[{"data":1,"prerenderedAt":23339},["ShallowReactive",2],{"subject-gu-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4,"gu-shi","孤石","孤石画高清赏析","精选中国历代孤石题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6ea9ecab39beea0b73081d4a8208e8.jpg",6553,2724,[14,45,65,92,108,125,144,165,179,197,210,222,234,252,266,284,298,318,332,343,355,365,380,390,400,413,427,439,451,460,471,483,499,512,533,547,559,569,582,590,602,612,623,634,645,655,668,682,693,707,721,731,740,752,765,778,788,797,809,819,831,843,856,870,880,889,901,912,928,937,948,959,971,981,993,1004,1014,1027,1037,1046,1055,1067,1079,1090,1099,1111,1121,1130,1140,1148,1158,1169,1180,1192,1201,1217,1226,1235,1243,1251,1260,1274,1284,1296,1307,1317,1329,1338,1350,1359,1370,1380,1391,1401,1411,1422,1432,1439,1450,1460,1470,1478,1487,1501,1513,1523,1534,1542,1552,1562,1573,1583,1591,1601,1611,1621,1633,1642,1653,1660,1668,1677,1687,1699,1707,1718,1729,1739,1748,1760,1773,1784,1796,1806,1817,1826,1834,1844,1854,1864,1876,1886,1897,1904,1915,1926,1938,1948,1956,1964,1973,1983,1996,2004,2015,2024,2032,2040,2053,2063,2072,2083,2093,2106,2116,2125,2134,2145,2156,2168,2179,2188,2197,2208,2218,2226,2235,2243,2253,2264,2273,2284,2296,2307,2317,2327,2336,2344,2357,2366,2376,2386,2397,2405,2414,2425,2436,2446,2455,2466,2476,2484,2494,2502,2512,2522,2533,2541,2549,2558,2566,2574,2583,2592,2600,2607,2618,2627,2634,2644,2653,2661,2671,2682,2693,2703,2713,2724,2732,2741,2750,2762,2770,2781,2791,2798,2810,2819,2828,2838,2845,2856,2866,2875,2891,2901,2909,2918,2927,2935,2945,2953,2964,2973,2982,2990,2999,3006,3014,3022,3030,3039,3049,3056,3066,3076,3086,3094,3102,3111,3122,3132,3142,3152,3161,3169,3177,3187,3197,3208,3215,3224,3233,3243,3253,3263,3274,3282,3292,3301,3308,3317,3325,3335,3345,3355,3362,3371,3380,3388,3397,3408,3417,3427,3439,3450,3459,3470,3479,3488,3498,3509,3518,3527,3538,3549,3559,3570,3580,3589,3599,3607,3619,3626,3637,3646,3656,3664,3673,3681,3689,3697,3708,3716,3728,3739,3750,3762,3773,3782,3792,3801,3810,3820,3831,3839,3846,3855,3863,3873,3885,3894,3903,3914,3923,3932,3942,3952,3959,3968,3979,3988,3999,4008,4018,4029,4041,4050,4057,4066,4077,4088,4099,4109,4119,4129,4141,4150,4160,4171,4181,4190,4199,4206,4214,4222,4241,4251,4260,4270,4280,4287,4295,4306,4318,4325,4332,4341,4350,4359,4367,4376,4384,4391,4400,4409,4418,4427,4437,4446,4456,4466,4476,4488,4496,4504,4512,4522,4532,4539,4549,4557,4565,4575,4584,4595,4603,4612,4621,4630,4640,4648,4657,4666,4676,4686,4695,4705,4715,4725,4735,4745,4753,4763,4775,4785,4794,4804,4814,4822,4829,4839,4847,4860,4870,4878,4888,4898,4908,4915,4923,4933,4940,4949,4958,4967,4976,4986,4995,5003,5012,5021,5031,5040,5049,5057,5065,5074,5082,5091,5100,5110,5120,5130,5139,5149,5159,5169,5176,5185,5194,5203,5212,5220,5228,5237,5247,5257,5264,5276,5286,5296,5305,5314,5324,5333,5343,5353,5363,5370,5379,5389,5398,5407,5416,5424,5435,5445,5454,5461,5472,5481,5491,5499,5508,5514,5521,5530,5539,5550,5560,5569,5580,5589,5598,5608,5616,5625,5634,5642,5652,5659,5669,5676,5686,5696,5705,5714,5723,5733,5742,5753,5763,5773,5781,5792,5799,5810,5819,5829,5836,5844,5853,5862,5871,5880,5888,5896,5905,5915,5922,5932,5942,5951,5959,5969,5977,5987,5997,6006,6014,6024,6033,6040,6049,6058,6066,6075,6085,6093,6103,6112,6120,6129,6138,6147,6157,6165,6172,6181,6187,6196,6203,6210,6219,6225,6233,6245,6252,6261,6270,6279,6290,6298,6307,6317,6327,6337,6346,6354,6364,6372,6381,6389,6399,6410,6419,6428,6437,6448,6455,6467,6476,6484,6494,6501,6510,6519,6528,6537,6545,6553,6562,6571,6580,6589,6598,6609,6617,6624,6634,6642,6660,6669,6677,6686,6693,6700,6708,6718,6733,6744,6752,6760,6769,6777,6784,6794,6803,6810,6818,6826,6835,6845,6854,6867,6877,6888,6896,6905,6913,6921,6927,6935,6945,6955,6963,6971,6979,6989,6998,7006,7015,7024,7034,7043,7052,7061,7070,7079,7087,7097,7106,7114,7123,7132,7142,7152,7160,7167,7177,7185,7195,7204,7214,7224,7231,7239,7250,7259,7266,7274,7282,7291,7299,7307,7314,7323,7334,7344,7351,7357,7364,7372,7381,7390,7399,7408,7418,7428,7436,7446,7456,7464,7473,7484,7492,7500,7508,7515,7523,7531,7540,7548,7556,7565,7574,7594,7604,7614,7623,7632,7641,7649,7656,7663,7669,7676,7685,7693,7702,7710,7719,7728,7739,7747,7755,7763,7771,7781,7791,7801,7810,7820,7829,7837,7847,7857,7867,7875,7883,7890,7899,7909,7918,7928,7938,7948,7957,7965,7973,7982,7988,7996,8003,8010,8018,8028,8037,8044,8053,8061,8071,8079,8087,8096,8104,8113,8120,8131,8140,8147,8156,8165,8171,8179,8185,8193,8202,8211,8220,8231,8240,8249,8257,8264,8272,8278,8286,8293,8302,8308,8322,8329,8337,8344,8352,8361,8371,8380,8390,8398,8408,8416,8426,8435,8444,8455,8465,8473,8481,8490,8498,8507,8519,8528,8537,8545,8553,8562,8571,8583,8592,8599,8607,8614,8623,8630,8639,8649,8657,8666,8672,8679,8690,8699,8709,8716,8725,8733,8741,8749,8756,8764,8773,8783,8794,8805,8814,8821,8831,8838,8847,8854,8862,8871,8878,8887,8893,8900,8909,8918,8927,8934,8944,8953,8961,8970,8978,8986,8995,9003,9011,9021,9032,9041,9051,9060,9069,9077,9087,9097,9105,9114,9124,9131,9140,9149,9156,9164,9171,9178,9188,9196,9204,9212,9219,9228,9237,9247,9254,9263,9273,9280,9288,9298,9306,9312,9320,9330,9339,9347,9357,9366,9374,9383,9391,9398,9406,9416,9426,9435,9442,9450,9457,9464,9470,9480,9489,9499,9507,9515,9524,9533,9541,9549,9558,9567,9576,9583,9593,9600,9610,9620,9627,9635,9643,9652,9659,9668,9678,9684,9691,9698,9706,9715,9723,9731,9739,9748,9756,9767,9776,9786,9793,9805,9814,9823,9831,9840,9846,9852,9859,9868,9876,9884,9894,9902,9912,9920,9928,9937,9946,9953,9962,9972,9980,9987,9996,10004,10012,10022,10030,10040,10047,10055,10063,10070,10080,10090,10097,10106,10113,10121,10128,10135,10143,10152,10160,10167,10178,10187,10198,10207,10217,10225,10233,10241,10249,10257,10267,10278,10288,10298,10308,10317,10324,10334,10342,10349,10357,10367,10375,10383,10389,10396,10406,10414,10421,10428,10436,10443,10450,10456,10464,10472,10480,10487,10495,10502,10509,10520,10529,10537,10546,10555,10562,10569,10579,10587,10595,10603,10614,10621,10630,10636,10642,10650,10657,10665,10672,10679,10687,10695,10702,10710,10720,10731,10740,10749,10759,10767,10778,10786,10795,10802,10812,10821,10829,10836,10845,10853,10862,10871,10878,10885,10893,10902,10909,10916,10923,10931,10937,10946,10955,10962,10968,10976,10984,10991,11000,11008,11019,11028,11036,11045,11053,11060,11068,11076,11084,11091,11098,11106,11115,11124,11131,11139,11147,11155,11164,11172,11179,11189,11198,11207,11217,11223,11229,11235,11241,11250,11259,11268,11276,11283,11291,11299,11312,11322,11331,11340,11349,11358,11365,11372,11381,11389,11398,11407,11414,11422,11431,11442,11449,11457,11464,11472,11480,11489,11496,11502,11510,11519,11527,11533,11542,11549,11557,11565,11572,11581,11588,11596,11607,11616,11622,11630,11638,11646,11654,11663,11671,11681,11692,11702,11712,11719,11727,11735,11744,11754,11762,11771,11779,11787,11796,11803,11810,11819,11826,11833,11843,11850,11858,11866,11874,11881,11887,11896,11905,11913,11922,11932,11943,11955,11963,11972,11979,11989,11997,12005,12014,12021,12029,12040,12049,12058,12065,12074,12081,12090,12097,12103,12109,12115,12124,12131,12138,12146,12154,12161,12170,12176,12186,12193,12199,12205,12212,12221,12232,12240,12248,12255,12263,12269,12278,12286,12294,12303,12312,12322,12330,12339,12346,12353,12360,12367,12375,12384,12393,12402,12411,12420,12429,12437,12444,12452,12461,12470,12479,12488,12494,12500,12506,12512,12518,12526,12532,12540,12548,12556,12564,12573,12580,12589,12598,12606,12614,12623,12632,12640,12649,12660,12669,12678,12689,12699,12709,12717,12725,12734,12744,12755,12765,12772,12780,12787,12794,12802,12809,12818,12828,12835,12841,12850,12857,12866,12873,12881,12887,12893,12899,12906,12913,12923,12931,12939,12947,12954,12961,12969,12978,12986,12995,13005,13014,13023,13031,13039,13046,13053,13061,13068,13076,13086,13094,13101,13111,13120,13127,13137,13145,13153,13162,13172,13181,13193,13202,13210,13218,13227,13235,13243,13250,13259,13268,13276,13285,13293,13302,13311,13318,13325,13334,13340,13348,13355,13363,13371,13379,13387,13393,13402,13410,13418,13427,13437,13444,13451,13460,13470,13479,13489,13497,13506,13514,13524,13533,13541,13549,13556,13565,13572,13581,13590,13599,13608,13617,13627,13637,13645,13654,13661,13669,13679,13687,13695,13703,13710,13718,13724,13731,13739,13745,13753,13760,13768,13776,13784,13793,13801,13808,13817,13827,13833,13839,13845,13853,13862,13873,13882,13891,13899,13907,13915,13924,13932,13941,13949,13958,13969,13978,13986,13994,14002,14010,14019,14031,14041,14050,14059,14068,14078,14087,14095,14102,14112,14119,14126,14133,14142,14150,14158,14164,14170,14178,14187,14193,14201,14208,14216,14222,14229,14238,14246,14255,14263,14270,14279,14288,14295,14303,14311,14322,14329,14337,14345,14353,14362,14372,14381,14388,14395,14402,14411,14421,14430,14439,14448,14458,14468,14478,14488,14498,14506,14514,14521,14529,14538,14545,14553,14561,14570,14578,14584,14590,14596,14604,14612,14620,14626,14634,14643,14649,14656,14662,14669,14676,14685,14692,14700,14706,14712,14720,14728,14736,14742,14749,14755,14764,14770,14779,14788,14798,14804,14813,14820,14829,14837,14845,14853,14861,14870,14880,14890,14902,14908,14917,14926,14937,14946,14955,14964,14971,14978,14987,14996,15005,15016,15025,15035,15044,15054,15063,15072,15083,15092,15102,15112,15121,15130,15138,15145,15154,15162,15171,15179,15188,15195,15202,15211,15220,15228,15237,15244,15253,15262,15272,15281,15287,15295,15303,15313,15321,15329,15335,15341,15349,15356,15362,15371,15380,15389,15397,15403,15413,15422,15431,15440,15449,15457,15466,15473,15481,15490,15498,15508,15518,15525,15532,15539,15546,15556,15566,15574,15584,15592,15600,15610,15619,15629,15638,15645,15654,15664,15673,15682,15691,15702,15712,15719,15728,15734,15740,15749,15758,15766,15774,15780,15788,15794,15800,15809,15816,15824,15832,15840,15847,15854,15861,15868,15875,15881,15887,15893,15901,15912,15919,15928,15936,15945,15955,15961,15968,15977,15987,15995,16003,16011,16019,16027,16035,16042,16049,16056,16066,16076,16084,16091,16098,16108,16117,16123,16130,16140,16147,16155,16165,16174,16183,16191,16200,16210,16219,16227,16236,16245,16254,16263,16273,16282,16293,16302,16311,16320,16329,16338,16347,16358,16367,16376,16382,16390,16396,16404,16413,16421,16428,16434,16440,16449,16457,16466,16475,16481,16490,16499,16505,16516,16523,16530,16539,16547,16554,16563,16571,16577,16584,16591,16597,16604,16611,16618,16626,16634,16642,16649,16655,16661,16668,16674,16680,16687,16693,16699,16707,16713,16719,16727,16735,16744,16758,16766,16774,16782,16791,16801,16808,16815,16824,16831,16838,16845,16852,16861,16870,16877,16884,16891,16900,16908,16917,16927,16937,16946,16955,16965,16973,16982,16990,17000,17010,17019,17029,17038,17048,17057,17067,17076,17085,17094,17104,17112,17121,17130,17139,17148,17157,17164,17172,17180,17189,17200,17212,17219,17226,17233,17240,17248,17256,17264,17270,17276,17284,17290,17296,17302,17308,17314,17320,17327,17334,17342,17348,17356,17363,17369,17377,17383,17390,17398,17405,17413,17419,17426,17433,17439,17447,17454,17460,17467,17474,17480,17486,17492,17498,17507,17524,17533,17540,17549,17557,17565,17572,17580,17591,17598,17606,17617,17629,17636,17644,17654,17661,17668,17678,17686,17695,17704,17714,17722,17731,17741,17750,17759,17769,17779,17788,17798,17808,17817,17827,17836,17846,17856,17865,17871,17879,17888,17897,17906,17914,17920,17926,17932,17938,17944,17951,17958,17967,17974,17980,17988,17997,18005,18013,18020,18027,18035,18042,18049,18058,18064,18071,18080,18088,18094,18103,18109,18115,18121,18128,18136,18142,18150,18156,18162,18168,18175,18182,18190,18197,18205,18211,18222,18229,18235,18242,18248,18254,18261,18268,18277,18284,18290,18296,18302,18311,18320,18328,18334,18340,18346,18352,18361,18372,18381,18389,18396,18403,18410,18417,18424,18432,18440,18448,18458,18467,18476,18486,18495,18504,18513,18523,18533,18543,18552,18562,18570,18578,18587,18596,18606,18615,18624,18634,18642,18651,18661,18671,18680,18691,18701,18711,18720,18729,18738,18747,18757,18764,18771,18779,18786,18793,18800,18807,18816,18822,18828,18836,18843,18850,18857,18864,18871,18879,18886,18892,18898,18906,18913,18919,18925,18931,18940,18946,18952,18958,18964,18970,18976,18982,18988,18996,19003,19009,19015,19023,19029,19035,19042,19049,19056,19063,19069,19075,19082,19089,19096,19103,19109,19115,19121,19127,19133,19140,19146,19154,19162,19168,19177,19185,19191,19197,19203,19209,19215,19221,19227,19233,19242,19250,19262,19272,19280,19288,19298,19306,19314,19322,19330,19339,19346,19353,19360,19367,19374,19384,19392,19399,19406,19413,19420,19428,19437,19446,19456,19465,19474,19483,19492,19502,19512,19521,19530,19541,19551,19560,19569,19578,19588,19596,19604,19614,19624,19633,19644,19653,19662,19671,19680,19688,19697,19706,19715,19725,19734,19743,19753,19761,19769,19777,19785,19794,19804,19813,19822,19831,19838,19845,19852,19859,19865,19872,19879,19886,19894,19902,19909,19916,19924,19931,19937,19943,19950,19957,19964,19970,19978,19985,19992,19999,20005,20012,20019,20027,20033,20040,20046,20052,20058,20066,20073,20080,20086,20095,20101,20107,20113,20121,20128,20135,20141,20148,20155,20165,20171,20177,20184,20190,20196,20202,20209,20215,20221,20229,20235,20241,20247,20254,20260,20266,20275,20283,20291,20297,20303,20309,20315,20321,20327,20333,20339,20345,20351,20357,20363,20369,20375,20381,20387,20395,20407,20416,20423,20430,20437,20445,20452,20459,20466,20474,20481,20491,20498,20505,20513,20528,20538,20547,20557,20566,20575,20586,20595,20604,20614,20623,20632,20642,20651,20660,20669,20677,20685,20693,20701,20710,20718,20729,20737,20747,20756,20765,20774,20784,20794,20803,20811,20820,20829,20839,20850,20858,20867,20876,20885,20893,20901,20909,20920,20929,20941,20949,20957,20967,20975,20982,20990,21001,21013,21023,21030,21039,21048,21063,21074,21081,21089,21097,21105,21112,21118,21125,21132,21139,21145,21151,21159,21166,21172,21178,21186,21193,21200,21207,21213,21221,21227,21233,21239,21245,21251,21257,21263,21270,21276,21282,21288,21294,21300,21308,21314,21320,21326,21333,21339,21345,21351,21358,21364,21370,21376,21382,21389,21396,21403,21410,21417,21424,21431,21437,21446,21453,21460,21467,21473,21479,21486,21492,21498,21504,21510,21517,21523,21529,21535,21541,21547,21553,21559,21565,21571,21577,21583,21589,21595,21601,21607,21613,21619,21625,21631,21637,21643,21649,21655,21661,21667,21673,21679,21685,21691,21702,21714,21723,21732,21739,21749,21756,21763,21770,21785,21792,21799,21808,21816,21823,21830,21837,21844,21851,21858,21865,21872,21881,21889,21897,21905,21913,21922,21930,21939,21948,21958,21967,21976,21985,21994,22003,22012,22021,22030,22041,22050,22058,22066,22074,22083,22094,22103,22112,22122,22131,22139,22146,22154,22162,22171,22180,22190,22200,22209,22219,22228,22237,22246,22256,22266,22276,22286,22296,22305,22314,22323,22332,22341,22350,22360,22369,22379,22389,22399,22407,22415,22422,22431,22438,22446,22456,22463,22471,22479,22487,22496,22505,22512,22520,22529,22539,22549,22556,22566,22575,22584,22590,22596,22602,22608,22614,22621,22628,22634,22640,22647,22654,22663,22672,22679,22686,22693,22700,22706,22712,22718,22724,22731,22738,22745,22752,22759,22766,22772,22778,22784,22790,22796,22802,22808,22814,22820,22826,22832,22838,22844,22850,22856,22862,22868,22874,22880,22888,22896,22906,22914,22922,22930,22939,22947,22955,22963,22971,22979,22987,22994,23004,23013,23023,23030,23037,23044,23055,23063,23072,23081,23090,23101,23110,23121,23130,23139,23146,23153,23163,23172,23180,23189,23198,23206,23217,23225,23234,23243,23252,23261,23270,23277,23286,23295,23305,23313,23322,23331],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7],"高清","名画","国画","书画","立轴","工笔","设色","人物","美人","竹","荷","器","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39bc5a717a934b272fce5bd0a4f3c219.jpg","绢本,设色","96.5x44.1","人物画精选",[39],5763,38,0,"795548",{"id":46,"slug":47,"title":48,"dynasty":18,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":57,"material":58,"size":59,"collection":60,"collections":61,"showCount":62,"zanCount":63,"manualWeight":43,"mainColor":64},216593,"ou-xiang-guan-xie-sheng-ce-yun-shou-ping-216593","瓯香馆写生册","恽寿平","旅顺博物馆","《瓯香馆写生册》描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[25,26,53,29,54,55,32,7,56],"册","没骨","水墨","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed8966ba999269ca801a2d4a56096289.jpg","纸本,设色","","花鸟画精选",[60],2727,12,"BDBDBD",{"id":66,"slug":67,"title":68,"dynasty":69,"author":70,"museum":71,"description":72,"tags":73,"thumbUrl":86,"material":58,"size":87,"collection":88,"collections":89,"showCount":90,"zanCount":91,"manualWeight":43,"mainColor":64},219219,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-shen-zhou-219219","仿黄公望富春山居图卷","明","沈周","北京故宫博物院","此图为沈周背临黄公望《富春山居图》之作。图中坡岗起伏，景物幽美，布局开合有度，用笔方圆兼备，刚柔并济，结合了披麻皴法与矾头皴法，对原作的临摹达到了形神兼似的境界，而笔力间又体现出沈周自己个人的特色。黄公望《富春山居图》后被焚毁作两段，分别辗转流传，今前一段藏于浙江省博物馆，后一段藏于台北故宫博物院。沈周此幅临作基本上保留了原作被毁以前的面貌，故这幅作品除具备本身的艺术价值之外，还带有重现黄氏原作的重要意义。尾纸有姚绶、董其昌、吴宽、文彭、周天球、谢凇洲诸家题跋。",[23,25,26,74,55,75,76,77,78,79,80,7,81,82,83,84,85],"长卷","皴法","临摹","书法","行书","印章","山水","树木","流水","山峦","云雾","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纵36.8厘米，横855厘米","山水画精选",[88],1987,11,{"id":93,"slug":94,"title":95,"dynasty":18,"author":96,"museum":71,"description":97,"tags":98,"thumbUrl":102,"material":58,"size":103,"collection":60,"collections":104,"showCount":106,"zanCount":107,"manualWeight":43,"mainColor":64},219289,"ba-jiao-li-mao-tu-zhou-ren-yi-219289","芭蕉狸猫图轴","任颐","图绘芭蕉、狸猫。芭蕉叶以浓墨中锋勾勒轮廓，线条圆润流畅，富有表现力。叶面以饱含水份的花青、石绿、明黄等色晕染，色与水自然的交融，显现出丰富的深浅色调的变化，将叶片鲜活的物性表现得淋漓尽致。图中的猫儿没有繁琐的细节刻画，仅以寥寥数笔便点染出它们在静止状态下专注的神态和嬉戏顽皮时撕咬的动态，由此可见作者敏锐的观察力、坚实的素描基础和娴熟的笔墨造型能力。",[23,25,27,29,28,99,100,7,101,56],"芭蕉","猫","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f12e097eb2a6d1ebd860110d117c7a.jpg","纵181.4厘米，横94.8厘米",[60,105],"设色画精选",1568,13,{"id":109,"slug":110,"title":111,"dynasty":69,"author":70,"museum":112,"description":113,"tags":114,"thumbUrl":118,"material":119,"size":120,"collection":88,"collections":121,"showCount":123,"zanCount":124,"manualWeight":43,"mainColor":44},222104,"lu-shan-gao-tu-shen-zhou-222104","庐山高图","台北故宫博物院","此图描绘的是庐山的景象，画中有白云、杂树、石阶、小路以及人物等。这幅图在技法上借鉴元代画家王蒙的笔意，笔法稳健，气势雄沉，具有强烈的节奏感和力量感。山峰多用解索皴，皴染厚重灵动；中段山峦则用折带皴，皴笔精细，墨色较淡，表现出崖壁的险峻。左边崖壁先匀后皴，墨色较重，并以焦墨密点，显得苍郁幽深。",[23,25,80,55,75,27,115,116,82,117,7],"山","瀑布","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61796c0c6453be4cd711d8316964db5.jpg","白纸本","纵193.8 公分，横98.1 公分",[88,122],"水墨画精选",1546,18,{"id":126,"slug":127,"title":128,"dynasty":69,"author":129,"museum":130,"description":131,"tags":132,"thumbUrl":138,"material":139,"size":140,"collection":59,"collections":141,"showCount":142,"zanCount":107,"manualWeight":43,"mainColor":143},222601,"qiu-shan-yu-yin-tu-lan-ying-222601","秋山渔隐图","蓝瑛","天津博物馆","绘乡间田园景色，远处山峰高耸，山脚下农舍排列整齐，栅栏四周树木环绕；近处河面上二只棚船停泊，船尾两人对坐而谈；岸上古木黝黑挺直，深秋季节中树叶凋零。纵观整幅，山水人家，古木船只，皆赋诗情画意。",[23,25,29,80,75,133,134,85,30,135,136,82,137,7],"枯树","老树","山石","房屋","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc1ad696df861ebcdfbf4523c6d8135.jpg","纸本，设色","139.5x45cm",[],1533,"F48FB1",{"id":145,"slug":146,"title":147,"dynasty":148,"author":149,"museum":150,"description":151,"tags":152,"thumbUrl":161,"material":37,"size":59,"collection":60,"collections":162,"showCount":163,"zanCount":164,"manualWeight":43,"mainColor":44},214254,"qiu-shui-fu-yi-tu-ren-ren-fa-214254","秋水凫鹥图","元","任仁发","上海博物馆","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。",[23,25,28,29,56,153,154,155,7,156,157,158,159,160],"飞鸟","水禽","鸭子","菊花","树枝","花叶","水波","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65117c93f7cf534891203b9f9c5bbf5.jpg",[60],1515,25,{"id":166,"slug":167,"title":168,"dynasty":18,"author":169,"museum":170,"description":171,"tags":172,"thumbUrl":175,"material":58,"size":59,"collection":60,"collections":176,"showCount":177,"zanCount":178,"manualWeight":43,"mainColor":64},218130,"shui-xian-zhu-zhi-tu-shi-tao-218130","水仙竹枝图","石涛","美国弗利尔美术馆","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品。花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。",[23,25,55,29,173,32,174,7,79,77],"写意","水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112234b8c56ae7eab1e3115341e7947f.jpg",[60],1313,3,{"id":180,"slug":181,"title":182,"dynasty":69,"author":183,"museum":184,"description":185,"tags":186,"thumbUrl":193,"material":37,"size":59,"collection":60,"collections":194,"showCount":195,"zanCount":196,"manualWeight":43,"mainColor":64},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","私人收藏","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。",[23,25,53,29,28,79,77,78,56,187,188,189,33,190,191,192,7,160],"梅","兰","菊","桃花","牡丹","石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[60],1280,21,{"id":198,"slug":199,"title":200,"dynasty":148,"author":201,"museum":71,"description":202,"tags":203,"thumbUrl":204,"material":205,"size":206,"collection":60,"collections":207,"showCount":208,"zanCount":209,"manualWeight":43,"mainColor":44},214260,"zhu-shi-tu-yi-ming-214260","竹石图","佚名","竹石图是一幅作者不详的元代画作。这幅画作描绘了竹林和石山的景象。\n\n在这幅画作中，画家巧妙地捕捉了竹林和石山的自然韵味。他用浓墨重彩的画法，勾勒出了竹林和石山的景象。他还用细腻的线条勾勒出了竹林和石山的细节，让人感受到了竹林和石山的自然韵味。\n\n此外，画家在这幅画作中还描绘了竹林和石山周围的景色。他用色彩丰富的画法，描绘了竹林和石山周围的山川和河流。这些景色与竹林和石山的自然韵味形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。",[23,25,24,26,27,55,32,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08730665024372a850d7031f0ea9663b.jpg","绢本,水墨","138x79",[60],1055,2,{"id":211,"slug":212,"title":213,"dynasty":18,"author":214,"museum":150,"description":215,"tags":216,"thumbUrl":218,"material":58,"size":219,"collection":60,"collections":220,"showCount":221,"zanCount":5,"manualWeight":43,"mainColor":64},218895,"jin-ji-zhu-ju-tu-zhou-hua-yan-218895","锦鸡竹菊图轴","华嵒","华嵒的《锦鸡竹菊图》轴既融合了没骨写生，又揉和了水墨泼染之长，形成了兼工带写、灵巧松秀的小写意风格，栩栩如生，姿态万千，艺术手法非常高超。",[25,29,56,28,27,217,32,189,7],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e481200e5ac0e9cc66a96220c80926.jpg","纵106.8厘米，横47.2厘米",[60],1037,{"id":223,"slug":224,"title":225,"dynasty":18,"author":201,"museum":112,"description":226,"tags":227,"thumbUrl":230,"material":37,"size":59,"collection":60,"collections":231,"showCount":232,"zanCount":233,"manualWeight":43,"mainColor":64},216218,"ke-si-hua-niao-zhou-yi-ming-216218","缂丝花鸟轴","缂丝花鸟轴是一件来自清朝的著名织物，它的特点是精细的缂丝织法，用细密的金丝或银丝织成花鸟图案。这种织物通常是用来装饰床单、枕头和窗帘的，也可以用作礼服的饰品。这种织物的制作需要高超的技艺，因此它们非常珍贵且价值高。",[228,229,25,27,29,28,56,81,135,191,153,7],"清代","缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb707e05f41a56d8bb90d7d98b005b201.jpg",[60],1010,15,{"id":235,"slug":236,"title":237,"dynasty":69,"author":238,"museum":112,"description":239,"tags":240,"thumbUrl":247,"material":37,"size":248,"collection":39,"collections":249,"showCount":250,"zanCount":251,"manualWeight":43,"mainColor":64},219968,"han-gong-chun-xiao-tu-chou-ying-219968","汉宫春晓图","仇英","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。\n《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,25,26,74,28,29,241,30,31,242,7,153,81,243,244,245,246],"界画","楼阁","花卉","栏杆","台阶","屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ef02bc84e372303950e1dc284071d3.jpg","纵30.6cm，横574.1cm",[39],977,17,{"id":253,"slug":254,"title":255,"dynasty":148,"author":256,"museum":112,"description":257,"tags":258,"thumbUrl":261,"material":262,"size":263,"collection":88,"collections":264,"showCount":265,"zanCount":5,"manualWeight":43,"mainColor":64},220150,"ni-zan-wang-meng-he-zuo-shan-shui-ni-zan-220150","倪瓒王蒙合作山水","倪瓒","独坐古松下。萧条遗世音（音字点去）心。青山列屏幛。流水奏鸣琴。安得忘机士。与我息烦襟。幽情寄豪楮。跫然闻足音。岁辛丑（西元一三六一年）四月五日东海倪瓒画松石望山图。并赋五言。奉寄文伯友兄。且以督屡约屡失期云。",[23,25,26,55,80,75,116,82,259,260,7],"岩石","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","纸本,水墨","本幅 119.9x56.1公分、全幅 58公分",[88,122],972,{"id":267,"slug":268,"title":269,"dynasty":148,"author":270,"museum":184,"description":271,"tags":272,"thumbUrl":281,"material":58,"size":59,"collection":88,"collections":282,"showCount":283,"zanCount":5,"manualWeight":43,"mainColor":64},216999,"cao-tang-yi-shi-tu-huang-gong-wang-216999","草堂遗世图","黄公望","《草堂遗世图》是一幅著名的山水画。这幅画以浓烈的写意气息和精细的画工著称。黄公望在这幅画中描绘了一座废弃的草堂，静静地躺在草地上，被一片茂密的松林环绕。山川景色非常优美，清新宁静。画中还有一些杂草和枯萎的花朵，表现出草堂的荒凉和凋零。这幅画被认为是黄公望的代表作之一，因其精美的画工和深刻的哲理而广受赞誉。",[24,25,55,273,173,274,275,276,277,7,278,279,280],"山水画","草堂","松林","山川","小桥","杂草","荒凉","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42536421d16089efc731a376cc411ad2.jpg",[88],944,{"id":285,"slug":286,"title":287,"dynasty":69,"author":288,"museum":150,"description":289,"tags":290,"thumbUrl":294,"material":58,"size":295,"collection":59,"collections":296,"showCount":297,"zanCount":178,"manualWeight":43,"mainColor":64},216662,"hua-niao-ce-2-sun-ke-hong-216662","花鸟册-2","孙克弘","孙克弘的折枝画鸟画名重一时，是册共含牡丹、山茶、冬梅等花鸟画十六开，设色秀润清新，用墨精妙淡雅。孙克弘题引首：草木霑春。华亭克弘书。钤“雪居”朱文印、“汉阳长印”白文印。并自题“洞庭樵海张山人者，清贫守道，耻干谒人，真隐君子也。短褐一瓢，歌咏于青山白云中，消磨半生矣。兹老贫不能支吾薪水，因访余东皋雪堂，余又以贫不能为赠。聊写杂卉一册贻之。倘好事者以数斗易去，亦足为山人一箸之助也。汉阳守，华亭雪居孙克弘书并画。”",[25,26,53,29,28,56,291,292,7,293,243],"花","叶","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331e0d82e712dc40afb5b3b91d67b4d4.jpg","纵31.7厘米，横61.8 厘米",[],911,{"id":299,"slug":300,"title":301,"dynasty":302,"author":303,"museum":112,"description":304,"tags":305,"thumbUrl":312,"material":313,"size":314,"collection":88,"collections":315,"showCount":316,"zanCount":317,"manualWeight":43,"mainColor":44},221175,"ba-da-you-chun-tu-zhao-nie-221175","八达游春图","五代十国","赵喦","《八达游春图》是五代·后梁画家赵喦创作的国画，此画绘有八骑人马欢呼游玩的景象，用色考究，笔墨精到，人物神态栩栩如生，可谓作者画作之精品。",[23,25,28,29,302,30,306,81,307,7,308,309,310,311],"马","柳树","草地","围栏","鞍马","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d033fc39e58455d7dde55b9f5c0f61.jpg","绢本","纵161厘米，横103厘米",[88,39,105],904,5,{"id":319,"slug":320,"title":321,"dynasty":148,"author":256,"museum":150,"description":322,"tags":323,"thumbUrl":326,"material":327,"size":328,"collection":60,"collections":329,"showCount":330,"zanCount":331,"manualWeight":43,"mainColor":64},219165,"yu-zhuang-qiu-ji-tu-ni-zan-219165","渔庄秋霁图","此图近景陂陀一片，五六株杂树如文士君子一般屹立其间，高洁清旷。中景湖水淡荡，空明澄净。远处几层矮坡，起伏有致，淡墨轻岚，没有一丝人迹，没有一声鸟语。该图静与道契，寂如枯禅，意境荒疏简远",[24,25,26,27,55,75,80,133,7,324,325,259],"远山","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470f625eec64440664af4e12339303f9.jpg","纸本","纵96厘米，横47厘米",[60],888,10,{"id":333,"slug":334,"title":335,"dynasty":18,"author":214,"museum":170,"description":336,"tags":337,"thumbUrl":339,"material":327,"size":340,"collection":88,"collections":341,"showCount":342,"zanCount":5,"manualWeight":43,"mainColor":44},214343,"san-jue-shan-shui-ce-hua-yan-214343","三绝山水册","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,25,53,55,29,75,80,7,153,30,117,115,338],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1075f02c862972d6c6c6e0ea0f290ca9.jpg","23.4x15.8",[88],885,{"id":344,"slug":345,"title":346,"dynasty":69,"author":70,"museum":71,"description":347,"tags":348,"thumbUrl":350,"material":37,"size":351,"collection":39,"collections":352,"showCount":353,"zanCount":354,"manualWeight":43,"mainColor":64},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,25,26,74,55,75,80,7,277,82,85,134,349,77,78],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米",[39,88,105],877,7,{"id":356,"slug":357,"title":358,"dynasty":18,"author":359,"museum":150,"description":360,"tags":361,"thumbUrl":362,"material":58,"size":59,"collection":39,"collections":363,"showCount":364,"zanCount":5,"manualWeight":43,"mainColor":64},214611,"hong-lou-meng-ren-wu-ce-ye-yu-lan-214611","红楼梦人物册页","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。",[25,26,53,29,30,31,7,82,134,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab150ff0a3409c18b30e7aba25d52c8.jpg",[39],863,{"id":366,"slug":367,"title":368,"dynasty":369,"author":201,"museum":112,"description":370,"tags":371,"thumbUrl":376,"material":37,"size":377,"collection":60,"collections":378,"showCount":379,"zanCount":331,"manualWeight":43,"mainColor":44},218394,"shan-cha-mei-hua-tu-yi-ming-218394","山茶梅花图","宋","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。",[23,25,26,27,56,28,29,372,373,374,375,7],"山茶","梅花","鸟","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1719fc6f38b792b19b924b5c41056d6.jpg","33.6x46.7",[60],833,{"id":381,"slug":382,"title":383,"dynasty":18,"author":384,"museum":184,"description":385,"tags":386,"thumbUrl":387,"material":262,"size":59,"collection":60,"collections":388,"showCount":389,"zanCount":354,"manualWeight":43,"mainColor":64},216366,"jing-ji-cong-lan-tu-zheng-ban-qiao-216366","荆棘从兰图","郑板桥","郑板桥是一位著名的清朝画家，他创作的《荆棘丛兰图》是一幅工笔画作品，以荆棘丛生的兰花为主题。这幅画用精细的笔法勾勒出了兰花的各个细节，如花瓣、花茎、花药和荆棘。整幅画给人以自然美的感受，同时也体现出了郑板桥在工笔画技法上的精湛技艺。",[23,25,26,74,55,173,77,78,79,188,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[60],816,{"id":391,"slug":392,"title":393,"dynasty":18,"author":96,"museum":150,"description":394,"tags":395,"thumbUrl":397,"material":37,"size":394,"collection":60,"collections":398,"showCount":399,"zanCount":354,"manualWeight":43,"mainColor":64},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",[23,25,24,26,27,28,29,56,396,100,7],"芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ad6bc3e192fef53d9ce6256744d731.jpg",[60],755,{"id":401,"slug":402,"title":403,"dynasty":148,"author":404,"museum":71,"description":405,"tags":406,"thumbUrl":407,"material":408,"size":409,"collection":122,"collections":410,"showCount":412,"zanCount":317,"manualWeight":43,"mainColor":143},220780,"mo-zhu-po-shi-tu-wu-zhen-220780","墨竹坡石图","吴镇","此图绘平坡拳石，竹枝斜垂。图中平坡直以淡墨晕染，拳石则重墨勾画轮廓，复以浓淡相间的墨色加以皴染，笔墨浑厚苍润。画面上方几茎竹枝斜斜垂入画面，不仅得“意在画外”之趣，且其插入的角度与取倾侧之势的坡石相呼应，使画面趋于平衡。整体画面欹中寓平，稳中求变，表现出作者控制全局的高超技巧。\n全图取景简洁，意境清幽，正如时人孙大雅《墨竹记》中所云：“……其趣适常在山岩林薄之下，故其笔类有幽远闲放之情，殊乏贵游子弟之气……”正道出了此图意趣之所在。",[23,25,26,27,55,32,7,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162c658d1d21976ed1ec52ed3d2446e9.jpg","纸本 墨笔","90cmx24cm",[122,411],"竹石精选",747,{"id":414,"slug":415,"title":416,"dynasty":18,"author":417,"museum":418,"description":419,"tags":420,"thumbUrl":422,"material":37,"size":423,"collection":60,"collections":424,"showCount":425,"zanCount":426,"manualWeight":43,"mainColor":64},220435,"yu-lan-mu-dan-tu-li-shan-220435","玉兰牡丹图","李鱓","南京博物院","此幅是李复堂较为工致的一幅写生花卉图，玉兰树极具生发之姿，玉兰花怒放，生机无限。巨石旁白牡丹，柔美富贵，体现了扬州画派与世相偕的入世画风。",[23,25,26,27,29,55,78,79,56,421,191,7],"玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9586eb66cdeb4091ec3d5d734d3a1a44.jpg","138.1×69.8cm",[60,105],738,6,{"id":428,"slug":429,"title":430,"dynasty":69,"author":431,"museum":150,"description":432,"tags":433,"thumbUrl":436,"material":37,"size":59,"collection":60,"collections":437,"showCount":438,"zanCount":331,"manualWeight":43,"mainColor":44},219749,"chun-feng-jia-die-tu-chen-hong-shou-219749","春风蛱蝶图","陈洪绶","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。",[25,26,74,29,28,434,79,77,56,187,188,32,174,435,374,7],"白描","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f9e4cf48118d09a7f3ae27d2908752.jpg",[60],712,{"id":440,"slug":441,"title":442,"dynasty":69,"author":431,"museum":112,"description":443,"tags":444,"thumbUrl":447,"material":29,"size":448,"collection":60,"collections":449,"showCount":450,"zanCount":354,"manualWeight":43,"mainColor":64},219452,"he-hua-tu-chen-hong-shou-219452","荷花图","湖石嶙峋，瘦漏透皱间藏古拙意趣，墨色浓淡层叠，如老衲坐禅般沉稳。荷花亭亭，瓣尖染淡粉似晨露晕开，留白处见清灵；荷叶或卷或展，青绿间带赭石，随水波轻漾。线条如春蚕吐丝，劲挺却柔婉，将花叶石的形态勾勒得奇崛又生动。题跋墨痕流转，朱印点缀，添几分文人雅韵。整幅画浸在古绢暖光里，淡雅中藏倔强风骨，古意盎然却透着鲜活气，如无声禅诗，引人沉湎于那份清寂与悠远。",[25,26,27,28,29,445,7,446,79,77],"荷花","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0331e9c85b7f539e58f688b2de6e8fb.jpg","75.8x39",[60],696,{"id":452,"slug":453,"title":454,"dynasty":69,"author":288,"museum":150,"description":289,"tags":455,"thumbUrl":457,"material":58,"size":295,"collection":59,"collections":458,"showCount":459,"zanCount":178,"manualWeight":43,"mainColor":64},216658,"hua-niao-ce-6-sun-ke-hong-216658","花鸟册-6",[25,53,29,28,56,7,396,456],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41af9d4f43aad81c01b9a55c45457cf1.jpg",[],672,{"id":461,"slug":462,"title":463,"dynasty":69,"author":431,"museum":71,"description":464,"tags":465,"thumbUrl":467,"material":37,"size":468,"collection":60,"collections":469,"showCount":470,"zanCount":317,"manualWeight":43,"mainColor":44},221913,"he-hua-yuan-yang-tu-chen-hong-shou-221913","荷花鸳鸯图","此图以“出污泥而不染，濯清涟而不妖”的荷花为题，花朵清丽，或含苞，初绽、或怒放，多姿多态；枝叶带露，娉婷舒展，俯仰欹侧；湖石雄奇，锐利坚崚，厚重沉凝。两只彩蝶在空中翩翩起舞，一对鸳鸯在水面戏水悠然，打破了一池碧水的宁静。一只青蛙正隐伏于石后的荷叶上觊觎甲虫，弓身欲动，给画面平添了几许生机与意趣，从中可见画家善于观察的细心与状物精微的匠心。\n作品用笔工致而不显刻板，着色醇厚而不流于俗腻，画风素洁明快，既有应物象形的写生功底，又不乏变幻合宜的适度夸张，画面呈现出一种在繁与简，疏与密、刚与柔的对比变化中的合谐与统一。\n从署款和绘画风格上推断，当是陈洪绶中年的作品。",[23,24,25,26,27,28,29,56,33,466,7],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f77fc76433fcfb9a62c0f14dd26a0c.jpg","纵183厘米，横98.3厘米",[60,105],661,{"id":472,"slug":473,"title":474,"dynasty":18,"author":475,"museum":71,"description":476,"tags":477,"thumbUrl":478,"material":479,"size":480,"collection":59,"collections":481,"showCount":482,"zanCount":43,"manualWeight":43,"mainColor":64},233459,"mao-shi-tu-juan-zhu-da-233459","猫石图卷","朱耷","此图为朱耷71岁所作。全幅景致简洁，绘一只白猫蹲于石巅上拱背缩身，与山石浑然合成一体。它闭目养神，全然无心观赏四周荷花、兰花等俏丽的景致。作者显然运用了象征隐喻的手法，将客观的意象与主观的意识作了巧妙而含蓄的结合。他以心静如水的猫暗喻自己在清王朝统治下不闻不问，远离世俗的隐遁行为。图中荷叶及无名花草以墨气淋漓的泼墨法绘成，与白描勾勒，寥寥数笔的猫、石形成视觉上的黑白对比，不同色调的深浅变化，丰富了画面的空间层次，从而使全卷既充实又空灵。",[25,26,74,55,100,7,79,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ca2edd6ab75301d011c83693dfa665.jpg","纸本，水墨","纵34厘米，横218厘米",[],656,{"id":484,"slug":485,"title":486,"dynasty":369,"author":487,"museum":112,"description":488,"tags":489,"thumbUrl":494,"material":37,"size":495,"collection":60,"collections":496,"showCount":498,"zanCount":426,"manualWeight":43,"mainColor":44},216777,"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[23,24,25,26,28,55,29,32,490,491,133,492,7,493],"禽鸟","石头","雪","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 x 45.7厘米",[60,497],"宋画精选",641,{"id":500,"slug":501,"title":502,"dynasty":69,"author":70,"museum":112,"description":503,"tags":504,"thumbUrl":506,"material":507,"size":508,"collection":88,"collections":509,"showCount":510,"zanCount":511,"manualWeight":43,"mainColor":44},222101,"shan-shui-ce-shen-zhou-222101","山水册","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,25,24,26,53,55,75,80,134,82,505,137,7],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","纸本设色","37.4x58.8",[88,122],623,1,{"id":513,"slug":514,"title":515,"dynasty":18,"author":516,"museum":50,"description":517,"tags":518,"thumbUrl":529,"material":313,"size":530,"collection":39,"collections":531,"showCount":532,"zanCount":426,"manualWeight":43,"mainColor":64},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",[23,28,29,30,242,519,244,520,31,7,81,521,522,523,524,525,526,527,528],"庭院","廊庑","古典园林","建筑","仕女","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",[39],620,{"id":534,"slug":535,"title":536,"dynasty":69,"author":537,"museum":112,"description":538,"tags":539,"thumbUrl":542,"material":37,"size":543,"collection":60,"collections":544,"showCount":545,"zanCount":546,"manualWeight":43,"mainColor":44},214726,"hua-hui-tu-chen-chun-214726","花卉图","陈淳","这幅画描绘了在海石后面盛开的各种花朵，包括五种栀子花、玫瑰花、百合花、天竺葵和红丹参。花朵是用无骨笔描绘的，栀子花和百合花的白色花朵是用钩花和点叶描绘的。景观安排得很细致，着色柔和优雅，不显庸俗，有别于晚年放笔写意的习惯，应该是五十岁以前的作品。",[23,25,26,24,27,29,173,56,243,7,540,541],"草木","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","188x96.9",[60],619,14,{"id":548,"slug":549,"title":550,"dynasty":18,"author":551,"museum":552,"description":553,"tags":554,"thumbUrl":556,"material":59,"size":59,"collection":59,"collections":557,"showCount":558,"zanCount":209,"manualWeight":43,"mainColor":64},235409,"wu-chang-shuo-sui-chao-qing-gong-tu-zhou-wu-chang-shuo-235409","吴昌硕岁朝清供图轴","吴昌硕","藏地不详","此作疏密布局精妙，斜出红梅自瓶中探伸，古拙湖石苍劲拙朴，案头水仙舒展清隽，蒲草萧疏有灵，配搭饱满鲜果，雅俗共赏。\n以篆籀笔法入画，笔墨苍劲老辣，设色浓淡相宜，明丽而不艳俗。朴茂雄浑的行书题字与画面浑然一体，金石古意尽显。既饱含文人案头的清雅逸趣，又暗合新春纳福的吉庆意蕴，将写意洒脱与写实鲜活相融，勾勒出岁朝之际悠然年味，尽显写意花鸟的朴拙雅致。",[25,29,55,27,56,79,77,187,174,555,7,34],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6c68b7d5407cedbe24b1255ca78c0.jpg",[],618,{"id":560,"slug":561,"title":562,"dynasty":18,"author":475,"museum":184,"description":563,"tags":564,"thumbUrl":566,"material":262,"size":59,"collection":60,"collections":567,"showCount":568,"zanCount":5,"manualWeight":43,"mainColor":64},216942,"yu-shi-tu-zhou-zhu-da-216942","鱼石图轴","朱耷的鱼石图轴是一件著名的绘画作品，它是朱耷在清朝时期创作的。这幅作品以细腻的线条和丰富的色彩，描绘了一幅生动的海洋图景，其中包括众多的海鱼和石头。鱼石图轴以其高超的绘画技巧和对海洋生物的生动描绘而闻名。",[23,25,26,27,55,173,565,7],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d988e50b2be54a69df81067fcfd25.jpg",[60],610,{"id":570,"slug":571,"title":572,"dynasty":369,"author":573,"museum":170,"description":574,"tags":575,"thumbUrl":578,"material":262,"size":579,"collection":497,"collections":580,"showCount":581,"zanCount":511,"manualWeight":43,"mainColor":64},214884,"lian-she-tu-li-gong-lin-214884","莲社图","李公麟","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,24,25,26,74,434,29,576,30,80,81,349,7,77,577,78,79],"宗教","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[497],566,{"id":583,"slug":584,"title":200,"dynasty":148,"author":256,"museum":112,"description":585,"tags":586,"thumbUrl":587,"material":205,"size":59,"collection":122,"collections":588,"showCount":589,"zanCount":317,"manualWeight":43,"mainColor":64},218759,"zhu-shi-tu-ni-zan-218759","简淡笔墨勾勒出一方清寂天地。嶙峋顽石以折带皴写就，骨力暗藏；几竿瘦竹用中锋挥毫，风神毕现。坡岸以淡墨扫出，不着繁饰却有山野之旷；竹叶疏密交织，寥寥数笔便见雅趣之浓。留白处似含虚寂之气，引观者神思悠远；笔墨间尽是淡远之怀，映画家澄净本心。无喧嚣之扰，无艳色之惑，简而不薄，疏而有致，于极简中藏深致，于清寂中见真趣。尽显文人画的空灵韵致，亦为超脱尘俗的精神气象凝于纸上。",[23,25,24,26,27,55,434,7,32,133,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a185b2b68c761e19a18f984e0eb2ee.jpg",[122],561,{"id":591,"slug":592,"title":593,"dynasty":369,"author":594,"museum":71,"description":595,"tags":596,"thumbUrl":597,"material":598,"size":599,"collection":497,"collections":600,"showCount":601,"zanCount":317,"manualWeight":43,"mainColor":44},221294,"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[23,25,24,26,74,55,75,80,7,133,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[497,88,122],555,{"id":603,"slug":604,"title":605,"dynasty":18,"author":384,"museum":20,"description":606,"tags":607,"thumbUrl":608,"material":609,"size":59,"collection":60,"collections":610,"showCount":611,"zanCount":209,"manualWeight":43,"mainColor":64},223294,"lan-zhu-tu-zheng-ban-qiao-223294","兰竹图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[25,26,27,55,188,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681d28d4f5f08cb75a05b07ab8eceef3.jpg","水墨纸本",[60,122],547,{"id":613,"slug":614,"title":615,"dynasty":369,"author":201,"museum":112,"description":616,"tags":617,"thumbUrl":619,"material":37,"size":620,"collection":39,"collections":621,"showCount":622,"zanCount":5,"manualWeight":43,"mainColor":44},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。",[24,25,26,27,29,28,30,31,618,101,7,259],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44803965d1305ff70dab68b3132a40c5.jpg","117.2x61.3cm",[39],533,{"id":624,"slug":625,"title":626,"dynasty":148,"author":201,"museum":112,"description":627,"tags":628,"thumbUrl":630,"material":37,"size":631,"collection":60,"collections":632,"showCount":633,"zanCount":5,"manualWeight":43,"mainColor":44},216222,"hua-niao-tu-yi-ming-216222","花鸟图","一对锦鸡被描绘成在花朵和岩石间游动，而一对燕子和喜鹊则各自点缀着这一场景。雉鸡的羽毛鲜艳夺目，与盛开的鲜花交相辉映。这幅画的色彩斑斓和绚丽通过笔法的运用得到了加强。花和鸟的笔触相当细致，有一种优雅的品质。叶子的着色似乎是杂乱无章的，有几处已经模糊或剥落。这幅画没有标记，但仍有元代的题记。",[25,26,24,28,29,56,374,291,7,156,629,493,153],"百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ce90ed3be06a8274a00daaccbc1bec.jpg","167.6x101.9cm",[60],520,{"id":635,"slug":636,"title":637,"dynasty":18,"author":475,"museum":552,"description":638,"tags":639,"thumbUrl":640,"material":641,"size":642,"collection":59,"collections":643,"showCount":644,"zanCount":209,"manualWeight":43,"mainColor":64},288298,"he-hua-xiao-niao-tu-zhou-zhu-da-288298","荷花小鸟图轴","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,24,25,55,27,56,33,7,153,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc703fe503e21b896057d755c0c416262.jpg","未知","Xcm*Xcm",[],519,{"id":646,"slug":647,"title":648,"dynasty":148,"author":256,"museum":112,"description":649,"tags":650,"thumbUrl":651,"material":262,"size":652,"collection":88,"collections":653,"showCount":654,"zanCount":178,"manualWeight":43,"mainColor":64},220794,"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，经史子集，佛道经典，他都专心阅读批校，所藏法书名画，亦悉心临学。其书法天然古淡，有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带，常领略这里秀丽清幽的湖光山色，他的画也多取材于此。\n此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，作为近景与远景之间的过渡部分则多为大片空白，不着一墨, 是为湖水。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[23,25,26,27,55,80,75,349,133,7,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 35.5cm",[88,122],518,{"id":656,"slug":657,"title":658,"dynasty":18,"author":49,"museum":659,"description":660,"tags":661,"thumbUrl":663,"material":664,"size":665,"collection":105,"collections":666,"showCount":667,"zanCount":178,"manualWeight":43,"mainColor":64},220997,"hua-hui-tu-ce-zhu-shi-tu-yun-shou-ping-220997","花卉图册·竹石图","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,25,26,29,53,54,32,7,160,662,56],"果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddb009d00a9d8acb3b4ebc9060d819d.jpg","纸本 设色","24.5×29.3cm",[105,411],511,{"id":669,"slug":670,"title":671,"dynasty":18,"author":672,"museum":112,"description":673,"tags":674,"thumbUrl":677,"material":678,"size":679,"collection":60,"collections":680,"showCount":681,"zanCount":426,"manualWeight":43,"mainColor":143},222780,"hua-yin-shuang-he-tu-zhou-lang-shi-ning-222780","花阴双鹤图轴","郎世宁","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。",[23,27,28,29,56,675,676,7,541,79],"鹤","月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c3aa01f28ae73498d5f6eecf70dfd2.jpg","绢本设色","170.7厘米×93.1厘米.",[60,105],495,{"id":683,"slug":684,"title":685,"dynasty":69,"author":686,"museum":184,"description":687,"tags":688,"thumbUrl":689,"material":262,"size":690,"collection":88,"collections":691,"showCount":692,"zanCount":5,"manualWeight":43,"mainColor":64},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 是姚绥代表作之一，被认为是中国画史上的经典之作。",[23,25,26,80,55,75,27,115,117,30,349,82,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","101x53cm",[88],484,{"id":694,"slug":695,"title":696,"dynasty":18,"author":697,"museum":112,"description":698,"tags":699,"thumbUrl":703,"material":58,"size":704,"collection":60,"collections":705,"showCount":706,"zanCount":5,"manualWeight":43,"mainColor":64},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。",[23,25,26,56,28,29,243,700,7,293,701,702],"草虫","紫薇","螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3161675f1c6cc75d7b4fb092b58090a4.jpg","113×26.5厘米",[60],464,{"id":708,"slug":709,"title":710,"dynasty":369,"author":711,"museum":150,"description":712,"tags":713,"thumbUrl":718,"material":37,"size":59,"collection":497,"collections":719,"showCount":720,"zanCount":5,"manualWeight":43,"mainColor":44},218567,"song-xia-xian-yin-tu-ma-yuan-218567","松下闲吟图","马远","老松盘枝如铁铸，松针以浓墨攒簇，垂藤轻曳间，苍劲里藏着几分柔韵。松下石畔，素衣人斜倚，似在沉吟——案上无纸笔，却有松风满袖为侣。右侧疏林瘦石，一抹飞影掠过天际，是归鸟还是流云？留白处，天地俱寂。线条简劲见筋骨，墨色浓淡相衬，将文人的清寂与旷达，凝入这方圆幅。不必喧嚣，不必繁复，只这松、这人、这飞影，便足以让时光放缓，与山水对吟。",[24,25,714,55,30,715,7,153,349,716,717],"扇面","松","清寂","旷达","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d58c27d08d4106d2ba29dc444462bf0.jpg",[497],449,{"id":722,"slug":723,"title":724,"dynasty":369,"author":725,"museum":552,"description":726,"tags":727,"thumbUrl":728,"material":59,"size":59,"collection":59,"collections":729,"showCount":730,"zanCount":511,"manualWeight":43,"mainColor":44},231852,"song-hui-zong-ti-hua-niao-tu-zhao-chang-231852","宋徽宗题花鸟图","赵昌","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。",[23,25,26,27,28,29,56,187,32,374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4595cc6a353626e75beccdda5e1c00e.jpg",[],447,{"id":732,"slug":733,"title":734,"dynasty":18,"author":201,"museum":552,"description":735,"tags":736,"thumbUrl":737,"material":37,"size":59,"collection":39,"collections":738,"showCount":739,"zanCount":317,"manualWeight":43,"mainColor":44},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。",[23,25,26,53,28,29,30,31,242,349,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf370b172b95445b5b66d2705d0e226e.jpg",[39],446,{"id":741,"slug":742,"title":743,"dynasty":18,"author":96,"museum":71,"description":744,"tags":745,"thumbUrl":748,"material":58,"size":749,"collection":60,"collections":750,"showCount":751,"zanCount":209,"manualWeight":43,"mainColor":64},219288,"mu-dan-bai-tou-tu-ren-yi-219288","牡丹白头图","任颐（1840—1896），字伯年，别号山阴道上行者，清末著名画家。浙江绍兴人，寓居上海，以卖画为生，与任熊、任熏、任预并称为“海上四任”，是“海上画派”中成就最为突出者。他的绘画吸收了民间艺术的技法，人物、肖像、山水、花鸟无不精工。\n其人物画早年师法陈洪绶，造型夸张，装饰效果强，后变得较为奔逸。其花鸟画早年师法北宋诸家，后融汇了恽派、陈淳、徐渭、朱耷的写意画法，又吸收了西方水彩绘画的色调，设色淡雅，格调清新明快，对近现代花鸟画产生了深远的影响。",[23,25,26,27,29,746,56,191,747,7,157,291,374,491],"兼工带写","白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31c3984c898ba3c385fce26f73cd95b.jpg","纵133.5cm，横64.8cm",[60,105],437,{"id":753,"slug":754,"title":755,"dynasty":369,"author":756,"museum":552,"description":757,"tags":758,"thumbUrl":762,"material":641,"size":642,"collection":59,"collections":763,"showCount":764,"zanCount":5,"manualWeight":43,"mainColor":44},283686,"du-bei-ke-shi-tu-li-cheng-283686","读碑窠石图","李成","图中残碑上应有小字二行，一书“李成画树石”，一书“王晓补人物”，但现存此图中已无此二行小字，所以一说为摹本。《读碑窠石图》为双拼绢绘制的大幅山水画，表现冬日田野上，一位骑骡的老人正停驻在一座古碑前观看碑文，近处陂陀上 生长着木叶尽脱的寒树。此画取景集中，以枯树、石碑和人物构成画面的主体，颇有荒寒冷寂的气氛。树枝以细线勾勒，再用墨染，枝干皆作“蟹爪”状，纵横交错，有苍劲之感。坡石为侧笔所绘的圆润而少有皴擦的线条构成，此为后世称之的“卷云皴”。枯树与石碑的组合，强化了幽凄惨澹的环境气氛，暗示出对遥远历史中那辉煌繁华往事的追忆。",[24,25,55,80,133,7,30,75,759,760,761],"荒寒","孤寂","读碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1d93dc2ab3cb636e2aed48546013ef.jpg",[],435,{"id":766,"slug":767,"title":768,"dynasty":769,"author":770,"museum":771,"description":772,"tags":773,"thumbUrl":775,"material":59,"size":59,"collection":59,"collections":776,"showCount":777,"zanCount":209,"manualWeight":43,"mainColor":64},220453,"hua-niao-ce-ye-pan-tian-shou-220453","花鸟册页","民国","潘天寿","中国美术学院美术馆","这套册页诗书画印浑然天成，十余开铺陈开山野清趣。以浓墨大写鸲鹆，骨力雄健朴拙，墨色厚重凝练尽显沉郁气度；转而写幽花野卉，荷瓣清逸、牵牛含露，水墨晕染虚实相生，将草木舒展之态藏于简括笔意中。\n题跋笔势跌宕，篆隶金石气融于画中，以书入画，线条刚柔相济。每开或绘禽鸟踞枝，或写丛篁蔬果，删繁就简留白疏密得宜，把林泉间的清寂生机缓缓铺展，文人雅致与写意野趣交融无间，笔底带着山野间的灵动意趣，尽显大写意花鸟的诗画交融之妙。",[23,25,26,53,55,29,78,173,79,56,187,188,32,189,174,774,662,7,446],"乌鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1977491dcb09096c6f919e88e1d5b78a.jpg",[],429,{"id":779,"slug":780,"title":781,"dynasty":18,"author":384,"museum":552,"description":606,"tags":782,"thumbUrl":783,"material":479,"size":784,"collection":60,"collections":785,"showCount":787,"zanCount":426,"manualWeight":43,"mainColor":64},223293,"lan-tu-li-zhou-1-zheng-ban-qiao-223293","兰图立轴1",[23,25,27,55,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57039f31b151a503cb5a4f3d5ae523c.jpg","182x57cm",[60,122,786],"书法精选",427,{"id":789,"slug":790,"title":791,"dynasty":18,"author":475,"museum":184,"description":792,"tags":793,"thumbUrl":794,"material":262,"size":59,"collection":60,"collections":795,"showCount":796,"zanCount":43,"manualWeight":43,"mainColor":64},218421,"he-tang-tu-zhu-da-218421","荷塘图","泼墨荷叶恣肆铺陈，浓墨处似沉云压顶，淡晕间若轻烟漫散，笔触枯润交错里藏着自然野趣。奇崛湖石以焦墨勾廓、泼墨晕肌理，造型古拙却含灵动之气。瘦劲荷茎斜出，点染水草丛生，留白处似漾开涟漪，又像无尽空寂。整幅画以水墨浓淡干湿，写尽荷塘清寒与孤傲，墨色流转间藏着画家内心幽微与超脱，观之如临秋塘，凉意浸肤，心绪随之沉潜。",[23,25,26,55,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe1cc52c0e7642c48fe19fea003a080.jpg",[60],412,{"id":798,"slug":799,"title":800,"dynasty":369,"author":711,"museum":801,"description":802,"tags":803,"thumbUrl":805,"material":37,"size":806,"collection":497,"collections":807,"showCount":808,"zanCount":178,"manualWeight":43,"mainColor":44},218630,"song-yan-guan-pu-tu-ma-yuan-218630","松岩观瀑图","上海龙美术馆","一个高士酒后半躺在一棵松树下，山上的树干虬结，树枝斜向伸展，长长的、稀疏的树叶自由伸展，在用大笔画渲染的树木和岩石之间，充满了生命力。",[23,24,25,26,80,55,29,30,715,804,116,82,7,117],"岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a25dcebcb10f5241aac60004e04959.jpg","26.3x24.6",[497],407,{"id":810,"slug":811,"title":812,"dynasty":69,"author":70,"museum":112,"description":813,"tags":814,"thumbUrl":815,"material":262,"size":816,"collection":88,"collections":817,"showCount":818,"zanCount":426,"manualWeight":43,"mainColor":64},219522,"ce-zhang-tu-shen-zhou-219522","策杖图","本幅采三段式构图，以河水来分隔画面，前景的树石与远景的山丘相照应，构图简约，显然脱胎于倪瓒之作。",[25,26,27,55,75,80,30,115,117,82,277,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa190a0de0a4b64ed7875a8e251871f.jpg","纵159.1公分、横72.2公分",[88],406,{"id":820,"slug":821,"title":822,"dynasty":148,"author":823,"museum":71,"description":824,"tags":825,"thumbUrl":827,"material":262,"size":828,"collection":60,"collections":829,"showCount":830,"zanCount":209,"manualWeight":43,"mainColor":64},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。",[23,24,25,26,74,55,78,79,28,75,32,826,7],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3499d343c9e9aef13f39fb8034bcc7.jpg","35.6x359.8",[60],394,{"id":832,"slug":833,"title":834,"dynasty":369,"author":594,"museum":835,"description":836,"tags":837,"thumbUrl":838,"material":839,"size":840,"collection":497,"collections":841,"showCount":842,"zanCount":426,"manualWeight":43,"mainColor":44},221289,"shu-se-ping-yuan-tu-guo-xi-221289","树色平远图","美国大都会艺术博物馆","此画描绘了河流两岸树色平远的景色。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。 画中之景以河为界可分作前后两部分。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。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。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。",[23,25,55,74,80,349,133,7,85,30,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[497,88,122],387,{"id":844,"slug":845,"title":846,"dynasty":369,"author":756,"museum":847,"description":848,"tags":849,"thumbUrl":852,"material":37,"size":853,"collection":60,"collections":854,"showCount":855,"zanCount":178,"manualWeight":43,"mainColor":44},216925,"han-ya-tu-li-cheng-216925","寒鸦图","辽宁省博物馆","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,24,25,26,74,55,75,133,134,153,850,851,80,7,79,77,78],"寒鸦","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米",[60],385,{"id":857,"slug":858,"title":859,"dynasty":69,"author":238,"museum":184,"description":860,"tags":861,"thumbUrl":866,"material":37,"size":867,"collection":39,"collections":868,"showCount":869,"zanCount":426,"manualWeight":43,"mainColor":44},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,25,26,53,28,29,241,862,80,30,242,349,82,85,277,153,134,863,864,865,31,7],"青绿","夕阳","明月","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[39],376,{"id":871,"slug":872,"title":873,"dynasty":69,"author":201,"museum":874,"description":875,"tags":876,"thumbUrl":877,"material":58,"size":59,"collection":88,"collections":878,"showCount":879,"zanCount":209,"manualWeight":43,"mainColor":64},217954,"ming-ren-shan-shui-hua-ce-yi-ming-217954","明人山水画册","大英博物馆","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,25,26,55,29,53,80,85,153,134,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0798af0135642660cfeaaa1dabecdcc.jpg",[88],375,{"id":881,"slug":882,"title":156,"dynasty":18,"author":551,"museum":552,"description":883,"tags":884,"thumbUrl":885,"material":139,"size":886,"collection":60,"collections":887,"showCount":888,"zanCount":511,"manualWeight":43,"mainColor":64},224230,"ju-hua-wu-chang-shuo-224230","吴昌硕所作之菊，线条凝练遒劲，刚柔并济；墨色浓淡相间，不落俗格。并伴以山岩、野石、溪水，或插入孤高细瘦的古瓶，皆与秋菊幽独淡雅、冷逸傲世的情态相映成趣。",[23,25,26,27,55,29,56,156,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e716d104f298492c68ba5d730a09c32.jpg","235*50cm",[60,105],373,{"id":890,"slug":891,"title":892,"dynasty":148,"author":893,"museum":71,"description":894,"tags":895,"thumbUrl":896,"material":139,"size":897,"collection":88,"collections":898,"showCount":899,"zanCount":900,"manualWeight":43,"mainColor":44},221710,"shan-ju-tu-qian-xuan-221710","山居图","钱选","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。",[23,24,25,26,74,862,29,28,75,77,79,80,115,338,117,260,277,82,136,85,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[88,105],368,8,{"id":902,"slug":903,"title":904,"dynasty":18,"author":49,"museum":50,"description":51,"tags":905,"thumbUrl":908,"material":58,"size":909,"collection":59,"collections":910,"showCount":911,"zanCount":209,"manualWeight":43,"mainColor":64},216590,"ou-xiang-guan-xie-sheng-ce-4-yun-shou-ping-216590","瓯香馆写生册-4",[25,55,29,53,906,32,7,907],"写生","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde774fc752ce497843034312933d9b4f.jpg","26x36cm",[],367,{"id":913,"slug":914,"title":915,"dynasty":148,"author":270,"museum":112,"description":916,"tags":917,"thumbUrl":924,"material":313,"size":925,"collection":88,"collections":926,"showCount":927,"zanCount":209,"manualWeight":43,"mainColor":64},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767","富春山居图-无用师卷","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,25,26,74,55,75,80,85,82,81,918,83,277,919,920,7,921,84,922,923],"江","渔舟","沙洲","茅屋","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg","横636.9公分，高33公分",[88,122],349,{"id":929,"slug":930,"title":931,"dynasty":18,"author":384,"museum":150,"description":606,"tags":932,"thumbUrl":933,"material":119,"size":934,"collection":60,"collections":935,"showCount":936,"zanCount":209,"manualWeight":43,"mainColor":64},223298,"zhu-shi-tu-2-zheng-ban-qiao-223298","竹石图2",[23,25,26,27,55,32,7,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e983ebb0ad92b6de26b6800638f4370.jpg","纵217.4厘米，横120.6厘米",[60,122],346,{"id":938,"slug":939,"title":940,"dynasty":18,"author":941,"museum":71,"description":942,"tags":943,"thumbUrl":944,"material":327,"size":945,"collection":88,"collections":946,"showCount":947,"zanCount":511,"manualWeight":43,"mainColor":64},220330,"huang-shan-tu-ce-hong-ren-220330","黄山图册","弘仁","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,25,26,53,29,80,715,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a28d1fd70bd633868d57292ab972da0.jpg","21.5x18.3厘米",[88],344,{"id":949,"slug":950,"title":951,"dynasty":302,"author":952,"museum":112,"description":953,"tags":954,"thumbUrl":955,"material":37,"size":956,"collection":60,"collections":957,"showCount":958,"zanCount":178,"manualWeight":43,"mainColor":44},216758,"zhu-shi-jin-jiu-tu-huang-ju-cai-216758","竹石锦鸠图","黄居寀","古木巨石旁，荆竹丛生，一弯溪水潺湲流过。一群斑鸠悠闲地在此休憩：有的展翅翱翔，有的在树枝上梳理羽毛作日光浴，有的低首翘尾地站在溪旁饮水，有的站在巨石上，摆出鞠躬、鼓颈的姿势，向下方的斑鸠“咕－咕－咕－”地鸣唱示好。\n斑鸠俗称“粉鸟”，因为颈部羽色黑底白点有若珍珠，因此也名为“珠颈斑鸠”或“锦鸠”。斑鸠们平常多栖息在空旷的平野或树林，但因生性机敏，接近相当不易。在这幅作品里，画家以精妙的画笔捕捉这一幕斑鸠群集的画面，至为难得。此外，纵横乖张的古树枝丫、浓淡对比强烈的斑驳巨石、虚渺无际的溪畔，更为这幕自然增添不少奇幻诡谲的气氛。",[23,25,26,56,28,29,32,826,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb10bc776e6b793817d89e43e76fbdf3.jpg","23.6 x 45.7公分",[60],343,{"id":960,"slug":961,"title":962,"dynasty":18,"author":475,"museum":71,"description":963,"tags":964,"thumbUrl":966,"material":967,"size":968,"collection":59,"collections":969,"showCount":970,"zanCount":43,"manualWeight":43,"mainColor":64},233829,"he-shi-shui-niao-tu-zhou-zhu-da-233829","荷石水鸟图轴","图绘荷叶下一只水鸟栖于孤石上，形成全图之焦点。水鸟形状独特，单足独立，神态凄凉，它似在休憩，更似在冷眼观望这冰凉的世界。作者孤寂凄凉的处境、强烈的反清复明思想，以及面对清廷统治日益稳固而无可奈何的心境，或多或少地呈现于作品之中。",[25,55,27,56,7,33,965,134,79],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60eb12ec5354ccf0a9bdd707a4d098.jpg","纸本，墨笔","纵127厘米，横46厘米",[],336,{"id":972,"slug":973,"title":974,"dynasty":18,"author":475,"museum":150,"description":975,"tags":976,"thumbUrl":977,"material":262,"size":978,"collection":60,"collections":979,"showCount":980,"zanCount":511,"manualWeight":43,"mainColor":64},218897,"hu-shi-shuang-niao-tu-zhou-zhu-da-218897","湖石双鸟图轴","此画中湖石的勾勒简洁，寥寥几笔圆转的皴法，显出灵动之势。石尖和石旁坡地上各蹲立一只小鸟，给画面平添一股生气。小鸟缩头弓背的形态，流溢出嘲讽的神气。作者用饱满的软毫，中锋运转，笔笔藏锋，圆浑含蓄。全图形体简约而寓意深晦，有很强的形式感。在创作上他取法自然，笔墨简练，大气磅礴，独具新意，创造了高旷纵横的风格。",[25,26,27,55,7,153,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0533c58e6d213b70b15fc5e48b8b42a2.jpg","纵136厘米，横48.7厘米",[60],328,{"id":982,"slug":983,"title":984,"dynasty":985,"author":986,"museum":150,"description":987,"tags":988,"thumbUrl":989,"material":313,"size":990,"collection":39,"collections":991,"showCount":992,"zanCount":426,"manualWeight":43,"mainColor":44},221083,"gao-yi-tu-sun-wei-221083","高逸图","唐","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。",[23,25,26,74,29,30,7,260,28,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83ff393ed82ede490cdbdd60bca7d62.jpg","纵45.2厘米，横168.7厘米",[39,105],326,{"id":994,"slug":995,"title":996,"dynasty":148,"author":997,"museum":71,"description":998,"tags":999,"thumbUrl":1000,"material":327,"size":1001,"collection":122,"collections":1002,"showCount":1003,"zanCount":354,"manualWeight":43,"mainColor":143},220865,"xiu-shi-shu-lin-tu-zhao-meng-fu-220865","秀石疏林图","赵孟頫","赵孟頫绘竹石，强调“以书法入画”，此幅绘古木新篁生于平坡秀石之间，以飞白法画石，以篆书法绘树，纯用水墨表现，是其“书画同源”之理论在绘画实践中的具体体现，也是元代文人画最有代表性的作品之一。\n尾纸自题七言绝句：“石如飞白木如籀，写竹还于八法通。若也有人能会此，方知书画本来同。” 这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[23,25,26,55,7,134,32,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a72737a59228d852dc208411a0e28d.jpg","纵27.5cm，横62.8cm",[122,411],322,{"id":1005,"slug":1006,"title":1007,"dynasty":18,"author":551,"museum":71,"description":1008,"tags":1009,"thumbUrl":1010,"material":139,"size":1011,"collection":60,"collections":1012,"showCount":1013,"zanCount":511,"manualWeight":43,"mainColor":64},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,25,26,27,29,55,78,79,173,56,187,174,7,555,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纵151.6厘米，横80.7厘米",[60,105],321,{"id":1015,"slug":1016,"title":1017,"dynasty":69,"author":1018,"museum":71,"description":1019,"tags":1020,"thumbUrl":1022,"material":1023,"size":1024,"collection":60,"collections":1025,"showCount":1026,"zanCount":5,"manualWeight":43,"mainColor":44},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","吕纪","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,24,25,26,27,28,29,56,1021,189,153,7,157,243,490],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[60,105],312,{"id":1028,"slug":1029,"title":1030,"dynasty":18,"author":697,"museum":552,"description":1031,"tags":1032,"thumbUrl":1034,"material":59,"size":59,"collection":60,"collections":1035,"showCount":1036,"zanCount":5,"manualWeight":43,"mainColor":64},224369,"hua-hui-qi-shi-ce-shi-er-kai-ju-lian-224369","花卉奇石册-十二开","此作以玲珑拳石为视觉中心，通透窍洞破开画面虚实，石上草虫振翅欲飞，翅脉纤毫毕现，将微末生机藏于静境之中。\n\n石畔幽花柔叶舒展，细茎擎着星状小花，素白鹅黄点缀苔痕苍润的坡岸，淡赭底色晕开旧绢的温雅质感。画作以没骨之法写就，敷色清妍秀润，奇石以淡墨勾形再晕染石色，苍润古拙不凝滞。\n\n静石、幽花与小虫相映成趣，将岭南边角野景的清逸意趣晕染尽致，淡远恬和间尽显小品雅致，把寻常小景升华为充满生机的清雅画境，藏着独属于晚晴的细腻闲情。",[23,25,26,24,53,28,29,7,243,1033,56],"昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee4772b0b0bf227b89265b6f3697b9a.jpg",[60,105],299,{"id":1038,"slug":1039,"title":1040,"dynasty":18,"author":551,"museum":552,"description":1041,"tags":1042,"thumbUrl":1043,"material":507,"size":59,"collection":60,"collections":1044,"showCount":1045,"zanCount":511,"manualWeight":43,"mainColor":64},224224,"shen-xiang-ting-mu-dan-tu-wu-chang-shuo-224224","沈香亭牡丹图","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,25,26,27,29,173,56,191,189,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c9d82e7f776cb18bd2518ac5c4a852.jpg",[60,105],296,{"id":1047,"slug":1048,"title":1049,"dynasty":18,"author":475,"museum":71,"description":1050,"tags":1051,"thumbUrl":1053,"material":262,"size":59,"collection":88,"collections":1054,"showCount":1045,"zanCount":178,"manualWeight":43,"mainColor":64},218774,"bai-lu-tu-zhu-da-218774","柏鹿图","虬枝如铁，苍柏孑立，似承霜雪之重。白鹿昂首，长颈引向天际，目含清寂，身姿简括却筋骨隐现。墨色浓淡相济，枝干的枯涩与鹿身的柔劲相映，留白处更显空远孤高。画面无喧嚷，唯有冷寂中透出的坚守，恰如画家心境——于乱世中抱守孤洁，以物寄情，将满腔郁勃化入简淡笔墨，自成一派清绝之境。笔意纵逸却不失沉稳，每一处线条都藏着内敛的力量，让苍柏与白鹿成为跨越时空的精神载体，静静诉说着那份独属于旧朝遗民的孤傲与怅惘。",[23,25,55,27,173,75,101,618,1052,134,7],"柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33c355a23e9081c6ca7d116aca7e485.jpg",[88,60],{"id":1056,"slug":1057,"title":1058,"dynasty":148,"author":1059,"museum":1060,"description":1061,"tags":1062,"thumbUrl":1063,"material":313,"size":1064,"collection":60,"collections":1065,"showCount":1066,"zanCount":354,"manualWeight":43,"mainColor":64},221703,"lan-tu-xue-chuang-221703","兰图","雪窗","日本京都国立博物馆","简洁而秀逸的兰花，生于幽谷，遗世独立，清雅高洁。在历朝历代文人雅士的笔下，以兰花为表现对象的作品比比皆是。 画兰究竟始于何时已无法考证。《全唐诗》载有牟融《山寺律僧画兰竹》诗。查阅 唐宋绘画史专著，未见有关唐宋画家画兰的记载。史传宋杨补之画过兰花，但作品没有流传下来。有作品流传的画兰名家，当以徐禹功、赵孟坚、郑思肖为最早。其次如赵孟頫、赵雍、王英孙、释道隐、释明雪窗、李至规等亦擅画兰。\n释明雪窗 （？－约1352），元代僧人，画家，以画兰花闻名于世。俗姓曹，号雪窗，法号普明，通称明雪窗，松江（今属上海市）人，在平江出家。至元四年（1338）曾为平江虎丘云岩寺主持，后改为承天能仁主持。精于针灸，擅画兰。与释柏子庭齐名，时称“家家恕斋（班惟志）字，户户雪窗兰”。\n四海出家，同称释氏，中国佛教的出家人都姓释迦牟尼的“释”。在中国美术史上，都把这位元代画兰高僧称为“释明雪窗”，其实应该和石涛、髡残一样，把他称为“明雪窗”。雪窗和尚的画和他的名字一样，在今天鲜为人知，但在大师辈出的元代，雪窗和尚的兰花可谓是家喻户晓，我们无法想象“家家恕斋字，户户雪窗兰”所描述的是一种怎样的景象。\n元人孔齐撰《至正直记》（又名《静斋至正直记》、《静斋类稿》）是作者避兵四明时写的一部见闻杂记，内容包括当时政治、经济状况，器物制作情况，文学、艺术成就和当时的人文社会习俗，是一部很有资料价值的笔记。《至正直记》卷二有《画兰法》一文，记载了一位名叫郎玄隐的道士向孔齐传授明雪窗画兰技法，这些方法和今天画兰教科书里的方法并无二致。",[23,25,26,55,56,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c046834cdc068347a37c68ff699feb.jpg","32.9 36.0",[60,122],295,{"id":1068,"slug":1069,"title":1070,"dynasty":69,"author":70,"museum":50,"description":1071,"tags":1072,"thumbUrl":1074,"material":1075,"size":1076,"collection":88,"collections":1077,"showCount":1078,"zanCount":209,"manualWeight":43,"mainColor":64},222133,"qing-yuan-tu-juan-shen-zhou-222133","青园图卷","《明沈周青园图》现藏于旅顺博物馆，此图绘湖山秋色，为沈周传世珍品。该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。",[23,25,26,74,55,75,77,79,80,136,1073,81,277,82,7],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923acb9824eda51981b302865ea46a85.jpg","纸本水墨淡着色","画心纵29.1、横188.7厘米",[88,105],293,{"id":1080,"slug":1081,"title":1082,"dynasty":18,"author":201,"museum":184,"description":1083,"tags":1084,"thumbUrl":1086,"material":37,"size":1087,"collection":60,"collections":1088,"showCount":1089,"zanCount":5,"manualWeight":43,"mainColor":44},218955,"he-li-shi-zhu-tu-yi-ming-218955","鹤立石柱图","振翅的鹤，白羽层叠如凝雪，墨羽缀于翼尖似泼墨，长颈曲转间自有灵韵。双爪紧扣嶙峋石柱，石柱立于翻涌的浪涛之上，岩纹与水纹交织出苍劲古意。深褐底色衬得鹤羽愈发明净，动静相生间，似有清唳破风而来，尽显生灵与天地相融的傲然之态。笔意细腻处见羽毛纤毫，粗犷处显山石磅礴，于方寸间藏万千气象，足见匠心独运。",[25,26,28,29,27,153,675,7,1085,56],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5174cd1ea8ffbe0f8da17cfa3f06a65b.jpg","171x89cm",[60],285,{"id":1091,"slug":1092,"title":1093,"dynasty":18,"author":1094,"museum":50,"description":1095,"tags":1096,"thumbUrl":1097,"material":262,"size":59,"collection":88,"collections":1098,"showCount":1089,"zanCount":511,"manualWeight":43,"mainColor":64},214492,"fang-gu-shan-shui-tu-cheng-ting-lu-214492","仿古山水图","程庭鹭","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[25,55,75,76,26,79,78,80,7,82,83,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fa5973203512efafa690cc0c52a465.jpg",[88],{"id":1100,"slug":1101,"title":1102,"dynasty":18,"author":672,"museum":71,"description":1103,"tags":1104,"thumbUrl":1105,"material":1106,"size":1107,"collection":39,"collections":1108,"showCount":1109,"zanCount":511,"manualWeight":43,"mainColor":1110},222771,"ping-an-chun-xin-tu-li-zhou-lang-shi-ning-222771","平安春信图立轴","图绘在青竹、寒梅以及湖石点缀的田园环境中，两位身着汉装的男子正在以梅枝相递送，其典雅高贵的举止与优雅的环境相得益彰，情景交融之中加深了画意。\n《平安春信图》寓意吉祥，父子二人品竹赏梅，充满了浓郁的生活气息，画家以写实的手法表现了年少皇子睿智的目光，以及他与父皇融融的亲情。让人体会到严肃的宫廷生活中也有寻常百姓家的天伦之乐。\n这幅肖像，是作者参酌中法的新式肖像画，作者巧妙地将中西画融合在一起，产生出中西合璧的佳作。对人物的刻画细致入微，尤其两人面部表情的刻画，即将一老一少的不同面容能准确真实地表现出来，说明画家具有细致的观察能力和写实的功力。\n翠竹及人物面部以西画笔法，刻画入微，作品用色泽的深浅浓淡来表现人物的五官，立体感十足。而衣纹却用中国传统的笔墨勾线，加以晕染，亦显质感。",[23,25,24,26,27,29,28,30,32,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5a33b3478bd6f01524150db632d534.jpg","绢本，设色","纵68.8厘米，横40.8厘米",[39,105],283,"2A56C6",{"id":1112,"slug":1113,"title":1114,"dynasty":369,"author":1115,"museum":71,"description":1116,"tags":1117,"thumbUrl":1118,"material":313,"size":1119,"collection":497,"collections":1120,"showCount":1109,"zanCount":178,"manualWeight":43,"mainColor":44},221341,"xiang-long-shi-tu-juan-zhao-ji-221341","祥龙石图卷","赵佶","卷首画有一块立状太湖石，石顶端生有异草几株。太湖石宛如一条上下翻滚的蛟龙，其形貌占据了奇石必备的五个审美条件：瘦、漏、皱、透、丑。细看石上，有楷书“祥龙”二字。宋徽宗将此类奇石异草的出现，视为大宋国运之祥兆，赞之“挺然为瑞”，竭尽全力绘之。图左有宋徽宗为祥龙石而作的瘦金体题诗：“祥龙石者，立于环碧池之南，芳洲桥之西，相对则胜瀛也。其势胜湧，若虬龙出为瑞应之状，奇容巧态，莫能具绝妙而言之也。廼亲绘缣素，聊以四韵纪之。彼美蜿蜒势若龙，挺然为瑞独称雄。云凝好色来相借，水润清辉更不同。常带瞑烟疑振鬣，每乘宵雨恐凌空。故凭彩笔亲模写，融结功深未易穷。”署款“御制御画并书”，押署“天下一人”，钤朱文印“御书”、“宣和殿宝”，徐邦达先生认为此印“不佳，真伪待考”（徐邦达《古书画伪讹考辨》），但《祥龙石图》卷被公认为是宋徽宗的真迹。鉴定徽宗真迹的标尺除了瘦金体“御制御画并书”、“天下一人”画押及朱印“御书”和双龙御玺外，书画风格也是一项重要依据，即结合赵宋家族的书画历史特别是徽宗本人的美学思想及北宋绘画的历史发展状况，寻找其中存在的风格上的逻辑关系，再结合当时及晚一辈名人的题识，综合多种因素来判断。\n当时的徽宗特别迷恋太湖石，为了加大采运力度，特设苏杭应奉局专门在太湖周围开挖湖石。石工们因长期泡在水里挖石，导致肢体皮肤溃烂。运送巨石时，甚至不惜拆桥过船，靡费国资不计其数。徽宗根据一些湖石的形状封其为“盘固侯”、“蹲螭坐狮”、“金鳌玉龟”等吉祥名号，画中的“祥龙石”可能就是其中的一块。宋徽宗处心积虑地寻找花石纲和各种祥瑞之物，欲借此稳定朝廷、安抚民心，同时也为他提供了艺术创作的素材。在充满了道教神仙思想的宋徽宗看来，描绘祥瑞之物的绘画活动不仅仅是单纯的艺术创作，而且也是祈祷国家和民族福祉的独特形式和粉饰太平的最好的政治工具，《祥龙石图》卷正是这种思想的反映。\n有史以来，宋徽宗第一个在艺术创作上实现了诗书画印的完整统一。在《祥龙石图》卷中，徽宗的题画诗不在卷尾，而是作为画面构成的一个部分，这必定是作者将构思和构图同时经营的结果，这在中国绘画史上有着划时代的重要意义。该卷构图极简，用色颇精，格调雅致，具有典型的北宋院体绘画的艺术风格。画家以墨笔层层渲染出太湖石的坑眼，结构分明，笔墨细腻入微，极其工整精雅，极可能是写生之作。该卷钤有元内府“天历之宝”等印玺，拖尾有清代陈仁涛、吴荣光的题跋，《辛丑消夏记》著录。",[23,25,26,74,28,55,7,32,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d21118b231b6391de049a9701658812.jpg","纵53.8厘米，横127.5厘米",[497,122,411],{"id":1122,"slug":1123,"title":1124,"dynasty":148,"author":1125,"museum":184,"description":1126,"tags":1127,"thumbUrl":1128,"material":262,"size":59,"collection":59,"collections":1129,"showCount":1109,"zanCount":43,"manualWeight":43,"mainColor":64},214571,"shan-shui-ce-6-wang-meng-214571","山水册-6","王蒙","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[25,26,53,55,75,80,134,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a5c5bcdebd737e04aa98f91fe3ade1.jpg",[],{"id":1131,"slug":1132,"title":1133,"dynasty":18,"author":697,"museum":552,"description":1134,"tags":1135,"thumbUrl":1137,"material":59,"size":59,"collection":60,"collections":1138,"showCount":1139,"zanCount":5,"manualWeight":43,"mainColor":64},224364,"hua-hui-si-ping-zhi-yi-ju-lian-224364","花卉四屏之一","此作用笔兼工带写，艳红凌霄花晕染鲜活，明丽暖调点亮画面，虬曲藤蔓以枯笔勾勒，苍劲老辣尽显古拙质感。湖石以淡墨勾皴，空灵通透的孔洞颇具玲珑意趣，与柔蔓繁花形成刚柔对照。\n\n两只螳螂纤毫毕现，身形灵动写实，悄然栖于枝桠，暗藏盛夏幽丛间的野趣。画面疏密错落，花叶垂曳、顽石静立，草虫点缀出鲜活生机，将庭院小景的清幽雅致尽数铺展，尽显清丽脱俗的花鸟意韵。",[23,25,26,27,28,29,56,293,1136,243,491,702,7],"叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb303d0182d4e4c3f71398cf0140d09b1.jpg",[60,105],282,{"id":1141,"slug":1142,"title":1143,"dynasty":18,"author":475,"museum":184,"description":1144,"tags":1145,"thumbUrl":1146,"material":262,"size":59,"collection":60,"collections":1147,"showCount":1139,"zanCount":511,"manualWeight":43,"mainColor":64},216365,"hua-niao-ce-zhu-da-216365","花鸟册","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,25,26,53,55,80,133,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab754ae9fd80f1f5e09675c769a6b8da.jpg",[60],{"id":1149,"slug":1150,"title":1151,"dynasty":18,"author":169,"museum":184,"description":1152,"tags":1153,"thumbUrl":1155,"material":58,"size":1156,"collection":60,"collections":1157,"showCount":1139,"zanCount":511,"manualWeight":43,"mainColor":64},214566,"mo-zui-za-hua-tu-ce-shi-tao-214566","墨醉杂画图册","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,24,25,26,53,55,29,80,30,7,307,1154],"野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe201a3420f1c56b81b5ab47c63b832a.jpg","纵51.4厘米，横35.4厘米",[60],{"id":1159,"slug":1160,"title":1161,"dynasty":18,"author":941,"museum":71,"description":1162,"tags":1163,"thumbUrl":1164,"material":1165,"size":1166,"collection":60,"collections":1167,"showCount":1168,"zanCount":511,"manualWeight":43,"mainColor":64},216100,"song-mei-tu-hong-ren-216100","松梅图","此卷分前后两段。前段画末有弘仁书写的程守蚀庵《省静堂集·一年诗》中的七言绝句《遍阅山中诸碑》，款署：“丙申春日偶写揭蚀庵集因一绝。渐江学人。”钤“渐江僧”白文印。\n前段图绘虬龙盘曲的苍松和棱角分明的怪石。弘仁的松石是对黄山松石的真实写照，石涛言：“公游黄山最久，故得黄山之真性情也，即一木一石，皆黄山本色。”图中的松石以粗犷霸悍的行笔、淋漓酣畅的施墨表现，具有弘仁晚年豪放洒脱的画风特点，简洁的构图体现出诗意中的空寂。\n后段图绘水墨梅花。梅不畏严寒、高标独立的精神正是作者所追求的人生品格。弘仁一生最喜画梅，自号“梅花古衲”，创作出大量以梅为主题的佳作，此卷便是其中之一。图中的梅枝如曲铁，婉转中呈现刚毅不屈之态。其简约的格局，精谨的笔墨，结构出一派纯净、幽旷而又俊逸的意境。",[23,25,26,74,55,75,77,79,715,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fadfb3b3275d62e25c91b495f8cfe05.jpg","绢本,设色,水墨","前段设色，纵27.8厘米，横269.7厘米；后段墨笔，纵27.8厘米，横86.7厘米",[60],275,{"id":1170,"slug":1171,"title":1172,"dynasty":18,"author":169,"museum":847,"description":1173,"tags":1174,"thumbUrl":1176,"material":262,"size":1177,"collection":88,"collections":1178,"showCount":1179,"zanCount":178,"manualWeight":43,"mainColor":44},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[23,25,26,27,55,75,80,1175,135,82,84,349,81,7,79],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[88],273,{"id":1181,"slug":1182,"title":1183,"dynasty":69,"author":1184,"museum":112,"description":1185,"tags":1186,"thumbUrl":1188,"material":58,"size":1189,"collection":105,"collections":1190,"showCount":1191,"zanCount":5,"manualWeight":43,"mainColor":64},219330,"hua-ji-zhen-ji-zhou-tang-yin-219330","画鸡真迹轴","唐寅","石上雄鸡昂首而立，羽色斑斓间透着昂然气度，恰应题中“血染红冠锦满身”之态。旁侧菊丛竞艳，红英灼灼如霞，黄蕊灿灿似金，白瓣皎皎若雪，枝叶扶疏间衬以修竹数竿，清逸之韵自生。双蝶翩跹于花间，翅影轻摇，为静景添灵动生机。整幅画作工写相济，设色淡雅却层次分明，禽鸟花卉皆形神兼备。题诗笔墨洒脱，与画面意境交融，尽显文人画“诗画同源”之妙，于方寸间藏生机与风骨，读来令人心折。",[25,26,27,29,28,1187,189,32,435,291,7,79],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca49404492f1b40b2f4829b76583fed.jpg","119.9x30.3",[105],272,{"id":1193,"slug":1194,"title":605,"dynasty":18,"author":1195,"museum":552,"description":1196,"tags":1197,"thumbUrl":1198,"material":327,"size":59,"collection":60,"collections":1199,"showCount":1200,"zanCount":317,"manualWeight":43,"mainColor":44},220147,"lan-zhu-tu-wang-shi-shen-220147","汪士慎","汪士慎工诗及八分书，画水仙、梅花清妙独绝。金农谓其画梅之妙，与高西唐（翔）异曲同工。汪士慎画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。西唐画疏枝半开蝉朵，用玉楼人口脂抹一点红，良缣精楮，各臻其微。汪士慎老而目瞽，为人画梅，或作八分书，工妙胜于未瞽时。精篆刻，与张潜乙、金筋齐名",[23,25,26,27,55,434,188,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02b3c39e8909994e36da16ef7bad4da.jpg",[60],270,{"id":1202,"slug":1203,"title":1204,"dynasty":18,"author":1205,"museum":1206,"description":1207,"tags":1208,"thumbUrl":1214,"material":37,"size":1215,"collection":60,"collections":1216,"showCount":1200,"zanCount":178,"manualWeight":43,"mainColor":64},218975,"teng-hua-shan-que-tu-jiang-ting-xi-218975","藤花山雀图","蒋廷锡","日本大阪市立美术馆","描绘缠绕椿树生长的紫藤花，另有白头翁、兰花、灵芝及湖石等元素。画作右下角款「臣蒋廷锡恭画」，左上方有康熙皇帝御题唐代岑参（715-770）〈石上藤〉一诗。该作曾录于《石渠宝笈》，后辗转流出清宫，成为阿部房次郎（1868-1937）的收藏。",[23,25,26,27,28,29,56,1209,1210,153,7,81,1211,1212,259,1213],"藤花","山雀","兰花","溪流","蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8205a0f0caa95b529902b560707fb7c9.jpg","纵212.5横97.1cm",[60,105],{"id":1218,"slug":1219,"title":1220,"dynasty":148,"author":404,"museum":71,"description":405,"tags":1221,"thumbUrl":1222,"material":967,"size":1223,"collection":122,"collections":1224,"showCount":1225,"zanCount":5,"manualWeight":43,"mainColor":44},220774,"mo-zhu-po-shi-tu-zhou-wu-zhen-220774","墨竹坡石图轴",[23,25,26,24,27,55,77,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d252d4771dcd257aaed5371ff0080f.jpg","纵103.4厘米，横33厘米。",[122,411],269,{"id":1227,"slug":1228,"title":1229,"dynasty":148,"author":1125,"museum":184,"description":1126,"tags":1230,"thumbUrl":1232,"material":262,"size":59,"collection":59,"collections":1233,"showCount":1234,"zanCount":511,"manualWeight":43,"mainColor":64},214575,"shan-shui-ce-4-wang-meng-214575","山水册-4",[25,55,75,53,80,134,1231,7,306,79],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5504fc38b09d31f62673a31f0f0e94.jpg",[],268,{"id":1236,"slug":1237,"title":1238,"dynasty":18,"author":475,"museum":552,"description":638,"tags":1239,"thumbUrl":1240,"material":641,"size":642,"collection":60,"collections":1241,"showCount":1242,"zanCount":43,"manualWeight":43,"mainColor":64},237935,"za-hua-ce-zhu-da-237935","杂画册",[25,55,53,173,490,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70d916505230aa21d22544d3ff8bc6d.jpg",[60],256,{"id":1244,"slug":1245,"title":1246,"dynasty":18,"author":551,"museum":552,"description":1247,"tags":1248,"thumbUrl":1249,"material":59,"size":59,"collection":60,"collections":1250,"showCount":1242,"zanCount":43,"manualWeight":43,"mainColor":64},236555,"mei-hua-zhou-wu-chang-shuo-236555","梅花轴","吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[24,25,26,27,55,29,373,7,173,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cde97128964b36df30a12461f59e8a.jpg",[60,105],{"id":1252,"slug":1253,"title":1254,"dynasty":69,"author":1184,"museum":150,"description":1255,"tags":1256,"thumbUrl":1257,"material":58,"size":59,"collection":39,"collections":1258,"showCount":1259,"zanCount":178,"manualWeight":43,"mainColor":64},219407,"qiu-feng-wan-shan-tu-tang-yin-219407","秋风纨扇图","图绘庭园一角，一女子手执纨扇，在坡前沉思徘徊。图中的仕女体态端庄，风姿婉约，秀发挽成高髻，饰以淡色鬓朵，越发衬托出发光乌亮。披帛和衣裙随风飘拂，巧妙地寓“秋”意于其中。从她眉宇间微露忧伤感的神色，和欲行又止的动态，表明她正陷入沉思之中：忧郁、怅惘，却又无可奈何！背景仅用细竹数枝、湖石一角来点缀，显得疏落空旷，令人联想到引申画外的僻静境界，平添几分萧瑟气象。整幅画的笔墨凝练明快，极其传神。",[25,26,27,434,55,29,30,31,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b5374ce013b2c7f9c2a6c4ac31ecab.jpg",[39],255,{"id":1261,"slug":1262,"title":1263,"dynasty":69,"author":1264,"museum":71,"description":1265,"tags":1266,"thumbUrl":1270,"material":967,"size":1271,"collection":88,"collections":1272,"showCount":1273,"zanCount":178,"manualWeight":43,"mainColor":64},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","徐渭","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[23,25,26,74,55,1267,1268,77,56,187,188,32,189,33,7,243,1269,293,135],"大写意","题跋","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[88,122],253,{"id":1275,"slug":1276,"title":1277,"dynasty":18,"author":941,"museum":552,"description":1278,"tags":1279,"thumbUrl":1280,"material":59,"size":1281,"collection":88,"collections":1282,"showCount":1283,"zanCount":43,"manualWeight":43,"mainColor":64},238025,"hong-ren-shan-shui-tu-ce-hong-ren-238025","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[25,26,53,55,75,80,7,277,136,117,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9315c7f3e025c62edc1ed00bd692088d.jpg","50×36",[88,105],249,{"id":1285,"slug":1286,"title":1287,"dynasty":148,"author":256,"museum":835,"description":1288,"tags":1289,"thumbUrl":1293,"material":262,"size":1294,"collection":88,"collections":1295,"showCount":1283,"zanCount":209,"manualWeight":43,"mainColor":64},220052,"qiu-lin-ye-xing-tu-ni-zan-220052","秋林野兴图","《秋林野兴图》写一仙居景致。平静的水面环绕着一段坡石，几株大树锁生其上，枝叶复苏。树间茅舍掩映，整个画面弥漫着肃静、清凉的气氛。 《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[23,24,25,26,27,55,75,1290,81,135,349,1291,7,1292],"秋林","水域","疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[88],{"id":1297,"slug":1298,"title":1299,"dynasty":69,"author":431,"museum":71,"description":1300,"tags":1301,"thumbUrl":1304,"material":37,"size":1305,"collection":39,"collections":1306,"showCount":1283,"zanCount":209,"manualWeight":43,"mainColor":44},219628,"shi-nv-tu-chen-hong-shou-219628","仕女图","陈洪绶（1599~1652），明末清初著名书画家、诗人。字章侯，幼名莲子，一名胥岸，号老莲，晚号老迟、悔迟，又号悔僧、云门僧。\n他的作品荒诞而深情，鲁迅先生对之极为推崇，认为“老莲的画，一代绝作”。\n陈洪绶是明代著名的人物画家，他在人物画中对女性形象有着独特的关注视点，在造型方面追 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。",[23,25,28,29,30,31,7,187,35,1302,1303],"布料","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebe8c0fcec8f056598c9426139fbf89.jpg","纵173.5横95.3厘米",[39,105],{"id":1308,"slug":1309,"title":1310,"dynasty":369,"author":1311,"museum":552,"description":1312,"tags":1313,"thumbUrl":1314,"material":641,"size":642,"collection":59,"collections":1315,"showCount":1316,"zanCount":43,"manualWeight":43,"mainColor":44},288989,"xiao-xiang-zhu-shi-tu-su-shi-288989","潇湘竹石图","苏轼","潇湘竹石图采用长卷式构图，展现湖南省零陵县西潇、湘二水合流处，遥接洞庭巨浸的苍茫景色。整幅画作以潇湘二水的交汇点为中心，远山烟水，风雨瘦竹，近水与云水、蹲石与远山、筱竹与烟树产生强烈对比，让人在窄窄画幅内如阅千里江山。",[24,25,26,55,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14407e88ebd5d78263a6e38373b327a6.jpg",[],248,{"id":1318,"slug":1319,"title":1320,"dynasty":369,"author":1321,"museum":1322,"description":1323,"tags":1324,"thumbUrl":1325,"material":37,"size":1326,"collection":39,"collections":1327,"showCount":1328,"zanCount":5,"manualWeight":43,"mainColor":44},218667,"gong-nv-tu-liu-song-nian-218667","宫女图","刘松年","日本东京国立博物馆","画面铺展雅致静谧的宋式日常，几位宫女衣袂轻扬，或持物相待，或静立侧畔，神情温婉如春水。浴盆中孩童戏水喧闹，稚态可掬，与身旁娴静形成生动对照。背景苍劲的绿植与古朴小桌相映，笔墨细腻处见衣纹流转，设色淡雅间显器物温润。整幅画以细腻笔触捕捉宫廷生活的温情片刻，既藏宋画的精致风骨，又含人间烟火的柔软，似将千年的静谧与鲜活，凝于这一方绢素之上。",[23,24,25,26,714,29,28,30,31,7,34,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8003e2340ab08b6d3bbb4b0c835b26ac.jpg","24.4x25.8",[39],240,{"id":1330,"slug":1331,"title":1332,"dynasty":148,"author":256,"museum":112,"description":1333,"tags":1334,"thumbUrl":1335,"material":55,"size":59,"collection":88,"collections":1336,"showCount":1337,"zanCount":43,"manualWeight":43,"mainColor":64},218823,"qiu-lin-yuan-shan-tu-ni-zan-218823","秋林远山图","疏木萧疏，枝桠挺劲如铁，带着秋的清寒。远山淡抹，似笼轻烟，与空阔的水面相映成趣。笔墨枯淡却含韵致，枯笔皴擦见骨力，淡墨晕染显空灵。留白处意蕴悠长，仿佛天地间只剩风声掠过林梢，尘俗尽散。画面极简却藏深致，将文人的孤高与对自然的静观融入丘壑，清冷中透着宁静，空寂里含着哲思，恰是元人山水那份超脱尘世的清逸之境。",[23,25,26,55,75,80,134,1231,324,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f642f6154c24c8d6629652c8982480.jpg",[88],239,{"id":1339,"slug":1340,"title":1341,"dynasty":369,"author":1342,"museum":112,"description":1343,"tags":1344,"thumbUrl":1346,"material":313,"size":1347,"collection":497,"collections":1348,"showCount":1349,"zanCount":178,"manualWeight":43,"mainColor":44},221355,"qiu-ting-xi-ying-tu-su-han-chen-221355","秋庭戏婴图","苏汉臣","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。",[23,25,24,26,27,28,29,30,1345,7,396,34],"孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[497,60,39,105],237,{"id":1351,"slug":1352,"title":1353,"dynasty":18,"author":49,"museum":552,"description":1354,"tags":1355,"thumbUrl":1356,"material":59,"size":59,"collection":59,"collections":1357,"showCount":1358,"zanCount":178,"manualWeight":43,"mainColor":44},230251,"mu-dan-tu-yun-shou-ping-230251","牡丹图","此作用没骨法写就，以色代线，晕染出牡丹娇柔丰腴之态。白粉牡丹瓣层轻叠，莹润如凝脂；朱砂秾艳不俗，紫花幽柔淡雅，色彩过渡自然清妍，不见勾勒却形神兼备。枝叶以深浅草绿斡染，俯仰顾盼间尽显舒展生机，古拙顽石衬于花下，旁缀幽兰数茎，添清寂古雅之趣。\n\n右上题诗与花木相映，将富贵之态融入澹逸文气，以秀雅之笔消解艳俗，淡而不薄，丽而不妖，把写生之功与文人意趣相融，尽显春日花盛的清和雅致。",[23,25,26,27,29,56,191,435,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bcececee698ff8393e54eef5a76e67.jpg",[],234,{"id":1360,"slug":1361,"title":1362,"dynasty":18,"author":1363,"museum":112,"description":1364,"tags":1365,"thumbUrl":1367,"material":262,"size":59,"collection":122,"collections":1368,"showCount":1369,"zanCount":511,"manualWeight":43,"mainColor":64},219381,"fang-ni-zan-shan-shui-tu-wang-jian-219381","仿倪瓒山水图","王鉴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。",[25,26,27,55,76,79,75,80,133,7,325,324,1366],"近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4001801727356342fc3315fc815e7f6e.jpg",[122],233,{"id":1371,"slug":1372,"title":1373,"dynasty":18,"author":169,"museum":71,"description":1374,"tags":1375,"thumbUrl":1376,"material":327,"size":1377,"collection":60,"collections":1378,"showCount":1379,"zanCount":511,"manualWeight":43,"mainColor":64},220392,"mei-zhu-tu-juan-shi-tao-220392","梅竹图卷","诗文与画作的有机结合不仅增添了文人画的书卷气息，同时也展示了作者于画艺之外的诗文功底和精湛的书法造诣。图中所绘梅竹或细笔勾勒，或阔笔勾斫，线条于方圆结合中秀拙相生。其多样的笔法与酣畅淋漓的施墨在半生半熟的纸质上达到了湿润而不漫漶的笔墨效果，堪称石涛晚年的写意画佳作。",[23,25,26,74,55,75,77,79,187,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c586308456b8200d8bd68ac0e8093.jpg","纵34.2厘米，横194.4厘米",[60],232,{"id":1381,"slug":1382,"title":1383,"dynasty":69,"author":537,"museum":71,"description":1384,"tags":1385,"thumbUrl":1387,"material":262,"size":1388,"collection":60,"collections":1389,"showCount":1390,"zanCount":209,"manualWeight":43,"mainColor":64},214639,"kui-shi-tu-chen-chun-214639","葵石图","一根秋葵枝条靠外，有一朵花和几片叶子，简单清爽；根部被杂草和嫩竹包围，参差不齐，稀稀拉拉；背景是海石，起伏不定，皱巴巴的。这幅画卷的构图和形状非常特别。在这幅画中，水墨画与诗词、书法与绘画的结合，充分表现了鳌鱼石的魅力和意境，使之成为生活中的佳作。",[23,25,26,27,55,173,56,7,1386,79,78],"葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c64a9381dbae4deff621b5fbbf49d.jpg","68.6x34",[60],231,{"id":1392,"slug":1393,"title":1394,"dynasty":18,"author":475,"museum":184,"description":1395,"tags":1396,"thumbUrl":1397,"material":262,"size":1398,"collection":59,"collections":1399,"showCount":1400,"zanCount":178,"manualWeight":43,"mainColor":64},216909,"hua-niao-si-tiao-ping-4-zhu-da-216909","花鸟四条屏-4","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[23,25,55,173,27,33,446,374,7,56,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e75a5ceb8b50523c17e63136acafff.jpg","182.5×49cm",[],229,{"id":1402,"slug":1403,"title":1404,"dynasty":18,"author":169,"museum":552,"description":1405,"tags":1406,"thumbUrl":1408,"material":59,"size":59,"collection":59,"collections":1409,"showCount":1410,"zanCount":317,"manualWeight":43,"mainColor":64},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[23,25,26,74,55,173,75,78,77,79,80,83,1407,81,7,349],"河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],228,{"id":1412,"slug":1413,"title":1414,"dynasty":148,"author":256,"museum":112,"description":1415,"tags":1416,"thumbUrl":1418,"material":327,"size":1419,"collection":88,"collections":1420,"showCount":1421,"zanCount":209,"manualWeight":43,"mainColor":64},220793,"an-chu-zhai-tu-juan-ni-zan-220793","安处斋图卷","倪瓒以擅长水墨山水为傲，所作多取材于太湖周边的优美景致。画中笔法简洁，山水意境悠远，野岸沙渚，疏林茅茨，柳树萧萧，颇有世外山野高人的遁世脱俗之感。画的右下角有作者的自题诗：“湖上斋居处士家，淡烟疏柳望中赊。安时为善年年乐，处顺谋身事事佳。竹叶夜香缸面酒，菊苗春点磨头茶。幽栖不作红尘客，遮莫寒江卷浪花。”左上角是乾隆御览后的即兴题诗：“是谁肥遁隐君家，家对湖山引兴赊。名取仲舒真可法，图成懒瓒亦云嘉。高眠不入客星梦，消渴常分谷雨茶，致我闲情频展玩，围炉听雪剪灯花。”",[23,25,26,74,55,75,80,134,7,349,82,1417,79,77],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[88,122],225,{"id":1423,"slug":1424,"title":1425,"dynasty":148,"author":201,"museum":835,"description":1426,"tags":1427,"thumbUrl":1428,"material":37,"size":1429,"collection":60,"collections":1430,"showCount":1431,"zanCount":43,"manualWeight":43,"mainColor":44},218992,"zhu-he-shuang-qing-tu-yi-ming-218992","竹鹤双清图","孤鹤独立，长颈微垂似引幽思，红顶一点如丹砂缀雪。白羽凝霜般细腻，墨尾泼黛般沉劲，单足踏虚，恍若与天地静默对语。侧畔墨竹横斜，枝桠苍劲带古意，叶影疏疏拂过褐调绢本，斑驳处似藏元时的风。背景沉雅如陈酿，旧痕里漫出清寂气息。鹤之仙骨、竹之劲节相映，尽得“双清”之韵——清在羽片的莹白，清在竹枝的挺秀，更清在那份遗世独立的静穆。整幅画如一卷被时光浸润的诗，将高逸之气凝于笔端，任观者在古雅的色调里，触摸那份跨越千年的清雅风骨。",[25,26,27,29,56,675,32,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c8b105b375a4049c70ca392d54fc4a.jpg","纵165.9横100.8厘米",[60],221,{"id":1433,"slug":1434,"title":1435,"dynasty":18,"author":475,"museum":184,"description":1395,"tags":1436,"thumbUrl":1437,"material":262,"size":1398,"collection":59,"collections":1438,"showCount":1431,"zanCount":178,"manualWeight":43,"mainColor":64},216910,"hua-niao-si-tiao-ping-3-zhu-da-216910","花鸟四条屏-3",[23,25,55,173,56,374,192,1073,7,157,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d05c4ff38b209a7f54f7cb2d4ab568.jpg",[],{"id":1440,"slug":1441,"title":1442,"dynasty":985,"author":1443,"museum":552,"description":1444,"tags":1445,"thumbUrl":1447,"material":59,"size":59,"collection":59,"collections":1448,"showCount":1449,"zanCount":5,"manualWeight":43,"mainColor":44},223650,"diao-qin-chuai-ming-tu-zhou-fang-223650","调琴啜茗图","周昉","画面铺陈出一段安闲的深闺日常，丰腴端丽的仕女们浸在松弛的氛围里。左侧女子正俯身调弦，指尖起落间，仿佛已有泠泠琴音将要漫开，身侧侍女垂首持物，屏气静待。右侧仕女凭坐支颐，默然凝神，似在等候琴音漫入耳畔，身旁侍女低首伫立，敛声待命。\n画作设色柔雅清和，衣纹细劲流畅，将女子丰肌秀骨的仪态勾勒尽致。浅淡花木点缀背景，留白恰到好处，把庭院的静谧雅致烘托尽显。只以极简场景，将深闺女子慵懒温婉的情态，与平淡悠长的闲居意趣，细腻晕染，尽显仕女画的隽永韵致。",[23,25,24,28,29,31,30,1446,7,81],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370401cc1eb8d1d6c4fbccb225172add.jpg",[],220,{"id":1451,"slug":1452,"title":403,"dynasty":148,"author":1453,"museum":71,"description":1454,"tags":1455,"thumbUrl":1456,"material":479,"size":1457,"collection":122,"collections":1458,"showCount":1459,"zanCount":178,"manualWeight":43,"mainColor":44},221692,"mo-zhu-po-shi-tu-gao-ke-gong-221692","高克恭","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n本幅左下方高氏自识：“克恭为子敬作。”钤“彦敬”印。右侧钤“清父之印”、“顾氏珍玩”、“吴景旭印”、“仁山鉴定”等鉴藏印6方。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。",[23,25,24,26,27,55,32,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce981bedac3fc255cca37a531f85e131.jpg","纵121.6厘米，横42.1厘米",[122,411],219,{"id":1461,"slug":1462,"title":1463,"dynasty":18,"author":697,"museum":552,"description":1464,"tags":1465,"thumbUrl":1467,"material":641,"size":642,"collection":59,"collections":1468,"showCount":1469,"zanCount":511,"manualWeight":43,"mainColor":64},288453,"shui-xian-shan-shi-tu-ye-ju-lian-288453","水仙山石图页","居廉（1828年9月22日－1904年5月5日），广东省广州府番禺县隔山乡人，原籍江苏扬州宝应县 [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》。",[23,25,26,29,28,56,174,7,1466,79,77],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f14912099b74f3d5a6aa2685fc8db4.jpg",[],218,{"id":1471,"slug":1472,"title":1473,"dynasty":69,"author":70,"museum":552,"description":1474,"tags":1475,"thumbUrl":1476,"material":641,"size":642,"collection":59,"collections":1477,"showCount":1469,"zanCount":511,"manualWeight":43,"mainColor":64},228836,"qiu-jiang-xian-diao-tu-shen-zhou-228836","秋江闲钓图","文征明曾分析沈周画风的演变：“自其少时，作画已脱去家习，上师古人，有所模临，辄乱真迹，然所为率盈尺小景。至四十外始拓为大幅，粗枝大叶，草草而成，虽天真烂发，而规度点染，不若向时精工矣。”论其传统的渊源，主要受老师杜琼、刘珏、赵同鲁和父祖辈的影响，以董源、巨然、元四家为宗，于黄公望、王蒙、吴镇用功尤深，所得也最多。沈周学倪瓒往往用笔过于强劲，落墨亦过于浓重，所追求的并不是倪瓒那种若淡若疏的境界。此作无论从用笔还是构图，都有明显的模仿倪瓒的痕迹。",[23,25,55,75,27,77,79,80,85,133,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61a9be30d5f9b913daebe5f42a2dddf.jpg",[],{"id":1479,"slug":1480,"title":1481,"dynasty":369,"author":573,"museum":184,"description":1482,"tags":1483,"thumbUrl":1484,"material":205,"size":59,"collection":497,"collections":1485,"showCount":1486,"zanCount":511,"manualWeight":43,"mainColor":44},218087,"luo-han-tu-ce-li-gong-lin-218087","罗汉图册","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[23,25,26,53,434,55,576,30,7,1231,134,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996a50a41201f534c8eeb5c5cf014b71.jpg",[497,39],217,{"id":1488,"slug":1489,"title":1490,"dynasty":18,"author":1491,"museum":112,"description":1492,"tags":1493,"thumbUrl":1497,"material":58,"size":1498,"collection":59,"collections":1499,"showCount":1500,"zanCount":209,"manualWeight":43,"mainColor":64},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","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[25,29,28,77,79,1494,1495,7,157,1496],"李花","杏花","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985d944013ffd751b9d943e22980248d.jpg","20x14.2厘米",[],216,{"id":1502,"slug":1503,"title":1504,"dynasty":69,"author":1505,"museum":112,"description":1506,"tags":1507,"thumbUrl":1509,"material":327,"size":1510,"collection":88,"collections":1511,"showCount":1512,"zanCount":43,"manualWeight":43,"mainColor":64},220930,"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[23,24,25,26,27,55,80,76,75,78,79,7,81,1508,1407,921],"远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[88,122],213,{"id":1514,"slug":1515,"title":1516,"dynasty":369,"author":201,"museum":1517,"description":1518,"tags":1519,"thumbUrl":1520,"material":37,"size":1521,"collection":39,"collections":1522,"showCount":1512,"zanCount":178,"manualWeight":43,"mainColor":44},218476,"shui-yue-guan-yin-xiang-yi-ming-218476","水月观音像","奈良国立博物馆","观世音菩萨的雕像带着佛光，呈圆圈状，坐在一块立在水中的怪石上，旁边有一个插着柳枝的花瓶，静静地注视着左边下面水中反射的月亮。在背景中，从上面的悬崖可以看到一个瀑布。白色的慈悲女神与在曼陀罗的莲花部分看到的不一样。这幅图中的白衣观音似乎是在南宋时期的禅林中创作的，就像中国宋元时期和日本镰仓时期之后的情况一样。",[25,26,27,576,30,434,29,864,7,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b6ed05393745747280c984d98e7da9f.jpg","88x36.7",[39],{"id":1524,"slug":1525,"title":1526,"dynasty":18,"author":1527,"museum":112,"description":1528,"tags":1529,"thumbUrl":1530,"material":58,"size":1531,"collection":39,"collections":1532,"showCount":1533,"zanCount":178,"manualWeight":43,"mainColor":64},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。",[25,24,26,29,28,31,99,445,349,277,7,244,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[39],212,{"id":1535,"slug":1536,"title":605,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":1538,"thumbUrl":1539,"material":641,"size":642,"collection":59,"collections":1540,"showCount":1541,"zanCount":209,"manualWeight":43,"mainColor":64},287444,"lan-zhu-tu-shi-tao-287444","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,26,27,55,32,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78897544684d19c2db3989df6b58bf38.jpg",[],211,{"id":1543,"slug":1544,"title":1545,"dynasty":69,"author":70,"museum":835,"description":1546,"tags":1547,"thumbUrl":1548,"material":58,"size":1549,"collection":88,"collections":1550,"showCount":1541,"zanCount":209,"manualWeight":43,"mainColor":1551},219718,"qiu-lin-xian-diao-tu-shen-zhou-219718","秋林闲钓图","《秋林闲钓图》以士人悠游林下的生活场景为主线，画一老者，端坐于河边树下坡地，全神执竿垂钓。画树错落有致，姿态优美，笔力古健。此图于成化十一年乙未（1475年）所作，作者沈周时年四十九岁。图上有沈周的题款：“繫舟烟浪夕，笑语溢柴闗。淡墨灯前画，故情江上山。相交父子者，岂在酒杯间。与君将白发，共对钓丝閒。予谬交志刚彭君父子间几三十年，志刚有古道，通予有无，非市郭拍肩执袂者比也。乙未长至后一日志刚擕酌至有竹居，秉烛写此图并题其上，聊寓感感而已，诗画云乎哉。沈周。",[25,55,75,27,80,30,134,7,137,1231,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59ec7decf5cf8b949fc64e7998369.jpg","纵152.4厘米，横62.9厘",[88],"37474F",{"id":1553,"slug":1554,"title":1555,"dynasty":18,"author":475,"museum":150,"description":1556,"tags":1557,"thumbUrl":1559,"material":262,"size":1560,"collection":60,"collections":1561,"showCount":1541,"zanCount":43,"manualWeight":43,"mainColor":64},218898,"yu-ya-tu-juan-zhu-da-218898","鱼鸭图卷","朱耷，号八大山人。八大山人被人们所称道不仅是因为他是一个独具个性的画家，还因为坚守民族气节的品质。明末崇祯皇帝自缢时，八大山人已九岁，作为一个宗室后裔遭到国破家亡的命运，其悲痛可以想象的。他佯狂避世，杜绝交往，甘于贫困，沉溺于书画的创作中。他的作品独具一种“笔意纵恣”的画风。这件《鱼鸭图》是他晚年艺术创作成熟阶段的代表作品 。画面上只有几只鸭子、几尾游鱼和几块半露水面的石块，造型十分简练，笔墨浓淡的处理却十分考究，生动地刻画出岩石的坚实感、鸭毛的松蓬以及鱼身上鳞、鳍的变化。八大将鱼眼画成“白眼”，喻含了他对清王朝的不满和蔑视。",[23,25,26,74,55,565,1558,7,79],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35823c256193bde43d49e8eda3ea517d.jpg","纵23.2厘米 横569.5厘米",[60],{"id":1563,"slug":1564,"title":1565,"dynasty":302,"author":1566,"museum":112,"description":1567,"tags":1568,"thumbUrl":1569,"material":37,"size":1570,"collection":39,"collections":1571,"showCount":1572,"zanCount":178,"manualWeight":43,"mainColor":44},218748,"an-le-tu-zhou-wen-ju-218748","按乐图","周文矩","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。",[23,25,714,28,29,30,31,1446,7,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0036a38b7087699df87e8643fee08137.jpg","23.5x24.9",[39],210,{"id":1574,"slug":1575,"title":1576,"dynasty":369,"author":1311,"museum":552,"description":1577,"tags":1578,"thumbUrl":1580,"material":641,"size":642,"collection":59,"collections":1581,"showCount":1582,"zanCount":209,"manualWeight":43,"mainColor":44},283690,"ku-mu-guai-shi-tu-su-shi-283690","枯木怪石图","《枯木怪石图》又名《木石图》，是北宋苏轼任徐州太守时曾亲往萧县圣泉寺时所创作的一幅纸本墨笔画，该画作现存于中国。\n该画作画面内容很简单，是一株枯木状如鹿角，一具怪石形如蜗牛，怪石后伸出星点矮竹。用笔看似疏野草草，不求形似，其实行笔的轻重缓急，盘根错节，都流露出作者很深的毛笔功底。",[24,25,55,7,1579,134],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5c0c052b16d8867694167b7bda19b9.jpg",[],209,{"id":1584,"slug":1585,"title":1586,"dynasty":69,"author":1505,"museum":184,"description":1587,"tags":1588,"thumbUrl":1589,"material":58,"size":59,"collection":88,"collections":1590,"showCount":1582,"zanCount":511,"manualWeight":43,"mainColor":64},217035,"fang-gu-shan-shui-ce-liu-kai-dong-qi-chang-217035","仿古山水册六开","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,25,26,53,55,29,80,7,81,78,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c86fc6883114d3cb2271f4635b98dd.jpg",[88],{"id":1592,"slug":1593,"title":1594,"dynasty":148,"author":997,"museum":112,"description":1595,"tags":1596,"thumbUrl":1597,"material":327,"size":1598,"collection":786,"collections":1599,"showCount":1600,"zanCount":209,"manualWeight":43,"mainColor":64},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,24,25,26,74,78,434,55,29,30,80,85,82,864,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[786],207,{"id":1602,"slug":1603,"title":1604,"dynasty":69,"author":431,"museum":1605,"description":1606,"tags":1607,"thumbUrl":1608,"material":37,"size":1609,"collection":39,"collections":1610,"showCount":1600,"zanCount":511,"manualWeight":43,"mainColor":1551},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。",[23,25,26,28,29,30,7,33,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg","86x47",[39],{"id":1612,"slug":1613,"title":1614,"dynasty":148,"author":997,"museum":71,"description":1615,"tags":1616,"thumbUrl":1617,"material":598,"size":1618,"collection":122,"collections":1619,"showCount":1620,"zanCount":209,"manualWeight":43,"mainColor":44},220869,"zhu-shi-tu-zhou-zhao-meng-fu-220869","竹石图轴","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[23,25,26,27,55,75,32,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e366d2b4e02d71e45a12788491653e.jpg","纵108.2厘米，横48.8厘米",[122,411],205,{"id":1622,"slug":1623,"title":1624,"dynasty":69,"author":1625,"museum":71,"description":1626,"tags":1627,"thumbUrl":1629,"material":313,"size":1630,"collection":60,"collections":1631,"showCount":1632,"zanCount":511,"manualWeight":43,"mainColor":44},222048,"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","汪中","绘花鸟虫石一幅，湖石立于地面，棱角尖锐，内部多孔，其四周有月季、金银花穿插之中，花儿娇艳，虫蝶生动活泼。