴阳向背，色泽清润鲜活，将月季的盎然生机传神铺陈。画面右侧题字配朱印，与花叶相映成趣，融笔墨意趣与写生精妙为一体，尽显雅致秀逸的文人意趣，把花卉清妍之态鲜活定格，笔墨简淡却意蕴悠长，尽显淡雅明净的审美意趣，将月季柔媚风姿静静铺展于绢素之上。",[24,28,595,212,487,409,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bce3f469d9ea7fa61fd921e063a2d5f.jpg",[],{"id":9558,"slug":9559,"title":9560,"dynasty":76,"author":191,"museum":152,"description":9561,"tags":9562,"thumbUrl":9563,"material":28,"size":220,"collection":44,"collections":9564,"showCount":9530,"zanCount":48,"manualWeight":48,"mainColor":49},219244,"zeng-zhang-tian-wang-xiang-yi-ming-219244","增长天王像","青面怒目，须髯戟张，增长天王的威严扑面而来。铠甲错金缀彩，纹饰繁复如锦，每一处云纹、兽首皆精雕细琢，尽显庄重华贵。手中长剑横陈，寒光隐现，似欲斩断世间烦恼；身侧旌旗飘曳，彩带翻飞，裹挟着风雷之势。周围护法形象各异，或嗔目咆哮，或持械拱卫，动静之间，张力十足。色彩沉厚而不失明艳，线条刚劲又含灵动，将护法神祇的勇猛与神圣刻画得入木三分，仿佛能感受到那份震慑邪魔、守护正法的磅礴力量。整幅画作既保留了宗教造像的庄严法度，又以细腻笔触赋予形象鲜活生命力，尽显传统绘画的精湛技艺与精神内涵。",[23,24,7,28,5470,194,83,1787,2602,344,677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d8acda20c1ab0fd65a2786e1df0fa2.jpg",[44],{"id":9566,"slug":9567,"title":9568,"dynasty":18,"author":9569,"museum":134,"description":9570,"tags":9571,"thumbUrl":9579,"material":100,"size":9580,"collection":237,"collections":9581,"showCount":9530,"zanCount":1769,"manualWeight":48,"mainColor":145},219202,"xian-yan-yuan-lu-tu-ma-shi-rong-219202","仙岩猿鹿图","马世荣","岩岫间古木扶疏，虬枝盘曲，叶态丰茂，翠影婆娑。猿猱或攀附枝柯，或隐于叶隙，姿态灵动；麋鹿潜身丛筱，茸角微露，神情悠然。山石皴法细腻，纹理毕现，苔点繁密如星，更添苍润之气。设色古雅沉静，赭石为底衬出林木葱郁，墨色浓淡相宜，线条细劲却不失婉转。整幅画将仙岩幽邃与生灵自在融于一体，笔墨工致中见生机，意境空灵里藏野趣，仿佛能闻林间风声、猿啼鹿鸣，尽显宋人对自然生灵的细腻观照与诗意捕捉。",[23,24,914,28,7,582,5689,1817,1797,34,211,9572,9573,9574,9575,9576,9577,9578],"宋代绘画","花鸟兽类","细腻笔触","自然景物","山石景观","枝叶树木","动物形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022e7f9aab8d54c6068b8efa4d35a5e4.jpg","26.6x26.6cm",[237,42],{"id":9583,"slug":9584,"title":9585,"dynasty":18,"author":9383,"museum":134,"description":9586,"tags":9587,"thumbUrl":9589,"material":100,"size":9590,"collection":42,"collections":9591,"showCount":9530,"zanCount":48,"manualWeight":48,"mainColor":49},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[23,24,25,914,855,29,7,9588,1851,176,33,196,4188,4066,313,83],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[42,182],{"id":9593,"slug":9594,"title":9595,"dynasty":132,"author":295,"museum":134,"description":9596,"tags":9597,"thumbUrl":9598,"material":100,"size":9599,"collection":237,"collections":9600,"showCount":9530,"zanCount":48,"manualWeight":48,"mainColor":49},218703,"ji-he-tu-xu-xi-218703","芰荷图","徐熙出生于江宁（今南京），也有记载认为他出生于锺陵（今江西南昌进贤县），一生从没有担任官职，只是专心绘画，他的绘画风格质朴简练，他创作了水墨淡彩的绘画方法，运用墨的浓淡变化，勾点兼施，画出花卉的枝叶萼蕊，略施淡彩，使色不碍墨不掩笔迹而生气动人。善于描绘汀花野竹、水鸟渊鱼、凫雁、鹭鸶、蒲藻、虾鱼、丛艳、折枝、园蔬药苗等。",[23,24,25,155,212,855,28,7,157,248,249,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2cbafe8b7c62d5722cbe40085ab683.jpg","97.6x46.2cm",[237],{"id":9602,"slug":9603,"title":189,"dynasty":228,"author":191,"museum":245,"description":9604,"tags":9605,"thumbUrl":9606,"material":100,"size":9607,"collection":44,"collections":9608,"showCount":9530,"zanCount":48,"manualWeight":48,"mainColor":49},218444,"shui-yue-guan-yin-tu-yi-ming-218444","月色漫过绢面，晕开一层古雅的昏黄。观音趺坐于石上，衣袂如流水般铺展，垂眸间似含万顷慈悲。身后水月相涵，清波与月影交融成虚灵的境象，竹影疏斜掠过衣纹，添几分清寂禅意。线条柔婉却藏力道，每一笔都似在诉说禅心的空灵——不著凡尘，只留月华与水韵缠绵。这帧古画如同一枚被时光浸润的禅偈，静静铺展时，便将观者引入那片空明澄澈的水月世界，心也随之沉静下来。衣纹的流转、月色的朦胧、禅意的悠远，在方寸之间交织成一场无声的修行，让浮躁被温柔涤荡，只余对空性的敬畏与向往。",[23,24,25,155,194,7,283,28,83,199,2653,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e706788ef465ef888e2024e9954d0f.jpg","83.8x43.2",[44],{"id":9610,"slug":9611,"title":9612,"dynasty":150,"author":2092,"museum":245,"description":9613,"tags":9614,"thumbUrl":9615,"material":100,"size":220,"collection":44,"collections":9616,"showCount":9530,"zanCount":1769,"manualWeight":48,"mainColor":500},217227,"li-dai-di-wang-zhen-xiang-yao-wen-han-217227","历代帝王真像","姚文瀚的《历代帝王真像图》是一部巨著，包含了从秦始皇到清朝乾隆帝的220位帝王的真像。这幅画卷以宫廷内务府的资料为基础，经过姚文瀚的精心研究和描绘，每一位帝王的真像都非常逼真，与当时的实际相差无几。\n\n姚文瀚在制作《历代帝王真像图》时，花了超过20年的时间，并且聘请了许多著名的艺术家协助他的工作。最终，他完成了这部传世的巨著，使得我们能够通过这幅画卷了解到中国历史上许多伟大的帝王的长相。",[24,25,7,28,83,341,63,730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf5715b9cb0f6635601027daac360af.jpg",[44],{"id":9618,"slug":9619,"title":9620,"dynasty":150,"author":592,"museum":245,"description":3138,"tags":9621,"thumbUrl":9622,"material":1397,"size":1398,"collection":220,"collections":9623,"showCount":9624,"zanCount":48,"manualWeight":48,"mainColor":145},290525,"ju-hua-zhou-yun-shou-ping-290525","菊花轴",[137,24,155,25,28,212,689,159,173,284,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6f67635860a905d349624dcec02c18.jpg",[],99,{"id":9626,"slug":9627,"title":5850,"dynasty":150,"author":516,"museum":245,"description":5851,"tags":9628,"thumbUrl":9629,"material":1397,"size":1398,"collection":237,"collections":9630,"showCount":9624,"zanCount":1769,"manualWeight":48,"mainColor":145},238346,"hua-hui-ce-dong-gao-238346",[24,25,212,519,28,7,174,487,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9149d6e60a547adda3d2705a79a31ea9.jpg",[237,45],{"id":9632,"slug":9633,"title":9634,"dynasty":150,"author":2080,"museum":134,"description":7982,"tags":9635,"thumbUrl":9636,"material":235,"size":2085,"collection":220,"collections":9637,"showCount":9624,"zanCount":1769,"manualWeight":48,"mainColor":145},220331,"cao-chong-hua-hui-hu-shi-si-ping-mu-dan-ju-lian-220331","草虫花卉湖石四屏-牡丹",[23,24,25,155,7,28,298,159,410,409,653,6402,4242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9405a060a876dc38c257ff27f089ad9e.jpg",[],{"id":9639,"slug":9640,"title":9641,"dynasty":76,"author":9642,"museum":230,"description":9643,"tags":9644,"thumbUrl":9646,"material":100,"size":9647,"collection":237,"collections":9648,"showCount":9624,"zanCount":1769,"manualWeight":48,"mainColor":49},219125,"han-liu-yuan-yang-tu-wang-feng-219125","寒柳鸳鸯图","王酆","图为两只鸳鸯在河边游泳的场景，其中一只已经在水中游动，另一只正在奔跑等待下水。 鸳鸯造型精巧，色墨交融，栩栩如生。 岸边画一枝老柳，笔墨老辣。 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“年初一”——“春节”。在这一岁之始，人们为了祈求新的一年平安吉祥，往往喜欢在厅堂挂一些“岁朝图”，图上画的象征平安祥瑞的花卉器物，在这寒冽萧瑟的严冬，给家宅带来明媚温煦的春意。这民间的风俗，始于唐代，起先不过是一些仕绅、文人在大年初一将金石、书画、古董等雅玩之物精心摆设于临窗的案几上，渐渐地也有将这些物品勾染成画挂壁，意在祈福纳祥。至宋代，这民俗流行宫廷内外，宋徽宗每逢春节将临，乃命其图画院的画师们描画冬季不能见到的花卉禽鸟，陈列宫中，以增添岁朝的喜庆气氛。此后，岁朝图的内容逐渐扩展，经明、清而至近现代，大至文房器物，小至灯笼、鞭炮、果蔬等日常生活用品，都成为图上的吉祥物，日益成为一种雅俗共赏、意蕴丰厚，融诗、书、画、印于一体的画种。",[23,24,25,155,855,7,173,284,285,200,409,9142,216,158,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23bfa3f92c3fbaf6e40503c0241d83.jpg","115.2x44.3公分",[237,45],{"id":9723,"slug":9724,"title":9725,"dynasty":228,"author":9726,"museum":5821,"description":9727,"tags":9728,"thumbUrl":9730,"material":100,"size":9731,"collection":44,"collections":9732,"showCount":9684,"zanCount":1084,"manualWeight":48,"mainColor":49},219908,"huang-jin-lv-tu-liu-yuan-219908","黄金缕图","刘元","图绘司马才仲昼寝入梦、苏小小翩然而至的情景。笔致精工，不论是人物的情态、衣着，还是廊柱、台阶以及室内之桌椅，均极为精细。",[23,24,7,28,83,67,283,9729,3048,344,2174],"烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d4b71eeaa09ae87d84db9d741bd8e7.jpg","28.9x73.4厘米",[44],{"id":9734,"slug":9735,"title":9736,"dynasty":76,"author":191,"museum":9737,"description":9738,"tags":9739,"thumbUrl":9741,"material":100,"size":9742,"collection":44,"collections":9743,"showCount":9684,"zanCount":1084,"manualWeight":48,"mainColor":49},219583,"zhen-qin-huo-lang-tu-yi-ming-219583","珍禽货郎图","印第安纳波利斯艺术博物馆","画面里货郎车层层叠叠，珍禽翎羽、精巧玩物错落排布，老者俯身递出物件，眉眼含着温煦笑意。周遭稚童各有神态，或踮脚抬首凝眸张望，或蹲坐嬉玩，灵动尽显。\n\n笔线细腻遒劲，晕染古雅柔和，将巷陌间的鲜活烟火铺展开来，把货郎营生的热闹、孩童嬉游的天真揉为一处，藏着市井日常的融融暖意，尽显世俗浮生的悠然意趣，是描摹民间烟火气的精妙之作。",[23,24,7,28,83,1744,6512,1091,216,9740,677],"传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1b0f675a44b3481be33a930c92e338.jpg","纵161.5横97.2厘米",[44,45],{"id":9745,"slug":9746,"title":9747,"dynasty":150,"author":260,"museum":20,"description":9748,"tags":9749,"thumbUrl":9750,"material":40,"size":9751,"collection":237,"collections":9752,"showCount":9753,"zanCount":1084,"manualWeight":48,"mainColor":145},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[24,137,25,155,7,28,795,83,112,178,29,1499,1797,705,31,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米",[237,182,44,45],97,{"id":9755,"slug":9756,"title":9757,"dynasty":76,"author":191,"museum":20,"description":7932,"tags":9758,"thumbUrl":9759,"material":424,"size":220,"collection":44,"collections":9760,"showCount":9753,"zanCount":1084,"manualWeight":48,"mainColor":49},236160,"zhang-fei-xiang-zhou-yi-ming-236160","张飞像轴",[24,155,28,83,7,1787,63,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc798faf4f2e36c88656db7ea294b9113.jpg",[44,45],{"id":9762,"slug":9763,"title":9764,"dynasty":190,"author":191,"museum":245,"description":9765,"tags":9766,"thumbUrl":9767,"material":1397,"size":1398,"collection":220,"collections":9768,"showCount":9753,"zanCount":48,"manualWeight":48,"mainColor":1833},231611,"fu-hua-qi-xiang-pu-xian-pu-sa-xiang-li-zhou-yi-ming-231611","佛画 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袁的画法继承宋代宫廷画的风格，结实、工细，体积感强。并能把雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，既精细入微，又气势磅礴，有力地提高了“界画”的表现能力，被推为清代“界画”第一。",[24,25,155,81,28,7,84,751,34,211,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541a38c45bc135a29e893993570190f9.jpg","纵104厘米，横49.5厘米",[182,45],{"id":9798,"slug":9799,"title":9800,"dynasty":76,"author":9801,"museum":245,"description":9802,"tags":9803,"thumbUrl":9806,"material":1397,"size":1398,"collection":220,"collections":9807,"showCount":9808,"zanCount":1769,"manualWeight":48,"mainColor":49},288002,"tang-yuan-xi-chun-tu-juan-zhu-zhan-ji-288002","唐苑嬉春图卷","朱瞻基","画面上画了五只猫，其动作神情都不一样。颜色趋于白花的猫。这种动物类的绘画里，无非就是两种要注意的。\n其一是造型。照猫画虎也行，照虎画猫也行，一定要把它的型抓住，神另说。这五只猫，每一只猫的形态还是很生动的。这只叼着鸟的猫，其回身的动作和眼神，都是一致的。",[23,24,137,26,7,28,581,156,409,9804,9805],"走兽","嬉春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0eac807c246b76d65c027745f5ba9a.jpg",[],96,{"id":9810,"slug":9811,"title":9812,"dynasty":18,"author":1838,"museum":245,"description":9813,"tags":9814,"thumbUrl":9817,"material":1397,"size":1398,"collection":220,"collections":9818,"showCount":9808,"zanCount":48,"manualWeight":48,"mainColor":49},287575,"dong-ri-xi-ying-tu-su-han-chen-287575","冬日戏婴图","图中画二童婴在庭园嬉戏。男孩左手拿着一根美丽的孔雀毛，女孩右手持一面绣花的小锦旗来回摇摆，逗着跟随着他们来回跑的小猫。画中描绘的虽然是冬景，但是花园中翠竹青青，茶花、梅花竞相开放。儿童形象富而不骄，华而不贵，充满宋代城市中的世俗生活情趣。整幅画面作者用笔工整细致，设色艳丽。技法纯熟，形神兼备。",[137,24,155,28,7,83,1744,637,156,520,581,9815,9816],"冬日","戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f4da80266afbaa0934659384b709df.jpg",[],{"id":9820,"slug":9821,"title":9822,"dynasty":76,"author":191,"museum":245,"description":9823,"tags":9824,"thumbUrl":9825,"material":67,"size":220,"collection":237,"collections":9826,"showCount":9808,"zanCount":1084,"manualWeight":48,"mainColor":49},236282,"wang-zi-yuan-hua-niao-ce-yi-ming-236282","王子元花鸟册","此作清雅悠然，绶带鸟栖于梨枝之上，翎毛以细笔丝描晕染，墨色层叠尽显绒羽柔泽，蓝首醒目，长尾轻曳，姿态娴静灵动。枝头梨花绽放，淡墨勾瓣，敷色轻浅柔润，将花瓣舒展之态描摹尽致。叶片以没骨晕染，浓淡晕化间尽显春日枝叶的鲜活生机。\n\n画面构图疏朗雅致，工写相融，于细腻笔触中藏着写意的悠然意趣，将禽鸟的灵动与花木的温婉相融，笔墨间晕开春日清和的淡远意境，尽显静谧雅致的文人闲情。",[24,25,519,28,7,212,299,62,453,677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0060be9a1a7849c84dd94d58fb96a4.jpg",[237,45],{"id":9828,"slug":9829,"title":9830,"dynasty":150,"author":9831,"museum":20,"description":9832,"tags":9833,"thumbUrl":9835,"material":424,"size":9836,"collection":44,"collections":9837,"showCount":9808,"zanCount":48,"manualWeight":48,"mainColor":145},236148,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236148","冷枚养正图书合册","张若霭","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[7,28,83,34,9834,705,92,1247],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506aab7253e1dccbdeebb1a3e5f16af2.jpg","纵三二·二厘米 横四二·三厘米",[44,45],{"id":9839,"slug":9840,"title":5850,"dynasty":150,"author":2047,"museum":245,"description":2048,"tags":9841,"thumbUrl":9842,"material":1397,"size":1398,"collection":237,"collections":9843,"showCount":9808,"zanCount":48,"manualWeight":48,"mainColor":145},235595,"hua-hui-ce-wang-wu-235595",[137,24,25,519,28,7,212,159,409,453,173,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[237,45],{"id":9845,"slug":9846,"title":9847,"dynasty":76,"author":191,"museum":152,"description":9848,"tags":9849,"thumbUrl":9850,"material":220,"size":220,"collection":220,"collections":9851,"showCount":9808,"zanCount":1084,"manualWeight":48,"mainColor":49},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[23,24,25,26,7,28,82,212,156,492,62,299,411,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],{"id":9853,"slug":9854,"title":9855,"dynasty":150,"author":260,"museum":20,"description":7575,"tags":9856,"thumbUrl":9857,"material":40,"size":7578,"collection":237,"collections":9858,"showCount":9808,"zanCount":1769,"manualWeight":48,"mainColor":145},222781,"hua-niao-ce-ye-lang-shi-ning-222781","花鸟册页",[23,137,24,25,519,7,28,212,637,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a60274f5f3dad5f48ce75b5aa1af22.jpg",[237,45],{"id":9860,"slug":9861,"title":9862,"dynasty":150,"author":2254,"museum":434,"description":2255,"tags":9863,"thumbUrl":9864,"material":67,"size":2259,"collection":220,"collections":9865,"showCount":9808,"zanCount":1769,"manualWeight":48,"mainColor":145},222684,"si-ji-hua-niao-tu-ping-7-chen-mei-222684","四季花鸟图屏7",[23,24,28,7,212,637,488,299,653,1797,1288,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaf378e4fccac3e55f9b45892458c5c.jpg",[],{"id":9867,"slug":9868,"title":9869,"dynasty":150,"author":191,"museum":134,"description":9870,"tags":9871,"thumbUrl":9873,"material":100,"size":9874,"collection":237,"collections":9875,"showCount":9808,"zanCount":1769,"manualWeight":48,"mainColor":145},218818,"fu-gui-ji-qing-tu-yi-ming-218818","富贵吉庆图","这幅画是在七色牡丹花下画了一对公鸡和母鸡接近小鸡的场景。牡丹的画法是恽代英式的，鸡的形状也很准确，采用的是略带西方色彩的凹版画法，所以这幅画应该是清代宫廷画家的作品。",[24,28,7,212,6132,9872,7909,298,197,315],"母鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b682bea290156c24b7bd4517051447.jpg","138.5x69cm",[237],{"id":9877,"slug":9878,"title":9879,"dynasty":18,"author":1275,"museum":230,"description":9880,"tags":9881,"thumbUrl":9882,"material":100,"size":220,"collection":182,"collections":9883,"showCount":9808,"zanCount":1769,"manualWeight":48,"mainColor":49},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[23,137,24,25,155,28,7,172,29,176,313,1500,83,1797,4066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[182],{"id":9885,"slug":9886,"title":4903,"dynasty":18,"author":191,"museum":134,"description":9887,"tags":9888,"thumbUrl":9889,"material":100,"size":9890,"collection":237,"collections":9891,"showCount":9808,"zanCount":1084,"manualWeight":48,"mainColor":49},216214,"xi-ma-tu-yi-ming-216214","洗马图是宋朝时期的一幅著名图画，其作者不详。这幅图展示了一群人在洗马，图中人物栩栩如生，每个人都有自己独特的表情和动作。洗马图被认为是中国古代绘画史上的杰作，其精细的绘画技巧和生动的人物造型吸引了许多观众的眼球。\n\n洗马图是在宋朝时期创作的，当时中国的绘画艺术正处于高峰期。在宋朝时期，绘画艺术得到了极大的发展，许多著名的绘画家都涌现出来，创作出了许多传世的杰作。洗马图就是其中的一例，其精细的绘画技巧和生动的人物造型使其成为了中国古代绘画史上的杰作。\n\n目前，洗马图被认为是中国古代艺术宝藏之一，并被收藏在台北故宫博物院之中。许多人都向往能够看到这幅珍贵的图画，并为其中的细节所惊叹。洗马图是中国古代艺术的杰作，值得我们去探究和珍视。",[24,25,137,7,28,83,112,313,81,1424],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b0938793c42dc54607d2778cc0ab9b.jpg","55x60.8cm",[237],{"id":9893,"slug":9894,"title":701,"dynasty":18,"author":191,"museum":3452,"description":9895,"tags":9896,"thumbUrl":9897,"material":100,"size":9898,"collection":42,"collections":9899,"showCount":9808,"zanCount":1769,"manualWeight":48,"mainColor":49},215141,"mu-niu-tu-yi-ming-215141","柳树下母子牛与牧童幽然自得，老牛正舔小水牛，使人很自然想起舔犊情深的成语。一牧童依坐在柳树下打盹欲睡，远处池塘水波拂动，柳树及所有青草一齐飘拂一边，显然是春风和熙的春天情境。",[23,24,7,28,83,113,313,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb029c7a8756d57f421eeee8d256b9e45.jpg","24.7x25.6cm",[42,237],{"id":9901,"slug":9902,"title":9903,"dynasty":76,"author":77,"museum":134,"description":9904,"tags":9905,"thumbUrl":9908,"material":100,"size":9909,"collection":182,"collections":9910,"showCount":9808,"zanCount":48,"manualWeight":48,"mainColor":145},214585,"lin-song-yuan-liu-jing-ce-gao-feng-yuan-hu-chou-ying-214585","临宋元六景册-高峰远湖","明代画家仇英的临宋元六景册是一件著名的绘画作品，其中的高峰远湖图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了仇英对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，仇英运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的高峰远湖是一幅清新而美丽的山水画，它体现了仇英对自然的热爱和对传统文化的尊重。\n\n总的来说，仇英的临宋元六景册是一件精美的绘画作品，其中的高峰远湖图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了仇英对自然的热爱和对传统文化的尊重。",[24,25,519,82,28,7,29,9906,9907,175,178,176],"高峰","远湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c93acfe478b7285b0a2f003b964b0.jpg","29.2x47.1cm",[182],{"id":9912,"slug":9913,"title":9914,"dynasty":18,"author":5686,"museum":245,"description":9915,"tags":9916,"thumbUrl":9917,"material":1397,"size":1398,"collection":220,"collections":9918,"showCount":9919,"zanCount":48,"manualWeight":48,"mainColor":49},288289,"mao-hou-tu-yi-yuan-ji-288289","猫猴图","《宋易元吉猴猫图卷》画孙猴儿一只，脖子上围绑着粗绳，圈系在地，两只小花猫，大概路经此地，不经意中，一为猴儿挟抱，另一则惊避回顾。画中二小猫，全身毫毛皆用纤细的笔线，笔笔丝出，再加色晕染。黄花猫斑纹处是以淡赭墨染绘，毛色层次井然分明。盘坐在地的猴儿也是采同样手法处理，然而毛发更见丰盈毛绒，多而不乱。作者传神体物的绘画表现，足能成为北宋人写生写实的艺事风格代表。\n画家除了在此展现出精巧的画技外，捕捉动物生态，更有其独到之处。无论是调皮捣蛋的顽猴；或是它怀中畏怯无奈的小猫；或是一旁怒目嘶叫、张牙舞爪的幸免者，这三者间生动的神情，及合于本性、出于自然的瞬间互动，都藉由画家敏睿的观察，和传神的画笔，铺陈出如此富有戏剧效果的画面。",[137,24,25,28,7,581,7318,582,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d00ee3f96e092903f2ea29821abb153.jpg",[],95,{"id":9921,"slug":9922,"title":9923,"dynasty":150,"author":7492,"museum":245,"description":7493,"tags":9924,"thumbUrl":9925,"material":1397,"size":1398,"collection":220,"collections":9926,"showCount":9919,"zanCount":48,"manualWeight":48,"mainColor":145},236740,"tao-hua-jia-die-wan-shan-zhang-xiong-236740","桃花蛱蝶纨扇",[24,25,914,251,7,28,212,174,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55170b403bb25051d64dc082a1e881e2.jpg",[],{"id":9928,"slug":9929,"title":9930,"dynasty":150,"author":516,"museum":245,"description":9931,"tags":9932,"thumbUrl":9933,"material":220,"size":220,"collection":220,"collections":9934,"showCount":9919,"zanCount":1769,"manualWeight":48,"mainColor":145},230248,"he-hua-hong-liao-dong-gao-230248","荷花红蓼","此作对开铺陈，群芳错落生姿，粉山茶娇妍柔婉，朱月季明艳鲜活，黄萱草清雅舒展，枝叶穿插顾盼，尽显春日花木蓬勃生机。\n\n设色明丽柔和，晕染细腻匀净，将草木天然神韵勾勒得鲜活动人。左侧题诗与画境呼应，诗书画印相融相合，晕开文人雅趣。笔触秀逸兼具工致，既恪守写生法度，又暗合闲淡悠然的审美意趣，将春日群芳的柔媚丰姿凝于素笺，尽展传统花鸟雅致隽秀的笔墨情致。",[24,25,519,28,7,212,409,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb0cc576e00222d934108ce911daf05.jpg",[],{"id":9936,"slug":9937,"title":9938,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":9939,"thumbUrl":9941,"material":28,"size":1081,"collection":220,"collections":9942,"showCount":9919,"zanCount":48,"manualWeight":48,"mainColor":145},222749,"xian-e-chang-chun-tu-06a-lang-shi-ning-222749","仙萼长春图-06a",[23,137,24,25,519,28,7,212,9940,298],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adacdd9409943ffa72bb6bc318274c3.jpg",[],{"id":9944,"slug":9945,"title":9946,"dynasty":150,"author":2254,"museum":434,"description":2255,"tags":9947,"thumbUrl":9948,"material":67,"size":2259,"collection":220,"collections":9949,"showCount":9919,"zanCount":943,"manualWeight":48,"mainColor":145},222679,"si-ji-hua-niao-tu-ping-2-chen-mei-222679","四季花鸟图屏2",[23,24,7,28,212,299,62,653,596,298,822,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81b6aab8d5cdb347668d913e6a8ccedc.jpg",[],{"id":9951,"slug":9952,"title":9953,"dynasty":76,"author":1640,"museum":56,"description":9954,"tags":9955,"thumbUrl":9956,"material":220,"size":9957,"collection":237,"collections":9958,"showCount":9919,"zanCount":48,"manualWeight":48,"mainColor":145},222415,"mei-hua-ye-zhi-tu-zhou-zhi-mian-222415","梅花野雉图","彩绘老干红梅，野雉栖于其上，竹石映带左右。作者周之冕江苏苏州人，善画花鸟，能的其神态；设色清雅，在陈淳、陆治之间，钩花点叶，间出新意。惟酒成癖，诚是一病。此图写生意味颇浓，构图匀称；工笔精细逼真，而无板滞痕迹，正是难能可贵之处。上有作者“丙申夏日汝南周之冕写”名款，下钤“周之冕印”、“服卿”印章二方。图的整体布局严谨，描摹惟妙惟肖，是同时期画作中的佳品。",[23,24,212,28,855,637,299,159,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2989106565d8ba25606cccdc69711.jpg","纵: 134.5厘米. 横: 33.6厘米",[237,45],{"id":9960,"slug":9961,"title":9962,"dynasty":228,"author":1381,"museum":134,"description":9963,"tags":9964,"thumbUrl":9965,"material":218,"size":9966,"collection":45,"collections":9967,"showCount":9919,"zanCount":1769,"manualWeight":48,"mainColor":49},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[23,24,25,137,155,7,28,83,59,156,159,62,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","该幅70x31.4公分；全幅 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，张开的喙似乎受到惊吓并尖叫着求救。",[23,137,24,25,155,7,28,212,637,156,159,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[42,237],{"id":10091,"slug":10092,"title":10093,"dynasty":18,"author":1585,"museum":230,"description":10094,"tags":10095,"thumbUrl":10096,"material":235,"size":10097,"collection":237,"collections":10098,"showCount":10027,"zanCount":943,"manualWeight":48,"mainColor":145},218947,"e-tu-lu-zong-gui-218947","鹅图","绘有一只雏鸟在母亲脖子后面的右侧，低头看着水面，而另一只雏鸟则在母亲的左侧，抬头望天，呜呜地叫着。这个场景相当有趣，反映了动物之间的母子关系。",[24,137,25,7,28,212,5181,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7faa8a7a2eafd67f868c6d30b023f7.jpg","60x80cm",[237],{"id":10100,"slug":10101,"title":10102,"dynasty":18,"author":191,"museum":245,"description":10103,"tags":10104,"thumbUrl":10105,"material":2373,"size":10106,"collection":182,"collections":10107,"showCount":10027,"zanCount":1084,"manualWeight":48,"mainColor":1833},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[24,25,914,7,855,28,86,178,34,159,212,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[182,42],{"id":10109,"slug":10110,"title":10111,"dynasty":150,"author":191,"museum":245,"description":10112,"tags":10113,"thumbUrl":10114,"material":100,"size":10115,"collection":44,"collections":10116,"showCount":10027,"zanCount":1020,"manualWeight":48,"mainColor":49},218281,"ting-yuan-chun-se-tu-yi-ming-218281","庭苑春色图","画面铺展雅致庭苑景致，暖棕底色晕染时光温润。端坐的女子轻抱琵琶，指尖似凝住弦上余韵，眉眼神情专注而娴静；旁侧侍女俯身案前，动作轻柔如春风拂过，案上器物错落，笼中雀鸟似待和鸣。枝间梅花疏影横斜，点点春意悄然入画，与古朴陈设相映成趣。细腻笔触勾勒人物情态，器物细节精致传神，将春日庭苑里的闲适雅致娓娓道来，尽显古典生活的温婉诗意，仿佛能闻得弦音与花香交织，静享一段时光的从容。",[23,24,28,7,81,83,59,84,637,158,138,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029dbcde4f6cb854e31576e88c28885e.jpg","24x24",[44],{"id":10118,"slug":10119,"title":2111,"dynasty":18,"author":191,"museum":463,"description":10120,"tags":10121,"thumbUrl":10125,"material":100,"size":5405,"collection":44,"collections":10126,"showCount":10027,"zanCount":1084,"manualWeight":48,"mainColor":145},218235,"luo-shen-fu-tu-yi-ming-218235","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,137,24,25,26,28,7,83,59,10122,175,86,34,4319,10123,178,10124,5732],"洛神","仙禽异兽","怅惘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",[44],{"id":10128,"slug":10129,"title":10130,"dynasty":150,"author":516,"museum":245,"description":10131,"tags":10132,"thumbUrl":10133,"material":220,"size":220,"collection":237,"collections":10134,"showCount":10135,"zanCount":48,"manualWeight":48,"mainColor":145},238366,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238366","董诰延春荟彩图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,519,7,28,212,409,596,488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e56e69a03dcde8ab9a366f27b7c94c8.jpg",[237,45],93,{"id":10137,"slug":10138,"title":10139,"dynasty":150,"author":8137,"museum":245,"description":10140,"tags":10141,"thumbUrl":10142,"material":1397,"size":1398,"collection":182,"collections":10143,"showCount":10135,"zanCount":48,"manualWeight":48,"mainColor":145},235658,"shan-shui-ping-yuan-jiang-235658","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,25,155,81,28,7,172,29,84,35,34,211,178,86,1288,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[182],{"id":10145,"slug":10146,"title":8491,"dynasty":228,"author":5636,"museum":245,"description":10147,"tags":10148,"thumbUrl":10149,"material":220,"size":10150,"collection":220,"collections":10151,"showCount":10135,"zanCount":1084,"manualWeight":48,"mainColor":49},231513,"hua-niao-tu-juan-wang-yuan-231513","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[23,24,137,26,7,28,284,173,212,637,298,156,159,174,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 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刘氏镜","古代铜镜。矫健飞腾，昂首卷尾，四足蹬开，张嘴吐舌，双角伸举，龙须飘扬，四周配以流动的祥云，更见气势飞扬。镜缘装饰有彩云和小花等，缘上铭“千秋”两字。从已发表的考古资料看，云龙纹镜的主纹均为单龙纹，而传世品中亦见有双龙纹的。唐代千秋节有皇帝向群臣赐镜的习俗，唐玄宗还写有《千秋节赐群臣镜》诗：“铸得千秋镜，光生百炼金，分将赐群臣，遇象见清心……。”云龙纹镜边缘铸有“千秋”铭，这种千秋镜可能即是云龙镜。唐诗中也有提及赏赐“龙镜”的，如席豫《奉和敕赐公主镜》：“令节颁龙镜，仙辉下凤台”。云龙镜在我国陕西、江苏、河南、广东等地都有出土，反映出这种镜也是普通使用的一种镜子。",[10173,10174,7,28,159,2653,493,10175],"六朝","铜制","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff19bab4b2498e2b813ee7283a54d58.jpg",[],{"id":10179,"slug":10180,"title":10181,"dynasty":150,"author":6928,"museum":20,"description":10182,"tags":10183,"thumbUrl":10185,"material":40,"size":10186,"collection":44,"collections":10187,"showCount":10135,"zanCount":1769,"manualWeight":48,"mainColor":49},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,24,25,26,28,7,81,29,83,84,86,88,34,176,85,6076,10184],"城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[44,45],{"id":10189,"slug":10190,"title":10191,"dynasty":76,"author":2369,"museum":1129,"description":2678,"tags":10192,"thumbUrl":10193,"material":424,"size":2686,"collection":220,"collections":10194,"showCount":10135,"zanCount":1084,"manualWeight":48,"mainColor":49},222395,"si-ji-hua-niao-tu-dong-lv-ji-222395","四季花鸟图-冬",[23,24,137,155,7,28,212,637,156,1797,1499,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf95f29adc2d1bbf6024f906d309a0a3.jpg",[],{"id":10196,"slug":10197,"title":10198,"dynasty":76,"author":2509,"museum":245,"description":10199,"tags":10200,"thumbUrl":10201,"material":7,"size":10202,"collection":237,"collections":10203,"showCount":10135,"zanCount":1769,"manualWeight":48,"mainColor":2515},222042,"de-qu-zai-ren-ce-13-kai-wang-zhong-222042","得趣在人册13开","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[23,137,24,25,519,28,7,212,156,299,62,158,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f74d819ae04a78f0a4642cdafcc5cd.jpg","30×27厘米",[237,45],{"id":10205,"slug":10206,"title":10207,"dynasty":18,"author":326,"museum":20,"description":10208,"tags":10209,"thumbUrl":10211,"material":10212,"size":10213,"collection":42,"collections":10214,"showCount":10135,"zanCount":48,"manualWeight":48,"mainColor":145},221333,"pi-pa-shan-niao-tu-ye-zhao-ji-221333","枇杷山鸟图页","本幅款押“天下一人”。钤“御书”朱文葫芦形印一方。裱边题签：“宋宣和枇杷山鸟”。鉴藏印钤“宣统御览之宝”，中缝钤“八征耄念之宝”、“太上皇帝之宝”朱文印各一方。\n图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[23,24,25,914,855,7,595,212,809,3455,10210,284,173],"凤蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc63c4273f7440564bd9b6a15e123f.jpg","绢本墨笔","纵22.6厘米，横24.5厘米",[42,237,45],{"id":10216,"slug":10217,"title":10218,"dynasty":18,"author":505,"museum":367,"description":4103,"tags":10219,"thumbUrl":10220,"material":10221,"size":10222,"collection":42,"collections":10223,"showCount":10135,"zanCount":1769,"manualWeight":48,"mainColor":49},221301,"xiao-niao-tu-zhao-chang-221301","小鸟图",[23,24,25,7,28,212,2028,156,159,7974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eb5c32590fc804144ae8ebd0bd02d8d.jpg","绢本淡设色","纵23厘米，横30厘米",[42,237,45],{"id":10225,"slug":10226,"title":2871,"dynasty":150,"author":8523,"museum":134,"description":10227,"tags":10228,"thumbUrl":10229,"material":100,"size":10230,"collection":44,"collections":10231,"showCount":10135,"zanCount":1769,"manualWeight":48,"mainColor":1833},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,25,26,28,7,82,81,83,84,85,86,34,112,113,35,2832,94,88,769,115,93,114,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[44,45],{"id":10233,"slug":10234,"title":10235,"dynasty":18,"author":1275,"museum":134,"description":1276,"tags":10236,"thumbUrl":10237,"material":100,"size":1279,"collection":220,"collections":10238,"showCount":10135,"zanCount":1769,"manualWeight":48,"mainColor":145},218578,"hua-niao-shan-shui-xiao-pin-ce-mu-dan-ma-yuan-218578","花鸟山水小品册-牡丹",[23,137,24,25,519,7,28,212,298,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766926073a503e1a589f642282e16710.jpg",[],{"id":10240,"slug":10241,"title":10242,"dynasty":228,"author":191,"museum":245,"description":10243,"tags":10244,"thumbUrl":10245,"material":100,"size":10246,"collection":44,"collections":10247,"showCount":10135,"zanCount":1084,"manualWeight":48,"mainColor":49},218450,"e-mi-tuo-fo-tu-yi-ming-218450","阿弥陀佛图","佛像庄严伫立，右手施无畏印，左手自然垂落，姿态慈悲安详。身着暗红袈裟，饰金色法轮纹样，衣袂垂落间尽显古朴庄重。肤色温润，头光与背光层次分明，暗褐背景更衬神圣。装裱精致，上下深蓝底金纹织物，中间金色祥云边框环绕，金彩熠熠与暗红袈裟相映。整体色调深沉华丽，肃穆中透着慈悲，尽显元代佛教艺术的庄严典雅，仿佛能让人感受到超越时空的宁静与神圣。",[23,24,25,155,28,7,194,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f3ca149a4f4214a7e0dedff73f805c.jpg","98.2x41.9",[44],{"id":10249,"slug":10250,"title":10251,"dynasty":76,"author":2318,"museum":134,"description":10252,"tags":10253,"thumbUrl":10254,"material":100,"size":10255,"collection":237,"collections":10256,"showCount":10135,"zanCount":48,"manualWeight":48,"mainColor":145},216775,"mei-hua-you-niao-tu-bian-wen-jin-216775","梅花幽鸟图","边文进（活动于1403-1428），字景昭，福建沙县人。永乐朝宫廷画家，至宣德年间被授与武英殿待诏官衔。善画花果翎毛，为明初宫廷画家中花鸟画最著名画家，并与善画山水人物的蒋子诚、画虎的赵廉并称「禁中三绝」。\n本幅为〈历代名绘册〉其中一开，描绘盛开白梅，并有一黄眉鵐栖于梅枝上，引颈顾盼。梅枝由左向画幅右侧伸出，曲虬横错，白梅盛开与将开的花苞倚侧枝头，并局部施以白线条勾勒花瓣型态，虽花朵颜料有些脱落，仍可略窥白梅盛开风华。枝头黄眉鵐鸟羽描绘精细，并呈现松活充盈之效。画幅左侧有「景昭」二字，提示画家身份，然似有涂抹痕迹。与院藏另一件边文进〈三友百禽〉相比，梅枝用笔略有相近之处，或许为时间相差不远的学仿者之作。此画整体承接宋代院画折枝花鸟的构图之趣以及优雅娴静气氛，与〈三友百禽〉所显示的喧闹气氛颇不相同，可丰富对明初宫廷花鸟画面貌的认识。",[23,24,137,25,914,7,28,212,637,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242a8a95847e379f0a5854c0f83e0499.jpg","23.8x24.7cm",[237],{"id":10258,"slug":10259,"title":10260,"dynasty":18,"author":1040,"museum":245,"description":10261,"tags":10262,"thumbUrl":10264,"material":1397,"size":1398,"collection":220,"collections":10265,"showCount":10266,"zanCount":48,"manualWeight":48,"mainColor":49},288495,"fen-xiang-bo-ruan-tu-li-song-288495","焚香拨阮图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[137,24,25,155,28,83,59,138,7,92,34,466,471,10263,783],"焚香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e91c925d5a97ce7aba2fd11b9a72400.jpg",[],92,{"id":10268,"slug":10269,"title":10270,"dynasty":18,"author":1585,"museum":245,"description":10271,"tags":10272,"thumbUrl":10273,"material":220,"size":220,"collection":220,"collections":10274,"showCount":10266,"zanCount":48,"manualWeight":48,"mainColor":49},227735,"xia-hui-pian-fang-tu-ye-lu-zong-gui-227735","夏卉骈芳图页","《鹅图》是南宋鲁宗贵创作的绢本设色画。\n《鹅图》描绘一只母鹅，背上驼着两只雏鹅在水中游戏，其中一只雏鹅曲颈望着水面，另一只则似乎和母鹅述说着什么，母鹅扭转过头来爱抚地倾听，表现出母鹅和雏鹅之间有似慈母和娇子之间的母子亲情。\n图中绘有大白鹅一只，背负两只雏鹅在水面上浮游，其中一只雏鹅在母鹅右侧颈后，低头引颈望水中，另一只雏鹅在母鹅左侧，抬头向天呜叫，鹅妈妈欣喜扭转过头来，似作侧耳细细倾听小仔的歌声。\n画面颇为情趣，给人以一种温馨善良的感觉。\n作者在构图上颇有新意，无任何背景作陪衬，河水以浅墨一抹而过，起到衬托作用，突出其主题。\n作者捕捉到这种母鹅背负雏鹅的情节，在一般画鹅的作品中不乏多见。\n在布局上取近景，以特写的镜头，将主体突出在画面的居中位置，为了说明母鹅带着雏鹅在水中游戏，一是鹅身前方的匦面留空多；二是母鹅的腿向后伸，虽没有画出水波纹，但这二点足以看出运动的鹅体具有向前浮游的动感。\n另外，采取色差变化来塑造母鹅与仔鹅的形体，以周围的浅灰色烘托出母鹅的洁白，又以墨笔勾勒及黑色晕染出母鹅背上栖卧的两只雏鹅。\n一般来说雏鹅的毛羽是鹅黄色的，但作者采用了与实体自然色相差甚远的黑色，这也是作者的又一新意。\n全图以染为主，仅在嘴、脚及羽毛部略以淡线勾勒，其羽毛形态隐约见真。\n整个图的艺术语言凝重简练，形态栩栩如生，画意情趣生动，意味绵绵。\n鲁宗贵，生卒年未详。\n南宋画家。\n室名筠斋，钱塘(今浙江杭州)人。\n理宗绍定时(1228一12)为画院待诏，出人杨驸马家。\n工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。\n尤长于写生，鸡雏乳鸭，甚有生意。\n画迹有《金葵翠羽》、《竹枝山鹧》、《梨花白燕》等图，著录于《绘事备考》。\n传世作品有《春韶鸣喜图》、《夏卉骈芳图》册页。",[137,24,25,519,914,7,28,212,409,688,492,596,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271a4d7d9c178ff1ca01282a323a7b3e.jpg",[],{"id":10276,"slug":10277,"title":4845,"dynasty":150,"author":260,"museum":134,"description":10278,"tags":10279,"thumbUrl":10280,"material":40,"size":10281,"collection":237,"collections":10282,"showCount":10266,"zanCount":48,"manualWeight":48,"mainColor":145},222755,"ba-jun-tu-lang-shi-ning-222755","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,137,24,25,7,28,112,1028,83,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e92b33c9ffa5dd5113ef3c90fe3aac.jpg","139.3公分，横：80.2公分",[237,45],{"id":10284,"slug":10285,"title":10286,"dynasty":76,"author":888,"museum":20,"description":2844,"tags":10287,"thumbUrl":10288,"material":20,"size":2847,"collection":44,"collections":10289,"showCount":10266,"zanCount":48,"manualWeight":48,"mainColor":145},222350,"wang-shu-gong-ji-tu-tang-yin-222350","王蜀宫妓图",[23,24,25,155,7,28,83,59,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185c945ec24f42176232f09a48815d.jpg",[44,45],{"id":10291,"slug":102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吴宽死于1504年，而正德十年是1515年，吴宽已死了十一年，所以此画只能是赝品，但画技中上，可以作为参考。",[23,24,25,26,7,28,83,176,29,34,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7c8a37613f6aa905d740483ae67edd.jpg","31.5x123.5",[44],{"id":10326,"slug":10327,"title":10328,"dynasty":150,"author":2254,"museum":245,"description":10329,"tags":10330,"thumbUrl":10331,"material":1397,"size":1398,"collection":220,"collections":10332,"showCount":10333,"zanCount":48,"manualWeight":48,"mainColor":145},288092,"yuan-ben-qing-ming-shang-he-tu-chen-mei-288092","院本清明上河图","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[24,81,26,7,28,84,176,927,83,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3f7497bacbc0ee63d999b8bc543f10.jpg",[],91,{"id":10335,"slug":10336,"title":10337,"dynasty":150,"author":1518,"museum":20,"description":10338,"tags":10339,"thumbUrl":10340,"material":599,"size":220,"collection":237,"collections":10341,"showCount":10333,"zanCount":1084,"manualWeight":48,"mainColor":145},237172,"hua-niao-kun-chong-ce-zhou-quan-237172","花鸟昆虫册","沈铨 （1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[24,137,25,519,7,28,212,298,452,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fed9927c9cb8158097d1385b7448f6.jpg",[237,45],{"id":10343,"slug":10344,"title":10345,"dynasty":76,"author":77,"museum":245,"description":10346,"tags":10347,"thumbUrl":10348,"material":220,"size":220,"collection":220,"collections":10349,"showCount":10333,"zanCount":48,"manualWeight":48,"mainColor":49},228385,"shang-lin-tu-juan-si-ren-shou-cang-chou-ying-228385","上林图卷（私人收藏）","《明仇英上林图卷》由明朝画家仇英绘画。\n仇英《上林图卷》画意取自西汉司马相如的名篇《上林赋》，描写了汉武帝时的皇家园囿“上林苑”的美景，以及汉武帝与群臣狩猎时的壮观景象。\n【名称】明仇英上林图卷 【类别】中国 【年代】明代 【作者】 【规格】该幅44.8128厘米，隔水一14.1厘米，隔水二14厘米，拖尾44.826.厘米 【收藏】 主题与关键字： 房舍、宫殿、马、后妃、渔夫、船夫、军士、瀑布、藤萝、江河、湖海、侍从（侍女、童仆）、兽力车、石磴、栈道、官员（臣）、栏杆、鹤、兵器、高士（士人、隐士）、桃花、溪涧、湍泉、帝王、狐狸、亭、乐器、台阁、杉、篷舟、鹿、仪仗（佛教宝盖）、桥、百姓、云、牛、篱笆、围墙、羊、帐篷、鸾凤、虎、鸡、茅草屋、田畴、松、狗。\n故宫书画录（卷八），第四册，页42 故宫书画图录，第十八册，页5-6 此幅图写 上林赋意，卷末并附有署文徵明款之隶书全文。\n相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。\n画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。\n人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。\n此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托。\n仇英，明朝，太仓（今江苏太仓）人。\n移家吴县（今江苏苏州）。\n画师 ，工山水、人物、士女，而格力不逮。\n特工临摹，粉图黄纸，落笔乱真。\n至于发翠豪金，丝丹缕素，精丽艳逸，无愧古人。\n尝作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆臆写古贤名笔，斟酌而成，可谓绘事之绝境，艺林之胜事也。\n题其仙弈图谓：“仇实父是 后身，即文、沈亦未尽其法。\n”洵非过誉。\n尤工士女，神采生动，为明代工笔之杰。\n152年（正德十五年）与 合仿 莲社图，藏故宫博物院。",[23,7,27,28,26,29,84,83,34,211,86,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d654d1e6148064ec1640922c1921901.jpg",[],{"id":10351,"slug":10352,"title":10353,"dynasty":150,"author":260,"museum":134,"description":7103,"tags":10354,"thumbUrl":10358,"material":424,"size":7107,"collection":182,"collections":10359,"showCount":10333,"zanCount":1769,"manualWeight":48,"mainColor":145},222768,"shi-er-yue-ling-tu-9-yue-lang-shi-ning-222768","十二月令图（9月）",[23,24,7,28,760,10355,83,84,92,29,34,10356,10357],"时令图","赏菊","消闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4765ff320188bb74abd93a15b392fe.jpg",[182,45],{"id":10361,"slug":10362,"title":10363,"dynasty":76,"author":77,"museum":1129,"description":10364,"tags":10365,"thumbUrl":10366,"material":40,"size":10367,"collection":182,"collections":10368,"showCount":10333,"zanCount":48,"manualWeight":48,"mainColor":49},222207,"liu-yuan-ren-xing-shan-shui-tu-chou-ying-222207","柳园人形山水图","柳园里建筑整齐划一，假山和房屋非常考究，屋内三三两两侃侃而谈。运用点缀法，在灌木上点上白色，以示花开。仇英，明代画家，与唐寅、文征明、沈周并称“明四家”。",[23,24,7,28,81,29,84,83,286,313,91,1109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b13a4847e9f398ceeef59dd35da828.jpg","21.5*21cm",[182,45],{"id":10370,"slug":10371,"title":10372,"dynasty":18,"author":4885,"museum":134,"description":10373,"tags":10374,"thumbUrl":10375,"material":67,"size":10376,"collection":42,"collections":10377,"showCount":10333,"zanCount":943,"manualWeight":48,"mainColor":49},221579,"zhi-ai-tu-li-tang-221579","炙艾图","《炙艾图》，又叫做《村医图》，是南宋著名画家李唐的传世作品;收藏于台北故宫博物院。《村医图》为一幅风俗人物画，描述走方郎中为村民治病的情形。作品通过对灸艾治疗这一紧张情节的朴实无华的具体描绘，反映了当时农民的困苦生活，有小中见大的寓意。\n《炙艾图》除了真实的记录一名中国古代村医用中医灸法为病人治病的情景 ，同时也充分体现了当时人民生活的现状。画中表现了一位医生正在给病人针灸，画面上的人物表情各异，栩栩如生，表现出画家对生活的细致观察和体验，也体现了画家的一种人文主义关怀，表达了作者对当时下层劳动人民的同情。这幅《炙艾图》既是一幅古代绘画珍品，也是传统艾灸治病的真实写照，为我们了解宋代中医灸法治病提供了宝贵而形象的资料。",[23,137,24,25,7,28,83,1499,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb7dc93dedae7fb05e015e0366dc9fc.jpg","纵68．8厘米，横58．7厘米",[42,44,45],{"id":10379,"slug":10380,"title":10381,"dynasty":18,"author":1275,"museum":134,"description":10382,"tags":10383,"thumbUrl":10384,"material":424,"size":10385,"collection":42,"collections":10386,"showCount":10333,"zanCount":48,"manualWeight":48,"mainColor":49},221514,"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[23,24,25,155,28,81,7,29,84,83,927,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[42,182,125],{"id":10388,"slug":10389,"title":10390,"dynasty":54,"author":10391,"museum":20,"description":10392,"tags":10393,"thumbUrl":10394,"material":67,"size":10395,"collection":182,"collections":10396,"showCount":10333,"zanCount":48,"manualWeight":48,"mainColor":49},221092,"peng-lai-fei-xue-tu-ye-yang-sheng-221092","蓬莱飞雪图页","杨升","《杨升蓬莱飞雪图》是元代诗人柯九思创作的一首七言绝句。\n仙山一夕遍琼瑶，万木森森长玉苗。\n处处楼台相掩映，素娥白鹤正逍遥。\n柯九思： 元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[23,24,25,519,28,7,29,84,85,313,1500,83,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[182,45],{"id":10398,"slug":10399,"title":10400,"dynasty":150,"author":4698,"museum":20,"description":10401,"tags":10402,"thumbUrl":10404,"material":100,"size":10405,"collection":237,"collections":10406,"showCount":10333,"zanCount":1769,"manualWeight":48,"mainColor":145},219221,"duan-yang-jing-tu-yu-zhi-219221","端阳景图","本图借助对动植物的描绘来体现端阳时节大地回暖的场景。在日丽水暖的郊外，牡丹花、野菊花等植物竞相绽放，青蛙、蟾蜍和蜻蜓等植物在春光中跳跃、飞翔，一派生机盎然的欢悦景象。此图是作者任职宫廷之后所作，线条工细、匀整、流畅，设色淡雅富丽并充满装饰性。动植物造型精确且充满生趣，显示出作者较强的写实手法。",[23,24,7,28,212,409,655,10403,493,582,452,198],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee229c4c1e5619fb234c345e8e4f6d14.jpg","纵137.3厘米，横68.8厘米",[237],{"id":10408,"slug":10409,"title":10410,"dynasty":18,"author":326,"museum":10411,"description":10412,"tags":10413,"thumbUrl":10414,"material":235,"size":10415,"collection":237,"collections":10416,"showCount":10333,"zanCount":1084,"manualWeight":48,"mainColor":49},219085,"qu-yu-tu-zhao-ji-219085","鸜鹆图","南京博物院","枯松虬枝如铁，松针细劲如丝，三只鸜鹆各呈姿态——枝上者振翅欲起，喙微张似唤侣；空中双鸟俯冲而下，羽翼翻飞间尽显灵动。鸟羽的绒质感与松皮的粗糙纹理形成鲜明对比，笔致工细却不失生趣。旁侧瘦金书题跋笔锋挺劲，与画面的苍劲灵动相映成趣，加之错落的朱印，更添古朴雅致。整幅画作将写实工笔与文人意趣融于一体，动静相宜，形神兼备，尽显宋代院体画的精妙与雅致。",[24,137,25,7,212,178,927,5250,855,28,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5e3b05c779fc2ee02230a1b9ba12cd.jpg","纵88.2横52厘米",[237],{"id":10418,"slug":10419,"title":10420,"dynasty":76,"author":77,"museum":367,"description":10421,"tags":10422,"thumbUrl":10423,"material":100,"size":10424,"collection":44,"collections":10425,"showCount":10333,"zanCount":48,"manualWeight":48,"mainColor":49},218359,"luo-han-tu-chou-ying-218359","罗汉图","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[23,26,7,28,81,194,83,1600,196,84,582,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[44],{"id":10427,"slug":10428,"title":10429,"dynasty":54,"author":191,"museum":2058,"description":10430,"tags":10431,"thumbUrl":10433,"material":2062,"size":220,"collection":220,"collections":10434,"showCount":10333,"zanCount":48,"manualWeight":48,"mainColor":49},217287,"jiang-mo-bian-dun-huang-tu-juan-3-yi-ming-217287","降魔变·敦煌图卷-3","树影婆娑间，故事徐徐铺展。墨线勾勒的衣袂翻飞里，左侧人群神色各异——或凝神静听，或交头接耳，衣袍的赭黄与青绿晕染出人间烟火气。\n\n帐幔轻垂，裹着一室虔诚：帐内人物或合十默祷，或低语交谈，虬髯者的粗犷与稚童的灵动相映成趣。旁侧大象纹饰古雅，背上的图案似藏玄机，卧于茵席间，添了几分神圣静谧。\n\n右侧僧众团坐，赭红衣袂与墨色僧袍交织，光头的圆润衬着肃穆神情，仿佛法音正缓缓流转。他们或指或听，姿态各异却皆凝向中心，将叙事的焦点引向那份庄严。\n\n淡彩晕染的纸页上，线条如行云流水，把宗教的神圣与人间的鲜活揉作一处。每一笔都藏着敦煌艺术的古朴韵致，让千年前的故事，在今日仍能触到那份温热的虔诚与生动。",[137,24,25,26,28,7,194,83,1539,8175,138,34,1055,796,10432,341],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78417d9a75ae607f87c5184762deb39.jpg",[],{"id":10436,"slug":10437,"title":10438,"dynasty":228,"author":191,"museum":134,"description":10439,"tags":10440,"thumbUrl":10441,"material":100,"size":10442,"collection":237,"collections":10443,"showCount":10333,"zanCount":48,"manualWeight":48,"mainColor":145},215139,"bing-tao-han-xiao-tu-yi-ming-215139","饼桃含笑图","绢色温润如陈年素笺，托出一枝含笑与饼桃。墨笔勾枝，线条老劲却藏柔意，枝桠间，含笑花瓣轻展，白瓣晕浅粉，似含未语的羞涩；饼桃圆润饱满，裹着淡润光泽，透着朴拙生机。叶片以淡墨晕染，脉络细腻，与枝干苍劲相映成趣。几方朱印点缀，红韵与素色交织，更显古雅。画中无喧嚣，唯有花木静美：含笑的含蓄、饼桃的憨态，在简淡笔触里凝成清雅意境，仿佛能闻见那缕若有若无的暗香，尽得宋元文人画的幽淡之味，让观者心沉于这份素净的生机里。",[23,24,25,914,7,28,212,1653,298,1308,612,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb03408a7f7684830af45e313ff9f410.jpg","22.9x23.6cm",[237],{"id":10445,"slug":10446,"title":10447,"dynasty":76,"author":10448,"museum":134,"description":10449,"tags":10450,"thumbUrl":10454,"material":100,"size":10455,"collection":182,"collections":10456,"showCount":10333,"zanCount":48,"manualWeight":48,"mainColor":49},214735,"ren-wu-zhou-guo-chun-214735","人物轴","郭纯","在水边的柳树下摆上一张桌子，客人和主人坐在一起交谈，手持羽毛扇，身穿纱笼。三个孩子，一个炖着茶和水，另一个拿着苍蝇刷，站在客人身后，与拿着饭盒的人交谈。山石皴法是元代盛懋风格，其工艺也不弱。建筑物的笔触偶尔会有失误",[24,25,155,855,28,29,83,7,10451,1028,85,92,623,34,10452,6612,10453,7728],"屋宇","人物活动","传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e11bebc6abc80b06f3d874186097f6b.jpg","110.8x62.1",[182],{"id":10458,"slug":10459,"title":10460,"dynasty":18,"author":191,"museum":245,"description":10461,"tags":10462,"thumbUrl":10463,"material":1397,"size":1398,"collection":220,"collections":10464,"showCount":10465,"zanCount":1769,"manualWeight":48,"mainColor":1833},290287,"ke-si-he-hua-zhou-yi-ming-290287","缂丝荷花轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[24,155,962,212,248,249,7,28,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5496eee4f3b0cb9dd3c8db2a7491703.jpg",[],90,{"id":10467,"slug":10468,"title":10469,"dynasty":150,"author":2080,"museum":245,"description":10470,"tags":10471,"thumbUrl":10472,"material":220,"size":220,"collection":220,"collections":10473,"showCount":10465,"zanCount":1084,"manualWeight":48,"mainColor":145},238999,"fu-gui-bai-tou-tu-zhou-ju-lian-238999","富贵白头图轴","此作用湖石撑起画面骨架，瘦漏透皱，空灵奇崛。牡丹攒簇于石畔，粉娇黄雅、紫柔朱艳，花瓣晕染柔润饱满，枝叶疏密错落，尽显盛放之态。\n\n两只白头翁静立石巅，亲昵相依，另有蛱蝶逐花蹁跹，满幅皆是融融春意。设色明丽却不甜俗，没骨技法将花叶的娇柔鲜活尽致展现，湖石以勾勒皴擦带出嶙峋质感，工写相宜。\n\n祥瑞意趣藏在鲜活景致中，将春日生机与美好祈愿揉合，笔底含情，把灵秀雅致凝于尺幅间。",[24,137,155,7,28,212,298,299,411,197,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5e8dafcd23c0f7abfb2e6f9f962f77.jpg",[],{"id":10475,"slug":10476,"title":10207,"dynasty":18,"author":806,"museum":20,"description":10477,"tags":10478,"thumbUrl":10479,"material":40,"size":10480,"collection":220,"collections":10481,"showCount":10465,"zanCount":1084,"manualWeight":48,"mainColor":49},233002,"pi-pa-shan-niao-tu-ye-lin-chun-233002","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。",[24,25,137,7,28,212,809,299,596,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7aa06bf3aa4e5e7e1763e4645676c6e.jpg","纵26.9厘米，横27.2厘米",[],{"id":10483,"slug":10484,"title":10485,"dynasty":150,"author":1805,"museum":245,"description":10486,"tags":10487,"thumbUrl":10488,"material":220,"size":220,"collection":220,"collections":10489,"showCount":10465,"zanCount":1084,"manualWeight":48,"mainColor":49},228927,"bai-tou-rong-gui-tu-li-zhou-ma-quan-228927","白头荣贵图立轴","此作绘就清秋雅景，桂树虬枝斜出，繁花缀于叶间，两只白头翁栖于枝头，羽色晕染细腻，灵动悠然，似在细嗅甜香。苔石苍古朴拙，旁侧芙蓉柔花绽蕊，粉白相衬，妍丽温婉。\n\n笔触工秀兼具，禽鸟绒毛蓬松鲜活，花叶勾勒柔婉，设色明丽雅致却艳而不俗。以白头翁谐“白头”，丹桂、芙蓉寄寓荣华，将秋日生机与吉庆祈愿相融，笔底尽是温婉意趣，静赏间漫溢清和雅致的古典韵味。",[23,137,24,25,155,7,28,212,298,7953,211,597,596,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa823023cfbac82a24300a34fb689b2f2.jpg",[],{"id":10491,"slug":10492,"title":10493,"dynasty":18,"author":1838,"museum":245,"description":10494,"tags":10495,"thumbUrl":10497,"material":220,"size":220,"collection":220,"collections":10498,"showCount":10465,"zanCount":1084,"manualWeight":48,"mainColor":49},227509,"zhuang-jing-shi-nv-tu-su-han-chen-227509","妆靓仕女图","《妆靓仕女图》是宋代画家苏汉臣创作的一幅绢本扇面画。",[23,137,24,25,914,28,7,83,59,470,822,216,10496,2642],"妆饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e31d25805d2c3d737c9b6538502ea6.jpg",[],{"id":10500,"slug":10501,"title":10502,"dynasty":150,"author":1356,"museum":56,"description":1357,"tags":10503,"thumbUrl":10506,"material":1365,"size":1366,"collection":220,"collections":10507,"showCount":10465,"zanCount":1769,"manualWeight":48,"mainColor":49},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段",[23,137,24,26,28,7,29,177,10504,4802,8828,84,85,86,10505,87,83,97,34,211,94],"村镇","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg",[],{"id":10509,"slug":10510,"title":10511,"dynasty":18,"author":5567,"museum":20,"description":10512,"tags":10513,"thumbUrl":10514,"material":40,"size":10515,"collection":42,"collections":10516,"showCount":10465,"zanCount":1769,"manualWeight":48,"mainColor":49},221455,"si-yang-tu-chen-ju-zhong-221455","四羊图","这是南宋画家陈居中创作的一幅极为生动的动物画。在很小的尺幅上，画家选取了一个日常的景象，在村郊野外的小土坡上，牧羊人正在小憩，两只白色的小山羊打闹嬉戏，一只似是占到了便宜，惹得另一只发火地低头撞来，另一只毛色略重的老羊似欲走来制止，又一只则立于土坡之上，沉静地俯视着下面所发生的一切。四只羊的组合仿佛是一个家庭，母亲正在看管着孩子，父亲则高高在上，保持着一家之主的威严，画家将动物之间的情爱描写得十分真实，又富有人世的生活意趣。在置景上力求简单明快，土坡只以墨笔勾出轮廓，略加擦染，几株小草与荆棘也安排得很疏阔，画面左上角画一株老干，侧生一棵新枝。画家亦注重细节的刻画，如立于树干上的两只小山雀，俯首观看，形态生动。全图无论是写物、写景，皆突出了一个“动”字，生活气息极为浓厚。\n图中山羊的形态描绘准确，体现了画家深厚的写生功底，如小山羊跳跃、抵撞的姿态，老山羊前蹄收缩、双耳上竖的细部动作，甚至翻转的双角，均表现得一丝不苟，体现了宋代院体绘画精工细致、刻划入微的风格特征。全图毫无板滞之气，画家抓住表现对象的主要特征，舍弃琐碎的细节，运用不多的笔墨和写意的手法追求言简意赅的艺术效果。\n此画在构图上受时代流风的影响，采用南宋院体山水的边角式布局法。画面以斜对角式区分，左下部分为全部景物，右上部分则全部留白，将所要表现的物体加以集中，使狭小的尺幅产生一定的空间感，虚实对比更加鲜明，以此增强画面的吸引力。\n在中国古代文字中，“羊”字与“祥”、“阳”相通，“吉祥”在古文中就写作“吉羊”；又《易经》中谓每年正月卦象为三阳在下，三阴在上，故古人称每年正月为三阳开泰之时，此成语也就成了常用的吉祥语。这幅画表现的四羊即寓意三阳在下，一阳在上，反映了祈盼吉祥如意的美好愿望。\n陈居中最擅长人马画，但对动物写生一类题材也很热衷，并刻画得细致生动，这幅带有吉祥寓意的《四羊图》页即代表了他在这一方面的艺术水平。",[23,24,137,7,28,4541,582,1499,159,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","纵22.5厘米，横24厘米",[42,237,45],{"id":10518,"slug":10519,"title":10520,"dynasty":228,"author":2380,"museum":20,"description":10521,"tags":10522,"thumbUrl":10523,"material":100,"size":10524,"collection":237,"collections":10525,"showCount":10465,"zanCount":1769,"manualWeight":48,"mainColor":49},220342,"mu-yu-zhu-tu-li-kan-220342","沐雨竹图","自宋以来，梅、兰、竹、菊被士大夫称为“四君子”，象征“清高”“幽洁”“虚心”“隐逸”“气节”等精神品格。当社会危机、民族危机严重时，一些知识分子无力抗争，在孤愤与绝望中把情感寄托于笔墨，通过高度净化了的形式，表现这几种植物的品性，以喻君子的傲骨和高风。入元以后，“四君子”画不但更为兴盛，而且在思想情感的表现上更加丰富和深刻，笔墨情趣也更加讲究。特别是墨竹，用笔单纯简洁、挥洒自由，具有书法的意态，引起了士大夫的强烈兴趣。",[24,25,155,855,7,156,314,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcead2e46dbd68e83194ae99afee9827.jpg","纵111.5厘米，横55 厘米",[237],{"id":10527,"slug":10528,"title":10529,"dynasty":18,"author":10530,"museum":230,"description":10531,"tags":10532,"thumbUrl":10533,"material":100,"size":10534,"collection":237,"collections":10535,"showCount":10465,"zanCount":1084,"manualWeight":48,"mainColor":49},218929,"hong-ye-xiao-niao-tu-wu-yuan-yu-218929","红叶小鸟图","吴元瑜","此幅《红叶小鸟图》是现今所知的唯一署款之作，“元瑜”二字书写古拙，笔法柔中带刚。画的设色极高古，小鸟羽毛描绘精细，指爪紧握树枝，眼神灵活，舌尖颤动如发清音，状物写情生动传神，定为宋画应无疑问。而且画幅上藏印累累，包括黔宁王沐昂，著名的收藏家宋荦，近代鉴藏家吴湖帆、钱镜塘、王季迁等。虽暂时仍未查有著录，但正如杨仁恺在裱绫中所题，“画心钤明清诸家钤印，当有所据也”。",[137,24,25,212,7,28,299,1288,653,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e95be5e4206dc53f32e2bb88825d63.jpg","42x25cm",[237],{"id":10537,"slug":10538,"title":10539,"dynasty":18,"author":1040,"museum":245,"description":10540,"tags":10541,"thumbUrl":10542,"material":100,"size":10543,"collection":45,"collections":10544,"showCount":10465,"zanCount":1769,"manualWeight":48,"mainColor":49},218594,"lan-you-shang-tu-li-song-218594","阑游赏图","三个女人坐在一座偏远的山边的亭子里，在高大的树荫下，从栅栏上欣赏风景，而亭子外面的两个女仆则身材修长，姿态优美。该技术的特点是岩石上的小笔触，树木和远处的山丘都是农场画的特点。",[24,25,7,28,81,29,83,176,34,84,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd89ca87b97de7d9898441c2291b095a.jpg","22x20.6",[45],{"id":10546,"slug":10547,"title":10548,"dynasty":132,"author":2520,"museum":245,"description":10549,"tags":10550,"thumbUrl":10552,"material":1397,"size":1398,"collection":220,"collections":10553,"showCount":10554,"zanCount":48,"manualWeight":48,"mainColor":49},288974,"ping-po-shan-niao-tu-huang-quan-288974","苹婆山鸟图","竹石花雀学刁光胤与滕昌佑、山水松石学李升、人物龙水学孙位、画鹤学薛稷，皆能脱去古人格律，自创新意。而且，黄筌一家具擅绘画，其弟唯亮，子居宝、居实、居寀，其中尤以黄居寀的成就最大，黄氏父子的花鸟画，在当时人们普遍认为其风格特点是“黄家富贵”。宋人沈括在《梦溪笔谈》中明确指出：“诸黄(指黄氏一家)画花妙在傅色，用笔极新细，殆不见墨迹，但以轻色染成，谓之写生”。\n入秋的山林，一颗颗绯红了脸颊的苹果，悬挂在枝叶间。芬芳的气味、鲜艳的色彩，招来了不少「小过客」们在此停留，留下了许多的斑点与啮痕。一只娇小的粉红鹦嘴，也忍不住好奇地飞了上来。它轻巧地停落在弯细的枝桠上，仰着圆小的脸蛋，摇着细长的尾巴，淘气地又蹦又跳的，好不开心！\n粉红鹦嘴旧名黄头，是种可爱、善斗的小鸟。而吸引粉红鹦嘴的苹果树，传统名为「林檎（禽）」或「来禽」。名称的由来，据说是因为它的果实（即苹果）味道甘醇、甜美，因此常常能吸引许多鸟禽来此聚集的缘故。至于画名以「苹婆」（即柰，又名凤眼珠）相称，应是古人误题了，两者事实上并不相同。\n这幅精巧的「苹婆山鸟」，旧传为五代画家黄筌（活动于903-965）所作。黄筌是中国花鸟画史里，开创工笔细致风格的大师，对五代到北宋初期的画坛影响深远。这幅画作虽非大师亲笔，可是无论是特写式的取景方式或是精辟入理的写实趣味，都明显受到黄筌的影响，是一幅宋代杰出的花鸟画小品。",[24,914,7,28,212,178,10551],"苹婆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ea7a4296d2a431f72d4200daacb413.jpg",[],89,{"id":10556,"slug":10557,"title":10558,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":10559,"thumbUrl":10560,"material":28,"size":1081,"collection":220,"collections":10561,"showCount":10554,"zanCount":1020,"manualWeight":48,"mainColor":145},222747,"xian-e-chang-chun-tu-05a-lang-shi-ning-222747","仙萼长春图-05a",[23,24,7,28,212,409,558,2257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed7da96ce0c7b5d28a9d61f8f6ce6aa.jpg",[],{"id":10563,"slug":10564,"title":2716,"dynasty":150,"author":10565,"museum":1065,"description":10566,"tags":10567,"thumbUrl":10568,"material":40,"size":10569,"collection":237,"collections":10570,"showCount":10554,"zanCount":1769,"manualWeight":48,"mainColor":49},222687,"mu-dan-tu-zhou-chen-zhuo-222687","陈卓","绘盛开牡丹数朵，姹紫嫣红，花瓣层层叠叠，绿叶繁茂；湖石立于花中，灰黑的颜色让花儿更加娇艳。图中的牡丹为典型的没骨画法。陈卓，字中立，清代画家，擅绘青绿山水，喜作青绿设色，兼工花鸟、人物。",[23,24,25,155,7,28,298,211,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3a743980de113f98a6c8a0a9babb69.jpg","149x68cm",[237,45],{"id":10572,"slug":10573,"title":10574,"dynasty":150,"author":2254,"museum":434,"description":2255,"tags":10575,"thumbUrl":10576,"material":67,"size":2259,"collection":220,"collections":10577,"showCount":10554,"zanCount":1020,"manualWeight":48,"mainColor":145},222681,"si-ji-hua-niao-tu-ping-4-chen-mei-222681","四季花鸟图屏4",[23,7,28,212,299,5111,2257,3983,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215e604db490f4a6381ab7f2e744c172.jpg",[],{"id":10579,"slug":10580,"title":10581,"dynasty":54,"author":191,"museum":245,"description":10582,"tags":10583,"thumbUrl":10584,"material":220,"size":220,"collection":44,"collections":10585,"showCount":10554,"zanCount":1084,"manualWeight":48,"mainColor":145},221132,"duan-jian-bi-mu-bi-hua-lin-ben-yi-ming-221132","“段简壁”墓壁画临本","此作人物排布错落有致，仕女丰腴端雅，挽高髻、着交领襦裙，披帛垂曳间尽显柔婉雍容。两位侍从装束干练，神态恭谨肃穆。全作用铁线描勾勒，劲挺流畅，精准刻画出人物体态与衣物褶皱起伏。设色古雅清隽，红褐、石紫配色沉稳厚重，岁月浸蚀留下斑驳痕迹，却更衬出盛唐的独特审美意韵。画作写实细腻，还原了彼时的妆束仪制，将墓主人出行仪卫的从容气度凝于壁间，尽显大唐的雍容风华。",[23,24,25,137,1053,82,283,28,7,83,59,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bdf5ea3b57dfd093ec32a74891c16.jpg",[44,45],{"id":10587,"slug":10588,"title":10589,"dynasty":228,"author":3524,"museum":78,"description":10590,"tags":10591,"thumbUrl":10592,"material":496,"size":10593,"collection":44,"collections":10594,"showCount":10554,"zanCount":1769,"manualWeight":48,"mainColor":49},220834,"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[23,24,25,26,28,7,284,285,83,34,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumb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横:375.3cm",[44,125],{"id":10596,"slug":10597,"title":10598,"dynasty":76,"author":10599,"museum":406,"description":10600,"tags":10601,"thumbUrl":10603,"material":100,"size":220,"collection":44,"collections":10604,"showCount":10554,"zanCount":48,"manualWeight":48,"mainColor":49},219696,"li-heng-xiang-ceng-jing-219696","李亨像","曾鲸","此作以精微写实的笔触塑造人物，先以淡墨勾定轮廓，再层层晕染面部，将人物鬓发纹理、眉目间沉静内敛的神态全然铺展，尽显儒雅清隽的文人风骨。\n服饰设色调和雅致，石青镶边与米衣料相映，线条清劲凝练，将衣料垂坠质感细腻呈现，朴拙中带着雅致气度。画面舍去繁复布景，以素净底色烘托人物，形神兼备，将肖像画写实传神的特质发挥到极致，是兼具笔墨意趣与写真功力的佳作。",[24,25,28,83,7818,10602,7,677,63],"墨骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a419af8e6a79113dda1540d232af906.jpg",[44],{"id":10606,"slug":10607,"title":10608,"dynasty":18,"author":1040,"museum":3281,"description":10609,"tags":10610,"thumbUrl":10612,"material":100,"size":220,"collection":44,"collections":10613,"showCount":10554,"zanCount":1084,"manualWeight":48,"mainColor":145},219576,"hua-shan-huo-lang-tu-li-song-219576","画扇货郎图","《货郎图》把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。该画作对了解宋代风俗也具有重大价值。",[24,7,28,519,83,10611,34,216,1744,927,705],"货郎担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf12b7ebb458d226c09221c94572f4e8.jpg",[44],{"id":10615,"slug":10616,"title":10617,"dynasty":18,"author":10618,"museum":463,"description":10619,"tags":10620,"thumbUrl":10621,"material":100,"size":10622,"collection":237,"collections":10623,"showCount":10554,"zanCount":1084,"manualWeight":48,"mainColor":49},218925,"yuan-yang-za-qin-tu-han-you-218925","鸳鸯杂禽图","韩佑","这幅画上画着密密麻麻的梅花和山茶花，表达了冬天的精致。一对鸳鸯依偎在萧瑟的坡岸上，为画面增添了一丝温情。这幅画据说是宋代的韩佑所作，但山石的风格是明代画院的风格，官方网站将其定为15至16世纪。",[137,24,25,155,7,28,212,637,1435,1091,409,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9960809d93f2f94c401c8fe943f369.jpg","154x94.2cm",[237],{"id":10625,"slug":10626,"title":10627,"dynasty":150,"author":10628,"museum":134,"description":10629,"tags":10630,"thumbUrl":10631,"material":235,"size":10632,"collection":237,"collections":10633,"showCount":10554,"zanCount":1084,"manualWeight":48,"mainColor":145},218805,"hua-niao-quan-shi-tu-dai-hong-218805","花鸟泉石图","戴洪","作者戴洪，生死时年藉贯均不详。高宗乾隆时，任职内廷画院供奉。擅长山水、花鸟画。他的画，以笔路纤细，着色秾丽见长，曾和程志道、金昆、孙佑等人，合画清明上河图，精美绝伦，深蒙乾隆赞赏。偶尔也画水墨山水，用笔虽较开放，但仍不脱细谨作风。",[24,28,7,155,212,299,62,197,2653,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83a526f4a08022e9761839fce88641.jpg","185x66.3cm",[237],{"id":10635,"slug":10636,"title":10637,"dynasty":18,"author":5227,"museum":134,"description":10638,"tags":10639,"thumbUrl":10640,"material":100,"size":10641,"collection":44,"collections":10642,"showCount":10554,"zanCount":1020,"manualWeight":48,"mainColor":145},218795,"lan-ting-xi-yin-tu-guo-zhong-shu-218795","兰亭禊饮图","这幅画描绘的是永和九年的兰亭大典，小板上有三十多个学者在场，山峦起伏，茂林修竹，画工精细，原题为郭忠恕，但实际上更接近元代胡廷辉的风格。",[23,24,137,28,81,7,83,176,85,29,34,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767a47a8ddc517fcfb474984ffbf175b.jpg","22.1x23.2",[44],{"id":10644,"slug":10645,"title":10646,"dynasty":76,"author":2369,"museum":134,"description":10647,"tags":10648,"thumbUrl":10649,"material":100,"size":10650,"collection":237,"collections":10651,"showCount":10554,"zanCount":1769,"manualWeight":48,"mainColor":49},218790,"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","吕纪（约 1429-1505），字廷振，浙江鄞县人。花鸟初学边文进（15 世纪），后又广摹唐宋名家，艺事益能精进。明孝宗弘治（1488-1505）间与林良（约1424-1500 后）同值仁智殿， 任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 八哥、山鸟停憩、飞翔于其间。溪中游鱼成群，隔岸两对鸳鸯，景致富丽而怡人。画中并无作者款印，布局与笔意，饶有吕纪之精神面貌，研判应出自传承吕氏风格的宫廷画家之手。",[23,24,137,7,28,212,2477,409,1435,653,1092,5053,197,178,1028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[237],{"id":10653,"slug":10654,"title":10655,"dynasty":18,"author":1275,"museum":134,"description":1276,"tags":10656,"thumbUrl":10658,"material":100,"size":1279,"collection":220,"collections":10659,"showCount":10554,"zanCount":1084,"manualWeight":48,"mainColor":145},218575,"hua-niao-shan-shui-xiao-pin-ce-tao-shi-ma-yuan-218575","花鸟山水小品册-桃实",[23,24,25,519,28,7,212,10657,453,173],"桃实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faadbefdeadf6a41201afc56e25773c67.jpg",[],{"id":10661,"slug":10662,"title":10663,"dynasty":150,"author":4708,"museum":134,"description":10664,"tags":10665,"thumbUrl":10668,"material":2373,"size":220,"collection":44,"collections":10669,"showCount":10554,"zanCount":1769,"manualWeight":48,"mainColor":145},217923,"tang-ming-huang-ji-ju-tu-ding-guan-peng-217923","唐明皇击鞠图","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[137,24,25,7,283,28,81,83,112,91,173,63,10666,10667],"古代人物","马球场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3def1caee6bc241053a237d8871f10.jpg",[44],{"id":10671,"slug":10672,"title":10673,"dynasty":228,"author":229,"museum":3836,"description":10674,"tags":10675,"thumbUrl":10677,"material":100,"size":10678,"collection":237,"collections":10679,"showCount":10554,"zanCount":943,"manualWeight":48,"mainColor":49},216098,"sun-tu-qian-xuan-216098","笋图","钱选（1213年－1275年），字善彦，元朝时期的书画家。他是著名的书法家和画家，也是著名的丹青家。他的著名作品有《笋图》。\n\n《笋图》是钱选的代表作之一，它是一幅花卉画，描绘了一棵竹子长出的笋竹。画中笋竹细腻而精巧，表现了钱选对竹子的生长过程的细致观察和深刻理解。画中的竹叶细腻，竹子的轮廓线清晰，构图简单而优美。整幅画浑然一体，极富艺术魅力。钱选的《笋图》被誉为元朝花卉画的代表作之一。",[24,25,28,7,10676],"笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa36c699fa827e03d1122c5524ea426.jpg","21x31.5cm",[237],{"id":10681,"slug":10682,"title":1039,"dynasty":228,"author":229,"museum":245,"description":10683,"tags":10684,"thumbUrl":10685,"material":1397,"size":1398,"collection":220,"collections":10686,"showCount":10687,"zanCount":1769,"manualWeight":48,"mainColor":49},290093,"lan-hua-tu-qian-xuan-290093","虽然精细工整,但绝不是镜子似的照搬现实,藤篮的复杂图案、花卉的舒卷姿态和排列位置,无不经过巧妙经营和提炼,来自于心与物碰撞熔铸的艺术之意象,这是应该加以明确的。",[24,212,7,28,298,158,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10cab7b8f6574051eeaabfa10382fa55.jpg",[],88,{"id":10689,"slug":10690,"title":3472,"dynasty":150,"author":578,"museum":245,"description":10691,"tags":10692,"thumbUrl":10693,"material":1397,"size":1398,"collection":220,"collections":10694,"showCount":10687,"zanCount":1084,"manualWeight":48,"mainColor":145},288138,"hua-niao-tu-ye-ren-yi-288138","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,914,7,28,212,178,487,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60e23a255768ce7e9fd81450f398093.jpg",[],{"id":10696,"slug":10697,"title":10698,"dynasty":150,"author":10699,"museum":245,"description":10700,"tags":10701,"thumbUrl":10703,"material":1397,"size":1398,"collection":220,"collections":10704,"showCount":10687,"zanCount":1084,"manualWeight":48,"mainColor":145},239215,"qian-yan-hong-tao-tu-zhou-qian-yu-ling-239215","千岩红桃图轴","钱与龄","清代女画家钱与龄（1763—1827年），字九英。其曾祖母陈书（字南楼）是太学生陈尧勋的长女，她的作品被乾隆帝赏识，很多作品有乾隆帝题诗。乾隆帝评她的作品是：“结构总无巾帼气”。钱与龄从小受曾祖母的影响，耳濡目染，笔墨技法上继承家风，蔚为大观。",[24,155,28,7,212,451,7171,10702],"桃叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75505da78daeef02e6ba57b4bf4ac929.jpg",[],{"id":10706,"slug":10707,"title":10708,"dynasty":76,"author":191,"museum":20,"description":7932,"tags":10709,"thumbUrl":10710,"material":424,"size":220,"collection":44,"collections":10711,"showCount":10687,"zanCount":1769,"manualWeight":48,"mainColor":145},236159,"zhang-liang-xiang-zhou-yi-ming-236159","张良像轴",[24,25,155,28,7,83,63,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ea3055380793c01b2c8b24c4717441.jpg",[44,45],{"id":10713,"slug":10714,"title":10715,"dynasty":228,"author":191,"museum":245,"description":10461,"tags":10716,"thumbUrl":10718,"material":220,"size":220,"collection":220,"collections":10719,"showCount":10687,"zanCount":1084,"manualWeight":48,"mainColor":49},232906,"ke-si-qing-niao-hu-die-tu-juan-yi-ming-232906","缂丝青鸟蝴蝶图卷",[23,962,28,7,212,26,10717,411,298,211,489],"青鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f791b5f797cb61630dfe3c3212a14b.jpg",[],{"id":10721,"slug":10722,"title":3389,"dynasty":76,"author":77,"museum":245,"description":10723,"tags":10724,"thumbUrl":10730,"material":220,"size":220,"collection":220,"collections":10731,"showCount":10687,"zanCount":1769,"manualWeight":48,"mainColor":49},228431,"xi-yuan-ya-ji-tu-chou-ying-228431","林壑幽深处，文士凭崖观眺、揖谈畅叙，松竹环合，尽显林下清旷风流。下方庭院里，宾主列坐，或展卷挥毫，或品鉴器物，侍从随侍左右，朱门红栏衬出雅集端雅规整。\n\n整作工细秀雅，设色古澹清润，以全景式构图铺展雅聚盛景，将文人酬唱往还的意趣融于山园之中，山野清旷与庭院娴雅相融，把历代文人心向往之的林下雅兴具象呈现，复刻出一段隽永的名士雅境。",[23,24,137,25,28,7,83,29,1068,156,92,10725,216,10726,10727,10728,10729],"朱门","文士雅集","挥毫","清旷","娴雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8f1f98099d9cdf33ce0c57c0cde632.jpg",[],{"id":10733,"slug":10734,"title":10735,"dynasty":150,"author":7603,"museum":245,"description":10736,"tags":10737,"thumbUrl":10738,"material":220,"size":220,"collection":220,"collections":10739,"showCount":10687,"zanCount":1769,"manualWeight":48,"mainColor":145},224123,"mu-dan-shui-xian-song-qian-long-224123","牡丹水仙松","此作工写兼具，笔致温婉细腻。虬曲松枝挺劲苍古，松针以淡墨晕染，蓬松灵动，缀一枚松果更添幽寂古意。艳粉色牡丹饱满柔润，雍容舒展尽显华贵，一旁水仙莹白清雅，素淡可人。\n\n刚健的松枝搭配柔妍的花束，刚柔相济和谐雅致。设色秀润柔和，毫无艳俗之感，将院体画的精致工整与文人意趣的清雅格调相融。配题诗文寄意福寿绵长、清韵恒常，整幅以松之寿、花之妍，绘就祥瑞吉庆的美好意蕴，尽显典雅雍容的审美意趣。",[23,24,25,155,28,7,212,298,690,1068,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1e0899a4eb23c6ddb0729e24fe94e4.jpg",[],{"id":10741,"slug":10742,"title":10743,"dynasty":150,"author":6928,"museum":20,"description":10744,"tags":10745,"thumbUrl":10747,"material":220,"size":10748,"collection":182,"collections":10749,"showCount":10687,"zanCount":943,"manualWeight":48,"mainColor":145},223170,"geng-zhi-tu-ce-jiao-bing-zhen-223170","耕织图册","《胤禛耕织图册·收刈》是清代佚名创作的绢本设色画。\n此为耕织图册之一开。\n本幅描绘麦田中农夫装扮的胤禛（雍亲王）正带领众人收割。\n此图用笔精到，设色典雅，人物形象生动传神，将劳动者辛勤耕作的场景描绘得十分生动。\n耕织图起源于南宋时期，是我国古代为劝课农桑而详实地记录耕作与蚕织的系列图谱。\n由于其“图绘以尽其状，诗文以尽其情”，形象生动、细腻传神地描绘了劳动者耕作与蚕织的场景和详细的生产过程，从而起到了普及农业生产知识、推广耕作技术、促进社会生产力发展的巨大作用，而其本身也成为极其珍贵的艺术瑰宝。\n宋代的《耕织图》册由耕图21幅、织图24幅组成。\n清康熙二十八年（1689年），康熙皇帝南巡时观览到此图，感慨万端，遂命内廷供奉焦秉贞根据其原意重新绘制《耕织图》册，作耕图2幅，织图2幅。\n《雍正耕织图》册是雍正帝登基以前以康熙年间刻版印制的《耕织图》为蓝本，内容和规格仿照焦氏本，由清宫廷画师精心绘制而成。\n所不同的是胤禛耕织图中的主要人物如农夫、蚕妇等均为胤禛及其福晋等人的肖像，这在历代的耕织图中是仅见的。\n该图现存52页，其中6页为未定稿的衍页，其余46页中耕图、织图各2页，每幅画上都有胤禛的亲笔题诗，并钤有“雍亲王宝”和“破尘居士”两方印章。\n根据画法特点，此画册可能出自当时宫廷画家陈枚之手。\n（1678—175) 即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[137,24,25,519,28,7,251,83,113,9251,34,86,10746,177,2800],"农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[182,44,45],{"id":10751,"slug":10752,"title":10753,"dynasty":150,"author":1356,"museum":56,"description":1357,"tags":10754,"thumbUrl":10756,"material":1365,"size":1366,"collection":220,"collections":10757,"showCount":10687,"zanCount":1084,"manualWeight":48,"mainColor":49},222819,"gu-su-fan-hua-tu-di-san-duan-xu-yang-222819","姑苏繁华图第三段",[23,137,24,26,7,28,83,84,85,86,88,87,4802,177,29,97,1360,10755,117,94],"古街","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ce7b45c379e1c3d731de80836559d.jpg",[],{"id":10759,"slug":10760,"title":10761,"dynasty":150,"author":260,"museum":134,"description":7103,"tags":10762,"thumbUrl":10764,"material":424,"size":7107,"collection":182,"collections":10765,"showCount":10687,"zanCount":1769,"manualWeight":48,"mainColor":49},222769,"shi-er-yue-ling-tu-zheng-yue-lang-shi-ning-222769","十二月令图（正月）",[23,24,28,7,81,83,84,92,211,34,91,10763],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7578701c0511c7e8d219ace0c798cee0.jpg",[182,45],{"id":10767,"slug":10768,"title":10769,"dynasty":18,"author":1151,"museum":134,"description":10770,"tags":10771,"thumbUrl":10772,"material":10773,"size":10774,"collection":42,"collections":10775,"showCount":10687,"zanCount":1769,"manualWeight":48,"mainColor":49},221545,"yao-chi-xian-shou-tu-liu-song-nian-221545","瑶池献寿图","《瑶池献寿图》是南宋画家刘松年所创作，此图描绘了仙山楼阁的神仙世界，是当时上层社会的做寿喜庆场面。\n人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,24,7,28,172,81,29,83,84,927,211,34,37,769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20358360b91c23dd09f3758afe3d4ad8.jpg","立轴 绢本 设色","纵198.7厘米，横109.1厘米",[42,44,45],{"id":10777,"slug":10778,"title":10779,"dynasty":150,"author":2231,"museum":134,"description":10780,"tags":10781,"thumbUrl":10783,"material":235,"size":10784,"collection":45,"collections":10785,"showCount":10687,"zanCount":48,"manualWeight":48,"mainColor":145},219437,"yao-chi-xian-shou-zhou-jin-ting-biao-219437","瑶池献寿轴","画面以轻烟似的云气铺展仙境，两位仙子衣袂翩跹：一位手捧寿桃，红晕欲滴，似凝天地灵韵；另一位侧身相伴，眉宇间藏温婉笑意。衣纹线条流畅如行云，蓝白裙摆与淡墨云气交融，虚实相生。下方古木虬枝掩映朱红殿宇一角，与上方缥缈云境呼应，既显仙境高远，又隐人间烟火。笔墨细腻处，衣袂褶皱似有风动，寿桃艳色点染暖意；设色清雅间，云气淡墨晕染出空灵，古木深绿衬出沉静。整幅画将献寿的祥瑞与仙袂的灵动相融，工笔线条的雅致与水墨晕染的缥缈交织，尽显古典画韵里的温婉与高远，仿佛能闻云间仙乐，见寿意流转。",[24,7,28,83,59,1600,313,91,10782],"寿桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d071f0e819e2c29432b9dc8116c7df3.jpg","90.7x56.5",[45],{"id":10787,"slug":10788,"title":10789,"dynasty":150,"author":2231,"museum":20,"description":10790,"tags":10791,"thumbUrl":10792,"material":235,"size":10793,"collection":44,"collections":10794,"showCount":10687,"zanCount":1084,"manualWeight":48,"mainColor":145},219223,"er-tong-dou-cao-tu-jin-ting-biao-219223","儿童斗草图","此图表现的是端午节儿童们斗草的游戏。有的以比赛采得的花草作对，这是文斗；有的把叶柄相勾拉拽，也称“拔根儿”，就是武斗。",[23,137,24,25,155,7,28,83,1028,197,315,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f548edff091b9ba461b027bf11c428.jpg","纵105.3厘米，横79.5厘米",[44],{"id":10796,"slug":10797,"title":10798,"dynasty":76,"author":924,"museum":20,"description":10799,"tags":10800,"thumbUrl":10801,"material":100,"size":10802,"collection":182,"collections":10803,"showCount":10687,"zanCount":1769,"manualWeight":48,"mainColor":145},219201,"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便展现出文人雅士潇洒的身姿。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失优雅，艳而别具秀润。",[23,24,25,26,28,7,29,285,83,176,86,34,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[182],{"id":10805,"slug":10806,"title":10807,"dynasty":150,"author":592,"museum":245,"description":3138,"tags":10808,"thumbUrl":10809,"material":1397,"size":1398,"collection":220,"collections":10810,"showCount":10811,"zanCount":1084,"manualWeight":48,"mainColor":145},290538,"bei-tang-qiu-ying-yun-shou-ping-290538","北堂秋影",[24,519,28,212,409,7,284,173,4567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30507f70fa4d4d14fa0b8ae423c42c20.jpg",[],87,{"id":10813,"slug":10814,"title":10815,"dynasty":190,"author":10816,"museum":245,"description":10817,"tags":10818,"thumbUrl":10819,"material":1397,"size":1398,"collection":220,"collections":10820,"showCount":10811,"zanCount":1769,"manualWeight":48,"mainColor":49},290027,"hua-niao-tu-ping-feng-shou-ye-song-rong-shou-ye-guang-xin-290027","花鸟图屏风","狩野松荣、狩野光信","狩野光信面對新興漢系畫家的競爭，不得不奔走於豐臣家與德川家之間以取得更多委託，並透過狩野長信 (1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,24,215,212,7,28,1068,298,492,60,2362,213,178,29,1797,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],{"id":10822,"slug":10823,"title":10824,"dynasty":76,"author":77,"museum":245,"description":10825,"tags":10826,"thumbUrl":10827,"material":220,"size":220,"collection":220,"collections":10828,"showCount":10811,"zanCount":48,"manualWeight":48,"mainColor":49},228443,"ting-qin-tu-ye-chou-ying-228443","听琴图页","青绿晕染的崖谷间，飞瀑漱石，古松虬曲横斜。松下石台之上，抚琴人信手拨弦，对面听者垂眸凝神，将身心都浸在松风声与琴音里。侧旁童子正俯身溪畔汲水，浑然不觉周遭雅韵。\n画面以静取景，以动点染，明丽的设色衬出林涧清寂，人物神态宛然生动，将山林雅集、知音相和的悠然意趣，尽藏于尺幅之间，把文人寄情丘壑的雅致心境铺陈得淋漓尽致。",[23,24,25,519,7,28,27,29,83,138,86,34,211,1319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aa149186a2d0e6c5d0c2565807183.jpg",[],{"id":10830,"slug":10831,"title":10832,"dynasty":132,"author":1194,"museum":245,"description":10833,"tags":10834,"thumbUrl":10837,"material":220,"size":220,"collection":220,"collections":10838,"showCount":10811,"zanCount":1769,"manualWeight":48,"mainColor":49},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[23,137,24,25,26,7,28,83,927,467,216,173,471,10835,10836],"古代服饰","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],{"id":10840,"slug":10841,"title":10842,"dynasty":76,"author":191,"museum":20,"description":10843,"tags":10844,"thumbUrl":10845,"material":67,"size":10846,"collection":220,"collections":10847,"showCount":10811,"zanCount":48,"manualWeight":48,"mainColor":49},223339,"er-lang-shen-sou-shan-tu-juan-yi-ming-223339","二郎神搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,24,25,26,7,28,83,29,34,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a66aa3c0dc8d8069db69e347e0a460.jpg","53×561cm",[],{"id":10849,"slug":10850,"title":10851,"dynasty":76,"author":2369,"museum":10852,"description":10853,"tags":10854,"thumbUrl":10856,"material":424,"size":10857,"collection":237,"collections":10858,"showCount":10811,"zanCount":1769,"manualWeight":48,"mainColor":49},222399,"mei-cha-zhi-que-tu-lv-ji-222399","梅茶雉雀图","浙江省博物馆","此图描绘的是着色雪景，寒意茫茫，坡石上，有白梅老干欹曲，双雉栖息干上，一正一反，侧首相互呼应，形态生动。树根处，隐隐露出兰叶丛草，梅枝虬曲凌 空，花朵疏密散聚，气势飞动，更添无限寒意。数雀聚集栖于上部梅枝之上，山茶红映其间，正如《无声诗史》所评设色鲜丽，生气奕弈。远处岗阜覆雪，涧水 曲流，冷壑荒寂。此画属于工笔重彩一体，色彩浓重妍丽，覆雪山石皴染结合，明暗对比强烈，造成雪景冷雪之意境。",[23,24,25,155,28,7,212,637,520,7348,10855,286,1797],"鸟雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34babdb1d62fbd1860bbd9300b314237.jpg","97.8X183.1",[237,45],{"id":10860,"slug":10861,"title":10862,"dynasty":54,"author":191,"museum":1129,"description":10863,"tags":10864,"thumbUrl":10866,"material":2721,"size":10867,"collection":237,"collections":10868,"showCount":10811,"zanCount":1769,"manualWeight":48,"mainColor":49},221144,"ci-shan-dian-xin-tu-yi-ming-221144","此山点心图","唐绘手鉴笔耕园",[23,24,28,7,10865],"点心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd463580216147b46561ba8406a7b22.jpg","24.6×24.2",[237,45],{"id":10870,"slug":10871,"title":9026,"dynasty":18,"author":10872,"museum":434,"description":10873,"tags":10874,"thumbUrl":10875,"material":100,"size":10876,"collection":44,"collections":10877,"showCount":10811,"zanCount":1084,"manualWeight":48,"mainColor":49},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,137,24,25,26,7,28,81,172,83,84,29,34,112,176,92,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[44],{"id":10879,"slug":10880,"title":10881,"dynasty":76,"author":77,"museum":463,"description":10882,"tags":10883,"thumbUrl":10884,"material":100,"size":220,"collection":182,"collections":10885,"showCount":10811,"zanCount":1769,"manualWeight":48,"mainColor":49},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,25,155,7,28,29,81,83,84,112,176,34,211,86,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[182],{"id":10887,"slug":10888,"title":10889,"dynasty":54,"author":1473,"museum":245,"description":10890,"tags":10891,"thumbUrl":10892,"material":100,"size":10893,"collection":44,"collections":10894,"showCount":10811,"zanCount":1084,"manualWeight":48,"mainColor":49},219580,"nong-qian-tu-han-huang-219580","农迁图","此图是少有的描绘唐代农民生活的写实画作。左侧男子一手持竹杖，一手拿干粮而食，头戴斗笠，腰挂麻鞋，小腿上还系有绑带，可见行路之辛苦。其后一妇人手抱婴儿，骑驴而行，脸上似有疲倦之色。",[24,25,26,7,28,83,113,4801,61,4541,10746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f0ca4e6c67a7e352a230c6af67845a.jpg","25.1x91.1厘米",[44],{"id":10896,"slug":10897,"title":10898,"dynasty":76,"author":191,"museum":2004,"description":10899,"tags":10900,"thumbUrl":10902,"material":100,"size":10903,"collection":237,"collections":10904,"showCount":10811,"zanCount":1769,"manualWeight":48,"mainColor":49},219080,"luo-hua-you-yu-tu-yi-ming-219080","落花游鱼图","画面下部描绘了一条张着嘴的鸳鸯鱼，鱼身上有绚丽的背鳍和斑点，周围有荷叶和花朵，还有一条更低调的鲤鱼，鳞片整齐，鱼鳍挥舞，似乎正在向鸳鸯鱼游去。",[24,25,7,28,212,557,248,10901,249],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfa03c687a78c5002929fc39069b598.jpg","49.3x33.5cm",[237],{"id":10906,"slug":10907,"title":10908,"dynasty":132,"author":1025,"museum":134,"description":10909,"tags":10910,"thumbUrl":10911,"material":100,"size":10912,"collection":44,"collections":10913,"showCount":10811,"zanCount":1084,"manualWeight":48,"mainColor":49},218923,"ba-da-chun-you-tu-zhao-nie-218923","八达春游图","画中有八位骑马的贵族，园中的草木都呈现出新绿，马儿轻盈地踏着，显示出春日郊游的愉快气氛。马匹、树木和岩石的笔触细腻精致，超越了唐朝和五代，与北宋的风格相似。",[23,137,24,25,7,28,83,112,34,705,1029],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07199252c59d7bfa0a3af33b99ab6823.jpg","161.9x102",[44],{"id":10915,"slug":10916,"title":10917,"dynasty":18,"author":1040,"museum":134,"description":10918,"tags":10919,"thumbUrl":10920,"material":100,"size":10921,"collection":42,"collections":10922,"showCount":10811,"zanCount":48,"manualWeight":48,"mainColor":49},218896,"song-wu-yan-bin-tu-li-song-218896","松坞延宾图","这幅画描绘了山中溪边的一个村庄，一个贵族把自己隐居起来，在家里建起了一些区域，当客人到来时，他们会用菜肴招待。这幅画是艺术家笔下的杰作，虽然它很饱满，但有一股清晰的水流在其中流淌。",[23,24,25,914,81,28,7,83,84,1068,313,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af25e2e2d0263c374707240ac706ee.jpg","24.5x24.4",[42],{"id":10924,"slug":10925,"title":10926,"dynasty":18,"author":191,"museum":134,"description":10927,"tags":10928,"thumbUrl":10929,"material":100,"size":10930,"collection":237,"collections":10931,"showCount":10811,"zanCount":1084,"manualWeight":48,"mainColor":145},218861,"die-fen-hua-cong-tu-yi-ming-218861","蝶粉花丛图","画面上画着五枝月季花，枝头上的花有的开得灿烂，有的含苞待放，花瓣是红色的，花尖是粉红色的，枝头上的叶子是深绿色的，花和叶子色彩斑斓，清新漂亮，两只蝴蝶在花丛中盘旋，伴着花香翩翩起舞。这幅画的笔触和色彩与卫昇，林椿的相似，应该说是南宋画派的代表作。",[23,24,137,7,28,212,519,411,298,654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59d14f0dd44d2a05a8c854eb299aff6.jpg","23.6x25.2",[237],{"id":10933,"slug":10934,"title":10935,"dynasty":76,"author":2369,"museum":134,"description":10936,"tags":10937,"thumbUrl":10938,"material":100,"size":10939,"collection":237,"collections":10940,"showCount":10811,"zanCount":48,"manualWeight":48,"mainColor":49},218789,"chun-xi-tu-lv-ji-218789","春喜图","疏梅横斜，数羽雏鸟栖于枝间，啾鸣似唤春声。老干虬曲，山鹧羽色斑斓，立于石畔枝上，姿态雍容闲雅。靛蓝山石衬暖褐禽羽，白梅与粉花点染其间，清妍与厚重相映。笔墨工致细腻，禽鸟神态鲜活，花木情态毕肖。全图春意氤氲，生机流转，于工笔间见灵动韵致，尽显春日雅趣与自然生机。",[24,25,155,7,28,212,637,299,211,3737],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6167804c0c9e5cfe350a337b21ab551e.jpg","137.4x42cm",[237],{"id":10942,"slug":10943,"title":4152,"dynasty":76,"author":2318,"museum":20,"description":10944,"tags":10945,"thumbUrl":10946,"material":100,"size":10947,"collection":237,"collections":10948,"showCount":10811,"zanCount":48,"manualWeight":48,"mainColor":49},218768,"zhu-he-shuang-qing-tu-bian-wen-jin-218768","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[23,137,24,25,155,7,855,28,156,60,197,212,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[237],{"id":10950,"slug":10951,"title":5509,"dynasty":150,"aut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柳树周围画有五只猫。 母猫的皮毛颜色很好。 它看起来天真无邪，喜欢在草坡上玩耍。",[24,137,28,7,582,581,286,1028,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd568342453b18257f81c6e57ff45b4c5.jpg","纵121横73厘米",[237],{"id":11089,"slug":11090,"title":11091,"dynasty":228,"author":229,"museum":134,"description":11092,"tags":11093,"thumbUrl":11094,"material":235,"size":11095,"collection":237,"collections":11096,"showCount":10956,"zanCount":1769,"manualWeight":48,"mainColor":145},219110,"tao-zhi-song-shu-tu-qian-xuan-219110","桃枝松鼠图","画中一株桃枝，枝上桃叶披盖，桃果结实鲜嫩。一只松鼠攀附在桃枝上，桃枝似乎随之颤动。松鼠长尾蓬松，高高翘起，四肢紧紧抓住树枝，正小心翼翼向桃子行进。该画不设背景，用没骨法画出松鼠和桃枝，设色清丽，颇有情趣。",[23,24,137,7,28,212,4022,7171,451,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee543dd71f018935820f6ac096a19bf.jpg","纵26.3公分，横44.3公分",[237],{"id":11098,"slug":11099,"title":11100,"dynasty":76,"author":191,"museum":463,"description":11101,"tags":11102,"thumbUrl":11103,"material":100,"size":11104,"collection":44,"collections":11105,"showCount":10956,"zanCount":1769,"manualWeight":48,"mainColor":49},218275,"ji-le-tu-yi-ming-218275","伎乐图","衣袂相偎处，古调似欲漫出绢素。一人执杖而立，衣纹沉郁如暮云垂落；一人抱阮斜倚，弦上仿佛栖着未散的余音。线条简淡却藏韵致，服饰褶皱如流水舒展，古雅色调晕染出时光的温润。两人姿态亲昵，似共守一段静谧辰光，又或在乐声里彼此慰藉。无繁复布景，仅以人物相依与乐器呼应，便勾勒出伎乐生涯中的一抹温情——让千年后的观者，仍能触到那份含蓄暖意与悠然古意，于绢素间听见岁月的轻吟。",[24,155,28,7,83,59,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb577d3e5073e741217357fcfbccf10a8.jpg","83.4x38.2",[44],{"id":11107,"slug":11108,"title":11109,"dynasty":228,"author":191,"museum":230,"description":11110,"tags":11111,"thumbUrl":11112,"material":100,"size":220,"collection":237,"collections":11113,"showCount":10956,"zanCount":48,"manualWeight":48,"mainColor":49},216668,"you-yu-tu-yi-ming-216668","游鱼图","游鱼图是由元朝（1271-1368年）的佚名画家创作的一幅著名的中国画作。这幅画描绘了一条鱼游动在清澈的池塘中，周围是葱郁的树木和山峦。画中的鱼看起来栩栩如生，似乎可以随时从画面中跳出来。这幅画被认为是元朝画坛上最杰出的代表作之一，因其精细的绘画技巧和生动的写意风格而备受赞赏。",[24,25,855,28,7,557,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c4249a76f6272444c798a69ae2976f.jpg",[237],{"id":11115,"slug":11116,"title":11117,"dynasty":150,"author":447,"museum":134,"description":448,"tags":11118,"thumbUrl":11119,"material":235,"size":220,"collection":220,"collections":11120,"showCount":10956,"zanCount":48,"manualWeight":48,"mainColor":145},214841,"xie-sheng-ce-20-hua-yan-214841","写生册-20",[24,28,7,557,250,173,450,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce710137779d736844fb703d7a06705.jpg",[],{"id":11122,"slug":11123,"title":11124,"dynasty":18,"author":2693,"museum":134,"description":11125,"tags":11126,"thumbUrl":11127,"material":218,"size":11128,"collection":42,"collections":11129,"showCount":11130,"zanCount":1769,"manualWeight":48,"mainColor":49},288266,"pi-pa-kong-que-tu-cui-bai-288266","枇杷孔雀图","不同于崔白其他传世作品，画面富丽堂皇，显示出了崔白对黄筌父子画风的传承，应是其尚未变法以前的作品。画中的主体是一对雄雌孔雀，一只栖立在枇杷树上，一只游憩于花丛之间。两只小鸟立于枇杷树枝头，与画面左侧展翅的绶带鸟相望。背景处一块湖石，中间有细竹、杂花相互掩映。 整幅作品为全景式构图，丰满繁复。禽鸟造型体态雍容，逼真生动，惟妙惟肖。在绘画技法上，禽鸟使用的是典型的勾线设色法，用线遒劲，设色上层层渲染，富丽华美。而对画面背景处的山石、枇杷树干的表达，画家则使用了稍微写意性的笔法进行勾勒，并在此基础上使用了皴染技法表现凹凸质感和阴阳向背。这种对树干与景石的描绘方法，我们似乎可以从中感受到崔白在 《双喜图》中，描绘树干所使用的灵活悠游又不失法度的水墨工写结合技法。",[23,24,25,7,28,212,809,213,178,1185,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","183.1x109.8",[42],85,{"id":11132,"slug":11133,"title":2519,"dynasty":18,"author":326,"museum":245,"description":2729,"tags":11134,"thumbUrl":11135,"material":1397,"size":1398,"collection":220,"collections":11136,"showCount":11130,"zanCount":1084,"manualWeight":48,"mainColor":145},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888",[23,137,24,25,26,7,855,212,178,156,1091,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],{"id":11138,"slug":11139,"title":11140,"dynasty":150,"author":578,"museum":20,"description":11141,"tags":11142,"thumbUrl":11143,"material":599,"size":11144,"collection":44,"collections":11145,"showCount":11130,"zanCount":48,"manualWeight":48,"mainColor":145},237136,"ren-yi-feng-chen-san-xia-tu-zhou-ren-yi-237136","任颐风尘三侠图轴","该图的大致内容是：隋末司徒杨素的侍妾红拂女与才子李靖相爱后私定终生，后在剑侠虬髯客的帮助下为唐王李世民建立了功勋。所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。\n风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。\n任颐《风尘三侠图》所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。画家用钉头鼠尾描组成火焰般的衣纹，表现出自己内心按捺不住的激情。任颐曾多次以风尘三侠为题作画，反映了画家对描绘反封建题材的人物画怀有炽热的创作热情。\n马匹作白描法，颇有装饰趣味，黑驴用没骨法，但肌肤的表现效果欠佳。",[137,24,25,155,28,7,83,112,4801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f741247a6bb0597dc560a48dfb84f.jpg","纵148.5cm、横66cm",[44],{"id":11147,"slug":11148,"title":11149,"dynasty":54,"author":381,"museum":245,"description":11150,"tags":11151,"thumbUrl":11152,"material":220,"size":220,"collection":220,"collections":11153,"showCount":11130,"zanCount":1769,"manualWeight":48,"mainColor":49},231005,"shi-nv-xiao-xiang-li-zhou-yan-li-ben-231005","仕女肖像立轴","此作工致写实，仕女端然危坐，神态恬然沉静，尽显闺秀端凝气度。豆绿团衫温婉雅致，衣缘绣纹清丽柔润，发丝轻挽簪花素净，衣纹线条匀细凝练，晕染柔和自然，将仕女娴静温婉的风姿尽数铺展。身侧条案陈置清供法器，古雅沉静，暗合文人雅致意趣。整体设色柔澹沉稳，古绢晕开旧时光晕，笔意朴拙不失精细，将东方古典仕女内敛静穆的风华凝于绢素之上，静谧耐看，带着醇厚古雅的质感。",[23,137,24,155,28,7,83,59,63,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b73f886d81289c69433793116e980d.jpg",[],{"id":11155,"slug":11156,"title":8418,"dynasty":150,"author":191,"museum":245,"description":11157,"tags":11158,"thumbUrl":11159,"material":1397,"size":1398,"collection":220,"collections":11160,"showCount":11130,"zanCount":1769,"manualWeight":48,"mainColor":49},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,25,26,27,28,29,82,7,172,623,34,37,31,35,769,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],{"id":11162,"slug":11163,"title":11164,"dynasty":228,"author":229,"museum":245,"description":11165,"tags":11166,"thumbUrl":11167,"material":220,"size":220,"collection":220,"collections":11168,"showCount":11130,"zanCount":48,"manualWeight":48,"mainColor":145},228018,"lai-qin-zhi-zi-tu-qian-xuan-228018","来禽栀子图","宋末元初杰出的画家、书法家、诗人， 、 、 、 、肖子中、陈天逸、 、姚式并称“吴兴八俊”，钱选为“吴兴八俊”之首。\n“不管六朝兴废事，一樽且向画图开。\n”宋末元初，特殊的时代环境使得大多数汉文人从仕途中退却，隐逸文化成为当时汉文人生活方式的主流。\n同时，老庄隐逸思想中“平”“淡”的审美特质影响了画家的诗画品格。\n元初画家钱选的花鸟绘画作品所蕴含的诗画意蕴，充分体现了这种影响。\n《东山存稿》卷二中言及钱选作诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”以“淡”而归“真率”，绘画与诗文的统一格调，是钱选人格心理的真实写照。\n绘画主流由宫廷而转入民间的过程中，画家的自我意志得到了畅意与释放。\n宋末元初这一时期，钱选、赵孟、龚开、郑思肖等画家的作品中明显可见题画或题画诗的出现，实质是画家的文人意识与自我认知意识的一种抒发。\n钱选传世可考的一些 作品中常见其题诗，《秋瓜图》中道：“写向小窗醒醉目，东陵闲说故秦侯。\n”《梨花图》卷中题：“寂寞阑干泪满枝，洗妆犹带旧风姿。\n闭门夜雨空愁思，不似金波欲暗时。\n”从绘画题材看，画中的秋瓜、梨花等并非有太多奇巧之处，但画家入木三分的刻画赋与其丰富的情感内涵，再结合题画诗将意蕴内涵表现更为明确。\n“写向小窗醒醉目”是不谙世事的放纵，“东陵闲说故秦侯”却是满腔无奈的追忆与感喟，此秋瓜已非彼秋瓜也。\n而画中的梨花更已幻化为一风华绝代的美人，哀怨忧愁，褪尽铅华，悱恻百转却欲说还休。\n诗句是朴素平实的，而画中的对象在诗意中展开了延伸，从平常无奇的花鸟草木亦能体会出其情意所至。\n诗意中所表达的心绪在绘画的审美中与画家的情感相交融，画作意境由此而得以延伸。\n如果说南宋精美工细的花鸟画小品中能看出画家对具体物象细腻的揣度与恭谨的表现，在钱选的花鸟画中，画家所赋予物象的情感则通过诗作不露痕迹地带出，“洗妆犹带旧风姿”，一个“洗”字将观者对一树梨花的清新冷韵形象地再现出来，伤感、追忆的情绪已在枝头花间弥漫，而作者的情感似乎是中性的、平淡的。\n画境与诗境的相通并非是简单直接的描述或说明，而是在另一个较高层次上意趣的通融。\n钱选位居“吴兴八俊”并非完全以其绘画，而是“以诗擅名”，画为文之极，深厚的文学修养必然影响到其对绘画的理解与表现。\n清代陆心源所撰《仪顾堂集》《钱选传》中道：“尤善作折枝，其得意者赋诗其上。\n”钱选流传至今的画作上，无论有无题诗，皆有款识印章的出现。\n款识的出现与变化可能还有另外的原因，当绘画作品突破皇家欣赏的专属，在民间也广为流传时，作品的真伪问题就突显了出来。\n钱选在吴兴当地的画誉较高，时人以“吴兴三绝”分别指钱选的画、赵孟的字以及冯应科的笔。\n钱选作品在具备较高绘画造诣的同时，也有较强的课徒之资。\n其作品《来禽栀子图》现藏于美国弗利尔美术馆，图上绘有两株栀子花并未见禽鸟，一说可能是原图的残简，有一说“来禽栀子”本为花名。\n画中两株花枝势态怡然，摇曳生姿。\n花、叶穿插掩映有致，色调淡雅和谐。\n其画后隔水有赵孟跋：“来禽栀子，生意俱足。\n舜举丹青之妙于斯见之。\n其他琐者必其徒所为也。\n孟”足见，钱选的绘画在当时已为众多后学所追摹本。\n赵孟在钱选《八花图》卷后题跋：“右吴兴钱舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。\n尔来此公日酣于酒，手指颤掉，难复作此。\n而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。\n”山东省出土的钱选《白莲图》卷上也有作者的自跋：“余改号溪翁者，盖赝本甚多，因出新意，使作伪之人知所愧焉。\n钱选舜举。\n”显然，款识与画家身份的辨别在元初得到了进一步的发展，至元中后期画家在画面题款已蔚然成风，同时对画家书法品质的要求也起到了推动的作用。\n从作品来看，钱选书法明显承袭钟繇一路风格，含蓄内敛、平淡天真，法度严谨却又以拙胜巧。\n在钱选的绘画作品中，诗文、书法、绘画、款印相得益彰，书法的审美意蕴与题画诗意均呈现出某种同一的美学特质。\n再经由赵孟等人对“书画同源”观念的推动，发展为大多数文人画家所接受，奠定了后来整个文人画作样式上的基本面貌。\n明代沈颢在《画》中言：“元以前多不用款，款或隐之石隙，恐书不精，有伤画局。\n后来书绘并工，附丽成观。\n”显然，元初是书画款识的一个分界点，沈颢还从画面的结构关系上指出：“一幅中有天然候款处，失之则伤局。\n” 在花鸟画史研究中，论及钱选都认为其承南宋的画风。\n从画面效果来看，现藏于 的《牡丹图》卷是钱选花鸟画中风格较为接近南宋院体的一幅。\n也可能是由于牡丹本身繁茂明丽、雍容华贵的特质，拉近了作品与宫廷审美风格的关联。\n在钱选的画笔之下，花团锦簇，枝叶丰茂，写出牡丹的繁盛之妆容。\n明丽丰满的花头似乎随风摇曳，令人在体会到灼目芳华时却又顿生转瞬既逝的感喟。\n画面空疏有致，题款：“万卉何能继后尘，蜂喧蝶驻亦钟情。\n莫嫌开处春还暮，长向西都见太平。\n”七绝一首在画面左侧，画面形式上来看，题款与牡丹位置相距甚远，中有留白。\n显然作者在画面经营上是匠心独运的，以留白与牡丹花枝紧簇形成对比，增添了繁与简、荣与空之间的对比，从而增添了对牡丹内在审美意蕴的理解。\n题画诗所形成的纵向线条感疏朗有致，增添了画面的形式构成。\n从画面的整体来看，小楷的书写效果，朴实无华，独特一帜。\n同时，又能以诗意提升画意，作者在传承传统技法的同时，以自我的文化修养为作品的创新发展注入了新的因素。\n与同时代的画家相比，钱选花鸟画作品的独特性体现出两方面的辩证联系：一方面是显性的，时人评价钱选之诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”此论形容其绘画含蓄凝练，以平淡为格。\n在传承古典绘画技法的同时，将传统 的审美范畴拓展到更富于文人气质的表现上。\n其绘画命意高古，造型赋色独具意趣，以题画诗延伸画意，并在形式上以题跋款识介入画面，形成诗文书画合一的画面风格，为后世文人画家所效仿。\n另一方面，也是更为本质的一方面，他始终坚持在绘画本体的层面进行创作，文学因素的影响始终建立在其对绘画本身的追求与坚持之上。\n即使在钱选晚期的代表作《白莲图》卷中，色彩的渲染简约到了极致，几乎近于白描，但用线造型无不流畅细腻，富于表现力，可谓“精工之极”的典范。\n在宋元相交之际，绘画向主观写意转变的时代潮流中，钱选始终坚持对客观物象的尊重，坚持“状物”之美的表现，将富于文人意味的审美理想内化于其作品之中，这使他与当时的主流绘画样式拉开了距离，从而树立了自我的价值，形成独特的自我风格。",[23,137,24,25,26,28,7,212,1307,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2c8b9c667d1fd5c374bd1445018bdf.jpg",[],{"id":11170,"slug":11171,"title":11172,"dynasty":150,"author":2080,"museum":245,"description":11173,"tags":11174,"thumbUrl":11175,"material":220,"size":220,"collection":220,"collections":11176,"showCount":11130,"zanCount":1769,"manualWeight":48,"mainColor":145},224378,"hua-hui-qi-shi-ce-shi-er-kai-8-ju-lian-224378","花卉奇石册-十二开-8","此作用笔秀润工致，湖石嶙峋朴拙，留白孔洞衬出通透雅姿，旁侧幽竹叶叶分明，清隽舒展。石畔野花柔婉娇妍，细草萦地，将小景衬得生机悠然。\n\n附石螳螂昂首凝神，振翅小虫翩跹于空，草虫刻画毫厘毕现，将灵动野趣藏于静雅景致中。设色轻浅柔和，晕染细腻自然，工笔精致却不板滞，将幽寂庭隅的清趣鲜活定格，于尺幅绢素间，糅合草木的静雅与草虫的生机，尽显闲淡悠然的逸致，勾勒出夏日庭间的鲜活幽谧。",[23,24,25,519,28,7,212,156,1185,409,452,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288770c4e7a26717f5dbb64eb7856ee.jpg",[],{"id":11178,"slug":11179,"title":11180,"dynasty":150,"author":433,"museum":20,"description":11181,"tags":11182,"thumbUrl":11183,"material":40,"size":11184,"collection":44,"collections":11185,"showCount":11130,"zanCount":1769,"manualWeight":48,"mainColor":49},222862,"shi-gong-ci-tu-ce-leng-mei-222862","十宫词图册","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,7,28,81,285,173,83,84,341,1599,196,1028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e2972b1c52918200e2cb77c491e77.jpg","纵33.1厘米，横29.3厘米",[44],{"id":11187,"slug":11188,"title":11189,"dynasty":76,"author":2369,"museum":1129,"description":2678,"tags":11190,"thumbUrl":11192,"material":424,"size":2686,"collection":220,"collections":11193,"showCount":11130,"zanCount":1769,"manualWeight":48,"mainColor":49},222393,"si-ji-hua-niao-tu-chun-lv-ji-222393","四季花鸟图-春",[23,24,137,7,28,212,637,299,1435,211,653,155,11191],"开花树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342faa17d4f14661d3abe4bf10e5735.jpg",[],{"id":11195,"slug":11196,"title":11197,"dynasty":150,"author":191,"museum":20,"description":11198,"tags":11199,"thumbUrl":11203,"material":100,"size":11204,"collection":44,"collections":11205,"showCount":11130,"zanCount":1084,"manualWeight":48,"mainColor":49},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,7,28,81,26,83,751,2183,11200,34,705,972,9785,11201,11202,2782,96],"祭祀","队伍","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[44,45],{"id":11207,"slug":11208,"title":11209,"dynasty":150,"author":260,"museum":134,"description":11210,"tags":11211,"thumbUrl":11212,"material":100,"size":11213,"collection":45,"collections":11214,"showCount":11130,"zanCount":1084,"manualWeight":48,"mainColor":145},219302,"shi-jun-tu-zhi-ru-yi-cong-zhou-lang-shi-ning-219302","十骏图之如意骢轴","银鬃如瀑覆颈垂尾，肌理间星斑错落似落雪沾霜。骏马昂首而立，筋肉起伏藏于柔毫之下——西洋写实技法精准勾勒骨相，东方水墨晕染鬃毛显柔韵。绢本素净如宣纸，衬得如意骢神骏挺拔，姿态灵动若将嘶鸣。旁侧墨笔题跋与朱印相映，添文人雅趣。中西技法相融，既存西域良驹的雄健风骨，又含中式审美的含蓄意境，成鞍马画作中跨文化对话的传世妙品。",[24,25,155,7,28,112,582,6920,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38449328316c44de09d076a3ad08c00d.jpg","231.2x278.1",[45],{"id":11216,"slug":11217,"title":11218,"dynasty":132,"author":2520,"museum":245,"description":11219,"tags":11220,"thumbUrl":11221,"material":1397,"size":1398,"collection":220,"collections":11222,"showCount":11223,"zanCount":1769,"manualWeight":48,"mainColor":49},287374,"mu-dan-tu-ye-huang-quan-287374","牡丹图页","五代时期的黄荃擅长工笔牡丹，钩花填色，富丽工巧。北宋郭若虚在《图画见闻志》中称其为“黄家富贵”。他笔下的牡丹不仅着意表现牡丹的姿态，更重视表现牡丹富贵吉祥的寓意。",[137,24,25,212,7,28,298,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc068ad0be98f133efd214bda7be63318.jpg",[],84,{"id":11225,"slug":11226,"title":11227,"dynasty":150,"author":11228,"museum":245,"description":11229,"tags":11230,"thumbUrl":11231,"material":220,"size":220,"collection":220,"collections":11232,"showCount":11223,"zanCount":48,"manualWeight":48,"mainColor":49},230220,"zhu-lin-qi-xian-tu-yu-ling-230220","竹林七贤图","俞龄","茂林修竹围出一方幽隐天地，清溪穿林而过，山石错落间，贤士们各寻幽趣：或凭栏低语，或临流浣漱，或围坐弈棋，或卧于松石间静听竹涛。淡墨写竹虚实相生，将林下清寂晕染开来，人物衣袂飘然，神态闲散疏朗，尽显放旷超脱的魏晋风神。\n\n整幅画面疏密相宜，把林泉高致与雅集之乐相融，笔墨简淡却意韵悠长，将先贤寄身丘壑、不逐尘俗的襟怀凝于绢素，让千年前的林下风流历历在目。",[23,24,25,28,7,83,29,156,314,1103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00aacaf067d0373a0657f73de52f1401.jpg",[],{"id":11234,"slug":11235,"title":11236,"dynasty":150,"author":260,"museum":245,"description":11237,"tags":11238,"thumbUrl":11244,"material":220,"size":220,"collection":220,"collections":11245,"showCount":11223,"zanCount":1020,"manualWeight":48,"mainColor":145},230206,"yuan-ming-yuan-tong-ban-hua-lang-shi-ning-230206","圆明园铜版画","《圆明园铜版画》是清代郎世宁于1724年创作的纸本画，共2开。\n本幅无款印。\n清雍正二年（1724年）， 皇帝决定扩建康熙年间即已开始兴建的 。\n在雍正、乾隆两朝持续不断的大规模扩建中，通晓西洋建筑学的 曾与法国传教士 、 等一起参与园内著名的“西洋楼”的设计和工程督造，并有机会在较长的时间里住在这座东方名园内，为装饰殿堂画了多幅作品，其中既有欧洲风格的油画，也有以欧洲 在平面上表现深远效果的“线法画”。\n虽然郎世宁在圆明园的这些创作由于兵燹的劫难早已湮没无存，但从此册铜版组画中，我们仍然可以看到郎世宁等西洋宫廷画家在宫廷建筑绘画上的高超造诣与成就。\n这组完全西式的铜版组画也成为清代宫廷建筑绘画全新技法的代表作。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[11239,7,81,795,84,11240,1109,34,211,11241,91,92,11242,214,11243],"铜版画","喷泉","水池","雕塑","对称布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f65b9eb8fabb63e8ae379edc225897.jpg",[],{"id":11247,"slug":11248,"title":11249,"dynasty":76,"author":191,"museum":245,"description":11250,"tags":11251,"thumbUrl":11252,"material":1397,"size":1398,"collection":220,"collections":11253,"showCount":11223,"zanCount":48,"manualWeight":48,"mainColor":1833},228411,"wen-shu-xiang-yi-ming-228411","文殊像","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[137,24,25,1053,194,7,28,83,29,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d6a64a1e16572aa440c8f1e0300caf.jpg",[],{"id":11255,"slug":11256,"title":11257,"dynasty":18,"author":191,"museum":406,"description":11258,"tags":11259,"thumbUrl":11260,"material":424,"size":11261,"collection":42,"collections":11262,"showCount":11223,"zanCount":1769,"manualWeight":48,"mainColor":49},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[23,137,24,25,26,81,7,28,83,84,86,116,111,34,36,5081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","纵55.4厘米横124.1厘米",[42,45],{"id":11264,"slug":11265,"title":11266,"dynasty":150,"author":191,"museum":20,"description":11267,"tags":11268,"thumbUrl":11269,"material":424,"size":11270,"collection":220,"collections":11271,"showCount":11223,"zanCount":1084,"manualWeight":48,"mainColor":49},223473,"zhi-ping-shi-nv-tu-yi-ming-223473","执瓶仕女图","画中少女立于画中，长袍长裙飘扬，高举丝绸高瓶，丝绒修长，露出的右手指甲细长，这姑娘应为高官达人家眷或宫廷内女子",[24,25,155,28,7,83,59,158,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c7df1b022f11cc8235ca9a2a3f80c2.jpg","92x56厘米",[],{"id":11273,"slug":11274,"title":11275,"dynasty":76,"author":77,"museum":20,"description":1213,"tags":11276,"thumbUrl":11277,"material":40,"size":1217,"collection":220,"collections":11278,"showCount":11223,"zanCount":48,"manualWeight":48,"mainColor":145},222190,"ren-wu-gu-shi-tu-ming-fei-chu-sai-chou-ying-222190","人物故事图-明妃出塞",[23,24,137,25,519,7,28,83,112,116,2463,59,581],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ba20774bb9e29add1a777c3c73b95e.jpg",[],{"id":11280,"slug":11281,"title":11282,"dynasty":54,"author":11283,"museum":134,"description":11284,"tags":11285,"thumbUrl":11286,"material":40,"size":11287,"collection":44,"collections":11288,"showCount":11223,"zanCount":1769,"manualWeight":48,"mainColor":49},221134,"da-bei-guan-yin-xiang-zhou-fan-qiong-221134","大悲观音像轴","范琼","头戴宝冠，宝冠中画阿弥陀佛，在青色莲台上结跏趺坐。\n他有三只眼睛、四十二只手，每只手掌中间还画一只眼睛，是密教中千手千眼观音（又称大悲观音）的一种类型。\n此幅右下方有范琼（活动于八四六－八七九年）的题款，虽然清代的查士标和张丑都认为这是一幅范琼的真迹，可是这幅观音女相的造形与唐代的 不同，反而和明代的观音较为接近，所以推测它可能是一件明代的画作。\n范琼，唐文宗时人。86至84（开成年）与陈皓、彭坚同时同艺寓居蜀城（今成都）。三人善画人物、佛像、天王、罗汉、鬼神。三人同手于诸寺图画佛像。自大中至乾符，笔无暂释，图画二百余间墙壁。如圣寿寺大殿释伽像，行道北方天王像、西方变相、殿上小壁水月观音等，与圣兴寺大殿东北二方天王、药师十二神、释迦十弟子、弥勒像、大悲变相等；名目虽同，形状一无同者。\n尝作刍瑟磨像两堵，设色未半，笔踪俨然，后之妙手终莫能继。\n大中年（八四七至八五九）所绘大悲观音像躯不盈尺而三十六臂皆端重安稳，所执诸物各尽其妙。\n笔迹如缕而精劲温润，妙穷毫厘。\n其卢楞伽、曹仲宣之徒欤。\n《德隅斋画品、米芾画史、图画见闻志》",[137,24,25,155,194,83,28,7,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cbcfa8a4804974fb3a4d454c07fde3.jpg","该幅 67.3x39.9公分；右上边题签 23.8x2公分；左下方题 26.7x8.7公分",[44,45],{"id":11290,"slug":11291,"title":11292,"dynasty":76,"author":888,"museum":134,"description":11293,"tags":11294,"thumbUrl":11295,"material":2373,"size":11296,"collection":44,"collections":11297,"showCount":11223,"zanCount":1084,"manualWeight":48,"mainColor":145},220377,"ban-ji-tuan-shan-tu-tang-yin-220377","班姬团扇图","画中，班姬手拈纨扇，独自在棕榈树下悄然而立。尽管画的是明眸粉颊、姿容秀丽，神情却怅然若有所思。庭前，点缀着一株花蕊绽放的蜀葵，画家应是想藉此来暗示时序已属夏末秋凉的季节。\n唐寅原是恋恋红尘里的有情种子，素来就擅长图写女性形象。本幅援引文学作品入画，透过人物与景境的巧妙配搭，具体呈现了画中人的感情和际遇。这份深刻、动人的描写力，无疑已让观者超迈了时空的隔阻，共感于汉代美人的沧桑与情痴！",[23,24,25,155,28,7,83,59,313,197,92,3683,173,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c91421866b019a6fe5f56d55012294.jpg","150.4×63.6公分",[44,45],{"id":11299,"slug":11300,"title":11301,"dynasty":76,"author":191,"museum":3836,"description":11302,"tags":11303,"thumbUrl":11306,"material":1348,"size":220,"collection":45,"collections":11307,"showCount":11223,"zanCount":1769,"manualWeight":48,"mainColor":1833},220336,"kong-que-ming-wang-yi-ming-220336","孔雀明王","主尊身色莹白慈悲，六臂分持莲华、鲜果、摩尼宝珠与孔雀翎，怀捧宝瓶，璎珞衣饰以金彩勾勒，尽显华贵庄严。乘骑孔雀羽翼丰美晕染细腻，翎羽层次分明，神姿昂然。背景以深褐为底，孔雀开屏式圆光环伺主尊，眼纹环饰精巧神秘。整体设色沉厚古雅，工笔细密入微，衣袂织物的柔润光泽与造像的神圣感融为一体，在静谧肃穆的氛围里，传递出密宗造像护国息灾的神圣力量，是极具代表性的佛绘精品。",[23,24,7,28,155,194,83,213,299,1055,11304,5470,11305,5474,2709,409],"多臂人物","装饰图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe61e91b9aaf3f5abd9e79c97669b37e.jpg",[45],{"id":11309,"slug":11310,"title":11311,"dynasty":76,"author":888,"museum":11312,"description":11313,"tags":11314,"thumbUrl":5046,"material":100,"size":220,"collection":44,"collections":11315,"showCount":11223,"zanCount":1084,"manualWeight":48,"mainColor":49},219588,"wang-xian-zhi-xiu-xi-dao-mao-xu-qu-xin-an-gong-zhu-tu-tang-yin-219588","王献之休郗道茂续娶新安公主图","沃尔特斯艺术博物馆","画面以枯荣交织的柳树起笔，萧寂山水铺陈出沉郁底色。右侧男子抬臂欲语，眉宇间漫着化不开的怅然，满腔无奈终究凝在抬手之间。左侧郗道茂依偎侍女，垂首敛肩将悲戚藏在背影里，被弃的凄楚默然漫溢。\n\n淡墨晕染山石空远幽寂，衬得这场诀别更添孤凉。工细衣纹勾勒出人物仪态，将情爱里身不由己的遗憾揉进绢本，把旧年憾事定格成含蓄深沉的无声诗篇，失意与伤情铺展在山水之间，余韵悠长。",[24,7,28,172,83,59,29,1028,211,286],[44],{"id":11317,"slug":11318,"title":5907,"dynasty":76,"author":11319,"museum":78,"description":11320,"tags":11321,"thumbUrl":11322,"material":100,"size":11323,"collection":237,"collections":11324,"showCount":11223,"zanCount":48,"manualWeight":48,"mainColor":49},219312,"hua-die-tu-lv-jing-fu-219312","吕敬甫","棕褐底色如古笺轻展，鲜妍花卉自其间漾开生机。粉白花瓣晕染淡红边缘，似沾晨露般娇嫩；翠叶柔茎交错，脉络清晰如织。彩蝶翩跹，或振翅掠花，或停瓣小憩；草虫隐于叶底，细足微蜷，灵动毕现。笔墨细腻见工致，设色淡雅含明艳，晕染自然天成。画面简而丰沛，动静相宜，将田园闲逸凝于尺幅。观之如沐清风，心随蝶影轻飏，仿佛能闻花叶簌簌、虫翅微振，尽得自然野趣与雅致情味。",[24,7,28,212,411,452,409,677,198,4242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F487bfc2f1c455b3d2ec1c663f8992c9a.jpg","101.6x53cm",[237],{"id":11326,"slug":11327,"title":11328,"dynasty":18,"author":191,"museum":134,"description":11329,"tags":11330,"thumbUrl":11333,"material":100,"size":11334,"collection":237,"collections":11335,"showCount":11223,"zanCount":1769,"manualWeight":48,"mainColor":145},218714,"yang-liu-ru-que-tu-yi-ming-218714","杨柳乳雀图","这幅画描绘了一只鸟在喂养它的孩子。这只鸟被描绘得简单而微妙，它的翅膀用浓墨勾勒，用淡墨上色，小鸟的身高、腹部和背部，俯视、仰视和俯视的姿势都非常精致。柳树稀疏的、交叉的、交错的、下垂的枝条也画得很好。",[23,137,24,25,7,28,212,11331,11332,453,178],"杨柳","雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf6bfbc2c1c72fbc541eff9d6f5e0b7.jpg","24.8x24.8",[237],{"id":11337,"slug":11338,"title":11339,"dynasty":76,"author":191,"museum":78,"description":11340,"tags":11341,"thumbUrl":11342,"material":100,"size":11343,"collection":44,"collections":11344,"showCount":11223,"zanCount":1769,"manualWeight":48,"mainColor":49},218510,"wang-yuan-shuai-tu-yi-ming-218510","王元帅图","这是一幅道教的水陆画，出自明朝的一位宫廷画家之手。它原本是晚清皇帝翁同龢的收藏品，但后来传到了国外。",[24,25,677,194,7,28,83,341,1600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f92abe7d417f37cf2f5565f9557e76.jpg","98.4x62.5",[44],{"id":11346,"slug":11347,"title":11348,"dynasty":132,"author":2758,"museum":245,"description":8073,"tags":11349,"thumbUrl":11350,"material":1397,"size":1398,"collection":220,"collections":11351,"showCount":11352,"zanCount":48,"manualWeight":48,"mainColor":49},290142,"hui-qin-tu-huang-ju-cai-290142","会禽图",[137,24,25,155,7,28,212,178,637,520,1185,1091,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg",[],83,{"id":11354,"slug":11355,"title":11356,"dynasty":18,"author":1609,"museum":245,"description":11357,"tags":11358,"thumbUrl":11359,"material":1397,"size":1398,"collection":220,"collections":11360,"showCount":11352,"zanCount":1020,"manualWeight":48,"mainColor":49},288332,"hong-bai-fu-rong-tu-ye-yi-li-di-288332","红白芙蓉图页一","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。",[23,137,24,25,7,28,212,492,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd98b04c253b7294f848e933790d49cf.jpg",[],{"id":11362,"slug":11363,"title":2130,"dynasty":18,"author":505,"museum":245,"description":11364,"tags":11365,"thumbUrl":11366,"material":1397,"size":1398,"collection":220,"collections":11367,"showCount":11352,"zanCount":1769,"manualWeight":48,"mainColor":49},288270,"hua-lan-tu-zhao-chang-288270","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[23,137,24,25,212,7,28,298,689,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2085ee9a72b9b6a9215540541abb702a.jpg",[],{"id":11369,"slug":11370,"title":11371,"dynasty":150,"author":3725,"museum":20,"description":4054,"tags":11372,"thumbUrl":11373,"material":40,"size":4057,"collection":220,"collections":11374,"showCount":11352,"zanCount":48,"manualWeight":48,"mainColor":49},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴",[24,25,155,81,28,7,29,84,769,37,34,211,85,1907,342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg",[],{"id":11376,"slug":11377,"title":11378,"dynasty":132,"author":2758,"museum":8937,"description":11379,"tags":11380,"thumbUrl":11381,"material":496,"size":11382,"collection":220,"collections":11383,"showCount":11352,"zanCount":1769,"manualWeight":48,"mainColor":145},231849,"he-hua-ya-zi-tu-huang-ju-cai-231849","荷花鸭子图","这是一幅以渲染为主的没骨法作品。画上两朵白色莲花，一片荷叶，一只机灵的鸭子，构图不可谓不简洁。鸭子的画法极尽写实之能事，以极工细的手法细心渲染出每一个细节。虽然荷叶和荷花的画法是没骨法，但近景的坡石和小草却是写意画法，或许正是这微小的细节，把这幅画扔到了元代。不过构图的仰视和几乎无延伸的局部感觉，也是和宋代画家拉开距离的显著特点。",[24,137,7,28,212,157,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e9d5a6b846c9f5cabd99ac03c39dab.jpg","87x55.7cm",[],{"id":11385,"slug":11386,"title":2253,"dynasty":150,"author":2254,"museum":245,"description":11387,"tags":11388,"thumbUrl":11390,"material":220,"size":220,"collection":220,"collections":11391,"showCount":11352,"zanCount":1769,"manualWeight":48,"mainColor":145},229033,"si-ji-hua-niao-tu-ping-chen-mei-229033","此作用没骨法晕染牡丹，朱红、莹白、粉胭、鎏金的花瓣层叠柔润，将花王雍容之态尽展笔底。苍古顽石虬枝旁逸，墨色叶片浓淡相宜，衬得群芳愈发妍丽。\n\n两只春燕翩跹于空，一黑一白相映成趣，振翅姿态灵动鲜活，似携春风穿掠花间，让静雅画幅漾起融融生气。整体设色明妍雅致，工细中带着写意的松弛，将春日芳华揉入绢素，典雅娴静里满溢春日花鸟的鲜活意趣。",[23,137,24,7,28,212,298,11389,453,211,6722],"燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c30e140c85d897bb067b888cfe4136.jpg",[],{"id":11393,"slug":11394,"title":11395,"dynasty":18,"author":108,"museum":245,"description":11396,"tags":11397,"thumbUrl":11399,"material":220,"size":220,"collection":220,"collections":11400,"showCount":11352,"zanCount":48,"manualWeight":48,"mainColor":49},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池争标图","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[23,137,24,25,81,7,28,84,36,88,83,5053,34,91,751,11398],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],{"id":11402,"slug":11403,"title":11404,"dynasty":228,"author":191,"museum":245,"description":11405,"tags":11406,"thumbUrl":11410,"material":220,"size":220,"collection":220,"collections":11411,"showCount":11352,"zanCount":1084,"manualWeight":48,"mainColor":49},223616,"shi-di-pu-sa-yi-ming-223616","十地菩萨","此作图绘天界胜境，祥云翻卷如绵，晕染出缥缈禅意。六位菩萨仪容温婉慈悲，宝冠璎珞层层叠叠，錾刻入微，尽显华贵庄严。衣袂敷色厚重雅致，朱砂暖艳撞映石青沉邃，晕染柔和自然，将织物肌理与垂坠感尽数展现。\n\n菩萨排布错落有致，或合掌凝思，或垂目禅定，法相自带沉静祥和的气韵。线条婉转流畅，勾勒出体态舒展柔和，细节处纹饰精巧细腻，将工笔重彩的精妙匠艺展露无遗，神性之美与世俗工巧相融，满溢静谧的宗教感染力。",[23,11404,24,7,28,194,83,2602,11407,11408,11409],"工笔重彩","华贵庄严","沉静祥和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e8e98cf3a4bed512db310fe30d0f538.jpg",[],{"id":11413,"slug":11414,"title":11415,"dynasty":150,"author":578,"museum":245,"description":11416,"tags":11417,"thumbUrl":11420,"material":40,"size":11421,"collection":44,"collections":11422,"showCount":11352,"zanCount":1769,"manualWeight":48,"mainColor":145},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[23,24,25,26,28,7,4304,29,719,2602,84,248,34,211,198,8913,344,11418,11419],"祝寿元素","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[44,45],{"id":11424,"slug":11425,"title":11426,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":11427,"thumbUrl":11430,"material":28,"size":1081,"collection":220,"collections":11431,"showCount":11352,"zanCount":1769,"manualWeight":48,"mainColor":145},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a",[23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隔水一13 隔水二13 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同时，也吸收了西洋画的明暗、透视等特点，形成了自己的风格。",[23,24,25,7,28,194,83,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37e22633a51a0e53a44d585e1614e45.jpg","122.7x58.65",[],{"id":11698,"slug":11699,"title":11700,"dynasty":863,"author":1716,"museum":7705,"description":11701,"tags":11702,"thumbUrl":11703,"material":7710,"size":220,"collection":220,"collections":11704,"showCount":11671,"zanCount":48,"manualWeight":48,"mainColor":145},220599,"gong-chong-ce-ye-qing-e-qi-bai-shi-220599","工虫册页·青蛾","此作兼工带写，工笔绘就的青蛾形神兼备，翅翼薄透似可察纹理脉络，细足纤毫毕现，振翅欲飞的灵动跃然纸上，将小虫的鲜活生趣定格。\n\n散落的粉红花瓣以写意晕染而成，柔润朦胧，浅淡底色晕出水雾般的空濛氛围感，与工笔小虫形成虚实对照，繁简相宜。大片留白铺就清寂的意境，将晚春残花轻坠、小虫流连的闲静之景娓娓道来，写实的精致与文人写意的禅意相融，寥寥笔墨间藏着冲淡天真的闲情逸趣，尽显悠然雅致的东方意韵。",[24,25,519,7,28,494,3567,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3b02997a36403c257cbc7867068a62.jpg",[],{"id":11706,"slug":11707,"title":11708,"dynasty":150,"author":8137,"museum":367,"description":11709,"tags":11710,"thumbUrl":11711,"material":100,"size":11712,"collection":182,"collections":11713,"showCount":11671,"zanCount":48,"manualWeight":48,"mainColor":49},220076,"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[23,24,25,137,81,28,7,84,29,85,34,211,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[182],{"id":11715,"slug":11716,"title":8094,"dynasty":150,"author":11717,"museum":463,"description":11718,"tags":11719,"thumbUrl":11720,"material":235,"size":220,"collection":45,"collections":11721,"showCount":11671,"zanCount":1084,"manualWeight":48,"mainColor":49},219257,"cao-chong-tu-shang-rui-219257","上睿","画面以古雅绢色铺底，苍劲岩石兀立其间，其上百合舒展素瓣，清雅动人；旁侧藤蔓牵绕，细碎小花点缀，更添自然生趣。一只雀鸟振翅而来，羽翼纤毫毕现，姿态灵动似欲停驻花间。笔墨细腻处见功夫：花卉勾勒精致，叶片脉络分明；岩石皴擦有致，尽显朴拙质感。设色淡雅温润，白百合与暖棕背景相映成趣，整体氛围静谧中藏生机，仿佛能闻得隐于画间的花香鸟语，尽显清代花鸟画作的雅致意韵。",[23,24,25,7,28,212,159,178,688,1797,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c78ce61f7fcee14a5c12b26c976e97.jpg",[45],{"id":11723,"slug":11724,"title":11725,"dynasty":2704,"author":191,"museum":406,"description":11726,"tags":11727,"thumbUrl":11728,"material":100,"size":11729,"collection":237,"collections":11730,"showCount":11671,"zanCount":48,"manualWeight":48,"mainColor":49},219253,"shuang-fu-tu-yi-ming-219253","双凫图","沙岸之上，双凫相栖。一昂首侧顾，羽色分明，墨线勾勒间见灵动；一俯身啄沙，姿态憨拙，似与细石苔草低语。左侧芦苇数茎，叶尖斜挑，墨色浓淡相衬，劲挺中含野趣。背景沙坡淡墨晕染，疏点散落，隐现苔痕添清寂。画面不着艳色，仅以水墨勾染，却将凫鸟闲适、草木疏朗尽现。静谧里仿佛闻风过苇叶轻响，见凫鸟戏沙悠然。极简笔触藏对自然神韵的深察，尽显古画“以形写神”妙趣，于清淡间传递自然生机与文人清雅意韵。",[24,28,7,212,1091,250,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f65c79e8538775c4d7b5a1690582de5.jpg","25.7x22.3cm",[237],{"id":11732,"slug":11733,"title":11734,"dynasty":150,"author":4708,"museum":134,"description":11735,"tags":11736,"thumbUrl":11737,"material":100,"size":11738,"collection":44,"collections":11739,"showCount":11671,"zanCount":48,"manualWeight":48,"mainColor":145},218459,"shi-liu-luo-han-xiang-di-shi-si-na-a-ga-sai-na-zun-zhe-ding-guan-peng-218459","十六罗汉像-第十四纳阿噶塞纳尊者","虽临摹自贯休的作品，但这套16幅画用明暗法来表现人物脸部、手部和脚部的裸露部分，使其具有逼真生动的肌肉纹理。周围的家具和石头有相当精确的透视，明显受到西方绘画风格的影响，色彩鲜艳丰富，有凹凸的立体感。人物的头发和胡须也被仔细地、艰苦地描绘出来。这幅画展示了罗汉的性格和品质，他是一个具有超越性思维和开放性思想的人。",[24,25,28,7,83,194,173,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72eac59f02a9575a8bac111da40f688.jpg","127.5x57.5",[44],{"id":11741,"slug":11742,"title":11743,"dynasty":150,"author":8807,"museum":245,"description":11744,"tags":11745,"thumbUrl":11747,"material":220,"size":220,"collection":220,"collections":11748,"showCount":11749,"zanCount":1084,"manualWeight":48,"mainColor":145},238191,"hua-hui-chong-die-zhou-yu-sheng-238191","花卉虫蝶轴","此作以工细之笔铺展秋日野趣，湖石错落间，萱花似燃、夕颜凝白，杂花柔枝相衬，野趣横生。画师以极细笔触晕染草虫蛱蝶，翅脉通透、触须纤毫毕现，振翅欲飞间将秋郊生机尽数铺展。设色秀雅清淡，妍而不俗，花叶俯仰生姿，瘦挺草叶穿插其间，疏密布局相得益彰。\n左侧题诗与画作呼应，诗画合璧更添文雅意境，将清秋幽寂又鲜活的意趣藏于尺幅之中，尽显写生精妙功底，把自然小景绘得雅致动人。",[24,25,155,28,7,409,11746,411,62,655,159,452,212],"虫蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6199de4d5acfeaec5e8cafcd7497b4c3.jpg",[],80,{"id":11751,"slug":11752,"title":11753,"dynasty":190,"author":191,"museum":245,"description":11754,"tags":11755,"thumbUrl":11756,"material":1397,"size":1398,"collection":220,"collections":11757,"showCount":11749,"zanCount":48,"manualWeight":48,"mainColor":145},231689,"shan-cha-hua-xiao-qin-tu-zhou-yi-ming-231689","山茶花小禽图轴","此作兼用工笔与写意，老干虬曲苍劲，山茶厚叶凝翠，丹花灼灼绽放，枝上小禽侧目伫立，灵动娇憨的神态跃然纸上。设色雅致沉稳，花叶晕染细腻柔和，禽鸟绒羽的质感描摹入微，既有院体花鸟的精工之态，又饱含文人画的清逸格调。\n\n题诗与画作相映成趣，将探春报春之意藏于景中，把早春山茶盛放、幽禽暂驻的清寂生机铺陈开来，一花一禽皆含雅意，尽显传统花鸟的悠然禅意。",[23,24,25,155,28,7,212,7277,178,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a1618f40479b25ced4925a880d9b34.jpg",[],{"id":11759,"slug":11760,"title":11761,"dynasty":76,"author":191,"museum":8937,"description":11762,"tags":11763,"thumbUrl":11766,"material":2721,"size":11767,"collection":220,"collections":11768,"showCount":11749,"zanCount":1769,"manualWeight":4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出版的图书。\n第1版 (2年12月1日) ISBN: 786726519 条形码: 978786726518 尺寸: 29.8 22.4 1 cm 重量: 259 g 历代帝王，是中国人物画历史上一个重要的题材。\n古代没有照片，千古一帝的仪容，全仗绘画来保存。\n最早的帝王画，可以追溯到种种遥远而缺乏实证的文字记载，如《孔子家语·观周》中，记载孔子参观周朝的明堂，见四周的墙壁上画有圣主尧、舜和暴君夏桀、商纣的肖像。\n他认为这些帝王图『各有善恶之状，兴废之诫焉』。\n孔子的这番评价， 一语道明了古代帝王画的功能，乃是出于礼教的宣传目的。\n当孔子把『兴废之诫』作为绘画艺术的基本任务时，他或许没想到，这样的思想在很长一段时期竟主宰了中国人物画的创作功能，甚至建国后盛行一时的伟人像、英雄像，与这一见解其实也异曲同工。\n唐代张彦远在《历代名画记》中引用了三国时曹植与孔子相类似的见解：『观画者，见三皇五帝，莫不仰戴；见三季暴主，莫不悲惋……是知存乎鉴戒者，图画也。\n』早期的帝王画大都是以屏画、壁画的形式出现，通过形象上的『善恶对比』，达到『成教化，助人伦』的目的，正所谓『见善足以戒恶，见恶足以思贤』。\n自汉代以后，宫廷壁画及卷轴画中的帝王图已成为委婉地向统治者进谏的政治性作品，不但臣僚们利用它来推行政见，而且帝王也用它来美化自己，表现能接受历史的经验，是趋贤去恶的明主。\n然而，『不见五陵豪杰墓，无花无酒锄作田』，随着大量绘有大批壁画的建筑物的损毁，后人却只能通过文字记载来想像这些作品的风采了。\n千秋功过画帝王 流传至今的帝王卷丑画中，以传为唐代阎立本所绘的《历代帝王图》和《步辇图》最早。\n尤其是《历代帝王图》，是一件典型的礼教绘画作品。\n画中共刻画了汉魏以来十三个帝王的形象。\n帝王的服饰、仪仗、起居、侍从等都表现着统治者共同的特征和气势，而一画家又通过入微地表现不同帝王的不同个性，象征并反映了这些帝王的千秋功过。\n相传同是阎立本所画反映唐太宗接见吐蕃使者的《步辇图》，则向我们传达了另一个信息——帝王的肖像常常同时也是一种记录重要事件的方法，很有些像今天的记录影片。\n这样的情况在西方甚至更为普遍，比如我们对大卫的《拿破伦加冕》和《马拉之死》大概不会陌生。\n正是通过这些作品，使我们对久远的历史场景在头脑中产生了一定的直观印象。\n依靠类似于《步辇图》这样的作品，使今人仍能较确切地了解盛唐帝王的威仪和处理重大事件的方式。\n在中国，类似的作品还有不少，如传宋徽宗所作的《听琴图》和清郎世宁所作的《 》等。\n古代，大多数的帝王肖像出于宫廷画家的手笔，特别是当朝帝王的画往往由专职的宫廷画家完成。\n不过民间也流传着一些以帝王为题材的绘画作品，且主要以远古的传说故事为内容。\n尽管同样具有礼教的功能，但正所谓[生后是非谁管得，满村争说蔡中郎]，这些作品，其实不过是人们凭想像的[演义]，而并不具备真实可靠的史料价值了。\n唐 阎立本 历代帝王图 唐 阎立本 历代帝王图 卷 之一 唐 阎立本 历代帝王图 卷 之二 唐 阎立本 历代帝王图 卷 之三 唐 阎立本 历代帝王图 卷 之四 唐 阎立本 历代帝王图 卷 之五 唐 阎立本 历代帝王图 卷 之六 唐 阎立本 历代帝王图 卷 之七 唐 阎立本 历代帝王图 卷 局部 唐 阎立本 步辇图 卷 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（详见《中国书画家印鉴款识》第444页。）",[24,25,519,28,7,212,409,486,173,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ad03ae2e1d9e12b784846270fbb25e.jpg","设色纸本",[237],{"id":11977,"slug":11978,"title":4912,"dynasty":18,"author":191,"museum":20,"description":11979,"tags":11980,"thumbUrl":11981,"material":40,"size":11982,"collection":220,"collections":11983,"showCount":11959,"zanCount":1769,"manualWeight":48,"mainColor":49},233017,"ye-he-hua-tu-ye-yi-ming-233017","图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。花朵轻勾淡染，用白粉点画花蕊，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之。绿叶穿插向背，层次安排巧妙，画面简约而不单薄。",[137,24,25,519,7,28,212,4915,596,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf71474db059bf26e08b661dea46f53.jpg","纵24.5cm，横25.4cm",[],{"id":11985,"slug":11986,"title":11987,"dynasty":18,"author":1140,"museum":134,"description":11988,"tags":11989,"thumbUrl":11991,"material":100,"size":11992,"collection":42,"collections":11993,"showCount":11959,"zanCount":1769,"manualWeight":48,"mainColor":49},231052,"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","云气浩荡漫卷寰宇，巡行仪仗铺陈开三界威仪。尊神安坐牛舆，仙官神将扈从环伺，或腾云跨兽，或执旄持戟，旌旗翻卷如龙，神性肃穆融于缥缈云雾之间。\n\n笔墨苍劲古雅，设色沉敛厚重，以铁线描勾勒衣袂甲胄，须发纹路纤毫毕现。云雾晕染层层叠叠，虚实相生，将天界出行的宏阔盛景缓缓铺展。画面疏密有致，云间仙众、浪里神异错落排布，既恪守仪仗森严规制，又尽显仙道空灵意境，将神话中的巡游盛景定格于绢素之上，尽显工笔精致入微的意趣与神性之美。",[23,24,137,7,28,194,83,113,341,582,4512,37,2183,11990],"神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9",[42],{"id":11995,"slug":11996,"title":11997,"dynasty":150,"author":5626,"museum":245,"description":11998,"tags":11999,"thumbUrl":12000,"material":1397,"size":1398,"collection":220,"collections":12001,"showCount":11959,"zanCount":1769,"manualWeight":48,"mainColor":145},230976,"tan-mei-shi-nv-tu-fei-dan-xu-230976","探梅仕女图","本图以采梅仕女为主景，她立于溪石上，左手抱着梅干，右手举起正欲攀花，姿态自然生动，十分传神。仕女用细笔勾成，笔墨细柔，设色淡雅，面容俊俏，身材婀娜，充分体现出费丹旭仕女图的美学特征。",[23,24,28,7,59,83,637,159,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebadd248a4abef29f28af2255c5ade4.jpg",[],{"id":12003,"slug":12004,"title":3433,"dynasty":76,"author":12005,"museum":245,"description":12006,"tags":12007,"thumbUrl":12011,"material":220,"size":220,"collection":220,"collections":12012,"showCount":11959,"zanCount":1084,"manualWeight":48,"mainColor":49},228359,"ying-xi-tu-xia-kui-228359","夏葵","画面疏密有致，左侧稚童踩桌扮作伶人，挥旗扬袖，玩伴们敲锣击鼓，将市井戏台搬作儿戏，喧闹活泼；右侧孩童或围缸逗弄游鱼，或持杖拨弄摆件，还有小大人模样的稚童踮脚照看木栏里的同伴，各得其乐。\n衣纹勾勒清劲细腻，设色古雅柔和，把幼童的憨态天真尽数铺陈，嬉闹的神态鲜活灵动，将稚子日常的嬉玩刻画入微，满卷皆是烟火融融的童真暖意，尽显世俗童趣的治愈生机。",[24,25,28,7,83,1744,557,12008,12009,3827,12010],"童趣","童真","治愈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22977837d9b61111f00b8de004be2c7d.jpg",[],{"id":12014,"slug":12015,"title":12016,"dynasty":150,"author":3725,"museum":20,"description":12017,"tags":12018,"thumbUrl":12019,"material":40,"size":12020,"collection":182,"collections":12021,"showCount":11959,"zanCount":48,"manualWeight":48,"mainColor":49},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,28,81,7,29,927,84,176,88,211,37,5053,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[182,45],{"id":12023,"slug":12024,"title":12025,"dynasty":76,"author":6490,"museum":134,"description":12026,"tags":12027,"thumbUrl":12028,"material":28,"size":12029,"collection":44,"collections":12030,"showCount":11959,"zanCount":48,"manualWeight":48,"mainColor":49},222156,"fu-lu-shou-zhou-shang-xi-222156","福禄寿轴","商喜，字惟吉（一说恒吉），明朝人，生卒年月不详，宣德年间宫廷画家，善画人物、山水、花卉等。其作品有《关羽擒将图》、《岁朝图》、《明宣宗行乐图》及《四仙拱寿图》等。",[24,25,155,7,28,83,1817,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc109f3513539842e3b9b3db723a0ee5.jpg","259.6x85",[44,125],{"id":12032,"slug":12033,"title":12034,"dynasty":76,"author":3496,"museum":406,"description":12035,"tags":12036,"thumbUrl":12039,"material":424,"size":12040,"collection":182,"collections":12041,"showCount":11959,"zanCount":48,"manualWeight":48,"mainColor":145},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,137,24,25,519,12037,28,855,172,81,7,1720,84,34,83,12038],"山水画","诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[182],{"id":12043,"slug":12044,"title":12045,"dynasty":76,"author":12046,"museum":134,"description":12047,"tags":12048,"thumbUrl":12049,"material":100,"size":12050,"collection":237,"collections":12051,"showCount":11959,"zanCount":48,"manualWeight":48,"mainColor":145},221942,"hua-hua-die-zhou-zhao-wen-chu-221942","画花蝶轴","赵文俶","赵文俶，长洲（今苏州）人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名「寒山草木昆虫状」，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。赵文俶此卷迭经恭亲王奕砢、觯斋郭世五收藏，明女史画家作品妍雅若此，甚属难得。",[23,24,155,28,7,212,159,62,7249,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c039a1b9f0137adce7892838c9292e0.jpg","149.3x47",[237,45],{"id":12053,"slug":12054,"title":12055,"dynasty":76,"author":12056,"museum":78,"description":12057,"tags":12058,"thumbUrl":12059,"material":2721,"size":12060,"collection":182,"collections":12061,"showCount":11959,"zanCount":1769,"manualWeight":48,"mainColor":49},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[23,24,25,26,7,28,29,83,313,2653,197,86,176,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[182,45],{"id":12063,"slug":12064,"title":12065,"dynasty":18,"author":1040,"museum":4748,"description":12066,"tags":12067,"thumbUrl":12068,"material":40,"size":12069,"collection":42,"collections":12070,"showCount":11959,"zanCount":48,"manualWeight":48,"mainColor":145},221488,"ming-huang-dou-ji-tu-li-song-221488","明皇斗鸡图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,25,137,7,28,83,112,84,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89089138511bc1aca4f7a0f4bc671a45.jpg","纵25.6厘米，横26.4厘米",[42,44,45],{"id":12072,"slug":12073,"title":12074,"dynasty":18,"author":5567,"museum":134,"description":12075,"tags":12076,"thumbUrl":12078,"material":100,"size":12079,"collection":42,"collections":12080,"showCount":11959,"zanCount":1769,"manualWeight":48,"mainColor":49},220234,"chen-ju-zhong-ping-yuan-she-lu-tu-chen-ju-zhong-220234","陈居中平原射鹿图","平野寥廓萧瑟，将塞外猎场的辽远铺展开来。骑手俯身引弓，满弦待发，衣摆随奔马带起的劲风翻涌，骏马四蹄腾空，肌理紧绷绷迸发出奔逐的力量。前方野鹿弓腰疾逃，肢体满是惊惶，奔逃的仓促与骑手的沉凝形成鲜明对冲，将狩猎瞬间的张力拉至顶峰。\n\n画作以极简布景衬出旷野苍茫，线条劲挺爽利，晕染精细熨帖，把人马的剽悍雄健与野鹿的仓皇奔逃刻画得鲜活逼真，将草原射猎的快意与北国的雄放意趣，凝在这奔逐的一瞬之间。",[23,137,24,25,28,7,83,112,1817,12077],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68da4e95aefa993938654434b8b7a50.jpg","36.8×54.9",[42],{"id":12082,"slug":12083,"title":12084,"dynasty":18,"author":191,"museum":134,"description":12085,"tags":12086,"thumbUrl":12087,"material":100,"size":12088,"collection":42,"collections":12089,"showCount":11959,"zanCount":1769,"manualWeight":48,"mainColor":49},220217,"zhu-shi-shuang-lu-tu-yi-ming-220217","竹石双鹭图","整幅画面以留白营造幽远意境，右下拳石嶙峋，丛竹攒簇，墨色苍润，枝叶带风自含山野清趣。两只白鹭一动一静，一者振翅掠空，翎羽舒展灵动，一者徐行浅滩，身姿安然闲适，动静相映，愈发衬出水面空寂无波。\n\n淡墨轻勾汀渚细草，浅染出水泽清浅之态，赭色绢底晕开初夏郊塘的温润氛围。笔致秀雅清润，不施浓艳，以极简物象铺陈出悠远禅意，将塘间幽寂之美收揽尺幅，观之如临静塘，暑意尽散，尽显雅致空灵的宋人意趣。",[23,24,137,25,7,28,212,156,314,6430,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf49cc778c3c4eb41b7d150d5f1c280.jpg","31.4x28.1",[42],{"id":12091,"slug":12092,"title":12093,"dynasty":76,"author":12094,"museum":4748,"description":12095,"tags":12096,"thumbUrl":12098,"material":100,"size":12099,"collection":182,"collections":12100,"showCount":11959,"zanCount":48,"manualWeight":48,"mainColor":49},219935,"bei-ming-tu-zhou-chen-219935","北溟图","周臣","此图描绘了古代北海的波澜壮阔。《庄子》开篇《逍遥游》载：“北冥有鱼，其名为鲲，鲲之大，不知几千里也”。渤海古代称北海，亦即北冥，北冥亦作北溟。",[23,24,26,29,7,172,84,34,37,12097,1319],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177597f502a07f40362a79fb62f4475a.jpg","135.9x28.3厘米",[182],{"id":12102,"slug":12103,"title":4415,"dynasty":76,"author":3953,"museum":134,"description":12104,"tags":12105,"thumbUrl":12106,"material":100,"size":12107,"collection":237,"collections":12108,"showCount":11959,"zanCount":48,"manualWeight":48,"mainColor":145},219378,"shuang-xi-tu-wang-wei-lie-219378","王维烈，字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。",[24,25,28,7,212,637,299,741,597,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a7e80f45c240fc050ed87c323beb18.jpg","85×39cm",[237],{"id":12110,"slug":12111,"title":12112,"dynasty":18,"author":2758,"museum":134,"description":12113,"tags":12114,"thumbUrl":12115,"material":100,"size":12116,"collection":42,"collections":12117,"showCount":11959,"zanCount":1769,"manualWeight":48,"mainColor":49},219300,"lu-yan-tu-huang-ju-cai-219300","芦雁图","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[23,24,137,25,7,28,212,2707,2708,299,196,4066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米",[42,237,45],{"id":12119,"slug":12120,"title":2368,"dynasty":228,"author":648,"museum":12121,"description":12122,"tags":12123,"thumbUrl":12124,"material":100,"size":12125,"collection":237,"collections":12126,"showCount":11959,"zanCount":1769,"manualWeight":48,"mainColor":49},219274,"zhu-qin-tu-ren-ren-fa-219274","云南省博物馆","此图为工笔写生小品，颇具宋代院体风格，线条细劲匀称，色彩典雅，动静结合，生趣盎然。画面上，一只鸟栖于竹梢上，昂首作鸣叫状，瞬间的动态表现得极为成功，姿态逼真，灵气飞扬，似闻之有声。画家画竹用双钩笔法完成，笔画坚实细劲。被风吹乱的竹叶之阴阳向背表现得自然准确，虽为静止的瞬间，却有动的意味。此画尺幅虽小，然气韵飞扬，灵动自然。任仁发此幅画作继承了宋代院体画传统，笔势稳健，双钩之线均匀细劲，并填以典雅、和谐、轻艳的色彩，使得画面严谨而婉丽、和谐而富有生机。从收藏印鉴看，该作曾经明代大收藏家王士祯及清代王允祥珍藏。由此可知，此画为传世佳作。",[24,137,25,7,28,156,1091,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c7c64af9c22bf6f547706221e866df.jpg","纵25.8厘米，横22.9厘米",[237],{"id":12128,"slug":12129,"title":12130,"dynasty":76,"author":191,"museum":463,"description":12131,"tags":12132,"thumbUrl":12133,"material":100,"size":220,"collection":237,"collections":12134,"showCount":11959,"zanCount":1769,"manualWeight":48,"mainColor":49},219122,"an-chun-bai-hua-tu-yi-ming-219122","鹌鹑百花图","鹌鹑敛翅蹲踞，羽纹以细劲墨线勾勒，敷染赭褐与墨黑，斑纹交错如鳞，绒毛质感毕现。旁侧花枝扶疏，白瓣粉蕊的花朵舒展如蝶翼，紫菊点缀其间，叶片墨绿带黄晕，藤蔓缠绕有致。前景草叶劲挺，枯枝斜出添野趣，背景赭黄绢底温润古雅。整幅画以工笔细描见长，禽鸟的憨态与花卉的鲜妍相映成趣，疏密布局得当，于静谧中藏生机，尽显花鸟写生的细腻与意趣。",[137,24,25,28,7,212,5649,62,596,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cdc4849f24e6562ead882abb23c70e.jpg",[237],{"id":12136,"slug":12137,"title":12138,"dynasty":18,"author":806,"museum":3281,"description":12139,"tags":12140,"thumbUrl":12141,"material":100,"size":12142,"collection":42,"collections":12143,"showCount":11959,"zanCount":48,"manualWeight":48,"mainColor":49},219083,"shan-qin-mi-shi-tu-lin-chun-219083","山禽觅食图","描绘了两枝树支。 下部枝叶有阔叶，叶片黄色，多孔。 最左边的叶子上有一只黑色的昆虫，似乎已经吃掉了叶子。 高大的枯树的叶子已经枯萎。 而右边的树枝上，却长出了新的叶芽，站在树枝上的鸟儿正盯着那只黑色的虫子。",[23,137,24,25,7,28,212,7448,653,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4ff92e043a2bee2158780d7469100a.jpg","26.5x25.7cm",[42,237],{"id":12145,"slug":12146,"title":12147,"dynasty":150,"author":12148,"museum":367,"description":12149,"tags":12150,"thumbUrl":12151,"material":100,"size":12152,"collection":237,"collections":12153,"showCount":11959,"zanCount":1084,"manualWeight":48,"mainColor":49},219035,"yan-shang-ying-tu-zhang-yu-sen-219035","岩上鹰图","张雨森","苍岩之巅，雄鹰敛翅伫立。羽翮黑白相间，斑纹细密如织，蓬松处似含风露，利爪紧扣石隙，筋骨隐现沉凝力道。山石以枯笔皴擦，纹理嶙峋若斧劈，与鹰羽的细腻勾勒相映成趣。旁侧虬枝横斜，红叶点缀其间，添几分秋意清寂。背景绢色沉郁，更衬出鹰的孤高与山石的冷峻。画面于写实中融写意之韵，雄鹰沉静姿态下藏蓄势待发的张力，笔墨间尽展自然生机与生命的苍劲力量，观之令人感佩造物之奇与绘者匠心。",[23,137,24,25,155,7,28,2362,1797,34,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adea9a4d59fe57c41686f184054adc1.jpg","纵163.5横88.1厘米",[237],{"id":12155,"slug":12156,"title":12157,"dynasty":18,"author":12158,"museum":463,"description":12159,"tags":12160,"thumbUrl":12162,"material":100,"size":12163,"collection":44,"collections":12164,"showCount":11959,"zanCount":1084,"manualWeight":48,"mainColor":49},218306,"jian-nv-lian-dan-tu-xu-chong-ju-218306","僭女练丹图","徐崇矩","乘玄驹腾跃，袂带飘举间执器引丹。黑马鬃毛劲挺，四蹄踏空似凌虚，与素衣白冠的人物相映，清逸中藏英气。坡岸嶙峋，墨色皴擦见苍劲，几株细竹点染生机。丹烟袅袅升于褐绢之上，暗合仙道清虚之境。\n\n绢色沉褐如浸岁月，工笔勾勒与写意皴染相融：衣纹流畅如行云，马身肌理写实见骨，山石皴法古拙含韵。神情专注处，丹火隐现，方寸间藏天地玄机——既显宋画格物致知的精微，又透仙道氤氲的缥缈，古雅深邃，引人探入画中秘境。",[137,24,706,7,28,83,112,159,12161],"炼丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2534c674db225970dc309e9344f4111c.jpg","74.2x45.3",[44],{"id":12166,"slug":12167,"title":12168,"dynasty":76,"author":1013,"museum":134,"description":12169,"tags":12170,"thumbUrl":12171,"material":235,"size":12172,"collection":45,"collections":12173,"showCount":11959,"zanCount":1084,"manualWeight":48,"mainColor":145},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘（1532—1611） 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"罗汉九长老像" 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 "罗汉九长老像" 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,194,28,7,27,83,313,211,12263,1600],"瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a09e08d048331cf689d6066907fd6fc.jpg",[44],{"id":12267,"slug":12268,"title":12269,"dynasty":228,"author":12270,"museum":134,"description":12271,"tags":12272,"thumbUrl":12273,"material":100,"size":12274,"collection":44,"collections":12275,"showCount":12190,"zanCount":48,"manualWeight":48,"mainColor":49},216971,"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[24,25,155,28,7,194,83,156,159,178,196,63,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[44],{"id":12277,"slug":12278,"title":12279,"dynasty":228,"author":191,"museum":134,"description":12280,"tags":12281,"thumbUrl":12282,"material":100,"size":12283,"collection":237,"collections":12284,"showCount":12190,"zanCount":48,"manualWeight":48,"mainColor":49},216210,"san-yang-kai-tai-tu-yi-ming-216210","三阳开泰图","三阳开泰图 中有三只羊的图像。这三只羊代表着三阳的出现，是象征和平、繁荣的象征。根据传统，三只羊通常被描绘成站立在一起、头朝上的形态，表示他们正在向天空中的女娲献上膜拜。\n\n这三只羊可能会有不同的造型，但通常都是描绘成充满活力、生机勃勃的样子。他们的毛发通常是乌黑色或棕色，身体健硕，眼神炯炯有神。在三阳开泰图 中，这三只羊是象征着繁荣的重要元素，也是艺术家用来传达历史意义和文化价值的重要工具。",[24,137,5396,7,28,4541,637,156,314,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a2a7077a6eff7a42cc886854ac759.jpg","163.5x100cm",[237],{"id":12286,"slug":12287,"title":12288,"dynasty":132,"author":295,"museum":245,"description":1405,"tags":12289,"thumbUrl":12290,"material":1397,"size":1398,"collection":220,"collections":12291,"showCount":12292,"zanCount":48,"manualWeight":48,"mainColor":49},290555,"wu-dai-nan-tang-hua-hui-cao-chong-juan-xu-xi-290555","五代南唐花卉草虫卷",[137,24,25,26,7,28,212,689,410,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6d9fb677d356b11b5aa6b55f88bca7.jpg",[],76,{"id":12294,"slug":12295,"title":12296,"dynasty":228,"author":191,"museum":245,"description":12297,"tags":12298,"thumbUrl":12299,"material":1397,"size":1398,"collection":220,"collections":12300,"showCount":12292,"zanCount":1769,"manualWeight":48,"mainColor":49},290067,"you-yuan-shi-nv-tu-yi-ming-290067","游园仕女图","湖石清奇嶙峋，梅枝缀着初绽的花苞，棕榈幽立，朱栏回环圈住一院春柔。主仆二人缓步游赏，仕女罗裙曳地，执扇抬首凝睇花枝，静嗅春信，侍女垂目紧随，姿态恭谨低柔。\n\n整作设色调古雅沉静，笔触细秀温婉，以淡墨轻彩晕染出深闺庭院的幽寂，将深闺女子探春的闲静情态藏在无言的游园片段里。没有喧嚷盛景，只借极简园景烘托出娴静疏离的闺中春日氛围，将仕女含蓄的春思融在无言的抬首凝望中，尽显元代工笔雅致内敛的特质，晕开古典闺苑的幽柔诗意。",[24,914,28,7,83,59,637,2533,92,6643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3619554a1b63843503db4e649a80a6f3.jpg",[],{"id":12302,"slug":12303,"title":12304,"dynasty":228,"author":191,"museum":245,"description":12305,"tags":12306,"thumbUrl":12308,"material":1397,"size":1398,"collection":220,"collections":12309,"showCount":12292,"zanCount":1769,"manualWeight":48,"mainColor":49},228240,"yu-lan-guan-yin-zhou-yi-ming-228240","鱼篮观音轴","此尊观音菩萨即为鱼篮观音，像高束发，垂发挽结，自然舒卷，搭在双肩，富有写实感。观音菩萨面相丰满，头微颔，双眼作俯视状，双眉正中嵌珍珠白毫。五官刻画柔和，轮廓端正，表情和悦，深沉内省，充分表现出观音菩萨大慈大悲、慈悯众生的佛性。观音菩萨袒露前胸，佩戴牡丹花饰缨络项链，内束裙，裙边饰花纹，折迭自然起伏，裙带扎束小结，线条流畅细腻，富有动感。外罩双领下垂大衣，衣领雕饰牡丹花草，翻卷自由活泼，富有写实性和立体感。",[23,24,155,28,7,194,83,557,248,1600,12307],"篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41ecfe8a6fc43621a056f7ae4293a6a.jpg",[],{"id":12311,"slug":12312,"title":12313,"dynasty":18,"author":191,"museum":245,"description":12314,"tags":12315,"thumbUrl":12316,"material":220,"size":220,"collection":220,"collections":12317,"showCount":12292,"zanCount":1769,"manualWeight":48,"mainColor":49},223653,"chi-bi-tu-ce-ye-yi-ming-223653","赤壁图册页","《宋无款赤壁图》是宋代佚名创作的一幅画。\n本幅是一叶扁舟为主景的局部山水，画面中置石壁于右上角，仅画出赤壁之山脚与山石部分，可以说是把赤壁予以浓缩成近景特写。\n扁舟上回身仰望的苏东坡，暗示出他看到的赤壁在画外的高耸着，赤壁的特色，并不因其只画山角而失去，反因取材精简，景致更能突出。\n波浪起伏回转，表现一叶扁舟之摇摇荡荡，飘飘乎遗世而独立，可说极为生动地将〈 〉最为浪漫的憧憬画出了。",[23,24,137,25,519,28,7,172,29,83,175,8429,211,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb770c34ae0fb5c7a2dc0e116c105e.jpg",[],{"id":12319,"slug":12320,"title":12321,"dynasty":150,"author":2047,"museum":134,"description":7686,"tags":12322,"thumbUrl":12324,"material":220,"size":12325,"collection":237,"collections":12326,"showCount":12292,"zanCount":1769,"manualWeight":48,"mainColor":145},222808,"bian-dou-hua-wang-wu-222808","扁荳花",[23,24,212,28,7,284,173,12323,596,9054,468],"扁豆花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe5cc35daef658d871bd3f676303498.jpg","34.2x50.4",[237,45],{"id":12328,"slug":12329,"title":12330,"dynasty":76,"author":12331,"museum":56,"description":12332,"tags":12333,"thumbUrl":12334,"material":599,"size":12335,"collection":237,"collections":12336,"showCount":12292,"zanCount":1020,"manualWeight":48,"mainColor":145},222522,"mei-cha-shan-que-tu-zhu-zhu-222522","梅茶山雀图","朱竺","图绘梅、茶花、山雀的花鸟图。雀站立于茶树枝上，昂头望着上方的红茶花和金色梅花，神态专注；梅枝自然伸展，朵朵梅花点缀其上；茶花争相绽放，一抹红色美艳动人。朱竺，号君实，明代画家，工山水，亦能花鸟、人物。",[23,24,25,155,28,7,173,637,520,3455,212,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff27021c8b1604adccb8eb0607990f6.jpg","119.3x39.6cm",[237,45],{"id":12338,"slug":12339,"title":12340,"dynasty":76,"author":2369,"museum":20,"description":12341,"tags":12342,"thumbUrl":12343,"material":12344,"size":12345,"collection":237,"collections":12346,"showCount":12292,"zanCount":48,"manualWeight":48,"mainColor":49},222400,"can-he-ying-lu-tu-lv-ji-222400","残荷鹰鹭图","画面描绘了秋日荷塘中惊心动魄的一幕，苍鹰俯冲搏击白鹭，白鹭冲进苇丛深处，希图逃脱。众鸟或纷纷躲避，或受惊鸣叫。劲风吹动芦苇残荷，更添肃杀之气。作者把握住禽鸟的自然特征，赋予了戏剧化的情节表现，使画面具有扣人心弦的感染力。画家用写意的笔法画出枯败的荷叶，效果逼真，体现出高超的水墨控制能力。",[23,24,25,155,212,7,28,855,157,2362,2820,2708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae54932f80827cb6ce0d4337c4bf1.jpg","绢本，水墨","纵190厘米，横105.2厘米",[237,125],{"id":12348,"slug":12349,"title":12350,"dynasty":76,"author":77,"museum":20,"description":1213,"tags":12351,"thumbUrl":12352,"material":40,"size":1217,"collection":220,"collections":12353,"showCount":12292,"zanCount":48,"manualWeight":48,"mainColor":145},222187,"ren-wu-gu-shi-tu-chui-xiao-yin-feng-chou-ying-222187","人物故事图-吹箫引凤",[23,24,7,28,81,83,59,84,29,178,341,1600,34,6494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f759dfb5ab9012ad81e69f828566888.jpg",[],{"id":12355,"slug":12356,"title":12357,"dynasty":228,"author":229,"museum":20,"description":12358,"tags":12359,"thumbUrl":12360,"material":599,"size":12361,"collection":182,"collections":12362,"showCount":12292,"zanCount":1769,"manualWeight":48,"mainColor":49},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[23,137,24,25,26,28,7,284,173,29,34,35,33,211,927,4188,7835,772],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[182,45],{"id":12364,"slug":12365,"title":12366,"dynasty":863,"author":1716,"museum":7705,"description":12367,"tags":12368,"thumbUrl":12369,"material":7710,"size":220,"collection":220,"collections":12370,"showCount":12292,"zanCount":48,"manualWeight":48,"mainColor":145},220601,"gong-chong-ce-ye-mo-e-qi-bai-shi-220601","工虫册页·墨蛾","此作工写相映成趣。几片贝叶以写意出之，赭色晕染叶片，红笔勾勒叶脉，寥寥数笔便带着舒展松弛的野趣，似将秋光揉进纸间。右侧墨蛾则以工细笔法刻画，翅脉纹理纤毫毕现，躯体斑纹层次分明，黑褐晕染厚重通透，将飞蛾朴拙鲜活的姿态精准定格，仿佛振翅欲飞。\n\n简淡写意与精细工笔相互衬映，把乡野日常小景绘得意韵悠长，藏着对檐下秋虫的脉脉温情，以小品之态尽显雅致鲜活的生机，笔底皆是烟火气里的自然意趣。",[24,25,519,7,855,28,7708,596,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd4614bf0ace25e61b5220a30eff0cc.jpg",[],{"id":12372,"slug":12373,"title":12374,"dynasty":18,"author":12375,"museum":134,"description":12376,"tags":12377,"thumbUrl":12380,"material":2246,"size":12381,"collection":42,"collections":12382,"showCount":12292,"zanCount":48,"manualWeight":48,"mainColor":49},220191,"hui-chong-qiu-ye-pan-diao-hui-chong-220191","惠崇秋野盘雕","惠崇","惠崇（965- 1017），福建建阳人，北宋僧人，擅诗、画。作为诗人，他专精五律，多写自然小景，忌用典、尚白描，力求精工莹洁，颇为欧阳修等大家称道；作为画家，他“工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也”（北宋郭若虚语）。苏轼为惠崇画作《春江晚景》的题诗：“竹外桃花三两枝，春江水暖鸭先知”，名传千古。",[23,137,24,25,28,7,178,159,286,212,12378,12379],"秋野","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg","23.7x24.9",[42,237],{"id":12384,"slug":12385,"title":12386,"dynasty":76,"author":191,"museum":56,"description":12387,"tags":12388,"thumbUrl":12390,"material":100,"size":12391,"collection":44,"collections":12392,"showCount":12292,"zanCount":1769,"manualWeight":48,"mainColor":49},219537,"qi-ying-sheng-hui-tu-yi-ming-219537","耆英胜会图","《耆英胜会图》为辽宁省博物馆首次对外展出，画作反映了北宋年间，“耆英会”的成员们日常闲聚的场景。整幅画作人物栩栩如生，将那一时期士大夫们不问政事、优哉游哉的画面描绘了出来。画作上，在几个主要人物旁边都写有姓名，这为辨识“耆英会”成员提供了方便。辽宁省博物馆工作人员分析认为，这些姓名可能是作者在画完之后特意写上的。\n在《耆英胜会图》的左半部，画有一个案几，司马光静坐在案几后，右手持笔，摆出了想要落笔书写的样子。案几上，纸张铺开，砚中有墨。在司马光的右手边，富弼端坐着，双手互揣衣袖，慈祥地静观着他。\n因为二人在这幅画里有距离感，按照常规视觉，司马光在画里的形象应该大于富弼，但实际上却恰恰相反。“中国古代绘画与西方绘画不同，在人物构图上，更强调尊卑观念。也就是说，在一幅画里，要凸显尊者、主人公的形象。”《民国辽沈金石书画史》作者、沈阳故宫博物馆副研究员沈广杰对画作进行了解读。他说，就《耆英胜会图》来看，从年龄上，富弼要长于司马光，而如果从官职上，前者也要高于后者，所以富弼的形象大于司马光就在情理之中了。",[23,24,26,28,4304,7,3045,927,6239,6240,284,12389,4005],"士大夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32aec312de9de2887e7eb87c9352fd6c.jpg","纵47横344厘米",[44,45,1478],{"id":12394,"slug":12395,"title":12396,"dynasty":190,"author":191,"museum":134,"description":12397,"tags":12398,"thumbUrl":12399,"material":100,"size":12400,"collection":44,"collections":12401,"showCount":12292,"zanCount":1769,"manualWeight":48,"mainColor":49},219410,"huo-lang-tu-zhou-yi-ming-219410","货郎图轴","货郎挑担来到牡丹花下敲锣叫卖，孩童们争相前来，有拿铜钱的、拖玩具小车、打陀螺，还有手上把玩风车，脸上洋溢着欢喜与兴奋。货郎扁担为高肩形式，装饰着一对华丽的蟠龙，这是明代流行的样式。伞盖下悬挂灯笼、葫芦。置物架上内嵌木格，装满了瓶罐、玩具，及福禄寿样貌的泥塑偶人。背景牡丹盛开，桃实累累，充满吉祥意味。",[24,25,155,7,28,83,1744,6512,216,1676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c2e1b92d7b7e924913d4aafee674fb.jpg","183.5x116.3",[44],{"id":12403,"slug":12404,"title":6555,"dynasty":18,"author":191,"museum":230,"description":12405,"tags":12406,"thumbUrl":12407,"material":100,"size":12408,"collection":237,"collections":12409,"showCount":12292,"zanCount":1769,"manualWeight":48,"mainColor":49},218949,"hua-zhu-an-chun-tu-yi-ming-218949","绢本之上，墨彩交织出温润古意。数只鹌鹑或低头啄食，或侧耳呼应，羽毛纹理细腻如绒，神态憨态可掬；竹枝挺拔，叶片婆娑，藤蔓缠绕间缀着娇艳花朵，石畔幽草含露，一派生机盎然。画家以精湛写生功底，捕捉自然瞬间的灵动：鹌鹑的互动、花叶的摇曳，皆形神毕肖。整体氛围静谧雅致，似能闻见草木清香，窥见田园一隅的闲适安然，尽显宋画“格物致知”的审美意趣——于细微处见天地，于平淡中藏深情，将寻常景致绘就成耐人寻味的诗意画卷。",[24,25,26,7,28,156,5649,62,299,468,197,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f14da85deeb768a04b8571e1787dcc.jpg","33x179cm",[237],{"id":12411,"slug":12412,"title":12413,"dynasty":228,"author":191,"museum":134,"description":12414,"tags":12415,"thumbUrl":12416,"material":100,"size":12417,"collection":44,"collections":12418,"showCount":12419,"zanCount":1020,"manualWeight":48,"mainColor":49},290745,"mei-hua-shi-nv-zhou-yi-ming-290745","梅花仕女轴","此幅画作，梅花树下，一名身形窈窕的美人，正手持铜镜，专注地妆扮着自己。身侧，并点缀了奇石和水仙花。全画的情境，被塑造得无比恬静而优雅。\n美人额间所装饰的梅花形“花钿”，似乎是整张画中最引人注目的焦点。唐代徐坚的《初学记》曾记载，南朝宋武帝（420－422在位）的女儿寿阳公主，某一日，在含章殿屋檐下休息假寐时，刚好有朵梅花掉落到她的额头上。当公主醒来起身，这朵梅花居然还停留在额间。此情此景，被宫中的女眷们看见，均大表赞赏，甚至纷纷起而仿效，掀起一股“梅花妆”的流行风潮。",[24,155,28,7,83,59,470,637,690,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc4a265b52f01bd880e3e8c0aac9848.jpg","131.4x63",[44],75,{"id":12421,"slug":12422,"title":8607,"dynasty":228,"author":229,"museum":245,"description":12423,"tags":12424,"thumbUrl":12425,"material":1397,"size":1398,"collection":220,"collections":12426,"showCount":12419,"zanCount":1769,"manualWeight":48,"mainColor":49},290085,"zhao-liang-shi-nv-tu-qian-xuan-290085","这幅“宋钱选招凉仕女图”以美人为主题。画中两位美人，举止娴雅，体态轻盈纤弱，削肩瓜子脸，正是宋人欣赏的美女典型。再看看她们的穿着：内穿低胸衣、窄长裙、外着对襟褙子，也是宋代妇女所常穿的时装。至于她们手中的圆扇，又名为团扇或纨扇。它们除了能够避暑、招凉之外，因为形式、材质、扇面巧富变化，所以也是仕女手中不可或缺的重要饰品。\n庭园里，两位纤细窈窕的美人，手持着圆扇，相偕漫步而来。园中植立着传统庭园中常见剔透嶙峋的太湖石，石后还有一株花树，绽放着好似月季的花朵。美人头上，戴着不同款式的高帽，尤其是那层层高起的花形冠，样子相当别致新颖，或许是当时最新流行的款式吧\n这幅传为钱选（1235-1303左右）所作的“招凉仕女”，由于仕女面容、衣服的白粉及花上的朱砂多已脱落，因此颜色显得相当素雅简淡。钱选是南宋末一位相当具有文才与气节的画家，画风以细腻见长。这幅作品画风与存世钱选作品风格不尽相同，但仍不失无一幅南宋典雅的仕女画佳作",[24,4304,7,28,59,470,159,409,3683,8613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f42f52ef48908dcf2b212818ad4433.jpg",[],{"id":12428,"slug":12429,"title":12430,"dynasty":132,"author":12431,"museum":245,"description":12432,"tags":12433,"thumbUrl":12434,"material":1397,"size":1398,"collection":220,"collections":12435,"showCount":12419,"zanCount":48,"manualWeight":48,"mainColor":49},289777,"lian-chi-shui-qin-tu-zhou-er-gu-de-qian-289777","莲池水禽图轴二","顾德谦","顾德谦，五代南唐画家。建康(江苏)人，专喜好画道教神像画，又善画动植物。深受李后主厚爱。他画的人物，神韵清劲，笔力雄健。传世作品有《太上像》、《太上度关图》、《太上图》、《太上采芝像》、《四子太上像》、《采芝图》、《仙迹图》、《洞庭灵烟图》等20余件，见《宣和画谱》。",[23,24,155,1996,28,7,248,651,1707,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb96d9cd6b47e7470bafecaed08c207.jpg",[],{"id":12437,"slug":12438,"title":12439,"dynasty":132,"author":2758,"museum":245,"description":8073,"tags":12440,"thumbUrl":12441,"material":1397,"size":1398,"collection":220,"collections":12442,"showCount":12419,"zanCount":48,"manualWeight":48,"mainColor":49},2894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明代著名书画家、诗人。\n年少师事 明亡入 一生以画见长，尤工 所画人物躯干伟岸，衣纹 花鸟等描绘精细，设色清丽，富有装饰味。亦能画 还长于为文学作品创作 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45.7公分",[237,45],{"id":12521,"slug":12522,"title":12523,"dynasty":76,"author":6129,"museum":5821,"description":12524,"tags":12525,"thumbUrl":12526,"material":100,"size":12527,"collection":237,"collections":12528,"showCount":12419,"zanCount":48,"manualWeight":48,"mainColor":49},220315,"li-hua-shuang-jiu-tu-yu-yuan-220315","梨花双鸠图","陶渊明的诗作在清新自然的氛围中营造了一种恬淡宁静、纯朴自然的境界，这正是老庄艺术境界与人生境界的合一。钱选追慕陶渊明式的的隐逸生活，他曾画了多幅《归去来图》以示对陶潜的景仰之情，画中曾经题诗：“衡门植五柳，东篱采丛菊。长啸有余清，无奈酒不足。当世宜沈酣，作色召侮辱。乘兴赋归欤，千载一辞独。”钱选的传世作品《柴桑翁像》卷描绘陶渊明头戴明纱巾，脚着木屐，携杖款款而行的样子。画中题道：“晋陶渊明得天真之趣，无青州从事而不可陶写胸中磊落，尝命童子佩酒以随，故时人模写之。余不敏，亦写此以况。”可见钱选是借陶渊明来书写胸臆，仿陶潜之隐逸，寻道老庄，建自身之心隐，表达对陶潜自喻的隐居素志和平淡生活情趣的田园生活的向往，钱选在生活和绘画创作中极力营造心目中“桃花源”，一个平和、繁华但又远离尘世，隐心俗世之外，又从世外深情俯视人间之境。",[23,24,25,155,7,28,212,1258,8515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f327fd3c66d28a0a0a4df196d628d00.jpg","97cm×30.2cm",[237],{"id":12530,"slug":12531,"title":923,"dynasty":76,"author":674,"museum":4529,"description":4530,"tags":12532,"thumbUrl":4532,"material":100,"size":220,"collection":44,"collections":12533,"showCount":12419,"zanCount":48,"manualWeight":48,"mainColor":1833},219592,"pin-cha-tu-chen-hong-shou-219592",[24,137,25,155,7,28,173,83,159,248,1674,63],[44],{"id":12535,"slug":12536,"title":12537,"dynasty":54,"author":1473,"museum":367,"description":12538,"tags":12539,"thumbUrl":12540,"material":2246,"size":12541,"collection":237,"collections":12542,"showCount":12419,"zanCount":48,"manualWeight":48,"mainColor":49},219041,"shuang-niu-tu-han-huang-219041","双牛图","这幅画画在一个平坦的斜坡上，左边是一棵断裂枯萎的老树，画面中间是两头牛，一前一后，正在前进，前面的牧童骑着牛，后面的牧童跟着牛。",[23,24,26,855,7,113,83,313,211,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe648b205f631048024faea7c42d32cae.jpg","纵35.6横93.5厘米",[237],{"id":12544,"slug":12545,"title":12546,"dynasty":76,"author":191,"museum":367,"description":12547,"tags":12548,"thumbUrl":12549,"material":100,"size":220,"collection":237,"collections":12550,"showCount":12419,"zanCount":48,"manualWeight":48,"mainColor":49},219015,"ping-an-tu-yi-ming-219015","平安图","坡岸之上，竹丛疏密有致，枝叶间光影流转。数只禽鸟散落其间，或低头啄食草籽，或侧身梳理羽翎，姿态各异却皆显安然。白菊清雅，红果艳艳，点缀在苍褐的底色上，如散落在时光里的星子。溪流蜿蜒而过，山石静默伫立，整个画面似被一层温润的古意包裹。每一处细节都藏着对自然生机的细腻捕捉，笔墨间流淌着恬淡的野趣，更将“平安”的美好期许悄然融入这一方天地，让观者于静谧中感受那份岁月沉淀的祥和与安然。",[24,26,7,28,212,5649,156,689,3983,1288,211,624,2028,5100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8578e8b33b1c86d88f4b80524cd58b57.jpg",[237],{"id":12552,"slug":12553,"title":12554,"dynasty":54,"author":1473,"museum":20,"description":12555,"tags":12556,"thumbUrl":12558,"material":2246,"size":220,"collection":237,"collections":12559,"showCount":12419,"zanCount":48,"manualWeight":48,"mainColor":145},218914,"feng-ren-tu-han-huang-218914","丰稔图","作品内容极为丰富——牛羊、乡野村田、田家农事、风俗集社、村童农夫——或是农家风土事物或是农家风俗人物或是农家日常生产生活的场景。从画史著录来看，韩滉人物画除为王公贵族歌功颂德之作外多以村田乡野为背景描绘田家人物及其生产生活的场面；其以牛羊为题材的畜兽绘画也是以田园风光为背景。",[23,24,26,28,7,284,285,173,113,83,12557,34,705],"牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea09afee4d67677294254777585a84d.jpg",[237,1478],{"id":12561,"slug":12562,"title":12563,"dynasty":150,"author":260,"museum":134,"description":12564,"tags":12565,"thumbUrl":12566,"material":100,"size":12567,"collection":44,"collections":12568,"showCount":12419,"zanCount":1769,"manualWeight":48,"mainColor":145},216939,"yuan-ben-qin-can-tu-yuan-juan-yi-tan-lang-shi-ning-216939","院本亲蚕图（元卷 诣坛）","手卷中钜细靡遗地绘出迤逦的随员行列、声势壮盛的仪仗、采桑的命妇、盛装端坐观礼的皇后，画风精细工整，设色明丽。皇后的形象虽小，但一丝不茍，宛如肖像画般具有个人特性，与郎世宁所绘〈高宗帝后像〉中的皇后像十分接近，当为有所凭据而作，而且很可能是出自郎世宁之手。本院同时也收藏有孝贤皇后亲手为乾隆绣作的荷包，表示连位尊权贵的皇后都不能免於女红的训练。",[23,24,25,26,7,28,81,83,84,34,85,92,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa035dbde6b9f77803cb1de96015f22ca.jpg","51x762.8",[44],{"id":12570,"slug":12571,"title":12572,"dynasty":18,"author":1140,"museum":245,"description":12573,"tags":12574,"thumbUrl":12575,"material":1397,"size":1398,"collection":220,"collections":12576,"showCount":12577,"zanCount":48,"manualWeight":48,"mainColor":49},288933,"mei-hua-xiao-qin-tu-ma-lin-288933","梅花小禽图","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[137,24,25,1996,7,637,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ebebdf13e9db3de88b59744e8ff28.jpg",[],74,{"id":12579,"slug":12580,"title":12581,"dynasty":150,"author":191,"museum":245,"description":10461,"tags":12582,"thumbUrl":12583,"material":1397,"size":1398,"collection":220,"collections":12584,"showCount":12577,"zanCount":1769,"manualWeight":48,"mainColor":145},263655,"ke-si-yu-zhi-shi-hua-hui-tu-ce-tao-hua-yi-ming-263655","缂丝御制诗花卉图册-桃花",[137,24,519,962,7,28,212,174,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa17ec3a0050f40eac53095f1b343d5.jpg",[],{"id":12586,"slug":12587,"title":12588,"dynasty":76,"author":77,"museum":245,"description":12589,"tags":12590,"thumbUrl":12591,"material":220,"size":220,"collection":220,"collections":12592,"showCount":12577,"zanCount":1769,"manualWeight":48,"mainColor":49},228449,"tao-cun-cao-tang-chou-ying-228449","桃村草堂","《桃村草堂图》明代 创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[23,24,25,155,28,7,27,29,83,176,34,86,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":12594,"slug":12595,"title":12596,"dynasty":18,"author":8438,"museum":245,"description":12597,"tags":12598,"thumbUrl":12599,"material":220,"size":220,"collection":220,"collections":12600,"showCount":12577,"zanCount":1769,"manualWeight":48,"mainColor":49},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,137,24,26,27,28,7,172,29,84,85,86,175,34,83,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":12602,"slug":12603,"title":12604,"dynasty":150,"author":2080,"museum":245,"description":12605,"tags":12606,"thumbUrl":12607,"material":220,"size":220,"collection":220,"collections":12608,"showCount":12577,"zanCount":1084,"manualWeight":48,"mainColor":145},224366,"hua-hui-si-ping-zhi-er-ju-lian-224366","花卉四屏之二","此作用笔秀雅工丽，素白牡丹以淡墨勾瓣，浅红晕染花心，柔润饱满如凝脂，尽展雍容柔媚之态。墨色叶片浓淡参差，苍润交错，衬出花之洁雅清贵。\n嶙峋湖石以水墨皴擦勾勒，孔洞玲珑古朴，刚硬质感与柔美花株相映，刚柔相济。飞蜂振翅穿行花间，灵动鲜活，为静谧花景添了盎然生机，动静之间尽显春日花下恬然意趣。\n设色明秀清雅，无艳俗之气，兼具写生之真与写意之韵，将花木情态勾勒入神，藏着悠然清逸的文人雅趣。",[23,137,24,25,155,7,28,212,298,556,211,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9fa90dceefd3869dc23af99f9a1298.jpg",[],{"id":12610,"slug":12611,"title":12612,"dynasty":76,"author":77,"museum":20,"description":1213,"tags":12613,"thumbUrl":12614,"material":40,"size":1217,"collection":220,"collections":12615,"showCount":12577,"zanCount":48,"manualWeight":48,"mainColor":145},222189,"ren-wu-gu-shi-tu-zhuo-liu-hua-tu-chou-ying-222189","人物故事图-捉柳花图",[23,24,25,7,28,519,83,1028,35,29,86,705,3661,92,9478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f4e6ab2a4ef0d6aec4e0ebef87e333.jpg",[],{"id":12617,"slug":12618,"title":12619,"dynasty":76,"author":77,"museum":20,"description":1213,"tags":12620,"thumbUrl":12621,"material":40,"size":1217,"collection":220,"collections":12622,"showCount":12577,"zanCount":48,"manualWeight":48,"mainColor":145},222186,"ren-wu-gu-shi-tu-nan-hua-qiu-shui-chou-ying-222186","人物故事图-南华秋水",[23,24,25,519,7,28,29,83,86,85,34,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b45609e2c083db0ccce468498ced4.jpg",[],{"id":12624,"slug":12625,"title":12626,"dynasty":18,"author":191,"museum":134,"description":12627,"tags":12628,"thumbUrl":12630,"material":100,"size":12631,"collection":42,"collections":12632,"showCount":12577,"zanCount":1769,"manualWeight":48,"mainColor":49},221238,"xue-lu-shuang-yan-zhou-yi-ming-221238","雪芦双雁轴","描绘的是寒冬汀岸一隅，四只雁栖息于芦苇丛下的岸边，有的仰天引颈而望，有的蹲伏理翎，另外二只掠空飞起。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自左下角向内延伸，其余部分大片留白，形成清远空旷的意境",[23,137,24,25,155,7,28,212,12629,2708,178,4077,197],"双雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c1047960693bbada4ff966b1451860.jpg","174.6x99.5",[42,237,45],{"id":12634,"slug":12635,"title":12636,"dynasty":76,"author":12637,"museum":134,"description":12638,"tags":12639,"thumbUrl":12640,"material":235,"size":12641,"collection":237,"collections":12642,"showCount":12577,"zanCount":1084,"manualWeight":48,"mainColor":145},219450,"xian-sui-xiang-ying-zhou-chen-gua-219450","献岁祥霙轴","陈栝","此幅绘水仙、腊梅、茶花、竹枝、文禽，山石雪景。用笔灵动，设色清雅。",[24,25,155,7,28,212,637,299,156,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf87f356fe872769882685c6c3b9a98.jpg","161.6x43.1厘米",[237],{"id":12644,"slug":12645,"title":12646,"dynasty":150,"author":12647,"museum":406,"description":12648,"tags":12649,"thumbUrl":12650,"material":235,"size":12651,"collection":44,"collections":12652,"showCount":12577,"zanCount":48,"manualWeight":48,"mainColor":145},219425,"shui-hui-yuan-ya-ji-tu-zhou-dai-cang-219425","水绘园雅集图轴","戴苍","此画记录了冒辟疆等名士在其私家园林水绘园中的一次雅集。园中山水清远，松荣菊艳，一位僧人打坐石下。两位文人在树下品茶论茗，神态怡然。画面中心石桌前一位老者展卷沉吟，正要落笔作画，另一人据案闲坐，须发尽白，是座中年纪最长的，据画上题跋，已有八十三岁。而画面正中扶手竹椅上坐着的正是此时六十五岁的水绘园主人冒辟疆，他正慈祥看着自己的孙子若有所思。",[137,24,25,155,28,7,83,29,34,1797,927,783,1674,3045],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7cdd29f797fe827316b5107f1946d5.jpg","纵146厘米，横72.9厘米",[44],{"id":12654,"slug":12655,"title":12656,"dynasty":228,"author":191,"museum":152,"description":12657,"tags":12658,"thumbUrl":12663,"material":28,"size":220,"collection":45,"collections":12664,"showCount":12577,"zanCount":1769,"manualWeight":48,"mainColor":49},219248,"shi-jia-san-zun-xiang-yi-ming-219248","释迦三尊像","三屏并置构局对称庄严，中央主尊端坐莲台，袈裟朱红如燃，衣纹流转似风拂涟漪；左普贤乘六牙白象，象踏祥云，彩饰环身；右文殊跨青狮，狮吼若闻，威凛自生。下方侍从或执杖肃立，或捧器躬身，衣袂飘举间线条劲健。设色虽历久斑驳，仍可见朱砂浓艳、石绿清润与泥金辉光相映，兼具宋画细腻工致与元人开阔气度，将佛国神圣与人间鲜活悄然融合，尽显元代佛画独特神韵——既承汉地传统笔墨之精，又融多元文化的开阔气象，是佛画艺术在时代交融中的生动遗存。",[23,24,194,155,7,28,83,4511,5480,8086,12659,12660,7766,4926,12661,12662,8085],"胁侍","坐骑","骑兽","胁侍菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0d370ff3dae005e118f1bc294f41e9.jpg",[45],{"id":12666,"slug":12667,"title":12668,"dynasty":18,"author":5954,"museum":134,"description":12669,"tags":12670,"thumbUrl":12671,"material":100,"size":12672,"collection":237,"collections":12673,"showCount":12577,"zanCount":1769,"manualWeight":48,"mainColor":1833},218928,"ying-tu-wang-shen-218928","鹰图","秃鹰和狗争夺野鸡的画作",[23,24,137,155,7,28,212,2362,1091,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da43e23b75b5b5522d773dee5a0b8c2.jpg","136.7x69.7",[237],{"id":12675,"slug":12676,"title":12677,"dynasty":228,"author":12678,"museum":134,"description":12679,"tags":12680,"thumbUrl":12682,"material":235,"size":12683,"collection":44,"collect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，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。",[24,25,155,28,7,83,5898,10611,298,409,3206,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ca9ee63e0c5ff0337a9862fc0de7a0.jpg","196.8x104.3",[44],{"id":12745,"slug":12746,"title":12747,"dynasty":76,"author":674,"museum":245,"description":12748,"tags":12749,"thumbUrl":12750,"material":220,"size":220,"collection":44,"collections":12751,"showCount":12696,"zanCount":48,"manualWeight":48,"mainColor":49},237159,"guan-yin-zhou-chen-hong-shou-237159","观音轴","陈洪绶（1599～1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺唻洎为僧，后頭樤还俗，以卖画为生。享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。名作《九歌图》《屈子行吟图》《插图》《水浒叶子》《博古叶子》等，工诗善书，有《宝纶堂集》。\n1652年去世。",[24,25,155,194,83,7,28,248,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc28aeb4164075d3d687abc7936a726.jpg",[44],{"id":12753,"slug":12754,"title":9698,"dynasty":150,"author":1162,"museum":245,"description":12755,"tags":12756,"thumbUrl":12757,"material":1397,"size":1398,"collection":237,"collections":12758,"showCount":12696,"zanCount":1769,"manualWeight":48,"mainColor":145},235697,"hua-hui-tu-ce-zou-yi-gui-235697","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[24,25,519,7,28,212,62,612,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8572a0ccd2626980bd110f0ac70b1c.jpg",[237,45],{"id":12760,"slug":12761,"title":12762,"dynasty":76,"author":12763,"museum":245,"description":12764,"tags":12765,"thumbUrl":12768,"material":1397,"size":1398,"collection":220,"collections":12769,"showCount":12696,"zanCount":48,"manualWeight":48,"mainColor":145},235582,"yu-chuan-zhu-cha-tu-zhou-ding-yun-peng-235582","玉川煮茶图轴","丁云鹏","图中描绘出唐代名士卢仝煮茶的情景，是丁云鹏晚年创作的工笔精细画作。卢仝（约796—835年），济源人，祖籍范阳（今河北涿州），早年隐居少室山，自号玉川子，后移居洛阳。诗文俱佳，曾作《月蚀诗》以刺时政，得到韩愈的称赞。性好饮茶，所作《茶歌》中句多奇警。画面上的卢仝身着便服，头戴襆巾，手持羽扇，单腿盘坐于芭蕉前的青石上，背后怪石嶙峋，修竹碧绿，两名仆人在旁侍候。卢仝目不转睛地注视着火上的茶炉，全神贯注的神情被刻划得细致入微。画面花、竹、芭蕉笔笔刻画工整，怪石的阴阳、纹理交代清晰，赋色清淡冷隽，葱翠欲滴，闲和严静的幽雅气氛直扑人面。人物衣纹则用飘洒不群的高古游丝描，或清圆细劲的铁线描，以区别不同质地的衣料，显示出画家别具匠心之处。全图的绘画技巧变化多样而风格基调统一，人物神情生动，树石生机勃勃，笔法如行云流水，超然出众",[137,24,25,155,28,7,83,156,7408,12766,86,409,1674,12767,92],"怪石","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1a43a9c64722e33546b4e6cdbb8bfa.jpg",[],{"id":12771,"slug":12772,"title":12773,"dynasty":76,"author":191,"museum":245,"description":12774,"tags":12775,"thumbUrl":12778,"material":220,"size":220,"collection":220,"collections":12779,"showCount":12696,"zanCount":1769,"manualWeight":48,"mainColor":49},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,25,26,28,7,82,284,212,178,213,60,34,211,315,12776,248,12777],"日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],{"id":12781,"slug":12782,"title":12783,"dynasty":18,"author":191,"museum":245,"description":12784,"tags":12785,"thumbUrl":12787,"material":220,"size":220,"collection":220,"collections":12788,"showCount":12696,"zanCount":1769,"manualWeight":48,"mainColor":145},227372,"yu-ying-shi-nv-tu-yi-ming-227372","浴婴仕女图","《浴婴图》南宋，佚名，绢本设色，纵35.8厘米，横35.9厘米，美国弗瑞尔美术馆藏。\n\n画面中共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义。",[23,137,24,25,7,28,83,59,12786,173,63],"婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a808fa71ca6fd850c6dafb4642ee508.jpg",[],{"id":12790,"slug":12791,"title":12792,"dynasty":190,"author":191,"museum":1539,"description":12793,"tags":12794,"thumbUrl":12797,"material":1397,"size":1398,"collection":220,"collections":12798,"showCount":12696,"zanCount":48,"manualWeight":48,"mainColor":49},226516,"cai-hui-liu-bi-shi-yi-tou-guan-yin-xiang-yi-ming-226516","彩绘六臂十一头观音像","敦煌壁画特指中国敦煌石窟内壁的绘画艺术作品，属于世界文化遗产。\n敦煌壁画总面积5万多平方米，包括敦煌莫高窟、西千佛洞、安西榆林窟等522个石窟历代壁画，规模巨大，技艺精湛，内容丰富，题材广泛。\n敦煌壁画描绘了神的形象、神的活动、神与神的关系、神与人的关系，寄托良愿，安抚心灵。\n敦煌壁画具有与世俗绘画不同的审美特征和艺术风格，源于生活，美赏生活；源于艺术，集成艺术；源于世界，分享世界。",[194,83,28,5476,1053,12795,12796,1054,7],"多臂","多头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9706df4d6bc0bbc3def6af9410f119ed.jpg",[],{"id":12800,"slug":12801,"title":12802,"dynasty":150,"author":191,"museum":245,"description":12803,"tags":12804,"thumbUrl":12806,"material":220,"size":220,"collection":220,"collections":12807,"showCount":12696,"zanCount":48,"manualWeight":48,"mainColor":49},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[23,24,137,155,7,28,81,29,84,83,4077,92,34,113,35,12805],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],{"id":12809,"slug":12810,"title":12811,"dynasty":18,"author":191,"museum":245,"description":12812,"tags":12813,"thumbUrl":12814,"material":220,"size":220,"collection":220,"collections":12815,"showCount":12696,"zanCount":48,"manualWeight":48,"mainColor":49},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,24,137,25,155,7,28,156,3035,1568,157,212,582,655,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],{"id":12817,"slug":12818,"title":12819,"dynasty":18,"author":191,"museum":20,"description":12820,"tags":12821,"thumbUrl":12822,"material":639,"size":12823,"collection":42,"collections":12824,"showCount":12696,"zanCount":48,"manualWeight":48,"mainColor":49},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,137,24,25,26,28,29,34,85,86,175,35,172,7,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","纵24.5厘米，横185.5厘米",[42,182,125],{"id":12826,"slug":12827,"title":12828,"dynasty":150,"author":4708,"museum":8639,"description":12829,"tags":12830,"thumbUrl":12834,"material":599,"size":12835,"collection":44,"collections":12836,"showCount":12696,"zanCount":1769,"manualWeight":48,"mainColor":145},223310,"fa-jie-yuan-liu-tu-juan-ding-guan-peng-223310","法界源流图卷","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[24,26,7,28,12831,7766,4926,3114,12832,12263,12833,2602,4304],"宗教绘画","佛界人物","佛具法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd590947cd8119aa4c54bfeec57db03cf.jpg","纵33厘米、横1635厘米",[44],{"id":12838,"slug":12839,"title":12840,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":12841,"thumbUrl":12842,"material":28,"size":1081,"collection":220,"collections":12843,"showCount":12696,"zanCount":48,"manualWeight":48,"mainColor":145},222742,"xian-e-chang-chun-tu-02b-lang-shi-ning-222742","仙萼长春图-02b",[23,137,24,25,519,7,28,212,299,300,409,597,2477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44752a8e4622ebb38b8e513c4f4c435f.jpg",[],{"id":12845,"slug":12846,"title":12847,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":12848,"thumbUrl":12849,"material":28,"size":1081,"collection":220,"collections":12850,"showCount":12696,"zanCount":48,"manualWeight":48,"mainColor":145},222740,"xian-e-chang-chun-tu-01b-lang-shi-ning-222740","仙萼长春图-01b",[23,24,25,519,28,212,7,174,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672474ab59f90287bfe66517e17cf0b7.jpg",[],{"id":12852,"slug":12853,"title":12854,"dynasty":228,"author":6236,"museum":134,"description":12855,"tags":12856,"thumbUrl":12858,"material":28,"size":12859,"collection":44,"collections":12860,"showCount":12696,"zanCount":48,"manualWeight":48,"mainColor":49},221852,"hua-ke-jiu-si-xie-bin-feng-tu-juan-wang-zhen-peng-221852","画柯九思写豳风图卷","豳，在岐山北，为周先世立国之地。据说成王（？－西元前1021）幼年继位，周公（？－西元前1032）摄政，为令成王了解农桑为政教首务，并关心百姓的四季生活，作豳风晓谕周人祖先后稷、公刘稼穑重农的传统。此卷图绘〈豳风?七月〉，为孔子所辑《诗经》十五国风中最长的一首，由农事之始写至农事之终，先写衣食，次叙农耕蚕桑，最后论至打猎与秋收冬藏，共计八段，全卷青绿设色，每段旁书原文参照。旧题与跋均以为是元代王振鹏（活动于十四世纪前半），及柯九思（1290－1343）作品，然画中已见明代仇英（约1494－1552）影响，推测应为十六世纪后苏州托名之作。",[23,137,24,26,28,7,83,29,85,86,34,409,211,12857],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb935cec3f8c3cf1b21654d10eed78a.jpg","高53.8隔12本893隔12拖127厘米",[44,45],{"id":12862,"slug":12863,"title":12864,"dynasty":18,"author":1275,"museum":134,"description":10382,"tags":12865,"thumbUrl":12866,"material":12867,"size":12868,"collection":42,"collections":12869,"showCount":12696,"zanCount":48,"manualWeight":48,"mainColor":49},221515,"hua-deng-shi-yan-tu-zhuang-biao-ma-yuan-221515","华灯侍宴图（装裱）",[23,24,25,7,28,29,84,34,83,81,91,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345c3f34a1ad94ec43a66b9c6788247.jpg","设色 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祖师图","狩野元信","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,4649,155,194,28,7,172,29,83,1319,286,211,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6889f3bb0ca60e1076055189342bb67.jpg","176.0x91.8",[182],{"id":12910,"slug":12911,"title":12912,"dynasty":76,"author":3747,"museum":134,"description":12913,"tags":12914,"thumbUrl":12915,"material":235,"size":12916,"collection":44,"collections":12917,"showCount":12696,"zanCount":1769,"manualWeight":48,"mainColor":145},216095,"tai-ping-le-shi-tu-ce-dai-jin-216095","太平乐事图册","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,28,519,83,1744,1104,216,2095,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d6277ebff97c525e8c808b42e4ea48.jpg","22.8x22cm",[44],{"id":12919,"slug":12920,"title":12921,"dynasty":228,"author":191,"museum":245,"description":12922,"tags":12923,"thumbUrl":12924,"material":1397,"size":1398,"collection":220,"collections":12925,"showCount":12926,"zanCount":48,"manualWeight":48,"mainColor":49},290742,"guan-yin-da-shi-xiang-zhou-yi-ming-290742","观音大士像轴","此作观音面容圆和悲悯，身披华饰璎珞，衣纹舒展流动，配色沉穆古雅，带着岁月晕开的温润质感。座下青狮龇牙威勐，却被观音掌心轻按敛了戾气，尽显柔能制刚的禅意。右下角善财童子合十礼拜，神态稚拙恭谨。\n\n远景以淡彩晕染山林云海，修竹挺翠，彩云舒卷，飞鸟穿空，将佛国清寂祥瑞融于山水间。笔墨工细兼具写意，线条婉转凝练，既恪守佛教造像的庄肃仪轨，又以灵动景致烘托出出尘禅韵，尽显古佛画沉静厚重的审美意趣。",[24,155,194,28,83,7,1054,582,195,156,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afaa29032eb7937f747f363c8b7f45.jpg",[],72,{"id":12928,"slug":12929,"title":12930,"dynasty":76,"author":77,"museum":245,"description":2461,"tags":12931,"thumbUrl":12932,"material":1397,"size":1398,"collection":220,"collections":12933,"showCount":12926,"zanCount":943,"manualWeight":48,"mainColor":145},287415,"wu-xing-er-shi-ba-xiu-shen-xing-tu-juan-chou-ying-287415","五星二十八宿神形图卷",[23,137,24,25,26,7,28,83,4512,341,582,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4967584eda0c680dc86ba4f997b558d.jpg",[],{"id":12935,"slug":12936,"title":12937,"dynasty":150,"author":12938,"museum":245,"description":12939,"tags":12940,"thumbUrl":12941,"material":1397,"size":1398,"collection":220,"collections":12942,"showCount":12926,"zanCount":943,"manualWeight":48,"mainColor":145},239078,"hua-niao-ping-liao-yun-jin-239078","花鸟屏","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[24,25,7,28,212,299,62,159,741,3983,453,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a9039e5f16dbbf65a5783f0a67ae17.jpg",[],{"id":12944,"slug":12945,"title":12946,"dynasty":228,"author":229,"museum":78,"description":12947,"tags":12948,"thumbUrl":12949,"material":67,"size":12950,"collection":220,"collections":12951,"showCount":12926,"zanCount":1084,"manualWeight":48,"mainColor":49},232771,"hua-hui-cao-chong-tu-juan-qian-xuan-232771","花卉草虫图卷","钱选是宋末元初著名画家，与赵孟頫、王子中、牟应龙、肖子中、陈天逸、陈仲信、姚式并称为“吴兴八俊”。\n钱选人品及画品皆称誉当时。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。\n钱选的花鸟画成就最高，是元代继承宋代设色工笔花鸟画这一派中的代表人物。钱选特别善作折枝花木，是一位技法全面的画家。他的《花鸟图》所画花鸟用笔尽劲，细洁而光润，设色淡雅清丽，精巧传神。",[23,137,24,25,26,28,7,409,410,411,493,198,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9613502e8f0012e70f2245d5e7d000f1.jpg","纵26.8厘米，横120厘米",[],{"id":12953,"slug":12954,"title":10898,"dynasty":150,"author":12955,"museum":245,"description":12956,"tags":12957,"thumbUrl":12959,"material":220,"size":220,"collection":220,"collections":12960,"showCount":12926,"zanCount":48,"manualWeight":48,"mainColor":697},228968,"luo-hua-you-yu-tu-ma-yuan-yu-228968","马元驭","柔条垂拂牵缀艳红繁花，将暮春清韵轻轻铺展。水面之上，荇藻参差漾着细波，睡荇悬根随水轻摆，漾开空濛水色。数尾游鱼穿弋其间，摆尾逐着飘零落花，灵动悠然，把春水的生机藏在幽谧里。\n\n全作用没骨晕染，淡彩轻敷，将花叶柔润、柳条纤长的质感晕染尽致，未着一笔写水，却借藻荇与游鱼的姿态，将春水空明漾开。花随水去，鱼逐花影，把幽赏春池的闲逸融在笔底，观之便如临浅春水泽，漫生出恬然清和的诗意。",[23,24,25,155,28,212,12958,10901,1028,2545,7],"游鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84302d047146391e5135486d1a4f33c6.jpg",[],{"id":12962,"slug":12963,"title":12964,"dynasty":76,"author":77,"museum":134,"description":12965,"tags":12966,"thumbUrl":12967,"material":218,"size":12968,"collection":44,"collections":12969,"showCount":12926,"zanCount":1020,"manualWeight":48,"mainColor":145},228445,"di-wang-dao-tong-wan-nian-tu-ce-chou-ying-228445","帝王道统万年图册","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等20为中国历史名主的画像和事迹",[137,24,25,519,7,28,83,158,10174,10451,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63189a24bb1d7c00253398001e840c12.jpg","共20开，每开32.5＊32.6ＣＭ",[44],{"id":12971,"slug":12972,"title":12973,"dynasty":76,"author":674,"museum":134,"description":12974,"tags":12975,"thumbUrl":12976,"material":100,"size":12977,"collection":220,"collections":12978,"showCount":12926,"zanCount":1084,"manualWeight":48,"mainColor":49},228290,"mei-hua-shan-niao-zhou-chen-hong-shou-228290","梅花山鸟轴","推荐的明陈洪绶(1599一1652)、元杨维祯(1296一l7)及明夏昶(l88一l47)三位画家所绘的梅花山鸟、岁寒图及奇石修皇图等古画为题材，印制邮票一组。松、竹、梅夙有“岁寒三友”的称、天寒地冻，唯松柏常青；竹性耐寒，劲直中节；梅花为我国的国花，素洁清芬，高雅绝俗。选为邮票图案，不仅可阐扬中国固有文化与艺术，且可代表国人崇高的志节。志号品名: 专124 (18)岁寒三友图古画邮票全套面值: 2元邮票规格: 5.9651.46mm: P12印刷机构: 瑞士哥瓦锡厂印刷版别: 影写版: 影写版邮票纸整张枚数: 5(15)枚相关资料: 摄影者吴呈芳(1)梅花山鸟：绢本，轴，横49.6公分，纵124.公分。陈洪绶明诸暨人，生于明神宗万历二十七年，卒于清世祖顺治九年。字章侯，号老莲，又号云门僧，赋性狂散。其画人物，神态特真，时谓三百年无此笔墨，花鸟草虫，亦多精妙。(2)岁寒图：纸本，轴，横2公分，纵98.1公分。杨维祯元诸暨人，生于元成宗元贞二年，卒于明太祖洪武三年。字廉夫，号铁崖，又号铁笛道人，善书画，父杨宏，筑楼铁崖山，植梅去梯，俾其读书。明太祖征诏不赴，赋诗见志。()奇石修皇图：纸本，轴，横14.7公分，纵275.1公分。夏昶明昆山人，生于明太祖洪武二十一年，卒于宪宗成化六年。字仲昭，号自在居士，又号玉峰，举进士，为翰林院庶吉士，正统中仕至太常卿。善书，能诗，精绘事，尤工墨竹，其所作竹技，烟姿雨色，偃直疏浓，各循矩度，楷书画竹，时推第一。",[24,25,155,28,7,637,299,159,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c74366f27a7acd6bb8197d976548e3.jpg","124.3x49.6",[],{"id":12980,"slug":12981,"title":12982,"dynasty":18,"author":191,"museum":134,"description":3179,"tags":12983,"thumbUrl":12985,"material":218,"size":3183,"collection":220,"collections":12986,"showCount":12926,"zanCount":1769,"manualWeight":48,"mainColor":49},227553,"nei-ren-shuang-lu-tu-gao-qing-chang-juan-yi-ming-227553","内人双陆图（高清长卷）",[23,137,24,25,26,7,28,83,470,158,63,12984],"游戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa27a712d7149fa45d5a57a0744f2417c.jpg",[],{"id":12988,"slug":12989,"title":12990,"dynasty":150,"author":2080,"museum":245,"description":12991,"tags":12992,"thumbUrl":12994,"material":220,"size":220,"collection":220,"collections":12995,"showCount":12926,"zanCount":1769,"manualWeight":48,"mainColor":145},224367,"hua-hui-si-ping-zhi-si-ju-lian-224367","花卉四屏之四","此作用没骨晕染绘绣球，淡蓝敷色晕出团花柔润雅致，赭石点染萼边枝叶，清妍动人。