汪中，字容甫，清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[23,25,26,27,54,29,56,7,243,435,1628,293,375,1496],"蜻蜓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","54.4x113.9",[60,105],204,{"id":1634,"slug":1635,"title":1636,"dynasty":18,"author":201,"museum":1637,"description":1638,"tags":1639,"thumbUrl":1640,"material":327,"size":59,"collection":39,"collections":1641,"showCount":1632,"zanCount":209,"manualWeight":43,"mainColor":1551},216870,"xi-xiang-ji-tu-ce-yi-ming-216870","西厢记图册","法国国家图书馆","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。",[25,29,28,53,30,31,7,864,307,244,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd228540a2e55badb58a67f3b014301b9.jpg",[39,105],{"id":1643,"slug":1644,"title":1645,"dynasty":18,"author":384,"museum":847,"description":1646,"tags":1647,"thumbUrl":1648,"material":1649,"size":1650,"collection":60,"collections":1651,"showCount":1652,"zanCount":43,"manualWeight":43,"mainColor":64},223297,"you-lan-tu-zheng-ban-qiao-223297","幽兰图","土坡相连，缝坎丛生绺绺兰草，几叶新竹点缀其间，纷披穿插，姿态如生。笔法灵活，挺秀劲丽，纵横涂抹，酣畅淋漓。画心作者行书七言律诗一首：“转过青山又一山，幽兰藏躲路回环。众香国里谁能到，容我书呆屋半间。 郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[23,25,55,173,78,188,32,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[60,122,786],203,{"id":1654,"slug":1655,"title":1656,"dynasty":18,"author":475,"museum":184,"description":1395,"tags":1657,"thumbUrl":1658,"material":262,"size":1398,"collection":59,"collections":1659,"showCount":1652,"zanCount":511,"manualWeight":43,"mainColor":64},216912,"hua-niao-si-tiao-ping-2-zhu-da-216912","花鸟四条屏-2",[23,25,26,27,55,173,374,7,133,1073,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3572510108b8dddf5ab932d0d7dd6d.jpg",[],{"id":1661,"slug":1662,"title":1663,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":1664,"thumbUrl":1665,"material":641,"size":642,"collection":59,"collections":1666,"showCount":1667,"zanCount":209,"manualWeight":43,"mainColor":64},287968,"shan-shui-li-zhou-shi-tao-287968","山水立轴",[25,24,26,27,55,80,7,260,349,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04d5c206c3321255a29bfe472c9932e.jpg",[],200,{"id":1669,"slug":1670,"title":1671,"dynasty":18,"author":475,"museum":20,"description":1672,"tags":1673,"thumbUrl":1674,"material":59,"size":59,"collection":59,"collections":1675,"showCount":1676,"zanCount":43,"manualWeight":43,"mainColor":64},230286,"yu-shi-tu-juan-zhu-da-230286","鱼石图卷","此作用极简水墨写就，大片留白晕出空寂玄远的意境。怪石以枯淡焦墨挥扫，嶙峋奇崛，笔势纵逸老辣，似藏丘壑风骨。游鱼寥寥数笔便形神具足，悠游于虚空之间，不见水波而满幅皆含水意，将闲逸之趣藏于无中生有的灵趣之中。\n\n题跋与画面相映成趣，书法朴拙疏朗，和水墨笔意浑然相融。整卷以虚代实，以少胜多，脱尽尘俗烟火气，将冷逸禅意藏于笔墨留白之间，寥寥数笔便勾勒出物我两忘的天地，尽显极简至极的东方写意美学。",[23,25,55,74,173,7,565,32,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780cb8efb806c53984af9356a5a498f8.jpg",[],198,{"id":1678,"slug":1679,"title":1680,"dynasty":148,"author":256,"museum":112,"description":1681,"tags":1682,"thumbUrl":1683,"material":262,"size":1684,"collection":59,"collections":1685,"showCount":1686,"zanCount":209,"manualWeight":43,"mainColor":64},232638,"rong-xi-zhai-tu-ni-zan-232638","容膝斋图","该图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，中幅为湖光波色，图上部的远岫遥岑横于波际。这种三段式的构图，是倪瓒山水画的特征之一。其山水取法于董源，石上横拖披麻，皴法清逸。其树法参差变化，结体有骨力，而树头枝梢，每多生意。枯树擦以枯笔，墨色浓淡错综而滋润浑厚。\n此画分近、中、远三景， 近处作平坡， 上植数枝树木， 间或缀以茅舍亭阁；远处作峦头或低矮的土坡。作为近景与远景之间的过渡部分则多为大片空白， 不着一墨， 是为湖水。\n画中落款“壬子岁七月五日，云林生写”，又自题诗云：“屋角春风多杏花，小斋容膝度年华；金棱跃水池鱼戏，彩凤栖林涧竹斜。叠叠清谈霏玉屑，萧萧白发岸乌纱。而今不二韩康价，市上悬壶未足夸。”\n倪瓒少小聪明， 早年专意读书， 家中清閟阁藏书数千卷， 经史子集， 佛道经典， 他都专心阅读批校， 所藏法书名画， 亦悉心临学。其书法天然古淡， 有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带， 常领略这里秀丽清幽的湖光山色， 他的画也多取材于此。\n此画作于明太祖洪武五年（1372），时年倪攒七十有二，两年后离世，因此也有“绝笔之作”一说。此画最初赠予其友檗轩，两年后又请倪瓒为其补题，寄赠予同乡的潘子仲医师。容膝斋是潘仁仲休闲居处。\n画家对佛道思想的追求，注重对尘世羁绊的超脱，这种思想映射到艺术创作中丰富了艺术品的文化内涵。《容膝斋图》中设置空亭但不见人，倪瓒有“亭下不逢人，夕阳滤秋影”的名句。空空的亭子和无人的山水，后人多认为这种设置是倪瓒内心的表达，是“今世那复有人”的悲叹。\n此图以墨笔画坡陀林屋，远山一角。近景处画山坡石陀，平平的一二层山石，山石皴法是渴笔方折，似有折带皴意，用笔总是干笔皴擦，有时墨色并没有透入纸背，但却没有丝毫纤弱单薄的弊端。近景一带坡岸及坡上植有杂树和瘦竹数株。高短参差不齐，树木偶用蟹爪鹿角技法，以干笔为主，树身多复笔。远岸岚岫绵延，在整个画最上端，使整个画面有深远之感。中景以湖塘相隔，画有草茅亭子，坐落在树木的右侧，对面为横卧的山坡。均出以简笔疏朗，自有一种空阔高旷的境界。这与倪云林的那种甘于寂寞，与世无争的性格十分相近。此画最为典型的即是简约，既不作高枝繁叶，又不为高山大壑，而常常采用疏林浅坡，简淡平远的构图，笔墨极为淡雅，画树墨色层次较多，中锋多于侧笔。近坡皴多染少，皴笔亦特觉清劲。点染皴擦也求简约，不作华奢之状。\n该图采用三段平远式的空间布局。前景是几棵枯树、坡石和屋舍，中景是一坡山，远景水天一色。这样的布局使人感到平实恬淡，简约单纯。这种近坡杂树数枝，远景云山一抹，中隔湖水一汪，最早出现在《六君子图》中，而在《容膝斋图》中发挥得更充分。这种比较稳定的“一河两岸”式的图式所表现的意境，使他的绘画风格达到了“萧疏淡远”的极致。\n该图布置前景时，常用粗而挺劲的线条勾勒出挺拔而气宇轩昂的几棵高大的树。这些树的穿插非常讲究，几棵主株，或高或低，俯仰成趣。或前或后，顾盼照应，让树有自然的深浅和层次，并且讲究穿插避让，使画面生动有变化。《容膝斋图》中的树少有树叶点缀，是几棵枯树，这与倪瓒平时讨厌落叶有关。",[25,55,273,75,77,79,80,349,117,7,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db52534f3fee435e691757d2ad794f5.jpg","纵74.7cm，横35.5cm",[],193,{"id":1688,"slug":1689,"title":1690,"dynasty":369,"author":1691,"museum":150,"description":1692,"tags":1693,"thumbUrl":1696,"material":678,"size":1697,"collection":497,"collections":1698,"showCount":1686,"zanCount":43,"manualWeight":43,"mainColor":44},221558,"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[23,25,26,1694,55,29,75,80,1231,134,1695,306,30,865,7,1212,115],"册页","马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","纵26.2厘米，横27.3 厘米",[497,88,122],{"id":1700,"slug":1701,"title":1702,"dynasty":69,"author":431,"museum":552,"description":1703,"tags":1704,"thumbUrl":1705,"material":262,"size":59,"collection":88,"collections":1706,"showCount":1686,"zanCount":178,"manualWeight":43,"mainColor":44},216322,"xi-xiang-ji-zhen-ben-tu-ce-chen-hong-shou-216322","西厢记真本图册","双石并置构出幽境，左石奇崛如骨，线条凝涩似铁，皴擦间露嶙峋之态；右石小巧玲珑，与左石相顾成趣。石畔淡扫苔痕，暗合《西厢》月下幽会的静谧氛围。题字笔墨古雅，与山石苍劲相融，整体气息静穆含情。画家以独特造型意趣，将文人画韵致注入画中，简淡处见深致，似在无声传递戏文里的婉转情愫，尽显古雅奇倔的艺术风格。每一笔墨皆藏匠心，于方寸间铺展戏文外的悠长余韵，让观者在石影苔痕里，触碰到那份含蓄的古典情致。",[25,53,434,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35f624afc5dc33ed7f8dd1e142d2bf7.jpg",[88],{"id":1708,"slug":1709,"title":1710,"dynasty":148,"author":1711,"museum":184,"description":1712,"tags":1713,"thumbUrl":1714,"material":58,"size":1715,"collection":60,"collections":1716,"showCount":1717,"zanCount":209,"manualWeight":43,"mainColor":44},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。",[25,26,74,28,29,306,117,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a3902ef0909cc4272f189e62ad7bd.jpg","36x270cm",[60],192,{"id":1719,"slug":1720,"title":1721,"dynasty":69,"author":1722,"museum":552,"description":1723,"tags":1724,"thumbUrl":1725,"material":1106,"size":1726,"collection":60,"collections":1727,"showCount":1728,"zanCount":178,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,27,29,28,56,156,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","48.4x169cm",[60,105],191,{"id":1730,"slug":1731,"title":1732,"dynasty":148,"author":997,"museum":112,"description":1733,"tags":1734,"thumbUrl":1735,"material":58,"size":1736,"collection":39,"collections":1737,"showCount":1738,"zanCount":511,"manualWeight":43,"mainColor":64},216973,"chui-xiao-shi-nv-tu-zhao-meng-fu-216973","吹箫仕女图","这幅画宋濂定为是赵孟頫的真迹，并把它与《道德经》小卷前的老子画像和行书《赤壁赋》前的东坡画像逐一进行了比较。宋濂的碑文越老，越是笨拙，全盛时期的亭子里的楷书越是小。",[25,26,27,29,30,31,7,1446,541,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53774ccebb8879781edf0e87cf8e7962.jpg","75.1x26",[39],190,{"id":1740,"slug":1741,"title":1742,"dynasty":18,"author":475,"museum":552,"description":638,"tags":1743,"thumbUrl":1745,"material":641,"size":642,"collection":59,"collections":1746,"showCount":1747,"zanCount":511,"manualWeight":43,"mainColor":64},288173,"hu-shi-ju-qin-tu-li-zhou-zhu-da-288173","湖石聚禽图立轴",[23,24,25,26,27,55,56,153,7,77,1744,79],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c97905d89105cc7edd24a3f909cf39.jpg",[],186,{"id":1749,"slug":1750,"title":626,"dynasty":18,"author":1751,"museum":552,"description":1752,"tags":1753,"thumbUrl":1755,"material":1756,"size":1757,"collection":60,"collections":1758,"showCount":1759,"zanCount":426,"manualWeight":43,"mainColor":44},222662,"hua-niao-tu-ma-quan-222662","马荃","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。",[23,25,24,26,27,28,29,56,435,629,1754,7,160],"罂粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ce5762f0e4335685920a74b317b42.jpg","设色绢本","82cm 43cm",[60,105],184,{"id":1761,"slug":1762,"title":1763,"dynasty":148,"author":1764,"museum":112,"description":1765,"tags":1766,"thumbUrl":1769,"material":58,"size":1770,"collection":60,"collections":1771,"showCount":1772,"zanCount":178,"manualWeight":43,"mainColor":64},218780,"xie-sheng-hua-niao-tu-zhang-zhong-218780","写生花鸟图","张中","此画绘于沙石之间，一只紫冠白鸡脚下行走的蜈蚣，看上去颇为生动，而配景及蜀葵、萱草、栀子花、石榴、百合、虞美人、石竹、菖蒲等各种夏花，几乎以勾花点叶的方法进入，设计典雅，却不似张仲的笔墨，为后世画家的作品正名。",[25,26,27,29,28,56,1767,243,7,1768],"禽","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c74ed813cbd2c92ee370d6aa6031b1.jpg","122.8x43.3cm",[60,88],183,{"id":1774,"slug":1775,"title":1776,"dynasty":69,"author":201,"museum":835,"description":1777,"tags":1778,"thumbUrl":1780,"material":313,"size":1781,"collection":59,"collections":1782,"showCount":1783,"zanCount":178,"manualWeight":43,"mainColor":44},223350,"shi-nv-tu-ce-yi-ming-223350","仕女图册","画面以仕女为主题。最早见于唐代长沙窑瓷器。宋元时期仕女图较为罕见，这与当时花鸟画盛行有很大的关系.",[23,25,26,53,29,28,30,31,864,134,7,1779],"小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a51b5949edc9d99b29841d97b4903d4.jpg","12.7×19.1",[],181,{"id":1785,"slug":1786,"title":1787,"dynasty":369,"author":711,"museum":112,"description":1788,"tags":1789,"thumbUrl":1792,"material":37,"size":1793,"collection":60,"collections":1794,"showCount":1795,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,24,26,714,29,28,55,75,32,187,1790,7,1791,56],"山雉","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eef8b55514c8cfe1d3ed17f0508b497.jpg","纵24.1厘米，横25.2厘米",[60,497],179,{"id":1797,"slug":1798,"title":1799,"dynasty":369,"author":201,"museum":112,"description":1800,"tags":1801,"thumbUrl":1802,"material":37,"size":1803,"collection":105,"collections":1804,"showCount":1805,"zanCount":5,"manualWeight":43,"mainColor":44},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。",[23,25,24,26,27,28,29,56,191,435,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e51ff66eaeeb48311a78d2dc98d048e.jpg","117.2x72.3公分",[105],178,{"id":1807,"slug":1808,"title":1809,"dynasty":148,"author":1810,"museum":71,"description":1811,"tags":1812,"thumbUrl":1813,"material":967,"size":1814,"collection":122,"collections":1815,"showCount":1816,"zanCount":511,"manualWeight":43,"mainColor":64},221834,"qing-bi-ge-mo-zhu-tu-zhou-ke-jiu-si-221834","清閟阁墨竹图轴","柯九思","本幅自识：“至元後戊寅十二月十三日，留清閟閣，因作此卷。丹丘生題。”钤“柯氏敬仲”。\n竹，由于被传统文人赋予了“虚心异众草，节劲逾凡木”的人格象征，因此，自宋代文同等人倡导始，到元代已成为极受欢迎的绘画题材。从技法上看，有勾勒填色的“画竹”与墨笔写意的“写竹”之分。此图即属于“写竹”一路画法。柯九思曾主张：“画竹写干用篆法，枝用草书法，写叶用八分或用鲁公撇笔法。”（《珊瑚网·画跋·卷八》）观此图画法，拳石皴法浑厚，实源于董巨一派，而墨竹则全法文同。作者以淡墨写干，用笔挺拔圆浑，宛如篆书，竹节两端再复垂墨，不勾节却连属自然。竹叶行笔沉着稳健，一如后人形容他的墨竹 “大叶长梢动冕旒”，以深墨为面，淡墨为背，正是源自文同。（米芾曾言：“……（画竹）以深墨为面，淡墨为背，自文同始。”）再加上劲健的小枝穿插其间，使丛竹于庄重、淳厚之中显示出活脱的生韵。",[23,25,26,55,27,32,7,79,77,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d0dc87b7672540a9fb1c0aaa1a8915.jpg","纵132.8cm，横58.5cm",[122,411],177,{"id":1818,"slug":1819,"title":1820,"dynasty":148,"author":256,"museum":112,"description":1821,"tags":1822,"thumbUrl":1823,"material":119,"size":1824,"collection":88,"collections":1825,"showCount":1816,"zanCount":43,"manualWeight":43,"mainColor":64},220790,"zi-zhi-shan-fang-tu-zhou-ni-zan-220790","紫芝山房图轴","《元倪瓒紫芝山房图轴》是元末明初画家倪瓒所创作，水墨画河岸、疏树、竹林和小亭，对岸山峦起伏，构图简洁，具清逸萧疏之趣。此幅墨色淡雅，现藏于台北故宫博物院。\n《元倪瓒紫芝山房图轴》侧笔写山石轮廓，苍劲沉着，画竹之笔尤为遒劲有力，是云林精品。",[25,26,27,55,273,75,7,349,32,117,324,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","80.5x34.8",[88,122],{"id":1827,"slug":1828,"title":1829,"dynasty":369,"author":201,"museum":112,"description":1830,"tags":1831,"thumbUrl":1832,"material":37,"size":59,"collection":497,"collections":1833,"showCount":1816,"zanCount":209,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,28,29,56,187,1767,7,325,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a6138737b9901f57872732e5659ef9.jpg",[497,60],{"id":1835,"slug":1836,"title":1837,"dynasty":18,"author":1838,"museum":874,"description":1839,"tags":1840,"thumbUrl":1841,"material":37,"size":59,"collection":60,"collections":1842,"showCount":1843,"zanCount":209,"manualWeight":43,"mainColor":44},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。",[23,25,26,27,29,28,100,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d01ae3c172c6d7532860b25005a89da.jpg",[60],176,{"id":1845,"slug":1846,"title":1847,"dynasty":148,"author":893,"museum":184,"description":1848,"tags":1849,"thumbUrl":1851,"material":37,"size":59,"collection":60,"collections":1852,"showCount":1853,"zanCount":209,"manualWeight":43,"mainColor":44},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。",[23,24,25,28,29,56,396,466,7,375,1850],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226d4750da5198d9248ca7382ce9bb70.jpg",[60,105],175,{"id":1855,"slug":1856,"title":1857,"dynasty":69,"author":431,"museum":71,"description":1858,"tags":1859,"thumbUrl":1860,"material":1106,"size":1861,"collection":39,"collections":1862,"showCount":1863,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,25,28,29,30,7,34,576,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa41ef319564f201fad45f52a944993.jpg","纵150厘米，横67.3厘米",[39,105],174,{"id":1865,"slug":1866,"title":1867,"dynasty":18,"author":1868,"museum":552,"description":1869,"tags":1870,"thumbUrl":1872,"material":678,"size":1873,"collection":59,"collections":1874,"showCount":1875,"zanCount":209,"manualWeight":43,"mainColor":44},223160,"kong-que-yu-lan-mu-dan-tu-shen-quan-223160","孔雀玉兰牡丹图","沈铨","沈铨（1682—1760）， 其画远师宋代黄家画派，近承明代吕纪，工写花卉翎毛，禽兽，设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画面注重写实，画风谨严工细，造型准确生动。",[23,24,25,26,228,28,29,56,1871,421,191,7],"孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe434c61b051ad12a728a695b4c78c622.jpg","145×84cm",[],172,{"id":1877,"slug":1878,"title":1879,"dynasty":369,"author":1880,"museum":71,"description":1881,"tags":1882,"thumbUrl":1883,"material":327,"size":1884,"collection":786,"collections":1885,"showCount":1875,"zanCount":178,"manualWeight":43,"mainColor":44},220393,"yan-shan-ming-mi-fei-220393","研山铭","米芾","《研山铭》与《虹县诗》用力稍过和《多景楼》的颇显急躁相比，此作以闲适纵逸的笔调显示出对所藏研山倍加珍重的得意与自信，点画如刀劈斧斫，气势如虹；粗者大笔如椽，几成块面，如“五、出、极、化”，细者劲似发条，弹槽欲出，如“怪、痕、震”。\n《研山铭》善于在正侧、偃仰、向背、转折、顿挫中形成飘逸超迈的气势、沉着痛快的风格。字的起笔往往颇重，到中间稍轻，遇到转折时提笔侧锋直转而下。捺笔的变化也很多，下笔的着重点有时在起笔，有时在落笔，有时却在一笔的中间，对于较长的横画还有一波三折。勾也富有特色。 侧倾的体势，欲左先右，欲扬先抑，都是为了增加跌宕跳跃的风姿、骏快飞扬的神气，以几十年集古字的浑厚功底作前提，故而出于天真自然，绝不矫揉造作。\n结字自由放达，信手天成，下笔挥洒纵横，跌宕多姿，不受前人羁勒，倾侧之中含稳重，一笔一划都融合在作品的整体精神之中，字字因势生形，字与字之间绝少连属，数字间没有明显的游丝映带，却能一气贯通，显得自然畅达。正是欹侧之势使上下、左右顾盼生情，险绝而生稳，收似欹反正之效。\n在章法布局上米芾借鉴运用了前人的技巧，打破局部的平稀和对称，并以向左倾斜流动的态势，形成一种行距间相互穿插的格局，在动态中求得总体的平衡。通篇时疏时穿，虚实相生，都在有意无意之间。从整体布局上看气象萧森，笔走龙蛇，在跳荡的表象之下，有浑然的整体存在，给人以强烈的对比感，通篇给人以强烈的音乐节奏感、韵律感。\n《研山铭》书体修长，且每个字长短都有变化，没有固定的尺寸，笔法遒媚，通观全篇，其笔迹竟无一处雷同，行中带草，笔势连绵，没有丝毫的飘忽之感，沉着稳重，并无粗涩横野，在圆转流美之中显示出恣肆烂漫、欹侧生姿的美韵",[23,24,25,26,74,78,55,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7374b1f0d39e9aa4bee66efe967e9999.jpg","纵36厘米，横136厘米",[786],{"id":1887,"slug":1888,"title":1889,"dynasty":369,"author":201,"museum":112,"description":1890,"tags":1891,"thumbUrl":1895,"material":37,"size":59,"collection":497,"collections":1896,"showCount":1875,"zanCount":511,"manualWeight":43,"mainColor":44},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[23,25,26,24,80,29,53,85,30,81,1892,338,1893,7,1894],"岸","秋景","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[497,88],{"id":1898,"slug":1899,"title":1614,"dynasty":18,"author":384,"museum":552,"description":606,"tags":1900,"thumbUrl":1901,"material":119,"size":59,"collection":60,"collections":1902,"showCount":1903,"zanCount":511,"manualWeight":43,"mainColor":64},223302,"zhu-shi-tu-zhou-zheng-ban-qiao-223302",[23,25,26,27,55,32,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f06ed11a80f23832798fc994366a211.jpg",[60,122],171,{"id":1905,"slug":1906,"title":1907,"dynasty":369,"author":1908,"museum":112,"description":1909,"tags":1910,"thumbUrl":1912,"material":205,"size":1913,"collection":497,"collections":1914,"showCount":1903,"zanCount":511,"manualWeight":43,"mainColor":44},220237,"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","李唐","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[23,25,26,24,80,30,7,1911,134,75,55,29],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[497],{"id":1916,"slug":1917,"title":1918,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":1920,"thumbUrl":1923,"material":641,"size":642,"collection":59,"collections":1924,"showCount":1925,"zanCount":43,"manualWeight":43,"mainColor":64},289915,"sui-chao-qing-gong-tu-li-zhou-wu-chang-shuo-289915","岁朝清供图立轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[25,24,26,27,55,29,56,187,174,7,1921,77,79,555,243,1922],"器物","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fcfb6589c3a3e4729c4a0a67ce3c16.jpg",[],169,{"id":1927,"slug":1928,"title":1929,"dynasty":148,"author":1930,"museum":1931,"description":1932,"tags":1933,"thumbUrl":1935,"material":37,"size":1936,"collection":60,"collections":1937,"showCount":1925,"zanCount":43,"manualWeight":43,"mainColor":44},219260,"tao-zhu-jin-ji-tu-wang-yuan-219260","桃竹锦鸡图","王渊","山西省博物馆","画面以水墨晕染出清雅意境，锦鸡昂首伫立石间，墨笔勾勒的羽翼间，浓淡层次晕染出如锦似绣的质感，尾羽拖曳如墨色流苏。桃枝蜿蜒斜逸，嫩芽初绽；竹叶疏朗挺劲，与奇崛山石构成疏密有致的布局。几只小鸟或栖于枝头，或振翅欲飞，为静谧添上灵动一笔。\n\n笔墨融工致与写意于一体：山石以斧劈皴显苍劲厚重，花鸟以细劲线条勾形见精致。无艳丽设色，却以墨之五色绘尽自然生机——浓墨点染的枝干、淡墨晕开的花叶、干笔皴擦的岩石，干湿浓淡间尽显文人画的雅致韵致。静穆中藏着蓬勃生气，清雅里透着逸趣，似在诉说元代文人对自然的细腻观照与笔墨风骨。",[25,24,26,56,55,28,29,1934,32,374,7,1767],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade754c62acc1771f2885153f324fff0.jpg","纵162.5横133厘米",[60],{"id":1939,"slug":1940,"title":1941,"dynasty":985,"author":1443,"museum":1942,"description":1943,"tags":1944,"thumbUrl":1945,"material":37,"size":59,"collection":39,"collections":1946,"showCount":1947,"zanCount":511,"manualWeight":43,"mainColor":64},219579,"zhi-shan-shi-nv-tu-zhou-fang-219579","执扇仕女图","耶鲁大学艺术博物馆","画面以淡墨轻晕出幽寂庭院，仕女孑然独立，素衣柔婉，眉眼间凝着幽微怅惘。旁侧松梅虬枝疏朗，苍雅古拙的枝桠斜斜探伸，衬出院中空阔清寒的氛围。\n\n设色雅致内敛，浅淡赭石与花青晕染景物，虚实相生里晕开朦胧柔润的古雅意韵。笔致秀逸清隽，以简淡线条勾勒仕女风神，将深闺女子闲静缱绻的幽思，藏在氤氲的笔墨间。全图虚实相宜，把闺中清寂与仕女温婉愁绪悄然铺陈，尽显古典仕女画含蓄淡远的美学意境。",[25,714,29,28,31,7,81,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1570cff7b0df2beea2b544ac3d39105.jpg",[39],168,{"id":1949,"slug":1950,"title":1951,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":1952,"thumbUrl":1953,"material":641,"size":642,"collection":59,"collections":1954,"showCount":1955,"zanCount":317,"manualWeight":43,"mainColor":64},239116,"xing-hua-tu-zhou-wu-chang-shuo-239116","杏花图轴",[25,27,29,56,55,1495,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6ca2bb7e61d6bea1db2179b23ef156.jpg",[],167,{"id":1957,"slug":1958,"title":1959,"dynasty":18,"author":551,"museum":552,"description":1960,"tags":1961,"thumbUrl":1962,"material":59,"size":59,"collection":59,"collections":1963,"showCount":1955,"zanCount":209,"manualWeight":43,"mainColor":64},224212,"leng-yan-juan-er-yu-wu-chang-shuo-224212","冷艳捐二玉","此作用笔写意纵逸，水仙以浓淡层次的绿意绘就叶片，线条苍劲舒展，尽显清挺柔韧之姿。白花点缀其间，浓墨点染花心，明暗交织里，将水仙冰肌玉骨的冷艳之气铺陈开来。右侧湖石以泼墨为之，墨色淋漓斑驳，虚实相生间尽显古朴厚重，与水仙的清雅柔润形成刚柔反差。\n全画以书入画，笔力苍浑雅致，借水仙与顽石的组合托物言志，将文人孤傲清逸的品格寄于冷艳花姿中，寥寥数笔便将物象神韵与作者襟怀相融，意韵悠长。",[23,25,26,55,29,173,56,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01fb6c3d805917e235f7564f6f357b2.jpg",[],{"id":1965,"slug":1966,"title":1967,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":1968,"thumbUrl":1970,"material":641,"size":642,"collection":59,"collections":1971,"showCount":1972,"zanCount":511,"manualWeight":43,"mainColor":64},289650,"qiang-gen-ju-hua-tu-li-zhou-wu-chang-shuo-289650","墙跟菊花图立轴",[23,25,27,1969,29,189,7,79,77],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e6be5cc946debe5480bb68290241ce.jpg",[],166,{"id":1974,"slug":1975,"title":1976,"dynasty":69,"author":431,"museum":71,"description":1977,"tags":1978,"thumbUrl":1979,"material":37,"size":1980,"collection":39,"collections":1981,"showCount":1982,"zanCount":209,"manualWeight":43,"mainColor":44},215041,"sheng-an-zan-hua-tu-chen-hong-shou-215041","升庵簪花图","这幅画是艺术家的艺术杰作。人物夸张的造型，活泼的神态，圆润有力的线条，以及背景中老树的虬枝，进一步强调了主人公不羁的个性，显示了陈洪绶成熟期人物画的典型面貌。",[23,25,24,26,27,28,29,30,133,7,134,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc04b11c9f447e25c6cc519aa5697678e.jpg","143.5x64.5",[39],165,{"id":1984,"slug":1985,"title":1986,"dynasty":369,"author":1115,"museum":112,"description":1987,"tags":1988,"thumbUrl":1992,"material":119,"size":1993,"collection":497,"collections":1994,"showCount":1995,"zanCount":43,"manualWeight":43,"mainColor":44},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,25,26,74,28,434,55,56,153,445,1989,1990,1991,7,77,79],"莲蓬","芦苇","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[497,60,122],164,{"id":1997,"slug":1998,"title":1999,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":2000,"thumbUrl":2001,"material":59,"size":59,"collection":88,"collections":2002,"showCount":2003,"zanCount":5,"manualWeight":43,"mainColor":64},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴",[25,55,75,27,26,77,78,79,80,277,82,81,136,30,135,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[88,122],162,{"id":2005,"slug":2006,"title":2007,"dynasty":18,"author":49,"museum":71,"description":2008,"tags":2009,"thumbUrl":2012,"material":139,"size":2013,"collection":59,"collections":2014,"showCount":2003,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[25,29,28,56,7,565,2010,1991,2011],"蓼草","藻类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9bc3daeb5afc87149b9699423ade1b.jpg","纵135厘米，横62.6厘米",[],{"id":2016,"slug":2017,"title":2018,"dynasty":69,"author":1264,"museum":552,"description":2019,"tags":2020,"thumbUrl":2021,"material":641,"size":642,"collection":59,"collections":2022,"showCount":2023,"zanCount":43,"manualWeight":43,"mainColor":44},289875,"xue-zhu-xu-wei-289875","雪竹","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[25,55,32,492,7,77,79,27,173,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0c10587d925716d52958d37b02e71d.jpg",[],161,{"id":2025,"slug":2026,"title":1299,"dynasty":69,"author":1184,"museum":552,"description":2027,"tags":2028,"thumbUrl":2030,"material":59,"size":59,"collection":39,"collections":2031,"showCount":2023,"zanCount":5,"manualWeight":43,"mainColor":64},222333,"shi-nv-tu-tang-yin-222333","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。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”。",[23,25,28,29,79,30,31,7,2029,27],"棕榈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a1ac006358157f9823c6c6e26a159a.jpg",[39,105],{"id":2033,"slug":2034,"title":2035,"dynasty":18,"author":475,"museum":552,"description":638,"tags":2036,"thumbUrl":2037,"material":641,"size":642,"collection":59,"collections":2038,"showCount":2039,"zanCount":43,"manualWeight":43,"mainColor":64},288299,"ba-jiao-zhu-shi-tu-zhu-da-288299","芭蕉竹石图",[23,24,25,26,27,55,56,99,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e433e949bf49ac3086bddbbf9d0c776.jpg",[],160,{"id":2041,"slug":2042,"title":2043,"dynasty":18,"author":214,"museum":112,"description":2044,"tags":2045,"thumbUrl":2050,"material":58,"size":2051,"collection":39,"collections":2052,"showCount":2039,"zanCount":43,"manualWeight":43,"mainColor":64},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[23,25,26,29,55,173,30,307,7,2046,2047,456,79,2048,135,2049],"桌子","伞","饮酒场景","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[39],{"id":2054,"slug":2055,"title":2056,"dynasty":18,"author":475,"museum":552,"description":2057,"tags":2058,"thumbUrl":2060,"material":641,"size":642,"collection":59,"collections":2061,"showCount":2062,"zanCount":43,"manualWeight":43,"mainColor":64},288133,"gu-mu-shuang-ying-tu-zhu-da-288133","古木双鹰图","前一时期题款中常见的“八大山人画”的“画”字，此时已经改为“写”字，这是画家后期典型的写法，而双鹰也是晚期常见的绘画题材。作为画面主体的双鹰憩息于盘石之上，一瑟索凝伫，一神情如铸，外形与神情均十分到位，笔墨造型上几乎无懈可击。不过与先贤林良有所不同的是，画家似乎并不仅仅着意于对禽鸟状貌的真实再现，作为画家笔下的一个艺术符号，它们更多传达的是孤傲荒寒的心灵感悟。画面背景古木寒槎，虬干疏枝，树身用劲笔复笔，益见沧桑枯寂之感。下方盘石内方外圆，危如累卵，益增险仄之势。画家借助古木、怪石这些元代大师们常绘的主题，辅以静默凝重的禽鸟，暗示出生命的枯涸风蚀，苛刻寂寥，笔墨极简而意境丰满，元气充溢，体现了凝重、冷峻、朗润、含蓄、静谧的艺术特征。",[23,25,24,55,56,27,2059,1175,7,79],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8855abe2ec0d96961f6c1c6e272c49d6.jpg",[],159,{"id":2064,"slug":2065,"title":2066,"dynasty":148,"author":256,"museum":150,"description":2067,"tags":2068,"thumbUrl":2069,"material":262,"size":2070,"collection":60,"collections":2071,"showCount":2062,"zanCount":43,"manualWeight":43,"mainColor":64},219890,"qi-shu-qiu-feng-tu-ni-zan-219890","琪树秋风图","以淡墨侧锋皴出坡上乔柯拳石，浓墨写细竹三五茎，苍古之中饶有秀润之气。倪瓒的作品，被时人称为“殊无市朝尘埃气”。画面总是平远小景，疏疏落落，悄无人影，枝头无绿叶，仅有萧疏瘦硬的干枝，具清冷、寂寞、淡然之意。与其说他表现的是景色，莫如说是心情的写照。",[25,55,133,1073,7,75,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0cb4cceff0554e3c0f7b5a3c8e2d7ab.jpg","纵62厘米，横43.3厘米",[60],{"id":2073,"slug":2074,"title":2075,"dynasty":985,"author":2076,"museum":1942,"description":2077,"tags":2078,"thumbUrl":2080,"material":37,"size":2081,"collection":39,"collections":2082,"showCount":2062,"zanCount":511,"manualWeight":43,"mainColor":44},218385,"mu-niu-tu-han-huang-218385","牧牛图","韩滉","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。",[24,25,26,29,28,30,2079,32,7,79,101],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30f0dc982c6116348e28f459cb13d33.jpg","27.9x31.4",[39],{"id":2084,"slug":2085,"title":2086,"dynasty":69,"author":70,"museum":552,"description":2087,"tags":2088,"thumbUrl":2089,"material":327,"size":2090,"collection":88,"collections":2091,"showCount":2092,"zanCount":209,"manualWeight":43,"mainColor":64},222121,"shi-zhu-tu-shen-zhou-222121","石竹图","石竹图，设色淡雅清幽，线条笔墨饱满有力，将竹的青翠挺拔，山石的坚硬如数展现，为其传世不多的佳品。画面中的竹、石、树体现了生物的灵气，体现了作者心灵与天地共呼吸，随悠云自来往的悠然心境。虽然整幅画面仅有很少的景物，但是作者的心境已经很自然的流露出来。 沈周在画中题识：“石丈有芳姿，此君无俗气。其中佳趣多，容我自来去。”",[23,24,25,26,55,75,7,32,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36554dbfb6c71407859f93a0a9573279.jpg","60×48cm",[88,122],158,{"id":2094,"slug":2095,"title":2096,"dynasty":18,"author":431,"museum":184,"description":2097,"tags":2098,"thumbUrl":2102,"material":37,"size":2103,"collection":60,"collections":2104,"showCount":2105,"zanCount":209,"manualWeight":43,"mainColor":44},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","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,24,25,26,53,29,28,75,7,2099,2100,2101],"瘦石","奇石","古石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8282cc767771cda337f1fc5a93cfc5cd.jpg","21.5×16cm",[60],155,{"id":2107,"slug":2108,"title":2109,"dynasty":18,"author":384,"museum":552,"description":2110,"tags":2111,"thumbUrl":2112,"material":119,"size":2113,"collection":60,"collections":2114,"showCount":2115,"zanCount":43,"manualWeight":43,"mainColor":64},223299,"zhu-shi-tu-5-zheng-ban-qiao-223299","竹石图5","这幅《竹石图》，郑板桥将竹子画得艰瘦挺拔，节节屹立而上，直冲云天，每一片叶子都有着不同的表情，墨色水灵，逼真地表现竹的质感，而且竹的纤细清飒之美更衬托了石的另一番风情。在构图上又将竹与石的位置关系和题诗文字处理得十分协调，而且他的书法是越到晚年越是风神独具、挥洒自如、翰墨苍劲。“扬州八怪”之首的金农曾感叹：相较两人的画品，自己画的竹子终不如板桥有林下风度啊。\n郑板桥被后人誉为“诗、书、画”三绝的全才画家，且在三绝之中又有三真，特别强调要表现真性情、真意气、真趣味。\n郑板桥的绘画成就极高，尤擅画竹石，细枝粗叶，瘦劲孤高，格调超人。他画竹有“胸无成竹”的理论，并无师承，多得于纸窗粉壁日光月影，直接取法自然。他自称：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳。”针对苏东坡“胸有成竹”的说法，郑板桥强调的是胸中“莫知其然而然”的竹，要“胸中无竹”。这两个理论看似矛盾，实质却相通，同时强调构思与熟练技巧的高度结合，其创作体会鲜明地表露于一则题画中：“江馆清秋，晨起看竹，烟光、日影、露气皆浮动于浮枝密叶之间，胸中勃勃，遂有画意。其实胸中之竹，并不是眼中之竹也。因而磨墨展纸，落笔倏作变相，手中之竹，又不是胸中之竹也。”他笔下的竹注重“瘦与节”的结合，往往就是自己思想和人品的化身。据说，曾经有一大户大家请郑板桥画竹，酒过之后他便向这家墙壁上大盆洒墨，扔笔不画，晚上风雨大作把墙壁上的墨迹冲刷一遍，第二天一大早竟是一幅淋漓尽致的墨竹，还有几只麻雀以为来到了竹林撞昏在壁下。传说自然不可全信，但却可想见郑板桥作画的创造性。",[23,24,25,26,27,55,78,79,75,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6751617696efb541b17a01c9ddade642.jpg","179.5×101cm",[60,122],153,{"id":2117,"slug":2118,"title":2119,"dynasty":769,"author":770,"museum":2120,"description":2121,"tags":2122,"thumbUrl":2123,"material":507,"size":59,"collection":59,"collections":2124,"showCount":2115,"zanCount":43,"manualWeight":43,"mainColor":64},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","中国现当代美术文献研究中心","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[23,25,26,27,29,55,75,80,259,82,456,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg",[],{"id":2126,"slug":2127,"title":2128,"dynasty":69,"author":1184,"museum":835,"description":2129,"tags":2130,"thumbUrl":2131,"material":37,"size":2132,"collection":88,"collections":2133,"showCount":2115,"zanCount":209,"manualWeight":43,"mainColor":44},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,25,26,74,55,29,80,28,75,78,79,277,82,349,242,85,153,30,134,137,865,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[88,105],{"id":2135,"slug":2136,"title":2137,"dynasty":302,"author":952,"museum":112,"description":2138,"tags":2139,"thumbUrl":2140,"material":2141,"size":2142,"collection":60,"collections":2143,"showCount":2144,"zanCount":209,"manualWeight":43,"mainColor":1551},221151,"shan-zhe-ji-que-tu-huang-ju-cai-221151","山鹧棘雀图","山鹧棘雀图是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,24,25,28,29,56,153,133,7,1073,160,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5a20f43ca35824f3daa158e61bf297.jpg","绢","纵97厘米，横53.6厘米",[60,105],151,{"id":2146,"slug":2147,"title":2148,"dynasty":18,"author":2149,"museum":130,"description":2150,"tags":2151,"thumbUrl":2152,"material":58,"size":2153,"collection":105,"collections":2154,"showCount":2155,"zanCount":5,"manualWeight":43,"mainColor":64},219999,"shan-shui-hua-fang-ju-ran-wang-shi-min-219999","山水画-仿巨然","王时敏","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[25,26,27,55,75,76,80,134,349,277,7,1231,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc743492f61b4c5c3ac9b8e7474dea8ce.jpg","22.5x27.5",[105],149,{"id":2157,"slug":2158,"title":1007,"dynasty":18,"author":2159,"museum":2160,"description":2161,"tags":2162,"thumbUrl":2163,"material":2164,"size":2165,"collection":59,"collections":2166,"showCount":2167,"zanCount":511,"manualWeight":43,"mainColor":64},231349,"sui-chao-qing-gong-tu-zhao-zhi-qian-231349","赵之谦","荣宝斋","岁朝图是中国传统绘画的重要题材之一。岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的开笔之作。据考证，绘制岁朝图的传统源自于宋代宫廷，从宋徽宗赵佶治下特别流行，主要描绘冬季花卉，如腊梅、松柏、水仙等富有吉祥寓意的花草，一并搭配冬天不易看到的花卉、草木、果实等，意味着春天即将来临，以增加节日的祥和气氛，正如此作题款所云：“富贵昌宜吉祥如意，岁朝清供也。”这其中寄托着古人对于未来一年的美好祝愿。此类岁朝图一般采取细笔写生画法，形象描绘逼真。历代画家多有描绘，在清代宫廷中更为流行，像郎世宁、陈书这样的清宫御用画家都画过类似题材。\n作为文人画家，岁朝清供这样的题材也为赵之谦所爱。此幅《岁朝清供图》即为海派大师赵之谦所作，通幅为长条型构图，描绘的草木花卉皆为案头清玩之物。画面上部描绘一高立的花架，花架上摆有一盆盛放的水仙，盆中亦有秀石与水仙相映成辉。花架下有蒲草、灵芝，寓意吉祥。画面下部绘有一圆型石盆，盆中有怒放的牡丹花。花木、盆架错落有致地安排在画面中。赵之谦将自身深厚的金石书法功底融入绘画，形成了他写意花卉的独特面貌。花架与石盆皆以带有篆籀笔意的用笔写出，廖廖数笔，笔简神完，大气十足，在花卉的描绘上颇重视细节，如牡丹花旁的绿草刚劲有力，细密有如针刺，蒲草则纷披，得其大意，可谓有粗有细、有收有放。用色上注重以色助墨，以墨醒色，花架与花盆以浓墨写出，更映衬出水仙的翠绿与牡丹的嫣红，设色俏丽鲜艳，画面效果虽强烈却不刺激。通篇予人春意融融、满室生香之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[23,25,26,27,29,55,56,191,33,555,7,34,79,577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],148,{"id":2169,"slug":2170,"title":2171,"dynasty":148,"author":404,"museum":130,"description":2172,"tags":2173,"thumbUrl":2174,"material":2175,"size":2176,"collection":122,"collections":2177,"showCount":2178,"zanCount":178,"manualWeight":43,"mainColor":64},220775,"duo-fu-tu-zhou-wu-zhen-220775","多福图轴","吴镇画墨竹自称是“戏写”，表现了他画竹时怡然自得的心境，这必须做到“心手两相忘，融化同造物”。他通过题画诗来使墨竹人格化，强调竹子的坚韧个性。他以“虚心抱节”来赞颂竹子既虚怀若谷、又坚守气节的人格化的植物特性。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。墨梅流派的发展，从释仲仁开始，在写实的形态上以清淡疏简为宗。至扬无咎，更把仲仁的点墨变为直率的带有飞白的用笔。《多福图》以墨笔绘树石丛竹，格调简率遒劲，信笔挥洒，墨色淋漓，布局错落有致。吴镇在画古梅的枝干时，显示了能放能收、力能扛鼎的沉郁超旷。此图表现老梅一枝，峭石一块，疏竹一丛，显得老辣沉浑。\n画面右上草书自题五言诗一首，“长忆古多福，三茎四茎曲。一叶动机舂，清风自然足。”署款“梅花道人戏墨”。",[23,24,25,26,27,55,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6205111b6eff3ed5d23ced59c90d8da.jpg","纸本,墨笔","96×28.5cm",[122,411],146,{"id":2180,"slug":2181,"title":2182,"dynasty":369,"author":1115,"museum":874,"description":2183,"tags":2184,"thumbUrl":2185,"material":37,"size":2186,"collection":60,"collections":2187,"showCount":2178,"zanCount":43,"manualWeight":43,"mainColor":44},219349,"bai-ying-tu-zhao-ji-219349","白鹰图","图为一只白鹰站在湖石上，爪子上系着绳索。 这幅画是根据宋徽宗爱画白鹰奇石的传说.",[23,25,24,26,27,28,29,153,1767,32,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f082a50222716196107d33d5784d0f.jpg","141.7x59.5厘米",[60,105],{"id":2189,"slug":2190,"title":2191,"dynasty":369,"author":711,"museum":552,"description":2192,"tags":2193,"thumbUrl":2194,"material":58,"size":2195,"collection":39,"collections":2196,"showCount":2178,"zanCount":209,"manualWeight":43,"mainColor":64},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[23,24,25,26,74,55,29,30,80,715,153,7,82,79,77,78,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[39],{"id":2198,"slug":2199,"title":2200,"dynasty":18,"author":2201,"museum":552,"description":2202,"tags":2203,"thumbUrl":2205,"material":641,"size":642,"collection":59,"collections":2206,"showCount":2207,"zanCount":43,"manualWeight":43,"mainColor":64},237155,"xu-gu-mao-die-tu-zhou-xu-gu-237155","虚谷猫蝶图轴","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[25,26,27,55,29,173,100,2204,189,7,56,101],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac0781a23a4a9e539a1cd4f736c5b1f.jpg",[],145,{"id":2209,"slug":2210,"title":2211,"dynasty":18,"author":2212,"museum":552,"description":2213,"tags":2214,"thumbUrl":2215,"material":641,"size":642,"collection":59,"collections":2216,"showCount":2217,"zanCount":43,"manualWeight":43,"mainColor":64},290384,"lan-hua-tu-juan-yun-xiang-290384","兰花图卷","韵香","女道士。能书擅画，尤擅画兰。主要作品有《空山听雨图册》",[23,24,25,26,74,55,188,7,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346cbb87cd3ed3e666639bdd70f910b5.jpg",[],144,{"id":2219,"slug":2220,"title":2221,"dynasty":148,"author":256,"museum":552,"description":2222,"tags":2223,"thumbUrl":2224,"material":641,"size":642,"collection":59,"collections":2225,"showCount":2217,"zanCount":5,"manualWeight":43,"mainColor":64},288916,"yu-shan-lin-he-tu-ni-zan-288916","虞山林壑图","取一河两岸式的构图，但水中有五道洲渚及一组杂树，远山近坡的淡墨皴染较多。画风较其典型作品繁密。与其盛年所作《渔庄秋霁图》、《枫落吴江图》等用线勾括坡石的画法相比，此图坡石皴擦善用乾笔，风格浑穆。应是倪氏晚期山水画的特点。",[23,24,25,27,55,80,133,7,82,77,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa611a8ec871c68063dbbc71fbe7e38c1.jpg",[],{"id":2227,"slug":2228,"title":2229,"dynasty":18,"author":384,"museum":2230,"description":2231,"tags":2232,"thumbUrl":2233,"material":59,"size":59,"collection":60,"collections":2234,"showCount":2217,"zanCount":209,"manualWeight":43,"mainColor":64},237887,"zheng-xie-lan-shi-zhou-zheng-ban-qiao-237887","郑燮兰石轴","重庆中国三峡博物馆","此展品为清代的书画，此轴以水墨绘石上兰竹。笔墨洒脱，竹枝新发，兰草妙曼。山石以侧锋勾勒，微微点苔。布局疏密相间，别致雅趣。",[25,55,27,188,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491c7eb56947056680423de9cd451ae.jpg",[60,122],{"id":2236,"slug":2237,"title":834,"dynasty":369,"author":594,"museum":835,"description":2238,"tags":2239,"thumbUrl":2241,"material":839,"size":840,"collection":497,"collections":2242,"showCount":2217,"zanCount":209,"manualWeight":43,"mainColor":44},221291,"shu-se-ping-yuan-tu-guo-xi-221291","《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。",[23,25,26,74,55,75,2240,80,349,1231,134,7,82,85,79],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[497,88,122],{"id":2244,"slug":2245,"title":2246,"dynasty":18,"author":384,"museum":71,"description":2247,"tags":2248,"thumbUrl":2249,"material":119,"size":2250,"collection":60,"collections":2251,"showCount":2252,"zanCount":511,"manualWeight":43,"mainColor":64},223296,"mo-bi-zhu-shi-tu-zhou-zheng-ban-qiao-223296","墨笔竹石图轴","郑板桥画墨竹，多为写意之作。一气呵成．生活气息十分浓厚，一枝一叶．不论枯竹新篁，丛竹单枝，还是风中之竹。雨中之竹．都极富变化之妙．如竹之高低错落，浓淡枯荣．点染挥毫，无不精妙。画风清劲秀美，超尘脱俗，给人一种与众不同之感。他说：“文与可画竹，胸有成竹；郑板桥画竹，胸无成竹。与可之有成竹．所谓渭川千亩在胸中也；板桥之无成竹，如雷霆霹雳，草木怒生，有莫如其然而然者，盖大化之流行．其道如是，与可之有，板桥之无，是一是二解人会之。”实际上，板桥“胸无成竹”与文与可“胸有成竹”在根本上是不矛盾的，郑板桥注意的是在创作之前，构思要与熟练的技巧相结合，但这种写意画与文与可高度写实墨竹画在技法上又是有区别的，即有写意与写实、抽象与具象、神似与形似的不同。特别引人注目的是郑板桥画竹还讲究书与画的有机结合，“以草书之中竖长撇法运之”，他说：“书法有行款，竹更要有行款，书法有浓淡，竹更要有浓淡，书，去有疏密，竹更要有疏密。”为此，人们都能从他的字画中体味到。",[23,25,55,27,32,7,79,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00450bf3ebc8d27f10d2ec819e60152f.jpg","38*138CM",[60,122],143,{"id":2254,"slug":2255,"title":2256,"dynasty":369,"author":2257,"museum":552,"description":2258,"tags":2259,"thumbUrl":2261,"material":262,"size":2262,"collection":122,"collections":2263,"showCount":2252,"zanCount":43,"manualWeight":43,"mainColor":64},218546,"yuan-xi-tu-mu-xi-218546","猿戏图","牧溪","浓淡墨痕里，猿猴蜷卧于石巅，长尾如墨绦垂悬，圆眸闪着黠趣。山石以泼墨写意铺就，淡晕似烟岚轻笼，留白处漾开空寂禅意。猿的茸毛用焦墨点簇，蓬松间藏灵动，与山石的疏朗笔触相映，动静交织成趣。简笔不掩生机，天地仿佛在此刻静穆，唯有此猿与石，共守一段悠然时光。笔墨间禅味漫溢，不着一字却道尽自然真趣，似能听见猿猴轻啼，落于空濛山影里，余韵悠长。",[25,26,55,173,2260,7],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4443e07fced2cc55e4194b05b12d1ce3.jpg","68x27",[122],{"id":2265,"slug":2266,"title":2267,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":2269,"thumbUrl":2270,"material":641,"size":642,"collection":59,"collections":2271,"showCount":2272,"zanCount":511,"manualWeight":43,"mainColor":44},287343,"he-hua-yuan-yang-tu-juan-wen-chen-hong-shou-287343","荷花鸳鸯图(绢纹)","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,24,25,26,27,1969,28,29,445,466,435,7,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6c74082eff5c95dc37ca5423373bf.jpg",[],139,{"id":2274,"slug":2275,"title":2276,"dynasty":69,"author":431,"museum":2277,"description":2278,"tags":2279,"thumbUrl":2281,"material":678,"size":2282,"collection":88,"collections":2283,"showCount":2272,"zanCount":43,"manualWeight":43,"mainColor":64},221882,"chu-chu-tu-juan-quan-juan-chen-hong-shou-221882","出处图卷全卷","张大千先生的旧藏","画卷前后隔水留下了他的墨宝。此卷是陈洪绶在去世前一年为周亮工所作，这一年陈洪绶相继为周亮工一共创作了42件作品，《出处图》则是其中的精品。展卷之后可见诸葛亮与陶渊明盘坐于树下正侃侃而谈，诸葛亮头戴“诸葛巾”，陶渊明则手抚无弦琴，形象格调高古，气韵不凡，人物衣袖由一根根行云流水般的线条绘就，每根线条都不另起笔，如若不加停顿似的一气呵成，而线条与线条的排列则构成了陈洪绶特有的韵味。",[23,25,26,74,28,29,30,80,81,82,7,77,78,2280],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9517553124fbf7960f3c43dce25b9cc5.jpg","26×195cm",[88,105],{"id":2285,"slug":2286,"title":2287,"dynasty":148,"author":256,"museum":71,"description":2288,"tags":2289,"thumbUrl":2291,"material":2292,"size":2293,"collection":88,"collections":2294,"showCount":2295,"zanCount":511,"manualWeight":43,"mainColor":64},220797,"ku-mu-you-huang-tu-zhou-ni-zan-220797","枯木幽篁图轴","作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。\n此图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。构景简洁是倪云林画的突出特色，此图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。此图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民。” 平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。图中自题[古木幽篁寂滨，班班藓石翠含春，自知不入时人眼，画与蛟溪古逸民，云林生]。画幅上还有马治，松泉隐者诗题。",[23,25,26,27,55,1579,1073,7,2290],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74dfc23fe071c9504a396c679d769fdc.jpg","纸本、墨笔","纵88.6厘米，横30厘米",[88,122],138,{"id":2297,"slug":2298,"title":2299,"dynasty":18,"author":2300,"museum":112,"description":2301,"tags":2302,"thumbUrl":2304,"material":58,"size":2305,"collection":105,"collections":2306,"showCount":2295,"zanCount":511,"manualWeight":43,"mainColor":64},219310,"fu-song-yuan-hua-liu-xia-xiong-ji-tu-zou-yi-gui-219310","抚宋苑画榴下雄鸡图","邹一桂","雄鸡立于嶙峋石矶之上，红冠高挺，金羽熠熠，尾羽如墨线挥洒般舒展，昂首之态尽显英武。旁侧石榴枝虬劲，花簇艳红似火；洁白百合点缀其间，皎洁如玉。山石以淡墨皴擦，纹理古朴自然，衬出草木禽鸟的鲜活。整幅画作设色明丽雅致，线条工细流畅，既承宋院体画的写实严谨，又融文人画的清逸韵致。每一处细节皆精心勾勒，禽鸟花木栩栩如生，于静谧中透出盎然生机，尽显笔下精妙匠心，将自然意趣与艺术巧思完美融合。",[25,26,56,28,29,76,2303,192,7,629,79],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d1897939883fcd871399f3180170670.jpg","165.9x89.6",[105],{"id":2308,"slug":2309,"title":2310,"dynasty":369,"author":711,"museum":552,"description":2311,"tags":2312,"thumbUrl":2313,"material":37,"size":2314,"collection":88,"collections":2315,"showCount":2316,"zanCount":43,"manualWeight":43,"mainColor":44},218628,"fan-zhou-tu-ma-yuan-218628","泛舟图","烟波浩渺间，一叶扁舟轻漾于粼粼水面。船中二人，一卧一坐，或醉眠或凝思，与天地相融。远山如黛，淡墨晕染出云气缭绕的朦胧，似隐似现于天际；近岸怪石嶙峋，线条刚劲如铁，皴擦间见苍劲质感。疏疏芦苇随风摇曳，墨色浓淡相宜，添几分野趣生机。\n\n画面以边角构图见巧，留白处尽是烟波浩渺的空濛，引观者思绪飘向远方。笔墨简练却意蕴悠长，水墨晕染与线条勾勒相映成趣，将文人雅士超脱尘嚣的心境凝于方寸扇面。空灵雅致的意境，尽显南宋山水的诗意哲思，令人心向往之。",[25,24,714,80,55,29,75,85,30,505,7,1990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa216b268b23e2c63a87ea695ec2fbf8d.jpg","21.5x24",[88],137,{"id":2318,"slug":2319,"title":2320,"dynasty":369,"author":711,"museum":71,"description":2321,"tags":2322,"thumbUrl":2323,"material":1106,"size":2324,"collection":497,"collections":2325,"showCount":2326,"zanCount":209,"manualWeight":43,"mainColor":44},221529,"mei-shi-xi-fu-tu-ma-yuan-221529","梅石溪凫图","本幅款署“馬遠”。钤藏印：“ 潞王之寶”、“茅林心賞”、“阿蒙”、“于騰私印”。\n图中画山崖侧立，腊梅倒垂，薄雾蒙蒙的涧水中，一群野鸭正在游戏。山石以斧劈皴法画之，方硬峭拔，与用笔轻快、毛羽松蓬的野鸭形成鲜明的对比。倒垂曲折的枝条是马远特有的画法，故有“拖枝马远”之称。画面呈典型的对角线式构图，岩石、梅树都偏居画面的左上部分，梅树枝条的走势更强调了此种布局的形式感，右下方的野鸭既起到了平衡画面的作用，又是全图的点睛之笔，一幅“春江水暖鸭先知”的景象，无限生趣，跃然绢素。",[23,25,26,53,55,29,75,187,7,82,965,153,56,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae794f0f7f856fe10e8845520e5badc4.jpg","纵26.7厘米，横28.6厘米",[497,60,105],136,{"id":2328,"slug":2329,"title":2330,"dynasty":369,"author":201,"museum":552,"description":2331,"tags":2332,"thumbUrl":2333,"material":37,"size":2334,"collection":497,"collections":2335,"showCount":2326,"zanCount":511,"manualWeight":43,"mainColor":44},218583,"song-xia-jing-si-tu-yi-ming-218583","松下静思图","悬崖边的松树上画着一根粗壮有力的杆子，伸向远方，而一个高大的男人盘腿坐在下面的蒲团上，凝视着下方；远处，一轮明月挂在天上，圆盘般的月亮象征着农历的新月之夜。",[25,26,29,28,30,260,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732621ebc2bf8ef9ef1e43c8b6b51669.jpg","21x21",[497],{"id":2337,"slug":2338,"title":2339,"dynasty":18,"author":214,"museum":170,"description":336,"tags":2340,"thumbUrl":2341,"material":327,"size":340,"collection":59,"collections":2342,"showCount":2343,"zanCount":209,"manualWeight":43,"mainColor":44},214360,"san-jue-shan-shui-ce-6-hua-yan-214360","三绝山水册-6",[23,25,26,53,55,29,80,7,81,30,82,324,77,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7608d5a899512f1784976f15ec1988c3.jpg",[],133,{"id":2345,"slug":2346,"title":2347,"dynasty":302,"author":2348,"museum":112,"description":2349,"tags":2350,"thumbUrl":2353,"material":205,"size":2354,"collection":88,"collections":2355,"showCount":2356,"zanCount":209,"manualWeight":43,"mainColor":44},220142,"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","巨然","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[23,25,26,27,55,75,80,81,135,2351,349,1212,7,540,1417,2352],"小径","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[88],132,{"id":2358,"slug":2359,"title":2360,"dynasty":18,"author":169,"museum":552,"description":2361,"tags":2362,"thumbUrl":2363,"material":59,"size":59,"collection":59,"collections":2364,"showCount":2365,"zanCount":43,"manualWeight":43,"mainColor":64},228999,"zeng-liu-shi-tou-shan-shui-ce-shi-tao-228999","赠刘石头山水册","石涛（1642-177），明靖江王朱赞仪十世孙，朱亨嘉子。\n全州（今广西全县）人。\n原姓朱，名若极，小字阿长，明亡后出家为僧，自称苦瓜和尚，别号有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人，晚号瞎尊者、零丁老人等。\n顺治十三年（1656），石涛由江西庐山转赴安徽黄山，并在那里住了二十三年。\n期间他又先后游历扬州、杭州、宣城、贵池、泾县等处，后由黄山转赴南京、北京等地。\n【规格】册页，纸本，设色，纵57.79cm，横5.56cm 【馆藏】（美）纳尔逊-艾特金斯艺术馆馆 书画名传品类高，先生高出众皮毛。\n老夫也在皮毛类，一笑题成迅彩毫。\n大涤子呈石头先生传教。\n康熙三十二年（169）至扬州，直到雍正二年（1724）去世。\n石涛在山水、花鸟画上均取得很大成就，能熔铸千古，独出手眼，构图奇妙，笔墨神化。\n画山水一欲夺其造化，则莫神于好，莫精于勤，莫大于饱游天看，历历罗列于胸中，故勤于貌写名山大川，所谓搜尽奇峰打草稿，充分把握住自然的神韵，终成一代大师。",[24,25,26,53,55,75,80,7,134,349,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F549054364d68f4bbcf0732c4d69324e7.jpg",[],131,{"id":2367,"slug":2368,"title":2369,"dynasty":769,"author":2370,"museum":2371,"description":2372,"tags":2373,"thumbUrl":2374,"material":327,"size":59,"collection":59,"collections":2375,"showCount":2365,"zanCount":43,"manualWeight":43,"mainColor":64},220479,"hou-chi-bi-tu-fu-bao-shi-220479","后赤壁图","傅抱石","龙美术馆西岸馆","大块泼墨劈斫出雄奇岩壁，水墨淋漓间尽显嶙峋苍莽，留白衬出山涧空寂清冷。前景枯梅疏枝横斜，添了几分清寒幽峭。\n\n画面里三位文士衣袂飘然，悠然对谈，古雅超脱之态宛然眼前。以散锋乱笔写山石，皴擦晕染间氤氲出高旷荒寒之境，又以简练灵动的线条勾勒人物，将夜游的超然文思融在山水之间，笔底诗意盎然，把文人情致与山水胜景融为一体，尽显幽远绵长的古典意境。",[23,25,55,29,75,27,79,78,80,30,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303fa795c9edac35723c91b8c3a07354.jpg",[],{"id":2377,"slug":2378,"title":2379,"dynasty":69,"author":238,"museum":874,"description":2380,"tags":2381,"thumbUrl":2383,"material":37,"size":2384,"collection":39,"collections":2385,"showCount":2365,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,25,26,24,28,29,862,80,81,2382,82,7,137,27],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[39,105],{"id":2387,"slug":2388,"title":2389,"dynasty":18,"author":475,"museum":2390,"description":2391,"tags":2392,"thumbUrl":2393,"material":327,"size":2394,"collection":60,"collections":2395,"showCount":2396,"zanCount":43,"manualWeight":43,"mainColor":64},237347,"song-lu-tu-zhou-zhu-da-237347","松鹿图轴","湖南省博物馆","此画是清代朱耷的作品。这幅画采取近实远虚的枝法，前后错落有序，笔力遒劲，墨色秀润，情景生动，意境深远。该作不仅画精，而且图面之大在八大山人传世作品中极为罕见。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。这幅画描绘的是一株高耸粗壮的苍松，挺立在嶙峋的岩石上。松石下，两只向背的鹿在山石草坪之中小憩，一只长着角的鹿望着远方；另一只则侧身仰望天空。围着草坪的山石上，长着兰草、灵芝、小竹笔花草植物。",[25,26,27,55,434,715,618,101,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8802766b2acbede1ed647fec5abad86.jpg","纵358厘米，横133.3厘米",[60],130,{"id":2398,"slug":2399,"title":2400,"dynasty":18,"author":49,"museum":552,"description":2401,"tags":2402,"thumbUrl":2403,"material":59,"size":59,"collection":59,"collections":2404,"showCount":2396,"zanCount":43,"manualWeight":43,"mainColor":64},233909,"hua-hui-shan-shui-ce-yun-shou-ping-233909","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。",[25,26,53,29,54,243,7,160,1073,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6174e80dbb9482ece91dbfbb01b8787f.jpg",[],{"id":2406,"slug":2407,"title":2408,"dynasty":369,"author":201,"museum":2409,"description":2410,"tags":2411,"thumbUrl":2412,"material":37,"size":59,"collection":39,"collections":2413,"showCount":2396,"zanCount":511,"manualWeight":43,"mainColor":44},219575,"zhu-lin-shi-nv-tu-yi-ming-219575","竹林仕女图","费城艺术博物馆","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。",[24,25,26,28,29,30,31,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11033c937ae94ae2e0cc9b0a16169bd3.jpg",[39],{"id":2415,"slug":2416,"title":2417,"dynasty":69,"author":2418,"museum":112,"description":2419,"tags":2420,"thumbUrl":2422,"material":262,"size":2423,"collection":122,"collections":2424,"showCount":2396,"zanCount":43,"manualWeight":43,"mainColor":64},219519,"qin-he-tu-wen-zheng-ming-219519","琴鹤图","文徵明","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。",[25,26,29,28,77,78,79,30,81,135,675,2421,2352,7],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[122],{"id":2426,"slug":2427,"title":2428,"dynasty":69,"author":70,"museum":20,"description":2429,"tags":2430,"thumbUrl":2432,"material":327,"size":2433,"collection":59,"collections":2434,"showCount":2435,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[23,25,29,27,28,75,117,189,374,7,243,153,2431],"丹桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69bac105908ae029d92cf2cc1b6e776.jpg","288.5X106.3\u002F397.1x127.4厘米",[],129,{"id":2437,"slug":2438,"title":2439,"dynasty":369,"author":201,"museum":150,"description":2440,"tags":2441,"thumbUrl":2442,"material":37,"size":2443,"collection":497,"collections":2444,"showCount":2445,"zanCount":209,"manualWeight":43,"mainColor":44},218600,"jiang-fei-wan-yue-tu-yi-ming-218600","江妃玩月图","月色如练，泼洒在虬枝瘦干间。墨笔勾勒的树影横斜，嶙峋枝干似在夜风中轻语。凭栏处，佳人衣袂翩然，或执扇凝睇，或侧首听月，身影与疏枝、栏杆相映成趣。夜的清寂被月色化开，淡墨晕染出朦胧意蕴，每一处线条都简劲有致，藏着宋人笔墨的雅致风骨。无需浓妆艳抹，仅以素淡之笔，便将玩月的悠然、月夜的幽远揉成一幅清绝画境，让人在静默中触碰到那份穿越时光的古雅与深情。",[23,25,26,55,434,30,31,864,134,277,1231,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbdeecfafad713f88037a5c5c52fa50.jpg","25.4x24.8",[497],127,{"id":2447,"slug":2448,"title":2449,"dynasty":18,"author":169,"museum":874,"description":2450,"tags":2451,"thumbUrl":2452,"material":58,"size":2453,"collection":59,"collections":2454,"showCount":2445,"zanCount":43,"manualWeight":43,"mainColor":64},214883,"shan-shui-tu-ce-8-shi-tao-214883","山水图册-8","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,25,55,75,53,79,77,80,277,30,7,134,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7ef45c74e90c04ee9fc52e892419d2.jpg","20.3x27.5cm",[],{"id":2456,"slug":2457,"title":2458,"dynasty":148,"author":893,"museum":112,"description":2459,"tags":2460,"thumbUrl":2462,"material":37,"size":2463,"collection":39,"collections":2464,"showCount":2465,"zanCount":43,"manualWeight":43,"mainColor":64},219444,"lu-tong-peng-cha-tu-qian-xuan-219444","卢仝烹茶图","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。",[25,26,27,29,28,30,2461,7,34,79,78],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc5d62829496182e3834aaa1c88ab2a.jpg","128.7x37.3",[39],125,{"id":2467,"slug":2468,"title":2469,"dynasty":369,"author":2470,"museum":112,"description":2471,"tags":2472,"thumbUrl":2473,"material":37,"size":2474,"collection":88,"collections":2475,"showCount":2465,"zanCount":209,"manualWeight":43,"mainColor":44},218960,"peng-chuang-shui-qi-tu-zhao-gou-218960","蓬窗睡起图","赵构","温暖的春风吹拂着湖面，拂动着岩石岸边的两棵柳树的叶子。在岩石岸边，一艘独木舟漂浮在波浪上，船上的渔夫睡得很好，春风挑逗着他，他满足地伸了个懒腰",[23,25,26,55,80,85,134,7,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7141fb523a170d6777a1b10dd60a535.jpg","24.8x52.3",[88],{"id":2477,"slug":2478,"title":2479,"dynasty":18,"author":214,"museum":112,"description":2480,"tags":2481,"thumbUrl":2482,"material":58,"size":59,"collection":59,"collections":2483,"showCount":2465,"zanCount":511,"manualWeight":43,"mainColor":64},214850,"xie-sheng-ce-13-hua-yan-214850","写生册-13","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[25,26,53,55,29,56,1628,435,662,541,7,493,1136,906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5365c66340a204067495a18471d8430a.jpg",[],{"id":2485,"slug":2486,"title":2487,"dynasty":18,"author":2488,"museum":552,"description":2489,"tags":2490,"thumbUrl":2491,"material":641,"size":642,"collection":60,"collections":2492,"showCount":2493,"zanCount":511,"manualWeight":43,"mainColor":64},239081,"si-ji-hua-hui-ping-zhang-xiong-239081","四季花卉屏","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[25,29,28,56,7,243,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a972c0e37f7684a3d727f061a740104.jpg",[60,105],123,{"id":2495,"slug":2496,"title":2497,"dynasty":18,"author":697,"museum":552,"description":2498,"tags":2499,"thumbUrl":2500,"material":59,"size":59,"collection":59,"collections":2501,"showCount":2493,"zanCount":43,"manualWeight":43,"mainColor":64},224379,"hua-hui-qi-shi-ce-shi-er-kai-9-ju-lian-224379","花卉奇石册-十二开-9","此作以清供小品入画，湖石以淡墨枯笔皴擦勾勒，朴拙空灵，带着苍古沉静的质感。蚌壳盛着素白茉莉，花瓣晕染柔润饱满，似将幽微花香凝于绢面。石畔垂悬的圆叶小花，以青绿轻敷鲜活透亮，柔润花叶和苍劲湖石形成刚柔对照。\n没骨笔法细腻写实，设色明秀淡雅，将案头闲情雅致尽皆铺展，把寻常清玩绘出隽永诗意，尽显文人心底的幽居雅趣。",[23,25,26,53,29,28,7,243,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca79a5b6e1c9fa0841b71698cbf4c7c.jpg",[],{"id":2503,"slug":2504,"title":2505,"dynasty":69,"author":2506,"museum":112,"description":2507,"tags":2508,"thumbUrl":2509,"material":37,"size":2510,"collection":60,"collections":2511,"showCount":2493,"zanCount":209,"manualWeight":43,"mainColor":64},219526,"hua-die-tu-wen-chu-219526","花蝶图","文俶","以水墨晕染湖石，嶙峋苍古，苔点缀饰更添朴拙意趣。萱花挺然而立，淡墨勾茎，朱红逐层点染花瓣，柔妍舒展，浅绿草叶衬其娇态。粉蝶振翅翩跹，翅翼晕透清浅绿意，灵动似逐香而来。\n整幅设色明丽温婉，笔法细秀工致，揉合工笔精巧与文人写意的雅致，将花草柔妍与湖石朴拙相映成趣，把初夏小景晕染得生机清逸，淡冶宜人，尽抒细腻柔婉的闺中情思。",[25,26,27,29,28,56,7,2204,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576da20624683bb4876eb7e480a8d79c.jpg","149.3x47厘米",[60],{"id":2513,"slug":2514,"title":2515,"dynasty":69,"author":1018,"museum":112,"description":2516,"tags":2517,"thumbUrl":2518,"material":37,"size":2519,"collection":60,"collections":2520,"showCount":2521,"zanCount":209,"manualWeight":43,"mainColor":44},222397,"xing-hua-kong-que-tu-lv-ji-222397","杏花孔雀图","此画属于吕纪工笔花鸟画的代表作品，右方署款「吕纪」，钤盖「四明吕廷振印」一方。画中描绘一对孔雀在杏花树下栖息的景况。位于画面中央的孔雀单脚伫立于岩石上，回首注视绽放的红色牡丹，另一只孔雀则蜷伏石上，观察地面景况。画中的孔雀、杏花、牡丹等象征着吉祥意味。杏花以白色、粉赭色系颜料敷染，牡丹花及孔雀则使用浓重的赭红色，与石青、石绿的颜料搭配，充满着富贵绮丽的装饰性。",[23,25,26,27,29,28,56,1495,1871,191,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7b2db4a8d4bb0924c74e8de14dc43d.jpg","纵203.4厘米，横110.6厘米",[60,105],122,{"id":2523,"slug":2524,"title":2525,"dynasty":69,"author":2526,"museum":112,"description":2527,"tags":2528,"thumbUrl":2529,"material":37,"size":2530,"collection":60,"collections":2531,"showCount":2532,"zanCount":209,"manualWeight":43,"mainColor":44},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","边文进","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[23,25,28,29,27,56,715,32,187,374,153,7,493,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[60,105],121,{"id":2534,"slug":2535,"title":2536,"dynasty":148,"author":256,"museum":150,"description":2537,"tags":2538,"thumbUrl":2539,"material":262,"size":59,"collection":88,"collections":2540,"showCount":2532,"zanCount":209,"manualWeight":43,"mainColor":44},217218,"gu-mu-cong-huang-tu-ni-zan-217218","古木丛篁图","倪瓒是一位非常有才华的画家，他在元朝时期担任过官员，同时也是一位著名的画家。他的古木丛篁图是他的代表作之一，被广泛认为是元朝画坛上的杰出作品。这幅图画的是一片树木茂密的森林，画面上的树木都长得非常壮观，给人以深深的感觉。倪瓒在画这幅图的时候，非常注重细节，每一棵树都绘制得非常精细。在这幅图中，倪瓒还表现出了树木之间的相互依存关系，这使得这幅图显得更加生动。",[23,25,55,26,27,434,77,75,134,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9485a61ec295472a35cd5b4873278e45.jpg",[88],{"id":2542,"slug":2543,"title":2544,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":2545,"thumbUrl":2546,"material":641,"size":642,"collection":59,"collections":2547,"showCount":2548,"zanCount":511,"manualWeight":43,"mainColor":64},289981,"mei-hua-tu-li-zhou-wu-chang-shuo-289981","梅花图立轴",[23,25,27,55,29,187,715,7,56,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064a0d9d4e3f29549f1c436bae20a6d3.jpg",[],120,{"id":2550,"slug":2551,"title":1299,"dynasty":18,"author":2552,"museum":552,"description":2553,"tags":2554,"thumbUrl":2556,"material":641,"size":642,"collection":59,"collections":2557,"showCount":2548,"zanCount":511,"manualWeight":43,"mainColor":64},283778,"shi-nv-tu-wu-ying-zhen-283778","吴应贞","女。字含五，江苏吴江人，适同邑赵氏。工写生，风神婉约，自是闺房之秀。",[25,24,29,28,30,31,7,2555,27,79],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55007fbc6c66e7d3ac331b04cbec31f.jpg",[],{"id":2559,"slug":2560,"title":2561,"dynasty":18,"author":201,"museum":552,"description":2562,"tags":2563,"thumbUrl":2564,"material":59,"size":59,"collection":59,"collections":2565,"showCount":2548,"zanCount":209,"manualWeight":43,"mainColor":64},239214,"zhao-zhi-qian-mu-dan-tu-zhou-yi-ming-239214","赵之谦牡丹图轴","此作兼工带写，以淡墨绘枯木顽石，焦墨点苔晕出水墨层次。粉牡丹柔妍灵动，花瓣从淡粉晕染至绯色，金黄花芯点簇鲜活。蓝叶以没骨法晕开，色韵清透雅致。右上角行书题笔苍劲朴拙，诗画相映。\n\n花木娇柔与湖石浑朴刚硬形成鲜明对照，刚柔并济，尽显文人写意意趣，将初夏庭间牡丹倚石盛放的清寂雅致铺展开来。笔意纵逸随性，设色秀而不媚，尽显晚清写意花鸟的典型风貌，借花石传递出悠然古淡的文人情致。",[25,27,29,56,191,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10e1ffe0de8cd4eac0f7a47ebe7cb28.jpg",[],{"id":2567,"slug":2568,"title":2569,"dynasty":69,"author":431,"museum":20,"description":2570,"tags":2571,"thumbUrl":2572,"material":53,"size":59,"collection":60,"collections":2573,"showCount":2548,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[25,26,53,29,28,56,7,157,1136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852ddfb4bab4ecb9d65b1c1507a19737.jpg",[60,105],{"id":2575,"slug":2576,"title":2577,"dynasty":148,"author":1930,"museum":71,"description":2578,"tags":2579,"thumbUrl":2580,"material":1106,"size":2581,"collection":60,"collections":2582,"showCount":2548,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,148,25,26,27,28,29,56,1187,32,7,153,456,259,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[60,105],{"id":2584,"slug":2585,"title":2586,"dynasty":69,"author":238,"museum":150,"description":2587,"tags":2588,"thumbUrl":2589,"material":37,"size":2590,"collection":88,"collections":2591,"showCount":2548,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,24,26,53,76,28,29,80,153,7,82,134,260,259,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[88,39],{"id":2593,"slug":2594,"title":2595,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":2596,"thumbUrl":2597,"material":641,"size":642,"collection":59,"collections":2598,"showCount":2599,"zanCount":43,"manualWeight":43,"mainColor":64},289648,"ju-hua-tu-li-zhou-wu-chang-shuo-289648","菊花图立轴",[23,25,26,27,29,56,189,7,79,77,577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17b0b195545b21cb0c63067b6bbe12e1.jpg",[],119,{"id":2601,"slug":2602,"title":2603,"dynasty":18,"author":475,"museum":552,"description":638,"tags":2604,"thumbUrl":2605,"material":641,"size":642,"collection":59,"collections":2606,"showCount":2599,"zanCount":43,"manualWeight":43,"mainColor":64},283659,"he-fu-tu-zhou-zhu-da-283659","荷凫图轴",[23,24,25,27,55,56,445,7,153,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c68a231a7e3a42dd7d6c86993a9c7f.jpg",[],{"id":2608,"slug":2609,"title":2610,"dynasty":369,"author":711,"museum":847,"description":2611,"tags":2612,"thumbUrl":2615,"material":29,"size":2616,"collection":497,"collections":2617,"showCount":2599,"zanCount":511,"manualWeight":43,"mainColor":44},221525,"song-shou-tu-ma-yuan-221525","松寿图","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[23,25,26,27,29,80,30,75,260,135,2613,2614,1073,134,7],"童子","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[497,88,122],{"id":2619,"slug":2620,"title":200,"dynasty":148,"author":2621,"museum":112,"description":2622,"tags":2623,"thumbUrl":2624,"material":262,"size":2625,"collection":60,"collections":2626,"showCount":2599,"zanCount":43,"manualWeight":43,"mainColor":64},219386,"zhu-shi-tu-guan-dao-sheng-219386","管道升","土坡上立一奇石，左边是一高一低，一浓一淡两竿修竹，右下是一丛竹叶。竹叶上挺，谓之“晴竹”，画时下笔须略带逆势藏锋，然后以中锋重按掠去，至叶尖处疾挑而出。梢头结顶，挑出时尤须注意左右顾盼，姿态生动。",[25,24,26,27,55,32,7,78,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97662080d58fa53960826604bfe1a32f.jpg","纵87.1厘米，横28.7厘米",[60],{"id":2628,"slug":2629,"title":2630,"dynasty":18,"author":214,"museum":170,"description":336,"tags":2631,"thumbUrl":2632,"material":327,"size":340,"collection":59,"collections":2633,"showCount":2599,"zanCount":43,"manualWeight":43,"mainColor":44},214359,"san-jue-shan-shui-ce-5-hua-yan-214359","三绝山水册-5",[23,25,55,273,75,53,260,116,7,30,135,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2278d8fef17ce39c9b91175a537f50d.jpg",[],{"id":2635,"slug":2636,"title":2637,"dynasty":18,"author":49,"museum":112,"description":2638,"tags":2639,"thumbUrl":2640,"material":58,"size":2641,"collection":59,"collections":2642,"showCount":2643,"zanCount":209,"manualWeight":43,"mainColor":64},287445,"qiao-ke-xiu-zhu-tu-yun-shou-ping-287445","乔柯修竹图","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。",[24,25,26,27,55,29,134,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2a4a5bac926514b0d81e6b64ae1eed.jpg","101.6x47.8",[],118,{"id":2645,"slug":2646,"title":2647,"dynasty":148,"author":256,"museum":112,"description":2648,"tags":2649,"thumbUrl":2650,"material":327,"size":2651,"collection":122,"collections":2652,"showCount":2643,"zanCount":43,"manualWeight":43,"mainColor":44},220792,"gu-mu-zhu-shi-tu-zhou-ni-zan-220792","古木竹石图轴","《古木竹石图轴》绘坡石间疏竹数丛，枯树两株，笔墨浓淡相间，富有层次感，境界清旷，意境简远，呈现出一片清静幽远的气象。画轴上方有元明余诠、唐肃、高巽志、于思缉、张简、吴卢充、王璲等七处题诗。",[23,25,26,27,55,75,7,32,134,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575c01e50d18d2d517bef35aebf5ff48.jpg","47x27.4",[122,411],{"id":2654,"slug":2655,"title":2656,"dynasty":69,"author":238,"museum":150,"description":2657,"tags":2658,"thumbUrl":2659,"material":262,"size":59,"collection":39,"collections":2660,"showCount":2643,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[25,26,27,28,55,29,30,307,2421,7,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e410afa50f999f6c817fada7ee75f.jpg",[39],{"id":2662,"slug":2663,"title":2664,"dynasty":148,"author":256,"museum":552,"description":2665,"tags":2666,"thumbUrl":2668,"material":641,"size":642,"collection":59,"collections":2669,"showCount":2670,"zanCount":511,"manualWeight":43,"mainColor":64},290911,"tong-lu-qing-qin-zhou-ni-zan-290911","桐露清琴轴","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[24,25,55,27,80,133,7,2667,79,77,716],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25266acd1f692249a38a65cbc9d8fa.jpg",[],117,{"id":2672,"slug":2673,"title":2674,"dynasty":69,"author":431,"museum":71,"description":2675,"tags":2676,"thumbUrl":2678,"material":2679,"size":2680,"collection":39,"collections":2681,"showCount":2670,"zanCount":178,"manualWeight":43,"mainColor":44},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》。",[25,26,27,29,28,30,31,2677,243,7],"花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113668156e4a80c8b3cb0d089b3479d4.jpg","绢本 ，设色","纵173.5cm，横95.3cm",[39],{"id":2683,"slug":2684,"title":2685,"dynasty":18,"author":672,"museum":112,"description":2686,"tags":2687,"thumbUrl":2689,"material":2690,"size":2691,"collection":60,"collections":2692,"showCount":2670,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[27,28,29,101,2688,260,134,291,160,7,79],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d9b7654a0339edd6a81f4425fe0115.jpg","绢本 设色","每幅纵246.6厘米，横163.9厘米",[60,105],{"id":2694,"slug":2695,"title":2696,"dynasty":369,"author":201,"museum":112,"description":2697,"tags":2698,"thumbUrl":2700,"material":37,"size":2701,"collection":60,"collections":2702,"showCount":2670,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[369,2699,29,56,1187,291,7,541,53,28],"绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb50574abd884824c93c805bfc865464.jpg","23.1x21.1cm",[60],{"id":2704,"slug":2705,"title":2706,"dynasty":18,"author":475,"museum":552,"description":2707,"tags":2708,"thumbUrl":2710,"material":59,"size":59,"collection":59,"collections":2711,"showCount":2712,"zanCount":43,"manualWeight":43,"mainColor":64},230279,"yang-liu-yu-qin-tu-zhou-zhu-da-230279","杨柳浴禽图轴","《朱耷杨柳浴禽图轴》是清代朱耷创作的一幅画。\n本幅自识：“癸未冬日写，八大山人。\n”钤“八大山人”、“何园”、“真赏”印。\n“癸未”是康熙四十二年（17年）。\n鉴 ：“白门李氏珍藏”、“米舫平生之真赏”。\n裱边有狄平子题记二则，钤“狄平子”印等。\n此图是朱耷8岁所作。\n风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。\n此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。\n八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[23,25,26,27,55,173,56,7,2709,153,79],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919edce87f0eaaf6b6bab59b57d7634d.jpg",[],116,{"id":2714,"slug":2715,"title":2716,"dynasty":18,"author":551,"museum":71,"description":2717,"tags":2718,"thumbUrl":2719,"material":2720,"size":2721,"collection":60,"collections":2722,"showCount":2723,"zanCount":511,"manualWeight":43,"mainColor":64},236754,"mu-dan-shui-xian-tu-zhou-wu-chang-shuo-236754","牡丹水仙图轴","图中牡丹以没骨积染法刻画，笔致潇洒飘逸，水与墨、色有机地交融，表现出牡丹旺盛的生命力和贵而不骄、艳而不俗的神韵。水仙以白描双勾法刻画，其不着一色的叶片与浓艳的牡丹相比具有洗尽铅华始见真的淡雅之美。生机勃发的牡丹和水仙营造出喜庆祥和的氛围，成功地表达了作者以此图祝福长辈健康长寿的主题，当属吴昌硕花卉画的代表作之一。",[25,27,55,173,191,174,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e4f3d78148a5c14ce790f58f1d5d01.jpg","洒金，设色","纵174.7厘米，横47.5厘米",[60,122],115,{"id":2725,"slug":2726,"title":100,"dynasty":18,"author":96,"museum":130,"description":2727,"tags":2728,"thumbUrl":2729,"material":507,"size":2730,"collection":59,"collections":2731,"showCount":2723,"zanCount":43,"manualWeight":43,"mainColor":64},223235,"mao-ren-yi-223235","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,25,29,55,746,100,99,493,160,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3992e488d1b2dab6e076bb2a4b4a642e.jpg","150cmx40cm",[],{"id":2733,"slug":2734,"title":2735,"dynasty":369,"author":1321,"museum":112,"description":2736,"tags":2737,"thumbUrl":2738,"material":37,"size":2739,"collection":88,"collections":2740,"showCount":2723,"zanCount":178,"manualWeight":43,"mainColor":44},218530,"tian-bao-jiu-ru-tu-liu-song-nian-218530","天保九如图","此卷是刘松年所作，画风精细，似乎是在文征明之后，卷首有宋高宗的题词，但不是真迹。",[23,25,26,74,862,29,28,75,80,242,349,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4c2a25e8fe1441ec33f5a675e61a18.jpg","53.8x302.2cm",[88],{"id":2742,"slug":2743,"title":2744,"dynasty":18,"author":201,"museum":184,"description":2745,"tags":2746,"thumbUrl":2747,"material":37,"size":2748,"collection":60,"collections":2749,"showCount":2723,"zanCount":43,"manualWeight":43,"mainColor":44},216675,"zhu-que-tu-yi-ming-216675","竹雀图","竹雀图是一幅出自清朝佚名画家之手的名画。这幅画描绘了一只竹雀和一些竹子的景象。竹雀图以其细腻的线条和精确的造型而闻名，代表了清朝时期中国画的高超技艺。此外，竹雀图还被认为是一幅充满寓意的画作，象征着含蓄、谦虚和高尚的品质。",[25,26,27,29,28,56,32,374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af219407ce773a050075d6ae42b557d.jpg","128x29cm",[60],{"id":2751,"slug":2752,"title":2753,"dynasty":69,"author":1184,"museum":20,"description":2754,"tags":2755,"thumbUrl":2757,"material":2758,"size":2759,"collection":59,"collections":2760,"showCount":2761,"zanCount":209,"manualWeight":43,"mainColor":64},232644,"hua-shan-tu-tang-yin-232644","华山图","唐伯虎才气横溢，但并不风流，他的诗、书、画被称为三绝，在绘画上，唐寅擅长山水，又工画人物，尤其是精于仕女，画风既工整秀丽，又潇洒飘逸，被称为“唐画”，为后人所推崇。书法源自赵孟頫一体，俊逸秀挺，颇见功夫。此外，他还能作曲，多采民歌形式。如此多才，明代文人中是少见的。\n唐寅早期绘画，“远攻李唐”、“近交沈周”。早期拜吴门画派创始人沈周为师。沈周和周臣都是当时苏州名画家，沈以元人画为宗，周则以南宋院画为师，这是明代两大画派，唐寅虽师周臣，却有胜蓝之誉。唐寅兼其所长，在南宋风格中融元人笔法，一时突飞猛进，以至超越老师周臣，名声大振。",[25,55,75,29,80,135,116,81,82,84,7,2351,2756],"山间建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe916074f76617bd5a06b97eccc3110f2.jpg","纸本浅设色","116.4x41.4厘米",[],114,{"id":2763,"slug":2764,"title":2765,"dynasty":69,"author":1264,"museum":552,"description":2766,"tags":2767,"thumbUrl":2768,"material":59,"size":59,"collection":59,"collections":2769,"showCount":2761,"zanCount":511,"manualWeight":43,"mainColor":64},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,25,26,74,55,173,79,78,187,188,32,189,33,191,174,396,676,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],{"id":2771,"slug":2772,"title":2773,"dynasty":369,"author":2257,"museum":2774,"description":2775,"tags":2776,"thumbUrl":2778,"material":205,"size":2779,"collection":60,"collections":2780,"showCount":2761,"zanCount":511,"manualWeight":43,"mainColor":44},218980,"hu-tu-mu-xi-218980","虎图","印第安纳波利斯艺术博物馆","简淡墨线勾出虎的轮廓，鬃毛与斑纹以淡墨晕染，不追形似却藏沉雄气。虎身微俯，双目半阖，似对脚下枯枝荒草凝思，又若沉入自心的寂定。寥寥几笔的背景，枯枝斜逸，荒草疏疏，留白处漾着空寂禅意。没有猛兽的暴戾张扬，只有禅者的静默观照——牧溪以禅心驭笔，将野性化为内在静定，让画面漫出冲淡平和的韵致，仿佛能嗅到山野清寂，触到那份不扰不惊的禅味，于简素中见深幽，于静默里藏万钧。",[23,25,55,27,2777,101,1579,7,75],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72ce90985e025abbe4fdc39118c3cf7.jpg","101.7x49.5cm",[60],{"id":2782,"slug":2783,"title":2784,"dynasty":18,"author":2785,"museum":552,"description":2786,"tags":2787,"thumbUrl":2788,"material":59,"size":59,"collection":60,"collections":2789,"showCount":2790,"zanCount":209,"manualWeight":43,"mainColor":64},238193,"wan-shou-chang-chun-ce-wang-cheng-pei-238193","万寿长春册","汪承霈","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[25,29,28,56,191,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9204c9b628002d3a076dd544d5ad19.jpg",[60,105],113,{"id":2792,"slug":2793,"title":2056,"dynasty":18,"author":475,"museum":552,"description":2057,"tags":2794,"thumbUrl":2795,"material":641,"size":642,"collection":59,"collections":2796,"showCount":2797,"zanCount":43,"manualWeight":43,"mainColor":64},288642,"gu-mu-shuang-ying-tu-zhu-da-288642",[25,55,56,27,2059,1579,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fee060243313bb3c67fb5a481c6693.jpg",[],112,{"id":2799,"slug":2800,"title":2801,"dynasty":769,"author":2802,"museum":552,"description":2803,"tags":2804,"thumbUrl":2808,"material":641,"size":642,"collection":59,"collections":2809,"showCount":2797,"zanCount":43,"manualWeight":43,"mainColor":64},283788,"shuang-gou-zhi-lan-tu-lai-chu-sheng-283788","双钩芝兰图","来楚生","此作兼工带写，朱砂点染灵芝，秾丽鲜活，似凝着朝露生机。双钩兰叶以清劲线条勾勒，舒展挺拔，柔韧芝草与挺秀兰叶相映成趣。灵石以淡赭晕染、墨色皴擦，写意空灵，与花草形成刚柔对照。\n左上题字古拙朴茂，笔墨苍劲，书画相融，将祥瑞芝草与清雅幽兰相合，跳出题材俗套，尽显清隽雅致的文人意趣，笔底带着金石韵味，雅致脱俗，是写意与工致的绝佳融合。",[25,26,27,29,2805,28,1969,2806,2807,7,77,79],"双钩","灵芝","兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b3761fd32db867ee4ee6f60d14068ee.jpg",[],{"id":2811,"slug":2812,"title":892,"dynasty":369,"author":201,"museum":112,"description":2813,"tags":2814,"thumbUrl":2815,"material":37,"size":2816,"collection":497,"collections":2817,"showCount":2818,"zanCount":511,"manualWeight":43,"mainColor":64},218814,"shan-ju-tu-yi-ming-218814","这幅画描绘了一个僻静的山间小屋，村子里的一家人正在享受着秋冬季节树上落下的叶子。这幅画表现的是山中民居的一角，没有任何细致的景物，但笔触轻盈，缺乏宋代的气氛。",[23,25,55,80,75,133,115,338,2352,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2924421e597798386d1aab5272a02a28.jpg","25.1x26.4",[497],111,{"id":2820,"slug":2821,"title":2822,"dynasty":369,"author":1908,"museum":184,"description":2823,"tags":2824,"thumbUrl":2825,"material":37,"size":59,"collection":88,"collections":2826,"showCount":2827,"zanCount":511,"manualWeight":43,"mainColor":44},219476,"lin-quan-gao-yi-tu-li-tang-219476","林泉高逸图","此作以苍古之笔写林泉幽居，虬松蟠曲如铁，山石以斧劈皴挥就，棱角硬朗，带着雄浑峭拔的山野之气。林间水雾暗生，衬出空山清寂。静坐松下的高士，衣纹简括悠然，侍立童子低眉敛目，一动一静，将林下雅逸的襟怀铺陈开来。\n笔墨老辣洗练，以浓淡墨色晕染出山林层次，把文人寄情丘壑、放意林泉的隐逸高致，融在萧寒清旷的景致之中，尽显静谧淡远的林下风流。",[25,26,24,80,30,134,1231,82,7,75,55,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7964575762451efa5aa4d3c00822997d.jpg",[88],110,{"id":2829,"slug":2830,"title":2831,"dynasty":18,"author":214,"museum":2832,"description":2833,"tags":2834,"thumbUrl":2835,"material":58,"size":2836,"collection":60,"collections":2837,"showCount":2827,"zanCount":209,"manualWeight":43,"mainColor":44},218733,"mei-zhu-chun-yin-tu-hua-yan-218733","梅竹春音图","安徽省博物馆","这幅画描绘了一块形状奇特的湖石，靠着湖石生长的翠竹棚，枝条修长，叶子翠绿繁茂，枝头上有两只鸟儿相望；一枝梅花从上往下画，枝头上的花朵灿烂开放，枝头上的鸟儿张着嘴叫，尾巴上的羽毛色彩斑斓，十分可爱。",[23,25,26,27,29,28,173,187,32,374,56,7,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3608b75058516a170e9b3e032d2de3.jpg","132.5×45.5cm",[60],{"id":2839,"slug":2840,"title":846,"dynasty":369,"author":711,"museum":552,"description":2841,"tags":2842,"thumbUrl":2843,"material":37,"size":59,"collection":60,"collections":2844,"showCount":2827,"zanCount":511,"manualWeight":43,"mainColor":44},218548,"han-ya-tu-ma-yuan-218548","枯枝虬曲如铁线，从绢本深褐底色中挣出清劲骨力，枝桠间寒鸦三两：或敛翅栖于梢头，墨羽浓淡晕染出绒绒暖意；或振翅欲飞，翅尖的墨痕似带起微凉的风。远处坡岸简笔勾勒，留白处恍若覆雪，荒寒之意漫开。\n\n马远以边角之景造阔远之境，此图疏枝横斜间，寒鸦的灵动破开冬日沉寂。线条挺健如老松，墨韵含蓄似淡诗，将霜天清寂与生命鲜活揉作一处。展卷时，仿佛能嗅到冷冽空气里的松针香，又被寒鸦轻啼牵起一丝暖意——宋人笔墨的雅致与深情，尽在这方寸绢素中流转。",[23,24,25,26,53,55,75,153,1231,134,7,80,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaea5df84a8c9f6ef5813d9284515ec0.jpg",[60],{"id":2846,"slug":2847,"title":2848,"dynasty":69,"author":70,"museum":112,"description":2849,"tags":2850,"thumbUrl":2852,"material":262,"size":2853,"collection":59,"collections":2854,"showCount":2855,"zanCount":209,"manualWeight":43,"mainColor":64},290891,"zhi-lan-yu-shu-zhou-shen-zhou-290891","芝兰玉树轴","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[24,25,26,27,55,56,7,188,2806,2851,77,79],"玉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d8db4644e33e6d7d4ebeeb78d46c3f.jpg","135.1x55.8",[],109,{"id":2857,"slug":2858,"title":2859,"dynasty":69,"author":70,"museum":2832,"description":2860,"tags":2861,"thumbUrl":2863,"material":678,"size":2864,"collection":60,"collections":2865,"showCount":2855,"zanCount":511,"manualWeight":43,"mainColor":44},222117,"chun-xuan-tu-shen-zhou-222117","椿萱图","此画的主体为椿萱，双钩设色。图绘千年椿树高大挺拔，枝叶繁茂；树下奇石玲珑，兰草丛生；萱草清柔透明，婀娜多姿；花朵妍丽娇嫩，宛如美女横波微盼。图右上角行书自题七律一首曰：“灵椿寿及八千岁，萱草同生寿亦同。白发高堂进春酒，凤凰飞下影云中。沈周”钤朱文 “沈氏启南”印、白文 “白石翁”印。沈周是个孝子，51岁时其父去世，一直留家照顾母亲，这也是他多次婉辞出仕的理由。其母99岁去世后，他多次创作思萱题材以怀念母亲。\n古代传说大椿长寿，庄子曾经说过“上古有大椿者，以八千岁为春，八千岁为秋”，可见它有多么长寿。因此古人就把它拿来比喻父亲，盼望父亲像大椿一样长生不老。后来为一切男性长辈祝寿，都尊称对方为“椿寿”。又因为当年孔子的儿子孔鲤怕打扰父亲思考问题，“趋庭而过”，快步走过自家的庭院，因此古人就把“椿”和“庭”合起来称“椿庭”，称父亲为“椿庭”。古人不单独把父亲称为“椿”，那毕竟是一棵树，而是称为“椿庭”。将“椿”、“萱”合称“椿萱”即代指父母，父母都健在称为“椿萱并茂”，前引“堂上椿萱雪满头”的诗句就是形容父母都老了，头发都白了。",[23,25,29,28,134,2862,7],"萱草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa835837569826e86e816c94d9ef1b7d0.jpg","纵170.9厘米，横92.8厘米",[60,105],{"id":2867,"slug":2868,"title":502,"dynasty":69,"author":1505,"museum":71,"description":2869,"tags":2870,"thumbUrl":2871,"material":327,"size":2872,"collection":88,"collections":2873,"showCount":2874,"zanCount":511,"manualWeight":43,"mainColor":64},220918,"shan-shui-ce-dong-qi-chang-220918","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,25,55,75,53,77,78,79,80,115,338,117,826,7,136,1911,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[88,122],108,{"id":2876,"slug":2877,"title":2878,"dynasty":769,"author":2879,"museum":2880,"description":2881,"tags":2882,"thumbUrl":2889,"material":59,"size":59,"collection":59,"collections":2890,"showCount":2874,"zanCount":511,"manualWeight":43,"mainColor":64},220491,"zhang-da-qian-yang-xiong-du-shu-tu-zhang-da-qian-220491","张大千杨雄读书图","张大千","四川博物院","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。",[23,25,26,27,55,28,30,7,134,2883,2884,2885,2886,2887,2888,1302],"典籍","笔","墨","纸","砚","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb9c04228945a41faa0f8502855c33b.jpg",[],{"id":2892,"slug":2893,"title":2894,"dynasty":369,"author":711,"museum":2895,"description":2896,"tags":2897,"thumbUrl":2898,"material":37,"size":2899,"collection":60,"collections":2900,"showCount":2874,"zanCount":209,"manualWeight":43,"mainColor":1551},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。",[23,24,25,26,55,29,80,187,7,1231,134,28,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2985d0d4a51d33cf93ad74d8c4c3a87b.jpg","横46.99纵80.01cm",[60,88],{"id":2902,"slug":2903,"title":2904,"dynasty":18,"author":475,"museum":552,"description":638,"tags":2905,"thumbUrl":2906,"material":641,"size":642,"collection":59,"collections":2907,"showCount":2908,"zanCount":43,"manualWeight":43,"mainColor":64},283660,"gu-bai-shuang-qin-tu-zhou-zhu-da-283660","古柏双禽图轴",[23,25,24,27,55,56,134,153,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0311e7b30ddf2cabaf3bd0c4bbc710bd.jpg",[],107,{"id":2910,"slug":2911,"title":1614,"dynasty":148,"author":2912,"museum":71,"description":2913,"tags":2914,"thumbUrl":2915,"material":313,"size":2916,"collection":122,"collections":2917,"showCount":2908,"zanCount":511,"manualWeight":43,"mainColor":44},221699,"zhu-shi-tu-zhou-gu-an-221699","顾安","该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[23,25,24,27,55,32,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff805e3a06970a6ba0a00217aa34855.jpg","170.7x99.7",[122,411],{"id":2919,"slug":2920,"title":2921,"dynasty":369,"author":1115,"museum":835,"description":2922,"tags":2923,"thumbUrl":2924,"material":678,"size":2925,"collection":497,"collections":2926,"showCount":2908,"zanCount":43,"manualWeight":43,"mainColor":64},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。”",[23,25,26,74,28,29,77,79,56,32,7,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","画心纵33.8厘米，横55.5厘米",[497,411],{"id":2928,"slug":2929,"title":2930,"dynasty":18,"author":49,"museum":552,"description":2638,"tags":2931,"thumbUrl":2932,"material":641,"size":642,"collection":59,"collections":2933,"showCount":2934,"zanCount":511,"manualWeight":43,"mainColor":44},290529,"zhu-bai-chang-chun-zhou-yun-shou-ping-290529","竹柏长春轴",[24,25,26,27,29,56,32,1052,7,243,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb714bb59defcdde65007397212cbb037.jpg",[],106,{"id":2936,"slug":2937,"title":2938,"dynasty":18,"author":672,"museum":112,"description":2939,"tags":2940,"thumbUrl":2942,"material":29,"size":2943,"collection":59,"collections":2944,"showCount":2934,"zanCount":43,"manualWeight":43,"mainColor":64},222753,"xian-e-chang-chun-tu-08a-ji-guan-hua-lang-shi-ning-222753","仙萼长春图-08a（鸡冠花）","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,228,25,26,56,28,29,2941,7,1136,293],"鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcd6f6155e0f1e2f0398d2738fe5f5a.jpg","宽28.4公分，高33.7公分",[],{"id":2946,"slug":2947,"title":2948,"dynasty":18,"author":672,"museum":112,"description":2939,"tags":2949,"thumbUrl":2951,"material":29,"size":2943,"collection":59,"collections":2952,"showCount":2934,"zanCount":511,"manualWeight":43,"mainColor":64},222741,"xian-e-chang-chun-tu-02a-shao-yao-lang-shi-ning-222741","仙萼长春图-02a（芍药）",[23,25,24,28,29,56,2950,291,292,493,7],"芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c91a3aea82e716ab6aa9b460afb178.jpg",[],{"id":2954,"slug":2955,"title":2956,"dynasty":369,"author":711,"museum":1060,"description":2957,"tags":2958,"thumbUrl":2960,"material":2961,"size":2962,"collection":497,"collections":2963,"showCount":2934,"zanCount":43,"manualWeight":43,"mainColor":44},221667,"dong-shan-du-shui-tu-ma-yuan-221667","洞山渡水图","为宋代画家马远绘制。描绘的是曹洞宗祖师洞山良价在云游途中，涉水之时见到自己水中之影而恍然大悟的一刹那，是为数不多的马远的真迹之一。原藏于圆明园，1860年火烧圆明园后被掠夺并流失海外，现收藏于日本东京国立博物馆。图上有南宋皇帝宋理宗的皇后杨妹子之题字。款识：携藤拔草胆风，未免登山涉水，不知触处皆渠，一见低头自喜。本与天龙寺所藏的云门大师图、清凉法眼禅师图同为描绘禅宗法师的画作之一。",[23,24,25,26,27,55,29,30,80,82,7,2959,75,78,79],"藤杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e95161b48bfccbab4bee9ff42ba247b.jpg","绢本墨画淡彩","纵77.6厘米，横33厘米",[497,88],{"id":2965,"slug":2966,"title":2967,"dynasty":369,"author":711,"museum":112,"description":2968,"tags":2969,"thumbUrl":2970,"material":29,"size":2971,"collection":497,"collections":2972,"showCount":2934,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,26,27,28,75,29,80,851,349,715,306,30,277,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[497,88,105],{"id":2974,"slug":2975,"title":200,"dynasty":148,"author":404,"museum":184,"description":2976,"tags":2977,"thumbUrl":2979,"material":37,"size":2980,"collection":60,"collections":2981,"showCount":2934,"zanCount":43,"manualWeight":43,"mainColor":64},218492,"zhu-shi-tu-wu-zhen-218492","墨竹以中锋运笔，瘦劲中含柔韧，竹叶如剑戟横斜，又似疾风翻卷，墨色浓淡相间，层次分明；石体则以淡墨晕染，辅以干笔皴擦，朴拙厚重中透出清逸之态。竹石相依，动静相生，既见自然野趣，又藏文人风骨——笔端流淌的不仅是水墨的韵律，更是君子坚韧高洁的精神写照。整幅画作简而不薄，意境悠远，尽显元人画中“以书入画”的雅致与隐逸情怀，笔墨间的生机与心性，似可穿越时空，与观者对话。",[23,24,25,26,55,173,32,7,78,79,2978],"元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c4598d701937861a6c59fad8d3c4f.jpg","37.5x94.5cm",[60],{"id":2983,"slug":2984,"title":2985,"dynasty":69,"author":1264,"museum":552,"description":2019,"tags":2986,"thumbUrl":2987,"material":641,"size":642,"collection":59,"collections":2988,"showCount":2989,"zanCount":209,"manualWeight":43,"mainColor":64},290557,"mu-dan-zhou-xu-wei-290557","牡丹轴",[25,27,55,26,56,191,32,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9487283bab61d433f887641040f025a9.jpg",[],105,{"id":2991,"slug":2992,"title":2993,"dynasty":369,"author":2994,"museum":552,"description":2995,"tags":2996,"thumbUrl":2997,"material":59,"size":59,"collection":59,"collections":2998,"showCount":2989,"zanCount":43,"manualWeight":43,"mainColor":143},227724,"zuo-kan-yun-qi-xia-gui-227724","坐看云起","夏圭","《坐看云起图》为南宋画家夏圭所绘。左侧山石处款署“夏圭”。\n图绘江流滚滚，一人坐于临江高台上，旁放一高杖。身后峭壁有一古松，盘虬曲折。\n\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,24,25,55,80,714,75,30,260,82,7,1911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8e1bea9257f9b429a7874901d3a2ca.jpg",[],{"id":3000,"slug":3001,"title":3002,"dynasty":18,"author":384,"museum":552,"description":606,"tags":3003,"thumbUrl":3004,"material":119,"size":59,"collection":60,"collections":3005,"showCount":2989,"zanCount":511,"manualWeight":43,"mainColor":64},223301,"zhu-shi-tu-zhou-3-zheng-ban-qiao-223301","竹石图轴3",[23,25,26,27,55,78,79,77,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f693b107ed41d72c1e72ff211b8570.jpg",[60,122],{"id":3007,"slug":3008,"title":3009,"dynasty":148,"author":997,"museum":112,"description":998,"tags":3010,"thumbUrl":3011,"material":119,"size":3012,"collection":122,"collections":3013,"showCount":2989,"zanCount":178,"manualWeight":43,"mainColor":44},220863,"shu-lin-xiu-shi-tu-zhao-meng-fu-220863","疏林秀石图",[23,25,26,27,55,75,78,79,134,7,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c43af0a92bd0ec53908bd0fc414eb3.jpg","纵27.5厘米，横62.8厘米",[122,411],{"id":3015,"slug":3016,"title":3017,"dynasty":18,"author":697,"museum":112,"description":3018,"tags":3019,"thumbUrl":3020,"material":58,"size":704,"collection":59,"collections":3021,"showCount":2989,"zanCount":511,"manualWeight":43,"mainColor":64},220332,"cao-chong-hua-hui-hu-shi-si-ping-ling-xiao-ju-lian-220332","草虫花卉湖石四屏-凌霄","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。",[23,25,24,27,29,28,191,700,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c30eb79bde7328d62f40006fb6c480.jpg",[],{"id":3023,"slug":3024,"title":3025,"dynasty":369,"author":201,"museum":112,"description":3026,"tags":3027,"thumbUrl":3028,"material":37,"size":59,"collection":88,"collections":3029,"showCount":2989,"zanCount":5,"manualWeight":43,"mainColor":44},218798,"gu-mu-zhu-shi-tu-yi-ming-218798","古木竹石图","这幅画显示了一块巨大的岩石，上面有两棵枯树和海滩上的两片新竹林。岩石用飞白画法，树木用篆书画法，以李国的蟹爪为树枝。树木和石头的笔触是动态的，与竹叶的笔触相映成趣，就像教堂字体的四肢，使这幅画成为书法的趣味。这是 历代绘画作品集 中的一幅画。",[23,24,25,26,55,75,1231,134,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e42937020f7b42fb8c718a993ded4.jpg",[88],{"id":3031,"slug":3032,"title":3033,"dynasty":18,"author":551,"museum":552,"description":3034,"tags":3035,"thumbUrl":3036,"material":59,"size":59,"collection":59,"collections":3037,"showCount":3038,"zanCount":511,"manualWeight":43,"mainColor":64},235233,"ju-shi-zhou-wu-chang-shuo-235233","菊石轴","此作用笔雄老苍劲，以篆籀之法入画，将金石意趣融于绘事。左侧狂草长题与右侧花木山石虚实相映，通篇气机贯通。泼墨写石，干湿浓墨晕染出嶙峋朴拙之态，淡墨勾菊瓣、浓墨点枝叶，尽显菊花清隽凌霜之姿；下方牡丹设色秾丽饱满，艳而不俗，与寒菊形成雅艳对照。\n\n诗画互衬，借黄英、牡丹寄寓疏狂高逸的襟怀，将文人意趣与世俗审美相融，尽显晚年沉郁浑朴的大写意风骨。",[25,26,27,24,29,55,173,189,826,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ca9fe70ff6300da429378a633361f7.jpg",[],103,{"id":3040,"slug":3041,"title":3042,"dynasty":148,"author":3043,"museum":112,"description":3044,"tags":3045,"thumbUrl":3046,"material":205,"size":3047,"collection":59,"collections":3048,"showCount":3038,"zanCount":511,"manualWeight":43,"mainColor":44},228263,"nan-zhi-chun-zao-tu-wang-mian-228263","南枝春早图","王冕","《南枝春早图》是元代 创作的绢本墨笔画，现藏于 。\n这幅图用浓淡相间的笔墨写枝干，一枝粗枝由画面下部右端斜出向上。\n大枝上再缀小枝，纵横交织，十分自然。\n枝上梅花繁密，有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现了出来，给人一种清雅自得之感。\n此画轴用浓淡相间笔墨写枝干，一千粗枝由画面下部右端斜出向上，大枝上再缀小枝，纵横交织，枝条生长茂盛，前后左右伸展交错，呈四出之势-枝上梅花繁密，千花万蕊，天真烂漫，生机盎然。\n有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现出来，给人一种清雅白得之感。\n梅花作为独立的绘画题材，兴自北宋，现在常见的“墨渍”、“圈瓣”两法，亦于斯时产生。\n相传释仲仁因偶见月光映梅于窗纸上得到启发，创以“墨渍法”；扬补之承仲仁墨梅之风，常对庭园老梅写生，乃创“圈瓣法”，两位画梅大家对后世影响极大，王冕即是在他们基础上取得成就的。\n今传王冕作品多件，俱为水墨，“墨渍”、“圈瓣”画法皆有，以“圈瓣”法为多。\n其作品不宥于陈法，有新的面貌；水平之高，或认为“不减扬补之”《墨梅人名录》，这幅《南枝春早图》即是其代表之作。\n王冕在梅谱中不称写梅而称“扫梅”，并总结扫梅十要，即“得意下笔，水墨浓淡，枝分左右，横斜上下，老嫩相兼，下笔不填，有花无花，花分疏密，枝分女字，十宁藏花：”这“十要”在此图中都发挥得淋漓尽致。\n充分表现了他丰富的艺术手法和独具匠心的布局能力： 此图的画法，以“飞白法”画梅，兼有书法笔意，花枝交接处，似笔断意连，运笔风神峭拔，挺劲潇洒，自根至梢一气呵成。\n在花与枝的处理上，王冕采用枝多花繁的格局，这幅墨梅图，虽枝花繁茂，但繁而不乱，疏密有绪，密中见疏，疏中仍有聚散。\n在此画中，王冕的花办采用圈法，可谓是王氏别出新意。\n所画的梅花往往正侧向背，高低偃合，妙趣横生、在画幅右侧中间有作者自题诗：“和靖（按：即宋代林和靖，不求功名，隐居丙湖孤山，赐溢和靖先生）门前雪作堆，多年积得满身苔，疏华个个团冰玉，羌笛吹他不下来：癸已夏五会稽王元章自南作。\n”下钤朱文二印，当为其本人所刻。\n王冕（1287—159），元代画家、诗人：字元章，号煮石山农、饭牛翁、会稽外史、梅花屋主等：诸暨（今属浙江）人，出身农家，白天放牛，晚至佛寺长明灯下读书：后从韩性学，试进士不第，即弃去，读古兵法，曾游大都（今北京），纵观居庸、古北关塞：泰不花荐以翰林院供职，不就、携妻孥归隐九里山，“以缯幅短长为得米之差”，工画墨梅，学扬无咎，花密枝繁，生意盎然，劲健有力，或用胭脂作没竹梅：廾善画竹，名其斋为“竹斋”。\n兼能刻印，相传以花乳石（青田石一类）作印材，白他创始：作诗多描写隐逸生活。\n部分作品也能反映民间疾苦，语言质朴，不拘常格：传世画迹有《为良佐写墨梅图》卷，《墨梅图》轴、《南枝春早图》轴。\n并著有《梅谱》一书等。",[23,25,26,27,55,373,134,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1227e7f33e2100268c266b6b18d98d06.jpg","151.4x52.2",[],{"id":3050,"slug":3051,"title":3052,"dynasty":18,"author":551,"museum":552,"description":1041,"tags":3053,"thumbUrl":3054,"material":664,"size":59,"collection":105,"collections":3055,"showCount":3038,"zanCount":43,"manualWeight":43,"mainColor":64},224237,"ju-you-huang-hua-wu-chang-shuo-224237","鞠有黄花",[23,25,26,27,29,55,56,189,7,79,77,577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51472c0177bf4af05998090e6d6ffd8e.jpg",[105],{"id":3057,"slug":3058,"title":3059,"dynasty":18,"author":3060,"museum":130,"description":3061,"tags":3062,"thumbUrl":3063,"material":313,"size":3064,"collection":59,"collections":3065,"showCount":3038,"zanCount":5,"manualWeight":43,"mainColor":64},222683,"si-ji-hua-niao-tu-ping-6-chen-mei-222683","四季花鸟图屏6","陈枚","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,25,28,29,56,396,374,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78822ac937e1da347d3173f152b03859.jpg","139X41CM",[],{"id":3067,"slug":3068,"title":3069,"dynasty":148,"author":256,"museum":835,"description":3070,"tags":3071,"thumbUrl":3073,"material":313,"size":3074,"collection":88,"collections":3075,"showCount":3038,"zanCount":43,"manualWeight":43,"mainColor":64},220801,"jiang-zhu-feng-lin-tu-zhou-ni-zan-220801","江渚风林图轴","倪瓒，世皆称倪云林（1301-1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，与黄公望、王蒙、吴镇合称元四家。倪瓒山水画风疏朗峻逸、风轻云淡，这种惜墨如金的朴拙，别具一格，恰似世人心目中那种内心安宁的渴望。倪瓒出身大地主家庭，长兄为“真人”级的道教上层，在元代道教繁盛的背景下，青少年时代过得滋润无比，家中藏书名画甚众，朝夕把玩、洁身有闲，研摩书画可谓必然。\n长兄故后，倪瓒家道日渐衰落，多年不事生产且倪瓒的洁癖常为世人侧目、权贵厌弃（有传说最后得死法是被朱元璋故意扔进粪坑淹死），遂寄情山水，云游访道，漫游江林，不做官不供职，书法诗画天真无饰，毫无烟火气，人谓有魏晋风骨，后人称“倪高士”。董其昌评曰：“古淡天真，米痴(即米芾)后一人而已。”把倪瓒评为米芾之后第一人，可谓高山仰止。\n倪瓒对明清绘画影响巨大，有意无意，若淡若疏的画风为士大夫礼拜，后人仿之追之者极众，明四僧中石涛、大家董其昌、徐渭（被郑板桥、齐白石跪称：“愿为青藤门下走狗”那位）均追崇不已，至今仍被评为“中国古代十大画家”。同时代的黄公望（年长其32岁），花十年时间，替倪瓒画《江山胜揽图》卷，卷长二丈五尺余，可谓巨作，若不认可，必无此为。（顺便说下：黄公望也是全真教名人，元明画家或应考证下他们受宗教影响而形成的独特心理特征和文化背景，或可更好的理解其人创作心路。）\n《江渚风林图轴》从题诗看，应为同时代学者虞戡嘱作，诗曰：江渚暮潮初落，风林霜叶浑稀。倚仗柴门闲寂，怀人山色依微。 据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[23,25,26,27,55,273,75,133,134,7,80,324,3072],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[88,122],{"id":3077,"slug":3078,"title":3079,"dynasty":18,"author":384,"museum":71,"description":3080,"tags":3081,"thumbUrl":3082,"material":967,"size":3083,"collection":59,"collections":3084,"showCount":3085,"zanCount":43,"manualWeight":43,"mainColor":64},233963,"mei-zhu-tu-zhou-zheng-ban-qiao-233963","梅竹图轴","竹是郑燮最擅长表现的题材，他能出神入化地准确捕捉住竹枝、竹叶在风中摇曳的动态和神韵，并形象生动地表现出来。同时竹之高洁素雅、坚韧不屈的物性亦最能体现郑燮刚直不阿的人品。郑燮画梅的作品仅此一幅，但因他具有深厚的艺术功底，故在梅的表现上亦能挥洒自如，花瓣为中锋运笔，其形状虽方圆不一，但自然的行笔，流畅的圈线，勾勒出了花儿旺盛的生命力。梅与用润墨表现的青竹在相互映衬中体现了它们不同的美。",[25,55,27,173,77,78,79,187,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8813cf214f626348dc52b8170329ca3b.jpg","纵127.8厘米，横31.3厘米",[],102,{"id":3087,"slug":3088,"title":3089,"dynasty":18,"author":551,"museum":552,"description":1041,"tags":3090,"thumbUrl":3091,"material":327,"size":3092,"collection":60,"collections":3093,"showCount":3085,"zanCount":511,"manualWeight":43,"mainColor":64},224227,"nong-yan-zhuo-zhuo-yun-jin-xian-li-zhou-wu-chang-shuo-224227","秾艳灼灼云锦鲜立轴",[23,25,26,27,29,56,7,190,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a9cf103a50a6f03f9f5e08b4a20601c.jpg","93x45cm",[60,105],{"id":3095,"slug":3096,"title":3097,"dynasty":18,"author":214,"museum":552,"description":3098,"tags":3099,"thumbUrl":3100,"material":59,"size":59,"collection":59,"collections":3101,"showCount":3085,"zanCount":511,"manualWeight":43,"mainColor":64},224178,"mu-dan-zhu-shi-tu-hua-yan-224178","牡丹竹石图","此作淡素底色铺陈，花卉、湖石与秀竹错落排布，虚实相生。冰蓝牡丹以没骨晕染而成，摒弃浓艳富丽，清冷幽洁自带孤高韵致，一扫牡丹流俗的富贵之气。\n淡墨湖石以写意皴染绘就，朴雅苍润，苔点隐约，与柔媚花影形成刚柔对照。旁生秀竹浅赭敷色，清瘦挺拔，枝叶舒展柔和，衬得花容愈发幽绝尘寰。左上行题诗呼应画意，将牡丹幽芳风骨引向诗文意境，工写兼备间，尽抒文人清雅出尘的审美意趣。",[23,25,26,27,29,28,55,191,32,7,56,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7ce165a5673fa2c97572f9249cf42a.jpg",[],{"id":3103,"slug":3104,"title":3105,"dynasty":148,"author":404,"museum":112,"description":3106,"tags":3107,"thumbUrl":3108,"material":119,"size":3109,"collection":122,"collections":3110,"showCount":3085,"zanCount":43,"manualWeight":43,"mainColor":44},220781,"zhu-shi-tu-ye-wu-zhen-220781","竹石图页","吴镇师承方面，于董源、巨然所得最多。其实董源、巨然并不是文人画家，但由于他们生活在江南，表现江南山川，创造了平淡天真、苍茫浑厚的山水画风，恰到好处地表现了山川之气韵，这种气韵正是宋代以后文人画家所梦寐以求的。从米芾开始，董巨画风开始受到青睐，延及赵孟頫、元四家，董巨画风大受推崇，整个元代山水画坛大多以董巨为依归，力求韵外之致。吴镇对董巨是下过很深的功夫的，他自己说：“董源画《寒林重汀图》，笔法苍劲，世所罕见，因观其真迹，摹其万一。”",[23,24,25,55,75,53,32,826,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe30f4d3ae723c1fb823e512d8473ef.jpg","本幅 90.6x42.5公分、全幅 61.3公分",[122,411],{"id":3112,"slug":3113,"title":3114,"dynasty":18,"author":3115,"museum":20,"description":3116,"tags":3117,"thumbUrl":3118,"material":479,"size":3119,"collection":59,"collections":3120,"showCount":3121,"zanCount":511,"manualWeight":43,"mainColor":64},222641,"mei-hua-mu-dan-tu-juan-gao-feng-han-222641","梅花牡丹图卷","高凤翰","此幅长卷有《梅花》和《牡丹》两幅合并而成，左侧《梅花》图绘梅枝从画上端斜入，细枝颇多，寒冬中梅花绽放出铮铮傲骨；《牡丹》图中二朵牡丹开放，花瓣层层叠叠，还有一朵藏于石后，含羞露出一半，一枝花枝从牡丹花后露出，姿态优美。",[23,25,26,74,55,187,191,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018ad4bbb383c682e4f97451d7834b0c.jpg","20×317cm",[],101,{"id":3123,"slug":3124,"title":3125,"dynasty":69,"author":3126,"museum":112,"description":3127,"tags":3128,"thumbUrl":3129,"material":55,"size":3130,"collection":60,"collections":3131,"showCount":3121,"zanCount":511,"manualWeight":43,"mainColor":64},219513,"zhu-tu-yao-shou-219513","竹图","姚绶","此作用笔爽劲老辣，以浓墨挥写新篁，竹叶错落有致，俯仰向背各具姿态，尽显青竹挺拔清健的君子之姿。淡墨晕染湖石，笔墨简淡虚灵，朦胧柔润的石身与劲挺修竹虚实相生，刚柔相济。\n\n右上角题字与墨竹呼应，诗画相融，文气尽显，将文人爱竹的寄情托意暗藏其间，整幅画面简逸清疏，寥寥数笔便把竹的高洁傲然尽数烘托，尽显水墨写意的空灵雅致，暗含传统文人的淡泊风骨。",[25,26,55,27,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f9e6dee2120847cc30bfa1ba267311.jpg","83.9x35.1",[60],{"id":3133,"slug":3134,"title":3135,"dynasty":18,"author":169,"museum":552,"description":3136,"tags":3137,"thumbUrl":3138,"material":967,"size":3139,"collection":60,"collections":3140,"showCount":3141,"zanCount":43,"manualWeight":43,"mainColor":64},233679,"yuan-ji-lan-zhu-ce-mei-lan-shi-shi-tao-233679","原济兰竹册－梅兰石","石涛的花鸟、兰竹，不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。石涛还讲求气势。他笔情恣肆，淋漓洒脱，不拘小处瑕疵，作品具有一种豪放郁勃的气势，以奔放之势见胜。郑板桥在《板桥题画》中云：“石涛善画，盖有万种，兰竹其余事也。”可见他对石涛的兰竹之作评级最高。此石涛《兰竹册》为故宫馆藏精品，计十八开，以兰为主，配以竹、石、梅等。",[25,26,53,55,78,77,79,187,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adcbe7ff4a237a50f27c41a03aba237.jpg","纵43.2cm，横30.2cm",[60],100,{"id":3143,"slug":3144,"title":3145,"dynasty":369,"author":2994,"museum":835,"description":3146,"tags":3147,"thumbUrl":3148,"material":3149,"size":3150,"collection":497,"collections":3151,"showCount":3141,"zanCount":43,"manualWeight":43,"mainColor":44},221659,"xi-kou-chui-diao-tu-xia-gui-221659","溪口垂钓图","夏圭，生卒年不详。南宋画家。字禹玉，临安（今浙江杭州）人。早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,25,26,55,80,82,85,505,137,134,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","绢本水墨","23.2x23.8厘米",[497,88,105],{"id":3153,"slug":3154,"title":3155,"dynasty":148,"author":201,"museum":552,"description":3156,"tags":3157,"thumbUrl":3158,"material":37,"size":3159,"collection":39,"collections":3160,"showCount":3141,"zanCount":43,"manualWeight":43,"mainColor":44},218444,"shui-yue-guan-yin-tu-yi-ming-218444","水月观音图","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。",[23,25,26,27,576,28,434,29,30,864,1073,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e706788ef465ef888e2024e9954d0f.jpg","83.8x43.2",[39],{"id":3162,"slug":3163,"title":3164,"dynasty":18,"author":49,"museum":552,"description":2638,"tags":3165,"thumbUrl":3166,"material":641,"size":642,"collection":59,"collections":3167,"showCount":3168,"zanCount":43,"manualWeight":43,"mainColor":64},290525,"ju-hua-zhou-yun-shou-ping-290525","菊花轴",[24,25,27,26,29,56,189,7,79,77,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6f67635860a905d349624dcec02c18.jpg",[],99,{"id":3170,"slug":3171,"title":3172,"dynasty":18,"author":697,"museum":112,"description":3018,"tags":3173,"thumbUrl":3175,"material":58,"size":704,"collection":59,"collections":3176,"showCount":3168,"zanCount":511,"manualWeight":43,"mainColor":64},220331,"cao-chong-hua-hui-hu-shi-si-ping-mu-dan-ju-lian-220331","草虫花卉湖石四屏-牡丹",[23,25,26,27,28,29,191,7,700,243,157,3174,1466],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9405a060a876dc38c257ff27f089ad9e.jpg",[],{"id":3178,"slug":3179,"title":3180,"dynasty":69,"author":3181,"museum":874,"description":3182,"tags":3183,"thumbUrl":3185,"material":37,"size":59,"collection":60,"collections":3186,"showCount":3168,"zanCount":511,"manualWeight":43,"mainColor":44},219052,"lu-yan-tu-lin-liang-219052","芦雁图","林良","墨色浓淡交织间，苇丛恣肆舒展，叶片如剑划破虚灵的背景，尽显野逸之趣。雁群姿态憨然，或低头啄食，或翘首顾盼，羽毛以淡墨晕染，绒质感呼之欲出，兼工带写的笔法将水禽的灵动与野趣凝于尺幅。