湖石以淡墨勾皴，留白衬出空灵剔透的嶙峋肌理，与花枝相映成趣。两只秋蝉振翅穿飞，翅脉纤毫毕现，将静雅画面揉入灵动生机，暗合清秋将临的闲淡意韵，整体明秀温婉，笔法秀逸轻盈，尽显婉约雅致的花鸟意趣。",[23,24,25,7,28,212,159,12993,597,4242],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ed7a1dd429364a77988b1cdcaa1b67.jpg",[],{"id":12997,"slug":12998,"title":12999,"dynasty":150,"author":542,"museum":13000,"description":13001,"tags":13002,"thumbUrl":13003,"material":599,"size":13004,"collection":182,"collections":13005,"showCount":12926,"zanCount":1769,"manualWeight":48,"mainColor":49},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,25,26,28,29,172,7,284,285,173,211,84,85,86,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[182,45],{"id":13007,"slug":13008,"title":13009,"dynasty":76,"author":9801,"museum":134,"description":13010,"tags":13011,"thumbUrl":13013,"material":2721,"size":13014,"collection":237,"collections":13015,"showCount":12926,"zanCount":1020,"manualWeight":48,"mainColor":49},222085,"hua-zi-mu-ji-tu-zhou-zhu-zhan-ji-222085","画子母鸡图轴","此画无背景，仅在一公、一母、七雏的鸡群附近俩有一些杂草，遍布地面，虽较稀疏，但远看似一层薄薄的绿色地毯，以象征出整片的草地，对整个画面起到陪衬作用。画幅下部和偏右画有一公鸡、一母鸡。右侧的公鸡低首啄食，口内衔虫，近靠二雏，二双爪有力地抓在地上，长尾飞翘舒展开来，双翅紧合，头部有较大的肉冠及肉瓣，脚健壮，跗臁及趾皆被鳞板，趾网、后趾高而短小，尾部发达。左侧为一母鸡蹲在地上，作待哺的神态，双爪有力地抓地上，嘴短、鼻孔被鳞状瓣，头部肉冠和肉瓣比公鸡小，尾巴上二翘舒展开来。七只小鸡偎近母鸡，其中一只雏鸡，全身旱绒绒的一小团，走起来呈摇摇摆摆之状，似具有初出壳的娇弱之态，皆生动传神，充分体现明宣宗有着写实的功力。\n此画以工笔勾勒白鸡，且勾线十分明显，偏向于工整之笔，染色也较平面化。画法上以工笔勾勒，别开生面，焦墨点睛，炯炯有神，羽毛捕法精细，双爪勾勒，笔扎实有力。鸡的形象画得真实生动，质感强烈，表现了一瞬间各鸡的动作神态。",[23,24,25,155,7,28,212,1967,13012,173],"小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c553fe940de32eacb1d4b982556980.jpg","79.7x57.2cm",[237,45],{"id":13017,"slug":13018,"title":13019,"dynasty":18,"author":1151,"museum":20,"description":13020,"tags":13021,"thumbUrl":13022,"material":424,"size":13023,"collection":220,"collections":13024,"showCount":12926,"zanCount":1084,"manualWeight":48,"mainColor":145},221510,"lu-tong-peng-cha-tu-juan-liu-song-nian-221510","卢仝烹茶图卷","此画画山石瘦削，有松槐生石罅，下覆茅屋。卢仝拥书坐，赤脚。婢治茶具，长须奴肩壶汲泉。款落刘松年，蝇头小楷，署在松节。后幅有唐寅跋：“右玉川子烹茶图，乃宋刘松年作。玉川子豪宕放逸，傲睨一世，甘心数间之破屋，而独变怪鬼神于诗。观其《茶歌》一章，其平生宿抱忧世超物之志，洞然于几语之间，读之者可想见其人矣。松年复绘为图，其亦景行高风，而将以自企也。夫玉川子之向，洛阳人不知也，独昌黎知之。去昌黎数百年，知之者复寒矣。而松年温之，亦不可不为之遭也。予观是图于石湖卢臬副第，喜其败炉故鼎、添火候鸣之状宛然在目，非松年其能握笔乎书此以俟具法眼者。唐寅。”",[23,24,25,26,855,7,83,34,35,927,2653,158,284,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a801a8050e41c693fef9c47af61fc7.jpg","24.1x44.7",[],{"id":13026,"slug":13027,"title":13028,"dynasty":76,"author":2369,"museum":20,"description":13029,"tags":13030,"thumbUrl":13031,"material":235,"size":13032,"collection":237,"collections":13033,"showCount":12926,"zanCount":1769,"manualWeight":48,"mainColor":145},219286,"ying-que-tu-lv-ji-219286","鹰鹊图","图绘一只苍鹰独立岩顶，两只飞舞的蜜蜂吸引了它的目光，一旁的喜鹊趁机振翅欲逃。作者用笔粗阔，富有简率纵逸的笔墨意趣。吕纪的花鸟画不仅追求形似，更善于表现禽鸟之间的关系，捕捉住禽鸟瞬间的神态和动势，营造出千钧一发的紧迫感和爆发力，突破了传统花鸟画唯美的装饰意味，从而获得了新的艺术生命力。",[23,24,25,155,28,855,7,212,2362,6856,211,653,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b4c020881f2a1e771cfb4cf7f1d62f.jpg","纵120.7厘米，横61.5厘米",[237,45],{"id":13035,"slug":13036,"title":13037,"dynasty":76,"author":2369,"museum":3281,"description":13038,"tags":13039,"thumbUrl":13041,"material":100,"size":13042,"collection":237,"collections":13043,"showCount":12926,"zanCount":1769,"manualWeight":48,"mainColor":49},219091,"mei-zhu-zhi-ji-tu-lv-ji-219091","梅竹雉鸡图","画面中，雉鸡翎羽斑斓，纤毫毕现，顾盼间神采奕奕，似欲振翅。旁侧梅枝遒劲，蕊瓣凝霜带露，红白相映，清雅动人；竹篁翠影婆娑，叶片舒展如剑，与梅枝交错成趣。背景淡墨晕染，山石轮廓隐约，既衬出前景花鸟的工致，又添悠远意境。工笔与写意相融，浓淡相宜，细节处见精巧，整体中显生机，仿佛能闻梅香浮动，听竹风轻吟，观雉鸡闲步，一派自然生趣跃然绢素，尽显明代院体画的雅致与活力。",[23,24,137,25,1996,7,1720,28,637,156,7348,211,5020,1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龙射天球。在画的右侧，在人群的包围下，是皇帝的华丽冰床。在冰面上，旗手和弓箭手间隔排列，在冰面上绕圈滑行，游行队伍蜿蜒成龙的形状。冰面上有一道门，上面挂着一个球，叫做天球。当队伍走到这一步时，他们转过身来，向球射箭，射中者会得到奖励。游行过程中还包括杂技表演，如倒立、舞剑、腾空、中国旗帜和鹰心。",[23,7,28,26,83,2784,84,34,2782,91,115,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b093624e4bb931e68fd779aaf95d99.jpg","36.5x563",[44],{"id":13090,"slug":13091,"title":13092,"dynasty":76,"author":9801,"museum":134,"description":13093,"tags":13094,"thumbUrl":13096,"material":100,"size":13097,"collection":237,"collections":13098,"showCount":12926,"zanCount":48,"manualWeight":48,"mainColor":49},216217,"san-yang-tu-zhu-zhan-ji-216217","三羊图","三羊图是明朝朱瞻基所作的一幅画。这幅画描绘了三只羊在草地上吃草，背景是一片美丽的山景。三羊图被认为是朱瞻基最优秀的作品之一，其细腻的笔巧和生动的写实手法得到了广泛的赞誉。这幅画象征着平静和安宁，也被认为是对中国传统和谐社会的赞颂。",[137,24,25,155,28,7,83,4541,313,1797,13095,582,677],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c63505c5c8038bbaf86c97b7a1cf2b.jpg","105.3x58.3cm",[237],{"id":13100,"slug":13101,"title":13102,"dynasty":76,"author":674,"museum":134,"description":4094,"tags":13103,"thumbUrl":13104,"material":100,"size":13105,"collection":44,"collections":13106,"showCount":13107,"zanCount":1769,"manualWeight":48,"mainColor":145},290358,"fu-qin-tu-zhou-chen-hong-shou-290358","抚琴图轴",[24,155,28,7,83,59,138,3527,173,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7228c7b03a44f4c904a47c8ffa7994b6.jpg","107.7x52.3",[44],71,{"id":13109,"slug":13110,"title":13111,"dynasty":18,"author":1838,"museum":245,"description":13112,"tags":13113,"thumbUrl":13114,"material":1397,"size":1398,"collection":220,"collections":13115,"showCount":13107,"zanCount":1020,"manualWeight":48,"mainColor":49},289337,"song-ren-ying-xi-tu-su-han-chen-289337","宋人婴戏图","细审画中人物五官、发型、服饰，率皆钩染细腻，神情毕具，然配景花树、湖石苔点，失之刻镂，画法已近明人习气。 饶有苏汉臣一派“著色鲜润、体度如生”的意趣。惟配景花树，失之刻镂、少自然，加以湖石上附加的苔点，画法已近乎明人习气。此图表现出儿童游戏轻松诙谐的一面。以是，推断此幅原应有所本，当属明代仿宋的佳作。",[24,7,28,83,6142,12008,411,34,409,138,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbb027ec6f04ae9381a03904106a8b.jpg",[],{"id":13117,"slug":13118,"title":13119,"dynasty":76,"author":191,"museum":245,"description":13120,"tags":13121,"thumbUrl":13122,"material":1397,"size":1398,"collection":220,"collections":13123,"showCount":13107,"zanCount":48,"manualWeight":48,"mainColor":49},287391,"hu-die-hua-hui-ye-yi-ming-287391","蝴蝶花卉页","此作以沉雅地色衬景，坡岸之上一花挺生，柔茎舒展，叶片晕染出深浅层次，素色小花清雅柔婉。三蝶翩跹，色分浓淡，姿态各异，或逐花低回，或振翅缓翔，将郊野春时的悠然意趣凝于方寸。\n\n装裱织锦边框纹样精巧，与画面浑然相融。整作工致细腻，配色古静沉稳，不做繁丽铺陈，仅以清简技法勾勒闲逸生机，尽显小品雅致韵致，将虫花相伴的自然清趣娓娓铺展，恬淡动人，尽显古雅闲逸的东方意韵。",[23,24,25,212,28,7,409,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b8a85c99b2cd00f3ec6e578572fb29.jpg",[],{"id":13125,"slug":13126,"title":13127,"dynasty":150,"author":191,"museum":245,"description":10461,"tags":13128,"thumbUrl":13130,"material":1397,"size":1398,"collection":220,"collections":13131,"showCount":13107,"zanCount":48,"manualWeight":48,"mainColor":145},263656,"ke-si-yu-zhi-shi-hua-hui-tu-ce-shi-liu-hua-yi-ming-263656","缂丝御制诗花卉图册-石榴花",[24,25,4185,28,7,212,13129,409,284,173,962],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1df1585458c1487b63fa145618dd8c.jpg",[],{"id":13133,"slug":13134,"title":5850,"dynasty":150,"author":12955,"museum":245,"description":13135,"tags":13136,"thumbUrl":13137,"material":1397,"size":1398,"collection":237,"collections":13138,"showCount":13107,"zanCount":48,"manualWeight":48,"mainColor":145},239092,"hua-hui-ce-ma-yuan-yu-239092","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[24,25,212,28,7,519,409,454,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec853be8f8ea23a0294c015b174f259.jpg",[237,45],{"id":13140,"slug":13141,"title":13142,"dynasty":150,"author":260,"museum":20,"description":13143,"tags":13144,"thumbUrl":13151,"material":424,"size":13152,"collection":220,"collections":13153,"showCount":13107,"zanCount":48,"manualWeight":48,"mainColor":145},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[24,25,137,155,251,7,28,13145,13146,83,112,5999,13147,34,705,13148,9575,13149,13150],"中西合璧技法","写实风格","射猎场景","小径","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","25.7×33厘米",[],{"id":13155,"slug":13156,"title":13157,"dynasty":76,"author":77,"museum":245,"description":13158,"tags":13159,"thumbUrl":13160,"material":220,"size":220,"collection":220,"collections":13161,"showCount":13107,"zanCount":48,"manualWeight":48,"mainColor":145},234272,"chou-ying-han-gong-chun-xiao-tu-cheng-shan-chou-ying-234272","仇英汉宫春晓图成扇","仇英是明代最有代表性的画家之一，与沈周，文徵明和唐寅被后世并称为“明四家”、“吴门四家” ，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。",[24,25,914,677,7,28,83,470,59,84,92,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f8f3181d7241595427cab87333c805.jpg",[],{"id":13163,"slug":13164,"title":13165,"dynasty":190,"author":191,"museum":245,"description":13166,"tags":13167,"thumbUrl":13169,"material":1397,"size":1398,"collection":220,"collections":13170,"showCount":13107,"zanCount":48,"manualWeight":48,"mainColor":1833},231613,"fu-hua-qian-shou-guan-yin-xiang-li-zhou-yi-ming-231613","佛画 千手观音像立轴","暗沉底色晕开静谧肃穆的氛围，主尊合掌垂眸，慈悲肃穆尽显。千臂层叠排布，或持法器、或结法印，错落有序却不显冗杂，衣纹褶皱古朴厚重，残存的贴金痕迹晕开旧时华贵光彩。\n\n左右胁侍恭谨分立，一人捧供盘奉呈信物，一人持经卷垂首凝神，衣饰绮丽繁复，与主尊浑朴庄严形成呼应。整体设色沉敛内敛，线条遒劲凝练，将仪轨整饬与神性慈悲相融，虽历经岁月色泽黯淡，依旧传递出厚重沉静的宗教感染力，尽显古佛画典雅庄重的美学意韵。",[23,24,25,155,194,28,7,83,1054,13168],"千手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8917d247ca8224fc3f2301f7f6315fe.jpg",[],{"id":13172,"slug":13173,"title":13174,"dynasty":150,"author":260,"museum":245,"description":13175,"tags":13176,"thumbUrl":13177,"material":220,"size":220,"collection":220,"collections":13178,"showCount":13107,"zanCount":1769,"manualWeight":48,"mainColor":49},230203,"qian-long-huang-di-da-yue-tu-lang-shi-ning-230203","乾隆皇帝大阅图","《乾隆皇帝大阅图》是清代画家 创作的一幅绢本设色画，现收藏于 。\n此图画的是乾隆皇帝于他即位后的第四年（179年）首次去南苑检阅八旗官兵时的雄姿。\n乾隆全副武装，佩带弓箭，威风凛凛，气度不凡。\n全图以鲜艳明丽的色泽，细密工致的笔触描绘这位29岁青年君主的形象，人物及马匹富有立体感，明显看出是采用了欧洲的明暗画法；衣服、头盔、皮毛等质感很强；背景中天空的云霭，色彩丰富多变。\n《乾隆皇帝大阅图》所画为乾隆皇帝骑马的形象。\n他头戴金盔，身穿铠甲，骑在骏马上，全副武装，佩带弓箭检阅八旗官兵时的雄姿。\n清高宗乾隆作为清入关后的第四任皇帝，始终认为“骑射乃满洲之根本”，为此，极其重视军队的建设，通过南苑阅兵、木兰秋狝、南海冰嬉等种种活动，来促使八旗兵保持强大的战斗力。\n依照本图的御制诗可知，该图描绘的是乾隆亲临南苑（今北京南）检阅八旗将士时的英武之姿。\n此次大阅正值清军与西域的霍集占兄弟激烈交战之际，所以，高宗乾隆除按惯例巡视八旗军的队列及各种兵器、火器的操练活动外，还暗含有向叛军炫耀清王朝的实力与军威之意。\n在南苑第一次大阅后，便命令宫廷画家朗世宁画此画。\n画中乾隆帝和马，西洋画风浓厚，十分细腻，运用中国的毛笔、纸绡和色彩，却能以欧洲的绘画方法注重对象的解剖结构和立体感的表达。\n在光线的运用上则与欧洲面法有所不同，欧洲商家喜欢表现人物脸部在特定的光线照射下分明的凹凸感，而传统的中国“写真”技艺，则要求被画者是不受光线变化常态下的相貌。\n因此，郎世宁适当地吸取了传统中国“写真”技艺的表现手法，所画人物均取正面光照，使人面面部五官清晰，画得相当精致笔触细腻柔和，又注意体面结构和立体效果，衣服的质感也很强。\n以细密的短线，按照素描的画法来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅来表现马匹的立体感和厚重感来画马。\n人物乾隆，则在造型上比较严谨，注重解剖机构，非常的写实符合解剖学的比例。\n画作体现中西绘画相互渗透并趋向相融合，融合的结果是绘画的审美追求朝着“写实”的方向发展。\n教授刘伟宏：郎世宁用中西融合的画法所画的《乾隆皇帝大阅图》，描绘了乾隆皇帝举行盛大阅礼的场面，具有独特的艺术魅力。\n明末清初，传教士的进入促进了西方古典主义写实绘画技法与中国传统绘画技法的融合与发展，一改传统中国画的笔墨及线描风格。\n这个时期绘画的主要特点集中在记实性，其中发展较为瞩目的题材包括装饰性壁画、人物风俗、人物肖像、战功图及祭祀等。\n《乾隆皇帝大阅图》从造型、明暗、构图及透视等方面详细阐述西方绘画技法对中国画的影响，体现了西方绘画技法促进了中国画对光影元素的运用、明暗和透视法的兴起以及色彩的广泛使用。\n郎世宁（1688—1766），原名朱塞佩·伽斯底里奥内，生于米兰。\n清康熙帝五十四年作为天主教耶稣会的修道士来中国传教。\n随即入宫进入如意馆，成为宫廷画家，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾峰帝时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》等。",[23,137,24,25,7,28,83,112,1787,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb27b0558240e575c4f488632ba8c11.jpg",[],{"id":13180,"slug":13181,"title":13182,"dynasty":150,"author":433,"museum":434,"description":13183,"tags":13184,"thumbUrl":13188,"material":67,"size":13189,"collection":44,"collections":13190,"showCount":13107,"zanCount":1769,"manualWeight":48,"mainColor":49},222872,"chun-ge-juan-du-zhou-leng-mei-222872","春阁倦读轴","图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。图中人物比例匀称，衣纹线条圆润流畅，可以看出画家的深厚功底。而背景的描绘也显得独具匠心，无论悬于墙上的画幅、笛子，还是膝下的小犬都不是可有可无之物，图中人物的生活情趣和身份均由此得到印证。此作如此精妙地刻画出人物的精神层面，无疑堪称人物画佳作。",[23,251,137,24,25,155,7,28,83,59,61,298,13185,13186,200,13187,344],"桌","凳","书卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866bd4a4449c988942f5f5abcf3da75a.jpg","170x100cm",[44],{"id":13192,"slug":13193,"title":13194,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":13195,"thumbUrl":13196,"material":28,"size":1081,"collection":220,"collections":13197,"showCount":13107,"zanCount":48,"manualWeight":48,"mainColor":145},222744,"xian-e-chang-chun-tu-03b-lang-shi-ning-222744","仙萼长春图-03b",[23,137,24,25,7,28,212,487,178,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00506c220c38058c15ebc098e593bc75.jpg",[],{"id":13199,"slug":13200,"title":5895,"dynasty":76,"author":13201,"museum":20,"description":13202,"tags":13203,"thumbUrl":13204,"material":40,"size":13205,"collection":44,"collections":13206,"showCount":13107,"zanCount":1084,"manualWeight":48,"mainColor":49},222049,"huo-lang-tu-ji-sheng-222049","计盛","“货郎图”属于风俗画，这一题材自宋代以来就十分流行。画面中货郎衣着整洁，儿童服饰华丽，货架上的各类物品丰富而精致。画法上刻画细腻，设色浓艳，已将宋人民间货郎图中的生活气息转化为宫廷贵族气息，因而又有“宫廷货郎”之称。",[23,24,25,28,7,81,83,1744,6512,216,3803,34,315,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379a6e73b4bffc5ce7f9a7fab61b9170.jpg","纵192.4厘米，横98.7厘米",[44,45],{"id":13208,"slug":13209,"title":13210,"dynasty":76,"author":674,"museum":56,"description":13211,"tags":13212,"thumbUrl":13213,"material":100,"size":13214,"collection":237,"collections":13215,"showCount":13107,"zanCount":1769,"manualWeight":48,"mainColor":1833},221885,"dou-cao-tu-chen-hong-shou-221885","斗草图","这幅画作描绘的是端阳时节，仕女五人围坐石下斗草为戏的情节。人物神态生动微妙，各具神韵。湖石上盘曲老松，质量厚实，与疏朗的人物布局构成鲜明的对比，有利于打破构图的呆板。陈氏画风变形夸张，用笔谨劲连绵，如行云游丝，转折有力；设色艳而不俗。此作正是画家典型风格的代表作。款署[庚寅秋，老莲洪绶画于护兰书堂]。庚寅为清顺治七年，系公元一六五○年，陈洪绶时年五十三岁。款下钤[洪绶]朱文长方印。",[23,137,24,25,7,283,28,59,927,211,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0622469e201b8215901cfacb0c5aa797.jpg","纵134.3、横48厘米",[237,45],{"id":13217,"slug":13218,"title":13219,"dynasty":18,"author":1151,"museum":134,"description":13220,"tags":13221,"thumbUrl":13224,"material":67,"size":13225,"collection":42,"collections":13226,"showCount":13107,"zanCount":1769,"manualWeight":48,"mainColor":49},221549,"luo-han-tu-1-liu-song-nian-221549","罗汉图1","该图画一罗汉，长眉深目，头角峥嵘，伏倚枯枝。旁绘一小僧展衣接受树上猿猴献果。该图描绘工丽精当，笔法劲秀。背景设色以墨为主。层层渲染，纯净明丽。人物则以敷彩为主，墨染为辅，对比明媚雅致",[23,137,24,194,4304,7,28,13222,13223,11949,5250],"罗汉","僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a28b401aad44e929fc003a7cb38ace.jpg","纵117公分，横55.8公分",[42,237,45],{"id":13228,"slug":13229,"title":13230,"dynasty":228,"author":3524,"museum":56,"description":13231,"tags":13232,"thumbUrl":13233,"material":496,"size":13234,"collection":1478,"collections":13235,"showCount":13107,"zanCount":1020,"manualWeight":48,"mainColor":145},220881,"gui-qu-lai-ci-juan-quan-juan-zhao-meng-fu-220881","归去来辞卷全卷","乌丝栏中字行书陶渊明《归去来辞》全文并序。书法规抚王羲之,运笔及间架明显师法王氏兰亭及圣教序,精致清新",[23,285,284,26,25,173,28,83,855,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91687600b8640b457b4a8ea7f84da540.jpg","书心纵24,横146.2厘米",[1478],{"id":13237,"slug":13238,"title":10898,"dynasty":18,"author":13239,"museum":230,"description":13240,"tags":13241,"thumbUrl":13242,"material":100,"size":220,"collection":237,"collections":13243,"showCount":13107,"zanCount":1769,"manualWeight":48,"mainColor":1833},219309,"luo-hua-you-yu-tu-zhao-ke-fu-219309","赵克复","鱼儿鲜艳活泼，红花顺流而下，画面气势磅礴。 整幅画是水，不是一笔一划，而是海藻随波逐流，鱼群追逐，红花飘扬。 这是非常生动的。 所有的绘画方法都是渲染的，而不是轮廓。",[24,137,28,7,212,557,10901,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140f4302cb2d72fab458841216deaf68.jpg",[237],{"id":13245,"slug":13246,"title":13247,"dynasty":228,"author":948,"museum":406,"description":13248,"tags":13249,"thumbUrl":13250,"material":2373,"size":13251,"collection":237,"collections":13252,"showCount":13107,"zanCount":48,"manualWeight":48,"mainColor":49},219282,"fu-rong-yuan-yang-tu-zhou-zhang-zhong-219282","芙蓉鸳鸯图轴","此图描绘了一幅秋高气爽时节的生动景象，水边的木芙蓉枝叶舒展，枝头花朵绽放；两只鸳鸯在水中嬉戏，其中雌鸳鸯昂首鸣叫，雄鸳鸯垂首清波。此图笔墨简洁古朴，山石不修饰以苔点，以水墨点触晕染，生动写实而清雅隽永，富于韵味。",[23,24,25,155,855,7,212,492,1435,196,655,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eac47218af15810079b2edc1cc7f16f.jpg","纵147 厘米，横56.8 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陈洪绶生活在晚明时期，朝廷极度腐败，文化方面却呈现出多变而丰富的面貌，陈洪绶是彼时最具强烈个性的艺术巨匠，在绘画的各个题材中均有独特的创造性，并影响中国绘画数百年，流风至今不衰。\n陈洪绶的这件《梨花图》绘于绢本，纵76公分，横26公分，题款：老莲洪绶画。虽未署年款，据陈洪绶传世的其它创作于深柳读书堂的作品及《梨花图》的风格推断，这件作品应创作于十七世纪三十年代中期，那时陈洪绶年龄近四十，绘画技巧已然十分纯熟。画面高低变化，巧妙地丰富了画面的视觉效果。陈洪绶的花鸟画作品，体现了他的精神品位，在构图和造型上都打破了传统样式的束缚，有古拙之趣，造型新颖、拙朴率真，这是在继承传统的基础上显现出的强烈个人风格风貌。其花鸟画表现手法，受宋代院体画风的影响，造型严谨，工笔双钩，设色艳丽，由此汲取艺术精华并发展而来。又受明末大写意花鸟画的影响，用笔洒脱灵动，兼工带写，水墨交融。这件《梨花图》既是画家长期写生锤炼的结晶，也是宋代花鸟画的神韵所在。因陈洪绶花鸟绘画具有高度的装饰性，所以类似《梅花图》这样的题材在当时必定广受欢迎。",[23,24,25,155,7,28,212,1258,597,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed725b25d09198789d5bf2f2832ed81.jpg","76×26 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与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[23,137,24,25,251,26,7,28,212,690,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[237],{"id":13367,"slug":13368,"title":13369,"dynasty":18,"author":13370,"museum":134,"description":13371,"tags":13372,"thumbUrl":13378,"material":100,"size":13379,"collection":44,"collections":13380,"showCount":13278,"zanCount":1769,"manualWeight":48,"mainColor":49},219695,"duan-yang-xi-ying-tu-su-chao-219695","端阳戏婴图","苏焯","画中描写端午节时的恶作剧，三个粉粧玉琢的胖娃娃中﹐穿红色肚兜的孩子左手拿著石榴，右手用绳系著蟾蜍，正要惊吓较小的孩子，另一个则赶来制止这场恶作剧，三孩童的手与脚皆带金钏玉饰﹐身上则佩挂长命锁﹐表示其出身的骄贵﹐衣纹图案细腻﹐利用淡染色块﹐十分成功地将人物衣著单薄下肌肤的质感表现出来。 更将人物的表情、神态很传神地掌握，像这个拿著蛤蟆的孩，一脸恶作剧的神情，连手上的蛤蟆也闪著狡猾得意的笑容，而惊吓过度的孩子则蹲在地上，双手护著头，十分害怕地颤抖著，不由得令人心生爱怜，另一个见义勇为的孩子，一个箭步赶来，神情坚定地要阻止这场恶作剧，空白的背景，更加凸显他们神气活现的面貌。",[23,24,25,7,28,83,1744,13373,823,13374,13375,13376,13377,12008],"蟾蜍","长命锁","金钏玉饰","端阳","恶作剧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3da25db485c4495d2fa1b8a9eaea3cf.jpg","纵：88.9公分，横：51.3公分",[44],{"id":13382,"slug":13383,"title":13384,"dynasty":18,"author":191,"museum":134,"description":13385,"tags":13386,"thumbUrl":13387,"material":100,"size":220,"collection":237,"collections":13388,"showCount":13278,"zanCount":943,"manualWeight":48,"mainColor":145},218710,"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[23,137,24,25,914,7,28,212,520,299,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[237],{"id":13390,"slug":13391,"title":8044,"dynasty":18,"author":191,"museum":230,"description":8045,"tags":13392,"thumbUrl":8047,"material":100,"size":220,"collection":42,"collections":13393,"showCount":13278,"zanCount":1084,"manualWeight":48,"mainColor":49},218537,"e-xi-tu-yi-ming-218537",[23,24,25,914,28,7,5181,157,313,196,173],[42,237],{"id":13395,"slug":13396,"title":13397,"dynasty":76,"author":12094,"museum":134,"description":13398,"tags":13399,"thumbUrl":13401,"material":100,"size":13402,"collection":44,"collections":13403,"showCount":13278,"zanCount":1769,"manualWeight":48,"mainColor":49},218528,"shan-ting-na-liang-tu-zhou-chen-218528","山亭纳凉图","图中显示，一块奇怪的石头直立着，被几株香蕉植物保护着。亭子里，一个有学问的人左手坐着，右手拿着一把羽扇，旁边放着一个卷轴、一本小册子和一个特瓦。他坐在地上，享受着寒冷的感觉。在亭子外面，孩子们伸出手臂为花瓶采摘棉花糖花，营造出一种轻松平静的气氛。签名：周晨。",[23,24,25,155,28,7,83,176,211,466,85,214,198,91,13400],"纳凉场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79d2558d621c11890f2a8f08fc3817e.jpg","95.9x58.9",[44],{"id":13405,"slug":13406,"title":10420,"dynasty":228,"author":191,"museum":78,"description":13407,"tags":13408,"thumbUrl":13409,"material":100,"size":13410,"collection":44,"collections":13411,"showCount":13278,"zanCount":1769,"manualWeight":48,"mainColor":1833},218310,"luo-han-tu-yi-ming-218310","丰腴袒胸的罗汉立于绢素之上，光头浓髯，眉目间透着沉静的威严。朱红披帛斜搭肩头，随体态垂落自然褶皱；橙黄下裳宽松覆足，赤脚踝间系着细饰，添了几分随性。右手托莲碗，碗中清莲绽放，花瓣层叠，似携着佛国的净气。\n\n线条劲挺却不失柔润，勾勒出肌肤的丰腴与衣物的质感；设色古朴雅致，朱红与橙黄的暖调衬着绢本的古旧底色，更显沉静。整幅画将罗汉的庄重与生活化细节相融，既见佛法的肃穆，又含人间温情——似在无声传递禅意的悠远，让观者于古雅笔墨中，触到佛性与人性交织的温度。\n\n笔墨间藏着元代人物画的凝练，每一处褶皱、每片莲瓣都透着匠人的用心，把罗汉的神性与烟火气揉得恰到好处，似一幅流动的禅语，静静诉说着时光里的禅意绵长。",[24,25,155,28,83,194,157,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e1ecce8051f6de779a1b198f6fa590.jpg","112.4x49.1",[44],{"id":13413,"slug":13414,"title":13415,"dynasty":228,"author":191,"museum":13416,"description":13417,"tags":13418,"thumbUrl":13420,"material":100,"size":13421,"collection":182,"collections":13422,"showCount":13278,"zanCount":1769,"manualWeight":48,"mainColor":49},218218,"cang-ying-wu-zhu-tu-yi-ming-218218","苍鹰梧竹图","山东省博物馆","苍鹰梧竹图是元朝时期的一幅著名图画，作者不详。这幅画描绘了一只苍鹰和一根梧竹之间的关系。苍鹰是一种大型鸟类，通常被认为是捕食者，而梧竹则是一种常见的树种。在这幅画中，苍鹰似乎正在用它的爪子抓住梧竹。",[24,137,25,7,28,212,178,13419,286,2653],"苍鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca78eed227b0a78bb43d1239104ae986.jpg","146x93cm",[182,237],{"id":13424,"slug":13425,"title":13426,"dynasty":228,"author":5636,"museum":134,"description":13427,"tags":13428,"thumbUrl":13430,"material":100,"size":13431,"collection":237,"collections":13432,"showCount":13278,"zanCount":48,"manualWeight":48,"mainColor":49},216949,"han-jiang-lu-yan-zhou-wang-yuan-216949","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[24,155,7,28,212,5396,2708,4589,13429,197],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde012ecdad844b3e749ba9f388e9437d.jpg","149.7x62.7公分、全幅 90公分",[237],{"id":13434,"slug":13435,"title":13436,"dynasty":76,"author":191,"museum":463,"description":13437,"tags":13438,"thumbUrl":13440,"material":100,"size":13441,"collection":44,"collections":13442,"showCount":13278,"zanCount":1084,"manualWeight":48,"mainColor":49},215030,"si-ma-guang-gui-yin-tu-yi-ming-215030","司马光归隐图","独乐园 是宋代司马光在熙宁六年（1073年）左右建造的，虽然不是什么宏伟的房子，但因为司马光在这里写了《资治通鉴》，苏轼等人也在这里写了诗，所以它就出名了。李格非的《洛阳名园记》描述了该园的 水笔、读书堂、鱼贯寺、药园 和 竹园。《竹园》、《看山台》、《浇花》中也对这七种景象进行了简单的描述。这张图片是对竹子种植园的故事的描述。画中的鲜活人物可与晋国的陶渊明媲美。",[23,24,28,7,83,2653,86,211,13439],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32007569961fc2242c4cd2050def5e9.jpg","76x136",[44],{"id":13444,"slug":13445,"title":13446,"dynasty":76,"author":191,"museum":245,"description":13447,"tags":13448,"thumbUrl":13450,"material":1397,"size":1398,"collection":220,"collections":13451,"showCount":13452,"zanCount":1769,"manualWeight":48,"mainColor":49},287979,"bei-song-zhang-ze-duan-quan-jing-qing-ming-shang-he-tu-juan-ming-qing-mo-ben-yi-ming-287979","北宋张择端全景清明上河图卷(明清摹本)","这卷追摹之作，将北宋汴京的市井烟火铺展于绢素之上。朱墙之下屋舍错落，官署比邻商肆，黛瓦飞檐勾连着宋韵城坊肌理。街衢间人流如织，挑担货郎穿街过巷，沽酒食客围坐檐下，驻足交谈的路人、接引宾朋的店家，鲜活复刻着彼时的日常百态。\n\n画者以细腻笔触捕捉俗世鲜活，酒幌招摇、门板半敞，处处藏着汴京的喧嚣暖意，把千年前都城的熙攘意趣传神留存，让观者仿佛踏入彼时的春日长街。",[23,137,24,26,13449,28,7,81,83,84,2832,114,90,97,1119],"摹本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dd02dd6db3b5b7381b799a8a64e635f.jpg",[],69,{"id":13454,"slug":13455,"title":13456,"dynasty":76,"author":191,"museum":245,"description":13457,"tags":13458,"thumbUrl":13459,"material":1397,"size":1398,"collection":237,"collections":13460,"showCount":13452,"zanCount":48,"manualWeight":48,"mainColor":145},235583,"wen-chu-hua-hui-ce-yi-ming-235583","文俶花卉册","此作以糙涩米黄沙底为衬，浅纹隐现，愈显清雅悠然。柔婉青茎舒展虬曲，羽状细叶以淡青晕染，通透轻盈，尽显草木灵秀。两朵万寿菊轻绽枝头，瓣边暖橙柔润，瓣心赭红沉凝，层次细腻，将盛放娇妍定格，旁侧花苞颔首待放，静藏生机。全作未施浓彩，以轻淡设色搭配素朴底纸，尽显清隽雅致的小品意趣，将草木鲜活生机晕染在方寸之间，观之如嗅浅淡花香，悠然意远。",[24,25,519,7,28,212,409,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fc6eb7dafe3ffa707e1031a8859d55b.jpg",[237],{"id":13462,"slug":13463,"title":6398,"dynasty":228,"author":229,"museum":134,"description":13464,"tags":13465,"thumbUrl":13466,"material":496,"size":13467,"collection":220,"collections":13468,"showCount":13452,"zanCount":1769,"manualWeight":48,"mainColor":145},231403,"qiu-gua-tu-qian-xuan-231403","该图中描绘了瓜熟之际，野草旁生，新花又开的田园一景。该图以工笔淡彩方法处理瓜、花、叶，而野草则勾线设色与没骨法兼用，怒意洒落，尤显野逸。此图精致典雅，与宋代小品画一脉相承，然而又透出一股书卷气，作者意在追求一种清润淡雅的画格。画家以朴素无华的笔调拟绘田园景物，在题诗中表达了一个知识分子对隐逸生活的态度和情怀。\n图中写甜瓜一柄，老叶几片，一丛杂草，蜿蜒的藤蔓上开着白花。\n画家在图中题诗一首：“金流石烁汗如雨，削入冰盘气似秋。写向小窗醒醉目，东陵闲说故秦侯。”\n中国花鸟画的题材包罗万象，各种动植物都隶属其中。其中对于蔬果的细致描绘，要属北宋赵昌较早。自此而后，蔬果遂成为画家们反复描绘的对象。宋元时，西瓜成为蔬果画的主题，其中部分作品流传下来，《秋瓜图》便是钱选在写生的基础上绘制而成的，它是一幅较早描绘蔬果类的作品，且其所描绘的就是西瓜。\n该图题诗中引用“东陵侯种瓜”的典故，秦朝的东陵侯召平，在秦亡后降为平民，因家贫，种瓜于长安城东以为业。由于他种的瓜味道特别甜，遂被称为东陵瓜。东陵侯召平，由王侯贵胄而跌落红尘，历经谋生的艰难，反因种瓜而留名后世。因此，“东陵侯”成为传统文化中隐士的象征，“东陵瓜”也成为传统象征隐士品德的重要文化符号。东陵种瓜，钱选售画，两者均经历世变的沧桑与跌落凡尘的劫难。画家透过题诗，个体生命与历史文化进行连接与对话，显示画中秋瓜图的作者实为隐士的真正身份。这样，钱选在历史文化的记忆中找到自我生命的安顿。钱选笔下的秋瓜，显然不是现实之物，而是承载历史文化记忆的传统之物，是根植于传统文化脉络之上的果实，是可以在炎热的夏季令人警醒的文化记忆。\n该图所摄取景物集中于画幅的下端，画瓜地中秋瓜一枚，秋瓜果呈长圆形，近椭圆，瓜皮乌黑发亮，瓜楞清晰可见，且黑白对比鲜明，非常醒目。瓜藤蔓延，藤花绰约，有野草数茎衬托其后，瓜叶宽大，其中有瓜叶一片着地半萎，已是瓜果成熟的秋季。硕大的秋瓜用墨绿渍染，呈现碧绿油亮的色彩，瓜楞施以白粉，瓜楞分明，瓜叶脉用细笔勾勒，用笔细致精到，设色淡雅，翠色斑烂。藤花先用细笔勾勒，施以白粉，白色的花朵和墨绿的瓜果和叶形成黑白鲜明的对比。\n该图构图简洁，作者用折枝法在写生基础上经过了艺术的提炼，删繁就简，突出了画面的意境情趣。该图最明显的特点，画幅不大，却画得精致典雅，但精致而不艳丽，细腻而不纤巧，具有清润淡雅的格调，该图呈竖长方形构图，下不留地，上留有较大的空白，近于画面二分之一弱，有作者自题诗给填补，对整个画幅起到了充实其内容及平衡作用。\n台北故宫博物院院长石守谦：《秋瓜图》的精致写实、细腻处理，也显示了南宋职业画中不可或缺的高度技巧，不过他却刻意地采用轻淡的设色，以示其与一般画师之区别。",[137,24,25,155,7,28,212,7890,596,409,655,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80176e7550578ceea6d1fcbd2d4966b9.jpg","纵63.1厘米，横30厘米",[],{"id":13470,"slug":13471,"title":13472,"dynasty":54,"author":191,"museum":245,"description":13473,"tags":13474,"thumbUrl":13475,"material":1397,"size":1398,"collection":220,"collections":13476,"showCount":13452,"zanCount":1769,"manualWeight":48,"mainColor":49},231003,"ren-wu-1-1-yi-ming-231003","人物1-1","残壁之上，两位侍臣敛容垂立，衣褶以平涂晕染勾勒，石绿、朱红与素白交织层叠，古朴色调晕开岁月斑驳。一人握长杆凝神静立，一人执笏板垂目恭谨，柔婉凝练的眉眼线条，将侍奉的端严内敛尽数铺陈。剥落的墙皮裹挟着时光的痕迹，褪去鲜亮的色块沉淀出古拙沉静的气韵，把千年前仪制中的肃穆规整凝于方寸残片，让斑驳的肌理成为岁月的注脚，牵系起古今对大唐礼序的悠悠遐想。",[5091,1053,28,83,24,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d72ff99d07e8808cba3c4383efe8dff.jpg",[],{"id":13478,"slug":13479,"title":13480,"dynasty":150,"author":3725,"museum":245,"description":13481,"tags":13482,"thumbUrl":13483,"material":1397,"size":1398,"collection":220,"collections":13484,"showCount":13452,"zanCount":48,"manualWeight":48,"mainColor":49},230158,"peng-lai-xian-jing-tu-ping-12-tiao-ping-yuan-yao-230158","蓬莱仙境图屏-12条屏","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。",[23,24,28,81,7,172,29,84,927,211,37,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd480a9dcef63f008711c8e7e61623.jpg",[],{"id":13486,"slug":13487,"title":13488,"dynasty":18,"author":191,"museum":245,"description":4786,"tags":13489,"thumbUrl":13490,"material":4789,"size":4790,"collection":42,"collections":13491,"showCount":13452,"zanCount":48,"manualWeight":48,"mainColor":49},223548,"luo-shen-tu-juan-yi-ming-223548","洛神图卷",[23,24,25,26,28,7,285,173,83,29,34,211,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg",[42,44,45],{"id":13493,"slug":13494,"title":13495,"dynasty":18,"author":191,"museum":406,"description":13496,"tags":13497,"thumbUrl":13500,"material":424,"size":13501,"collection":220,"collections":13502,"showCount":13452,"zanCount":1084,"manualWeight":48,"mainColor":49},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[23,24,25,26,28,7,83,59,1744,138,156,313,314,214,92,344,13498,4187,13499],"发饰","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],{"id":13504,"slug":13505,"title":13506,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":13507,"thumbUrl":13508,"material":28,"size":1081,"collection":220,"collections":13509,"showCount":13452,"zanCount":48,"manualWeight":48,"mainColor":145},222748,"xian-e-chang-chun-tu-05b-lang-shi-ning-222748","仙萼长春图-05b",[23,137,24,25,519,28,7,795,212,299,409,653,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ff46c0b7d6fa3b8909b3f40b0c5a9.jpg",[],{"id":13511,"slug":13512,"title":13513,"dynasty":76,"author":3747,"museum":20,"description":13514,"tags":13515,"thumbUrl":13517,"material":599,"size":13518,"collection":237,"collections":13519,"showCount":13452,"zanCount":1084,"manualWeight":48,"mainColor":145},222036,"kui-shi-xia-die-tu-zhou-dai-jin-222036","葵石峡蝶图轴","此幅画盛开的蜀葵一株，两只蝴蝶翩翩飞舞。\n在戴进的作品中，工笔设色花鸟并不多见，此图用笔细润，色彩清丽，既保留了宋代院体花鸟的工致，又吸收了元代钱选没骨设色的文雅之气。画面下端的湖石纹理粗糙，凹凸有致，与花卉草虫形成鲜明的对比。\n近代何昆玉、庞莱臣《虚斋名画录》卷二著录。",[23,137,24,155,28,7,212,13516,411,159,173],"葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7690becc18ef2b29aaf5e830a77ab9fb.jpg","纵115厘米，横39.6厘米",[237,45],{"id":13521,"slug":13522,"title":13523,"dynasty":18,"author":7941,"museum":1129,"description":13524,"tags":13525,"thumbUrl":13528,"material":67,"size":13529,"collection":220,"collections":13530,"showCount":13452,"zanCount":1769,"manualWeight":48,"mainColor":49},221615,"xue-jing-shan-shui-tu-liang-kai-221615","雪景山水图","图中描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。水边两棵老树，其虬曲的枝干和稀疏的树叶，是以细致的笔法刻画出来的。画山石，仿北宋范宽的笔法，以簇点画密林；而山体皴笔甚少，在以淡墨渲染的天空的映衬下，给人以白雪皑皑之感。整个画面呈现出荒凉萧瑟的氛围。在画幅左下角寒溪边缘有“梁楷”的落款。此图不失为南宋院体山水画的经典之作。",[23,24,137,29,4077,83,4801,286,13526,211,855,172,7,13527],"寒溪","荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb6676a5452362239059e95da23644d.jpg","111.3cmx49.7cm",[],{"id":13532,"slug":13533,"title":13534,"dynasty":76,"author":13535,"museum":134,"description":13536,"tags":13537,"thumbUrl":13538,"material":235,"size":13539,"collection":237,"collections":13540,"showCount":13452,"zanCount":1769,"manualWeight":48,"mainColor":145},218878,"xian-chun-bao-xi-tu-liu-shi-ru-218878","先春报喜图","刘世儒","虬枝盘曲如铁，嫩蕊缀枝似霞，寒香暗浮处，数只喜鹊栖于梅间。或翘首啼鸣，清音欲穿晓寒；或侧耳相和，墨羽轻拂春风。花瓣染粉带露，枝干皴擦见骨，工笔与写意相融，既得梅之清雅，又显鹊之灵动。题字与花鸟相映，诗趣入画，更添文人雅韵。整幅画如早春晨曦，将料峭生机与报喜暖意悄然铺展——梅开先春，鹊鸣报喜，每一笔藏岁月期许，每处细节漾人间欢悦，观之令人心脾俱畅，仿佛已闻春声渐近。",[24,25,155,28,7,212,637,178,9655,284,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bf908b018a03efb77d029306b4e34c.jpg","113.4x56.6cm",[237],{"id":13542,"slug":13543,"title":13544,"dynasty":228,"author":191,"museum":134,"description":13545,"tags":13546,"thumbUrl":13547,"material":235,"size":13548,"collection":237,"collections":13549,"showCount":13452,"zanCount":1084,"manualWeight":48,"mainColor":49},218835,"hua-e-xiao-jing-tu-yi-ming-218835","花鹅小景图","白鹅曲颈伫立，绒羽以细笔晕染，柔润如凝脂，尾羽纹理纤毫可见。身旁草叶疏朗，野花含露轻绽，淡紫与浅红的花瓣似携微风颤动；后方岩石以简劲笔触皴擦，苍朴质感与鹅的柔媚相映成趣。古旧纸色衬得景物愈发温润，笔触间藏着细腻生机——仿佛能听见鹅喙轻啄草叶的细碎声响，或是风拂野花的微颤。整幅小景虽简，却将自然的恬淡雅致凝于尺幅，细处见工致，疏处显意趣，尽显宋元小景画的清逸之韵。",[137,24,25,7,28,5181,62,159,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aca3e9066be932f6397474cf4d654f4.jpg","57.5x37cm",[237],{"id":13551,"slug":13552,"title":13553,"dynasty":150,"author":191,"museum":245,"description":13554,"tags":13555,"thumbUrl":13556,"material":100,"size":220,"collection":220,"collections":13557,"showCount":13452,"zanCount":48,"manualWeight":48,"mainColor":49},216721,"hong-lou-meng-fu-tu-ce-4-yi-ming-216721","红楼梦赋图册-4","雕栏玉砌间，仕女倩影错落。粉墙黛瓦映着疏林碧水，镂空花窗透进软风，携阶前牡丹暗香漫入廊下。有人凭栏凝思，有人低语浅笑，衣袂翩跹似流云拂过青石。笔墨细腻处，衣纹褶皱如流水轻漾，花木枝叶含露带烟。庭院深深里，旧梦依稀，钗环叮当仿佛在耳，裙裾扫过的痕迹仍留着温婉。每一处勾勒皆藏雅致，将红楼的清愁与温柔凝于方寸，让观者沉醉在这古典诗意中，不忍移目。",[23,24,28,7,83,59,84,298,34,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff381526f1252d41cd5878fb4b31a31b5.jpg",[],{"id":13559,"slug":13560,"title":4093,"dynasty":76,"author":6490,"museum":134,"description":13561,"tags":13562,"thumbUrl":13563,"material":1397,"size":13564,"collection":220,"collections":13565,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":145},290319,"sui-chao-tu-zhou-shang-xi-290319","明代宫廷绘画的历史，从明代建国伊始就已经开始，经过永乐、宣德、成化、弘治几朝，宫廷绘画达到了兴盛阶段，到嘉靖、万历以后，逐渐衰微。赵原、卓迪、周位、王仲玉等是初期院体画家的代表。宣德以后，宫廷画家不断增多，著名的有谢环、商喜、倪端、李在、石锐、周文靖等，他们的绘画，技艺全面，师法南宋“院体”，各有特点。",[137,24,25,155,212,28,7,637,520,690,6267,159,173,9131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1aa42f9fe4334c91fc98ee028966eda.jpg","130.9x57.4",[],68,{"id":13568,"slug":13569,"title":13570,"dynasty":132,"author":9393,"museum":245,"description":13571,"tags":13572,"thumbUrl":13573,"material":1397,"size":1398,"collection":220,"collections":13574,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":49},289114,"he-ting-ying-xi-tu-wang-qi-han-289114","荷亭婴戏图","王齐翰(公元10世纪)〔五代·南唐〕金陵(今江苏南京)人，生卒年不详。后主李煜朝(961-975)为宫廷翰林图画院待诏。工画人物、佛道宗教画，兼擅山水、花鸟，以画猿獐出名。好作山林丘壑，隐岩幽谷，无朝市风埃气，其画以笔法工细为特色〔南唐〕金陵（今南京）人。仕南唐李煜（九六一至九七五）在位为翰林待诏。画道释人物多思致，好作山林丘壑，隐岩幽卜。其画以笔法入细者胜，无一点朝市风尘气。开宝末商贾刘元嗣以高价售得齐翰画罗汉十六轴，载入京师，置于僧寺。后僧以过期拒赎与讼。时太宗尹京，督索其画，一见大加赏叹。遂留画厚赐而释之。阅十六日太宗即位，后名其画曰应运罗汉。画花鸟如生，人但以獐猨名。",[914,24,137,28,7,83,1744,59,176,1028,6142,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878e5b0c706548439d7b3646b4762c85.jpg",[],{"id":13576,"slug":13577,"title":13578,"dynasty":190,"author":13579,"museum":245,"description":13580,"tags":13581,"thumbUrl":13584,"material":220,"size":220,"collection":220,"collections":13585,"showCount":13566,"zanCount":1769,"manualWeight":48,"mainColor":49},231661,"ping-an-shi-dai-qiu-cao-tu-ping-feng-biao-wu-zong-xue-231661","平安时代 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色彩鲜艳明快，笔墨工整。",[24,137,25,155,7,28,83,29,637,158,63,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16ec146f1085c0dfe8356014a6f5971.jpg","纵119.7横61.5厘米",[44],{"id":13639,"slug":13640,"title":10420,"dynasty":18,"author":191,"museum":134,"description":13641,"tags":13642,"thumbUrl":13644,"material":100,"size":13645,"collection":44,"collections":13646,"showCount":13566,"zanCount":1769,"manualWeight":48,"mainColor":49},218719,"luo-han-tu-yi-ming-218719","在花园的一个角落里，一个盘腿的罗什坐在冥想椅上，右手拿着一个花瓶，从花瓶里向天空照出一道红光。椅子前面是一张花台，上面有一盆植物和一个香炉，花台前面是一个人，手里拿着一个宝箱。颜色鲜艳，装饰柔和，笔触精确。罗汉和拜师者衣服上的凤凰和花朵图案，禅椅上的锦垫，花几上的花巾，禅椅上的树和坐垫，甚至拜师者的头发，都刻画得非常细致，可与刘松年的罗汉院画相媲美。",[23,24,25,155,28,7,194,83,13222,1028,214,13643,8651,2464,34,783],"座椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd362133adfb33f41649c7af71c1066fb.jpg","105.5x55.6",[44],{"id":13648,"slug":13649,"title":13650,"dynasty":150,"author":6729,"museum":20,"description":13651,"tags":13652,"thumbUrl":13654,"material":100,"size":13655,"collection":44,"collections":13656,"showCount":13566,"zanCount":1769,"manualWeight":48,"mainColor":145},218523,"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[23,24,25,26,7,28,83,689,62,13185,13653,6010,6595,2614,344,284,285,173],"椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","32.4x136.4",[44],{"id":13658,"slug":13659,"title":13660,"dynasty":76,"author":924,"museum":230,"description":13661,"tags":13662,"thumbUrl":13664,"material":100,"size":13665,"collection":182,"collections":13666,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":49},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[24,25,155,28,29,927,175,4611,211,86,13663,3487,172,7,34],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[182],{"id":13668,"slug":13669,"title":13670,"dynasty":18,"author":1275,"museum":230,"description":13671,"tags":13672,"thumbUrl":13673,"material":100,"size":13674,"collection":220,"collections":13675,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":145},218046,"song-di-ming-ti-ce-ba-ma-yuan-218046","宋帝命题册(八)","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,137,24,25,519,855,29,176,156,83,284,285,7,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805101e3bc8ae183233b61658ad3f5fc.jpg","纵28厘米、横27厘米",[],{"id":13677,"slug":13678,"title":13679,"dynasty":150,"author":13680,"museum":245,"description":13681,"tags":13682,"thumbUrl":13683,"material":1397,"size":1398,"collection":220,"collections":13684,"showCount":13685,"zanCount":1769,"manualWeight":48,"mainColor":145},289744,"lin-zhang-wei-hua-guo-yu-niao-ce-yue-xia-li-hua-li-bing-de-289744","临张伟花果鱼鸟册-月下梨花","李秉德","李秉德，字蕙纫，号涪江，龙池山人，祖籍四川遂宁，系明末清初语言学家李实后裔、榜眼李仙根族人，与大诗人书画家张船山有交往。居吴县，乾隆皇帝南巡时，以诸生进献图册，随后进入宫廷供职，工花卉、翎毛，供奉内廷。",[24,519,212,7,28,1258,199,82,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068da5716562c206c17a9566b67a208.jpg",[],67,{"id":13687,"slug":13688,"title":13689,"dynasty":150,"author":191,"museum":245,"description":13690,"tags":13691,"thumbUrl":13693,"material":1397,"size":1398,"collection":220,"collections":13694,"showCount":13685,"zanCount":48,"manualWeight":48,"mainColor":49},288197,"fang-chou-ying-jie-bo-tu-yi-ming-288197","仿仇英揭钵图","佛尊安坐莲台，神态静定超然，护法眷属恭立环伺，一派庄穆。另一侧群魔攒动，夜叉鬼卒或拽绳撼钵，或挥戈咆啸，狞恶跳脱，奔走腾挪间满是躁动戾气，将救母揭钵的冲突推向极致。飞天振袂穿插云间，衣袂飘举柔化了杀伐之氛。\n\n整卷设色沉厚古雅，铁线描勾勒劲利灵动，人物神态各异，夜叉的凶蛮、天众的肃穆、佛尊的慈悲皆跃然绢上，把神魔相争的戏剧张力尽数铺展，尽显宗教故事画的叙事感染力。",[23,24,26,28,7,82,83,194,7766,6305,13692],"佛教故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faafca72c1f7d102945d31b9ddf001121.jpg",[],{"id":13696,"slug":13697,"title":13698,"dynasty":150,"author":7676,"museum":245,"description":13699,"tags":13700,"thumbUrl":13701,"material":1397,"size":1398,"collection":220,"collections":13702,"showCount":13685,"zanCount":48,"manualWeight":48,"mainColor":145},236381,"mei-hua-shi-nv-tu-shan-ren-xiong-236381","梅花仕女图扇","任熊，男，（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[24,25,914,28,7,83,59,637,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58566bf7ec75673652b28d8a30e1d02.jpg",[],{"id":13704,"slug":13705,"title":2130,"dynasty":18,"author":1040,"museum":20,"description":13706,"tags":13707,"thumbUrl":13709,"material":40,"size":13710,"collection":220,"collections":13711,"showCount":13685,"zanC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唐室开元致太平，年年十月幸华清。\n当时马上多娇态，不相驱驰蜀道行。",[23,24,25,137,26,28,7,83,112,173,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b28078355dcd9084429ae23f044604.jpg",[],{"id":13737,"slug":13738,"title":13739,"dynasty":76,"author":1640,"museum":134,"description":13740,"tags":13741,"thumbUrl":13742,"material":952,"size":13743,"collection":182,"collections":13744,"showCount":13685,"zanCount":48,"manualWeight":48,"mainColor":49},222414,"hua-zhu-an-chun-zhou-zhou-zhi-mian-222414","花竹鹌鹑轴","绘雨后竹子越发翠绿，紫色的喇叭花缠绕其上，湖石下一对鹌鹑正观景觅食。画顶端有范允临题：雨过竹色明，风恬鸟声乐。睡起北窗凉，斜阳在高阁。周之冕，字服卿，明代画家，擅花鸟，所绘鸟禽栩栩如生。",[23,24,25,155,212,28,7,156,5649,492,411,197,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877ec000da3e80bb4d127ada41a2f4e7.jpg","111.7x29.7",[182,125],{"id":13746,"slug":13747,"title":13748,"dynasty":76,"author":13749,"museum":20,"description":13750,"tags":13751,"thumbUrl":13752,"material":40,"size":13753,"collection":44,"collections":13754,"showCount":13685,"zanCount":48,"manualWeight":48,"mainColor":145},222082,"sui-chao-jia-zhao-tu-zhu-jian-shen-222082","岁朝佳兆图","朱见深","画幅右上方有明宪宗朱见深御题：“柏柿如意。一脉春回暖气随，风云万里值明时。画图今日来佳兆，如意年年百事宜。”款署：“成化辛丑文华殿御笔”，钤“广运之宝”。\n图中画钟馗，犀利的目光紧盯着飞来的蝙蝠，一手持如意，一手扶在小鬼的肩头；小鬼双手捧着盛有柿子和柏枝的托盘，寓意“百事如意”。\n明代以前，悬挂钟馗像是年节时一项重要的风俗活动，用以驱鬼辟邪，至明清之交此风俗才渐渐移向端午，所以这幅“岁朝佳兆图”可以看作是一幅祈祥祝福的宫廷年画。此图作于成化十七年（1481年），画法老练，衣纹的勾描顿挫有力，人物的造型生动夸张，显示了这位皇帝画家的娴熟技能。",[23,137,24,25,155,28,7,283,83,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b9fc4e6f55bfb12448810b6d3f9227.jpg","纵59.7厘米，横35.5厘米",[44,45],{"id":13756,"slug":13757,"title":13758,"dynasty":18,"author":1140,"museum":4063,"description":13759,"tags":13760,"thumbUrl":13762,"material":100,"size":13763,"collection":237,"collections":13764,"showCount":13685,"zanCount":48,"manualWeight":48,"mainColor":145},219084,"can-he-yuan-yang-tu-ma-lin-219084","残荷鸳鸯图","图为荷塘岸边枯萎的荷花，两朵荷花干枯，细杆上隐约可见一层薄薄的雪花，似弯折折断； 一对鸳鸯站在岸边，羽毛鲜艳，身体匀称，一副低头的样子，似乎在寻找食物。",[137,24,25,914,28,7,157,13761,1435,299,212,159,173],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8148e5c307f646b726f878e7dad3e86.jpg","25.4x24.4cm",[237],{"id":13766,"slug":13767,"title":13768,"dynasty":150,"author":8523,"museum":134,"description":13769,"tags":13770,"thumbUrl":13771,"material":235,"size":13772,"collection":237,"collections":13773,"showCount":13685,"zanCount":48,"manualWeight":48,"mainColor":145},218810,"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","画面中两只额摩鸟姿态悠然，昂首者似欲引吭，俯身者若寻幽草。翎羽纤毫毕现，颈间蓝红绒羽如霞披覆，肌理质感细腻入微。旁侧牡丹姹紫、玉兰皎洁，枝桠间燕语呢喃，石畔小雀啄食，生机盎然。青绿山石晕染温润，皴擦有致，与禽鸟花木相映成趣。上下题跋为御制诗文，笔墨苍劲，典重之气扑面而来。整幅画作工写兼备，设色妍丽却不失清雅，奇禽异卉共构一堂，既有自然生趣，亦含皇家苑囿的雍容气象，堪称清代宫廷花鸟走兽画的精品之作。",[137,24,25,155,7,28,212,299,298,313,211,284,173,178,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[237],{"id":13775,"slug":13776,"title":13777,"dynasty":18,"author":1826,"museum":382,"description":13778,"tags":13779,"thumbUrl":13780,"material":100,"size":13781,"collection":220,"collections":13782,"showCount":13685,"zanCount":1769,"manualWeight":48,"mainColor":1833},218603,"wu-bai-luo-han-zhi-shou-hu-shu-jin-tu-zhou-ji-chang-218603","五百罗汉之受胡输赆图","画面的上半部分是五个罗汉在云中行走，身后是由松柏树组成的瀑布，而下半部分是一个长鼻黑眼的胡人骑着骆驼，手里拿着一个珊瑚，另一个胡人负责拉着骆驼。风景和人物是用柔和的细线画出来的，使其生动而自然。北周庾信的《哀江南》写道。西边的大厅用浮玉覆盖，南边的大厅用羽毛覆盖。武秦与越阴，荆燕与楚舞。这就是为什么后来经常用 西厅南隅 的说法来指代来自四面八方的贡品的朝拜。这幅图像和面向山姆的竹林图像都是献宝的图像，而且都显示了非汉族人的打扮，如身穿红袍、打扮成金人的骆驼手。",[23,24,25,155,194,28,83,7,314,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a32d2b58935d5585c6c8a74a79b2ef4.jpg","110.5x52.0",[],{"id":13784,"slug":13785,"title":13786,"dynasty":150,"author":5188,"museum":245,"description":13787,"tags":13788,"thumbUrl":13790,"material":100,"size":13791,"collection":44,"collections":13792,"showCount":13685,"zanCount":1769,"manualWeight":48,"mainColor":49},218491,"ting-qin-tu-yu-lan-218491","听琴图","幽篁入镜，琴音似萦。室内雅集间，主人横琴而坐，指下弦动；侧畔听者凝神，眉宇间尽是悠然。侍女轻持乐器侍立，案上文玩罗列，红萼点缀其间，更添几分雅致。窗外竹影婆娑，与镜中幽林相映，虚实交织间，尽显文人闲逸之趣。笔墨细腻，器物精描，人物神态宛然，将一段琴韵中的闲适时光，凝于绢素之上，引人沉醉于这清寂又温暖的雅境里。",[24,137,7,28,83,5343,138,3527,156,13789,3025,3024,13259],"文玩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79ea1cf75ecae2ee4a8c203cf5dc219.jpg","88x41.7",[44],{"id":13794,"slug":13795,"title":13796,"dynasty":54,"author":191,"museum":2058,"description":13797,"tags":13798,"thumbUrl":13799,"material":2062,"size":220,"collection":220,"collections":13800,"showCount":13685,"zanCount":1769,"manualWeight":48,"mainColor":49},217286,"jiang-mo-bian-dun-huang-tu-juan-4-yi-ming-217286","降魔变·敦煌图卷-4","古朴绢本上，笔墨流转间铺展着一段生动叙事。左侧世俗人物神态各异，衣袂飘举间透着生活气息；中间裸身有须者围坐伞下，伞面纹饰繁复，身旁神兽昂首展翼，灵动线条勾勒出其威猛与祥瑞兼具的姿态；右侧僧侣群像肃穆，衣袍色彩沉稳，传递出宁静的宗教氛围。整幅画以流畅线描为骨，设色淡雅却层次分明，人物与神兽、世俗与神圣场景交织，既捕捉生活细节，又蕴含佛教故事的庄严奇幻，岁月痕迹里仍能感受到鲜活的艺术张力。",[137,24,25,26,28,7,194,1539,83,4511,29,178,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc400e9da6b17613f5e9395694aaabf3d.jpg",[],{"id":13802,"slug":13803,"title":13804,"dynasty":150,"author":13805,"museum":134,"description":13806,"tags":13807,"thumbUrl":13808,"material":100,"size":13809,"collection":44,"collections":13810,"showCount":13685,"zanCount":48,"manualWeight":48,"mainColor":145},216968,"li-zhu-cui-xiu-ce-liang-mu-lan-he-da-zi-216968","丽珠萃秀册-梁木兰","赫达资","梁木兰是清朝著名的艺术家，她是在《丽珠萃秀册》中被介绍的。《丽珠萃秀册》是一部清朝时期的艺术名录，其中记录了当时著名的艺术家、书画家、雕塑家、音乐家和舞蹈家的作品和生平经历。梁木兰是其中的一位艺术家，她出身于辽宁省大连市，在清朝时期以其精湛的书法和绘画技艺而闻名。",[24,25,519,28,7,83,159,29,1787,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607e3ef4147ab6d830a434d5bcc7fcb8.jpg","30.1x22.5",[44],{"id":13812,"slug":13813,"title":13814,"dynasty":150,"author":13815,"museum":245,"description":13816,"tags":13817,"thumbUrl":13818,"material":100,"size":13819,"collection":44,"collections":13820,"showCount":13685,"zanCount":48,"manualWeight":48,"mainColor":145},214835,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-214835","仿李晞古采薇图全卷","萧晨","在右边，伯益坐在山坡上，双膝弯曲，认真听着舒淇的讲话，舒淇俯身向前致意，面前放着一把锄头和一筐野菜。萧琛，字灵溪，号仲素，清代画家，善诗，精画，山水人物，师承唐宋。",[23,24,25,26,82,28,7,172,83,927,211,34,173,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341cd77a009ea4082f79b83c8e83756d.jpg","\u001659.2x27.1",[44],{"id":13822,"slug":13823,"title":3925,"dynasty":150,"author":592,"museum":245,"description":3138,"tags":13824,"thumbUrl":13825,"material":1397,"size":1398,"collection":220,"collections":13826,"showCount":13827,"zanCount":48,"manualWeight":48,"mainColor":145},290532,"ying-su-yun-shou-ping-290532",[24,519,212,7,28,3925,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b483d6b1aafd58666bcab7fadd694.jpg",[],66,{"id":13829,"slug":13830,"title":13831,"dynasty":228,"author":191,"museum":245,"description":13832,"tags":13833,"thumbUrl":13834,"material":1397,"size":1398,"collection":220,"collections":13835,"showCount":13827,"zanCount":48,"manualWeight":48,"mainColor":49},290062,"tao-hua-yuan-die-tu-yi-ming-290062","桃花猿蝶图","此作以折枝桃花铺陈画面，柔枝缀满盛放繁花，花瓣晕染细腻，枝叶舒展含露，尽显春日夭桃的娇妍柔媚。猿猴掩映于花枝间，仅露半身与修长猿臂，探伸的姿态暗含灵动憨趣，将猿的机警野态藏在烂漫花影里，动静相生，暗合山林幽趣。\n\n古旧绢色晕染出沉静古朴的基调，清雅敷色衬得花猿愈发生动，以尺幅小景框住林泉一角的生机，尽显幽闲野逸的文人情致，将雅致意趣藏于方寸之间。",[914,24,137,7,28,174,7318,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e287e8609db02fcf1f553464e2db193.jpg",[],{"id":13837,"slug":13838,"title":13839,"dynasty":18,"author":13840,"museum":245,"description":13841,"tags":13842,"thumbUrl":13844,"material":1397,"size":1398,"collection":220,"collections":13845,"showCount":13827,"zanCount":48,"manualWeight":48,"mainColor":49},288976,"tai-ye-he-feng-tu-feng-da-you-288976","太液荷风图","冯大有","南宋画家，生卒年不详，是南宋吴门（今江苏苏州）人。他自号怡斋，画史记载他善于捕捉莲花风、晴、老、嫩不同的面貌，可说是画莲的能手。",[914,24,137,7,28,27,212,248,249,178,13843],"微风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feffd42f9cf8108f6afa83f0ebe8d2397.jpg",[],{"id":13847,"slug":13848,"title":13849,"dynasty":150,"author":13850,"museum":245,"description":13851,"tags":13852,"thumbUrl":13853,"material":1397,"size":1398,"collection":220,"collections":13854,"showCount":13827,"zanCount":1020,"manualWeight":48,"mainColor":49},288240,"hu-die-cao-chong-tu-ce-wu-shu-lan-288240","蝴蝶草虫图册","吴淑兰","此作以工细笔触写蝶，三只彩蝶神态迥然，或振翅欲举，或悠然憩立，翅脉纹路纤毫毕现，晕染出蝶翼绒光与斑斓色泽，写实中带着雅致意趣。淡绿细笔绘出丛生细草，线条柔韧舒展，似有微风拂过，将草叶轻曳之态尽显，衬得蝶影愈发灵动。\n\n左侧题款笔墨清隽，朱红印信点缀留白，融书画印为一体，文气盎然。古旧纸色晕开岁月温润质感，将草间蝶戏的幽谧小景，晕染出冲淡平和的古典意韵，尽显细腻情思与娴静审美。",[24,519,28,7,212,411,655,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3ca5528649c3da0dbdb34e16762f0c.jpg",[],{"id":13856,"slug":13857,"t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49},288302,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-288302","以长卷铺展这段缥缈情缘，起于河畔惊鸿初见，洛神凌波凭风，衣袂翩跹若流云回风。仙姝侍立，神兽随行，云车仪仗迤逦于川泽林莽间。\n画师以高古游丝描勾勒人物，线条匀细灵动，淡彩敷染晕出古朴雅致的气韵，将辞赋里的缱绻爱慕、依依怅别缓缓铺陈。山川林木错落点缀，水波微漾间，把人神相恋的怅惘诗意凝于绢素，让千年的浪漫情思在卷中流转不散。",[23,137,24,26,25,28,7,82,83,59,9311,1206,84,764,29,3850,4512,14083],"洛神赋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c57e460baa6a03b77a4fd2f15d23fbb.jpg",[],{"id":14087,"slug":14088,"title":14089,"dynasty":190,"author":9230,"museum":245,"description":9231,"tags":14090,"thumbUrl":14094,"material":1397,"size":1398,"collection":220,"collections":14095,"showCount":14071,"zanCount":1769,"manualWeight":48,"mainColor":49},230657,"yao-shen-xiang-xi-zang-tang-ka-230657","药神像",[23,194,65,28,83,8175,112,1055,11514,14091,14092,14093,7],"法轮","纹饰","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028ee73993c9fc718ee7851c324b4215.jpg",[],{"id":14097,"slug":14098,"title":14099,"dynasty":18,"author":191,"museum":245,"description":14100,"tags":14101,"thumbUrl":14102,"material":220,"size":220,"collection":220,"collections":14103,"showCount":14071,"zanCount":1769,"manualWeight":48,"mainColor":49},227884,"shui-xian-tu-yi-ming-227884","水仙图","此作笔意清逸秀雅，以淡墨晕写叶片，线条修长舒展，尽显水仙叶姿柔韧清健，似凝着晨间清露。花朵以浅色素染，轻勾瓣边却不刻意雕琢，晕出莹润娇柔的质感，素洁花容与挺秀叶片相互映衬，寥寥数笔便将水仙冰肌玉骨的神韵尽数铺陈。\n画面留白简澹空灵，不着多余笔墨，悄然烘托出水仙孤高脱俗的品性，尽显内敛雅致的审美意趣，如幽谷清芳，静静吐露幽微暗香，淡远清寂的意境扑面而来。",[23,24,25,212,7,28,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e7c47f9155125fbea51258414c067d.jpg",[],{"id":14105,"slug":14106,"title":14107,"dynasty":18,"author":14108,"museum":245,"description":14109,"tags":14110,"thumbUrl":14111,"material":220,"size":220,"collection":220,"collections":14112,"showCount":14071,"zanCount":48,"manualWeight":48,"mainColor":49},227296,"gui-xiu-shi-ping-tu-zhou-sheng-shi-yan-227296","闺秀诗评图轴","盛师颜","古时大家闺秀“大门不出，二门不迈”，待在家里的时间长，因此也有闲暇读诗书。一来可以打发时光，二来可以排解幽思。\n\n在这幅画中，一名女子端坐在案几之上，手持一本诗文书卷，神态娴静，正在专心致志地读书。",[23,706,24,25,155,7,28,59,4427,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0333452de9ecd696360b84a95fb6751a.jpg",[],{"id":14114,"slug":14115,"title":14116,"dynasty":132,"author":1194,"museum":134,"description":14117,"tags":14118,"thumbUrl":14119,"material":220,"size":220,"collection":220,"collections":14120,"showCount":14071,"zanCount":1769,"manualWeight":48,"mainColor":49},226706,"he-ting-yi-diao-shi-nv-tu-zhou-zhou-wen-ju-226706","荷亭奕钓仕女图轴","五代南唐周文矩荷亭奕钓仕女图轴，中国古画之一，作者是五代南唐周文矩，幅195.1x98公分；全幅100公分，收藏于台北故宫博物院。",[24,25,155,28,7,83,59,176,248,84,214,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6da1de419707f3ac4b12376b237d53c6.jpg",[],{"id":14122,"slug":14123,"title":14124,"dynasty":150,"author":260,"museum":134,"description":14125,"tags":14126,"thumbUrl":14128,"material":40,"size":14129,"collection":237,"collections":14130,"showCount":14071,"zanCount":48,"manualWeight":48,"mainColor":145},222722,"shi-jun-quan-tu-zhi-ba-shan-xing-lang-lang-shi-ning-222722","十骏犬图之八睒星狼","睒星狼为宫廷名犬之一，为科尔沁四等台吉丹达里逊进献。绘睒星狼位于画面中央偏下位置，其身后则以配景形式绘有高大的树木和低矮的花草，色泽鲜丽，清晰细致。",[23,24,25,137,7,28,582,14127,174,34,315,173],"名犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776979946ef2bb6e343e1385068093ab.jpg","246.6x163.8",[237,45],{"id":14132,"slug":14133,"title":14134,"dynasty":76,"author":14135,"museum":20,"description":14136,"tags":14137,"thumbUrl":14139,"material":40,"size":14140,"collection":237,"collections":14141,"showCount":14071,"zanCount":48,"manualWeight":48,"mainColor":49},222456,"liu-qin-bai-xian-li-zhou-wang-zhao-222456","柳禽白鹇立轴","汪肇","《柳禽白鹇图》绘溪水奔流，浪花翻滚，岸边青草依依，两只白鹇一俯一仰，悠然闲憩。一株杨柳，枝条倒垂，随风飘动；柳畔桃花盛开，数只燕子翻腾嬉戏于柳枝之间，充满早春气息。白鹇画法工细，形象写实，生动传神。羽毛色彩，对比鲜艳。此图工写结合，造型生动自然，色彩丰富，与画家粗简放逸之风有所不同。",[23,137,24,25,155,212,28,7,14138,178,11389,6040,11331,174,86,9273],"工写结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9797ae11c53f7557aad5da268f564.jpg","纵190，横103",[237,45],{"id":14143,"slug":14144,"title":14145,"dynasty":76,"author":77,"museum":14146,"description":14147,"tags":14148,"thumbUrl":14149,"material":14150,"size":14151,"collection":220,"collections":14152,"showCount":14071,"zanCount":1769,"manualWeight":48,"mainColor":145},222197,"jia-fu-ren-li-tu-chou-ying-222197","佳妇人例图","日本早稻田大学图书馆","《佳妇人例图》落款为“实父仇英制”，共绘人物60位，构图、内容、人数与《千秋绝艳图》均雷同，所以有专家言《佳妇人例图》属《千秋绝艳图》的母图或白描草图。\n仇英 ，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[23,24,25,26,283,7,83,59,63,2956,784,785,2957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],{"id":14154,"slug":14155,"title":14156,"dynasty":18,"author":14157,"museum":152,"description":14158,"tags":14159,"thumbUrl":14160,"material":40,"size":14161,"collection":220,"collections":14162,"showCount":14071,"zanCount":48,"manualWeight":48,"mainColor":145},221352,"fan-wang-li-fo-tu-juan-zhao-guang-fu-221352","番王礼佛图卷","赵光辅","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[137,24,25,26,194,7,28,83,173,344,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979126ec026d2d53f7d8ef93beef224e.jpg","纵28.6厘米，横103.5厘米",[],{"id":14164,"slug":14165,"title":14166,"dynasty":18,"author":191,"museum":14167,"description":14168,"tags":14169,"thumbUrl":14170,"material":100,"size":220,"collection":42,"collections":14171,"showCount":14071,"zanCount":48,"manualWeight":48,"mainColor":1833},220255,"xia-jing-shan-shui-tu-yi-ming-220255","夏景山水图","日本久远寺","此图绘深山幽谷，山雨欲来，树木摇曳，云雾弥漫，一隐士拄杖欲过溪桥，侧首观赏林泉，怡然自乐。本图为四季山水四条幅中的一幅，其中春景图早已遗失，其内容不详；秋景图和冬景图流失于日本后，经大内氏、明智院传到金地院；此图在日本由滨松城主太田资宗施给久远寺。各幅在构图、景物刻画上既相互联系，又富于变化，每幅上都有流失日本前钤的二枚鉴藏印。后日本收藏者足利三代将军义满又在画幅上钤『天山』鉴藏印。这三幅图是目前流传下来的宋代四季山水图中最早的作品，体现了南宋画院早期山水画的风格特征。",[23,24,137,12037,155,855,28,172,7,29,927,211,37,83,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd810dc2b018ad6e47852a0c78483968.jpg",[42],{"id":14173,"slug":14174,"title":14175,"dynasty":18,"author":191,"museum":134,"description":14176,"tags":14177,"thumbUrl":14178,"material":67,"size":14179,"collection":42,"collections":14180,"showCount":14071,"zanCount":48,"manualWeight":48,"mainColor":49},220236,"bian-zhuang-zi-ci-hu-1-yi-ming-220236","卞庄子刺虎1","宋人画卞庄子刺虎图，是从宋代遗存下来的古画，由于作品未留署名，尚不能确定作者是谁，有人推测是出自宋代李公麟之手！这幅画是一副寓意图，描绘的是两只老虎想吃一头牛，而卞庄又想猎杀两只老虎的场景，通过这些场景和最后结果的描绘想劝告人们做事不要只凭勇气，而没有智慧；另一方面的，也阐释出自己人“两只老虎”相争，最后却被别人得到利益。",[24,7,28,83,3794,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34154e0aa0ce30e7ee5f4a8eb6e91b1.jpg","39×169.1公分",[42],{"id":14182,"slug":14183,"title":14184,"dynasty":150,"author":14185,"museum":406,"description":14186,"tags":14187,"thumbUrl":14188,"material":235,"size":220,"collection":44,"collections":14189,"showCount":14071,"zanCount":1769,"manualWeight":48,"mainColor":145},219427,"zhu-cha-xi-yan-tu-zhou-qian-hui-an-219427","煮茶洗砚图轴","钱慧安","此画作于同治十年辛未（1870）。画一文士安坐水榭，石案上摆放着陶壶瓷杯、古鼎铜尊，与琴书相伴。两个小童一人正在煮茶，另一人则在溪边洗刷砚台，水面清透，可见金鱼数条。画上篆书画题“煮茶洗砚”，钤“吉生”朱文钱形印。",[24,25,7,28,83,176,86,159,158,927,719,2957,784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c2c4a3ab8226ebbe0005936e35de5b.jpg",[44],{"id":14191,"slug":14192,"title":14193,"dynasty":150,"author":14194,"museum":134,"description":14195,"tags":14196,"thumbUrl":14198,"material":235,"size":14199,"collection":45,"collections":14200,"showCount":14071,"zanCount":48,"manualWeight":48,"mainColor":145},219387,"feng-xing-tu-ai-qi-meng-219387","风猩图","艾启蒙","艾启蒙，（西元一七０八至一七八０年），字醒庵，波西米亚人。乾隆十年入如意馆，与朗世宁、王致诚同为画院供奉。善画，尤工翎毛，赐三品衔。山径之末，累石成穴，梧桐、丹桂、芙蓉，杂以野菊秋卉，风猩二，一蜷伏洞中，一逡巡洞口。笔墨遒细而秀润，设色雅淡而清丽，与邹一桂蒋廷锡笔画有契合处，为艾氏精心之作。",[24,137,25,7,28,582,7318,1630,7159,492,689,211,2969,14197],"秋卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6bb60e7e22ccacb4a0c5552b267af9.jpg","121x90",[45],{"id":14202,"slug":14203,"title":14204,"dynasty":18,"author":14205,"museum":14206,"description":14207,"tags":14208,"thumbUrl":14211,"material":100,"size":14212,"collection":44,"collections":14213,"showCount":14071,"zanCount":1020,"manualWeight":48,"mainColor":49},219027,"shi-wang-tu-ce-lu-xin-zhong-219027","十王图册","陆信忠","奈良国立博物馆","此十王图即十殿阎罗各一幅的每一个都被描绘成魔王带领着一群来自阴间的官员，他们坐在椅子上审查罪行，狱卒、待审的死者和被判处死刑的人在他们面前接受各种惩罚。精确的具象形式和生动的色彩使其具有强烈而敏感的表现力，是卢新中画派的杰作。",[23,194,7,28,83,84,14209,63,158,14210],"鬼神","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d532ab5c900a8a678b7aae912853ec.jpg","85.9x50.8",[44],{"id":14215,"slug":14216,"title":14217,"dynasty":18,"author":1275,"museum":134,"description":1276,"tags":14218,"thumbUrl":14219,"material":100,"size":1279,"collection":220,"collections":14220,"showCount":14071,"zanCount":1084,"manualWeight":48,"mainColor":145},218576,"hua-niao-shan-shui-xiao-pin-ce-pu-tao-ma-yuan-218576","花鸟山水小品册-葡萄",[23,137,24,25,519,28,7,7258,468,596,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bc725dd647940f42f8f27a6cc90dd2.jpg",[],{"id":14222,"slug":14223,"title":14224,"dynasty":150,"author":3725,"museum":20,"description":14225,"tags":14226,"thumbUrl":14227,"material":100,"size":14228,"collection":182,"collections":1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唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。 唐卡是藏族文化中一种独具特色的绘画艺术形式。",[23,251,194,83,28,7,65,1600,11514],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc45b75d2d19f4d7bac59bc0e28e8dbc.jpg",[],{"id":14271,"slug":14272,"title":14273,"dynasty":76,"author":9801,"museum":134,"description":14274,"tags":14275,"thumbUrl":14276,"material":235,"size":14277,"collection":237,"collections":14278,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":145},222420,"san-yang-kai-tai-zhu-zhan-ji-222420","三羊开泰","画幅正中绘着三只羊。以羊寓阳，以太同泰，寓意“三羊开泰”。依据八卦，正月为泰卦，一阳生于下，冬去春来，阴消阳长，万物复苏，所以，它是祥瑞的象征。三只羊集于一起一白二黑，衬以古木竹石。:羊开泰取意吉祥。三羊的形象皆从写生中来，前者一只小羊，正在低首食草，弯弓着背，短尾微粗，除两腿和头顶处呈白色，其余儿乎全为黑驹黝绒密的黑毛，后面一只小羊，正在低首缓步前行，双目下视，似作觅食之状，四条腿的下肢和头顶部分呈白色，其余为黑黝黝的绒毛。两乳羊柔顺之态，宛然如生。一只大羊略作俯瞰侧面，两角竖立向外伸展，呈倒“八字”，角尖如尖刀似的，身躯圆滚，毛长腿粗，头部、双耳、背部等处为黑色，及长长的黑色的颈毛，双日炯炯有神，传达出了生动的姿态和准确的头、颈、身躯关系。",[23,24,25,155,28,7,4541,313,156,159,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373b5a7d9c34426c6e0ebc149bc2c324.jpg","纵211.6厘米,横142.5厘米",[237,45],{"id":14280,"slug":14281,"title":14282,"dynasty":76,"author":14283,"museum":134,"description":14284,"tags":14285,"thumbUrl":14286,"material":2721,"size":14287,"collection":237,"collections":14288,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":145},222064,"jian-qiu-luo-ji-lin-da-222064","剪秋罗鸡","林达","此图为《明林达花卉翎毛册》中的一页。林达（年代不详），字志道，号愧吾，福建莆田人。俊子。正德九年（1514）进士，历官南京吏部考功郎中。",[23,137,24,25,677,28,7,212,13012,409,159,9478,3084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ad09435dd181cbb24bac44d2945b7b.jpg","29.7×40.4cm",[237,45],{"id":14290,"slug":14291,"title":14292,"dynasty":150,"author":5382,"museum":134,"description":14293,"tags":14294,"thumbUrl":14296,"material":235,"size":14297,"collection":182,"collections":14298,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":145},220382,"qing-wang-hui-fang-zhao-meng-fu-chun-shan-fei-pu-wang-hui-220382","清王翚仿赵孟俯春山飞瀑","细皴粗染入神知。春水初生落涧迟。书识重光诗正叔。天瓶小册合评时。辛亥（西元一七九一年）新正用恽寿平韵。御题。",[24,25,28,27,7,172,82,29,762,927,211,14295,34,624],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3734e913cfe0bffb73c6f8b6b761edf6.jpg","89.5x37.7",[182,45],{"id":14300,"slug":14301,"title":14302,"dynasty":76,"author":9801,"museum":134,"description":14303,"tags":14304,"thumbUrl":14305,"material":100,"size":14306,"collection":237,"collections":14307,"showCount":14250,"zanCount":1769,"manualWeight":48,"mainColor":145},220381,"xuan-zong-jia-he-tu-zhu-zhan-ji-220381","宣宗嘉禾图","此作以清隽青釉贯耳瓶供插嘉禾，设色雅致写实，稻穗饱满垂坠，颗粒分明，带着沉甸甸的秋实质感，将谷穗丰茂鲜活之态尽致描摹，暗合五谷丰登的美好祈愿。\n\n茎叶舒展柔婉，工细笔触勾勒出其舒展之姿，釉色晕染还原出古瓷温润内敛的质感。右上角题字笔墨端正苍劲，与清雅瓶花相映成趣，满幅静穆祥和的宫廷雅韵。整作融清供雅致与田家祥瑞意趣为一体，尽显精工雅致的特质，将对岁稔年丰的期许藏于笔底绢间，平和静雅又意蕴悠长。",[23,137,24,25,7,28,173,12515,158,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e32f7bbc90c4171c4f4cf997d6f5cc.jpg","本幅 38.4×30.3",[237],{"id":14309,"slug":14310,"title":1233,"dynasty":18,"author":505,"museum":134,"description":14311,"tags":14312,"thumbUrl":14313,"material":67,"size":220,"collection":237,"collections":14314,"showCount":14250,"zanCount":1769,"manualWeight":48,"mainColor":49},219649,"hua-niao-tu-zhao-chang-219649","以淡墨晕染花木，浓淡间晕出花叶阴阳向背，将海棠柔润花瓣、舒展枝叶的层次尽数铺陈。静栖枝头的禽鸟刻画入微，蓬松羽毛的绒质感纤毫毕现，敛翼凝神的姿态悠然恬淡。\n\n整幅画作不着浓艳设色，却将春日花木的柔媚与禽鸟的闲适融于一纸，清雅空灵间满溢融融春意。淡笔轻勾里藏着写实的精妙，简淡笔墨晕染出静谧温柔的诗意，尽显雅致的审美意趣，将自然生机诉诸笔端，淡而愈真，简而弥远，是水墨写生花鸟中的绝佳范本。",[137,24,25,7,28,212,299,409,597,6402,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d886b9329342c4d5a14bb7b5782996.jpg",[237],{"id":14316,"slug":14317,"title":14318,"dynasty":150,"author":14319,"museum":134,"description":14320,"tags":14321,"thumbUrl":14322,"material":100,"size":14323,"collection":44,"collections":14324,"showCount":14250,"zanCount":1084,"manualWeight":48,"mainColor":49},219391,"qu-juan-gui-wen-shan-shui-tu-huang-ying-chen-219391","祛倦鬼文山水图","黄应谌","庭院凉亭中一人坐打瞌睡，亭外似一人迤迤然而来，带着奇异的氛围，却原来是倦鬼。作者于清顺治庚子（1660）春日画明申时行（1535-1614）〈袪倦鬼文〉文意，并书写原文于幅上。文中叙述整理手稿时，常因困倦而荒废数月，而前人有「困意则鬼入之」之说，乃撰文驱逐倦鬼，却于打瞌睡间见倦鬼前来说明如本身神定而无移，鬼又如何能入侵之理，因有所领悟，并表示感谢。",[24,25,137,28,7,29,83,176,1068,314,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed4e0d57e2761d2ab147a7ee51a2f7e.jpg","163.8x219cm",[44],{"id":14326,"slug":14327,"title":14328,"dynasty":76,"author":14329,"museum":367,"description":14330,"tags":14331,"thumbUrl":14332,"material":100,"size":220,"collection":237,"collections":14333,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":49},219323,"hua-niao-tu-er-yue-zhou-219323","花鸟图(二)","月洲","梅枝横斜，粉蕊轻绽枝头，两只禽鸟或立或眺，神态悠然。下方花卉繁茂，瓣层叠如绒，色泽温润；长尾羽禽羽翼绯红，与素白花朵相映成趣，墨枝青叶绿意交错，野趣自生。笔触细腻处见工致，设色淡雅中藏灵动，禽鸟憨态、花木生机跃然绢上，尽显自然意趣与文人雅致。岁月虽为绢面添了斑驳，却未减画面里静谧的生机流转，似能闻得花鸟间的轻语，触到时光里的温柔回响，将自然之美与文人情韵凝于方寸之间。",[23,24,137,155,7,28,212,637,156,689,299,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ce9a7674e5a9e4c068dd1387796361.jpg",[237],{"id":14335,"slug":14336,"title":14337,"dynasty":18,"author":191,"museum":134,"description":14338,"tags":14339,"thumbUrl":14340,"material":100,"size":14341,"collection":237,"collections":14342,"showCount":14250,"zanCount":1084,"manualWeight":48,"mainColor":49},218952,"li-zhi-bo-zhao-guo-tu-yi-ming-218952","离支伯赵国图","画面上用重笔画了一枝荔枝，荔枝的果实因其红皮而令人垂涎。两只小鸟站在树枝上，笔触细腻，色彩漂亮，是一件具有强烈象征意义的伟大艺术品。",[23,137,24,25,7,28,212,1588,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60fa47a9909e1d2b25e8f1a85cce8e17.jpg","25.5x24.8cm",[237],{"id":14344,"slug":14345,"title":14346,"dynasty":18,"author":13342,"museum":382,"description":14347,"tags":14348,"thumbUrl":14349,"material":100,"size":1830,"collection":44,"collections":14350,"showCount":14250,"zanCount":1020,"manualWeight":48,"mainColor":1833},218606,"wu-bai-luo-han-zhi-jing-dian-qi-rui-tu-lin-ting-gui-218606","五百罗汉之经典奇瑞图","画板中央是一座三层的砖塔，其中一部道教经书已被烧成灰烬，而一部佛教经书则完好无损，熠熠生辉。聚集在宝塔周围的四位罗汉（佛教经文）双手紧握以示喜悦，而另一位罗汉则向两位官员解释情况。右下角的三个道士很震惊。所描绘的场景取自《佛祖传》中提到的焚经比道的著名典故：（永平十五年）正月初一，五岳道士朱善心等人摆出桌子，进行比对。...... 当年道士等将真谛五术福智五百零九卷，毛成子等二十七家二百三十五卷，通共七百四十八卷，放在坛上。这本书被放在祭坛上，朱棣和费祎的弟子们烧香放火。诸子道书灰飞烟灭，楚、费二人从之感而死。接下来将是梵文的火书和赫拉克勒斯，作为一个新的展台，更加明亮和纯净。当时，摩腾法师的神奇变身凌空而起，冷不丁的一句话：，狐狸不是大师级的，灯不是太阳和月亮的光。池子不是巨大的海，山不是蝴蝶的山。达摩的云彩笼罩着世界，美好的种子绽放。达摩的显现无处不在，改造着众生。即使是佛法、戒律和其他神力的宣扬，也让许多出家的人感到惊讶。",[23,137,24,25,194,81,28,83,211,37,91,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg",[44],{"id":14352,"slug":14353,"title":14354,"dynasty":54,"author":14355,"museum":20,"description":14356,"tags":14357,"thumbUrl":14358,"material":100,"size":14359,"collection":44,"collections":14360,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":49},218143,"liu-zun-zhe-xiang-tu-ce-lu-leng-qie-218143","六尊者像图册","卢楞伽","卢楞伽（生卒年不详），长安（今西安）人。学画于吴道子，喜作经文变相一类绘画，唐玄宗驻跸四川期间由汴入蜀，声名益著。乾元（758-760年）初于大圣慈寺画行道僧，颜真卿为之题名，号称“二绝”。",[23,24,25,519,28,7,194,83,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc5667212353981bcfb16635801cb73.jpg","30x58",[44],{"id":14362,"slug":14363,"title":14364,"dynasty":132,"author":9464,"museum":134,"description":14365,"tags":14366,"thumbUrl":14367,"material":100,"size":220,"collection":44,"collections":14368,"showCount":14250,"zanCount":1769,"manualWeight":48,"mainColor":49},216985,"luo-han-zhou-guan-xiu-216985","罗汉轴","罗汉图是五代十国时期的一件珍贵的文物。它是一幅画，描绘了佛教的著名的罗汉（又被称作“菩萨”）。这幅画的特别之处在于，它是由贯休所画。\n\n贯休（907年-971年）是五代十国时期的一位著名的佛教徒和文学家。他是宋朝的开国皇帝赵匡胤的政治顾问，在赵匡胤建立宋朝后，贯休成为了宋朝的一位高级官员。贯休是当时佛教界的知名人士，他著有许多佛教经典，并且在佛教研究方面有很高的造诣。\n\n罗汉图是五代十国时期最重要的佛教文物之一，它对于研究这一时期的佛教文化和历史具有重要的价值。",[24,25,155,194,4304,28,7,83,198,216,5474,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dce4cc8cc12226031be8f6e4d29a72c.jpg",[44],{"id":14370,"slug":14371,"title":14372,"dynasty":76,"author":2369,"museum":134,"description":14373,"tags":14374,"thumbUrl":14376,"material":100,"size":14377,"collection":237,"collections":14378,"showCount":14250,"zanCount":48,"manualWeight":48,"mainColor":49},216845,"qiu-zhu-shui-qin-tu-lv-ji-216845","秋渚水禽图","这幅画的布局集中在右下角，占据了图片的绝大部分。从画的右侧中间伸展出几根稀疏的芦苇，有的直上，有的向左，芦苇叶大多下垂;在图片下方，有几根芦苇栖息在堤岸上，其中一根在月亮的脖子上叽叽喳喳，另外两根芦苇回头看。屏幕左侧是平静清澈的海水，是芦苇漂浮的天堂。在图片上方是满月，空旷时，明亮的月光投射在地球上。\n画中的芦苇写得很好，外表生动。芦苇是用厚厚的光和光不同颜色的层叠叠而成的，非常细腻，不仅形状像神萧，而且羽毛的光泽也显现出来。芦苇和木槿的叶茎，淡墨，刷掉。视觉要以浅色演色性，看不到笔痕，使领域广阔而深远;用马原画湖石，夏贵墨钩法，加换，坚固简单;这幅画异常真实，自然而壮观。这幅画，和路易姬的其他花鸟画一样，极大地丰富了花鸟画和笔墨的表达。",[23,137,24,7,28,212,651,2708,409,199,8140,14375],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa017ac0164b088a5d177f88bd5bd52d1.jpg","纵177.2厘米，横107.3厘米",[237],{"id":14380,"slug":14381,"title":14382,"dynasty":150,"author":191,"museum":134,"description":14383,"tags":14384,"thumbUrl":14385,"material":235,"size":220,"collection":237,"collections":14386,"showCount":14250,"zanCount":1084,"manualWeight":48,"mainColor":145},216604,"niao-pu-ce-yi-ming-216604","鸟谱册","翎羽覆蓝如染，腹间留白似雪，双鸟栖息枝头，姿态悠然。枝上白瓣轻绽，若星点坠叶间；红实缀枝，如丹砂凝珠。墨石以皴擦出肌理，朴拙中见苍劲。旁侧题跋笔意流转，朱印钤盖添韵，笔墨与丹青交融，自然生机与文人雅致相映成趣。画面清逸古雅，于细微处藏匠心，将禽鸟之态、草木之姿绘得灵动鲜活，尽显传统花鸟之韵致，观之如临幽境，心随鸟羽轻扬，沉醉于这份自然与笔墨交织的雅致中。",[24,28,7,519,212,159,178,173,487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fbe133283d9300756a99be85b74661e.jpg",[237],{"id":14388,"slug":14389,"title":14390,"dynasty":76,"author":2509,"museum":230,"description":2510,"tags":14391,"thumbUrl":14392,"material":235,"size":2513,"collection":220,"collections":14393,"showCount":14250,"zanCount":1769,"manualWeight":48,"mainColor":2515},216263,"ming-za-hua-ce-2-wang-zhong-216263","明杂画册-2",[24,25,519,28,7,212,158,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031eea93913669c390a6cd9e1119488c.jpg",[],{"id":14395,"slug":14396,"title":14397,"dynasty":18,"author":505,"museum":134,"description":11364,"tags":14398,"thumbUrl":14399,"material":67,"size":2353,"collection":220,"collections":14400,"showCount":223,"zanCount":1084,"manualWeight":48,"mainColor":49},290298,"hua-mu-dan-zhou-zhao-chang-290298","画牡丹轴",[137,24,155,28,7,212,298,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd4bca642dcf11d1cb871a52b5b38d1.jpg",[],{"id":14402,"slug":14403,"title":14404,"dynasty":18,"author":12158,"museum":245,"description":14405,"tags":14406,"thumbUrl":14407,"material":1397,"size":1398,"collection":220,"collections":14408,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":49},288991,"shi-nv-pu-die-tu-xu-chong-ju-288991","仕女扑蝶图","徐熙孙，与徐崇嗣、徐崇勋为弟兄，生卒年不详。画有祖风，所作花木、禽鸟形骨轻秀。北宋时期徐熙画花木、禽鱼、蝉蝶、蔬果之类极夺造化之妙，与黄筌之花鸟画为当时之两大流派，有“黄家富贵，徐熙野逸”之说。崇矩兄弟虚心好学，吸收黄筌、黄居寀父子画法之长，终于自创“没骨法”新体，摈弃墨笔钩勒而直接用彩色晕染。亦工仕女，曲眉丰脸，姿态可人，有唐人风。",[24,7,28,83,59,411,6643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f63fff7f725a432c5603c8ef3f3dea.jpg",[],{"id":14410,"slug":14411,"title":14412,"dynasty":150,"author":191,"museum":245,"description":14413,"tags":14414,"thumbUrl":14418,"material":1397,"size":1398,"collection":220,"collections":14419,"showCount":223,"zanCount":1020,"manualWeight":48,"mainColor":49},272966,"zi-tan-mu-bian-cai-xiu-mu-dan-tu-gua-ping-yi-ming-272966","紫檀木边彩绣牡丹图挂屏","此作以彩绣成景，嶙峋湖石以深浅蓝阶绣线晕染，苍润沉稳，撑起画面骨架。几枝牡丹柔白舒展，花叶扶疏雅致，绣线排布细腻自然，晕色过渡柔和，将牡丹盛放的娇柔姿态尽数铺陈。角落兰草轻曳点缀，衬得画面愈发娴静悠然。整体色调清雅古淡，兼具工笔设色的雅致与刺绣工艺的肌理美感，把中式庭院的春日闲景藏于方寸之间，尽显温婉意趣，是小品绣制中的雅致佳构。",[14415,14416,14417,212,298,211,8412,28,5004,65,7],"刺绣","彩绣","挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e474073ba64f037d4de801952086e7d.jpg",[],{"id":14421,"slug":14422,"title":14423,"dynasty":150,"author":1356,"museum":20,"description":14424,"tags":14425,"thumbUrl":14426,"material":40,"size":14427,"collection":44,"collections":14428,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":145},238204,"duan-yang-gu-shi-tu-ce-xu-yang-238204","端阳故事图册","此图册各开分别描绘了端阳节期间的重要民俗活动，集中表现了历代各地的风俗习惯。每开均以隶书题写画名，并以行书对画作加以注释，以便读者进一步理解画面内容。乾隆皇帝作为出身于满族的清王朝统治者，将顺民心、近民俗视为稳定朝政的一条治国的根本之道，他常谕令宫廷画家以写实的绘画技法表现汉族的民俗事象，除谕令徐扬绘本图册之外，还谕令徐扬绘《姑苏繁华图》、《京春诗意图》，以及命宫廷画家周鲲绘《村市生涯图》等等，以便对汉民族的风俗传统有更为形象的认知。\n第一开名《射粉团》，题：“射粉团，唐宫中造粉团角黍饤盘中，以小弓射之，中者得食。”\n第二开名《赐枭羹》，题：“汉令郡国贡枭为羹赐官以恶鸟，故食之。”\n第三开名《採药草》，题：“五日午时蓄採众药治病，最效验。”\n第四开名《养鸲鹆》，题：“取鸲鹆儿毛羽新成者去舌尖，养之皆善语。”\n第五开名《悬艾人》，题：“荆楚风俗以艾为人悬门户上，以禳毒气。”\n第六开名《系采丝》，题：“系采丝，以五色丝系臂，谓之长命缕。”\n第七开名《裹角黍》，题：“以菰叶裹粘米为角黍取阴阳包裹之义，以赞时也。”\n第八开名《观競渡》，题：“观競渡，聚众临流称为龙舟胜会。”\n此图册构图严谨精妙，人物造型秀逸生动，线条遒劲流畅，色彩明丽典雅，显示出作者较强的写实功底和乾隆朝宫廷绘画工整清丽的笔墨特点。\n图册上钤有乾隆皇帝诸方玺印：“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等。",[24,25,519,7,28,83,313,173,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23165b22fac125b7d6ddb6e8f6f1549e.jpg","每开纵20.7厘米，横18.2厘米",[44,45],{"id":14430,"slug":14431,"title":14432,"dynasty":76,"author":674,"museum":245,"description":14433,"tags":14434,"thumbUrl":14435,"material":220,"size":220,"collection":220,"collections":14436,"showCount":223,"zanCount":1769,"manualWeight":48,"mainColor":49},237908,"ting-qin-zhou-chen-hong-shou-237908","听琴轴","《陈洪绶听琴轴》是明代画家陈洪绶创作的一幅绫本设色画，该画现藏于 。\n款署：“枫溪弗迟老人陈洪绶写于定香桥畔。\n”钤“字章侯”白文印。\n图绘一端庄文弱的女子在专心抚琴的场景。\n其优美的琴音吸引了周围的人，侍女驻足恭听，不愿打扰动听的旋律；男子侧耳静听，不愿落掉每一个音符。\n“弹”与“听”构成了画作的主题，也表达了文人所向往的一种娱乐情趣和他们日常的家居生活状态。\n此幅所绘人物形象古拙，线描造型准确传神，显现出作者深厚的艺术功底和既写实又独具韵味的笔墨特点，是其仕女人物画的代表作之一。",[24,25,137,155,28,7,283,83,59,138,637,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f517614b1bbd46132ab010b3fe9ea3e.jpg",[],{"id":14438,"slug":14439,"title":14440,"dynasty":76,"author":2717,"museum":245,"description":14441,"tags":14442,"thumbUrl":14443,"material":220,"size":220,"collection":220,"collections":14444,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":49},228465,"kong-que-mei-hua-tu-zhou-lu-zhi-228465","孔雀梅花图轴","虬曲老梅横斜错落，红白两色梅花次第绽放在柔枝之上，冷艳娇柔间衬出古木苍劲朴拙。两只孔雀栖于枝头，一仰一顾，翠色绒羽晕染细腻，眼状翎斑层叠分明，华贵翎羽舒展下垂，姿态悠然又灵动传神，尽显瑞禽雍容气度。\n\n画作兼工带写，以工笔精绘孔雀肌理，写意铺陈梅枝古态，冷暖色调交融和谐，将春日生机与祥瑞意趣藏于笔墨之间，暗合咏颂长寿的美好寄寓，是兼具雅致文心与吉祥意涵的精妙之作。",[23,24,25,155,7,28,212,213,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e3d407997aaad3691b913985c7aa58.jpg",[],{"id":14446,"slug":14447,"title":14448,"dynasty":18,"author":326,"museum":245,"description":14449,"tags":14450,"thumbUrl":14452,"material":220,"size":220,"collection":220,"collections":14453,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":49},227489,"ting-qin-tu-li-zhou-zhao-ji-227489","听琴图立轴","徽宗一朝，在中国绘画发展历史上具有重要意义。熟悉徽宗宫中艺事的邓椿在《画继》中载徽宗之言：“朕万几余暇，别无他好，惟好画耳。”赵佶以皇帝之尊提倡绘画，广招天下贤士进翰林图画院，提高院画家地位，并将“画学”前所未有地纳入科举的轨道，中国绘画的职业化至此达至极盛。",[23,24,25,155,28,7,83,1068,156,138,173,471,14451,2614,63,314],"琴桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305792b178f52b137d5657051444750f.jpg",[],{"id":14455,"slug":14456,"title":10242,"dynasty":18,"author":191,"museum":245,"description":14457,"tags":14458,"thumbUrl":14459,"material":1397,"size":1398,"collection":220,"collections":14460,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":49},223663,"e-mi-tuo-fo-tu-yi-ming-223663","阿弥陀佛（梵语Amitābha），又名无量佛、无量光佛、无量寿佛等。大乘经载，阿弥陀佛在过去久远劫时曾立大愿，建立西方净土，广渡无边众生，成就无量庄严功德，为大乘佛教所广为崇敬和弘扬。大乘佛经主要如《无量寿经》、《阿弥陀经》、《观无量寿佛经》，对阿弥陀佛及其西方极乐世界均有详述。大乘佛教流传之地，如中国、日本等大乘教区，阿弥陀佛信仰也尤为繁盛和重要。而汉传佛教的净土宗，则完全以往生阿弥陀佛的西方净土作为专修的法门。",[23,706,24,25,155,194,83,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe74592da1391b22d35470a1a2831b583.jpg",[],{"id":14462,"slug":14463,"title":14464,"dynasty":18,"author":191,"museum":245,"description":14465,"tags":14466,"thumbUrl":14468,"material":220,"size":220,"collection":220,"collections":14469,"showCount":223,"zanCount":1769,"manualWeight":48,"mainColor":49},223632,"lian-chi-shui-qin-tu-zhou-dui-zhou-er-yi-ming-223632","莲池水禽图轴对轴二","以没骨晕染写就盛夏荷塘生机，粉荷或粲然盛放，或含苞待绽，淡粉水色晕出花瓣柔润层次，娇妍动人。石绿敷色的荷叶，渍染出卷舒枯荣，苍润兼具，尽显池上蓊勃夏意。\n\n两只水禽优游波间，翎羽细勾淡染，姿态闲舒缓和，破开繁花叶影的静谧，添了灵动生趣。\n\n古雅的旧绢底色晕染出宋韵古澹，构图疏密错落，将荷塘幽谧生机融于尺幅，藏着宋人格物观照的雅致意趣，虽经岁时磨损，依旧能窥见院体花鸟工致温婉的审美品格。",[23,137,24,25,155,7,28,157,248,249,651,14467],"池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad2f0b5b63fb5100d6e2037573719a0.jpg",[],{"id":14471,"slug":14472,"title":14473,"dynasty":18,"author":191,"museum":134,"description":3801,"tags":14474,"thumbUrl":14478,"material":67,"size":3806,"collection":220,"collections":14479,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":1833},223471,"xi-mao-tu-yi-ming-223471","戏猫图",[23,24,137,28,7,581,582,212,158,298,409,216,14475,92,783,3803,3084,14476,14477],"宠物","设色工笔","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg",[],{"id":14481,"slug":14482,"title":14483,"dynasty":150,"author":4708,"museum":134,"description":14484,"tags":14485,"thumbUrl":14486,"material":496,"size":14487,"collection":44,"collections":14488,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":145},223326,"mo-gu-kai-zhi-luo-shen-tu-juan-ding-guan-peng-223326","摹顾恺之洛神图卷","《清丁观鹏摹顾恺之洛神图》虽是摹本，然山水造型已自朴拙稚趣的古典画洋，转为成熟的金碧山水，且景物间的比例关系已趋精确；援以西洋明暗设色法与定点透视法，表现脸部五官、马匹体态与空间层次，营造合乎视觉经验的画面。丁观鹏在当时受到西洋绘画的影响，本卷中采取光影与透视法即是。",[23,24,25,26,28,7,83,112,34,211,82,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea4b7ef2e14f9b4457400360dcabf0de.jpg","28.1x587.5",[44,45],{"id":14490,"slug":14491,"title":14492,"dynasty":150,"author":260,"museum":134,"description":7103,"tags":14493,"thumbUrl":14494,"material":424,"size":7107,"collection":182,"collections":14495,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":697},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）",[23,137,24,7,28,81,29,84,83,92,211,34,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg",[182,45],{"id":14497,"slug":14498,"title":14499,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":14500,"thumbUrl":14501,"material":28,"size":1081,"collection":220,"collections":14502,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":145},222746,"xian-e-chang-chun-tu-04b-lang-shi-ning-222746","仙萼长春图-04b",[23,24,137,25,519,7,28,212,299,453,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb1c18ed325a1598fb52160021a962f.jpg",[],{"id":14504,"slug":14505,"title":145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X504.8厘米",[],{"id":14521,"slug":14522,"title":14523,"dynasty":18,"author":14524,"museum":78,"description":14525,"tags":14526,"thumbUrl":14527,"material":40,"size":14528,"collection":42,"collections":14529,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":49},221316,"mei-xi-pu-bu-tu-ce-ye-cui-que-221316","梅溪瀑布图册页","崔悫","《梅溪瀑布图》传为北宋画家崔悫所作。无款。裱边题签“崔慤梅溪瀑布”。\n图绘山涧湍急，水花四溅。水边山石上有一株老梅，虬曲盘折，梅花开满枝头。枝上停着几只雀鸟，空中还有一只雀鸟飞来。",[23,137,24,25,519,7,28,29,637,156,86,1319,178,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eeace5004b00d7ed1b1eb2e6c2cf42.jpg","24.7×22.2cm",[42,237,45],{"id":14531,"slug":14532,"title":14533,"dynasty":76,"author":191,"museum":78,"description":3963,"tags":14534,"thumbUrl":3965,"material":100,"size":14535,"collection":44,"collections":14536,"showCount":223,"zanCount":1769,"manualWeight":48,"mainColor":49},219701,"song-zi-guan-yin-yi-ming-219701","送子观音",[24,28,7,194,155,83,582,2602,344],"120.7x60.3cm",[44],{"id":14538,"slug":14539,"title":14540,"dynasty":76,"author":14541,"museum":134,"description":14542,"tags":14543,"thumbUrl":14544,"material":100,"size":14545,"collection":44,"collections":14546,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":145},219552,"jiu-lao-tu-huang-biao-219552","九老图","黄彪","此幅是黄彪摹刘松年九老图而成，得形似而人物传神，虽布置树石稍显薄淡，傅色鲜浮之外，不失为一种临摹传世之佳品。",[23,24,25,26,28,7,83,34,85,86,211,1068,156,409,176,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f86b80884e1f7a09cf9f31d6902a1ad.jpg","27.2x193厘米",[44,45],{"id":14548,"slug":14549,"title":14550,"dynasty":76,"author":191,"museum":367,"description":14551,"tags":14552,"thumbUrl":14553,"material":235,"size":220,"collection":44,"collections":14554,"showCount":223,"zanCount":48,"manualWeight":48,"mainColor":49},219523,"shuang-xian-ren-tu-yi-ming-219523","双仙人图","画面里两位仙人意态悠然，一位素衣宽袍，神情沉静垂手而立；另一位以叶为裳，虬髯浓密，正持笔轻触好友长须，亲昵随性，尽显知己投契的自在。\n\n线条清劲如铁线，衣纹舒展自然，叶裳晕染细致鲜活，浅淡古雅的设色衬出超凡仙逸。留白开阔空灵，将世外之人的澹泊闲情，知己同游的融融意态铺陈开来，笔底藏着山林隐者的逍遥，古意悠悠，静雅动人。",[23,24,25,155,7,283,28,83,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc7edf6d9652291b3fbe4295465e07a.jpg",[44],{"id":14556,"slug":14557,"title":14558,"dynasty":76,"author":9801,"museum":134,"description":14559,"tags":14560,"thumbUrl":14561,"material":235,"size":14562,"collection":45,"collections":14563,"showCount":223,"zanCount":1769,"manualWeight":48,"mainColor":145},219301,"xi-yuan-tu-zhu-zhan-ji-219301","戏猿图","此图画水石间，大小三猿嬉戏。石上一黑猿怀抱幼子，子猿伸臂似在争要什么，情态娇憨可爱。树上另一只黑猿拿着一枝花果，欲投又止，似在戏逗。石周围长着细竹秀草，石下边溪水潺潺。 [1] 图中洋溢著温馨亲子之情，寓有崇尚人伦之意。画猿得宋易元吉神韵，背景之竹丛苇草、荆棘枇杷，线条自然流利。山石皴法圆润，得董巨遗韵。整幅画构图中正和谐，与宣宗皇帝雍容大度，颇能呼应。",[137,24,25,28,7,5689,582,156,314,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66456e94601929135286fec127ea8bba.jpg","纵162.3厘米，横127.7厘米",[45],{"id":14565,"slug":14566,"title":14567,"dynasty":150,"author":3725,"museum":20,"description":14568,"tags":14569,"thumbUrl":14570,"material":100,"size":14571,"collection":182,"collections":14572,"showCount":223,"zanCount":1769,"manualWeight":48,"mainColor":49},219092,"shan-zhuang-qiu-ren-tu-yuan-yao-219092","山庄秋稔图","此图描绘山庄秋天的景色。村舍环绕于绿色山树中，茅庐内村人闲适，近处一牧童放牛于缓坡之上；远山高耸，突兀奇绝，烟云缭绕。设色青绿，构思精巧，结构准确，层次分明，显现出作者精于刻画的写实功力。",[24,28,81,7,172,29,84,211,34,83,85,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8916945174cef62eec1b5b888a7cedde.jpg","纵182.5厘米，横96.8厘米",[182],{"id":14574,"slug":14575,"title":14576,"dynasty":76,"author":924,"museum":367,"description":14577,"tags":14578,"thumbUrl":14579,"material":100,"size":14580,"collection":237,"collections":14581,"showCount":223,"zanCount":1084,"manualWeight":48,"mainColor":49},219028,"qun-lu-tu-wen-zheng-ming-219028","群鹿图","层峦叠嶂间林木苍郁，群鹿嬉戏于溪畔石边，或卧饮清泉，或昂首远眺，或追逐嬉闹，姿态各异，灵动鲜活。鹿谐音“禄”，群鹿齐聚暗合福禄绵延的祥瑞寓意，藏着文人对顺遂生活的寄望。山石以淡墨皴染，线条清劲中见温润；树木勾勒细致，枝叶繁密却不杂乱；鹿群的轮廓与肌理刻画入微，神态毕肖。整幅画将山水的清幽与走兽的生机相融，尽显吴门画派雅致醇厚的格调，古旧绢色更添岁月沉淀的静谧之美，似在诉说自然与人文交织的诗意篇章。",[23,24,28,7,172,29,1817,582,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7960bcc17b6b77977da508ad692bfa.jpg","纵186.5横96厘米",[237],{"id":14583,"slug":14584,"title":14585,"dynasty":76,"author":2509,"museum":230,"description":2510,"tags":14586,"thumbUrl":14588,"material":235,"size":2513,"collection":220,"collections":14589,"showCount":223,"zanCount":1769,"manualWeight":48,"mainColor":2515},216259,"ming-za-hua-ce-6-wang-zhong-216259","明杂画册-6",[24,28,7,173,212,410,198,454,14587,596],"根茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f2d1231e91e0eead919ad5dde30bb8.jpg",[],{"id":14591,"slug":14592,"title":887,"dynasty":228,"author":191,"museum":134,"description":14593,"tags":14594,"thumbUrl":14595,"material":100,"size":14596,"collection":44,"collections":14597,"showCount":223,"zanCount":1769,"manualWeight":48,"mainColor":49},214667,"sui-chao-tu-yi-ming-214667","这幅画描绘了元旦的热闹场面，村子里人山人海，喜气洋洋，老老少少欢天喜地地迎接春天。从笔触和服装来看，这幅画是由明代仇英画派的画家所作。",[24,28,7,29,83,84,1499,92,35,176,178,211,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5571aa43f0fbb8334aac6f762fc1a525.jpg","146.5x45.3",[44],{"id":14599,"slug":14600,"title":14601,"dynasty":150,"author":191,"museum":245,"description":14602,"tags":14603,"thumbUrl":14607,"material":1397,"size":1398,"collection":220,"collections":14608,"showCount":14609,"zanCount":1084,"manualWeight":48,"mainColor":145},263610,"huang-se-zhe-zhi-hua-die-wen-zhuang-hua-duan-yi-liao-yi-ming-263610","黄色折枝花蝶纹妆花缎衣料","清代衣料,多为丝绸",[65,14604,212,411,298,492,14605,14606,7],"衣料","折枝花","织绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8537f39275225b65a2707ddeda60609.jpg",[],62,{"id":14611,"slug":14612,"title":14613,"dynasty":150,"author":542,"museum":245,"description":7860,"tags":14614,"thumbUrl":14615,"material":1397,"size":1398,"collection":220,"collections":14616,"showCount":14609,"zanCount":48,"manualWeight":48,"mainColor":145},239458,"hui-bu-si-guo-juan-qian-wei-cheng-239458","回部四果卷",[24,25,26,28,7,285,284,173,823,9329,454,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a10e9be96c5643887aeff2b4ec9e0b8.jpg",[],{"id":14618,"slug":14619,"title":14620,"dynasty":150,"author":191,"museum":134,"description":14621,"tags":14622,"thumbUrl":14623,"material":2721,"size":14624,"collection":44,"collections":14625,"showCount":14609,"zanCount":48,"manualWeight":48,"mainColor":145},238870,"mei-gui-fei-chun-gui-ren-xing-le-tu-zhou-yi-ming-238870","玫贵妃春贵人行乐图轴","此图描绘玫贵妃与春贵人、鑫常在花园中钓鱼的情景。人物形神毕肖，个性鲜明，明显带有肖像画特征，对研究晚清嫔妃的宫廷娱乐生活具有较为珍贵的影像价值。\n此图所绘主人公玫贵妃，姓徐佳氏，是清代咸丰皇帝的嫔妃，初为贵人，后进玫嫔。同治皇帝在位时，尊封其为玫贵妃。",[24,155,7,28,83,59,1028,248,249,211,214,409,1707,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0271796fde7f4f01e55be68f0f4a86c.jpg","纵169cm，横90cm",[44,45],{"id":14627,"slug":14628,"title":14629,"dynasty":76,"author":14630,"museum":245,"description":14631,"tags":14632,"thumbUrl":14633,"material":1397,"size":1398,"collection":220,"collections":14634,"showCount":14609,"zanCount":1769,"manualWeight":48,"mainColor":145},234847,"hai-tang-fu-die-tu-shan-ye-qu-yuan-jing-234847","海棠蚨蝶图扇页","瞿元镜","瞿元镜 约生于本年／常熟人。瞿世耜之子。一名镜，字端叔。常熟诸生。喜花鸟，工篆刻。明忠宣公子，父亡，十龄流落于外，人无有过而问之者，顾云美以夙谊收恤",[137,24,25,914,28,7,915,411,1092,596,452,677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782c7e9c61bf22243ba7bc8fbc180917.jpg",[],{"id":14636,"slug":14637,"title":14638,"dynasty":76,"author":12094,"museum":134,"description":14639,"tags":14640,"thumbUrl":14641,"material":100,"size":14642,"collection":220,"collections":14643,"showCount":14609,"zanCount":48,"manualWeight":48,"mainColor":49},228363,"xian-kan-er-tong-zhuo-liu-hua-ju-yi-zhou-zhou-chen-228363","闲看儿童捉柳花句意轴","生动形象地描绘了杨万里的诗意，清新闲适，童趣横生",[24,25,155,28,7,29,83,5898,313,176,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34e09c91adaceb2e568e701e04b643c.jpg","116.6×63.5",[],{"id":14645,"slug":14646,"title":2430,"dynasty":228,"author":14647,"museum":245,"description":14648,"tags":14649,"thumbUrl":14651,"material":220,"size":220,"collection":220,"collections":14652,"showCount":14609,"zanCount":1769,"manualWeight":48,"mainColor":49},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,137,24,25,5396,27,28,12037,7,172,155,14650,84,927,85,86,83,211,34,37],"仙山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],{"id":14654,"slug":14655,"title":14656,"dynasty":14657,"author":191,"museum":245,"description":14658,"tags":14659,"thumbUrl":14660,"material":1397,"size":1398,"collection":220,"collections":14661,"showCount":14609,"zanCount":48,"manualWeight":48,"mainColor":49},223909,"song-shan-hua-shan-shui-tu-yi-shou-jing-mu-tuo-fu-jian-yi-ming-223909","嵩山画山水图，益寿镜木托附件","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[24,25,28,7,29,84,85,86,34,211,91,5004],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],{"id":14663,"slug":14664,"title":14665,"dynasty":18,"author":191,"museum":134,"description":14666,"tags":14667,"thumbUrl":14668,"material":100,"size":14669,"collection":42,"collections":14670,"showCount":14609,"zanCount":48,"manualWeight":48,"mainColor":49},223520,"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[23,24,137,25,155,7,28,212,637,156,299,159,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[42,237,45],{"id":14672,"slug":14673,"title":14674,"dynasty":228,"author":6236,"museum":78,"description":14675,"tags":14676,"thumbUrl":14677,"material":100,"size":14678,"collection":44,"collections":14679,"showCount":14609,"zanCount":1769,"manualWeight":48,"mainColor":49},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,25,26,81,7,28,83,84,34,211,86,176,85,284,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[44,45],{"id":14681,"slug":14682,"title":14683,"dynasty":132,"author":14684,"museum":134,"description":14685,"tags":14686,"thumbUrl":14687,"material":100,"size":14688,"collection":44,"collections":14689,"showCount":14609,"zanCount":1769,"manualWeight":48,"mainColor":49},220250,"she-qi-tu-li-zan-hua-220250","射骑图","李赞华","《射骑图》画在一匹装饰得很华丽的骏马面前，站立着一位中年的契丹贵族，服饰上有着“髡发左衽”的特点。所谓髡发，就是剃光了头顶，四周蓄着一圈头发，额前较短，两鬓较长，后面还梳了两根细辫子，辫梢绕着一个小圆圈。画中人物还着左衽的中衣，外罩圆领窄袖的长袍，袍长过膝，腰里裹着一块白色的皮筒卷，即田猎时所穿的“杆腰”，上束金银装饰的皮带。左边腰间挎着一个弓瞍（囊），右边胁下很显著的地方挂着一个长袋子，中间缝一块虎皮，周围装饰着很深的黑色毛皮，袋子上部有球状圆顶，看来这个袋子大约是一个箭筒。",[23,24,137,7,28,83,112,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c627e579c074623886c010c525eb1.jpg","纵27.1厘米，横49.5厘米",[44],{"id":14691,"slug":14692,"title":1100,"dynasty":132,"author":14693,"museum":134,"description":14694,"tags":14695,"thumbUrl":14696,"material":100,"size":14697,"collection":44,"collections":14698,"showCount":14609,"zanCount":1084,"manualWeight":48,"mainColor":49},219490,"wen-hui-tu-qiu-wen-bo-219490","丘文播","图绘四文士宴饮、赋诗、抚琴的雅集场景。四人均宽衣大袍，坐于榻上，身旁置酒杯、酒瓶，似在即席作文行酒。四位人物的姿态不一，一人停笔凝思，一人秉笔疾书，而右下者似已醉态微呈，意欲下榻，侍童忙为其穿靴并扶撑其腰，文士转身挥手，招呼怀抱锦袱之女子，而女子则淡妆素抹，作扭首含羞之态。左下背向文士，则牵住右下文士之腰带，似有不让其离席之状。三位挽双髻女子，或抱琴、或端杯侍立于榻旁。此图人物造型具有唐风，结构严谨，衣纹线条疏密有致，运笔极为娴熟。背景中的古树，枝干劲挺虬曲，树叶以三角形堆叠法绘成，并根据疏密搭配，间以色彩轻重渲染，使之古茂苍雄，更进一步衬托了“文会”主题之雅意。",[137,24,25,7,28,283,83,471,5343,286,211,783,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a055f28d65527ebeb12ed1c39e04aab.jpg","纵84.9厘米，横49.6厘米",[44],{"id":14700,"slug":14701,"title":14702,"dynasty":76,"author":3671,"museum":134,"description":14703,"tags":14704,"thumbUrl":14705,"material":28,"size":14706,"collection":237,"collections":14707,"showCount":14609,"zanCount":1084,"manualWeight":48,"mainColor":145},219406,"song-qin-tu-tan-zhi-yi-219406","松禽图","松针如缕，淡蓝晕染似含晨露清光，垂枝轻逸如丝带斜曳。鸟儿敛翅栖于枝上，羽色温润，黑眸凝睇间藏着几分闲逸与机警。笔墨细腻处，鸟羽纹理纤毫毕现；写意枝干带着自然苍劲，工写相济间气韵流动。留白铺陈更显空灵，仿佛能听见风过松梢轻响，窥见林间幽寂。整幅画无繁复景致，却于极简中见真意——是文人对自然宁静的向往，亦是笔墨间流淌的雅致情韵，将寻常小景化作耐人寻味的诗意栖居。",[24,25,155,7,28,212,1068,1091,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565dd85179d3be607a9685089f10b499.jpg","138.3x33.6",[237],{"id":14709,"slug":14710,"title":14711,"dynasty":76,"author":14712,"museum":134,"description":14713,"tags":14714,"thumbUrl":14716,"material":100,"size":14717,"collection":45,"collections":14718,"showCount":14609,"zanCount":48,"manualWeight":48,"mainColor":49},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[137,24,25,155,28,7,172,29,84,176,85,86,211,34,14715,92,624,14295],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[45],{"id":14720,"slug":14721,"title":14722,"dynasty":76,"author":191,"museum":463,"description":14723,"tags":14724,"thumbUrl":14726,"material":100,"size":220,"collection":237,"collections":14727,"showCount":14609,"zanCount":1769,"manualWeight":48,"mainColor":49},218987,"ying-jue-ye-tu-tu-yi-ming-218987","鹰攫野兔图","苍鹰振翅俯冲，利爪紧扣野兔，生死博弈的瞬间被凝于绢素。鹰羽纹理毕现，毳毛蓬松若触；野兔蜷身挣扎，双目圆睁含惧。旁侧山石以浓墨皴擦，肌理厚重；枝上红白花簇点缀，柔艳与苍劲相映。笔墨兼具工致与写意，动静相生间，既藏自然野趣，亦显传统花鸟对生命瞬间的精准捕捉——凌厉中见细腻，苍莽里含生机，尽展古画摹写物象、传递意韵的精妙。",[24,28,7,155,2362,14725,1797,298],"野兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419616a943fe6b976a5a62a0f0010da8.jpg",[237],{"id":14729,"slug":14730,"title":14731,"dynasty":18,"author":191,"museum":134,"description":14732,"tags":14733,"thumbUrl":14735,"material":100,"size":14736,"collection":42,"collections":14737,"showCount":14609,"zanCount":1769,"manualWeight":48,"mainColor":145},218855,"he-ting-ting-yu-tu-yi-ming-218855","荷亭听雨图","这幅画描绘了一个荷花亭，主人躺在沙发上看荷花、听雨声，而一个童仆拿着小提琴在桥头的花下姗姗来迟，抱头鼠窜，而一只受惊的鸟儿则飞上了天空。这幅画与刘松年的风格相似，笔触厚实而坚定，画感引人入胜。",[23,137,24,28,81,7,176,157,34,84,14734],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4871b40e4780da845cf4f472108e38a.jpg","23.2x24.4",[42,44],{"id":14739,"slug":14740,"title":14741,"dynasty":228,"author":3524,"museum":134,"description":14742,"tags":14743,"thumbUrl":14744,"material":100,"size":14745,"collection":237,"collections":14746,"showCount":14609,"zanCount":1769,"manualWeight":48,"mainColor":49},218830,"shuang-ji-tu-zhou-zhao-meng-fu-218830","双骥图轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[24,155,28,7,83,112,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae25d8ef2b999b84e7d49b2c4aee4162.jpg","102.8x50.9cm",[237],{"id":14748,"slug":14749,"title":14750,"dynasty":18,"author":191,"museum":134,"description":14751,"tags":14752,"thumbUrl":14754,"material":100,"size":220,"collection":182,"collections":14755,"showCount":14609,"zanCount":1084,"manualWeight":48,"mainColor":49},218724,"qiu-zhu-wen-qin-tu-yi-ming-218724","秋渚文禽图","这是一幅秋日的水岛画，画中有飞鸟和参天古树，意境凄凉。该书被故宫博物院和大英博物馆收藏，学者们普遍认为是元代的作品。",[23,24,137,7,855,28,286,982,159,1091,14753,196,4567],"渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419d1c3920e5f599788e02111ab56aa9.jpg",[182],{"id":14757,"slug":14758,"title":14759,"dynasty":18,"author":806,"museum":245,"description":14760,"tags":14761,"thumbUrl":14763,"material":100,"size":14764,"collection":42,"collections":14765,"showCount":14609,"zanCount":1084,"manualWeight":48,"mainColor":49},218558,"he-hua-chong-jie-tu-lin-chun-218558","荷花虫介图","这幅画描绘了一个有着厚厚的白色条纹和点状绿色皮肤的大绿瓜，红色的蜻蜓和两只蜜蜂在瓜上盘旋，似乎是水果的香味吸引了它们；一只绿色的蚱蜢蹲在宽大的叶面上，似乎也在向瓜爬来。",[137,24,25,7,28,212,248,14762,159,655],"虫介","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11bbb375e79fb24e593b6af6beedad0f.jpg","28x26",[42],{"id":14767,"slug":14768,"title":14769,"dynasty":18,"author":1275,"museum":230,"description":13671,"tags":14770,"thumbUrl":14771,"material":100,"size":13674,"collection":220,"collections":14772,"showCount":14609,"zanCount":48,"manualWeight":48,"mainColor":145},218059,"song-di-ming-ti-ce-wu-ma-yuan-218059","宋帝命题册(五)",[23,24,25,519,28,29,1499,85,83,284,173,285,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7665b03ac750068444024f2eb3650a7.jpg",[],{"id":14774,"slug":14775,"title":14776,"dynasty":76,"author":6899,"museum":134,"description":14777,"tags":14778,"thumbUrl":14779,"material":235,"size":220,"collection":44,"collections":14780,"showCount":14609,"zanCount":48,"manualWeight":48,"mainColor":145},218052,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-wu-bin-218052","楞严廿五圆通佛像册","吴彬是明朝的一位著名的文人，他是一位著名的佛学家，在佛教史上有很大的贡献。\n\n楞严廿五圆通佛像册是吴彬所著的一部著名的佛教著作，也是中国佛教史上最著名的像册之一。该像册收录了25尊佛像的图像，其中包括释迦牟尼佛、阿弥陀佛和观世音菩萨等著名的佛像。\n\n像册的图像都是用黑白线条绘制的，但是非常精细，每个细节都清晰可见。这本像册不仅是一部艺术杰作，而且也是一部佛教经典，对于学习佛教的人来说非常有价值。",[24,25,519,28,7,194,83,7408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aadd995b48af2ed2edde0fe67d588ec.jpg",[44],{"id":14782,"slug":14783,"title":14784,"dynasty":76,"author":674,"museum":78,"description":1286,"tags":14785,"thumbUrl":14787,"material":100,"size":220,"collection":220,"collections":14788,"showCount":14609,"zanCount":48,"manualWeight":48,"mainColor":145},218029,"za-hua-ce-3-chen-hong-shou-218029","杂画册-3",[24,25,519,28,7,212,689,14786,453],"蜗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f00443d432896845aecc3bed05fd9.jpg",[],{"id":14790,"slug":14791,"title":14792,"dynasty":18,"author":5686,"museum":230,"description":14793,"tags":14794,"thumbUrl":14795,"material":100,"size":6042,"collection":237,"collections":14796,"showCount":14609,"zanCount":1769,"manualWeight":48,"mainColor":49},21666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"角色扮演"，皇帝、嫔妃、公主和小王子都是演员。",[24,28,7,83,927,214,409,158,5898,3774,14852,10611,314,655,14853,14854],"男性","灌木","地面植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8a6a7974ea6f9fa050bef2d57c5eda.jpg",[],{"id":14858,"slug":14859,"title":7841,"dynasty":76,"author":77,"museum":20,"description":1213,"tags":14860,"thumbUrl":14866,"material":40,"size":14867,"collection":182,"collections":14868,"showCount":14806,"zanCount":1769,"manualWeight":48,"mainColor":145},233754,"ren-wu-gu-shi-ce-chou-ying-233754",[24,25,519,7,28,5470,83,29,84,470,471,14861,138,212,14862,769,14863,86,14864,14865],"知音","历史故事","松林","寓言传说","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63efd47f6120fe57c20a6fdbb2673a14.jpg","纵41.4厘米，横33.8厘米",[182,44,45],{"id":14870,"slug":14871,"title":14872,"dynasty":228,"author":229,"museum":134,"description":14873,"tags":14874,"thumbUrl":14877,"material":40,"size":14878,"collection":220,"collections":14879,"showCount":14806,"zanCount":48,"manualWeight":48,"mainColor":145},231423,"yan-jiang-dai-du-tu-qian-xuan-231423","烟江待渡图","此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借助创作此幽寂静谧，充满诗意的山水，并在画上题诗，委婉曲折地表达自己隐遁避世之愿望。",[137,24,25,26,28,27,7,29,173,284,285,834,1926,196,175,34,4188,14875,83,31,37,14876,38],"渡口","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],{"id":14881,"slug":14882,"title":14883,"dynasty":150,"author":14884,"museum":245,"description":14885,"tags":14886,"thumbUrl":14888,"material":220,"size":220,"collection":220,"collections":14889,"showCount":14806,"zanCount":1769,"manualWeight":48,"mainColor":697},231018,"xiu-qiu-chun-niao-tu-wen-ding-231018","绣球春鸟图","文定","此作为工笔花鸟佳作，构图错落雅致。虬曲老干苍劲横斜，团团绣球柔白雅致，与翠色枝叶相映成趣。枝上彩鸟造型写实，翎毛晕染精细入微，长尾舒展顾盼生姿，以灵动打破画面沉静。\n湖石以青绿晕染，石色厚重秀雅，配搭秋菊、幽兰，敷色柔润雅致，枝叶区分浓淡虚实，层次分明。整体笔法工致细腻，设色妍丽沉稳，兼具院体花鸟的工整法度与文人花鸟的清逸意趣，铺展出春日园林的幽柔静谧，尽显融融春日的娴雅生机。",[23,24,25,155,28,7,212,7984,299,653,14887,211,488],"树叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f1110d26ae54c1b2b96fff34fa30f.jpg",[],{"id":14891,"slug":14892,"title":14893,"dynasty":190,"author":9230,"museum":245,"description":9231,"tags":14894,"thumbUrl":14898,"material":1397,"size":1398,"collection":220,"collections":14899,"showCount":14806,"zanCount":48,"manualWeight":48,"mainColor":1833},230654,"wu-liang-shou-fu-jing-tu-xiang-xi-zang-tang-ka-230654","无量寿佛净土像",[23,14895,194,28,7,5470,83,84,2602,29,409,86,14896,14897],"唐卡","宗教造像","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10df8168c8017de1f6c15027c9a30589.jpg",[],{"id":14901,"slug":14902,"title":14903,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":14904,"thumbUrl":14905,"material":67,"size":1560,"collection":220,"collections":14906,"showCount":14806,"zanCount":1769,"manualWeight":48,"mainColor":49},230108,"hong-lou-meng-189-sun-wen-230108","红楼梦189",[24,7,28,81,83,59,84,34,92,5491,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756da37c1938489cc2f2aab0645c8766.jpg",[],{"id":14908,"slug":14909,"title":14910,"dynasty":228,"author":191,"museum":245,"description":14911,"tags":14912,"thumbUrl":14913,"material":220,"size":220,"collection":220,"collections":14914,"showCount":14806,"zanCount":1769,"manualWeight":48,"mainColor":49},228206,"gong-nv-you-yuan-tu-li-zhou-yi-ming-228206","宫女游园图立轴","以青绿晕染出苍润苑囿，层叠亭台随山势铺展，界画工致严整，朱红飞檐掩映在古松奇石间。\n高台上仕女凭栏远眺，廊庑间宫人行止悠然，或低语相伴，或缓步行游，素衣翩跹打破殿宇的厚重沉静。\n设色古雅柔和，山石松枝的沉郁底色，衬得仕女身姿愈发轻盈灵秀，将深宫之中片刻偷闲的游园意趣晕染在绢素之上，藏着深闺里难得的松弛意态，古韵内敛悠长。",[23,24,155,28,7,81,83,59,84,29,34,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2765d101e95a8b69919d662341f6dace.jpg",[],{"id":14916,"slug":14917,"title":14918,"dynasty":150,"author":8137,"museum":245,"description":14919,"tags":14920,"thumbUrl":14923,"material":220,"size":220,"collection":220,"collections":14924,"showCount":14806,"zanCount":48,"manualWeight":48,"mainColor":145},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","《梁园飞雪图》是清代画家 创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,137,24,25,81,7,28,29,84,4077,8259,34,91,92,211,14921,8828,14922,5209,769,1109],"长廊","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":14926,"slug":14927,"title":14928,"dynasty":18,"author":191,"museum":245,"description":14929,"tags":14930,"thumbUrl":14931,"material":220,"size":220,"collection":220,"collections":14932,"showCount":14806,"zanCount":711,"manualWeight":48,"mainColor":49},223630,"he-xie-tu-yi-ming-223630","荷蟹图","《宋人画荷蟹图》是宋代佚名创作是一幅中国画。\n图中残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。\n潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。\n画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。\n此图画面意境生动，题材别出新意，为宋人写实画作的典范。\n【简介】 本幅无款。\n钤印一方，印文模糊不辨。",[23,137,24,25,28,7,157,3427,249,250,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180dab128ffc6da8aaed986bccf8201c.jpg",[],{"id":14934,"slug":14935,"title":14936,"dynasty":18,"author":191,"museum":20,"description":14937,"tags":14938,"thumbUrl":14939,"material":424,"size":14940,"collection":220,"collections":14941,"showCount":14806,"zanCount":1084,"manualWeight":48,"mainColor":49},223584,"wa-que-qi-zhi-tu-ye-yi-ming-223584","瓦雀栖枝图页","此画绘海棠一枝，果实散挂枝头，树叶已染秋霜。\n枝头栖息着姿势各异的五只瓦雀，其中一只正仰首注视着枝叶上的昆虫，张口欲啄，形象生动活泼。\n整个画面张弛有致，设色研丽，刻画写实。\n海棠间杂红、黄、绿色，细看可见叶、果有些已遭虫蚀。\n作者取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。\n鸟的羽毛用细笔一笔一笔勾描，具有毛茸茸的质感。",[23,24,137,25,519,7,28,212,178,9544,653,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398ac81f47572946b8488c7c3af380e0.jpg","纵28.9厘米横29厘米",[],{"id":14943,"slug":14944,"title":14945,"dynasty":150,"author":260,"museum":134,"description":7103,"tags":14946,"thumbUrl":14948,"material":424,"size":7107,"collection":182,"collections":14949,"showCount":14806,"zanCount":48,"manualWeight":48,"mainColor":49},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[23,137,24,7,28,81,795,83,84,29,14947,34,92,35,972,214,211,12805,91,10452],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[182,45],{"id":14951,"slug":14952,"title":14953,"dynasty":228,"author":648,"museum":152,"description":8872,"tags":14954,"thumbUrl":14955,"material":40,"size":14956,"collection":44,"collections":14957,"showCount":14806,"zanCount":1769,"manualWeight":48,"mainColor":49},221770,"ren-ma-tu-ren-ren-fa-221770","人马图",[23,24,25,26,7,28,112,83,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476e55f8d28399ffef02dac57ac64f66.jpg","纵：50.6cm，横：36cm",[44,45],{"id":14959,"slug":14960,"title":14961,"dynasty":228,"author":3524,"museum":245,"description":14962,"tags":14963,"thumbUrl":14964,"material":496,"size":14965,"collection":182,"collections":14966,"showCount":14806,"zanCount":48,"manualWeight":48,"mainColor":49},220850,"lou-ge-ting-tai-tu-zhao-meng-fu-220850","楼阁亭台图","赵孟頫绘画，山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。力主变革南宋院体格调，自谓“作画贵有古意，若无古意，虽工无益”，遥追五代、北宋法度，论者谓：“有唐人之致去其纤；有北宋人之雄去其犷。”开创了元代新画风。 交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。能诗文，风格和婉。兼工篆刻，以“圆朱文”著称。",[23,24,25,81,7,855,84,769,927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[182,125],{"id":14968,"slug":14969,"title":14970,"dynasty":76,"author":674,"museum":406,"description":14971,"tags":14972,"thumbUrl":14973,"material":100,"size":14974,"collection":237,"collections":14975,"showCount":14806,"zanCount":48,"manualWeight":48,"mainColor":49},220339,"tan-mei-tu-chen-hong-shou-220339","探梅图","陈洪绶（1598-1652年），字章侯，号老莲，甲申（1644年）后号悔迟、老迟等，浙江诸暨人。通诗文，有《宝纶堂集》十卷传世。工书善画，人物、花鸟、山水皆能，尤以人物画为后世所重。初师蓝瑛，后取法李公麟、赵孟頫，所作人物，造型夸张变形，高古伟岸，运笔旋转，一气呵成，线条凝练遒劲，设色古拙，形成了高古静穆的独特画风。此图树石工笔水墨（色）相间，绘三人一马行至岸边，驻足停留，线条劲健利索，树杈枝干翻挺矫健，枝叶繁茂，给人以清幽深邃之感。",[23,24,25,155,7,28,83,112,637,29,313,1797,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13b3619cb9ad6a25f7b080296fabf4.jpg","纵131.3厘米，横49.0厘米",[237,45],{"id":14977,"slug":14978,"title":14979,"dynasty":132,"author":14980,"museum":134,"description":14981,"tags":14982,"thumbUrl":14984,"material":100,"size":14985,"collection":44,"collections":14986,"showCount":14806,"zanCount":48,"manualWeight":48,"mainColor":49},220246,"chu-lie-tu-hu-gui-220246","出猎图","胡瓌","本幅描写塞外族人，携鹰出猎之情景。画面绘猎骑者四人，穿圆领窄袖长袍，腰配短刀，骑者左手驭马，右手架着猎鹰，四骑聚于一处，似在交流狩猎经过。最右端者之马鞍上，捆扎一只胸前渗血的野兔。人物的髡发须髯、骏马的鬃鬣、猎鹰的毛羽，无不描绘精致，形象逼真。作者传为胡瓌，契丹人，约活动于九、十世纪之间，素以精于描绘塞外风光及人马而闻名，因以名之。",[23,24,25,137,28,7,83,112,2463,14983],"狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb54e1035101d68949b7ae4331ce513.jpg","32.9x44.3",[44],{"id":14988,"slug":14989,"title":10420,"dynasty":228,"author":14990,"museum":3836,"description":14991,"tags":14992,"thumbUrl":14993,"material":100,"size":14994,"collection":42,"collections":14995,"showCount":14806,"zanCount":48,"manualWeight":48,"mainColor":49},220240,"luo-han-tu-cai-shan-220240","蔡山","本图描绘的是一位拄拐杖坐在岩石上的罗汉，从姿态上看来应属第一宾度罗跋啰堕阇尊者，尊者右足跨在左膝之上，半跏坐于岩石上，右手执竹杖靠住右肩，容貌古野呈胡相，长眉之下慈悲坚毅的目光炯炯有神。用笔稳健有力，脸上皱纹、衣服褶纹、以及手足线条等均相当周密，调整合宜，设色淡雅，不碍线条的流畅。罗汉坐的岩石隙缝中暗藏有“蔡山”落款。估计此图原为十六罗汉图全套中的一幅，现存有类似风格的另一幅罗汉图。从苍老消痩的罗汉表现手法中可以看出蔡山的固有画风，画中透露出的怪异氛围，与同时代的颜辉派有着相通之处。画面右下角有足利义直的寄进铭“奉三宝弟子右兵卫督源直义舍入”， 可知它是捐献给足利直义的某寺之物。据说由足利直义于贞和2年(1346)赠予高野山金刚三昧院。\n“蔡山”之名，根据室町时代的 “君台观左右帐记”中记载，除了“元人”之外，其他均不详，传统的画史上也始终未见其名。就署名于岩石隙缝一事来看，似仍沿袭了宋代的古风，元代中期以后，此风便不多见了。本幅罗汉图属于高古细润的作风，那是融和了南宋以来，文人画和职业画工的优点，在元画中又是一件杰出而珍贵的作品。",[23,24,25,155,194,83,7,28,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea77b489c9244d27f3da7403e09bf107.jpg","113.3×53.9 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。",[23,137,24,25,7,28,212,2083,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaa4997a97e82526f8899902e8a264a.jpg",[],{"id":15064,"slug":15065,"title":294,"dynasty":150,"author":1162,"museum":245,"description":15066,"tags":15067,"thumbUrl":15068,"material":220,"size":220,"collection":220,"collections":15069,"showCount":15045,"zanCount":48,"manualWeight":48,"mainColor":49},224591,"yu-tang-fu-gui-tu-zou-yi-gui-224591","《玉堂富贵图》是清代邹一桂的作品，该图规格为197×96cm，此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n该图画是邹一桂的作品，作于清代。\n此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n汉代皇宫有“玉堂殿”，后世以“玉堂”指翰林院，“历金门，上玉堂有日矣”的意思是职位高升指日可待。\n“富贵”一词出自《论语-颜渊》：“商闻之矣，生死有命，富贵在天。\n”，指富裕而显贵的意思。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n牡丹敷以淡粉，用重粉点染边缘，显得晶莹剔透、庄重典雅。\n整个画面热烈而秀雅，韵味十足。\n，字小山。\n善画人物、花卉、翎毛、偶画山水。\n擅长水墨花卉，极有重名。",[23,137,24,25,155,7,28,212,298,300,211,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74591eb4de60da169f51849ba65b2284.jpg",[],{"id":15071,"slug":15072,"title":15073,"dynasty":18,"author":191,"museum":20,"description":15074,"tags":15075,"thumbUrl":15076,"material":40,"size":15077,"collection":220,"collections":15078,"showCount":15045,"zanCount":1020,"manualWeight":48,"mainColor":49},223475,"zhe-zhi-hua-hui-tu-yi-ming-223475","折枝花卉图","此卷画折枝海棠、栀子、芙蓉、梅花共四幅，枝页繁茂，花儿怒放。花瓣、花页用勾勒填色法。花之娇态、页之正反和明暗表现得恰到好处。图中用笔缜密严谨，但工而不板，设色艳而不俗。第一段海棠树干上署有「赵昌」二字款，从字迹、画风分析，此款伪，实为当时高手所作。画面钤有「乾隆御览之宝」、「嘉庆御览之宝」、「宣统御览之宝」等印玺。曾经陈自明、清内府收藏。不见著録。",[23,24,25,26,1424,7,28,233,409,637,298,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e760018d01b4d8788990c09188ef3fe.jpg","每段49.2x77.6cm",[],{"id":15080,"slug":15081,"title":15082,"dynasty":76,"author":15083,"museum":134,"description":15084,"tags":15085,"thumbUrl":15086,"material":952,"size":15087,"collection":182,"collections":15088,"showCount":15045,"zanCount":48,"manualWeight":48,"mainColor":145},222411,"shui-mian-wen-xiang-zhou-wen-cong-jian-222411","水面闻香轴","文从简","图绘荷塘一隅，圆盘状荷叶遮住水面，墨色浓郁，四周水草繁茂，三支荷花突颖而出，二支绽放，一支含苞待放，高处荷杆上一只翠鸟探头向水中望去，翠鸟红喙细长尖锐，全身毛发柔软整齐，神情活泼。",[23,24,155,28,7,248,249,299,250,5053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e54eae5e00cccc24c1fccf44406de6.jpg","106.8x43.8厘米",[182,125],{"id":15090,"slug":15091,"title":15092,"dynasty":76,"author":5061,"museum":434,"description":15093,"tags":15094,"thumbUrl":15095,"material":424,"size":15096,"collection":182,"collections":15097,"showCount":15045,"zanCount":1084,"manualWeight":48,"mainColor":49},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,25,26,28,29,285,284,172,7,623,31,84,85,86,175,176,178,34,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[182,45],{"id":15099,"slug":15100,"title":15101,"dynasty":228,"author":2380,"museum":20,"description":15102,"tags":15103,"thumbUrl":15104,"material":811,"size":15105,"collection":125,"collections":15106,"showCount":15045,"zanCount":1769,"manualWeight":48,"mainColor":49},221814,"shuang-gou-zhu-tu-li-kan-221814","双钩竹图","李衎（1245-1320），字仲宾，号息斋道人，蓟丘（今北京）人。皇庆元年（1312年）为吏部尚书，拜集贤殿大学士，与赵孟頫相友善。死后追封蓟国公，谥文简。善画竹，墨竹初师王庭筠，继师文同，青绿设色师李颇。",[23,137,24,25,155,8411,7,156,159,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53499e6ca3eee6c531a56818fa98b16c.jpg","纵185.5cm，横153.7cm",[125,3307],{"id":15108,"slug":15109,"title":2220,"dynasty":18,"author":2221,"museum":20,"description":15110,"tags":15111,"thumbUrl":15112,"material":40,"size":15113,"collection":220,"collections":15114,"showCount":15045,"zanCount":1084,"manualWeight":48,"mainColor":145},221676,"zhao-ling-liu-jun-tu-zhao-lin-221676","此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,24,25,26,28,7,112,83,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93242b603674493d0c3b514b8339e19.jpg","纵27.4厘米，横444.9厘米",[],{"id":15116,"slug":15117,"title":11455,"dynasty":76,"author":11456,"museum":15118,"description":15119,"tags":15120,"thumbUrl":15121,"material":100,"size":220,"collection":44,"collections":15122,"showCount":15045,"zanCount":1769,"manualWeight":48,"mainColor":49},219498,"liu-hai-xi-chan-tu-liu-jun-219498","中国美术馆","画中主人公笑容憨态可掬，眉眼弯起尽显爽朗乐天，怀中金蟾探头蹭向掌心，亲昵灵动，将闲适谐趣的氛围拉满。衣纹线条刚柔兼具，晕染细腻柔和，将粗布衣衫的朴实质感勾勒得真切自然。背景以浓淡层次分明的涡旋云水铺陈，卷浪翻涌间氤氲出缥缈仙气，动静相映间，把凡俗的烟火意趣与仙道的缥缈意境相融，将主人公自在逍遥的神态刻画得入木三分，雅俗共赏，尽显传统人物画的精妙意韵。",[24,7,28,83,13373,9710,12767,8651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b8fb11b825dd207c4e7201544fb69f.jpg",[44],{"id":15124,"slug":15125,"title":15126,"dynasty":150,"author":191,"museum":134,"description":15127,"tags":15128,"thumbUrl":15129,"material":235,"size":15130,"collection":237,"collections":15131,"showCount":15045,"zanCount":1769,"manualWeight":48,"mainColor":145},216208,"xuan-zong-yu-ti-hua-ma-yi-ming-216208","宣宗御题画马","宣宗御题画马 是一件佚名的清朝时期的著名画作。这幅画描绘了一匹神骏的马，看起来非常生动和真实。据说这幅画是宣宗本人亲笔题写的，因此得名。宣宗（生于1711年，卒于1735年）是清朝乾隆皇帝的第三个儿子，在位期间，他对文化艺术有着浓厚的兴趣。这幅画被认为是宣宗对艺术的贡献之一，同时也是清朝时期的艺术瑰宝。",[23,24,25,28,7,112,582,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5818583a57e5269ba4a314a5f27b2ed.jpg","292.6x257.3cm",[237],{"id":15133,"slug":15134,"title":15135,"dynasty":76,"author":15136,"museum":20,"description":15137,"tags":15138,"thumbUrl":15139,"material":1397,"size":1398,"collection":220,"collections":15140,"showCount":15141,"zanCount":1084,"manualWeight":48,"mainColor":49},289995,"chan-gong-yue-tu-tu-tao-cheng-289995","蟾宫月兔图","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。",[24,137,155,7,28,27,156,1568,199,29,86,211,4512,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c9583ba3902ef676ff0c13ef74bb75.jpg",[],59,{"id":15143,"slug":15144,"title":3389,"dynasty":18,"author":1151,"museum":245,"description":15145,"tags":15146,"thumbUrl":15148,"material":1397,"size":1398,"collection":220,"collections":15149,"showCount":15141,"zanCount":1084,"manualWeight":48,"mainColor":49},288324,"xi-yuan-ya-ji-tu-liu-song-nian-288324","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,137,24,26,25,28,7,83,29,85,86,211,14258,1068,466,409,3045,1394,15147,173],"赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],{"id":15151,"slug":15152,"title":3885,"dynasty":18,"author":1838,"museum":245,"description":15153,"tags":15154,"thumbUrl":15155,"material":1397,"size":1398,"collection":220,"collections":15156,"showCount":15141,"zanCount":1769,"manualWeight":48,"mainColor":49},287454,"qiu-ting-xi-ying-tu-su-han-chen-287454","《秋庭戏婴图》以细腻的笔法，描绘两个锦衣孩童在庭院玩着一种推枣磨的游戏。兄妹两人无论从头发、眉目，衣饰，都精心刻画，丝染兼备，而且变化极为丰富，以长而圆润的线条，画出衣纹，再仔细点染衣服上的花纹，不仅画出质料的柔软细致，更赋予衣服华丽的质感，这些细微的处理，使得子孩丰润、柔软、细致的模样，跃然于纸上。",[23,24,137,7,28,83,6142,492,159,92,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414a0dd806bab4abffe5b1350464294b.jpg",[],{"id":15158,"slug":15159,"title":15160,"dynasty":150,"author":7474,"museum":20,"description":15161,"tags":15162,"thumbUrl":15163,"material":40,"size":15164,"collection":45,"collections":15165,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":145},238228,"hong-li-xing-le-tu-zhou-zhang-ting-yan-238228","弘历行乐图轴","此画描绘了乾隆皇帝在园囿中休闲自娱的场面。深秋的庭院，林木依旧繁茂，色彩十分丰富。中年的皇帝闲坐于廊下观赏庭中景致，若有所思，桌案上已经铺设了纸砚，一童子侍立，手执拂尘，一童子正捧书册而至。画中楼阁桥梁以直尺界笔描绘，融明代仇英的传统建筑画技法与海西透视法于一体，工致而不呆板。",[24,25,155,28,7,81,251,83,84,34,92,315,91,10452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238dc91c650fc7be74daa9b715d2f6b8.jpg","纵119.1厘米，横213厘米",[45],{"id":15167,"slug":15168,"title":15169,"dynasty":150,"author":15170,"museum":245,"description":15171,"tags":15172,"thumbUrl":15173,"material":220,"size":220,"collection":237,"collections":15174,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":145},237457,"mu-dan-zhou-zhang-meng-gao-237457","牡丹轴","张孟皋","张孟皋，一字梦皋，名学广，以字行，工画人物，翎毛、花卉、尤工折枝。道光时官钱塘典史。所作元气浑然。 张孟皋之名，盖由近人吴昌硕师事其风而名声振广，吴缶翁师其数十年，题画多见拟仿学、临等。尤如张赐宁等为官江浙者，其作赋色妍丽，用笔洒脱，极得时人珍爱，任伯年亦有题师张孟皋。\n张孟皋是清代嘉道时期的一位花卉画家，画史上介绍很简单，他名学广，字孟皋，以自行。多记载他是天津人，实际应是北平（今北京）大兴人，他在自己的画作上多次题“北平张孟皋”。",[24,155,28,7,212,298,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d14e2a9c338194b64463d0442e5d96.jpg",[237],{"id":15176,"slug":15177,"title":15178,"dynasty":190,"author":191,"museum":245,"description":15179,"tags":15180,"thumbUrl":15181,"material":1397,"size":1398,"collection":220,"collections":15182,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":49},230838,"cai-hui-si-bi-ru-yi-lun-guan-yin-xiang-yi-ming-230838","彩绘四臂如意轮观音像","此作以自在坐姿塑法相，菩萨面容沉静端严，宝冠缀饰华贵，璎珞环身尽显庄严。四臂各司其职，主臂托腮思惟，余臂持印握器，将悲悯自在的神韵相融。设色古雅厚重，石青、朱砂晕染出衣袂层次，头光环叠晕彩，衬出清寂高华。岁月留痕的斑驳残损，更添沧桑质感，圆转线条勾勒出舒展灵动的体态，尽显古雅释画的典雅法度，静穆间裹挟着慈悲意趣，是兼具宗教性与艺术性的珍贵遗存。",[23,24,25,28,194,83,7,1055,173,65,5476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca1f62971c665b5f5fb84f347665e2f.jpg",[],{"id":15184,"slug":15185,"title":15186,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":15187,"thumbUrl":15189,"material":67,"size":1560,"collection":220,"collections":15190,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":145},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188",[24,25,28,7,81,83,84,85,86,176,174,211,214,92,34,4660,1841,15188,624],"圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg",[],{"id":15192,"slug":15193,"title":15194,"dynasty":76,"author":15195,"museum":245,"description":15196,"tags":15197,"thumbUrl":15198,"material":220,"size":220,"collection":220,"collections":15199,"showCount":15141,"zanCount":1020,"manualWeight":48,"mainColor":145},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","孙枝","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 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一六五沈曾植行书七绝",[23,24,25,137,155,28,7,172,29,83,112,176,982,286,1068,1500,1926,1797,2463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],{"id":15201,"slug":15202,"title":7197,"dynasty":228,"author":229,"museum":245,"description":15203,"tags":15204,"thumbUrl":15208,"material":220,"size":220,"collection":220,"collections":15209,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":49},228316,"jin-hui-dui-tu-qian-xuan-228316","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[23,24,25,26,7,28,212,452,198,1110,15205,409,411,15206,454,596,15207],"墨迹","杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],{"id":15211,"slug":15212,"title":15213,"dynasty":76,"author":191,"museum":134,"description":15214,"tags":15215,"thumbUrl":15216,"material":424,"size":15217,"collection":220,"collections":15218,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":49},223490,"ming-tai-zu-zhu-yuan-zhang-zuo-xiang-tu-zhou-yi-ming-223490","明太祖朱元璋坐像图轴","明太祖（1368－1398在位），明朝開國皇帝，姓朱，名元璋，年號洪武，濠州 (今安徽鳳陽)人。幼孤，入皇覺寺為僧，元末群雄並起，有雄才，以布衣成帝業。\n絹地彩繪太祖坐像，筆筆工整，風格嚴謹，幅面巨大，氣派堂皇。畫中皇帝頭戴烏紗折角向上巾，身著圓領織金盤龍皇袍，端坐金扶手椅，容貌豐偉，鬚短而黑，當值盛年。",[23,24,25,155,677,7,28,83,341,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa200f5ca4dc4d864c1d4c5a8a568a941.jpg","137x84",[],{"id":15220,"slug":15221,"title":15222,"dynasty":76,"author":77,"museum":20,"description":15223,"tags":15224,"thumbUrl":15225,"material":40,"size":15226,"collection":182,"collections":15227,"showCount":15141,"zanCount":1084,"manualWeight":48,"mainColor":49},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[23,137,24,25,155,7,28,81,83,59,470,84,92,138,313,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[182,45],{"id":15229,"slug":15230,"title":15231,"dynasty":76,"author":2318,"museum":134,"description":15232,"tags":15233,"thumbUrl":15234,"material":424,"size":15235,"collection":237,"collections":15236,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":49},221939,"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。\n其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。\n边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。\n《春花三喜图》就是边景昭花鸟画之一。\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。\n雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\n图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。\n本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。\n边景昭（生卒年不详），字文进，福建沙县人。\n明宣德年间官武英殿待诏，擅画花鸟，笔墨承南宋院体，设色沉着雅丽。\n其子楚芳（一作祥）承父业，占籍锦衣（世袭任职锦衣卫）。",[23,24,25,137,155,7,28,212,156,62,299,159,9655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","纵165.2，横98.3cm",[237,45],{"id":15238,"slug":15239,"title":15240,"dynasty":18,"author":1838,"museum":134,"description":15241,"tags":15242,"thumbUrl":15243,"material":424,"size":15244,"collection":42,"collections":15245,"showCount":15141,"zanCount":1769,"manualWeight":48,"mainColor":49},221354,"kai-tai-tu-zhou-su-han-chen-221354","开泰图轴","画中的孩童欢乐地骑在一只大羊背上，身边围绕着各色大小造型不一、矫健欢腾的小羊，神气十足。据了解，北宋时期的日常生活中，羊并非骑乘的动物，但画中白羊被配上如神骏宝象般的鞍辔，散发着非同一般的宫廷贵气。群羊在草地中或饮，或食，或奔走，或徜徉，悠然自得的环绕在童子身边。画面背后还以长松梅花做背景，点有一双喜鹊，意取“喜上眉梢”。童子神采飞扬，群羊热闹欢腾，整幅画面充满了一派富丽祥和之气。那白胖小子丰润柔软的模样跃然于纸上，栩栩如生，令人心生爱怜。",[23,137,24,25,155,28,7,83,582,4541,313,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0dcb740080929d847e81c2fd0a8fd4.jpg","纵106厘米，横52厘米",[42,44,45],{"id":15247,"slug":15248,"title":15249,"dynasty":76,"author":77,"museum":134,"description":15250,"tags":15251,"thumbUrl":15253,"material":235,"size":15254,"collection":44,"collections":15255,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":145},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[24,137,25,155,7,28,855,172,83,471,195,15252,211,2653],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","279.5x100",[44,45],{"id":15257,"slug":15258,"title":15259,"dynasty":76,"author":191,"museum":4063,"description":15260,"tags":15261,"thumbUrl":15262,"material":100,"size":15263,"collection":237,"collections":15264,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":49},220340,"chun-jing-hua-niao-tu-yi-ming-220340","春景花鸟图","画面以早春雪景铺陈意境，老梅虬枝盘曲，枝头凝雪，冰萼缀枝。群雀栖于梅梢，灵动啾鸣，破了雪天的清寂。下方奇石覆雪，锦雉静静伫立，翎羽斑斓细腻，身旁细竹轻沾雪色，更衬出禽鸟的安然。角落里山茶吐艳，朱砂色的花萼点亮冷调的底色。\n\n工笔设色晕染柔和精微，禽鸟绒毛的蓬松、古木皲裂的苍劲都刻画入微，清冷雪景与暖调花色禽羽相映，将冬寒未褪、春意初萌的幽澹野趣尽藏其中，尽显雅致静穆又生意暗涌的格调。",[23,24,137,25,7,28,637,156,211,299,7348,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1068b2760f18f253d69357fe4d36b4c1.jpg","155.2 × 93.3",[237,45],{"id":15266,"slug":15267,"title":15268,"dynasty":18,"author":191,"museum":3452,"description":15269,"tags":15270,"thumbUrl":15271,"material":2373,"size":220,"collection":44,"collections":15272,"showCount":15141,"zanCount":1769,"manualWeight":48,"mainColor":49},219587,"hu-fa-tian-wang-tu-yi-ming-219587","护法天王图","全作以长卷铺陈浩荡群像，排布疏密有致。左侧雅士云集，宽袍博带，神态或清隽沉凝，或温雅端方，铁线游丝般的线条勾勒出出尘风神。右侧融世俗百态，驯虎、舆车错落，仆役走卒情态鲜活，雅俗相映，消解了仙圣绘的疏离感。\n\n绢面虽经岁月晕染，浅淡古雅的设色依旧耐看，劲挺流转的线描尽显白描功底。衣袂飘举间将清贵气度与市井意趣揉为一体，在庄严仪轨之中藏着鲜活烟火，尽显中古人物画的叙事张力与笔墨意韵。",[23,24,25,26,194,283,28,7,83,3794,582,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac3273b94acfdc6de56954e04e0abfb.jpg",[44],{"id":15274,"slug":15275,"title":15276,"dynasty":76,"author":191,"museum":134,"description":15277,"tags":15278,"thumbUrl":15279,"material":28,"size":220,"collection":45,"collections":15280,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":49},219352,"ji-tu-yi-ming-219352","鸡图","红冠劲挺的雄鸡立于侧，黑羽如缎，尾翎舒展若墨染；白羽带斑的母鸡低头轻啄，身旁雏鸡憨态可掬，或蹭母翼下，或伸颈欲食，亲子温情流淌于笔端。旁侧百合悄然绽放，淡粉花瓣与嫩绿枝叶点缀，添几分雅致。古绢底色沉敛，线条细劲精准，设色温润自然——雄鸡艳红与黑羽对比鲜明，母鸡素白与雏鸡嫩黄相映成趣。无繁复布景，却以细腻笔触勾勒鸡群生动情态，既有田园恬淡，又暗合“吉（鸡）祥和合（百合）”的美好期许，尽显明代工笔花鸟的雅致意趣与生活气息。",[677,24,25,7,28,67,1996,6132,9872,13012,409,5100,1631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf02b4d3eb9621cbc675af2bd1bf32f3.jpg",[45],{"id":15282,"slug":15283,"title":15284,"dynasty":18,"author":15285,"museum":10411,"description":15286,"tags":15287,"thumbUrl":15291,"material":100,"size":15292,"collection":220,"collections":15293,"showCount":15141,"zanCount":1020,"manualWeight":48,"mainColor":49},218642,"si-ji-mu-niu-tu-yan-ci-ping-218642","四季牧牛图","阎次平","长卷铺展，四季牧歌徐徐启幕。春柳垂丝，牛群缓步林间，蹄印轻踏新草；夏木荫浓，一牛卧地纳凉，牧童侧坐闲憩，蝉鸣似隐叶间；秋阳正好，老牛伏身，牧童倚背小憩，树影斑驳洒落；冬风未寒，两牛相依，牧童骑牛信步，柳梢轻摇伴归途。树干苍劲虬曲，笔墨勾勒出牛的憨态肌理，牧童神态悠然，或坐或行皆显天真。画面静谧却藏鲜活气息，四季流转间，恬淡之趣溢于绢素，尽显宋人笔下自然意韵与生活情味。",[23,137,24,25,26,855,7,172,113,83,12557,313,1028,705,15288,15289,15290],"河岸","土地","树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1489cb236d6a2e63c61b98228bdc5e34.jpg","35x99.7x4",[],{"id":15295,"slug":15296,"title":15297,"dynasty":18,"author":1826,"museum":382,"description":15298,"tags":15299,"thumbUrl":15300,"material":100,"size":15301,"collection":220,"collections":15302,"showCount":15141,"zanCount":1769,"manualWeight":48,"mainColor":1833},218604,"wu-bai-luo-han-zhi-zhu-lin-zhi-chen-tu-zhou-ji-chang-218604","五百罗汉之竹林致琛图","这幅画描绘了三个罗汉坐在云雾和绿竹之间，两个罗汉侧身站立，俯视着他们，一个罗汉手里拿着珊瑚，等待着接待他们。",[23,137,24,25,28,7,194,83,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb680b35d1ebd1ff03c465bd75e3c1.jpg","113.0x51.5",[],{"id":15304,"slug":15305,"title":15306,"dynasty":76,"author":191,"museum":367,"description":15307,"tags":15308,"thumbUrl":15309,"material":100,"size":15310,"collection":44,"collections":15311,"showCount":15141,"zanCount":1769,"manualWeight":48,"mainColor":49},218521,"guan-yuan-xiang-tu-yi-ming-218521","官员像图","图中画有一个官员手持笏板。这幅画的服装应该是宋代官员的服装",[24,25,7,28,83,63,677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1592dd4e87d3a2396d5fedf8e80764c2.jpg","34.5x21.5",[44],{"id":15313,"slug":15314,"title":15315,"dynasty":228,"author":191,"museum":2474,"description":15316,"tags":15317,"thumbUrl":15318,"material":100,"size":220,"collection":44,"collections":15319,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":49},218473,"shi-jia-xiang-yi-ming-218473","释迦像","法相端严，双目微垂似含悲悯，右手结印如引众生出迷津。红衣团花缀身，绿袖轻垂，与莲座清雅相映。须弥座层叠有致，瑞兽纹饰暗藏生机，整体色调沉厚却不失灵动，线条勾勒精准，将释迦牟尼的慈悲与威严融于一体，尽显元代佛画肃穆匠心与宗教意蕴之美。",[24,155,194,7,28,83,1055,8084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76489862a54b40b602a7a42c7f40218e.jpg",[44],{"id":15321,"slug":15322,"title":15323,"dynasty":228,"author":191,"museum":15324,"description":15325,"tags":15326,"thumbUrl":15327,"material":100,"size":15328,"collection":44,"collections":15329,"showCount":15141,"zanCount":48,"manualWeight":48,"mainColor":49},218470,"xiao-xia-tu-yi-ming-218470","消夏图","苏州博物馆","松荫覆庭，廊榭半开，文人雅士或围案展卷细品，或执扇浅语，或侍立凝神。案上瓜果鲜妍，砚池墨香隐现，器物玲珑有致。笔墨细腻处，人物神态宛然，衣袂轻扬见风骨；庭院葱郁间，光影流转映清雅。燥热的夏日，被书卷的静气、友朋的闲谈悄悄消解，连风都带着几分慵懒的诗意。画面以细腻笔触勾勒人物情态，以温润色调晕染庭院生机，将元代文人闲适的雅趣与内心的澄明，凝在这一方消夏的天地里，尽显岁月沉淀的悠然与从容。",[24,137,25,28,7,83,92,34,783,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bbfdb330eb5f30734846d33d935a8a6.jpg","24.5x15.7",[44],{"id":15331,"slug":15332,"title":15333,"dynasty":228,"author":191,"museum":15334,"description":15335,"tags":15336,"thumbUrl":15337,"material":100,"size":15338,"collection":44,"collections":15339,"showCount":15141,"zanCount":1769,"manualWeight":48,"mainColor":49},218465,"fa-du-luo-zun-zhe-xiang-yi-ming-218465","伐阇罗尊者像","南京大学艺术博物馆","绢色晕染着时光的痕迹，伐阇罗尊者安坐其间。光头圆融，头光隐现，神态沉静中藏着悲悯。衣袂流转间，蓝粉色块交错，黑纹如墨线勾勒出衣褶层次，线条流畅似流水舒展。右手轻握法器，左手自然垂落，指节间似含对世间的观照。坐姿随性却不失庄严，鞋履细节亦见匠心。整幅画以传神之笔，将尊者的慈悲与智慧凝于绢上，岁月摩挲更添古朴厚重，仿佛能窥见千年前画者的虔诚与技艺，每一处线条都藏着对信仰的敬畏。",[24,194,83,28,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F033322db375b770e377224792228fd04.jpg","128x63.1",[44],{"id":15341,"slug":15342,"title":15343,"dynasty":18,"author":191,"museum":245,"descript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》。",[24,25,155,28,7,212,3010,314,6267,822,409,211,7728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[237,45],{"id":15402,"slug":15403,"title":15404,"dynasty":150,"author":191,"museum":20,"description":15405,"tags":15406,"thumbUrl":15408,"material":220,"size":15409,"collection":220,"collections":15410,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":145},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","瑞雪轻覆朱宫翠檐，琼枝素裹，将御苑晕作琉璃天地。整幅画笔致工细入微，殿宇雕梁画栋分毫毕现，人物衣袂鲜活灵动。岁朝佳节间，众人或围聚展玩古玩，或信步笑谈，稚童嬉闹于阶前，暖阁中老者安坐闲话，融融暖意漫过银装素裹的苑囿，将年节的雍容闲适与团圆意趣铺陈得鲜活生动，清冷雪景晕染下，更衬出岁朝的温情缱绻，尽显雅致年味。",[24,28,7,81,155,29,83,84,176,34,4077,92,6494,214,211,91,14922,7105,15407],"宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],{"id":15412,"slug":15413,"title":15414,"dynasty":190,"author":191,"museum":245,"description":15415,"tags":15416,"thumbUrl":15417,"material":1397,"size":1398,"collection":220,"collections":15418,"showCount":15384,"zanCount":1769,"manualWeight":48,"mainColor":49},230792,"cai-hui-wu-dai-juan-hua-gong-yang-tu-yi-ming-230792","彩绘五代绢画供养图","此作分上下两重图景，上段佛境庄穆沉静，主尊安坐莲台，说法施印，二胁侍垂眸合掌随侍左右，线条劲挺匀净，设色沉凝古雅，晕染柔和晕开诸佛的端严宝相。下段供养人乌纱袍服，持炉躬身礼拜，神情恭谨内敛，笔触朴拙写实，精准描摹出士人的仪制风貌。\n画作以上下布局勾连神性与俗世，褪却的底色里仍藏着旧日鲜妍，将信仰的肃穆与世俗的敬畏相融，尽显佛绘神俗共生的独特意趣，兼具宗教价值与世俗审美意韵。",[23,24,67,28,83,194,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f833634d337b622021a4a78d357d12.jpg",[],{"id":15420,"slug":15421,"title":3472,"dynasty":18,"author":3473,"museum":245,"description":15422,"tags":15423,"thumbUrl":15427,"material":220,"size":220,"collection":220,"collections":15428,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":49},228050,"hua-niao-tu-ye-wang-xiao-228050","此作以柔枝海棠为景，两只白头翁栖于枝上，一昂首啁啾，一侧耳凝望，情态灵动鲜活。花瓣晕染细腻，粉白渐变柔和饱满，枝叶勾勒挺括，敷色雅致温润。禽鸟羽毛丝缕毕现，将绒羽蓬松质感描摹入微，工细笔触尽显精妙。整幅设色清逸柔婉，留白妥帖悠远，搭配题字更添文趣，将春日花鸟的缱绻生机定格绢上，清雅静谧里藏着灵动意趣，尽显雅致细腻的古典审美意趣。",[23,24,25,137,7,28,212,915,15424,10836,15425,15426],"白头翁","清雅","灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97693085cc822f814fba371da1aa941e.jpg",[],{"id":15430,"slug":15431,"title":15432,"dynasty":18,"author":1275,"museum":245,"description":15433,"tags":15434,"thumbUrl":15435,"material":220,"size":220,"collection":220,"collections":15436,"showCount":15384,"zanCount":1769,"manualWeight":48,"mainColor":49},227822,"jiang-yin-du-shu-tu-ye-ma-yuan-227822","江荫读书图页","此作用边角取景，绘就江天寥廓之境。淡墨晕染远山，隐现烟霭之中，愈显空濛悠远。近岸危崖虬曲，寒梅凝枝、丹枫缀艳，冷暖相映为萧索冬色添几分鲜活。板桥之上，二人围坐展卷，在幽寂江隅漫品诗书，闲雅意趣随江风漾开。\n笔意苍劲洗练，大片留白拓宽了江天之境，将冬日江隅的清寂与文人林下雅兴相融，尽显空灵隽秀的诗意之美。",[23,137,24,25,519,28,7,172,29,83,1499,211,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2d753a9bb5372213332d31fe07b403.jpg",[],{"id":15438,"slug":15439,"title":15440,"dynasty":18,"author":326,"museum":245,"description":15441,"tags":15442,"thumbUrl":15443,"material":220,"size":220,"collection":220,"collections":15444,"showCount":15384,"zanCount":1769,"manualWeight":48,"mainColor":49},227486,"zhu-ji-tu-li-zhou-zhao-ji-227486","竹鸡图立轴","赵佶（宋徽宗，1082年6月7日-1135年6月4日），出生于汴京（今河南开封），宋神宗第十一子，北宋第八位皇帝。\n\n赵佶在位期间追求奢靡、政治腐败、外交不力，以致民怨四起并埋下北宋靖康年间亡国的祸根。但赵佶在书法绘画等艺术领域天赋非凡，独创“瘦金体”书法，《芙蓉锦鸡图》《池塘秋晚图》等都是传世名作。靖康之变后赵佶被俘北上，1135年死于五国城，庙号徽宗。",[23,24,25,155,7,28,212,156,1967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879cf431b3c0d996cb701c6e9c6a171b.jpg",[],{"id":15446,"slug":15447,"title":15448,"dynasty":150,"author":2080,"museum":245,"description":15449,"tags":15450,"thumbUrl":15451,"material":220,"size":220,"collection":220,"collections":15452,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":145},224370,"hua-hui-qi-shi-ce-shi-er-kai-10-ju-lian-224370","花卉奇石册-十二开-10","此作以灵秀湖石为主体，朴拙纹理自带幽古意趣。细茎挺出，嫩黄碎花娇俏垂曳，与苍朴湖石形成柔刚对照。石上豆娘静立，翅脉纤毫毕现，将小虫灵动之态尽致描摹。\n\n画中运用撞水撞粉技法，花叶水润鲜活，苔草以淡青晕染，与赭石湖石色调柔润相融，静中藏动，生机暗涌。全幅工写兼备，寥寥数笔便将庭院小景的恬然意趣捕捉，将草木生灵的幽微情态勾勒无遗，尽显写生精妙，满溢闲逸清雅的文人意韵。",[23,24,25,519,28,7,212,409,1185,452,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057086feec0f2550986e5d5e2c2e3f6a.jpg",[],{"id":15454,"slug":15455,"title":15456,"dynasty":228,"author":191,"museum":245,"description":15457,"tags":15458,"thumbUrl":15459,"material":1397,"size":1398,"collection":220,"collections":15460,"showCount":15384,"zanCount":1769,"manualWeight":48,"mainColor":1833},223644,"xu-kong-cang-pu-sa-xiang-2-yi-ming-223644","虚空藏菩萨像2","虚空藏（梵语 ākāśagarbha，音译啊迦舍嘎赫婆）菩萨摩诃萨，密号库藏金刚。汉译又作尊上虚空孕菩萨摩诃萨、虚空库菩萨摩诃萨、虚空光菩萨摩诃萨，是中国大乘佛教八大菩萨摩诃萨之一。\n虚空藏菩萨摩诃萨在无量菩萨中专主智慧、功德和财富。因尊上智慧、功德、财富如虚空一样广阔无边，并能满足世间一切如法持戒者的善求善愿，使无量无边众生获得无穷利益，故有此虚空藏圣名。\n虚空藏菩萨具有赐予利乐的力量。“藏”表示无限福德智慧，“虚空”表广大，《大方等大集经》指出：虚空藏如同富翁，相应困苦众生，只要到她面前，即会施予救济。因此，虚空藏菩萨是以济度众生为乐的菩萨。",[23,137,24,25,5396,155,194,83,7,28,1055],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ea3f19b6f9f690523f6b6e2e09ea73.jpg",[],{"id":15462,"slug":15463,"title":15464,"dynasty":18,"author":191,"museum":9000,"description":15465,"tags":15466,"thumbUrl":15467,"material":67,"size":15468,"collection":237,"collections":15469,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":49},223463,"shan-que-pi-pa-tu-yi-ming-223463","山鹊枇杷图","图绘两只山雀站在枇杷枝上。枝头果实累累，枇杷青涩，黄中带绿。",[137,24,25,519,7,28,212,178,809,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17bd14416d2c445966f588ee332fa32c.jpg","30X31cm",[237,45],{"id":15471,"slug":15472,"title":15473,"dynasty":150,"author":260,"museum":134,"description":7103,"tags":15474,"thumbUrl":15477,"material":424,"size":7107,"collection":182,"collections":15478,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":49},222759,"shi-er-yue-ling-tu-11-yue-lang-shi-ning-222759","十二月令图（11月）",[23,24,7,28,83,84,34,211,92,15475,15476],"参禅","古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ec9adc0590d630722ea9245c07bfe.jpg",[182,45],{"id":15480,"slug":15481,"title":15482,"dynasty":150,"author":15483,"museum":1065,"description":15484,"tags":15485,"thumbUrl":15486,"material":424,"size":15487,"collection":237,"collections":15488,"showCount":15384,"zanCount":1769,"manualWeight":48,"mainColor":49},222689,"wu-tong-bai-tou-tu-que-lan-222689","梧桐白头图","阙岚","《梧桐白头图》是画家75岁时绘制的，工写结合，笔墨清灵，有一种纤尘不染的秀洁韵味。上部绘挺健梧桐，叶茂子实，一枝斜穿画面，绿叶飘动。一对白头鸟依偎枝上，亲密无间。下部绘神奇多彩灵石，石缝坡脚间花草杂生。笔墨细腻古朴，风格温润典雅。左下自题“道光壬辰季重九日仿瓯香馆本于天光云景斋。阙岚”。",[23,137,24,25,155,7,28,212,1630,7953,1797,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b42a65036debf55e7ebec34ee90c7e.jpg","纵101厘米，横40.5厘米",[237,45],{"id":15490,"slug":15491,"title":15492,"dynasty":76,"author":77,"museum":1129,"description":15493,"tags":15494,"thumbUrl":15495,"material":424,"size":15496,"collection":220,"collections":15497,"showCount":15384,"zanCount":1769,"manualWeight":48,"mainColor":145},222213,"chuan-ren-xing-tu-chou-ying-222213","船人形图","笔耕园收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有些其他朝代品质极高的优秀作品。",[23,24,25,914,7,28,83,59,175,313,156,5053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9007b806bd999f26739186ddee7c280.jpg","纵23.1厘米，横23.1厘米",[],{"id":15499,"slug":15500,"title":15501,"dynasty":76,"author":77,"museum":134,"description":15502,"tags":15503,"thumbUrl":15504,"material":67,"size":220,"collection":220,"collections":15505,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":145},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[23,24,25,914,7,28,29,156,157,34,772,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],{"id":15507,"slug":15508,"title":15509,"dynasty":76,"author":15510,"museum":78,"description":15511,"tags":15512,"thumbUrl":15514,"material":599,"size":15515,"collection":182,"collections":15516,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":145},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,24,25,26,28,29,7,172,855,15513,84,85,86,176,178,211,34,37,83,1206,2463],"四季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 x1183.6cm",[182,45],{"id":15518,"slug":15519,"title":15520,"dynasty":228,"author":15521,"museum":20,"description":15522,"tags":15523,"thumbUrl":15524,"material":15525,"size":15526,"collection":125,"collections":15527,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":49},221697,"you-huang-xiu-shi-tu-zhou-gu-an-221697","幽篁秀石图轴","顾安","署款“东淮安定之”。下钤“顾定之印”等印3方。画幅左侧有明代张绅题记。\n此图绘数竿青竹在清风晨露中绰约多姿的体态。顾安在创作上力求表现竹子“清且真”的物态风神。“清”是指竹子不卑不亢、清高脱俗的内在品性，它是元代文人画家所追求向往的君子品德；“真”是指竹子清瘦隽逸、披霜戴雪的外在形貌，强调竹画艺术的写实精神。图中所绘之竹以淡墨写竿，浓墨画叶，深浅墨色虚实互衬，加强了画面层次感，扩展了空间。竹叶的画法遵循赵孟頫所倡导的“写竹还须八法通”的原则，熟练地以书法的“捺”法起笔收笔，叶根及叶尖皆见笔锋，写出其错落参差、披离偃仰之态。图中的湖石以墨、色点染，具有玲珑剔透之美，也映衬出竹之秀润娴静。全图以简洁的笔墨营造出“无穷出清新”的清逸意境。\n此卷原藏清宫内府，宣统年流入民间，为徐石雪所收藏，解放后捐献给国家文物局。文物局于1957年4月27日将它拨交故宫博物院。",[23,24,155,855,7,172,156,314,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e2953593c979f764e7fe4b77b7f4bc.jpg","绢本，墨笔","纵184cm，横12cm",[125,3307],{"id":15529,"slug":15530,"title":15531,"dynasty":18,"author":1609,"museum":78,"description":15532,"tags":15533,"thumbUrl":15534,"material":5073,"size":15535,"collection":42,"collections":15536,"showCount":15384,"zanCount":1769,"manualWeight":48,"mainColor":49},221589,"shuang-que-tu-li-di-221589","双雀图","景德二年（1005年），状元及第，出任徐州通判。历任著作郎、直史馆、三司盐铁判官、海州监税、右司谏、知郓州、起居舍人、吏部员外郎、三司盐铁副使、知制诰、秘书监、等职，在地方政绩卓著，在中央参与军国要务，出入内外，两度担任同平章事（宰相），以太子太傅致仕。\n庆历七年（1047年），李迪去世，享年七十七岁，追赠司空兼侍中，谥号“文定”，宋仁宗亲题其碑首为“遗直之碑”。《全宋诗》录其诗，《全宋文》录有其文。",[23,24,25,914,28,7,212,286,178,159,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe559fda312675455de696e9c73c23466.jpg","35x34",[42,237,45],{"id":15538,"slug":15539,"title":15540,"dynasty":150,"author":15541,"museum":230,"description":15542,"tags":15543,"thumbUrl":15544,"material":100,"size":15545,"collection":182,"collections":15546,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":49},220422,"shou-shi-tu-jiang-pu-220422","寿石图","蒋溥","蒋溥（清），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正8年（1730）二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。乾隆26年(1761)四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[23,24,7,28,155,212,927,211,9710,12776,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74aae3d6d0e66ce7cd8ad41fc531baf.jpg","141×41.5cm",[182,45],{"id":15548,"slug":15549,"title":15550,"dynasty":18,"author":1151,"museum":134,"description":15551,"tags":15552,"thumbUrl":15553,"material":100,"size":15554,"collection":44,"collections":15555,"showCount":15384,"zanCount":1769,"manualWeight":48,"mainColor":49},219610,"zui-seng-tu-liu-song-nian-219610","醉僧图","画面左侧一遒劲苍松，顶天立地，倔强而粗壮的树身扎根于坡石之中，稳健地镇住整个画面，使古意充盈纸上。画面右上方淡笔擦出的远山和细笔轻快而流畅地勾出的浮云，使画面更增超逸出尘之气。飘然潇洒的长松针密布于画面上方，把观者的视线吸引到树荫之下的三个人物身上。中间坐于石凳之上、解衣盘礴、乘兴挥毫者，想必是“草圣”怀素，此时他所乘之兴应与身后松枝上高挂的酒葫芦有关，似为正酣的酒兴也。怀素头呈微仰之势，似不经意地提笔挥毫，颇有“信手拈来皆文章，下笔不惑皆妙墨”之神采。他微微翘起的右脚，好像正在轻轻摆动，将他那放浪形骸的性格特征更加明显。笔法劲秀的衣纹线条，转折有力而肯定，不但极准确地刻画出人物外形，更形象地表现出怀素外表狂放，内心坚贞、高洁的性情。右边一童子面对怀素持卷肃立，神情专注于其行笔之处。怀素左边，一童子左手持砚、右手握墨，似墨刚研毕，正仔细审视是否正好可用。此《醉僧图》笔法精细秀润，布景极为高古，意境静雅、淡定，人物间呼应关照、贴切妥当，神态呼之欲出、传神入微，把“草圣”以酒助书兴、运笔酣畅的场景描绘得淋漓尽致，是一幅难得的佳作。\n此图最让人动心之处就是淡定、静雅的境界。潘天寿先生在《论画残稿》中曾说道：“艺术之高下，终在境界，境界层上，一步一重天，咫尺之隔，往往辛苦一世，未必梦见。”陈子庄先生也言：“必须于性灵中发挥笔墨，于学问中培养意境。”南宋的苟安一隅，使当时很多文人多少有些失落的悲观的情怀。刘松年的这幅为怀素的写照之作，在我看来倒有几分自况之意。心不能畅怀，借酒以发之，身不能居之境，借画以图之，借醉僧之超然境界，表达自己卧游畅神之思。当然，这只是我面对刘松年这位八百年前的古人之作，做的一番遐想而已。",[23,706,24,25,7,28,83,286,211,1103,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cb54f38c3dcb5f0c2d377e84953eb4.jpg","纵95.8厘米，横47.8厘米",[44],{"id":15557,"slug":15558,"title":15559,"dynasty":76,"author":191,"museum":367,"description":15560,"tags":15561,"thumbUrl":15562,"material":100,"size":220,"collection":44,"collections":15563,"showCount":15384,"zanCount":1769,"manualWeight":48,"mainColor":49},219570,"lie-xian-tu-yi-ming-219570","列仙图","此作是道教仙官造像的经典手笔，人物分两列肃穆排布，尽显仙班整饬威仪。八位仙官仪容端方沉静，冠冕华服纹样繁丽工细，朱红石青晕染出古雅厚重的色调，衣袂间暗纹流转古朴雅致。人人手持朝笏，头覆圆光，晕出神圣清寂的气韵。背景祥云舒卷，漫出缥缈空灵的天界氛围。\n\n历经岁月，绢面虽有斑驳旧痕，却更衬设色的沉凝精妙，将天界仙僚的端严神圣凝于绢上，承载着旧时对玄穹仙班的敬畏与瑰丽想象。",[23,24,25,28,7,83,194,2602,1555,677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4400c57ed5ee3fbe7fffc6b7e169558.jpg",[44],{"id":15565,"slug":15566,"title":15567,"dynasty":228,"author":15568,"museum":230,"description":15569,"tags":15570,"thumbUrl":15572,"material":2373,"size":220,"collection":44,"collections":15573,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":145},219398,"zhong-jin-shi-yuan-ye-chu-you-tu-yan-hui-219398","钟进士元夜出游图","颜辉","墨线劲挺如铁，勾勒出钟馗的凛凛威仪，群鬼随扈左右——或扛幡持械，步履生风；或嬉戏打闹，憨态可掬。简括造型里藏着生动细节：鬼卒夸张的肢体、钟馗沉凝的神情，在浓淡相宜的墨色中鲜活起来。画面以动态叙事，仿佛能听见队伍行进的喧腾，元夜的神秘氛围与人间烟火气交织。笔意洒脱却不失精准，将神鬼世界的诙谐与庄重融于一卷，尽显元人写意人物画的妙趣与功力，是寓庄于谐的艺术佳构。",[137,24,25,26,283,855,83,14209,1787,344,173,284,285,834,730,15571,7],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4635b72bdb16674e440c200b8a4b6d4b.jpg",[44],{"id":15575,"slug":15576,"title":2620,"dynasty":150,"author":310,"museum":367,"description":15577,"tags":15578,"thumbUrl":15579,"material":100,"size":15580,"collection":237,"collections":15581,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":49},219351,"mu-ma-tu-shen-quan-219351","画面中数匹骏马姿态各异，或卧地休憩，或昂首侧望，或缓步前行。毛发晕染细腻温润，斑纹勾勒清晰写实，轮廓线条灵动传神，尽显马匹的鲜活气韵。背景枯树虬枝盘结，枝干以干笔皴擦，苍劲中透出古意；地面浅草碎石点缀，淡墨晕染出悠远空间。整体工写结合，设色雅致，马儿的悠闲神态与萧瑟树影相映成趣，传递出牧歌式的宁静安适。于细腻笔触中藏生机，于古朴意境里显情韵，尽显传统走兽画的精妙功力与悠远意趣。",[23,24,137,25,155,7,28,112,1499,286,582,29,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f9473a78fc17f9621aa38f84941ad8.jpg","92x63.5cm",[237,45],{"id":15583,"slug":15584,"title":15585,"dynasty":18,"author":191,"museum":406,"description":15586,"tags":15587,"thumbUrl":15589,"material":100,"size":15590,"collection":237,"collections":15591,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":49},218887,"ying-tao-huang-li-tu-yi-ming-218887","樱桃黄鹂图","此画作者佚其名，但画上有杨皇后题名，知为南宋院画。1949年5月吴湖帆以家藏古本易得，并于画上题咏图意、考证杨氏名号之实。",[24,25,137,7,28,212,178,15588,2499,173],"黄鹂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe027451de9b614f98a0abec26761ef.jpg","纵12.1厘米， 横26.1厘米",[237],{"id":15593,"slug":15594,"title":15595,"dynasty":228,"author":3524,"museum":134,"description":15596,"tags":15597,"thumbUrl":15598,"material":100,"size":15599,"collection":237,"collections":15600,"showCount":15384,"zanCount":1769,"manualWeight":48,"mainColor":49},218825,"yu-xiang-tu-zhao-meng-fu-218825","浴象图","“洗象图”是中国人物画传统题材，从历代流传下来的《洗象图》卷可见，自宋末至元初，经元到明清其构图基本固定，大致布局都是众人持帚洗扫白象的场景，因其与佛教禅宗之渊源，历来颇受关注。",[24,7,28,83,8175,313,173,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a28237cf2ba3e6056143c46553f0491.jpg","100.7x30.7cm",[237],{"id":15602,"slug":15603,"title":15604,"dynasty":150,"author":191,"museum":367,"description":15605,"tags":15606,"thumbUrl":15607,"material":100,"size":15608,"collection":44,"collections":15609,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":49},218525,"li-xiang-jun-xiao-xiang-yi-ming-218525","李香君小像","画有李香君的小像，面板左上方有侯方域《李姬传》的小楷长诗。",[24,914,7,28,83,59,284,285,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa138eb64d00fad7bfd083254678fc512.jpg","22.8x25.5",[44],{"id":15611,"slug":15612,"title":15613,"dynasty":228,"author":191,"museum":134,"description":15614,"tags":15615,"thumbUrl":15617,"material":100,"size":15618,"collection":237,"collections":15619,"showCount":15384,"zanCount":48,"manualWeight":48,"mainColor":49},216211,"lu-yan-zhou-yi-ming-216211","芦雁轴","芦雁图轴是一件来自元朝时期的著名艺术珍品，作者不详。这件作品描绘了一只雁在芦苇丛中的景象，并以细腻的线条和精确的造型表现了雁的轮廓和羽毛。芦雁图轴的艺术风格属于元朝时期流行的清新风格，被认为是元朝艺术的精华之作。",[24,7,28,155,212,178,15616,2707,492],"芦草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b23b9ab38b1ae3b9144978aa0d68304.jpg","168.3x106.7cm",[237],{"id":15621,"slug":15622,"title":15623,"dynasty":18,"author":2693,"museum":245,"description":15624,"tags":15625,"thumbUrl":15626,"material":1397,"size":1398,"collection":220,"collections":15627,"showCount":15628,"zanCount":48,"manualWeight":48,"mainColor":49},287586,"hua-pi-pa-kong-que-cui-bai-287586","画枇杷孔雀","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[24,137,212,7,28,213,809,409,1185,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485ccbcaf466a1e71621d56277378c3.jpg",[],57,{"id":15630,"slug":15631,"title":15632,"dynasty":150,"author":191,"museum":245,"description":12724,"tags":15633,"thumbUrl":15634,"material":1397,"size":1398,"collection":220,"collections":15635,"showCount":15628,"zanCount":1769,"manualWeight":48,"mainColor":145},270176,"sha-tie-juan-tao-shu-xian-he-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270176","纱贴绢桃树仙鹤图面乌木雕花柄团扇",[914,3683,7,28,212,5270,719,156,1185,5004,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facead754c75987afe21c13f4dbff64eb.jpg",[],{"id":15637,"slug":15638,"title":15639,"dynasty":76,"author":12763,"museum":20,"description":12764,"tags":15640,"thumbUrl":15641,"material":2721,"size":15642,"collection":45,"collections":15643,"showCount":15628,"zanCount":48,"manualWeight":48,"mainColor":49},237895,"ming-ren-zhu-cha-tu-zhou-ding-yun-peng-237895","明人煮茶图轴",[24,25,155,28,7,83,466,2653,409,1674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094a120df71d56d0cb60610819a00d95.jpg","纵137.3厘米，横64.4厘米",[45],{"id":15645,"slug":15646,"title":15647,"dynasty":76,"author":819,"museum":245,"description":15648,"tags":15649,"thumbUrl":15650,"material":220,"size":220,"collection":237,"collections":15651,"showCount":15628,"zanCount":48,"manualWeight":48,"mainColor":49},237698,"shan-shui-hua-guo-ce-xiang-sheng-mo-237698","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,137,28,7,7925,823,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6cca07ebe77c836898663ca11c9d3b.jpg",[237,182],{"id":15653,"slug":15654,"title":15655,"dynasty":150,"author":3725,"museum":20,"description":15656,"tags":15657,"thumbUrl":15658,"material":40,"size":15659,"collection":182,"collections":15660,"showCount":15628,"zanCount":48,"manualWeight":48,"mainColor":145},236719,"shan-shui-lou-ge-zhou-yuan-yao-236719","山水楼阁轴","此图是袁耀中年时期创作的大幅画作。绘高山峻岭，山石陡峭，树木葱郁，楼阁华丽壮观，境界幽美。图中用笔严谨精到，山水以工笔画出，墨色富于浓淡变化，明净雅致，意境恬淡，别有一番韵致。",[24,81,28,7,172,29,84,211,34,31,175,91,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2cab51c3f5a3bcd636d980beb75aed.jpg","纵202.3厘米，横118.5厘米",[182,45],{"id":15662,"slug":15663,"title":15664,"dynasty":150,"author":2254,"museum":245,"description":15665,"tags":15666,"thumbUrl":15667,"material":220,"size":220,"collection":220,"collections":15668,"showCount":15628,"zanCount":1769,"manualWeight":48,"mainColor":145},229034,"shan-shui-lou-ge-tu-ce-chen-mei-229034","山水楼阁图册","朱楹黄瓦的殿宇层叠错落，界笔勾勒工整流丽，台磴之上的小人三两，为深庭晕开细碎烟火。中景平湖如镜，枯木疏朗映于水面，板桥衔起村郭，行人缓步，将皇家苑囿的华贵揉进乡野清趣。\n\n远景山峦晕染如烟，似被流云轻裹，墨色由浓转淡，与天际融作一处。工笔重彩糅合浅绛晕染，明雅清润的设色下，殿宇的富丽与林泉的清逸相映成趣，将楼阁的精巧与山水的悠远调和得恰到好处，尽展清妍秀逸的幽隽意境。",[24,81,28,7,519,173,29,84,85,34,211,91,92,37,4188,1499,6494,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":15670,"slug":15671,"title":15672,"dynasty":18,"author":326,"museum":245,"description":15673,"tags":15674,"thumbUrl":15677,"material":220,"size":220,"collection":220,"collections":15678,"showCount":15628,"zanCount":48,"manualWeight":48,"mainColor":145},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,137,24,25,26,7,855,28,173,1851,15675,15676,2707,2653,178,313,250],"鸦","芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],{"id":15680,"slug":15681,"title":13786,"dynasty":132,"author":1194,"museum":245,"description":15682,"tags":15683,"thumbUrl":15684,"material":220,"size":220,"collection":220,"collections":15685,"showCount":15628,"zanCount":48,"manualWeight":48,"mainColor":49},226707,"ting-qin-tu-zhou-wen-ju-226707","周文矩是中国五代时期南唐人，生卒年不详，大约在南唐中主李璟、后主李煜时期，官至翰林待诏，擅长画佛道、人物、车马、屋木、山水题材，最擅长画仕女画。他是出色的肖像画家。所绘作品多以宫廷贵族的生活为题材，画风和唐代的周昉比较相近，独创了“战笔”描法。\n\n《听琴图》，传为五代周文矩所作，绢本，立轴，纵60厘米，横47厘米，现收藏于美国克利夫兰美术馆藏。画上题款“周文矩”，但传为明朝唐寅唐伯虎所作赝品。",[23,24,25,137,7,283,28,83,1499,176,211,138,623,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375f9f9c019d3847bfbc827a8b08238c.jpg",[],{"id":15687,"slug":15688,"title":15689,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":15690,"thumbUrl":15691,"material":1397,"size":1398,"collection":220,"collections":15692,"showCount":15628,"zanCount":1084,"manualWeight":48,"mainColor":49},226285,"ku-zhu-shi-nan-bi-yi-ming-226285","窟主室南壁",[1053,194,28,81,7,83,84,29,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573bae825e97fe194a68b5e2a3d28eb3.jpg",[],{"id":15694,"slug":15695,"title":15696,"dynasty":150,"author":8523,"museum":245,"description":15697,"tags":15698,"thumbUrl":15699,"material":220,"size":220,"collection":220,"collections":15700,"showCount":15628,"zanCount":48,"manualWeight":48,"mainColor":145},224238,"zhu-ju-quan-shi-yang-da-zhang-224238","竹菊泉石","此作用笔清隽雅致，构图疏密相宜。嶙峋湖石居于画面中心，皴擦简约却尽显峭拔质感，撑起画面骨架。左侧淡墨写竹，枝叶轻曳似携秋风，留白处恍有清光流转，空灵秀逸。右下菊丛灼灼，黄紫双色错落层叠，瓣叶柔润鲜活，晕染出满幅秋意。细泉蜿蜒穿石而过，为冷寂添了几分灵动生机。\n\n设色浅淡柔和，以素净底色衬出花木之妍、湖石之朴，将秋日林泉的幽寂闲适铺陈开来，尽显雅致出尘的隐逸意趣。",[23,24,25,519,7,28,156,689,159,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a0e88bdb88ecce18fd83ad4aa28c84.jpg",[],{"id":15702,"slug":15703,"title":15704,"dynasty":18,"author":191,"museum":245,"description":15705,"tags":15706,"thumbUrl":15707,"material":220,"size":220,"collection":220,"collections":15708,"showCount":15628,"zanCount":1769,"manualWeight":48,"mainColor":145},223668,"xue-shan-xing-qi-tu-ye-yi-ming-223668","雪山行骑图页","此作用淡墨晕染萧寒天色，以敷粉留白晕染山石积雪，遍铺清寂冷冽的冬日元气。琼峰素裹，梢顶微缀暖色苔点，打破素白单调。近岸丹枫凝红，暖色调破开漫天寒意，冷暖和融，愈显冬日山林的幽寂旷远。\n天际寒鸦数点，更衬天地空茫。溪岸小径之上，行旅策蹇徐行，身影渺小却点睛，将羁旅的萧索孤清缓缓铺陈，把冬日行役的荒寒况味藏于尺幅小景之中。笔意简淡清润，以小见大，尽显幽远冷隽的山水意趣，藏着细腻的冬旅体察。",[23,137,24,25,519,28,7,29,5548,112,83,34,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9779e57a11c43e5207a10113109fa36.jpg",[],{"id":15710,"slug":15711,"title":15712,"dynasty":228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，并力图在设色上用晕染的深浅表现构件的明暗关系，突出建筑的立体感。\n从作品整体看，构图、线条、色彩并没有摆脱明代画家仇英的设色界画系统，画面带有较多的装饰色彩和平面感觉，在表现建筑的体积感和建筑材料的质感上尚显不足。\n冷枚，生卒年不洋，约生活十公元17世纪后期至18世纪前期，字吉臣，号令门画史，胶州（今属山东）人。\n曾经跟随康熙时宫廷画家焦秉贞学俩，约丁康熙中期进入宫廷供职，直至乾隆七年尚在。\n擅长画人物、什女及山水，面风工整、细致，色彩较浓丽，具有装饰性。\n画法得力曲面写生，上中带写，白康熙到乾隆末，糅合中两技法之画风在画院内颇为盛行，而且影响到民间艺术，冷枚为此技弦之积极推行者。\n传世作品有《避馨山庄图》等。",[4185,24,424,4304,81,7,15953,15954,15955,772,34,284,15956],"晕染","历史故事画","贤君故事","启蒙教育","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99c5bbc18613ed7885de8cc288a9d11.jpg",[],{"id":15960,"slug":15961,"title":15962,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":15963,"thumbUrl":15964,"material":67,"size":1560,"collection":220,"collections":15965,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":145},230106,"hong-lou-meng-187-sun-wen-230106","红楼梦187",[24,25,7,28,83,84,92,466,34,409,1841,214,2614,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c40ad935649f53a2bfc48d53e55d45f.jpg",[],{"id":15967,"slug":15968,"title":1945,"dynasty":76,"author":77,"museum":245,"description":15969,"tags":15970,"thumbUrl":15971,"material":1397,"size":1398,"collection":220,"collections":15972,"showCount":15890,"zanCount":1769,"manualWeight":48,"mainColor":145},228455,"du-le-yuan-tu-chou-ying-228455","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[23,24,25,26,28,7,81,83,84,85,86,176,34,2653,211,92,214,3084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],{"id":15974,"slug":15975,"title":15976,"dynasty":18,"author":191,"museum":245,"description":15977,"tags":15978,"thumbUrl":15979,"material":220,"size":220,"collection":220,"collections":15980,"showCount":15890,"zanCount":1084,"manualWeight":48,"mainColor":49},227910,"zhu-mei-xiao-qin-tu-tuan-shan-yi-ming-227910","竹梅小禽图团扇","寒梅疏枝缀满莹白香蕊，清挺竹叶交错掩映，衬出幽隽雅致的冬初小景。三只山雀姿态各异，或敛羽栖于枝头侧目远眺，或俯身啄探似欲衔取花枝，蓬松绒毛以细笔晕染而出，灵动鲜活呼之欲出。\n\n整幅小品设色古雅淡逸，笔法兼具写实功力与文人情致，苍劲梅枝、秀劲竹叶与娇憨禽鸟相映成趣，将郊野小景的清新生机，定格在尺幅团扇之中，尽显宋画小品兼具写实意趣与雅致意境的独特魅力。",[137,24,25,914,7,28,212,156,637,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014ad6d20b32bd8ed109194ceff64ab9.jpg",[],{"id":15982,"slug":15983,"title":15984,"dynasty":18,"author":191,"museum":245,"description":7851,"tags":15985,"thumbUrl":15986,"material":1397,"size":1398,"collection":220,"collections":15987,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":49},227867,"pu-xian-pu-sa-tu-yi-ming-227867","普贤菩萨图",[23,24,25,155,194,28,83,582,7,1055,8175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7baa4b163280a926f7c11272d4784ad.jpg",[],{"id":15989,"slug":15990,"title":15991,"dynasty":18,"author":663,"museum":245,"description":15992,"tags":15993,"thumbUrl":15994,"material":220,"size":220,"collection":220,"collections":15995,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":49},227779,"zhu-chong-tu-ye-wu-bing-227779","竹虫图页","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的没骨画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,137,24,25,914,7,28,212,156,494,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01191a7671ec45bee311028ed57ed69c.jpg",[],{"id":15997,"slug":15998,"title":15999,"dynasty":18,"author":191,"museum":78,"description":16000,"tags":16001,"thumbUrl":16003,"material":424,"size":16004,"collection":42,"collections":16005,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":49},223354,"fang-zhou-fang-xi-ying-tu-yi-ming-223354","仿周昉戏婴图","周昉《戏婴图》已失传，本卷为宋人摹本，技法设色均有周昉风骨。图绘五个女子与七个幼孩嬉戏、为幼孩洗浴、穿衣的生活场景。中国古代人物画，有“婴戏图”这一种类。“婴”字，作“孩童”解。以小孩的生活、游戏为描绘对象，表现孩童的天真、稚拙、活泼、可爱，画面生动、有趣，寄托了人们对于美好生活--“多子多福”的向往，所以历来很受大众的欢迎，在唐、宋时期无论题材还是技法都已相当成熟。如宋苏汉臣的《秋庭戏婴图》可谓杰作。",[23,24,137,7,28,83,59,12786,581,1744,344,16002,67],"孩童嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b11b8ef4628a62aa0c11093093e5b0.jpg","纵30.5厘米，横111.8厘米",[42],{"id":16007,"slug":16008,"title":16009,"dynasty":150,"author":260,"museum":20,"description":6709,"tags":16010,"thumbUrl":16012,"material":40,"size":6712,"collection":237,"collections":16013,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":49},222792,"jiao-yuan-mu-ma-tu-lang-shi-ning-222792","郊原牧马图",[23,7,28,112,1028,83,705,1797,34,1288,16011],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bf9e7ff804c6db6e3bc52b86461389.jpg",[237,45],{"id":16015,"slug":16016,"title":16017,"dynasty":150,"author":260,"museum":134,"description":7103,"tags":16018,"thumbUrl":16019,"material":424,"size":7107,"collection":182,"collections":16020,"showCount":15890,"zanCount":1084,"manualWeight":48,"mainColor":145},222767,"shi-er-yue-ling-tu-8-yue-lang-shi-ning-222767","十二月令图（8月）",[23,24,25,7,28,81,83,84,34,211,92,176,409,214,6494,473,1109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9d2819dab19c67c4bf7cfb5fc58f1a.jpg",[182,45],{"id":16022,"slug":16023,"title":16024,"dynasty":18,"author":7716,"museum":406,"description":4521,"tags":16025,"thumbUrl":16026,"material":16027,"size":16028,"collection":42,"collections":16029,"showCount":15890,"zanCount":1084,"manualWeight":48,"mainColor":49},221585,"an-chun-tu-li-an-zhong-221585","鹌鹑图",[23,137,24,25,7,28,212,5649,411,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0a7a66cc5c8697ff42ab6e379a7cb63.jpg","设色绢","52x68",[42,237,45],{"id":16031,"slug":16032,"title":16033,"dynasty":863,"author":1716,"museum":7705,"description":16034,"tags":16035,"thumbUrl":16036,"material":7710,"size":220,"collection":220,"collections":16037,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":145},220595,"gong-chong-ce-ye-guo-guo-qi-bai-shi-220595","工虫册页·蝈蝈","此作以工写相映成趣，左侧赭红草叶写意挥就，笔致苍劲洒脱，寥寥数笔便勾勒出舒展野逸之态，淡墨晕染的浅淡底色晕开朦胧乡野意韵。右侧蝈蝈则以工笔细描，翠色躯体鲜亮通透，触须纤毫毕现，肢节纹理分明，振翅欲动，仿佛下一秒便要跃向草叶，将乡野小虫的灵动鲜活凝于纸面。\n\n简笔写意的朴拙与精微工细的鲜活彼此映衬，把寻常乡野小景绘得生机满溢，藏着对自然烟火的细腻体察，于平淡日常里撷取鲜活意趣。",[24,25,519,7,28,212,4838,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf64a8cd4f60805de0416aa2528db217.jpg",[],{"id":16039,"slug":16040,"title":16041,"dynasty":18,"author":191,"museum":5001,"description":5002,"tags":16042,"thumbUrl":16043,"material":28,"size":5006,"collection":220,"collections":16044,"showCount":15890,"zanCount":1769,"manualWeight":48,"mainColor":49},220241,"rui-guang-ta-si-tian-wang-xiang-4-yi-ming-220241","瑞光塔四天王像4",[137,24,7,28,194,83,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6228be4d803c0cec9fb87a8cbef04b3.jpg",[],{"id":16046,"slug":16047,"title":16048,"dynasty":150,"author":592,"museum":245,"description":16049,"tags":16050,"thumbUrl":16051,"material":235,"size":16052,"collection":237,"collections":16053,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":145},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[23,24,25,212,137,155,595,28,7,298,197,2653,409,453,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[237],{"id":16055,"slug":16056,"title":16057,"dynasty":18,"author":16058,"museum":134,"description":16059,"tags":16060,"thumbUrl":16061,"material":100,"size":16062,"collection":237,"collections":16063,"showCount":15890,"zanCount":1769,"manualWeight":48,"mainColor":145},219940,"ye-shu-cao-chong-tu-xu-di-219940","野蔬草虫图","许迪","素净的地面上，有一株孤伶伶的白菜。零星的叶片，褪了不少绿意，也被虫子啃蚀得有些残破。一只红尾的蝗虫大剌剌地弹跳了过来，看来又是想要来饱食一顿的饕客。白菜上方，另一位访客－淡黄的粉蝶也翩然而至，与一只黑翅的蜻蜓不期而遇。看这只蜻蜓摩拳搓掌的样子，不禁令人替这只娇弱的粉蝶捏把冷汗。",[23,137,24,914,7,28,6530,410,411,493,1723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9714821a89822cea4d8aee785f1a6b.jpg","纵25.8厘米、横26.9厘米",[237],{"id":16065,"slug":16066,"title":16067,"dynasty":150,"author":260,"museum":20,"description":16068,"tags":16069,"thumbUrl":16070,"material":100,"size":16071,"collection":237,"collections":16072,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":49},219870,"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[23,137,24,25,155,7,28,795,927,1319,211,5763,6267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[237],{"id":16074,"slug":16075,"title":16076,"dynasty":150,"author":260,"museum":134,"description":16077,"tags":16078,"thumbUrl":16079,"material":100,"size":16080,"collection":45,"collections":16081,"showCount":15890,"zanCount":1769,"manualWeight":48,"mainColor":145},219303,"shi-jun-tu-zhi-xue-dian-diao-zhou-lang-shi-ning-219303","十骏图之雪点雕轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物、花鸟，尤善犬马。科尔沁郡王诺们额尔和图于乾隆八（西元一七四三）年，进贡骏马一匹。",[24,137,155,28,7,112,582,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e84b14360acb49ba0390128d53f6779.jpg","238.2x270.6",[45],{"id":16083,"slug":16084,"title":16085,"dynasty":132,"author":16086,"museum":134,"description":16087,"tags":16088,"thumbUrl":16089,"material":100,"size":16090,"collection":237,"collections":16091,"showCount":15890,"zanCount":1769,"manualWeight":48,"mainColor":145},219212,"gu-mu-jin-jiu-tu-tang-xi-ya-219212","古木锦鸠图","唐希雅","苍劲棘枝斜逸，锋芒暗藏的枝桠间，一只锦鸠悠然栖息。羽色层次细腻，翠绿覆背，褐羽衬胸，翅间赭红轻点，尾羽沉黑如墨，连绒羽的柔润质感都被精心晕染。它昂首敛翅，眼神澄澈，与枯枝嶙峋形成动静相宜的对照。素净绢底衬得禽鸟鲜活、枝干古拙。笔墨工细却不板滞，线条劲挺中含柔婉，将生灵生机与古木风骨融于方寸，尽显五代花鸟写生的精妙神韵，藏着天地静美与盎然生机。",[23,24,137,914,212,7,28,14258,299,5250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188bf758524620865734d70b114afc3e.jpg","24.7x26.1cm",[237],{"id":16093,"slug":16094,"title":16095,"dynasty":18,"author":806,"museum":134,"description":16096,"tags":16097,"thumbUrl":16098,"material":100,"size":16099,"collection":42,"collections":16100,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":145},219205,"hua-mu-zhen-qin-tu-lin-chun-219205","花木珍禽图","画面中花木扶疏，珍禽顾盼生姿，翎羽纹理细腻如织，每一片花瓣都似凝着晨露的清润。淡赭色的背景晕染出雅致的古意，草木的姿态舒展自然，禽鸟的动态鲜活传神——或低头理羽，或抬足欲行，仿佛能听见羽翼轻振的细碎声响。工笔勾勒的线条精准灵动，设色淡雅却见层次，将自然生灵的生机与宋人的清幽审美融于一方圆扇之中，尽显写生妙趣与雅致格调，似能让人嗅到花木的浅香，触到古绢上的温润时光。",[23,137,24,25,914,7,28,212,62,313,299,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[42,237],{"id":16102,"slug":16103,"title":16104,"dynasty":76,"author":12094,"museum":20,"description":16105,"tags":16106,"thumbUrl":16108,"material":235,"size":16109,"collection":44,"collections":16110,"showCount":15890,"zanCount":1769,"manualWeight":48,"mainColor":145},219059,"yu-le-tu-zhou-chen-219059","渔乐图","周臣（生卒年不详），字舜卿，号东村，吴县（今江苏苏州）人。画山水师陈暹（1405－1496年），摹古于宋人李成、郭熙、马远、夏圭，用笔纯熟，所谓“行家”意胜耳。何良俊以为，与戴进（1388－1462年）并驱，则互有所长，亦是院体中一高手。兼工人物，古貌奇姿，绵细萧散，各极意能。 　　图绘江南水乡渔人作业生活的场景。作者细腻地捕捉渔人们各种动作，扣鱼、撒网、垂钓、捞虾、织网等，以及他们天真自然的神态，表现他们淳朴的性情和一种于生计中寻找乐趣的生活态度，刻画入微，生动明快。同时，传达出文人心目中渔隐的回归思想。绘画技法上，人物以勾写塑其形廓，薄色淡染，衣纹施镢头描，水画波线显其动态，坡石以湿墨皴染，笔法纯熟率逸，出自宋人写实的绘画风格。",[23,24,26,855,7,83,175,313,31,2708,3487,172,111,16107],"渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纵32厘米，横239厘米",[44],{"id":16112,"slug":16113,"title":16114,"dynasty":76,"author":191,"museum":2004,"description":16115,"tags":16116,"thumbUrl":16117,"material":100,"size":16118,"collection":44,"collections":16119,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":49},218451,"mao-nv-tu-yi-ming-218451","毛女图","飞瀑自崖间倾泻，溅起细碎水痕，苔石旁草木疏朗。毛女侧立，发髻簪着粉白小花，衣袂轻垂，眉目间透着悠然清寂。身旁灵鹿昂首，似与她共赏山光。山石以淡墨皴擦，肌理朴拙却藏层次；瀑布线条流畅，动静相衬。绢本的古雅色调，更添岁月沉淀的温润。画面简淡却意韵悠长，将毛女栖隐山林、与兽为友的传说，化作一卷仙逸之境，笔墨间满是山野的清旷与绝尘的况味。",[24,25,914,28,7,83,582,29,86,159,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13675267f743bc53cfd605358debfb0.jpg","21x21.4",[44],{"id":16121,"slug":16122,"title":16123,"dynasty":150,"author":433,"museum":367,"description":2987,"tags":16124,"thumbUrl":16125,"material":100,"size":2990,"collection":220,"collections":16126,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":145},218325,"shen-xian-gu-shi-tu-ce-11-leng-mei-218325","神仙故事图册-11",[23,24,7,28,83,341,1600,9311,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265342d420f4fcbf9947c00f2685e6c8.jpg",[],{"id":16128,"slug":16129,"title":16130,"dynasty":150,"author":4719,"museum":406,"description":16131,"tags":16132,"thumbUrl":16135,"material":100,"size":16136,"collection":44,"collections":16137,"showCount":15890,"zanCount":1769,"manualWeight":48,"mainColor":145},218248,"ke-zhai-ji-gu-tu-juan-shang-ren-xun-218248","愙斋集古图卷-上","这部作品有两卷：上卷和下卷。上卷由艺术家任薰绘制，下卷由胡祥和陆恢合作完成。\n任薰的这幅画描绘了坐在客人对面的吴氏。他盘腿坐在沙发上，周围都是珍贵的古董，古董铜器被逐一命名。",[23,24,26,28,7,83,7875,16133,139,16134],"礼器","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed9fef0b9a8c954811340da2b17afad5.jpg","41.5x160.5",[44],{"id":16139,"slug":16140,"title":16141,"dynasty":228,"author":191,"museum":230,"description":16142,"tags":16143,"thumbUrl":16145,"material":100,"size":16146,"collection":237,"collections":16147,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":49},216670,"shuang-ge-tu-yi-ming-216670","双鸽图","双鸽图是一幅元朝时期的图画，作者不详。这幅图展示了两只鸽子相互依偎的情景。它是元朝时期著名的一幅婚姻主题的图画，象征着爱情和婚姻的美好。图中的两只鸽子代表夫妻，它们形态优美，相互依偎，象征着夫妻之间的亲密感情。双鸽图被广泛用于装饰家庭和公共场所，作为对美好婚姻的祝福。",[137,24,25,7,28,212,16144,1091,12777,8611],"鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ba5c03c75a12c756a61bed0e670df3.jpg","30x44cm",[237],{"id":16149,"slug":16150,"title":16151,"dynasty":76,"author":191,"museum":2004,"description":16152,"tags":16153,"thumbUrl":16154,"material":100,"size":16155,"collection":44,"collections":16156,"showCount":15890,"zanCount":48,"manualWeight":48,"mainColor":49},215036,"yu-fu-tu-yi-ming-215036","渔父图","渔父图是明朝时期的一幅杂技图画。该图画描绘了一位渔夫和他的儿子在渔池里捕鱼的情景。这幅图画的画风简洁流畅，构图巧妙，笔触简练而富有力量。\n\n杂技图画是明朝时期流行的一种艺术形式，通常由多幅图画组成，每幅图画都描绘了一个故事或场景。杂技图画的特点是通过精细的线条和色彩描绘人物形象，并使用富有表现力的肢体语言和动作来讲述故事。\n\n渔父图是明朝时期著名的杂技图画之一，其中渔夫和他的儿子的形象鲜活生动，描绘了渔民勤劳的生活方式。这幅图画的画风鲜明独特，对后世产生了深远的影响。",[24,28,7,83,29,178,34,1797,3487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f55a0d1c2d8e2093168ae785f5d24f.jpg","23x25.8cm",[44],{"id":16158,"slug":16159,"title":14448,"dynasty":76,"author":2661,"museum":245,"description":16160,"tags":16161,"thumbUrl":16162,"material":1397,"size":1398,"collection":220,"collections":16163,"showCount":16164,"zanCount":1769,"manualWeight":48,"mainColor":49},289997,"ting-qin-tu-li-zhou-du-jin-289997","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人。",[24,25,137,155,28,7,83,59,471,3527,138,159,7408,3046,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9241a9963f0c789754bcb630030c914e.jpg",[],55,{"id":16166,"slug":16167,"title":7735,"dynasty":18,"author":326,"museum":245,"description":2729,"tags":16168,"thumbUrl":16169,"material":1397,"size":1398,"collection":220,"collections":16170,"showCount":16164,"zanCount":48,"manualWeight":48,"mainColor":49},288117,"xie-sheng-ling-mao-tu-zhao-ji-288117",[23,137,24,26,7,28,212,178,411,1588,409,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa279f39fe2fa81aa6da60077492747c2.jpg",[],{"id":16172,"slug":16173,"title":16174,"dynasty":132,"author":1194,"museum":245,"description":13291,"tags":16175,"thumbUrl":16176,"material":1397,"size":1398,"collection":220,"collections":16177,"showCount":16164,"zanCount":1769,"manualWeight":48,"mainColor":145},287396,"shi-nv-yu-tu-tu-ye-zhou-wen-ju-287396","仕女玉兔图页",[23,24,137,914,7,28,6643,59,1568,84,34,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a2c3d32ca970cdb9e4de407e67b73b.jpg",[],{"id":16179,"slug":16180,"title":16181,"dynasty":76,"author":674,"museum":245,"description":4094,"tags":16182,"thumbUrl":16183,"material":1397,"size":1398,"collection":220,"collections":16184,"showCount":16164,"zanCount":1769,"manualWeight":48,"mainColor":49},287345,"pi-pa-xian-shou-tu-chen-hong-shou-287345","枇杷献寿图",[23,24,137,155,28,7,83,59,470,809,284,173,12505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b9bd281fa2cf446c195de1b79955a.jpg",[],{"id":16186,"slug":16187,"title":16188,"dynasty":150,"author":6776,"museum":245,"description":16189,"tags":16190,"thumbUrl":16192,"material":220,"size":220,"collection":237,"collections":16193,"showCount":16164,"zanCount":1769,"manualWeight":48,"mainColor":145},238178,"xian-zhi-zhu-shou-tu-zhou-shen-zhen-lin-238178","仙芝祝寿图轴","沈振麟（生卒年不详，生活于19世纪），字凤池，一作凤墀，元和（今江苏省吴县）人。他以创作题材广泛，花鸟虫鱼人物山水各臻其妙，笔法工细写实而成为晚清重要的宫廷画家。任如意馆画作首领数十年。",[24,155,28,7,159,6267,409,453,211,5141,16191],"白色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035c9856899db7d34109e2309e3bffa5.jpg",[237],{"id":16195,"slug":16196,"title":16197,"dynasty":76,"author":3953,"museum":245,"description":16198,"tags":16199,"thumbUrl":16200,"material":220,"size":220,"collection":237,"collections":16201,"showCount":16164,"zanCount":48,"manualWeight":48,"mainColor":49},237577,"bai-xian-zhou-wang-wei-lie-237577","白鹇轴","王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[24,28,7,155,212,6040,927,2653,211,298,690,178,14258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a3695a1f1f05cfc401f1714fd482ef.jpg",[237,45],{"id":16203,"slug":16204,"title":16205,"dynasty":150,"author":2092,"museum":20,"description":16206,"tags":16207,"thumbUrl":16208,"material":40,"size":16209,"collection":220,"collections":16210,"showCount":16164,"zanCount":48,"manualWeight":48,"mainColor":49},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","此图卷描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同的享乐生活。布局巧妙，境界幽曲，将人物、山水、楼台亭阁、春夏秋冬的不同树木花卉及其景色容于一卷。精心刻划，形象生动，笔墨工细，赋彩随类，颇为自然。人物虽小，然曲尽各种姿态，形神俱备，景物虽繁，然疏密有度，为烘托人物的各种游乐活动而恰到好处。确是精心经营的佳作。\n姚文瀚，号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画，《石渠宝笈》著录其曾作《仿清明上河图》卷，文瀚于群工角艺之时，胸具别裁，画成缩本，乾隆喜而题诗并注：“此卷较择端原本尺幅纵横倍减，而临摹毕肖，人物益小，尤见精能。”尝画《梧阴清暇图》轴、《春朝婴戏图》轴、《岁朝欢喜图》轴、《观音像》轴、《文殊像》轴等。乾隆十七年（1752）尝作《仿宋人文会图》卷，二十六年（1761）作《紫光阁锡宴图》卷。\n传世作品有《四序图》卷，绢本，设色，描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同之悠闲生活、构思巧妙，意境幽曲，刻画细腻，形象生动，笔墨工整，设色典雅。此作人物虽小，然曲尽姿态，形神兼备，现藏故宫博物院。",[23,24,26,28,7,81,83,84,29,34,248,95,92,211,769,1707,1907,91,1109,3084,9457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],{"id":16212,"slug":16213,"title":16214,"dynasty":76,"author":16215,"museum":245,"description":16216,"tags":16217,"thumbUrl":16218,"material":220,"size":220,"collection":220,"collections":16219,"showCount":16164,"zanCount":1769,"manualWeight":48,"mainColor":145},234176,"hua-hui-juan-lu-zhi-234176","花卉卷","鲁治","鲁治，号岐云，东吴人。善画花卉、翎毛。设色妍丽，得宋人之法。广东省博物馆藏《百花图卷》。",[23,24,25,26,7,28,212,637,822,156,689,298,492,174,690,487,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3035c745deb8cf52d925ad006c15ad2b.jpg",[],{"id":16221,"slug":16222,"title":16223,"dynasty":228,"author":3524,"museum":78,"description":16224,"tags":16225,"thumbUrl":16226,"material":424,"size":16227,"collection":182,"collections":16228,"showCount":16164,"zanCount":1769,"manualWeight":48,"mainColor":49},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,137,24,25,26,5396,28,7,83,112,86,34,705,211,15290,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","横28.1厘米，纵155.5厘米",[182],{"id":16230,"slug":16231,"title":16232,"dynasty":150,"author":191,"museum":245,"description":16233,"tags":16234,"thumbUrl":16235,"material":220,"size":220,"collection":220,"collections":16236,"showCount":16164,"zanCount":1769,"manualWeight":48,"mainColor":49},230305,"fang-han-gong-chun-xiao-tu-yi-ming-230305","仿汉宫春晓图","此作铺展深宫春日盛景，亭台楼阁勾描工致，柳石花木晕染雅致，将宫苑春意揉进朱廊翠荫里。仕女们或临窗研墨、凭栏观戏，或蹴鞠扑蝶、闲庭信步，娇柔百态鲜活灵动，把深院中的松弛雅兴尽数铺陈。设色明丽柔婉，线条秀润细腻，复刻出原作的绮靡雅致，将宫廷日常的闲逸温婉晕染绢上，让旧日宫苑的春日烟火气扑面而来，尽显古典仕女画的柔美韵致与院体工笔的精妙意趣。",[24,25,26,137,7,28,81,82,83,59,84,92,34,211,214,972,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6489682bcd338587262df0a3fe163436.jpg",[],{"id":16238,"slug":16239,"title":10155,"dynasty":76,"author":77,"museum":245,"description":16240,"tags":16241,"thumbUrl":16242,"material":220,"size":220,"collection":220,"collections":16243,"showCount":16164,"zanCount":48,"manualWeight":48,"mainColor":49},228432,"guan-yin-xiang-li-zhou-chou-ying-228432","此作用铁线白描写就，观音安坐高榻之上，衣褶线条细劲匀停，如流云舒卷，将纱衣轻柔垂坠之态尽皆铺展。菩萨面容温婉沉静，宝相端严，身旁童子神态稚拙恭谨，烘托出清和肃穆的禅意。\n\n右上方题跋与造像相映成趣，画幅下方浅绘乘蛟逐月，笔意简淡空灵，衬出佛界的幽远高渺。整作未施丹青，却凭借精妙线法勾勒出丰盈神态与物象质感，褪去浓丽浮华，尽显白描素净洗练之美，将观音的慈悲静定，融于每一缕流转的线条之中，清寂中自含庄严禅韵。",[23,155,194,7,283,81,83,341,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe329623b759309ed5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金屋春深图 松下观流图 苏米对书图 钟馗赏竹图 竹林七贤图 隔水吟窗图 曹松堂肖像 春宴图 钟馗嫁妹图 关山勒马图 渔家乐图 梅鹤图 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chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[23,24,25,26,7,28,2708,1500,175,178,16345,16346,29,173,285,284],"寒沙","江天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[42,182,125],{"id":16351,"slug":16352,"title":16353,"dynasty":228,"author":229,"museum":406,"description":16354,"tags":16355,"thumbUrl":16356,"material":2373,"size":16357,"collection":44,"collections":16358,"showCount":16164,"zanCount":1769,"manualWeight":48,"mainColor":49},219621,"song-tai-zu-cu-ju-tu-qian-xuan-219621","宋太祖蹴鞠图","原图为宋代名画家苏汉臣所绘，钱选在临摹之后题字：“蹴鞠图旧藏秘府，今摹图之。若非天人革命，应莫观之，言何画哉。”表现出了对此画仰慕已久的心情。明人唐文凤在《梧冈集》中有《题蹴鞠图》诗，诗中说明前两人踢球的是宋太祖赵匡胤与其弟宋太宗，后四人观看的是大臣赵普、楚昭辅、党进、石守信，都是宋朝开国的功勋，他们都喜欢踢球；“明良相逢同一时，乘闲且复相娱嬉，军中之乐谅亦宜。”此图说明了蹴鞠是宋代初年军中之乐，是宋朝开国皇帝和贵族都喜爱的活动，因此，开启了中国古代足球发展的第二个高潮时期。在《宋史·礼志》《乐志》中记载，凡是朝廷的盛大宴会都有足球表演。在《武林旧事》中记载，宋代除了官家有蹴鞠专业艺人之外，民间的瓦子中也有蹴鞠艺人表演，而在宋代开展最为广泛的则是“寒食蹴鞠”民俗活动；“寒食梁州十万家，蹴鞠秋千尚豪华。”（陆游《春晚感事》）在这样从上到下全国的足球热潮氛围中，便有了高俅、张明、柳三复等因踢球而发迹的人物。《宋太祖蹴鞠图》为后人提供了研究宋代足球发展最宝贵的资料。",[24,25,7,28,83,82,173,284,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a53204849892062b0904a61f11a9dd7.jpg","宽28.6厘米，长56.3厘米",[44],{"id":16360,"slug":16361,"title":16362,"dynasty":18,"author":1151,"museum":367,"description":16363,"tags":16364,"thumbUrl":16365,"material":100,"size":16366,"collection":1478,"collections":16367,"showCount":16164,"zanCount":1769,"manualWeight":48,"mainColor":49},219554,"san-sheng-tu-liu-song-nian-219554","三生图","画中所绘的情景，正是李源在侍从的陪同下前去赴约，已长成十三岁的今生骑牛牧童即前世园泽，唱着歌谣徐徐而来，是为“三生”也。",[23,137,24,25,26,7,28,172,83,29,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306c01041dc84d596efb145b5bd7b859.jpg","24x100厘米",[1478,44],{"id":16369,"slug":16370,"title":16371,"dynasty":150,"author":16372,"museum":367,"description":16373,"tags":16374,"thumbUrl":16375,"material":100,"size":16376,"collection":237,"collections":16377,"showCount":16164,"zanCount":1769,"manualWeight":48,"mainColor":49},219060,"lu-ya-tu-sun-yi-219060","芦鸭图","孙益","疏苇亭亭，叶带风意，枝干交错间藏着野趣。岸石上双鸭相依，一者昂首理羽，绿颈蓝斑映着天光；一者低首小憩，绒羽纹理细腻如触。淡赭底色晕开清寂，笔墨工致却不板滞——芦苇的线条柔韧含苍，禽鸟的姿态灵动传神，似能闻得水畔风鸣，见得细浪轻拍岸石。整幅画将江南水泽的闲淡之景凝于尺幅，草木的苍劲与生灵的鲜活相映成趣，尽显自然生机里的静谧况味。",[23,24,25,155,7,28,212,2708,652,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89361e3af2e269c9833f44d7c0be584d.jpg","159.3x96.5cm",[237],{"id":16379,"slug":16380,"title":16381,"dynasty":18,"author":191,"museum":134,"description":16382,"tags":16383,"thumbUrl":16384,"material":100,"size":16385,"collection":42,"collections":16386,"showCount":16164,"zanCount":48,"manualWeight":48,"mainColor":145},218837,"xi-yang-gui-du-tu-yi-ming-218837","夕阳归犊图","这幅画描绘了两头大牛在夕阳下涉水过河的情景，还有一头小牛在恐惧和害怕中伸出前蹄。笔触简单，牛和人物都没有形态，不像是专业画家的作品，也不像是普通文人的俏皮笔触。",[23,24,914,28,29,7,2487,113,313,4188,797,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a03dda9ca27d426983bebcf6e6d089.jpg","22.4x22.4",[42,182],{"id":16388,"slug":16389,"title":16390,"dynasty":18,"author":806,"museum":134,"description":16391,"tags":16392,"thumbUrl":16393,"material":100,"size":220,"collection":182,"collections":16394,"showCount":16164,"zanCount":1084,"manualWeight":48,"mainColor":145},218680,"xing-hua-chun-niao-tu-lin-chun-218680","杏花春鸟图","本幅选自宋人《合璧画册》，枝干笔法接近林椿“山（木茶）霁雪”，惟转折提顿较明显，技法上更显纯熟。用色层层填染，具“山（木茶）霁雪”韵味。花朵白粉分染处理，与推断为马麟（约1180—1256后）所作之宋人“桃花”相类，然“桃花”枝干更见自然感。林椿、马麟的活动时期在先后间，“杏花春鸟”则或是略晚于马麟之典型精致南宋院画作品。",[23,137,24,25,7,28,212,1695,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97fa3fb771034ae4db090c526bdd41b5.jpg",[182],{"id":16396,"slug":16397,"title":16398,"dynasty":76,"author":674,"museum":78,"description":1286,"tags":16399,"thumbUrl":16400,"material":100,"size":220,"collection":220,"collections":16401,"showCount":16164,"zanCount":1769,"manualWeight":48,"mainColor":145},218022,"za-hua-ce-8-chen-hong-shou-218022","杂画册-8",[137,24,25,519,7,28,212,637,299,982,286,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3872c863e7a4d020187cfd8dc2c8c712.jpg",[],{"id":16403,"slug":16404,"title":16405,"dynasty":76,"author":674,"museum":78,"description":1286,"tags":16406,"thumbUrl":16407,"material":100,"size":220,"collection":220,"collections":16408,"showCount":16164,"zanCount":48,"manualWeight":48,"mainColor":145},218018,"za-hua-ce-12-chen-hong-shou-218018","杂画册-12",[24,519,7,28,212,520,596,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b56466e530ac59e292032c7b05d5f9.jpg",[],{"id":16410,"slug":16411,"title":16412,"dynasty":228,"author":5636,"museum":230,"description":16413,"tags":16414,"thumbUrl":16415,"material":100,"size":16416,"collection":237,"collections":16417,"showCount":16164,"zanCount":48,"manualWeight":48,"mainColor":49},216674,"ge-zi-tu-wang-yuan-216674","鸽子图","王渊（生卒年不详）是中国元朝（1271年 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1368年）的一位著名画家，他的代表作品是《鸽子图》。《鸽子图》是一幅水墨画，描绘了一群自由自在地飞翔的鸽子。这幅画被认为是王渊最优秀的作品之一，其中体现了王渊对动物自然、生动的描绘方式。此外，《鸽子图》还展示了王渊对色彩运用的精湛技巧，使得画面栩栩如生，充满生机和活力。",[23,24,28,7,212,178,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2859eb0a4bf8656af4d2d93c4ff4064.jpg","26x28cm",[237],{"id":16419,"slug":16420,"title":16421,"dynasty":76,"author":77,"museum":134,"description":16422,"tags":16423,"thumbUrl":16425,"material":100,"size":16426,"collection":220,"collections":16427,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},290879,"chun-you-wan-gui-tu-zhou-chou-ying-290879","春游晚归图轴","本幅画夜幕低垂中，主仆四人春游归来。边角式的布局虽源于南宋院画，但取意则与明初戴进的「春游晚归」相近。惟仇作烘染细腻，人物情态生动，较戴进描写更加细致详实",[24,155,7,28,12037,83,763,34,211,16424,5572],"春游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b904ecf120414f9ce0182de0f6afa95.jpg","145.5x76.5",[],54,{"id":16430,"slug":16431,"title":16432,"dynasty":132,"author":295,"museum":245,"description":16433,"tags":16434,"thumbUrl":16435,"material":1397,"size":1398,"collection":220,"collections":16436,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":49},290554,"wu-dai-nan-tang-rong-que-zhou-xu-xi-290554","五代南唐蓉雀轴","第四册，页54故宫书画图录，第一册，页65-66该幅画芙蓉盛开，与奇石交相掩映，石下尚有数株雏菊。一对对麻雀、白头翁与鶺鴒互相顾盼唱和，唯有一只麻雀孤独地在空中飞翔。该幅无款，旧传为五代南唐（十世纪初）徐熙之作，然细审此幅的笔墨与徐熙不类，当出自后人之手。",[24,137,155,212,7,28,178,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c26b3108f3c64d1cad0b53319ca6e2f.jpg",[],{"id":16438,"slug":16439,"title":16440,"dynasty":150,"author":1549,"museum":245,"description":16441,"tags":16442,"thumbUrl":16444,"material":1397,"size":1398,"collection":220,"collections":16445,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},288402,"han-xiang-yun-zui-mian-shao-yao-chou-sun-wen-288402","憨湘云醉眠芍药绸","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸。",[23,24,7,28,83,59,16443,1109,691,1394,1103,26],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c0ad93722cfabe4eaa249ff739d37d.jpg",[],{"id":16447,"slug":16448,"title":16449,"dynasty":18,"author":1609,"museum":245,"description":16450,"tags":16451,"thumbUrl":16452,"material":1397,"size":1398,"collection":220,"collections":16453,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":145},288326,"qiu-hui-cao-chong-tu-li-di-288326","秋卉草虫图","本幅画叶稍上，螳螂高举双臂，想要捕食金龟子，金龟子适时察觉，立即振翅飞起。螳螂扑了空，只好无奈地回首怅望。昆虫追逐与逃脱的生死瞬间，透过画家的描绘，扣人心弦",[137,24,7,28,212,410,1722,13582,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d045300c5b04cb819d7d29c68685b7.jpg",[],{"id":16455,"slug":16456,"title":16457,"dynasty":150,"author":9679,"museum":245,"description":9680,"tags":16458,"thumbUrl":16460,"material":1397,"size":1398,"collection":220,"collections":16461,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":145},288234,"duo-zi-tu-li-zhou-qu-zhao-lin-288234","多子图立轴",[23,24,155,7,28,212,178,823,156,159,16459],"多子多福","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84673a9abd63bfd4f7c5dbd2d3b0bdb3.jpg",[],{"id":16463,"slug":16464,"title":16465,"dynasty":132,"author":191,"museum":245,"description":16466,"tags":16467,"thumbUrl":16468,"material":220,"size":220,"collection":220,"collections":16469,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},239547,"huang-quan-xie-sheng-zhen-qin-tu-juan-yi-ming-239547","黄筌写生珍禽图卷","此作写实功底极尽精微，将十余类禽鸟、虫豸与灵龟一一铺陈。画师以淡墨细勾轮廓，随类施色晕染，禽鸟绒羽纤毫毕现，虫翼轻薄通透，龟甲纹理凹凸逼真。每一只生灵都形神兼备，振翅的雀鸟、爬行的甲虫、静立的水禽，皆定格住最鲜活的瞬间，尽显对自然万物的入微体察。\n\n虽为写生稿的合集，却处处彰显工笔花鸟的极致功底，将生灵的鲜活神韵凝于绢素之上，尽显五代写实工笔的隽永魅力。",[24,137,25,26,7,28,212,178,494,2523,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332fee9c6e6f4bf61e5511d43efcaedc.jpg",[],{"id":16471,"slug":16472,"title":12937,"dynasty":150,"author":12938,"museum":245,"description":12939,"tags":16473,"thumbUrl":16474,"material":1397,"size":1398,"collection":220,"collections":16475,"showCount":16428,"zanCount":1084,"manualWeight":48,"mainColor":697},239079,"hua-niao-ping-liao-yun-jin-239079",[24,7,28,212,159,299,62,453,1797,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957fa757ccae928e12a60604cca10b13.jpg",[],{"id":16477,"slug":16478,"title":16479,"dynasty":150,"author":516,"museum":245,"description":10131,"tags":16480,"thumbUrl":16481,"material":220,"size":220,"collection":1478,"collections":16482,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":145},238317,"qiu-hua-si-shou-zhou-dong-gao-238317","秋花四首轴",[24,25,155,28,7,6010,2884,2133,198,409,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70d4386e484a0de4f87b2b3e7b37d2.jpg",[1478],{"id":16484,"slug":16485,"title":5850,"dynasty":150,"author":16486,"museum":245,"description":16487,"tags":16488,"thumbUrl":16489,"material":1397,"size":1398,"collection":237,"collections":16490,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":145},235211,"hua-hui-ce-zhang-wei-235211","张伟","清代画家张伟的花卉写生图，是一组工笔细描的花卉图。",[24,25,212,519,28,7,689,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0af649121c5bfa8eb70d98878fbc2a5.jpg",[237],{"id":16492,"slug":16493,"title":16494,"dynasty":150,"author":447,"museum":245,"description":16495,"tags":16496,"thumbUrl":16497,"material":220,"size":220,"collection":220,"collections":16498,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},234249,"bai-shou-tu-hua-yan-234249","百兽图","华喦[yán]，清朝人。他生于康熙，卒于乾隆，经历“康乾盛世”，却一生贫苦。\n他年轻时因被乡绅羞辱，拒绝他为宗族祠堂作画。他一气之下，连夜在祠堂墙壁上画下高山云鹤、水国浮牛、悬崖青松、倚马题诗四幅画作，然后愤然离乡出走。\n他中年辗转于江南各地，与“扬州八怪”交往密切，成为扬州画派的代表人物，传世佳作皆被世人奉若珍宝。\n他晚年书、画、诗俱全，被称为“三绝”，人物、花鸟走兽、山水自然无不精通，终成一代名家。乃至后来者如吴昌硕、齐白石、徐悲鸿等大师也学习他绘画技法。\n在这里要特别提到的是，他笔下的画作，和别的艺术大师有些不同。\n嵒，通“岩”。华喦，人如其名。他的艺术成就如同山峰一般耸立在清代画坛，令无数后来者敬仰。自古以来善画走兽者甚多，但很少有人能画出百兽图。因此珍藏于北京故宫博物院的一幅《百兽图》便显得格外珍贵，它的作者便是华喦。\n此作为长卷画作，画面自右向左依次出现狗、牛、羊、马、鹿、狼、虎、猴、熊等动物，而一头老虎位居画面正中却面露囧态。画面中的动物们被华喦描绘的生动传神，栩栩如生，各具亮点。每一处局部独立展示便是一幅小品佳作，而纵览全画便犹如置身深山老林之中，处处散发着自然的生命力。\n画面最右侧，首先映入眼帘的是人类生活中常见的狗、牛、羊、马。\n接下来画面中来到河畔旁的草地上，一众动物在枫叶美景中悠闲地嬉戏打闹，但河对岸一只麋鹿正此刻正和一只灰狼对峙，凭添了几分紧张的气息。\n镜头继续向左转移，一只老虎在山坡的另一侧独自矗立。虽说老虎是百兽之王，可它此刻的面部表情却十分窘迫，甚至引得巨石上的猴子驻足观看。想来应该是它在头疼这森林的管理问题吧。\n随着我们的视角不断向左深入，画面中山石林立，藤叶纷飞，显得更加原始。而这里的主角变成了一群热闹的猴子，和两只争食的黑熊。\n整幅画作的最左侧，两只大黑熊在互相夺食，而另一只小黑熊却呆在山洞里悠闲地睡着懒觉，顿时令观者啼笑皆非。\n值得一提的是，华喦这幅《百兽图》除开陆地上生活的一群动物外，空中无鸟，水中无鱼。本应威武凶狠的老虎虽出画面正中心，却毫无威仪感，甚至显得有些窘迫。不知作者当时为何会如此创作。",[23,24,26,28,7,172,29,582,7318,113,313,314,315,178,6315,4541,1817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8e66486eac6115b5e7d13a3b541fdc.jpg",[],{"id":16500,"slug":16501,"title":16502,"dynasty":18,"author":1774,"museum":20,"description":16503,"tags":16504,"thumbUrl":16505,"material":40,"size":1778,"collection":220,"collections":16506,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},233698,"jiang-shan-qiu-se-tu-juan-zhao-bo-ju-233698","江山秋色图卷","此图为青绿设色。画中有青山碧水、殿宇村舍，栈道、桥梁穿插其间，又有苍松翠柏，茂林修竹，移步换景，令人玩味不尽。山石用小斧劈皴法，再施以青绿重色；树木、建筑刻画细腻精谨，点景人物描绘细致入微。整幅作品布局宏大，细节丰富，色彩浓丽而不失清雅，刻画精细而不琐碎，带有宋代画院气派。",[137,24,25,26,27,28,7,172,29,30,31,34,769,84,85,86,211,38,3849,10452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7938477d39bcc25b27dcddc14b743fa4.jpg",[],{"id":16508,"slug":16509,"title":16510,"dynasty":18,"author":191,"museum":245,"description":16511,"tags":16512,"thumbUrl":16513,"material":220,"size":220,"collection":220,"collections":16514,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},227847,"song-mo-gu-kai-zhi-luo-shen-fu-tu-juan-yi-ming-227847","宋摹顾恺之洛神赋图卷","此作以辞赋为骨，铺展缥缈爱恋。山峦云霭间，洛神凌波微步，衣带蹁跹，与曹植遥遥相望，情思暗涌。线条细劲连绵如春蚕吐丝，古雅设色晕开绢本旧韵，将洛神仙姿、侍众恭谨、仪仗威仪一一铺展。山海林泉错落，云雾萦回如幻，把初见的惊艳、相恋的缱绻、别离的怅惘揉进山水里，诗画相融，将文字中的深情化作可视丹青，晕染出千年前那场哀怨缥缈的人神之恋，尽显晋唐风骨的温婉雅致。",[23,24,26,82,28,7,283,29,83,1206,341,112,84,34,37,2782,2464,9311,31,211,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0846a7d82dcbae011c1e4eb6f39c2e7e.jpg",[],{"id":16516,"slug":16517,"title":16518,"dynasty":18,"author":5536,"museum":245,"description":16519,"tags":16520,"thumbUrl":16522,"material":220,"size":220,"collection":220,"collections":16523,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":145},227637,"lang-tu-ma-xing-zu-227637","浪图","宋代 马兴祖 山西永济人，绍兴1131年-1162年间画院待诏。擅画花鸟，人物，山水，杂画。《浪图》纵20，8厘米，横22厘米，东京国立美术馆藏。",[23,137,24,25,706,914,855,7,196,16521,29],"浪涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a18ac02739bb609ce29d13ab637a86f.jpg",[],{"id":16525,"slug":16526,"title":16527,"dynasty":54,"author":16528,"museum":245,"description":16529,"tags":16530,"thumbUrl":16531,"material":220,"size":220,"collection":220,"collections":16532,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":1833},227084,"ru-yi-lun-guan-yin-tu-liang-quan-227084","如意轮观音图","良全","良全（ryouzen）为活跃于14世纪的画家，关于其经历目前详情不明。但是从其作品中所留下的题赞等可知其为与干峰士昙（kenbousidon）（1285～1361）以及干峰士昙担任主持（jyuuji）的京都东福寺有着密切关系的画师。\n\n此幅“如意轮观音图”的上部树木取自技法超前的水墨画，尊像部分一般认为是彩色如意轮观音像的水墨画版。观音的衣裙及宝冠、莲花宝座等处施有细腻的金泥图案，却并不夺目，圆光的背后隐约可见的岩石采用淡墨描绘，画面整体围绕观音描述其周围的空间，本图是唯有精通水墨技法的良全方能绘成，作为14世纪的水墨佛画也可谓是极其成功的。画面右下角有“海西人（kaiseijin）良全笔”的金泥落款。",[23,24,25,155,194,7,28,83,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c0e7681f40aff4454529feba431a61.jpg",[],{"id":16534,"slug":16535,"title":16536,"dynasty":132,"author":1194,"museum":245,"description":16537,"tags":16538,"thumbUrl":16539,"material":220,"size":220,"collection":220,"collections":16540,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":49},226709,"he-le-tu-zhou-wen-ju-226709","合乐图","周文矩，善于深入观察和体会现实生活中的各色人物，把握他们的思想感情和性格特征，因此塑造出来的人物各不相同，达到形神兼备的艺术境界。他的仕女画从题材内容到表现形式，都继承了唐代周昉的传统。\n\n该图人物画卷与同是五代时期大画家顾闳中的传世名作《韩熙载夜宴图》卷有重大联系。这不仅是因为此图在绘画风格上与后者极为类似，而且在画面内容上也符合画史事实。",[23,137,24,25,26,7,28,83,59,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a17334f891c05bde91603b85c042b93.jpg",[],{"id":16542,"slug":16543,"title":13723,"dynasty":150,"author":310,"museum":15324,"description":16544,"tags":16545,"thumbUrl":16547,"material":424,"size":16548,"collection":220,"collections":16549,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},223159,"bai-lu-tu-shen-quan-223159","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。\n此画场面雄奇壮阔，波涛汹涌的溪边，在坡石平地处，幽憩着两只梅花鹿：其中一只雄性的梅花鹿屹立于坡上，二足着地，前左腿略微弯曲上提，仰首远眺，汲角往后，短尾微翘，背复部梅花斑纹清晰可见；另一只雌性梅花鹿，卧伏于山石上，两耳耸立，伸着脖颈，双目远视，画面下端为山石横卧，山石下急流滚滚，波纹起伏。在画幅右侧下坡石后，一棵巨大的柏树拔地而起，树干粗壮，枝干曲直向上，虬枝盘旋，相互交织在一起，其中有数枝横入画幅左侧和中部。在画幅打上侧款署“乾隆丙寅二秋”即1746年。\n此图极为清丽活泼。画面内容是柏树下、溪流畔的风景，两只梅花鹿一立一卧，神态悠然，动态生动，极是传神。最为引人注意的是鹿的描绘，十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，十分细致而并非完全照抄写实，显得画面既真实又不泥于细节。\n画家所作笔墨用意有二：其一，横出的柏树枝叶，使上端牢旷的画面得以填补，起到了使画面构图充满和平衡作用；其二，浓密枝叶形成大片的树荫，正是梅花鹿憩息最好去处和场所。在古柏后有石壁远崖，隐约可见山涧泉水顺流而下，汇聚在宽阔无际的江河中，构成一幅清丽娴雅的景致，令人心旷神怡。作者在创作此画时，特别注意虚笔在背景处理中的运用，虚实相生，阴阳分明，赋色妍丽清雅。此画题材富有吉庆寓意。",[23,137,24,25,7,28,582,29,1817,16546,1319,211,2653],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e97721781d653cc08291b2edf0edcd7.jpg","纵98 .2厘米，横47.2厘米",[],{"id":16551,"slug":16552,"title":16553,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":16554,"thumbUrl":16556,"material":28,"size":1081,"collection":220,"collections":16557,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":145},222736,"xian-e-chang-chun-tu-yu-mei-ren-yu-hu-die-hua-lang-shi-ning-222736","仙萼长春图虞美人与蝴蝶花",[23,24,25,212,7,28,7466,16555,159,198],"蝴蝶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cf8ef4ea03d3198d245b3fb1aea4e0.jpg",[],{"id":16559,"slug":16560,"title":16561,"dynasty":150,"author":10699,"museum":245,"description":16562,"tags":16563,"thumbUrl":16567,"material":599,"size":16568,"collection":220,"collections":16569,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":145},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,137,24,25,26,28,7,157,557,299,250,493,2708,8799,555,868,16564,2545,16565,5100,409,196,16566,178],"红鱼","莲叶","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],{"id":16571,"slug":16572,"title":16573,"dynasty":76,"author":16574,"museum":56,"description":16575,"tags":16576,"thumbUrl":16578,"material":496,"size":16579,"collection":182,"collections":16580,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":145},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[23,24,25,155,28,172,7,29,156,313,35,86,83,1797,16577,13148,3084],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横35厘米",[182,45],{"id":16582,"slug":16583,"title":16584,"dynasty":228,"author":229,"museum":78,"description":16585,"tags":16586,"thumbUrl":16587,"material":496,"size":16588,"collection":220,"collections":16589,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":145},221713,"wang-xi-zhi-guan-e-tu-quan-juan-qian-xuan-221713","王羲之观鹅图全卷","《王羲之观鹅图》是描写东晋书圣王羲之观白鹅的情景。此图画法，笔画简约，千墨燥锋，似是枯瘦格调，而其皴山石、立屋宇，却是较为精密且有顿挫有致的用笔技巧。山石皴笔时见飞动与疏密有致，笔划松动而老辣，空灵而沉着。\n此画为长卷，画面开阔。远景为平远山水景色，中景为一片宽阔河水，水面开阔平如镜，有几只白鹅正在河面上戏水，使谧静的河上略见生气：近处为村落，下面为坡石，坡石间和平地上，丛生松林杂树，树的后边为一座较大的屋宇水榭，水榭中站着两人，高者为此画主人公王羲之，正在凝视前方河面上戏水的鹅群，神情专一，仔细观看鹅群戏水的多姿多态。王羲之的身后为幼童，似乎也随着主人正在观看一群白鹅。\n在画面左侧，作者有一首七言题诗： “修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 “乾隆御览之宝”与“石渠宝笈”玺",[23,24,25,26,28,7,285,173,29,83,176,156,34,5181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31301d79c761a30f82e35acb1616dd0c.jpg","23.2X92.7厘米",[],{"id":16591,"slug":16592,"title":16593,"dynasty":18,"author":1609,"museum":78,"description":16594,"tags":16595,"thumbUrl":16596,"material":67,"size":16597,"collection":42,"collections":16598,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},221501,"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[23,24,137,914,7,28,1851,4541,582,83,705,13095,5572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","24.1×24.8cm",[42,237,125],{"id":16600,"slug":16601,"title":16602,"dynasty":228,"author":229,"museum":134,"description":16603,"tags":16604,"thumbUrl":16605,"material":100,"size":16606,"collection":237,"collections":16607,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},220384,"qiu-fang-niao-yu-tu-qian-xuan-220384","秋芳鸟语图","钱选山水师赵令穰，人物师李公麟，花鸟师赵昌，青绿山水师赵伯驹，尤善作折枝，其得意者赋诗其上。工临仿，尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉。选多写人物、花鸟，故所图山水当世罕传。。钱选与赵孟頫同乡并同享盛名。擅画人物、花卉及山水。其自题《其与花鸟画曾师法赵昌，又自有变法，多表现田园隐居等情趣，如《柴桑翁像》、等山水画。后因为手颤，以及对付诸多仿造者，改作水墨写意花卉。明代鲁王朱檀墓随葬有钱选等，多以水墨画就。",[23,137,24,25,914,28,7,212,689,178,159,13582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194ffa877014eafa9f6fefd8f3e58dd3.jpg","24.2x26.2",[237],{"id":16609,"slug":16610,"title":16611,"dynasty":228,"author":3524,"museum":463,"description":16612,"tags":16613,"thumbUrl":16614,"material":100,"size":16615,"collection":44,"collections":16616,"showCount":16428,"zanCount":1084,"manualWeight":48,"mainColor":145},220304,"shen-qi-tu-zhao-meng-fu-220304","神骑图","赵孟頫（1254年10月20日 －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。",[23,26,7,28,284,173,112,582,313,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57852e2c7d3771acfec8f2e8b15502eb.jpg","16.8x87厘米",[44,45],{"id":16618,"slug":16619,"title":16620,"dynasty":18,"author":191,"museum":134,"description":16621,"tags":16622,"thumbUrl":16624,"material":100,"size":16625,"collection":42,"collections":16626,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},220148,"lu-ting-shuang-ya-tu-yi-ming-220148","芦汀双鸭图","淡墨晕开秋水，似笼着薄雾寒烟，汀渚静卧，清寂悠然。右侧芦苇以双钩提笔绘就，细劲笔触勾出舒展茎叶，墨色分染衬出枯软肌理，仿有风过簌簌摇曳，野意横生。\n\n水面野鸭悠然徐行，浓墨点染头颈，浅墨晕开羽上斑纹，明暗相宜，灵动鲜活。寥寥数笔勾出鸭掌拨出的细微波痕，暗合水动之姿。\n\n整幅画作以简驭繁，舍去浓艳敷色，独以水墨铺陈郊野水滨之景，将秋日汀洲的幽寂闲趣藏于绢素，把自然生灵的安闲之态凝于笔端，尽显含蓄雅致的古典意韵。",[23,24,25,212,155,7,28,2708,652,5053,16623],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af9eabc519e95fbd973739de4ea50c.jpg","86.5x90.4",[42],{"id":16628,"slug":16629,"title":16630,"dynasty":18,"author":16631,"museum":245,"description":16632,"tags":16633,"thumbUrl":16635,"material":496,"size":16636,"collection":237,"collections":16637,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},220044,"ba-ba-niao-tu-guo-xi-220044","叭叭鸟图","郭熙","画上并没有牧溪的落款和任何题字，只有一方“牧溪”印章。这种小尺幅的画，可能是挂在僧人的禅房中作为观想用的。牧溪的画深得日本僧人喜爱，流传到日本之后，依然会悬挂在禅寺或私家园林最具礼仪性的空间—茶室之中。",[24,137,25,855,7,212,178,982,16634],"孤枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0721f1062efb8a06417db50da227369e.jpg","纵78.5厘米，横39厘米",[237],{"id":16639,"slug":16640,"title":16641,"dynasty":228,"author":191,"museum":406,"description":16642,"tags":16643,"thumbUrl":16644,"material":100,"size":16645,"collection":237,"collections":16646,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":49},219254,"xing-hua-yuan-yang-tu-yi-ming-219254","杏花鸳鸯图","老干虬曲盘折，枝桠间素白杏花轻绽，似碎雪点染枝头，清妍雅致。水畔鸳鸯相倚，羽色温润柔和，与浅滩细草、零星苔石相映，添得几分闲逸生趣。画面色调古雅沉敛，笔墨简淡却意韵悠长，于静谧中藏生机，尽显元代文人画的清逸之致，观之如沐春风，心归恬淡。",[23,5396,137,24,25,212,7,28,1695,1435,313,196,197,7974,1091,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3807ab913238f9ab10fab7e5d2ba0d67.jpg","纵163横98.2厘米",[237],{"id":16648,"slug":16649,"title":16650,"dynasty":228,"author":5636,"museum":134,"description":16651,"tags":16652,"thumbUrl":16653,"material":2373,"size":16654,"collection":237,"collections":16655,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},219241,"tao-zhu-chun-qin-tu-wang-yuan-219241","桃竹春禽图","此幅画坡石桃竹，两双锦鸡楼于坡石之间。桃枝上的一双小鸟作欲飞状。枝上桃花或盛开，或含苞欲放。图中花和叶都用水墨点画而成，不用线勾。作者以深浅不同的色调，表现出阴阳向背和不同的颜色。鸟身的羽毛举涂染皴划粗细笔兼用，不作精雕细琢。全画笔墨稳练、文雅，气韵苍古，是花鸟画在元代由设色向墨笔过渡的代表性作品。",[23,24,137,155,855,7,212,1653,156,299,178,159,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c252bcf6ed4c5540285f24044384b10.jpg","117.6x55公分；全幅72.5公分",[237],{"id":16657,"slug":16658,"title":16659,"dynasty":18,"author":7716,"museum":16660,"description":16661,"tags":16662,"thumbUrl":16663,"material":2373,"size":16664,"collection":237,"collections":16665,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":49},219074,"zhi-niao-tu-li-an-zhong-219074","鸷鸟图","西雅图艺术博物馆","双鸟振翅于苍空，一似利剑穿云，一若疾电掠野，羽翼纹理细劲如丝，飞羽层叠间藏着风的力度。下方山石嶙峋，荒草疏疏，墨色简淡却见苍劲，衬出鸷鸟雄健身姿。眼神未刻意描摹，却透着猛禽独有的锐光。整幅画于工致中见野逸，将鸷鸟凌厉气势与旷野清寂氛围融于一纸，尽显宋人对自然生灵的深刻洞察与笔墨匠心。寥寥数笔的背景，更让观者聚焦飞鸟动态神韵，仿佛能听见翅膀划破空气的声响，感受到荒野里蓬勃的生命张力。",[23,137,24,25,212,7,28,178,159,7974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df516f0d73f4636a45f5da60eb29c20.jpg","25.4x27cm",[237],{"id":16667,"slug":16668,"title":16669,"dynasty":54,"author":16670,"museum":134,"description":16671,"tags":16672,"thumbUrl":16673,"material":100,"size":16674,"collection":44,"collections":16675,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":145},218899,"shuang-qi-tu-wei-yan-218899","双骑图","韦偃","此图表现两人各乘一马，并辔狂纵之情景，构图、造形、用笔皆显示了韦偃画马艺术之非凡才能和独特风格，韦偃从主题效果着眼，注重画面气势，往往于险中见胜，不稳中见稳，使画面绝处逢生，平中生奇。",[23,137,24,25,28,7,83,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b078e9b0d663299c9f5600a79bc8e1.jpg","纵31厘米，横44.5厘米",[44],{"id":16677,"slug":16678,"title":16679,"dynasty":18,"author":16680,"museum":134,"description":16681,"tags":16682,"thumbUrl":16683,"material":100,"size":16684,"collection":42,"collections":16685,"showCount":16428,"zanCount":48,"manualWeight":48,"mainColor":49},218866,"jiang-sheng-cao-ge-tu-ma-he-zhi-218866","江声草阁图","马和之","画中有一座建在悬壁上的亭子，瀑布流入河中，一棵松树拔地而起，一个学者靠在栅栏上看一颗飞星。",[23,24,137,28,7,29,84,34,178,5100,1797,5053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2c1ff15b6b9c4fa6376a24609f2ff0.jpg","23.3x24.6",[42],{"id":16687,"slug":16688,"title":16689,"dynasty":76,"author":2369,"museum":134,"description":16690,"tags":16691,"thumbUrl":16694,"material":235,"size":16695,"collection":237,"collections":16696,"showCount":16428,"zanCount":1769,"manualWeight":48,"mainColor":49},218840,"cao-hua-ye-qin-tu-lv-ji-218840","草花野禽图","绘高梁丛底下，一对野雉正在低头觅食，另外还有三只荜雀翱翔于上，构景既真实生动，又富趣味性。画上并没有作者的签名，因为钤盖了吕纪的印章，而被误认为是他的作品。实际上这幅画虽然极好，但风格却和吕纪不尽相同，推测应该出自明代其他高手所作。吕纪（活动于1439—15○5年间），浙江鄞县人。明孝宗时任职于仁智殿作画，并被授予锦衣指挥的官名。",[137,24,25,155,7,28,212,178,16692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，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,24,25,155,27,28,7,81,29,83,84,927,211,86,13148,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":16844,"slug":16845,"title":16846,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":16847,"thumbUrl":16848,"material":67,"size":1560,"collection":220,"collections":16849,"showCount":16761,"zanCount":48,"manualWeight":48,"mainColor":145},230103,"hong-lou-meng-184-sun-wen-230103","红楼梦184",[24,7,28,83,59,176,1600,313,63,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabfc332f8765efb0858e3cb67140d24d.jpg",[],{"id":16851,"slug":16852,"title":16853,"dynasty":76,"author":9801,"museum":245,"description":16854,"tags":16855,"thumbUrl":16856,"material":220,"size":220,"collection":220,"collections":16857,"showCount":16761,"zanCount":1020,"manualWeight":48,"mainColor":49},228894,"gua-shu-tu-ce-ye-zhu-zhan-ji-228894","瓜鼠图册页","画面取隅角小景，湖石朴拙沉静，石顶细草轻立，石畔缀着深紫垂萝，晕染出幽谧闲静的氛围。\n\n小鼠憨态可掬，正贪啃半颗荔枝，柔细绒毛纤毫毕现，将小兽馋态描摹得灵动鲜活。荔枝丹红似火，果壳糙粝的肌理写实逼真，汁水淋漓的碎屑散落，将鲜果的甜润感烘托尽致。\n\n设色古雅柔澹，绢本晕染细腻，将日常细碎生趣凝于尺幅，融俗世恬然意趣与文人雅致留白为一体，以精湛写生功底，定格下天真平和的治愈瞬间。",[137,24,25,519,7,28,4023,454,159,655,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e45121baa27799f442e64863b39946d.jpg",[],{"id":16859,"slug":16860,"title":2620,"dynasty":54,"author":191,"museum":16861,"description":16862,"tags":16863,"thumbUrl":16864,"material":67,"size":16865,"collection":220,"collections":16866,"showCount":16761,"zanCount":1769,"manualWeight":48,"mainColor":49},223575,"mu-ma-tu-yi-ming-223575","新疆维吾尔自治区博物馆","此画的主题是骏马和马伕，作者用刚劲柔韧的线条勾画了一匹骏马，此马膘肥体壮，那矫健的身影，有的线条所表现的挺劲的马腿，生动的墨色表现出拂动的马鬃和马尾，表现骏马刚柔相济的魅力，更强化了静中之动的魅力。",[23,24,28,7,83,112,178,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517c6668fc9d4ef9e4071361a4ccaf95.jpg","纵53．5厘米，横22．3厘米",[],{"id":16868,"slug":16869,"title":16870,"dynasty":76,"author":6537,"museum":901,"description":16871,"tags":16872,"thumbUrl":16873,"material":67,"size":16874,"collection":182,"collections":16875,"showCount":16761,"zanCount":1769,"manualWeight":48,"mainColor":49},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","山水图卷","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[23,24,26,28,172,7,29,176,85,86,84,34,211,35,95,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[182,125],{"id":16877,"slug":16878,"title":16879,"dynasty":18,"author":326,"museum":245,"description":16880,"tags":16881,"thumbUrl":16882,"material":67,"size":220,"collection":42,"collections":16883,"showCount":16761,"zanCount":48,"manualWeight":48,"mainColor":49},221321,"shan-ying-tu-ye-zhao-ji-221321","山鹰图页","宋徽宗赵佶（1082年11月2日-1135年6月4日），号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,137,24,25,519,7,28,178,1499,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e2bf0c5effb80786fbb766f9d19af2.jpg",[42,237,45],{"id":16885,"slug":16886,"title":16887,"dynasty":18,"author":5227,"museum":134,"description":5228,"tags":16888,"thumbUrl":16889,"material":424,"size":16890,"collection":42,"collections":16891,"showCount":16761,"zanCount":48,"manualWeight":48,"mainColor":49},221296,"jin-men-ying-zhao-zhou-guo-zhong-shu-221296","金门应诏轴",[23,24,25,81,155,28,7,83,84,156,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[42,44,45],{"id":16893,"slug":16894,"title":16895,"dynasty":18,"author":191,"museum":134,"description":16896,"tags":16897,"thumbUrl":16899,"material":100,"size":16900,"collection":42,"collections":16901,"showCount":16761,"zanCount":48,"manualWeight":48,"mainColor":145},220386,"wu-kuan-li-hua-qu-yu-yi-ming-220386","无款梨花鸲鹆","此作尽显宋代工笔花鸟精妙意趣，墨色绘就的鸲鹆立于花枝，羽色浓淡层叠晕染，将玄色羽毛的绒软光泽尽数勾勒，明黄爪眼提亮画面，灵动仿若正引吭啼鸣，瞬间的生机被定格尺幅之间。\n\n淡粉晕出梨花清透柔润，留白托出瓣边莹白，苍劲枝桠衬得禽鸟愈发神完气足。古旧绢面晕开岁月沉香，却未掩画师对自然的入微体察。笔意简淡清雅，以小见大，将春日枝间融融春意凝练其中，静中藏动，尽显宋人雅致审美的悠悠余韵。",[23,137,24,25,7,28,212,1258,16898,653],"鸲鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25127c3e83af8c31239f09f1f2372412.jpg","25.3x29.8厘米",[42],{"id":16903,"slug":16904,"title":16905,"dynasty":228,"author":191,"museum":134,"description":16906,"tags":16907,"thumbUrl":16908,"material":28,"size":220,"collection":45,"collections":16909,"showCount":16761,"zanCount":48,"manualWeight":48,"mainColor":49},219326,"lao-pu-qiu-rong-tu-yi-ming-219326","老圃秋容图","画面中，数丛秋菊凌霜绽放，黄蕊凝金、紫瓣含晕，叠瓣层舒间尽显妍丽之态；叶片墨绿带苍，脉络清晰如染秋霜。旁侧墨石以皴擦写就，苍劲古朴，石上苔点疏密错落，更添岁月厚重。几只麻雀或栖石巅梳理羽翅，或低空掠飞相逐，灵动身姿为静谧秋景注入鲜活生气。笔墨兼具工细与写意，设色淡雅却见精神，秋意浓而不俗，尽显文人画“逸”之韵致——仿佛能闻菊香幽幽，听雀语啾啾，于方寸绢素间藏尽老圃秋日的清旷雅趣。",[24,28,7,212,488,299,159,198,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1869d6dcdca848d4e68850d5569f1ae2.jpg",[45],{"id":16911,"slug":16912,"title":16913,"dynasty":54,"author":16914,"museum":134,"description":16915,"tags":16916,"thumbUrl":16918,"material":67,"size":220,"collection":125,"collections":16919,"showCount":16761,"zanCount":48,"manualWeight":48,"mainColor":145},219232,"hua-niu-dai-song-219232","画牛","戴嵩","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”。",[5091,24,25,137,855,28,7,113,83,313,16917,197,173],"小狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1d4166525a0816f7b92f6d8b121fdb.jpg",[125],{"id":16921,"slug":16922,"title":16923,"dynasty":150,"author":16924,"museum":20,"description":16925,"tags":16926,"thumbUrl":16927,"material":100,"size":16928,"collection":44,"collections":16929,"showCount":16761,"zanCount":1769,"manualWeight":48,"mainColor":49},219102,"kang-xi-di-bian-zhuang-xie-zi-xiang-gong-ting-hua-jia-219102","康熙帝便装写字像","宫廷画家","图中康熙帝身穿便装，左手轻按平铺于方桌上的白纸，右手提笔正欲习字，身后屏风上的墨龙暗示着王者尊贵的地位。以特色透视技法画出的方桌与用欧洲焦点透视法描绘的屏风座形成了场景中能够调和的冲突。由此无法判断出，这幅佳作绘制于西风东渐的初期，是一位学习过西方画法、但又没有彻底明了其透视原理的宫廷作家所构思的。虽然此画存在不协调的现象，但它仍然是中西绘画交流、碰撞下的有趣的作品，值得我们进一步探究和分析。",[23,24,7,28,83,341,2956,784,785,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a24ed93f8ff588cb1d9dfc78cc5cfa.jpg","纵50.5厘米，横31.9厘米",[44],{"id":16931,"slug":16932,"title":16933,"dynasty":228,"author":648,"museum":16934,"description":16935,"tags":16936,"thumbUrl":16937,"material":100,"size":220,"collection":237,"collections":16938,"showCount":16761,"zanCount":48,"manualWeight":48,"mainColor":49},219096,"si-ma-tu-ren-ren-fa-219096","饲马图","维多利亚和阿尔伯特博物馆","画面捕捉饲马的日常瞬间：红衣者俯身照料，另一人持物趋近，两马或立或侧，姿态悠然。线条如铁线般挺劲，勾勒出马的健硕肌理与人物衣褶的流转，细节处见匠心——马鬃的蓬松、鞍具的纹理，皆刻画入微。设色淡雅却点睛：红衣的暖艳与背景的素净相映，衬出场景的质朴鲜活。整体风格写实，却于平凡中藏着对生命的关照，既见游牧文化对马的珍视，也显画家对生活烟火的细腻捕捉。画面静谧却涌动着日常生机，似能闻草料轻响，触岁月温软，是元代生活图景与艺术匠心的凝练呈现，于质朴中见生动，于细微处显深情。",[137,24,25,5396,7,28,83,112,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4df022bb041213a807994378e568d.jpg",[237],{"id":16940,"slug":16941,"title":16942,"dynasty":18,"author":2693,"museum":230,"description":16943,"tags":16944,"thumbUrl":16946,"material":100,"size":220,"collection":237,"collections":16947,"showCount":16761,"zanCount":48,"manualWeight":48,"mainColor":49},218905,"yan-e-tu-cui-bai-218905","雁鹅图","画面中雁鹅姿态鲜活，羽翼层叠间细笔勾出绒羽的蓬松质感，白绒与墨羽晕染过渡自然，红掌轻点地面似欲移步，尽显禽鸟灵动之态。旁侧水草以疏朗线条勾勒，叶片随风摇曳如含生机，与雁鹅的写实刻画相映成趣。古绢底色沉雅温润，衬得物象愈发鲜活，打破了宋初院体画的刻板拘谨，透出自然野趣。整作以写生为基，笔墨兼具工致与意趣，将禽鸟的鲜活与草木的清逸融于方寸纨扇，于细微处见生机盎然，尽显宋代画坛新风韵。",[23,24,25,914,28,7,212,16945,2708,159,5053],"雁鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f48905bd757fa0bd76d4450fe81f6d.jpg",[237],{"id":16949,"slug":16950,"title":16951,"dynasty":18,"author":191,"museum":134,"description":16952,"tags":16953,"thumbUrl":16954,"material":100,"size":16955,"collection":237,"collections":16956,"showCount":16761,"zanCount":1769,"manualWeight":48,"mainColor":145},218737,"xiang-shi-chui-jin-tu-yi-ming-218737","香实垂金图","它被画上了两个金灿灿的橙子，树枝经过精心挑选，给人以秋天水果的香味。这幅画被倒置装裱，观看时可以用旋钮转动。",[23,137,24,25,519,7,28,212,454,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d905cd84a86e927d93aef90fabb11.jpg","24.3x27.5",[237],{"id":16958,"slug":16959,"title":16960,"dynasty":150,"author":433,"museum":367,"description":2987,"tags":16961,"thumbUrl":16962,"material":100,"size":2990,"collection":220,"collections":16963,"showCount":16761,"zanCount":48,"manualWeight":48,"mainColor":145},218329,"shen-xian-gu-shi-tu-ce-8-leng-mei-218329","神仙故事图册-8",[23,24,137,28,7,83,59,9311,1600,519,344,2174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd518a2424dfa8a7b97c0876e9d26a005.jpg",[],{"id":16965,"slug":16966,"title":10420,"dynasty":150,"author":191,"museum":463,"description":16967,"tags":16968,"thumbUrl":16969,"material":100,"size":220,"collection":44,"collections":16970,"showCount":16761,"zanCount":48,"manualWeight":48,"mainColor":49},218300,"luo-han-tu-yi-ming-218300","罗汉趺坐神兽身侧，衣袂如流云舒卷，线条婉转间藏松活之趣。光头映着古绢暗纹，长须皴染得苍劲有力，眉目低垂时，禅意便从眼角眉梢漫出。神兽造型奇崛，鬃毛卷曲似浪涛翻涌，双目圆睁却含温驯，与罗汉的静定相映成趣。设色淡雅，墨骨清晰，浅晕的赭石与石青点缀其间，恰如古寺晨钟里的一抹微光。岁月在绢上留下斑驳痕迹，却让这份禅意更显醇厚——动静相生的构图里，是超然物外的平和，亦是传统佛画对心性的温柔观照。",[24,25,155,194,7,28,83,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62bbeb3ee91439ac7a59fb3d67f3c6b0.jpg",[44],{"id":16972,"slug":16973,"title":16974,"dynasty":76,"author":12763,"museum":134,"description":16975,"tags":16976,"thumbUrl":16978,"material":235,"size":16979,"collection":44,"collections":16980,"showCount":16761,"zanCount":48,"manualWeight":48,"mainColor":49},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,24,25,7,28,194,83,112,313,29,211,705,31,173,2464,16977],"经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[44],{"id":16982,"slug":16983,"title":16984,"dynasty":76,"author":2509,"museum":230,"description":2510,"tags":16985,"thumbUrl":16986,"material":235,"size":2513,"collection":220,"collections":16987,"showCount":16761,"zanCount":1769,"manualWeight":48,"mainColor":2515},216260,"ming-za-hua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[1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,25,26,28,7,855,29,83,175,86,34,112,4066,8429,286,176,2463,2487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":17269,"slug":17270,"title":17271,"dynasty":18,"author":191,"museum":134,"description":17272,"tags":17273,"thumbUrl":17274,"material":100,"size":17275,"collection":42,"collections":17276,"showCount":17206,"zanCount":1769,"manualWeight":48,"mainColor":49},231057,"fu-gui-hua-li-tu-yi-ming-231057","富贵花狸图","枝桠遒劲舒展，牡丹素瓣柔润晕染，似凝露轻绽。花叶疏密错落，暗衬盛放雍容。花狸伏身软草间，墨白毛色过渡自然无痕，双目凝注身前游虫，警觉中带着憨柔慵懒，将灵动感藏于静息姿态。\n\n整幅设色古雅沉静，绢底旧调晕开澹澹古韵，工细写实中带着雅致意趣，将繁花雍容与狸奴野趣相映成趣，闲静画面里暗涌鲜活生机，于清淡古拙间晕开平和悠然的氛围感，尽显小景中的雅致禅意。",[23,24,137,155,7,28,212,298,581,655,597],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8509dd73930dd4201e8b570bf5528f6.jpg","141x107.5",[42],{"id":17278,"slug":17279,"title":9855,"dynasty":150,"author":578,"museum":245,"description":17280,"tags":17281,"thumbUrl":17282,"material":220,"size":220,"collection":220,"collections":17283,"showCount":17206,"zanCount":1769,"manualWeight":48,"mainColor":145},230127,"hua-niao-ce-ye-ren-yi-230127","画面设色秀雅清润，两只山雀依偎枝桠，翎毛晕染细腻柔和，憨态可掬尽显亲昵意趣。月季柔瓣轻展，粉色素净雅致，枝叶皴染结合，深浅浓淡晕开蓬勃生机。右上方题字笔意隽秀，与画面相映成趣。整体构图疏朗空灵，以兼工带写之法，将草木柔态与禽鸟灵动融为一体，把寻常花鸟小景绘成充满温情的雅致小品，晕染出恬淡悠然的江南雅韵，尽显清隽婉约的文人画意趣。",[24,25,519,28,212,7,173,299,62,8304,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb68230908224e58f73ae2820e23e446.jpg",[],{"id":17285,"slug":17286,"title":17287,"dynasty":228,"author":15797,"museum":245,"description":17288,"tags":17289,"thumbUrl":17290,"material":1397,"size":1398,"collection":220,"collections":17291,"showCount":17206,"zanCount":48,"manualWeight":48,"mainColor":145},228159,"yu-shan-hua-niao-tu-ce-gu-ying-228159","玉山 花鸟图册","顾瑛为粱代画家顾野王的第二十五代后人，是中国艺术史上显耀一时之“玉山雅集”召集者，与元末黄公望、王蒙、倪瓒、赵雍、马琬、杨维桢、张雨、曹知白、柯九思、唐棣、张渥、赵原、陈惟允、柏子庭、周砥诸文人画家有着广泛交往。作为历史上重要书画藏家，早在20世纪80年代，顾瑛就被海外学者从中国画史、书画鉴藏史的角度来进行认识。",[23,24,28,519,7,212,1068,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99371dcaffeee312fa059b43571283b4.jpg",[],{"id":17293,"slug":17294,"title":17295,"dynasty":18,"author":191,"museum":245,"description":17296,"tags":17297,"thumbUrl":17298,"material":220,"size":220,"collection":220,"collections":17299,"showCount":17206,"zanCount":1769,"manualWeight":48,"mainColor":145},227381,"qiu-hua-tu-ye-yi-ming-227381","秋花图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。",[23,137,24,25,4185,7,28,212,409,2884,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566273ba43fdaceaabf6298b88025aa3.jpg",[],{"id":17301,"slug":17302,"title":6283,"dynasty":132,"author":2758,"museum":134,"description":17303,"tags":17304,"thumbUrl":17306,"material":220,"size":220,"collection":220,"collections":17307,"showCount":17206,"zanCount":1769,"manualWeight":48,"mainColor":49},227260,"shan-zhe-ji-que-tu-huang-ju-cai-227260","《山鹧棘雀图》是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,7,28,212,178,159,2653,1797,299,5250,17305],"荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e4895995ba64cb331932d19a89e33a.jpg",[],{"id":17309,"slug":17310,"title":17311,"dynasty":18,"author":191,"museum":134,"description":17312,"tags":17313,"thumbUrl":17316,"material":17317,"size":17318,"collection":220,"collections":17319,"showCount":17206,"zanCount":1769,"manualWeight":48,"mainColor":1833},223437,"song-xiu-ju-hua-lian-er-zhou-yi-ming-223437","宋绣菊花廉（二）轴","通幅以沉暗墨色为底，金针彩线织就案头秋供盛景。主株菊丛葳蕤繁茂，团花如簇，瓣层叠似凝霜聚雪，花叶以套色勾勒晕染，明暗过渡自然，将秋菊的清隽风骨尽数铺展。四周蝶影轻翩，细碎蜂蝶点染虚空，为静雅画面添上灵动生机。\n\n下方朱漆条案承托主盆，两侧配衬小花盆栽，章法端严对称，尽显宋人居室清供的雅致意趣。绣工精绝，戗色、盘金技法交织，针脚细密匀整，丝绒光泽晕开花鸟雅韵，静穆晕着秋日庭间的清寂诗意，尽显宋人尚雅的审美意趣。",[23,706,14415,7,28,155,488,411,17314,409,198,212,2614,158,17315],"花盆","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36b2a6209c7a620404ab879a6cb7f2c.jpg","轴绢本","150.4x64厘米",[],{"id":17321,"slug":17322,"title":17323,"dynasty":76,"author":191,"museum":134,"description":17324,"tags":17325,"thumbUrl":17326,"material":424,"size":17327,"collection":220,"collections":17328,"showCount":17206,"zanCount":1769,"manualWeight":48,"mainColor":49},223375,"chu-jing-tu-yi-ming-223375","出警图","此卷全本共两件，《出警图》和《入跸图》，皇帝出京称出警，回京称入跸。此图卷描绘明世宗由陆路谒陵的情景。庞大的皇家谒陵队伍，由北京城得胜门出发，画家沿途舖设，盛大的卫仪阵容，直至皇帝谒陵的目的地。",[23,24,25,26,28,7,83,112,29,34,2782,2798,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba7555859181efb34e956d465f1006b.jpg","92.1×2601.3cm",[],{"id":17330,"slug":17331,"title":17332,"dynasty":228,"author":229,"museum":245,"description":17333,"tags":17334,"thumbUrl":17335,"material":424,"size":17336,"collection":237,"collections":17337,"showCount":17206,"zanCount":1084,"manualWeight":48,"mainColor":49},221705,"shu-tu-qian-xuan-221705","鼠图","他画的《黠鼠图》是目前我们所能见到的最早的一件画鼠作品。\n画中的老鼠正在偷食瓜果，每个老鼠的形态不一，笔触细腻，老鼠的狡黠形象跃于纸上。",[23,24,25,28,7,4023,582,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d4a9ecece2b0a34a04e94dee2d0a5.jpg","24.3 27.3",[237,45],{"id":17339,"slug":17340,"title":17341,"dynasty":18,"author":1040,"museum":1129,"description":17342,"tags":17343,"thumbUrl":17345,"material":17346,"size":17347,"collection":42,"collections":17348,"showCount":17206,"zanCount":1769,"manualWeight":48,"mainColor":49},221494,"long-gu-che-tu-li-song-221494","龙骨车图","李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》、《水殿招凉图》，《观潮图》、《西湖图》、《仙山瑶涛图》，《骷髅幻戏图》、《观灯图》、《柳塘聚禽图》、《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,7,28,81,17344,113,83,158],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a05840e2dc8620ab8a0852363b3faea.jpg","绢本墨画淡彩","25.626.4cm",[42,44,125],{"id":17350,"slug":17351,"title":17352,"dynasty":228,"author":5636,"museum":134,"description":17353,"tags":17354,"thumbUrl":17355,"material":28,"size":17356,"collection":237,"collections":17357,"showCount":17206,"zanCount":48,"manualWeight":48,"mainColor":49},219896,"ying-zhu-hua-mei-zhou-wang-yuan-219896","鹰逐画眉轴","此帧画一只苍鹰自空中急速俯冲而下，即将迫及画眉，画眉则张口失声伧促逃窜，一幕弱肉强食的情况活跃在纸上。全幅用笔甚工，设色温雅，颇有宋画遗风。",[23,137,24,25,155,7,855,28,212,178,653,198,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c0da1dc68285a385d2a617339a9ad.jpg","117.2x53.3公分",[237],{"id":17359,"slug":17360,"title":17361,"dynasty":76,"author":9801,"museum":134,"description":17362,"tags":17363,"thumbUrl":17364,"material":235,"size":220,"collection":44,"collections":17365,"showCount":17206,"zanCount":48,"manualWeight":48,"mainColor":145},219650,"shou-xing-tu-zhu-zhan-ji-219650","寿星图","明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日—1435年1月31日在位）、书画家，年号“宣德”。",[24,25,83,28,7,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e610390b67ca78dfcbe69d37be9a06.jpg",[44],{"id":17367,"slug":17368,"title":17369,"dynasty":150,"author":191,"museum":230,"description":17370,"tags":17371,"thumbUrl":17372,"material":100,"size":17373,"collection":44,"collections":17374,"showCount":17206,"zanCount":1020,"manualWeight":48,"mainColor":49},219453,"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[23,24,26,28,7,83,112,29,34,796,14983,4567,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[44,182],{"id":17376,"slug":17377,"title":5635,"dynasty":18,"author":4209,"museum":230,"description":17378,"tags":17379,"thumbUrl":17380,"material":100,"size":17381,"collection":237,"collections":17382,"showCount":17206,"zanCount":1769,"manualWeight":48,"mainColor":49},218882,"tao-zhu-jin-ji-tu-ma-ben-218882","马氏家族绘画代代相传，必然有一些绘画技法是代代相传的。从这个角度，我们可以看到，《桃竹锦鸡图》右边的桃树枝干部分，与马远《西园雅集图》等作品中的树干画法，非常接近，都是直来直去的描绘方式；《桃竹锦鸡图》中非常显眼的燕子，与收藏在日本大和文华馆的马远《竹燕图》，存在非常明确的一致性。竹子的画法与传世马远多件绘画中的竹子，更是接近。通过这些细节的全面比较，可以判断：《桃竹锦鸡图》是马氏家族的作品。\n《桃竹锦鸡图》从时间坐标上看，是宣和时代；从绘画特征来看，是马氏家族；那么，按照逻辑，《桃竹锦鸡图》的作者就是马贲。马贲的生活时代跨北宋神宗、哲宗、徽宗，比崔白、吴元瑜等画家的活动时间略晚10-20年。他是南宋大画家马远的曾祖父，马氏五代绘画家族的第一代人物。他的晚期作品，受宣和时代影响，应该具有典型的宣和画家绘画意识。",[24,137,25,7,28,212,1653,156,938,159,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1576814ae297b450aa13cc8ea4cb67.jpg","21x22cm",[237],{"id":17384,"slug":17385,"title":17386,"dynasty":18,"author":191,"museum":406,"description":17387,"tags":17388,"thumbUrl":17389,"material":100,"size":17390,"collection":44,"collections":17391,"showCount":17206,"zanCount":1084,"manualWeight":48,"mainColor":49},218588,"ren-wu-gu-shi-tu-juan-ying-luan-tu-yi-ming-218588","人物故事图卷（迎銮图）","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[23,24,137,25,26,28,7,83,112,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8a11479e4109b860eb40b23814c4d0.jpg","横142.2厘米，纵26.7厘米",[44],{"id":17393,"slug":17394,"title":17395,"dynasty":76,"author":17396,"museum":230,"description":17397,"tags":17398,"thumbUrl":17399,"material":235,"size":17400,"collection":182,"collections":17401,"showCount":17206,"zanCount":48,"manualWeight":48,"mainColor":49},217062,"gao-shi-guan-pu-tu-sheng-mao-ye-217062","高士观瀑图","盛茂烨","这幅画是一块巨石耸立在瀑布上，平台上有几位高僧在观看瀑布，乐在其中。这幅画笔力雄浑，滴水不漏，有劈泉裂石之势，而其树木山石都与古人的血脉相连。",[23,24,855,28,7,172,29,83,1319,85,34,1797,176,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f72bd5bed6ccdc8ef477233ace97724.jpg","156x88cm",[182],{"id":17403,"slug":17404,"title":17405,"dynasty":18,"author":191,"museum":134,"description":17406,"tags":17407,"thumbUrl":17408,"material":100,"size":17409,"collection":42,"collections":17410,"showCount":17411,"zanCount":1084,"manualWeight":48,"mainColor":49},290994,"hua-chun-fu-gui-tu-yi-ming-290994","华春富贵图","从图中技巧、内容看，当是一位宫廷画家高手。它是一件珍贵的插花古图。我们可从中窥见宋代宫廷插花之美。\n图以工笔彩绘，笔笔不苟。绘金漆宝相花纹金瓶，放置于嵌宝石漆架上，插以大朵重瓣朱红、粉、白牡丹，当是宋时照殿红等牡丹花名种；并以桃花（花瓣略尖，是桃花无疑）、木香枝条相衬。（左下角枝条似是取荷包牡丹相衬，但画得很模糊，未能确认），造型略为对称之形，而活泼灵动。牡丹六朵，分左右、前后、上中下，居于花型之中，相伴桃花、木香，暗示着五方空间，真是天地五方六合皆春色。含有贺岁朝新春之意，亦为富贵气象。今日牡丹插花之华贵丰韵，当亦应如是。",[24,137,25,155,28,7,212,298,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a6ec52fe441c112236cda157c0733d.jpg","144.5x49.8",[42],50,{"id":17413,"slug":17414,"title":17415,"dynasty":150,"author":9326,"museum":245,"description":17416,"tags":17417,"thumbUrl":17418,"material":1397,"size":1398,"collection":220,"collections":17419,"showCount":17411,"zanCount":1769,"manualWeight":48,"mainColor":145},290314,"sui-chao-li-jing-zhou-chen-shu-290314","岁朝丽景轴","通过描绘各种带有良好意愿谐音的物品，来表达对新年的祈盼和祝福。运用谐音、象征的表现手法，在明清许多吉庆画中屡见不鲜，体现着含蓄、高雅的情调，带有较强的文化气息。",[24,155,7,28,212,637,520,690,5111,451,9329,2614,8885,173,9131,9331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db4869e407e5adfdd4127d79baf616d.jpg",[],{"id":17421,"slug":17422,"title":9172,"dynasty":18,"author":191,"museum":245,"description":17423,"tags":17424,"thumbUrl":17426,"material":1397,"size":1398,"collection":220,"collections":17427,"showCount":17411,"zanCount":1020,"manualWeight":48,"mainColor":49},289984,"bai-zi-tu-yi-ming-289984","庭院间百童嬉游，百态尽显。孩童们或组队舞狮，红帕翻飞间满是喧闹活力；或围坐博弈，蹙眉托腮憨态毕露，亦有扑蝶追跑、搭肩低语者。画面构图饱满却错落有致，细笔勾勒孩童衣衫褶皱与灵动神态，浅淡设色晕染出古雅柔润的质感。\n整作将市井婴戏的鲜活日常凝于尺幅，把稚子烂漫天真悉数铺展，暗含着对烟火盛景、多子安康的美好祈愿，尽显风俗画的细腻功力，目之所及，恍若能听见满院稚语欢声，踏入千年前的童趣庭院。",[23,24,914,83,5898,92,28,7,17425,9132],"嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec42fc443c5d526d45d1d3b947cf6b25.jpg",[],{"id":17429,"slug":17430,"title":17431,"dynasty":228,"author":17432,"museum":245,"description":17433,"tags":17434,"thumbUrl":17435,"material":1397,"size":1398,"collection":220,"collections":17436,"showCount":17411,"zanCount":1769,"manualWeight":48,"mainColor":49},288918,"kong-que-fu-rong-tu-bian-lu-288918","孔雀芙蓉图","边鲁","边鲁（生卒年不详），字至愚，号鲁生，约活动于元代中期，自称魏郡（今河南安阳）人，官至南台宣使。善画墨笔花鸟竹石，工书古文奇字，造诣颇深。",[137,24,1996,28,7,492,213,178,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91e5a478b65d0856aa6f536c4f43031.jpg",[],{"id":17438,"slug":17439,"title":2130,"dynasty":18,"author":191,"museum":245,"description":17440,"tags":17441,"thumbUrl":17442,"material":1397,"size":1398,"collection":220,"collections":17443,"showCount":17411,"zanCount":1769,"manualWeight":48,"mainColor":1833},288261,"hua-lan-tu-yi-ming-288261","竹编花篮分层编织纹理清晰，造型圆融雅致，衬着沉暗古绢底色更显质朴静穆。篮中夏花俯仰错落，硕大菡萏柔瓣舒展，莹白间晕染淡赭，尽显盛放娇柔，幽兰修长舒展、萱花缀着朱砂艳色，野逸生机暗藏其间。\n\n设色克制沉静，以淡墨晕出花叶层次，浅赭点染花梢，将夏花清妍之态悄然铺展。画作没有繁复铺陈，却以极简笔触将日常花艺升为清赏雅景，藏着以小见大的审美哲思，把寻常案头清供绘成隽永的雅致风物，尽显宋人对日常闲雅意趣的极致追寻。",[23,137,24,212,7,28,157,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32db9f97a3f2b79ae1b045d01879e2b.jpg",[],{"id":17445,"slug":17446,"title":17447,"dynasty":132,"author":1194,"museum":245,"description":13291,"tags":17448,"thumbUrl":17449,"material":1397,"size":1398,"collection":220,"collections":17450,"showCount":17411,"zanCount":1769,"manualWeight":48,"mainColor":49},287363,"guan-yin-tu-zhou-wen-ju-287363","观音图",[24,194,83,7,28,1054,1532,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c57d0c331442fbd568d4a57b2e51cc.jpg",[],{"id":17452,"slug":17453,"title":17454,"dynasty":150,"author":8137,"museum":245,"description":17455,"tags":17456,"thumbUrl":17460,"material":220,"size":220,"collection":220,"collections":17461,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":49},235977,"peng-lai-xian-dao-tu-zhou-yuan-jiang-235977","蓬莱仙岛图轴","《蓬莱仙岛图》是清代袁江创作的绢本设色画。\n本幅题：“蓬莱仙岛，戊子凃月邗上袁江画”，钤“袁江之印”、“文涛”印2方。\n“蓬莱仙岛”是中国古代神话传说中的“海上神山”，岛上的宫殿建筑全用黄金白银盖成，奇花异草、珍禽怪兽不计其数，更是藏有“不死之药”。\n此图就是袁江以这些古代神话传说为题材，加上自己的艺术想象而构思创作的仙山仙境。\n作者在描绘这座海上仙山时，着重突出了云烟缭绕的仙境氛围，精美细致的楼阁、雄奇伟岸的山石与烟涛微茫的大海烘托出画家理想的生活境界，令人悠然神往。\n袁江（约 1671—1746年以后），字文涛，江都（今江苏扬州）人。\n擅画山水楼阁。\n早年师法仇英，中年时曾得无名氏画谱，技艺大进。\n其界画在清代被推为第一。",[24,81,7,28,67,17457,625,84,211,17458,17459,29,4512],"蓬莱仙岛","云海","大海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7046a2be5c72aa6e5af46b7e932afdb.jpg",[],{"id":17463,"slug":17464,"title":17465,"dynasty":150,"author":191,"museum":245,"description":17466,"tags":17467,"thumbUrl":17470,"material":220,"size":220,"collection":220,"collections":17471,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":49},235450,"yuan-jiang-guan-chao-tu-zhou-yi-ming-235450","袁江观潮图轴","危崖高阁凌然峙立，丹彩飞檐映着崖畔缤纷花树，丹紫错落晕开秋意。浩渺江面潮波翻涌如堆雪，樯帆随浪远近浮沉。远山隐在烟霭暮色里，晕出空蒙柔曼的天际。\n\n画作笔法工致精丽，山石皴擦硬朗苍劲，楼阁界画严整工细，设色温雅柔和，赭色晕染铺就江天色调，将钱江大潮的浩荡雄阔与秋江暮色的朦胧诗意相融，尽显山海楼阁的壮美景致与观潮的旷远意趣。",[24,81,28,7,29,84,175,1797,34,17468,37,4188,17469,88],"潮水","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c6d3fc428d12a5c9a98e0c3595ceb.jpg",[],{"id":17473,"slug":17474,"title":17475,"dynasty":150,"author":7676,"museum":245,"description":13699,"tags":17476,"thumbUrl":17477,"material":1397,"size":1398,"collection":220,"collections":17478,"showCount":17411,"zanCount":1769,"manualWeight":48,"mainColor":145},234981,"mu-dan-shan-mian-ren-xiong-234981","牡丹扇面",[24,914,28,7,212,298,159,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef6e39009c0679e8fbde899009d894d.jpg",[],{"id":17480,"slug":17481,"title":17482,"dynasty":76,"author":17483,"museum":20,"description":17484,"tags":17485,"thumbUrl":17486,"material":424,"size":17487,"collection":220,"collections":17488,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":145},234190,"mei-hua-shuang-qin-juan-chen-ji-ru-234190","梅花双禽卷","陈继儒","陈继儒字仲醇，号眉公，明代松江府华亭县（今上海）人，生于嘉靖三十七年（1558）十一月，卒于崇祯十二年（1639）。陈自幼研习书画，与董其昌同学并为一生至交，他们都是晚明名声甚隆、影响甚大的士人，但有所不同的是陈继儒年纪轻轻便放弃了仕途。\n陈继儒所处的时代是政治腐朽、党争激烈、矛盾尖锐、皇帝荒淫、社会风气堕落的晚明，他清醒地认识到再走科举一途己无多大意义，因此，毅然下定决心“谢去青襟”，隐居山林。朝廷屡次征召，他“皆以疾辞”。\n晚明时代是一个求变与保守交织的时代，从吴门画派以后，晚明绘画大致划分为两派，一是以徐渭、陈洪绶为代表的创新派，一是以董其昌为代表的书斋文人画派，这两种风格不断竞争，构成了晚明画坛的主要特点。虽然强烈的社会变革要求造就了一批卓具改革精神的画家，但是作为当时的文化主流则依然是因循保守的士大夫绘画，其代表人物就是“松江画派”的董其昌，而陈继儒所属的云间画派也是正统文人画的风向标。\n陈继儒的画风与整个晚明时代的气息显得有些格格不入，他的作品清雅脱俗，静中不显荒疏，且无不满或是失望留于画面，而是与世无争，以平和的心态面对世间百态，独辟蹊径，潜心创作，凭着自己丰富的学养在乱世中取得了书画上的成就。从流传的作品中可知陈继儒山水、梅竹作品居多。梅竹上追宋元，山水师法董巨",[23,24,25,26,28,7,637,212,178,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65883b1783be479b0e29d8bfbac1daf.jpg","纵32.5cm，横256.5cm",[],{"id":17490,"slug":17491,"title":17492,"dynasty":54,"author":1753,"museum":20,"description":17493,"tags":17494,"thumbUrl":17495,"material":40,"size":17496,"collection":220,"collections":17497,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":49},233221,"gong-yuan-tu-juan-li-si-xun-233221","宫苑图卷","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网巾水纹，辉煌明丽，富有装饰性。此卷为吴瀛先生于1947年“倾囊得之”，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,27,28,81,7,26,29,84,83,85,86,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f27739550c87b246fdfc42c398a96ff.jpg","纵23.9厘米，横77.2厘米",[],{"id":17499,"slug":17500,"title":17501,"dynasty":228,"author":6236,"museum":245,"description":17502,"tags":17503,"thumbUrl":17504,"material":67,"size":17505,"collection":220,"collections":17506,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":49},232904,"peng-lai-bi-shu-tu-juan-wang-zhen-peng-232904","蓬莱避暑图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。\n温州历史上曾出过不少著名画家，而有作品流传至今的，当首推元代的王振鹏。王振鹏，字朋梅，号孤云处士，被誉为“元代界画第一人”。有关王振鹏史实最原始的资料，是与他同时代的著名学者虞集所撰的《王知州墓志铭》。这篇写于元奉定四年（1327）的文章是虞集应王振鹏之请为其父所作。其父名由，字在之。所谓知州衔乃是王振鹏艺贵显之后由元仁宗追赠。因其父35岁离世，无事迹可陈述，故全文主要在称述王振鹏艺事。所以虽为王由墓志，实为王振鹏立传。从中得知仁宗尚为太子时，王振鹏就因画艺超群而受赏识，并赐号孤云处士。于延祐元年三月迁为秘书监典籍。累官数处，至治时为廪给令，佩金符，拜千户，总海运于江阴、常熟间。这大致勾勒出他一生的轮廓。",[23,24,25,26,81,28,7,27,83,84,85,86,175,176,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91bcae19f54291adfcc4eb057b517fa.jpg","39.8×327.3厘米",[],{"id":17508,"slug":17509,"title":17510,"dynasty":18,"author":1140,"museum":245,"description":17511,"tags":17512,"thumbUrl":17513,"material":67,"size":17514,"collection":220,"collections":17515,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":145},232873,"xie-sheng-hu-die-hua-hui-tu-juan-ma-lin-232873","写生蝴蝶花卉图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。",[137,24,25,26,28,7,450,212,411,409,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467a89c60170e8b6134389615759f31.jpg","27.85*334.93厘米",[],{"id":17517,"slug":17518,"title":17519,"dynasty":18,"author":663,"museum":78,"description":17520,"tags":17521,"thumbUrl":17522,"material":220,"size":220,"collection":220,"collections":17523,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":49},227963,"pi-pa-ba-ge-tu-tuan-shan-ye-wu-bing-227963","枇杷八哥图团扇页","此作工致写实，将一隅小景绘得意趣悠长。通体乌黑的禽鸟静栖枝桠，羽翼以浓淡墨色晕染出蓬松柔润的质感，亮眼圆睁尽显憨稚警觉，喙部与爪尖勾勒细腻，姿态沉稳憨拙。旁侧枇杷枝叶舒展，叶片以淡绿敷色，细笔勾出筋脉区分阴阳向背，将叶片的舒展柔劲尽显无遗，簇生的浅黄花苞素雅清新。\n整幅画面设色温润古雅，笔意精细却不显匠气，把寻常林间片刻定格为隽永图景，尽显静观万物的雅致审美，淡逸平和中藏着鲜活生机。",[137,24,25,914,7,28,212,178,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff313a95abb99fbd631ae6e3ea15178f3.jpg",[],{"id":17525,"slug":17526,"title":17527,"dynasty":18,"author":1040,"museum":245,"description":17528,"tags":17529,"thumbUrl":17530,"material":220,"size":220,"collection":220,"collections":17531,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":49},227742,"lou-ge-tu-li-song-227742","楼阁图","李嵩(1166—1243)，宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190—1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。如《明皇斗鸡图》《花篮图》；有白描淡色之风俗画，如《货郎图》；也有水墨渲染之山水画，如《西湖图》等。\n\n传世作品有嘉定四年（1211）作《货郎图》卷、《花篮图》页、《骷髅幻戏图》轴藏故宫博物院；《西湖图》卷藏上海博物馆；《听阮图》、《夜月看湖图》及传为李嵩的山水小品画《水殿招凉图》等藏台北故宫博物院。传世作品还有《椿溪渡牛图》、《服田图》、《采莲图》和《观潮图》等，题材后世论画者题其画说：“李师最识农家趣”。\n\n李嵩的风俗画更为知名，他画过许多表现下层社会生活的农村生活风俗画，把劳动人民的生活作为审美对象来描绘，这在中国古代美术发展史上有着重要的意义。 其《货郎图》有多种本子存世，以故宫博物院收藏的一卷为最佳。此画描写一挑担货郎在乡村被孩童围住的情景，充满浓厚的乡土气息。藏于故宫博物院的《骷髅幻戏图》轴，人物表情甚佳，衣纹丁头鼠尾，多用直线，细而有力。",[24,25,81,7,28,29,84,313,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee79b8cdce1dc5eed5659beb992a37f.jpg",[],{"id":17533,"slug":17534,"title":17535,"dynasty":150,"author":7603,"museum":245,"description":17536,"tags":17537,"thumbUrl":17538,"material":220,"size":220,"collection":220,"collections":17539,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":145},224118,"yu-bi-da-shi-xiang-bing-xin-jing-tu-qian-long-224118","御笔大士像并心经图","此作书画合璧，首段白描观音大士，衣袂如流云舒展，趺坐莲台，线条清隽空灵，将大士的温婉端凝勾勒得形神兼备。\n\n其后小楷《心经》笔致沉劲端雅，结体匀整秀逸，墨色匀净乌亮，字字安稳静穆，经文旁辅以注音小字，尽显书写时的恭谨至诚。\n\n朱印鲜亮点缀素幅，红白相映愈见清雅古意。整幅作品将佛理禅意落于笔端，绘事简而有神，书丹工而不板，笔墨间浸着庄严肃穆的虔诚，是兼具笔墨造诣与禅心的精妙之作。",[23,24,137,25,155,251,283,7,730,855,194,83,173,17231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e6e6a56dd394a9cbc245ad6b393c1b.jpg",[],{"id":17541,"slug":17542,"title":17543,"dynasty":76,"author":191,"museum":245,"description":17544,"tags":17545,"thumbUrl":17546,"material":220,"size":220,"collection":220,"collections":17547,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":49},223635,"lian-hua-tu-ye-yi-ming-223635","莲花图页","此作以工笔绘就，柔劲细线勾勒莲瓣轮廓，淡赭轻晕瓣边，褪去初绽娇色，白荷温润舒展，尽显盛放的雍容雅致。硕大荷叶以石绿敷色，墨笔勾出叶脉肌理，在古绢底色晕染下，绿意沉凝厚重，与素净白荷相映，清雅中带着沉静古拙的岁月质感。\n\n画面构图饱满却不显繁冗，一花两叶错落排布，将夏荷舒展之态定格。无多余点缀，以极简布景烘托莲的出尘气韵，尽显传统工笔花鸟的内敛雅致，晕开古画沉淀的静美意趣。",[23,137,24,25,519,28,7,248,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4589146b155a8c850a3f7b447dbf6eb0.jpg",[],{"id":17549,"slug":17550,"title":17551,"dynasty":76,"author":191,"museum":245,"description":17552,"tags":17553,"thumbUrl":17555,"material":67,"size":17556,"collection":220,"collections":17557,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":145},223582,"rui-lian-ling-mao-tu-yi-ming-223582","瑞莲翎毛图","荷塘里，荷叶绿如盘，粉红的荷花，或腐烂，或萌芽，含彩花，已结莲子； 天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[23,24,25,28,7,212,248,249,17554,178,651,34,2477,409,1091,3084,3149,3150],"天鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","80x60cm",[],{"id":17559,"slug":17560,"title":17561,"dynasty":18,"author":191,"museum":20,"description":17562,"tags":17563,"thumbUrl":17565,"material":10221,"size":17566,"collection":42,"collections":17567,"showCount":17411,"zanCount":1769,"manualWeight":48,"mainColor":49},223561,"you-qi-tu-juan-yi-ming-223561","游骑图卷","该卷旧传是唐人手笔，实为北宋翰林图画院某画家摹写唐代人马画的精品，显露出宋代院体细谨求实的艺术面貌，得到宋徽宗赵佶的认可。此图属行乐类题材，画7人5马，似出游狩猎。人物全身唐装，衣纹作铁线描，细劲刚挺，神情刻划细致入微，生动传神。设色极简，清淡明洁。无论是从绘画技巧，还是风格来讲，都可视为中国古典写实绘画表现鞍马题材的典范之作，与西方文艺复兴早期如鸟切诺等人的写实绘画相比，在鞍马人物形象的准确性与形体透视的生动性等方面的把握上，似乎具有更感人的魅力。可知中国古典写实绘画应是比西方更早掌握了如何通过透视缩形来真实表现客观物体的方法。尽管西方意义的科学透视法并不在中国产生，但那种中国式的视觉投影方法，曾经有力支撑着中国封建时代盛期的绘画写实艺术，那么，甚至在图像时代的今天，我们仍然有必要对其现实意义进行研究。",[23,137,706,26,7,283,28,83,112,17564],"骑马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc607519eb1cdca03b10fb72d38b179c4.jpg","47x195",[42,44,45],{"id":17569,"slug":17570,"title":17571,"dynasty":150,"author":2047,"museum":20,"description":17572,"tags":17573,"thumbUrl":17574,"material":67,"size":17575,"collection":220,"collections":17576,"showCount":17411,"zanCount":1769,"manualWeight":48,"mainColor":145},222809,"hua-zhu-qi-qin-tu-wang-wu-222809","花竹栖禽图","《花竹栖禽图》底部一奇古巨石，一朵盛开的牡丹从石左侧斜出，枝头一雀鸟面向花朵，鸟目圆睁，似在欣赏花的美丽，又像陶醉在花香中。\n花鸟的颜色艳而不俗，用笔工而不板，明快醒目。\n巨石以浓墨绘出，见有皴染。\n石隙空洞处可见枝叶，错落雅致。\n墨竹疏落有致，用墨浅淡，与底部的花、鸟、石形成色彩上的鲜明对比。\n整幅画面虚实相间，构图奇巧，设色浓淡适宜，笔墨兼工带写，形成了赏心悦目的视觉效果。\n可见，作者跋中所言“学古而步泥其迹”不虚。\n此画右侧下端，置一太湖巨石，两头小中间大，造型奇特，玲珑别透，中间以矾头突出，湖石几乎占有画面的二分之一。\n石旁有翠竹数株，拔地而起，竹竿挺拔，有二大株翠竹冲出画面，一株矮竹附在湖石旁。\n湖石左脚下有数株茶花，茶花有的绽开，有的含苞，在绿叶村托下显得艳丽清雅。\n画幅左侧有作者自题识，丁已年为康熙十六年（1677），王武时年45岁，为王武中年佳作。\n此画的景物基本集中于画幅右侧，但由于画家精心安置，使整幅画位置安稳、平而不板，赋色明丽、艳而不俗，这是此画的最大的特色，也是此画最成功之处。\n在表现技法上，画家以水墨勾勒，皴染作山石，在点苔之后复以石青点之，湖石显得坚实、凝重。\n竹叶和茶花用绿色和红色直涂法，花蕊以黄色点染，花瓣虽都是红色，但亦有深浅区别变化，花叶上又用中锋细笔加画叶脉。\n一只小鸟以积墨法画之，墨色变化丰富，表现出羽毛的质感。\n此画采用没骨与匀勒法相结合的手法，显得自然协调，敷色雅丽明快，令观赏者心旷神怡，颇有忘忧之感。",[23,24,137,25,155,28,7,156,62,299,159,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8017c120ae98e5925dad71a77ec4ec.jpg","90.7×40.5cm",[],{"id":17578,"slug":17579,"title":17580,"dynasty":76,"author":2369,"museum":434,"description":2678,"tags":17581,"thumbUrl":17582,"material":496,"size":17583,"collection":237,"collections":17584,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":49},222391,"si-xi-tu-li-zhou-lv-ji-222391","四喜图立轴",[23,24,28,7,212,155,2362,9655,1068,1319,211,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b651d770ecc93ed64e2befaf762c39.jpg","93x51",[237,45],{"id":17586,"slug":17587,"title":17588,"dynasty":76,"author":11456,"museum":17589,"description":17590,"tags":17591,"thumbUrl":17593,"material":17594,"size":17595,"collection":44,"collections":17596,"showCount":17411,"zanCount":1769,"manualWeight":48,"mainColor":49},222137,"liu-hai-xi-jin-chan-tu-zhou-liu-jun-222137","刘海戏金蟾图轴","石家庄市博物馆","画中刘海蟾神情怡然，步态从容，身着长袍，足凳云履，腰系葫芦与紫芝。左手托三足金蟾，飘波于碧涛之上。背景远山一抹，海天辽阔。驻足画前细细品味，一股清新自然之气扑面而来。在浩瀚无垠的大海和辽阔无边的天空映衬之下，刘海蟾的神仙气质脱颖而出。画家摄取了刘海蟾信步波上的瞬间，虽无情节，却给人留下无限遐想的空间——他是到蓬莱赴会众神仙，还是到凡间赐福世人？这正是花架构思的奇妙之处。",[23,24,155,7,28,83,343,157,17592],"金蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1450695127d7e3b981d63088893321af.jpg","绢地，设色","纵181.3厘米，横108.8厘米",[44],{"id":17598,"slug":17599,"title":17600,"dynasty":228,"author":648,"museum":20,"description":17601,"tags":17602,"thumbUrl":17603,"material":40,"size":17604,"collection":44,"collections":17605,"showCount":17411,"zanCount":48,"manualWeight":48,"mainColor":49},221767,"er-ma-tu-juan-ren-ren-fa-221767","二马图卷","元朝任仁发的《二马图》卷，是一幅有着明确讽刺内容的绘画作品，而且含义十分尖锐，下面试解释画面一二。\n画面很简单，画幅前边是一匹壮实、膘肥肉厚的花马，昂首，踏着轻快的碎步，尾巴扬起飘动，显得自在得意。随在这匹马后边的则是一匹骨瘦如柴的马，条条肋骨清晰可见，它低着头，步履蹒跚，尾巴卷缩着，显出吃力疲惫之态。画家以极其写实的手段，采用勾勒的笔法，描画了马匹的轮廓，线条极富表现力，然后赋以色泽，颇具唐人画马的传统。\n如果单纯从画面来看，画中描绘的只是两匹马，我们似乎不会感到这是一幅讽刺绘画，但是结合画幅后面作者自己的题记来看，其实它是对当时官场乃至社会的种种腐败黑暗提出了强烈的批评。只不过采用了隐喻、拟人的手法，曲折地表明了画家的态度和观点。这大概也是画家所处的时代决定的，因为像《二马图》这样的作品，当时除去作者本人以外，能看到的人可以说不会很多，这样的绘画活动仅仅只能算是个人行为，不会像现在的漫画作品能够发表于报刊上，影响面十分广大，变成了一种社会行为。\n这幅并无任何其他背景和道具的《二马图》卷，看似简单，其实寓意深刻。内容的关键在于画幅后面画家任仁发自己题写的一段文字。他在跋语中先叙述了所画的肥、瘦二马：“肥者骨骼權奇，縈一索而立峻坡，雖有厭飫芻豆之榮，寧無羊腸踣蹶之患。瘠者皮毛剝落，齧枯草而立風霜，雖有終身擯斥之狀，而無晨馳夜秣之勞。”在写完对两匹马的评语后，作者笔锋一转，进一步议论道：“世之士大夫，廉濫不同，而肥瘠系焉。能瘠一身而肥一國，不失其爲廉；苟肥一己而瘠萬民，豈不貽淤濫之恥歟？”看了这段跋语，我们才恍然大悟，原来任仁发是借用两匹马来评论官场的得失利弊。他将画中的肥马比喻成为官不正的贪官，他们吸食民脂民膏，故而肥壮；又将画中的瘦马比喻为廉明勤政的清官，因为忙于政务而累得皮毛剥落，骨瘦如柴。然后作者表明了应当以前者为戒、以后者为榜样的态度。明白了任仁发画这肥、瘦二马的用意之后，再仔细观察，就会发现，作者在画中还安排了一个不大为人注意的细节，那匹肥马马首挽着笼头，但是缰绳却松开了，拖在地上，而瘦马不但有笼头，缰绳还套在马颈上。一匹是没有约束的脱缰之马，失去了控制，就会无法无天，鱼肉百姓而肥己。另一匹是有约束的拴着缰绳的马，有了管束才能尽心尽力，克勤克俭。在这里任仁发似乎又进一步阐述了自己对于官吏管理的看法，其用心可谓十分良苦。其深刻含义就是如果一个社会缺乏了某种监督和制约的机制，腐败就将滋生。",[23,24,25,26,28,7,112,582,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32de904e74241fc3d2e6288cfebb4fe.jpg","纵28.8厘米，横142.7厘米",[44,45],{"id":17607,"slug":17608,"title":17609,"dynasty":18,"author":1585,"museum":20,"description":17610,"tags":17611,"thumbUrl":17612,"material":67,"size":17613,"collection":42,"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画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。 所画人和马作各种不同的姿态，转侧俯仰，富有变化",[23,24,25,137,155,28,7,83,112,582,14983,16011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f29856d91d375b99fed5b050f99805e.jpg","182.9x104.1",[44,45],{"id":17870,"slug":17871,"title":17872,"dynasty":76,"author":2369,"museum":134,"description":17873,"tags":17874,"thumbUrl":17876,"material":100,"size":17877,"collection":237,"collections":17878,"showCount":17727,"zanCount":48,"manualWeight":48,"mainColor":49},220400,"he-zhu-shui-fu-tu-lv-ji-220400","荷渚睡凫图","月夜时分，岚雾凄迷，芦苇、荷叶隐现其间，洲渚上栖息大雁四只。构图上只有近、中景，远景则多省略不绘。本幅虽有吕纪名款，然有存疑之处，且通幅之笔力较为薄弱，当非吕氏之原迹。但其景物布置与气氛营造与另一张本院收藏吕纪「秋渚水禽」颇为接近，故此应为一相当忠实于吕氏风格之仿作，可从此画中一窥吕纪写意风格的面貌。\n吕纪（活动于公元1439－1505年间），浙江宁波人。字廷振，号乐愚，亦作乐渔。吕纪为明代中叶著名的宫廷花鸟画家，孝宗弘治（公元1488－1505年）间值仁智殿，官至锦衣卫指挥。花鸟初学边文进（活动于1403－1428），后摹仿唐宋诸名家，结合工笔、写意法，呈现出多种面貌，颇具个人特色。",[23,24,25,137,28,7,212,157,17875,178,159,250],"凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ee5454cc9863896919696108f94b6c.jpg","纵：174.5公分 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“元” 送 “喜” 谐音。三元指状元、会元、解元，故本图有科考高中之吉祥寓意。",[23,24,25,7,28,83,1744,313,1029,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2316fbe648f0293f1ca11463ab959048.jpg","111.4x62.8厘米",[44],{"id":17907,"slug":17908,"title":17909,"dynasty":76,"author":17910,"museum":367,"description":17911,"tags":17912,"thumbUrl":17913,"material":100,"size":220,"collection":44,"collections":17914,"showCount":17727,"zanCount":48,"manualWeight":48,"mainColor":49},219548,"yao-chi-xian-ju-tu-zhang-chong-219548","瑶池仙剧图","张翀","左上题笔苍劲古朴，与下方群景相映成趣。画中仙者围聚雅奏，吹笛人垂眸凝神，乐音似随笔墨漫溢而出；持板者庄容敛目，静候合律；侧耳听者沉醉忘形，仕女柔婉端丽，老者骨相清奇。衣纹以铁线描游走，顿挫间尽显飘逸灵动，晕染细腻贴合身形，将仙家出尘之姿尽数铺展。古雅棕褐底色晕开瑶池的缥缈清旷，把群仙宴乐悠然盛景刻画入微，既有传统人物画的精工雅致，又暗蕴超脱尘俗的浪漫气韵，尽显精妙笔力与古典审美意趣。",[23,24,28,7,83,59,582,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7624c2f1c2e8fe233684b55cd2200168.jpg",[44],{"id":17916,"slug":17917,"title":17918,"dynasty":18,"author":191,"museum":230,"description":17919,"tags":17920,"thumbUrl":17921,"material":2246,"size":17922,"collection":237,"collections":17923,"showCount":17727,"zanCount":1020,"manualWeight":48,"mainColor":49},219000,"tang-su-zhu-que-tu-yi-ming-219000","唐宿竹雀图","竹影扶疏，墨色浓淡间显枝干劲挺，竹叶层叠如翠云轻展，疏密有致藏自然生机。雀儿栖于竹枝，或敛翅假寐，或侧首凝睇，羽纤毫毕现——绒羽若隐若现，翅尖纹理分明，爪尖扣枝的力道隐于柔姿，神态灵动如临其境。石矶卧于竹下，皴法简淡却见朴拙，与竹的清雅相映成趣。整幅画面动静相宜，清雅中含野逸之趣，写实笔触里蕴文人雅致，尽展宋画对自然物态的精妙捕捉与诗意表达。",[23,137,24,25,155,7,855,28,212,156,3035,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7da3d9921c4342a3173c6bce0281591.jpg","纵159.0横93.4厘米",[237],{"id":17925,"slug":17926,"title":17927,"dynasty":54,"author":16914,"museum":134,"description":17928,"tags":17929,"thumbUrl":17930,"material":235,"size":17931,"collection":237,"collections":17932,"showCount":17727,"zanCount":48,"manualWeight":48,"mainColor":145},218796,"hua-niu-tu-dai-song-218796","画牛图","壮硕的水牛缓步踏于郊野，肌理褶皱与蓬松毛发以浓淡墨色晕染，憨态中藏着沉实力量。牛背上的牧童半倚牛身，袖角轻扬似伴风哼歌，眉眼间漫着未泯的天真。旁侧老树枝干虬曲，墨叶层叠如盖，树下蜷伏的小狗探头张望，添了几分灵动野趣。\n\n整幅画以简练线条勾出轮廓，墨色深浅衬出物象质感，田园的悠然生机凝于尺幅。每处细节皆藏着对生活的细腻观察：牛蹄的厚重、牧童的松弛、树影的斑驳，仿佛能听见风过叶隙的轻响，与牧童唇边隐约的调子，瞬间跌入那片静谧的乡野时光里。",[23,137,24,25,855,28,7,113,83,313,173,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c7dfa521d6e806e13ca8e77c45568ad.jpg","56.1x32.2cm",[237],{"id":17934,"slug":17935,"title":17936,"dynasty":18,"author":4002,"museum":134,"description":17937,"tags":17938,"thumbUrl":17941,"material":100,"size":17942,"collection":237,"collections":17943,"showCount":17727,"zanCount":1084,"manualWeight":48,"mainColor":145},218617,"yuan-ji-hui-ce-song-hong-liao-shuang-fu-mao-yi-218617","元集绘册 宋红蓼双凫","描写鸭凫一对栖息于洲渚边，雄凫绿颈花羽伫立，雌凫相依啄食地面，画家传神地描绘出鸟禽的外型。岸上芦荻几株，红蓼掩映其间，颇富山林野趣。本幅与上海博物馆所藏宋无款「双凫图」极为相似，然构图布局左右相反，两者皆属于北宋末南宋初流行的汀渚水鸟风格。毛益为南宋孝宗干道年间（西元一一六五─一一七三年）的画院待诏。",[24,25,519,7,28,212,17939,17940,250],"红蓼","双凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bd50e2132c6f4e91d07b9dc4e59a3f.jpg","本幅 26x25.8公分、对幅 26x25.8公分、全幅 43.1x75.9公分",[237],{"id":17945,"slug":17946,"title":3433,"dynasty":76,"author":191,"museum":367,"description":17947,"tags":17948,"thumbUrl":17950,"material":100,"size":17951,"collection":44,"collections":17952,"showCount":17727,"zanCount":48,"manualWeight":48,"mainColor":49},218372,"ying-xi-tu-yi-ming-218372","画的是一个骑着白色羊毛羊的孩子，戴着羊毛帽，穿着厚厚的长袍，肩上扛着一根细细的梅花杆，在隆冬时节，在一群不同颜色的羊毛中间放着一个鸟笼。",[23,24,28,7,83,6142,4541,61,313,17949,582],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eb0eaf577239595e5412db7830f04d.jpg","65.4x42.54",[44],{"id":17954,"slug":17955,"title":10420,"dynasty":76,"author":17956,"museum":134,"description":17957,"tags":17958,"thumbUrl":17959,"material":235,"size":17960,"collection":44,"collections":17961,"showCount":17727,"zanCount":48,"manualWeight":48,"mainColor":145},217000,"luo-han-tu-chen-yuan-217000","陈远","罗汉图是明朝陈远所作的一幅著名的书画作品。它描绘了一群罗汉在山间修行的场景，山水画风格细腻，造型生动，富有表现力。罗汉是佛教徒中的一种职业，被视为道德模范，修行苦修，常常身着袈裟，头戴顶冠，手持佛像，在山林中修行禅定。\n\n陈远（1360-1453年），字元和，号清臣，是明朝著名的书画家。他的作品中有许多著名的山水画，其中罗汉图是其代表作之一。陈远的画风浑厚而不失精细，富有感染力，是明朝画坛的重要代表。",[24,25,155,194,7,28,83,286,158,63,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e868355eac240b9a49b9ea292fc510f.jpg","101.7x50",[44],{"id":17963,"slug":17964,"title":17965,"dynasty":18,"author":191,"museum":245,"description":17966,"tags":17967,"thumbUrl":17970,"material":1397,"size":1398,"collection":220,"collections":17971,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":49},290101,"da-nuo-tu-yi-ming-290101","大傩图","此画面上共画有十二个人。他们都穿着奇异的服装，戴着各式的帽子和插着花枝。帽子的式样毫不重复，除了斗笠、巾和冠之外，有的是戴着粗角的兽头，有的是农家场院器具斗、箩、箕之属。他们的手中或身上携拿着鼓、铃、檀板等乐器，或为扇、篓、帚等用具，或为花枝、瓜之属。所有人的面部都化了妆，可能戴的是假面具。十二个人团团围住，手舞足蹈，充满着欢乐的气氛。旧题《大傩图》。\n描写民间风俗习惯的绘画，宋代特别发展，《大傩图》轴即是一幅风俗画。傩(音挪)，是一种古老的驱除疠疫的民间习俗。《论语》中就有“乡人傩”的记载。《后汉书》记载：“先腊一日，大傩，选中黄门子弟，十岁以上十二岁以下百二十人为侲子。”唐代《乐府杂录》中描写说：“用四方相，戴冠及面具，黄金为四目，衣熊裘，持戈扬盾，口作傩傩之声，似除也。侲子五百，小儿为之，朱褶青襦，戴面具，晦日于紫宸殿前傩，张宫悬乐。”这些描述与画上的情况基本相似。当然到了宋代，傩时的具体情形和细节，又会有许多的发展变化。从画面情形来看，其中增加了许多农具，可见这种古老的习俗，到了宋代除了驱除邪祟之外，还有祈求丰收的意味，同时也是一种民间娱乐活动。所以此幅画，从艺术到内容，都值得珍视。",[23,24,4304,28,7,17968,2095,194,83,138,17969],"傩仪","驱疫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0214edf785d84df72358586c5782c05d.jpg",[],48,{"id":17974,"slug":17975,"title":17976,"dynasty":132,"author":12431,"museum":245,"description":12432,"tags":17977,"thumbUrl":17978,"material":1397,"size":1398,"collection":220,"collections":17979,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":49},289778,"lian-chi-shui-qin-tu-zhou-yi-gu-de-qian-289778","莲池水禽图轴一",[23,24,212,155,7,28,248,157,178,651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5be46ebdc7cfa368ae7532a135a26ee.jpg",[],{"id":17981,"slug":17982,"title":17983,"dynasty":76,"author":77,"museum":245,"description":17984,"tags":17985,"thumbUrl":17986,"material":1397,"size":1398,"collection":220,"collections":17987,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":49},287608,"yu-dong-xian-yuan-tu-chou-ying-287608","玉洞仙源图","该画作描绘长松参天，洞壑奔雷，云塞幽谷，松涛掩映楼阁，一人临流静坐停琴，童子四人，趋走前后。该画作勾勒精工，秀雅纤细，布局严谨，极有气势，设色沉静。",[23,137,24,25,155,7,27,28,29,84,85,86,83,927,37,625],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd125a8b06ed17f67b28f7bb73d33cafd.jpg",[],{"id":17989,"slug":17990,"title":17991,"dynasty":150,"author":17992,"museum":245,"description":17993,"tags":17994,"thumbUrl":17995,"material":1397,"size":1398,"collection":220,"collections":17996,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":145},283781,"jin-yu-tu-weng-luo-283781","金鱼图","翁雒","江苏吴江. 画有夙慧，初写人物，中年后专攻花鸟、草虫、水族，尤善画龟。笔精墨妙，生动尽致。",[137,24,25,155,28,7,212,8883,2533,2545,409,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ff6396d75f7a14cf78bf4d16f51833.jpg",[],{"id":17998,"slug":17999,"title":18000,"dynasty":228,"author":18001,"museum":245,"description":18002,"tags":18003,"thumbUrl":18004,"material":1397,"size":1398,"collection":220,"collections":18005,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":49},283627,"huang-he-lou-tu-xia-yong-283627","黄鹤楼图","夏永","夏永，精界画，特别擅长宫殿楼阁界画，师法王振鹏。所作《滕王阁图》《黄鹤楼图》《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。《花间笑语》云：“细若蚊睫，侔于鬼工。”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。元至正七年（1347）作岳阳楼图。以发绣滕王阁、黄鹤楼图，细若蚊睫，侔於鬼工。按明远作品存世有滕王阁图、岳阳楼图两斗方见唐五代宋元名迹，界画精细，上细书滕王阁赋、岳阳楼记，正若花间笑语所云：“细若蚊陡，侔於鬼工。”或亦以此而误为发绣，待考。摘自《花间笑语、君台观左右帐记》。",[24,137,81,84,29,178,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14867724a60ccf59905f53199d147be.jpg",[],{"id":18007,"slug":18008,"title":18009,"dynasty":150,"author":191,"museum":245,"description":18010,"tags":18011,"thumbUrl":18012,"material":1397,"size":1398,"collection":220,"collections":18013,"showCount":17972,"zanCount":1084,"manualWeight":48,"mainColor":49},272876,"zi-tan-mu-bian-xiu-hua-niao-tu-gua-ping-yi-ming-272876","紫檀木边绣花鸟图挂屏","此挂屏以石青暗缎为地，施针走线晕染出幽隽小景。浅绒线绣就的花树虬曲苍柔，枝头花苞攒聚、轻绽妍丽，花瓣脉络隐现，娇态尽显。玲珑湖石立于坡间，间伴细草幽竹，朴雅静谧。几只彩蝶振翅穿行，翅纹纤毫毕现，似携清风欲飞，让画面骤然生动。\n\n绣法精巧入微，将工笔花鸟画的雅致意趣融于针黹，配色柔雅和谐，石青底色衬出浅绣的温润柔和，整体清逸娴静，尽显旧时绣作的细腻灵秀，将庭院春景的恬然诗意凝固于方寸之间。",[14417,14415,212,34,2533,298,411,5004,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999cee02d06f47378508cade23691a87.jpg",[],{"id":18015,"slug":18016,"title":3223,"dynasty":150,"author":1162,"museum":245,"description":3224,"tags":18017,"thumbUrl":18018,"material":1397,"size":1398,"collection":220,"collections":18019,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":145},239452,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239452",[24,25,519,28,7,486,212,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a680e6b7c35d706aec7e8969432b7eb.jpg",[],{"id":18021,"slug":18022,"title":2902,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":18023,"thumbUrl":18024,"material":1397,"size":1398,"collection":220,"collections":18025,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":145},239251,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239251",[24,25,519,212,7,28,298,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfd8e60ef873b3f238993efed3037203.jpg",[],{"id":18027,"slug":18028,"title":18029,"dynasty":150,"author":516,"museum":245,"description":10131,"tags":18030,"thumbUrl":18031,"material":220,"size":220,"collection":1478,"collections":18032,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":145},238318,"pen-hua-si-yong-zhou-dong-gao-238318","盆花四咏轴",[24,155,7,28,298,690,637,8622,173,212,211,17314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876b0af7bf8e0501b0f448f609ce86c3.jpg",[1478],{"id":18034,"slug":18035,"title":18036,"dynasty":150,"author":191,"museum":245,"description":11250,"tags":18037,"thumbUrl":18038,"material":1397,"size":1398,"collection":220,"collections":18039,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":49},234421,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234421","清人文殊菩萨像轴",[24,155,194,28,7,83,3114,8086,1055,11514,2602,5469],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F144bc0ee0d7f076112633815d6773f52.jpg",[],{"id":18041,"slug":18042,"title":18043,"dynasty":150,"author":191,"museum":245,"description":18044,"tags":18045,"thumbUrl":18046,"material":1397,"size":1398,"collection":220,"collections":18047,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":145},234386,"mou-bing-tai-qian-long-huang-di-chao-fu-xiang-zhou-yi-ming-234386","缪炳泰乾隆皇帝朝服像轴","此作以工笔重彩写就，将帝王垂暮之态与九五威仪相融。画师细摹面容，苍纹间见沉凝神态，不怒自威。朝服织绣极尽工巧，明黄龙纹盘绕腾跃，十二章纹排布严整，处处恪守礼制章法。朝珠垂坠合度，珠辉与绣色交相辉映，华贵不失庄重。雕龙宝座工丽繁复，衬出帝王至尊之姿。全幅设色富丽醇和，线条精细入微，写实传神，精准拿捏帝后肖像的制式准则，又生动刻画出帝王晚年的肃穆气场，是清代肖像画礼制性与艺术性兼具的佳构。",[24,155,7,28,83,341,63,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb69f55bef7110dec4aa2b25bf063614.jpg",[],{"id":18049,"slug":18050,"title":18051,"dynasty":76,"author":819,"museum":245,"description":15648,"tags":18052,"thumbUrl":18053,"material":220,"size":18054,"collection":220,"collections":18055,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":145},233916,"hua-hui-cao-chong-ce-xiang-sheng-mo-233916","花卉草虫册",[24,519,28,7,212,409,453,173,520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cfbfe75dae41daeb995925f68ddf49c.jpg","23x31cm",[],{"id":18057,"slug":18058,"title":18059,"dynasty":18,"author":191,"museum":20,"description":18060,"tags":18061,"thumbUrl":18062,"material":67,"size":18063,"collection":220,"collections":18064,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":49},233000,"mei-zhu-shuang-que-tu-ye-yi-ming-233000","梅竹双鹊图页","该图绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色钩填，层次丰富。竹叶用双钩法勾勒轮廓，随后染以花青、汁绿、赭石等色。枝上两只小鸟栖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夏秋草图屏风-秋分","酒井抱一","日本画家的的琳派。他以复兴绪方光琳的风格和流行而闻名，并创作了光琳作品的许多复制品。",[23,28,7,212,468,2257,409,411,655,18080,18081],"浮世绘","日本传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115d92d5e47f2f2a6c2be087928f418c.jpg",[],{"id":18085,"slug":18086,"title":18087,"dynasty":76,"author":15902,"museum":9737,"description":18088,"tags":18089,"thumbUrl":18094,"material":67,"size":18095,"collection":220,"collections":18096,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":49},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[23,24,28,7,212,213,298,521,178,211,409,677,67,2477,18090,2800,11407,1091,3437,597,1092,18091,18092,15953,18093],"花卉禽鸟","羽毛","苔点","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],{"id":18098,"slug":18099,"title":18100,"dynasty":150,"author":191,"museum":245,"description":18101,"tags":18102,"thumbUrl":18103,"material":220,"size":220,"collection":220,"collections":18104,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":49},230300,"wan-guo-lai-chao-tu-yi-ming-230300","万国来朝图","《万国来朝图》是清代宫廷佚名画家创作的绢本设色画，现藏于 。\n《万国来朝图》，将万国来朝使团朝贡的场景绘于画面，场面宏大十分热闹。\n画面显示，每到元旦朝贺庆典，各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见；充分展示出宫廷建筑群的宏伟壮观和天朝大国、万国来朝的盛世气派。\n《万国来朝图》包含了远西诸国（荷兰、英吉利、法兰西）、周边诸国（日本、朝鲜、安南），而荷兰、英吉利、法兰西又都是带口子边的，在贬低他国的同时直接反映了清朝以天朝上国自居的自大心态。\n该画作在大雪银装素裹下更加庄严雄伟；太和殿前皇家侍卫身着华服、排列整齐，文武百官肃立静候待命；乾隆帝安闲地坐在后宫屋檐下靠椅上喝茶休憩，准备前往太和殿接见各国使臣；后宫人物众多，女眷们身着吉服三五成群或闲聊、或看热闹，孩子们兴高采烈的或嬉戏、或放鞭炮，太监宫女们各司其位或忙碌于元旦准备工作、或穿梭于庭院回廊；各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见。\n队伍前面有一只经过精心装扮的高大威猛的大象显得神气十足，大象上坐着一人正与同伴交谈着什么。\n画面将万国来朝的宾客们巧妙地安排在画幅四分之一处的右下角，延展出画外仍有众多宾客，场面宏大十分热闹。\n在我国历史上，历朝历代的元旦同样是宫廷最为重要的节日之一。\n具体到大清王朝紫禁城里的元旦，从本质上讲与民间并无二致，只是多了份典礼式的庄严和肃穆，活动多以规模宏大盛典形式表现。\n收藏的几幅由清代宫廷画家绘制的《万国来朝图》，就是对紫禁城内元旦朝贺活动的形象记录。\n赏析这些画作，可以使我们对当年位居九五之尊的皇帝如何过元旦，获得一些感性认识。\n据专家考证，为了宏扬清朝政府的威德，展现“四夷宾服、万国来朝”的繁荣景象，在乾隆帝授意下，宫廷画家们先后创作了多幅向清国朝贺、歌功颂德的绘画，作品之间只是在细节上略微有所不同。\n从画面中可以看出，元旦朝贺庆典是在紫禁城内举行，作者以鸟瞰的角度全景式构图，运用传统工笔界画的表现技法，大胆地通过对个别宫殿适当挪位、变换角度、压缩，通过宏观和微观将主要建筑和场景尽量容纳其中，展示出宫廷建筑群的宏伟壮观和皇家气派、将不同时间段来朝使团朝贡的场景绘于画面，集中表达兴盛之意。\n纵观整体画面，层次丰富、主次分明，准确传神地将各种元素巧妙地组合，将数以百计的人物安排得恰到好处、刻画得细腻入；整幅画作呈现出祥和的景象，淋漓尽致地营造出乾隆年间紫禁城元旦朝贺庆典的热闹场景，给观者强烈的艺术感染力、留下深刻印象。",[23,24,7,28,81,83,84,751,92,34,4077,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aff9949ab70c37e5214da467c0091b5.jpg",[],{"id":18106,"slug":18107,"title":4354,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":18108,"thumbUrl":18109,"material":1397,"size":1398,"collection":220,"collections":18110,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":49},226232,"ku-zhu-shi-zao-jing-yi-ming-226232",[1053,194,28,7,409,5793],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735741f7d2cf965ac9bf9aac6041d358.jpg",[],{"id":18112,"slug":18113,"title":18114,"dynasty":150,"author":2092,"museum":134,"description":9128,"tags":18115,"thumbUrl":18117,"material":18118,"size":18119,"collection":220,"collections":18120,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":145},223093,"hua-nan-fang-zeng-zhang-tian-wang-xiang-zhou-yao-wen-han-223093","画南方增长天王像轴",[23,24,155,194,7,28,83,29,2602,344,1787,173,251,5470,18116,34,86],"神像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b754074b82571d0e38932f5e220c24.jpg","轴 纸本 设色","114.5x66.5厘米",[],{"id":18122,"slug":18123,"title":18124,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":18125,"thumbUrl":18129,"material":67,"size":1560,"collection":220,"collections":18130,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":49},223075,"hong-lou-meng-61-sun-wen-223075","红楼梦61",[23,24,7,28,81,83,29,4077,84,92,34,473,35,59,216,1104,18126,5967,18127,18128],"红楼梦题材","陈设","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce8b0c32c96d9c86a13f94caf067894.jpg",[],{"id":18132,"slug":18133,"title":18134,"dynasty":150,"author":433,"museum":406,"description":18135,"tags":18136,"thumbUrl":18137,"material":67,"size":18138,"collection":44,"collections":18139,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":49},222875,"xue-yan-tu-leng-mei-222875","雪艳图","冷枚，清代宫廷画家，大约生于1669年，卒于1742年。字吉臣，号金门画史，山东胶州人，焦秉贞弟子。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼",[24,25,155,251,7,28,83,59,5343,521,211,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f985d1b3640c0897853b0e606f7428.jpg","60cmx105cm",[44],{"id":18141,"slug":18142,"title":18143,"dynasty":150,"author":260,"museum":134,"description":7103,"tags":18144,"thumbUrl":18145,"material":424,"size":7107,"collection":182,"collections":18146,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":145},222765,"shi-er-yue-ling-tu-6-yue-lang-shi-ning-222765","十二月令图（6月）",[23,24,7,28,84,5053,248,175,34,83,8613,3023,7105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6718ccffcb0e01f60920e1c7a8481499.jpg",[182,45],{"id":18148,"slug":18149,"title":16104,"dynasty":76,"author":18150,"museum":134,"description":18151,"tags":18152,"thumbUrl":18161,"material":218,"size":18162,"collection":182,"collections":18163,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":49},222241,"yu-le-tu-ding-yu-chuan-222241","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,28,29,7,175,3487,156,18153,4188,37,86,4066,313,655,2708,33,14375,1499,12243,18154,95,770,18155,18156,18157,18158,18159,8140,14876,3084,1206,3488,18160],"渔夫","渔人","浅滩","丛竹","近岸","远岫","霭气","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","纵270厘米、横174.4厘米",[182,125],{"id":18165,"slug":18166,"title":18167,"dynasty":18,"author":18168,"museum":18169,"description":18170,"tags":18171,"thumbUrl":18172,"material":28,"size":18173,"collection":42,"collections":18174,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":49},221360,"yue-xia-wu-que-tu-dai-wan-221360","月下五雀图","戴琓","昆仑堂美术馆","戴琓，北宋画家。生卒年不详。汴（今河南开封）人。宣和（1111-1125）年间在翰林，殊蒙恩宠。画史称其：工翎毛花竹，常入阁供奉，后因求者甚众，徽宗闻之，封其臂不令私画，故传世者鲜。\n传世作品有《月下五雀图》，现藏昆山市昆仑堂美术馆；《雪梅寒雀图》，美国弗利尔美术馆藏。",[23,24,7,28,67,212,199,178,11332,653,596,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7afabac0c506934e7bf8980bedff63.jpg","20.5cm×26cm",[42,237,45],{"id":18176,"slug":18177,"title":18178,"dynasty":228,"author":191,"museum":20,"description":18179,"tags":18180,"thumbUrl":18181,"material":100,"size":18182,"collection":44,"collections":18183,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":145},219632,"jie-bo-tu-yi-ming-219632","揭钵图","此图系佛教故事画，描绘佛世尊为惩治鬼子母而将其幼子宾伽罗扣于钵下，鬼子母遣众小鬼意欲揭钵救子的情景。图中佛世尊神态安然地趺坐在莲花座上，众天神手执兵器耀武扬威地护其左右，正藐视地静观众小鬼徒劳无功的揭钵场面。小儿于钵中哭叫着张手求救，小鬼们不遗余力地用尽各种方法抢救，鬼子母面带忧色地被众孩儿团团围住，她显然已为解救幼子而心力交瘁。\n作者通过对处于尖锐冲突中的不同人物的性格和感情的个性化描绘准确地表明了他们不同的地位和彼此之间的关系，从而令场面宏大、人物众多的画面具有形散而神不散的内聚力。此图中对小鬼的描绘最为生动。作者以丰富的想象力幽默诙谐地表现了造型夸张变异的小鬼。通过他们绳拉木撬等忙乱的举动赋予画面强烈的动感并烘染出紧张激烈的气氛，从而准确地表达了揭钵的创作主题。图中不同的形象用不同的笔墨线条勾画，武士及小鬼以粗犷的墨线勾描，通过对他们坚实的皮肉筋骨的刻画表现出他们的力量和所具有的勇猛精神。佛世尊及仕女、童子用轻柔的细线勾勒，通过衣料柔软的质感衬托出他们纤秀婉约的姿容。全幅用勾线填彩法，色彩厚重丰富，有早期壁画的风格，给人以活泼明快的视觉感受，令画面显得不过于沉重。",[23,24,25,26,28,7,194,83,8084,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7b0415fc6a78a06f7b07e161173c714.jpg","纵31.8厘米，横97.6厘米",[44],{"id":18185,"slug":18186,"title":18187,"dynasty":150,"author":191,"museum":367,"description":18188,"tags":18189,"thumbUrl":18190,"material":100,"size":220,"collection":44,"collections":18191,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":49},219557,"yi-ju-tu-yi-ming-219557","移居图","苍松虬劲盘绕，层岩峻壑氤氲古雅幽寂之气，林谷恍若世外桃源。一行人策蹇徐行，骑牛者衣袂舒展，神色悠然，随行众人或持物或顾盼，情态松弛怡然，将举家迁居的奔波，化为踏山寻幽的雅事。\n\n设色古淡沉着，绢面的岁月斑驳，更添沉静古意。山石以粗劲斧劈皴写就，古松笔墨苍劲老辣，人物线条细劲灵动，动静相映间，把隐世迁居的从容散淡尽数铺展，尽显寄情林泉的隐逸意趣，晕开东方古典人文的温雅余韵。",[23,24,25,28,7,172,29,83,113,34,1797,2463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff184a8f18e6d13ec3a08cbd9aea9857b.jpg",[44],{"id":18193,"slug":18194,"title":18195,"dynasty":18,"author":191,"museum":134,"description":18196,"tags":18197,"thumbUrl":18198,"material":855,"size":18199,"collection":125,"collections":18200,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":49},21933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“春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[24,28,81,7,29,1926,927,84,5053,33,37,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a93c9e40d1b6c3cd9ff1febf520eea.jpg","纵57厘米，横66.1厘米",[182],{"id":18229,"slug":18230,"title":3433,"dynasty":76,"author":9781,"museum":367,"description":9782,"tags":18231,"thumbUrl":9786,"material":100,"size":18233,"collection":44,"collections":18234,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":49},218365,"ying-xi-tu-you-qiu-218365",[23,24,25,155,7,28,83,1744,927,9785,18232,8903,9784,6142],"伞","89.3x53.4",[44],{"id":18236,"slug":18237,"title":18238,"dynasty":76,"author":888,"museum":367,"description":18239,"tags":18240,"thumbUrl":18241,"material":100,"size":18242,"collection":220,"collections":18243,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":49},218347,"ren-wu-gu-shi-ce-3-tang-yin-218347","人物故事册-3","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[23,24,25,519,28,83,7,284,173,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F703960e64914b7762ff9858c151f68d9.jpg","32x40.5",[],{"id":18245,"slug":18246,"title":18247,"dynasty":76,"author":888,"museum":367,"description":18239,"tags":18248,"thumbUrl":18249,"material":100,"size":18242,"collection":220,"collections":18250,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":49},218342,"ren-wu-gu-shi-ce-7-tang-yin-218342","人物故事册-7",[23,137,24,25,519,28,7,83,286,159,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b9e28443792172ef7912cf70bbfdee.jpg",[],{"id":18252,"slug":18253,"title":18254,"dynasty":76,"author":6509,"museum":134,"description":18255,"tags":18256,"thumbUrl":18257,"material":235,"size":18258,"collection":44,"collections":18259,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":49},216950,"sao-xiang-tu-cui-zi-zhong-216950","扫象图","扫荡的形象是扫荡的相，在禅宗的文本中可以找到。这是崔子忠的真迹，用笔有趣，与陈洪绶和吴彬相似。",[24,28,7,83,7307,313,314,158,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f7d57a096db0018e4ff62346b76960.jpg","101.2x53.3",[44],{"id":18261,"slug":18262,"title":9392,"dynasty":150,"author":18263,"museum":134,"description":18264,"tags":18265,"thumbUrl":18267,"material":235,"size":18268,"collection":44,"collections":18269,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":145},216943,"cai-zhi-xian-tu-yan-hong-zi-216943","严宏滋","此幅画采芝仙女，席地休憩，状甚消遥闲适。开脸略受西洋阴影法影响，设色明净，衣纹则以流利笔意写之，于工谨中，亦饶雅逸之趣。\n严宏滋，字丕绪，江苏江阴人。生卒年未详，约活动于乾隆朝中期。善书画，尤精道释人物。高宗两次南巡，献画，均称旨。",[24,7,28,83,5162,1068,6267,18266,63],"篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4121cbe3194dc69e7b172162cc673400.jpg","96.3x118.3",[44],{"id":18271,"slug":18272,"title":18273,"dynasty":150,"author":191,"museum":2058,"description":18274,"tags":18275,"thumbUrl":18276,"material":100,"size":220,"collection":182,"collections":18277,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":49},216004,"di-jian-tu-shuo-cai-hui-ben-yi-ming-216004","帝鉴图说彩绘本","轩敞的亭榭下，石阶层层延伸。上层人物或踞坐或侍立，衣饰色彩浓淡相宜；下层侍从手捧托盘拾级而上，步履从容。阶前执械的卫士身姿挺拔，添了几分庄重。画面左角树木葱郁，那株被红栏围绕的乔木尤为醒目；右侧松枝虬劲，石畔草木葳蕤。整幅画色调明润，线条细腻：飞檐的弧度、栏杆的纹理、人物的衣袂褶皱，皆刻画入微。既见建筑的精巧布局，又显人物的鲜活情态，仿佛将一段旧时的仪典场景凝于尺幅之间，静述着时光里的从容与雅致。",[24,28,7,81,83,84,176,313,214,972,2464,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe85a418ab9a1753597cb0514a6e23.jpg",[182],{"id":18279,"slug":18280,"title":18281,"dynasty":150,"author":191,"museum":245,"description":18282,"tags":18283,"thumbUrl":18289,"material":235,"size":220,"collection":182,"collections":18290,"showCount":17972,"zanCount":48,"manualWeight":48,"mainColor":145},215861,"xi-yang-jian-wen-tu-hui-shan-shui-juan-yi-ming-215861","西洋见闻图绘-山水卷","长卷铺展，海天一色间山峦错落，岛屿星罗。水墨晕染的峰峦间，藏着红瓦聚落、挺拔灯塔，中西帆船往来于碧波之上，帆影点点。传统散点透视下，异域风光与东方笔墨相融——苍劲的树木、层叠的山石是中式山水的韵致，而港口的布局、船只的形制又带着西洋印记。淡蓝的水色衬着赭黄的山岗，清润雅致中，流动着海上贸易的鲜活气息。这幅作品以东方视角记录异域见闻，既是笔墨的诗意表达，亦是中西文化碰撞的视觉见证，于舒展的画卷里，藏着时代的风物与交流的温度。",[23,24,26,28,7,29,10979,88,91,34,18284,18285,18286,10184,18287,623,38,35,18288,2782],"灯塔","港口","帆船","海面","海岸线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ed23f974fe4e3f09f3a7e2f129b61d.jpg",[182],{"id":18292,"slug":18293,"title":18294,"dynasty":18,"author":1826,"museum":463,"description":18295,"tags":18296,"thumbUrl":18297,"material":100,"size":220,"collection":220,"collections":18298,"showCount":17972,"zanCount":1769,"manualWeight":48,"mainColor":49},214869,"wu-bai-luo-han-zhi-tian-tai-shi-qiao-tu-zhou-ji-chang-214869","五百罗汉之天台石桥图","五百罗汉之天台石桥图是一幅中国古代图画，出现在宋朝时期。这幅图画由周季常创作，被认为是宋朝时期艺术史上的里程碑。\n\n五百罗汉之天台石桥图描绘了一座天台山上的石桥。石桥上站着五百个罗汉（佛教中的圣者），他们身着鲜艳的衣服，戴着华丽的首饰，手执莲花，肩挎佛像。每个罗汉都有自己独特的特征和表情，表现出不同的心态和境界。图中还有云朵、山峦、树木等元素，构成了一幅美丽的图画。\n\n五百罗汉之天台石桥图被认为是宋朝艺术史上的里程碑，因为它标志着中国传统绘画艺术走向成熟和完善。这幅图画的细腻和逼真的写实，以及对人物特征和心理描写的深刻，让人们对宋朝艺术有了更加深入的了解和认识。",[23,24,25,155,194,28,7,83,29,1797,1319,37,14842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce180fb2ebcd4c0fe8a67a27cc9478a.jpg",[],{"id":18300,"slug":18301,"title":18302,"dynasty":76,"author":2369,"museum":245,"description":18303,"tags":18304,"thumbUrl":18305,"material":1397,"size":1398,"collection":220,"collections":18306,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":49},290150,"qiu-lu-fu-rong-tu-lv-ji-290150","秋鹭芙蓉图","画中芙蓉花开正盛，摇曳的残荷与挺拔的莲蓬示意着秋天的到来。柳树从画面右侧突兀而入，枝叶茂盛挺拔，枝上柳叶繁而不乱，疏密得当，层次分明。画中三只白鹭，或栖止，或飞翔，上下呼应，造型准确，形态生动。其中一只栖息在岸边，正回过头向着空中飞翔着的同伴鸣叫，而空中的一只似乎也听到了呼唤，正盘旋而下，与伙伴会合，另一只仿佛也正寻见叫声紧跟而下。三只白鹭所连接起来的弧形曲线与柳枝弯曲的线条相对应，在画面上形成了强烈的动感。",[24,137,212,7,28,2820,492,248,178,1851],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9262e1e5ebf6b0387a9924cedf7acc.jpg",[],{"id":18308,"slug":18309,"title":18310,"dynasty":228,"author":2277,"museum":245,"description":18311,"tags":18312,"thumbUrl":18313,"material":1397,"size":1398,"collection":220,"collections":18314,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":49},289966,"hu-lu-hua-ping-chen-lin-289966","葫芦花瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[23,24,137,155,7,28,212,158,409,690,2280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3986e6cdba5c8fe3cba11a642ea6fec6.jpg",[],{"id":18316,"slug":18317,"title":18318,"dynasty":132,"author":1496,"museum":245,"description":14827,"tags":18319,"thumbUrl":18320,"material":1397,"size":1398,"collection":220,"collections":18321,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":49},289771,"zhu-lin-bo-ge-tu-wei-zuo-huang-quan-289771","竹林鹁鸽图（伪作）",[23,24,25,212,155,7,28,156,178,16144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c829119b7ec6055354e9e93d522d247.jpg",[],{"id":18323,"slug":18324,"title":18325,"dynasty":18,"author":1151,"museum":245,"description":18326,"tags":18327,"thumbUrl":18329,"material":1397,"size":1398,"collection":220,"collections":18330,"showCount":305,"zanCount":1020,"manualWeight":48,"mainColor":145},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,24,914,25,28,7,81,29,927,84,284,285,173,4567,18328],"读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],{"id":18332,"slug":18333,"title":18334,"dynasty":150,"author":191,"museum":245,"description":18335,"tags":18336,"thumbUrl":18338,"material":1397,"size":1398,"collection":220,"collections":18339,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":49},288060,"nao-long-zhou-yi-ming-288060","闹龙舟","这幅长卷以工细笔触铺展春日盛景，澄澈水面上龙舟竞渡，旌旗猎猎，健儿挥桨劈波，舟身彩饰繁丽，竞渡喧嚷似能破纸而出。\n\n沿岸屋舍层叠，酒肆楼宇间人影攒动，仕民凭栏观赛，谈笑晏晏。远山含烟、花树初绽，将江南漕岸的烟火气晕开。创作者以院体画的精细，把官民同游的节庆嬉乐定格，静雅的楼台春景搭配喧腾的水上赛事，一动一静里尽显升平风华，将水乡春日的繁庶鲜活凝固为永恒。",[23,24,26,28,7,81,83,84,8728,86,174,769,97,18337,2095,29],"节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4dd7b62edc4a1b662b9720f4671ce87.jpg",[],{"id":18341,"slug":18342,"title":18343,"dynasty":132,"author":18344,"museum":245,"description":16766,"tags":18345,"thumbUrl":18347,"material":1397,"size":1398,"collection":220,"collections":18348,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":49},287651,"zhu-mei-han-que-tu-huang-quan-287651","竹梅寒雀圖","黃筌",[23,137,24,7,28,212,637,156,178,3035,18346],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa14118190dbdfe894df2a5227c61b998.jpg",[],{"id":18350,"slug":18351,"title":18352,"dynasty":150,"author":4708,"museum":245,"description":18353,"tags":18354,"thumbUrl":18355,"material":220,"size":220,"collection":220,"collections":18356,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":49},239312,"gong-fei-hua-chong-tu-zhou-ding-guan-peng-239312","宫妃话宠图轴","取景幽寂庭院，修竹扶疏，晕出宫苑清冷雅致的底色。仕女华服温婉，神情各别，或凭栏私语，或侍弄案上清供，将深宫女子的隐秘心绪藏于眉梢眼角之间。\n画作工细妍丽，线条匀净流畅，设色秀雅沉静。案头盆景、陈设器物描摹入微，既还原了宫苑闲趣日常，又暗透出深闺幽闭中的缱绻心事。笔触婉转细腻，将闲寂悠长的深宫氛围悄然铺陈，在柔婉的仕女情态里，藏着含蓄的情绪张力，尽显仕女画的雅致韵致。",[24,25,155,28,7,83,59,156,2614,214,1104,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af47c93549f345fb95b556ecd7a19e8.jpg",[],{"id":18358,"slug":18359,"title":18360,"dynasty":150,"author":18361,"museum":20,"description":18362,"tags":18363,"thumbUrl":18364,"material":40,"size":18365,"collection":182,"collections":18366,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":49},238666,"shan-shui-lou-ge-tu-zhou-shen-yuan-238666","山水楼阁图轴","沈源","受“海西法”影响的新型建筑画在清代宫廷内曾经十分盛行，当时称为“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“于阴阳远近，不差锱黍。…… 布影由阔而狭，以三角量之。画宫室与墙壁，令人几欲走进”的立体效果。从此幅沈源的作品中可以看到“线法画”的痕迹，虽然由于受到中国审美传统的限制，画面中西洋绘画的一些效果在一定程度上有所淡化，但是与传统的建筑画相比，此时的画家表现三维景物的能力确实有了相当大的提高。",[24,25,155,81,28,29,84,176,34,83,7,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d809bb2714a20a923bebe202091254.jpg","纵135厘米，横74.8厘米",[182],{"id":18368,"slug":18369,"title":18370,"dynasty":150,"author":18371,"museum":245,"description":18372,"tags":18373,"thumbUrl":18374,"material":220,"size":220,"collection":220,"collections":18375,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":145},234520,"hua-niao-wan-shan-zhu-cheng-234520","花鸟纨扇","朱偁","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，别署鸳湖散人、玉溪外史、玉溪钓者、鸳湖画史、胥山樵叟，浙江嘉兴人。熊弟。工花鸟，初法张熊，暇辄借临，熊自视几不能辨。及王礼得名以超脱胜张熊之工细，遂改从礼，兼得张画之华瞻工细与王画之超脱飘逸，神似华喦，成为名家，在上海书画界享有盛誉。题字款识，莫不酷似。晚年精进，惜未脱霸气。间仿华岩亦得其神似，卒年七十五（一作七十四）。\n事迹收录于《海上墨林》、《桐阴复志》、《近代六十名家画传》 。",[24,25,914,28,7,212,159,299,409,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f6db911ad00282fc6ef5a8e0e78eae.jpg",[],{"id":18377,"slug":18378,"title":16214,"dynasty":76,"author":18379,"museum":245,"description":18380,"tags":18381,"thumbUrl":18382,"material":599,"size":220,"collection":220,"collections":18383,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":145},234257,"hua-hui-juan-zhu-chang-234257","朱昶","夏昶（1388年－1470年），字仲昭，号玉峯、自在居士，南直隶昆山县（今属江苏省昆山市）人。明朝画家，官员。外玄孙归有光。《明史》有传。\n夏昶早年过继于舅父，故姓朱。永乐十三年（1415年）乙未科进士，选入庶吉士，归宗，复夏姓，明成祖赐名为昶。正统年间官至太常寺少卿。夏昶与上元县的张益齐名，同年考中进士，同善作赋、画竹，夏昶后来认为自己的辞赋，不如张益，于是终身不再作赋；张益也认为自己所画的竹子不如夏昶，也终身不画竹子。",[23,24,26,25,7,28,212,409,248,298,688,487,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb24494b2d5604dc9bc0f9237bdad182.jpg",[],{"id":18385,"slug":18386,"title":18387,"dynasty":18,"author":806,"museum":20,"description":18388,"tags":18389,"thumbUrl":18390,"material":40,"size":18391,"collection":220,"collections":18392,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":49},234009,"pu-tao-cao-chong-tu-ye-lin-chun-234009","葡萄草虫图页","图绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，画家以小幅的画面抒写了一幅生机盎然的田园景致。昆虫以双勾填彩法绘制，用线刚柔相济，既准确地勾勒出秋虫或动或静的各种体态和神情，又将昆虫翅膀的轻薄或外壳的坚硬等不同的质感表露无遗，显示出作者敏锐的观察力和精于细节表现的绘画功底。在色彩上，敷色轻淡，深得造化之妙，葡萄藤的藤尖点染红色以示其新生初发之嫩，叶子的边缘略以褐色渲染，表明叶片饱经浓霜重露之貌。这种合乎自然规律的晕染与其求实写真的线条相得益彰，具有宋代院体工笔画的鲜明特色。",[24,137,25,212,914,7,28,7258,410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749b5dc78e09cc13d321b8999ca74329.jpg","纵26.2厘米，横27厘米",[],{"id":18394,"slug":18395,"title":18396,"dynasty":150,"author":5340,"museum":245,"description":18397,"tags":18398,"thumbUrl":18399,"material":220,"size":220,"collection":220,"collections":18400,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":145},230257,"fang-lao-lian-pin-jiu-tu-gai-qi-230257","仿老莲品酒图","此作用笔细劲秀逸，设色柔雅清淡。画面之中，两位雅士对坐石上，一人持盏浅酌，神情悠然沉醉，一人拨弄酒器，专注雅致。仕女垂首侍立，温婉娟秀，仆从捧来瓶花，为雅集添上清隽意趣。\n整幅画作将文人品酒雅集的闲逸氛围铺陈开来，既有取法的古雅意韵，又融入独有的秀媚笔致，把文人士大夫诗酒风流的从容雅致尽显纸面，清雅悠然，韵致绵长。",[23,24,25,155,7,28,82,83,139,159,63,158,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c995a313ec5966c17d37672db050351.jpg",[],{"id":18402,"slug":18403,"title":18404,"dynasty":150,"author":260,"museum":245,"description":18405,"tags":18406,"thumbUrl":18407,"material":220,"size":220,"collection":220,"collections":18408,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":145},230207,"hong-li-guan-he-fu-qin-tu-zhou-lang-shi-ning-230207","弘历观荷抚琴图轴","《弘历观荷抚琴图轴》是 的一幅画。\n本幅无作者款识。\n随着明末清初的“西学东渐”之风，一些欧洲画家开始在清代宫廷供奉。\n一方面，他们接受中国传统绘画方式，采用中国笔墨颜料和纸绢作画，另一方面，他们依然坚持西洋绘画技法中的透视原则，在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。\n此幅虽未署作者名款，实由意大利画家郎世宁主绘，中国画家补画山水背景。\n画中乾隆皇帝身着汉装，临湖抚琴，远处高山流水，喻其襟怀心境。\n作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感，而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚，细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。\n从此图中可以看到郎世宁运用焦点透视手法，按照一定的规律将所见到的屋宇移于画幅，成功地在二维平面画幅上真实地表现出多维空间，与传统中国界画描绘空间的手法完全不同。",[23,155,28,7,29,83,176,248,1068,60,138,314,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e9e842214efa4753ba1dbdbe1e410.jpg",[],{"id":18410,"slug":18411,"title":18412,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":18413,"thumbUrl":18414,"material":67,"size":1560,"collection":220,"collections":18415,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":145},230105,"hong-lou-meng-186-sun-wen-230105","红楼梦186",[24,25,7,28,81,83,59,84,92,34,1499,927,211,214,4660,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4501237256ff4155c35bcd53221f87ba.jpg",[],{"id":18417,"slug":18418,"title":18419,"dynasty":76,"author":674,"museum":245,"description":18420,"tags":18421,"thumbUrl":18423,"material":220,"size":220,"collection":220,"collections":18424,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":49},228282,"fang-tang-ren-jiao-yin-shang-gu-tu-chen-hong-shou-228282","仿唐人蕉荫赏古图","苍劲芭蕉如墨云翻卷，衬着嶙峋古雅的玲珑湖石，辟出一方幽寂天地。宽袍高士踞坐案前，清癯眉眼凝注古物，沉静间漫溢追慕唐风的幽古意趣。侍立童子恭谨端持器物，朴拙身形与高士的沉静古雅相映成趣。\n\n全作用笔清劲凝练，设色古淡沉静，以奇逸高古的造型风格，将文人幽居赏玩的雅静襟怀晕染开来，简淡间尽是悠长的古雅余韵。",[23,24,25,155,28,7,283,83,7408,159,216,195,178,18422],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a2a9d4591340b66ef93084f64ccfd1.jpg",[],{"id":18426,"slug":18427,"title":18428,"dynasty":54,"author":2621,"museum":56,"description":18429,"tags":18430,"thumbUrl":18431,"material":67,"size":18432,"collection":220,"collections":18433,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":145},223556,"qing-xi-yin-ma-tu-han-gan-223556","清溪饮马图","韩干(约706～783)，唐代画家，长安蓝田（今属陕西）人，官至太府寺丞。善画肖像、人物道释、花竹，尤工鞍马。韩干初师曹霸，为其入室弟子，后自成一家。所绘马匹，体形肥硕，态度安详，比例准确，一改前人画马螭颈龙体、筋骨毕露、姿态飞腾的“龙马”作风，创造了富有盛唐时代气息的画马新风格。杜甫在《丹青引》中有“干唯画肉不画骨”的诗句，在《画马赞》中又说：“韩干画马，毫端有神。……鱼目瘦脑，龙文长身，雪垂白肉，风蹙蓝筋”。对他的画马，赞赏备至，后人将他与当时最善画牛的戴嵩并称为“韩马戴牛”以画马着称。",[23,24,25,914,7,855,112,83,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148f3125d6a4c66d8e3539b1472fcf74.jpg","42*68厘米",[],{"id":18435,"slug":18436,"title":4185,"dynasty":150,"author":7676,"museum":245,"description":18437,"tags":18438,"thumbUrl":18439,"material":220,"size":220,"collection":44,"collections":18440,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":11529},223133,"ce-ye-ren-xiong-223133","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。\n任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，堪与陈洪绶并驾。人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。曾有《于越先贤传》、《剑侠传》、《列仙酒牌》等画曾刻印行世，\n传世作品有《十万图册》十页、《姚燮诗意图册》《自画像》轴等，现藏故宫博物院；咸丰五年（1855）作《四梅图》轴藏中国美术馆；《为姚梅伯作人物册》二十页、《洛神图》轴、《范湖草堂图》卷藏上海博物馆；《丁文蔚像》轴藏浙江省博物馆；《少康像》册页藏南京市博物馆；《瑶宫秋扇图》轴藏南京博物院；《四季花卉图》卷藏辽宁省博物馆；《人物图册》藏广州美术馆。",[23,24,25,519,28,7,83,637,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfe570f51dcb149ceb8140bb0a3e451.jpg",[44],{"id":18442,"slug":18443,"title":18444,"dynasty":18,"author":1140,"museum":1129,"description":18445,"tags":18446,"thumbUrl":18447,"material":220,"size":8251,"collection":44,"collections":18448,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":49},221181,"lin-he-jing-gu-shan-tu-ma-lin-221181","林和靖孤山图","《林和靖孤山圖》人物採用簡筆法，衣紋用典型的「勾描線法」，「釘頭鼠尾描法」，線條利索、連綿、無斷筆。而《靜聽松風圖》人物線描線除了用「釘頭鼠尾描法」外，更多的是用「鐵線描」法，線條更複雜些，也更爲剛勁和挺拔，但是有斷筆，而且輪廓線內沿衣褶處用鉛白加以渲染。",[23,24,914,28,7,83,60,199,637,29,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7257e7e52d338491b7b4a52f5b2b7d7f.jpg",[44,45],{"id":18450,"slug":18451,"title":18452,"dynasty":54,"author":2912,"museum":406,"description":2913,"tags":18453,"thumbUrl":18454,"material":67,"size":18455,"collection":44,"collections":18456,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":49},221084,"gao-yi-tu-mu-ke-sun-wei-221084","高逸图木刻",[23,24,25,26,7,28,83,159,34,173,284,285,65,2797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff531a3b611b3a21aa2db9603ee4a93f9.jpg","45.2*168.7cm",[44,45],{"id":18458,"slug":18459,"title":18460,"dynasty":18,"author":191,"museum":5001,"description":5002,"tags":18461,"thumbUrl":18462,"material":28,"size":5006,"collection":220,"collections":18463,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":49},220244,"rui-guang-ta-si-tian-wang-xiang-2-yi-ming-220244","瑞光塔四天王像2",[24,194,83,28,7,582,1787,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05475f86835101e8ca6e59527097d99.jpg",[],{"id":18465,"slug":18466,"title":18467,"dynasty":18,"author":191,"museum":5001,"description":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横307.3厘米",[42,44],{"id":18481,"slug":18482,"title":18483,"dynasty":76,"author":2717,"museum":406,"description":18484,"tags":18485,"thumbUrl":18486,"material":235,"size":18487,"collection":44,"collections":18488,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":145},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,76,24,25,26,28,7,285,284,173,83,84,176,34,211,92,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[44,1478],{"id":18490,"slug":18491,"title":18492,"dynasty":228,"author":4846,"museum":1935,"description":18493,"tags":18494,"thumbUrl":18495,"material":100,"size":220,"collection":44,"collections":18496,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":1833},219396,"ce-ma-jiang-pan-tu-zhao-yong-219396","策马江畔图","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[24,28,7,83,112,313,29,8140,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c44a61a340e34488548d8875de51ea0.jpg",[44],{"id":18498,"slug":18499,"title":18500,"dynasty":76,"author":3747,"museum":134,"description":18501,"tags":18502,"thumbUrl":18503,"material":100,"size":18504,"collection":237,"collections":18505,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":49},218808,"wan-niu-tu-dai-jin-218808","纨牛图","中国人对于牛的情感不同于对待其他动物，这种感情是复杂且深厚的。这不仅是因为牛的性格敦厚老实，更主要的还是因为对于一个历史悠久的农业国家，牛在农耕文明中一直都担任着十分重要的劳动力角色，它几乎是每一个农村家庭不可缺少的伙伴。",[24,137,155,28,7,83,113,582,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2af2f1fd17bdb3ed688b14800f04d97.jpg","181x96.3cm",[237],{"id":18507,"slug":18508,"title":18509,"dynasty":18,"author":191,"museum":230,"description":18510,"tags":18511,"thumbUrl":18512,"material":100,"size":220,"collection":237,"collections":18513,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":49},218622,"dou-que-tu-yi-ming-218622","斗雀图","翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱の倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n（注：此处の为日式助词？不，换回来，用“的”更合适。修改：连尾羽弧度都带着不甘示弱的倔强。）\n\n调整后：\n\n翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n完美，符合所有要求。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。",[23,137,24,25,7,28,212,3035,689,159,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0aefe9c75944a321bf250100378bff.jpg",[237],{"id":18515,"slug":18516,"title":10420,"dynasty":76,"author":191,"museum":367,"description":18517,"tags":18518,"thumbUrl":18519,"material":100,"size":18520,"collection":44,"collections":18521,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":49},218368,"luo-han-tu-yi-ming-218368","这幅画与林廷珪、周继昌的《五百罗汉受虎贲图》是同一题材，其笔触和色彩也与宋代的画作相近。大英博物馆将这幅画归于明代，但如果我们参照台北故宫收藏的《十六罗汉双肩图》来看，我们可以认为它是在元代绘制的。",[24,28,7,194,83,156,3794,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01738ac3829421493eb90de1e7375c9f.jpg","170.5x88",[44],{"id":18523,"slug":18524,"title":18525,"dynasty":150,"author":3912,"museum":367,"description":3913,"tags":18526,"thumbUrl":18527,"material":100,"size":3916,"collection":220,"collections":18528,"showCount":305,"zanCount":1769,"manualWeight":48,"mainColor":145},218352,"shi-nv-tu-ce-3-li-ting-xun-218352","仕女图册-3",[24,25,519,7,28,83,59,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e79a6195bb4cd5fb18ae41f17f2c4cf.jpg",[],{"id":18530,"slug":18531,"title":18532,"dynasty":76,"author":77,"museum":245,"description":1742,"tags":18533,"thumbUrl":18534,"material":100,"size":220,"collection":220,"collections":18535,"showCount":305,"zanCount":48,"manualWeight":48,"mainColor":49},216290,"er-shi-si-xiao-tu-5-chou-ying-216290","二十四孝图-5",[24,25,7,28,83,29,1499,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c3a9804fb203921bac19a332163675.jpg",[],{"id":18537,"slug":18538,"title":4093,"dynasty":18,"author":505,"museum":134,"description":11364,"tags":18539,"thumbUrl":18540,"material":1397,"size":1398,"collection":220,"collections":18541,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":145},290311,"sui-chao-tu-zhou-zhao-chang-290311",[137,24,25,155,7,28,212,298,690,159,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52957ae581f17b47d34d35a52e539e8.jpg",[],46,{"id":18544,"slug":18545,"title":4093,"dynasty":76,"author":2318,"museum":245,"description":18546,"tags":18547,"thumbUrl":18548,"material":1397,"size":1398,"collection":220,"collections":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同光十三绝重彩图卷","沈蓉圃","此作工笔重彩刻画入微，将十三位梨园宗师的神采风骨定格于卷上。生旦净丑各行当扮相俱全，衣饰纹样繁丽精工，珠翠翎毛分毫毕现。各人眉眼神态各有千秋，或威严凝重，或温婉柔媚，或诙谐灵动，既带着戏中角色的魂魄，又留存着名伶本人的气韵，将晚清京剧鼎盛之时的风华凝于尺幅之间，让百年前的梨园风姿鲜活重现于眼前。",[23,137,24,25,26,28,5470,7,83,18667,63],"戏曲人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a6d01122cb40fed604a2d2815de271.jpg",[],{"id":18671,"slug":18672,"title":18673,"dynasty":18,"author":12158,"museum":245,"description":18674,"tags":18675,"thumbUrl":18676,"material":220,"size":220,"collection":220,"collections":18677,"showCount":18542,"zanCount":1084,"manualWeight":48,"mainColor":145},227586,"huo-lang-tu-ye-xu-chong-ju-227586","货郎图页","徐熙孙，与徐崇嗣、徐崇勋为弟兄，生卒年不详。画有祖风，所作花木、禽鸟形骨轻秀。北宋时期徐熙画花木、禽鱼、蝉蝶、蔬果之类极夺造化之妙，与黄筌之花鸟画为当时之两大流派，有“黄家富贵，徐熙野逸”之说。崇矩兄弟虚心好学，吸收黄筌、黄居寀父子画法之长，终于自创“没骨法”新体，摈弃墨笔钩勒而直接用彩色晕染。亦工仕女，曲眉丰脸，姿态可人，有唐人风。流传作品不多，《宣和画谱》著录御府所藏其作品有《夭桃图》《折枝桃花图》《仕女图》《紫燕药苗图》《萱草猫图》《花竹捕雀猫图》等14件。《红蓼水禽图》册页传为崇矩所作，为其传世作品，现藏故宫博物院。",[23,137,24,25,519,7,28,83,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcf30c4506bba83e0d7658c832494ed.jpg",[],{"id":18679,"slug":18680,"title":805,"dynasty":132,"author":2520,"museum":245,"description":18681,"tags":18682,"thumbUrl":18684,"material":220,"size":220,"collection":220,"collections":18685,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":49},227439,"pi-pa-shan-niao-tu-huang-quan-227439","宋徽宗名下流传至今的绘画作品面貌多样，既有雍容典雅的重彩工笔，也有古拙朴茂的粗笔水墨。所以历来对其真伪归属多有争论可谓画史的一段公案，一般认为工丽细致的院体风格是他人代笔或是御题画，而朴拙一路则是徽宗亲笔真迹。现藏于北京故宫博物院的《枇杷山鸟图》是学界一致公认的宋徽宗赵佶的真迹之一。本画为绢本设色，纵22.6厘米，横24.5厘米，画上题有“天下一人”的御笔花押。此幅《枇杷山鸟图》设色极淡，又因年代久远几乎不能分辨，看上去就如同单纯的水墨画一般。画中景物工写相参，渲染精细，犹如黑白老照片，在宋代绘画中别具一格。",[23,137,24,25,7,28,212,809,18683,453],"山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bc94a04488f0b800bfb8c8250fa6ac.jpg",[],{"id":18687,"slug":18688,"title":18689,"dynasty":18,"author":18690,"museum":245,"description":18691,"tags":18692,"thumbUrl":18693,"material":220,"size":220,"collection":220,"collections":18694,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":49},227412,"bai-yuan-xian-shou-tu-li-cheng-227412","白猿献寿图","李成","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,25,137,28,7,582,7318,1319,211,178,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21c51cd22e4004907bdc5e4839ebbe4.jpg",[],{"id":18696,"slug":18697,"title":18698,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":18699,"thumbUrl":18703,"material":1397,"size":1398,"collection":220,"collections":18704,"showCount":18542,"zanCount":1769,"manualWeight":48,"mainColor":49},226348,"ku-zhu-shi-bei-pi-yi-ming-226348","窟主室北披",[1053,194,28,7,5091,83,4927,4511,178,2602,91,18700,12263,11305,18701,18702],"几何纹样","线条细腻","色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dee5749a1bb0bce30056a627f7997a2.jpg",[],{"id":18706,"slug":18707,"title":18708,"dynasty":132,"author":1496,"museum":245,"description":18709,"tags":18710,"thumbUrl":18711,"material":1397,"size":1398,"collection":220,"collections":18712,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":49},226153,"xie-sheng-zhen-qin-quan-juan-huang-quan-226153","写生珍禽全卷","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[23,24,137,26,7,28,450,212,178,3035,2523,452,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],{"id":18714,"slug":18715,"title":18716,"dynasty":150,"author":2080,"museum":245,"description":18717,"tags":18718,"thumbUrl":18719,"material":220,"size":220,"collection":220,"collections":18720,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":145},224372,"hua-hui-qi-shi-ce-shi-er-kai-12-ju-lian-224372","花卉奇石册-十二开-12","此作用笔灵动兼具工致，奇石以淡墨皴擦晕染，瘦透古朴，孔洞藏幽，自带嶙峋古意。左侧水仙双钩填色，莹白花瓣勾勒细腻，嫩黄花心娇柔明媚，翠叶舒展回转，韵致清雅脱俗。右上角附石幽兰，青叶劲挺，素花轻绽，暗透幽香。\n\n整幅设色明丽秀雅，工写相融，没骨笔法鲜活生动，将花草清隽与湖石古拙相映成趣，尽显妍丽细腻的风韵，把案头清供的雅致意趣铺陈开来，淡逸娴静的文人雅韵漫溢绢素。",[23,24,25,519,28,7,212,690,159,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76c2edb1768b60a8a2314d604f95911.jpg",[],{"id":18722,"slug":18723,"title":18724,"dynasty":76,"author":191,"museum":78,"description":18725,"tags":18726,"thumbUrl":18727,"material":424,"size":18728,"collection":220,"collections":18729,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":1833},223577,"hou-lu-tu-yi-ming-223577","猴鹿图","画面既有对峙的情绪，又不失诙谐，展示出猕猴调皮的一面。",[23,24,7,28,582,7318,1817,313,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3990bd328b807f7169b28a5e1559bb9a.jpg","17.8x22.2",[],{"id":1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画面右方中间有小楷落款“庆元府车桥石板巷陆信忠笔”，可知该画是在宁波被称为庆元府时期(1195～1276)由职业画匠(佛画师)陆信忠(工房)所作。本佛画彩色浓厚，绘画线条细致有力，兼有细腻彩色花纹，表现力极强，也许是大量使用了中间色的缘故，该作令人感受到先期佛画的变迁。在标有陆信忠落款的作品中，该作品与本馆馆藏的十王图并列堪称最为上乘之佳作。再者，裱具上部用墨写有“天王宝物”。此作为爱知津岛神社别当寺宝寿院相传之物。",[23,24,25,155,194,28,7,83,313,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c223a3fdb98418bbf872b6bcd5ca04.jpg","纵157.1横82.9",[44],{"id":18774,"slug":18775,"title":18776,"dynasty":18,"author":229,"museum":20,"description":18777,"tags":18778,"thumbUrl":18780,"material":235,"size":18781,"collection":44,"collections":18782,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":145},219623,"xi-hu-yin-qu-tu-qian-xuan-219623","西湖吟趣图","钱选（1239—1299），宋末元初时期的遗民画家，字舜举，号玉潭，晚年更号溪翁，吴兴（今浙江省湖州市）人。南宋景定（1260—1264年）年间乡贡进士，入元后隐居不仕，寄情于山水书画。画学颇为庞杂，花鸟、山水、人物无一不精，且成就极高，当时有“老钱丹青当世无”的美誉。元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,25,26,28,7,285,173,83,29,159,637,60,18779],"书桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac8c107ddfec1798c83c917d3f07d59.jpg","纵25cm，横72.5cm",[44],{"id":18784,"slug":18785,"title":18786,"dynasty":76,"author":2717,"museum":134,"description":18787,"tags":18788,"thumbUrl":18790,"material":235,"size":18791,"collection":237,"collections":18792,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":145},219461,"liu-hua-xiao-jing-tu-lu-zhi-219461","榴花小景图","陆治不仅长于山水画,也能画花鸟,所作花卉生意盎然,在吴派画家中以能得宋人韵度,备受赞赏",[24,137,155,7,28,212,18789,8412,173],"榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42162f4933d3bd900c46a0622726a62f.jpg","65.3x33.3",[237],{"id":18794,"slug":18795,"title":18796,"dynasty":76,"author":17002,"museum":230,"description":18797,"tags":18798,"thumbUrl":18799,"material":100,"size":18800,"collection":237,"collections":18801,"showCount":18542,"zanCount":1769,"manualWeight":48,"mainColor":49},219314,"jin-ji-han-mei-tu-bian-jing-zhao-219314","锦鸡寒梅图","寒石之上，锦鸡敛翅静立，翎羽如锦绣裁就，红腹似霞晕染，连绒羽的细绒都清晰可见，仿佛能触到那柔软的质感。旁侧枯枝斜逸，梅蕊初绽，素白的花与苍劲的枝桠相映，冷寂中透出雅致。沉郁的底色如古砚磨出的墨晕，将禽鸟的鲜活托得愈发分明，梅香似随微风漫开，清寒里藏着脉脉生机。笔触细腻入微却不板滞，色彩浓淡相宜，既有工笔的精致写实，又含写意的空灵意境，于冬日的静谧中，绘就一份鲜活与雅致，似能听见锦鸡轻啄梅瓣的微响，冷冽中溢出温情。",[24,25,212,7,28,637,299,159,982,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ec3c9a9636678fe8757ecb09c33f89.jpg","38.5x32.8cm",[237],{"id":18803,"slug":18804,"title":18805,"dynasty":18,"author":7716,"museum":134,"description":18806,"tags":18807,"thumbUrl":18808,"material":100,"size":18809,"collection":42,"collections":18810,"showCount":18542,"zanCount":1769,"manualWeight":48,"mainColor":49},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[23,137,24,25,155,7,28,212,178,159,655,62,5250,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[42,237,45],{"id":18812,"slug":18813,"title":18814,"dynasty":18,"author":2693,"museum":4063,"description":18815,"tags":18816,"thumbUrl":18817,"material":100,"size":18818,"collection":237,"collections":18819,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":145},219088,"xue-qin-tu-cui-bai-219088","雪禽图","这幅画的是河岸边树杆折断，一旁杂草叶片已枯黄，藤杆上覆盖着一层薄雪，一只灰北白肚鸟儿立于细藤上，尾翎修长，扭头尖喙咬住羽毛，半眯的眼睛似乎在沉睡中。",[24,25,914,212,7,28,299,653,1500,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3706dae6af508fd6c7d4846d57c4de27.jpg","23.5x22.2cm",[237],{"id":18821,"slug":18822,"title":18823,"dynasty":228,"author":648,"museum":9737,"description":18824,"tags":18825,"thumbUrl":18827,"material":100,"size":220,"collection":237,"collections":18828,"showCount":18542,"zanCount":1769,"manualWeight":48,"mainColor":49},219067,"ying-sun-tu-ren-ren-fa-219067","鹰隼图","画面描绘了一只白腹黑背、体态丰满、羽毛整齐的大壮鹰，用一对锋利的爪子按住一只麻雀，张开翅膀，圆睁双眼，张开嘴，却无计可施。",[137,24,7,28,155,2362,18826,1499,7974,409,211,212],"隼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e640e66b80da72ad388df45295a7d4.jpg",[237],{"id":18830,"slug":18831,"title":18832,"dynasty":150,"author":18833,"museum":367,"description":18834,"tags":18835,"thumbUrl":18836,"material":100,"size":18837,"collection":237,"collections":18838,"showCount":18542,"zanCount":1084,"manualWeight":48,"mainColor":49},219032,"tao-que-tu-xia-wen-xuan-219032","桃雀图","夏文铉","绢本泛黄如时光沉淀的暖光，数只雀鸟或栖枝梳羽，或振翅欲飞，羽色赭褐与墨黑相间，神态鲜活灵动。梅枝疏朗横斜，淡粉花瓣点染梢头，似携清寒暗香；松针苍劲如笔，与柔枝相映成趣。画面留白开阔，笔墨简淡却意韵悠长，将禽鸟的生趣与花木的清雅融于一方素绢，尽显文人画的雅致风骨。观之令人心宁神悦，仿佛触到了春日的轻暖气息，于细微处见生机，于简淡中藏深情，是一幅兼具意趣与格调的佳作。",[23,137,24,25,7,28,212,174,9544,927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282866ed8d516c58dc487f5bdc68d7c8.jpg","纵39.1横26.5厘米",[237],{"id":18840,"slug":18841,"title":18842,"dynasty":18,"author":5686,"museum":134,"description":18843,"tags":18844,"thumbUrl":18845,"material":100,"size":18846,"collection":42,"collections":18847,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":145},218948,"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[23,24,137,7,855,28,14258,11949,211,582,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4",[42],{"id":18849,"slug":18850,"title":18851,"dynasty":18,"author":191,"museum":134,"description":18852,"tags":18853,"thumbUrl":18854,"material":100,"size":18855,"collection":42,"collections":18856,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":49},218692,"an-he-tu-yi-ming-218692","安和图","在秋天的风景中，草和叶子变黄，野高粱的茎上长满了穗子。在茎叶下，五只鹌鹑在其中休息，而另外四只鸟则在上面栖息，为自己的羽毛做准备或啄食谷物。虽然这幅画没有作者的签名，但构图合理，所有物体都栩栩如生，所以它一定是出自艺术家之手。鹌鹑的造型与北宋崔訢的《七夕鹌鹑图》相似，而高粱则与明代陆机的《草花野禽图》相似，但《草花野禽图》的笔法显然更富变化，而这幅画则具有南宋的流畅细腻风格。它也被称为 安和，因为 鹑 和 安、和 和 和 是同音字，使它成为一部吉祥之作。",[23,24,25,137,7,28,212,2708,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8456b5937e15cbbc97e3c44852831d14.jpg","105.4x51.6",[42],{"id":18858,"slug":18859,"title":18860,"dynasty":76,"author":191,"museum":463,"description":18861,"tags":18862,"thumbUrl":18863,"material":100,"size":220,"collection":44,"collections":18864,"showCount":18542,"zanCount":1769,"manualWeight":48,"mainColor":49},218357,"duan-ben-cheng-yuan-tu-yi-ming-218357","端本澄源图","卧榻上人影斜倚，指尖轻拈小物，眉目间漫着慵懒与自在。身侧侍女垂立，衣袂微动，似欲以团扇拂去浮尘，静候吩咐。案上瓶炉雅致，蕉叶舒展、竹影婆娑，衬得室内清幽如许。笔墨间藏着文人闲居的逸趣——不刻意张扬，却在器物的精巧、环境的恬淡里，流露出对澄明心境的追寻。每一处线条都似在低语，将日常的悠然与内心的宁静交织，如一杯淡茶，慢慢浸润出岁月的温润与雅致，让人见之便觉心安神宁。",[24,28,7,83,156,466,158,782,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbbdbe5eda59a11094ffc7bebbd6578.jpg",[44],{"id":18866,"slug":18867,"title":18868,"dynasty":150,"author":191,"museum":245,"description":18869,"tags":18870,"thumbUrl":18871,"material":100,"size":220,"collection":220,"collections":18872,"showCount":18542,"zanCount":48,"manualWeight":48,"mainColor":49},216716,"hong-lou-meng-fu-tu-ce-2-yi-ming-216716","红楼梦赋图册-2","亭榭隐于蕉荫间，几缕倩影或凭栏凝思，或低语浅笑。衣袂如流云轻覆青石板，罗裙纹样似浸了江南的柔润。案头器物精巧，窗边陈设雅致，恰是红楼闺阁的寻常光景——无需喧哗，只那眼波流转的默契，便将女子们的温婉灵秀凝在笔墨间。园林清幽裹着人情暖意，软语里的细碎心事，随风散入芭蕉叶隙。笔墨清润，色彩雅致，将书中含蓄韵致化作眼前可触的静谧温柔，仿佛能闻见空气中浮动的淡香，窥见那段红楼旧梦的一角，让观者沉湎于这纸间流转的古典情长。",[23,7,28,519,83,59,176,84,34,92,5492,214,18127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a767b05f29544d7c431926bc0754ea6.jpg",[],{"id":18874,"slug":18875,"title":15815,"dynasty":18,"author":5686,"museum":3452,"description":18876,"tags":18877,"thumbUrl":18878,"material":100,"size":15819,"collection":237,"collections":18879,"showCount":18542,"zanCount":1769,"manualWeight":48,"mainColor":49},216666,"ju-yuan-tu-yi-yuan-ji-216666","此图水墨画群猿在山壑丛树间的情景：画面的背景为嶙峋山石，高低不一，山石起伏，山峦亘连，山间树木丛生，有的生长在山脚下，有的生长在山缝处，充满着顽强的生命力，遍布整个山石。山谷间溪水潺潺流淌，游息其间的二十余只猿猴，只只生动活泼，姿态各异，或坐立、或攀援、或倒挂、或跳跃、或嬉戏、或食饮、或亲昵、或爱抚。\n画卷结尾有元钱选跋，图中则分别钤有南宋贾似道、清耿昭忠、安岐及清内府等鉴藏印，画上并有清乾隆皇帝弘历旧题。",[23,137,24,25,26,7,172,855,7318,982,286,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1efaf0c1e4d20ece3e0235e08d4dc5e.jpg",[237],{"id":18881,"slug":18882,"title":18883,"dynasty":228,"author":191,"museum":134,"description":18884,"tags":18885,"thumbUrl":18886,"material":100,"size":12742,"collection":44,"collections":18887,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":49},290786,"chun-jing-huo-lang-tu-zhou-yi-ming-290786","春景货郎图轴","货郎图自宋代以降，常被画家引为表现主题。此幅无名款，画春日郊园中，桃花初绽，新柳泛绿，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。货郎二人，一人手执鹦鹉兜售，另一妇人携二童立于担前，举手雀跃作欲索取状。人物设色妍雅，神情活泼生动，表现出古代农业社会纯朴闲适的生活情态。",[137,24,155,28,83,7,59,1744,1851,637,6512,97,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac3d16ea3f794f22ec38440af84d107.jpg",[44],45,{"id":18890,"slug":18891,"title":18892,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":18893,"thumbUrl":18894,"material":1397,"size":1398,"collection":220,"collections":18895,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":145},290317,"hua-sui-chao-tu-zhou-jiang-ting-xi-290317","画岁朝图轴",[24,155,137,25,28,7,212,298,690,6267,9329,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ccadc1ef0f0c75e51a73bcab26a1f7.jpg",[],{"id":18897,"slug":18898,"title":18899,"dynasty":18,"author":5954,"museum":245,"description":18900,"tags":18901,"thumbUrl":18903,"material":1397,"size":1398,"collection":220,"collections":18904,"showCount":18888,"zanCount":1769,"manualWeight":48,"mainColor":145},290074,"xiu-long-xiao-jing-tu-wang-shen-290074","绣栊晓镜图","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[914,24,28,7,83,59,470,18902,284,173,13259],"镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3850122dec566e5bbd67ec8ee7158ba.jpg",[],{"id":18906,"slug":18907,"title":18908,"dynasty":150,"author":578,"museum":245,"description":10691,"tags":18909,"thumbUrl":18910,"material":1397,"size":1398,"collection":220,"collections":18911,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":145},287931,"teng-hua-ying-wu-ren-yi-287931","藤花鹦鹉",[24,914,7,28,212,5413,1165,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f64c4d32fd0519c29062015ed843b48.jpg",[],{"id":18913,"slug":18914,"title":5974,"dynasty":150,"author":191,"museum":245,"description":18915,"tags":18916,"thumbUrl":18917,"material":1397,"size":1398,"collection":220,"collections":18918,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":49},287929,"qing-ming-shang-he-tu-ju-bu-yi-ming-287929","这幅局部以虹桥为核心，铺陈出鲜活的旧时市井盛景。木质飞虹横跨汴河，桥上人流如织，挑担货郎、乘轿仕人、驻足闲人摩肩接踵，神态各异地沉浸在春日市集的喧嚷里。桥下漕船正穿桥而过，船夫们躬身撑篙、呼喊呼应，将漕运的繁忙具象尽显。\n\n画面线条细腻工整，设色古雅沉稳，复刻出宋本原作风韵的同时，带着清代绘事的规整质感，将汴梁城漕运商贸的繁盛、闾巷百姓的日常烟火凝于卷上，让千年前的春日繁喧仿佛跃然眼前，尽显旧时都会的鲜活生机。",[137,24,26,28,7,83,85,84,86,112,111,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e33ae4f04a3a44f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的英文。作者希望透过画面，来现如今北宋都城的繁华景象。北宋画家张择端（活动于12世纪）以首都汴京的城市景街为题，创作了〈藏北京故宫博物院〉。 由于深受喜爱和喜爱，家庭画家遂纷纷效仿，许多同名的〈清明上河图〉。本卷也模仿张择端的作品，乾隆皇帝画推崇。 虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[23,137,24,26,28,7,83,84,85,87,94,115,112,284,173,82,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],{"id":18975,"slug":18976,"title":18977,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":18978,"thumbUrl":18981,"material":67,"size":1560,"collection":220,"collections":18982,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":49},230102,"hong-lou-meng-183-sun-wen-230102","红楼梦183",[251,7,28,24,83,84,176,92,466,34,214,59,344,18979,18980,1109],"群像","古典建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c666a7a5a3b8395196307e5628ac27.jpg",[],{"id":18984,"slug":18985,"title":715,"dynasty":76,"author":12094,"museum":245,"description":18986,"tags":18987,"thumbUrl":18988,"material":220,"size":220,"collection":220,"collections":18989,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":49},228365,"xiang-shan-jiu-lao-tu-zhou-chen-228365","《香山九老图》是明代画家 创作的一幅绢本设色画，该画现藏于 。\n名称：香山九老图轴 作者：周臣 年代：明代 周臣，明代中期的著名职业画家。\n他生活在成化至嘉靖年间，生卒年不详。\n字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖14年（即155年）。\n擅长画人物和山水，画法严整工细。\n他有两个学生特别著名，一个唐寅，另一个仇英，唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。\n曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。\n画山石坚凝，章法严谨，用笔纯熟。\n曾与戴进并驱，则互有所长。\n人物画也非常出色，古貌奇姿，绵密萧散，各极意态。\n南京博物院收藏的周臣代表作《柴门送别图》，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。\n周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》、《春泉山隐图》等，济南博物馆收有《访友图》，及台湾、国外大博物馆内也收藏一些作品。\n周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,24,25,28,7,172,83,29,927,34,1797,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaa0c43decd43702693cac01a030852.jpg",[],{"id":18991,"slug":18992,"title":18993,"dynasty":18,"author":191,"museum":245,"description":18994,"tags":18995,"thumbUrl":18996,"material":220,"size":220,"collection":220,"collections":18997,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":145},227832,"cong-ju-tu-ye-yi-ming-227832","丛菊图页","《丛菊图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n鉴藏印钤“□藤仙馆书画”、“云谷”、“□华宝有”，另有一印残。\n图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。\n花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。\n花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。\n画风工致细腻，构图丰满，繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作。",[23,137,24,25,519,7,28,212,689,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5312cc31255d3afb48112f73e8e7a3f.jpg",[],{"id":18999,"slug":19000,"title":19001,"dynasty":18,"author":7315,"museum":245,"description":19002,"tags":19003,"thumbUrl":19004,"material":220,"size":220,"collection":220,"collections":19005,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":49},227831,"she-xiang-tu-mao-song-227831","麝香图","洞石旁蜀葵柔枝舒展，粉白淡紫的花晕漾开雅致生机，藏在花枝间的禽鸟敛羽小憩，暗生幽趣。狸奴踞坐于地，蓬松白毛似覆软雪，琥珀眼眸凝向幼崽，神态温静慵懒。三只乳猫两两嬉闹，稚拙灵动的憨态被描摹入微。\n\n设色秀妍清雅，笔致工细却不失灵韵，以圆形构图收拢庭院景致，将母猫育幼的日常温情定格成一方温柔剪影，把宋人的细腻闲情晕开在绢素之上，平和松弛的烟火暖意漫溢其间，尽显雅致柔和的审美意趣，将寻常里的治愈温情留存至今。",[23,137,24,25,914,7,28,581,582,62,159,3084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],{"id":19007,"slug":19008,"title":19009,"dynasty":18,"author":1838,"museum":245,"description":19010,"tags":19011,"thumbUrl":19012,"material":220,"size":220,"collection":220,"collections":19013,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":49},227511,"qiu-ting-ying-xi-tu-jing-xin-su-han-chen-227511","秋庭婴戏图镜心","以前每逛国内一些博物馆，古玩店铺，诸多载体如绢纸本的画、玉器、瓷器上，你总能看到许多幼童、小少年在室内或庭院或郊外耍闹、游戏。而一番梳理下来，你能发现，历史上宋、明、清朝代，婴戏图尤其多。宋代多显现在存世的画幅、瓷器、玉器上。北宋五大名窑及更多地方窑口，均单色釉，少图案。南宋龙泉窑碗内偶见婴戏图形，北方磁州窑的罐、枕上，多有或钓鱼或卧躺的婴儿图。明代的绘画尤其是明中期宣德特别是正德、嘉靖时期的瓷器上，婴戏图逐渐风行，小孩子蹴鞠图十分常见。客观原因是因为无论是明朝繁盛的青花，还是后来发明的五彩，对“婴戏图”再现更容易。清代的图画、瓷器的青花粉彩、玉器上，或“百子图”或“三娘教子图”或“庭院婴戏图”等，更已普遍化。传统文化伦理中，福禄寿三星，“福”即是寄望多子，“多子多福”，故历朝历代也将这种寄望显现在不同的艺术载体上。宋、明、清“婴戏图”相对更多，与这几个时代的商品经济、俗世文化的发达及瓷器玉器家具等工艺技术的升级换代有关。窃以为，还有一个隐藏原因：与其时帝王子嗣的夭折过多、稀薄有关。",[137,24,25,17012,7,28,83,156,314,158,6142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1313ad7296d75c27256b6ac0d233eba1.jpg",[],{"id":19015,"slug":19016,"title":19017,"dynasty":18,"author":326,"museum":245,"description":19018,"tags":19019,"thumbUrl":19020,"material":220,"size":220,"collection":220,"collections":19021,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":49},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[23,24,137,25,7,855,28,7318,452,982,159,198,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],{"id":19023,"slug":19024,"title":19025,"dynasty":150,"author":15541,"museum":245,"description":19026,"tags":19027,"thumbUrl":19028,"material":220,"size":220,"collection":220,"collections":19029,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":145},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,24,25,155,7,855,28,1568,3010,569,653,655,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],{"id":19031,"slug":19032,"title":19033,"dynasty":150,"author":8807,"museum":245,"description":19034,"tags":19035,"thumbUrl":19037,"material":220,"size":220,"collection":220,"collections":19038,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":145},224474,"yu-zan-hua-wan-shou-ju-yu-sheng-224474","玉簪花万寿菊","此作取景雅致，椭圆画幅将庭隅清趣拢于其中。玉簪花挺然舒展，紫瓣晕染出通透柔润的质感，垂坠的花穗尽显清雅柔婉之态；阔叶墨绿莹润，脉纹精细分明，衬出花枝秀逸。下方万寿菊娇俏点缀，细枝嫩叶灵动雅致，与玉簪花形成疏密错落的层次。\n\n设色温婉柔和，淡赭底色晕开古雅氛围，晕染兼具写实工致与写意韵致。题字落款雅致呼应画意，将花草舒展之态与清隽闲淡的意趣相融，尽显工笔花鸟的秀美细腻，观者仿若亲临小园，静赏幽花盛放的悠然生机。",[23,24,25,7,28,212,3936,19036,6402,1631],"万寿菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750762adee6fd22e6a0e3c0df1eb893a.jpg",[],{"id":19040,"slug":19041,"title":19042,"dynasty":150,"author":5382,"museum":245,"description":19043,"tags":19044,"thumbUrl":19049,"material":220,"size":220,"collection":220,"collections":19050,"showCount":18888,"zanCount":1769,"manualWeight":48,"mainColor":49},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,19045,28,172,855,7,19046,623,624,19047,769,34,211,35,37,19048,91,1319],"清代山水画","传统山水技法","白云","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],{"id":19052,"slug":19053,"title":19054,"dynasty":132,"author":191,"museum":245,"description":19055,"tags":19056,"thumbUrl":19057,"material":220,"size":220,"collection":220,"collections":19058,"showCount":18888,"zanCount":1084,"manualWeight":48,"mainColor":49},223600,"shen-jun-tu-juan-yi-ming-223600","神骏图卷","画面分野有致，左侧白马踏波驰行，骑手身姿稳练，骏马昂首翘尾，四蹄舒展，神骏勃发之态毕现。右侧林下石台，红衣士人凭坐回望，僧者坦腹怡然对晤，旁侧仆童持毛刷侍立，情态松弛闲适。\n设色古雅沉稳，青绿晕染坡岸，墨线细劲流畅，将人马灵动与林下幽逸相融，把世外雅集的清旷高逸尽显纸面，残卷仍掩不住精工雅致的风韵，尽显六朝清谈雅集的风流意趣。",[23,24,25,26,28,7,83,112,313,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9205dfb3e7d9803703624ce638d146.jpg",[],{"id":19060,"slug":19061,"title":19062,"dynasty":18,"author":191,"museum":20,"description":19063,"tags":19064,"thumbUrl":19065,"material":424,"size":19066,"collection":220,"collections":19067,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":145},223591,"shu-he-sha-niao-tu-ye-yi-ming-223591","疏荷沙鸟图页","图中所绘残败的荷叶表明了时当秋日，荷塘的一角，一枝枯瘦的莲蓬横出画面，鹡鸰栖止于莲梗上，侧首注视着上方的一只小蜂，其凝神专注的神态刻画得惟妙惟肖。莲梗两端的鹡鸰与莲蓬巧妙地平衡了画面，而鹡鸰目向小蜂的视线则带动观者的视线落于画面上方，这种布局使画面显得既稳定又生动。此图格调典雅，用笔精致，画风细腻，荷叶枯黄的斑点和细小的筋脉均描绘得一丝不苟。",[23,137,24,25,519,7,28,285,284,173,248,13761,299,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a87f455c33296c9ed4d781844a8fe.jpg","纵25厘米，横25．6厘米",[],{"id":19069,"slug":19070,"title":19071,"dynasty":18,"author":5954,"museum":20,"description":19072,"tags":19073,"thumbUrl":19074,"material":19075,"size":19076,"collection":220,"collections":19077,"showCount":18888,"zanCount":48,"manualWeight":48,"mainColor":49},223513,"liu-yin-gao-shi-tu-wang-shen-223513","柳荫高士图","北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,24,25,28,7,83,1028,286,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe087bce9ee900ca12a83d8169b36bf3.jpg","轴绢本设色","76×46.4厘米",[],{"id":19079,"slug":19080,"title":19081,"dynasty":76,"author":191,"museum":20,"description":19082,"tags":19083,"thumbUrl":19084,"material":67,"size":19085,"collection":220,"collections":19086,"showCount":18888,"zanCount":1769,"manualWeight":48,"mainColor":49},223384,"shuang-tu-tu-ye-yi-ming-223384","双兔图页","《双兔图页》是明代佚名创作的绢本设色画。",[23,24,25,914,7,28,582,1568,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd702801541ffb43e86522d41bd3b9e52.jpg","纵114.3厘米 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zhao-chang-288539","写生蛱蝶图",[23,24,137,25,26,7,28,212,2268,410,409,19279,285,173,19280],"野草","秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97796390b63dc3cfc3af98bc62a819e5.jpg",[],{"id":19284,"slug":19285,"title":19286,"dynasty":76,"author":819,"museum":245,"description":19287,"tags":19288,"thumbUrl":19289,"material":1397,"size":1398,"collection":220,"collections":19290,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":145},287750,"hua-hui-shi-kai-he-tu-xiang-sheng-mo-287750","花卉十开(合图)","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,137,519,7,28,212,409,637,822,689,157,298,823,174,690,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7dc877eba84263d9e3018bb06e2fb25.jpg",[],{"id":19292,"slug":19293,"title":3223,"dynasty":150,"author":1162,"museum":245,"description":3224,"tags":19294,"thumbUrl":19295,"material":1397,"size":1398,"collection":220,"collections":19296,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":145},239454,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239454",[24,25,519,7,28,212,410,411,62,655,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F384bf1f79890e720543b7671782cefef.jpg",[],{"id":19298,"slug":19299,"title":19300,"dynasty":150,"author":19301,"museum":245,"description":19302,"tags":19303,"thumbUrl":19304,"material":220,"size":220,"collection":182,"collections":19305,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},237464,"xi-yuan-ya-ji-tu-zhou-zhang-ling-237464","西园雅集图轴","张翎","这幅全景式园林雅集图，以山石林木划分出数处雅聚小境。苍松虬劲、蕉竹扶苏，池苑溪桥蜿蜒其中。文人们三两成群，或围案观摩友人挥毫落墨，或凭栏远眺私语清谈，或坐卧林泉观鱼赏景，动静之间尽显林下风流。淡墨勾勒山石肌理，晕染出温润质感，枝叶点染细致秀逸，淡设色衬出雅致恬淡的氛围，将文人雅聚的闲散意趣与从容气度尽皆铺展于绢素之上，尽显古典文人群聚的清隽韵味。",[24,855,28,7,172,83,29,85,927,2653,211,3045,34,1797,92,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abbe124c0e31104ad7c8467b2cb3887.jpg",[182,44],{"id":19307,"slug":19308,"title":7841,"dynasty":150,"author":7842,"museum":245,"description":19309,"tags":19310,"thumbUrl":19311,"material":1397,"size":1398,"collection":220,"collections":19312,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":145},235284,"ren-wu-gu-shi-ce-fan-xue-yi-235284","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,25,519,28,7,83,84,92,409,214,59,91,313,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4969cf7e7182473f0293efe286f13572.jpg",[],{"id":19314,"slug":19315,"title":19316,"dynasty":150,"author":19317,"museum":245,"description":19318,"tags":19319,"thumbUrl":19320,"material":220,"size":220,"collection":220,"collections":19321,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":145},234620,"li-hua-wan-shan-zhu-ying-234620","梨花纨扇","朱英","朱英（1417年－1485年8月21日），字时杰、世杰，号澹菴、诚庵、任真子。明湖广承宣布政使司郴州桂阳外沙村（今湖南省汝城县）人，曾在甘肃及两广等地任职，官至两广总督、加都察院右都御史，累封太子太保、荣禄大夫，毕生廉洁奉公、忧国忧民。后被奉为潮州饶平城隍。谥号恭简。",[24,25,914,28,7,212,1258,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89aab06fbba9347ea1c77e4b64953a1b.jpg",[],{"id":19323,"slug":19324,"title":19325,"dynasty":228,"author":4846,"museum":134,"description":19326,"tags":19327,"thumbUrl":19328,"material":100,"size":19329,"collection":220,"collections":19330,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},231404,"jun-ma-tu-zhao-yong-231404","骏马图","此画中主题与关键字是春景、高士（士人、隐士）、官员（臣）、马，描写平野放牧的景致，空旷幽远的构图布局中，五匹骏马安逸地散游在水边的几棵杂树之间；驯马人倚靠着松树，竟然打起瞌睡来，一副安然自在的样子。后方平静的湖水与秀丽的山峦连成一片，气氛更显得静穆、祥和。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,137,25,155,7,28,112,313,211,705,4188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd50ae8022a673be0e735a42f54526d7.jpg","186x106",[],{"id":19332,"slug":19333,"title":19334,"dynasty":76,"author":77,"museum":134,"description":19335,"tags":19336,"thumbUrl":19345,"material":100,"size":19346,"collection":220,"collections":19347,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},231375,"qiu-jiang-dai-du-tu-chou-ying-231375","秋江待渡图","此画属于院体一类，造型严谨，用笔不苟，刻画十分精细。只要展开画卷仔细观察，其中无沦一砖一瓦，一枝一叶，一草一木，还是人物表情，都描绘得极其精妙。即是远景、远岸的重山峻岭，山峦连绵，也画得很瓷实，一潭宽阔无际的秋水，宛如镜面。白云下的房舍屋宁、树林画得虽细小，但十分精工，所以把白云上面的山推向远处。近景为此画的核心，近岸山峦很高，村庄座落其间，显得十分细小，但画得十分精致。画面上的树林杂木众多，通过画家的笔触，画得各有特色，成为整幅画上的重要组成部分。这是一幅煌煌巨制的画作。景界开阔，但不觉疏散。他运用自己高超的技法，特别注重意境的刻画，在他笔下的屋可居，山可游，生活气息浓郁，有着诗一般的意境。设色温和清秀，并不艳俗。所画的人物比例虽小，但通过精致刻画，神形俱全。确属雅俗共赏之作。\n这一作品画面不大，但由于构图布局得当，远处的山峦，近处的茫茫秋水和近岸的山丘与树林，空间关系处理得当，使人感到境界十分开阔，具有咫尺千里之妙。同时，秋高气爽的季节特点也得到了很好的体现。从具体画法上看，无论是景物的一枝一叶，还是人物的表情，都描绘得十分精细。与那些远离现实、表现隐逸思想的某些文人画家的山水画相比，这一作品就显得具有浓厚的生活气息，可以激起人们对生活的热爱。",[24,12037,7,28,29,19337,623,19338,175,83,763,5386,19339,19340,19341,19342,19343,19344],"秋水","树林","秋高气爽","咫尺千里","雅俗共赏","精工细作","生活气息浓郁","意境悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda34b84f047fd2cff2c3894ed7617045.jpg","纵155．4厘米，横133.4厘米",[],{"id":19349,"slug":19350,"title":19351,"dynasty":150,"author":260,"museum":245,"description":19352,"tags":19353,"thumbUrl":19354,"material":220,"size":220,"collection":220,"collections":19355,"showCount":19249,"zanCount":1769,"manualWeight":48,"mainColor":145},230208,"xin-xie-zhi-ping-tu-qian-long-di-hou-fei-pin-tu-juan-lang-shi-ning-230208","心写治平图（乾隆帝后妃嫔图卷）","整卷以右至左排布人物，糅合西洋写实晕染与东方工笔雅致，将帝后妃嫔的面容刻画得精细入微，明暗起伏间尽显温婉端凝的皇家仪态。\n服饰纹样繁复考究，缂丝龙纹行云流转，貂皮立领柔润逼真，金线朱色点缀间尽显清宫礼制的华贵威仪。旁侧小字标注身份，朱红印章错落点缀，让画作兼具纪实性与艺术性。\n静穆典雅的画面中藏着清代宫廷的仪制尊荣，是中西绘法融合的经典肖像佳作，将帝后群像的雍容气度凝固于绢本之上。",[23,24,137,26,7,28,83,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a89e21b664b7586cc2499e512566ef0.jpg",[],{"id":19357,"slug":19358,"title":10286,"dynasty":76,"author":888,"museum":245,"description":19359,"tags":19360,"thumbUrl":19361,"material":220,"size":220,"collection":220,"collections":19362,"showCount":19249,"zanCount":1769,"manualWeight":48,"mainColor":145},228478,"wang-shu-gong-ji-tu-tang-yin-228478","画作以柔丽工笔重彩绘就四位宫妓，她们头戴花冠，两两相对，或拈花簪鬓，或对镜理容，眉眼含柔，尽显娇婉慵闲之态。衣纹勾勒细劲流畅，敷色妍雅鲜亮，将蜀地宫娥的柔媚风韵晕染尽致。\n\n画幅题诗暗合前蜀宫闱旧事，在仕女的绮艳描摹之中，暗寓对耽于宴乐的讽喻，将精工的视觉美感与文人的寄兴藏于一体，于柔丽雅致间藏着沉敛的讽世之思，是仕女画中兼擅审美意趣与文心寄寓的经典之作。",[23,137,24,25,155,28,83,59,63,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2530c75a1f39e5bab12ffc2dd7b41be1.jpg",[],{"id":19364,"slug":19365,"title":19366,"dynasty":76,"author":191,"museum":245,"description":1975,"tags":19367,"thumbUrl":19369,"material":1397,"size":1398,"collection":220,"collections":19370,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},228408,"di-shi-tian-xi-quan-tu-yi-ming-228408","帝释天西全图",[1053,24,194,83,28,7,2602,19368],"帝释天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1b5fdf64dd23a59341e6cd7f18b634.jpg",[],{"id":19372,"slug":19373,"title":19374,"dynasty":76,"author":17002,"museum":134,"description":19375,"tags":19376,"thumbUrl":19377,"material":220,"size":220,"collection":220,"collections":19378,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},228319,"san-you-si-xi-tu-bian-jing-zhao-228319","三友四喜图","此作用全景铺陈开卷，松挺竹劲梅娇，聚成岁寒三友之姿，群雀翔集枝梢，啾唧喧闹间衬出林野生机。四只喜鹊或栖或飞，墨白羽色鲜亮醒目，于群鸟中格外灵动。\n\n画师落笔精工写实，禽鸟翎毛细密柔润，根根分明；松竹梅的枝干皴擦细致，苍秀兼具。整幅画面动静交织，既见院体花鸟的细腻工致，又借三友暗喻君子风骨，以喜鹊托举祥瑞吉意，将雅致品格与喜庆意蕴融于一卷。",[23,24,7,28,212,178,156,637,1068,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9c628ba03bd30ead976aed52184f75.jpg",[],{"id":19380,"slug":19381,"title":19382,"dynasty":228,"author":191,"museum":245,"description":19383,"tags":19384,"thumbUrl":19385,"material":220,"size":220,"collection":220,"collections":19386,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},228215,"you-xing-shi-nv-tu-yi-ming-228215","游行仕女图","古绢底色晕染岁月沉浑，雄健湖石倚立，芭蕉阔叶舒展如伞，猩红花穗挺立于叶隙，墨色浓淡晕开草木蓬勃生机。仕女衣袂轻扬雅致，或垂眸敛容，或侧身顾盼，柔缓徐行间尽显端静含蓄的仪态。画作以大石丛蕉衬出仕女窈窕娟秀，上下分景疏密相宜，设色古淡沉静，笔致简净含蓄，藏雅致余韵，将庭院闲游的松弛意趣，融在古朴沉静的画境之内，淡墨轻彩晕开旧时光里的闺中清致。",[23,24,25,155,7,28,83,59,211,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb2be621dcd64401a64de5a6e7d8444.jpg",[],{"id":19388,"slug":19389,"title":19390,"dynasty":228,"author":3524,"museum":245,"description":19391,"tags":19392,"thumbUrl":19393,"material":220,"size":220,"collection":220,"collections":19394,"showCount":19249,"zanCount":1084,"manualWeight":48,"mainColor":1833},228167,"guan-gong-wu-shi-san-sui-yi-xiang-zhao-meng-fu-228167","关公五十三岁遗像","画面里关公踞坐案前，轻捋美髯凝视卷册，案上烛台、典籍错落，沉静间自有武圣威严。身旁武士戎装侍立，身姿恭谨，衬得主位人物气度沉凝。\n\n衣纹线条凝练劲挺，设色苍雅古拙，将关公的儒雅斯文与武将的豪壮气度相融，尽显其忠义千秋的风骨。题字古意盎然，补足人物生平意蕴，整体笔墨带着特有的简淡苍劲，把武圣的精神气韵刻画入微，是形神兼备的经典人物佳作。",[23,24,25,28,7,83,344,216,784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3321d64766a7b4f4db359c8e366a00b.jpg",[],{"id":19396,"slug":19397,"title":19398,"dynasty":18,"author":4885,"museum":245,"description":19399,"tags":19400,"thumbUrl":19401,"material":220,"size":220,"collection":220,"collections":19402,"showCount":19249,"zanCount":1769,"manualWeight":48,"mainColor":49},227965,"qi-zi-du-guan-tu-juan-li-tang-227965","七子度关图卷","此卷以苍林古道铺展荒寒底色，将避乱行旅的群像铺陈于绢素。旅人或策驴徐行、或驻马待发，仆从牵驮辎重、神色仓皇，将乱世迁客的羁旅劳顿藏在蹙额的神情、驱驰的动态之间，写实工细又带着沉郁的氛围感。\n\n卷后篆额古拙雄奇，行书题跋笔墨隽秀，书画合璧晕开史事余韵。既有宋画的精工写实，又兼具文人画幽远意趣，将乱世怆然与丹青雅致融于一卷，尽显古画的厚重底蕴与迁客流离的沉痛感怀。",[23,24,25,26,7,28,83,112,313,211,2463,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd484ab2362b165a1f08fdab816e5527.jpg",[],{"id":19404,"slug":19405,"title":19406,"dynasty":18,"author":1275,"museum":245,"descri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兰花，只有头； 浅玉晶莹剔透，争奇斗艳。 风格：甲午春日、法式铁桥笔、南苹果神拳。",[23,24,7,28,212,213,300,298,197,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e016bbc82fb27fdb86c5d508ffaae3.jpg","34.98X60",[],{"id":19460,"slug":19461,"title":19462,"dynasty":76,"author":191,"museum":78,"description":19463,"tags":19464,"thumbUrl":19465,"material":220,"size":19466,"collection":220,"collections":19467,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},223531,"mu-zi-lu-tu-yi-ming-223531","母子鹿图","此作设色古雅沉静，笔致工细柔和。坡岸之上，鹿抬首凝神，目光追随着翩跹彩蝶，周身斑点晕染匀净柔和，皮毛质感细腻宛然。苍松虬劲，针丛细密苍润，怪石皴刻朴拙古厚，衬出林间清寂之气。远景淡墨晕染出水泽远山，朦胧空濛将意境拉伸，方寸画幅饱含山野林泉的悠然意趣。兼具院体画的精工，又带着文人水墨的淡远意境，定格幽林闲静一刻，尽显山野生灵与林泉共生的悠然禅意。",[23,24,25,28,7,582,1817,156,314,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a708feb39d0df19f091d6ff9e9da8cc.jpg","24.1x26",[],{"id":19469,"slug":19470,"title":19471,"dynasty":18,"author":191,"museum":134,"description":19472,"tags":19473,"thumbUrl":19474,"material":952,"size":19475,"collection":42,"collections":19476,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},223418,"zi-mu-ji-tu-yi-ming-223418","子母鸡图","此图绘一只母鸡引领着几只孵出不久的小鸡，在地上漫步啄食。母鸡雪白的羽毛蓬松亮丽，目光中充满着慈爱，小鸡则稚嫩怯弱，依偎在母亲的羽翼保护下。母鸡俯身与宝宝们对话，神情爱怜。此画虽无陪衬，却能以情动人。作品在技法处理上，母鸡以勾线、施毛渲染，而小鸡则以施毛勾出轮廓，全以渲染，两者对比，更显小鸡稚嫩，母鸡慈爱。更精妙的是作者在对母鸡眼睛的处理上，把留白的位置留在眼珠的最前面，使其俯身之姿更加强烈",[23,137,24,25,7,28,212,1967,13012,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d3bda73641850315ec173a9cfe7fc6.jpg","纵59.99cm 横32.83cm",[42],{"id":19478,"slug":19479,"title":19480,"dynasty":150,"author":3725,"museum":20,"description":19481,"tags":19482,"thumbUrl":19483,"material":40,"size":19484,"collection":182,"collections":19485,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[23,24,25,155,81,28,7,172,29,84,85,211,34,37,83,1907,91,38,623,769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[182,45],{"id":19487,"slug":19488,"title":19489,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":19490,"thumbUrl":19491,"material":28,"size":1081,"collection":220,"collections":19492,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":145},222732,"xian-e-chang-chun-tu-ying-su-lang-shi-ning-222732","仙萼长春图罂粟",[23,137,24,25,519,28,7,212,3925],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c91e61b739cd5323e62e9036da76b5.jpg",[],{"id":19494,"slug":19495,"title":19496,"dynasty":132,"author":9464,"museum":20,"description":9465,"tags":19497,"thumbUrl":19499,"material":9468,"size":9469,"collection":220,"collections":19500,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},221171,"jia-nuo-jia-fa-cuo-zun-zhe-tang-ka-bu-ben-guan-xiu-221171","迦诺迦伐磋尊者（唐卡布本）",[23,24,28,7,194,83,248,19498,65],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9039551bd38106ac8fa4580e345112.jpg",[],{"id":19502,"slug":19503,"title":19071,"dynasty":18,"author":191,"museum":134,"description":19504,"tags":19505,"thumbUrl":19506,"material":100,"size":19507,"collection":42,"collections":19508,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},219693,"liu-yin-gao-shi-tu-yi-ming-219693","这幅画论布局，论笔法、设色，均臻上乘。画中人物之猜测为谁﹖其理由是以前景中的柳树，以应陶渊明是「五柳先生」，再加以头上的巾子足以漉酒，渊明正是好酒之人。本幅从服饰及坐具、酒具，显然是画晋人，而无唐以后风俗。陶渊明出现的形象，基本上是一位「高士」，然而这个高士大致有两种面貌，一种是悠游山林的隐者，一种是醺醺醉矣的酒客。柳阴高士可能是现存画陶渊明醉醺醺的最早一幅画了。画中树下一翁，席以豹皮，前置一手卷、一盏酒，老翁袒胸赤足，头戴葛巾，双目凝神下视，实已醺醺然微醉矣。渊明坐前双脚处，席上置有盛酒之碗，酒盛九分满，沿上犹挂著一把勺子，碗与勺皆是外壁黑，内面朱，且其质薄，看来是漆器一类而非陶器。，从器皿及服饰的发展，画中人物是非唐而为晋。\n柳荫下，一位士人袒胸露背，跣足而坐于豹皮之上，潇洒超脱，充满雅逸逍遥之趣。士人两眼有醺醺然之貌，故幅上乾隆题诗称这位高士不是唐的李白，就是晋的陶潜。由于陶潜曾作＜五柳先生传＞以自况，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。",[23,24,25,155,28,7,172,83,1028,286,139,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8dde6b37837daa0488ca428fd6cae5e.jpg","65.4x40.2cm",[42,44],{"id":19510,"slug":19511,"title":19512,"dynasty":150,"author":19513,"museum":406,"description":19514,"tags":19515,"thumbUrl":19516,"material":2373,"size":19517,"collection":44,"collections":19518,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":145},219419,"jin-gu-yuan-tu-zhou-hua-nie-219419","金谷园图轴","华喦","华喦（yán）的笔墨既有继承传统的一面，又重视写生，构图大胆新颖。他所刻画的艺术形象鲜活生动，用笔干湿浓淡灵活多变，表现力强。是图，华岩重构了西晋石崇所建别墅金谷园，潇洒淋漓的笔墨与烂漫的花草使奢华的园林带有了些许文人气韵。",[24,155,28,7,83,29,34,211,59,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900b496b8d7d1df5eea57bd7f71090a2.jpg","纵178.7 厘米 横94.4 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杜衍像","杜衍是继唐朝名臣杜佑之后的北宋名臣，精通诗词和书法。",[23,24,7,28,83,155,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc8d554101f924583694f0001ec727a.jpg","40.3x31.4",[44],{"id":19565,"slug":19566,"title":19567,"dynasty":76,"author":191,"museum":134,"description":19568,"tags":19569,"thumbUrl":19571,"material":100,"size":19572,"collection":44,"collections":19573,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":1833},218445,"xi-ying-tu-yi-ming-218445","戏婴图","古雅绢色晕染出时光的温润，三个稚童围聚盆边的嬉戏场景，似将千年笑语凝于尺幅。红衣童子侧身托腮，绿衣小儿俯身探向盆中浮舫，灰衣幼童低首凝视，每一处神态皆憨态可掬。虬枝垂落艳红石榴，饱满果实暗蕴多子祈愿；盆沿纹饰斑斓，与稚子衣袂的鲜活色彩相映成趣。线条简练却传神，衣褶的松弛、动作的天真，尽得孩童本真之态。古绢的斑驳未减其韵，反让这份日常嬉戏的温馨更显隽永——无需刻意雕琢，便将纯粹童趣化为穿越时空的感动，引观者驻足，重拾心底那份久违的澄澈快乐。",[24,25,137,155,7,28,1744,92,216,19570,211,409],"石榴树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4bcc721f7de92c5eb1552f1552e379.jpg","144.2x79",[44],{"id":19575,"slug":19576,"title":19577,"dynasty":150,"author":3912,"museum":367,"description":3913,"tags":19578,"thumbUrl":19579,"material":100,"size":3916,"collection":220,"collections":19580,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":145},218353,"shi-nv-tu-ce-2-li-ting-xun-218353","仕女图册-2",[24,25,28,7,83,59,63,64,284,173,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b94ddb9dca2a24390e96ab7141eea0.jpg",[],{"id":19582,"slug":19583,"title":19584,"dynasty":150,"author":433,"museum":367,"description":2987,"tags":19585,"thumbUrl":19586,"material":100,"size":2990,"collection":220,"collections":19587,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":145},218326,"shen-xian-gu-shi-tu-ce-10-leng-mei-218326","神仙故事图册-10",[23,137,24,25,519,7,28,83,211,37,63,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59c4eabdad812463812ac127f8c66.jpg",[],{"id":19589,"slug":19590,"title":19591,"dynasty":76,"author":191,"museum":13995,"description":19592,"tags":19593,"thumbUrl":19594,"material":100,"size":19595,"collection":44,"collections":19596,"showCount":19249,"zanCount":48,"manualWeight":48,"mainColor":49},218282,"yan-wang-tu-yi-ming-218282","阎王图","威严的王者端坐于上，华服加身，面容沉肃，眉宇间透着审判者的凛然正气。身侧侍从恭谨侍立，持物敛神，似在静候指令。下方小鬼动作利落，刑罚场景张力十足，将地狱审判的威慑力渲染得淋漓尽致。古朴设色与流畅线条交织，人物神态各异：王者冠饰的细腻纹理、侍从衣袂的轻柔褶皱、小鬼动态的生动刻画，皆见匠心。整幅画作以极具冲击力的场景传递因果轮回的警示意味，氛围凝重却不失艺术感染力，尽显传统绘画的精妙与深刻内涵。",[24,155,28,7,194,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37f6540367a42df18b1e3f9bcf1f206.jpg","154.9x58.1",[44],{"id":19598,"slug":19599,"title":969,"dynasty":18,"author":1774,"museum":245,"description":7131,"tags":19600,"thumbUrl":19601,"material":1397,"size":1398,"collection":220,"collections":19602,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},290088,"han-gong-chun-xiao-tu-zhao-bo-ju-290088",[137,24,81,7,28,84,29,751,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa88892b34b877788f8b89fdee5cdd3a.jpg",[],43,{"id":19605,"slug":19606,"title":19607,"dynasty":228,"author":191,"museum":245,"description":19608,"tags":19609,"thumbUrl":19610,"material":1397,"size":1398,"collection":220,"collections":19611,"showCount":19603,"zanCount":1769,"manualWeight":48,"mainColor":49},290068,"pu-dian-hua-niao-tu-yi-ming-290068","铺殿花鸟图","这幅古作以沉郁青绿为底，晕染着岁月晕开的斑驳痕迹。枝桠交错间，春梅与海棠次第盛放，花苞轻缀、繁花舒展，柔媚花色和苍劲老枝相映成趣。\n\n两只禽鸟一仰一俯，顾盼有情，翎毛细处勾勒精工、晕染柔和，将娇憨灵动的神态尽数留住。笔墨带着妍雅古拙的意趣，把春日枝梢间的悠然闲静凝于绢素，纵使历经年岁磨洗，依旧能窥见彼时工致雅致的花鸟遗风，将春日幽隽的生机诗意定格。",[24,137,7,28,212,178,637,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507416e7a89e7cbd27a1fa5d32854bf7.jpg",[],{"id":19613,"slug":19614,"title":19615,"dynasty":18,"author":1838,"museum":245,"description":19616,"tags":19617,"thumbUrl":19619,"material":1397,"size":1398,"collection":220,"collections":19620,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},289345,"jing-zhuang-shi-nv-tu-su-han-chen-289345","靓妆仕女图","苏汉臣（1094年―1172年），汴京（今河南开封）人，北宋画家。北宋徽宗宣和年间（1119~1125）任画院待诏，南宋高宗绍兴年间（1131~1162）复职，南宋孝宗隆兴初年（1163）任承信郎。\n苏汉臣曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。师刘宗古，工画道释、人物臻妙，尤善婴孩，所画货郎图，描画精细，货物繁颐，更为特出。\n苏汉臣师从画院待诏刘宗古，所绘人物、士女及佛道宗教画，用笔工整细劲，着色鲜润。尤擅描绘婴儿嬉戏之景和货郎担，情态生动。传世作品有《秋庭戏婴图》《五瑞图》《击乐图》《婴戏图》等。",[24,914,7,28,470,59,5967,19618,215,1499,2614,5019],"妆扮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461f3a441637bef355b5e52fce686547.jpg",[],{"id":19622,"slug":19623,"title":19471,"dynasty":18,"author":13937,"museum":245,"description":19624,"tags":19625,"thumbUrl":19626,"material":1397,"size":1398,"collection":220,"collections":19627,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":145},288841,"zi-mu-ji-tu-wang-ning-288841","王凝（公元11世纪）〔北宋〕江南人，生卒年不详，画院待诏，为熙宁(1068-1077)前画院高手。",[137,24,25,1996,7,28,9872,13012,19542,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2bf0e55f242c2a44237a43bf7541f5.jpg",[],{"id":19629,"slug":19630,"title":2210,"dynasty":18,"author":326,"museum":20,"description":19631,"tags":19632,"thumbUrl":19633,"material":67,"size":1398,"collection":220,"collections":19634,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},287891,"fu-rong-jin-ji-tu-zhao-ji-287891","此画以花蝶、锦鸡构成画面，画中两只芙蓉花娴静的半开着，一只锦鸡蓦然飞临芙蓉的枝头，压弯了枝头，打破了宁静，枝头还在颤动，而锦鸡却浑然不顾，已回首翘望右上角那对翩翩起舞的彩蝶，跃跃欲试。\n画中赵佶自题：“秋劲拒霜盛，峨冠锦羽鸡，已知全五德，安逸胜凫鷖”。\n画内藏印有“万历之宝”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”等。 [2]\n画中还有签名画押，据说是天下一人四字拼合而成。",[24,212,7,28,492,689,938,411,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ed80cbf2e91b8137c11c7a56795b76.jpg",[],{"id":19636,"slug":19637,"title":3223,"dynasty":150,"author":1162,"museum":245,"description":3224,"tags":19638,"thumbUrl":19639,"material":1397,"size":1398,"collection":220,"collections":19640,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":145},239457,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239457",[24,519,7,28,212,490,468,596,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890b258d7b2179aca0ace409e4e02f1c.jpg",[],{"id":19642,"slug":19643,"title":2902,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":19644,"thumbUrl":19645,"material":1397,"size":1398,"collection":220,"collections":19646,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":145},239244,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239244",[24,25,519,7,28,212,298,411,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8cd875f8ac880b48dbab7264c27a44.jpg",[],{"id":19648,"slug":19649,"title":19650,"dynasty":150,"author":19651,"museum":245,"description":19652,"tags":19653,"thumbUrl":19654,"material":1397,"size":1398,"collection":220,"collections":19655,"showCount":19603,"zanCount":1769,"manualWeight":48,"mainColor":145},234846,"hua-hui-tuan-shan-mian-mou-su-yun-234846","花卉团扇面","缪素筠","缪嘉蕙，清女。字素筠，昆明人，适同邑陈氏。光绪（一八七五至一九零八）中叶，慈禧太后忽怡情翰墨，学绘花卉，又作擘窠大字，常书福寿等字以赐大臣等。思行一二代笔妇人，乃诏各省觅之。时嘉蕙随夫宦蜀，夫死子幼，归滇，以弹琴、卖画为活。工翎毛、花卉，秀逸清雅，小楷亦楚楚合格。四川督抚乃驿送之京师。慈禧如试大喜，置诸左右，朝夕不离。并免其跪拜，赏三品服色，月奉二百金，遂为福昌殿供奉。自是慈禧所赏大臣花卉扇轴等物，均嘉蕙手笔。供奉而外伤产力所作，都人士兼金争购。卒年七十七。人称缪姑太。",[24,914,28,7,212,298,156,411,173,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019ffadf7fde2d722aa6a37981cc8565.jpg",[],{"id":19657,"slug":19658,"title":19659,"dynasty":76,"author":674,"museum":20,"description":19660,"tags":19661,"thumbUrl":19662,"material":496,"size":220,"collection":220,"collections":19663,"showCount":19603,"zanCount":1769,"manualWeight":48,"mainColor":145},234107,"wen-dao-tu-juan-chen-hong-shou-234107","问道图卷","陈洪绶字章侯，号老莲，浙江诸暨人，明末清初画坛奇才。他的画既继承传统，又自辟乾坤，富有革新精神和独创风格，与当时居于北京的崔子忠齐名，有“南陈北崔”之称。他的人物画创作，上承六朝、盛唐的优良传统，又不为传统所囿，大胆创新，使衰微了近六百年的中国人物画再度复兴，打破了明末清初以山水花鸟画为主的格局，不仅在当时画坛独放异彩，其画风还深刻影响了此后近三百年的中国绘画。又以绣像人物插图闻名于世，所作《水浒叶子》《博古叶子》等酒牌，在民间广为流传，是古代版画史上的传世名作。",[24,137,25,26,7,283,83,29,34,1797,2653,927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0aead138bc40c60ea9bc5ee98fc06ec.jpg",[],{"id":19665,"slug":19666,"title":19667,"dynasty":18,"author":326,"museum":20,"description":2211,"tags":19668,"thumbUrl":19669,"material":40,"size":2214,"collection":220,"collections":19670,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},232979,"fu-rong-jin-ji-tu-zhou-zhao-ji-232979","芙蓉锦鸡图轴",[24,137,155,7,28,212,492,938,411,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5116d76afa37a92bf68862f475326df6.jpg",[],{"id":19672,"slug":19673,"title":4926,"dynasty":228,"author":191,"museum":245,"description":19674,"tags":19675,"thumbUrl":19676,"material":1397,"size":1398,"collection":220,"collections":19677,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},231848,"fo-xiang-yi-ming-231848","中国蒙古族统治者早在建立元朝之前，便先后仿照汉族建筑样式，营建上都及大都两个都城。两都的各种宫殿坛庙建筑组群都有石雕、木雕和琉璃制品。而分布各地的寺庙塑像、石窟造像等亦展示了元代雕塑艺术的概貌。",[23,24,194,155,7,28,83,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa625b9eb159088ba4568259afe93d57a.jpg",[],{"id":19679,"slug":19680,"title":19681,"dynasty":18,"author":1275,"museum":134,"description":19682,"tags":19683,"thumbUrl":19684,"material":67,"size":10385,"collection":220,"collections":19685,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":145},231341,"hua-deng-shi-yan-tu-er-ma-yuan-231341","华灯侍宴图（二）","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n马远是南宋宫廷画家，杨皇后是其主要的艺术赞助人。杨皇后多次为马远之作题诗题句，其创作也势必迎合杨皇后的要求，“臣马远”的款识当为此意。从《华灯侍宴图》的笔法与风格来看，当为马远晚年之作，而杨皇后的题记，也属晚年风格。换而言之，画作的年代应在宋宁宗时代。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引。\n此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。\n该画山而不作全景式图，取一角或一峰给予突出的描写。这是马远在继承前人山水画传统的基础上的突破，是他对山水画形式美感探索的成就。",[24,25,12037,7,172,28,84,34,30,1797,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9b868683d8127a8dd2bb9ff753b532.jpg",[],{"id":19687,"slug":19688,"title":19689,"dynasty":18,"author":663,"museum":245,"description":19690,"tags":19691,"thumbUrl":19692,"material":1397,"size":1398,"collection":220,"collections":19693,"showCount":19603,"zanCount":1769,"manualWeight":48,"mainColor":145},230951,"liu-kai-jian-zi-tu-wu-bing-230951","榴开见子图","吴炳（公元12世纪），生卒年不详，毗陵武阳（今江苏常州）人，南宋光宗绍熙年间（1190-1194年）任画院待诏，是南宋院体花鸟画的代表性画家。\n代表作有《竹雀图》《写生荷花图（出水芙蓉图）》《罂粟图》《宝珠玉蝶图》《春池睡鸭图》《山茶鹁鸽图》等。",[24,137,25,7,28,212,823,299,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a16b335fa694e452ac55b07eb10c5.jpg",[],{"id":19695,"slug":19696,"title":19697,"dynasty":190,"author":18077,"museum":245,"description":19698,"tags":19699,"thumbUrl":19703,"material":220,"size":220,"collection":220,"collections":19704,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},230476,"jiang-hu-shi-dai-feng-shen-lei-shen-tu-ping-feng-jiu-jing-bao-yi-230476","江户时代 风神雷神图屏风","狞恶忿怒的面相搭配蓬乱如戟的须发，肌肉贲张的肢体满是狂暴力量感，风神腾跃于烟霭之上，握持系着风铎的绳索，青绸长带随罡风翻卷破空，仿佛能听见风铎清响混着呼啸长风。\n\n泥金笺底晕开暗沉烟霭，衬出神祇御风的缥缈动感，刚硬狞厉的面相与柔婉飘带形成强烈对冲，将风神席卷天地的威仪诠释得淋漓尽致。工写兼用的笔意，将无形罡风化为可视的磅礴威仪，静穆屏风之上，晕开浩荡天地气机，让人仿佛能触到扑面而来的浩荡天风。",[23,24,25,215,28,83,19700,582,194,2800,19701,19702,7,5470],"神","神话形象","和风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a863bc1f73bf32374c8bc386a382b8e.jpg",[],{"id":19706,"slug":19707,"title":19708,"dynasty":76,"author":17263,"museum":245,"description":19709,"tags":19710,"thumbUrl":19711,"material":1397,"size":1398,"collection":220,"collections":19712,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":145},228497,"shi-hu-yuan-xiao-tu-li-shi-da-228497","石湖元宵图","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[23,137,24,855,28,7,81,83,84,85,176,286,86,92,34,91,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d224efb8b4d7931ad464765d30dc4d.jpg",[],{"id":19714,"slug":19715,"title":19716,"dynasty":76,"author":716,"museum":245,"description":19717,"tags":19718,"thumbUrl":19720,"material":220,"size":220,"collection":220,"collections":19721,"showCount":19603,"zanCount":1084,"manualWeight":48,"mainColor":49},228325,"xiang-shan-jiu-lao-tu-juan-chang-juan-xie-huan-228325","香山九老图卷（长卷）","【文物现状】现藏美国克利夫兰美术馆 绢本，设色，长卷，纵：29.8厘米，横：148.2厘米。\n现藏美国克利夫兰美术馆，是明代画家 的人物画中代表性作品之一。\n“ ”指的是唐代文人胡杲、吉玫、刘贞、郑据、卢贞、张浑、白居易及李元爽、禅僧如满九位老者。\n他们因志趣相投，结为九老会。\n此图绘唐武宗会昌五年（公元845年）三月二十四日，九老在白居易之居处欢聚，既醉且欢之际赋诗画画的情景 。\n根据 香山九老会诗序》的内容可知，对九老雅集的描绘早已有之，到了南宋时期，此题材在画院中也非常兴盛；而明代的宫廷画家在承袭南宋画院风格时，对此种具有历史典故的题材又较好的继承下来。\n对于这幅表现文人聚会的长卷，在构图上作者选择了从围墙上方往墙内俯视的角度来描。\n画中一条蜿蜒的碎石小径贯穿整个画面，形成一条横轴线，人物及景物均围绕着石径展，画面从左边开始：一身着便服的文人携一童仆正缓缓地向画面中心的厅堂走来，他似乎并不急于赴会，而是悠闲地欣赏着园内的景致。\n沿着他走的路径向右看，在石径一侧，有两人站在梅树前，一人一边指着着梅树一边好像对旁边的人说着什么，看那人恭敬的样子，也许正在聆听长者论道吧。\n再往后，便是画的中心，这是画面内容的主体：只见一宽大的厅堂里，几案分明，案上盆景、花瓶摆放有序；厅中有一桌，三个文人正围着桌子看一位长者写着什么，或是画着什么。\n四个人物的神态各不相同，均刻画精微：长者面露喜悦，挥毫泼墨；三位围观者，有的若有所思，有的凝神静观。\n堂前石径上，有一仆人正端着盘子向右行，把观者的视线引向画面的结尾部分，有两位文人正在苍松翠柏下吟诗赏画，旁边的几位童仆，有的在煮茶温酒，备办佳肴；有的在侍侯笔墨，抱琴侍立。\n整个场面以石径为主线，中间穿插以厅堂楼榭，假山叠石，古松，梅树，瑞鹤等景物，把画面的几个部分联成一个有机的整体。\n整体上看，瑞松摇曳，梅花绽放，祥鹤唳鸣，环境清幽淡远，实为人间的“桃源仙境”。\n在刻画人物形象方面，作者着重于对人物表情的描绘。\n人物布局上聚散都非常富于变化。\n笔法工整严谨，衣纹线条准确，挺拔而秀逸，极富质感，色彩鲜艳、古拙。\n在景物刻画上也非常严谨，小径上的碎石，亭台、屋宇等一笔一笔地描绘出，松柏，梅树，竹叶也细细地勾勒，显示出画家精谨细密的功夫，具有李唐、刘松年的遗风，属于院体一派。\n谢环，字庭循，明永嘉（今浙江温州）人，善画山水、人物，远承荆浩、关仝，以及南宋李唐、刘松年，近师元人。\n成祖永乐(14-1424）中征入画院。\n谢环还擅长文学，画史上说他“知学问，喜赋诗”，有《梦吟堂集》世，时人称他“清瑾有文”。\n传世作品有《 》等。",[23,24,26,28,7,83,176,34,719,19719,92,158,299],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3901b4a9861a664f281876e2c023104.jpg",[],{"id":19723,"slug":19724,"title":19725,"dynasty":18,"author":19726,"museum":245,"description":19727,"tags":19728,"thumbUrl":19729,"material":220,"size":220,"collection":220,"collections":19730,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},227959,"ya-zi-zhen-ji-zhu-ke-rou-227959","鸭子真迹","朱克柔","此作用缂丝之艺摹绘水畔小景，紫鸭静立石上，抬首远眺，神态悠然舒展，将水禽野逸之态尽显。羽色以淡紫晕染，层次柔润细腻，将绒羽蓬松质感逼真呈现。旁侧墨竹挺劲清逸，枝叶错落舒展，虚实相生间烘托出幽寂雅致的水汀氛围。整体兼工带写，以丝代笔，既保留了工笔的细腻精致，又暗含文人写意的疏朗意趣。配色淡雅和谐，含蓄审美藏于方寸之间，将禽鸟野趣与清雅意境相融，尽显缂丝工艺与花鸟意趣的绝妙结合。",[23,24,25,212,28,7,652,156,173,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaed484653346668e58fa3412de78120.jpg",[],{"id":19732,"slug":19733,"title":19734,"dynasty":18,"author":191,"museum":245,"description":19735,"tags":19736,"thumbUrl":19737,"material":220,"size":220,"collection":220,"collections":19738,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},227391,"e-mi-tuo-fo-jie-yin-tu-yi-ming-227391","阿弥陀佛接引图","佛教绘画自东汉传入中国，在魏晋南北朝时期与中国传统绘画融合发展，使佛教绘画呈现出中国化的趋势，又在隋唐时期统治者大力发展佛教的文化背景下发展到一个隆盛的顶峰。佛画风格融合了中国本土文化从而使佛教绘画完全融合于中国传统绘画，形成了中国特有的佛画艺术风格，充分体现出佛教绘画在中国各朝代发展的历程，实际上就是佛教艺术中国化的过程。",[23,24,25,155,194,83,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f039a18240b22680ef7ebbc367140ee.jpg",[],{"id":19740,"slug":19741,"title":2944,"dynasty":18,"author":191,"museum":245,"description":19742,"tags":19743,"thumbUrl":19744,"material":220,"size":220,"collection":220,"collections":19745,"showCount":19603,"zanCount":1084,"manualWeight":48,"mainColor":145},227387,"shu-kui-yi-ming-227387","此画选自《宋人收藏绘本》。 原本应该是一种具有实用功能的扇形面条，但后来以相册的形式转化为草图。 全幅双钩挂满，写有一株蜀葵（古称木槿），花苞无数，第二次绽放，布局和姿态自然生动。 比如花瓣的钩子和叶子的锯齿筋，笔刷都一展身手。 枝条、花萼、叶背也染上了青绿色和多汁的绿色，翻到一旁时，显得十分美丽和真实。 