画面不着艳色，却于水墨淋漓中透出秋江芦岸的清寂与生机，笔力雄健又不失细腻，尽显写意花鸟的奔放与传神，仿佛能听见苇叶沙沙，雁鸣轻啼，将自然之趣定格成永恒的诗意图景。",[23,25,55,173,56,1990,3184,153,922,7],"雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef142504755ac0f39ccbabbb50b7aca.jpg",[60],{"id":3188,"slug":3189,"title":3190,"dynasty":18,"author":941,"museum":3191,"description":3192,"tags":3193,"thumbUrl":3194,"material":262,"size":3195,"collection":88,"collections":3196,"showCount":3168,"zanCount":43,"manualWeight":43,"mainColor":64},218109,"xin-an-yi-yun-ce-jian-jiang-hua-he-hong-ren-218109","新安逸韵册(渐江画壑)","香港中文大学文物馆","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[25,26,53,55,75,80,115,826,81,324,84,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026f3ed0fcf766add4fd6fec99669fa3.jpg","30.6x20.7cm",[88],{"id":3198,"slug":3199,"title":3200,"dynasty":369,"author":756,"museum":552,"description":3201,"tags":3202,"thumbUrl":3205,"material":641,"size":642,"collection":59,"collections":3206,"showCount":3207,"zanCount":43,"manualWeight":43,"mainColor":1551},289659,"han-lin-qi-lv-tu-li-cheng-289659","寒林骑驴图","此为张大千氏大风堂旧藏，在大立轴上画文人骑驴行于郊野，前后有童仆相随。",[23,25,27,55,80,3203,133,3204,153,101,7,75],"寒林","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a41e40e74bbef65a72e644fd95d8972.jpg",[],98,{"id":3209,"slug":3210,"title":3211,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":3212,"thumbUrl":3213,"material":641,"size":642,"collection":59,"collections":3214,"showCount":3207,"zanCount":511,"manualWeight":43,"mainColor":64},235243,"tian-zhu-ping-zhou-wu-chang-shuo-235243","天竹屏轴",[25,26,27,29,56,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc338003246671da0d7403f1071f706.jpg",[],{"id":3216,"slug":3217,"title":3218,"dynasty":369,"author":1115,"museum":552,"description":3219,"tags":3220,"thumbUrl":3222,"material":59,"size":59,"collection":59,"collections":3223,"showCount":3207,"zanCount":43,"manualWeight":43,"mainColor":44},230970,"song-hui-zong-dao-jun-li-ying-tu-ye-zhao-ji-230970","宋徽宗(道君)立鹰图页","画面中苍鹰独立危巅，铁爪紧扣寒石，侧目回望之际目光如炬，翎毛以浓淡墨色晕染，层次绵密，将猛禽的刚猛悍勇刻画入微。青蓝山石以淡彩点染，冷峭孤高，背景翻涌的海浪线条虬曲激荡，以动衬静，愈发凸显出雄鹰沉稳孤傲的气度。整作设色古雅沉静，工笔勾勒间不失写意风神，既见精妙的写实功底，亦将猛禽睥睨寰宇的雄逸气魄与浩渺天地相融，将悍猛英姿与幽远意境合为一体，尽显别致的笔墨意趣与精神内核。",[23,24,25,26,1694,29,28,56,2059,7,3221,79],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6fcd749830e028272fda4a6618ab8ef.jpg",[],{"id":3225,"slug":3226,"title":3227,"dynasty":18,"author":1195,"museum":150,"description":3228,"tags":3229,"thumbUrl":3230,"material":262,"size":3231,"collection":59,"collections":3232,"showCount":3207,"zanCount":209,"manualWeight":43,"mainColor":64},214686,"mei-hua-zhu-shi-tu-ce-3-wang-shi-shen-214686","梅花竹石图册-3","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[25,26,53,55,187,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789cbb5f9f7a7413c78364ba6bcf38e4.jpg","纵25 厘米 横31.5 厘米",[],{"id":3234,"slug":3235,"title":3236,"dynasty":985,"author":3237,"museum":112,"description":3238,"tags":3239,"thumbUrl":3240,"material":58,"size":3241,"collection":60,"collections":3242,"showCount":3207,"zanCount":43,"manualWeight":43,"mainColor":64},214586,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-liu-shui-diao-guang-yin-214586","写生花卉册-枯树五羊磐陀流水","刁光胤","刁光胤的写生花卉册是一件著名的绘画作品，其中的枯树五羊磐陀流水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，体现了刁光胤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，刁光胤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。画中的枯树五羊磐陀流水是一幅清新而美丽的山水画，它体现了刁光胤对自然的热爱和对传统文化的尊重。\n\n总的来说，刁光胤的写生花卉册是一件精美的绘画作品，其中的枯树五羊磐陀流水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，也体现了刁光胤对自然的热爱和对传统文化的尊重。",[25,26,53,29,80,133,101,82,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab32d24499975cca0c619bebd3c0cd32.jpg","33.9x36.4cm",[60],{"id":3244,"slug":3245,"title":3246,"dynasty":69,"author":1505,"museum":112,"description":3247,"tags":3248,"thumbUrl":3249,"material":327,"size":3250,"collection":59,"collections":3251,"showCount":3252,"zanCount":43,"manualWeight":43,"mainColor":64},231955,"lin-ni-zan-dong-gang-cao-tang-tu-dong-qi-chang-231955","临倪瓒东岗草堂图","可知题识，董其昌于崇祯二年（1629）夏天临写倪瓒〈东冈草堂〉图，同时抄录画上倪瓒与张雨的原题。研究倪瓒早期画迹时，亦有引用此辅作为 证者不过此作用笔用墨与董其昌一般有异，疑因下因作品写角作品。画幅右图存文从简574-168）之印。",[25,26,55,76,75,80,134,1231,349,82,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112f046e4c5e977c915d92b5b64d49d5.jpg","87.4×65厘米",[],97,{"id":3254,"slug":3255,"title":3256,"dynasty":18,"author":3257,"museum":552,"description":3258,"tags":3259,"thumbUrl":3260,"material":641,"size":642,"collection":60,"collections":3261,"showCount":3262,"zanCount":43,"manualWeight":43,"mainColor":64},235595,"hua-hui-ce-wang-wu-235595","花卉册","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。",[24,25,26,53,29,28,56,7,243,375,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[60,105],96,{"id":3264,"slug":3265,"title":3266,"dynasty":369,"author":756,"museum":847,"description":3267,"tags":3268,"thumbUrl":3270,"material":3271,"size":3272,"collection":59,"collections":3273,"showCount":3262,"zanCount":43,"manualWeight":43,"mainColor":44},221411,"xiao-han-lin-tu-juan-li-cheng-221411","小寒林图卷","绘远处山恋起伏，云雾空蒙；近处松树数株，松干挺直，枝杈虬曲多姿，林木笼罩于烟霭雾气之中，四周坡面山石间杂树丛生，郁郁葱葱。李成，五代画家，画山石以“卷云皴”；画寒林创“蟹爪”法，其学生郭熙亦秉承其画风。",[23,25,26,74,55,80,75,3269,133,7],"林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c461e36f2a0526a7f631fdaa0a30b03.jpg","绢本浅设色","39.4x71.4\u002F39.4x233厘米",[],{"id":3275,"slug":3276,"title":3277,"dynasty":18,"author":49,"museum":552,"description":660,"tags":3278,"thumbUrl":3279,"material":2886,"size":3280,"collection":60,"collections":3281,"showCount":3262,"zanCount":43,"manualWeight":43,"mainColor":143},221001,"hua-hui-li-zhou-yun-shou-ping-221001","花卉立轴",[23,25,27,54,29,56,191,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72df777f65aff6071f8368bf22ed0ab.jpg","48.5×118.5",[60,105],{"id":3283,"slug":3284,"title":3285,"dynasty":148,"author":256,"museum":71,"description":3286,"tags":3287,"thumbUrl":3289,"material":967,"size":3290,"collection":122,"collections":3291,"showCount":3262,"zanCount":43,"manualWeight":43,"mainColor":44},220798,"wu-zhu-xiu-shi-tu-ni-zan-220798","梧竹秀石图","《梧竹秀石图》绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。\n图中画梧桐一株，疏竹数竿，湖石平坡，间以涓涓细流。与以往画家惯用干淡松秀笔墨表现不同的是，全画用大胆的墨笔写成，颇具苍润淋漓之妙。梧叶用阔笔、湿墨侧抹而出，莽苍超忽，而清阴如覆；树干、秀石的表现亦以侧笔写成，湖石用浓墨皴出，其浑厚有北苑之意。这幅画为倪瓒画风成熟期少见的变体之作。画家通过对墨色浓淡、干湿的运用，使画面极富层次感。梧桐、竹石的表现与宋院体画讲究写真、追求形似相比已颇有变化，更突出了笔墨对自我性灵的抒发。正合《艺苑卮言》中云：“山水以气韵为主，形模寓乎其中。”草草点染而又不改物形的矛盾，倪瓒在此图中将其处理得恰到好处。",[23,24,25,55,27,32,3288,7,78,79,173],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2c141173efcc16d73f1e7f7f7cf9c1.jpg","纵96cm，横36.5cm",[122,411],{"id":3293,"slug":3294,"title":3295,"dynasty":69,"author":3181,"museum":112,"description":3296,"tags":3297,"thumbUrl":3298,"material":262,"size":3299,"collection":60,"collections":3300,"showCount":3262,"zanCount":511,"manualWeight":43,"mainColor":44},218845,"ying-tu-lin-liang-218845","鹰图","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意没骨技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[25,26,24,27,55,173,56,153,2059,1791,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d271fc592f2aaf9b0f31185b041e211.jpg","133.4x80.5cm",[60],{"id":3302,"slug":3303,"title":3304,"dynasty":18,"author":214,"museum":170,"description":336,"tags":3305,"thumbUrl":3306,"material":327,"size":340,"collection":59,"collections":3307,"showCount":3262,"zanCount":511,"manualWeight":43,"mainColor":44},214354,"san-jue-shan-shui-ce-7-hua-yan-214354","三绝山水册-7",[23,25,55,29,53,75,80,7,81,30,324,1291,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6649a7f927eb2299be006731defc02c.jpg",[],{"id":3309,"slug":3310,"title":200,"dynasty":18,"author":384,"museum":71,"description":3311,"tags":3312,"thumbUrl":3313,"material":967,"size":3314,"collection":59,"collections":3315,"showCount":3316,"zanCount":43,"manualWeight":43,"mainColor":64},234676,"zhu-shi-tu-zheng-ban-qiao-234676","郑燮所画之竹，形象千姿百态，笔墨变化多端。同样是数竿竹枝，却有新竹、驼竹、凤竹、晴竹、盆景之竹、庭院之竹、山野之竹、水乡之竹的区别，并呈现各自不同的情态，给人以美的感受。画面上翠竹两竿，瘦劲挺拔，枝叶偃仰，萧疏清逸。竹枝下有山石及竹笋数支，恰当衬托出春竹之勃发郁茂，颇富自然之趣。其言将竹笋与鲥鱼相佐，又创美食之竹，新颖别致，独具匠心。",[25,55,27,32,7,173,26,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4678f3aee954a45f278520cc553534f1.jpg","纵120厘米，横59.7厘米",[],95,{"id":3318,"slug":3319,"title":3320,"dynasty":69,"author":537,"museum":552,"description":3321,"tags":3322,"thumbUrl":3323,"material":59,"size":59,"collection":59,"collections":3324,"showCount":3316,"zanCount":511,"manualWeight":43,"mainColor":64},228466,"luo-yang-chun-se-tu-chen-chun-228466","洛阳春色图","明陈淳洛阳春色图此卷绘数株盛开的牡丹，雍容华贵，以没骨法写意。\n湖石枯笔勾皴，淡墨晕染，色墨并用。\n画风疏爽秀逸，艳丽清新。\n自题：“己亥秋日，道复书并图。\n”款“道复制”，钤‘白阳山人“朱文方印、”复父氏“白文方印。\n拖尾自题草书牡丹诗。\n【名称】明 陈淳 洛阳春色图 ，横111.2厘米。\n南京博物院藏。\n（148-1544）：又作1482-159年，长洲（今江苏苏州）人。\n字道复，后以字行，更字复甫，号白阳，又号白阳山人。\n陈淳少年作画以元人为法，深受水墨写意的影响。\n他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。\n他的有些作品，所画质朴，可以看出受沈周画法的影响。\n与徐渭并称白阳青藤。\n陈氏少年作画工细，中年后笔法放纵，自立门户。\n陈淳师从文徵明，在其门下声誉最高。\n曾评其曰：“吾于道复仅举业师耳，其书画自有门径。\n” 己亥为嘉靖十八年，作者时年五十七岁。",[23,25,26,74,29,55,173,56,191,7,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],{"id":3326,"slug":3327,"title":3328,"dynasty":69,"author":3329,"museum":847,"description":3330,"tags":3331,"thumbUrl":3332,"material":59,"size":3333,"collection":60,"collections":3334,"showCount":3316,"zanCount":43,"manualWeight":43,"mainColor":64},222415,"mei-hua-ye-zhi-tu-zhou-zhi-mian-222415","梅花野雉图","周之冕","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。",[23,25,56,29,55,187,374,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2989106565d8ba25606cccdc69711.jpg","纵: 134.5厘米. 横: 33.6厘米",[60,105],{"id":3336,"slug":3337,"title":3338,"dynasty":148,"author":3339,"museum":112,"description":3340,"tags":3341,"thumbUrl":3342,"material":2141,"size":3343,"collection":105,"collections":3344,"showCount":3316,"zanCount":511,"manualWeight":43,"mainColor":44},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道","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。",[23,25,26,24,27,28,29,30,31,32,7,291,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","该幅70x31.4公分；全幅 57.5公分",[105,411],{"id":3346,"slug":3347,"title":3348,"dynasty":69,"author":3349,"museum":112,"description":3350,"tags":3351,"thumbUrl":3352,"material":37,"size":3353,"collection":88,"collections":3354,"showCount":3316,"zanCount":178,"manualWeight":43,"mainColor":44},217059,"xun-mei-tu-zhu-duan-217059","寻梅图","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[25,26,80,27,75,55,29,30,277,82,7,153,715,187,349,115,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[88],{"id":3356,"slug":3357,"title":1143,"dynasty":18,"author":49,"museum":552,"description":2638,"tags":3358,"thumbUrl":3359,"material":641,"size":642,"collection":59,"collections":3360,"showCount":3361,"zanCount":511,"manualWeight":43,"mainColor":64},239436,"hua-niao-ce-yun-shou-ping-239436",[25,26,53,29,55,56,374,1990,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05eae777b986ef2a408940cb2ef9ae36.jpg",[],94,{"id":3363,"slug":3364,"title":3365,"dynasty":18,"author":941,"museum":552,"description":3366,"tags":3367,"thumbUrl":3369,"material":59,"size":59,"collection":88,"collections":3370,"showCount":3361,"zanCount":43,"manualWeight":43,"mainColor":64},237614,"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[25,26,55,75,53,78,79,80,7,3368,116,115,338,81],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[88,122],{"id":3372,"slug":3373,"title":502,"dynasty":18,"author":475,"museum":3374,"description":3375,"tags":3376,"thumbUrl":3377,"material":327,"size":3378,"collection":59,"collections":3379,"showCount":3361,"zanCount":43,"manualWeight":43,"mainColor":64},231387,"shan-shui-ce-zhu-da-231387","故宫出版社","朱耷，明太祖朱元璋第十七子朱权九世孙，本名朱统托，字雪箇，号八大山人、箇山 、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[25,26,53,55,80,7,32,117,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c452f4285c6312c00652736062c93d6.jpg","纵二六厘米，横四一厘米",[],{"id":3381,"slug":3382,"title":3383,"dynasty":18,"author":1363,"museum":835,"description":3384,"tags":3385,"thumbUrl":3386,"material":262,"size":59,"collection":88,"collections":3387,"showCount":3361,"zanCount":511,"manualWeight":43,"mainColor":64},219711,"fang-ju-ran-xi-shan-gao-shi-tu-wang-jian-219711","仿巨然溪山高士图","《仿巨然溪山高士图轴》是王鉴的一副临摹宋朝著名画僧巨然和尚的古山水画。王鉴擅长临摹古人之画，功底深厚，巨然是他非常推崇的北宋大家，他一生中摹仿巨然的作品非常多，巨然的画风淡墨轻岚，风韵秀润。此图上款识：“巨然《溪山高士图》来自内府，为大司空刘敬仲先生所藏。余在长安时曾见过，今不知流落谁手。雨窗闲坐，思其意为之，不求其形似也。王鑑。",[23,25,55,75,76,27,80,242,7,82,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885430959c37cabba225c27dbb27cb24.jpg",[88],{"id":3389,"slug":3390,"title":3391,"dynasty":148,"author":893,"museum":835,"description":3392,"tags":3393,"thumbUrl":3394,"material":37,"size":3395,"collection":39,"collections":3396,"showCount":3361,"zanCount":511,"manualWeight":43,"mainColor":64},219546,"gui-qu-lai-ci-tu-qian-xuan-219546","归去来辞图","在改朝换代的无奈中，钱选效法陶渊明隐居不仕，因此在他聊以自娱的绘画中自然会表现出对陶渊明的追崇，进而描绘出他的形象。这大概也是钱选隐居生活中心境的映照。在《归去来辞图》画面里，左一半为坡岸，有人家院落；右一半烟水浩淼，远处依稀可见淡淡山脉。靠近坡岸的水中有一只木船，陶渊明身着大袖宽袍立于船头，一童子在船尾摇橹。看召魄伏的波纹，木船正破水向岸边驶来。这或许正是《归去来辞》中“舟摇摇以轻飚，风飘飘而吹衣”的真实写照。另—边浅渚绿岸上有六棵柳树，枝叶茂密；一道隆起的院墙间有一柴门开着，几竿竹子探出墙来，这大概是陶渊明的居所。门前有俩孩童和一妇人似在迎接陶渊明回家。正是《归去来辞》中“乃瞻衡宇，载欣载奔，童仆欢迎，稚子候门”的写照。\n在技巧上，钱选利用虚实对比的手段，表现了陶渊明乘船渡水、脱离尘网、走向田园的生活寓意。画中所设的无边淡水和田园家境是两种境界的载体，也是画家精神的载体。画中的人物描绘细腻、传神，用线精致；坡岸、院墙的皴染均匀，树的枝叶自然、流畅。整个画面赋色清淡，洋溢着田园的清幽之气，同时，也体现出作者一种闲适淡泊的襟怀。",[23,24,25,26,74,29,28,78,79,80,30,85,81,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c885d7fc36e4d1430327a83eb955a8.jpg","纵26厘米，横106.6厘米",[39,105,786],{"id":3398,"slug":3399,"title":3400,"dynasty":369,"author":3401,"museum":3402,"description":3403,"tags":3404,"thumbUrl":3405,"material":37,"size":3406,"collection":497,"collections":3407,"showCount":3361,"zanCount":43,"manualWeight":43,"mainColor":44},219105,"cang-ying-bu-zhi-tu-huang-ju-shi-219105","苍鹰捕雉图","黄居宩","圣路易斯艺术博物馆","画在山坡上，青竹高大，桃枝顶绿叶萌芽，桃花盛开； 下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[23,24,25,26,27,28,29,56,187,32,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[497,60],{"id":3409,"slug":3410,"title":3411,"dynasty":369,"author":201,"museum":552,"description":3412,"tags":3413,"thumbUrl":3414,"material":262,"size":3415,"collection":88,"collections":3416,"showCount":3361,"zanCount":209,"manualWeight":43,"mainColor":1551},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[25,26,714,28,55,29,82,153,81,7,56,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[88,497],{"id":3418,"slug":3419,"title":3420,"dynasty":148,"author":1930,"museum":552,"description":3421,"tags":3422,"thumbUrl":3423,"material":59,"size":3424,"collection":59,"collections":3425,"showCount":3426,"zanCount":209,"manualWeight":43,"mainColor":44},231513,"hua-niao-tu-juan-wang-yuan-231513","花鸟图卷","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。",[23,25,24,74,28,29,77,79,56,187,191,32,7,190,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 厘米",[],93,{"id":3428,"slug":3429,"title":3430,"dynasty":3431,"author":201,"museum":552,"description":3432,"tags":3433,"thumbUrl":3437,"material":641,"size":642,"collection":59,"collections":3438,"showCount":3426,"zanCount":43,"manualWeight":43,"mainColor":1551},223704,"liu-chao-liu-shi-jing-yi-ming-223704","六朝 刘氏镜","南北朝","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。",[3434,3435,28,29,7,1073,1628,3436],"六朝","铜制","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff19bab4b2498e2b813ee7283a54d58.jpg",[],{"id":3440,"slug":3441,"title":3442,"dynasty":369,"author":725,"museum":874,"description":3443,"tags":3444,"thumbUrl":3446,"material":3447,"size":3448,"collection":497,"collections":3449,"showCount":3426,"zanCount":511,"manualWeight":43,"mainColor":44},221301,"xiao-niao-tu-zhao-chang-221301","小鸟图","趙昌，生於970-1040年，字昌之，北宋畫家，廣漢劍南（今四川劍閣之南）人。工書法、繪畫，擅畫花果，多作折枝花，兼工草蟲。初師滕昌祐，後來發展出自身畫風，沒骨花鳥自成一派，有徐熙、黃荃遺風。在北宋時期與宋徽宗趙佶齊名，是宋代花鳥畫壇的傑出畫家。",[23,25,26,28,29,56,3445,32,7,278],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eb5c32590fc804144ae8ebd0bd02d8d.jpg","绢本淡设色","纵23厘米，横30厘米",[497,60,105],{"id":3451,"slug":3452,"title":3453,"dynasty":369,"author":201,"museum":112,"description":3454,"tags":3455,"thumbUrl":3456,"material":205,"size":3457,"collection":60,"collections":3458,"showCount":3426,"zanCount":209,"manualWeight":43,"mainColor":44},218910,"ku-mu-zhu-shi-tu-yi-ming-218910","枯木竹石图","在这幅画中，用飞白的方法在画面上画了一个石块，墨色淡而笔力强。三两根竹子站在岩石的背面，叶子用优雅而厚实的笔画着，仿佛是春山上的云朵。在一棵寒冷的树枝上，栖息着一种山鸟，它的羽毛非常精致。仔细观察笔触和墨迹，艺术家已经开始形成与赵孟𫖯的相似性。",[23,25,26,24,55,75,56,1579,32,7,153,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae588fde6c3ba57b3dc0a96ffdc698.jpg","107.9x51.1厘米",[60],{"id":3460,"slug":3461,"title":3462,"dynasty":18,"author":3463,"museum":112,"description":3464,"tags":3465,"thumbUrl":3466,"material":37,"size":3467,"collection":60,"collections":3468,"showCount":3469,"zanCount":178,"manualWeight":43,"mainColor":64},219455,"tian-zhong-jia-hui-chen-shu-219455","天中佳卉","陈舒","山石层叠，青绿晕染间见苍劲肌理，墨线勾勒出嶙峋之态；旁侧花枝扶疏，红英灼灼若焰，粉瓣轻舒似云，橙黄花朵衬着修长叶片，清雅动人。笔墨兼工带写，设色明丽却不失蕴藉，将草木的生机与石的沉稳相融，尽显初夏时节的盎然意趣。仿佛微风拂过，花香浮动，叶片轻颤，于静谧中藏着灵动，是一幅雅致动人的案头清供佳制，尽显文人画的秀逸之韵。",[25,29,28,55,56,27,7,243,375,135,629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541bb4ac861feedf8baad632d78276d4.jpg","115.8x46.1",[60],92,{"id":3471,"slug":3472,"title":3473,"dynasty":148,"author":3043,"museum":552,"description":3474,"tags":3475,"thumbUrl":3476,"material":641,"size":642,"collection":59,"collections":3477,"showCount":3478,"zanCount":511,"manualWeight":43,"mainColor":64},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,25,26,74,55,75,78,79,77,80,715,187,85,30,81,82,7,349,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],91,{"id":3480,"slug":3481,"title":3482,"dynasty":18,"author":169,"museum":552,"description":3483,"tags":3484,"thumbUrl":3485,"material":58,"size":3486,"collection":88,"collections":3487,"showCount":3478,"zanCount":209,"manualWeight":43,"mainColor":64},220124,"cai-shi-tu-zhou-shi-tao-220124","采石图轴","石涛(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,25,26,27,55,29,80,7,260,3368,84,324,349,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg","纵46.5cm，横30.7cm",[88],{"id":3489,"slug":3490,"title":3491,"dynasty":369,"author":3492,"museum":552,"description":3493,"tags":3494,"thumbUrl":3495,"material":59,"size":59,"collection":59,"collections":3496,"showCount":3497,"zanCount":43,"manualWeight":43,"mainColor":64},227633,"zuo-kan-yun-qi-tu-wang-wei-shi-yi-ma-lin-227633","坐看云起图-王维诗意","马麟","行到水穷处，坐看云起时。",[23,25,24,26,55,29,80,75,135,81,1911,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fc5a4c30410523ad6dec74afa8db56.jpg",[],90,{"id":3499,"slug":3500,"title":3501,"dynasty":369,"author":3502,"museum":71,"description":3503,"tags":3504,"thumbUrl":3506,"material":1106,"size":3507,"collection":497,"collections":3508,"showCount":3497,"zanCount":511,"manualWeight":43,"mainColor":44},221455,"si-yang-tu-chen-ju-zhong-221455","四羊图","陈居中","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。",[23,25,24,28,29,3505,101,133,7,79],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","纵22.5厘米，横24厘米",[497,60,105],{"id":3510,"slug":3511,"title":3512,"dynasty":18,"author":49,"museum":112,"description":3513,"tags":3514,"thumbUrl":3515,"material":327,"size":3516,"collection":88,"collections":3517,"showCount":3497,"zanCount":511,"manualWeight":43,"mainColor":64},220971,"fang-ni-zan-gu-mu-cong-huang-tu-yun-shou-ping-220971","仿倪瓒古木丛篁图","《仿倪瓒古木丛篁图》仿倪瓒遗意，画古木平泉，丛篁积翠。技法上，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。构图简洁，画面丰富，为倪瓒作画特色。",[23,25,26,27,55,75,76,134,32,7,1231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c40f667736f6fd2b6ac59e572161654.jpg","纵81cm，横32.7cm",[88,122],{"id":3519,"slug":3520,"title":3521,"dynasty":369,"author":3522,"museum":112,"description":3523,"tags":3524,"thumbUrl":3525,"material":37,"size":59,"collection":88,"collections":3526,"showCount":3497,"zanCount":209,"manualWeight":43,"mainColor":64},218677,"xi-hu-shi-jing-tu-lei-feng-xi-zhao-ye-xiao-yan-218677","西湖十景图-雷峰夕照","叶肖岩","山峦晕染着暮色的暖调，古塔静立在层岩之上，夕照的金辉轻覆于林梢与塔檐，晕开朦胧的暖意。近处松枝虬劲，山石皴擦细腻；远处峰峦隐入淡墨，虚实间藏着江南的温婉。左侧墨笔题跋的线条与山水肌理相映，文辞与画意交织，将西湖黄昏的悠然意趣凝于尺幅。苍劲与柔婉并存，写实与写意相融，尽显雷峰夕照的静谧深远——仿佛晚风掠过塔铃轻响，时光沉淀的诗意在笔墨间缓缓流淌，让观者窥见千年西湖黄昏的温婉与悠长。",[23,25,26,53,29,80,863,242,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6bfc3fb9153780220775dfbeb9338f.jpg",[88],{"id":3528,"slug":3529,"title":3530,"dynasty":148,"author":2912,"museum":112,"description":3531,"tags":3532,"thumbUrl":3534,"material":119,"size":3535,"collection":122,"collections":3536,"showCount":3537,"zanCount":511,"manualWeight":43,"mainColor":44},221762,"quan-shi-xin-huang-tu-gu-an-221762","拳石新篁图","《拳石新篁图》写新篁数竿，瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。",[23,25,3533,27,77,78,79,32,7],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1abfe83cffc1cff26cbc173920a8abd.jpg","纵76厘米，横40厘米",[122,411],89,{"id":3539,"slug":3540,"title":3541,"dynasty":769,"author":3542,"museum":3543,"description":3544,"tags":3545,"thumbUrl":3546,"material":59,"size":59,"collection":59,"collections":3547,"showCount":3548,"zanCount":43,"manualWeight":43,"mainColor":64},220574,"feng-yu-ji-ming-xu-bei-hong-220574","风雨鸡鸣","徐悲鸿","中央美术学院美术馆","滂沱风雨被晕染在冷灰底色中，危岩之上雄鸡振羽昂首，丹红鸡冠如炬，刺破漫天雨幕。它利爪紧扣嶙峋石峰，尾羽怒张，长啼似欲穿破阴霾，将不屈意气倾泻而出。\n\n左侧墨竹在狂风里倾伏翻卷，枝叶乱颤，更衬出雄鸡卓然独立的身姿。整幅画以水墨干湿浓淡铺就氛围，将乱世之中的沉郁压抑与志士觉醒的炽热力量相融，以禽竹山石托物言志，把不屈的民族气节藏在笔锋之下，满纸皆是冲破黑暗的激昂心气。",[23,25,55,29,27,173,56,1187,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30e5ae80b9dd47726b0e88ad80cc9dd.jpg",[],88,{"id":3550,"slug":3551,"title":3552,"dynasty":985,"author":3553,"museum":112,"description":3554,"tags":3555,"thumbUrl":3556,"material":262,"size":3557,"collection":122,"collections":3558,"showCount":3548,"zanCount":43,"manualWeight":43,"mainColor":64},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,25,26,74,55,75,77,78,79,80,274,81,135,82,349,7,277,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[122],{"id":3560,"slug":3561,"title":3562,"dynasty":69,"author":70,"museum":71,"description":3563,"tags":3564,"thumbUrl":3565,"material":3566,"size":3567,"collection":59,"collections":3568,"showCount":3569,"zanCount":43,"manualWeight":43,"mainColor":44},233710,"song-shi-tu-zhou-shen-zhou-233710","松石图轴","《松石图轴》笔墨简逸而又沉着，物象写实而又生动，画法兼具写生、写意之妙，诚如王世贞所评：“石田氏乃能以浅色淡墨作之，而神采更自翩翩，所谓妙而真也。”本图小楷自题：“从来松老方生子 ，老得儿郎必定贤，况是先生年未老，生儿当后见参天。春雨先生有佳子后生久矣...”。款识：成化十六年（1480年）四月七日沈周写。",[25,26,27,55,75,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1665f1137e2b1d28bb1c98d93298150.jpg","纸本 ，墨笔","纵156.2cm，横72.9cm",[],87,{"id":3571,"slug":3572,"title":3573,"dynasty":69,"author":3574,"museum":71,"description":3575,"tags":3576,"thumbUrl":3577,"material":262,"size":3578,"collection":88,"collections":3579,"showCount":3569,"zanCount":43,"manualWeight":43,"mainColor":143},220395,"song-shi-tu-li-yong-chang-220395","松石图","李永昌","李永昌(公元17世纪)，生卒年不详。字周生，安徽休宁人。善画，尤工山水，仿元人笔意，与董其昌齐名，为新安派先锋。此图坡石前一棵老松，左曲右折的松干顶端零星地伸出几个枝桠，疏落凋枯的针叶无言地表明它已进入了暮年。松旁不远，几株杂树簇聚一团，在寥阔的天地间，显得渺小、孱弱，无依无靠。画的右上角自题：“醉剧松可倚，诗成石可刊，何须慕岩穴，咫尺是林峦。甲戌初夏画并题，拟待先社兄览笑。",[23,25,26,27,55,75,260,135,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2546621a64c9e5e0abeb01db4b8a812.jpg","纵111cm，横54.5cm",[88,122],{"id":3581,"slug":3582,"title":3583,"dynasty":369,"author":573,"museum":2409,"description":3584,"tags":3585,"thumbUrl":3586,"material":37,"size":3587,"collection":59,"collections":3588,"showCount":3569,"zanCount":43,"manualWeight":43,"mainColor":64},218436,"luo-shen-fu-tu-li-gong-lin-218436","洛神赋图","素绢铺展，墨线如缕，织就人神邂逅的幽渺篇章。洛神凌波微步，衣袂飘举若流云绕岫，眉目间凝着怅然的婉约；曹植凭栏遥望，神情中藏着难掩的眷恋，侍从们或立或顾，衬出场景的静谧与心绪的波澜。林木扶疏，水波澹澹，云气萦绕间，似有辞采漫溢：“翩若惊鸿，婉若游龙”的风姿，“凌波微步，罗袜生尘”的韵致，皆由简练传神的白描线条铺陈。不着浓彩却神采飞动，景物与人物交融成空灵意境，将虚幻炽热的情愫凝于绢素，让千年后的目光，仍能触碰到那份跨越人神之隔的怅惘与温柔。",[23,25,26,74,434,29,30,31,80,82,81,7,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28979b39f4e81a38082bfb84c091ac0.jpg","26.9x225.2",[],{"id":3590,"slug":3591,"title":3592,"dynasty":18,"author":3593,"museum":835,"description":3594,"tags":3595,"thumbUrl":3596,"material":58,"size":3597,"collection":59,"collections":3598,"showCount":3569,"zanCount":511,"manualWeight":43,"mainColor":64},216255,"jing-fu-si-qi-dong-jing-tu-5-qian-wei-cheng-216255","景敷四气冬景图-5","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山意惟余枯树攅，云容欲雪涧收湍。溪轩坐者宜青目，但是高人定耐寒。钤印：澂观",[25,55,80,75,53,133,135,82,349,324,136,7,3203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb149e2e9f85b3297a5f5fc35e75adb1c.jpg","21.9 × 30.2cm",[],{"id":3600,"slug":3601,"title":3602,"dynasty":18,"author":214,"museum":112,"description":2480,"tags":3603,"thumbUrl":3605,"material":58,"size":59,"collection":59,"collections":3606,"showCount":3569,"zanCount":43,"manualWeight":43,"mainColor":64},214847,"xie-sheng-ce-16-hua-yan-214847","写生册-16",[25,55,29,906,53,3604,160,7],"蛇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7317d554cf7fbebd00ff1714c73feef.jpg",[],{"id":3608,"slug":3609,"title":3610,"dynasty":18,"author":3611,"museum":552,"description":3612,"tags":3613,"thumbUrl":3616,"material":641,"size":642,"collection":59,"collections":3617,"showCount":3618,"zanCount":209,"manualWeight":43,"mainColor":143},289903,"hua-niao-tu-li-zhou-qu-zhao-lin-289903","花鸟图立轴","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[23,24,25,26,27,29,28,56,3614,3615,7,2806],"海棠","绶带鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57c17039c95e5cbe12757afdf6e48fac.jpg",[],86,{"id":3620,"slug":3621,"title":3622,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":3623,"thumbUrl":3624,"material":641,"size":642,"collection":59,"collections":3625,"showCount":3618,"zanCount":43,"manualWeight":43,"mainColor":64},289898,"shi-liu-tu-li-zhou-wu-chang-shuo-289898","石榴图立轴",[23,24,25,26,27,1969,55,29,192,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84d0c8474b987b8242984551428f81a.jpg",[],{"id":3627,"slug":3628,"title":3629,"dynasty":18,"author":169,"museum":71,"description":3630,"tags":3631,"thumbUrl":3634,"material":327,"size":3635,"collection":59,"collections":3636,"showCount":3618,"zanCount":209,"manualWeight":43,"mainColor":64},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[25,55,27,75,80,277,82,81,136,135,153,7,2049,715,324,3632,3633,84],"村落","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],{"id":3638,"slug":3639,"title":3562,"dynasty":148,"author":3640,"museum":71,"description":3641,"tags":3642,"thumbUrl":3643,"material":479,"size":3644,"collection":88,"collections":3645,"showCount":3618,"zanCount":511,"manualWeight":43,"mainColor":44},221756,"song-shi-tu-zhou-sheng-mao-221756","盛懋","本幅左上款署：“至正己亥仲秋廿二日武唐盛懋子昭作此图为祐祯寿。”下钤“子昭”、“盛懋”印。“至正己亥”为至正十九年（1353年），受画人“祐祯”不知为何许人。本幅左下钤鉴藏印“囗公读过”、“见阳图书”、“寒云珍藏元人名迹”、“子安珍藏记”。\n此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[23,24,25,26,27,55,75,260,491,7,134,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纵77.4厘米，横27.2厘米",[88,122],{"id":3647,"slug":3648,"title":3125,"dynasty":985,"author":3649,"museum":1060,"description":3650,"tags":3651,"thumbUrl":3652,"material":3653,"size":3654,"collection":122,"collections":3655,"showCount":3618,"zanCount":511,"manualWeight":43,"mainColor":64},221093,"zhu-tu-rong-yang-221093","荣阳","晚唐时期的绘画，最可注意的就是花鸟画的兴起，中国绘画史上以题材而论，人物画发展最早，其次是山水，花鸟画居第三。花鸟图形用来作丝帛上的花纹和壁画上的装饰，自战国到汉唐都很普遍。但成为绘画的独立题材，是始于中唐而盛于晚唐。边鸾的“折枝”花卉，只画一枝花，无根无干，风格新颖，很受当时人的欢迎。他兼精翎毛，于是奠定了花鸟画的地位。刁光胤更将花鸟画发展到了完善的地步。",[23,25,55,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a425482415215a9b6abe08555c3dcd.jpg","绢本，水墨","27.2*23.0cm",[122,411],{"id":3657,"slug":3658,"title":3659,"dynasty":69,"author":201,"museum":1942,"description":3660,"tags":3661,"thumbUrl":3662,"material":37,"size":59,"collection":39,"collections":3663,"showCount":3618,"zanCount":511,"manualWeight":43,"mainColor":64},219582,"tong-zi-li-fo-tu-yi-ming-219582","童子礼佛图","团扇取景庭院一隅，玲珑湖石旁牡丹绽蕊晕香，晕染出雅致闲静的氛围。数位童子稚态尽显，或合力捧持佛龛，或敛衣垂首礼拜，憨拙的动作将孩童模仿佛事的天真烂漫融于其中。设色柔丽清雅，衣纹线条纤细婉转，将童子娇憨的神态与稚嫩身形刻画入微，并未渲染礼佛的肃穆沉重，反以孩童的烂漫消解了仪式感，尽显日常嬉玩的松弛意趣，是兼具工致院体笔意与市井童真的小品佳作。",[24,25,26,714,576,29,30,2613,7,243,79,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95ae7ebde4a39a5de3ea7632554bec3.jpg",[39],{"id":3665,"slug":3666,"title":3667,"dynasty":369,"author":201,"museum":184,"description":3668,"tags":3669,"thumbUrl":3670,"material":37,"size":3671,"collection":60,"collections":3672,"showCount":3618,"zanCount":43,"manualWeight":43,"mainColor":44},219116,"wu-mao-tu-yi-ming-219116","五猫图","这幅画是一棵古老的柳树，从土壤的右下坡笔直向上延伸。 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。",[25,24,29,28,101,100,134,307,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd568342453b18257f81c6e57ff45b4c5.jpg","纵121横73厘米",[60],{"id":3674,"slug":3675,"title":3676,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":3677,"thumbUrl":3678,"material":641,"size":642,"collection":59,"collections":3679,"showCount":3680,"zanCount":43,"manualWeight":43,"mainColor":44},290354,"hua-he-hua-zhou-chen-hong-shou-290354","画荷花轴",[24,25,26,27,29,56,445,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daddd5c38e884b7ee705d40059080ce.jpg",[],85,{"id":3682,"slug":3683,"title":3684,"dynasty":18,"author":551,"museum":71,"description":3685,"tags":3686,"thumbUrl":3687,"material":327,"size":59,"collection":60,"collections":3688,"showCount":3680,"zanCount":511,"manualWeight":43,"mainColor":64},236981,"qiu-se-zhou-wu-chang-shuo-236981","秋色轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[25,26,27,29,55,78,79,7,1791,541,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc0e8896205933dd0727840cc37da2b.jpg",[60,122],{"id":3690,"slug":3691,"title":562,"dynasty":18,"author":475,"museum":71,"description":3692,"tags":3693,"thumbUrl":3694,"material":327,"size":3695,"collection":122,"collections":3696,"showCount":3680,"zanCount":43,"manualWeight":43,"mainColor":64},236775,"yu-shi-tu-zhou-zhu-da-236775","此画面十分简洁，仅以简练的笔画，画一鱼一石。一湖石座落在画幅的左侧中段，湖石造型奇特，取岌岌可危之势，石中用枯笔皴染又加重墨点，鱼一尾在宽阔河中游弋，把鱼在特定的环境中的动态和神气表现得活灵活现，其造型非常准确而传神。唯独鱼眼一圈一点，眼珠顶着眼圈，即眼珠点在眼眶的上方，一副白眼向天的神情，形象洗练，造型夸张，表情奇特，构图大胆、新奇。由于画面仅有的怪石、鱼，又画在左侧和下端，而右侧的空白处，作者以自题款署及清王澍题记加以补白，对使整幅作品起到了平衡的作用。\n王澍题记：“八大山人挟忠义激发之气形于翰墨，故其作画不求形似，但取其意于苍茫寂历之间，意画即心，此所谓神韵者也。”\n八大山人的画不少是没有记年，但从风格及款署的习惯，可以判断是那一个时期的作品。如此《鱼石图》轴，款署“八大山人”，据考证他59岁至80岁，用“八大山人”署名，是“八大期”。依据《鱼石图》的特点和署名写法可以判断为晚年时期的作品。",[25,26,55,27,7,565,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1465c1b39b489696b27be749224da061.jpg","纵58.3厘米，横48.6厘米",[122],{"id":3698,"slug":3699,"title":3700,"dynasty":18,"author":214,"museum":71,"description":3701,"tags":3702,"thumbUrl":3705,"material":139,"size":3706,"collection":60,"collections":3707,"showCount":3680,"zanCount":43,"manualWeight":43,"mainColor":64},233941,"hua-yan-qiang-wei-shan-niao-zhou-hua-yan-233941","华嵒蔷薇山鸟轴","华嵒作为活跃于扬州卖画的职业画家，其花鸟画创作善于捕捉自然界中最生动的天趣。图绘春光明媚的时节，一只山鸟栖于蔷薇枝头，引吭高鸣，其清脆的鸣声不仅令无声的画面声情并茂，且生动地图解了“花气晴熏日，鸟声娇战春”之诗意。此图笔墨松秀，设色清丽淡雅，造型自然传神，构图简约空灵，显示了画家在小写意花鸟画方面的非凡造诣和俊逸清新的独特画风。",[25,24,27,29,55,173,56,3703,3704,7],"蔷薇","山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c4ffd5974bd96e38b7cc4bca6e60ff.jpg","纵127.1厘米，横55.5厘米",[60],{"id":3709,"slug":3710,"title":502,"dynasty":18,"author":475,"museum":552,"description":3711,"tags":3712,"thumbUrl":3713,"material":59,"size":59,"collection":88,"collections":3714,"showCount":3715,"zanCount":43,"manualWeight":43,"mainColor":64},235165,"shan-shui-ce-zhu-da-235165","此作用笔简淡疏朗，以极省减的墨色绘就山水丘林。远山以枯淡墨线勾出轮廓，淡墨晕染出覆雪清寒，林麓隐在氤氲雾气间。近岸枯木虬曲错落，间有矮松凝立，坡岸浅渚以淡墨轻扫，寥寥数笔便铺展出江天寥廓的空茫。\n\n大片留白铺陈出天地荒寒的禅意，题款与朱印点缀留白处，虚实相生。整体气韵冷逸孤高，淡墨里藏着疏淡超脱的襟怀，将萧寒天地与幽独心境相融，笔底皆是清冷出尘的林下意趣，淡而弥远，简却传神。",[25,26,53,55,75,80,133,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef34faa497c9e7d24e38b8640a268bb.jpg",[88,122],84,{"id":3717,"slug":3718,"title":3719,"dynasty":18,"author":3720,"museum":552,"description":3721,"tags":3722,"thumbUrl":3723,"material":3724,"size":3725,"collection":88,"collections":3726,"showCount":3727,"zanCount":43,"manualWeight":43,"mainColor":64},224169,"song-shu-tu-gua-zhou-li-fang-ying-224169","松树图挂轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,25,26,27,55,75,260,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93021041cb164b00da3dbc86d0eb5b96.jpg","纸本水墨","100x45",[88],83,{"id":3729,"slug":3730,"title":3731,"dynasty":18,"author":672,"museum":112,"description":2939,"tags":3732,"thumbUrl":3737,"material":29,"size":2943,"collection":59,"collections":3738,"showCount":3727,"zanCount":511,"manualWeight":43,"mainColor":64},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a",[23,24,25,26,53,29,28,3733,3734,56,243,7,3174,1496,540,541,3735,3736,375,135,456],"中西合璧","写实","色彩","造型逼真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg",[],{"id":3740,"slug":3741,"title":3742,"dynasty":369,"author":3743,"museum":1060,"description":3744,"tags":3745,"thumbUrl":3747,"material":678,"size":3748,"collection":497,"collections":3749,"showCount":3727,"zanCount":43,"manualWeight":43,"mainColor":44},221602,"chu-shan-shi-jia-tu-zhou-liang-kai-221602","出山释迦图轴","梁楷","释迦着单衣跣足站于枯树旁，手举胸前，双眸微微下视，面容清瘦，须发密长。尽管已值冬季，衣带在寒风中飘举，但释迦似乎并未感受到寒冷，丝毫没有瑟瑟呵冻之态，而是神情专注，愈显入山苦修悟道后，意志弥坚。画家以劲利的线条画排叠的衣纹，用笔谨严，于人物神情刻画尤见功力；苍幹枯枝，用笔劲硬，很好地烘托了环境。背景的坡石略加勾皴，树石的画法还可看出受到李唐的影响，此图与其传世减笔人物画相比，属较为工致的画作。画幅左侧的石壁上署有“御前图画梁楷”六字款。",[23,25,26,27,29,576,30,7,133,3746],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823f2524319f6cbdc884ddb4cd9087a.jpg","纵119厘米，横52厘米",[497,88],{"id":3751,"slug":3752,"title":3753,"dynasty":369,"author":3754,"museum":112,"description":3755,"tags":3756,"thumbUrl":3758,"material":3759,"size":3760,"collection":497,"collections":3761,"showCount":3727,"zanCount":511,"manualWeight":43,"mainColor":44},221591,"jiu-ci-tu-juan-li-di-221591","九鹚图卷","李迪","李迪“画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，超亦能作山水小景。构思精妙，功力深湛，雄伟处动人心魄。”所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动，刻画细致，各具神态。山水师法李唐，也多又佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”",[23,24,25,26,74,29,28,56,307,456,7,3757],"鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba83bf3091278e25daedea126febf6f5.jpg","设色,浅设色","本幅34.7x226.6 隔水一13 隔水二13 拖尾34.7x43",[497,60,105],{"id":3763,"slug":3764,"title":3765,"dynasty":69,"author":3766,"museum":418,"description":3767,"tags":3768,"thumbUrl":3769,"material":1106,"size":3770,"collection":60,"collections":3771,"showCount":3772,"zanCount":511,"manualWeight":43,"mainColor":44},222661,"guo-se-tian-xiang-tu-ma-yi-222661","国色天香图","马逸","《国色天香图》是一幅富丽堂皇的工笔重彩花卉图。图中的牡丹花开娇艳，明丽动人，色彩丰富饱满，姿态优雅，设色极其讲究，勾线细致圆润。\n而花下奇石则用积墨与淡墨晕染相结合绘出，以石绿、石青略染。兰花以重粉罩染，胭脂点蕊，素雅动人。地面以淡彩渲染，营造出空间的伸缩感。《国色天香图》堪称“中国牡丹第一图”，是中国古代牡丹绘画最杰出的作品。",[23,25,24,28,29,56,191,188,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59572009fd6e71cd365f81d2e0b28489.jpg","纵101.7厘米，横49.5厘米",[60,105],82,{"id":3774,"slug":3775,"title":3776,"dynasty":369,"author":2994,"museum":552,"description":3777,"tags":3778,"thumbUrl":3779,"material":205,"size":3780,"collection":88,"collections":3781,"showCount":3772,"zanCount":209,"manualWeight":43,"mainColor":44},218915,"shan-shui-tu-xia-gui-218915","山水图","这幅画描绘了一个平静安详的山居，远处的山峰高耸入云，瀑布和泉水直泻而下，小屋散落一地，优雅的人和伐木工在其中徘徊。整幅画的笔触层次分明，森林和山上的明暗对比明显。这幅画上看不到艺术家的签名，但从原始签名来看，应该是夏圭。然而，山、林、坡、石的布局，以及滴水不漏的笔墨，都显示出明代浙江画派的风格，这肯定是错误地归于后来的艺术家。",[23,24,25,26,55,29,75,80,7,134,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20501644fd7647ba471c42b77fc18e2.jpg","47.6x32.5",[88],{"id":3783,"slug":3784,"title":3785,"dynasty":148,"author":404,"museum":112,"description":3786,"tags":3787,"thumbUrl":3788,"material":205,"size":3789,"collection":59,"collections":3790,"showCount":3791,"zanCount":43,"manualWeight":43,"mainColor":44},290134,"qiu-jiang-yu-yin-tu-wu-zhen-290134","秋江渔隐图","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[24,25,55,80,27,85,137,82,7,260,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51f1c201cfa513a49117cc20e56993.jpg","189.1x88.5",[],81,{"id":3793,"slug":3794,"title":3795,"dynasty":18,"author":3796,"museum":552,"description":3797,"tags":3798,"thumbUrl":3799,"material":641,"size":642,"collection":59,"collections":3800,"showCount":3791,"zanCount":43,"manualWeight":43,"mainColor":64},283786,"mu-dan-yu-lan-tu-liu-de-liu-283786","牡丹玉兰图","刘德六","画面取春日小景，老干虬劲舒展，满枝玉兰冰姿清雅，与下方秾艳牡丹相映成趣。湖石造型奇崛，勾勒皴擦尽显嶙峋质感，成为花木间的视觉支点。两只禽鸟一动一静，振翅的春鸟掠过花枝，另一只探于花下，为画面添就鲜活生机。\n\n此作用笔兼工带写，玉兰以淡墨写意枝干，白花轻勾淡染，尽显清逸；牡丹设色妍丽却不俗艳，花叶层次饱满鲜活。整体设色明快和谐，将春日芳菲的富贵雅致，与江南暮春的悠然意趣相融，在写实写生中晕染出文人画的娴静意韵，尽揽春日生机雅致。",[25,26,56,27,29,191,421,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839a7a0acc34077c380f4ae54ab45aab.jpg",[],{"id":3802,"slug":3803,"title":3804,"dynasty":18,"author":3805,"museum":170,"description":3806,"tags":3807,"thumbUrl":3808,"material":58,"size":59,"collection":105,"collections":3809,"showCount":3791,"zanCount":209,"manualWeight":43,"mainColor":44},219257,"cao-chong-tu-shang-rui-219257","草虫图","上睿","画面以古雅绢色铺底，苍劲岩石兀立其间，其上百合舒展素瓣，清雅动人；旁侧藤蔓牵绕，细碎小花点缀，更添自然生趣。一只雀鸟振翅而来，羽翼纤毫毕现，姿态灵动似欲停驻花间。笔墨细腻处见功夫：花卉勾勒精致，叶片脉络分明；岩石皴擦有致，尽显朴拙质感。设色淡雅温润，白百合与暖棕背景相映成趣，整体氛围静谧中藏生机，仿佛能闻得隐于画间的花香鸟语，尽显清代花鸟画作的雅致意韵。",[23,25,26,28,29,56,7,153,629,259,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c78ce61f7fcee14a5c12b26c976e97.jpg",[105],{"id":3811,"slug":3812,"title":3813,"dynasty":18,"author":3814,"museum":112,"description":3815,"tags":3816,"thumbUrl":3817,"material":37,"size":3818,"collection":39,"collections":3819,"showCount":3791,"zanCount":43,"manualWeight":43,"mainColor":64},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","丁观鹏","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。",[25,26,29,28,30,576,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72eac59f02a9575a8bac111da40f688.jpg","127.5x57.5",[39],{"id":3821,"slug":3822,"title":3823,"dynasty":18,"author":3824,"museum":552,"description":3825,"tags":3826,"thumbUrl":3828,"material":59,"size":59,"collection":59,"collections":3829,"showCount":3830,"zanCount":209,"manualWeight":43,"mainColor":64},238191,"hua-hui-chong-die-zhou-yu-sheng-238191","花卉虫蝶轴","余省","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。",[25,26,27,29,28,243,3827,435,291,160,7,1033,56],"虫蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6199de4d5acfeaec5e8cafcd7497b4c3.jpg",[],80,{"id":3832,"slug":3833,"title":2985,"dynasty":18,"author":3834,"museum":552,"description":3835,"tags":3836,"thumbUrl":3837,"material":327,"size":59,"collection":60,"collections":3838,"showCount":3830,"zanCount":43,"manualWeight":43,"mainColor":64},237219,"mu-dan-zhou-lu-hui-237219","陆恢","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）。\n幼习举子业，秀才入学试为第一，有人举报其父曾参加 从 尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤 旋客吴幕，得游三湘，所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工 尝作衡山记游图八幅，认为生平杰作，谓可媲美\n光绪 图中衣冠、中年归苏州，潜心绘事，考订 为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹",[25,26,27,29,56,191,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19c6ad9cdb51e1097c313f45d064bf4.jpg",[60,105],{"id":3840,"slug":3841,"title":3842,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":3843,"thumbUrl":3844,"material":641,"size":642,"collection":59,"collections":3845,"showCount":3830,"zanCount":209,"manualWeight":43,"mainColor":64},235463,"hong-mei-tu-zhou-wu-chang-shuo-235463","红梅图轴",[25,173,29,79,77,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ee665f6d35f02aab575c4b2632afd6a.jpg",[],{"id":3847,"slug":3848,"title":3849,"dynasty":18,"author":3850,"museum":552,"description":3851,"tags":3852,"thumbUrl":3853,"material":59,"size":59,"collection":59,"collections":3854,"showCount":3830,"zanCount":43,"manualWeight":43,"mainColor":143},224343,"she-se-mu-dan-zhou-fan-qi-224343","设色牡丹轴","樊圻","这幅作品以湖石为骨，牡丹为魂，湖石以浓墨勾勒皴擦，嶙峋苍古，朴拙沉厚，稳稳托举花株。牡丹以没骨晕染，粉瓣柔润层叠，白蕊轻透蓬松，自带雍容妍态；绿叶以汁绿晕染出阴阳向背，鲜活舒展。\n笔墨兼容工致与写意，设色秀雅沉静，将牡丹华贵与湖石清奇相融，柔刚相济。整幅画面静穆中藏生机，雅致脱俗，尽显花石相映的清幽意趣。",[23,228,25,27,29,28,56,191,7,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9dfde28aebea23e14127821d8f6868d.jpg",[],{"id":3856,"slug":3857,"title":3858,"dynasty":18,"author":201,"museum":552,"description":3859,"tags":3860,"thumbUrl":3861,"material":59,"size":59,"collection":59,"collections":3862,"showCount":3830,"zanCount":43,"manualWeight":43,"mainColor":64},223459,"shan-shui-xiao-pin-yi-ming-223459","山水小品","小品画一般以小立轴、镜片、册页、扇面等形式为主，广泛应用于社会，凡宾馆、小会议室、小客厅、以及各种娱乐场所的室内装饰布置，都常用小品画。 可以说中国画能进入寻常百姓家的主要是小品画，所以小品画是人民群众喜闻乐见的形式。 其四，小品画的表现手法比较自由随意也是它的一个特点。",[23,25,26,55,29,75,53,80,7,85,325,1268,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614164daf8e9e4af388f9ada7fdd61ea.jpg",[],{"id":3864,"slug":3865,"title":3866,"dynasty":369,"author":3867,"museum":112,"description":3868,"tags":3869,"thumbUrl":3870,"material":37,"size":3871,"collection":497,"collections":3872,"showCount":3830,"zanCount":43,"manualWeight":43,"mainColor":44},219965,"du-zuo-tan-qin-tu-yang-wu-jiu-219965","独坐弹琴图","扬无咎","扬无咎（1097─1169年），字补之，号逃禅老人，又号清夷长者，清江（今属江西省）人，寓居南昌。自称为东汉著名文学家扬雄之后，故其姓氏从“手”而不从“木”。生平事迹不详。他为人正直耿介，绍兴（1131─1162年）年间，奸相当道，朝廷对外妥协苟安，无咎“不直秦桧，累征不起”，一生没有作官，是一位藐视权贵的画家。他为梅花传神写照，以“墨梅擅天下，身后寸纸千金”，成为中国梅画的初始者之一。事实上，“画如其人”，无咎笔底高标清韵的梅花，正是画家素洁坚贞的高尚操守的化身。",[23,25,26,27,55,75,78,77,79,30,1446,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8dca1f72c4020db5b4154f5b7b91632.jpg","40x25.5",[497,88],{"id":3874,"slug":3875,"title":3876,"dynasty":69,"author":3877,"museum":150,"description":3878,"tags":3879,"thumbUrl":3882,"material":37,"size":3883,"collection":39,"collections":3884,"showCount":3830,"zanCount":43,"manualWeight":43,"mainColor":44},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[25,24,26,27,55,173,29,80,30,85,153,82,1231,134,3880,505,7,1990,293,259,3881],"渔翁","秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[39],{"id":3886,"slug":3887,"title":3888,"dynasty":69,"author":201,"museum":3402,"description":3889,"tags":3890,"thumbUrl":3891,"material":37,"size":3892,"collection":39,"collections":3893,"showCount":3830,"zanCount":511,"manualWeight":43,"mainColor":44},218410,"ying-xi-tu-yi-ming-218410","婴戏图","花木扶疏的庭院里，石影横斜，稚童们的身影灵动鲜活。围坐小几的孩童或俯身凝眸，或执物细玩，憨态可掬；旁侧的孩子相互追逐，衣袂轻扬间满是天真烂漫。案上器物精巧，阶前小凳古朴，衬得画中世界雅致又充满烟火气。设色古雅温润，线条婉转细腻，将孩童的无忧时光定格成帧，仿佛能听见稚子的嬉闹声穿过岁月，漫溢着恬淡的生活意趣与对童真的脉脉咏叹。画面以细腻笔触勾勒出童真百态，古雅的色调与婉转的线条交织，将无忧岁月凝练成帧，让观者在古朴的氛围里，触摸到那份穿越时空的天真暖意。",[23,25,29,28,27,30,1345,7,153,191,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875a332dd57d21a2a5dbe31d190af59f.jpg","182.2x98.1",[39],{"id":3895,"slug":3896,"title":3897,"dynasty":148,"author":201,"museum":184,"description":3898,"tags":3899,"thumbUrl":3900,"material":37,"size":3901,"collection":88,"collections":3902,"showCount":3830,"zanCount":511,"manualWeight":43,"mainColor":44},214828,"jiang-zhong-chui-diao-tu-yi-ming-214828","江中垂钓图","江中垂钓图是一幅元代的山水画作品，作者是佚名。这幅画中描绘了一个人在江边垂钓的场景。画中展现了绚丽多彩的山水风光，以及人物自然舒展的姿态。整幅画的画风细腻，笔墨流畅，色彩鲜艳，构图巧妙，充分展示了元代山水画的魅力。\n\n元代是中国历史上一个重要的朝代，也是中国绘画史上的一个重要时期。元代绘画追求自然、真实，注重写意，在画面上展现自然界的种种变化。山水画是元代绘画中的一大特色，江中垂钓图就是其中的一例。这幅画描绘了一幅宁静而又热闹的山水风光，充分展现了元代绘画的自然精神。",[25,55,29,80,82,85,505,134,7,137,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f084d61f9b4775b72a81ef13a90b677.jpg","22.5x25cm",[88],{"id":3904,"slug":3905,"title":3906,"dynasty":18,"author":3907,"museum":847,"description":3908,"tags":3909,"thumbUrl":3910,"material":479,"size":3911,"collection":60,"collections":3912,"showCount":3913,"zanCount":43,"manualWeight":43,"mainColor":64},222822,"mu-dan-shan-zhe-tu-zhou-mu-dan-shuang-he-xu-yang-222822","牡丹山鹧图轴(牡丹双鹤)","徐扬","图绘二只山鹧，一只掉于水中，另一只站在石上尾巴散开，羽毛蓬松，圆睁的眼睛似为同伴落水而焦急不已；石边牡丹花绽放，硕大的花朵，层层叠叠的花瓣，高贵典雅。",[23,25,26,27,55,28,56,191,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca665cb56cece71915c2720da655165.jpg","117*55.8cm",[60],79,{"id":3915,"slug":3916,"title":3917,"dynasty":148,"author":1125,"museum":20,"description":3918,"tags":3919,"thumbUrl":3920,"material":58,"size":3921,"collection":39,"collections":3922,"showCount":3913,"zanCount":209,"manualWeight":43,"mainColor":44},220437,"bi-hu-zhu-shu-tu-wang-meng-220437","闭户著书图","王蒙绘画风格可分为早、中、晚三个阶段；早期宗学家法，即师法外家赵氏风范；中期泛学前代诸家，也是自己独特画风的初创期，这一时期大约自至正初年隐居开始，持续至至正二十年（1360）左右；后期则是其风格的成熟期，大约自至正二十年后至卒于狱中。\n本图应为其风格初创时期的作品，笔墨、题材、画面空间等诸多方面都体现了这一时期的显著特点：笔墨上已脱离了早期的摹古阶段，开始形成皴法繁复、苔点密集的风格特征；用笔跳跃扭动，浓墨、淡墨、焦墨混用，苔点看似杂乱，实则经过精心安排，这种笔墨技巧十分适合表现江南山川圆润多土、草木茂密之感。",[23,25,26,55,75,80,115,260,134,136,277,82,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm",[39,105],{"id":3924,"slug":3925,"title":3926,"dynasty":148,"author":2912,"museum":112,"description":3927,"tags":3928,"thumbUrl":3929,"material":205,"size":3930,"collection":60,"collections":3931,"showCount":3913,"zanCount":43,"manualWeight":43,"mainColor":44},219473,"mo-zhu-tu-gu-an-219473","墨竹图","顾安（活动于1345－1373），字定之，江苏人。书学赵孟俯，以墨竹著称，师法北宋文同，元代李衎、赵孟俯，用笔遒劲，融入书法意趣。绘坡石间三竹，枝干劲挺，茎叶逆风翻转飘动。用笔浓淡变化，衬托出迷蒙雾气。构图简洁，重在表现动态，具写实精神，又富有文人写意情调。",[25,26,55,32,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb5d92e714290aee8a17305935e6cdf.jpg","122.9x53",[60],{"id":3933,"slug":3934,"title":3935,"dynasty":369,"author":3743,"museum":552,"description":3936,"tags":3937,"thumbUrl":3939,"material":262,"size":3940,"collection":39,"collections":3941,"showCount":3913,"zanCount":511,"manualWeight":43,"mainColor":44},218585,"lan-ting-ti-xu-tu-liang-kai-218585","兰亭题序图","松枝虬劲，墨色浓淡交织出苍古意韵。雅士二人，衣纹以极简线条勾勒，却见洒脱之态——一人凭案凝思，似在斟酌字句；一人侧立静听，神态悠然。案上瓶梅斜逸，木盒静陈，细节处暗藏文心。笔墨删繁就简，却将兰亭雅集的清旷之境、文人相契的灵犀之态，尽纳其中。虽无繁复刻画，却于简约中见深厚，如品淡茶，唇齿留香，尽显文人画的逸致与风骨。每一笔皆不多余，每处留白皆藏深意，仿佛清风过耳，让人心生向往。",[25,26,24,55,434,3938,30,134,7,34,79],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6948482f3ced4ffd228934551e7fb4.jpg","28x48",[39],{"id":3943,"slug":3944,"title":3945,"dynasty":369,"author":711,"museum":184,"description":3946,"tags":3947,"thumbUrl":3949,"material":37,"size":3950,"collection":59,"collections":3951,"showCount":3913,"zanCount":43,"manualWeight":43,"mainColor":64},218074,"song-di-ming-ti-ce-er-ma-yuan-218074","宋帝命题册(二)","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。",[23,3948,25,26,53,29,55,75,77,79,80,133,7,82,864],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913cbd18783e2ebead9fd965f7f6a798.jpg","纵28厘米、横27厘米",[],{"id":3953,"slug":3954,"title":3955,"dynasty":18,"author":214,"museum":170,"description":336,"tags":3956,"thumbUrl":3957,"material":327,"size":340,"collection":59,"collections":3958,"showCount":3913,"zanCount":43,"manualWeight":43,"mainColor":44},214345,"san-jue-shan-shui-ce-16-hua-yan-214345","三绝山水册-16",[23,25,53,55,29,80,85,7,117,3368,75,1073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5412a5acb56562b5d7a9ca0fbda12789.jpg",[],{"id":3960,"slug":3961,"title":3962,"dynasty":369,"author":1908,"museum":552,"description":3963,"tags":3964,"thumbUrl":3965,"material":641,"size":642,"collection":59,"collections":3966,"showCount":3967,"zanCount":43,"manualWeight":43,"mainColor":44},290086,"yu-fu-tu-li-tang-290086","渔父图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,24,25,55,80,27,75,85,505,82,134,7,137,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":3969,"slug":3970,"title":3971,"dynasty":369,"author":756,"museum":112,"description":3972,"tags":3973,"thumbUrl":3976,"material":3149,"size":3977,"collection":497,"collections":3978,"showCount":3967,"zanCount":43,"manualWeight":43,"mainColor":44},232619,"han-lin-ping-ye-tu-li-cheng-232619","寒林平野图","北宋山水画主要承续五代荆浩、关仝的北方山水画系，由李成、范宽创立一代新风，传派繁衍。北宋时代，知名画家的人数仅从《图画见闻录》和《画继》两书来统计，就有386人之多。而李成的山水画以“气象萧疏，烟林清旷，毫锋颖脱，墨法精微”而著称，因而《宣和画谱》云：“凡称山水者，必以成为古今第一”。\n图绘萧瑟的隆冬平野中，长松亭立，林木薄疏，小丘起伏，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。此画李成用硬笔锐锋，在绢上勾画的松针，粗干细枝，土坡石廓，线条瘦硬坚韧，极具功力，即使不染墨，也神定气足。图中所绘树枝，无论粗细，均呈弧曲形，将线条的力度发挥到了最大程度。所以李成的画，仅用淡墨作少量的烘染，给人以一种秀润淡雅的享受。\n李成注重真实的山水写生，深谙透视画理，墨法变化微妙，风格清新，意韵精致。他的山水画不但表现出山川气象形势的变化，而且还特别强调了季节气候的特点，其中最突出的成就，是他创造了“寒林”的形象。\n另外，李成作画总是用墨不浓，轻淡如在烟雾里，显得缥缈幽清，史称李成“惜墨如金”。\n李成(919—967)，字咸熙，其先人为唐宗室，世居长安(今西安)。他出身贵族，有文学才能，性情旷达，聪颖多才，因世变抑郁不得志，而好饮酒与游历。善画山水以自娱。《宣和画谱》记述他的山水画说：“所画山林薮泽，平远险易，萦带曲折，飞流、危栈、断桥、绝涧、水石，风雨晦明，烟云雪雾之状，一皆吐其胸中，而写之笔下。”李成在继承前代成就的基础上，将山水画的表现内容和技巧，推向了纵深的发展，影响而及元、明、清。",[25,26,27,55,75,80,133,134,3974,7,83,1791,3975],"平野","裸根","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcee0e7c9374961a654e3f9f6b89cc35.jpg","纵137.8厘米，横69.2厘",[497],{"id":3980,"slug":3981,"title":3982,"dynasty":18,"author":3983,"museum":552,"description":3984,"tags":3985,"thumbUrl":3986,"material":641,"size":642,"collection":59,"collections":3987,"showCount":3967,"zanCount":511,"manualWeight":43,"mainColor":64},230976,"tan-mei-shi-nv-tu-fei-dan-xu-230976","探梅仕女图","费丹旭","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。",[23,25,29,28,31,30,187,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebadd248a4abef29f28af2255c5ade4.jpg",[],{"id":3989,"slug":3990,"title":3991,"dynasty":18,"author":3992,"museum":50,"description":3993,"tags":3994,"thumbUrl":3996,"material":678,"size":3997,"collection":88,"collections":3998,"showCount":3967,"zanCount":43,"manualWeight":43,"mainColor":44},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[23,25,26,27,55,76,75,80,133,260,135,3995,82,7],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[88],{"id":4000,"slug":4001,"title":4002,"dynasty":69,"author":537,"museum":71,"description":4003,"tags":4004,"thumbUrl":4005,"material":678,"size":4006,"collection":60,"collections":4007,"showCount":3967,"zanCount":511,"manualWeight":43,"mainColor":44},222554,"zhuo-se-hua-hui-tu-zhou-chen-chun-222554","着色花卉图轴","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,25,24,26,27,29,173,56,243,32,7,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","59cmx113.4cm",[60,105],{"id":4009,"slug":4010,"title":4011,"dynasty":69,"author":4012,"museum":112,"description":4013,"tags":4014,"thumbUrl":4015,"material":37,"size":4016,"collection":60,"collections":4017,"showCount":3967,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,27,29,28,56,7,291,2204,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c039a1b9f0137adce7892838c9292e0.jpg","149.3x47",[60,105],{"id":4019,"slug":4020,"title":4021,"dynasty":369,"author":4022,"museum":3402,"description":4023,"tags":4024,"thumbUrl":4026,"material":37,"size":4027,"collection":497,"collections":4028,"showCount":3967,"zanCount":43,"manualWeight":43,"mainColor":44},219083,"shan-qin-mi-shi-tu-lin-chun-219083","山禽觅食图","林椿","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。",[23,24,25,26,28,29,56,4025,157,7],"山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4ff92e043a2bee2158780d7469100a.jpg","26.5x25.7cm",[497,60],{"id":4030,"slug":4031,"title":4032,"dynasty":369,"author":4033,"museum":170,"description":4034,"tags":4035,"thumbUrl":4038,"material":37,"size":4039,"collection":39,"collections":4040,"showCount":3967,"zanCount":209,"manualWeight":43,"mainColor":44},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。",[24,25,4036,28,29,30,306,7,4037],"宋代","炼丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2534c674db225970dc309e9344f4111c.jpg","74.2x45.3",[39],{"id":4042,"slug":4043,"title":4044,"dynasty":69,"author":288,"museum":112,"description":4045,"tags":4046,"thumbUrl":4047,"material":58,"size":4048,"collection":105,"collections":4049,"showCount":3967,"zanCount":209,"manualWeight":43,"mainColor":64},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘（1532—1611） 明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。",[23,25,26,74,29,28,75,79,78,80,30,242,277,82,7,81,349,519,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd58699418b7719eb47ed1909ad872c.jpg","279x1333.9",[105],{"id":4051,"slug":4052,"title":4053,"dynasty":18,"author":169,"museum":874,"description":2450,"tags":4054,"thumbUrl":4055,"material":58,"size":2453,"collection":59,"collections":4056,"showCount":3967,"zanCount":43,"manualWeight":43,"mainColor":64},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7",[23,24,25,26,53,55,29,80,7,81,324,84,75,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg",[],{"id":4058,"slug":4059,"title":4060,"dynasty":18,"author":214,"museum":552,"description":4061,"tags":4062,"thumbUrl":4063,"material":641,"size":642,"collection":60,"collections":4064,"showCount":4065,"zanCount":43,"manualWeight":43,"mainColor":64},235381,"hua-niao-tu-ce-hua-yan-235381","花鸟图册","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、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、李鱓、郑板桥及盐商巨子马曰琯、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。",[25,53,29,56,32,374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e4d0cc55e7ee07e955ecc27f59a38e.jpg",[60],77,{"id":4067,"slug":4068,"title":4069,"dynasty":18,"author":4070,"museum":552,"description":4071,"tags":4072,"thumbUrl":4074,"material":327,"size":4075,"collection":60,"collections":4076,"showCount":4065,"zanCount":43,"manualWeight":43,"mainColor":64},222708,"mei-hua-tu-zhou-jin-nong-222708","梅花图轴","金农","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[23,25,27,55,173,187,493,7,79,77,4073],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg","61cmx33cm",[60,105],{"id":4078,"slug":4079,"title":4080,"dynasty":369,"author":4081,"museum":847,"description":4082,"tags":4083,"thumbUrl":4084,"material":4085,"size":4086,"collection":497,"collections":4087,"showCount":4065,"zanCount":511,"manualWeight":43,"mainColor":64},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","马和之","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[23,25,26,74,434,55,29,30,80,81,349,277,82,153,7,865,79,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[497,39,105],{"id":4089,"slug":4090,"title":4091,"dynasty":369,"author":711,"museum":112,"description":4092,"tags":4093,"thumbUrl":4096,"material":37,"size":4097,"collection":88,"collections":4098,"showCount":4065,"zanCount":511,"manualWeight":43,"mainColor":64},218163,"xue-tan-shuang-lu-tu-ma-yuan-218163","雪滩双鹭图","画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应。",[23,24,25,26,27,55,29,80,133,135,492,4094,4095,7],"滩","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70fa992caf6ec5e7624ac5e868a7e17.jpg","纵60厘米，横38厘米",[88],{"id":4100,"slug":4101,"title":4102,"dynasty":148,"author":4103,"museum":112,"description":4104,"tags":4105,"thumbUrl":4106,"material":37,"size":4107,"collection":39,"collections":4108,"showCount":4065,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,26,27,29,28,576,30,32,7,153,338,35,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[39],{"id":4110,"slug":4111,"title":4112,"dynasty":69,"author":70,"museum":552,"description":2849,"tags":4113,"thumbUrl":4116,"material":641,"size":642,"collection":59,"collections":4117,"showCount":4118,"zanCount":511,"manualWeight":43,"mainColor":64},288067,"chui-diao-tu-shen-zhou-288067","垂钓图",[23,25,24,55,27,26,80,30,2049,7,82,4114,505,77,79,4115],"垂钓","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5701209ee802812e6ba423e0fd68c748.jpg",[],76,{"id":4120,"slug":4121,"title":4122,"dynasty":69,"author":4123,"museum":847,"description":4124,"tags":4125,"thumbUrl":4126,"material":139,"size":4127,"collection":60,"collections":4128,"showCount":4118,"zanCount":178,"manualWeight":43,"mainColor":64},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。",[23,25,26,27,29,28,79,187,372,1210,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff27021c8b1604adccb8eb0607990f6.jpg","119.3x39.6cm",[60,105],{"id":4130,"slug":4131,"title":4132,"dynasty":369,"author":4133,"museum":112,"description":4134,"tags":4135,"thumbUrl":4138,"material":205,"size":4139,"collection":497,"collections":4140,"showCount":4118,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,29,28,153,7,134,56,4136,4137],"秋野","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg","23.7x24.9",[497,60],{"id":4142,"slug":4143,"title":4144,"dynasty":369,"author":201,"museum":112,"description":4145,"tags":4146,"thumbUrl":4147,"material":37,"size":4148,"collection":88,"collections":4149,"showCount":4118,"zanCount":209,"manualWeight":43,"mainColor":64},218806,"song-ren-ji-hui-han-shan-xing-lv-yi-ming-218806","宋人集绘-寒山行旅","本页绘一轮明月高悬天际，其下寒江平展，枯树横生蟹爪，景色萧疏空阔。近处坡丘二起，左丘上，古松成双，参差挺峙。松下亭中，有旅人坐憩。两丘间，土桥横江相连，沿著右丘，小径一路蜿蜒东去，丘势亦转成峰，环抱于江渚之后。行旅三两或骑或行，殆欲踏寒归去。山石形若卷云，皴法笔势劲捷，遥山远树则用染与前景分虚实，空间的气氛感颇为独到。",[23,25,24,26,53,75,55,80,115,134,865,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8b5a6304e7640a65792a19ed547c98.jpg","25.2x26.3",[88],{"id":4151,"slug":4152,"title":4153,"dynasty":148,"author":201,"museum":112,"description":4154,"tags":4155,"thumbUrl":4156,"material":37,"size":4157,"collection":39,"collections":4158,"showCount":4159,"zanCount":178,"manualWeight":43,"mainColor":44},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。",[25,27,29,28,30,31,523,187,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc4a265b52f01bd880e3e8c0aac9848.jpg","131.4x63",[39],75,{"id":4161,"slug":4162,"title":4163,"dynasty":148,"author":893,"museum":552,"description":4164,"tags":4165,"thumbUrl":4169,"material":641,"size":642,"collection":59,"collections":4170,"showCount":4159,"zanCount":511,"manualWeight":43,"mainColor":44},290085,"zhao-liang-shi-nv-tu-qian-xuan-290085","招凉仕女图","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",[25,4166,28,29,31,523,7,243,4167,4168],"人物画","团扇","纳凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f42f52ef48908dcf2b212818ad4433.jpg",[],{"id":4172,"slug":4173,"title":4174,"dynasty":302,"author":4175,"museum":112,"description":4176,"tags":4177,"thumbUrl":4178,"material":205,"size":4179,"collection":59,"collections":4180,"showCount":4159,"zanCount":511,"manualWeight":43,"mainColor":44},289925,"yu-le-tu-zhou-jing-hao-289925","渔乐图轴","荆浩","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[25,27,55,75,80,137,133,7,82,134,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda905b5bc4e53571550e7355ed79a2b.jpg","189.4x125.9",[],{"id":4182,"slug":4183,"title":4184,"dynasty":148,"author":997,"museum":112,"description":4185,"tags":4186,"thumbUrl":4187,"material":313,"size":4188,"collection":59,"collections":4189,"showCount":4159,"zanCount":511,"manualWeight":43,"mainColor":64},231340,"zhu-shi-tu-yuan-dai-ji-jin-zhi-yi-zhao-meng-fu-231340","竹石图－元代集锦之一","此幅赵孟頫《枯木竹石》画中书法的笔法，比之于其它常见的名件，本件在画石的“飞白法”，由于画石是都用中锋的圆笔，犹如“玉箸篆”的笔画，行笔安稳，并无强烈的快速感，显不出“飞白法”。这也兼见于画枯木条的笔法。画竹为新篁，出锋锐利如新硎发刃，从“结叶”的方法如“燕尾”、如“个”，及棘条圆体感，比之于其它备件，如同为台北故宫藏大德三年（1299己亥，为杨安甫作）的《疏林秀石》最为接近。本件《枯木竹石》款：“子昂为成之作”，书风与印记：“赵子昂印”，也是相同。真品应无疑义。因此，本件可定为1299年作。就元代论，画竹尚是注重生态，若比之于同时期的李衍（1244年-1320年），赵孟頫如“燕尾”、如“个”的竹叶结组，重视笔趣远高于自然生态。更由于纸张稍熟，吸墨性不强，对岩石的渲染加强了块面感与浑厚的端重。吴升《大观录》记此画：“竹则掩翠稍寒，柯则若虬蟠形古，气韵奕奕。”安仪周：“水墨作怪石平坡，细竹棘革，笔墨气韵兼美。”是对整体画作气息的描述。\n存世的赵孟頫“古木竹石”这一类题材尚多。横向发展的兰竹画，存世的几件作品，都是“中央为准”，两旁再布置。这一当门的大石，也正是“石如飞白”的标志。大有一石当关，昂扬于天地之间。这从前举台北故宫藏《疏林秀石》（《宋元集绘册》第四开）；《无款竹木》（《宋元集绘册》第十一开）；北京故宫藏《秀石疏林》；克利夫兰馆的《竹石幽兰》（为善夫），再加以本件《枯木竹石》均是如出一辙的布局。即使换成是轴装直件，以北京故宫藏《古林竹石》，中央立石最为标准。至若台北故宫《窠木竹石》；王己干旧藏《枯树竹石》，画中立石都可做如此观。这种同样的布局，一再出现，意味着什么呢？或许这是庭园、郊野一角的即景？\n就竹的题材，从赵孟頫的题款常写道“为口口作”，表示元代以来，画家常用之以为投赠。这因笔砚间，画竹画兰便利。对于“竹”的意识，赵孟頫在他的《松雪斋集》《修竹赋》：“虚其心实其节，贯四时而不改柯易叶。则吾以是观君子之德。”表意是相当传统。画竹配上的“石”，赵孟頫的诗文里，未见有所指示。再以虞集咏《子昂竹石》：“数尺琅开近玉阶，连昌宫苑少人来。庚庚苍石如人立，恐有题名上紫苔。”的“庚庚苍石如人立”，“庚庚”是坚强，也将石拟人化，还是与“观君子之德”相同了。",[25,26,55,75,32,826,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb050c2489317ffbfaa32479f5913e8.jpg","纵99．4厘米，横48．2厘米",[],{"id":4191,"slug":4192,"title":4193,"dynasty":69,"author":1505,"museum":112,"description":4194,"tags":4195,"thumbUrl":4196,"material":3724,"size":4197,"collection":88,"collections":4198,"showCount":4159,"zanCount":43,"manualWeight":43,"mainColor":64},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[23,25,26,27,55,75,77,78,80,826,82,260,81,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[88,122],{"id":4200,"slug":4201,"title":4202,"dynasty":69,"author":431,"museum":1605,"description":1606,"tags":4203,"thumbUrl":1608,"material":37,"size":59,"collection":39,"collections":4205,"showCount":4159,"zanCount":43,"manualWeight":43,"mainColor":1551},219592,"pin-cha-tu-chen-hong-shou-219592","品茶图",[25,24,26,27,28,29,79,30,7,445,4204,35],"茶具",[39],{"id":4207,"slug":4208,"title":4209,"dynasty":18,"author":214,"museum":170,"description":336,"tags":4210,"thumbUrl":4212,"material":327,"size":340,"collection":59,"collections":4213,"showCount":4159,"zanCount":43,"manualWeight":43,"mainColor":44},214348,"san-jue-shan-shui-ce-14-hua-yan-214348","三绝山水册-14",[23,24,25,26,53,55,29,80,7,82,4211,349,79],"古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19d67cc398c207896647efc1727e533f.jpg",[],{"id":4215,"slug":4216,"title":4217,"dynasty":369,"author":1311,"museum":552,"description":1312,"tags":4218,"thumbUrl":4219,"material":641,"size":642,"collection":59,"collections":4220,"showCount":4221,"zanCount":43,"manualWeight":43,"mainColor":64},288998,"xiao-xiang-zhu-shi-tu-chang-juan-su-shi-288998","潇湘竹石图（长卷）",[23,24,25,26,74,55,80,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929d6054d285cd272a95cd49b582caaf.jpg",[],74,{"id":4223,"slug":4224,"title":2706,"dynasty":18,"author":475,"museum":71,"description":4225,"tags":4226,"thumbUrl":4238,"material":967,"size":4239,"collection":59,"collections":4240,"showCount":4221,"zanCount":43,"manualWeight":43,"mainColor":64},233712,"yang-liu-yu-qin-tu-zhou-zhu-da-233712","此图是朱耷80岁所作。风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[25,55,27,173,2709,490,7,56,4227,1791,4228,135,4229,4230,4231,4232,4233,4234,4235,4236,4237],"水墨写意","孤鸟","枝条","墨笔","写意花鸟","水墨花鸟","山石禽鸟","杨柳枝条","浴禽","水墨山石","写意禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323d4fc355eb966f9589caed04ec16f5.jpg","纵119厘米，横58.4厘米",[],{"id":4242,"slug":4243,"title":4244,"dynasty":69,"author":537,"museum":4245,"description":4246,"tags":4247,"thumbUrl":4248,"material":507,"size":4249,"collection":59,"collections":4250,"showCount":4221,"zanCount":43,"manualWeight":43,"mainColor":64},222570,"hua-hui-tu-9-chen-chun-222570","花卉图9","美国波士顿博物馆","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,24,25,26,173,55,29,56,243,1136,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f0254a2eb9eb07ea7e50656f0f7475.jpg","32.5×57.3厘米",[],{"id":4252,"slug":4253,"title":4254,"dynasty":69,"author":238,"museum":71,"description":4255,"tags":4256,"thumbUrl":4257,"material":1106,"size":4258,"collection":59,"collections":4259,"showCount":4221,"zanCount":43,"manualWeight":43,"mainColor":64},222186,"ren-wu-gu-shi-tu-nan-hua-qiu-shui-chou-ying-222186","人物故事图-南华秋水","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。",[23,25,26,53,28,29,80,30,82,277,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b45609e2c083db0ccce468498ced4.jpg","每开纵41.4厘米，横33.8厘米",[],{"id":4261,"slug":4262,"title":4263,"dynasty":369,"author":4264,"museum":1942,"description":4265,"tags":4266,"thumbUrl":4267,"material":37,"size":4268,"collection":497,"collections":4269,"showCount":4221,"zanCount":511,"manualWeight":43,"mainColor":64},219885,"ku-mu-xi-qin-tu-xu-dao-ning-219885","枯木溪禽图","许道宁","许道宁，北宋画家，生卒年不详，活跃于北宋初到北宋中期，长安（今陕西西安）人，又作河间 (今河北河间县)人。 许道宁擅长绘林木、平远、野水、秋江、雪景、寒林,并将这些自然景色和行旅、野渡、捕鱼等人文景观相结合,画风豪放，笔法简快潇洒,峰峦峻秀挺拔,山林强劲有力,幽林荒冷萧条。 传世作品有《渔父图》（又叫《秋江鱼艇图》）、《关山密雪图》、《秋山萧寺图》。",[25,55,29,80,133,490,7,82,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9597e31491ea2287ed2d24e604cb11.jpg","25.7x25.1",[497,60],{"id":4271,"slug":4272,"title":4273,"dynasty":18,"author":4274,"museum":71,"description":4275,"tags":4276,"thumbUrl":4277,"material":58,"size":4278,"collection":88,"collections":4279,"showCount":4221,"zanCount":43,"manualWeight":43,"mainColor":64},218467,"ming-shan-fang-sheng-tu-cha-shi-biao-218467","名山访胜图","查士标","层峦叠嶂间，小径蜿蜒探入深林，溪流穿石而过，泠泠水声漫过石桥。苍松翠竹错落，墨色浓淡相宜——淡染的远山隐在云气中，含烟带雾；近坡的茅屋隐约，似有隐士栖居，添几分幽寂。笔触疏朗灵动，皴擦见山石肌理，水墨晕染出空濛之境，尽显山林清旷之趣。整幅画如淡远的诗，将寻访名山的雅致与自然静谧融于尺幅，引人入胜，心向往之。",[23,25,55,75,80,349,277,82,81,865,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768529aa0c136cf7b2f2fb8485abd65f.jpg","150×58cm",[88],{"id":4281,"slug":4282,"title":1671,"dynasty":18,"author":475,"museum":552,"description":638,"tags":4283,"thumbUrl":4284,"material":641,"size":642,"collection":59,"collections":4285,"showCount":4286,"zanCount":43,"manualWeight":43,"mainColor":64},287691,"yu-shi-tu-juan-zhu-da-287691",[23,24,25,74,55,565,7,77,79,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3144488368fb9fbbcc03e2eb8bd3da56.jpg",[],73,{"id":4288,"slug":4289,"title":4290,"dynasty":18,"author":941,"museum":552,"description":4291,"tags":4292,"thumbUrl":4293,"material":59,"size":59,"collection":59,"collections":4294,"showCount":4286,"zanCount":511,"manualWeight":43,"mainColor":64},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[23,24,25,26,27,55,75,80,133,259,116,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b461f26c82fb4c0466a95df1af5d932.jpg",[],{"id":4296,"slug":4297,"title":4298,"dynasty":69,"author":3181,"museum":184,"description":4299,"tags":4300,"thumbUrl":4303,"material":37,"size":4304,"collection":60,"collections":4305,"showCount":4286,"zanCount":43,"manualWeight":43,"mainColor":1551},218962,"xue-jing-shui-qin-tu-lin-liang-218962","雪景水禽图","寒林雪意笼于纸面，枯枝以枯笔焦墨写出，如铁骨横斜，墨色浓淡交织间见苍劲之态。几只水禽错落分布：枝头者羽翼覆雪，绒毛细腻处见工致；石上者昂首远眺，身姿灵动似欲振翅。留白隐作积雪，清寂中藏生机。笔墨兼工带写，禽鸟形神毕肖，背景枯枝竹丛则写意挥洒，墨韵淋漓。寒冬萧瑟却未失活力，于荒寒中见生命意趣，尽显对自然的细致观察与笔墨掌控力，是冬日花鸟题材中的妙品。",[25,1969,55,746,851,3203,1791,154,7,4301,716,4302],"竹丛","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48a378a33ce7744cfbe4f86a39a9d8d6.jpg","142.5x55.5cm",[60],{"id":4307,"slug":4308,"title":4309,"dynasty":18,"author":4310,"museum":552,"description":4311,"tags":4312,"thumbUrl":4315,"material":641,"size":642,"collection":59,"collections":4316,"showCount":4317,"zanCount":5,"manualWeight":43,"mainColor":64},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。",[25,26,28,29,56,374,291,7,4313,4314,375,493],"红花","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a9039e5f16dbbf65a5783f0a67ae17.jpg",[],72,{"id":4319,"slug":4320,"title":4309,"dynasty":18,"author":96,"museum":552,"description":4321,"tags":4322,"thumbUrl":4323,"material":59,"size":59,"collection":59,"collections":4324,"showCount":4317,"zanCount":43,"manualWeight":43,"mainColor":64},233120,"hua-niao-ping-ren-yi-233120","任颐（1840年－1895年），中国近代画家。原名小属，初名润，字小楼，一作晓楼。后号次远，字伯年，常被称作任伯年。山阴（浙江省绍兴）人，故画面署款多写“山阴任颐”。",[25,27,29,56,1187,396,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd185d4da9d0d49d86d8f217625063508.jpg",[],{"id":4326,"slug":4327,"title":200,"dynasty":18,"author":384,"museum":552,"description":4328,"tags":4329,"thumbUrl":4330,"material":59,"size":59,"collection":59,"collections":4331,"showCount":4317,"zanCount":43,"manualWeight":43,"mainColor":64},230887,"zhu-shi-tu-zheng-ban-qiao-230887","瘦石嶙峋，以枯淡笔墨勾勒皴擦，孤挺而立，自带清刚硬骨。丛竹依石滋长，老竿挺劲苍润，新篁秀拔轻盈。竹叶以浓墨挥扫，疏密错落，俯仰生姿，笔下竹影似有清风吹过，摇曳有声。\n题画小诗与笔墨相映成趣，诗书印融为一体，将竹石经风历雪不改其节的品格，暗合自身刚直襟怀。以物言志，寥寥笔墨间形神兼备，把君子风骨寄寓尺幅之中，尽显文人写意画的意趣风神。",[25,55,173,27,32,7,77,78,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeeec0ce1c915aea89507bc1e9c4f47c.jpg",[],{"id":4333,"slug":4334,"title":4335,"dynasty":69,"author":4336,"museum":552,"description":4337,"tags":4338,"thumbUrl":4339,"material":59,"size":59,"collection":59,"collections":4340,"showCount":4317,"zanCount":511,"manualWeight":43,"mainColor":64},228872,"lan-zhu-tu-juan-wen-zheng-ming-228872","兰竹图卷","文徴明","此卷以水墨写就兰竹，通幅铺陈疏密有致。墨竹或劲挺纵逸，或垂叶萧萧，以浓淡墨色区分前后层次，尽显风过篁林的灵动之态。兰草随势穿插于竹石间，笔致柔婉舒展，暗香幽然自生。\n\n卷尾行书题跋笔意秀雅流畅，与画境相得益彰，书画合璧尽显文人雅致。全作用笔清劲秀逸，以极简水墨托出兰竹君子清介之姿，将画者冲淡平和的襟怀寄于毫端，萧散清逸的幽致扑面而来，尽显文人写意的风雅意趣。",[23,24,25,26,74,55,77,188,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83d42f07b1f36ad1f0ed4b8c48e3d8b.jpg",[],{"id":4342,"slug":4343,"title":4344,"dynasty":69,"author":431,"museum":112,"description":4345,"tags":4346,"thumbUrl":4347,"material":37,"size":4348,"collection":59,"collections":4349,"showCount":4317,"zanCount":209,"manualWeight":43,"mainColor":44},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。",[25,26,27,29,28,187,374,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c74366f27a7acd6bb8197d976548e3.jpg","124.3x49.6",[],{"id":4351,"slug":4352,"title":4353,"dynasty":18,"author":697,"museum":552,"description":4354,"tags":4355,"thumbUrl":4357,"material":59,"size":59,"collection":59,"collections":4358,"showCount":4317,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[23,25,26,28,29,56,7,4356,493,1466],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ed7a1dd429364a77988b1cdcaa1b67.jpg",[],{"id":4360,"slug":4361,"title":4362,"dynasty":148,"author":201,"museum":150,"description":4363,"tags":4364,"thumbUrl":4365,"material":37,"size":59,"collection":39,"collections":4366,"showCount":4317,"zanCount":43,"manualWeight":43,"mainColor":44},218469,"zhu-cha-ban-tuo-jia-zun-zhe-xiang-yi-ming-218469","注茶半讬迦尊者像","画面中尊者面容沉静慈悲，耳垂丰厚，胡须轻覆唇角，尽显庄严与亲和。蓝色袈裟厚重垂坠，红色内衬点缀其间，白色布巾在腕间流转，质感细腻灵动。右手托举的器物造型古朴，纹理刻画入微，似藏禅意。衣纹线条勾勒精准传神，既有工笔的细腻，又不失写意的洒脱。色彩晕染层次丰富，蓝红对白交织出沉稳而鲜活的视觉效果，背景的素净更衬出主体的庄重。整幅作品将尊者的禅定之态与器物的精巧相融，尽显元代宗教绘画的精湛技艺与精神内涵。",[25,26,27,576,28,29,30,34,1302,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3569652e8e110d2bd91593319be8bb9.jpg",[39],{"id":4368,"slug":4369,"title":4370,"dynasty":18,"author":49,"museum":552,"description":2638,"tags":4371,"thumbUrl":4372,"material":641,"size":642,"collection":59,"collections":4373,"showCount":4374,"zanCount":511,"manualWeight":43,"mainColor":4375},287731,"shan-mian-shan-shui-hua-hui-ce-yun-shou-ping-287731","扇面山水花卉册",[714,25,26,53,55,29,32,7,78,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a68bc6121d0e0d9f243c202d21e65c.jpg",[],71,"FFFFFF",{"id":4377,"slug":4378,"title":4379,"dynasty":18,"author":3593,"museum":835,"description":4380,"tags":4381,"thumbUrl":4382,"material":58,"size":3597,"collection":59,"collections":4383,"showCount":4374,"zanCount":511,"manualWeight":43,"mainColor":64},216250,"jing-fu-si-qi-dong-jing-tu-8-qian-wei-cheng-216250","景敷四气冬景图-8","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蜡以黏英珊结子，有花有实冒冬荣。惟应罗汉松高见，不屑别传三友名。钤印：静中观造化",[25,55,29,75,80,85,134,7,82,136,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93f1bcbd0305cbd9f3595cfd4faef6d.jpg",[],{"id":4385,"slug":4386,"title":4387,"dynasty":18,"author":214,"museum":170,"description":336,"tags":4388,"thumbUrl":4389,"material":327,"size":340,"collection":59,"collections":4390,"showCount":4374,"zanCount":43,"manualWeight":43,"mainColor":44},214344,"san-jue-shan-shui-ce-15-hua-yan-214344","三绝山水册-15",[23,25,53,55,80,85,7,134,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4491a88ae5e5ead8b4380ed9f6110b95.jpg",[],{"id":4392,"slug":4393,"title":4394,"dynasty":148,"author":256,"museum":552,"description":4395,"tags":4396,"thumbUrl":4397,"material":641,"size":642,"collection":59,"collections":4398,"showCount":4399,"zanCount":43,"manualWeight":43,"mainColor":64},289441,"nan-an-shuang-shu-tu-ni-zan-289441","南岸双树图","倪瓒(1301～1374)元代画家、诗人。一说初名珽。字泰宇，后字元镇，号云林，又署云林子，或云林散人，别号荆蛮民、净名居士、朱阳馆主、莆闲仙卿、幻霞子、东海农、无住庵主、绝听子、曲全叟、沧海漫士、懒瓒、东海瓒、奚元朗。无锡（今属江苏）人。世居无锡祗陀里，多乔木，建堂名云林，因以云林自号。他一生不做官，其家是吴中有名的富户；但倪瓒不愿管理生产，自称懒瓒，亦号倪迂。性好洁,服巾日洗数次，屋前后树木也常洗拭。家中藏书数千卷，亲手勘定。擅山水、竹石、枯木等，其山水师法董源、荆浩、关仝、创“折带皴”写山石，画树木则兼师法李成，加以发展 ， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[24,25,26,27,55,133,32,7,79,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d55eecf41bf1bce479bcfa86bdf890.jpg",[],70,{"id":4401,"slug":4402,"title":4403,"dynasty":18,"author":551,"museum":71,"description":4404,"tags":4405,"thumbUrl":4406,"material":139,"size":4407,"collection":59,"collections":4408,"showCount":4399,"zanCount":209,"manualWeight":43,"mainColor":64},233733,"yu-lan-tu-zhou-wu-chang-shuo-233733","玉兰图轴","图绘玉兰花依石而开的景致。白描的玉兰与墨染的山石形成强烈的黑白对比，相互依托，虚实相生。兰、石以金石篆籀的笔法入画，浑厚老辣的笔墨融入简率疏野的写意花鸟画格之中，营造出“豪放而馨香”的绮丽效果，与图中苍劲有力的书法相映生辉。此幅当属诗书画有机结合的佳作。",[25,26,27,55,173,56,421,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5741ce1b277c358cd2642fad04d5f795.jpg","纵174.8厘米，横47.5厘米",[],{"id":4410,"slug":4411,"title":4412,"dynasty":69,"author":431,"museum":71,"description":4413,"tags":4414,"thumbUrl":4415,"material":967,"size":4416,"collection":60,"collections":4417,"showCount":4399,"zanCount":43,"manualWeight":43,"mainColor":64},221894,"mei-shi-tu-zhou-chen-hong-shou-221894","梅石图轴","本幅署款“老蓮洪綬畫于柳莊”。钤“蓮白衣”。\n是图以古拙奇特的造型绘拳石耸立，旁伴一株被截去诸多枝干的老梅树，树上几朵梅花绽蕾展瓣。构图简约洗练，并注重物象间的相互衬托与对比。画石用线勾出圆润的外形，再以淡墨渲染。画梅则用浓、枯墨笔勾勒，线条古拙方硬，具金石韵味，体现了老梅饱经沧桑的古木气息。\n清内府《石渠宝笈》著录。",[23,25,26,27,55,187,7,134,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccbca84501d57cd1d024bcd73a8d609.jpg","纵115.2厘米，横56厘米",[60,122],{"id":4419,"slug":4420,"title":4421,"dynasty":18,"author":4422,"museum":552,"description":4423,"tags":4424,"thumbUrl":4425,"material":29,"size":59,"collection":60,"collections":4426,"showCount":4399,"zanCount":511,"manualWeight":43,"mainColor":64},220141,"ling-bo-shui-xian-tu-juan-ren-xun-220141","凌波水仙图卷","任薰","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。",[23,24,25,26,228,74,28,29,56,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[60],{"id":4428,"slug":4429,"title":4430,"dynasty":148,"author":4431,"museum":150,"description":4432,"tags":4433,"thumbUrl":4434,"material":262,"size":4435,"collection":60,"collections":4436,"showCount":4399,"zanCount":43,"manualWeight":43,"mainColor":64},218257,"shu-shi-tu-chen-lin-218257","树石图","陈琳","虬枝枯树斜倚坡石，墨线如铁般盘结交错，似诉岁月沧桑。山石以淡墨晕染，皴擦相间，肌理分明，朴拙中透着空灵。左侧题跋笔意流转，诗画相映，书卷气盎然。整幅作品简而不空，墨色清润，意境萧散淡远。枯树的苍劲与山石的沉稳相融，于静谧间藏生机，尽显文人画的雅致风骨。观之如临清寂山林，心随笔墨沉淀，得一份古雅之趣，笔墨间的留白与晕染，更让画面余韵悠长，耐人寻味。",[25,26,24,55,133,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e4aac310bc644eed1f183659092e43.jpg","30.6x49.7cm",[60],{"id":4438,"slug":4439,"title":4440,"dynasty":18,"author":475,"museum":552,"description":4441,"tags":4442,"thumbUrl":4443,"material":59,"size":59,"collection":59,"collections":4444,"showCount":4445,"zanCount":43,"manualWeight":43,"mainColor":64},231041,"mo-he-tu-zhu-da-231041","墨荷图","以水墨写就池上清景，中锋勾出的荷茎瘦劲挺拔，如孑然君子撑立水间。\n墨色干湿浓淡铺陈荷叶，泼墨淋漓间，或舒展如伞、或卷垂含露，留白处漾着空濛水意。敛藏半绽的花苞幽然独立，不见游鱼水藻，却满溢荷塘清宁冷逸的意趣。\n整幅删繁就简，将心绪寄寓花叶，以极简笔墨绘出疏旷隽雅的意境，笔底带着清冷孤傲的气韵，寥寥数笔便把池上清寂萧索又清绝的余韵铺展开来，淡远悠长。",[23,24,25,26,27,55,56,445,446,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a786a2b10460948ab44a52259f36d.jpg",[],69,{"id":4447,"slug":4448,"title":4449,"dynasty":69,"author":4450,"museum":71,"description":4451,"tags":4452,"thumbUrl":4453,"material":139,"size":4454,"collection":60,"collections":4455,"showCount":4445,"zanCount":209,"manualWeight":43,"mainColor":64},222036,"kui-shi-xia-die-tu-zhou-dai-jin-222036","葵石峡蝶图轴","戴进","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。",[23,24,25,27,29,28,56,1386,435,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7690becc18ef2b29aaf5e830a77ab9fb.jpg","纵115厘米，横39.6厘米",[60,105],{"id":4457,"slug":4458,"title":4459,"dynasty":148,"author":201,"museum":112,"description":4460,"tags":4461,"thumbUrl":4463,"material":58,"size":4464,"collection":60,"collections":4465,"showCount":4445,"zanCount":209,"manualWeight":43,"mainColor":44},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。",[24,25,26,28,29,4462,291,7,160],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aca3e9066be932f6397474cf4d654f4.jpg","57.5x37cm",[60],{"id":4467,"slug":4468,"title":4469,"dynasty":69,"author":4470,"museum":112,"description":4471,"tags":4472,"thumbUrl":4473,"material":37,"size":4474,"collection":39,"collections":4475,"showCount":4445,"zanCount":43,"manualWeight":43,"mainColor":44},216948,"luo-han-tu-song-xu-216948","罗汉图","宋旭","这是一幅达摩面对水面的画作，看起来很疲惫，嘴唇紧闭在思考。笔触重而不浊，是宋旭的原画风格。",[25,27,29,30,80,260,7,84,75,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd87f722f408a0c00a88f3338e2dc80.jpg","140.6x36.3",[39],{"id":4477,"slug":4478,"title":4479,"dynasty":69,"author":4480,"museum":112,"description":4481,"tags":4482,"thumbUrl":4484,"material":641,"size":4485,"collection":59,"collections":4486,"showCount":4487,"zanCount":43,"manualWeight":43,"mainColor":64},290319,"sui-chao-tu-zhou-shang-xi-290319","岁朝图轴","商喜","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。",[24,25,26,27,56,29,28,187,372,174,2806,7,79,4483],"岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1aa42f9fe4334c91fc98ee028966eda.jpg","130.9x57.4",[],68,{"id":4489,"slug":4490,"title":4491,"dynasty":18,"author":941,"museum":552,"description":4492,"tags":4493,"thumbUrl":4494,"material":641,"size":642,"collection":59,"collections":4495,"showCount":4487,"zanCount":43,"manualWeight":43,"mainColor":64},289899,"song-jian-qing-yin-tu-zhou-hong-ren-289899","松涧清音图轴","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[24,25,26,27,55,80,715,349,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ee8ed58b9be8df7d7a8c0c6ef64c97.jpg",[],{"id":4497,"slug":4498,"title":4499,"dynasty":18,"author":169,"museum":552,"description":4500,"tags":4501,"thumbUrl":4502,"material":59,"size":59,"collection":39,"collections":4503,"showCount":4487,"zanCount":43,"manualWeight":43,"mainColor":64},228989,"bai-kai-luo-han-tu-1-shi-tao-228989","百开罗汉图1","《石涛罗汉百开册页》是石涛青年时期绘制的工笔人物作品，为完整一百开册页，共画山水背景中的罗汉人物1位，各册页中罗汉左右分别陪饰众多人物及似龙、虎、鹿、狮等神兽形象。\n根据 在画中自题，最早一开创作于“丁未” (1667 年)，石涛时年26岁。\n整套册页作品分别作于1667年、1669年、167年，1672年，即从石涛的26岁至1岁，历时6年之久，实为石涛倾力之作。\n《罗汉百开图》册页集人物、山水、花鸟之大成，是石涛技艺日臻成熟时的作品，所绘人物，造型生动，神态各异，笔墨洗练，叙事清楚，饱含人文情怀。\n石涛最早的人物画是康熙时期所作的《百美图》，这是对仇英作品的临摹，更是一次再创作。\n吴湖帆正是看了此画，才有上面提到的‘石涛画人物最佳’之说。\n这幅画被石涛的老师梅青借走，供于香案之上，每日膜拜，后不知所踪。\n美国大都会博物馆所藏《十六应真图》，长达六米，人物纯用线描，而配以山水背景。\n另外还听说波士顿博物馆藏有一幅石涛人物画。\n有记录的石涛作品，现存世约4件，《石涛罗汉百开册页》占了其中1件。\n崔如琢还另外藏有石涛的两套册页以及手卷、中堂、条幅若干，藏品总数达1件，应该是收藏石涛作品最多的人。\n但他始终认为，《石涛罗汉百开册页》的价值最为独特，较之同时代西方文艺复兴时期的绘画，无论内容、题材、技法都称得上相映生辉。",[25,26,576,55,434,30,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedcff1d2c958f6590b2e104032c599.jpg",[39],{"id":4505,"slug":4506,"title":4507,"dynasty":369,"author":201,"museum":552,"description":4508,"tags":4509,"thumbUrl":4510,"material":59,"size":59,"collection":59,"collections":4511,"showCount":4487,"zanCount":511,"manualWeight":43,"mainColor":64},223596,"guan-shou-guan-hua-tu-yi-ming-223596","盥手观花图","庭院清寂，仕女方盥手罢，正凝睇案头花簇。画面虚实相衬，左侧留白更衬出右侧庭院的幽谧雅致。长案错落陈开花卉、妆具，器物勾勒工细古雅，尽显深闺陈设的精致意趣。\n\n仕女身姿温婉端丽，两名侍女或持团扇或奉巾侍立，情态柔婉生动，将深闺日常的闲雅意趣缓缓铺陈。设色古雅沉静，棕褐底色晕染出庭院朦胧静谧的氛围，衣袂的素净浅淡与花簇的明丽鲜活相映晕合，笔触柔润细腻。\n\n画笔致工秀含蓄，将宋人娴静内敛的审美意趣融于闺中清赏的日常里，晕开淡远悠长的东方诗意。",[23,24,25,26,29,28,30,31,34,291,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43601ebbe84e62c48f0a06a97221751c.jpg",[],{"id":4513,"slug":4514,"title":4515,"dynasty":69,"author":4516,"museum":112,"description":4517,"tags":4518,"thumbUrl":4519,"material":58,"size":4520,"collection":105,"collections":4521,"showCount":4487,"zanCount":511,"manualWeight":43,"mainColor":64},219404,"tian-zhong-de-xi-tu-yuan-shang-tong-219404","天中得喜图","袁尚统","枝头双鹊姿态鲜活，一俯身啄食朱红花朵间的嫩蕊，一昂首展翼似欲鸣啭，墨笔勾勒的羽翼层次分明，黑羽亮泽如缎。老干虬曲盘结，枝桠以劲挺笔触写出，点缀的朱红花朵艳而不妖；下方山石用泼墨点染，兼以皴擦，纹理朴拙厚重，坡地细草丛生，野趣横生。整幅笔墨工写结合，花鸟与山石相映成趣，既得自然生机之妙，又暗蕴欢愉吉庆之意，于简洁构图中传递出恬淡雅致的文人意趣，观之令人心生愉悦。",[25,24,26,29,55,56,153,134,7,187,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b8856c5e913470ad4bb1b74dcea90b.jpg","123.1x60.7厘米",[105],{"id":4523,"slug":4524,"title":4525,"dynasty":18,"author":4526,"museum":552,"description":4527,"tags":4528,"thumbUrl":4529,"material":641,"size":642,"collection":59,"collections":4530,"showCount":4531,"zanCount":43,"manualWeight":43,"mainColor":64},236381,"mei-hua-shi-nv-tu-shan-ren-xiong-236381","梅花仕女图扇","任熊","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。",[25,26,714,29,28,30,31,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58566bf7ec75673652b28d8a30e1d02.jpg",[],67,{"id":4533,"slug":4534,"title":3365,"dynasty":18,"author":941,"museum":71,"description":4492,"tags":4535,"thumbUrl":4536,"material":3566,"size":4537,"collection":59,"collections":4538,"showCount":4531,"zanCount":511,"manualWeight":43,"mainColor":64},234288,"hong-ren-shan-shui-ce-hong-ren-234288",[25,26,53,55,75,77,80,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf324b5084f1a8a92416fce3effbc55.jpg","纵23.8cm，横140.4cm",[],{"id":4540,"slug":4541,"title":4542,"dynasty":148,"author":256,"museum":112,"description":4543,"tags":4544,"thumbUrl":4546,"material":327,"size":4547,"collection":59,"collections":4548,"showCount":4531,"zanCount":511,"manualWeight":43,"mainColor":64},232260,"shu-lin-yuan-xiu-tu-ni-zan-232260","疏林远岫图","《疏林远岫图》水墨画河岸、疏树、竹林与房舍，对岸则山峦起伏。用笔多中锋，山石皴法以披麻为主，略有折带笔意。幅上有壬子（一三七二）年款，时七十二岁。然本幅题款，实摹自本台北故宫博物院藏倪氏真本《容膝齐图》。用笔亦无倪氏一代大家之健劲，系后代摹品。",[25,55,80,75,1292,4545,7,1073,81,82],"远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f623094ce155625ea685f495651d3f9.jpg","72.9x37.5厘米",[],{"id":4550,"slug":4551,"title":4552,"dynasty":18,"author":96,"museum":552,"description":4553,"tags":4554,"thumbUrl":4555,"material":59,"size":59,"collection":59,"collections":4556,"showCount":4531,"zanCount":43,"manualWeight":43,"mainColor":64},230124,"hua-hui-shi-er-kai-ren-yi-230124","花卉十二开","此作用淡墨晕染湖石，兼以浓墨勾皴纹理，苍润朴拙，自带沉静古雅之气。右上方艳红浆果攒簇饱满，似燃着点点丹砂，浓墨枝叶分映阴阳，层次宛然，红果墨叶相互衬映，明丽又不失清雅。\n画面兼工带写，花果鲜妍生动，湖石苍劲静穆，一动一静相映成趣。题字笔意纵逸，与画境相融，将文人写意的隽秀风骨与秋实的鲜活生机揉合一处，寥寥数笔便尽显雅致意趣，堪称小品佳作。",[25,29,56,7,243,173,26,24,55,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28cad6736c0bce09b9ac3ea758c58ce7.jpg",[],{"id":4558,"slug":4559,"title":3453,"dynasty":369,"author":201,"museum":112,"description":4560,"tags":4561,"thumbUrl":4562,"material":37,"size":4563,"collection":60,"collections":4564,"showCount":4531,"zanCount":511,"manualWeight":43,"mainColor":44},219181,"ku-mu-zhu-shi-tu-yi-ming-219181","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石头后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的突显，属元代枯木竹石画风。画中草木与院藏赵孟俯〈竹石古木〉表现诸如，此画上虽无款印，但可估计此后一画风的古代例子，学者猜测可能正与赵孟俯关系密切。",[23,25,55,27,1579,32,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59e40997092e7d1968961782449871.jpg","107.9x51.1",[60],{"id":4566,"slug":4567,"title":4568,"dynasty":369,"author":3492,"museum":1942,"description":4569,"tags":4570,"thumbUrl":4572,"material":37,"size":4573,"collection":60,"collections":4574,"showCount":4531,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[24,25,26,714,29,28,33,4571,466,374,56,7,79],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8148e5c307f646b726f878e7dad3e86.jpg","25.4x24.4cm",[60],{"id":4576,"slug":4577,"title":4578,"dynasty":148,"author":201,"museum":71,"description":4579,"tags":4580,"thumbUrl":4581,"material":37,"size":4582,"collection":88,"collections":4583,"showCount":4531,"zanCount":43,"manualWeight":43,"mainColor":44},218217,"qiu-xi-chui-diao-tu-yi-ming-218217","秋溪垂钓图","画中的渔夫端坐在边石上，手持鱼竿，凝视着水面，似乎随时都可能有鱼上钩。身后是一片葱郁的树林，秋天的色彩浓郁而温暖。水面上漂浮着几片落叶，显示出季节的变迁。\n\n整幅画流露出一种平和而悠闲的气氛，令人感到身心放松。这也是秋溪垂钓图的独特魅力所在。",[25,55,29,80,134,1231,7,82,30,505,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d078f22a1ebaa637bd9d0770e6f670d.jpg","26x23.7cm",[88],{"id":4585,"slug":4586,"title":4587,"dynasty":18,"author":4588,"museum":112,"description":4589,"tags":4590,"thumbUrl":4592,"material":37,"size":4593,"collection":39,"collections":4594,"showCount":4531,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[25,26,53,29,28,30,7,80,4591,35],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607e3ef4147ab6d830a434d5bcc7fcb8.jpg","30.1x22.5",[39],{"id":4596,"slug":4597,"title":4598,"dynasty":369,"author":1311,"museum":552,"description":1577,"tags":4599,"thumbUrl":4600,"material":641,"size":642,"collection":59,"collections":4601,"showCount":4602,"zanCount":43,"manualWeight":43,"mainColor":44},288990,"gu-mu-guai-shi-tu-su-shi-288990","古木怪石图",[24,25,26,55,7,1231,134,32,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0321701a92b7edb7afa959d7597be7e.jpg",[],66,{"id":4604,"slug":4605,"title":4606,"dynasty":18,"author":1195,"museum":71,"description":4607,"tags":4608,"thumbUrl":4609,"material":967,"size":4610,"collection":60,"collections":4611,"showCount":4602,"zanCount":511,"manualWeight":43,"mainColor":64},237637,"mei-hua-lan-shi-tu-zhou-wang-shi-shen-237637","梅花兰石图轴","款署：“庚戌仲秋近人慎写于寿萱堂中。”钤“士慎”白文印。鉴藏印有：“白门李氏珍藏”朱文印。\n“庚戌”为清雍正八年（1730年），作者时年45岁，正是其艺术日臻成熟期。\n图绘春风中兰叶翻飞、梅花初绽的景致。拳石、梅树和丛兰以豪放的笔墨一挥而就，淋漓酣畅的墨气与梅兰旺盛勃发的生命力相符相合。梅花以工细的线条勾勒，俏丽的花姿显现出梅树清幽典雅的风韵和“空里疏香”的诗意。",[25,26,27,55,56,187,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff48e794336aa1087c4c94cc1fc7e8274.jpg","纵138.4厘米，横44.4厘米",[60,122],{"id":4613,"slug":4614,"title":4615,"dynasty":18,"author":697,"museum":552,"description":4616,"tags":4617,"thumbUrl":4619,"material":59,"size":59,"collection":59,"collections":4620,"showCount":4602,"zanCount":511,"manualWeight":43,"mainColor":64},224365,"hua-hui-si-ping-zhi-san-ju-lian-224365","花卉四屏之三","此作工写兼施，绣球花团绵密莹润，以淡粉晕染花心，留白衬出白花皎洁质感，叶片勾勒细致，墨色分阶尽显苍润鲜活。奇崛湖石瘦透灵动，皴擦出嶙峋肌理，石窍映出枝叶倒影，苔藓点染更添古意。数只蛱蝶翅脉纤毫毕现，彩翼翩跹于花间，动静相映，将庭院清景的悠然意趣铺陈开来。设色明秀雅致，笔触细腻鲜活，尽显温婉灵秀的岭南花鸟意韵。",[23,25,26,56,28,29,435,4618,7,27],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79105dd7b28ebc24bc0563f7f6307bb.jpg",[],{"id":4622,"slug":4623,"title":4624,"dynasty":369,"author":3743,"museum":1060,"description":4625,"tags":4626,"thumbUrl":4627,"material":3724,"size":4628,"collection":59,"collections":4629,"showCount":4602,"zanCount":43,"manualWeight":43,"mainColor":44},221601,"liu-zu-fa-zhu-tu-liang-kai-221601","六祖伐竹图","《六祖伐竹图》，国画精品，南宋画家梁楷代表作品，画家深入体察所画人物的精神特征，以简练的笔墨表现出人物的音容笑貌，以简洁的笔墨准确地抓取事物的本质特征，充分地传达出了画家的感情，从而把写意画推入一个新的高度，使时人耳目一新。",[23,24,25,26,27,55,3746,173,576,30,1073,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c50153fca7867c60253d20906dc274.jpg","纵72.7cm，横31.5cm",[],{"id":4631,"slug":4632,"title":4633,"dynasty":302,"author":4634,"museum":170,"description":4635,"tags":4636,"thumbUrl":4637,"material":37,"size":4638,"collection":60,"collections":4639,"showCount":4602,"zanCount":511,"manualWeight":43,"mainColor":44},218997,"qiu-ying-tu-guo-qian-you-218997","秋鹰图","郭乾佑","铁羽敛霜华，孤峙危岩之巅。目光如炬，俯瞰怒涛卷雪。苍溟之上，残阳如血，晕染出沉雄古意。浪涛拍岸，礁石嶙峋，似与雄鹰共守天地孤绝。笔触凝练，墨色层叠，将猛禽的傲岸与沧海的壮阔熔于一帧。静中藏动：鹰之沉稳如磐，浪之奔涌若雷；刚柔相济：铁喙利爪含锐，云涛雾霭蕴柔。古雅质感里，尽显五代画风的沉郁与雄健。此作以鹰为魂，以海为魄，于苍茫间见风骨，于动荡中显定力，不愧传世之品。",[25,26,29,28,101,153,7,3221,863],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7349f8201c5a9ec1d079a27dc457270.jpg","纵142.9横76.2厘米",[60],{"id":4641,"slug":4642,"title":2256,"dynasty":369,"author":2257,"museum":184,"description":4643,"tags":4644,"thumbUrl":4645,"material":262,"size":4646,"collection":60,"collections":4647,"showCount":4602,"zanCount":43,"manualWeight":43,"mainColor":64},218940,"yuan-xi-tu-mu-xi-218940","水墨氤氲里，猿臂如弓探向虚空，蜷身踞于石上，抬首凝睇似若参禅。淡墨晕染出绒毛细密之态，面部留白与深墨轮廓相映，愈显灵动机敏。旁侧竹枝疏朗，石痕简淡，寥寥数笔勾出山涧清寂。整幅画以极简之笔写尽生灵意趣，禅意隐于虚实之间，仿佛能闻猿啸穿林，见心猿归寂，尽显宋元禅画“以简寓深”的妙境，引人沉潜于空灵之思。",[24,25,27,55,173,2260,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa1b8b9497c24c2c7c01000f8df95dd.jpg","97x34cm",[60],{"id":4649,"slug":4650,"title":4651,"dynasty":148,"author":201,"museum":1942,"description":4652,"tags":4653,"thumbUrl":4654,"material":37,"size":4655,"collection":39,"collections":4656,"showCount":4602,"zanCount":43,"manualWeight":43,"mainColor":64},218468,"mei-zhu-shi-nv-tu-yi-ming-218468","梅竹仕女图","淡墨晕染开古雅绢本的温润底色，素衣仕女伫立坡岸。云鬓轻挽，身姿婉约，似凝眸梅枝间疏影横斜，又若静听竹梢上风声细语。老梅虬枝盘曲，新蕊隐现；修竹挺秀，竹叶婆娑，与梅枝相映成趣。画面构图疏朗，留白得宜，墨色浓淡相宜。笔意细腻却不繁缛，线条流畅中含含蓄。仕女眉宇间的淡淡情思，与梅竹的清逸孤高相契，融成一片幽远沉静的意境。古典雅致的韵致流淌其间，仿佛能触到绢丝上的时光温度，窥见文人笔下的温婉灵秀，尽展东方美学的含蓄之美与悠然情致。",[23,25,26,714,29,30,31,187,32,7,28,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f37405abe06d3ec65e0911fa250c43.jpg","22.86x22.23",[39],{"id":4658,"slug":4659,"title":4660,"dynasty":18,"author":384,"museum":552,"description":4661,"tags":4662,"thumbUrl":4663,"material":641,"size":642,"collection":59,"collections":4664,"showCount":4665,"zanCount":511,"manualWeight":43,"mainColor":64},287697,"zhu-shi-tu-li-zhou-zheng-ban-qiao-287697","竹石图立轴","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[23,25,26,27,55,32,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee951fb43edbf2640337c30ed4137ea.jpg",[],65,{"id":4667,"slug":4668,"title":4669,"dynasty":69,"author":4670,"museum":71,"description":4671,"tags":4672,"thumbUrl":4673,"material":139,"size":4674,"collection":88,"collections":4675,"showCount":4665,"zanCount":43,"manualWeight":43,"mainColor":64},237760,"song-shi-zhou-cheng-jia-sui-237760","松石轴","程嘉燧","图绘高士依孤松远眺、小童携琴相随以及青山与江水相隔之景，颇有晋人陶渊明《归去来辞》中“策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓”之诗意。本幅款署：“崇祯四\n年秋九月，孟阳画于虞山耦耕堂。”钤“程嘉燧印”白文印。崇祯四年即1631年，作者时年67岁。\n此幅构图取法倪瓒“一江两岸”式，重点突出孤松与高士，点明了高逸的主题。山体采用疏散的披麻皴，有元人笔意。人物神情凝重，刻画入微，笔法细腻舒朗。设色清雅，以花青入色，山色青翠，古松秀郁，整体画面呈现出儒雅清丽的韵致。",[25,26,24,27,55,75,434,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d79694e9f66eba28b952c2654a5b11e.jpg","纵130.2厘米，横31.2厘米",[88],{"id":4677,"slug":4678,"title":4679,"dynasty":18,"author":475,"museum":71,"description":4680,"tags":4681,"thumbUrl":4683,"material":967,"size":4684,"collection":59,"collections":4685,"showCount":4665,"zanCount":43,"manualWeight":43,"mainColor":64},233749,"ku-mu-han-ya-tu-zhou-zhu-da-233749","枯木寒鸦图轴","本幅表现隆冬时节，4只落寞的寒鸦在残石败枝上栖息的情景。寒鸦的羽毛先以淡墨晕染，趁湿在淡墨上罩以浓墨，浓淡墨交融处显现出羽毛柔软、细密的质感。鸟的眼眶为一笔圈成的椭圆形，靠近上眼眶处以重墨点睛，一付“白眼向人”的神色顿现笔底。鸟儿孤傲不驯的神态最能体现作者坚韧倔强、磊落不羁的个性。",[25,26,27,55,173,1579,153,4682,7,56],"鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720d3f98e81536da3eba405e6c534dd7.jpg","纵178.5厘米，横91.5厘米",[],{"id":4687,"slug":4688,"title":4689,"dynasty":18,"author":2159,"museum":71,"description":4690,"tags":4691,"thumbUrl":4692,"material":139,"size":4693,"collection":59,"collections":4694,"showCount":4665,"zanCount":43,"manualWeight":43,"mainColor":64},233179,"mu-dan-tu-zhou-zhao-zhi-qian-233179","牡丹图轴","本幅自题：“蓴卿仁兄屬畫。撝叔趙之謙。”图中画大石一块，旁生牡丹一株，花开灿烂，华丽富贵。赵之谦为海派著名画家，以花卉见长，初学恽南田，后去其秀媚并将书法的用笔以及金石的铿锵意味带入画中，形成气势恢弘、格局博大的个人风格。此幅作品堪称体现赵之谦典型风格的代表之作，花朵或用没骨，或用双勾，行笔快捷活泼，强调“写”而非“描”。设色浓丽，水、墨、色相交融，石块墨色浓重，质感强烈。鲜艳的色彩配合放逸的笔法，于富丽中见粗犷豪放之气。画面整体布局上密下疏，相互对比衬托，共同构成一幅完整的图画。",[25,27,29,56,191,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd33973f1c775bb45e9a83b515caadbb6.jpg","纵174.5厘米，横90.5厘米",[],{"id":4696,"slug":4697,"title":4698,"dynasty":369,"author":4081,"museum":71,"description":4699,"tags":4700,"thumbUrl":4701,"material":4702,"size":4703,"collection":497,"collections":4704,"showCount":4665,"zanCount":209,"manualWeight":43,"mainColor":44},221621,"hou-chi-bi-fu-tu-juan-ma-he-zhi-221621","后赤壁赋图卷","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[23,24,25,26,74,434,55,29,80,30,85,134,864,82,153,7,78,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","绢本，淡设色","25.9*143cm",[497,88,105],{"id":4706,"slug":4707,"title":4708,"dynasty":369,"author":711,"museum":552,"description":4709,"tags":4710,"thumbUrl":4712,"material":327,"size":4713,"collection":497,"collections":4714,"showCount":4665,"zanCount":43,"manualWeight":43,"mainColor":44},221540,"gao-shi-guan-tiao-tu-ma-yuan-221540","高士観眺图","本作是马远“边角山水”之代表作，他以简练的笔法和精致的诗画意境成功表现了山间景色，笔法劲爽，意境深邃。作品构图精巧，位置经营独到而臻极致。树木、远山集中绘于画幅左侧，以淡墨皴染的山径渐次虚淡。近处的高士持杖远眺，人物衣纹或是兰叶描、或是钉头鼠尾描，线条劲直，或如刀砍竹，或行笔略有颤掣，人物本身怡然惬意的神情已经跃然纸上。画幅右侧大量留白，虚渺空灵。另有一只白鹤转头回望，与高士相响应，款款深情，意蕴无穷，给观者以无穷遐想",[23,25,26,80,349,30,55,29,75,7,134,4711],"边角山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4306c43ca294d4cdac872ca054890ff8.jpg","82x67",[497,88,122],{"id":4716,"slug":4717,"title":4718,"dynasty":18,"author":4719,"museum":150,"description":4720,"tags":4721,"thumbUrl":4723,"material":58,"size":59,"collection":39,"collections":4724,"showCount":4665,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[25,26,28,29,30,349,82,7,34,260,4722,2887,2885],"仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c2c4a3ab8226ebbe0005936e35de5b.jpg",[39],{"id":4726,"slug":4727,"title":4728,"dynasty":148,"author":4729,"museum":71,"description":4730,"tags":4731,"thumbUrl":4732,"material":262,"size":4733,"collection":88,"collections":4734,"showCount":4665,"zanCount":43,"manualWeight":43,"mainColor":64},218305,"ping-lin-yuan-shan-tu-shen-xuan-218305","平林远山图","沈铉","此图为《张观等五家集绘卷》之一。画丛林远岫，平溪小桥。远山平缓，意境幽静冷寂。无款识，",[25,55,80,75,134,1231,324,277,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc305432fdd2052683afa0a54e0506946.jpg","30x40.9cm",[88],{"id":4736,"slug":4737,"title":4738,"dynasty":69,"author":201,"museum":552,"description":4739,"tags":4740,"thumbUrl":4742,"material":59,"size":59,"collection":59,"collections":4743,"showCount":4744,"zanCount":511,"manualWeight":43,"mainColor":44},232907,"fang-huang-quan-hua-niao-chong-die-yi-ming-232907","仿黄荃花鸟虫蝶","冬夜闻虫\n【唐】白居易\n虫声冬思苦于秋，不解愁人闻亦愁。\n我是老翁听不畏，少年莫听白君头\n冬天虫鸣，比秋天更让人发愁，即便不懂愁绪的人听了也会感到忧愁。