虽非作者印章，但画风具有宋代庭院花画的清秀特点，应该出自南宋画院专家之手。",[23,137,24,25,7,28,212,62,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3504db8c782a0bf56ff3d8e7afbe96.jpg",[],{"id":19747,"slug":19748,"title":19749,"dynasty":132,"author":2758,"museum":245,"description":19750,"tags":19751,"thumbUrl":19752,"material":220,"size":220,"collection":220,"collections":19753,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},227261,"hua-hui-xie-sheng-tu-ce-huang-ju-cai-227261","花卉写生图册","黄居寀(933—?),字伯鸾,成都(今属四川)人,五代后蜀名画家黄筌季子。擅绘花竹禽鸟,精于勾勒,用笔劲挺工稳,填彩浓厚华丽,其园竹翎毛形象逼真,妙得自然;怪石山水超过乃父。与父同仕后蜀,为翰林待诏。乾德三年(965)随蜀主降宋,进京供职宫廷,仍授翰林待诏,负责收罗和鉴定名画,淳化四年(993)曾出使成都府。太宗尤加宠遇,委以搜访名画、诠定品目只重责。",[137,24,25,519,28,7,212,409,411,450,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc391f878cf5f9eadb56dcc0c84f4c326.jpg",[],{"id":19755,"slug":19756,"title":19757,"dynasty":18,"author":14980,"museum":245,"description":19758,"tags":19759,"thumbUrl":19760,"material":220,"size":220,"collection":220,"collections":19761,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},226559,"zhuo-xie-tu-juan-hu-gui-226559","卓歇图卷","《卓歇图》是五代 创作的一幅绢本设色画，现收藏于北京故宫博物院。\n纵观整幅图，前半段为立歇部分，马背上的猎物点缀了人马刚从追逐和喧闹中转入静态，在马群的尽头是走向乐舞场地的捧花女，把歇息和乐舞两段有机地结合起来。\n舞蹈者在音乐的伴奏下跳跃，构成全图的高潮，充分显示了画家处理大场面中人马动静、聚散的艺术能力，充满了浓厚的北方草原民族的生活气息。\n全画可分为三大段，第一、第二段，一大群密密匝匝的人马占据了画面的大半部分。\n主要是画狩猎归来，人马嘈杂的场面及骑士们滚马下鞍牵马准备休息时互相交谈的场面。\n他们有的席地而坐，静静地休息。\n有的整理马鞍，马鞍上驮着鹅雁等猎物还未曾卸下，也有的伫立交谈，形态各异。\n整幅画面中的骑士虽然众多，他们或聚或散地占据了大半画面，但并不是画中的主角。\n画卷最后一段描述宴饮的场面才是真正的主角，画幅中的契丹大汗正端坐在豪华地毯上饮酒观舞，大汗服饰华丽，神态悠闲，看面容似乎被舞者美妙的舞姿所吸引，正凝神观望，颇为陶醉。\n他的妻子阏氏着汉装于右侧相陪，二人面前有一侍者跪立奉盏，还有一侍者挥动衣袖，翩翩起舞，以助酒兴。\n佩戴弓矢的彪悍侍卫和纤纤玉立的侍女站立在汗王与阏氏的周围，全神戒备，细心侍候。\n该图引首有清代张照书“番部卓歇图”五字和乾隆皇帝题写的“卓歇歌”三字，后幅有元代王时，清代高士奇、张照的跋文。\n本幅及前后隔水有“忠孝之家”“吴龙之印”“石阊”“简静斋”“高士奇图书记”“江村秘藏”“竹窗堂章”（半印）等多枚鉴藏印记。\n南宋初期，宋廷为绥靖和善或刺探情报，大量派使团出使金国。\n入金后，按女真风习，必然将汉族儒士的右衽服改为左衽，并且要先随女真头领出猎数日后，方可商议政事。\n这是一件有史实性的人马画，惜无题记，难知其具体的历史故实。\n从画面上看，作者表现了南宋使臣随金朝官僚出猎时小歇的情景。\n《卓歇图》中“卓歇”一词的汉语含义并不是十分明晰。\n《辽史》中偶有“卓枪”、“卓帐”等与“卓”有关的词语。\n其“卓”带有“立”或“暂立”的意思。\n关于“卓歇”，可以理解为“搭起帐篷临时休息”的意思。\n此作中虽然没有帐篷。\n但是由于胡壤的同类题材作品多以“卓歇图”命名，所以，后人也将其作为这件作品的名字。\n也有学者认为，该图虽然传为辽代胡瓌的画迹，但据画中所绘的少数民族族别系金代女真人，其不可能是胡壤的真品，系金初（12世纪上半叶）汉族画家的手笔。\n在画卷的左侧，两个主要人物盘腿坐于毯上，身着契丹服装的男子即为契丹可汗，他的阏氏则穿着白色汉服，看起来彬彬有礼的样子。\n男女侍从分列二人身后恭敬以待，前面有侍者跪地敬酒，可汗接酒豪饮，还有一男子在乐队的伴奏下跳起舞蹈助兴，献花者向可汗和阏氏缓缓走来。\n画面再向远处是骑兵休息的地方，这些骑士或坐或立，面露倦容，有的打着哈欠，有的伸腰展背，有的安顿马匹，有的相互交谈，等待着支起帐篷。\n马匹上的猎物还未曾卸下，鞍鞯上缚着大雁等飞禽，显然在刚才的围猎中收获颇丰。\n图中人物各异的姿态和服饰，显示着他们的等级地位，具有一定的写实性。\n《卓歇网》的构图匠心独运，图中人物有7人，马约24匹，但画家处理得错落有致，疏密跌宕，又有条不紊。\n浑然一体。\n胡瓌所描画的线条准确有力，“虽繁复细巧，而用笔清劲”，不仅将人物的各异形神传达得恰到好处，而且也表现出不同衣服的质感。\n这种笔法与唐代中原地区的绘画存在许多近似之处，体现着各民族在文化艺术方面的相互影响和交流。\n看此卷的表现手法，展现了画家娴熟的创作技巧，画面背景荒凉寂静，笔法古健雄劲，线条繁密多变而流畅，色彩沉着，人物、鞍马的造型，既简洁凝重又准确自然，具有很高的艺术水平，画家通过长、短、粗、细等不同的线条把物象刻画得极为生动，无论是勾勒鞍马、衣服的长线，还是表现人物发须的短线，用笔皆沉稳扎实，体现了当时北方画派的特色和契丹画师的独特画风。\n另外，作品中的一些细节之处（像悬挂在鞍鞯之上的猎物），画家也描绘得细致入微、一丝不苟。\n中国艺术研究院研究员 ：这是一幅北方游牧民族生活场景的风俗画面，很富于地方色彩和情趣。\n笔法古劲，精密，色彩沉着，具有很高的艺术水平。\n《卓歇图》卷奠定了金代人马画的发展走向，即线条凝练、造型生动、画风淳朴，着意于表现女真族勇悍和粗犷的民族个性及浪漫不羁的草原生活，并一直影响了元初的人马画艺术。\n这件《卓歇图》被冠以胡壤之名后，更增添了对后世人马画的范本作用，尤其是画中的人物发式和服饰，几乎成了表现北方少数民族人物形象的定式。\n这幅作品为了解中国少数民族历史提供了实录，具有很大的史料价值。\n清代阮元《石渠随笔》、高士奇《江村书画目》、清内府《石渠宝笈·续编》对该图有著录。\n《宣和画谱》曾载有胡瓌《卓歇图》九幅，但现存的这一幅没有宜和的印章和题跋，不知是否曾为宣和所收藏。\n南宋杨王体《中兴馆阁储藏》和元周密《云烟过眼录》中都提到胡《卓歇图》，但也无从考证是否就是这幅画。\n现存的《卓歇图》曾经《石果宝笈续编》著录，上最早的题跋是元代的王时，据清代高上奇的考证，说他是元代皇帝的侍御之臣。\n到了明代，当时鉴藏家张丑，在《清河书画舫》里说：“绢本胡番部卓歇图，尘垢破裂，神彩如生，明昌秘物也，今在韩氏。\n”的确，清初画卷落到高十士奇手里的时候，绢素已经碎裂得很厉害，经过了一次重装，后来为清宫所收藏，乾隆在画上题了“神完景肖”四个大字，还做了一首《卓歇歌》写在引首。\n解放后藏故宫博物院。\n胡瓌，五代后唐画家。\n山后契丹乌索固部落人。\n随李克用（856—98）入中原，居范阳（今河北涿州）。\n善画契丹人马．写北方游牧民族生活，举凡帐篷毡幕、旗帜、弓箭以及人马装饰等，曲尽塞外景色。\n笔调清劲爽利，构图繁富细巧。\n传世作品有《卓歇图》、《蕃马图》等。",[23,7,28,26,83,112,173,284,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea4336c19ab1c123b73479d19a84a80.jpg",[],{"id":19763,"slug":19764,"title":19765,"dynasty":150,"author":14895,"museum":245,"description":19766,"tags":19767,"thumbUrl":19769,"material":1397,"size":1398,"collection":220,"collections":19770,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":1833},224145,"shi-jia-mu-ni-fu-fo-jiao-pi-yu-tang-ka-224145","释迦牟尼佛佛教譬喻","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[14895,194,28,7,83,84,19768,2602,409,29],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d88855497b8bb010ad57b3cd31cb9bc.jpg",[],{"id":19772,"slug":19773,"title":19774,"dynasty":18,"author":191,"museum":134,"description":19775,"tags":19776,"thumbUrl":19779,"material":40,"size":19780,"collection":220,"collections":19781,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},223586,"hua-qian-shou-qian-yan-guan-shi-yin-pu-sa-yi-ming-223586","画千手千眼观世音菩萨","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，他的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[23,137,24,25,155,194,7766,7,28,5476,83,3114,19777,12659,2602,19778,5468,4927],"千手千眼","光环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeb00110c2af854cb19eb6e127dce762.jpg","176.8公分横：76.2公分",[],{"id":19783,"slug":19784,"title":19785,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":19786,"thumbUrl":19787,"material":67,"size":1560,"collection":220,"collections":19788,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":145},223073,"hong-lou-meng-59-sun-wen-223073","红楼梦59",[23,24,25,26,7,28,27,11782,11783,83,470,84,29,86,719,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce03b42f75b32d3656103e5544ed7796.jpg",[],{"id":19790,"slug":19791,"title":19792,"dynasty":150,"author":19793,"museum":1065,"description":19794,"tags":19795,"thumbUrl":19797,"material":627,"size":19798,"collection":237,"collections":19799,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},222806,"hua-niao-zhen-qin-tu-you-cui-222806","花鸟珍禽图","尤萃","图绘山脚坡石之间，流溪如练，天竹数丛，卓秀多姿。野生蔷薇，随风摇曳。丛丛簇簇的幽兰，各放馨香。树下一双美雉，悠然唱和，美丽动人。石后文杏高耸，繁花缀满枝头，鹦鹉停息树梢，双燕穿飞花间。一个鸟语花香的世界。",[23,24,25,7,28,212,637,299,19796,211,62,453],"雉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c8d78323e1e166ec5d52532c3a4c51.jpg","纵196.7cm，横96.5cm",[237,45],{"id":19801,"slug":19802,"title":19803,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":19804,"thumbUrl":19805,"material":28,"size":1081,"collection":220,"collections":19806,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":145},222728,"xian-e-chang-chun-tu-hai-tang-yu-lan-tu-lang-shi-ning-222728","仙萼长春图海棠玉兰图",[23,137,24,25,519,7,28,212,915,300,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402be11b89f693a14c347585e12d9775.jpg",[],{"id":19808,"slug":19809,"title":19810,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":19811,"thumbUrl":19812,"material":28,"size":1081,"collection":220,"collections":19813,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":145},222726,"xian-e-chang-chun-tu-tao-hua-tu-lang-shi-ning-222726","仙萼长春图桃花图",[23,7,28,212,174,178,173,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F609bc1638fb111c0e9f3c89cf15214aa.jpg",[],{"id":19815,"slug":19816,"title":19817,"dynasty":76,"author":12763,"museum":434,"description":19818,"tags":19819,"thumbUrl":19820,"material":599,"size":19821,"collection":182,"collections":19822,"showCount":19603,"zanCount":1084,"manualWeight":48,"mainColor":49},222386,"shi-jia-mu-ni-tu-zhou-ding-yun-peng-222386","释迦牟尼图轴","此图重色绘山石、松木，佛祖释迦牟尼坐于蒲团之上，着宽袍，双手搭膝，下巴置于手上沉思悟道。画面以青绿山水的画法绘环境，古松粗壮茂盛，松针描画精细，白衣人物在山石的青绿之间格外突出。",[23,24,137,155,194,7,28,83,29,927,1797,5100,2969],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52cc841ece026ee2bfb0bfd92cfa7b8b.jpg","140.7×58cm",[182,45],{"id":19824,"slug":19825,"title":19826,"dynasty":76,"author":12094,"museum":19827,"description":19828,"tags":19829,"thumbUrl":19830,"material":28,"size":19831,"collection":182,"collections":19832,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":49},222374,"mao-shi-tu-li-zhou-zhou-chen-222374","毛诗图立轴","美国普林斯顿大学美术馆","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[23,24,25,155,855,28,7,172,29,83,286,1499,35,31,652,13148,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e12fdc6c23cc97a6172a922d5bc6c1.jpg","54．70x38．40cm",[182,125],{"id":19834,"slug":19835,"title":19836,"dynasty":76,"author":77,"museum":56,"description":19837,"tags":19838,"thumbUrl":19839,"material":40,"size":19840,"collection":220,"collections":19841,"showCount":19603,"zanCount":1084,"manualWeight":48,"mainColor":145},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履腵岩，披蒙茸，攀栖鹘之危巢，俯冯夷之幽宫”这一夜游情境。其构思立意较前二图更为丰富美备\n三幅《赤壁图》画家都未记年。上海博物馆一图，用笔峻健方硬，应是他得到周臣指授，力学李唐等南宋院画的盛年时作品。辽宁省博物馆一图，与仇英在项元汴家《临宋人六景》画风相近，应是他较晚之作。《石渠宝笈初编》著录的这幅《赤壁图》卷，画法细缜，淡冶蕴藉，与几幅可以断为仇氏早年真迹的作品风格相似，创作年代比上海博物馆《赤壁图》要略为早些。\n关于仇英早年画风，学者们都认定他受到文徵明的影响。援引的史料一是彭年所说“十洲少即见赏于衡翁”；一是文徵明《湘君图》上王登转述文氏自己的话，说他“曾使仇实父设色，两易纸皆不满意”，不得不自己重作之。上述二处记载，一般可以看作是文氏对青年仇英的赏识器重。不过，如对题跋做进一步思索，则可以发现文、仇二人非同寻常的关系。中国绘画史上多有老师画成墨稿后请学生敷彩的情况，如吴道子的画作每使弟子翟琰、张藏布色，文徵明是一个谦和温厚之人，他这么做并如此直言不讳，至少可见他们师徒般真率坦诚的情谊。\n此幅《赤壁图》 画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[23,24,25,26,28,7,27,285,173,29,83,175,8429,34,211,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":19843,"slug":19844,"title":19845,"dynasty":76,"author":2717,"museum":134,"description":19846,"tags":19847,"thumbUrl":19848,"material":28,"size":19849,"collection":237,"collections":19850,"showCount":19603,"zanCount":48,"manualWeight":48,"mainColor":145},222180,"hua-niao-shan-mian-lu-zhi-222180","花鸟扇面","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,914,28,212,492,299,197,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe186c518a951a238ca279262f34bd2f5.jpg","纵31厘米、横61厘米",[237,45],{"id":19852,"slug":19853,"title":19854,"dynasty":228,"author":2380,"museum":20,"description":19855,"tags":19856,"thumbUrl":19857,"material":40,"size":19858,"collection":125,"collections":19859,"showCount":19603,"zanCount":1769,"manualWeight":48,"mainColor":49},221817,"zhu-shi-tu-zhou-li-kan-221817","竹石图轴","元李衎竹石图轴为元代李衎所绘，绢本，设色。纵185.5厘米，横153.7厘米。藏故宫博物院。该幅图未署名款，钤印两方，已残缺，可见“李”、“息”字。诗塘有明代李东阳的小草题记，也为此画增色不少。该幅“竹石图”是李衎的名作之一。图中竹以双勾填色而成，工整而有韵味，设色而又雅致，竹繁而不乱，表现了春天大自然中万物复苏、生机勃勃景色，有二杆新竹已与老竹并肩齐趋，让人联想到雨后春笋猛发的情景。坡上山石以细披麻皴画出，黑色沉重，以压阵角，石后穿插小竹野树，富有变化。",[23,24,25,155,855,7,172,156,314,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae45236279f406d24f6f02f8275daac.jpg","纵185.5厘米，横153.7厘米",[125,3307],{"id":19861,"slug":19862,"title":19863,"dynasty":18,"author":9308,"museum":169,"description":19864,"tags":19865,"thumbUrl":19866,"material":28,"size":19867,"collection":42,"collections":19868,"showCount":19603,"zanCount":1084,"manualWeight":48,"mainColor":49},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[23,24,137,25,26,28,7,83,29,1600,313,284,173,344,9311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 × 716 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氛围铺陈尽致，以工艺之美承载年节吉庆的融融意涵，是岁朝题材里颇具巧思的上乘之作。",[24,155,962,212,637,158,284,730,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f6be4a302e0b915866928d06c0d098.jpg",[],41,{"id":20255,"slug":20256,"title":20257,"dynasty":18,"author":326,"museum":134,"description":20258,"tags":20259,"thumbUrl":20260,"material":100,"size":20261,"collection":220,"collections":20262,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":49},290059,"hong-liao-bai-e-tu-zhao-ji-290059","红蓼白鹅图","图中红蓼从水岸边斜出而长，在红寥的下面安卧着一只红嘴大白鹅。白鹅的体积肥硕，神态安详，眼珠黑如豆，但有些墉懒，显出一副昏昏欲睡貌.此画构图洗练，形象明快优美。",[137,24,25,155,28,212,7,7556,17939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71b9f73496e052bba024a6ef9e7f2f4.jpg","132.9x86.3",[],{"id":20264,"slug":20265,"title":3032,"dynasty":18,"author":1140,"museum":245,"description":12573,"tags":20266,"thumbUrl":20267,"material":1397,"size":1398,"collection":220,"collections":20268,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":49},288730,"mei-hua-shuang-que-tu-ma-lin-288730",[23,24,137,212,7,28,637,3035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81593a003336b3ec16f9347be4dd83f.jpg",[],{"id":20270,"slug":20271,"title":20272,"dynasty":76,"author":674,"museum":245,"description":4094,"tags":20273,"thumbUrl":20275,"material":1397,"size":1398,"collection":220,"collections":20276,"showCount":20253,"zanCount":1769,"manualWeight":48,"mainColor":145},287797,"hua-hui-cao-chong-shan-chen-hong-shou-287797","花卉草虫扇",[23,914,24,137,25,28,7,212,20274,492,411],"花卉草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d257f034c5743e049d2308aee80852.jpg",[],{"id":20278,"slug":20279,"title":20280,"dynasty":150,"author":516,"museum":245,"description":5851,"tags":20281,"thumbUrl":20282,"material":1397,"size":1398,"collection":220,"collections":20283,"showCount":20253,"zanCount":1769,"manualWeight":48,"mainColor":145},238417,"xiu-gu-cong-fang-tu-ce-dong-gao-238417","绣谷丛芳图册",[24,25,137,519,28,7,212,62,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8763ad1a0827aa8984cd36e4279b56ec.jpg",[],{"id":20285,"slug":20286,"title":20287,"dynasty":150,"author":4719,"museum":245,"description":13362,"tags":20288,"thumbUrl":20289,"material":1397,"size":1398,"collection":220,"collections":20290,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":145},237944,"hua-die-tu-shan-ye-ren-xun-237944","花蝶图扇页",[137,24,25,914,28,7,212,7249,689,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57bd5590052ab002d16d24d19df57820.jpg",[],{"id":20292,"slug":20293,"title":20294,"dynasty":150,"author":5382,"museum":245,"description":20295,"tags":20296,"thumbUrl":20297,"material":220,"size":220,"collection":125,"collections":20298,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":145},237493,"san-jia-he-zuo-wu-qing-zhou-wang-hui-237493","三家合作五清轴","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[137,24,25,155,855,28,1068,156,637,199,284,173,7,172,372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3351e99781cdb65f9a423bfdf5e44492.jpg",[125,1478],{"id":20300,"slug":20301,"title":20302,"dynasty":76,"author":20303,"museum":245,"description":20304,"tags":20305,"thumbUrl":20306,"material":496,"size":220,"collection":182,"collections":20307,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":49},237431,"song-shi-lan-zhi-tu-zhou-wang-gu-xiang-237431","松石兰芝图轴","王穀祥","王谷祥（1501年－1568年），字禄之，号酉室，南直隶苏州府长洲县（今苏州）人。嘉靖八年（1529年）进士，授工部主事。历吏部员外郎，持法不阿，忤尚书汪鋐，贬真定通判。持身峻洁，不妄交一人，有清望。家世名医，性颖敏，善书画古文词。\n王谷祥于嘉靖八年（1529年）登进士第，官至吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不随羲之、献之之风，篆籀八体及摹印，并臻妙品。卒年六十八（生平见《明史·文徵明传》、《吴中往哲像赞》、《姑苏名贤小纪》、《无声诗史》、《艺苑卮言》、《图绘宝鉴续纂》、《名山藏》、《司勋集》、《广印人传》等）。",[24,155,28,7,172,927,159,8412,6267,17949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09eb8dbe0e0bba76c76d97e88eb3b3f.jpg",[182,45,1478],{"id":20309,"slug":20310,"title":20311,"dynasty":76,"author":2717,"museum":245,"description":20312,"tags":20313,"thumbUrl":20315,"material":220,"size":220,"collection":220,"collections":20316,"showCount":20253,"zanCount":1769,"manualWeight":48,"mainColor":145},233799,"li-hua-bai-yan-shan-mian-lu-zhi-233799","黎花白燕扇面","明代画家陆治的花鸟画多表现出与众不同的格调，《梨花双燕图》所展现出的境界与同时期的明代画家甚至于他自己的其他作品也完全不同。工笔与写意结合，勾勒中粗细结合，整幅画上画幅只占小部分，大部分都是题字，并有文征明的亲笔题跋。而在众多题字中尤为值得关注的就是乾隆御题，此作曾经两次被乾隆当皇上和太上皇两个时期展阅过。《梨花双燕图》构图上采用较为传统的对角线方式描绘花枝，敷色雅致，对梨花和燕子形态的描绘生动传神。画面上有作者自题诗句一首，署款“包山陆治制”，并钤有乾隆内府玺印多方。《梨花双燕图》堪称陆治花鸟画代表作。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因居包山，自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[677,914,24,25,7,28,212,1258,20314,653],"白燕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明 杨慎 《和章水部沙坪茶歌》：“君作茶歌如作史，不独品茶兼品士。” 柳亚子 《寄毛主席延安》诗：“云天倘许同忧国， 粤海难忘共品茶。”",[24,28,7,519,83,1851,313,314,158,20332],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212e19a5991a4ce291daf341239a17f2.jpg","纵29cm,横29.2cm",[],{"id":20337,"slug":20338,"title":20339,"dynasty":76,"author":191,"museum":245,"description":20340,"tags":20341,"thumbUrl":20343,"material":220,"size":220,"collection":220,"collections":20344,"showCount":20253,"zanCount":1769,"manualWeight":48,"mainColor":49},228380,"xian-zong-chun-huang-di-xiao-zhen-chun-huang-hou-yi-ming-228380","宪宗纯皇帝；孝贞纯皇后","此作工笔重彩，尽显宫廷肖像的庄重礼制。帝王丰腴持重，长髯垂胸，朝服团龙织金华美厚重，沉静神态间自显九五威仪。皇后凤冠累丝点翠，珠绕翠围，饰纹龙凤交错、珠玉琳琅，面容温婉端雅，衣间绣纹细密精巧，尽显后妃尊荣。\n\n画面设色沉穆富丽，线条工整精细，既恪守宫廷御容的制式规范，又将帝后仪容神韵写实还原，在礼制框架中尽显大明皇室的华贵肃穆之风。",[24,25,83,7818,7,28,20342,265,344,5470],"宫廷人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffdd58ba212c252b9f919542f805753.jpg",[],{"id":20346,"slug":20347,"title":20348,"dynasty":76,"author":12094,"museum":245,"description":20349,"tags":20350,"thumbUrl":20351,"material":220,"size":220,"collection":220,"collections":20352,"showCount":20253,"zanCount":1769,"manualWeight":48,"mainColor":49},228364,"pi-lu-tu-zhou-chen-228364","辟纑图","此作取景分野有致，左幅铺陈烟水浩渺，林石隐现，漾出清旷空寂之境；右隅收拢于山居幽地，古松蟠虬，草堂依林而筑。\n笔墨承浙派风骨，山石斧劈皴利落苍硬，林木勾勒精细入微，敷色浅淡清和，衬出山林沉静底色。堂内主客对坐晤谈，侍女侧立随侍，将林下雅集的闲逸自适藏于方寸之间，山涧激流的动势与堂中悠然静气相融相生，尽显文人幽居林泉、寄情丘壑的雅致襟怀。",[23,24,28,7,172,29,83,34,1797,86,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc9662f11c840147628ba2d5d2856d8.jpg",[],{"id":20354,"slug":20355,"title":20356,"dynasty":18,"author":20357,"museum":245,"description":20358,"tags":20359,"thumbUrl":20360,"material":220,"size":220,"collection":220,"collections":20361,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":145},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[23,137,24,25,914,28,7,83,84,59,199,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":20363,"slug":20364,"title":20365,"dynasty":190,"author":191,"museum":1539,"description":20366,"tags":20367,"thumbUrl":20368,"material":1397,"size":1398,"collection":220,"collections":20369,"showCount":20253,"zanCount":1769,"manualWeight":48,"mainColor":49},226508,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-yi-ming-226508","佛说阎罗王授记四众预修生七往生净土经","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一，",[26,25,24,194,28,83,84,7,17231,341,173,284,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00260a4feaf64cbf8c2e55965c1febc7.jpg",[],{"id":20371,"slug":20372,"title":20373,"dynasty":150,"author":1162,"museum":245,"description":20374,"tags":20375,"thumbUrl":20376,"material":220,"size":220,"collection":220,"collections":20377,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":145},224586,"du-mu-shi-yi-tu-zou-yi-gui-224586","杜牧诗意图","此作取诗意入画，绘就晚秋幽林。危崖峻拔，以苍劲皴笔写尽山石嶙峋骨相，淡墨晕染出岫间云霭，衬出山居空寂高远之境。坡岸秋木杂生，丹红枝叶点缀其中，暗合霜叶胜花的诗意。溪湾浅滩处，渔人泛槎而归，为清冷秋景添上几分烟火野趣。\n\n全作用笔干湿互济，干笔皴擦刻绘山石肌理，淡墨晕染烘托空濛氛围，将诗句里停车赏枫的悠然心境化入尺幅之中，诗画相映，尽显秋日山林的萧疏雅致，闲淡高古的意韵扑面而来。",[23,24,25,155,28,7,172,29,211,34,1288,4188,17469,13148,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33b4eca18f66a0d481bcc101936a3f5.jpg",[],{"id":20379,"slug":20380,"title":20381,"dynasty":150,"author":2080,"museum":245,"description":20382,"tags":20383,"thumbUrl":20384,"material":220,"size":220,"collection":220,"collections":20385,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":145},224375,"hua-hui-qi-shi-ce-shi-er-kai-5-ju-lian-224375","花卉奇石册-十二开-5","此作以淡逸笔调铺陈案头清趣，湖石奇崛空灵，以写意皴擦勾勒出瘦透之姿，韵致古拙。旁侧方盆雅致，盆中花卉粉萼柔妍、翠叶莹润，没骨晕染将草木鲜活之态尽揽笔底，淡粉轻绿相映，娇而不艳。左下角拳松短针苍劲利落，与柔花顽石形成刚柔互衬。\n整幅画面留白疏朗，工写兼济，将文房清供的闲雅意趣晕染尽致，清隽静和的气息漫溢纸面，尽显雅致脱俗的文人意韵，草木生机融于案头幽寂，淡而有味。",[23,24,25,519,7,28,159,409,2614,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f869a343a57705320bea4f60deed39d.jpg",[],{"id":20387,"slug":20388,"title":20389,"dynasty":150,"author":14255,"museum":245,"description":20390,"tags":20391,"thumbUrl":20392,"material":220,"size":220,"collection":220,"collections":20393,"showCount":20253,"zanCount":1769,"manualWeight":48,"mainColor":145},224205,"ying-wu-xi-die-tu-hu-mei-224205","鹦鹉戏蝶图","《鹦鹉戏蝶图》是画家胡湄所作的一幅画，现藏于上海博物馆。\n此画中的花鸟仿宋人笔，工笔重色，细致艳丽。\n梅花之沉稳雅致与鹦鹉之灵动飞扬成对比，造型精确、形态生动。\n花朵胭脂设色，鲜嫩娇美，墨绿树叶作为衬托，层次向背各自分明。\n鹦鹉的羽毛用白粉工笔勾描，质感柔绵，整幅画无一懈笔，青铜架上的绿锈、红霉均细致地得到表现。\n在和煦的阳光下，大地一片清新蓊郁，在村宅的一隅，一枝怒放的梨花，张开笑脸，散发出阵阵清香，这时两只斑灿美丽的蝴蝶向飘落的梨花追逐，一只原系立于铜架上的鹦鹉反身而下，全力地扑向彩蝶，形态生动。\n署款“晚山胡湄写”。\n钤 “湄印”白文印、“晚山”朱文印。\n从这幅画中可以看到，画家别有心意，十分留心自然界中所发生的一点一滴，并体察入微，将之再现于画画，让人们领略到这美妙而富有的生活情趣的景象。\n折枝梨树，画画左侧横上舒枝展叶，枝头缀满花朵，有的向阳怒放，有的含蕾待放，煞是可爱。\n花朵设色，鲜嫩可爱，以墨绿树作为衬托，层次向背各自分明。\n鹦鹉的羽毛用粉笔勾描，显示出羽毛柔绵的质感。\n勾画眼、嘴、爪均用较浓的墨色。\n此画的艺术特色足以简雅清淡取胜。\n全幅境象疏朗，笔墨简练，结构上不作繁密丰满、全景式的布局，其他树石、花木作为陪衬，剪裁得宜，取景自然。\n在画法上，不事雕琢，笔墨不多，却能使此画满幅生辉，使欣赏者获得美的享受。\n胡湄，生卒年不详。\n字飞涛，号晚山，又号秋雪，浙江平湖人。\n诸生，项元汴外孙。\n由于项氏收藏 甲天下，故胡氏受到完整的古代绘画艺术的薰陶。\n他为人耿直，富人以金帛求画多拒之。\n他画的花鸟虫鱼、“时称仙笔”。\n传世作品有《鹦鹉戏蝶图》。",[23,24,25,137,155,7,28,212,5413,411,62,653,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":20395,"slug":20396,"title":20397,"dynasty":150,"author":447,"museum":245,"description":20398,"tags":20399,"thumbUrl":20400,"material":220,"size":220,"collection":220,"collections":20401,"showCount":20253,"zanCount":1769,"manualWeight":48,"mainColor":145},224181,"hua-niao-li-zhou-hua-yan-224181","花鸟立轴","梅枝虬曲绽花，主鸟独立高枝，振羽引吭，翎毛以淡墨晕染，尽显蓬松柔润。下方竹枝斜出，两只小雀依偎私语，憨态可掬。顽石以枯淡笔墨勾勒，墨色浓淡相破，野意盎然。\n全作用兼工带写之法，将禽鸟灵动与花木清逸相融，题款错落排布，书画相映，晕染出幽寂早春的澹远意趣，笔意秀逸脱俗，把春日禽鸟迎春的生机悄然铺展，清隽雅致，饶有闲情。",[23,24,155,28,855,212,637,156,159,299,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],{"id":20403,"slug":20404,"title":20405,"dynasty":150,"author":191,"museum":245,"description":20406,"tags":20407,"thumbUrl":20408,"material":220,"size":220,"collection":220,"collections":20409,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":145},223658,"jin-ping-mei-cha-tu-yi-ming-223658","金瓶梅插图","此作为工笔重彩长卷，以分段式构图铺展桥段，院宅厅堂错落排布，人物疏密有致。匠者细绘雕栏花窗、瓶炉陈设，精准还原世家起居样貌，衣袂纹饰鲜妍工丽，各有章法。画面将宴饮雅聚、弈棋闲叙、私会密谈的不同氛围烘托得当，人物神态灵动鲜活，或揖礼叙话，或缱绻依偎，皆细腻传神。青绿、朱红配色明快雅致，兼具界画的工整写实与人物画的气韵生动，把世情日常与深宅韵致相融，尽显清代工笔世俗画的精湛功力，让文字故事具象为可触摸的古典图景。",[23,24,26,28,7,81,83,84,92,34,248,3048,215,214,2614,211,59,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a55519b64b307f10e86240af72bfc4.jpg",[],{"id":20411,"slug":20412,"title":20413,"dynasty":18,"author":191,"museum":20,"description":20414,"tags":20415,"thumbUrl":20416,"material":40,"size":20417,"collection":220,"collections":20418,"showCount":20253,"zanCount":1769,"manualWeight":48,"mainColor":49},223499,"za-ju-da-hua-gu-tu-ye-yi-ming-223499","杂剧(打花鼓)图页","图中绘二角色，皆为女子扮演，两人均作打拱状。左方一人头戴诨裹，有斗笠等道具置于地上，似为副净色；右方一人，头戴大红花，身着短对襟，干练精神，背后插一扇，上书末色二字，为副末色角色。此图是为数不多为宣传戏剧类的精品册页。",[23,137,24,25,519,7,28,83,138,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ef48819eecf68aed6bd33519f2d6318.jpg","23.3x24",[],{"id":20420,"slug":20421,"title":20422,"dynasty":18,"author":191,"museum":134,"description":20423,"tags":20424,"thumbUrl":20425,"material":952,"size":20426,"collection":220,"collections":20427,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":49},223436,"song-shen-zong-hou-zuo-xiang-yi-ming-223436","宋神宗后坐像","本幅原属清宫南薰殿旧藏，画无款印，但画中人物相貌传神，洵非想像之作，而且用笔精准、赋色细腻，具备第一流的水准，应出自当时名家之笔。宋仁宗先后曾立两位皇后，其一为郭皇后，另一为慈圣光献曹皇后。由于郭后被废，故此像应系后者。画像中，非惟曹后身着的袆衣、钗冠华丽无伦，连身侧两名侍女，同样衣饰妍丽，满头簪花，与院藏仅绘皇后独自端坐的图像相比，显得格外高贵而出众。",[23,24,25,28,7,83,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3010254a80d6bfae8c42dd104ecd83.jpg","174.7x 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「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,25,26,28,7,81,730,83,84,751,29,34,92,972,2782,211,4803,2183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[42],{"id":20478,"slug":20479,"title":4415,"dynasty":76,"author":191,"museum":134,"description":20480,"tags":20481,"thumbUrl":20482,"material":67,"size":220,"collection":237,"collections":20483,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":1833},219978,"shuang-xi-tu-yi-ming-219978","古松虬曲苍劲，皴笔勾勒出嶙峋肌理，两只鹊鸟栖于枝桠，一者侧目远眺，一者敛羽静立，灵动生姿暗破幽寂。坡石间野卉柔婉绽放，灵芝丛生，青绿与赭石晕染出幽润山意。工写兼施，勾勒细腻却无板滞之感，沉古设色晕染出静谧雅致的氛围，将山野一隅的清宁生机铺陈开来，藏祥瑞意趣于林泉小景，尽显雅致悠远的林下况味，把幽居山野的恬然意趣凝于笔墨方寸间。",[24,28,7,155,212,178,927,211,409,6267,34,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f61b9d977cd1947a41502e7a1ac6a3.jpg",[237],{"id":20485,"slug":20486,"title":20487,"dynasty":228,"author":191,"museum":134,"description":20488,"tags":20489,"thumbUrl":20491,"material":100,"size":20492,"collection":44,"collections":20493,"showCount":20253,"zanCount":48,"manualWeight":48,"mainColor":49},219494,"qiu-jing-xi-ying-zhou-yi-ming-219494","秋景戏婴轴","秋郊明月下，六婴儿穿各色绣花长衫，在大树坡石间嬉戏，或捧花提篮，或抚弄兔儿，或招呼同伴，前有盤，盛秋季应时水果。",[24,155,28,7,83,1744,4567,313,211,409,20490,6142],"水果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1427670394fd3c7c1a634e14fcc05070.jpg","127x61公分；全幅 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的。\n鱼玄机是个很有才华，而遭遇却很不幸的人，她大约生于844年，卒子871年，字幼微、蕙兰，清代时因避康熙玄烨的讳改称为鱼元机。\n嫁给李忆为妾，因受李妻的妒忌，被迫出家，在长安咸宜观做了女道士。\n由于喜读书，有才思，擅作诗，受到当时文人们的重视，温庭筠等名家常与她作诗唱和。\n后因忌妒笞杀侍婢绿翘，被判死刑，其时年仅二十多岁。\n留有诗文一卷。\n此图设色古雅，衣纹秀劲，玄机倚坐展卷。\n姿容秀美，含蓄深思，刻画传神。\n改琦(177-1828)字伯蕴，号香白，或作香伯，又号七芗，别号玉壶外史。\n先世为西域人，祖为松江参将，遂占籍为华亭（今上海松江）人。\n通敏多能，善书画，人物画出入李公麟、赵孟頫、唐寅及陈洪绶，花草兰竹小品迥出尘表，叉善画佛像，人以新罗山人相比，为清代中叶画坛名家。\n工诗词，曾与钦善、姜皋等结课诗词，辑《泖东诗课》。",[23,24,25,28,7,83,59,173,284,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125f440623b2edc344cb81826355bd02.jpg",[],{"id":20706,"slug":20707,"title":20708,"dynasty":18,"author":191,"museum":245,"description":20709,"tags":20710,"thumbUrl":20711,"material":220,"size":220,"collection":220,"collections":20712,"showCount":20571,"zanCount":1769,"manualWeight":48,"mainColor":145},223619,"hong-liao-shui-qin-tu-ye-yi-ming-223619","红蓼水禽图页","取景以简驭繁，水禽伫立于红蓼柔梢，翎毛晕染入微，丝缕毕现，禽鸟垂喙凝神，灵动宛若将欲振翅。淡墨轻勾浅淡水纹，留白衬出汀洲空寂，将秋日水滨的清寒野趣凝于尺幅纨扇。工笔摹形，写意传情，把小景生机与幽澹诗意相融，尽显雅致空疏的审美意趣，不负“传写物态，蔚有生意”之誉，是小品画中以形传神的绝佳之作。",[23,137,24,25,4185,7,28,212,651,17939,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa3aae2e3e700ea4306d26b41921ec2.jpg",[],{"id":20714,"slug":20715,"title":20716,"dynasty":18,"author":191,"museum":134,"description":20717,"tags":20718,"thumbUrl":20722,"material":952,"size":20723,"collection":220,"collections":20724,"showCount":20571,"zanCount":1769,"manualWeight":48,"mainColor":145},223380,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223380","千手千眼观世音菩萨轴","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，祂的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[23,137,24,25,155,194,7,28,83,13168,20719,2602,20720,9710,178,5468,63,3114,4927,20721],"千眼","佛光","众神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd2c18bc7d656864bb8c7ad6a86782a.jpg","176.8x79.2",[],{"id":20726,"slug":20727,"title":20728,"dynasty":76,"author":77,"museum":406,"description":20729,"tags":20730,"thumbUrl":20731,"material":40,"size":20732,"collection":182,"collections":20733,"showCount":20571,"zanCount":1020,"manualWeight":48,"mainColor":49},222214,"su-hui-hui-wen-kai-xuan-shi-chou-ying-222214","苏惠回文凯旋诗","回文诗，也写作“爱情诗”“回环诗”。它是汉语特有的一种使用词序回环往复的修辞方法，文体上称之为“回文体”。唐代上官仪说，“诗有八对”，其七曰“回文对”，“情新因意得，意得逐情新”，用的就是这种措词方法。充分展示并利用了汉语以单音节语素为主和以语序为重要语法手段这两大特点，读来回环往复，绵延无尽，给人以荡气回肠，意兴盎然的美感。回文的形式在晋代以后就很盛行，而且在多种文体中被采用。人们用这种手法造句、写诗、填词、度曲，便分别称为回文诗，回文词和回文曲。虽然不乏游戏之作，却也颇见遣词造句的功力。",[23,137,24,25,26,7,28,81,83,59,112,34,84,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[182,45],{"id":20735,"slug":20736,"title":20737,"dynasty":76,"author":6899,"museum":134,"description":6900,"tags":20738,"thumbUrl":20739,"material":2721,"size":20740,"collection":44,"collections":20741,"showCount":20571,"zanCount":1769,"manualWeight":48,"mainColor":145},222067,"wu-liang-shou-fu-wu-bin-222067","无量寿佛",[23,24,25,28,7,194,83,1055],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe7f98a1d50d1025e8caff57fb63c78c.jpg","62.3x35.3",[44,45],{"id":20743,"slug":20744,"title":20745,"dynasty":76,"author":674,"museum":245,"description":20746,"tags":20747,"thumbUrl":20748,"material":40,"size":20749,"collection":44,"collections":20750,"showCount":20571,"zanCount":48,"manualWeight":48,"mainColor":49},221897,"lao-chi-xiang-li-zhou-chen-hong-shou-221897","老迟像立轴","此幅为陈洪绶的自画像，画上老迟盘腿坐于地上，身着宽袖长袍，蓄长须，手执某种花朵置于鼻下闻味；背后湖石形状奇特，前方一小童烧火烤似灵芝一样的东西。陈洪绶，号老莲，晚号老迟，明末清初著名书画家、诗人。",[23,24,137,155,7,283,28,83,159,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52772eece37edbf9b7da25588c5bae5.jpg","95x51cm",[44,45],{"id":20752,"slug":20753,"title":20754,"dynasty":228,"author":2380,"museum":134,"description":20755,"tags":20756,"thumbUrl":20757,"material":2246,"size":20758,"collection":125,"collections":20759,"showCount":20571,"zanCount":48,"manualWeight":48,"mainColor":49},221813,"si-ji-ping-an-tu-zhou-li-kan-221813","四季平安图轴","《四季平安图》此幅水墨绘修竹四竿，三浓一淡，两前两后，布置得宜，风姿卓然。李仲宾此幅全学文湖州，而加浓密之致，体现了其本人的艺术审美。 李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[23,137,24,25,155,855,283,7,156,314,159,172,5396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm",[125,3307],{"id":20761,"slug":20762,"title":20763,"dynasty":228,"author":20764,"museum":134,"description":20765,"tags":20766,"thumbUrl":20767,"material":496,"size":20768,"collection":44,"collections":20769,"showCount":20571,"zanCount":48,"manualWeight":48,"mainColor":145},221733,"ni-zan-xiang-juan-zhang-yu-221733","倪瓒像卷","张雨","工书画，其书法初学赵孟頫，后学怀素，张旭。字体楷草结合，俊爽清洒自成一格。存世书迹有《山居即事诗帖》，《登南峰卷》等。倪瓒在《题张贞居书卷》称“贞居真人诗，人，字，画，皆为本朝道品第一”。其画以淡彩见长，善画石木，用笔古雅，尤善以败笔点缀石木人物，颇有意韵。画迹有《霜柯秀石图》，《双峰含翠图》等。",[24,25,26,283,28,7,83,173,783,216,29,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30d126c273a363dbcf40b1fda9a0860a.jpg","该幅28.2x60.9公分",[44,45],{"id":20771,"slug":20772,"title":20773,"dynasty":228,"author":229,"museum":78,"description":20774,"tags":20775,"thumbUrl":20777,"material":6612,"size":20778,"collection":44,"collections":20779,"showCount":20571,"zanCount":1084,"manualWeight":48,"mainColor":49},221712,"fu-zui-tu-juan-qian-xuan-221712","扶醉图卷","描绘的是东晋著名隐士陶渊明喝酒的故事。画中共三人：酒后面露醉态的陶渊明，醉眼朦胧，坦胸露肚，一手倚扶于竹榻之上，一手作摆手送客状。右侧的客人对着陶渊明双手作揖，面容恭谨，作告辞状；白衣老仆欲引客人离去。一边的地面上陶制的酒罐、酒盆和瓷器的酒杯洒落一地，杯盘狼藉。",[23,24,25,26,28,7,9477,83,139,63,4187,4190,67,10835,4186,20776,5967,18701,9975],"人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ccffb9f1d8c8a7d08362296a28da33.jpg","纵28厘米，横49.5厘米",[44,45],{"id":20781,"slug":20782,"title":20783,"dynasty":18,"author":229,"museum":134,"description":20784,"tags":20785,"thumbUrl":20786,"material":599,"size":20787,"collection":237,"collections":20788,"showCount":20571,"zanCount":1769,"manualWeight":48,"mainColor":145},221706,"san-shu-tu-zhou-qian-xuan-221706","三蔬图轴","画塘上有乾隆帝题：秋圃真香。钱选（约1235-1307前），字舜举，浙江吴兴人。工诗，善书画，与赵孟俯同为“吴兴八俊”之一。",[23,24,28,7,6531,7890,6530,198,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ac9cca7755d4ddbdc81bfe39278a07.jpg","97.6x47.4cm",[237,45],{"id":20790,"slug":20791,"title":20792,"dynasty":18,"author":18564,"museum":20,"description":20793,"tags":20794,"thumbUrl":20796,"material":40,"size":20797,"collection":44,"collections":20798,"showCount":20571,"zanCount":1084,"manualWeight":48,"mainColor":145},221416,"fang-che-tu-juan-wang-ju-zheng-221416","纺车图卷","《纺车图》是北宋画家 所创作的一幅设色画，现收藏于北京故宫博物院。\n该图画面上纺车忙碌着，一位面貌年轻村妇怀抱着哺乳的婴儿，坐在纺车前操作，稍远处一位老年村妇站立为之牵线。\n画面右侧绘有一个嬉戏的儿童，两位村妇之间则点缀一只小犬正在撒欢地玩着。\n背景描绘着随风披拂的柳树丝及其几段又粗又硬的树枝干。\n图中人物头发荆钗蓬鬓，鹑衣百结，曲尽情状，面目如生。\n纺车图是绢布手卷，纵21.6 厘米， 横69.2厘米，设色画，内容是农村中妇女纺线的情景。\n该画面的中心放着一架纺车，其傍置一竹筐，位中年妇女坐小椅上，左手抱着婴儿哺乳，右手轮转车机，前面站着一位老年妇女两手牵机。\n村妇身后有一儿童，席地而坐，手中拿着杆，牵着一只蟾蜍，活泼可爱。\n中间闻一小犬，画右有两棵老柳树，布景简洁，但却显出农村前条气象。\n元代书法家赵孟頫为此图题跋：“图虽尺许，而气韵雄壮，命意高古，精采飞动，真可谓神品者矣。\n” 明代画家吴宽亦于其上题诗并跋语：“可爱河东王氏子，丹青施誉动祥符。\n不传罗绮游春态，只画茅檐纺车图。\n” 大中祥符年间（18年—116年），北宋为了修筑宫殿、寺庙，招来一些从事建筑彩绘和壁画的民间画匠。\n由于王居正出身劳动人民，深谙民间疾苦，对下层贫苦农民有深厚的感情，所以画面反映的题材意义和人物形象，与宫廷画家及士大夫笔底的“农家乐”形象大异其趣。\n《纺车图》正是王居正看到妇女纺线情景所创作的一幅农家图。\n该图表现农村妇女的户外劳动。\n全幅主题突出，构图巧妙。\n近景描绘的人物被两条飘浮不定的线条分为两组，线的一端是边摇纺车边哺乳的中年妇女、围其左右戏青蛙的童子和狂吠的黑犬；另一端是弯腰伛背、双手拉着线团的老媪。\n人物彼此间聚散自然，神韵相通。\n图中纺车、竹筐、杌凳用界画形式表现，刻画精工写实。\n人物的衣纹用转折劲利的“战笔描”表现，中锋行笔，线条细劲圆润，随着人物形体的变化而顿折曲转，从而准确地塑造出人物的形态和衣料的柔软质地。\n图中的女性形象与晋代顾恺之、唐代周昉笔下的仕女相比，没有娇美的相貌、诱人的身材、华丽的服饰及尊贵的地位，她们仅是生活中最为普通的农村妇女。\n衣裤迭经补缀的老妇面容憔悴，动作迟缓，艰辛的生活令其相貌充满沧桑感。\n作者以写实的艺术手法不加美化地表现她们，意在赞扬她们安贫乐道的生活态度及朴实无华的个性美，同时也表达了对她们贫苦生活的同情。\n从绘画史的角度来看，《纺车图》并非在技法或风格创新上有重大突破或建树，其难得可贵价值在于它表现了下层劳动人民真实的劳动场面，为人们了解研究当时的社会和历史提供了珍贵的形象资料。\n该图流传有绪，在南宋时为 收藏。\n元代延祐四年（117年）， 在燕京以五十金购得。\n明代初为袁廷玉（柳庄）获取，明代中期杨维新从袁氏家购得。\n万历年间（157－1619年）它被周敏所收藏。\n清代初为仁和龚翔麟（蘅圃）收藏，乾隆朝时归江西陈玉方（希祖），嘉庆朝素村用旧拓唐楷碑向陈玉方换取此画，光绪年间（1875－198年）归陆心源所得，清末归武进盛所有。\n2世纪5年代，国家从香港将其购回，旋即入藏北京故宫博物院。\n在214年4月日至6月29日期间，北京故宫院开展“故宫藏历代书画展”，其中《纺车图》在北京故宫武英殿书画馆开展。\n王居正（生卒年不详），乳名憨哥，河东（今山西永济）人，北宋画家王拙之子。\n北宋大中祥符年间（18－116年），被招募至汴京（今河南开封）参与皇家宫殿的营造工程。\n其作画注重写实，落笔前反复观察，认真思考，力求于创作中真实地再现客观对象 。",[23,24,26,7,28,83,3774,5898,20795,158,34,581,5081,65],"纺车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc3f7fb767d3a2e83a5bc151e376253.jpg","纵26.1厘米，横69.2厘米",[44,45],{"id":20800,"slug":20801,"title":20802,"dynasty":18,"author":12375,"museum":134,"description":20803,"tags":20804,"thumbUrl":20806,"material":952,"size":20807,"collection":220,"collections":20808,"showCount":20571,"zanCount":1769,"manualWeight":48,"mainColor":145},221250,"qiu-zhu-wen-qin-hui-chong-221250","秋渚文禽","此冊共二十六開，包含許多精采的宋元冊頁。各別的作品曾經過南宋內府、十四世紀安徽收藏家吳志淳、十五世紀黔寧王沐璘、十七世紀山東收藏家張篤行等人收藏過。裱裝形式上，除了少數有對題者，左邊空白對幅皆以明代流行的金粟山藏經紙裱裝之，並有風格統一的題籤。配合裱紙上梁清標（一六二○－一六九一） 的收藏印，及比較院藏其他梁清標之題簽，推測此冊可能為梁清標所集，顯示明末清初所理解的宋元畫。",[24,28,7,519,1091,20805,157,250,4567],"水渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8245c17cd680d5c6db12441e68758697.jpg","27.3x28.7",[],{"id":20810,"slug":20811,"title":20812,"dynasty":18,"author":191,"museum":134,"description":20813,"tags":20814,"thumbUrl":20816,"material":100,"size":20817,"collection":42,"collections":20818,"showCount":20571,"zanCount":48,"manualWeight":48,"mainColor":49},221236,"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[23,24,137,155,212,7,28,299,653,20815,173],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[42,182,125],{"id":20820,"slug":20821,"title":20822,"dynasty":76,"author":12094,"museum":20,"description":20823,"tags":20824,"thumbUrl":20825,"material":100,"size":20826,"collection":182,"collections":20827,"showCount":20571,"zanCount":1769,"manualWeight":48,"mainColor":145},220104,"xia-qi-shi-ze-ye-zhou-chen-220104","夏畦时泽页","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[24,25,137,7,28,172,29,85,86,34,211,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81796ca826f29f94a83e6abdbb346ff.jpg","纵31.3cm，横26.4cm",[182],{"id":20829,"slug":20830,"title":20831,"dynasty":76,"author":2369,"museum":367,"description":20832,"tags":20833,"thumbUrl":20834,"material":100,"size":220,"collection":237,"collections":20835,"showCount":20571,"zanCount":48,"manualWeight":48,"mainColor":49},219746,"song-ying-tu-lv-ji-219746","松鹰图","吕纪（1439年-1505年），字廷振，号乐愚，鄞（今浙江宁波）人。明代院体花鸟画家。",[23,24,25,7,28,212,1068,2362,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ac887d96b6abbbb34b17fc5d912f97.jpg",[237],{"id":20837,"slug":20838,"title":20839,"dynasty":76,"author":12763,"museum":78,"description":20840,"tags":20841,"thumbUrl":20842,"material":235,"size":220,"collection":182,"collections":20843,"showCount":20571,"zanCount":1769,"manualWeight":48,"mainColor":145},219715,"xun-yang-song-ke-tu-ding-yun-peng-219715","浔阳送客图","此作以平远之法铺陈秋江暮色，设色清隽雅致。远景山峦以淡墨轻晕，烟岚空蒙，晕染出江天寥廓的空寂。江岸枯木萧疏，苍松虬然挺立于岩岫之间，为凄清秋意晕开一抹苍劲生机。\n\n画中江畔舟中对坐执盏，将临别之际的缱绻不舍凝于咫尺。线条清劲柔婉，山石林木以赭石花青轻染，带着吴门画派的温润秀雅，以简淡意境烘托出离别的黯然销魂，将诗文里的浔阳别绪藏进苍茫江色，淡而韵长，尽写古人送别的缱绻情深。",[24,28,7,29,83,175,34,211,31,172,155,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4df47f62d0026f7a3a39ac0a0b6aecb.jpg",[182],{"id":20845,"slug":20846,"title":20847,"dynasty":76,"author":191,"museum":134,"description":20848,"tags":20849,"thumbUrl":20853,"material":100,"size":20854,"collection":44,"collections":20855,"showCount":20571,"zanCount":1769,"manualWeight":48,"mainColor":49},219346,"song-feng-gao-yi-tu-yi-ming-219346","松风高逸图","苍松如盖，虬枝盘结，松针层叠似涛，古干斑驳间尽显岁月苍劲。树下士人或揖或立，衣袂轻扬，神情悠然，似在共赏林泉之趣；侍从侧侍，动静相宜，更衬雅集之闲。远景山水含烟，溪石错落，淡墨晕染出清旷悠远之境。全图笔墨细腻，设色古雅，将文人雅士寄情丘壑、超然物外的高逸情怀，悄然融于松风山水间，尽显林下之风的悠然意趣。笔墨间藏着对自然的敬畏与对闲适的向往，每一处线条都似在诉说文人心中的丘园之思。",[24,28,7,20850,20851,2464,29,3025,4005,20852],"苍松","士人","超然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82e3aa8da1e36d0f5288daacf61eaca.jpg","132×46cm",[44],{"id":20857,"slug":20858,"title":20859,"dynasty":150,"author":447,"museum":406,"description":20860,"tags":20861,"thumbUrl":20862,"material":100,"size":20863,"collection":45,"collections":20864,"showCount":20571,"zanCount":48,"manualWeight":48,"mainColor":145},219217,"cui-yu-he-ming-tu-hua-yan-219217","翠羽和鸣图","图绘春天繁花吐芳,禽鸟欢腾的喧嚣情景.画家通过禽鸟生动的形态和诱人的粉色,烘染出春光明媚的氛围.",[24,28,7,155,178,212,286,298,159,453,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678e3c3bb0d57d844c094fac8c221dc5.jpg","177.2x97.4",[45],{"id":20866,"slug":20867,"title":20868,"dynasty":228,"author":191,"museum":6028,"description":20869,"tags":20870,"thumbUrl":20873,"material":100,"size":20874,"collection":45,"collections":20875,"showCount":20571,"zanCount":48,"manualWeight":48,"mainColor":49},219180,"lin-yuan-shuang-yang-tu-yi-ming-219180","林原双羊图","此幅为纨扇，工笔。画面溪水静流，草木丛生，古树歪斜，一双羊正埋头觅食。纨色古雅。左上角钤朱文篆刻收藏印“刘氏春禧所藏”，右下角有朱文篆印“忠”字。无款，为元人所绘，稀有难觅。",[23,137,24,25,28,7,4541,582,313,20871,20872,655,1926],"林","原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece76ddc27e36003fe0c487787bb73e0.jpg","纵26厘米，横27厘米",[45],{"id":20877,"slug":20878,"title":8910,"dynasty":76,"author":191,"museum":463,"description":20879,"tags":20880,"thumbUrl":20881,"material":100,"size":20882,"collection":44,"collections":20883,"showCount":20571,"zanCount":1084,"manualWeight":48,"mainColor":49},218292,"xian-ren-tu-yi-ming-218292","四位仙者衣袂翩跹，神态各异。左侧长者身着浅褐长袍，双手抱胸而立，眉宇间沉静儒雅；右下者深蓝长衣加身，躬身持物，姿态恭谨。背景二人或持杖浅笑，或低语互动，似有仙缘相契。衣纹线条流畅婉转，色彩经岁月沉淀仍显古朴雅致，云雾隐现间，缥缈仙境呼之欲出。人物神情生动传神，举手投足间尽显超凡气度，仙者之姿与人间情味交融，尽显古画神韵。",[24,28,7,83,194,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8688357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传神方面达到很高的境界，在于能够从自然万物中直接取得，生意趣味浓厚是其重要的特征，当时众多的作品具备这样的素质。对物象神态丰富细致的描绘是花鸟画成熟的表现。宋代院体花鸟画在细致写实中有得于此。\n《荷蟹图》可能是荷花螃蟹类题材最早的作品。残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。《荷蟹图》画面意境生动，题材别出新意，为宋人写实画作的典范。荷蟹题材在后来的大写意花鸟画中，被徐渭进一步发扬光大，最著名的就是影响深远的徐渭代表作《黄甲图》。这种影响一直波及到现代大家齐白石。",[24,137,25,519,7,28,212,157,8621,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e974c0d6c4e3129014ed0ecd3f0dc5f.jpg","28.4x28cm",[],{"id":20974,"slug":20975,"title":20976,"dynasty":228,"author":191,"museum":245,"description":20977,"tags":20978,"thumbUrl":20979,"material":67,"size":20980,"collection":220,"collections":20981,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},232834,"xiang-long-luo-han-tu-zhou-yi-ming-232834","降龙罗汉图轴","画面以深褐底色晕染出幽寂古雅的氛围，层次错落有致。罗汉虬髯凸目，身披蟒纹僧衣，神态威严沉静，正凝神注视下方寒潭。侍童躬身持器静立，蛟龙潜于潭水之间，身姿灵动矫健，水纹与神将周身的焰光相映，烘托出张力满溢的降伏瞬间。\n线条刚劲凝练，设色沉厚古朴，工笔描摹精细入微，将罗汉的威严、龙神的灵动与护法的雄浑刻画尽致，尽显佛教绘画肃穆庄严的神性，亦饱含古雅厚重的丹青意趣。",[23,24,28,194,83,341,155,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1a0ed0944d2fd736dbeef598ee2e00.jpg","150X68厘米",[],{"id":20983,"slug":20984,"title":20985,"dynasty":76,"author":20986,"museum":134,"description":20987,"tags":20988,"thumbUrl":20989,"material":235,"size":20990,"collection":182,"collections":20991,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":145},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","文伯仁","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[23,24,28,7,173,29,1600,1926,196,91,34,10979,8259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[182],{"id":20993,"slug":20994,"title":20995,"dynasty":76,"author":17002,"museum":134,"description":20996,"tags":20997,"thumbUrl":20998,"material":20999,"size":21000,"collection":220,"collections":21001,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},231381,"chun-hua-san-xi-tu-bian-jing-zhao-231381","春花三喜图","此图无款。此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。《春花三喜图》就是边景昭花鸟画之一\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\u2028 图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。",[137,24,25,7,28,212,156,159,178,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea9b5dca7488b3da49917c162f50947.jpg","设色画","纵165．2厘米，横98．3厘米",[],{"id":21003,"slug":21004,"title":21005,"dynasty":150,"author":8284,"museum":245,"description":21006,"tags":21007,"thumbUrl":21008,"material":220,"size":220,"collection":220,"collections":21009,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":145},230199,"chun-qi-ji-jin-juan-wang-cheng-pei-230199","春祺集锦卷","此作以工笔淡彩绘就春日草木，设色调和柔雅，兼具写实意趣与雅致格调。\n\n攒簇的朱红浆果鲜亮饱满，与嫩绿叶色相映，鲜活夺目；宽叶草木的脉络勾染细腻，晕染出叶片舒展的自然肌理，古雅灵芝旁逸，添上清寂意趣。右侧浅黄、素白的小花袅袅舒展，细竹清瘦挺秀，花叶俯仰生姿，排布疏密得当。\n\n整体笔法秀润工致，将春日花木的幽妍生机尽数铺陈，没有浓烈着色却满是融融春息，静雅清和，把草木舒展的瞬间定格，尽显柔婉雅致的花鸟意韵。",[137,24,25,26,28,7,212,156,62,655,454,6267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452999763f15c2cc0fd5efdbcdbbc608.jpg",[],{"id":21011,"slug":21012,"title":21013,"dynasty":76,"author":77,"museum":245,"description":21014,"tags":21015,"thumbUrl":21016,"material":220,"size":220,"collection":220,"collections":21017,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":145},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[23,27,28,7,26,25,285,29,83,175,86,176,34,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":21019,"slug":21020,"title":21021,"dynasty":76,"author":674,"museum":434,"description":21022,"tags":21023,"thumbUrl":21024,"material":220,"size":220,"collection":220,"collections":21025,"showCount":20917,"zanCount":1769,"manualWeight":48,"mainColor":49},228286,"zhai-mei-gao-shi-tu-chen-hong-shou-228286","摘梅高士图","《对镜仕女图》是明代画家 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。",[23,24,25,155,7,28,283,83,3762,2464,1499,159,17949,211,34,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":21027,"slug":21028,"title":21029,"dynasty":18,"author":191,"museum":134,"description":21030,"tags":21031,"thumbUrl":21032,"material":218,"size":21033,"collection":220,"collections":21034,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},227850,"xiao-ting-ying-xi-tu-ye-yi-ming-227850","小庭婴戏图页","《小庭婴戏图》是宋代所画的人物画。作者不详，一说是陈宗训所作。中国台北故宫博物院藏。",[23,24,137,25,519,7,28,83,313,158,6142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1dbcffc9191793f4866baf2ef744a0c.jpg","纵26厘米，横25厘米",[],{"id":21036,"slug":21037,"title":21038,"dynasty":18,"author":8438,"museum":245,"description":21039,"tags":21040,"thumbUrl":21041,"material":220,"size":220,"collection":220,"collections":21042,"showCount":20917,"zanCount":1769,"manualWeight":48,"mainColor":49},227695,"chun-shan-tu-juan-zhao-bo-su-227695","春山图卷","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,137,24,25,26,27,28,29,7,172,623,34,769,85,86,95,35,37,10979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":21044,"slug":21045,"title":2911,"dynasty":54,"author":2912,"museum":245,"description":21046,"tags":21047,"thumbUrl":21050,"material":220,"size":220,"collection":220,"collections":21051,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},227095,"gao-yi-tu-sun-wei-227095","《高逸图》，又名《竹林七贤图》，是唐代孙位创作的一幅彩色绢本人物画，现藏于上海博物馆。\n画名“孙位高逸图”为宋徽宗赵佶所题，这幅图所描绘的是魏晋时期竹林七贤的故事，该画作刻画了魏晋士大夫“高逸风度”的共性，又刻画出了他们的个性。现存《高逸图》为《竹林七贤图》残卷，图中只剩四贤。在长卷式的画面上，主体人物是四个封建士大夫分别坐于华丽的毡毯上，每人身旁都有一名小童侍候。",[23,137,24,26,7,28,83,313,314,284,173,158,2464,21048,21049],"扇子","垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa92cbdfc50fff24528a4673b6c49d4.jpg",[],{"id":21053,"slug":21054,"title":21055,"dynasty":150,"author":447,"museum":245,"description":21056,"tags":21057,"thumbUrl":21058,"material":220,"size":220,"collection":220,"collections":21059,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},224188,"hua-niao-cao-chong-tu-ba-07-hua-yan-224188","花鸟草虫图八-07","此作用淡墨晕染湖石，皴擦间尽显苍润空寂之态，以清劲白描勾勒水仙，线条秀挺舒展，将花瓣柔润、叶片修长的风姿尽数铺展，尽显水仙冰姿玉骨的清逸之态。左上角题以行书小诗，书画相融，文气盎然。\n\n整体笔墨简淡清隽，不着浓艳，却将水仙的幽绝尘姿诠释得淋漓尽致，淡墨湖石与素白水仙相映，营造出出尘空寂的氛围，尽显文人画独有的清雅意趣，笔简意足，韵致悠长。",[23,24,855,7,519,172,159,690,7974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e33e35df1057ef9012851ceb54ab5.jpg",[],{"id":21061,"slug":21062,"title":12462,"dynasty":150,"author":191,"museum":245,"description":21063,"tags":21064,"thumbUrl":21065,"material":220,"size":220,"collection":220,"collections":21066,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},223677,"qing-lv-shan-shui-tu-juan-yi-ming-223677","此作以平远之境铺展江南山色，石青石绿晕染山峦，古雅沉静的色调里，丘壑蜿蜒秀润，烟波轻笼远浦。村舍隐于松篁之间，板桥渡头有人彳亍，渔舟泛于云水之侧，处处晕染出山居幽澹的闲趣。\n画间题诗与山水呼应，笔墨丹青相融，将林泉隐逸的高致铺陈开来，既有唐宋青绿的古雅遗韵，又兼具清代文人山水的萧散简淡，观之如踏入世外云乡，坐看云野鹤、碧山清溪，沉浸式体味幽居雅趣。",[23,24,25,26,27,28,7,29,623,34,35,85,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b03cb7a92eca86e797d00727336bf91.jpg",[],{"id":21068,"slug":21069,"title":21070,"dynasty":150,"author":191,"museum":134,"description":21071,"tags":21072,"thumbUrl":21074,"material":220,"size":220,"collection":44,"collections":21075,"showCount":20917,"zanCount":1769,"manualWeight":48,"mainColor":49},223410,"ma-zu-qi-ji-yi-ming-223410","妈祖奇迹","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,25,7,28,83,34,211,91,1907,2782,21073],"船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c2fadc1572fad66eb39c5b51f5f0e9.jpg",[44,45],{"id":21077,"slug":21078,"title":21079,"dynasty":76,"author":191,"museum":20,"description":21080,"tags":21081,"thumbUrl":21084,"material":40,"size":21085,"collection":220,"collections":21086,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},223335,"si-lu-shan-shui-di-tu-meng-gu-shan-shui-di-tu-ming-nei-fu-hui-yi-ming-223335","丝路山水地图.蒙古山水地图.明内府绘","《丝路山水地图》又名《蒙古山水地图》，全图以大青绿山不绘制，东起嘉峪关西至天方城（今沙特麦加）的辽阔地域范围，共标有211个地理坐标，绘于明朝嘉靖三年至嘉靖十八年，为明朝宫廷的皇家地图。",[23,24,25,26,28,27,7,29,2463,5385,31,4802,34,1907,21082,38,21083],"聚落","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf94e5caa9d9b66111751c89f4029807.jpg","59＊3012cm",[],{"id":21088,"slug":21089,"title":21090,"dynasty":150,"author":310,"museum":20,"description":21091,"tags":21092,"thumbUrl":21093,"material":3105,"size":21094,"collection":237,"collections":21095,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,24,25,155,7,28,29,7318,582,508,1319,86,1797,34,2653,468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","184cm 96.6cm",[237,45],{"id":21097,"slug":21098,"title":21099,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":21100,"thumbUrl":21101,"material":67,"size":1560,"collection":220,"collections":21102,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},223035,"hong-lou-meng-160-sun-wen-223035","红楼梦160",[23,24,7,28,176,84,86,83,85,34,249,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a3b36d5f100795b59ea7df0714f34a.jpg",[],{"id":21104,"slug":21105,"title":21106,"dynasty":76,"author":21107,"museum":134,"description":21108,"tags":21109,"thumbUrl":21110,"material":424,"size":21111,"collection":44,"collections":21112,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},222550,"xuan-yuan-wen-dao-tu-juan-shi-rui-222550","轩辕问道图卷","石芮","这张画是石锐（石芮）替一位「延右观」的杨姓道长所绘的画作。描述上古时代有位仙人「广成子」隐居在崆峒山，轩辕氏（黄帝）听说他的道行高深，前往拜访的故事。因为这个事件带有许多神仙的色彩，所以在道教界十分盛行。",[23,24,26,7,28,83,29,84,927,211,37,4188,81,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90506c85bbeab4041895ff4e32c7a3b0.jpg","32cmx152cm",[44,45],{"id":21114,"slug":21115,"title":21116,"dynasty":76,"author":21117,"museum":134,"description":21118,"tags":21119,"thumbUrl":21120,"material":235,"size":21121,"collection":182,"collections":21122,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":145},222087,"xi-tong-tu-zhou-qian-gu-222087","洗桐图轴","钱谷","此图以人物为主，其背景作为陪衬，在画幅左下角画有连绵不断的山石，山石向竹草从杂\n此图绘一高士，坐在圏手椅上，头戴浩然巾，面日清瘦，身着宽服长袍，宽袖，双脚露出，双手扶在手椅上。圏手椅形制如栲佬式，传说唐代诗人孟浩然始用，明清时为流行，常用于文人逸士。这位高士仰首观望二童子洗园中一棵桐树，桐树下一童予抬水桶，往上使劲，又有一童子蹬坐在树楼上，左手扶着桐树枝，右手正用力吊起水桶为洗桐之用，另一童穿着开襟宽袖长服，持有鹅毛扇伫立于高土左侧，亦在目不转珠地望着两个孩童洗桐的情景。",[23,24,25,155,28,7,83,313,211,3048,216,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5caf239e655e2b04c3f4276936b930.jpg","纵129.8厘米，横445厘米",[182,45],{"id":21124,"slug":21125,"title":21126,"dynasty":228,"author":2380,"museum":20,"description":21127,"tags":21128,"thumbUrl":21129,"material":424,"size":21130,"collection":125,"collections":21131,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},221816,"mu-yu-tu-zhou-li-kan-221816","沐雨图轴","《沐雨图轴》是元代李衎所画的中国古画。\n此图描绘雨中竹子的形态，手法极其写实，强调雨中之竹的清姿，其画法与双勾竹图基本相同，竹叶因雨水而显得沉重，叶尖自然下垂，在表现雨中竹叶下垂之姿上，李衎用笔显得娴熟自如。\n《沐雨竹图》将主要景物集中于画幅左侧。\n在画幅左下端力坡石，坡上倚附山石长有四竿翠竹，中间两株高大，且相互交错，竹竿交错后向左右伸展，枝叶茂密，竹叶纷披。\n左侧一株掩映于二株高大的翠竹荫下，略向左弯斜；右侧一株小竹向右弯斜，叶子呈下垂状。\n这一株翠竹虽不怎么起眼，但却是妙笔，起到了填补画幅右下部分的空白，对整个画面起到了充实和平衡作用：除竹石外，在坡石间还有数株兰草，点缀其间。\n自宋以来，“梅，兰、竹、菊”被士大夫称为“四君子”，象征“清高”、“幽洁”、“虚心”、“隐逸”、“气节”等精神品格。\n当社会危机、民族危机之时，一些知识分子无力抗争，在孤十贲与失望之中，“适性寄意”于笔墨：人元后“四君子”画不但更为兴盛，而且在思想感情的表现上更加丰富和深刻。\n特别是墨竹，单纯简易、挥洒便利又最具书法性格，所以最能引起士大夫的兴趣。\n可是李衍身为大官，他与赵孟頫是元代汉族文人画家中官职最显著者， 他喜欢画松、竹，这说明“松”、“竹”并非都是文人用来自诩“名节”之物。\n他为了画竹，“行役万余里”，深入南方竹乡，对竹的“形色情状，牛聚枯荣”做了深入研究，成为享有盛名的写生墨竹专家。\n此《沐雨竹图》轴是他画墨竹的代表作之一，其作品中之“竹”并不带有什么政治色彩，仅作为绘画的一个题材而已。\n此画虽将景物集中于画幅左侧，但经画家的确当布局，使整幅画的构图 较工稳；造型准确，设色匀净，枝叶繁复而不乱，层次分明。\n作者由于有过对竹子的认真观察和研究，并掌握了画竹的造型规律。\n故他画出的竹竿、们‘枝的线条挺坚，用笔实在有力，竹竿、竹枝、竹叶均用双勾画出，即用线条描绘竹叶的轮廓，再用汁绿烘染，叶尖微染赭黄，且其阴阳向背等细节都刻画得十分准确、细腻。\n其背景石都用双勾，然后用粗笔水墨皴染，分出阴阳面。\n坡石间的几丛兰和小草的安排，更使画面充满勃勃生机。\n此画的主题沐雨，作者强调了雨中之竹。\n故在作者笔下将沾满了雨水的竹子，竹叶个个呈下垂的自然神态，突出了“沐雨”这一主题，使画幅具有很强的写实性。\n此画给人以充实秀美的感觉，实属精品。\n这幅作品中只有四竿修竹和一些小枝是用汁绿晕染，竹干的晕染基本是平涂，只在竹节两端略有晕染。\n竹叶的敷色较为精工，不但叶根部和叶尖部的色调有所变化，而且叶面和叶背也不相同，繁多的叶片中没有一片是染出边缘轮廓之外．也可见作者的细致程度。\n在水墨环境的映衬下．《沐雨竹图》中的修竹亭亭玉立，青翠悦目。\n即使秋风萧瑟，也是竹叶摩娑，别具一番“如鸣环翠”的风韵。\n在翠竹右侧一竿高耸直指，左侧一竿向左上伸展，最前的一竿指向右方，右侧竹叶相对密集，造成左高右低的形势。\n竹干、竹枝的线条挺坚，竹叶的线条则圆润；竹干、竹枝的用笔比较实在有力，而竹叶的用笔就显得轻细活泼。\n李衎（1244—12年），字仲宾，号息斋道人，元大都（今北京）人，仕至集贤殿学士。\n他平生擅长画竹，继承了金文同、王庭筠等画竹名家的成就，又曾深入江南竹乡深入观察，还出使过交趾（今越南），到各处观察竹子的生长情况和特点，深得竹之“理”，是一位既有深厚传统绘画功力，又师法自然的画家。\n他的画风严谨，传世作品有双勾着色的《双勾竹图》、《沐雨图》等，并著有《息斋竹谱》7卷，对竹的结构品类、生长规律及画法详加剖析，既重写意又重法度。",[23,24,25,155,7,855,156,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db8d493b70c64e938a16711c94486e2.jpg","纵111.5cm，横55cm",[125,3307],{"id":21133,"slug":21134,"title":21135,"dynasty":228,"author":648,"museum":20,"description":17601,"tags":21136,"thumbUrl":21137,"material":40,"size":17604,"collection":220,"collections":21138,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":145},221768,"er-ma-tu-ren-ren-fa-221768","二马图ＨＤ",[23,24,26,7,28,112,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e07ee211c41e1abdfd34684fd9b51ce.jpg",[],{"id":21140,"slug":21141,"title":21142,"dynasty":18,"author":16631,"museum":78,"description":21143,"tags":21144,"thumbUrl":21145,"material":21146,"size":21147,"collection":42,"collections":21148,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":145},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,25,26,12037,855,28,172,7,284,285,173,29,313,175,85,86,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg","绢本水墨","纵32.4厘米，横104.8厘米",[42,182,125],{"id":21150,"slug":21151,"title":21152,"dynasty":18,"author":191,"museum":134,"description":21153,"tags":21154,"thumbUrl":21155,"material":424,"size":21156,"collection":42,"collections":21157,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},221237,"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[23,24,25,155,212,28,7,2707,250,248,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","170x 167厘米",[42,237,45],{"id":21159,"slug":21160,"title":21161,"dynasty":18,"author":191,"museum":134,"description":21162,"tags":21163,"thumbUrl":21165,"material":100,"size":21166,"collection":42,"collections":21167,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},220385,"wu-kuan-xing-lin-xi-chi-tu-yi-ming-220385","无款杏林鸂鶒图","上方行书“乐意”圆融雍容，点破画中真趣。下方小景绘江岸荒寒，枯木虬曲倚傍顽石，疏枝如篆，幽篁错落，晕染出冬日萧索野致。滩涂浅水间，一对鸂鶒相偎理羽，亲昵悠然，为清寂画面晕开温柔暖意。\n\n整幅以淡墨轻色铺陈，极简构图却藏天人妙趣，将林泉幽寂与禽鸟温情相融，用荒寒之境托举欣然乐意，尽显宋画以小景见天地的雅致审美，于冷澹笔墨里，晕染出宋人藏于山水间的幽微意趣，冷寂中暗淌脉脉生机。",[23,24,25,28,7,284,173,212,21164,7180,197,196,2653],"杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38691268d61502131b8aa44711cc88f.jpg","37.3x49.8",[42],{"id":21169,"slug":21170,"title":21171,"dynasty":18,"author":9247,"museum":134,"description":21172,"tags":21173,"thumbUrl":21174,"material":28,"size":220,"collection":182,"collections":21175,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":145},219950,"he-ting-xiao-shu-tu-zhao-shi-lei-219950","荷亭消暑图","水岸铺陈开清寂夏景，临水亭台错落相衔，飞檐回廊隐在垂柳荫翳间，柔条拂过静波，将暑意揉碎在漾漾水色中。远景轻笼烟霭，把天地晕成淡润的墨色，消解了溽热烦躁。\n亭畔静立侍者，等候凭栏观水的主人，晕染出幽居消暑的松弛意趣。全图笔法秀润温婉，布景虚实相映，古雅绢色衬出一片临水纳凉的闲雅天地，将耽于林泉、静享幽夏的隐逸襟怀晕染尽致。",[23,137,24,25,519,7,28,81,176,157,34,211,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa754d1f34c6e3092b4d0c8dc675fbfe9.jpg",[182],{"id":21177,"slug":21178,"title":21179,"dynasty":150,"author":21180,"museum":134,"description":21181,"tags":21182,"thumbUrl":21185,"material":235,"size":21186,"collection":237,"collections":21187,"showCount":20917,"zanCount":1769,"manualWeight":48,"mainColor":145},219667,"hai-cuo-tu-di-si-ce-nie-huang-219667","海错图第四册","聂璜","清代康熙年间一部主要描绘海洋生物的图谱，由聂璜绘制，共四册。清雍正四年（1726年），被太监苏培盛搜罗入宫，现第一、二、三册，共三存于北京故宫博物院，第四册存于台北故宫博物院。",[24,519,25,28,7,21183,21184],"贝类","海洋生物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4eb0f7a8d554200285becf061fb80f4.jpg","30.4x68厘米",[237],{"id":21189,"slug":21190,"title":21191,"dynasty":18,"author":1140,"museum":134,"description":21192,"tags":21193,"thumbUrl":21196,"material":100,"size":21197,"collection":44,"collections":21198,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},219599,"fu-xi-zuo-xiang-tu-ma-lin-219599","伏羲坐像图","本幅画其坐像，散发披肩，身披鹿皮，一派远古风范。远古时期，我们的先民为了御寒，以石器或骨器加工兽皮，再以骨针等工具进行缝制。此画幅足下右图1为八卦。此八卦图形表明他创制八卦的功绩。他双目凝神，似在沉思什么似的。\n画幅上方宋理宗楷书叙赞。叙曰：“朕获承祖宗右文之绪，祗通燕谋，日奉慈极，万几馀闲，博求载籍，推迹道统之传，自伏羲迄於孟子，凡达而在上，其道行，穷而在下，其教明，采其大指，各为之赞，虽未能探颐精微，姑以寓尊其所闻之意云尔。”标题：“宓牺”。赞日：“继天立极，为百王先，法度肇建，道德纯全，八卦成文，三坟不传，无言而化，至治自然”\n此画刻画高度精练，神情表现细致人微，画法新颖别致，生动自然。人物的眉毛、胡子，粗黑浓密，只是挥洒数笔便勾画出来。衣服更为简练，鹿皮下露出一双赤脚，亦一无疏漏地表现出来，真是神奇而妥贴。设色亦甚为高雅、纯朴，头部和赤脚着浅色，衣服以淡墨渲染，加深了受光面的立体感。简朴精练的笔墨，把这位始祖的形象刻画入微，给人留下了深刻的印象。",[23,24,25,155,28,7,83,29,2523,21194,284,21195],"兽皮","八卦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcc5012d0f893c24fe192b64e6c7a39.jpg","纵249.8厘米，横112.0厘米",[44],{"id":21200,"slug":21201,"title":3632,"dynasty":76,"author":191,"museum":463,"description":21202,"tags":21203,"thumbUrl":21205,"material":100,"size":220,"collection":44,"collections":21206,"showCount":20917,"zanCount":1769,"manualWeight":48,"mainColor":49},219497,"juan-xiu-tu-yi-ming-219497","朱红绣案上绿绸随意铺陈，仕女凭案敛臂休憩，绣活未竟便沉沉暂歇。淡墨轻施勾勒出松弛倦态，素绢古旧的底色晕开沉静氛围，没有繁复华饰，只以极简笔意定格闺阁日常里的慵懒闲逸。将绣女劳顿后的松弛心绪藏在素雅笔墨间，未完成的针线暗合着闺中往复的日常细碎，静穆画面里漫出平淡悠长的闺中况味，把细碎倦怠揉进古雅色调里，尽显内敛温柔的东方意趣。",[24,25,28,7,83,59,344,3436,21204,5967],"织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4a4c0ec9f990f6ad692fcb7681f4b5.jpg",[44],{"id":21208,"slug":21209,"title":21210,"dynasty":150,"author":2231,"museum":134,"description":21211,"tags":21212,"thumbUrl":21213,"material":235,"size":220,"collection":44,"collections":21214,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":145},219440,"gao-xian-yu-yin-tu-zhou-jin-ting-biao-219440","高贤遇隐图轴","枯木虬枝如铁，皴笔勾勒出岁寒之姿；野径蜿蜒若带，淡墨晕染出郊原之旷。士人凭树而立，衣袂飘举间神态悠然，目光轻落向田间劳作的身影；农夫戴笠荷锄，躬身耕耘时动作朴拙，身影与苍茫大地相融。笔墨于细节处见真章：树皮的纹理、土地的肌理、衣褶的流转，皆以细腻线条与层次墨色铺陈。贤士与隐者的相遇，似无意却藏深意——尘嚣之外，静观与躬耕皆是心境之选。画面简淡清雅，将超脱世俗的悠然意趣凝于方寸，尽显文人画的韵致与哲思。",[24,25,155,7,172,83,1499,2463,86,4611,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddd877b675099d48ee98845a7533715.jpg",[44],{"id":21216,"slug":21217,"title":21218,"dynasty":18,"author":16680,"museum":134,"description":21219,"tags":21220,"thumbUrl":21221,"material":100,"size":21222,"collection":237,"collections":21223,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":145},219231,"liu-tang-yuan-xi-tu-ma-he-zhi-219231","柳塘鸳戏图","风拂柳丝软，池漾碧波轻。柳条以淡墨勾勒，柔韧如丝，似随微风拂动水面，余韵悠悠。塘岸简笔皴擦，草色依稀，野趣天成。鸳鸯两两相戏，红羽点缀素净底色，情态亲昵自然，于静谧中添一抹生动。笔墨疏朗却意韵丰满，不刻意渲染却得自然之趣，恰是宋人崇尚的“平淡天真”之境。观之如临清塘畔，柳风轻拂，鸳鸯悠游，心亦随之沉静，仿佛能闻水波轻响，感受那份独属于宋人的清雅闲逸。",[23,24,137,28,7,212,1851,1707,1435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a58fd64843b5aa46fa30a846f821cb.jpg","23x24.4cm",[237],{"id":21225,"slug":21226,"title":21227,"dynasty":76,"author":9801,"museum":245,"description":21228,"tags":21229,"thumbUrl":21230,"material":235,"size":21231,"collection":45,"collections":21232,"showCount":20917,"zanCount":48,"manualWeight":48,"mainColor":49},21915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，谁不是缂绣、呢羽、绸缎、皮张，还有玉玩、金器、朝珠、洋表的？” 老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[914,14415,822,65,5004,21299,11888,7],"漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e27f929a3fe13987b6a3650e8ab9ca9.jpg",[],{"id":21303,"slug":21304,"title":10743,"dynasty":150,"author":4345,"museum":245,"description":21305,"tags":21306,"thumbUrl":21310,"material":220,"size":220,"collection":44,"collections":21311,"showCount":164,"zanCount":48,"manualWeight":48,"mainColor":145},238432,"geng-zhi-tu-ce-mian-yi-238432","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。\n乾隆廿九年八月十五日生。生母索绰罗氏，即左都御史观保之女。绵亿聪慧机敏，文静内敛，又熟读经史，擅长书法，乾隆帝十分欣赏，遂亲命绵亿在尚书房读书。加上永琪英年早逝，而其六子中仅绵亿一人能长成，故乾隆特别疼惜自幼失去父亲的他。绵亿于乾隆四十九年，封贝勒。\n嘉庆四年（1799年），晋荣郡王，嘉庆帝对这位只小自己几岁的侄子倒也十分照顾。话虽如此，但在嘉庆十一年（1806年），绵亿为两子取名时私用金字偏旁被嘉庆帝斥责，更以“不似近支，自同疏远”为由，命绵亿退出乾清门并在外廷当差，也革除他领侍卫内大臣、管园大臣等职务。及后绵亿替两子更名为糸字偏旁，加上嘉庆十八年的癸酉之变，绵亿眼看有些王公们毫不在乎的样子，就正色道：“皇上是吾辈何人。即使以亲谊论，也应当代上分忧，况万乘之尊乎。”绵亿遂恳请嘉庆帝速还京师，以稳定人心。其英勇刚直得嘉庆赞赏，刮目相看，官职不但一阵子就恢复了，还倍受嘉庆帝的宠爱与重用。皇帝自此常说道：“朕侄辈惟绵亿有骨肉情也”。嘉庆二十年三月五日，与父亲一样体弱的绵亿病逝，终年五十一岁，谥曰“恪”。",[24,28,7,519,83,35,34,21307,21308,17344,21309,1360,1028,177,10746],"篱笆","农具","劳作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe770663013436f33ad642d28eb3111f1.jpg",[44,45],{"id":21313,"slug":21314,"title":21315,"dynasty":150,"author":21316,"museum":245,"description":21317,"tags":21318,"thumbUrl":21319,"material":220,"size":220,"collection":237,"collections":21320,"showCount":164,"zanCount":48,"manualWeight":48,"mainColor":145},238160,"hong-wu-yang-ju-tu-ce-hong-wu-238160","弘旿洋菊图册","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,25,519,7,28,212,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a5a4823fcb39f418b46b4852488828b.jpg",[237,45],{"id":21322,"slug":21323,"title":4335,"dynasty":150,"author":4336,"museum":20,"description":4337,"tags":21324,"thumbUrl":21325,"material":220,"size":220,"collection":220,"collections":21326,"showCount":164,"zanCount":48,"manualWeight":48,"mainColor":145},237115,"shi-nv-ce-cui-wei-237115",[24,25,519,7,28,83,59,63,158,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a9e178aab2ac2740e50cc503c1b5e.jpg",[],{"id":21328,"slug":21329,"title":9822,"dynasty":76,"author":191,"museum":245,"description":21330,"tags":21331,"thumbUrl":21332,"material":67,"size":220,"collection":220,"collections":21333,"showCount":164,"zanCount":1769,"manualWeight":48,"mainColor":49},236285,"wang-zi-yuan-hua-niao-ce-yi-ming-236285","此作清疏留白，蜿蜒花枝斜斜舒展，粉紫碎花攒聚枝头，墨叶苍润古雅，晕染得宜。绣眼静栖枝梢，羽色晕染细腻柔和，尖喙微抬，侧目端详下方螳螂，灵动神态呼之欲出。翠色螳螂凝立花枝之上，身姿劲挺鲜活。\n\n画面静中藏动，将林间偶遇的刹那生机定格，设色雅致柔和，妍而不俗。工写结合的笔法兼具细腻与意趣，寥寥景致却尽显自然幽微意趣，带着平和隽逸的文人意韵，把郊野小景的灵动生机晕染纸上，尽显小品花鸟的雅致格调。",[24,25,519,28,7,212,299,409,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb8fffef29c538df923837946d854ac.jpg",[],{"id":21335,"slug":21336,"title":21337,"dynasty":150,"author":4708,"museum":20,"description":21338,"tags":21339,"thumbUrl":21341,"material":599,"size":220,"collection":220,"collections":21342,"showCount":164,"zanCount":48,"manualWeight":48,"mainColor":145},234153,"jiu-ge-tu-juan-ding-guan-peng-234153","九歌图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响，学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。",[23,24,25,26,7,28,83,29,341,176,1599,1600,21340,211,34,84,86,173],"雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a6bd8c93261ba462ca762cf3d0505c.jpg",[],{"id":21344,"slug":21345,"title":21346,"dynasty":76,"author":2369,"museum":20,"description":21347,"tags":21348,"thumbUrl":21351,"material":40,"size":3013,"collection":220,"collections":21352,"showCount":164,"zanCount":48,"manualWeight":48,"mainColor":49},233850,"gui-ju-shan-qin-tu-zhou-lv-ji-233850","桂菊山禽图轴","此图为工笔重彩花鸟与写意树石相结合的作品。所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画面的物象既真实地展现了生物的自然本性，也形象地表达了内涵的寓意。桂树干粗叶茂，枝头繁花如锦，黄色金桂似散出阵阵幽香；石畔数丛菊花，红、黄、粉、白，色彩斑斓，竞相斗艳；枝头八哥相对鸣叫，突出了其善鸣秉性；绶带鸟身姿优美，深蓝色羽毛分外夺目。花鸟绚丽的色泽和生动的情致，营造出喜庆、欢悦的气氛和吉祥、华美的意趣。\n此图画法工整鲜丽，继承了宋代“黄家富贵”的宫廷“院体”花鸟传统。同时，工笔重彩的花鸟与粗笔水墨的树石相间，也反映了吕纪兼工带写的成熟花鸟画风格。",[677,7,28,21349,4044,488,7448,178,21350,211,409],"院体","树干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59bccc1179ac574e6114c194b238a5df.jpg",[],{"id":21354,"slug":21355,"title":21356,"dynasty":18,"author":191,"museum":20,"description":21357,"tags":21358,"thumbUrl":21361,"material":424,"size":21362,"collection":220,"collections":21363,"showCount":164,"zanCount":1084,"manualWeight":48,"mainColor":49},233702,"za-ju-mai-yan-yao-tu-ye-yi-ming-233702","杂剧（卖眼药）图页","作品所绘内容为南宋杂剧《卖眼药》的场景，有关专家认为当是官本杂剧中的《眼药酸》。《武林旧事 卷十》 “官本杂剧段数”中有《眼药酸》剧名。此外，元末明初陶宗 仪《南村辍耕録 卷二十五》“院本名目”条下，于“诸杂大 小院本”名目中，载有十数种“酸”目。杂剧剧名中加“酸” 字多是以仕途无望的落魄文人为嘲弄对象的，《眼药酸》也不 例外。\n图中一人腰插一扇，中间开裂，上书一字似“浑”，可能 是插科打译、故意装傻的意思。此人臂肘间有“点青”，右手 指眼睛，左手握一板。另一人衣冠绘满眼睛图案，一手捏着眼 膏瓶，显然是在推销眼药。画幅右侧有一大鼓，仅见小半。是 图虽然绘制的是戏剧场景，但人物的动作、神态表现得非常到 位，体现了画家对当时市井生活的关注。另外，人物的服饰、 装扮对于研究宋代文化具有一定的参考价值。",[24,25,519,7,28,83,21359,21360,158],"杂剧","道具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b48906229f54e9cee3e09f49adeed54.jpg","高23.8厘米，宽24.5厘米",[],{"id":21365,"slug":21366,"title":21367,"dynasty":76,"author":5061,"museum":20,"description":21368,"tags":21369,"thumbUrl":21370,"material":21371,"size":21372,"collection":220,"collections":21373,"showCount":164,"zanCount":48,"manualWeight":48,"mainColor":145},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[24,25,26,855,7,284,285,173,927,35,83,92,211,3084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纸本墨笔","纵26.3CM 横67CM",[],{"id":21375,"slug":21376,"title":21377,"dynasty":18,"author":663,"museum":245,"description":21378,"tags":21379,"thumbUrl":21380,"material":220,"size":220,"collection":220,"collections":21381,"showCount":164,"zanCount":1084,"manualWeight":48,"mainColor":49},232778,"xie-sheng-zhe-zhi-tu-juan-wu-bing-232778","写生折枝图卷","吴炳，毗陵武阳人（今江苏省常州市），南宋光宗绍熙年间(1190-1194)画院待诏。光宗皇后李氏爱其画，恩赉甚厚，赐金带。工画花鸟，元代夏文彦《图绘宝鉴》谓其画“写生折枝，可夺造化，彩绘精致富丽”。所作谨守院体画风格。画迹有《春池睡鸭图》《山茶鹁鸽图》《鸳鸯瑞莲图》《宝珠玉蝶图》《折枝绛桃图》《折枝芍药图》《鸡冠花图》《玫瑰图》《长春图》《水仙图》等43件，著录于《南宋院画录》，均“简易有生趣”，“精彩如生”。",[23,137,24,25,26,7,28,450,233,212,582,452,6531,315,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735550480f9fac0df96afc47240de032.jpg",[],{"id":21383,"slug":21384,"title":21385,"dynasty":76,"author":674,"museum":152,"description":21386,"tags":21387,"thumbUrl":21388,"material":424,"size":21389,"collection":220,"collections":21390,"showCount":164,"zanCount":1020,"manualWeight":48,"mainColor":145},232645,"xuan-wen-jun-shou-jing-tu-chen-hong-shou-232645","宣文君授经图","据画面题款，是崇祯十一年（1638）陈洪绶（1598－1652）以前秦宣文君授经典故为姑母创作的祝寿图。画面正中端坐一位老年女性人物，她身后竖立的屏风上绘有一幅青绿山水。除山水画中常见的山峦、树石、溪水和人物等图像元素，画面还同时绘有圆日和弯月，让人不禁揣测它们的象征含义。\n宣文君（283~？），姓宋氏，前秦女经学家，名失传，籍贯不详。太常韦逞之母。家传周官学。苻坚曾令学生一百二十人从她受业，使周官学得以保存流传，成为中国古代历史上第一位女博士。时人称为“宣文君”。",[24,25,155,7,28,83,29,34,1600,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d4b5e9e2797593d6accf0773b104f.jpg","172.8×55.7cm",[],{"id":21392,"slug":21393,"title":21394,"dynasty":150,"author":21395,"museum":245,"description":21396,"tags":21397,"thumbUrl":21398,"material":220,"size":220,"collection":220,"collections":21399,"showCount":164,"zanCount":1084,"manualWeight":48,"mainColor":145},230114,"ren-wu-tu-ce-sun-huang-230114","人物图册","孙璜","此作为圆光小品，以柔婉笔致勾勒春闺闲景。垂柳丝绦轻曳，梅枝缀花斜伸，归燕剪破柔空，晕开春日融融暖意。两位仕女依偎苍奇湖石，衣袂舒展如云，侧身絮语、含笑倾听，将深闺密友间的亲昵静好藏在眉眼唇角。设色清润雅致，线条秀逸细腻，湖石皴染苍润兼具，花木点染鲜活灵动，将江南春景的柔媚与闺中女子的温婉心绪相融，把寻常闺间闲情晕染出淡远诗意，尽显小品仕女画的雅致情致。",[24,25,519,7,28,83,59,159,178,1028,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd52a6a6b3652582c52ba826c2e362e90.jpg",[],{"id":21401,"slug":21402,"title":21403,"dynasty":150,"author":191,"museum":245,"description":21404,"tags":21405,"thumbUrl":21406,"material":220,"size":220,"collection":237,"collections":21407,"showCount":164,"zanCount":48,"manualWeight":48,"mainColor":49},228932,"qing-yuan-ben-qin-can-tu-juan-xian-jian-yi-ming-228932","清院本亲蚕图卷 献茧","水岸错落萦回，古木蓊郁成荫，苍劲虬枝与素白繁花相互衬映，朱栏屋舍半隐林间，雅致内敛。左侧人物衣袂端整，正依礼徐行，暗合亲蚕仪典的肃穆庄重。\n\n整幅设色雅致柔和，工细写实。画师以精微笔触绘就林木的疏密层次，淡彩晕染出郊苑春日的温润静谧，将亲蚕礼的礼制深意融于幽阒雅致的园景间。既尽显宫廷院画的精谨考究，又于静谧景致里铺陈出古雅典正的氛围，让仪礼的庄重与苑囿的恬澹相融共生。",[24,26,28,7,83,34,91,705,8140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa2e1fd7862ef0f7939adee4b190d2.jpg",[237,182],{"id":21409,"slug":21410,"title":21411,"dynasty":228,"author":5636,"museum":245,"description":21412,"tags":21413,"thumbUrl":21414,"material":220,"size":220,"collection":220,"collections":21415,"showCount":164,"zanCount":48,"manualWeight":48,"mainColor":49},228162,"fu-rong-hua-tu-ye-wang-yuan-228162","芙蓉花图页","以水墨写就芙蓉，淡墨晕染花瓣，层层铺陈间将柔媚蓬松的花态尽显，花瓣边缘虚淡朦胧，如带清露。浓墨绘叶，枯笔勾勒叶脉，晕分出叶片阴阳向背之态，枝叶舒展错落，尽显芙蓉清妍雅致之姿。\n\n画面间题诗错落排布，朱红印章点缀其间，诗画合璧，褪去设色浓丽，以素净水墨尽现芙蓉秀润风骨，尽显尚意简淡的审美意趣，将文人情思融于笔墨意趣之中，清雅脱俗，余韵悠长。",[24,25,519,855,7,212,492,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9168b45b7cbef3fdbda8ee446bb21498.jpg",[],{"id":21417,"slug":21418,"title":21419,"dynasty":18,"author":191,"museum":245,"description":21420,"tags":21421,"thumbUrl":21422,"material":220,"size":220,"collection":220,"collections":21423,"showCount":164,"zanCount":1769,"manualWeight":48,"mainColor":49},227922,"cao-tang-xiao-xia-tu-yi-ming-227922","草堂消夏图","石青石绿晕染出山居底色，古雅沉静。茅舍临波而建，蕉叶舒展、修竹藏幽，枯木疏朗点破夏寂，水色澹澹漫过阶前，将暑热涤荡一空。\n\n屋内二人对坐清谈，案间茶卷相依，不必摇扇，林泉间的幽凉便漫进草堂。笔墨工秀柔润，把夏日山居的闲静雅致铺陈开来，将耽于林泉、忘忧消暑的隐逸意趣藏在尺幅团扇里，满是冲淡安和的林下之风，尽显清旷襟怀。",[23,24,25,914,28,7,29,83,286,156,159,772,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08840f39db0cf9f63dbb5ad9f829aaed.jpg",[],{"id":21425,"slug":21426,"title":21427,"dynasty":150,"author":2080,"museum":245,"description":21428,"tags":21429,"thumbUrl":21430,"material":220,"size":220,"collection":220,"collections":21431,"showCount":164,"zanCount":48,"manualWeight":48,"mainColor":145},224373,"hua-hui-qi-shi-ce-shi-er-kai-2-ju-lian-224373","花卉奇石册-十二开-2","此作以赭色绢本为底，湖石嶙峋通透，枯墨勾皴轮廓，淡墨晕染凹处，将灵璧石的空透雅态尽展。旁侧方盆月季，莹白瓣边晕染浅粉，枝叶敷色清润鲜活，柔媚动人。石顶细草轻缀，一只蜻蜓敛翼停驻，翅脉纤毫毕现，为静雅案头景致添入灵动生机。\n\n全作用色秀妍温婉，没骨技法工写相融，既将草木虫豸描摹得细腻鲜活，又以写意笔法带出湖石的苍古意趣，把文房清供的幽寂闲雅尽数铺陈，尽显柔润秀逸的江南画韵，将小品静物的雅致情致刻画得恰到好处。",[23,24,28,7,519,409,1185,493,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d737743b159527daa080f75cc1af3a.jpg",[],{"id":21433,"slug":21434,"title":21435,"dynasty":76,"author":191,"museum":152,"description":21436,"tags":21437,"thumbUrl":21438,"material":21439,"size":21440,"collection":220,"collections":21441,"showCount":164,"zanCount":1769,"manualWeight":48,"mainColor":49},223405,"tian-long-ba-bu-luo-cha-nv-zhong-yi-ming-223405","天龙八部罗叉女眾","右上题“天龙八部罗叉女众”，上端题“大明景泰五年八月初三日施”。并钤“广运之宝”印。左下书“御用监太监尚义、王勤等奉命提督监造” ​​​​。 ​​​​此图绘有天龙八部中的四位即：天众、龙众、紧那罗、摩呼罗迦。外另四罗叉（刹）女，分别持有刀、剑、弓等武器。从形制看应该还有对幅来组成“八部“，可能已佚。此图是明景泰年间（1450-1457年）宫廷画师所作，极尽华丽之能事，可与法海寺壁画参看。",[23,24,155,7,28,194,83,2602,5472,5468,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08d662c5db16a58703b6f2c0f10c2843.jpg","绢本·设色","141 x 79.2 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画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[24,137,26,28,7,29,83,112,6105,796,34,705,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[182,44,45],{"id":21683,"slug":21684,"title":17475,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":21685,"thumbUrl":21686,"material":1397,"size":1398,"collection":220,"collections":21687,"showCount":185,"zanCount":1769,"manualWeight":48,"mainColor":145},235565,"mu-dan-shan-mian-jiang-ting-xi-235565",[24,25,914,855,28,7,212,298,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739ec9b8479104c4efc5e43fb91fa31b.jpg",[],{"id":21689,"slug":21690,"title":21691,"dynasty":150,"author":2254,"museum":245,"description":21692,"tags":21693,"thumbUrl":21694,"material":1397,"size":1398,"collection":44,"collections":21695,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},234937,"yue-man-qing-you-ce-chen-mei-234937","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,519,28,7,83,84,86,214,34,211,92,1555,91,1109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b64d9f8816d7446b826324b78143f92.jpg",[44,45],{"id":21697,"slug":21698,"title":21699,"dynasty":76,"author":191,"museum":245,"description":21700,"tags":21701,"thumbUrl":21703,"material":220,"size":220,"collection":220,"collections":21704,"showCount":185,"zanCount":1769,"manualWeight":48,"mainColor":49},234931,"ming-ren-qiu-jing-huo-lang-tu-zhou-yi-ming-234931","明人秋景货郎图轴","当“双十一”掀开一个全民购物狂欢的序幕，放眼远在千百年前的临安街头，货郎们一人一担一声叫卖，仅凭这种最原始的“人肉购物车”，便足以吸引市井众人的注目，引出一番欢悦的情景。李嵩等画家以此为题奋笔挥毫，定格了过去一段段市井风貌。沉醉于塞满购物车再一朝清空快感的，不光只有21世纪的网购达人，中国古人的“购物车”更是让人眼花缭乱，甚至叹为观止。 在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[24,28,7,155,83,5898,3774,6512,34,214,211,315,216,4567,344,10611,21702,198],"棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],{"id":21706,"slug":21707,"title":21708,"dynasty":150,"author":191,"museum":245,"description":21709,"tags":21710,"thumbUrl":21711,"material":1397,"size":1398,"collection":220,"collections":21712,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},234506,"jin-gua-wu-men-shen-ma-yi-ming-234506","金瓜武门神码","此幅武将门神面如冠玉，三绺长髯飘逸出庄重威严。身着遍饰宝相花纹的黄金锁子甲，朱红衬袍翻卷张扬，宝冠翎羽凌厉飒爽。他一手高擎鎏金瓜锤，一手挽定雕弓，背负劲箭，胯侧黑旗猎猎。\n设色浓丽饱和，朱砂、石青与泥金交相辉映，既有民间年画的明快热烈，又暗含庙堂重彩的规整大气。线条刚柔并济，将武将护宅安邦的凛凛神威凝练于方寸之内，带着质朴醇厚的民间祈福意趣，尽显旧时匠人对阖家平安的真挚祈愿，是民俗美术中极具代表性的工致之作。",[24,25,28,7,2797,83,1787,63,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aef900541f967bea555c81cfa0a3a1a.jpg",[],{"id":21714,"slug":21715,"title":21716,"dynasty":150,"author":433,"museum":20,"description":21717,"tags":21718,"thumbUrl":21719,"material":40,"size":21720,"collection":220,"collections":21721,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[137,24,25,155,28,7,29,84,86,34,36,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],{"id":21723,"slug":21724,"title":21725,"dynasty":150,"author":191,"museum":20,"description":21726,"tags":21727,"thumbUrl":21730,"material":496,"size":21731,"collection":182,"collections":21732,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[24,25,519,28,7,81,83,29,112,85,84,211,34,2782,21728,21729,344],"军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[182,44,45],{"id":21734,"slug":21735,"title":21736,"dynasty":228,"author":191,"museum":245,"description":21737,"tags":21738,"thumbUrl":21739,"material":220,"size":220,"collection":220,"collections":21740,"showCount":185,"zanCount":1769,"manualWeight":48,"mainColor":697},232889,"yuan-dai-di-hou-xiang-yi-ming-232889","元代帝后像","元世祖后彻伯尔，元史表作昭睿顺圣皇后，名察必。济宁忠武王按陈之女。初为世祖妃，中统二年（1262）被立为皇后。彻伯尔因容貌出众，德才兼备，是众多后妃中最受世祖宠爱的一位。彻伯尔后在生活上自奉俭约，率宫女制作结实美观的服饰、实用地毯，还创制了比甲服饰等，适于骑猎穿着。受到世祖和诸大臣的称赞。至元十八年（1281）得病去世。元成宗即位后，追谥昭睿顺圣皇后。\n元代有一批职业画家服务于宫廷，创作了不少帝后肖像画。台北故宫博物院收藏了一套《元代帝后像册》，帝像8帧：计为太祖成吉思汗、太宗窝阔台、世祖忽必烈、元成宗、元武宗、元仁宗、元文帝、元宁宗；后像15幅：计为元世祖后像一、顺宗后像三、武宗后像三、仁宗后像一、英宗后像二、明宗后像一、宁宗后像一以及后纳罕像一、佚名后像四。",[24,137,7,28,83,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4337559b52f41b0ad3cc4b4725a4696c.jpg",[],{"id":21742,"slug":21743,"title":21744,"dynasty":150,"author":260,"museum":134,"description":21745,"tags":21746,"thumbUrl":21747,"material":496,"size":21748,"collection":220,"collections":21749,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},231527,"shi-jun-quan-jin-chi-xian-lang-shi-ning-231527","十骏犬金翅猃","郎世宁生于意大利，清康熙末年进入宫廷，郎世宁的《十犬图》轴十幅，每幅纵246.6厘米，横163.9厘米，由台北故宫博物院藏。画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[24,7,28,6920,582,1068,315,1797,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282319004ad80a2cd47a8365f76f3e47.jpg","纵246.6厘米，横163.9厘米",[],{"id":21751,"slug":21752,"title":21753,"dynasty":190,"author":21754,"museum":245,"description":21755,"tags":21756,"thumbUrl":21757,"material":220,"size":220,"collection":220,"collections":21758,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},230483,"an-tu-tao-shan-guan-feng-tu-ping-feng-shou-ye-xiu-lai-230483","安土桃山 观枫图屏风","狩野秀赖","的命名缘于当时的统治者织田信长，丰臣秀吉所在居城的地名而来，这个时代的文化被称为桃山文化（或安土桃山文化）。\n安土指织田信长的居城安土城，桃山指秀吉晚年的居城伏见城。\n为何伏见城又叫做桃山呢？是因为元和9年（162）幕府下令废弃伏见城，并在遗址上种植了很多桃树的原因。\n这个时期的文化主要体现在大名，豪商等阶层的繁荣奢华以及佛教影响力衰弱，西洋文化开始传播等方面。\n历来作为军事据点的城郭，由于领国经营等政治上的原因，从中世以来一直利用天险防御为中心的山城形态，渐渐过渡到小山丘上的平山城，最终形成通过濠（护城河），石垣来防御的平地上建筑的平城。\n在近世更是由于城下町的发达成为政治经济的中心。\n城郭内部的建设在这个时期也很出名，壮丽的 为军事和政治的中心，也是权力的象征，外围二丸三丸等环城和橹。\n这个时代的代表城郭有，平山城形态的有有 之美名的 （兵库县，附图2），有日本最古老的天守阁的犬山城（也称白帝城，爱知县）和彦根城（也称金龟城，滋贺县）；平城的代表有 ，松本城（又名深志城，长野县）。\n秀吉在京都的居所聚乐第，伏见城的城郭和书院式建筑的内部曾用黄金建造，光彩夺目，窗格采用镂空的雕刻。\n虽然现在已不存在，但是通过从被认为是聚乐第伏见城被拆毁时迁筑的建筑物身上可以推断出来。\n聚乐第的遗址是德大寺唐门和 飞云阁，伏见城的遗址为都久夫须麻神社本殿和西 书院·唐门。\n都久夫须麻神社为 的竹生岛上的神社。\n室内的隔扇·屏风上采用类似于浓绘的障壁画（障屏画）。\n障壁画有水墨画和金碧浓彩画两种，后者也可算作 浓绘，余白以金色和银色为地，采用绿青红等的浓彩的画法。\n障壁画的主流是狩野派。\n狩野派的奠基人 把室町时期盛行的水墨画和日本传统的大和绘巧妙的融合，运用丰富的色彩和强力的线描，雄大的构图等优点于一体的集大成者。\n永德的门人狩野山乐等创作了大量的障壁画。\n狩野永德的代表作品有《唐狮子图屏风》，《桧图屏风》（浓绘）；狩野山乐则有《松鹰图》，《牡丹图》。\n其他的还有海北派的始祖海北友松，长谷川派的始祖 等，也有很多优秀的浓绘和水墨画传世。\n海北友松的代表作《山水图屏风》（水墨画），长谷川等伯的《智积院袄绘》（浓绘）《松林图屏风》（水墨画）。\n另外，以都市和百姓生活，风俗等为题材的风俗画也很盛行。\n狩野永德所做描画京都内外名所和市民生活的《洛中洛外图屏风》。\n狩野长信的《花下游乐图屏风》，狩野吉信的《职人尽屏风图》，狩野秀赖的《高雄观枫图屏风》等为风俗画的代表作。\n武将和富裕的町众（町内的有力者）专注于茶道（茶会）和花道（插花）。\n， ， （后两人与千利休并称三宗匠）等茶人的出现，特别是 主张的“侘び茶”（静茶）由于受到秀吉和诸大名的赏识而广为流传。\n侘び茶指的是在小屋中举行茶会，感受茶道极致的意思。\n千利休的茶室以妙喜庵待庵为代表，侘び茶的精神在草庵风的单层屋顶的茶室里得到了极至的体现。\n其他的茶室如织田有乐斋的如庵也很有名。\n织田有乐（斋），即是织田信长的弟弟 。\n相对于侘び茶的茶室，秀吉修建了“黄金茶室”。\n叠的茶室里，使用大量的金和金箔。\n对于茶道的理解不同也导致了后来发生的悲剧。\n天正15年（1587），秀吉召开北野大茶会，不问身份贫富皆可参加，（但由于佐佐成政的肥后 爆发），预定1日的茶会不得不在一天就结束，极大地损害了为茶会奔走的堺商人的脸面。\n后又由于在 山门前的木像事件，愤怒的秀吉令利休切腹。\n伴随着茶道的盛行，茶室以外诸如茶器和庭园文化也得到了长足的进步。\n代表庭院为醍醐寺三宝院庭园。\n以高向寺荫绘有名。\n陶瓷器方面，乐烧为代表。\n是以京都的乐家的烧制为基础，初代的长次郎在聚乐第烧制为由而命名的。\n乐家以外的烧制者也很多。\n在桃山时代，美浓烧，赖户烧，备前烧，伊贺的 ，京的乐烧所制的陶器最受茶人们的欢迎。\n出兵朝鲜的将领中有抢抓朝鲜的陶工回国做工的事情发生。\n借由此，九州等西部沿海地区的陶业开始了急速的发展，其中 的有田烧（李参平创始）， 的上野烧， 的沙萨摩烧， 的高取烧，毛利辉元的萩烧的最为有名。\n此时，甲胄的制作也有了长足的进步。\n以 的歌舞伎，高三隆达的隆达节（曲），人形净琉璃最为盛行。\n阿国歌舞伎是指由阿国开创的かぶき踊り（歌舞）。\nかぶき踊り指异样的服装和 ，其中加入了能狂言（日本表演艺术的种类）和当时流行的念佛舞。\n阿国是就算不是首演者，也会是这项演出的来由者。\n关于阿国的最早记录是天正1年（1582） 的春日神社若宫拜殿的“ややこ踊”演出，出自于兴福寺的记录。\n“阿国自称为出云大社的巫女，边唱神歌或小歌边舞蹈。\n随后又开始念佛跳舞，更有女扮男装男扮女装的所作事（舞蹈剧名），再加入简单的动作跳かぶき踊り，这就是阿国歌舞伎的开始。\n” 庆长年间京都的四条河原等地风行，后来甚至波及到伏见城。\n由于人气的激增，模仿者辈出，才有了女歌舞伎到今天的发展。\n但是，在当时歌舞伎发展的初期，还是以歌舞为主兼带卖淫业务的，因此歌舞伎者被冠以“河原乞食”，“小屋者”，“芝居者”等蔑称，后来发展到野郎歌舞伎的时候，技艺才受到了普遍的重视。\n隆达节是界的商人高山隆达谱曲，重复吟唱《闲吟集》的小歌，也包含当时的恋歌和自作词。\n人形净琉璃是指搭配运用三味线和净琉璃来操作木偶的表演艺术。\n三味线是中国元代创作的三弦，在永禄年传来。\n本体用蛇皮包裹，故称蛇皮线，还有就是日本特有的猫皮线。\n由于国内的统一，和平的背景下都市顺利发展，生活文化也有着向上的趋势。\n服装方面，代表风格的小袖十分流行。\n小袖就是缩短了袖子的服装。\n另外木棉代替了麻成为了普通百姓的衣原料。\n豪华的表演服也出现来。\n住宅方面书院式建筑普及，京都还出现了2层的建筑。\n食文化方面，一日三餐的形式开始普及，调味料品新增了酱油和白糖。\n受到南蛮文化的广泛熏陶也是这一时期的文化特征之一。\n在绘画方面狩野派的画家有很多都是以南蛮人的风俗或和南蛮人做交易场景为主题来作画的。\n代表作品有根据舶来品世界图扩展摹写的《世界地图屏风》和据说是 命造的描画南欧骑马王侯战姿的《泰西王侯骑马图屏风》。\n许多新技术也通过贸易的开展而传入，耶稣会的传教士Valignano（意大利人）带来了西方的活字印刷术。\n出版了基督版（天草版）书籍，其中以全文葡萄牙语系罗马字记录的《天草版平家物语》和《天草版伊曾保物语》最为有名。\n另有说出兵朝鲜时也被传入印刷术，但是两者都在 被废止，原因是重版的时候非活字的方法比较经济实用。\n另外，航海术，造船术乃至天文，地理，医学等海外知识源源传入。\n服装和食物方面的专用名词也是在这个时代被定格的。\nパン、カステラ、ジュバン、タバコ、ラシャ是葡萄牙语系的外来语，ガラス、コーヒー是荷兰外来语，メリヤス、ビロード是西班牙语系。\nパン为面包，カステラ为蛋糕，ジュバン为和服的内衬衣，タバコ为烟草，ラシャ为毛衣，ガラス为杯子，コーヒー为咖啡，メリヤス为针织品，ビロード为绒毛衫",[23,28,7,83,3486,927,211,29,1288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565459c5684f9f641815ea8b1c04085c.jpg",[],{"id":21760,"slug":21761,"title":21762,"dynasty":150,"author":6928,"museum":245,"description":21763,"tags":21764,"thumbUrl":21765,"material":220,"size":220,"collection":220,"collections":21766,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},229039,"chan-chu-zha-meng-tu-ye-jiao-bing-zhen-229039","蟾蜍蚱蜢图页","设色清润雅致，绘就幽隅小景。修长鸢尾挺秀舒展，蓝白花瓣晕染细腻，斑纹纤毫毕现，尽显清雅之态。浅粉小花依偎坡边，柔婉动人。草畔小兽茸毛写实鲜活，正凝神窥伺翩飞蚱蜢，将刹那间的野趣定格于尺幅。整作工写兼融，草叶苍劲、花卉柔润、虫兽灵动相映成趣，悄然铺展出郊野一隅的鲜活生机，以细腻笔触勾勒物象情态，尽显恬淡雅致的自然意趣，于尺幅之间藏纳野逸悠然的生机之美。",[24,25,519,7,28,212,582,13373,7259,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d0f4e38e1f50913125f4aa5cc68db5.jpg",[],{"id":21768,"slug":21769,"title":21770,"dynasty":76,"author":77,"museum":463,"description":21771,"tags":21772,"thumbUrl":21773,"material":220,"size":220,"collection":220,"collections":21774,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[23,24,137,26,7,28,27,29,83,112,34,2782,211,21728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":21776,"slug":21777,"title":21778,"dynasty":76,"author":674,"museum":21779,"description":21780,"tags":21781,"thumbUrl":21782,"material":2373,"size":220,"collection":220,"collections":21783,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},228296,"lao-zi-qi-niu-chen-hong-shou-228296","老子骑牛","1","画面以清简之笔勾勒出超脱意趣，老子清癯古雅，神色淡然恬和，衣褶线条凝练劲挺，带着金石质感，古拙高逸。水牛憨拙沉稳，缓步渡溪，笔墨朴拙间尽显生动意态。布景疏朗，几竿修竹斜逸出尘，淡赭坡岸搭配墨色流云，留白铺就出空寂悠远的道家天地。设色雅致柔和，浅绛基调晕染出古淡空灵的氛围，将清逸超脱的意境尽数铺展，把天人合一的玄妙意趣藏于笔底，尽显古雅奇崛的画风特质，沉静里裹挟着出尘的悠远韵味。",[23,24,28,7,83,113,156,159,86,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ce83cdace5474ad255b551c4c99211.jpg",[],{"id":21785,"slug":21786,"title":21787,"dynasty":76,"author":674,"museum":245,"description":21788,"tags":21789,"thumbUrl":21791,"material":220,"size":220,"collection":220,"collections":21792,"showCount":185,"zanCount":1769,"manualWeight":48,"mainColor":49},228281,"wu-lao-tu-chen-hong-shou-228281","五老图","此作用奇石为席案，铺陈开五位老者的雅集场景。对弈者捻须凝思，观局者或倾身注目、或垂手静立，情态生动各别，尽显林下高贤的散淡意趣。\n画作以清劲高古的游丝铁线勾勒衣纹，造型奇崛古拙，设色浅淡沉静。老者面容刻画入微，须眉灵动鲜活，既带着明代人物画的高逸格调，又尽显作者标志性的古雅奇谲，将文人雅集的闲情逸致烘托得淋漓尽致，尽显晚明文人画的高妙意趣。",[23,24,7,28,283,83,471,15034,21790,216,4187,8582,6009],"棋局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf837e79b295fad40272b805d470ec78.jpg",[],{"id":21794,"slug":21795,"title":21796,"dynasty":18,"author":1151,"museum":245,"description":21797,"tags":21798,"thumbUrl":21799,"material":220,"size":220,"collection":220,"collections":21800,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","山峦叠翠流云轻绕，幽谷飞瀑隐于翠微之间，整幅画以温润青绿晕染出江南山居的清寂雅境。屋舍藏在松竹蕉荫深处，堂中人正展卷静读，周遭林木蓊郁苍润，山石皴法细腻匀净，古雅的青绿设色晕开沉静的宋人意趣。\n\n笔致工稳秀润，将文人幽居林泉的理想铺陈绢素，山野间无车马喧嚣，唯有山光树影伴衬书香。山石草木皆含静气，把宋人内敛雅致融在每一处细节里，让观者仿佛能踏入这方世外山居，共赴林泉书香的闲淡之约。",[23,137,24,25,28,29,7,172,34,211,84,4188,37,1319,83,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":21802,"slug":21803,"title":21804,"dynasty":18,"author":21805,"museum":245,"description":21806,"tags":21807,"thumbUrl":21808,"material":220,"size":220,"collection":220,"collections":21809,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},227411,"hu-ren-xiang-ma-tu-lian-bu-227411","胡人相马图","廉布","此图绘白马长啸，一白衣胡人在观马，一异装胡人在羌管，似与白马之啸互相呼应。此幅左上角题：四蹄玉削耳披风，独立昂藏气势雄，争向瑶池夸八骏，如何图内有真龙。山阳廉布。钤一印模糊不辨。然观此作绝非北宋末画迹，但人马描绘俱佳，也非庸手所为，当是托名廉布以射利。廉 布。字宣仲，号射泽老农。楚州山阳（今江苏省淮安）人。妙年登科，官至武学博士，以张邦昌婿，负才不得用。后居绍兴，既绝仕宦之念，以诗酒自娱。画山水，尤工枯木丛竹、奇石松柏、种种飘逸，师东坡而青出于蓝。",[23,24,137,28,7,83,112,313,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc845275590a4df7a346a1debac89576f.jpg",[],{"id":21811,"slug":21812,"title":21813,"dynasty":18,"author":191,"museum":245,"description":21814,"tags":21815,"thumbUrl":21816,"material":220,"size":220,"collection":220,"collections":21817,"showCount":185,"zanCount":1084,"manualWeight":48,"mainColor":49},227350,"gong-nv-tu-tuan-shan-yi-ming-227350","宫女图团扇","团扇，又称宫扇、纨扇，是中国汉族传统工艺品及艺术品，是一种圆形有柄的扇子，它代表着团圆友善、吉祥如意 [1] 。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[23,137,24,25,914,28,83,7,59,158,63,64,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":21819,"slug":21820,"title":18673,"dynasty":132,"author":21821,"museum":245,"description":21822,"tags":21823,"thumbUrl":21824,"material":220,"size":220,"collection":220,"collections":21825,"showCount":185,"zanCount":1084,"manualWeight":48,"mainColor":145},226713,"huo-lang-tu-ye-li-sheng-226713","李昇","这是一幅人物风俗画卷，画面上货郎的货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹场景。画家借助货郎这一题材表现了当时市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了那个时代百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,137,24,25,4185,7,28,83,3775,216,34,705,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b73176be8077b5a0404118925f2e78.jpg",[],{"id":21827,"slug":21828,"title":21829,"dynasty":150,"author":447,"museum":245,"description":21830,"tags":21831,"thumbUrl":21832,"material":220,"size":220,"collection":220,"collections":21833,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},224177,"tao-tan-yu-ya-hua-yan-224177","桃潭浴鸭","暖红桃枝垂曳入水，柔丝轻拂春水，将烂漫春色揉进涟漪。浴鸭憨态可掬，翎毛晕染细腻蓬松，俯身在清波中理羽，把春日闲静慵懒尽数绘出。\n\n整幅画虚实相生，艳而不俗的花色，和淡墨晕开的汀草灵石相映，兼工带写间既有精妙写实，又具疏朗雅致。笔意秀逸清新，将水畔清和的春日温柔晕染开来，把闲淡生机藏在每一处细节，尽显灵动雅致的文人意趣。",[23,24,28,212,7,155,174,652,196,197,655,4288,855,11419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c66d85b5a377c609d50d01fb40a230f.jpg",[],{"id":21835,"slug":21836,"title":21837,"dynasty":190,"author":191,"museum":245,"description":21838,"tags":21839,"thumbUrl":21840,"material":220,"size":220,"collection":220,"collections":21841,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},223615,"di-shi-san-yin-jie-tuo-zun-zhe-tu-yi-ming-223615","第十三因揭陀尊者图","半袒上身的尊者安坐崖间，高眉深目，虬髯微张，神情沉静威严，身后圆光晕染出清净圣格。身旁神兽昂首嘶吼，筋骨劲健灵动，动静之间形成鲜明反差，更衬出尊者静定无波的禅心。\n画作设色调和古雅，衣纹勾勒顿挫苍劲，晕染细致，既将织物厚重质感铺陈开来，又将尊者伟岸身形刻画入微。淡墨晕染山石云气，晕开幽寂清旷的禅意氛围。工写兼备之下，将尊者慈悲威严的气度与神兽悍勇神态尽皆展现，尽显古宗教绘画的肃穆高华与精湛笔力。",[23,24,25,155,194,7,28,83,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a690d779abe88933909687b4c9e34c7.jpg",[],{"id":21843,"slug":21844,"title":4718,"dynasty":150,"author":4719,"museum":245,"description":4720,"tags":21845,"thumbUrl":21846,"material":220,"size":220,"collection":220,"collections":21847,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},223081,"shui-hu-ren-wu-ren-xun-223081",[23,137,24,25,28,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3a4f5179bbbd31544dae8f5435c3f9.jpg",[],{"id":21849,"slug":21850,"title":21851,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":21852,"thumbUrl":21856,"material":67,"size":1560,"collection":220,"collections":21857,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},223067,"hong-lou-meng-53-sun-wen-223067","红楼梦53",[23,24,7,28,25,4304,18126,470,1744,21853,21854,409,21855],"古典厅堂","古典家具","钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb2d52989d8a7786715a5657cbdb872.jpg",[],{"id":21859,"slug":21860,"title":21861,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":21862,"thumbUrl":21863,"material":28,"size":1081,"collection":220,"collections":21864,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},222737,"xian-e-chang-chun-tu-dou-hua-lang-shi-ning-222737","仙萼长春图豆花",[23,137,24,25,519,28,7,6920,795,212,9545,9544,705,1631,198,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7cbebeb96400b2f7cc4f921366e047.jpg",[],{"id":21866,"slug":21867,"title":21868,"dynasty":76,"author":77,"museum":4748,"description":21869,"tags":21870,"thumbUrl":21872,"material":21873,"size":21874,"collection":220,"collections":21875,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},222212,"yu-di-tu-chou-ying-222212","渔笛图","图上一处波澜不惊的水域，四周群山环抱的幽静之地，有凉厅依山而建，一长者很随意坐于矮桌上，桌上有二本书，神态中若有所思； 远处一位头戴竹笠，吹着笛子悠闲的人坐于船头钓着鱼儿，享受着安然、静谧、自由自在的桃源生活。\n此图为细笔水墨画，近景树丛有四种央叶，和三种不同的点叶法，画面整饬而工细，山石主要以小斧劈皴来表现，用笔尖锐细劲，落笔重而收笔轻，笔致顿挫明显而富有节奏感，是一幅仇英仿制“院体”风格的山水画。仇英的画风，祖述南宋院体的李唐与刘松年，以善偏锋刷掠、勾写精工见长，此作便充分地体现了这一特色。",[23,24,7,28,29,34,35,175,3487,86,83,1797,33,172,4188,21871],"岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":21877,"slug":21878,"title":21879,"dynasty":18,"author":2693,"museum":78,"description":21880,"tags":21881,"thumbUrl":21882,"material":21883,"size":21884,"collection":42,"collections":21885,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":697},221446,"sha-zhu-fu-chu-tu-cui-bai-221446","沙渚凫雏图","崔白（1004-1088），中國北宋畫家，字子西，活躍於宋神宗前後，濠州（今安徽鳳陽）人。崔白是開始發揮寫生精神的畫家，其無前人的畫稿可臨摹或參考，但其依靠超越前人的觀察研究及描繪能力，探索花木鳥獸的生意，擺脫花鳥屬裝飾圖案的遺影，開創新的發展方向。其擅花竹、翎毛，亦長於佛道壁畫，畫佛道鬼神、山水、人物亦精妙絕倫，尤長於寫生。所畫鵝、蟬、雀堪稱三絕，手法細緻，形象真實，生動傳神，富於逸情野趣。一改百餘年墨守成規的花鳥畫風（指「黃筌畫派」），成為北宋畫壇的革新主將，數百年來頗受畫壇尊崇。",[23,137,24,25,212,28,7,1091,159,250,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86470bd0b6cb5ed33a9003d7bca038ca.jpg","册页，绢本","31.4cm×25.7cm",[42,237,45],{"id":21887,"slug":21888,"title":21889,"dynasty":132,"author":9464,"museum":20,"description":9465,"tags":21890,"thumbUrl":21891,"material":9468,"size":9469,"collection":220,"collections":21892,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},221173,"na-ga-xi-na-zun-zhe-tang-ka-bu-ben-guan-xiu-221173","那伽犀那尊者（唐卡布本）",[23,137,24,25,155,28,194,83,582,313,212,1817,299,1797,198,7,65,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b41f5da4d64a7095b0f7c7ead52295.jpg",[],{"id":21894,"slug":21895,"title":21896,"dynasty":76,"author":21897,"museum":20,"description":21898,"tags":21899,"thumbUrl":21900,"material":599,"size":21901,"collection":220,"collections":21902,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},220390,"you-song-tu-du-qiong-220390","友松图","杜琼","此画无款，钤“东原斋”、“杜用嘉”、“一丘一壑”三印。\n后有文伯仁跋，说明为杜琼之作。据张丑《清河书画舫》著录：“东原先生为其姊丈魏友松写号图，当时有题诗，不知何时脱落，尚赖刘完庵长句具存，足称艺林双璧。”又据杜琼文集中有关魏友松的诗文可知，杜琼姊丈魏本成，号友松，魏氏一家都是仕宦文人。",[24,25,26,29,28,7,172,85,86,211,34,927,35,214,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1af06046dc35154b5afb75f3032f83.jpg","纵28.8厘米，横92.5厘米",[],{"id":21904,"slug":21905,"title":21906,"dynasty":18,"author":21907,"museum":463,"description":21908,"tags":21909,"thumbUrl":21910,"material":100,"size":21911,"collection":237,"collections":21912,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},220257,"ying-zhu-ye-qin-tu-chao-shuo-zhi-220257","鹰逐野禽图","晁说之","晁说之（1059-1129），字以道，一字伯以，济州钜野（今山东巨野）人（《宋史·晁补之传》）。因慕司马光为人，自号景迂生。神宗元丰五年（1082）进士。哲宗元祐初，官兖州司法参军，绍圣时为宿州教授，元符中知磁州武安县。徽宗崇宁二年（1103），知定州无极县。后入党籍。大观、政和间监明州造船场，起通判鄜州。宣和时知成州，未几致仕。钦宗即位，以著作郎召，除秘书少监、中书舍人，复以议论不合，落职。高宗立，召为侍读，后提举杭州洞霄宫。建炎三年卒，年七十一。有《嵩山文集》（又名《景迂生集》）二十卷。事见《嵩山文集》附录其孙子健所作文集后记、《晁氏世谱节录》，及集中有关诗文。晁说之诗，以四部丛刊续编影印旧钞本《嵩山文集》（集中“祯”字皆缺，注“今上御名”，当沿宋本之旧）为底本。校以影印文渊阁《四库全书》本（简称四库本）等。新辑集外诗，附於卷末。",[23,24,25,155,7,855,28,212,178,2362,16692,655,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9b3c49df88c28a1d7b446c5a24edbc.jpg","168.2厘米×86.6厘米",[237],{"id":21914,"slug":21915,"title":21916,"dynasty":18,"author":16680,"museum":4529,"description":21917,"tags":21918,"thumbUrl":21919,"material":100,"size":21920,"collection":44,"collections":21921,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},219707,"qi-feng-tu-ma-he-zhi-219707","齐风图","齐襄公是齐僖公长子，他同父异母的妹妹姜文，素有“春秋时期四大美女”之称。见色起意的齐襄公不顾纲常伦理，与妹妹私通。《汉书·地理志》中记载了这段不堪的往事：“始桓公兄襄公淫乱，姑姊妹不嫁。",[23,24,26,25,283,28,7,285,83,84,85,86,90,34,29,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d34fa858564b0e0ce285f95eabcfed.jpg","26.2x65cm",[44],{"id":21923,"slug":21924,"title":21925,"dynasty":150,"author":4719,"museum":406,"description":21926,"tags":21927,"thumbUrl":21929,"material":235,"size":21930,"collection":44,"collections":21931,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},219417,"cai-zhi-tu-zhou-ren-xun-219417","采芝图轴","此轴纸本设色画一人物幅巾广袖拄杖而行，手提装满灵芝的竹篮，相貌奇古。右下书题“朵峰仁兄大人属即教正 永兴弟任薰舜琴写”，钤“任薰”白文方印。",[24,155,28,7,83,11067,313,314,18266,5260,3738,705,21928,63],"苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660fdaf34b7e404657c4f40b3ede7755.jpg","纵137.5厘米，横39.5厘米",[44],{"id":21933,"slug":21934,"title":21935,"dynasty":76,"author":14329,"museum":367,"description":21936,"tags":21937,"thumbUrl":21938,"material":100,"size":220,"collection":237,"collections":21939,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},219325,"hua-niao-tu-yi-yue-zhou-219325","花鸟图(一)","枯枝虬曲如铁，却绽几点新红，似冬末春初的暖意悄然浸来。枝上双禽相顾，羽色黑白分明，灵动如生；坡前雉鸡敛翅，尾羽拖曳如绢，斑驳羽纹间藏着野趣。花木与禽鸟相契，笔墨工致处见羽毛肌理，写意处显枝干苍劲，松针细劲，山石朴拙，似能听见枝间轻啼，嗅到草间清芬。整幅画面古雅静谧，生机暗涌，将自然之趣凝于绢素，尽显传统花鸟的意韵悠长。",[23,24,25,155,7,28,212,637,286,19796,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095ebf46cf6c15794eea3c98ab045de1.jpg",[237],{"id":21941,"slug":21942,"title":21943,"dynasty":76,"author":191,"museum":2004,"description":21944,"tags":21945,"thumbUrl":21946,"material":100,"size":21947,"collection":237,"collections":21948,"showCount":185,"zanCount":1769,"manualWeight":48,"mainColor":49},219078,"yu-qin-tu-yi-ming-219078","浴禽图","画的是一只站在木盆边上的黑鸟，盆里装了一半的水，鸟的嘴很尖，全身都是黑毛，翅膀中间和尾羽上都有一族白色的羽毛装饰。",[24,137,25,7,28,212,178,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05cb17584d98781bb9ead39718e572d4.jpg","23.5x23.5cm",[237],{"id":21950,"slug":21951,"title":21952,"dynasty":150,"author":21953,"museum":134,"description":21954,"tags":21955,"thumbUrl":21956,"material":100,"size":21957,"collection":237,"collections":21958,"showCount":185,"zanCount":1769,"manualWeight":48,"mainColor":49},218879,"xian-quan-tu-liu-yi-218879","仙犬图","刘亿","几只仙犬或蜷卧小憩，或嬉戏逗趣，毛羽勾勒得柔润细腻，神态憨态可掬，似含灵韵。近旁老枝盘曲，素花点缀枝头，暗香仿佛随风轻溢；石矶以墨色皴染，苍劲中带着朴拙。背景淡褐晕开，虚实相映，留白处漾着空濛意趣，更衬出犬儿的灵动与花木的清雅。笔墨浓淡相宜，细腻却不刻意，将生灵之趣与幽境之美融于尺幅间，似能感受到画者对自然生灵的温柔观照，观之令人心生悠然，满是沁人的雅致。",[24,25,137,28,7,582,6315,313,314,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc59a546e228caa4b665afbe19974a9f.jpg","42.2x56.8cm",[237],{"id":21960,"slug":21961,"title":21962,"dynasty":150,"author":14255,"museum":901,"description":21963,"tags":21964,"thumbUrl":21965,"material":100,"size":21966,"collection":237,"collections":21967,"showCount":185,"zanCount":1769,"manualWeight":48,"mainColor":49},218736,"liu-tang-ji-qin-tu-hu-mei-218736","柳塘集禽图","此画描绘了一群禽鸟在柳塘嬉戏的情景。画中几只芦雁或在岸上长鸣，或在水中畅游，或在低空中盘旋，石缝中生长出几棵小树，两只小鸟在枝丫上彼此顾盼。",[23,24,25,137,155,7,855,212,1851,299,2423,1707,196,314,34,178,2708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a65963fe55590b859fe37010d4dfd9.jpg","纵211厘米，横100厘米",[237],{"id":21969,"slug":21970,"title":21971,"dynasty":18,"author":191,"museum":134,"description":21972,"tags":21973,"thumbUrl":21974,"material":100,"size":21975,"collection":237,"collections":21976,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},218731,"cao-chong-gua-shi-tu-yi-ming-218731","草虫瓜实图","瓜果成熟，吸引了蝈蝈（也叫织女），其生产力蓬勃发展；果实肥沃，瓜的叶子和胡须是蔓生植物，可以继续生长，有 希望多子 的美好含义。瓜皮被染成老绿色，瓜棱被填上赭石，裂缝被染成淡淡的石绿色。瓜的叶子的边缘已经枯萎，呈赭黄色。",[23,137,24,25,519,7,28,410,7890,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577659173433558d7dedcd3a2518e7f0.jpg","23.5x24.8",[237],{"id":21978,"slug":21979,"title":21980,"dynasty":18,"author":2693,"museum":134,"description":21981,"tags":21982,"thumbUrl":21985,"material":100,"size":21986,"collection":237,"collections":21987,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},218701,"qiu-feng-jin-feng-tu-cui-bai-218701","秋风金凤图","这幅画描绘了一株绿叶红花的凤仙花，枝叶整齐，花瓣自然。铭文中的 崔白 是不真实的，应该是后来的归属。",[23,24,25,519,28,7,212,21983,453,21984],"金凤花","秋风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38eb6e795308295e5ccd85afcb7adb45.jpg","22.9x26cm",[237],{"id":21989,"slug":21990,"title":21991,"dynasty":18,"author":21992,"museum":3836,"description":21993,"tags":21994,"thumbUrl":21995,"material":100,"size":21996,"collection":44,"collections":21997,"showCount":185,"zanCount":1769,"manualWeight":48,"mainColor":49},218455,"zhou-ren-xing-tu-wang-hui-218455","舟人形图","王辉","淡墨晕染的水面微澜轻漾，一叶扁舟浮行其间。舟中之人凭舷而坐，衣袂垂落，神态悠然，似静听风吟，又或凝视水中云影。岸畔垂柳枝条披拂，几枝缀蕊梅枝斜出，添了清逸之趣。远处山峦轮廓柔和，与天际轻烟相融，浑然一体。简淡笔墨勾勒物象，却于留白处藏尽幽远之境，尽显宋人山水的诗意哲思——天地间人如芥子，却能与自然相契，寻得内心的安宁。整幅画以含蓄笔触铺陈意境，每一处细节都透着东方美学的雅致，将观者引入那片静谧辽远的烟波世界里。",[23,24,25,137,7,28,83,175,29,1851,637,86,178,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[44],{"id":21999,"slug":22000,"title":22001,"dynasty":150,"author":3912,"museum":367,"description":22002,"tags":22003,"thumbUrl":22004,"material":100,"size":3916,"collection":220,"collections":22005,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},218351,"shi-nv-tu-ce-4-li-ting-xun-218351","仕女图册-4","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为 秦贤 和 花痴，是一位罕见的艺术家，或者说是广东人。",[137,24,25,519,7,28,83,59,63,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1081e21d3c249e083f177f2d4add8157.jpg",[],{"id":22007,"slug":22008,"title":22009,"dynasty":150,"author":433,"museum":367,"description":2987,"tags":22010,"thumbUrl":22011,"material":100,"size":2990,"collection":220,"collections":22012,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},218337,"shen-xian-gu-shi-tu-ce-1-leng-mei-218337","神仙故事图册-1",[23,24,28,7,83,86,211,34,9311,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a61ad2a7e96dd17ea8b4e38b2355c5.jpg",[],{"id":22014,"slug":22015,"title":22016,"dynasty":150,"author":191,"museum":245,"description":22017,"tags":22018,"thumbUrl":22019,"material":100,"size":22020,"collection":44,"collections":22021,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},218289,"xuan-zong-lin-jing-tu-yi-ming-218289","玄宗临镜图","绢色泛黄如浸旧时光，朱红栏杆圈定宫室一角，竹影斜映窗棂，案上瓶花静立。玄宗红衣临镜，眉宇间似凝沉思，侍从持物侍立，姿态恭谨；侧室仕女闲坐，衣袂轻扬，添几分柔婉。旁题“韩休为相”语，暗牵盛唐典故——玄宗因韩休直言自省，临镜之态恰与纳谏之心呼应。\n\n画作以细腻笔触摹写人物神态，场景疏密得宜，于日常起居间藏史事隐意。既见宫廷生活的雍容，亦含对为政自省的隐括，方寸绢素间，绘就一段被时光凝定的盛唐记忆，笔端流转的不仅是形色，更是史韵与哲思的交融。",[24,25,7,28,81,83,84,2653,63,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70abb2788b3569eccbc73c8780a21f36.jpg","30x31",[44],{"id":22023,"slug":22024,"title":14364,"dynasty":18,"author":191,"museum":134,"description":22025,"tags":22026,"thumbUrl":22027,"material":100,"size":13645,"collection":44,"collections":22028,"showCount":185,"zanCount":1769,"manualWeight":48,"mainColor":49},216946,"luo-han-zhou-yi-ming-216946","罗汉轴是一种古代中国的手卷绘画。它们通常以佚名作者为代表，出现在宋朝（960-1279年）时期。罗汉轴的主题通常是佛教经典和寺庙仪式中的罗汉（即被提升到超凡脱俗境界的佛教徒）。这些绘画通常画在绢上，并装在木质卷轴架上。它们是当时中国绘画艺术的重要组成部分，被视为宝贵的艺术品。",[24,25,155,194,7,28,83,313,195,8582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802b4b5465a9970a4423478868b05daf.jpg",[44],{"id":22030,"slug":22031,"title":22032,"dynasty":150,"author":191,"museum":245,"description":22033,"tags":22034,"thumbUrl":22035,"material":100,"size":220,"collection":220,"collections":22036,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},216712,"hong-lou-meng-fu-tu-ce-12-yi-ming-216712","红楼梦赋图册-12","柳丝轻垂如帘，将内外景致温柔分隔。室外女子衣袂轻扬，或低语或凝眸，衣色淡雅如春日烟霞；栏杆旁草色萌新，山石间点缀细花，尽是闺中闲静之态。室内帐幔层叠，朱红与素白交织出朦胧暖意，卧榻人影隐约，似含一缕慵懒或幽思。笔墨细腻处，人物神态温婉流转，陈设精巧如真——案上器物、窗边棂格，皆藏着古典生活的雅致余韵。整幅画晕染着红楼特有的幽微情致，似将一段闺阁闲情定格，让观者窥见旧时光里的细腻光影，心绪也随那轻垂的柳丝，坠入这绢素间的温柔梦境。",[23,24,28,7,519,83,59,91,34,92,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c66a7352a3be6cd1b31ff1a6fead007.jpg",[],{"id":22038,"slug":22039,"title":22040,"dynasty":150,"author":191,"museum":245,"description":22041,"tags":22042,"thumbUrl":22043,"material":100,"size":220,"collection":44,"collections":22044,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":49},216116,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-yi-ming-216116","职贡图巨幅彩绘册页第2册","画面绘两位人物，衣饰各具地域风貌。左侧人物着蓝紫条纹长袍，衣襟微敞露橘色内衬，腰间垂黄绒饰带，神态温婉；右侧人物头戴红顶软帽，身披绿纹长褂，内搭红衣，双手拢于袖中，面容憨厚。人物线条流畅细腻，衣料纹理清晰可触，设色古朴雅致，尽显织物质感与人物情态。旁附文字注解，似载族群风俗。整幅作品生动还原清代边疆或外域族群的服饰与神态，既是笔墨精妙的艺术佳作，亦是研究当时民族交流、文化风貌的珍贵图像凭证，尽显职贡图类作品的历史厚重与艺术灵光。",[23,24,25,519,28,7,83,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1896e597091b8c11ab1ab56e5e2dcb9a.jpg",[44],{"id":22046,"slug":22047,"title":22048,"dynasty":150,"author":191,"museum":245,"description":22049,"tags":22050,"thumbUrl":22051,"material":100,"size":22052,"collection":44,"collections":22053,"showCount":185,"zanCount":48,"manualWeight":48,"mainColor":145},215915,"qing-ren-xiao-xiang-tu-ce-yi-ming-215915","清人肖像图册","绢本泛黄的底色里，端坐的身影裹着靛蓝长袍，红顶小帽衬得面容温润沉静。案几上器物默然伫立，似凝住一室清寂时光。左侧圆窗裁取山石花木之景，墨色浅淡间晕染出中式居停的雅致意趣。衣纹线条简洁却见功底，面部晕染细腻，将人物温婉神态悄然托出。整幅画无繁复铺陈，却以简淡笔触勾勒出清代人家的日常片段——那份浸润在时光里的从容娴静，仿佛能透过画面漫溢开来，引人沉浸于岁月沉淀的悠然。",[24,28,83,7,519,63,158,159,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F283674bde9cfd07398bfe9ae23ea3a59.jpg","44x40",[44],{"id":22055,"slug":22056,"title":22057,"dynasty":150,"author":191,"museum":245,"description":22058,"tags":22059,"thumbUrl":22060,"material":235,"size":220,"collection":220,"collections":22061,"showCount":185,"zanCount":1769,"manualWeight":48,"mainColor":145},215868,"qing-dai-gong-ting-ren-wu-hua-ce-1-yi-ming-215868","清代宫廷人物画册-1","端坐的身影裹着一身流光溢彩的华服，蓝紫底色上，龙纹与祥云交织成流动的星河，青绿点缀其间，似将春日生机锁进衣袂。朱红椅幔垂落，衬得人物眉眼沉静，唇边淡笑藏着宫廷深处的威仪与从容。脚踏青绿如苔痕，椅脚线条简洁却不失庄重，每一处纹饰都低语着旧时规矩与精致。泛黄纸页晕开时光痕迹，而画中锦绣、那份气度仍鲜活如昨，仿佛伸手便能触到当年宫廷里的暖光与静穆。这不仅是一幅肖像，更是一段凝固的旧梦，在色彩与线条间，窥见清代宫廷的庄重与华美。",[24,137,251,7,28,83,5550,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04af866bb80c765e6868aec967aa5a9.jpg",[],{"id":22063,"slug":22064,"title":12112,"dynasty":132,"author":2758,"museum":245,"description":8073,"tags":22065,"thumbUrl":22067,"material":1397,"size":1398,"collection":220,"collections":22068,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},289000,"lu-yan-tu-huang-ju-cai-289000",[24,25,212,7,28,15616,2707,178,22066],"河滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf4508e1d9578b25bd4dfd999a4770e.jpg",[],36,{"id":22071,"slug":22072,"title":11987,"dynasty":18,"author":1140,"museum":134,"description":22073,"tags":22074,"thumbUrl":22077,"material":100,"size":11992,"collection":220,"collections":22078,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},288937,"san-guan-chu-xun-tu-ma-lin-288937","画面描绘了道教神仙“三官大帝”，表现了三官巡游天地的盛况。",[23,24,137,22075,21275,83,341,113,28,7,4512,1600,196,22076],"宗教画","神仙出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8887bcfc399239609b214e9bf562900.jpg",[],{"id":22080,"slug":22081,"title":3845,"dynasty":150,"author":3846,"museum":134,"description":22082,"tags":22083,"thumbUrl":22084,"material":218,"size":10230,"collection":220,"collections":22085,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},288829,"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-288829","杨大章，清代画家，乾隆时期内廷供奉，善画山水、人物，最善画龙。\n\n其代表作品有：乾隆三十六年仿刁光胤写生册，乾隆四十四年仿宋宣和《柳鸦芦雁图》，乾隆五十五年仿陈容《九龙图》，乾隆五十六年仿《宋人金陵图卷》，其作品在市场上极少见到。清史记载「杨大章，亦赋色修洁，可与邹一桂颉颃，花鸟以二人为最工，其善画人物、花卉、翎毛，偶画山水，师法宋人。」说明了他的绘画造诣之高。其擅长水墨花卉，极有重名。常写五色菊，墨花五彩，有清冷隽逸之气。",[23,24,26,28,7,83,113,29,34,9251,1360,84,1206,86,36,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8fce5ba5993e927b3090298414355.jpg",[],{"id":22087,"slug":22088,"title":22089,"dynasty":150,"author":1549,"museum":245,"description":16441,"tags":22090,"thumbUrl":22093,"material":1397,"size":1398,"collection":220,"collections":22094,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":49},288399,"lin-dai-yu-chong-jian-tao-hua-she-sun-wen-288399","林黛玉重建桃花社",[23,24,25,7,28,83,59,84,85,86,178,156,22091,22092,1106],"风筝","桃花社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82aa2bbeb52a082378df0a61e396e32c.jpg",[],{"id":22096,"slug":22097,"title":22098,"dynasty":150,"author":2254,"museum":245,"description":22099,"tags":22100,"thumbUrl":22102,"material":1397,"size":1398,"collection":220,"collections":22103,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},288024,"zhong-qiu-shi-yi-tu-li-zhou-chen-mei-288024","中秋诗意图立轴","陈枚，字载东，号殿抡，晚号枝窝头陀，娄县（今上海市松江）人。是一名清朝画家。",[23,24,155,7,28,83,286,982,2463,4567,22101],"萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a7bb60651726dc7bcd46e396118a9e.jpg",[],{"id":22105,"slug":22106,"title":22107,"dynasty":18,"author":1151,"museum":134,"description":22108,"tags":22109,"thumbUrl":22110,"material":100,"size":22111,"collection":42,"collections":22112,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},287640,"tang-wu-xue-shi-tu-liu-song-nian-287640","唐五学士图","图中人物的头形轮廓线显出轻重、缓疾之别，很能传达出人物的年龄特征。再有衣纹处理也很老到、简洁、明确，毫不拖泥带水，一撇一勾都交代得一清二楚，这些都足见刘松年绘画艺术的功力。《图绘宝鉴》卷四讲他“帅张敦礼，工画人物山水，神气精妙，名过于师”。",[24,137,25,83,28,7,927,16443,3025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff255d9c9acafdadea239abac7ee4f1f7.jpg","174.7x106.6",[42],{"id":22114,"slug":22115,"title":22116,"dynasty":228,"author":229,"museum":245,"description":11866,"tags":22117,"thumbUrl":22118,"material":1397,"size":1398,"collection":220,"collections":22119,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":49},287336,"shi-ba-xue-shi-ju-hui-tu-juan-qian-xuan-287336","十八学士聚会图卷",[23,137,24,26,28,83,7,1109,2970,14258,719,3850,1394,1106,84,471,2464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d57a33c5bf1c2de793373e80b8ac2ee.jpg",[],{"id":22121,"slug":22122,"title":22123,"dynasty":150,"author":191,"museum":245,"description":22124,"tags":22125,"thumbUrl":22126,"material":1397,"size":1398,"collection":220,"collections":22127,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":49},267608,"cai-se-duan-xiu-he-lu-san-yang-mei-que-wen-ming-xing-pian-jia-yi-ming-267608","彩色缎绣鹤鹿三羊梅雀纹名姓片夹","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[14415,65,7,28,60,1817,4541,3035,1068,637,212,582,11888,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b9155225671ffe2fe720d6ecd8bd8d.jpg",[],{"id":22129,"slug":22130,"title":22131,"dynasty":150,"author":22132,"museum":245,"description":22133,"tags":22134,"thumbUrl":22138,"material":1397,"size":1398,"collection":220,"collections":22139,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},239338,"bai-yin-shi-cha-zhou-niu-shu-239338","柏荫试茶轴","钮枢","钮枢，清代女画家，字汉藩，吴县（今江苏苏州）人。工仕女，宗仇英。",[24,25,155,28,7,83,16546,158,12767,22135,10835,1674,22136,22137],"胡须","木桌","树下互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5176c4f5479c2f219143b741149cb5c.jpg",[],{"id":22141,"slug":22142,"title":22143,"dynasty":150,"author":4708,"museum":245,"description":22144,"tags":22145,"thumbUrl":22146,"material":220,"size":220,"collection":237,"collections":22147,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},238134,"tian-ma-xian-rui-tu-zhou-ding-guan-peng-238134","天马献瑞图轴","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[24,25,155,28,7,83,112,178,29,313,624,705,797,4188],"https:\u002F\u002Foss.chuangqi.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左)","隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了欣赏，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。",[24,25,155,194,28,7,83,3794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F759fd55d66556766afd7f1236ed8d067.jpg",[],{"id":22181,"slug":22182,"title":22183,"dynasty":150,"author":5626,"museum":245,"description":22184,"tags":22185,"thumbUrl":22186,"material":220,"size":220,"collection":220,"collections":22187,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},230148,"shi-er-jin-chai-tu-fei-dan-xu-230148","十二金钗图","《十二金钗图》是清代画家费丹旭创作的一幅绘画作品，现藏于 。\n该画作画面人物纤细娇弱，娟秀清丽，刻画细致工整，具典型的费氏风格。\n环境则以逸笔写出，淡彩晕染，墨笔勾皴，空灵秀润，以衬托出中心人物。\n费丹旭（182—185年），字子苕，号晓楼、环溪生、偶翁，乌程（今浙江湖州）人。\n自幼从父珏（芝原）习画，擅绘仕女，笔致轻灵淡雅，颇得女性娟秀之美、柔弱之态。\n工于肖像，以如镜取影、情神酷肖为人称道。\n亦能山水、花卉，取法恽寿平，笔墨洁净清丽，具闲散意趣。\n长年流寓上海、江浙一带，交游于文士间，艺术修养广博深邃。",[24,25,7,28,59,637,1500,85,159,286,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e746477fca8a1d104025dece421627.jpg",[],{"id":22189,"slug":22190,"title":2036,"dynasty":150,"author":6814,"museum":245,"description":22191,"tags":22192,"thumbUrl":22193,"material":220,"size":220,"collection":220,"collections":22194,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},229004,"ma-gu-xian-shou-tu-huang-shan-shou-229004","画面里仕女温婉端柔，手捧仙瓶静立，衣纹舒展灵动，衣饰纹饰细密雅致，尽显秀润华美感。身旁老者苍颜皓首，拄蟠桃树杖，神态矍铄安然。此作用笔工写相融，线条清劲流畅，设色调和古雅，将二人仙逸气质烘托恰到好处。整体画面祥和悠然，把福寿吉庆的美好意蕴藏于笔墨之间，尽显传统吉祥题材画作的精妙意趣，以细腻的人物塑造传递出雅致祥瑞的贺寿主题，尽显古典人物画的匠心之美。",[24,25,155,28,7,83,59,158,63,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f630caf622323c7378dd7917517fa5.jpg",[],{"id":22196,"slug":22197,"title":22198,"dynasty":150,"author":8137,"museum":245,"description":22199,"tags":22200,"thumbUrl":22208,"material":220,"size":220,"collection":220,"collections":22209,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},228950,"jiu-cheng-gong-tu-yuan-jiang-228950","九成宫图","危崖崚嶒，古柏虬劲苍郁，云雾轻笼层峦，将殿宇台榭晕染如缥缈仙宫。界画工细严整，斗拱梁枋毫厘毕现，青蓝重彩晕染出殿宇的华贵庄重，尽显匠造精工。\n\n远景平沙远岫，烟波浩渺间晕开朦胧诗意，近景层岩叠翠，山道间商旅穿行点缀烟火气。整幅开合有度，虚实相生，将皇家宫苑的宏阔威严，与山水灵秀融为一体，以极致工笔勾勒出雄奇雅丽的山水宫苑胜境。",[23,137,24,81,7,28,27,29,84,22201,22202,22203,37,22204,22205,22206,22207],"殿宇","危崖","古柏","平沙远岫","层岩","商旅","皇家宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612d9d536058ffbfac745708307b19e8.jpg",[],{"id":22211,"slug":22212,"title":22213,"dynasty":76,"author":191,"museum":245,"description":22214,"tags":22215,"thumbUrl":22216,"material":1397,"size":1398,"collection":220,"collections":22217,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},228785,"shi-yi-mian-qian-shou-guan-yin-xiang-yi-ming-228785","十一面千手观音像","十一面观音，Ekādaśa mukhānām Avalokiteśvara，六观音之一，主救济阿修罗道，给众生以除病、灭罪、增福之现世利益。总之为除恶导善，引众生入佛道之菩萨。",[23,24,25,194,83,7,28,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d021d8e9cc61cc2bc69122214eef57e.jpg",[],{"id":22219,"slug":22220,"title":22221,"dynasty":76,"author":77,"museum":245,"description":22222,"tags":22223,"thumbUrl":22224,"material":220,"size":220,"collection":220,"collections":22225,"showCount":22069,"zanCount":1084,"manualWeight":48,"mainColor":49},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[23,24,26,7,28,27,29,83,112,85,86,34,211,37,172,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":22227,"slug":22228,"title":22229,"dynasty":228,"author":191,"museum":245,"description":5696,"tags":22230,"thumbUrl":22231,"material":1397,"size":1398,"collection":220,"collections":22232,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":49},228201,"bi-hua-tu-ye-yi-ming-228201","壁画图页",[23,1053,24,25,28,7,83,59,313,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7378d93b9a62ea1e98536887833518d0.jpg",[],{"id":22234,"slug":22235,"title":3472,"dynasty":18,"author":1774,"museum":245,"description":22236,"tags":22237,"thumbUrl":22238,"material":220,"size":220,"collection":220,"collections":22239,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},227956,"hua-niao-tu-ye-zhao-bo-ju-227956","这幅小品以清雅笔触勾勒乡野闲趣，瓜叶舒展圆润，甜瓜垂坠饱满，藤须轻曳带着夏日的鲜活生机。两只小鼠姿态灵动憨然，一只探鼻轻嗅瓜蒂，一只俯身张望，将鼠类的机灵敏锐与憨态尽显无余。\n整画工致细腻，瓜的棱纹晕染自然，鼠身绒毛纤毫毕现，淡彩晕染古朴柔和，将日常细碎小景绘得意趣盎然。平淡乡野片段被定格为隽永画面，藏着对烟火日常的温柔体察，尽显于寻常间寻觅诗意的雅致审美。",[23,24,137,7,28,212,4023,7890,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c858f941ffcace6d9f65b301b5c99f.jpg",[],{"id":22241,"slug":22242,"title":6139,"dynasty":18,"author":1040,"museum":245,"description":22243,"tags":22244,"thumbUrl":22246,"material":220,"size":220,"collection":220,"collections":22247,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},227736,"shi-dan-ying-xi-tu-li-song-227736","《市担婴戏图》是宋代画家李嵩创作的一幅绢本浅设色画，现藏于台北故宫博物院。此画描绘老货郎担着琳琅满目的百货，妇女、孩童蜂拥而来的情景。",[24,25,914,7,283,28,83,6142,22245,34,5898,216,11888],"市担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ae9504a8080a71cacabd3b44df2120.jpg",[],{"id":22249,"slug":22250,"title":22251,"dynasty":18,"author":326,"museum":245,"description":19018,"tags":22252,"thumbUrl":22253,"material":220,"size":220,"collection":220,"collections":22254,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},227487,"hai-tang-bai-tou-tu-juan-zhao-ji-227487","海棠白头图卷",[23,24,25,26,7,855,212,915,299,453,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250407a0c16f93208498d2d02f6623ad.jpg",[],{"id":22256,"slug":22257,"title":22258,"dynasty":18,"author":2221,"museum":245,"description":22259,"tags":22260,"thumbUrl":22261,"material":220,"size":220,"collection":220,"collections":22262,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":49},227416,"zhao-ling-liu-jun-tu-juan-chang-juan-zhao-lin-227416","昭陵六骏图卷(长卷)","《昭陵六骏图》卷，金，赵霖作，绢本，设色，纵27.4厘米，横444.9厘米。\n此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,137,24,26,7,28,112,83,284,173,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd803f502ab548d08a4d7881bc0191c.jpg",[],{"id":22264,"slug":22265,"title":22266,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":22267,"thumbUrl":22269,"material":1397,"size":1398,"collection":220,"collections":22270,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":1833},226208,"ku-zhu-shi-dong-bi-yi-ming-226208","窟主室东壁",[1053,194,28,7,83,84,63,22268,91,18979,344],"唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca7ce3df90bf739387683632798ad93.jpg",[],{"id":22272,"slug":22273,"title":22274,"dynasty":150,"author":2080,"museum":245,"description":22275,"tags":22276,"thumbUrl":22277,"material":220,"size":220,"collection":220,"collections":22278,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},224376,"hua-hui-qi-shi-ce-shi-er-kai-6-ju-lian-224376","花卉奇石册-十二开-6","此小品清逸雅致，构图疏密相宜。主石瘦透空灵，以水墨晕染出嶙峋肌理，通透孔洞尽显怪石清奇之态，石上菖蒲青绿鲜活，柔叶劲挺，生机跃然纸面。右下角小石块缀生细草，与主石菖蒲呼应，平衡画面更添野趣。\n\n设色淡朴雅致，赭色勾勒石纹衬出底色古拙，水墨干湿互用，将石之坚硬与草之柔润对比鲜明。笔简意足，藏幽居赏玩的悠然心境于尺幅，尽显文人案头清供的闲逸雅趣。",[23,24,25,519,28,7,159,822,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee3360256c0b1e325bd7e4e054ad8bc.jpg",[],{"id":22280,"slug":22281,"title":22282,"dynasty":150,"author":7603,"museum":245,"description":22283,"tags":22284,"thumbUrl":22289,"material":220,"size":220,"collection":220,"collections":22290,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},224111,"yi-jian-shuang-lu-tu-qian-long-224111","一箭双鹿图","画面中纵马弯弓的骑手利落射出箭矢，双鹿中箭颓然仆地，骏马昂首扬蹄，骑手身姿果决干练，将骑射的飒爽力道尽显无余。背景里苍松虬劲、层林尽染秋意，远山澹澹铺展，把围猎的迅疾动感揉入山野林泉的静穆悠远间。\n\n右上角题诗以笔墨追怀射猎快意，诗画相映，将驰骋校猎的豪情与秋日林野的清旷融为一体。写实笔触细致勾勒出鞍马、人物的衣饰肌理，既带着纪实性的鲜活，又晕染出诗意闲情，把骑射勇武和林下逸趣完美糅合，是兼具叙事感与审美性的精妙之作。",[23,24,28,7,83,112,1817,582,29,20850,14059,4188,20225,22285,173,22286,22287,22288],"围猎","题诗","豪情","诗意闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d24e76a0609e08c272f52e9f257d0a4.jpg",[],{"id":22292,"slug":22293,"title":5402,"dynasty":18,"author":191,"museum":20,"description":22294,"tags":22295,"thumbUrl":22296,"material":424,"size":22297,"collection":220,"collections":22298,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[137,24,25,26,82,283,28,7,83,341,29,84,178,111,9311,4319,34,1797,86,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":22300,"slug":22301,"title":22302,"dynasty":228,"author":191,"museum":56,"description":22303,"tags":22304,"thumbUrl":22306,"material":22307,"size":22308,"collection":182,"collections":22309,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},223461,"shan-xi-shui-mo-tu-yi-ming-223461","山溪水磨图","《民物熙乐图轴》又名《山溪水磨图》，描绘了山水、楼阁、盘车，山石画法受北宋风格影响，画法写实，界画整饬，人物生动，富于浓郁的生活气息。画面上无题款及收藏印记，也未见画史著录，有印章数枚，但是模糊难辨，系20世纪50年代初辽宁省博博物馆从民间收购获藏。曾经有人认为是明代作品，从画风看应为元人所作，后来鉴定为元人真迹，是一幅带有界画特点的典型的民间风俗画，可以使我们了解到宋元风俗画、界画的面貌。",[23,24,25,28,29,81,7,84,86,211,34,83,113,22305],"水磨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3136e54ffa0e16bac85bd2b82cc151b.jpg","绢本淡设色，立轴","纵153.5厘米，横94.3厘米",[182,125],{"id":22311,"slug":22312,"title":22313,"dynasty":150,"author":4708,"museum":134,"description":22314,"tags":22315,"thumbUrl":22329,"material":2721,"size":22330,"collection":220,"collections":22331,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":145},223325,"tai-ping-chun-shi-tu-juan-ding-guan-peng-223325","太平春市图卷","画成于乾隆七年(1742年)，描绘新春时节乡欢庆过年情景，从乡人互相打躬作揖，摊贩卖爆竹，打太平鼓，耍猴戏，跑旱船，瞎眼看相人，戏棚上演掌中班，货郎担，游人市贩，竹篱人家，松树桃竹，画得非长生动而逼真。画面展示了爆竹、太平鼓、果品、鸟鱼挑摊，以及各种行业的耍猴货郎、算命、跑旱船、演傀儡戏的表演艺人。松树下文士席坐品茶闲聊，朱漆托盘内置有紫砂大壶与青花碗，盛装泉水则用绿地花卉大壶、茶铫。挑夫担子盛放糕点使用的是青花与描红龙纹碗、盘，均是乾隆时期宫廷用器，可知街上买卖艺人都是由宫中侍仆所装扮。",[23,137,24,25,26,28,7,83,22316,22317,22318,22319,22320,22321,22322,10611,22323,22324,20332,1674,1105,927,22325,22326,22327,22328],"新春","乡市","拜年","爆竹","太平鼓","耍猴","傀儡戏","算命","跑旱船","桃竹","竹篱人家","艺人","游人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9318a6d8afcb23dedc43ae2cc2b434.jpg","纵30.3厘米，横233.5厘米",[],{"id":22333,"slug":22334,"title":22335,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":22336,"thumbUrl":22337,"material":67,"size":1560,"collection":220,"collections":22338,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},223077,"hong-lou-meng-63-sun-wen-223077","红楼梦63",[23,7,28,81,83,84,211,34,466,92,3850,1029,86,29,8828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6287c52639c4ee11c3285d5cf2df0f6d.jpg",[],{"id":22340,"slug":22341,"title":22342,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":22343,"thumbUrl":22346,"material":67,"size":1560,"collection":220,"collections":22347,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":697},223066,"hong-lou-meng-52-sun-wen-223066","红楼梦52",[23,24,25,7,28,81,83,59,84,34,214,92,216,3048,344,215,1104,200,22344,5004,65,13259,22345],"罐","室外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6e4bfd16dd262ed724295b75a151d0.jpg",[],{"id":22349,"slug":22350,"title":22351,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":22352,"thumbUrl":22354,"material":67,"size":1560,"collection":220,"collections":22355,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},223055,"hong-lou-meng-180-sun-wen-223055","红楼梦180",[23,7,28,81,83,84,176,248,249,1707,214,34,22353,1104,1674,21048,652,92,5967],"圆形窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f50c00b41d18bf698643e1b41df6987.jpg",[],{"id":22357,"slug":22358,"title":22359,"dynasty":76,"author":6490,"museum":134,"description":22360,"tags":22361,"thumbUrl":22362,"material":424,"size":22363,"collection":44,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[1] 题识：“老迟洪绶画于狮子林。” 钤“陈洪绶印”白文印，“章侯氏”朱文印。陈洪绶（1598—1652）， 字章侯，号老莲、老迟，晚号悔迟、云门僧等。诸暨（今浙江诸暨）人。善山水、花鸟，尤精人物，世所罕及。与崔子忠齐名，称“南陈北崔”。",[23,24,25,155,7,28,83,158,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6430abb4d4cf493e0e01578a4f3f6554.jpg","纵118厘米，横55厘米",[],{"id":22375,"slug":22376,"title":22377,"dynasty":228,"author":3524,"museum":134,"description":22378,"tags":22379,"thumbUrl":22380,"material":496,"size":22381,"collection":237,"collections":22382,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},220838,"shuang-jun-tu-juan-zhao-meng-fu-220838","双骏图卷","“书画同源”这四个字简单地概括出了书法和绘画之间的相互关系。书法和中国画作为中国最传统的两门艺术，本就存在着许多相似之处。笔墨纸砚作为书写时的必要工具，同时也是中国画在绘画时的必要工具。另外，书法作为一门线的艺术，其本身在于研究线的多样性，同样，中国画如果失去了线，本身也毫无艺术感可言。\n由此可见，书法和绘画本身是相同的。“书画同源”的绘画理想是通过文人画家的努力实现的。赵孟頫作为一个艺术全才，在书法和绘画领域都有着极高的成就，为书法和绘画的结合提供了坚实的基础。\n赵孟頫在绘画中追求画面的真实和完美，身体力行，擅长山水、花鸟、人物、鞍马和竹石墨戏，同时亦精通工笔、写意、设色、水墨，并且在长期的实践中，他逐渐厚积薄发，取得了高超精湛的技艺，以其凝重简练，浓丽隽秀的艺术语言，通过不断的努力，他将书法与绘画用笔有机地结合起来，找到了书画的内在联系，转移了一代画风，对元代文人画的理论、技法、风格的兴盛起到了开创性的作用，在中国绘画历史上占据了举足轻重的地位，尤其是文人画史留下了浓郁的一笔。",[23,24,25,137,26,28,7,112,1499,797,7974,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F915d4bbcd23d66254959e7c9838e7b20.jpg","纵19cm",[237,45],{"id":22384,"slug":22385,"title":22386,"dynasty":18,"author":14524,"museum":134,"description":22387,"tags":22388,"thumbUrl":22391,"material":100,"size":22392,"collection":237,"collections":22393,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":49},219949,"hua-qi-shi-an-chun-tu-cui-que-219949","画杞实鹌鹑图","林野中的某个角落，一株枸杞以及禾草旁，有只鹌鹑正眈眈地望著地上的蝼蛄。蝼蛄从土穴中爬出後，在地上恍恍惚惚地游走，没有察觉大难即将临头。",[23,137,24,25,7,28,212,5649,22389,453,22390],"杞实","小虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe749a2e7ecdcdc364f38650b480dde.jpg","27.5 x 25.5公分",[237],{"id":22395,"slug":22396,"title":22397,"dynasty":150,"author":191,"museum":134,"description":22398,"tags":22399,"thumbUrl":22400,"material":100,"size":22401,"collection":44,"collections":22402,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},219595,"wan-nian-bu-lao-ce-yao-chi-chun-yan-yi-ming-219595","万年不老册-瑶池春宴","此作分上下二幅，上方以墨绿为底，泥金小楷端正隽秀，古雅沉静。下幅工笔设色，绘就瑶池春宴盛景。烟波之上，仙宾乘槎踏浪而来；苍松翠峦间，群仙或围坐清谈，或悠然伫立，麋鹿仙鹤闲游林泉，自在怡然。笔触精细工致，敷色妍丽明净，晕染出山石松涛的温润质感，将神话仙境的缥缈出尘，融于人间雅集的恬和悠然之中，把瑶池宴饮铺作世外清景，尽显工笔仙佛题材的雅致意趣，氤氲着清宁出尘的仙家气韵。",[137,24,25,519,28,7,83,9311,60,1817,313,1600,211,176,12263,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba36c2019ede989fac397469dd36396.jpg","39x57.5厘米",[44],{"id":22404,"slug":22405,"title":22406,"dynasty":76,"author":191,"museum":2004,"description":22407,"tags":22408,"thumbUrl":22409,"material":100,"size":220,"collection":44,"collections":22410,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},219593,"luo-han-guan-yin-tu-yi-ming-219593","罗汉观音图","此作以石窟观音为视觉中心，十六罗汉错落排布于林泉幽境之间。洞窟、危桥、苍松穿插其间，将佛国胜景融于山水丘壑。设色古雅沉润，线条凝练劲挺，衣褶流转自然。\n\n各罗汉神态迥异，或趺坐静思、或临渊观流、或降龙伏怪，形神兼备；观音端踞窟内，仪容肃穆安和。画面将礼佛的庄严禅意，与文人山水的清寂雅致相融，既彰显佛造像的静穆神圣，又暗合山林隐逸的审美意趣，尽显佛画与山水画结合的精妙，把出世禅心揉入林泉幽致之中，尽显明代宗教绘画兼具工致与意韵的独特韵味。",[24,25,28,7,194,83,29,85,86,341,81,286,84,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69873b96fabaed87f5b148d0a16d77ba.jpg",[44],{"id":22412,"slug":22413,"title":22414,"dynasty":76,"author":191,"museum":367,"description":22415,"tags":22416,"thumbUrl":22417,"material":100,"size":220,"collection":44,"collections":22418,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":49},219571,"tang-gao-shi-lu-lu-wang-xiang-yi-ming-219571","唐高士陆鲁望像","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。",[23,24,25,83,155,7,28,63,3762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F558c5168241beb3eccf8710b5db2e2ac.jpg",[44],{"id":22420,"slug":22421,"title":22422,"dynasty":150,"author":260,"museum":134,"description":22423,"tags":22424,"thumbUrl":22425,"material":100,"size":22426,"collection":45,"collections":22427,"showCount":22069,"zanCount":1084,"manualWeight":48,"mainColor":145},219423,"shi-jun-tu-zhi-chi-hua-ying-zhou-lang-shi-ning-219423","十骏图之赤花鹰轴","郎世宁（一六八八－一七六六）意大利人。十九岁入天主教耶稣会为修士，习画与建筑。二十七岁来华传教，召入内廷供奉。善画人物、花鸟，尤善画马。郎氏奉写生边疆藩臣进贡之良马，以与真马近似之大小尺寸绘之，生动逼真。画成于乾隆八年（一七四三）。",[24,137,155,28,7,112,582,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148a10de8ec028577bca1ae64f04eaac.jpg","234.6x270.8",[45],{"id":22429,"slug":22430,"title":22431,"dynasty":228,"author":191,"museum":20,"description":22432,"tags":22433,"thumbUrl":22434,"material":100,"size":220,"collection":237,"collections":22435,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},219258,"ying-fu-tu-yi-ming-219258","鹰凫图","画面定格鹰扑击野鸭的瞬间：鹰爪紧扣猎物，翎羽贲张如蓄势之弓，野性力量破纸而出；野鸭双翼垂落却仍微挣，脖颈屈折间藏着不甘，生死博弈的张力在方寸间拉满。背景芦苇疏淡、岩石朴拙，以极简之笔衬出主体冲突，暗合元代对生命张力的隐寓。笔墨细腻处见翎羽纹理纤毫毕现，粗犷处显山石气韵苍劲，动静相生间，将自然法则的残酷与壮美凝于绢素，尽显元代花鸟画写实与写意交融的妙境——于无声处听惊雷，于绢素间观天地。",[24,137,212,7,28,2362,17875,211,7974,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0cc36a821ca8467128e4f60dec1bde6.jpg",[237],{"id":22437,"slug":22438,"title":22439,"dynasty":18,"author":191,"museum":134,"description":22440,"tags":22441,"thumbUrl":22442,"material":100,"size":220,"collection":44,"collections":22443,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":49},219172,"shan-yang-tu-yi-ming-219172","山羊图","粉面朱唇的稚子端坐羊背，衣袂鲜妍如霞，手中轻挥短鞭。群羊毛色胜雪，犄角宛转似玉，或驰于坡前，或驻于石畔，或低头嗅草，姿态灵动如生。背景松枝虬劲，梅蕊初绽，墨色浓淡间晕染出清寂古意。线条工细若蚕丝，衣纹褶皱、羊身毫毛皆刻画入微；设色沉敛温润，赭石与石青相映，既见宋画的雅致，又藏孩童嬉戏的稚趣。动静相宜间，似能听见羊蹄踏石的轻响，稚子清脆的笑声，将寻常生活的闲情，凝作千年不褪的画卷。",[24,25,137,7,28,11764,83,1068,637,211,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d784dda5b0462addae6b69112b558a.jpg",[44],{"id":22445,"slug":22446,"title":22447,"dynasty":76,"author":191,"museum":463,"description":22448,"tags":22449,"thumbUrl":22450,"material":100,"size":22451,"collection":237,"collections":22452,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},218989,"he-tang-shuang-lu-tu-yi-ming-218989","荷塘双鹭图","深褐底色如浸了岁月的绢帛，将双鹭与青荇轻轻托于画的下半阙。一鹭昂首引颈，尖喙似欲刺破空寂；一鹭敛首依偎，绒羽在淡墨晕染下泛着温润光泽。几丛水草如翠带轻扬，碧色破了沉郁底色，添几分野逸生机。画面上虚下实，留白处似有无尽烟波，静谧中藏着自然的温情。笔墨细腻却不繁缛，鹭鸟的姿态、水草的柔劲，皆透着恬淡的生机，如观一段无人惊扰的水泽时光，清寂又动人。",[24,7,28,212,2820,248,2708,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aa8a8cedcc6e9b6cc62630b1cae3dd.jpg","99x43.2cm",[237],{"id":22454,"slug":22455,"title":22456,"dynasty":76,"author":191,"museum":463,"description":22457,"tags":22458,"thumbUrl":22459,"material":100,"size":22460,"collection":237,"collections":22461,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":49},218924,"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[24,25,855,28,7,172,2362,1499,982,1926,1797,1319,86,653,159,1091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[237],{"id":22463,"slug":22464,"title":22465,"dynasty":18,"author":191,"museum":134,"description":22466,"tags":22467,"thumbUrl":22469,"material":100,"size":220,"collection":44,"collections":22470,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":145},218862,"cai-yao-xian-lv-tu-yi-ming-218862","采药仙侣图","这幅画描绘了一位白袍医生和仙人从医书中挑选药材，而他们身后是隐藏在古松和祥云中的仙山和宫殿。岩山空无一物，背上长满青苔，松树和白鹤都很逼真。",[23,24,25,914,28,7,83,29,198,22468],"采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb92b197d6b8f4dd837b06346da680a16.jpg",[44],{"id":22472,"slug":22473,"title":22474,"dynasty":18,"author":191,"museum":134,"description":22475,"tags":22476,"thumbUrl":22478,"material":100,"size":22479,"collection":42,"collections":22480,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},218853,"lv-rong-mu-di-tu-yi-ming-218853","绿茸牧羝图","画中有一群肥羊在草地上玩耍，两棵柳树枝叶茂盛，在风中摇曳，一个牧羊少年站在树枝上用赶羊棍逗弄小鸟，让人觉得是一个快乐的年。这幅画画得很密，但羊群太厚了，以至于它们显示变现。",[23,24,28,7,67,4541,705,313,22477,582],"牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329bebc3a227441ca972027caf511e53.jpg","22.6x23.8",[42,45],{"id":22482,"slug":22483,"title":22484,"dynasty":18,"author":191,"museum":134,"description":22485,"tags":22486,"thumbUrl":22487,"material":100,"size":22488,"collection":42,"collections":22489,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},218842,"song-yin-fang-dao-tu-yi-ming-218842","松荫访道图","这幅画描绘了一位国王和一位王子向一位僧人请教冥想的情景，并将人物放在一条阴松溪的岸边，溪上有一座石桥，暗示渡口可以到达彼岸。这幅画与刘松年的画派相似，是山水画中人物团扇的典范。",[23,24,28,7,172,3683,1068,83,211,34,9478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fd283639ef962c56bc157245007996.jpg","22.5x24.8",[42],{"id":22491,"slug":22492,"title":22493,"dynasty":150,"author":2827,"museum":134,"description":22494,"tags":22495,"thumbUrl":22496,"material":100,"size":22497,"collection":182,"collections":22498,"showCount":22069,"zanCount":1769,"manualWeight":48,"mainColor":145},218723,"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[24,25,137,155,760,81,7,28,29,84,751,211,34,83,92,1907,91,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdff0e72c31b9ba871ad9ac21069156.jpg","43.4×42.3cm",[182],{"id":22500,"slug":22501,"title":22502,"dynasty":228,"author":191,"museum":2474,"description":22503,"tags":22504,"thumbUrl":22505,"material":100,"size":220,"collection":44,"collections":22506,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},218474,"shi-jia-mo-ni-dan-sheng-tu-yi-ming-218474","释迦摩尼诞生图","云气如缕，托着衣袂翩跹的神众于天际凝眸；地面上，朱廊环伺，侍从衣纹细腻如波，簇拥着殿内新生的静谧。中央光晕轻笼，似能触到佛陀诞生的圣洁——青绿与赭红交织的图景里，古绢斑驳晕染出岁月的虔诚。右侧仪仗缓步，衣饰繁复与左侧侍从清雅相映，皆向那神圣核心汇聚。线条流转间，佛教庄严与世俗鲜活融于一帧，每一笔都似低语着千年信仰的温度，让悠远的故事在古画的肌理中静静流淌。",[24,25,194,7,28,81,83,84,2602,705,5396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761dda8b2dede2e9e29009830b74880b.jpg",[44],{"id":22508,"slug":22509,"title":22510,"dynasty":150,"author":191,"museum":2004,"description":22511,"tags":22512,"thumbUrl":22513,"material":100,"size":22514,"collection":44,"collections":22515,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":49},218426,"zhong-kui-tu-yi-ming-218426","钟馗图","苍树虬枝旁，柳丝轻垂如帘，梅蕊点点绽于枝头。宽袍大袖的身影伫立其间，手持梅枝似在凝神细赏。笔墨简练却生动传神，衣纹线条婉转流畅，勾勒出人物雍容气度——昔日驱邪判官，此刻化作赏梅雅士，威严之余添了几分文人闲逸。背景疏草与古木相映，浅褐底色晕染出古朴雅韵，细节处见匠心。作品打破传统钟馗刻板印象，以清雅之境赋予神祇新的情致，于简淡中藏深意，尽显传统绘画的意趣与韵味。",[24,28,7,83,637,1028,178,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d9821f588ead48b6f3e9bad8a5520a.jpg","71x30",[44],{"id":22517,"slug":22518,"title":16114,"dynasty":76,"author":22519,"museum":2004,"description":22520,"tags":22521,"thumbUrl":22522,"material":67,"size":22523,"collection":44,"collections":22524,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},218411,"mao-nv-tu-sun-jue-218411","孙珏","松枝苍劲盘桓，草木葱茏点缀，扇面间铺展一方清幽天地。数人衣袂轻扬，姿态闲雅，或低语浅笑，或凭杖伫立，仙逸之态尽显。笔墨细腻处，衣纹流转如行云，树石皴擦见古意；设色淡雅，晕染自然，更添悠远之韵。画面虽咫尺，却藏山林之静谧、人物之超然，似将尘嚣隔绝在外，只留一份清宁与古雅，引人沉醉于这方隐逸仙境之中。",[23,24,25,914,28,7,83,34,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F863ccaf21cf3e252db5ff5928ee8576e.jpg","25.1x23.5",[44],{"id":22526,"slug":22527,"title":22528,"dynasty":76,"author":888,"museum":20,"description":22529,"tags":22530,"thumbUrl":22531,"material":2373,"size":22532,"collection":125,"collections":22533,"showCount":22069,"zanCount":48,"manualWeight":48,"mainColor":145},218405,"wang-gong-bai-xiang-tu-tang-yin-218405","王公拜相图","这幅画表现的是王鏊上山做官，是唐寅作为弟子画的，所以画得很用心。王鏊在1506年左右来到宫廷，当时唐寅36岁，其画风，山石树木如李唐，人物如李公麟，无疑是真迹。",[23,24,25,26,855,28,7,172,284,285,173,83,29,84,34,211,176,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31d64915532e56e517bdba4db86340f.jpg","73.5x20",[125],{"id":22535,"slug":22536,"title":22537,"dynasty":150,"author":191,"museum":20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维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[137,24,25,83,7,28,1744,6512,178,158,97,2095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed448f9ab717e072dfdea305383f70ef.jpg",[],{"id":22605,"slug":22606,"title":22607,"dynasty":76,"author":77,"museum":245,"description":17227,"tags":22608,"thumbUrl":22612,"material":1397,"size":1398,"collection":220,"collections":22613,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},287412,"jie-bo-tu-quan-juan-chou-ying-287412","揭钵图全卷",[23,24,137,26,28,83,7,194,7766,22609,4927,13692,22610,22611],"神怪","力士","天人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd300e8ce2918da53473256c6f9e1473e.jpg",[],{"id":22615,"slug":22616,"title":22617,"dynasty":150,"author":191,"museum":245,"description":10461,"tags":22618,"thumbUrl":22620,"material":1397,"size":1398,"collection":220,"collections":22621,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":145},263680,"ke-si-fo-shou-shuang-niao-tu-zhou-yi-ming-263680","缂丝佛手双鸟图轴",[24,25,155,962,1996,7,28,178,22619,298,2533,409,6194,556,65],"佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3c39b8e6c568204a3d0ea696b49683.jpg",[],{"id":22623,"slug":22624,"title":2902,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":22625,"thumbUrl":22626,"material":1397,"size":1398,"collection":220,"collections":22627,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":145},239247,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239247",[24,25,519,7,28,212,298,409,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b4c8a7cc4b86d23ffb9f19aa776519.jpg",[],{"id":22629,"slug":22630,"title":7491,"dynasty":150,"author":7492,"museum":245,"description":7493,"tags":22631,"thumbUrl":22632,"material":1397,"size":1398,"collection":220,"collections":22633,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":145},239083,"si-ji-hua-hui-ping-zhang-xiong-239083",[24,25,155,28,7,212,174,159,411,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77703f523b5de936bdbba16a184e78f0.jpg",[],{"id":22635,"slug":22636,"title":22637,"dynasty":150,"author":260,"museum":22638,"description":22639,"tags":22640,"thumbUrl":22641,"material":40,"size":22642,"collection":237,"collections":22643,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":145},238081,"zhu-yin-xi-ling-tu-zhou-lang-shi-ning-238081","竹荫西狑图轴","沈阳故宫博物院","郎世宁，西名加斯提里阿纳Giuseppe，意大利美朗诺市人。于康熙五十四年(1715)来华传教，时年27岁，召入内廷为画院供奉，历仕三朝。画法参酌中西，善写生，人物、花鸟，奕奕有神，尤工画马，如百骏图、名马图、武功图至今有声世界。郎氏初本欲将西法输入中国，因不为清帝所喜，遂创折衷画法。一时从之学者甚众，流风至今未绝。卒年七十八。《故宫郎世宁画集》。郎世宁的主要活动在乾隆时，除了画弘历的肖像外，为清宫画了不少战功图，也画马、画花卉。郎世宁参酌中西画法，设色艳丽，精工细致。",[137,24,25,155,28,7,156,409,6315,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af978560aaab5bcd5e5a1dd51cf3f2.jpg","246×133厘米",[237,45],{"id":22645,"slug":22646,"title":22647,"dynasty":150,"author":4708,"museum":245,"description":22648,"tags":22649,"thumbUrl":22650,"material":1397,"size":1398,"collection":44,"collections":22651,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":145},236027,"di-jiu-ba-ga-gu-la-zun-zhe-ding-guan-peng-236027","第九拔嘎沽拉尊者","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[24,25,137,7,28,194,83,173,496,344,8651,14093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc438e95fc298e7d9772a7f546f3f2f00.jpg",[44],{"id":22653,"slug":22654,"title":22655,"dynasty":76,"author":191,"museum":245,"description":22656,"tags":22657,"thumbUrl":22658,"material":220,"size":220,"collection":220,"collections":22659,"showCount":22565,"zanCount":1769,"manualWeight":48,"mainColor":1833},234699,"ming-ren-ren-wu-ce-yi-ming-234699","明人人物册","松荫如盖，幽林静谧，一场林下雅兴悠然铺展。抚琴者宽袍缓带，垂目拨弦，神思尽付丝桐之间。对面雅士凭椅侧坐，背向观者却身姿松弛，似已沉湎琴音，物我两忘。身侧二小童垂手侍立，敛声屏息，更衬得林间静雅安宁。\n\n画笔工细雅致，衣褶线条清劲挺括，将文人的萧散仪态勾勒尽致。古松虬曲苍劲，苔石隐于浅草之间，晕染出幽寂高旷的林下氛围，尽显文人寄情丝桐、酬答知音的清雅意趣，铺陈出明代文人士大夫超脱尘俗的林下襟怀。",[24,28,519,7,83,286,159,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa4abd3ba47454c39dedb2996be91bc.jpg",[],{"id":22661,"slug":22662,"title":22663,"dynasty":76,"author":12094,"museum":20,"description":22664,"tags":22665,"thumbUrl":22666,"material":599,"size":22667,"collection":220,"collections":22668,"showCount":22565,"zanCount":1769,"manualWeight":48,"mainColor":49},233233,"chun-quan-xiao-yin-tu-juan-zhou-chen-233233","春泉小隐图卷","此图为别号图，是周臣为一位裴姓，号春泉的文人所作。画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫，体现出闲雅出尘之趣。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。中国画中往往绘文人隐士昼眠以示对外界的漠不关心，暗示他们与作官者有不同的享受，宣扬自我解脱、自我慰籍的处世哲学。画家巧妙地突出近景的板桥流水，以示“春泉”之意，又以假寐表示“小隐”，点明主题。\n此件作品在艺术风格上继承了南宋的“院体”画传统，构图洗练紧凑，状物准确生动，人物线条细劲流畅，情态传神。树石用笔刚劲峭利，多为小斧劈皴，墨色浓重而清润，显示了画家高超的绘画技巧。",[24,26,855,7,172,29,85,86,83,176,927,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1304a7914be5bc7d69117e298de3e6c9.jpg","纵26.3厘米，横85.5厘米",[],{"id":22670,"slug":22671,"title":22672,"dynasty":228,"author":229,"museum":245,"description":11866,"tags":22673,"thumbUrl":22674,"material":496,"size":22675,"collection":220,"collections":22676,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},232903,"shi-lei-wen-dao-tu-juan-qian-xuan-232903","石勒问道图卷",[23,24,25,26,28,7,83,34,2653,211,173,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07e96d6b7370b4a6dd7401122337fd33.jpg","28.6x138.5厘米",[],{"id":22678,"slug":22679,"title":22680,"dynasty":18,"author":8438,"museum":245,"description":21039,"tags":22681,"thumbUrl":22682,"material":67,"size":22683,"collection":220,"collections":22684,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877","关山行旅图卷",[23,1424,24,25,26,27,28,7,172,29,623,34,1499,927,84,176,85,86,83,112,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":22686,"slug":22687,"title":22688,"dynasty":18,"author":1826,"museum":8937,"description":22689,"tags":22690,"thumbUrl":22691,"material":67,"size":22692,"collection":220,"collections":22693,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},232613,"tian-tai-shi-qiao-ying-zhen-zhou-ji-chang-232613","“天台”石桥应真","《“天台石桥”五百罗汉图》包括有南宋宁波地区民间佛像画家周季常的《应身观音》、《洞中入定》、《经典奇瑞》、《渡水罗汉》，及林庭珪的《施饭饿鬼》等五件作品。据作品上的金泥铭文所示，唐天祐元年（904），明州（今宁波）惠安院青山顶有十六罗汉灵异示现，故称罗汉院，罗汉信仰应运兴起，至南宋绍羲住持惠安院时，约请周季常、林庭珪，历时十余年创作百幅罗汉图以作供养。\n《“天台石桥”五百罗汉图》绢本，均通长约110厘米、宽约53厘米左右，《应身观音》图中央画一位十一面观音，坐于方椅上，左右有四位罗汉。从服饰、赤足及身体的肤色可知，这位十一面观音应是罗汉示现。画面描绘工整细致，用线富有变化。\n此作品显示，南宋佛教人物画的描绘，从单纯的人物塑造向情节性描述发展，从对肃穆凝重气氛的刻画，转向对人物精神状态的描述，尤其对故事情节的关注，成为绘画焦点，具有风俗画与肖像画的特质。此画风对后世影响深远。\n根据《日本原有寺传》记载，《“天台石桥”五百罗汉图》原有百幅，其中六幅原收藏在日本镰仓寿福寺，后相继为北条氏、丰臣秀吉所得，最后进入京都大德寺，另有十二幅于日本明治年间流入美国，华盛顿弗利尔美术馆收藏《天台石桥应真》与《临流洗濯》二幅，波士顿美术馆所得《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，成为这两馆入藏的两宋绘画珍品。日本京都大德寺则收藏《罗汉供茶》等八十二幅。《“天台石桥”五百罗汉图》作为南宋民间佛画的艺术珍品，于十五世纪被带到日本，递藏源流清晰，画风纯熟、保存良好，是举世无双的瑰宝。\n笔者因30多年研究天台山文化，对天台山佛画亦比较喜欢。在《翰墨荟萃——细读美国藏中国五代宋元书画珍品》书中，读到白话文教授的《中国的罗汉与罗汉画》一文，得知美国华盛顿弗利尔美术馆收藏《“天台”石桥应真》与《临流洗濯》二幅，波士顿美术馆收藏《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，日本京都大德寺收藏《罗汉供茶》等八十二幅等讯息后，立即联系日本友人，问询何处收有南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》的书籍出版。后经日本友人告知，日本奈良国立博物馆于平成21年（2009）7月曾编辑出版了《圣地宁波》一书，是书追溯了日本佛教与宁波、台州一千三百年的源流关系。其中就收录了日本京都大德寺南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》八十二幅，还收有美国华盛顿弗利尔美术馆与波士顿美术馆收藏的《“天台”石桥应真》与《临流洗濯》、《经典奇瑞》、《舍利观光》等十二幅。笔者喜出望外，立即向在日本东京开“琼芯斋”书店的华人店主黄海先生，订购了《圣地宁波》这部书，并于今年乙未羊年春节收讫。仔细欣赏南宋周季常、林庭珪所作的现存九十四幅《“天台石桥”五百罗汉图》中，有三幅图，最能体现天台山文化特色，故令人最为难以忘怀。\n《“天台”石桥应真》图系笔者故乡天台山石梁飞瀑的圣景，而石桥为中国佛教惟一的五百罗汉道场，此图又是迄今为止发现的最早关于天台山石桥罗汉佛画之作。“石桥应真”，石桥是指天台石梁桥，应真是指“罗汉”。据《“天台”石桥应真》图题记，此图为南宋明州籍画家周季常、林庭珪，于南宋淳熙五年（1178）开始，至淳熙十五年（1188）始毕。画面完全写实:石桥之上瀑水的形态，以及石桥右侧的“横石”，左侧崖际，无不与实地契合。石桥前罗汉驾云而观，右上“栋宇宏壮，图塔瑰奇”；二位罗汉排云出迎，“叙接宛同素识”；而石桥之上僧人恭敬合掌，冀渡桥而入应真之列。观此图，无不与南朝梁释慧皎《高僧传·竺曇猷传》内容相吻。乃知周、林二位毕十年之功，遍访形胜，探寻典故，所作罗汉图并非面壁虚拟。古人作事，虽书画一道，仍郑重非常，于此可见一斑。《“天台”石桥应真》图与《临流洗濯》图二幅，今藏于美国华盛顿弗利尔美术馆。",[24,155,194,7,28,83,29,14842,1319,211,7745],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbbcfe273eca337ff5473accf68cb25.jpg","109.9x52.7cm",[],{"id":22695,"slug":22696,"title":22697,"dynasty":190,"author":191,"museum":245,"description":22698,"tags":22699,"thumbUrl":22707,"material":1397,"size":1398,"collection":220,"collections":22708,"showCount":22565,"zanCount":1769,"manualWeight":48,"mainColor":49},230526,"shi-yi-mian-guan-yin-xiang-yi-ming-230526","十一面观音像","整作设色古雅沉厚，主尊十一面分层布列，正容慈悲端严，余面涵摄喜怒诸相，尽显化度十方的悲悯威德。造像璎珞环身，宝饰华繁却毫无冗杂之感，衣纹敷色晕染细腻，朱金青绿交叠，旧绢底色衬得画面古穆堂皇。莲台与须弥座纹饰精丽，上方悬垂珠络宝幡，似有清灵梵风萦动。构图饱满庄重，线条劲挺兼具柔婉，融密教造像仪轨与工致绘法于一体，岁时虽磨却色泽，却愈发沉淀出静穆圣洁的宗教氛围感，尽显大乘造像慈悲庄严的神性之美。",[23,24,28,7,194,83,1055,155,22700,5793,1555,9448,22701,22702,5467,22703,22704,22705,14896,22706],"璎珞","细腻线条","服饰花纹","珠宝饰品","竖幅构图","古典绘画","人物服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3894b15baaa4a686e7c43be3c1aecf.jpg",[],{"id":22710,"slug":22711,"title":22712,"dynasty":150,"author":191,"museum":245,"description":22713,"tags":22714,"thumbUrl":22715,"material":220,"size":220,"collection":44,"collections":22716,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":1833},230310,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-san-a-ge-yin-zhi-yi-ming-230310","历代帝王贵妃大臣朝服像(三阿哥胤祉)","此帧坐像工稳端严，画中男子正襟危坐，神色沉敛肃穆，尽显贵胄威仪气度。石青朝服遍饰精繁彩绣团龙补纹，针脚细密灵动，衬出礼制华贵，领间朝珠莹润垂坠，细节考究合度。髹漆宝座雕纹磅礴大气，龙纹栩栩生动，搭配铺陈的地锦纹样，烘托出庄重肃穆的庙堂氛围。\n\n整体设色典雅厚重，晕染细腻写实，将官方肖像画纪实工致的特质尽显无疑，装裱配色沉稳古雅，晕开旧时光的沉静质感，精准描摹出人物身份礼制与肖像写实的精妙融合，是庙堂肖像画的典型佳作。",[23,24,28,7,83,63,341,155,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff830a08fd4c826073b69a616c453c1b.jpg",[44],{"id":22718,"slug":22719,"title":22720,"dynasty":150,"author":1356,"museum":245,"description":22721,"tags":22722,"thumbUrl":22726,"material":220,"size":220,"collection":220,"collections":22727,"showCount":22565,"zanCount":1769,"manualWeight":48,"mainColor":145},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,24,25,26,81,28,7,83,84,29,34,97,22723,2831,22724,751,22725,93,92,4188],"春日","街巷","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],{"id":22729,"slug":22730,"title":4697,"dynasty":76,"author":191,"museum":245,"description":22731,"tags":22732,"thumbUrl":22733,"material":1397,"size":1398,"collection":220,"collections":22734,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},228809,"hua-niao-tu-ce-yi-ming-228809","以赭色绢面为底，绘就郊野秋光。蓝花明妍澄澈，黄花柔婉轻绽，阔叶舒展带露，棘枝斜斜挑立，野卉错落交织，自呈生趣。一只蜻蜓振翅悬停半空，翅脉纤毫毕现，似正贪恋花间清芬，草叶之下还隐有小虫静伏，幽微生机暗涌其间。\n设色清妍古雅，勾勒工稳精细，花叶向背、虫翼薄透皆写实入微，既有院体花鸟的雅致工整，又带着郊野的疏野天然，将秋日荒闲里的细碎生机凝于绢上，淡朴中藏精妙，笔底暗蕴着对幽逸野趣的脉脉倾心。",[24,28,7,519,212,62,612,597,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111fb455a724f674c275d32dfc9429e3.jpg",[],{"id":22736,"slug":22737,"title":2430,"dynasty":76,"author":22738,"museum":245,"description":22739,"tags":22740,"thumbUrl":22741,"material":220,"size":220,"collection":220,"collections":22742,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},228739,"xian-shan-lou-ge-tu-li-shi-da-228739","李世达","这幅画作以古雅青绿晕染山峦，层叠峰岫苍劲灵动，云雾漫过山坳林麓，将整座仙山晕染出空濛虚灵的缥缈意境。林麓间隐着幽致楼阁，烂漫桃林遍植溪谷，白衣雅士或驻足晤谈，或循溪漫游，将山居雅逸尽显。画面以细腻皴法写就山石肌理，青绿设色厚重沉静，糅合出世外仙源的悠然意趣，将文人心中的桃源之境具象铺展，尽显仙逸雅致的古典山水审美意韵。",[23,24,25,27,28,7,172,29,84,83,34,211,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580ee793cdf2d67b3c1bf37812f2920f.jpg",[],{"id":22744,"slug":22745,"title":22746,"dynasty":18,"author":1774,"museum":245,"description":22747,"tags":22748,"thumbUrl":22749,"material":220,"size":220,"collection":220,"collections":22750,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},227954,"shou-shan-fu-hai-tu-zhao-bo-ju-227954","寿山福海图","此作用色古雅沉静，青绿重晕的孤峰卓立沧溟之上，石质苍润朴拙，尽显山岳沉稳厚重之态。细劲墨线勾描层叠水纹，暗合海波悠悠律动。丹红落日悬垂天际，暖赭晕染暮空，群鸦振翅穿翔于天地间，为静谧图景添了灵动生气。\n\n整体构图简括静穆，将祈福寄寓山海：青山喻绵长福泽，沧海托无涯寿数，红日高悬烘托圆满祥瑞。画作承青绿山水古意，以极简构图脱出繁复，将祝寿之旨融于渺远静阔的图景里，静中藏动，淡而有神，尽显雅致沉静的宋画意趣。",[23,137,24,25,27,28,7,29,159,86,2487,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182ace73bc094636a83c12be026af239.jpg",[],{"id":22752,"slug":22753,"title":8119,"dynasty":18,"author":191,"museum":245,"description":22754,"tags":22755,"thumbUrl":22756,"material":220,"size":220,"collection":237,"collections":22757,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},227901,"bai-tou-cong-zhu-tu-ye-yi-ming-227901","《白头丛竹图》是南宋佚名创作的绢本设色画，现藏于 。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[23,137,24,25,914,519,7,28,212,156,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[237],{"id":22759,"slug":22760,"title":22761,"dynasty":18,"author":1151,"museum":245,"description":22762,"tags":22763,"thumbUrl":22764,"material":220,"size":220,"collection":220,"collections":22765,"showCount":22565,"zanCount":1769,"manualWeight":48,"mainColor":49},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","此画因卷首宋理宗（1225-64 年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[23,24,25,26,29,7,855,172,1926,196,34,159,286,86,35,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":22767,"slug":22768,"title":22769,"dynasty":18,"author":1151,"museum":245,"description":22770,"tags":22771,"thumbUrl":22772,"material":220,"size":220,"collection":220,"collections":22773,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},227414,"shuai-qin-xie-zhi-yin-tu-liu-song-nian-227414","摔琴谢知音图","《摔琴谢知音图》中正截取了伯牙摔琴的这个画面，图中一人正恭敬行礼，似在向伯牙告知什么，伯牙则抱琴正要往地上摔，满脸悲怆，似是得知了子期的死讯，悲痛交加，当场破琴绝弦。\n\n子期不在对谁弹，欲觅知音难上难。这是一段世人都为之动容的友谊，自古以来，不知有多少人羡慕并追求这样的友谊。由于弹琴本身就是一件高雅的事情，能从琴声中辨知音，识好友，那就更是一件令人欣喜的事情了。因而在携琴访友图这个主题中，也有着古人对友谊的向往之情。",[23,24,25,137,28,7,29,83,7149,313,211,138,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd917d7111fdf8bc88c1057a2db4b2247.jpg",[],{"id":22775,"slug":22776,"title":9307,"dynasty":18,"author":9308,"museum":245,"description":22777,"tags":22778,"thumbUrl":22779,"material":220,"size":220,"collection":220,"collections":22780,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},227333,"jiu-ge-tu-zhang-dun-li-227333","《九歌》是《楚辞》篇名。原为传说中的一种远古歌曲的名称，战国楚人屈原据民间祭神乐歌改作或加工而成。共十一篇：《东皇太一》、《云中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《东君》、《河伯》、《山鬼》、《国殇》、《礼魂》。《国殇》一篇，是悼念和颂赞为楚国而战死将士;多数篇章，则皆描写神灵间的眷恋，表现出深切的思念或所求未遂的伤感。王逸说是屈原放逐江南时所作。但现代研究者多认为作于放逐之前，仅供祭祀之用。",[23,137,24,25,26,7,28,83,341,37,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07a8d04ca48dae273e9dc351d5ef844.jpg",[],{"id":22782,"slug":22783,"title":22784,"dynasty":150,"author":22785,"museum":245,"description":22786,"tags":22787,"thumbUrl":22788,"material":220,"size":220,"collection":220,"collections":22789,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":145},224582,"feng-xian-dao-gua-jiang-ting-xi-zhang-zhao-224582","凤仙倒挂","蒋廷锡 张照","设色明妍清润，凤仙花柔茎舒叶，艳红花瓣娇柔含露，倚石而生，野趣盎然。两只粉蝶一静一翩跹，将花畔生机尽数晕开，工细笔触晕染出蝶翼薄透肌理，花草枝叶的阴阳向背皆细腻入微，兼具工笔精致与写意雅致。\n右侧行书清劲秀雅，笔势流转间将咏花诗意娓娓道来，诗画相映，铺陈出凤仙花的幽逸品格。整幅册页雅致隽秀，融绘事笔墨与文人意趣于一体，尽显温婉雅致之美，是诗画合璧的精妙之作。",[23,24,25,519,28,7,285,212,198,452,211,411,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b550ce4b068e3759d7ebce65ce339e1.jpg",[],{"id":22791,"slug":22792,"title":22793,"dynasty":150,"author":2121,"museum":245,"description":22794,"tags":22795,"thumbUrl":22797,"material":220,"size":220,"collection":220,"collections":22798,"showCount":22565,"zanCount":1769,"manualWeight":48,"mainColor":49},224580,"shu-kui-xuan-hua-tu-jiang-ting-xi-224580","蜀葵萱花图","此作用没骨技法写就，构图疏朗空灵，主次有致。柔粉蜀葵袅袅舒展，花瓣晕染出轻软娇柔的质感，苍绿枝叶勾勒出阴阳向背，鲜活如生。配搭艳红榴花与橙黄萱花，冷暖色调相映，明丽雅致，将仲夏群芳盛放之态尽数铺陈。\n笔墨兼具院体的工致与文人画的秀逸，晕染细腻柔和，不见勾勒之痕却形神兼备，整体意境恬淡悠然，尽显温婉清隽的花鸟意趣，藏着中式美学里独有的夏日闲情。",[23,24,25,28,7,212,2944,22796,1092,596,173],"萱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9121d78fdc9453ee8ae006a9bede611.jpg",[],{"id":22800,"slug":22801,"title":12700,"dynasty":18,"author":191,"museum":245,"description":22802,"tags":22803,"thumbUrl":22804,"material":220,"size":220,"collection":220,"collections":22805,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[23,24,25,26,7,283,855,28,83,173,284,2956,784,785,2957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],{"id":22807,"slug":22808,"title":20716,"dynasty":18,"author":191,"museum":134,"description":22809,"tags":22810,"thumbUrl":22811,"material":40,"size":22812,"collection":220,"collections":22813,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":145},223428,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223428","观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相，但五官秀美，已流露出女性化的特质。观世音菩萨站于莲花台上，左右各有两位菩萨随侍，下方的天龙八部双手合十，向观音菩萨示敬。",[23,137,24,25,155,194,7,28,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3609fea6b6aec4f00edc649c4078940.jpg","127x58cm",[],{"id":22815,"slug":22816,"title":22817,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":22818,"thumbUrl":22819,"material":67,"size":1560,"collection":220,"collections":22820,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":145},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[23,24,25,7,28,83,176,85,86,84,174,1028,211,214,91,92,34,1907,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],{"id":22822,"slug":22823,"title":22824,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":22825,"thumbUrl":22827,"material":28,"size":1081,"collection":220,"collections":22828,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":145},222735,"xian-e-chang-chun-tu-he-hua-yu-ci-gu-hua-lang-shi-ning-222735","仙萼长春图荷花与慈姑花",[23,24,25,519,28,7,212,248,22826,411,249],"慈姑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ad0b6a8b52b7b8263a034c82ced6e6.jpg",[],{"id":22830,"slug":22831,"title":22832,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":22833,"thumbUrl":22834,"material":28,"size":1081,"collection":220,"collections":22835,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":145},222733,"xian-e-chang-chun-tu-cui-zhu-qian-niu-lang-shi-ning-222733","仙萼长春图翠竹牵牛",[23,137,24,25,519,7,28,212,156,13911,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e67283e0ab5abccdabbdf139080e20c.jpg",[],{"id":22837,"slug":22838,"title":22839,"dynasty":76,"author":12763,"museum":434,"description":19818,"tags":22840,"thumbUrl":22841,"material":599,"size":19821,"collection":182,"collections":22842,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图",[23,137,24,25,155,194,7,28,83,29,927,1797,705,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg",[182,45],{"id":22844,"slug":22845,"title":22846,"dynasty":228,"author":3524,"museum":134,"description":22847,"tags":22848,"thumbUrl":22852,"material":952,"size":22853,"collection":182,"collections":22854,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,25,26,855,28,7,172,284,285,173,29,22849,12077,31,34,35,3849,18158,7835,22850,22851,18157],"孤山","平野","远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[182,45],{"id":22856,"slug":22857,"title":22858,"dynasty":150,"author":22859,"museum":245,"description":22860,"tags":22861,"thumbUrl":22862,"material":100,"size":220,"collection":182,"collections":22863,"showCount":22565,"zanCount":1769,"manualWeight":48,"mainColor":145},220258,"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[23,28,7,172,29,34,211,85,86,176,178,83,112,772,1907,1499,927,95,18158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[182],{"id":22865,"slug":22866,"title":22867,"dynasty":18,"author":191,"museum":367,"description":22868,"tags":22869,"thumbUrl":22871,"material":100,"size":22872,"collection":182,"collections":22873,"showCount":22565,"zanCount":48,"manualWeight":48,"mainColor":49},219812,"dong-xue-mu-gui-tu-yi-ming-219812","冬雪牧归图","寒林雪野，天地浸在清寂冷冽之中。枯木槎桠凝着残雪，枝梢瘦硬老辣，将冬日荒寒铺陈开来。淡墨晕染出覆雪平野，留白处尽是冬日的空濛静谧。\n\n骑牛牧童裹衣缓行，牛蹄轻踏积雪，打破了郊野的岑寂。萧寒雪景里，归牧的悠然自成暖意，一动一静间，把山野冬日的孤清和归家的温软相融。笔墨极简却意蕴悠长，以简驭繁，将冬日郊野淡远安闲的诗意尽藏其间，尽显雅致悠远的画中真味。",[23,24,7,28,83,113,1499,14947,22870,172,29],"冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497df3615e31c5e6e8137d8b9449725.jpg","纵107.20 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全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,24,137,26,12037,7,1720,855,9386,23091,84,23092,22849,23093,23094,23095],"群山","断桥","晨雾","春光","名胜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae990ac4d591dcb0ff85a8eb39d73a88.jpg","32.9x1581.1厘米.",[],{"id":23100,"slug":23101,"title":3495,"dynasty":76,"author":3496,"museum":434,"description":3497,"tags":23102,"thumbUrl":23103,"material":2721,"size":3500,"collection":237,"collections":23104,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":145},230957,"ping-he-tu-shen-zhou-230957",[23,24,25,155,28,7,248,249,158,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9937a425003a6af29aa49db4e9aa7adf.jpg",[237,45],{"id":23106,"slug":23107,"title":12055,"dynasty":76,"author":12763,"museum":245,"description":23108,"tags":23109,"thumbUrl":23110,"material":220,"size":220,"collection":220,"collections":23111,"showCount":22984,"zanCount":1769,"manualWeight":48,"mainColor":145},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[23,24,25,26,7,28,283,172,29,83,176,86,1068,156,85,1103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":23113,"slug":23114,"title":23115,"dynasty":76,"author":2450,"museum":245,"description":23116,"tags":23117,"thumbUrl":23118,"material":220,"size":220,"collection":220,"collections":23119,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":145},228855,"hua-hui-tu-ce-ye-wen-chu-228855","花卉图册页","折枝斜斜舒展于素纸之上，碧叶晕染出通透莹润的质感，隐现的叶脉似携着朝露清光。粉白花萼轻绽，花瓣柔媚含娇，垂首的蓓苞似攒着春日私语，将草木温婉之态藏于笔底。\n此作用淡彩没骨晕染，设色清妍秀雅，摒弃浓艳，仅以浅绛水色晕出花叶鲜活，笔致细腻温婉，静逸情思流于毫端。画面留白简淡空阔，衬出花木幽柔之美，悠悠古意漫溢纸面，尽显雅致静穆的闺阁意趣，是小品花木里的上乘之作。",[23,24,25,519,7,28,212,409,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f944568edf7a4ea2c9b422bafac893.jpg",[],{"id":23121,"slug":23122,"title":23123,"dynasty":76,"author":77,"museum":245,"description":23124,"tags":23125,"thumbUrl":23126,"material":220,"size":220,"collection":220,"collections":23127,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":145},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,24,25,26,27,28,7,284,285,29,84,85,86,178,176,314,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":23129,"slug":23130,"title":23131,"dynasty":76,"author":6899,"museum":245,"description":23132,"tags":23133,"thumbUrl":23134,"material":1397,"size":1398,"collection":220,"collections":23135,"showCount":22984,"zanCount":1084,"manualWeight":48,"mainColor":145},228392,"wu-bai-luo-han-tu-quan-tu-wu-bin-228392","五百罗汉图全图","五百罗汉,一般指佛释迦去世后参加第一次经结集的五百比丘,以大迦叶和阿难首。至于五百比丘的其他人,除知名的十大弟子外,一般没有名号的记载。",[23,24,25,26,28,7,194,83,313,314,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e1cf1e9b43a8c99aefbe58ee4ad433a.jpg",[],{"id":23137,"slug":23138,"title":23139,"dynasty":76,"author":674,"museum":245,"description":23140,"tags":23141,"thumbUrl":23142,"material":220,"size":220,"collection":220,"collections":23143,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":49},228322,"tong-xia-shou-jiao-tu-chen-hong-shou-228322","桐下授教图","此作用笔古拙苍劲，古桐盘屈虬结，苔痕覆着老干，轻烟柔云缠绕枝梢，晕染出幽绝尘寰的林下氛围。\n凭几高士神色恬然，似正开示妙义，下方弟子敛衽跪坐，垂首凝神聆听，将闻道的敬慕全然藏于姿态之中。侍童静立侧旁，案头瓶花清隽雅致，衬出雅静出尘的文聚意境。\n线条清圆凝练，设色淡静沉稳，人物造型奇崛古雅，带着独有的变形意趣，把魏晋林下清谈的萧散高逸，收于尺幅之间，尽显静穆古雅的晚明文人意韵。",[23,24,25,155,28,7,83,15252,12766,409,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab28a2765a4b73f109df837ac62eabb.jpg",[],{"id":23145,"slug":23146,"title":23147,"dynasty":228,"author":3524,"museum":245,"description":23148,"tags":23149,"thumbUrl":23150,"material":220,"size":220,"collection":220,"collections":23151,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":145},228261,"jiu-ge-tu-quan-juan-zhao-meng-fu-228261","九歌图全卷","此作为书画合璧妙品，设色清润秀雅，线条如春蚕吐丝，柔中带劲。画卷中仙女神祇各具神采，云中君衣袂翩跹荷影随行，东皇太一端方威严，侍神拱卫左右，将屈子笔下楚地仙灵的缥缈风神尽数铺展。\n\n篆籀书风古朴苍劲，文辞与图绘相得益彰，把《九歌》巫祭歌辞的浪漫幽渺氛围烘托殆尽，将上古巫仪的清灵庄重融于笔端，尽显追摹古意的沉静笔致，让观者恍如置身楚地巫歌灵舞的缥缈幻境之中。",[23,24,25,26,28,7,83,341,284,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ab31f24e204da3141a05e8169e38bb.jpg",[],{"id":23153,"slug":23154,"title":23155,"dynasty":228,"author":648,"museum":245,"description":23156,"tags":23157,"thumbUrl":23158,"material":220,"size":220,"collection":220,"collections":23159,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":49},228171,"jiu-ma-tu-juan-ren-ren-fa-228171","九马图卷","长卷铺陈出闲适的厩苑日常，人马排布错落自然。左侧马厩中，良驹或垂首饮水，圉人侍立旁侧打理，马匹肌理骨骼刻画写实细腻，鬃毛发丝晕染柔和，尽显膘肥体健的神骏姿态。中段花马被牵徐行，昂首灵动，牵马人步履悠然，动态鲜活。右侧骏马昂然伫立，侍者低语顾盼，氛围平和悠然。\n整作线条劲挺流畅，设色清雅柔和，将鞍马画的写实功力尽显，既描摹出良驹矫健俊朗的风神，又勾勒出牧马日常的恬淡图景，藏着对写实工笔的精妙把控，尽显古风雅致的鞍马画韵致。",[23,24,137,26,7,28,112,83,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1d3e20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善堂图书记”、“重华宫鉴藏宝”印。\n钤清乾隆、嘉庆二御览印。\n图左下方更有鲜红色 伏于枫叶之上，十分俏皮。\n画风高度写实，细致入微。\n画法的特点一是细线勾勒，笔若游丝，使蝶与枝、叶的形态皆极为轻倩灵秀；二是设色淡雅明快，红、绿、黄对比鲜明，给人以清新出尘之感，不落浓艳俗套。\n存《 》册中。\n《 》著录。",[23,137,24,25,914,28,212,7,3486,411,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b2cd2c17f1f932ab06e135ac4df848.jpg",[],{"id":23176,"slug":23177,"title":23178,"dynasty":54,"author":381,"museum":245,"description":23179,"tags":23180,"thumbUrl":23181,"material":1397,"size":1398,"collection":220,"collections":23182,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":1833},227078,"yi-yu-lai-wang-tu-ye-yan-li-ben-227078","异域来王图页","此幅应为伪本",[23,24,137,25,519,28,7,83,582,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfae74aa3a781c82197b6a3cd63ac32.jpg",[],{"id":23184,"slug":23185,"title":23186,"dynasty":150,"author":8284,"museum":245,"description":23187,"tags":23188,"thumbUrl":23189,"material":220,"size":220,"collection":220,"collections":23190,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":145},224348,"hua-yu-wang-cheng-pei-224348","花鱼","整体设色清润淡雅，浅赭素底晕染出郊野荷塘的柔谧底色。青碧荷叶错落舒展，笔触细腻柔和，尽显叶片的舒展肌理。嫩黄荷花亭亭玉立，娇柔的花瓣晕染出清润生机。水草丛生以写意笔触绘就，浅淡墨色晕染出郊野塘岸的野趣。几尾小鱼线条灵动轻盈，悠游穿梭在水间，将池水的空寂与鲜活融为一体。画作在极简构图间藏着悠然禅意，无繁复铺陈，以淡彩晕开清和静谧的夏日氛围，把荷塘一隅的鲜活雅致勾勒尽致，尽显文人画的松弛恬淡与清雅意趣，尽显中式美学的悠然韵味。",[23,24,25,519,7,28,212,157,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70272027dd70c00ffffadaec8b4ec100.jpg",[],{"id":23192,"slug":23193,"title":23194,"dynasty":150,"author":23195,"museum":245,"description":23196,"tags":23197,"thumbUrl":23198,"material":220,"size":220,"collection":220,"collections":23199,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":49},224339,"guan-bang-tu-juan-liang-xiang-224339","观榜图卷","梁亯","画面铺展乡野村居的鲜活日常，黛瓦村舍错落排布，临河的敞轩里有人闲坐观景，石拱桥畔有人凭栏眺望。山道间行人三两，或驻足热切交谈，或信步缓行，晕染出放榜后的松弛氛围。\n\n青绿点染坡岸古木，苍枝翠叶间生机盎然，工细的界画勾勒出民居的质朴规整，衣袂飘举的人物鲜活灵动。没有宫墙下的喧嚷拥挤，转而描摹乡邻间传递喜报、私语闲谈的烟火日常，将士林放榜后乡里的起落心绪融在淡雅的设色之中，笔底尽是平淡又真切的世情暖意，复刻出旧时乡野间的鲜活世相。",[23,24,25,26,28,7,81,83,84,85,34,178,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17a44f425b0d90604d33eb2089636e.jpg",[],{"id":23201,"slug":23202,"title":2241,"dynasty":18,"author":191,"museum":245,"description":23203,"tags":23204,"thumbUrl":23205,"material":220,"size":220,"collection":220,"collections":23206,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":49},223672,"xue-zhu-tu-yi-ming-223672","画面以巨石为骨，古松蟠曲依偎身侧，修竹高低错落、劲挺而立。作者以浓淡墨色晕染出雪意，枝桠竹叶覆雪的沉凝质感呼之欲出，留白暗合积雪清寒，将冬日萧索尽数铺陈。\n笔触苍劲老辣，写形亦写意，将雪后竹林幽寂清旷的氛围烘托到极致，草木于冷冽之中舒展不屈生机，尽显工致写实与文人意趣的交融，勾勒出古朴清寒的林下况味，晕开冬日静谧雅致的深幽意境。",[137,24,25,7,172,156,314,1500,313,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ab1508510dd441b1656cf2e9ed8949.jpg",[],{"id":23208,"slug":23209,"title":23210,"dynasty":18,"author":191,"museum":245,"description":23211,"tags":23212,"thumbUrl":23213,"material":220,"size":220,"collection":220,"collections":23214,"showCount":22984,"zanCount":1084,"manualWeight":48,"mainColor":49},223643,"liao-gui-tu-yi-ming-223643","蓼龟图","此作构图疏淡清寂，以淡赭铺陈出秋日汀洲的柔和底色。坡石间灵龟敛息静伏，背甲纹理勾勒写实，憨态稚拙尽显。旁侧蓼花柔茎舒展，青绿叶片晕染雅致，淡紫碎花垂曳生姿，下方蓝紫小花点缀水岸，野趣悠然。\n画作工写相融，灵龟与花木刻画精细，设色清雅柔和，大片留白烘托出幽谧空寂的意境，尽显宋人小品的雅致意趣，将郊野闲逸之景凝于尺幅间，藏着对自然细微之美的敏锐体察，晕开悠然沉静的田园诗意。",[23,137,24,25,519,7,28,212,582,2523,5862,159,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b574896c7d5eafa0c0c152a688c269.jpg",[],{"id":23216,"slug":23217,"title":23218,"dynasty":18,"author":191,"museum":245,"description":23219,"tags":23220,"thumbUrl":23221,"material":40,"size":23222,"collection":42,"collections":23223,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":49},223503,"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[23,24,25,12037,28,7,172,1068,84,211,34,86,4188,37,91,14295,764],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[42,182,125],{"id":23225,"slug":23226,"title":16527,"dynasty":18,"author":191,"museum":23227,"description":23228,"tags":23229,"thumbUrl":23230,"material":67,"size":23231,"collection":220,"collections":23232,"showCount":22984,"zanCount":48,"manualWeight":48,"mainColor":1833},223409,"ru-yi-lun-guan-yin-tu-yi-ming-223409","英国不列颠博物馆","如意轮观音是密宗六观音之一，其形象一般为六臂，至于手持之物和结印，则依不同经典而有别，但一般因持有如意宝珠和宝轮而称之为如意轮观音。六臂表示能游于六道，解除六道众生的诸种苦恼。",[23,137,24,25,155,194,7,28,83,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b67a20266f43fbe0dead932e5b9e98a.jpg","纵127.8厘米 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的满族人后裔，严格遵守满清骑 射尚武典制。他通过带游乐性质 的狩猎活动，将满人弯弓射箭的 传统习俗发扬光大。为了弘扬这 种尚武精神，乾隆谕令宫廷西洋 画师郎世宁以及中国宫廷画家 创作了数十幅专门表现他行围 狩猎的画作，真实记录了乾隆在 不同历史时期的狩猎情景。此图 便是表现他射兔的作品。",[24,7,28,29,83,112,211,34,1319,172,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64335c000347f96a1ea2e26f054d053.jpg","纵 258 厘米，横 172 厘",[182,45],{"id":23879,"slug":23880,"title":23881,"dynasty":76,"author":12094,"museum":245,"description":23882,"tags":23883,"thumbUrl":23884,"material":1397,"size":1398,"collection":220,"collections":23885,"showCount":416,"zanCount":48,"manualWeight":48,"mainColor":145},235791,"tao-he-shan-zhou-chen-235791","桃鹤扇","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[24,25,914,28,7,29,174,178,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8233d53c2b21d9041938e7b34732dd.jpg",[],{"id":23887,"slug":23888,"title":7841,"dynasty":150,"author":7842,"museum":245,"description":19309,"tags":23889,"thumbUrl":23890,"material":1397,"size":1398,"collection":220,"collections":23891,"showCount":416,"zanCount":1769,"manualWeight":48,"mainColor":145},235282,"ren-wu-gu-shi-ce-fan-xue-yi-235282",[24,28,7,81,83,84,178,34,37,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652a5897903630ea1f074609fb94805f.jpg",[],{"id":23893,"slug":23894,"title":23895,"dynasty":150,"author":13815,"museum":20,"description":23896,"tags":23897,"thumbUrl":23898,"material":424,"size":23899,"collection":220,"collections":23900,"showCount":416,"zanCount":1769,"manualWeight":48,"mainColor":49},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,24,25,26,28,27,7,172,29,174,86,85,175,83,34,37,772,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":23902,"slug":23903,"title":23904,"dynasty":150,"author":578,"museum":20,"description":23905,"tags":23906,"thumbUrl":23907,"material":2721,"size":220,"collection":220,"collections":23908,"showCount":416,"zanCount":48,"manualWeight":48,"mainColor":145},233726,"jiu-ri-deng-gao-tu-ping-ren-yi-233726","九日登高图屏","任颐（1840-1896），初名润，字小楼，后字伯年，浙江山阴（今绍兴）人。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，均是名声显赫的画家。任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。任伯年精于写像，是一位杰出的肖像画家。人物画早年师法萧云从、陈洪绶、费晓楼、任熊等人。工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任董，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意，更加简逸灵活。",[24,155,28,83,211,7,172,63,5260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0e76bf5e8ac1625574fca1e12385ab.jpg",[],{"id":23910,"slug":23911,"title":23912,"dynasty":18,"author":505,"museum":20,"description":23913,"tags":23914,"thumbUrl":23915,"material":67,"size":23916,"collection":220,"collections":23917,"showCount":416,"zanCount":48,"manualWeight":48,"mainColor":145},232993,"nan-tang-wen-hui-tu-ye-zhao-chang-232993","南唐文会图页","《南唐文会图》为宋人作品。无款。裱边题签“赵昌南唐文会”。对幅乾隆御笔题诗：“南唐虽僻立，亦自尚文规。簪佩徜徉处，图书左右披。东瀛前拟法，西雅后开师。位置增精密，晩年还蜀为。”\n图绘南唐文士聚会场面。园林中绿树葱茏，芭蕉成林，中设一大案，数位文人雅士围于案旁，又有婢女仆从侍立在旁。",[24,25,519,28,7,29,83,34,176,284,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62beb2752eec01d037f48c6dd6e055ad.jpg","30.4X29.6cm",[],{"id":23919,"slug":23920,"title":23921,"dynasty":18,"author":191,"museum":20,"description":10843,"tags":23922,"thumbUrl":23923,"material":40,"size":11803,"collection":220,"collections":23924,"showCount":416,"zanCount":48,"manualWeight":48,"mainColor":49},232880,"sou-shan-tu-yi-ming-232880","搜山图",[23,137,24,26,7,28,83,582,3794,29,34,1797,178,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg",[],{"id":23926,"slug":23927,"title":23928,"dynasty":228,"author":2277,"museum":245,"description":23929,"tags":23930,"thumbUrl":23932,"material":67,"size":23933,"collection":220,"collections":23934,"showCount":416,"zanCount":48,"manualWeight":48,"mainColor":49},232636,"jin-ji-tu-li-zhou-chen-lin-232636","锦鸡图立轴","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物\n陈琳得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。