我已经是个老人了，听了也没什么关系，年轻人就不要听了，那会让你愁白头的。",[23,4741,25,26,74,28,29,76,56,3827,32,456,435,7,79,77,78],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff995cf8766f0528a866e2854e3963bca.jpg",[],64,{"id":4746,"slug":4747,"title":4748,"dynasty":69,"author":129,"museum":552,"description":4749,"tags":4750,"thumbUrl":4751,"material":59,"size":59,"collection":59,"collections":4752,"showCount":4744,"zanCount":43,"manualWeight":43,"mainColor":64},228427,"fang-huang-gong-wang-shan-shui-juan-lan-ying-228427","仿黄公望山水卷","此作用淡墨晕开漫谷烟岚，山石以枯淡勾勒皴擦，简劲松灵间带着萧散元人意趣。高岭危岩朴拙厚重，几株苍松杂木卓立云岫，枝桠舒展，暗涌生机。留白氤氲云气衔接远近山景，虚实相生，衬出林泉幽寂的空濛意境。\n\n右上角鉴藏朱印排布规整，朱红米黄绢底相映，为古雅山水更添金石气韵。全卷师法元人笔意却自出清隽格调，将江南山水的静穆淡远融于尺幅间，尽显文人山水的悠然雅韵。",[25,26,74,29,55,80,75,7,81,83,84,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8cc00462f6de4e96e3d6c62025f165e.jpg",[],{"id":4754,"slug":4755,"title":4756,"dynasty":69,"author":4757,"museum":112,"description":4758,"tags":4759,"thumbUrl":4760,"material":58,"size":4761,"collection":60,"collections":4762,"showCount":4744,"zanCount":43,"manualWeight":43,"mainColor":64},222420,"san-yang-kai-tai-zhu-zhan-ji-222420","三羊开泰","朱瞻基","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。",[23,25,26,27,29,28,3505,117,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373b5a7d9c34426c6e0ebc149bc2c324.jpg","纵211.6厘米,横142.5厘米",[60,105],{"id":4764,"slug":4765,"title":4766,"dynasty":69,"author":4767,"museum":112,"description":4768,"tags":4769,"thumbUrl":4772,"material":507,"size":4773,"collection":60,"collections":4774,"showCount":4744,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,24,25,26,4741,29,28,56,4770,243,7,4771,540],"小鸡","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ad09435dd181cbb24bac44d2945b7b.jpg","29.7×40.4cm",[60,105],{"id":4776,"slug":4777,"title":4778,"dynasty":769,"author":4779,"museum":2120,"description":4780,"tags":4781,"thumbUrl":4782,"material":4783,"size":59,"collection":59,"collections":4784,"showCount":4744,"zanCount":43,"manualWeight":43,"mainColor":64},220603,"zhong-kui-sao-bei-tu-qi-bai-shi-220603","钟馗搔背图","齐白石","此作一改钟馗惯常的凶煞驱邪形象，将其化作略带疲态的凡俗长者。小鬼褪去狞恶之气，俯身替钟馗搔背，俨然日常相伴的侍者，满是市井烟火意趣。\n\n笔意朴拙简练，衣袍以大写意晕染，寥寥数笔尽显松弛质感，人物神态刻画细腻，钟馗眯眼松弛的模样，消解了神威戾气。搭配题画诗呼应画面谐趣，将神祗拉下神坛，以家常互动传递出冲淡幽默的文人意趣，让传统题材跳出刻板框架，尽显鲜活的世俗温情。",[25,55,29,173,30,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1656255cbf0464045a89337af6e2511.jpg","纸本水墨设色",[],{"id":4786,"slug":4787,"title":4788,"dynasty":69,"author":70,"museum":418,"description":4789,"tags":4790,"thumbUrl":4791,"material":327,"size":4792,"collection":59,"collections":4793,"showCount":4744,"zanCount":43,"manualWeight":43,"mainColor":64},220021,"dong-zhuang-tu-ce-zhi-xu-gu-tang-shen-zhou-220021","东庄图册之续古堂","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,25,26,53,29,55,75,80,349,32,117,135,522,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23226a9c2a97b03509df6c47524c86ca.jpg","28.6cm×33cm",[],{"id":4795,"slug":4796,"title":4797,"dynasty":148,"author":4798,"museum":2409,"description":4799,"tags":4800,"thumbUrl":4801,"material":205,"size":4802,"collection":88,"collections":4803,"showCount":4744,"zanCount":511,"manualWeight":43,"mainColor":1551},219880,"chi-bi-tu-zhang-yuan-219880","赤壁图","张元","《赤壁图》是金末至大蒙古国时期文学家、诗人元好问创作的一首七言古诗。该诗中，诗人于评论《赤壁图》之逼真传神的同时，着重描述了当年赤壁大战的壮阔，绘画了苏轼泛舟夜游的恬淡，由此抒发了诗人对周瑜和苏轼两位英雄的钦慕赞誉，寄寓了诗人自己哀伤感痛的情思。诗中借对孙权、周瑜的赞美，反衬出面对金国的衰亡，救国无人、回天乏术的慨痛。全诗出语奇肆却章法严整，于跌宕奔放的笔势中时显精彩的思致，情韵兼收。",[25,55,80,85,134,7,75,505,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d2fe153cd6fbd7f83d76cd44ff2cef.jpg","152.5x72.4",[88],{"id":4805,"slug":4806,"title":4807,"dynasty":18,"author":4808,"museum":112,"description":4809,"tags":4810,"thumbUrl":4811,"material":29,"size":4812,"collection":60,"collections":4813,"showCount":4744,"zanCount":209,"manualWeight":43,"mainColor":64},219438,"bi-tao-zhou-jin-ting-biao-219438","碧桃轴","金廷标","苍劲古干虬枝盘曲，墨色浓淡间尽显岁月肌理；粉桃灼灼，花瓣娇嫩欲滴，与老干形成刚柔相济之趣。前景湖石嶙峋，皴擦有致，旁生细草，更添野逸。水面空濛，落花点点，远处淡墨晕染的树影若隐若现，似有春风拂面，暗香浮动。整幅画笔墨清逸，意境悠远，将春日桃林的静谧雅致与生命的蓬勃张力融于一纸，尽显传统文人画的含蓄韵致与审美意趣。",[25,26,27,29,55,190,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffd2b66ff2d9836a7ca1771b73634df.jpg","179.7x62.6",[60],{"id":4815,"slug":4816,"title":4817,"dynasty":18,"author":201,"museum":112,"description":4818,"tags":4819,"thumbUrl":4820,"material":58,"size":59,"collection":60,"collections":4821,"showCount":4744,"zanCount":209,"manualWeight":43,"mainColor":64},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。",[25,29,28,53,56,7,153,79,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fbe133283d9300756a99be85b74661e.jpg",[60],{"id":4823,"slug":4824,"title":4825,"dynasty":18,"author":214,"museum":170,"description":336,"tags":4826,"thumbUrl":4827,"material":327,"size":340,"collection":59,"collections":4828,"showCount":4744,"zanCount":43,"manualWeight":43,"mainColor":44},214347,"san-jue-shan-shui-ce-13-hua-yan-214347","三绝山水册-13",[23,25,26,55,75,53,80,7,81,84,260,1073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf04188718fcb81c7be51f07fefa49c1.jpg",[],{"id":4830,"slug":4831,"title":4832,"dynasty":369,"author":725,"museum":112,"description":4833,"tags":4834,"thumbUrl":4835,"material":313,"size":4836,"collection":59,"collections":4837,"showCount":4838,"zanCount":209,"manualWeight":43,"mainColor":44},290298,"hua-mu-dan-zhou-zhao-chang-290298","画牡丹轴","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。",[24,25,27,29,28,56,191,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd4bca642dcf11d1cb871a52b5b38d1.jpg","143.5x59.3",[],63,{"id":4840,"slug":4841,"title":4842,"dynasty":69,"author":70,"museum":552,"description":2849,"tags":4843,"thumbUrl":4845,"material":641,"size":642,"collection":59,"collections":4846,"showCount":4838,"zanCount":43,"manualWeight":43,"mainColor":64},287523,"shan-shui-qiu-yu-ku-shu-tu-ye-shen-zhou-287523","山水秋雨枯树图页",[25,55,80,133,7,77,79,4844],"秋雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575f5eda6608d49616b249b8bc8e93a3.jpg",[],{"id":4848,"slug":4849,"title":4850,"dynasty":148,"author":256,"museum":112,"description":4851,"tags":4852,"thumbUrl":4857,"material":327,"size":4858,"collection":59,"collections":4859,"showCount":4838,"zanCount":511,"manualWeight":43,"mainColor":64},232254,"tong-lu-qing-qin-tu-ni-zan-232254","桐露清琴图","元代画家倪瓒喜爱梧桐，相传他每日令童子汲水清洗院中的桐树，“门前杨柳密藏鸦，春事到桐花。敲火试新茶。想月珮，云衣故家。苔生雨馆，尘凝锦瑟，寂寞听鸣蛙。芳草际天涯。蝶栩栩，春晖梦赊。”春日阶前桐花开，画家试新茶时想起故家，有如庄周梦蝶，已是芳草天涯。这首《太常引 伤逝》题在一幅画作中，可惜画作已不见。《桐露清琴图》中几株挺拔的桐树立于竹舍茅屋边，不知是不是就是画家心中的故园呢？\n“桐花快落春风老，梅子微酸晚雨晴。从此嬉游时节少，不须日日报诗成。”春风与桐花归去后，无须整日游春赋诗，不如在雨后夏夜多读几本书吧。",[25,55,80,75,78,79,115,117,1073,136,7,4853,4854,4855,4856,1292,274,1212,259],"平远构图","题款","枯笔","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","90.1x30 厘米",[],{"id":4861,"slug":4862,"title":4863,"dynasty":369,"author":4864,"museum":835,"description":4865,"tags":4866,"thumbUrl":4867,"material":1106,"size":4868,"collection":497,"collections":4869,"showCount":4838,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,53,28,29,80,187,32,82,116,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eeace5004b00d7ed1b1eb2e6c2cf42.jpg","24.7×22.2cm",[497,60,105],{"id":4871,"slug":4872,"title":2075,"dynasty":369,"author":201,"museum":552,"description":4873,"tags":4874,"thumbUrl":4875,"material":37,"size":4876,"collection":497,"collections":4877,"showCount":4838,"zanCount":43,"manualWeight":43,"mainColor":44},219011,"mu-niu-tu-yi-ming-219011","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[23,24,25,26,714,55,29,2079,134,7,82,79,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[497],{"id":4879,"slug":4880,"title":4881,"dynasty":369,"author":2257,"museum":184,"description":4882,"tags":4883,"thumbUrl":4885,"material":58,"size":4886,"collection":60,"collections":4887,"showCount":4838,"zanCount":178,"manualWeight":43,"mainColor":44},218941,"yuan-tu-mu-xi-218941","猿图","墨色晕染间，猿猴踞于山石之上，敛息凝神，似与周遭空寂相融。枯枝斜出，线条简劲如铁，牵起几分悠远禅意。山石以淡墨皴擦，肌理隐现却不刻意，留白处尽是天地的虚静。整幅画无多余笔墨，却在简淡中藏着深湛的禅思——物我两忘，心与境合。猿的眼神安详，仿佛已沉入永恒的静谧，连风都在此刻停驻。笔墨的疏朗与意境的幽远交织，恰似禅者的顿悟，于无声处叩击心灵。每一处淡墨的晕散、每一道线条的起落，都在诉说着禅画的精髓：不执于形，只追于心。山石的朴拙、猿的静定，共同织就一幅空灵的禅境图卷，引人踏入物我两忘的虚静之境。",[25,26,24,55,173,75,4884,101,7,157,278],"猿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a688cef2370db7643864b3746bd2747.jpg","129x80.5cm",[60],{"id":4889,"slug":4890,"title":4891,"dynasty":148,"author":4892,"museum":150,"description":4893,"tags":4894,"thumbUrl":4895,"material":205,"size":4896,"collection":88,"collections":4897,"showCount":4838,"zanCount":511,"manualWeight":43,"mainColor":44},214730,"qing-liang-wan-cui-tu-cao-zhi-bai-214730","清凉晚翠图","曹知白","曹知白（1272-1355），字又玄，号云西，今上海松江人。与黄公望、倪瓒交往最密，常以书画相酬唱。山水继承李郭画派，风格清疏简淡、秀润飘逸。他对松江地方贡献很大。1294年，朝廷诏令中书左丞开凿吴淞江，曹知白以策从行，功绩居多。1298年，他又提出置阏成堤之法，取得良好效果。后被荐为昆山教谕，不久辞去。卒后葬于松江修竹乡干山之原。",[25,55,80,75,77,79,134,1231,85,82,7,324,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba94454b3af5651c31aa4a282fe07e1.jpg","纵21.1厘米，横21.2厘米",[88],{"id":4899,"slug":4900,"title":4901,"dynasty":148,"author":270,"museum":112,"description":4902,"tags":4903,"thumbUrl":4905,"material":641,"size":642,"collection":59,"collections":4906,"showCount":4907,"zanCount":209,"manualWeight":43,"mainColor":44},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[24,25,26,27,55,80,4904,81,82,349,7,75,77,79,78],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":4909,"slug":4910,"title":4911,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":4912,"thumbUrl":4913,"material":641,"size":642,"collection":59,"collections":4914,"showCount":4907,"zanCount":43,"manualWeight":43,"mainColor":64},290080,"hong-hua-tu-li-zhou-wu-chang-shuo-290080","红花图立轴",[23,25,27,29,55,56,4313,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188cc8526e0cecaabcb51988541cb2c9.jpg",[],{"id":4916,"slug":4917,"title":4918,"dynasty":18,"author":214,"museum":552,"description":4919,"tags":4920,"thumbUrl":4921,"material":59,"size":59,"collection":60,"collections":4922,"showCount":4907,"zanCount":43,"manualWeight":43,"mainColor":64},236002,"hua-hui-tu-ce-hua-yan-236002","花卉图册","此作取景清雅，折枝粉菊伴棘条挺然生姿，朱色竹枝斜斜破局，水墨湖石静卧留白处，虚实错落间尽显疏朗意韵。\n\n设色秀润柔和，菊瓣晕染细腻，将霜蕊的清妍尽显；朱竹艳而不俗，风骨暗藏；湖石以淡墨轻擦慢皴，苍润空灵。右上角题诗入画，与花木绘境相映，诗书印画相融，文气满溢。\n\n笔意松灵秀逸，将花木的清刚与温婉揉为一处，借草木寄寓幽人风骨，淡远雅致的逸趣扑面而来，尽显文人隽雅的审美意趣。",[25,29,55,53,56,189,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaea60374c721a553bff14a64dc81773.jpg",[60,105],{"id":4924,"slug":4925,"title":4926,"dynasty":18,"author":4927,"museum":71,"description":4928,"tags":4929,"thumbUrl":4930,"material":3566,"size":4931,"collection":88,"collections":4932,"showCount":4907,"zanCount":43,"manualWeight":43,"mainColor":64},234264,"wu-wai-tian-yuan-tu-ce-kun-can-234264","物外田园图册","髡残","髡残（1612—约1672年），俗姓刘，武陵（今湖南常德）人。幼年失怙（音hù，指父亲），青年出家为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[23,25,55,53,75,77,80,134,7,81,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8651a5a2e1ca54204c673178db5637fc.jpg","纵21.5cm，横16.9cm",[88],{"id":4934,"slug":4935,"title":1353,"dynasty":18,"author":2159,"museum":552,"description":4936,"tags":4937,"thumbUrl":4938,"material":59,"size":59,"collection":59,"collections":4939,"showCount":4907,"zanCount":209,"manualWeight":43,"mainColor":64},224601,"mu-dan-tu-zhao-zhi-qian-224601","此作以花石构景，艳色牡丹栖于遒劲老干之上，粉黛冰蓝双色相映，花瓣晕染柔润鲜活，将盛放之姿晕染得明丽不妖。苍褐枝干虬曲舒展，墨色浓淡铺陈出老木肌理，与娇花形成刚柔对照。下方顽石以大写意挥就，枯笔焦墨勾勒棱线，积墨晕染块面，浑朴厚重，稳稳托住上方花簇。书法题跋笔力雄健，与画面笔墨意趣呼应相融，兼工带写间揉合富贵妍丽与文人清刚风骨，尽显雅致雄浑的格调。",[23,25,56,29,27,191,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8cd0de9c7e77bb31d338f9985752b6.jpg",[],{"id":4941,"slug":4942,"title":4943,"dynasty":369,"author":201,"museum":112,"description":4944,"tags":4945,"thumbUrl":4946,"material":37,"size":4947,"collection":497,"collections":4948,"showCount":4907,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,24,26,27,28,29,56,187,32,374,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[497,60,105],{"id":4950,"slug":4951,"title":4952,"dynasty":369,"author":3743,"museum":112,"description":4953,"tags":4954,"thumbUrl":4955,"material":327,"size":4956,"collection":497,"collections":4957,"showCount":4907,"zanCount":511,"manualWeight":43,"mainColor":64},219954,"shan-yin-shu-sha-tu-liang-kai-219954","山阴书箑图","画中每个人物均表情生动，衣纹线条潇洒流畅，虽然不见得是梁楷亲笔所作，却能充分掌握住写意人物的简率趣味。",[23,24,25,26,55,434,3746,30,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b1cc436980034bf908ab2030dac5a49.jpg","31.3×58.9公分",[497],{"id":4959,"slug":4960,"title":4961,"dynasty":148,"author":201,"museum":1942,"description":4962,"tags":4963,"thumbUrl":4964,"material":37,"size":4965,"collection":39,"collections":4966,"showCount":4907,"zanCount":511,"manualWeight":43,"mainColor":64},219584,"ting-yuan-chui-di-tu-yi-ming-219584","庭院吹笛图","淡墨轻勾围栏，赭石晕染庭阶，古奇湖石倚立一旁，皴笔苍劲朴拙，带着幽古意态。仕女团髻簪花，罗裙垂曳覆地，静坐凝神，柔婉秀雅的身姿融于空寂庭院中。\n\n设色简淡古雅，沉郁绢色衬出静穆氛围，留白处漫着清寂闲淡，将深闺女子的幽怅藏于无声里。笔致工细却不繁缛，人物情态含蓄温婉，寥寥笔墨便将庭院幽闲意趣与仕女静柔风姿相融，古淡悠长的韵致漫开，把深闺的闲静怅惘晕在空庭里。",[25,26,29,30,31,1446,7,519,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d0463155dcdec810230aaf5d57bc7c.jpg","纵25.4横23.5厘米",[39],{"id":4968,"slug":4969,"title":4970,"dynasty":369,"author":201,"museum":112,"description":4971,"tags":4972,"thumbUrl":4974,"material":37,"size":59,"collection":88,"collections":4975,"showCount":4907,"zanCount":209,"manualWeight":43,"mainColor":44},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。",[23,25,24,28,55,29,134,1231,7,490,4973,338,1893],"渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419d1c3920e5f599788e02111ab56aa9.jpg",[88],{"id":4977,"slug":4978,"title":4979,"dynasty":369,"author":4022,"museum":552,"description":4980,"tags":4981,"thumbUrl":4983,"material":37,"size":4984,"collection":497,"collections":4985,"showCount":4907,"zanCount":209,"manualWeight":43,"mainColor":44},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。",[24,25,26,28,29,56,445,4982,7,160],"虫介","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11bbb375e79fb24e593b6af6beedad0f.jpg","28x26",[497],{"id":4987,"slug":4988,"title":4989,"dynasty":148,"author":256,"museum":112,"description":4990,"tags":4991,"thumbUrl":4992,"material":641,"size":642,"collection":59,"collections":4993,"showCount":4994,"zanCount":511,"manualWeight":43,"mainColor":64},287665,"yuan-xiu-shu-shi-tu-ni-zan-287665","远岫树石图","图中绘平坡远岫，疏林草亭，笔简意远，惜墨如金，干中见湿，躁中带润。以侧锋干笔作皴，名为“折带皴”。书法从隶入，有晋人风度。倪瓒擅画山水、墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。",[25,24,26,27,55,80,133,324,7,349,78,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d5d71527524ae1af5a4236a60b1794.jpg",[],61,{"id":4996,"slug":4997,"title":4998,"dynasty":18,"author":551,"museum":552,"description":4999,"tags":5000,"thumbUrl":5001,"material":59,"size":59,"collection":59,"collections":5002,"showCount":4994,"zanCount":511,"manualWeight":43,"mainColor":64},235234,"tie-chou-shan-hu-zhou-wu-chang-shuo-235234","铁绸珊瑚轴","此作用篆籀笔法绘梅枝，虬曲苍劲如铁铸铜凝，尽显老梅饱经风霜的嶙峋气度。红梅以胭脂参墨没骨点就，花瓣饱满浓艳，错落缀于枯槎之间，冷艳与热烈相融，生机勃发。背景湖石以大写意泼墨晕染，墨色干湿浓淡层次丰富，以虚衬实，愈发衬出梅之疏俏清妍。\n题字笔力雄健朴拙，与画面苍莽气息浑然一体，诗书画印相映成趣，将文人风骨与梅花傲雪品格融为一体，尽显冷香傲骨的精神气韵。",[25,26,27,55,29,56,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322dcd8a21fae752f041792747a7c8e3.jpg",[],{"id":5004,"slug":5005,"title":5006,"dynasty":18,"author":169,"museum":71,"description":5007,"tags":5008,"thumbUrl":5009,"material":327,"size":5010,"collection":59,"collections":5011,"showCount":4994,"zanCount":43,"manualWeight":43,"mainColor":64},234082,"yuan-ji-zhu-ju-xiu-shi-tu-zhou-shi-tao-234082","原济竹菊秀石图轴","此画集中体现了石涛所谓“化”、“略无纪律而纪律自在其中”的艺术特点。画面左下侧湖石挺拔而起，矗立至画幅左中部。湖石脚下画有数茎兰花，花朵吐出清幽的芳香，散发在湿润的空气中。山石腰部和顶端长了花草。湖石后面，耸立着两竿新竹，竹叶直伸展画面顶端，竹叶交迭穿插，有的仰俯，有的平展，有的下垂。湖石后面又一株菊花，依石与新竹穿插生长，花朵盛开，枝叶茂盛。\n此画构图紧凑，画面虽竖长条，上不留天，下不留地，在画的右侧下，有作者自题识。此画的竹、菊全以浓墨写出，仅以淡墨点几点苔点及花萼、花蕊。画成以后，即以淡墨水全幅遍染，仅仅留出菊花的花瓣的白底子，在灰色的背景下，显得格外清亮。在背景的淡墨水将干未干之际，用较深的墨作草书题款。由于对水分的掌握恰到好处。字迹与画的底色渗化融合，浑然一体。总之，此画中的菊、竹、湖石画得淋漓挥洒，纵横豪宕绝无霸悍之气，似乎信手拈来，一挥而就，且无一笔不合画理和法度，达到了天才和功力的完美统一，是一幅笔墨意境均出神入化的佳作。",[25,55,27,173,32,189,7,160,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d6e081a28cf954997b56c68ef141d0.jpg","51.16*129.02厘米",[],{"id":5013,"slug":5014,"title":5015,"dynasty":148,"author":4892,"museum":71,"description":5016,"tags":5017,"thumbUrl":5018,"material":205,"size":5019,"collection":88,"collections":5020,"showCount":4994,"zanCount":43,"manualWeight":43,"mainColor":143},221790,"han-lin-tu-cao-zhi-bai-221790","寒林图","曹知白(1272—1355), 字又元, 号云西, 又字贞素, 人称贞素先生, 华亭(今上海松江县) 人。至元中任昆山教谕, 曾北上大都(今北京), 不久辞归, 隐居不仕, 饱览经书和研究道家之说。自写书斋匾额曰：“常清净”, 以示求闲适恬静意趣。《寒林图》画枯林一行于坡石之间, 树干劲挺, 疏落有致, 笔墨带有秀润气, 属中年之作。",[23,25,26,80,55,75,1231,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d273f7f19185342efa1150df078a26.jpg","纵27.3厘米横26.2厘米",[88,122],{"id":5022,"slug":5023,"title":5024,"dynasty":369,"author":4133,"museum":1060,"description":5025,"tags":5026,"thumbUrl":5027,"material":5028,"size":5029,"collection":497,"collections":5030,"showCount":4994,"zanCount":43,"manualWeight":43,"mainColor":44},221251,"yan-tu-hui-chong-221251","雁图","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[23,24,25,26,55,29,3184,153,338,1990,7,3948,4137,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[497,60,105],{"id":5032,"slug":5033,"title":4469,"dynasty":148,"author":5034,"museum":1322,"description":5035,"tags":5036,"thumbUrl":5037,"material":37,"size":5038,"collection":497,"collections":5039,"showCount":4994,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,26,27,576,30,28,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea77b489c9244d27f3da7403e09bf107.jpg","113.3×53.9 cm",[497],{"id":5041,"slug":5042,"title":5043,"dynasty":148,"author":5044,"museum":552,"description":5045,"tags":5046,"thumbUrl":5047,"material":262,"size":59,"collection":39,"collections":5048,"showCount":4994,"zanCount":43,"manualWeight":43,"mainColor":64},218244,"xue-ye-fang-dai-tu-zhang-wo-218244","雪夜访戴图","张渥","疏枝横斜，托出夜雪的清寒；孤棹轻漾，载得随性的旷达。画面中，枯树虬劲如铁，寒江空蒙似练，小舟泊于岸侧，篷窗半掩。舟中人物或凭舷凝思，或敛袖安坐，神态悠然自适。此作取王子猷雪夜访戴典故，不着一字写雪，却以萧索枯枝、静谧孤舟暗合冬夜清寂。笔墨简练传神，线条流畅婉转，皴染淡雅自然，将魏晋士人“乘兴而来，兴尽而返”的旷达心境，融入寒江孤棹的图景。观者仿佛能透过纸面，触摸那份不拘形迹的自在，感受超脱世俗的精神余韵，尽显古典文人画的意境之美。",[25,26,434,55,30,85,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52371083784394e711a04b815e88c70f.jpg",[39],{"id":5050,"slug":5051,"title":5052,"dynasty":18,"author":49,"museum":552,"description":2638,"tags":5053,"thumbUrl":5054,"material":641,"size":642,"collection":59,"collections":5055,"showCount":5056,"zanCount":43,"manualWeight":43,"mainColor":64},239424,"shan-shui-hua-hui-ce-yun-shou-ping-239424","山水花卉册",[25,26,53,29,55,7,32,243,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a93d6197a93c72b6801a9f33f5d600.jpg",[],60,{"id":5058,"slug":5059,"title":5060,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":5061,"thumbUrl":5062,"material":59,"size":5063,"collection":60,"collections":5064,"showCount":5056,"zanCount":43,"manualWeight":43,"mainColor":64},237761,"mo-mei-tu-zhou-shi-tao-237761","墨梅图轴",[25,26,27,55,434,187,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fab0adcf142610f1d8c057e202ce5f9.jpg","133×66cm.",[60],{"id":5066,"slug":5067,"title":5068,"dynasty":148,"author":1930,"museum":71,"description":5069,"tags":5070,"thumbUrl":5071,"material":967,"size":5072,"collection":59,"collections":5073,"showCount":5056,"zanCount":511,"manualWeight":43,"mainColor":44},233824,"tao-zhu-jin-ji-tu-zhou-wang-yuan-233824","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。",[25,26,27,55,28,56,1934,32,217,7,157,456,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fe80188608afae39245cc2e1cd29b2.jpg","纵102.3cm，横55.4cm",[],{"id":5075,"slug":5076,"title":5077,"dynasty":18,"author":941,"museum":552,"description":5078,"tags":5079,"thumbUrl":5080,"material":59,"size":59,"collection":59,"collections":5081,"showCount":5056,"zanCount":43,"manualWeight":43,"mainColor":64},230133,"yu-yu-liu-se-tu-hong-ren-230133","雨余柳色图","《雨余柳色图》是 僧侣画家 的国画作品。\n该画为立轴，纸本墨笔，纵84.4厘米，横45.厘米，现藏于 。\n《雨余柳色图》奥境奇辟，缅邈幽深，峰峦俊逸，水渚错落，林木萧疏，江水辽阔，远山浮动。\n全幅以山、坡为主，图右缀有几株垂柳，一座小小木桥；图左设有几栋屋宇，远处画一道流水。\n此画笔墨苍劲整洁，以细笔为主，兼用侧锋，并用乾笔皴擦，有秀逸清幽之气。\n弘仁（161--1664）[清]僧。\n明诸生，甲申后为僧，号渐江，一号无智，人称梅花古衲，俗姓江，名韬，字六奇，后改名舫，字鸥盟， 人。\n少孤贫，性癖，以铅椠养母。\n一日负米行三十里，不逮期，欲赴练江死。\n母殡后不婚不宦。\n明亡后清兵进逼 时，曾参加反清复明斗争，后于 落发为僧，法名弘仁，字无智，号 ，又号梅花古衲，数年后重返故里，一心研习画学。\n游 之幔亭，皈依报亲寺古航师为圆顶焉。",[25,24,26,27,55,75,80,307,277,242,7,1791],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8413b0a13127d754377e4b83368527.jpg",[],{"id":5083,"slug":5084,"title":5085,"dynasty":18,"author":551,"museum":552,"description":5086,"tags":5087,"thumbUrl":5088,"material":327,"size":5089,"collection":60,"collections":5090,"showCount":5056,"zanCount":209,"manualWeight":43,"mainColor":64},224236,"xia-qi-tu-zhou-wu-chang-shuo-224236","霞气图轴","昌硕最擅长写意花卉，受徐渭和八大山人影响最大，由于他书法、篆刻功底深厚，他把书法、篆刻的行笔、运刀及章法、体势融入绘画，形成了富有金石味的独特画风。吴昌硕作画用“草篆书”以书法入画；线条功力异常深厚。虽然从状物绘形的角度看其线条的质感似乎不够丰富、切实，但恰恰是舍弃了形的羁绊，吴昌硕的绘画才步入了“意”的厅堂，从而形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”表现形式。",[23,25,27,55,29,56,187,7,79,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c20d7acbfac92920da123a70b33adeb.jpg","125x29",[60,105],{"id":5092,"slug":5093,"title":5094,"dynasty":148,"author":823,"museum":71,"description":5095,"tags":5096,"thumbUrl":5097,"material":2679,"size":5098,"collection":122,"collections":5099,"showCount":5056,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,27,2805,28,32,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53499e6ca3eee6c531a56818fa98b16c.jpg","纵185.5cm，横153.7cm",[122,411],{"id":5101,"slug":5102,"title":5103,"dynasty":369,"author":201,"museum":659,"description":5104,"tags":5105,"thumbUrl":5107,"material":327,"size":5108,"collection":497,"collections":5109,"showCount":5056,"zanCount":43,"manualWeight":43,"mainColor":44},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,25,26,74,55,75,80,81,259,84,5106,115,338,7,865,349,153,1231,134],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[497,88,122],{"id":5111,"slug":5112,"title":5113,"dynasty":69,"author":3181,"museum":3191,"description":5114,"tags":5115,"thumbUrl":5116,"material":5117,"size":5118,"collection":60,"collections":5119,"showCount":5056,"zanCount":43,"manualWeight":43,"mainColor":59},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[23,25,26,55,173,27,56,101,153,133,7,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 cm",[60],{"id":5121,"slug":5122,"title":3776,"dynasty":369,"author":5123,"museum":5124,"description":5125,"tags":5126,"thumbUrl":5127,"material":37,"size":5128,"collection":88,"collections":5129,"showCount":5056,"zanCount":43,"manualWeight":43,"mainColor":44},219076,"shan-shui-tu-li-gong-nian-219076","李公年","美国普林斯顿大学美术馆","画幅上端山峦在浮云中层层叠起，山脚隐于漠漠暮霭之中，寒溪曲折自远而近， 滩岸布置崖冈枯木，通幅用淡墨图写，景物出没于空旷有无之间，明润秀雅，较李郭山水更为虚灵简远。此图是李公年传世的唯一的画迹。",[25,55,75,27,80,83,1231,134,7,349,1407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885b7547f08c8a2d5e1e3041dfe3ad24.jpg","纵130厘米，横48.4厘米",[88],{"id":5131,"slug":5132,"title":1341,"dynasty":369,"author":1342,"museum":552,"description":5133,"tags":5134,"thumbUrl":5136,"material":641,"size":642,"collection":59,"collections":5137,"showCount":5138,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,25,24,28,29,30,5135,396,7,519,1921],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414a0dd806bab4abffe5b1350464294b.jpg",[],59,{"id":5140,"slug":5141,"title":5142,"dynasty":69,"author":2526,"museum":112,"description":5143,"tags":5144,"thumbUrl":5146,"material":678,"size":5147,"collection":60,"collections":5148,"showCount":5138,"zanCount":43,"manualWeight":43,"mainColor":44},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）。",[23,25,26,24,27,28,29,56,32,291,374,7,5145],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","纵165.2，横98.3cm",[60,105],{"id":5150,"slug":5151,"title":5152,"dynasty":69,"author":5153,"museum":112,"description":5154,"tags":5155,"thumbUrl":5156,"material":58,"size":5157,"collection":60,"collections":5158,"showCount":5138,"zanCount":43,"manualWeight":43,"mainColor":64},218847,"shuang-ji-tu-lu-zhi-218847","双鸡图","陆治","双鸡相倚石畔，一羽红冠微昂，一羽低首敛翅，毛羽以细笔勾染，晕出柔润光泽。石体干墨皴擦，纹理苍劲，与旁侧舒展的草叶形成刚柔对比。蜻蜓振翅悬于草尖，细足轻点，姿态灵动如真。笔墨间工写交织，设色淡雅却藏生机，题款朱印错落，更添古朴意蕴。整幅画似截取田园一隅，静谧中透着鲜活气息，将寻常物态绘出文人雅趣，尽显笔墨之妙与自然之趣，读之如沐林间清意，心随画境沉于恬淡。",[25,26,27,29,56,1187,7,160,1033],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28bf2849a86dd45fd3a78edb2b1cdfa.jpg","63.2x31.5cm",[60],{"id":5160,"slug":5161,"title":200,"dynasty":69,"author":5162,"museum":5163,"description":5164,"tags":5165,"thumbUrl":5166,"material":262,"size":5167,"collection":88,"collections":5168,"showCount":5138,"zanCount":43,"manualWeight":43,"mainColor":64},218002,"zhu-shi-tu-chen-jia-yan-218002","陈嘉言","金贝尔艺术博物馆","竹石图是中国明朝时期陈嘉言所作的一幅图画，它是一种颇具特色的中国山水画，具有很高的艺术价值和历史意义。\n\n陈嘉言是明朝时期著名的画家，他的作品中有许多著名的山水画，其中竹石图是他最著名的作品之一。这幅画以竹子和石头为主要元素，描绘了一片幽静的山水风景。\n\n竹石图被认为是中国传统山水画的杰作，因为它能够准确地再现了山水之间的关系，同时还能够表现出山水的美好之美。在这幅画中，陈嘉言用竹子和石头来表现山水之间的关系，同时还用色彩的变化来表现山水的深浅和质感。\n\n竹石图是陈嘉言在明朝时期的代表作之一，它不仅体现了陈嘉言艺术上的成就，同时也是中国山水画发展史上的一个重要里程碑。如今，竹石图已经成为了中国艺术史上最著名的山水画之一，并被广泛欣赏和珍藏。",[23,25,26,27,55,75,32,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa388b5265f5b7302a3252f8f6876b7c.jpg","80x43.5cm",[88,60],{"id":5170,"slug":5171,"title":5172,"dynasty":18,"author":1195,"museum":150,"description":3228,"tags":5173,"thumbUrl":5174,"material":58,"size":3231,"collection":59,"collections":5175,"showCount":5138,"zanCount":43,"manualWeight":43,"mainColor":64},214684,"mei-hua-zhu-shi-tu-ce-5-wang-shi-shen-214684","梅花竹石图册-5",[24,25,26,53,55,173,56,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cd56454776405ad098bf1f263dbc09f.jpg",[],{"id":5177,"slug":5178,"title":502,"dynasty":18,"author":214,"museum":5179,"description":5180,"tags":5181,"thumbUrl":5182,"material":59,"size":59,"collection":88,"collections":5183,"showCount":5184,"zanCount":43,"manualWeight":43,"mainColor":64},236728,"shan-shui-ce-hua-yan-236728","美国弗瑞尔美术馆","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[25,29,53,55,75,115,338,349,32,277,153,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa832e728718e0546bb3aa1e9daaea510.jpg",[88,105],58,{"id":5186,"slug":5187,"title":5188,"dynasty":69,"author":537,"museum":4245,"description":4246,"tags":5189,"thumbUrl":5192,"material":507,"size":4249,"collection":59,"collections":5193,"showCount":5184,"zanCount":511,"manualWeight":43,"mainColor":64},222567,"hua-hui-tu-6-chen-chun-222567","花卉图6",[23,25,26,29,55,173,56,243,160,7,375,4741,5190,5191],"花鸟写意","水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68019c2e22e4fd3401f2575cba804984.jpg",[],{"id":5195,"slug":5196,"title":5197,"dynasty":148,"author":2912,"museum":71,"description":5198,"tags":5199,"thumbUrl":5200,"material":598,"size":5201,"collection":122,"collections":5202,"showCount":5184,"zanCount":43,"manualWeight":43,"mainColor":44},221697,"you-huang-xiu-shi-tu-zhou-gu-an-221697","幽篁秀石图轴","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。",[23,25,27,55,28,75,32,826,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e2953593c979f764e7fe4b77b7f4bc.jpg","纵184cm，横12cm",[122,411],{"id":5204,"slug":5205,"title":5206,"dynasty":369,"author":3754,"museum":835,"description":5207,"tags":5208,"thumbUrl":5209,"material":1756,"size":5210,"collection":497,"collections":5211,"showCount":5184,"zanCount":511,"manualWeight":43,"mainColor":44},221589,"shuang-que-tu-li-di-221589","双雀图","景德二年（1005年），状元及第，出任徐州通判。历任著作郎、直史馆、三司盐铁判官、海州监税、右司谏、知郓州、起居舍人、吏部员外郎、三司盐铁副使、知制诰、秘书监、等职，在地方政绩卓著，在中央参与军国要务，出入内外，两度担任同平章事（宰相），以太子太傅致仕。\n庆历七年（1047年），李迪去世，享年七十七岁，追赠司空兼侍中，谥号“文定”，宋仁宗亲题其碑首为“遗直之碑”。《全宋诗》录其诗，《全宋文》录有其文。",[23,25,26,714,29,28,56,134,153,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe559fda312675455de696e9c73c23466.jpg","35x34",[497,60,105],{"id":5213,"slug":5214,"title":5215,"dynasty":769,"author":3542,"museum":3543,"description":5216,"tags":5217,"thumbUrl":5218,"material":59,"size":59,"collection":59,"collections":5219,"showCount":5184,"zanCount":511,"manualWeight":43,"mainColor":64},220549,"san-ma-tu-xu-bei-hong-220549","三马图","此作融贯中西绘艺，古松虬枝苍劲，以传统笔墨铺就清旷郊野底色，皴擦点染间尽显古木沉雄苍浑的气韵。三马姿态各殊，白马静立垂眸，神气温驯柔润；黑马昂首徐行，筋骨舒展俊朗；幼驹灵动跃动，尽显稚拙生机。创作者以西方写实技法晕染皮毛肌肉，精准还原骏马的光影层次与质感肌理，又以东方写意笔墨捕捉马匹灵动神韵，将鞍马题材的意趣与写实表现力相融，让骏马的蓬勃生气跃然纸上，尽显精湛笔力与贯通东西的审美意趣。",[25,29,306,260,308,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6df961ea9771a654e3dbac5c726ff8b.jpg",[],{"id":5221,"slug":5222,"title":5223,"dynasty":69,"author":5162,"museum":112,"description":5224,"tags":5225,"thumbUrl":5226,"material":37,"size":59,"collection":60,"collections":5227,"showCount":5184,"zanCount":43,"manualWeight":43,"mainColor":64},219446,"duan-yang-jing-tu-chen-jia-yan-219446","端阳景图","墨石崚嶒，以浓淡干湿之笔写出苍劲肌理，似含嶙峋风骨。石畔百合舒卷有致，瓣白如玉，清雅绝尘；艳艳红花点缀其间，色如渥丹，相映成趣。细碎野花丛生，黄绿枝叶错落，笔墨兼工带写，设色明丽却不艳俗。整幅画面生机盎然，野趣中透着雅致，仿佛能嗅到端阳时节的草木清气，尽显文人画的疏朗意韵。笔意洒脱，构图疏密得当，于不经意间流露自然之美，引人沉醉于这方清幽小景里。",[25,27,29,55,173,56,7,629,243,541,1136,160,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ef5005627b1e39b1323e869dbb1145.jpg",[60],{"id":5229,"slug":5230,"title":5231,"dynasty":18,"author":1868,"museum":874,"description":5232,"tags":5233,"thumbUrl":5234,"material":37,"size":5235,"collection":60,"collections":5236,"showCount":5184,"zanCount":43,"manualWeight":43,"mainColor":44},219351,"mu-ma-tu-shen-quan-219351","牧马图","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。",[23,25,24,26,27,28,29,306,133,134,101,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f9473a78fc17f9621aa38f84941ad8.jpg","92x63.5cm",[60,105],{"id":5238,"slug":5239,"title":5240,"dynasty":369,"author":201,"museum":5241,"description":5242,"tags":5243,"thumbUrl":5244,"material":37,"size":5245,"collection":88,"collections":5246,"showCount":5184,"zanCount":511,"manualWeight":43,"mainColor":44},218460,"gao-shi-lin-tiao-tu-yi-ming-218460","高士临眺图","松美术馆","虬松盘枝如铁，松针密织似筛，泼墨染出苍劲骨相。树下亭榭檐角轻挑，隐见幽人凭栏，目光随流水漫向天际。波光敛于绢素，小桥横卧如带，行人二三，步痕轻浅入烟霭。远山淡赭晕染，与空濛天色相融，留白处尽是宋人山水的清寂况味。笔墨简而意远，构图疏朗却藏深致——苍松古拙、亭榭雅致、流水悠缓、远山虚渺，交织成文人临眺的诗意图景，将天地旷远与内心悠然凝作绢上无声诗行，尽显宋画山水的韵致与哲思。",[25,24,714,29,80,30,134,277,82,7,242,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff551be231d4f0968312bf052ea0c1438.jpg","26x26cm",[88],{"id":5248,"slug":5249,"title":5250,"dynasty":5251,"author":201,"museum":835,"description":5252,"tags":5253,"thumbUrl":5254,"material":205,"size":5255,"collection":39,"collections":5256,"showCount":5184,"zanCount":43,"manualWeight":43,"mainColor":44},218315,"bai-yi-guan-yin-tu-yi-ming-218315","白衣观音图","不详","画面中观音衣袂翩跹若流云泻地，轻盈舒展间尽显温婉神韵。身后圆月如璧悬于天际，清辉漫洒，衬得她面容柔和，眸光含慈，悲悯之意溢于眉宇。衣纹线条细腻流畅，褶皱层叠自然，笔墨灵动处见功底。上方疏枝横斜，影映清辉；下方水波微动，更添空灵澄澈之境。整体氛围静谧祥和，似能涤荡尘心，传递出超越世俗的慈悲安宁。观者凝神间，心神便被这份神圣静谧的美感包裹，沉醉于艺术与信仰交融的温柔力量中。",[25,26,27,576,30,434,29,864,82,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f74b241027c5bc565bf1a1a100e2598.jpg","180.3x83.5",[39],{"id":5258,"slug":5259,"title":5250,"dynasty":148,"author":201,"museum":552,"description":5260,"tags":5261,"thumbUrl":5262,"material":205,"size":59,"collection":39,"collections":5263,"showCount":5184,"zanCount":209,"manualWeight":43,"mainColor":44},217067,"bai-yi-guan-yin-tu-yi-ming-217067","白衣观音图是元朝时期的一幅佚名绘画，被认为是中国古代宗教图像艺术的杰作。这幅画描绘的是观音菩萨的形象，她身着白衣，头戴冠冕，手持莲花，神态庄严肃穆。\n\n观音菩萨是佛教传统中的一位菩萨，被认为是慈悲与智慧的化身。她的莲花代表了佛教的清净，而白色的衣服则象征着她的纯洁和超凡的品德。\n\n白衣观音图的风格独特，线条流畅，色彩明亮。画家巧妙地运用了透视法和光影效果，使得观音菩萨的形象更加立体生动。\n\n白衣观音图至今仍被认为是中国古代宗教绘画的杰作，其独特的风格和出色的艺术技巧吸引了众多观众的目光。它不仅是一幅优秀的艺术品，也是中国文化遗产的瑰宝。",[25,26,27,576,434,55,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53f25759ae0a1847993ffe0f015ebbf.jpg",[39],{"id":5265,"slug":5266,"title":5267,"dynasty":369,"author":4264,"museum":112,"description":5268,"tags":5269,"thumbUrl":5272,"material":205,"size":5273,"collection":497,"collections":5274,"showCount":5275,"zanCount":43,"manualWeight":43,"mainColor":1551},289867,"xue-xi-yu-fu-tu-xu-dao-ning-289867","雪溪渔父图","许道宁 北宋画家。生卒年不详，约970年-1052年。活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅山水，师法李成，初于汴京（今河南开封）端门前卖药，以画吸引顾客，渐为人所知。多写林木、野水、秋江、雪景、寒林、渔浦等，并点缀行旅、野渡、捕鱼等人物，行笔简快，峰峦峭拔，林木劲硬，人称能得李成之气。宋朝人张士逊曾写诗称赞说：“李成谢世范宽死，唯有长安许道宁。”黄庭坚激赏他醉后所作的画。在《答王道济寺丞观许道宁山水图》诗中写道：“往逢醉许在长安，蛮溪大砚磨松烟。忽呼绢素翻砚水，久不下笔或经年。异时踏门闯白首，巾冠欹斜更索酒。举杯意气欲翻盆，倒卧虚樽即八九。醉拾枯笔墨淋浪，势若山崩不停手。数尺江山万里遥。满堂风物冷萧萧。”生动地展示了许道宁醉中作画的神情举止，见出他画技的高超。",[25,273,55,75,851,80,133,3203,2382,5270,7,137,5271],"溪岸","冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7037404c7f9e8aaac7306673c66fb64.jpg","169x110",[497],57,{"id":5277,"slug":5278,"title":5279,"dynasty":69,"author":5280,"museum":71,"description":5281,"tags":5282,"thumbUrl":5283,"material":5284,"size":59,"collection":59,"collections":5285,"showCount":5275,"zanCount":43,"manualWeight":43,"mainColor":64},234995,"lan-zhu-zhou-chen-yuan-su-234995","兰竹轴","陈元素","陈元素，生卒年不详，明代书画家。字古白、孝平、金刚，号素翁、处廓先生，私谥贞文先生，南直隶苏州府长洲（今江苏苏州）人，万历诸生。早负才名，工诗文，尤善书法，楷书法欧阳，草入二王之室，工山水，尤善写兰，得文征明之秀媚。有《古今名将传》、《南牅日笺》。",[24,25,26,27,55,188,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f282cae8acc7a40f7ae7ffdf6630dba.jpg","纸本 ，设色",[],{"id":5287,"slug":5288,"title":5289,"dynasty":18,"author":5290,"museum":112,"description":5291,"tags":5292,"thumbUrl":5293,"material":327,"size":5294,"collection":59,"collections":5295,"showCount":5275,"zanCount":43,"manualWeight":43,"mainColor":64},231958,"song-shu-ren-wu-tu-zhou-pu-ru-231958","松树人物图轴","溥儒","松树画的苍劲有力。不过，要说到画松树的高手，还是要提到明代的听松老人过仪，他画的松树是最值得称道的。\n溥心畬[yú]（1896年9月2日—1963年11月18日），满族，原名爱新觉罗·溥儒，初字仲衡，改字心畬，自号羲皇上人、西山逸士，北京人，著名书画家、收藏家。为清恭亲王奕訢之孙。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,25,55,75,27,260,30,80,7,84,135,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd4de942e3134374eef408c4a33d.jpg","130x32cm",[],{"id":5297,"slug":5298,"title":5299,"dynasty":18,"author":5300,"museum":552,"description":5301,"tags":5302,"thumbUrl":5303,"material":59,"size":59,"collection":59,"collections":5304,"showCount":5275,"zanCount":43,"manualWeight":43,"mainColor":64},224238,"zhu-ju-quan-shi-yang-da-zhang-224238","竹菊泉石","杨大章","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。",[23,25,26,53,28,29,32,189,7,82,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a0e88bdb88ecce18fd83ad4aa28c84.jpg",[],{"id":5306,"slug":5307,"title":5308,"dynasty":69,"author":4757,"museum":112,"description":5309,"tags":5310,"thumbUrl":5311,"material":119,"size":5312,"collection":60,"collections":5313,"showCount":5275,"zanCount":43,"manualWeight":43,"mainColor":44},222020,"hua-xia-li-nu-tu-zhou-zhu-zhan-ji-222020","花下貍奴图轴","此画构图呈对角线，所画的猫、湖石、秋花均在对角线上，可谓全幅构图别致，虚实结合。狸奴造型准确，画法先淡色涂染全身，背上的毛用干笔涂擦点簇而成，表现了狸奴细毛的质感。以焦墨点睛，炯炯有神。湖石则用长麻皮皴。",[23,25,26,27,29,28,100,156,7,79,77,101,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511c301cd9d9a27486446cb728c20d37.jpg","纵41．5厘米，横39．3厘米",[60,105],{"id":5315,"slug":5316,"title":5317,"dynasty":148,"author":1930,"museum":112,"description":5318,"tags":5319,"thumbUrl":5321,"material":327,"size":5322,"collection":60,"collections":5323,"showCount":5275,"zanCount":43,"manualWeight":43,"mainColor":64},221841,"ma-que-shan-qin-tu-li-zhou-wang-yuan-221841","麻雀山禽图立轴","王渊，元代画家，字若水，号澹轩，一号虎林逸士，生卒年不详。杭（杭州）人。幼习丹青，赵孟多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，地写生之妙，时称“绝艺”。人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[23,24,25,26,27,55,28,56,32,5320,153,7,79],"麻雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0258e250c8d399555994ef46f70fc70b.jpg","60x198cm",[60,122],{"id":5325,"slug":5326,"title":5327,"dynasty":69,"author":1184,"museum":71,"description":5328,"tags":5329,"thumbUrl":5330,"material":262,"size":5331,"collection":122,"collections":5332,"showCount":5275,"zanCount":178,"manualWeight":43,"mainColor":64},220132,"zhen-shou-tang-tu-juan-tang-yin-220132","贞寿堂图卷","图绘以平远、阔远之法，画青山秀水之畔，有堂屋两间筑于山坳回抱之处、松竹掩映，篱落曲折。堂内家人聚首，共叙天伦；堂侧隔桥一人正袖手而立，作静观之状。图中山石皴笔劲利，晕染轻淡；树法丰富，枝干俯仰有态，点叶、夹叶兼备，点景人物衣纹细劲，神态闲适。风格秀润，意境幽淡，为唐寅早期画作的佳制。",[23,25,26,74,55,29,75,78,77,80,242,134,7,277,82,349,30,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29da086db6e0222144fd39f45bbfb2d9.jpg","纵28.3厘米 横102.2厘米",[122],{"id":5334,"slug":5335,"title":5336,"dynasty":18,"author":5337,"museum":112,"description":5338,"tags":5339,"thumbUrl":5340,"material":37,"size":5341,"collection":60,"collections":5342,"showCount":5275,"zanCount":43,"manualWeight":43,"mainColor":64},219474,"ying-su-tu-gu-ying-219474","罂粟图","顾瑛","顾瑛(约活动于17世纪)，号玉山道人，秀水(今浙江嘉兴)人，能诗，善画山水人物花鸟。明亡后从父命以诗画隐居不仕。本幅设色画罂粟花丛，下衬磐石茸草。罂粟全株以没骨技法画成，不加墨线。花瓣、花萼处以毫芒细笔描摹，花心蕊点多若繁星，叶片筋脉用笔细腻匀称。从画家自题「春事将阑」，与画中多朵花型结构即将散架凋颓、花蕊初现果实的迹象判断，应是晚春罂粟盛开已极，欲将凋落结果的最后荣景。",[23,25,28,29,56,27,1754,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1165a3d91f2b0d831e7cf8009e542c.jpg","123.9x33.9",[60],{"id":5344,"slug":5345,"title":5346,"dynasty":148,"author":5347,"museum":150,"description":5348,"tags":5349,"thumbUrl":5350,"material":58,"size":5351,"collection":88,"collections":5352,"showCount":5275,"zanCount":209,"manualWeight":43,"mainColor":44},218271,"he-xi-cao-tang-tu-zhao-yuan-218271","合溪草堂图","赵原","此图采用对角线构图，右下绘有一洲为嘉兴澄性海，洲上筑有人交谈。对岸林木扶疏，湖中渔舟忙碌。笔墨疏淡，设色简雅，风格近似王蒙。自识[莒城赵元为玉山主人作合溪草堂图]。按玉山主人即顾阿英，旁又见顾阿瑛的题记，可知此图描绘了顾阿瑛私宅嘉兴合溪草堂的景色。顾氏款至正癸卯即公元一三六三年。",[25,26,55,75,80,134,349,153,82,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b39b7cd5b2e234b501aa3000492f233.jpg","84.3厘米，横：40.8厘米",[88],{"id":5354,"slug":5355,"title":5356,"dynasty":69,"author":1625,"museum":184,"description":5357,"tags":5358,"thumbUrl":5359,"material":58,"size":5360,"collection":59,"collections":5361,"showCount":5275,"zanCount":209,"manualWeight":43,"mainColor":5362},216261,"ming-za-hua-ce-4-wang-zhong-216261","明杂画册-4","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。",[25,29,28,53,7,56,189,160,435,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ab5d750f60cfb64615b60a29b53388.jpg","30x27cm",[],"FDD835",{"id":5364,"slug":5365,"title":5052,"dynasty":18,"author":49,"museum":552,"description":2638,"tags":5366,"thumbUrl":5367,"material":641,"size":642,"collection":59,"collections":5368,"showCount":5369,"zanCount":511,"manualWeight":43,"mainColor":64},239425,"shan-shui-hua-hui-ce-yun-shou-ping-239425",[25,53,29,55,7,32,134,153,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dfa563d318684d6bb6749bf2014e00f.jpg",[],56,{"id":5371,"slug":5372,"title":5373,"dynasty":18,"author":5374,"museum":552,"description":5375,"tags":5376,"thumbUrl":5377,"material":59,"size":59,"collection":59,"collections":5378,"showCount":5369,"zanCount":43,"manualWeight":43,"mainColor":64},230854,"lan-zhu-shi-tu-zhu-sheng-230854","兰竹石图","诸昇","淡墨晕染坡岸，焦墨点苔点缀，寥寥数笔便勾勒出幽寂崖畔的清冷底色。兰叶以中锋挥就，笔势柔韧舒展，或斜曳迎风，或挺拔舒展，如君子立世，清劲洒脱。\n\n兰花以浓墨点簇，隐于叶隙之间，含而不发，暗合雅士含蓄内敛的品格。整幅画作以水墨浓淡铺陈层次，简淡疏朗，以少胜多，不着艳色，却恍见空谷幽兰暗香浮动，将兰草孤高清逸之态尽数彰显，尽显文人借物抒怀的写意意趣，把水墨的空灵雅致渲染到极致。",[25,26,55,173,188,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4634c9d1a59b7eb1c6b4e3b1a07df0.jpg",[],{"id":5380,"slug":5381,"title":5382,"dynasty":18,"author":5383,"museum":2832,"description":5384,"tags":5385,"thumbUrl":5386,"material":262,"size":5387,"collection":122,"collections":5388,"showCount":5369,"zanCount":43,"manualWeight":43,"mainColor":64},220360,"fang-ni-yun-lin-gu-mu-yuan-shan-tu-zhou-zhu-chang-220360","仿倪云林古木远山图轴","祝昌","图以水墨描绘江南水乡泽国景色。层岗丘阜，错落起伏，溪涧潆洄，林木蓊郁，有茅屋数间依偎于山麓，扁舟数个荡漾于水面，景色旷远，意境清幽。画面主要用墨笔干皴，得倪瓒三昧。",[23,25,26,27,55,75,76,80,1175,324,134,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11257d3e5577a6cd1823f109ea6a2bdb.jpg","53.5x177.6",[122],{"id":5390,"slug":5391,"title":5392,"dynasty":369,"author":4022,"museum":112,"description":5393,"tags":5394,"thumbUrl":5395,"material":37,"size":5396,"collection":497,"collections":5397,"showCount":5369,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,24,25,26,714,28,29,56,291,117,374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[497,60],{"id":5399,"slug":5400,"title":5401,"dynasty":69,"author":201,"museum":2409,"description":5402,"tags":5403,"thumbUrl":5404,"material":37,"size":5405,"collection":39,"collections":5406,"showCount":5369,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,26,714,29,28,30,101,80,82,7,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13675267f743bc53cfd605358debfb0.jpg","21x21.4",[39],{"id":5408,"slug":5409,"title":5410,"dynasty":18,"author":1363,"museum":71,"description":5411,"tags":5412,"thumbUrl":5413,"material":262,"size":5414,"collection":88,"collections":5415,"showCount":5369,"zanCount":43,"manualWeight":43,"mainColor":64},218390,"fang-ni-yun-lin-xi-ting-shan-se-tu-wang-jian-218390","仿倪云林溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[23,25,55,80,75,76,115,338,349,117,7,82,133,826],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[88],{"id":5417,"slug":5418,"title":5419,"dynasty":18,"author":475,"museum":184,"description":5420,"tags":5421,"thumbUrl":5422,"material":58,"size":59,"collection":59,"collections":5423,"showCount":5369,"zanCount":43,"manualWeight":43,"mainColor":64},214368,"tian-guang-yun-jing-tu-ce-zhu-da-214368","天光云景图册","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水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，《天光云景图册》也是收藏家们青睐的经典之作。",[23,25,26,53,55,80,81,136,7,153,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cfec1f032a3c376c5af72892319e611.jpg",[],{"id":5425,"slug":5426,"title":5427,"dynasty":69,"author":5428,"museum":552,"description":5429,"tags":5430,"thumbUrl":5432,"material":641,"size":642,"collection":59,"collections":5433,"showCount":5434,"zanCount":511,"manualWeight":43,"mainColor":44},289997,"ting-qin-tu-li-zhou-du-jin-289997","听琴图立轴","杜堇","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。",[25,26,24,27,29,28,30,31,2614,2421,1446,7,2461,5431,1921],"书房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9241a9963f0c789754bcb630030c914e.jpg",[],55,{"id":5436,"slug":5437,"title":5438,"dynasty":18,"author":5439,"museum":552,"description":5440,"tags":5441,"thumbUrl":5443,"material":59,"size":59,"collection":60,"collections":5444,"showCount":5434,"zanCount":511,"manualWeight":43,"mainColor":64},238178,"xian-zhi-zhu-shou-tu-zhou-shen-zhen-lin-238178","仙芝祝寿图轴","沈振麟","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。",[25,27,29,28,7,2806,243,375,135,1779,5442],"白色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035c9856899db7d34109e2309e3bffa5.jpg",[60],{"id":5446,"slug":5447,"title":5448,"dynasty":18,"author":5449,"museum":71,"description":5450,"tags":5451,"thumbUrl":5452,"material":139,"size":59,"collection":786,"collections":5453,"showCount":5434,"zanCount":43,"manualWeight":43,"mainColor":64},237160,"zhu-xuan-shi-tu-zhou-jin-nong-dan-237160","竹玄石图轴","金农丹","竹之为物，其性不同于众木，不因寒暑而荣谢，不以四时而变化，风雨不惧，飒飒幽幽，劲不输于青松，曲可比于细柳，故寓君子于竹。\n国人与竹的心灵交契，可上溯《诗》《礼》。自东晋王徽之说“何可一日无此君”后，“君”便成了竹的别称。后世百代，竹都以君子的形象存寓在人们的心中。古代文士爱竹、咏竹、写竹，将一切美好的品德与理想的人格都赋予竹。自唐人“君子比德于竹”，到宋人“其身与竹化”，视竹为与自身心灵相通的君子，人与竹的精神联系已达到“物我无间”的境地。\n墨竹，又称“墨君”，起于唐而源流未审。北宋文同（字与可）、苏轼开文人写意墨竹之先河，其写竹不止于状貌，非图其外美，而以纯素之心体竹高洁之性。\n后世画家，凡写墨竹，无不受到文同与苏轼的影响，无不对其推崇备至。金代王庭筠，元代李衎、高克恭、赵孟頫、吴镇、顾安、柯九思、倪瓒、王蒙等，明初王绂、夏昶，他们写竹，备竹子之法度神采，又饱含君子之气度品格，直承文苏之正脉。之后，陈芹、姚绶、文征明、陈淳、徐渭、朱耷、石涛、金农、郑燮等秉承文苏之风骨，融自己之心意，不同与可，却能“高呼与可”，为文人墨竹注入了新鲜的血液。“墨君”也因此承载了更多的意象和更高的情志。传承是艺术得以延续的根本，但是它更感人的一面乃是其绝世而独立的精神，是其郁郁勃发、生生不息的生命状态。",[25,26,27,55,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c12294b2fcf4f48504901088786c74.jpg",[786],{"id":5455,"slug":5456,"title":5457,"dynasty":18,"author":96,"museum":552,"description":2727,"tags":5458,"thumbUrl":5459,"material":641,"size":642,"collection":59,"collections":5460,"showCount":5434,"zanCount":43,"manualWeight":43,"mainColor":64},235619,"bi-tao-chun-yan-tu-zhou-ren-yi-235619","碧桃春燕图轴",[25,26,24,27,29,56,190,153,746,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ade1c2d8c7677f33096a169e71c32f.jpg",[],{"id":5462,"slug":5463,"title":5464,"dynasty":18,"author":551,"museum":71,"description":5465,"tags":5466,"thumbUrl":5468,"material":5469,"size":5470,"collection":59,"collections":5471,"showCount":5434,"zanCount":511,"manualWeight":43,"mainColor":64},233736,"wu-jun-qing-yan-lai-hong-zhou-wu-chang-shuo-233736","吴俊卿雁来红轴","本幅设色。款：“安吉吴俊卿”。\n吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[25,26,27,29,7,5467,160,243],"雁来红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8648de328c40626b7f14d113b0bcb0fb.jpg","金笺 ，设色","纵174.7cm，横47.5cm",[],{"id":5473,"slug":5474,"title":5475,"dynasty":69,"author":1184,"museum":71,"description":5476,"tags":5477,"thumbUrl":5478,"material":967,"size":5479,"collection":59,"collections":5480,"showCount":5434,"zanCount":511,"manualWeight":43,"mainColor":64},233707,"you-ren-yan-zuo-tu-zhou-tang-yin-233707","幽人燕坐图轴","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。",[25,26,27,55,75,80,349,81,135,82,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5448d0d425ec0f6d6a2e9b1bd7bf7016.jpg","纵120.3厘米，横25.8厘米",[],{"id":5482,"slug":5483,"title":5484,"dynasty":18,"author":5485,"museum":874,"description":5486,"tags":5487,"thumbUrl":5488,"material":37,"size":5489,"collection":60,"collections":5490,"showCount":5434,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,25,26,27,28,29,56,1990,155,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89361e3af2e269c9833f44d7c0be584d.jpg","159.3x96.5cm",[60],{"id":5492,"slug":5493,"title":5494,"dynasty":18,"author":169,"museum":1206,"description":5495,"tags":5496,"thumbUrl":5497,"material":58,"size":59,"collection":88,"collections":5498,"showCount":5434,"zanCount":43,"manualWeight":43,"mainColor":64},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,25,53,29,55,80,77,78,75,173,115,338,117,136,349,277,82,30,7,134,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[88],{"id":5500,"slug":5501,"title":5502,"dynasty":18,"author":3611,"museum":552,"description":3612,"tags":5503,"thumbUrl":5505,"material":641,"size":642,"collection":59,"collections":5506,"showCount":5507,"zanCount":511,"manualWeight":43,"mainColor":64},288234,"duo-zi-tu-li-zhou-qu-zhao-lin-288234","多子图立轴",[23,25,27,28,29,56,153,192,32,7,5504],"多子多福","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84673a9abd63bfd4f7c5dbd2d3b0bdb3.jpg",[],54,{"id":5509,"slug":5510,"title":4309,"dynasty":18,"author":4310,"museum":552,"description":4311,"tags":5511,"thumbUrl":5512,"material":641,"size":642,"collection":59,"collections":5513,"showCount":5507,"zanCount":209,"manualWeight":43,"mainColor":143},239079,"hua-niao-ping-liao-yun-jin-239079",[25,28,29,56,7,374,291,375,259,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957fa757ccae928e12a60604cca10b13.jpg",[],{"id":5515,"slug":5516,"title":5517,"dynasty":18,"author":941,"museum":552,"description":4492,"tags":5518,"thumbUrl":5519,"material":641,"size":642,"collection":59,"collections":5520,"showCount":5507,"zanCount":43,"manualWeight":43,"mainColor":64},237962,"hong-ren-shan-shui-ye-hong-ren-237962","弘仁山水页",[25,55,75,53,80,115,826,117,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3848dc7a70e5c11a9d7c7ea91e38be.jpg",[],{"id":5522,"slug":5523,"title":5524,"dynasty":985,"author":5525,"museum":552,"description":5526,"tags":5527,"thumbUrl":5528,"material":59,"size":59,"collection":59,"collections":5529,"showCount":5507,"zanCount":43,"manualWeight":43,"mainColor":1551},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。",[23,25,26,27,576,28,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c0e7681f40aff4454529feba431a61.jpg",[],{"id":5531,"slug":5532,"title":5533,"dynasty":18,"author":672,"museum":112,"description":2939,"tags":5534,"thumbUrl":5537,"material":29,"size":2943,"collection":59,"collections":5538,"showCount":5507,"zanCount":511,"manualWeight":43,"mainColor":64},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",[23,25,26,56,28,29,5535,5536,7,541],"虞美人","蝴蝶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cf8ef4ea03d3198d245b3fb1aea4e0.jpg",[],{"id":5540,"slug":5541,"title":5542,"dynasty":69,"author":5543,"museum":2832,"description":5544,"tags":5545,"thumbUrl":5547,"material":327,"size":5548,"collection":88,"collections":5549,"showCount":5507,"zanCount":511,"manualWeight":43,"mainColor":64},222323,"song-bai-tu-fang-yi-zhi-222323","松柏图","方以智","图绘松柏两棵，一棵虬枝叶茂，另一棵上半段已残缺，仍坚强孤傲立于山石之上，树下隐约现长亭横顶，此处为观景纳凉之佳地；远处山色浓重，云蒸雾绕，透出孤寂冷清之意境。方以智，字密之，号曼公，明代哲学家、画家，明末清初出家为僧",[23,25,55,75,27,5546,80,7,349,3368,135,81,324],"松柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60d9e5554f54a559543073dca6744eb.jpg","47.3x125.6厘米",[88,122],{"id":5551,"slug":5552,"title":5553,"dynasty":148,"author":893,"museum":112,"description":5554,"tags":5555,"thumbUrl":5557,"material":37,"size":5558,"collection":60,"collections":5559,"showCount":5507,"zanCount":43,"manualWeight":43,"mainColor":44},220384,"qiu-fang-niao-yu-tu-qian-xuan-220384","秋芳鸟语图","钱选山水师赵令穰，人物师李公麟，花鸟师赵昌，青绿山水师赵伯驹，尤善作折枝，其得意者赋诗其上。工临仿，尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉。选多写人物、花鸟，故所图山水当世罕传。。钱选与赵孟頫同乡并同享盛名。擅画人物、花卉及山水。其自题《其与花鸟画曾师法赵昌，又自有变法，多表现田园隐居等情趣，如《柴桑翁像》、等山水画。后因为手颤，以及对付诸多仿造者，改作水墨写意花卉。明代鲁王朱檀墓随葬有钱选等，多以水墨画就。",[23,24,25,26,714,29,28,56,189,153,7,5556],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194ffa877014eafa9f6fefd8f3e58dd3.jpg","24.2x26.2",[60],{"id":5561,"slug":5562,"title":5563,"dynasty":148,"author":1930,"museum":112,"description":5564,"tags":5565,"thumbUrl":5566,"material":262,"size":5567,"collection":60,"collections":5568,"showCount":5507,"zanCount":43,"manualWeight":43,"mainColor":44},219241,"tao-zhu-chun-qin-tu-wang-yuan-219241","桃竹春禽图","此幅画坡石桃竹，两双锦鸡楼于坡石之间。桃枝上的一双小鸟作欲飞状。枝上桃花或盛开，或含苞欲放。图中花和叶都用水墨点画而成，不用线勾。作者以深浅不同的色调，表现出阴阳向背和不同的颜色。鸟身的羽毛举涂染皴划粗细笔兼用，不作精雕细琢。全画笔墨稳练、文雅，气韵苍古，是花鸟画在元代由设色向墨笔过渡的代表性作品。",[23,25,24,27,55,28,56,1934,32,374,153,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c252bcf6ed4c5540285f24044384b10.jpg","117.6x55公分；全幅72.5公分",[60],{"id":5570,"slug":5571,"title":5572,"dynasty":369,"author":5573,"museum":5574,"description":5575,"tags":5576,"thumbUrl":5577,"material":262,"size":5578,"collection":60,"collections":5579,"showCount":5507,"zanCount":511,"manualWeight":43,"mainColor":44},219074,"zhi-niao-tu-li-an-zhong-219074","鸷鸟图","李安忠","西雅图艺术博物馆","双鸟振翅于苍空，一似利剑穿云，一若疾电掠野，羽翼纹理细劲如丝，飞羽层叠间藏着风的力度。下方山石嶙峋，荒草疏疏，墨色简淡却见苍劲，衬出鸷鸟雄健身姿。眼神未刻意描摹，却透着猛禽独有的锐光。整幅画于工致中见野逸，将鸷鸟凌厉气势与旷野清寂氛围融于一纸，尽显宋人对自然生灵的深刻洞察与笔墨匠心。寥寥数笔的背景，更让观者聚焦飞鸟动态神韵，仿佛能听见翅膀划破空气的声响，感受到荒野里蓬勃的生命张力。",[23,24,25,26,56,28,29,153,7,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df516f0d73f4636a45f5da60eb29c20.jpg","25.4x27cm",[60],{"id":5581,"slug":5582,"title":5583,"dynasty":369,"author":201,"museum":150,"description":5584,"tags":5585,"thumbUrl":5586,"material":37,"size":5587,"collection":497,"collections":5588,"showCount":5507,"zanCount":43,"manualWeight":43,"mainColor":44},218619,"yuan-lu-tu-yi-ming-218619","猿鹭图","在画山的一棵老松树上，一只猴子右手抱着一只苍鹭，左手挥舞着，似乎在吓唬坐在树顶的另一只苍鹭，尽管树顶的苍鹭确实受到了惊吓，它张着尖嘴，翅膀微微张开，似乎准备逃走了。紧握着的游隼张开的嘴，似乎在呼救。",[23,24,25,26,714,29,28,79,4884,4095,260,1073,7,134,153,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68a43a8dfe0798f567015c2597b7b30.jpg","23.3x23.8",[497],{"id":5590,"slug":5591,"title":5592,"dynasty":69,"author":5593,"museum":112,"description":5594,"tags":5595,"thumbUrl":5596,"material":58,"size":59,"collection":39,"collections":5597,"showCount":5507,"zanCount":43,"manualWeight":43,"mainColor":64},216980,"zhong-kui-tu-qian-gu-216980","钟馗图","钱谷","这幅画描绘了钟馗带着他的涉猎器在寒冷的森林中独自行走，旧传锺馗本唐德宗时之武举魁首，因貌丑见斥，自刎身亡，德宗后悔莫及，封为驱魔大神。此后，钟馗的名气越来越大，人们在年底和端午节挂起钟馗的雕像，以驱除邪气。钱谷的这件作品，色彩淡雅，气氛独特，与民间形象不同。",[25,26,27,55,434,30,133,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0421f0df4b30dcc416c55929cbe0eab3.jpg",[39],{"id":5599,"slug":5600,"title":5601,"dynasty":148,"author":5602,"museum":170,"description":5603,"tags":5604,"thumbUrl":5605,"material":58,"size":5606,"collection":88,"collections":5607,"showCount":5507,"zanCount":43,"manualWeight":43,"mainColor":64},214383,"yu-le-tu-fang-cong-yi-214383","鱼乐图","方从义","画面中，一个樵夫与渔民在岸边上喝酒，反映了工人的简单情感和生活细节。一棵垂柳树耸立在画中，映衬着翠绿的山丘和海滩。这幅画是素描，笔触强烈而尖锐，色彩明亮而优雅。虽然这幅画是由方从义题写的，但其风格更接近明代的戴进和吴伟的风格。",[23,25,26,27,55,75,80,117,1407,30,160,7,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00272ba6a9af3a5abb90b8e961a2292f.jpg","143.8x43.2",[88],{"id":5609,"slug":5610,"title":4440,"dynasty":18,"author":475,"museum":552,"description":5611,"tags":5612,"thumbUrl":5613,"material":59,"size":59,"collection":59,"collections":5614,"showCount":5615,"zanCount":43,"manualWeight":43,"mainColor":44},231034,"mo-he-tu-zhu-da-231034","《墨荷图》是清代石涛创作的纸本墨笔画。\n图绘欣欣向荣的荷塘景色。\n构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。\n用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。\n钤白文印二方：“靖江后人”、“大涤堂”。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n石涛（1642—约1718年），俗姓朱，明宗室靖江王朱赞仪十世孙，谱名若极，广西桂林人。\n明灭亡后，出家为僧，法名原济，字石涛，号清湘老人、苦瓜和尚等。\n工于诗文，擅绘山水、兰竹、花草及人物。\n其笔情纵恣凝炼，独具创新，对扬州画派和近、现代中国画的影响极大。\n与清初画坛朱耷、髡残、弘仁合称“清四僧”，著有《苦瓜和尚画语录》，针对画坛时弊提出诸多精辟见解。",[23,25,26,24,27,55,56,33,445,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1fc908bf2c25b01fd7e185665cc123.jpg",[],53,{"id":5617,"slug":5618,"title":5619,"dynasty":69,"author":4757,"museum":552,"description":5620,"tags":5621,"thumbUrl":5623,"material":59,"size":59,"collection":59,"collections":5624,"showCount":5615,"zanCount":178,"manualWeight":43,"mainColor":44},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。",[24,25,26,53,28,29,5622,662,7,160,79],"鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e45121baa27799f442e64863b39946d.jpg",[],{"id":5626,"slug":5627,"title":5628,"dynasty":369,"author":1311,"museum":552,"description":5629,"tags":5630,"thumbUrl":5632,"material":59,"size":59,"collection":59,"collections":5633,"showCount":5615,"zanCount":511,"manualWeight":43,"mainColor":44},227498,"mo-zhu-juan-2-su-shi-227498","墨竹卷2","墨竹，即用墨画的竹子，其起源说法不一，据文献记载，其创始人有唐代吴道子、王维、张立、五代蜀李夫人等。\n\n不过，由考古发掘来看，李贤墓壁画《侍女与竹》中的墨竹，亦有可能是写意墨竹的先驱。自文同、苏轼至元四家，墨竹之风兴起，逐渐发展为独立画科。\n\n墨竹常被用来表达拔俗之情趣、正直之气节、虚心之品质和纯洁之思想，文同便是如此，他不仅有丰厚之学养，还有非凡的绘画创作才能。本文所提到的《文画苏题卷》为手卷形式，据直幅改装而成，与人们常见的文同立轴式墨竹图形制不一。正因这次有意无意的改装，为《文画苏题卷》成为一巨幅长卷，提供了得天独厚的条件，这也成为此图区别于文同其它墨竹图的最明显特征。",[25,24,26,55,4230,2290,173,1073,7,5631,1269,313],"竹枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf98af604cad8076b0774dbcc54a8ab.jpg",[],{"id":5635,"slug":5636,"title":5637,"dynasty":148,"author":201,"museum":112,"description":5638,"tags":5639,"thumbUrl":5640,"material":29,"size":59,"collection":105,"collections":5641,"showCount":5615,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,29,28,56,156,374,7,541,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1869d6dcdca848d4e68850d5569f1ae2.jpg",[105],{"id":5643,"slug":5644,"title":5645,"dynasty":369,"author":5646,"museum":184,"description":5647,"tags":5648,"thumbUrl":5650,"material":37,"size":59,"collection":60,"collections":5651,"showCount":5615,"zanCount":43,"manualWeight":43,"mainColor":44},218905,"yan-e-tu-cui-bai-218905","雁鹅图","崔白","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。",[23,25,26,714,29,28,56,5649,1990,7,325],"雁鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f48905bd757fa0bd76d4450fe81f6d.jpg",[60],{"id":5653,"slug":5654,"title":5655,"dynasty":18,"author":1195,"museum":150,"description":3228,"tags":5656,"thumbUrl":5657,"material":262,"size":3231,"collection":59,"collections":5658,"showCount":5615,"zanCount":43,"manualWeight":43,"mainColor":64},214676,"mei-hua-zhu-shi-tu-ce-11-wang-shi-shen-214676","梅花竹石图册-11",[25,26,53,55,173,56,187,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2dccd336217afc6590120e3bc47b60.jpg",[],{"id":5660,"slug":5661,"title":5662,"dynasty":148,"author":256,"museum":112,"description":5663,"tags":5664,"thumbUrl":5665,"material":262,"size":5666,"collection":59,"collections":5667,"showCount":5668,"zanCount":511,"manualWeight":43,"mainColor":64},291019,"yun-shi-gu-cha-tu-ni-zan-291019","筠石古槎图","枯树一株，寥寥数笔，下笔含蓄而有力。坡石皆用淡墨，而以焦墨写竹，极雅淡且极萧散。款下有云林子一印，旧说云林画中惟有荆蛮民一印，亦未可执一而论。",[24,25,26,27,55,133,32,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd707629052de9cb100aa4bd7ee76e9.jpg","44.5x32",[],52,{"id":5670,"slug":5671,"title":5672,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":5673,"thumbUrl":5674,"material":641,"size":642,"collection":59,"collections":5675,"showCount":5668,"zanCount":511,"manualWeight":43,"mainColor":64},288529,"ci-hua-ruo-lao-shi-yi-tu-zhou-wu-chang-shuo-288529","此花若老诗意图轴",[23,25,27,55,29,56,191,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f598f5c457146f401751b0950996e9f.jpg",[],{"id":5677,"slug":5678,"title":5679,"dynasty":369,"author":1908,"museum":5680,"description":5681,"tags":5682,"thumbUrl":5683,"material":327,"size":5684,"collection":59,"collections":5685,"showCount":5668,"zanCount":511,"manualWeight":43,"mainColor":44},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,24,25,26,74,29,80,75,28,115,338,85,117,349,153,277,82,137,30,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":5687,"slug":5688,"title":5689,"dynasty":148,"author":256,"museum":112,"description":5690,"tags":5691,"thumbUrl":5693,"material":327,"size":5694,"collection":59,"collections":5695,"showCount":5668,"zanCount":43,"manualWeight":43,"mainColor":64},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[24,25,26,74,55,80,75,78,79,324,5692,133,2667,7],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 横89.4cm",[],{"id":5697,"slug":5698,"title":5699,"dynasty":369,"author":1908,"museum":552,"description":5700,"tags":5701,"thumbUrl":5703,"material":59,"size":59,"collection":59,"collections":5704,"showCount":5668,"zanCount":511,"manualWeight":43,"mainColor":64},227969,"guan-mei-du-shu-tu-li-tang-227969","观梅读书图","虬曲老梅横斜而出，枝桠如屈铁般苍劲疏朗，残蕾轻缀梢头，古藤垂曳更添荒寒之致。右下角淡墨晕染出远山坡岸，幽林掩映间，坡下士人凭坐观梅静读，全然融入冷寂清旷的氛围中。\n\n笔法简劲老辣，以干湿浓淡的墨色晕染出空濛早春的清冷氛围感，留白铺陈出幽远意境。将文人耽于林泉、寄情梅下的雅趣藏于萧寒景致里，把观梅闲读的幽居况味和清雅荒寒的意境融为一体，尽显小品极简含蓄的意趣，是文人心中理想栖居图景的缩影。",[23,25,24,714,28,55,75,80,187,134,1231,7,30,5702],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8f248e33ae44c43fac3cc6f2f01bc7.jpg",[],{"id":5706,"slug":5707,"title":5708,"dynasty":369,"author":201,"museum":552,"description":5709,"tags":5710,"thumbUrl":5712,"material":59,"size":59,"collection":59,"collections":5713,"showCount":5668,"zanCount":43,"manualWeight":43,"mainColor":64},227561,"mo-zhou-fang-gong-ji-diao-qin-tu-quan-juan-yi-ming-227561","摹周昉宫妓调琴图全卷","《调琴啜茗图》，又名《弹琴仕女图》、《宫妓调琴图》，传为周昉所作，并为其仕女画的代表之作。图绘三位坐于庭院的贵妇，在两位侍女的陪伴下，或把弹调音、或托盏品茶，表现出贵族妇女闲散恬静的生活。《调琴啜茗图》现存多幅摹本，如纳尔逊-阿特金斯艺术博物馆收藏的完成于宋代的绢质摹本、弗利尔美术馆收藏的绘制于明代的纸质摹本、京都国立博物馆收藏的带有仇英款的绢质摹本。极为巧合的是辽宁省博物馆收藏有两卷《调琴啜茗图》，一件为清宫旧藏，曾经《石渠宝笈》续编著录，署款“周昉”，实为后人仿本。另一件则为清代扬州画家管希宁所摹。两件与前述作品均作同一主题内容，今展出者为清宫旧藏之本。",[23,25,24,74,76,28,29,30,31,5711,1446,2421,7,117,79,1302,2888],"宫妓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a8be6ac76555b6613aa727cae2fb3c.jpg",[],{"id":5715,"slug":5716,"title":5717,"dynasty":69,"author":1184,"museum":71,"description":5718,"tags":5719,"thumbUrl":5720,"material":3653,"size":5721,"collection":59,"collections":5722,"showCount":5668,"zanCount":43,"manualWeight":43,"mainColor":44},222347,"pei-tai-shi-jing-tu-tang-yin-222347","沛台实景图","本幅作者自题并书七言律诗一首：“正德丙寅，奉陪大塚宰太原老先生登歌風台，謹和感古佳韻並圖其實景，呈茂化學士請教。唐寅。‘此地曾經王輦巡，比鄰爭睹帝王身。世隨邑改井猶存，碑勒風歌字失真。仗劍當時冀亡命，入關不意竟降秦。千年泗上荒台在，落日牛羊感路人。’”钤“唐居士”。另有安岐、吴璵等人收藏印记。\n唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。\n《墨缘汇观》著录。",[23,25,55,75,80,27,242,81,82,277,153,7,79,77,78,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F126f3719a8c77d49f2a16c74b15ed02a.jpg","纵26.2厘米，横23.9厘米",[],{"id":5724,"slug":5725,"title":5726,"dynasty":148,"author":5727,"museum":112,"description":5728,"tags":5729,"thumbUrl":5730,"material":58,"size":5731,"collection":39,"collections":5732,"showCount":5668,"zanCount":43,"manualWeight":43,"mainColor":143},218831,"xiang-ma-tu-zhou-zhao-lin-218831","相马图轴","赵麟","赵麟（西元十四世纪），浙江吴兴人。雍之子，孟俯之孙，字彦征，官浙江省检校。工书，善画人物，至正壬午（一三四二年）作春山图，乙巳（一三六五年）作洗马图。赵麟画传世绝少，此帧画老树枯枝，藤萝缠绕。一人朱衣纱帽，坐树根。前一马低首啮草。其人端详视其骨相以度骏驽。人物衣褶、马之鬃鬣，皆细劲有力。树稍逊，款书极得家法。",[25,26,24,27,29,28,30,306,1231,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac95bc04a45d346bbbbee2ed1b2bee5.jpg","95.7x30.1cm",[39],{"id":5734,"slug":5735,"title":5736,"dynasty":369,"author":2994,"museum":112,"description":5737,"tags":5738,"thumbUrl":5739,"material":37,"size":5740,"collection":88,"collections":5741,"showCount":5668,"zanCount":43,"manualWeight":43,"mainColor":64},218682,"han-xi-chui-diao-tu-xia-gui-218682","寒溪垂钓图","这幅画描绘的是月光下的寒流，隐者披头散发，环境非同一般，笔触特别冰冷，署名夏圭。",[23,25,26,714,55,75,80,85,82,260,505,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb060226a5cefc9cdcb37f39b8b4c4a.jpg","24.5x25.7cm",[88],{"id":5743,"slug":5744,"title":5745,"dynasty":148,"author":5746,"museum":112,"description":5747,"tags":5748,"thumbUrl":5750,"material":58,"size":5751,"collection":88,"collections":5752,"showCount":5668,"zanCount":511,"manualWeight":43,"mainColor":64},214721,"xi-shan-yan-ai-tu-cui-yan-fu-214721","溪山烟霭图","崔彦辅","这幅画描绘了一座山和一条山脉，烟雾和雾气围绕着溪流。崔彦辅传世画迹罕见，此幅或学荆关，颇有新意。",[25,26,80,55,75,77,79,78,135,81,1212,5749,7,349],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68b55b40754b6527e503dbf1a05080.jpg","71x39.2",[88],{"id":5754,"slug":5755,"title":5756,"dynasty":18,"author":5757,"museum":150,"description":5758,"tags":5759,"thumbUrl":5760,"material":59,"size":59,"collection":88,"collections":5761,"showCount":5668,"zanCount":43,"manualWeight":43,"mainColor":5762},202124,"fang-da-chi-shan-shui-tu-zhou-yuan-pei-202124","仿大痴山水图轴","袁沛","水墨晕染间，山峦以皴法勾勒出苍劲肌理，云雾似轻纱漫过峰谷，将远近景致晕成淡远之调。近岸枯树疏枝交错，几间屋舍倚岩而筑，小桥横卧溪上，流水绕石潺潺。中远景峰峦叠嶂，林木错落，留白处云雾氤氲，虚实相生间尽显山水悠远之趣。笔墨追摹古法，却藏着对自然的细腻体悟，清寂雅致的意境在尺幅间缓缓铺展。",[55,75,76,80,277,82,134,7,2352,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06764f51623175d13cae3e16bffd6a7b.jpg",[88],"b3a088",{"id":5764,"slug":5765,"title":5766,"dynasty":148,"author":201,"museum":552,"description":5767,"tags":5768,"thumbUrl":5770,"material":641,"size":642,"collection":59,"collections":5771,"showCount":5772,"zanCount":43,"manualWeight":43,"mainColor":1551},290802,"xiu-xian-chun-si-xi-zhou-yi-ming-290802","绣先春四喜轴","元绣之作传世极少。是幅用线粗松，长针交错平绣，色线变化较少。梅干绣线几乎磨损殆尽，露出绣稿白线，坡陀上小草，绣後以墨笔添画。通幅设色清雅，用针平整，由是幅可略窥元绣品之风格。",[25,27,56,5769,187,174,153,29,7],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63757c95091ed188ce37ddb0ad1c1d3d.jpg",[],51,{"id":5774,"slug":5775,"title":2137,"dynasty":302,"author":952,"museum":112,"description":5776,"tags":5777,"thumbUrl":5779,"material":59,"size":59,"collection":59,"collections":5780,"showCount":5772,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,28,29,56,153,7,1073,259,374,1791,5778],"荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e4895995ba64cb331932d19a89e33a.jpg",[],{"id":5782,"slug":5783,"title":5784,"dynasty":69,"author":5785,"museum":835,"description":5786,"tags":5787,"thumbUrl":5788,"material":5789,"size":5790,"collection":88,"collections":5791,"showCount":5772,"zanCount":43,"manualWeight":43,"mainColor":64},222053,"hou-chi-bi-tu-juan-zhang-rui-tu-222053","后赤壁图卷","张瑞图","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[23,25,26,74,55,75,77,78,80,134,133,135,7,349,30,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[88,122],{"id":5793,"slug":5794,"title":2647,"dynasty":148,"author":997,"museum":71,"description":1615,"tags":5795,"thumbUrl":5796,"material":598,"size":5797,"collection":122,"collections":5798,"showCount":5772,"zanCount":43,"manualWeight":43,"mainColor":44},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839",[23,25,26,24,27,55,434,134,32,7,160,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[122,411],{"id":5800,"slug":5801,"title":5802,"dynasty":69,"author":5803,"museum":3191,"description":5804,"tags":5805,"thumbUrl":5806,"material":5807,"size":5808,"collection":59,"collections":5809,"showCount":5772,"zanCount":43,"manualWeight":43,"mainColor":59},220727,"qi-shi-qing-feng-tu-xia-chang-220727","奇石清风图","夏昶","夏昶，字仲昭，号自在居士，江苏昆山人，以其墨竹闻名。自北宋文同以来，士大夫因竹具有劲节、虚心、傲霜等特性，常画写墨竹以寄兴。夏昶画竹主要学自王绂，亦多留有以王绂「墨竹山水」构图画成的作品。然夏昶笔墨的浓淡对比较王绂更为强烈，且所绘物象更重视几何造型趣味，其近乎平面的山石形态尤为明显。虽然明人曾评夏昶的竹石亚于其师王绂，但夏昶竹的画名仍远播朝鲜、日本。当时甚至流传有「夏卿一个竹，西凉十锭金」的说法，其竹画广受欢迎的程度，可见一斑。\n\n此画绘奇石从坡岸斜出，后有竹子数株。奇石形状方整，石面遍施墨染，轮廓以较深墨笔勾出，间以侧笔劈坎出岩面质理。画中的倒「丌」字型竹节与呈「个」字「人」字层层交叠的竹叶画法，亦常见于王绂与夏昶的其他作品中。至于远近的竹叶，则分别以浓淡不同之墨色画出。前景竹干随风向右侧倾斜，加上竹梢叶片的转折与叶片的燕尾，更加强了风势的效果。如此充满韵律与生趣的笔墨构图，正是夏昶晚期作品的特征。据画中所钤「太常少卿之章」印推测，作品应绘成于夏昶领有太常少卿衔之时，即1452年至1457年间。",[23,25,26,27,55,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ceaf4691d89c984035a74bab12310a.jpg","水墨,绢本,立轴","画心：172.5 × 86.2厘米装裱：269.3 × 103.3厘米",[],{"id":5811,"slug":5812,"title":1929,"dynasty":369,"author":5813,"museum":184,"description":5814,"tags":5815,"thumbUrl":5816,"material":37,"size":5817,"collection":60,"collections":5818,"showCount":5772,"zanCount":511,"manualWeight":43,"mainColor":44},218882,"tao-zhu-jin-ji-tu-ma-ben-218882","马贲","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。",[25,24,26,28,29,56,1934,32,217,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1576814ae297b450aa13cc8ea4cb67.jpg","21x22cm",[60],{"id":5820,"slug":5821,"title":5822,"dynasty":148,"author":5823,"museum":552,"description":5824,"tags":5825,"thumbUrl":5826,"material":641,"size":642,"collection":59,"collections":5827,"showCount":5828,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[24,25,1969,29,28,396,1871,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91e5a478b65d0856aa6f536c4f43031.jpg",[],50,{"id":5830,"slug":5831,"title":5832,"dynasty":18,"author":4526,"museum":552,"description":4527,"tags":5833,"thumbUrl":5834,"material":641,"size":642,"collection":59,"collections":5835,"showCount":5828,"zanCount":511,"manualWeight":43,"mainColor":64},234981,"mu-dan-shan-mian-ren-xiong-234981","牡丹扇面",[25,714,29,28,56,191,7,375,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef6e39009c0679e8fbde899009d894d.jpg",[],{"id":5837,"slug":5838,"title":5060,"dynasty":18,"author":4070,"museum":71,"description":5839,"tags":5840,"thumbUrl":5841,"material":967,"size":5842,"collection":59,"collections":5843,"showCount":5828,"zanCount":43,"manualWeight":43,"mainColor":64},233856,"mo-mei-tu-zhou-jin-nong-233856","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。”钤“金氏寿门”朱文印。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[25,26,27,55,187,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef244f5ba25fb7abf04927afec90742e.jpg","纵117厘米，横43.6厘米",[],{"id":5845,"slug":5846,"title":5847,"dynasty":18,"author":3257,"museum":71,"description":5848,"tags":5849,"thumbUrl":5850,"material":313,"size":5851,"collection":59,"collections":5852,"showCount":5828,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[23,25,24,26,27,29,28,32,291,374,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8017c120ae98e5925dad71a77ec4ec.jpg","90.7×40.5cm",[],{"id":5854,"slug":5855,"title":5856,"dynasty":148,"author":3640,"museum":20,"description":5857,"tags":5858,"thumbUrl":5859,"material":37,"size":5860,"collection":39,"collections":5861,"showCount":5828,"zanCount":43,"manualWeight":43,"mainColor":44},220410,"shui-bian-gao-shi-tu-sheng-mao-220410","水边高士图","盛懋（生卒年不详）字子昭，嘉兴（今属浙江）武塘人，与吴镇同时代，且为乡邻，“比门而居”，主要活动于元至正年间。其父盛洪，是民间画工。盛懋承家学，人物、山水、花鸟，无所不工，尤善山水。其山水画多作丛山密林，表现四时朝暮的江山胜景，结构严整，笔墨清润。早年得到陈琳(赵孟頫的学生)的指点，画山石多用披麻皴或解索皴，笔法工整，设色明丽。所以他早期的画“精致有余”，而意趣不足，被时人称作“画工”之作。但他后来逐渐接受元代文人画家的影响，吸收文人画的意趣，一定程度上摆脱了“匠气”，故其作品越来越合士大夫阶层的审美情趣，元至正年间享有盛名。盛懋的画当时也很受老百姓的欢迎，“四方以金帛求子昭画者甚众”。他的传世作品较多，如《秋林高士图》《秋江待渡图》《坐看云起图》《秋溪放艇图》《山居纳凉图》等。",[23,25,55,29,75,30,80,134,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901490fb625dc8dea15a65bdd9778bf9.jpg","23.4×25.3",[39,88,105],{"id":5863,"slug":5864,"title":3180,"dynasty":18,"author":5865,"museum":184,"description":5866,"tags":5867,"thumbUrl":5868,"material":37,"size":5869,"collection":60,"collections":5870,"showCount":5828,"zanCount":209,"manualWeight":43,"mainColor":44},218934,"lu-yan-tu-tong-heng-218934","童衡","翔雁振翅俯冲，羽色斑斓层次分明；轻禽蜷卧石畔，茸毛细腻如触可感。疏苇劲挺，穗芒随风轻扬；蓝花数点，点缀坡岸野趣。画面动静相宜，工致笔触间藏逸气，温润绢底衬得草木禽鸟鲜活灵动。飞者姿态矫健，似携风声掠空；栖者神情悠然，若享片刻安宁。芦苇的苍劲与花草的柔媚相映，禽鸟的生动与背景的静谧相和，尽显清代花鸟写生之清雅生机，于简约构图中蕴自然意趣，观之如临郊野，满溢鲜活灵动的生命气息。",[25,26,29,28,153,3184,1990,189,7,56,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74094fc2a952daf18c529cd8039ea047.jpg","81x33cm",[60],{"id":5872,"slug":5873,"title":5874,"dynasty":69,"author":1505,"museum":71,"description":5875,"tags":5876,"thumbUrl":5877,"material":262,"size":5878,"collection":88,"collections":5879,"showCount":5828,"zanCount":43,"manualWeight":43,"mainColor":64},218345,"fang-ni-shan-shui-tu-dong-qi-chang-218345","仿倪山水图","此作从构图到用笔均仿自倪瓒。构图取倪氏标准的“一河两岸三段”模式，平波无浪的辽阔水域将近景的树木与远景的山峦分列两岸，令画面空间层次鲜明，又得平远之势。山石行笔仿倪氏折带皴法，线条勾勒以侧锋为主，笔墨整体苍逸，表现出疏朗清雅而又超逸萧疏的意境。这种“简淡中自有一种风致”的意境正是董其昌对倪氏画作最为欣赏之处，认为它“非若画史纵横习气也”。此图当是董其昌仿倪的代表作之一。",[23,714,55,80,7,134,76,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd588df824569eeead48bf69a9e5ed670.jpg","纵17厘米，横50.5厘米",[88],{"id":5881,"slug":5882,"title":5883,"dynasty":148,"author":201,"museum":184,"description":5884,"tags":5885,"thumbUrl":5886,"material":37,"size":59,"collection":88,"collections":5887,"showCount":5828,"zanCount":511,"manualWeight":43,"mainColor":44},217985,"zhong-ling-chun-se-tu-yi-ming-217985","重岭春色图","重岭春色图这幅画以其精美的绘画技巧和优美的风景吸引了许多人的目光。画中的景观描绘了一座重岭，周围是翠绿的树林，清新的空气中弥漫着春天的气息。轻轻飘荡的云彩似乎都在为这片美景增添一份神秘感。\n\n尽管这幅画作的作者是佚名，但它仍然是元朝时期艺术史上的一个重要作品。它的出现说明了元朝时期艺术家们对自然风光的描绘的技巧和热爱。如今，这幅画作仍然是许多人喜爱的艺术品，它代表了中国古代艺术的精华。",[25,26,80,55,75,115,117,1231,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ad62fdde2984f5c83ea59ddf31b1f0.jpg",[88],{"id":5889,"slug":5890,"title":5891,"dynasty":148,"author":256,"museum":552,"description":4395,"tags":5892,"thumbUrl":5893,"material":641,"size":642,"collection":59,"collections":5894,"showCount":5895,"zanCount":43,"manualWeight":43,"mainColor":64},289458,"an-nan-shuang-shu-tu-zhuang-biao-ni-zan-289458","岸南双树图（装裱）",[24,25,26,27,55,77,79,133,32,7,80,760],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d7e6387dfc02f12dc56969477fdceb.jpg",[],49,{"id":5897,"slug":5898,"title":5899,"dynasty":18,"author":5900,"museum":71,"description":5901,"tags":5902,"thumbUrl":5903,"material":59,"size":59,"collection":88,"collections":5904,"showCount":5895,"zanCount":43,"manualWeight":43,"mainColor":64},236645,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236645","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[25,26,53,55,75,78,79,80,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbecd6fb60f813cf83d989c822dd4c04b.jpg",[88,786],{"id":5906,"slug":5907,"title":5908,"dynasty":18,"author":5909,"museum":130,"description":5910,"tags":5911,"thumbUrl":5912,"material":2690,"size":5913,"collection":60,"collections":5914,"showCount":5895,"zanCount":43,"manualWeight":43,"mainColor":64},223124,"shui-xian-tu-song-si-ren-223124","水仙图","宋思仁","几簇长卷水仙花，散落在峭壁、岩石、泥土上，叶片长长，花朵艳丽，一派生机勃勃的风沙。宋思人，名雅若，名如和，是山东两道官员。能诗，善戏，善识古人，精篆刻，多古篆。他画山水、花草树木，尤其是兰花。",[23,25,26,74,55,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e0da0bdc665e81096b22d4695c855d.jpg","30cmx499cm",[60,105],{"id":5916,"slug":5917,"title":5918,"dynasty":18,"author":672,"museum":112,"description":2939,"tags":5919,"thumbUrl":5920,"material":29,"size":2943,"collection":59,"collections":5921,"showCount":5895,"zanCount":43,"manualWeight":43,"mainColor":64},222734,"xian-e-chang-chun-tu-shao-yao-tu-lang-shi-ning-222734","仙萼长春图芍药图",[23,24,25,26,53,28,29,56,2950,7,293,1136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4e80ec12b7bb3352ab726c4f69de0f.jpg",[],{"id":5923,"slug":5924,"title":5925,"dynasty":69,"author":1018,"museum":112,"description":5926,"tags":5927,"thumbUrl":5929,"material":37,"size":5930,"collection":60,"collections":5931,"showCount":5895,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,26,24,29,28,56,33,5928,153,7,1991],"凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ee5454cc9863896919696108f94b6c.jpg","纵：174.5公分 横：104.2公分",[60],{"id":5933,"slug":5934,"title":5935,"dynasty":148,"author":5936,"museum":112,"description":5937,"tags":5938,"thumbUrl":5939,"material":205,"size":5940,"collection":122,"collections":5941,"showCount":5895,"zanCount":511,"manualWeight":43,"mainColor":44},220242,"gu-mu-fei-quan-tu-zhang-shun-zi-220242","古木飞泉图","张舜咨","该幅作于1347年（至正七年），描绘几株老树挺立在土坡石傍，远山、飞泉之外别无他物。空山溪谷寂静幽深，只有潺潺的泉声不断传来。画树枝，好像写书法似地一笔一笔写成。皴法的用笔扭转交错，有活泼灵动的感觉。",[23,25,24,26,27,29,80,134,1231,82,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2110f7088b0994cacaafa316c890aa.jpg","146.3x89.6公分",[122],{"id":5943,"slug":5944,"title":5945,"dynasty":69,"author":2418,"museum":1605,"description":5946,"tags":5947,"thumbUrl":5948,"material":262,"size":5949,"collection":88,"collections":5950,"showCount":5895,"zanCount":43,"manualWeight":43,"mainColor":44},219925,"zhu-ju-tu-wen-zheng-ming-219925","竹居图","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。",[25,26,55,29,75,80,32,349,117,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292ecae83b68849fed901d8ead40a667.jpg","71.5x41cm",[88],{"id":5952,"slug":5953,"title":3776,"dynasty":18,"author":5954,"museum":112,"description":5955,"tags":5956,"thumbUrl":5957,"material":55,"size":59,"collection":122,"collections":5958,"showCount":5895,"zanCount":43,"manualWeight":43,"mainColor":64},219380,"shan-shui-tu-wang-duo-219380","王铎","虬枝盘曲，墨色浓淡交织，似在风中低语。苍劲笔触勾勒树的骨节，枯笔皴擦间尽显老辣之态。背景山峦以淡墨晕染，层叠隐现于烟水之间，远处汀渚点点，归帆依稀。近树与远岫形成疏密对比，留白处见空灵，墨色浓处显沉厚。写意之笔将山水荒寒与悠远融于一纸，笔墨干湿变化中藏着对自然的静观哲思，简淡里见深致，苍莽中显清逸，仿佛能听见风穿枝桠的轻响，望见烟霭中山峦的呼吸，于方寸间铺展无尽悠远之境。",[25,26,27,55,80,133,324,136,1291,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e112d70ced0d8f4884a6ea2eccbb27.jpg",[122],{"id":5960,"slug":5961,"title":5962,"dynasty":369,"author":201,"museum":184,"description":5963,"tags":5964,"thumbUrl":5966,"material":205,"size":5967,"collection":60,"collections":5968,"showCount":5895,"zanCount":178,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,27,28,55,29,56,32,5965,7],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7da3d9921c4342a3173c6bce0281591.jpg","纵159.0横93.4厘米",[60],{"id":5970,"slug":5971,"title":200,"dynasty":148,"author":997,"museum":112,"description":5972,"tags":5973,"thumbUrl":5974,"material":205,"size":5975,"collection":59,"collections":5976,"showCount":5895,"zanCount":43,"manualWeight":43,"mainColor":64},214362,"zhu-shi-tu-zhao-meng-fu-214362","这幅画用枯木、竹子和石头画成，用笔既写实又有书法的趣味，最初的记录是元代一位无名艺术家的作品。竹子的画风与他夫人管道昇的画风比较相似，而石头和干木头是赵孟頫自己的，所以不清楚这幅画是否是他们夫妇的合作。",[23,24,25,26,55,53,32,826,7,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a3adbd17609f8effa8e71d46a7253.jpg","26.6x52.2",[],{"id":5978,"slug":5979,"title":5980,"dynasty":148,"author":404,"museum":112,"description":5981,"tags":5982,"thumbUrl":5983,"material":119,"size":5984,"collection":59,"collections":5985,"showCount":5986,"zanCount":511,"manualWeight":43,"mainColor":64},290819,"zhu-shi-zhou-wu-zhen-290819","竹石轴","吴镇存世之作几为墨画，晚年墨竹作品尤为多，由於作品上留有大量的题语，显露出个人绘画思想乃至一生学养，其中又以《竹谱册》为著。元代由於大环境的改变，文人好写“三友图”，以松竹梅表达象徵意义，或寄托情怀，吴镇亦有言“墨戏之作，盖士大夫词翰之馀，适一时之兴趣也”。然审视此轴，实为笔墨黯熟之潇洒佳作，非仅一时随兴之墨戏。竹干、岐枝皆下笔圆健，竹枝劲利，稍带回锋，尽管分枝多、发叶少，但叶随枝生，生态盎然；淡墨石以卧笔混点。幅中之墨色皆不浓重，显现一种平淡冲和的色感。竹石间，吴镇以流畅有力，墨色较浓重的行笔题下款识，画面益显沈稳。和《竹谱册》相较，此图乃其精心之作。",[25,24,26,27,55,32,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1811347de2004269449e6bfa0b94c55f.jpg","90.6x42.5公分",[],48,{"id":5988,"slug":5989,"title":5990,"dynasty":369,"author":1311,"museum":552,"description":5991,"tags":5992,"thumbUrl":5995,"material":641,"size":642,"collection":59,"collections":5996,"showCount":5986,"zanCount":43,"manualWeight":43,"mainColor":1551},288988,"gu-bai-tu-su-shi-288988","古柏图","苏轼（1037年1月8日—1101年8月24日），字子瞻，一字和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙、坡仙，汉族，眉州眉山（今四川省眉山市）人，祖籍河北栾城，北宋文学家、书法家、美食家、画家，历史治水名人。\n嘉祐二年（1057年），苏轼进士及第。宋神宗时在凤翔、杭州、密州、徐州、湖州等地任职。元丰三年（1080年），因“乌台诗案”被贬为黄州团练副使。宋哲宗即位后任翰林学士、侍读学士、礼部尚书等职，并出知杭州、颍州、扬州、定州等地，晚年因新党执政被贬惠州、儋州。宋徽宗时获大赦北还，途中于常州病逝。宋高宗时追赠太师；宋孝宗时追谥“文忠”。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛”；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。李志敏评价：“苏轼是全才式的艺术巨匠。”\n作品有《东坡七集》《东坡易传》《东坡乐府》《潇湘竹石图》《枯木怪石图》等。",[25,24,55,74,26,5993,134,5994,7,79,75],"古柏","墨竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a070c6607dcc35014c7ddfa1ae14d46.jpg",[],{"id":5998,"slug":5999,"title":6000,"dynasty":69,"author":5162,"museum":71,"description":6001,"tags":6002,"thumbUrl":6004,"material":327,"size":59,"collection":60,"collections":6005,"showCount":5986,"zanCount":43,"manualWeight":43,"mainColor":64},237236,"bai-shi-xi-que-zhou-chen-jia-yan-237236","柏石喜鹊轴","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[25,26,27,55,56,6003,491,5145,153,7],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5c5febd79d930762a36a6ffbfef252.jpg",[60],{"id":6007,"slug":6008,"title":6009,"dynasty":18,"author":96,"museum":847,"description":2727,"tags":6010,"thumbUrl":6011,"material":313,"size":6012,"collection":59,"collections":6013,"showCount":5986,"zanCount":43,"manualWeight":43,"mainColor":64},223232,"mei-que-tu-li-zhou-ren-yi-223232","梅雀图立轴",[23,27,29,55,746,56,187,5965,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2cab43d292040d46a761c14cf915d9.jpg","纵70.7厘米，横35厘米",[],{"id":6015,"slug":6016,"title":6017,"dynasty":69,"author":4450,"museum":112,"description":6018,"tags":6019,"thumbUrl":6021,"material":37,"size":6022,"collection":88,"collections":6023,"showCount":5986,"zanCount":43,"manualWeight":43,"mainColor":44},222034,"wei-bin-chui-diao-tu-dai-jin-222034","渭滨垂钓图","这幅画主题「渭滨垂钓」，描绘的是周文王拜访在渭水边隐居垂钓的姜太公，邀请他入朝辅政的故事。画面上，高耸如屏的山峦、随风飘荡的柳树，和环绕河堤周围的岩石，建构了人物活动的舞台，在群树、河堤和山峦之间弥漫云雾。地上的豹皮、钓具点出主人翁姜太公渔隐的生活，他与周文王两人拱手交谈，站立于画面中央，成为目光的焦点。周文王的侍骑五人，则隐蔽在树丛右侧，耐心地等待着这历史性时刻的来临。",[23,25,26,24,29,75,80,30,82,134,7,324,6020,81,4114,505],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda462a6bcb6ec1bdeb443947c26b1f4e.jpg","高139.6厘米，横75.4厘米",[88,105],{"id":6025,"slug":6026,"title":6027,"dynasty":69,"author":1184,"museum":874,"description":6028,"tags":6029,"thumbUrl":6030,"material":37,"size":6031,"collection":59,"collections":6032,"showCount":5986,"zanCount":511,"manualWeight":43,"mainColor":44},218342,"ren-wu-gu-shi-ce-7-tang-yin-218342","人物故事册-7","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。",[23,24,25,26,53,29,28,30,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b9e28443792172ef7912cf70bbfdee.jpg","32x40.5",[],{"id":6034,"slug":6035,"title":6036,"dynasty":18,"author":1195,"museum":150,"description":3228,"tags":6037,"thumbUrl":6038,"material":262,"size":3231,"collection":59,"collections":6039,"showCount":5986,"zanCount":43,"manualWeight":43,"mainColor":64},214677,"mei-hua-zhu-shi-tu-ce-10-wang-shi-shen-214677","梅花竹石图册-10",[25,55,53,187,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb64be79514a5f30eec381a4cc34f6.jpg",[],{"id":6041,"slug":6042,"title":6043,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":6044,"thumbUrl":6046,"material":641,"size":642,"collection":59,"collections":6047,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":64},290423,"shan-hu-zhu-tu-wu-chang-shuo-290423","珊瑚珠图",[23,25,24,26,27,29,56,6045,3174,7,79],"浆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2766eac4a62e51b7669d8120e882a655.jpg",[],47,{"id":6050,"slug":6051,"title":6052,"dynasty":69,"author":537,"museum":552,"description":6053,"tags":6054,"thumbUrl":6056,"material":641,"size":642,"collection":59,"collections":6057,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":64},235803,"luo-hua-you-yu-tu-shan-chen-chun-235803","落花游鱼图扇","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[714,29,55,173,56,7,190,565,6055,308],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b063b4f738948ec89dde7314392fb68.jpg",[],{"id":6059,"slug":6060,"title":6061,"dynasty":18,"author":475,"museum":552,"description":6062,"tags":6063,"thumbUrl":6064,"material":59,"size":59,"collection":59,"collections":6065,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":64},235620,"shan-shui-zhou-zhu-da-235620","山水轴","此作用淡墨干笔写层叠峰峦，删繁就简，以极简的勾勒皴擦塑造奇崛冷峻的山石体态，不着浓艳，尽是荒寒萧索。画面留白肆意，纵长构图牵引视线游走于丘壑之间，山居错落、枯木寒松点缀其间，愈发衬出山水空寂冷逸。笔墨疏淡却意韵悠长，将沉郁的遗世心绪尽数融于林泉丘壑，冷寂禅意漫溢纸面，尽显孤高疏淡的品格风骨。",[25,26,27,55,75,80,7,134,1231,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666b9b8a9dd9e1bad95d24e8eaa187e7.jpg",[],{"id":6067,"slug":6068,"title":6069,"dynasty":18,"author":6070,"museum":552,"description":6071,"tags":6072,"thumbUrl":6073,"material":59,"size":59,"collection":59,"collections":6074,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":64},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》 。",[25,26,714,29,28,56,7,374,243,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f6db911ad00282fc6ef5a8e0e78eae.jpg",[],{"id":6076,"slug":6077,"title":6078,"dynasty":148,"author":404,"museum":71,"description":6079,"tags":6080,"thumbUrl":6081,"material":6082,"size":6083,"collection":59,"collections":6084,"showCount":6048,"zanCount":511,"manualWeight":43,"mainColor":44},233752,"ku-mu-zhu-shi-tu-zhou-wu-zhen-233752","枯木竹石图轴","吴镇生于元至元十七年，卒于元至十四年，终年七十五岁。吴镇长住魏塘，深居简出。吴镇于六十八岁〔至正七年（1347年）〕侨寓嘉兴春波门外(今嘉兴市城区)春波客舍，专写墨竹。时与友人会于精严寺僧舍，心仪佛门，始自称“梅沙弥”。四年后回到魏塘，殁前自选生圹，自书碑文：“梅花和尚之塔”。墓在今梅花庵侧。\n祖名吴泽，字伯常，南宋时从汴梁（河南开封）移家至嘉兴，定居浙江嘉兴魏塘(今浙江嘉善魏塘)。吴镇年少好剑术，成年后与其兄吴瑱同受业于毗陵（今江苏武进）柳天骥学习易经，自此韬光养晦，讲天人性命之学，坚持高尚志气，不与众人和同，贯通儒、道、释三教，达生知命。为人抗简孤洁，一生清贫，高自标青，隐居不仕，与达官贵人很少往来。曾在村塾中教书，钱塘等地卖卜。\n十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。\n其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n相传吴镇本与盛懋比门而居，四方以金帛求盛画者甚众，而吴之门阒然。妻子颇笑之。曰：“二十年后不复尔。”后果如其言。\n吴镇事迹收录于《画史会要》、《清河书画舫》、《六研斋笔记》、《容台集》、《仓螺集》。墨迹今存世的有《双桧平远图》轴(台湾故宫博物院藏)、《渔父图》轴（北京故宫博物院藏）、《渔父图》卷（美国佛利尔美术馆藏）、《长松图》轴（南京博物院藏）、《草书心经》卷（北京故宫博物院藏）等。其风竹刻石，陈列在嘉兴南湖烟雨楼，其八竹碑及草书《心经》碑陈列于嘉善梅花庵。又有《梅道人遗墨》2卷，系后人辑录的其诗和题跋。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。因居处有橡林，故书斋又名“橡室”。\n吴镇墓现存于梅花庵内，梅花庵是纪念吴镇的附属性建筑，在墓的东侧，明万历间为守墓而建。位于魏塘镇花园弄路西侧。明泰昌元年（1620年）邑令吴旭和邑绅钱士升筹集款修理墓道、添建祠堂三楹、亭三楹、僧舍五楹。华亭陈继儒作《修梅花庵记》，并有董其昌书“梅花庵”匾额。后邑人曾几次筹资重修。新中国成立后，吴镇墓与梅花庵，曾多次作过修缮。由浙江省人民政府公布为省重点文物保护单位。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[24,25,55,27,1579,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63832bc58031f20afa8f53f097b5ded3.jpg","纸本 挂轴","纵52CM 横69.8CM",[],{"id":6086,"slug":6087,"title":6088,"dynasty":18,"author":4274,"museum":552,"description":6089,"tags":6090,"thumbUrl":6091,"material":59,"size":59,"collection":59,"collections":6092,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":64},230298,"fang-ni-zan-shan-shui-ce-cha-shi-biao-230298","仿倪瓒山水册","此作用淡墨轻写，意境萧疏清寂。双松挺峙画面中心，枝干枯笔皴擦，清瘦古劲，松针簇簇写意点染，简而有神。旁侧湖石奇崛，勾勒皴擦极简，尽显玲珑古拙之态。远山以淡墨晕染留白，虚实相生，漾着空濛淡远之致。边角茅舍板桥静立，不见人影却暗合幽居雅意，暗承逸笔草草的旨趣。全幅笔墨松灵简净，淡墨轻岚间尽显林下幽冷出尘的意趣，于极简淡的尺幅里，藏着澹然出尘的文人情思。",[25,55,75,76,79,77,53,80,134,7,2351,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ea8fd0934d7a09654b2d44ef119846.jpg",[],{"id":6094,"slug":6095,"title":6096,"dynasty":18,"author":6097,"museum":552,"description":6098,"tags":6099,"thumbUrl":6101,"material":59,"size":59,"collection":59,"collections":6102,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":64},230257,"fang-lao-lian-pin-jiu-tu-gai-qi-230257","仿老莲品酒图","改琦","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。",[23,25,26,27,28,29,76,30,6100,7,35,34,243],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c995a313ec5966c17d37672db050351.jpg",[],{"id":6104,"slug":6105,"title":6106,"dynasty":69,"author":431,"museum":552,"description":6107,"tags":6108,"thumbUrl":6110,"material":59,"size":59,"collection":59,"collections":6111,"showCount":6048,"zanCount":511,"manualWeight":43,"mainColor":44},228282,"fang-tang-ren-jiao-yin-shang-gu-tu-chen-hong-shou-228282","仿唐人蕉荫赏古图","苍劲芭蕉如墨云翻卷，衬着嶙峋古雅的玲珑湖石，辟出一方幽寂天地。宽袍高士踞坐案前，清癯眉眼凝注古物，沉静间漫溢追慕唐风的幽古意趣。侍立童子恭谨端持器物，朴拙身形与高士的沉静古雅相映成趣。\n\n全作用笔清劲凝练，设色古淡沉静，以奇逸高古的造型风格，将文人幽居赏玩的雅静襟怀晕染开来，简淡间尽是悠长的古雅余韵。",[23,25,26,27,29,28,434,30,2461,7,1921,2613,153,6109],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a2a9d4591340b66ef93084f64ccfd1.jpg",[],{"id":6113,"slug":6114,"title":6115,"dynasty":18,"author":697,"museum":552,"description":6116,"tags":6117,"thumbUrl":6118,"material":59,"size":59,"collection":59,"collections":6119,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":64},224377,"hua-hui-qi-shi-ce-shi-er-kai-7-ju-lian-224377","花卉奇石册-十二开-7","此帧小品清隽雅致，以淡墨皴写湖石，瘦透间带玲珑孔洞，苍朴石色晕染出经年古意，苔迹隐现似藏时光痕迹。石畔新抽的嫩株以没骨晕染，心形叶片从墨绿到浅碧过渡柔润通透，细劲叶脉勾勒出鲜活生机。\n\n两只丹红斑黑的瓢虫悄悄栖止，一在叶端一在石巅，静中生趣，将幽寂小景晕开鲜活意趣。全画笔简意足，设色秀雅柔和，把案头清供的恬然闲趣尽数铺陈，尺幅虽小，却将文人雅室的幽谧诗意凝于画面，尽显雅致侘寂的小帧佳韵。",[23,25,26,53,29,79,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6982ad98498646a071e78689c3bf1bf.jpg",[],{"id":6121,"slug":6122,"title":6123,"dynasty":985,"author":986,"museum":150,"description":987,"tags":6124,"thumbUrl":6126,"material":313,"size":6127,"collection":39,"collections":6128,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":44},221084,"gao-yi-tu-mu-ke-sun-wei-221084","高逸图木刻",[23,25,26,74,28,29,30,7,81,79,77,78,1302,6125],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff531a3b611b3a21aa2db9603ee4a93f9.jpg","45.2*168.7cm",[39,105],{"id":6130,"slug":6131,"title":6132,"dynasty":69,"author":1505,"museum":112,"description":6133,"tags":6134,"thumbUrl":6135,"material":6136,"size":59,"collection":88,"collections":6137,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":64},220933,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-dong-qi-chang-220933","仿宋元人缩本画及跋册","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[24,25,26,53,76,80,851,7,55,75,79,78,313,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795fd891f5b93b5371f8d9eee15c8941.jpg","绢本与纸本",[88,122],{"id":6139,"slug":6140,"title":3125,"dynasty":69,"author":6141,"museum":112,"description":6142,"tags":6143,"thumbUrl":6144,"material":205,"size":6145,"collection":60,"collections":6146,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":44},219508,"zhu-tu-lv-duan-jun-219508","吕端浚","此作用水墨写就，运笔爽利遒劲，丛竹叶叶交叠，以浓淡墨色区分层次，俯仰向背各具意态，繁密却不失条理，尽显修竹清刚挺拔之姿，仿佛有穿林风声拂过纸面。\n\n下方奇石以淡墨晕染轮廓，焦墨点苔，朴拙古雅，稳稳承托劲竹，与秀逸修竹形成刚柔相济的意趣，地面细草寥寥几笔，野趣自生。\n\n题款与画面相映成趣，整幅以极简水墨承载文人意趣，将竹的君子风骨融于尺素，笔情墨韵间满是萧散出尘的雅致。",[25,27,55,32,7,160,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944e6c300e61ee66ba74b2b616fa2a07.jpg","169.1x87.6",[60],{"id":6148,"slug":6149,"title":6150,"dynasty":369,"author":3743,"museum":6151,"description":6152,"tags":6153,"thumbUrl":6154,"material":205,"size":6155,"collection":39,"collections":6156,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":44},219489,"zhu-tou-he-shang-tu-liang-kai-219489","猪头和尚图","出光美术馆","。画中用笔凌厉刚劲，墨色苍润凝专画风率性而潇洒。 宋代方勺《泊宅编》中记载了一则民间故事：婺州（今浙江金华）有僧嗜猪头，行为莫测，或曰 猪头和尚。有衢守馔猪头召师食，守自牖窥之，见一鬼从旁食，师无预焉。已而师坐亡。衢人奉香火良谨, 有祷辄应。梁楷曾流寓杭州，或听过此传说。",[24,25,26,55,3746,30,576,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039957feaf907cdaebe3debd5fc5b332.jpg","23.7x37.8厘米",[39],{"id":6158,"slug":6159,"title":6160,"dynasty":369,"author":201,"museum":184,"description":6161,"tags":6162,"thumbUrl":6163,"material":37,"size":59,"collection":60,"collections":6164,"showCount":6048,"zanCount":43,"manualWeight":43,"mainColor":44},218622,"dou-que-tu-yi-ming-218622","斗雀图","翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱の倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n（注：此处の为日式助词？不，换回来，用“的”更合适。修改：连尾羽弧度都带着不甘示弱的倔强。）\n\n调整后：\n\n翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n完美，符合所有要求。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。",[23,24,25,26,28,29,56,5965,189,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0aefe9c75944a321bf250100378bff.jpg",[60],{"id":6166,"slug":6167,"title":6168,"dynasty":69,"author":1184,"museum":874,"description":6028,"tags":6169,"thumbUrl":6170,"material":37,"size":6031,"collection":59,"collections":6171,"showCount":6048,"zanCount":511,"manualWeight":43,"mainColor":44},218349,"ren-wu-gu-shi-ce-2-tang-yin-218349","人物故事册-2",[23,25,26,53,29,30,505,7,134,160,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca306525f4cf012010116dad3d5517c.jpg",[],{"id":6173,"slug":6174,"title":6175,"dynasty":148,"author":404,"museum":552,"description":6176,"tags":6177,"thumbUrl":6178,"material":641,"size":642,"collection":59,"collections":6179,"showCount":6180,"zanCount":209,"manualWeight":43,"mainColor":44},290818,"hou-chi-bi-fu-tu-zhou-wu-zhen-290818","后赤壁赋图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[25,26,27,55,80,85,7,153,30,82,81,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8fc9aa4f2daf4de27981cc4e04cc0c.jpg",[],46,{"id":6182,"slug":6183,"title":4479,"dynasty":369,"author":725,"museum":112,"description":4833,"tags":6184,"thumbUrl":6185,"material":641,"size":642,"collection":59,"collections":6186,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":64},290311,"sui-chao-tu-zhou-zhao-chang-290311",[24,25,26,27,28,29,56,191,174,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52957ae581f17b47d34d35a52e539e8.jpg",[],{"id":6188,"slug":6189,"title":6190,"dynasty":148,"author":6191,"museum":552,"description":6192,"tags":6193,"thumbUrl":6194,"material":641,"size":642,"collection":59,"collections":6195,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":44},290138,"xue-zhu-tu-tan-zhi-rui-290138","雪竹图","檀芝瑞","檀芝瑞，明代画家，生卒年不详。只见于《中国美术人名大辞典》，寥寥数语。介绍为元代人，擅长梅兰墨竹。",[23,24,25,26,55,32,7,492,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19287786270e4376bfc16080de26ef0.jpg",[],{"id":6197,"slug":6198,"title":834,"dynasty":369,"author":594,"museum":552,"description":6199,"tags":6200,"thumbUrl":6201,"material":641,"size":642,"collection":59,"collections":6202,"showCount":6180,"zanCount":511,"manualWeight":43,"mainColor":44},288643,"shu-se-ping-yuan-tu-guo-xi-288643","描绘的是一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。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。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《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。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。",[24,25,26,74,55,80,134,349,277,85,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0cf467d4d396a0fbafbe38d1de4739.jpg",[],{"id":6204,"slug":6205,"title":2487,"dynasty":18,"author":2488,"museum":552,"description":6206,"tags":6207,"thumbUrl":6208,"material":59,"size":59,"collection":59,"collections":6209,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":64},239087,"si-ji-hua-hui-ping-zhang-xiong-239087","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动",[25,26,27,29,56,187,32,174,374,7,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce344acb81c42a71b0d0c6bdde720fd.jpg",[],{"id":6211,"slug":6212,"title":6213,"dynasty":69,"author":6214,"museum":552,"description":6215,"tags":6216,"thumbUrl":6217,"material":59,"size":59,"collection":39,"collections":6218,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":64},238667,"cai-lian-tu-zhou-shen-zhen-238667","采莲图轴","沈贞","沈贞（1400－？ ）一名贞吉，号南斋、陶然道人，长洲（今江苏苏州）人，画家沈周的伯父。工诗文，善绘事，山水取法董源，得元代诸家尤多，与其弟恒吉（沈周之父），诗词皆甚有名，互相唱酬，时谓“埙箴相映”。",[25,26,27,29,28,30,85,33,117,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d15d0ab56023439f09f62b240c241.jpg",[39],{"id":6220,"slug":6221,"title":1238,"dynasty":18,"author":475,"museum":552,"description":638,"tags":6222,"thumbUrl":6223,"material":641,"size":642,"collection":59,"collections":6224,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":64},235508,"za-hua-ce-zhu-da-235508",[25,26,53,55,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad5e619dc1b48683cf49fe5f2e82cd5.jpg",[],{"id":6226,"slug":6227,"title":6228,"dynasty":18,"author":201,"museum":552,"description":6229,"tags":6230,"thumbUrl":6231,"material":59,"size":59,"collection":59,"collections":6232,"showCount":6180,"zanCount":511,"manualWeight":43,"mainColor":64},234225,"lan-zhu-juan-yi-ming-234225","兰竹卷","此作用水墨写意挥洒兰竹，尽显草木清魂。中锋走笔写竹干，枯湿浓淡区分老干新篁，笔力沉厚见挺劲；焦墨撇写竹叶，聚散疏密如惊风穿林，欹斜之中自带着清刚傲骨。兰叶以淡墨舒卷，笔致柔婉修长，与劲竹刚柔相映，芝石以破墨晕染，静立草木之侧，更衬幽逸。\n\n长卷铺陈间虚实相生，留白空灵如江上烟岚，兰竹俯仰顾盼，似有风过林动，清韵暗生。笔墨简淡而意态丰盈，将林下幽人的疏旷襟怀藏于毫锋，尽显文人画重韵尚简的雅趣风骨。",[23,25,26,74,55,188,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9161ab891439c39cd6b1c0c97e0f882.jpg",[],{"id":6234,"slug":6235,"title":6236,"dynasty":148,"author":256,"museum":71,"description":6237,"tags":6238,"thumbUrl":6242,"material":3724,"size":6243,"collection":59,"collections":6244,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":44},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","林亭远岫图轴","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[25,26,27,55,80,6239,6240,4856,4545,6241,133,136,135,82,1268,78,7],"干笔皴擦","留白","林亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg","纵87.3厘米，横31.4厘米",[],{"id":6246,"slug":6247,"title":2287,"dynasty":148,"author":256,"museum":71,"description":6248,"tags":6249,"thumbUrl":6250,"material":2292,"size":2293,"collection":59,"collections":6251,"showCount":6180,"zanCount":511,"manualWeight":43,"mainColor":64},233883,"ku-mu-you-huang-tu-zhou-ni-zan-233883","该图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。\n该图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民，云林生。”画幅上还有马治，松泉隐者诗题。\n画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。\n平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。\n构景简洁是倪云林画的突出特色，该图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。",[25,26,27,55,1579,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35cbb863ee23b56d80a3506b492b05d.jpg",[],{"id":6253,"slug":6254,"title":6255,"dynasty":69,"author":201,"museum":552,"description":6256,"tags":6257,"thumbUrl":6258,"material":313,"size":6259,"collection":59,"collections":6260,"showCount":6180,"zanCount":5,"manualWeight":43,"mainColor":44},232605,"zhu-zhi-tang-lang-tu-ye-yi-ming-232605","竹枝螳螂图页","古人认为，螳螂是饮风食露的草虫，于深秋产卵，在芒种初候阴气产生时破壳生长。",[25,29,28,32,702,7,79,56,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc943d63001ea01c7ad8a4d2c85125971.jpg","23×239cm",[],{"id":6262,"slug":6263,"title":6264,"dynasty":302,"author":1566,"museum":552,"description":6265,"tags":6266,"thumbUrl":6268,"material":59,"size":59,"collection":59,"collections":6269,"showCount":6180,"zanCount":511,"manualWeight":43,"mainColor":44},231033,"ting-yuan-tong-xi-tu-zhou-wen-ju-231033","庭院童戏图","画面里，玲珑湖石错落而立，旁侧蜀葵抽茎绽红，晕开雅致清幽的庭中底色。三个稚童于廊下嬉玩，或俯地、或跪坐，手持玩具专注投入，憨态天真尽显笔端。\n\n作者以精细笔触勾勒出衣纹的软柔灵动，设色古雅温润，将孩童嬉闹的鲜活日常描摹得生动自然。静谧庭苑与稚子烂漫相映，把细碎童趣晕化成悠然平和的古典意趣，藏着旧时世家庭院里的温柔烟火气。",[23,24,25,26,28,29,30,6267,7,277,519,541,243],"童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8bf418623c3f4f8d9458352c316f86.jpg",[],{"id":6271,"slug":6272,"title":6273,"dynasty":69,"author":6274,"museum":552,"description":6275,"tags":6276,"thumbUrl":6277,"material":59,"size":59,"collection":59,"collections":6278,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":64},228349,"zhu-lin-tu-tao-hong-228349","竹林图","陶红","以水墨晕写坡岸幽篁，修竹错落层叠，运笔秀劲灵动，竹叶以个字、介字点簇，笔断意连，尽显竹之清逸风骨。浅墨轻笼烟岚远山，淡赭晕染坡脚水岸，虚实相生间铺展出空濛雅致的林麓之景。\n\n山石以淡墨勾勒皴擦，简淡不饰雕琢，留白拓出水天相融的空阔意境，将文人画尚简重意的意趣融于尺幅间。观之如临幽林，似聆林风穿叶，清寂淡远的林下雅韵扑面而来，尽显静穆淡远的林下幽居之趣。",[25,26,55,32,80,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b74b593200ac6a53a7c1f309a38c8b.jpg",[],{"id":6280,"slug":6281,"title":6282,"dynasty":18,"author":6283,"museum":20,"description":6284,"tags":6285,"thumbUrl":6286,"material":6287,"size":6288,"collection":88,"collections":6289,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":64},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","王翚","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[23,25,26,74,55,29,80,75,77,78,79,115,338,260,242,81,7,2351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg","纸本，淡设色","纵25cm，横236cm",[88,122],{"id":6291,"slug":6292,"title":6293,"dynasty":18,"author":697,"museum":552,"description":6294,"tags":6295,"thumbUrl":6296,"material":59,"size":59,"collection":59,"collections":6297,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,26,53,29,28,56,174,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76c2edb1768b60a8a2314d604f95911.jpg",[],{"id":6299,"slug":6300,"title":6301,"dynasty":69,"author":201,"museum":835,"description":6302,"tags":6303,"thumbUrl":6304,"material":678,"size":6305,"collection":59,"collections":6306,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":1551},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。",[23,25,28,29,101,2260,618,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3990bd328b807f7169b28a5e1559bb9a.jpg","17.8x22.2",[],{"id":6308,"slug":6309,"title":6310,"dynasty":69,"author":6311,"museum":847,"description":6312,"tags":6313,"thumbUrl":6314,"material":507,"size":6315,"collection":88,"collections":6316,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":64},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","萧云从","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[25,26,74,29,80,75,55,83,259,81,1212,84,277,3632,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[88,105],{"id":6318,"slug":6319,"title":6320,"dynasty":369,"author":893,"museum":71,"description":6321,"tags":6322,"thumbUrl":6324,"material":58,"size":6325,"collection":39,"collections":6326,"showCount":6180,"zanCount":43,"manualWeight":43,"mainColor":64},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”。",[23,25,26,74,29,28,78,79,30,80,7,187,675,6323],"书桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac8c107ddfec1798c83c917d3f07d59.jpg","纵25cm，横72.5cm",[39],{"id":6328,"slug":6329,"title":6330,"dynasty":69,"author":6331,"museum":184,"description":6332,"tags":6333,"thumbUrl":6334,"material":37,"size":6335,"collection":60,"collections":6336,"showCount":6180,"zanCount":511,"manualWeight":43,"mainColor":44},219314,"jin-ji-han-mei-tu-bian-jing-zhao-219314","锦鸡寒梅图","边景昭","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。",[25,26,56,28,29,187,374,7,1231,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ec3c9a9636678fe8757ecb09c33f89.jpg","38.5x32.8cm",[60],{"id":6338,"slug":6339,"title":6340,"dynasty":369,"author":5573,"museum":112,"description":6341,"tags":6342,"thumbUrl":6343,"material":37,"size":6344,"collection":497,"collections":6345,"showCount":6180,"zanCount":511,"manualWeight":43,"mainColor":44},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[23,24,25,26,27,28,29,56,153,7,160,291,1791,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[497,60,105],{"id":6347,"slug":6348,"title":6349,"dynasty":69,"author":1505,"museum":150,"description":6350,"tags":6351,"thumbUrl":6352,"material":58,"size":59,"collection":59,"collections":6353,"showCount":6180,"zanCount":511,"manualWeight":43,"mainColor":64},214653,"qiu-xing-ba-jing-tu-ce-5-dong-qi-chang-214653","秋兴八景图册-5","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[25,26,53,29,862,55,75,78,77,80,115,338,81,260,863,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb893b7c0fa8f94f84a419b7b87e6439e.jpg",[],{"id":6355,"slug":6356,"title":6357,"dynasty":369,"author":756,"museum":552,"description":6358,"tags":6359,"thumbUrl":6361,"material":641,"size":642,"collection":59,"collections":6362,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":44},289657,"song-quan-pan-shi-tu-li-cheng-289657","松泉磐石图","访幅之题材与风格，属“松石格”之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。",[23,25,24,27,55,80,260,6360,7,133,82,75,79],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f220f1417c19f0f96eedf7c750a5ade.jpg",[],45,{"id":6365,"slug":6366,"title":1353,"dynasty":302,"author":6367,"museum":112,"description":6368,"tags":6369,"thumbUrl":6370,"material":641,"size":642,"collection":59,"collections":6371,"showCount":6363,"zanCount":209,"manualWeight":43,"mainColor":44},287656,"mu-dan-tu-teng-chang-you-287656","滕昌佑","滕昌佑，唐末五代画家。字胜华，本为吴（治今江苏苏州）人。唐广明元年十二月（公元881年）初黄巢起义军攻克长安，避乱随唐僖宗入蜀，卒年八十五。以文学从事。",[23,24,25,26,56,28,29,191,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff781bc47a080c289d7ae5eef5dcef720.jpg",[],{"id":6373,"slug":6374,"title":6375,"dynasty":369,"author":6376,"museum":552,"description":6377,"tags":6378,"thumbUrl":6379,"material":59,"size":59,"collection":59,"collections":6380,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":44},227831,"she-xiang-tu-mao-song-227831","麝香图","毛松","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。",[23,24,25,26,714,28,29,100,101,291,7,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],{"id":6382,"slug":6383,"title":6384,"dynasty":369,"author":1115,"museum":552,"description":6385,"tags":6386,"thumbUrl":6387,"material":59,"size":59,"collection":59,"collections":6388,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,24,26,28,55,29,2260,1033,1231,7,541,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],{"id":6390,"slug":6391,"title":6392,"dynasty":69,"author":6393,"museum":130,"description":6394,"tags":6395,"thumbUrl":6396,"material":479,"size":6397,"collection":60,"collections":6398,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":64},226155,"fu-rong-yuan-yang-tu-zhou-li-yin-226155","芙蓉鸳鸯图轴","李因","图绘鸳鸯一对，一只于芦滩上理毛，另一只自高处飞来，似与滩上的会合；画左侧绘一石块，一株芙蓉探出枝杆，枝头花团锦簇、绿叶繁茂。李因，字今是，工山水、花鸟，亦作诗文，画得陈淳之法，多用水墨，为明末清初时代励志女画家。",[23,25,24,27,55,56,396,466,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc1665e5ec8951f7b4aa571136b5df1.jpg","138.9x47.8cm",[60],{"id":6400,"slug":6401,"title":6402,"dynasty":369,"author":6403,"museum":71,"description":6404,"tags":6405,"thumbUrl":6406,"material":6407,"size":6408,"collection":59,"collections":6409,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":44},223513,"liu-yin-gao-shi-tu-wang-shen-223513","柳荫高士图","王诜","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。",[23,25,26,29,28,30,307,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe087bce9ee900ca12a83d8169b36bf3.jpg","轴绢本设色","76×46.4厘米",[],{"id":6411,"slug":6412,"title":6413,"dynasty":18,"author":96,"museum":130,"description":6414,"tags":6415,"thumbUrl":6416,"material":327,"size":6417,"collection":59,"collections":6418,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":64},223239,"que-tu-ren-yi-223239","雀图","绘山石中古梅一株，梅枝粗壮遒劲，枝头梅花朵朵绽放；三只麻雀或立于枝头，或立于石块上，似被梅花的清新香气吸引；石块缝中水仙花儿绽放，叶绿繁茂，朵朵花儿白净素雅，给寒冷的冬天带来生机勃勃。",[23,25,26,27,29,56,187,174,7,153,173,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719b5812cc696b603a81b715b4e36969.jpg","40x150厘米",[],{"id":6420,"slug":6421,"title":6422,"dynasty":18,"author":672,"museum":112,"description":6423,"tags":6424,"thumbUrl":6425,"material":678,"size":6426,"collection":88,"collections":6427,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":64},222762,"shi-er-yue-ling-tu-3-yue-lang-shi-ning-222762","十二月令图（3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",[23,25,26,28,29,241,80,242,277,30,187,190,134,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb50432efba99c7f32f6febcb77dac6.jpg","188.2*102.2cm",[88,105],{"id":6429,"slug":6430,"title":6431,"dynasty":148,"author":1711,"museum":71,"description":6432,"tags":6433,"thumbUrl":6434,"material":139,"size":6435,"collection":88,"collections":6436,"showCount":6363,"zanCount":511,"manualWeight":43,"mainColor":44},221865,"xie-dan-you-qi-zhao-yong-221865","挟弹游骑","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。自识“至正七年四月望仲穆畫”，钤“仲穆”、“ 天水圖書”二印。元至正七年为1347年。画幅上方有元人迺贤题诗数行。\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。\n此图经清内府收藏，有嘉庆、宣统诸印。《石渠宝笈·三编》著录。",[23,25,26,27,29,28,30,306,117,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c7470f8757d79778b720a9254a3ab74.jpg","纵109厘米，横46.3厘米",[88,105],{"id":6438,"slug":6439,"title":6440,"dynasty":148,"author":6441,"museum":659,"description":6442,"tags":6443,"thumbUrl":6444,"material":6445,"size":6446,"collection":122,"collections":6447,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":64},221797,"ji-zhu-you-qin-tu-zhang-yan-fu-221797","棘竹幽禽图","张彦辅","此图绘秀石旁两株修竹交柯而立，棘条屈曲上扬，两双禽鸟栖于棘上。构图疏朗，秀石用笔直皴，以水墨略染，修竹、棘条笔墨清劲，双禽略加色染，意在工鸟之间，画格疏劲清幽。无款识，仅钤“彦辅图书游戏清玩”、“西宇道人”二印。图左有隶书题记“子昭偕周正已过太乙宫，彦辅为作棘竹幽禽图以赠之，时至正癸未三月十七日也，濮人吴孟思书”。可知此图作于至正三年即公元一三四三年，吴孟思即当时名书家吴叡。图中另有杜本、凌翰、鞠菴、邵弘远、雅虎、林泉生、潘纯等人题跋。图中钤有明项元汴，清初梁清标，近人谭敬、张珩等鉴藏印。此图为张彦辅传世的惟一作品。",[23,24,25,26,55,79,32,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30574047ecaa25214e6269f083c885cb.jpg","纸本墨笔","63．8厘米横50．7厘米",[122,411],{"id":6449,"slug":6450,"title":6451,"dynasty":18,"author":941,"museum":71,"description":942,"tags":6452,"thumbUrl":6453,"material":327,"size":945,"collection":59,"collections":6454,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":64},220329,"huang-shan-tu-ce-2-hong-ren-220329","黄山图册-2",[23,25,55,75,53,80,115,260,116,82,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1784059c41c0edc0bd66e2212bbbb5cc.jpg",[],{"id":6456,"slug":6457,"title":6458,"dynasty":18,"author":201,"museum":112,"description":6459,"tags":6460,"thumbUrl":6464,"material":58,"size":6465,"collection":105,"collections":6466,"showCount":6363,"zanCount":511,"manualWeight":43,"mainColor":64},219370,"wu-kuan-hua-yin-wo-quan-zhou-yi-ming-219370","无款花阴卧犬轴","花阴覆处，湖石嶙峋，几丛花草点缀其间，生机暗涌。群犬嬉戏成趣：一犬蜷身侧卧，颈间红绳系铃，眸光慵懒似梦；旁侧幼犬挤卧亲昵，绒毛软嫩如棉，另有小犬蹒跚学步，爪印浅浅印于草间。湖石皴法细腻，纹理毕现；花草设色淡雅，与犬之墨韵相映成趣。整幅画无喧嚣之态，唯有闲居之暖，似将时光凝于花阴下，藏住一段温柔的日常。笔触柔润却不失精准，将犬的憨态与场景的静谧融于一体，尽显生活中的细碎温情，让人观之忘俗。",[25,29,28,27,101,2688,6461,7,291,541,6462,6463],"幼犬","阴景","多犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e148e8acfd6744eb02cf49cd8a5dd6.jpg","123.3x153.7",[105],{"id":6468,"slug":6469,"title":6470,"dynasty":148,"author":1930,"museum":112,"description":6471,"tags":6472,"thumbUrl":6473,"material":262,"size":6474,"collection":60,"collections":6475,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":64},218819,"xie-sheng-tu-wang-yuan-218819","写生图","墨色晕染间，禽鸟栖于石畔，羽翼纹理随淡墨流转，似能触到绒羽温软。老枝横斜，梢头悬一轮清月，清辉洒在疏叶上，竹影与草茎在风里轻摇。工细处见笔力，写意时显灵动，水墨浓淡干湿交织出自然生趣，无艳色却满溢生机。留白藏幽远，题跋墨迹与画面相映，笔墨间流淌着元代文人的清雅心境——于寂静中观天地，于细微处藏深情。每一笔都似在低语，将自然之美与文人意趣融于尺幅，尽显“墨花墨禽”的韵致，让人在古雅气息里沉醉。",[25,26,55,28,906,864,56,7,490,157,1073,79,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0627d9a79cc3230361415249eb53ed87.jpg","88.3x45.3cm",[60],{"id":6477,"slug":6478,"title":6479,"dynasty":148,"author":201,"museum":552,"description":6480,"tags":6481,"thumbUrl":6482,"material":262,"size":59,"collection":39,"collections":6483,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":44},218241,"guan-yin-xiang-yi-ming-218241","观音像","古绢泛黄的肌理间，墨线轻勾出观音趺坐之姿。衣纹流转如微风拂水，宽袍广袖间藏着沉静慈悲。她身侧瓶花斜插，清供映心；石畔童子躬身，似在聆听梵音。上方枯枝疏朗，如淡墨写就的禅意，与下方苍劲的岩峦相映。笔墨简淡却含韵致，线条简练而神完气足，每一笔都透着元代文人画的清雅风骨。整幅画似将尘世喧嚣滤尽，只留一方澄明之境，让观者在素朴的墨色里，触摸到那份跨越时空的宁静与悲悯。",[25,576,434,55,30,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c0b36713cf7ce305c20d87a62db56.jpg",[39],{"id":6485,"slug":6486,"title":6487,"dynasty":69,"author":6488,"museum":112,"description":6489,"tags":6490,"thumbUrl":6491,"material":262,"size":6492,"collection":39,"collections":6493,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":64},216994,"ning-qi-fan-niu-tu-zhou-chen-216994","宁戚饭牛图","周臣","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。",[25,24,26,27,55,434,75,30,2079,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fed04e633925c11d278f84b1628a630.jpg","126.7x68.9",[39],{"id":6495,"slug":6496,"title":6497,"dynasty":18,"author":169,"museum":184,"description":1152,"tags":6498,"thumbUrl":6499,"material":58,"size":1156,"collection":60,"collections":6500,"showCount":6363,"zanCount":43,"manualWeight":43,"mainColor":64},214565,"mo-zui-za-hua-tu-ce-2-shi-tao-214565","墨醉杂画图册-2",[23,25,26,53,29,55,75,7,396,33,160,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3bb60e03b8a80aef02ca4e630d97a6a.jpg",[60],{"id":6502,"slug":6503,"title":6504,"dynasty":69,"author":5803,"museum":552,"description":6505,"tags":6506,"thumbUrl":6507,"material":641,"size":642,"collection":59,"collections":6508,"showCount":6509,"zanCount":43,"manualWeight":43,"mainColor":64},235671,"ban-chuang-chun-yu-tu-juan-xia-chang-235671","半窗春雨图卷","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。",[25,24,26,74,55,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f3757d23ecd698c0710bd31456a191.jpg",[],44,{"id":6511,"slug":6512,"title":6513,"dynasty":18,"author":6514,"museum":552,"description":6515,"tags":6516,"thumbUrl":6517,"material":59,"size":59,"collection":59,"collections":6518,"showCount":6509,"zanCount":43,"manualWeight":43,"mainColor":64},230254,"shan-shui-ce-ye-dai-ben-xiao-230254","山水册页","戴本孝","此作用笔枯淡简老，危崖陡立，笔墨寥寥便勾勒出崖壁的空灵高旷，下方丘石隐于淡墨晕染之中，古松斜生崖侧，自带荒寒萧疏之气。\n\n以书入画，左上角题诗与山水意境相融，淡墨轻皴间不见繁饰，尽显幽寂清寒的林下襟怀，将天地寥廓的沉静与遗民孤高的心境相合，静穆淡远间溢出清冷出尘的禅意，尽显简淡空灵的山水意趣，淡岚浅墨里皆是超然物外的悠远之致。",[25,26,53,55,80,75,7,133,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991f998630870f784c679c1986745d2c.jpg",[],{"id":6520,"slug":6521,"title":6522,"dynasty":369,"author":2994,"museum":552,"description":6523,"tags":6524,"thumbUrl":6526,"material":59,"size":59,"collection":59,"collections":6527,"showCount":6509,"zanCount":43,"manualWeight":43,"mainColor":44},227747,"dong-ting-qiu-yue-tu-xia-gui-227747","洞庭秋月图","《洞庭秋月图》是宋代画家夏圭创作的绢本水墨画，现藏于美国弗利尔美术馆。\n\n《洞庭秋月图》描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[23,25,26,24,27,55,75,80,864,134,7,325,6525],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d6ceb83a58f9c29a1ff0d0ad2cf84.jpg",[],{"id":6529,"slug":6530,"title":6531,"dynasty":369,"author":6532,"museum":552,"description":6533,"tags":6534,"thumbUrl":6535,"material":59,"size":59,"collection":59,"collections":6536,"showCount":6509,"zanCount":511,"manualWeight":43,"mainColor":44},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,26,25,24,74,862,29,28,75,77,79,80,30,242,277,82,85,349,7,34,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":6538,"slug":6539,"title":6540,"dynasty":18,"author":6283,"museum":552,"description":6541,"tags":6542,"thumbUrl":6543,"material":641,"size":642,"collection":59,"collections":6544,"showCount":6509,"zanCount":511,"manualWeight":43,"mainColor":64},224454,"shan-shui-tu-shan-mian-wang-hui-224454","山水圖扇面","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[23,25,26,714,55,75,80,349,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e2c6d018d8d60dc5c74f88cf991c8b.jpg",[],{"id":6546,"slug":6547,"title":6548,"dynasty":18,"author":697,"museum":552,"description":6549,"tags":6550,"thumbUrl":6551,"material":59,"size":59,"collection":59,"collections":6552,"showCount":6509,"zanCount":43,"manualWeight":43,"mainColor":64},224371,"hua-hui-qi-shi-ce-shi-er-kai-11-ju-lian-224371","花卉奇石册-十二开-11","此作以淡墨晕染奇石，皴擦间尽显朴拙质感，留白透气，清润雅致。红草以没骨法点染，色泽明丽却不俗艳，叶片舒展柔态毕现；蓝黄雏菊娇俏鲜活，枝蔓穿插错落，野趣自生。石上蜻蜓纤毫细致，翼脉清晰可见，悄然驻足为画面添灵动生机。\n整体兼工带写，将草木清隽与顽石朴拙相融，静中生趣。画面简淡空灵，把秋日小景的闲逸意蕴铺陈开来，笔底藏着雅致的审美意趣，于方寸间尽显自然小景的幽恬清宁，带着悠然静穆的中式美学韵味。",[23,25,53,29,28,79,7,243,189,153,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c03336a008070491717018219acd353.jpg",[],{"id":6554,"slug":6555,"title":6556,"dynasty":69,"author":431,"museum":552,"description":6557,"tags":6558,"thumbUrl":6559,"material":1756,"size":6560,"collection":88,"collections":6561,"showCount":6509,"zanCount":43,"manualWeight":43,"mainColor":44},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[23,25,27,55,29,75,80,349,117,133,260,259,82,324,7,2351,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","64.5×26.3cm",[88,105],{"id":6563,"slug":6564,"title":6565,"dynasty":69,"author":1505,"museum":20,"description":6566,"tags":6567,"thumbUrl":6568,"material":479,"size":6569,"collection":88,"collections":6570,"showCount":6509,"zanCount":43,"manualWeight":43,"mainColor":64},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[23,25,26,74,55,76,75,77,79,80,4904,81,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg","28.3*206cm",[88,105],{"id":6572,"slug":6573,"title":6574,"dynasty":18,"author":6575,"museum":552,"description":6576,"tags":6577,"thumbUrl":6578,"material":327,"size":59,"collection":60,"collections":6579,"showCount":6509,"zanCount":43,"manualWeight":43,"mainColor":64},220249,"die-lian-hua-tu-zhou-xian-220249","蝶恋花图","周闲","周闲（1820年—1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人，晚清著名词人、篆刻家、海上画派名家。\n严迪昌《清词史》称周闲足与鸦片战争时期诗史型诗人贝青乔并驾齐驱。咸丰三年，佐戎幕剿灭嘉定小刀会，以功赐六品官。同治三年，官新阳令、候补知州同知。同治五年，因事与大吏龃龉，遭革职，隐居吴市，假笔墨以自娱。晚年寓居上海。\n善画花卉蔬果，远师陈淳、恽寿平、李鱓，近参任熊，笔致雄浑秀腴。《嘉兴府志》称：“其画浓部密致，似宋人”。与任熊、姚燮、胡公寿为艺文挚友，同蒋春霖、任薰、任颐、吴大徵、吴昌硕、张之万等交游密切。善篆刻，富金石派学养。喜用行楷，气韵朴厚。作品有《任处士传》、《范湖草堂词》等。见《海上墨林》、《广印人传》、《清画家诗史》、《金石家书画集》、吴大澂《愙斋日记》、人民文学出版社《近代词史》。",[23,25,26,29,56,188,435,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfb731c7098f88507a9128e18726ce4.jpg",[60],{"id":6581,"slug":6582,"title":6583,"dynasty":69,"author":183,"museum":71,"description":6584,"tags":6585,"thumbUrl":6586,"material":327,"size":6587,"collection":105,"collections":6588,"showCount":6509,"zanCount":511,"manualWeight":43,"mainColor":64},219868,"da-shu-feng-hao-tu-xiang-sheng-mo-219868","大树风号图","图绘古树一株，参天独立于空旷的原野之上，一老者拄杖遥望远山。作者自诗曰：“风啸大树中天立，日薄西山四海孤。短策且随时旦莫，不堪回首望菰蒲。”此图主体鲜明，形象生动，构思别具，笔法严谨。",[23,25,27,29,134,30,80,7,324,865,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4aadf5523f019f3c8f0bd22bdc1029e.jpg","纵115.4cm，横50.4cm",[105],{"id":6590,"slug":6591,"title":6592,"dynasty":69,"author":3877,"museum":874,"description":6593,"tags":6594,"thumbUrl":6595,"material":205,"size":6596,"collection":39,"collections":6597,"showCount":6509,"zanCount":43,"manualWeight":43,"mainColor":44},218514,"yu-fu-tu-wu-wei-218514","渔夫图","该图描绘了一个渔夫在溪边的老柳树下捕捉一条新鲜的鱼。人物造型细致，渔夫捕鱼的喜悦之情刻画得淋漓尽致，山水、服饰用笔浑厚，面部和手脚用笔精细，是吴伟人物的典型特征。",[23,25,26,27,55,30,134,160,7,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e15e29ad6e911cc0f9de6f8bd082ea.jpg","195.8x102",[39],{"id":6599,"slug":6600,"title":6601,"dynasty":69,"author":6602,"museum":71,"description":6603,"tags":6604,"thumbUrl":6605,"material":327,"size":6606,"collection":60,"collections":6607,"showCount":6608,"zanCount":43,"manualWeight":43,"mainColor":64},236756,"mo-lan-tu-zhou-tian-qiu-236756","墨兰图","周天球","此图画墨兰一束，姿态婀娜，充满生意。兰叶潇洒舒展，穿插有致；花瓣随意点簇，淡雅秀美。行笔多转折，以中、侧笔锋互换，笔势一波三折，有挺有转，有断有续，有收有纵，清爽而秀雅，变化多端，生动地表现了兰草的质感和风韵，格调清新幽雅。",[25,26,55,188,7,56,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cf749fc13e7e1f98c4ffdd275619602.jpg","纵83cm，横33.5cm",[60,122],43,{"id":6610,"slug":6611,"title":1058,"dynasty":18,"author":2212,"museum":552,"description":6612,"tags":6613,"thumbUrl":6614,"material":327,"size":6615,"collection":59,"collections":6616,"showCount":6608,"zanCount":511,"manualWeight":43,"mainColor":64},223372,"lan-tu-yun-xiang-223372","清代女道士，无锡人，生卒年不详，俗姓王，名静莲，一名岳莲。自幼出家于惠山福慧双修庵，后自度为女道士。因慕明末秦淮八艳之一卞玉京为人，故取号玉井道人，又号清微道人。韵香能书擅画，尤擅画兰。韵香收藏有《空山听雨图册》，韵香将此图册视为生家性命，因图册佚失，她特地请画家文人重新作图题诗，不料图册再度佚失，韵香因此遭受打击，心灰意懒，不久即离开了人世。韵香死后，《空山听雨图册》几经流转，散而复聚，最后归于无锡博物院。\n《空山听雨图册》外尺寸为横25.5厘米×纵36.5厘米，每开画心尺寸不一，其名称缘于清代金石书画家奚冈为韵香所作《空山听雨图》。今图册中有吴让之所题隶书“空山听雨图”，并跋云：“清微道人有奚铁生所画空山听雨图，生平寄意在此，乞一时名贤题咏……”奚冈所作《空山听雨图》原作佚去，奚冈生卒年为1746—1803年，此图的创作年代不会晚于1803年。无锡博物院所收藏的《空山听雨图》共有5开，吕培一开，作于壬申（1821年）首夏。许乃谷一开，未署年款，落款注明“清微道人属写”。沈梧两开，分别作于同治甲子（1864）年、乙丑（1865）年。叶衍兰一开，作于光绪丁丑（1877）年。沈叶二图当为后世藏家追慕前贤，作图以示敬仰之意。吕培所作为浅设色，许乃谷所作为水墨，二人均用米家云山图写之，水渚烟树小阁，濛潆凄迷。奚冈原作虽不可见，从吕许二人所作云山图可以想象原作大致面貌。\n《空山听雨图》有上百人题咏，其中刘墉一开，其题咏不会晚于刘墉卒年1804年。洪亮吉、赵怀玉同题于一开，分别为1804年和1805年。刘洪赵这二开当为《空山听雨图》未佚失前的原有题咏。（赵钦仁辑）",[23,24,25,26,74,55,188,7,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098d109487c7c07d1876d37c94f78122.jpg","28x383厘米",[],{"id":6618,"slug":6619,"title":6620,"dynasty":69,"author":537,"museum":4245,"description":4246,"tags":6621,"thumbUrl":6622,"material":507,"size":4249,"collection":59,"collections":6623,"showCount":6608,"zanCount":43,"manualWeight":43,"mainColor":64},222564,"hua-hui-tu-3-chen-chun-222564","花卉图3",[23,24,25,26,56,173,55,29,243,7,79,4741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34c461d6fd907b9261669a6aad2bf19.jpg",[],{"id":6625,"slug":6626,"title":6627,"dynasty":69,"author":1184,"museum":71,"description":6628,"tags":6629,"thumbUrl":6631,"material":479,"size":6632,"collection":59,"collections":6633,"showCount":6608,"zanCount":43,"manualWeight":43,"mainColor":64},222345,"tong-yin-qing-meng-tu-zhou-tang-yin-222345","桐荫清梦图轴","本幅行书自题七绝诗一首：“十里桐阴覆紫苔，先生闲试醉眠来；此生已谢功名念，清梦应无到古槐。唐寅画。”钤“吴趋”朱文圆印、“唐寅私印”白文方印、“唐阿大”朱文方印。鉴藏印有“松莲鑑定”白文方印、“东吴王莲泾藏书画记”朱文长方印等。\n《桐阴清梦图》以人物画为题材，抒发画家的生活遭遇和感受。此图用水墨白描手法，画梧桐一株，桐阴坡石处一人仰面闭目，坐於交椅之上，神情生动自然。构图简洁，用笔洗练，风格洒脱，韵致清逸，是唐寅白描人物画佳作。诗、书、画相得益彰。虽未署年款，但从题诗内容可以看出，此图是他在科场案受打击回苏州后所作，是画家看破尘事，不再追求功名，从此幽居林下的写照。\n唐寅为人性情疏朗，生活放诞，许多关於他的传说故事广为流传，妇孺皆知。他的诗、曲、书、画均颇有成就，尤以画名为最著，题材广泛，山水、人物、花鸟、竹石无一不精。曾以周臣为师，青出于蓝，并从宋元诸名家绘画中汲取营养，特别在继承南宋李唐、刘松年传统画法上有新的发展，形成了自己严谨秀逸的画风，成就突出，影响深远，在书史上有很高地位，是明代中期文人画的重要代表，与沈周、文徵明、仇英并称“吴门四大家”。\n未见著录。",[23,25,26,27,55,173,30,6630,7,1768,259],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07f74a6824f94c71cbee55f1249e612.jpg","纵62厘米，横30.9厘米",[],{"id":6635,"slug":6636,"title":1614,"dynasty":148,"author":823,"museum":71,"description":6637,"tags":6638,"thumbUrl":6639,"material":1106,"size":6640,"collection":122,"collections":6641,"showCount":6608,"zanCount":511,"manualWeight":43,"mainColor":44},221817,"zhu-shi-tu-zhou-li-kan-221817","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。",[23,25,26,27,55,28,75,32,826,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae45236279f406d24f6f02f8275daac.jpg","纵185.5厘米，横153.7厘米",[122,411],{"id":6643,"slug":6644,"title":6645,"dynasty":148,"author":256,"museum":71,"description":6646,"tags":6647,"thumbUrl":6657,"material":327,"size":6658,"collection":786,"collections":6659,"showCount":6608,"zanCount":43,"manualWeight":43,"mainColor":64},220799,"jing-ji-xuan-shi-wen-zhou-ni-zan-220799","静寄轩诗文轴","《静寄轩诗文》是倪瓒自作并书写的。此轴所书共三部分，内容包括《邾伯盛氏小像赞》、《刻古印文诗四韵》五律1首、《静寄轩诗》七绝3首。\n此帖上方篆书“静寄轩”和帖首篆书“静寄轩诗文”为张绅所书。“静寄轩”是邾伯盛的斋名，其人名珪，字伯盛，苏州人。师濮阳吴睿，习大小篆书，喜为人治印。\n此诗文是倪瓒71岁时所作，虽已至古稀之年，但笔力精致，毫无滞涩之处，结字略扁，内紧外舒，收笔时顿笔稳重，圭角突出，于质朴遒劲中带有很重的隶书笔意。",[23,27,77,78,6648,79,6649,6650,6651,33,396,190,7,6652,6653,6654,1911,907,115,492,6655,6656,675,373],"篆刻","孤鹤","瘦骨","苍林","轩","僧","茶烟","门","馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd648c8e27c6ab1979999ef58ef0056a.jpg","纵62.9cm，横23.3cm",[786],{"id":6661,"slug":6662,"title":6663,"dynasty":369,"author":3492,"museum":112,"description":6664,"tags":6665,"thumbUrl":6667,"material":205,"size":59,"collection":39,"collections":6668,"showCount":6608,"zanCount":43,"manualWeight":43,"mainColor":1551},220209,"shi-jia-chu-shan-tu-ma-lin-220209","释迦出山图","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。",[23,25,26,27,29,28,75,576,30,80,116,7,81,6666],"圆光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa49bf9e4867c98d5d04acfefbcda89.jpg",[39],{"id":6670,"slug":6671,"title":2744,"dynasty":148,"author":201,"museum":184,"description":6672,"tags":6673,"thumbUrl":6674,"material":37,"size":6675,"collection":60,"collections":6676,"showCount":6608,"zanCount":43,"manualWeight":43,"mainColor":44},219109,"zhu-que-tu-yi-ming-219109","竹影婆娑间，群雀往来嬉戏，或栖于枝梢梳理羽翎，或振翅穿叶掠过石畔，姿态灵动各有妙趣。古石皴法苍劲，纹理间藏着岁月的厚重，与纤巧的竹枝形成刚柔相济的韵致。几簇素白与艳红的花朵点缀其间，色彩淡雅却鲜活，为画面添了几分春意。\n\n笔墨细腻入微，雀鸟的绒毛、竹叶的脉络皆清晰可见，工致中透着自然野趣。仿佛能听见雀鸣轻响，感受到竹林间的清风。整幅画生机盎然却不失静谧，将寻常小景绘就成耐人寻味的雅韵篇章，尽显元代花鸟写生的精妙功底。",[25,28,29,27,56,32,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc1936f6baabb0c64993bad0713ded8.jpg","纵116.5横52.5厘米",[60],{"id":6678,"slug":6679,"title":6680,"dynasty":369,"author":4022,"museum":184,"description":6681,"tags":6682,"thumbUrl":6683,"material":37,"size":6684,"collection":60,"collections":6685,"showCount":6608,"zanCount":209,"manualWeight":43,"mainColor":44},218961,"liao-an-cao-chong-tu-lin-chun-218961","蓼岸草虫图","画面截取蓼岸一隅，秋菊攒簇，蓼花垂露，枝茎间草虫情态毕肖——蟋蟀敛翅似欲跃动，甲虫栖于梢头，翅脉纹理纤毫可辨。岩石皴染朴拙，杂草疏密天成，笔墨于工致中透着野逸之趣。花叶的娇嫩与虫豸的鲜活相映成趣，似能嗅到秋野的清芬，聆听到草间的细碎声响。虽为小幅写生，却以极致细腻的笔触捕捉自然生机，尽显宋人对万物的精微观察与绘事匠心，将转瞬即逝的郊野小景凝为永恒的诗意画面。",[25,24,26,56,28,29,2010,700,156,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b63dd0c8fbcb2bdf5404075decb3f64.jpg","29x26cm",[60],{"id":6687,"slug":6688,"title":6689,"dynasty":69,"author":201,"museum":874,"description":875,"tags":6690,"thumbUrl":6691,"material":58,"size":59,"collection":59,"collections":6692,"showCount":6608,"zanCount":43,"manualWeight":43,"mainColor":64},217952,"ming-ren-shan-shui-hua-ce-san-yi-ming-217952","明人山水画册(三)",[23,25,26,53,55,29,80,349,277,7,260,134,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239dd48d883d23420a8004f26072dd6a.jpg",[],{"id":6694,"slug":6695,"title":6696,"dynasty":18,"author":1195,"museum":150,"description":3228,"tags":6697,"thumbUrl":6698,"material":262,"size":3231,"collection":59,"collections":6699,"showCount":6608,"zanCount":43,"manualWeight":43,"mainColor":64},214679,"mei-hua-zhu-shi-tu-ce-9-wang-shi-shen-214679","梅花竹石图册-9",[24,25,26,53,55,373,7,1073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704a4e5300ea1599e6b93070e85467c8.jpg",[],{"id":6701,"slug":6702,"title":6703,"dynasty":69,"author":537,"museum":112,"description":6053,"tags":6704,"thumbUrl":6705,"material":37,"size":543,"collection":59,"collections":6706,"showCount":6707,"zanCount":209,"manualWeight":43,"mainColor":44},290916,"she-se-hua-hui-zhou-chen-chun-290916","设色花卉轴",[25,24,27,29,56,7,243,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79dee46c87a10fea252cd111343b3e21.jpg",[],42,{"id":6709,"slug":6710,"title":6711,"dynasty":369,"author":2994,"museum":552,"description":6712,"tags":6713,"thumbUrl":6716,"material":641,"size":642,"collection":59,"collections":6717,"showCount":6707,"zanCount":43,"manualWeight":43,"mainColor":64},288429,"chai-men-yan-xue-tu-xia-gui-288429","柴门掩雪图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[25,24,26,27,55,80,75,851,7,6714,6715,79],"寒树","柴门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc056fb6062ac1a688e1815a0173d7d1f.jpg",[],{"id":6719,"slug":6720,"title":6721,"dynasty":69,"author":201,"museum":71,"description":6722,"tags":6723,"thumbUrl":6730,"material":1106,"size":6731,"collection":39,"collections":6732,"showCount":6707,"zanCount":511,"manualWeight":43,"mainColor":44},239478,"ming-ren-xiao-yi-zhuan-lan-ting-tu-zhou-yi-ming-239478","明人萧翼赚兰亭图轴","在宋时即多摹本。据史所载，唐代著名画家阎立本绘有此图，此外，据《宣和画谱》，唐吴侁亦作此图一幅。其后，前蜀支仲元、南唐顾德谦、南宋僧梵隆、元赵子俊等画家均以此题材绘图，此卷为明代绘本。图绘六位人物，画左坐着的僧人即辩才，左手执《兰亭序》，右手举于胸前侃侃而谈，画面右侧的萧翼双手笼于袖间，沉着冷静，两人中间有一盆假山石。画面右下方为萧翼的两名随从，衣冠整洁，左下幅辩才的童子正在备茶。该图右上侧有树石为背景，山石呈方块状叠加，造型独特，全画工笔重彩设色，人物及树石等造型具有明代绘画的特点。",[24,25,27,28,29,4166,6724,2613,6725,6726,7,6727,6728,6729],"僧人","随从","树石","备茶","萧翼赚兰亭","《兰亭序》","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d7369ef6326f5b81cab49e4cb54bbf.jpg","纵124厘米，横78厘米",[39],{"id":6734,"slug":6735,"title":6736,"dynasty":69,"author":6737,"museum":71,"description":6738,"tags":6739,"thumbUrl":6740,"material":6741,"size":6742,"collection":88,"collections":6743,"showCount":6707,"zanCount":511,"manualWeight":43,"mainColor":44},237094,"tan-yuan-mo-xi-tu-zhou-li-liu-fang-237094","檀园墨戏图轴","李流芳","本幅近景画空亭嘉木，溪岸渚石，远景为峰峦重叠，林木苍郁，笔法多变，墨气淋漓，意境清旷。近景的布局和树木的画法主要仿自倪瓒，只是笔墨远比倪瓒湿润，树干用意笔勾出，树叶用笔率意点写，笔法含蓄内敛。山石运用或平行或交叉的披麻皴绘画技法，用笔苍劲迅疾，并以饱含水分的淡墨晕染，颇得吴镇笔墨之神韵。",[25,55,75,27,80,115,338,134,349,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccf78efb544c49d098289d1cfa0ed9b.jpg","绫本，墨笔","纵129厘米，横57.5厘米",[88,122],{"id":6745,"slug":6746,"title":6747,"dynasty":69,"author":3329,"museum":552,"description":6748,"tags":6749,"thumbUrl":6750,"material":641,"size":642,"collection":59,"collections":6751,"showCount":6707,"zanCount":43,"manualWeight":43,"mainColor":64},236818,"fu-rong-can-he-shan-mian-zhou-zhi-mian-236818","芙蓉残荷扇面","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。",[714,29,56,396,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0dd8d66ac4ce3212b6b5df3088965c.jpg",[],{"id":6753,"slug":6754,"title":6755,"dynasty":69,"author":201,"museum":552,"description":6756,"tags":6757,"thumbUrl":6758,"material":641,"size":642,"collection":59,"collections":6759,"showCount":6707,"zanCount":43,"manualWeight":43,"mainColor":44},235656,"tang-yin-qian-tang-jing-wu-tu-zhou-yi-ming-235656","唐寅钱塘景物图轴","此作用斧劈皴写山石嶙峋风骨，层崖迭起取高远之境，硬朗苍劲尽显北派山水雄健气势。山坳林麓间村居错落隐现，青树蓊郁晕染江南温润意趣，刚柔相济，将浙派纵肆与吴门隽秀相融。\n左侧题诗与画景相映，把秋郊钱塘的清寂萧疏铺陈开来，山野幽居的闲逸之态藏于奇峰之间，笔意追摹前人，绘就秋日江乡澹远沉静的逸致，尽显明人山水抒情写意的雅致格调。",[25,26,27,55,75,80,242,277,82,7,349,153,134,135,81,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11a22516543afdb44def938b072f17f.jpg",[],{"id":6761,"slug":6762,"title":6763,"dynasty":369,"author":2257,"museum":1060,"description":6764,"tags":6765,"thumbUrl":6766,"material":3149,"size":6767,"collection":59,"collections":6768,"showCount":6707,"zanCount":43,"manualWeight":43,"mainColor":44},221499,"yan-yuan-hou-tu-mu-xi-221499","岩猿猴图","日本古籍《松斋梅谱》中评价牧溪的绘画“皆随笔点墨而成，意思简当，不费装缀。”中国《画继补遗·卷上》载：“僧法常，自号牧溪。善作龙虎、人物、芦雁、杂画，枯淡山野，诚非雅玩，仅可僧房道舍，以助清幽耳。”其画笔墨淋漓，颇具禅意。遗迹多流日本。其《远浦归帆图》真迹藏于京都国立博物馆。其《松猿图》对日本禅画尤有影响。甚至被评为“日本画道的大恩人”。\n南宋画家牧溪是一个谜一样的人物，他擅长画山水、蔬果、和大写意破墨僧道人物，从这张《六柿图》中，我们可以体会到六个柿子随机的摆设，用在每个柿子上不同的笔墨、虚实、阴阳、粗细间的灵活运用，作品呈现出静物作品的“随处皆真”的境界。\n史籍关于牧溪的记载语焉不详。元代吴大素《松斋梅谱》有关于这位画家比较多的文字描述：“僧法常，蜀人，号牧溪。喜画龙虎、猿鹤、禽鸟、山水、树石、人物，不曾设色。多用蔗渣草结，又皆随笔点墨而成，意思简当，不费妆缀。松竹梅兰石具形似，荷芦写，俱有高致。”",[23,24,25,26,27,55,576,2260,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5cdc6899d1872fe756bc08c0532dfd.jpg","37.3×28",[],{"id":6770,"slug":6771,"title":6772,"dynasty":369,"author":201,"museum":1206,"description":6773,"tags":6774,"thumbUrl":6775,"material":262,"size":59,"collection":60,"collections":6776,"showCount":6707,"zanCount":209,"manualWeight":43,"mainColor":64},219089,"san-mu-tu-yi-ming-219089","散牧图","素净雪景铺展天地，淡墨晕染出苍茫清寂。枯树枝桠疏朗，似在寒风中轻颤；山石皴法简练，线条勾勒雪的厚重。几株老树苍劲，与留白雪地相映，更显悠远。牛群或缓步觅食，或嬉戏追逐，牧童骑于牛背，衣袂轻扬，尽展山野童趣。远处林峦朦胧，似隐似现，添了几分空濛。构图疏密有致，笔法细腻却不失洒脱，传递出人与自然相融的宁静之美，尽显雅致恬淡的意趣，仿佛能听见牧童的嬉笑声，随晚风消散在雪后的山林间。",[23,25,26,74,55,75,79,80,2079,30,133,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d87cbb3dc7c63f2731e50347052b00d.jpg",[60],{"id":6778,"slug":6779,"title":5052,"dynasty":18,"author":49,"museum":552,"description":2638,"tags":6780,"thumbUrl":6781,"material":641,"size":642,"collection":59,"collections":6782,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":64},239426,"shan-shui-hua-hui-ce-yun-shou-ping-239426",[25,26,53,55,434,7,133,32,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46879573d1358b6fa55ffe759b2f7a28.jpg",[],41,{"id":6785,"slug":6786,"title":6787,"dynasty":69,"author":6788,"museum":552,"description":6789,"tags":6790,"thumbUrl":6792,"material":327,"size":59,"collection":88,"collections":6793,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":44},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）。",[25,27,29,28,75,260,7,2807,2806,6791],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09eb8dbe0e0bba76c76d97e88eb3b3f.jpg",[88,105,786],{"id":6795,"slug":6796,"title":6797,"dynasty":69,"author":70,"museum":71,"description":6798,"tags":6799,"thumbUrl":6800,"material":327,"size":6801,"collection":59,"collections":6802,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":64},234087,"wu-zhong-shan-shui-ce-shen-zhou-234087","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 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）。不应科举，专事诗文、书画，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”。",[25,26,53,55,75,78,79,80,277,82,81,136,85,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46249d3f1a8b1efdae161fb0542ffbf.jpg","28.5*25.5cm",[],{"id":6804,"slug":6805,"title":6806,"dynasty":18,"author":6283,"museum":552,"description":6541,"tags":6807,"thumbUrl":6808,"material":641,"size":642,"collection":59,"collections":6809,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":64},229014,"fang-gu-shan-shui-wang-shi-min-wang-hui-229014","仿古山水-王时敏",[24,25,26,80,55,29,75,7,277,82,349,153,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2980717faf33c3fd762b486b8c086428.jpg",[],{"id":6811,"slug":6812,"title":6813,"dynasty":18,"author":697,"museum":552,"description":6814,"tags":6815,"thumbUrl":6816,"material":59,"size":59,"collection":59,"collections":6817,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,26,53,28,29,7,243,1922,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f869a343a57705320bea4f60deed39d.jpg",[],{"id":6819,"slug":6820,"title":6821,"dynasty":18,"author":214,"museum":552,"description":6822,"tags":6823,"thumbUrl":6824,"material":59,"size":59,"collection":59,"collections":6825,"showCount":6783,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[23,25,27,29,55,56,187,32,7,374,79,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],{"id":6827,"slug":6828,"title":6829,"dynasty":18,"author":201,"museum":552,"description":6830,"tags":6831,"thumbUrl":6832,"material":1106,"size":6833,"collection":59,"collections":6834,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":44},223551,"hai-tang-bai-tou-tu-yi-ming-223551","海棠白头图","绘蓝色湖石一块，形状凹凸有致；两枝海棠上下各一枝，枝上花朵或绽放，或含苞待放，红色的花朵鲜艳美丽，枝上两只白头翁相向而望，上面的扭头看着下面的那只，而下面也抬头呼应着上面鸟儿，二只鸟儿相亲相爱，活泼可爱。",[23,25,29,56,746,313,490,3614,7,243,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d21e5bf0b445cf9d0b9e44de9e88be.jpg","35.9x50.6cm",[],{"id":6836,"slug":6837,"title":1614,"dynasty":148,"author":6838,"museum":71,"description":6839,"tags":6840,"thumbUrl":6841,"material":6842,"size":6843,"collection":122,"collections":6844,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":44},221870,"zhu-shi-tu-zhou-xie-ting-zhi-221870","谢庭芝","图中绘坡草湖石，石后挺立疏竹数竿，枝叶下垂，似洒雨露。坡上小竹兰草丛生，三株新笋，两株高窜，一株破土而出，春意盎然。湖石连勾带皴，并以淡墨渲染，玲珑剔透，形态奇异。竹叶以率笔挥洒，浓淡相参，水墨淋漓，清新秀雅。此图为谢庭芝墨竹传世孤本。\n画面以淡墨勾勒画湖石，以砍剁皴和钉头皴相结合画出明暗再以淡墨渲染，使湖石具有质感，达到皱、漏、透、瘦之效果，玲珑剔透，造型奇特。\n湖石后疏竹玉立，竹叶下垂，浓淡相间，参差错落，疏密有致，颇显情趣，画左款暑：至元五年冬十月，仲和。",[23,25,55,27,32,826,7,160,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0acf41e6dc1be49409c9c5df041b0e.jpg","绢本墨笔.","173.2cmx105.1cm",[122,411],{"id":6846,"slug":6847,"title":6848,"dynasty":369,"author":3743,"museum":1060,"description":6849,"tags":6850,"thumbUrl":6851,"material":327,"size":6852,"collection":59,"collections":6853,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":44},221606,"ku-mu-tu-liang-kai-221606","枯木图","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,25,55,434,1579,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6ccf2251cdf9d1af34e70cbbab5720.jpg","24.1×23cm",[],{"id":6855,"slug":6856,"title":6857,"dynasty":369,"author":3492,"museum":112,"description":6858,"tags":6859,"thumbUrl":6863,"material":6864,"size":6865,"collection":59,"collections":6866,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":64},221179,"fang-chun-yu-ji-tu-ma-lin-221179","芳春雨霁图","《芳春雨霽圖》描繪荒野平溪，窠石疏林。枝上嫩葉初露，春意濃郁。遠方煙靄出沒，隱約可見。畫中怪石用斧劈皴，老樹用嚴謹的雙鈎填墨法，樹葉用淡褐色點染。全圖用筆瘦硬勁峭，構圖簡括，畫風學馬遠而又有自己的創新，為馬麟山水畫佳作。",[23,25,26,55,29,80,28,75,6860,6861,134,7,135,81,6862],"春雨","霁景","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc250f3f66b0a8950d7b6bc515696ee5a.jpg","轴，绢本，浅设色","纵27．5厘米，横41．6厘米",[],{"id":6868,"slug":6869,"title":6870,"dynasty":18,"author":6514,"museum":2832,"description":6871,"tags":6872,"thumbUrl":6874,"material":327,"size":6875,"collection":88,"collections":6876,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":64},219991,"shan-jing-po-zhou-tu-dai-ben-xiao-219991","山径泊舟图","戴本孝（1621年－1691年），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代新安派画家之一。",[23,25,55,75,27,80,7,260,242,85,6873],"山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e7c0febcd0f56ffa4fd38b837a6abc.jpg","132cm×60cm",[88],{"id":6878,"slug":6879,"title":6880,"dynasty":369,"author":3743,"museum":6881,"description":6882,"tags":6883,"thumbUrl":6885,"material":37,"size":6886,"collection":60,"collections":6887,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":44},219075,"han-tang-tu-liang-kai-219075","寒塘图","哈佛艺术博物馆","寒塘漾着薄暮的影，枯树的枝桠如写尽沧桑的笔锋，斜斜划过空濛的背景。几只水鸟依偎在岸石边，绒羽的留白透着怯怯的暖，与周遭的冷寂形成温柔对照。淡墨晕开的水面，似有若无的波纹，把清寒气息漫向画外。\n\n减笔不简意，枯槁里藏生机，空疏中含情味——萧瑟里是生命在冷意中的坚守，空濛间是天地幽远的淡然。寥寥数笔，将冬日寒塘的清寂与微芒揉合，每一处墨色浓淡、线条曲直，都藏着对自然的深刻观照：冷到极致时，反而见得生命本真的模样。这方圆镜里，是画，更是心与天地的对话。",[25,55,3746,80,1231,134,153,7,6884],"寒水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3589e99e2899dbb7d805d459868c98e0.jpg","24.6x25.7cm",[60],{"id":6889,"slug":6890,"title":6891,"dynasty":369,"author":4081,"museum":112,"description":6892,"tags":6893,"thumbUrl":6894,"material":262,"size":59,"collection":122,"collections":6895,"showCount":6783,"zanCount":511,"manualWeight":43,"mainColor":64},218685,"gu-mu-liu-quan-tu-ma-he-zhi-218685","古木流泉图","画面构景极简，古木枝干如老龙盘空，墨色浓淡晕染出苍劲生机。流泉隐于林麓，清越似穿疏枝而来。右侧空濛处轻羽掠过，留白铺展天地空阔，暗合宋画“虚处藏神”之妙。用笔兼工带写，线条含篆籀圆劲与行书灵动，皴擦间古木肌理毕现。留白与实景相衬，营造清寂悠远的林下之趣。简淡中见深致，尽显宋画文人意趣，观者仿佛闻泉声穿林，听鸟啼落梢，沉浸于那份与世隔绝的静谧禅意里。",[23,25,26,55,53,82,1231,134,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ceaf0fdf52528f3e4d2f5c2edbd8b9b.jpg",[122],{"id":6897,"slug":6898,"title":6899,"dynasty":148,"author":201,"museum":6900,"description":6901,"tags":6902,"thumbUrl":6903,"material":262,"size":59,"collection":39,"collections":6904,"showCount":6783,"zanCount":511,"manualWeight":43,"mainColor":64},218438,"dui-yue-tu-yi-ming-218438","对月图","德川美术馆","素绢上的身影敛衣而坐，指尖似拈着月光的碎片。眉目低垂间，似与清辉私语，又或沉湎于案上书卷的墨香？身旁石案上的茶盏尚温，远山隐在淡墨晕染里，留白处尽是夜的空濛。线条如行云流水，不着浓彩，却将月夜的幽寂与内心的澄澈晕染开来。风过林梢的轻响，月色落地的微声，仿佛都藏在简淡笔触里，引观者一同沉入静谧时光，与画中人共享此刻清宁。那简素的勾勒中，藏着对自然与心境的叩问，让每一寸留白都成了思绪的延伸。",[25,26,24,27,434,55,30,864,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd60483ffc03c351b0cd0fcc7ebfb4c4.jpg",[39],{"id":6906,"slug":6907,"title":6908,"dynasty":18,"author":201,"museum":552,"description":6909,"tags":6910,"thumbUrl":6911,"material":37,"size":59,"collection":59,"collections":6912,"showCount":6783,"zanCount":43,"manualWeight":43,"mainColor":44},216714,"hong-lou-meng-fu-tu-ce-8-yi-ming-216714","红楼梦赋图册-8","山石错落间，粉艳花簇点缀，绿意轻缠石畔。一女子彩衣立石侧，凝睇花影；另一人红衣闲坐石前，姿态悠然。远处屋宇半隐，草木葱茏，水光依稀，晕开清宁之境。画面设色柔婉，线条细腻，将红楼场景的雅致闲情藏于笔底。人物神情含蓄，景物相映成趣，尽显古典园林的清幽意韵与闺阁间的温婉情致，似截取书中一段静谧时光，让观者在柔美的画面里，触到那份属于红楼的细腻与诗意。",[23,25,29,28,30,31,7,191,32,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c11c867ee2dca3bab7da81bc83a524a.jpg",[],{"id":6914,"slug":6915,"title":4660,"dynasty":18,"author":3720,"museum":552,"description":6916,"tags":6917,"thumbUrl":6918,"material":641,"size":642,"collection":59,"collections":6919,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},290000,"zhu-shi-tu-li-zhou-li-fang-ying-290000","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,24,25,26,27,55,32,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51cc84485d0a2bea0a112203a6013e0.jpg",[],40,{"id":6922,"slug":6923,"title":1353,"dynasty":302,"author":6367,"museum":112,"description":6368,"tags":6924,"thumbUrl":6925,"material":641,"size":642,"collection":59,"collections":6926,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":44},288263,"mu-dan-tu-teng-chang-you-288263",[23,24,25,26,27,29,56,28,191,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df52c67747442a7481301f56b33a898.jpg",[],{"id":6928,"slug":6929,"title":6930,"dynasty":69,"author":201,"museum":552,"description":6931,"tags":6932,"thumbUrl":6933,"material":641,"size":642,"collection":59,"collections":6934,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":44},288159,"ku-teng-lao-shu-tu-li-zhou-yi-ming-288159","枯藤老树图立轴","此作用笔苍劲老辣，以枯墨皴擦出古松嶙峋老干，虬曲枝桠如铁戟森然，松针攒簇细密，尽显饱经风霜的古拙意气。冷月高悬，淡墨晕染出空濛清辉，将夜色的荒寒铺陈开来。坡石旁丛竹挺秀疏朗，瘦劲枝叶与苍松相映，刚柔互济。全画以水墨写就，浓淡相宜，淡墨晕染出空寂夜色，浓墨勾勒筋骨，萧疏静谧间，尽显林下幽居的孤高意趣，暗合寄情林泉、不与俗伍的文人心境。",[23,25,27,55,1231,134,32,7,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07026ed6aab10adbe73f7f746e3383.jpg",[],{"id":6936,"slug":6937,"title":6938,"dynasty":18,"author":6939,"museum":71,"description":6940,"tags":6941,"thumbUrl":6942,"material":507,"size":6943,"collection":39,"collections":6944,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},238295,"shi-liu-luo-han-ce-jia-quan-238295","十六罗汉册","贾全","贾全，生卒年不详，乾隆时供奉内廷。工画人物及马。此册画不同形象的罗汉十六尊。佛像采用中国传统人物画技法，勾线填色。人物神态平和，面部晕染有致，衣纹流畅，背景简率。",[25,26,53,29,28,55,576,30,101,80,82,7,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d73bf3f1eb13ad969126a5b8ecc69d.jpg","纵31.5厘米横25厘米",[39,105],{"id":6946,"slug":6947,"title":6948,"dynasty":18,"author":6949,"museum":552,"description":6950,"tags":6951,"thumbUrl":6953,"material":59,"size":59,"collection":60,"collections":6954,"showCount":6920,"zanCount":511,"manualWeight":43,"mainColor":64},238274,"hua-qia-xuan-yuan-tu-ce-huang-yue-238274","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。",[25,29,56,53,6952,662,1136,491,160,1033,7],"枸杞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c58126e2ccbab6b27ba717f63b9702.jpg",[60,105],{"id":6956,"slug":6957,"title":6958,"dynasty":18,"author":4274,"museum":552,"description":6959,"tags":6960,"thumbUrl":6961,"material":59,"size":59,"collection":88,"collections":6962,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},237240,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237240","古木竹石图册","此作用笔松秀空灵，以枯淡墨色绘就溪畔垂柳，柔条袅袅垂落，尽显清灵舒展之态。远山以淡墨晕染，虚实交融，朦胧悠远，溪岸点缀丛竹顽石，意到即止。\n画面留白疏阔，以空衬实，尽显逸笔草草的文人意趣，笔简意足，以极简笔墨勾勒江南水畔的清寂春景。整幅画风淡穆萧散，将闲散淡远的林下之风融于毫端，观之如临幽寂水滨，心神随之沉静，尽显文人画简雅空疏的幽远意境。",[25,55,53,75,80,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3c69b0bbe9a5fb1f7734c4a3221339.jpg",[88,122],{"id":6964,"slug":6965,"title":6966,"dynasty":69,"author":1505,"museum":552,"description":6967,"tags":6968,"thumbUrl":6969,"material":59,"size":59,"collection":59,"collections":6970,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},235259,"qing-lv-shan-shui-tu-zhou-dong-qi-chang-235259","青绿山水图轴","此作用笔苍秀老辣，主山奇崛高挺，皴擦勾勒间尽显嶙峋骨相。坡岸林木错落舒展，枝叶含风，近滩浅渚清寂悠然。以书入画，线条带着书法般的散逸韵律，墨色干湿互济，留白空灵悠远，晕染出萧疏淡远的林下意境。题款与画面浑融无间，诗书画印相映成趣，褪去匠造之气，直写胸中丘壑，将山水清灵与文人雅怀融为一体，尽显淡宕萧散的逸格风神。",[25,26,27,862,29,80,7,81,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66cd1e7aa3ae669cd93a858b870ee35.jpg",[],{"id":6972,"slug":6973,"title":5874,"dynasty":18,"author":941,"museum":71,"description":6974,"tags":6975,"thumbUrl":6976,"material":139,"size":6977,"collection":59,"collections":6978,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},234952,"fang-ni-shan-shui-tu-hong-ren-234952","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[25,55,80,27,75,349,133,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76b1e0fbf86ad46a2347ec4246aa9e3.jpg","纵133.1厘米，横62.7厘米",[],{"id":6980,"slug":6981,"title":6982,"dynasty":69,"author":6983,"museum":71,"description":6984,"tags":6985,"thumbUrl":6986,"material":967,"size":6987,"collection":59,"collections":6988,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},234851,"lan-zhu-shui-xian-tu-ma-shou-zhen-234851","兰竹水仙图","马守真","作者以娴熟的笔墨勾画出清风吹拂下兰、竹摇曳的形貌。兰、竹是妓女画家们最热衷描绘的题材。其因：第一，兰、竹与松、梅被历代文人赞美为画中的“四君子”，通过表现有君子风范的兰、竹 可以标示出画家自身的高洁情怀；第二，兰的清幽、竹的虚静均能映衬出妓女们的某种特殊心态；第三，也是最为关键的一点，即绘画为文人雅士与青楼女子交流的一项文化内容，兰、竹形象简单，创作时所需的时间较短，纵情涂抹三二枝便可形完气足，以助一时之兴。因此，在明代涌现出众多以擅绘兰、竹闻名的妓女画家，马守真是其中的佼佼者。马守真以画兰之精、之专而扬名江南，因此自号“湘兰”。\n马守真在兰、竹创作上不重视对兰、竹外在形态的细致刻画，而重在写出兰、竹的内涵精神，聊以抒发心中之逸气。因此，她从用笔、施墨到构图都极其随意，但内藏机巧，不失韵味。她笔下的具飘逸野趣的兰、竹不同于文俶等闺秀画家精工细描的庭院中的闲花静草，而与男性文人画家、尤其是“吴门画派”中文徵明等人的花卉艺术有更多相近之处，反映了妓女对男性文人画家的迎合及师承关系。",[25,26,55,173,188,32,174,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa023505e604a1f2ec2adedadc3d6df7b.jpg","纵83.5厘米，横47.2厘米",[],{"id":6990,"slug":6991,"title":6992,"dynasty":69,"author":4336,"museum":71,"description":6993,"tags":6994,"thumbUrl":6995,"material":2175,"size":6996,"collection":59,"collections":6997,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":44},234133,"wen-zheng-ming-lin-song-xue-lan-shi-juan-wen-zheng-ming-234133","文徵明临松雪兰石卷","画幽兰一丛,小竹一枝,生于坡石之间,点缀以荆棘杂草",[23,25,26,74,55,78,76,79,188,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56557e2a2e1aa0a998c2c9f99a8dcc16.jpg","纵28厘米,横62.5厘米",[],{"id":6999,"slug":7000,"title":7001,"dynasty":18,"author":697,"museum":552,"description":7002,"tags":7003,"thumbUrl":7004,"material":59,"size":59,"collection":59,"collections":7005,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},224374,"hua-hui-qi-shi-ce-shi-er-kai-3-ju-lian-224374","花卉奇石册-十二开-3","此作笔致秀润恬和，淡墨勾皴湖石，奇崛古拙，空灵苍润间尽显嶙峋意趣。素盆秋菊柔色轻绽，嫩蕊鲜妍和素净瓷盆相映，晕开一室清雅文气。\n\n角落散落的花生、坠果带着日常烟火意趣，石畔小兽探头轻觑，为幽寂的文房清供添上灵动野趣。整体设色浅淡明净，衬着绢底古雅底色，将文人闲居的恬淡意兴融于尺幅，工写兼济间，把清供小品的雅静与鲜活日常交织，尽显平淡天真的悠然情致。",[23,25,26,53,28,29,56,7,189,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b4da7d3931604a708831e97b24647c.jpg",[],{"id":7007,"slug":7008,"title":7009,"dynasty":69,"author":431,"museum":552,"description":7010,"tags":7011,"thumbUrl":7012,"material":1106,"size":7013,"collection":39,"collections":7014,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,24,27,28,434,29,30,7,1921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52772eece37edbf9b7da25588c5bae5.jpg","95x51cm",[39,105],{"id":7016,"slug":7017,"title":7018,"dynasty":148,"author":823,"museum":112,"description":7019,"tags":7020,"thumbUrl":7021,"material":205,"size":7022,"collection":122,"collections":7023,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":44},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》。",[23,24,25,26,27,55,434,28,32,826,7,75,1850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm",[122,411],{"id":7025,"slug":7026,"title":7027,"dynasty":369,"author":7028,"museum":71,"description":7029,"tags":7030,"thumbUrl":7031,"material":6445,"size":7032,"collection":497,"collections":7033,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},221428,"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[23,25,26,74,55,29,80,277,82,7,134,349,153,75,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg","纵47.3厘米，横115.6厘米",[497,88,122],{"id":7035,"slug":7036,"title":7037,"dynasty":69,"author":1505,"museum":71,"description":2869,"tags":7038,"thumbUrl":7039,"material":7040,"size":7041,"collection":59,"collections":7042,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},220912,"shan-shui-ce-6-dong-qi-chang-220912","山水册6",[23,25,55,75,53,80,115,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d454b71b8d54a070f37dccb8b6aedc.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],{"id":7044,"slug":7045,"title":7046,"dynasty":148,"author":997,"museum":20,"description":7047,"tags":7048,"thumbUrl":7050,"material":327,"size":59,"collection":122,"collections":7051,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[23,24,25,26,74,55,78,75,32,826,7049,7,79],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[122,411],{"id":7053,"slug":7054,"title":7055,"dynasty":148,"author":201,"museum":112,"description":7056,"tags":7057,"thumbUrl":7058,"material":55,"size":7059,"collection":122,"collections":7060,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":44},219961,"chun-shan-tu-yi-ming-219961","春山图","皴山画树，笔法灵动天然，毫不雕饰，质朴中具冷逸幽趣。幅中山石大都呈圆弧状，以枯笔浓墨和遒劲挺捷的笔法勾勒，淡墨渲染不多或因纸质关系而年久微退去，故浓墨圆笔点苔及枯枝树则显得甚为突出，全幅散发出一股冷涩枯寂的美感。\n该幅无作者名款，有学者从画上杨维祯题诗之书法风格与画中山石的轮廓线条笔意相仿，认为款题与画作皆出于一人之手。",[23,25,55,75,77,79,80,134,277,82,7,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04333cd7272b341e82a959a4c32fe0f3.jpg","73.2x42.3公分",[122],{"id":7062,"slug":7063,"title":7064,"dynasty":18,"author":2149,"museum":71,"description":7065,"tags":7066,"thumbUrl":7067,"material":37,"size":7068,"collection":88,"collections":7069,"showCount":6920,"zanCount":511,"manualWeight":43,"mainColor":44},219747,"du-fu-shi-yi-tu-wang-shi-min-219747","杜甫诗意图","此图为唐代诗人杜甫“竹深留客处，荷净纳凉时”佳句为题，描绘的是一片竹林景色。图中丛草茂密，绿竹幽深，连绵万顷，层层叠翠，尤以竹林深处，一条蜿蜒小路上，有二人策驴缓行，显然是欲溯溪而上，至一塘绿水处，荷叶飘香，临流水阁数间，令人畅想，不免有流连忘返之意，若能高卧闲居，听竹闻香，自然就可以荣辱皆忘，陶然忘机。所谓一心，就是这个状态，无关乎身家性命，但求此心真诚无二，为将者保家卫国，为画者怡情自乐，君子无为而无不为，皆能不出其位，用现在的话说，就是干一行，爱一行，少些杂念，自然可以有所成就。岳飞曾说，文官不爱钱，武官不惜命。其实也是这个道理。故人若能一心不乱，大可以报效国家于危难之际，小可以洁身自好于巷陌之间。",[23,25,26,74,273,55,29,32,81,135,1212,277,349,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵39厘米，横25.5厘米",[88],{"id":7071,"slug":7072,"title":7073,"dynasty":18,"author":214,"museum":150,"description":7074,"tags":7075,"thumbUrl":7076,"material":37,"size":7077,"collection":105,"collections":7078,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},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.",[25,29,28,27,153,56,134,191,7,375,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678e3c3bb0d57d844c094fac8c221dc5.jpg","177.2x97.4",[105],{"id":7080,"slug":7081,"title":7082,"dynasty":69,"author":431,"museum":835,"description":7083,"tags":7084,"thumbUrl":7085,"material":37,"size":59,"collection":59,"collections":7086,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},218019,"za-hua-ce-11-chen-hong-shou-218019","杂画册-11","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。",[24,25,26,53,29,28,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1922d884b4ff6a8569e2c2b78a1b5aae.jpg",[],{"id":7088,"slug":7089,"title":7090,"dynasty":69,"author":7091,"museum":1942,"description":7092,"tags":7093,"thumbUrl":7094,"material":37,"size":7095,"collection":88,"collections":7096,"showCount":6920,"zanCount":511,"manualWeight":43,"mainColor":44},217944,"yun-shan-tu-he-cheng-217944","云山图","何澄","《云山图》是一幅山水画，描绘的是山峦起伏的山岭，被浓密的云雾笼罩。何澄在画中运用了笔触细腻的技巧，将云山的起伏变化和神秘感表现得淋漓尽致。画中还有几只飞鸟，增添了画面的生动感。\n\n《云山图》被认为是何澄的代表作，也是明朝山水画的经典之作。它不仅体现了何澄的艺术才华，也展示了明朝时期对自然、山水的描绘方式。",[25,26,27,55,80,1911,115,338,81,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668c05cfb3d1386b314e770bdd9f091c.jpg","94.6x39.1cm",[88],{"id":7098,"slug":7099,"title":7100,"dynasty":69,"author":7101,"museum":874,"description":7102,"tags":7103,"thumbUrl":7104,"material":37,"size":59,"collection":60,"collections":7105,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":44},216735,"hua-niao-ye-chen-xun-216735","花鸟页","陈询","陈询是一位明朝画家，他出生于公元1340年左右，是著名画家陈丹青的后代。他以其优秀的绘画技艺和对自然的热爱而闻名。他的花鸟图是其代表作之一，这些作品描绘了自然界中的动植物，特别是花和鸟。这些作品通常以水墨画的形式呈现，具有浓郁的文化气息和精细的细节。陈询的花鸟图被认为是中国画的经典之作，至今仍广受欢迎。",[25,29,56,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d8256ebfba18ef8b93df884871df4c.jpg",[60],{"id":7107,"slug":7108,"title":7109,"dynasty":148,"author":404,"museum":112,"description":7110,"tags":7111,"thumbUrl":7112,"material":262,"size":59,"collection":59,"collections":7113,"showCount":6920,"zanCount":43,"manualWeight":43,"mainColor":64},216388,"mo-zhu-pu-ce-2-wu-zhen-216388","墨竹谱册-2","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[24,25,26,55,53,78,79,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3c05bce231b2c30f11f1daf051aca3.jpg",[],{"id":7115,"slug":7116,"title":7117,"dynasty":18,"author":49,"museum":552,"description":7118,"tags":7119,"thumbUrl":7120,"material":59,"size":59,"collection":59,"collections":7121,"showCount":7122,"zanCount":43,"manualWeight":43,"mainColor":64},235913,"xiao-shan-zhu-shu-ye-yun-shou-ping-235913","小山竹树页","此作以修竹为画面核心，几竿新篁挺拔清劲，竹叶以浓淡墨色点染，攒聚错落间尽显阴阳开合，笔力爽利，将竹的清健风骨跃然纸上。\n远景山峦以淡墨晕染勾勒，留白为水，不着一笔却见湖光悠悠，湖畔茅亭极简勾勒，野逸闲淡之趣自生。\n全作用笔简净空灵，以少胜多，舍弃繁复皴擦，借浅淡水墨写尽丘林幽致。右上角题识与朱印呼应，书画相融，为画面添了雅致文气，将江南小景的清寂空阔藏在尺幅之中，尽显萧散淡远的文人意韵，借花木山水寄寓了幽远襟怀。",[25,55,80,32,117,349,7,75,1694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4220102cf9fcc83ce62cc8c4a1a42f1e.jpg",[],39,{"id":7124,"slug":7125,"title":7126,"dynasty":18,"author":7127,"museum":552,"description":7128,"tags":7129,"thumbUrl":7130,"material":59,"size":59,"collection":88,"collections":7131,"showCount":7122,"zanCount":43,"manualWeight":43,"mainColor":64},235638,"shan-shui-tu-ce-wu-li-235638","山水图册","吴历","此作用笔苍秀，干笔皴擦间墨色清润澹远。近岸枯木虬曲，石径隐于荒草间，寒林错落自具苍劲姿态。水畔茅亭孑立，空无一人，愈发衬出周遭岑寂。远景汀渚层叠，烟波留白晕出水天浩渺，将江南水滨冬日的荒寒淡远尽数铺陈。\n\n画面萧疏冷寂，题句呼应着幽栖独处的意趣，以简淡笔墨写尽林泉幽致，尽显文人画的雅致襟怀，把避俗幽居的澹泊心境融于山水间，空濛冷逸，意境萧散清远。",[25,55,80,53,75,349,134,82,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd513fedc147c373822b59addc09428d0.jpg",[88],{"id":7133,"slug":7134,"title":7135,"dynasty":69,"author":6331,"museum":112,"description":7136,"tags":7137,"thumbUrl":7138,"material":7139,"size":7140,"collection":59,"collections":7141,"showCount":7122,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[24,25,26,28,29,56,32,7,153,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea9b5dca7488b3da49917c162f50947.jpg","设色画","纵165．2厘米，横98．3厘米",[],{"id":7143,"slug":7144,"title":7145,"dynasty":69,"author":431,"museum":130,"description":7146,"tags":7147,"thumbUrl":7150,"material":59,"size":59,"collection":59,"collections":7151,"showCount":7122,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,25,26,27,28,29,434,30,7148,7149,133,7,6791,135,81,259],"高士","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":7153,"slug":7154,"title":7155,"dynasty":18,"author":214,"museum":552,"description":7156,"tags":7157,"thumbUrl":7158,"material":59,"size":59,"collection":59,"collections":7159,"showCount":7122,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,55,28,53,75,7,174,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e33e35df1057ef9012851ceb54ab5.jpg",[],{"id":7161,"slug":7162,"title":7163,"dynasty":18,"author":384,"museum":552,"description":606,"tags":7164,"thumbUrl":7165,"material":119,"size":59,"collection":786,"collections":7166,"showCount":7122,"zanCount":43,"manualWeight":43,"mainColor":64},223303,"zhu-shi-tu-zhou-5-zheng-ban-qiao-223303","竹石图轴5",[23,25,26,27,55,32,7,78,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af9eb8cd727abdde614938ed2da94da.jpg",[786],{"id":7168,"slug":7169,"title":7170,"dynasty":69,"author":1184,"museum":112,"description":7171,"tags":7172,"thumbUrl":7174,"material":119,"size":7175,"collection":88,"collections":7176,"showCount":7122,"zanCount":43,"manualWeight":43,"mainColor":64},222353,"li-shi-cong-hui-tu-tang-yin-222353","立石丛卉图","此画描绘了立石之下，几丛草花盛开。整幅作品只用水墨以没骨法大笔写出。\n立石通过皴笔的染擦，并以留白的方式写出阴阳向背，突出山石的质感。草花的浓淡墨色运用恰到好处。构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。画幅中自题：“杂卉烂春色，孤峰积雨痕。 譬若古贞士，终身伴菜根。”",[23,25,26,27,55,75,7,7173],"丛卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8502ef94696876ba6fce97d697a6ca9.jpg","52.60x28.60cm",[88,122],{"id":7178,"slug":7179,"title":7180,"dynasty":18,"author":49,"museum":552,"description":7181,"tags":7182,"thumbUrl":7183,"material":327,"size":59,"collection":88,"collections":7184,"showCount":7122,"zanCount":43,"manualWeight":43,"mainColor":44},221004,"du-shu-le-zhi-tu-yun-shou-ping-221004","读书乐志图","自从恽南田以高逸的山书画和寓意的没骨花卉写生画问世后，追随者众多。常州画派就是在这种审美风尚的趋引下，自然形成的的。",[23,714,55,75,80,1231,134,522,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbc2d65fab42a70cd08850963b499af.jpg",[88,122],{"id":7186,"slug":7187,"title":7188,"dynasty":18,"author":6283,"museum":184,"description":7189,"tags":7190,"thumbUrl":7192,"material":262,"size":7193,"collection":88,"collections":7194,"showCount":7122,"zanCount":43,"manualWeight":43,"mainColor":64},219355,"han-tang-xi-chi-tu-wang-hui-219355","寒塘鸂鶒图","《寒塘鸂鶒图》描绘的是江南随处可见的池塘一角，有稀疏的草木、零散的荷叶苇草，以及在当中玩耍的水鸟。近景向中远景延伸，墨色渐渐转淡，隐隐约约可以看见一些景物，相当朦胧虚幻，彷彿隔着一片薄雾，富有诗意。",[23,25,26,55,75,7191,33,965,134,7,1991],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4dce38db866812034183e07f13c1b6.jpg","73 x 41.6 公分",[88,60],{"id":7196,"slug":7197,"title":7198,"dynasty":148,"author":7199,"museum":112,"description":7200,"tags":7201,"thumbUrl":7202,"material":205,"size":59,"collection":88,"collections":7203,"showCount":7122,"zanCount":511,"manualWeight":43,"mainColor":64},218741,"xi-shan-xue-yi-tu-zhang-yu-218741","溪山雪意图","张雨","雪裹溪山，素净如笺。寒林疏枝横斜，似在静默中与天地对语。山间茅舍隐于皑雪，不见人踪，却藏着一份遗世的安然。笔墨简淡而意韵深幽，枯笔勾勒的山石与留白的雪色交织，将冬日的空濛与文人的孤高心境凝于画间。每一处留白都是雪的呼吸，每一笔线条都是心的独白，似能透过画面触到那份远离尘嚣的清寂，感受元代文人笔下山水的空灵与禅意。寒枝、皑峰、幽舍，共同织就一幅冷寂却温情的冬日图景，尽显文人画的雅致与哲思。",[23,25,26,55,29,75,80,851,133,135,921,3203,1212,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d448db60ab16f22dad017cba7f8823.jpg",[88],{"id":7205,"slug":7206,"title":7207,"dynasty":148,"author":201,"museum":112,"description":7208,"tags":7209,"thumbUrl":7211,"material":37,"size":7212,"collection":39,"collections":7213,"showCount":7122,"zanCount":43,"manualWeight":43,"mainColor":44},216205,"han-yuan-lie-qi-tu-yi-ming-216205","寒原猎骑图","蕃骑游猎草原上，野兽惊骇逃窜。二骑追逐夹击一鹿，正挽弓欲射，最引人注目，成为画幅之焦点。画风与明画院之人马作品相近似。",[23,25,24,26,29,80,30,306,101,75,865,153,7,7210],"荒原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45faf22c49aa6873d7c5bff973cba879.jpg","75x98.5cm",[39],{"id":7215,"slug":7216,"title":7217,"dynasty":18,"author":7218,"museum":552,"description":7219,"tags":7220,"thumbUrl":7222,"material":641,"size":642,"collection":59,"collections":7223,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":64},290437,"mi-fei-bai-shi-tu-li-zhou-wang-zhen-290437","米芾拜石图立轴","王震","王一亭（1867年—1938年11月），号白龙山人、梅花馆主、海云楼主等，法名觉器。祖籍浙江吴兴（今湖州市），生于上海周浦。清末民国时期上海著名书画家、实业家、杰出慈善家、社会活动家与宗教界名士。\n曾两次任上海总商会主席。加入中国同盟会，资助辛亥革命和二次革命，任中国国民党上海分部部长。上海光复后，历任军政府交通部长、商务总长、中华银行董事。后任南京国民政府中央救灾准备金保委会委员长。曾任中国佛教会执行委员兼常委，上海佛学书局董事长，致力于慈善事业。对海派书画艺术的繁荣和对外交流贡献卓绝。\n王一亭作品具有近代人文主义意识。早年学画得徐小仓指点，后师从任伯年，画艺大进，继承任派风格。晚与金石派大师吴昌硕亦师亦友，趋向阔笔写意，设色浓艳，笔墨酣畅，气势雄阔而不失写实本色。构图讲究，诗书画印，浑然一体。在清末民初海上画派中影响仅次于吴昌硕。吴昌硕赠诗王一亭曰：“天惊地怪生一亭，笔铸生铁墨寒雨。”\n1932年任全国艺术家协会理事。1937年日寇侵占上海后，坚辞不就伪职，表现出高贵的劲风亮节。1938年11月病逝。重庆国民政府明令褒扬公葬。蒋介石题送挽联：“当飘摇风雨之中弥征劲节，待整顿乾坤而后重吊斯人”。",[23,25,27,55,29,30,7,77,78,7221],"米芾拜石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb631ca950933560345aaf0fbe0acb21.jpg",[],{"id":7225,"slug":7226,"title":2967,"dynasty":369,"author":1908,"museum":112,"description":3963,"tags":7227,"thumbUrl":7228,"material":205,"size":7229,"collection":497,"collections":7230,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":1551},290337,"hua-xue-jing-zhou-li-tang-290337",[24,25,27,273,55,75,851,83,2352,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209ee3197ccc570616f0231447ddfeca.jpg","197.2x107.1",[497],{"id":7232,"slug":7233,"title":7234,"dynasty":369,"author":3867,"museum":112,"description":7235,"tags":7236,"thumbUrl":7237,"material":641,"size":642,"collection":59,"collections":7238,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":44},290330,"hu-die-hua-zhou-yang-wu-jiu-290330","蝴蝶花轴","杨无咎（1097年～1171年）字补之，杨一作扬，一说名补之，字无咎。自号逃禅老人、清夷长者、紫阳居士。临江清江（今江西樟树市）人，寓居洪州南昌。绘画尤擅墨梅。",[25,26,27,56,55,29,5536,7,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faead7d623474f00490379551d5dc9d47.jpg",[],{"id":7240,"slug":7241,"title":7242,"dynasty":18,"author":96,"museum":71,"description":7243,"tags":7244,"thumbUrl":7247,"material":139,"size":7248,"collection":60,"collections":7249,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":64},238121,"yue-ye-shan-ji-tu-zhou-ren-yi-238121","月夜山鸡图轴","任颐的花鸟画多有兼工带写、明丽活泼的特点。画中巨石用淡墨勾写，以赭色随意勾描石上的丛草，竹子采用工写结合的方法，山鸡则以短粗的线条细细地绘出其皮毛的质感，又以浓淡设彩的变化呈现其体积感，使山鸡神情毕肖。全图用笔奔放灵活，设色淡雅清新，构图平中求奇，静中寓动。\n1998年，由北京大学张青莲教授转让，故宫博物院购藏。",[25,27,29,55,173,56,7245,7,32,7246],"山鸡","月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059fae90ced9eeb925fdc440f4355ca3.jpg","纵111.2厘米，横55.4厘米",[60],{"id":7251,"slug":7252,"title":7253,"dynasty":69,"author":183,"museum":71,"description":7254,"tags":7255,"thumbUrl":7256,"material":967,"size":7257,"collection":88,"collections":7258,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":64},237697,"fang-huang-gong-wang-shan-shui-zhou-xiang-sheng-mo-237697","仿黄公望山水轴","此画为仿古山水画，有黄公望遗风。本幅上自题：“曾见痴翁半张纸，不多数笔山与水。自然苍润有云烟，聊复从翁画如此。此为会嘉兄临黄子久半张纸，是画即藏李氏秘笈中。崇祯壬申二月晦日题于鹤梦轩，项圣谟。”钤印“项圣谟诗画”、“拙胜”等。",[25,26,27,76,75,55,78,80,115,117,7,136,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7793cd0d1b4e78c00e3fefb6342305.jpg","43.7厘米，横：31厘米",[88,786],{"id":7260,"slug":7261,"title":7262,"dynasty":18,"author":941,"museum":552,"description":4492,"tags":7263,"thumbUrl":7264,"material":641,"size":642,"collection":59,"collections":7265,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":64},237366,"hong-ren-shan-shui-tu-zhou-hong-ren-237366","弘仁山水图轴",[25,26,27,55,75,80,32,349,7,277,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2198db8b7023d2d9d377941e9c3aa1.jpg",[],{"id":7267,"slug":7268,"title":7269,"dynasty":18,"author":6283,"museum":71,"description":7270,"tags":7271,"thumbUrl":7272,"material":59,"size":59,"collection":88,"collections":7273,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":64},236459,"fang-ke-jiu-si-xiao-jing-zhou-wang-hui-236459","仿柯九思小景轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[25,27,55,75,76,80,260,1073,135,82,153,277,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91841eaba7f22bffc8d14d98e83c8bd9.jpg",[88,122,786],{"id":7275,"slug":7276,"title":7277,"dynasty":18,"author":96,"museum":552,"description":7278,"tags":7279,"thumbUrl":7280,"material":59,"size":59,"collection":59,"collections":7281,"showCount":42,"zanCount":511,"manualWeight":43,"mainColor":64},230125,"hua-hui-tu-ce-12-zhen-ren-yi-230125","花卉图册12帧","此作用笔兼工带写，以朱砂点簇秋实，圆厚鲜活，仿佛能触到饱满生机。浓墨绘叶，焦墨勾筋，苍劲朴拙，和淡墨晕染的湖石形成强烈的虚实对照。右侧留白疏朗空灵，衬出花木蓬勃意态。设色艳而不妖，朱红、浓墨与浅灰层次分明，将秋果鲜活与湖石清寂相融，既有写生的生动写实，又兼具文人写意的疏放洒脱，把花木生机与清雅文心合而为一，尽显雅致灵动的画中逸趣。",[25,26,53,29,55,56,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F745db1e5257ed10b6f6364e406e8c5a4.jpg",[],{"id":7283,"slug":7284,"title":7285,"dynasty":18,"author":7286,"museum":552,"description":7287,"tags":7288,"thumbUrl":7289,"material":59,"size":59,"collection":59,"collections":7290,"showCount":42,"zanCount":209,"manualWeight":43,"mainColor":64},230114,"ren-wu-tu-ce-sun-huang-230114","人物图册","孙璜","此作为圆光小品，以柔婉笔致勾勒春闺闲景。垂柳丝绦轻曳，梅枝缀花斜伸，归燕剪破柔空，晕开春日融融暖意。两位仕女依偎苍奇湖石，衣袂舒展如云，侧身絮语、含笑倾听，将深闺密友间的亲昵静好藏在眉眼唇角。设色清润雅致，线条秀逸细腻，湖石皴染苍润兼具，花木点染鲜活灵动，将江南春景的柔媚与闺中女子的温婉心绪相融，把寻常闺间闲情晕染出淡远诗意，尽显小品仕女画的雅致情致。",[25,26,53,28,29,30,31,7,153,307,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd52a6a6b3652582c52ba826c2e362e90.jpg",[],{"id":7292,"slug":7293,"title":7294,"dynasty":369,"author":201,"museum":552,"description":7295,"tags":7296,"thumbUrl":7297,"material":59,"size":59,"collection":59,"collections":7298,"showCount":42,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,25,26,714,29,28,80,30,134,32,7,921,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08840f39db0cf9f63dbb5ad9f829aaed.jpg",[],{"id":7300,"slug":7301,"title":7302,"dynasty":18,"author":214,"museum":552,"description":7303,"tags":7304,"thumbUrl":7305,"material":59,"size":59,"collection":59,"collections":7306,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":44},224189,"hua-niao-cao-chong-tu-ba-08-hua-yan-224189","花鸟草虫图八-08","这幅小品以空灵留白铺就底色，斜曳竹枝破开空寂，清隽湖石晕染出雅致青绿，与浅赭淡墨调和出柔和古雅的基调。石上狸猫团身酣眠，憨态宛然；石下乳犬抬首凝视，稚拙灵动，另有小犬伏于草间，野趣横生。\n作者以工写兼施之法，将小生灵的情态刻画入微，幽花细草点缀其间，把林下闲时的寻常小景晕染成充满悠然意趣的画卷，尽显恬淡治愈的文人雅韵，灵动雅致间定格住山野闲情。",[23,25,29,53,173,32,7,160,101,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee46bd5b46ec743c1b27057c1a30d048.jpg",[],{"id":7308,"slug":7309,"title":7310,"dynasty":18,"author":516,"museum":50,"description":517,"tags":7311,"thumbUrl":7312,"material":313,"size":530,"collection":59,"collections":7313,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":44},223074,"hong-lou-meng-60-sun-wen-223074","红楼梦60",[23,25,24,28,29,30,523,242,277,80,1073,7,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc778f30d6320cf2226001639f7dbc7e6.jpg",[],{"id":7315,"slug":7316,"title":7317,"dynasty":69,"author":70,"museum":112,"description":7318,"tags":7319,"thumbUrl":7321,"material":59,"size":59,"collection":60,"collections":7322,"showCount":42,"zanCount":511,"manualWeight":43,"mainColor":64},222126,"jiao-yin-qin-si-tu-shen-zhou-222126","蕉阴琴思图","一块长形的太湖石，一株高大翠绿的芭蕉，下坐一名高士扶琴静思，左上题诗日：“焦下不生暑，坐生知古心。抱琴未须鼓，天地自知音。”落款长洲沈周。整幅作品笔简意赅，虽墨点无多却意蕴凿凿、余味深长，布局与《秋林独步图》如出一辙，其悠然自得之情跃然方寸。",[23,24,25,26,714,55,29,30,7,7320,1446,77,79],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebd64831ee8b273146574817aaefdc3.jpg",[60,105],{"id":7324,"slug":7325,"title":7326,"dynasty":148,"author":201,"museum":112,"description":7327,"tags":7328,"thumbUrl":7332,"material":37,"size":59,"collection":60,"collections":7333,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":44},218398,"hua-ma-hu-dou-tu-yi-ming-218398","画马虎斗图","荒野沙坡间，一场生死搏杀凝于绢素。虎身弓如满月，爪牙凌厉前探，斑纹随扑跃之势流转，鬃毛贲张似怒涛翻卷；马则后蹄蹬沙欲退，前蹄奋起抵敌，尾鬃狂甩如惊风乍起，目露惊惶却未失悍勇。稀疏草木点缀沙碛，更显对峙的孤绝与激烈。笔墨刚劲利落，线条勾勒出兽类健硕肌理，设色古朴沉郁，绢本棕褐底色衬得野性碰撞愈发动魄。画家精准捕捉瞬间动态，每一处毛发颤动、蹄爪着力，都藏着惊心动魄的力量，令观者如临其境，屏息凝视这场荒野中的悍勇对决。",[23,24,25,26,29,28,2777,306,101,7,7329,7330,7331],"荒草","灌木","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb750130b6ddf73afbbc1100e84494f1.jpg",[60],{"id":7335,"slug":7336,"title":7337,"dynasty":69,"author":1018,"museum":552,"description":7338,"tags":7339,"thumbUrl":7341,"material":641,"size":642,"collection":59,"collections":7342,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":44},290012,"xian-tao-tu-lv-ji-290012","仙桃图","吕纪，字廷振，号乐愚，鄞县（今浙江省宁波市）人。以花鸟画著称，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",[25,24,27,28,29,56,7340,32,243,7],"仙桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfc6860bace018c3e7ac2c632aba926f.jpg",[],37,{"id":7345,"slug":7346,"title":7347,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":7348,"thumbUrl":7349,"material":641,"size":642,"collection":59,"collections":7350,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},288834,"xun-xian-ce-ye-8-shi-tao-288834","寻仙册页-8",[25,53,55,29,80,30,85,153,7,82,137,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43215ec3ec475a27bed140b5da70b60f.jpg",[],{"id":7352,"slug":7353,"title":1277,"dynasty":18,"author":941,"museum":552,"description":1278,"tags":7354,"thumbUrl":7355,"material":59,"size":1281,"collection":59,"collections":7356,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},238030,"hong-ren-shan-shui-tu-ce-hong-ren-238030",[24,25,26,53,55,75,80,7,82,133,349,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a3f0273ba838ad249818da5b0f02d07.jpg",[],{"id":7358,"slug":7359,"title":6061,"dynasty":18,"author":475,"museum":552,"description":7360,"tags":7361,"thumbUrl":7362,"material":59,"size":59,"collection":88,"collections":7363,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},237906,"shan-shui-zhou-zhu-da-237906","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[25,55,27,75,80,81,135,134,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeb96d04f2547d63809c206cc57897c.jpg",[88],{"id":7365,"slug":7366,"title":7367,"dynasty":18,"author":6283,"museum":552,"description":7368,"tags":7369,"thumbUrl":7370,"material":59,"size":59,"collection":60,"collections":7371,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},237888,"wang-hui-ya-zhen-tu-heng-fang-ye-wang-hui-237888","王翚鸦阵图横方页","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[25,3533,1694,75,55,153,133,135,82,81,7,79,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f77cb5f5efef0d0dd541b2a6f81ea3a.jpg",[60,122],{"id":7373,"slug":7374,"title":7375,"dynasty":18,"author":7376,"museum":71,"description":7377,"tags":7378,"thumbUrl":7379,"material":59,"size":59,"collection":59,"collections":7380,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},237111,"shi-nv-ce-cui-wei-237111","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。",[25,26,53,28,29,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe22b31def3843085770c4724db34f576.jpg",[],{"id":7382,"slug":7383,"title":7384,"dynasty":18,"author":214,"museum":71,"description":7385,"tags":7386,"thumbUrl":7387,"material":139,"size":7388,"collection":60,"collections":7389,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},236339,"liu-yin-shi-nv-zhou-hua-yan-236339","柳荫仕女轴","此图绘一端庄文弱的女子,此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[25,27,55,29,434,30,31,907,7,117,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5db8902cc7bd108ea1d0ba1c4f56d5.jpg","纵82厘米，横32.2厘米",[60,122,786],{"id":7391,"slug":7392,"title":7393,"dynasty":69,"author":5153,"museum":20,"description":7394,"tags":7395,"thumbUrl":7396,"material":313,"size":7397,"collection":59,"collections":7398,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},231942,"shui-xian-mei-shi-tu-lu-zhi-231942","水仙梅石图","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,24,25,26,53,55,29,75,174,187,7,864,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587bc15a5e71aa8fa86fc5985d68c8b.jpg","58×44cm",[],{"id":7400,"slug":7401,"title":7402,"dynasty":69,"author":431,"museum":7403,"description":7404,"tags":7405,"thumbUrl":7406,"material":262,"size":59,"collection":59,"collections":7407,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,29,28,30,2079,32,7,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ce83cdace5474ad255b551c4c99211.jpg",[],{"id":7409,"slug":7410,"title":7411,"dynasty":69,"author":7412,"museum":112,"description":7413,"tags":7414,"thumbUrl":7415,"material":262,"size":7416,"collection":122,"collections":7417,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},221877,"yun-lin-shu-shi-zhou-gu-zheng-yi-221877","云林树石轴","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。”",[23,25,55,27,75,117,1073,7,77,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca8b4dda7acc4293094d57d245fb08e.jpg","92.6 x 38.8 厘米",[122,411],{"id":7419,"slug":7420,"title":7421,"dynasty":369,"author":5646,"museum":835,"description":7422,"tags":7423,"thumbUrl":7424,"material":7425,"size":7426,"collection":497,"collections":7427,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":143},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。",[23,24,25,26,56,29,28,490,7,1991,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86470bd0b6cb5ed33a9003d7bca038ca.jpg","册页，绢本","31.4cm×25.7cm",[497,60,105],{"id":7429,"slug":7430,"title":7431,"dynasty":148,"author":3640,"museum":112,"description":7432,"tags":7433,"thumbUrl":7434,"material":37,"size":59,"collection":39,"collections":7435,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},218743,"song-mei-shi-nv-tu-sheng-mao-218743","松梅仕女图","尺幅间松枝如铁，梅蕊凝霞，暗香似绕绢素。仕女凭石闲坐，衣袂轻垂，眸光柔落梅梢，似细品松风与寒香交织的清韵。笔墨兼工带写，松针疏密见劲健，梅朵点染含娇妍，仕女姿态温婉，神情娴静，与松梅冷艳相映成趣。题跋墨痕与淡彩相融，更添古雅。整体意境清幽淡远，如无声诗行，道尽文人心中的雅致闲逸，时光仿佛在此停驻，只余松梅与佳人的悠然对语。",[23,25,26,53,29,30,715,187,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96448930cd424db7a671f6805711b6a.jpg",[39],{"id":7437,"slug":7438,"title":7439,"dynasty":369,"author":7440,"museum":1322,"description":7441,"tags":7442,"thumbUrl":7443,"material":37,"size":7444,"collection":39,"collections":7445,"showCount":7343,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,25,26,24,28,29,30,85,80,907,187,82,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[39],{"id":7447,"slug":7448,"title":7449,"dynasty":148,"author":201,"museum":7450,"description":7451,"tags":7452,"thumbUrl":7453,"material":58,"size":7454,"collection":39,"collections":7455,"showCount":7343,"zanCount":511,"manualWeight":43,"mainColor":44},218441,"han-shan-shi-de-tu-yi-ming-218441","寒山拾得图","福冈市立美术馆","画面分呈两段意趣：左间二人相倚，笑意温软如沐春风，似是知音对语；右处禅者踞岩，虎伴身侧驯若良朋，尽显禅心化境。淡墨晕染烟岚轻笼的山野，线条简括却勾摹出人物神态的鲜活与自然的清旷。草木疏朗，山石朴拙，处处透着元人画中那份超然尘外的禅意与闲逸。素净之笔未施浓彩，却将隐逸的自在与禅理的圆融悄然铺展，观之令人忘俗。",[23,25,55,434,75,30,2777,80,81,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0e535c4564e424c74e7b09730c1015.jpg","56x110.2",[39],{"id":7457,"slug":7458,"title":7459,"dynasty":18,"author":7460,"museum":3191,"description":3192,"tags":7461,"thumbUrl":7462,"material":58,"size":3195,"collection":88,"collections":7463,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},218104,"xin-an-yi-yun-ce-huang-lv-shan-shui-huang-lv-218104","新安逸韵册(黄吕山水)","黄吕",[25,26,53,55,29,80,7,81,78,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060f844f0dcf3a72f0a2f72a480158fe.jpg",[88],{"id":7465,"slug":7466,"title":7467,"dynasty":18,"author":201,"museum":552,"description":7468,"tags":7469,"thumbUrl":7470,"material":37,"size":7471,"collection":39,"collections":7472,"showCount":7343,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[25,29,30,28,53,35,34,7,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F283674bde9cfd07398bfe9ae23ea3a59.jpg","44x40",[39],{"id":7474,"slug":7475,"title":7476,"dynasty":148,"author":1125,"museum":112,"description":7477,"tags":7478,"thumbUrl":7480,"material":58,"size":7481,"collection":88,"collections":7482,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},290836,"you-lin-qing-yi-zhou-wang-meng-290836","幽林清逸轴","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[24,25,27,55,273,80,134,82,85,7,349,79,77,75,7479],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbc40c15389daa95dc02c8e039dba05.jpg","133.4x47.4",[88],36,{"id":7485,"slug":7486,"title":7487,"dynasty":18,"author":941,"museum":552,"description":7488,"tags":7489,"thumbUrl":7490,"material":641,"size":642,"collection":59,"collections":7491,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},290002,"xi-yan-song-xue-tu-zhou-hong-ren-290002","西岩松雪图轴","此幅作于清顺治十八年（1661年），时画家52岁。画面以局部特写山峰雄伟之势，以勾勒为主，画雪景“借地为白”，略加渲染，山石阳面留白，阴面着墨，树木墨色较浓。构图繁密，笔法清健，意境高古。画面着意刻画了象征高尚、纯洁的松树和白雪，形象简洁，是作者精神高度净化后的影迹，给人以伟峻、静穆、圣洁、一尘不染的美感。",[25,27,55,80,260,851,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecb1fc927cf89126469bd4684c9e8f62.jpg",[],{"id":7493,"slug":7494,"title":7495,"dynasty":69,"author":4470,"museum":552,"description":7496,"tags":7497,"thumbUrl":7498,"material":59,"size":59,"collection":786,"collections":7499,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},239226,"song-xu-ju-shi-zhou-song-xu-239226","宋旭菊石轴","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[25,26,27,4741,29,75,7,189,160,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d509212452eb2f4f3e429a23d830191.jpg",[786],{"id":7501,"slug":7502,"title":1143,"dynasty":69,"author":7503,"museum":552,"description":7504,"tags":7505,"thumbUrl":7506,"material":59,"size":59,"collection":59,"collections":7507,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},237665,"hua-niao-ce-ling-bi-zheng-237665","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》",[25,24,26,53,29,28,56,7,396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faed2278632f794fa3ce5f154692b37f9.jpg",[],{"id":7509,"slug":7510,"title":7511,"dynasty":18,"author":551,"museum":552,"description":1247,"tags":7512,"thumbUrl":7513,"material":59,"size":59,"collection":60,"collections":7514,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},236534,"shui-xian-shi-zhou-wu-chang-shuo-236534","水仙石轴",[25,26,27,24,173,55,29,7,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360c9041d2e14afe6b7ddc54dad153cd.jpg",[60,122,786],{"id":7516,"slug":7517,"title":7518,"dynasty":18,"author":201,"museum":552,"description":7519,"tags":7520,"thumbUrl":7521,"material":59,"size":59,"collection":88,"collections":7522,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},235978,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235978","半山山水人物册","此作为水墨小品，以极简笔墨勾勒出幽寂林泉之境。左侧孤松虬劲老辣，枯笔皴出斑驳躯干，苍叶错落点缀，自带岁月经年的古拙气质。树下幽人趺坐，身形简括传神，行囊置于身侧，似于行路间暂歇，静对青山。\n\n右侧山峦以淡墨晕染，虚实交融，大片留白衬出天地空茫悠远，将山野的清寂空灵尽数铺展。全画以少胜多，枯淡兼济，苍松的劲挺与远山的柔润形成视觉对冲，却和谐融于静穆清和的氛围之中，藏着文人幽栖林泉、寄情山水的恬然心境，淡远悠长，引人沉湎于这份林间独处的闲静禅意。",[25,55,53,80,30,134,7,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56ec0ac9a60a4aef1b499b224e753c3c.jpg",[88,39,122],{"id":7524,"slug":7525,"title":7526,"dynasty":18,"author":941,"museum":552,"description":7527,"tags":7528,"thumbUrl":7529,"material":59,"size":59,"collection":59,"collections":7530,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},235935,"tao-an-tu-zhou-hong-ren-235935","陶庵图轴","《弘仁陶庵图轴》是清代 本幅是作者送友人汪尧德的写生之作。\n汪尧德（162—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。\n早年客居松江，与 、 等文人交往。\n晚年家居年，以书画自娱。\n此图是弘仁与友人罗逸（字远游，歙县人）游 经过潜口时所绘汪尧德隐居之所。\n其屋舍傍山而筑，临溪而建，一片离尘幽美之景。\n作者以 和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。\n其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。\n款署：“渐江学者为子翁居士作陶庵图。\n”钤“弘仁”朱文印、“渐江僧”白文印。\n画幅上方有罗逸题七律一首，款署：“八十五老友罗逸为子陶先生题。\n”钤“罗逸之印”朱文印、“远游”白文印。\n鉴藏印有“礼耕堂”等二方。\n画右中部有篆书“庚子”二字。\n“庚子”是清顺治十七年（166年），作者时年51岁。",[24,25,26,27,55,75,80,115,117,349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5771af356858a98b85a075031e46a14a.jpg",[],{"id":7532,"slug":7533,"title":7534,"dynasty":69,"author":4336,"museum":71,"description":7535,"tags":7536,"thumbUrl":7537,"material":967,"size":7538,"collection":59,"collections":7539,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},234198,"wen-zheng-ming-zhu-lan-shi-juan-wen-zheng-ming-234198","文徵明竹兰石卷","图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。",[23,25,26,74,55,434,77,78,32,188,826,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259e5f9be7af848c6938d0974347ee0a.jpg","纵26.8厘米，横730厘",[],{"id":7541,"slug":7542,"title":7543,"dynasty":18,"author":3983,"museum":552,"description":7544,"tags":7545,"thumbUrl":7546,"material":59,"size":59,"collection":59,"collections":7547,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[25,26,28,29,31,187,492,277,7,134,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e746477fca8a1d104025dece421627.jpg",[],{"id":7549,"slug":7550,"title":7551,"dynasty":18,"author":697,"museum":552,"description":7552,"tags":7553,"thumbUrl":7554,"material":59,"size":59,"collection":59,"collections":7555,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,26,53,29,28,7,188,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee3360256c0b1e325bd7e4e054ad8bc.jpg",[],{"id":7557,"slug":7558,"title":7559,"dynasty":18,"author":4274,"museum":2832,"description":7560,"tags":7561,"thumbUrl":7562,"material":479,"size":7563,"collection":88,"collections":7564,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},224253,"gu-mu-yuan-shan-tu-cha-shi-biao-224253","古木远山图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,25,55,80,27,1175,324,7,75,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dbbb93b849c20f73993df993353af8.jpg","47.7x108.8cm",[88],{"id":7566,"slug":7567,"title":7568,"dynasty":369,"author":2994,"museum":1060,"description":7569,"tags":7570,"thumbUrl":7571,"material":678,"size":7572,"collection":59,"collections":7573,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":44},221570,"wu-wei-tu-xia-gui-221570","五位图","夏圭是善于在绘画中“用虚”的大师，在这幅《白鹭五位图》中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。",[23,25,26,24,714,29,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e55800cf5769403bf51a5e8263db06c.jpg","26.5x27厘米",[],{"id":7575,"slug":7576,"title":7577,"dynasty":369,"author":7578,"museum":112,"description":7579,"tags":7580,"thumbUrl":7591,"material":313,"size":7592,"collection":59,"collections":7593,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},221386,"bao-shan-shi-jing-ce-fan-kuan-221386","包山十景册","范宽","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,25,26,7581,53,55,75,80,134,135,7,349,83,133,259,7582,7583,7584,7585,7586,7587,7588,7589,7590],"古画","自然景物","传统绘画","水墨山水","山间景物","山水景观","石质山体","树木景观","山石景观","皴笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed28aa2f9c150b73b313c757a0820177.jpg","30.2x31.8",[],{"id":7595,"slug":7596,"title":7597,"dynasty":148,"author":256,"museum":7598,"description":7599,"tags":7600,"thumbUrl":7601,"material":327,"size":7602,"collection":88,"collections":7603,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":44},220802,"shu-lin-tu-zhou-ni-zan-220802","疏林图轴","日本民间","书生的告老还乡之路，和出门赶考一样的漫长。似乎，人的出门远走，就是为了白发还乡，叶落归根。",[23,25,26,27,55,75,80,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069f922f766f4292a865aab0bf382ef.jpg","68x57cm",[88,122],{"id":7605,"slug":7606,"title":7607,"dynasty":148,"author":1125,"museum":184,"description":7608,"tags":7609,"thumbUrl":7611,"material":58,"size":7612,"collection":88,"collections":7613,"showCount":7483,"zanCount":209,"manualWeight":43,"mainColor":64},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[23,24,25,26,74,55,29,75,80,242,7,349,134,7610,116,135,81,79,77,78,577],"古林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 cm题跋：25×228 cm.",[88],{"id":7615,"slug":7616,"title":7617,"dynasty":69,"author":201,"museum":2409,"description":7618,"tags":7619,"thumbUrl":7621,"material":37,"size":59,"collection":39,"collections":7622,"showCount":7483,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[25,26,29,28,576,30,80,277,82,7620,241,134,242,7],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69873b96fabaed87f5b148d0a16d77ba.jpg",[39],{"id":7624,"slug":7625,"title":7626,"dynasty":69,"author":201,"museum":170,"description":7627,"tags":7628,"thumbUrl":7629,"material":37,"size":7630,"collection":60,"collections":7631,"showCount":7483,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[25,26,55,29,28,75,2059,133,1231,115,259,116,82,157,7,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[60],{"id":7633,"slug":7634,"title":7635,"dynasty":148,"author":4431,"museum":112,"description":7636,"tags":7637,"thumbUrl":7638,"material":37,"size":7639,"collection":60,"collections":7640,"showCount":7483,"zanCount":209,"manualWeight":43,"mainColor":64},218668,"cang-ya-gu-shu-tu-chen-lin-218668","苍崖古树图","这幅画描绘了一条河的两岸，笔触简单而清晰。较早的记录显示，这是一位无名的元代画家的作品，但结合顾瑛的题词和两个残存的印章来看，这是赵孟頫的弟子陈琳的作品。",[23,25,26,55,75,53,80,2555,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F382f50b644095d01a6b64f045370d65f.jpg","31.2x47.4cm",[60],{"id":7642,"slug":7643,"title":7644,"dynasty":369,"author":725,"museum":552,"description":4833,"tags":7645,"thumbUrl":7646,"material":641,"size":642,"collection":59,"collections":7647,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":44},288983,"yuan-yang-tu-zhou-zhao-chang-288983","鸳鸯图轴",[25,27,1969,29,28,466,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F317e1556d2628dfda3b8fe3bb5cdff28.jpg",[],35,{"id":7650,"slug":7651,"title":7652,"dynasty":148,"author":256,"museum":552,"description":2665,"tags":7653,"thumbUrl":7654,"material":641,"size":642,"collection":59,"collections":7655,"showCount":7648,"zanCount":511,"manualWeight":43,"mainColor":64},287598,"gu-mu-zhu-shi-ni-zan-287598","古木竹石",[25,55,134,32,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F703c19b30314285dda62309469a0f7db.jpg",[],{"id":7657,"slug":7658,"title":5980,"dynasty":148,"author":2912,"museum":112,"description":7659,"tags":7660,"thumbUrl":7661,"material":205,"size":2916,"collection":59,"collections":7662,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":44},287531,"zhu-shi-zhou-gu-an-287531","顾安（1289－1365后） 元画家。字定之，号迂讷居士，淮东人，家昆山（今属江苏）。官泉州路行枢密院判官。擅画墨竹，喜作风竹新篁，运笔遒劲挺秀。用墨润泽焕烂，于李衎、柯九思外，自成一家。亦工行、楷书。存世作品有《拳石新篁》、《平安磐石》、《幽篁秀石图》、《竹石图》、《墨竹图》等。",[25,55,27,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5986ce135d71930321fd9631e1fa25b.jpg",[],{"id":7664,"slug":7665,"title":2487,"dynasty":18,"author":2488,"museum":552,"description":2489,"tags":7666,"thumbUrl":7667,"material":641,"size":642,"collection":59,"collections":7668,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":64},239083,"si-ji-hua-hui-ping-zhang-xiong-239083",[25,26,27,29,28,56,190,7,435,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77703f523b5de936bdbba16a184e78f0.jpg",[],{"id":7670,"slug":7671,"title":1277,"dynasty":18,"author":941,"museum":552,"description":1278,"tags":7672,"thumbUrl":7674,"material":59,"size":1281,"collection":59,"collections":7675,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":64},238032,"hong-ren-shan-shui-tu-ce-hong-ren-238032",[25,55,75,1694,80,260,135,7673,1073,82,7,79],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ebf488d534c551f08afd778cd7b6d19.jpg",[],{"id":7677,"slug":7678,"title":7679,"dynasty":18,"author":551,"museum":552,"description":7680,"tags":7681,"thumbUrl":7683,"material":59,"size":59,"collection":59,"collections":7684,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":64},237411,"tian-zhu-zhou-wu-chang-shuo-237411","天竹轴","以篆隶笔意写绘，枯笔勾勒的枝干苍古嶙峋，尽显朴拙老辣的金石质感。叶片以浓淡墨色晕染，层次分明，艳红、明黄的天竹果实点缀其间，鲜活饱满，与水墨的素雅形成强烈对比，艳而不俗。\n\n右侧以大写意绘顽石，笔致写意简括，虚实相生，衬出天竹的清逸生机。整幅画作将花木的蓬勃生命力与文人画的雅致意趣相融，笔墨沉郁浑朴，尽显雄浑古拙的独特风韵。",[24,25,26,27,56,29,55,173,7682,7,493],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93127e7d2bdb1b52ef872fb7c8c28e5.jpg",[],{"id":7686,"slug":7687,"title":7688,"dynasty":69,"author":201,"museum":552,"description":7689,"tags":7690,"thumbUrl":7691,"material":59,"size":59,"collection":59,"collections":7692,"showCount":7648,"zanCount":511,"manualWeight":43,"mainColor":1551},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。",[25,29,53,28,30,134,7,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa4abd3ba47454c39dedb2996be91bc.jpg",[],{"id":7694,"slug":7695,"title":7696,"dynasty":369,"author":4081,"museum":71,"description":7697,"tags":7698,"thumbUrl":7699,"material":678,"size":7700,"collection":39,"collections":7701,"showCount":7648,"zanCount":511,"manualWeight":43,"mainColor":44},233988,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233988","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[25,24,26,53,434,55,30,134,83,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489ad7188d3047e278afe3c2a391dfdb.jpg","60.33x41.04厘米",[39,88],{"id":7703,"slug":7704,"title":7705,"dynasty":18,"author":169,"museum":71,"description":7706,"tags":7707,"thumbUrl":7708,"material":5284,"size":3486,"collection":59,"collections":7709,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":64},233957,"yuan-ji-cai-shi-tu-zhou-shi-tao-233957","原济采石图轴","《采石图》中石头峻峭奇丽，独具一格。石涛石涛山水画非常大胆新奇，他对景物的勾勒描绘灵活多变，意境高深，他人很难模仿，他笔下的景物有一种灵性和生命，是中国山水画的珍品。",[25,55,75,27,80,7,260,135,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a194ee879f1e77435ad72edf054ce3b.jpg",[],{"id":7711,"slug":7712,"title":7713,"dynasty":69,"author":183,"museum":552,"description":7714,"tags":7715,"thumbUrl":7716,"material":59,"size":7717,"collection":59,"collections":7718,"showCount":7648,"zanCount":511,"manualWeight":43,"mainColor":64},233915,"hua-hui-cao-chong-ce-xiang-sheng-mo-233915","花卉草虫册","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》。",[25,26,53,29,78,79,307,160,7,82,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924abbb355c3eba59bb164c267fd9492.jpg","23x31cm",[],{"id":7720,"slug":7721,"title":7722,"dynasty":18,"author":7723,"museum":112,"description":7724,"tags":7725,"thumbUrl":7726,"material":59,"size":59,"collection":88,"collections":7727,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":64},232797,"yu-bi-shi-jing-quan-tu-shu-hua-he-bi-tu-ce-qian-long-232797","御笔诗经全图书画合璧图册","乾隆","乾隆四年暮春至十年季夏，乾隆皇帝与词臣陆续书写《诗经》三百零五篇，并补「笙诗」六篇，凡三百一十一篇，同时敕画院诸臣规抚宋人马和毛诗图笔意，完成前所未有的《御笔诗经泉图书画合璧》三十册，此书画册今藏台北故宫博物院图书文献处善本书库。\n乾隆此举当然具有政教宣示作用，但与宋高宗的立场绝不相同，因为国势盛衰相去甚远，故乾隆不免要嘲讽宋高宗「徒以西湖为销金窠」，根本不懂什麼叫做「诗」。不过，马和之高妙的笔意，不也是驱使盛清气势下的乾隆想完成此一巨擘的动力？因此，他御令画院诸臣，将旧有的临摹，已缺的补绘，完成《御笔诗经全图书画合璧》三十大册。此从文献资料的角度来看，确实提供了马和之图绘《毛诗》的一个轮廓，让我们得以配合当年同一时间内所编纂的《石渠宝笈》，去思索当时的内府究竟存有多少马和之所绘的《毛诗图》？而与今日所存的作品之间又有何种差异？同时，从诗经图的发展驶来看，乾隆朝的《御笔诗经图》虽然创意不很高，倒是以一个完整的姿态，为诗经图的历史画下一个美好的句点。\n故本论文主要论述有两方面：一是考察整个诗经图的发展历史，而马和之可说是其中最重要的一位。在他之前，只有文献上的记载；在他之後，又以临摹为多。虽然如此，随著时代的演变，许多以《诗经》为题材的画作，已渐与诗义脱离，而彰显著不同时代的文化情境，直到乾隆，其雄心壮志，反而使诗经图回归到诗义的本身，虽然所掌握的诗义和马和之有所不同，到底还是以马画为依归。其次，《御笔诗经图》既从现存的马画和文献资料中获得一些讯息，从而想像那些已不知所踪的画作是何等面貌。",[23,25,26,53,434,55,2280,77,80,30,349,81,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec80eb8579f58c3fe32a317b0d4e306.jpg",[88],{"id":7729,"slug":7730,"title":7731,"dynasty":69,"author":7732,"museum":112,"description":7733,"tags":7734,"thumbUrl":7736,"material":327,"size":7737,"collection":59,"collections":7738,"showCount":7648,"zanCount":511,"manualWeight":43,"mainColor":64},232695,"fang-wang-meng-jiao-shi-tu-qian-gu-232695","仿王蒙蕉石图","钱毂","该画左侧画有高大的芭蕉，枝干粗壮挺拔，蕉叶茂盛，蕉叶的大小和形状各异在芭焦树右侧下，竖立着一块巨石，紧紧依仗在芭蕉树干上。奇石下长着数株花朵盛开的牡丹和茂密的枝叶。该画以粗笔泼墨把芭蕉，牡丹和湖石创造而成，细致的刻画没有作做。该幅墨韵气势，奔放横溢，笔墨和造型在徐渭的写意画中生动的表现出来，把花鸟、蔬菜、走兽、人物、山水等都给显示其中，令人耳目一新",[25,26,27,55,434,75,76,79,99,7,541,7735],"蕨类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9519a20dcb4c79c70479b45708fd193.jpg","145.8x49.8 厘米",[],{"id":7740,"slug":7741,"title":7742,"dynasty":18,"author":214,"museum":552,"description":7743,"tags":7744,"thumbUrl":7745,"material":59,"size":59,"collection":59,"collections":7746,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":64},230185,"hua-niao-cao-chong-tu-ce-8-zhen-hua-yan-230185","花鸟草虫图册8帧","此帧以淡墨晕染湖石，枯槎斜出，缀着将残的花枝，清寂秋意扑面而来。四只文雀神情灵动鲜活，一只振翅回身，似在呼引枝上同伴，三雀或侧耳或抬首，亲昵相映，将秋日荒寒里的生趣尽数勾勒。\n\n设色清浅柔和，禽鸟绒羽蓬松宛然，湖石墨色苍润有层次。左侧题诗与朱红印章错落排布，留白疏密相宜，诗画相生，将萧索秋意与小雀的生机揉合，清冷中带着融融暖意，尽显隽秀雅致的笔墨意趣。",[24,25,26,53,55,29,56,7,374,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd89d3818b81f0bfd0b7ea1bf2d27ff9.jpg",[],{"id":7748,"slug":7749,"title":7750,"dynasty":369,"author":6532,"museum":552,"description":7751,"tags":7752,"thumbUrl":7753,"material":59,"size":59,"collection":59,"collections":7754,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,862,29,28,80,7,82,863,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182ace73bc094636a83c12be026af239.jpg",[],{"id":7756,"slug":7757,"title":7758,"dynasty":369,"author":1321,"museum":552,"description":7759,"tags":7760,"thumbUrl":7761,"material":59,"size":59,"collection":59,"collections":7762,"showCount":7648,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,25,26,74,80,28,55,75,115,338,81,7,134,82,136,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":7764,"slug":7765,"title":7766,"dynasty":369,"author":4175,"museum":552,"description":7767,"tags":7768,"thumbUrl":7769,"material":59,"size":59,"collection":59,"collections":7770,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":64},226546,"xi-shan-yuan-xiu-tu-jing-hao-226546","溪山远岫图","五代时期，中原地区战争不断，但西蜀、吴越地区相对安定，文化艺术相对发达，尤其是诗词和绘画成就更高。绘画史上著名的荆（荆浩）、关（关仝）、董（董源）、巨（巨然）都出现在这一时期，他们也都是由五代入宋的画家。