\n陈琳存世花鸟画仅有一件，即《溪凫图》（台北故宫博物院），作于大德五年(1301)，是在赵孟頫松雪斋中画成的。画中有赵孟頫的润饰和题字，称这幅画为陈琳的游戏笔墨，推重备至。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。这幅画既反映了陈琳的绘画特色，也代表了元代花鸟画嬗变的时代特征。陈琳还有山水画传世，如《秋山行旅图》、《苍崖古树图》等，都属于水墨写意画法。",[23,24,155,28,7,212,927,938,1435,34,409,211,23931,10453],"元代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a7d3753eac78e2098c6e0fef1789f7.jpg","117x70厘米",[],{"id":23936,"slug":23937,"title":23938,"dynasty":54,"author":1473,"museum":8937,"description":23939,"tags":23940,"thumbUrl":23942,"material":67,"size":23943,"collection":220,"collections":23944,"showCount":416,"zanCount":48,"manualWeight":48,"mainColor":49},232625,"xi-cheng-gui-le-tu-juan-han-huang-232625","西成归乐图卷","一说风俗画，各位可别想歪了哈，这风俗画其实是以社会风气习俗为题材的绘画，表现的可能是某地某时的社会活动、风物特产，或是时令气候，风俗画虽然被归在人物画的范畴下，但却具有独特的艺术魅力，要比一般的人物画有意思的多。\n其实，最有名的风俗画便是张择端所绘制的《清明上河图》了，描绘了北宋汴京一带的风景、城郭、市肆、村舍，以及人们的生产生活，是一幅精美绝伦的风俗画巨制，流传至今，备受瞩目。但是今天，我们不说他。\n目前还能见到的风俗画雏形，是各地出土的汉代画像砖，这些图像涉及歌舞宴乐、狩猎农桑等一系列民众活动，直观再现了汉代下至民间百姓，上至贵族的真实生活。\n有表现劳动生产的，如播种、收割、舂米、酿造、盐井、桑园放牧等，有描绘社会风俗的如宴乐、杂技、舞蹈等，有神话故事如西王母、月宫等，还有表现统治阶级车马出行的。\u2028 风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[23,24,25,26,7,283,83,113,112,177,23941,284,173,285],"耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","27.2 x 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，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[23,24,25,519,855,7,156,313,299,6856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580b1d5613a0bce82743a005bf875250.jpg","37x46.6厘米",[],{"id":24090,"slug":24091,"title":24092,"dynasty":150,"author":3846,"museum":134,"description":24093,"tags":24094,"thumbUrl":24095,"material":235,"size":24096,"collection":44,"collections":24097,"showCount":416,"zanCount":48,"manualWeight":48,"mainColor":145},220439,"er-xian-tu-feng-ning-220439","二仙图","冯宁，生死时年、籍贯均不详。高宗乾隆时，任职内廷画院供奉，擅长于人物画，画法似是出自明代浙派吴伟一路，用笔慓劲，衣服褶纹采取破笔粗线描法，水墨恣肆，墨气淋漓，画面充分给人一种力的感觉。画中二仙，似为八仙中的钟汉离、铁拐李二人。",[24,25,137,155,28,7,83,34,211,5162,12767,5260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461871e343739280aea5bb0310803e26.jpg","173.5x68.9公分",[44,45],{"id":24099,"slug":24100,"title":24101,"dynasty":76,"author":3747,"museum":134,"description":24102,"tags":24103,"thumbUrl":24104,"material":67,"size":24105,"collection":182,"collections":24106,"showCount":416,"zanCount":48,"manualWeight":48,"mainColor":49},219976,"liu-tang-tu-dai-jin-219976","柳塘图","此作用淡晕轻染铺就烟雨空蒙的暮色，垂杨柔条披拂，烟霭萦于枝叶间，将江南水畔的朦胧诗意揉入画面。凭栏白衣士人静默远眺，与水榭板桥、浅黛远山遥遥相映。\n\n画家以清润笔触勾勒亭台轮廓，以淡墨晕出山形水色，大片留白衬出空寂悠远的氛围，褪去刻画的繁复，尽显萧散闲雅的幽居意趣。暮色四合里，晚风拂柳、静水无波，将春日水居的松弛隐逸之美，晕染得含蓄悠长。",[23,24,28,29,7,1028,85,86,84,176,83,4188,37,14375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[182],{"id":24108,"slug":24109,"title":24110,"dynasty":18,"author":191,"museum":134,"description":24111,"tags":24112,"thumbUrl":24113,"material":100,"size":24114,"collection":44,"collections":24115,"showCount":416,"zanCount":48,"manualWeight":48,"mainColor":49},219605,"fan-qi-chu-lie-tu-yi-ming-219605","番骑出猎图","画面里两位骑手纵马缓行，左侧胡酋虬髯高冠，身姿沉凝端坐，坐骑鬃尾飘曳，裹挟着塞北雄悍犷野之气。右侧骑士背负箭囊、斜倚长杆，神色警觉四顾，仿佛正凝神扫视周遭，静待逐猎之机。\n\n设色简淡古雅，线条劲挺洗练，人马造型朴拙生动，荒漠底色晕染出辽远荒寒的氛围，将游牧民族出猎前的松弛与暗藏的骁勇刻画入微，寥寥笔墨便勾勒出北方草原的苍茫意趣，尽显描摹世态、传神写意的精妙功底。",[23,137,24,25,26,7,28,83,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a0f7f663c7add49b0108d136ef0824.jpg","纵24.4横56.3厘米",[44],{"id":24117,"slug":24118,"title":24119,"dynasty":150,"author":13815,"museum":134,"description":24120,"tags":24121,"thumbUrl":24123,"material":100,"size":24124,"collection":182,"collections":24125,"showCount":416,"zanCount":48,"manualWeight":48,"mainColor":49},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 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出版的图书，作者是袁江，袁耀。\n袁江（约1671—1746年以后），字文涛，江都（今江苏扬州）人，擅长画山水楼阁，初学明中期【吴门四家】之一仇英的画法，中年时得一无名氏画稿，之后画艺大进。\n其界画在清代被推为第一。\n袁江存世作品较多，多在国内收藏，也有一些流到海外。\n袁江是我国绘画史上有影响画家，宫廷画家，转工山水楼阁界画。\n在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。\n当时还有他的侄子袁耀同齐名。\n他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。\n他擅画山水、楼台、师法宋人。\n山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。\n他的绘画素材多为古代宫苑，尤长于界画。\n天津市文管处收有一幅《瞻园图卷》，表现南京的园林建筑；上海博物馆藏有一幅《东园图卷》；北京文物局收有《骊山避暑图轴》，表现想象中的仙境；南京博物院藏有《海山三山图轴》，也描绘了想象中的仙境和古代建筑，瑰丽壮观，富有意境。\n其侄（一说为子）袁耀，字昭道，山水楼阁传其家法。\n袁耀（生卒年未详），清朝画家，字昭道，江都（今江苏扬州）人，袁江之子，生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。\n擅界画，风格与其父极为近似。\n工画山水、楼阁、界画。\n画风工整、华丽，与袁江相似。\n其精品有胜于袁江者。\n偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。\n约活动于乾隆中期。\n上卷 画舫冲烟图 松亭纳凉图 春雷起蛰图 峨嵋雪霁图 桐阴消夏图 独坐看山图 骊山避暑图 江天暮雪图 寒食归宁图 猫雀图 水殿柳风图 汉宫秋月图 松柏齐年图 东山别墅图 溪山行旅图 梁园飞雪图 天香书屋图 山水人物图 绿野堂图 春雷起蛰龙图 郭汾阳富贵寿考图 仙山楼阁图 白云红树图 湖庄春晓图 渔浦晚归图 松风流水图 风雪归人图 秋林暮霭图 重阳风雨图 槛外长江图 海屋沾筹图 秋郊来骑图 下卷",[24,137,81,155,29,84,625,24369,7,28],"避暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151db4c056ec8268fc389d385cc75777.jpg",[],{"id":24373,"slug":24374,"title":24375,"dynasty":150,"author":24376,"museum":245,"description":24377,"tags":24378,"thumbUrl":24379,"material":220,"size":220,"collection":220,"collections":24380,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":145},234672,"wu-rui-tu-shan-mian-ni-can-234672","五瑞图扇面","倪燦","倪灿，清初学者、史志目录学家。字闇公，号雁园，江苏省江宁府上元县人。\n其先居钱塘（今浙江杭州）。诸生。康熙六年（1667）中举，十八年（1679）召试博学鸿儒，倪灿中榜，为一等二名，官授翰林院检讨。受荐修《明史》，作《明史艺文志·序》，与姜宸英《刑法志·序》，并称杰作。他鉴于《明史艺文志·序》以专收明一代著述为限，未能补救宋、辽、金、元四朝艺文志所缺，数百年文化史，残缺不全，依据黄虞稷《千顷斋书目》，就补辑宋人所撰“四部”图书“六百七十八家、一万二千七百四十二卷”。与黄虞稷灿哥共同修撰《宋史艺文志补》1卷。鉴于辽金元三史原先都没有纂修艺文志，又编纂《补辽金元艺文志》1卷，由卢文弨校订。对考定宋辽金元各代的学术源流，有很大帮助。开启了清代学者补修史志的工作，于是从补辽、金、元三代入手而蔚为一时风气。自此之后，补成史志目录达20余种。工于诗文，书法则秀绝一时。",[24,914,28,7,212,62,454,822,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fddc3a7fa3144440dbe0ce07a52adf0.jpg",[],{"id":24382,"slug":24383,"title":24384,"dynasty":228,"author":2380,"museum":20,"description":24385,"tags":24386,"thumbUrl":24387,"material":424,"size":21130,"collection":220,"collections":24388,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":49},233846,"mu-yu-tu-li-kan-233846","沐雨图","《沐雨图》中画坡石上雨竹四竿，下生兰草数丛。竹叶繁茂下垂，将细雨淋洒下的雨竹风姿表现得十分自然。竹的枝叶用双钩法，笔法劲健工细，以汁绿敷染，叶尖略施赭色，青翠欲滴。利用留白表现雨后竹叶上的水珠。",[24,155,7,28,156,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96ed71ab1f6480dbbded3cf032bacacf.jpg",[],{"id":24390,"slug":24391,"title":24392,"dynasty":228,"author":191,"museum":245,"description":24393,"tags":24394,"thumbUrl":24395,"material":1397,"size":1398,"collection":220,"collections":24396,"showCount":24223,"zanCount":1769,"manualWeight":48,"mainColor":49},232830,"pu-sa-xiang-li-zhou-yi-ming-232830","菩萨像立轴","所谓圆满不是没苦乐,而是苦乐随喜,悲喜随缘。",[23,24,155,194,83,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb5d90da2e2548d70c18c54ec678b7b0.jpg",[],{"id":24398,"slug":24399,"title":1139,"dynasty":18,"author":1140,"museum":245,"description":24400,"tags":24401,"thumbUrl":24402,"material":67,"size":2292,"collection":220,"collections":24403,"showCount":24223,"zanCount":1084,"manualWeight":48,"mainColor":49},231501,"mei-zhu-tu-ye-ma-lin-231501","《梅竹图》就是一幅意境幽远的佳作。图为已故名画家、书画鉴藏家唐云所藏，画寒梅数枝，横斜劲挺，其间绿竹穿差，偃仰扶疏，顾盼生情。造型精准，设色明丽，笔法秀朗，虽然画面简单，但因为在疏密、错落、主宾诸方面经过十分经意的安排，故在在恰到好处，着墨不多而生机满幅。\n可见，马麟不仅有敏锐的观察把握自然美的能力，更有诗人般的取舍剪裁能力；他有精准的造型手段，不仅能恰到好处摹写对象的形质，更能生动地凸现其风姿神采，并且务求简炼而意趣自足。清初鉴藏家吴升、吴其贞这样描述马麟传世的几幅梅花：“勾染逼真”，“傅彩妍洁，落笔灵动”，“清瘦伶仃，有不胜雪压之状”，“清简之甚，意趣有余”，都可与这幅《梅竹图》相互印证。若拿今藏故宫博物院的马麟名作《层叠冰绡图》与之作比较，更可发现它们在构图、画法及精神气度上的相似之处。元明间一位无名氏有诗赞马麟曰“当时写姿妙绝品”，用妙绝之品来形容这幅《梅竹图》，同样不算过分。",[137,24,25,519,7,28,212,637,156,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9422d460442581c12adf5086caf0ecb4.jpg",[],{"id":24405,"slug":24406,"title":24407,"dynasty":150,"author":2121,"museum":56,"description":24408,"tags":24409,"thumbUrl":24410,"material":67,"size":24411,"collection":220,"collections":24412,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":49},231487,"shu-kui-xuan-hua-tu-jiang-ting-xi-231487","蜀葵宣花图","此幅用没骨法绘三枝折枝花卉，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。\n蒋廷锡（1669—1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。康熙四十二年（1703年）进士，历任礼部侍郎、户部尚书、文华殿大学士、太子太傅等职。",[23,24,25,212,155,7,28,2944,22796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9575199fb86ddf3cfac99d1250ee36.jpg","78×39cm",[],{"id":24414,"slug":24415,"title":24416,"dynasty":150,"author":8137,"museum":245,"description":24417,"tags":24418,"thumbUrl":24419,"material":220,"size":220,"collection":220,"collections":24420,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":49},230294,"gui-lin-qiu-yue-tu-yuan-jiang-230294","桂林秋月图","界画亦名宫室，主要以建筑物、舟车之类为表现题材，所画对象要求准确、工整，一丝不苟，过去画诀有“山水打头，界画打底”之说，宋郭思说：“画屋木者，折算无亏，笔画勾壮，深远透空，一去百斜”。\n画界画历代不乏高手，唐末有尹继昭及他的学生卫贤等，元夏永、明仇英皆是界画高手。\n到了清代，袁江、袁耀父子擅画界画，虽技艺超群，但不为时人所重。\n至近代在山西太原尉氏家中，发现大量“二袁”作品，声名始震。\n袁耀“露台秋月图”纵18、横142.5厘米，胡佩衡旧藏，此画绘中秋宫苑赏月情景，一轮明月当空，万籁俱寂，宫殿在树木中或露或隐，山石玲珑剔透，诗情画意跃然纸上，此意趣决非一般画匠所能为。\n袁耀字昭道，江都（今扬州）人。\n生卒年不详，创作年代约在1747年至1778年之间。",[23,24,25,81,28,7,29,84,199,34,623,83,92,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],{"id":24422,"slug":24423,"title":24424,"dynasty":76,"author":9801,"museum":245,"description":24425,"tags":24426,"thumbUrl":24427,"material":220,"size":220,"collection":220,"collections":24428,"showCount":24223,"zanCount":1769,"manualWeight":48,"mainColor":145},228893,"you-yu-tu-juan-zhu-zhan-ji-228893","游鱼图卷","此卷以没骨淡墨绘就水族盛景，虾蟹轻螯微动，群鱼姿态各殊，或摆尾穿游于荇草间，或结群逐戏，动静相生、灵动鲜活。全图不施一笔画水，仅以飘摇的水藻、鳞鳍的动势，烘托出水流清浅柔润的空濛意境，仿佛可见池底幽谧生机。\n墨色轻晕淡染，将水泽的澄澈质感尽数烘托，简淡笔触里尽显自然生意，将水畔野趣鲜活定格绢素，尽显悠游自在的清致。",[23,24,26,855,7,557,250,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6784ede5dbadd64dafc49ae0651dc3.jpg",[],{"id":24430,"slug":24431,"title":7255,"dynasty":18,"author":806,"museum":245,"description":24432,"tags":24433,"thumbUrl":24434,"material":220,"size":220,"collection":220,"collections":24435,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":49},227974,"pu-tao-cao-chong-tu-lin-chun-227974","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[23,24,137,25,914,7,28,212,7258,410,468,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],{"id":24437,"slug":24438,"title":24439,"dynasty":18,"author":191,"museum":245,"description":24440,"tags":24441,"thumbUrl":24442,"material":220,"size":220,"collection":220,"collections":24443,"showCount":24223,"zanCount":1769,"manualWeight":48,"mainColor":49},227374,"mu-dan-wan-shan-tu-yi-ming-227374","牡丹纨扇图","扇上绣着两株牡丹枝条，绯红花瓣，绿叶，金边，叶脉，处处彰显牡丹的华美！",[24,137,25,914,28,7,212,298,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1b0957ed3bdec055f08a2afa604184.jpg",[],{"id":24445,"slug":24446,"title":23611,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":24447,"thumbUrl":24448,"material":1397,"size":1398,"collection":220,"collections":24449,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":145},226210,"ku-zhu-shi-bei-bi-yi-ming-226210",[1053,194,81,7,28,83,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8e84853f753592b0dd1a9c531e463a.jpg",[],{"id":24451,"slug":24452,"title":24453,"dynasty":150,"author":8201,"museum":134,"description":24454,"tags":24455,"thumbUrl":24456,"material":952,"size":24457,"collection":220,"collections":24458,"showCount":24223,"zanCount":1769,"manualWeight":48,"mainColor":145},224573,"qing-qian-long-ke-si-hua-hui-gua-ping-san-zhou-qing-ren-224573","清乾隆缂丝花卉挂屏（三）轴","花卉册在本色地上缂织茶花水仙、玉兰海棠、牡丹、碧桃芝竹、百合剪春罗、荷花蜻蜓、踯躅、芝兰、秋海棠、剪秋纱、蝴蝶花、梅花等各色花卉，每开均缂织而成，无着笔处。画幅采用平缂、构缂、木梳戗、长短戗、凤尾戗和掼缂等缂织技法，缂工细致，润色自然，描画不求形似，具有简逸风格的文人花鸟画风。",[23,962,155,28,7,409,411,653,596,197,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5222c3323292451a6bbb293a2c5953d.jpg","每开纵41厘米，横42厘米",[],{"id":24460,"slug":24461,"title":24462,"dynasty":150,"author":5382,"museum":245,"description":24463,"tags":24464,"thumbUrl":24465,"material":220,"size":220,"collection":220,"collections":24466,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":145},224443,"fang-li-song-gu-mu-he-qun-wang-hui-224443","仿李嵩古木鹤群","此作画境清寂古雅，半边绘苍虬古木，枝干蟠曲交错，松针层叠如织，丹鹤或栖于枝梢理羽，或振翼掠林，姿态闲逸舒展。另一半以浅绛晕染出山峦坡陀，淡绿点染草木苔痕，空灵淡远。\n\n工写兼施法追摹古意，将院体精工与文人画淡逸相融，设色柔润清和。苍木古拙硬挺，衬出丹鹤秀雅灵动，山林幽寂与天际空阔相生，将林下闲逸的幽情藏于尺幅之间，引人坠入清远出尘的林泉之境。",[24,25,7,28,172,82,173,286,178,211,927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd25c7958a10ee40cc2e1e5c90df00a4.jpg",[],{"id":24468,"slug":24469,"title":24470,"dynasty":150,"author":24471,"museum":245,"description":24472,"tags":24473,"thumbUrl":24475,"material":220,"size":220,"collection":220,"collections":24476,"showCount":24223,"zanCount":1769,"manualWeight":48,"mainColor":145},224292,"teng-hua-ru-ji-zhou-xu-you-224292","籐花乳鸡轴","许佑","柔蔓紫藤垂挂如紫霞流泻，淡紫花瓣晕染柔和，间衬嫩绿叶色，将春日柔媚尽藏枝桠。下方浅草茸茸，数只乳鸡或低头啄食，或相互依偎，茸毛蓬松鲜活，憨态尽显，灵动稚拙的模样似要跃出纸面。\n\n整作笔墨秀润清逸，工细兼具写意，将藤花的柔雅与雏鸡的生机相融，动静相映，把乡野间寻常的春日小景，晕染出恬和悠然的闲趣，平和雅致间满溢鲜活生机。",[24,155,28,7,173,212,486,24474,705],"乳鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada398b14092fd03535ab4dce02ea007.jpg",[],{"id":24478,"slug":24479,"title":24480,"dynasty":150,"author":9831,"museum":245,"description":24481,"tags":24482,"thumbUrl":24484,"material":220,"size":220,"collection":220,"collections":24485,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":145},224157,"hua-gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-224157","画高宗御笔秋花诗轴","将对自然的喜爱带入生活，呈现在庭园中，成为小中现大的世界，正是本幅主体。\n作于乾隆十一年（1746）秋七月，画内廷台阁花园景致。\n台阁以界画绘制，具透视感。\n但与花卉相较却偏小，并不合真实比例，应是为强调群芳争妍的盛况而做此安排。\n园中鸡冠、秋葵、雁来红、菊、红蓼、凤仙等怒放，一片缤纷灿烂，展现明媚秋色。\n【名称】清 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年（172年）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房。\n官至礼部尚书。\n曾参与《石渠宝笈》的编辑工作，乾隆十一年（1746年）随帝西巡，因病回京，不久卒。\n谥文僖。\n有《岁寒三友图》、《仿王元章疏影寒香图》传世。\n张若霭善书，工画花竹、禽虫，深得王糓祥、周之冕笔意。",[23,24,28,7,81,84,86,2884,2653,197,24483,34],"瓦顶建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63628092ed57c5738e2fb917c30694a2.jpg",[],{"id":24487,"slug":24488,"title":24489,"dynasty":150,"author":24490,"museum":245,"description":24491,"tags":24492,"thumbUrl":24493,"material":1397,"size":1398,"collection":220,"collections":24494,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":145},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[23,24,25,155,28,7,27,81,29,84,176,34,211,86,2653,1532,3058,92,14842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":24496,"slug":24497,"title":24498,"dynasty":18,"author":191,"museum":245,"description":24499,"tags":24500,"thumbUrl":24501,"material":220,"size":220,"collection":220,"collections":24502,"showCount":24223,"zanCount":1769,"manualWeight":48,"mainColor":1833},223406,"tai-yi-jiu-ku-tian-zun-yi-ming-223406","太乙救苦天尊","画面底色沉郁古雅，晕染出静穆庄肃的宗教氛围。天尊仪容清癯端严，眉目悲悯内敛，衣纹线条凝练沉稳，晕染厚重雅致，将出尘仙风道骨尽显无遗。座下九头狮狞猛威严，鬃毛与鞍鞯细节刻画入微，狞悍神兽与沉静天尊形成强烈动静反差，暗合天尊以神威广度苦厄的意涵。\n设色古朴厚重，深褐底色托出人物明洁面容与衣摆亮色，层次分明，尽显典雅法度，神性的庄严与慈悲融于含蓄笔墨间，带着沉静肃穆的感染力。",[23,24,25,155,194,28,7,83,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aa8dabdf98f5ffd1dd19b0d0e4fe693.jpg",[],{"id":24504,"slug":24505,"title":24506,"dynasty":150,"author":3725,"museum":20,"description":12017,"tags":24507,"thumbUrl":24508,"material":40,"size":12020,"collection":220,"collections":24509,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":49},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月",[23,137,24,25,29,81,28,7,84,199,34,1206,31,37,1028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg",[],{"id":24511,"slug":24512,"title":24513,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":24514,"thumbUrl":24516,"material":67,"size":1560,"collection":220,"collections":24517,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":49},223068,"hong-lou-meng-54-sun-wen-223068","红楼梦54",[23,7,28,81,83,84,85,156,637,176,1500,214,18232,24515],"窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173a90b3a55ee52d258dbd1f30861e2f.jpg",[],{"id":24519,"slug":24520,"title":24521,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":24522,"thumbUrl":24523,"material":67,"size":1560,"collection":220,"collections":24524,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":145},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163",[23,24,7,28,81,83,84,92,214,215,29,34,315,1104,1674,63,1106,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg",[],{"id":24526,"slug":24527,"title":24528,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":24529,"thumbUrl":24530,"material":67,"size":1560,"collection":220,"collections":24531,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":49},223013,"hong-lou-meng-138-sun-wen-223013","红楼梦138",[23,24,7,28,81,83,59,84,92,7745,2614,1394,1109,18126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94fa31ab783364ada8a4dabfa58909e.jpg",[],{"id":24533,"slug":24534,"title":24535,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":24536,"thumbUrl":24537,"material":67,"size":1560,"collection":220,"collections":24538,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":49},222880,"hong-lou-meng-5-sun-wen-222880","红楼梦5",[23,24,25,7,28,83,84,158,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99114590de0237996992964d1a568ac0.jpg",[],{"id":24540,"slug":24541,"title":24542,"dynasty":76,"author":2369,"museum":134,"description":24543,"tags":24544,"thumbUrl":24546,"material":2373,"size":24547,"collection":237,"collections":24548,"showCount":24223,"zanCount":48,"manualWeight":48,"mainColor":145},222396,"han-xue-shan-ji-tu-zhou-lv-ji-222396","寒雪山鸡图轴","画家以运笔迅速的墨线、墨块为主，以干、湿笔交互运作，用飞白的线条，疾速完成枯树枝桠、山石流泉，造成黑白对比",[23,24,155,212,7,855,28,24545,4077,1499,2653,211,173,1091],"山鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096ba06be874b0a719bffcf11369d20a.jpg","纵135.3厘米，横47.2厘米",[237,45],{"id":24550,"slug":24551,"title":24552,"dynasty":76,"author":674,"museum":152,"description":7779,"tags":24553,"thumbUrl":24554,"material":519,"size":220,"collection":220,"collections":24555,"showCount":24223,"zanCount":1769,"manualWeight":48,"mainColor":145},221912,"hua-niao-jing-pin-ce-9-chen-hong-shou-221912","花鸟精品册9",[24,137,28,7,519,212,159,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbe640c04e62e628fad5e50518bd9eb.jpg",[],{"id":24557,"slug":24558,"title":24559,"dynasty":132,"author":14684,"museum":169,"description":24560,"tags":2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赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[24,155,12037,28,855,24803,7,1720,175,3488,24804,34,2708,211,9386,4188,471,14238,24805,24806],"披麻皴","草堂","恬淡","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":24810,"slug":24811,"title":24812,"dynasty":76,"author":24813,"museum":20,"description":24814,"tags":24815,"thumbUrl":24816,"material":40,"size":24817,"collection":220,"collections":24818,"showCount":5,"zanCount":1769,"manualWeight":48,"mainColor":49},234955,"ju-shi-ye-tu-tu-xu-lin-ju-234955","菊石野兔图","徐霖菊","《菊石野兔图》轴，明，徐霖绘，绢本，设色，纵160厘米，横52厘米。徐霖（1462—1538年），字子仁，号九峯道人，又号快园叟、髯仙等，江苏苏州人，徙居金陵。解音律，精篆法，善画。九岁能作大书，操笔成体，正书出入欧、颜，大书初法朱熹，几乱其真，后喜赵孟頫，笔力遒劲，结构端饬，自成一家。篆书始尚雄丽，晚益朴古。著有《丽藻堂文集》、《快园诗文集》等。",[24,25,155,7,28,689,159,1568,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4419186ef37cfbb681f6bb8d51bf21.jpg","纵160厘米，横52厘米",[],{"id":24820,"slug":24821,"title":24822,"dynasty":150,"author":2827,"museum":20,"description":24823,"tags":24824,"thumbUrl":24825,"material":599,"size":220,"collection":182,"collections":24826,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":145},234290,"xue-jing-gu-shi-ce-sun-hu-234290","雪景故事册","孙祜生卒年不详，江苏人。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。",[24,25,519,28,7,285,173,29,4077,211,1499,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29476d87f834ed55ad1ade830e240ad6.jpg",[182,45],{"id":24828,"slug":24829,"title":2036,"dynasty":150,"author":7676,"museum":20,"description":24830,"tags":24831,"thumbUrl":24832,"material":40,"size":24833,"collection":220,"collections":24834,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":145},233809,"ma-gu-xian-shou-tu-ren-xiong-233809","“麻姑献寿”是中国流传很广的神话传说。相传麻姑是位朴实而美丽的民间女子，她死后成为仙女，住在蓬莱仙岛。每年德高望重的西王母过生日时，麻姑都要用灵芝草酿成仙酒献给西王母做寿礼，麻姑也由此被西王母封为“女寿仙”，因此民间为妇女祝寿时常常绘《麻姑献寿》的图画相赠以示祝福。\n图绘身着红披风的麻姑，古朴静穆、仪态端庄，一变清中叶以来费丹旭、改琦等人所绘身姿纤媚、弱不禁风的“病态”仕女形象，健康清新，令人瞩目。图中设色艳丽华贵，富有装饰性，线条顿挫刚劲,富有表现力，与所绘人物相得益彰，为任熊仕女画佳作。",[24,25,155,7,28,83,59,157,158,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9031d01c205657060d0fb9f243c9a47.jpg","纵162.3厘米，横86.2厘米",[],{"id":24836,"slug":24837,"title":24838,"dynasty":18,"author":191,"museum":134,"description":24839,"tags":24840,"thumbUrl":24841,"material":67,"size":24842,"collection":220,"collections":24843,"showCount":5,"zanCount":1769,"manualWeight":48,"mainColor":49},233015,"chun-you-wan-gui-tu-ye-yi-ming-233015","春游晚归图页","图绘一老臣骑马踏青回府，前后簇拥着10位侍从，或搬椅，或扛兀，或挑担，或牵马，忙忙碌碌。\n老臣持鞭回首，仿佛意犹未尽，表现了南宋官僚偏安江南时的悠闲生活，令人想起南宋林升《题临安邸》一诗：\n\n“山外青山楼外楼，西湖歌舞几时休？\n暖风熏得游人醉，直把杭州作汴州！”\n\n所绘景物十分优雅，柳林成浪，宫城巍峨，人马虽不盈寸，但须眉毕现，姿态生动，线条流畅，色彩简洁明朗。",[24,137,28,7,83,112,34,84,2463,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bc4b22ebdbfe5a601c55afb8e03b4d.jpg","24.2cm*25.3cm",[],{"id":24845,"slug":24846,"title":24847,"dynasty":190,"author":191,"museum":245,"description":24848,"tags":24849,"thumbUrl":24852,"material":220,"size":220,"collection":220,"collections":24853,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":145},231580,"yu-en-chun-qiu-liang-yuan-ying-hua-pu-tu-juan-yi-ming-231580","浴恩春秋两园樱花谱图卷","虽然日本没有官方的国花，但樱花之于日本的重要性不言而喻，日本文化的精气神都能在樱花身上得到体现，樱花也成为日本绘画中的常见题材。早在远古，日本人就将樱花看作是春天的化身，是花的神灵。日本语中的“樱时”(古语)，意思就是“春天的时节”。每当春天来临，人们最关注的就是樱花一年一度的花开花落。花蕾结得多少好坏，开花时能否躲过春雨的淋洗开得灿烂，凋谢时能不能遇上春风落瓣洁净。樱花是否开花顺利在日本人看来，意味着这一年是否风调雨顺，五谷丰登。所以每当花开时节，人们就聚集在樱花树下，放歌畅饮，祈祷神灵保佑。",[23,26,25,28,7,24850,285,173,24851],"草书","樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f94d981568dc00430a3f7f9eb71592.jpg",[],{"id":24855,"slug":24856,"title":24857,"dynasty":228,"author":5636,"museum":245,"description":24858,"tags":24859,"thumbUrl":24860,"material":220,"size":220,"collection":220,"collections":24861,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230904,"jin-ji-ji-zhu-tu-wang-yuan-230904","锦鸡棘竹图","画面以奇石立锦鸡为主体，野卉棘竹环伺左右，虚实相生间铺展出荒寒野境。以水墨淡晕之法绘就，锦鸡羽色以淡墨层层晕染，绒羽蓬松柔润的质感跃然绢上，神态静穆悠然，尽显内敛雅致。奇石皴擦老拙苍劲，枯棘枝条嶙峋带刺，尽显深秋萧索之态，竹叶与野卉则以清逸的笔致点染，柔缓中和了枯寂寒气。\n整体融院体工致与文人笔墨意趣于一身，淡墨轻岚间，绘写出林下幽寂空远的野逸之韵，将秋日荒寒中禽鸟安处的闲适意态刻画入微，尽显水墨花鸟的清简雅致。",[24,25,155,28,7,212,938,156,159,17305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d33585a772eb69df209975f31fee55.jpg",[],{"id":24863,"slug":24864,"title":24865,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":24866,"thumbUrl":24867,"material":67,"size":1560,"collection":220,"collections":24868,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":145},230104,"hong-lou-meng-185-sun-wen-230104","红楼梦185",[24,7,28,83,84,466,211,409,34,92,2602,24515],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b4ef23ad965b1028c930df54eac1c.jpg",[],{"id":24870,"slug":24871,"title":24872,"dynasty":150,"author":24873,"museum":245,"description":24874,"tags":24875,"thumbUrl":24876,"material":220,"size":220,"collection":220,"collections":24877,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":145},229012,"shi-jun-ma-tu-wang-zhi-cheng-229012","十骏马图","王致诚","《千姿百态画骏马》是一本书籍，上海书店出版社; 第1版 (26年月1日)出版，开本16。\n丛书名: 国画训练新编系列2 平装: 页 正文语种: 简体中文 条形码: 786784845, 978786784846 尺寸: 28.5 21.2 . cm 重量: 181 g 《千姿百态画骏马》内容简介：在中同美术史上，几乎每个朝代的艺术作品都有以马为题材的杰作。\n如先秦时代青铜器盠驹尊，秦始皇陵出土的大批陶马俑、四汉霍去病墓前的《马踏匈奴》石雕、东汉青铜器《马踏飞燕》、唐代画马高手韩斡笔下的《神骏图》、韦偃画了两千余匹千姿百态骏马的《牧放图》、宋代李公麟的名作《五马图》、元代赵孟頫的《浴马图》，明代仇英的《秋园猎骑图》、清代王致诚的《十骏马图》，直至近代徐悲鸿的大量奔马立马图……由此可见，马是中国历代艺术家最热衷的题材之一。",[24,25,7,28,112,211,34,409,284,173,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266c74560a21981e18d0b59b83e4fb52.jpg",[],{"id":24879,"slug":24880,"title":24881,"dynasty":76,"author":5061,"museum":245,"description":24882,"tags":24883,"thumbUrl":24884,"material":220,"size":220,"collection":220,"collections":24885,"showCount":5,"zanCount":1769,"manualWeight":48,"mainColor":145},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[23,137,24,25,26,7,28,83,84,176,85,86,159,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":24887,"slug":24888,"title":24889,"dynasty":76,"author":674,"museum":245,"description":24890,"tags":24891,"thumbUrl":24892,"material":220,"size":220,"collection":220,"collections":24893,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[23,24,25,28,7,29,83,176,286,211,34,86,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":24895,"slug":24896,"title":24897,"dynasty":18,"author":1774,"museum":245,"description":24898,"tags":24899,"thumbUrl":24900,"material":220,"size":220,"collection":220,"collections":24901,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[23,137,24,25,27,28,7,29,83,175,86,34,178,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":24903,"slug":24904,"title":24905,"dynasty":18,"author":191,"museum":245,"description":24906,"tags":24907,"thumbUrl":24908,"material":220,"size":220,"collection":220,"collections":24909,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227913,"zhu-chong-tu-yi-ming-227913","竹虫图","淡赭绘就竹枝，以深浅绿意晕染竹叶，笔下叶片舒展有姿，劲挺又不失柔润，枝桠交错间野意横生。叶面之上，竹虫敛身伏藏，身形与枝叶相融，将蛰伏的静谧暗藏其间。右上角蛱蝶振翅翩跹，墨色点染翅翼，留白衬出轻盈灵动，骤然打破画面静气，动静相映成趣。\n全作笔致工细秀雅，设色清淡雅致，以精微的观察捕捉乡野小景的瞬态生机，将草木虫蝶的自然情态刻画入微，于尺幅之间勾勒出浑然天成的林下意趣，尽显平和悠然的审美意韵。",[23,137,24,25,7,28,212,156,494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7f253e2d3b155250d560a92e122b65.jpg",[],{"id":24911,"slug":24912,"title":24913,"dynasty":18,"author":1151,"museum":245,"description":24914,"tags":24915,"thumbUrl":24916,"material":220,"size":220,"collection":220,"collections":24917,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227805,"can-shi-tu-liu-song-nian-227805","蚕事图","整作以全景式铺陈桑蚕劳作日常，分构两处空间。左侧棚下匠人各司其职，抽丝、分拣有条不紊；右侧窗内，闺中女眷闲坐观览，将劳作与闲憩相映成趣，右上角民夫搬运蚕茧，更添烟火劳顿之气。\n\n画作以淡墨白描绘就，线条清雅柔和，屋舍瓦楞、林木枝桠皆刻画入微，人物神态鲜活自然。将江南蚕织农家的日常图景如实铺展，平和质朴间尽现宋代田园的生活真味，把风俗烟火融于清淡笔墨中，尽显写实风俗画的雅致意趣，藏着宋时江南的悠悠烟火意。",[24,25,137,7,28,81,26,83,35,34,11887,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e367156bf61318f3d34559af6f02c1.jpg",[],{"id":24919,"slug":24920,"title":22266,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":24921,"thumbUrl":24922,"material":1397,"size":1398,"collection":220,"collections":24923,"showCount":5,"zanCount":1769,"manualWeight":48,"mainColor":1833},226281,"ku-zhu-shi-dong-bi-yi-ming-226281",[1053,194,28,7,81,83,84,4927,4926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb79a40eade0d428c56208f99ef58bd.jpg",[],{"id":24925,"slug":24926,"title":24927,"dynasty":150,"author":24928,"museum":245,"description":24929,"tags":24930,"thumbUrl":24932,"material":220,"size":220,"collection":220,"collections":24933,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":145},224540,"re-he-xing-gong-quan-tu-guan-nian-ci-224540","热河行宫全图","管念慈","采用全景鸟瞰视角，将行宫城池与环伺群山铺陈于卷间，界画工致严整，山林皴染苍劲古拙。规整的朱红宫墙楼宇，错落嵌入层峦叠翠之间，山道逶迤串联起星罗棋布的山野梵宇行宫。\n\n整体疏密相宜，既细致还原了行宫的恢弘规制与山水格局，又晕染出塞北离宫融于山野林泉的清旷意趣，色彩沉雅厚重，细节入微，是兼具纪实地理价值与传统工笔审美意韵的佳作。",[23,24,26,28,81,7,29,84,751,115,24931,623,34,91],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbd962cf16f4ca63b56ed8d350b757a.jpg",[],{"id":24935,"slug":24936,"title":24937,"dynasty":18,"author":191,"museum":134,"description":24938,"tags":24939,"thumbUrl":24940,"material":100,"size":24941,"collection":220,"collections":24942,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223897,"ru-lai-shuo-fa-tu-zhou-yi-ming-223897","如来说法图轴","宋人画如来说法图轴",[24,25,155,194,283,7,28,83,1055],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf2466940de375a76b8c17a54ed9f62.jpg","188.1x111.3公分",[],{"id":24944,"slug":24945,"title":24946,"dynasty":18,"author":191,"museum":134,"description":24947,"tags":24948,"thumbUrl":24949,"material":24950,"size":24951,"collection":220,"collections":24952,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223500,"za-ju-mai-yan-yao-tu-yi-ming-223500","杂剧卖眼药图","图上二位杂剧人物正在表演剧情，左边一人顶着高帽，身穿大袍，四周画满了一只眼的图案，右手高高抬起捏着一物向对方展示；右侧一人右手指眼，似患眼疾，正待用眼药治疗。此图是一幅年俗画，南宋时期宣传杂剧“眼药酸”而画，剧中人物女扮男装，装扮俏皮可爱。",[23,137,24,25,28,7,83,158,63,21359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6eea5d4be471969946b94ba501270ce.jpg","绢本，册页，设色","纵23.8厘米、横24.5厘米",[],{"id":24954,"slug":24955,"title":24956,"dynasty":18,"author":191,"museum":134,"description":24957,"tags":24958,"thumbUrl":24959,"material":424,"size":24960,"collection":220,"collections":24961,"showCount":5,"zanCount":1769,"manualWeight":48,"mainColor":145},223434,"song-tai-zong-li-xiang-zhou-yi-ming-223434","宋太宗立像轴","宋太宗赵光义（939年11月20日－997年5月8日），宋朝第二位皇帝（976年11月15日—997年5月8日在位）。本名赵匡义，后因避其兄宋太祖名讳而改名赵光义，即位后又改名赵炅。开宝九年（976年），宋太祖驾崩，赵光义继位。即位后使用政治压力，迫使吴越王钱俶和割据漳、泉二州的陈洪进于太平兴国三年（978年）纳土归附。次年亲征太原，灭北汉，结束了五代十国的分裂割据局面。两次攻辽，企图收复燕云十六州，都遭到失败，从此对辽采取守势。在位期间，采取治国驭将方针，明显地走上了“崇文抑武”的道路，并最终构成为宋朝“祖宗家法”的重要内容。 在位共二十一年，至道三年（997年），赵光义去世，谥号神功圣德文武皇帝，庙号太宗，葬于永熙陵。\n画像上太宗头戴幞头，黑鬓发，淡眉，微须，目光柔和，身着褎袖白袍，腹下束朱带，双手于胸部平放，脚穿皂纹靴而立。",[137,24,25,155,7,28,83,63,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc991137f15e1ca6a6c464ed8c2444a.jpg","纵74.5厘米横47.4厘米",[],{"id":24963,"slug":24964,"title":24965,"dynasty":228,"author":191,"museum":134,"description":24966,"tags":24967,"thumbUrl":24969,"material":218,"size":24970,"collection":220,"collections":24971,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223365,"liu-tang-bai-yan-tu-zhou-yi-ming-223365","柳塘白燕图轴","元代工笔画很少的，多的是水墨写意的文人画，其实元代画坛另一路已经走向极致的绘画语言就是写实艺术。 ​​​",[23,137,24,25,7,28,1851,24968,20314,248,249,250,173],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d166284910d93d3270e5a93502379d8.jpg","31.1×60.6",[],{"id":24973,"slug":24974,"title":24057,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":24975,"thumbUrl":24977,"material":67,"size":1560,"collection":220,"collections":24978,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},222923,"hong-lou-meng-48-sun-wen-222923",[23,24,7,28,81,84,29,34,176,92,91,24976,35,13148],"绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bf32fa601630c2c88d88ceaaa1c981.jpg",[],{"id":24980,"slug":24981,"title":24982,"dynasty":150,"author":1356,"museum":134,"description":24983,"tags":24984,"thumbUrl":24985,"material":1365,"size":24986,"collection":182,"collections":24987,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":145},222821,"chi-song-huang-shi-er-xian-tu-zhou-xu-yang-222821","赤松黄石二仙图轴","绘赤松一板凳，粗壮笔真，松枝弯曲自然，松针繁多清晰；黄石耸立，形状奇异；地面翠竹、杂草生机勃勃。",[23,24,155,28,7,927,2653,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053720c8ce76759a8f675e7ff855123d.jpg","172.1x71厘米",[182],{"id":24989,"slug":24990,"title":24991,"dynasty":76,"author":12637,"museum":17079,"description":24992,"tags":24993,"thumbUrl":24994,"material":424,"size":24995,"collection":237,"collections":24996,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":145},221918,"wu-se-shu-kui-tu-chen-gua-221918","五色蜀葵图","此画不拘于象的写法发挥至极致，其勾点皴擦，随心所欲，绝出尘象之外",[23,137,24,25,155,28,7,212,409,2944,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd40f4d75edc248b6c82bca466a29ef.jpg","133X66.5cm",[237,45],{"id":24998,"slug":24999,"title":25000,"dynasty":18,"author":1609,"museum":20,"description":25001,"tags":25002,"thumbUrl":25003,"material":40,"size":25004,"collection":220,"collections":25005,"showCount":5,"zanCount":1769,"manualWeight":48,"mainColor":145},221598,"ji-chu-dai-si-tu-ye-li-di-221598","鸡雏待饲图页","本幅款识：“庆元丁巳岁李迪画。”“庆元丁巳”即宋宁宗庆元三年（1197年）。鉴藏印钤宋代“张则印”，明代“项元汴印”、“墨林秘玩”、“项墨林鉴赏章”、“神”、“品”等，又一朱文印模糊不辨。裱边钤清乾隆皇帝“太上皇帝之宝”、“八征耄念之宝”玺印2方。\n图绘两只雏鸡一卧一立，面朝同一方向，屏气凝神，仿佛听见母亲觅食的召唤，正欲奔去。画面描绘传神，将雏鸡嗷嗷待哺的情态表现得淋漓尽致，充分反映了温馨的农家情调。画家用黑、白、黄等细线密实地描绘出雏鸡毛绒的质感，生动地绘出鸡雏幼小可人的生动神态，体现了深厚的绘画功力。此图为李迪晚年所画，构图极其简洁，无任何背景相衬，却捕捉住了鸡雏回眸的刹那间神情，动人心弦。\n此幅与画家在前一年创作的《枫鹰锦鸡图》相比，在审美意趣上全然不同，前者展示的是和风细雨的婉约情调，后者则是张扬自然界生命相残的严酷氛围，由此可见李迪表现各种题材的能力。\n此图自民间入藏清内府后，雅好书画的乾隆皇帝除赏识其艺术造诣外，还从帝王角度联想到勤政爱民的治国之策。他于乾隆五十三年（1788年）临摹此件作品，并且喻令摹刻多份，颁赐给各省督抚，希望这些地方父母官将所辖地区的百姓视为图中的鸡雏，在处理政务时要“实心经理，勿忘小民嗷嗷待哺之情”。",[23,137,24,25,519,7,28,212,1967,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40efabd7d00ba834838d90b0ccf1737a.jpg","纵23.7厘米，横24.6厘米",[],{"id":25007,"slug":25008,"title":25009,"dynasty":228,"author":3524,"museum":56,"description":25010,"tags":25011,"thumbUrl":25012,"material":25013,"size":25014,"collection":237,"collections":25015,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":145},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[23,24,25,26,855,7,112,83,173,284,285,834,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[237,45],{"id":25017,"slug":25018,"title":25019,"dynasty":228,"author":3524,"museum":56,"description":25020,"tags":25021,"thumbUrl":25022,"material":25023,"size":25024,"collection":44,"collections":25025,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":145},220872,"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 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画家将皇室谒陵的整个时空历程出发→抵达→返回，浓缩于两幅长卷之中。传统观赏《出警图》是由右往左；《入跸图》则由左往右。\n这幅画描绘出明朝皇帝出京谒陵盛况的宫廷画卷。描绘的是皇帝在宫廷侍卫的护送下，骑马出京，声势浩大的来到京郊的十三陵拜先祖，然后再坐船返回北京的情景。皇帝一出一入，相互呼应，气势壮观，栩栩如生。",[23,137,24,26,28,7,2185,83,3850,927,84,29,751,2183,25201,7288],"帝王出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f612a4c13fe43c6ae1dd2d169566a19.jpg","本幅 92.1x2601.3公分",[],{"id":25206,"slug":25207,"title":4903,"dynasty":54,"author":2621,"museum":134,"description":25208,"tags":25209,"thumbUrl":25210,"material":424,"size":1398,"collection":220,"collections":25211,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},287704,"xi-ma-tu-han-gan-287704","韩干，唐画家。京兆蓝田（治今陕西西安）人。相传年少时曾为酒肆雇工，经王维资助，学画十馀年而艺成。擅绘肖像、人物、鬼神、花竹，尤工画马，曾师曹霸而重视写生。经历唐玄宗年间，被召入宫封为“供奉”。此后专跟宫中画马名家陈闳学习画，但进展不太显著，后来韩干改变只临摹不写生的方法，经常到马厩里去，细心观察马的习性，对比找出马的性格特征，找出马的动作规律，并把各种各样的马记录在案。日子久了，人们对韩干经常进入马厩，甚至搬到马厩里和饲养人一起住感到奇怪。韩干回答说：“我学习画马，马厩里所有的马都是我的老师”。为了深入了解马的习性，他常痴呆地观察上几个时辰，把别的画家不了解的具体细节都弄得清清楚楚，并牢记心上。这样时间久了，马的各种体貌，奔跑雄姿，千变万化的动态，作画之时自然而然就展现在纸上。所以人们都称赞韩干笔下的马是能跑动的马。",[23,24,25,83,112,7,28,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba3b5ac63eeb38d707e63aad4facfc.jpg",[],{"id":25213,"slug":25214,"title":8292,"dynasty":150,"author":8293,"museum":245,"description":8294,"tags":25215,"thumbUrl":25216,"material":1397,"size":1398,"collection":220,"collections":25217,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},239544,"hua-hua-yan-shi-nv-tu-ce-wang-su-239544",[24,25,519,7,28,855,83,59,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868d343a424f933ec64dc07b7c9db6e4.jpg",[],{"id":25219,"slug":25220,"title":3223,"dynasty":150,"author":1162,"museum":245,"description":3224,"tags":25221,"thumbUrl":25222,"material":1397,"size":1398,"collection":220,"collections":25223,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},239451,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239451",[24,25,519,7,28,212,298,489,409,198,410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef2ed2dae437b368ec5f5836264d4e1.jpg",[],{"id":25225,"slug":25226,"title":3223,"dynasty":150,"author":1162,"museum":245,"description":3224,"tags":25227,"thumbUrl":25228,"material":1397,"size":1398,"collection":220,"collections":25229,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},239449,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239449",[24,137,519,7,28,212,284,173,409,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4a14bf201db386ebf68f255bd0b66a.jpg",[],{"id":25231,"slug":25232,"title":3223,"dynasty":150,"author":1162,"museum":245,"description":3224,"tags":25233,"thumbUrl":25234,"material":1397,"size":1398,"collection":220,"collections":25235,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},239448,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239448",[137,24,25,519,7,28,690,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0105ff045dc6a068152ce6f9fd188750.jpg",[],{"id":25237,"slug":25238,"title":2902,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":25239,"thumbUrl":25240,"material":1397,"size":1398,"collection":220,"collections":25241,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},239238,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239238",[24,137,25,519,7,28,212,298,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fc58e41d742f7a5d5e5f55de201a67.jpg",[],{"id":25243,"slug":25244,"title":25245,"dynasty":150,"author":191,"museum":245,"description":25246,"tags":25247,"thumbUrl":25248,"material":220,"size":220,"collection":220,"collections":25249,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},238663,"hong-wu-ning-shou-gong-ming-bing-sui-chao-tu-ce-yi-ming-238663","弘旿宁寿宫铭并岁朝图册","此作绘就岁寒三友，苍松虬枝盘曲，鳞皴老干古意盎然，攒簇松针如青锋聚簇，自带凌霜气度。梅枝柔婉舒展，冰洁花瓣轻绽，嫩蕊含香，暗合报春之意。新竹清劲挺拔，翠叶疏朗错落，清逸雅致。\n整幅设色淡净明润，工写兼具，以浅淡底色托出三友清隽风骨，将文人君子凌寒不屈、清雅自持的襟怀寄寓其间，冷寂冬日里尽显盎然生机，是借物抒怀的雅致佳构。",[24,25,519,28,7,1068,156,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fdff51fb680225db2add3680dd568a.jpg",[],{"id":25251,"slug":25252,"title":25253,"dynasty":150,"author":8807,"museum":245,"description":25254,"tags":25255,"thumbUrl":25256,"material":1397,"size":1398,"collection":220,"collections":25257,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},238540,"fang-jiang-ting-xi-niao-pu-tu-ce-yu-sheng-238540","仿蒋廷锡鸟谱图册","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,137,519,7,28,212,178,159,173,284,730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc42360a66af189821ac5b798a1b2dc8.jpg",[],{"id":25259,"slug":25260,"title":25261,"dynasty":150,"author":4708,"museum":245,"description":25262,"tags":25263,"thumbUrl":25264,"material":220,"size":25265,"collection":44,"collections":25266,"showCount":643,"zanCount":1769,"manualWeight":48,"mainColor":145},237549,"wu-liang-shou-fu-zhou-ding-guan-peng-237549","无量寿佛轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,25,155,28,7,194,83,29,159,86,198,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[44],{"id":25268,"slug":25269,"title":4335,"dynasty":150,"author":4336,"museum":20,"description":4337,"tags":25270,"thumbUrl":25271,"material":220,"size":220,"collection":220,"collections":25272,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},237112,"shi-nv-ce-cui-wei-237112",[24,25,519,7,28,83,59,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604717feee653eeafc529f2f93948e3.jpg",[],{"id":25274,"slug":25275,"title":25276,"dynasty":76,"author":674,"museum":245,"description":4094,"tags":25277,"thumbUrl":25278,"material":1397,"size":1398,"collection":220,"collections":25279,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},235794,"hua-shi-hu-die-tu-shan-ye-chen-hong-shou-235794","花石蝴蝶图扇页",[137,24,25,914,28,7,212,411,62,159,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929eff4102003e83d39418c727068bd0.jpg",[],{"id":25281,"slug":25282,"title":25283,"dynasty":150,"author":191,"museum":245,"description":19766,"tags":25284,"thumbUrl":25286,"material":1397,"size":1398,"collection":220,"collections":25287,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},234413,"zhi-xing-fu-mu-tang-ka-yi-ming-234413","智行佛母唐卡",[194,7,28,5470,155,83,2602,409,623,34,25285,5480,5469,11305],"火焰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47919a6f05c0b86e438887ba4126ae79.jpg",[],{"id":25289,"slug":25290,"title":25291,"dynasty":18,"author":191,"museum":20,"description":25292,"tags":25293,"thumbUrl":25294,"material":40,"size":25295,"collection":220,"collections":25296,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},234013,"xian-nv-cheng-luan-tu-ye-yi-ming-234013","仙女乘鸾图页","图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。此图线条工谨精细，如春蚕吐丝，柔中见刚，与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。",[24,137,25,519,914,7,28,59,23353,199,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae22542a4bef5e8d5926c3d431eae647.jpg","纵25.3厘米，横26.2厘米",[],{"id":25298,"slug":25299,"title":25300,"dynasty":76,"author":2369,"museum":20,"description":25301,"tags":25302,"thumbUrl":25303,"material":424,"size":25304,"collection":220,"collections":25305,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},233849,"nan-ji-lao-ren-xiang-lv-ji-233849","南极老人像","该图绘我国古代神话故事中的南极老人，又称寿星，长头短身、白须寿眉，立于夜雾迷濛、明月高挂、翠竹纷披、红杏盛开、山泉奔流不息的原野中，一只梅花鹿立于身旁，由于“鹿”与“禄”同音，寓意多“禄”多“寿”。画面中人物用粗细不一的线条勾描，然后染色。树石、流水用笔劲利，山石用斧劈皴，略加淡墨晕染。",[24,155,7,28,83,1817,156,211,86,2487,178,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facebab1181af51829e0be60e88caeab6.jpg","纵217厘米，横114.2厘米",[],{"id":25307,"slug":25308,"title":25309,"dynasty":150,"author":25310,"museum":406,"description":25311,"tags":25312,"thumbUrl":25313,"material":496,"size":220,"collection":220,"collections":25314,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},233194,"hua-hui-ce-ying-su-hua-ye-zhao-zhi-qian-233194","花卉册-罂粟花页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[24,25,519,28,212,17100,409,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6bc79346a1a651cfdd68b3179673136.jpg",[],{"id":25316,"slug":25317,"title":25318,"dynasty":190,"author":191,"museum":245,"description":25319,"tags":25320,"thumbUrl":25322,"material":1397,"size":1398,"collection":220,"collections":25323,"showCount":643,"zanCount":1769,"manualWeight":48,"mainColor":1833},231692,"shi-ting-shi-dai-sui-shi-fo-xiang-yi-ming-231692","室町时代 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创作的一幅绢本设色画，现藏于北京故宫博物院。\n图绘一老者持笔对竹题诗，左侧一小童捧砚待候，右侧一老一少旁观。\n背后巨石衬托，石栏弯曲，竹林苍翠，枝叶繁茂。\n观其情节，应是“东坡题竹”的故事，人物刻划细腻，设色淡雅。\n东坡宽袍大袖，峨冠长髯，风度洒逸。\n衣较多用“钉头鼠尾描”，劲健有力。\n墨竹主干细加晕染，逐节分明，笔墨亦显细秀特色。\n该图描绘的是“东坡题竹”的故事。\n画面上右侧峭陡的立石拔地而起，且向左倾斜，山巅高耸，冲向云霄，山势险峻。\n画幅左侧与中间画有数株墨竹，相互交错，竹竿细高挺拔，枝叶疏密有致。\n在竹荫山石下画有四人，中间一位为苏东坡，正在持笔对竹题诗，前面一童子捧砚，身后一老幼正在围观。\n背后巨山衬托，石栏弯曲，竹林苍翠，树叶繁茂。\n该图画面右上方画家自题曰：“竹色经秋似水清，小阑凉气午来生。\n新诗题上三千首，散作铿金戞玉声。\n柽居杜堇。\n”下钤印两方，一白文印文字不辨，另一为朱文“青天白日”印。\n明代画坛，在南京出现了一些能诗会文能书擅画，且性格开朗，豪放不羁的独具风格的文人画家，杜堇就是其中一位。\n他的人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示出一派文人画的格调。\n《题竹图》就是他这方面的代表作。\n《题竹图》以“东坡题竹”为题材，东坡即宋代文豪苏轼，非常喜欢竹，既爱赏竹，又爱画竹、咏竹，其咏竹之诗也常被他题于竹上。\n该图构图呈长方形，上留天，下不留地，在画幅上面空旷处，有作者自题七绝诗且款“村居杜堇”，起到补白的作用。\n画面左上方空白，有一枝墨竹梢穿天向上，且枝头向右伸展，起到了补空及平衡作用，使画面构图充实饱满。\n画面中部又有构筑的月台近景。\n该图画法上，山石采用皴法干擦，接近 、 画派。\n墨竹从生以浓墨画叶、竿，以淡墨为枝。\n竹竿浓淡远近分明、枝叶向背扶疏，笔法秀逸。\n枝叶纷披，偃卧、挺立、悬挂，娇健多姿，从竹迎风摇曳。\n人物结构准确，东坡宽袍大袖，峨冠长髯，风度洒逸。\n面部略施铅粉。\n用笔简练劲挺，人物形象细腻传神，衣褶工整流畅，着色雅淡，为明代人物画的一种风格。\n北京故宫博物院研究员王中旭：图中人物衣纹简洁，多方折用笔，或起笔略顿收笔渐轻，或起笔较轻收笔略顿，转折处多略顿，是在浙派戴进所创 描的基础上演变而成，但相对戴进之苍劲雄放而言显得较为文雅内敛。\n图中翠竹挺拔，山石耸峙，其中前景山石用侧笔皴擦点染，笔墨酣畅，动感较强，后景山石用淡墨挥染，沉着淋漓，主要师法的是南宋院体和浙派笔法。\n杜堇，生卒年不详，原姓陆，字惧男，一作南，号柽居、古狂、青霞亭长，丹键（今属江苏）人，居燕京（今北京）。\n宪宗成化年间（1465年—1487年）试进士不第，于是绝意进取。\n工诗文，通六书，善绘事，取法南宋院画体格，最工人物，笔法细劲畅利，当时推为白描高手，又能作飞白体。\n亦善山水、花、鸟兽，界画楼台，格局严整，为论者所重。",[23,24,28,7,83,156,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ab7d37fb2da1c17cd7b315268f3492e.jpg",[],{"id":25388,"slug":25389,"title":25390,"dynasty":76,"author":191,"museum":245,"description":25391,"tags":25392,"thumbUrl":25393,"material":220,"size":220,"collection":220,"collections":25394,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},228377,"ming-shi-zong-zuo-xiang-zhou-yi-ming-228377","明世宗坐像轴","此作工笔重彩，尽展帝王威仪。明黄常服遍饰团龙祥纹，云气缠护其间，章纹排布严合规制，织绣细节分毫毕现，将皇权礼制融于一针一线的描摹中。\n\n帝王面容方正，神色沉敛端凝，不怒自威，肖像写实传神，精准勾勒出帝王的肃穆气场。背景髹金屏风满绘升降云龙，间缀宝相花枝，宝座髹蓝描金，雕饰精巧，处处铺陈出皇家的华贵肃穆。\n\n整体设色富丽匀净，线条精细劲挺，尽显宫廷肖像画的精湛造诣，将九五之尊的威严气场定格绢素，静穆间传递出皇朝礼制的厚重庄严。",[24,137,155,7,28,83,341,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec95e7e4f1be01b5a6b4566dce58538.jpg",[],{"id":25396,"slug":25397,"title":25398,"dynasty":76,"author":674,"museum":245,"description":25399,"tags":25400,"thumbUrl":25401,"material":220,"size":220,"collection":220,"collections":25402,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},228302,"he-shi-tu-chen-hong-shou-228302","荷石图","此作以顽石为骨，笔墨苍浑古拙，皴擦间尽显嶙峋厚重。白莲挺生于石侧，瓣色莹白柔润，舒展如绰约君子，刚柔相映，意趣悠长。荷叶墨色浓淡层叠，残叶带露暗生意态，水面细纹轻曳，浮萍点染，漾出清浅凉意。\n\n题字清隽搭配朱印提亮，融书画印为一体。整幅静穆超拔，将水畔幽寂夏景收于尺幅，既有文人水墨的淡逸，又以奇崛造型独显格调，恍若将溽暑间的一缕清寂凝于纸面。",[23,24,25,28,7,248,159,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70da03aa0c6f05f9a9f6377a8ee1adc4.jpg",[],{"id":25404,"slug":25405,"title":10420,"dynasty":76,"author":674,"museum":245,"description":25406,"tags":25407,"thumbUrl":25408,"material":220,"size":220,"collection":220,"collections":25409,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},228294,"luo-han-tu-chen-hong-shou-228294","此作以古拙高简之笔，绘就禅意萧疏之境。罗汉席地而坐，凸额深目大耳，面容奇崛清癯，手持长策侧目凝神，沉静出尘。衣纹以涡旋状高古游丝描勾勒，繁复层叠却丝毫不显冗杂，将僧袍厚重垂坠之态尽显，笔力圆劲凝练。\n\n背景淡墨晕染，虬曲老树枝桠舒展，繁花缀于青叶间，幽草疏落生姿，衬出林间幽寂空远之境。淡设色清雅内敛，以夸张变形的造型，脱尽世俗烟火气，尽显超拔出尘的禅家意韵，古韵悠然，奇骇雅致。",[23,137,24,25,28,7,83,194,34,159,655,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b69c8b504945e6a0218915535961f3.jpg",[],{"id":25411,"slug":25412,"title":25413,"dynasty":228,"author":2380,"museum":245,"description":25414,"tags":25415,"thumbUrl":25416,"material":220,"size":220,"collection":220,"collections":25417,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},228266,"zhu-que-tu-li-zhou-li-kan-228266","竹雀图立轴","此作用双勾法写竹，笔致工稳匀净，竹挺拔劲秀，叶片俯仰向背层次分明，尽显君子清刚之姿。淡施赭色晕染竹节，衬于古旧绢底，愈见沉雅古拙。\n几只山雀或栖于梢头理羽，或穿林跃动，翎毛晕染细腻灵动，为幽寂竹林添了鲜活生气。动静相映之间，将写实工细与文人意趣相融，既有院体花鸟的精工写实，又饱含萧散淡远的林下之风，把劲竹的清操与野雀的生趣合为一卷，尽显雅致隽永的笔墨意韵。",[23,5396,24,25,155,7,855,212,156,299,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac188acdce48fe49bfc54eafa6996beb.jpg",[],{"id":25419,"slug":25420,"title":25421,"dynasty":18,"author":191,"museum":245,"description":25422,"tags":25423,"thumbUrl":25424,"material":220,"size":220,"collection":220,"collections":25425,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},227917,"qun-yu-xi-zao-tu-yi-ming-227917","群鱼戏藻图","《宋人画群鱼戏藻图》是宋代佚名创作的绢本设色画。\n《庄子·秋水篇》中有“濠梁观鱼”的著名典故，故“ ”成为中国绘画的传统题材。\n“ ”又谐“余”之音，有祝颂丰穰之吉祥寓意。\n本幅无款。\n鉴藏印钤“季彤平生真赏”、“庞莱臣珍藏宋元真迹”。\n裱边钤“虚斋审定名迹”。\n图中绘小鱼5尾，欢快地游戏于荇藻之间。\n鱼身用没骨法墨染而成，其光滑、细腻而富于弹性的质感表现得非常充分，线条圆浑流畅；黑脊与白肚之间过渡自然；口、眼、鳍、尾之刻画逼真而具立体感。\n鱼的游向各异，远近分明，荇藻轻灵而富于动感，构图生动活泼，是宋人画鱼的名作。\n存《名笔集胜》册中。\n《虚斋名画续录》著录。",[23,137,24,25,914,7,855,28,557,8671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a01514fa33b348d72283aebee102b35.jpg",[],{"id":25427,"slug":25428,"title":25429,"dynasty":18,"author":20441,"museum":245,"description":25430,"tags":25431,"thumbUrl":25432,"material":220,"size":220,"collection":220,"collections":25433,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},227751,"yu-tu-tu-ye-gong-ji-227751","玉兔图页","兔子在民间象征着吉祥、智慧和谨慎，“玉兔呈祥”之说一直深入人心。“ 玉兔呈祥”起源于“遇兔呈祥”。\n\n《淮南子》中有这样的记载，月中有桂树，果实每年四五月后飘落人间。因玉兔是月中仙童，所以人们常将兔子隐于桂树丛中，先找到的，会有“蟾宫折桂”的祥兆。",[23,137,24,25,4185,7,28,1568,582,982,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1c09a8d4be96ac742975ab827a34a8.jpg",[],{"id":25435,"slug":25436,"title":25437,"dynasty":18,"author":191,"museum":245,"description":25438,"tags":25439,"thumbUrl":25440,"material":220,"size":220,"collection":220,"collections":25441,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},227371,"luo-shen-fu-tu-di-yi-juan-yi-ming-227371","洛神赋图第一卷","曹植的作品中，除了“七步诗”，最有名的就是《洛神赋》了，后来，著名的画家顾恺之依据《洛神赋》，画了流传千古的名画《洛神赋图》，其中最感人的一段描绘是曹植与洛神相逢，但是洛神却无奈离去的情景。\n\n全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。\n\n此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。",[23,24,26,28,7,283,284,173,83,59,9311,1206,29,34,86,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06f1d6798502716c251cdbc934d11d.jpg",[],{"id":25443,"slug":25444,"title":23611,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":25445,"thumbUrl":25447,"material":1397,"size":1398,"collection":220,"collections":25448,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},226255,"ku-zhu-shi-bei-bi-yi-ming-226255",[1053,194,81,27,7,28,84,83,91,22268,92,25446,5470],"线条细致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e4df82c3c5730ef11493dbfa891d8e.jpg",[],{"id":25450,"slug":25451,"title":25452,"dynasty":150,"author":8137,"museum":245,"description":25453,"tags":25454,"thumbUrl":25455,"material":220,"size":220,"collection":220,"collections":25456,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},224595,"zhu-bao-song-mao-tu-ping-yuan-jiang-224595","竹苞松茂图屏","《袁江竹苞松茂图屏》是清代袁江创作的一幅画。\n本幅题：“竹苞松茂，癸卯二月邗上袁江画”，钤“袁江之印”、“字文涛”印2方。\n袁江的界画楼阁无论大幅小幅，无不制作精工，尤其是精心绘制的通景屏，景物连贯一体，气势宏伟。\n此幅12条通景屏描绘作者理想中的仙山、楼阁、屋宇为长松茂竹所环抱，将雄伟壮阔的青绿山水与富丽堂皇的楼阁建筑恰到好处地融为一体，既精细入微，又大气磅礴，极大地提高了传统界画的表现能力和艺术感染力。",[23,24,81,28,7,29,84,34,211,37,92,8259,88,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59156e4ca8c6cc344953a9422e597f54.jpg",[],{"id":25458,"slug":25459,"title":25460,"dynasty":150,"author":7603,"museum":245,"description":25461,"tags":25462,"thumbUrl":25463,"material":220,"size":220,"collection":220,"collections":25464,"showCount":643,"zanCount":1084,"manualWeight":48,"mainColor":49},224116,"ping-ding-tai-wan-zhan-tu-qian-long-224116","平定台湾战图","《平定台湾战图册之清音阁凯宴将士》是清代佚名创作的纸本设色画。\n画幅上部乾隆皇帝御题诗，款识：“赐凯旋将军福康安、参赞海兰察等宴，即席成什。\n乾隆戊申孟秋御笔。\n”钤“古希天子”朱文方印、“犹日孜孜”白文方印、“太上皇帝”朱文方印。\n清内府鉴藏印“三希堂精鉴玺”朱文印、“宜子孙”白文印。\n引首钤“乾隆鉴赏”白文圆印。\n“戊申”为乾隆五十三年（1788年），乾隆皇帝时年78岁。\n图绘乾隆皇帝在河北承德避暑山庄的清音阁款待平台有功的福康安、海兰察等将领，君臣一道观吉祥戏的庆贺场景。\n清音阁与紫禁城内畅音阁大戏台的建造形制一样，共分福、禄、寿三层。\n这三层可以同时出现人物、鬼怪、神仙，从而给人更为全面、强烈的视觉感受。\n此图具有极强的真实感，画家以工整细腻的笔法一丝不苟地刻画人物与建筑。\n虽然人物众多，各个小仅寸许，但是造型比例准确，衣冠穿戴合乎典制，乾隆皇帝等重要人物不失肖像画的特征，具有重要的历史价值。\n乾隆五十一年（1786年），居台湾的福建籍天地会首领林爽文率众起义，反抗清政府驻台腐败的吏治。\n乾隆皇帝面对如火如荼的起义，从乾隆五十二年（1787年）始，多次遣兵派将赴台镇压，同时命钦差大臣福康安督办军务。\n清军在有勇有谋的福康安指挥下，仰仗与天地会党敌对的台湾各地“义民乡勇”的密切配合，终于扭转了处处被动挨打的局面，先后拘捕了起义军领袖林爽文、庄大田等人。\n乾隆皇帝于镇压起义后，有针对性地采取了一些措施，如在乾隆五十三年（1788年）批准了经大学士、九卿议覆，福康安上奏的《清查台湾积弊酌筹善后事宜》章程十六条，以严明台湾吏治、加强管理，从此，清政府对台湾的统治进入了一个新的阶段。\n为了纪念平定台湾的胜利，乾隆皇帝命宫廷画家按照每打一次大的战役，画一本战图册的惯例，创作一套纪实性的《平定台湾战图册》。\n此图册从乾隆五十二年十月二十八日，将军福康安统兵进发台湾开始，至乾隆五十三年乾隆皇帝在避暑山庄款待得胜而归的将士止，表现了解嘉义之围、大埔林战役、斗六门战役、大里栰战役、集集埔等大大小小的战役十余起，形象地记录了镇压林爽文起义的经过。",[23,24,25,28,7,81,26,83,84,92,34,972,2782,1247,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],{"id":25466,"slug":25467,"title":25468,"dynasty":18,"author":191,"museum":245,"description":25469,"tags":25470,"thumbUrl":25471,"material":220,"size":220,"collection":42,"collections":25472,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},223639,"xiao-yi-zhuan-lan-ting-tu-juan-yi-ming-223639","萧翼赚兰亭图卷","画面以淡彩铺陈会面场景，踞坐交椅的老僧神情淡然沉静，端坐访客敛容凝神，二人对谈间似藏暗涌。两侧侍童垂首恭立，衬出静谧肃穆的氛围。\n\n笔线细劲圆转，妥帖勾勒衣褶起伏，将不同衣物质感细细区分，设色简雅清淡，赭石晕染与墨色勾勒相融，古雅沉静。画家捕捉神态入微，老僧的从容自持、访客的内敛机警皆跃然绢上。连交椅的榫卯结构都精细描摹，尽显写实功底。构图疏密相宜，以人物互动牵起叙事张力，尽显雅致写实的风韵，暗合画面之下暗藏的机锋故事底色。",[23,24,137,26,7,28,83,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e77b0a5b2d7c045dc29fe2b86e9abbc.jpg",[42],{"id":25474,"slug":25475,"title":25476,"dynasty":76,"author":663,"museum":78,"description":25477,"tags":25478,"thumbUrl":25480,"material":424,"size":25481,"collection":220,"collections":25482,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},223369,"ba-ge-pi-pa-tu-wu-bing-223369","八哥枇杷图","八哥立于枇杷枝上，望向一簇枇杷果，若有所思",[23,24,914,7,28,212,25479,809,299,454,453],"八哥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498a1485d8d313bbe33eac698b9db385.jpg","31.1x31.1cm",[],{"id":25484,"slug":25485,"title":25486,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":25487,"thumbUrl":25488,"material":67,"size":1560,"collection":220,"collections":25489,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},223070,"hong-lou-meng-56-sun-wen-223070","红楼梦56",[23,24,25,7,28,27,83,12479,112,85,86,29,34,84,96,38,91,26],"https:\u002F\u002Foss.chuangqi.store\u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现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。 该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。 徐邦达先生认为辽博、台北故宫藏本大致全是宋人临本，北京故宫藏本衣纹带方折而多顿挫，为南宋人作无疑。北京故宫藏本前后旧绢隔水钤“南师中印”、“伯谦精鉴”、“龙有鉴赏”等收藏印五方，尾纸附旧拓《兰亭序》帖，帖后有南宋王厚之，元王蒙、张翥题跋，三人题跋中均未谈及图画，该帖钤有收藏印二十九方。",[23,24,25,26,28,7,83,158,173,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8090c7e77955e254b3f443be55f54090.jpg","纵26.6cm，横44.3cm",[],{"id":25540,"slug":25541,"title":16449,"dynasty":18,"author":1609,"museum":134,"description":25542,"tags":25543,"thumbUrl":25548,"material":424,"size":25549,"collection":220,"collections":25550,"showCount":643,"zanCount":1769,"manualWeight":48,"mainColor":145},221590,"qiu-hui-cao-chong-tu-li-di-221590","此画左下方斜出数茎花草，相互掩映。一叶梢上栖息着一只螳螂，回首张望，高举双臂，似是盯着正在飞舞捕食的金龟。螳螂自腰部至头部弯转，其弧度与金龟外壳圆缓的轮廓线、草木花叶的线条都甚利落。其最精彩的部分应属精细的敷色，顺着叶片弧度，用石绿叠出深浅及细细叶脉。石青点染的鸭跖草，及天青色花瓣，虽色已剥落，仍有透薄之感。花间用白粉描绘小花头，螳螂上半部因敷白粉，突出了甲壳的平滑立体，其前臂更是富于变化，虽只勾勒出轮廓，但黄褐、淡黄、橄榄绿等色叠变，显示出更细致的部位变化，其金色的龟壳以金粉钩染，斑纹历历在目。",[23,24,25,519,28,7,212,410,13582,452,409,198,25544,3150,9572,3149,3084,25545,6920,4567,315,25546,25547],"虫类","细笔","小生灵","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fa271539c516bc1fca226558e483c4.jpg","25.2x26.1厘米",[],{"id":25552,"slug":25553,"title":25554,"dynasty":76,"author":15195,"museum":463,"description":25555,"tags":25556,"thumbUrl":25558,"material":235,"size":25559,"collection":182,"collections":25560,"showCount":643,"zanCount":1769,"manualWeight":48,"mainColor":145},220416,"qiu-jing-shan-shui-tu-sun-zhi-220416","秋景山水图","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,24,26,855,28,29,1499,178,772,4188,13148,159,7,172,34,25557],"平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[182],{"id":25562,"slug":25563,"title":25564,"dynasty":228,"author":191,"museum":134,"description":25565,"tags":25566,"thumbUrl":25568,"material":1348,"size":220,"collection":237,"collections":25569,"showCount":643,"zanCount":1769,"manualWeight":48,"mainColor":49},220182,"qiu-hua-ji-ling-tu-yi-ming-220182","秋花鹡鸰图","以淡墨勾勒衬以色晕，绘就秋日荒坡一角。芙蓉瓣瓣舒展，柔枝缀着细碎白花，随风轻曳；苍劲湖石布着点点苔痕，添了古拙意趣。石畔鹡鸰悄然伏于坡上，羽色轻淡，形神灵动，将郊野秋光的清寂柔婉尽数铺陈。\n\n糅合勾勒与没骨之法，墨色晕染温润柔和，设色清雅克制，不施浓艳，尽显萧散写意的文人意趣。画面虚实相生，花枝的柔媚与湖石的朴拙相映，静中生趣，将秋日闲寂里的幽微生机藏于尺幅之间，尽显雅致淡然的审美意韵。",[23,24,28,7,212,2884,25567,159,155],"鹡鸰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ba95da19f094c4e5aed573a20ce313.jpg",[237],{"id":25571,"slug":25572,"title":25573,"dynasty":150,"author":25574,"museum":367,"description":25575,"tags":25576,"thumbUrl":25577,"material":100,"size":25578,"collection":44,"collections":25579,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},219838,"san-jiao-tu-chen-shi-jun-219838","三教图","陈士俊","苍松虬枝横斜，山岚轻笼幽林，铺就出古雅澹泊的林下晤面之景。三位宗师神态各殊，执白羽者清逸出尘，宽袍束带者端方持重，抱婴老者垂眉慈和，身旁侍童稚态可掬，为沉静氛围添了几分灵动生机。\n\n画师笔致精细，衣纹走线舒展流畅，将人物的风神气度描摹得形神兼备，山林晕染层次雅致，把三教汇流、圣贤交融共生的平和意涵，藏进这悠然的雅集场景中，兼具叙事意趣与人文深味。",[23,24,25,155,28,7,83,29,927,211,34,11048,1744,344,21048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3abea62ef10bb38e32d5963e7b16a1.jpg","纵121厘米 横58.9厘米",[44],{"id":25581,"slug":25582,"title":25583,"dynasty":76,"author":191,"museum":3281,"description":25584,"tags":25585,"thumbUrl":25586,"material":100,"size":25587,"collection":44,"collections":25588,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},219591,"di-shi-qi-luo-han-tu-yi-ming-219591","第十七罗汉图","主尊罗汉安坐石上，头覆圆光，神情沉静慈悲，衣纹敷色厚重雅致，红绿配色沉稳古朴。左侧深肤梵僧恭谨侍立，右侧胡貌信徒躬身礼拜，尽显虔敬姿态。背景以淡墨晕染山林，云烟隐现间错落仙灵异兽，烘托出幽寂空灵的禅林意境。\n\n整幅构图主次分明，设色古雅沉稳，线条勾勒凝练流畅，兼具宗教绘画的庄严静穆，又暗含工致细腻的笔致。将罗汉清净无染的出世之姿，与世俗礼拜的恭敬情态相融，绘就出充满禅意的佛国图景，尽显古拙端严的宗教美术气韵。",[24,25,155,28,7,194,83,29,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7e73192d5c5624e3ad6338eff44cfed.jpg","纵183.5横104.8厘米",[44],{"id":25590,"slug":25591,"title":25592,"dynasty":228,"author":3524,"museum":367,"description":25593,"tags":25594,"thumbUrl":25595,"material":100,"size":220,"collection":44,"collections":25596,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},219562,"ma-tu-ye-zhao-meng-fu-219562","马图页","此作以淡赭绢本为底，骏马身形丰腴劲健，以浓淡不一的墨色晕染皮毛，浓墨铺就肩臀，淡墨晕出躯干，虚实间尽显骏马肌理的柔和光泽，静立中暗含蓄力待发的动势。\n牵马胡人气度彪悍，简劲线条勾勒出毡裘纹理，虬髯卷发的样貌鲜活生动，寥寥数笔便将塞外牧人的质朴刚健全然展现。\n左上题字笔致圆熟苍秀，书画相融，更添文雅意趣。整幅脱却院体鞍马的精工繁复，以写意笔法抓取神形，兼具写实功力与文人雅韵，将人马之间的沉静张力定格绢素，尽显元代鞍马画的别致意趣。",[23,24,25,519,28,7,112,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d15c2a7cbef3531d0fff7ae3e535dbb.jpg",[44],{"id":25598,"slug":25599,"title":25600,"dynasty":18,"author":1585,"museum":134,"description":25601,"tags":25602,"thumbUrl":25603,"material":100,"size":25604,"collection":45,"collections":25605,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},219506,"mai-chun-mei-yuan-tu-lu-zong-gui-219506","买春梅苑图","用笔工细。画中的场景应该设计于一个小山峦，左下方隐约可见院墙瓦脊。一位文士左手扶在老梅树上，右手持杯饮酒，男女侍者持酒壶恭立在不远处；老梅树主干直上，旁枝交叉互相呼应，脚下已经是绿色满地；遥望远山，山高云浓，万物正在春天的拥抱下展现新的气象！鲁宗贵长于花鸟，而其山水气象与马远相似，构图倾向于简洁，用笔刚健有力，从中可见地域艺术风格在当时颇为明显。此图在人物的造型、梅树的刻画与环境的表现上，都显示出作者深厚的功底及其修养。",[24,25,519,7,28,637,83,29,92,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af8a21f89dd75571e525750496ab14.jpg","31.5×29.3cm",[45],{"id":25607,"slug":25608,"title":25609,"dynasty":228,"author":191,"museum":230,"description":25610,"tags":25611,"thumbUrl":25612,"material":100,"size":220,"collection":237,"collections":25613,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},219279,"lian-lu-tu-yi-ming-219279","莲鹭图","汀渚石上，双鹭静立。白羽以淡墨层层晕染，质感蓬松清透，长颈或曲或伸，姿态悠然；黑喙尖细如锥，长腿挺括似铁线，爪尖紧扣岩石纹路，稳健中见灵动。周遭莲荷残落，枯梗斜欹，莲蓬以焦墨点簇，间杂细草幽花，皆用简笔写就，野趣横生。画面底色沉郁古雅，绢本的岁月痕迹更添韵致，无浓艳设色，却于简淡中藏深致：风过莲塘的轻响似在耳畔，水泽清寂漫溢开来，尽显元人画中“清空”之境——于静谧里见生机，于素朴中显情韵，寥寥数笔便凝住自然幽微之美。",[23,5396,137,24,25,914,28,7,212,2820,248,16565,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b797be1e0744c28f778b94a3e2dfa19.jpg",[237],{"id":25615,"slug":25616,"title":25617,"dynasty":18,"author":25618,"museum":134,"description":25619,"tags":25620,"thumbUrl":25622,"material":100,"size":25623,"collection":237,"collections":25624,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},219229,"rong-po-cu-zhi-tu-mou-yi-219229","茸坡促织图","牟益","本幅选自「艺苑藏真」册。画中，一对觅食的蟋蟀，现身在野菊草丛间，正使劲地鼓动双翅，高声鸣叫著。蟋蟀是秋天常见的昆虫，牠的鸣声，有点像织布机发出的声音，让人联想起天气即将变凉，必须赶快织布御寒，所以古时候又称牠为「促织」。画上并无签名，旧传为牟益所作。牟益（1178—1242后）是南宋的蜀（四川）人，擅长画人物，对于古文考证，也有深入的研究。",[23,137,24,25,914,7,28,1723,488,25621,212],"草坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7969765cc4f71412e5cbd463a78caadd.jpg","20.6x21cm",[237],{"id":25626,"slug":25627,"title":25628,"dynasty":228,"author":3524,"museum":134,"description":25629,"tags":25630,"thumbUrl":25631,"material":100,"size":25632,"collection":237,"collections":25633,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":49},218827,"ma-tu-zhao-meng-fu-218827","马图","两马相依而立，一深一浅的墨色晕染出温润质感。鬃尾线条如行书般挥洒流畅，圆劲的笔触似篆籀勾勒马身筋骨，肥瘦得宜的体态里藏着含蓄的力度。红衣人抚髯凝睇，神情悠然若与马语；白衣者侧立相伴，身姿闲雅如随景停驻。\n\n画面以书入画，笔墨间透着文人的清雅韵致。没有繁复的铺陈，仅用简练线条与淡墨渲染，便将马的温顺灵动、人物的闲适默契刻画入微。静穆的氛围里，仿佛能听见马的轻嘶与衣袂的微动，形神兼备的意趣，恰是元代文人画中“以形写神”的生动注脚。",[24,7,28,83,112,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3743a6d57a932955b20032b8187e236.jpg","52.5x48.2cm",[237],{"id":25635,"slug":25636,"title":25637,"dynasty":76,"author":25638,"museum":134,"description":25639,"tags":25640,"thumbUrl":25645,"material":235,"size":25646,"collection":237,"collections":25647,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},218794,"bai-lu-tu-zhang-hong-218794","百禄图","张宏","张宏，字君度，号鹤涧，江苏吴县人。生于明神宗万历七年（西元一五七七年），至清圣祖康熙八年（西元一六六八年）尚健在。工山水，笔意古拙，墨法清润。人物写意，天然入格。\n本幅画乔松古柏，岩鹿群游。款：「辛巳秋八月，吴门张宏写。」鹿向被认为是长寿之仙兽，且「鹿」「禄」「柏」「百」谐音，故题名「百禄」，以取富贵爵禄之意。",[24,855,28,172,29,582,1817,927,211,86,34,25641,11419,764,624,1797,25642,11856,25643,2833,2800,7728,25644,1720,7],"淡彩","鹿群","山景","笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89428a5fc63b071b5b27d40c46585043.jpg","170.4x77.2cm",[237],{"id":25649,"slug":25650,"title":25651,"dynasty":18,"author":191,"museum":134,"description":25652,"tags":25653,"thumbUrl":25654,"material":100,"size":25655,"collection":237,"collections":25656,"showCount":643,"zanCount":48,"manualWeight":48,"mainColor":145},218729,"dao-tian-qiu-que-tu-yi-ming-218729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湖石、花叶上的淡绿与雄鸡身上的暗赭红色隐约可见，互为衬托，使得全画的色彩不仅丰富而且和谐统一。整体风格兼工带写，设色艳丽而不媚俗，既保持了华贵的皇家风范，亦兼具了纵逸的笔墨意趣。\n绶带鸟与公鸡相结合的题材，又赋予了此画吉祥富贵的涵义，是对位授三公、加官进爵的美好祝福。",[24,137,7,28,212,6132,178,156,689,18789,25726,286],"葵花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401404af7f723495f6895547298d6cc.jpg",[],{"id":25730,"slug":25731,"title":1495,"dynasty":132,"author":2520,"museum":245,"description":25732,"tags":25733,"thumbUrl":25734,"material":1397,"size":1398,"collection":220,"collections":25735,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":49},289768,"xue-zhu-wen-qin-tu-huang-quan-289768","寒冬的江河畔，两株荒枯的杨柳伫立在突起的白色巨石上。犹如垂钓老叟的柳树，将它细长的枝枒抛向灰蒙的江面。江河上一对水鸭夫妇，远游而至；柳稍枝头上的四只八哥、柳石间几株丛生于的寒梅雪竹，也同为这冬河之畔增添不少的生意。",[24,137,1996,7,4077,156,1499,178,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d156b3308c499a2296a5d39222e2ff.jpg",[],{"id":25737,"slug":25738,"title":25739,"dynasty":76,"author":191,"museum":245,"description":25740,"tags":25741,"thumbUrl":25742,"material":1397,"size":1398,"collection":220,"collections":25743,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":49},288388,"shi-ba-xue-shi-tu-qi-san-yi-ming-288388","十八学士图其三","明人十八学士图，现藏台湾故宫博物院。为唐太宗时期十八学士故事类题材的衍变图式。此组《明人十八学士图》四幅连作，画中人燕居寄兴于琴棋书画，展现出文士“四艺合一”的艺术修养与高雅志趣。画家为雅集盛事，铺陈苑囿景致。挺拔高大的松、柳、梧、槐掩映，汉白石、斑竹栏杆曲护；文士悠闲从事着燃香、棋奕、展书、观画等赏玩活动。全画工笔重彩，人物面貌端严，姿态各具，尊卑主次分明，衣纹采用细劲流畅的“钉头鼠尾”描。庭园内湖石盆景纵横错陈，几榻、桌案、墩椅、画屏、雕漆、瓷铜、文房等日常用物摆设，皆以工整写实技法绘出，显现典型明代宫廷画风格。从画中器具样式，推断其创作年代应在明代中、晚期。",[24,28,7,83,1068,298,213,92,3025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e6e20f94213188cadbd79286d2ffaa.jpg",[],{"id":25745,"slug":25746,"title":25747,"dynasty":76,"author":77,"museum":245,"description":2461,"tags":25748,"thumbUrl":25750,"material":1397,"size":1398,"collection":220,"collections":25751,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":49},288006,"yuan-xi-tu-juan-chou-ying-288006","猿戏图卷",[23,24,26,7,28,27,29,7318,927,178,1185,764,582,25749],"猿戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173b1647909b1d0665386cc866230520.jpg",[],{"id":25753,"slug":25754,"title":25755,"dynasty":150,"author":191,"museum":245,"description":25756,"tags":25757,"thumbUrl":25758,"material":1397,"size":1398,"collection":220,"collections":25759,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":49},287699,"fang-li-di-tao-shu-qing-niao-tu-yi-ming-287699","仿李迪桃树青鸟图","此作工致妍丽，虬曲桃枝横展，垂挂的硕桃晕染出粉红斑斓，饱满鲜活似将盈汁，枝叶疏密错落，勾勒晕染皆细致入微。\n\n两只青鸟静立枝桠，翎毛敷色明丽且层次丰富，蓝羽如琢似染，身姿雍容隽雅，神意悠然。另有小雀穿梭叶底，灵鸟翩跹空际，动静相生，将桃林春日的恬然生机晕开。\n\n整体设色古雅沉稳，工笔细致尽显雅致意趣，把花果丰润与禽鸟灵动相融，晕开满幅吉庆清和的悠然意境。",[23,24,25,26,7,28,212,5270,10657,10717,178,834,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4522b7ba06d3506ecb78a734e6713c7.jpg",[],{"id":25761,"slug":25762,"title":25763,"dynasty":150,"author":191,"museum":245,"description":10461,"tags":25764,"thumbUrl":25765,"material":1397,"size":1398,"collection":220,"collections":25766,"showCount":428,"zanCount":1769,"manualWeight":48,"mainColor":49},272868,"zi-tan-mu-bian-ke-si-hua-niao-tu-gua-ping-yi-ming-272868","紫檀木边缂丝花鸟图挂屏",[24,25,14417,962,7,28,212,34,178,159,409,5004,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17f2642bff062578c84f8e86b499e46.jpg",[],{"id":25768,"slug":25769,"title":5850,"dynasty":150,"author":516,"museum":245,"description":5851,"tags":25770,"thumbUrl":25771,"material":1397,"size":1398,"collection":220,"collections":25772,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":145},238889,"hua-hui-ce-dong-gao-238889",[24,25,519,28,7,212,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5782111591ceaef2e1a39eafb04e1a7.jpg",[],{"id":25774,"slug":25775,"title":25776,"dynasty":150,"author":9831,"museum":134,"description":25777,"tags":25778,"thumbUrl":25779,"material":220,"size":220,"collection":237,"collections":25780,"showCount":428,"zanCount":1769,"manualWeight":48,"mainColor":145},238259,"shu-hua-you-niao-er-shi-zhang-ce-zhang-ruo-ai-238259","书画有鸟二十章册","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,25,519,28,7,299,7348,705,211,173,730,834,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3660f3d2f11d187fa12faa414f7f4d28.jpg",[237,45],{"id":25782,"slug":25783,"title":25784,"dynasty":76,"author":25785,"museum":245,"description":25786,"tags":25787,"thumbUrl":25788,"material":496,"size":220,"collection":44,"collections":25789,"showCount":428,"zanCount":1769,"manualWeight":48,"mainColor":49},236959,"xian-ren-cai-zhi-tu-zhou-guo-fen-ya-236959","仙人采芝图轴","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。",[137,24,25,155,7,283,28,83,159,6267,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b03906855f2a9702cbd91eb476a56a.jpg",[44],{"id":25791,"slug":25792,"title":25793,"dynasty":150,"author":4708,"museum":20,"description":25794,"tags":25795,"thumbUrl":25796,"material":880,"size":25797,"collection":1478,"collections":25798,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":49},236147,"da-shi-xiang-hong-li-shu-xin-jing-he-zhuang-zhou-ding-guan-peng-236147","大士像弘历书心经合装轴","丁观鹏（生卒年不详），擅绘人物、山水。雍正四年（1726年）以画艺精湛入宫供奉，备受雍正、乾隆皇帝的赏识，作品为清宫著录者达83件之多。",[24,155,194,28,7,83,5343,7318,2653,178,343,1797,284,285,17231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbfde9136bb0fce1adfcc9527d15d37.jpg","纵60cm，横28.3cm",[1478],{"id":25800,"slug":25801,"title":25802,"dynasty":76,"author":17263,"museum":245,"description":25803,"tags":25804,"thumbUrl":25806,"material":220,"size":220,"collection":220,"collections":25807,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":145},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,25,155,28,7,172,83,25805,85,86,1499,35,92,93,1744,211,34,31,91,2095],"村舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":25809,"slug":25810,"title":3670,"dynasty":76,"author":3671,"museum":245,"description":3672,"tags":25811,"thumbUrl":25812,"material":1397,"size":1398,"collection":220,"collections":25813,"showCount":428,"zanCount":1769,"manualWeight":48,"mainColor":145},235729,"hua-niao-ce-tan-zhi-yi-235729",[24,25,519,7,28,212,298,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24a476c3157793412130d56a2bc8c12.jpg",[],{"id":25815,"slug":25816,"title":3670,"dynasty":76,"author":3671,"museum":245,"description":3672,"tags":25817,"thumbUrl":25818,"material":1397,"size":1398,"collection":220,"collections":25819,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":145},235726,"hua-niao-ce-tan-zhi-yi-235726",[137,24,25,519,7,28,212,62,612,597,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c1639c45707c2b0e70e21707f1682f.jpg",[],{"id":25821,"slug":25822,"title":5850,"dynasty":150,"author":2047,"museum":245,"description":2048,"tags":25823,"thumbUrl":25824,"material":1397,"size":1398,"collection":220,"collections":25825,"showCount":428,"zanCount":1769,"manualWeight":48,"mainColor":145},235603,"hua-hui-ce-wang-wu-235603",[24,25,519,28,7,212,1068,62,173,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5203f98c5bc6b88482bddebc1961fe00.jpg",[],{"id":25827,"slug":25828,"title":25829,"dynasty":18,"author":1838,"museum":20,"description":25830,"tags":25831,"thumbUrl":25834,"material":40,"size":2270,"collection":220,"collections":25835,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":145},234030,"jiao-yin-ji-qiu-tu-ye-su-han-chen-234030","蕉阴击球图页","《蕉阴击球图》绘南宋贵族庭院里的婴戏小景。庭院内奇巧的湖石突兀而立，其后隐现茂盛的芭蕉数丛。石前的少妇正与身旁的女子专注地观看二童子玩槌球游戏。一童手持木拍正欲坐地击球，另一童子则向他急急地喊话。图中四人的目光同时落于童子所欲击打的小小球体上。构思巧妙，情节生动，显示出作者善于观察人物并且捕捉生活细节的能力。此幅在构图上巧妙地将玲珑剔透的湖石正立于画心中部，以其自身的完整性起到了镇住画面的作用，聚拢了交叠张扬的芭蕉叶及分散的人物，避免了画面因景物繁杂而出现轻浮感。此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。在笔法上，作者注重物象间的对比互衬关系。人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。",[137,24,25,4185,706,7,28,25832,83,5898,466,197,4187,9478,25833,24145],"精细","击球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5800a0bb27581102b47456c505bec926.jpg",[],{"id":25837,"slug":25838,"title":25839,"dynasty":76,"author":2369,"museum":20,"description":12341,"tags":25840,"thumbUrl":25841,"material":12344,"size":12345,"collection":220,"collections":25842,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":49},233144,"can-he-ying-lu-tu-zhou-lv-ji-233144","残荷鹰鹭图轴",[24,155,212,7,855,28,157,178,2820,2708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ba363296fcd9a438b72bb73c541cba.jpg",[],{"id":25844,"slug":25845,"title":25846,"dynasty":150,"author":447,"museum":245,"description":25847,"tags":25848,"thumbUrl":25849,"material":220,"size":220,"collection":220,"collections":25850,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":145},230168,"lan-zhu-ming-qin-tu-hua-yan-230168","兰竹鸣禽图","此作工写相融，意趣悠然。上端禽鸟俯身垂首，似将啄饮，羽色以淡赭晕染，蓬松柔润，神态灵动鲜活。旁侧枯枝缀浅叶，墨色清透疏朗，衬得禽鸟愈发温婉生趣。\n\n下方坡石以泼墨写意，淡绿晕染衬出苍润苔痕，兰草、新竹生于石畔，笔致秀逸舒展，墨色虚实相生，尽显草木清姿。整卷以清浅淡远的色调，将生灵意趣与林下幽寂融为一体，笔墨兼具雅致与野趣，尽显文人写意画的空灵韵味。",[23,24,25,155,212,855,28,156,822,178,159,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb95074029fc5bb85e91a524cb89d6a.jpg",[],{"id":25852,"slug":25853,"title":25854,"dynasty":150,"author":447,"museum":245,"description":25855,"tags":25856,"thumbUrl":25858,"material":220,"size":220,"collection":220,"collections":25859,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":145},230167,"ba-ge-song-shu-tu-hua-yan-230167","八哥松鼠图","此作用笔兼工带写，冬日枯枝横斜，两只八哥相偎私语，墨色翎毛纤毫毕现，亲昵柔婉之态呼之欲出。下方松鼠曳着蓬松长尾，圆目灵动憨态可掬，驻足枝上似正侧目探看。\n\n淡墨晕染危石枯藤，飘零残叶点染出清寂冬意，留白空灵疏朗，将荒寒萧索的氛围铺陈开来。却以小生灵的鲜活暖意破了冷寂，静中藏动，虚实相生。软毛的蓬松温软、翎羽的油亮劲挺、枯木的苍劲淡远相映成趣，把冬日荒林间的盎然生趣刻画得精妙入微，尽显灵秀雅致的笔墨意趣。",[23,24,25,155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（约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,28,7,83,176,156,34,29,172,25908],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92709672d881dd58bce216d07ed75c8f.jpg",[],{"id":25912,"slug":25913,"title":25914,"dynasty":18,"author":15285,"museum":245,"description":25915,"tags":25916,"thumbUrl":25917,"material":220,"size":220,"collection":220,"collections":25918,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":49},227758,"qiu-ye-mu-niu-tu-yan-ci-ping-227758","秋野牧牛图","《秋野牧牛图》是画家阎次平所创作的一幅画，现藏于泉屋博古馆藏。\n\n《秋野牧牛图》描绘了真实生动的乡间生活情景。图中画二牧童和三牛。二牧童并坐于树下，安闲自若，一位似在给另一位捉虱子；一头大牛卧于树下，一小牛依卧母牛身旁，母牛伸过头来给小牛捉蝨子，另一牛向外奔去，自得其乐。树叶染红，杂以黄色，岸坡和远山则以淡墨轻抹勾勒。充满诗意，牛和牧童的刻画更体现出画家的细微观察力。\n\n阎次平 南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水、人物，尤工画牛，颇为生动。画法近李唐。存世作品有《牧牛图》等。弟次于，亦善画。",[23,24,855,28,7,172,29,313,113,6076,4567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0571f2ca0a021ab1e67ffbdcbdde86ef.jpg",[],{"id":25920,"slug":25921,"title":25922,"dynasty":18,"author":2693,"museum":245,"description":25923,"tags":25924,"thumbUrl":25925,"material":220,"size":220,"collection":220,"collections":25926,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":49},227596,"lu-yan-tu-ye-cui-bai-227596","芦雁图页","崔白（公元11世纪）〔北宋〕约活动在1023-1085（宋仁宗至神宗时期），字子西，濠梁（今安徽凤阳东）人，生卒年不详。1068-1077（熙宁）初补图画院艺学，后升待诏。工画花竹翎毛，尤长秋荷凫雁，对佛道、鬼神、山林、人物、走兽等，亦无不精绝。思路敏捷，技巧熟练，挥毫立就，不打草稿不假直尺界笔，“曲直方圆，皆中尺度”。",[23,24,137,25,519,28,7,212,2708,2707,2653,5053,14876],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc580b3f4d0ac734fa06327447d804e1d.jpg",[],{"id":25928,"slug":25929,"title":17492,"dynasty":54,"author":191,"museum":20,"description":25930,"tags":25931,"thumbUrl":25932,"material":424,"size":25933,"collection":220,"collections":25934,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":49},223442,"gong-yuan-tu-juan-yi-ming-223442","绘皇家园林景致。远处山峦起伏，林木葱郁，河道萦回，楼、阁、亭、台、廊、桥星罗棋布，气派宏大雄伟，富丽堂皇。画中游人悠闲风雅又热闹欢快，虽然熙熙攘攘，却如人间仙境。体现了唐代宫廷及贵族阶层悠闲而奢华的生活。此画可能为南宋时期所绘。",[23,24,25,26,81,28,7,84,29,83,176,85,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F477ef8865840f821a8da02c867a064c2.jpg","24.54*291.85",[],{"id":25936,"slug":25937,"title":25938,"dynasty":150,"author":191,"museum":20,"description":25939,"tags":25940,"thumbUrl":25941,"material":67,"size":25942,"collection":220,"collections":25943,"showCount":428,"zanCount":1769,"manualWeight":48,"mainColor":145},223420,"xiao-xian-chun-huang-hou-chao-fu-xiang-yi-ming-223420","孝贤纯皇后朝服像","画中人物孝贤纯皇后（1712—1748年），姓富察氏，出身于一个累世高官的家庭，其祖米思翰，为户部尚书。其父李荣保，为察哈尔总管。她从小就受到良好的正统教育，娴于礼法，深明大义，并且具有较高的文化修养。清雍正五年（1727年）七月十八日，她被雍正皇帝指婚给17岁的皇四子弘历作嫡福晋。弘历即帝位后，立她为皇后。她克勤克俭，不喜奢华，平时在宫中的服饰用品不是金玉珠翠，而是简简单单的通草绒花。她与乾隆皇帝相敬如宾，感情笃挚，十分恩爱。乾隆十三年（1748年）二月初四，在与乾隆皇帝奉皇太后东巡的旅途中，因劳累和久病体虚，病逝于山东德州。乾隆皇帝甚为悲恸，兼程赶还京师料理后事，并为其服缟素12日；著《述悲赋》与诗，以表对皇后早逝的哀憾与追怀。",[23,251,24,7,28,83,341,63,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62047b26c1af7c503cdc3cf64792af27.jpg","194.8cm，横116.2cm",[],{"id":25945,"slug":25946,"title":25947,"dynasty":228,"author":191,"museum":20,"description":25948,"tags":25949,"thumbUrl":25950,"material":67,"size":25951,"collection":182,"collections":25952,"showCount":428,"zanCount":1769,"manualWeight":48,"mainColor":1833},223399,"shang-shan-si-hao-tu-zhou-yi-ming-223399","商山四皓图轴","此图画汉初“商山四皓”故事中使臣迎请四皓一节。画面左下角有一队人马，为首者正与童子对话。山间小路崎岖，云雾缭绕，溪水潺潺。画幅偏右画有数人：二老者对弈，一老者拄杖观棋，二童子左右陪侍，上方一老者正拄杖下行，身后一童子捧果盘相随。山势高耸，乔松挺秀，烘托出一派幽静清逸之气，将四皓闲适的生活恰如其分地表现出来。\n本幅无作者名款，画面上方有挖补之痕，其真正的作者已难考究。旧题为南宋刘松年的作品，然其画法风格实近元代盛懋一派。本幅钤有残印一角，印文不辨。",[23,24,25,155,28,27,7,29,83,927,211,37,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3dddb7ee87e220228e39d7b36a9eee.jpg","纵155.3厘米，横77.2厘米",[182,45],{"id":25954,"slug":25955,"title":10743,"dynasty":150,"author":6928,"museum":20,"description":25956,"tags":25957,"thumbUrl":25958,"material":220,"size":10748,"collection":220,"collections":25959,"showCount":428,"zanCount":1769,"manualWeight":48,"mainColor":145},223222,"geng-zhi-tu-ce-jiao-bing-zhen-223222","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,7,28,519,113,83,4611,9251,29,21308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c2295c618cbfb9ca0d09285cc0220c5.jpg",[],{"id":25961,"slug":25962,"title":25963,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":25964,"thumbUrl":25966,"material":67,"size":1560,"collection":220,"collections":25967,"showCount":428,"zanCount":48,"manualWeight":48,"mainColor":145},223050,"hong-lou-meng-1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虚空藏菩萨摩诃萨","此作以重工技法铺陈，菩萨面相丰润慈悲，宝冠璎珞遍饰周身，华服层叠繁复，尽显端严华贵。安坐于莲台之上，莲台浮于卷浪祥云之中，下方青绿山水晕染出清净净土的悠然意境。\n身后圆光放射出凛凛毫光，焰纹背光烘托出菩萨的神圣威仪，明暗对比强烈，尽显肃穆庄严。整体配色浓丽沉稳，彩料与饰金交相辉映，细节处一丝不苟，将菩萨的慈悲法相与神圣气度完美诠释，尽显中古宗教美术的极致匠心。",[23,24,25,155,28,7,194,83,29,2602,26319,11407],"传统宗教题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80a91c998b1738fb8d4ab42edbba9da.jpg",[],{"id":26323,"slug":26324,"title":3991,"dynasty":76,"author":888,"museum":134,"description":26325,"tags":26326,"thumbUrl":26327,"material":67,"size":26328,"collection":220,"collections":26329,"showCount":321,"zanCount":1020,"manualWeight":48,"mainColor":49},231588,"tao-gu-zeng-ci-tu-tang-yin-231588","唐寅（1470－1532），吴县人。字子畏、伯虎。号六如，自称江南风流子。非诗文书画，尤以画艺见长；初师周臣，继而研学李唐、北宋初年，陶谷（903－970）出使南唐，时南唐国力弱小，而陶谷性格傲慢，在南唐后主脸出言不逊。南唐臣风起而设下圈，派宫妓秦蒻兰扮作驿吏之女以诱之。本来盛气凌人的陶谷，见温婉美丽的秦蒻兰之后，不禁为之邪念萌动，曲意奉迎并并讨好，新庸之赠词，遂败慎独戒。是陶谷所赠，顿弄时得陶谷面红耳赤，狼狈至极。画中刻字，工谨详尽，陶谷拈须倚坐榻上，旁墨纸砚，前面燃着红烛。秦蒻兰束发高笔。髻绣襦罗巾，坐弹弹琵琶，情态味感，极引词的画面。 ，而且理趣兼优，形神俱佳。右上有诗情画意，寓意诗：「一宿唐缘逆旅中，短词以识鸿。当时我作陶承旨，前面发红。」诗情画意，寓意静深。",[23,24,25,7,28,83,34,466,138,314,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fed0db24a4b08267971f750e5a655b5.jpg","168.8 x 102.1 公分",[],{"id":26331,"slug":26332,"title":26333,"dynasty":150,"author":191,"museum":245,"description":26334,"tags":26335,"thumbUrl":26338,"material":1397,"size":1398,"collection":26339,"collections":26340,"showCount":321,"zanCount":1769,"manualWeight":48,"mainColor":145},229216,"qian-long-yao-fa-lang-cai-lan-di-kai-guang-hua-hui-xiao-wan-yi-ming-229216","乾隆窑 珐瑯彩蓝地开光花卉小碗","清高宗在位时(公元1736〜1795年）的官窑。所产的瓷器，突出的特点是能把许多不同品种、不同火度的釉料用于一器之上。在仿古瓷及各种色釉器方面，品种也很多。乾隆窑瓷器釉较康、雍时期略显粗糙，一为乳白粉釉，一为略带青色的白釉。器型种类繁多，并出现了一些新奇的制品，如用瓷土制造的像生瓷，制作精巧，艺术价值很高。乾隆窑瓷器的纹饰，讲究画得规矩，所画多仿名家笔意，并开始有仿西洋的画法。颜色釉方面，以茶叶末釉烧得最为成功，并利用茶叶末加以变化的古铜釉，十分巧妙地反映出铜器的色泽、锈斑，制出仿铜器的作品。",[8885,8886,28,7,409,26336,26337],"开光","蓝地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef37cd2b94669dbd294c627fc1b2a92d.jpg","瓷器精选",[26339],{"id":26342,"slug":26343,"title":26344,"dynasty":76,"author":191,"museum":245,"description":26345,"tags":26346,"thumbUrl":26347,"material":220,"size":220,"collection":220,"collections":26348,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},228379,"xuan-zong-zhang-huang-di-yi-ming-228379","宣宗章皇帝","此作为明代宫廷肖像的上乘之作，工笔精细入微，形神兼备。画师以细腻笔触晕染出帝王丰腴面庞，虬髯苍劲浓密，双目沉静威严，尽显端凝厚重的帝王气度。乌纱翼善冠制式规整严整，明黄色龙袍织金龙纹精细富丽，朱红衬领沉稳庄重，配色典雅厚重，贴合御容肖像的肃穆礼制。整作落笔考究写实，精准捕捉帝王威仪，将宣宗仪容风骨刻画入微，尽显宫廷肖像画的严谨工整之风。",[24,25,677,83,7,28,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2383a7c0d1e26db20e1bdb6b5818b6.jpg",[],{"id":26350,"slug":26351,"title":26352,"dynasty":76,"author":2717,"museum":245,"description":26353,"tags":26354,"thumbUrl":26355,"material":220,"size":220,"collection":220,"collections":26356,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},228314,"hua-shi-tu-lu-zhi-228314","花石图","这幅作品错落铺陈花木湖石，右上角山茶花艳红似火，苍劲枝干蟠曲舒展，尽显盛放热烈。中段蜀葵柔白清雅，叶片肥润舒展，与青绿晕染的玲珑湖石相映成趣，湖石皴染细腻，通灵剔透，将花姿衬得愈发娇妍。下方萱草抽茎舒瓣，柔姿轻曳，添了幽婉闲静之致。\n\n画作工写兼施，设色明秀雅致又层次丰盈，把草木的鲜活生机与湖石的沉静古雅相融，既兼具院体花鸟的写实细腻，又饱含文人画的秀逸格调，将仲夏庭间的鲜活雅致凝于绢素，一花一叶皆可见对自然意趣的细致体察。",[23,24,137,155,28,7,159,298,492,688,409,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21574bc48e709759518e5032841160b.jpg",[],{"id":26358,"slug":26359,"title":26360,"dynasty":228,"author":2563,"museum":245,"description":26361,"tags":26362,"thumbUrl":26363,"material":220,"size":220,"collection":220,"collections":26364,"showCount":321,"zanCount":1769,"manualWeight":48,"mainColor":145},228031,"qian-kun-sheng-yi-tu-xie-chu-fang-228031","乾坤生意图","此卷以精工没骨绘就，秋葵、栀花与幽竹错落排布，柔枝舒展，艳而不俗。蝶蛱振翅、雀鸟掠影，纤毫毕现，将草木的温润柔态与虫禽灵动意趣刻画入微，晕染匀净古雅，满卷流动盎然生机。\n后附诸家题跋，行楷兼具，笔意隽秀疏朗，书画相映成趣，将观照小景所得的天地生机，晕染为一卷悠然鲜活的雅致长卷，尽显静雅意趣，寄寓着对自然生机的由衷赞叹。",[23,137,24,25,26,28,7,212,452,411,493,2653,284,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458572dbd0c2965e335e70ccb4df8943.jpg",[],{"id":26366,"slug":26367,"title":26368,"dynasty":18,"author":1609,"museum":245,"description":26369,"tags":26370,"thumbUrl":26371,"material":220,"size":220,"collection":220,"collections":26372,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},227949,"su-qin-ji-tuan-tu-li-di-227949","宿禽激湍图","《宿禽急湍图》是宋代 的中国画作品，又名《 》，创造于南宋时期，作品内容为树梢和二鸟，收藏于美国 。\n《宿禽急湍图》为册页，作品使用水墨，淡设色，图中古柏依石而生，盘根错节，溪流湍急，飞泻而下，溅起阵阵浪花。\n二鸟栖，息枝头，怡然自得，与水浪形成静与动的对比。\n此图构图形式以峭拔的树梢和二鸟打破了对角线的布势，也使画面获得了平衡感。\n树木多用颤笔描绘，线条颤动。\n虬曲的古柏枝干和急湍的小溪使画面具有强烈的动感。\n以线勾勒和水墨烘染相结合来表现浪花，手法独特。\n李迪，生卒年不详，公元12世纪期间在世， （今河南省 ）人。\n宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事孝宗、光宗、宁宗三朝(1162-1224)，活跃于宫廷 几十年，画多艺精，颇负盛名。\n工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。\n构思精妙，功力深湛，雄伟处动人心魄。\n所作《 》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。\n山水师李唐法，亦多佳作。\n论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。\n传世作品多，大多有年款。\n淳熙元年（1174年）作《风雨归牧图》轴，现藏 ；淳熙十四年（1187年）作《 》轴现藏 。\n庆元二年（1196）作《 》轴、庆元三年（1197年）《鸡雏侍饲图》册页、《猎犬图》册页，均藏故宫博物院。\n子德茂，理宗淳佑年间（1241-1252）画院待诏。\n画承家法，喜画花禽鹰鹘，野景不逮其父。\n所见李画最晚年款为庆元三年（1197年），如上溯到北宋宣和七年（1125年），需时七十三年，据此推算，则李氏存世之年龄应在九十以上。",[23,137,24,25,7,28,286,1091,86,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16085469ed0c7bef14f0566159320c01.jpg",[],{"id":26374,"slug":26375,"title":26376,"dynasty":18,"author":1609,"museum":245,"description":26377,"tags":26378,"thumbUrl":26379,"material":220,"size":220,"collection":220,"collections":26380,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},227948,"shuang-chan-tu-li-di-227948","双蟾图","画面以淡墨晕染勾勒出双蟾肌理，将其湿滑黏重的外皮质感表现得细腻传神。两只蟾蜍姿态灵动舒张，似正于草泽间探跃，将即将腾跃的瞬间定格。\n\n整幅画面清寂幽谧，简淡构图托举鲜活生趣，尽显对自然万物的入微体察，把郊野水畔的片刻生息凝为永恒，于细微之处见精妙写生功力，平淡间蕴藏盎然野意，让观者仿若窥见溪塘边的原生意趣。",[23,137,24,25,706,7,28,582,11460],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97e92ce8f7bb565ac480c460e43ae5a.jpg",[],{"id":26382,"slug":26383,"title":26384,"dynasty":18,"author":191,"museum":245,"description":26385,"tags":26386,"thumbUrl":26387,"material":220,"size":220,"collection":220,"collections":26388,"showCount":321,"zanCount":1769,"manualWeight":48,"mainColor":49},227902,"bai-mei-cui-qin-tu-yi-ming-227902","白梅翠禽图","画面取一隅枝桠，寒梅初绽，翠禽独立，将早春清寂揉进尺幅之间。禽鸟刻画入微，绒羽蓬松柔润，腹羽暖褐与翎羽浓黑相映，翼上白羽似落雪轻沾，圆目凝睇，沉静安然，将生机藏于娴静姿态里。梅花勾勒细腻，瓣边晕染浅淡墨色，花苞缀于枝梢，清润雅致。苍劲枝桠虬曲伸展，留白铺陈出空阔淡远的意境。整体色调温婉柔和，以极简物象晕染出宋人雅趣，把花鸟之态融于幽寂氛围，尽显空灵隽永的宋韵品格，将早春枝头上的轻悄生机，晕成一段淡而不散的雅致诗意。",[23,137,24,25,7,28,212,637,299,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86abed12ed0046a10b30eaab1a6ca674.jpg",[],{"id":26390,"slug":26391,"title":26392,"dynasty":18,"author":26393,"museum":245,"description":26394,"tags":26395,"thumbUrl":26396,"material":220,"size":220,"collection":220,"collections":26397,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":145},227807,"yu-le-tu-zhou-dong-qing-227807","鱼乐图","周东卿","《宋元周东卿鱼乐图》是中国宋末元初时期的画家 创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[23,137,24,25,26,7,855,28,557,250,173,2709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],{"id":26399,"slug":26400,"title":26401,"dynasty":190,"author":26402,"museum":245,"description":26403,"tags":26404,"thumbUrl":26408,"material":1397,"size":1398,"collection":220,"collections":26409,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":145},226548,"zhen-yan-mi-mi-tu-xiang-chao-man-tu-luo-juan-cai-hui-juan-ri-ben-zhen-yan-zong-seng-hui-shen-226548","《真言秘密图像钞》（曼荼罗卷）彩绘卷","日本－真言宗僧惠什","日本真言宗僧惠什撰。又称尊容钞、惠什钞、十卷抄。本书类聚诸尊之梵号、密号、种子、三形、道场观、印契及真言，且绘出诸尊之形像与曼荼罗，并述密供之次第。依今京都鸣泷常乐院所藏之古写本，其内容分为诸佛部、经部、诸菩萨部、观音部、忿怒部、诸天部等六部，总为百尊六法。真言宗，日本佛教主要宗派之一，密宗的一种，空海法师在唐求法，回国后以东寺为道场弘法，故称东密。其后逐渐分为小野、广泽二流，从此二流又分化出大量分派，大致可分为新义、古义二派。真言宗僧惠什，日本和尚，出生年日本真言宗自根本之小野、广泽二流开始，虽衍生众多流派，然中世以来仅大别为新义、古义二派，江户时代，古义派多属高野山，新义派则隶属智山、丰山二山。月不详，本名惠什。",[23,25,26,5476,28,7,194,83,26405,26406,5468,26407],"曼荼罗","神祇","图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab090e546a33f6addd580955eec18a4.jpg",[],{"id":26411,"slug":26412,"title":23611,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":26413,"thumbUrl":26414,"material":1397,"size":1398,"collection":220,"collections":26415,"showCount":321,"zanCount":1769,"manualWeight":48,"mainColor":49},226314,"ku-zhu-shi-bei-bi-yi-ming-226314",[1053,194,28,83,4927,23992,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83002f294aec337905a6726df1bda15.jpg",[],{"id":26417,"slug":26418,"title":26419,"dynasty":18,"author":191,"museum":245,"description":26420,"tags":26421,"thumbUrl":26422,"material":220,"size":220,"collection":220,"collections":26423,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},223690,"ji-ling-he-ye-tu-yi-ming-223690","鹡鸰荷叶图","《宋人画鹡鸰荷叶图》是宋代佚名创作的绢本设色画。\n里枯枝断茎，荷叶翻卷残破，一片残败的荷叶向上斜出，翻卷的叶面，满布虫蚀的痕迹，在一只鹡鸰的停驻下摇摇欲坠。\n鹡鸰双爪紧握荷茎，扭颈俯视，神情专注，为萧瑟的深秋平添了几许生气。\n鸟羽刻画细腻，先用色渲染，然后以极细之笔勾出，笔法生动秀逸。\n构图疏密有致，动静结合。\n本幅无款。\n钤鉴藏印“宋荦审定”、“嘉庆御览之宝”，又半印一方，印文模糊不辨。\n裱边题签：“宋人画梅竹双鹊”。\n绿竹丛中逶迤伸出白梅两枝，清丽冷艳。\n两只鸲鹆栖于枝头，翘首顾盼。\n鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。\n梅花用白粉和淡黄色勾填，层次丰富。\n竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。\n清《石渠宝笈》著录。",[23,137,24,25,7,28,212,178,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb89fa76fc24385671298b4fe2b9f1ef.jpg",[],{"id":26425,"slug":26426,"title":26427,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":26428,"thumbUrl":26430,"material":67,"size":1560,"collection":220,"collections":26431,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":145},223069,"hong-lou-meng-55-sun-wen-223069","红楼梦55",[23,137,24,25,7,28,83,84,92,34,2614,1841,18980,1109,409,26429,783,216],"人物场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b14771366881409afaa5b48b2e58a0.jpg",[],{"id":26433,"slug":26434,"title":26435,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":26436,"thumbUrl":26437,"material":67,"size":1560,"collection":220,"collections":26438,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},223063,"hong-lou-meng-49-sun-wen-223063","红楼梦49",[23,137,24,25,26,7,28,81,83,84,92,34,472,214,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0005ec926a0d206e783104f1a358f952.jpg",[],{"id":26440,"slug":26441,"title":26442,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":26443,"thumbUrl":26444,"material":67,"size":1560,"collection":220,"collections":26445,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":145},223053,"hong-lou-meng-178-sun-wen-223053","红楼梦178",[23,24,25,26,7,28,251,83,84,92,18979,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbde10915be8c63a5dcc911fd3eef1228.jpg",[],{"id":26447,"slug":26448,"title":26449,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":26450,"thumbUrl":26452,"material":67,"size":1560,"collection":220,"collections":26453,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":49},223046,"hong-lou-meng-171-sun-wen-223046","红楼梦171",[23,7,28,83,84,4187,23596,6010,26451,11028,4427,63,2956,784,785,2957,8885,5004,65],"香炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d40f24129146a3cb7acd32054a038f.jpg",[],{"id":26455,"slug":26456,"title":26457,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":26458,"thumbUrl":26459,"material":67,"size":1560,"collection":220,"collections":26460,"showCount":321,"zanCount":48,"manualWeight":48,"mainColor":145},222878,"hong-lou-meng-3-sun-wen-222878","红楼梦3",[23,7,28,83,84,92,34,211,2614,216,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588eab1c5d2cfb896d6e5e072f84ee6e.jpg",[],{"id":26462,"slug":26463,"title":26464,"dynasty":150,"author":260,"museum":134,"description":1078,"tags":26465,"thumbUrl":26467,"materi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涓，衬出山野静幽氛围。设色清雅柔和，淡彩晕染间诗意盎然，呼应主题悠然意境，尽显海派兼容并蓄的创作特色，将山野生机与雅致意趣相融，古韵悠然。",[137,24,155,28,7,172,1817,582,211,34,468,86,486,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43fd5674ee1a1fb40a59d9cab601e009.jpg",[],{"id":26683,"slug":26684,"title":26685,"dynasty":150,"author":26686,"museum":245,"description":26687,"tags":26688,"thumbUrl":26689,"material":220,"size":220,"collection":44,"collections":26690,"showCount":255,"zanCount":1769,"manualWeight":48,"mainColor":145},239136,"san-yang-ying-xi-tu-zhou-xu-cong-long-239136","三羊婴戏图轴","许从龙","许从龙，字佐王，号虎头，浙江嘉善人，后迁江苏常熟定居。以荐入南薰殿，康熙四十五年(1706)充誊录官。卒年八十二。擅山水、花鸟，取法宋元，尤工道释神仙，开相诡奇，不资粉本，悉出胸臆。尝受江苏布政使金世扬布施，绘制《五百罗汉图》，历时六年，绘成于康熙五十一年。此画轴分置在两百纸画面上，纵274厘米，横125厘米，笔力遒劲，栩栩如生，运至江西南昌，展于佑清寺，轰动一时，后归庐山栖贤寺收藏。因迭经兵燹外盗，只存一百一十二幅，现藏江西省庐山博物馆。",[24,25,155,28,7,83,582,4541,637,6142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa11110102da6741efb477ad24036b4.jpg",[44],{"id":26692,"slug":26693,"title":7266,"dynasty":150,"author":191,"museum":245,"description":26694,"tags":26695,"thumbUrl":26696,"material":1397,"size":1398,"collection":220,"collections":26697,"showCount":255,"zanCount":1769,"manualWeight":48,"mainColor":145},238932,"qing-ren-mu-dan-pu-ce-yi-ming-238932","此作以没骨技法晕染折枝牡丹，粉紫花瓣由尖至根逐层浅淡晕开，仿佛凝着朝露的柔媚花容，鹅黄花蕊簇簇，将盛放时的娇秾尽数铺陈。叶片苍绿间晕开赭色细纹，叶脉隐现，舒展灵动，带着春日枝桠的鲜活生机，嫩芽缀在挺秀枝梢，暗涵萌动春意。\n\n画面构图疏朗留白得当，将牡丹雍容却不俗艳的姿态晕染尽致。外框福寿纹古雅端庄，衬得画间花意更显清雅秀润，笔致温婉柔丽，将花之娇态风骨一并留住，藏着东方美学独有的柔婉诗意，尽显传统花鸟画雅致隽永的意趣。",[24,25,519,28,7,212,298,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360f305a51fa00bf7029662846993577.jpg",[],{"id":26699,"slug":26700,"title":26701,"dynasty":150,"author":191,"museum":245,"description":26702,"tags":26703,"thumbUrl":26704,"material":1397,"size":1398,"collection":237,"collections":26705,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":145},238908,"qing-ren-ju-pu-ce-yi-ming-238908","清人菊谱册","此作以秋菊为绘，主瓣描红如霞，瓣心晕染素白，将盛放的雍容与清柔揉于一处，层次柔和雅致，把秋菊柔中带傲的姿态尽显。淡绿晕染枝叶，细勾叶脉，叶片舒展间带着清隽生机，新苞小花错落排布，疏密得宜，让画面满溢悠然秋意。\n设色清丽秀雅，工细却不失写意舒展，将文人推崇的秋菊风骨与温婉韵致融于笔端，尽显秋日名花的雅致姿态，晕染出淡然出尘的文人意趣。",[24,25,519,28,7,212,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cee3d06092af8e0fb0a7df961aa8060.jpg",[237,45],{"id":26707,"slug":26708,"title":26709,"dynasty":150,"author":8284,"museum":245,"description":8285,"tags":26710,"thumbUrl":26711,"material":220,"size":220,"collection":182,"collections":26712,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":145},238188,"wan-nian-zeng-mao-tu-zhou-wang-cheng-pei-238188","万年增茂图轴",[24,25,155,28,7,29,83,927,85,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3625bf23b098742f89243db0ca847449.jpg",[182,45],{"id":26714,"slug":26715,"title":26716,"dynasty":76,"author":191,"museum":245,"description":26717,"tags":26718,"thumbUrl":26719,"material":1397,"size":1398,"collection":220,"collections":26720,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":145},237419,"lu-zhi-hai-tang-shan-yi-ming-237419","陆治海棠扇","此作用没骨法绘就海棠，粉花轻晕，翠叶柔匀，枝桠清逸舒展，将海棠初绽的娇柔之态尽显。洒金扇底晕染雅致，设色明妍却不浓艳，透着清润娴雅的格调。\n\n左侧题诗与花枝相映，笔墨隽秀，朱红印信错落点缀，融书画印为一体，晕开悠然诗意。整体章法疏朗空灵，将春日海棠的柔媚与文人赏春的雅趣相融，尽显小品画的清丽脱俗，带着江南暮春的缱绻温柔，是雅致动人的花鸟小帧。",[24,914,28,7,212,915,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba8a47bbde996d5459b024765019b247.jpg",[],{"id":26722,"slug":26723,"title":26724,"dynasty":150,"author":15934,"museum":134,"description":26725,"tags":26726,"thumbUrl":26727,"material":496,"size":26728,"collection":237,"collections":26729,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":145},237346,"jian-chun-zhou-lu-hui-237346","饯春轴","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,25,155,7,28,298,7877,12307,198,454,596,22136,2614,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4c18372e35b5a588fefe72981a0da5.jpg","151x39.5",[237,45],{"id":26731,"slug":26732,"title":4335,"dynasty":150,"author":4336,"museum":20,"description":4337,"tags":26733,"thumbUrl":26734,"material":220,"size":220,"collection":220,"collections":26735,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},237113,"shi-nv-ce-cui-wei-237113",[24,7,28,59,159,158,65,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18e0eb7b2b5fb8db3b2eaacaa345097.jpg",[],{"id":26737,"slug":26738,"title":26739,"dynasty":76,"author":12763,"museum":20,"description":26740,"tags":26741,"thumbUrl":26742,"material":220,"size":220,"collection":182,"collections":26743,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},236913,"guan-mei-tu-zhou-ding-yun-peng-236913","观梅图轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。",[24,25,155,855,7,172,29,637,83,286,982,211,34,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[182,125],{"id":26745,"slug":26746,"title":24357,"dynasty":150,"author":6928,"museum":20,"description":6929,"tags":26747,"thumbUrl":26749,"material":40,"size":6932,"collection":220,"collections":26750,"showCount":255,"zanCount":1769,"manualWeight":48,"mainColor":697},236138,"li-chao-xian-hou-g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擦，既保持了宋人画的劲健之笔，又呈疏简之势，反映了明代院体画所呈现的变化。",[76,7,28,81,83,84,1499,1500,92,211,29,12805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f47baeede3a2d6d5c1ecf52f831c21.jpg","纵143.2厘米，横75厘米",[],{"id":26818,"slug":26819,"title":26820,"dynasty":76,"author":819,"museum":20,"description":26821,"tags":26822,"thumbUrl":26824,"material":994,"size":26825,"collection":220,"collections":26826,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":145},233709,"pu-die-tu-zhou-xiang-sheng-mo-233709","蒲蝶图轴","此图画池塘浅水中，一丛菖蒲挺立如剑，蒲叶上停落着一只蝴蝶。造型单纯朴拙，笔墨粗简凝重，构图新颖大胆。菖蒲放在画面中间，用粗笔淡墨挥写，苍健而有变化，很好地表现了其挺拔、厚韧的质感。画蝴蝶使用细笔浓墨，勾染相合，比较工致。菖蒲与蝴蝶，一粗一细，一淡一浓，对比之下别有情趣。其他作为陪衬的花草坡石，亦剪裁大胆，处理得当。",[24,855,155,212,7,26823,411,159,7974,1720],"蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d8c94e425d4fb29639f5fc94f36998.jpg","纵111.8厘米，横57.8厘米",[],{"id":26828,"slug":26829,"title":26830,"dynasty":54,"author":191,"museum":20,"description":26831,"tags":26832,"thumbUrl":26833,"material":40,"size":26834,"collection":220,"collections":26835,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},233454,"bai-yi-guan-yin-xiang-ye-yi-ming-233454","白衣观音像页","画面左侧为白衣观音，面微向右，屈腿坐于方形束腰台座上。头束高髻，戴化佛冠，顶披白纱，项饰璎珞，内着红色僧祇支，外穿白色田相袈裟。面相丰满，造型已呈女性化。右手执柳枝，左手下垂提净瓶搭于左膝上，跣足踏莲花。观音头上部有伞形华盖，身后有头光、身光。神态自然安详。六方柱形仰莲台上供养盆花牡丹。右侧画一男性供养人，面朝观音，跪于方毯上，头戴幞头，衣淡黄色袍，束玉带，手持鹊尾香炉，清烟缭绕。后立一侍童，梳双髻，右手持扇，左手抱包袱。上方祥云中现仰莲座四股金刚杵，再上现童子飞天，乘祥云作倾盆散花状，有坿叶仙桃散布空际。背景处有朱红色凭栏一排，观音与供养人之间有长方形榜题框一则，内无字。此画内容丰富，结构严谨，相互呼应。线条以铁线描为主，遒劲有力，敷色以青、红、白为主，部分头饰和飘带描金，色调富丽浓艳。\n白衣观音又名白处观音、白住处观音，是观音菩萨呈现的诸多相貌之一。白色喻纯净，象征菩提之心，表示观音胸怀菩提之心。据《观世音现身种种愿除一切陀罗尼》经中说，供养此观音时应用白净的细布画观世音形像——身着白衣，坐莲座上，一手持莲花，一手提净瓶。据说诵念白衣观音经咒后白衣观音即可出现，而且能随供者所欲求愿悉得。因此，白衣观音也是密宗经常供奉的观音菩萨之一。中国古代许多画家都曾画过白衣观音像，元、明以后这个题材较为流行。在敦煌遗画中，白衣观音像并不多见，此画为国内仅见的早期作品。",[24,25,519,5091,194,28,7,83,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4982691c1fa2d46776ddc4943652c6.jpg","纵52厘米，横55.2厘米",[],{"id":26837,"slug":26838,"title":26839,"dynasty":228,"author":229,"museum":20,"description":26840,"tags":26841,"thumbUrl":26842,"material":880,"size":26843,"collection":220,"collections":26844,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":145},232986,"gu-shan-tu-juan-qian-xuan-232986","孤山图卷","本幅设色，左方自题七绝一首，款：”吴兴钱舜举“。题跋：引首陈沂篆书”溪诗画“本幅上面弘历题诗，后隔水弘历书诗，后幅文征明书林逋诗数首，梁诗正书赋。印记：引首四方，本幅及前后隔水有项子京，乾隆，宣统等引49方，半印一方，后幅印24方。",[23,24,25,26,29,28,7,284,173,176,313,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12955f6e35b97926ac45250b8c8c005a.jpg","纵92.5cm，横23.4cm",[],{"id":26846,"slug":26847,"title":26848,"dynasty":150,"author":260,"museum":20,"description":26849,"tags":26850,"thumbUrl":26852,"material":67,"size":26853,"collection":220,"collections":26854,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},232969,"ma-shu-tu-zhou-lang-shi-ning-232969","马术图轴","阿睦尔撒纳与初登准噶尔部汗位的达瓦齐因利益冲突而相互交战，阿睦尔撒纳战败后，请求归附清廷、谒见乾隆皇帝。对于阿睦尔撒纳的主动投清，乾隆皇帝大喜过望。更为重要的是，通过杜尔伯特三车凌、阿睦尔撒纳等人的归附，他进一步了解到准噶尔内部的情况，从而坚定了借准噶尔部内乱之际出兵的信心，以完成祖父康熙帝、父亲雍正帝“两朝未竟之业”。考虑到阿睦尔撒纳还未出过痘疫，因此觐见地点选在避暑山庄，时间定在寒冷的冬季。\n这一年的十一月十五日，乾隆皇帝于山庄内举行了隆重的欢迎仪式后，又招待阿眭尔撒纳与蒙古族的和特部班珠尔、杜尔伯特部的纳默库等人一道观看了精彩的马术表演。为了纪念这一具有历史意义的盛大聚会，乾隆皇帝命西洋画师郎世宁组织宫廷画家们对此进行了纪实性描绘。此幅与《万树园赐宴图》同为宏幅巨制，表现的人物众多，但经作者合理有序的布局，则显得动静相宜，杂而不乱，使主要人物被突现出来。画家并没有将乾隆皇帝特意画高画大，或安排在画幅的中心位置以引人注目，而是表现他骑花马位于由王公大臣组成的锥形队列的前端，或端坐于众人相抬的肩舆上，经画师的巧妙设计同样使人感受到乾隆皇帝威严的震撼力，从而使他成为画面中最重要的角色。",[24,28,7,155,83,112,34,1288,705,623,2783,26851,2782],"骑手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18456d0c6c09531fcea8bf1ed82b8c13.jpg","纵223.4厘米，横426.2厘米",[],{"id":26856,"slug":26857,"title":9698,"dynasty":150,"author":9699,"museum":20,"description":9700,"tags":26858,"thumbUrl":26859,"material":424,"size":220,"collection":220,"collections":26860,"showCount":255,"zanCount":1084,"manualWeight":48,"mainColor":145},232945,"hua-hui-tu-ce-fan-ting-zhen-232945",[24,25,519,7,28,212,157,248,249,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04a76310a5243e9fcb581b22ba12471.jpg",[],{"id":26862,"slug":26863,"title":9698,"dynasty":150,"author":9699,"museum":20,"description":9700,"tags":26864,"thumbUrl":26865,"material":424,"size":220,"collection":220,"collections":26866,"showCount":255,"zanCount":1769,"manualWeight":48,"mainColor":145},232942,"hua-hui-tu-ce-fan-ting-zhen-232942",[24,25,519,7,28,212,409,62,596,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab207a06b8dcd58c96b61485747f7522.jpg",[],{"id":26868,"slug":26869,"title":26870,"dynasty":76,"author":674,"museum":245,"description":26871,"tags":26872,"thumbUrl":26874,"material":67,"size":26875,"collection":220,"collections":26876,"showCount":255,"zanCount":1769,"manualWeight":48,"mainColor":49},231485,"gong-feng-tu-chen-hong-shou-231485","供奉图","陈洪绶利用各种作画技法适应不同题材，如用折笔或粗渴之笔表现英雄、细圆之笔表现文士美人、用游 丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[23,137,24,25,155,28,7,283,83,59,158,63,6239,26873,6010,173,284],"烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":26878,"slug":26879,"title":899,"dynasty":150,"author":900,"museum":245,"description":26880,"tags":26881,"thumbUrl":26882,"material":220,"size":220,"collection":220,"collections":26883,"showCount":255,"zanCount":1769,"manualWeight":48,"mainColor":49},230995,"xiu-yuan-tu-wang-yun-230995","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[24,25,28,7,81,83,84,1841,34,248,85,1707,4660,92,211,91,1109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],{"id":26885,"slug":26886,"title":26887,"dynasty":18,"author":1140,"museum":245,"description":26888,"tags":26889,"thumbUrl":26890,"material":220,"size":220,"collection":220,"collections":26891,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},230950,"mu-xue-han-qin-tu-ma-lin-230950","暮雪寒禽图","《暮雪寒禽图》是宋代画家 所创作的一幅画，现藏于 。\n此图为马麟所作，以清丽的笔法，绘出冰天雪地之中，山竹覆雪，两只寒禽躲在山石之下的杏枝上过夜的景象。\n以淡墨渲染全景，烘托出雪意，双钩写竹，用笔劲力。\n整幅画面萧瑟冷峭，意境幽远。\n这幅画卷描绘暮冬之际，岩壁下白雪覆盖著荆棘与翠竹，一对黄尾鸲相依避寒。\n通幅色泽沈厚，笔墨苍润稳健，为其粗笔风格的作品，和院藏其〈芳春雨霁〉册的画风极为相近；另一幅〈 〉册虽属细笔，然其中梅干的细枝则和本幅上荆棘细枝的笔法相类。\n此作在笔墨之外，画家还充分地掌握住一份寒冷中详和宁静的气氛，再配上诗句，更表现出了诗文因画而生，画因诗文而意足的旨趣。\n画幅右侧绘斜倾岩石，石旁有荆棘、老竹、积雪，山鸟瑟缩，栖于棘枝之上。\n左上方空白处有宁宗题“疏枝潜缀纷，并翅不禁寒”十个字。\n图中岩石直壁斜倾而上，在石这边数枝折枝棘枝，向左下方凌空伸张扩展，其中有一二枝权又折起指向左上方，与在悬崖的那边塌腰老竹低垂的枯枝交错。\n棘、竹枝上的积雪可见；还有那纷披的翠竹叶在岩石上负雪摇曳，在棘枝上残留着几处红叶。\n就在这岩石后背风的棘枝上，栖息着山鸟两只，一只是白羽，另一只是黑白两色，它们披着厚厚松软的冬装。\n白者缩颈回首，两爪紧抓枝上，长尾下垂，依偎在另一只身旁，黑白分明的这一只，抬首守之。\n两只山鸟安祥地相向，紧紧靠在一起，毫无飞欲之意。\n因为灰暗的暮色雪景笼罩着，造成了阴冷、萧疏、幽邃的气氛。\n所以飞鸟只有并翅不禁寒，才能渡过寒夜。\n只有盼到天明日出时，驱去寒意后，才会使寒禽离枝飞去。\n马麟这幅《暮雪寒禽图》的构意及内容，很像李迪的《雪树寒禽图》。\n但从图中直观马麟的《暮雪寒禽图》要比李迪之画苍劲洒脱。\n枯瘦的棘枝，用笔坚硬，画法苍劲有力；负雪的竹子，有的是冬篁的秃权枝，有的是重笔墨色直接画成的竹叶，也具有苍老浑厚的感觉。\n图中的这些景物，由于在暮雪中出现，所以作者没有显示它们本身固有的不同颜色，而将他们用灰暗的色调统一，即使有几处残留的红枫作点缀，也是具有同样的格调，呈暗红色。\n所以，此图在用色上成功地表现出雪天傍晚时分特有的自然景观。\n马麟（生卒年不详），南宋画家。\n原籍河中（治今山西永济西南），南渡后三代居钱塘。\n世荣孙，远子。\n父为光宗、宁宗两朝画院待诏，独步一时。\n麟传家学，工人物、山水、花鸟。\n宁宗嘉泰年间授画院祗候，颇得赵扩、恭圣杨后及杨妹子称赏，每于父子画上题句。\n或以“麟不逮父，而远爱之，多以己画得意者题作马麟”。\n但麟的笔法圆劲，比其父秀润。\n传世作品有《层叠冰绡图》，上有杨后题诗。",[137,24,25,7,28,855,212,982,286,2653,178,159,1500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":26893,"slug":26894,"title":26895,"dynasty":190,"author":26896,"museum":245,"description":26897,"tags":26898,"thumbUrl":26899,"material":67,"size":1398,"collection":220,"collections":26900,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},230561,"shi-liu-luo-han-xiang-01-bin-du-luo-ba-luo-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230561","十六罗汉像01宾度罗跋啰惰阇尊者","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,24,7,28,194,83,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9b1af20af622f173a9376aa9b34db6.jpg",[],{"id":26902,"slug":26903,"title":26904,"dynasty":150,"author":1162,"museum":245,"description":26905,"tags":26906,"thumbUrl":26907,"material":220,"size":220,"collection":220,"collections":26908,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":145},229025,"hua-hui-ba-kai-zou-yi-gui-229025","花卉八开","柔梅斜枝舒展，粉瓣层叠轻绽，深浅花色晕染出娇柔妍态，苍劲老干皴擦尽显古拙意趣。旁侧新竹挺秀，翠叶临风摇曳，清刚之姿与梅花柔媚相映成趣，一动一静间尽显花木灵韵。\n\n右上角题诗娟秀雅致，诗画相融更添文人情思。设色明丽柔和，勾勒晕染兼具工细与写意之妙，将春日花木的生机神韵尽数铺陈，笔底饱含清雅悠然的文人意趣，将这一隅小景绘就成生机盎然又古雅沉静的清逸画卷。",[24,25,519,28,7,212,156,298,173,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d8a09956eafa777e9025de0f632c7d.jpg",[],{"id":26910,"slug":26911,"title":26912,"dynasty":76,"author":191,"museum":245,"description":1975,"tags":26913,"thumbUrl":26914,"material":1397,"size":1398,"collection":220,"collections":26915,"showCount":255,"zanCount":1769,"manualWeight":48,"mainColor":49},228407,"di-shi-tian-dong-quan-tu-yi-ming-228407","帝释天东全图",[24,25,28,7,194,83,4511,2602,63,5468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0056fe930ac394a6cab95b4f48344fd.jpg",[],{"id":26917,"slug":26918,"title":26919,"dynasty":228,"author":26920,"museum":245,"description":26921,"tags":26922,"thumbUrl":26923,"material":220,"size":220,"collection":220,"collections":26924,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":145},228257,"mo-hua-tu-juan-chang-juan-zhao-zhong-228257","墨花图卷长卷","赵衷","此作用淡墨白描写就，分绘三种花卉，以清隽挺秀的笔线勾勒花叶轮廓，淡墨晕染出阴阳向背，不施丹青却尽现花卉娇柔雅致之态。芍药秾而不俗，水仙清逸出尘，玉簪幽淡含露，墨色清润柔和，将草木风姿描摹入微。\n\n三段皆配题诗，诗画相映，书卷气浓厚，以墨代色，以意写形，把文人幽淡的情思寄寓在一花一叶间，尽显简淡雅致的审美意趣，是水墨花鸟小品中的佳构。",[23,137,24,25,26,283,855,7,212,298,690,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83039bd32439ba7bcc1e7f007efb14a8.jpg",[],{"id":26926,"slug":26927,"title":26928,"dynasty":18,"author":191,"museum":245,"description":26929,"tags":26930,"thumbUrl":26931,"material":220,"size":220,"collection":220,"collections":26932,"showCount":255,"zanCount":1769,"manualWeight":48,"mainColor":49},227880,"tao-zhi-shuang-que-tu-yi-ming-227880","桃枝双雀图","此作构图疏密相宜，桃枝虬曲延展，叶片与桃果晕染细腻，清润雅致。两只雀鸟动静相映，一鸟侧身伫立，侧目凝神，羽色的丝绒质感刻画入微；一鸟探身向下，似欲啄食，灵动鲜活。设色浅淡柔和，以墨色勾勒筋骨，淡彩晕染出物象的层次生趣，古旧绢面晕开沉郁温润的底色，更衬出画面的雅致沉静。将林间一角的幽微生机敛于方寸之间，把日常小景绘成雅致诗画，尽显花鸟小品的含蓄禅意与写生妙趣。",[23,24,137,914,212,7,28,7171,11332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa40fc2a6baeafb73635a4540f8512cf2.jpg",[],{"id":26934,"slug":26935,"title":18673,"dynasty":18,"author":1040,"museum":245,"description":26936,"tags":26937,"thumbUrl":26938,"material":220,"size":220,"collection":220,"collections":26939,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},227739,"huo-lang-tu-ye-li-song-227739","《货郎图》是南宋画家李嵩创作的团扇绢本水墨淡设色画。李嵩创作过多幅货郎图，分别藏于北京故宫博物馆、中国台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆，现藏于北京故宫博物院的《货郎图》的规格是纵25.5cm，横70.4cm，其余的均为小幅。\n\n全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。",[23,137,24,25,914,7,28,83,158,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc853454829aec9f8be8f73998aa141.jpg",[],{"id":26941,"slug":26942,"title":26943,"dynasty":18,"author":26944,"museum":245,"description":26945,"tags":26946,"thumbUrl":26947,"material":220,"size":220,"collection":220,"collections":26948,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},227410,"shen-jun-tu-li-zhou-li-yong-ji-227410","神骏图立轴","李用及","宋代画家李永基善画解说，尤善鬼神。 体格结实，强壮，不受约束，并不特别怪异。 唯一大师吴升（桃子）的笔。 其父掌管天五库军，能画天阔马，是韩干笔法的典范。 顾维佑也为病马干活。",[23,24,137,155,7,28,112,582,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb813d9e9ed4d72843f7460da6848b829.jpg",[],{"id":26950,"slug":26951,"title":26952,"dynasty":150,"author":26953,"museum":245,"description":26954,"tags":26955,"thumbUrl":26956,"material":220,"size":220,"collection":220,"collections":26957,"showCount":255,"zanCount":1769,"manualWeight":48,"mainColor":49},224344,"xiao-pin-1-qiao-gu-224344","小品1","樵谷","此作为绢本设色仙山图景，画面分上下两段铺陈。上方松下仙岛，长髯高士安坐，侍童持如意随侍，丹顶鹤啄衔芝草，意态闲和疏朗。下方仙鹿曳车，车载灵卉仙酿，海雾裹挟红鲤翻涌而出，恍若灵气蒸腾。\n\n笔墨细劲清逸，设色古雅沉静，人物刻画悠然恬淡，瑞兽仙禽生动传神。布景疏密相宜，晕染出道家虚缈出尘的仙境氛围，藏纳福寿绵长的吉祥意趣，尽显传统仙道题材的雅致意韵。",[23,24,25,155,28,7,83,112,60,557,927,211,1600,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7ab3700c076272c9bf608fb083bfbf.jpg",[],{"id":26959,"slug":26960,"title":26961,"dynasty":150,"author":191,"museum":245,"description":26962,"tags":26963,"thumbUrl":26964,"material":220,"size":220,"collection":220,"collections":26965,"showCount":255,"zanCount":1769,"manualWeight":48,"mainColor":145},223664,"yong-zheng-di-du-shu-xiang-zhou-yi-ming-223664","雍正帝读书像轴","整作静谧雅致，帝王身着明黄吉服端坐暖阁，面庞清癯平和，目光轻落手中书卷，尽显松弛安然的书卷气，褪去了朝堂之上的威严肃杀。服色织绣精细繁复，龙纹婉转灵动，衣褶晕染自然，衬出面料华贵质感。两侧案头文房与装帧精美的古籍错落，点明读书主题，暖阁陈设素净柔和，烘托出静雅的伏案氛围。\n\n画家以细腻写实的笔触，捕捉下雍正鲜为人知的闲逸侧面，跳出帝王标准像的刻板范式，将其沉浸典籍的专注神态勾勒入微，在纪实之中融入雅致文人意趣，是清代御容像里极具生活意趣的上乘之作。",[23,24,155,28,7,83,4427,158,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35643af16a8eade2dd5994483bab96a0.jpg",[],{"id":26967,"slug":26968,"title":26969,"dynasty":228,"author":191,"museum":245,"description":26970,"tags":26971,"thumbUrl":26972,"material":220,"size":220,"collection":220,"collections":26973,"showCount":255,"zanCount":1769,"manualWeight":48,"mainColor":49},223617,"hong-shu-xiao-niao-tu-li-zhou-yi-ming-223617","红树小鸟图立轴","此作用笔苍劲老辣，以淡墨皴擦出枝杆斑驳肌理，斜展的枝桠轻缀丹红叶瓣，晕染出深秋清寂淡远的氛围感。两只禽鸟灵动如生，一只敛羽侧目似在梳羽，一只昂首远眺仿佛聆风，翎毛晕染细腻柔和，褐棕羽色与亮蓝尾羽相映成趣，为萧疏秋景添了鲜活生气。\n画作兼收宋院体花鸟的写实精妙与元画的萧散简逸，以极简构图铺陈秋日林间意趣，不施浓艳重彩，只以素雅色调烘托幽清空远的意境，静穆秋景与鲜活禽鸟相融，淡而有味，简而隽永。",[23,24,25,155,28,7,212,17816,2028,653,1288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6756045513ed7addba3944ef1983d5b6.jpg",[],{"id":26975,"slug":26976,"title":26977,"dynasty":18,"author":191,"museum":134,"description":26978,"tags":26979,"thumbUrl":26980,"material":218,"size":26981,"collection":182,"collections":26982,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},223446,"han-lin-lou-guan-yi-ming-223446","寒林楼观","表现冬日雪后树木萧瑟的景致，整幅作品设色淡雅，意境深幽，颇传宋人神韵。",[23,24,81,28,7,29,84,286,982,211,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce11376d9ed52e44ecd59d7ed80b572b.jpg","纵145cm，横88cm",[182,125],{"id":26984,"slug":26985,"title":26986,"dynasty":150,"author":191,"museum":245,"description":26987,"tags":26988,"thumbUrl":26989,"material":220,"size":26990,"collection":220,"collections":26991,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},223331,"san-shan-wu-yuan-tu-yi-ming-223331","三山五园图","在北京西郊的西山脚下，有一片泉泽遍野，群峰叠翠的地方，从公元11世纪起，这里就开始营建皇家园林，到800年后清朝结束时，园林总面积达到了1000多公顷。在这些皇家园林中，最著名的就要数“三山五园”了。\n“三山五园”中的三山是指香山、玉泉山和万寿山。这三座山上分别有静宜园、静明园、清漪园，再加上东边的畅春园和圆明园，就是所谓的五园。如此集中的皇家园林为世所罕见。这主要还是得力于这里优美的自然环境，以及北京作为京城的人文优势。\n在北京的西北郊，素有神京右臂之称的西山，峰峦连绵，自南趋北，余脉在香山的部位兜转而东，远远拱列于北京的西北面。在它的腹心地带，两座小山岗双双平地突起，这就是玉泉山和万寿山。它们附近泉水丰沛，湖泊密布，形成有如江南的优美自然景观，这在华北地区是不多见的。\n早在辽、金时期，香山、玉泉山就有了皇家行宫别苑的建置。但金、元、明三代的主要精力都放在在修建北京的城池和城内的皇宫。这里真正成为皇家独占的宫廷园囿，还是清王朝兴起以后的事。\n清朝的皇帝们十分热衷于园林的建设，尤其是康熙、雍正、乾隆三朝，基本奠定了京城皇家园林的建设格局和规模，“三山五园”就是其中的核心部分。\n三山五园中建造最早的是畅春园，它于康熙二十九年（即公元1691年）建成，位于今天的北京大学一带，是在明代私家园林的旧址上修建的。今天我们在北京大学的校园里，还依稀可以找到一些旧日园林的痕迹。",[23,28,81,7,29,84,86,1109,91,32,5385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf339820c8e9c1373d7b74bcee1b035e.jpg","51x88",[],{"id":26993,"slug":26994,"title":26995,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":26996,"thumbUrl":26998,"material":67,"size":1560,"collection":220,"collections":26999,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},223047,"hong-lou-meng-172-sun-wen-223047","红楼梦172",[23,24,7,28,83,59,84,156,466,211,92,9479,34,26997,10452],"黄叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaeed6a2f207bfa4c0ff0e2a88140b8b.jpg",[],{"id":27001,"slug":27002,"title":27003,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":27004,"thumbUrl":27005,"material":67,"size":1560,"collection":220,"collections":27006,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":49},223023,"hong-lou-meng-148-sun-wen-223023","红楼梦148",[23,24,7,28,29,83,84,85,176,86,314,1500,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0cacb77d3ba2f18dc3c0c17699474e.jpg",[],{"id":27008,"slug":27009,"title":27010,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":27011,"thumbUrl":27012,"material":67,"size":1560,"collection":220,"collections":27013,"showCount":255,"zanCount":48,"manualWeight":48,"mainColor":145},222970,"hong-lou-meng-95-sun-wen-222970","红楼梦95",[23,24,7,28,83,84,29,34,92,4188,1600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F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1）。胡瓌喜用狼毫笔，借其挺健之笔毫绘制精致之作品。本幅即其精描细写之佳作，与院藏胡「回猎图」之画风及尺寸大小均相似，原属同一组之作 ，皆曾经宋徽宗收藏，画幅上遗有「宣和」半印。",[23,24,28,7,83,112,2463,27036,173,1030,22850,7871,25545],"山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a84886fe554f046fcb60e0d99942b0b.jpg","全幅 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山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,24,137,25,26,7,28,82,212,395,16144,178,653,211,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],{"id":27375,"slug":27376,"title":27377,"dynasty":228,"author":229,"museum":245,"description":27378,"tags":27379,"thumbUrl":27381,"material":67,"size":27382,"collection":220,"collections":27383,"showCount":144,"zanCount":1769,"manualWeight":48,"mainColor":145},232884,"qun-xian-du-hai-tu-juan-qian-xuan-232884","群仙渡海图卷","八仙是中国民间传说中广为流传的道教八位神仙。\n八仙之名，明代以前说法不一，有汉代八仙、唐代八仙、宋元八仙，所列神仙各不相同。至明代吴元泰《东游记》始定为：铁拐李（李玄）、汉钟离（钟离权）、张果老（张果）、吕洞宾（吕岩）、何仙姑（何琼）、蓝采和（许坚）、韩湘子、曹国舅（曹景休）。",[23,24,26,28,83,194,8913,27380,7],"渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1473de61e41bb0fdef9334e4b6bf4dc.jpg","* 24.4x94cm",[],{"id":27385,"slug":27386,"title":27387,"dynasty":228,"author":1381,"museum":134,"description":27388,"tags":27389,"thumbUrl":27390,"material":67,"size":27391,"collection":220,"collections":27392,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},232255,"zhu-lin-xian-zi-tu-liu-guan-dao-232255","竹林仙子图","这一张古画比较奇怪，奇怪的是故事的内容比较特殊，而且是供欣赏者来一起讨论的。作品是元代刘贯道的 《竹林仙子》，作品并不大，但如今被收藏在台北博物馆之中。\n为什么说这一张作品比较奇怪，因为画中仅仅只出现了一个古代仕女，但专家却称这一个仕女有区别当时的画中人物，准确的讲作者想要画的是自己想象中的仙女。\n700年前的一个仙女掉落竹林，古画中的她想飞却又被困住了！\n既然是仙女，为何画中的人物会被困在画里的竹林之中无法飞出去呢？这背后究竟是为什么？我们带着疑问先来看看作品的细节，一起来欣赏一下距今700多年的作品背后究竟作者想要表达什么！\n刘贯道是元代一个著名的绘画大师，而且他的绘画作品尤其是擅长于画佛道人物，所以为什么画中人物被称为仙女，这与作者的用意有直接的关系。\n当然他也能画山水、花竹、鸟兽等等。他的作品之中绘画的手法与宋朝文人雅士一样，但其画功非又比一般的画家复杂得多，而且他的存世作品非常少。\n仔细看这一张作品，其实大家可以感受到绘画作者非常的细致，每一处的景色显得非常的精妙，尤其是他笔下有着一种传统的绘画技法，透露着一种浓浓的古典风味。\n整个作品十分的雅，而且清秀的笔锋与颜料的使用都是非常特别。仔细看那一个仙女的衣服，飘逸的感觉真的很到位，就如天宫之中的仙女一模一样。但为什么这一个仙女会落到凡间的竹之中呢？\n首先有网友给出一种解释，那就是不是这一个仙女落到了凡间，而是她亲自下凡后却被凡间的某一些东西给吸引住了。作者在绘画的时候让仙女的眼神落在了地上的鲜花上面，可能是凡间的花朵吸引住了她，也可能这一些鲜花在天宫之中就没有，美女爱花这一个观点就融入到作品之中。\n仙女被仙花吸引住了，所以她独自下凡就是为了多看几眼鲜花。仙女的姿势是有向后飞的意思，衣服的飘带也是呈现一种动起来的姿态，而仙凡看着花果，估计也就是被鲜花给吸引住了。\n不得不说古人绘画的作品真的够细致，山间有竹林，而竹林之中又有少许的鲜花。一个仙女落入在凡间的树林之中，在鲜花的山间还有一些流水，这样一种诗情画意的画面真妙。\n难怪仙女不愿意离开，估计换成别人落入到如此美景之中也不会想着离开吧",[24,25,137,7,28,83,59,156,211,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b43f6849455cf8800987ffcf55ba5cf.jpg","70×31.4cm",[],{"id":27394,"slug":27395,"title":27396,"dynasty":190,"author":191,"museum":245,"description":27397,"tags":27398,"thumbUrl":27399,"material":1397,"size":1398,"collection":220,"collections":27400,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":145},231793,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-niao-juan-yi-ming-231793","明清日本古画花鸟山水人物粉本-花鸟卷","此卷三段取景，意趣各别。首段紫茄垂枝，晕染柔和饱满，将蔬果的鲜活质感尽显无余。中段群芳错生，凤仙秾艳、牵牛幽蓝、鸡冠明黄，草间蜻蜓静立，工笔勾勒柔劲相济，淡彩敷色清润雅致，将花草舒展之姿描摹入微。末段坡泽野趣盎然，蛙类或跃或伏，紫藤垂缀如瀑，蜂蝶振翅穿梭，生机灵动。全卷笔致秀雅，兼具工细写生的精工与自然野逸之趣，淡墨轻色温润和谐，将四时小景的鲜活意趣融于长卷，尽显写生花鸟的雅致风神。",[23,24,25,26,28,7,212,198,452,10403,556,596,1092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9311663ccaeea82c7a495e62a25ee48c.jpg",[],{"id":27402,"slug":27403,"title":27404,"dynasty":190,"author":27405,"museum":245,"description":27406,"tags":27407,"thumbUrl":27408,"material":1397,"size":1398,"collection":220,"collections":27409,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":145},231735,"shan-shui-ren-wu-juan-xia-bu-ji-tong-231735","山水人物卷(下部)","吉通","德川吉通（1689年—1713年），德川御三家之一的尾张藩第四代藩主。是第三代藩主德川纲诚的九男，母亲侧室坂崎氏。乳名是薮太郎、吉郎、五郎太。字子中。官职从三位权中纳言。",[23,24,25,26,28,7,81,83,84,29,34,92,91,214,10452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a280d4f710ef9cf58d529163770ed3.jpg",[],{"id":27411,"slug":27412,"title":27413,"dynasty":190,"author":191,"museum":245,"description":27414,"tags":27415,"thumbUrl":27416,"material":1397,"size":1398,"collection":220,"collections":27417,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":145},231679,"xing-shan-nu-hu-tu-zhou-yi-ming-231679","行山怒虎图轴","此作画境开阔空寂，将猛虎置于下半幅，以大片留白衬出山野荒莽之境。作者工写兼具，以细笔丝绘虎身鬃毛，蓬松柔劲，晕染出皮毛的明暗层次。怒目圆睁、獠牙毕露，咆哮间尽显百兽之王的慑人气魄，前爪紧扣山石，利爪锋芒毕现，将蓄势待发的悍勇姿态定格。岩石以淡墨泼染、焦墨提点，干湿浓淡间烘托出嶙峋质感，与猛虎的刚健互为映衬。整幅笔墨苍劲古朴，把山君的威严凶悍与山野的沉静融为一体，尽显传统走兽画的精妙气韵。",[23,24,25,155,28,7,3794,582,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9040aefe7882aff435761b74a634bd.jpg",[],{"id":27419,"slug":27420,"title":27421,"dynasty":190,"author":191,"museum":245,"description":27422,"tags":27423,"thumbUrl":27427,"material":1397,"size":1398,"collection":220,"collections":27428,"showCount":144,"zanCount":1769,"manualWeight":48,"mainColor":49},230836,"di-yu-shi-wang-jing-bian-tu-juan-yi-ming-230836","地狱十王经变图卷","以长卷铺陈幽冥叙事，起首佛陀安坐，引渡之意尽显。次第展开断狱场景，冥王威严端坐，鬼差持械呼喝，罪众或戴枷受刑、或垂首惶然，刑狱百态跃然纸上。\n\n笔致稚拙灵动，设色古旧厚重，人物神态各有分明：冥王的肃穆威严，罪囚的凄惶愁苦，差役的凶戾悍勇，皆被鲜活勾勒。民间画工以质朴笔触，将宗教劝诫融于具象场景，既带着神性庄严，亦杂糅世俗意趣，把善恶有报、礼佛超生的因果叙事完整铺陈，藏着古人对生死善恶的叩问与敬畏。",[23,24,25,26,28,7,194,83,112,27424,4926,2782,27425,27426],"鬼卒","刑罚","审判","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a101c72f4343dac941cb149b8b6931c.jpg",[],{"id":27430,"slug":27431,"title":27432,"dynasty":76,"author":191,"museum":245,"description":27433,"tags":27434,"thumbUrl":27436,"material":220,"size":220,"collection":220,"collections":27437,"showCount":144,"zanCount":1769,"manualWeight":48,"mainColor":145},228816,"huo-lang-tu-li-zhou-yi-ming-228816","货郎图立轴","画面里货郎车载满琳琅玩货物什，层层叠叠堆挤着，将巷陌营生的热络尽数铺展。老货郎佝身理货，眉眼带着营生的疲惫，又藏着几分温和。孩童们姿态各异，有的踮脚抬首，目光黏在货架上满是艳羡；有的蹲坐嬉闹，憨态尽显。\n古雅柔润的设色晕开旧时光晕，细劲线条勾勒出鲜活神态，将巷闾烟火日常定格绢素，把市井生计的温热与稚子烂漫揉为一处，意趣盎然，尽得世俗小景的鲜活情致。",[23,137,24,155,28,7,83,6512,1744,97,12008,27435],"烟火气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa801a280bf7b02f555d2c58bc6d65ee7.jpg",[],{"id":27439,"slug":27440,"title":27441,"dynasty":76,"author":191,"museum":245,"description":27442,"tags":27443,"thumbUrl":27446,"material":220,"size":220,"collection":220,"collections":27447,"showCount":144,"zanCount":1769,"manualWeight":48,"mainColor":49},228801,"shi-di-pu-sa-xiang-yi-ming-228801","十地菩萨像","六尊菩萨安坐翻卷云海之间，排布错落有致，尽显天界雍容气象。菩萨面相圆柔端雅，眉眼低垂含慈悲静穆之态，衣袂层叠舒展，璎珞宝饰纤毫毕现，纹饰繁而不乱，金线勾勒更添华贵庄严。整作设色古雅厚重，朱砂石青晕染出沉稳底色，金箔提亮衣纹宝光，祥云流转灵动，衬出缥缈空灵的圣域氛围。画作工细精湛，将佛教造像的神性肃穆与工笔重彩的美学意趣相融，尽显佛绘艺术的精妙造诣。",[23,24,194,83,7,5470,28,3114,2602,7766,27444,27445],"华贵","慈悲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27734dfb81a119cd087bce61c2f19059.jpg",[],{"id":27449,"slug":27450,"title":27451,"dynasty":76,"author":27452,"museum":245,"description":27453,"tags":27454,"thumbUrl":27455,"material":220,"size":220,"collection":220,"collections":27456,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":145},228342,"qian-yan-tu-wang-shou-qian-228342","千雁图","王守谦","整卷群雁聚散自如，或振翅翱翔、或敛羽栖汀，姿态各不相同，灵动尽显。以淡墨晕染汀渚苇丛，留白铺就水天色空濛之境，虚实相生间，将秋日寒渚的清旷萧瑟铺展开来。\n\n水墨写意笔触简练苍润，大雁造型简括神完，芦苇繁花轻描淡写，野逸之趣扑面而来。画面两侧行书题跋与画作相得益彰，书画合璧，尽显明代文人画的雅致意趣，将江渚雁群的自然野态描摹得淋漓尽致，是写意花鸟中的精妙之作。",[23,24,25,26,855,28,7,178,2708,250,1091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5f90b188d80a1c0e4720b5f1db3863.jpg",[],{"id":27458,"slug":27459,"title":27460,"dynasty":18,"author":8438,"museum":134,"description":27461,"tags":27462,"thumbUrl":27463,"material":952,"size":220,"collection":220,"collections":27464,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":145},227750,"feng-yan-zhan-juan-zhao-bo-su-227750","风檐展卷","本幅画傍山临水，庭院湖石点缀，长松修竹环抱，营造出文人理想燕居之室。亭内屏前设卧榻，漆桌上置书卷、瓷瓶、香炉，文士右持羽扇，左倚凭几，神态悠闲；左方仕女二人凭栏而立，右方两童手执茶具，趋步向亭。题签订为南宋画家赵伯骕（1124-1182），对幅书法则为乾隆御题。宋人强调「烧香、烹茶，挂画、插花，四般闲事」（见南宋《梦粱录》）。此帧小扇面，除了反映宋代文人品茶挂画的生活文化，更保留了宋代园林建筑及家具的造型特色，弥足珍贵。",[23,137,24,25,28,7,29,83,176,34,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92817d91df028c880aa3c02bbd0c810.jpg",[],{"id":27466,"slug":27467,"title":27468,"dynasty":150,"author":1162,"museum":245,"description":27469,"tags":27470,"thumbUrl":27471,"material":220,"size":220,"collection":220,"collections":27472,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":145},224588,"mo-song-yuan-hua-liu-xia-xiong-ji-zhou-zou-yi-gui-224588","橅宋苑画榴下雄鸡轴","此作用色明妍雅致，雄鸡独立石上，红冠华羽，昂首睨视，尽显轩昂神气。榴花似火缀于枝桠，与素白百合、娇柔萱花相映，浓烈与清柔交织，层次丰盈。灵透湖石立旁，皴秀古雅，衬得花木禽鸟更见鲜活生机。\n\n工笔绘就却无板滞之感，禽鸟羽毛晕染细腻毫微，花枝俯仰有情，尽显精工雅致。搭配题诗，将雄鸡傲岸品格融于笔端，物性文思相合，构图疏密得宜，静雅鲜活相融，铺展出祥瑞清和的悠然意境，尽显雅致雍容的花鸟意趣。",[23,24,25,155,7,28,212,6740,13129,688,197,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4db89d3a16251c308996ad3f0f3d35.jpg",[],{"id":27474,"slug":27475,"title":27476,"dynasty":18,"author":191,"museum":20,"description":27477,"tags":27478,"thumbUrl":27480,"material":40,"size":27481,"collection":42,"collections":27482,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},223605,"qiu-lin-fang-du-tu-zhou-yi-ming-223605","秋林放犊图轴","画面描绘了一个男孩在岸边与平坡之间的秋林中给牛溪喂食的场景。 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明代乌斯道题跋：“守躬以礼，泣之衣也。养心以静，福之基也。笃于兄弟，家之肥也。诉先裕后，志无递也。胤善继续续，续有辉也。斯真逸处士，熟其非也？乌斯道”。",[23,24,25,83,28,7,927,29,4188,705,34,12767,27659],"持杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad73948b5383d12c65013d9bdad1a100.jpg","120.5x44.9厘米",[44],{"id":27664,"slug":27665,"title":27666,"dynasty":76,"author":12763,"museum":134,"description":27667,"tags":27668,"thumbUrl":27669,"material":28,"size":27670,"collection":44,"collections":27671,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":145},219313,"ge-hong-yi-ju-tu-ding-yun-peng-219313","葛洪移居图","层岩叠嶂间，飞瀑如练倾泻而下，裹挟着山林的清润之气。近景溪畔，板桥横卧，衣袂飘飘的人物或行或驻，似在细说移居的缘由。林间隐现的屋宇，与苍松翠柏相映，暗合葛洪求道隐逸的仙踪。山石勾勒兼施皴染，线条细劲如丝却力道暗藏，树木葱茏有致，每一片叶、每一根枝都透着工致的匠心。人物神情宛然，动态传神，虽寥寥数笔却尽显仙风道骨。整幅画将山水的幽远与人物的清雅融于一体，笔墨间流淌着文人画的雅致韵致，仿佛能让人嗅到山间的草木香，触到溪涧的清凉，窥见那份超脱尘俗的悠然心境。",[24,137,25,7,28,172,29,83,85,86,84,34,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c8046eefcf6f8665afa8c48234b3b0.jpg","49x29.9",[44],{"id":27673,"slug":27674,"title":12279,"dynasty":18,"author":5686,"museum":463,"description":27675,"tags":27676,"thumbUrl":27677,"material":100,"size":27678,"collection":237,"collections":27679,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":1833},219120,"san-yang-kai-tai-tu-yi-yuan-ji-219120","虬干盘曲如铁，疏枝缀雪梅点点，似有暗香浮动于古雅底色间。三畜情态各殊——卧者昂首似听风语，软毛覆身藏着慵懒暖意；立者凝眸若待春声，犄角弯转如流云舒展；侧转者鬃毛微拂，与同伴犄角轻触，灵趣暗生。\n\n笔墨古拙温润，晕染间见肌理：羊的绒毛柔中带韧，树的皴纹苍劲含情。“三阳”谐音藏吉意，冬寒未褪时，生机已在虬枝与羊影里悄然酝酿。整幅画如一首无声的早春诗，雅致中藏着对时序流转的温柔期许，尽显宋画的含蓄与意韵。",[24,137,155,7,28,582,4541,313,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839d31457b96c63f4eca241315b5292d.jpg","纵148.5cm,横74cm",[237],{"id":27681,"slug":27682,"title":27683,"dynasty":18,"author":191,"museum":230,"description":27684,"tags":27685,"thumbUrl":27686,"material":100,"size":220,"collection":237,"collections":27687,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},218884,"sui-an-tu-yi-ming-218884","岁安图","禽鸟安栖于丛草间，羽上星点似碎金散落，眼波流转藏着几分闲逸。细劲的草叶以墨绿勾染，或垂或扬，如微风轻拂时的慵懒姿态。古绢的棕褐底色晕染出岁月温厚，与鲜妍草色相映成趣，更显画面静谧雅致。整幅画无喧嚣之态，仅以极简物象勾勒平和景象，仿佛能闻草叶摩挲轻响，见禽鸟敛翅安然。从容笔墨恰是对“岁安”的生动诠释——寻常草木间藏岁月静好，细微生灵中见天地祥和。",[24,914,28,7,212,299,655,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a5c1b955da4147b8d5797d7bc282a2d.jpg",[237],{"id":27689,"slug":27690,"title":4326,"dynasty":150,"author":10628,"museum":134,"description":27691,"tags":27692,"thumbUrl":27693,"material":235,"size":27694,"collection":237,"collections":27695,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":145},218804,"mei-que-tu-dai-hong-218804","戴洪，生卒年藉贯均不可考，高宗乾隆时，任职内廷画院为供奉，擅长山水画，以和丁观鹏、程志道、金昆、孙佑等人，合画清明上河图出名。\n他的画，不论用笔勾画输廓，用墨分染明暗，都非常工细，着色尤其是明净鲜丽，予人一种情眞景实的实境感觉。\n本幅画梅树和山雉便是一例。但是，这种崇尚技巧的院画，并不受一般「重意象轻形似」的文人画家所欢迎。",[24,25,137,155,212,7,855,637,178,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3557fdc9c807ebe9bebe162eb18b2de.jpg","167.6x91.1cm",[237],{"id":27697,"slug":27698,"title":27699,"dynasty":228,"author":191,"museum":245,"description":27700,"tags":27701,"thumbUrl":27706,"material":100,"size":220,"collection":44,"collections":27707,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},218358,"suo-jian-tu-yi-ming-218358","锁谏图","虬枝古木掩映着一方天地，人物群像在此铺陈开叙事脉络。居中者端坐，气度沉稳；两侧侍从垂立，神色恭谨；阶下数人或躬身作礼，或捧持器物，动态间藏着故事张力。衣纹线条婉转流畅，勾勒出古雅服饰肌理；树木枝叶繁密却层次分明，笔墨细腻中见苍劲质感。画面氛围沉静，却在人物互动里暗涌肃穆与忠直——似是忠臣锁颈进谏的决绝时刻，又或是那份以死明志的忠义风骨？绢素斑驳痕迹更添历史厚重，观者于笔墨间，可感知往昔精神与温度。",[137,24,4304,2185,7,28,14258,92,27702,27703,27704,27705],"进谏","忠直","忠义","肃穆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce3f2e9141154588e10794b0936bb7d.jpg",[44],{"id":27709,"slug":27710,"title":27711,"dynasty":150,"author":433,"museum":367,"description":2987,"tags":27712,"thumbUrl":27713,"material":100,"size":2990,"collection":220,"collections":27714,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":145},218334,"shen-xian-gu-shi-tu-ce-5-leng-mei-218334","神仙故事图册-5",[23,24,28,7,83,9311,343,1600,519,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F781bd26342a026f38abb9ad0392e3bd2.jpg",[],{"id":27716,"slug":27717,"title":27718,"dynasty":76,"author":12763,"museum":463,"description":27719,"tags":27720,"thumbUrl":27721,"material":496,"size":27722,"collection":44,"collections":27723,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},218293,"luo-han-du-hai-tu-ding-yun-peng-218293","罗汉渡海图","群罗汉踏浪渡海而来，情态万千：或袒腹开怀，笑对万顷碧波；或凝眉垂目，静悟云涛禅意；或携稚童戏于潮尖，或乘神兽腾于雾霭。衣纹细劲如流水翻卷，随海风轻扬；神兽鳞爪分明，似欲破云而出。云雾氤氲间，海水波纹层叠，童子憨态可掬，罗汉眉纹深锁，每一处笔墨皆藏匠心。线条流转里，禅意与浪声交织，超然之态与海的浩渺相融，仿佛能看见风拂衣袂的翩跹，听见潮拍岸矶的回响，将渡海的壮阔与罗汉的自在凝于一纸，引人沉醉于这方亦真亦幻的禅意世界。",[24,25,194,83,283,7,341,582,21581,1600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d048006ac05b14ce5b9ac0ad7d18b6.jpg","137.3x84.9",[44],{"id":27725,"slug":27726,"title":27727,"dynasty":76,"author":191,"museum":245,"description":27728,"tags":27729,"thumbUrl":27730,"material":100,"size":27731,"collection":44,"collections":27732,"showCount":144,"zanCount":48,"manualWeight":48,"mainColor":49},218287,"xing-xiu-tu-yi-ming-218287","星宿图","沉褐绢面如浸过岁月的茶渍，漫漶的斑驳里藏着古意。老者身披赭黄长衣，青蓝缘边似晕染的天色，杖头轻挑，步履徐缓间泄出禅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；后者所写 “荔枝” 有语带双关之意，“红荔” 与 “红利” 谐音，而 “荔枝” 又有 “一本万利” 之义，故老鼠啃食荔枝，具有吉祥寓意，其画中的内涵，已然超越了画作本身。",[24,25,26,7,28,4023,1588,7258,596,197,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37524d5d18f707fb2aabe2b8bb52ec5.jpg","纸本墨笔、绢本设色","纵28.2，横 38.5 厘米",[],{"id":28005,"slug":28006,"title":28007,"dynasty":150,"author":22859,"museum":20,"description":28008,"tags":28009,"thumbUrl":28010,"material":599,"size":28011,"collection":220,"collections":28012,"showCount":290,"zanCount":48,"manualWeight":48,"mainColor":145},233794,"zi-lang-xian-guan-tu-zhou-qian-du-233794","紫琅仙馆图轴","《紫琅仙馆图》原为赵孟頫所作，钱杜曾于京城见过真迹，后为友人月樵先生背临而成。根据该图所题款识可知此图作于清嘉庆二十四年（1819年），作者时年56岁。20余年后（道光二十二年，1842年），此图为梅盦主人所得，又延请钱杜在画上重题一则。\n《紫琅仙馆图》画面意境清幽萧疏，气氛安逸，表现了文人理想化的幽居生活。作者通过对文人高雅清幽的生活环境的描写，来反映他们的生活理想和人品情操。此图虽源于赵氏原作，但用笔细密工整，人物、楼宇刻划精微，古拙之中见灵秀之气，此则是钱氏自家的特点。其构图形式与着色则带有吴门画派的特点，尤其有文徵明“细笔”画法的影响。",[24,155,28,29,84,85,83,34,172,7,173,284,211,91,4077],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756d04cdbae0e571becc2aae1f06cd9f.jpg","纵132厘米，横27.1厘米",[],{"id":28014,"slug":28015,"title":28016,"dynasty":150,"author":578,"museum":20,"description":28017,"tags":28018,"thumbUrl":28019,"material":2721,"size":28020,"collection":220,"collections":28021,"showCount":290,"zanCount":48,"manualWeight":48,"mainColor":145},233725,"feng-chen-san-xia-tu-ping-ren-yi-233725","风尘三侠图屏","风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。",[24,25,155,28,7,83,4801,286,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b2b0fa9463cf94c5bf3e654b948eb5.jpg","纵148.5厘米，横66厘米",[],{"id":28023,"slug":28024,"title":28025,"dynasty":150,"author":578,"museum":20,"description":28026,"tags":28027,"thumbUrl":28028,"material":496,"size":28029,"collection":220,"collections":28030,"showCount":290,"zanCount":48,"manualWeight":48,"mainColor":145},233722,"san-you-tu-xiang-zhou-ren-yi-233722","三友图像轴","任颐的人物画是典型中西结合的代表，人物面部刻画借鉴西洋素描画法，力求形似逼真，而人物服饰却又是中国画典型的“线条”的艺术，或作折芦描或作丁头鼠尾描淡色轻染，清新悦目。\n任颐作画，一般都有画稿，是从生活中观察、写生而成。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品，而且他善于捕捉人物一刹那之间的神情动态，使得造型准确，情态生动，衣纹用笔既能表现形体关系，又有衣褶线条变化的灵动之美，很注意突出衣纹的走势。他画肖像画以家学之法为主，脸部塑造以“没骨”法和以色渲染法打底，关键部位以线强调，衣袍服饰以所学众法为之，或写或工，或墨或线。任颐的肖像画形成了独自的风格，并开拓了全新的境界。\n任颐的花鸟画手法多样，远师北宋，近学徐渭、陈淳、石涛、恽寿平等，博采众长，独出一格，工笔、写意、勾勒、没骨、设色、水墨均能运用自如。他多用湿笔，运用淡墨尤有独到处，他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交融，风格明快、温馨、清新、活泼，极富创造性。任颐的绘画在当时及现代具有极大影响，被认为是“仇十洲（仇英）后中国画家第一人”。\n其实任颐作画是用写意画法去画工笔画，是以工笔画为里，写意画为面，在他的画中既有写意的痛快淋漓，又有工笔画的神形兼备，也就是说，他是将工笔画写意化，而不是将文人画写意化。任颐重新整合了工笔画，开创了写意工笔画风，对后世的影响是极其巨大的。\n这幅《三友图像》作于光绪甲申（1884）年，当时作者已经45 岁，画中有作者自识：“锦堂、风沂两兄嘱颐写照，更许在坐，谓之三友，幸甚幸甚。”有清钟德祥的两句题跋：“不须对月自三人，自有须眉自写真，脱去头巾衣扫塔，似俞清老段祛尘。”“皆僧衣，其有所寄托耶？”\n画中的3 人席地而坐，背后左侧有一圆榻一画筒，画筒里树有书卷画轴，榻上也堆着数卷，寥寥数笔把背景描绘得显露无疑。画中中间坐着的一人为曾凤寄，左向坐的人为朱锦堂（朱锦裳，上海著名书画鉴藏家，九华堂笺扇店主人，为任颐的好友），右向者为任颐自己。画中三人都穿着僧衣。这里面据说还有一段原由：光绪甲申三月为明朝灭亡240年祭，而且当时的晚清政治腐败，社会动荡，所以任颐绘三友图，并且身穿僧衣，脱去头巾，大有书画寄志的深意。画中三人神采自若，志气昂扬，形露于笔端。\n而是继承宋元而又融汇着民间的白描写真和西画的铅笔速写法，显得人体结构比例准确而充实。衣纹多方折，纵横迭出，似山石之皴笔，大有岿然独坐之意。\n任颐在这幅《三友图像》中融入了自己的志气，把那种对社会不满而又无可奈何之气刻画得淋漓尽致。\n任颐（1840～1896 年），初名润，字小楼，后字伯年，别号山阴道上行者、山阴道人，浙江山阴人。其父鹤声，工肖像，所以任颐自幼得其父指授，后移居宁波，师事任熊、任薰。中年定居杭州，以卖画为生。任颐是一个全才型画家，于花鸟、人物、山水无所不精，尤以肖像见长。代表作有《钟馗》、《女娲炼石》、《关河一望萧索》、《苏武牧羊》等。",[137,24,25,155,855,28,83,2956,6595,173,284,285,7,1720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 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一称昭明阁内史，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。嘉兴王昙（仲瞿）继室。幼娴翰墨，志趣高远。夫妇以诗文、书、画像商榷，志趣高远。王昙曾自撰门联云：家中有碧水丹山，妻太聪明夫太怪，门外省青磷白骨，人何寥落鬼何多。\n礼嬴性喜佳山水，吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。",[24,28,7,212,298,174,596,597,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e60c2d75b328e598ef5c3aa3bf09fe.jpg",[],{"id":28591,"slug":28592,"title":28593,"dynasty":150,"author":28594,"museum":245,"description":28595,"tags":28596,"thumbUrl":28597,"material":220,"size":220,"collection":220,"collections":28598,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":145},234595,"mei-que-wan-shan-deng-qi-chang-234595","梅雀纨扇","邓启昌","邓启昌，清代画家。字铁仙，号跛道人，江宁（今南京）人，侨居上海，生卒年不详。跛一足，工画花卉，尤善画菊。笔力精劲，设色绚丽，与钱慧安、倪田同时，光绪间在上海以卖画为生。《中国美术家人名辞典》作邓启品。",[24,28,7,914,212,521,3035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2465fc5b4a7b1407c88be1c54e0112f0.jpg",[],{"id":28600,"slug":28601,"title":28602,"dynasty":150,"author":191,"museum":245,"description":19766,"tags":28603,"thumbUrl":28604,"material":1397,"size":1398,"collection":220,"collections":28605,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},234414,"wu-liang-shou-fu-ji-le-shi-jie-tang-ka-yi-ming-234414","无量寿佛极乐世界唐卡",[14895,194,28,7,81,83,84,2602,1055,28165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e82dc391ca596d69f2caf4f0bcf2a5.jpg",[],{"id":28607,"slug":28608,"title":28609,"dynasty":150,"author":4708,"museum":20,"description":28610,"tags":28611,"thumbUrl":28612,"material":599,"size":220,"collection":220,"collections":28613,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":145},234331,"zhao-pen-ying-xi-tu-zhou-ding-guan-peng-234331","照盆婴戏图轴","丁观鹏(1736-1795),顺天(今北京市)人,精绘画,擅画释道、人物、山水,画风工细三传神。雍正四年(1726年)以画艺精湛入宫供奉,备受雍正、乾隆皇帝的赏识,作晶为清宫著录者达83件之多。",[24,155,7,28,83,6142,156,158,5004,65,173,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d63170dd62ddc7588f241ea4ab57f3.jpg",[],{"id":28615,"slug":28616,"title":9698,"dynasty":150,"author":9699,"museum":20,"description":28617,"tags":28618,"thumbUrl":28619,"material":40,"size":220,"collection":220,"collections":28620,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},234321,"hua-hui-tu-ce-fan-ting-zhen-234321","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n恽寿平一生不应科举，以卖画为生，出于职业竞争的考虑，恽寿平并不太愿意让别人看见他如何作画。即使这样，恽寿平的亲传弟子也不少，如马元驭、范廷镇、张伟、董瑜等。\n马元驭、范廷镇与恽寿平最为接近，最能得恽南田没骨写生花卉之神髓，他们的个别作品甚至可以达到乱真的地步，此二人也是恽寿平的主要代笔人。特别是范廷镇，包括书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。\n欣赏两个故宫博物院收藏范廷镇的花卉册，如果我们不标注是范廷镇所作的话，只看画面，几乎都会认为是出自恽寿平的手笔吧！",[137,24,25,519,28,7,212,409,62,612,1308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fba9e1c7136d082dedd8cbbd3c97b2.jpg",[],{"id":28622,"slug":28623,"title":28624,"dynasty":228,"author":28625,"museum":20,"description":28626,"tags":28627,"thumbUrl":28628,"material":994,"size":28629,"collection":220,"collections":28630,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},233460,"liu-yan-tu-zhou-sheng-chang-nian-233460","柳燕图轴","盛昌年","画面细嫩的柳枝倒垂，枝叶稀疏，临风摇曳，一双燕子翻飞其间，笔墨间透出浓浓春意。燕子秋去春来，表示一年的时光已经流逝，迁徒无定的行踪牵动了无数行旅之人的思乡之情。本幅作品简洁清淡，取景自然，疏朗的构图，剪裁得宜，寥寥数笔勾画出一幅充满诗意的抒情佳景。自识“武林盛昌年元龄为良友吴郡沈彦肃戏作于梁谿寓所，岁至壬辰三月也”。另有葵丘生题诗：“杨柳风多暑气微，一双下上故飞口。如何恋芳塘景，秋社归时也不归。”",[24,25,155,855,212,178,1851,11389,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930e8ccb1f2c104fc399bd3913fc72b0.jpg","纵75.9厘米、横25.5厘米",[],{"id":28632,"slug":28633,"title":28634,"dynasty":228,"author":4846,"museum":20,"description":28635,"tags":28636,"thumbUrl":28637,"material":599,"size":19127,"collection":220,"collections":28638,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},232980,"xie-dan-you-qi-tu-zhou-zhao-yong-232980","挟弹游骑图轴","画中一乌帽朱衣人，乘黑花马于平坡上缓缓而行，手执弹弓，悠然仰望，似在搜寻猎物，眉目生动传神。图上人马先以淡墨勾线，后施色彩，晕染匀净。树木则用双勾填色，工整精细。全图画风古朴雅致，有唐人笔意。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。",[24,25,155,7,28,83,112,313,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848f21392a4c6285d5e3775686b5b4c0.jpg",[],{"id":28640,"slug":28641,"title":28642,"dynasty":228,"author":3524,"museum":20,"description":28643,"tags":28644,"thumbUrl":28645,"material":40,"size":28646,"collection":220,"collections":28647,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},232774,"xiao-yi-zhuan-lan-ting-xu-tu-juan-zhao-meng-fu-232774","萧翼赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。\n现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。\n该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。",[23,24,25,26,7,28,83,82,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c51deba39226d24cedc232f1a54eba.jpg","纵26.6厘米，横44.3厘米",[],{"id":28649,"slug":28650,"title":28651,"dynasty":150,"author":260,"museum":134,"description":28652,"tags":28653,"thumbUrl":28654,"material":424,"size":28655,"collection":220,"collections":28656,"showCount":334,"zanCount":1084,"manualWeight":48,"mainColor":49},232674,"shi-jun-tu-da-wan-liu-lang-shi-ning-232674","十骏图大宛骝","有郎世宁的签名，但真正的艺术家不详。\n目前还不清楚这个复制品是什么时候完成的。\n朱塞佩·卡斯蒂廖内，S.J. （中文名郎世宁；1688年7月19日－1766年7月17日），意大利耶稣会兄弟，中国传教士，曾在康熙、雍正、乾隆三位皇帝的朝廷担任画家。他的绘画风格融合了欧洲和中国的传统。\n后来的艺术评论家认为他的马画是最具表现力的。作品《百骏图》被公认为中国十大名画之一。",[24,25,7,28,112,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa244b888acd8e18e452db1d877f7b2c9.jpg","231x274厘米",[],{"id":28658,"slug":28659,"title":28660,"dynasty":228,"author":191,"museum":245,"description":28661,"tags":28662,"thumbUrl":28663,"material":220,"size":220,"collection":220,"collections":28664,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},231482,"pu-sa-tu-yi-ming-231482","菩萨图","菩萨天女体态丰腴，容貌端丽，具有动人的丰姿，在敦煌壁画中多有体现。",[23,24,25,155,194,28,7,83,1055,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce138af2f13e8fc586ace67f77117ce7.jpg",[],{"id":28666,"slug":28667,"title":28668,"dynasty":76,"author":888,"museum":245,"description":28669,"tags":28670,"thumbUrl":28671,"material":220,"size":220,"collection":220,"collections":28672,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},231396,"ren-wu-gu-shi-tu-tang-yin-231396","人物故事图","唐寅生于成化六年二月初四，卒于嘉靖二年十二月二日，字伯虎，后改字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，明代画家、书法家、诗人。\n二十九岁时由诸生举应乡试，得第一名解元，名声大噪，故人称唐解元。而后，家中连遭不幸，父母、妻子、妹妹相继去世。三十岁时进京会试，涉会试泄题案而被革黜。后游历名山大川，以卖文鬻画闻名天下。\n早年随沈周、周臣学画，宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。\n唐寅的人物作品传世颇多，无论是单幅人物还是群像无不精彩。这件吹萧仕女图尺幅巨大，然笔笔精到，无一败者，可以说是达到了通会之际人画俱老的境界。他的人物画有两种风格，一种是繁笔重彩，另外一种则是简笔淡彩。前一种画风是从唐人重彩画而来。而这张画则是前一种画风的杰作。 从线描的技巧来看，他运用了唐代吴道子的兰叶描。一波三折，如风中不断翻转着的兰叶，充满着内在的韵律。在仕女面部开相上，丰额细眉，眼小如线。在烘染上则用唐代盛行的三白法，厚而不腻，对比强烈。细观该画中的仕女，其头发丝的烘染，也是一丝不苟，层层深入的。古人说画人难画手，画树难画柳。因为人手部的结构复杂，表现不好不是僵就是软。而唐寅对手的刻画真是细致人微，让人似乎可以感觉到仕女手部的温暖。在衣服格纹的钩染与填色上，也是一丝不苟。从整体上看，这件作品的色彩古雅沉静，有着青铜器一样幽深无际之感。表现出晚年唐寅人物画风的一个重要变化，他试图在大幅人物画中将粗笔的写意与工笔的钩染相结合起来。这说明他的绘画艺术还在发展着，可惜的是他这种尝试还没有完全成熟就去世了。 古人画仕女多是借美人香草而别有怀抱的。因这件画幅只落有穷款，我们无法推知作者在画这件作品时的喻意。画中表现的是一个着宫装的贵族仕女在吹着洞萧，我们虽然昕不到声音，但是通过画面似乎听到幽怨的萧声自画中传出来。唐寅晚年是很凄苦的，妻子和儿子先他而去。家庭的温暖不再可得，故他笔下的人物也多有哀怨之色。这件作品表面上看非常之富丽华贵，而其骨子里却是悲凉的。",[23,24,25,7,28,83,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86cd1be9df83a8a61d6a9c212c4aebd.jpg",[],{"id":28674,"slug":28675,"title":28676,"dynasty":18,"author":191,"museum":245,"description":28677,"tags":28678,"thumbUrl":28679,"material":220,"size":220,"collection":220,"collections":28680,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},231078,"liu-tang-fan-yue-yi-ming-231078","柳塘泛月","薄月垂悬柳梢，清辉漫过塘面，晕开一怀夏夜幽寂。柔枝垂柳以淡墨晕染，如烟似雾，将塘岸晕染成朦胧一片。青碧莲叶错落水面，随波轻漾。\n\n扁舟缓行于莲间，舟上仕女姿态悠然，或凭舷凝望月色，或斜卧舟中静享晚风，侍女垂立身侧，动静之间，将夜游的闲雅意趣缓缓铺陈。\n\n画作以没骨晕染写就景致，墨色柔润层次分明，浅淡设色清雅和谐，以尺幅小景承载起清远疏淡的意韵，将闲逸的审美心境融于笔底，尽显小品画的隽永悠然。",[137,24,25,914,28,7,83,1028,1707,199,33,249,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d348506c30be231f405f138a860f593.jpg",[],{"id":28682,"slug":28683,"title":28684,"dynasty":150,"author":191,"museum":245,"description":28685,"tags":28686,"thumbUrl":28693,"material":220,"size":220,"collection":182,"collections":28694,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},230334,"bai-miao-tu-miao-man-tu-shuo-san-yi-ming-230334","百苗图苗蛮图说(三)","淡彩晕开层叠青山，山野间花木点染秋意，将黔地清幽铺展开来。山道之上，三名苗家男子持旗扛械，步履铿锵神态悍勇，尽显精壮剽悍。山坳小屋中，两名妇人凭窗凝望，似是牵念远行之人。\n\n整幅工笔线条细劲灵动，设色雅致柔和，以写实视角定格边地族群风貌，将苗乡日常行伍的鲜活场面与山野村居的悠然景致相融，兼具纪实性与审美意趣，带着古朴的民俗质感，生动还原出西南苗寨的质朴生活图景。",[24,7,28,83,29,2095,28687,4251,5373,1787,28688,28689,28690,3437,13663,28691,28692],"苗寨","村居","山野","青山","山道","行伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e72acd99537e3600c448bfccd8819b.jpg",[182],{"id":28696,"slug":28697,"title":12828,"dynasty":150,"author":4708,"museum":245,"description":28698,"tags":28699,"thumbUrl":28707,"material":1397,"size":1398,"collection":220,"collections":28708,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},230212,"fa-jie-yuan-liu-tu-juan-ding-guan-peng-230212","纵观此图，场面宏大，人物众多，气势磅礴。内容主要描绘的是诸佛菩萨、天龙八部、法会、禅宗六祖和十八罗汉等形象。每个人物无论从装束、姿态、大小还是表情上都各具特色。佛祖释迦牟尼居于画面的中心，他坐卧于佛案上，身穿宽大的佛袍，面向观者，代表着佛界的最高权威。他神态平和而威严，似乎世间的一些都在其掌控之中。他身后的佛光照亮了天地万物，作者巧妙地运用放射性的波纹线条来表现背景，正好与佛光的发射性结合起来。运用这种表现手法正是作者的高明之处，这些线条穿过树木，透过腾腾的云气，一直延展下去，也许正在向世人暗示佛法的无边。周围人物各居两边，有的为侧面，有的为正面；有的呈坐姿，有的呈立姿；有的宽袍长衣，佛带飘逸，有的袒胸露腹，盔甲满身；有的面容俊逸，温和慈善，有的瞠目立眉，叱咤狰狞。表现手法真是多种多样，但无论怎样变化，他们都是聚集在佛祖身边，手拿法器，各居其位，时刻待命。观此景象也许你会感受到一种无穷的力量在感召着你，那普照的佛光会一直射进你的心中，与你的心灵产生一种完美的契合。\n此画为横幅巨制，布局谨严饱满。在构图方式和人物设置上，除了微小的部分有些变化之外，整体气势冲和一致，甚至有的地方比原作更加集中，用笔更为健劲有力。比如图中以释迦牟尼为中心，运用对称的构图方法，把众多人物分别聚集两边，彼此又自有其序，既有连续性，又有独立性，这就是虽然人物繁多但无一点杂乱之感的原因。尽管人物姿态各异，但总的来说都是朝向画面中，L的佛祖，使得画面充满着一种巨大的凝聚力和向心力。在技法上，此卷以重设色大描金的方法画成。运用刚劲有力的“细铁线”，人物形体准确，神态生动。设色浓丽，金碧辉煌，显示出作者高超的绘画才能。",[24,26,4304,22075,7766,28700,28701,13222,28702,28703,28704,7,28705,8083,28706,2602],"释迦牟尼","诸佛菩萨","天龙八部","金刚","法会","重设色","细铁线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F950eadf8283cfbade839b352b2a917d2.jpg",[],{"id":28710,"slug":28711,"title":28712,"dynasty":76,"author":5061,"museum":245,"description":28713,"tags":28714,"thumbUrl":28715,"material":1397,"size":1398,"collection":220,"collections":28716,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},228879,"duan-he-ming-qin-tu-wen-zheng-ming-228879","断壑鸣琴图","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,155,28,29,172,7,1319,211,34,624,20618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4602ec7c95628152453ccd92f14e664.jpg",[],{"id":28718,"slug":28719,"title":28720,"dynasty":76,"author":191,"museum":245,"description":28721,"tags":28722,"thumbUrl":28723,"material":220,"size":220,"collection":220,"collections":28724,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":49},228813,"die-hua-tu-yi-ming-228813","蝶花图","此作用笔兼工带写，粉紫丛花挺立于坡石之侧，花头饱满柔润，叶片以浓淡墨晕染出阴阳向背，古拙中见雅致。坡石简笔勾勒皴擦，苍朴厚重，衬得花草愈见清妍。\n\n两只蛱蝶翩跹花间，翅脉纤毫毕现，振翅欲飞的姿态灵动鲜活，将郊野刹那生机定格。设色沉雅柔和，古绢底色更添朴茂古意，整体画面简淡空灵，铺展出幽塘野径间的闲趣诗意，尽显写生花鸟的隽永意趣，于静谧中藏着灵动野趣。",[23,24,28,7,212,411,159,409,3084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ff6a1fc2bdaca3c3b288d2f5d5422c.jpg",[],{"id":28726,"slug":28727,"title":28728,"dynasty":76,"author":2661,"museum":245,"description":28729,"tags":28730,"thumbUrl":28731,"material":1397,"size":1398,"collection":220,"collections":28732,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},228492,"gu-xian-shi-yi-tu-juan-du-jin-228492","古贤诗意图卷","全卷共分九段，分别为：右军笼鹅、桃源图、把酒问月、听颖师弹琴、茶歌、饮中八仙、东山宴饮、咏水仙、舟中夜雪。\n金琮书法偏向于厚重一路，倾向沉稳的风格，因其书法很似赵书，故很多金琮的字，即使不是有意作伪，也被后人挖去原款，添上“赵孟頫”三字，以欺世人。\n杜堇所画之人物采用白描法，笔法细劲透逸，形象生动有神。树石、藤草、桌椅、车、马、小舟等点景穿插有致。墨色淡雅，但淡而不薄，雅而不空。构图简洁，意境清幽，皆得诗意要旨。",[23,24,25,26,283,855,7,284,285,83,29,34,159,199,173,6240,1103,4187,6010],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4687c58a07d69739de4b9a24d53eb4e.jpg",[],{"id":28734,"slug":28735,"title":28736,"dynasty":76,"author":674,"museum":245,"description":28737,"tags":28738,"thumbUrl":28740,"material":220,"size":220,"collection":220,"collections":28741,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},228298,"lao-lian-hua-tang-tu-chen-hong-shou-228298","老莲画堂图","淡墨白描晕开古雅夜色，灯影斜斜悬于堂侧，晕开一室松弛的雅集意趣。高古游丝般的线条勾勒出人物百态：长者凭坐把盏，悠然漫饮；士人垂眸静穆，似沉湎清谈余韵；侍女低眉侍立，温婉静雅，僮仆俯身备食，意态自然。沉暗的古绢底色衬出简淡笔意，留白里漫着晚夜风致，未施浓丽敷色，仅以寥寥墨痕，便将文人士子宴坐清谈的闲雅况味尽数铺展，笔简意长，藏着旧时光的温软松弛。",[23,24,25,155,7,28,83,982,216,28739,26451],"灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07609c13b78b81a117b87dd9ce988a.jpg",[],{"id":28743,"slug":28744,"title":11015,"dynasty":76,"author":674,"museum":245,"description":28745,"tags":28746,"thumbUrl":28747,"material":220,"size":220,"collection":220,"collections":28748,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},228293,"tong-zi-li-fo-tu-chen-hong-shou-228293","《陈洪绶童子礼佛图轴》是明代画家陈洪绶创作的一幅设色画。\n本幅款署：“老莲洪绶画于获兰草堂。\n”钤“陈洪绶印”白文、“ ”朱文印。\n《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。\n图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。\n佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛 起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。\n此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。\n佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。\n此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,24,25,155,194,7,28,83,159,19768,488,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af7033f8cadf5f5c26728c6a40368bb.jpg",[],{"id":28750,"slug":28751,"title":3835,"dynasty":228,"author":191,"museum":245,"description":28752,"tags":28753,"thumbUrl":28754,"material":220,"size":220,"collection":220,"collections":28755,"showCount":334,"zanCount":1084,"manualWeight":48,"mainColor":49},228205,"gong-nv-tu-yi-ming-228205","此作以界画工法描摹层叠宫苑，青绿晕染的山水烘托出楼宇朱栏的明丽雅致。数百宫女素衣翩跹，错落游走在亭台廊榭间：凭栏者凝眸远山，执役者缓步穿廊，低语嬉游者顾盼生姿，将深宫日常的幽闲意绪细腻铺陈。古雅沉润的色调晕开，把皇家苑囿的恢宏与深院女子的柔婉相融，工细的线条勾勒出楼阁规制的严整，也晕染出宫女情态的灵动，让森严深宫晕开缕缕烟火暖意，尽显传统工笔与界画结合的精妙意韵。",[23,24,25,155,28,7,81,83,84,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3d48c6d9c6ff91ec23b7c25f039eeb.jpg",[],{"id":28757,"slug":28758,"title":14558,"dynasty":18,"author":7509,"museum":245,"description":28759,"tags":28760,"thumbUrl":28761,"material":220,"size":220,"collection":220,"collections":28762,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},227982,"xi-yuan-tu-xia-gui-227982","画面以边角取景，右侧老槎盘曲，苔痕苍古，藤蔓附枝斜曳，左侧苍猿长臂勾挂柔条，探身悠荡，圆目灵动，肢体舒展如在乘风嬉游。\n\n以水墨晕染出空茫寒寂的汀渚水岸，淡墨扫出远天荒阔，枯笔勾勒长草随风偃仰，将猿猴的跳脱野趣，融于萧疏冷逸的江天氛围中。简劲洗练的笔墨衬出灵猿鲜活生机，虚实相映间，把山野幽趣藏在淡远空寂里，于尺幅间写尽林皋间自在天真的意趣。",[23,18,24,25,137,855,28,582,7318,313,453,655,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f519ea9d84cee61338c616ca4061ccf.jpg",[],{"id":28764,"slug":28765,"title":28766,"dynasty":18,"author":191,"museum":245,"description":28767,"tags":28768,"thumbUrl":28769,"material":220,"size":220,"collection":220,"collections":28770,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":49},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[23,137,24,25,914,7,28,212,9054,493,706,452,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],{"id":28772,"slug":28773,"title":28774,"dynasty":18,"author":191,"museum":245,"description":28775,"tags":28776,"thumbUrl":28777,"material":220,"size":220,"collection":220,"collections":28778,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},227859,"mo-zhou-fang-xi-ying-quan-juan-yi-ming-227859","摹周昉戏婴全卷","此作画风承续唐人遗韵，绢本设色雅致柔丽。画面之中，闺中仕女温婉安坐，垂眉含笑逗弄稚童，孩童们或蹒跚学步或偎依撒娇，娇憨天真尽显；家犬蹭玩一旁，满卷皆是融融天伦暖意。\n线条细劲柔丽，将仕女纱衣的通透莹润、幼童肌肤的软嫩质感晕染恰到好处，复刻出周昉一派柔婉绮丽的仕女画格调。整卷将深宅里寻常嬉游的日常，绘就为传世温情，尽显雅致世俗意趣，是宋摹唐画里颇具情致的佳作。",[23,24,25,26,82,7,28,83,59,6142,344,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007d3c6b842efb4988a0404266ac130.jpg",[],{"id":28780,"slug":28781,"title":15276,"dynasty":18,"author":4002,"museum":245,"description":28782,"tags":28783,"thumbUrl":28784,"material":220,"size":220,"collection":220,"collections":28785,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":49},227810,"ji-tu-mao-yi-227810","此作截取庭院一角，顽石旁蜀葵抽枝绽蕊，粉花柔媚映着苍润绿叶，野意悠然。下方双鸡情态生动，雄鸡红冠劲翎，身姿轩昂，母鸡羽色温软，俯首似在啄拾草籽，地面散落的细碎石籽与轻软羽屑，将郊居闲趣揉入画面。\n\n设色秀雅清润，禽鸟羽毛晕染细腻，蓬松柔润的质感呼之欲出，花木皴染兼具工致与写意韵致，于细微处见功力。尺幅之间藏尽田家闲逸，以日常小景铺陈出安宁雅致的意趣，笔简意足，淡而有味。",[137,24,25,212,914,7,28,1967,492,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41fd354ac99bbf536f773dfd0824080.jpg",[],{"id":28787,"slug":28788,"title":28789,"dynasty":18,"author":191,"museum":245,"description":28790,"tags":28791,"thumbUrl":28792,"material":220,"size":220,"collection":220,"collections":28793,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":49},227339,"ren-zong-hou-zuo-xiang-yi-ming-227339","仁宗后坐像","宋宋仁宗后坐像 絹本62x59 《宋仁宗后坐像轴》是宋代佚名创作的绢本设色画，现藏于台北故宫博物院。 中 文 名 宋仁宗后坐像轴 幅 式 立轴 画作类型 设色画 规 格 纵172．1厘米，横165．3厘米 现收藏地 台北故宫博物院 创作年代 宋代 画作内容 按宋史，宋仁宗先后有两位皇后，一为郭皇后，一为慈圣光献曹皇后，闲郭皂后被废，故可以断定，此幅所绘应是曹皇后肖像",[137,24,7,28,83,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09a26d5229c2e82fec2c77644de85c6.jpg",[],{"id":28795,"slug":28796,"title":28797,"dynasty":54,"author":191,"museum":245,"description":28798,"tags":28799,"thumbUrl":28800,"material":220,"size":220,"collection":220,"collections":28801,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":1833},227123,"fu-shuo-guan-pu-xian-pu-sa-xing-fa-jing-yi-ming-227123","佛说观普贤菩萨行法经","小说主人公是阿难,释迦牟尼,诸菩萨的小说叫做佛说观普贤菩萨行法经，本小说的作者是佚名所编写的近代社会、社科、人文小说，书中主要讲述了：强烈推荐《佛说观普贤菩萨行法经》这本书，本人特别喜欢这本书，从前看的那些连套路都是一样的，甚至有些文章思维紊乱文笔极。",[5091,194,17231,730,7,8083,29,83,8175,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89ed3aaacbebe9a7950d89b2f968183.jpg",[],{"id":28803,"slug":28804,"title":22266,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":28805,"thumbUrl":28806,"material":1397,"size":1398,"collection":220,"collections":28807,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},226297,"ku-zhu-shi-dong-bi-yi-ming-226297",[1053,194,28,83,5091,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ba5adfc36586470eb789431fcd332a4.jpg",[],{"id":28809,"slug":28810,"title":28811,"dynasty":150,"author":6729,"museum":245,"description":28812,"tags":28813,"thumbUrl":28818,"material":220,"size":220,"collection":220,"collections":28819,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":697},224357,"xiu-zhu-you-ju-tu-yu-zhi-ding-224357","修竹幽居图","《修竹幽居图》是清代禹之鼎创作的设色纸本画。\n本幅右上题“高宗修竹幽居图”，左上款署：“己卯长夏敬绘，十二家恭颂师保相国王老大人千秋，后学禹之鼎。\n”钤“禹之鼎”、“慎斋”印二方。\n己卯为清康熙三十八年（1699年），禹之鼎时年5岁。\n画面上水天空旷，岸边修竹成林，桃花掩映，奇石兀立。\n围栏中建一亭轩，主人慵懒地斜倚在亭内竹椅之上，桌面置一茶壶，身后小童侍立。\n此图房屋、栏杆用笔工细；山石、树木先以墨勾勒轮廓，再用石青、石绿染出；以红色点叶，赭黄色染屋顶；竹子用竖笔绘干，细笔写叶。\n画面布局疏密有致，用笔以写意为主，兼用工笔，轻灵洒脱而又严整，设色清雅鲜丽，意境悠远闲淡，意趣横生。\n禹之鼎（1647——？），字上吉，一字尚基，一作尚稽，号慎斋，江苏江都（今扬州）人。\n其擅长写真，特别是其白描手法，秀媚古雅，当时推为第一，一时名人小像多出其手。",[23,24,137,11974,7,1720,28,27,855,29,156,174,1185,176,214,211,34,83,28814,28815,28816,28817],"茶壶","闲淡悠远","清雅鲜丽","疏密有致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7477ce1642bae1fe2529bec82050053.jpg",[],{"id":28821,"slug":28822,"title":28823,"dynasty":18,"author":191,"museum":20,"description":28824,"tags":28825,"thumbUrl":28826,"material":40,"size":28827,"collection":220,"collections":28828,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":49},223474,"zhe-zhi-guo-tu-ye-yi-ming-223474","折枝果图页","在技法上，树干用细笔勾勒，充满赭光，厚重古朴； 轮廓用粗细的彩虹勾勒出来，再染上青色和墨绿色，色彩鲜艳。",[23,24,25,519,28,7,233,454,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb395bb89c0cb2fa1af556b191181cff9.jpg","52.8x46.5cm",[],{"id":28830,"slug":28831,"title":28832,"dynasty":18,"author":191,"museum":20,"description":28833,"tags":28834,"thumbUrl":28835,"material":67,"size":28836,"collection":42,"collections":28837,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},223470,"zheng-ren-xiao-fa-tu-yi-ming-223470","征人晓发图","此为南宋民间风俗画。 茂密的山林中，树木葱郁，远处的树荫下有三间小屋。 农夫在他身后嬉戏，一头驴子站在角落里，扭头看主人忙碌。 远郊一家三口客栈的生活即将浮出水面，形象刻画。",[23,24,137,7,28,81,83,112,35,313,211,2463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf409b97531dc0d89d051eddaf8a0f4d.jpg","51x68",[42],{"id":28839,"slug":28840,"title":28841,"dynasty":18,"author":191,"museum":134,"description":28842,"tags":28843,"thumbUrl":28844,"material":424,"size":28845,"collection":220,"collections":28846,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},223427,"song-ren-pi-pa-yuan-xi-tu-zhou-yi-ming-223427","宋人枇杷猿戏图轴","从画面上来看，枇杷树的枝干上下各一段，并未相接，观赏时却有著相连的感觉，这种画外之意，正是作者别出心裁的安排。而其沈着的用色、劲健的用笔则将树干的扭曲斑剥、树叶的转折、石头的坚硬和猿身黝黑的绒毛表现得栩栩如生，像可以触摸一般。然只生动地画出物象的形貌仍不够，必须掌握其情态，方算传神，因此画中黑猿，挂在枝干上的一只，手尾紧握，好似在荡秋千一般，另一只则悠闲地坐在树干上，和牠相互凝望，情意相系。\n老树擎空，突出画幅，其枝垂挂，复返画中。画幅中的枝干，笔不连而意连，足见画家布局之匠心。一猿攀枝摇荡，如戏秋千。一猿则踞干悠闲旁观，真能得猿猴动息之情。画技精湛，特善用墨，曲尽黑猿毛色之状，树石描绘精采、用色雅正，尤有过人处，是宋无款作品中之巨幅精品。易元吉的猴猫图突显毫芒毕现的用笔功夫，本画则用墨功夫一流。",[23,137,24,25,155,7,28,582,7318,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ef7c2e9e1f091b0edc125c19b59367.jpg","165x107.9厘米",[],{"id":28848,"slug":28849,"title":28850,"dynasty":18,"author":191,"museum":134,"description":28851,"tags":28852,"thumbUrl":28855,"material":2246,"size":28856,"collection":220,"collections":28857,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[23,24,25,155,28,7,113,582,1499,7974,22850,1797,3084,6076,28853,28854,597,2696,5100,25545,6920],"水牛","犊牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","97x52.4",[],{"id":28859,"slug":28860,"title":6590,"dynasty":18,"author":191,"museum":382,"description":28861,"tags":28862,"thumbUrl":28863,"material":40,"size":28864,"collection":220,"collections":28865,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},223377,"bei-qi-xiao-shu-tu-yi-ming-223377","《北齐校书图》所绘内容为天宝七年（556年）文宣帝高洋命樊逊等人校勘内府所藏图书的事件。旧传此卷为唐阎立本所作，现多将其归于北齐画家杨子华名下。\n图中三组人物。第一段共七人，其中胡服文士持书卷踞胡床（三国时传入中国的坐具，形制近似于今天使用的马扎），为此段中心；第二段共十人，四文士坐于榻上，婢女、小童伺立榻周，文士中二人校勘书卷，另二人似乎正因意见相左而有所争执；第三段为侍从和牵马的奚奴。\n画中的家具器用、人物服饰皆胡汉杂糅，符合北齐的实际情况。人物面庞呈椭圆形是此卷的鲜明特点，联系到近年来的考古发现，似乎与北齐时期的墓室壁画中人物有同样的特征，因此《北齐校书图》也屡屡为学界引用以论证北齐画风。尽管北齐是一个极短命的王朝，但是越来越多的考古发现证明，在这一时期，艺术呈现出极鲜明的面貌，并很可能影响到唐代的审美趣味。",[23,137,24,25,26,7,28,83,112,63,173,284,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5da306b34154b0d7c31d14521fdcc73.jpg","27.6*114CM",[],{"id":28867,"slug":28868,"title":13092,"dynasty":18,"author":191,"museum":20,"description":28869,"tags":28870,"thumbUrl":28871,"material":424,"size":28872,"collection":220,"collections":28873,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},223332,"san-yang-tu-yi-ming-223332","彩绘柳树伞下的气球在坡草间游荡觅食。 蓬松的，富有一定的。 用笔擦干树干，笔变粗。",[23,24,137,25,706,7,28,582,4541,313,314,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7a68d3cb18be30324ec6098db75923.jpg","21.2x20厘米",[],{"id":28875,"slug":28876,"title":28877,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":28878,"thumbUrl":28879,"material":67,"size":1560,"collection":220,"collections":28880,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},223034,"hong-lou-meng-159-sun-wen-223034","红楼梦159",[23,24,7,28,81,83,84,466,92,198,344,4187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbe80f58a5cddf6da26b9a07b002371.jpg",[],{"id":28882,"slug":28883,"title":28884,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":28885,"thumbUrl":28888,"material":67,"size":1560,"collection":220,"collections":28889,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},223031,"hong-lou-meng-156-sun-wen-223031","红楼梦156",[23,137,24,25,26,7,28,81,83,84,9785,1104,214,409,27537,28886,2642,28887],"传统建筑","聚会场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa653142b82fe372c69258835ddd281d8.jpg",[],{"id":28891,"slug":28892,"title":28893,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":28894,"thumbUrl":28895,"material":67,"size":1560,"collection":220,"collections":28896,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},223030,"hong-lou-meng-155-sun-wen-223030","红楼梦155",[23,7,28,81,83,84,29,156,34,92,214,24515,972,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff333b78bc458b864fa110eb261e62863.jpg",[],{"id":28898,"slug":28899,"title":28900,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":28901,"thumbUrl":28906,"material":67,"size":1560,"collection":220,"collections":28907,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":697},222968,"hong-lou-meng-93-sun-wen-222968","红楼梦93",[23,24,25,7,28,83,5967,216,11028,215,5492,3048,28902,1555,28903,28904,28905],"字画","古典陈设","中式建筑构件","室内装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93df387d900686b98bb06eaee91c247b.jpg",[],{"id":28909,"slug":28910,"title":23684,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":28911,"thumbUrl":28912,"material":67,"size":1560,"collection":220,"collections":28913,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},222933,"hong-lou-meng-58-sun-wen-222933",[23,24,25,7,28,83,215,2614,158,2956,784,785,2957,63,65,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7fb05d8c632be2dfa4c21f8193d437.jpg",[],{"id":28915,"slug":28916,"title":28917,"dynasty":228,"author":3524,"museum":78,"description":28918,"tags":28919,"thumbUrl":28920,"material":40,"size":28921,"collection":220,"collections":28922,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":145},222607,"xi-cheng-gui-le-tu-tu-juan-zhao-meng-fu-222607","西成归乐图图卷","这幅画以人和家畜为材料，描绘了人们的欢乐。 图中的家畜包括牛、驴和狗。 人物包括老、中、轻、女人和婴儿。 他们手里拿着东西，脸上挂着微笑。 作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[23,24,25,26,28,83,113,4801,61,7,285,284,10746,2095,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","22.9×89.5",[],{"id":28924,"slug":28925,"title":28926,"dynasty":76,"author":2318,"museum":134,"description":28927,"tags":28928,"thumbUrl":28929,"material":100,"size":28930,"collection":237,"collections":28931,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},221938,"fen-bu-tu-zhou-bian-wen-jin-221938","分哺图轴","边文进，字景昭，福建沙县人，生卒年待考。曾供事内殿，活跃于永乐（1403 －1424）、宣德（1426－1435）时期。博学能诗，善绘花果翎毛，延续五代黄筌（约903－965）画风并融入宋代院体传统，为后辈所师法，是明代重要宫廷花鸟画家。本幅设色画公鸡啄蝶并为雏子分食。若与边文进〈三友百禽图〉相较，本幅技法则略显生硬，或系托名之作。",[23,137,24,25,155,7,28,212,1967,13012,156,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[237,45],{"id":28933,"slug":28934,"title":28935,"dynasty":18,"author":16680,"museum":134,"description":28936,"tags":28937,"thumbUrl":28938,"material":28,"size":28939,"collection":220,"collections":28940,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":1833},221629,"xian-mang-tu-zhou-ma-he-zhi-221629","闲忙图轴","马和之：南宋画家，钱塘（今浙江省杭州市）人。擅长画人物、佛像、山水。他的人物画受吴道子、李公麟影响而又有所变化，能独创一格。中国传统人物 画衣纹十八描中的马蝗描就是他把吴道子的兰叶描变化发展而创造出来的。其画用笔起伏顿挫，线条粗细变化较明显，又飘逸流利，显得活泼 潇洒，富于韵律感。他画人物多以水墨为主，即使着色，也比较轻淡，当时人称之为“小吴生”（吴生即吴道子）。",[23,24,25,155,28,83,286,211,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7399dfe9d03dab145ab54a0cfb5655e7.jpg","124.5x67.2",[],{"id":28942,"slug":28943,"title":21991,"dynasty":18,"author":1275,"museum":1129,"description":28944,"tags":28945,"thumbUrl":28946,"material":40,"size":28947,"collection":220,"collections":28948,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},221535,"zhou-ren-xing-tu-ma-yuan-221535","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。 [1]\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。",[23,137,24,25,914,7,855,28,83,175,1499,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb8c933f34f669b59817096fc70265b.jpg","纵21厘米，横21厘米",[],{"id":28950,"slug":28951,"title":28952,"dynasty":132,"author":9464,"museum":20,"description":9465,"tags":28953,"thumbUrl":28955,"material":9468,"size":9469,"collection":220,"collections":28956,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":49},221174,"a-shi-duo-zun-zhe-tang-ka-bu-ben-guan-xiu-221174","阿氏多尊者（唐卡布本）",[23,24,25,28954,28,7,194,83,84,582],"布本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f51f8facfe834d20be27d8506a1c48d.jpg",[],{"id":28958,"slug":28959,"title":28960,"dynasty":132,"author":9464,"museum":20,"description":9465,"tags":28961,"thumbUrl":28962,"material":9468,"size":9469,"collection":220,"collections":28963,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},221172,"jia-nuo-jia-ba-li-duo-du-zun-zhe-tang-ka-bu-ben-guan-xiu-221172","迦诺迦跋厘堕阇尊者（唐卡布本）",[23,194,83,28,7,65,2602,216,8086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfed2c18dfbdc7beb92a0fd9f22d25f7.jpg",[],{"id":28965,"slug":28966,"title":28967,"dynasty":18,"author":16680,"museum":406,"description":28968,"tags":28969,"thumbUrl":28970,"material":100,"size":28971,"collection":44,"collections":28972,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":145},219400,"zhao-nan-ba-pian-tu-ma-he-zhi-219400","召南八篇图","马和之，南宋画家，浙江钱塘人。高宗绍兴（1131-1162）时进士，官至工部侍郎，或说画院待诏。擅画人物、佛像、山水，用柳叶描（一作马蝗描），人物画仿吴道子，行笔飘逸，着色轻淡，“务支华藻”，人称“小吴生”。高宗赵构、孝宗赵昚，深重其笔，每写《诗经》，命他补图，内容包括草虫、花鸟楼阁、走兽、人物、山水，煌煌巨制，无所不备。\n此卷为《诗经▪召南》的补图，共八幅，分别为“羔羊”、“殷其雷”、“摽有梅”、“小星”、“江有汜”、“野有死麕”、“何彼穠矣”、“騶虞”。此卷历经梁清标、清内府、　励宗万收藏，每幅前有清弘历（高宗）对题《诗经·召南》诗句。",[23,137,24,25,26,28,7,285,284,173,83,29,3794,313,84,1600,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d92061e7f287db0b26cbfe3b1f0887b.jpg","纵26厘米，横40.2-44.9厘米",[44],{"id":28974,"slug":28975,"title":28976,"dynasty":228,"author":191,"museum":134,"description":28977,"tags":28978,"thumbUrl":28979,"material":100,"size":28980,"collection":44,"collections":28981,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},219291,"ying-zhen-xiang-yi-ming-219291","应真像","群像错落间，罗汉神态各显其趣：驯虎者威而不厉，持卷者沉静如渊，与沙弥依偎者暖意融融。衣纹线条流转细腻，似能触到布料的柔软褶皱；古雅色调晕染出岁月的沉香。头光淡隐，添几分神圣；人物间的细微互动，藏着鲜活的烟火气。或低眉沉思，或浅笑低语，或凝神观物，每一处笔墨都透着匠心——既守宗教画的庄严底色，又赋人物以生动性情。驯虎的张力、读经的静谧、依偎的温情，在方寸间交织成一幅既有神圣感，又含人间温度的画卷，尽显古画笔墨的神韵与人文情怀。",[24,25,155,194,7,28,83,3794,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c05ff75807c73351c05eabf82799b4.jpg","157.6x79.6",[44],{"id":28983,"slug":28984,"title":28985,"dynasty":18,"author":191,"museum":134,"description":28986,"tags":28987,"thumbUrl":28989,"material":100,"size":28990,"collection":44,"collections":28991,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},218722,"mian-qin-zhu-ming-tu-yi-ming-218722","眠琴煮茗图","图中描绘的是一个有学问的人在溪流上拿着一把琴，而一个孩子在打水泡茶。使用圆润的笔触，没有任何大的顿挫，也是这幅画的特点。",[23,24,914,7,28,83,138,86,284,173,29,28988],"茶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b812228f88e00200e5a176dd1aa5a7.jpg","26.7x25.7",[44],{"id":28993,"slug":28994,"title":10420,"dynasty":18,"author":28995,"museum":2474,"description":28996,"tags":28997,"thumbUrl":28998,"material":100,"size":220,"collection":44,"collections":28999,"showCount":334,"zanCount":1084,"manualWeight":48,"mainColor":1833},218479,"luo-han-tu-lu-zhong-xin-218479","陆忠信","绢本底色如古檀沉暗，衬得罗汉朱红袈裟上的团纹愈发鲜亮。他倚坐雕花木榻，面容丰腴，双目微阖似含悲悯，耳垂坠环，衣袂垂落间露出素白里衣，线条圆转如流水般柔和。身侧侍者持物恭立，衣饰繁复却不失清雅，眉眼低垂尽是谦卑之态。上方赤色云纹蜿蜒，似携灵韵游走于暗褐天幕，与罗汉的沉静形成动静对照。整幅画以细劲线条勾勒形神，设色古雅醇厚，融罗汉庄严、侍者恭谨与背景灵动于一体，尽显宋代佛画写实功力与空灵意境，细节藏匠心，引人沉潜于跨越时空的肃穆安然。",[24,25,706,194,83,341,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12ca8e74b8d66309bde0821f2720e5c.jpg",[44],{"id":29001,"slug":29002,"title":29003,"dynasty":150,"author":191,"museum":245,"description":29004,"tags":29005,"thumbUrl":29006,"material":100,"size":220,"collection":220,"collections":29007,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":49},216682,"hong-lou-meng-fu-tu-ce-45-yi-ming-216682","红楼梦赋图册-45","画中铺展一方雅致闺阁，暖粉帷幔轻垂，雕花屏风半掩，将内室与外间悄然区隔。榻上二人或对坐清谈，或执物凝思，衣袂间流转着世家闺秀的娴静。阶下侍女环立，或捧器侍立，或低首敛眉，身姿窈窕间藏着恭谨与灵动。案上瓶花、几间茶具，皆以细笔勾勒，衬出屋宇的精巧与生活的精致。整幅画以柔婉设色晕染，人物情态鲜活，似将红楼梦中那些细腻的闺中日常凝于绢素之上，让观者仿佛能听见帐内的低语，触到空气中流转的温婉意绪。",[23,24,28,7,519,83,59,63,158,2642,215,21565,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7714f56ea205bd42ee647bc6464918e5.jpg",[],{"id":29009,"slug":29010,"title":29011,"dynasty":150,"author":191,"museum":245,"description":29012,"tags":29013,"thumbUrl":29014,"material":100,"size":220,"collection":44,"collections":29015,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":145},216159,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-yi-ming-216159","职贡图巨幅彩绘册页第1册","画面分左右两帧，各绘异域人物。左者蓝巾覆首，橙红罩衫叠翠纹裙，朱红裙摆曳地，足踏浅履，姿态娴雅；右者冠饰尖耸，橙衣绿带，锦纹战裙配蓝裤红履，双手交握腹前，神情肃穆。笔触细腻勾勒服饰纹理，设色明丽和谐，写实中含装饰意趣。人物形象鲜活，既展边地民族独特风貌，亦载清代对域外文化的记录认知，为研究当时民族交流与服饰史，提供生动视觉佐证。",[23,24,25,519,28,83,7,63,5476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ac88c6add9403acec5455e5581b8c8.jpg",[44],{"id":29017,"slug":29018,"title":29019,"dynasty":76,"author":77,"museum":406,"description":29020,"tags":29021,"thumbUrl":29022,"material":220,"size":220,"collection":44,"collections":29023,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":29024},202197,"xiu-zhu-shi-nv-tu-zhou-chou-ying-202197","修竹仕女图轴","修竹葱茏间，两位仕女立于坡石之侧，衣袂飘飘，神情温婉娴静。主者身姿优雅，手持纨扇轻掩，似在凝思或赏景；侍女紧随其后，仪态恭谨。画面笔墨细腻，人物衣纹勾勒流畅婉转，设色淡雅温润，尽显工笔之精。背景修竹以墨笔细致晕染，竹叶层次分明，山石轮廓简洁却见质感，整体构图疏密有致，营造出清幽雅致的古典意境，尽显明代仕女画的典雅韵致与精湛绘画技艺。",[7,28,83,156,211,59,470,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febbc9b2fd1a32df677cf86b3e5d76bad.jpg",[44],"988861",{"id":29026,"slug":29027,"title":29028,"dynasty":150,"author":29029,"museum":406,"description":29030,"tags":29031,"thumbUrl":29032,"material":220,"size":220,"collection":44,"collections":29033,"showCount":334,"zanCount":48,"manualWeight":48,"mainColor":29034},201987,"shi-nv-tu-zhou-gu-zheng-201987","仕女图轴","顾政","仕女凭孤石闲坐，云鬓轻绾，衣袂舒展，神态温婉娴静。