\n\n荆、关、董、巨的区别，在荆浩和关仝是北方画家，多图写北方山水的雄奇峻伟，而董源和巨然都是南唐画家，多图写江南山水的秀丽清润。",[23,25,26,55,29,75,80,324,1366,136,7,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c550c1002f38496dd753a4ceb7637a3.jpg",[],{"id":7772,"slug":7773,"title":7774,"dynasty":69,"author":7775,"museum":112,"description":7776,"tags":7777,"thumbUrl":7778,"material":262,"size":7779,"collection":39,"collections":7780,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":64},220022,"shan-cai-ding-li-tu-xiang-yuan-bian-220022","善财顶礼图","项元汴","项元汴（明 1525—1590）字子京，号墨林，别号墨林山人、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏\n明鉴藏家。国子生。精于鉴赏，辨别真赝，析及毫发，当时无人可比。尝得铁琴一，上有“天籁”二字，因以名阁。又曾遴选能工巧匠制作各种器具，凡几榻、架柜、奁盒等，镌以铭识，都极精巧。 工绘画，兼擅书法。有《墨林山人诗集》、《蕉窗九录》等。",[25,26,27,55,80,30,7,82,260,135,84,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608705547db80176fd9fd3ef2b8ff11.jpg","130*30.5cm",[39],{"id":7782,"slug":7783,"title":7784,"dynasty":18,"author":7785,"museum":112,"description":7786,"tags":7787,"thumbUrl":7788,"material":262,"size":7789,"collection":88,"collections":7790,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":64},219892,"fang-ni-huang-he-bi-tu-wang-yuan-qi-219892","仿倪黄合笔图","王原祁","图绘湖山阔远,水榭静美.取倪云林之图式,运黄子久之笔墨,王麓台笔力能扛鼎,诚非虚誉.",[25,55,80,76,75,115,338,117,32,349,259,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79ceab6892c3b9c5f6fc7105fc63ef6.jpg","111.5x48.1",[88],{"id":7792,"slug":7793,"title":7794,"dynasty":69,"author":7795,"museum":7796,"description":7797,"tags":7798,"thumbUrl":7799,"material":58,"size":59,"collection":39,"collections":7800,"showCount":7648,"zanCount":43,"manualWeight":43,"mainColor":64},218490,"ri-ben-gao-shi-guan-mei-tu-zhuo-zong-deng-yang-218490","日本· 高士观梅图","拙宗等杨","九州国立博物馆","圆幅之中，枯梅虬枝如铁，疏影横斜间藏着冬日的幽韵。岩畔高士衣袂翩然，凝眸枝桠的姿态，似与梅魂相接——是沉醉于含苞待放的清趣，还是默然体悟天地的空寂？远处山影淡若烟霭，近石嶙峋衬出梅的风骨，留白处漾着悠远的禅意。笔墨简劲却含深情，将文人观梅时的孤高清雅与物我相融的心境，凝成了这方静谧而隽永的画面，让人一眼便坠入那片清寒又诗意的天地。",[25,26,4167,55,75,30,187,7,134,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6465c326a8271c018f825f86db6350b.jpg",[39],{"id":7802,"slug":7803,"title":7804,"dynasty":369,"author":201,"museum":150,"description":7805,"tags":7806,"thumbUrl":7807,"material":59,"size":59,"collection":497,"collections":7808,"showCount":7648,"zanCount":5,"manualWeight":43,"mainColor":7809},201548,"ge-le-tu-juan-yi-ming-201548","歌乐图卷","画卷铺陈宋代闲适宴乐之景，庭院间虬枝缀花之木与青竹、怪石相映，景致清雅。男子持乐器奏乐，红衣女子或凝神倾听、或轻执器物互动，孩童稚态可掬，众人神情姿态生动传神。画作以工笔见长，线条细腻流畅，衣纹勾勒精准，设色典雅沉稳，将宴乐场景的悠然氛围尽显无遗，体现宋代绘画的精致匠心与艺术韵味。",[28,29,30,1446,519,32,7,31,1345,187,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f7c94786ca092c3352478aabf9437e.jpg",[497],"745f47",{"id":7811,"slug":7812,"title":7813,"dynasty":148,"author":7814,"museum":552,"description":7815,"tags":7816,"thumbUrl":7817,"material":641,"size":642,"collection":59,"collections":7818,"showCount":7819,"zanCount":511,"manualWeight":43,"mainColor":44},290130,"xi-shan-yan-ting-tu-tang-di-290130","溪山烟艇图","唐棣","溪畔草亭中，一人弹阮，三人聆听著。小径上，僮子送酒而来。溪上，有人敞胸坐于船头，富有野逸消遥的乐趣。坡石用云头皴，圆润稳厚，有着郭熙一派的面目。",[25,26,80,55,75,85,133,7,82,137,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb54d68e70be2e10ae4a88c8cd70dc0.jpg",[],34,{"id":7821,"slug":7822,"title":7823,"dynasty":369,"author":201,"museum":552,"description":7824,"tags":7825,"thumbUrl":7827,"material":59,"size":59,"collection":39,"collections":7828,"showCount":7819,"zanCount":43,"manualWeight":43,"mainColor":44},238123,"luo-shen-fu-tu-juan-yi-ming-238123","洛神赋图卷","山峦烟波连绵铺陈，林木蓊郁掩映着红彩勾描的殿宇与行游伫立的人物，将缥缈仙乡揉入苍古山水间。笔意朴拙苍润，沉雅的设色在旧绢上晕开朦胧古韵，把人神邂逅的缱绻怅惘融在丘林烟水之中。循着长卷舒展，仿佛能触碰那段仙凡相望的怅惋情缘，古典浪漫的幽柔余韵顺着山峦水波漫溢开来，让悠远诗意随着卷幅缓缓流淌，将文字中的缥缈幻境化为可观可感的具象图景，晕染出绵长的东方浪漫意趣。",[24,25,26,74,28,434,29,30,80,7826,242,81,84,7620,306,349,31,76,79,82,7],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[39],{"id":7830,"slug":7831,"title":502,"dynasty":18,"author":7832,"museum":2160,"description":7833,"tags":7834,"thumbUrl":7835,"material":59,"size":59,"collection":88,"collections":7836,"showCount":7819,"zanCount":511,"manualWeight":43,"mainColor":64},234102,"shan-shui-ce-wang-gai-234102","王概","王概，又作王槩。字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。其兄王耆，其弟王臬皆擅画。王概的山水师法龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：\n“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”\n王概擅治印、刻竹，并善诗文，著有《澄心堂纸赋》。王概在中国绘画史上留名，主要是三十五岁时曾应沈因伯之请，携兄弟，以明李流芳课徒画稿为基础，为《芥子园画传》编绘山水集，率先编绘了中国画技法图谱——《芥子园画谱》。",[25,29,55,53,80,134,349,7,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1c5d69c9f1d0968dfce493fa609542.jpg",[88],{"id":7838,"slug":7839,"title":7840,"dynasty":18,"author":7841,"museum":71,"description":7842,"tags":7843,"thumbUrl":7844,"material":139,"size":7845,"collection":59,"collections":7846,"showCount":7819,"zanCount":511,"manualWeight":43,"mainColor":64},233119,"xi-xi-yu-yin-tu-zhou-zhang-ci-ning-233119","西溪渔隐图轴","张赐宁","主人公西溪时年47岁，身处邗上（约今江苏一带）。图绘西溪长髯戴笠、左手执钓竿、端坐于坡陀之上的情景。他双目有神，神情淡定，面部稍加晕染，衣纹线条简洁。其身后为溪水潺潺，群山渺渺。近前树木高者茂盛，矮者丛生，坡石嶙峋。繁而不杂的景致与清丽淡雅的设色，极好地衬托出西溪高逸的人格和淡泊的情怀。",[25,26,27,55,29,75,80,81,135,30,137,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78d95e4f7aa37f40fd62d0d5360cbe2.jpg","纵194厘米，横94.5厘米。",[],{"id":7848,"slug":7849,"title":7850,"dynasty":148,"author":7851,"museum":112,"description":7852,"tags":7853,"thumbUrl":7854,"material":664,"size":7855,"collection":59,"collections":7856,"showCount":7819,"zanCount":43,"manualWeight":43,"mainColor":64},231335,"cui-yu-xuan-tu-yuan-dai-ji-jin-zhi-ba-zhuang-lin-231335","翠雨轩图－元代集锦之八","庄麟","庄麟所绘的《翠雨轩图》为元人集锦卷之一，也是庄麟传世的唯一作品。绘临溪的坡岸上设茅屋一间，树木环绕，溪水浅滩，极为渺远。一叟曳杖度桥而来。境界萧疏淡远，静寂清幽。画家以淡墨为基调，用笔清逸流畅。将翠雨轩置于特定的环境中。使观者也似乎感受到远离喧嚣的静谧。\n此图写林中茅屋一间，一老者策杖过桥，步伐坚定,与桥下的溪流淙淙共同构筑了画面的幽寂和飘逸。并不像过去贬斥画工的那些描述那样，很有元代文人画家的趣味。满纸水墨挥洒，不但舒意而且流畅，画家用大写意的手法，画出翠雨轩的茅舍溪桥，画面疏疏密密，浓浓淡淡，没有精心雕琢的痕迹，反而传达了一种萧闲的意境。画上有清代乾隆皇帝的御题诗，对画面意境和风格作了极为贴切的评述。\n以文人的齐居作为绘画题材，元代画家已有涉及，如朱德润 《 秀野轩图》、 张渥《竹西草堂图 》、赵原《合溪草堂图》等。至明代则成为文人画家创作中经常出现的一种题材。",[25,26,55,80,75,74,277,82,921,134,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cce050135140f0e09ecbb560cf14c24.jpg","纵：26.2厘米，横：65.4厘米",[],{"id":7858,"slug":7859,"title":7860,"dynasty":148,"author":7861,"museum":552,"description":7862,"tags":7863,"thumbUrl":7865,"material":59,"size":59,"collection":59,"collections":7866,"showCount":7819,"zanCount":43,"manualWeight":43,"mainColor":44},230870,"cang-lang-du-diao-tu-sheng-zhu-230870","沧浪独钓图","盛著","此作用笔清润简淡，近景坡岸虬松偃蹇，苍枝拂向水面，扁舟系于松下，渔翁垂纶独钓，汀渚蒹葭轻摇，漾出幽寂闲淡之味。平湖如镜隔开远近，彼岸林木蔚然成簇，淡墨晕染出远山层叠，云气空濛将天地晕融一处，虚实相生间铺展出萧散淡远的山水格局。\n\n画师以干笔皴擦写山石肌理，湿墨点染苔树烟岚，笔墨间藏着元人山水的林下之致，将沧浪渔隐的出世意趣融于烟水云山，把遁世忘机的雅兴寄在一竿一线之中，尽显文人画崇尚的林泉高致，满幅皆是清远脱尘的幽寂诗意。",[23,25,26,55,80,85,7864,81,82,7,75,137],"独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde68514a3c2323b7552184a3b1e22519.jpg",[],{"id":7868,"slug":7869,"title":7870,"dynasty":18,"author":5290,"museum":552,"description":7871,"tags":7872,"thumbUrl":7873,"material":59,"size":59,"collection":59,"collections":7874,"showCount":7819,"zanCount":43,"manualWeight":43,"mainColor":64},226629,"si-shi-shan-shui-02-pu-ru-226629","四时山水02","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,25,26,24,27,55,29,80,7,260,153,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbaef9558d710642e3f6aa6b5a09eb.jpg",[],{"id":7876,"slug":7877,"title":7878,"dynasty":18,"author":417,"museum":552,"description":7879,"tags":7880,"thumbUrl":7881,"material":59,"size":59,"collection":60,"collections":7882,"showCount":7819,"zanCount":43,"manualWeight":43,"mainColor":64},224320,"hua-niao-shi-er-kai-tu-li-shan-224320","花鸟十二开图","泼墨写就湖石，酣畅间尽显灵秀通透，似藏嶙峋古意。石畔花枝挺秀，粉紫娇花轻点晕染，明雅柔丽的设色晕开春日清趣。双鸡意态生动，一昂首侧目警觉周遭动静，一垂首理羽尽显慵懒闲适。禽鸟羽毛以淡墨晕染辅以细笔轻勾，将绒羽蓬松柔润的质感尽数铺陈。\n\n左畔行书款识笔意潇洒，与写意画格相融，诗书画印浑然一体。整幅兼工带写，既有文人写意的简逸纵恣，又不失精微写实的生趣，将花木禽鸟的天趣雅致藏于笔端，尽显悠然野逸的林下清致。",[23,25,26,53,55,29,56,7,490,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04865c6f750cd80cf1f66c8c803e6a71.jpg",[60],{"id":7884,"slug":7885,"title":6190,"dynasty":369,"author":201,"museum":552,"description":7886,"tags":7887,"thumbUrl":7888,"material":59,"size":59,"collection":59,"collections":7889,"showCount":7819,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[24,25,26,28,75,32,826,492,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ab1508510dd441b1656cf2e9ed8949.jpg",[],{"id":7891,"slug":7892,"title":7893,"dynasty":369,"author":201,"museum":552,"description":7894,"tags":7895,"thumbUrl":7897,"material":59,"size":59,"collection":59,"collections":7898,"showCount":7819,"zanCount":209,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,53,28,29,56,101,7896,2010,7,541],"龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b574896c7d5eafa0c0c152a688c269.jpg",[],{"id":7900,"slug":7901,"title":7902,"dynasty":369,"author":201,"museum":112,"description":7903,"tags":7904,"thumbUrl":7906,"material":2141,"size":7907,"collection":59,"collections":7908,"showCount":7819,"zanCount":43,"manualWeight":43,"mainColor":44},223408,"nv-xiao-jing-tu-juan-yi-ming-223408","女孝经图卷","中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[23,25,74,28,29,434,30,519,81,242,99,307,7905,31,7,349,77],"桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","纵43.8厘米，横823.7厘米",[],{"id":7910,"slug":7911,"title":7912,"dynasty":18,"author":7913,"museum":552,"description":7914,"tags":7915,"thumbUrl":7916,"material":479,"size":59,"collection":88,"collections":7917,"showCount":7819,"zanCount":43,"manualWeight":43,"mainColor":64},222711,"mo-bi-shan-shui-zhong-tang-zheng-min-222711","墨笔山水中堂","郑旼","水墨绘远处山石连绵，中部河道宽广，河面一条船只行驶；近处岸边树木葱郁。技法上，山石以细墨勾皴，再以墨点绘树木绿植，画上有画家自题诗一首。郑旼，字慕倩，号遗娃，善画山水，工诗文，尤工篆刻，新安派画家之一。",[23,25,26,80,27,55,75,115,117,7,82,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7d2495e8028e35e34df00482f874b8.jpg",[88,122],{"id":7919,"slug":7920,"title":7921,"dynasty":69,"author":7922,"museum":130,"description":7923,"tags":7924,"thumbUrl":7925,"material":839,"size":7926,"collection":60,"collections":7927,"showCount":7819,"zanCount":209,"manualWeight":43,"mainColor":44},222051,"bing-hun-leng-rui-tu-wang-qian-222051","冰魂冷蕊图","王谦","用墨笔截取倒垂老梅，枝干劲健挺拔，梅花双勾而成，繁花密蕊，清奇可爱。 以淡墨晕染绢地，更衬托出梅花凄厉冷艳的姿色。 作品画格雄健，与晚明及清代梅花作品风格迥然相异。",[23,25,24,26,55,173,187,7,493,1496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fb28109c7cdb6700ac5749c89e75c4.jpg","纵186cm，横111cm",[60,105],{"id":7929,"slug":7930,"title":7931,"dynasty":369,"author":3743,"museum":835,"description":7932,"tags":7933,"thumbUrl":7935,"material":839,"size":7936,"collection":59,"collections":7937,"showCount":7819,"zanCount":43,"manualWeight":43,"mainColor":143},221609,"ze-pan-xing-yin-tu-liang-kai-221609","泽畔行吟图","《史记·屈原列传》有“屈原即放，披发行吟泽畔”，“泽畔行吟”的意思是在河边边走边吟（诗）。此画的左上部是隐隐的山峰，中上部大片的空白给人于无限的想象，空白中又有渲染的淡墨，似云似雾却绵延出了中景的山石与彼岸。左下角沙洲上摇曳的枯苇，暗示着秋冬的凛冽，右下角一岸斜坡上，一位高士手拄竹杖，迎着寒风，似行似吟仰头面对寥廓，似屈原、似李白更似画家本人吧！",[25,26,55,3746,30,80,7,7934],"泽畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31310ea121bd5bab6b9106fd76e6d10.jpg","22.9×24.3cm",[],{"id":7939,"slug":7940,"title":7941,"dynasty":148,"author":7942,"museum":1322,"description":7943,"tags":7944,"thumbUrl":7945,"material":262,"size":7946,"collection":39,"collections":7947,"showCount":7819,"zanCount":43,"manualWeight":43,"mainColor":64},218404,"xia-zi-he-shang-tu-ke-weng-218404","虾子和尚图","可翁","墨色晕染间，禅僧躬身仰首，一手持网欲探枝间生灵，一手轻遮额前似凝眸细辨。衣纹简劲流畅，寥寥数笔勾出僧袍宽缓质感；树影藤蔓泼墨写意，浓淡交错见自然野趣。留白处意蕴悠长，引观者随其目光，窥见禅者与天地生灵的静默私语。禅意未拘经卷古刹，却在捕虫的专注里，藏着对生命的细微观照与悠然禅趣。笔意纵逸形神兼备，简淡中见生动，寻常小景里透出禅家自在天真，尽显水墨写意的妙境。",[24,25,26,27,55,434,576,30,117,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ee01580bb91979022abf804ecfce07.jpg","86.9x34.5",[39],{"id":7949,"slug":7950,"title":7951,"dynasty":69,"author":3126,"museum":150,"description":7952,"tags":7953,"thumbUrl":7954,"material":58,"size":7955,"collection":59,"collections":7956,"showCount":7819,"zanCount":43,"manualWeight":43,"mainColor":64},214673,"san-jue-tu-2-yao-shou-214673","三绝图-2","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[25,26,53,55,29,80,75,277,82,85,81,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd2380dd3ead30497ae3b9b56171da9.jpg","纵31.2 厘米 横48.3 厘米",[],{"id":7958,"slug":7959,"title":7960,"dynasty":369,"author":2994,"museum":552,"description":6712,"tags":7961,"thumbUrl":7962,"material":641,"size":642,"collection":59,"collections":7963,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":44},290860,"gui-zhao-tu-zhou-xia-gui-290860","归棹图轴",[25,24,27,55,80,75,7,134,82,85,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00dda2ad562cec97379a61278376bfa6.jpg",[],33,{"id":7966,"slug":7967,"title":7968,"dynasty":148,"author":997,"museum":552,"description":7969,"tags":7970,"thumbUrl":7971,"material":641,"size":642,"collection":59,"collections":7972,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},289971,"qiu-jiang-diao-ting-tu-zhou-wei-zhao-meng-fu-289971","秋江钓艇图轴（伪）","赵孟頫[fǔ]（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。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[23,24,25,27,29,80,30,1231,134,85,82,7,137,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d7f8a32356591cce9ceadf2028a5ee.jpg",[],{"id":7974,"slug":7975,"title":7976,"dynasty":18,"author":4070,"museum":552,"description":7977,"tags":7978,"thumbUrl":7980,"material":641,"size":642,"collection":59,"collections":7981,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},289653,"da-mo-ming-xiang-jin-nong-289653","达摩冥想","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[25,24,26,27,576,55,29,30,7979,7,79],"达摩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d5d61c05ffae860bb0c53c96985fb9.jpg",[],{"id":7983,"slug":7984,"title":2487,"dynasty":18,"author":2488,"museum":552,"description":2489,"tags":7985,"thumbUrl":7986,"material":641,"size":642,"collection":59,"collections":7987,"showCount":7964,"zanCount":511,"manualWeight":43,"mainColor":64},239082,"si-ji-hua-hui-ping-zhang-xiong-239082",[25,26,27,29,28,56,156,396,7,1033],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3076167865436319be86a416993807d1.jpg",[],{"id":7989,"slug":7990,"title":7991,"dynasty":18,"author":1491,"museum":552,"description":7992,"tags":7993,"thumbUrl":7994,"material":641,"size":642,"collection":60,"collections":7995,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},238335,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238335","画弘历清圹楼咏竹诗意册","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”。",[25,26,53,55,29,32,7,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26b9903dbf7a5197e9f55ddfbe00e6.jpg",[60,105],{"id":7997,"slug":7998,"title":7999,"dynasty":18,"author":2488,"museum":552,"description":2489,"tags":8000,"thumbUrl":8001,"material":641,"size":642,"collection":59,"collections":8002,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},237691,"ying-su-hua-wan-shan-zhang-xiong-237691","罂粟花纨扇",[24,25,26,714,29,28,56,7,243,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232c70277cf671993d3a7637e9c67d0c.jpg",[],{"id":8004,"slug":8005,"title":8006,"dynasty":18,"author":6283,"museum":552,"description":7368,"tags":8007,"thumbUrl":8008,"material":59,"size":59,"collection":59,"collections":8009,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},237589,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237589","王翚仿古山水册",[25,26,24,55,75,6109,80,81,136,277,82,7,1073,260,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e7fc3f6bc11163dc26121234f9369f.jpg",[],{"id":8011,"slug":8012,"title":6061,"dynasty":18,"author":8013,"museum":552,"description":8014,"tags":8015,"thumbUrl":8016,"material":59,"size":59,"collection":88,"collections":8017,"showCount":7964,"zanCount":511,"manualWeight":43,"mainColor":64},236444,"shan-shui-zhou-xu-fang-236444","徐枋","徐枋：(1622—1694)字昭法，号俟斋、涧叟、秦馀山人、雪床庵主人，江苏吴县(今苏州)人。崇祯15年举人，工诗文，书善行草，宗孙过庭及王羲之。山水师董源、巨然、荆浩、关仝，亦宗倪瓒、黄公望，用笔工整，墨气明净，不设色。诗文出入韩、柳间。传世作品有康熙4年《山水》册页，录于《中国绘画史图录》下册；9年作《山水》扇面现藏故宫博物院；24年作《仿关仝山水图》轴，录于《晋唐五代宋元明清名家书画集》。著有《居易堂集》、《俟斋集》等。",[25,55,27,75,80,277,82,134,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6512dc7e0e5403960b7c77a4799e4bf.jpg",[88,105],{"id":8019,"slug":8020,"title":8021,"dynasty":69,"author":8022,"museum":552,"description":8023,"tags":8024,"thumbUrl":8025,"material":59,"size":8026,"collection":60,"collections":8027,"showCount":7964,"zanCount":511,"manualWeight":43,"mainColor":44},236107,"sun-qi-mei-hua-zhou-sun-qi-236107","孙启梅花轴","孙启","此作以淡墨绢地托衬，老梅古干嶙峋遒劲，枝桠盘折如铁，横斜破壁，满缀素色梅花。作者以焦墨点苔刻画出老干的沧桑质感，浓墨写枝尽显虬劲姿态，圈花留白晕染出梅花冰肌玉骨之态，冷香暗涌纸面。\n\n画幅下方以浅淡笔墨绘拳石细草，清寂空疏，愈发烘托出冬梅凌霜孤高的品格。整幅布局空灵雅致，以极简笔触写尽文人心底的清雅意趣，笔意苍秀古拙，将梅花傲雪不屈的风骨与幽淡清逸的气韵相融，藏暗香于素绢，含清韵于笔端。",[25,26,27,55,173,373,7,160,243,4741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51c92a8adcfb9367d4420abfbb471a7.jpg","纵156.8cm,横61.6cm",[60,105],{"id":8029,"slug":8030,"title":8031,"dynasty":69,"author":8032,"museum":552,"description":8033,"tags":8034,"thumbUrl":8035,"material":59,"size":59,"collection":59,"collections":8036,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},234151,"shan-shui-juan-wen-bo-ren-234151","山水卷","文伯仁","文伯仁，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。性暴躁，好使气骂座，少年时曾与叔徵明相讼，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。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。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[23,25,74,55,75,26,80,115,338,134,277,82,85,349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":8038,"slug":8039,"title":7126,"dynasty":69,"author":1505,"museum":71,"description":8040,"tags":8041,"thumbUrl":8042,"material":139,"size":7041,"collection":59,"collections":8043,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},233805,"shan-shui-tu-ce-dong-qi-chang-233805","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[25,26,53,55,75,80,117,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc0101e770c5965b8981d382075a663.jpg",[],{"id":8045,"slug":8046,"title":8047,"dynasty":69,"author":1264,"museum":71,"description":8048,"tags":8049,"thumbUrl":8050,"material":3724,"size":8051,"collection":59,"collections":8052,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},233475,"ren-wu-hua-hui-ce-xu-wei-233475","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[25,26,53,55,30,117,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9a3afdd86f7423d4b7c78bbcbdc370.jpg","纵26.9厘米 横38.3厘米",[],{"id":8054,"slug":8055,"title":8056,"dynasty":18,"author":7832,"museum":71,"description":8057,"tags":8058,"thumbUrl":8059,"material":59,"size":59,"collection":88,"collections":8060,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},233222,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-wang-gai-233222","金陵诸家山水花卉册-山水页","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。",[25,26,53,55,75,80,1231,134,277,82,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0b9d658a27fac0225545bf52f27ce.jpg",[88],{"id":8062,"slug":8063,"title":8064,"dynasty":148,"author":2621,"museum":112,"description":8065,"tags":8066,"thumbUrl":8068,"material":327,"size":8069,"collection":59,"collections":8070,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},231337,"guan-dao-sheng-yan-yu-cong-zhu-yuan-dai-ji-jin-zhi-er-guan-dao-sheng-231337","管道昇烟雨丛竹－元代集锦之二","管道升善画竹，就存世画件，则有北京故宫藏《赵氏一门三竹图卷》中的第二件《墨竹》。此卷本安歧旧藏。安氏评以：“密叶劲节，不似闺秀之辈。”安歧旧藏又有赵孟頫、管道升《蕙竹合作卷》，安氏记以：“墨竹一枝，竹叶萧疏，枝节秀劲。”从这些描述来看《烟雨丛竹》，都不贴切。\n这幅《烟雨丛竹》不是习说的“墨竹”，而是当作于山水画的竹林图。从古老的诗经“瞻彼淇奥，绿竹猗猗”到“渭川千亩”，再到杜甫移种万竿于浣花草堂：“我有阴江竹，能令朱夏寒，阴通积水内，高映浮云端。”这种意念，移之于画作。明张丑记东坡居士《断山丛筱真迹》：“又见东坡《万竿烟雨》小帧。绢本精细，歇云眉山苏轼。下有飞白坡石，兼远景烟霭，极精。上方文征仲诗跋，称许娓娓可诵也。”“飞白坡石，兼远景烟霭。”移之于这幅《烟雨丛竹》，也是合宜的。又画史上倪瓒创出的《十万图》《万竿烟雨》即为第一题目。安歧记此画：“作淡墨细竹，沙渚遥浦，其间烟雾横迷，万玉幽深，茫茫有渭川千亩之势，坡陀皴法大类松雪，布景一派平远天真，秀妙绝伦，实为佳品。”也从此立意。\n《烟雨丛竹》画竹不分节，一笔不断由下方到顶端完成。竹叶形状细劲，结组繁而不乱。墨色用前浓后淡来区分出远近；画山坡是一般的山水皴法，沙渚丛竹，掩映于烟云中。新篁成丛与赵孟頫《自写小像》（1299作）的竹林画法是接近的。两件画竹叶，都是向上仰，做“燕尾”式的交合，且是前浓后淡的竹叶丛。竹竿《自写小像》并不一直顺畅到顶，略有些小转变。《自写小像》是青绿重彩，竹注重“墨骨”来衬托出色彩。《烟雨丛竹》是水墨层层迭迭渲染，烟云变灭，做得极为细致。技法上容有相通，情怀却不一。画平坡石块，《自写小像》画得古拙，而《烟雨丛竹》反而是老练成熟。",[25,26,74,55,434,32,8067,82,7],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdc9f3061b89318e38a118057564b00.jpg","縱23.1厘米，橫113.7厘",[],{"id":8072,"slug":8073,"title":8074,"dynasty":69,"author":201,"museum":552,"description":8075,"tags":8076,"thumbUrl":8077,"material":59,"size":59,"collection":59,"collections":8078,"showCount":7964,"zanCount":511,"manualWeight":43,"mainColor":64},228793,"ni-zan-qiu-lin-ye-xing-tu-yi-ming-228793","倪瓒秋林野兴图","此作用笔萧疏简淡，近岸枯木虬枝舒展，坡石间茅亭孤峙，一水横陈，远山澹然隐现，将太湖秋郊的荒寒清旷晕染开来。以干笔淡墨皴擦山石，逸笔草草却尽得山水神韵，意境冷寂空濛，尽显幽居林下的散淡意兴。\n\n卷后题咏往复，书画合璧，将文人出世襟怀融于水墨间，淡墨轻岚里满溢疏离尘嚣的隐逸之思，简淡中见真味，把秋日郊野的静穆与林下野兴，尽数铺展在咫尺卷中，尽显文人水墨写意的澹远精神。",[23,25,26,74,55,80,133,7,349,75,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe698103b9ad62460364be9a270631b54.jpg",[],{"id":8080,"slug":8081,"title":8082,"dynasty":69,"author":431,"museum":552,"description":8083,"tags":8084,"thumbUrl":8085,"material":59,"size":59,"collection":59,"collections":8086,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":44},228292,"li-fo-tu-chen-hong-shou-228292","礼佛图","此作用笔清劲圆韧，尽显高古奇逸之风。崖上枯松虬曲苍劲，枝桠裹挟冷冽清气，石崖趺坐的尊者素衣宽博，神色澹然，以丝缕牵出云端佛影，引渡下界向佛之心。下方沙弥合掌长跪，衣褶层叠温婉，满脸至诚恭敬。\n\n玲珑剔透的太湖石错落排布，衬出画面空灵疏朗的禅意，设色清雅柔和，仅以淡赭、浅青晕染，将出世的静穆禅韵融于尺幅之间，笔端藏着静水流深的禅思，把礼佛的虔敬化作悠远澄澈的画境。",[23,25,26,27,576,28,434,29,30,7,133,260,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c721a086c33d6299e0b1c0e20fa17b.jpg",[],{"id":8088,"slug":8089,"title":8090,"dynasty":18,"author":8091,"museum":552,"description":8092,"tags":8093,"thumbUrl":8094,"material":59,"size":59,"collection":59,"collections":8095,"showCount":7964,"zanCount":511,"manualWeight":43,"mainColor":64},224353,"shan-shui-tu-li-zhou-sun-yi-224353","山水图立轴","孙逸","此作用高远、平远构图错落铺展，左畔危崖层叠拔地而起，以留白晕出流岚烟霭，虚实相映间尽显山势空灵秀奇。以浅绛设色写就，山石勾勒细劲挺秀，淡赭敷色晕染出清润苍朴的质感，笔简意赅。\n\n下方村居隐于岩岫竹木间，野桥通幽，士人凭栏远眺，幽寂闲适的山居雅趣跃然纸上。整体画风萧散淡远，尽显静穆清逸的文人意韵，将皖南山水的冷隽灵秀与林下幽居的雅怀相融，尽显遗世独立的审美意趣。",[23,25,26,27,29,75,80,349,277,82,7,117,136,116,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49b9c0e92967b4ce30f0222df23738f.jpg",[],{"id":8097,"slug":8098,"title":8099,"dynasty":18,"author":6097,"museum":112,"description":8100,"tags":8101,"thumbUrl":8102,"material":119,"size":59,"collection":59,"collections":8103,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},224243,"ren-wu-shan-shui-li-zhou-gai-qi-224243","人物山水立轴","此作用淡墨写就庭院闲景，挺秀蕉树阔叶舒展，晕染出夏末清阴。茅舍半敞，幽人凭窗静坐，似在细听雨打蕉叶。泼墨点染山石苍润古朴，留白铺陈出空寂悠然的氛围。\n\n画面左上题诗与图景相映，诗画合璧，将文人幽居闲情寄寓其中。笔墨简淡秀雅，摒去浓艳敷色，尽显萧疏幽淡的意境，把江南文人心底的闲雅愁绪与林下之乐融为一体，淡墨轻岚间，漫溢出静谧安闲的书卷清气。",[23,25,55,27,28,30,80,99,7,522,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720732020f05546e4858289f093d2153.jpg",[],{"id":8105,"slug":8106,"title":8107,"dynasty":69,"author":70,"museum":112,"description":503,"tags":8108,"thumbUrl":8110,"material":327,"size":8111,"collection":59,"collections":8112,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},222105,"xie-mi-jia-shan-shen-zhou-222105","写米家山",[23,25,26,55,80,8109,53,115,117,338,84,7],"点染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82c8db68a8b575954749b6f85eccdfc.jpg","34.8×56.5厘米",[],{"id":8114,"slug":8115,"title":8116,"dynasty":69,"author":201,"museum":874,"description":875,"tags":8117,"thumbUrl":8118,"material":58,"size":59,"collection":59,"collections":8119,"showCount":7964,"zanCount":43,"manualWeight":43,"mainColor":64},217949,"ming-ren-shan-shui-hua-ce-liu-yi-ming-217949","明人山水画册(六)",[23,25,55,75,53,80,117,135,82,324,1366,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020fb7e4bf77496f47c6fab3f8b8ac7.jpg",[],{"id":8121,"slug":8122,"title":8123,"dynasty":369,"author":573,"museum":552,"description":8124,"tags":8125,"thumbUrl":8128,"material":641,"size":642,"collection":59,"collections":8129,"showCount":8130,"zanCount":511,"manualWeight":43,"mainColor":44},287708,"si-xue-shi-tu-ye-li-gong-lin-287708","四学士图页","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,25,30,134,7,29,434,8126,8127,53],"书卷","雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e567059d03f6163387fc2af055dc93.jpg",[],32,{"id":8132,"slug":8133,"title":8134,"dynasty":148,"author":8135,"museum":552,"description":8136,"tags":8137,"thumbUrl":8138,"material":641,"size":642,"collection":59,"collections":8139,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":44},287577,"shan-shui-ren-wu-sun-jun-ze-287577","山水人物","孙君泽","工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。",[25,80,30,260,7,863,277,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7e6badd43c05bf2f375442199b1e38f.jpg",[],{"id":8141,"slug":8142,"title":8143,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":8144,"thumbUrl":8145,"material":641,"size":642,"collection":59,"collections":8146,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":64},287351,"hui-yi-qin-huai-he-shan-shui-tu-zhou-shi-tao-287351","回忆秦淮河山水图轴",[23,25,273,55,29,75,7,324,325,32,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2bd565a5fe40e54bbc59f4ec18b424c.jpg",[],{"id":8148,"slug":8149,"title":8150,"dynasty":302,"author":1566,"museum":71,"description":8151,"tags":8152,"thumbUrl":8153,"material":678,"size":8154,"collection":39,"collections":8155,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":44},238953,"xi-zi-huan-sha-tu-ye-zhou-wen-ju-238953","西子浣纱图页","中国五代南唐画家。建康句容（今江苏省句容市）人。工画佛道、人物、车马、屋木、山水，尤精于仕女，也是出色的肖像画家。作品多为摹本《宫中图》《苏武李陵逢聚图》《重屏会棋图》《琉璃堂人物图》《太真上马图》。",[24,25,26,1694,28,29,30,31,7,1302,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381a9f19e2e6a925298dc86e6198ace1.jpg","64×64cm",[39],{"id":8157,"slug":8158,"title":8159,"dynasty":18,"author":8160,"museum":112,"description":8161,"tags":8162,"thumbUrl":8163,"material":59,"size":59,"collection":88,"collections":8164,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":44},238256,"wu-da-fu-song-tu-juan-zhang-ruo-ai-238256","五大夫松图卷","张若霭","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。",[25,26,74,55,75,715,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b2767d1893093d6fd6a0d715c493fd.jpg",[88],{"id":8166,"slug":8167,"title":1277,"dynasty":18,"author":941,"museum":552,"description":1278,"tags":8168,"thumbUrl":8169,"material":59,"size":1281,"collection":59,"collections":8170,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":64},238031,"hong-ren-shan-shui-tu-ce-hong-ren-238031",[25,55,75,53,80,81,136,324,7,863],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9144a0928789c773384316cc6493a3d6.jpg",[],{"id":8172,"slug":8173,"title":8174,"dynasty":69,"author":6488,"museum":552,"description":8175,"tags":8176,"thumbUrl":8177,"material":641,"size":642,"collection":59,"collections":8178,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[25,26,714,29,28,80,190,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8233d53c2b21d9041938e7b34732dd.jpg",[],{"id":8180,"slug":8181,"title":8047,"dynasty":69,"author":1264,"museum":71,"description":8048,"tags":8182,"thumbUrl":8183,"material":3724,"size":8051,"collection":59,"collections":8184,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":64},233474,"ren-wu-hua-hui-ce-xu-wei-233474",[25,26,53,55,30,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb541473a22dea986bb6946d6197738c6.jpg",[],{"id":8186,"slug":8187,"title":1614,"dynasty":148,"author":2912,"museum":71,"description":8188,"tags":8189,"thumbUrl":8190,"material":313,"size":8191,"collection":59,"collections":8192,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":64},233215,"zhu-shi-tu-zhou-gu-an-233215","《竹石图》 。该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[25,26,27,55,32,7,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2a0b28fc7cfc65ebf4a460dda8477a.jpg","170.7x99.7cm",[],{"id":8194,"slug":8195,"title":8196,"dynasty":5251,"author":8197,"museum":552,"description":8198,"tags":8199,"thumbUrl":8200,"material":641,"size":642,"collection":59,"collections":8201,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":143},231666,"shi-ting-shi-dai-fang-liang-kai-huang-chu-ping-tu-xue-zhou-231666","室町时代 仿梁楷黄初平图","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。",[25,26,55,434,76,30,2079,715,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cbaeb5a70ff2eeb09b8af16b85dbbcc.jpg",[],{"id":8203,"slug":8204,"title":8205,"dynasty":302,"author":8206,"museum":552,"description":8207,"tags":8208,"thumbUrl":8209,"material":59,"size":59,"collection":59,"collections":8210,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":64},227266,"yuan-yang-shuang-xi-qi-tu-huang-quan-227266","鸳鸯双西栖图","黄荃","黄荃在中国古代花鸟画发展史上占有重要地位。他集众家之长，鸟雀师刁光胤，山水师李昇，龙水、松石、墨竹师孙位，他能自出新意，不重蹈抄袭他人的陈迹，创出一种新体并使工笔花鸟画达到成熟期。黄荃的《写生珍禽图》其表现翎毛、昆虫等自然物态的精确性及其作为艺术形象的审美趣味性，确已达到妙造自然、形神兼备的地步。黄荃还继承和发展了边鸾描写活禽生卉的传统，以优美的笔致和赋色技巧表现动植物的生动情态。黄荃也能画山水、人物。与徐熙并称“徐熙野逸，黄家富贵。”。今有《写生珍禽图》传世。子黄居宷、黄居宝等亦擅花鸟，承其父法，黄居宷有《山鹧棘雀图》传世。",[23,25,24,26,714,28,29,56,466,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c674b72f9c4538a81c5d18574dd6ea.jpg",[],{"id":8212,"slug":8213,"title":8214,"dynasty":18,"author":7723,"museum":112,"description":8215,"tags":8216,"thumbUrl":8217,"material":327,"size":8218,"collection":88,"collections":8219,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":64},224122,"qing-gao-zong-yu-bi-kai-tai-shuo-bing-fang-ming-xuan-zong-kai-tai-tu-zhou-qian-long-224122","清高宗御笔开泰说并仿明宣宗开泰图轴","该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作。\n“三阳开泰”词意源出于《易经》：“正月为泰卦，三阳生于下”，取其冬去春来，阴消阳长，表示佳运即将开始，是新年吉祥的贺词。“三阳”取其谐音写生绵羊三只，母羊与小羊表情动人；配景的花石，用笔自由写意，乃出自于乾隆朝翰林词臣画家邹一桂（1686－1772）之手。邹一桂生于江苏无锡，雍正五年（1727）进士，官至礼部侍郎。",[23,25,27,29,28,101,3505,7,456,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4c9e77f35eea21414f4325ecb0cef4.jpg","127.7×63厘米",[88,122],{"id":8221,"slug":8222,"title":8223,"dynasty":18,"author":8224,"museum":552,"description":8225,"tags":8226,"thumbUrl":8228,"material":479,"size":8229,"collection":60,"collections":8230,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":64},223251,"xiao-xiang-yu-xue-pu-hua-223251","潇湘雨雪","蒲华","水墨绘雨雪之下，翠竹依然傲立的身姿，毫不畏缩，竹枝修长坚韧，竹叶翠绿繁茂\b。",[23,25,26,27,55,173,32,7,8227],"雨雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038ff4e425bdfc1d6ae7b7e36b4b5e42.jpg","117X48cm",[60,122],{"id":8232,"slug":8233,"title":8234,"dynasty":69,"author":8235,"museum":150,"description":8236,"tags":8237,"thumbUrl":8238,"material":59,"size":59,"collection":59,"collections":8239,"showCount":8130,"zanCount":511,"manualWeight":43,"mainColor":64},222520,"shen-xian-tu-ce-9-zhang-lu-222520","神仙图册9","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,24,25,26,53,434,55,30,618,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e8cb53124976920a73fdf03a1ef6d5e.jpg",[],{"id":8241,"slug":8242,"title":8243,"dynasty":69,"author":201,"museum":874,"description":8244,"tags":8245,"thumbUrl":8246,"material":37,"size":8247,"collection":39,"collections":8248,"showCount":8130,"zanCount":43,"manualWeight":43,"mainColor":1551},218323,"tie-guai-xian-ren-tu-yi-ming-218323","铁拐仙人图","这幅画与元代颜辉的风格相似，但笔法过于工整，切石过于急促，应是明代浙派画家所为。",[23,25,24,26,29,55,434,30,576,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17cc1e06718b81b52b719798dc68eab.jpg","77.6x56.1",[39],{"id":8250,"slug":8251,"title":8252,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":8253,"thumbUrl":8254,"material":641,"size":642,"collection":59,"collections":8255,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":64},290361,"hua-shou-xuan-tu-zhou-chen-hong-shou-290361","画寿萱图轴",[25,27,29,28,56,2862,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbba72393a923ff691a814c4bb13813a2.jpg",[],31,{"id":8258,"slug":8259,"title":8260,"dynasty":148,"author":256,"museum":552,"description":2665,"tags":8261,"thumbUrl":8262,"material":641,"size":642,"collection":59,"collections":8263,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":64},290265,"you-bo-tan-hua-tu-ke-luo-ban-ni-zan-290265","忧钵昙花图（珂罗版）",[23,24,25,55,80,27,7,133,349,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eeb3b9939ce2b4038601b054b21059d.jpg",[],{"id":8265,"slug":8266,"title":8267,"dynasty":18,"author":475,"museum":552,"description":638,"tags":8268,"thumbUrl":8270,"material":641,"size":642,"collection":59,"collections":8271,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":64},288639,"fang-gu-shan-shui-bi-yi-tu-zhu-da-288639","仿古山水笔意图",[23,24,25,55,80,133,7,77,79,75,6109,8269],"萧索","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed8ac0cc4a781ba5d5a5a4e3455407d.jpg",[],{"id":8273,"slug":8274,"title":1277,"dynasty":18,"author":941,"museum":552,"description":1278,"tags":8275,"thumbUrl":8276,"material":59,"size":1281,"collection":59,"collections":8277,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":64},238029,"hong-ren-shan-shui-tu-ce-hong-ren-238029",[25,26,53,55,29,80,7,81,82,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10102ec27a9d86269d3849cb605c37b2.jpg",[],{"id":8279,"slug":8280,"title":502,"dynasty":69,"author":8281,"museum":552,"description":8282,"tags":8283,"thumbUrl":8284,"material":641,"size":642,"collection":88,"collections":8285,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":64},235347,"shan-shui-ce-zhang-fu-yang-235347","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[25,26,53,55,75,77,1744,80,7,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93b9bfdb52ce42eb9ad887270ca2432.jpg",[88],{"id":8287,"slug":8288,"title":8289,"dynasty":18,"author":941,"museum":71,"description":3366,"tags":8290,"thumbUrl":8291,"material":327,"size":59,"collection":59,"collections":8292,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":64},234128,"lin-yue-yi-qu-tu-juan-hong-ren-234128","林樾一区图卷",[23,25,74,55,75,77,80,349,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9712d4963f78f40a5206cef1b5c061ab.jpg",[],{"id":8294,"slug":8295,"title":8296,"dynasty":148,"author":823,"museum":71,"description":8297,"tags":8298,"thumbUrl":8299,"material":678,"size":8300,"collection":59,"collections":8301,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,27,28,29,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96ed71ab1f6480dbbded3cf032bacacf.jpg","纵111.5cm，横55cm",[],{"id":8303,"slug":8304,"title":8047,"dynasty":69,"author":1264,"museum":71,"description":8048,"tags":8305,"thumbUrl":8306,"material":3724,"size":8051,"collection":59,"collections":8307,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":64},233468,"ren-wu-hua-hui-ce-xu-wei-233468",[25,26,53,55,188,7,79,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab684c1f0d51b50b3c8334384a777334.jpg",[],{"id":8309,"slug":8310,"title":8311,"dynasty":148,"author":8312,"museum":112,"description":8313,"tags":8314,"thumbUrl":8318,"material":8319,"size":8320,"collection":59,"collections":8321,"showCount":8256,"zanCount":209,"manualWeight":43,"mainColor":64},231339,"shan-shui-tu-yuan-dai-ji-jin-zhi-qi-lin-juan-a-231339","山水图－元代集锦之七","林卷阿","这件作品是元代集锦卷之一，也是林卷阿传世的唯一的传世国画作品。作品描绘的有坡树，悬崖，阔永远山，有两个人在悬崖上对坐畅谈。江中有一孤舟正泛波而行，远山连绵起伏，境界清旷。作者将董巨、郭熙画风融为一体，用笔圆润秀逸。在作品的尾部有作者自己题的款识“癸丑闰十一月，余访远斋副使于竹崎，谈诗论画。因道余师方壶公及孟循张先生，乃知用行尝与二师游，好古博雅，尤精书法。”",[25,55,273,74,26,75,80,7,8315,81,8316,324,8317,84,79],"沙渚","小船","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],{"id":8323,"slug":8324,"title":6513,"dynasty":18,"author":3850,"museum":552,"description":8325,"tags":8326,"thumbUrl":8327,"material":641,"size":642,"collection":59,"collections":8328,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":64},230357,"shan-shui-ce-ye-fan-qi-230357","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。",[24,25,26,53,29,75,80,7,133,81,82,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070ae4ad6a2c40b1bfed2dcffb4d2d0f.jpg",[],{"id":8330,"slug":8331,"title":8332,"dynasty":18,"author":169,"museum":552,"description":8333,"tags":8334,"thumbUrl":8335,"material":59,"size":59,"collection":59,"collections":8336,"showCount":8256,"zanCount":511,"manualWeight":43,"mainColor":64},224517,"shan-shui-tu-ce-8-kai-5-shi-tao-224517","山水图册8开-5","此作用笔松秀灵动，以淡墨勾勒皴擦近坡顽石，苍润朴厚，浅滩留白暗合流泉婉转之姿，石畔杂草萧疏，野意自生。湖面空阔明净，一扁舟轻泛其上，渔翁独钓，寥寥数笔写尽江湖散淡之趣。\n\n右上角题字朴拙率意，与画境浑然相融，尽显诗书画合一的文人雅趣。整幅简淡幽远，以简驭繁，将天地清寂与隐逸襟怀融为一体，淡墨轻岚间漾着萧散空寂之美，观之便觉湖风拂面，恍若身临幽旷水滨，静赏江湖闲逸之境。",[23,25,26,53,55,75,80,85,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1a75acc650de321142f50190900d8.jpg",[],{"id":8338,"slug":8339,"title":8340,"dynasty":69,"author":431,"museum":20,"description":2570,"tags":8341,"thumbUrl":8342,"material":53,"size":59,"collection":59,"collections":8343,"showCount":8256,"zanCount":511,"manualWeight":43,"mainColor":64},221912,"hua-niao-jing-pin-ce-9-chen-hong-shou-221912","花鸟精品册9",[25,24,29,28,53,56,7,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbe640c04e62e628fad5e50518bd9eb.jpg",[],{"id":8345,"slug":8346,"title":8347,"dynasty":769,"author":2879,"museum":2371,"description":8348,"tags":8349,"thumbUrl":8350,"material":59,"size":59,"collection":59,"collections":8351,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":64},220498,"sheng-ting-hong-zhang-da-qian-220498","胜鞓红","湖石嶙峋苍古，朱砂牡丹开得秾艳饱满，翠色修竹挺拔清隽，粉蝶蹁跹于枝叶之间，生机盈盈。\n设色妍丽却不俗媚，牡丹以重彩层层晕染，尽显雍容华贵；竹叶勾勒劲挺秀逸，带着清透灵韵；湖石以枯笔皴擦，苍劲老辣。虫蝶刻画入微，纤毫毕现，工笔与写意交融，将艳色与清致揉合。\n题字错落排布，书画相生，浑然成趣。整幅画作既有富贵堂皇之态，又藏幽隽清雅之韵，尽显雅致意趣。",[23,25,29,28,27,191,32,435,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b612a976de1d70f05f8c816e69aa8.jpg",[],{"id":8353,"slug":8354,"title":8355,"dynasty":69,"author":5153,"museum":874,"description":8356,"tags":8357,"thumbUrl":8358,"material":262,"size":8359,"collection":88,"collections":8360,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":64},219741,"fang-ni-yun-lin-shan-shui-tu-lu-zhi-219741","仿倪云林山水图","陆治（1496年－1576年），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[23,25,55,75,76,27,80,4904,135,81,349,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbdb0c6553b0cd9204aeeef9b88a4a8.jpg","纵136.7横32.1厘米",[88],{"id":8362,"slug":8363,"title":8364,"dynasty":148,"author":8365,"museum":112,"description":8366,"tags":8367,"thumbUrl":8368,"material":313,"size":8369,"collection":39,"collections":8370,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":64},219637,"song-jian-heng-qin-tu-zhu-de-run-219637","松涧橫琴图","朱德润","这幅小品以边角构图铺展幽致，古松虬曲苍劲，枝干如铁铸般舒展，松针攒簇尽显老辣风骨。涧水轻流隐于石畔，林下三人身姿写意灵动，一人转轴拨弦，两人凝神静听，茶盏置于石上，松风裹着琴音漫过溪谷。\n\n笔墨简淡清逸，枯笔皴擦出松干嶙峋肌理，淡墨晕染空濛远水，人物简笔勾勒却神态宛然，将文人士大夫幽居林泉、鸣琴寄怀的雅趣尽显无余。题款错落雅致，与画面浑融一体，淡远疏朗间藏着静穆萧散的文人襟怀，是水墨小品中寄兴抒怀的绝佳之作。",[23,25,24,26,55,75,80,260,82,30,1446,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ae67e46a51dca0820b767303d728b9.jpg","24.7x26.9厘米",[39],{"id":8372,"slug":8373,"title":8374,"dynasty":69,"author":3877,"museum":874,"description":8375,"tags":8376,"thumbUrl":8377,"material":205,"size":8378,"collection":39,"collections":8379,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":44},219503,"qiao-fu-tu-wu-wei-219503","樵夫图","此作以粗劲写意之笔，绘就山野樵归之景。左上枯木虬枝盘错，水墨酣畅淋漓，苍莽老辣的笔墨勾勒出林间荒寂之态。负薪樵夫居于画面正中，衣纹以顿挫折芦描写就，寥寥数笔便将樵夫行于山径间的疲惫憨朴尽数烘托，肩头薪柴写实生动，尽显劳作的质朴厚重。淡墨晕染远景空茫，虚实相映间衬出郊野空旷萧疏，整体笔墨健拔爽利，将山野市井的日常意趣融于山水，把俗世生活的鲜活烟火气晕染在荒寂山野之中，简括传神又意韵悠长。",[23,25,24,27,55,173,30,81,135,1231,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f737201526754b27266ed5a65515adf.jpg","纵164.8横95.0厘米",[39],{"id":8381,"slug":8382,"title":8383,"dynasty":369,"author":8384,"museum":170,"description":8385,"tags":8386,"thumbUrl":8387,"material":37,"size":8388,"collection":59,"collections":8389,"showCount":8256,"zanCount":511,"manualWeight":43,"mainColor":64},216921,"xiang-shan-jiu-lao-tu-3-ma-xing-zu-216921","香山九老图-3","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。",[23,25,24,26,74,28,29,75,30,134,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d337f51df2c79cfd347b373f8b121f.jpg","27.1x217.2",[],{"id":8391,"slug":8392,"title":8393,"dynasty":18,"author":201,"museum":552,"description":8394,"tags":8395,"thumbUrl":8396,"material":37,"size":59,"collection":59,"collections":8397,"showCount":8256,"zanCount":43,"manualWeight":43,"mainColor":44},216717,"hong-lou-meng-fu-tu-ce-10-yi-ming-216717","红楼梦赋图册-10","庭院深深，雕花窗棂映着回廊青瓦，藤蔓牵衣。近处方巾女子红绫轻扬，裙摆旋作蝶影，似将笑语掷向风里；窗畔二人凭栏，目光如丝，缠在院中嬉戏的身影上。石边草色漫阶，闲鹤驮云而过，池畔红荷倚石，晕开一抹温柔。淡彩晕染出雅致，细笔勾就灵动，将红楼闺阁的闲趣与园林的幽婉揉成画卷。每一处线条藏着旧时光的温婉，每一抹色彩漾着古典的诗意，仿佛能听见画里女子的轻语，漫过岁月的窗棂。",[23,25,29,28,53,30,31,242,153,7,33,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b613db4e103bdc77c619a70a23f3249.jpg",[],{"id":8399,"slug":8400,"title":8401,"dynasty":69,"author":1184,"museum":112,"description":8402,"tags":8403,"thumbUrl":8404,"material":262,"size":8405,"collection":59,"collections":8406,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},290842,"xi-zhou-hua-jiu-tu-zhou-tang-yin-290842","西洲话旧图轴","该画作山水、人物、花鸟，画中山重岭复，以小斧劈皴为之，雄伟险峻，而笔墨细秀，布局疏朗，风格秀逸清俊。",[25,27,55,77,78,79,133,7,349,30,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a8caa51702d0723ff578a2a8a49be70.jpg","110.7x52.3",[],30,{"id":8409,"slug":8410,"title":8411,"dynasty":69,"author":183,"museum":552,"description":8412,"tags":8413,"thumbUrl":8414,"material":641,"size":642,"collection":59,"collections":8415,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},290350,"ju-hua-zhu-shi-zhou-xiang-sheng-mo-290350","菊花竹石轴","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。",[25,27,55,56,189,32,7,77,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88993b9b7cc8037876cb5a27b4424100.jpg",[],{"id":8417,"slug":8418,"title":8419,"dynasty":369,"author":8420,"museum":552,"description":8421,"tags":8422,"thumbUrl":8424,"material":641,"size":642,"collection":59,"collections":8425,"showCount":8407,"zanCount":209,"manualWeight":43,"mainColor":44},288993,"you-gou-tu-mao-yi-288993","游狗图","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。",[714,25,24,26,28,29,8423,101,174,7],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85b8776c16d30a84a7a6ea411f52685.jpg",[],{"id":8427,"slug":8428,"title":8429,"dynasty":69,"author":8430,"museum":552,"description":8431,"tags":8432,"thumbUrl":8433,"material":641,"size":642,"collection":59,"collections":8434,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},288044,"shan-shui-zhu-shi-tu-ye-wang-fu-288044","山水竹石图页","王绂","王绂(wángfú)， 明初大画家，擅长山水，尤精枯木竹石，画竹兼收北宋以来各名家之长，具有挥洒自如、纵横飘逸、清翠挺劲的独特风格，人称他的墨竹是“明朝第一”。永乐元年(1403年)开始参与编纂《永乐大典》。",[23,25,26,55,32,134,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd653c41a55eeac3370945450740a77.jpg",[],{"id":8436,"slug":8437,"title":8438,"dynasty":18,"author":8439,"museum":552,"description":8440,"tags":8441,"thumbUrl":8442,"material":59,"size":59,"collection":60,"collections":8443,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},239530,"fang-gu-ji-you-tu-ce-huang-yi-239530","访古纪游图册","黄易","此作以淡墨绘就水畔闲景，右侧疏木立异石，浅林掩映茅舍，远山含晕，留白铺就湖面，漾开空濛清寂。枯笔写木，皴擦刻画出湖石奇崛肌理，淡墨轻扫远山晕出水气。\n题跋与画作相映成趣，笔墨简淡秀润，将纪游幽怀寄于萧散景致里。整体意境澹泊静穆，尽显文人林下之风，把江南水畔的闲雅清居，揉进悠悠文心，淡而愈远，简中含情。",[25,26,53,55,434,80,32,7,136,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfee47df568b62a35375d8d73831df5.jpg",[60,122],{"id":8445,"slug":8446,"title":8447,"dynasty":69,"author":8448,"museum":71,"description":8449,"tags":8450,"thumbUrl":8452,"material":1106,"size":8453,"collection":59,"collections":8454,"showCount":8407,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[25,26,27,28,29,189,7,8451,101],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4419186ef37cfbb681f6bb8d51bf21.jpg","纵160厘米，横52厘米",[],{"id":8456,"slug":8457,"title":8458,"dynasty":148,"author":8459,"museum":71,"description":8460,"tags":8461,"thumbUrl":8462,"material":598,"size":8463,"collection":59,"collections":8464,"showCount":8407,"zanCount":511,"manualWeight":43,"mainColor":44},233844,"hua-shan-shui-zhou-li-shi-xing-233844","画山水轴","李士行","李士行山水图取境开阔，中间以一高峰为主体，四周群山相扶。雾气弥漫的、深远的山涧有一清流涌出，并化为平静的河水缓缓向前流淌。整个画面布局平稳，境界平淡天然。此画用笔温和秀润，多用披麻皴，墨色变化丰富，水色淋漓。其浓淡相间，以淡墨皴染，浓墨画近树和点苔，层次分明。",[25,26,27,55,29,80,81,135,82,324,75,1212,1366,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca3bbb245b9e71fbb9e96e768f35a36.jpg","纵：106.2厘米，横：52.7厘米",[],{"id":8466,"slug":8467,"title":8468,"dynasty":148,"author":1930,"museum":552,"description":8469,"tags":8470,"thumbUrl":8471,"material":59,"size":59,"collection":59,"collections":8472,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,26,27,29,28,56,217,32,7,5778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d33585a772eb69df209975f31fee55.jpg",[],{"id":8474,"slug":8475,"title":8476,"dynasty":69,"author":4336,"museum":552,"description":8477,"tags":8478,"thumbUrl":8479,"material":59,"size":59,"collection":59,"collections":8480,"showCount":8407,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[23,24,25,26,74,28,29,30,242,349,277,82,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":8482,"slug":8483,"title":8484,"dynasty":148,"author":4431,"museum":112,"description":8485,"tags":8486,"thumbUrl":8487,"material":262,"size":8488,"collection":60,"collections":8489,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},228010,"xi-fu-tu-zhou-chen-lin-228010","溪凫图轴","《溪凫图》为元代画家 创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[23,25,26,55,29,56,1558,82,541,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[60],{"id":8491,"slug":8492,"title":8493,"dynasty":18,"author":169,"museum":552,"description":8494,"tags":8495,"thumbUrl":8496,"material":59,"size":59,"collection":59,"collections":8497,"showCount":8407,"zanCount":511,"manualWeight":43,"mainColor":64},224523,"shan-shui-tu-ce-8-kai-8-shi-tao-224523","山水图册8开-8","此作用边角布局造景，右侧崖壁以浓墨皴擦，朴拙苍劲，留白铺就浩渺湖面，虚实相映尽显烟波空濛。水面渔舟错落，渔人或撑舟放网，或围坐闲谈，野趣盎然，崖头行人凭栏远眺，一动一静间，将湖畔日常的闲散诗意铺陈开来。\n\n墨色干湿浓淡层次分明，远山以淡墨晕染，朦胧悠远，近岸苔点灵动鲜活，晕染出江南水泽的温润生机。题诗朱印与画作浑然一体，书画印相映成趣，把偶然得见的湖光野景寄于笔墨，将文人雅趣与世俗烟火相融，尽是师法自然的恬淡悠然。",[23,25,55,29,75,53,79,78,80,85,30,153,7,82,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c782c5e41a5ccb190b00e358db8a2c.jpg",[],{"id":8499,"slug":8500,"title":3025,"dynasty":18,"author":8501,"museum":50,"description":8502,"tags":8503,"thumbUrl":8504,"material":3724,"size":8505,"collection":60,"collections":8506,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":44},223304,"gu-mu-zhu-shi-tu-luo-mu-223304","罗牧","图绘岸边一隅古木树叶凋零，枝杆苍劲；石块耸立，粗笔勾勒其轮廓，中部留白；四周翠竹环绕，繁茂苍翠，生机勃勃。",[23,25,55,27,134,1231,32,7,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0b8c417963c4bbe141ba7b938a3e34.jpg","纵127cm，横54cm",[60,122],{"id":8508,"slug":8509,"title":8510,"dynasty":69,"author":8511,"museum":8512,"description":8513,"tags":8514,"thumbUrl":8516,"material":678,"size":8517,"collection":60,"collections":8518,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},221918,"wu-se-shu-kui-tu-chen-gua-221918","五色蜀葵图","陈栝","广州艺术博物院","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",[23,24,25,26,27,29,28,56,243,8515,7],"蜀葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd40f4d75edc248b6c82bca466a29ef.jpg","133X66.5cm",[60,105],{"id":8520,"slug":8521,"title":8522,"dynasty":148,"author":5602,"museum":112,"description":8523,"tags":8524,"thumbUrl":8525,"material":119,"size":8526,"collection":88,"collections":8527,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},221729,"gao-ting-tu-fang-cong-yi-221729","高亭图","山峰突耸于云海之中，近景的峰顶设孤亭，一人沿山径向峰顶走去。画家画山水直接用破墨法晕染远处山石，再加以浓墨点缀，用简笔勾出山中云烟并留白，近处栈道山崖崖壁用浓墨湿笔施以大斧劈，再轻轻罩染。用笔草草，破墨山水墨气淋漓。从此图中可窥见董巨、米氏山水之风，兼有梁楷简笔、吴镇湿墨、马夏斧劈之韵。从其自识“纵笔写之”可看出其用书法笔意画写意山水的逸趣，这正贴合了元初赵孟頫倡导的“书画同源”的志趣。而这些正构成了方从义“纵逸”山水的风格。\n方从义曾在1343年到北方游历，不只结交许多高官文士，在其间获得名声，更饱览各地名山胜景，使他胸襟开阔，落笔不凡。同时代人对其画技，皆以潇散非世人所能及，明代画评家王世贞论其画与高克恭、倪瓒等人同列为“品之逸者也” 。如此幅钩云点苔，随意不羁，风格简逸，而山川精气更在水墨精微中见出，体现元代道士藉山水追求清静自然，心灵解脱之哲学，用笔草草，意境无穷。",[23,25,24,26,27,55,75,80,349,81,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[88,122],{"id":8529,"slug":8530,"title":8531,"dynasty":148,"author":2912,"museum":112,"description":8532,"tags":8533,"thumbUrl":8534,"material":53,"size":8535,"collection":59,"collections":8536,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":44},221696,"fang-ni-zan-hua-mo-zhu-zhou-gu-an-221696","仿倪瓒画墨竹轴","墨竹三竿，葉片在勁風吹拂下，飛揚搖曳，彷佛可以聽到呼嘯的風聲和葉片摩擦的聲音。前後兩竹，一濃一淡，好像隔了一層淡淡的霧氣，剛直秀勁中又有婀娜温婉之意。",[23,24,25,26,27,55,76,32,7,5994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47784ae4659f6b95e770f86d3397a48.jpg","该幅93.5x52.3公分；全幅105.3公分",[],{"id":8538,"slug":8539,"title":8540,"dynasty":769,"author":3542,"museum":3543,"description":8541,"tags":8542,"thumbUrl":8543,"material":59,"size":59,"collection":59,"collections":8544,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},220525,"huang-zhen-zhi-xiang-xu-bei-hong-220525","黄震之像","此作将写实精微与写意意趣熔于一炉，笔情墨趣间尽显文人风骨。\n画家以细腻笔触勾勒传主容貌，鬓边霜色、面部纹路皆细致晕染，把文人温雅沉静的神态精准定格。宽袍长衫以写意笔墨铺就，苍劲松枝顶天立地，暗合传主刚直品格；篱畔秋菊与幽竹错落点缀，晕开悠然清寂的意境。\n中西技法相融，打破传统肖像的陈规，传神写真与寄情抒怀合二为一，在写实的真切质感之外，晕染出传统笔墨的诗意余韵，将文人冲淡自持的精神风骨凝于画间。",[23,25,26,27,29,55,30,134,156,7,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b6bf1a5072c1e72fed543fb949df29.jpg",[],{"id":8546,"slug":8547,"title":200,"dynasty":148,"author":1810,"museum":150,"description":8548,"tags":8549,"thumbUrl":8550,"material":313,"size":8551,"collection":60,"collections":8552,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},219638,"zhu-shi-tu-ke-jiu-si-219638","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[23,25,26,24,714,55,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed570f5ae80a8cf1f11fe236660d293.jpg","纵28.4厘米，横25.1厘米",[60],{"id":8554,"slug":8555,"title":8556,"dynasty":18,"author":8557,"museum":874,"description":8558,"tags":8559,"thumbUrl":8560,"material":37,"size":59,"collection":39,"collections":8561,"showCount":8407,"zanCount":511,"manualWeight":43,"mainColor":44},219559,"yu-jia-miao-e-tu-min-zhen-219559","渔家媌娥图","闵贞","垂柳依依拂过空蒙水岸，将江南水乡的柔婉晕染开来。画中渔女荷秤伫立，衣袂线条简劲爽利，带着写意的疏朗，却把渔家劳作后的倦怠质朴刻画入微。人物面部晕染柔和，神情恬淡安然，静望着烟水澹澹的江天，仿佛正等候归船。\n\n背景以淡墨虚化远山，柳枝细笔密叶写出，繁而不乱，与人物的简淡形成虚实对比，烘托出幽寂清旷的氛围。整作以水墨写就，墨色干湿浓淡层次分明，尽显文人写意雅致，又饱含烟火情味，将平凡渔家日常升化为诗意图景，在简淡笔墨间蕴藏悠悠江南意趣。",[23,25,26,27,434,30,31,134,7,307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3e252e59b1f535e258aa0277d37b52.jpg",[39],{"id":8563,"slug":8564,"title":8565,"dynasty":69,"author":3126,"museum":112,"description":8566,"tags":8567,"thumbUrl":8568,"material":262,"size":8569,"collection":60,"collections":8570,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},219512,"han-lin-qu-yu-tu-yao-shou-219512","寒林鸲鹆图","表现了水边奇石及枯木丛篁中的景象。",[25,55,27,173,77,79,56,133,374,1073,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc50daeb2e5949a3519195445d994f7.jpg","纵116.7厘米横29.6厘米",[60],{"id":8572,"slug":8573,"title":8574,"dynasty":18,"author":8575,"museum":112,"description":8576,"tags":8577,"thumbUrl":8580,"material":37,"size":8581,"collection":60,"collections":8582,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},219389,"bai-ying-zhou-ai-qi-meng-219389","白鹰轴","艾启蒙","白鹰昂首立于岩巅，翎羽皎洁若初雪，纹理细密如织，双目炯炯透着凛凛锐气。旁侧红叶灼灼似燃，与苍劲山石相映，添几分艳色却不掩清旷。山石皴法古拙，枯枝虬劲，而白鹰造型写实入微，翎羽的轻盈与岩石的厚重形成张力。中西技法相融，既得禽鸟生动之态，又存传统山水的古雅意境。淡远的背景晕染出空濛，更衬出主体的傲然独立，整幅画气韵生动，尽显自然灵趣与生命的雄健风骨。",[25,27,29,28,8578,7,8579,259,260,493,79],"白鹰","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11345bfb0ef7050087f410e403155550.jpg","179.2x95",[60],{"id":8584,"slug":8585,"title":8586,"dynasty":148,"author":201,"museum":71,"description":8587,"tags":8588,"thumbUrl":8589,"material":37,"size":8590,"collection":88,"collections":8591,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":44},218213,"shui-ge-dui-hua-tu-yi-ming-218213","水阁对话图","水阁对话图是一种流行于元朝时期的文学体裁，通常用来记录人们在水上建筑物（如水上别墅、水上庭院或水上茶室）中的对话。这种体裁的名字来源于“水阁”这个词，指的是在水上建造的别墅或其他建筑物。\n\n元朝时期，由于水上建筑物在当时是很流行的，因此水阁对话图也非常受欢迎。这种体裁通常记录了人们在水上建筑物中的日常对话，以及他们对当时社会、政治、文化等诸多话题的看法。",[25,714,55,80,30,242,134,1231,324,7,82,75,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c5b832746b1a1e3f0abb4065f54693.jpg","25.8x23.7cm",[88],{"id":8593,"slug":8594,"title":8595,"dynasty":69,"author":431,"museum":835,"description":7083,"tags":8596,"thumbUrl":8597,"material":37,"size":59,"collection":59,"collections":8598,"showCount":8407,"zanCount":43,"manualWeight":43,"mainColor":64},218027,"za-hua-ce-4-chen-hong-shou-218027","杂画册-4",[25,26,53,29,30,7,79,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519b336f0533ab73ca5961d7157e7f06.jpg",[],{"id":8600,"slug":8601,"title":8602,"dynasty":148,"author":256,"museum":552,"description":2665,"tags":8603,"thumbUrl":8604,"material":641,"size":642,"collection":59,"collections":8605,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":44},290266,"xiao-shan-shu-lin-tu-ke-luo-ban-ni-zan-290266","小山疏林图（珂罗版）",[23,25,24,26,55,80,134,7,349,79,77,1579,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6068a25a99e08d7d93bc7a1734380a3c.jpg",[],29,{"id":8608,"slug":8609,"title":8610,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":8611,"thumbUrl":8612,"material":641,"size":642,"collection":59,"collections":8613,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},289909,"ye-se-ce-ye-shi-tao-289909","野色册页",[25,55,1694,79,77,80,153,133,277,30,7,760],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406cac18541976b3f7edf604d75728e4.jpg",[],{"id":8615,"slug":8616,"title":8617,"dynasty":18,"author":8618,"museum":552,"description":8619,"tags":8620,"thumbUrl":8621,"material":641,"size":642,"collection":59,"collections":8622,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},289907,"qing-mou-cheng-shan-yu-fei-an-289907","情眸成扇","于非闇","于非闇（1889年3月22日—1959年7月3日），原名于魁照，后改名于照，字仰枢，别署非闇，又号闲人、闻人、老非，近现代中国画家。原籍山东蓬莱，出生于北京，自幼得书画家传。1912年入师范学校学习，后任教于私立师范校、私立华北大学美术系。兼任古物陈列所附设国画研究馆导师。1935年起专攻工笔花鸟画。1949年后历任中央美术学院民族美术研究所研究员、北京中国画研究会副会长、北京画院副院长。作品有《玉兰黄鹂》、《丹柿图》、《牡丹鸽子》等。著有《非闇漫墨》、《艺兰记》、《中国画颜料研究》、《我怎样画花鸟画》。",[714,25,26,28,29,56,153,435,7,2862],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff863da702831d1f54c9cc95d7ee7ffae.jpg",[],{"id":8624,"slug":8625,"title":2182,"dynasty":369,"author":1115,"museum":552,"description":8626,"tags":8627,"thumbUrl":8628,"material":641,"size":642,"collection":59,"collections":8629,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":44},288956,"bai-ying-tu-zhao-ji-288956","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。",[24,25,26,27,29,56,28,8578,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b31fb1ae009684631e3ecc0386711a8.jpg",[],{"id":8631,"slug":8632,"title":8633,"dynasty":148,"author":8634,"museum":552,"description":8635,"tags":8636,"thumbUrl":8637,"material":641,"size":642,"collection":59,"collections":8638,"showCount":8606,"zanCount":511,"manualWeight":43,"mainColor":44},288337,"xie-qin-fang-you-tu-luo-zhi-chuan-288337","携琴访友图","罗稚川","此幅无印款，专家学者考定为元代画家罗稚川所作，全幅用郭河阳画法，写寒林清泉，溪山迷远，得宋人平远寒林之趣，而用笔更趋书写性，已是元人风貌。",[23,25,24,27,55,80,134,1231,277,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe0e4db9c999297de31c0b81240f2c96.jpg",[],{"id":8640,"slug":8641,"title":8642,"dynasty":18,"author":8643,"museum":552,"description":8644,"tags":8645,"thumbUrl":8647,"material":59,"size":59,"collection":59,"collections":8648,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},239053,"shan-shui-hua-niao-ce-yang-jin-239053","山水花鸟册","杨晋","杨晋 ，字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[25,26,53,55,80,32,117,7,8646,324,75,79],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e340cdb6f9a982c4336e6e154f1d51a.jpg",[],{"id":8650,"slug":8651,"title":8652,"dynasty":18,"author":3824,"museum":552,"description":8653,"tags":8654,"thumbUrl":8655,"material":641,"size":642,"collection":59,"collections":8656,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[25,24,53,28,29,56,153,7,79,77,2280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc42360a66af189821ac5b798a1b2dc8.jpg",[],{"id":8658,"slug":8659,"title":8660,"dynasty":18,"author":3814,"museum":552,"description":8661,"tags":8662,"thumbUrl":8663,"material":59,"size":8664,"collection":39,"collections":8665,"showCount":8606,"zanCount":511,"manualWeight":43,"mainColor":64},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。”",[25,26,27,29,28,576,30,80,7,82,541,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[39],{"id":8667,"slug":8668,"title":7375,"dynasty":18,"author":7376,"museum":71,"description":7377,"tags":8669,"thumbUrl":8670,"material":59,"size":59,"collection":59,"collections":8671,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},237112,"shi-nv-ce-cui-wei-237112",[25,26,53,28,29,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604717feee653eeafc529f2f93948e3.jpg",[],{"id":8673,"slug":8674,"title":8675,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":8676,"thumbUrl":8677,"material":641,"size":642,"collection":59,"collections":8678,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},235794,"hua-shi-hu-die-tu-shan-ye-chen-hong-shou-235794","花石蝴蝶图扇页",[24,25,26,714,29,28,56,435,291,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929eff4102003e83d39418c727068bd0.jpg",[],{"id":8680,"slug":8681,"title":8682,"dynasty":69,"author":8683,"museum":8684,"description":8685,"tags":8686,"thumbUrl":8687,"material":139,"size":8688,"collection":59,"collections":8689,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},234181,"shan-shui-tu-juan-zhang-fu-234181","山水图卷","张復","烟台市博物馆","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。\n图绘群山之间，有楼阁高架于溪流之上，几参天古松临溪而立，松下一老者笼袖信步，二童子其后跟随。布景繁密，笔墨秀润，设色清丽。画幅中题：“洞有仙人箓，山藏太史书。”与画面内容相呼应，作于作者八十四岁时。",[23,25,26,74,55,75,80,4904,1407,82,81,136,277,153,7,865,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e9c0cc103d6a4c046cf2fb9d13af6e.jpg","161．50x89．50cm",[],{"id":8691,"slug":8692,"title":8693,"dynasty":18,"author":941,"museum":71,"description":8694,"tags":8695,"thumbUrl":8696,"material":479,"size":8697,"collection":59,"collections":8698,"showCount":8606,"zanCount":511,"manualWeight":43,"mainColor":64},233827,"you-ting-xiu-mu-tu-zhou-hong-ren-233827","幽亭秀木图轴","“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。\n作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[25,26,24,27,55,75,349,117,80,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb8101e25e0b3da1b9d79531e46d3b.jpg","纵68厘米，横50.4厘米",[],{"id":8700,"slug":8701,"title":8702,"dynasty":18,"author":169,"museum":71,"description":8703,"tags":8704,"thumbUrl":8705,"material":8706,"size":8707,"collection":59,"collections":8708,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},233423,"yuan-ji-shan-shui-ce-shi-tao-233423","原济山水册","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[25,26,53,55,75,80,7,134,260,136,259,2351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206f61189ac2d29273e312c7d8b2dc6c.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":8710,"slug":8711,"title":8712,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":8713,"thumbUrl":8714,"material":641,"size":642,"collection":59,"collections":8715,"showCount":8606,"zanCount":511,"manualWeight":43,"mainColor":44},230955,"xue-jiao-tu-ye-chen-hong-shou-230955","雪蕉图页",[24,25,26,53,28,29,7320,7,492,291,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F874e621d854c924252505ec09a442862.jpg",[],{"id":8717,"slug":8718,"title":7750,"dynasty":69,"author":8719,"museum":552,"description":8720,"tags":8721,"thumbUrl":8723,"material":59,"size":59,"collection":59,"collections":8724,"showCount":8606,"zanCount":511,"manualWeight":43,"mainColor":44},230949,"shou-shan-fu-hai-tu-leng-qian-230949","冷谦","此作以浩渺沧海为主体，细劲线条勾绘层叠水纹，如鳞似浪，将海涛不息的灵动与苍莽尽数铺展。几座仙山错落浮沉于碧波间，山石以青绿晕染，皴笔勾勒出奇崛硬朗的山势，刚劲山海与柔婉浪涛形成绝妙的刚柔对照。\n\n右上角题诗衬景，让烟波之间更添缥缈仙气，整幅画作将山海辽远之境与祥瑞题旨相融，工致古雅，尽显静谧恢宏的山海气象。",[23,25,26,27,29,80,8722,135,7,79,3221,75],"海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680aaa4850da94d3d3296008a2b2c881.jpg",[],{"id":8726,"slug":8727,"title":8728,"dynasty":18,"author":4422,"museum":552,"description":8729,"tags":8730,"thumbUrl":8731,"material":59,"size":59,"collection":59,"collections":8732,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},230880,"hua-niao-shan-ren-xun-230880","花鸟扇","泥金扇面上，折枝海棠柔媚盛放，粉白花瓣晕染雅致，枝叶扶疏灵动，古拙苍润的奇石与花枝相映成趣。翎鸟独立枝桠，蓝首白羽配黑尾，身姿悠然静敛，将春日清宁定格。\n\n此作用笔工致秀雅，设色明丽又不失清雅，工笔间带着写意的灵动，将院体画的精致与海派雅俗共赏的特质相融，将暮春庭间幽景凝于尺幅。笔墨晕染出江南春日的缱绻温柔，满溢闲雅生机，读来如沐春风，尽显恬淡隽美的东方意趣。",[25,26,714,29,28,56,190,7,157,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb5357899a9ec840bb8208254de86e0.jpg",[],{"id":8734,"slug":8735,"title":8736,"dynasty":69,"author":5428,"museum":552,"description":8737,"tags":8738,"thumbUrl":8739,"material":59,"size":59,"collection":59,"collections":8740,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":44},228494,"ti-zhu-tu-du-jin-228494","题竹图","《题竹图》是明代画家 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。",[23,25,29,28,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ab7d37fb2da1c17cd7b315268f3492e.jpg",[],{"id":8742,"slug":8743,"title":8744,"dynasty":69,"author":431,"museum":552,"description":8745,"tags":8746,"thumbUrl":8747,"material":59,"size":59,"collection":59,"collections":8748,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,26,29,28,445,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70da03aa0c6f05f9a9f6377a8ee1adc4.jpg",[],{"id":8750,"slug":8751,"title":4469,"dynasty":69,"author":431,"museum":552,"description":8752,"tags":8753,"thumbUrl":8754,"material":59,"size":59,"collection":59,"collections":8755,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,24,25,26,29,28,30,576,81,7,160,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b69c8b504945e6a0218915535961f3.jpg",[],{"id":8757,"slug":8758,"title":8759,"dynasty":148,"author":823,"museum":552,"description":8760,"tags":8761,"thumbUrl":8762,"material":59,"size":59,"collection":59,"collections":8763,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,1850,25,26,27,28,55,56,32,374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac188acdce48fe49bfc54eafa6996beb.jpg",[],{"id":8765,"slug":8766,"title":8767,"dynasty":18,"author":169,"museum":2277,"description":8768,"tags":8769,"thumbUrl":8770,"material":664,"size":8771,"collection":59,"collections":8772,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":64},224522,"shan-shui-tu-ce-8-kai-7-zhang-da-qian-jiu-cang-shi-tao-224522","山水图册8开-7-张大千旧藏","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[23,25,55,75,53,80,7,81,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38185d388bd2aef7f301241ae98f8694.jpg","14.9x27.3cm",[],{"id":8774,"slug":8775,"title":8776,"dynasty":69,"author":8235,"museum":112,"description":8777,"tags":8778,"thumbUrl":8780,"material":2141,"size":8781,"collection":88,"collections":8782,"showCount":8606,"zanCount":511,"manualWeight":43,"mainColor":44},222502,"shan-yu-yu-lai-tu-zhou-zhang-lu-222502","山雨欲来图轴","此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[23,25,55,27,75,80,135,81,84,2351,30,82,7,8779],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dda3aeabd6bd882d906bf05d7ad4cc6.jpg","纵147厘米，横105厘米",[88,122],{"id":8784,"slug":8785,"title":8786,"dynasty":69,"author":8787,"museum":170,"description":8788,"tags":8789,"thumbUrl":8791,"material":58,"size":8792,"collection":88,"collections":8793,"showCount":8606,"zanCount":511,"manualWeight":43,"mainColor":64},220416,"qiu-jing-shan-shui-tu-sun-zhi-220416","秋景山水图","孙枝","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。",[23,25,74,55,29,80,133,153,921,324,2351,7,28,75,81,8790],"平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[88],{"id":8795,"slug":8796,"title":8797,"dynasty":148,"author":201,"museum":112,"description":8798,"tags":8799,"thumbUrl":8802,"material":8803,"size":59,"collection":60,"collections":8804,"showCount":8606,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,25,29,28,56,8800,8801,7,27],"秋花","鹡鸰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ba95da19f094c4e5aed573a20ce313.jpg","设色,绢本",[60],{"id":8806,"slug":8807,"title":8808,"dynasty":148,"author":201,"museum":184,"description":8809,"tags":8810,"thumbUrl":8812,"material":37,"size":59,"collection":60,"collections":8813,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,1850,24,25,26,714,29,28,56,4095,445,8811,7],"莲叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b797be1e0744c28f778b94a3e2dfa19.jpg",[60],{"id":8815,"slug":8816,"title":8817,"dynasty":18,"author":475,"museum":184,"description":1144,"tags":8818,"thumbUrl":8819,"material":262,"size":59,"collection":59,"collections":8820,"showCount":8606,"zanCount":43,"manualWeight":43,"mainColor":4375},216353,"hua-niao-ce-5-zhu-da-216353","花鸟册-5",[23,25,24,55,53,56,7,490,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F052ab5a4013f321c5e24c1f0bccb2a03.jpg",[],{"id":8822,"slug":8823,"title":8824,"dynasty":369,"author":8825,"museum":552,"description":8826,"tags":8827,"thumbUrl":8828,"material":641,"size":642,"collection":59,"collections":8829,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":44},290614,"ku-mu-zhu-shi-zhou-song-ren-290614","枯木竹石轴","宋人","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石块后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的展现，属元代枯木竹石画风。画中枯木与院藏赵孟俯《竹石古木》表现类似，此画上虽无款印，但可推测为此一画风的元代例证，学者推测或许正与赵孟俯关系密切。",[25,24,26,27,55,56,1579,32,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc68e00661dc7552efca8be1f446a08a.jpg",[],28,{"id":8832,"slug":8833,"title":8834,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":8835,"thumbUrl":8836,"material":641,"size":642,"collection":59,"collections":8837,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},289976,"cuo-luo-shan-hu-zhi-wu-chang-shuo-289976","错落珊瑚枝",[23,24,25,26,27,29,55,56,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af96a1525539d532429b3adf17fb9fd.jpg",[],{"id":8839,"slug":8840,"title":8841,"dynasty":69,"author":3181,"museum":552,"description":8842,"tags":8843,"thumbUrl":8845,"material":641,"size":642,"collection":59,"collections":8846,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":44},289796,"zhi-ji-tu-lin-liang-289796","雉鸡图","画中主体为一对雉鸡，另有麻雀上下翻飞，布谷、斑鸠等在枝叶间栖息；坚实的山岩，风中飘摇的细竹以及丛生的灌木构筑出一个生意盎然的自然空间。林良以画花鸟著称，他用粗犷的笔墨使品相富贵的禽鸟表现出野逸自然的状态，将水墨写生的灵动与宫廷画追求的写实严谨相统一，创造出新的审美情趣，在明代宫廷画中有很大的影响。",[23,25,56,8844,153,32,7,55,29],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb463900224452e711819b66528c1989.jpg",[],{"id":8848,"slug":8849,"title":486,"dynasty":302,"author":8206,"museum":552,"description":8850,"tags":8851,"thumbUrl":8852,"material":641,"size":642,"collection":59,"collections":8853,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,24,1969,28,851,32,133,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d156b3308c499a2296a5d39222e2ff.jpg",[],{"id":8855,"slug":8856,"title":6857,"dynasty":369,"author":3492,"museum":552,"description":8857,"tags":8858,"thumbUrl":8860,"material":641,"size":642,"collection":59,"collections":8861,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},289559,"fang-chun-yu-ji-tu-ma-lin-289559","《芳春雨霁图》描绘荒野平溪，窠石疏林。枝上嫩叶初露，春意浓郁。远方烟霭出没，隐约可见。画中怪石用斧劈皴，老树用严谨的双钩填墨法，树叶用淡褐色点染。全图用笔瘦硬劲峭，构图简括，画风学马远而又有自己的创新，为马麟山水画佳作。",[25,24,26,55,80,133,7,82,8859,79,75],"雨霁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e2fc4358f94b21a58ea7d73e48787d.jpg",[],{"id":8863,"slug":8864,"title":8865,"dynasty":18,"author":201,"museum":552,"description":8866,"tags":8867,"thumbUrl":8869,"material":641,"size":642,"collection":59,"collections":8870,"showCount":8830,"zanCount":511,"manualWeight":43,"mainColor":44},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","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”。",[25,26,8868,229,28,29,56,81,153,7,243,2888,1302],"挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17f2642bff062578c84f8e86b499e46.jpg",[],{"id":8872,"slug":8873,"title":8874,"dynasty":18,"author":3824,"museum":552,"description":8653,"tags":8875,"thumbUrl":8876,"material":641,"size":642,"collection":60,"collections":8877,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},239104,"hua-hui-ce-1-yu-sheng-239104","花卉册1",[25,26,53,55,29,56,243,435,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605e27d7cfb58a061b88e561669dc373.jpg",[60,105],{"id":8879,"slug":8880,"title":8881,"dynasty":69,"author":8882,"museum":552,"description":8883,"tags":8884,"thumbUrl":8885,"material":59,"size":59,"collection":88,"collections":8886,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":44},238041,"wen-jia-shan-shui-zhou-wen-jia-238041","文嘉山水轴","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[25,26,27,55,29,80,277,82,134,7,30,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9352b912d9a69a183afa1a3aac3d94ba.jpg",[88],{"id":8888,"slug":8889,"title":1277,"dynasty":18,"author":941,"museum":552,"description":1278,"tags":8890,"thumbUrl":8891,"material":59,"size":1281,"collection":59,"collections":8892,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},238027,"hong-ren-shan-shui-tu-ce-hong-ren-238027",[25,55,80,53,75,134,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05bc84f9d5feeb2f6fb185a48793a9bd.jpg",[],{"id":8894,"slug":8895,"title":8896,"dynasty":69,"author":5153,"museum":552,"description":7394,"tags":8897,"thumbUrl":8898,"material":641,"size":642,"collection":59,"collections":8899,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},237416,"shan-shui-shan-lu-zhi-237416","山水扇",[25,26,714,29,75,80,349,117,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4a20d4c676566f1a237f2ff55f49b4.jpg",[],{"id":8901,"slug":8902,"title":8903,"dynasty":69,"author":8904,"museum":552,"description":8905,"tags":8906,"thumbUrl":8907,"material":327,"size":59,"collection":39,"collections":8908,"showCount":8830,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[24,25,26,27,28,434,29,30,7,2806,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b03906855f2a9702cbd91eb476a56a.jpg",[39],{"id":8910,"slug":8911,"title":8912,"dynasty":69,"author":8913,"museum":71,"description":8914,"tags":8915,"thumbUrl":8916,"material":59,"size":59,"collection":88,"collections":8917,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},236562,"xiao-ke-guan-shan-shui-ce-shao-mi-236562","小可观山水册","邵弥","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。\n此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[24,25,26,53,55,75,78,79,80,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1aad0cc7f91d98f5d6db48d517385e2.jpg",[88,105],{"id":8919,"slug":8920,"title":8921,"dynasty":69,"author":6602,"museum":552,"description":8922,"tags":8923,"thumbUrl":8924,"material":327,"size":8925,"collection":59,"collections":8926,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":44},234163,"zhou-tian-qiu-cong-lan-zhu-shi-juan-zhou-tian-qiu-234163","周天球丛兰竹石卷","周天球,字公瑕，号幼海，又号六止居士，江苏太仓人。善画写意兰草，在文徵明门下学习书法，文徵明赞其：“他日得吾笔者，周生也。”晚年独创书风，当时丰碑大碣皆出自他手。于《心经》气脉贯通，工稳有致，峻厚妍秀，温润苍劲。是谓经典。",[23,24,25,26,74,55,78,79,77,188,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44acfd326529873a27f79f238cb93b7.jpg","纵28.3cm，横56.8cm",[],{"id":8928,"slug":8929,"title":502,"dynasty":69,"author":1505,"museum":71,"description":8930,"tags":8931,"thumbUrl":8932,"material":7040,"size":7041,"collection":59,"collections":8933,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},234058,"shan-shui-ce-dong-qi-chang-234058","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[25,26,53,55,75,80,135,81,82,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a18510e3f687f4476b0072cc57a56.jpg",[],{"id":8935,"slug":8936,"title":8937,"dynasty":18,"author":214,"museum":71,"description":8938,"tags":8939,"thumbUrl":8940,"material":139,"size":8941,"collection":60,"collections":8942,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},233942,"hua-yan-zi-hua-xiang-tu-zhou-hua-yan-233942","华嵒自画像图轴","华嵒是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华嵒潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华嵒一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华嵒身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[24,25,26,27,55,29,75,173,80,30,7,82,135,540,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa167316f143627c91b7a6fa3bf4f48.jpg","纵130.5厘米，横50.7厘米",[60,8943],"明清缂绣画",{"id":8945,"slug":8946,"title":8947,"dynasty":69,"author":1184,"museum":71,"description":8948,"tags":8949,"thumbUrl":8951,"material":479,"size":6632,"collection":59,"collections":8952,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},233737,"tong-yin-qing-meng-tu-zhou-tang-yin-233737","桐阴清梦图轴","《桐阴清梦图》以人物画为题材，抒发画家的生活遭遇和感受。此图用水墨白描手法，画梧桐一株，桐阴坡石处一人仰面闭目，坐於交椅之上，神情生动自然。构图简洁，用笔洗练，风格洒脱，韵致清逸，是唐寅白描人物画佳作。诗、书、画相得益彰。虽未署年款，但从题诗内容可以看出，此图是他在科场案受打击回苏州后所作，是画家看破尘事，不再追求功名，从此幽居林下的写照。\n唐寅为人性情疏朗，生活放诞，许多关於他的传说故事广为流传，妇孺皆知。他的诗、曲、书、画均颇有成就，尤以画名为最著，题材广泛，山水、人物、花鸟、竹石无一不精。曾以周臣为师，青出于蓝，并从宋元诸名家绘画中汲取营养，特别在继承南宋李唐、刘松年传统画法上有新的发展，形成了自己严谨秀逸的画风，成就突出，影响深远，在书史上有很高地位，是明代中期文人画的重要代表，与沈周、文徵明、仇英并称“吴门四大家”。",[25,26,27,55,30,8950,7],"桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef1bf4c9178063a7e7f1efdccd8da0c.jpg",[],{"id":8954,"slug":8955,"title":8956,"dynasty":18,"author":214,"museum":552,"description":8957,"tags":8958,"thumbUrl":8959,"material":59,"size":59,"collection":59,"collections":8960,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},230168,"lan-zhu-ming-qin-tu-hua-yan-230168","兰竹鸣禽图","此作工写相融，意趣悠然。上端禽鸟俯身垂首，似将啄饮，羽色以淡赭晕染，蓬松柔润，神态灵动鲜活。旁侧枯枝缀浅叶，墨色清透疏朗，衬得禽鸟愈发温婉生趣。\n\n下方坡石以泼墨写意，淡绿晕染衬出苍润苔痕，兰草、新竹生于石畔，笔致秀逸舒展，墨色虚实相生，尽显草木清姿。整卷以清浅淡远的色调，将生灵意趣与林下幽寂融为一体，笔墨兼具雅致与野趣，尽显文人写意画的空灵韵味。",[23,25,26,27,56,55,29,32,188,153,7,28,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb95074029fc5bb85e91a524cb89d6a.jpg",[],{"id":8962,"slug":8963,"title":8964,"dynasty":18,"author":214,"museum":552,"description":8965,"tags":8966,"thumbUrl":8968,"material":59,"size":59,"collection":59,"collections":8969,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},230167,"ba-ge-song-shu-tu-hua-yan-230167","八哥松鼠图","此作用笔兼工带写，冬日枯枝横斜，两只八哥相偎私语，墨色翎毛纤毫毕现，亲昵柔婉之态呼之欲出。下方松鼠曳着蓬松长尾，圆目灵动憨态可掬，驻足枝上似正侧目探看。\n\n淡墨晕染危石枯藤，飘零残叶点染出清寂冬意，留白空灵疏朗，将荒寒萧索的氛围铺陈开来。却以小生灵的鲜活暖意破了冷寂，静中藏动，虚实相生。软毛的蓬松温软、翎羽的油亮劲挺、枯木的苍劲淡远相映成趣，把冬日荒林间的盎然生趣刻画得精妙入微，尽显灵秀雅致的笔墨意趣。",[23,25,26,27,29,56,101,7,153,1791,8967,55,28],"落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c918a99a17b3d55a87fe514827c97c0.jpg",[],{"id":8971,"slug":8972,"title":8973,"dynasty":369,"author":6532,"museum":552,"description":8974,"tags":8975,"thumbUrl":8976,"material":59,"size":59,"collection":59,"collections":8977,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[23,24,25,26,74,55,29,80,134,850,7,81,79,77,78,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":8979,"slug":8980,"title":8981,"dynasty":369,"author":3743,"museum":552,"description":8982,"tags":8983,"thumbUrl":8984,"material":59,"size":59,"collection":59,"collections":8985,"showCount":8830,"zanCount":511,"manualWeight":43,"mainColor":44},227981,"qiu-lu-fei-wu-tu-liang-kai-227981","秋芦飞鹜图","此作以简逸水墨绘就秋江野景。坡岸以浓淡墨晕染而出，苍朴浑拙，几丛芦草只以数笔挥写，便将秋风中欹侧摇曳之态尽现，萧瑟秋意扑面而来。\n\n四只飞鹜分作两组，淡墨轻勾身形，羽翼翩然灵动，破空掠飞于空茫江面。画面大片留白化作寒烟秋水，虚远空寂，与极简的物象相映成趣，以少胜多，将秋江荒寒澄澈的意境渲染到极致。笔意纵逸简淡，于萧索之中暗蕴灵动生机，寥寥数笔勾勒出秋日江天的澹泊野趣，尽显写意花鸟画的空灵悠远。",[23,24,25,26,3948,55,173,1990,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c37f9fecfb7b19133333a2cd8c3399.jpg",[],{"id":8987,"slug":8988,"title":8989,"dynasty":369,"author":8990,"museum":552,"description":8991,"tags":8992,"thumbUrl":8993,"material":59,"size":59,"collection":59,"collections":8994,"showCount":8830,"zanCount":511,"manualWeight":43,"mainColor":44},227614,"chun-xiao-tu-ye-zhao-ling-rang-227614","春晓图页","赵令穰","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[23,24,25,26,53,29,75,907,277,7,153,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1006510c385afef8e45f522379aaf3d.jpg",[],{"id":8996,"slug":8997,"title":8998,"dynasty":18,"author":169,"museum":552,"description":8999,"tags":9000,"thumbUrl":9001,"material":59,"size":59,"collection":59,"collections":9002,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},224530,"li-pu-yi-pei-juan-shi-tao-224530","醴浦遗佩卷","以水墨绘就兰竹顽石，起手野兰配淡墨牡丹，焦墨兰叶纵逸跌宕如虬龙逶迤，花瓣含露，幽姿绰约。中段蕙兰丛生繁花绽枝，笔意渐趋简淡，与疏竹交错，清寂之致尽显。末段兰草倚石而生，苔痕皴染古雅，顽石朴拙苍劲。\n\n全卷以草书笔意入画，墨色干湿浓淡互衬，一气呵成。题识榜书朴茂雄浑，与画作清逸互为表里，将兰之幽贞、石之古厚融为一体，绘写出幽兰遗世独立、如佩环叮咚的清逸风骨，墨痕间满溢疏淡幽远的林下风致，尽显文人以物明志的清雅意趣。",[23,25,26,74,55,188,32,7,77,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167157fb1e1c6dcb8e7e354c9d500e8.jpg",[],{"id":9004,"slug":9005,"title":9006,"dynasty":18,"author":7913,"museum":835,"description":9007,"tags":9008,"thumbUrl":9009,"material":3724,"size":59,"collection":88,"collections":9010,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},222721,"huang-shan-ba-jing-tu-ce-zheng-min-222721","黄山八景图册","郑旼 1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[23,25,26,53,55,80,7,75,77,79,81,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82fb54fc6a1eb3e1a5c47fd4a31691.jpg",[88,786],{"id":9012,"slug":9013,"title":9014,"dynasty":69,"author":9015,"museum":71,"description":9016,"tags":9017,"thumbUrl":9018,"material":507,"size":9019,"collection":88,"collections":9020,"showCount":8830,"zanCount":511,"manualWeight":43,"mainColor":143},222074,"da-mo-tu-zhou-wu-bin-222074","达摩图轴","吴彬","图绘中国禅宗初祖达摩面壁参禅的故事。图中达摩须发茂密，头顶有肉髻，耳垂较长，具梵僧的面相特征，但眉目、鼻梁又非西域人的深目高鼻，而是融合了汉人的特点。达摩身着红衣袈裟，袒右胸，结跏趺坐于蒲团上。达摩的面目刻画细致，袈裟衣纹用笔朴拙粗重，融入了战笔和钉头鼠尾描的笔意。布景简洁，达摩身后斜立一巨石，山石轮廓用淡墨轻勾，注重以水墨晕染表现山石的质感，墨色深重沉寂，与达摩面壁参禅的意境相融。\n本幅右下画家自题：“枝隐头陀吴彬斋心拜写。”下钤“吴彬之印”朱文、“吴文中氏”白文二印。左下角有“谢”朱文、“阿閦鞞室供养”朱文收藏印。\n唐代禅宗兴盛以来，禅宗六祖成为文人、职业画家中流行的题材，其中尤以表现达摩面壁、渡江的题材最为流行。从该图右下“枝隐头陀吴彬斋心拜写”的款识和左下角“阿閦鞞室供养”的收藏印来看，这应该是一幅有着实际宗教功能的作品。辽宁省博物馆所藏戴进《达摩六祖图》后有清初曹溶题跋，他从禅宗重视心传出发劝程君吉修禅不要受图画的影响，认为“于无画处参，乃高人一等”，曹溶的跋亦从反面说明了当时存在的“以画参禅”的事实。",[23,25,27,576,29,30,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8aa2bc689c8b52664da36963765e99.jpg","62.3x35.3",[88,122],{"id":9022,"slug":9023,"title":9024,"dynasty":148,"author":5936,"museum":71,"description":9025,"tags":9026,"thumbUrl":9029,"material":1106,"size":9030,"collection":60,"collections":9031,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":44},221822,"ying-gui-tu-zhang-shun-zi-221822","鹰桧图","此图是由雪界翁、张师夔两位画家合作绘制而成。图绘山石间一株古桧，枝干挺劲，枯枝与新叶相映成趣。老干横斜，一只苍鹰昂首挺立其上，双目炯然，脚爪锋利，紧抓树枝，给人以坚如磐石、临危不惧之感。图中苍鹰以工笔重彩法写出，刻画细腻，笔笔精到，具有宋代院体花鸟画遗风。古桧山石完全用写意风格的画法，出自张舜咨手笔，画风略显粗犷，然颇具气势。苍鹰与山石、古桧虽出自不同人的手笔，但配合默契，毫无突兀、不协调之感，极具特色。",[23,25,24,26,27,29,28,2059,9027,2555,1791,7,9028],"桧树","丛草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f781d4069309ad9530fe25a1c35bbcd.jpg","纵147.3厘米，横96.8厘米",[60,105],{"id":9033,"slug":9034,"title":9035,"dynasty":369,"author":1321,"museum":112,"description":9036,"tags":9037,"thumbUrl":9038,"material":313,"size":9039,"collection":59,"collections":9040,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":44},221550,"luo-han-tu-2-liu-song-nian-221550","罗汉图2","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”。",[23,25,26,27,576,28,30,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10737a1546d4fd6ca989ad4e2dd46ab0.jpg","纵117.2厘米，横56厘米",[],{"id":9042,"slug":9043,"title":9044,"dynasty":369,"author":7578,"museum":112,"description":9045,"tags":9046,"thumbUrl":9047,"material":9048,"size":9049,"collection":59,"collections":9050,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},221385,"ming-hui-ji-zhen-ce-han-jiang-diao-xue-fan-kuan-221385","名绘集珍册－寒江钓雪","本幅选自《名绘集珍》册第十一幅。画幅意境，取自唐代诗人柳宗元（773-819）的五言绝句〈江雪〉：「千山鸟飞绝，万径人踪灭；孤舟蓑笠翁，独钓寒江雪。」 幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[23,25,24,26,53,80,75,55,30,85,505,134,82,492,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":9052,"slug":9053,"title":9054,"dynasty":769,"author":3542,"museum":3543,"description":9055,"tags":9056,"thumbUrl":9058,"material":59,"size":59,"collection":59,"collections":9059,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},220552,"ce-mu-xu-bei-hong-220552","侧目","浓墨横扫铺就雄狮鬃毛，野性肌理顺着笔势翻涌，紧绷的躯体如蓄势待发的弓弦，它侧目紧盯岩下蜿蜒长蛇，目光冷冽，将猛兽的警惕与威严尽数释出。画家以中西合璧之法，淡赭晕染狮身塑造体积感，焦墨点睛攫住神态，写实的狮爪紧扣危岩，力量感喷薄欲出。\n岩下长蛇灵动蜿蜒，恰好反衬出雄狮的沉凝沉稳，枯笔皴擦险石，烘托出肃杀的对峙氛围。整作跳脱传统走兽画的柔媚格调，以雄健笔力寄寓不屈气魄，将写意意境与写实造型相融，定格荒野中的张力瞬间，让猛兽的生命野性跃然纸面，尽显笔底的精神重量。",[25,55,29,101,9057,3604,7],"狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902d4a31d795805bfb02f892f1df2b1a.jpg",[],{"id":9061,"slug":9062,"title":9063,"dynasty":18,"author":3115,"museum":71,"description":9064,"tags":9065,"thumbUrl":9066,"material":37,"size":9067,"collection":39,"collections":9068,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":44},219636,"gao-feng-han-zi-hua-xiang-gao-feng-han-219636","高凤翰自画像","此画中的主人翁为作者自己。高凤翰身着白色宽服长袍，头戴斗笠，长髯垂胸，双手相合，双目凝视，侧身依石坐于断壁悬崖的石台上。其背景截取山河的一角。山石险峻陡峭，造型奇特。悬崖和山腰松柏怪生，有的矗立山腰平坡处，有的倒悬在悬崖壁，有的横卧在悬崖上，崖下为宽阔的江河、波涛澎湃。在画面左下侧江面上，陡峭巨石冲出水面，似一根巨大的石柱，巨石顶端屹立数株松柏，与对岸悬崖上的卧松遥相呼应，点缀着美好的湖光山色。在这幽雅谧静的环境中，作者正在俯视水面，突然长空中有孤鹤飞翔而来。",[23,25,29,30,80,7,260,75,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facddc378a306e418671feb475b1a42ed.jpg","纵106厘米，横53.4厘米",[39],{"id":9070,"slug":9071,"title":9072,"dynasty":369,"author":201,"museum":150,"description":9073,"tags":9074,"thumbUrl":9075,"material":262,"size":59,"collection":39,"collections":9076,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":44},219516,"song-xia-qi-ji-tu-yi-ming-219516","松下憩寂图","淡墨晕染开幽寂林泉，松枝斜斜探入空濛烟霭，似将山岚轻轻挑起。袒腹老僧倚石而卧，袈裟半敞，眉眼松弛自在，将浮生俗虑尽数抛却。\n\n身旁药葫芦悬于松根，石上摊开素纸，案边置着煮茶陶釜，静水流淌在咫尺之外，把山野清旷揉进笔墨里。画面以留白衬出空寂禅意，虚实相生间，将林下幽居的松弛与禅家的静穆融作一处，淡远萧散的笔意，晕开了宋人偏爱的林下雅趣，将喧嚣隔在烟岚之外，只留山风松涛伴幽人一枕清梦。",[25,55,29,30,260,7,80,576,28,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adcc3f030428c1fdabd00c0eee7d3b7.jpg",[39],{"id":9078,"slug":9079,"title":9080,"dynasty":369,"author":711,"museum":112,"description":9081,"tags":9082,"thumbUrl":9084,"material":37,"size":9085,"collection":88,"collections":9086,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},218978,"han-xiang-shi-si-tu-ma-yuan-218978","寒香诗思图","图中是两株老梅在寒冷的山沟里的栅栏外散发出香味。寒冷的月亮照耀着远处的雪山，鸟儿们迅速回到了自己的家。这幅画上有马远的签名，他不一定是他真正的笔者，但他也是马、夏画派的学生，有自己的风格和规则。",[23,25,55,29,75,9083,80,153,133,7,324],"边角构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1a5aed98f76264eff7c54b963801ba.jpg","25.6x25.8",[88],{"id":9088,"slug":9089,"title":9090,"dynasty":18,"author":9091,"museum":874,"description":9092,"tags":9093,"thumbUrl":9094,"material":37,"size":9095,"collection":59,"collections":9096,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},218327,"shen-xian-gu-shi-tu-ce-9-leng-mei-218327","神仙故事图册-9","冷枚","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,25,29,28,241,53,576,30,242,153,80,81,7,349,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e1457eaaddd10b6f13f3b0b2af97fe3.jpg","38x42",[],{"id":9098,"slug":9099,"title":9100,"dynasty":69,"author":238,"museum":552,"description":9101,"tags":9102,"thumbUrl":9103,"material":37,"size":59,"collection":59,"collections":9104,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":44},216270,"er-shi-si-xiao-tu-22-chou-ying-216270","二十四孝图-22","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[25,26,29,28,241,30,242,7,99,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1cb5e8e85cc64280fee746fd49e6162.jpg",[],{"id":9106,"slug":9107,"title":9108,"dynasty":69,"author":9109,"museum":112,"description":9110,"tags":9111,"thumbUrl":9112,"material":37,"size":59,"collection":88,"collections":9113,"showCount":8830,"zanCount":43,"manualWeight":43,"mainColor":64},215034,"han-lin-gao-yi-tu-shen-shi-chong-215034","寒林高逸图","沈士充","寒林高逸图是明朝沈士充所绘的一幅著名图画。它描绘了一片寒冷的林中，一群动物在寻找温暖。图中，可以看到一头鹿、一只老鹰、一只海狮和一只熊，他们都非常冷，因此他们决定联合起来，燃烧起火来取暖。最后，大家一起坐在火边取暖，显得非常愉快。\n\n寒林高逸图被认为是沈士充最著名的作品之一，它描绘了动物之间的友好相处和合作的主题。这幅图画同时也被认为是对人类社会的一种警示，提醒人们应该像这些动物一样，在困难时期相互合作，共同度过难关。",[25,26,24,714,80,30,1231,134,7,75,29,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bb9e640476fbb36251ae27f22cda34.jpg",[88],{"id":9115,"slug":9116,"title":9117,"dynasty":369,"author":201,"museum":112,"description":9118,"tags":9119,"thumbUrl":9120,"material":37,"size":9121,"collection":497,"collections":9122,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":44},290759,"tao-zhu-shuang-fu-tu-zhou-yi-ming-290759","桃竹双凫图轴","此作用笔兼具工致与写意之妙，古朴底色晕染出澹然春暮氛围。右侧虬曲桃枝缀满素白花苞，柔梢栖立幽禽，与劲挺青竹交错掩映，花瓣簌簌飘落，铺撒于浅草滩涂，坡石以淡墨晕皴，苍润朴拙。\n\n水面双凫姿态悠然，顾盼相随，羽毛绒羽层次细腻鲜活，粼粼水纹隐现其间。整体画面恬淡安宁，将水岸春景的幽寂野趣尽收卷中，于细微处尽显写生功力，暗合寄情林泉、观物察美的雅致意趣。",[25,56,28,29,190,32,5928,153,7,6055],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce05a7202359b07a2ba9cecc54873d7.jpg","163.3x103.1",[497],27,{"id":9125,"slug":9126,"title":9127,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":9128,"thumbUrl":9129,"material":641,"size":642,"collection":59,"collections":9130,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":44},236673,"hua-die-shan-mian-chen-hong-shou-236673","花蝶扇面",[4741,25,26,714,28,29,56,291,2204,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b54cb9209504cd4723c9d1cce8320d5.jpg",[],{"id":9132,"slug":9133,"title":9134,"dynasty":69,"author":9135,"museum":552,"description":9136,"tags":9137,"thumbUrl":9138,"material":59,"size":59,"collection":59,"collections":9139,"showCount":9123,"zanCount":511,"manualWeight":43,"mainColor":44},235853,"dian-nan-jin-sha-jiang-jing-zhou-huang-xiang-jian-235853","滇南金沙江景轴","黄向坚","此作用高远、深远构图铺展峡谷盛景，以披麻皴晕染山石肌理，苍厚朴拙的笔力勾勒出两岸层叠峰峦。崖间古松错落虬劲，金沙江蜿蜒穿谷，江面上轻舟随波缓行，山脚佛塔古寺隐于林麓，野意盎然。\n\n淡墨晕开江雾空濛，将滇南山河的荒寒奇秀尽藏毫端，搭配题诗将纪游的真切感触融于山水间，既绘就西南山川的雄阔幽寂，也以笔墨寄放行旅途中对山河的体察，是纪游山水中兼具纪实性与抒情性的佳构。",[25,27,55,75,80,82,85,349,7,81,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff430ba9b406814fba1294612a5fa22cd.jpg",[],{"id":9141,"slug":9142,"title":9143,"dynasty":69,"author":9144,"museum":552,"description":9145,"tags":9146,"thumbUrl":9147,"material":59,"size":59,"collection":59,"collections":9148,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":64},235772,"ming-qing-zhu-jia-ji-jin-ce-ren-wu-ce-ye-you-qiu-235772","明清诸家集锦册-人物册页","尤求","此作以淡墨绘就林泉雅事，崖边枯木虬曲苍劲，斜曳出清寂幽境。三人围坐，对弈二人敛神注目棋局，指尖将未落子，似正斟酌决胜一步，侧旁老者俯身探看，全神贯注，唯恐错漏棋势起落。\n\n线条清劲秀雅，衣褶灵动简练，淡墨晕染铺陈山石草木层次，留白恰到好处，烘托出静谧悠远的林下氛围，尽抒文人寄情山水、忘忧纹枰的隐逸闲趣，笔墨简淡却意韵悠长，将文人雅致襟怀藏于方寸之间。",[25,26,53,434,55,30,134,7,79,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6837d6bfa5b3dba7db71de50a37861.jpg",[],{"id":9150,"slug":9151,"title":9152,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":9153,"thumbUrl":9154,"material":641,"size":642,"collection":59,"collections":9155,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":64},235372,"yan-lai-hong-ju-shi-zhou-wu-chang-shuo-235372","雁来红菊石轴",[25,27,173,55,29,7,189,5467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe10537ad466e4ea98abfce0b4a1dcd9.jpg",[],{"id":9157,"slug":9158,"title":9159,"dynasty":18,"author":201,"museum":552,"description":9160,"tags":9161,"thumbUrl":9162,"material":59,"size":59,"collection":59,"collections":9163,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":64},235223,"li-shan-ba-jiao-zhu-shi-tu-zhou-yi-ming-235223","李鱓芭蕉竹石图轴","阔笔泼墨写芭蕉，浓淡墨色晕染出叶片舒张之姿，苍润朴拙尽显天然意趣。修竹挺劲清瘦，细笔勾摹竿枝，竹叶错落灵动，与芭蕉形成刚柔相济的视觉反差。赭石点染顽石，浓墨缀苔，沉稳厚重托住画面重心，边角淡彩轻绘花草，添些许秀雅。\n\n两侧题跋笔意洒脱，书画相映，文气盎然。整幅以水墨为骨，略施淡彩，将写意风骨抒发尽致，朴野中见灵秀，笔墨间充盈疏放不羁的生机，尽显抒情达意的文人画特质。",[228,25,26,27,55,29,173,99,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba0e9d7db41fc40d9c44bd797f4f97e.jpg",[],{"id":9165,"slug":9166,"title":502,"dynasty":69,"author":6737,"museum":552,"description":9167,"tags":9168,"thumbUrl":9169,"material":59,"size":59,"collection":88,"collections":9170,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":44},235147,"shan-shui-ce-li-liu-fang-235147","此作用笔枯淡萧疏，绘就秋林幽境。虬曲古木枝干遒劲，细条错落延展，自带霜后清刚之态。石畔竹丛清润挺秀，与枯木相生，冷暖意趣交织。山石以淡墨勾勒皴擦，留白衬出山涧空寂，寥寥数笔便将深秋的疏冷氛围晕染开来。\n笔意简淡却意韵悠长，把文人寄情丘壑、静守枯淡的林下襟怀藏于尺幅间，古雅清旷，耐人寻味。",[25,26,53,55,75,80,134,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2987a8c2e2ecebb95cc45b5b456c27.jpg",[88,122],{"id":9172,"slug":9173,"title":9174,"dynasty":69,"author":537,"museum":552,"description":6053,"tags":9175,"thumbUrl":9176,"material":641,"size":642,"collection":59,"collections":9177,"showCount":9123,"zanCount":511,"manualWeight":43,"mainColor":64},235050,"song-yin-gao-shi-shan-mian-chen-chun-235050","松荫高士扇面",[24,25,26,714,55,78,79,715,7148,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705e6386ea0a7e4dbbb79ddb32d9180e.jpg",[],{"id":9179,"slug":9180,"title":9181,"dynasty":69,"author":9182,"museum":552,"description":9183,"tags":9184,"thumbUrl":9186,"material":641,"size":642,"collection":59,"collections":9187,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":64},234835,"fang-gu-kai-zhi-qing-shan-bai-yun-shan-gu-ning-yuan-234835","仿顾恺之青山白云扇","顾凝远","顾凝远（1580? —1645后），号青霞。吴郡（今江苏苏州）人。为人好学，于古今坟典艺志无所不窥，喜蓄商周秦汉文物。画山水师董、巨、又出入荆、关，兼精画理。",[25,26,714,862,29,76,80,85,30,9185,117,7,82],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11fd43f6398ebbe444dac28d65fc0fd.jpg",[],{"id":9189,"slug":9190,"title":9191,"dynasty":69,"author":8511,"museum":552,"description":9192,"tags":9193,"thumbUrl":9194,"material":59,"size":59,"collection":59,"collections":9195,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":64},234136,"lan-shi-juan-chen-gua-234136","兰石卷","陈栝（生卒年不详），字子正，号沱江，苏州府长洲（今江苏苏州）人，明代画家陈淳之子，明代中期著名的绘画大师。\n陈栝自幼随父亲陈淳修习绘画，饮酒纵诞。陈栝善画花鸟山水，尤精绘画花鸟，笔似其父，将其父陈淳的笔迹放纵，不拘于象的写意画法发挥至极致。明朝嘉靖年间，尚属英年的陈栝先于其父病逝，时人多因他早逝而深感惋惜，尊称他为沱江子。\n陈栝是明代中期的杰出画家，他行笔放浪而有生趣，将诗意融汇进绘画中，进一步促进了我国古代绘画史写意画法的发展，有五代徐熙、黄筌遗意。",[23,25,26,74,55,29,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ed5fb0e267a598024c18bccc4bc218.jpg",[],{"id":9197,"slug":9198,"title":9199,"dynasty":69,"author":5153,"museum":552,"description":9200,"tags":9201,"thumbUrl":9202,"material":59,"size":59,"collection":59,"collections":9203,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,24,27,29,28,7,191,396,629,243,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21574bc48e709759518e5032841160b.jpg",[],{"id":9205,"slug":9206,"title":9207,"dynasty":369,"author":3754,"museum":552,"description":9208,"tags":9209,"thumbUrl":9210,"material":59,"size":59,"collection":59,"collections":9211,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,28,29,134,490,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16085469ed0c7bef14f0566159320c01.jpg",[],{"id":9213,"slug":9214,"title":9215,"dynasty":69,"author":431,"museum":20,"description":2570,"tags":9216,"thumbUrl":9217,"material":53,"size":59,"collection":59,"collections":9218,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":64},221908,"hua-niao-jing-pin-ce-5-chen-hong-shou-221908","花鸟精品册5",[25,26,56,53,28,29,32,374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5d79a94653016226ac2e4980599978.jpg",[],{"id":9220,"slug":9221,"title":9222,"dynasty":148,"author":256,"museum":71,"description":9223,"tags":9224,"thumbUrl":9225,"material":479,"size":9226,"collection":59,"collections":9227,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":64},221818,"yang-zhu-xi-xiao-xiang-quan-juan-ni-zan-221818","杨竹西小像全卷","这是一幅元代人物肖像画的经典作品，由王绎与著名山水画家倪瓒共同绘制。图绘一老者策杖立坡间，旁点缀松石等简单衬景。本幅左侧倪瓒题款：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年（1363年）。据款识可知此卷为王绎、倪瓒合作而成。此图所绘应为杨氏归老林泉后的晚年肖像。图中杨谦头戴乌巾，右手执杖，衣袍宽松，面相清癯、磊落而有神。描绘精细，人物面部均以淡墨为之，以线为主，略事烘染，着墨不多而神情毕肖，表现出很高的艺术水平。倪瓒所补松石，笔墨枯淡、松秀，与人物相得益彰，共同构成了一幅精美的肖像画作品。\n此图由王绎画杨谦（号竹西）小像，倪瓒补画松石平坡。图中杨谦留着长发，头戴小帽，身着长袍，持杖独立。人物面部用细笔勾描，略用淡墨烘染，形象生动逼真。笔墨不多，却较好地表现了杨竹西“清谦谨慎”的性格。画像后亲以小石的弧松，更加烘托了杨竹亡在宋亡后不仕朝迁的气节。画中倪瓒题云：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年，即公元1363年。卷后有元人邓元祜、杨维祯等十一家题记。",[23,25,26,74,434,55,30,7,134,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2134019448775058ad4a63eadde0d16a.jpg","纵27.7厘米，横86.8厘米",[],{"id":9229,"slug":9230,"title":9231,"dynasty":369,"author":201,"museum":150,"description":9232,"tags":9233,"thumbUrl":9234,"material":37,"size":9235,"collection":60,"collections":9236,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":44},218973,"jin-ji-zhu-que-tu-yi-ming-218973","锦鸡竹雀图","画在河岸边倾斜的石头上，翠绿的竹子、荆棘和杂草在石头堆中顽强地生长着，两只野鸭雏鸟蜷缩着脖子在石头上休息，而一对彩色的鸟儿相对站在上面的枯枝上，下面的鸟儿歪着头紧紧地盯着上面的鸟儿，专注而爱怜。",[24,25,26,28,29,56,32,5965,374,7,81,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654c4e85a777c9fd02c4b1bd5b7eed32.jpg","24.3x24.9cm",[60],{"id":9238,"slug":9239,"title":9240,"dynasty":69,"author":288,"museum":112,"description":9241,"tags":9242,"thumbUrl":9244,"material":205,"size":9245,"collection":88,"collections":9246,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":44},218141,"gu-yu-fei-tao-tu-sun-ke-hong-218141","孤屿飞涛图","孤屿飞涛图是明朝画家孙克弘的一幅著名的写意山水画作品。这幅画描绘了一个孤岛上的悬崖峭壁和奔腾的海浪。画中的孤岛位于茫茫大海之中，周围没有其他的岛屿或陆地。这使得孤岛显得格外的孤独，令人想象。\n\n孤屿飞涛图画风精细，笔画流畅，色彩鲜明。画中的海浪十分壮观，充满了生命力和动感。孤岛上的山峰高耸，悬崖峭壁俯瞰着海面，使得整幅画充满了险峻的气氛。\n\n孙克弘是明朝时期的一位著名画家，他的作品中经常出现山水、花鸟、人物等题材。孙克弘善于运用自然的色彩和线条来描绘自然美景，使他的作品充满了生机和活力。孤屿飞涛图就是他的一幅杰作，充分展现了他的画风和技巧。