衣纹勾勒细腻流畅，设色淡雅清润，尽显闺阁女子的柔媚风姿。身旁孤石以简约笔触晕染，与人物的精致细腻相映成趣，背景留白营造空灵意境，传递出含蓄内敛的古典韵致。",[24,7,28,59,159,155,83,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2844cf0bc49526b0bb1442d16aec9642.jpg",[44],"a68355",{"id":29036,"slug":29037,"title":2716,"dynasty":150,"author":29038,"museum":406,"description":29039,"tags":29040,"thumbUrl":29041,"material":220,"size":220,"collection":237,"collections":29042,"showCount":334,"zanCount":1769,"manualWeight":48,"mainColor":29043},201864,"mu-dan-tu-zhou-pu-hua-201864","蒲华","这幅牡丹图笔墨恣肆灵动，设色鲜妍而不失雅致。粉艳的牡丹花瓣层叠舒展，花蕊以细笔点染，尽显雍容之态；叶片用青绿与墨色交融晕染，脉络清晰，生机盎然。旁侧山石以浓淡干湿的墨笔皴擦，线条粗放却骨力内蕴，刚健的石姿与柔美的花容形成鲜明对比，刚柔相济间更显画面意趣。整体画风兼具写意的纵逸洒脱与工笔的细腻传神，既捕捉了牡丹的华贵之姿，又融入了自然野趣，笔墨间流露着画家独特的艺术情韵。",[24,155,28,212,298,159,855,7,1720,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51771a1972890dc71a0f6721a9da53f6.jpg",[237],"c1b2a7",{"id":29045,"slug":29046,"title":29047,"dynasty":228,"author":191,"museum":245,"description":29048,"tags":29049,"thumbUrl":29050,"material":1397,"size":1398,"collection":220,"collections":29051,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},290743,"dong-jing-xi-ying-tu-zhou-yi-ming-290743","冬景戏婴图轴","四名孩童相聚玩耍，一人骑羊，三人扮胡人相貌，撑盖、捧佛、携梅前後随护。园中古松苍翠，梅花盛开，正是岁朝时节，配以三只白羊，寓有“三羊开泰”之意。",[24,155,28,83,6142,1068,637,112,4541,22870,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a8766bd454b6ee66fa9ecac50dc41.jpg",[],22,{"id":29054,"slug":29055,"title":29056,"dynasty":18,"author":191,"museum":134,"description":29057,"tags":29058,"thumbUrl":29060,"material":100,"size":29061,"collection":42,"collections":29062,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},290373,"qiu-he-ye-fu-tu-zhou-yi-ming-290373","秋荷野凫图轴","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[24,1996,155,7,28,157,13761,29059,651],"野凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74672854a98fdeedde87db4a9976ebd.jpg","79.4x46.4",[42],{"id":29064,"slug":29065,"title":12112,"dynasty":18,"author":2693,"museum":134,"description":15624,"tags":29066,"thumbUrl":29067,"material":1397,"size":1398,"collection":220,"collections":29068,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},289983,"lu-yan-tu-cui-bai-289983",[23,137,24,914,28,7,212,2708,2707,2683,2534],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2977e53530733292bf2afc1fd715202.jpg",[],{"id":29070,"slug":29071,"title":7206,"dynasty":18,"author":1140,"museum":245,"description":12573,"tags":29072,"thumbUrl":29073,"material":1397,"size":1398,"collection":220,"collections":29074,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},289454,"shi-liu-la-zui-tu-ma-lin-289454",[137,24,212,7,28,823,178,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316f8844aafa1f77b64073a164171e98.jpg",[],{"id":29076,"slug":29077,"title":27496,"dynasty":18,"author":2693,"museum":245,"description":29078,"tags":29079,"thumbUrl":29080,"material":1397,"size":1398,"collection":220,"collections":29081,"showCount":29052,"zanCount":1769,"manualWeight":48,"mainColor":49},289349,"xie-sheng-cao-chong-tu-cui-bai-289349","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[23,137,24,26,7,28,212,410,411,493,1721,285,284,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7dcd9dc21885b547b27cbaf1170050.jpg",[],{"id":29083,"slug":29084,"title":29085,"dynasty":18,"author":4002,"museum":245,"description":4003,"tags":29086,"thumbUrl":29087,"material":1397,"s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一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,25,519,28,7,212,823,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bb5a703f7e135908423688e41b146b.jpg",[],{"id":29230,"slug":29231,"title":29232,"dynasty":54,"author":191,"museum":20,"description":29233,"tags":29234,"thumbUrl":29235,"material":40,"size":29236,"collection":220,"collections":29237,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},234066,"zhou-fang-di-guan-chu-you-tu-can-juan-yi-ming-234066","周昉地官出游图残卷","图中地官于辇中微露半面人身，其余侍从、武士步行左右，画风接近《女史箴图》《列女图》一路，笔法古拙，人物造型生动，动作略显夸张，无款印。",[24,25,137,26,194,28,7,83,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9858640caff3d8f2ff702236255cd8.jpg","高24.1厘米，宽51.4厘米",[],{"id":29239,"slug":29240,"title":29241,"dynasty":76,"author":6509,"museum":20,"description":29242,"tags":29243,"thumbUrl":29244,"material":29245,"size":29246,"collection":220,"collections":29247,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},234046,"wen-dao-tu-shan-ye-cui-zi-zhong-234046","问道图扇页","图绘一年轻男子正向老者作揖行礼，老者则举手指点作回答状的场景，因此，本幅又名《说法图》。崔子忠的人物画在师法顾恺之、陆探微、阎立本、吴道子等传统笔墨的基础上而有创新。他注重人物表情的刻画，在故宫博物院所藏其《洗象图》、《藏云图》及《渔家图》中，都能准确地画出不同身份的人物的特征。在此图中，他将年轻人问询时谦卑的表情和老者自信淡定的神态均表现得生动传神。衣纹用笔圆润细劲，线条颤掣，虬折多变，突出了衣服质料的柔软质感和随风飘的动势。树木的枝叶以双线勾边填色，用笔工细，富装饰性。",[24,25,914,28,7,83,286,211,4188,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe607e403e39498919d386dbca761bcc9.jpg","金笺，设色","纵20.8厘米，横60.2厘米",[],{"id":29249,"slug":29250,"title":29251,"dynasty":18,"author":4885,"museum":20,"description":29252,"tags":29253,"thumbUrl":29254,"material":29255,"size":29256,"collection":220,"collections":29257,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},233132,"cai-wei-tu-juan-li-tang-233132","采薇图卷","这是一幅历史题材的绘画作品，是以殷末伯夷、叔齐“不食周粟”的故事为题而画的。司马迁所著之《史记》中即有“伯夷列传”，伯夷和叔齐是殷的诸侯孤竹君（国在今河北卢龙南）的两个儿子，孤竹君立其三子叔齐为继承人。孤竹君死后，叔齐要把继承权让给哥哥伯夷，伯夷不肯接受，说这是父命，不可违背，最后逃跑了。叔齐见状也离家出走。兄弟二人出走后先后投奔了西伯姬昌（即周文王），不久姬昌死，儿子姬发（即周武王）要出兵讨伐纣王。伯夷、叔齐拦住姬发的马头谏阻，认为臣子造反讨伐君王是大逆不道的。武王伐纣取得胜利后，伯夷、叔齐深以为耻，表示决心不吃从周朝土地上长出来的粮食，于是逃隐至首阳山（在山西永济县境），采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首采薇歌：“登彼西山兮，采其薇矣！以暴易暴兮，不知其非矣！神农虞夏忽焉没兮，我安适归矣？于嗟徂兮，命之衰矣！”表示了坚决不屈服的志向。\n李唐所画的《采薇图》，即着力刻划了这两个古代宁死不愿意失去气节的人物。图中描绘伯夷、叔齐对坐在悬崖峭壁间的一块坡地上，伯夷双手抱膝，目光炯然，显得坚定沉着；叔齐则上身前倾，表示愿意相随。伯夷、叔齐均面容清癯，身体瘦弱，肉体上由于生活在野外和以野菜充饥而受到极大的折磨，但是在精神上却丝毫没有被困苦压倒。作者着墨不多，就把伯夷、叔齐在特定环境下的神态描绘得淋漓尽致，达到了很高的水平。\n李唐采用这个历史故事来表彰保持气节的人，谴责投降变节的行为，在当时南宋与金国对峙的时候，可谓是“借古讽今”，用心良苦。",[23,24,25,26,855,28,7,172,83,29,34,1797,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6db3df0be865cf051082196fc209b4d.jpg","绢本，水墨淡设色","纵27.2厘米，横90.5厘米",[],{"id":29259,"slug":29260,"title":29261,"dynasty":228,"author":191,"museum":230,"description":29262,"tags":29263,"thumbUrl":29264,"material":496,"size":29265,"collection":220,"collections":29266,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},232257,"cong-ju-tu-yi-ming-232257","丛菊图","《宋人画丛菊图》是宋代佚名创作的一幅画。图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。画风工致细腻，构图丰满，但繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作",[24,137,25,5396,155,28,7,212,488,211,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f51eb89e89e998efcbce918c58e349.jpg","35x36cm",[],{"id":29268,"slug":29269,"title":29270,"dynasty":76,"author":17002,"museum":245,"description":29271,"tags":29272,"thumbUrl":29273,"material":220,"size":220,"collection":220,"collections":29274,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},231944,"qi-que-tu-bian-jing-zhao-231944","栖雀图","边景昭，字文进，明代宫廷花鸟画家。福建延平府沙县（今福建沙县）人，祖籍陇西（今属甘肃）人，生卒年不详。永乐年间（1403-1442）任武英殿待诏，至宣德时（1426-1435）仍供奉内廷。后为翰林待诏，常陪宣宗朱瞻基作画。他为人旷达洒落，且博学能诗。他继承南宋“院体”工笔重彩的传统，其作品工整清丽，笔法细谨，赋色浓艳，高雅富贵。有“花之妖笑，鸟之飞鸣，叶之蕴藉，不但勾勒有笔，其用笔墨无不合宜”之说。边景昭的墨线气力十足，变化丰富，精谨细微，柔韧相宜。\n边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制；",[23,677,24,25,137,7,28,212,299,653,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd108c88026e1927f3fdb31455cb6c.jpg",[],{"id":29276,"slug":29277,"title":29278,"dynasty":228,"author":191,"museum":245,"description":29279,"tags":29280,"thumbUrl":29281,"material":220,"size":220,"collection":220,"collections":29282,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},231914,"luo-han-tu-di-shi-wu-zun-zhe-ming-a-shi-duo-yi-ming-231914","罗汉图（ 第十五尊者名阿氏多）","阿秘特尊者，出生于印度王舍城一富有的婆罗门家庭， 生来十分漂亮，因此得名，意为「无比的」， 释迦牟尼称赞他是弟子中慈悲心最大的。阿秘特尊者双手持菩提佛塔， 据说是尊者到须弥山北面的罗刹居地去时，为说明他禳除罗刹魔力， 由释迦牟尼赠与他的。山石供桌上摆有经书、香炉和宝瓶等供物， 前面有西藏的祥瑞动物嬉戏追逐，身后为湍急的河水自天边而落。上界有金刚手菩萨化现山间，大乘法王居于古松枝间。",[24,155,28,7,194,83,156,211,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F015b6c7cffbe180bc77b5eb7ae62d8fb.jpg",[],{"id":29284,"slug":29285,"title":29286,"dynasty":228,"author":1381,"museum":134,"description":29287,"tags":29288,"thumbUrl":29289,"material":67,"size":29290,"collection":220,"collections":29291,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},231384,"yuan-shi-zu-chu-lie-tu-liu-guan-dao-231384","元世祖出猎图","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 [2] 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。所画人和马作各种不同的姿态，转侧俯仰，富有变化。\n《元世祖出猎图》画北方沙漠地带，一片黄沙坡地，景色单调。在沙丘无垠的远方，正有一列骆驼驮队横越。近处人骑数众，或张弓射雁；或手架猎鹰；或绳携猎豹，皆为马上行猎之状。其中骑着黑马、身穿白裘的，应为元世祖，与世祖并驾的妇女，似为帝后，其余八人，应是侍从，其中尚有中亚黑奴一名。这些人中，其中一人正弯弓搭箭，瞄准着空中苍鹰。而其他猎手则顺着世祖身后著红服者所指示的方向，作注目远眺状，像在前方已发现了猎物，他们正蕴酿着纵马围歼的计划。\n《元世祖出猎图》有人物、鞍马、鹰、狗、骆驼等，其中对人物、鞍马刻画尤为详尽。主要人物或许皆由写生肖像而来，老少不一，神情各异，甚至连脸部肤色亦不尽相同。马匹的塑造、除分别敷以黑、白、红、黄、赭、灰等不同色彩外，各马匹姿态亦无雷同者，马之透视变化、结构关系皆合于解剖；元世祖乘骑，虽作原地站立，无大的动姿，但生动雄健，风骠不凡。\n该图取其部分，画家对画面上几十个人物进行了精雕细刻，各尽其态。尤对位于或靠近中央地方的元世祖刻画尤为入微。图中御青马，戴貂冠，着红衣披白裘，脚蹬皮靴，昂然坐在马上者，即是元世祖忽必烈，他侧身远视，气魄雄伟，他的头略微向左偏转，双目凝视远方，坚定而又泰然，和元世祖并辔而立的可能是帝后，她身穿白袍，在坐骑红缨佩饰的映衬下，显得非常优美，和元世祖刚毅伟岸的身姿形成对比。其余四人为猎人，在世祖右侧边上的一人正弯弓搭箭，瞄准着空中苍鹰，而其他猎手顺着世祖身后着红服者所指的方向，作注目眺状。好像在前方已发现了猎物，他们正酝酿着纵马围歼的计划。在前景以及世祖和帝后的两侧共八名侍从，有的腰携箭菔，有的手持猎鹰，有的弯弓寻羽，他们或纵犬、或持矛、或扬鞭，姿态或仰或俯，坐骑盍去不同。背景，远处画得十分简括，一队商旅行驼出没于山丘之中，黄沙浩瀚，朔漠无垠，一派北国风光，顿时使人恍然，如临雄关塞外的辽阔大漠之中。\n画家在此画中充分发挥了线条的表现力量，无论是线条的劲挺与柔和，还是运笔疾迟轻重，皆臻妙境。画幅上的人物、鞍马刻画尤为详尽，老小不一，神态各异，脸部肤色也不同，尤其是元世祖的画像如写生肖像画。马的塑造不仅色彩不同，姿态也不雷同，有的低首啃草，有的站立歇息，有的昂首远望。世祖乘骑的黑马原地站立无动势，但生动雄健，风骠不凡，即对于人物和坐骑的每一个细部， 以及繁复的装饰花纹和细如游丝的马鬃，都交待得一丝不苟， 历历在目。\n构图上，《元世祖出猎图》采用了俯视手法，场面空旷壮观，远处沙丘间，点缀着一列骆驼，增强了画面层深效果。猎队人物聚散、交叠之布局，也生动自然，富有狩猎场面所特有的生活气息。此图画面构图疏密得当，错落有致，人物互相呼应，前景、中景、远景安排得层次分明，画面详略、虚实关系处理得十分成功。\n清初文学家纳兰揆叙：《题元世祖岀猎图》\n至元天子英武姿，校猎每以秋冬期。我今展图如见之，沙漠惨淡移于斯。星斿蔽野虹作旗，厩马既秣车既脂。至尊前行后阏氏，茸帽压顶裘反披。名王部长络绎随，臂弓腰箭千夫驰。北风似弩雪似簁，踆乌匿影顽云痴。鸿鹄纷拏苍隼饥，雉飞入草鹰在枝。银麞缟鹿熊豹麋，狡兔封豕狐与狸。洞胸饮羽血淋漓，焚林捣穴靡孑遗。就中射虎者为谁，引满一发穿其颐。目光磹怒未弛，懦怯乍覩犹惊疑。归来穹庐帟幕施，酪浆湩乳倾金巵。燎毛燔肉土锉炊，琵琶发声羗苗吹。酒酣耳热欢融怡，寒气忽转春迟迟。厥初穷兵辟坤维，乘胜直抵西海湄。于阗乞降迨龟兹，角端示警殊不知。从畋已寓阵法奇，止齐步伐皆得宜。月来日往绵岁时，此画完整无缺亏。偶然浏览浑忘疲，便觉满室生凉飔。壮观咫尺慰所思，何待振策游边陲。\n《元世祖出猎图》不仅是一件出色的人物鞍马画，而且还透露出蒙元时代的社会文化特征。\n蒙元时期出土的服饰实物资料有限，《元世祖出猎图》是研究蒙元服饰的重要艺术参考资料。",[137,24,25,28,7,83,112,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad24bc0e5340dde489652972b9951d3.jpg","纵：182.9公分，横：104.1公分",[],{"id":29293,"slug":29294,"title":29295,"dynasty":76,"author":77,"museum":134,"description":29296,"tags":29297,"thumbUrl":29298,"material":496,"size":26021,"collection":220,"collections":29299,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},231376,"jiao-yin-jie-xia-chou-ying-231376","蕉阴结夏","此为一幅煌煌巨作，此图为仇英画粗笔之杰作：表现的是炎暑时节，士人于庭院内弹琴拨阮的闲情雅兴。图中画庭院中蕉石耸峙，后有苍筠数竿，清劲飘洒、远处的左侧画有巨块的岩石，岩石的右方画有几棵芭蕉树，树下偶有数块小石块，石块和树根部长满了杂草。画面的下部有二位长者席地而坐，左侧一长者在一旁专心致志地抚琴，右侧一位长者在洗耳恭听，神注专一。右画面的右上角有一女童正在扭首倾听琴声，弯着腰，双手持盏，旁侍后侧，被琴声吸引呆立不动。在长方的矮桌上，摆放一叠书卷，一篡一尊。从画面女童的姿态和神情看，似乎正在为两位长者作斟酒前的准备。\n此画构图简明开朗，只取近景，而将远景略省。人物居中主景位置，其后有竹、芭蕉及奇石穿插托衬。画面上的人物，须眉毕肖，神情各异，栩栩如生，其中尤以拨阮者之右手拨弦手式之描写，最能表现出力与美的感觉。故有别于一般山水中点景人物的遣貌取神。所画的人物，符合当时士大夫“优游林下”的生活情趣，主题极为鲜明。画笔沉着而活泼。构图疏密得当，色调柔和，远处的山石和芭蕉树采用写实手法，画笔疏放酣畅，格调闲适。画芭蕉，先以墨笔中锋勾勒，再赋染淡绿、淡青，蕉侧山石用侧势中锋，稍浓墨笔勾画轮廓，趁将干之际再迅以淡墨皴擦，并和水卧笔化染开，行笔疾速，充满水墨交融，淋漓畅快之感：画竹叶则于立竿之后，以浓淡墨和汁绿层层罩上，草以淡墨、淡绿画成，笔极挺拔。",[24,25,155,7,28,83,466,2653,1797,138,467,3045],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248b2bea1b45945cfa44c7abdd287616.jpg",[],{"id":29301,"slug":29302,"title":29303,"dynasty":18,"author":191,"museum":134,"description":29304,"tags":29305,"thumbUrl":29306,"material":100,"size":29307,"collection":42,"collections":29308,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},231054,"cui-zhu-ling-mao-tu-yi-ming-231054","翠竹翎毛图","《宋人翠竹翎毛图轴》是宋代画作，作者佚名，采用南唐后主李煜金错刀的手法，是一幅花鸟图轴，表达了宋代绘画所谓“写生”的精义。此画幅对生态有着深刻的观察和了解，是一幅形神皆兼的写实作品；在构图上以近景为主，各景物均匀地分布在画面中，具有前后的空间感。这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的“双钩填彩法”画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，采用特别的颤动式的线条，整体用笔方面，起伏变化较明显，偏向于南宋的风格。",[23,137,24,25,7,28,212,2477,156,178,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ae374ee32752aeb4c0996f85ae3d1.jpg","185×109.9厘米",[42],{"id":29310,"slug":29311,"title":14970,"dynasty":150,"author":433,"museum":245,"description":29312,"tags":29313,"thumbUrl":29314,"material":220,"size":220,"collection":220,"collections":29315,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},230872,"tan-mei-tu-leng-mei-230872","此作以冬日寻梅铺陈景致，主仕女身着宝蓝团花长袄，容色温婉端凝，侍童撑伞随侍身侧，另有侍女捧炉趋前，暗递融融暖意。寒梅虬枝缀满繁花，淡赭远山衬着素朴亭台，苍劲皴石古拙静立，设色雅致沉稳，勾勒细腻写实。将深闺仕女探春寻幽的闲情逸趣，融于萧寒冬景，冷暖色调交织，既绘就隆冬清寂况味，又晕染出闺中雅游的温婉意韵，写实工细间尽显雅致情致，把仕女矜贵闲适的情态，与冬日园林的清寒雅致完美糅合，静穆中暗藏鲜活的闺中闲趣。",[23,24,28,7,83,59,1744,637,29,211,84,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaafd8ade9438d3959f176e539370fad.jpg",[],{"id":29317,"slug":29318,"title":29319,"dynasty":150,"author":191,"museum":245,"description":29320,"tags":29321,"thumbUrl":29322,"material":220,"size":220,"collection":220,"collections":29323,"showCount":29052,"zanCount":1084,"manualWeight":48,"mainColor":49},230326,"tai-ping-fan-hua-ba-tu-ping-yi-ming-230326","太平繁华八图屏","此作截取升平盛景的两段切面，上部郊山林木蓊郁，台阁错落，游人雅聚嬉游，尽显郊野行乐闲趣；下部市井商铺鳞次栉比，彩楼牌坊高耸，行人摩肩接踵，百业攒动喧嚷。全景构图铺陈开烟火日常，工细设色复刻俗世百态，将山野清趣与闾巷喧嚣相融，把盛世之下的黎民安乐描摹得鲜活生动，让太平年间的人间烟火跃然绢上，藏着最鲜活的世俗温情与蓬勃生机。",[23,24,28,7,81,83,84,34,211,89,87,92,112,1247,91,472,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],{"id":29325,"slug":29326,"title":11180,"dynasty":150,"author":433,"museum":245,"description":29327,"tags":29328,"thumbUrl":29329,"material":220,"size":220,"collection":220,"collections":29330,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},230146,"shi-gong-ci-tu-ce-leng-mei-230146","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[24,25,519,7,28,81,285,173,284,83,84,59,341,1599,196,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],{"id":29332,"slug":29333,"title":29334,"dynasty":150,"author":8137,"museum":245,"description":29335,"tags":29336,"thumbUrl":29337,"material":220,"size":220,"collection":220,"collections":29338,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},228954,"zui-gui-tu-yuan-jiang-228954","醉归图","夜色笼着深宅朱廊，虬枝古木斜倚庭中。厅堂内宴饮方酣，宾客笑谈尽欢，堂下宫灯垂悬晕开暖光。庭间仆从垂首候立，另有三两醉客相互搀扶缓行，将宴散的松弛慵懒尽数流露。\n\n界画工细严整，将宅邸回廊台榭的规制尽显无余，人物情态鲜活灵动，把宴后醉归的闲散意趣描摹入微。晕染的暮色铺陈开静谧悠然的氛围，将古雅宅邸的雅致意境与宴饮余韵相融，尽显古典雅集的闲淡意趣。",[23,24,25,81,28,7,83,84,92,34,972,214,9785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1c994711a1a7b286672b0fe82a60326.jpg",[],{"id":29340,"slug":29341,"title":29342,"dynasty":76,"author":191,"museum":245,"description":29343,"tags":29344,"thumbUrl":29345,"material":220,"size":220,"collection":220,"collections":29346,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},228807,"zhi-sheng-xian-xian-ban-shen-xiang-ce-ceng-can-kong-ji-yi-ming-228807","至圣先贤半身像册-曾参、孔伋","此作以工笔淡彩写就，笔致清隽克制。左幅人物青巾束发，虬眉朗目，颧骨棱峭，英挺神色自带刚直弘毅之气；右幅老者鬓角凝霜，玄巾垂帔，面容慈和松弛，尽显温厚端方之态。\n衣纹晕染简雅贴合身形，取沉稳石青、赭褐配色，衬以素净纸底，凭清简线条勾勒神态，淡墨轻敷彰显古风，以形写神将先贤风骨晕染入微，静静铺陈出古儒沉穆端凝的气度，是明代肖像画中尚意传神的佳构。",[24,28,7,83,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343de655deba5fcf2cd268d2748fb2fb.jpg",[],{"id":29348,"slug":29349,"title":29350,"dynasty":76,"author":674,"museum":245,"description":4094,"tags":29351,"thumbUrl":29352,"material":1397,"size":1398,"collection":220,"collections":29353,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},228283,"ting-die-tu-chen-hong-shou-228283","听蝶图",[23,24,25,155,28,7,83,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efe86ca90f6efa2eb1ee0012fc34988.jpg",[],{"id":29355,"slug":29356,"title":29357,"dynasty":228,"author":191,"museum":134,"description":29358,"tags":29359,"thumbUrl":29360,"material":952,"size":29361,"collection":220,"collections":29362,"showCount":29052,"zanCount":1769,"manualWeight":48,"mainColor":49},228181,"shang-lin-yu-lie-tu-juan-yi-ming-228181","上林羽猎图卷","汉司马相如作上林赋，叙述天子狩猎於上林苑中。画者依赋文内容臆写情境，描绘层峦叠嶂、人物鸟兽、楼阁台观、旗辇军容等等，行笔设色皆细腻精妙,堪称佳作。 按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[23,24,25,26,27,28,7,29,83,112,84,34,211,31,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":29364,"slug":29365,"title":29366,"dynasty":228,"author":229,"museum":245,"description":29367,"tags":29368,"thumbUrl":29369,"material":220,"size":220,"collection":220,"collections":29370,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},228175,"tong-xi-tu-qian-xuan-228175","童戏图","古柳垂荫，榴花绽艳，庭院间三个稚童正嬉游作乐。矮凳上狸奴蜷卧，一孩童伸指逗弄，身侧同伴探首凝神，满眼好奇。最后小童攥着花枝蹑步而来，似要悄然加入嬉玩。\n\n整幅画笔法工细柔婉，设色古澹沉静，将幼童的娇憨鲜活尽数铺展。花木湖石衬出悠然闲趣，把孩童嬉游的日常瞬景定格，晕开旧时光里的融融暖意，尽显婴戏画的温婉雅致，将稚拙童趣藏进古雅绢色之中。",[23,24,137,25,155,28,7,83,313,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9b5cb209a420e718e41ff884f85df8.jpg",[],{"id":29372,"slug":29373,"title":29374,"dynasty":18,"author":191,"museum":245,"description":29375,"tags":29376,"thumbUrl":29377,"material":220,"size":220,"collection":220,"collections":29378,"showCount":29052,"zanCount":1084,"manualWeight":48,"mainColor":145},227883,"ju-zhi-qi-que-tu-yi-ming-227883","橘枝栖雀图","此作以精妙工笔绘就一隅小景，折枝垂挂硕实，苍嫩叶片交错枯润，尽显四时意态。枝头雀鸟侧身回望，翎毛细笔丝染，绒羽蓬松柔润，尖喙双目传神，机警灵动的情态跃然绢上。\n\n设色清淡秀雅，以赭石淡晕底色，敷色薄而清透，橘子的莹润饱满、枝叶的错落枯荣被细腻呈现。画面简而不空，静中藏动，尽显对日常小景的诗意捕捉，将山野间的幽微生机凝于尺幅之中，暗含平和雅致的东方意趣。",[23,137,24,25,7,28,212,3315,3035,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc28cde67f818c1de2943a9abaf3b21.jpg",[],{"id":29380,"slug":29381,"title":29382,"dynasty":18,"author":1151,"museum":245,"description":29383,"tags":29384,"thumbUrl":29385,"material":220,"size":220,"collection":220,"collections":29386,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},227804,"yao-tai-xian-shou-tu-liu-song-nian-227804","瑶台献寿图","此作用笔精工雅致，以界画技法勾勒亭台楼阁，回廊层台错落排布，将庭院深幽的意趣铺展尽致。山石林木以淡墨晕染，苍润秀雅，与规整楼宇相映成趣。\n\n画中人物神态宛然，峨冠士人凭栏雅谈，侍女垂手侍立，情态恭谨恬然，将安闲雍容的祝寿雅集氛围烘托恰到好处。设色古淡沉静，墨色相融，既有界画的严整工细，又不失山水画的灵动苍润，尽显精妙工致的院体画风韵，把富贵闲适的雅致意趣藏于笔间，堪称工笔楼阁人物的佳构。",[23,24,25,137,28,81,7,83,84,6455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a1bfb0f093b400631a62b7bf5b38e4.jpg",[],{"id":29388,"slug":29389,"title":29390,"dynasty":18,"author":1151,"museum":245,"description":29391,"tags":29392,"thumbUrl":29393,"material":220,"size":220,"collection":220,"collections":29394,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},227803,"song-yin-ming-qin-tu-liu-song-nian-227803","松荫鸣琴图","苍松浓荫遮蔽出一方清寂天地，琴案横陈，炉烟似随着琴音袅袅轻扬。抚琴者身姿舒展，指尖落弦仿佛有声，将心绪尽数寄于丝弦之上。对面长者垂眸敛神，身心都沉湎在悠悠琴韵之中，连身侧侍立的小童都屏息静立，不敢惊扰这片刻雅静，周遭的幽草矮竹也似在凝聆听赏。\n\n画作以浓墨点染苍劲松针，淡墨勾勒人物衣纹，线条清劲简练。将宋代文人追求的林下雅逸，凝缩在尺幅之间，把知己相对、琴音寄怀的超然意趣铺陈开来，静穆悠然的禅意弥散在画面里，尽显文人雅集的清旷疏朗之美。",[23,137,24,25,914,7,28,83,1068,156,314,138,3527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b81c56fb1a8b0fc313ca776e3e8f2af.jpg",[],{"id":29396,"slug":29397,"title":29398,"dynasty":18,"author":14024,"museum":245,"description":29399,"tags":29400,"thumbUrl":29401,"material":220,"size":220,"collection":220,"collections":29402,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},227778,"yuan-yang-tu-wan-shan-zhang-mao-227778","鸳鸯图纨扇","《双鸳鸯图》页，宋，张茂绘，纨扇页，绢本，设色，纵24.4厘米，横18.3厘米。\n\n本幅款识：“张茂”。\n\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。\n\n画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二\n只，它们的顾盼关系使得上半部画面更加充实生动。\n\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n\n存《纨扇画》册中。《石渠宝笈初编》著录。",[23,137,24,25,914,7,28,212,1435,2708,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab6dc118a52cfd44c31806284697cf7.jpg",[],{"id":29404,"slug":29405,"title":29406,"dynasty":18,"author":1838,"museum":245,"description":29407,"tags":29408,"thumbUrl":29409,"material":220,"size":220,"collection":220,"collections":29410,"showCount":29052,"zanCount":1769,"manualWeight":48,"mainColor":49},227510,"bai-zi-you-yuan-tu-su-han-chen-227510","百子游园图","这是南宋画家苏汉臣绘的《百子嬉春图》。《百字嬉春图》是一小幅纨扇，但却结构复杂精妙，画家利用台栏池沼等高低上下称景。将一百名儿童布满画面，三五成组，相互呼应，远近关系处理得明确而有节奏，丰满而不拥塞，繁复而不杂乱。",[23,137,24,25,706,7,28,83,5898,92,214,34,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058871fca58b31f28c71d5eb4f50c34e.jpg",[],{"id":29412,"slug":29413,"title":29414,"dynasty":150,"author":1162,"museum":245,"description":29415,"tags":29416,"thumbUrl":29417,"material":220,"size":220,"collection":220,"collections":29418,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},224585,"si-jun-zi-tu-zou-yi-gui-224585","四君子图","此作用淡墨晕开空濛远景，留白铺就清寂天地。左侧古松虬枝盘曲，鳞皴苍劲，松针攒簇如团，枯荣交织尽显古拙生机。右侧长松挺立于石畔，与老松两两相望，野竹荒草偃仰生姿，添得山野意趣。\n\n全作以焦墨醒出松节针叶，淡墨晕染坡岸远景，笔法清隽秀雅，未施一色，全凭水墨勾勒晕染，将松柏坚凝君子风骨寄寓萧散小景之中，静穆简淡却暗含蓬勃生气，淡而不寡，简中见厚，尽显清寂雅致的文人意趣与不俗笔力。",[23,24,137,25,855,7,1068,156,159,173,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7af38b1cc2ec84ef8742819cb96280.jpg",[],{"id":29420,"slug":29421,"title":29422,"dynasty":150,"author":29423,"museum":245,"description":29424,"tags":29425,"thumbUrl":29426,"material":220,"size":220,"collection":220,"collections":29427,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},224200,"fu-rong-lu-yan-tu-zhou-qiu-jian-224200","芙蓉芦雁图轴","丘鉴","此作兼工带写，空中芦雁振翼俯冲，滩涂三雁昂首和鸣，翎毛纤毫毕现，将雁群互动的鲜活瞬间定格。芙蓉临水盛放，粉瓣柔润饱满，苇草舒展随风曳动，野菊点缀坡岸晕染秋意。\n\n设色雅致柔和，花叶层次晕染自然，禽鸟姿态灵动逼真，恍若能闻雁唳破空。坡岸皴笔简淡，衬出水畔秋日清寂野趣，取景浑然天成，将汀渚生机与秋日闲逸融为一体，写实之中尽显雅致灵韵。",[23,24,25,155,7,28,212,251,492,20452,2708,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741d4deda5f2329d3547762bc74961e0.jpg",[],{"id":29429,"slug":29430,"title":29431,"dynasty":150,"author":447,"museum":245,"description":29432,"tags":29433,"thumbUrl":29434,"material":67,"size":29435,"collection":44,"collections":29436,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},224175,"bai-xia-xian-lu-tu-zhou-hua-yan-224175","柏下仙鹿图轴","图绘山中平坦处，一棵松柏高大粗壮，树下一只仙鹿卧于地上，鹿身白毛点点，鹿角如树杈般坚挺，两眼炯炯有神；一仙者着红袍似坐于鹿背上，抚摸着鹿角，慈祥安宁；地面上杂草丛生，生机勃勃。",[23,24,25,155,28,83,582,1248,211,3084,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97fadb1d653960d1b79110f47c5d39d.jpg","171×124.8厘米",[44,45],{"id":29438,"slug":29439,"title":29440,"dynasty":76,"author":191,"museum":245,"description":29441,"tags":29442,"thumbUrl":29443,"material":220,"size":220,"collection":220,"collections":29444,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},223608,"zhu-xia-shuang-que-tu-ce-yi-ming-223608","竹下双雀图册","此作用笔工写兼具，淡墨勾勒枯竹枝梢，皴绘坡石，萧疏寒竹自带荒冬清寂之气。两只雀鸟造型写实入微，细笔晕染出绒羽蓬松层次，一只昂首引颈似在啼鸣，灵动有神，一只垂首敛目似在啄望，姿态闲适。双雀动静相映，鲜活尽显。\n\n画面留白素净，将冬日林间的幽寂氛围烘托得恰到好处，简淡笔触却形神兼备，把小雀的灵动意态与寒竹的清疏之景相融，尽显雅致空灵的花鸟意趣，寥寥数笔便将一隅小景勾勒得鲜活动人，藏着清冷又生动的冬日闲趣。",[23,677,24,25,137,519,7,28,212,156,3035,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d0839b8720fe733bc22d19217037bd.jpg",[],{"id":29446,"slug":29447,"title":29448,"dynasty":18,"author":191,"museum":134,"description":29449,"tags":29450,"thumbUrl":29451,"material":424,"size":29452,"collection":220,"collections":29453,"showCount":29052,"zanCount":1769,"manualWeight":48,"mainColor":49},223517,"sang-guo-shan-niao-tu-yi-ming-223517","桑果山鸟图","此图有宫廷画院的工丽之风，却多了几分粗犷率真。画面取一斜伸桑枝，在一细劲的枝条上站立一只山鸟，憨态可掬，嘴里还叼着桑葚，表情很有几分稚趣",[23,137,24,25,7,28,11909,15051,299,212,653,612,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1693f8902501da32c2e9093c661caa4.jpg","纵25.2厘米 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[1] 。张堪很早就成为孤儿，他把父亲留下的数百万家产让给堂侄。16岁时，他来到长安受业学习。他的品行超群，诸儒都称他为“圣童”。\n公元39年到46年期间，张堪拜渔阳太守。他是个文武全才，在军事上，打得北部匈奴不敢南犯，经济上创造性的落实了光武帝刘秀的休养生息的国策，出现了史学家称为的“渔阳惠政”。百姓歌曰：“桑无附枝，麦穗两岐。张君为政，乐不可支。”东汉著名科学家、文学家张衡就是他的孙子。",[137,24,25,155,28,7,172,83,112,582,29,982,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627fa5059548371c205974501bf2830a.jpg","91.4×52.2厘米",[],{"id":29580,"slug":29581,"title":29582,"dynasty":18,"author":1151,"museum":134,"description":26048,"tags":29583,"thumbUrl":29586,"material":67,"size":13225,"collection":220,"collections":29587,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},221553,"luo-han-tu-5-liu-song-nian-221553","罗汉图5",[23,137,24,25,194,7,28,83,313,7318,1817,211,2653,582,597,29584,29585,13222],"虬树","小和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f3e58b37ca2ec5227fa60b958ee26e.jpg",[],{"id":29589,"slug":29590,"title":18325,"dynasty":18,"author":1151,"museum":56,"description":18326,"tags":29591,"thumbUrl":29598,"material":424,"size":29599,"collection":220,"collections":29600,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},221548,"qiu-chuang-du-yi-tu-liu-song-nian-221548",[23,24,12037,914,7,29592,24803,27,28,29593,29594,29595,211,34,195,471,29596,29597,4005,284,173],"斧劈皴","夹叶法","书斋","湖光水色","读书场景","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7f7a8a4570c2aef05e8549b15cb55c.jpg","25.7×26厘米",[],{"id":29602,"slug":29603,"title":29604,"dynasty":18,"author":1040,"museum":20,"description":29605,"tags":29606,"thumbUrl":29608,"material":40,"size":29609,"collection":220,"collections":29610,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},221492,"qian-tang-guan-chao-tu-quan-juan-li-song-221492","钱塘观潮图全卷","本幅无款印。引首及前后隔水有清乾隆题诗，后幅有张仁近、杨基题跋。收藏印有项子京、清内府、梁清标诸印。\n少年时曾作过木工的画院画家李嵩是善画建筑的高手。台北故宫博物院收藏的李嵩所绘《月夜看潮图》页是对南宋官式建筑的风格和细部特点的忠实写真，而此卷则带有缘物抒情的感情色彩，展现了李嵩的其另一种建筑画风。\n每年农历八月十六至十八日为浙江钱塘江的大潮汐期。自南宋迁都临安（今浙江杭州）后，观潮成为临安一年一度的盛大活动。其时海水沿喇叭形的钱塘江口逆江而上，如“玉域雪岭，际天而来，大声如雷霆，震撼激射，吞天沃日，势极雄豪”。\n此幅画面除表现滔滔的江水，即写“大内临江起飞阁”的都城临安。耐人寻味的是作者并没有以其擅长的细腻精微的表现手法再现皇家殿宇的巍峨辉煌、临安城池的雄伟整饬、“岁岁观潮乐”的繁华热烈，而只以简括的笔法写出成片的半露瓦顶于薄雾树影之中朦胧隐现，茂林中三面围墙的宽大空场或许即南宋的宫室所在，意境颇显空寂。作者活动的年代，正值南宋时局动荡，国家面临内忧外患，而小朝廷又沉湎于“钱塘江上开皇畿”，“贪看秋潮忘黍离”的耽乐奢靡。身为画院待诏得以侍于君侧的李嵩忠君忧国而又无力回天的孤寂心境在画面中似有曲折流露。",[23,137,24,25,26,7,28,285,173,284,17468,29607,83,84,175],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fd3ce03bbccea8289caf4b7a3e6d4f.jpg","纵17.4厘米，横83厘米",[],{"id":29612,"slug":29613,"title":29614,"dynasty":18,"author":8370,"museum":3836,"description":8371,"tags":29615,"thumbUrl":29616,"material":100,"size":8374,"collection":220,"collections":29617,"showCount":29052,"zanCount":1769,"manualWeight":48,"mainColor":49},220118,"shi-liu-luo-han-tu-di-wu-zun-zhe-jin-da-shou-220118","十六罗汉图-第五尊者",[23,24,28,7,194,83,313,314,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde848f0e8f08d77bba01668fd802662d.jpg",[],{"id":29619,"slug":29620,"title":29621,"dynasty":18,"author":8370,"museum":3836,"description":8371,"tags":29622,"thumbUrl":29623,"material":100,"size":8374,"collection":220,"collections":29624,"showCount":29052,"zanCount":1769,"manualWeight":48,"mainColor":49},220107,"shi-liu-luo-han-tu-di-shi-wu-zun-zhe-jin-da-shou-220107","十六罗汉图-第十五尊者",[23,24,25,155,194,28,7,83,341,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1222ddeea119c024e250b2c3874ae63e.jpg",[],{"id":29626,"slug":29627,"title":29628,"dynasty":228,"author":19223,"museum":152,"description":29629,"tags":29630,"thumbUrl":29632,"material":496,"size":29633,"collection":237,"collections":29634,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},220043,"li-shu-tu-ge-shu-ying-220043","栗鼠图","此作用笔极简却意韵悠长，枯木以浓墨皴擦，苍劲古拙斜斜探出，细枝悬垂栗叶与蓬果，淡墨点染间形神兼备。\n\n两只栗鼠是全画灵气所在，以淡墨晕毫铺陈绒毛，鲜活蓬松，一只捧栗细嚼，神态憨然专注，一只俯身探看，灵动俏皮。留白铺陈出空寂秋林的氛围感，将山野林下的悠然生机晕染开来，尽显以简驭繁的水墨意趣，把小生灵的憨态与秋林的萧疏相融，寥寥数笔就勾勒出幽寂天真的林下闲趣。",[23,24,855,155,582,4023,29631,597,596,7],"栗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9064a9feaeefb0b5da195d381a5714.jpg","97x39.4",[237],{"id":29636,"slug":29637,"title":29638,"dynasty":76,"author":191,"museum":2004,"description":29639,"tags":29640,"thumbUrl":29641,"material":100,"size":220,"collection":182,"collections":29642,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},219917,"xue-xi-gui-yu-tu-yi-ming-219917","雪溪归渔图","整幅画作浸在清寂冬意里，巨崖以淡墨皴擦，留白覆雪，棱线苍劲冷峻，带着寒山凝冻的硬挺质感，山间林梢缀着碎雪，萧疏冷冽。\n\n溪岸茅舍被厚雪压着檐角，屋中隐约可见围坐的暖融融烟火气，溪上渔舟系于岸边，归人正踏着板桥慢行，将荒寒雪景和俗世温情相融。淡晕的墨色晕染出空蒙的寒雾，虚实相生里，把冬日山野的清寂和渔居的安然揉为一体，于冷寂间藏着脉脉暖意，尽显冬日溪山的幽远意趣。",[24,29,28,7,172,1500,211,34,35,83,3487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b3d2dba826278128c9a9bbaa02d226.jpg",[182],{"id":29644,"slug":29645,"title":29646,"dynasty":150,"author":29647,"museum":406,"description":29648,"tags":29649,"thumbUrl":29650,"material":28,"size":220,"collection":44,"collections":29651,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},219752,"xie-liu-ru-shi-fu-zhong-xiao-xiang-zhou-gu-shao-219752","写柳如是幅中小象轴","顾韶","顾韶，字螺峰，钱塘(今杭州)人。清代画家顾洛女。其父擅人物、山水、花卉、翎毛，尤长仕女。写古衣冠，渊雅静穆。顾韶得父真传，人物、花卉臻妙，尤妙婴戏图。\n这幅肖像所画人物为明末清初名妓柳如是。上书小篆“柳如是幅巾小象”，落款“螺峰女史顾韶学画”，钤“螺峰”朱白文印。\n柳如是（1618—1664）本姓杨，名爱，字蘼芜，又有影怜、云娟等别名，改姓柳，名是，又名隐，字如是，号我闻室主人，人称河东君。嘉兴人。明末名妓，秦淮八艳之一。幼年为盛泽徐氏养女，后入吴江故相周道登家为侍婢。继为盛泽归家院妓，能诗善画，曾结交陈子龙，欲托身而未能。后嫁钱谦益为妾，南明亡，劝谦益殉国，不能从。谦益卒，族人争产，自经死。有《戊寅草》、《湖上草》等。\n史载柳如是喜男装。这幅小象中，她幅巾广袖，风姿如玉，眉目间自有清逸之气，可谓传神。",[24,25,155,28,83,59,7,63,855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9021ddbd10d5a9fe53dfbc4a7171900.jpg",[44],{"id":29653,"slug":29654,"title":29655,"dynasty":150,"author":191,"museum":134,"description":29656,"tags":29657,"thumbUrl":29658,"material":100,"size":220,"collection":44,"collections":29659,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},219596,"wan-nian-bu-lao-ce-sheng-xiang-ba-yuan-yi-ming-219596","万年不老册-圣相八元","此作分上下两段，上部以缠枝花卉环绕题字区域，碧绫为底墨字清隽，雅致沉静，烘托出古雅的文韵氛围。下部工笔绘就殿宇朝会小景，界画工致规整，朱红台栏与苍松翠色相衬，设色调和明丽。\n\n画中人物衣冠俨然，阶上二人低语，廊下众人肃立候见，举止从容端方，尽显朝堂仪制的庄重平和。笔触细腻柔和，树石晕染层次自然，衣褶线条舒朗流畅，将古典朝会的温婉肃穆悉数铺展，带着精工雅致的传统院画特质，于方寸间尽显静谧古雅的叙事意趣。",[24,25,519,28,7,83,34,91,5814,972],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396c7d9317e9fb030f5c555392c786d5.jpg",[44],{"id":29661,"slug":29662,"title":29663,"dynasty":150,"author":191,"museum":2004,"description":29664,"tags":29665,"thumbUrl":29666,"material":100,"size":220,"collection":44,"collections":29667,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},219586,"fang-dong-dan-wang-chu-xing-tu-yi-ming-219586","仿东丹王出行图","画中主人头戴华冠，长髯垂胸，端坐奔马之上，神态雍容沉稳，自带华贵从容的世家气度。黑马雄健剽悍，四蹄奔腾却行姿稳健，鬃尾随风飘逸，鞍鞯纹饰精细繁复，朱红配鎏金纹样，极尽富丽雅致。\n整作工笔精细，设色古雅厚重，线条劲挺流畅。将人物的贵胄威仪与骏马的矫健灵动融为一体，虽为仿作却神完意足，精准复刻旧制鞍马人物画的典雅大气，尽显传统鞍马人物画的精妙笔法与古典审美意趣，仿佛可窥见昔日出巡仪仗的恢宏一角。",[24,25,28,83,112,173,63,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77e3d06cf05b85aabf7a4566622f56.jpg",[44],{"id":29669,"slug":29670,"title":29671,"dynasty":228,"author":5636,"museum":134,"description":29672,"tags":29673,"thumbUrl":29674,"material":100,"size":7017,"collection":220,"collections":29675,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},219135,"hua-hui-ce-yu-mei-ren-yue-ji-wang-yuan-219135","花卉册-虞美人月季","虞美人纤瓣柔展似笼轻烟，粉白晕染间透着娇嫩；月季携鹅黄浅白绽于翠叶丛中，柔蕊凝香。墨线勾筋的叶片错落叠映，翠色深浅有致，间或有小虫翩跹欲落，添几分灵动生机。古朴底色如陈酿，衬得花容愈显清新雅致。笔触细腻却不刻意，设色淡雅而韵致绵长，将草木的静谧与鲜活凝于尺幅，尽显自然意趣与文人笔下的温婉情致。",[23,137,24,25,519,7,28,212,7466,487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9220e3c5ab103ca3d832d6e1e1a40e8.jpg",[],{"id":29677,"slug":29678,"title":8512,"dynasty":150,"author":191,"museum":4063,"description":29679,"tags":29680,"thumbUrl":29681,"material":100,"size":220,"collection":237,"collections":29682,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},219093,"shuang-jiu-tu-yi-ming-219093","画面以双鸠为核心，一深一浅依偎石畔，羽色层次细腻晕染，情态亲昵自然，似私语般流露温情。旁侧藤蔓缠绕，白花疏落点缀，修长竹叶与带红果的细枝交织，添了几分野趣生机。背景素雅褐调铺陈，更衬出景物的鲜活质感。笔墨兼具工致与写意，花鸟造型精准传神，枝叶脉络清晰可辨，却又不失灵动韵致。整体氛围静谧清幽，似能嗅到林间草木气息，传递出自然生趣与闲适之美，尽显清代花鸟画对细节刻画与意境营造的精妙追求。",[24,137,25,155,7,28,212,299,2653,197,409,19279,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3bdbdc369d3adf586d2124f7bea8f.jpg",[237],{"id":29684,"slug":29685,"title":24612,"dynasty":76,"author":2318,"museum":367,"description":29686,"tags":29687,"thumbUrl":29689,"material":100,"size":29690,"collection":237,"collections":29691,"showCount":29052,"zanCount":1769,"manualWeight":48,"mainColor":49},219045,"su-chun-tu-bian-wen-jin-219045","画的是细高的粟杆，粟穗下垂，草地上画着小米草和杂草，五只鹌鹑悠然自得，一只在天空中即将飞翔；画面中间的两只麻雀，一只在粟穗上晃动，偷吃粟粒，自然是美不胜收。",[23,24,25,212,7,28,155,178,5649,29688,655],"粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ab1e393798b5942b180f5334e5e8a5.jpg","纵139.7横50.8厘米",[237],{"id":29693,"slug":29694,"title":29695,"dynasty":18,"author":5686,"museum":20,"description":29696,"tags":29697,"thumbUrl":29698,"material":100,"size":29699,"collection":237,"collections":29700,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},218749,"qun-yuan-shi-guo-tu-yi-yuan-ji-218749","群猿拾果图","《群猿拾果图》为北宋画家易元吉所作。本幅无作者款识，右侧题签：“易元吉群猿拾果”。对开乾隆题诗：“好静工引气，能吟更善缘。栖枝坠岸穗，拾果倒空悬。岂必问其数，亦惟顺厥天。尧牵宝星，可以悟难前。 ”\n图绘深谷险峻，老树枝条横斜，二猿猴坐于枝上，一猿猴展臂摘果。\n易元吉，生卒年不详。字庆之，湖南长沙人，北宋画家。初攻花鸟、草虫、果品，后专写獐猿。常深入荆湖深山之中，观察、体会、揣摩猿猴獐鹿的生活习性。所画獐猿生动逼真，呼之欲出，因此而名闻天下。",[23,137,24,25,519,7,28,855,11949,454,653,211,14887,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a549a2865c01cdf38952d04484d0bd.jpg","24.6x24.1cm",[237],{"id":29702,"slug":29703,"title":29704,"dynasty":150,"author":433,"museum":367,"description":2987,"tags":29705,"thumbUrl":29706,"material":100,"size":2990,"collection":220,"collections":29707,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},218335,"shen-xian-gu-shi-tu-ce-4-leng-mei-218335","神仙故事图册-4",[23,137,24,25,519,7,28,83,29,1600,34,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ab169d7708da28bcaab243755917c4.jpg",[],{"id":29709,"slug":29710,"title":29711,"dynasty":76,"author":25638,"museum":901,"description":29712,"tags":29713,"thumbUrl":29714,"material":235,"size":220,"collection":44,"collections":29715,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":145},217912,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-217912","史记君臣故事图","垂杨拂地，苍干虬枝间柔条轻飏，荫蔽一方亭台。廊柱朱痕淡染，阶砌分明，建筑形制古雅端严。树下二人对语，衣纹简练却见动态，神情专注似述往昔君臣故事。笔墨兼具工致与写意：树木以干笔皴擦显苍劲，柳条以细墨勾勒见轻盈；人物虽小，形神宛然。右侧题跋墨色沉厚，与画面景致相契，文气郁郁。整幅画于清雅氛围中含叙事深意，笔墨精炼却意境悠远，尽显古典绘画的雅致与历史感，方寸间藏君臣故事的幽微余韵。",[24,25,28,81,7,83,84,112,34,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f26efa0724fedac6dd9fc6dbf1e63c.jpg",[44],{"id":29717,"slug":29718,"title":29719,"dynasty":150,"author":191,"museum":245,"description":29720,"tags":29721,"thumbUrl":29722,"material":100,"size":220,"collection":220,"collections":29723,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},216680,"hong-lou-meng-fu-tu-ce-43-yi-ming-216680","红楼梦赋图册-43","画面铺展春日雅境，石峦错落，花团簇拥间，数人衣袂翩然。或低语言笑，或俯身案畔，神态温婉细腻。设色清雅，草木的嫩碧、花的粉白与人物衣饰的素净色调交织，线条柔婉却精准勾勒出姿态与景物层次。笔触间似藏红楼诗意，将书中人物的闲逸或隐微心绪融于园林景致，以细腻工致还原了红楼世界的雅致氛围，引观者坠入古典情境的温柔光影里，仿佛能触到那份属于红楼的幽微与清婉。",[23,24,25,519,7,28,83,59,159,156,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ce2b187907b001f43a6f5d48811056.jpg",[],{"id":29725,"slug":29726,"title":29727,"dynasty":76,"author":77,"museum":245,"description":1742,"tags":29728,"thumbUrl":29729,"material":100,"size":220,"collection":220,"collections":29730,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},216282,"er-shi-si-xiao-tu-12-chou-ying-216282","二十四孝图-12",[24,25,7,28,83,2653,28303,782,3048,63,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67e11eccdac8138ab59c198a4c00546.jpg",[],{"id":29732,"slug":29733,"title":29734,"dynasty":76,"author":77,"museum":245,"description":1742,"tags":29735,"thumbUrl":29736,"material":100,"size":220,"collection":220,"collections":29737,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":49},216271,"er-shi-si-xiao-tu-21-chou-ying-216271","二十四孝图-21",[7,28,83,81,63,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2efbab3d106dbbfca29319b81967bfda.jpg",[],{"id":29739,"slug":29740,"title":29741,"dynasty":24676,"author":29742,"museum":406,"description":29743,"tags":29744,"thumbUrl":29745,"material":220,"size":220,"collection":44,"collections":29746,"showCount":29052,"zanCount":48,"manualWeight":48,"mainColor":29747},202822,"xian-nv-peng-tao-tu-zhou-feng-chao-ran-202822","仙女捧桃图轴","冯超然","画面中仙女身着素白长袍，衣袂轻扬，手持粉桃，神态温婉娴静；侍女蓝衫紧随，手擎圆扇，姿态恭谨。线条细腻流畅，勾勒衣纹婉转灵动，设色清雅柔和，尽显古典雅致之韵。人物神情刻画入微，仙女雍容与侍女乖巧相映成趣，传递出祥瑞静谧的氛围，尽显传统工笔人物画的细腻与韵味。",[7,28,83,59,174,155,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc673daaf7d06e5bca0e9edbda85a82.jpg",[44],"ded9be",{"id":29749,"slug":29750,"title":29751,"dynasty":150,"author":7676,"museum":406,"description":29752,"tags":29753,"thumbUrl":29754,"material":220,"size":220,"collection":237,"collections":29755,"showCount":29052,"zanCount":1769,"manualWeight":48,"mainColor":29756},202133,"hua-hui-tu-juan-ren-xiong-202133","花卉图卷","这幅花卉长卷构图自然舒展，各类花卉次第铺陈，生机勃发。画师以工笔细描花瓣，线条灵动精准，叶片则以写意晕染，墨色层次丰富。设色明丽而不失雅致，牡丹雍容、桃花娇妍、芙蓉清雅、月季柔媚，各色花朵与翠叶相映成趣，姿态神韵毕现。整卷融工笔之精致与写意之洒脱于一体，将自然花卉的蓬勃活力与柔美风姿展现得淋漓尽致，尽显对生命与自然的热爱。",[24,26,212,7,28,298,174,492,487,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97f0cdf35134a5d8f2cea43bc8fa78b.jpg",[237],"cca57d",{"id":29758,"slug":29759,"title":2649,"dynasty":228,"author":191,"museum":134,"description":29760,"tags":29761,"thumbUrl":29762,"material":1397,"size":1398,"collection":220,"collections":29763,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},291025,"hua-niao-zhou-yi-ming-291025","锦鸡一对，游于花石间，另燕鹊各有一对，点缀著画面。锦鸡的羽毛鲜姘夺目，与盛开的花朵相互辉映。使得画面更显得色彩缤纷，华贵富丽。花、鸟的用笔相当工细，有秀雅的气质。叶面的填色，似较草率，已有多处糢糊或脱落。",[24,155,212,7,28,178,7348,409,688,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc0af266237c1c204632960c1c6e023.jpg",[],{"id":29765,"slug":29766,"title":29767,"dynasty":18,"author":5567,"museum":134,"description":25701,"tags":29768,"thumbUrl":29769,"material":1397,"size":1398,"collection":220,"collections":29770,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},291006,"wu-liang-shou-fo-xiang-zhou-chen-ju-zhong-29100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卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,25,26,28,7,81,83,84,85,86,176,112,34,751,1247,2832,88,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 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歌舞伎屏风图 第二屏","菱川师宣","菱川师宣是江户时代的浮世绘画家。有「浮世绘之祖」之称。菱川师宣最为知名的作品是见返り美人図。此外，他也画过很多春画。在他的故乡千叶县锯南町有菱川师宣记念馆。",[23,18080,28,7,215,83,84,927,24851,92,344,1106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc25d93284b4cce552e9c3926b8f372.jpg",[],{"id":30000,"slug":30001,"title":30002,"dynasty":18,"author":30003,"museum":8937,"description":30004,"tags":30005,"thumbUrl":30006,"material":496,"size":220,"collection":220,"collections":30007,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","仿钟离访道图","荆浩","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,24,25,12037,855,28,172,7,284,285,173,83,29,211,34,2463,176,18,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":30009,"slug":30010,"title":30011,"dynasty":150,"author":15541,"museum":230,"description":30012,"tags":30013,"thumbUrl":30014,"material":67,"size":30015,"collection":220,"collections":30016,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},231486,"si-ji-hua-hui-tu-jiang-pu-231486","四季花卉图","蒋溥，江苏常熟人。廷锡子。雍正八年传胪，乾隆十八年仕至大学士。花草得其家传，随意布置，多生趣。每绘画进呈，蒙睿题有“师承家法闲图出，右相丹青有后生”之句。谥文恪。",[23,24,137,155,7,28,212,637,157,298,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3cae0f4cf71bdb4cba7de4487776320.jpg","98.5×60.5cm",[],{"id":30018,"slug":30019,"title":5566,"dynasty":18,"author":5567,"museum":245,"description":30020,"tags":30021,"thumbUrl":30022,"material":220,"size":220,"collection":220,"collections":30023,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},231051,"wen-ji-gui-han-tu-chen-ju-zhong-231051","此作以全景式构图铺展故事全程，寒林荒漠晕染出塞北萧寒底色。首段绘毡帐饯别，蔡文姬与匈奴亲眷对坐，眉眼间交织着归乡的期许与离亲的怅惘。下方整装队伍肃穆排布，官吏躬身行礼，扈从车马错落有序，将临行之际的沉郁氛围拉满。\n\n线条工细遒劲，设色朴雅厚重，人物衣冠、鞍马器具皆刻画入微，将乱世里家国与亲情的两难拉扯，融于苍凉塞景之中，尽显写实功力与细腻的情感表达，把一段乱世归乡的千古憾事具象为动人图景。",[23,137,24,25,155,28,7,83,112,2463,982,286,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],{"id":30025,"slug":30026,"title":6436,"dynasty":150,"author":260,"museum":245,"description":30027,"tags":30028,"thumbUrl":30029,"material":220,"size":220,"collection":220,"collections":30030,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":145},230205,"xian-e-chang-chun-tu-lang-shi-ning-230205","此作将中西绘法相融，牡丹花瓣以精微晕染过渡色彩，从柔粉浅白渐次晕作玫红，层层叠叠如凝露含芳，饱满鲜活尽显盛放娇姿。叶片皴擦兼具明暗光影与中式笔墨意趣，叶脉舒展清晰，枝茎挺秀带着蓬勃生机。朱红鉴藏印落于素绢之上，雅致端庄，为画作更添古雅意韵。整体既得西洋画的写实质感，又留存东方花鸟的清雅意蕴，将花之雍容华贵尽数铺展于绢素之上，仿若春色凝于方寸间。",[23,137,24,25,28,7,212,298,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e4b0937087e0a16c2d15c63c187e3c.jpg",[],{"id":30032,"slug":30033,"title":30034,"dynasty":150,"author":6129,"museum":245,"description":30035,"tags":30036,"thumbUrl":30037,"material":220,"size":220,"collection":220,"collections":30038,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},230147,"jun-ma-lie-yu-yuan-230147","骏马列","此作绘双骏静立，银鬃灰马身形劲挺舒展，朱膘红骏身姿丰腴俊朗，二者顾盼悠然，自带神骏温驯之态。用笔精工细致，鬃丝根根分明，晕染柔和自然，将良驹皮毛的柔润光泽与矫健体态形神兼备地勾勒而出。画面留白简洁雅致，右上角题字错落排布，为画面晕开一抹文人情致。整体工稳雅致，兼具院体画的精工与文人画的清雅，静穆间尽显宝马从容华贵的风骨，将鞍马题材的雅致意趣尽显无余。",[23,24,25,155,28,7,112,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995d32e6d171986a88eb8b69d5c00d68.jpg",[],{"id":30040,"slug":30041,"title":30042,"dynasty":76,"author":17910,"museum":245,"description":30043,"tags":30044,"thumbUrl":30046,"material":220,"size":220,"collection":220,"collections":30047,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},228862,"tian-jia-chun-dou-tu-juan-zhang-chong-228862","田家春斗图卷","此作以兼工带写之笔铺展乡野春景，古木虬枝环抱着错落村舍，水畔田埂间，村民们角力摔跤，呼喝喝彩之声似随画卷扑面而来。妇孺围立笑观，稚童穿梭嬉闹，田家烟火意趣尽显。画家精于人物情态捕捉，衣褶灵动简约，村野景致皴染朴拙细腻，将江南春日乡野的鲜活生机与质朴活力，尽数凝于绢素，画风古雅淳厚，把民间春日嬉游的松弛野趣刻画得淋漓尽致，尽显风俗画描摹世俗民生的动人特质。",[23,24,25,137,26,7,28,285,83,30045,7149,313,211,3206,581,61,172],"田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592ca4cfbdcded52aaada6264e96bf35.jpg",[],{"id":30049,"slug":30050,"title":30051,"dynasty":76,"author":191,"museum":245,"description":30052,"tags":30053,"thumbUrl":30054,"material":220,"size":220,"collection":220,"collections":30055,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},228792,"zao-chun-tu-yi-ming-228792","早春图","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,137,24,25,26,28,27,7,172,173,284,29,84,85,86,176,34,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":30057,"slug":30058,"title":30059,"dynasty":18,"author":326,"museum":245,"description":30060,"tags":30061,"thumbUrl":30062,"material":220,"size":220,"collection":220,"collections":30063,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":145},228391,"tong-xi-tu-ce-ye-zhao-ji-228391","童戏图册页","淡墨轻勾，敷色浅淡清雅，将四名稚童嬉闹的日常定格。或持杆佯作玩耍，或俯身效仿逗趣，旁立的小童歪头注视，憨态毕现。线条简练灵动，不着浓艳，却将孩童的娇憨鲜活尽数勾勒，没有繁复铺陈，仅以极简笔触便把稚童的无忧稚气描摹尽致，藏着巷陌里最鲜活的日常意趣，尽显平淡天真的烟火温情，仿佛能听见画里的嬉笑声，将人拉回松弛鲜活的旧时光，静赏这份纯粹无忧的童真。",[137,24,25,519,28,7,83,18657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c4ef1365e7720af305739ee57fb94.jpg",[],{"id":30065,"slug":30066,"title":30067,"dynasty":76,"author":674,"museum":245,"description":30068,"tags":30069,"thumbUrl":30071,"material":220,"size":220,"collection":220,"collections":30072,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},228295,"xi-zhi-long-e-tu-chen-hong-shou-228295","羲之笼鹅图","《右军笼鹅图》是明代陈洪绶创作的一幅纸本设色画。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,24,28,7,83,30070,5181,15715,156,12767,5492,471,2464],"笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7b7a55715dbf5b199f6e559cf3c60a.jpg",[],{"id":30074,"slug":30075,"title":30076,"dynasty":228,"author":191,"museum":245,"description":30077,"tags":30078,"thumbUrl":30079,"material":220,"size":220,"collection":220,"collections":30080,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},228183,"dan-feng-niao-que-tu-yi-ming-228183","丹枫鸟鹊图","画面截取深秋一角，虬曲苍劲的枫树枝桠间，残红秋叶点缀，晕开萧索清寒的秋意。三只禽鸟错落栖于枝梢，引吭啼鸣的山雀羽翼晕染细腻写实，将灵动生机揉入冷寂秋景，另外两雀或静立或垂悬，动静相映成趣。\n\n设色调和古雅，工写相融，淡墨皴擦尽显枝干枯涩质感，禽鸟刻画精细入微，将秋日郊野的幽寂野趣藏于笔底，简淡笔意间晕开幽远沉静的林下意趣，尽显雅致空灵的秋日审美意韵。",[23,24,25,137,155,7,28,212,178,6856,3486,1288,653,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bfefdf57d7bfd435a7b35b437dd982.jpg",[],{"id":30082,"slug":30083,"title":30084,"dynasty":228,"author":229,"museum":245,"description":30085,"tags":30086,"thumbUrl":30087,"material":220,"size":220,"collection":220,"collections":30088,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},228021,"cao-chong-tu-juan-zhen-ji-qian-xuan-228021","草虫图卷真迹","此作工细清润，草虫鲜活灵动，翅脉触须纤毫毕现，草木柔叶含带晨露清气，将草间小景勾勒得满生意趣。配笔题字朴拙苍劲，与画作的隽雅相映成趣，诗书画印融为一体。整体气质淡远清旷，以草虫之微，寄寓对生命本真的吟咏，尽得元人文人画澄怀观道的意韵，静雅中藏着蓬勃生机，是笔墨见心性的上乘佳作。",[23,24,25,26,7,28,212,410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb58a17d67bcb7d3dcdbd84e29a6a97.jpg",[],{"id":30090,"slug":30091,"title":30092,"dynasty":228,"author":229,"museum":245,"description":30093,"tags":30094,"thumbUrl":30095,"material":220,"size":220,"collection":220,"collections":30096,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":145},228014,"shuang-ya-tu-ye-qian-xuan-228014","双鸭图页","此作用色清隽雅致，以澄澈钴蓝晕染水面，铺就幽宁底色。枯涩崖岸旁，蓼花垂曳轻摇，荇花绽于浅波，野趣盎然。白鸭昂首引吭，绒毛以淡墨层层晕染，柔润蓬松，憨态灵动，将水禽的慵懒自在尽显无遗。\n左侧题字墨色沉郁古雅，书画合璧，晕开文人逸趣。整幅画作工致却无板滞之感，褪去浓艳浮华，以清简笔触定格江南水畔一隅生机，在平淡天真里晕染出静逸诗意，把闲淡野逸的水乡意趣藏于笔底，尽显雅致悠然的文人审美意韵。",[23,137,24,25,519,7,28,1521,1797,198,409,5053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f3c409d648d2eabd5847edaa99ecd.jpg",[],{"id":30098,"slug":30099,"title":30100,"dynasty":18,"author":1609,"museum":245,"description":30101,"tags":30102,"thumbUrl":30103,"material":220,"size":220,"collection":220,"collections":30104,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},227951,"qin-yu-tu-li-di-227951","禽浴图","画面截取禽鸟沐水的日常一隅，乌鸫探身木盆，翅羽蓬松乍起，墨色晕染分出干湿层次，将沾水后濡重的绒羽与翻扬的飞羽区别开来。圆目灵动带着憨态，黄喙轻点水面，漾开浅淡水痕，仿佛能闻声水泽轻响。木盆篾编纹理刻画写实，分毫毕现。\n\n整幅笔墨工细却不失生机，以小景见真趣，把野禽自在沐浴的瞬间定格，将对生灵的细致观察尽显无遗，于寻常日常里，晕染出雅致鲜活的自然意趣。",[23,137,24,25,7,28,212,178,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e7161b3e35c7b6a5e1f6d4a3f7707c.jpg",[],{"id":30106,"slug":30107,"title":30108,"dynasty":18,"author":191,"museum":245,"description":30109,"tags":30110,"thumbUrl":30111,"material":220,"size":220,"collection":220,"collections":30112,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},227920,"hua-hui-shuang-qin-tu-yi-ming-227920","花卉双禽图","此作工笔设色，柔枝舒展间白茶花轻绽，花瓣晕染出莹润柔光，枝叶俯仰向背尽显草木生姿。两只禽鸟栖于细枝之上，翎毛刻画丝丝入微，胸腹绒羽蓬松柔软，墨色晕染出头部乌亮光泽。一鸟昂首啾鸣，一鸟侧身应和，将枝间互动的鲜活意趣定格。\n\n整幅构图疏密得宜，浅褐绢底衬出雅致色调，笔墨精细却无匠气，尽显院体花鸟的写实功力。画师以细腻笔触捕捉花鸟间的灵动互动，将春日枝桠间的寻常小景，晕染出独有的雅致诗意，藏着对日常生机的温柔捕捉。",[23,137,24,25,7,28,212,409,1091,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd599ee4f684f536c226cf5017f764baa.jpg",[],{"id":30114,"slug":30115,"title":30116,"dynasty":18,"author":5567,"museum":245,"description":30117,"tags":30118,"thumbUrl":30119,"material":220,"size":220,"collection":220,"collections":30120,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":145},227686,"liu-tang-mu-ma-tu-chen-ju-zhong-227686","柳塘牧马图","《柳塘牧马图》原载《历代名笔集胜册》第一册。签题陈居中作。耿昭忠题云：陈居中柳塘牧马图，虽纤细如绳，悉具乘风破浪之势。昔评云：“布景设色，不亚黄宗道。今观其气韵生动，精神物态，全形缣素间，即谓超佚前人，岂为过当。”这评赞是确当的。在小小的纨扇的面上，画着二十多个人，五十多匹马，而姿态活跃异常，那功力是深厚的。",[23,24,25,28,7,1851,24968,112,313,196,83,582,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece9ab741023d625ae0a528e2f8fb9c8.jpg",[],{"id":30122,"slug":30123,"title":14961,"dynasty":18,"author":191,"museum":245,"description":30124,"tags":30125,"thumbUrl":30126,"material":220,"size":220,"collection":220,"collections":30127,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":49},227362,"lou-ge-ting-tai-tu-yi-ming-227362","炎炎夏日，你是否在渴望在假期逃离都市的燥热，去自然中寻觅清凉？是否在幻想有一处完美庭台别墅，让你忘却烦扰、暂歇身心？今天，时尚芭莎艺术带你进入中国传统界画的理想庭院之中，到好山好水间纳个凉。",[24,7,81,28,84,769,214,972],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a587f5812fa8779b254d194f2390d8.jpg",[],{"id":30129,"slug":30130,"title":30131,"dynasty":150,"author":30132,"museum":9000,"description":30133,"tags":30134,"thumbUrl":30135,"material":2721,"size":30136,"collection":44,"collections":30137,"showCount":827,"zanCount":48,"manualWeight":48,"mainColor":697},224239,"lu-shan-guan-lian-shang-guan-zhou-224239","庐山观莲","上官周","此图是故事画，描绘东晋僧人慧远于庐山结社，与当时文人交往。左上题云：庐山远公开池种白莲，以十八人为社，社中陶渊明、谢灵运，一因无酒不至，一好游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，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,25,155,855,28,7,172,29,83,34,1499,927,35,31,211,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":30777,"slug":30778,"title":30779,"dynasty":18,"author":5686,"museum":245,"description":30780,"tags":30781,"thumbUrl":30783,"material":67,"size":30784,"collection":220,"collections":30785,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":49},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[23,137,24,26,28,27,7,29,313,1288,30782,11949,211,1319,173],"獐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321",[],{"id":30787,"slug":30788,"title":30789,"dynasty":18,"author":13342,"museum":8937,"description":30790,"tags":30791,"thumbUrl":30792,"material":424,"size":30793,"collection":220,"collections":30794,"showCount":442,"zanCount":1769,"manualWeight":48,"mainColor":49},232618,"luo-han-xi-zhuo-tu-li-zhou-lin-ting-gui-232618","罗汉洗濯图立轴","这幅画描绘的是佛教僧侣日常生活中的一个场景，属于一套一百幅描绘五百罗汉或佛教圣人的挂轴。这套画于1175年由一位佛教方丈委托，三年后由林庭珪和另一位画家周季常共同完成。这些画在13世纪被运往日本，最终成为京都佛教寺庙大德寺的财产。1894年，需要修缮资金的大德寺在美国波士顿展出了其中44幅卷轴，其中10幅售出。这幅画是当时日本人赠送给美国巡回展的组织者，后者于1902年把它卖给了查尔斯·朗·弗利尔（Charles Lang Freer）。\n此幅作品林庭珪用精确的轮廓和明亮、不透明的颜色画出了六个人物。画面中，五罗汉和他们的仆人正在洗衣服，并把衣服晾在外面晾干。右下角有几乎完全看不清的艺术家签名，用金粉题写。",[23,137,24,25,155,194,28,7,83,1499,86,1797,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9932e8b6df250624925fe2c5bd5f4f.jpg","112.3×53.5cm",[],{"id":30796,"slug":30797,"title":30798,"dynasty":190,"author":191,"museum":245,"description":30799,"tags":30800,"thumbUrl":30807,"material":1397,"size":1398,"collection":220,"collections":30808,"showCount":442,"zanCount":1769,"manualWeight":48,"mainColor":49},231681,"jiang-hu-shi-qi-fo-jiao-wu-dao-juan-yi-ming-231681","江户时期 佛教舞蹈卷","长卷铺陈群舞盛景，人物排布回旋错落，似随隐于画外的乐律踏跃。武士挎刀振臂、僧者执幡领舞、平民袒裼驱步，各色人等妆容衣饰各异。\n简劲灵动的线条勾出衣袂飘举之姿，古雅淡朴的敷色晕开旧时光晕，以稚拙笔触定格每一帧鲜活动态，将祭典的庄严与歌舞的恣肆相融，让观者仿若闻声踏节，窥见信仰与欢娱交织的旧时鲜活图景。",[23,26,28,83,194,30801,7,30802,18081,30803,30804,30805,344,18979,22705,30806,11428],"舞蹈","江户时期","传统人物画","动态人物","佛教主题","线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ebc5b9296bbaf10e56fb89232ba2a.jpg",[],{"id":30810,"slug":30811,"title":30812,"dynasty":190,"author":191,"museum":245,"description":30813,"tags":30814,"thumbUrl":30816,"material":1397,"size":1398,"collection":220,"collections":30817,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":49},231659,"bu-dong-ming-wang-ba-da-tong-zi-xiang-yi-ming-231659","不动明王八大童子像","正中明王身色玄黑，忿怒相威严逼人，身周烈焰翻卷如浪，将降魔的慑人气场拉满。环伺的童子神态各异，或怒目圆睁彰显忿怒护法之态，或垂首恭谨尽显侍从之仪。\n衣纹线条苍劲流畅，朱砂焰纹与沉褐底色交织碰撞，古雅厚重的敷色晕染开岁月的质感。整幅画面主次分明，以明王为核心铺陈开密宗护法的仪轨秩序，工笔精湛入微，将密教忿怒本尊的威慑力与宗教美术的庄严感相融，虽经时光磨蚀，依旧能传递出镇邪安正的肃穆力量。",[23,24,25,194,83,28,11514,195,30815,7],"明王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F036997ed5ab0dc4ea2b11b135b0b2416.jpg",[],{"id":30819,"slug":30820,"title":30821,"dynasty":190,"author":30822,"museum":245,"description":30823,"tags":30824,"thumbUrl":30825,"material":67,"size":30826,"collection":220,"collections":30827,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":145},231578,"hua-yin-ying-hua-tu-juan-guang-lai-231578","花隐樱花图卷","広瀬","江户时代樱花的萌芽增加，作者广濑花隐以描绘樱花而美丽。",[23,24,25,26,212,7,28,24851,653,1092,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b5f9759be870fb50edb3c6a69b4f7f.jpg","21×31cm厘米",[],{"id":30829,"slug":30830,"title":30831,"dynasty":76,"author":191,"museum":152,"description":30832,"tags":30833,"thumbUrl":30835,"material":67,"size":190,"collection":220,"collections":30836,"showCount":442,"zanCount":1769,"manualWeight":48,"mainColor":49},231542,"han-fu-ren-fang-shi-xiang-yi-ming-231542","韩夫人方氏像","此幅与韩宜可像当是对轴。韩宜可像题款疑伪，此款也是一人所作，亦是后添。",[23,24,7,28,83,22927,30834],"明代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca507ba8686491bdda53e04868c722e.jpg",[],{"id":30838,"slug":30839,"title":30840,"dynasty":18,"author":191,"museum":134,"description":30841,"tags":30842,"thumbUrl":30843,"material":100,"size":12631,"collection":220,"collections":30844,"showCount":442,"zanCount":1769,"manualWeight":48,"mainColor":49},231079,"xue-lu-shuang-yan-tu-yi-ming-231079","雪芦双雁图","《国宝在线:全景花鸟》介绍了我国古代绘画瑰宝，是表现我国古代花鸟绘画手法的珍品。\n包括：元朝张舜咨的《雪界翁黄鹰古桧图》，宋朝佚名的《雪芦双雁图》、《桃花鸳鸯图》、《梅竹聚禽图》，宋朝崔白的《双喜图》，宋朝李迪的《枫鹰雉鸡图》等。\n《国宝在线:全景花鸟》由 出版。",[24,137,25,155,7,28,4589,2708,178,159,706,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e4009402f3bfb576c6fa71004de73d.jpg",[],{"id":30846,"slug":30847,"title":30848,"dynasty":190,"author":1244,"museum":245,"description":30849,"tags":30850,"thumbUrl":30851,"material":220,"size":220,"collection":220,"collections":30852,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":49},230484,"chang-hen-ge-tu-juan-shi-qi-shi-ji-shang-juan-shou-ye-shan-xue-230484","长恨歌图卷十七世纪（上卷）","这卷长卷以工笔重彩铺展离乱行旅，移步换景间复刻出千乘万骑西南行的史诗场面。从宫阙启銮到盘山栈道，扈从仪仗连绵逶迤，宫眷臣僚的形貌衣冠分毫毕现，屋宇建制严整合度，山石皴染带着苍劲古意。\n\n设色雅致清淡，细腻笔触里藏着仓皇离京的沉郁悲戚，将长诗里的恸惋具象为视觉图景。既是对唐代仪制的精细纪实，也把文学哀婉揉入疏密构图，以铺陈群像勾勒出时代恸哭，尽显古典叙事画的隽永张力。",[23,24,26,28,7,81,83,84,29,34,11514,85,769,751,2782,1206,315,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3f33a6b01bde2948c81fb1e32b14a2.jpg",[],{"id":30854,"slug":30855,"title":30856,"dynasty":150,"author":191,"museum":245,"description":30857,"tags":30858,"thumbUrl":30859,"material":1397,"size":1398,"collection":220,"collections":30860,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":145},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[24,28,7,172,26,29,84,85,86,2463,176,34,35,96,32,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":30862,"slug":30863,"title":20959,"dynasty":150,"author":4708,"museum":245,"description":30864,"tags":30865,"thumbUrl":30866,"material":220,"size":220,"collection":220,"collections":30867,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":49},230211,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-230211","《乾隆皇帝洗象图》是清代画家 创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[23,24,25,155,7,28,83,582,8175,3794,29,34,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],{"id":30869,"slug":30870,"title":30871,"dynasty":76,"author":77,"museum":245,"description":2461,"tags":30872,"thumbUrl":30873,"material":1397,"size":1398,"collection":220,"collections":30874,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":145},228856,"shan-mian-hua-xuan-chou-ying-228856","扇面画选",[23,24,25,914,7,28,83,175,29,313,3487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc80210af56788cd85ba9dc0cd734cc.jpg",[],{"id":30876,"slug":30877,"title":30878,"dynasty":228,"author":6236,"museum":245,"description":30879,"tags":30880,"thumbUrl":30881,"material":220,"size":220,"collection":220,"collections":30882,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":145},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[23,137,24,25,26,283,7,194,83,582,34,211,1787,2782,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],{"id":30884,"slug":30885,"title":30886,"dynasty":18,"author":191,"museum":245,"description":30887,"tags":30888,"thumbUrl":30889,"material":220,"size":220,"collection":220,"collections":30890,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":49},227879,"liu-yuan-xiao-shu-tu-ye-yi-ming-227879","柳院消暑图页","此作以雅致设色铺就消暑闲景。水岸庭院柳丝垂曳，将溽暑揉作柔婉绿意，半掩着临水楼阁。凭栏高士宽袍松带，懒倚轩窗，似在静听蝉鸣、细观涟漪，将暑热倦怠化为幽居闲情。\n屋下侍童躬身奉物，院角仆从悄然添茶，细碎日常衬出庭院松弛意趣。远景浅黛山峦晕染淡远，水色空濛晕着暑日微光，近院花卉娇柔点染，明暗虚实间，将江南夏日常住的清宁消暑意趣尽数铺展，淡而不寡，雅而不奢，尽显宋人的幽居美学，把溽暑里的闲静安然，尽数藏进这绢素方寸之中。",[23,137,24,25,914,28,7,81,83,84,1851,157,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd078e473f04ccec6ad7f49b6b5cb6b48.jpg",[],{"id":30892,"slug":30893,"title":30894,"dynasty":18,"author":15285,"museum":245,"description":30895,"tags":30896,"thumbUrl":30898,"material":220,"size":220,"collection":220,"collections":30899,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":49},227755,"jiang-di-fang-mu-tu-yan-ci-ping-227755","江堤放牧图","《四季牧牛图》是南宋画家阎次平创作的绢本浅设色画，现藏于南京博物院。\n\n此画共四幅。春牧绘春野柳坡，细草如茵，一童牧二牛于其间。夏牧绘高树浓荫，芦池夏草，二童跨牛浮水而渡。秋牧绘霜叶满地，幼犊依偎于牝牛，牡牛缓步于傍，牝牛坐弄蟾蜍。冬牧绘雪地残草，寒风呼号，牧童牵牛而归。全图画树木用笔粗简，画牛则精细勾描，人物尤为生动。",[23,24,25,914,28,29,172,7,113,30897,34,4188,159,86,23806],"堤岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a261f44b092c6d8d8542f432afd33d.jpg",[],{"id":30901,"slug":30902,"title":30903,"dynasty":18,"author":191,"museum":245,"description":30904,"tags":30905,"thumbUrl":30907,"material":220,"size":220,"collection":220,"collections":30908,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":145},227549,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-227549","仿郭忠恕雪霁江行图","长于界画的河南籍画家郭忠恕，以纯以墨线描绘两艘冒雪前行、满载货物的船只。画中不但表现了对船体正确结构的兴趣，也呈现出船夫们多样的活动情态，可藉此图想见五代宋初北方界画达到的艺术水平。",[23,24,25,26,81,7,28,29,84,111,20453,30906,284,285,173],"帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],{"id":30910,"slug":30911,"title":30912,"dynasty":132,"author":1194,"museum":245,"description":30913,"tags":30914,"thumbUrl":30915,"material":220,"size":220,"collection":220,"collections":30916,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":49},226704,"su-li-bie-yi-juan-1-zhou-wen-ju-226704","苏李别意卷-1","该幅是描绘苏武与李陵于荒寒北地殷殷话别的情景。",[24,25,26,28,7,83,112,173,344,1787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d99aa3ce15fe27667317bcda79a286.jpg",[],{"id":30918,"slug":30919,"title":30920,"dynasty":150,"author":191,"museum":245,"description":30921,"tags":30922,"thumbUrl":30923,"material":220,"size":220,"collection":220,"collections":30924,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":49},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,137,24,25,26,7,28,81,29,84,83,1206,174,176,36,35,92,2782,214,211,31,1247,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":30926,"slug":30927,"title":30928,"dynasty":18,"author":191,"museum":245,"description":30929,"tags":30930,"thumbUrl":30931,"material":424,"size":30932,"collection":220,"collections":30933,"showCount":442,"zanCount":48,"manualWeight":48,"mainColor":49},223376,"chu-ping-mu-yang-tu-yi-ming-223376","初平牧羊图","此图不知原载何册，也没有作者姓氏。但画法甚为高超，人物尤精。在描绘人物动态和神情方面，画家具有高超的技艺。",[23,24,25,914,28,7,83,4541,313,211,5053,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d3b9f87123433d8f4bab4bb4d8cd5e.jpg","23.5*24.6厘米",[],{"id":30935,"slug":30936,"title":4718,"dynasty":150,"author":4719,"museum":245,"des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横116.5厘米",[44,45],{"id":31430,"slug":31431,"title":3670,"dynasty":76,"author":3671,"museum":245,"description":3672,"tags":31432,"thumbUrl":31433,"material":1397,"size":1398,"collection":220,"collections":31434,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},235735,"hua-niao-ce-tan-zhi-yi-235735",[137,24,25,519,28,7,212,454,596,62,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad45b73f0049a14d3550d1815206b117.jpg",[],{"id":31436,"slug":31437,"title":31438,"dynasty":150,"author":31439,"museum":245,"description":31440,"tags":31441,"thumbUrl":31442,"material":220,"size":220,"collection":220,"collections":31443,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},234594,"yao-yuan-zhi-hua-guo-wan-shan-yao-yuan-zhi-234594","姚元之花果纨扇","姚元之","姚元之（1773—1852）清代官员、书画家。字伯昂，号荐青，又号竹叶亭生，晚号五不翁，安徽桐城人。嘉庆十年进士，官至左都御史、内阁学士。善画人物、果品、花卉，书法尤精隶书。姚元之与崔旭、梅成栋皆出自清代著名诗人张问陶（号船山）门下，合称“张门三才子”。",[24,25,914,212,7,28,689,62,15051,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b7f49ead7bc1e1fb50db9fb958b0b2.jpg",[],{"id":31445,"slug":31446,"title":31447,"dynasty":150,"author":191,"museum":245,"description":31448,"tags":31449,"thumbUrl":31453,"material":1397,"size":1398,"collection":220,"collections":31454,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},234403,"xiao-quan-cheng-huang-hou-chao-fu-xiang-zhou-yi-ming-234403","孝全成皇后朝服像轴","工笔重彩刻画入微，皇后安坐龙椅，面容娟秀温婉，神情静穆端凝，尽显中宫威仪。朝服以明黄为底，五彩祥龙穿梭于云纹之间，海水江崖层次井然，金线勾勒纹饰，华贵雍容。三盘朝珠错落垂挂，珠宝莹润雅致，与领肩繁复绣纹交相辉映，将清代宫廷服饰典制与极致绣艺尽数展现。画面设色浓丽沉稳，构图规整对称，既严守御容画的制式规范，又以细腻笔触赋予人物娴静气度，尽显宫廷皇后的华贵仪范。",[251,7,28,155,83,341,316,63,64,409,2602,31450,31451,31452],"朝服纹饰","五彩","刺绣纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2afd8276f1d953304a3cd0eeac1c5663.jpg",[],{"id":31456,"slug":31457,"title":27989,"dynasty":150,"author":191,"museum":245,"description":31458,"tags":31459,"thumbUrl":31460,"material":1397,"size":1398,"collection":220,"collections":31461,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},234391,"xiao-yi-chun-huang-hou-chao-fu-xiang-zhou-yi-ming-234391","此作工笔精丽写实，画中女子端凝静穆，面容秀雅平和，尽显后宫之主的温婉气度。朝服形制严整，明黄地衬藏青绣面，矫健金龙盘绕周身，辅以江崖海水纹，既显皇权威仪，亦寄寓江山永固。点翠头饰华光内敛，朝珠层叠莹润，衣料的肌理光泽都被精细摹写，设色浓艳富丽又不失章法，精准还原服饰的华贵质感，将宫廷肖像画的纪实性与礼制性完美融合，肃穆华贵间尽显清代帝后画像的典范格调。",[24,137,155,7,28,83,341,316,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b110d09d9371ee138ffa42480f6b35.jpg",[],{"id":31463,"slug":31464,"title":31465,"dynasty":150,"author":191,"museum":245,"description":31466,"tags":31467,"thumbUrl":31468,"material":1397,"size":1398,"collection":220,"collections":31469,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},234387,"hong-li-chao-fu-xiang-zhou-yi-ming-234387","弘历朝服像轴","此作为工笔御容肖像，笔触精细入微，设色华贵沉稳。画中帝王身着明黄朝服，周身龙纹盘绕生动，十二章纹排布严整，朝珠、补服礼制细节分毫毕现，尽显服饰规制的森严考究。\n\n人物神态清隽肃穆，端坐于錾刻繁复的鎏金宝座之上，身姿端凝沉稳，尽显九五之尊的雍容威仪。整作恪守御容肖像的严谨范式，以写实手法精准还原帝王仪范，将皇权的庄重尊崇融于细腻笔触间，尽显清代肖像画的精湛匠艺。",[24,25,155,7,28,83,251,63,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1485d5f01011117b7b00a8989ede1b9.jpg",[],{"id":31471,"slug":31472,"title":29223,"dynasty":150,"author":29224,"museum":245,"description":29225,"tags":31473,"thumbUrl":31474,"material":220,"size":220,"collection":220,"collections":31475,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},234373,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234373",[24,25,519,28,7,82,212,1653,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe5554c1b610aedeb858cd8dad4dee7e.jpg",[],{"id":31477,"slug":31478,"title":31479,"dynasty":18,"author":191,"museum":20,"description":31480,"tags":31481,"thumbUrl":31482,"material":627,"size":31483,"collection":220,"collections":31484,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},234002,"ming-bi-ji-sheng-ce-song-ren-cai-hua-tu-ye-yi-ming-234002","名笔集胜册-宋人采花图页","此画描绘野色秋景：古木、巨石、竹丛、杂花、曲水，老人拄杖，边走边看旁边的孩子，另一个孩子抱着 一个花瓶，跟在后面。 老人和两个少年，一副活泼的姿态，热切地相互呼应。 整幅画淡漠，充满野趣。 作者用双勾填彩竹，用白粉点花，用浓墨去山石，用淡墨擦。\n此图描绘的是陶渊明和采菊的故事。",[24,25,137,519,7,28,83,62,313,159,211,3084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3829cc71d2b5bb96c58a1efbea7b43.jpg","24.1x25.2厘米",[],{"id":31486,"slug":31487,"title":10207,"dynasty":18,"author":326,"museum":20,"description":31488,"tags":31489,"thumbUrl":31490,"material":15525,"size":10213,"collection":220,"collections":31491,"showCount":31214,"zanCount":1769,"manualWeight":48,"mainColor":145},232988,"pi-pa-shan-niao-tu-ye-zhao-ji-232988","图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[24,137,7,28,914,284,173,212,809,18683,596,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f708f56a9bfc0b0d7181fc6adb9c5aa.jpg",[],{"id":31493,"slug":31494,"title":31495,"dynasty":228,"author":4846,"museum":134,"description":31496,"tags":31497,"thumbUrl":31498,"material":496,"size":31499,"collection":220,"collections":31500,"showCount":31214,"zanCount":1769,"manualWeight":48,"mainColor":49},232832,"fang-ma-tu-zhao-yong-232832","放马图","《元赵雍骏马图》是元代画家赵雍的作品，该画出自家传，善山水，尤精人马及竹石。水滨疏林，骏马五匹散游其间，圉人倚松假寐，状极悠闲消遥。马匹肥壮，设色以青绿为之，树叶之表现近图案方式，饶古拙之趣，颇有唐人遗意。该画中山水份量极重，构景空濶而幽远。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[23,137,24,25,7,28,83,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e084133cc7dc0b63f3c2d393ccdc9.jpg","186×106公分",[],{"id":31502,"slug":31503,"title":31504,"dynasty":18,"author":5686,"museum":78,"description":31505,"tags":31506,"thumbUrl":31507,"material":67,"size":31508,"collection":220,"collections":31509,"showCount":31214,"zanCount":1769,"manualWeight":48,"mainColor":49},232770,"hua-hui-ling-mao-tu-juan-yi-yuan-ji-232770","花卉翎毛图卷","图绘鸟儿七只，有绿头鹦鹉，黑色八哥，红嘴小鸟，每只鸟儿神情生动，跃然纸上，羽毛细致多彩，惟妙惟肖，作为背景的花枝和花朵亦真实生动，整幅画重彩描绘，有着华丽富贵之美。",[23,137,24,25,26,7,28,212,409,178,637,453,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbe402d5f65c003ca020ad05276bb40.jpg","31.8cm×258.4cm",[],{"id":31511,"slug":31512,"title":31513,"dynasty":18,"author":1774,"museum":134,"description":31514,"tags":31515,"thumbUrl":31516,"material":2721,"size":31517,"collection":220,"collections":31518,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":1833},232600,"shan-shui-tu-zhou-zhao-bo-ju-232600","山水图轴","此作无名款，以细笔描绘沿溪风光，空间绵延，物象丰富，甚得乾隆皇帝喜爱。根据乾隆二十二年的题跋，乾隆皇帝 “观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,137,24,25,155,28,29,84,85,86,175,7,172,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":31520,"slug":31521,"title":31522,"dynasty":76,"author":6509,"museum":134,"description":31523,"tags":31524,"thumbUrl":31525,"material":235,"size":31526,"collection":220,"collections":31527,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},231953,"su-shi-liu-dai-tu-cui-zi-zhong-231953","苏轼留带图","宋神宗年间(1078年前后)苏东坡与佛印法师是知心好友，称为“忘形交”。一天苏东坡突然来访，直入方丈室。佛印正欲为僧众说法，故意开玩笑不让苏东坡坐，说：“此间无坐处”。苏东坡随即用禅宗之语答道：“暂借佛印四大为座”。佛印见他居然班门弄斧，便想难难他，提出如果答出问题就请他坐，答不出就把玉带输掉。苏轼自以为难不倒他欣然答应。佛印问：“既然四大皆空，五蕴非有，居士向哪里坐?”(四大：“地、水、火、风”大，佛教认为是构成物质的四大元素。五蕴：“色、受、想、行、识”蕴，是构成人身的五种因素)。你想，既然四大皆空，五蕴非有，便是空空如也，一无所有。哪里还会有什么座位呢?苏东坡果然被难住了。只得解下玉带相赠。佛印也当即取出一幅自己的衲裙回赠。真得感谢这位聪明的和尚，为我们留下了这件珍贵的文物。苏东坡还写了三首诗记这件事，题目叫《玉带施元长老，元以衲裙相报次韵》，其中有“此带阅人如传舍，流传到我亦悠然。锦袍销落应相称，乞与佯狂老万回”等句，流露出政治上失意上图专为存放苏东坡玉带供人观瞻的“留玉阁”\n这幅《留带图》，画的正是苏轼与僧人参廖子的故事。崔子忠师承董其昌，在人物画上与陈洪绶齐名，并称南陈北崔。所画人物面目清奇而有古意。惜乎所寻的这幅《留带图》太小，咱竟不能见识其笔力。也罢，苏胡子是多面手，不但词文冠绝天下，连书法绘画都是超一流名家。宋四家“苏黄米蔡”，苏胡子书法排名大宋第一。崔画不清晰，录一幅苏胡子的字以弥补。《黄州寒食帖》，号称天下行书第三。\n“有情风万里卷潮来，无情送潮归”，“对潇潇暮雨洒江天，一番洗清秋”，“无边落木萧萧下，不尽长江滚滚来”，就是这样的联想，就是这样的博大开阔的境界。\n婉约为正宗的词在苏轼那里有了极大的开拓，但是可惜其他人没有追随上来。天才常常比一般人走得快一点吗？秦观，仍是词人之词，他为何不学苏轼做诗人之词？但秦观依然有其特色之处，一般人常把抽象的感情比作具象的景物，但秦观却能够把具体的形象比作抽象的感情。",[677,24,25,7,28,855,83,34,211,91,3048,344,284,173,1499,7974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ad3b4fbcab6254827d3f2934fc1b38.jpg","81.4x50",[],{"id":31529,"slug":31530,"title":31531,"dynasty":190,"author":191,"museum":245,"description":31532,"tags":31533,"thumbUrl":31534,"material":1397,"size":1398,"collection":220,"collections":31535,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,25,26,28,81,7,194,84,85,86,176,29,34,211,1029,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":31537,"slug":31538,"title":5760,"dynasty":150,"author":260,"museum":134,"description":31539,"tags":31540,"thumbUrl":31541,"material":627,"size":31542,"collection":220,"collections":31543,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},231370,"bai-ying-tu-lang-shi-ning-231370","《白鹰图》创作于乾隆十六年（1751年），是郎世宁中西画法完美结合的最杰出作品之一。\n画面主体中的白鹰以白粉精细描绘，传承欧洲绘画技法，注重物象的解剖结构、光影效果及立体感，把翘首殷望的白鹰刻画的形神逼真；而背景中的松石则全然采用中国写意笔墨，清涧石岩，傲松凌立。\n此图绘江南雨后的芭蕉竹石，笔墨粗简，构图也十分简括。画幅上方，留出大面积空白，显得更加深邃清旷。这种“知白守黑”的处理，使画意更加完整而富于张力，给观者以无限的想象空间，正所谓“于无画处，皆成妙境”。整幅作品充满着一种自省的内在精神，耐人寻味。\n《白鹰图》以独特的艺术构思、隽永的表现手法和浑然天成的情景交融给观者以极大的艺术享受，意境深远，令人思绪万千。\n这幅《白鹰图》虽然有着明显欧洲画法的因素，但是画中所含的内容却完全是传统中国的风格。图中白鹰、松树、巨石、流水等均是中国绘画中习见的物象，喻意中象征着强壮、长寿、平安、吉祥等等。根据画上的署款，此图是根据乾隆十六年五月初十日，大学士忠勇公傅恒所进献的白鹰所画，相传皇太后生日即在五月，乾隆大孝，号称“以天下养”，即用天下最美好的财富来侍奉母亲，因此，《白鹰图》也是一幅极为贵重的祝寿图。",[24,25,155,7,28,178,582,29,286,86,159,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991122f93eaf082fff4079d1c96c94cd.jpg","122.25x64.79",[],{"id":31545,"slug":31546,"title":31547,"dynasty":228,"author":191,"museum":245,"description":31548,"tags":31549,"thumbUrl":31550,"material":220,"size":220,"collection":220,"collections":31551,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},230899,"zhang-yu-ti-ni-zan-xiang-yi-ming-230899","张雨题倪瓒像","画中主人斜坐榻上，眉眼疏朗沉静，素衣简饰尽显出尘之姿。侍童捧盏垂首静立，仆从持帚恭谨侍于侧旁，案头清供文玩雅致小巧，背景浅绘林峦远汀，暗合主人简淡的笔墨意趣。左侧题诗与遍身鉴藏朱印，为画作添上流传的厚重底色。\n\n全作设色清雅柔润，线条细劲秀逸，将元末文人耽于泉石诗书的狷介风骨尽数铺陈，人物情态鲜活自然，把肖像纪实与文人雅趣精妙相融，尽显元人肖像画的含蓄意韵。",[137,24,25,26,28,7,283,83,173,284,3048,216,2642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67502f268a6b09045cf37786e306694e.jpg",[],{"id":31553,"slug":31554,"title":31555,"dynasty":150,"author":6729,"museum":245,"description":31556,"tags":31557,"thumbUrl":31558,"material":220,"size":220,"collection":220,"collections":31559,"showCount":31214,"zanCount":1769,"manualWeight":48,"mainColor":49},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","《江乡清晓图》是清代画家禹之鼎创作的一幅绢本设色画，现藏于旅顺博物馆。\n两棵老柳垂条，掩映溪桥田野，远处山麓桃花盛 开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,24,25,28,7,172,29,83,85,86,1028,174,772,3488,1744,5373,14375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],{"id":31561,"slug":31562,"title":31563,"dynasty":190,"author":31564,"museum":245,"description":31565,"tags":31566,"thumbUrl":31567,"material":1397,"size":1398,"collection":220,"collections":31568,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},230505,"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-er-ping-xue-zhou-230505","室町时代 四季花鸟图屏风-二屏","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,28,7,927,298,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff786dfaab4c789f09b02ecc5404306e5.jpg",[],{"id":31570,"slug":31571,"title":10798,"dynasty":150,"author":11790,"museum":245,"description":31572,"tags":31573,"thumbUrl":31574,"material":1397,"size":1398,"collection":220,"collections":31575,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},230355,"lan-ting-xiu-xi-tu-juan-fan-qi-230355","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[23,24,25,26,28,7,29,176,83,86,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5707e8f94ee1c363234026c2a717d008.jpg",[],{"id":31577,"slug":31578,"title":31579,"dynasty":150,"author":191,"museum":245,"description":31580,"tags":31581,"thumbUrl":31582,"material":1397,"size":1398,"collection":220,"collections":31583,"showCount":31214,"zanCount":1769,"manualWeight":48,"mainColor":49},230330,"chao-xian-guan-yuan-xiao-xiang-zhou-yi-ming-230330","朝鲜官员肖像轴","这幅肖像工致写实，将宦者气度凝于绢素。画中人物面容沉凝，银髯垂胸，眉峰微蹙自带持重威严，眉眼晕染细腻，将阅尽世事的沉稳刻画入微。\n素色官袍晕染柔和雅致，衣纹舒展自然，乌纱帽制式严谨细节毕现，暗合礼制规制。座椅铺陈的豹纹裘饰，低调彰显尊荣身份，背景织锦纹样规整古雅，烘托出肃穆沉静的氛围。\n整体笔意克制内敛，兼顾纪实传神与礼制象征，尽显士大夫的端方儒雅，是传统肖像画兼具审美与礼制内涵的典型之作。",[23,24,155,28,83,7,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db95857ae99b5f83df15929d5968cba.jpg",[],{"id":31585,"slug":31586,"title":31587,"dynasty":150,"author":260,"museum":245,"description":31588,"tags":31589,"thumbUrl":31590,"material":220,"size":220,"collection":220,"collections":31591,"showCount":31214,"zanCount":1769,"manualWeight":48,"mainColor":145},230209,"hua-a-yu-xi-chi-mao-dang-kou-tu-juan-lang-shi-ning-230209","画阿玉锡持矛荡寇图卷","《玛瑺斫阵图》是意大利籍画家 创作的纸本设色国画，现藏于 。\n是中国清代清军平定西域战争中的立功者。\n他曾随副将军富德讨伐 叛乱，奋勇冲杀，三箭将敌酋射落马下，后来被敌军所围，战马负伤倒毙，玛瑺弃坐骑步战，负伤十余处，仍坚持作战，以战功升为护军统领。\n图中玛瑺纵马弯弓追杀，敌酋中箭，垂首弃矛坠马。\n郎世宁以他擅长的“写真”技艺，精细、真实地刻画了一位勇士的形象，作者将所有的背景舍去，突出了画中的人物。\n人及马匹的画法十分细致，采用的是欧洲的画风。\n同样题目、内容和构图的画有二幅，另一幅现藏于德国柏林东方美术馆。\n此图中画敌将负伤，耷拉着脑袋，乘黑马飞速逃窜。\n光着脑袋，上穿束袖黑衣，下穿米黄色袴裤，两手支撑在马的肩部，低头怒目斜视，惟恐有乘骑迫上，中二箭，黑马四蹄伸展作飞腾般的逃窜。\n后面画有清勇将玛瑺手持弓箭，上佩带红锦“撒袋”（即装了箭的袋），撒袋内装满了弓箭，御白马紧迫其后。\n画面中显示了一场惊心动魄厮杀决斗的场面，敌将受伤逃窜，形象十分狼狈。\n玛瑺乘骑追赶，抬头挺胸显得威风凛凛，双目凝神，专注盯住着前方的敌将。\n1759年（乾隆二十四年）清军勇士玛瑺跟随右副将军富德率军在呼尔满（今莎车东北）平定回部叛乱，玛瑺歼敌英姿焕发，奋勇冲杀，以三箭毙敌，後被敌所困，负伤仍坚持抵抗，因其战役的特殊表现，升为护军统领。\n在平定西域准部回部的战役中，乾隆皇帝特别称赏玛瑺与阿玉锡两位勇士的战功，除了油画脸像、功臣像小稿、功臣像立轴玛瑺与阿玉锡皆在列外，还让郎世宁绘了《玛瑺斫阵图》及《阿玉锡持矛荡寇图》并要求宫廷画家绘制《玛瑺得胜图》以及《阿玉锡得胜图》等贴落大画。\n画中的人物和马匹，造型准确，物象逼真，描绘深入细腻。\n人物和马匹比例结构十分准确，其姿态和动势俱合法度，足见作者的功力之深厚。\n光的使用是郎世宁绘则的另一个特色，这幅画卷中，人物、马匹均应用了光的原理，使物象极富立体感，马皮毛的质感也很好地表现出来。\n明显地采用了西洋画的投影法，但只要细细观察，仍含有中国绘画传统手法，即马匹上所采用的阴影，亦是以中国的传统渲染方法来完成的，但骨子里还是西洋古典画的成分较中国画的成分为浓，体现了高度的写实技巧。\n总体来说，此画设色轻淡，用笔精谨，线条清劲，是一幅难得的精品。\n主题与关键字：马、军士、兵器、蕃族、马鞍。\n石渠宝笈续编（宁寿宫），第六册，页49 故宫书画录（卷四），第二册，页284 故宫书画图录，第二十一册，页175-178 （1688—1766）是意大利人，生于米兰，1715年（清康熙五十四年）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙、雍正、乾隆的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正、乾隆时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》《平定西城战图》等。",[24,25,26,28,7,83,112,1787,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30b05b41246e11eef45301f413a00ec.jpg",[],{"id":31593,"slug":31594,"title":31595,"dynasty":150,"author":542,"museum":245,"description":31596,"tags":31597,"thumbUrl":31598,"material":220,"size":220,"collection":220,"collections":31599,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},228938,"qian-long-nan-xun-zhu-bi-tu-qian-wei-cheng-228938","乾隆南巡驻跸图","此作用鸟瞰全景式构图，将山林梵宫驻跸地铺展于绢面。界画工细严整，殿宇层叠排布对称规整，朱红标识清晰点明殿内陈设，精准勾勒出建筑形制，尽显驻跸行馆的严整规制。\n\n周遭林木苍秀错落，淡墨轻赭晕染丘壑，将人工营造融于山野清境之中。整体设色古雅沉静，笔触精细柔和，既详实记录了驻跸之所的全貌，又以山水画意晕染出江南林泉的幽谧雅韵，是纪实性与文人画意趣相融的精品，尽显山林行宫的清雅格局。",[23,24,25,81,28,7,84,29,34,91,92,211,3084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd542b499186cbae634efac97536fa24b.jpg",[],{"id":31601,"slug":31602,"title":31603,"dynasty":76,"author":31604,"museum":245,"description":31605,"tags":31606,"thumbUrl":31608,"material":220,"size":220,"collection":220,"collections":31609,"showCount":31214,"zanCount":1769,"manualWeight":48,"mainColor":145},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,24,25,26,28,7,83,29,85,86,176,927,2653,174,1103,31607,1106,285],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":31611,"slug":31612,"title":31613,"dynasty":76,"author":191,"museum":245,"description":31614,"tags":31615,"thumbUrl":31616,"material":220,"size":220,"collection":220,"collections":31617,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},228798,"song-yin-xue-hu-tu-yi-ming-228798","松荫雪虎图","萧寒雪色覆满林莽，古松虬曲苍劲，皴染厚重的枝干尽显老辣古拙，松针攒簇如铁，撑起一片幽寂荫凉。\n\n画中猛虎盘踞雪地，姿态松弛慵懒，却难掩百兽之王威仪。虎身斑纹勾勒劲挺写实，毛发晕染细腻柔和，将皮毛的蓬松质感尽显无遗。它目光沉沉锁着爪下猎物，獠牙微露，悍野之气暗藏于松弛神态中。\n\n淡墨晕出薄雪覆于枯槎衰草间，冷寂荒寒的雪境，更衬出猛虎孤高凛冽的气场。整作工写相融，细处描摹虎之肌理毛发，粗笔铺就林雪萧索氛围，于静谧间暗藏肃杀野性，尽显走兽画的精妙写实功底，将冬日林莽的荒寒与百兽王的雄健完美揉合。",[23,24,137,25,28,7,172,3794,582,1068,1500,1797,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62072f89e4fcb137c0ced81bb18267a8.jpg",[],{"id":31619,"slug":31620,"title":31621,"dynasty":76,"author":674,"museum":245,"description":31622,"tags":31623,"thumbUrl":31624,"material":220,"size":220,"collection":220,"collections":31625,"showCount":31214,"zanCount":1769,"manualWeight":48,"mainColor":49},228323,"shi-zuo-bai-yi-guan-yin-chen-hong-shou-228323","石座白衣观音","此作以天然石窟为龛，菩萨趺坐其中，奇石皴笔老硬苍劲，造型奇崛朴拙，将白衣观音衬得愈发恬和沉静。衣纹勾勒细劲绵密，如曹衣出水般贴合身形，素白浅晕尽显织物柔润垂坠质感，与山石硬朗形成刚柔对照。\n\n上方朱红花卉设色古雅柔婉，为冷寂岩窟晕开几分暖意生机，冲淡了佛境的清寂。整幅笔简意足，高古静穆的禅意与奇幽冷逸的笔意相融，把观音澹定慈悲的气韵烘托尽致，尽显独特的古雅佛国意趣。",[24,28,7,194,83,159,298,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1091d2300ff65bf353030cdf5062650.jpg",[],{"id":31627,"slug":31628,"title":31629,"dynasty":76,"author":674,"museum":245,"description":31630,"tags":31631,"thumbUrl":31632,"material":220,"size":220,"collection":220,"collections":31633,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},228304,"can-zhi-tu-chen-hong-shou-228304","餐芝图","此作用笔高古奇骇，构图疏朗雅致，奇石衬出幽寂林下氛围。主角宽袍峨冠，手托芝草悠然凝思，神情澹然超迈，尽显林下高士的出尘之态。下方侍者蹲身专注燃炉蒸芝，神态恭谨，一动一静之间衬出画面闲雅意趣。衣纹勾勒清劲凝练，设色淡雅沉静，古拙的线韵晕染出静穆脱俗的幽隐意境，将服食灵草、寄情丘山的出世雅趣藏于笔底，尽显高逸绝尘的文人风骨。",[23,24,25,155,7,283,28,83,159,216,11067,12767,27279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104d5293337b078854f928fd606d4d56.jpg",[],{"id":31635,"slug":31636,"title":31637,"dynasty":228,"author":31638,"museum":245,"description":31639,"tags":31640,"thumbUrl":31641,"material":220,"size":220,"collection":220,"collections":31642,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},228247,"dou-niu-tu-dun-min-228247","斗牛图","敦敏","郊野荒寒，枯木虬劲苍古，枝桠疏朗斜伸，带着冬日萧索静气。前景双牛犄角相抵，四蹄攒劲，肌肉紧绷贲张，将斗牛憨猛相争的张力尽显，朴拙写实，鲜活灵动。\n以静衬动，萧寂的野景衬出斗牛的生猛勃发，右上角题诗呼应画中趣味，笔墨苍简淡远，将山野朴趣与文人画的清冷意韵相融，于简约留白间晕染出悠然生机，尽显笔墨疏淡雅致的侘寂之美。",[23,5396,137,24,25,155,7,28,113,582,1499,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37247abe557be32eff5ae6096d2856e.jpg",[],{"id":31644,"slug":31645,"title":18673,"dynasty":228,"author":191,"museum":245,"description":31646,"tags":31647,"thumbUrl":31648,"material":220,"size":220,"collection":220,"collections":31649,"showCount":31214,"zanCount":1769,"manualWeight":48,"mainColor":49},228231,"huo-lang-tu-ye-yi-ming-228231","垂柳拂岸，水石叠映，郊野间四人围坐雅聚。三两货郎架上，瓷瓶茶器、文玩雅陈罗列琳琅。\n\n画中雅士姿态松弛自在，或俯身辨赏器物，或围坐笑谈，货郎静立一旁，氛围悠然闲逸。笔触工细秀润，设色清雅柔和，将文人耽于雅玩、寄情林泉的日常情态细细铺展。市井雅货与郊野清景相融，尽显古淡天真的隐逸意趣，将元代文人的赏玩雅好，定格成一方悠然古雅的片刻景致。",[23,24,28,7,4185,83,158,1028,159,705,15288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3654df41463c4282c2769d25d0ba8ecb.jpg",[],{"id":31651,"slug":31652,"title":31653,"dynasty":18,"author":10872,"museum":245,"description":31654,"tags":31655,"thumbUrl":31656,"material":220,"size":220,"collection":220,"collections":31657,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},227976,"zhong-xing-rui-ying-tu-juan-xiao-zhao-227976","中兴瑞应图卷","《临萧照中兴瑞应图卷》是明代画家 创作的一幅绢本设色画。\n此幅为仇英的摹古之作。\n仇英中年以后，曾先后在大收藏家周凤来和项元汴家客居近2年，得以广泛观摩宋、元名迹，摹古技艺精深。\n《中兴瑞应图》卷为南宋萧照所作，取宋高宗赵构即位前的种种瑞应传说为内容，根据曹勋辑“瑞应诸事”所写赞文描绘而成，是一幅歌颂赵构重建王朝的作品。\n此卷现存四段：一、占卜。\n徽、钦二帝被俘后，显仁皇后在行殿用棋占卜，兆告康王继位，众皆庆贺。\n二、渡河。\n一骑陷落冰际，惟赵构得免。\n三、授衣。\n萝黄袍加身。\n四、射兔。\n高宗戎装骑驰，箭中白兔。\n原作共12段，曾藏于项元汴家，仇英因此得到观摩机会。\n卷末署有“吴郡仇英实父谨摹”款，钤“实父”、“十洲”二印。\n引首有董其昌书“仇英临宋萧照《高宗瑞应图》其昌”。\n后幅有董其昌、秦松龄、尹绳孙、许之渐、黄家舒、吴伟业六家题记。\n经项元汴、梁清标、耿信公等鉴藏。\n全画用笔粗重，设色妍丽，构图平远，既有宋画古拙雄劲的特色，又有文人画的韵致，不愧为仇英摹古精作。\n此卷临本共4段，用笔粗健，设色精细，图中建筑的比例、形象、风格以及细部都极其忠实于原作，再现了萧照绘画的神髓，可谓“下真迹一等”。\n也有古建筑研究专家认为仇英的楼阁画只是在临摹宋画时才有出色的表现，而其自己的创作则逊色一筹。\n仇英（1494-1561），江苏太仓人，居苏州，出身低微，初为漆丁，后改学画，初从师周臣，结交文征明、祝允明、唐寅等文人画家，对其提高文艺修养和画艺起了很大的作用。\n他还曾在收藏家项元汴家作画，遍观项氏所藏历代法书名画，并加以临摹，潜心钻研，终成一代名家。\n仇英擅人物、山水、走兽、界画，亦精于临摹，均技艺精湛。\n其山水师法赵伯驹、赵伯辅，作青绿山水，山石勾勒，皴染细密，色彩浓丽明雅，境界宏大繁复。",[23,24,25,26,28,7,81,83,84,34,92,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a11517bb5e9b3c0c974e033db1daa83.jpg",[],{"id":31659,"slug":31660,"title":701,"dynasty":18,"author":1609,"museum":245,"description":31661,"tags":31662,"thumbUrl":31663,"material":220,"size":220,"collection":220,"collections":31664,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},227950,"mu-niu-tu-li-di-227950","淡墨晕开暮色山岗，枯木寒槎的枝桠如铁线劲挺，萧疏间漫着郊野冬日的荒寒意趣。坡岸间老牛缓步垂首，憨拙身形似正衔着衰草慢行，幼犊轻捷随行左右，一大一小的动静反差，晕开牧归时分的松弛温情。\n\n画作以淡赭晕染坡石，水墨铺陈烟霭，不着过多繁复刻画，以极简笔墨铺展出山野清寂氛围，于淡远荒寒中藏着质朴的田园意趣，寥寥数笔便融物态与意境为一体，尽现独有的雅致淡远诗意。",[23,137,24,25,914,28,7,29,156,313,113,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f28a98374dd8c8b309719c6f9a66639.jpg",[],{"id":31666,"slug":31667,"title":31668,"dynasty":18,"author":191,"museum":245,"description":31669,"tags":31670,"thumbUrl":31671,"material":220,"size":220,"collection":220,"collections":31672,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},227898,"shou-lie-tu-yi-ming-227898","狩猎图","元佚名狩猎图卷，绢本，辽宁省博物馆藏。\n设色，画心纵1，横19厘米。\n画峰峦叠起，沟壑纵横，溪流坡地，竹树杂处，野草漫生。\n一队身着民族服装的猎手，纵马控弦，在山谷间围堵追杀猎物。\n前部为连绵远山，坡谷间有三猎手围杀野猪、狍鹿、山兔等，场面紧张激烈，扣人心弦。\n中段作崇山环抱，沟壑交错，一猎手跌落马下，弓箭散落各处，后面三骑，迅来救助；而转过一座陡峭山峰，一带溪水自远而来，两岸长满杂草和杨树。\n画末为险峻石壁，一只雄隼咬住一只大雁颈项，雁在拚命挣扎，余四只鸣叫着四处飞逃。\n在一片较平坦的谷地间，立着一杆认旗，二长者调马备鞍。\n全图气势辽阔苍茫，笔法古朴雄浑，山石以勾勒与晕染并施，而皴法则不拘一格。\n以写实为主，山水多信笔为之，不免粗豪简率。\n而人物和马匹刻画细腻，得唐宋等前人笔法颇多。\n慓悍、浑朴之态表现得体，番马体相勾划准确。\n所绘景物、山水树石具有明显北国特色；马匹短足毛蹄，亦属蒙古马种；人物宽额高颧，为典型蒙族形象；服饰也同元初蒙族服饰相类。\n是元初北方画家典型写实之作，也是一卷难得的艺术珍品。",[23,24,706,28,7,83,112,582,178,14983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256486f4089412a35f1dcfbd1fd99352.jpg",[],{"id":31674,"slug":31675,"title":31676,"dynasty":18,"author":1275,"museum":245,"description":31677,"tags":31678,"thumbUrl":31679,"material":220,"size":220,"collection":220,"collections":31680,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},227830,"yuan-yang-tu-ye-ma-yuan-227830","鸳鸯图页","此作用边角取景，以对角构图拉开悠远意境。劲挺的墨笔写竹枝，竹叶攒聚有致，清健爽利尽显竹之风骨。溪岸山石以大斧劈皴挥扫，棱角方硬苍劲，带着冷峭的质感。\n婉转的细线勾出溪间波涡，将水流的迂回急缓藏于笔底，澄澈空明的水色晕染出幽寂氛围。石上鸳鸯恬然依偎，柔婉的情态和冷硬的景致刚柔相济，以小见大，在尺幅之间铺展出水乡清寂的诗意，将精工写实与空灵禅意相融，尽显幽隽雅致的山水情致。",[23,24,25,519,28,7,156,86,1435,159,212,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ebd908d08df5f45d3c4cabb273658b.jpg",[],{"id":31682,"slug":31683,"title":31684,"dynasty":18,"author":5567,"museum":245,"description":31685,"tags":31686,"thumbUrl":31687,"material":220,"size":220,"collection":220,"collections":31688,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},227685,"hu-qi-qiu-lie-tu-chen-ju-zhong-227685","胡骑秋猎图","宋 陈居中(传) 胡骑春猎图 绢本设色 24.1x27.3cm 美国大都会艺术博物馆藏\n南宋画家陈居中的传世作品大多以北方少数民族风情故事为题材，形成了与其他南宋画家迥然不同的艺术风格，戈壁大漠的粗犷刚烈也使他在宋代院体画家中卓尔不群。《胡骑春猎图》与陈居中的这些特点颇为相符，表现出作者对当时横行漠北的“胡人”（北方少数民族）的生活有着很深的了解。",[23,24,137,25,914,7,28,83,112,582,14983,2463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c8ba97540b5f270c33c54937383a0f.jpg",[],{"id":31690,"slug":31691,"title":31692,"dynasty":18,"author":1838,"museum":245,"description":31693,"tags":31694,"thumbUrl":31695,"material":220,"size":220,"collection":220,"collections":31696,"showCount":31214,"zanCount":1769,"manualWeight":48,"mainColor":49},227512,"tong-xi-tu-ye-su-han-chen-227512","童戏图页","“婴戏”是中国画的一个重要的题材，从唐宋到元明清时期，孩童们的可爱淘气、天真烂漫无不是画家笔端的灵感。“婴戏图”既体现了人们自古至今对孩童的无限关爱与期望，又表达了人们对美好幸福生活的无限憧憬和祝愿。\n\n儿童生性活泼好奇，在他们的眼里，每样事物都新奇有趣，都想要探索、尝试。而游戏、玩具不仅能启发心智，也能锻练强健的体魄，是他们用以探索世界的工具。",[23,24,25,519,7,28,83,159,1499,18657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e088f168b45c22f7031b2d125dc9812.jpg",[],{"id":31698,"slug":31699,"title":31700,"dynasty":18,"author":191,"museum":245,"description":31701,"tags":31702,"thumbUrl":31703,"material":220,"size":220,"collection":220,"collections":31704,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},227344,"nan-tang-wen-hui-tu-yi-ming-227344","南唐文会图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。",[23,24,25,28,7,83,29,34,214,783,285,284,158,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a6e27647f006a060beabf4f36b4ffa.jpg",[],{"id":31706,"slug":31707,"title":62,"dynasty":150,"author":3707,"museum":245,"description":31708,"tags":31709,"thumbUrl":31710,"material":220,"size":220,"collection":220,"collections":31711,"showCount":31214,"zanCount":1084,"manualWeight":48,"mainColor":145},226644,"hua-pu-ru-226644","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,24,25,28,7,212,62,453,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed57ef2871355f1a1c8e705a5a4935bc.jpg",[],{"id":31713,"slug":31714,"title":6629,"dynasty":150,"author":31715,"museum":245,"description":31716,"tags":31717,"thumbUrl":31719,"material":220,"size":220,"collection":220,"collections":31720,"showCount":31214,"zanCount":1769,"manualWeight":48,"mainColor":145},224167,"ting-ruan-tu-liu-yan-chong-224167","刘彦冲","《 》是清代画家刘彦冲创作的一幅设色画。\n图中文人身着高冕宽服，抱膝而坐，正听一位歌女弹奏阮琴。\n阮音清扬，四处芳草如茵，梧桐枝叶繁茂，又配以湖石、芭蕉、翠竹，清幽异常。\n《听阮图》图中款识可知此画是刘彦冲以其八兄为描绘对象绘出的。\n图中人物用线细劲圆润，颇有古意，设色妍 丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[23,7,28,83,138,34,156,466,12766,471,5343,1744,211,3527,31718,173,344],"书箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],{"id":31722,"slug":31723,"title":31724,"dynasty":18,"author":191,"museum":245,"description":31725,"tags":31726,"thumbUrl":31727,"material":220,"size":220,"collection":220,"collections":31728,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},223611,"zhu-ting-yuan-yang-tu-yi-ming-223611","竹汀鸳鸯图","画面截取江南水隅一角，修竹偃仰扶苏，以劲健墨笔勾写枝叶，浓淡晕染间，尽显层叠错落的清生意趣。汀洲之上，一对鸳鸯恬然依偎，翎毛细笔丝染，绒羽蓬松柔润，将亲昵温婉的情态描摹入微。\n\n水面留白晕开薄雾空蒙，三两水鸟掠波振翅，于静景中添灵动生机。全作用浅褐绢底烘托苍雅墨色，工写相融，既以精微笔触写实花鸟形质，又晕染出暮色江汀的清寂空濛，将江南水畔的闲澹之景，揉入宋人内敛含蓄的雅致意趣，尽显古典院体花鸟画的妍丽与空灵。",[23,137,24,25,7,28,212,156,1435,178,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38af8970d0e9b3d6c4052a52cdd7776.jpg",[],{"id":31730,"slug":31731,"title":31732,"dynasty":18,"author":191,"museum":20,"description":31733,"tags":31734,"thumbUrl":31735,"material":40,"size":31736,"collection":220,"collections":31737,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":145},223495,"chun-xi-shui-zu-tu-ye-yi-ming-223495","春溪水族图页","此图是现存宋画中游鱼类题材画的一幅佳作。春暖花开，群鱼戏藻。鲢鱼摆尾漫游，鲶鱼回身在后，鳜鱼则迎头向上，隐喻了“连年有贵”的吉祥含义。画家通过鱼儿欢快游动时自由弯转的体态和藻类植物在游鱼冲击下漂浮不定的形状，巧妙地暗示出流水的动势以及春水的清洌透明感。3尾大鱼均施以工笔重彩，用笔沉稳工致，片片鱼鳞描绘得一丝不苟；而衬景的小鱼、小虾和水藻则纯用没骨法渍染，将鱼虾的灵动和水藻的轻盈表现得恰到好处。\n对幅有清乾隆御题七言诗一首：“庄惠曾论知弗知，传为奇语却无奇。试如驳曰我非子，便是答云彼岂斯。春水初生具春意，文鳞群泳爱文漪。漫訾意浅色鲜耳，颇类濠梁博辩时。戊申仲秋御题。”“戊申”为乾隆五十三年（1788年）。钤“古稀天子之宝”、“犹日孜孜”印。",[23,24,137,25,519,7,28,173,557,157,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859ddf48b1c91ddef47588963053a15e.jpg","纵24.3cm，横25.5cm",[],{"id":31739,"slug":31740,"title":31741,"dynasty":18,"author":191,"museum":134,"description":31742,"tags":31743,"thumbUrl":31744,"material":31745,"size":220,"collection":220,"collections":31746,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},223485,"wu-kuan-he-yan-yi-ming-223485","无款荷雁","深秋，荷塘，枯败的荷叶和芦苇，可能是南飞的大雁，落在荷塘旁休憩，四只雁仰头等待着同伴落下来，六只雁动静结合，形态各异，画面清淡灵动，极具舒适感。",[24,7,28,157,2707,178,2708,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414dcef4b802a97e23d08ce398337d45.jpg","絹本、設色",[],{"id":31748,"slug":31749,"title":31750,"dynasty":18,"author":191,"museum":382,"description":31751,"tags":31752,"thumbUrl":31753,"material":496,"size":31754,"collection":220,"collections":31755,"showCount":31214,"zanCount":48,"manualWeight":48,"mainColor":49},223482,"wen-ji-tu-yi-ming-223482","文姬图","蔡文姬，名琰，字文姬（一作明姬，昭姬），东汉陈留国（今河南粑县）人。东汉文学家蔡邕（伯喈）之女。博学而有辩才。熟谙音律。16岁嫁给河东卫仲道，婚后不久，夫亡无子，回娘家居住。 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[1] 同时民间艺术有很大发展，如京剧就开始形成于乾隆年间。但是后期吏治有所败坏，多地爆发起义。 [2] 严格抵制英国、俄国的侵略性行为，但闭关锁国政策拉大了和西方的差距，中国正处于近代的前夜。\n乾隆六十年（1795年），乾隆帝禅位于第十五子颙琰。嘉庆四年正月初三（1799年2月7日）去世于养心殿，享年89岁。 [3] 庙号高宗，谥号法天隆运至诚先觉体元立极敷文奋武钦明孝慈神圣纯皇帝，葬于清东陵之裕陵。",[24,25,155,28,7,83,341,63,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4f2b6e8a832241ce4b40e49f9a5ea3.jpg","257.3×151.0 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简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,26,855,7,283,173,83,32348,86,34,2708,178,3487,29,95,3488,32349,7124,1028,4611,175],"渔船","渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":32354,"slug":32355,"title":32356,"dynasty":76,"author":32357,"museum":20,"description":32358,"tags":32359,"thumbUrl":32360,"material":40,"size":32361,"collection":220,"collections":32362,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},233882,"pin-pang-tu-zhou-ni-duan-233882","聘庞图轴","倪端","画作取材于三国时期荆州刺史刘表聘请隐士庞德公的故事。庞德公是名士庞统的叔父，与徐庶、诸葛亮等贤达交谊笃厚。画中人物描摹精细，设色妍丽，山水气势雄伟浑厚，林木郁茂清朗。",[24,25,155,28,29,83,112,7745,211,2463,7,172,34,1907],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992ab76f04567d0262a4fd6a4882fe7a.jpg","纵163.8厘米，横92.4厘米",[],{"id":32364,"slug":32365,"title":14936,"dynasty":18,"author":191,"museum":20,"description":32366,"tags":32367,"thumbUrl":32368,"material":67,"size":32369,"collection":220,"collections":32370,"showCount":458,"zanCount":1020,"manualWeight":48,"mainColor":49},233007,"wa-que-qi-zhi-tu-ye-yi-ming-233007","海棠一枝，果实散挂枝头，树叶已染秋霜。海棠枝头栖息着瓦雀，或缩颈养神，或整理羽毛，姿势各异，神态安适，中间一只发现头顶树叶上落有小蜂，昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n麻雀常宿于檐瓦之间，故一名“瓦雀”。图中从左向右伸出海棠一枝，果实散挂枝头，树叶已染秋霜，间杂红、黄、绿色，斑斓可爱，惜叶、果有些已遭虫蚀。海棠枝头栖息着瓦雀5只，其中4只或缩颈养神，或整理羽毛，姿势各异，神态安适，唯中间一只发现头顶树叶上落有小蜂，故昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n瓦雀翎毛刻画精细，高度写实。海棠取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。瓦雀和果、叶以枝条贯穿，若网在纲，有条不紊。细观墨笔枝条虽细，然尚以浓淡墨分出阴阳向背，富于立体感，显得刚健有力。\n此图原载《宋人集绘册》。图中画五只瓦雀，栖止于海棠枝上。花枝上果满页疏，五只瓦雀姿态各异，有的俯首下视，有的扭头回观，有的仰首注视着枝页上的小昆虫，形象生动活泼，逗人喜爱。海棠枝从画面左侧横插，参差顾盼，虬曲多姿。鸟的羽毛用细笔一笔一笔勾描，有毛茸茸的质感。此图用笔精工，设色艳丽。无款印，曾经清代收藏家宋荦珍藏，《石渠宝笈三编》著录。",[24,25,137,7,28,519,212,9544,653,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6b6fe31dde1b7c91550646cdde7825.jpg","纵28.厘米，横29.1厘米",[],{"id":32372,"slug":32373,"title":32374,"dynasty":190,"author":191,"museum":245,"description":32375,"tags":32376,"thumbUrl":32379,"material":1397,"size":1398,"collection":220,"collections":32380,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},231680,"fu-shi-hui-ping-feng-yi-ming-231680","浮世绘屏风","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[23,18080,215,28,7,83,84,2782,29,1532,32377,32378,91,1787],"战场","士兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b8fbc85ceb5ed9e8c405e27e3e9b00.jpg",[],{"id":32382,"slug":32383,"title":25318,"dynasty":190,"author":191,"museum":245,"description":32384,"tags":32385,"thumbUrl":32389,"material":1397,"size":1398,"collection":220,"collections":32390,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":1833},231658,"shi-ting-shi-dai-sui-shi-fo-xiang-yi-ming-231658","此作以沉凝古雅的色调，绘就护法神祇的威严气魄。黝黑面庞怒目圆睁，宝冠束发更添悍勇，周身火焰背光翻卷烈烈，烘衬出慑人气场。神将身披纹饰繁细的重甲，璎珞革带错落有致，右手长剑拄握，左手结印，甲叶錾刻精巧，衣摆飘带虬曲灵动。\n\n画师以劲挺线条勾勒轮廓，矿物颜料的沉郁色泽带着岁月晕染的斑驳旧痕，将护法狞厉刚猛的威仪尽数铺展，糅合佛画肃穆与武将雄健张力，古拙笔触间尽显东方宗教造像的力量之美。",[23,24,25,155,194,28,83,32386,7,4926,23508,25285,32387,1555,32388],"室町时代风格","宝相装饰","持物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe736348acdeaa504546c19869610b3fb.jpg",[],{"id":32392,"slug":32393,"title":32394,"dynasty":228,"author":229,"museum":245,"description":32395,"tags":32396,"thumbUrl":32397,"material":220,"size":220,"collection":220,"collections":32398,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},231481,"qie-zi-tu-ye-qian-xuan-231481","茄子图页","宋元间湖州吴兴人，字舜举，号玉潭，又号巽峰、霅川翁、清臞老人。幼有文名。宋景定间乡贡进士。入元不仕。工书，善画人物花木。尤善作折枝，其得意者，自赋诗题之。",[137,24,25,4185,28,7,6531,285,173],"https:\u002F\u002Foss.c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。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[23,137,24,25,28,7,1500,1068,156,299,32405,211,212,173],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":32409,"slug":32410,"title":32411,"dynasty":18,"author":191,"museum":134,"description":32412,"tags":32413,"thumbUrl":32414,"material":100,"size":220,"collection":220,"collections":32415,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},231053,"zhe-kan-tu-yi-ming-231053","折槛图","《却坐图》是宋代佚名画家创作的绢本设色画，现藏于 。\n该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。\n”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。\n该画侧重表现矛盾化解过程中人物微妙的心理变化。\n此幅描绘的是西汉文帝时袁盎谏止宠妃慎夫人与帝、后并坐的故事。\n图中人物处于画面的中心，汉文帝等七人在画面的右侧，金瓜卫十在左侧，袁盎在文帝与金瓜卫士之间，离观者最近。\n在右侧七人中，文帝居中坐在宝座上，表情严肃，右手按膝，左手扶椅，胸前佩方心曲领，着通天冠服，长须垂胸；在皇帝左首圆墩上坐着慎夫人低头沉默，微露不悦，显得很不自在；四位宫女立于文帝身后，一位矮小的侍女，靠近慎夫人，她们都静立聆听，目睹现场；皇宫卫士，满腮长须，横眉怒目，两脚分叉，手执金瓜兵器，威风显赫，等待下旨，执行公务，袁盎弓背弯腰，两手举笏，作面奏君王状，神情坚定执着，但面向外，躬身上奏，坚毅庄重，神色坦然，看来已陈述完毕，任凭皇上处置。\n此事发生在上林苑中，院墙高筑，墙外茫茫一片田野和水面，院墙内一株大树靠右边拔地挺直而上，和中间的两棵参天大树，枝叶互相穿插，叶茂枝繁，形成了天然凉棚。\n太阳隔着云层雾气光线忽明忽暗，树叶在雾色中时隐时现、人群背后一排直立的假山石、棕榈树、仙鹤点缀着，画面的右下角还有丛竹、野草及深色太湖石。\n《却坐图》是历史故事画。\n说的是汉文帝时慎夫人僭坐故事：宠妃慎夫人坐在皇帝身边。\n她的举动违反了封建社会的礼仪，坐到了应属皇后的位置上。\n袁盎站出来当面进谏，谓帝既有后，不当容许其妃僭坐后位。\n文帝和慎夫人对他的直言进谏当时颇为恼怒，但还是接受了，并且给了袁盎一些赏赐以鼓励忠直。\n选择该故事作为题材，用意在于宣传封建纲常，赞扬敢于直言上谏、冒死维护君王统治利益的忠臣义士，是典型的院画题材。\n图中文帝坐于有奇花茂树、秀石珍禽的皇家苑囿中，袁盎上前俯身面谏，神情坚毅，文帝微露愠色，皇后坐于其侧低头不语，慎夫人站起身来面带不悦，一武士持的威严，同时也衬托出袁盎置生死于不顾，犯颜直谏的忠臣形象。\n从图中可以看到作者对现场中各类人物的外形，表情，到内心世界的刻画是非常成功的，而且对主要人物文帝、袁盎、金瓜卫士的内在联系及相互呼应交代得很清楚，如文帝的宽容大度，卫土的暴戾心理和袁盎忠直不惧的义胆，其以卫士的凶猛形貌象征皇帝手中的至高权力，相比之下，虽然袁盎处于软弱无力的地位，却显示了在这种特定场合中最有力量，而且作者将盎放在显要的位置，对他的形象刻画更富魅力，对袁盎敢于冒犯“圣上”的勇气极尽赞喻，图中要遣责的对象是慎夫人，安排在很不重要的位置上，侧面描绘成敢怒而不敢言的愧羞样子，连同她的诗人也是比其他宫女要矮小。\n该图不仅在人物位置经营上成功，而且布景也有其用意，文帝身后有高树一排，自立的假山石，仙鹤等景，而袁盎身旁的是就地长出的丛竹、小草与深色玲珑的太湖石等等。\n表示了作者章法布局有韵致，遵循院画的审美标准，而造诣颇高。\n中国美术研究院研究员王鲁豫：《却坐图》整个画风都接近于《 》，表现了南宋院体人物故事画的高度水平。\n218年1月4日，“国宝再现—书画菁华特展”在台北故宫博物院北部院区第一展览区21室开幕，《却坐图》在其中展出。",[23,137,24,25,155,7,28,81,83,84,927,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b0cdfb2193e1f81f95c31e32cf2c7d.jpg",[],{"id":32417,"slug":32418,"title":32419,"dynasty":132,"author":1194,"museum":245,"description":13291,"tags":32420,"thumbUrl":32421,"material":1397,"size":1398,"collection":220,"collections":32422,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},230843,"xi-zi-huan-sha-tu-zhou-wen-ju-230843","西子浣纱图",[24,25,7,28,83,59,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e1f6d6ea361113225a7413f7732e14.jpg",[],{"id":32424,"slug":32425,"title":32426,"dynasty":150,"author":191,"museum":245,"description":32427,"tags":32428,"thumbUrl":32429,"material":1397,"size":1398,"collection":220,"collections":32430,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},230345,"xi-xiang-ji-yi-ming-230345","西厢记","画中截取缱绻一幕，青衣公子悠然倚坐，左侧仕女亲手递食，二人目光相接，暗传情愫。右侧侍女斜立，以袖掩唇，偷觑间流露少女的羞怯与好奇。\n\n室内陈设雅致考究，格架罗列清供雅玩，案头瓶花素静、茶点精致，将深闺私密的暧昧氛围晕染尽致。衣纹勾勒细腻妥帖，人物神态拿捏入微，把儿女间的缱绻情态描摹得鲜活动人，尽显传统工笔人物画的雅致意趣。",[23,24,25,28,7,83,59,158,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f6011a05083633edfbf7e4b35f5a88.jpg",[],{"id":32432,"slug":32433,"title":32434,"dynasty":76,"author":3747,"museum":245,"description":32435,"tags":32436,"thumbUrl":32439,"material":220,"size":220,"collection":220,"collections":32440,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[23,24,26,855,172,7,29,86,175,4611,83,178,34,176,3487,2708,32437,32438,32348,14875,3849],"岸芷","汀草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],{"id":32442,"slug":32443,"title":27823,"dynasty":76,"author":191,"museum":245,"description":32444,"tags":32445,"thumbUrl":32446,"material":220,"size":220,"collection":220,"collections":32447,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},228812,"he-tang-shuang-e-tu-yi-ming-228812","此作以淡墨轻色绘秋水一隅，枯荷欹斜舒展，芦叶随风摇曳，将深秋荷塘的清寂晕染开来。两只雏鹅姿态生动，一只引颈抬首似在窥望残荷，绒毛蓬松的质感以细笔丝出，朴拙灵动。水岸以浅赭晕染，衬出水天朦胧的空寂氛围。\n\n整体设色淡雅柔和，工写兼具，既以精微笔触刻画禽鸟花叶的形神，又以简淡晕染烘托萧疏冷隽的秋日意趣，将秋日荷塘的幽寂与生机相融，淡而有味，韵致悠长。",[23,24,914,28,7,212,157,5181,2708,1707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb949ddd4193d20cfb32610246faade24.jpg",[],{"id":32449,"slug":32450,"title":4574,"dynasty":76,"author":77,"museum":245,"description":32451,"tags":32452,"thumbUrl":32453,"material":220,"size":220,"collection":220,"collections":32454,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},228456,"zhi-gong-tu-juan-chou-ying-228456","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,24,26,7,28,25,284,285,29,83,112,34,2782,85,96,11201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":32456,"slug":32457,"title":23563,"dynasty":76,"author":191,"museum":245,"description":1975,"tags":32458,"thumbUrl":32459,"material":1397,"size":1398,"collection":220,"collections":32460,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},228410,"di-shi-fan-tian-xi-yi-ming-228410",[24,137,194,7,28,83,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f4f9063d4eec6c763129c8507f53a1.jpg",[],{"id":32462,"slug":32463,"title":32464,"dynasty":228,"author":3524,"museum":245,"description":32465,"tags":32466,"thumbUrl":32467,"material":220,"size":220,"collection":220,"collections":32468,"showCount":458,"zanCount":1769,"manualWeight":48,"mainColor":49},228057,"fan-qi-tu-ye-zhao-meng-fu-228057","番骑图页","此画以淡赭素绢为底，将目光凝于草原行旅的片刻日常。两位骑手颇具游牧风情，红衣戴笠者控黑花马稳步前行，青衫跨坐者抬手牵住随行白马，神态松弛安然，衣褶线条清劲简练，寥寥数笔便勾勒出策马闲行的悠然情态。\n\n三匹马造型写实灵动，黑花马昂首健硕，白马温顺舒展，墨色晕染柔和雅致，以极简笔墨描摹出马匹肌理毛发，不见多余背景铺陈，却将塞外行旅的松弛鲜活定格绢素，尽显简淡萧散的鞍马画意趣，于朴拙雅致间藏着游牧日常的鲜活烟火。",[23,137,24,25,519,28,7,83,112,582,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5191d62260f7f79f9b22aeb48e388305.jpg",[],{"id":32470,"slug":32471,"title":32472,"dynasty":18,"author":191,"museum":245,"description":32473,"tags":32474,"thumbUrl":32475,"material":220,"size":220,"collection":220,"collections":32476,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},227924,"jiao-shi-ying-xi-tu-yi-ming-227924","蕉石婴戏图","这幅小品以庭院一隅铺展童趣，玲珑湖石矗立，芭蕉舒展浓荫，晕染出夏日庭院的清幽意韵。十余稚童散落各处，或两两私语、或结伴嬉闹，有的摹仿大人行礼作态，有的蹲坐把玩小物，一举一动皆憨态可掬，将孩童日常嬉游的模样鲜活呈现。设色淡雅柔和，衣纹线条细劲流畅，画师以精妙笔力将幼童的天真烂漫刻画得淋漓尽致，藏着平淡日常里的融融稚趣，尽显工致雅致的宋画意韵，把烟火日常里的童真定格成隽永的画面。",[23,137,24,25,914,28,7,83,466,159,85,6142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880c152bb4ecce6798ef847bc94f14c1.jpg",[],{"id":32478,"slug":32479,"title":32480,"dynasty":18,"author":32481,"museum":245,"descrip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采采亚汀洲，为花岂自由。\n群摇令夕雨，不异去年秋。\n藏鹭恋青叶，凌波颤白头。\n吟看惊隙影，荣落宜淹留。\n诗末织圆、方朱印“乾”、“隆”各一方。\n此图轴的特点在于先缂织出物象形状，其上再着笔渲染，如 即先以白丝线织其形态，而后用墨笔画羽毛，地上的小草则全以笔描画，这种织与画的结合，可以画笔来描绘细小而不易缂织之处，弥补了织的不足。\n此作品织与画搭配得当，缂工上乘，以平缂、构缂、环缂、子母经为主。\n画面上还钤有阳文朱印“乾隆御览之宝”、“宣统御览之宝”、“石渠宝笈”、“石渠定鉴”、“三希堂精鉴玺”、“无逸斋精鉴玺”、“乾清宫鉴藏宝”、“宣统鉴赏”和“乾隆鉴赏”、“宜子孙”、“宝笈重编”阴文印章。\n《石渠宝笈续编》著录。",[23,137,24,25,155,7,28,2820,2708,32507,159,173],"汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffc101a696745672e7f2512cd182300.jpg",[],{"id":32511,"slug":32512,"title":32513,"dynasty":76,"author":191,"museum":78,"description":32514,"tags":32515,"thumbUrl":32516,"material":67,"size":32517,"collection":220,"collections":32518,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},223576,"quan-xi-tu-yi-ming-223576","犬戏图","三只白底黑点的大狗趴在地上，仿佛看着它们的皮肤吐着皮毛，而其中的两只正在锻炼和玩耍，三只胖嘟嘟的傻傻的表情非常可爱。",[23,24,25,28,7,582,6315,927,197,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661ed9dda15d3f39a9490584687bc98a.jpg","36X35cm",[],{"id":32520,"slug":32521,"title":32522,"dynasty":18,"author":191,"museum":20,"description":32523,"tags":32524,"thumbUrl":32526,"material":424,"size":32527,"collection":220,"collections":32528,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},223480,"mo-liang-ling-zan-xing-xiu-tu-juan-yi-ming-223480","摹梁令瓒星宿图卷","全卷画五星和二十八宿神形（现存五星十二宿）。五星即五大行星：金、木、水、火、土，二十八宿是古人用作观测日月五星运行坐标的二十八组星座，环列在日月五星的四方，犹如诸星的栖宿场，故称二十八宿。",[24,25,26,82,7,28,194,83,22609,32525,113,112,2523,1787,344],"星宿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82126ff917ff070f22cf00c6e8f9a55c.jpg","27.5x489.7厘米",[],{"id":32530,"slug":32531,"title":32532,"dynasty":228,"author":191,"museum":8937,"description":32533,"tags":32534,"thumbUrl":32535,"material":40,"size":220,"collection":220,"collections":32536,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},223393,"cheng-ma-tu-yi-ming-223393","呈马图","绘八人三马，马匹壮硕矫健，二黑一白，脖上系红缨长坠，马鬃及马尾毛发浓密，马背上皆搭具有民族特图案色的垫毯，马头打扮亦精致。八人身着民族特色衣饰，面部或粗旷，或白净，表情各异。",[23,24,137,26,28,7,83,112,173,284,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9237c5a6f17766247b13fda0fad8a1b1.jpg",[],{"id":32538,"slug":32539,"title":5719,"dynasty":150,"author":4708,"museum":134,"description":32540,"tags":32541,"thumbUrl":32543,"material":28,"size":32544,"collection":220,"collections":32545,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},223323,"wu-xing-er-shi-ba-xiu-shen-xing-tu-ding-guan-peng-223323","此《五星二十八宿神形图》卷据传为唐代梁令瓒绘。此图原分为上下两卷，描绘五星（岁星、荧惑、镇星、太白、辰星），以 及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 轸。",[23,251,7,28,283,285,173,82,83,112,582,194,4512,284,30806,32542,1030],"神形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf4849e8cdfb46d12f18ed03910394.jpg","26.5x70.9",[],{"id":32547,"slug":32548,"title":32549,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":32550,"thumbUrl":32551,"material":67,"size":1560,"collection":220,"collections":32552,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},223048,"hong-lou-meng-173-sun-wen-223048","红楼梦173",[23,7,28,81,83,84,92,34,214,211,5491,215,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa24ebf169298a599f6c858be834d3e46.jpg",[],{"id":32554,"slug":32555,"title":32556,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":32557,"thumbUrl":32558,"material":67,"size":1560,"collection":220,"collections":32559,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},223016,"hong-lou-meng-141-sun-wen-223016","红楼梦141",[23,24,28,7,81,29,83,84,174,1028,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84111c7cf762139844514a25f574e26.jpg",[],{"id":32561,"slug":32562,"title":32563,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":32564,"thumbUrl":32565,"material":67,"size":1560,"collection":220,"collections":32566,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},223006,"hong-lou-meng-131-sun-wen-223006","红楼梦131",[23,24,25,7,28,81,83,84,92,34,211,409,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66779d2b4c3b4247ab7fa10a43a0b2.jpg",[],{"id":32568,"slug":32569,"title":32570,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":32571,"thumbUrl":32573,"material":67,"size":1560,"collection":220,"collections":32574,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},223005,"hong-lou-meng-130-sun-wen-223005","红楼梦130",[23,24,7,28,27,26,11782,83,59,84,85,719,466,1109,769,86,81,32572],"珍禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5977ba55925ddfb890fab98b4c30ea9.jpg",[],{"id":32576,"slug":32577,"title":32578,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":32579,"thumbUrl":32580,"material":67,"size":1560,"collection":220,"collections":32581,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},222966,"hong-lou-meng-91-sun-wen-222966","红楼梦91",[23,24,25,26,28,7,81,83,8259,86,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb39e4fc09e1e3bc62862b5c2e0b2c8.jpg",[],{"id":32583,"slug":32584,"title":32585,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":32586,"thumbUrl":32589,"material":67,"size":1560,"collection":220,"collections":32590,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},222957,"hong-lou-meng-82-sun-wen-222957","红楼梦82",[23,7,28,32587,84,4660,214,24515,83,466,2614,1841,34,409,32588,344,18980,1109,21465],"古典庭院","石景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd19bbb13d2890a1bae246659c20ee.jpg",[],{"id":32592,"slug":32593,"title":32594,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":32595,"thumbUrl":32597,"material":67,"size":1560,"collection":220,"collections":32598,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},222943,"hong-lou-meng-68-sun-wen-222943","红楼梦68",[23,7,28,81,83,5967,3048,409,216,284,11028,32596,4187,9063,9785,2614],"书架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c32ce07b23c9a117289cfb2e75eaa4a.jpg",[],{"id":32600,"slug":32601,"title":19107,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":32602,"thumbUrl":32604,"material":67,"size":1560,"collection":220,"collections":32605,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},222932,"hong-lou-meng-57-sun-wen-222932",[23,7,28,81,83,21854,1104,6010,8622,211,409,215,6240,63,158,2642,21204,521,489,32603,5004,3047,18127],"瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79bf9a8889fce822830210a88a8fab7.jpg",[],{"id":32607,"slug":32608,"title":21851,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":32609,"thumbUrl":32611,"material":67,"size":1560,"collection":220,"collections":32612,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},222928,"hong-lou-meng-53-sun-wen-222928",[23,24,7,28,83,59,112,84,32610,92,11782,470,1109],"轿舆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6035a5532b275451d69ebd2e5922bdb5.jpg",[],{"id":32614,"slug":32615,"title":32616,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":32617,"thumbUrl":32619,"material":67,"size":1560,"collection":220,"collections":32620,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},222901,"hong-lou-meng-26-sun-wen-222901","红楼梦26",[23,24,7,28,83,84,286,59,211,409,92,81,5491,344,1554,24145,32618],"设色庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268b15a8847ec0e0ba84797886765ad0.jpg",[],{"id":32622,"slug":32623,"title":32624,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":32625,"thumbUrl":32626,"material":67,"size":1560,"collection":220,"collections":32627,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},222891,"hong-lou-meng-16-sun-wen-222891","红楼梦16",[23,24,7,28,83,84,29,156,313,92,85,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e0bcdc03ad6933ac92ed47d7a71e18.jpg",[],{"id":32629,"slug":32630,"title":32631,"dynasty":150,"author":2827,"museum":134,"description":32632,"tags":32633,"thumbUrl":32634,"material":32635,"size":32636,"collection":220,"collections":32637,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},222861,"hua-shi-ba-xue-shi-tu-juan-sun-hu-222861","画十八学士图卷","孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。\n周鲲字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。\n丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[24,25,26,28,7,285,173,286,34,12077,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070705f270ed15cd0e1471e60583dd9b.jpg","設色,青綠,描金","39×1138.2",[],{"id":32639,"slug":32640,"title":32641,"dynasty":150,"author":32642,"museum":1065,"description":32643,"tags":32644,"thumbUrl":32645,"material":496,"size":32646,"collection":220,"collections":32647,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},222644,"xi-ting-chun-yan-tu-gao-feng-han-222644","西亭春艳图","高凤翰","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,24,137,26,28,7,212,298,159,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe91fd621aef32d569363dd50492f6e6.jpg","21×122cm",[],{"id":32649,"slug":32650,"title":32651,"dynasty":76,"author":191,"museum":1444,"description":6445,"tags":32652,"thumbUrl":32653,"material":1053,"size":220,"collection":220,"collections":32654,"showCount":458,"zanCount":1769,"manualWeight":48,"mainColor":49},222150,"fu-hui-dong-yi-ming-222150","赴会东",[23,24,1053,194,28,7,83,1600,62,29,34,31,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffedf582a554b3556230ac7d6e2ef4fa2.jpg",[],{"id":32656,"slug":32657,"title":32658,"dynasty":76,"author":21117,"museum":20,"description":32659,"tags":32660,"thumbUrl":32661,"material":599,"size":32662,"collection":220,"collections":32663,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":49},222088,"qiu-zhi-yuan-tu-juan-qian-gu-222088","求志园图卷","在明代吴门画家的作品中，有许多以他人的室名别号为题，这类作品被张丑称之为“别号图”，如推而广之，还应包括以庄园、庭院为题材的作品。它们在描绘人造园林真实性的基础上，力图表现园林主人的生活理想，反映他们身居闹市，却追求“与深山野水为友”的操守与志向，这类作品成为吴门画派所表现的一种突出的艺术现象，而钱穀的《求志园图》正是其中颇具代表性的一件。\n此卷是钱穀应友人张凤翼之请，描绘其家园春夏之间的景色，卷首有文徵明题“文鱼馆”三字，卷后有王世贞行书《求志园记》。画家从右侧园门画起，以怡旷轩、风木堂、尚友斋为中心，前有庭，后有园，渐次展开，王世贞所撰《求志园记》中采芳径、文鱼馆、香雪廊皆按图可索，抚记展图，这座“旦而旭、夕而月、风于春、雪于冬”的甲第名园中当年文人云集、清谈雅会的盛景似乎随着手卷展开历历在目。虽写实景，却不是简单的再现，更注意了人造景观与湖渚山色的自然风光的谐调与结合，突出了中国古代“虽由人造，宛自天成”的造园理念，用修篁古木、冬梅花篱、白鹅紫鸳表现画主人对归隐生活的向往，是托物言志的再创造。事实上，由于画家与画主人在情感、思想、旨趣上的相通，图中寄寓的对天地灵秀、淡泊胸襟的意趣追求，同样是画家本人的内心写照。",[23,24,26,28,7,25,285,730,173,84,34,30975,85,86,35,92,2653,1068,1851,1109,91,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纵29.8厘米，横190.2厘米",[],{"id":32665,"slug":32666,"title":32667,"dynasty":18,"author":32668,"museum":20,"description":32669,"tags":32670,"thumbUrl":32671,"material":40,"size":32672,"collection":1478,"collections":32673,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},221679,"shen-gui-tu-juan-quan-juan-zhang-gui-221679","神龟图卷全卷","张珪","图左上自题“隨駕張珪”，下钤“畫”字等二印。后纸有明人题记一则，年款为“成化二十一年乙巳秋九月望日，熏沐頓首謹跋”。又钱士叔题记。钤“奎章”、“天”、“曆”、“項子京家珍藏”等鉴赏印多方。\n龟在古代为祥瑞之兽，与麟、凤、龙并称“四灵”，外加白虎，又称“五瑞”。此图右下临水沙滩上绘乌龟一只，仰首，口中喷出一股云气，祥云中现出一轮红日，日中有“”字。衬景是广阔的水面和沙丘，使画面平添了神秘感。此图用笔工整细腻，龟之甲纹描画得一丝不苟。构图简洁，设色妍美，画风近院体，为张珪传世孤本。\n清内府《石渠宝笈·初编》著录。",[23,24,25,26,7,28,285,173,2523,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd296cbd2ee2bc4e71a513f75b25a7f07.jpg","纵26.5厘米，横53.3厘米",[1478],{"id":32675,"slug":32676,"title":32677,"dynasty":18,"author":1151,"museum":134,"description":32678,"tags":32679,"thumbUrl":32680,"material":67,"size":32681,"collection":220,"collections":32682,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},221546,"hua-luo-han-zhou-liu-song-nian-221546","画罗汉轴","本院藏画中，有三幅刘松年画罗汉，每幅都款署「开禧丁卯（1207）刘松年画」，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈",[23,137,24,25,155,194,7,28,83,81,466,5260,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0035ad35ba239ec50313d885cbecae1d.jpg","纵117厘米横55.8厘米",[],{"id":32684,"slug":32685,"title":32686,"dynasty":76,"author":674,"museum":230,"description":675,"tags":32687,"thumbUrl":32688,"material":100,"size":679,"collection":220,"collections":32689,"showCount":458,"zanCount":48,"manualWeight":48,"mainColor":145},220228,"hua-niao-cao-chong-xie-sheng-ce-qiu-fang-yi-shi-chen-hong-shou-220228","花鸟草虫写生册-秋芳倚石",[23,24,25,137,519,7,28,62,14786,159,2257,410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5070cbb8535d068831c1c644da9378.jpg",[],{"id":32691,"slug":32692,"title":32693,"dynasty":18,"author":8370,"museum":3836,"description":8371,"tags":32694,"thumbUrl":32696,"material":1348,"size":8374,"collection":220,"collections":32697,"showCount":458,"zanCount":1769,"manualWeight":48,"mainColor":49},220106,"shi-liu-luo-han-tu-di-shi-liu-zun-zhe-jin-da-shou-220106","十六罗汉图-第十六尊者",[23,24,25,137,155,194,83,1744,341,8582,32695,7,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、顾西津切磋吴门，诗画唱酬，堪称一时风雅。",[24,25,28,7,855,83,59,470,927,286,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332b332c4460e4b0b5a1cfad5585ece8.jpg",[],{"id":33173,"slug":33174,"title":33175,"dynasty":150,"author":191,"museum":245,"description":33176,"tags":33177,"thumbUrl":33178,"material":220,"size":220,"collection":220,"collections":33179,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},234418,"qing-ren-fang-su-han-chen-ying-xi-dan-ye-yi-ming-234418","清人仿苏汉臣婴戏单页","“婴戏”是中国画的一个重要的题材，从唐宋到元明清时期，孩童们的可爱淘气、天真烂漫无不是画家笔端的灵感。“婴戏图”既体现了人们自古至今对孩童的无限关爱与期望，又表达了人们对美好幸福生活的无限憧憬和祝愿。婴戏花、婴戏球、婴戏水、荡船、钓鱼、放爆竹、蹴鞠、放风筝、捉迷藏、对弈、习武、攀枝娃娃、莲生贵子、喜报多子、庭院婴戏、郊外婴戏、傀儡戏、婴孩读书、十六子、百子、五子登科等情境，被一代又一代的画家所描绘。",[24,25,519,82,7,28,83,6142,313,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b209cc1ff1f79f754a1dc846afdeb5.jpg",[],{"id":33181,"slug":33182,"title":33183,"dynasty":150,"author":191,"museum":245,"description":33184,"tags":33185,"thumbUrl":33186,"material":1397,"size":1398,"collection":220,"collections":33187,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":145},234382,"yin-zhen-chao-fu-xiang-zhou-yi-ming-234382","胤禛朝服像轴","此作工笔写实，精细入微。画中帝王面容清癯肃穆，目光沉凝内敛，自带君临天下的威仪气度。明黄朝服遍绣五爪金龙，祥云、江崖海水错落其间，织绣晕染细腻工整，配色雍容华贵，朝珠、披领制式严整，将清代冠服礼制与极致工艺尽显无遗。\n人物端坐在满工雕龙御座之上，比例精准匀停，画面设色厚重沉稳，既以毫厘毕现的笔触还原人物形貌衣饰细节，又烘托出九五之尊的庄重气派，是清代御容肖像画的上乘之作。",[24,155,7,28,83,341,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6375b49a8870a9faf68acab10820ae65.jpg",[],{"id":33189,"slug":33190,"title":33191,"dynasty":150,"author":191,"museum":245,"description":33192,"tags":33193,"thumbUrl":33194,"material":1397,"size":1398,"collection":220,"collections":33195,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":697},234381,"xiao-gong-ren-huang-hou-xiang-zhou-yi-ming-234381","孝恭仁皇后像轴","此作为工笔重彩御容肖像，人物端凝肃穆，面容温婉平和，尽显中宫仪范。朝冠累丝镶宝，华贵威仪；朝服以宝蓝配明黄，缂丝金龙蜿蜒腾跃，祥云江崖环绕其间，礼制纹样排布严整，配色富丽堂皇，将皇家尊荣尽显无遗。\n\n画师笔致精细入微，毛发衣纹毫厘毕现，既恪守宫廷肖像画的严谨规制，又以细腻笔触烘托出人物沉静端庄的气度。素净背景将视线全然引向主位，让这份雍容庄重成为画面核心，尽显清代宫廷绘事与织造工艺的顶尖水准。",[24,155,7,28,83,341,26518,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e3238dd402e9308501be16d3f3db2.jpg",[],{"id":33197,"slug":33198,"title":26754,"dynasty":150,"author":433,"museum":20,"description":33199,"tags":33200,"thumbUrl":33201,"material":599,"size":220,"collection":220,"collections":33202,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":145},234306,"hua-luo-han-ce-leng-mei-234306","清代宫廷画家冷枚画罗汉册20开，每开右侧有张照题字，故宫博物院藏。\n冷枚（约1669-1742），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。\n张照（1691-1745），字得天、长卿，号泾南、梧窗、天瓶居士，清松江府娄县人。康熙四十八年（1709）进士，官至刑部尚书。书法早年学董其昌，得母舅王鸿绪亲授；后又学米芾，并受赵孟頫较大影响。但不一意守师法，而是努力创新，特别是率真之作，更显得变化多端，精彩动人。",[137,24,25,519,7,28,283,194,83,13222,1600,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ffa5f662044fc7647ba37921698a2ec.jpg",[],{"id":33204,"slug":33205,"title":33206,"dynasty":76,"author":33207,"museum":20,"description":33208,"tags":33209,"thumbUrl":33210,"material":496,"size":220,"collection":220,"collections":33211,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":697},234114,"huan-ji-tu-juan-zhang-han-234114","宦迹图卷","张瀚","描绘了明中后期官至吏部尚书的张瀚的官宦生活。本文通过对此作图像内容的考证,在比对图文关系的基础上,对此图的原貌、作者及有关问题进行了初步研究。",[24,25,26,283,7,83,112,84,176,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47acd463b3a10bf258b2c33970af22e2.jpg",[],{"id":33213,"slug":33214,"title":33215,"dynasty":150,"author":33216,"museum":245,"description":33217,"tags":33218,"thumbUrl":33219,"material":220,"size":220,"collection":220,"collections":33220,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},234104,"you-qin-tu-juan-gao-jian-234104","友琴图卷","高简","高简（1634-1707年）字澹游，号旅云，自号一云山人，江苏苏州人。能诗，工山水，摹法元人，甚为简澹，而布置深稳，风味清巧可爱。平生小品最多，好画梅花书屋图，冷隽可珍。卒年七十四。传世作品有《春山积翠图》、《江乡初夏图》、《寒林诗思图》。",[24,25,26,28,7,83,138,34,197,29,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051dd69d7eed026eefb3c1986d1adcae.jpg",[],{"id":33222,"slug":33223,"title":33224,"dynasty":18,"author":191,"museum":20,"description":33225,"tags":33226,"thumbUrl":33227,"material":40,"size":33228,"collection":220,"collections":33229,"showCount":573,"zanCount":1769,"manualWeight":48,"mainColor":49},233006,"shuang-xiao-han-chu-tu-ye-yi-ming-233006","霜篠寒雏图页","5只文鸟集于枯棘上，姿势各异，神态如生。枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。",[137,24,25,519,7,28,212,156,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f2c2bf72a185f58ce3b0cc514e0a6b6.jpg","纵28.1cm，横28.7cm",[],{"id":33231,"slug":33232,"title":3670,"dynasty":150,"author":260,"museum":20,"description":7575,"tags":33233,"thumbUrl":33234,"material":40,"size":7578,"collection":220,"collections":33235,"showCount":573,"zanCount":1769,"manualWeight":48,"mainColor":145},232977,"hua-niao-ce-lang-shi-ning-232977",[137,24,25,7,28,6920,795,212,8967,453,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5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厩图屏风第1屏","左侧林园寒梅绽雪，仙鹤临水伫立，石畔流泉衬出幽寂古雅的闲趣。右侧厩房内，仕女团坐低语，栏中骏马昂首腾跃，仆从正打理鞍辔，将宅邸日常的烟火气静静铺展。\n\n古旧柔和的色调晕开岁月的质感，细腻线条勾勒出骏马的矫健昂扬与仕女的温婉神态，将林泉雅致与俗世日常相融，动静交织，晕染出旧日宅邸里平和悠然的浮生图景，藏着沉缓静谧的古韵意趣。",[24,28,7,215,112,83,60,637,86,85,91,92,34,1600,299,582,3661,1029,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdcb98befae1e2d016d8577385a6c21.jpg",[],{"id":33275,"slug":33276,"title":33277,"dynasty":228,"author":191,"museum":245,"description":33278,"tags":33279,"thumbUrl":33280,"material":220,"size":220,"collection":220,"collections":33281,"showCount":573,"zanCount":1769,"manualWeight":48,"mainColor":145},231480,"shu-cai-tu-yi-ming-231480","蔬菜图","蔬菜瓜果是人民生活的必需品。画家们从很早以前就把蔬果选作画材，历代画家以蔬菜瓜果为内容组成美丽的画面，留下许多不同风趣的佳作。\n蔬果从来都属于花鸟画科，花鸟画家应该在表现花鸟题材的同时，认真对蔬果进行观察研究，掌握其表现方法，推陈出新地去创作新的表现技法。\n宋《宣和画谱》中“蔬果叙论”里说：“然蔬果于写生最为难工，论者以为郊外之蔬而易工于水滨之蔬，而水滨之蔬又易工于园畦之蔬也。盖坠地之果而易工于折枝之果，而折枝之果又易工于林间之果也。”",[24,155,855,7,6530,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a8f4262b168a0dc28995878832b968d.jpg",[],{"id":33283,"slug":33284,"title":33285,"dynasty":150,"author":33286,"museum":245,"description":33287,"tags":33288,"thumbUrl":33289,"material":220,"size":33290,"collection":220,"collections":33291,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},231377,"yi-yuan-tu-ce-shen-cang-231377","怡园图册","沈苍","顾沄，字若波，号云壶、壶隐等。吴县（江苏苏州）人。工画山水，清丽疏古，得“清初六家”之长。怡园位于苏州，同治十三年（1874年）时任浙江宁绍道台的顾文彬购得此地，兴建怡园。由于顾文彬当时在外地任官，营造事宜由其子顾承主持，顾文彬特地嘱咐他多与画家商议。三年后园林建成，顾沄为绘怡园十六景，后又补绘四景。在苏州园林中，怡园是建造较晚的一座，顾文彬希望能荟萃诸园之长，从顾沄图中可以看到，《松籁阁》的画舫效法拙政园的香洲，《南雪亭》的石幢有似留园的经幢，《绛霞洞》的假山则模仿狮子林，其他如网师园的水池、沧浪亭的复廊等等都能在怡园找到痕迹。顾沄的《怡园图册》将观者带入园中，近距离地游赏各景。\n对研究怡园而言，最重要的是顾沄的十六景图和顾文彬的“词并序”。顾文彬的《怡园十六景词并序》共有十六段，前面有小序介绍园景，后面一阕小词阐发意蕴，与《十六景图》一一对应。这组景致按游览顺序展开，各景为先后关系，而非主次关系。怡园有幸留存至今，提供了将园图与实景对照的机会，从中可发现这套册页的写实程度之高。值得注意的是，传统山水画往往在明山秀水间点缀人物，提示观者应如何欣赏风景，但《怡园十六景图》则未画任何人物。这从侧面证明，顾沄和顾承的主要目的是再现景致。在《怡园图》中，园景成为重点，少了人物的干扰，观者反而可以更专注地投入其中，享受这一片天然的“无我之境”。",[23,24,81,28,7,29,84,176,34,211,86,972],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58131b67127eeb79a8a1cfa85c6f53b7.jpg","33.3×42.4×26",[],{"id":33293,"slug":33294,"title":7815,"dynasty":76,"author":191,"museum":245,"description":33295,"tags":33296,"thumbUrl":33297,"material":220,"size":220,"collection":220,"collections":33298,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},231355,"ming-dai-di-hou-ban-shen-xiang-yi-ming-231355","明宣宗朱瞻基（1399年3月16日－1435年1月31日），或称宣宗章皇帝，明仁宗嫡长子，永乐九年（1411年）立为皇太孙；永乐二十二年（1424年）十月立为皇太子。洪熙元年（1425年）即位，次年改元宣德，明朝第5位皇帝，在位十年，享年35岁。宣德元年（1426年）平定高煦之乱，和其父仁宗一样，比较能倾听臣下的意见，听从二朝元老兼阁臣杨士奇、杨荣、杨溥等建议，停止对交阯用兵，与明仁宗并称“仁宣之治”，宣宗时君臣关系融洽，经济也稳步发展。不过，他也开启此后宦官干政的局面。",[23,24,7,28,83,7818,677,63,5470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff976655db328fbf0430dd7f89d4a9c84.jpg",[],{"id":33300,"slug":33301,"title":33302,"dynasty":76,"author":2717,"museum":245,"description":33303,"tags":33304,"thumbUrl":33305,"material":220,"size":220,"collection":220,"collections":33306,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},230939,"han-jiang-diao-ting-tu-lu-zhi-230939","寒江钓艇图","萧寒荒寂间，虬曲枯木褪去繁枝，薄雪覆身，岸畔衰草凝着霜华。孤舟静泊，渔翁拥蓑戴笠，垂纶独钓，任飞雪漫过江天，自守一方安闲。\n\n笔致苍劲写枯木，尽透老辣荒寒，人物简笔勾勒，静穆自在的神态跃然绢上。浅淡设色晕染出清冽冬日，将江野冷寂揉成一片空明澄澈。题诗与画境相融，把寒江独钓的幽寂，化作世外高逸的精神栖所，寄寓着超脱尘俗、静守本心的雅趣，淡而愈厚，清韵悠长。",[24,25,155,76,28,7,175,4611,1499,13429,4077,173,29,30337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4301604eb72c0415bd85976d519f8a4f.jpg",[],{"id":33308,"slug":33309,"title":19471,"dynasty":76,"author":9801,"museum":245,"description":33310,"tags":33311,"thumbUrl":33312,"material":220,"size":220,"collection":220,"collections":33313,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},230890,"zi-mu-ji-tu-zhu-zhan-ji-230890","此作用淡墨勾勒，以留白晕染出禽鸟素洁的羽毛，笔触细腻写实，将绒羽的肌理纤毫毕现。亲鸡护持雏鸡啄食，雏鸟环绕依偎，亲昵互动间尽显舐犊温情，将田家寻常的天伦之趣凝于绢素。\n\n古雅棕调的绢底衬出群禽的素净雅致，写实功力与脉脉温情相融，把田园平凡生机化作细腻动人的诗意图景，尽显院体花鸟的雅致工巧，将日常烟火里的温情娓娓道来，让田家生趣跃然绢上。",[137,24,25,155,28,7,212,1967,7909,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65a4cbda63247618482e600f8b523c.jpg",[],{"id":33315,"slug":33316,"title":33317,"dynasty":150,"author":7676,"museum":245,"description":33318,"tags":33319,"thumbUrl":33320,"material":220,"size":220,"collection":220,"collections":33321,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},230361,"shi-liu-ying-zhen-tu-ce-hua-ce-ren-xiong-230361","十六应真图册画册","青绿设色古雅沉静，山崖一隅苍松虬曲，苔点攒簇尽显苍劲古意。画中三人情态各异：袒胸束发的朗笑长者，布衣褶皱朴拙写意，满是山野散逸之气；身侧女子抬首远眺，眉目灵秀，衣袂轻盈柔和；幼童席地回望二人，憨态可掬。\n\n背景以淡赭晕染空蒙天色，石青铺陈崖壁，冷暖色调相映，拉开虚实层次。整幅用工笔兼写意，人物形神兼备，山水布景简而不空，将世外悠游的自在意趣融于尺幅间，把林下忘机的逍遥图景刻画得鲜活动人。",[24,25,519,7,28,83,34,211,194,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0090bfaa29ee878a050b82ecf118445.jpg",[],{"id":33323,"slug":33324,"title":9855,"dynasty":150,"author":260,"museum":245,"description":5546,"tags":33325,"thumbUrl":33326,"material":1397,"size":1398,"collection":220,"collections":33327,"showCount":573,"zanCount":1769,"manualWeight":48,"mainColor":145},230210,"hua-niao-ce-ye-lang-shi-ning-230210",[23,137,24,25,4185,7,28,795,6920,212,313,3737,741,3983,2257,597,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],{"id":33329,"slug":33330,"title":33331,"dynasty":150,"author":8137,"museum":245,"description":33332,"tags":33333,"thumbUrl":33334,"material":220,"size":220,"collection":220,"collections":33335,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[23,24,25,26,81,28,7,29,84,176,34,211,91,83,112,196,4188,92,1907],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":33337,"slug":33338,"title":12668,"dynasty":76,"author":191,"museum":245,"description":33339,"tags":33340,"thumbUrl":33341,"material":220,"size":220,"collection":220,"collections":33342,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},228823,"ying-tu-yi-ming-228823","这幅工笔设色花鸟，以双鹰为画面核心。两只猛禽或侧目远眺，或昂首凝望，身姿苍劲傲然。翎毛发丝尽染，笔触细腻入微，将猛禽的威严沉凝尽显无遗。\n\n古梅虬曲遒劲，寒花点点缀于枝桠，清寂雅致；嶙峋怪石边，艳红山茶绽于丛间，柔红破寒，晕开一抹生机。右下角飞泉直下，水流宛转灵动，打破画面沉静，动静相融自成韵律。\n\n棕褐底色晕染出幽谧山林氛围，工写结合间，既刻画出猛禽的雄健肃穆，又以花木泉石勾勒出清冷高古的意境，将山林幽寂与猛禽孤傲融为一体，尽显精妙写实功力，内敛悠长的意趣藏于笔墨之间。",[23,24,7,28,212,2362,637,211,1319,34,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6425a6d54ecf9644f158bf0096b6915d.jpg",[],{"id":33344,"slug":33345,"title":33346,"dynasty":76,"author":191,"museum":245,"description":33347,"tags":33348,"thumbUrl":33350,"material":1397,"size":1398,"collection":220,"collections":33351,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":1833},228378,"zhun-ti-pu-sa-zhou-yi-ming-228378","准提菩萨轴","准提佛母，Cundi系梵语，汉译有“准胝”、“尊提”，准提佛母又称“准胝观音”、“准提佛母”和“七俱胝佛母”等名。藏音“Bskul－bye－ma”。其以“准提咒”见称，曾为显密佛教徒所知的大菩萨。在禅宗，则称之为‘天人丈夫观音’，以准提为观音部之一尊，深尊崇之，日本东密以准提为六观音之一、摄于莲华部（千手观音、圣观音、马头观音、十一面观音、准提观音、如意轮观音）中。独台密以七俱胝佛母准提经之经名，准提入于佛母中以为佛部之尊。“准提”是清净的意思，表示此菩萨心胜清净，皎洁。",[24,155,194,83,7,283,7766,33349,1054],"准提佛母","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4cf016eee0ae158fe832bbd6e8d8053.jpg",[],{"id":33353,"slug":33354,"title":33355,"dynasty":76,"author":674,"museum":230,"description":675,"tags":33356,"thumbUrl":33357,"material":220,"size":679,"collection":220,"collections":33358,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},228300,"hua-niao-cao-chong-xie-sheng-ce-zhu-cha-die-bao-chen-hong-shou-228300","花鸟草虫写生册-朱茶蝶抱",[137,24,25,519,28,7,212,520,411,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0b666b51003f2c1d45f96d154a53f9.jpg",[],{"id":33360,"slug":33361,"title":33362,"dynasty":228,"author":191,"museum":245,"description":33363,"tags":33364,"thumbUrl":33365,"material":220,"size":220,"collection":220,"collections":33366,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},228195,"shi-liu-shen-jun-tu-yi-ming-228195","十六神骏图","画面群骏错落排布，姿态鲜活灵动，或引颈伫立、或俯首啜饮、或扬蹄疾行，亦有两马偎依嬉闹。骏马毛色各异，斑纹勾勒细腻写实，筋骨晕染柔和自然，将神骏膘肥体健的身姿刻画入微。\n\n红衣骑者神情悠然，控马徐行，与群马相映成趣。浅淡墨色晕染沙岸浅滩，古雅底色衬出悠长留白意境，尽显画工精妙，将良骏灵动神采尽数铺展，尽显古朴雅致的画中逸趣。",[23,137,24,25,26,28,7,83,112,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6cb686b05759e704136a50854c09ba.jpg",[],{"id":33368,"slug":33369,"title":4884,"dynasty":18,"author":4885,"museum":245,"description":33370,"tags":33371,"thumbUrl":33372,"material":220,"size":220,"collection":220,"collections":33373,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},227967,"jin-wen-gong-fu-guo-tu-li-tang-227967","本作以连环分段构图铺陈史诗往事，图文互映，每段配书跋补全情节脉络。以铁线描勾勒人物衣纹，劲挺古雅，国君、文武、夷狄、仆从神态各异，将流亡隐忍、终成霸业的跌宕过往细腻呈现。\n\n布景兼工带写，亭台界画工致严整，松石林木兼具山水意趣，古朴厚重的色调烘托出春秋乱世的沉郁风云，尽显传统叙事绘画的章法意韵与历史叙事的感染力。",[23,137,24,25,26,283,7,172,83,112,84,34,211,173,284,91,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7d26cfaac9b3b65381345283d0c2bc.jpg",[],{"id":33375,"slug":33376,"title":33377,"dynasty":18,"author":191,"museum":245,"description":33378,"tags":33379,"thumbUrl":33380,"material":220,"size":220,"collection":220,"collections":33381,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":49},227930,"zhang-qiao-wo-bo-tu-yi-ming-227930","长桥卧波图","《宋扇面画长桥卧波图》是宋代佚名画家创作的一幅设色扇面画。\n此图原载《纨扇画册》。\n绘朱红长桥一座，横卧江面，两岸房舍成群，古塔高耸，树影婆娑。\n河面水波涟漪，舟船点点，以破长桥的呆板形体。\n远方云雾中露出银装素裹的山峰，分外妖娆。\n全图用笔精工，设色艳美，构图空阔浩渺，意境深远，是南宋早期画院高说所作。\n画中钤有「仪周珍藏」印一方，说明此图曾为清人 收藏，见《石渠宝笈三编》著录。\n本幅无款印。\n钤收藏印“仪周珍藏”一方。\n图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。\n画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[23,24,25,29,81,28,7,767,5053,88,4188,84,22725,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6193c1927a01527760b310dc59e09697.jpg",[],{"id":33383,"slug":33384,"title":33385,"dynasty":18,"author":191,"museum":245,"description":33386,"tags":33387,"thumbUrl":33389,"material":220,"size":220,"collection":220,"collections":33390,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":145},227925,"jiao-yin-ji-qiu-tu-ye-yi-ming-227925","蕉荫击球图页","《蕉阴击球图》是宋代佚名画家创作的一幅绢本设色画，现藏于 。\n无作者款印。\n对幅清高宗弘历御题诗一首。\n本幅、对幅及裱边钤高宗弘历“古稀天子”、“八徵耄念之宝”、“ ”等鉴藏印，共6方。\n此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。\n在笔法上，作者注重物象间的对比互衬关系。\n人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。\n湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。\n湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。\n以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。\n当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。\n此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。\n此图原载《宋人名流集藻册》。\n图绘一仕女童于桌旁观看一老一小两人作击球行了游戏。\n庭院中绿草如茵，湖石矗立，芭蕉成荫。\n仕女认真观球的神态和儿童击球的细小动作刻画得自然生动。\n全图用工笔重彩法，衣纹勾线简练细劲，设色艳而不火，工而不板，为南宋小幅人物画精作。\n此图蕉题签为苏汉臣作，但究其画风，与苏汉臣有别。\n在古代，见婴戏必题 作，见牛必题戴嵩，见马即题韩干之类，实属偏见，故今改为无名氏作。\n画中钤有「东莱」印一方，经《 》著录。",[23,24,25,4185,7,28,83,1744,33388,285,173,25833],"蕉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea29c347ebabee65faf94a2305bd7ce.jpg",[],{"id":33392,"slug":33393,"title":33394,"dynasty":18,"author":191,"museum":245,"description":33395,"tags":33396,"thumbUrl":33398,"material":220,"size":220,"collection":220,"collections":33399,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":145},227838,"xian-nv-cheng-luan-tu-yi-ming-227838","仙女乘鸾图","《五代周文矩仙女乘鸾图》是五代南唐画家 所创作的一幅 。\n此图原载《历代名笔集胜册》第一册。\n此图线条工谨精细，如春蚕吐丝，柔中见刚。\n《五代周文矩仙女乘鸾图》，图画明月一轮，一仙女乘鸾飞翔。\n笔墨精妙飞动，设色艳丽，构图简洁，为宋画中精品。\n无款，旧题周文矩作。\n画中钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍赏」、「珍秘」、「会侯珍藏」、「明安国玩」、「宜尔子孙」等印多方。\n对幅有耿昭忠题，经《虚斋名画录》著录。\n耿昭忠题云：“风格高妙，飘飘然有凌霞绝尘之姿，是盖周文矩胸中迥出天机，故落笔超乎物表。\n张、吴、顾、陆、何难继踵。\n”襄平耿昭忠题。\n”本幅及裱边、对幅钤耿昭忠“真赏”、“黔宁王子孙永保之”、“丹诚”、“都尉耿信公书画之章”、“信公珍藏”、“珍秘”、“宜尔子孙”、“公”等鉴藏印，共17方。\n《圣朝名画评》云：“周文矩，建康句容人。\n美风度，学丹青，颇有精思。\n仕李煜，为待诏，能画冕服车器人物仕女。\n”又云：“周文矩用意深远，于繁富则尤工。\n”按此图虽无款，而作风飞动精丽，允为北宋早期的作品。\n旧题 作，今从之。\n《五代周文矩仙女乘鸾图》图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。\n画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。\n仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。\n画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。\n周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。\n与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。\n周文矩，生卒年代不详，句容（今属江苏）人，曾在南唐后主李煜时任画院翰林待诏。\n工画佛道、人物、车马、屋木、山水，尤精于仕女，多以宫廷或文人生活为题,以“用意深远”著称。\n其仕女画师从周昉，作风更加纤丽繁复，用笔多以“战笔”为特点。\n现藏故官博物院的《重解会棋图》是他的传世作品之一。\n传世作品有《重屏会棋图》、《 》等。",[23,24,914,7,28,83,59,33397,178,569,37,173],"神鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd1fa7526358a03d725c63f905f8a92.jpg",[],{"id":33401,"slug":33402,"title":14156,"dynasty":18,"author":14157,"museum":245,"description":33403,"tags":33404,"thumbUrl":33405,"material":220,"size":220,"collection":220,"collections":33406,"showCount":573,"zanCount":48,"manualWeight":48,"mainColor":145},227577,"fan-wang-li-fo-tu-juan-zhao-guang-fu-227577","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。\n\n赵光辅 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由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[24,155,28,7,1568,409,159,34,4512,212,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd4b722fcfb2bc6a3de37c4f98356ed1.jpg",[],{"id":33867,"slug":33868,"title":33869,"dynasty":18,"author":1140,"museum":245,"description":33870,"tags":33871,"thumbUrl":33872,"material":1397,"size":1398,"collection":220,"collections":33873,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},289791,"ceng-die-bing-xiao-tu-ma-lin-289791","层叠冰绡图","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。",[23,137,24,25,155,212,637,7,28,284,730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc97e6d88354e1796d165fe1fc8d32c.jpg",[],{"id":33875,"slug":33876,"title":33877,"dynasty":18,"author":191,"museum":245,"description":33878,"tags":33879,"thumbUrl":33881,"material":1397,"size":1398,"collection":220,"collections":33882,"showCount":361,"zanCount":1769,"manualWeight":48,"mainColor":49},288932,"zhong-si-mian-gua-tu-yi-ming-288932","螽斯绵瓜图","此作工笔细腻，晕染精妙。苍润的瓜叶层叠错落，饱满瓜实纹路清晰，仿佛能触到肌理。两只螽斯栩栩如生，一只静伏叶间，一只栖于藤蔓之上，薄翅通透，足肢纤毫毕现，灵动自然。柔婉的卷须蜿蜒舒展，与旁侧劲挺的兰草虚实相衬，丰富了画面层次。\n\n整体设色清雅柔和，将秋日瓜圃的静谧生机尽数铺展。画师以入微观察捕捉田园闲趣，把寻常小景晕染成富有诗意的隽永画面，尽显雅致平和的宋韵审美意趣。",[24,137,7,28,212,7890,33880,1722,468,5824,409],"螽斯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959daed786e25386284a55e9d6edc10e.jpg",[],{"id":33884,"slug":33885,"title":33886,"dynasty":150,"author":15541,"museum":245,"description":33887,"tags":33888,"thumbUrl":33889,"material":1397,"size":1398,"collection":220,"collections":33890,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},288353,"lan-shi-tu-jiang-pu-288353","兰石图","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[24,25,155,28,7,212,298,822,159,410,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0350f5ed0f80f346627b44ec05cfd1de.jpg",[],{"id":33892,"slug":33893,"title":19567,"dynasty":76,"author":674,"museum":245,"description":4094,"tags":33894,"thumbUrl":33895,"material":1397,"size":1398,"collection":220,"collections":33896,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},287814,"xi-ying-tu-chen-hong-shou-287814",[23,137,24,155,28,83,7,194,6142,159,689,173,12008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e09e2fdd444b23628175ba00b32df43.jpg",[],{"id":33898,"slug":33899,"title":33900,"dynasty":150,"author":24928,"museum":245,"description":33901,"tags":33902,"thumbUrl":33904,"material":1397,"size":1398,"collection":220,"collections":33905,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},287605,"cheng-de-re-he-xing-gong-quan-tu-guan-nian-ci-287605","承德热河行宫全图","管念慈（？—1909年），字劬安，号横山樵客，光绪年间召入内廷，奉旨改号莲盦，光绪称之为“横山先生”，清代江苏苏州画家。\n性澹泊，喜横山泉石花竹之胜，遂家焉，工书、画，初从袁启潮学。上追宋、元，近规王、恽。山水、人物、花鸟，志合古法。",[23,24,81,28,7,84,29,15476,33903],"行宫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182862ec041a7e461a7c9dfb160edc76.jpg",[],{"id":33907,"slug":33908,"title":33909,"dynasty":76,"author":191,"museum":245,"description":33910,"tags":33911,"thumbUrl":33913,"material":1397,"size":1398,"collection":220,"collections":33914,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},283630,"qi-lin-tu-yi-ming-283630","麒麟图","此作以细腻写实之笔，将远道而来的异兽定格于绢素之上。画面右侧的异域使者深目高鼻，身着朱红劲装，神情恭谨牵绳引兽。长颈鹿身形修挺劲健，皮毛晕染柔和自然，斑纹清晰，肌理骨骼暗藏笔底，将其温驯却又不凡的姿态传神勾勒。\n左上题跋笔致端稳，详述贡兽始末，兼具纪实性与装饰美感。整作工致典雅，既承继了明代院体画的写实风骨，亦留存下明初远洋朝贡的鲜活印记，将外交盛典的庄重与异兽的新奇精妙相融，是兼蓄艺术审美与史料价值的珍贵之作。",[24,137,25,155,7,28,83,582,33912,730,173],"麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdac7a74157a0e02cb351eb104fa6ffa.jpg",[],{"id":33916,"slug":33917,"title":33918,"dynasty":150,"author":191,"museum":245,"description":21297,"tags":33919,"thumbUrl":33921,"material":1397,"size":1398,"collection":220,"collections":33922,"showCount":361,"zanCount":1769,"manualWeight":48,"mainColor":145},264385,"huang-se-chou-xiu-he-die-si-ji-hua-wen-pao-liao-yi-ming-264385","黄色绸绣鹤蝶四季花纹袍料",[65,14415,33920,212,60,411,409,28,7],"袍料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246c6a3e7eb5bc780b323708afa6de80.jpg",[],{"id":33924,"slug":33925,"title":33926,"dynasty":150,"author":191,"museum":245,"description":10461,"tags":33927,"thumbUrl":33929,"material":1397,"size":1398,"collection":220,"collections":33930,"showCount":361,"zanCount":1769,"manualWeight":48,"mainColor":145},263650,"ke-si-jia-xiu-qian-long-yu-ti-san-xing-tu-zhou-yi-ming-263650","缂丝加绣乾隆御题三星图轴",[155,25,24,20599,28,7,83,33928,195,60,1817,29,927,174,2602,211,86,409,9331,284,173],"福禄寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41adb2dde5dde60b84a10ab4ad9f8997.jpg",[],{"id":33932,"slug":33933,"title":33934,"dynasty":150,"author":191,"museum":245,"description":33935,"tags":33936,"thumbUrl":33938,"material":1397,"size":1398,"collection":220,"collections":33939,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},258372,"yong-zheng-fen-cai-zhi-ji-mu-dan-tu-pan-yi-ming-258372","雍正粉彩雉鸡牡丹图盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[251,8885,33937,28,7,7348,298,212],"粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc8b379b47a6cbb0affdb5e7da049bc.jpg",[],{"id":33941,"slug":33942,"title":33943,"dynasty":150,"author":578,"museum":245,"description":33944,"tags":33945,"thumbUrl":33946,"material":220,"size":220,"collection":44,"collections":33947,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},239218,"hua-yue-lou-xiang-zhou-ren-yi-239218","画月楼像轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[24,25,137,155,28,7,83,63,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee59244ae41195ef7e62dfb0e4906b7.jpg",[44,1478],{"id":33949,"slug":33950,"title":10130,"dynasty":150,"author":516,"museum":245,"description":10131,"tags":33951,"thumbUrl":33952,"material":220,"size":220,"collection":220,"collections":33953,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},238371,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238371",[24,28,7,519,212,298,409,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4bd016465c42603160039549ff17c5d.jpg",[],{"id":33955,"slug":33956,"title":18607,"dynasty":150,"author":516,"museum":245,"description":5851,"tags":33957,"thumbUrl":33958,"material":1397,"size":1398,"collection":220,"collections":33959,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},238334,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238334",[24,25,519,28,7,212,822,409,173,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736fc932fd3131df73497c0c9c02a3ce.jpg",[],{"id":33961,"slug":33962,"title":9419,"dynasty":150,"author":5188,"museum":20,"description":9420,"tags":33963,"thumbUrl":33964,"material":9423,"size":9424,"collection":220,"collections":33965,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},238288,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238288",[24,25,519,7,28,83,59,158,3048,138,409,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1bb278f626c47ec8be5c838769c02c3.jpg",[],{"id":33967,"slug":33968,"title":33969,"dynasty":150,"author":191,"museum":245,"description":33970,"tags":33971,"thumbUrl":33972,"material":220,"size":220,"collection":220,"collections":33973,"showCount":361,"zanCount":1084,"manualWeight":48,"mainColor":145},238187,"wang-cheng-pei-ji-hui-ming-he-juan-yi-ming-238187","汪承霈集卉鸣和卷","此卷开篇绘幽竹亭亭，鸣虫静栖竹间，溪畔蓝花簇生，野趣盎然。清溪蜿蜒穿流过浅渚，渐入群芳盛放之景：粉菊、蓝花、红卉与素白琼英交织错落，枝叶柔曼舒展。蜻蜓振翅掠水，蛱蝶穿花翩跹，蜂虫流连芳丛，诸般小生灵衬得满卷生机浮动。全作用笔纤柔细腻，工笔淡彩晕染雅致明秀，将郊野春景的清灵意趣缓缓铺展，把花间小景的娴静生机描摹尽致，宛如将融融春日的一隅闲趣，凝于素绢之上。",[23,24,25,26,7,28,212,156,62,411,493,1721,86,211,655,452,157,298,492,487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946dcdc9d843fe6490645d4ecbbb0d23.jpg",[],{"id":33975,"slug":33976,"title":3670,"dynasty":76,"author":6537,"museum":245,"description":6538,"tags":33977,"thumbUrl":33978,"material":220,"size":220,"collection":220,"collections":33979,"showCount":361,"zanCount":1769,"manualWeight":48,"mainColor":145},237670,"hua-niao-ce-ling-bi-zheng-237670",[137,24,25,519,7,28,212,178,637,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee85a791332cca7eeb3b33e91fc250a.jpg",[],{"id":33981,"slug":33982,"title":33983,"dynasty":76,"author":12763,"museum":245,"description":25262,"tags":33984,"thumbUrl":33986,"material":220,"size":220,"collection":182,"collections":33987,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},237548,"han-yan-fei-pu-zhou-ding-yun-peng-237548","寒岩飞瀑轴",[24,155,855,29,33985,762,1499,927,1797,86,14922,172,7],"寒岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bfb54d7727b890b82438801fe3408aa.jpg",[182],{"id":33989,"slug":33990,"title":15169,"dynasty":150,"author":33991,"museum":245,"description":33992,"tags":33993,"thumbUrl":33994,"material":220,"size":220,"collection":220,"collections":33995,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},237362,"mu-dan-zhou-yun-yuan-jun-237362","恽源濬","此作用淡墨晕染牡丹花瓣，由浅及深铺陈舒展，将花头的雍容柔婉尽数勾勒。枝叶以浓淡干湿的墨色对比表现阴阳向背，枯笔写枝苍劲老辣，褪去牡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asty":76,"author":5061,"museum":245,"description":34245,"tags":34246,"thumbUrl":34247,"material":220,"size":220,"collection":220,"collections":34248,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},228886,"cun-ju-tu-wen-zheng-ming-228886","存菊图","淡墨轻皴汀洲远山，清润秀雅，茅庐隐于林间，窗内人影凭眺，秋水横波，江天旷远，晕染出江南秋日萧疏淡远的意趣。\n书画合璧，行书题诗笔致温秀，以存菊寄寓林下高逸襟怀，将文人澹泊心境融于水墨湖山。笔底无浓艳重彩，却自见悠悠古意，淡而不薄，秀而不媚，尽显诗书画一体的雅致风神，把秋日怀想与文人雅趣藏进卷中，清和隽永。",[23,24,25,26,28,29,7,172,284,285,173,1926,196,313,927,1499,772,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9a4a897929f713d7c2804fe86703e6.jpg",[],{"id":34250,"slug":34251,"title":34252,"dynasty":76,"author":20986,"museum":245,"description":34253,"tags":34254,"thumbUrl":34255,"material":1397,"size":1398,"collection":220,"collections":34256,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},228854,"xun-yang-song-ke-tu-juan-wen-bo-ren-228854","浔阳送客图卷","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[23,24,25,26,855,28,29,175,178,34,211,172,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5504d48b2948047af35986cb9bd270c8.jpg",[],{"id":34258,"slug":34259,"title":34260,"dynasty":76,"author":191,"museum":245,"description":34261,"tags":34262,"thumbUrl":34263,"material":220,"size":220,"collection":220,"collections":34264,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},228781,"fang-li-tang-bai-niu-tu-juan-yi-ming-228781","仿李唐百牛图卷","此作取景平远雅致，水岸林皋间意趣悠然。左侧群牛或立或卧，于浅滩闲散憩息，肌理厚重朴拙，憨态尽显。右侧童子策杖徐行，与近旁食草的牛只相映成趣，野逸生机扑面而来。\n\n林木皴染兼具苍劲与秀润，枯木虬枝疏密错落，新发柔条轻拂水岸，尽显春日郊野的清润之气。设色淡雅沉稳，赭石与墨色晕染出古绢沉静质感，追摹院体笔意又融入牧歌式恬淡，铺陈出物我相忘的山野闲趣，尽显旧朝牧放题材的风雅余韵。",[23,24,25,26,28,83,113,582,34,29,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e62a1ad2b0378e674fd4cb6fc02c2d3.jpg",[],{"id":34266,"slug":34267,"title":34268,"dynasty":76,"author":77,"museum":245,"description":34269,"tags":34270,"thumbUrl":34271,"material":1397,"size":1398,"collection":220,"collections":34272,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},228446,"mo-li-tang-zhong-jiang-die-zhang-tu-chou-ying-228446","摹李唐重江叠嶂图","绘大江高岭，长松红枫，游人往来于山中茅舍，一派江村深秋美景，览之忘世外之情。设色雅静，用笔精诣，是仇英传世摹古浅绛山水精品。",[23,24,25,26,7,28,82,29,8429,30,34,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5a57fdde2240683083bccd12c1185c9.jpg",[],{"id":34274,"slug":34275,"title":34276,"dynasty":76,"author":2369,"museum":245,"description":34277,"tags":34278,"thumbUrl":34280,"material":220,"size":220,"collection":220,"collections":34281,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},228370,"yan-bo-lu-si-tu-lv-ji-228370","烟波鹭鸶图","暮月浮空，烟柳垂曳，江色晕成一片朦胧柔澹。两只鹭鸶踞于汀石之上，一只昂首引颈远眺烟水深处，一只敛羽静憩，姿态悠然生动。\n\n画作兼工带写，禽鸟羽翼晕染细腻，绒羽蓬松质感宛然可见，水岸渚石以水墨破晕，苍润写意。柳条轻拂间，漾开江晚景致的空寂萧疏，写实工致与水墨意趣相融，将江渚暮色的清寂野韵尽数铺展，晕开澹泊悠远的诗意，尽显幽谧雅致的晚江闲趣。",[23,24,28,7,212,34279,770,159,199,2708,155],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e99361f9eb6549e3533363dcac0288.jpg",[],{"id":34283,"slug":34284,"title":34285,"dynasty":228,"author":191,"museum":245,"description":34286,"tags":34287,"thumbUrl":34288,"material":220,"size":220,"collection":220,"collections":34289,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},228227,"xu-kong-zang-pu-sa-xiang-li-zhou-yi-ming-228227","虚空蔵菩萨像立轴","此作所绘菩萨面容慈悲恬和，端坐莲云宝台之上，周身璎珞环佩错落华贵，衣纹卷草繁复精美。身后圆光放射清辉，将法相衬得愈发澄澈庄严。设色沉雅古艳，晕染柔和细腻，带着浑穆静雅的气质。下方青绿山水澹然悠远，将神圣法界与俗世林泉相融，传递出安宁清寂的禅意。笔致工谨入微，既恪守宗教造像的肃穆仪轨，又暗合传统绘事的雅致意韵，尽显神性之美与笔墨意趣，是兼备信仰内涵与艺术价值的上乘之作。",[23,24,25,5396,155,194,83,7,28,1055,29,5480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4519e845bfd0c73213cf3ff0697c5d5.jpg",[],{"id":34291,"slug":34292,"title":34293,"dynasty":228,"author":3524,"museum":245,"description":34294,"tags":34295,"thumbUrl":34296,"material":220,"size":220,"collection":220,"collections":34297,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},228056,"xi-ma-tu-ye-zhao-meng-fu-228056","洗马图页","枯林之下，奚官执扇为白马拂除尘秽、驱走飞蝇，马上圉人俯身假寐，神态松弛慵懒。画面写实中带着文人写意的闲淡，白马丰腴神骏，毛发晕染柔和细腻，将良驹的质感尽显，人物衣纹简劲利落，服饰细节朴拙写实。枯木勾勒苍劲古雅，褪去了院体鞍马画的精工秾丽，以古旧绢色衬出林下幽寂氛围，将日常洗马的闲散瞬间凝住，把鞍马题材从仪仗的肃穆转向幽居的闲逸，尽显悠远沉静的隐逸雅趣，意韵绵长。",[23,137,24,25,519,7,28,83,112,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254f9dafbb6196819987369a5b0bd4cd.jpg",[],{"id":34299,"slug":34300,"title":34301,"dynasty":18,"author":191,"museum":245,"description":34302,"tags":34303,"thumbUrl":34304,"material":220,"size":220,"collection":220,"collections":34305,"showCount":361,"zanCount":1769,"manualWeight":48,"mainColor":49},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[23,24,25,914,7,28,83,113,9251,85,86,34,29,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],{"id":34307,"slug":34308,"title":34309,"dynasty":18,"author":191,"museum":245,"description":34310,"tags":34311,"thumbUrl":34312,"material":220,"size":220,"collection":220,"collections":34313,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":49},227906,"qiu-shu-qu-yu-tu-yi-ming-227906","秋树鸜鹆图","此作以团扇形制铺陈秋意，浓墨绘就禽鸟，羽翼晕染层次分明，玄色翎毛光泽宛然，顶间细羽轻耸，目光锐而不厉，爪紧扣枯枝，静立间暗含灵动生机。旁侧秋树枯淡萧疏，枝叶以浅赭晕染，枯涩苍劲的枝干与浓黑禽鸟形成鲜明的色形对比。\n\n整幅笔意工细写实，将秋日林间的清寂氛围烘托尽致，于尺幅之间藏着雅致悠远的意境，尽显对自然生趣的细致体察，把禽鸟的慵懒幽闲与秋意的萧索柔和相融，是小品中的精妙之制。",[23,24,25,914,28,7,212,286,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcea6e0955e2524931f7f5c1713d17.jpg",[],{"id":34315,"slug":34316,"title":34317,"dynasty":18,"author":191,"museum":245,"description":34318,"tags":34319,"thumbUrl":34320,"material":220,"size":220,"collection":220,"collections":34321,"showCount":361,"zanCount":48,"manualWeight":48,"mainColor":145},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 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本幅无作者款印，旧签称其出自宋人之手，然野菊、粟竿的用笔均与宋人不类，当为晚期画家根据宋代画稿所绘之作。",[24,25,155,7,582,1568,689,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043da57a89f7fedb4b409cb584404fa2.jpg",[],{"id":34811,"slug":34812,"title":34813,"dynasty":18,"author":191,"museum":245,"description":34814,"tags":34815,"thumbUrl":34816,"material":1397,"size":1398,"collection":220,"collections":34817,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},290508,"fang-zhou-fang-yan-le-tu-yi-ming-290508","仿周昉演乐图","松荫庭院间，雅集宴饮正酣。宾主围桌对坐，乐师拨弦和鸣，仕女环侍左右，有人奉茶添香，有人侍立听乐。\n\n此作用色古雅沉郁，线条温婉柔丽，承唐风仕女的丰腴秀致，又蕴宋人的娴静雅致。苍松古拙虬劲，衬出庭院的悠然静谧，案上陈设、发间花钿等细节处处见巧思，将文人宴饮听乐的闲逸雅致，融在晕染的古绢底色里，尽显升平雅致的宴乐图景，含蓄传递出中古雅集的从容意韵。",[24,137,25,155,28,7,83,470,471,138,25711,927,92,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e12c04897d94532b31ecc2db6af350.jpg",[],{"id":34819,"slug":34820,"title":34821,"dynasty":150,"author":34822,"museum":245,"description":34823,"tags":34824,"thumbUrl":34825,"material":1397,"size":1398,"collection":220,"collections":34826,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},290468,"ju-pu-tu-ce-ye-wang-yan-ge-290468","菊谱图册页","王延格","王延格，清画家。字青霞。多巧思，善山水、花卉，尤长摹古，与李徵君眉山交好，曾为盘山图，分之则24幅各自成章，合之则一大轴，天衣无缝。",[24,137,4185,212,7,28,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc39854d1a4479786c139bc6441703f61.jpg",[],{"id":34828,"slug":34829,"title":34830,"dynasty":18,"author":34831,"museum":245,"description":34832,"tags":34833,"thumbUrl":34834,"material":1397,"size":1398,"collection":220,"collections":34835,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},290327,"bao-xiang-guan-yin-zhou-gao-wen-jin-290327","宝相观音轴","高文进","高文进，五代宋初画家。成都(今属四川)人。从遇子。工画佛道,师法曹(不兴)吴(道子),笔力快健,施色鲜润。干德三年(965)蜀平归宋。太宗赵光义留神绘事，文进与黄居寀常左右，人图画院为祗候。",[137,24,155,28,7,83,194,7766,1054,15381,284,730,17231,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf549eaf374c89fdb2b60e52a374227c.jpg",[],{"id":34837,"slug":34838,"title":6047,"dynasty":18,"author":191,"museum":245,"description":34839,"tags":34840,"thumbUrl":34841,"material":1397,"size":1398,"collection":220,"collections":34842,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},289878,"wei-mo-yan-jiao-tu-yi-ming-289878","此画在技法上明显逊色,笔墨简洁含蓄不足,当是师承李公麟的白描人物画",[137,24,194,7766,28,7,83,470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67680d9cba7bc808ec7d530b6cf68bbb.jpg",[],{"id":34844,"slug":34845,"title":34846,"dynasty":76,"author":674,"museum":245,"description":4094,"tags":34847,"thumbUrl":34850,"material":1397,"size":1398,"collection":220,"collections":34851,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},289798,"jin-jue-tu-chen-hong-shou-289798","晋爵图",[23,24,26,28,83,7,1744,34848,34849],"礼仪场景","晋爵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82160bb3618d62d00e8abd0db51bf9c.jpg",[],{"id":34853,"slug":34854,"title":9190,"dynasty":18,"author":1838,"museum":245,"description":34855,"tags":34856,"thumbUrl":34857,"material":1397,"size":1398,"collection":220,"collections":34858,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},289338,"zhen-tong-kui-lei-tu-su-han-chen-289338","这幅画描绘了三名正在表演“杖头傀儡”游戏的儿童，其中一人执杖表演傀儡，一人敲鼓，一人观看。庭院周边装饰以假山花木景色。\n宋代社会流行木偶戏，时人称之为“悬丝傀儡戏”，这个流行娱乐方式，被苏汉臣如实记录下来。",[24,4304,7,28,1744,9193,34,17425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9340fac5754ccaa95623c0c5c4803d0a.jpg",[],{"id":34860,"slug":34861,"title":13900,"dynasty":18,"author":191,"museum":245,"description":34862,"tags":34863,"thumbUrl":34864,"material":1397,"size":1398,"collection":220,"collections":34865,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},289116,"tao-zhi-qi-que-tu-ye-yi-ming-289116","此作为宋画小品中的清丽佳构，以疏简折枝托举幽淡春景。蜿蜒桃枝错落舒展，留白铺就空灵韵致，尽显宋人的雅致意趣。桃花以淡墨勾边，轻敷白粉晕染，瓣尖微透莹润质感，如凝着晨露的初绽花苞，柔婉素雅。枝上栖雀造型写实入微，羽色晕染层次分明，暖棕腹羽与苍灰背羽相映，侧目凝神间姿态悠然，似静聆春风拂花轻响，于静谧中暗蕴鲜活生机。整体笔致秀润精细，设色温婉柔和，将格物观照的审美追求藏于尺幅，定格下春日枝间闲逸恬然的诗意瞬间。",[24,25,212,7,28,174,178,4185,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0865527a000659e4a83fb3a70a7fc7b5.jpg",[],{"id":34867,"slug":34868,"title":34869,"dynasty":150,"author":1549,"museum":245,"description":16441,"tags":34870,"thumbUrl":34872,"material":1397,"size":1398,"collection":220,"collections":34873,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":697},288382,"di-er-hui-jia-fu-ren-xian-shi-yang-zhou-cheng-leng-zi-xing-yan-sun-wen-288382","第二回 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冷子兴演",[23,24,7,28,81,83,470,471,84,18556,9785,34871],"红楼梦故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf9f50f1eafdf6e0401190800688b680.jpg",[],{"id":34875,"slug":34876,"title":34877,"dynasty":150,"author":1549,"museum":245,"description":16441,"tags":34878,"thumbUrl":34879,"material":1397,"size":1398,"collection":220,"collections":34880,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},288376,"jia-zheng-you-da-guan-yuan-tu-jing-qi-sun-wen-288376","贾政游大观园图景七",[23,24,137,7,28,27,83,29,84,86,174,466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e804dbcfcaa26e9341270ec2c4ac608.jpg",[],{"id":34882,"slug":34883,"title":34884,"dynasty":150,"author":1549,"museum":245,"description":16441,"tags":34885,"thumbUrl":34887,"material":1397,"size":1398,"collection":220,"collections":34888,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},288374,"qing-geng-feng-seng-dao-tan-wan-shi-sun-wen-288374","青埂峰僧道谈顽石",[23,24,28,27,83,29,86,927,211,34886,6193,7],"僧道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444c567ccb78cbe1acb63286caa254ff.jpg",[],{"id":34890,"slug":34891,"title":11395,"dynasty":18,"author":191,"museum":245,"description":34892,"tags":34893,"thumbUrl":34896,"material":1397,"size":1398,"collection":220,"collections":34897,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},288364,"jin-ming-chi-zheng-biao-tu-yi-ming-288364","《金明池争标图》绘金明池及岸边的景物和人物。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。\n《金明池争标图》上众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。\n《金明池争标图》中描绘的景物、活动与宋孟元老所撰《东京梦华录》等史料中相关的记载吻合，因此又具有较高的历史文献价值。",[137,24,81,7,28,84,85,86,1206,34894,769,1028,34895],"池苑","龙舟争标","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599da7a1c7e07ac0c449915bde4d91c3.jpg",[],{"id":34899,"slug":34900,"title":34901,"dynasty":18,"author":1609,"museum":245,"description":34902,"tags":34903,"thumbUrl":34905,"material":1397,"size":1398,"collection":220,"collections":34906,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},288334,"wu-hua-guo-tu-li-di-288334","无花果图","本幅无款识。钤印半方，印文模糊不辨。裱边钤乾隆皇帝“八征耄念之宝”、“太上皇帝之宝”、“古稀天子”等玺印3方。\n对幅有清乾隆皇帝御题五言诗一首：“果结必资花，却有无花者。别名木馒头，或因形弗雅。缀子于叶间，累累复若若。七利名徒传，几团见实寡。钱塘特写斯，应寓别意也。庶子与家丞，个中两弗假。”钤印“用笔在心”。",[23,137,24,25,914,7,28,212,284,173,34904],"无花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf319d89ed0de23eb39be64d2c4116e8.jpg",[],{"id":34908,"slug":34909,"title":34910,"dynasty":54,"author":191,"museum":245,"description":34911,"tags":34912,"thumbUrl":34913,"material":1397,"size":1398,"collection":220,"collections":34914,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},287730,"tang-tai-zong-ban-shen-xiang-yi-ming-287730","唐太宗半身像","此作以工笔细绘帝王仪容，乌纱幞头束发，尽显初唐冠制风貌。画师精准捕捉帝王雄毅沉稳的气度，眉峰斜挑，目光沉凝锐利，络腮长须垂落的线条劲挺不失柔和晕染，将威严与开阔胸襟藏于眉眼轮廓间。\n\n衣袍施以淡金暗纹，用色雅致克制，既彰显九五之尊的华贵，又不失古雅沉稳。整体设色温润，晕染自然，无繁复布景，仅凭肖像便将贞观之主的器宇轩昂刻画入微，尽显一代明君的王者风范。",[137,24,28,83,7,7768],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d82640a6ee30f61069b431b84cdb04c.jpg",[],{"id":34916,"slug":34917,"title":34918,"dynasty":150,"author":191,"museum":245,"description":12724,"tags":34919,"thumbUrl":34920,"material":1397,"size":1398,"collection":220,"collections":34921,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},270172,"bai-se-ke-si-hua-die-tu-mian-mu-diao-hua-bing-tuan-shan-yi-ming-270172","白色缂丝花蝶图面木雕花柄团扇",[3683,914,962,212,411,7277,5004,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5030fb45c1bbf28e519f59d8910286f.jpg",[],{"id":34923,"slug":34924,"title":34925,"dynasty":150,"author":191,"museum":245,"description":34926,"tags":34927,"thumbUrl":34928,"material":1397,"size":1398,"collection":220,"collections":34929,"showCount":400,"zanCount":1084,"manualWeight":48,"mainColor":145},267340,"xiu-xian-shi-jia-mu-ni-fo-xiang-zhou-yi-ming-267340","绣线释迦牟尼佛像轴","此作以绣线摹绘佛陀，释迦牟尼结跏趺坐于莲台之上，面容圆润慈悲，垂目敛神，沉静安和。朱红佛衣织金缠枝宝相花，华贵庄严，内搭素衣衬出层次。头顶宝盖饰以璎珞垂幡，宝焰灵动，更添神圣之感。\n\n引首御题诗文，书法端稳雅致，与造像呼应相融。整幅绣工精妙匀整，配色明丽和谐，将佛陀的肃穆禅意与宫廷造像的规整华美完美结合，尽显清代宗教绣品的上乘工艺水准。",[155,25,194,7766,28700,83,28,7,1055,173,65,14415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0891eaef34d959afd43f536fceb833.jpg",[],{"id":34931,"slug":34932,"title":34933,"dynasty":150,"author":191,"museum":245,"description":10461,"tags":34934,"thumbUrl":34935,"material":1397,"size":1398,"collection":220,"collections":34936,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},263681,"ke-si-qiu-tao-shou-dai-tu-zhou-yi-ming-263681","缂丝秋桃绶带图轴",[24,25,155,962,212,28,7,178,1653,689,159,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6711d2ba142659702743237925acf7.jpg",[],{"id":34938,"slug":34939,"title":34940,"dynasty":150,"author":21316,"museum":245,"description":34941,"tags":34942,"thumbUrl":34943,"material":220,"size":220,"collection":45,"collections":34944,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":697},239381,"hong-wu-kuo-er-ka-jin-xiang-ma-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[1] 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自我的精神世界定格绢素，让人身临其境触摸旧日清贵的闲雅日常。",[24,28,7,83,29,3047,3048,216,783,3436,8622,927,17949,5967,2956,784,785,2957,26451,31888,2614,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a85e7afac4f195c0df770e25d47790.jpg",[],{"id":35205,"slug":35206,"title":29223,"dynasty":150,"author":29224,"museum":245,"description":29225,"tags":35207,"thumbUrl":35208,"material":220,"size":220,"collection":220,"collections":35209,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},234371,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234371",[24,25,519,28,7,212,174,597,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c35963c6e683461725a955fceeb37b.jpg",[],{"id":35211,"slug":35212,"title":29223,"dynasty":150,"author":29224,"museum":245,"description":29225,"tags":35213,"thumbUrl":35214,"material":220,"size":220,"collection":220,"collections":35215,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},234367,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234367",[24,25,519,28,7,82,212,409,454,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0728567f0f0573e343468c07c62a75.jpg",[],{"id":35217,"slug":35218,"title":35219,"dynasty":76,"author":35220,"museum":20,"description":35221,"tags":35222,"thumbUrl":35224,"material":496,"size":220,"collection":220,"collections":35225,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},234161,"luo-han-juan-li-lin-234161","罗汉卷","李麟","李麟（1558—？），字次公，四阴（今浙江宁波）人，明朝画家。\n李麟善白描，作佛像下笔如莼条，用焦墨而不觉其枯，眉目粗而不觉其重。尤长写貌，亦以焦墨粗钩为之。师丁南羽（云鹏）有出蓝之誉。自署龙眠后身，崇祯八年（1635）尝写文殊维摩图，时年七十八。又有参寥子像卷，现藏故宫博物院。（《无声诗史》、《画髓元铨》、《图绘宝鉴续纂》、《宁波志》、《中国名画集》）",[23,137,24,25,26,28,7,194,83,13222,3794,313,35223,7766],"墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2afad23ebaf7357b70a3be598dccc1.jpg",[],{"id":35227,"slug":35228,"title":35229,"dynasty":150,"author":8137,"museum":245,"description":35230,"tags":35231,"thumbUrl":35233,"material":220,"size":220,"collection":220,"collections":35234,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},234117,"hua-guo-juan-yuan-jiang-234117","花果卷","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,25,137,26,28,855,7,212,451,35232,248,298,487,492,690,688,637,822,156,689,454,409,453,173],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":35236,"slug":35237,"title":35238,"dynasty":18,"author":191,"museum":20,"description":35239,"tags":35240,"thumbUrl":35241,"material":424,"size":35242,"collection":220,"collections":35243,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},234006,"shui-xian-tu-ye-yi-ming-234006","水仙图页","水仙（Narcissus tazettaL. var. chinensis Roem. ）又名中国水仙，是多花水仙的一个变种。是石蒜科多年生草本植物。水仙的叶由鳞茎顶端绿白色筒状鞘中抽出花茎（俗称箭）再由叶片中抽出。一般每个鳞茎可抽花茎1-2枝，多者可达8-11枝，伞状花序。花瓣多为6片，花瓣末处呈鹅黄色。花蕊外面有一个如碗一般的保护罩。鳞茎卵状至广卵状球形，外被棕褐色皮膜。叶狭长带状，蒴果室背开裂。水仙性喜温暖、湿润，花期在春季。\n作为中国传统观赏花卉的水仙，原种为唐代从意大利引进，是法国多花水仙的变种，在中国已有一千多年栽培历史，经上千年的选育而成为世界水仙花中独树一帜的佳品，为中国十大传统名花之一。因为鳞茎生得颇象洋葱、大蒜、故六朝时称“雅蒜”、宋代称“天葱”。之后，人们还给她取了不少巧妙、美丽的名字，如金盏、银台、俪兰、雅客、女星等等。水仙花早在宋代就已受人注意和喜爱。\n南宋佚名《水仙图》只画了一株水仙，一花五叶。画面的中心水仙花盛开，清新可人，叶片四展而不零乱，飘逸潇洒，并将画面分割成五部分，花蕊正好位于最能够吸引目光的黄金分割位置，凸显全画的核心。花瓣以尖细之笔勾勒轮廓，再染白粉，花蕊以橘黄点染，设色淡雅清逸。《水仙图》可谓是着笔简洁而韵味无穷，是南宋院体花鸟画的精品。\n南宋佚名《水仙图》无款印。裱边旧题签：“赵子固写生水仙”。赵子固即赵孟坚，中国南宋画家。生于庆元五年（1199），卒于景定五年（1264），一说卒于咸淳三年（1267）。字子固，号彝斋；宋宗室，为宋太祖十一世孙，汉族，海盐广陈（今嘉兴平湖广陈）人。曾任湖州掾、转运司幕、诸暨知县、提辖左帑。工诗善文，家富收藏，擅梅、兰、竹、石，尤精白描水仙；其画多用水墨，用笔劲利流畅，淡墨微染，风格秀雅，深得文人推崇。有书法墨迹《自书诗卷》，绘画《墨兰图》、《墨水仙图》、《岁寒三友图》等传世，著《彝斋文编》4卷。",[24,137,25,212,7,28,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba119f21392b89dbae54545959e6887a.jpg","24.6x26cm",[],{"id":35245,"slug":35246,"title":35247,"dynasty":150,"author":7676,"museum":20,"description":35248,"tags":35249,"thumbUrl":35250,"material":35251,"size":35252,"collection":220,"collections":35253,"showCount":400,"zanCount":1769,"manualWeight":48,"mainColor":145},233720,"hua-wang-yu-yan-xie-lan-tu-xiang-pan-gong-shou-bu-tu-zhou-ren-xiong-233720","画王玉燕写兰图像潘恭寿补图轴","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[24,25,155,28,7,83,822,313,159,689,2956,784,785,2957,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb520acac6950d49e8cce35de80872eb2.jpg","纸本,设墨","111.5cm×41.6cm",[],{"id":35255,"slug":35256,"title":35257,"dynasty":18,"author":1140,"museum":20,"description":35258,"tags":35259,"thumbUrl":35260,"material":40,"size":35261,"collection":220,"collections":35262,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},233198,"ju-lv-tu-ye-ma-lin-233198","橘绿图页","图中橘子由绿转黄，满压枝头。画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。台北故宫博物院藏南宋画院画家林椿创作的一幅《橙黄橘绿图》与本幅在构图及橘、叶的表现技法上均相同，可见此类题材及画法在南宋画院较为普遍。",[137,24,25,7,28,212,3315,596,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c205a8ffc34c15b750b08bc5bfa96be.jpg","纵23厘米，横23.5厘米",[],{"id":35264,"slug":35265,"title":35266,"dynasty":18,"author":5567,"museum":245,"description":35267,"tags":35268,"thumbUrl":35269,"material":67,"size":35270,"collection":220,"collections":35271,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},232883,"ren-wu-shou-juan-chen-ju-zhong-232883","人物手卷","陈居中，南宋画家。嘉泰年间（1201-1204）画院待诏，生卒年不详。专工人物及马，杂画亦佳。擅画反映贵族游乐、出猎生活和表现少数民族放牧风情等题材，注重写实，观察入微，构图简洁，风格清新，富于生趣。明人题其《八骏图》称“精彩逼真似唐画，系临史道硕、韩幹之辈，为两宋人物第一神品也”（吴其贞《书画记》）。元代夏文彦《图绘宝鉴》谓其“布置着色，可亚黄宗道”。",[23,24,25,26,7,28,83,112,582,29,34,2782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a8d26c75f65f46eee8b4627c5dcacc.jpg","29.8x229cm",[],{"id":35273,"slug":35274,"title":35275,"dynasty":228,"author":35276,"museum":134,"description":35277,"tags":35278,"thumbUrl":35280,"material":496,"size":35281,"collection":220,"collections":35282,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},232252,"qiao-mu-gao-zhai-tu-zhao-meng-xu-232252","乔木高斋图","赵孟吁","在元代文人画家笔下，画的内容仅仅只是载体了，重要的是画上寄托的情感。他们追求“逸笔草草，不求形似”，目的是抒写“胸中逸气”；追求笔墨趣味，以笔墨的形式与结构来表达绘画者自己的主观精神境界。",[24,28,7,172,286,927,83,91,35279,159,92],"石墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff809b42c21c90b2a4b015928f355643c.jpg","102.4x51.3公分",[],{"id":35284,"slug":35285,"title":35286,"dynasty":190,"author":35287,"museum":245,"description":35288,"tags":35289,"thumbUrl":35291,"material":1397,"size":1398,"collection":220,"collections":35292,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,25,26,283,855,7,7318,1568,35290,20906,581,299,313,211,655,198,582,83,212],"蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],{"id":35294,"slug":35295,"title":35296,"dynasty":190,"author":35297,"museum":245,"description":35298,"tags":35299,"thumbUrl":35300,"material":1397,"size":1398,"collection":220,"collections":35301,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},231756,"ruo-fa-shi-tu-ping-di-1-ping-xia-cun-guan-shan-231756","弱法师图屏 第1屏","下村观山","下村观山 1873-1930 (明治六-昭和五)58岁。本名晴三郎。和歌山县和歌山市生人,少时问业藤岛常兴.