\n\n总的来说，孤屿飞涛图是一幅优秀的写意山水画作品，值得一看。",[23,25,26,53,55,29,80,7,9243,338],"波涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f979371de8839632bf5dcdf028a48c6.jpg","22.7x26.6cm",[88],{"id":9248,"slug":9249,"title":9250,"dynasty":18,"author":169,"museum":170,"description":171,"tags":9251,"thumbUrl":9252,"material":58,"size":59,"collection":39,"collections":9253,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":64},218127,"zhong-song-tu-shi-tao-218127","种松图",[23,25,29,55,77,79,78,30,715,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c08b724a41ded1b9e47ee7bd779b63.jpg",[39],{"id":9255,"slug":9256,"title":9257,"dynasty":18,"author":475,"museum":184,"description":9258,"tags":9259,"thumbUrl":9260,"material":9261,"size":59,"collection":59,"collections":9262,"showCount":9123,"zanCount":43,"manualWeight":43,"mainColor":64},214430,"shan-shui-tu-ce-1-zhu-da-214430","山水图册-1","清代画家朱耷的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了朱耷对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n朱耷是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，朱耷的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了朱耷对自然的热爱和对传统文化的尊重。",[23,25,26,53,55,75,80,81,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0403d9e777b773eaf5209313cbf74a82.jpg","水墨,纸本",[],{"id":9264,"slug":9265,"title":9266,"dynasty":148,"author":201,"museum":552,"description":9267,"tags":9268,"thumbUrl":9270,"material":641,"size":642,"collection":59,"collections":9271,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},290735,"ke-si-cui-bai-xing-lin-chun-yan-zhou-yi-ming-290735","缂丝崔白杏林春燕轴","该缂丝画轴中，两只燕子举翼飞向。其中一只燕子翅、羽齐展，飞向山石、树枝上。另一只燕子正回首顾盼，飞向树梢。树梢，杏花绽放如雪，尽展春日景象。山石后，竹树枝叶繁茂，林地中，草芽吐绿，野花盛开，一派生机勃勃、春意盎然。",[25,26,27,229,56,153,9269,32,7,29,79],"杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d089dd3a0511cb6daf7359868048cc.jpg",[],26,{"id":9274,"slug":9275,"title":9276,"dynasty":18,"author":941,"museum":552,"description":4492,"tags":9277,"thumbUrl":9278,"material":641,"size":642,"collection":59,"collections":9279,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},289950,"fang-yuan-si-jia-shan-shui-tu-juan-hong-ren-289950","仿元四家山水图卷",[23,25,74,26,80,55,75,7,349,81,1744,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ba1ab563f74a6b953b9ea64e9a8e62.jpg",[],{"id":9281,"slug":9282,"title":9283,"dynasty":69,"author":3181,"museum":552,"description":9284,"tags":9285,"thumbUrl":9286,"material":641,"size":642,"collection":59,"collections":9287,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":44},289790,"kong-que-tu-lin-liang-289790","孔雀图","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[23,25,26,56,55,1871,32,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ffc8613f2726605d66c988810f5793.jpg",[],{"id":9289,"slug":9290,"title":9291,"dynasty":69,"author":9292,"museum":71,"description":9293,"tags":9294,"thumbUrl":9295,"material":139,"size":9296,"collection":88,"collections":9297,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},239088,"shan-shui-tu-zhou-qiu-lin-tu-zhao-zuo-239088","山水图轴（秋林图）","赵左","此图表现晚秋湖山景色，故又名《秋林图》。画远岫如带，平湖无波，曲水孤舟，瑟瑟丛林映照在落日余晖中，茅舍和渔舟中高士静坐。构图以平远为主，山石多用披麻皴，笔力劲秀，设色浅淡。是赵左晚年山水画佳作。\n撰稿人：杨丹霞",[25,26,27,55,29,75,80,134,85,82,7,349,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f4485f30120b1bf0257ea35e273536.jpg","纵67.5厘米，横32.2厘米",[88],{"id":9299,"slug":9300,"title":5052,"dynasty":69,"author":9301,"museum":552,"description":9302,"tags":9303,"thumbUrl":9304,"material":641,"size":642,"collection":60,"collections":9305,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},237499,"shan-shui-hua-hui-ce-jiang-shou-cheng-237499","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[25,26,53,78,29,55,7,2807,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2c3b2d058865e91051a0184ddf0335.jpg",[60,88],{"id":9307,"slug":9308,"title":7375,"dynasty":18,"author":7376,"museum":71,"description":7377,"tags":9309,"thumbUrl":9310,"material":59,"size":59,"collection":59,"collections":9311,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":44},237113,"shi-nv-ce-cui-wei-237113",[25,28,29,31,7,34,1302,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18e0eb7b2b5fb8db3b2eaacaa345097.jpg",[],{"id":9313,"slug":9314,"title":9315,"dynasty":18,"author":169,"museum":552,"description":9316,"tags":9317,"thumbUrl":9318,"material":59,"size":59,"collection":59,"collections":9319,"showCount":9272,"zanCount":511,"manualWeight":43,"mainColor":64},235893,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235893","原济黄山游图册","以灵动皴擦勾勒山石奇崛肌理，干湿墨色晕染出山林的湿润清寂。山居隐于繁木之间，溪谷蜿蜒穿林而过，野意盎然。诗题与画境浑然相融，笔意纵恣却暗含秀逸，将丘壑灵秀内化于纸面，苍郁朴拙中见平淡天真。画者以眼观山、以心绘境，将林泉雅意寄于尺幅，幽居之景衬出林烟空濛，尽显寄情山水的文人意趣，师法自然又自出机杼，藏着对林烟丘壑的眷恋。",[25,55,80,75,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fcbef86eeaaaf2bf9948b9025ca3666.jpg",[],{"id":9321,"slug":9322,"title":9323,"dynasty":18,"author":9324,"museum":552,"description":9325,"tags":9326,"thumbUrl":9328,"material":641,"size":642,"collection":59,"collections":9329,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},235562,"tao-yuan-ming-gui-qu-lai-ci-tu-shan-ye-jiao-bing-zhen-235562","陶渊明归去来辞图扇页","焦秉贞","此图根据陶渊明《归去来辞》文意，描绘陶氏辞官隐居，离船登岸时受到“童仆欢迎”的场景。作者作为曾受过西洋技法影响的画家，在此件创作上除了茅屋结构有些许透视外，受西方画法的影响尚不明显，其笔法基本属于中国传统的人物山水画范畴。作者注重以形写神，将陶氏下船时小心翼翼的举止，和童仆们恭敬的神态均刻画得生动传神。",[714,25,26,29,28,80,30,81,136,7,2351,9327],"田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fabb13a531648cafb448d513a0361f6.jpg",[],{"id":9331,"slug":9332,"title":9333,"dynasty":18,"author":96,"museum":552,"description":9334,"tags":9335,"thumbUrl":9336,"material":1106,"size":9337,"collection":59,"collections":9338,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},234987,"hua-hui-ling-mao-ping-5-ren-yi-234987","花卉翎毛屏5","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。",[24,25,26,27,29,28,56,157,1496,374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F183eeaea248695005ebfe5882e2006cb.jpg","149 x 61 cm",[],{"id":9340,"slug":9341,"title":1951,"dynasty":69,"author":70,"museum":71,"description":9342,"tags":9343,"thumbUrl":9344,"material":507,"size":9345,"collection":59,"collections":9346,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},233831,"xing-hua-tu-zhou-shen-zhou-233831","画上瘦杏一株，花开烂漫，仍是折枝简笔，却多添了颜色。树干以赭色填充，花片则淡粉轻红，温润又悦目，几乎可以想象他挥毫时愉快的心情。也有题跋，也有诗：\n布甥简静好学，为完庵先生曾孙，人以科甲期之，壬戌科，果登第。尝有桂枝贺其秋闱，兹复写杏一本以寄，俾知完庵遗泽所致也。\n与尔近居亲亦近，今年喜尔掇科名。杏花旧是完庵种，又见春风属后生。\n意思是说，你考得这样好，我画杏花表示祝贺。刘家世代书卷气不绝，大家都期待你的成绩。如今成功了，莫要忘记祖爷爷的遗泽。这些话里全无架子，只透出一片温暖平实。",[25,26,27,55,29,173,77,79,1495,157,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ece9a78838b66a815a3309957c7e09.jpg","纵80cm横33.5cm",[],{"id":9348,"slug":9349,"title":9350,"dynasty":69,"author":183,"museum":71,"description":9351,"tags":9352,"thumbUrl":9354,"material":967,"size":9355,"collection":59,"collections":9356,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[25,55,27,56,28,9353,435,7,278,173],"蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d8c94e425d4fb29639f5fc94f36998.jpg","纵111.8厘米，横57.8厘米",[],{"id":9358,"slug":9359,"title":9360,"dynasty":148,"author":893,"museum":71,"description":9361,"tags":9362,"thumbUrl":9363,"material":5284,"size":9364,"collection":59,"collections":9365,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,26,74,80,29,28,77,79,349,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12955f6e35b97926ac45250b8c8c005a.jpg","纵92.5cm，横23.4cm",[],{"id":9367,"slug":9368,"title":9369,"dynasty":369,"author":3492,"museum":552,"description":9370,"tags":9371,"thumbUrl":9372,"material":59,"size":59,"collection":59,"collections":9373,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[24,25,26,28,29,55,56,1231,134,1073,153,7,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":9375,"slug":9376,"title":9377,"dynasty":18,"author":96,"museum":552,"description":9378,"tags":9379,"thumbUrl":9381,"material":59,"size":59,"collection":59,"collections":9382,"showCount":9272,"zanCount":511,"manualWeight":43,"mainColor":64},230123,"hua-hui-ce-ye-01-ren-yi-230123","花卉册页01","此作用笔写意松弛，以湖石为景之骨，淡赭水墨晕染出嶙峋体态，略去繁复皴擦，虚实间尽显清隽雅逸。石畔丹红果簇饱满鲜活，浓墨枝叶枯润相宜，艳色与冷调湖石形成鲜明对照，艳而不俗，顽石愈发清灵，花果愈见生动。\n\n右上角题字笔力开张，与花木湖石相得益彰，融书画为一体，将花木蓬勃生机与文人闲淡意趣揉合于纸面，简淡之中自有鲜活情致。",[25,26,1694,173,55,29,56,7,9380,375,78],"红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71348d468b7d7e6ca8621b0226ef65d9.jpg",[],{"id":9384,"slug":9385,"title":9386,"dynasty":69,"author":431,"museum":552,"description":9387,"tags":9388,"thumbUrl":9389,"material":59,"size":59,"collection":59,"collections":9390,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":44},228287,"za-hua-tu-ce-8-kai-chen-hong-shou-228287","杂画图册8开","此作用平远法铺展景致，山峦层叠迤逦，以圆润苍劲的皴笔勾勒石体质感，淡赭敷色晕染出暖调山光，清润柔和。水面留白尽显空濛烟波之意，不着一笔却漾漾有水气流动。山石间点缀青绿苔点，冷色调打破赭石的厚重，为静穆山水晕染出鲜活生机。\n整幅简淡清旷，以复古笔致意摹古贤意趣，无繁复刻画，只以极简的点染铺陈，将江南水畔温软沉静的山光凝于尺幅，悠悠透出文人沉湎林泉的静穆襟怀，淡远清和，尽显含蓄内敛的古典诗意。",[23,25,26,53,29,75,79,80,7,82,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac4124007a9a2c95659e7ef43ddff79.jpg",[],{"id":9392,"slug":9393,"title":9394,"dynasty":369,"author":1908,"museum":552,"description":3963,"tags":9395,"thumbUrl":9396,"material":59,"size":59,"collection":59,"collections":9397,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":44},227773,"song-yin-xiu-qi-tu-ye-li-tang-227773","松荫休憩图页",[23,24,25,26,53,29,80,30,715,82,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae2c819f22354f91624b8b982a41c2a.jpg",[],{"id":9399,"slug":9400,"title":9401,"dynasty":18,"author":96,"museum":835,"description":9402,"tags":9403,"thumbUrl":9404,"material":3724,"size":59,"collection":59,"collections":9405,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},220470,"shi-shang-du-shu-ren-yi-220470","石上读书","画面以瘦透皱漏的太湖石为布景，雅士踞坐石侧，展卷潜读，神情悠然沉谧，全然沉浸于书卷意趣之中。\n\n设色清雅柔和，衣纹勾勒简练劲挺，将文士宽袍博带的闲适姿态尽显。太湖石以淡墨晕染，辅以皴擦勾勒出空灵剔透的质感，虚实相生间衬出幽寂安闲的氛围。整幅扇面构图疏密得当，把文人幽居耽书的雅静意趣铺陈开来，尽显精妙的笔墨格调。",[25,26,714,29,28,30,7,5702,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e528abdd16572b6722a32a318064bf1.jpg",[],{"id":9407,"slug":9408,"title":9409,"dynasty":69,"author":9410,"museum":112,"description":9411,"tags":9412,"thumbUrl":9414,"material":262,"size":59,"collection":122,"collections":9415,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},219521,"chang-pu-tu-shen-zhen-ji-219521","菖蒲图","沈贞吉","沈贞吉（1400-1482年仍在）名沈贞，号陶庵、陶然老人（道人），江苏长洲（今苏州人），其弟沈恒，字恒吉，为“吴门画派”代表畫家沈周（1427-1509）之父。沈贞吉工诗，兼擅绘画，以山水见长。但因其“不肯轻为人作，故少存者”，现在所见传世之作极少书画鉴定家张珩在其《木雁斋书画鉴赏笔记》中著录沈贞吉的《溪山一览图》时说：“南斋为石田伯父，画迹传世，平生惟见此一小幅为真迹……已至为难得矣。”（“南斋”为沈贞吉别号）连寓目书画无数的张珩所见沈贞吉画迹仅一件，可见其流传于今的作品，确实不多见。",[25,55,27,77,79,9413,7],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda667cbc2a17f96eecd268417b52830.jpg",[122],{"id":9417,"slug":9418,"title":9419,"dynasty":369,"author":201,"museum":184,"description":9420,"tags":9421,"thumbUrl":9423,"material":37,"size":9424,"collection":60,"collections":9425,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},218969,"ying-sun-lie-hu-tu-yi-ming-218969","鹰隼猎狐图","振翅俯冲的猛禽携风而下，惊惶奔窜的狐兽攒足欲逃，劲挺的枯枝斜出岩隙，丛丛劲草在荒坡间摇曳。笔墨于精微处见真章：禽鸟羽翮层次分明，狐兽肌理细腻传神，岩石皴擦苍劲老辣。荒野的萧瑟与捕猎的焦灼交织，一瞬张力被定格成永恒。宋人笔下的野趣，在动静相衔间流淌，于形神兼备中尽显自然生息的生动与凛冽，每一处线条都藏着对生命状态的精准捕捉，每片墨色都晕染出荒野间的原始张力。",[23,24,25,26,714,29,28,101,153,7,9422],"枯草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3bc526ab9976cefd9af3dab0639ec3.jpg","24x25cm",[60],{"id":9427,"slug":9428,"title":3776,"dynasty":18,"author":9429,"museum":874,"description":9430,"tags":9431,"thumbUrl":9432,"material":262,"size":9433,"collection":88,"collections":9434,"showCount":9272,"zanCount":511,"manualWeight":43,"mainColor":64},217886,"shan-shui-tu-dong-bang-da-217886","董邦达","董邦达是中国清朝时期著名的画家，他以其精湛的山水画而闻名。他的山水画通常被认为是清朝山水画史上的里程碑式的作品。\n\n董邦达的山水画风格独特，他追求自然的写实，同时又注重画面的艺术性。他的山水画中通常会出现大量的细节，比如山的形态、树的形态、云的形态等。他善于运用技法，比如水墨描边、油墨浓淡等，使得他的山水画看起来栩栩如生。\n\n董邦达的山水画中通常会出现许多动物和人物，他善于捕捉动物和人物的形态和神态。他的山水画中常常会出现小溪流动、水鸟飞翔、山鹿奔跑等场景。\n\n董邦达的山水画对后来的中国山水画产生了很大的影响，他的作品被认为是中国山水画史上的经典之作。",[23,25,55,75,27,80,277,82,349,153,7,81,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d68ad231b9d749214643923db64fec.jpg","70.8x36cm",[88],{"id":9436,"slug":9437,"title":9438,"dynasty":148,"author":404,"museum":112,"description":7110,"tags":9439,"thumbUrl":9440,"material":262,"size":59,"collection":59,"collections":9441,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},216376,"mo-zhu-pu-ce-13-wu-zhen-216376","墨竹谱册-13",[25,26,24,53,55,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c58cebabf4bf703a2c8e27e2685b2c.jpg",[],{"id":9443,"slug":9444,"title":9445,"dynasty":18,"author":201,"museum":112,"description":9446,"tags":9447,"thumbUrl":9448,"material":37,"size":59,"collection":59,"collections":9449,"showCount":9272,"zanCount":43,"manualWeight":43,"mainColor":64},215194,"sheng-ping-le-shi-tu-ce-10-yi-ming-215194","升平乐事图册-10","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[25,53,29,28,30,31,1345,117,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc7f1602648ee0adcb4a7a28e023748.jpg",[],{"id":9451,"slug":9452,"title":9453,"dynasty":148,"author":1125,"museum":552,"description":7477,"tags":9454,"thumbUrl":9455,"material":641,"size":642,"collection":59,"collections":9456,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":64},290835,"zhu-shi-liu-quan-zhou-wang-meng-290835","竹石流泉轴",[24,25,26,27,55,32,7,82,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7cc9dde7a77c5181c25b63abcfb092b.jpg",[],{"id":9458,"slug":9459,"title":951,"dynasty":302,"author":952,"museum":552,"description":9460,"tags":9461,"thumbUrl":9462,"material":641,"size":642,"collection":59,"collections":9463,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":44},289962,"zhu-shi-jin-jiu-tu-huang-ju-cai-289962","《竹石锦鸠图》里虽有黄居采善画之怪石，但由于又有墨色浓淡对比强烈等南宋用笔特色，应是后人假托黄居采之名的作品。全画描写生动细致，是一件宋代花鸟画佳作。",[25,24,56,28,153,32,7,134,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c080b67f0446de1ed999dd47a308c5.jpg",[],{"id":9465,"slug":9466,"title":8006,"dynasty":18,"author":6283,"museum":552,"description":7368,"tags":9467,"thumbUrl":9468,"material":59,"size":59,"collection":59,"collections":9469,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":64},237584,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237584",[25,26,53,55,29,75,6109,80,133,85,82,135,349,277,7,1231,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde38f8e39039eeb81895aa4915e1f49.jpg",[],{"id":9471,"slug":9472,"title":9473,"dynasty":18,"author":4274,"museum":847,"description":9474,"tags":9475,"thumbUrl":9476,"material":9477,"size":9478,"collection":88,"collections":9479,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":64},237153,"shan-shui-tu-zhou-cha-shi-biao-237153","山水图轴","《山水图轴》中景岸上一人牵驴待渡，挥手呼叫船夫；船夫撑着小船正缓缓地驶向岸边。远景山峦起伏，林木苍郁，云雾缭绕，若隐若现的景象。作品的结构追仿倪云林画风，但形似倪云林画，内涵却不同。图中远山的笔墨好像师法米芾，但又不同于米芾，是查士标“风神懒散，气韵荒寒”（《国朝画征录》）的典型风格。\n该作品笔墨疏简，风神闲散，意境荒寒。书法作品布白稀疏，线条粗细对比明显。运笔变化笔锋，粗笔凝重，细笔灵活。诗联色彩灿烂，氤氲虚幻，仿佛看到一幅幅画面。画家笔下的诗句视觉形象和线条造形尤其简朴闲散，不同米颠的八面书锋，风樯阵马，而是一种看到老树昏鸦的幽隐期约，使人浮想联翩，大隐于市、超然尘外的闲情逸致表现得淋漓尽致。\n画中景物疏密有致、层次分明。作品用笔干净利索：树木用笔以直勾为主，线条方折；舟船、人物刻画细微、用笔轻松，毫无刻板之意；河岸用阔笔、以赭褐色写出；树叶稍有皴染，但颜色较浅，几近于无。整幅画以暖色调为主，点缀以数片绿色。倪云林用笔枯淡静柔，查士标用笔疏散湿润。",[25,3533,75,27,80,349,81,259,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b15f8c267c7e56aa7cb40b232377f45.jpg","纸本、设色","纵90.1厘米，横36.7厘米",[88,122],{"id":9481,"slug":9482,"title":9483,"dynasty":69,"author":7775,"museum":71,"description":9484,"tags":9485,"thumbUrl":9486,"material":3724,"size":9487,"collection":60,"collections":9488,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":64},236129,"bai-zi-tu-zhou-xiang-yuan-bian-236129","柏子图轴","图绘湖石及柏树、翠竹、荆棘等。柏树昂扬郁茂，有藤萝缠绕，翠竹挺拔玉立，荆棘屈曲虬劲，三者结合，高低自然，疏密得当，相互映衬，意味悠长。用笔粗细随类，墨色浓淡相宜，风格疏爽，清新静逸。",[25,26,27,55,75,6003,1073,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40827a5b89dd11e84e82d1b56e6a6ed.jpg","纵84.6厘米，横26.5厘米",[60,122],{"id":9490,"slug":9491,"title":9492,"dynasty":18,"author":9493,"museum":71,"description":9494,"tags":9495,"thumbUrl":9496,"material":139,"size":9497,"collection":88,"collections":9498,"showCount":164,"zanCount":511,"manualWeight":43,"mainColor":64},236110,"zhang-zong-cang-shan-shui-zhou-zhang-zong-cang-236110","张宗苍山水轴","张宗苍","此图是张宗苍担任宫廷画师期间精心创作的山水画。图中山石反复以线条皴染，再以焦墨点苔，多遍始成，令繁复的林壑不失明爽之致，笔情墨韵间不失苍郁秀雅之气，反映了画家成熟期的典型风格。乾隆皇帝对此图赞赏有加，将它收贮于塞外最重要的行宫避暑山庄，并且在画上题诗三首，以示恩宠。",[25,55,75,80,82,134,7,324,84,81,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946aacb8352879e4db037849980e60c1.jpg","纵143厘米，横75.6厘米",[88,122],{"id":9500,"slug":9501,"title":9502,"dynasty":69,"author":1505,"museum":552,"description":9503,"tags":9504,"thumbUrl":9505,"material":59,"size":59,"collection":59,"collections":9506,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":64},234978,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234978","董其昌山水册","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[25,26,53,55,75,80,349,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04d6512d006560515fe7d39ca6ee3f5c.jpg",[],{"id":9508,"slug":9509,"title":2577,"dynasty":148,"author":1930,"museum":71,"description":9510,"tags":9511,"thumbUrl":9512,"material":313,"size":9513,"collection":59,"collections":9514,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":44},233823,"hua-zhu-jin-ji-tu-zhou-wang-yuan-233823","王渊（生卒年不详），字若水，号澹轩，浙江杭州人。他一生不仕，专擅墨笔花鸟、竹石。画意蕴藉清润、幽静深秀。",[24,25,27,28,29,56,32,291,217,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd36673eec219f9e862caec47a108a50c.jpg","纵175.7cm; 横110.1cm",[],{"id":9516,"slug":9517,"title":9518,"dynasty":369,"author":201,"museum":552,"description":9519,"tags":9520,"thumbUrl":9522,"material":59,"size":59,"collection":59,"collections":9523,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":44},233764,"jiao-shi-ying-xi-tu-ye-yi-ming-233764","蕉石婴戏图页","“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。",[25,24,714,28,29,30,9521,99,7],"儿童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feecad49be54ef6cb03cec89a8101dd62.jpg",[],{"id":9525,"slug":9526,"title":9527,"dynasty":69,"author":4336,"museum":71,"description":9528,"tags":9529,"thumbUrl":9530,"material":327,"size":9531,"collection":59,"collections":9532,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":64},232955,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232955","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[25,26,53,55,80,242,82,81,7,78,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8693310f9c6f226c8fad57d3764ba076.jpg","28.5×15.8厘米",[],{"id":9534,"slug":9535,"title":9536,"dynasty":5251,"author":201,"museum":552,"description":9537,"tags":9538,"thumbUrl":9539,"material":641,"size":642,"collection":59,"collections":9540,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,26,27,29,28,2777,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9040aefe7882aff435761b74a634bd.jpg",[],{"id":9542,"slug":9543,"title":9544,"dynasty":69,"author":1505,"museum":552,"description":9545,"tags":9546,"thumbUrl":9547,"material":59,"size":59,"collection":59,"collections":9548,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":64},230905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-dong-qi-chang-230905","仿黄子久 江山秋霁图","此作用淡墨干笔铺写秋江暮色，峰峦以披麻皴轻擦晕染，温润秀拙间带着松弛的苍厚，坡岸林木萧疏错落，留白托出澹澹江水，空寂淡远的秋意漫溢卷间。\n师法前贤却不囿于形，将元人山水的天真简淡，融于自身秀逸松灵的笔致，以禅意入画，寄寓林泉幽隐的文人心境。卷后诸家题跋绵延，以笔墨赓续宋元文脉，尽显晚明文人画的风雅韵致，是师古自化的上乘之作。",[23,24,25,26,74,55,76,75,78,79,80,83,81,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42bf74014b353f5b93fb8e51f870d3.jpg",[],{"id":9550,"slug":9551,"title":9552,"dynasty":69,"author":9553,"museum":552,"description":9554,"tags":9555,"thumbUrl":9556,"material":59,"size":59,"collection":59,"collections":9557,"showCount":164,"zanCount":511,"manualWeight":43,"mainColor":44},228754,"qiu-shu-qing-quan-tu-zhu-lang-228754","秋树清泉图","朱朗","此作取景清寂萧疏，以虬曲苍劲的枯林为画面核心。老木枝桠如蟹爪舒张，细笔勾染残叶、宿苔，将深秋的凋敝之态尽藏笔底。侧锋皴擦的山石与坡岸浅渚错落排布，留白暗喻寒水萦回，寥寥数笔便将郊野荒寒的秋意烘托尽致。\n\n笔墨苍秀兼具，勾勒皴擦不失法度，枯淡墨色铺陈出清旷冷寂的氛围，静穆之中暗含内敛生机，尽显文人山水尚简重韵的审美意趣，将深秋郊野的疏淡幽寂娓娓绘出，笔情墨趣间皆是淡然萧索的秋日诗意。",[23,25,26,27,55,75,134,1073,82,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd470dac0b1a8ee6ac422dd38eb8afe6.jpg",[],{"id":9559,"slug":9560,"title":9561,"dynasty":369,"author":7578,"museum":552,"description":9562,"tags":9563,"thumbUrl":9565,"material":59,"size":59,"collection":59,"collections":9566,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":64},227496,"xue-shan-tu-ye-fan-kuan-227496","雪山图页","《雪山萧寺图》是北宋画家范宽创作的一幅中国画。该幅画表现雪中山水的代表作品，构图不同于其他作品。画中山石树木直现于幅前，不留空间，让观赏者觉得有一股寒气袭来的身临其境感。群山簇拥，直指天空，深深的沟壑中，密林隐藏着萧寺，丛岩叠嶂中，“溪出深虚，水若有声”。由近而远堆叠的山峦，“折落有势”，山下寒树苍劲坚挺，势如铁帚，显示出范宽“写山真骨”，“与山传神”的精湛技艺。",[23,24,25,26,53,55,29,75,80,9564,7,134,349],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323a384e10f929ca675c2d84c6b715b5.jpg",[],{"id":9568,"slug":9569,"title":9570,"dynasty":18,"author":8224,"museum":184,"description":9571,"tags":9572,"thumbUrl":9573,"material":55,"size":9574,"collection":88,"collections":9575,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":64},223250,"ku-mu-han-ya-pu-hua-223250","枯木寒鸦","款识：枯木寒鸦。曾见李莹邱有此本，偶一效之，大略如是，作英蒲华。",[23,25,55,173,75,1579,153,80,7,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac8fd8af8dbebd94497968fae5fd6bb.jpg","33×127cm",[88,122],{"id":9577,"slug":9578,"title":9579,"dynasty":69,"author":431,"museum":20,"description":2570,"tags":9580,"thumbUrl":9581,"material":53,"size":59,"collection":59,"collections":9582,"showCount":164,"zanCount":511,"manualWeight":43,"mainColor":64},221911,"hua-niao-jing-pin-ce-8-chen-hong-shou-221911","花鸟精品册8",[25,26,53,29,28,56,134,153,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f428190af9d8e38adbc8575cb53afae.jpg",[],{"id":9584,"slug":9585,"title":9586,"dynasty":148,"author":8365,"museum":71,"description":9587,"tags":9588,"thumbUrl":9589,"material":9590,"size":9591,"collection":59,"collections":9592,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":64},221824,"xiu-ye-xuan-tu-juan-zhu-de-run-221824","秀野轩图卷","该图末有朱德润自识：“至正二十四年歲甲辰(1364年)四月十日，睢陽山人時年七十一歲。朱德潤並肩。”后钤私印两方。系朱氏临终前的极晚之作。是图画江南山川的平远之景，山林间有文人对坐于书斋中，笔法粗放纵逸，墨色简洁，有苍茫之意。画家大胆地将北宋李成、郭熙描绘北方山水的笔墨转化为表现江南风物的造型语言，并揉进了文人儒雅清澹的审美意趣。画中的书斋为“秀野轩”，将文人的书斋和活动绘于佳山秀水中，是这个时期新出现的山水画题材，直接影响了元末明初早期吴派山水画的审美取向。\n清《佩文斋画谱》、《江村画目》著录。",[23,25,26,74,55,75,78,77,79,80,349,81,277,82,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02fb9773db03d4b1979437c1858da6bd.jpg","纸本，水墨淡设色","纵28.3厘米，横210厘米",[],{"id":9594,"slug":9595,"title":9596,"dynasty":369,"author":573,"museum":184,"description":1482,"tags":9597,"thumbUrl":9598,"material":313,"size":59,"collection":59,"collections":9599,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":44},218084,"luo-han-tu-ce-4-li-gong-lin-218084","罗汉图册-4",[23,24,25,26,53,434,55,576,30,134,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a267a2508ebb826f60078b3c5f38d7.jpg",[],{"id":9601,"slug":9602,"title":9603,"dynasty":18,"author":9604,"museum":150,"description":9605,"tags":9606,"thumbUrl":9607,"material":59,"size":59,"collection":88,"collections":9608,"showCount":164,"zanCount":43,"manualWeight":43,"mainColor":9609},201839,"kong-shan-ji-xue-tu-zhou-wang-su-201839","空山积雪图轴","王素","积雪覆裹峰峦，层岩叠嶂间，淡墨晕染出雪的莹润与空濛。山石以细笔勾廓，皴法轻施，既现肌理又衬雪色皎洁。山间小径隐现，几间茅舍依偎寒林，枯枝疏朗，似含清寂之韵。近处树木枝干虬劲，干笔皴擦见苍劲；远处山影淡远，留白与墨色交织，拓延悠远意境。笔墨简练却意趣丰盈，清逸雅致中透着文人超然物外的心境，将冬日空山的静谧之美凝于尺幅，尽显自然与心性的交融之妙。",[25,80,75,29,7,134,349,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68aaa7a7d515d65fdfe9c3105b2b00e.jpg",[88],"bca372",{"id":9611,"slug":9612,"title":9613,"dynasty":369,"author":1321,"museum":112,"description":9614,"tags":9615,"thumbUrl":9616,"material":58,"size":9617,"collection":59,"collections":9618,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},290865,"si-lun-tu-zhou-liu-song-nian-290865","丝纶图轴","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”。",[24,25,26,27,29,30,31,242,260,7,77,79,28,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff443d84c94d6f9882bd0d0f95d4233.jpg","98.9x33.2",[],24,{"id":9621,"slug":9622,"title":9623,"dynasty":148,"author":256,"museum":552,"description":2665,"tags":9624,"thumbUrl":9625,"material":641,"size":642,"collection":59,"collections":9626,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":44},290395,"nan-zhu-po-zhou-tu-ke-luo-ban-ni-zan-290395","南渚泊舟图（珂罗版）",[23,25,26,55,80,75,7,133,349,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefde77381c5a6c91820560350329879c.jpg",[],{"id":9628,"slug":9629,"title":4479,"dynasty":18,"author":4808,"museum":552,"description":9630,"tags":9631,"thumbUrl":9633,"material":641,"size":642,"collection":59,"collections":9634,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},290315,"sui-chao-tu-zhou-jin-ting-biao-290315","金廷标，清代画家。字士揆，乌程（今浙江湖州）人。鸿子。能绍父艺，亦工写真，并能妙绘人物仕女及花卉。善取影，白描尤工。亦能界画。清朝乾隆二十五年（1760）南巡进白描罗汉册，称旨。命入内廷供奉。所绘写意秋果及人物，皆得高宗题咏。入直数载，卒於京寓。《石渠宝芨》著录了他81幅作品。",[25,24,27,30,29,28,1345,9632,187,519,7,79,77],"嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bae2d1548ec86f9ba2e3dff9f8aff9.jpg",[],{"id":9636,"slug":9637,"title":9638,"dynasty":369,"author":1908,"museum":552,"description":9639,"tags":9640,"thumbUrl":9641,"material":641,"size":642,"collection":59,"collections":9642,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},289589,"song-hu-diao-yin-tu-li-tang-289589","松湖钓隐图","该图运用简单的笔触，浓淡适宜的色彩，为我们刻画出一幅渔翁船头垂钓的画面。画中高山石用小斧劈皴，松树画法显得严密，松针繁茂，充分表现出松树的状态。整幅画面具有娴静而舒雅的情韵。",[25,26,714,80,77,78,79,85,7,260,55,75,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3730c80edaffa52d15c03bd52adedf.jpg",[],{"id":9644,"slug":9645,"title":9646,"dynasty":369,"author":711,"museum":552,"description":9647,"tags":9648,"thumbUrl":9650,"material":641,"size":642,"collection":59,"collections":9651,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},289361,"yi-song-tu-ce-ma-yuan-289361","倚松图册","该藏品是一幅表现文人寄情山水、抚琴赋诗、畅抒情怀、怡然自乐的画作。在尺幅大小的画面上，马远把一老一少两人安排在松姿奇特、湖光波动、远山绵延的自然环境中。他们或许是行走在归途中，倦时倚松稍作小憩。书童站在前面，上身着浅蓝色长布衣，下身穿白色裤子，双手抱着用布裹着的琴，两眼炯炯有神地欣赏着周围的景色，流露出一股天真无邪的稚气。书童衣纹简洁流畅，形象生动自然。松树后面，这位文人雅士倚松而立，左臂弯曲着靠在松树上，右臂自然下垂，作休息状；头部微侧，两眼凝视着波光荡漾的湖水，若有所思。画中的人物面部虽小如黄豆，但却造型准确，很好地表现了人物的神态和心理活动。作品用墨富有变化，笔法工整而不呆板，造型简练而不失神韵，衣纹用笔浓重而不失飘逸，线条疏密、长短有致。画家将人物与山水和谐地结合在一体，丰富了整个画面。《倚松图》虽然画幅不大，但内涵却极为丰富，真可谓“笔墨有尽意无穷”。",[25,53,55,29,30,260,7,80,9649,75],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b30e7cfff86aa986cfc3066e580c045.jpg",[],{"id":9653,"slug":9654,"title":9655,"dynasty":18,"author":214,"museum":552,"description":4061,"tags":9656,"thumbUrl":9657,"material":641,"size":642,"collection":59,"collections":9658,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":44},287352,"hua-niao-cao-chong-tu-ba-hua-yan-287352","花鸟草虫图八",[25,29,53,100,2688,32,7,540,56,101,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07d23dd712768dd98861d24740bc2b9.jpg",[],{"id":9660,"slug":9661,"title":9662,"dynasty":18,"author":9663,"museum":552,"description":9664,"tags":9665,"thumbUrl":9666,"material":59,"size":59,"collection":88,"collections":9667,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},237690,"mei-qing-qu-xing-shi-shi-tu-zhou-mei-qing-237690","梅清瞿硎石室图轴","梅清","梅清（1623-1697），清初画家、诗人。原名士羲，后改今名，字渊公，号瞿山、敬亭山农，宣城（今属安徽）人。世祖顺治十一年（1654）举人，四次 北上会试，不第告终。与石涛交往友善，相互切磋画艺。石涛与梅清，皆有“黄山派”巨子的誉称。后遭家落，屏迹稼园，郁郁无所处，寄情诗画自娱。屡登黄山，观烟云变幻，银涛起伏，印心手随，景象奇伟。笔法松秀，墨色苍浑；后人称 梅清、梅庚、石涛，戴本孝等为黄山派。传世作品有《山村清景图》、《黄山图》、《黄山十九景图》、《黄山炼丹台图》等。",[25,27,55,80,30,260,7,75,79,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4980073cdbde0a994569769bb864028f.jpg",[88],{"id":9669,"slug":9670,"title":9671,"dynasty":69,"author":9672,"museum":71,"description":9673,"tags":9674,"thumbUrl":9675,"material":1106,"size":9676,"collection":88,"collections":9677,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":44},237650,"liu-yin-shuang-jun-zhou-hu-cong-237650","柳荫双骏轴","胡聪","描绘柳荫下两匹骏马之态，形象生动，神态逼肖；二柳树旁还斜探出一枝桃花，使湖石花竹相互掩映，一派湖光春色。整幅画面刻画细腻，用笔工整，功力深厚，继承南宋院体画风格。右上款署：“直武英殿东皋胡聪写。”",[24,25,26,27,28,29,907,306,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8671533baa0d9af224242aa2575cf21.jpg","纵101.2cm，横50.5cm",[88,105],{"id":9679,"slug":9680,"title":8006,"dynasty":18,"author":6283,"museum":552,"description":7368,"tags":9681,"thumbUrl":9682,"material":59,"size":59,"collection":59,"collections":9683,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},237590,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237590",[25,3533,6109,75,434,53,80,117,32,826,324,325,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93ac8d5e23f56de21baeb4d646ef856.jpg",[],{"id":9685,"slug":9686,"title":8006,"dynasty":18,"author":6283,"museum":552,"description":7368,"tags":9687,"thumbUrl":9689,"material":59,"size":59,"collection":59,"collections":9690,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},237582,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237582",[25,26,53,55,75,76,80,133,134,7,259,9688,81,1175,79],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57baa8839dc6361ac243cc972732649b.jpg",[],{"id":9692,"slug":9693,"title":9694,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":9695,"thumbUrl":9696,"material":641,"size":642,"collection":59,"collections":9697,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},236343,"yuan-ji-lan-shi-shan-shi-tao-236343","原济兰石扇",[24,25,26,714,55,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681a6f9bf2925a9eb7dfa44cdf8ba289.jpg",[],{"id":9699,"slug":9700,"title":9701,"dynasty":18,"author":4274,"museum":71,"description":9702,"tags":9703,"thumbUrl":9704,"material":59,"size":59,"collection":59,"collections":9705,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},234790,"bu-duo-hou-song-po-du-zuo-tu-xiang-zhou-cha-shi-biao-234790","补多侯松坡独坐图像轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水，为海阳四家之一。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[25,27,55,30,260,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47325813bace357ceaf9d97d5cd3f2f3.jpg",[],{"id":9707,"slug":9708,"title":9709,"dynasty":69,"author":5428,"museum":552,"description":9710,"tags":9711,"thumbUrl":9713,"material":59,"size":59,"collection":59,"collections":9714,"showCount":9619,"zanCount":511,"manualWeight":43,"mainColor":44},228433,"xie-qin-tan-mei-tu-du-jin-228433","携琴探梅图","画面以淡墨晕染出清寂冬山，古松虬枝横斜，苍劲老辣。寒溪蜿蜒穿谷，水波轻漾间漾出幽冷空茫。曳杖文士缓行山径，衣袂翩然尽是闲适从容，侍童抱琴紧随其后，将文人携琴探梅的雅兴藏于萧寒丘壑。\n\n笔墨洗练疏朗，山水皴擦简括写意，人物线条清劲灵动，淡墨轻岚晕染出空寂淡远的氛围，将冬日山林的萧寒清冷与文人寻幽访胜的孤高雅趣相融，于简淡之中尽显出超尘脱俗的文人情致。",[23,25,29,28,30,80,187,2421,7,134,324,325,81,9712,55],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09df8d050a7184bf123970b4c974cb8.jpg",[],{"id":9716,"slug":9717,"title":9718,"dynasty":148,"author":1930,"museum":552,"description":9719,"tags":9720,"thumbUrl":9721,"material":59,"size":59,"collection":59,"collections":9722,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},228161,"qiu-jing-chun-que-tu-wang-yuan-228161","秋景鹑雀图","此作为水墨花鸟精品，以全景式铺陈秋日小景。枝桠虬劲舒展，数只雀鸟或振翅翻飞、或栖枝理羽，灵动鲜活，将秋空的清寂晕开几分生机。坡石苍朴古拙，枯笔写意勾勒尽显嶙峋质感，旁侧竹篁挺秀、野菊含芳，笔墨秀雅细腻，晕染间尽显草木清疏之态。\n\n坡下鹌鹑伏于浅草间，羽色纹理描摹入微，憨态尽显。整作纯以水墨绘就，摒去设色浮华，以浓淡干湿变化表现物象肌理，工写相融，既有禽鸟刻画的精工雅致，又有花木坡石的写意苍润，将秋日郊野的清旷意趣与灵动生机揉合一处，尽显清淡古雅的文人意韵。",[23,25,26,27,55,28,56,32,189,7,153,5965,79,160,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5177d8103b4a3a8119cd7797cf489d1.jpg",[],{"id":9724,"slug":9725,"title":9726,"dynasty":148,"author":8634,"museum":552,"description":9727,"tags":9728,"thumbUrl":9729,"material":59,"size":59,"collection":59,"collections":9730,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":44},228034,"xi-qiao-ce-zhang-tu-luo-zhi-chuan-228034","溪桥策杖图","画作以枯木为视觉重心，双木虬曲苍劲，枝条如倒挂蟹爪，皴笔老辣简练，尽显岁寒枯槁之态。近岸山石以淡墨晕染，勾勒寥寥便见嶙峋质感，远景山峦以淡墨轻扫，晕染出空濛悠远的秋山暮色。\n\n溪桥横卧寒波，策杖行人缓步桥上，三两相伴，为冷寂天地添上些许烟火暖意，动静之间，将荒寒萧索与悠然意趣相融。全作用笔简淡空灵，以水墨写尽隐逸幽怀，枯淡之中暗藏生机，尽显文人超脱尘俗的林下襟怀，是元人尚意山水的逸格之作。",[23,25,26,714,55,80,75,134,277,82,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8663ca638f193764ba17f57c5396ca4c.jpg",[],{"id":9732,"slug":9733,"title":9734,"dynasty":369,"author":711,"museum":552,"description":9735,"tags":9736,"thumbUrl":9737,"material":59,"size":59,"collection":59,"collections":9738,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":44},227827,"fang-gu-qiu-dao-tu-ma-yuan-227827","访古求道图","此作截取林苑一隅，老梅虬枝盘曲如铁，繁花密缀其上，冷香暗涌。古松倚侧挺健，苍郁沉雄。策杖雅士缓行林间，仆从悄然随行，衣袂轻扬间，尽显萧散古雅的林下风致。\n\n笔墨洗练刚劲，以硬屈的线条勾勒枝干，尽显枯木的苍古之态，梅花晕染清润素雅，淡设色晕染出幽寂清寒的氛围，将林泉访古的幽怀雅趣融于边角取景中，简淡空灵，带着清寂悠远的韵致，尽显南宋院体画的精妙功力。",[23,24,25,26,29,75,30,80,187,1231,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe844b4a474880c32edeb6e516001d511.jpg",[],{"id":9740,"slug":9741,"title":9742,"dynasty":369,"author":9743,"museum":552,"description":9744,"tags":9745,"thumbUrl":9746,"material":59,"size":59,"collection":59,"collections":9747,"showCount":9619,"zanCount":209,"manualWeight":43,"mainColor":64},227639,"bi-tao-yi-shi-tu-ye-ma-shi-rong-227639","碧桃倚石图页","马世荣","《碧桃图》页，宋，纨扇页，绢本，设色，纵24.8厘米，横27厘米。\n\n本幅无款。钤鉴藏印“于”、“腾”、“阿蒙精赏”3方。\n\n图中盛开的碧桃红白相映，枝叶扶疏，娇柔妩媚。虽然画面上仅绘桃花两枝，但它的繁花簇簇、苞蕾盈枝则透露出浓郁的春意。花瓣用多变的细线条勾描后再以白粉或粉红色多层晕染，嫩叶用细红线勾轮廓和叶筋，然后填以花青和汁绿。整幅画面赋色淡雅，自然生动，体现了宋代册页画小中见大的风貌。",[23,24,25,26,53,29,28,56,190,7,78,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbefa1115cc37dbd7d4d25f6ff030e.jpg",[],{"id":9749,"slug":9750,"title":9751,"dynasty":18,"author":9663,"museum":552,"description":9752,"tags":9753,"thumbUrl":9754,"material":59,"size":59,"collection":59,"collections":9755,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":44},224340,"shan-shui-jing-pin-mei-qing-224340","山水精品","此作用笔清劲老辣，山石以干笔枯皴勾勒轮廓，方折奇崛，尽显峭拔之态。虬松横斜苍劲，枝桠如铁，掩映处茅舍幽居，恍若世外灵台。\n\n画作以虚衬实，下半幅大片留白以代深谷云岚，将山谷幽邃辽远尽数托出，虚实相生间，把山林空寂超逸的禅意缓缓铺展。题诗与笔墨相映，文气郁郁，尽显画师胸中丘壑，淡远静穆里，藏着出世高蹈的雅逸襟怀。",[23,25,26,27,55,75,80,7,349,715,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a46e171cbd8812b39da98beb1afde6.jpg",[],{"id":9757,"slug":9758,"title":9759,"dynasty":18,"author":9760,"museum":2832,"description":9761,"tags":9762,"thumbUrl":9764,"material":327,"size":9765,"collection":59,"collections":9766,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},223132,"shen-zhu-you-ju-tu-cheng-sui-223132","深竹幽居图","程邃","图一描绘山峰连绵，林木苍茫，一望无际； 一条河湖将两岸隔开，湖水完全自成一体。 这幅画中，山用墨画，层次分明，树用墨点画，浓密有序。",[23,24,25,26,55,75,80,277,82,85,7,134,136,135,81,9763],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5bf882dd511bb4cc7690b62fdb3aef.jpg","43.6x66.",[],{"id":9768,"slug":9769,"title":9770,"dynasty":369,"author":4081,"museum":835,"description":9771,"tags":9772,"thumbUrl":9773,"material":678,"size":9774,"collection":59,"collections":9775,"showCount":9619,"zanCount":511,"manualWeight":43,"mainColor":44},221625,"xiao-ya-hong-yan-zhi-shen-tu-ma-he-zhi-221625","小雅·鸿雁之什图","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。\n擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[25,26,74,434,29,78,30,81,153,80,7,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb39b1e043ef15aca59080d2812129.jpg","32.4 1304.9 cm",[],{"id":9777,"slug":9778,"title":9779,"dynasty":369,"author":201,"museum":112,"description":9780,"tags":9781,"thumbUrl":9783,"material":37,"size":9784,"collection":88,"collections":9785,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},218702,"zhu-xi-han-ya-tu-yi-ming-218702","竹溪寒鸦图","这幅画描绘了溪边的一块石头，中间有一棵枯竹，上面坐着一只寒鸦。岩石是以郭熙的方式画的，而枯树和寒鸦则是以类似于梁楷的风格画的。",[23,25,26,53,7,9782,850,82,75,56,80],"枯竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9742a9a33045ce9cfaa1ac7b7fac0cab.jpg","25.9x21.9",[88],{"id":9787,"slug":9788,"title":9789,"dynasty":18,"author":169,"museum":184,"description":1152,"tags":9790,"thumbUrl":9791,"material":58,"size":1156,"collection":60,"collections":9792,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":64},214557,"mo-zui-za-hua-tu-ce-10-shi-tao-214557","墨醉杂画图册-10",[23,25,55,53,173,7,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff998fee36b8e50230bcb1d322886a862.jpg",[60],{"id":9794,"slug":9795,"title":9796,"dynasty":9797,"author":9798,"museum":150,"description":9799,"tags":9800,"thumbUrl":9802,"material":59,"size":59,"collection":60,"collections":9803,"showCount":9619,"zanCount":43,"manualWeight":43,"mainColor":9804},202966,"pi-pa-tu-zhou-zhao-yun-he-202966","枇杷图轴","近代","赵云壑","画面以水墨设色绘枇杷，枝干遒劲如篆，墨叶浓淡相破，泼墨写意间见苍劲生机。金黄果实缀于枝间，色泽饱满透亮，与深墨叶片形成鲜明对比，尽显丰硕诱人之态。下方点缀红绿小花，添灵动气息；石体以淡墨晕染，朴拙自然。整体笔墨纵逸洒脱，兼具写实与写意之妙，传递出田园间的清新意趣与蓬勃生命活力。",[25,173,55,29,56,9801,7,375,23],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4635b70f2fe5cc3c60129d3f14ea46.jpg",[60],"bdb29d",{"id":9806,"slug":9807,"title":8458,"dynasty":369,"author":594,"museum":112,"description":9808,"tags":9809,"thumbUrl":9810,"material":205,"size":9811,"collection":59,"collections":9812,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":44},290989,"hua-shan-shui-zhou-guo-xi-290989","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[24,25,27,55,80,75,7,242,82,85,5749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97d3d96348a81541ea51db24539a471c.jpg","188.8x95",[],23,{"id":9815,"slug":9816,"title":9817,"dynasty":369,"author":9818,"museum":552,"description":9819,"tags":9820,"thumbUrl":9821,"material":641,"size":642,"collection":59,"collections":9822,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":44},290257,"liu-yin-shi-si-tu-song-ru-zhi-290257","柳荫诗思图","宋汝志","宋汝志[元]道士。号碧云，钱塘（今杭州）人。宋景定（一二六o―一二六四）间画院待诏，入元（一二七七）为开元观道士。人物、山水、花鸟师楼观。",[23,25,24,26,27,29,30,31,7,134,307,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe39bbb4ceaf01e5b0e05bbf956851857.jpg",[],{"id":9824,"slug":9825,"title":9826,"dynasty":369,"author":3492,"museum":552,"description":9827,"tags":9828,"thumbUrl":9829,"material":641,"size":642,"collection":59,"collections":9830,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":44},288961,"guan-pu-tu-ma-lin-288961","观瀑图","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[24,25,55,30,80,82,7,9649,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faddc601b0f6ffd8c997689ed50ed3ed6.jpg",[],{"id":9832,"slug":9833,"title":9834,"dynasty":369,"author":9835,"museum":552,"description":9836,"tags":9837,"thumbUrl":9838,"material":641,"size":642,"collection":59,"collections":9839,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":44},288548,"xiang-xiang-xiao-jing-tu-zhao-shi-lei-288548","湘乡小景图","赵士雷","字公震，承平王孙，生卒年不详，曾任襄州观察使等职。\n描绘的是仲夏时节宁静安谧的湖塘一隅。该画卷是赵士雷唯一的传世画迹。",[23,24,25,74,26,29,80,56,153,154,82,7,81,1991,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847e87be85d07444a5c7951d5d0f349.jpg",[],{"id":9841,"slug":9842,"title":8642,"dynasty":18,"author":8643,"museum":552,"description":8644,"tags":9843,"thumbUrl":9844,"material":59,"size":59,"collection":59,"collections":9845,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":64},239051,"shan-shui-hua-niao-ce-yang-jin-239051",[25,26,53,55,75,79,80,30,82,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6136e48c08d32b04c6c2777897512f54.jpg",[],{"id":9847,"slug":9848,"title":3256,"dynasty":18,"author":1491,"museum":552,"description":7992,"tags":9849,"thumbUrl":9850,"material":641,"size":642,"collection":59,"collections":9851,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":64},238352,"hua-hui-ce-dong-gao-238352",[24,25,26,53,29,28,189,243,157,1136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b5a66add4c45d8079f31aa0ed45868.jpg",[],{"id":9853,"slug":9854,"title":9855,"dynasty":18,"author":941,"museum":552,"description":4492,"tags":9856,"thumbUrl":9857,"material":641,"size":642,"collection":59,"collections":9858,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":64},237794,"hong-ren-song-zhu-you-ting-tu-shan-ye-hong-ren-237794","弘仁松竹幽亭图扇页",[25,26,714,55,75,715,32,349,7,80,30,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10aaadad94df684872c4363df1411bc.jpg",[],{"id":9860,"slug":9861,"title":9862,"dynasty":18,"author":96,"museum":71,"description":9863,"tags":9864,"thumbUrl":9865,"material":664,"size":9866,"collection":59,"collections":9867,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":64},233410,"ren-song-yun-xiang-zhou-ren-yi-233410","任淞云像轴","任伯年乃是处于中国古代社会与近现代交界线上的一位人物，而他的绘画在清末画坛犹如奇峰崛起，代表着传统艺术的一个新的高度。\n他的人物画既具有总结性，又富有前瞻性。上接陈洪绶、八大山人、华嵒、闵贞、费丹旭、任渭长、任阜长之衣钵，下启徐悲鸿及蒋兆和之新一代画风。他不仅是“海派”中的佼佼者，而且也是中国绘画史上的一位大师。",[25,26,27,29,55,30,133,135,8579,260,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb450c7a206e3c836cbe9cd017f905d9d.jpg","173.1cm×47.3cm",[],{"id":9869,"slug":9870,"title":9871,"dynasty":148,"author":1711,"museum":71,"description":9872,"tags":9873,"thumbUrl":9874,"material":139,"size":6435,"collection":59,"collections":9875,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,26,27,28,29,30,306,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848f21392a4c6285d5e3775686b5b4c0.jpg",[],{"id":9877,"slug":9878,"title":9879,"dynasty":69,"author":201,"museum":552,"description":9880,"tags":9881,"thumbUrl":9882,"material":59,"size":59,"collection":59,"collections":9883,"showCount":9813,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,25,29,28,56,435,7,243,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ff6a1fc2bdaca3c3b288d2f5d5422c.jpg",[],{"id":9885,"slug":9886,"title":9887,"dynasty":69,"author":5428,"museum":552,"description":9888,"tags":9889,"thumbUrl":9892,"material":641,"size":642,"collection":59,"collections":9893,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,26,74,434,55,28,77,78,30,80,81,7,864,79,9890,9891,2046,2677],"笔墨纸砚","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4687c58a07d69739de4b9a24d53eb4e.jpg",[],{"id":9895,"slug":9896,"title":3659,"dynasty":69,"author":431,"museum":552,"description":9897,"tags":9898,"thumbUrl":9900,"material":59,"size":59,"collection":59,"collections":9901,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":44},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》。",[23,25,26,27,576,28,29,30,7,9899,156,79],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af7033f8cadf5f5c26728c6a40368bb.jpg",[],{"id":9903,"slug":9904,"title":9905,"dynasty":369,"author":9906,"museum":552,"description":9907,"tags":9908,"thumbUrl":9910,"material":59,"size":59,"collection":59,"collections":9911,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":44},227986,"yin-yan-fei-pu-tu-jiang-can-227986","阴岩飞瀑图","江参","危崖斜出，古木盘虬扎根崖壁，数道飞瀑破壁而出，訇然落向下方深潭。山石以粗劲短皴勾勒轮廓，苍莽厚重，尽显崖石坚硬荒寒；飞瀑以留白衬墨色，线条劲挺利落，将水流奔涌之势藏在简淡笔墨里。\n\n整幅画作以水墨浓淡铺展山野幽寂，无多余点染，却将空谷间瀑流轰鸣、林壑沉静的氛围感拉满，带着独有的萧散冷逸，于尺幅间尽显磅礴大气，暗合寄情林泉、澄怀观道的文人意趣。",[23,24,25,26,27,55,75,80,116,9909,81,7],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35d866f71b6edd059218c0e1ba2858e.jpg",[],{"id":9913,"slug":9914,"title":9915,"dynasty":369,"author":201,"museum":552,"description":9916,"tags":9917,"thumbUrl":9918,"material":59,"size":59,"collection":59,"collections":9919,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":44},227833,"lin-liu-fu-qin-tu-yi-ming-227833","临流抚琴图","画面以边角取势，古松虬曲苍劲，垂藤萦绕，将崖岸的荒古野逸晕开。临流石上，隐士安然抚琴，襟怀自适。远处汀渚隐现于烟岚薄雾之间，水色空蒙，淡墨轻皴尽绘江天寥廓。\n笔墨简淡却意韵悠长，以苍劲勾勒写松之老态，晕染铺就江天虚静，将林下幽居、寄情山水的文人意趣藏于尺幅间，尽显尚简求雅的禅寂风骨，静穆之中，似有琴音随波远逝，恍若带人走入物我两忘的幽远之境。",[23,25,55,75,714,80,30,82,81,7,1446,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F525e8494d45cb369b9a329292fc78b89.jpg",[],{"id":9921,"slug":9922,"title":9923,"dynasty":369,"author":8420,"museum":552,"description":9924,"tags":9925,"thumbUrl":9926,"material":59,"size":59,"collection":59,"collections":9927,"showCount":9813,"zanCount":511,"manualWeight":43,"mainColor":44},227810,"ji-tu-mao-yi-227810","鸡图","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。",[24,25,26,56,714,28,29,1187,396,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41fd354ac99bbf536f773dfd0824080.jpg",[],{"id":9929,"slug":9930,"title":9931,"dynasty":369,"author":201,"museum":71,"description":9932,"tags":9933,"thumbUrl":9934,"material":327,"size":9935,"collection":88,"collections":9936,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":44},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,25,26,74,76,55,75,80,117,116,259,349,82,30,7,277,133,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[88,122],{"id":9938,"slug":9939,"title":9940,"dynasty":69,"author":1505,"museum":3191,"description":9941,"tags":9942,"thumbUrl":9943,"material":53,"size":9944,"collection":59,"collections":9945,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":59},220747,"fang-ge-jia-shan-shui-9-dong-qi-chang-220747","仿各家山水-9","此作用笔松秀空灵，以枯木发端，老干虬曲苍劲，寒枝错落疏朗，自带冬日萧疏清寂之意。远景山峦以淡墨轻勾慢皴，棱角清奇又不失浑融，层层迤逦铺展，淡远空濛。水泽汀渚间错落点染渔隐闲趣，右侧村居隐于林麓之下，简淡出尘。\n\n整幅以干笔淡墨写就，脱尽繁冗，以极简笔墨铺展出萧散淡远的林下幽居之境，尽显文人画疏淡空灵的意趣，藏着闲远出尘的林下襟怀。",[23,25,55,80,76,75,79,134,7,83,81,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46161f34da1a23ec4d68b7c20dfc253b.jpg","30.5 × 23.8厘米",[],{"id":9947,"slug":9948,"title":9949,"dynasty":18,"author":941,"museum":71,"description":942,"tags":9950,"thumbUrl":9951,"material":327,"size":945,"collection":59,"collections":9952,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":64},220325,"huang-shan-tu-ce-5-hong-ren-220325","黄山图册-5",[23,25,26,53,55,75,80,7,260,30,7673,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48c1a6440b9359b890d503ad1a69aae.jpg",[],{"id":9954,"slug":9955,"title":9956,"dynasty":148,"author":4892,"museum":112,"description":9957,"tags":9958,"thumbUrl":9959,"material":262,"size":9960,"collection":88,"collections":9961,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":64},218769,"xu-ting-zhu-qu-tu-cao-zhi-bai-218769","虛亭竹趣图","这幅画描绘了秋天小河岸边的一个空亭子，旁边有一群竹子。篆书非真迹，画风更类似于清代的倪瓒。",[23,25,26,55,75,80,349,32,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ca6f843e4147fa9a2dc02717fed44.jpg","25.2x28.7",[88],{"id":9963,"slug":9964,"title":9965,"dynasty":69,"author":9966,"museum":835,"description":9967,"tags":9968,"thumbUrl":9970,"material":55,"size":59,"collection":39,"collections":9971,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":1551},218500,"ri-ben-xia-zi-he-shang-tu-yun-gu-deng-yan-218500","日本· 虾子和尚图","云谷等颜","仰头的刹那，风似凝在枯枝的末梢。宽袍覆着盘腿的身影，指尖悬着的虾篓轻晃，隐约可闻篓内虾子弹动的细碎声息。墨色淡扫衣褶，浓墨点染须发与枯枝，线条不求工致，却勾出人物眼底的悠然——是对眼前小物的专注，还是对尘外之境的漫想？背景的空疏并非单调留白，而是将视线引向和尚与虾篓的静默对话，写尽修行者与世间微物的温柔照面。简淡笔墨里，藏着一份于日常中寻得的禅意，清寂却鲜活，仿佛能触到那份不沾尘俗的松弛，与对生命本真的温柔凝视。",[25,26,27,55,30,7,9969,173],"和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093ff39466f2e11ae6affc34a47a43ec.jpg",[39],{"id":9973,"slug":9974,"title":9975,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":9977,"thumbUrl":9978,"material":205,"size":59,"collection":39,"collections":9979,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":44},218214,"luo-han-zhou-wu-bin-218214","罗汉轴","佛教修行中的最高果位是佛，其次为菩萨，然后是罗汉。宋代以前流传十六罗汉，之后又衍生出两尊，即降龙和伏虎，于是成为十八罗汉。降龙罗汉位列十八罗汉的第十七位，根据古印度的传说，降龙罗汉最初的原形是庆友尊者。相传古印度那竭国有恶魔煽动国人杀害出家的佛弟子，尽毁佛殿佛塔，劫掠经书。当时海龙王发动洪水，淹没了那竭国，并将佛经收藏于龙宫之内，等待有法力的僧人取回，最终庆友尊者完成大任，因此他被称为降龙罗汉。本图中的人物形象古朴，线条细劲绵长，设色浓丽。《图绘宝鉴续纂》记载吴彬：“善人物，奇行怪状，迥异旧人，自立门户。”",[25,26,27,576,30,434,55,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97586e62ce58f7792685bf295ee63f75.jpg",[39],{"id":9981,"slug":9982,"title":9983,"dynasty":369,"author":573,"museum":184,"description":1482,"tags":9984,"thumbUrl":9985,"material":313,"size":59,"collection":59,"collections":9986,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":44},218086,"luo-han-tu-ce-2-li-gong-lin-218086","罗汉图册-2",[23,25,26,53,434,55,576,30,134,7,32,1231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef32533e0a8e2c73a9ac98b88eaed196.jpg",[],{"id":9988,"slug":9989,"title":9990,"dynasty":69,"author":201,"museum":9991,"description":9992,"tags":9993,"thumbUrl":9994,"material":37,"size":59,"collection":88,"collections":9995,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":64},217983,"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞翔，整幅画面非常宁静而美丽。\n\n临流观秋图被认为是明朝时期中国绘画史上的杰作之一，其中融合了自然风景和人文景观，使得画面更加丰富多彩。该图画被认为是明朝绘画的一个典型代表，其中体现了明朝时期中国文人画的特点。",[25,55,29,80,82,349,133,7,153,75,1893,324,4856,173,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11e058cdac214e74ff20a01c13c4c98.jpg",[88],{"id":9997,"slug":9998,"title":9999,"dynasty":18,"author":475,"museum":184,"description":10000,"tags":10001,"thumbUrl":10002,"material":262,"size":59,"collection":59,"collections":10003,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":64},214386,"shan-shui-tu-ce-10-zhu-da-214386","山水图册-10","画面以水墨写意出山水之姿，简劲墨线勾勒山石轮廓，嶙峋之态跃然纸上。枯木虬枝疏斜而立，疏叶点点似含清愁，与山石相映成趣。大片留白化作云雾，虚虚实实间，山之深远、境之空蒙尽出。笔墨极简却意蕴无穷，冷逸中藏着孤傲风骨，仿佛将天地间的孤寂与清旷凝于尺幅。每一笔都似随心而至，却暗合自然之理，于简淡中见深邃，于静默中传幽情，尽显写意山水的空灵之美与文人画的超然气度。",[23,25,55,53,75,80,115,117,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc383ea57664533dbea7a24ba4a9d67c6.jpg",[],{"id":10005,"slug":10006,"title":8642,"dynasty":18,"author":475,"museum":150,"description":10007,"tags":10008,"thumbUrl":10009,"material":59,"size":59,"collection":60,"collections":10010,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":10011},203419,"shan-shui-hua-niao-ce-zhu-da-203419","画面以浓淡交织的水墨铺陈，笔墨简劲却内蕴千钧。两只禽鸟以焦墨挥写，羽色浓黑如泼，质感沉厚；眼目留白斜睨，神态孤傲倔强，似含遗世之慨。下方孤石以淡墨皴擦，线条寥寥却见嶙峋风骨，背景淡墨晕染出远山隐迹，空寂冷逸的氛围漫溢纸面。整幅作品于极简中藏深致，笔墨间裹挟着沉郁孤愤的情愫，寥寥数笔便将生命的倔强与环境的荒寒熔于一炉，尽显写意之精髓。",[25,55,56,7,153,75,79,53,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ee1c67b3cf42ae09f05a38c5493af.jpg",[60],"eae6e0",{"id":10013,"slug":10014,"title":10015,"dynasty":18,"author":10016,"museum":150,"description":10017,"tags":10018,"thumbUrl":10019,"material":59,"size":59,"collection":39,"collections":10020,"showCount":9813,"zanCount":43,"manualWeight":43,"mainColor":10021},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。",[25,28,29,31,7,27,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2844cf0bc49526b0bb1442d16aec9642.jpg",[39],"a68355",{"id":10023,"slug":10024,"title":4689,"dynasty":18,"author":8224,"museum":150,"description":10025,"tags":10026,"thumbUrl":10027,"material":59,"size":59,"collection":60,"collections":10028,"showCount":9813,"zanCount":511,"manualWeight":43,"mainColor":10029},201864,"mu-dan-tu-zhou-pu-hua-201864","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。",[25,27,29,56,191,7,55,28,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51771a1972890dc71a0f6721a9da53f6.jpg",[60],"c1b2a7",{"id":10031,"slug":10032,"title":10033,"dynasty":369,"author":3522,"museum":552,"description":10034,"tags":10035,"thumbUrl":10037,"material":641,"size":642,"collection":59,"collections":10038,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":44},291012,"xi-hu-shi-jing-tu-ce-su-di-chun-xiao-ye-xiao-yan-291012","西湖十景图册 苏堤春晓","杭（杭州）人宝佑间以画名。专工传写，作人物小景类马远。《画史会要》",[25,24,26,53,80,78,77,79,81,7,29,10036],"春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4b95e980bdec852d96c46e9f573aae.jpg",[],22,{"id":10041,"slug":10042,"title":10043,"dynasty":18,"author":49,"museum":112,"description":2638,"tags":10044,"thumbUrl":10045,"material":58,"size":2641,"collection":59,"collections":10046,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},290545,"qiao-ke-xiu-zhu-zhou-yun-shou-ping-290545","乔柯修竹轴",[24,25,26,27,55,29,134,32,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98cb37de6ee0d2bd65b6fb413d94f1.jpg",[],{"id":10048,"slug":10049,"title":2369,"dynasty":69,"author":10050,"museum":552,"description":10051,"tags":10052,"thumbUrl":10053,"material":641,"size":642,"collection":59,"collections":10054,"showCount":10039,"zanCount":511,"manualWeight":43,"mainColor":44},290158,"hou-chi-bi-tu-ding-yu-chuan-290158","丁玉川","丁玉川（生卒年不详），明代中期画家。江右（今江西）人。山水宗马、夏。亦善人物，行笔草草，徒逞狂态，比于邪学。刘珝题其画云：“彼美玉川子，素慕青溪翁。远浓近淡不停手，神机所到天然工。”丁氏虽然出身江西，却主要活动于山东与北京两地，可能活到九十二岁以后。在晚明以后，丁氏被归为浙派画家之列，存世作品多被改款，以致今日难以辨识。",[24,25,26,27,55,80,7,85,153,82,30,75,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5736d6ab4b5a37a671ca41168a10c90e.jpg",[],{"id":10056,"slug":10057,"title":10058,"dynasty":18,"author":2149,"museum":552,"description":10059,"tags":10060,"thumbUrl":10061,"material":641,"size":642,"collection":59,"collections":10062,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},289968,"fang-ni-shan-shui-wang-shi-min-289968","仿倪山水","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[24,25,26,27,55,80,76,134,153,277,82,7,79,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf804a5c772a5924000eff3f02dc044c.jpg",[],{"id":10064,"slug":10065,"title":6522,"dynasty":369,"author":2994,"museum":552,"description":10066,"tags":10067,"thumbUrl":10068,"material":641,"size":642,"collection":59,"collections":10069,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":44},289374,"dong-ting-qiu-yue-tu-xia-gui-289374","描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[25,24,27,55,75,80,134,1231,7,85,864,82,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dc250e39a664397ff48c4925b0cb88.jpg",[],{"id":10071,"slug":10072,"title":10073,"dynasty":18,"author":10074,"museum":552,"description":10075,"tags":10076,"thumbUrl":10078,"material":641,"size":642,"collection":59,"collections":10079,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},288391,"shuang-mao-kui-yu-cheng-zhang-288391","双猫窥鱼","程璋","此图描绘的是一幅秋天的美丽图景。一弯池水迂回流淌，岸边苇草萌发，树枝随风而动，显得遒劲与洒脱。池塘边两只花猫，葡匐在岸上，双眼紧盯着池塘中的游鱼。仿佛在欣赏它们欢快的舞姿，溪水远处，淡色轻染，烟霭迷濛。全画以水墨设色技法来表现物象，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。可能是由于画家懂得生物百态，所以画的石头，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，都能合乎自然景物的真实性。并运用干、湿、浓、淡的笔法墨法所造成的变化，整体显得儒雅、秀润。",[23,25,27,29,100,565,1231,134,7,10077,8967],"衰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0a9a7444833f2d873b38ff11d8ab76.jpg",[],{"id":10081,"slug":10082,"title":10083,"dynasty":369,"author":201,"museum":552,"description":10084,"tags":10085,"thumbUrl":10088,"material":641,"size":642,"collection":59,"collections":10089,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":44},288198,"xue-jing-dai-du-tu-yi-ming-288198","雪景待渡图","以淡墨晕染铺就江天寒寂，留白尽展冬日空濛。岸渚之上枯木虬枝错落，寒叶稀疏，旅人裹衣伫立石畔，引颈遥望江心，待渡的怅然悄然弥散。远山隐在氤氲寒雾中，只剩淡远轮廓，寒鸦掠过长空，更添清寥。江面寥寥淡笔勾出水波，扁舟隐约浮沉，似正缓缓渡来。\n\n全幅未施白粉，却以墨色浓淡晕出积雪凝寒之意，将冬日江渡的萧索宁静揉入尺幅之间，尽显山水留白的悠远意趣，把萧寒冬日里的羁旅况味藏在淡墨清岚之中，清冷空寂直入人心。",[23,714,25,55,80,851,133,7,153,10086,10087],"渡口","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32408b9658940e6f1d83b48259817af5.jpg",[],{"id":10091,"slug":10092,"title":8642,"dynasty":18,"author":8643,"museum":552,"description":10093,"tags":10094,"thumbUrl":10095,"material":59,"size":59,"collection":59,"collections":10096,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},239055,"shan-shui-hua-niao-ce-yang-jin-239055","此帧以淡墨绘就江乡秋景，浅滩芦荻丛生，扁舟渔翁垂竿独钓，自在悠然。右侧汀上古木倚石，野趣天成。远景山峦以简笔晕染，空濛悠远，雁阵掠过长空，更衬江天寥廓。\n\n留白铺就无尽秋意，笔墨秀雅清润，萧疏淡远间尽显闲逸襟怀。题诗与画作相映，将秋日江乡的清冷疏旷，与渔樵忘机的隐逸之思相融，尽显文人画平淡天真的意趣，悠悠古韵沁入纸面。",[25,55,53,75,80,85,505,153,7,864,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91d92407b63081d12b841b16dc7887d.jpg",[],{"id":10098,"slug":10099,"title":10100,"dynasty":69,"author":10101,"museum":552,"description":10102,"tags":10103,"thumbUrl":10104,"material":59,"size":59,"collection":59,"collections":10105,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":44},236838,"hua-shi-yuan-yang-zhou-lv-tang-236838","花石鸳鸯轴","吕棠","《吕棠花石鸳鸯图轴》是明代吕棠创作的绢本设色画。\n无款署，钤“竹村”、“吕氏怀芳”。\n此幅图追随吕纪粗笔花鸟风格绘制。\n山石用宋人“大斧劈”皴法，笔墨简练纯熟。\n以山花红叶点缀其间，色彩对比强烈。\n水边鸳鸯羽毛鲜艳，神态安详，使画面充满喜悦和平的气氛。\n作品从题材到技法都为明代院画的典型风格，虽年深日久，屡经揭裱，色墨脱落，但仍可想见其当时的富丽典雅。",[25,26,27,29,28,56,466,7,291,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb985c8407b206ecd0d907e24d3bf6da.jpg",[],{"id":10107,"slug":10108,"title":10109,"dynasty":69,"author":6602,"museum":71,"description":6603,"tags":10110,"thumbUrl":10111,"material":327,"size":6606,"collection":60,"collections":10112,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},236757,"zhou-tian-qiu-mo-lan-tu-ce-zhou-tian-qiu-236757","周天球墨兰图册",[25,24,55,53,7,188,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17204765c5f106a82d6e2d3873eaa755.jpg",[60,122],{"id":10114,"slug":10115,"title":10116,"dynasty":18,"author":169,"museum":552,"description":10117,"tags":10118,"thumbUrl":10119,"material":59,"size":59,"collection":59,"collections":10120,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},235881,"yuan-ji-shan-shui-tu-ce-shi-tao-235881","原济山水图册","近景茅舍隐于茂林，古木虬枝横斜，生机暗涌，远处危岩拔地而起，皴笔朴拙苍劲，苔点错落灵动，淡赭铺陈晕开清和秋意。笔墨纵逸秀润，看似率意挥写，实则骨力内蕴，将实景奇崛与胸中丘壑相融。\n\n搭配上行书题跋，笔墨舒展跌宕，书画相映成趣，尽显文人雅韵。整幅小品以简淡构图承载蓬勃生机，借山川形貌抒发襟怀，将搜尽奇峰的体悟凝于尺幅之间，萧散清寂中藏着通透灵秀，尽显清寂淡远的文人山水意境，是借笔写心的精妙之作。",[25,26,53,55,29,80,7,81,2352,79,77,78,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da1cb3425542def690c3e5f73f06ab4.jpg",[],{"id":10122,"slug":10123,"title":10124,"dynasty":69,"author":537,"museum":552,"description":6053,"tags":10125,"thumbUrl":10126,"material":641,"size":642,"collection":88,"collections":10127,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},235764,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-dou-ya-tu-ye-chen-chun-235764","吴门诸家寿袁方斋三绝册-斗鸭图页",[25,26,53,55,80,85,82,349,7,134,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65850c37b4775f5d75358b0352c4b4.jpg",[88],{"id":10129,"slug":10130,"title":7126,"dynasty":18,"author":214,"museum":552,"description":10131,"tags":10132,"thumbUrl":10133,"material":59,"size":59,"collection":88,"collections":10134,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},235070,"shan-shui-tu-ce-hua-yan-235070","此作笔墨清隽秀逸，江畔枯枝干瘦虬曲，皴擦间尽显苍劲古拙之态，怪石错落暗藏嶙峋野趣。淡墨晕染远山，将江天寥廓的空寂意境铺陈开来，简淡中藏着幽远意趣。\n\n左侧行书题诗笔势舒展俊朗，诗画相映，将幽居江渚、寄情山水的文人襟怀融于尺幅。整幅以极简笔墨勾勒萧散淡远的林下之风，未作繁复铺陈，却把江渚间清冷澹泊的意蕴娓娓道来，尽显文人画简净空灵的审美意趣。",[25,26,53,55,80,133,7,338,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58096078f671bcc61fca71c47b69df0.jpg",[88,122],{"id":10136,"slug":10137,"title":10116,"dynasty":18,"author":169,"museum":71,"description":10138,"tags":10139,"thumbUrl":10140,"material":5284,"size":10141,"collection":59,"collections":10142,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},235000,"yuan-ji-shan-shui-tu-ce-shi-tao-235000","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[25,55,53,75,80,7,153,349,81,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F827300976b1c7e0d41a3cb96f2232948.jpg","纵33.2cm，横22.8cm",[],{"id":10144,"slug":10145,"title":10146,"dynasty":18,"author":10147,"museum":552,"description":10148,"tags":10149,"thumbUrl":10150,"material":59,"size":59,"collection":59,"collections":10151,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},234621,"jian-fu-qin-wan-shan-li-yu-zhu-234621","涧抚琴纨扇","李育竹","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。",[25,26,714,29,28,32,30,7,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe6778a14dde5179000d3d8eb76e5893.jpg",[],{"id":10153,"slug":10154,"title":10155,"dynasty":69,"author":8511,"museum":552,"description":10156,"tags":10157,"thumbUrl":10158,"material":479,"size":59,"collection":59,"collections":10159,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},234246,"hua-hui-tu-juan-chen-gua-234246","花卉图卷","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[23,25,26,74,55,434,56,187,188,32,189,191,174,396,190,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":10161,"slug":10162,"title":10163,"dynasty":69,"author":8882,"museum":71,"description":8883,"tags":10164,"thumbUrl":10165,"material":479,"size":59,"collection":59,"collections":10166,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷",[23,25,26,74,55,78,79,77,32,80,7,81,30,277,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":10168,"slug":10169,"title":10170,"dynasty":69,"author":4336,"museum":71,"description":10171,"tags":10172,"thumbUrl":10175,"material":967,"size":10176,"collection":59,"collections":10177,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},233819,"wen-zheng-ming-qu-gang-gui-zhou-tu-zhou-wen-zheng-ming-233819","文徵明曲港归舟图轴","本幅自题五言诗并署：“雨绝树如沐，云空山欲浮。草分波动处，曲港有归舟。徵明。”钤“徵仲父印”（白文）印。本幅有明彭年、陆师道、王穀祥及清乾隆帝题诗共四则。作品曾经清内府收藏。近代庞莱臣《虚斋名画录》著录。\n画中描绘山间雨后的景象，云雾蒸腾，林木葱郁，笔墨工稳细润，意境清新幽静，是文氏细笔山水画的代表作。",[25,26,27,55,75,79,80,81,116,135,1212,10173,7,133,10174],"亭子","常绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6fe0a25489fc8e6c0b2921a67b3c49.jpg","纵115厘米，横33.6厘米",[],{"id":10179,"slug":10180,"title":10181,"dynasty":69,"author":5153,"museum":552,"description":10182,"tags":10183,"thumbUrl":10185,"material":59,"size":59,"collection":59,"collections":10186,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},233704,"shan-ju-le-shi-ce-lu-zhi-233704","山居乐事册","陆治五十岁左右隐居支硎山之后，读书作画， 用功更勤，对大自然的观察和体验也逐渐深刻。从 传世的《陆包山遗稿》来看，陆治的诗文多见纪游山 水和咏赞植物花卉之作。\n他淡泊宁静的生活状态也 同样反映在画作里。此套《山居乐事图册》即描绘了 文人山村幽居之乐，画面透出清逸脱俗的气质。\n此册共十页，内容分别为梦蝶、笼鹤、观梅、采 药、晚雅、停琴、渔父、放鸭、听雨、踏雪等文人山居 乐事。每幅皆有浓郁的山野生活气息，画法简逸，构 图多样，笔墨疏放清逸，线条苍劲挺立，意趣横生， 属画家晚年的代表作。 其中，“梦蝶”一幅是文人对庄周梦蝶的畅想。 这一经典在每个传统文人画家心中都有一个清新 可爱的画面。陆治中年以后退出仕途，隐居山间，对 庄子的道家精神极为推崇，画这样一幅册页，再自 然不过。画中，庄子团坐伏一大石而睡，安静舒适， 鬓角的发须在清风吹拂中微微扬起。\n整个人物造型 涉笔不多，却是相当传神。景物描绘也十分生动有 趣，柳条零落疏散、深深浅浅，地面上的灌木蓬勃而 浓密，两者在笔墨上形成了节奏与疏密的对比。“笼 鹤”一幅从笔墨到构图则相对中规中矩。景物刻画 细致周密，布景平稳，技法也是陆治最熟练与常见 的。“听雨”画大雨滂沱，狂风大作。雨中，一文士檐 下卧榻听雨，神情专注，体态闲适；一仆从撑伞前 行，低头躬身，行步艰难。整幅作品将风雨大作的景 象，通过淋漓的水墨与酣畅的用笔，皴染结合，充分 地表现",[25,26,53,29,30,134,7,10184,374,160,324,1291],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0aa8bf1b39d4b2a018b0488df291e99.jpg",[],{"id":10188,"slug":10189,"title":10190,"dynasty":18,"author":3720,"museum":418,"description":10191,"tags":10192,"thumbUrl":10195,"material":3724,"size":10196,"collection":59,"collections":10197,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},232899,"xiao-xiang-feng-zhu-tu-li-zhou-li-fang-ying-232899","潇湘风竹图立轴","李方膺，字虬仲，号晴江，又号秋池，抑园，白衣山人。江苏通州(南通)诸生。先后任山东兰山、安徽潜山、合肥知县，有善政、人德之。以不善逢迎，获罪罢官。寓居金陵借园，自号借园主人。常往来扬州卖画以资衣食，为扬州八怪之一。\n《潇湘风竹图》作于合肥五柳轩，时为乾隆十六年(公元1751年)，作品以秃笔湿墨逆笔取势画风中之竹，通过竹叶的独特造型，表现出狂风大作的动态。画的左下仅晒云:画史从来不画风，我于难处夺天工;请看尺幅潇湘竹，满耳丁东万玉空。\n李方膺常喜欢描绘以风雨为背景的竹石。风是抽象的东西，没有具体的形象，颇难以表现出来的。此画中画家大胆创造，写竹子数根，依于石旁，挺拔修直。\n此画中有粗竹两枝，嫩竹两枝，在狂风中摇曳生姿。主竹挺拔有力，不弯不揖，有参天凌云之气概。整个画面的气势表现在用浓墨、枯墨铺写的枝叶上，所画竹叶不讲成法，秃笔直扫，竹叶画呈扁方状倾斜方向，无叶尖，潇洒随意，尽管风势极强，但枝叶顺风飞扬而不折，透出一种镇静与傲慢。画面中，石与草都是参照物，点染出艰难、恶劣的自然环境。在疾风的鼓荡下，几叶小草已偃伏在地，坚强的石头也似乎极力抗拒，只有劲竹傲立苍穹，岿然不动，片片枝叶都呈现出百折不挠的力量。\n风是抽象的东西，没有具体的形象。画家秃笔直扫，画竹叶扁方状成倾斜方向，有力地表现了疾风的狂肆，作者不但在描绘技法上显得“因难见巧”，而且显示出竹子不畏强风的精神，笔笔枝叶呈现出坚贞不屈的力量。画家通过描绘竹叶的动态变化，有力地表现出疾风的狂吹，使不可见的风有了可视的形象，而且从竹枝飞舞、竹叶相互碰撞中，似乎还可以听到碎琼乱玉的丁东之声，其下笔如风驰雨骤，正像是抒发画家胸中的怒气，正是一种人格的写照。\n板桥之竹如清癯的老者，清淡修整，有超然之态。李方膺则不然，他由于仕途生活中得罪权贵，先后下狱罢官，但从不屈服苟且，这幅画可说是他心境的折射。他的竹宛如在战斗中的猛士，顶天立地，傲岸不屈。他借竹子来抒发情怀，借竹子不怕狂风暴雨、坚韧不拔的品格来自喻。",[23,24,25,26,27,55,173,10193,1073,10194,7,278],"泼墨","风竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5644cd4993b2c84cb1ddba935665f65d.jpg","纵168.3厘米 横67.7厘米",[],{"id":10199,"slug":10200,"title":10201,"dynasty":18,"author":7785,"museum":552,"description":10202,"tags":10203,"thumbUrl":10205,"material":59,"size":3424,"collection":59,"collections":10206,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},231514,"fang-ni-zan-she-se-qiu-shan-tu-wang-yuan-qi-231514","仿倪瓒设色秋山图","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[23,25,29,80,76,75,79,10204,81,135,277,522,325,8579,7],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcdb306f6f1c438ff6380f1ec5787a6.jpg",[],{"id":10208,"slug":10209,"title":10210,"dynasty":369,"author":201,"museum":112,"description":10211,"tags":10212,"thumbUrl":10214,"material":37,"size":10215,"collection":497,"collections":10216,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":44},231054,"cui-zhu-ling-mao-tu-yi-ming-231054","翠竹翎毛图","《宋人翠竹翎毛图轴》是宋代画作，作者佚名，采用南唐后主李煜金错刀的手法，是一幅花鸟图轴，表达了宋代绘画所谓“写生”的精义。此画幅对生态有着深刻的观察和了解，是一幅形神皆兼的写实作品；在构图上以近景为主，各景物均匀地分布在画面中，具有前后的空间感。这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的“双钩填彩法”画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，采用特别的颤动式的线条，整体用笔方面，起伏变化较明显，偏向于南宋的风格。",[23,24,25,26,28,29,56,10213,32,153,7],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ae374ee32752aeb4c0996f85ae3d1.jpg","185×109.9厘米",[497],{"id":10218,"slug":10219,"title":10220,"dynasty":18,"author":2149,"museum":552,"description":10221,"tags":10222,"thumbUrl":10223,"material":59,"size":59,"collection":59,"collections":10224,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},230177,"fang-gu-tu-ce-wang-shi-min-230177","仿古图册","《清王翚仿古山水册》是清代 作者创作的画册。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n此册由苏州过云楼后人捐赠。\n现收藏于常熟博物馆。\n王翚作。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n其中，仿董源、范宽各二开，仿王维，关仝、高克明、李成、郭熙、王诜、宋徽宗、阎次平、李唐、刘松年、赵伯驹、赵大年、夏圭、黄公望、赵孟頫、王蒙各一开。\n此册由苏州过云楼后人捐 赠。\n21年， 与 强强联手，共同打造了数字化、立体化的权威知识普及平台： 之 。\n该数字馆通过陶瓷器馆、铜器馆、金银器等分馆，全方位展示了 的众多珍贵展品。\n【简介】 纸本，水墨，纵：25.6厘米，横：2.5厘米。\n《 》共计十二页，其中设色二页，水墨十页。\n仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。\n每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。\n前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。\n笔墨疏秀，意境苍莽迷蒙。\n得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，4岁时即名闻海内。\n王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。\n顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。\n后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。\n尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。\n其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。\n”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。\n王翚（162—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。\n后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。\n在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。\n在王翚5岁到6岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。\n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”。",[25,55,53,76,75,80,117,82,136,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c633d3f56a943ca1180e458ba8904cf.jpg",[],{"id":10226,"slug":10227,"title":10228,"dynasty":369,"author":1908,"museum":552,"description":10229,"tags":10230,"thumbUrl":10231,"material":59,"size":59,"collection":59,"collections":10232,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,24,25,26,74,76,75,55,29,77,79,80,85,505,82,135,81,7,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":10234,"slug":10235,"title":10236,"dynasty":18,"author":2300,"museum":552,"description":10237,"tags":10238,"thumbUrl":10239,"material":59,"size":59,"collection":59,"collections":10240,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,24,26,55,28,715,32,7,79,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7af38b1cc2ec84ef8742819cb96280.jpg",[],{"id":10242,"slug":10243,"title":10244,"dynasty":18,"author":7785,"museum":552,"description":10245,"tags":10246,"thumbUrl":10247,"material":59,"size":59,"collection":59,"collections":10248,"showCount":10039,"zanCount":511,"manualWeight":43,"mainColor":64},224394,"fang-ni-zan-shan-shui-zhou-wang-yuan-qi-224394","仿倪瓒山水轴","近岸坡石错落，修篁杂木扶苏，林间草庐隐现，一人凭石静憩。远山以淡墨轻勾浅皴，留白代水，漾开萧疏淡远的空寂氛围。\n以干笔枯墨勾勒皴擦山石，笔意松秀古拙，墨色清润层次分明。题诗与画面相映成趣，将幽居林下的隐逸雅怀藏于尺幅间，尽显空疏冷隽的林下之风，尽显文人山水独有的简淡清和意趣。",[25,26,27,55,75,80,32,7,81,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfdd7175bc5126f78214c90c4a16c909.jpg",[],{"id":10250,"slug":10251,"title":10252,"dynasty":69,"author":201,"museum":552,"description":10253,"tags":10254,"thumbUrl":10255,"material":59,"size":59,"collection":59,"collections":10256,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,4741,25,26,24,53,28,29,56,32,5965,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d0839b8720fe733bc22d19217037bd.jpg",[],{"id":10258,"slug":10259,"title":10260,"dynasty":69,"author":10261,"museum":847,"description":10262,"tags":10263,"thumbUrl":10264,"material":479,"size":10265,"collection":59,"collections":10266,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},222432,"ren-wu-cao-chong-tu-quan-juan-du-da-cheng-222432","人物草虫图全卷","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,25,24,26,74,434,55,28,79,77,30,700,260,1073,188,7,153,2029,7905,1921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc23865987ff0a8c397d24a26b83c9f.jpg","30x336",[],{"id":10268,"slug":10269,"title":10270,"dynasty":148,"author":10271,"museum":1060,"description":10272,"tags":10273,"thumbUrl":10274,"material":10275,"size":10276,"collection":59,"collections":10277,"showCount":10039,"zanCount":511,"manualWeight":43,"mainColor":44},221724,"han-shan-shi-de-tu-chan-ji-tu-duan-jian-yin-tuo-luo-221724","寒山拾得图禅机图断简","因陀罗","自宋代以来就一直在禅僧间广受喜爱。本图是描绘寒山、拾得二人被问及丰干禅师行踪时，沉默不语、只是哈哈大笑的情景。虽然因袭了将人物脸部画得细致、衣衫以粗略笔致来表现的\n日本在 早年流入日本的中国禅画也因此备受日本人的珍视，被视为国宝级的文物。目前收藏在日本东京国立博物馆的《寒山拾得图》，就是这样一幅隐含机锋的禅机图。\n以寒山和拾得为主题的图画有许多版本，而最负盛名的禅画则是这幅元代画家因陀罗所作的《寒山拾得图》。此图为纸本、墨画，在画面最左边，题有楚石梵琦写的赞：“寒山拾得两头陀，或赋新诗或唱歌。试问丰干何处去，无言无语笑呵呵。”这幅画，描写寒山与拾得两位仙人席地坐于一株古树下，背依石丘，相对谈天说地，一副逍遥自在的样子。\n画中的寒山拾得蓬头光脚笑颜，一人双手相握，一人俟身向前。画面线条玲珑，浓淡衬托有力。虽寥寥数笔，但傲笑自若的禅僧形象已跃然纸上，流露出一种超脱物累、大智若愚、狂放不羁的精神。画家用了多种笔法来表现这一充满静谧禅机的场面：以吹墨法画头发，使之有蓬松自然之感；以阔笔焦墨画襟带，使之有临风而动的飘逸感；以渴笔画树石，使之有苍劲古逸之感。画意损深邃，画风简约，拙朴木纳，又不失活泼、诙谐。",[23,25,26,55,434,30,7,715,77,79,576,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa264b290c261cf662029c6b3e3ec36d8.jpg","墨本","纵35.2cm 横49.7cm",[],{"id":10279,"slug":10280,"title":10281,"dynasty":369,"author":10282,"museum":1322,"description":10283,"tags":10284,"thumbUrl":10285,"material":37,"size":10286,"collection":59,"collections":10287,"showCount":10039,"zanCount":511,"manualWeight":43,"mainColor":44},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","金大受","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,25,26,27,576,29,28,30,7620,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1222ddeea119c024e250b2c3874ae63e.jpg","118.8×51.7cm",[],{"id":10289,"slug":10290,"title":10291,"dynasty":18,"author":10292,"museum":112,"description":10293,"tags":10294,"thumbUrl":10295,"material":313,"size":10296,"collection":88,"collections":10297,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},219888,"zhong-liu-di-zhu-zhou-qian-xu-219888","中流砥柱轴","钱旭","钱旭，生卒年不详，画史载其生平资料甚简，字东白，浙江杭州人，工画山水、人物。此幅为冷金笺本，水墨画嶙峋石柱，耸出于洪涛间，云气环绕着山腰，与波光相缥缈。皴石用中锋，起笔成钉头状向左右横趯，并用浓墨点苔，云及水纹则用淡墨勾勒，构景虽简，然颇富笔墨趣味。",[25,26,27,55,75,80,7,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2133c9c0e740ef2ae79fbeb1fdc65788.jpg","127.5x32.6",[88],{"id":10299,"slug":10300,"title":10301,"dynasty":69,"author":10302,"museum":112,"description":10303,"tags":10304,"thumbUrl":10305,"material":262,"size":10306,"collection":39,"collections":10307,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},219515,"ying-zhen-guan-mei-tu-zhang-hong-219515","应真观梅图","张宏","画面左上角题识留存创作旧痕，笔墨疏朗清淡。虬曲老梅斜伸而出，铁干盘旋苍劲，枝梢缀满素白梅花，清冷暗香仿佛随画面溢出。应真宽袍博袖，伏身石瓮之上，眉眼舒展，静静望向梅枝，将观梅时沉醉忘我的情态刻画得灵动传神，姿态闲散出尘。衬景山花轻染丹色，浅墨点苔补缀石畔，与素梅相映成趣。\n\n全作用笔写意简练，人物衣纹顿挫写意，尽显萧散简远的韵致；梅枝枯笔写就，尽显古拙苍劲。淡墨铺陈底色，设色浅淡雅致，整体清寂高旷，将文人幽赏林泉、寄情花木的雅逸襟怀融于画中，尽显晚明文人画尚简崇雅的意趣。",[25,55,29,27,30,187,7,79,173,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbabed3bcd794a75118995956cdcf6959.jpg","118.1x56.6公分",[39],{"id":10309,"slug":10310,"title":10311,"dynasty":369,"author":573,"museum":112,"description":10312,"tags":10313,"thumbUrl":10314,"material":262,"size":10315,"collection":59,"collections":10316,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},218502,"gui-qu-lai-ci-juan-3-li-gong-lin-218502","归去来辞卷3","疏篱围起一方清雅天地，茅棚依栏而立，老松虬枝盘曲如篆，太湖石皱透玲珑。妇人身着素衣缓行，孩童携犬嬉逐，门边人影悠然，日常烟火里藏着隐者的闲逸。线条以铁线勾勒，劲挺中含婉转，衣袂飘举、草木摇曳、石之肌理皆由简笔传神。无浓墨重彩，却将“归去来”的田园意趣融于方寸：松风轻拂，篱边菊影隐约，每一笔都似在诉说归隐的自在，让人心生向往，暂忘尘劳。",[24,25,26,74,434,55,30,7,117,349,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F310ccca3ea5f557f9aff9658855db2aa.jpg","34x898.8",[],{"id":10318,"slug":10319,"title":10320,"dynasty":369,"author":573,"museum":184,"description":1482,"tags":10321,"thumbUrl":10322,"material":313,"size":59,"collection":59,"collections":10323,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":44},218078,"luo-han-tu-ce-9-li-gong-lin-218078","罗汉图册-9",[23,24,25,26,53,434,576,30,134,715,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6011e0e89ea5930b1548618e367efd.jpg",[],{"id":10325,"slug":10326,"title":10327,"dynasty":69,"author":10328,"museum":112,"description":10329,"tags":10330,"thumbUrl":10331,"material":205,"size":10332,"collection":39,"collections":10333,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},216938,"pi-shang-shou-shu-tu-li-zai-216938","圮上授书图","李在","这幅画描绘了张良的故事，他在桥上得到一位老人的战书，并帮助刘邦达到目的。这幅画的构图是以局部取景为基础的，其中岩石被大斧头砍掉了，树木被省略在画中，只有苔藓的厚重而明亮的墨痕可见。",[23,25,26,53,55,434,30,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4cb20a0f268fce02aea2ef9ff28a1d.jpg","24.8x26.5",[39],{"id":10335,"slug":10336,"title":10337,"dynasty":18,"author":201,"museum":552,"description":10338,"tags":10339,"thumbUrl":10340,"material":37,"size":59,"collection":59,"collections":10341,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,26,53,28,29,30,31,7,32,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ce2b187907b001f43a6f5d48811056.jpg",[],{"id":10343,"slug":10344,"title":10345,"dynasty":148,"author":404,"museum":112,"description":7110,"tags":10346,"thumbUrl":10347,"material":262,"size":59,"collection":59,"collections":10348,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":64},216368,"mo-zhu-pu-ce-20-wu-zhen-216368","墨竹谱册-20",[25,26,53,55,78,79,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843ee2a4b7bf5bf62ef561372ca22f12.jpg",[],{"id":10350,"slug":10351,"title":10352,"dynasty":18,"author":6283,"museum":184,"description":10353,"tags":10354,"thumbUrl":10355,"material":58,"size":59,"collection":59,"collections":10356,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":44},214602,"fang-gu-shan-shui-ce-3-wang-hui-214602","仿古山水册-3","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[25,55,80,76,53,82,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7329a05f8ec1eb3346c4be0481de89.jpg",[],{"id":10358,"slug":10359,"title":10360,"dynasty":18,"author":10361,"museum":150,"description":10362,"tags":10363,"thumbUrl":10364,"material":59,"size":59,"collection":88,"collections":10365,"showCount":10039,"zanCount":43,"manualWeight":43,"mainColor":10366},201849,"qing-zhou-du-diao-tu-zhou-chen-shuo-201849","轻舟独钓图轴","陈说","水墨晕染间，峰峦被云雾轻笼，山石以皴法勾勒纹理，显苍劲质感。近岸古松盘曲，枝桠斜逸；溪中乱石堆叠，流水隐现；远处孤舟独泊，蓑笠翁垂纶静坐，渔隐之趣盎然。笔墨简淡却意韵悠长，山水静谧与渔者闲适交织，尽显文人向往的超然心境。",[55,75,80,85,505,137,134,82,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a46417c3d75d84df9677da9ae142436.jpg",[88],"b69e82",{"id":10368,"slug":10369,"title":10370,"dynasty":148,"author":201,"museum":112,"description":10371,"tags":10372,"thumbUrl":10373,"material":641,"size":642,"collection":59,"collections":10374,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":44},291025,"hua-niao-zhou-yi-ming-291025","花鸟轴","锦鸡一对，游于花石间，另燕鹊各有一对，点缀著画面。锦鸡的羽毛鲜姘夺目，与盛开的花朵相互辉映。使得画面更显得色彩缤纷，华贵富丽。花、鸟的用笔相当工细，有秀雅的气质。叶面的填色，似较草率，已有多处糢糊或脱落。",[25,27,56,28,29,153,8844,243,629,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc0af266237c1c204632960c1c6e023.jpg",[],{"id":10376,"slug":10377,"title":10378,"dynasty":369,"author":4264,"museum":112,"description":5268,"tags":10379,"thumbUrl":10381,"material":205,"size":5273,"collection":59,"collections":10382,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":1551},290940,"xue-xi-yu-fu-zhou-xu-dao-ning-290940","雪溪渔父轴",[24,25,27,55,80,851,133,7,82,75,10380],"渔父","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f27de3f670f6cff184316c4bfa2242.jpg",[],{"id":10384,"slug":10385,"title":7652,"dynasty":18,"author":49,"museum":552,"description":2638,"tags":10386,"thumbUrl":10387,"material":641,"size":642,"collection":59,"collections":10388,"showCount":196,"zanCount":511,"manualWeight":43,"mainColor":64},290534,"gu-mu-zhu-shi-yun-shou-ping-290534",[25,53,55,134,32,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5c92b3f15cc3844a1b66c415499f16.jpg",[],{"id":10390,"slug":10391,"title":10392,"dynasty":18,"author":49,"museum":552,"description":2638,"tags":10393,"thumbUrl":10394,"material":641,"size":642,"collection":59,"collections":10395,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},290527,"lin-wu-qing-tu-zhou-yun-shou-ping-290527","临五清图轴",[24,25,26,27,55,76,79,864,715,32,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d55fd6aa28be344302951bbb9414093.jpg",[],{"id":10397,"slug":10398,"title":10399,"dynasty":369,"author":7028,"museum":552,"description":10400,"tags":10401,"thumbUrl":10404,"material":641,"size":642,"collection":59,"collections":10405,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},289330,"qiu-shan-ce-zhang-tu-yan-su-289330","秋山策杖图","这件作品是一幅山村之景，近处苍松并立，枝干挺拔舒展，松下有一茅草屋，屋内，一老叟凭窗闲眺，溪桥上，另一长者正策杖而行。",[25,714,273,55,29,75,30,10204,242,7,10402,10403,9649],"策杖","山野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8897b84494cbf20379ca1400ec641d.jpg",[],{"id":10407,"slug":10408,"title":10409,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":10410,"thumbUrl":10412,"material":641,"size":642,"collection":59,"collections":10413,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},288233,"pu-shi-tu-wu-chang-shuo-288233","葡石图",[23,25,27,29,173,56,189,7,10411,77,79],"篱栅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb383eea42ba1bb69dffc0ad52bc2e546.jpg",[],{"id":10415,"slug":10416,"title":10417,"dynasty":69,"author":70,"museum":552,"description":2849,"tags":10418,"thumbUrl":10419,"material":641,"size":642,"collection":59,"collections":10420,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":1551},287392,"chun-xuan-tu-shen-se-shen-zhou-287392","椿萱图(深色)",[23,25,27,26,29,134,2862,7,56,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c774d998dbd25555dfc5ad373b9f0a.jpg",[],{"id":10422,"slug":10423,"title":502,"dynasty":18,"author":4274,"museum":552,"description":10424,"tags":10425,"thumbUrl":10426,"material":59,"size":59,"collection":88,"collections":10427,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},237099,"shan-shui-ce-cha-shi-biao-237099","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[25,26,53,55,75,80,115,338,117,349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168aeb0486c41328f6e24fb32764dd3a.jpg",[88],{"id":10429,"slug":10430,"title":10431,"dynasty":18,"author":9604,"museum":552,"description":10432,"tags":10433,"thumbUrl":10434,"material":641,"size":642,"collection":59,"collections":10435,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},235130,"hua-hua-yan-shi-nv-tu-ce-wang-su-235130","画华严仕女图册","王素（1794—1877）字小梅，晚号逊之，甘泉（今江苏扬州）人。幼拜师鲍芥田，又多临华岩，凡人物、花鸟、走兽、虫鱼，无不入妙。道光初与魏小眠、王应祥并驾。自悔书拙，每晨必临数百字，至老无间。 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。",[25,26,53,28,29,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa15ebbdabe9a59939fcf6a72340ee00d.jpg",[],{"id":10437,"slug":10438,"title":502,"dynasty":69,"author":8913,"museum":552,"description":10439,"tags":10440,"thumbUrl":10441,"material":59,"size":59,"collection":88,"collections":10442,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},234664,"shan-shui-ce-shao-mi-234664","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[25,55,75,53,80,349,7,30,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4269d646d2ab43af2063d5c5f19277c0.jpg",[88],{"id":10444,"slug":10445,"title":605,"dynasty":69,"author":4336,"museum":71,"description":10446,"tags":10447,"thumbUrl":10448,"material":139,"size":59,"collection":59,"collections":10449,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},234141,"lan-zhu-tu-wen-zheng-ming-234141","文征明（1470-1559），世称“文衡山”，明代画家、书法家、文学家。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。在诗文上，与祝允明、唐伯虎、徐真卿并称“吴中四才子”。在画史上与沈周、唐伯虎、仇英合称“吴门四家”。",[23,25,26,55,434,78,79,188,32,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd54efcd564c78baf1fe43aa7a6391a66.jpg",[],{"id":10451,"slug":10452,"title":8047,"dynasty":69,"author":1264,"museum":71,"description":8048,"tags":10453,"thumbUrl":10454,"material":3724,"size":8051,"collection":59,"collections":10455,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},233470,"ren-wu-hua-hui-ce-xu-wei-233470",[53,55,30,134,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F669718750666436d20efd9b14acfb105.jpg",[],{"id":10457,"slug":10458,"title":10459,"dynasty":18,"author":3850,"museum":552,"description":10460,"tags":10461,"thumbUrl":10462,"material":59,"size":59,"collection":59,"collections":10463,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":44},230358,"sui-han-san-you-tu-zhou-fan-qi-230358","岁寒三友图轴","枯梅清枝斜出，苍劲瘦硬，花苞轻缀，暗蕴幽芳。丹红山茶花晕染柔润，鲜翠枝叶错落生姿，浓黑泼墨湖石与之相映，冷暖明暗碰撞，艳而不俗，拙而不僵。下方水仙挺秀舒展，冰姿玉洁，与湖石皴擦出的奇崛顽态相得益彰。\n全画工写兼施，笔致秀雅含蓄，将冬日清友齐聚尺素，把岁暮天寒里的融融春意暗藏其间，既有文人画的清逸格调，又鲜活晕透出明丽生机，让观者于画中品味隆冬清妍风骨，静赏幽然雅集意趣。",[23,25,26,27,29,56,187,188,32,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504a4ddf8e1f808198416479420c9b74.jpg",[],{"id":10465,"slug":10466,"title":3256,"dynasty":69,"author":10467,"museum":552,"description":10468,"tags":10469,"thumbUrl":10470,"material":59,"size":59,"collection":59,"collections":10471,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},228276,"hua-hui-ce-chen-dao-fu-228276","陈道复","这幅作品以淋漓水墨挥写湖石，苍润朴拙，留白藏尽空灵意趣。环绕花木设色清妍柔和，素白牡丹柔枝舒展、花瓣轻绽，淡粉碎花攒簇生姿，兰草劲挺修长，叶片舒展带露生机。\n笔意松秀灵动，兼工带写间糅合文人雅致，以色墨晕染烘托春日融融。花木俯仰有情，与苍润湖石形成刚柔对照，将庭间春日野趣尽显笔端，淡冶雅致中饱含闲散文心，寥寥数笔便勾勒出盎然春意，尽显水墨写意的精妙韵味。",[23,25,24,173,29,55,243,7,375,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca306f52ecfeeac584ccaa95f1e44470.jpg",[],{"id":10473,"slug":10474,"title":10475,"dynasty":148,"author":8459,"museum":552,"description":10476,"tags":10477,"thumbUrl":10478,"material":59,"size":59,"collection":59,"collections":10479,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":44},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","清泉乔木图立轴","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[23,24,25,26,27,1850,55,29,75,134,133,135,82,1894,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],{"id":10481,"slug":10482,"title":8981,"dynasty":369,"author":3743,"museum":552,"description":10483,"tags":10484,"thumbUrl":10485,"material":59,"size":59,"collection":59,"collections":10486,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":44},227980,"qiu-lu-fei-wu-tu-liang-kai-227980","以淡墨晕开秋江空蒙的冷寂氛围，枯瘦芦草欹斜舒展，迅疾老辣的笔致带着野逸秋意。水畔坡岸以泼墨点染，浓淡墨色自然晕化，混融天成，静立坡头的小禽与振翅掠空的飞鹜形成动静对照。\n\n远飞的水禽仅以寥寥数笔勾勒，形神俱足，活现掠空姿态。画面以大片留白衬出江天寥廓，将秋日江汀的萧疏淡远藏在简淡笔墨中，以少胜多，把秋日清寂与禅意文思揉合一处，余韵悠长。",[23,24,25,26,27,55,173,1990,153,7,1893],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917b71480910d4f702db28eefc181657.jpg",[],{"id":10488,"slug":10489,"title":10490,"dynasty":18,"author":6283,"museum":552,"description":10491,"tags":10492,"thumbUrl":10493,"material":59,"size":59,"collection":59,"collections":10494,"showCount":196,"zanCount":209,"manualWeight":43,"mainColor":64},224457,"shan-chuang-du-shu-tu-zhou-wang-hui-224457","山窗读书图轴","《山窗读书图》是清代画家 创作的一幅纸本淡设色画。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n从落款可知此图系为恭祝友人王掞（字藻儒）寒窗苦读、秋试中举而作，带有浓郁的情感色彩。\n款署：“山窗读书图。\n奉贺藻儒先生秋荐之喜，时丙午九月九日，虞山王翚。\n”钤“王翚之印”朱白文印。\n“丙午”为康熙五年（1666年），王翚时年5岁。\n全图以元人王蒙细密繁复的笔法刻画，线条活而不乱，理在其中，浓、淡墨色于交叠皴擦中层次井然。\n此幅不失为王翚早年学仿王蒙画风的精心之作。",[23,25,26,27,55,75,80,115,116,82,277,134,349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":10496,"slug":10497,"title":10498,"dynasty":69,"author":8235,"museum":150,"description":8236,"tags":10499,"thumbUrl":10500,"material":59,"size":59,"collection":59,"collections":10501,"showCount":196,"zanCount":511,"manualWeight":43,"mainColor":64},222510,"shen-xian-tu-ce-16-zhang-lu-222510","神仙图册16",[23,25,26,53,55,29,30,101,7,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F340c19a73646ea3d6a0139ee88b385e9.jpg",[],{"id":10503,"slug":10504,"title":10505,"dynasty":69,"author":431,"museum":20,"description":2570,"tags":10506,"thumbUrl":10507,"material":53,"size":59,"collection":59,"collections":10508,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},221909,"hua-niao-jing-pin-ce-6-chen-hong-shou-221909","花鸟精品册6",[25,26,53,28,29,56,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc66146c1045f625aec5f5945b35a13a8.jpg",[],{"id":10510,"slug":10511,"title":10512,"dynasty":148,"author":10513,"museum":847,"description":10514,"tags":10515,"thumbUrl":10517,"material":139,"size":10518,"collection":59,"collections":10519,"showCount":196,"zanCount":511,"manualWeight":43,"mainColor":64},221763,"liu-ting-ju-qin-tu-xia-shu-wen-221763","柳汀聚禽图","夏叔文","淡墨简笔，画一水两岸，柳树柔枝万条，喜鹊，山雉、绶带，翠鸟等或栖憩枝头，或戏游水中； 近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[23,25,26,24,27,55,29,490,307,153,10516,7,157,1768,80,173],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","画心纵128，横66.5厘米",[],{"id":10521,"slug":10522,"title":10523,"dynasty":369,"author":711,"museum":112,"description":10524,"tags":10525,"thumbUrl":10526,"material":678,"size":10527,"collection":59,"collections":10528,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},221526,"song-quan-shuang-niao-ma-yuan-221526","松泉双鸟","画士人执拂尘坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝枒笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[23,25,26,55,29,80,260,153,7,6360,75,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31ef069753d13621bc1dbd599e4da8c.jpg","41.5x60厘米",[],{"id":10530,"slug":10531,"title":10532,"dynasty":18,"author":169,"museum":170,"description":10533,"tags":10534,"thumbUrl":10535,"material":58,"size":59,"collection":39,"collections":10536,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},219483,"zi-hua-zhong-song-tu-shi-tao-219483","自画种松图","画中，作者踞坐嶙峋危石，青衫素朴，倚杖凝神静思，神色萧散淡然，尽显林下高士俊逸风骨。旁侧老松虬枝斜逸，笔墨清简苍秀，寥寥数笔便写尽古松疏朗之姿。\n\n整幅作品书画相融，满幅题跋错落排布，以画为引、以诗言志，借种松寄寓守拙向道的山林幽怀。笔意简淡清逸，意境空灵淡远，将自身超尘出世的襟怀藏在淡远笔墨间，文气与画意浑然相合，尽显文人写意画的精神内核，清寂幽远的意韵直入人心。",[25,26,55,77,30,7,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c91da8d2c1f4034f3f690a6c1284bf.jpg",[39],{"id":10538,"slug":10539,"title":10540,"dynasty":69,"author":201,"museum":71,"description":10541,"tags":10542,"thumbUrl":10544,"material":37,"size":59,"collection":39,"collections":10545,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":44},219294,"mu-niu-du-shu-tu-yi-ming-219294","牧牛读书图","柳丝如缕，垂落于苍劲的老干间，墨色线条似有若无，牵起几分空濛诗意。牧人身着宽袍，缓步随牛而行，衣袂在微风中轻摆，简淡笔触勾勒出闲适姿态。牛儿低首，肌理以淡墨晕染，温顺得似与主人心意相通。田埂草色稀疏，却衬得天地愈发宁静。画面无喧嚣，只有自然与人物的和谐相融——是牧歌里的悠然，还是文人笔下的田园逸趣？淡墨浅染间，时光仿佛慢了下来，每处线条都藏着对尘世之外的向往，让观者沉下心，品味这片刻清宁。",[23,25,26,27,55,29,30,2079,307,134,7,308,10543],"牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6eb5b132178a7cac92aa8154cb10fdd.jpg",[39],{"id":10547,"slug":10548,"title":10549,"dynasty":369,"author":201,"museum":20,"description":10550,"tags":10551,"thumbUrl":10552,"material":37,"size":10553,"collection":60,"collections":10554,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":44},218881,"liu-yin-bai-quan-tu-yi-ming-218881","柳荫白犬图","柳丝低垂如帘，织就一片清凉荫翳。白犬闲适蜷卧，蓬松毛羽似沾草木清香，或抬首望风，或闭目假寐，神态慵懒却藏灵动。笔墨细腻不刻意，柳枝柔曼、犬身肌理皆以淡墨轻描，线条细劲含韵致。背景疏枝苔点晕染出空寂幽远，将宋代文人闲雅心境藏于日常小景间——喧嚣尘世里，柳荫下的片刻安宁，让时光随犬的呼吸慢下来。此作尽显宋人“以物寄情”的审美哲思，静谧中流淌着含蓄诗意与温柔，于细微处见天地，藏着对闲适生活的无限向往。",[25,714,28,29,907,2688,101,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273bfd0c5ac921b2cd1f5de5ecde964d.jpg","22.6x22.6cm",[60],{"id":10556,"slug":10557,"title":10558,"dynasty":369,"author":573,"museum":184,"description":1482,"tags":10559,"thumbUrl":10560,"material":313,"size":59,"collection":59,"collections":10561,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":44},218085,"luo-han-tu-ce-3-li-gong-lin-218085","罗汉图册-3",[23,25,26,53,434,55,576,30,134,1231,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c47d81aa18fa9c5185bb0398eef3e7.jpg",[],{"id":10563,"slug":10564,"title":10565,"dynasty":69,"author":201,"museum":874,"description":875,"tags":10566,"thumbUrl":10567,"material":58,"size":59,"collection":59,"collections":10568,"showCount":196,"zanCount":43,"manualWeight":43,"mainColor":64},217941,"ming-ren-shan-shui-hua-ce-zhi-shi-yi-ming-217941","明人山水画册之(十)",[25,26,53,434,55,80,260,7,135,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe642084064b9a9dd6b35437b724efcfc.jpg",[],{"id":10570,"slug":10571,"title":10572,"dynasty":18,"author":8501,"museum":150,"description":10573,"tags":10574,"thumbUrl":10576,"material":59,"size":59,"collection":59,"collections":10577,"showCount":196,"zanCount":511,"manualWeight":43,"mainColor":10578},201855,"ba-ge-xue-zhu-tu-zhou-luo-mu-201855","八哥雪竹图轴","寒雪覆竹，枝桠交错间，数只八哥情态各异：或聚于高枝相顾，羽色浓淡层叠；或独立低梢翘首，喙爪点染鲜活。竹叶以浓墨撇写，苍劲中含秀逸；雪色借淡墨晕染留白，清寒之气扑面而来。旁侧孤石皴擦简练，与竹、鸟相映成趣。笔墨简淡却意韵悠长，于冬日冷寂中透出灵动生机，尽显文人画的雅致清逸，观之如沐寒林，感幽趣自生。",[25,55,56,32,153,7,27,79,10575],"皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83f887d8b080072491c10e9e2acd0cc.jpg",[],"a29076",{"id":10580,"slug":10581,"title":10582,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":10583,"thumbUrl":10584,"material":641,"size":642,"collection":59,"collections":10585,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},289980,"feng-zhu-pian-pian-yi-han-bi-tu-wu-chang-shuo-289980","风竹翩翩倚寒碧图",[23,25,26,27,55,32,7,77,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686092ba2c20ab6b597bd0f407528314.jpg",[],20,{"id":10588,"slug":10589,"title":10590,"dynasty":69,"author":288,"museum":552,"description":10591,"tags":10592,"thumbUrl":10593,"material":641,"size":642,"collection":59,"collections":10594,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},287762,"mei-zhu-shan-mian-sun-ke-hong-287762","梅竹扇面","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[25,26,714,29,56,187,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928d2267bb7931c1d4ed6db2fab43f7.jpg",[],{"id":10596,"slug":10597,"title":10598,"dynasty":69,"author":8882,"museum":552,"description":10599,"tags":10600,"thumbUrl":10601,"material":641,"size":642,"collection":59,"collections":10602,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},287724,"wei-xiang-yuan-bian-zuo-shan-shui-tu-wen-jia-287724","为项元汴作山水图","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[25,24,26,27,55,29,80,30,134,82,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0343ce1632acf2dd3416832617f4359.jpg",[],{"id":10604,"slug":10605,"title":10606,"dynasty":148,"author":1764,"museum":112,"description":10607,"tags":10608,"thumbUrl":10611,"material":262,"size":10612,"collection":60,"collections":10613,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},287546,"ku-he-xi-chi-zhang-zhong-287546","枯荷鸂鶒","该幅虽属设色作品，但以墨为主，鸳鸯略加颜色点染，鲜妍可爱，颇具淡雅之趣。枯荷断茎，画有倒影，为古画中少见。此画题款由左而右书写，极为特别。按理，原来应有“子政为某某人”等字，后经裱褙裁去，故仅存“子政为”三字。\n鸂鶒是一种类似鸳鸯的水禽，体形大于鸳鸯，喜欢雌雄并行，因其紫羽多，故民间俗称“紫鸳鸯”。该幅画通过细腻的笔触，描绘了池塘中一个典型的场景，营造了静谧而又安详的气氛。画面上写深秋荷塘一隅，两只鸂鶒正在近水的堤岸上小憩，雄鸂鶒瞪着炯炯有神的眼睛，威风凛凛地直立着，像是在为一旁卧着的雌鸂鶒站岗放哨。雌鸂鶒匍匐在地,样子有些疲惫，它侧着头向天空眺望着。衬景里，几株蒲草随风摇曳，婀娜多姿；一旁一棵枯荷荷梗弯曲，低垂的荷叶像是一把雨伞，在微风中舒展着身姿；而临近的饱满的莲蓬张扬的样子，又象征着一个收获季节的到来。\n此作的创作方式在继承传统的同时又有独到之处，在细节的处理上颇有新意。鸂鶒的羽毛用干笔点厾之后，再用淡墨用干湿不一的笔触晕染，产生一种蓬松的质感。雄鸂鶒的身上罩着一层淡淡的朱红色，这一鸂鶒特有的体表特征在墨色交融之中，显得更加典雅华丽。雄鸂鶒的头顶羽毛只用一笔写出，简洁明快，立体效果明显。这浓重的一笔与雄鸂鶒脸部大面积的空白在色彩关系上形成强烈对比，使眼睛的位置更加突出，显得烁烁有神。作者用笔的功力相当深厚，像蒲草、荷梗这些长线条的勾勒，劲健洒脱，神完气足,没有丝毫的滞涩感。坡石之间的一蓬青草，笔道沉稳厚重。流畅的水纹线条轻松飘逸，笔势舒缓自然。图的右下边，两棵折断的荷梗在水中反映出依稀的倒影，这样的处理方式在古代绘画中并不多见，可见作者对所描写景物的观察是相当细腻的。说明明代顾复评价张中的绘画“元代写生第一”还是有根据的。\n花鸟画的创作在元代有了实质性的发展，这和创作者审美意识的改变有很大关系。张中“一洗宋人勾勒之痕”，作品别出心裁,注重作品的意境和内涵，对于后人的花鸟画创作有很重要的影响。",[25,56,27,29,55,10609,10610,7,79],"枯荷","鸂鶒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce36357745ea50e5585597d63b2104b.jpg","96.4x46",[60],{"id":10615,"slug":10616,"title":10617,"dynasty":69,"author":288,"museum":552,"description":10591,"tags":10618,"thumbUrl":10619,"material":641,"size":642,"collection":59,"collections":10620,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},239465,"ming-qing-zhu-jia-ji-jin-ce-jiao-shi-ce-ye-sun-ke-hong-239465","明清诸家集锦册-蕉石册页",[25,26,53,55,7,2461,1073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490055b3a06b0ca31166c19f3072a27e.jpg",[],{"id":10622,"slug":10623,"title":10624,"dynasty":69,"author":10625,"museum":552,"description":10626,"tags":10627,"thumbUrl":10628,"material":641,"size":642,"collection":60,"collections":10629,"showCount":10586,"zanCount":511,"manualWeight":43,"mainColor":64},239254,"shu-hua-tu-ce-cheng-min-239254","书画图册","程敏","此作以湖石为骨，双竹环衬成景。湖石以淡墨勾廓皴擦，寥寥数笔便尽显瘦透空灵之态，藏着文人赏石的雅趣。两侧墨竹笔法分野鲜明，一侧重墨点染叶片，笔力苍劲厚重，尽显疾风劲节；另一侧以淡墨轻描，竹叶疏朗清隽，自带幽柔之姿。