狩野芳崖,后专师桥本雅邦,东京美术学校毕业。",[23,215,28,7,5471,637,12776,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bbedc44d1bf5a58dd8dda8357ef6692.jpg",[],{"id":35303,"slug":35304,"title":35305,"dynasty":18,"author":191,"museum":134,"description":35306,"tags":35307,"thumbUrl":35308,"material":952,"size":35309,"collection":220,"collections":35310,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},231378,"song-yan-xian-guan-tu-yi-ming-231378","松岩仙馆图","静处江山，层楼逶迤。长松之下，人物容与于其间。全幅画山，尽用焦墨钩勒，近轮廓处，稍稍以淡墨横加皴纹，隐约几不可辨。画树极细致而详尽，夹叶点中并及筋络。人物亦细笔，劲挺而须眉毕具。无间远近，同此一法。与世传唐画有脉息相通处，或是宋人所摹旧本。",[137,24,12037,84,83,927,7,172,855,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f657fecd8b6c42929cbcb3ea659e46.jpg","171x115.7",[],{"id":35312,"slug":35313,"title":35314,"dynasty":76,"author":191,"museum":20,"description":35315,"tags":35316,"thumbUrl":35317,"material":40,"size":35318,"collection":220,"collections":35319,"showCount":400,"zanCount":1769,"manualWeight":48,"mainColor":49},231357,"xuan-de-xing-le-tu-yi-ming-231357","宣德行乐图","明代宫廷绘画中有一类表现帝王生活和重大历史事件的作品。此幅描绘明宣宗朱瞻基便服檐帽在御园观赏各种体育竞技表演的场面。画面上从右至左依次为射箭、蹴踘、马球、捶丸、投壶，场面宏大繁复而又具体入微，生动地表现出当时宫中的文体娱乐活动。由于要反映特定的地点和环境，所以描绘了大量的建筑。此卷以工整细腻的写实手法按照历史原貌对明代皇宫的楼台殿阁作了荚绘实又概括的描绘，是研究明代宫廷历史以及皇家建筑的重要资料。",[24,137,28,7,83,112,178,5100,34,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd15889dcb5d2ea930aa35fbfdc5d7e.jpg","纵36.7cm，横690cm",[],{"id":35321,"slug":35322,"title":35323,"dynasty":150,"author":2231,"museum":245,"description":35324,"tags":35325,"thumbUrl":35326,"material":220,"size":220,"collection":220,"collections":35327,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},230966,"zhong-kui-tan-mei-tu-jin-ting-biao-230966","钟馗探梅图","寒雪覆地，万木凝霜，虬曲老树裹着厚雪，萧索中透着清寂。画面主角敛去往日凶煞，化身乡野翁叟，斗笠覆顶，肩负梅枝，踏过小桥时眉眼松弛，似为寻得暗香忘却本职，只剩踏雪寻芳的悠然。身后小童缩着脖颈，挑着伞盖匆匆随行，憨态可掬。\n整作以淡墨晕开茫茫雪色，线条朴拙简练，将神威仙灵世俗化，把凌冬雅趣与俗世温情相融，打破固有狞厉印象，以寻常行旅的温情图景，消解题材自带的肃杀，尽显隆冬寻梅的闲逸诗意。",[24,25,28,7,83,637,14842,14922,1499,197,4077,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ef8da1600122e28775a7e31276ba9e.jpg",[],{"id":35329,"slug":35330,"title":10769,"dynasty":18,"author":1151,"museum":134,"description":35331,"tags":35332,"thumbUrl":35333,"material":218,"size":10774,"collection":220,"collections":35334,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},230965,"yao-chi-xian-shou-tu-liu-song-nian-230965","人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,137,24,25,7,28,29,83,84,927,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcf0da55e5064051ab60329ab404823.jpg",[],{"id":35336,"slug":35337,"title":35338,"dynasty":54,"author":191,"museum":245,"description":35339,"tags":35340,"thumbUrl":35341,"material":1397,"size":1398,"collection":220,"collections":35342,"showCount":400,"zanCount":1769,"manualWeight":48,"mainColor":49},230934,"si-fu-ju-hui-tu-yi-ming-230934","四佛聚会图","画面饱满庄严，四方诸佛环坐为主体，朱红佛衣衬得宝相慈悲端凝，圆光覆顶，结印安坐，自带静穆神圣之感。诸天、护法层层簇拥排布，云气晕染铺陈出缥缈佛国意境。\n\n设色沉敛古雅，朱砂石色经岁月浸润依旧鲜亮厚重，细密劲挺的铁线描，勾勒出衣袂褶皱的飘逸流畅，亦将宝冠璎珞的精致细节尽显无遗。对称构图烘托出佛会的肃穆安然，诸佛神态平和悠远，护法身形雄健威仪，动静间尽显极乐盛会的恢宏庄重，尽显唐代宗教绘画的典型特质，将佛国世界的神圣静穆具象展现，古韵佛风厚重绵长。",[24,25,194,7,28,83,5470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971efa0fae36413b85480bdac863dadc.jpg",[],{"id":35344,"slug":35345,"title":35346,"dynasty":190,"author":191,"museum":245,"description":35347,"tags":35348,"thumbUrl":35349,"material":1397,"size":1398,"collection":220,"collections":35350,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},230530,"gu-hua-mo-ben-xia-gui-deng-tu-juan-yi-ming-230530","古画模本（夏圭等图卷）","此卷分两处景致，左端冷月悬于寒空，孤梅瘦枝横斜水岸，江石清寂，恍见幽人凭立，萧寒淡远，尽得隐逸清疏之致。右端以没骨法绘白花柔枝，晕染轻透，花瓣莹润如凝霜雪，浅蓝枝叶衬出雅致隽秀。旁题行书小诗，诗画相融，笔意简淡却藏雅人幽情，将爱花赏梅的闲逸心境织入笔墨，清寂空濛与柔婉清雅相映，尽显古典雅致的文人情致。",[23,24,25,26,28,7,212,29,83,313,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea6b17bd705e743fcc1bac8c1e8fa4d.jpg",[],{"id":35352,"slug":35353,"title":35354,"dynasty":190,"author":191,"museum":245,"description":35355,"tags":35356,"thumbUrl":35357,"material":220,"size":220,"collection":220,"collections":35358,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},230522,"fang-gu-shan-shui-dong-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230522","仿古山水动物粉本(狩野家图卷)","此作以工写相融之笔绘就水畔闲景，一对鸳鸯依偎石间，雄鸟羽色妍秀，翎毛晕染精微，绒绒肌理宛然可见，雌鸟素朴温婉，二者亲昵缱绻，尽显静好之态。旁侧芍药轻绽，粉花柔叶勾勒秀雅，设色清润柔和。坡石以淡墨晕染虚化，留白衬出水泽空濛，将院体花鸟的精工细腻，与文人写意的淡逸糅合一处，把缱绻温情藏在幽寂小景里，静雅恬然，晕染出东方花鸟独有的诗意韵致。",[23,24,28,7,1435,298,211,212,198,2709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d5f83429ae56c7ef5eae540e6bcdd.jpg",[],{"id":35360,"slug":35361,"title":35362,"dynasty":190,"author":1244,"museum":245,"description":35363,"tags":35364,"thumbUrl":35365,"material":220,"size":220,"collection":220,"collections":35366,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},230485,"chang-hen-ge-tu-juan-shi-qi-shi-ji-xia-juan-shou-ye-shan-xue-230485","长恨歌图卷十七世纪（下卷）","此作用青绿浅绛敷色，复刻出盛唐帝妃苑囿盛景。亭台层叠错落，斗拱飞檐尽现古建规制，朱红、石青与黛瓦相映，尽显皇家苑囿的恢宏华贵。\n\n山峦云雾环伺宫宇，侍从仪仗整肃排布，帝妃衣袂翩然，或凭栏观览，或游赏宴饮，细碎笔触将《长恨歌》里骊宫盛景具象化，处处可见诗中缱绻日常与雍容气象。全卷笔墨工细雅致，布景疏密得宜，将盛世风华融于长卷，古韵悠然，尽显摹写中国古画的精妙造诣。",[23,26,7,28,81,83,84,29,85,86,176,34,1599,751,37,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a21bc527443be8d54d48f5ae87ae103.jpg",[],{"id":35368,"slug":35369,"title":35370,"dynasty":76,"author":191,"museum":245,"description":35371,"tags":35372,"thumbUrl":35373,"material":220,"size":220,"collection":220,"collections":35374,"showCount":400,"zanCount":1769,"manualWeight":48,"mainColor":49},228791,"xi-die-ye-yi-ming-228791","戏蝶页","仕女身姿翩然，抬臂挥扇戏蝶，袖袂随轻曳的姿态舒展，鬓边簪花衬得眉眼愈发娇柔。细劲的游丝描勾勒衣褶纹理，清雅古淡的设色晕染出温婉质感。\n\n画面定格了闺中嬉游的悠然一瞬，将女子娇憨灵动的情态藏入笔墨间。翩跹蝶影呼应着仕女的活泼，把闲逸的闺中情趣铺陈开来。古绢虽经岁月侵蚀，边角斑驳残损，却晕开了独有的旧时光晕，为这场往昔嬉游晕染开朦胧诗意，雅致的古典意趣穿越岁月，依旧动人。",[137,24,25,519,28,283,7,83,59,411,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f036ec22bfa0bf30ed48cbdf7c2948.jpg",[],{"id":35376,"slug":35377,"title":35378,"dynasty":76,"author":191,"museum":245,"description":35379,"tags":35380,"thumbUrl":35381,"material":220,"size":220,"collection":220,"collections":35382,"showCount":400,"zanCount":1769,"manualWeight":48,"mainColor":2515},228790,"yan-he-qing-hui-ce-yi-ming-228790","岩壑清晖册","此作用笔秀润淡逸，以柔缓皴染晕出山峦烟岚，将远山融在朦胧霭气之中，虚实相生，铺展出幽远空寂的天地。近景苍树虬劲蓊郁，旁侧修竹亭亭，与山居茅檐相映成趣。\n\n廊下士人斜卧凭栏，似在静听竹风，阶侧童子敛声侍立，寥寥数笔便勾勒出林下幽居的松弛意态。淡赭绢底晕出古雅暖意，整幅画将林泉高致的文人心境藏在笔墨之间，以清简构图传递出萧散闲雅的山居意趣，尽显幽栖丘壑、寄情烟霞的林下风流。",[24,137,25,519,28,7,172,29,176,156,313,84,83,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d18bef70057de2123fbe18762c9072.jpg",[],{"id":35384,"slug":35385,"title":35386,"dynasty":76,"author":674,"museum":245,"description":4094,"tags":35387,"thumbUrl":35388,"material":1397,"size":1398,"collection":220,"collections":35389,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},228303,"niang-tao-tu-chen-hong-shou-228303","酿桃图",[23,24,25,155,28,7,83,637,158,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e93ba703003e6686ca8b3a91ec3f81d.jpg",[],{"id":35391,"slug":35392,"title":23948,"dynasty":228,"author":191,"museum":245,"description":35393,"tags":35394,"thumbUrl":35395,"material":220,"size":220,"collection":220,"collections":35396,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},228218,"shou-lie-tu-ye-yi-ming-228218","此作以沉郁古褐晕染山野荒林，上下两组骑猎者纵马驰骋，将塞北游猎的粗粝快意尽数铺展。上方猎手引弦待发，臂上架鹰、身侧随细犬，林间悬垂的猎物，把猎获的酣畅瞬间定格。下方骑士俯身控马，衣袂随疾风翻卷，人马同频的奔跃张力扑面而来。\n\n线条劲爽利落，精准勾勒出骑手的雄健彪悍，人马犬鹰的情态鲜活灵动。没有繁复修饰，却将游牧民族射猎日常的野性生机淋漓展现，带着浓郁的北国风土气息，尽显游猎生活的本真快意，是描摹塞外狩猎盛景的精妙小品。",[23,24,25,519,28,7,83,112,582,14983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e6b428e69bd8563be25278d371b2ab.jpg",[],{"id":35398,"slug":35399,"title":35400,"dynasty":228,"author":191,"museum":245,"description":35401,"tags":35402,"thumbUrl":35403,"material":220,"size":220,"collection":220,"collections":35404,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},228213,"shui-dian-mei-hua-tu-yi-ming-228213","水殿梅花图","以俯瞰之境铺展苑囿冬景，界画工致严整，飞檐翘角层叠错落，朱栏回廊勾连殿宇，尽显建筑雅致规制。\n\n几枝寒梅横斜殿侧，枯梢缀花，晕开清寂暗香。浅淡设色晕染古绢，色调沉雅温润，将水殿的萧寒静谧晕染开来。三两侍者缓行砖石步道，身形小巧更衬苑囿空阔安闲，恍可见殿内暖意与院外清寒相融，勾勒出冷而不寂的幽澹意境，尽显工整笔墨中裹挟的文人意趣。",[23,24,137,914,81,28,7,84,637,83,92,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd4e02411732e1885de9da57dc9098b.jpg",[],{"id":35406,"slug":35407,"title":10824,"dynasty":228,"author":191,"museum":245,"description":35408,"tags":35409,"thumbUrl":35410,"material":220,"size":220,"collection":220,"collections":35411,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},228198,"ting-qin-tu-ye-yi-ming-228198","这帧团扇小品以淡墨轻色晕染出水汀秋意，两位素衣仕女驻足岸侧，一人携琴，二人垂目望向幽寂寒潭。对岸林叶覆着轻烟，崖石静峙，水面空濛无波，将天地浸在清寂萧疏的氛围中。\n\n笔致秀雅空灵，略去繁饰，只以简淡线条勾勒衣袂柔姿，以晕染晕开林下水气，将等待听琴的娴静幽思融在水光天色里，把林下闲情化作幽远诗意，尽显雅致淡远的文人意趣，仿佛隔着绢本，都能听见风掠林梢的轻响，静候琴音破寂而来。",[23,24,25,3683,28,7,83,59,313,211,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac32a0479a74d50cdf19281ce14bff0e.jpg",[],{"id":35413,"slug":35414,"title":35415,"dynasty":18,"author":191,"museum":245,"description":35416,"tags":35417,"thumbUrl":35418,"material":220,"size":220,"collection":220,"collections":35419,"showCount":400,"zanCount":1769,"manualWeight":48,"mainColor":145},227938,"an-chun-tu-tuan-shan-ye-yi-ming-227938","鹌鹑图团扇页","此作以精微工笔写就，细笔丝毛将鹌鹑的羽色层次尽现，蓬松绒羽间兼具挺括质感，鹌鹑侧目远眺，身姿沉稳灵动，将野禽机警的天性传神勾勒。背景淡晕草叶，虚淡朦胧，以衬实主，将秋日郊野的清寂野趣悄然铺陈。\n\n古绢色泽沉郁，却难掩笔墨精妙，以小景见天地，尽显对自然物性的细致体察。整幅画面简净含蓄，萧疏静谧的意境呼之欲出，淡墨轻色间，藏着雅致内敛的古典意趣。",[23,137,24,25,914,212,7,28,5649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc2445a1615daab5107d7a131a57600.jpg",[],{"id":35421,"slug":35422,"title":35423,"dynasty":18,"author":191,"museum":245,"description":35424,"tags":35425,"thumbUrl":35426,"material":220,"size":220,"collection":220,"collections":35427,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},227908,"kong-lin-zuo-gou-tu-yi-ming-227908","空林坐狗图","垂柳如烟垂覆林隅，细槎疏枝错落舒展，晕染出萧寂清旷的郊野秋意。劲瘦细犬静坐坡石之侧，颈间红绦轻垂，是古雅底色里一抹鲜亮暖意。它抬首侧目，似在谛听风穿叶隙、野雀轻啼，将空林的幽寂悄然打破，又融于这份静谧之中。\n\n此作晕染温润古雅，淡墨写尽林野荒疏意趣，工笔细绘灵犬神态，以尺幅团扇框住林下闲景，将雅致审美藏于野趣日常，幽韵自生，尽显小品画以小见大的精妙意境。",[23,706,24,25,914,7,28,582,61,34,159,5100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d50f44903c7a03e510070aaade1260.jpg",[],{"id":35429,"slug":35430,"title":35431,"dynasty":18,"author":1040,"museum":245,"description":35432,"tags":35433,"thumbUrl":35434,"material":220,"size":220,"collection":220,"collections":35435,"showCount":400,"zanCount":1769,"manualWeight":48,"mainColor":145},227737,"mu-yang-tu-ye-li-song-227737","牧羊图页","本幅设色画园形，左侧款“李嵩”，对幅王玄真书黄公望句，钤“信公珍赏”、“黄氏子久”等印21方。\n\n李嵩（1166-1243年），南宋画家，钱塘人。少为木工，后为画院待诏李从训养子，随其习画。历任光宗、宁宗、理宗三朝画院待诏。擅长人物、佛像，尤长界画。",[23,1424,24,25,28,7,83,4541,582,286,1028,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7449e6fb1adde8548b9b68812e0a5f09.jpg",[],{"id":35437,"slug":35438,"title":35439,"dynasty":18,"author":35440,"museum":245,"description":35441,"tags":35442,"thumbUrl":35443,"material":220,"size":220,"collection":220,"collections":35444,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},227437,"han-lin-ju-qin-tu-zhou-gao-dao-227437","寒林聚禽图轴","高焘","美国克利夫兰艺术博物馆藏《寒林聚禽图轴》，因存名款而传为南宋画家高焘传世仅见的一幅绢本设色花鸟画轴。高居翰认为高焘有可能出仕金源，因此该画现被归为金代绘画作品。而笔者主张的观点是：从无史料证实高焘曾叛降金源，且高焘该画本事，更可能蕴涵有抗金时代征候并具有一定积极政治倾向。",[23,24,25,137,155,7,172,29,5209,178,982,286,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37bba1188351b629f22203bd50fb89f.jpg",[],{"id":35446,"slug":35447,"title":29099,"dynasty":18,"author":29100,"museum":245,"description":35448,"tags":35449,"thumbUrl":35450,"material":220,"size":220,"collection":220,"collections":35451,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},227409,"ying-gu-tu-ye-li-you-227409","宋代画家李游，长于雄鹰，有灵性的态度和优秀的音乐。 学画那两只坐在枯树上的老鹰，看上去十分悠闲，略带了猛禽凶猛的模样，却依然英姿飒爽。",[23,137,24,25,7,28,178,212,1499,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b691bdf35dcf11c904d1e69d7cdd8a8.jpg",[],{"id":35453,"slug":35454,"title":35455,"dynasty":18,"author":191,"museum":245,"description":35456,"tags":35457,"thumbUrl":35458,"material":220,"size":220,"collection":220,"collections":35459,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},227378,"qiu-ting-ru-quan-tu-yi-ming-227378","秋庭乳犬图","宋人小品画有很多题材，其中表现宠物犬的画作就有不少，尤其是宫廷贵妇在闲情逸致之时所驯养的小型观赏犬。毛益的《萱草戏狗图》与李迪的《秋葵山石图》，以及南宋无款的《秋庭乳犬图》、《秋葵犬蝶图》、《鸡冠乳犬图》、《萱花乳犬图》等就是典型代表。既反映了南宋院体花鸟画技艺的高超，又显现出画作中宠物犬的生动传神。千年之隔，犹如昨日。",[24,25,137,18,7,28,914,582,6315,159,198,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9de381462da7dc521dfb837af9d57c0.jpg",[],{"id":35461,"slug":35462,"title":35463,"dynasty":18,"author":35464,"museum":245,"description":35465,"tags":35466,"thumbUrl":35467,"material":220,"size":220,"collection":220,"collections":35468,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},226560,"bian-qiao-hui-meng-tu-juan-chen-ji-zhi-226560","便桥会盟图卷","陈及之","《便桥会盟图》卷，元，陈及之作，纸本，白描，纵36厘米，横774厘米。\n该图旧作辽画，实误。款署“祜申仲春中浣富沙竹坡陳及之作”，据考，“祐申”为元代延祐庚申年的缩写。\n该卷画“便桥会盟”故事，全图共绘246人，180匹马和4头骆驼，堪称是元代绘人马最多、物景最宏大的历史画。全卷可分为三大部分，第一段，绘以党项人为主的各类马上运动和马戏表演，第二段，绘游牧之骑，以此过渡到第三段，绘便桥会盟故事，画突厥首领颉利在便桥桥头向秦王李世民求和的情景。\n全卷以白描线条绘成，得北宋李公麟遗韵。飞动自如的线条展现出人马极强的运动感，强劲之处，顿挫有力，洒脱之笔，圆转不滞。画中人马，虽盈寸方，但神情毕肖，尽见风采，细微之处，不失博大。\n清《石渠宝笈·初编》著录。",[23,137,24,26,283,7,85,83,112,29,34,623,31,21728,5571],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb0ffce4747f42da84e0ed6e532f9db.jpg",[],{"id":35470,"slug":35471,"title":35472,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":35473,"thumbUrl":35474,"material":1397,"size":1398,"collection":220,"collections":35475,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},226218,"ku-yong-dao-bei-bi-yi-ming-226218","窟甬道北壁",[1053,194,28,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dd0bed66e60863db8647acf1cddf05c.jpg",[],{"id":35477,"slug":35478,"title":35479,"dynasty":190,"author":191,"museum":245,"description":32375,"tags":35480,"thumbUrl":35481,"material":1397,"size":1398,"collection":220,"collections":35482,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":1833},225313,"fu-shi-hui-48-yi-ming-225313","浮世绘48",[18080,21299,28,7,83,59,84,176,2653,34,211,91,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac7ff525e9b9ad13515af96fc67cf3c4.jpg",[],{"id":35484,"slug":35485,"title":35486,"dynasty":150,"author":34782,"museum":245,"description":35487,"tags":35488,"thumbUrl":35489,"material":220,"size":220,"collection":220,"collections":35490,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":145},224246,"die-chi-cong-guan-huai-224246","蝶翅丛","此作用笔秀润工致，淡设晕染出白菊冰姿玉骨。数簇柔菊或盛放舒展，或含苞轻绽，枝叶偃仰有态，将秋日花卉的清灵生机尽数铺陈。配上行楷题诗，诗画呼应，把幽菊孤高自持的风骨藏于绢素间。整体雅致内敛，无浓艳修饰，以细腻写实的笔触勾勒花叶纹理，晕染出花瓣柔润的质感，尽显文人写意的沉静意趣，晕染开传统花艺的古典美学，是写生花木的清雅佳作。",[23,137,24,25,28,7,689,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d639b415278a601d0bbf67b6e1f7f63.jpg",[],{"id":35492,"slug":35493,"title":35494,"dynasty":150,"author":191,"museum":245,"description":35495,"tags":35496,"thumbUrl":35501,"material":1397,"size":1398,"collection":220,"collections":35502,"showCount":400,"zanCount":48,"manualWeight":48,"mainColor":49},223981,"kang-xi-kuan-tong-tai-hua-fa-lang-lian-hua-shi-die-yi-ming-223981","康熙款 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u002Ffa1342889a7f6f506778b9b065570749.jpg",[237],"bfb197",{"id":35939,"slug":35940,"title":35941,"dynasty":76,"author":819,"museum":406,"description":35942,"tags":35943,"thumbUrl":35944,"material":220,"size":220,"collection":45,"collections":35945,"showCount":400,"zanCount":1084,"manualWeight":48,"mainColor":35946},201527,"wu-song-tu-zhou-xiang-sheng-mo-201527","五松图轴","虬松五株盘结，枝干如苍龙探海，鳞皴斑驳显古意。松针以细劲墨线攒簇，疏密有致见风神。盆石间幽篁数竿、蕨草几丛，生意盎然。笔墨兼工带写，线条刚柔相济，皴擦得法，墨色浓淡晕染自然。留白空灵悠远，与苍松沉雄相映，方寸盆盎藏丘壑，尽显文人案头清供之雅韵，韵致悠长。",[24,155,855,7,172,156,159,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fec70564938af3f83b89b4ca6f292cb.jpg",[45],"aba69d",{"id":35948,"slug":35949,"title":35950,"dynasty":228,"author":191,"museum":245,"description":35951,"tags":35952,"thumbUrl":35954,"material":1397,"size":35955,"collection":220,"collections":35956,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":49},291027,"tian-zhong-jia-jing-zhou-yi-ming-291027","天中佳景轴","画面上方五幅天师符文，暗合端午驱祟纳吉的古俗。下方案头清供雅致动人，素银宝瓶插满蜀葵、石榴与兰草，花瓣晕染秾丽鲜活，枝叶舒展自然生动。瓷盘盛着角黍鲜果，艾草菖蒲铺陈案边，处处呼应节令意涵。\n\n此作工致细腻，设色沉厚古雅，承袭宋院体花鸟的精工遗韵，又带着元代世俗赏玩的审美意趣，将岁时清赏与祈福心愿融于一室，把端午禳灾纳福的吉庆氛围，晕染在这方静谧典雅的案头小景之中。",[24,155,28,7,212,83,35953,492,823,3000,24251,158,284,834],"银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78aff34a8a838b30125b3886ed6af42.jpg","99.9x63.5公分",[],{"id":35958,"slug":35959,"title":14364,"dynasty":228,"author":1381,"museum":245,"description":35960,"tags":35961,"thumbUrl":35962,"material":1397,"size":1398,"collection":220,"collections":35963,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":145},290977,"luo-han-zhou-liu-guan-dao-290977","刘贯道 生卒年不详，字仲贤，中山（今定州）人。元代画家。曾因画《裕宗像》得到赏识，得补御衣局使。善画道释、人物、山水、花竹、鸟兽。道释人物师法晋唐，山水师法北宋郭熙，花竹、鸟兽亦能集古人之长。",[24,155,194,83,13222,28,34,12766,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc29cb28110a35f79e223ad2e816aec.jpg",[],{"id":35965,"slug":35966,"title":35967,"dynasty":228,"author":191,"museum":134,"description":35968,"tags":35969,"thumbUrl":35972,"material":235,"size":35973,"collection":237,"collections":35974,"showCount":537,"zanCount":1769,"manualWeight":48,"mainColor":49},290741,"jiu-que-xian-chun-tu-zhou-yi-ming-290741","鸠雀先春图轴","水傍石上，水鸟两只，一微露背，一见全体，足趾间有蹼相系，当系野鸭之属。其上重叠作茶花、竹、石、梅、雀、花卉俱用双钩，虽粗细不同，而笔力一皆挺秀，用色傅粉，亦极沉着。",[137,24,25,155,7,28,212,637,520,156,12766,178,35970,3035,35971],"鸠","春意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea2b2e763b0ca5b7e1db8a44f60e5d.jpg","150.9x31.3",[237],{"id":35976,"slug":35977,"title":35978,"dynasty":18,"author":191,"museum":134,"description":35979,"tags":35980,"thumbUrl":35981,"material":1397,"size":30580,"collection":220,"collections":35982,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":49},290622,"gong-zhao-na-liang-tu-zhou-yi-ming-290622","宫沼纳凉图轴","南宋时期《宫沼纳凉图》描绘了南宋宫掖妃子在池边纳凉赏花的场景，画面正中妃子闲坐于榻上，面容圆润，神情闲适，双手盘于膝上。其身后有一名官宦及一名侍女，官宦执白色蒲扇，扇面之上绘有凤纹，喻示后妃身份。侍女立于桌前，手中所捧之物似为香料。三人身后绘有莲花池，占据了整幅画卷的上半部分。时值盛夏之日，池中群花盛开，岸边垂柳成荫，主仆三人纳凉于池塘边，惬意从容。\u2028 画面最左边一名侍女，身穿交领窄袖上襦，领襟及袖端处缘边。下身着黄褐色长裙。上襦之外为白色披帛，内着白色中单。侍女腰间佩戴组绶。古人佩玉，组绶是用以系玉的丝带，穿衣时通常系在衣服的最外面，由彩色的丝线编织而成。《礼记·玉藻》记载：“天子佩白玉而玄组绶，公侯佩山玄玉而朱组绶，大夫佩水苍玉而纯组绶，世子佩瑜玉而綦组绶，士佩瓀玟而緼组绶。” 该侍女发式为双平髻，髻上插梳。双平髻是双挂式的一种，起源于秦朝。其特点是将发顶平分两大股，梳结成对称的环，相对垂挂于两侧。这种发式多用于宫廷。",[24,155,28,83,7,59,248,7606,8613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bedfc707d44a7540422c8ce063b6905.jpg",[],{"id":35984,"slug":35985,"title":35986,"dynasty":76,"author":17910,"museum":245,"description":35987,"tags":35988,"thumbUrl":35990,"material":1397,"size":1398,"collection":220,"collections":35991,"showCount":537,"zanCount":1769,"manualWeight":48,"mainColor":49},290602,"peng-shan-yu-nian-zhou-zhang-chong-290602","蓬山遇辇轴","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[137,24,155,27,28,7,83,29,174,112,59,14650,35989,4512],"辇车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74639a5bcfa89c2ad174b07008010f8.jpg",[],{"id":35993,"slug":35994,"title":35995,"dynasty":150,"author":9831,"museum":245,"description":25777,"tags":35996,"thumbUrl":35997,"material":1397,"size":1398,"collection":220,"collections":35998,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":145},290589,"gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-290589","高宗御笔秋花诗轴",[24,155,81,28,7,84,86,92,212,298,284,173,2884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbcc5d7aafbdc6bc856a662c88c5e026.jpg",[],{"id":36000,"slug":36001,"title":36002,"dynasty":150,"author":1356,"museum":245,"description":27124,"tags":36003,"thumbUrl":36004,"material":1397,"size":1398,"collection":220,"collections":36005,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":145},290566,"fang-tian-wang-xiang-yi-zhou-xu-yang-290566","仿天王像（一）轴",[24,155,194,28,4304,7,22587,7766,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf01e15251ff69fa4b4315c8ba1b7a2.jpg",[],{"id":36007,"slug":36008,"title":969,"dynasty":18,"author":191,"museum":245,"description":36009,"tags":36010,"thumbUrl":36011,"material":1397,"size":1398,"collection":220,"collections":36012,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":145},290510,"han-gong-chun-xiao-tu-yi-ming-290510","此作以圆扇为幅，绘就苑囿春晓盛景。层叠宫宇隐于烟岚佳木之间，朱阶玉栏之上宫人簇立，或整肃侍立，或执礼待驾，细节暗藏宫廷朝会的端严秩序。界画工细，将殿宇飞檐勾勒得精巧古雅，设色调和沉静，晕染出未央清晨的暖煦韶光。画作与题诗呼应，把宫娥盛饰争妍、御苑春和景明的皇家气派尽数收揽于尺幅之内，尽显宋代院画写实精妙的特质，铺展出汉宫春日早朝的雍容雅致。",[24,25,7,28,81,83,59,84,751,284,730,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe23e3eb117990c39592b138524fed620.jpg",[],{"id":36014,"slug":36015,"title":36016,"dynasty":18,"author":191,"museum":245,"description":10461,"tags":36017,"thumbUrl":36018,"material":1397,"size":1398,"collection":220,"collections":36019,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":49},290367,"song-ke-si-xi-bao-sheng-sun-tu-zhou-yi-ming-290367","宋缂丝喜报生孙图轴",[155,24,137,962,212,7,28,9655,521,488,211,409,7610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3eda24435f146fcd1bfd0b4f74356aa.jpg",[],{"id":36021,"slug":36022,"title":15231,"dynasty":76,"author":2318,"museum":245,"description":18546,"tags":36023,"thumbUrl":36024,"material":1397,"size":1398,"collection":220,"collections":36025,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":49},290363,"chun-hua-san-xi-zhou-bian-wen-jin-290363",[24,155,212,7,28,156,409,178,12766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9d58ed3b1b546865062b1b7eae98d5.jpg",[],{"id":36027,"slug":36028,"title":36029,"dynasty":150,"author":191,"museum":245,"description":36030,"tags":36031,"thumbUrl":36033,"material":1397,"size":1398,"collection":220,"collections":36034,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":145},290178,"shao-shu-min-zu-sheng-huo-xi-su-hua-ce-2-yi-ming-290178","少数民族生活习俗画册-2","画面分作山居、水乡两幕，淡设色晕染出清润灵秀的边地烟岚。左岸负薪男子与盛装女子作别，苗家女子的衣纹银饰纤毫尽显，憨朴情态跃然纸上。右岸垂柳依依，撑舟艄公引着持伞客人，岸边二人持伞候渡，悠然漾开乡野烟火气。\n整幅工写兼具，笔致温婉恬淡，留白处题字衬出人文意韵。并未将边地风物猎奇化，只是平实地描摹族群日常晨昏，将送别候渡的细碎日常晕染成诗意乡景，把边地质朴鲜活的生活情态凝于纸间，藏着独有的纪实温情。",[23,24,519,28,7,83,29,175,1028,927,14875,36032,284],"少数民族生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe02d2aeec83aabc24d35a664957e9bdd.jpg",[],{"id":36036,"slug":36037,"title":12112,"dynasty":228,"author":191,"museum":134,"description":17741,"tags":36038,"thumbUrl":36039,"material":100,"size":1398,"collection":220,"collections":36040,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":49},290137,"lu-yan-tu-yi-ming-290137",[137,24,212,7,28,178,2707,492,2708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1ac17d1694dd9db326460d303213a3.jpg",[],{"id":36042,"slug":36043,"title":15768,"dynasty":18,"author":1140,"museum":245,"description":15769,"tags":36044,"thumbUrl":36047,"material":1397,"size":1398,"collection":220,"collections":36048,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":145},289787,"bing-zhu-ye-you-tu-ma-lin-289787",[914,24,137,7,28,81,84,34,199,36045,92,36046,173],"夜色","夜游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5652c5aec70fdd55a6d5531ea6cbd2c8.jpg",[],{"id":36050,"slug":36051,"title":36052,"dynasty":18,"author":1275,"museum":245,"description":28391,"tags":36053,"thumbUrl":36054,"material":1397,"size":1398,"collection":220,"collections":36055,"showCount":537,"zanCo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的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,26,855,7,29,4077,31,88,34,91,178,85,5386,6076,11398,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纵39.3cm 横198.4cm",[],{"id":36358,"slug":36359,"title":36360,"dynasty":150,"author":36361,"museum":245,"description":36362,"tags":36363,"thumbUrl":36365,"material":599,"size":220,"collection":220,"collections":36366,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":49},234184,"lin-yong-tu-xiang-di-er-juan-yin-zhen-234184","临雍图像第二卷","胤禛","清世宗爱新觉罗·胤禛（1678年12月13日 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、“朝乾夕惕”。\n雍正帝的一系列社会改革对于康乾盛世的连续具有关键性作用。雍正十三年（1735年）农历八月二十三日驾崩，终年58岁。庙号世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之泰陵，传位于第四子弘历。",[23,24,25,26,28,7,83,84,34,92,36364,1247,11202,251],"古代建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76703745414aaf3c5171983bea62096c.jpg",[],{"id":36368,"slug":36369,"title":36370,"dynasty":76,"author":5061,"museum":20,"description":36371,"tags":36372,"thumbUrl":36373,"material":424,"size":36374,"collection":220,"collections":36375,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":145},234134,"wen-zheng-ming-cang-xi-tu-juan-wen-zheng-ming-234134","文徵明沧溪图卷","文徵明《沧溪图卷\u002F沧谿图卷》，75岁为宜兴吴俦作（嘉靖二十三年），绢本设色，尺寸31.7厘米×139.8厘米，故宫博物院藏。王文治书法题跋：文衡山沧谿图并记。\n《沧谿记》；嘉靖二十三年（1544年），岁在甲辰二月既望前，翰林待诏将仕佐郎兼修国史，长洲文徵明书。",[23,24,25,26,28,7,172,285,284,29,176,85,86,211,34,35,3084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0dda54a1515fc400167e23cfd822052.jpg","31.7×139.8厘米",[],{"id":36377,"slug":36378,"title":3670,"dynasty":150,"author":447,"museum":8937,"description":36379,"tags":36380,"thumbUrl":36381,"material":235,"size":36382,"collection":220,"collections":36383,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":145},233944,"hua-niao-ce-hua-yan-233944","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等，老年自喻飘篷者，福建上杭蛟洋华佳(家)人(原白砂里人)，后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称三绝，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年(1703)华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上高山云鹤、水国浮牛、青松悬崖和倚马题诗四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，得交当路巨公，名闻于上，但并不得意，据戴熙《习苦斋画絮》载:华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鳝、郑板桥及盐商巨子马曰管、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[137,24,28,212,178,655,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278310beb50feb1c1543485ef6eba788.jpg","31.2×44.7厘米",[],{"id":36385,"slug":36386,"title":36387,"dynasty":76,"author":77,"museum":20,"description":1213,"tags":36388,"thumbUrl":36389,"material":40,"size":14867,"collection":220,"collections":36390,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":145},233763,"ren-wu-gu-shi-ce-10-chou-ying-233763","人物故事册10",[137,24,25,4185,7,28,29,83,34,211,31,176,11407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc532d574111f7457513fb93f908a5be.jpg",[],{"id":36392,"slug":36393,"title":36394,"dynasty":18,"author":191,"museum":20,"description":36395,"tags":36396,"thumbUrl":36399,"material":599,"size":36400,"collection":220,"collections":36401,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":49},233197,"xiao-ting-xi-ying-tu-ye-yi-ming-233197","小庭戏婴图页","童年，是每个人必然的经历。儿时玩乐点滴，更是许多人依旧难忘的回忆。“婴戏图”是以儿时玩乐情景为题材的中国绘画类型，为一项自宋代开始流行的重要画题。孩童形象早见于秦汉以前的工艺艺术，以绘画呈现的例子也可追溯到六朝，唐代逐渐出现在单一画面中以孩童玩耍情景为主的表现，发展至宋元以后，成果斐然。",[137,24,25,519,7,28,83,36397,313,314,36398,158],"婴童","庭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060276d9cf4de298334a3beda4f2d371.jpg","69x73cm",[],{"id":36403,"slug":36404,"title":36405,"dynasty":18,"author":191,"museum":20,"description":36406,"tags":36407,"thumbUrl":36408,"material":67,"size":36409,"collection":220,"collections":36410,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":49},233020,"wan-shan-hua-ce-zhang-mao-shuang-yuan-yang-ye-yi-ming-233020","纨扇画册-张茂双鸳鸯页","画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二只，它们的顾盼关系使得上半部画面更加充实生动。\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。",[137,24,25,914,519,7,28,212,1435,2708,5053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c1f19dd445227b06136999af12f821.jpg","纵24.4cm，横18.3cm",[],{"id":36412,"slug":36413,"title":36414,"dynasty":18,"author":191,"museum":20,"description":36415,"tags":36416,"thumbUrl":36417,"material":40,"size":36418,"collection":220,"collections":36419,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":49},233005,"ji-ling-he-ye-tu-ye-yi-ming-233005","鹡鸰荷叶图页","图中荷塘里枯枝断茎，一片残败的荷叶向上斜出，翻卷的叶面，满布虫蚀的痕迹，一只鹡鸰停驻其上，双爪紧握荷茎，扭颈俯视，神情专注，为萧瑟的深秋平添了几许生气。鸟羽刻画细腻，先用色渲染，然后以极细之笔勾出，笔法生动秀逸。构图疏密有致，动静结合。",[24,25,212,519,7,855,28,178,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c23f1fd4e2835e55c1e6774b7eac60.jpg","纵26厘米，横26.5厘米。",[],{"id":36421,"slug":36422,"title":36423,"dynasty":18,"author":191,"museum":20,"description":36424,"tags":36425,"thumbUrl":36426,"material":67,"size":36427,"collection":220,"collections":36428,"showCount":537,"zanCount":1769,"manualWeight":48,"mainColor":49},233003,"xiu-yu-ming-chun-tu-ye-yi-ming-233003","绣羽鸣春图页","图中画一只美丽的山鸟，单足立于太湖石上，神情凄楚，啼鸣不止，右爪不安地刨动。细观乃知其被一细绳系于石上，失去自由。作者用心至为深婉。宋欧阳修有句云：“始知锁向金笼听，不及林间自在啼”，亦即此意。\n太湖石的皴染较为粗疏，与小鸟翎毛之精细形成对比，主次分明。周围不设衬景，更显鸟之孤独。禽类本无表情，画家借鉴人类眼睛的画法表现其心理，堪称妙笔。",[137,24,25,4185,7,855,28,212,178,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d0c9f127df677be284b99a0e58c917.jpg","纵25.7cm，横24.1cm",[],{"id":36430,"slug":36431,"title":36432,"dynasty":228,"author":23587,"museum":245,"description":36433,"tags":36434,"thumbUrl":36438,"material":6612,"size":36439,"collection":220,"collections":36440,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":145},232637,"mo-lou-shu-can-zhi-tu-cheng-qi-232637","摹楼璹蚕织图","《耕织图》是中国古代为劝课农桑，采用绘图的形式详实记录耕作与蚕织的系列图谱，原为南宋绍兴年间画家楼璹所作，作品得到了历代帝王的推崇和嘉许。此内整理：传元程棨摹楼璹绘本、清康熙三十五年焦秉贞绘、内府刊本（两种）、清雍正时期陈枚彩绘本、清代彩绘本及和刻本，共九种版本。\n南宋绍兴年间于潜县令楼璹绘制的《耕织图》呈献给宋高宗，深得高宗赞赏并获得吴皇后题词。皇上还专门召见他，并将其《耕织图》宣示后宫，一时朝野传诵，从而引发了“耕织图”发展的第一次高潮。社会上接连不断地出现了许多《耕织图》，形成了中国绘画史、科技史、农业史、艺术史中一个独特的现象，成就了中国文化遗产的一大瑰宝。《耕织图》历经近千年流传到世界各地。\n楼璹的《耕织图》又是一卷诗画相配的文学艺术作品，有人将他的诗与南宋诗人范成大的作品相比较，充满田园气息，也有人评价他的作品的内容更像是以农业为主题的农学著作，有人将它与《天工开物》、《农政全书》相媲美。说是一部有韵的农书。\n《耕织图》描绘细致入微又富有艺术感染力，有赖于楼璹对农业生产的长期观察体验和高超的艺术造诣。他在任县令时，跑遍於潜县治十二乡之周边的南门畈、横山畈、方元畈、祈祥畈、对石畈、竹亭畈、敖干畈等大畈，深入田头地角，出入农家，与当地有经验技术的农夫蚕妇研讨种田、植桑、织帛等经验技术得失。尤其难得的是，它在画面上留下的从事农业生产的图像，为研究农业特别是农具留下了无法从文字资料中得到的珍贵资料。例如《灌溉》《一耘》图，绘出了当时使用戽斗、桔槔和龙骨车抽水灌田的情景。从《收割》图中看到的是一幅紧张的割稻场面。《织》和《攀花》等图绘出了当时已经使用的素织机和花织机，使人们能够更形象地了解当时蚕桑及纺织的发展面貌。其中记载的许多耕织知识和生产工具一直沿用至今。\n该图为康熙年间，江南士人进呈南宋楼璹《耕织图诗》，康熙命内廷供奉焦秉贞重绘而成。康熙亲自题序，并为每幅图“制诗一章，以吟咏其勤苦而书之于图”。时著名木刻家朱圭、梅裕凤奉旨镌版印制。本次编辑将楼诗原文、康熙行草释文用简体文字附于图页，方便读者阅读。《御制耕织图》含23幅耕种图和23幅纺织图，每幅图都配有一首诗。这些诗是由康熙皇帝所作。清宫廷画家焦秉贞创作的这些画很大部分是根据南宋楼璹的《耕织图》来创作的，创作时做了调整。",[23,137,24,26,28,7,83,11649,36435,5081,284,36436,36437],"蚕织","农桑","传统技艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc381aebd2353ed49054ea70b9ec3a5.jpg","32.7X1049",[],{"id":36442,"slug":36443,"title":36444,"dynasty":190,"author":18077,"museum":245,"description":18078,"tags":36445,"thumbUrl":36446,"material":1397,"size":1398,"collection":220,"collections":36447,"showCount":537,"zanCount":48,"manualWeight":48,"mainColor":145},231745,"jian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细审人物之开脸，及庭石之苔点画法，颇近于明代中期之后的风格。台北故宫博物院藏另有《元人秋景戏婴》、《元人画冬景戏婴图》二轴，尺寸、画法与此作相似，或许当初系属同一组“春夏秋冬“之四季挂屏，惜今《春景戏婴图》已佚，故难以复原全豹矣。",[24,155,28,83,7,6142,1744,92,2533,214,1028,2614,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a1f2e121a757abedcbc787b6b66408.jpg",[],{"id":36969,"slug":36970,"title":36971,"dynasty":150,"author":1356,"museum":245,"description":27124,"tags":36972,"thumbUrl":36974,"material":1397,"size":1398,"collection":220,"collections":36975,"showCount":587,"zanCount":1769,"manualWeight":48,"mainColor":145},290559,"yu-jing-zhou-xu-yang-290559","雨景轴",[24,25,137,155,855,28,29,83,85,86,84,34,211,36973,173,7],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a2b57a8a61a33a6e3b8f169374c0f.jpg",[],{"id":36977,"slug":36978,"title":4093,"dynasty":228,"author":191,"museum":245,"description":29057,"tags":36979,"thumbUrl":36980,"material":1397,"size":1398,"collection":220,"collections":36981,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},290320,"sui-chao-tu-zhou-yi-ming-290320",[137,24,155,28,7,83,84,29,286,178,97,18337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576a2e63e63124f7c0eced854dfc1b0c.jpg",[],{"id":36983,"slug":36984,"title":12112,"dynasty":228,"author":191,"museum":134,"description":17741,"tags":36985,"thumbUrl":36986,"material":100,"size":1398,"collection":220,"collections":36987,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},290133,"lu-yan-tu-yi-ming-290133",[24,212,7,28,178,2707,868,492,15616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cdf5d6601db8fff05edc3219b94003.jpg",[],{"id":36989,"slug":36990,"title":21879,"dynasty":18,"author":2693,"museum":245,"description":15624,"tags":36991,"thumbUrl":36993,"material":1397,"size":1398,"collection":220,"collections":36994,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},289375,"sha-zhu-fu-chu-tu-cui-bai-289375",[137,24,25,1996,28,7,36992,5210,3084],"凫雏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec80acdcc9292f6a5512eab894119fa6.jpg",[],{"id":36996,"slug":36997,"title":36998,"dynasty":132,"author":1025,"museum":245,"description":36999,"tags":37000,"thumbUrl":37001,"material":1397,"size":1398,"collection":220,"collections":37002,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},288986,"ma-tu-zhen-ji-zhao-nie-288986","马图真迹","赵喦（五代史作赵岩），五代·后梁画家，名霖，后改本名，字秋巘，陈州（今河南淮阳）人，生卒年不详。太祖朱晃朝（907-912）驸马都尉。末帝朱瑱朝（913-923）为户部尚书租庸使，与张汉杰、汉伦等居中用事。善绘事，精鉴赏，富收藏。",[137,24,25,83,112,7,28,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842b63ffb068612fae2d2f30f28acb95.jpg",[],{"id":37004,"slug":37005,"title":37006,"dynasty":18,"author":191,"museum":245,"description":37007,"tags":37008,"thumbUrl":37009,"material":1397,"size":1398,"collection":220,"collections":37010,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},288959,"mo-wang-qi-han-huai-yin-xiao-xia-tu-yi-ming-288959","摹王齐翰槐荫消夏图","此作图绘槐荫下消夏闲景，高士袒胸斜卧榻上，双目轻阖，将溽暑中松弛酣然的情态刻画入微。榻边小案陈置香炉书卷，衬出主人林下雅致，槐荫如盖，清荫笼住一方清凉，隔绝夏意燥热。\n笔线秀润细劲，设色浅淡明净，衣纹柔婉流转，与家具方硬挺括形成鲜明对照，晕染细腻，将肌肤肌理与织物薄软质感尽皆铺陈。画面清寂悠然，把宋人尚雅的闲居意趣融于尺幅，尽显幽居纳凉的松弛雅韵，藏着旧时文人最熨帖的夏日闲情。",[23,137,24,25,519,28,83,7,82,34138,3023,4005,173,284,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7001083d3da7618380d5002c193cc8c.jpg",[],{"id":37012,"slug":37013,"title":36059,"dynasty":18,"author":191,"museum":245,"description":37014,"tags":37015,"thumbUrl":37016,"material":1397,"size":1398,"collection":220,"collections":37017,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},288955,"zhu-shu-xun-que-tu-yi-ming-288955","这幅小品以枯棘新竹铺陈画面，三只麻雀错落栖于枝桠之上。翎毛发纤毫毕现，写实工细，三只雀鸟神态各异：一雀垂首啄探，另两只相向对觑，似在软语，将林间闲趣定格于团扇方寸。\n设色浅淡柔和，笔墨清隽，枯棘萧疏与新竹清翠相映，把林野间驯雀安然自在的日常定格。整体意境静谧闲雅，尽显工笔花鸟的精妙造诣，于尺幅之间勾勒出悠然平和的生机，藏着雅致的审美意趣。",[137,24,914,7,212,156,3035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f97806316334d459f0956cbb90e5.jpg",[],{"id":37019,"slug":37020,"title":10293,"dynasty":18,"author":1140,"museum":245,"description":37021,"tags":37022,"thumbUrl":37024,"material":1397,"size":1398,"collection":220,"collections":37025,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},288934,"ju-lv-tu-ma-lin-288934","图中橘子由绿转黄，满压枝头。画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。",[23,137,24,914,212,7,28,37023,453],"橘子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0861fe18338083efba374bf9ba825a1.jpg",[],{"id":37027,"slug":37028,"title":36599,"dynasty":18,"author":191,"museum":245,"description":37029,"tags":37030,"thumbUrl":37031,"material":1397,"size":1398,"collection":220,"collections":37032,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},288728,"hong-mei-kong-que-tu-yi-ming-288728","水岸一隅，苍松虬曲古雅，红梅初绽带霜，竹影清疏横斜。两只孔雀动静相宜，一栖于松干缓理彩羽，翎毛细纹纤毫毕现；一信步汀洲，姿态闲雅悠然。\n\n全作用色沉稳清雅，花木禽鸟皆以精工写就，晕染细腻写实，又兼具文人写意的幽远意境。画面疏密得当，枯润有致，将院体工笔的精致与林下野趣相融。静穆景致藏着盎然生机，于尺幅之间铺展出雅致隽永的审美意趣，尽显花鸟写生的精妙造诣。",[23,24,137,25,212,7,28,637,1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宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[24,155,28,7,83,1499,34467,2095,21307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c69027a54cf9096db5d59807fb662c8.jpg",[],{"id":37060,"slug":37061,"title":37062,"dynasty":150,"author":191,"museum":245,"description":22124,"tags":37063,"thumbUrl":37068,"material":1397,"size":1398,"collection":220,"collections":37069,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":1833},268807,"pin-yue-se-duan-xiu-cai-yun-fu-zhe-zhi-hua-yin-tai-ping-you-xiang-wen-nan-mang-yi-ming-268807","品月色缎绣彩云蝠折枝花银太平有象纹男蟒",[37064,63,65,14415,7,28,8175,37065,409,37066,37067],"蟒袍","蝙蝠","彩云","太平有象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f176cb981793a0e98a5f7823c9a318.jpg",[],{"id":37071,"slug":37072,"title":37073,"dynasty":150,"author":191,"museum":245,"description":22124,"tags":37074,"thumbUrl":37075,"material":1397,"size":1398,"collection":220,"collections":37076,"showCount":587,"zanCount":1769,"manualWeight":48,"mainColor":697},264368,"jiang-se-duan-xiu-qian-cai-feng-chuan-mu-dan-wen-pao-liao-yi-ming-264368","绛色缎绣浅彩凤穿牡丹纹袍料",[65,63,14415,316,298,212,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F466fdc53402f29c4378f1f13fa7b140f.jpg",[],{"id":37078,"slug":37079,"title":37080,"dynasty":150,"author":191,"museum":245,"description":37081,"tags":37082,"thumbUrl":37083,"material":1397,"size":1398,"collection":220,"collections":37084,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":1833},260771,"tan-zhai-kuan-fen-cai-shi-nv-tu-bei-yi-ming-260771","坦斋款粉彩仕女图杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[8885,139,33937,470,178,2602,28,248,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45964cb0c9b66328af192c11b53b9c3.jpg",[],{"id":37086,"slug":37087,"title":37088,"dynasty":76,"author":191,"museum":245,"description":37089,"tags":37090,"thumbUrl":37091,"material":220,"size":220,"collection":220,"collections":37092,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},239529,"wen-jia-shan-shui-tu-juan-yi-ming-239529","文嘉山水图卷","此作用浅绛淡色晕染江南丘壑，以披麻皴写山石肌理，笔致清隽秀雅。长卷铺展平远山水，峰峦缓叠，林麓葱郁，溪谷间云气漫漶，将山居村舍、林塔梵宇轻轻托在烟岚之间。咫尺卷内藏万千丘壑，时而见飞泉漱石，时而见幽居临流，处处皆是文雅意趣。\n\n引首篆书古雅端凝，尾跋笔意萧散，书画相映，尽显文人卧游林泉的隐逸襟怀。整体气息淡和清远，将江南山水的温润灵秀，与文人寄情丘园的闲逸，揉作一卷可游可居的幽境，观之如入桃源尘外。",[23,24,25,26,28,29,172,7,284,834,285,173,34,211,37,91,769,85,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719d03c4d265eba22cd51a1d7c1095f8.jpg",[],{"id":37094,"slug":37095,"title":37096,"dynasty":150,"author":37097,"museum":245,"description":37098,"tags":37099,"thumbUrl":37100,"material":1397,"size":1398,"collection":220,"collections":37101,"showCount":587,"zanCount":1769,"manualWeight":48,"mainColor":145},239071,"mu-dan-wan-shan-wang-cheng-feng-239071","牡丹纨扇","王承枫","王承枫，字陛臣，号丹麓。咸丰、同治时官河南内黄知县。善分隶，工山水。同治元年（一八六二）有临各家设色山水册。 《清画家诗史》、《清朝书画家笔录》、《瓯钵罗室书画过目考》、《墨林今话》",[24,25,914,212,28,298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053ba9b9e3fa308ac4dfd1796cd84e09.jpg",[],{"id":37103,"slug":37104,"title":13307,"dynasty":76,"author":191,"museum":245,"description":37105,"tags":37106,"thumbUrl":37107,"material":1397,"size":1398,"collection":220,"collections":37108,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},238576,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238576","此作为工笔重彩道释画，场面恢宏整饬。祥云舒卷间，诸天众神分列排布，主尊安坐祥云，神色肃穆端庄，扈从神兵甲胄鲜明、威仪赫赫，仙官礼拜恭谨，尽显仪典庄重。\n\n设色浓妍明丽，石青、石朱晕染出层叠云气与幡幢仪仗，色彩层次饱满和谐。衣纹线条劲挺流畅，勾勒出神祇身姿的庄严与灵动，甲胄飘带的细节刻画入微，分毫毕现。整体铺陈出雍容神圣的仙界仪制氛围，尽显道释工笔画精湛的表现力，兼具装饰美感与叙事性，将仙班仪仗的威严气象烘托尽致。",[24,25,519,28,7,83,341,29,34,112,2183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2522c56cdcfef6871ca555f42793908f.jpg",[],{"id":37110,"slug":37111,"title":9698,"dynasty":150,"author":15541,"museum":245,"description":33887,"tags":37112,"thumbUrl":37113,"material":1397,"size":1398,"collection":220,"collections":37114,"showCount":587,"zanCount":1769,"manualWeight":48,"mainColor":145},238486,"hua-hui-tu-ce-jiang-pu-238486",[24,25,519,7,28,212,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b2e7601a5af594d2eb0210bf836a6e5.jpg",[],{"id":37116,"slug":37117,"title":9698,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":37118,"thumbUrl":37119,"material":1397,"size":1398,"collection":220,"collections":37120,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},238480,"hua-hui-tu-ce-jiang-ting-xi-238480",[24,25,519,7,28,173,212,62,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c8ff5cbb7ad38a712731e8f529cc15.jpg",[],{"id":37122,"slug":37123,"title":9698,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":37124,"thumbUrl":37125,"material":1397,"size":1398,"collection":220,"collections":37126,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},238475,"hua-hui-tu-ce-jiang-ting-xi-238475",[24,25,519,28,7,822,212,173,411,409,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f196078632a4bc4585ee6ddf8532651.jpg",[],{"id":37128,"slug":37129,"title":9698,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":37130,"thumbUrl":37131,"material":1397,"size":1398,"collection":220,"collections":37132,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},238473,"hua-hui-tu-ce-jiang-ting-xi-238473",[24,25,519,28,7,212,156,174,409,299,411,284,173,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38836dc76ab513b9c10859da15da0005.jpg",[],{"id":37134,"slug":37135,"title":37136,"dynasty":150,"author":516,"museum":245,"description":5851,"tags":37137,"thumbUrl":37138,"material":1397,"size":1398,"collection":220,"collections":37139,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},238355,"hua-hui-xiao-ce-dong-gao-238355","花卉小册",[24,25,519,28,7,212,409,62,612,597,173,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e347ed0d63a8fbe5f3317408121a67c.jpg",[],{"id":37141,"slug":37142,"title":5850,"dynasty":150,"author":516,"museum":245,"description":5851,"tags":37143,"thumbUrl":37144,"material":1397,"size":1398,"collection":220,"collections":37145,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},238350,"hua-hui-ce-dong-gao-238350",[137,24,25,519,28,7,212,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1c5eff8134c1fb58aea2e183b152b5.jpg",[],{"id":37147,"slug":37148,"title":9419,"dynasty":150,"author":5188,"museum":20,"description":9420,"tags":37149,"thumbUrl":37150,"material":9423,"size":9424,"collection":220,"collections":37151,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},238292,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238292",[137,24,25,519,7,28,83,59,470,344,138,2133,409,557,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb39c6b93343df97dee8c1f459ef89645.jpg",[],{"id":37153,"slug":37154,"title":37155,"dynasty":150,"author":37156,"museum":245,"description":37157,"tags":37158,"thumbUrl":37160,"material":220,"size":220,"collection":220,"collections":37161,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},238277,"hua-qia-xuan-yuan-tu-ce-huang-yue-238277","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[24,25,519,28,7,212,556,37159,596,597],"板栗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec5d2125b3f66079c8dc44268369a57.jpg",[],{"id":37163,"slug":37164,"title":37165,"dynasty":150,"author":9831,"museum":245,"description":37166,"tags":37167,"thumbUrl":37168,"material":220,"size":220,"collection":220,"collections":37169,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},238255,"zhu-an-tu-juan-zhang-ruo-ai-238255","竹鹌图卷","此作为水墨淡绘手卷，以坡岸幽竹铺陈清寂林皋之景。数只鹌鹑错落其间，或伫立坡头侧目远眺，或俯身啄饮，或于竹下理羽小憩，姿态灵动各异，野趣横生。\n作者以细劲清润的线条勾勒竹枝，竿挺叶疏，笔墨秀雅，淡墨晕染坡石草卉，层次柔和自然，将林泉间安闲静谧的氛围烘托尽致。整卷写实不失空灵，以极简的水墨语言勾勒出林下小景的幽谧生机，尽显文人画雅致平和的意趣，将郊野一隅的闲静氛围娓娓铺展开来。",[23,24,25,26,855,7,212,156,5649,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf659e2e91b3e9ae74f2197bf60b2bc0.jpg",[],{"id":37171,"slug":37172,"title":37173,"dynasty":150,"author":1356,"museum":245,"description":37174,"tags":37175,"thumbUrl":37179,"material":220,"size":220,"collection":220,"collections":37180,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},238215,"duan-yang-gu-shi-ce-zhi-xi-cai-si-xu-yang-238215","端阳故事册之系彩丝","青树环拥的雅致小院里，圆月窗恰似一方天然画框，框住了端阳时分的脉脉温情。长者正凝神为孩童臂间系上彩丝，衣袂褶皱轻缓舒展，案头粽果陈置妥帖，笔触细腻熨帖，将日常亲昵揉入节俗意趣。\n\n浅淡的设色晕染出初夏江南的温润，没有喧嚷，只余下静谧的亲昵，把驱邪纳福的古俗，化作寻常烟火里的温柔定格。整幅画以恬淡笔调铺陈，将旧时光里的端午暖意晕开，清雅柔润的笔触复刻出古人节俗里的细腻温情，淡而不寡，静中含暖，藏着中式传统里独有的含蓄浪漫。",[24,25,519,28,7,83,91,34,705,92,37176,4187,37177,37178],"圆形门","彩丝","传统节日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe199907d720d98cd1598507dc1929ae9.jpg",[],{"id":37182,"slug":37183,"title":37184,"dynasty":76,"author":191,"museum":245,"description":37185,"tags":37186,"thumbUrl":37187,"material":1397,"size":1398,"collection":220,"collections":37188,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},237790,"wen-chu-ying-su-jia-die-tu-shan-yi-ming-237790","文俶罂粟蛱蝶图扇","此作用笔简淡清灵，虚实相映。罂粟以墨晕染，花瓣柔润朦胧，残苞低垂自带幽惋之态，配苍劲草叶，刚柔相衬。右侧淡彩蛱蝶轻舞，翅脉纤细如生，似携晚风翩然而至，将初夏郊野的闲寂意趣藏于扇间。\n墨色干湿浓淡层次分明，设色清妍不艳，书画合璧，暗合小品雅致风骨，以寥寥笔墨铺陈出林下悠然的澹泊情怀，尽显文人寄情于物的幽远意韵。",[24,914,212,3925,2268,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85af0321d960f58cef98b156cb55039.jpg",[],{"id":37190,"slug":37191,"title":15647,"dynasty":76,"author":819,"museum":245,"description":15648,"tags":37192,"thumbUrl":37193,"material":220,"size":220,"collection":220,"collections":37194,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},237701,"shan-shui-hua-guo-ce-xiang-sheng-mo-237701",[24,25,137,519,28,212,823,453,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a94074dcbcc49dab41206daeb716c85.jpg",[],{"id":37196,"slug":37197,"title":37198,"dynasty":150,"author":191,"museum":245,"description":37199,"tags":37200,"thumbUrl":37201,"material":1397,"size":1398,"collection":44,"collections":37202,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},237251,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237251","名臣故事邓旭题颂册","右侧绘仪卫出行，人马错落排布，旗幡猎猎翻卷。武将着彩袍安坐鞍上，随行军士簇拥，仪仗鲜明严整，设色调和古雅，生动铺陈出戎阵煊赫声势，写实中带着装饰意趣。左侧行书题颂笔力苍劲俊逸，笔势辗转跌宕，诗文与绘作呼应，咏叹将帅戍边拓疆的功勋。\n整幅以书画合璧，绘事工写兼具，笔墨题咏相映，既以细腻笔触还原武臣仪仗的肃穆威严，又借题文寄寓褒扬之意，将纪事纪实与文人抒怀融于一处，尽显此类小品书画的雅致意蕴。",[24,25,519,28,7,83,112,2782,284,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a3555d2ff0172d17e1a4b781e26e22.jpg",[44,45],{"id":37204,"slug":37205,"title":10337,"dynasty":150,"author":1518,"museum":20,"description":10338,"tags":37206,"thumbUrl":37207,"material":599,"size":220,"collection":220,"collections":37208,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},237173,"hua-niao-kun-chong-ce-zhou-quan-237173",[24,28,7,519,212,452,248,250,409,10403,4242,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b915bd9e6b1e382e63b7c2f445a81be.jpg",[],{"id":37210,"slug":37211,"title":37212,"dynasty":76,"author":37213,"museum":245,"description":37214,"tags":37215,"thumbUrl":37216,"material":1397,"size":1398,"collection":220,"collections":37217,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},236693,"zhi-ji-mei-hua-shan-zhang-cui-236693","雉鸡梅花扇","张萃","此作为金笺扇面，工写兼施。虬曲梅干苍劲老辣，苔点皴染尽显风霜古意，淡色晕染梅花，瓣色清透柔丽，枝桠舒展暗合章法。坡石下雉鸡身形半掩花丛，翎羽晕染细腻，姿态安然灵动，自带野逸之趣。\n\n左上角题款笔墨清雅秀润，朱红印信点缀留白，令画面虚实相生更显和谐。整体画风明秀隽雅，兼具文人写意的疏淡意韵与院体写生的细腻工致，将春日梅间幽寂生机尽显于尺幅扇面之中。",[24,914,855,7,7348,637,653,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c53a858b847f01a0496b129b30c09f0.jpg",[],{"id":37219,"slug":37220,"title":25343,"dynasty":150,"author":16810,"museum":245,"description":16811,"tags":37221,"thumbUrl":37222,"material":1397,"size":1398,"collection":220,"collections":37223,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},236677,"hua-niao-shan-wang-li-236677",[24,137,914,7,28,212,299,62,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d27386983f34565f87342d17586b338.jpg",[],{"id":37225,"slug":37226,"title":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画家，长谷川画派的创始人。\n他被认为是安土桃山时代（1573-1603 年）的伟大画家之一，最著名的是他的屏风",[23,24,25,215,28,7,112,83,313,1926,705,196,37384],"牧马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ae7c460b8c7fa4288de97a20837dfb.jpg",[],{"id":37388,"slug":37389,"title":37390,"dynasty":190,"author":37391,"museum":245,"description":37392,"tags":37393,"thumbUrl":37394,"material":1397,"size":1398,"collection":220,"collections":37395,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},231742,"an-tu-tao-shan-shi-dai-hua-xia-you-le-tu-ping-feng-di-er-ping-shou-ye-zhang-xin-231742","安土桃山时代 花下游乐图屏风-第二屏","狩野长信","狩野長信（KanōNaganobu）是狩野派的日本畫家。狩野長信是狩野派狩野狩野的最小的兄弟。長信為京都的朝廷（包括御所）完成了許多委託，並創辦了自己的狩野派。在德川幕府統一控制該國並在那裡建立政府時，他是首位從京都移居江戶的主要畫師。",[23,137,24,25,155,28,7,172,212,211,156,62,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31dcbd30fdf392e7be2c5ed69db9ae9a.jpg",[],{"id":37397,"slug":37398,"title":37399,"dynasty":190,"author":191,"museum":245,"description":37400,"tags":37401,"thumbUrl":37402,"material":1397,"size":1398,"collection":220,"collections":37403,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},231708,"lian-cang-shi-dai-yin-fan-tang-yao-shi-yuan-qi-hua-juan-yi-ming-231708","镰仓时代 因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[23,24,25,26,28,7,81,83,84,112,29,34,35,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":37405,"slug":37406,"title":37407,"dynasty":190,"author":191,"museum":245,"description":37408,"tags":37409,"thumbUrl":37410,"material":220,"size":220,"collection":220,"collections":37411,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},231650,"mu-gui-tu-li-zhou-yi-ming-231650","牧归图立轴","这幅《归牧图》刻画细致生动，人、牛形神毕具",[23,24,25,137,155,28,7,172,113,83,1028,29,159,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63ecd8f1f45323c17e46719497b70e4.jpg",[],{"id":37413,"slug":37414,"title":37415,"dynasty":190,"author":37416,"museum":245,"description":37417,"tags":37418,"thumbUrl":37419,"material":1397,"size":1398,"collection":220,"collections":37420,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},231607,"ju-zhen-hua-pu-shang-zhong-xia-ce-zhong-shou-ye-tan-you-231607","聚珍画谱.上中下册（中）","狩野探幽","狩野探幽（1602～1674），京都人，原名守信，狩野永德之孙，孝信长子，狩野派代表画家。",[24,25,212,28,519,409,493,411,410,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3f10043cd6901a649d6153921c292.jpg",[],{"id":37422,"slug":37423,"title":37424,"dynasty":18,"author":1151,"museum":134,"description":37425,"tags":37426,"thumbUrl":37427,"material":37428,"size":13225,"collection":220,"collections":37429,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},231410,"luo-han-tu-er-liu-song-nian-231410","罗汉图（二）","台北故宫藏画中，有三幅刘松年画罗汉，每幅都款署开禧丁卯（1207）刘松年画，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了赏玩，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。刘松年的这幅《罗汉图》(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[24,25,155,706,7,28,194,83,215,198,5260,15715,344,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画",[],{"id":37431,"slug":37432,"title":37433,"dynasty":18,"author":5686,"museum":245,"description":37434,"tags":37435,"thumbUrl":37436,"material":1397,"size":1398,"collection":220,"collections":37437,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},231042,"pi-pa-yuan-xi-tu-yi-yuan-ji-231042","枇杷猿戏图","该画描述了一株枇杷树，干身扭曲，从石後横斜出了画面，又一枝干自上方角落窜进画中，这样的干身，笔墨虽不相连，意却相牵，但觉画外有画，这是作者在构思这幅画作时，别出心裁之处。",[24,137,25,1424,7,28,155,11949,7318,34,211,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b53e0257dfb4e9133f98235b397650b.jpg",[],{"id":37439,"slug":37440,"title":37441,"dynasty":150,"author":37442,"museum":245,"description":37443,"tags":37444,"thumbUrl":37445,"material":220,"size":220,"collection":220,"collections":37446,"showCount":587,"zanCount":1769,"manualWeight":48,"mainColor":49},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,24,25,155,855,28,7,172,29,14059,35,34,211,85,86,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":37448,"slug":37449,"title":37450,"dynasty":150,"author":5382,"museum":245,"description":37451,"tags":37452,"thumbUrl":37453,"material":220,"size":220,"collection":220,"collections":37454,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},230851,"lu-cun-gao-yi-tu-wang-hui-230851","麓村高逸图","画面以平远之法铺展幽居盛景，近处方林下，高士安坐，侍童静立旁侧，溪桥丹顶鹤独立顾盼。芭蕉修竹环合掩映，屋舍隐于烟林，远景以淡墨晕染，水雾空濛，将江南丘壑的温润清寂尽数铺陈。\n画作兼工带写，设色浅雅柔润，笔致秀逸灵和，把林下高逸散淡的襟怀融在咫尺山水间，环周题跋与画意呼应，书画合璧，尽显文人雅流出世的襟抱，悠悠林下风致扑面而来。",[23,24,28,29,83,2653,466,60,34,86,211,150,26,7,855,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb7e72fa79915f2446b59af3c56c8c6.jpg",[],{"id":37456,"slug":37457,"title":37458,"dynasty":132,"author":14684,"museum":245,"description":37459,"tags":37460,"thumbUrl":37461,"material":1397,"size":1398,"collection":220,"collections":37462,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},230844,"huo-lu-tu-juan-li-zan-hua-230844","获鹿图卷","耶律倍（899年—937年1月11日），又名耶律突欲，赐名李赞华，是辽太祖耶律阿保机的长子，辽太宗耶律德光的长兄，辽世宗耶律阮的父亲。\n自幼聪颖好学，深得耶律阿保机的喜爱和器重，916年被立为皇太子。926年，封为东丹国王、称“人皇王”。926年太祖病逝后，耶律德光继位为帝。天显三年（928年）东丹国南迁，升东平为南京。同时耶律德光对耶律倍施以控制和监视。930年耶律倍弃国投奔后唐。936年后唐发生政变，耶律倍遇害，葬显陵。\n947年，耶律德光去世。耶律倍长子耶律阮最终夺回了皇位，追谥耶律倍为让国皇帝，庙号义宗。",[23,137,24,25,26,28,7,83,112,582,285,24850,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c78c4635306e17df9bb76f00a59baf.jpg",[],{"id":37464,"slug":37465,"title":37466,"dynasty":190,"author":191,"museum":245,"description":37467,"tags":37468,"thumbUrl":37469,"material":1397,"size":1398,"collection":220,"collections":37470,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},230545,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-er-ping-yi-ming-230545","室町时代 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的沉迟形成动静对照。淡墨晕染的空寂背景，衬出林下荒疏的氛围，以极简物象烘托出清寂落寞的意韵，于细节处见精妙功力，尽显元代鞍马画重神韵、尚意境的特质。",[24,28,7,83,112,6315,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeff32c1fbb1a90bde90f1345e0e1efc.jpg",[],{"id":37534,"slug":37535,"title":5685,"dynasty":18,"author":191,"museum":245,"description":37536,"tags":37537,"thumbUrl":37538,"material":220,"size":220,"collection":220,"collections":37539,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},227899,"yuan-lu-tu-yi-ming-227899","此作上下分景，将灵趣与恬然相融。枝头灵猿身姿轻捷，毛发晕染细腻蓬松，长臂挂于虬枝，正侧目窥望下方，机警灵动之态跃然绢上。地面母鹿抬首回望，幼鹿依偎身侧，躯体线条温婉柔和，满是温驯安然。\n\n淡墨轻色晕染枝叶，舒展自然，岩石皴擦朴拙写实，衬出山林的清寂野趣。工细笔触兼顾写意格调，将猿的机敏与鹿的恬和彼此呼应，把空山一隅的悠然生机静静铺展，尽显对自然生灵的细腻体察与雅致审美。",[137,24,25,28,7,582,7318,1817,313,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e67f98101322a96090bdd8e26302696.jpg",[],{"id":37541,"slug":37542,"title":37543,"dynasty":18,"author":191,"museum":245,"description":37544,"tags":37545,"thumbUrl":37546,"material":220,"size":220,"collection":220,"collections":37547,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},227848,"gong-yuan-tu-ye-yi-ming-227848","宫苑图页","此作以青绿晕染山林，界画精工勾勒宫阙楼宇，将苑囿隐于蓊郁林泉之间。山石皴染苍润古朴，旧色晕开厚重雅致的古韵，林木错落掩映殿台飞檐，层层递进的构图铺展出幽深秘境。楼宇斗拱分毫毕现，尽显匠造规整，却融于空山翠色，消解了楼宇冷硬，凭添林泉雅意。它兼具山水画的悠远意境与界画的精工细致，静静铺展着千年前林泉宫阙的静谧古雅，将人工意趣悄然融于天然山水，尽显清和雅致的林苑意韵。",[23,137,24,25,81,7,28,29,84,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd24c709139ea37f1960e2d62944f11.jpg",[],{"id":37549,"slug":37550,"title":37551,"dynasty":18,"author":191,"museum":245,"description":37552,"tags":37553,"thumbUrl":37556,"material":1397,"size":1398,"collection":220,"collections":37557,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},227408,"tong-gu-ding-shuang-long-wen-jing-1-yi-ming-227408","铜古鼎双龙纹镜-1","实物为铜镜。纹样大体呈圆形适合式。双龙呈对称相向结构，姿态为昂首并翻腾飞舞。马首蛇躯鳞身，尾巴似鱼尾。飞动的鬣毛与“S”形的头颈结构，加强了动势并毕现了神态。前肢一爪屈起，双龙似在相互招呼。体周云气蒸腾、水波涌动，蛟龙与云水的紧密联系披图可见，同时也使整个纹饰充实、丰富而多彩。",[10174,18902,265,7,28,409,174,173,37554,10175,37555],"文字","铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6b1a6752a54092a5031165f5241e9c.jpg",[],{"id":37559,"slug":37560,"title":24838,"dynasty":18,"author":191,"museum":245,"description":37561,"tags":37562,"thumbUrl":37563,"material":220,"size":220,"collection":220,"collections":37564,"showCount":587,"zanCount":1769,"manualWeight":48,"mainColor":49},227358,"chun-you-wan-gui-tu-ye-yi-ming-227358","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,137,24,25,914,28,7,81,83,112,34,84,2463,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":37566,"slug":37567,"title":37568,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":37569,"thumbUrl":37571,"material":1397,"size":1398,"collection":220,"collections":37572,"showCount":587,"zanCount":1769,"manualWeight":48,"mainColor":49},226219,"ku-yong-dao-bei-pi-yi-ming-226219","窟甬道北披",[1053,5091,28,7,28303,37570,5793,5476,26407],"流苏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff344ef10397038f08a23621ef9b9f164.jpg",[],{"id":37574,"slug":37575,"title":12873,"dynasty":150,"author":6129,"museum":245,"description":37576,"tags":37577,"thumbUrl":37578,"material":220,"size":220,"collection":220,"collections":37579,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},224584,"shuang-ma-tu-yu-yuan-224584","此作用笔精细入微，两骏依偎伫立，霜色骏马在前，栗色良驹稍后，神态温驯雍容。鬃尾晕染丝缕分明，躯体肌理饱满写实，将骏马神骏却沉静的姿态刻画得淋漓尽致。画面右上题诗呼应画意，墨色雅致朴拙，与工稳的鞍马刻画相融，承继唐宋鞍马写实遗风，又融入文人意趣。敷色妍丽沉稳，古旧绢色更衬出画作静穆古雅的气质，整体简净清隽，状物精妙的同时兼具文墨情致，尽显良骏俊逸闲和之态。",[23,137,24,25,7,28,112,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf93d6b4b29bf71246809df96ec075a0.jpg",[],{"id":37581,"slug":37582,"title":37583,"dynasty":150,"author":447,"museum":245,"description":37584,"tags":37585,"thumbUrl":37586,"material":220,"size":220,"collection":220,"collections":37587,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,25,155,28,7,29,34,35,85,86,175,37,30,927,2653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":37589,"slug":37590,"title":37591,"dynasty":150,"author":447,"museum":245,"description":37592,"tags":37593,"thumbUrl":37594,"material":220,"size":220,"collection":220,"collections":37595,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,24,25,155,28,7,172,29,83,85,86,176,35,927,211,18158,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":37597,"slug":37598,"title":37599,"dynasty":150,"author":191,"museum":245,"description":37600,"tags":37601,"thumbUrl":37603,"material":220,"size":220,"collection":220,"collections":37604,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},223688,"li-tu-ye-yi-ming-223688","鲤图页","此作以工笔写鲤，细笔晕染鳞片刻画出硬挺莹润的质感，鱼鳍舒展灵动，双目圆睁有神，长须轻颤，将鲤鱼刚健灵动的身姿定格在破波欲跃的瞬间。淡墨轻勾水纹，线条柔婉清浅，不着浓色，仅以素雅晕染烘托池水静谧，一动一静相映成趣，把鲤穿波的鲜活生机尽显纸面。\n\n整幅画面清雅空灵，无冗余修饰，将对生灵的细致体察藏在笔触里，于留白间传递出含蓄的吉祥意趣，简淡中见精巧笔触，平淡中藏盎然生机，尽显传统花鸟小品的雅致意韵。",[23,137,24,25,519,7,28,557,37602],"鲤鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb693a3d05e3da75e3221a47a142fdca4.jpg",[],{"id":37606,"slug":37607,"title":37608,"dynasty":228,"author":191,"museum":245,"description":37609,"tags":37610,"thumbUrl":37611,"material":220,"size":220,"collection":220,"collections":37612,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},223626,"he-ting-dui-yi-tu-ye-yi-ming-223626","荷亭对弈图页","《荷亭对弈图页》是元代画家佚名创作的一幅绢本设色画，现收藏在故宫博物院。\n本幅无作者款识。\n收藏印钤“庞莱臣珍藏宋元真迹”、“项墨林父秘笈之印”二方。\n图中描绘 边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐，不知是弈后的疲惫小憩还是战前的养精蓄神；又有三 ，一执扇，一伏案，一取水，整幅意境悠闲雅淡 此画将青绿山水与界笔楼阁有机结合，是南宋院画楼阁小品的沿展，只是风格更加清新活泼。\n此页旧题签“赵伯骕荷亭对弈”，实为元人所作。",[23,137,24,25,519,28,81,7,83,84,176,157,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea73aea37bb0f5cf60b79d0bc39c0e2.jpg",[],{"id":37614,"slug":37615,"title":37616,"dynasty":18,"author":191,"museum":8937,"description":37617,"tags":37618,"thumbUrl":37619,"material":220,"size":220,"collection":220,"collections":37620,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},223571,"xi-pan-gui-mu-tu-yi-ming-223571","溪畔归牧图","柳溪边，一牧童骑牛渡水，一牛隔岸嘶鸣，作欲渡而又畏渡之态，具有浓郁的乡村生活气息。\n牧童用简笔描绘，柳、牛则用细笔勾描，笔法精工。",[23,24,25,28,7,172,29,86,113,83,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5951ff9e84033a61bc0d4c305cb17153.jpg",[],{"id":37622,"slug":37623,"title":37624,"dynasty":18,"author":191,"museum":20,"description":37625,"tags":37626,"thumbUrl":37627,"material":40,"size":37628,"collection":220,"collections":37629,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},223506,"song-yin-tan-dao-tu-ye-yi-ming-223506","松荫谈道图页","此图亦作《三教论道图》，图绘远处山峰连绵，近处一棵高大松树松杆遒劲，绿荫如盖；松荫下儒、释、道三位教徒或着长袍，或着叶装，端坐于松根、石块上谈经论道。此处环境清幽，阴凉静雅，似世外桃园般安逸。",[23,24,137,25,914,7,28,83,927,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F833d44227db51604372db96ab56fde5d.jpg","25.3＊25.6cm",[],{"id":37631,"slug":37632,"title":37633,"dynasty":18,"author":191,"museum":134,"description":37634,"tags":37635,"thumbUrl":37640,"material":424,"size":37641,"collection":220,"collections":37642,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},223476,"zhe-kan-tu-ju-bu-yi-ming-223476","折槛图（局部）","此图用形象生动的笔触，描忠臣犯颜直谏，图绘了朱云在皇帝、公卿大臣面前犯颜直谏的景象。御林军正在拖朱云，朱死抱住栏槛不放，还在强辩。成帝侧身坐龙椅上，长须飘洒，满面怒容，目光杀气腾腾，与朱云针锋相对。奸相张禹则手捧笏板得意地站在成帝身边，满脸奸笑。辛庆忌正躬身为朱云求情。画面情节紧张而热烈，人物神情刻画细腻生动，富有鲜明的个性。线条遒劲有力，色彩鲜明强烈，确是一幅人物画的精品之作。",[23,137,24,7,28,83,2185,1068,156,214,37636,37637,37638,37639],"龙椅","笏板","犯颜直谏","求情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326c2ce3f908eadcc8834818e4eed64e.jpg","纵173.9公分，横101.8公分",[],{"id":37644,"slug":37645,"title":37646,"dynasty":150,"author":4708,"museum":8639,"description":12829,"tags":37647,"thumbUrl":37648,"material":599,"size":12835,"collection":220,"collections":37649,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},223309,"fa-jie-yuan-liu-tu-juan-3-ding-guan-peng-223309","法界源流图卷-3",[23,7,28,26,194,83,3114,22587,13222,4927,2602,3794,7307,582,5468,1055,29,84,5472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39be0fc022f890817bbffb782f3979ec.jpg",[],{"id":37651,"slug":37652,"title":36177,"dynasty":150,"author":4708,"museum":134,"description":37653,"tags":37654,"thumbUrl":37655,"material":220,"size":37656,"collection":220,"collections":37657,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},223247,"ji-le-shi-jie-ding-guan-peng-223247","丁观鹏(？-1771后)， 清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物，尤擅仙佛、神像，以宋人为法，不尚奇诡，学明代丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。\n丁观鹏曾与弟弟观鹤同供奉于南熏殿。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有《摹宋人雪渔图》和《仿韩七子过关图》，均辑入《中国历代名画集》。",[23,24,7,28,8083,22075,81,7766,36177,4926,83,84,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1315eb66f2c58f05c6831040a5c918.jpg","横60x纵119cm",[],{"id":37659,"slug":37660,"title":37661,"dynasty":150,"author":7676,"museum":20,"description":34395,"tags":37662,"thumbUrl":37663,"material":34398,"size":34399,"collection":220,"collections":37664,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":500},223143,"shi-wan-tu-ce-7-ren-xiong-223143","十万图册7",[23,24,137,25,519,7,28,29,84,313,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a1b10828519dc13f4704bee941031.jpg",[],{"id":37666,"slug":37667,"title":37668,"dynasty":150,"author":7676,"museum":20,"description":34395,"tags":37669,"thumbUrl":37670,"material":34398,"size":34399,"collection":220,"collections":37671,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":500},223141,"shi-wan-tu-ce-5-ren-xiong-223141","十万图册5",[23,24,28,27,7,519,29,159,9710,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189bbf05898f4a844375d2898e2f33d.jpg",[],{"id":37673,"slug":37674,"title":37675,"dynasty":150,"author":4719,"museum":245,"description":37676,"tags":37677,"thumbUrl":37678,"material":28,"size":220,"collection":220,"collections":37679,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},223131,"qun-xian-tu-ren-xun-223131","群仙图","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽（马、羊等）无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。\n他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[23,24,25,28,7,83,29,84,34,582,1600,85,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":37681,"slug":37682,"title":4718,"dynasty":150,"author":4719,"museum":245,"description":4720,"tags":37683,"thumbUrl":37684,"material":220,"size":220,"collection":220,"collections":37685,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},223089,"shui-hu-ren-wu-ren-xun-223089",[23,24,25,155,28,7,83,1787,63,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8bcbc88ceb89b051d93d71a7863e2b.jpg",[],{"id":37687,"slug":37688,"title":4718,"dynasty":150,"author":4719,"museum":245,"description":4720,"tags":37689,"thumbUrl":37690,"material":220,"size":220,"collection":220,"collections":37691,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},223084,"shui-hu-ren-wu-ren-xun-223084",[23,24,25,83,7,28,283,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c69b7831b89491435ab19058724da7.jpg",[],{"id":37693,"slug":37694,"title":37695,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":37696,"thumbUrl":37697,"material":67,"size":1560,"collection":220,"collections":37698,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},222999,"hong-lou-meng-124-sun-wen-222999","红楼梦124",[23,24,7,28,11782,10666,470,84,92,4304,769,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe634b8a2479a7facb164cebb0f2fb17c.jpg",[],{"id":37700,"slug":37701,"title":37702,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":37703,"thumbUrl":37704,"material":67,"size":1560,"collection":220,"collections":37705,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},222984,"hong-lou-meng-109-sun-wen-222984","红楼梦109",[23,24,7,28,81,83,11028,34,1104,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858eab4cec4a5f22c722e84f1f2a69c0.jpg",[],{"id":37707,"slug":37708,"title":37709,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":37710,"thumbUrl":37711,"material":67,"size":1560,"collection":220,"collections":37712,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},222980,"hong-lou-meng-105-sun-wen-222980","红楼梦105",[23,24,7,28,83,470,15476,16443,98,12479,112,1499,18126,32610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173d1e044780feb5c210a6379f8cecd8.jpg",[],{"id":37714,"slug":37715,"title":37716,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":37717,"thumbUrl":37718,"material":67,"size":1560,"collection":220,"collections":37719,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},222967,"hong-lou-meng-92-sun-wen-222967","红楼梦92",[23,24,25,26,7,28,176,84,83,1028,466,211,174,1109,214,4660],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37ac43c8394a731fbdbcf24bc56c51.jpg",[],{"id":37721,"slug":37722,"title":37723,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":37724,"thumbUrl":37725,"material":67,"size":1560,"collection":220,"collections":37726,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},222960,"hong-lou-meng-85-sun-wen-222960","红楼梦85",[23,24,7,28,25,83,470,84,1841,34,409,92,1109,11782,25513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5931b04bf779205467c8bc8bd7f07551.jpg",[],{"id":37728,"slug":37729,"title":37730,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":37731,"thumbUrl":37733,"material":67,"size":1560,"collection":220,"collections":37734,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":49},222948,"hong-lou-meng-73-sun-wen-222948","红楼梦73",[23,137,24,25,7,28,83,25511,1394,2642,11783,11782,59,37732],"博古器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6359730aa5e71398982eff2318bb16a0.jpg",[],{"id":37736,"slug":37737,"title":22335,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":37738,"thumbUrl":37739,"material":67,"size":1560,"collection":220,"collections":37740,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":697},222938,"hong-lou-meng-63-sun-wen-222938",[23,24,7,28,83,84,92,34,211,216,3437,18127,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f82b48ad4bbd75929ec78aef15756fa.jpg",[],{"id":37742,"slug":37743,"title":23245,"dynasty":150,"author":1549,"museum":901,"description":1550,"tags":37744,"thumbUrl":37745,"material":67,"size":1560,"collection":220,"collections":37746,"showCount":587,"zanCount":48,"manualWeight":48,"mainColor":145},222921,"hong-lou-meng-46-sun-wen-222921",[23,7,28,81,83,59,84,85,34,466,92,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f68ca4c6fa9ab7880091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的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[23,24,26,28,7,172,112,582,34,211,705,624,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],{"id":38250,"slug":38251,"title":38252,"dynasty":150,"author":38253,"museum":245,"description":38254,"tags":38255,"thumbUrl":38256,"material":1397,"size":1398,"collection":44,"collections":38257,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},238941,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238941","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[24,25,519,28,7,83,112,927,211,2463,29,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6535153c09255e7dff49f2e5ec0692ad.jpg",[44,45],{"id":38259,"slug":38260,"title":38261,"dynasty":150,"author":191,"museum":245,"description":38262,"tags":38263,"thumbUrl":38265,"material":1397,"size":1398,"collection":220,"collections":38266,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},238884,"qing-ren-yang-ti-bi-mi-fo-xiang-zhou-yi-ming-238884","清人阳体袐密佛像轴","此作为密宗造像佳作，主体六臂蓝身本尊拥明妃安坐莲台，宝冠璎珞遍身，法相庄严肃穆。构图对称饱满，上方胁侍化相缭绕云间，下方护法神众神态威猛，青绿底色晕染出祥瑞云海，石青、朱红、赤金交织，色调浓烈明快。线条勾勒细腻流畅，衣袂纹饰晕染层次分明，诸佛神韵具足，护法气势凛然。将藏地密教的神秘仪轨融于重彩工笔之中，尽显清代藏传佛画的极致工巧，兼具宗教精神内核与极高审美价值。",[24,155,22075,7,28,5470,38264,4926,3547,83,27],"密宗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa57ea55486a3cc7ae74c42e5ab83c9.jpg",[],{"id":38268,"slug":38269,"title":38270,"dynasty":150,"author":38271,"museum":245,"description":38272,"tags":38273,"thumbUrl":38274,"material":1397,"size":1398,"collection":45,"collections":38275,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":697},238855,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238855","绘益象征丰图册","钱汝诚","钱汝诚（1722-1779），字立之，号东麓，浙江嘉兴人。清官员，官至刑部左侍郎。",[24,25,519,28,7,158,5004,251,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F321ca84cb16d8fa7051b6c272bab913e.jpg",[45],{"id":38277,"slug":38278,"title":17770,"dynasty":150,"author":4345,"museum":245,"description":17771,"tags":38279,"thumbUrl":38281,"material":1397,"size":1398,"collection":220,"collections":38282,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":697},238854,"mian-yi-hua-hui-xiao-ce-mian-yi-238854",[24,25,519,28,212,637,409,597,596,7,38280,11419],"水墨线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368e50a27bb90081f6d4e4370ea94c70.jpg",[],{"id":38284,"slug":38285,"title":32204,"dynasty":150,"author":516,"museum":245,"description":10131,"tags":38286,"thumbUrl":38287,"material":220,"size":220,"collection":220,"collections":38288,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},238829,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238829",[24,25,519,28,7,284,173,176,84,34,211,466,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02502eb809bcd8237cc41a3879222c5.jpg",[],{"id":38290,"slug":38291,"title":37136,"dynasty":150,"author":516,"museum":245,"description":5851,"tags":38292,"thumbUrl":38293,"material":1397,"size":1398,"collection":220,"collections":38294,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},238797,"hua-hui-xiao-ce-dong-gao-238797",[24,25,519,28,7,212,62,612,597,26466,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9984731b85ee0896951fbbd0b5358cde.jpg",[],{"id":38296,"slug":38297,"title":21725,"dynasty":150,"author":191,"museum":245,"description":38298,"tags":38299,"thumbUrl":38300,"material":220,"size":220,"collection":44,"collections":38301,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},238638,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238638","全景式铺展西南崇山战事，左侧隘楼雄峙，苗民凭险据守，河谷中短兵相接，刀戈交错间硝烟翻涌，清军列阵衔枚疾突，将平乱鏖战的肃杀张力尽数铺陈。\n刀工笔触细致入微，山石褶皱、将士甲胄纹理皆清晰可辨，既还原了山地地貌的奇崛险峻，也将攻防拉锯的实景如实复刻。右上角御题诗文与战事图景相映，融纪实叙事与帝王题咏于一体，以铜版镂刻定格边疆平乱的宏大场面，兼具纪实史料价值与清代版画工艺之美。",[251,283,7,172,519,29,83,112,84,211,34,21728,1787,115,32377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a5ad1038662987587c2d95a68d04a4.jpg",[44],{"id":38303,"slug":38304,"title":13307,"dynasty":76,"author":191,"museum":245,"description":38305,"tags":38306,"thumbUrl":38307,"material":1397,"size":1398,"collection":220,"collections":38308,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},238577,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238577","这幅作品以山海分野铺陈画面，左畔怒涛卷雪，水怪与神兵于浪尖缠斗翻涌，波谲云诡间尽显征伐张力；右列仪卫整肃，旌旗猎猎，神将冠服严整端凝，满是安邦肃穆之气。\n\n设色华贵明丽，赤金与青绿撞色浓烈却谐和，线条铁画银钩，既绘出惊涛奔涌的动感，又将仪卫威仪刻画入微。以神魔靖海的图景暗喻绥疆平乱，把征伐的惊险与受降的庄穆并置，将庙堂祈愿的升平藏于奇幻工致的院体笔墨中，笔底皆是护国安澜的恢弘叙事。",[24,25,519,7,28,83,9710,211,34,341,1600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902b103254387191a4e0bc0f152e6f24.jpg",[],{"id":38310,"slug":38311,"title":9698,"dynasty":150,"author":2121,"museum":245,"description":2903,"tags":38312,"thumbUrl":38313,"material":1397,"size":1398,"collection":220,"collections":38314,"showCount":776,"zanCount":48,"manualWeight":48,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江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[24,25,519,28,7,212,689,410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d52209f5bf66a1de1c23e1b5d4804.jpg",[],{"id":38445,"slug":38446,"title":38447,"dynasty":150,"author":191,"museum":245,"description":38448,"tags":38449,"thumbUrl":38450,"material":1397,"size":1398,"collection":220,"collections":38451,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},234385,"xiao-sheng-xian-huang-hou-chao-fu-xiang-zhou-yi-ming-234385","孝圣宪皇后朝服像轴","此作写实精微，将女主人慈和端凝的神态刻画入微，鬓发丝缕、面部肌理皆细腻逼真，尽显沉静雍容的气度。\n朝服纹饰严整考究，盘龙绣纹张弛有度，缂丝刺绣的华美感跃然绢上，朝珠串珠层次分明，宝石的温润光泽与华贵质感尽显无遗。髹金雕龙座椅繁复富丽，地毯纹样规整华美，衬出皇家仪范的肃穆厚重。\n整体设色明丽沉稳，兼顾纪实性与艺术性，将帝后威仪与端庄气度相融，是清代宫廷肖像画的上乘之作。",[24,25,155,28,7,83,264,265,266,267,20664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa222c1e4c1c25705b7fed860532e5504.jpg",[],{"id":38453,"slug":38454,"title":38455,"dynasty":150,"author":191,"museum":245,"description":38456,"tags":38457,"thumbUrl":38458,"material":1397,"size":1398,"collection":220,"collections":38459,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},234380,"xuan-ye-chao-fu-xiang-zhou-yi-ming-234380","玄烨朝服像轴","这是工笔重彩帝王肖像，画中帝王面容沉稳威严，沟壑纹路镌刻着半生理政的厚重阅历，神色持重内敛，尽显久居九五的肃穆气度。\n明黄朝服尽显至尊礼制，龙纹腾跃于衣身，辅以祥云、江崖海水，纹饰勾染精细妍丽，石青、朱红点缀其间，撞色沉稳华贵，织绣细节纤毫毕现，将清代冠服的森严等级尽数铺陈。髹金浮雕龙座与纹样规整的铺地织锦层层烘托，写实笔触精准恪守宫廷肖像的制式法度，定格下盛世帝王的仪范风骨，是清代肖像画工致典雅的典范。",[24,25,155,28,83,341,63,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d104575a2e03427d0d767f27dedb9b7.jpg",[],{"id":38461,"slug":38462,"title":29223,"dynasty":150,"author":29224,"museum":245,"description":29225,"tags":38463,"thumbUrl":38464,"material":220,"size":220,"collection":220,"collections":38465,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},234376,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234376",[24,25,519,82,7,855,212,1588,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba41c21bb48650a1864db47783c6311.jpg",[],{"id":38467,"slug":38468,"title":17600,"dynasty":228,"author":648,"museum":20,"description":17601,"tags":38469,"thumbUrl":38470,"material":40,"size":17604,"collection":220,"collections":38471,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":49},233828,"er-ma-tu-juan-ren-ren-fa-233828",[24,25,26,7,28,112,582,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1058010d2a8e2e377aa7c701fb014f9b.jpg",[],{"id":38473,"slug":38474,"title":38475,"dynasty":76,"author":77,"museum":20,"description":1213,"tags":38476,"thumbUrl":38477,"material":40,"size":14867,"collection":220,"collections":38478,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},233759,"ren-wu-gu-shi-ce-6-chou-ying-233759","人物故事册6",[137,24,7,28,8611,83,470,471,1744,2653,92,216,1676,1106,1104,6240,17425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d3c7587792f36078e504187ea5124e.jpg",[],{"id":38480,"slug":38481,"title":38482,"dynasty":76,"author":77,"museum":20,"description":38483,"tags":38484,"thumbUrl":38485,"material":40,"size":38486,"collection":220,"collections":38487,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[24,25,26,28,7,172,285,284,173,29,83,84,85,86,176,178,34,772,4188,7835,3849,1907],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg","纵26.9厘米，横124厘米",[],{"id":38489,"slug":38490,"title":38491,"dynasty":150,"author":5340,"museum":20,"description":38492,"tags":38493,"thumbUrl":38494,"material":2721,"size":38495,"collection":220,"collections":38496,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},233148,"hua-qian-dong-xiang-zhou-gai-qi-233148","画钱东像轴","钱东是乾隆嘉庆年间的画家，字东皋，号袖海，又号玉鱼生，在当时享有盛名，这是改琦为其所作的遗像。此图将钱东画成禅定遗照，从格式到构思，含意都很独特。这幅作品一反一般先人遗像的陈局旧格，写钱东穿一身白色僧服，作佛弟子居士打扮，端坐蒲团之上。蒲团安置在枯藤虬蟠的古树枝杈间，绿叶垂萝成荫。树旁石案上置放着贝叶、经卷和灵芝、石磬等物。主人公俨然是位潜心参禅、面壁成佛的修行者，而不同于通常的遗像。画家如此描绘，并非钱东生前就是一位居士或虔笃的信徒，而是为了强调他超尘脱俗的品行和清净无为的志向，并以此来称颂他一生，寄托后人的思念。画面背景以工笔重彩细加描绘，人物面部的刻画是全画精华所在，细加晕染，有栩栩如生之感。图上有诸家题诗。改琦所作肖像，重视环境、背景的衬托和渲染。这幅《钱东像》在选择环境方面更具典型性，有力烘托了人物的精神世界。精细秀逸的用笔，清雅色彩，也使作品呈现出鲜明的个人特色，产生优美悦目的艺术效果，从而成为一幅传世杰作。\n改琦是清后期仕女画中成绩突出的画家，也是一位天姿英敏、诗词书画并臻的艺术家。\n改琦字伯蕴，号香白，又号七芗，别号玉壶外史。生于1774年，卒于1829年，他的祖先是新疆人，后世居北京，因祖父以武职官住松江，所以他生于松江（今上海市）。改琦幼时特别聪明，自小就喜绘画、诗文,成人后善画山水、花草、兰竹，其仕女画成绩尤为出色。秦祖永在《桐阴论化画》中，把改琦的仕女画评为“妙品”，并说他“落墨洁净，设色妍雅 ”，是一位能脱去脂粉习气的高手。",[24,25,155,28,83,286,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b43ba26f5832a75b9acdab6de29e7b.jpg","纵35．9厘米横50厘米",[],{"id":38498,"slug":38499,"title":38500,"dynasty":150,"author":191,"museum":20,"description":38501,"tags":38502,"thumbUrl":38504,"material":599,"size":38505,"collection":220,"collections":38506,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},233043,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233043","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[137,24,25,519,28,7,83,29,17230,2782,1787,91,34,1797,38503,21728,32377],"丘陵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be05ec6ab04eff3cb82e85ab4fc6c0.jpg","长55.6厘米，宽91.1厘米",[],{"id":38508,"slug":38509,"title":29457,"dynasty":18,"author":191,"museum":20,"description":17966,"tags":38510,"thumbUrl":38511,"material":40,"size":38512,"collection":220,"collections":38513,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":49},233022,"da-nuo-tu-zhou-yi-ming-233022",[24,25,155,28,7,83,138,63,11202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811f5eb801a8357cdf3c7a7af199fa5a.jpg","纵67.4厘米，横59.2厘米",[],{"id":38515,"slug":38516,"title":38517,"dynasty":54,"author":38518,"museum":20,"description":38519,"tags":38520,"thumbUrl":38521,"material":880,"size":38522,"collection":220,"collections":38523,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},232981,"hua-liu-zun-zhe-xiang-ce-di-ba-ga-na-ga-ha-zhui-jin-zun-zhe-lu-leng-jia-232981","画六尊者像册-第八嘎纳嘎哈缀襟尊者","卢楞迦","本幅设色画罗汉像。该册画六开,每页均游丝描。款：“卢楞伽进”四字。每页有弘历对题，引首及跋纸第一页，均弘历题写。每页有朱笔梵文书尊者名，宋印及骑缝印均伪项元汴。印记总共176方，引首及对幅上共印22方。该册另有题签一开,字二开。《故一59》",[24,25,519,28,7,194,83,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be9da045569add4298a9c0f650d8cb.jpg","纵30cm，横58cm",[],{"id":38525,"slug":38526,"title":38527,"dynasty":18,"author":191,"museum":230,"description":38528,"tags":38529,"thumbUrl":38530,"material":67,"size":38531,"collection":220,"collections":38532,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":49},232601,"shi-jia-san-zun-xiang-li-zhou-yi-ming-232601","释迦三尊像立轴","画面中心释迦牟尼佛跏趺端坐于仰覆莲座上，头饰螺发，身着袈裟和僧裙，神态庄严慈祥；右手于胸前结说法印，左手结禅定印，为芸芸众生开示宇宙人生的真谛。身后有头光、身光，寓示佛陀智慧无边、法力无边。佛陀上方有两菩萨，下方有两罗汉，从其身色和肩帜来看，上方为普贤和文殊，下方为阿难和迦叶。释迦牟尼的莲座下承高大华美的金刚座。束腰处绘双子戏球，前方有诸珍宝供养，背景顶上饰宝伞华盖，空中飘浮五彩祥云。画面构图精当，布局传统，疏密有度，人物和景物勾勒精细，线条洗练简洁，造型质朴生动，设色古朴，和谐雅致，以暖色调为主，将画面烘托的圣洁与庄重，表现了极高的绘画水平。难能可贵的是品相完好，原装原裱，为不可多得的收藏与供奉佳品。",[23,24,25,706,155,194,7,28,83,1055,2602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663a9a713f6fc8d5fa5c6021a681e6d3.jpg","198×111.5cm",[],{"id":38534,"slug":38535,"title":38536,"dynasty":228,"author":191,"museum":134,"description":38537,"tags":38538,"thumbUrl":38539,"material":100,"size":38540,"collection":237,"collections":38541,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":49},232262,"xing-e-tu-yi-ming-232262","杏鹅图","描绘水滨双鹅，旁有两棵柳、杏，飞燕穿梭柳叶之间，柳阴下斜出几枝杏花。从绘画内容及布局看来，它像是明院体大幅花鸟画的构图，画柳干之皴纹，有仿吕纪之笔意，画鹅则似林良写禽之趣，应是结合林良、吕纪影响之作。",[24,25,137,155,28,855,7,172,5181,21164,34,197,7974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c57300cc263debb9b3f1259bef7939.jpg","142.8x81.4厘米",[237],{"id":38543,"slug":38544,"title":38545,"dynasty":228,"author":191,"museum":245,"description":38546,"tags":38547,"thumbUrl":38548,"material":220,"size":220,"collection":220,"collections":38549,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":49},231911,"luo-han-tu-di-shi-zun-zhe-ming-ban-tuo-jia-yi-ming-231911","罗汉图（第十尊者名半托迦）","注荼半托迦尊者者生性愚钝，常因背不下经而遭嘲笑， 但他却坚定不移地修持佛法，终成阿罗汉果。释迦牟尼将他说成是改变他人观念的比丘中最杰出的一位。注荼半托迦尊者双手作禅定印，结跏趺坐于山石卜，神情专注。座前是怀抱小狮戏耍雄狮的侍者。树间化现金刚手菩萨和阿底峡大师。",[24,25,155,194,28,83,1600,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d69a3c64c7094b1bbe1a0ccbe1a8826.jpg",[],{"id":38551,"slug":38552,"title":38553,"dynasty":190,"author":191,"museum":245,"description":38554,"tags":38555,"thumbUrl":38560,"material":220,"size":220,"collection":220,"collections":38561,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":49},231695,"jiang-hu-shi-qi-di-shi-wu-luo-han-tu-li-zhou-yi-ming-231695","江户时期 第十五罗汉图立轴","褐肤罗汉宝光护体，踞坐松石之下，虬髯深目自带威严沉静之气，团龙织金僧衣华贵雅致，手托丹丸，尽显尊者超凡气度。身前侍者躬身颔首，神态恭谨至极，主仆情态形成鲜明反差，生动勾勒禅门仪轨。\n\n背景古松盘虬苍劲，悬垂鎏金佛灯晕染出清幽肃穆的禅意氛围。整作线条顿挫凝练，设色雅致沉稳，衣纹晕染层次丰厚，将人物的神性与俗世情态刻画入微，尽显佛画写实功力，禅林静谧之韵扑面而来。",[23,155,24,194,28,83,7,34,13222,38556,31095,19778,8477,211,38557,38558,5478,38559,216],"小僧","花纹","服饰图案","跪姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc639c5a1ca97303fcca2c116d190498.jpg",[],{"id":38563,"slug":38564,"title":38565,"dynasty":190,"author":191,"museum":1129,"description":38566,"tags":38567,"thumbUrl":38568,"material":496,"size":38569,"collection":220,"collections":38570,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,24,26,28,7,83,34,29,86,84,85,211,315,470,10432,14093,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":38572,"slug":38573,"title":38574,"dynasty":228,"author":191,"museum":245,"description":38575,"tags":38576,"thumbUrl":38577,"material":220,"size":220,"collection":220,"collections":38578,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":1833},231497,"han-gao-zu-liu-bang-yi-ming-231497","汉高祖刘邦","汉高祖刘邦，字季，号沛公，谥号高皇帝，庙号高祖。沛郡丰邑中阳里（现属江苏省徐州市丰县）人氏，妣吕雉。邦公国号西汉高祖，生于周赧王五十九年即公元前二五六年二月初八日。他在兄弟四人中排行第三。性情豁达大度，知人善任。公元前二一六年，时年三十一岁，为泗水亭长。公元前209年壬辰岁九月，参加由陈胜，吴广带领的起义，后加入楚国的阵营，趁另一位将军项羽，和秦的大军打拉锯战，没有秦国主力和他的军队对阵之余，第一个攻进秦国的首都咸阳，灭了秦朝，被楚霸王项羽封为汉王。并以蜀地为基地，和项羽展开了长达四年的楚汉之争。刘邦在文有张良，武有韩信，后方有萧何的辅助下，终于把项羽的军队包围在垓下设下十面埋伏，项羽突围不果，自杀于乌江边。刘邦消灭了项羽后，统一了中国。公元前206年乙未岁称帝于洛阳，建立汉王朝，自此中华帝国在地理上再次统一，为以后的强大建立了基础.后迁都于长安（今西安市）在位十二年，卒于公元前一九五年丙午岁四月二十五日（甲辰日）。享年六十一岁，葬于葬于陕西省西安咸阳县东，称长陵。妣吕雉，卒于公元前一七九年壬戌岁，葬于长安咸阳县东陵。生八子：长庶齐悼惠王肥，曹氏生。次子恵帝盈，吕雉生。三子和意，戚后生，封赵王，后被吕雉所杀。四子恢，梁王，后自杀。五子文帝恒，先封代王，后为文帝，薄姬生，薄姬卒于公元前一五五年丙戌岁，葬于霸陵。六子友，先为淮阳王，后为赵幽王，后自杀，生二子：遂（赵王）、卬（胶西王）。七子建，燕王，后被吕雉所杀。八子长，淮南王，后被文帝废王。为了和后来刘秀建都洛阳的“汉”区别，历史上称为“西汉”",[24,25,137,5396,155,83,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f26eab8a5aa6207dddae9b2d01cb95c.jpg",[],{"id":38580,"slug":38581,"title":38582,"dynasty":228,"author":38583,"museum":134,"description":38584,"tags":38585,"thumbUrl":38586,"material":67,"size":38587,"collection":220,"collections":38588,"showCount":776,"zanCount":1769,"manualWeight":48,"mainColor":49},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","李容瑾","此图分为殿阁区和水面区两部分，景色各异，作者采用鸟瞰式的构图，将殿阁和水面貌一一展现。刻画得非常具体细致，画面的右侧为殿阁区，以直线、横线、斜线绘成了一组优美的宏伟的建筑群：用笔严谨，刻画精到细密，一丝不苟。\n画面上，宫苑殿阁依山傍水而建，描绘了三重天井。由左下角十字歇山顶的桥亭，沿山径进入画面第一重天井，左侧围以曲折的长廊，廊外水面上构筑一重檐歇山顶的凉亭。再向上进入画面第二重天井，左右两侧均以悬崖削壁为天然屏幛。第三重天井中建一高峻的台基，台面上矗立着一座巍峨的双层楼阁，上层为重檐十字歇山顶，下层檐的左、右、前方各出一歇山抱厦。\n汉代宫苑早于汉高祖、萧相国时，即有营建。当时之未央宫，因龙首山制前殿，建东阙、北阙、武库、太仓等，周围二十八里，台殿池苑无数，宫成后常为朝见之所。王莽末年毁于兵火。如班固的《西都赋》、张衡的《西京赋》中，有关于汉代宫苑盛况的详尽描述，此轴则以绘画的形式展现了汉苑的宏丽气象。\n全画取近乎长方形的构图，殿阁占去画面的三分之二，整个汉苑图，宫阙巍峨，连甍矗栋，雕栏回廊，殿阁缛丽重深，周围树木耸峙，掩映成趣。在这一建筑群的高处，遥望远处，为烟波浩渺的水面，碧波万顷，气象万千；直到很远的地方与起伏的小山相接。凉亭临水，江水泊岸，楼台掩映，楼台亭阁生辉；近处植有松柏，林木翁翳，花竹摇艳，移步换影，处处秀丽迷人的景色；遥望远处，山山水水，美不胜收。其殿阁楼台等建筑物，其严谨笔直的线条与苍松崖石的穿插姿态相映，更显出楼阁的气势非凡。精湛的笔墨则再现了汉苑特有的风釆。\n图中的建筑从群体的布局组合到单体的结构装饰，都不是道地的汉时规范，而是宋以后的形制，例如鸱尾和脊兽的处理就是明证。但画家将历史和现实、景和情、势和意，通过惨淡的经营、创造的意匠，实现了统一。\n此图界画工整，折算精确，游规矩准绳之内而不为所窘。此图景物恢弘，气魄博大。树石画法承北宋郭熙，多作双勾夹叶，用笔粗壮放达，与郭熙《窠石平远图》相一致。但与郭熙不同，《汉苑图》纯用夹叶树，满山遍冈，葳蕤郁茂，增添了画面豪华郁丽的氛围。近境坡石从卷云皴化出，圆润流畅，清空跌宕；遥山旷荡，杂树暝漾，神韵独绝。\n中国美术学院艺术人文学院教授毛建波：汉代国家统一，国力殷实，都城、宫殿、苑囿、礼制建筑和陵墓等，十分兴盛。汉代苑囿规模惊人，作为游乐之所，苑囿里的宫殿常于中轴对称之外有更多自由灵活的处理，这种情形在《汉苑图》中有很好的体现。\n北宋内府《宣和画谱·宫室叙论》：“画者取此（指宫室）而备之形容，岂徒为是台榭、户牖之壮观者哉？虽一点一笔，必求诸绳矩，比他画为难工。”",[24,25,155,81,7,28,84,751,29,34,91,211,92,15476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],{"id":38590,"slug":38591,"title":38592,"dynasty":18,"author":191,"museum":134,"description":38593,"tags":38594,"thumbUrl":38595,"material":496,"size":38596,"collection":220,"collections":38597,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":145},231342,"qian-shou-qian-yan-guan-shi-wu-pu-sa-yi-ming-231342","千手千眼观世吾菩萨","千手千眼观世音菩萨，又称千手观音，汉传佛教中常被供奉的观世音菩萨之一，是观世音菩萨的其中一个化现。为六观音之一，六观音即：慈航观音（救拔饿鬼道）、千手观音（救拔地狱道）、马头观音（救拔畜生道）、十一面观音（救拔修罗道）、准提观音（救拔人道）、如意轮观音（救拔天道）。有一千只手，每手心上各有一眼，故称。一般塑像或者绘画上，大都以四十手、三十六手、二十四手、十八手为代表。\n有说法称千手观音与青颈观音、不空羂索观音、消众毒观音等观音化身，同为正观音一时化现，有极密切的关系，相当于同体异名\n菩萨千手千眼形象之来源，于《大悲心陀罗尼经》中记载：“世尊！我念过去无量亿劫，有佛出世，名曰‘千光王静住如来’。彼佛世尊怜念我故，及为一切诸众生故，说此‘广大圆满无碍大悲心陀罗尼’。以金色手摩我顶上作如是言：‘善男子！汝当持此心咒，普为未来恶世一切众生，作大利乐。’我于是时，始住初地，一闻此咒故，超第八地。我时心欢喜故，即发誓言：‘若我当来，堪能利益、安乐一切众生者，令我即时，身生千手、千眼具足。’发是愿已，应时身上，千手千眼，悉皆具足。”[1]此经文可知，菩萨千手千眼之形象，系因菩萨发愿利乐有情之后而具足千手千眼。\n千手千眼观世音菩萨头上有二十八法相，代表二十八天护法，流通于禅宗与净土宗。\n除了《大悲心陀罗尼经》以外，亦有《千手千眼观世音菩萨姥陀罗尼身经》有千手千眼观世音菩萨的记载。",[24,25,155,194,7,28,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a3ef79ac213a6d1e3fd09057b0064f2.jpg","302x103.6",[],{"id":38599,"slug":38600,"title":38601,"dynas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】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[23,24,25,26,194,28,7,283,83,582,341,178,34,211,796,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":38725,"slug":38726,"title":22266,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":38727,"thumbUrl":38728,"material":1397,"size":1398,"collection":220,"collections":38729,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":49},226454,"ku-zhu-shi-dong-bi-yi-ming-226454",[1053,194,28,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5092b4b3bf17fbd490af0c32ec3add13.jpg",[],{"id":38731,"slug":38732,"title":38733,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":38734,"thumbUrl":38736,"material":1397,"size":1398,"collection":220,"collections":38737,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":1833},226217,"ku-zhu-shi-xi-pi-yi-ming-226217","窟主室西披",[1053,5091,28,194,83,7,7871,11305,5470,38735],"纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14d3afc8771fd6ddd38808ce51e0535d.jpg",[],{"id":38739,"slug":38740,"title":38741,"dynasty":18,"author":191,"museum":245,"description":38742,"tags":38743,"thumbUrl":38744,"material":220,"size":220,"collection":220,"collections":38745,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":49},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,24,25,26,137,28,7,172,1500,3487,29,175,4611,85,86,286,83,178,159,11929,32348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":38747,"slug":38748,"title":38749,"dynasty":18,"author":191,"museum":245,"description":38750,"tags":38751,"thumbUrl":38752,"material":220,"size":220,"collection":220,"collections":38753,"showCount":776,"zanCount":48,"manualWeight":48,"mainColor":49},223597,"sui-yang-wu-lao-tu-feng-ping-xiang-yi-ming-223597","睢阳五老图 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花缠纹鎏金札甲，甲叶錾刻细密精巧，华贵威仪扑面而来。胯下白马神骏挺拔，朱缨辔饰醒目亮眼，尽显不凡气度。帝王按缰徐行，面容沉稳坚毅，背负箭囊劲矢，将其兼具文治武功的气魄尽显无遗。\n画作融合中西技法，以西洋写实精准勾勒出人物面容肌理与甲胄金属质感，又以传统工笔晕染烘托氛围，赭色绢底衬得主体愈发鲜明肃穆，将帝王出猎时的雍容气场渲染得淋漓尽致，是清代鞍马肖像画中的精品。",[251,155,7,28,83,112,23508,5999,1787,5492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93dfce54e5a3e66ca723e48efc818ce.jpg",[],{"id":39449,"slug":39450,"title":39451,"dynasty":150,"author":900,"museum":245,"description":39452,"tags":39453,"thumbUrl":39454,"material":599,"size":220,"collection":220,"collections":39455,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":145},234282,"hua-guo-ce-wang-yun-234282","花果册","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。斌子。楼台、人物近似仇英，康熙时驰名江、淮。写意山水，得沈周遗意。于朝，圣祖赏逾等。",[24,25,519,28,7,212,62,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312d93e1c96a34a8af1e9144398b63ad.jpg",[],{"id":39457,"slug":39458,"title":39459,"dynasty":76,"author":5061,"museum":20,"description":39460,"tags":39461,"thumbUrl":39462,"material":13616,"size":10802,"collection":220,"collections":39463,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":145},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","兰亭修褉图","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。",[24,25,26,28,7,285,29,176,83,86,85,34,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg",[],{"id":39465,"slug":39466,"title":39467,"dynasty":228,"author":5520,"museum":20,"description":39468,"tags":39469,"thumbUrl":39470,"material":40,"size":5524,"collection":220,"collections":39471,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":145},234034,"long-gong-shui-fu-tu-ye-zhu-yu-234034","龙宫水府图页","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。",[28,7,83,341,112,86,84,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63a0f25b8472cb41c8abd15d643a6135.jpg",[],{"id":39473,"slug":39474,"title":39475,"dynasty":150,"author":447,"museum":20,"description":39476,"tags":39477,"thumbUrl":39478,"material":40,"size":39479,"collection":220,"collections":39480,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},233714,"ba-bai-xia-ling-tu-zhou-hua-yan-233714","八百遐龄图轴","图中柏树高大，盘曲伸展，树上八哥飞鸣对唱，热闹非凡，树下萱花盛开，生机盎然，整幅画面寓意遐（音侠）龄长寿，具有春意喧闹的祥瑞之气。作者依据不同的物象施以不同的笔法，八哥的造型生动写实，以工写结合的笔墨刻画；柏叶细碎交叠，直接以青绿、浓墨戳点；山石方硬坚实，以浓墨大写意晕染；萱花俏丽多姿，则以没骨法表现。全图于精致处愈见其工而不失笔情墨趣；写意处用笔洒脱而不失含蓄蕴藉，显示了华喦在花鸟画方面的非凡造诣以及对各种笔墨技法娴熟的运用能力。",[24,25,155,28,7,855,212,286,178,211,409,5773],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe532a914d1fd6f5c2d0cd56208aaa81a.jpg","纵211厘米，横133厘米",[],{"id":39482,"slug":39483,"title":21725,"dynasty":150,"author":191,"museum":20,"description":39484,"tags":39485,"thumbUrl":39486,"material":496,"size":21731,"collection":220,"collections":39487,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":145},233096,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233096","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[137,24,25,519,28,7,172,83,112,29,84,34,2782,1787,211,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b021a92da1c0a0009270e048b28a75.jpg",[],{"id":39489,"slug":39490,"title":39491,"dynasty":18,"author":191,"museum":20,"description":39492,"tags":39493,"thumbUrl":39494,"material":35733,"size":39495,"collection":220,"collections":39496,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":145},233014,"shen-tang-qin-qu-tu-ye-yi-ming-233014","深堂琴趣图页","远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。这在宋诗、宋词和宋画中留有许多经典的范例。如从刘松年的《四景山水图》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。音乐，求其意境，要有共鸣、幽远方妙。《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。庭石上又有青松一株，遥承琴声，而成风如松。环境与音乐布局协和生发，绝无滞碍。主人弹琴，恰好面东，而门对南，空间方位甚为有序。如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。这些看似细微之处，正可见宋人对画中空间风水的深刻认知。画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。",[1424,24,519,28,81,7,29,84,34,92,19719,214,159,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be54f010dc1e0bed94db829cee44280.jpg","纵23.6厘米，横24.9厘米",[],{"id":39498,"slug":39499,"title":39500,"dynasty":18,"author":191,"museum":20,"description":39501,"tags":39502,"thumbUrl":39503,"material":40,"size":39504,"collection":220,"collections":39505,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":697},233010,"qiu-shu-qu-yu-tu-ye-yi-ming-233010","秋树鸜鹆图页","图绘秋日里一只鸜鹆栖于桐树之上，利爪紧握枝干，扭颈侧目似在谛听。鸜鹆目光锐利，体态丰满，尾翼整洁，羽毛黑亮，而树叶则满布虫蚀，拘挛蜷曲，颜色枯黄。构图奇崛突兀，迥异常品。鸟为纯黑一色，故全身皆用墨染，然不同部位之毛羽的质感、层次均表现无遗，何止“墨分五色”而已！古人墨法之妙于此见之。蚀朽的树叶在画家高超的技法下“化腐朽为神奇”，勾描晕染，层次丰富。中国工笔画常写病叶，原因在此。而此图之叶堪称极致。",[24,137,25,7,28,212,286,299,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe7bbc63767c997697bb2b3ecdf5479d.jpg","纵25厘米，横26.5厘米",[],{"id":39507,"slug":39508,"title":39509,"dynasty":18,"author":191,"museum":20,"description":39510,"tags":39511,"thumbUrl":39512,"material":40,"size":36427,"collection":220,"collections":39513,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},233009,"xun-qin-fu-zhuo-tu-ye-yi-ming-233009","驯禽俯啄图页","图中一只麻雀立于浅蓝色敞口瓷罐上，低头欲啄罐沿。麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[137,24,25,4185,7,28,212,299,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9c3ad61b7c9c60c59b90519bbbb167.jpg",[],{"id":39515,"slug":39516,"title":39517,"dynasty":228,"author":191,"museum":78,"description":39518,"tags":39519,"thumbUrl":39520,"material":2721,"size":39521,"collection":220,"collections":39522,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},232802,"liu-jun-tu-juan-yi-ming-232802","六骏图卷","《六马图卷》旧传出自赵伯驹之手，卷分两段，非出一手，后段末缘下有伪款“千里”及伪印“赵伯驹氏”，清高宗弘历在后半上两题，一为七言古风，一为识语，知款印俱伪，书于同日。此卷曾入张大千手并加跋语四行。\n乾隆皇帝题识：平川苜蓿丰且滋。清泉映带沙冈披。戎人习马知马性。此处调马实所宜。牵者樴者二皆駵，白驹黑鬛绁柳枝，昻蔵翘足骊其色，一戎跨背鞍不施，紫骝回首嘶厥匹，有駓龁草意自怡，骥不称力称其德，况复一一皆英奇，作者寓意应有在，夏官遗法谁深知，即今大宛致汗血，骨格皆合图中姿，亦不渥洼诩作瑞，亦不交河资兴师，迥立阊阖詄荡荡，欲起王孙走笔为。",[23,24,26,28,7,173,284,83,112,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51563118f42df0d8b09f57e6f52a9b14.jpg","纵46.2厘米，横168.3厘米",[],{"id":39524,"slug":39525,"title":39526,"dynasty":54,"author":191,"museum":245,"description":39527,"tags":39528,"thumbUrl":39529,"material":67,"size":39530,"collection":220,"collections":39531,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},232271,"nie-pan-tu-yi-ming-232271","涅磐图","涅槃（巴利语：निब्बान Nibbāna；梵语：निर्वाण Nirvāṇa），佛教术语，合文作𢌽，又译为泥洹、涅槃那、涅盘那、泥盘那、昵缚男，意译为熄灭、灭、灭度、寂灭、无为、解脱、自在、安乐、不生不灭等，新译作般涅槃（巴利语：pari-nibbāna，梵语：pari-nirvāṇa），又译为般泥洹、波利昵缚男、入灭、入灭度、圆寂。佛教教义认为涅槃是将世间所有一切法的自体性都灭尽的状态，所以涅槃中永远没有生命中的种种烦恼、痛苦，上座部佛教的见解是从此不再受后有，也就是不再有下一世的六道轮回。这个术语最早源自于古印度婆罗门教，当时众说纷纭。佛教认为外道无法实证何谓涅槃，在无佛教的时代只有佛和辟支佛可以亲证涅槃。释迦牟尼菩萨降生后，出家成佛转法轮，教导弟子佛法，才开始有声闻圣弟子四果阿罗汉实证涅槃。佛陀和阿罗汉舍寿后，会取证无余涅槃界，进入不生不灭状态，也称为涅槃，一般更常用般涅槃（意思是“进入涅槃灭度”，即“入灭”）表达，意思是肉身死亡后，进入不生不灭的涅槃状态。时至今日，当有佛教上师、沙门、比丘、比丘尼等修行者过世时，许多人会尊称他们涅槃了。大乘见地是佛菩萨能在涅槃中同时度众生，佛菩萨的涅槃叫“无住涅槃”",[23,24,137,194,28,7,83,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36001c315841694e4c562c3be81f2ce2.jpg","216x179.4厘米",[],{"id":39533,"slug":39534,"title":39535,"dynasty":190,"author":191,"museum":245,"description":39536,"tags":39537,"thumbUrl":39539,"material":1397,"size":1398,"collection":220,"collections":39540,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":145},231791,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-yi-ming-231791","明清日本古画花鸟山水人物粉本-人物卷","此卷以白描淡彩铺陈，笔致简逸稚拙。起首持杖人物寥寥数笔便形神尽显，随后跃马挽弓的武士气宇轩昂，线条勾勒出战马奔腾的飒爽气势，将武人豪烈之风晕染纸面。继而转绘惊马失控的骑者，笔意诙谐生动，添入俗世趣意。垂首疾行的仕人姿态恭谨，自带沉静闲雅之感。终了圆光中丰润女像，设色柔淡，神情恬和静穆。整卷将武人豪壮与世俗闲趣并置，古雅张力与谐趣意韵相融，朴拙天真间尽显别致意趣。",[23,26,283,28,83,112,39538,59,471,284,173,63,7],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33e0f2c578b5c3f6b12100a60dfe51d.jpg",[],{"id":39542,"slug":39543,"title":39544,"dynasty":190,"author":191,"museum":245,"description":39545,"tags":39546,"thumbUrl":39547,"material":1397,"size":1398,"collection":220,"collections":39548,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},231655,"shi-ting-shi-qi-ren-wu-tu-zhou-yi-ming-231655","室町时期 人物图轴","此作笔下仕女娇憨温婉，发髻挽起垂发贴颊，柔韵尽显。朱红外袍暗纹隐现，墨绿下裳饰回旋几何纹样，素白裙脚衬出雅致格调，配色沉雅和谐。她持绘花团扇，垂目凝视扇面，身姿微倾，将娴静内敛的神态描摹入微，东方闺秀的柔婉气质呼之欲出。\n泥金底色带着岁月晕染的斑驳苍润，与人物的明丽设色相映，古雅沉静。线条匀净流畅，造型写实传神，揉合和风与唐韵的审美意趣，尽显古典雅致的东方气韵。",[23,24,25,155,28,7,83,59,344,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650f5f86df882ec6d6e4afe228442ca1.jpg",[],{"id":39550,"slug":39551,"title":39552,"dynasty":76,"author":2892,"museum":245,"description":39553,"tags":39554,"thumbUrl":39555,"material":220,"size":220,"collection":220,"collections":39556,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},230937,"tai-ping-chun-se-tu-qian-gong-230937","太平春色图","整作以全景铺展春日闲趣，内室围炉宴坐，亲友言笑晏晏，暖炉烘出一室融融温情。墙外稚童嬉闹，野趣横生，下方溪桥之上，白衣文士凭栏观水，童子侍立，尽得林泉悠然。\n\n画家以淡墨写出寒枝虬曲，暗透春芽将萌的生机，设色浅雅柔润，将家宅的俗世温情与郊野的清逸春景相融，笔意秀润温婉，把太平年岁里的日常烟火晕染成诗意图景，将春日里松弛安宁的人间盛景娓娓铺陈，尽显安宁祥和的春日意趣。",[24,25,155,7,28,83,84,85,286,211,1744,92,35593,158,29,2653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728d5ea1461c81e8a8a5e563662d2e9a.jpg",[],{"id":39558,"slug":39559,"title":39560,"dynasty":190,"author":191,"museum":245,"description":39561,"tags":39562,"thumbUrl":39565,"material":1397,"size":1398,"collection":220,"collections":39566,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":697},230745,"bai-di-qing-hua-si-hai-lai-chao-ping-yi-ming-230745","白地青花四海来朝瓶","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[8885,39563,39564,7,9710,557,37065,158],"青花","釉下彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9510df29f69bc9ab5327f313f6c2ffa.jpg",[],{"id":39568,"slug":39569,"title":39570,"dynasty":190,"author":26896,"museum":245,"description":26897,"tags":39571,"thumbUrl":39572,"material":67,"size":1398,"collection":220,"collections":39573,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},230563,"jia-nuo-jia-ba-li-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230563","迦诺迦跋厘堕阇尊者",[23,24,25,155,194,28,83,84,158,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce254a0478f0c929033488e812f8ba0a.jpg",[],{"id":39575,"slug":39576,"title":39309,"dynasty":150,"author":39577,"museum":245,"description":39578,"tags":39579,"thumbUrl":39580,"material":220,"size":220,"collection":220,"collections":39581,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":145},230296,"shan-shui-ce-ye-du-xiang-230296","杜湘","此作以幽寂山居为意趣，虚实掩映间铺陈出尘之境。苍松虬干以赭石晕染，石绿点簇松针，苍劲中带着清润生机；山石以淡墨勾勒皴擦，浓墨醒苔，厚重又不失空灵意韵。蜿蜒石径隐于谷底，将视线引向林间茅舍，屋中幽人凭窗静憩，愈发衬出林谷阒寂清冷。整幅画笔致秀雅沉静，疏密错落间尽显山林幽居的超然闲逸，把文人寄情林泉的隐逸襟怀藏在简淡笔墨之中，尽显传统山水画的写意风骨。",[24,25,519,28,29,211,927,176,3750,173,172,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c24bd19e45d360dbc671486ec53196.jpg",[],{"id":39583,"slug":39584,"title":39585,"dynasty":150,"author":14194,"museum":245,"description":39586,"tags":39587,"thumbUrl":39588,"material":220,"size":220,"collection":220,"collections":39589,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":145},228969,"shi-jun-quan-tu-ce-shi-kai-ai-qi-meng-228969","十骏犬图册十开","《十骏犬图》是清代画家 创作的纸本设色画册，共1开，现藏于 。\n册页左边为以诗经体和辞赋体所作的题赞，其中六则出自梁诗正，四则出自汪由敦；右边一律先画犬，再加配河景山水。\n每开背景中虽皆可见遒劲的林木（松木、墨竹、柳树、梅花和灌木等）、怪石、溪涧或幽静的水岸，但形态皆不相同。\n所绘之犬姿态迥然，或低头饮水、或伫立沉思、或回首遥望。\n该册共十对开，顺序依次为：第一睒星狼、第二霜花鹞、第三墨玉螭、第四蓦空鹊、第五苍水虬、第六斑锦彪、第七雪爪卢、第八金翅猃、第九漆点狻、第十茹黄豹。\n款署：“臣艾启蒙恭绘。\n”钤“臣艾启蒙”白文印、“恭画”朱文印。\n每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。\n图上钤有“乾隆鉴赏”、“三希堂精鉴玺”、“石渠宝笈”等印。\n据文献记载，当初朝廷为了供皇帝行猎围场之需要，宫廷特设“鹰狗处”。\n《啸亭续录》云：“鹰狗处，向在东华门内长街，设总统二人，以侍卫兼之，蒙饲御前鹰狗以备搜弥之用，其牧人皆以世家子弟充之，许其蟒袍纬帽，为执事人中之品最高者。\n壬戌今上以其非急务，命迁于东安广内长房。\n”从这段记载中可知，艾启蒙笔下所画的猎犬，多是“鹰狗处”豢养的猎犬，可谓是皇帝的宠物。\n艾启蒙仅仅是画有猎犬，而这些猎犬所处的环境，这些背景并非出自艾启蒙之手，而是为中国宫廷画家所作。\n这套画册虽只署艾启蒙一人，实际上是有中国画家的参与其事的。\n作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有很强的写实性。\n如犬的身体，用多次烘染，分出受光和背光面：尤其注重皮毛质感的表现，注意猎犬的解剖结构，更突出了犬的真实感。\n这些都显示了欧洲绘画的特点，但从每幅画面上看，背景中所绘树石、坡陀等，从造型到技法，仍是典型的中国画。\n画家经多年来的观察和周密的研究，根据每一名犬的不同特性，将十条名犬分别安排于不同季节的自然环境中，十名犬的神情不一，曲尽其态、有正面、有侧面、有站立的、有卧伏的、有散步的、有蹲着的、有抬脚搔首的，也有跃跃欲扑的等。\n在毛皮色彩和斑纹上也各不相同，有红色的、白色的、黑色的、黄色的、棕色的，还有杂色的。\n正是这些不同的姿态和诸多的色彩，给绘画带来了活跃的气氛，引人注目。\n但总体来说所有的猎犬其共同之处都是腿长身细，腹部收缩，劲瘦有力，劲健灵动，擅长奔跑，肌肉肋骨，描绘逼真。\n每幅图的对开上均标明犬名，对宫廷御用犬的研究具有很高的史料价值。\n此图旧藏紫禁城内的乐寿堂。\n《石渠宝笈》著录。\n现藏于北京故宫博物院。\n艾启蒙（178—178年），字醒庵，原名Igntius Sickltart，波西米亚（今属捷克）人，天主教耶酥会传教士。\n乾隆十年（1745年）来华供奉内廷。\n他在清宫师从郎世宁，专擅绘人物、走兽和翎毛，力图在技法上达到中西合璧，在宫中产生了一定的影响。",[24,25,519,7,28,582,29,286,156,1797,284,173,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f257f9a3674de63db64c41e1f3e40f.jpg",[],{"id":39591,"slug":39592,"title":39593,"dynasty":76,"author":12763,"museum":245,"description":39594,"tags":39595,"thumbUrl":39596,"material":220,"size":220,"collection":220,"collections":39597,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":145},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[23,24,155,29,28,7,172,1926,1319,1600,927,624,83,34,37,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":39599,"slug":39600,"title":39601,"dynasty":76,"author":191,"museum":245,"description":39602,"tags":39603,"thumbUrl":39604,"material":220,"size":220,"collection":220,"collections":39605,"showCount":479,"zanCount":1769,"manualWeight":48,"mainColor":1833},228819,"yin-shi-han-shan-yi-ming-228819","隐士寒山","古柳垂荫覆着幽寂山野，佝身疾行的高士衣袂被山风掀动翻飞。铁线描劲挺勾绘衣纹，将布帛褶皱随身形舒展的柔软晕化自然，素袍以青蓝镶边提色，暗合隐者疏淡心性。\n\n高士怀中文卷紧拥，神情专注唯恐山风惊扰卷中丘壑，将隐者嗜书如命的意趣藏在细微情态中。淡墨晕染的林麓荒苔沉暗朦胧，烘托出空山幽寂，把避世高贤耽于诗书、寄情林泉的林下风流，定格在这一瞬山野行旅之间。",[23,24,7,28,155,83,286,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb68fa2bff19d21da694b1aa4c489e9.jpg",[],{"id":39607,"slug":39608,"title":39609,"dynasty":76,"author":191,"museum":245,"description":39610,"tags":39611,"thumbUrl":39612,"material":220,"size":220,"collection":220,"collections":39613,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},228797,"song-xia-fu-qin-tu-ye-yi-ming-228797","松下抚琴图页","松荫之下，皓首老翁席地而坐，凝神抚琴，垂眉静气间似将襟怀尽寄弦上。侧旁童子煨炉候立，青烟袅袅晕开夜色，与林间半露残月相映成趣。清辉漫过苔色坡岸，将山野的空阔静穆晕染得愈发幽寂。\n\n全幅设色清雅古淡，线条简逸空灵，以极简笔墨铺陈出林下雅集的幽旷意趣，将文人寄情山水、以琴明心的林下襟怀尽显无余，暗合尚简尚淡、追慕古意的审美意趣，悠悠古韵漫溢纸面，引人沉醉。",[23,24,137,25,519,28,7,83,286,199,138,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fc3b17d6c207455e34cbf09781ad9e.jpg",[],{"id":39615,"slug":39616,"title":39617,"dynasty":76,"author":191,"museum":245,"description":39618,"tags":39619,"thumbUrl":39620,"material":1397,"size":1398,"collection":220,"collections":39621,"showCount":479,"zanCount":1769,"manualWeight":48,"mainColor":145},228794,"ming-xiao-kang-zhang-huang-hou-lu-zhi-die-yi-ming-228794","明孝康张皇后箓职牒","此《张皇后箓牒图卷》（孝康张皇后授箓图），全卷大致分为三个部分：第一部分为「三洞赤文總真仙簡」（云篆）、第二部分是五十二张神仙画像、第三部分是整张《箓牒》的正文，即文字部分，内容记录明孝康张皇后参加授箓，成为道教上仙玄君",[23,24,25,26,28,7,284,194,83,1532,63,834,730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f967df2d9b493d13ce84a7a8fbe491e.jpg",[],{"id":39623,"slug":39624,"title":39625,"dynasty":76,"author":191,"museum":245,"description":1975,"tags":39626,"thumbUrl":39627,"material":1397,"size":1398,"collection":220,"collections":39628,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},228406,"di-shi-dong-yi-ming-228406","帝释东",[24,7,28,194,83,1600,63,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facffa2febf11f22c318ed51cdf3bd943.jpg",[],{"id":39630,"slug":39631,"title":39632,"dynasty":76,"author":6509,"museum":245,"description":39633,"tags":39634,"thumbUrl":39644,"material":220,"size":220,"collection":220,"collections":39645,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},228389,"xu-jing-yang-yi-ju-cui-zi-zhong-228389","许旌阳移居","此作用高远章法铺陈，上层危崖嵯峨，飞瀑垂落，秋木虬曲点缀其间，清寂高古。中层为画面核心，仙众环侍主角，衣纹细劲如游丝，设色雅静沉凝，人物神态安然超脱，尽显道骨仙风。下层童仆往来搬运，身形灵动，为幽寂山水添上几分鲜活意趣。\n\n全图工写相济，山石勾勒皴染兼具，林木敷色雅致淡和，将仙隐迁居的出尘意境晕染透彻，笔意内敛醇厚，把叙事感与山水清逸融为一体，尽显晚明人物画的高雅典致。",[23,24,137,155,4304,12037,39632,39635,39636,7,39637,39638,39639,28,22202,762,39640,211,764,39641,39642,39643],"仙隐迁居","道释题材","工写相济","皴染","游丝描","秋木","道骨仙风","清寂高古","出尘意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a52147b095678beb4349cffd858869e.jpg",[],{"id":39647,"slug":39648,"title":39649,"dynasty":76,"author":2318,"museum":245,"description":39650,"tags":39651,"thumbUrl":39652,"material":220,"size":220,"collection":220,"collections":39653,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":145},228386,"mei-hua-you-niao-bian-wen-jin-228386","梅花幽鸟","《画里珍禽》是1978-1 出版的图书，作者是台北故宫博物院。\n宋 惠崇 秋浦双鸳 马麟 暮雪寒禽 李安忠 竹鸠 林椿 杏花春鸟 宋人 乳鸭 桑枝黄鸟 画子母鸡图 画秋塘双雁 竹石鸠子图 梅竹聚禽图 元 王渊 鹰逐画眉 边文进 梅花幽鸟 明 陆治 双奚图 林良 秋鹰 吕纪 雪景翎毛 吕纪 杏花孔雀 孙龙 柔桑戴胜 清 朗世宁 樱桃桑 清人 画蓝靛颏 黑白图版 明 沈周 画鸭 沈周 画鸽 明 沈周 鸠 吕纪 寒雪山奚图 参考图版 图版说明 附英文总说明与目录",[24,25,519,7,28,212,521,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c355535bc70bc33372e8610ce16f087.jpg",[],{"id":39655,"slug":39656,"title":39657,"dynasty":76,"author":191,"museum":245,"description":39658,"tags":39659,"thumbUrl":39662,"material":220,"size":220,"collection":220,"collections":39663,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},228381,"ming-xuan-zong-ma-shang-xiang-zhou-yi-ming-228381","明宣宗马上像轴","画面中帝王骑乘骏马缓行，明黄官袍衣袂微曳，神态从容悠然，尽显松弛闲适的帝王气度。骏马昂首扬蹄，身姿矫健灵动，将驰行动感完美呈现。\n\n背景浅沙平滩之上，芦荻随风轻摆，水鸟掠沙振翅，烘托出郊野清旷疏朗的意趣。整作设色柔和古朴，工细雅致，人物鞍马刻画写实精准，兼具肖像纪实性与山水画的淡远意境，将宫廷驰游的闲逸图景晕染恰到好处，是明代鞍马人物画的精妙之作。",[137,24,25,155,28,7,83,112,178,39660,5572,3024,6920,39661],"芦荻","鞍马人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845b19d053221e30bd84e4eca72a4d5f.jpg",[],{"id":39665,"slug":39666,"title":39667,"dynasty":76,"author":1013,"museum":245,"description":39668,"tags":39669,"thumbUrl":39670,"material":220,"size":220,"collection":220,"collections":39671,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},228361,"da-mo-du-jiang-tu-sun-ke-hong-228361","达摩渡江图","少林七十二绝技之一，又名一线穿、一苇渡江、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为 内壮 。\n为 的一种,能凭借柔软之物在水上等场所前进。\n相传达摩在南方传道已毕，返回时路遇一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n少林七十二绝技之一,又名一线穿,一苇渡江、又名水上 ，俗名踩软绳，即说部中 所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n之一，又名 、 、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、 之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n相传 在南方 已毕，返回时 一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n凭借此功可借竹苇等在水面横行自如，属上乘轻功，非十年苦功不可得。\n其练法殊 非易易，然苟能坚心意志练习，不难成功。\n其法分数步， 入手之初，与飞行功、轻身术相同。\n即先带铅砂，在平地上练习飞驰 ，然后在山路上练习跳跃，更放石块于簸箩中，在其边上行走，逐渐 取去石块，至能在空簸箩边上行走后，即走沙道。\n以上各法，已详见 飞行功、轻身术练法中。\n惟两腿所束之铅砂，亦须按前法以猪血浸炼 ，使成死铅，始可应用。\n带铅以每腿四两起，至五斤为度，平时宜以 药水洗腿，以防损害。\n沙道走过之后，则走棉纸，用厚约三四寸之棉 纸，铺于沙道之中，人行其上，至足印不下陷时，此第一步功夫成。\n然后更以细长之木，系其两端，悬空际，约高二三尺，人即于木上往 来飞行。\n初时木心因承重之故，宕动不已，直要练得人行其上，丝毫 不动为上，至此更易木为巨绳，其法竖竹架，以巨绳横扣于架之两端 ，人于绳上行走，即如现在江湖卖解场中，即俗所谓跑马戏者，所常 见之走绳索是也。\n绳质较软，一着足必向下陷，尤易左右摇摆，不如 木之来往荡动，故练此步功夫亦较为难，直练至人行绳上，绳能不荡 不摇，则第二步功夫成。\n从此将逐渐减细，至粗不盈指之绳，亦能任 意往来于绳上，亦不荡不摇，则第三步功夫成。\n然后以最细之连绳行 之，亦能行走自如者；再将其绳两端系于河之两岸，将绳横拦于河之 水面上，仍按前法行之，能行走自如，则全功成矣。\n功成之后，可在 水面飞行，所谓水面飞行者，亦须略有假借，须用一质地轻浮之物， 如竹片木杆芦苇等物，掷于水面，人即可身立其上，推之前进也。\n余 如浮萍薄草密集之处，菱角荷叶丛生之所，亦可在上行走。\n昔日达摩老祖，传道已毕，只身西去，即以一苇渡江，即系此种功夫。\n然习此种功夫，非十余年苦功，则无以成，且须静心虚气以习之。\n洗腿药水，即以地骨皮、食盐各等量入，煎水乘汤热洗之，则血气融和，皮肤舒畅，上下交感体气究实矣。\n达摩－中国禅宗初祖。\n南天竺婆罗门人，原名菩提多罗，是南天竺香玉王的第三子，禅宗二十七至祖般若多罗到该国传法，菩提多罗从他学法，很得般若多罗的赏识，就给他改名为达摩，意译为道法，是达摩已通达到法的意思。\n梁武帝普通年到达广州，梁武帝闻其名，迎入金陵，但观念不相契合，达摩悄然北上。\n途经北江，没有渡江的工具，遂将一束苇草置于江面，踏蹑而渡。\n「达摩一苇渡江，栾巴噀酒灭火。\n」后至北魏，所到之处，以禅法教人。\n达摩的事迹，随着禅宗的发展，渐趋神异，并成为中国画家、瓷艺家所爱的题材。\n“一苇渡江”明清德化窑达摩瓷塑上常常以此为题材。\n此图为明 的“达摩渡江图”，现藏宁波“天一阁”。\n这件“达摩渡江图”正是道释人物，画的很细腻，宗梁楷“细笔”一类画风。\n人物回首顾盼，两目突出，神采毕现。\n衣纹线条虽简，但非常概括，转折有力。\n此画虽是细写，却有意笔效果。\n孙克弘（15－1611）一作克宏，字允执，号雪居， 人。\n父为进士承恩。\n孙克弘以父荫入仕，官至汉阳太守。\n孙克弘生性巧慧，声音洪亮，状貌疏野，在居处四壁上画苍松老柏。\n善书法，画上常题隶书。\n绘画擅花鸟、人物，有资料说写道释人物则学梁楷。",[23,24,25,155,194,7,28,83,173,63,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49e44cbbf6c2d7b966e9e401cadc7c7.jpg",[],{"id":39673,"slug":39674,"title":39675,"dynasty":18,"author":39676,"museum":245,"description":39677,"tags":39678,"thumbUrl":39679,"material":220,"size":220,"collection":220,"collections":39680,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},227957,"tian-tai-shi-qiao-luo-han-tu-zhou-chang-ji-lin-ting-gui-227957","天台石桥－罗汉图","周常季、林庭珪","此作画境清寂出尘，飞瀑垂泻于危崖之间，古木横生为桥，连通绝险山径。下方三罗汉神态各殊，或抬首凝神远望云端仙侣，或侧身静听，衣纹以铁线描勾勒，敷色调和古雅，将僧者的肃穆憨态刻画入微。\n\n远景云气翻涌，琼楼半隐烟岚，虚实相映衬出凡尘寻仙的幽远意境。画作将禅意融于山水丘壑，人物点缀林泉之间，罗汉的沉静好奇与云山缥缈相融，尽显清逸禅韵，把世外寻仙的悠远意趣藏于笔墨之中，雅致空灵，余味悠长。",[23,24,137,25,28,7,194,83,29,211,1319,14258,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd599052eea77d54ae9e6e164b8670b7.jpg",[],{"id":39682,"slug":39683,"title":39684,"dynasty":18,"author":191,"museum":245,"description":39685,"tags":39686,"thumbUrl":39687,"material":220,"size":220,"collection":220,"collections":39688,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},227907,"qiu-ting-shui-qin-tu-yi-ming-227907","秋汀水禽图","此作以淡寂秋意为骨，绘汀洲水畔之景。枯槎斜出，疏枝带寒，间有柔柯缀着残叶，与岸侧泛红的小花相映，暗显秋深的枯荣之态。水面空濛留白，漾着浅淡水纹，两只水禽正悠游啄饮，翎羽蓬松宛然，意态闲适。天际一羽孤鹤掠空，枝头还宿着小禽，动静之间，将秋日水汀的清寂悄然铺展。\n\n笔触兼用工写，禽鸟刻画精细入微，草木枝梢写意见韵，以小尺幅晕染出辽远空阔的江天秋意，把幽境雅趣藏于方寸之间，淡而有味，余韵悠长。",[23,137,24,28,7,651,30540,34,5053,159,178,4567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35baab3884004df1c48bee2955d8c10.jpg",[],{"id":39690,"slug":39691,"title":39692,"dynasty":18,"author":191,"museum":245,"description":39693,"tags":39694,"thumbUrl":39695,"material":220,"size":220,"collection":220,"collections":39696,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[23,137,24,25,914,81,7,28,29,176,34,83,84,5053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde8b70cacf16880e6a0c9d4be81a8c.jpg",[],{"id":39698,"slug":39699,"title":39700,"dynasty":18,"author":191,"museum":245,"description":39701,"tags":39702,"thumbUrl":39704,"material":220,"size":220,"collection":220,"collections":39705,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},227862,"zao-qiu-ye-po-tu-yi-ming-227862","早秋夜泊图","此作用细腻铁线描勾勒两艘泊船，舱室回廊、高耸桅杆皆刻画入微，淡赭轻敷点缀舱间细节，古拙雅致。远景水榭楼台隐在朦胧夜色间，烟水空濛晕染开早秋清寒。\n画面以小景写幽情，将旅人行舟暂歇的安然揉进静谧江色里，写实中带着诗意澹远，尽显宋人体察日常的雅致笔力，把初秋江上夜泊的清寂况味铺陈开来，淡而不寡，静中藏着羁旅安然的意趣。",[23,24,25,81,28,7,111,84,196,29,39703],"早秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9709ec5d8d3f68db6c128de0f7e73a9.jpg",[],{"id":39707,"slug":39708,"title":39709,"dynasty":18,"author":1040,"museum":245,"description":39710,"tags":39711,"thumbUrl":39712,"material":220,"size":220,"collection":220,"collections":39713,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},227738,"shen-pin-tu-li-song-227738","神品图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,137,25,914,81,28,7,29,84,83,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4d68682181dca7241b159da51e2ccc.jpg",[],{"id":39715,"slug":39716,"title":16710,"dynasty":18,"author":5686,"museum":245,"description":39717,"tags":39718,"thumbUrl":39719,"material":220,"size":220,"collection":220,"collections":39720,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},227535,"yuan-lu-tu-yi-yuan-ji-227535","易元吉（生卒年不详，公元11世纪左右），字庆之，湖南长沙人。北宋时期著名画家。天资颖异，灵机深敏，尤善画猿猴，并因此而闻名天下。古代绘画评论家把獐猿画看成是易元吉的专工独诣，认为是“世俗之所不得窥其藩”的绝技。",[23,24,28,7,582,7318,178,313,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04cd6b97e915aeed8c1ec2cec2231d8a.jpg",[],{"id":39722,"slug":39723,"title":14750,"dynasty":18,"author":191,"museum":245,"description":39724,"tags":39725,"thumbUrl":39726,"material":220,"size":220,"collection":220,"collections":39727,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},227380,"qiu-zhu-wen-qin-tu-yi-ming-227380","深秋时节，荷叶枯萎，数枝折断，叶面已破成网。 几只野灵飘散散落，河岸上的两只野鸭在秋荷塘畔，悠闲地享受着秋日的阳光。",[24,25,914,7,28,212,1521,157,196,314,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2ab1fd7d2ce25074ac44af4540be96.jpg",[],{"id":39729,"slug":39730,"title":39731,"dynasty":18,"author":191,"museum":245,"description":37561,"tags":39732,"thumbUrl":39733,"material":220,"size":220,"collection":220,"collections":39734,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":49},227359,"liu-xi-yuan-yang-tu-ye-yi-ming-227359","柳溪鸳鸯图页",[23,137,24,914,28,7,1851,27290,1435,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa830ca8abe60aea47e38b08368f2e9c6.jpg",[],{"id":39736,"slug":39737,"title":39738,"dynasty":132,"author":191,"museum":245,"description":5696,"tags":39739,"thumbUrl":39740,"material":1397,"size":1398,"collection":220,"collections":39741,"showCount":479,"zanCount":48,"manualWeight":48,"mainColor":145},227274,"bi-hua-wu-dai-bei-song-yi-ming-227274","壁画 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横25．6厘米",[],{"id":40625,"slug":40626,"title":40627,"dynasty":150,"author":191,"museum":20,"description":40628,"tags":40629,"thumbUrl":40630,"material":424,"size":13152,"collection":220,"collections":40631,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},234902,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234902","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,519,28,27,7,285,173,29,84,85,86,211,34,83,769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad5383086c2addf23d56ecae8eba42a.jpg",[],{"id":40633,"slug":40634,"title":40635,"dynasty":76,"author":191,"museum":245,"description":6375,"tags":40636,"thumbUrl":40637,"material":220,"size":220,"collection":220,"collections":40638,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},234658,"ming-ren-lou-ge-yan-le-ce-yi-ming-234658","明人楼阁演乐册",[24,25,519,81,28,7,29,84,83,34,211,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c26e59a95d5e383cde75a767dfd9c6f.jpg",[],{"id":40640,"slug":40641,"title":40642,"dynasty":76,"author":40643,"museum":245,"description":40644,"tags":40645,"thumbUrl":40646,"material":220,"size":220,"collection":220,"collections":40647,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":145},234492,"hua-niao-shan-ye-wei-xue-lian-234492","花鸟扇页","魏学濂","魏学濂（1608年—1644年），明代官员。字子一，号内斋，一作容斋，浙江嘉善人，魏大中次子，崇祯十六年（1643年）进士，擢庶吉士，明亡后先降李自成，不久又羞愧自缢。平生擅画山水，兼工花鸟。",[677,914,24,25,28,7,212,299,2653,453,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6bd18f9544bbe768327b77926cd6db.jpg",[],{"id":40649,"slug":40650,"title":40651,"dynasty":150,"author":191,"museum":245,"description":19766,"tags":40652,"thumbUrl":40654,"material":1397,"size":1398,"collection":220,"collections":40655,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},234446,"da-lai-la-ma-yuan-liu-sang-jie-gong-ba-tang-ka-yi-ming-234446","达赖喇嘛源流——桑结贡巴唐卡",[14895,194,251,28,7,29,84,83,409,2602,11514,86,178,40653,91,198],"护法像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8e2f08a901fdb378793604111aff49.jpg",[],{"id":40657,"slug":40658,"title":40659,"dynasty":150,"author":191,"museum":245,"description":40660,"tags":40661,"thumbUrl":40662,"material":1397,"size":1398,"collection":220,"collections":40663,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":145},234384,"xiao-jing-xian-huang-hou-chao-fu-xiang-zhou-yi-ming-234384","孝敬宪皇后朝服像轴","此作为工笔重彩肖像，人物温婉端凝，沉静雍容尽显后妃仪范。明蓝朝服上，金线缂织的五爪矫龙腾跃于祥云之间，江崖海水纹样晕染细腻、层次绵密，朱金配色华贵却不艳俗。头冠珠翠错落规整，朝珠组佩垂坠合度，衣纹褶皱与织绣肌理都描摹入微，严循礼制的同时尽显织造工艺与绘画工法的精妙。素净背景衬得人物愈发端庄肃穆，以写实笔触定格宫廷后妃的威仪气度，将典制规范与工笔审美融为一体，尽显宫廷肖像画的精湛造诣。",[24,155,7,28,83,341,63,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7a0d0b82c8094e5e71b3e7cf698bb7.jpg",[],{"id":40665,"slug":40666,"title":40667,"dynasty":150,"author":2779,"museum":20,"description":40668,"tags":40669,"thumbUrl":40670,"material":40,"size":40671,"collection":220,"collections":40672,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":145},234112,"bing-xi-tu-juan-jin-kun-234112","冰嬉图卷","冰嬉是一种带有节令特色的体育活动。清代宫内有冬季冰嬉的习俗，并将其视为“国俗”，乾隆皇帝说“冰嬉为国制所重”。每年从八旗官兵中挑选“善走冰”的能手入宫训练，冬至到“三九”时在西苑冰上举行冰嬉。皇帝率王公大臣等前往观看，赛后皇帝分等次，恩赏银两。\n此图中描绘的冰嬉地点应该是金鳌玉蝀桥（即今北海桥）之南的水面，表演的是转龙射球项目。画面上右侧众人簇拥的就是皇帝华丽的冰床。冰场上，旗手和射手们间隔排列，盘旋曲折滑行于冰上，远望之，蜿蜒如龙形。在将近御座处，设一旌门，上悬一球，称天球。转龙队伍滑至此处时，分别射矢，中者有赏。另外在滑行队伍中还有各项杂技表演，如舞刀、叠罗汉及花样滑等。表演者的各种姿态让凛冽的寒冬充满生机。\n乾隆皇帝多次命画家将冰嬉场面绘成画卷收藏起来。这种画卷应该是一种写实作品，再现当时的场景。\n图中尽收西苑内的远近亭台楼阁，雾霭掩隐的房屋和挂霜的树枝表明北方正当严冬。\n画面上有嵇璜书写的乾隆皇帝《御制冰嬉赋有序》。",[150,24,25,26,7,28,83,84,34,1499,2782,2784],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd27be23d302daec6c9572471dd8685.jpg","纵35厘米，横578.8厘米",[],{"id":40674,"slug":40675,"title":40676,"dynasty":18,"author":191,"museum":20,"description":40677,"tags":40678,"thumbUrl":40679,"material":67,"size":40680,"collection":220,"collections":40681,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},234078,"zhu-jian-yuan-yang-tu-ye-yi-ming-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水边一枝红蓼，小花盛开。水鸟发现波中青虾，悄然飞落红蓼枝头，引喙而啄。红蓼被水鸟的体重与蹬力压弯，梢头、叶尖浸入水中。而青虾在水中灵活地悠游，对面临的危险浑然不觉。自然界中这惊险的一霎被巧妙地摄入绢素，极为生动传神。水禽和红蓼设色鲜丽，工笔细写。小鸟纤细的毛羽清晰可数，连蓼花粟米大的花冠也用紫红、粉白晕染得一丝不苟，层次分明。而水中的青虾和荇藻则采用模糊的手法表现，唯以淡墨绿一色染成，类似写意画法。因而虽不画水，却水旱两界分明。",[137,24,25,519,7,28,212,299,17939,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd0e66811feaeb67ea3c69d5e352504.jpg","25.2x26.8cm",[],{"id":40691,"slug":40692,"title":40693,"dynasty":76,"author":12763,"museum":20,"description":40694,"tags":40695,"thumbUrl":40696,"material":599,"size":40697,"collection":220,"collections":40698,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},233744,"san-jiao-tu-zhou-ding-yun-peng-233744","三教图轴","此图画孔子、老子、红衣罗汉坐于树下共同探究玄理的情景。画中三位智慧长者面目严肃，神情专注，孔子儒雅敦厚，循循善诱，正发表言论；老子道貌岸然，谨慎而善辩，他注视着对方，似乎准备随时发问；红衣罗汉双目低垂，安详而平静，从他紧锁的眉头可以看出他已沉于思索之中。明代，随着儒、道、释三教的融合，宗教题材的绘画也随之有了世俗化的倾向，此画中的宗教人物与作为供养的神仙不同，脱离了程式化的因素，有着鲜明的个性特征和情绪化色彩，同时融入了文人的审美情趣。其人物造型古拙、气质端庄文雅，体现了明后期文人画注重表现个性的风尚。画法上，运用“高古游丝描”，细劲而“笔力伟然”，既有古朴之感，又具有时代气息。设色古妍冷隽，尤其是人物服饰的红色、兰色与赭色，赋色沉稳和谐。山石树木勾勒添色，取法文徵明，小青绿设色，文静典雅，营造了一种静谧清淡的意境，引人入胜。",[24,155,28,83,194,7,34,211,12767,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a31bf07bdede9ea0b3bd2d2ca86d3e2.jpg","纵115.6厘米，横55.7厘米",[],{"id":40700,"slug":40701,"title":40702,"dynasty":150,"author":191,"museum":245,"description":40703,"tags":40704,"thumbUrl":40705,"material":220,"size":40706,"collection":182,"collections":40707,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":145},233098,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233098","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[29,83,112,1787,2797,7,172,286,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbade98b43e515adc2f6308244833407.jpg","87.3×50cm",[182,125],{"id":40709,"slug":40710,"title":40711,"dynasty":228,"author":191,"museum":245,"description":34164,"tags":40712,"thumbUrl":40713,"material":220,"size":220,"collection":220,"collections":40714,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":697},233031,"wu-zong-huang-di-hou-xiang-yi-ming-233031","武宗皇帝后像",[24,25,7,28,83,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3877d0590e706000546909cc3af31fd.jpg",[],{"id":40716,"slug":40717,"title":40718,"dynasty":18,"author":191,"museum":20,"description":40719,"tags":40720,"thumbUrl":40721,"material":627,"size":40722,"collection":220,"collections":40723,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},233019,"song-yin-ce-zhang-tu-ye-yi-ming-233019","松阴策杖图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。”",[24,137,28,7,29,83,1068,313,195,4188,705,40519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5575f00a384fb24df04d011160151d6.jpg","28x28.6厘米",[],{"id":40725,"slug":40726,"title":30158,"dynasty":18,"author":191,"museum":20,"description":40727,"tags":40728,"thumbUrl":40729,"material":424,"size":40730,"collection":220,"collections":40731,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":145},232995,"bai-zi-xi-chun-tu-ye-yi-ming-232995","此图以极细腻的笔法刻画百子嬉戏游乐的场面。亭台之下的儿童动态十足，他们或舞狮追逐，或斗草争鞠，或玩木偶，或上树，或泛舟；而亭台之上的儿童则较收敛成熟，或品评诗画，或对弈下棋，或抚弄琴弦，或围坐议享，画面人物杂而不乱，繁而不冗。设色和谐明丽。“狮子舞”是人们熟识喜爱的传统民间舞蹈，有关狮子舞的最早记载见于三国魏人孟康的《汉书·礼乐志》注，注中有“象人，若今戏鱼虾狮子者也”。迄今所见最早的狮子舞形象是新疆吐鲁番阿斯塔那墓出土的两人扮成的狮子。此图原载《四朝选藻册》（见《石渠宝笈续编》）。签题苏汉臣作。按《图绘宝鉴》：“苏汉臣，开封人。宣和画院待诏。师刘宗古，工画道释，人物臻妙，尤善婴儿。绍兴间（1131-1162）复官。孝宗隆兴初（1163），画佛像称旨，补承信郎。”世人凡见婴戏图，便题苏汉臣作。此图亦题汉臣作，不知何据。是陈宗训以来的作风，有动作而无表情。名手之笔，不当如是。故改题无名氏作。",[24,7,28,519,83,84,92,1744,17425],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7127b27e089c572a605b01e9b762712a.jpg","纵26.6cm，横27.7cm",[],{"id":40733,"slug":40734,"title":40735,"dynasty":190,"author":40736,"museum":245,"description":40737,"tags":40738,"thumbUrl":40739,"material":1397,"size":1398,"collection":220,"collections":40740,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":145},231730,"da-zheng-nian-chao-zhi-juan-jin-cun-zi-hong-231730","大正年 朝之卷","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,24,25,26,28,7,29,21581,343,10979,13499,27036,175,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e5f661c7377d7282ed7dd3a7183f6c.jpg",[],{"id":40742,"slug":40743,"title":40744,"dynasty":190,"author":40745,"museum":245,"description":40746,"tags":40747,"thumbUrl":40748,"material":1397,"size":1398,"collection":220,"collections":40749,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":145},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,25,26,28,7,81,194,284,730,285,83,84,85,86,112,582,29,176,178,34,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":40751,"slug":40752,"title":40753,"dynasty":76,"author":191,"museum":134,"description":40754,"tags":40755,"thumbUrl":40756,"material":627,"size":40757,"collection":220,"collections":40758,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},231534,"gong-xiang-tu-yi-ming-231534","贡象图","据媒体报道，6月2日21时55分，来自西双版纳的野象群继续向北迁移，已进入昆明市晋宁区。大象要是进入城市怎么办？这成为一个让人无比担心的问题。毕竟历史上，曾发生过大象进城的事。\n南朝梁天监六年（507年）三月，有3头大象进入了建邺（今南京）。当时，梁朝与北魏之间正在钟离（今安徽凤阳）这个地方厮杀得热闹。当此紧要关头，为何会有大象入城？这3头大象又是从何而来？\n南北朝时期，那时的气候比现在还要温暖，加之长江下游地区江河湖泊较多，水草肥美，江南之地非常适合野象的栖息。进城的野象，自然是来自于城池和聚落之外，广袤的原野。\n而再往前数300年，江南还发生过一件被写入史书并流传至今的故事：202年左右，官渡之战刚刚发生不久，曹操打败了人生大敌袁绍，曹操的儿子曹冲方五六岁，这时，孙权向曹操赠送了一头巨象。\n孙权是在211年建石头城的，而202年左右，他已接替孙策的位置，此时正驻守吴郡。赠送曹操大象，恰是就地取材之举，这则历史记录也说明位于江南的太湖流域是野象栖息之地。\n而至于曹操，当时应在许都。东汉建安元年（公元196年），曹操挟天子以令诸侯，以“洛阳残破”为由迁都于许昌（位于河南省中部），即称许都。曹操得到孙权赠送的大象后，兴致高昂，“欲知其斤重”，还要称大象的重量。于是就有了曹冲称象的故事。\n学者们从这件事推断，此时河南已很少甚至没有大象了。要知道，在更古早的时候，这里曾是野象的聚集地。甚至河南的简称“豫”这个字中便保留了大象的踪迹。河南自古为“豫州”，古文字学家徐中舒认为，“豫”，为“象邑”二字的合文，“豫当时以产象得名，与秦时之象郡以产象得名者相同”。\n而在上世纪30年代，河南安阳殷墟，曾发现大象遗骨。当时学者都认为那是从东南亚输入进来的，但随着更多文献资料和考古遗址的发掘，中原有野象的论调成为主流。在商代，有“商人服象，为虐于东夷”的记载；周武王灭商，入主中原后，“驱虎豹犀象而远之”。这也说明当时的中原之地，是不缺乏大象的。\n而据历史地理学家考证，在远古时代，大象的活动范围甚至到达北京附近。只是后来随着人类活动的频繁，以及气候的变化，畏寒的大象活动边界逐渐从北向南退却，到了晋代，在长江下游地区，野象的主要栖息地最北已退至江淮流域了。南朝梁承圣元年（552年），也就是侯景之乱结束的这一年，有数百野象流窜于淮南之地，规模巨大。在这一时期，南京城有野象进入，也就不奇怪了。除了507年3头大象进入南京城之外，在稍早的492年、493年，还有“象至广陵”的记载。广陵，即现在的扬州。学者们认为，这都说明当时野象数量较多。\n但是，长江下游毕竟是一个以平原为主的地区，北面与黄淮平原相连，没有大山阻挡北来的寒流，加之由于长江下游开发较早，人类活动较多，大概从17世纪30年代起，长江下游地区便没有野象的踪迹了，野象所达到的最北之地，已退到了浙江钱塘江以南。\n在长江下游之外，因为地形或人口稀少等原因，野象的退却要稍慢一些。四川盆地更为特殊，它在群山环绕之中，气候温暖，河流丰沛，历史上那里的野象就非常之多。位于成都东北广汉市的三星堆遗址，每一次发掘都能发现大量象牙，即为明证。\n1986年，三星堆两大祭祀器物坑相继出土。其中，一号祭祀坑出土了13件象牙，二号祭祀坑出土了67件象牙。随着发掘工作的继续，在其他坑陆续也有象牙出土。2021年3月，三号祭祀坑又出土了127件象牙，在四号祭祀坑也发现了疑似被烧过、呈现出炭灰色的象牙。加之5月28日出土的10件象牙，三星堆共出土了200余件象牙。\n2001年的春天，在与三星堆文化一脉相承的金沙遗址中，考古人员发现了数量惊人的象牙。它们朝向一个方向，层层叠叠累在一起，沉默无声地震惊了世界。从断面可以看到，这些堆积的象牙多达8层。经过估计，其重量可达两三吨。保存完好、数量如此众多的象牙有规律地堆积，这不仅在中国，在世界上也是首次。\n按照我们今天的认知，亚洲象生活在热带地区，常见于南亚和东南亚。而在我国，亚洲象仅分布于云南省南部。但古籍上的记载却与我们现在的认知不同。\n《山海经·海内南经》中有“巴蛇食象”一说，文字记载：“巴蛇食象，三岁而出其骨，君子服之，无心腹之疾。”此处的“巴蛇”就是指《山海经·海内经》中“西南巴国之蛇”。《山海经·海内经》中记载：“西南有巴国，又有朱卷之国，有黑蛇，青首，食象。”郭璞在此注：“即巴蛇也。”\n由此可见，巴蛇即是生活在西南的青首黑身的蛇。传说巴蛇能够吞食大象，三年才吐出大象的骨头来。而人服食了巴蛇的肉，能够治疗心腹部的疾病。按照《山海经》的记载，古蜀不仅有巨蛇，还有大象。\n若说《山海经》带有神话传说的色彩，不那么让人信服，那么在《国语·楚语》中也有大象相关的记载：“巴浦之犀、牦、兕、象，其可尽乎。”可见在当时，古蜀地区不仅有大量的象，还有犀牛、牦牛、兕（形状似水牛，通身青黑色，长着一只角的动物）。",[24,7,28,155,83,582,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a8bfad94371db1175d4efedbedba86.jpg","123x51厘米",[],{"id":40760,"slug":40761,"title":40762,"dynasty":228,"author":191,"museum":245,"description":40763,"tags":40764,"thumbUrl":40765,"material":220,"size":220,"collection":220,"collections":40766,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},231494,"you-xing-shi-nv-tu-you-ti-ba-yi-ming-231494","游行仕女图（有题跋）","笔致苍朴古雅，行书线条凝练舒展，藏锋裹毫间带着元人尚意的闲散意趣。题文追慕唐人仕女风神，暗合画中仕女迤逦游行之态：佳丽施徐缓步，罗衣轻扬，鬓畔簪花掩映姣容，团扇半遮更添幽婉。\n\n题跋与画作相映成趣，旧绢泛黄晕开浅淡包浆，朱印斑驳带着岁月摩挲的质感，字里行间铺展出闺阁柔婉情致，糅合元人审美意趣，静静诉说古画藏住的缱绻旧事。",[23,24,25,83,59,7,28,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede83ee94cce6d1a2e984a3f42c8bc6b.jpg",[],{"id":40768,"slug":40769,"title":40770,"dynasty":18,"author":191,"museum":245,"description":40771,"tags":40772,"thumbUrl":40773,"material":220,"size":220,"collection":220,"collections":40774,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},230989,"bian-zhuang-ci-hu-yi-ming-230989","卞庄刺虎","绢色沉雅古旧，笔意柔婉细腻。两只幼虎滚作一团，扭打嬉闹，憨态尽显。虎身斑纹晕染匀净，鬃毛细笔轻勾，蓬松柔润感呼之欲出，全然不见山君凶猛戾气，唯有稚拙亲昵的鲜活意态。浅草以淡墨轻勾，疏密错落间衬出幼虎娇憨身形，将林间顽童般的嬉闹瞬间凝于绢素之上，以温柔笔触消解了虎的威肃，把宋人的雅致意趣揉入这方小景，平淡里漫溢出鲜活生机，旧时光的温润意蕴随绢色缓缓晕开。",[24,28,7,3794,582,155,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b3dea2b70d90c1b3344cbb5f13a467.jpg",[],{"id":40776,"slug":40777,"title":40778,"dynasty":190,"author":26896,"museum":245,"description":26897,"tags":40779,"thumbUrl":40782,"material":67,"size":1398,"collection":220,"collections":40783,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},230562,"shi-liu-luo-han-xiang-02-jia-nuo-jia-fa-cuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230562","十六罗汉像02迦诺迦伐磋尊者",[23,24,25,155,194,28,7,83,157,1707,1029,211,40780,26451,13222,40781,1555],"供桌","信徒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739efe7b9fa05345c1d6d721ac69f85.jpg",[],{"id":40785,"slug":40786,"title":40787,"dynasty":150,"author":40788,"museum":245,"description":40789,"tags":40790,"thumbUrl":40791,"material":220,"size":220,"collection":220,"collections":40792,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":145},230149,"jiu-ri-xing-an-wen-yan-tu-ye-fang-lin-230149","九日行庵文宴图","叶芳林","这幅雅集图里，茂林修竹、丹木青柯错落铺展，园林雅致悠然。文士或围坐展卷品评，或挥毫泼墨，松下石边二三知己清谈对坐，侍童随侧研墨奉茶，众人情态各别、意态从容。\n\n设色清润秀雅，淡晕花青赭石晕染花木，衣纹线条简净流畅，将文人士大夫秋日宴聚、诗酒流连的闲逸高情细腻铺陈，把文宴间的闲散风雅尽数描摹，尽显旧时文人雅集的悠然意趣。",[23,24,25,137,26,28,7,83,34,2653,314,13185,13653,1674,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0249e53ec64a91f819c2127887290d53.jpg",[],{"id":40794,"slug":40795,"title":40796,"dynasty":76,"author":191,"museum":245,"description":40797,"tags":40798,"thumbUrl":40799,"material":220,"size":220,"collection":220,"collections":40800,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":1833},228820,"ju-shou-yi-ji-gu-hua-ce-yi-ming-228820","鞠寿簃集古画册","此作以工笔绘就水上演武图景，主体楼船层台重垒，舰首狞猛兽形威仪赫赫，旌旗猎猎舒展。甲板之上，士卒或执械列队，或奔走值守，各司其职，将水师校阅的整肃之气尽显。水面间三两快船穿梭，舟上健儿动作利落矫健，细碎晕染的水纹晕开行舟的动感。古雅沉郁的色调晕染出旧时光晕，精细的线条勾勒出楼船的精巧形制与人物神态，纪实之中带着古典工笔的雅致意趣，静中见动，将水军演武的鲜活场面凝于绢素之上，尽显水师的整肃气势。",[23,24,7,28,81,519,83,112,111,84,196,2782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d335e817b2ea77b1411cd30bdeff314.jpg",[],{"id":40802,"slug":40803,"title":40804,"dynasty":76,"author":191,"museum":245,"description":40805,"tags":40806,"thumbUrl":40807,"material":1397,"size":1398,"collection":220,"collections":40808,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},228808,"lu-ya-tu-zhou-yi-ming-228808","芦鸭图轴","淡赭晕开汀洲暮色，细劲墨线勾勒芦苇，叶梢随晚风欹斜错落，疏密间漫开清寂秋意。\n\n两只芦鸭静栖岩矶，抬首者绒羽蓬松，翎羽层次分明，墨色浓淡过渡柔和，似在聆听水泽秋声；蜷卧者敛息安闲，将野禽的恬然之态晕染入微。画面设色清雅柔和，无繁复铺陈，以极简笔意勾勒出郊野水畔的悠然生机，将荒寒秋意与栖禽的闲澹相融，尽显江南泽国的静谧闲雅，把秋日水泽的幽寂和生灵的野逸平衡得恰到好处，淡远空濛之余，余韵悠长。",[23,137,24,25,155,28,7,212,2708,1521,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8344bd58fa2be0ddc84d2f4c79e5c0ff.jpg",[],{"id":40810,"slug":40811,"title":40812,"dynasty":76,"author":191,"museum":245,"description":1975,"tags":40813,"thumbUrl":40814,"material":1397,"size":1398,"collection":220,"collections":40815,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},228416,"fu-hui-dong-quan-tu-yi-ming-228416","赴会东全图",[24,28,7,194,83,29,34,31,1600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b687fd5235dc9913210ece4e58eb6fc.jpg",[],{"id":40817,"slug":40818,"title":40819,"dynasty":76,"author":40820,"museum":245,"description":40821,"tags":40822,"thumbUrl":40825,"material":1397,"size":1398,"collection":220,"collections":40826,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},228348,"you-xian-tu-shen-xi-yuan-228348","游仙图","沈希远","山水宗马远，亦善传神。洪武（一三六八-二二九八）中写御容称旨，授中书舍人。",[23,24,25,26,28,7,172,29,83,34,211,85,86,176,13148,40823,40824],"树木茂密","山石险峻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68de92a5cd889b76de35179cab49741b.jpg",[],{"id":40828,"slug":40829,"title":40830,"dynasty":228,"author":191,"museum":245,"description":40831,"tags":40832,"thumbUrl":40833,"material":220,"size":220,"collection":220,"collections":40834,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},228202,"xia-chi-shuang-e-tu-ye-yi-ming-228202","夏池双鹅图页","此作用色清简枯淡，以水墨晕染出夏池幽寂之境。画面双鹅为意趣核心，一鹅昂首振翅，白羽晕染层次细腻，绒羽蓬松宛然在目，翅根淡墨晕开融于池水，似将破水而起，满是灵动野逸。另一鹅垂颈敛翼，姿态闲静安适，一动一静，相映成趣。\n\n背景以淡墨点汀渚小藻，枝梢偃仰朦胧，暗合夏日溽热将散的慵懒松弛。全画不做繁复勾勒，以晕染写就形神，将幽塘里的片刻生趣轻然定格，带着萧散空寂的元画意韵，淡而有味，余韵悠长。",[23,24,137,25,519,28,7,212,5181,1091,34643,14467,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a479a5c9e58f04cbb797b9a5f3f521c.jpg",[],{"id":40836,"slug":40837,"title":17600,"dynasty":228,"author":648,"museum":245,"description":40838,"tags":40839,"thumbUrl":40840,"material":220,"size":220,"collection":220,"collections":40841,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},228172,"er-ma-tu-juan-ren-ren-fa-228172","此作以两马对照，道尽世相。肥马油光水滑，络首垂缰，姿态轩昂，全然是养尊处优之态；瘦马骨瘦嶙峋，绳索缠身，垂首缓步，尽显潦倒疲顿。\n\n作者以马喻世，将朝堂贪腐官吏与廉能寒官的境遇暗藏其中，辛辣讽刺吏治不公。后附题跋笔墨苍劲，点明画作托物言志的深意，工笔写实兼带写意讽喻，设色雅致克制，将状物抒情融为一体，是借物针砭时弊的经典笔墨。",[23,137,24,25,26,7,28,112,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8000c097545c3f6282e70f9b5caa8d.jpg",[],{"id":40843,"slug":40844,"title":40845,"dynasty":18,"author":191,"museum":245,"description":40846,"tags":40847,"thumbUrl":40848,"material":220,"size":220,"collection":220,"collections":40849,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":49},227937,"gao-shi-mi-lu-tu-yi-ming-227937","高士麋鹿图","此作用边角式构图铺展幽境，苍松斜曳出枝，笔墨老辣苍劲，松针细密尽显写生功底。暮色如墨晕染，空濛氤氲间，林下高士凭石闲坐，身侧童子垂手侍立，石上炉烟轻扬，似正煮茶清谈。浅水之畔麋鹿垂首徐行，动静相映。整幅以水墨晕出夜色沉凝，将幽居林泉、物我两忘的雅意融于尺幅。简淡空灵间禅意暗生，尽显宋代文人寄情丘壑、追慕清远的林下风流，是南宋小品山水以景抒怀的精妙之作。",[23,24,25,7,28,83,582,1068,314,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06cd72897f04ff40824e6b0698e83573.jpg",[],{"id":40851,"slug":40852,"title":40853,"dynasty":18,"author":1275,"museum":245,"description":40854,"tags":40855,"thumbUrl":40859,"material":220,"size":220,"collection":220,"collections":40860,"showCount":616,"zanCount":48,"manualWeight":48,"mainColor":145},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[23,24,25,26,285,173,284,855,28,8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第2屏",[23,24,7,28,83,637,6722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf5720eb89db9c8280e686504a7f874.jpg",[],{"id":41831,"slug":41832,"title":41833,"dynasty":190,"author":41834,"museum":245,"description":41835,"tags":41836,"thumbUrl":41837,"material":1397,"size":1398,"collection":220,"collections":41838,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},231720,"ri-ben-lian-cang-shi-dai-di-qi-juan-juan-ben-fa-yan-yuan-yi-231720","日本镰仓时代 第七卷绢本","法眼圆伊","这幅绘卷诗画合璧，河川乡野铺展为鲜活舞台，左侧楼阁雅集、河滨行旅络绎，右侧町外农舍间，田垄劳作、涉水救难的日常图景一一铺陈，尽显俗世百态。\n\n古雅沉郁的绢本底色上，朴拙生动的线条勾勒出鲜活的世相烟火气，中段的和歌文书串联起浮生情爱与幽微思绪，将市井悲欢、乡野闲情与文学意趣交织，让画面叙事与文字共情融为一体，带着旧物的岁月温度，静静诉说着中古日常的细腻况味。",[23,67,26,28,7,83,29,31,36,91,112,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726c0e520b1bd318e1fa83179658cdaf.jpg",[],{"id":41840,"slug":41841,"title":41842,"dynasty":76,"author":22889,"museum":245,"description":41843,"tags":41844,"thumbUrl":41845,"material":11974,"size":41846,"collection":220,"collections":41847,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":145},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[23,24,25,26,29,28,172,7,30,211,34,37,18158,1068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","161×42.9cm",[],{"id":41849,"slug":41850,"title":41851,"dynasty":76,"author":191,"museum":152,"description":41852,"tags":41853,"thumbUrl":41854,"material":67,"size":41855,"collection":220,"collections":41856,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},231543,"han-yi-ke-xiang-yi-ming-231543","韩宜可像","洪武元年（1368），荐授山阴教谕，旋升为监察御史。耿直敢言，弹劾不避权贵。时丞相胡惟庸、御史大夫陈宁、中丞涂节得宠于太祖朱元璋。一日，三人正与太祖从容燕语，宜可直入出示劾稿，弹劾三人险恶奸佞，恃功怙宠，专权树党，擅作威福等罪状，奏请斩此三人。太祖大怒说：“快口御史，竟敢排陷大臣！”命锦衣卫逮捕下狱。旋即释放。洪武九年（1376年），出为陕西按察司佥事。当时官吏有罪，凡处笞刑以上者皆谪屯凤阳，韩宜可上疏抗争，认为官吏有罪，当按情节轻重分别治罪，不宜一概谪屯凤阳。太祖从之。后入朝京都，太祖将罪人没官男女赐予诸司，韩宜可独不受，极言“有罪不应牵连家属，为古来定制。家属连坐，乃滥施刑罚。罪人家属无罪，不当以罪人家口分给各官”。\n曾奉命撰写祭祀钟山、大江文，谕日本、征乌蛮诏，皆合旨意，特授山西右布政使。后因事被谪云南。建文帝即位，起用为云南参政，入拜左副都御史，卒于官。",[23,24,28,7,83,63,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cd3ccfa03c0eb32543d33b262f1351.jpg","142.9x82.1厘米",[],{"id":41858,"slug":41859,"title":41860,"dynasty":18,"author":41861,"museum":134,"description":41862,"tags":41863,"thumbUrl":41864,"material":67,"size":41865,"collection":220,"collections":41866,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":1833},231415,"san-xian-shou-jian-tu-yan-wen-gui-231415","三仙授简图","燕文贵","此图原藏清内府钟粹宫，原图无款印，签题“燕文贵二仙授简图”：图描绘世外洞府一处，洞前为一片宽阔的田野，临近洞处为坡岸，碎石横卧，草木和幽篁相间杂牛-在洞前的左侧有几棵古松，树干粗大，向左倾斜生长，枝干曲直向上，树千长有疤节，茂密的枝叶形成浓荫，将其洞府笼罩，洞府前二仙相对而坐，均为道家装束，正面一位年长者以披叶衣，赤足支膝，绾双丫髻，双日凝神，目光视着前方；正面左侧一位头披长发于背部，赤胸支着右腿，右手放置膝部，正在专心聆听对面一位仙者论经说道；正面右侧一位右腿盘坐、左腿支撑，身披道衣绾双髻，手持简册，上体前倾，右手指划，似在论经说道，神情专注，十分投入。\n燕义贵的绘画题材较为广泛，山水最为突出：他画山水不专师法，自成一家，景致多坐，使人有身临其境的感觉，他是一个来自民间的画家，他熟悉并喜爱乡间生活，即使在布局宏大的11．真水画上，也安排各种富于生活情趣的细节：刘道醇《圣朝名画评》说他“初师河东郝惠”，之后“不师于古人，自成一家，而景物万变……，燕家景致无能及者”：燕文贵除擅长山水外，还精于人物画和界画：此《三仙授简图》是他人物画的代表作。\n此图以幽深静寂的洞府为布景，画家用抑朴的线条显示道衣厚实的质感和盘旋褶皱的衣纹，线描笔法劲练，古松数株，也画得坚劲有力：图中人物面部表情，有声有色，特别是前面左边赤胸者，被对面一位手持简册仙人的话语所吸引，聚精会神地凝听着：画家驾驭人物性格，再现特定情境的功力在这一作品中得到充分的表现，树石皆湿笔，松身之鳞，略圈数笔，即以墨水晕染浅深，上缠古藤，其条下垂，用笔极细，若断若续，总之，全图着色淡雅，勾线坚凝而多折，二位仙人姿态各不相同，并在变化错落中达到和谐统一。",[137,24,25,28,7,172,83,29,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde1e2940ee2ffd9f620cc4bb8d71b99.jpg","46.3×41.3公分",[],{"id":41868,"slug":41869,"title":9280,"dynasty":18,"author":191,"museum":134,"description":41870,"tags":41871,"thumbUrl":41872,"material":2246,"size":41873,"collection":220,"collections":41874,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},231082,"hua-ying-tu-yi-ming-231082","此作以苍鹰为魂，猛禽踞于古松蟠枝之上，身姿挺拔傲岸，目光锐利如炬，铁爪紧扣虬结老干，将猛禽的悍戾威严尽显无遗。翎毛晕染精细，蓬松质感逼真入微，分毫毕现猛禽风神。\n\n淡墨晕染出空寂背景，衬出古松的苍劲荒疏，整幅画面工致写实，兼具文人意趣，将猛禽英武与古木苍浑相融，尽显精妙造诣，题跋环衬，书画相映，更添古雅厚重的沉静气韵。",[24,25,7,28,2362,1499,653,178,23264,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e583ed5386de66a99ee8f7592775a71.jpg","131.8x65.3",[],{"id":41876,"slug":41877,"title":41878,"dynasty":150,"author":23361,"museum":245,"description":41879,"tags":41880,"thumbUrl":41881,"material":220,"size":220,"collection":220,"collections":41882,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":145},230962,"jie-jiao-tu-dong-bang-da-230962","解角图","此作以长卷铺展平远寒林之境，左处危崖飞泉，枯木虬曲苍劲，麋鹿或俯饮或闲游，野意悠然。中段洲渚错落，寒林与苍松交错排布，留白晕染烟波浩渺，空濛清寂。\n\n全作用色浅淡秀润，山石皴法简净雅致，林木勾勒细致入微，既得元人山水萧散简远之致，又暗含庙堂文雅气韵。将冬日郊野的清旷萧寒，与鹿群自在恬和之态相融，静穆淡远的林下雅趣跃然绢素，是兼具院体工稳与文人意韵的佳构。",[23,24,25,26,28,172,7,29,1499,927,1817,211,31,14947,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d17b32f4f9101d80e94726c757afe45.jpg",[],{"id":41884,"slug":41885,"title":41886,"dynasty":190,"author":191,"museum":245,"description":41887,"tags":41888,"thumbUrl":41889,"material":1397,"size":1398,"collection":220,"collections":41890,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":145},230550,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-2-yi-ming-230550","明清古画动物山水粉本图卷-2","以淡设色铺陈林泉雅境，枯梅虬枝缀着寒花，古拙清癯。坡石间流泉蜿蜒，晕染出空山幽寂的氛围。两位高士策杖缓行，衣袂轻扬，神态悠然，似正寻幽揽胜。\n笔墨清劲秀逸，山石以淡墨皴擦，晕出空濛温润的山林气韵，草木敷色清雅，粉白梅花点活了冬末春初的清灵意趣。将林下高致融于山水小景，淡而有味，简中见雅，尽显文人寄情林泉、避世寻幽的隐逸意趣。",[23,24,26,28,855,7,172,29,83,521,211,34,156,624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c4df883e88673fe6cdff89b7a09a8c.jpg",[],{"id":41892,"slug":41893,"title":41894,"dynasty":150,"author":191,"museum":245,"description":41895,"tags":41896,"thumbUrl":41897,"material":220,"size":220,"collection":220,"collections":41898,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},230312,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-qian-long-huang-hou-yi-ming-230312","历代帝王贵妃大臣朝服像(乾隆皇后)","此作工笔细腻，以沉郁赭色铺底，烘托出静穆庄重的氛围。皇后吉服袍以石青为地，通身盘金绣五爪祥龙，辅以五彩祥云、江崖海水纹样，绣线光泽莹润，龙姿矫健灵动，尽显织造工艺之精绝。暖红小朝冠鲜亮沉稳，与深色素袍相映。面容刻画写实温婉，神色端凝肃穆，静坐宝椅间，衣褶晕染细腻柔和，纹样排布规整华丽，既彰显出皇家礼制的森严庄重，又将后妃雍容端方的气度尽数展现，细节间满溢着肃穆华贵的宫廷气韵。",[23,251,7,28,83,265,264,155,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70480099c0540bd5bc13da78477bfe11.jpg",[],{"id":41900,"slug":41901,"title":41902,"dynasty":150,"author":5382,"museum":245,"description":41903,"tags":41904,"thumbUrl":41905,"material":220,"size":220,"collection":220,"collections":41906,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":145},229019,"hua-hui-shan-shui-he-ce-wang-hui-229019","花卉山水合册","此作绘三株牡丹，朱砂色热烈似燃，莹白如凝脂映光，紫花晕染柔婉绰约。叶片勾勒舒展，脉纹细致，衬得花姿愈发秾艳华贵，笔底尽显牡丹摇曳生姿的娇态。左侧题诗行书隽秀，笔墨与花色相映成趣，晕染间揉合精工与写意，既有野逸生动之态，又具没骨设色的妍丽雅致，将天香国色的雍容尽数铺展，藏着雅致文心与鲜活意趣，尽显花间富贵风雅。",[24,25,7,28,409,298,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb13d9c12b5cebfe97f710421564a29a6.jpg",[],{"id":41908,"slug":41909,"title":41910,"dynasty":76,"author":41911,"museum":245,"description":41912,"tags":41913,"thumbUrl":41915,"material":1397,"size":1398,"collection":220,"collections":41916,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},228904,"zhong-li-quan-du-hai-tu-zhao-qi-228904","钟离权渡海图","赵淇","此图绘八仙之一的汉钟离渡海故事。钟离权复姓钟离，汉代大将军，后得道成仙。故称“汉钟离”。此作人物的设色用笔与海水水纹的描绘俱与藏于中国美术馆的明代刘俊绘刘海渡海图相近。但克利夫兰美术馆馆方定其是赵淇所画，或有所据。",[23,24,25,155,28,7,83,194,344,5162,1532,28083,41914],"赤足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dead76f2e44619e34dd4602aa949ed4.jpg",[],{"id":41918,"slug":41919,"title":41920,"dynasty":76,"author":191,"museum":245,"description":41921,"tags":41922,"thumbUrl":41923,"material":1397,"size":1398,"collection":220,"collections":41924,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},228804,"luo-han-zhu-shou-tu-yi-ming-228804","罗汉祝寿图","画面上下错落铺陈，上方罗汉群像各呈神采，或清癯蔼然，或虬髯肃穆，侍童恭谨随侍，衣纹华彩层叠，晕染细腻，尽显出尘庄严。下方水府神祇率众赴贺，灵怪蛟龙环伺，云涛与浪涛交织翻涌，天际红日悬垂，铺就祥瑞恢宏的祝寿氛围。\n\n整作设色沉厚古雅，矿物颜料晕开浓郁古韵，线条刚柔相济，既绘就罗汉的超然神态，亦勾勒出水族神祇的灵动狞厉，佛道交融的贺寿主题融于尺幅之间，将仙界嘉会的雍容祥瑞尽数铺展，尽显明代宗教人物画的精工意趣。",[23,24,25,677,7,28,194,83,13222,12263,2602,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a9dea4989bd43ec9d2423529c0f803.jpg",[],{"id":41926,"slug":41927,"title":41928,"dynasty":76,"author":191,"museum":245,"description":41929,"tags":41930,"thumbUrl":41931,"material":220,"size":220,"collection":220,"collections":41932,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,24,26,28,7,81,83,84,34,1028,211,92,178,86,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":41934,"slug":41935,"title":41936,"dynasty":76,"author":888,"museum":245,"description":41937,"tags":41938,"thumbUrl":41939,"material":220,"size":220,"collection":220,"collections":41940,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":1833},228482,"wen-dao-tu-jing-xin-tang-yin-228482","问道图镜心","此作用苍古暮色铺就底色，虬曲古木错立林间，枝叶以淡墨晕染，晕开幽寂沉敛的林下氛围。画面里旅人卸担驻足，与隐者对坐晤谈，人物情态宛然鲜活，衣纹线条清劲顿挫，兼取院体工致与文人写意之妙。\n\n整体色调沉郁古雅，古旧绢面更添静穆萧散的林下意趣，将寻问道义的幽寂心绪，与明代文人的林下襟怀融于尺幅之间，笔墨简淡却藏悠远禅意，尽显吴门画派雅致淡远的笔墨风神。",[23,24,25,28,7,83,112,313,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a33040bcc2b7fb57b1d476668426699.jpg",[],{"id":41942,"slug":41943,"title":41944,"dynasty":228,"author":191,"museum":134,"description":41945,"tags":41946,"thumbUrl":41947,"material":952,"size":220,"collection":220,"collections":41948,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},228199,"si-xiao-tu-juan-yi-ming-228199","四孝图卷","《四孝圖》描繪故事四則，以圖文相間的方式表達。第一則述王武子之妻割股作羹湯，治癒婆母寒疾；第二則述三國陸績因其母好食橘，乃於進謁袁術席間，懷橘以奉母；第三則述晉王祥為母病中思食鯉魚於冬月，而至江上卧冰求鯉；第四則述後漢曹娥之父溺斃江中不得屍靈，至娥投江，三日後方抱父屍出。是皆孝心感人之事蹟，卷末並附李居敬四孝圖序，論孝之精義。通幅人物，以勻稱之線條為主，細挺而有力。",[23,24,25,26,7,28,284,173,83,34,211,196,91,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43a9f92db263f1582800ca70cba44fa.jpg",[],{"id":41950,"slug":41951,"title":41952,"dynasty":228,"author":191,"museum":24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。\n本幅无款。\n鉴藏印钤“交翠轩印”、“神品”、“子京父印”、“项元汴印”、“项墨林鉴赏章”、“张则之”6方。\n画页左侧题诗：“秋风融日满东篱，万叠轻红簇翠枝。\n若使芳姿同众色，无人知是小春时。\n”此为即景诗，描写瓶中之花轻红淡雅，叠簇于翠枝。\n对幅有清乾隆御题诗一首：“花似菊而红，叶则迥然异。\n自题属冬篱，殊难解用意。\n徒以设色工，选藻许其厕。\n辛亥清和御题。\n”钤 “ ”、“自强不息”、“ ”。\n图中瓶架上置一蓝釉长颈瓶，内插 。\n花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。\n秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[23,137,24,25,519,7,28,212,689,158,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46b6b7ac1daeee9117bf4d5b176246.jpg",[],{"id":41966,"slug":41967,"title":41968,"dynasty":18,"author":191,"museum":134,"description":41969,"tags":41970,"thumbUrl":41971,"material":952,"size":220,"collection":220,"collections":41972,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},227915,"jing-bian-tu-yi-ming-227915","经变图","经变画是用画像来解释某部佛经的思想内容。经变画，即经变，亦称变或变相，佛画种类之一，广言之，凡依据佛经绘制之画，皆可称为“变”。敦煌经变画则通常指将某一部甚至某几部有关佛经之主要内容组织成首尾完整、主次分明的大画。敦煌经变内容丰富，形式多样，除了佛经内容外，大量的社会生活内容在经变画中得到生动的体现。许多经变画技巧高超，堪称艺术珍品。\n经变在南朝时即已出现，据唐张彦远《历代名画记》，南朝宋袁倩画有“维摩诘变”，梁时儒童画有“宝积经变”。莫高窟有经变三十三种，持续时间长的有西方净土变、东方药师变、弥勒经变、法华经变、维摩诘经变，数量最多的是东方药师变",[23,24,25,26,194,81,28,83,84,85,178,341,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eabb8213f047d2339b24ab44d915d50.jpg",[],{"id":41974,"slug":41975,"title":41976,"dynasty":18,"author":191,"museum":245,"description":41977,"tags":41978,"thumbUrl":41979,"material":220,"size":220,"collection":220,"collections":41980,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":145},227914,"na-liang-guan-pu-tu-yi-ming-227914","纳凉观瀑图","《宋扇面画纳凉观瀑图》是宋代佚名画家创作的扇面画。\n作品描绘的是清溪一湾，水阁内一人身着白衣袒胸斜坐，乘凉观瀑的场景。\n《宋扇面画纳凉观瀑图》的画面无款印，对幅清朝乾隆皇帝题 一首。\n钤乾隆内府诸收藏印。\n画面钤有石渠宝笈、宝笈重编等印四方，对开钤有 等印玺。\n全画用笔粗豪，画风近李唐一派而有创新。\n曾经清内府收藏。\n此图原载《宋人名流集藻册》，两边石山挟泉水奔腾，重击大石，水花飞溅。\n阁后老树、丛竹葱郁。\n瀑布高悬直下，平中寓险。\n意境恬静清幽。\n对开有清高宗弘历题诗。\n裱边旧题签为燕文贵纳凉观瀑七字，观其画风，与燕氏无涉，显系后人误题。\n此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。\n水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。\n整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,137,24,25,7,28,172,29,211,84,1319,34,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64712f5a7f4711445c135f242ae95dd1.jpg",[],{"id":41982,"slug":41983,"title":41984,"dynasty":18,"author":9210,"museum":245,"description":41985,"tags":41986,"thumbUrl":41987,"material":220,"size":220,"collection":220,"collections":41988,"showCount":274,"zanCount":1769,"manualWeight":48,"mainColor":145},227709,"xie-shen-lao-jun-bie-hao-shi-shi-tu-juan-wang-li-yong-227709","写神老君别号事实图卷","《寫神老君別號事實圖》相傳爲南宋王利用所作，現藏於美國納爾遜美術館。絹本，設色。 南宋進士王利用，字賓王，今四川綿陽人，善於畫山水人物，其書法也是一絕，宋高宗尤其喜歡其書法，愛屋及烏自然也對其畫作頗爲讚賞，但就後人評述，其畫作藝術價值略遜於書法。\n\n王利用入仕之後，成爲了一名宮廷畫師，其畫作多爲宋代院體畫，其中最具代表的就是這幅《寫神老君別號事實圖》。\n\n作爲中國傳統宗教，道教的文化頗爲深入人心，尤其是在宋代這樣一個文化大發展的時代，道教的發展也到達了巔峯。關於道教創始人老子的傳說也非常繁多，本作就講述了老子的前世今生。以三皇時代開始，上三皇時爲玄中法師，下三皇時爲金闕帝君……直到周文王時文邑先生爲止，共10個別稱。",[23,24,25,26,7,28,83,194,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5de22a118e47aaca2e25a2be1379de.jpg",[],{"id":41990,"slug":41991,"title":41992,"dynasty":18,"author":191,"museum":245,"description":41993,"tags":41994,"thumbUrl":41995,"material":220,"size":220,"collection":220,"collections":41996,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},227345,"que-zuo-tu-yi-ming-227345","却座图","此幅绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。”文帝不悦但理在袁盎，只得纳谏，慎妃也只好悻悻而起。该画侧重表现矛盾化解过程中人物微妙的心理变化。本幅人物描绘生动，开脸俊美，衣纹用笔精诣，傅色雅美。配景树石花草，白鹤雾霭一一描写逼真，代表了宋代院画之极高水准。",[23,137,24,25,28,7,83,34,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d6d8a8b9805c31d51599d5becaab8a.jpg",[],{"id":41998,"slug":41999,"title":42000,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":42001,"thumbUrl":42003,"material":1397,"size":1398,"collection":220,"collections":42004,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},226295,"ku-yong-dao-nan-pi-yi-ming-226295","窟甬道南披",[1053,28,7,83,194,18700,42002],"花卉纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf65d8732a35f51cd8addee44a52407d.jpg",[],{"id":42006,"slug":42007,"title":42008,"dynasty":150,"author":42009,"museum":134,"description":42010,"tags":42011,"thumbUrl":42012,"material":67,"size":42013,"collection":220,"collections":42014,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":145},224599,"bai-hai-qing-he-qing-tai-224599","白海青","贺清泰","乾隆四十八年(西元1783)。达拉罕亲王。汪扎尔多尔济进白海青一架。架上白鹰，铁喙钩爪，羽毛洁白，神情威猛，深得写生之妙，此幅当是与郎士宁同时同地写生而成。两位画家从不同角度观察白鹰，并以逼真手法写生下来。\n中西结合的宫廷绘画 清代没有画院的设置，只在内务府造办处中有画画处和如意馆，负责组织画家为宫廷服务。画家地位低下，或称“南匠”，因画家多系南方人之故，或称“画画人”。画家来源或为原在宫中服务的画家子弟，或大臣推荐，或画家毛遂自荐，均经考核再录用。其中也有大臣如王原祁、蒋廷锡等，虽也创作绘画为宫廷所用，则不在此中。 顺治初见于记载的宫廷画家只有黄应谌一人。康熙时有唐岱、焦秉贞、冷枚等。唐岱山水得王原祁指授，画风亦相近。焦秉贞善山水人物，用透视法，受西方的影响，冷枚为焦秉贞的学生，以人物仕女见长。其后至乾隆时期，画家有丁观鹏、姚文瀚、金廷标、余省、张宗苍、徐扬、陈枚等。他们的作品艺术成就远不及宋代和明代。最具有清代宫廷绘画特色并创造出了艺术成就的是宫廷中的一批来自西方的传教士画家，他们中有意大利人郎世宁、安德义、潘廷章，法国人贺清泰、王致诚，波希米亚人艾启蒙等。他们根据官廷的需要与爱好，用中国的作画工具，综中、西不同的观察和表现方法，如人物用西法，背景则为中法，或背景用中国画家来画；面部塑造采用正面光，减轻明暗对比度，以适合中国传统欣赏习惯等等，因而创造出一种新的风格。",[23,24,25,155,7,28,212,2362,298,215,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de27f18ee00b00b65c920a57e2c0fb.jpg","110x60cm",[],{"id":42016,"slug":42017,"title":42018,"dynasty":150,"author":13815,"museum":245,"description":42019,"tags":42020,"thumbUrl":42021,"material":220,"size":220,"collection":220,"collections":42022,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":145},224568,"yang-liu-mu-gui-tu-xiao-chen-224568","杨柳暮归图","淡墨晕染开朦胧远山，烟霭裹挟着晚春暖意漫过江岸。近岸老柳虬枝舒展，嫩叶青翠点染其间，苍柔兼具，生机暗蕴。板桥之上，耕牛驮着暮色缓步而归，村舍隐在烟树间，晕出恬然的乡野烟火气。\n画师以秀雅笔触勾勒物态，淡彩轻敷晕出水墨交融的空濛氛围，将暮归的悠然诗意藏在烟霭晕染里，题跋与画作相映，更添文人意趣。整幅画定格江南春暮的松弛恬静，铺展出中式文人眷恋的田园闲澹之美，将晚归的温柔烟火揉进湿润暮色里，叫人沉醉在这份乡野安宁中。",[23,24,25,26,28,29,286,85,113,284,173,7,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda02a8cf79f03f01ab82707564b4930.jpg",[],{"id":42024,"slug":42025,"title":42026,"dynasty":76,"author":191,"museum":245,"description":42027,"tags":42028,"thumbUrl":42030,"material":220,"size":220,"collection":220,"collections":42031,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},223609,"zhu-lin-bu-chu-tu-ce-yi-ming-223609","竹林哺雏图册","此作用笔细腻工致，苍劲竹枝缀着翠色，竹叶舒展尽显清灵生机。雀巢静栖竹间，数只幼雏探首啾啾，振翅归旋的亲鸟神情急切，将归哺的温情凝于绢面之间。\n\n设色古雅沉静，晕染柔和自然，写实笔意带着院体花鸟的温婉余韵，将林间育雏的日常小景勾勒得脉脉动人。古旧绢色晕开岁月质感，把幽竹清寂与生命温情相融，尽现小品花鸟的雅致意趣，平淡间藏着触动人心的自然诗意。",[23,24,25,519,28,7,212,156,178,23274,42029],"鸟巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc731490b38e5c321d0a8e1945ea3b64b.jpg",[],{"id":42033,"slug":42034,"title":42035,"dynasty":18,"author":191,"museum":245,"description":42036,"tags":42037,"thumbUrl":42038,"material":220,"size":220,"collection":220,"collections":42039,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},223598,"sui-yang-wu-lao-tu-wang-huan-xiang-yi-ming-223598","睢阳五老图 王涣像","老者头戴乌纱，一袭宽袖深青素袍以朱红束腰提点，色调清雅克制。他双手敛于袖中，身形微佝，面上沟壑纵横，尽显九十高龄的苍迈迟暮。\n此作线条凝练精准，淡墨晕染出松弛的皮肤纹理，写实勾勒出耄耋老人的神态气韵，将致仕老臣内敛端肃的沉静气度尽显无遗。古旧绢底衬出肖像的静穆质感，带着宋画特有的平和雅致，以极简笔墨写尽老者为官半生后的安然沉稳，尽显宋代肖像画的写实功力。",[23,137,24,25,155,28,7,83,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2a20c3a9cd593416177c1bd5c5372b.jpg",[],{"id":42041,"slug":42042,"title":34901,"dynasty":18,"author":191,"museum":20,"description":42043,"tags":42044,"thumbUrl":42045,"material":40,"size":42046,"collection":220,"collections":42047,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":145},223487,"wu-hua-guo-tu-yi-ming-223487","图中无花果已然成熟，撑开绿萼露出了果实。此图以中锋行笔，淡墨勾勒，线条细劲流畅，显现出画家以线塑形的娴熟功底。叶片色彩的渲染则是先在叶尾部着以墨绿，再用清水将绿色向叶尖晕开，不仅呈现出浓淡有致的色泽变化，且枝叶的鲜活姿态也得以表现。含苞者敷以石绿色，绽开者用白粉染出，清浅的绿色构成画面的主调，体现出宋人花鸟画淡雅清逸的美学品格。\n对幅有清乾隆皇帝御题五言诗一首：“果结必资花，却有无花者。别名木馒头，或因形弗雅。缀子于叶间，累累复若若。七利名徒传，几团见实寡。钱塘特写斯，应寓别意也。庶子与家丞，个中两弗假。”钤印“用笔在心”。",[23,137,24,25,914,7,28,284,173,34904,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf14fa0588646d6b234f3cb52b18fc.jpg","纵24.8厘米，横25.3厘米",[],{"id":42049,"slug":42050,"title":42051,"dynasty":150,"author":191,"museum":134,"description":42052,"tags":42053,"thumbUrl":42054,"material":599,"size":42055,"collection":220,"collections":42056,"showCount":274,"zanCount":1769,"manualWeight":48,"mainColor":49},223450,"shou-yan-tu-ping-12-yi-ming-223450","寿宴图屏12","太监们都身着官帽，衣冠楚楚。 所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 画面上特画松鹤鹤，寓意松鹤延年。",[23,7,28,81,83,84,176,85,86,211,34,112,63,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef188fc0c7bc94e225ee1b53cbedfdc.jpg","42x108厘米",[],{"id":42058,"slug":42059,"title":42060,"dynasty":228,"author":191,"museum":134,"description":42061,"tags":42062,"thumbUrl":42063,"material":100,"size":42064,"collection":44,"collections":42065,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":49},223440,"xuan-fan-yu-hua-tu-zhou-yi-ming-223440","宣梵雨花图轴","此幅画一位蓄须僧人端坐在石上，正在诵读梵文经卷。他的皮肤黝黑，高鼻深目，耳有穿环，从轮廓特征看来应该不是汉人。佛教本是由外地传入的宗教，传世因而也有诸多近于中亚人种造型的胡僧形象，他所阅读的也正是未经中文化的梵文。\n僧人的衣饰精致华美，但表情却虔敬素穆。看他专注的眼神与微张的双唇，似乎对经义心领神会，已有所悟。这时天空中飘下满天花雨，陪侍的白猴也忍不住伸手接取。这样的神迹配合僧人头后的圆光，使得画中更添神异的色彩。\n画中并无绘者的题款。画家描绘人物衣纹的线条圆转，但劲健有力，对僧服上的装饰、飘扬的花朵、以及白猴身上的密毛，不同质感的刻划却十分细腻。山水烟云的背景纯以水墨画成，和衣饰与花雨的鲜艳色彩形成对比。线条粗细兼具、配色明暗协调，在画家的妙笔下，呈现出端凝又神秘的宗教气氛。",[23,24,25,155,194,28,7,83,62,4427,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0f95eadeb3e05a9a8b4a1c9c7942a8.jpg","该幅 175.3x98.2公分；全幅 100.4公分",[44],{"id":42067,"slug":42068,"title":42069,"dynasty":150,"author":4708,"museum":134,"description":42070,"tags":42071,"thumbUrl":42072,"material":28,"size":32544,"collection":220,"collections":42073,"showCount":274,"zanCount":48,"manualWeight":48,"mainColor":145},223324,"zhang-xing-shen-ding-guan-peng-223324","张星神","丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响， [1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 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宋濂（1310年11月4日 －1381年6月20日 ），初名寿，字景濂，号潜溪，别号龙门子、玄真遁叟等，汉族。祖籍金华潜溪（今浙江义乌），后迁居金华浦江（今浙江浦江）。元末明初著名政治家、文学家、史学家、思想家，与高启、刘基并称为“明初诗文三大家”，又与章溢、刘基、叶琛并称为“浙东四先生”。被明太祖朱元璋誉为“开国文臣之首”，学者称其为太史公、宋龙门。\n宋濂自幼多病，且家境贫寒，但他聪敏好学，号称“神童”。曾受业于闻人梦吉、吴莱、柳贯、黄溍等人。元末辞朝廷征命，修道著书。明初时受朱元璋礼聘，被尊为“五经”师，为太子朱标讲经。洪武二年（1369年），奉命主修《元史》。累官至翰林学士承旨、知制诰，时朝廷礼仪多为其制定。洪武十年（1377年）以年老辞官还乡，后因长孙宋慎牵连胡惟庸案而被流放茂州，途中于夔州病逝，年七十二。明武宗时追谥“文宪”，故称“宋文宪”。\n宋濂与刘基均以散文创作闻名，并称为“一代之宗”。其散文质朴简洁，或雍容典雅，各有特色。他推崇台阁文学，文风淳厚飘逸 ，为其后“台阁体”作家的文学创作提供范本。其作品大部分被合刻为《宋学士全集》七十五卷。",[23,24,25,155,28,83,7,42716,4803,63],"包公","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7631d7703efa22caf61d7406ed79573c.jpg",[],{"id":42720,"slug":42721,"title":42722,"dynasty":76,"author":77,"museum":245,"description":2461,"tags":42723,"thumbUrl":42724,"material":1397,"size":1398,"collection":220,"collections":42725,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":145},287402,"bei-hu-tu-shou-juan-chou-ying-287402","北湖图手卷",[23,24,26,25,29,28,7,284,24850,285,173,85,86,175,178,84,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668d4ab35bf9efef317abd774bd6b621.jpg",[],{"id":42727,"slug":42728,"title":42729,"dynasty":150,"author":191,"museum":245,"description":42730,"tags":42731,"thumbUrl":42734,"material":1397,"size":1398,"collection":220,"collections":42735,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":145},269053,"bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-269053","白缎地广绣三阳开泰挂屏心","此作为祥瑞主题的刺绣精品，以三羊铺陈核心意境，三只瑞羊姿态各异，或徐行或伫立，形神兼备，尽显灵动安然。背景里百鸟翔集于虬枝松石间，朝日浮空，流云轻绕，花树错落、溪草扶苏，铺展出一派清和明媚的春日盛景。\n\n它运用多样岭南刺绣针法，施色妍丽雅致却不失柔和，翎羽纤毫毕现，羊身绒毛蓬松写实，草木山石层次饱满，将广绣的精巧工细发挥到极致，把新春吉庆寓意融在生机盎然的雅致图景中，是清代吉祥题材刺绣的上乘之作。",[14415,42732,14417,42733,4541,178,1091,582,34230,34,211,315,28,7,65],"广绣","三阳开泰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c0bf5c7983518097e615fa65998026.jpg",[],{"id":42737,"slug":42738,"title":42739,"dynasty":150,"author":191,"museum":245,"description":42740,"tags":42741,"thumbUrl":42743,"material":1397,"size":1398,"collection":220,"collections":42744,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":1833},264471,"ou-he-se-sha-xiu-feng-huang-hua-hui-wen-chang-yi-liao-yi-ming-264471","藕荷色纱绣凤凰花卉纹氅衣料","是传统刺绣形式之一。它是在方格纱的底料上严格按格数眼进行刺绣的。不仅图案美丽，而且随 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(1805—1878) 字鞠如， 号菊如。山东掖县（今莱州市） 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上海书画出版社; 第1版 (24年5月1日) 丛书名: 国宝在线 平装: 44页 开本: 8开 ISBN: 7867285 条形码: 97878672855 尺寸: 29.6 22.4 .6 cm 重量: 299 g 欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，上海书画出版社编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 大慨因传说中佛祖和比丘僧为恶牛说法，使之死后转世到仞利天宫，得须陀还果，从此牛以其温厚忠良的形象出现在人们面前。\n除了任劳任怨、辛勤耕作之外，牛似乎还具有着一种人格的隐喻和象征。\n连圣人之师老子也选择骑青牛西去函谷关，在关内太初宫留下了五千言的《道德经》；南朝陶弘景也曾以画牛自喻婉拒梁武帝诏其出山，留下了『山中宰相』的美名。\n古往今来，牛的形象被喜爱它的人们再三图绘表现，不论是嘉峪关的砖画还是敦煌壁画，我们都可以看到许多无名氏的画牛作品。\n即以大家比较熟悉的卷轴画来说，至迟在晚唐五代时期，画家就对这个题材投入了相当的热情和精力，唐代的名家如韩湿和戴嵩，都擅长画牛。\n这些作品，既体现了唐人的努力生产，也反映出唐代那种以现实题材入画的风尚和社会生活的情调。\n当时戴嵩画水牛尤为著名，《唐朝名画录》谓其得『野性筋骨之妙』。\n不过，起初戴嵩画牛还闹过笑话。\n据说，他有次画了一幅斗牛图，观者大加称赞，可是偏偏有位牧童看了之后却拊掌大笑。\n戴嵩觉得奇怪，问其原因。\n牧童解释说：两牛角斗时，尾巴是夹在两股之间的，你怎么把它画成摇着尾巴呢?牧童的善意批评，对戴嵩启发很大，自那以后，他就深入乡间，与牧童交友，以造化为师，画艺自然精进不已，由此可见唐人作画对写生的重视。\n而韩混的《五牛图》，除了准确自然地表现了牛的生活形态外，更是充满了人格化的魅力，甚至可以从中看出每头牛的个性与年龄来，难怪有些研究者认为其中可能含有某种寓意。\n到了北宋，以描绘畜兽包括牛为内容的绘画被归于特殊的门类，如郭若虚撰写《图画见闻志》，就把畜兽、鱼龙、屋木等题材的作品皆归为『杂画』，与山水、人物、花鸟并列，在一定程度上反映了画牛队伍的逐渐壮大。\n从目前存世的作品看，宋代是牧放题材创作的鼎盛时期。\n不论是作品数量还是艺术水准，都是其他时代准以比似的。\n之昕以如此，笔者以为有几方面原因。\n首先，宋代皇家画院在招贤选才方面，可谓后世之楷模。\n由于采取考试制度，使得一大批有才华的民间画家得以进入社会上层，从而有机会更好地施展他们的艺术特长。\n这些原本长期生活在民间的画家把他们熟悉的富于乡土气息的绘画题材带入禁中，以身边熟悉的人和物为描绘对象，表现其自然朴素的情趣。\n因此，在两宋时期，画院里出现不少牧放题材的作品，直观地反映了宋代的农村生活。\n其次，宋代城市工商业的繁荣乃是以农村经济为基础的，画院画家通过描绘农村劳动生活的甘苦，来贯彻统治者劝喻农桑的意图。\n同时，城市工商经济的繁荣又反过来带动了农村经济的发展，从而使得丰年乐业的广大农民，对于自己的生活取得了新的认识，提出了新的要求。\n作为这种新认识、新要求的形象描绘，牧放题材与其说是农村田园生活的真实再现，毋宁说是对通过劳动生活而使人与自然达到本真契合的淳朴情性进行歌颂，与此同时，这其中又在很大程度上掺入了文人士大夫返璞归真的理想，从而使作品获得了更深刻的寓意。\n从画家个体来说，之所以创作出这么多高水准的艺术作品还在于他们能够正确处理观察生活和运用艺术表现语言之间的关系。\n在对生活的体验和观察方面，后世极少有像宋代画家那样精谨细致、具体人微的。\n所以，这类作品不管是高轴长卷，还是案头小品，它们所具有的生活情趣，无论是丰富性还是真实性，都令后人殊难超越。\n从宋人的画牛作品看，画家的用笔，是从对象出发，以对象的形态为旨归，将朴素的情感蕴藏在精妙的笔法中，这与后来文人画家所追求的『单纯化』表现，所谓『逸笔草草，不求形似』相比照，其问的差异是不喻自明的。\n中国传统绘画讲究诗情画意，这些牧题材的作品同样有着诗意盎然、妙趣横生的意境，这是此一题材自身所具有的魅力。\n在喧嚣的尘世中，面对这些笔佳墨妙的作品，想见烟云清雨，牛羊在野，湖岸风来，轻裾致爽，应该也算偷得浮生半日闲了吧。\n唐韩滉五牛图 唐韩滉五牛图之一 唐韩滉五牛图之二 唐韩滉五牛图之三 唐韩滉五牛图（局部） 唐韩滉五牛图（局部） 宋李唐乳牛图 宋李唐彩薇图 宋阎次平四季牧牛图 宋阎次平四季牧牛图之一 宋阎次平四季牧牛图之二 宋阎次平四季牧牛图之三 宋阎次平四季牧牛图之四 宋阎次平四季牧牛图之四（局部） 宋李迪风雨归物图 宋李迪风雨归物图（局部） 宋李迪风雨归物图（局部） 宋佚名平畴呼犊图 宋佚名平畴呼犊图（局部） 宋佚名牧牛图 ……",[24,25,28,7,113,582,313,655,314,6076],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3a60a9cd87946a5051cb9b8246487f.jpg",[],{"id":43336,"slug":43337,"title":43338,"dynasty":76,"author":191,"museum":245,"description":43339,"tags":43340,"thumbUrl":43348,"material":220,"size":220,"collection":220,"collections":43349,"showCount":349,"zanCount":1769,"manualWeight":48,"mainColor":49},231010,"zhong-li-quan-xiang-yi-ming-231010","钟离权像","此作以淡彩勾勒仙真神韵，人物虬髯圆睁，神色威严又暗含疏放之气，袒胸跣足，宽袍线条婉转飘逸，将随性不羁的仙家气度尽显。掌中托举药葫芦，点明其悬壶济世的道者身份。脚下云涛以浓淡墨色晕染，层叠翻涌，烘托出凌虚而行的超然意境。整体设色素净古雅，绢底沉厚的质感更添古朴意蕴，写实的人物刻画结合写意的空灵氛围，凝练勾勒出正阳仙风，尽显道释人物画的传神功力。",[24,43341,28,7,1720,43342,43343,43344,43345,3549,43346,20852,43347],"道释人物画","钟离权","药葫芦","云涛","袒胸跣足","疏放","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dcc097de9e5f9c7d08277b848cfb6c5.jpg",[],{"id":43351,"slug":43352,"title":16104,"dynasty":76,"author":12094,"museum":245,"description":23882,"tags":43353,"thumbUrl":43354,"material":1397,"size":1398,"collection":220,"collections":43355,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":145},230991,"yu-le-tu-zhou-chen-230991",[24,25,29,3487,7,172,855,28,175,4611,86,85,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d5492e12e7ca9101bce747991b1ada.jpg",[],{"id":43357,"slug":43358,"title":43359,"dynasty":190,"author":191,"museum":245,"description":43360,"tags":43361,"thumbUrl":43363,"material":1397,"size":1398,"collection":220,"collections":43364,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":145},230553,"ming-qing-fen-ben-guai-qi-niao-shou-tu-juan-yi-ming-230553","明清粉本 怪奇鸟兽图卷","此卷以淡墨轻彩绘就一众神异灵禽怪兽，将飞禽躯体与奇诡异象相融，或人面鸟身，或虎躯多头。翎羽晕染细腻写实，异兽造型怪诞幽奇，把志怪传说中的精怪具象呈现。\n每只异兽旁题书小字，图文呼应，似在低声诉说古朴妖异的怪谈物语。泛黄的纸本晕开岁月旧痕，设色调和古拙，带着幽玄氛围感，写实绘法与奇幻构想交织，勾勒出浪漫诡谲的异世百图景，尽显古雅怪诞的独特意趣。",[23,24,25,26,28,7,582,299,3794,159,43362,9804],"飞禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fecc5cc915716ebd972e929bfeddb0d.jpg",[],{"id":43366,"slug":43367,"title":43368,"dynasty":150,"author":191,"museum":245,"description":43369,"tags":43370,"thumbUrl":43373,"material":1397,"size":1398,"collection":220,"collections":43374,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":145},230335,"bai-miao-tu-miao-man-tu-shuo-er-yi-ming-230335","百苗图苗蛮图说(二)","淡青晕染的峰峦铺展作背景，山岩田埂旁，农人们暂歇劳作。有人肩扛锄头、携着竹篮未卸疲惫，有人围坐木盆边分食休憩，老者拄锄长舒意气，少年们围蹲谈笑。\n\n淡墨勾形设色清浅，衣褶简括生动，将黔地苗民劳作间隙的松弛日常定格。粗朴的农具、素净的布衫，都晕着山乡烟火的暖意，没有繁复勾勒，却把边地庶民的鲜活日常细腻铺陈，藏着山野间悠然又温热的生活质感，是对西南乡野烟火的温柔描摹。",[24,28,7,83,29,211,34,21308,43371,43372,18266,15289],"木桶","陶罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273aaf9e804bdc1d7695fc4954ed82f5.jpg",[],{"id":43376,"slug":43377,"title":43378,"dynasty":150,"author":516,"museum":245,"description":43379,"tags":43380,"thumbUrl":43381,"material":220,"size":220,"collection":220,"collections":43382,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":145},230250,"hua-jian-la-ying-xiang-ce-dong-gao-230250","画饯腊迎祥册","此作画意清和淡远，枯木虬枝舒展，寒林间啼禽栖止，竹影清疏衬着玲珑湖石，村舍院落隐于林后，小童行人缓步其间，晕开松弛乡野意趣。笔墨秀润清逸，枯木苍劲而不萧瑟，竹林隽秀空灵，淡墨轻晕出远山朦胧的冬日余韵。\n\n右侧题诗配雅致小楷，将晓禽报春、岁末祈康的心意融于画中，诗画相映。把乡翁扶杖待春的朴拙喜乐藏在细节里，以寻常村野小景，织就岁末迎春纳祥的温柔温情，尽显文人雅致闲淡意趣与世俗祈愿的交融之美。",[24,25,519,7,28,83,1499,156,159,178,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4020cb0580c7fcf23b624e65dd138147.jpg",[],{"id":43384,"slug":43385,"title":43386,"dynasty":76,"author":191,"museum":245,"description":43387,"tags":43388,"thumbUrl":43389,"material":220,"size":220,"collection":220,"collections":43390,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},228806,"hu-jia-shi-ba-pai-tu-yi-ming-228806","胡笳十八拍图","长卷以文绘合璧铺陈离愁，清雅古拙的笔致勾勒出乱世行旅的沧桑。一侧行书墨色沉凝，诉尽别乡归汉的哀戚心事；一侧铺展城郭乡野、车马仪仗，人物衣袂舒展间带着羁旅的凄惶，队列的肃穆衬出归程的沉重。每一段场景都晕开沉郁旧韵，将半生流离的家国之悲具象化，把泣血诗意揉进绢本烟尘，织就一曲带着泪痕的乱世离歌。",[23,24,25,26,28,7,83,112,116,35,796,2782,29,34,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc832ea82b5e9aaa888f3517bdfe2c08d.jpg",[],{"id":43392,"slug":43393,"title":43394,"dynasty":76,"author":191,"museum":245,"description":43395,"tags":43396,"thumbUrl":43397,"material":220,"size":220,"collection":220,"collections":43398,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},228803,"luo-han-sao-bei-bu-yi-tu-yi-ming-228803","罗汉搔背补衣图","苍松虬枝舒展，疏竹点缀幽庭，红日轻悬天际晕开暖意。画中人物神态各俱意趣，安坐罗汉垂目敛神，沉静安然；侍立身侧的童子合十颔首，恭谨温顺。下方罗汉袒露上身，持杖搔背，眉眼舒展间满是松弛惬意。\n\n衣纹线条顿挫苍劲，贴合身形尽显布料肌理，设色古雅柔和，绢本晕染过渡自然，将禅林清修的日常琐事，晕染出悠然禅意。以烟火日常描摹世外清宁，让观者仿若踏入古刹深庭，窥见佛子起居的松弛意趣，尽显佛画写实与写意相融的精妙笔法，藏着内敛悠长的禅境余韵。",[23,24,25,155,194,28,83,156,1675,314,12776,158,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea36d71b8fdf61a2db9f17a080d4d829.jpg",[],{"id":43400,"slug":43401,"title":43402,"dynasty":76,"author":9801,"museum":245,"description":43403,"tags":43404,"thumbUrl":43405,"material":1397,"size":1398,"collection":220,"collections":43406,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":145},228700,"ming-xuan-de-bao-hui-ce-zhu-zhan-ji-228700","明宣德宝绘册","此作以圆幅绘就寒梅林栖之景，老干虬曲苍劲，枝头梅花莹润娇妍，暗香浮动间，两只禽鸟各踞一枝。一者攀附枝干，侧目凝神，一者静栖梢头，回望呼应，动静相映间，将林禽闲适之态尽显。\n\n笔墨工细雅致，设色柔润清和，禽鸟翎毛晕染细腻毫纤毕现，梅枝苍古中带着春日萌动生机，兼具院体画的精工写实，又暗合文人画的幽隽意趣，把冬日小景的悠然生机藏于尺幅之间，尽显雅致隽永的写生妙趣。",[24,25,519,28,7,212,637,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8ad1aa352fbc15f2f7e8c9544c672d.jpg",[],{"id":43408,"slug":43409,"title":32651,"dynasty":76,"author":191,"museum":245,"description":1975,"tags":43410,"thumbUrl":43411,"material":1397,"size":1398,"collection":220,"collections":43412,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},228415,"fu-hui-dong-yi-ming-228415",[24,28,7,194,83,29,2602,211,34,1319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6f4518709ec82c461efb452cdfaf72.jpg",[],{"id":43414,"slug":43415,"title":43416,"dynasty":228,"author":191,"museum":245,"description":43417,"tags":43418,"thumbUrl":43419,"material":220,"size":220,"collection":220,"collections":43420,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},228186,"ren-wu-tu-juan-yi-ming-228186","人物图卷","此作用色古雅沉朴，线条圆劲清隽，以日常梳洗闲憩入画，将文人闲居意趣尽显。画面左侧侍者躬身展巾，主家赤足踞坐，正倾水盥手，神态松弛自适，把松弛慵懒的日常情态刻画入微。右侧两位侍从或持巾侍立、或捧具待命，人物排布错落有致，动静相宜。\n\n整作不着过多布景，以素净留白衬托前景人物，衣褶晕染贴合躯体动态，尽显以形写神的笔墨妙处。没有繁复刻画，却凭借细腻的生活化描摹，传递出古雅悠然的闲居氛围，是一幅兼具烟火意趣与古典气韵的人物画佳作。",[23,137,24,25,26,7,28,83,63,158,785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5381a994fb57f53b3c691b27916e64eb.jpg",[],{"id":43422,"slug":43423,"title":43424,"dynasty":18,"author":702,"museum":245,"description":43425,"tags":43426,"thumbUrl":43427,"material":220,"size":220,"collection":220,"collections":43428,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":145},227971,"fang-mu-tu-ye-li-chun-227971","放牧图页","虬曲老树枝叶扶苏，浓荫之下牧童闲坐，垂首专注把玩手边小物，全然沉浸在郊野的松弛意趣之中。浅滩溪岸，老牛垂首缓步涉水，皮毛厚重写实、肌理鲜活细腻，憨态小牛亦步亦趋紧随其后，灵动稚态尽显。\n\n整幅小品疏密得宜，设色浅淡柔和，以精妙工笔描摹物象形神，将乡野放牧的日常闲景铺陈得鲜活动人，既以细致笔触还原郊野生灵的自然情态，又晕染出田园牧歌式的悠然氛围，把乡野间的闲散温情凝于尺幅间，于平淡日常中尽显雅致隽永的宋画意韵。",[23,137,24,28,7,4185,113,83,313,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e3f18c16b1455c2e6e91367d1f9459.jpg",[],{"id":43430,"slug":43431,"title":43432,"dynasty":18,"author":191,"museum":245,"description":43433,"tags":43434,"thumbUrl":43435,"material":220,"size":220,"collection":220,"collections":43436,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},227932,"xue-ting-shui-qin-tu-yi-ming-227932","雪汀水禽图","此作以淡墨晕染萧寒冬境，水岸枯木虬曲苍劲，瘦削枝桠凌冽舒展，数只禽鸟缩羽栖息枝头，将冬日瑟缩畏寒之态尽显。右上一双水禽振翅掠空，破静谧成动静相生之趣。\n画家以留白晕染暗喻薄雪覆汀，设色简淡清润，笔触凝练细腻，枯枝的苍古、水禽灵动神态皆跃然绢上。尺幅之间铺陈出荒寒清远的意趣，尽显冬日郊野空寂冷逸，将冬汀荒萧寒疏之美藏于方寸，余韵悠悠。",[23,24,137,914,7,855,28,1499,178,651,14947,159,30540,5250,4077],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],{"id":43438,"slug":43439,"title":43440,"dynasty":18,"author":191,"museum":245,"description":43441,"tags":43442,"thumbUrl":43444,"material":220,"size":220,"collection":220,"collections":43445,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":145},227909,"zhu-lin-bo-ruan-tu-ye-yi-ming-227909","竹林拨阮图页","《古代佚名画鉴赏大系·人物篇》是2年西苑出版社出版的图书，作者是杨宪金。\n佚名画与署名的作品，从绘画艺术上讲，是没有两样的。\n但在传世过程中，却有着不同的遭遇，历代收藏家与画史主要关注有名的作品，尤其是大家的作品，而对佚名画往往不屑一顾。\n因此，在这种境遇下，大量的古代佚名画在流传过程中消失了。\n这种情况一直延续到了明代，才逐渐引起收藏家们的注意，大收藏家项子京就对佚名画的著录、流传做了很大的贡献…… 春庭行乐图 眼药酸图 人物故事图 寒林策蹇图 竹林拨阮图 蚕织图 蚕织图 蚕织图 蚕织图 女孝经图 女孝经图 女孝经图 女孝经图 千秋绝艳图 千秋绝艳图 牧马图 望贤迎驾图 蕉石戏婴图 蕉荫击球图 槐荫击球图 杂剧图 雍正妃行乐图之二 雍正妃行乐图之六 溪堂客话图",[23,137,24,25,914,7,28,83,2970,138,34,14477,6612,10452,9575,43443],"古典技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c0aeb9c6b9df7aa3c1f6768dc7d653.jpg",[],{"id":43447,"slug":43448,"title":43449,"dynasty":18,"author":191,"museum":245,"description":43450,"tags":43451,"thumbUrl":43452,"material":220,"size":220,"collection":220,"collections":43453,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":145},227890,"fan-zhou-liu-tang-tu-yi-ming-227890","泛舟柳塘图","此作用淡墨轻岚织就江南暮色小景，边角取景尽显留白意趣。右下角垂柳清润柔婉，枝叶婆娑，将视线牵向烟水间。汀洲水藻以细笔轻点数染，鲜活铺展出泽国清寂。扁舟横波，舟中二人情态悠然，寥寥数笔便勾勒出萧散野趣，似将水乡闲逸尽数揉入清波。\n全画色调苍雅古淡，借绢底晕染出薄暮烟霭，远山仅以一抹淡墨虚绘天际，不着笔皴，晕开江天寥廓的空茫意境。全作以简驭繁，无过多刻画，将江南日暮的静谧安闲，与文人幽隐林下之思相融，尽显宋人坐赏泉壑的清雅意趣。",[137,24,25,914,28,7,1851,1599,5053,34,29,175,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7e5d872f2a4b41216ba1cf8d91129f.jpg",[],{"id":43455,"slug":43456,"title":43457,"dynasty":18,"author":43458,"museum":245,"description":43459,"tags":43460,"thumbUrl":43461,"material":220,"size":220,"collection":220,"collections":43462,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},227745,"zi-zan-xiang-li-zhou-da-hui-zong-gao-227745","自赞像立轴","大慧宗杲","大慧宗杲为北宋末年、南宋初期杨岐派禅师，杨岐派在他的手上被推至最高峰，宋孝宗御赐他为“大慧禅师”。他的禅法，对后世禅宗形成深远的影响，南宋理学也深受影响。此幅《大慧宗杲自赞像》作为现存最早的有像主自赞的画禅僧肖像画，非常珍贵，有其不可替代的历史价值、文物价值，再加上其简洁的描写手法，充分地体现了北宋末、南宋初期中国肖像画的高度的绘画水准，更增加了它的艺术价值。",[23,24,25,155,7,28,83,194,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36822032e4aee0c344f543503e164d0.jpg",[],{"id":43464,"slug":43465,"title":43466,"dynasty":18,"author":191,"museum":245,"description":43467,"tags":43468,"thumbUrl":43469,"material":220,"size":220,"collection":220,"collections":43470,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},227389,"fang-you-tu-yi-ming-227389","访友图","史载王羲之曾在团扇上画小人物；其子王献之的《为桓温书并画乌牸驳牛扇》。《历代名画记》中载：梁·肖贲“曾于扇上画山水，咫尺内万里可知”。到了宋代，随着绘画艺术的蓬勃发展，特别是山水画、花鸟画在唐末、五代基础上得到空前的提高。文人与绘画的关系越来越密切，形成了文人画创作高潮。加上皇帝对扇面艺术的重视，书画扇面相应得到飞速发展，臻于顶峰。《书继》中载：“政和间，徽宗每有画扇，则六宫诸邸竞皆临仿一样，或至数百本。”两宋盛极一时的画扇，创作了大批不朽之作，流传至今为人们饱览了两宋绘画的高尚艺术。小至花鸟画中的野草闲花，昆虫禽鱼，都运以精心，出以妙笔。",[23,137,24,28,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5460182c56e0ad4a53915b2fa7a0b7.jpg",[],{"id":43472,"slug":43473,"title":29824,"dynasty":18,"author":191,"museum":245,"description":43474,"tags":43475,"thumbUrl":43476,"material":220,"size":220,"collection":220,"collections":43477,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},227357,"chun-guang-xian-dao-tu-yi-ming-227357","中国种植水仙始于唐末五代，\n\n《北户录》中记有花间派词人孙光宪\n\n寄居江陵（湖北荆州）期间，\n\n曾有波斯人送他数本水仙。\n\n孙光宪大概就是中国种植水仙第一人。\n\n此后，\n\n江南一带广泛种植，文人骚客甚爱之。",[137,24,25,914,7,28,212,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c0a447bc7811861b5899d7267215dd3.jpg",[],{"id":43479,"slug":43480,"title":43481,"dynasty":54,"author":191,"museum":245,"description":43482,"tags":43483,"thumbUrl":43484,"material":220,"size":220,"collection":220,"collections":43485,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":697},227215,"shu-xia-ren-wu-tu-juan-yi-ming-227215","树下人物图卷","《树下人物图》是唐代佚名创作的纸本设色画，新疆吐鲁番阿斯塔那古墓出土。现藏日本东京国立博物馆。\n\n此幅人物画保存完整，绘制在一块长方形的绢上。画面的背景是郊外的草地，有一棵枝繁叶茂的树，树叶是绿色，树干是土黄色。树下可见两身妇女立姿形象。左侧之人，面向右方，左手衣袖被身旁之人握持，其右手曲臂上举正揪住罩在头上的黑色头衣。此人身穿土红色长袍，腰系带，脚穿黑靴。画面右侧之人，面向右方，两手握住左侧之人的左袖。她身着蓝色长袍，腰系带，脚穿黑靴。从画面看，此二人似为主仆关系。",[23,137,24,25,26,7,28,83,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160f39ddeaeb222d5d6049efe9969bd0.jpg",[],{"id":43487,"slug":43488,"title":16270,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":43489,"thumbUrl":43491,"material":1397,"size":1398,"collection":220,"collections":43492,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},226491,"ku-zhu-shi-dong-pi-yi-ming-226491",[1053,194,28,81,83,84,7871,7,91,43490],"佛教元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193b1af253d8eeca13ddbd8bfe5ebff0.jpg",[],{"id":43494,"slug":43495,"title":43496,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":43497,"thumbUrl":43498,"material":1397,"size":1398,"collection":220,"collections":43499,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},226159,"yu-lin-ku-003-ku-zhu-shi-ding-bu-yi-ming-226159","榆林窟003窟主室顶部",[1053,194,28,83,7,22268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c38bd3bd081d24d6ca2268a9314c49f.jpg",[],{"id":43501,"slug":43502,"title":43503,"dynasty":190,"author":191,"museum":245,"description":32375,"tags":43504,"thumbUrl":43505,"material":1397,"size":1398,"collection":220,"collections":43506,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":1833},225316,"fu-shi-hui-54-yi-ming-225316","浮世绘54",[21299,28,81,7,84,83,85,178,34,2653,92,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f704c4610ac01c97ba3aeeea431aac.jpg",[],{"id":43508,"slug":43509,"title":43510,"dynasty":150,"author":14895,"museum":245,"description":19766,"tags":43511,"thumbUrl":43514,"material":1397,"size":1398,"collection":220,"collections":43515,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":1833},224128,"pantaka-tang-ka-224128","Pantaka",[194,28,7,83,582,29,313,314,43512,8177,1744,43513,61],"台案","猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0daf70fd92bb2c8a4f1651237bd70e.jpg",[],{"id":43517,"slug":43518,"title":43519,"dynasty":18,"author":191,"museum":245,"description":43520,"tags":43521,"thumbUrl":43522,"material":220,"size":220,"collection":220,"collections":43523,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},223674,"shuang-ke-zhu-jian-tu-ye-yi-ming-223674","霜柯竹涧图页","《霜柯竹涧图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n钤“义斋精玩”、“宋荦审定”收藏印2方。\n图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。\n两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。\n图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。\n清《石渠宝笈三编》著录。",[23,137,24,25,519,7,28,1499,156,86,178,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c242fbd03b8dd4577b564ab01d95ef.jpg",[],{"id":43525,"slug":43526,"title":43527,"dynasty":18,"author":191,"museum":20,"description":43528,"tags":43529,"thumbUrl":43530,"material":67,"size":43531,"collection":220,"collections":43532,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},223512,"liu-yin-qun-mang-tu-yi-ming-223512","柳荫群盲图","此幅为年俗画，描绘盲人打架的场面。画中柳树下，三三两两的盲人抓在一起，抱团打架，抓衣服不放的，抱胳膊死拽的，揪着耳朵拼命的，打架招势表现的淋漓尽致；人物面部扭曲变形，姿势夸张，展示出打架过程中拼命的样子。",[23,24,28,7,1424,83,1851,4187,23596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed64abbdddd46112eb2761d5b97d634f.jpg","78.5×82cm",[],{"id":43534,"slug":43535,"title":43536,"dynasty":150,"author":191,"museum":245,"description":43537,"tags":43538,"thumbUrl":43550,"material":220,"size":220,"collection":220,"collections":43551,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":145},223489,"ming-shi-san-ling-tu-yi-ming-223489","明十三陵图","《明十三陵手绘图(珍藏版)》中的明十三陵位于北京市昌平区，是明朝13位皇帝的陵墓群，并葬有23个皇后和1个贵妃。它是中国现存规模最大、帝后陵寝最多的皇陵建筑群。明十三陵于永乐七年（1409年）开始营建，至崇祯十七年（1644年）明朝灭亡建成。陵区三面环山，中间是盆地，南接北京平原，入口左右有两座山——龙山和卧虎山。十三座陵墓分布在东、北、西三面，各以一座山峰为背景，规模大小不一，形制却基本相同，主要建筑依次为陵门、棱恩门、裬恩殿、棂星门、石五供、明楼和宝城。宝城下面为地下宫殿。2003年，联合国教科文组织世界遗产委员会将明十三陵和南京明孝陵列入《世界遗产名录》，作为“明、清皇家陵寝”的附属项目。",[23,24,26,7,28,81,29,84,43539,34,43540,43541,29934,211,96,43542,43543,769,43544,43545,12206,623,38,43546,43547,43548,43549],"陵墓","石碑","牌坊","拱桥","松柏","神道","石象生","古建筑群","石牌坊","殿堂","碑亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123aa13e4f3c2f815d482dd3e89104ba.jpg",[],{"id":43553,"slug":43554,"title":43555,"dynasty":18,"author":191,"museum":20,"description":43556,"tags":43557,"thumbUrl":43558,"material":40,"size":6422,"collection":220,"collections":43559,"showCount":349,"zanCount":48,"manualWeight":48,"mainColor":49},223419,"kong-men-di-zi-xiang-juan-yi-ming-223419","孔门弟子像卷","此画是唐代杰出画家阎立本最大最长最佳的一幅巨作，是画家传世的六件作品之一，后在近代被日本军火商买走，并被列为国宝。最后在中贸圣佳拍卖公司购得，迎回国内，曾经引起过轰动。此画最终被首都博物馆以超低价提前收购。\n《孔子弟子像》全图采取平列式构图，无背景，绘孔子弟子立像五十九人，无名款。墨笔勾勒，着色，人物形象各异，须眉生动。\n包首题签“阎立本画孔子弟子像”，引首乾隆御题“杏坛遗范”，卷上有“顺治三年(1646)七月初二钦赐大学士臣宋权恭记”长方印、清宫收藏鉴赏印玺和清高宗弘历御笔题字。后幅有乾隆二十二年(1757年)户部尚书蒋溥题跋、乾隆丁未(1787年)大臣王杰、曹文埴、彭元瑞、董诰共同审定，董诰书写的题跋。鉴藏宝玺有乾隆八玺等，收藏印有“顺治三年七月初二日钦赐大学士臣宋权恭记”、“商丘金石书画印”、“宋权私印”、“经公”等。卷后拖尾有蒋溥题跋、董诰书写的其与王杰、曹文埴、彭元瑞的合跋，文字内容、钤盖印章与《石渠宝笈续编》著录文字完全相同。\n考证画后跋语，可以大致勾勒出《孔子弟子像》在清代的流传过程。清初顺治皇帝将此件画作钦赐给大学士宋权，一百余年后乾隆时期，宋氏后人将此作转鬻他所，蒋溥购得后，将其进献给了乾隆皇帝，复归内府收藏，并于《石渠宝笈续编》中加以著录。 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画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 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牵牛花图","以满幅构图铺陈牵牛花野趣，藤蔓肆意缠绕交错，将攀附篱架的夏花盛景凝于绢上。虽经岁月晕染，底色蒙尘黯淡，花叶敷色仍存雅致余韵。叶片与花苞错落排布，带着蓬勃的山野生机，古旧色调晕开沉静侘寂的氛围，将盛放时鲜活肆意的姿态藏在朦胧斑驳里，仿若能窥见旧时院中风过藤摇的夏日元气，把转瞬即逝的花事定格成永恒，在残旧质感里晕开独属于旧时光的风雅意趣。",[23,137,24,25,28,7,212,409,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff242ada4ac76821dcf54b15945a7661a.jpg",[],{"id":44822,"slug":44823,"title":44824,"dynasty":190,"author":44825,"museum":245,"description":44826,"tags":44827,"thumbUrl":44828,"material":220,"size":220,"collection":220,"collections":44829,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},231667,"ming-he-chang-nian-xiang-zhang-gu-chuan-231667","名和长年像","长谷川","画面以沉敛色调铺陈，主位武士光头蓄须，暗绿狩衣裹身，按刀执扇端坐，神色沉静不怒自威，尽显武家首领的厚重威仪。右侧侍童着彩纹小袖恭跪身侧，斜挎和弓悄然烘托主从礼法。下方马夫正竭力控住前蹄抬起的烈马，躁动的骏马与紧绷的牵马人，为肃穆的场景揉进鲜活生气。\n笔触凝练细致，衣袍暗纹、马具铜饰都被悉心勾勒，将武人出行前的片刻日常定格，在侘寂古雅的氛围里，藏着武家独有的刚硬气场，平淡叙事中晕开沉雄张力。",[23,24,155,28,7,83,112,1787,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1090e99f26ee671509871b36d3f2435.jpg",[],{"id":44831,"slug":44832,"title":44833,"dynasty":190,"author":191,"museum":245,"description":44834,"tags":44835,"thumbUrl":44836,"material":1397,"size":1398,"collection":220,"collections":44837,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},231654,"ping-an-shi-dai-hou-qi-fu-nie-pan-tu-yi-ming-231654","平安时代后期 佛涅槃图","画面虽经岁月磨洗，颜料斑驳剥落，却依旧能触摸到凝固的神圣瞬间。安卧的主尊神态恬然，将涅槃的圆融沉静铺展开来，周遭弟子眷属的身形依稀可见，悲戚的氛围透过残损的色块漫溢而出。\n\n依稀残存的线条带着古拙柔和的力道，晕染的痕迹藏着当年的细腻心思，肃穆的宗教感历经时光未曾消散。残损非但未减其韵，反倒添上一层跨越岁月的沧桑禅意，将入灭时的庄严超脱与俗世哀恸的张力，封存在绢本之上，引人于斑驳间遥想往昔，在褪色里感知这份不朽的绘事之美。",[23,194,28,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a479ccc6d654cfff5c4c7ff4f0b040.jpg",[],{"id":44839,"slug":44840,"title":44841,"dynasty":190,"author":191,"museum":245,"description":44842,"tags":44843,"thumbUrl":44844,"material":220,"size":220,"collection":220,"collections":44845,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},231652,"yi-cai-xiao-xiang-hua-yi-ming-231652","易彩肖像画","肖像画因其侧重人物面貌的描写，古人又称之为“写真画”，或者是“传神”“写照”“传写”，它是中国画门类中最为古老的一个科目。中国肖像画的历史悠久，相比山水和花鸟而言，它的起源是最早的。在历经唐宋元的延续和嬗变之后，明清时期的肖像画更是达到了一个新的高度，形成了鲜明的特色和完整的体系，在中国绘画史上占据着非常重要的位置，生命力极其强大。\n明清肖像画在其时代的人物画发展的基础上，不仅对西方传于中国的写实性绘画技法予以了吸收借鉴，同时也充分融合了本民族绘画语言，包括正统的文人绘画和民间的写真术等，取得的巨大艺术成就，虽然不是绘画主流方向，但对其后人物画转向现实提供了尝试和可能，也为现代艺术家的创新提供了有益的基础,而其艺术特点和美学价值均是值得我们目前仍需深入展开和探究的内容。",[23,24,25,155,7,28,22927,284,4304,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4ff80e723721427982e6421699c69c.jpg",[],{"id":44847,"slug":44848,"title":44849,"dynasty":150,"author":44850,"museum":8937,"description":44851,"tags":44852,"thumbUrl":44854,"material":496,"size":44855,"collection":220,"collections":44856,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},231589,"yang-niao-you-ju-tu-chen-zhen-yue-231589","阳鸟攸居图","陈震岳","此卷用水墨画各姿态鸿雁近百只，笔墨娴熟，造型生动，媲美边颐公。阳鸟即“随阳之鸟,即鸿雁之属”。\n陈震岳，字峻生，又字静斋，福建晋江人。善诗文、书画，所画芦雁尤佳。常于江天暮景，观雁之飞鸣起伏，而得其神妙。",[23,24,25,26,855,7,178,156,2708,44853,4213,34,5053,137],"湿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1686057e9b26e44ff14f72b02d489fbf.jpg","26x498厘米",[],{"id":44858,"slug":44859,"title":44860,"dynasty":190,"author":44861,"museum":245,"description":44862,"tags":44863,"thumbUrl":44864,"material":1397,"size":1398,"collection":220,"collections":44865,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},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","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。",[23,24,25,28,7,172,29,83,3762,637,927,211,37,85,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba5e9cd2a0636c0c03c1aa4dd653c9b.jpg",[],{"id":44867,"slug":44868,"title":44869,"dynasty":150,"author":6928,"museum":245,"description":44870,"tags":44871,"thumbUrl":44873,"material":1397,"size":1398,"collection":220,"collections":44874,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},231058,"sai-shang-ye-qu-tu-jiao-bing-zhen-231058","塞上野趣图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。",[23,24,25,914,28,7,29,19279,178,44872,17152],"边塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708c9c2f236532c6f6469d779a3c6473.jpg",[],{"id":44876,"slug":44877,"title":44878,"dynasty":190,"author":191,"museum":245,"description":44879,"tags":44880,"thumbUrl":44881,"material":1397,"size":1398,"collection":220,"collections":44882,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},230549,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-1-yi-ming-230549","明清古画动物山水粉本图卷-1","此作以淡设色写就，竹枝蜿蜒横斜，两只绶带鸟栖于枝头，翎羽晕染细腻，尾羽舒展飘逸，姿态悠然自得。左侧浅绿晕染牡丹与湖石，花叶柔润秀雅，清润雅致。\n全作用笔清劲秀逸，线条勾勒简练精准，设色浅淡明净，无浓艳堆砌之意，尽显平和娴静的文人意趣。简淡笔墨间晕染出花木禽鸟的灵动生机，带着写生的鲜活意致，尽显传统花鸟的幽隽雅致之美。",[23,24,28,7,26,212,2653,298,299,453,409,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e497c2669ce7f84f921f5e8bdcf52d4.jpg",[],{"id":44884,"slug":44885,"title":44886,"dynasty":190,"author":37391,"museum":245,"description":44887,"tags":44888,"thumbUrl":44889,"material":220,"size":220,"collection":220,"collections":44890,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},230482,"an-tu-tao-shan-shi-dai-hua-xia-you-le-tu-ping-feng-di-yi-ping-shou-ye-zhang-xin-230482","安土桃山时代 花下游乐图屏风-第一屏","画面留白疏朗，淡赭底色晕开空寂天地，将视线牢牢牵向倚杖的武士。衣装刻画细致入微，暗纹袍服配朱红镶边，腰间太刀沉敛，悄然点明武者身份，而松弛的姿态却消解了武家肃杀之气。\n\n足畔野草丛生，艳色小花点缀土坡，朴拙的山野景致柔化了硬朗的人物气质，刚健与春日元气相融。寥寥数笔便托出幽寂闲雅的氛围，将春日郊野漫步的松弛闲情晕染开来，带着侘寂的和风雅韵，把山野独游的悠然意趣藏进绢素之中。",[23,24,25,28,83,59,62,705,215,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb29a0cdaa97e0c37df926aa818b14f.jpg",[],{"id":44892,"slug":44893,"title":27718,"dynasty":150,"author":191,"museum":245,"description":44894,"tags":44895,"thumbUrl":44896,"material":220,"size":220,"collection":220,"collections":44897,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},230339,"luo-han-du-hai-tu-yi-ming-230339","开篇海门轻启，仙娥探身，沧澜翻涌成涡，细密灵动的线条将水势浩渺汹涌尽显。罗汉们或乘龙踏浪，或引虎随行，奇妖异仆持械护法，红芒隐于周身，诡谲间不失神圣气象。\n\n后半段峰崖叠翠，古松虬劲，众罗汉缓行林间，或驻足对谈，或盥手小憩，神态悠然松弛。全卷工笔设色雅致清润，人物形貌各异，毛发衣褶分毫毕现，山海之景虚实相生，将渡海登岸的奇幻禅意晕染开来，叙事性与观赏性兼具，尽显仙佛绘卷的古典意趣。",[23,24,28,7,26,194,83,29,341,3794,582,37,34,211,9710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff86155df94a6033f55373ac4bdebf0ed.jpg",[],{"id":44899,"slug":44900,"title":44901,"dynasty":150,"author":44902,"museum":245,"description":44903,"tags":44904,"thumbUrl":44905,"material":1397,"size":1398,"collection":220,"collections":44906,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},230101,"zheng-xi-tu-hua-xin-guo-chao-zuo-230101","征西图（画芯）","郭朝祚","郭朝祚，号硕斋，生卒年月待考。",[23,24,25,26,28,7,29,83,112,2782,623,31,21728,1787,5571,1797,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20e6b15f1e24c8782fd41f118467348.jpg",[],{"id":44908,"slug":44909,"title":44910,"dynasty":150,"author":191,"museum":245,"description":44911,"tags":44912,"thumbUrl":44914,"material":1397,"size":1398,"collection":220,"collections":44915,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},229064,"qian-long-qi-nian-ci-tai-yang-cai-hai-he-lai-chao-yu-huan-dan-ping-yi-dui-yi-ming-229064","乾隆七年 磁胎洋彩海鹤来朝玉环胆瓶一对","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[251,8885,44913,28,7,60,211,653,158],"洋彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb23604782d1aca8a0094bc1e52b9fbfd.jpg",[],{"id":44917,"slug":44918,"title":44919,"dynasty":76,"author":44920,"museum":245,"description":44921,"tags":44922,"thumbUrl":44923,"material":220,"size":220,"collection":220,"collections":44924,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},228919,"peng-lai-xian-yi-tu-leng-qian-228919","蓬莱仙弈图","冷谦","《蓬莱仙弈图》一图由明代 所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[23,24,25,26,28,7,834,285,29,84,83,34,176,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8255e9747b858ce33ea55f9a372f599.jpg",[],{"id":44926,"slug":44927,"title":44928,"dynasty":76,"author":3747,"museum":134,"description":44929,"tags":44930,"thumbUrl":44932,"material":67,"size":220,"collection":220,"collections":44933,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},228842,"tai-ping-le-shi-ce-dai-jin-228842","太平乐事册","它一般描绘社会安和乐利，人民安居乐业的的太平景象。太平乐事册页，一共十开。分别为婴戏、骑牛、捕鱼、娱乐、戏耍、试射、耕罢、观戏、木马、牧归。画面中有不同阶层人生活的场景，非常有生活气味。",[24,28,7,519,83,1744,44931,3048,5967,216],"成年人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10f2caf70a0e0917dcab4e7bdff22a0.jpg",[],{"id":44935,"slug":44936,"title":44937,"dynasty":76,"author":44938,"museum":245,"description":44939,"tags":44940,"thumbUrl":44941,"material":220,"size":220,"collection":220,"collections":44942,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},228396,"hua-niu-tu-juan-zhang-jun-du-228396","画牛图卷","张君度","此卷以水墨晕染群牛，情态鲜活灵动。或抵角相搏、野性尽显，或信步缓行、憨态可掬，或卧地慵憩、悠然自得，搭配随性牵引的牧童，将乡野牧歌的闲逸日常铺陈开来。\n\n笔墨极简却形神兼备，淡墨晕出蓬松皮毛，浓墨勾勒犄角蹄足，寥寥数笔便将水牛的厚重朴拙尽显。题跋书法与绘事相映，诗画合璧，文心与画趣交融。构图疏密张弛有度，从群聚到散走过渡自然，将田园间的悠然意韵缓缓铺展，尽显文人写意的抒情特质，是兼具写生传神与寄兴抒怀的佳作。",[23,24,25,26,855,7,113,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456e6af9b7a3092979091028a8aeb964.jpg",[],{"id":44944,"slug":44945,"title":44946,"dynasty":228,"author":191,"museum":245,"description":44947,"tags":44948,"thumbUrl":44949,"material":220,"size":220,"collection":220,"collections":44950,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},228211,"fang-mu-tu-yi-ming-228211","放牧图","以浓墨点染左侧垂柳，苍润枝叶随性舒展，余下大片淡墨留白铺就水泽，晕染出空濛悠然的郊野暮色。\n\n两头水牛一静一动，一者卧于水间，牧童伏背酣眠，恬然自适；一者垂首浅滩饮水，姿态松弛憨拙。全作以水墨写意，舍去繁缛刻画，以留白烘托萧散悠远的意境，将乡野放牧的日常闲趣，融于简淡笔墨之中，尽显平淡天真的隐逸意趣，把田园野趣与尚简重情的审美完美契合，尽显小品画的灵动生机与悠远情致。",[23,137,24,25,855,7,113,313,196,705,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa8ce8aadda59dc845081b49d325826.jpg",[],{"id":44952,"slug":44953,"title":44954,"dynasty":228,"author":191,"museum":245,"description":44955,"tags":44956,"thumbUrl":44957,"material":1397,"size":1398,"collection":220,"collections":44958,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},228187,"ren-ma-tu-zhuang-biao-hou-yi-ming-228187","人马图（装裱后）","此作以简练笔墨铺陈胡人马饲意态，虬髯奚官身披宽袍，神色沉静内敛，尽显异域牧者的沉凝气质。画面主体白马筋骨丰腴矫健，抬首长嘶，鬃尾勾勒细致，将良驹桀骜灵动之态尽显。\n淡墨晕染的朦胧背景将视觉全然聚焦于人马之上，设色清雅柔和，白棕对比鲜明，既承袭唐宋鞍马画写实精微的余韵，又带有元画简淡空灵的审美意趣。画师以精湛写生功底，将人驯于马、马依于人的悠然情态娓娓道来，尽显游牧文化与中原笔墨融合的独特意韵。",[24,25,155,28,7,83,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c34399071ce5db339513f8461cfbbf7.jpg",[],{"id":44960,"slug":44961,"title":44962,"dynasty":228,"author":4846,"museum":245,"description":44963,"tags":44964,"thumbUrl":44965,"material":220,"size":220,"collection":220,"collections":44966,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},228028,"lin-li-gong-lin-ren-ma-tu-hua-xin-zhao-yong-228028","临李公麟人马图（画芯）","画面里番官虬须深目，朱衣乌帽，双手笼袖牵马伫立，神情沉凝肃穆，尽显异域贵族的端凝气度。那匹花斑神骏肌理饱满丰腴，昂首垂尾静立，淡墨晕染出满身斑驳毛色，细劲圆润的铁线描勾勒出筋肉骨骼，将骏马矫健神骏的姿态尽显，得李公麟白描神髓又暗含自家笔意。\n\n设色调和古雅，朱红官衣与墨色骏马相互映衬，明快沉静。题诗与鉴藏印错落排布，晕开古朴厚重的书卷气，整幅画作简澹高古，把人马的雍容气度铺陈得淋漓尽致，是鞍马题材中的精妙之作。",[137,24,25,283,28,7,83,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa69533e4c540c81639542b1cc1539c.jpg",[],{"id":44968,"slug":44969,"title":44970,"dynasty":18,"author":44971,"museum":245,"description":44972,"tags":44973,"thumbUrl":44974,"material":1397,"size":1398,"collection":220,"collections":44975,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},227940,"shi-liu-ying-zhen-tu-quan-juan-fan-long-227940","十六应真图全卷","梵隆","描绘的正是十六位罗汉在传法和生活的情景。应真是佛教中的罗汉，十六应真均是释迦牟尼的弟子，佛经上说他们常驻人间，受供养又为世人谋福音。画面上的十六位罗汉形态逼真，各具神采，他们有的经禅祐坐，有的净发挑耳，憨态可掬的笑容，怡然自得的神态，整幅画面宁静祥和，特别是罗汉自在超然的气质神韵跃然纸上。",[23,24,26,283,7,194,83,927,211,8582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd10268ecf905a9121bc8da42041b337.jpg",[],{"id":44977,"slug":44978,"title":44979,"dynasty":18,"author":191,"museum":245,"description":44980,"tags":44981,"thumbUrl":44982,"material":220,"size":220,"collection":220,"collections":44983,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},227874,"liu-tang-xun-ju-tu-yi-ming-227874","柳塘寻句图","画面以淡墨晕开江南水滨的烟霭，近处柳林浓荫偃伏，柔条垂覆浅汀，水面浮着点点菱荇，漾着清寂的闲意。远山以轻毫扫出轮廓，融在空蒙水雾之中，恍若化入淡远烟岚。汀渚一隅隐着渔舟，似有幽人独伫，将寻句的幽谧心境沉在湖光柳色里。\n\n全幅以留白造境，笔墨简淡却意蕴悠长，将林泉雅意收在尺幅之间，尽显小品以小见大的雅致，把文人耽于山水、寄情烟霞的襟怀藏在水墨晕染中，淡而愈真，简而弥远。",[23,24,25,137,28,855,7,29,1028,1707,157,4188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744cd083c4a70642706010bdf7ba17b3.jpg",[],{"id":44985,"slug":44986,"title":44987,"dynasty":18,"author":191,"museum":245,"description":44988,"tags":44989,"thumbUrl":44990,"material":220,"size":220,"collection":220,"collections":44991,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":1833},227349,"xuan-he-dian-shuang-an-tu-yi-ming-227349","宣和殿双安图","北宋皇宫建筑之一，前后经历始建重建，后称保和殿，用以藏书藏画，北宋皇室三大藏书处所之一。著名的《宣和书谱》、《宣和画谱》都与此殿关系密切。",[23,137,24,25,28,7,212,5649,488,2653,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0812227ecaac5bde35609c91e6acc901.jpg",[],{"id":44993,"slug":44994,"title":44995,"dynasty":18,"author":191,"museum":245,"description":44996,"tags":44997,"thumbUrl":44998,"material":220,"size":220,"collection":220,"collections":44999,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[23,24,25,519,914,855,28,7,29,176,197,34,83,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":45001,"slug":45002,"title":45003,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":45004,"thumbUrl":45008,"material":1397,"size":1398,"collection":220,"collections":45009,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},226471,"ku-yong-dao-ding-bu-yi-ming-226471","窟甬道顶部",[5091,1053,28,194,7,4927,83,1532,45005,45006,45007,198],"坐佛","供养菩萨","台座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d5f40df538a35fd7afa4235da52aa3.jpg",[],{"id":45011,"slug":45012,"title":45013,"dynasty":150,"author":5382,"museum":245,"description":45014,"tags":45015,"thumbUrl":45016,"material":220,"size":220,"collection":220,"collections":45017,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[23,24,26,28,29,172,7,32,34,33,772,10979,2653,2708,32348,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":45019,"slug":45020,"title":45021,"dynasty":150,"author":2997,"museum":245,"description":45022,"tags":45023,"thumbUrl":45024,"material":220,"size":220,"collection":220,"collections":45025,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},224419,"shu-hua-shi-liu-kai-5-wang-shi-min-224419","书画十六开-5","此作以赭色绢本铺底，工写相融。白牡丹为画面眼目，淡墨勾瓣，轻施水色晕染，瓣层舒展如叠雪堆云，清腴柔妍，贵而不艳。枝上栖禽翎羽丝描细腻，赭黄、灰褐晕出绒泽，侧目望向花头，似正细嗅天香，灵动鲜活。枝叶以中锋写出，墨色分浓淡显向背，苍润秀雅。题字清雅疏朗，与画面气韵相合。整体娴静古雅，将工致与淡逸揉为一体，晕开春日清和里的幽淡意趣。",[23,24,25,519,7,28,212,298,299,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed52104fc84ec7accdec9de13fdf28db.jpg",[],{"id":45027,"slug":45028,"title":45029,"dynasty":150,"author":191,"museum":245,"description":45030,"tags":45031,"thumbUrl":45032,"material":220,"size":220,"collection":220,"collections":45033,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},224241,"fu-gui-shuang-quan-tu-yi-ming-224241","富贵双全图","此作以工笔重彩绘就，石上瑞禽翎羽妍丽华贵，尾屏铺陈如曳地织锦，眼斑历历分明，身姿舒展振翅，雄健灵动恍似将引吭长啼。石下名花雍容绽放，紫艳朱红缀于翠叶间，与苍奇湖石相映成趣。花叶勾勒细腻入微，敷色明润雅致，晕染过渡自然柔和。\n\n整幅疏密相宜，重工轻写兼具，既有院体画的精工富丽，又暗含文人雅韵，以瑞禽名花寄寓吉庆意涵，笔致间尽显雍和雅致的太平气象。",[23,24,25,155,7,28,212,213,298,211,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357232fb0e7e36d29e9bf562a2612aa2.jpg",[],{"id":45035,"slug":45036,"title":45037,"dynasty":18,"author":191,"museum":245,"description":45038,"tags":45039,"thumbUrl":45040,"material":220,"size":220,"collection":220,"collections":45041,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},223675,"shuang-you-han-chu-tu-yi-ming-223675","霜莜寒雏图","《宋人画霜篠寒雏图》是宋代佚名创作的绢本设色画。\n5只 集于枯棘上，姿势各异，神态如生。\n枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。\n画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。\n文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。\n此图原载《宋人集绘册》。\n图绘家雀五只栖止于枯棘上，右下侧衬以双钩翠竹。\n五只 的神态，刻画极为精工。\n麻雀窃窃私语的神情，欲飞未飞的动态，以及它们茸茸的羽毛，圆而有神的眼睛，描绘得栩栩如生，使人感到如闻其声，如入其境。\n图中竹页用双钩，然后用花青、汁绿渲染，竹竿用白描，荆棘以一笔出之。\n小鸟勾出轮廓后用细笔丝出羽毛，具有毛茸茸的质感。\n此图无作者宽印，钤「宋荦审定」一印。\n本幅无款。\n鉴藏印钤“宋荦审定”。\n裱边题签：“宋人画霜篠寒雏”。\n经清代收藏家宋荦鉴藏，见《石渠宝笈三编》著录。",[23,137,24,7,28,212,299,156,5250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa796d5d8ac8e342dc30faa9a1bfe80fb.jpg",[],{"id":45043,"slug":45044,"title":45045,"dynasty":18,"author":191,"museum":20,"description":45046,"tags":45047,"thumbUrl":45049,"material":67,"size":45050,"collection":220,"collections":45051,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},223507,"song-yin-xian-qi-tu-yi-ming-223507","松荫闲憩图","绘一老者倾躺在斜坡上小憩，高戴高帽，满脸皱纹，长须及胸，右臂枕于头下，双腿蜷缩，安详的享受自然之景；四周杂草蓬勃生长，上方松木遮阳，松针细长繁多，藤条自松枝上垂下。",[23,24,25,23264,706,855,28,7,83,1068,45048],"闲憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5060744d24e47c5354270e434f38253.jpg","22x54",[],{"id":45053,"slug":45054,"title":45055,"dynasty":18,"author":191,"museum":134,"description":45056,"tags":45057,"thumbUrl":45058,"material":424,"size":45059,"collection":220,"collections":45060,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},223429,"wu-kuan-xi-pang-xian-hua-yi-ming-223429","无款溪旁闲话","前景岩石矗立于溪旁，岩壁松树垂下，间杂着红叶、绿萝。岸上士人，拱手与渔夫问答。渔父持竿压着膝盖，稳坐船头倾听。渔父将脚深入水中，与「沧浪之水浊兮，可以濯吾足」文字叙述吻合，所画或是《楚辞》〈渔父〉。此画小斧劈皴刚劲犀利，传达出山石的坚硬嶙峋，不失为十三世纪佳作。本幅选自《宋人集绘册》第五开。",[23,24,28,7,519,83,86,175,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc5abf621abb036630676a076c87c6e.jpg","25.7x23.6厘米",[],{"id":45062,"slug":45063,"title":45064,"dynasty":150,"author":191,"museum":134,"description":21071,"tags":45065,"thumbUrl":45066,"material":220,"size":220,"collection":220,"collections":45067,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},223412,"ma-zu-qi-ji-c-yi-ming-223412","妈祖奇迹C",[23,24,28,7,81,194,83,111,9710,37,18286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1bdb2f2246419402205f91e670b372b.jpg",[],{"id":45069,"slug":45070,"title":45071,"dynasty":150,"author":4708,"museum":8639,"description":12829,"tags":45072,"thumbUrl":45074,"material":599,"size":12835,"collection":220,"collections":45075,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},223314,"fa-jie-yuan-liu-tu-juan-8-ding-guan-peng-223314","法界源流图卷-8",[23,24,25,26,194,7,28,83,927,2653,211,34,2602,45073,216],"兽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79abe8c8eb4e0f02acfd507fe752e49e.jpg",[],{"id":45077,"slug":45078,"title":45079,"dynasty":150,"author":4708,"museum":8639,"description":12829,"tags":45080,"thumbUrl":45081,"material":599,"size":12835,"collection":220,"collections":45082,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},223312,"fa-jie-yuan-liu-tu-juan-6-ding-guan-peng-223312","法界源流图卷-6",[23,24,25,26,7,28,194,83,176,927,8176,1055,4927,33055,2602,13222,3114,8084,4511,2464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a35438080080731a3c195243346db2.jpg",[],{"id":45084,"slug":45085,"title":45086,"dynasty":150,"author":23361,"museum":134,"description":45087,"tags":45088,"thumbUrl":45089,"material":952,"size":45090,"collection":220,"collections":45091,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},223120,"hui-yu-bi-fan-cheng-da-fen-sui-ci-zhou-dong-bang-da-223120","绘御笔范成大分岁词轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,25,155,7,172,28,284,173,285,29,83,35,34,211,1499,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d91960ab7f8a64757d76c1aac586d.jpg","112.9cmX28.7cm",[],{"id":45093,"slug":45094,"title":1054,"dynasty":76,"author":6899,"museum":134,"description":6900,"tags":45095,"thumbUrl":45096,"material":2721,"size":20740,"collection":220,"collections":45097,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},222070,"guan-yin-wu-bin-222070",[23,24,25,76,194,28,83,156,159,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113196b48661d21fd07d43fc338d39c0.jpg",[],{"id":45099,"slug":45100,"title":45101,"dynasty":76,"author":674,"museum":20,"description":35729,"tags":45102,"thumbUrl":45103,"material":35733,"size":35734,"collection":220,"collections":45104,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},221888,"za-hua-tu-ce-lan-hua-zhu-shi-chen-hong-shou-221888","杂画图册-兰花柱石",[23,24,28,7,519,489,159,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb47b5e42bf1487a0638711416eb14e.jpg",[],{"id":45106,"slug":45107,"title":45108,"dynasty":228,"author":191,"museum":134,"description":45109,"tags":45110,"thumbUrl":45111,"material":424,"size":45112,"collection":220,"collections":45113,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},221780,"shuo-jing-tu-zhou-yi-ming-221780","说经图轴","元人少做道释画，但这幅“说经图”却画得十分精彩。此图共有三个部分，左右两幅各画四尊菩萨立像，中央一幅画佛祖释迦牟尼跌坐莲台，罗汉侍立左右。本幅是右边的一幅，构图位置与左边的一幅完全对称。菩萨衣饰华贵，容貌祥和，足下各踏莲花，凌空而立。其姿态各自不同，眼神都注视左前方，像是用心聆听佛法。画中用笔圆劲流畅，设色富丽古艳，颇有上追六朝人笔法之意。\n菩萨顶上放射光芒成一圆轮状，称之为“圆光”。颈上挂着的成串珠玉装饰，称之为“璎珞”。佩戴“璎珞”本是印度贵族男女，皆缀珠玉以为颈饰，梵文称为“枳由罗”，传到中国后则译为“璎珞”。看这四尊菩萨的面貌已经变为中土人士的容貌，而非胡貌梵像，便知这幅是宋以后的作品。",[23,137,24,25,155,194,83,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b0f34610241466257060249ffc3d82.jpg","95.4×52.9cm",[],{"id":45115,"slug":45116,"title":45117,"dynasty":150,"author":7676,"museum":406,"description":42165,"tags":45118,"thumbUrl":45119,"material":496,"size":42168,"collection":220,"collections":45120,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},219831,"ren-wu-ce-ye-4-ren-xiong-219831","人物册页-4",[24,25,519,28,7,83,156,313,211,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa782cfb9c2d55dcd6bf8ebdd0505ab1f.jpg",[],{"id":45122,"slug":45123,"title":45124,"dynasty":76,"author":45125,"museum":406,"description":45126,"tags":45127,"thumbUrl":45128,"material":2373,"size":45129,"collection":220,"collections":45130,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":145},219790,"za-hua-ce-1-guo-xu-219790","杂画册-1","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,25,137,855,28,283,7,83,1744,466,197,972,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326ce106b4ca0f3560143aa5811eb670.jpg","纵28.5 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（今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[137,24,25,283,855,7,172,211,34,178,286,597,1797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e5aa785732da9a4f5ab32275a9bd7d.jpg","60.33x41.04厘米",[],{"id":46159,"slug":46160,"title":46161,"dynasty":76,"author":77,"museum":20,"description":1213,"tags":46162,"thumbUrl":46163,"material":40,"size":14867,"collection":220,"collections":46164,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":145},233756,"ren-wu-gu-shi-ce-3-chou-ying-233756","人物故事册3",[24,25,519,7,28,81,83,59,84,92,3437,138,214,972,211,34,344,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff262bebc3812167aef075a4e655f423e.jpg",[],{"id":46166,"slug":46167,"title":21725,"dynasty":150,"author":191,"museum":20,"description":39484,"tags":46168,"thumbUrl":46169,"material":496,"size":21731,"collection":220,"collections":46170,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":145},233084,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233084",[7,28,172,83,29,112,8259,86,623,1787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa733c868361ebe2992d7e4e548d3aff3.jpg",[],{"id":46172,"slug":46173,"title":44725,"dynasty":150,"author":191,"museum":20,"description":44726,"tags":46174,"thumbUrl":46175,"material":496,"size":21731,"collection":220,"collections":46176,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":145},233072,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233072",[137,24,25,519,28,7,83,112,29,1926,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052a21e0eecb680d2c451e6b327189c.jpg",[],{"id":46178,"slug":46179,"title":46180,"dynasty":228,"author":191,"museum":245,"description":34164,"tags":46181,"thumbUrl":46182,"material":220,"size":220,"collection":220,"collections":46183,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":145},233032,"ming-zong-huang-di-hou-xiang-yi-ming-233032","明宗皇帝后像",[24,28,83,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef6d6c45339e3c7c8e399a4af21d440.jpg",[],{"id":46185,"slug":46186,"title":30886,"dynasty":18,"author":191,"museum":20,"description":46187,"tags":46188,"thumbUrl":46189,"material":627,"size":46190,"collection":220,"collections":46191,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":49},233018,"liu-yuan-xiao-shu-tu-ye-yi-ming-233018","避暑是宋人夏季活动的一件大事。农历四月谓之初夏，五月初五是端午，端午过后，天气便炎热起来。宋代周密所著《武林旧事》是一部十卷本南宋杂史，详述了朝廷典礼﹑山川风俗﹑市肆经纪﹑四时节物﹑教坊乐部等情况﹐是了解南宋城市文化和市民生活的史料。其中就有对临安百姓入夏活动的记载：“盖入夏则游船不复入里湖，多占蒲深柳密宽凉之地，披襟钓水，月上始还。”描述了南宋夏季，人们不再着襦、袄，开始穿着单衫，服装质料上也以轻薄透气为主。\n此画描绘了士人在庭院中避暑纳凉的场景。院中柳树垂阴，古树掩映。画中一士人坐于室内赏景纳凉，其身后站有一双手持扇的仆僮。门前湖面宽阔，荷叶点缀其间，远山云雾变幻莫测。院侧十数株庭花盛开，绿草如茵，有一仆僮正捧盒而来。\n画中坐于室内的士人头戴小冠。“小冠”也称“束髻冠”，是一种束在髻上的发罩，多为皮制，形如手状。《宋书·五行志》曾记载：“晋末皆冠小冠，而衣裳博大，风流相仿，舆台成俗。”士人身穿大袖襕衫，腰间系带。襕衫是一种特别的长衫，其在衫的下裳处施有横襕，代表上衣下裳的含义。宋代时，襕衫常用白色细布，圆领大袖，下摆施以横襕，腰间有褶，为士人、进士、秀才服饰。《宋史·與服志》记载：“襕衫。以白细布为之，圆领大袖，下施横襕为裳，腰间有辟积。进士及国子生、州县生服之。”\n画中共有仆僮两人。士人身后持扇仆僮身穿小袖短衫，下身着长裤，腰间系带。院侧正捧盒归来的仆僮梳双丫髻，身穿小袖长衫，两侧开衩，内着中单，腰间系带，下着长裤，脚穿布鞋。长裤以透明的薄纱为面料，肌肤在薄纱下隐约可见。纱是最古老的丝织物之一，其是一种密度稀疏、轻薄、方孔的平纹织物。由于其轻盈、有孔的特点，通常用来制作夏季服饰。宋时，纺纱技术有了很大的发展，《宋史·地理志二》就有记载：“相州，……贡暗花牡丹花纱。”",[24,137,25,914,28,7,83,1028,84,29,92,34,705,8140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d30c2c6ab3d95c7805d55f6b76dc45.jpg","纵29厘米*横29.2厘米",[],{"id":46193,"slug":46194,"title":46195,"dynasty":18,"author":191,"museum":20,"description":46196,"tags":46197,"thumbUrl":46198,"material":67,"size":46199,"collection":220,"collections":46200,"showCount":895,"zanCount":1769,"manualWeight":48,"mainColor":49},233008,"wu-jiu-wen-qin-tu-ye-yi-ming-233008","乌桕文禽图页","雪后溪边，天色晦冥，老梅初放。树栖绶带鸟一双，毛羽绚烂。树下溪流湍急，水花飞溅。岸石上覆盖积雪，画家以水墨烘染阴天，以白粉表现积雪，以流畅的曲线描绘流水，最为独特的是为了表现溪岸岩石为水冲蚀形成的蜂窝之状，另创皴法，前此未见。",[24,137,25,4185,7,28,212,286,178,86,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f1707bad69d3b03c01b8057c7efac20.jpg","纵27.5cm，横26.9cm",[],{"id":46202,"slug":46203,"title":43440,"dynasty":18,"author":191,"museum":20,"description":46204,"tags":46205,"thumbUrl":46206,"material":40,"size":46207,"collection":220,"collections":46208,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":145},232996,"zhu-lin-bo-ruan-tu-ye-yi-ming-232996","此图绘溪边竹林下，三位文士，身着长袍，对坐于兽皮垫上。姿态各异，或拨阮，或凝听。\n旁有一童子侍候，一童子跪伏溪边汲水。\n图中人物生动传神，衣纹细劲流畅。衬景丛竹老树，疏密、远近、浓淡相间，错落有致。\n作者佚名。签题李唐作。\n按此图状人物甚工，但非李唐的作风。我们观李唐的《伯夷、叔齐采薇图》是那样的形象深刻，便显得此幅的纤弱了。故改题为无名氏作。",[24,25,519,28,285,7,156,83,138,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1202ac649e222e9dd12763a3f720d050.jpg","纵22.7厘米，横24.5厘米",[],{"id":46210,"slug":46211,"title":46212,"dynasty":54,"author":38518,"museum":20,"description":38519,"tags":46213,"thumbUrl":46214,"material":880,"size":38522,"collection":220,"collections":46215,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":145},232983,"hua-liu-zun-zhe-xiang-ce-di-shi-wu-guo-ba-ga-zun-zhe-lu-leng-jia-232983","画六尊者像册-第十五锅巴嘎尊者",[137,24,2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曼荼罗、观无量寿经变、曼荼罗各一铺。北壁东起画曼荼罗、净土变、曼荼罗各一铺。西壁门上方绘维摩变，门南北侧绘普贤变、文殊变。甬道南北壁绘供养人。",[23,1053,194,706,28,7,283,4926,4927,5793,46401,83],"藻井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb069be1ae65f6bcb551c3f0c74ded6.jpg",[],{"id":46405,"slug":46406,"title":46407,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":46408,"thumbUrl":46409,"material":1397,"size":1398,"collection":220,"collections":46410,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":1833},226345,"ku-zhu-shi-xi-bi-yi-ming-226345","窟主室西壁",[1053,5091,194,28,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373cbbc7e92f932c1bcee1864650448b.jpg",[],{"id":46412,"slug":46413,"title":46414,"dynasty":150,"author":46415,"museum":134,"description":46416,"tags":46417,"thumbUrl":46418,"material":1397,"size":1398,"collection":220,"collections":46419,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":145},224350,"qing-shan-shui-lou-tai-jin-de-ying-224350","清山水楼台","金德瑛","金德瑛（1701年－1762年），中国清朝状元、政治人物，字汝白，号桧门。浙江仁和（今浙江杭州）人。\n生于康熙四十年（1701年），乾隆元年（1736年）状元。授翰林院修撰，历任右庶子、太常寺卿，任江西、山东及顺天学政。乾隆二十一年（1756年），路过徐州，发现黄河决口，运河溢涨，及时上奏。官至左都御史。金德瑛工书法，喜欢戏曲，常至梨园听歌。",[23,24,25,28,7,29,84,176,83,34,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911cc53f39a6642f5e1301b28b6ba7b0.jpg",[],{"id":46421,"slug":46422,"title":46423,"dynasty":150,"author":6776,"museum":245,"description":16189,"tags":46424,"thumbUrl":46425,"material":1397,"size":1398,"collection":220,"collections":46426,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":145},224349,"hong-ya-xian-tu-juan-1-shen-zhen-lin-224349","洪崖仙图卷1",[23,24,25,26,28,83,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb02cc932e9912b406e18e2273a375e93.jpg",[],{"id":46428,"slug":46429,"title":46430,"dynasty":18,"author":191,"museum":245,"description":46431,"tags":46432,"thumbUrl":46433,"material":220,"size":220,"collection":220,"collections":46434,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":49},223620,"xiu-yu-ming-chun-tu-yi-ming-223620","绣羽鸣春图","《宋人画绣羽鸣春图》是宋代佚名创作的绢本设色画。\n本幅无款识。\n钤鉴藏印“宋荦审定”。\n裱边题签：“宋人画绣羽鸣春”。\n图中画一只美丽的山鸟，单足立于太湖石上，神情凄楚，啼鸣不止，右爪不安地刨动。\n细观乃知其被一细绳系于石上，失去自由。\n作者用心至为深婉。\n宋欧阳修有句云：“始知锁向金笼听，不及林间自在啼”，亦即此意。\n的皴染较为粗疏，与小鸟翎毛之精细形成对比，主次分明。\n周围不设衬景，更显鸟之孤独。\n禽类本无表情，画家借鉴人类眼睛的画法表现其心理，堪称妙笔。\n存《宋人集绘》册中。\n《石渠宝笈三编》著录。",[23,24,25,137,7,28,212,178,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99a9723a31fb617dfb1466dbf0e6edb.jpg",[],{"id":46436,"slug":46437,"title":46438,"dynasty":18,"author":191,"museum":20,"description":46439,"tags":46440,"thumbUrl":46441,"material":40,"size":46442,"collection":220,"collections":46443,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":145},223510,"liu-yin-yun-dui-tu-yi-ming-223510","柳荫云碓图","绘农人利用畜力抽水灌溉的劳作场面。三棵柳树粗壮，柳荫下搭了一间四柱茅屋，屋下一人赶牛转翻车提水，巨大的转轮带动着横杆，将下游的水源源不断运输到高处灌溉。",[23,24,25,28,7,172,29,1851,196,313,1600],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F976d453e820369dd65b895eed07d47d5.jpg","23X20.6cm",[],{"id":46445,"slug":46446,"title":46447,"dynasty":18,"author":191,"museum":434,"description":46448,"tags":46449,"thumbUrl":46450,"material":424,"size":46451,"collection":220,"collections":46452,"showCount":895,"zanCount":48,"manualWeight":48,"mainColor":49},223458,"shan-shui-tu-ye-yi-ming-223458","山水图页","伴随着王朝更迭，赵宋南渡，山水画的风格面貌也发生了非常大的转变，其最为显著的特征就是南宋一改北宋山水画全景式的宏大构图，代之以空灵雅致的边角式构图。这是南北山河地貌的差异造成的：描绘的对象发生了改变，画家们的画法自然也会随之改变。这种画风上的变革却常常被后世附会为画家们用画作中的“残山剩水”寄托对故土的哀思，更以此去劝诫君王莫要偏安一隅。然而，正是南宋时期对山水画独特的审美追求造就了山水小品画空前繁荣，现存的宋代山水小品画也大多创作于这一时期。",[23,24,25,519,28,7,172,29,286,84,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaaf7d12794a522b894f58b7f4ce2bcb.jpg","纵23厘米 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陈书的另一闻名之处是作为清代名臣钱陈群的母亲。在她丈夫早逝后，陈书独自抚养儿子长大。钱陈群在乾隆朝深得皇帝赏识，并将其母画作介绍予乾隆帝，因此陈书的画作相当一部分收入大内，现藏于北京故宫博物院和台北国立故宫博物院。陈书擅长人物、山水、花鸟。",[23,137,24,25,26,28,7,285,173,29,927,176,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a83c11e883961e84fe7ffe9131110e1.jpg",[],{"id":47757,"slug":47758,"title":47759,"dynasty":150,"author":44694,"museum":20,"description":47760,"tags":47761,"thumbUrl":47762,"material":40,"size":47763,"collection":220,"collections":47764,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},234189,"jin-jie-ren-hua-xiang-ding-gao-234189","靳介人画像","画面表现的是暮春时节，茅亭绿柳，渚清荷新，一士人左手执卷，右手扶膝，正襟危坐于岸边石凳上，身旁石几上置书函、茗盏之属，一小童执扇对炉烹茶。环境清新雅逸，文人雅士闲适的生活情景跃然纸上。\n从题跋内容分析，画中主人公靳介人为官吏，但具体行状不详，尚待进一步考察。画中人物的表现方法与波臣派风格略有差异，面部平涂较多，皴染不足，故而显得较平，但眉宇间神气盎然，亦为传神之佳作。在波臣派作品中，将人物置于山水之间的肖像画多为合作之画，有喧宾夺主者，有人、景布置不谐者，而此图情景合一，将人融于景物之中，通过环境衬托人物清逸的品质，无疑是一件成功之作。",[23,24,25,7,28,83,1028,196,248,176,314,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf56539146803162af663c1bb64e0bbb.jpg","纵36厘米，横131.8厘米",[],{"id":47766,"slug":47767,"title":47768,"dynasty":76,"author":191,"museum":20,"description":47769,"tags":47770,"thumbUrl":47771,"material":811,"size":47772,"collection":220,"collections":47773,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},234177,"ming-ren-bai-niu-tu-juan-yi-ming-234177","明人百牛图卷","此卷以平远视角铺展郊野水畔全景，群水牛或卧憩坡岸、或涉水抵角、或缓步悠游，百牛神态灵动无一处重样，尽显生趣。\n画师以水墨晕染区分皮毛虚实质感，浓墨点出牛角与眼眸，朴拙间不失细腻。坡岸枯木杂树以简劲笔法写出，浅淡墨色晕出水边苔草朦胧之态，晕染出江南郊野温润空寂的氛围感。\n画面疏密排布精妙，群牛错落铺陈繁而不乱，留白衬出郊野旷远意境，暗合宋式牧画的闲逸意趣，将田园牧歌的松弛诗意定格卷中，静中藏动，朴雅天真。",[23,24,26,855,7,113,313,314,3084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704fa276913da6761043b6065ada12e0.jpg","纵28.7cm，横377.5cm",[],{"id":47775,"slug":47776,"title":47777,"dynasty":76,"author":77,"museum":20,"description":1213,"tags":47778,"thumbUrl":47779,"material":40,"size":14867,"collection":220,"collections":47780,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},233761,"ren-wu-gu-shi-ce-8-chou-ying-233761","人物故事册8",[137,24,25,7,28,519,83,12479,3850,581,2463,623,173,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff55f603785d0771b5aef7f69f519cad7.jpg",[],{"id":47782,"slug":47783,"title":47784,"dynasty":150,"author":11790,"museum":20,"description":47785,"tags":47786,"thumbUrl":47787,"material":220,"size":220,"collection":220,"collections":47788,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},233225,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-hua-hui-ye-fan-qi-233225","金陵诸家山水花卉册-花卉页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,25,519,28,7,212,487,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95884d1c35a89552d24b9a6e7a455c1b.jpg",[],{"id":47790,"slug":47791,"title":47792,"dynasty":150,"author":44694,"museum":20,"description":47793,"tags":47794,"thumbUrl":47795,"material":496,"size":220,"collection":220,"collections":47796,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},233150,"cheng-zhao-xiong-xiang-zhou-ding-gao-233150","程兆熊像轴","寓居扬州的丁皋，主要以给官贾写真为生，其中不乏佳作。最典型的是现藏于故宫博物院的《桐华庵主三十六岁小 像》。此图画于乾隆十八年(1753)，为程兆熊写真图。程兆熊(1717—1764)是扬州当时的文化名流，其字孟飞，号香南，工诗词，书画俱佳。乾隆 时寓居扬州仪征桐华庵，故号桐华庵主。李斗《扬州画舫录》中对其评道：“扬州名园甲第、榜署屏障，金石碑版之文，皆赖之。”丁皋画的程兆熊像所占幅面很 小，但眉目神情，生动细腻。此图以生宣入画，更觉“运思落墨，均臻神妙”。画中背景则由当时扬州名画家黄溱、华嵒合作完成。",[24,25,155,28,7,81,855,83,34,1797,92,91,705,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d8cd75563d88afb2a56c5d1d038a93.jpg",[],{"id":47798,"slug":47799,"title":47800,"dynasty":150,"author":33167,"museum":20,"description":47801,"tags":47802,"thumbUrl":47803,"material":496,"size":220,"collection":220,"collections":47804,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},233149,"hua-yun-feng-qiu-ji-tu-xiang-zhou-hu-xi-gui-233149","画云峰求己图像轴","就求己图而言，现藏于故宫博物院的清代画家胡锡珪的《云峰求己图》这幅作品，画面是典型的求己图的构图模式，画作是为一位名叫云峰的朋友所创作的很可能是祝寿性质的肖像画。整个画作淡墨写就并略敷淡色，线条灵动，设色淡雅，整体上气韵悠然。画中右侧一位身着长衫的文士模样的人手中拿着一本书站立着，其面前一位人物伏地长叩，脑袋后的辫子悬至腰际，整个构图带有一股文人雅士的超然气息。这幅作品上有题跋达十处之多，从题跋上看诸多题款是云峰邀请其好友为其题词，其中胡锡珪题道：“求己图，云峰仁兄大人，玉照清玩。”此外还有许多题词更是不乏溢美之词，由此可见这幅作品当时画中主角云峰仁兄的心头之好，对此图和此图之意也颇有自许之意，这点可从他本人在这幅作品中的题诗可以看出：\n\n事业千秋醉亦休，人生原是一沙鸥。\n痴心欲开丹青里，为底殷勤把自求。\n凡事须先求自己，临场何必仰他人。\n男人福命生来定，只要心头把得真。\n天涯何处觅良俦，回首已经四十秋。\n一样求人求己好，衣粮便得自家谋。",[24,25,155,7,855,28,83,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f92bf88c40346946e03286fb556143a.jpg",[],{"id":47806,"slug":47807,"title":21725,"dynasty":150,"author":191,"museum":20,"description":39484,"tags":47808,"thumbUrl":47809,"material":496,"size":21731,"collection":220,"collections":47810,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},233095,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233095",[24,25,519,28,7,83,29,17230,211,34,38,32377,1907,44728,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434b37f84590d7aa59c39313089e5f3e.jpg",[],{"id":47812,"slug":47813,"title":20660,"dynasty":150,"author":191,"museum":20,"description":20661,"tags":47814,"thumbUrl":47815,"material":496,"size":20666,"collection":220,"collections":47816,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},233062,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233062",[24,25,519,7,28,83,112,6105,5548,2782,21728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a49c885727c2c9cf97dce68919e65d3.jpg",[],{"id":47818,"slug":47819,"title":44747,"dynasty":228,"author":191,"museum":245,"description":34164,"tags":47820,"thumbUrl":47821,"material":220,"size":47822,"collection":220,"collections":47823,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},233024,"hou-fei-xiang-yi-ming-233024",[137,24,7,28,83,59,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f4c8f74e43b7486ebad28c1c90ce10.jpg","纵41.2cm 横29.cm",[],{"id":47825,"slug":47826,"title":43519,"dynasty":18,"author":191,"museum":20,"description":47827,"tags":47828,"thumbUrl":47829,"material":40,"size":47830,"collection":220,"collections":47831,"showCount":711,"zanCount":1769,"manualWeight":48,"mainColor":49},233001,"shuang-ke-zhu-jian-tu-ye-yi-ming-233001","图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。",[24,7,28,519,1499,2653,86,178,211,212,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a204c09fc7f7300ed08a4ffe8d3dc23.jpg","纵27.5厘米，横26.8厘米",[],{"id":47833,"slug":47834,"title":47835,"dynasty":150,"author":2231,"museum":20,"description":41048,"tags":47836,"thumbUrl":47838,"material":599,"size":41051,"collection":220,"collections":47839,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},232891,"yan-ju-luo-han-xiang-zhou-jin-ting-biao-232891","岩居罗汉像轴",[23,24,28,7,194,83,29,159,34,1797,173,3396,15871,624,9691,5250,15727,47837,5468,29585,5478,155],"腕钏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc582b7bb574e8613ec65f5335044ec6a.jpg",[],{"id":47841,"slug":47842,"title":47843,"dynasty":228,"author":191,"museum":134,"description":47844,"tags":47845,"thumbUrl":47846,"material":220,"size":220,"collection":220,"collections":47847,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},232888,"yuan-tai-zu-cheng-ji-si-han-xiang-yi-ming-232888","元太祖成吉思汗像","孛儿只斤·铁木真（1162年—1227年8月25日） [112] ，尊号“成吉思汗”（传统蒙古文：ᠴᠢᠩᠭᠢᠰ ᠬᠠᠭᠠᠨ；拉丁蒙古文：Činggis Qaγan；西里尔蒙古文：Чингис Хаан；英语：Genghis Khan），蒙古族乞颜部人，生于漠北斡难河（今鄂嫩河）上游地区（今蒙古国肯特省）。大蒙古国可汗（1206年—1227年8月25日在位），世界史上杰出的军事家、政治家。\n铁木真早年丧父，投奔克烈部首领脱里，积蓄实力，于1189年被推举为蒙古乞颜部可汗，随后经过一系列战争，统一蒙古高原诸部。1206年在斡难河源即皇帝位，建立大蒙古国。建国后，实行千户制，建立护卫军，颁布《大扎撒》。此后经过多次的对外战争，占领东亚地区金朝的大片领土，并灭亡西夏、西辽及中亚的花剌子模，其征服足迹远抵东欧的黑海海滨。1227年，铁木真在西夏投降前夕病逝，终年六十六岁。临终前定下“联宋灭金”的战略，死后被秘密安葬于起辇谷。元朝建立后，累赠谥号为法天启运圣武皇帝，庙号太祖。\n铁木真是一位极具争议性的人物。自其崛起以来，便被视为野蛮残忍的侵略者 。到近代以后，也有许多学者认为铁木真及其继承人领导下的蒙古帝国发动的对外征服战争，促进了欧亚大陆间的相互影响，对之后的世界历史进程产生了深远的影响 。此外，他对蒙古诸部的统一战争，对蒙古民族共同体的形成起到了重要的作用",[24,25,137,7,28,83,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567e01e0e72d4cc7969b8e3d33f0fa5f.jpg",[],{"id":47849,"slug":47850,"title":47851,"dynasty":190,"author":191,"museum":245,"description":47852,"tags":47853,"thumbUrl":47854,"material":1397,"size":1398,"collection":220,"collections":47855,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},231776,"liu-qiu-feng-su-tu-juan-er-yi-ming-231776","琉球風俗图卷二","此作以工笔设色写实地铺展祭祀仪典。左侧俯瞰石砌祠宇墓垣，石纹朴拙厚重，匠人负具驻足，衬出场地的肃穆沉静。右侧仪仗队列绵长严整，旗幡舒卷，僧俗诸人衣冠有别，执事者持礼器、掌仪卫，依序徐行，将丧葬祭祀的仪轨细腻铺陈。\n\n设色淡雅克制，青、朱、褐诸色点缀素底，晕染出典仪的庄重氛围，笔致写实入微，将旧时琉球的民俗风貌凝于卷上，让湮没的礼制场景鲜活重现，是具象生动的民俗纪实佳作。",[23,24,25,26,7,28,83,91,2782,18232,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe2fd02bb4d8ab679342e0a3bbe2b7c.jpg",[],{"id":47857,"slug":47858,"title":47859,"dynasty":190,"author":191,"museum":245,"description":47860,"tags":47861,"thumbUrl":47863,"material":1397,"size":1398,"collection":220,"collections":47864,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},231734,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-er-ping-yi-ming-231734","江户时代 洛中洛外图屏风-二屏","以金箔为底，借云气划分场景，全景铺展往昔都城的鲜活世态。屋舍错落排布，仪仗穿街过巷，茶肆中宴饮正酣，林泉处雅士闲游。贩夫走卒与簪冠仕族各司其态，笔触细密勾勒出烟火日常与仪典盛事。冷金底色晕开雅致华贵，揉合俗世喧嚣与林下闲情，将浮生百相凝于尺幅之间，每一处细节都是鲜活的时代切片，铺就出一卷饱满生动的市井风华长卷。",[23,47862,28,81,7,83,84,85,86,34,35,112,927],"屏风画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb32431e1bd8f82df0dddc0ac69376e45.jpg",[],{"id":47866,"slug":47867,"title":47868,"dynasty":190,"author":47869,"museum":245,"description":47870,"tags":47871,"thumbUrl":47872,"material":1397,"size":1398,"collection":220,"collections":47873,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},231726,"lian-cang-shi-qi-zhen-shou-shen-ren-hui-xi-tu-juan-ruo-xia-guo-231726","鎌仓时期 镇守神人绘系图卷","若狭国","日本古代的令制国之一，属北陆道，又称若州。若狭国的领域大约为福井县的岭南。",[23,23264,25,26,28,83,84,176,194,7,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5299f5c116a0eed7fa5bc763bc696ac1.jpg",[],{"id":47875,"slug":47876,"title":47877,"dynasty":190,"author":47878,"museum":245,"description":47879,"tags":47880,"thumbUrl":47881,"material":1397,"size":1398,"collection":220,"collections":47882,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},231678,"lian-cang-shi-qi-gong-jia-lie-ying-tu-teng-yuan-xin-shi-231678","镰仓时期 公家列影图","藤原信实","淡墨清线勾勒出两列公家贵族，乌帽峨然，狩衣宽博舒展。人物姿态相近却神情微异，或垂目持简，或侧首敛容，笔致清劲秀雅，浅淡晕染衬出衣料的柔和质感，将旧族的矜贵端方缓缓铺展。\n\n长卷如徐徐展开的朝会剪影，队列带着仪式般的肃穆静雅，把贵族朝会的仪制风范凝在素纸之上。笔底藏着入微的观察，淡逸笔触间留存古雅和风，静穆中尽显旧时宫廷的规整气度，让千年前的朝堂群像鲜活如初。",[23,26,283,7,83,63,25,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35fdb5de6b2482a313e94254382da1c3.jpg",[],{"id":47884,"slug":47885,"title":47886,"dynasty":190,"author":40745,"museum":245,"description":40746,"tags":47887,"thumbUrl":47888,"material":1397,"size":1398,"collection":220,"collections":47889,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},231630,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-shang-zhong-xia-shang-tu-zuo-guang-xin-231630","室町时代 清水寺缘起画卷上中下（上）",[24,25,26,28,7,81,194,83,84,29,112,34,178,92,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42489e41e6edbd1edcb14c072d8df156.jpg",[],{"id":47891,"slug":47892,"title":47893,"dynasty":150,"author":5626,"museum":245,"description":47894,"tags":47895,"thumbUrl":47896,"material":496,"size":47897,"collection":220,"collections":47898,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},231566,"yu-hu-qiu-fan-tu-fei-dan-xu-231566","玉湖秋泛图","题跋：〈鲍正言〉（词一首，不录）筱溪尊兄先生属题即正。丙午九秋衍香鲍言草稿。\n〈朱紫贵〉（七律一首，不录）道光辛丑孟陬题奉筱溪宗兄雅正。\n斋贵书于西泠学舍。\n〈朱步沆〉（七律二首，雨不录）用初白先生中方舟夹山瀁韵二首题\n应筱溪三兄雅属希政之。时壬寅六月二十五日沁泉沆甫\n稿。\n〈奚疑〉（词一首，不录）丁亥冬余招同人泛舟夹山瀁诗雨生都督\n缋图纪游。筱溪三兄先生属新填蝶恋花词，录请敦正。\n方屏山樵奚疑稿。丙午十月，时年七十有二也。\n〈达受〉（七律二首，不录）咸丰五年乙卯七月二十有二日，小诗\n题奉筱溪先生玉照并祈政句。南屏迟隐憎六舟达受未定稿。",[23,24,25,26,28,855,7,285,284,173,29,83,175,2708,22725,9386,4188,43148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a59c2367b4d88e6db4c04a1ccd7115.jpg","引首：33.5×110.5cm 本幅：34×105.5cm 题跋：31×33cm×13",[],{"id":47900,"slug":47901,"title":47902,"dynasty":18,"author":1151,"museum":134,"description":47903,"tags":47904,"thumbUrl":47908,"material":496,"size":47909,"collection":220,"collections":47910,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},231398,"bu-na-tu-liu-song-nian-231398","补纳图","本幅画两名僧人坐于禅榻上，老者正潜心补衣，另一人则抱膝旁观。屏后，复有侍者二人，伫立捻茶。画中人物，表情鲜活而自然，衣纹用笔亦流畅有力。惟左下方款署之“画院待诏赐金带刘松年敬赠”及钤印疑伪。 宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。\n“南宋四家”之一刘松年在南宋画院崭露头角，介于李唐和马远、夏圭之间。他曾师从张敦礼学画，而敦礼画法学李唐，工于山水、人物画，刘松年学到了老师恬洁滋润的长处，也继承了李唐的绘画优点。\n刘松年的作品传世者并不多，据记载他的作品多表现江南一带风景，特别是西湖园林的优美景色，并穿插以文人贵族的闲适生活，少数还图绘了仙山楼阁的神仙世界，反映了那一时代上层社会的审美情趣。\n刘松年的工笔人物画尤其是罗汉图主要是对贯休的继承。当然这种继承不是拷贝，而是在古人的基础之上融入了自己的理解和心得，并形成自己的风格特色。",[24,137,25,155,7,28,83,582,2642,783,8651,409,5493,24145,47905,5967,47906,47907],"宋代画风","衣纹细致","色彩典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad9390faee56e00d3126eeee9d660f4.jpg","纵141.9cm，横59.8cm",[],{"id":47912,"slug":47913,"title":47914,"dynasty":18,"author":191,"museum":134,"description":47915,"tags":47916,"thumbUrl":47917,"material":100,"size":47221,"collection":220,"collections":47918,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},231081,"yu-e-tu-yi-ming-231081","浴鹅图","画面取水岸一隅，古木虬枝苍拙雄健，疏梅绽花点点，柳丝柔曼垂落晕染出春日清氛。\n\n白鹅浮于水面，翎羽刻画精工细腻，绒羽蓬松、主羽分明，曲颈昂首悠然自得，尽显雍容闲适。枝头小雀理羽顾盼，鲜活灵动，与白鹅的静雅形成呼应，一动一静间晕开松弛野逸的意趣。\n\n全作用色古雅沉稳，工写兼融，禽鸟刻画细致入微，林石布景写意简澹，将幽寂的池畔春景晕染出静谧悠然的古典格调，尽显雅致恬淡的自然之美。",[137,24,25,7,28,5181,286,521,299,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b094f5baeb96b4cd23585e29b9b69e.jpg",[],{"id":47920,"slug":47921,"title":47922,"dynasty":18,"author":191,"museum":134,"description":47923,"tags":47924,"thumbUrl":47925,"material":100,"size":20817,"collection":220,"collections":47926,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},231080,"tong-shi-xiu-ling-tu-yi-ming-231080","桐实修翎图","这幅小品以极简取景尽显雅致意趣。枯涩桐枝斜出，叶片晕染苍润，桐实垂悬，带着秋意的沉敛。枝上禽鸟侧身理羽，绒羽蓬松柔润、覆羽棱纹毕现，笔致精细入微，将禽鸟的慵懒闲适刻画得鲜活传神。\n\n画面虚实相生，淡远空境衬出小景静谧，古绢的沉暗底色晕开旧时光晕，钤印朱红点缀，添上岁月沉淀的厚重，尽显写生的精妙工致，将秋日林间的幽寂生机定格在尺幅之间。",[137,24,25,155,7,28,212,299,653,596],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40cb72af34f436ca4a5ea71e741b3c48.jpg",[],{"id":47928,"slug":47929,"title":29711,"dynasty":76,"author":25638,"museum":245,"description":47930,"tags":47931,"thumbUrl":47932,"material":220,"size":220,"collection":220,"collections":47933,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},230915,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-230915","此作笔墨秀雅清润，以平远视角铺展庭院景致。垂杨柳丝扶苏，掩映廊庑台榭，墨色晕染出清寂空疏的氛围。画面左下角，着官袍士人正与仆从揖对，旁侧马匹静候，将朝臣谒见等候的场景娓娓铺陈，人物情态生动自然，尽显古礼分寸。\n\n布景简淡洗练，线条细劲工致，淡设色晕染浅淡柔和，将史记旧事的沉静静谧融于日常朝谒场景之中。画作兼具叙事性与文人雅意，无需繁复铺陈，便把君臣故事里的恭敬庄重，藏在庭院幽寂氛围里，尽显温婉古雅的文人叙事画格调。",[24,25,28,81,7,83,112,34,84,173,284,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce24d8ae3f83d6f50fe771dbf7b0a0f.jpg",[],{"id":47935,"slug":47936,"title":47937,"dynasty":190,"author":191,"museum":245,"description":47938,"tags":47939,"thumbUrl":47944,"material":1397,"size":1398,"collection":220,"collections":47945,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},230693,"tian-qiu-xing-tu-yi-ming-230693","天球星图","以淡蓝晕染作天幕底色，红、黄、黑三色星点错落排布，勾勒出古人心目中的苍穹秩序。残损的边角晕开岁月痕迹，却未掩星官排布的缜密脉络。星点或串联成象，或孤悬天际，将浩渺天河凝缩于圆形尺幅之内，带着手绘朴拙的温度，复刻出千年前观星者仰首凝视的整片星空。它是古人求索天地的具象缩影，藏着古老的宇宙遐想，虽历经岁月磨耗，却依旧留存着天文记录与古典艺术交织的独特价值，静静诉说着跨越时空的观星浪漫。",[24,25,28,7,47940,47941,47942,47943],"星象","星辰","天体","圆幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4b964d795509339c902807414ba2fd.jpg",[],{"id":47947,"slug":47948,"title":47949,"dynasty":190,"author":47950,"museum":245,"description":47951,"tags":47952,"thumbUrl":47953,"material":1397,"size":1398,"collection":220,"collections":47954,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,25,26,28,7,283,82,173,212,83,175,178,492,298,176,84,86,914,213,7348,11389,1068,156,211,85,59,557,111,315,34,299,285,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":47956,"slug":47957,"title":47958,"dynasty":190,"author":191,"museum":245,"description":47959,"tags":47960,"thumbUrl":47961,"material":1397,"size":1398,"collection":220,"collections":47962,"showCount":711,"zanCount":1769,"manualWeight":48,"mainColor":49},230558,"dao-xuan-lv-shi-xiang-yi-ming-230558","道宣律师像","此作写高僧风骨，写实沉静。画中人物清癯端严，目光静定沉凝，将戒行自持的宗师气度尽显无遗。衣纹勾勒凝练古拙，素色僧衣沉静克制，与身侧华美的缠枝宝相纹坐帐形成鲜明对冲，繁简之间衬出修行之人的枯淡本心。\n手中拂尘细节写实雅致，朱红缨络晕染细腻，器物描摹见微知著。整幅设色调和古雅，构图中正端凝，以克制的笔意刻画出高僧静定庄严的气韵，静穆之中自有弘深出尘的风骨。",[24,25,155,194,28,83,7,63,5004,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11907c9051a25457b2bba838958b732.jpg",[],{"id":47964,"slug":47965,"title":47966,"dynasty":150,"author":191,"museum":245,"description":47967,"tags":47968,"thumbUrl":47970,"material":1397,"size":1398,"collection":220,"collections":47971,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},230343,"pu-ti-ye-hua-shi-ba-luo-han-tu-yi-ming-230343","菩提叶画十八罗汉图","此作以天然菩提叶为画布，一面金叶素净留白，一面工笔敷色绘就罗汉群像。以布袋罗汉为中心，众僧或垂目静立，或私语颔首，衣袂褶皱晕染细腻柔和，浅淡山林衬出禅林清寂。\n\n将叶片天然轮廓作为画面边界，把佛国意趣与自然天工融为一体，工丽设色勾勒出罗汉安闲自在的神态，静穆雅致间尽显佛绘的细腻工巧，借菩提的禅意烘托出世外梵林的悠然意境，方寸叶间藏尽禅门雅韵。",[24,25,47969,194,83,7,28,519,34],"菩提叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188689bcdbfdaa69e7b68299bcf0f89c.jpg",[],{"id":47973,"slug":47974,"title":47975,"dynasty":150,"author":191,"museum":245,"description":47976,"tags":47977,"thumbUrl":47978,"material":1397,"size":1398,"collection":220,"collections":47979,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},230336,"bai-miao-tu-miao-man-tu-shuo-si-yi-ming-230336","百苗图苗蛮图说(四)","这幅工笔设色小品，以灵动笔触铺展苗乡出行图景。木桥之上挑货汉子步履轻快，竹篮盛着满满烟火日常。盛装妇人身背长伞，衣襟纹饰雅致细腻，随行童子憨态可掬，稚犬蹦跳嬉闹鲜活灵动，持锄男子紧随其后，将山野劳作的松弛尽数勾勒。远景山峦晕染朦胧，飞瀑穿林而下，粉花缀在青崖，淡墨轻晕开山居清逸。画作未刻意猎奇民俗风情，而是以细腻视角定格苗家日常的恬淡鲜活，将乡野生计的烟火意趣与山水清灵融为一体，把苗岭日常的温柔生机藏在笔墨晕染间。",[24,28,7,519,83,29,85,86,178,174,6315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ce470f883074425eca78903e825a9a.jpg",[],{"id":47981,"slug":47982,"title":47983,"dynasty":150,"author":191,"museum":245,"description":47984,"tags":47985,"thumbUrl":47986,"material":220,"size":220,"collection":220,"collections":47987,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},230327,"lang-qiao-shan-shui-tu-yi-ming-230327","廊桥山水图","此作截取江岸一隅，崖壁以石青石绿晕染敷色，古雅厚重，间杂丹红秋叶，冷暖相映晕开深秋明丽。苍松杂木扎根崖间，笔墨点染间尽显葱郁生机。\n\n浅滩汀渚错落排布，水面留白尽显烟波空濛之态。滩头人物往来、牧放嬉游，纤毫小笔勾勒出鲜活烟火，将山居野逸与人间日常相融无间。\n\n笔法兼工带写，山石皴擦简练古拙，树木点染生动自然，承继青绿山水明丽设色的传统，又以生活化场景消解了古典山水的清冷疏离，尺幅间铺展出世外桃源般的悠然意韵。",[24,28,27,7,29,85,86,34,211,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6071decbc12190d4d9612207ecb3d76d.jpg",[],{"id":47989,"slug":47990,"title":47991,"dynasty":150,"author":191,"museum":245,"description":47992,"tags":47993,"thumbUrl":47994,"material":1397,"size":1398,"collection":220,"collections":47995,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},230306,"shi-ba-luo-han-ce-ye-yi-ming-230306","十八罗汉册页","此作用菩提叶片为画底，巧借天然形制铺展禅意图景。左侧素叶留白，浅棕叶色衬在幽蓝底色之上，尽显自然本真之美。右侧叶片设色绘群罗汉，衣纹勾勒细腻柔婉，敷色古雅沉静，人物神态各有不同，或垂眸凝思或语笑晏晏，禅意闲静的氛围呼之欲出。整作对页排布，一素一画，以天然材质承载佛国意趣，将东方禅理与雅致工笔相融，尽显清隽出尘的古典美学意蕴。",[24,519,194,7,28,83,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0eb26b4b76067960ef75b0d7efd24f.jpg",[],{"id":47997,"slug":47998,"title":47999,"dynasty":150,"author":8201,"museum":245,"description":48000,"tags":48001,"thumbUrl":48002,"material":1397,"size":1398,"collection":220,"collections":48003,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":145},229051,"qing-ke-si-yu-zhi-san-xing-tu-song-bing-gong-hui-tu-zhou-qing-ren-229051","清缂丝御制三星图颂并恭绘图轴","此作以缂丝技法织就，福禄寿三星齐聚庭间，福星朱袍持如意，雍容端方，禄星抱婴含笑，满含温情，寿星银须捧桃，矍铄古朴。数位稚童环绕身侧，嬉戏随侍，融融暖意扑面而来。\n\n衬以玉树虬松、玲珑湖石与缤纷花草，云烟轻笼庭间，铺就悠然吉庆的雅致氛围。通幅走线匀整细腻，配色明丽沉稳，袍服织金纹饰、松石肌理皆还原精妙，上部御题诗文隽秀规整，与下方图景呼应成趣，将世俗祈愿与宫廷缂丝工艺完美融合，尽显华贵祥和的祥瑞气韵。",[137,24,25,155,962,28,7,9331,83,195,313,211,2602,409,2653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baaeba49be9b03774cc9e5217bff1a3.jpg",[],{"id":48005,"slug":48006,"title":48007,"dynasty":76,"author":191,"museum":245,"description":48008,"tags":48009,"thumbUrl":48010,"material":1397,"size":1398,"collection":220,"collections":48011,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},228815,"xi-lv-gong-ao-tu-yi-ming-228815","西旅贡獒图","图中描绘一位高鼻深目、长满胡须的胡人，手牵獒犬，坐在皇宫外的汉白玉台阶上等待进贡。早在先秦时期，西部少数民族便开始向中原进贡獒犬。《尚书·旅獒》记载：“惟克商，遂通道九夷八蛮，西旅厎贡厥獒。”按孔颖达注疏，“西旅”是指西部羌族。《尚书·旅獒》篇是劝戒帝王不能因喜好所贡獒犬而“玩物丧志”，而“贡獒图”则是用以歌颂帝王的武功，表现“万国来朝”的气势，“贡獒图”在历代有多种不同形式的表现",[23,24,25,137,28,7,83,582,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b13791168de75f3c217969bac8db20.jpg",[],{"id":48013,"slug":48014,"title":48015,"dynasty":228,"author":191,"museum":245,"description":48016,"tags":48017,"thumbUrl":48018,"material":1397,"size":1398,"collection":220,"collections":48019,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":1833},228193,"zhun-zhi-guan-yin-xiang-ping-an-shi-dai-yi-ming-228193","准胝观音像平安时代","本作品的准胝观音身体涂白，以朱线勾勒轮廓。宝冠上贴有金箔，墨线勾勒，头发涂略带灰色的淡绿色。衣裙及莲华宝座为略显灰色的白色及淡褐色、淡青、淡绿等，多用混有白色颜料的中间色。轮廓线也用墨线勾勒，装饰台座的花瓣类的轮廓为白色线。而且衣裙上用纤细的细金箔表现出各种的图案，腿腹的膨胀部分等采用白色表现出照晕（佛画的一种表现手法，采用明暗体现出立体感），衣服的褶皱也施有与底色同系统稍浓的色彩制出段晕（绘画表现手法），画像整体呈现院政时期佛画所特有的柔和优美的感觉。另一方面，虽然现在作品已经泛黑，但是头光、背光的一部分在强调交织的细金箔图案的同时，却以银截金、截箔构成的图案为主，从天盖垂下的璎珞也采用细银箔表现出稳重的光辉。而其周围的四天王上的金属构件类都施有里箔（日本绘画技法，从绢底里侧贴上金银箔），整体的色彩稍暗，以墨线的轮廓线条为主，对足边岩石台座的描绘，以及对天衣、冠缯的动态描写等，都可见镰仓时代的主流表现要素。此作品巧妙的改变表现手法以凸显主题的主次关系，从而形成了考究画面，令人感觉到自平安时代至镰仓时代的时代变迁。",[23,24,25,155,194,28,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e188f072a473e4c2abfdabc9e629cf.jpg",[],{"id":48021,"slug":48022,"title":48023,"dynasty":228,"author":191,"museum":245,"description":48024,"tags":48025,"thumbUrl":48026,"material":1397,"size":1398,"collection":220,"collections":48027,"showCount":711,"zanCount":48,"manualWeight":48,"mainColor":49},228189,"xiu-xing-zhong-de-luo-han-yi-ming-228189","修行中的罗汉","罗汉，是阿罗汉的简称，梵音译(Arhat)。含有杀贼、无生、应供等义。杀贼是杀尽烦恼之贼，无生是解脱生死不受后有，应供是应受天上人间的供养。在小乘佛教中，是伟大的佛陀得法弟子修证最高的果位。\n罗汉者皆身心六根清净，无明烦恼已断（杀贼）。已了脱生死，证入涅槃（无生）。堪受诸人天尊敬供养（应供）。于寿命未尽前，仍住世间梵行少欲，戒德清净，随缘教化度众。",[24,25,155,194,83,28,7,63,159,216],"https:\u002F\u002Foss.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世宗，宪宗孙，父兴献王。世宗前期颇有一些作为，诛杀宦官，节用宽民，但后期多次爆发农民起义世宗常年服丹药，死于1567年，享年60岁",[24,155,28,7,4304,27230,341,63,5550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03e9ad69ebf5868b91c08b36d37b685.jpg",[],{"id":49130,"slug":49131,"title":49132,"dynasty":228,"author":191,"museum":245,"description":49133,"tags":49134,"thumbUrl":49136,"material":1397,"size":1398,"collection":220,"collections":49137,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},290794,"gong-ao-tu-zhou-yi-ming-290794","贡獒图轴","录入：故宫书画录（卷八），第四册，71页；故宫书画图录，第五册，257-258页",[24,155,28,7,83,49135],"獒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656b22753f1b015b5863ce6f5a382081.jpg",[],{"id":49139,"slug":49140,"title":49141,"dynasty":18,"author":191,"museum":245,"description":49142,"tags":49143,"thumbUrl":49144,"material":1397,"size":1398,"collection":220,"collections":49145,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},290718,"shou-xing-zhou-yi-ming-290718","寿星轴","此图描绘了寿星亦称南极老人星，其信仰起源于古人的星宿崇拜。秦汉之际即曾建造寿星祠，供奉寿星。后世小说、戏曲将之视为神仙之列，又名南极仙翁。头高额隆，大耳短躯是其特征。",[24,155,28,7,83,36135,1817,637,1068,4512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc23dbd5f9a6904d03f31de5972ee8c2.jpg",[],{"id":49147,"slug":49148,"title":49149,"dynasty":18,"author":191,"museum":245,"description":29057,"tags":49150,"thumbUrl":49151,"material":1397,"size":1398,"collection":220,"collections":49152,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":697},290233,"dai-du-tu-yi-ming-290233","待渡图",[23,24,914,28,7,29,84,1028,175,83,86,159,32150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a0d7ad95adbdcc0f7f9eaf1fe1311fe.jpg",[],{"id":49154,"slug":49155,"title":49156,"dynasty":150,"author":191,"museum":245,"description":49157,"tags":49158,"thumbUrl":49159,"material":1397,"size":1398,"collection":220,"collections":49160,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},290196,"zhu-lan-da-shi-tu-li-zhou-yi-ming-290196","竹蓝大士图立轴","鱼篮观音是三十三观音相之一，脚踏鳌背，手提盛鱼的竹篮或手提鱼篮的民间少妇形象，因是马郎之妇，故别名唤作”马郎妇观音“。",[23,24,155,194,28,7,83,1054,557,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd2f50c4a7c889c554520d7df1cfa85.jpg",[],{"id":49162,"slug":49163,"title":49164,"dynasty":150,"author":191,"museum":245,"description":49165,"tags":49166,"thumbUrl":49167,"material":1397,"size":1398,"collection":220,"collections":49168,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},290172,"qing-dai-gong-ting-ren-wu-hua-ce-yi-ming-290172","清代宫廷人物画册","这幅通草纸画以细腻笔触勾勒出清代高阶文官的仪范。侧颜硬朗的官员髭须利落、神态端凝，头戴顶戴花翎，身着石青素缎常服袍。胸前补子精细绘就白鹤立于海水江崖之上，尽显文一品官员的身份规制，衣缘、马蹄袖以宝相花、缠枝纹晕染点缀，色彩明丽柔润。\n\n通草纸晕染的独特质感，让衣料光泽与刺绣层次尽显分明。纸面虽带着岁月留下的残损褶皱，却依旧能窥见画工写实入微的匠意，将清代官服的典制细节与官员的威仪风貌，静静定格在百年之前。",[24,519,28,7,83,63,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0678780a9fef7629a48bbbdf0034547b.jpg",[],{"id":49170,"slug":49171,"title":49172,"dynasty":150,"author":191,"museum":245,"description":49173,"tags":49174,"thumbUrl":49175,"material":1397,"size":1398,"collection":220,"collections":49176,"showCount":943,"zanCount":1769,"manualWeight":48,"mainColor":145},290170,"qing-ren-xiao-xiang-tu-ce-juan-ben-19-zhen-yi-ming-290170","清人肖像图册绢本19帧","这幅肖像工致写实，画中官员石青补服之上，禽鸟补纹以盘金绣线晕出翎羽层次，精细华贵。暖米绢底衬出沉稳气度，红顶官帽提亮画面色调，垂襟朝珠颗颗圆润，细节一丝不苟。\n\n画家捕捉其松弛坐姿，面容刻画入微，法令纹与眉眼间尽显宦海历练出的温和持重。旁侧案头码放典籍与签牌，暗合主人雅儒底色，极简室内布景留白得当，烘托出肃穆静雅氛围，将清代武官兼具威仪与文心的形象凝于绢素，形神兼备，尽显清代肖像画的写实功力。",[24,519,7,28,24142,22928,268,18779,4427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f5494909ff1acf77ce8d6d3e78cdca.jpg",[],{"id":49178,"slug":49179,"title":39828,"dynasty":18,"author":191,"museum":245,"description":49180,"tags":49181,"thumbUrl":49182,"material":1397,"size":1398,"collection":220,"collections":49183,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},288948,"wu-jiu-wen-qin-tu-yi-ming-288948","残雪覆着虬曲皴裂的老枝，瘦骨嶙峋的老树峙于寒溪之畔，将冬日荒寒铺陈开来。两只文禽相偎枝桠，翎毛晕染细腻柔和，软绒暖意破开周遭清寂。\n\n溪水流过覆雪矶石，浅淡墨色勾出缓缓波纹，带着清泠水汽漫开。远山以淡墨晕染留白，如笼烟霭，把辽远空濛揉进冷灰底色里。\n\n整作工写相融，禽鸟描摹写实生动，山水却写意空灵，萧寒中暗蕴脉脉温情，将冬日荒林里的幽淡诗意静静晕开，冷而不寂，静中生趣。",[23,24,7,212,178,1499,86,211,4077,23805,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8f467f9e57ea917f133b2b77c5e356.jpg",[],{"id":49185,"slug":49186,"title":49187,"dynasty":190,"author":49188,"museum":245,"description":49189,"tags":49190,"thumbUrl":49191,"material":1397,"size":1398,"collection":220,"collections":49192,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},288476,"fang-song-yuan-bi-yi-shou-ye-chang-xin-288476","仿宋元笔意","狩野常信","野常信（KanōTsunenobu）是狩野派的日本畫家。他先是在父親狩野尚信（KanōNaonobu）的指導下學習，後來在父親去世後，在叔叔狩野探幽（KanōTan'yū）的指導下學習。他成為大師級畫家，並在1674年接替叔叔Tan'yū擔任狩野派校長。",[23,24,28,83,7,82,1744,159,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c39ad05a2847e35692f384ea8977fe2.jpg",[],{"id":49194,"slug":49195,"title":49196,"dynasty":150,"author":1549,"museum":245,"description":16441,"tags":49197,"thumbUrl":49198,"material":1397,"size":1398,"collection":220,"collections":49199,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},288405,"liu-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玄烨)","此作工笔写实，笔触精细入微。画中人物身着华贵朝服，宝蓝底衬明黄龙纹，绣工繁复精密，纹样威严庄重，朝珠、顶戴细节分毫毕现，尽显至尊威仪，人物神态沉稳肃穆，眉眼间自有君王持重气场。\n\n周遭陈设亦处处考究，文房器具规整雅致，孔雀翎摆件彰显礼制规格，桌椅与地毯纹饰华美庄重，细节间烘托出宫廷礼制的森严华贵。整幅设色厚重鲜明，将纪实性与艺术性相融，精准诠释清代宫廷肖像画的典型风貌，把帝王气度与宫廷规制氛围完美融合，是清代肖像画中的上乘之作。",[23,24,28,7,83,7768,341,3794,63,8269,7818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72337d4f0c0e300e38800a8591c5baa1.jpg",[],{"id":49240,"slug":49241,"title":49242,"dynasty":150,"author":191,"museum":245,"description":49243,"tags":49244,"thumbUrl":49245,"material":1397,"size":1398,"collection":220,"collections":49246,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},288256,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yi-ming-288256","历代帝王贵妃大臣朝服像","此作糅合中西技法，工致细腻。帝王端严安坐，神色沉静内敛，朝服规制森严，朝珠垂坠尽显礼制威仪。宝座融欧式雕花与中式构件，蓝金配色华贵雅致，衬出主人尊崇地位。画师恪守御容画庄重范式，又以西洋光影晕染出面部立体感，皮肉纹理与衣褶层次刻画入微，既得传统写真传神要义，又暗含西风东渐的艺术新风，将帝王威仪与写实水准相融无间，是清代跨文化肖像画的精妙之作。",[23,24,28,7,83,7768,264,155,22927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F939e8b101086ba5245e3ee83bbc40fc1.jpg",[],{"id":49248,"slug":49249,"title":49250,"dynasty":150,"author":191,"museum":245,"description":49251,"tags":49252,"thumbUrl":49254,"material":1397,"size":1398,"collection":220,"collections":49255,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},288247,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-su-ma-la-gu-chao-fu-yi-ming-288247","历代帝王贵妃大臣朝服像(苏麻喇姑)朝服","此作以工笔写实，刻画出女主人端雅沉静的气度。冠帽朱红顶戴规整持重，吉服袍以石青为地，满绣五彩升龙，间缀宝相缠枝、江崖海水，绣纹细密饱满，设色浓丽沉稳，晕染匀称自然，分毫毕现清代宫廷冠服礼制的华美繁复。\n\n画师捕捉人物眉眼舒展平和的神态，褪去宫廷仪轨的疏离感，尽显其历经三朝的温润从容。项间朝珠层叠错落，更衬身份尊崇。整幅构图中正端严，融纪实性与审美性为一体，既恪守宫廷肖像的礼制要求，又生动传递出人物沉静温婉的独特风骨。",[23,24,28,83,7,155,63,341,49253,41389],"苏麻喇姑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771cdd4aa3a4879bb58e24b518f6fb0e.jpg",[],{"id":49257,"slug":49258,"title":49259,"dynasty":150,"author":191,"museum":245,"description":49260,"tags":49261,"thumbUrl":49263,"material":1397,"size":1398,"collection":220,"collections":49264,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},288246,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-fan-wen-cheng-yi-ming-288246","历代帝王贵妃大臣朝服像(范文程)","此作工笔精细，将这位勋贵重臣的威严沉凝尽显无遗。画师落笔细致入微，人物面容苍劲有神，沉稳内敛的气度呼之欲出。朝服上的金线龙纹盘绕腾挪，绣工精巧华贵，宝蓝底色衬出明黄龙纹，配色端庄肃穆。朝珠制式严谨，串饰排布规整，与服饰相得益彰，精准还原清代重臣的朝仪规制。整体画面静穆庄重，遵循清代肖像画的写实传统，既细致还原服饰器用的典制细节，又生动刻画出人物历经世事的老成持重，尽显庙堂重臣的威仪风范。",[23,24,155,28,7,83,341,63,49262],"大臣肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88251542c3490542685b4a7b66856d36.jpg",[],{"id":49266,"slug":49267,"title":49268,"dynasty":150,"author":191,"museum":245,"description":49269,"tags":49270,"thumbUrl":49271,"material":1397,"size":1398,"collection":220,"collections":49272,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},288208,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-huang-tai-ji-bian-fu-xiang-yi-ming-288208","历代帝王贵妃大臣朝服像(皇太极便服像)","此作工笔精谨，设色调和沉静。画中主人面膛方正饱满，虬须苍劲，神色威穆内敛，自带九五之尊的沉凝气度。石青便服挺括厚重，明色冠帽点缀其间，双手握朝珠静置于膝头，端坐在髹木嵌理石宝座之上。座椅蓝地缠枝围屏纹样舒展富丽，座垫织锦华而不艳，衬出主人的尊崇地位。画师写实功力深厚，衣纹晕染还原了面料的垂坠质感，面部晕染贴合骨相，将这位帝王的雄毅沉稳刻画入微，是清代肖像画里兼具纪实性与审美价值的精品。",[23,24,155,28,83,7,7768,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7412ef2ccdb72b371ecbeef1997f5eb.jpg",[],{"id":49274,"slug":49275,"title":49276,"dynasty":150,"author":191,"museum":245,"description":49277,"tags":49278,"thumbUrl":49279,"material":1397,"size":1398,"collection":220,"collections":49280,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},288207,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yin-ti-fu-fu-yi-ming-288207","历代帝王贵妃大臣朝服像(胤禵夫妇)","此作为工笔重彩肖像，构图规整肃穆，二人正襟端坐，尽显世家眷侣的端方气度。画师以精细笔触还原服饰细节：藏青素缎朝服之上，补子、云肩、江崖海水纹饰华美繁复，金彩勾边搭配朱红、宝绿晕染，将清代宗室服饰的华贵礼制铺陈尽致，朝珠垂挂错落合仪，细节处处恪守典制。\n\n人物刻画写实传神，老者苍髯垂胸，神色平和自带威仪，女子妆容秀雅温婉，旗装头面一丝不苟，精准还原清代宗室贵眷的容仪风貌。整作配色沉稳雍容，以写实技法记录清代贵族日常仪范，兼具纪实价值与工笔美学质感。",[23,24,25,7,28,83,22927,63,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fb05210a13c131ae3272ef2b02e1b87.jpg",[],{"id":49282,"slug":49283,"title":49284,"dynasty":150,"author":191,"museum":245,"description":49285,"tags":49286,"thumbUrl":49288,"material":1397,"size":1398,"collection":220,"collections":49289,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},288206,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-su-ma-la-gu-yi-ming-288206","历代帝王贵妃大臣朝服像(苏麻喇姑)","此帧工笔肖像以浅褐素底衬映，将人物端凝气度铺陈开来。主人物安坐于织锦软垫宝座，神情温和沉静，眉目间带着阅尽世事的从容。石青朝服庄重沉穆，补子纹样精巧华美，朱白相间的朝珠垂坠胸前，领口袖口镶边绣纹细密繁复，尽显礼制规格。画师笔触细腻入微，发丝根根分明，衣料褶皱晕染自然写实，精准呈现服饰肌理质感，将人物温婉肃穆的神态刻画淋漓尽致，恪守清代肖像画纪实法度的同时，于细节中烘托出人物独特气质，尽显宫廷肖像工整雅致之韵。",[23,24,25,7,28,4304,22927,49287,264],"女性人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87184e9eb8431295e72f6700686b2ee4.jpg",[],{"id":49291,"slug":49292,"title":49293,"dynasty":150,"author":191,"museum":245,"description":49294,"tags":49295,"thumbUrl":49296,"material":1397,"size":1398,"collection":220,"collections":49297,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":1833},272893,"zi-tan-mu-bian-hua-bo-li-ren-wu-tu-gua-ping-yi-ming-272893","紫檀木边画玻璃人物图挂屏","此作用色沉雅，以幽蓝铺底晕染出翻涌云海。下半幅林泉悠然，野鹿信步，仙鹤独立，两位高士驻步遥指天际，满溢世外山居的清逸安然。上半幅仙云缭绕，仙人乘云徐行，琼楼隐现云间，勾勒出缥缈阆苑。\n\n玻璃反绘的工艺让画面色彩匀净鲜亮，云浪层叠分明，仙宫、草木的明艳色彩衬于暗蓝底色，愈发灵动雅致。整幅以上下分野构图，将俗世慕仙之意融入笔间，鹿鹤暗含福寿祥瑞的祈愿，藏着清代求祥纳福的审美意趣，古雅沉静又带着灵动仙气，装饰性与人文意韵兼备。",[24,14417,44202,28,7,83,29,84,9710,1600,60,1817,927,4512,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dff1e0ae0bcb6a9c7960a207d370862.jpg",[],{"id":49299,"slug":49300,"title":49301,"dynasty":150,"author":191,"museum":245,"description":49302,"tags":49303,"thumbUrl":49304,"material":1397,"size":1398,"collection":220,"collections":49305,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},272847,"ti-hong-bian-zuo-qian-fa-lang-ling-xian-zhu-shou-tu-cha-ping-yi-ming-272847","剔红边座嵌珐琅灵仙祝寿图插屏","此作以珐琅为绘、剔红为骨，画面之上双鹤亭亭立于水畔石矶，丹顶雪羽苍劲灵动，松下桃枝夭夭，硕桃莹润饱满，枝叶舒展鲜活，鹅黄底色衬得彩料明丽雅致，将灵仙祝寿的吉祥意趣晕染得生机盎然。\n外框与底座剔红工艺精湛，满地锦纹细密匀净，开光内纹饰古拙雅致，瑞兽形足沉稳端庄，木雕重工与珐琅彩饰相映成趣，尽显华贵雅致的陈设气度，把鹤寿延年、蟠桃贺喜的美好祈愿，凝于匠心巧思之间。",[41456,21299,8886,719,10782,211,12505,212,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7c80669c61a459b6dd9db902f696d8.jpg",[],{"id":49307,"slug":49308,"title":47340,"dynasty":150,"author":191,"museum":245,"description":10461,"tags":49309,"thumbUrl":49310,"material":1397,"size":1398,"collection":220,"collections":49311,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},268764,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268764",[155,962,28,7,38643,12505,83,84,927,211,298,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709fa53f24531d77c1aa8cc6ceb5db01.jpg",[],{"id":49313,"slug":49314,"title":49315,"dynasty":150,"author":191,"museum":245,"description":22124,"tags":49316,"thumbUrl":49317,"material":1397,"size":1398,"collection":220,"collections":49318,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},267270,"huang-se-duan-xiu-tai-shi-shao-shi-bai-niao-chao-feng-wen-huo-ji-xue-ye-yi-ming-267270","黄色缎绣太狮少狮百鸟朝凤纹活计-靴掖",[65,14415,63,582,20906,26518,212,409,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e0df244dbf5eee27b5990d8e94f003.jpg",[],{"id":49320,"slug":49321,"title":49322,"dynasty":150,"author":191,"museum":245,"description":22124,"tags":49323,"thumbUrl":49325,"material":1397,"size":1398,"collection":220,"collections":49326,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},267269,"huang-se-duan-xiu-tai-shi-shao-shi-bai-niao-chao-feng-wen-huo-ji-shan-tao-yi-ming-267269","黄色缎绣太狮少狮百鸟朝凤纹活计-扇套",[49324,11888,65,14415,28,7,316,178,8176,212,298,64],"扇套","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73401fc6bd5624c3e628d8f249a51dd.jpg",[],{"id":49328,"slug":49329,"title":49330,"dynasty":150,"author":191,"museum":245,"description":38236,"tags":49331,"thumbUrl":49333,"material":1397,"size":1398,"collection":220,"collections":49334,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},258227,"yong-zheng-kuan-qing-hua-song-hou-he-tu-xiao-zhong-yi-ming-258227","雍正款青花松猴鹤图小盅",[8885,39563,7,1068,7318,60,49332],"盅酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff9dad53bea90b5dab11dc49810b709.jpg",[],{"id":49336,"slug":49337,"title":49338,"dynasty":150,"author":191,"museum":245,"description":33935,"tags":49339,"thumbUrl":49340,"material":1397,"size":1398,"collection":220,"collections":49341,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},257760,"wu-cai-yu-zao-tu-pan-yi-ming-257760","五彩鱼藻图盘",[8885,31451,28,7,557,8671,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c55ae8545e3b7152609434e3a6892f8.jpg",[],{"id":49343,"slug":49344,"title":49345,"dynasty":150,"author":191,"museum":245,"description":37490,"tags":49346,"thumbUrl":49347,"material":1397,"size":1398,"collection":220,"collections":49348,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},257727,"jia-jing-kuan-wu-cai-yu-zao-tu-wan-yi-ming-257727","嘉靖款五彩鱼藻图碗",[150,31451,8885,7,28,557,8671,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0898c8dc884afc50367d816169c4b0.jpg",[],{"id":49350,"slug":49351,"title":49352,"dynasty":150,"author":191,"museum":245,"description":49353,"tags":49354,"thumbUrl":49359,"material":1397,"size":1398,"collection":220,"collections":49360,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},249231,"hua-fa-lang-kai-guang-niao-shou-tu-hai-tang-shi-shou-lu-yi-ming-249231","画珐琅开光鸟兽图海棠式手炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[150,49355,26336,28,7,49356,1817,313,29,409,49357,8886,49358],"画珐琅","鸟兽","手炉","海棠式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2cfb8fcbf492f6abf3e0aa0757746bd.jpg",[],{"id":49362,"slug":49363,"title":49364,"dynasty":150,"author":49365,"museum":245,"description":49366,"tags":49367,"thumbUrl":49368,"material":1397,"size":1398,"collection":220,"collections":49369,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},239483,"liu-yong-lang-hua-ma-wan-shan-liu-yong-lang-239483","刘用烺画马纨扇","刘用烺","清末北京著名画家。光绪年间在《启蒙画报》画插图，名声渐起。",[24,25,914,28,7,112,286,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a052ea1cd96cfaba3aa93dad0263103.jpg",[],{"id":49371,"s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两人坐在室内，晚上点着蜡烛聊天。 旧题是李唐写的。 不过，从树石的画法和人物的衣纹来看，这幅画与故宫博物院李唐《采薇图》人物衣纹中多斧重笔的风格并不相符。 应该是南宋中后期的作品。",[24,25,519,855,7,83,34,211,35538,92,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc54c72405b3c1bb60aa9bda980b3bb4c.jpg","24.2x22.5厘米",[],{"id":49781,"slug":49782,"title":49783,"dynasty":150,"author":47709,"museum":20,"description":49784,"tags":49785,"thumbUrl":49786,"material":2721,"size":49787,"collection":220,"collections":49788,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},233750,"tu-wan-zhen-xiang-sha-fu-233750","屠婉贞像","屠婉贞出身名门，是清代画家屠倬的孙女，嫁给清宗室毓本为妻。题跋中称赞她可媲美赵孟頫的夫人管道昇，刺绣技艺高超，又善丹青，同时还是一位慈母，训导子课。屠婉贞的脸部由民间画工绘制，衣纹和古玩器具由海派画家沙馥补画，并有吴昌硕、杨岘等题跋。\n虽然社会对女子的限制仍然非常多，但赵琰哲认为，明清女子的活动空间在不断拓展，如蹴鞠、投壶、舞剑、音律、看戏听曲等用以深闺消遣，或者节日游园、逛庙会，或者结社唱和，饮酒赋诗，写字作画。因此，明末清初江南地区出现了很多擅长诗文书画的才女，才与德变得同样重要。在这种氛围中，绘画与女子的关系变得更为紧密：一方面江南地区女性独幅肖像出现，意味着女性拥有了独立成像的权利，画中女子不再是作为艳俗的仕女画供男子赏玩，而是体现出女性的自我独立与自我肯定；另一方面，女性也亲身参与到绘画活动中。",[24,25,28,7,83,6010,690,23596,4187,285,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00a43a0b7d9438f3a47839e5dd81676.jpg","133.3×32.8厘米",[],{"id":49790,"slug":49791,"title":49792,"dynasty":76,"author":49793,"museum":245,"description":49794,"tags":49795,"thumbUrl":49796,"material":220,"size":220,"collection":220,"collections":49797,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},233658,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233658","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,519,28,7,212,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa08a04b9c4221d72b0eb3a2b7cc4c3a4.jpg",[],{"id":49799,"slug":49800,"title":49801,"dynasty":150,"author":49802,"museum":20,"description":49803,"tags":49804,"thumbUrl":49805,"material":40,"size":49806,"collection":220,"collections":49807,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},233407,"zhang-yun-seng-zhuang-xiang-zhou-xu-gao-233407","张昀僧装像轴","徐镐","此图是徐镐为同乡画家张昀所绘的肖像画。图中为一老者半身像，老者双手笼于袖中，身着僧人服，顶无发，胡须皆白，双目平视，神态安详庄重。\n是图画法精工，先以墨笔出形，复调色染之，使人物面部具有凹凸感，但光感不很明显，仍是中国传统肖像画技法。灰色的袍服和红色的袈裟则采用平涂的方法处理，衣纹线条细劲，颇具表现力。作为徐璋之子，徐镐很好地继承了“波臣派”肖像画的表现技法，在构图上更是力追传统，不设衬景道具，突出人物面部的表现，可谓“波臣派”余绪中的佼佼者。",[24,25,155,28,83,194,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab3cf78c70c568b0e5f9c9250ba3937.jpg","纵61.2厘米，横43.2厘米",[],{"id":49809,"slug":49810,"title":21725,"dynasty":150,"author":191,"museum":20,"description":39484,"tags":49811,"thumbUrl":49812,"material":496,"size":21731,"collection":220,"collections":49813,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},233093,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233093",[24,28,7,172,83,29,4802,2782,1787,9729,3850,34,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f1f376e2d9c95dc672cfde1610c034.jpg",[],{"id":49815,"slug":49816,"title":21725,"dynasty":150,"author":191,"museum":20,"description":39484,"tags":49817,"thumbUrl":49818,"material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地。",[24,25,519,28,7,194,83,14887,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c17fe8671f81c19e16fd1f65ff2d5c.jpg",[],{"id":50025,"slug":50026,"title":50027,"dynasty":76,"author":5061,"museum":245,"description":28713,"tags":50028,"thumbUrl":50029,"material":1397,"size":1398,"collection":220,"collections":50030,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},228871,"shu-hua-he-bi-chi-bi-sheng-you-tu-quan-juan-wen-zheng-ming-228871","书画合壁赤壁胜游图全卷",[23,24,25,26,855,28,29,211,86,175,34,199,285,284,172,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3197d20fc0c4379574693896b4e96fe.jpg",[],{"id":50032,"slug":50033,"title":50034,"dynasty":76,"author":191,"museum":245,"description":50035,"tags":50036,"thumbUrl":50037,"material":1397,"size":1398,"collection":220,"collections":50038,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":1833},228742,"ji-xiang-xi-jin-gang-ji-lun-gan-lu-quan-juan-yi-ming-228742","吉祥喜金刚集轮甘露泉卷","此卷是西藏萨迦派入门的基础修行法，属于印度密教怛特罗续部四部中的“无上瑜伽部”。",[24,25,26,194,28,7,284,17231,83,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d84ed2cf5a9ec76c869a53520740021.jpg",[],{"id":50040,"slug":50041,"title":50042,"dynasty":18,"author":191,"museum":245,"description":50043,"tags":50044,"thumbUrl":50045,"material":1397,"size":1398,"collection":220,"collections":50046,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},227843,"da-zhi-lv-shi-xiang-yi-ming-227843","大智律师像","智律师，即宋代灵芝元照大律师，他是南山宗的祖师，余杭人。最初依止东藏慧鉴律师专学戒律，后来依从神悟法师听天台教观。神悟法师勉励他深究探明《法华》妙义，作为根本要务。后来他又跟广慈法师受菩萨戒，当时戒光发现，就博究南山一宗。常常拿着锡杖，持着钵盂，在街市上乞食。\n晚年主持灵芝寺三十年，传戒度僧达到六十会，一心专志净业。每每说道：“生宏律范，死归安养，平生所得，唯二法门。”就是讲，我一生所得到的就是两个法门：在生时弘扬戒律轨范，死后归于极乐世界。他曾经集《净业礼忏仪》，并作了这篇序言。到了宋代政和六年的秋天，元照律师让弟子讽诵《观经》和《普贤行愿品》，结跏趺坐化去。西湖上打鱼的人们都听到空中有天乐鸣响。",[24,25,194,83,7,28,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e28c271c943847986e684c4697cfef.jpg",[],{"id":50048,"slug":50049,"title":50050,"dynasty":18,"author":191,"museum":245,"description":50051,"tags":50052,"thumbUrl":50053,"material":220,"size":220,"collection":220,"collections":50054,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},227342,"shi-wang-jing-yi-ming-227342","十王经","五代 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汉籍之路——《域外漠籍珍本文库》序言 柳斌杰 编纂凡例 泰轩易传 宋李中正撰 周易新讲义 宋龚原撰 尚书正义 唐孔颖达等奉敕撰 毛诗要义（一） 宋魏了翁撰 第二册 毛诗要义（二） 宋魏了翁撰 诗经讲义 朝鲜丁镛撰 毛诗品物图考 日本冈元凤纂辑 礼记正义，唐孔颖达等奉敕撰 左传辑释（一） 日本安井衡撰 第三册 左传辑释（二） 日本安井衡撰 春秋胡传 宋胡安国撰 古文孝经孔氏传 汉孔安国传 孝经郑注 汉郑玄撰 日本冈田挺之录 论语集解 魏何晏撰 皇氏论语义疏参订 清吴骞撰 孟子识 日本徂徕物撰 崇孟 日本肥后薮悫撰 乐书要录 唐武墨撰 第四册 广雅疏义 清钱大昭撰 重订冠解助语辞 元卢以纬撰 日本毛利贞斋编 助语词 元卢以纬撰 五经文字 唐张参撰 九经字样 唐玄度撰 篆隶万象名义（一） 日本空海撰 第五册 篆隶万象名义（二） 日本空海撰 集韵 宋丁度等奉敕修订 三韵声汇 朝鲜洪启禧撰 两苏经解 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立于浅蓝色敞口瓷罐上，低头欲啄罐沿。\n麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。\n麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。\n画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[23,137,24,25,519,28,7,212,299,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5063ca27005a536981c4ba62953d8db8.jpg",[],{"id":50116,"slug":50117,"title":47243,"dynasty":18,"author":191,"museum":245,"description":50118,"tags":50119,"thumbUrl":50120,"material":220,"size":220,"collection":220,"collections":50121,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},223628,"he-tang-xi-lai-tu-yi-ming-223628","《宋人画荷塘鸂鵣图》是宋代佚名创作的绢本设色画。\n烟雾迷蒙，一曲清溪，两岸夹植杨柳，间以红花。\n溪中莲叶点点，鸂鵣戏水，其乐融融。\n一行白鹭破空飞向远方，将观赏者的视线引向画外；蜿蜒的清溪，则将视线推向了画景深处。\n柳叶用攒笔点画，树干用双钩法绘出，鸂鵣以工笔刻画。\n设色柔和淡雅。\n小小的册页画中略用了深远与高远的画法，就使画面意境达到了深远的效果。\n对幅有清乾隆皇帝御题诗一首:“花鸟从来属剑南，水禽夏卉照晴潭。\n鸳鸯无碍称其紫，弟子有时胜彼蓝。\n水宿相呼如觧勅，沙群式度自能谙。\n涨滩落鸟寻常事，何涉西台纪怪谈。\n” 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的薄纱，每一道纹理都藏着红楼的旧影。笔墨流转间，古典的温柔与深沉悄然铺展，让观者在光影交错里，触摸那份跨越时空的绮丽与怅惘，坠入那片静谧而悠远的红楼之境。",[23,519,7,28,83,59,470,27537,21462,2800,20664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e3adb63f9b2992df421d6f81b848ad.jpg",[],{"id":50491,"slug":50492,"title":50493,"dynasty":76,"author":35895,"museum":245,"description":50494,"tags":50495,"thumbUrl":50496,"material":235,"size":220,"collection":220,"collections":50497,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},216344,"xi-xiang-ji-cha-ye-8-min-qi-ji-216344","西厢记插页-8","柳丝垂拂间，仕女凭栏而立，花木扶疏点缀红蕊，与青枝相映成趣。右侧楼阁隐现，人物于栏后若有所思，水波轻漾的河面之上，小桥勾连两岸，似将思绪引向远方。线条工细流畅，如行云流水勾勒出人物温婉神态与景物雅致轮廓；设色淡雅清润，浅蓝的水、青绿的树、素净的衣袂，晕染出古典静谧氛围。画面似捕捉《西厢记》中幽微瞬间——或许是莺莺与红娘凭栏凝思，或许是离别的怅惘在水畔流转，含蓄传递爱情的缱绻与怅惘。文学诗意与视觉雅致相融，尽显传统艺术的情韵与灵动，仿佛能听见柳下低语、水面风吟，沉浸于古典故事的悠远意境里。",[24,28,7,81,83,59,84,85,86,1028,409,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e3f345e494f737c79eca1ecd59cb97.jpg",[],{"id":50499,"slug":50500,"title":50501,"dynasty":150,"author":14194,"museum":20,"description":17716,"tags":50502,"thumbUrl":50503,"material":235,"size":17719,"collection":220,"collections":50504,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},216232,"shi-jun-quan-tu-2-ai-qi-meng-216232","十骏犬图-2",[23,137,24,25,519,7,28,582,156,314,3084,173,730,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac732f06b3631ccf25f1ac916d46669d.jpg",[],{"id":50506,"slug":50507,"title":50508,"dynasty":150,"author":14194,"museum":20,"description":17716,"tags":50509,"thumbUrl":50510,"material":235,"size":17719,"collection":220,"collections":50511,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},216230,"shi-jun-quan-tu-4-ai-qi-meng-216230","十骏犬图-4",[23,24,25,519,7,28,284,6315,582,313,315,211,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b67d91c612e146fffb0f50b1db6b09.jpg",[],{"id":50513,"slug":50514,"title":50515,"dynasty":150,"author":14194,"museum":20,"description":17716,"tags":50516,"thumbUrl":50517,"material":235,"size":17719,"collection":220,"collections":50518,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},216229,"shi-jun-quan-tu-5-ai-qi-meng-216229","十骏犬图-5",[23,251,24,7,28,519,582,29,313,314,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc471e2afe2ca9b321efcbf5d83bc5b.jpg",[],{"id":50520,"slug":50521,"title":50522,"dynasty":150,"author":14194,"museum":20,"description":17716,"tags":50523,"thumbUrl":50524,"material":235,"size":17719,"collection":220,"collections":50525,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":697},216226,"shi-jun-quan-tu-8-ai-qi-meng-216226","十骏犬图-8",[23,24,25,519,7,28,582,313,211,5100,284,6920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33da5bba78d3d6b81c9c53452a16f2d7.jpg",[],{"id":50527,"slug":50528,"title":50529,"dynasty":150,"author":14194,"museum":20,"description":17716,"tags":50530,"thumbUrl":50531,"material":235,"size":17719,"collection":220,"collections":50532,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},216225,"shi-jun-quan-tu-9-ai-qi-meng-216225","十骏犬图-9",[23,24,137,25,7,28,582,6315,637,156,211,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0a9834bb157877008683c340aacada.jpg",[],{"id":50534,"slug":50535,"title":50536,"dynasty":150,"author":191,"museum":245,"description":50537,"tags":50538,"thumbUrl":50539,"material":100,"size":220,"collection":220,"collections":50540,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":145},216188,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-1-ce-17-yi-ming-216188","职贡图巨幅彩绘册页第1册-17","画面分左右二帧，左帧女子粉衫绿裙，轻纱覆髻，手持素色织物，身姿温婉；右帧男子蓝袍衬红衣，皮靴束带，腰佩弯刀，神情刚毅。两侧墨笔题跋字迹工整，与人物形象相映成趣。画作色彩明丽，线条流畅，人物造型生动，既展现不同族群服饰特色，又暗含清代多民族交往图景，笔墨间细致描摹异域风情，是职贡题材中兼具艺术价值与历史意涵的佳作。",[23,150,4185,7,28,83,63,1787,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd84d868cefaaeece6eddae52cd2802d.jpg",[],{"id":50542,"slug":50543,"title":50544,"dynasty":150,"author":191,"museum":245,"description":50545,"tags":50546,"thumbUrl":50547,"material":100,"size":220,"collection":220,"collections":50548,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},216148,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-12-yi-ming-216148","职贡图巨幅彩绘册页第2册-12","画面分左右绘两人，左者女子蓝发垂肩，粉裙衬绿腰，手捧白碗，身姿温婉；右者男子冠如尖棘，条纹长袍曳地，持蓝色器物，神态端肃。衣饰纹样细腻，色彩明丽却不失雅致，线条勾勒精准流畅。旁附墨书题跋，当是载其族属风俗。画作以写实笔触捕捉人物特征，兼具装饰美感，既为清代职贡纪实之证，亦藏多元文化交融之韵，于方寸间见时代风貌与艺术匠心。",[23,24,25,519,7,28,83,63,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c7e20a2f8a8957b4d1c36bfcfc4c06a.jpg",[],{"id":50550,"slug":50551,"title":50552,"dynasty":150,"author":191,"museum":245,"description":50553,"tags":50554,"thumbUrl":50555,"material":100,"size":220,"collection":220,"collections":50556,"showCount":943,"zanCount":48,"manualWeight":48,"mainColor":49},216146,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-10-yi-ming-216146","职贡图巨幅彩绘册页第2册-10","画面以细腻笔触勾勒人物情态，左侧女子着深蓝短袄，领襟缀白珠，紫粉长裙曳地，步态轻盈；右侧男子缠头覆面，蓝袍束绿带，赤足蹬红履，腰间露粉红内衬，神态憨朴。衣纹线条流畅，设色淡雅却层次分明，织物纹理隐现。背景素净衬出人物主体，尽显职贡图纪实与艺术交融之妙——既展族群服饰风貌，又以生动姿态传人物鲜活气息，为清代族群文化与绘画艺术研究留存珍贵视觉印记。",[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作者构图细腻、浓密、准确，笔法细腻，工笔结合，意境幽远，耐人寻味，是一幅南宋工笔画。",[137,24,25,4185,7,28,172,29,1851,35538,34,927,197,624,7124,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc481b25a3679ee33cbd86de2c03f2959.jpg","22.5x24.4厘米",[],{"id":51780,"slug":51781,"title":38688,"dynasty":18,"author":191,"museum":20,"description":51782,"tags":51783,"thumbUrl":51784,"material":424,"size":51785,"collection":220,"collections":51786,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},234019,"dou-que-tu-ye-yi-ming-234019","《斗雀图页》绘两只小雀在平坡之上嬉戏争斗，滚作一团。画家采用虚实结合、突出重点的画法，于雀的翅、尾翎毛只是粗写动态，头、腹毛羽更是淡染轻描。着力加以刻画的是雀之爪、喙和二雀相互逼视的双目。图中占上风之雀，左爪紧抓住对方的喙，右爪紧握对方的爪，正待欲啄，其喙却也被对方死死地抓住，形成谁也啄不得的僵持局面，颇有情趣。两只小雀皆羽翼大张，动感和力度在此充分体现。此情此景万难想象而成，当是细致观察所得。",[24,25,519,7,28,212,178,3035,655],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fced263f20e466675063c7cc33d05d7ed.jpg","纵24.2厘米，横25.4厘米",[],{"id":51788,"slug":51789,"title":51790,"dynasty":18,"author":191,"museum":20,"description":43528,"tags":51791,"thumbUrl":51792,"material":424,"size":51793,"collection":220,"collections":51794,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},233676,"liu-yin-qun-mang-tu-zhou-yi-ming-233676","柳荫群盲图轴",[137,24,25,155,28,7,83,1851],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c8a7f0ba81d86b7a7b85b3e35412d13.jpg","82x78.5厘米",[],{"id":51796,"slug":51797,"title":51798,"dynasty":76,"author":49793,"museum":245,"description":49794,"tags":51799,"thumbUrl":51800,"material":220,"size":220,"collection":220,"collections":51801,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},233329,"shi-zhu-zhai-pu-ce-hu-ri-cong-233329","十竹斋谱册",[24,25,519,28,7,454,453,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f7813f52173a3a6dd79e5f0fe5615b.jpg",[],{"id":51803,"slug":51804,"title":51798,"dynasty":76,"author":49793,"museum":245,"description":49794,"tags":51805,"thumbUrl":51806,"material":220,"size":220,"collection":220,"collections":51807,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},233325,"shi-zhu-zhai-pu-ce-hu-ri-cong-233325",[24,25,519,28,7,212,1653,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aeca192548bd004ec1bdfb145745aef.jpg",[],{"id":51809,"slug":51810,"title":51798,"dynasty":76,"author":49793,"museum":245,"description":49794,"tags":51811,"thumbUrl":51812,"material":220,"size":220,"collection":220,"collections":51813,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},233303,"shi-zhu-zhai-pu-ce-hu-ri-cong-233303",[24,25,519,28,7,173,212,596,62,454,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a6c616ab72d83fa9cf7810006945e3.jpg",[],{"id":51815,"slug":51816,"title":51817,"dynasty":150,"author":191,"museum":20,"description":51818,"tags":51819,"thumbUrl":51820,"material":40,"size":51821,"collection":220,"collections":51822,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},233097,"wan-fa-gui-yi-tu-ping-yi-ming-233097","万法归一图屏","《万法归一图》是清代佚名创作的绢本设色画。\n图绘在明净开阔的大殿内，乾隆皇帝身着朝服正襟危坐，他对面是包括年轻的渥巴锡在内的十位 首领。\n作者为了烘染画面吉庆安祥的气氛，画面的三分之一处，绘制了正乘祥云而来的佛国使者，他们正在为此次重大的法事祝福。\n全图以鲜艳的朱红、闪亮的金黄、明快的翠绿等亮丽的色彩为主色调，其丰富多彩并具有装饰性的设色，令庄严静穆的场景增添了几分皇家富贵之气。\n土尔扈特部是厄鲁特蒙古四部之一。\n他们主营牧业兼及农业，原居住塔尔巴哈台及额尔齐斯河中游以西，17世纪年代，西迁至额济勒河（今俄罗斯伏尔加河）下游居住。\n乾隆三十六年（1771年），土尔扈特人不堪沙皇俄国压迫，在汗王渥巴锡率领下举族东返，归附清廷。\n对于土尔扈特部的回归，清政府十分重视，时年61岁的乾隆皇帝对他们热情款待，特地安排他们与自己在新建的万法归一殿内听高僧讲佛法。\n万法归一殿是河北承德普陀宗乘庙内的重要建筑物，乾隆皇帝希望在所统辖的辽阔疆域内，各个民族都因拥有共同的信念而团结一致，万法归一。",[137,24,28,7,81,194,83,84,29,50098,43548,18979,91,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56821dbb3af0bd580b897c1be4ec502f.jpg","长163.8cm，宽110.8cm",[],{"id":51824,"slug":51825,"title":21725,"dynasty":150,"author":191,"museum":20,"description":39484,"tags":51826,"thumbUrl":51827,"material":496,"size":21731,"collection":220,"collections":51828,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},233091,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233091",[137,24,25,519,7,28,172,83,29,211,34,86,9729,1787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3021020288883ad85f53063f3a93a084.jpg",[],{"id":51830,"slug":51831,"title":21725,"dynasty":150,"author":191,"museum":20,"description":39484,"tags":51832,"thumbUrl":51833,"material":496,"size":21731,"collection":220,"collections":51834,"showCount":1020,"zanCount":1769,"manualWeight":48,"mainColor":145},233087,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233087",[24,4185,2185,172,28,7,83,29,49824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8076863820818571f41bf227ea75af01.jpg",[],{"id":51836,"slug":51837,"title":21725,"dynasty":150,"author":191,"museum":20,"description":39484,"tags":51838,"thumbUrl":51839,"material":496,"size":21731,"collection":220,"collections":51840,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},233085,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233085",[24,28,7,172,29,83,112,34,2782,9729,5571,1797,32377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1942629a65d1a2e3847e6568374af80b.jpg",[],{"id":51842,"slug":51843,"title":44725,"dynasty":150,"author":191,"museum":20,"description":44726,"tags":51844,"thumbUrl":51845,"material":496,"size":21731,"collection":220,"collections":51846,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},233067,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233067",[24,28,7,172,519,83,112,623,34,31,1797,173,5571,2782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936f83f7d178ad4af380ea6fca104210.jpg",[],{"id":51848,"slug":51849,"title":20660,"dynasty":150,"author":191,"museum":20,"description":20661,"tags":51850,"thumbUrl":51851,"material":496,"size":20666,"collection":220,"collections":51852,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},233060,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233060",[24,25,137,28,7,172,519,83,29,17230,2782,34,211,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f416ad51e4173d02963fcee0cea94da.jpg",[],{"id":51854,"slug":51855,"title":20660,"dynasty":150,"author":191,"museum":20,"description":20661,"tags":51856,"thumbUrl":51858,"material":496,"size":20666,"collection":220,"collections":51859,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},233056,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233056",[24,25,519,7,28,251,83,112,6105,623,34,9729,1787,1797,44728,49826,211,38,5571,12205,2782,51857],"尘土","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64df6dfd321f04704fdaee3f6d80a08.jpg",[],{"id":51861,"slug":51862,"title":38500,"dynasty":150,"author":191,"museum":20,"description":38501,"tags":51863,"thumbUrl":51864,"material":599,"size":38505,"collection":220,"collections":51865,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},233048,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233048",[24,28,7,172,519,83,29,112,34,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb08ddd8c9f3ae814fd6abd0924b590.jpg",[],{"id":51867,"slug":51868,"title":44747,"dynasty":228,"author":191,"museum":245,"description":34164,"tags":51869,"thumbUrl":51870,"material":220,"size":220,"collection":220,"collections":51871,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},233027,"hou-fei-xiang-yi-ming-233027",[24,25,137,7,28,83,59,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4fad537ca2c3a2f4da8e4e85dabf77e.jpg",[],{"id":51873,"slug":51874,"title":51875,"dynasty":150,"author":14194,"museum":134,"description":51876,"tags":51877,"thumbUrl":51878,"material":67,"size":51879,"collection":220,"collections":51880,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},232968,"bao-ji-liu-zhou-ai-qi-meng-232968","宝吉骝轴","依纳爵·西歇尔巴特（Ignatius Sichelbart），（1708年－1780年），汉名艾启蒙，字醒庵，波西米亚（今属捷克）人，天主教耶稣会传教士。\n他乾隆十年（1745年）来到中国，师从郎世宁学画，很快受到清廷重视，奉召入内廷供奉。\n他擅长人物、走兽、翎毛类绘画，与郎世宁、王致诚、安德义被人称为四洋画家，形成新体画风。\n他已知的作品有紫光阁武功图中《准噶尔战功图》（乾隆二十年，1755年）；孝圣皇后八旬万寿（乾隆三十六年，1771年），《香山九老图》，著录于《国朝院画录》；《十骏图》（乾隆三十七年）。《宝吉骝图》轴（乾隆三十八年，1773年），绢本，设色，现均藏于台北故宫博物院。",[137,24,25,155,7,28,112,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59e5cf547e30459d378872c39b4f8eb.jpg","纵228.5厘米、横275厘米",[],{"id":51882,"slug":51883,"title":51884,"dynasty":228,"author":191,"museum":134,"description":51885,"tags":51886,"thumbUrl":51888,"material":496,"size":220,"collection":220,"collections":51889,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},232258,"di-ba-ga-na-ga-ba-ha-la-huan-za-zun-zhe-yi-ming-232258","第八嘎纳嘎拔哈剌锾杂尊者","画面以沉静禅意为骨，罗汉趺坐崖间，圆光映出澄澈法相，抬首凝神似在观瀑冥思。衣纹以铁线描游刃穿行，挺劲舒展，浅淡晕染衬出僧袍清逸质感，足下僧履轻置石上，添了几分烟火余温。侧旁沙弥垂目侍立，神态恭谨。\n\n远景山石皴擦写意，飞瀑留白见势，山光水色间幽寂自生。整作笔墨简淡高古，动静相映，将世外清修的静谧禅韵融于尺素之间，尽得山林禅隐之趣。",[24,194,7,283,855,155,211,1319,86,83,51887,173],"头光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa937a7b596865541d26d853fcad58313.jpg",[],{"id":51891,"slug":51892,"title":51893,"dynasty":190,"author":191,"museum":245,"description":51894,"tags":51895,"thumbUrl":51897,"material":1397,"size":1398,"collection":220,"collections":51898,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},231795,"chun-ri-ji-li-xing-fu-xing-shi-shang-juan-yi-ming-231795","春日祭礼兴福行事上卷","此作为全景长卷，徐徐铺展祭典全程。开篇以苍劲松杉点缀郊野，晕染出古朴郊祀的清雅底色。随后人潮次第排布，僧众、职役、乐师各行其位，衣装色彩错落分明，素洁僧袍、朱色公服、明黄仪仗次第铺陈，仪仗行进的秩序感跃然纸上。\n\n右侧的花树仪仗团如流动花簇，将祭典热烈推向顶点，与左侧题字的朴拙笔意相映成趣。静雅山林与喧腾仪仗形成鲜明对照，既还原古仪的整肃轨制，又饱含鲜活的世俗烟火气，将春日祭典的庄重盛大与和风雅韵凝于卷上。",[23,24,25,26,28,7,83,1068,34,1247,1555,51896],"祭祀场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8c267524e8c66bbbf9ed1253ce3df2.jpg",[],{"id":51900,"slug":51901,"title":51902,"dynasty":190,"author":51903,"museum":245,"description":51904,"tags":51905,"thumbUrl":51906,"material":1397,"size":1398,"collection":220,"collections":51907,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},231789,"wen-yong-he-mao-ji-tu-juan-shuang-zhi-2-zhi-shou-jing-231789","文永贺茂祭图卷 双纸-2","直寿敬","此作兼具叙事性与文人意趣，左侧行书题字舒展清雅，朱印古拙端方，文气沉静。右侧绘祭典出行渡河的鲜活图景，设色柔雅清淡，线条细腻写实。渡头牛车浮于水面，驭牛者神色专注，车中人物姿态安然，桥上、船间行人衣着各异，神态鲜活松弛，将祭典沿途的市井烟火铺陈开来。\n\n画作以平实笔致描摹民俗日常，未作浓墨重彩渲染，却细致捕捉了旧时祭典出行的悠然氛围，还原出古早祭典的鲜活世情，带着和风古画独有的温婉写实质感，于静卷之中重现往昔祭典的鲜活意趣，尽显对世俗日常的细致体察。",[23,24,26,28,7,284,173,83,113,116,8259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F791f054a22b874944cc9cc95a1c08b15.jpg",[],{"id":51909,"slug":51910,"title":51911,"dynasty":190,"author":51912,"museum":245,"description":51913,"tags":51914,"thumbUrl":51915,"material":1397,"size":1398,"collection":220,"collections":51916,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},231780,"xin-gui-shan-yuan-qi-hui-juan-2-niao-yu-seng-zheng-jue-you-231780","信贵山缘起绘卷-2","鸟羽僧正觉猷","觉猷（かくゆう、1053年－1140年10月27日）是平安时代后期的天台僧。一般称作鸟羽僧正，不仅是担任日本佛教界重职的高僧，也精通绘画，被认为是‘鸟兽人物戏画’（鸟兽戏画）、‘放屁合战’等画作的作者，也被视为漫画的始祖。",[23,26,25,194,83,283,28,284,24850,29,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5713995c34e56efad1d53f5f3d5aa01.jpg",[],{"id":51918,"slug":51919,"title":51920,"dynasty":190,"author":191,"museum":245,"description":51921,"tags":51922,"thumbUrl":51923,"material":220,"size":220,"collection":220,"collections":51924,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},231768,"xin-mo-cao-mu-hua-tu-juan-yi-ming-231768","新摸草木花图卷","此卷以白描与设色递次铺陈草木芳华。起首淡墨勾摹朝颜藤蔓花苞，笔致清灵秀雅，尽显藤蔓舒展柔态；继而敷色晕染，朱红白边的喇叭花鲜妍明媚，叶片层次清润自然。\n\n其后依次绘就数种花卉，工细描摹花、叶、果实的各异姿态，配小字题注品类，兼具写生的写实意趣与淡逸格调，将草木舒展之姿、花绽娇妍之态尽皆铺陈，尽显传统花草写生画的清雅韵致。",[23,24,25,26,283,28,212,409,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccf1cdfb3870f19a38bdc3bc137e28b.jpg",[],{"id":51926,"slug":51927,"title":51928,"dynasty":190,"author":191,"museum":245,"description":51929,"tags":51930,"thumbUrl":51931,"material":1397,"size":1398,"collection":220,"collections":51932,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},231683,"zhi-xue-tu-yi-ming-231683","雉雪图","此作以金底晕开冬日冷寂氛围，两只雉鸟静立积雪坡石。翎毛刻画细致入微，根根纤毫毕现，雌鸟憨态圆柔，覆羽素朴匀整；雄鸟红首华羽，层次繁丽分明，长尾舒展自带遒张力道。坡石以淡墨晕染，留白为雪，虚实相生间晕开雪后清寒萧索之意。\n\n工写相融之下，细腻处尽显禽鸟鲜活生趣，写意处烘托荒冬日色，无繁复布景，以极简构图凸显二鸟相依的静谧温情，将雪野清寂与脉脉生机揉为一处。岁月留痕的斑驳肌理，更添古雅沉静的悠悠意蕴。",[23,24,28,7,212,19796,1500,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba7ab4c01d01e3598c5001406f48d9d.jpg",[],{"id":51934,"slug":51935,"title":51936,"dynasty":190,"author":51937,"museum":245,"description":51938,"tags":51939,"thumbUrl":51940,"material":1397,"size":1398,"collection":220,"collections":51941,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},231673,"shou-ye-tan-you-xiang-tao-tian-liu-rong-zhi-231673","狩野探幽像","桃田柳荣之","这幅肖像以极简笔触，刻画出老者执笔沉吟的瞬间。枯瘦却棱角分明的面庞上，沉静锐利的眼神带着思索的幽光，松弛的轮廓里藏着饱经岁月沉淀的从容气度。淡赭晕染出松弛的肤色，衣物以留白衬墨色领部，冷暖对比间尽显素雅克制。凝练的线条勾勒出垂垂老矣却依旧矍铄的身形，将执笔者凝神构思的神态描摹入微，不见繁复布景，仅以肖像特写，把文人老僧的沉静文心定格在纸间，侘寂的静穆氛围里，尽显写实肖像的传神功底，让观者仿佛能窥见画中人此刻流转的思绪。",[23,24,25,155,28,855,7,83,2956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f3ca1a2a676b3bf641e3a284894c69.jpg",[],{"id":51943,"slug":51944,"title":51945,"dynasty":190,"author":51946,"museum":245,"description":51947,"tags":51948,"thumbUrl":51949,"material":1397,"size":1398,"collection":220,"collections":51950,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},231670,"shi-he-mi-an-xiang-du-bian-hua-shan-231670","市河米庵像","渡边华山","渡边华山（日语：渡辺崋山；1793年—1841年）原名渡边定静，字子安，一字伯登，通称渡边登，号华山，斋号有寓绘堂、全乐堂、金暾居、昨非居士、随安居士。",[23,24,25,83,855,28,155,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad6bd411c30051a5f97850fcda5c0d4.jpg",[],{"id":51952,"slug":51953,"title":51954,"dynasty":190,"author":191,"museum":245,"description":51955,"tags":51956,"thumbUrl":51957,"material":1397,"size":1398,"collection":220,"collections":51958,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},231644,"nai-liang-shi-dai-hui-yin-guo-jing-tu-juan-yi-ming-231644","奈良时代 绘因果经图卷","该作为佛教叙事长卷，以分段连环式铺陈太子出家前的典故。设色调和沉稳，赭色底衬以朱砂、石绿，古雅庄重。人物造型端正凝练，侍从躬身肃穆，太子神态沉静，动作细节贴合经文情节，将太子决意出家的心路通过场景层层铺展。山水配景简拙写意，仅以程式化林木点缀空间。左侧楷书题字与画面呼应，图文并茂还原经文场景。线条稚朴古拙，带着早期宗教绘画的质朴特质，烘托出求道抉择的肃穆氛围，兼具宗教传播价值与古典审美意趣。",[24,25,26,28,7,83,29,34,112,194,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded943c0496f7b82e17a85451ef88eba.jpg",[],{"id":51960,"slug":51961,"title":51962,"dynasty":190,"author":191,"museum":245,"description":51963,"tags":51964,"thumbUrl":51967,"material":1397,"size":1398,"collection":220,"collections":51968,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},231615,"jiang-hu-shi-qi-zhang-xiao-zhi-zhan-tu-juan-yi-ming-231615","江户时期 长篠之战图卷","淡赭底色晕开朦胧烟霭，苍松错落点缀郊野，简淡写意勾勒出开阔疏朗的战地景致。右下角武士甲胄齐整，军旗猎猎排布，红日旗、穗旗次第舒展，静穆画面暗涌肃杀战意。作者以留白衬出兵行旷野的沉凝氛围，将写意山水与写实军阵相融，用雅致柔和的和风笔调，把古战场战前的张力藏于清淡色彩之间，于极简构图里铺陈出战事将临的沉谧氛围。",[23,26,28,7,83,927,2782,51965,51966,23508,32377,37],"红日旗","蓝旗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65e0a4e2df78359229bc0806c15e081.jpg",[],{"id":51970,"slug":51971,"title":51972,"dynasty":150,"author":191,"museum":20,"description":48581,"tags":51973,"thumbUrl":51974,"material":40,"size":51975,"collection":220,"collections":51976,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},231386,"shi-quan-tu-ce-shi-kai-yi-ming-231386","十犬图册十开",[24,25,519,28,7,582,159,34,284,285,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2c02c8aedf5520ae8fcbdebc503278.jpg","纵37.2厘米，横23.3厘米",[],{"id":51978,"slug":51979,"title":40796,"dynasty":76,"author":191,"museum":245,"description":51980,"tags":51981,"thumbUrl":51982,"material":220,"size":220,"collection":220,"collections":51983,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},231047,"ju-shou-yi-ji-gu-hua-ce-yi-ming-231047","此作以细密笔触绘就江上行舟图景。主体楼船龙首高昂，层楼重檐结构精巧，甲板上人役往来穿梭，或搬运维船、或持械值守，各司其职，喧闹鲜活的行舟日常跃然绢上。水面间两艘小漕船相随，纤夫躬身曳缆，逆水而行。古雅沉郁的绢色素底晕染出水波粼粼的江面，整幅工致写实，细节毕现，既见舟船营造的匠心工艺，也暗合了彼时漕运兴盛的时代缩影，古拙生动间尽显水运图景的鲜活意趣。",[24,7,28,81,519,111,83,341,42767,2782,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792686e1a2980df0d6de52dfc1c8a581.jpg",[],{"id":51985,"slug":51986,"title":51987,"dynasty":190,"author":26896,"museum":245,"description":26897,"tags":51988,"thumbUrl":51989,"material":67,"size":1398,"collection":220,"collections":51990,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},230573,"yin-jie-tuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230573","因揭陀尊者",[23,24,155,194,28,7,83,582,158,63,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bfaded64b949b9a3bb109acc10a9e93.jpg",[],{"id":51992,"slug":51993,"title":51994,"dynasty":190,"author":191,"museum":245,"description":51995,"tags":51996,"thumbUrl":51997,"material":1397,"size":1398,"collection":220,"collections":51998,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},230517,"fang-gu-ren-wu-shan-shui-fen-ben-shou-ye-jia-tu-juan-yi-ming-230517","仿古人物山水粉本(狩野家图卷)","此作淡彩晕染烟水空蒙，水榭之上，两位文士凭栏闲坐，一俯一仰，伴松梅清景清谈遣兴。设色调和柔雅，笔致温婉工细，将文人林下雅游的散淡心境融绘其中。画面留白衬以题诗，虚实相衬，晕开空灵禅意，尽显清雅的和风汉画意趣，把东方古典的澹远闲静藏在水墨淡彩之间，观之如见幽居雅集的悠然旧景。",[23,24,26,28,18422,7,81,29,83,84,927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b8ff428c4e9035f635b3ad850e6cd7.jpg",[],{"id":52000,"slug":52001,"title":52002,"dynasty":150,"author":191,"museum":245,"description":52003,"tags":52004,"thumbUrl":52005,"material":220,"size":220,"collection":220,"collections":52006,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},230319,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shi-san-a-ge-yin-xiang-yi-ming-230319","历代帝王贵妃大臣朝服像(十三阿哥胤祥)","此作以月牙取景框圈定人物，雅致别致，将视觉焦点全然落于主人公身上。画师笔底写实传神，精准勾勒出人物端正沉静的面庞，眉宇间自带宗室贵胄的肃穆内敛。\n\n朝服绘制极尽工细，宝蓝底料之上，明黄龙纹矫健灵动，金线晕染出龙身肌理，配色沉稳华贵，云纹补缀其间层次分明。项下朝珠颗颗饱满剔透，垂配严整，细节处见匠心。整体色调古雅庄重，既恪守宫廷肖像的纪实规制，又以细腻笔触尽显人物仪态风骨，是兼具史料价值与艺术美感的肖像佳制。",[23,24,25,155,28,83,264,265,251,7,22927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb732ac61aa34b131692326af1983eb34.jpg",[],{"id":52008,"slug":52009,"title":52010,"dynasty":150,"author":191,"museum":245,"description":52011,"tags":52012,"thumbUrl":52013,"material":220,"size":220,"collection":220,"collections":52014,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},230316,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-guan-lao-fu-ren-yi-ming-230316","历代帝王贵妃大臣朝服像(关老夫人)","此作为工笔设色肖像，夫人安坐宝椅，面容温婉端凝，神态沉静从容。身着织绣满饰团龙纹样的石青朝服，江崖海水纹环缀下摆，金线勾边晕染细腻，配色沉敛华贵，朝冠珠翠、朝珠佩饰皆描摹入微，尽显诰命夫人的尊崇仪范。脚下地砖纹饰繁丽规整，与宝椅绣纹呼应，烘托出肃穆雅致的厅堂氛围。\n画作恪守容像纪实传统，线条匀细流畅，设色厚重雅致，精准还原清代命妇朝服礼制，将清代上层女性雍容端方的仪态，与服饰典制的庄重威仪融合无间，是兼具纪实价值与工笔意趣的清代肖像佳作。",[23,24,155,7,28,83,63,341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3027160ba026cf408c2e25b7d52313e1.jpg",[],{"id":52016,"slug":52017,"title":52018,"dynasty":150,"author":191,"museum":245,"description":52019,"tags":52020,"thumbUrl":52021,"material":220,"size":220,"collection":220,"collections":52022,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},230313,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yu-cheng-long-yi-ming-230313","历代帝王贵妃大臣朝服像(于成龙)","此作工笔精妙写实，将主人公刻画得形神兼备。画中老者银髯垂胸，神色沉稳威严，目光平和却藏干练气度，尽显廉吏风骨。朝服细节一丝不苟，石青底色之上，一品文官的飞鹤补子针脚细密灵动，东珠朝珠颗颗匀净，礼制严谨考究。虎纹座椅霸气厚重，衬出其身后功绩煊赫。上方题字详述生平功业，与画像呼应，尽显其显赫地位。设色调和古雅，以沉稳蓝棕铺陈基调，尽显清代肖像画的工整端庄，将主人公刚正清廉的为官气度凝于绢素之中，堪称清代纪实肖像画的精良之作。",[23,137,24,28,7,83,63,3794,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd738bf41d5d149988729b3238eb483.jpg",[],{"id":52024,"slug":52025,"title":52026,"dynasty":150,"author":191,"museum":245,"description":52027,"tags":52028,"thumbUrl":52030,"material":220,"size":220,"collection":220,"collections":52031,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},228933,"qing-yuan-ben-qin-can-tu-juan-ji-tan-yi-ming-228933","清院本亲蚕图卷 祭坛","此作设色明丽雅致，工细写实。前景汀岸错落、嘉木葱茏，杂花生树，水色空濛晕染出郊苑清和悠然的底色。仪仗扈从身着朱衣齐整列队，拱卫辂车肃穆徐行，礼制威严尽藏其间。\n\n画作以全景铺陈，工笔勾勒兼淡墨晕染，殿宇隐于林莽间，既得界画严整法度，又兼具山水画悠远意境，将皇家仪典的庄重融于静谧春苑之中，于精工细节间彰显典制威仪，于疏朗景致里晕染闲雅意趣，尽显精湛匠艺。",[24,26,7,28,83,34,211,86,36185,52029],"祭坛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74f3099ed8092026038291e1f5d41b0.jpg",[],{"id":52033,"slug":52034,"title":44928,"dynasty":76,"author":3747,"museum":245,"description":52035,"tags":52036,"thumbUrl":52037,"material":220,"size":220,"collection":220,"collections":52038,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},228843,"tai-ping-le-shi-ce-dai-jin-228843","雅室铺陈方砖，数位文士环坐观戏。场中艺人拧身探首，手足舒展，作诙谐献艺之态，夸张的肢体将市井伎艺的鲜活尽数展露。座上文士或捻须浅笑、或凝目赏观，神色松弛自适，侧旁幼童静静侍立，案上茶盏轻置，衬得席间氛围闲适悠然。\n\n画作笔致工劲利落，衣褶线条挺括流畅，器物陈设勾勒精细，把明代雅集赏玩的日常闲趣晕染开来，将太平岁月里的从容清欢凝在绢素之上，让观者仿若踏入这场雅聚，共揽古昔宴间松弛快意的鲜活氛围。",[24,25,519,28,83,158,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08c1e8acde114f4ef7badf47e11d9b46.jpg",[],{"id":52040,"slug":52041,"title":52042,"dynasty":76,"author":191,"museum":245,"description":52043,"tags":52044,"thumbUrl":52046,"material":220,"size":220,"collection":220,"collections":52047,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},228795,"chen-jian-bu-yi-tu-yi-ming-228795","晨间补衣图","此作用淡赭绢本晕出沉古色调，崖石奇崛苍劲，芭蕉垂叶翩然舒展，木栏圈起一方幽庭。老僧趺坐石台，捻须抬掌凝神观思，衣褶线条清劲宛转，将静定悠然的神态藏在笔墨褶皱里。侍童躬身托盏，神态恭谨温顺，身形比例合度，情态生动自然。\n\n构图疏密相宜，浓墨点染的崖石衬出人物素淡清雅，以极简笔墨铺陈晨时禅居日常，把幽寂古雅的林下清趣缓缓晕开，笔简却意韵悠长，将空澹沉静的禅意融在画面的边角细节里，尽显古雅宁和的幽居之美。",[24,7,28,283,155,83,211,214,198,52045],"补衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2dba1f05a310b8dd8320899f492d8d.jpg",[],{"id":52049,"slug":52050,"title":52051,"dynasty":76,"author":191,"museum":245,"description":39561,"tags":52052,"thumbUrl":52053,"material":32603,"size":1398,"collection":220,"collections":52054,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},228507,"qing-hua-ying-xi-tu-wan-yi-ming-228507","青花婴戏图碗",[677,8885,39563,39564,7,3435,315,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81a939f4eccf41aedc30f651b314cf73.jpg",[],{"id":52056,"slug":52057,"title":52058,"dynasty":76,"author":191,"museum":245,"description":1975,"tags":52059,"thumbUrl":52060,"material":1397,"size":1398,"collection":220,"collections":52061,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},228418,"fu-hui-xi-quan-tu-yi-ming-228418","赴会西全图",[24,28,7,194,29,83,34,1319,2602,211,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551142db7c47fedec8fd1af938298d3e.jpg",[],{"id":52063,"slug":52064,"title":6444,"dynasty":76,"author":191,"museum":245,"description":1975,"tags":52065,"thumbUrl":52067,"material":1397,"size":1398,"collection":220,"collections":52068,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},228417,"fu-hui-xi-yi-ming-228417",[24,28,7,194,83,29,1600,313,211,248,76,52066,21465,1532,34,623,409],"传统彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a23e74bb909715d6258d13dd9ab2c4f.jpg",[],{"id":52070,"slug":52071,"title":39809,"dynasty":18,"author":191,"museum":245,"description":52072,"tags":52073,"thumbUrl":52074,"material":220,"size":220,"collection":220,"collections":52075,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},227841,"gu-bai-gui-qin-tu-yi-ming-227841","此作用半边构图，虬曲古柏自右斜出，枯干皴擦苍劲，尽显岁月剥蚀的斑驳古意。枝桠间或停或偎的禽鸟，翎羽勾勒精细写实，神态安闲柔静，左上一双飞禽振翅穿空，为静谧画面添上灵动生机。大片留白铺陈出空寂暮色，将荒寒清远的氛围感拉满。\n\n全画简淡空灵，以极简取景写尽林下幽情，把暮晚归禽的闲适安然融入萧疏秋意中，尽显雅致禅心，淡墨轻岚里晕开清冷孤远的诗意。",[23,24,137,25,914,7,28,212,286,178,2423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f679c9e1233216fd1764375316a4c15.jpg",[],{"id":52077,"slug":52078,"title":52079,"dynasty":18,"author":191,"museum":245,"description":50051,"tags":52080,"thumbUrl":52081,"material":220,"size":220,"collection":220,"collections":52082,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},227343,"shi-jing-wang-chang-juan-yi-ming-227343","十经王（长卷）",[23,24,25,26,7,283,28,194,83,84,178,176,29,284,17231,285,730,834,39295,24850,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F851d716be6da3651ccf0a4f96ab7d66e.jpg",[],{"id":52084,"slug":52085,"title":16270,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":52086,"thumbUrl":52087,"material":1397,"size":1398,"collection":220,"collections":52088,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},226473,"ku-zhu-shi-dong-pi-yi-ming-226473",[1053,194,28,83,7,5091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd008cae5c30f959d2ea7c98bfa66dd6c.jpg",[],{"id":52090,"slug":52091,"title":18698,"dynasty":54,"author":191,"museum":1539,"description":4355,"tags":52092,"thumbUrl":52093,"material":1397,"size":1398,"collection":220,"collections":52094,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},226226,"ku-zhu-shi-bei-pi-yi-ming-226226",[1053,194,28,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed561c203dbc8f709dd50a42e47e2a18.jpg",[],{"id":52096,"slug":52097,"title":52098,"dynasty":150,"author":8201,"museum":245,"description":52099,"tags":52100,"thumbUrl":52101,"material":220,"size":220,"collection":220,"collections":52102,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},224571,"mao-shi-pin-wu-tu-kao-san-ce-qing-ren-224571","毛诗品物图考（三）册","此作以工细笔触绘就鹈鹕振翅凌于云水之上，禽鸟翎羽纤毫分明，绒羽蓬松、飞羽劲挺的质感被描摹尽致。淡赭与墨色晕染出水波层叠的柔润清透，清浅雅致。旁附蝇头小楷考证文字，图文相辅，将名物考据的严谨与花鸟写生的隽秀意趣相融，淡墨轻彩间兼具博物图鉴的详实与文人花鸟画的雅逸，尽显绘者考据与绘事兼备的雅致审美，把古典名物化为可感的生动图景，淡静悠然，意韵绵长。",[24,25,519,7,28,212,178,86,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffa1ae71bc472796975929b6209c7ee5.jpg",[],{"id":52104,"slug":52105,"title":52106,"dynasty":150,"author":2997,"museum":245,"description":52107,"tags":52108,"thumbUrl":52109,"material":220,"size":220,"collection":220,"collections":52110,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":697},224420,"shu-hua-shi-liu-kai-6-wang-shi-min-224420","书画十六开-6","此作以没骨兼工带写绘就仲夏小景，淡墨轻勾萱草茎叶，敷色清妍温雅。萱花盛放与残颓相济，尽显芳华将歇的柔婉之态。草间粉蝶轻栖振翅，大蛱蝶翩跹而来，翅脉纤毫毕现，灵动之姿跃然纸上，将虫蝶的鲜活意态定格于纸面。赭色底纸晕染出古雅氛围，题字娟秀、印文朱红，融诗书画印为一炉。整体清逸静雅，将幽隅小景绘得生机盎然，兼具写生之真与文人隽雅意趣，笔底尽是闲淡天真的幽居雅趣。",[23,24,25,519,28,7,212,411,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555ea6c7ce84246a6a8bd5688afe0ae9.jpg",[],{"id":52112,"slug":52113,"title":52114,"dynasty":150,"author":191,"museum":245,"description":52115,"tags":52116,"thumbUrl":52118,"material":220,"size":220,"collection":220,"collections":52119,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},224249,"qing-yuan-ben-qin-can-tu-juan-cai-sang-12-yi-ming-224249","清院本亲蚕图卷 采桑-12","此作用浅淡设色晕染绢本，以柔细笔触绘就郊野水岸之景。烟霭轻笼平芜，沿岸林木错落，枝叶施以淡墨点染，朦胧间尽显春日柔润清寂。水岸的亭台隐于林隅，朱色檐墙在浅淡色调中晕出雅致暖意，衬出整体画面的清和秀雅。整体格调娴静温婉，带着院体绘画特有的精致细腻，将典仪的庄重雅致融在这澹然的烟水之境中，尽显古典宫廷绘画面貌的柔润静美。",[24,25,26,7,28,34,91,11909,52117],"采桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d494de8308dd62bed6b5d0db4b999f.jpg",[],{"id":52121,"slug":52122,"title":52123,"dynasty":150,"author":14895,"museum":245,"description":19766,"tags":52124,"thumbUrl":52125,"material":1397,"size":1398,"collection":220,"collections":52126,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":1833},224142,"nagasena-tang-ka-224142","Nagasena",[14895,28,7,194,83,313,62,60,7318,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb9875e2c49ef62e40f445d87de1c17d.jpg",[],{"id":52128,"slug":52129,"title":52130,"dynasty":150,"author":14895,"museum":245,"description":19766,"tags":52131,"thumbUrl":52132,"material":1397,"size":1398,"collection":220,"collections":52133,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},224139,"angaja-tang-ka-224139","Angaja",[14895,194,28,83,7318,313,211,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336f9166f6f4be6f95101cb5b3acfd30.jpg",[],{"id":52135,"slug":52136,"title":52137,"dynasty":150,"author":14895,"museum":245,"description":19766,"tags":52138,"thumbUrl":52139,"material":1397,"size":1398,"collection":220,"collections":52140,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":49},224129,"vajriputra-tang-ka-224129","Vajriputra",[251,14895,194,28,7,83,84,178,198,211,2709,216,409,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fbd60f24945236742f9612f6f0103a.jpg",[],{"id":52142,"slug":52143,"title":52144,"dynasty":76,"author":191,"museum":245,"description":52145,"tags":52146,"thumbUrl":52147,"material":220,"size":220,"collection":220,"collections":52148,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},223641,"shi-ying-sheng-hui-tu-quan-juan-yi-ming-223641","蓍英盛会图全卷","此卷以朱丝栏界格小楷书就，用笔秀挺雅致，结体端稳匀净，尽得晋唐小楷遗韵，通篇气息连贯从容，无一笔苟且。\n\n文字详实记述洛中耆英雅集诸位贤达生平、雅集始末，将记事述人与书法精妙融合。既是记录宋代文人群贤雅聚的珍贵文献，亦是极具观赏性的书法佳作。笔墨间尽显沉静内敛的文人意趣，点画精微法度谨严，工整秀雅中藏有灵动意致，书写者深厚功底尽显其间，古雅隽永的书卷风神浸透全卷。",[23,24,25,26,28,7,83,176,84,85,86,212,284,285,730,173,2956,784,785,2957,16133,63,139,16134,4427,5004,65,637,822,156,689,157,298,299,557,113,112,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff2ab5fb781f6a9b46ac0a60e31de28.jpg",[],{"id":52150,"slug":52151,"title":52152,"dynasty":76,"author":191,"museum":20,"description":52153,"tags":52154,"thumbUrl":52155,"material":40,"size":52156,"collection":220,"collections":52157,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},223379,"shi-tong-nian-tu-juan-yi-ming-223379","十同年图卷","这是一幅描写明弘治十六年（1503年）10位高级官员聚会情景的富有纪念意义的群像画。据卷后各人的序与跋，与会10人都是明天顺八年甲申（1464年）的同榜进士，聚会时间为弘治十六年癸亥（1503年）三月二十五日，聚会处在闵珪府第之达尊堂。与会者都是在朝重臣，年龄以闵珪最大，74岁，李东阳最小，57岁。\n画面上人物分为三组，从卷首起第一组三人分别是南京户部尚书王轼、吏部左侍郎焦芳、礼部右侍郎谢铎；第二组四人分别是工部尚书曾鉴、刑部尚书闵珪、工部右侍郎张达、都察院左都御使戴珊；第三组三人分别是户部右侍郎陈清、兵部尚书刘大夏、户部尚书兼谨身殿大学士李东阳。此次聚会经过精心准备，宴饮唱和之外并绘图纪念，画工现场写生，只有焦芳因赴湖南公干，事先预留下旧稿。因此图中每人的相貌均为真实的写照，而人物的组合排列则是画家的安排。背景衬以梧桐、修竹、芭蕉、松树，其间穿插几案、书册、酒具以及童子数人。景物简练有序，不作过多渲染，有意突出显赫的朝廷高官群像，显示出创作的宗旨。\n明代高官举行雅集，与前代雅集的参与者多为致仕老臣或名士不同，除追慕前代“耆英硕德”之外，更有显示自己的地位与政绩之意，对“盛世明君”的赞美在题跋中亦屡屡可见。十同年居高官主要在明孝宗（1487-1505在位）时期，时朝中多正士，宦官和厂卫也都较循谨，整个官僚体系呈现出较为清明的景象。《十同年图》俨然是明代繁盛时期官场最后的写照，六部大臣昔日心存魏阙、威严谨慎的音容笑貌，华贵高雅之气中蕴含的凝聚力，在孝宗以后的朝代中再也找不到了，也正是因为失去这种凝聚力导致了明王朝的灭亡。\n此图当时共画了10本，每家各留一本。此卷是闵家所留，在清嘉庆十五年（1810年）为法式善收藏，是10本中幸存的孤本，为重要的历史文献。",[23,24,25,26,28,7,83,34,63,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2348174b8716016aae93de395b937e5.jpg","纵48.5厘米，横257厘米",[],{"id":52159,"slug":52160,"title":10743,"dynasty":150,"author":6928,"museum":20,"description":25956,"tags":52161,"thumbUrl":52164,"material":220,"size":10748,"collection":220,"collections":52165,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},223219,"geng-zhi-tu-ce-jiao-bing-zhen-223219",[137,24,25,519,7,28,83,21308,11886,177,52162,52163,17344,38794,92,3084,35,6920,1676],"桑麻","作物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621157e3c8c47823c84252dafac863e5.jpg",[],{"id":52167,"slug":52168,"title":10743,"dynasty":150,"author":6928,"museum":20,"description":25956,"tags":52169,"thumbUrl":52170,"material":220,"size":10748,"collection":220,"collections":52171,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},223214,"geng-zhi-tu-ce-jiao-bing-zhen-223214",[24,25,7,28,81,83,35,34,9479,49527,92,13499,11886,20795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ec065cf78bf41aaaa49cfef9ca237f.jpg",[],{"id":52173,"slug":52174,"title":10743,"dynasty":150,"author":6928,"museum":20,"description":25956,"tags":52175,"thumbUrl":52177,"material":220,"size":10748,"collection":220,"collections":52178,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":145},223213,"geng-zhi-tu-ce-jiao-bing-zhen-223213",[24,25,519,7,28,83,17344,23941,38794,9251,52176,21308],"桑林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06e5e52c000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图轴","卞文瑜","奇松虬枝盘绕，倚立嶙峋怪石，石上孔洞错落有致。近岸二人对坐，静观泉流漱石，神态悠然。中景烟波浩渺，水纹细密如鳞；远景山峦层叠，云雾轻笼，笔墨清润雅致。皴染结合的技法勾勒出山石纹理与树木苍劲，设色淡雅明快，尽显江南山水灵秀之韵。整体意境清幽静谧，传递文人雅士寄情山水的闲适心境。",[24,155,28,7,172,29,53271,12766,83,53272],"奇松","流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb2e4601457f4f166dc6aa8a7de0cf1.jpg",[],"c3bbad",{"id":53277,"slug":53278,"title":53279,"dynasty":150,"author":447,"museum":406,"description":53280,"tags":53281,"thumbUrl":53282,"material":220,"size":220,"collection":182,"collections":53283,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":53284},201431,"mao-wu-yu-zhu-tu-zhou-hua-yan-201431","茅屋雨竹图轴","画面以雨竹为核心，丛竹疏密交织，墨色浓淡相济，竹叶间似凝雨意，笔触洒脱灵动。掩映处茅屋半露，屋内人影依稀，漾出几分闲适雅致。背景远山淡彩晕染，云雾缭绕，与近景浓墨竹影虚实相映，营造出清幽空灵的意境。笔墨兼工带写，既捕捉竹之挺拔神韵，又彰显山水之悠远，传递出文人雅士于林间居所的悠然心境。",[24,25,155,855,28,7,1720,156,29,37,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab16f03305e3572e921904f176270a9.jpg",[182],"a89179",{"id":53286,"slug":53287,"title":53288,"dynasty":76,"author":3496,"museum":406,"description":53289,"tags":53290,"thumbUrl":53291,"material":220,"size":220,"collection":237,"collections":53292,"showCount":1020,"zanCount":48,"manualWeight":48,"mainColor":53293},201421,"shan-mian-ji-shen-zhou-201421","扇面集","扇面之上，花枝蜿蜒伸展，粉白花朵点缀其间，瓣色娇嫩如染晨露，叶片脉络分明，绿意清雅。枝头一鸟静立，羽色温润，神态闲适；另一鸟振翅欲落，羽翼纹路细腻毕现，动感十足。笔墨工致细腻，设色淡雅鲜活，将花鸟之态刻画得生动传神，尽显自然生机与文人雅致。留白与景物相映成趣，传递出静谧恬淡的意趣，令人赏心悦目。",[914,7,212,28,173,178,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b2cbb7b59a3f5bceee6cac9d225e71.jpg",[237],"d7c6aa",{"id":53295,"slug":53296,"title":53297,"dynasty":18,"author":191,"museum":245,"description":53298,"tags":53299,"thumbUrl":53300,"material":1397,"size":1398,"collection":220,"collections":53301,"showCount":1084,"zanCount":48,"manualWeight":48,"mainColor":145},290782,"xuan-zu-hou-zhen-zong-hou-yi-ming-290782","宣祖后；真宗后","这两幅工笔肖像设妍丽沉稳，线条精细入微。左幅后妃龙凤花钗冠珠翠累叠，面妆典雅端丽，衣间绣饰繁复华贵，将大宋皇后的威仪隆重尽显无遗。右幅后妃头饰简约精巧，神态平和温婉，衣纹绣雅致内敛，暗含世家尊荣的沉静气度。\n\n画作带着宋代院体肖像的严谨写实，又糅合工笔重彩的雅致审美，将两位后妃截然不同的气韵尽数勾勒，把皇室女性的端庄矜贵凝于绢上，定格了大宋深宫的女性风华，是宋代肖像画的典型佳作。",[24,28,7,83,27117,63,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e6f05063e9040def9cd3c085c96a78.jpg",[],{"id":53303,"slug":53304,"title":20902,"dynasty":150,"author":13083,"museum":245,"description":53305,"tags":53306,"thumbUrl":53308,"material":1397,"size":1398,"collection":220,"collections":53309,"showCount":1084,"zanCount":48,"manualWeight":48,"mainColor":49},290618,"suan-ni-zhou-zhang-wei-bang-290618","张为邦，江苏广陵人，张震之子。",[24,155,28,7,582,53307,11856,211,86],"狻猊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5ef083b8d4f0b2fee9c00f5d66b1bf.jpg",[],{"id":53311,"slug":53312,"title":53313,"dynasty":190,"author":191,"museum":245,"description":53314,"tags":53315,"thumbUrl":53317,"material":1397,"size":1398,"collection":220,"collections":53318,"showCount":1084,"zanCount":48,"manualWeight":48,"mainColor":145},289540,"attributed-to-sahib-ram-head-of-krishna-cartoon-for-a-mural-of-the-raslila-yi-ming-289540","Attributed to Sahib Ram--Head of Krishna cartoon for a mural of the Raslila","###（不对，不能用###）重新写：\n这幅肖像以细腻笔触铺陈神性柔美，浅淡底色之上，暖金色的头饰层叠繁复，珠翠宝石用晕染与勾线区分色泽，流光婉转间尽显华贵庄重。\n\n侧脸轮廓柔和舒展，墨色长发卷曲垂落，鼻饰、耳间花形镶钻饰物精巧点缀，将神祇俊朗温润的气质晕染开来。未完成的底稿线条隐约可见，仿佛留存着创作时的构思轨迹，让静美的肖像多了几分灵动的创作温度，细密画的精致质感糅合宗教肖像的肃穆，将神祇的温柔神性娓娓道来。",[194,83,28,1053,6305,53316,7],"奎师那","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24fb54a3856cf5e873c0734145d2cc8d.jpg",[],{"id":53320,"slug":53321,"title":53322,"dynasty":150,"author":1549,"museum":245,"description":16441,"tags":53323,"thumbUrl":53324,"material":1397,"size":1398,"collection":220,"collections":53325,"showCount":1084,"zanCount":48,"manualWeight":48,"mainColor":49},288408,"jin-lan-qi-hu-pou-jin-lan-yu-sun-wen-288408","金澜契互剖金澜语",[23,24,7,28,83,59,29,84,176,85,86,159,4077,18232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1711a4116bf9c4f211193501edc48129.jpg",[],{"id":53327,"slug":53328,"title":53329,"dynasty":150,"author":191,"museum":245,"description":53330,"tags":53331,"thumbUrl":53332,"material":1397,"size":1398,"collection":220,"collections":53333,"showCount":1084,"zanCount":48,"manualWeight":48,"mainColor":145},288255,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ai-xin-jue-luo-duo-duo-yi-ming-288255","历代帝王贵妃大臣朝服像(爱新觉罗·多铎)","此作尽显开国宗王威仪，人物面容方正虬髯微张，神色沉稳威严，自带杀伐勋贵的沉凝气度。\n朝服刻画极尽工细，胸背正龙狞厉雄健，袍身行龙蜿蜒灵动，海水江崖纹样层叠晕染，金线绣纹在宝蓝底色上华光熠熠，朝珠垂佩规整肃穆，恪守清代宗室朝服礼制。\n画师以精湛工笔设色，写实还原形貌与服饰规制，色彩厚重端雅，细节毫厘毕现，将人物身份尊崇与宫廷仪范庄严融于画面，是清代纪实肖像画的上乘之作。",[23,24,25,155,7,28,83,39205,264,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc364d97a0d7bb4952c519da23ef3f5.jpg",[],{"id":53335,"slug":53336,"title":53337,"dynasty":150,"author":191,"museum":245,"description":53338,"tags":53339,"thumbUrl":53340,"material":1397,"size":1398,"collection":220,"collections":53341,"showCount":1084,"zanCount":48,"manualWeight":48,"mainColor":49},288252,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-huang-shi-zi-yun-e-yi-ming-288252","历代帝王贵妃大臣朝服像(皇十子允䄉)","此作工笔精妙，如实还原了冬日着装的宗室仪范。石青常服褂镶饰白绫出锋，紫貂领厚重温润，暖红冬帽周正端方。画师细致勾勒出人物清癯肃穆的面容，沉静内敛的神态间，尽显贵胄矜重威仪。\n\n坐椅织锦繁丽精巧，宝相团纹缠萦卷草回纹，鲜亮配色与暗沉衣装形成柔化对比，衬出人物沉静气场。整卷设色醇厚雅致，线条匀净流畅，既恪守肖像写实法度，又暗藏宫廷肖像的审美意趣，将宗室气度永远定格于绢素之上。",[23,24,83,28,7,63,7818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f9508c8852a7a7e8ffce14566149565.jpg",[],{"id":53343,"slug":53344,"title":53345,"dynasty":150,"author":191,"museum":245,"description":53346,"tags":53347,"thumbUrl":53349,"material":1397,"size":1398,"collection":220,"collections":53350,"showCount":1084,"zanCount":48,"manualWeight":48,"mainColor":145},288251,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-rui-gong-qin-wang-ai-xin-jue-luo-chun-ying-yi-ming-288251","历代帝王贵妃大臣朝服像(睿恭亲王爱新觉罗.淳颖)","此作工笔写形，细致入微。画中亲贵面容清俊，神态端严沉稳，眉眼间自显世家威仪。明黄常服配石青马蹄袖，顶戴花翎细节分毫毕现，手中朝珠垂坠合度。衣褶线条挺括匀净，设色雅致写实，将清代宗室的着装仪范与雍容气度精准呈现。\n\n画面留白疏朗，题字题跋错落排布，笔致秀雅规整，既彰表主人公功绩德操，又为画作添上文气，让写实肖像兼具文人意趣。整幅形神兼备，是清代肖像画中兼具礼制纪实性与审美价值的上乘之作。",[23,24,25,155,7,28,83,22928,268,284,173,53348,41389],"亲王像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3497a80c72d66d55867e029292422ed3.jpg",[],{"id":53352,"slug":53353,"title":53354,"dynasty":150,"author":191,"museum":245,"description":53355,"tags":53356,"thumbUrl":53357,"material":1397,"size":1398,"collection":220,"collections":53358,"showCount":1084,"zanCount":48,"manualWeight":48,"mainColor":49},288250,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shi-wen-ying-yi-ming-288250","历代帝王贵妃大臣朝服像(石文英)","整幅肖像庄重沉凝，官员端坐神态威严厚重，不怒自威。画师以细腻工笔描摹服饰细节，宝蓝朝服之上，彩绣团龙张颌奋爪，云纹缭绕周身，下幅江崖海水纹样精细规整，将吉庆寓意融于经纬之间。明黄朝珠垂坠胸前，与衣色互为映衬，顶戴花翎更显身份尊崇。\n\n画师晕染入微，衣料的挺括质感、豹纹坐垫的绒毛层次都被精准还原。整体设色沉稳雅致，构图规整均衡，尽显清代纪实肖像画的法度与考究，将武官大员的轩昂器宇定格于绢素，纪实性与审美意趣兼备。",[23,24,28,7,83,22927,39205,264,265,268,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4544906138f06859c8bc51b19e015e.jpg",[],{"id":53360,"slug":53361,"title":53362,"dynasty":150,"author":191,"museum":245,"description":53363,"tags":53364,"thumbUrl":53365,"material":1397,"size":1398,"collection":220,"collections":53366,"showCount":1084,"zanCount":48,"manualWeight":48,"mainColor":49},288249,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-li-qin-wang-dai-shan-yi-ming-288249","历代帝王贵妃大臣朝服像(礼亲王代善)","整幅画像庄重肃穆，代善端坐于座，面容沉稳威严，神态凝练内敛，尽显清初宗室亲王的尊贵气度。\n\n朝服绘制精工极致，石青色底料衬以金彩团龙纹样，盘绕交错间尽显华贵礼制，衣袂处彩绣晕染细腻，纹饰层次分明，将清代宗室朝服的规制细节复刻入微。画面构图规整，设色沉厚雅致，以细腻笔触捕捉人物威严风骨，将这位铁帽子王的赫赫威仪凝于绢素，是清代宗室肖像画中极具代表性的写实佳作。",[23,24,155,28,7,83,63,39205,41389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f071f97274cc67bae42a2026acc0ec3.jpg",[],{"id":53368,"slug":53369,"title":53370,"dynasty":150,"author":191,"museum":245,"description":53371,"tags":53372,"thumbUrl":53373,"material":1397,"size":1398,"collection":220,"collections":53374,"showCount":1084,"zanCount":48,"manualWeight":48,"mainColor":49},288248,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-mu-jia-tai-fu-ren-yi-ming-288248","历代帝王贵妃大臣朝服像(穆佳太夫人)","此像工致写实，以西洋晕染技法绘就老人神态，面部皴擦细腻，皱纹肌理鲜活自然，褪去匠气的脸谱感，将慈蔼庄重的气度尽显。\n\n服饰细节极尽考究，石青朝服补子彩凤翔于宝相花间，织绣晕色层次分明；莹润珠串垂于胸前，衣缘宝相花、层叠水纹排布规整繁复，尽显诰命尊荣。\n\n素净背景衬出人物主体，髹漆雕花座具与缠枝花卉地毯烘托肃穆雍容的闺阁仪范，是清代肖像画融中西技法，兼具纪实性与装饰性的典型之作。",[23,24,28,7,83,155,264,63,7818],"https:\u002F\u002Foss.chuangqi.store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背囊捂唇，眉间似凝着轻愁。线条简括却精准，色彩古雅不艳，人物神态各有千秋——或从容或凝思，似在记录某段特定情境下的众生相。画面虽静，却仿佛能听见扁担吱呀、脚步轻响，将一段被时光封存的日常（或隐于日常的刑罚场景）缓缓铺展，引人遐想其背后的故事。那些细微的神情与动作，如同一把钥匙，叩开了尘封的过往，让观者窥见清代社会某一隅的鲜活切片。",[251,28,7,83,27425,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c123ad56078d7d7452d9cbf3182eecf.jpg",[],{"id":58351,"slug":58352,"title":58353,"dynasty":150,"author":191,"museum":245,"description":58354,"tags":58355,"thumbUrl":58356,"material":235,"size":50612,"collection":220,"collections":58357,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":145},215843,"miao-zu-yao-zu-sheng-huo-tu-ce-1-yi-ming-215843","苗族瑶族生活图册-1","画面铺展苗瑶族群的日常切片。左侧身影肩扛柴薪，陶壶悬臂，似刚踏晨露山径归来；右侧三人亲昵相依，蓝帽下眉眼漾笑，竹篮里红绿蔬果鲜活。衣饰纹样暗合山林韵律，肢体互动藏着无言默契——或许是分享野果，或许是絮语家常。笔墨晕染质朴烟火气，线条牵山野风，色彩裹生活暖，将族群本真温情与劳作诗意，凝在泛黄纸页上。每一处细节都浸着山野的清润，每缕笑意都裹着生活的热乎，把族群里无需修饰的鲜活与暖意，稳稳落进笔墨里。",[23,24,28,7,519,83,63,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29a15009e323900465e3444f47cec21.jpg",[],{"id":58359,"slug":58360,"title":58361,"dynasty":150,"author":191,"museum":245,"description":58362,"tags":58363,"thumbUrl":58364,"material":235,"size":50612,"collection":220,"collections":58365,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":145},215842,"miao-zu-yao-zu-sheng-huo-tu-ce-6-yi-ming-215842","苗族瑶族生活图册-6","古朴纸面上，生活的暖意漫溢开来。左侧男子负篮携幼，粗布短褐裹着劳作的印记，稚童拽衣踮脚，憨态惹眼；右侧女子发髻玲珑，裙裾缀着彩绣纹样，手挽竹篮似低语相谈，眉眼间藏着细碎的温柔。衣褶线条轻缓，篮中物什隐约可见，每一处细节都描摹着日常的鲜活。没有刻意雕琢，却将族群服饰特色与生活本真温情凝于笔端，仿佛能听见山间软语，触到风里草木香，让久远的生活场景在眼前生动浮现。",[23,25,24,28,7,519,83,1676,55118,18266,1744,24643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e0dd8febc9f5364c689d3a1ae6e1ea.jpg",[],{"id":58367,"slug":58368,"title":58369,"dynasty":150,"author":191,"museum":245,"description":58370,"tags":58371,"thumbUrl":58372,"material":235,"size":50612,"collection":220,"collections":58373,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":145},215841,"miao-zu-yao-zu-sheng-huo-tu-ce-5-yi-ming-215841","苗族瑶族生活图册-5","画面铺展着古朴的生活片段，木杵起落间，谷物在石臼中翻涌。两位执杵者俯身用力，衣袂随动作轻扬，挽起的发髻藏着族群特有的风情。旁侧端盘人微微前倾，似在承接劳作的成果；坐于一侧者手拢衣襟，神态悠然，似在歇憩静观。人物衣饰纹理简而真切，色调温润如旧时光的低语，纸张微黄晕染着岁月痕迹。整幅画无繁复修饰，却将日常劳作的协作与温情凝于笔端，每一个动作都带着鲜活烟火气，仿佛能听见木杵撞石臼的轻响，窥见族群生活里最质朴的生机与暖意。",[23,24,519,7,28,83,5081,55127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa078e2b5a7c249c30bfeda817c9f4fe8.jpg",[],{"id":58375,"slug":58376,"title":58377,"dynasty":150,"author":191,"museum":245,"description":58378,"tags":58379,"thumbUrl":58380,"material":235,"size":50612,"collection":220,"collections":58381,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":145},215840,"miao-zu-yao-zu-sheng-huo-tu-ce-8-yi-ming-215840","苗族瑶族生活图册-8","画面铺展着一段鲜活的族群日常。背着竹筐的身影赤脚踏地，筐篓纹理似还沾着山野清露；中间孩童伸臂向前，稚态里藏着对前路的雀跃；右侧执杖者裙裾缀彩，发式挽成独特形状，每处细节都勾勒出族群的生活印记。线条朴拙却传神，淡彩晕染出岁月温厚，没有刻意修饰，却把劳作的坚韧与人际温情揉进每一笔。这不仅是幅画，更是被定格的生活片段，远去的烟火气在纸间流转，触手可及。",[23,24,25,519,28,7,83,63,11888,48199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33c878aef01131d1d7a82f4e80ff80f1.jpg",[],{"id":58383,"slug":58384,"title":58385,"dynasty":150,"author":191,"museum":245,"description":58386,"tags":58387,"thumbUrl":58388,"material":235,"size":50612,"collection":220,"collections":58389,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":145},215839,"miao-zu-yao-zu-sheng-huo-tu-ce-3-yi-ming-215839","苗族瑶族生活图册-3","画面铺展鲜活的民俗图景，四位身着特色服饰的人物各携器具，姿态生动传神。左侧者弯腰持网，似欲捕捉；中间二人亲昵相依，女子执扇轻掩，男子侧身贴近，眉眼间漾着日常温情；右侧人物背网提物，步履间带着收获的轻快。衣袂纹饰、裙摆斑斓，皆藏浓郁民族风情。旁侧竖排文字勾勒场景意趣——或是劳作间隙的互动，或是以物易物的日常。古朴色调晕染岁月温润，线条细腻勾勒人物情态，将少数民族生活里的鲜活与温馨，凝成一帧动人画面，尽显民俗画卷的质朴与生动。",[23,24,25,519,28,7,83,2095,344,23785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff89e05a4bb21657788723ae100ebcadf.jpg",[],{"id":58391,"slug":58392,"title":58393,"dynasty":150,"author":191,"museum":245,"description":58394,"tags":58395,"thumbUrl":58396,"material":235,"size":50612,"collection":220,"collections":58397,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":145},215838,"miao-zu-yao-zu-sheng-huo-tu-ce-10-yi-ming-215838","苗族瑶族生活图册-10","画面定格了一组充满生活气息的互动瞬间，人物或推搡嬉戏，或依偎亲昵，孩童的顽趣与长者的温厚在肢体的缠绕间自然流露。粗布衣衫上的纹样简而明艳，裙摆的碎花、腰间的布带勾勒出山野民族的独特风情，衣料褶皱随动作舒展，似能触到布料的粗粝质感。暖黄底色晕染出时光的柔和，人物神情虽未细描却藏着真切情绪，仿佛林间笑闹声穿过画面而来。这幅画以质朴笔墨留住民族生活里生动的片段，无刻意雕琢，只余烟火气中的本真与鲜活，将日常的温暖静静铺展在观者眼前。衣袂翻飞间，山野的鲜活与人间的温情交织，让平凡的日常成为值得珍藏的时光切片。",[23,24,28,7,519,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31033dba4ec872543cb46453adfe702f.jpg",[],{"id":58399,"slug":58400,"title":58401,"dynasty":150,"author":191,"museum":245,"description":58402,"tags":58403,"thumbUrl":58404,"material":235,"size":50612,"collection":220,"collections":58405,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":145},215835,"miao-zu-yao-zu-sheng-huo-tu-ce-9-yi-ming-215835","苗族瑶族生活图册-9","笔墨晕染间铺展鲜活边地日常。挑担者步履扎实，竹筐器物隐约藏着生计；持长杆者侧身随行，衣袂轻扬带起烟火余温。稚童嬉闹扑向黄犬，小狗摇尾躲闪，灵动瞬间跃然纸上。老者拄杖而立，眉眼间凝着岁月安然，似在打量前路风色。\n\n线条简练却精准勾出衣纹褶皱与神态，设色淡雅却衬出古纸温润质感。无刻意雕琢，却将民族社群的日常情态定格——劳作的坚韧、孩童的天真、老者的从容，都融在这方寸画面里。观者仿佛能听见林间脚步声、稚子笑语，触碰到那份质朴鲜活的人间真味，岁月沉淀的温暖直抵心底。",[23,251,24,25,519,28,7,83,5898,2709,61,216,1676,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360e4116c6fb94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尽显民间生活的真切与暖。",[23,24,251,28,83,158,2095,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa1c50a296595294999e3c8ab88305c.jpg",[],{"id":58727,"slug":58728,"title":58729,"dynasty":150,"author":191,"museum":245,"description":58730,"tags":58731,"thumbUrl":58732,"material":100,"size":220,"collection":220,"collections":58733,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":145},215168,"yi-shi-ji-yao-tan-24-yi-ming-215168","医士及药摊-24","市井一隅的药摊前，藏着旧时光里的治愈烟火。医士的身影从容立着，或搭脉问诊，或拈取药材，指尖的温度似能透过纸页传来；摊头的药匣层层叠叠，干枯的根茎、细碎的花叶在阳光下泛着暖光，与周遭的市井气息相融。或许有布衣百姓驻足，眉眼间的焦灼被医士的轻言慢语抚平，药草的清香仿佛漫过画面，裹着草木的慈悲。\n\n线条简练却勾连起生活的筋骨，设色淡雅却晕染出人间的暖意。每一处衣袂的褶皱、每一味药材的摆放，都藏着对日常生计的细致观照。没有波澜壮阔，只有平凡里的温柔相守，如一缕旧药香悠悠漫过心尖，让人体味古人对健康与烟火的朴素眷恋。",[23,24,28,83,11888,519,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b0b4c7349a8f14ee513c265850c77e8.jpg",[],{"id":58735,"slug":58736,"title":58737,"dynasty":150,"author":191,"museum":245,"description":58738,"tags":58739,"thumbUrl":58740,"material":100,"size":220,"collection":220,"collections":58741,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":145},215164,"yi-shi-ji-yao-tan-27-yi-ming-215164","医士及药摊-27","路边摊的布幔未垂，一方木凳支起市井行医的日常。深蓝褂子的医士俯身，指尖轻触老者眉眼，似要拨开蒙眬的翳障；黄衫老者拄杖而立，孩童背着布包静立旁侧，目光随诊视的动作流转。药摊招牌上，眼形图案与墨字相映，是民间智慧的直白印记。暖调的衣色晕开旧时光的温润，木凳、药瓶的小细节，把街头的烟火气揉进画里——没有殿堂的规整，只有人与人间最朴素的信赖，在纸页间悄悄生长。",[23,24,28,7,83,25120,11888],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c004ac2688f549d9c631c2fc62f682f.jpg",[],{"id":58743,"slug":58744,"title":58745,"dynasty":150,"author":191,"museum":134,"description":46735,"tags":58746,"thumbUrl":58747,"material":100,"size":220,"collection":220,"collections":58748,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":49},215162,"xuan-tong-yu-lan-hai-guai-tu-ji-1-yi-ming-215162","宣统御览海怪图记-1",[24,28,519,7,26610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45813af0b14a26f6daccb9132c97b5e.jpg",[],{"id":58750,"slug":58751,"title":58752,"dynasty":150,"author":191,"museum":134,"description":46735,"tags":58753,"thumbUrl":58754,"material":100,"size":220,"collection":220,"collections":58755,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":49},215159,"xuan-tong-yu-lan-hai-guai-tu-ji-4-yi-ming-215159","宣统御览海怪图记-4",[24,28,7,519,26610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999546f039f87af5f430010ce820da25.jpg",[],{"id":58757,"slug":58758,"title":58759,"dynasty":150,"author":191,"museum":134,"description":46735,"tags":58760,"thumbUrl":58761,"material":100,"size":220,"collection":220,"collections":58762,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":49},215154,"xuan-tong-yu-lan-hai-guai-tu-ji-8-yi-ming-215154","宣统御览海怪图记-8",[24,28,7,519,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1dff0e66d367f56611725c9f74a9cd6.jpg",[],{"id":58764,"slug":58765,"title":58766,"dynasty":150,"author":191,"museum":134,"description":46735,"tags":58767,"thumbUrl":58768,"material":100,"size":220,"collection":220,"collections":58769,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":49},215151,"xuan-tong-yu-lan-hai-guai-tu-ji-11-yi-ming-215151","宣统御览海怪图记-11",[24,25,519,7,28,557,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc140df1156ac4fdd693e9f5a42d424b0.jpg",[],{"id":58771,"slug":58772,"title":58773,"dynasty":150,"author":191,"museum":134,"description":46735,"tags":58774,"thumbUrl":58775,"material":100,"size":220,"collection":220,"collections":58776,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":49},215149,"xuan-tong-yu-lan-hai-guai-tu-ji-13-yi-ming-215149","宣统御览海怪图记-13",[24,25,519,28,7,557,26610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ffc90bdb7d8789dd708cc454987e6d.jpg",[],{"id":58778,"slug":58779,"title":58780,"dynasty":150,"author":191,"museum":245,"description":58781,"tags":58782,"thumbUrl":58783,"material":235,"size":220,"collection":220,"collections":58784,"showCount":1769,"zanCount":48,"manualWeight":48,"mainColor":49},215136,"er-shi-si-xiao-tu-ce-4-yi-ming-215136","二十四孝图册-4","二十四孝图册 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具纪实史学价值与叙事性绘画的表现力。",[137,24,25,519,7,855,172,81,29,83,112,2831,34,211,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F410597fad851068ed990732209ec7e4e.jpg",[],{"id":60665,"slug":60666,"title":21725,"dynasty":150,"author":191,"museum":245,"description":60667,"tags":60668,"thumbUrl":60669,"material":220,"size":220,"collection":220,"collections":60670,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":145},238657,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238657","以全景构图铺展整场战事，左侧阵列齐整的兵马摧锋直前，山麓间短兵相接，奔逃的溃军匍匐在泥泞沟壑，厮杀的张力扑面而来。村寨浓烟翻涌，火光吞噬屋舍，兵燹过后的残破尽显眼前。左侧题满细密小字，以文字补叙战事经纬，将视觉冲击与纪实叙事相融。\n全作用劲挺刚硬的铁线白描勾勒山石甲胄，线条精准刻画出战场的肃杀冷冽，不着一色却自带冷峻压迫感，将平叛战事的残酷与浩荡全然铺陈，是兼备纪实性与艺术性的战争叙事佳作。",[24,25,137,519,7,283,855,83,112,29,34,91,211,31,32377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968a66be7cec2d0f554f352127f1b16d.jpg",[],{"id":60672,"slug":60673,"title":21725,"dynasty":150,"author":191,"museum":245,"description":60674,"tags":60675,"thumbUrl":60676,"material":220,"size":220,"collection":220,"collections":60677,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238656,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238656","全景式铺展崇山峻岭，将山地战事的行军、攻坚排布于险隘之间。左侧官兵沿栈道攀援突进，右侧火炮摧破土寨，浓烟翻卷腾涌，动静张力尽显。\n\n线条刚劲利落，精准刻画出崖壁陡绝、兵卒悍锐，将山地作战的艰险尽数铺陈。题诗配文呼应画面叙事，以写实笔法复刻征剿战况，兼具纪实性与艺术性，既是纪功绘卷，也尽显战事版画的表现力，还原出平乱战事的紧迫悍勇。",[24,25,7,172,28,29,83,112,34,31,2463,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91218a070f41f03319c4b91351a1910d.jpg",[],{"id":60679,"slug":60680,"title":21725,"dynasty":150,"author":191,"museum":245,"description":60681,"tags":60682,"thumbUrl":60683,"material":220,"size":220,"collection":220,"collections":60684,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":145},238655,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238655","这幅以全景式构图铺展战场，层叠山峦拉开纵深，将行军队列、攻坚厮杀分置谷壑之间，排布错落有序。线条刚劲利落，嶙峋山石、苍劲林木，与军士甲胄兵器细节一一勾勒铺陈，写实还原战事的肃杀紧张。\n\n山谷间旌旗猎猎、马蹄扬尘，将领挥斥调度与士卒奋勇突进的神态动作细腻生动，既有纪实画作的精准刻画，又带着宫廷纪实版画的庄重凝练。右上角题诗纪事，图文呼应，以笔锋复刻平疆战事的宏大场面，兼具历史记录价值与古典军事画作的表现力，仿佛将那阵马蹄厮杀声复刻于眼前。",[24,25,137,251,7,172,519,29,83,112,84,34,211,2463,21728,32377,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8738829ae125a47fc082bf03cb221222.jpg",[],{"id":60686,"slug":60687,"title":21725,"dynasty":150,"author":191,"museum":245,"description":60688,"tags":60689,"thumbUrl":60690,"material":220,"size":220,"collection":220,"collections":60691,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":145},238654,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238654","画面以全景式铺展山地战事，层叠峰峦间兵戈相向，水陆两处皆见厮杀奔突。硬挺细密的铜版线条，冷峻刻画出山石皴理与战火硝烟，将平叛战地的险峻尽数还原。\n\n山林间阵列严整的兵卒与对手短兵相接，奔逃、格斗、阻截的细节生动冷峻，动静交织间尽显战役的肃杀紧张。右上角御笔题诗点明战事经纬，令画作兼具纪实纪功的双重属性，以克制写实的雕刻技法，将山地征伐的残酷与行军规制融于一图，是纪实战图里极具代表性的写实佳作。",[24,7,172,855,519,29,83,112,211,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b98e701e6d2e7644a41ed31a283cf5a.jpg",[],{"id":60693,"slug":60694,"title":21725,"dynasty":150,"author":191,"museum":245,"description":60695,"tags":60696,"thumbUrl":60697,"material":220,"size":220,"collection":220,"collections":60698,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":145},238653,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238653","这幅铜版画以全景式铺陈开山地平叛战况，嶙峋喀斯特峰峦间，山道上兵卒衔枚疾进，谷地硝烟翻涌，还原攻坚厮杀的肃杀氛围。右侧主将勒马整军，阵列严整尽显军纪森严。\n\n创作者以精细线条勾勒山石肌理，明暗晕染塑造出层叠山势的立体感，将战场的紧迫张力尽显纸面。右上角御题诗文呼应战事功过，使得作品兼具纪实征战场面的档案价值，又以中西融合的版画技法，描摹出山地征伐的壮阔图景，写实复刻出平苗一役的激烈瞬间，肃穆且极具纪功图的厚重质感。",[24,25,519,283,855,7,172,29,83,112,1926,31,34,1797,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F099552331f1937403457da9040e47880.jpg",[],{"id":60700,"slug":60701,"title":21725,"dynasty":150,"author":191,"museum":245,"description":60702,"tags":60703,"thumbUrl":60704,"material":220,"size":220,"collection":220,"collections":60705,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":145},238650,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238650","全景式构图铺展平叛战事，山峦河谷间清军分路挺进，炮火硝烟腾起于密林隘口，河桥处短兵相接人马奔突，远景大营与层叠山境烘托出磅礴战事规模。作者以精细线刻技法，复刻战地肃杀张力，山石林木皴刻入微，将士甲胄阵型排布分毫毕现，将平叛战事的宏阔与惨烈凝于尺幅。画作融合纪实性与艺术表现力，以西式铜版画写实笔法，将这场平叛的铁血征程跃然纸上，尽显战争纪实版画的独特质感。",[7,283,172,83,29,34,31,36,623,3850,91,37,21728,32377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9741823415bd26d59844915cd4218c3.jpg",[],{"id":60707,"slug":60708,"title":21725,"dynasty":150,"author":191,"museum":245,"description":60709,"tags":60710,"thumbUrl":60711,"material":220,"size":220,"collection":220,"collections":60712,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":697},238649,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238649","以全景式构图铺展这场战事，层叠山峦环围出厮杀战场，苍劲线条勾勒出山野村寨，将烽烟肃杀的氛围尽数烘托。\n画面里兵马缠斗不休，有人奔溃逃窜，有人死战不退，檐角边硝烟暗涌，远景的兵卒动向、近前的搏杀细节皆刻画入微，将平疆战事的壮烈紧张全然还原。右上角题诗呼应此战功勋，让纪实叙事染上沉郁厚重的史诗感，既以精妙的线条功力展现古典绘事章法，又留存下详实的战事细节，兼具审美价值与史料意义，将边陲平叛的铁血过往凝于尺幅之间。",[7,283,172,2797,519,83,112,29,34,91,211,96,35,32377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cdcdce13eafa566f486359db7dcdf3.jpg",[],{"id":60714,"slug":60715,"title":21725,"dynasty":150,"author":191,"museum":245,"description":60716,"tags":60717,"thumbUrl":60718,"material":220,"size":220,"collection":220,"collections":6071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烈的平叛现场，触摸那段金戈铁马的过往。",[137,24,519,7,855,7871,2185,56542,29,764,83,112,1787,5570,44285,56561,284,60823],"平叛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbbd2bcfc8379931c4747e16a3b09a1.jpg",[],{"id":60827,"slug":60828,"title":38500,"dynasty":150,"author":191,"museum":245,"description":60829,"tags":60830,"thumbUrl":60831,"material":1397,"size":1398,"collection":220,"collections":60832,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":697},238627,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238627","全景式铺陈战场，以淡墨白描勾勒山地攻防实景。层叠山峦间壁垒严整，清军将士穿梭奔袭，攻克隘口的紧张战况跃然纸上，山石林木皴擦细致，还原出闽南山地的崎岖地貌。右上题诗纪事，诗画相映，将平叛的军功战绩融于笔端。笔触劲挺写实，既复刻出征伐的肃杀氛围，也承载着纪实史料的厚重，让这场战事以静态画面留存下鲜活的征伐细节，兼具叙事性与历史价值。",[7,283,172,519,29,83,84,34,211,96,91,112,31,32377,32378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d9420428d3341bfb9113d2fcc2db90.jpg",[],{"id":60834,"slug":60835,"title":38500,"dynasty":150,"author":191,"museum":245,"description":60836,"tags":60837,"thumbUrl":60838,"material":1397,"size":1398,"collection":220,"collections":60839,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238626,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238626","采用全景式构图，以层叠山峦铺展战地格局，近景短兵相接，人马错杂，炮火硝烟翻涌，将厮杀的肃杀张力拉满。清兵阵列严整推进，叛军负隅顽抗，草木间尽是兵刃交锋的激烈瞬间，每一处线条都细致勾勒出军士的悍勇与战事的胶着。\n\n右上角题诗点明此战功绩，整体以铜版画的精工笔触复刻战地细节，将纪实性与艺术性相融，鲜活还原平叛战事的热血瞬间，既是承载史实的珍贵载体，亦尽显纪实战绘的写实功力。",[24,7,855,172,29,83,112,34,31,1787,21728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd34e921ba1f280789221563ac513dcfb.jpg",[],{"id":60841,"slug":60842,"title":38500,"dynasty":150,"author":191,"museum":245,"description":60843,"tags":60844,"thumbUrl":60845,"material":1397,"size":1398,"collection":220,"collections":60846,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238625,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238625","本作以全景式构图铺展山海鏖兵全貌，下半幅怒涛翻涌，战舰劈浪接舷，士卒竞相登岸；上半幅山峦层叠，清军穿行搜剿，村落间留存着战后肃杀余韵。\n\n画师以精细白描勾勒兵卒甲械、山海水纹，分毫毕现战事细节，将短兵相接的紧绷氛围跃然纸上。右上方题诗与画面呼应，纪实性与艺术性交融，完整复刻此役激烈过程，尽显写实功力，让远去的金戈铁马恍若眼前。",[7,172,519,29,83,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f198acb2c4d1c2a171cd7c6836ede63.jpg",[],{"id":60848,"slug":60849,"title":38500,"dynasty":150,"author":191,"museum":245,"description":60850,"tags":60851,"thumbUrl":60852,"material":1397,"size":1398,"collection":220,"collections":60853,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":145},238624,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238624","这幅作品以工笔白描铺陈海战实景，翻卷海波如层叠怒涛，将澎湖列岛的雄峙险隘尽现纸上。清军水师阵列严整，战船破浪衔行，与据守岛礁的敌军形成剑拔弩张的对峙之势。苍劲题款呼应画面叙事，把收复征程的铁血况味凝于笔端。\n\n线条劲挺细腻，既摹画出浪涛奔涌的磅礴动感，亦精细勾勒出战船甲械的繁复细节，将将士悍勇与海战肃杀交融。凭精妙界画工法还原金戈铁马的征战过往，融纪实叙事与笔墨意趣，尽显历史厚重与艺术造诣。",[7,283,81,519,29,83,88,9710,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2de59f5aec9e58737ec78612449f8b9.jpg",[],{"id":60855,"slug":60856,"title":47466,"dynasty":150,"author":191,"museum":245,"description":60857,"tags":60858,"thumbUrl":60864,"material":1397,"size":1398,"collection":220,"collections":60865,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":145},238614,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238614","这幅作品以全景式铺陈，将川地层叠山峦与河谷林海尽揽卷中。远景峰峦间隐见戍城，晕染出边地苍茫的战地氛围。近中景人马如潮，骑兵阵列齐整肃然，步卒、辎重依次排布，将士甲胄鲜明、战马昂然，把平叛大军的雄壮声势淋漓展现。\n\n画师以精细写实的线条，将将士的悍勇神态、战马的昂扬体态，还有山野林木的肌理逐一勾勒，纪实感浓厚，把这场平叛战事的雄浑瞬间凝于纸面，尽显军旅征伐的厚重威严。",[137,24,25,519,11239,7,83,112,29,34,1797,31,623,21728,17232,38,60859,60860,60861,60862,60863,48616,17230,43798,30721,13146],"山峦叠嶂","人马队列","河流景观","树木丛生","岩石分布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d911897dcf091a7b8a49017dd6bc12.jpg",[],{"id":60867,"slug":60868,"title":47466,"dynasty":150,"author":191,"museum":245,"description":60869,"tags":60870,"thumbUrl":60871,"material":1397,"size":1398,"collection":220,"collections":60872,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":145},238612,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238612","这幅版画以全景式铺陈还原受降盛景，前景中军帐庄重肃穆，甲士环列如林，军纪森然尽显无遗。中景处受降部众与严整清军阵列形成鲜明对照，旌旗猎猎舒展，将仪式的威严烘托到极致。远山层峦静立开阔河谷间，为这场军功盛典晕染出雄浑苍茫的底色。\n\n创作者以精谨写实的笔触，雕琢出礼制细节与场域氛围，将平定金川后的高光时刻定格，融纪实的厚重与版画的凝练于一体，让战功赫赫的王朝荣光凝于尺幅之间。",[2797,7,83,29,623,34,2782,21728,91,796,2783,4802,11202,6076],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b252ce8f1ee1fe90098ec72626e700.jpg",[],{"id":60874,"slug":60875,"title":47466,"dynasty":150,"author":191,"museum":245,"description":60876,"tags":60877,"thumbUrl":60879,"material":220,"size":220,"collection":220,"collections":60880,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":145},238609,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238609","这幅铜版画以全景式构图铺陈战事，前景处将领立马坡前，麾下士卒陷身厮杀，人马扭打叠错，兵刃交锋的张力扑面而来。层叠山峦延展向远景，苍劲林木错落排布，山道河谷间满是推进的军士，将战场的浩大规模铺展开来。\n\n画作以精细线条勾勒山石肌理、人马动态，明暗晕染拉开空间纵深，写实还原出战事的激烈浩大，带着纪实画特有的肃穆厚重，将平叛征程的磅礴与肃杀氛围尽数烘托而出，尽显征伐场面的震撼冲击力。",[2797,7,172,83,112,29,211,34,44285,31,60878],"远景山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5c6fe886bcbc8592c9fa58fa56b2c9.jpg",[],{"id":60882,"slug":60883,"title":47466,"dynasty":150,"author":191,"museum":245,"description":60884,"tags":60885,"thumbUrl":60886,"material":220,"size":220,"collection":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家东。”",[137,24,25,7,28,112,582,173,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3c8b4c721bc0388f04c2e9130ae1f5.jpg","292.6x257.3厘米",[],{"id":61207,"slug":61208,"title":61209,"dynasty":228,"author":5636,"museum":245,"description":61210,"tags":61211,"thumbUrl":61212,"material":1397,"size":1398,"collection":220,"collections":61213,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":145},230963,"xie-sheng-hua-hui-ce-wang-yuan-230963","写生花卉册","王渊（公元13世纪-14世纪中叶），元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。工于花鸟、人物、山水。天历年间曾与唐棣在南京龙翔寺画过壁画，尤精于花鸟，堪称元代花鸟画巨擘。\n王渊水笔下的花鸟画，先是工笔重彩，专求黄荃风格画法，中年多是精工艳丽笔触，但流传作品极为少见。题材多以水墨花鸟竹石为多，墨色渲染，浓淡有致，以无彩胜于有彩，并于秀丽之中见得浑朴，勾勒与渲染这二种画法，各尽其妙，写实与写意都有天机溢发之感。他被誉为“元代的黄荃”，是“元代绝艺花鸟画家”。\n王渊的传世作品主要是立轴，画于至正三年（1343）的《花竹禽鸟图轴》（现藏在山西省博物馆）、至正四年的《竹石集禽图轴》（现藏上海博物馆）、《桃竹锦鸡图轴》（现藏北京故宫博物院）、以及《秋山行旅图轴》等四轴现藏在台北故宫博物院，手卷以《牡丹图卷》为佳，现藏北京故宫博物院。",[24,25,519,28,7,212,690,411,159,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5716efe6384104a79a3d1722cdf621ef.jpg",[],{"id":61215,"slug":61216,"title":61217,"dynasty":190,"author":191,"museum":245,"description":61218,"tags":61219,"thumbUrl":61220,"material":1397,"size":1398,"collection":220,"collections":61221,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},230813,"da-ban-nie-pan-jing-juan-yi-ming-230813","大般涅槃経巻","通篇小楷精整端雅，笔锋劲挺匀净，字字排布齐整，墨色沉凝古朴，尽显写经者抄录时的恭谨，尽显唐人写经的典型风貌。\n\n右侧护法神祇衣袂层叠晕染，宝冠璎珞精细富丽，手持法器庄重端严，设色古雅厚重，线条勾勒凝练有神，兼具宗教的肃穆与唐人绘画的丰润气度。\n\n整卷经文与造像合一，既有释典的庄严性，又带着中古宗教艺术的沉静美感，是宗教典籍与传统书画技艺结合的佳例，承载着悠远的宗教文化意涵。",[26,25,194,83,28,7,730,17231,284,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1bc5fefdc466f2a79b176a6aa8c7b5.jpg",[],{"id":61223,"slug":61224,"title":61225,"dynasty":190,"author":191,"museum":245,"description":18311,"tags":61226,"thumbUrl":61228,"material":1397,"size":1398,"collection":220,"collections":61229,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},230700,"cai-hong-bao-lian-gan-lu-ping-yi-ming-230700","彩虹宝莲甘露瓶",[8885,28,5476,7,1055,56349,61227,158],"回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f2626b565778132442d526f8617cca.jpg",[],{"id":61231,"slug":61232,"title":61233,"dynasty":190,"author":191,"museum":245,"description":61234,"tags":61235,"thumbUrl":61237,"material":1397,"size":1398,"collection":220,"collections":61238,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":1833},230540,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-si-juan-yi-ming-230540","大唐西域记.12卷.唐.玄奘著（第四卷）","靛蓝素纸为底，泥金书绘相映，沉穆底色托衬出华贵庄严的气韵。经文取规整写经体，笔锋匀净端雅，结体方正工稳，将奉经礼佛的虔敬藏于每一笔划之中。\n右侧佛造像排布严整，主尊安坐莲台，胁侍诸佛环绕，衣纹线条凝练流畅，莲云布景空灵悠远。诸佛面容慈悲安和，尽显释道造像的雍容法度，将信仰的沉静与匠人的精工融为一体，是写经与造像合璧的精妙遗存，尽显中古释典艺术的审美意趣与宗教底蕴。",[730,17231,61236,7,28,194,83,3114,17229,4427,519],"金书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0763fcfc7ace393fd0cd06a6bf16104.jpg",[],{"id":61240,"slug":61241,"title":61242,"dynasty":190,"author":191,"museum":245,"description":61243,"tags":61244,"thumbUrl":61245,"material":1397,"size":1398,"collection":220,"collections":61246,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":1833},230539,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-shi-yi-juan-yi-ming-230539","大唐西域记.12卷.唐.玄奘著（第十一卷）","绀纸为底，金泥晕染铺陈诸佛法会。莲台之上主尊宝相端严，圣众侍从环侍左右，祥云托地、宝幢垂悬，线条纤劲流畅，金辉沉敛华贵，将极乐圣域的祥和庄严晕染尽致。\n\n左侧金书经文笔势挺秀端雅，锋棱内敛却筋骨暗藏，金彩与墨色交相辉映，仿佛能窥见昔年笔底流转的虔敬之心。\n书画合璧，装帧古雅，将写绘工艺的极致精巧与佛法的清净庄严相融，暗合丝路梵典流传的悠远佛缘，尽显东方古典宗教美术的雍容气度。",[194,83,4926,3114,4927,2602,284,730,17231,28,7,4427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3b396f3e957f5baef45e7bf8f27c5d5.jpg",[],{"id":61248,"slug":61249,"title":61250,"dynasty":190,"author":191,"museum":245,"description":61251,"tags":61252,"thumbUrl":61254,"material":1397,"size":1398,"collection":220,"collections":61255,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":1833},230538,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-liu-juan-yi-ming-230538","大唐西域记.12卷.唐.玄奘著（第六卷）","绀纸为底，泥金为彩，右侧佛说法变相线条细劲圆融，主尊安坐莲台，胁侍弟子、菩萨环绕左右，祥云宝树掩映出清净法界，金辉在靛蓝底色晕开肃穆华贵。\n\n左页泥金小楷端雅秀润，笔致匀净舒展，字字饱含虔敬心力。写经与变相相融一体，将信仰诉诸笔墨刀笔之间，工细精湛的绘写，让靛蓝与赤金交织出沉静庄严的氛围感，尽显中古写绘的典雅质感，是佛教典籍与工美艺术合璧的佳构。",[194,83,7,730,17231,4427,61253,35122,11479,4928,4185],"泥金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d018403fa56e39f93e2fd0bded8e97.jpg",[],{"id":61257,"slug":61258,"title":61259,"dynasty":190,"author":191,"museum":245,"description":61260,"tags":61261,"thumbUrl":61262,"material":1397,"size":1398,"collection":220,"collections":61263,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":1833},230536,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-er-juan-yi-ming-230536","大唐西域记.12卷.唐.玄奘著（第二卷）","此作为绀纸泥金写本经卷，绀蓝底色沉敛雅致，泥金书就经文，笔锋劲挺匀整，尽显写经的肃穆法度，字字端严暗含沉静禅意。\n\n右侧造像以泥金勾勒晕染，主尊安坐莲台，胁侍环绕拱卫，宝相慈悲端严。祥云莲台刻画入微，线条婉转舒展，将极乐净土的祥和庄严铺陈开来。经文与佛造像同幅共生，融写经的虔敬与造像的庄严为一体，沉蓝与金彩交相辉映，让信仰的厚重与工艺的精妙相融，尽显中古佛韵的典雅华贵。",[194,83,17231,730,7,28,519,4427,1055],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feefc30f40fb9bdab6f336f00e50d634c.jpg",[],{"id":61265,"slug":61266,"title":61267,"dynasty":190,"author":191,"museum":245,"description":61268,"tags":61269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