\n虚实相映间，留白铺就幽寂氛围，将君子以竹石明志的寄寓藏于尺幅之中，简淡笔墨写尽文人写意的疏朗风神，于小幅册页晕开悠长意趣。",[25,55,7,32,79,53,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40387eeee6771c441a9a036b6d6d64bf.jpg",[60,122],{"id":10631,"slug":10632,"title":3256,"dynasty":18,"author":1491,"museum":552,"description":7992,"tags":10633,"thumbUrl":10634,"material":641,"size":642,"collection":59,"collections":10635,"showCount":10586,"zanCount":511,"manualWeight":43,"mainColor":64},238348,"hua-hui-ce-dong-gao-238348",[25,29,28,53,243,7,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f642fc6d4d909c54413d1a2b2737ff.jpg",[],{"id":10637,"slug":10638,"title":1277,"dynasty":18,"author":941,"museum":552,"description":1278,"tags":10639,"thumbUrl":10640,"material":59,"size":1281,"collection":59,"collections":10641,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},238026,"hong-ren-shan-shui-tu-ce-hong-ren-238026",[25,26,53,55,75,80,117,135,1911,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd878af4f1ee29a1194aa9d7c0a0456e.jpg",[],{"id":10643,"slug":10644,"title":10645,"dynasty":69,"author":7775,"museum":552,"description":10646,"tags":10647,"thumbUrl":10648,"material":641,"size":642,"collection":59,"collections":10649,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},237836,"zhu-lan-shi-shan-xiang-yuan-bian-237836","竹兰石扇","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[25,26,714,55,32,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a954d83db86fd34091f955857d0069.jpg",[],{"id":10651,"slug":10652,"title":502,"dynasty":18,"author":214,"museum":5179,"description":5180,"tags":10653,"thumbUrl":10655,"material":59,"size":59,"collection":88,"collections":10656,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},236731,"shan-shui-ce-hua-yan-236731",[25,55,53,77,79,80,85,7,82,10654,75],"丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43d5f7e219be9710dcb9f942f6ea8a7.jpg",[88,105],{"id":10658,"slug":10659,"title":10660,"dynasty":18,"author":8160,"museum":112,"description":10661,"tags":10662,"thumbUrl":10663,"material":479,"size":59,"collection":122,"collections":10664,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},236113,"song-zhu-ming-qin-zhou-zhang-ruo-ai-236113","松竹鸣禽轴","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、父亲张廷玉均为雍正、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。\n以书、画供奉内廷，一日太后出方寸之玉佩，命书心经一篇。竟日而就，因赐上方珍玩无算。善画山水、花鸟，得王糓祥、周之冕遗意。乾隆十一年（1746）随帝西巡，因病回京，不久卒，谥文僖。有《岁寒三友图》、《仿王元章疏影寒香图》传世。卒年三十四（按清代画史、清画家诗史均作三十二岁，中国画家人名大辞典作三十六岁）。著《晴岚诗存》。",[25,27,55,28,715,32,153,7,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d9922684aec53b3958be0fa2735536.jpg",[122,411],{"id":10666,"slug":10667,"title":10116,"dynasty":18,"author":169,"museum":552,"description":10668,"tags":10669,"thumbUrl":10670,"material":59,"size":59,"collection":59,"collections":10671,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},235880,"yuan-ji-shan-shui-tu-ce-shi-tao-235880","行书笔致纵逸苍劲，诗文清雅隽秀，墨色浓淡辗转间笔势连贯舒展，尽显随性放达的文人意趣。\n\n下方山水以淡墨晕染铺就烟岚轻笼的悠远底色，山峦以枯笔皴擦勾勒肌理，植被点染灵动错落。留白虚实相生，铺陈出丘林幽寂的空濛意境，淡赭晕染山脚，糅合出清雅温润的色调层次，将江南山水的氤氲柔婉与嶙峋风骨相融。\n\n整幅诗画合璧，书意与画韵彼此衬映，诗书画印相得益彰，尽显文人画雅致品格，把幽居林泉的隐逸心境藏于笔墨之中，意韵悠长。",[25,26,53,78,55,29,75,77,79,80,83,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f749a49e7b8c667c20c3c60e27a09e8.jpg",[],{"id":10673,"slug":10674,"title":10116,"dynasty":18,"author":169,"museum":552,"description":10675,"tags":10676,"thumbUrl":10677,"material":59,"size":59,"collection":59,"collections":10678,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},235879,"yuan-ji-shan-shui-tu-ce-shi-tao-235879","这幅册页诗画合璧，行书题诗萧散俊逸，笔墨间自带林下幽居的清寂意趣。\n\n山水取景奇崛苍润，危崖拔地而起，飞泉挂壁落于溪涧，苍松杂木错落生姿，山居隐于林间烟岚之中，淡墨轻皴写尽丘壑之态。笔底兼具黄山奇峭风神，又融禅意隐逸之思，以简驭繁，将诗中静伴秋雨、枯禅幽栖的心境，铺陈在咫尺画卷里。\n诗境衬着画境，画境晕染诗心，淡远空灵的气韵漫溢纸面，尽显文人画诗画交融的雅致风神。",[25,26,53,78,55,80,7,81,79,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b855edfdb93578bdd513ec9b3f934a.jpg",[],{"id":10680,"slug":10681,"title":1143,"dynasty":69,"author":10682,"museum":552,"description":10683,"tags":10684,"thumbUrl":10685,"material":641,"size":642,"collection":59,"collections":10686,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},235724,"hua-niao-ce-tan-zhi-yi-235724","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[25,26,53,55,29,56,7,291,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68fa4f245f339557ddc51c8d1503cc52.jpg",[],{"id":10688,"slug":10689,"title":10690,"dynasty":18,"author":201,"museum":552,"description":10691,"tags":10692,"thumbUrl":10693,"material":59,"size":59,"collection":59,"collections":10694,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},235299,"xu-gu-lan-hua-zhou-yi-ming-235299","虚谷兰花轴","此作用枯淡墨色挥写岩壁，皴擦老辣苍劲，留白愈显空灵疏朗。垂落兰叶以中锋行笔，如素练飘曳，笔力柔韧挺拔，墨色干湿浓淡交叠，将兰叶舒展之姿尽显无余。淡红轻晕兰花，简笔点染便得娇柔妍态，于素雅底色上晕开一抹温柔生机。\n全画以少胜多，将兰花空谷幽芳的高洁风骨藏于笔墨之中，以画寄情，尽显文人写意的清雅禅意，把兰草清逸脱俗之态勾勒得淋漓尽致。",[228,25,26,27,55,29,173,1211,7,56,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77ac63d45e7e281058ce026acac47742.jpg",[],{"id":10696,"slug":10697,"title":3365,"dynasty":18,"author":201,"museum":552,"description":10698,"tags":10699,"thumbUrl":10700,"material":59,"size":59,"collection":59,"collections":10701,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},235159,"hong-ren-shan-shui-ce-yi-ming-235159","此作诗书合璧，意韵清寂淡远。画面中山石以淡墨轻勾慢皴，简劲利落，危崖垂瀑，涧水泠泠仿佛可闻，旁侧古木疏朗，枝叶简净，留白铺就出悠远天地，尽显萧疏空灵。\n\n题笔书法清隽挺秀，与山水意趣相融，暗合林泉幽怀。整幅以极简笔墨写尽山川风骨，冷静出尘的禅意溢满尺幅，将山野间苍岩古渡的幽寂之境凝于纸面，尽显文人山水寄情丘壑的雅逸，藏着独与天地精神往来的林下襟怀。",[25,26,53,55,75,77,79,80,116,81,259,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e7428e9559f5e031d87ab5bba48b8a.jpg",[],{"id":10703,"slug":10704,"title":10705,"dynasty":18,"author":4274,"museum":552,"description":10706,"tags":10707,"thumbUrl":10708,"material":59,"size":59,"collection":59,"collections":10709,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},235136,"shuang-feng-lan-re-tu-zhou-cha-shi-biao-235136","双峰兰若图轴","此作用笔简率松秀，以干笔淡墨绘就林泉丘壑。构图兼具高远、深远之致，上部平湖远山，轻舟泛波，空寂悠然；中部危崖矗立，山居隐于幽谷林麓；下部溪桥蜿蜒，长松杂木苍润清隽。\n画风承袭倪瓒遗意，意境荒寒清旷，题诗与山水交融，将暮色归舟、倦鸟投林的幽寂禅意晕开，尽显江南山水的雅逸空灵，把遗民文人孤寂淡远的心境，寄寓于萧散淡远的林泉之间，是逸笔山水的上乘之作。",[25,26,27,55,75,80,3368,7,277,134,82,85,522,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9077b316f660c1c5318a901885a06687.jpg",[],{"id":10711,"slug":10712,"title":10713,"dynasty":369,"author":201,"museum":112,"description":10714,"tags":10715,"thumbUrl":10717,"material":37,"size":10718,"collection":59,"collections":10719,"showCount":10586,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[25,24,26,27,28,29,10716,1990,153,7,4036,56],"大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e4009402f3bfb576c6fa71004de73d.jpg","174.6x99.5",[],{"id":10721,"slug":10722,"title":10723,"dynasty":369,"author":10724,"museum":552,"description":10725,"tags":10726,"thumbUrl":10729,"material":59,"size":59,"collection":59,"collections":10730,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":44},227755,"jiang-di-fang-mu-tu-yan-ci-ping-227755","江堤放牧图","阎次平","《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。",[23,25,26,714,29,80,75,28,2079,10727,81,324,7,82,10728],"堤岸","放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a261f44b092c6d8d8542f432afd33d.jpg",[],{"id":10732,"slug":10733,"title":10734,"dynasty":18,"author":96,"museum":552,"description":10735,"tags":10736,"thumbUrl":10738,"material":59,"size":59,"collection":59,"collections":10739,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},223226,"shan-mian-ren-wu-ren-yi-223226","扇面人物","绘制山石花草，用笔寥寥，淡墨晕染。画中人物坐竹椅之上，身边童子抱鹅坐于地上，富有生活气息。",[23,25,26,714,29,55,30,7,10737],"松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda8dd60918c4a810ce2910db29247b93.jpg",[],{"id":10741,"slug":10742,"title":10743,"dynasty":148,"author":5044,"museum":847,"description":10744,"tags":10745,"thumbUrl":10746,"material":6445,"size":10747,"collection":59,"collections":10748,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[23,24,25,26,74,55,434,75,77,78,79,80,32,81,274,277,82,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纵27.4、横81.2厘米",[],{"id":10750,"slug":10751,"title":10752,"dynasty":369,"author":10282,"museum":1322,"description":10283,"tags":10753,"thumbUrl":10757,"material":37,"size":10286,"collection":59,"collections":10758,"showCount":10586,"zanCount":511,"manualWeight":43,"mainColor":44},220120,"shi-liu-luo-han-tu-di-san-zun-zhe-jin-da-shou-220120","十六罗汉图-第三尊者",[23,25,27,576,30,29,28,7,10754,10755,10756],"僧袍","坐像","光头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5378c1d11a2d6b4a935b3bd48cd307.jpg",[],{"id":10760,"slug":10761,"title":10762,"dynasty":18,"author":201,"museum":1637,"description":10763,"tags":10764,"thumbUrl":10765,"material":327,"size":59,"collection":59,"collections":10766,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":1551},216872,"xi-xiang-ji-tu-ce-10-yi-ming-216872","西厢记图册-10","轩窗半启的亭中，男子凭几凝坐，目光似落向阶下小径；二女并肩徐行，衣袂随步轻扬，鬓边簪花隐现于花木间。山石皴染温润，芭蕉叶阔如盖，梅枝缀满细蕊，红栏与青瓦相映成趣，色调雅静宜人。人物神态含蓄，男子的沉思与女子的缓步，似有脉脉情思流转于枝叶扶疏间。笔墨细腻却不繁冗，亭台线条规整见致，草木晕染柔婉生姿，将古典故事里的幽微心绪，融于这一方雅致园林景致中，尽显传统工笔的温婉韵致与含蓄情味。",[25,29,28,241,53,30,242,277,82,81,31,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8762b7c8f967237421c131dd9641402d.jpg",[],{"id":10768,"slug":10769,"title":10770,"dynasty":18,"author":201,"museum":552,"description":10771,"tags":10772,"thumbUrl":10776,"material":37,"size":59,"collection":59,"collections":10777,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":44},216705,"hong-lou-meng-fu-tu-ce-19-yi-ming-216705","红楼梦赋图册-19","圆窗嵌于粉墙，帘内人影绰绰，似有私语在雅致轩榭间流转。阶下石旁，两人闲坐，衣袂染着浅淡色彩，神情间藏着几分红楼特有的清婉。草木疏朗，远景如黛，柔细笔触勾勒出庭院清幽。画面似将书中寻常片段定格，无激烈情节，却在细微处流露古典雅致与隐微情愫，让人心生向往又带一丝淡淡怅惘，仿佛能触摸到那个时代的温度。",[23,25,53,28,29,30,31,242,519,540,7,10773,10774,10775],"红楼梦","清婉","怅惘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5141cca9a0990f77beee6705ba7ea33c.jpg",[],{"id":10779,"slug":10780,"title":10781,"dynasty":148,"author":201,"museum":20,"description":10782,"tags":10783,"thumbUrl":10784,"material":37,"size":59,"collection":60,"collections":10785,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":44},216603,"shuang-yuan-tu-yi-ming-216603","双猿图","双猿相偎于岩畔，毛发以淡墨晕染，绒绒质感似触手可及。一猿侧首依偎，一猿抬眸远眺，憨然亲昵的神态里，藏着自然生灵的脉脉温情。近景山石以简劲皴擦勾勒，肌理分明；背景远山用淡墨轻笼，如隔烟霞。左侧大片留白似氤氲水气，引视线向深远处漫溯，让静谧氛围在空濛中缓缓流淌。墨色浓淡相济，古绢底色晕着时光沉韵，刚劲的山石与柔润的猿身形成刚柔对撞，却又在淡远意境里相融。整幅画不追繁复，以极简笔墨捕捉生灵之趣，将自然的恬淡与温情凝于绢素，读之如沐山风，心渐沉静。",[25,714,55,101,2260,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75dc0ca0ebe129ccaa05f98ca77435c.jpg",[60],{"id":10787,"slug":10788,"title":10789,"dynasty":18,"author":4070,"museum":184,"description":10790,"tags":10791,"thumbUrl":10792,"material":205,"size":10793,"collection":59,"collections":10794,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},216326,"jin-nong-ba-kai-hua-niao-tu-8-jin-nong-216326","金农八开花鸟图-8","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[23,25,26,53,434,55,56,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a63b75c2d41289d0079a86a9b8608a.jpg","30.5x40.9cm",[],{"id":10796,"slug":10797,"title":2449,"dynasty":18,"author":475,"museum":184,"description":10798,"tags":10799,"thumbUrl":10800,"material":262,"size":59,"collection":59,"collections":10801,"showCount":10586,"zanCount":43,"manualWeight":43,"mainColor":64},214389,"shan-shui-tu-ce-8-zhu-da-214389","淡墨晕染的山峦似浸在烟霭中，轮廓线若隐若现，如被时光滤去了尘嚣。几株枯松斜倚崖边，枝桠如铁线般遒劲，挑着几片疏叶，添了几分萧索。山间小径隐约，偶见人影三两，却似与天地相融，不扰这份静谧。大片留白不是虚空，是流云漫过的痕迹，是山风驻足的间隙，让气韵在其间流转。笔触极简却藏深意，每一笔都带着文人的孤峭与超脱——似在说世间繁华皆为过眼，唯有山水与心相守。清冷墨色里，藏着故国念想，也藏禅意空明，让人凝视间被荒寒之美包裹，忘却尘扰。",[23,25,55,53,75,79,80,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b46db9dd8644dabfd1de8571e65683.jpg",[],{"id":10803,"slug":10804,"title":10805,"dynasty":18,"author":10806,"museum":552,"description":10807,"tags":10808,"thumbUrl":10809,"material":641,"size":642,"collection":59,"collections":10810,"showCount":10811,"zanCount":511,"manualWeight":43,"mainColor":64},290420,"fang-gu-shan-shui-tu-ce-luo-pin-290420","仿古山水图册","罗聘","罗聘（1733-1799），清代画家，“扬州八怪”之一。字遯夫，号两峰，又号衣云、花之寺僧、金牛山人、师莲老人等。祖籍安徽歙县，其先辈迁居扬州。为金农入室弟子，布衣，好游历。\n人物、佛像、山水、花果、梅、兰、竹等，无所不工，笔调奇创，超逸不群，别具一格。善画《鬼趣图》，画鬼态无不极尽其妙，借以讽世。亦善刻印。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。其妻方婉仪，字白莲，亦擅画梅兰竹石，并工于诗。子允绍、允缵，均善画梅，人称“罗家梅派”。\n《清史稿》称罗聘“画无不工”。",[25,53,55,273,7,134,77,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbac009aab2e9d42f1f271d2855c77e2.jpg",[],19,{"id":10813,"slug":10814,"title":10815,"dynasty":69,"author":10816,"museum":552,"description":10817,"tags":10818,"thumbUrl":10819,"material":641,"size":642,"collection":59,"collections":10820,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},288043,"la-mei-tu-ye-chen-ji-ru-288043","腊梅图页","陈继儒","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,25,24,55,187,32,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeaf5a6200dee1b6146b29ef5bc777af.jpg",[],{"id":10822,"slug":10823,"title":10824,"dynasty":18,"author":10806,"museum":552,"description":10825,"tags":10826,"thumbUrl":10827,"material":641,"size":642,"collection":59,"collections":10828,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},287971,"qiu-lan-wen-shi-tu-li-zhou-luo-pin-287971","秋兰文石图立轴","此图绘兰花和文石，画家在运用墨色和线条方面有独到之处，简练的线条，圆劲而宽厚，硬如铁画，柔如棉条，准确地勾画了兰花和文石。\n《秋兰文石图》构图简练，怪石以焦墨勾出，通体以墨彩晕染，厚重凝炼。秋兰则舍弃了当时所盛行的水墨撇写之法，而以双钩白描绘出，略施淡墨，写出兰丛繁茂之貌，以浓墨点提花心及地面野菜。兰之高洁晶莹与石之坚实沉稳形成鲜明对照，使画面自有一种超凡脱俗的灵动之感。",[23,25,27,55,188,7,77,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9341f5bd9cf62305f811fc5dbc383bc.jpg",[],{"id":10830,"slug":10831,"title":10832,"dynasty":148,"author":404,"museum":552,"description":6176,"tags":10833,"thumbUrl":10834,"material":641,"size":642,"collection":59,"collections":10835,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":44},287758,"gao-jie-ling-yun-tu-zhuang-biao-wu-zhen-287758","高节凌云图（装裱）",[24,25,26,27,55,32,7,133,77,1744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c6c5f018da369c34404e3ac4413aec.jpg",[],{"id":10837,"slug":10838,"title":10839,"dynasty":148,"author":404,"museum":552,"description":10840,"tags":10841,"thumbUrl":10843,"material":641,"size":642,"collection":59,"collections":10844,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":44},287668,"gao-jie-ling-yun-tu-wu-zhen-287668","高节凌云图","画中的墨竹、松树以及斜入的石坡都好像是巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇坚守高尚的情怀与志向高远个性的自喻。就像这幅画的名字一样，“高节凌云”。",[25,24,27,55,32,7,134,10842],"高节","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9990f883da641f02afee77dd20315c3.jpg",[],{"id":10846,"slug":10847,"title":5980,"dynasty":148,"author":2621,"museum":112,"description":10848,"tags":10849,"thumbUrl":10850,"material":262,"size":10851,"collection":59,"collections":10852,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},287542,"zhu-shi-zhou-guan-dao-sheng-287542","管道昇（1262年—1319年5月29日），字仲姬，浙江德清茅山（今浙江干山镇茅山村）人，一说华亭（今上海松江）人 ，元代著名的女书法家、画家、诗词创作家。\n南宋景定三年生。幼习书画，笃信佛法。曾手书《金刚经》数十卷，赠名山寺。嫁元代吴兴书画名家赵孟頫为妻，封吴兴郡夫人，世称管夫人，延祐四年（1317年），封魏国夫人。\n管道昇所写行楷与赵孟頫颇相似，所书《璇玑图诗》笔法工绝。精于诗。尤擅画墨竹梅兰。晴竹新篁，为其首创。延佑六年（1319年）病逝。存世的《水竹图》等卷，现藏北京故宫博物院，《竹石图》1帧，藏台湾故宫博物院。",[24,25,55,27,32,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7878310a226e545764562d59ddf2c7.jpg","87.1x28.7",[],{"id":10854,"slug":10855,"title":10856,"dynasty":369,"author":10857,"museum":552,"description":10858,"tags":10859,"thumbUrl":10860,"material":641,"size":642,"collection":59,"collections":10861,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":44},283631,"ling-mao-tu-zhu-ke-rou-283631","翎毛图","朱克柔","朱克柔 ，生卒年不详。幼习绘画与缂丝(也称刻丝)，积累配色和运线经验。她与定州的沈子藩等同为宋代缂丝名家。宋徽宗至高宗时期以织造缂丝著称于世，亦善画。",[24,25,26,27,29,56,10213,32,153,7,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750f0f6937d978894ba7511138e12445.jpg",[],{"id":10863,"slug":10864,"title":10865,"dynasty":69,"author":10866,"museum":552,"description":10867,"tags":10868,"thumbUrl":10869,"material":59,"size":59,"collection":59,"collections":10870,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},239460,"ming-qing-zhu-jia-ji-jin-ce-song-shi-ce-ye-wen-cong-jian-239460","明清诸家集锦册-松石册页","文从简","此作用笔松秀简远，水墨淡逸空灵。古松躯干鳞皴苍劲，虬枝旁逸斜出，松针攒簇尽显老辣风骨，暗含岁寒之姿。右侧湖石以干笔皴擦，尽显嶙峋瘦透之态。平坡之上二儒策杖徐行，衣纹简括空灵，似正共话林泉幽意。\n\n题字清隽与画面气格相融，不着浓艳，只以淡墨写尽山林雅寂。萧散简淡的文人意趣漫溢素楮，悠悠林下之风，将隐逸之士的襟怀尽显无遗。",[25,26,53,55,75,260,7,30,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb347d42eecba7a25384cf8bb3ae4e4a9.jpg",[],{"id":10872,"slug":10873,"title":10874,"dynasty":69,"author":8882,"museum":552,"description":10599,"tags":10875,"thumbUrl":10876,"material":641,"size":642,"collection":59,"collections":10877,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},238969,"ling-shi-tu-zhou-wen-jia-238969","灵石图轴",[25,26,27,55,29,173,7,2806,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cfbc86ede7cd4df44c9f3d7add0d0.jpg",[],{"id":10879,"slug":10880,"title":4918,"dynasty":18,"author":1205,"museum":552,"description":10881,"tags":10882,"thumbUrl":10883,"material":641,"size":642,"collection":59,"collections":10884,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},238483,"hua-hui-tu-ce-jiang-ting-xi-238483","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。",[25,26,53,29,28,56,7,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7c146fba81e1ea57b650c23d6b3165.jpg",[],{"id":10886,"slug":10887,"title":10888,"dynasty":18,"author":8439,"museum":552,"description":10889,"tags":10890,"thumbUrl":10891,"material":641,"size":642,"collection":88,"collections":10892,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},237716,"wu-sheng-shi-yi-tu-ce-huang-yi-237716","无声诗意图册","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[25,26,53,434,55,80,133,349,7,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daad7599809d3ad232a5bec970b5b7b.jpg",[88],{"id":10894,"slug":10895,"title":10896,"dynasty":18,"author":10897,"museum":552,"description":10898,"tags":10899,"thumbUrl":10900,"material":59,"size":59,"collection":59,"collections":10901,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},237445,"xue-jing-mei-zhu-shu-wu-shan-mian-wu-gu-xiang-237445","雪景梅竹书屋扇面","吴穀祥","以淡墨晕染积雪，留白铺就天地清寒底色。虬曲梅枝破雪而出，细小红萼点点，暗透生机；修竹亭亭立雪，墨色浓淡层叠，苍劲枝叶凝着雪意，更显挺秀疏朗。覆雪湖石隐现棱骨，留白处尽是薄雪覆地，极简便烘托出冬日清寂。右侧题字清雅疏朗，书画相映成趣。\n\n整体笔意秀润温婉，无萧索苦寒，反倒带着幽淡文人气韵，将岁寒梅竹的清逸风骨收于扇面尺幅间，静谧雅致，尽显文人幽怀雅趣。",[25,26,714,55,851,187,32,3995,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf01914bbf0494ae177982be3e9f7bab.jpg",[],{"id":10903,"slug":10904,"title":10905,"dynasty":69,"author":1184,"museum":552,"description":2027,"tags":10906,"thumbUrl":10907,"material":641,"size":642,"collection":59,"collections":10908,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},237363,"she-yang-tu-zhou-tang-yin-237363","射杨图轴",[25,26,27,55,434,30,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699dfa326d67bbf86297196d4ed32fab.jpg",[],{"id":10910,"slug":10911,"title":9315,"dynasty":18,"author":169,"museum":552,"description":10912,"tags":10913,"thumbUrl":10914,"material":59,"size":59,"collection":59,"collections":10915,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},235894,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235894","此作用笔干湿互济，左侧危崖以焦墨勾勒皴擦，线条朴拙厚重，苍劲雄浑。右侧水泽间芦荻随风轻曳，浅渚扁舟静泊，淡墨晕染出水气空濛的柔润质感，虚实相生晕开江南水畔清寂氛围。\n\n题诗落于左上角，以书入画诗画相融，铺展出江湖幽独的野逸之趣。画师以极简笔墨绘就林泉隐逸之景，淡简中自含苍茫悠远的意境，寄寓着寄情山水的隐逸襟怀，尽显萧散淡远的文人意趣。",[24,25,26,53,55,75,80,7,82,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e8cd68e458f9c8cd71f269d55f44adc.jpg",[],{"id":10917,"slug":10918,"title":1143,"dynasty":69,"author":10682,"museum":552,"description":10683,"tags":10919,"thumbUrl":10921,"material":641,"size":642,"collection":59,"collections":10922,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},235738,"hua-niao-ce-tan-zhi-yi-235738",[25,26,53,4741,55,75,10920,260,135,7],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875b42ba3ba9ddc7d3633242f5cf586c.jpg",[],{"id":10924,"slug":10925,"title":10926,"dynasty":18,"author":4274,"museum":552,"description":10927,"tags":10928,"thumbUrl":10929,"material":59,"size":59,"collection":59,"collections":10930,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},235649,"lin-ting-shan-se-zhou-cha-shi-biao-235649","林亭山色轴","《林亭山色图》是典型的学习元人的作品。\n查士标的山水以松秀生辣为自己的风格，是新安画派的大家。\n此为清查士标的《林亭山色图》。\n南京博物院藏。\n他的用笔吸取了倪云林和董其昌的风格，在生峭和如锥画沙中找到了一种平衡。\n看他的画你会发现他的心态是平和安详的，每一笔和一点都徐徐落下，有条不紊。\n他的画面总是带着灰色调，如同是有点雾气在其间往来。\n这好像是新安画派画家的共同特点，而他的作品中间反映得更加充分些。\n查士标（1615-1698年）字二瞻，号梅壑散人，安徽休宁人，明诸生，明亡之后则弃举业专事书画。\n家中多藏鼎彝及宋元人的作品，精于鉴别。\n书法学习米芾、董其昌，画学倪瓒。\n晚年的绘画技法高超，直入元人的堂奥。",[25,26,24,27,55,80,349,32,7,117,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff352ce355a4c9c2cf81b84fb1dc3c7c0.jpg",[],{"id":10932,"slug":10933,"title":10116,"dynasty":18,"author":169,"museum":71,"description":10138,"tags":10934,"thumbUrl":10935,"material":5284,"size":10141,"collection":59,"collections":10936,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},235001,"yuan-ji-shan-shui-tu-ce-shi-tao-235001",[24,25,55,75,53,80,7,134,29,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a9ea9a82d8c25e4dde2472c9cda449.jpg",[],{"id":10938,"slug":10939,"title":10940,"dynasty":69,"author":8882,"museum":71,"description":10941,"tags":10942,"thumbUrl":10943,"material":139,"size":10944,"collection":59,"collections":10945,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},234816,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-lin-wu-dong-tu-ye-wen-jia-234816","吴门诸家寿袁方斋三绝册-文嘉林屋洞图页","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[25,26,53,862,29,80,7,75,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413dd335fc56898d26fe9c0f2cbedf25.jpg","22.2*26.7cm",[],{"id":10947,"slug":10948,"title":10949,"dynasty":369,"author":201,"museum":71,"description":10950,"tags":10951,"thumbUrl":10952,"material":2690,"size":10953,"collection":59,"collections":10954,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[25,26,24,53,28,29,30,291,117,7,135,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3829cc71d2b5bb96c58a1efbea7b43.jpg","24.1x25.2厘米",[],{"id":10956,"slug":10957,"title":1220,"dynasty":148,"author":1453,"museum":71,"description":10958,"tags":10959,"thumbUrl":10960,"material":479,"size":1457,"collection":59,"collections":10961,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":44},233786,"mo-zhu-po-shi-tu-zhou-gao-ke-gong-233786","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。”",[25,55,27,32,7,79,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d7df8f8687f077f813223a903ed0ac.jpg",[],{"id":10963,"slug":10964,"title":9527,"dynasty":69,"author":4336,"museum":71,"description":9528,"tags":10965,"thumbUrl":10966,"material":327,"size":9531,"collection":59,"collections":10967,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},232959,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232959",[25,26,53,55,80,134,7,75,78,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb0d0f5d6235a84082f5f7e653cc6acb.jpg",[],{"id":10969,"slug":10970,"title":2182,"dynasty":18,"author":672,"museum":112,"description":10971,"tags":10972,"thumbUrl":10973,"material":2690,"size":10974,"collection":59,"collections":10975,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,26,27,28,29,153,101,80,134,82,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991122f93eaf082fff4079d1c96c94cd.jpg","122.25x64.79",[],{"id":10977,"slug":10978,"title":10979,"dynasty":18,"author":4274,"museum":552,"description":10980,"tags":10981,"thumbUrl":10982,"material":59,"size":59,"collection":59,"collections":10983,"showCount":10811,"zanCount":511,"manualWeight":43,"mainColor":64},231017,"qing-xi-fang-ting-tu-cha-shi-biao-231017","清溪放艇图","《馆藏精品选（天津艺术博物馆1共4张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（清）查士标，弘仁，[清] 龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[23,25,26,27,55,75,80,85,153,134,82,7,137,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":10985,"slug":10986,"title":1143,"dynasty":18,"author":475,"museum":552,"description":10987,"tags":10988,"thumbUrl":10989,"material":59,"size":59,"collection":59,"collections":10990,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},230281,"hua-niao-ce-zhu-da-230281","《题花鸟册》是清代诗人八大山人创作的一首五言绝句。\n诗人说：想想误我害我的乃是自己的书法，现在只能靠这书法来混饭吃了。\n这是诗人对自己的书法较之于所画的石头而言。\n诗人言外之意是在说自己的石头画得好，故用米南宫的石头作一比。\n这张《石头》，就算那些要买我书法的人，对我有三顾之请，我也是不愿意给他的。\n思之误是书（1），只今南郭处（2）。\n南宫石头硬（），三顾那得去（4）。\n（1）思：想。\n误：耽误，害。\n（2）只今：如今、现在。\n南郭：复姓。\n《 ·内储说上》有南郭处士，以吹竽事齐宣王。\n此南郭处，典出“滥竽充数”，诗人自指，比喻混饭吃。\n（）南宫：古称尚书省。\n米芾（151～117），字元章，北宋著名书画家。\n因其累官礼部员外郎，故世称南宫先生。\n米芾一生痴爱石头，千金难买。\n故有“石头硬”一说。\n（4）三顾：典出《 》刘备中“ ”访贤诸葛亮事。\n此诗有学者解释为：有人看见他的书法好，要请他去。\n但是要请他去的那个主人，招待的客人，都是 ，像南郭先生那样的骗子，所以他说他的脾气，有如米芾拜的石头那么硬，就是请他三次，他也不去。\n此一说不仅有些牵强，且与诗人晚年的性格、行为不相吻合。\n因为八大山人的晚年以出售书画为生，即使有些自己不喜欢的人或不懂书画的人，他也照样有应酬，只是应酬的方式有些不同罢了，比如要求画四幅，他却只给三副等。\n八大山人（1626－175），明末清初人，杰出画家。\n原名朱耷，又名朱道朗，字雪个，又字个山、道朗、个山驴、朗月、刃庵、传綮、破云樵者、人屋、驴屋和因是僧号良月，一生所用名号多达五十五个，八大山人是他晚年的文号。\n“八大山人”的来历有两种说法：一说“尝持《 》，因号八大”；另一说“八大者，四方四隅，皆我为大，而无大于我者也”。\n八大山人为清初“四大画僧（ 、 、 、 ）”之一，他以大笔水墨写意画著称，尤以花鸟画见长，以简略见胜。",[25,26,55,80,133,7,134,173,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd06328a99007e276effefc6b4d8683.jpg",[],{"id":10992,"slug":10993,"title":10994,"dynasty":18,"author":10995,"museum":552,"description":10996,"tags":10997,"thumbUrl":10998,"material":59,"size":59,"collection":59,"collections":10999,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},230216,"fang-gu-shan-shui-ce-ye-8-kai-gu-kui-230216","仿古山水册页8开","顾逵","此作用淡墨晕染出烟雨江南的朦胧意趣，山峦以浅皴轻苔点出温润质感，如被薄雾轻笼。水面留白衔接着远天近岸，一叶扁舟随波缓行，载着晚归的闲散意趣。\n\n林间茅舍隐于枝叶之间，不见喧嚣，唯余清寂。简笔点染的林木不带繁饰，却将风雨初歇的湿润淋漓尽数藏于墨色层次里。通篇以水墨铺陈，无一处浓艳设色，把平和冲淡的林下之思晕在烟岚雾霭中，将人轻轻拉入这幅水墨长卷，静看波痕微动，坐听晚风穿林，尽得古典山水空灵澹远的禅意。",[25,55,53,75,6109,80,85,82,7,81,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab22a74172d9c0fa0f97e6463ea3e86.jpg",[],{"id":11001,"slug":11002,"title":11003,"dynasty":69,"author":431,"museum":552,"description":11004,"tags":11005,"thumbUrl":11006,"material":59,"size":59,"collection":59,"collections":11007,"showCount":10811,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[25,29,28,576,30,7,191,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1091d2300ff65bf353030cdf5062650.jpg",[],{"id":11009,"slug":11010,"title":11011,"dynasty":69,"author":431,"museum":552,"description":11012,"tags":11013,"thumbUrl":11017,"material":59,"size":59,"collection":59,"collections":11018,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,26,27,28,434,29,30,7,1921,11014,11015,11016],"芝","长袍","帽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104d5293337b078854f928fd606d4d56.jpg",[],{"id":11020,"slug":11021,"title":11022,"dynasty":148,"author":201,"museum":552,"description":11023,"tags":11024,"thumbUrl":11026,"material":59,"size":59,"collection":59,"collections":11027,"showCount":10811,"zanCount":511,"manualWeight":43,"mainColor":44},228231,"huo-lang-tu-ye-yi-ming-228231","货郎图页","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。",[23,25,29,28,1694,30,34,307,7,308,11025],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3654df41463c4282c2769d25d0ba8ecb.jpg",[],{"id":11029,"slug":11030,"title":11031,"dynasty":369,"author":711,"museum":552,"description":11032,"tags":11033,"thumbUrl":11034,"material":59,"size":59,"collection":59,"collections":11035,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,26,53,29,28,32,82,466,7,56,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ebd908d08df5f45d3c4cabb273658b.jpg",[],{"id":11037,"slug":11038,"title":11039,"dynasty":369,"author":8420,"museum":552,"description":11040,"tags":11041,"thumbUrl":11043,"material":59,"size":59,"collection":59,"collections":11044,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":44},227809,"liu-yan-tu-mao-yi-227809","柳燕图","这幅小品以虚实相生铺陈春景。右畔老柳虬曲苍劲，墨色浓深尽显枝干肌理，柔细柳绦随风漫卷，笔触轻丽流逸，如见春风穿拂。枝头宿鸟两两相依，勾勒简练却灵动传神，各有情态。左侧留白空灵幽远，一只春燕振翅斜穿，破虚而来，让静景生出灵动生气。\n\n全作以水墨晕染，淡赭绢底晕化出暮春烟霭，仅以墨色轻重分出物象层次，无繁复设色。将宋人对春日的细微体察藏于简淡笔墨间，留白处似有春意在流动，仿佛能耳闻燕语呢喃、柳丝簌簌，把郊野寻常春景，晕染出悠远清和的诗意，尽显宋代小品画的雅致意趣。",[25,26,714,29,56,307,11042,153,7,79],"燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd706605ac2a870d038a49e2b48362bc8.jpg",[],{"id":11046,"slug":11047,"title":11048,"dynasty":369,"author":1342,"museum":552,"description":11049,"tags":11050,"thumbUrl":11051,"material":59,"size":59,"collection":59,"collections":11052,"showCount":10811,"zanCount":511,"manualWeight":43,"mainColor":44},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。",[23,25,26,53,28,29,30,7,133,6267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e088f168b45c22f7031b2d125dc9812.jpg",[],{"id":11054,"slug":11055,"title":834,"dynasty":369,"author":594,"museum":112,"description":11056,"tags":11057,"thumbUrl":11058,"material":59,"size":59,"collection":59,"collections":11059,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},227292,"shu-se-ping-yuan-tu-guo-xi-227292","《树色平远图》，宋代，郭熙，绢本水墨，纵32.4厘米，横104.8厘米，美国纽约大都会博物馆藏\n\n《树色平远图》表现深秋郊外的优美景象。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。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。此图无款，卷后有元明诸家诗文题跋。\n\n此图与郭熙的另一副传世名画《窠石平远图》画风和构图极为相似，描绘一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。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。整个景物清寒枯硬，其境界清旷平淡。画面以平远布局，构景简洁，开阔而均衡。其树似鹿角蟹爪，山石笔法灵活多变，墨色浓淡变化丰富而微妙，所造之境具体真实，从中可以看出李成画风的影响，同时又体现出郭熙山水画的典型风格。",[23,25,26,74,273,55,75,80,81,324,2240,134,1231,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],{"id":11061,"slug":11062,"title":11063,"dynasty":69,"author":1505,"museum":3191,"description":11064,"tags":11065,"thumbUrl":11066,"material":53,"size":9944,"collection":59,"collections":11067,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":59},220752,"fang-ge-jia-shan-shui-4-dong-qi-chang-220752","仿各家山水-4","此作用笔松秀空灵，以干笔淡墨铺展秋山幽居之境。近坡枯木疏林姿态萧散，村居隐于林木间，坡岸错落尽显野逸之趣。中远景山峦层叠，主峰奇崛高耸，以淡墨皴擦轻勾山石肌理，留白晕出水色烟岚的空濛悠远。\n\n全画以书入画，线条温润秀雅，不执着实景摹写，重在以笔墨传递清旷简远之意，寥寥数笔便将深秋林泉的幽寂淡远铺陈开来。以简驭繁，虚实相生间尽显文人画尚意重韵的特质，观之如临静谧山林，涤荡尘心。",[23,25,26,55,76,75,53,80,134,7,82,135,81,324,1366,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a359e05e61b220785e0e20211602f.jpg",[],{"id":11069,"slug":11070,"title":11071,"dynasty":69,"author":1505,"museum":3191,"description":11072,"tags":11073,"thumbUrl":11074,"material":53,"size":9944,"collection":59,"collections":11075,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":59},220751,"fang-ge-jia-shan-shui-5-dong-qi-chang-220751","仿各家山水-5","此作用笔松秀虚灵，以干笔淡墨勾勒皴擦，写尽山峦苍润肌理，简淡皴法藏尽丘壑深致。溪岸佳木繁荫，苍松挺劲蓊郁，与层叠远山相映成趣。画面留白清寂，水色空明，野桥横卧浅溪，弥散出萧散淡远的静穆雅韵。\n以书法意趣入画，笔墨简练脱略，不重实景描摹，尽显文人画超然出尘的林下之风。于简淡中藏雄浑，浅墨间见苍润，将山川静穆生机与文人幽怀相融，观之如坐林泉，悄然揽得山水清旷之趣。",[23,25,26,55,75,80,277,82,117,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8bcdaa85562a81f6a4956e87ec107b.jpg",[],{"id":11077,"slug":11078,"title":11079,"dynasty":18,"author":96,"museum":2371,"description":11080,"tags":11081,"thumbUrl":11082,"material":59,"size":59,"collection":59,"collections":11083,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},220468,"jin-gu-yuan-tu-zhou-ren-yi-220468","金谷园图轴","此作以金谷旧事为引，嶙峋湖石拔地而起，墨色皴擦间尽显苍古雄浑，旁侧翠竹苍劲、朱枝艳发，冷暖色调撞破幽寂。石畔文士抱膝沉坐，眉眼间漫着悼古的落寞，两位乐女持弦静待，身姿温婉静穆，将旧时金谷宴散的萧索怅惘晕开。\n\n笔墨兼具写意纵逸与工致细腻，湖石泼墨写意，笔力雄健，人物衣纹清劲凝练，神情刻画入微。布景错落疏密得宜，将盛衰之叹寄于咫尺尺幅，借景抒情暗合心境，尽显笔意高妙、意境悠远的特质。",[25,26,27,29,30,31,7,32,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c8e71afd068129aef24338a9e0feb65.jpg",[],{"id":11085,"slug":11086,"title":11087,"dynasty":18,"author":941,"museum":71,"description":942,"tags":11088,"thumbUrl":11089,"material":327,"size":945,"collection":59,"collections":11090,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},220309,"huang-shan-tu-ce-18-hong-ren-220309","黄山图册-18",[23,25,26,55,75,53,80,7,260,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d4a3aa57cb2c2677517cc1e26f43bb.jpg",[],{"id":11092,"slug":11093,"title":11094,"dynasty":18,"author":941,"museum":71,"description":942,"tags":11095,"thumbUrl":11096,"material":327,"size":945,"collection":59,"collections":11097,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},220306,"huang-shan-tu-ce-21-hong-ren-220306","黄山图册-21",[23,25,26,80,53,55,29,75,4904,7,260,242,84,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb293f3d4e7ddae656d41c4cbe335d40d.jpg",[],{"id":11099,"slug":11100,"title":11101,"dynasty":369,"author":201,"museum":150,"description":11102,"tags":11103,"thumbUrl":11104,"material":37,"size":59,"collection":60,"collections":11105,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":44},219262,"xie-sheng-si-duan-tu-yi-ming-219262","写生四段图","四段景致各蕴生机。首段猫卧石边，茸毛细腻如绒，石肌理古拙苍然，静中藏韵；中段数兽嬉游郊野，或低啮青草，或昂首顾盼，姿态鲜活，野趣盎然；末段枯槎疏竹旁，禽鸟栖止，枝干虬曲见骨，笔墨简淡却传物之神；最末猫踞笼畔，犬趋前欲动，笼栅细劲入微，猫狗情态宛然，尽得生活意趣。全卷以写生之笔摹万物，线条精准，墨色层次有致，于细节处显匠心，足见写实功力之深。",[23,25,24,26,28,29,906,2079,306,100,101,7,117,32,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901bd7646e4d18c3736a30353ef0db54.jpg",[60],{"id":11107,"slug":11108,"title":11109,"dynasty":369,"author":201,"museum":112,"description":11110,"tags":11111,"thumbUrl":11112,"material":205,"size":11113,"collection":88,"collections":11114,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":44},218985,"han-lin-dai-du-tu-yi-ming-218985","寒林待渡图","河岸边的岩石上有两棵松树，它们伸出手指和爪子，像虬龙在跳跃，后面是枯枝和其他树木。在空地之间有一个简单的小屋，另一边是停泊在岸边的船，一个人拿着杖，另一个人推着驴子过去。场景中间有一个平坦的斜坡，一直蜿蜒到远方，在一个角落里，有一个带着篱笆的院子的小屋，两个人在一起喝酒。山丘消失在远方，远处山峰的轮廓在烟和雾中飘荡。整幅画，除了前景的松树和石头比较厚重和紧凑外，都是一个闲适而简单的场景，表达了冬天的寒冷和寂静的情绪。",[23,25,55,75,27,80,1231,134,7,82,3203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d10dfa682a87984e0bffc7b101e7596.jpg","136.8x99.7",[88],{"id":11116,"slug":11117,"title":11118,"dynasty":369,"author":201,"museum":112,"description":11119,"tags":11120,"thumbUrl":11121,"material":37,"size":11122,"collection":88,"collections":11123,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},218817,"feng-xi-gui-zhao-tu-yi-ming-218817","风溪归棹图","树木随着风和天空的音乐起舞。石头下的竹子里藏着一个家，一个船夫正在水流中起航。这幅画中的水墨技法是马远传下来的，树叶都是双钩的，雕工精细，让人仿佛置身于风和浪之中。",[23,25,26,24,53,55,29,80,75,85,82,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26509b68407859d99b23ec8fc4e694ad.jpg","23.4x25.9",[88],{"id":11125,"slug":11126,"title":11127,"dynasty":69,"author":431,"museum":835,"description":7083,"tags":11128,"thumbUrl":11129,"material":37,"size":59,"collection":59,"collections":11130,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},218023,"za-hua-ce-7-chen-hong-shou-218023","杂画册-7",[25,26,53,29,75,80,7,134,82,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff84370318cab5c806b1fc9fabdb42dd.jpg",[],{"id":11132,"slug":11133,"title":11134,"dynasty":18,"author":201,"museum":552,"description":11135,"tags":11136,"thumbUrl":11137,"material":37,"size":59,"collection":59,"collections":11138,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":44},216703,"hong-lou-meng-fu-tu-ce-24-yi-ming-216703","红楼梦赋图册-24","棕榈亭亭映庭院，假山叠石间草木葱茏。白衣女子凭栏而立，衣袂翩跹若携幽风；红衣少女执物凝睇，裙裾轻飏带几分灵动。远处屋舍隐于绿意，檐角与淡月相映，清辉洒落添了几分幽然。笔墨细腻勾勒人物温婉情态，设色清雅晕染景致雅致氛围，将红楼女儿的柔婉与大观园的诗意融于一纸，似能触碰到那段诗意盎然却暗蕴怅惘的时光，尽显古典画作的娴静之美与含蓄情致。",[23,25,26,53,29,28,30,242,7,2029,243,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feccf0d59b22fc7b69f069573afdb614b.jpg",[],{"id":11140,"slug":11141,"title":11142,"dynasty":18,"author":475,"museum":184,"description":11143,"tags":11144,"thumbUrl":11145,"material":262,"size":59,"collection":59,"collections":11146,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":64},214393,"shan-shui-tu-ce-5-zhu-da-214393","山水图册-5","淡墨皴出山崖嶙峋之态，清寒如雾浸纸。疏枝枯树似铁线横斜，牵起空寂的风。山隅茅舍隐然，无人迹却藏遗世况味。留白非虚空，是天地苍茫，是心尖清寂。笔墨极简见风骨，每一笔克制却道尽孤寂孤傲。如无声绝句，纸间淌着冷逸禅意，荒寒里触到遗民沉郁与超脱，让观者于简淡中品得深致的精神回响。",[23,25,26,53,55,75,80,1231,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af34fe478e5f191bb4bc98911d7f299.jpg",[],{"id":11148,"slug":11149,"title":11150,"dynasty":18,"author":475,"museum":184,"description":11151,"tags":11152,"thumbUrl":11153,"material":262,"size":59,"collection":59,"collections":11154,"showCount":10811,"zanCount":511,"manualWeight":43,"mainColor":64},214385,"shan-shui-tu-ce-11-zhu-da-214385","山水图册-11","墨色在素纸上晕开，浓淡交织如轻烟漫过山峦。枯笔扫出的山石棱角隐于雾霭，似静默的孤影伫立天地间。留白处空濛辽远，仿佛能听见山风穿过林隙的轻响。简劲的线条里藏着沉郁，却又在虚虚实实的晕染中透出遗世的清寂。没有繁复景致，仅寥寥几笔便勾出山水魂魄——那是心之所向的超脱，也是笔墨深处的孤高。每道墨痕都似有温度，在寂静中诉说不与世俗同流的风骨，让观者于空远里寻得一份心灵栖居。",[23,25,26,24,53,55,75,80,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83a6a9760e69d4ac061f4d7b98e6b5b.jpg",[],{"id":11156,"slug":11157,"title":11158,"dynasty":18,"author":1868,"museum":150,"description":11159,"tags":11160,"thumbUrl":11161,"material":59,"size":59,"collection":60,"collections":11162,"showCount":10811,"zanCount":43,"manualWeight":43,"mainColor":11163},201647,"song-he-tu-zhou-shen-quan-201647","松鹤图轴","画面中双鹤伫立岩巅，白羽如雪，墨翅若染，丹顶朱红点睛，顾盼间姿态雍容。虬松横斜，松针层叠如织；山石皴法细腻，纹理嶙峋逼真；牡丹盛放于侧，色彩雅致动人。整幅工笔设色精湛，祥瑞之气四溢，每一处细节皆见匠心：鹤羽的丝缕、松枝的虬劲、牡丹的瓣脉，无不刻画入微，传递出松鹤延年、富贵吉祥的美好寓意，尽显清代工笔花鸟的细腻生机与吉庆氛围。",[28,56,191,29,27,7,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9656da72b7dd1f8b4cc75d1ccc5bf5.jpg",[60],"b49d88",{"id":11165,"slug":11166,"title":11167,"dynasty":18,"author":49,"museum":112,"description":2638,"tags":11168,"thumbUrl":11169,"material":262,"size":11170,"collection":122,"collections":11171,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},290533,"yu-xue-gu-bai-zhou-yun-shou-ping-290533","禹穴古柏轴",[24,25,27,55,134,7,32,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ceb3734c677f94eb46a0668d7eed830.jpg","109.7x51.8",[122],{"id":11173,"slug":11174,"title":11175,"dynasty":18,"author":551,"museum":552,"description":1919,"tags":11176,"thumbUrl":11177,"material":641,"size":642,"collection":59,"collections":11178,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},290424,"ke-ru-qing-tong-gen-ru-shi-tu-zhou-wu-chang-shuo-290424","柯如青桐根如石图轴",[23,25,26,27,55,29,7,2555,1231,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe41d1300ae2de9120a26555f2abfb69.jpg",[],{"id":11180,"slug":11181,"title":11182,"dynasty":369,"author":11183,"museum":552,"description":11184,"tags":11185,"thumbUrl":11186,"material":641,"size":11187,"collection":497,"collections":11188,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":44},290295,"xi-yang-tu-zhou-guo-si-290295","戏羊图轴","郭思","元丰五年（一o八二）进士。善杂画，尤工画马。",[25,27,29,28,30,101,3505,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F097f7c1290da1f93caef73245b7ddd7d.jpg","198x102.9",[497],{"id":11190,"slug":11191,"title":11192,"dynasty":148,"author":11193,"museum":552,"description":11194,"tags":11195,"thumbUrl":11196,"material":641,"size":642,"collection":59,"collections":11197,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},290259,"shan-lin-ye-zhang-tu-jin-fu-290259","山林曳杖图","金黼","此图画高耸入云的树木，枝干虬曲，占据了画面的大半。树下一位长者手持竹杖，正向远方眺望，身后随从一侍童。树干勾勒细致，枝梢有蟹爪皴与夹叶皴，墨色浓淡得宜，陂陀及树干上以浓墨醒点，颇具精神。图中有元倪瓒、虞良、尤玘、董昶等人诗题。金黼的作品流传极少，此幅殊为珍贵。",[24,25,27,55,80,134,1231,82,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfcca3c77b56ec4f2d79d414d7cfba1.jpg",[],{"id":11199,"slug":11200,"title":11201,"dynasty":18,"author":6097,"museum":552,"description":11202,"tags":11203,"thumbUrl":11205,"material":641,"size":642,"collection":59,"collections":11206,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},288139,"ting-zhong-yu-ba-jiao-tu-li-zhou-gai-qi-288139","庭中雨芭蕉图立轴","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[23,25,27,55,26,24,30,99,7,519,11204,77,79],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497f08e6a1c9e24cec2c2bca45e5ab65.jpg",[],{"id":11208,"slug":11209,"title":11210,"dynasty":18,"author":201,"museum":552,"description":11211,"tags":11212,"thumbUrl":11215,"material":641,"size":642,"collection":59,"collections":11216,"showCount":124,"zanCount":511,"manualWeight":43,"mainColor":64},273096,"xiu-hua-gua-ping-yi-ming-273096","绣花挂屏","此件绣作以针艺摹绘雅景，配色清和柔婉，石青与浅粉绣出湖石温润层次，细密排布的绣线让寿桃饱满莹润，枝叶舒展灵动，枝桠间停驻小雀暗生意趣。\n\n右上角御题配朱红玺印，为绣品添了端雅的宫廷气度，将祝寿的吉庆寓意藏在清逸构图中。绢面因年月晕开旧色，却更衬绣线沉静耐看，针线穿引间把院体画意与刺绣巧思相融，藏着旧时光里的雅致匠心，是兼具审美与吉庆意涵的精巧之作。",[8868,5769,56,29,11213,188,7,153,11214,79,1302,28],"寿桃","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41e7efa65dbc4c2c2be984c8d10c85c.jpg",[],{"id":11218,"slug":11219,"title":3256,"dynasty":18,"author":1491,"museum":552,"description":7992,"tags":11220,"thumbUrl":11221,"material":641,"size":642,"collection":59,"collections":11222,"showCount":124,"zanCount":511,"manualWeight":43,"mainColor":64},238351,"hua-hui-ce-dong-gao-238351",[25,29,28,53,243,662,1136,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28fdf5cb52d06c946ef79cb6edcbc5f5.jpg",[],{"id":11224,"slug":11225,"title":3365,"dynasty":18,"author":941,"museum":552,"description":4492,"tags":11226,"thumbUrl":11227,"material":641,"size":642,"collection":59,"collections":11228,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},237616,"hong-ren-shan-shui-ce-hong-ren-237616",[25,26,53,55,75,78,79,80,7,81,7673,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c67fe135fe740c9acc2ed77ec079c59.jpg",[],{"id":11230,"slug":11231,"title":8824,"dynasty":69,"author":431,"museum":112,"description":2675,"tags":11232,"thumbUrl":11233,"material":327,"size":4563,"collection":88,"collections":11234,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":44},237387,"ku-mu-zhu-shi-zhou-chen-hong-shou-237387",[25,26,27,55,434,75,1579,32,826,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e90407ec747da8abbe02b723eb29e68.jpg",[88],{"id":11236,"slug":11237,"title":1143,"dynasty":69,"author":10682,"museum":552,"description":10683,"tags":11238,"thumbUrl":11239,"material":641,"size":642,"collection":59,"collections":11240,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},235737,"hua-niao-ce-tan-zhi-yi-235737",[25,29,55,28,7,174,160,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe201c1615d8b0c90e521f26da6376f24.jpg",[],{"id":11242,"slug":11243,"title":11244,"dynasty":369,"author":711,"museum":71,"description":11245,"tags":11246,"thumbUrl":11247,"material":3653,"size":11248,"collection":59,"collections":11249,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":44},234071,"shi-bi-kan-yun-tu-ye-ma-yuan-234071","石壁看云图页","此图为典型的南宋院派山水画风格的作品，构图简练，根据需要把自然山水理想化，选景皆为主题服务，给人以联想的空间.",[25,55,29,75,53,80,7,30,1911,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a3308367e3d067d9670be8e7a73643.jpg","23.7厘米，横：24厘米",[],{"id":11251,"slug":11252,"title":11253,"dynasty":18,"author":2159,"museum":184,"description":11254,"tags":11255,"thumbUrl":11256,"material":2164,"size":11257,"collection":59,"collections":11258,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},232896,"ju-shi-tu-zhao-zhi-qian-232896","菊石图","同治十一年壬申，客居北京的赵之谦南归在家乡小住，旋赴江西修《江西通志》。临行前，他为朋友画了很多画，自此之后，他一心修《志》，绝少刻印画画，成了晚清艺术史上一大憾事。此轴即作于临去江西前，笔墨雄肆，构图奇突，可见当时的心情和画艺的熟练。极为难得。\n赵之谦（1829－1884），中国清代著名的书画家、篆刻家。浙江绍兴人。初字益甫，号冷君；后改字撝叔，号悲庵、梅庵、无闷等。在晚清艺术史上，赵之谦无疑是最为重要的艺术家之一。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大的影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，实得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。",[25,26,714,29,55,173,56,189,7,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd190ad7341a8baac238ac32249ed8e.jpg","17×54厘米",[],{"id":11260,"slug":11261,"title":11262,"dynasty":69,"author":1184,"museum":112,"description":11263,"tags":11264,"thumbUrl":11265,"material":313,"size":11266,"collection":59,"collections":11267,"showCount":124,"zanCount":511,"manualWeight":43,"mainColor":44},232667,"shan-lu-song-sheng-tu-tang-yin-232667","山路松声图","唐寅此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。\n图绘一山高耸，有一泉水自山腰拾级而上，汇入河中。山脚有一小桥跨泉连接山路，桥上两人，老者仰首侧耳，似听泉流松声，一童携琴随后。泉畔是茂密的松林，枝干虬曲，藤蔓缠身。一条崎岖不平的野路，蜿蜒通向山间。\n唐寅16岁中秀才，29岁在乡试中获第一名“解元”，30岁赴京赶考，大好的前途指日可待。岂料一同赶考的大地主徐经暗中贿赂主考官家的仆人从而得到试题，事情败落后，倒霉的唐寅也遭受牵连，甚至经受刑拷凌辱。一向恃才傲物的他经受如此大的打击后，对官场产生了强烈的反感，从此放荡不羁。失意后的唐寅游遍名山大川，千山万水了然于心，因此他的山水画中充满了吴地山水的景象，《山路松声图》就是他山水画的代表作。\n图中描绘了一座高耸的山峰，一汪泉水从山腰处流下，汇入清澈见底的河中。泉水边是葱郁的松林，藤蔓环绕在曲曲折折的枝干上。山脚下有一座小桥横跨河水，桥上一老人仰着头，似乎在倾听泉声，又好像在欣赏阵阵松涛，其后有一少年抱着琴跟随。唐伯虎在画上题诗道：“女几山前野路横，松声偏解合泉声。试从静里闲倾耳，便觉冲然道气生。”表达了他向往与世无争、闲淡自然生活的理想。\n图中松树枝叶的画法，从夏圭中来，但远比之繁盛、写实。以细劲的中锋勾勒，转折顿挫，不乏法度。山石硬朗，棱角分明，显然是李、郭的画法，但不师郭熙的卷云皴，也不施马、夏的斧劈皴，而是一种带有唐寅个人风格的线皴，较之许道宁的直线皴更为随意、疏松。勾笔较浓，而皴笔较淡，以浓点分出石的构成和层次，墨色通透而儒雅。用笔顿挫转折，遒劲飞舞，巧妙地点出了松声之意境。山的结体，错落盘桓，层次清晰，景致优美，而且真实感很强，有北宋全景山水的韵致。背景的处理极为简括，炕炕洛藩，给人以空旷萧瑟、冷漠寂寥的感受。\n此画构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。",[25,273,27,55,75,29,115,715,82,116,7,865,349,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9b8101070ee6720dcb0d5f2a0f287e.jpg","纵194.5厘米，横102.8厘米",[],{"id":11269,"slug":11270,"title":11271,"dynasty":302,"author":1566,"museum":552,"description":11272,"tags":11273,"thumbUrl":11274,"material":641,"size":642,"collection":59,"collections":11275,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":44},230843,"xi-zi-huan-sha-tu-zhou-wen-ju-230843","西子浣纱图","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[25,26,28,29,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e1f6d6ea361113225a7413f7732e14.jpg",[],{"id":11277,"slug":11278,"title":11279,"dynasty":18,"author":3850,"museum":552,"description":8325,"tags":11280,"thumbUrl":11281,"material":641,"size":642,"collection":59,"collections":11282,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},230356,"shan-shui-ce-ba-kai-fan-qi-230356","山水册八开",[25,26,24,53,29,75,79,80,7,134,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95306f468bab19553397d0d062d40e68.jpg",[],{"id":11284,"slug":11285,"title":11286,"dynasty":369,"author":201,"museum":552,"description":11287,"tags":11288,"thumbUrl":11289,"material":59,"size":59,"collection":59,"collections":11290,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,714,29,28,30,99,7,277,5135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880c152bb4ecce6798ef847bc94f14c1.jpg",[],{"id":11292,"slug":11293,"title":11294,"dynasty":369,"author":201,"museum":552,"description":11295,"tags":11296,"thumbUrl":11297,"material":59,"size":59,"collection":59,"collections":11298,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},227876,"liu-xi-chun-se-tu-yi-ming-227876","柳溪春色图","画面取景清隽雅致，以一角之景铺展春日闲情。苍松虬曲斜伸，松石旁廊下侍者俯身煎茶，对岸柳色氤氲，春水漾漾，远山含翠晕染如黛。衣袂轻扬的文人静坐在松下，凭览溪山春色，将幽居赏景的澹然意趣融于尺幅间。\n\n设色清润雅致，勾勒皴染细腻温婉，山水林人相映成趣，把林下雅兴、寄情林泉的幽怀铺陈开来，虽咫尺小帧，却晕染出舒展悠远的春日静境，尽显含蓄诗意与雅致情致。",[23,714,25,26,29,75,80,30,307,82,7,81,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb44f2205239bed4a2bbdc94d9cd7c.jpg",[],{"id":11300,"slug":11301,"title":11302,"dynasty":369,"author":201,"museum":552,"description":11303,"tags":11304,"thumbUrl":11310,"material":59,"size":59,"collection":59,"collections":11311,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":44},227858,"dai-du-tu-yi-ming-227858","待渡图","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[23,24,25,3858,714,29,55,80,30,242,82,85,307,324,11305,11306,7,11307,10775,11308,11309],"烟岚","山居","闲寂悠然","静谧","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":11313,"slug":11314,"title":11315,"dynasty":369,"author":11316,"museum":552,"description":11317,"tags":11318,"thumbUrl":11320,"material":59,"size":59,"collection":59,"collections":11321,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":44},227615,"liu-yin-xiu-qi-tu-ye-yang-ri-yan-227615","柳荫休憩图页","杨日严","杨日严，字垂训，宋朝河南人。进士及第，曾任安丘知县，通判亳、陈二州。杨日严任益州转运使时，颇为蜀人所信爱，却在任内因贪污被欧阳修弹劾，从此与欧阳修结怨，并且设法攻击。后为开封府代理知府，有囚犯自杀因被罢官。后判太常、司农寺，同知审官院，卒于官。",[23,24,25,26,53,29,28,30,307,153,80,7,11319],"休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24620bc6c89ce952d0373ed3f8835188.jpg",[],{"id":11323,"slug":11324,"title":11325,"dynasty":18,"author":417,"museum":552,"description":11326,"tags":11327,"thumbUrl":11329,"material":59,"size":59,"collection":59,"collections":11330,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},224293,"gu-bai-ling-xiao-tu-li-shan-224293","古柏凌霄图","画面中古柏躯干虬曲苍劲，枯笔皴擦尽显饱经风霜的古拙质感。凌霄柔蔓盘绕其上，丹色花朵娇妍明媚，刚柔相映，勾勒出盎然生机。下方湖石奇崛嶙峋，侧锋挥写出嶙峋肌理，石畔幽兰素花轻绽，添了几分清雅柔润。\n笔墨刚柔并济，古木的坚拙与花草的灵秀相融，再辅以题诗错落排布，诗画相映，将文人的清雅意趣寄寓其间，尽显写意花鸟的灵动神韵，生机古意交织成雅致盎然的庭间景致。",[23,25,26,27,29,173,75,78,79,56,134,7,11328],"凌霄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330a94e92eb6ad613697bf518f9e4fc9.jpg",[],{"id":11332,"slug":11333,"title":11334,"dynasty":18,"author":7723,"museum":552,"description":11335,"tags":11336,"thumbUrl":11338,"material":59,"size":59,"collection":59,"collections":11339,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":44},224125,"shi-lu-li-lu-ting-tu-zhou-qian-long-224125","诗鹭立芦汀图轴","清乾隆缂丝乾隆御制诗鹭立芦汀图轴是清乾隆时期的图轴。\n米色地上缂织芦花白鹭，右上方以黑线缂织高宗隶书御制诗一首： 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。",[23,24,25,26,27,28,29,4095,1990,11337,7,79],"汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffc101a696745672e7f2512cd182300.jpg",[],{"id":11341,"slug":11342,"title":11343,"dynasty":369,"author":201,"museum":112,"description":11344,"tags":11345,"thumbUrl":11346,"material":119,"size":11347,"collection":59,"collections":11348,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":44},223452,"xiao-han-lin-tu-zhou-yi-ming-223452","小寒林图轴","该幅两树石意似未尽，应是残存长卷的一段。平野上林木凋零，天色惨淡欲雪，小径上两翁且行且谈，一童挑担尾随。树枝用笔圆劲，直如篆籀，垂藤生动，势若惊蛇。全幅用笔细谨，墨法精绝，为宋无名款画中之杰出者。 此画绘北方清旷萧森之景，这种寒林平野的主题是由北宋李成所创，但图中坡石皴染和树木枝桠的布置已有郭熙的影响，人物画法精练传神，是北宋风格。因此此图就算不出于郭熙，也是时代相去不远之作。右侧飞雁一行，笔调单薄，与全图气韵不合，可能是后人所补。",[23,25,26,27,55,75,80,134,1231,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29861984f9f280d64ed489a7687eeb8e.jpg","该幅42.2x49.2公分全幅66.5公分",[],{"id":11350,"slug":11351,"title":11352,"dynasty":18,"author":3115,"museum":2832,"description":11353,"tags":11354,"thumbUrl":11355,"material":327,"size":11356,"collection":59,"collections":11357,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},222644,"xi-ting-chun-yan-tu-gao-feng-han-222644","西亭春艳图","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。",[23,25,24,74,29,28,56,191,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe91fd621aef32d569363dd50492f6e6.jpg","21×122cm",[],{"id":11359,"slug":11360,"title":11361,"dynasty":69,"author":8235,"museum":150,"description":8236,"tags":11362,"thumbUrl":11363,"material":59,"size":59,"collection":59,"collections":11364,"showCount":124,"zanCount":511,"manualWeight":43,"mainColor":64},222509,"shen-xian-tu-ce-15-zhang-lu-222509","神仙图册15",[23,24,25,26,53,55,30,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005e7d8deaa7551ce8082e0538cb946d.jpg",[],{"id":11366,"slug":11367,"title":11368,"dynasty":18,"author":941,"museum":71,"description":942,"tags":11369,"thumbUrl":11370,"material":327,"size":945,"collection":59,"collections":11371,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},220307,"huang-shan-tu-ce-20-hong-ren-220307","黄山图册-20",[23,25,26,53,55,75,80,7,82,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa431a49a8cdec6605db78b8ba51f6287.jpg",[],{"id":11373,"slug":11374,"title":11375,"dynasty":69,"author":431,"museum":184,"description":2097,"tags":11376,"thumbUrl":11379,"material":37,"size":2103,"collection":59,"collections":11380,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},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",[23,25,26,24,53,28,29,291,11377,7,11378,700],"蜗牛","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5070cbb8535d068831c1c644da9378.jpg",[],{"id":11382,"slug":11383,"title":11384,"dynasty":148,"author":201,"museum":835,"description":11385,"tags":11386,"thumbUrl":11387,"material":37,"size":59,"collection":60,"collections":11388,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":44},219299,"yan-shang-ji-ling-tu-yi-ming-219299","岩上鹡鸰图","疏枝如篆，瘦劲墨痕牵起清寂。岩块朴拙，淡墨晕染承着岁月沉影。鹡鸰栖石，羽翅敛微光，尾羽轻垂，神态悠然，似在静听风过枝桠的细响。右上角题字错落，笔墨与画境相融，文气暗生。画面简而不空，淡而有味，将元代文人画的空灵意趣凝于绢素——枯枝的疏朗、石的厚重、鸟的灵动，交织成一曲静谧的笔墨清歌，于简约中见生机，于静谧中藏深致。每一处线条皆含书法意韵，每片墨色都透着凉润，似能触到古人观物时的那份悠然心境。",[25,26,27,55,29,28,7,153,133,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538cf45217440ab8e483e722eede9383.jpg",[60],{"id":11390,"slug":11391,"title":11392,"dynasty":369,"author":201,"museum":112,"description":11393,"tags":11394,"thumbUrl":11395,"material":37,"size":11396,"collection":88,"collections":11397,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},218976,"xue-tang-chui-diao-tu-yi-ming-218976","雪塘垂钓图","这是一幅柳宗元诗歌《江雪》的画作，画中的渔夫带着嘀嗒声在江雪的天空中独自捕鱼。心情是空虚和冷漠的，笔触是清晰和减少的。虽然不一定是宋代，但可以追溯到元代。",[23,25,26,53,55,29,28,75,492,80,133,85,505,30,325,115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60d2b0f61e8804c3f763b7d1d90dc6.jpg","23.8x25.5",[88],{"id":11399,"slug":11400,"title":11401,"dynasty":18,"author":6283,"museum":874,"description":11402,"tags":11403,"thumbUrl":11404,"material":58,"size":11405,"collection":59,"collections":11406,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},217208,"fang-gu-shan-shui-shi-er-kai-shi-wang-hui-217208","仿古山水十二开(十)","此册王翚仿古十二开",[25,26,53,55,75,6109,80,116,7,81,84,1212,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac8621add47247ddd3b2459729362f6.jpg","25x35.4cm",[],{"id":11408,"slug":11409,"title":11410,"dynasty":18,"author":201,"museum":112,"description":9446,"tags":11411,"thumbUrl":11412,"material":37,"size":59,"collection":59,"collections":11413,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},215202,"sheng-ping-le-shi-tu-ce-5-yi-ming-215202","升平乐事图册-5",[25,26,53,29,28,30,349,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b66be545962c4fc4be968a79c1d91b.jpg",[],{"id":11415,"slug":11416,"title":11417,"dynasty":18,"author":475,"museum":184,"description":11418,"tags":11419,"thumbUrl":11420,"material":262,"size":59,"collection":59,"collections":11421,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":64},214388,"shan-shui-tu-ce-9-zhu-da-214388","山水图册-9","枯松如铁，虬枝斜探，墨线苍劲若篆籀，寥寥数笔便勾出山峦的峭拔与空濛。大片留白晕染云气流动，咫尺画幅生出千里烟霞之势。山石皴擦极简却见肌理，坡岸几株细树立得弱小倔强，似在空寂里守着生机。\n\n整幅画简淡到极致，藏着遗世的清冷与超脱——每处笔触都带疏离诗意，画家将心绪揉进墨里化在留白间，让观者于静默中触到天地浩渺与生命韧性。简而不空，淡而有味，八大山人以极简笔墨写尽深情，空寂里藏着乾坤，叫人在素净山水间读见一份倔强的诗意与旷达的心境。",[23,25,26,53,55,75,80,7,134,260,1231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059f84d01ef03869f5a3310858fe5883.jpg",[],{"id":11423,"slug":11424,"title":502,"dynasty":69,"author":941,"museum":150,"description":11425,"tags":11426,"thumbUrl":11428,"material":59,"size":59,"collection":88,"collections":11429,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":11430},203294,"shan-shui-ce-hong-ren-203294","画面以简淡笔墨绘山水之姿，山石轮廓用干笔勾勒，皴擦疏朗见骨，尽显峭拔之态；枯树枝桠如铁线般挺劲，与空濛远景相映，留白处漾出清冷空寂的韵致。桥上行人、山间亭榭点缀其间，虽小却添生趣，却未破整体孤峭氛围。笔墨间藏遗世独立之思，意境幽远，尽显新安画派简净冷逸的特质。",[80,53,55,75,133,7,349,277,11427,6240,23],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802c780960b3d87683bdffc7dbde11bd.jpg",[88],"d3cac0",{"id":11432,"slug":11433,"title":11434,"dynasty":18,"author":11435,"museum":150,"description":11436,"tags":11437,"thumbUrl":11439,"material":59,"size":59,"collection":60,"collections":11440,"showCount":124,"zanCount":43,"manualWeight":43,"mainColor":11441},201875,"wan-nian-qing-tu-zhou-gong-cheng-201875","万年青图轴","龚橙","画面以兼工带写之法绘就，万年青叶片线条劲挺，白描勾勒间衬以淡墨晕染，叶脉纹理清晰可见；朱红果簇点缀其间，色泽明艳，尽显生机。旁侧枝叶以没骨写意，墨色枯润相济，姿态舒展自然。背景山石泼墨而成，浓淡交错，晕染出雄浑朴拙之韵，与前景植物的柔美雅致形成对比。题款书法笔力遒劲，与画面相得益彰，尽显文人画的意趣与格调。整体构图疏密有致，设色淡雅却不失鲜活，传递出清逸隽秀的审美意蕴。",[25,27,29,56,11438,7,28,55,77,79,23],"万年青","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661818d8ed6e818b0cc3891f1a1f2591.jpg",[60],"c4bdaf",{"id":11443,"slug":11444,"title":7018,"dynasty":148,"author":823,"museum":112,"description":11445,"tags":11446,"thumbUrl":11447,"material":205,"size":7022,"collection":59,"collections":11448,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":44},290730,"si-ji-ping-an-tu-zhou-li-kan-290730","李衎(1244—1320年)，字仲宾，号息斋道人，元大都(今北京)人，仕至集贤殿学士。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。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。",[25,24,26,27,55,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32617d34cb9bfa61b991229a690a9e0.jpg",[],{"id":11450,"slug":11451,"title":11452,"dynasty":69,"author":5153,"museum":552,"description":7394,"tags":11453,"thumbUrl":11455,"material":641,"size":642,"collection":59,"collections":11456,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":44},290500,"duan-yang-jia-jing-zhou-lu-zhi-290500","端阳佳景轴",[24,25,27,29,56,7,396,243,79,77,11454],"端阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482b189c87564d22bc6caf1b3e60965a.jpg",[],{"id":11458,"slug":11459,"title":8642,"dynasty":18,"author":9493,"museum":552,"description":11460,"tags":11461,"thumbUrl":11462,"material":641,"size":642,"collection":59,"collections":11463,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},289914,"shan-shui-hua-niao-ce-zhang-zong-cang-289914","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[25,26,53,55,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d83bd4bde16aa2ba2cea07f83121c7f.jpg",[],{"id":11465,"slug":11466,"title":11467,"dynasty":69,"author":8430,"museum":552,"description":8431,"tags":11468,"thumbUrl":11470,"material":641,"size":642,"collection":59,"collections":11471,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},287942,"qiu-shan-han-shu-tu-zhou-wang-fu-287942","秋山寒树图轴",[23,25,27,55,80,6714,7,136,324,79,77,75,11469],"清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165a14128aeb069047921dc97c301c36.jpg",[],{"id":11473,"slug":11474,"title":11475,"dynasty":69,"author":1505,"museum":552,"description":11476,"tags":11477,"thumbUrl":11478,"material":641,"size":642,"collection":59,"collections":11479,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},283752,"lan-rong-chuan-se-tu-zhou-dong-qi-chang-283752","岚容川色图轴","此图是董其昌74岁（1628年）时创作的，以笔墨表现为主旨，意在聊写胸中丘壑。作者在静观自然景象的基础上，以娴熟的笔墨技法阐释自己对自然山川的本质感悟，它超越了山水云树的具体形貌，以形写神，故图中每一景、每一境虽都不是自然景观的真实描绘，但读者却可从其谨严的笔墨塑造中领略到真山实水的存在。以近景的树木为例，形态各异的树木，互有遮掩地生长在凹凸不平的坡地上。树干以短线条双勾，高低不同且有曲直变化，干体以淡墨或皴或晕，增强了其明暗效果及立体感；树叶表现得更为丰富，有的以侧锋卧笔大点横贯，有的浓淡墨相互交叠，有的直接落笔画线成叶，有的则以线勾双边成夹叶状，各具神采。但将它们参照客观存在的植物，却难以分辨出其树种，显然它们是董其昌“读万卷书，行万里路，胸中脱去尘浊，自然丘壑内营，成立鄄鄂（注：指城廓），随手写出，皆为山水传神矣”的美学观的最好图释。",[25,24,27,55,80,77,79,83,81,82,7,2079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4139975bf6ec2cb9c58f64adc8a49b12.jpg",[],{"id":11481,"slug":11482,"title":11483,"dynasty":18,"author":11484,"museum":552,"description":11485,"tags":11486,"thumbUrl":11487,"material":641,"size":642,"collection":59,"collections":11488,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},239481,"qiu-hua-tu-wan-shan-lian-xi-239481","秋花图纨扇","莲溪","此帧团扇布局疏密有致，湖石侧峙稳住画面重心，将红枫、黄菊错落排布。菊瓣淡描晕染，舒展柔婉，尽现清寒里盛放之姿；枫叶设色秾丽鲜亮，与黄花翠叶形成冷暖对照，鲜活耐看。湖石以水墨写意皴擦，兼工带写间尽显随性洒脱，笔墨兼具写生之真与写意之趣。\n左侧行书题款清雅疏朗，朱红印鉴点缀其间，书画印相映成趣。整体氤氲着晚秋清寂又明艳的诗意，将花木傲霜之态跃然绢上，暗合文人淡泊自持的襟怀，尽显灵动雅致的传统花鸟审美意趣。",[25,714,29,56,28,189,7,8579,79,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd2fadc75dbee1a2a72d834478b1581.jpg",[],{"id":11490,"slug":11491,"title":3256,"dynasty":18,"author":1491,"museum":552,"description":7992,"tags":11492,"thumbUrl":11494,"material":641,"size":642,"collection":59,"collections":11495,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},238890,"hua-hui-ce-dong-gao-238890",[25,26,53,29,28,243,7,396,11493],"秋海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2cabbf4021f74ea7b313a841aca195b.jpg",[],{"id":11497,"slug":11498,"title":1143,"dynasty":69,"author":7503,"museum":552,"description":7504,"tags":11499,"thumbUrl":11500,"material":59,"size":59,"collection":59,"collections":11501,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},237667,"hua-niao-ce-ling-bi-zheng-237667",[25,26,53,29,28,75,7,56,375,1496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cd4814e6dd2b283fc58702efcad736.jpg",[],{"id":11503,"slug":11504,"title":11505,"dynasty":18,"author":6283,"museum":552,"description":7368,"tags":11506,"thumbUrl":11508,"material":59,"size":59,"collection":60,"collections":11509,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},237579,"gu-jian-shu-lin-tu-zhou-wang-hui-237579","古涧疏林图轴",[25,26,27,55,75,76,1231,134,1292,11507,80,7,82],"古涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8333f98813ce41aa4afc681f09ce7f2.jpg",[60],{"id":11511,"slug":11512,"title":11513,"dynasty":18,"author":11514,"museum":552,"description":11515,"tags":11516,"thumbUrl":11517,"material":59,"size":59,"collection":59,"collections":11518,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},237093,"jiang-feng-shi-nv-ce-jiang-feng-237093","蒋峰仕女册","蒋峰","仕女画在中国传统绘画中属于人物画的范畴，但由于它以女性为描绘对象，通过塑造优美动人的妇女形象，来反映当时的社会生活，传达特定的艺术趣味和审美观念，在题材内容、思想内涵、创作方法、表现形式等方面都有独特之处，其肇始、成熟、演变、发展的历史轨迹也不全与人物画同步，因此，它已成为中国绘画中的一个独立画科，其艺术传统还一直延续到今天，对当代的国画、年画，以及牙雕、玉器、雕漆、宫灯、花丝镶嵌等工艺品有着不可忽视的影响。",[24,25,26,53,29,30,31,7,81,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcb49a6e78083fa76c65babef7f4d18.jpg",[],{"id":11520,"slug":11521,"title":502,"dynasty":69,"author":11522,"museum":552,"description":11523,"tags":11524,"thumbUrl":11525,"material":59,"size":59,"collection":88,"collections":11526,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},236924,"shan-shui-ce-qin-mao-de-236924","秦懋德","此作以淡墨晕染出萧疏冬景，枯木虬枝临水旁逸，茅亭孤坐一人凭窗凝睇，远山隐在烟岚轻雾之中，留白铺就出空濛幽寂的氛围感。\n题诗与画境相得益彰，将重阳过后的闲淡幽怀寄于尺幅之间。笔法秀雅简淡，舍去繁复皴擦，以极简构图传递出静穆淡远的林下之风，尽显文人山水画以景抒情的意趣，将观览者带入清冷安闲的山居雅境，藏着文人寄情林泉的雅致襟怀。",[25,26,53,55,29,80,349,134,277,82,7,324,81,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3230239299d828a4dafbc2c705611e63.jpg",[88],{"id":11528,"slug":11529,"title":502,"dynasty":18,"author":214,"museum":5179,"description":5180,"tags":11530,"thumbUrl":11531,"material":59,"size":59,"collection":88,"collections":11532,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},236729,"shan-shui-ce-hua-yan-236729",[25,26,53,29,55,80,349,33,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796e93be747b35bfd33272ec848edc2a.jpg",[88,105],{"id":11534,"slug":11535,"title":11536,"dynasty":69,"author":8904,"museum":71,"description":11537,"tags":11538,"thumbUrl":11539,"material":327,"size":11540,"collection":59,"collections":11541,"showCount":251,"zanCount":511,"manualWeight":43,"mainColor":64},236491,"shan-shui-ren-wu-ce-guo-fen-ya-236491","山水人物册","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[24,25,26,53,55,29,30,85,80,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3433dcfa615f2499e49190891608052.jpg","纵38.8厘米，横60.4厘米",[],{"id":11543,"slug":11544,"title":9315,"dynasty":18,"author":169,"museum":552,"description":11545,"tags":11546,"thumbUrl":11547,"material":59,"size":59,"collection":59,"collections":11548,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},235890,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235890","此作以淡墨晕染出空山清寂之境，湿笔披麻皴扫过坡石，带着氤氲水汽，将丘壑的温润苍古尽显。几株苍松虬枝简括，疏朗点苔，自带清瘦劲挺之姿。策杖幽人简笔勾勒，衣袂飘然，于山隅驻足，似在静听松风，又似寻幽访旧。\n左上题笔行书朴拙苍劲，诗画相融，将寻石听松的雅趣和山林空寂的意境合而为一。全幅笔墨简淡却意蕴悠长，淡墨轻岚间漾着悠然禅意，将山居清旷之景与幽人萧散心境完美契合，尽显山水寄情的文人意趣。",[25,26,53,55,80,30,7,117,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be577e5e9240c95abe5fc1a640d2f39.jpg",[],{"id":11550,"slug":11551,"title":11552,"dynasty":18,"author":3850,"museum":552,"description":11553,"tags":11554,"thumbUrl":11555,"material":59,"size":59,"collection":59,"collections":11556,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},235857,"qiu-shan-tu-ye-fan-qi-235857","秋山图页","此作用笔简秀清雅，以淡墨晕染出空濛烟霭，远山隐没在寒雾之中，只留浅淡轮廓，尽显秋日山空的疏寂。近景枯木虬枝错落，苍劲古拙，板桥横跨浅溪，石畔秋意萧索，寥寥数笔便勾勒出深秋山林的清冷之态。\n\n对页题诗与画意呼应，书画合璧，将荒寒淡远的林泉逸趣烘托尽致。淡彩轻敷，留白写意，铺陈出澹泊宁和的山水诗意，仿佛将人带入清寂幽远的秋日丘壑，沉浸式感受这份沉静内敛的古韵幽情，尽显文人山水的清雅意致。",[25,26,53,55,80,133,7,324,865,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa673113de5c7f14f0084268c94e28ccf.jpg",[],{"id":11558,"slug":11559,"title":3365,"dynasty":18,"author":201,"museum":552,"description":11560,"tags":11561,"thumbUrl":11563,"material":59,"size":59,"collection":59,"collections":11564,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},235157,"hong-ren-shan-shui-ce-yi-ming-235157","此作为诗画合璧佳构，笔墨简淡疏朗，尽显清逸禅意。画面以淡墨晕染山峦，空灵悠远，山腹石拱如天工开辟，苍松沿溪亭亭如盖，平岸浅溪蜿蜒，村舍错落林间石畔，烟火气隐于清冷丘壑之间。\n\n题书清隽雅致，诗句与画境相契，松杉引径，夕照里野村人家渺远，古寺钟声融在暮霞里，将画中静穆清冷的意境铺展开来。淡笔轻皴里藏着幽远超脱的文人襟怀，观之如临江南寂寂山野，尘俗烦扰尽皆涤荡，尽显山水淡远出尘之美。",[25,26,53,55,80,75,77,78,79,115,338,81,260,863,865,349,7,82,11562],"曲路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5772aa239819d308c2c0d814fad933b.jpg",[],{"id":11566,"slug":11567,"title":11568,"dynasty":18,"author":96,"museum":552,"description":9334,"tags":11569,"thumbUrl":11570,"material":1106,"size":9337,"collection":59,"collections":11571,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},234985,"hua-hui-ling-mao-ping-3-ren-yi-234985","花卉翎毛屏3",[25,26,27,29,28,56,190,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87555a203978651137c3d5d142b277ac.jpg",[],{"id":11573,"slug":11574,"title":11575,"dynasty":18,"author":11576,"museum":552,"description":11577,"tags":11578,"thumbUrl":11579,"material":59,"size":59,"collection":59,"collections":11580,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},234694,"shi-nv-dan-ye-hu-xi-gui-234694","仕女单页","胡锡珪","胡锡珪（1839-1883）初名文，字三桥，号盘溪外史、红茵生、红茵馆主，室名盘溪小筑、红茵馆。江苏苏州人。布衣，长居吴下。幼习丹青，夙根早慧，涉笔便有韵致。及长，便学诸家之法，于 恽寿平 、华新罗、李复堂、改七芗用力更多。最善没骨人物，笔墨生动，时罕其匹。光绪年间，与吴江 陆廉夫 、安吉 吴昌硕 、同里 顾若波 、顾西津切磋吴门，诗画唱酬，堪称一时风雅。",[25,26,29,28,55,30,31,523,260,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332b332c4460e4b0b5a1cfad5585ece8.jpg",[],{"id":11582,"slug":11583,"title":11584,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":11585,"thumbUrl":11586,"material":59,"size":59,"collection":59,"collections":11587,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},234648,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234648","原济金陵十景图册",[25,26,53,55,78,79,80,7,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b94e4bc4ae513265cb49273e2b24099.jpg",[],{"id":11589,"slug":11590,"title":11591,"dynasty":18,"author":201,"museum":552,"description":11592,"tags":11593,"thumbUrl":11594,"material":59,"size":59,"collection":59,"collections":11595,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,26,53,76,28,29,30,5135,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b209cc1ff1f79f754a1dc846afdeb5.jpg",[],{"id":11597,"slug":11598,"title":11599,"dynasty":69,"author":4336,"museum":71,"description":11600,"tags":11601,"thumbUrl":11603,"material":11604,"size":11605,"collection":59,"collections":11606,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},233795,"wen-zheng-ming-hong-xing-hu-shi-tu-shan-ye-wen-zheng-ming-233795","文徵明红杏湖石图扇页","扇页有自题：“三月融融晓雨干，十分春色在长安。香尘属路红云煖，总待仙郎马上看。小诗拙画奉赠补之翰学。丁酉腊月既望。徵明。”钤“徵明”白文印。\n“丁酉”是明嘉靖十六年（1537年），文徵明时年68岁。\n扇页有王守题七言诗一首。\n这是一幅文徵明送与做官友人的画作。图绘有着皱、漏、透、瘦之美的太湖石与体态婆娑的杏树相佐相依的小景。文徵明以工绘山水画著称，偶尔绘人物和兰竹，以杏树为主题的画作仅此一幅扇面画，非常难得。此图布局巧妙，石与树一左一右，呈揖对之势，石以其坚实的质感托出树木的柔媚，增添了画作的刚柔之美。全画于苍润纯熟的笔墨间流露出文人画娟雅之气。",[25,26,24,714,29,78,79,11602,7],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2635dc9c42b57c75be7ddd36e42bb600.jpg","金笺，墨笔","纵18.5厘米，横51.5厘米",[],{"id":11608,"slug":11609,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":11613,"thumbUrl":11614,"material":59,"size":59,"collection":60,"collections":11615,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},233235,"shi-zhu-zhai-pu-ce-hu-ri-cong-233235","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[25,26,53,55,7,82,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29304ad26117c88366b592ace23b072.jpg",[60,105],{"id":11617,"slug":11618,"title":9527,"dynasty":69,"author":4336,"museum":71,"description":9528,"tags":11619,"thumbUrl":11620,"material":327,"size":9531,"collection":59,"collections":11621,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},232957,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232957",[25,26,53,55,75,77,78,80,32,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1669656e724541295af682597e5a520.jpg",[],{"id":11623,"slug":11624,"title":11625,"dynasty":69,"author":8032,"museum":552,"description":11626,"tags":11627,"thumbUrl":11628,"material":59,"size":59,"collection":59,"collections":11629,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},228853,"si-wan-shan-shui-tu-wen-bo-ren-228853","四万山水图","以极简淡墨铺陈江天，大片留白漾开空濛水色，将天地浩渺揉入卷中。近岸枯木虬根盘错，浅滩蒲草疏疏曳动，扁舟横卧，渔翁静憩，野逸闲趣暗藏其间。远景山峦以淡墨轻扫出柔缓轮廓，恍如黛色浮于云水之畔。数点飞雁列阵划破空寂，愈发衬出江天寥廓。题款小字错落留白之上，诗画相映，晕开江南秋闲的空阔清远。笔致松秀简淡，不见繁缛皴染，却将平远山水的空灵通透娓娓道来，尽显寄情丘壑、淡远萧散的文人意趣，观之如沐江风，心随水色一同沉敛安宁。",[23,25,55,27,80,85,153,117,7,324,325,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa85fe8825904bddc6b0c2e6a9aa859.jpg",[],{"id":11631,"slug":11632,"title":11633,"dynasty":148,"author":3640,"museum":552,"description":11634,"tags":11635,"thumbUrl":11636,"material":59,"size":59,"collection":59,"collections":11637,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":44},228047,"guan-chao-tu-sheng-mao-228047","观潮图","咫尺尺幅铺展江天寥廓，右下方白衣高士踞坐石矶，抬眸望江，神思随浪涛远走，静穆出尘。右侧老树枝叶垂覆如翠幄，掩映出幽寂观潮之地。远景山峦以澹墨轻晕，烟霭空濛，将天地晕染成一片浑茫。\n\n笔墨简括柔润，浅设色温婉清和，以大片留白暗喻江潮浩渺，以静写动，未着潮声却似能耳闻浪拍长岸，把文人耽游林泉、寄情山水的雅怀藏在留白间。简淡画面中晕开悠远诗意，将凝神观潮的忘我意态，融在烟水山色里，尽显山水以景寄兴的悠然意境。",[23,25,55,29,75,80,30,117,338,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a29a6ce0c5bedcec8cc9a7d7960888.jpg",[],{"id":11639,"slug":11640,"title":11641,"dynasty":369,"author":201,"museum":552,"description":11642,"tags":11643,"thumbUrl":11644,"material":59,"size":59,"collection":59,"collections":11645,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":44},227864,"chun-shan-yu-ting-ye-yi-ming-227864","春山渔艇页","这幅团扇以平远之法铺陈春景，淡晕的山峦柔缓舒展，烟霭轻笼水岸，晕开朦胧的春日清氛。陂陀石岸旁，林木枯荣交错，带着早春初醒的疏懒意态，青绿与赭石轻扫山石水岸，晕染出江南春山的温润水汽。\n\n一叶渔艇静浮水面，独钓的渔翁将幽寂闲散的隐逸意趣揉入空阔水色中。整作无繁复刻画，以简淡笔触晕开春日水滨的清寂淡然，将宋人娴静雅致的山水心境藏在尺幅之间，淡而弥远，静中生境，把江南早春的疏朗与幽隐心绪融成一缕绵长余韵。",[23,25,26,714,29,80,85,134,82,137,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce57e3ac98b56a84f84c690afbf0f9b.jpg",[],{"id":11647,"slug":11648,"title":11649,"dynasty":18,"author":4274,"museum":552,"description":11650,"tags":11651,"thumbUrl":11652,"material":59,"size":59,"collection":59,"collections":11653,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},224257,"xi-ting-du-tiao-tu-cha-shi-biao-224257","溪亭独眺图","《新安画派·查士标-中国古代画派大图范本-二》是212年 出版的图书，作者是査士标。\n中国古代画派大图范本·新安画派二：溪亭独眺图，ISBN：97875481188，作者：杨东胜",[23,25,55,27,80,349,117,277,82,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e830b7b27daf04d27a64ae0f32cc68.jpg",[],{"id":11655,"slug":11656,"title":11657,"dynasty":369,"author":201,"museum":112,"description":11658,"tags":11659,"thumbUrl":11660,"material":4702,"size":11661,"collection":59,"collections":11662,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},223569,"xi-shan-xing-lv-tu-yi-ming-223569","溪山行旅图","图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。",[23,25,26,714,55,75,77,78,79,80,7,81,277,82,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce1a8b5a603f292840b46f377d5eb9e.jpg","28.6 x 44.1 cm",[],{"id":11664,"slug":11665,"title":11666,"dynasty":18,"author":516,"museum":50,"description":517,"tags":11667,"thumbUrl":11669,"material":313,"size":530,"collection":59,"collections":11670,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":143},222939,"hong-lou-meng-64-sun-wen-222939","红楼梦64",[23,228,28,29,241,30,31,11668,242,519,7,190,133,7905,1922,35],"男子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F065d10b41b65d09fd2a9dfb385d6832a.jpg",[],{"id":11672,"slug":11673,"title":11674,"dynasty":69,"author":11675,"museum":552,"description":11676,"tags":11677,"thumbUrl":11678,"material":507,"size":11679,"collection":59,"collections":11680,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},222384,"guan-yin-tu-ding-yun-peng-222384","观音图","丁云鹏","此图人物面相与手指以工笔重彩，平涂淡色，粗细，浓淡间对比强烈，转换自如，其设色古朴、秀雅不俗，较全面地体现了丁云鹏在粗笔佛像、人物画方面的最高成就。此图天地开阔，中以浅色工笔画白衣大士端坐岩石之上，双目下垂，身旁净瓶插青新竹数枝。",[23,25,27,576,29,30,7,28,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957ac31aa1de24fce5dd74cd1ec3b914.jpg","33.1x97.2",[],{"id":11682,"slug":11683,"title":11684,"dynasty":148,"author":11685,"museum":71,"description":11686,"tags":11687,"thumbUrl":11689,"material":313,"size":11690,"collection":88,"collections":11691,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":44},221701,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-221701","碧梧苍石图轴","陆行直","图绘椭圆巨石一块，表面露出花朵般的花纹，左侧二棵梧桐傍石而长，树杆修长，树叶苍翠。技法上，湖石以繁皴密染，树叶勾点兼用，用笔仓劲。陆行直，字季道，洪武时期授予\u0016翰林典籍，书、画皆精。",[23,25,26,27,55,7,117,11688,77,78,75],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5580b26937d367bc6093e7f1025fa9de.jpg","107x53.2cm",[88,122],{"id":11693,"slug":11694,"title":11695,"dynasty":148,"author":1930,"museum":112,"description":11696,"tags":11697,"thumbUrl":11699,"material":37,"size":11700,"collection":59,"collections":11701,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":44},219128,"hua-hui-ce-ju-zhu-shi-wang-yuan-219128","花卉册-菊竹石","竹影疏斜，菊瓣凝香，草虫轻跃于枝叶间。绢本之上，墨线勾勒精准，淡彩晕染温润，不取浓艳却得自然清趣。蟋蟀振翅欲鸣，小飞虫翩然若舞，动静相衬，生机暗藏。笔法工细而不刻板，兼融院体之精与文人之逸，笔墨间流露元人清逸之致。于细微处见匠心，静中藏动，尽显草木虫豸之灵秀。其将自然生灵摹写得栩栩如生，又以淡雅之韵传递文人雅趣，是元代花鸟精品中颇具代表性的一页，意境悠远，笔墨精湛，尽显传统花鸟之美。",[23,25,26,53,29,28,56,189,32,7,1628,243,11698],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a6e0671fc4d12e1f018cb98a9a82661.jpg","25.9x23.6cm",[],{"id":11703,"slug":11704,"title":11705,"dynasty":148,"author":201,"museum":6900,"description":11706,"tags":11707,"thumbUrl":11709,"material":262,"size":11710,"collection":39,"collections":11711,"showCount":251,"zanCount":511,"manualWeight":43,"mainColor":64},218440,"bu-na-tu-yi-ming-218440","补衲图","这是德川美术馆收藏的三幅画中的中间一幅，描绘了禅宗大师朝阳用木西和胡乃夫等高僧的书写方式搓揉绳子的情景。",[23,25,55,173,30,7,1302,11708,434],"补衲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03859ed5badbca0ed41251a09e4a152.jpg","80.3x32.1",[39],{"id":11713,"slug":11714,"title":11715,"dynasty":69,"author":201,"museum":874,"description":875,"tags":11716,"thumbUrl":11717,"material":58,"size":59,"collection":59,"collections":11718,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":64},217946,"ming-ren-shan-shui-hua-ce-jiu-yi-ming-217946","明人山水画册(九)",[23,25,26,53,55,80,75,115,84,81,136,325,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa574ea7389a9c41271ae0e8aae560842.jpg",[],{"id":11720,"slug":11721,"title":11722,"dynasty":18,"author":201,"museum":1637,"description":11723,"tags":11724,"thumbUrl":11725,"material":327,"size":59,"collection":59,"collections":11726,"showCount":251,"zanCount":43,"manualWeight":43,"mainColor":1551},216856,"xi-xiang-ji-tu-ce-20-yi-ming-216856","西厢记图册-20","圆月清辉遍洒庭院，树影斑驳如碎银。藤蔓似绿绸缠绕花架，枝叶间缀着零星幽花。女子素衣长裙，身姿窈窕，轻倚花架旁，眉目间凝着淡淡幽思，仿佛正沉浸在西厢故事的缱绻心绪里。右侧圆拱门内，烛火摇曳，几案静立，朦胧光影勾画出深院的静谧。红栏绕岸，石砌铺阶，园林景致精巧雅致，每一处细节都晕染着古典温婉。画面色调柔和，笔触细腻，将人物情态与园林幽境相融，风过枝叶的轻响似在耳畔，那份藏在画中的细腻情思缓缓流淌，尽显传统绘卷的诗意与叙事之美。",[25,26,53,28,29,30,31,864,7,81,244,519,242,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bfa9b8b76f98e2617ae763f5dda4d2.jpg",[],{"id":11728,"slug":11729,"title":11730,"dynasty":148,"author":1764,"museum":112,"description":10607,"tags":11731,"thumbUrl":11732,"material":262,"size":10612,"collection":60,"collections":11733,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},290729,"ku-he-xi-chi-zhou-zhang-zhong-290729","枯荷鸂鶒轴",[25,24,27,56,29,28,10610,10609,7,1991,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ba32a2305da6c22ebd12cfc8bd1891.jpg",[60],16,{"id":11736,"slug":11737,"title":11738,"dynasty":18,"author":11739,"museum":552,"description":11740,"tags":11741,"thumbUrl":11742,"material":641,"size":642,"collection":59,"collections":11743,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},290001,"he-li-tu-li-zhou-li-xiao-290001","鹤立图立轴","李孝","李孝，字敦庸，号桐园，活动于康熙年间，系安徽无为人，父李亨（李仲仁）。善山水、花鸟、草虫，以“没骨画”著称，师法明代孙隆。",[25,26,27,55,56,33,1990,965,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86823fba7dc574733c21eae050176d10.jpg",[],{"id":11745,"slug":11746,"title":11747,"dynasty":69,"author":11748,"museum":71,"description":11749,"tags":11750,"thumbUrl":11752,"material":641,"size":642,"collection":59,"collections":11753,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":44},289996,"chan-gong-yu-mian-tu-tao-cheng-289996","蟾宫玉免图","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。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 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。”",[25,27,29,28,8451,243,7,81,11751,56,101],"神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd4b722fcfb2bc6a3de37c4f98356ed1.jpg",[],{"id":11755,"slug":11756,"title":200,"dynasty":148,"author":11757,"museum":552,"description":11758,"tags":11759,"thumbUrl":11760,"material":641,"size":642,"collection":59,"collections":11761,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":44},288355,"zhu-shi-tu-deng-yu-288355","邓宇","邓宇，字子方，号五云，是元末明初画家、道士，",[25,26,27,55,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d25db2e100974dd0888fb243ef43c43.jpg",[],{"id":11763,"slug":11764,"title":11765,"dynasty":18,"author":11766,"museum":552,"description":11767,"tags":11768,"thumbUrl":11769,"material":641,"size":642,"collection":59,"collections":11770,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},288353,"lan-shi-tu-jiang-pu-288353","兰石图","蒋溥","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。",[25,26,27,29,28,56,191,188,7,700,1628],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0350f5ed0f80f346627b44ec05cfd1de.jpg",[],{"id":11772,"slug":11773,"title":11774,"dynasty":18,"author":214,"museum":552,"description":4061,"tags":11775,"thumbUrl":11777,"material":641,"size":642,"collection":59,"collections":11778,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},288023,"huang-li-chui-liu-tu-qian-se-hua-yan-288023","黄鹂垂柳图（浅色）",[23,25,1969,29,27,153,11776,2049,7],"黄鹂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef70ef5b3d148a261dcf8166d4c2823.jpg",[],{"id":11780,"slug":11781,"title":11782,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":11783,"thumbUrl":11785,"material":641,"size":642,"collection":59,"collections":11786,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":44},287814,"xi-ying-tu-chen-hong-shou-287814","戏婴图",[23,24,25,27,29,30,28,576,5135,7,189,79,11784],"童趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e09e2fdd444b23628175ba00b32df43.jpg",[],{"id":11788,"slug":11789,"title":11790,"dynasty":302,"author":11791,"museum":552,"description":11792,"tags":11793,"thumbUrl":11794,"material":641,"size":642,"collection":59,"collections":11795,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":44},287705,"yan-ai-qiu-she-zhao-gan-287705","烟霭秋涉","赵幹","山谷间流水潺潺，五名行旅提挽裤脚，相继涉水渡溪，背后的树木已呈枯黄，后岭复重重环抱，此境益为幽深绝尘。旧传此幅为赵干之作。",[23,25,26,273,55,75,7,134,1893,5749,78,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc85a4e660923125f155ac2d2314f28a.jpg",[],{"id":11797,"slug":11798,"title":10116,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":11799,"thumbUrl":11801,"material":59,"size":59,"collection":59,"collections":11802,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},237771,"yuan-ji-shan-shui-tu-ce-shi-tao-237771",[25,55,29,53,75,80,85,133,82,7,79,134,11025,8316,1791,11800,173],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdf2030026657b64f84e1fb3e57e390.jpg",[],{"id":11804,"slug":11805,"title":11806,"dynasty":18,"author":8439,"museum":552,"description":10889,"tags":11807,"thumbUrl":11808,"material":641,"size":642,"collection":88,"collections":11809,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},236417,"shan-shui-he-ce-huang-yi-236417","山水合册",[24,25,26,80,53,75,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccdec5f166d12a3538f49c644f7c0d9a.jpg",[88],{"id":11811,"slug":11812,"title":502,"dynasty":69,"author":4470,"museum":71,"description":11813,"tags":11814,"thumbUrl":11816,"material":5284,"size":11817,"collection":59,"collections":11818,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},236328,"shan-shui-ce-song-xu-236328","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[25,55,75,53,80,82,7,134,30,259,324,11815,81],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e79ad6a3590e82867bbf6b58c0e8bd1.jpg","纵31cm，横42cm",[],{"id":11820,"slug":11821,"title":4918,"dynasty":18,"author":214,"museum":552,"description":11822,"tags":11823,"thumbUrl":11824,"material":59,"size":59,"collection":59,"collections":11825,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},236008,"hua-hui-tu-ce-hua-yan-236008","此作用没骨技法写秋海棠，粉红花苞与柔枝晕染细腻，花瓣留白尽显清透娇妍，红丝勾勒叶筋，浅绿敷色让叶片鲜活舒展，将秋海棠楚楚柔态尽数铺陈。旁侧以淡墨晕染湖石，枯润相生，虚实掩映，以素朴墨色衬出花草秀雅之姿。\n整体笔致秀逸空灵，设色明丽温婉，将秋海棠缱绻含情的韵致尽显。画面简淡中藏精巧，淡冶间见天真，尽显写意花鸟的隽美风神，裹挟着清润雅致的文人意趣，观之如见阶畔幽花悄然盛放的静好景致。",[25,53,29,55,56,243,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf6cc33ae63cc9ab0c630334e8f0831.jpg",[],{"id":11827,"slug":11828,"title":11829,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":11830,"thumbUrl":11831,"material":641,"size":642,"collection":59,"collections":11832,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},235793,"xian-shi-shan-chen-hong-shou-235793","仙石扇",[25,26,714,55,434,7,174,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcc6f16a8a420e43a90be5206a71fa3.jpg",[],{"id":11834,"slug":11835,"title":11836,"dynasty":18,"author":11837,"museum":552,"description":11838,"tags":11839,"thumbUrl":11841,"material":641,"size":642,"collection":59,"collections":11842,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},235660,"shan-shui-ping-yuan-jiang-235660","山水屏","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[25,24,26,241,28,29,75,80,242,277,153,134,7,11840],"长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905a085c5f592f1e8d1d52a233bbe9f6.jpg",[],{"id":11844,"slug":11845,"title":11846,"dynasty":69,"author":5153,"museum":552,"description":7394,"tags":11847,"thumbUrl":11848,"material":641,"size":642,"collection":59,"collections":11849,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},235531,"fang-ni-shan-shui-tu-shan-ye-lu-zhi-235531","仿倪山水图扇页",[4741,25,26,714,76,55,29,75,80,117,349,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03a1d1c42a8e3d1c91f357d7c3bf9a8.jpg",[],{"id":11851,"slug":11852,"title":10116,"dynasty":18,"author":169,"museum":552,"description":11853,"tags":11854,"thumbUrl":11856,"material":59,"size":59,"collection":59,"collections":11857,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},235522,"yuan-ji-shan-shui-tu-ce-shi-tao-235522","此作用枯笔淡墨绘就山水幽居之境。远山清瘦层叠，烟岚轻笼峰腰，晕染出空濛淡远之致。近处怪石盘迂，苍松杂木错落生姿，茅舍半隐林麓，林下幽人对坐抚琴，尽得林泉高致。\n\n左侧题诗与画面相映成趣，笔致萧散简淡，以诗衬画，将静听松风、默然会意的雅逸心境铺展纸上。整体画风疏秀空灵，脱尽尘俗，以极简笔墨勾勒悠远林下之思，把文人耽爱山水、寄情丝桐的襟怀融于尺幅间，淡而弥永，意韵悠长。",[25,55,53,75,80,7,81,921,324,11855,1212,10737,519],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9ee25418441b56893f0e81e4198921.jpg",[],{"id":11859,"slug":11860,"title":11861,"dynasty":18,"author":7785,"museum":552,"description":11862,"tags":11863,"thumbUrl":11864,"material":59,"size":59,"collection":59,"collections":11865,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},235087,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-yuan-qi-235087","仿黄公望山水图轴","《王翚仿黄公望山水图轴》是清代 创作的一幅画。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。",[25,26,27,55,75,80,135,81,136,82,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5185714d6608092df8218c1174e80ce5.jpg",[],{"id":11867,"slug":11868,"title":11869,"dynasty":18,"author":5439,"museum":71,"description":11870,"tags":11871,"thumbUrl":11872,"material":59,"size":59,"collection":59,"collections":11873,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},234468,"gao-mu-yuan-shui-tie-luo-shen-zhen-lin-234468","高木远水贴落","沈振[清]字凤池，一作凤墀，吴县（今江苏苏州）人。工写照，兼善写生，及山水、人物，各臻其妙。供奉内廷。\n慈禧太后赐御笔“传神妙手”区额。尝奉勅画马便面二叶，各有宣宗御题三字一曰“飞霞骢”，一曰“翔玉骢”，钤有道光御用方玺。又百鸽图每页书签各名，尽绘物之妙。《寒松阁谈艺琐录、瓯钵罗室书画过目考》",[25,29,28,188,7,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949c6bc60908770b8bcf72c3ec9de469.jpg",[],{"id":11875,"slug":11876,"title":3562,"dynasty":148,"author":3640,"museum":71,"description":11877,"tags":11878,"thumbUrl":11879,"material":479,"size":3644,"collection":59,"collections":11880,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":44},233952,"song-shi-tu-zhou-sheng-mao-233952","此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[25,55,27,75,715,826,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5472fa97ec25a324a41e344a125846.jpg",[],{"id":11882,"slug":11883,"title":8702,"dynasty":18,"author":169,"museum":71,"description":8703,"tags":11884,"thumbUrl":11885,"material":8706,"size":8707,"collection":59,"collections":11886,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},233417,"yuan-ji-shan-shui-ce-shi-tao-233417",[25,55,53,75,80,7,134,1231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbc7f6586f3953ae969d45c5a8d59a6.jpg",[],{"id":11888,"slug":11889,"title":11536,"dynasty":18,"author":4070,"museum":71,"description":11890,"tags":11891,"thumbUrl":11892,"material":11893,"size":11894,"collection":59,"collections":11895,"showCount":11734,"zanCount":511,"manualWeight":43,"mainColor":64},233397,"shan-shui-ren-wu-ce-jin-nong-233397","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[25,26,53,29,55,434,75,80,30,7,117,8579,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9affef318a27a3eff09070d1263ab9ff.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[],{"id":11897,"slug":11898,"title":11899,"dynasty":148,"author":256,"museum":552,"description":11900,"tags":11901,"thumbUrl":11902,"material":327,"size":11903,"collection":59,"collections":11904,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,25,26,74,55,75,78,77,24,80,7,81,277,82,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":11906,"slug":11907,"title":11908,"dynasty":18,"author":4274,"museum":184,"description":10424,"tags":11909,"thumbUrl":11910,"material":327,"size":11911,"collection":59,"collections":11912,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":44},232687,"fang-ni-yun-lin-gu-mu-tu-cha-shi-biao-232687","仿倪云林古木图",[23,25,55,76,80,1231,134,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd8c4275900bc0d3ef08012f2755498.jpg","110×50厘米",[],{"id":11914,"slug":11915,"title":11916,"dynasty":18,"author":6283,"museum":184,"description":11917,"tags":11918,"thumbUrl":11919,"material":327,"size":11920,"collection":59,"collections":11921,"showCount":11734,"zanCount":511,"manualWeight":43,"mainColor":64},232267,"geng-yan-shan-shui-tu-ce-wang-hui-232267","耕烟山水图册","王翚在王时敏等人的指导下进行学习和创作的生涯达二十年。他广泛学习宋元以来的各种流浓和山水画名迹。为他最终达到“集大成”打下了深厚的基础。相对于其它三王来说。王翚的家境是较贫寒的。在青年时代就做到“仿临宋元人无微不肖”因此当时有人便“倩其作装璜作伪，以愚好古者，虽老于鉴别亦不知为近人笔”〔清·周亮工《读画全录》。今天我们偶尔还能见到王翚的“作伪”的一些假，宋元古画。〕后人广泛称道王翚的画为集古之“大成”，此语原为石谷自道：“以元人笔墨。运宋人丘壑，而泽以唐人气韵，乃为大成”〔《清晖画跋》〕。而他说的另一段话中道得更为透彻：“翚自龉时搦管，仡仡穷年，为俗流派拘牵，无繇自拔……临颖茫然，识微难洞，已从师得指法，复于东南收藏好事家纵览右丞，思训，荆，董，胜国诸贤，上下千余年，名迹数二万种，然后知事理之精微，画学之博大如此，而非区区一家一派之所能尽也，由是潜神苦志，静心救之，每下笔落墨，辄思故人用心处……于是涵泳于心，练之于手，自喜不复为流派所感，而稍稍可以自信矣”（《清晖画跋》）。可见，王翚早年曾经“为世俗流派拘毫，无繇自拔”一味地广泛临摹，学习古人各种不同的的画法之然“然后知画理之精……非区区一家一派之所能尽也”。夜间他从世俗流派的不同门户偏见的羁伴中解脱出来，当然包括所谓“南北宗”山水画的区分。清盛大士说得好“耕烟贡性超俊，学习深邃，能含南北宗为一手”（《溪山卧游录》卷一），清张庚也指出：“画有南北宗，至石谷而合焉”（《国朝画征全录》）。中国的傅统山水画，其中最主要的一种审美要素便是和式化的”皴法；而所谓“南北宗”之别亦在“披麻皴”和“斧劈皴”的不同。但二者长期的对立状态却被王翚加以解化了。正如恽寿平所说“古来之笔至龃龉不能相入者，石谷则罗而置之笔端，融洽以出，神哉技手”（《瓯香馆画跋》） 。",[25,26,53,55,75,80,134,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bb574f4feb8802ab4baafc960bf456.jpg","29×29cm×10",[],{"id":11923,"slug":11924,"title":11925,"dynasty":69,"author":1018,"museum":552,"description":11926,"tags":11927,"thumbUrl":11930,"material":59,"size":59,"collection":59,"collections":11931,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,29,28,56,11928,11929,7,864,1990,27],"鹭鸶","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e99361f9eb6549e3533363dcac0288.jpg",[],{"id":11933,"slug":11934,"title":11935,"dynasty":369,"author":201,"museum":112,"description":11936,"tags":11937,"thumbUrl":11939,"material":11940,"size":11941,"collection":59,"collections":11942,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":44},223439,"song-ke-si-wen-zhi-zhou-yi-ming-223439","宋缂丝文雉轴","整作雅致清隽，以缂丝之技复刻院体花鸟意趣。文雉傲然独立于奇石之上，翎羽以细缂勾勒，素洁莹润，顶间绒羽灵动，目光悠然似望林泉。幽竹斜探出石畔，兰叶舒展柔婉，灵芝倚石而生，晕染出林下清寂绝尘的闲趣。\n\n石身以深浅蓝褐织就层叠肌理，禽鸟草木设色柔雅沉静，将丝织的温婉与工笔的精细相融。静穆之中暗生机趣，尽显宋人雅致含蓄的审美意趣，把林泉幽致的东方意境凝于尺幅绢面之上。",[23,24,25,26,27,29,56,229,11938,1073,7,2807,4036],"雉鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ba41c929197839da6fa18ad2039c4.jpg","緙絲","71.8厘米",[],{"id":11944,"slug":11945,"title":11946,"dynasty":18,"author":4526,"museum":71,"description":11947,"tags":11948,"thumbUrl":11950,"material":11951,"size":11952,"collection":59,"collections":11953,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":11954},223142,"shi-wan-tu-ce-6-ren-xiong-223142","十万图册6","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,25,29,28,53,445,446,11949,7],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21471dc14f16ee61c8eb48af722a982.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],"FF9800",{"id":11956,"slug":11957,"title":5908,"dynasty":69,"author":6602,"museum":847,"description":11958,"tags":11959,"thumbUrl":11960,"material":479,"size":11961,"collection":59,"collections":11962,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},222063,"shui-xian-tu-zhou-tian-qiu-222063","此图细笔微染出花朵和浓淡墨钩出的花叶，突出阴阳向背，表现动的变化。双钩竹和飞白石兼具元人简逸之韵致，承宋之余绪而又不失字家格调。历代画家多用水仙象征高洁，寓意作者的孤傲品格和入泥不染的意志。",[23,25,26,24,74,434,55,174,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385efbfd3ac4bd968584f474eb574eee.jpg","33.5x858.1cm",[],{"id":11964,"slug":11965,"title":11966,"dynasty":69,"author":8882,"museum":552,"description":11967,"tags":11968,"thumbUrl":11969,"material":327,"size":11970,"collection":59,"collections":11971,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},222023,"chuan-shan-tu-wen-jia-222023","船山图","文嘉擅山水，似倪瓒，着色山水幽雅恬淡。兼能花卉。",[23,25,80,55,75,134,115,338,85,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710b91f69a768b839f2b227ce220d971.jpg","30x72cm",[],{"id":11973,"slug":11974,"title":11975,"dynasty":69,"author":431,"museum":20,"description":2570,"tags":11976,"thumbUrl":11977,"material":53,"size":59,"collection":59,"collections":11978,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},221900,"hua-niao-jing-pin-ce-11-chen-hong-shou-221900","花鸟精品册11",[25,26,53,29,28,56,187,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dc4bafdc0537e2d279551e5f8a01346.jpg",[],{"id":11980,"slug":11981,"title":11982,"dynasty":148,"author":11983,"museum":71,"description":11984,"tags":11985,"thumbUrl":11986,"material":3724,"size":11987,"collection":59,"collections":11988,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},221806,"xian-zhi-zhai-tu-juan-wu-zhi-zhong-221806","闲止斋图卷","吴致中","此图是吴致中为他的族人吴彦能所绘山间别墅“闲止斋”的景致。\n画家自题：“野外罕人事，即事多所欣。坐止高荫下，遥遥望白云。东园吴致中为宗人彦能写闲止斋并集陶句。”下钤“延陵世家”、“吴致中”2印。\n吴彦能，字子乃，元末延陵（今江苏常州）人。出身于官宦世家，自幼受到良好的教育，曾拜在经学大师胡仲彝门下，在春秋学研究方面有很深的造诣，后隐居于至亲郑居贞的家乡歙南溪（今安徽东南部、新安江上游）。吴彦能最敬慕东晋名士陶渊明弃官归隐之高操，故将自己的隐居之所取名为“闲止斋”。\n此图在艺术手法上采用平远式构图，将近景、中景、远景有机地结合起来。画面近处高树耸立于湖畔，作为主体的“闲止斋”掩映于林木间。对江平沙曲岸，远岫遥岺，生动地点画出元代文人理想中的山林野趣。\n全画笔墨简练而不放纵，从勾皴点染之间营造出清幽雅静的氛围。山石的画法用卷云皴，可明显地看出北宋郭熙绘画技法的影响。吴致中存世作品极少，《闲止斋图》是了解其画风的重要实物资料。",[23,25,26,74,55,29,80,242,277,82,7,349,153,134,78,577,79,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00874a1dadd20cefff589827a0c57942.jpg","21.8厘米，横1.9厘米。",[],{"id":11990,"slug":11991,"title":11992,"dynasty":369,"author":201,"museum":112,"description":11993,"tags":11994,"thumbUrl":11995,"material":313,"size":59,"collection":88,"collections":11996,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},219640,"yi-ting-kan-hong-tu-yi-ming-219640","倚艇看鸿图","此作以边角取景，斜出的古松虬曲苍劲，藤蔓盘绕松身，野趣横生。坡岸石矶错落，幽草杂木点缀其间，白衣幽人倚艇静坐，遥望远空。淡墨晕染的远山与湖面融于空濛烟霭，水天一色愈显清旷悠远。\n\n全作用笔简淡秀雅，以水墨皴擦点染，不见繁复刻画，却将江南水滨的萧散清寂晕染尽致。幽人观鸿的闲寂之态，暗合宋人林泉高致的雅趣，咫尺团扇之间，藏着江湖林下的阔远襟怀，尽显宋代山水小品以小见大、以简胜繁的意境之美。",[23,25,26,714,55,75,80,134,7,153,85,325,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6dabe5d6d95427c3f91f0cba98543ed.jpg",[88],{"id":11998,"slug":11999,"title":12000,"dynasty":148,"author":1930,"museum":112,"description":12001,"tags":12002,"thumbUrl":12003,"material":37,"size":11700,"collection":59,"collections":12004,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},216754,"hua-hui-ce-shui-xian-wang-yuan-216754","花卉册-水仙","水仙攒簇，瓣白蕊黄，纤叶劲挺如剑，兼具水墨苍劲与工笔细腻。一只粉蝶翩跹于侧，翅翼轻颤似欲落，为静穆画面添几分生动意趣。背景淡赭铺陈，衬以深青墨块，虚实相生间更显花姿孤洁。笔墨兼工带写，花叶勾勒精准却不失灵动，古雅设色与简淡构图暗合文人清逸之思。整幅画于细微处见匠心，清雅空灵如沐春风，尽显花木自然神韵与画者笔墨情致，寥寥数笔便将水仙的孤高与生机凝于尺幅之间。",[23,25,26,53,29,56,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61e07edb91f812267058fdf2d606136.jpg",[],{"id":12006,"slug":12007,"title":12008,"dynasty":69,"author":12009,"museum":552,"description":12010,"tags":12011,"thumbUrl":12012,"material":58,"size":59,"collection":59,"collections":12013,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":64},216336,"xi-xiang-ji-cha-ye-16-min-qi-ji-216336","西厢记插页-16","闵齐伋","画面以虚实相生的构图铺展西厢意韵。圆月窗棂内，案前剪影静对烛火，似凝着未诉的思绪；栏边女子衣袂轻染淡蓝，纤手抚栏，眸光越过云霭，牵系着窗内的影。右侧云气如缕，裹挟着另一女子的身姿，步履间藏着婉转心事。线条细腻如丝，勾出衣纹的柔、窗棂的雅；色彩淡雅晕染，蓝的云、橙的栏、灰的窗，衬出庭院幽寂。整幅画将西厢中含蓄情愫凝于方寸，以版画精致传递古典浪漫，每处细节都低语着跨越礼教的相思，尽显晚明版画的文人雅致与叙事张力。",[25,26,6125,29,30,31,242,244,1911,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505f8b736e035077b82deb41761ff571.jpg",[],{"id":12015,"slug":12016,"title":12017,"dynasty":18,"author":6283,"museum":184,"description":10353,"tags":12018,"thumbUrl":12019,"material":58,"size":59,"collection":59,"collections":12020,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":44},214601,"fang-gu-shan-shui-ce-4-wang-hui-214601","仿古山水册-4",[25,53,80,55,29,76,75,277,82,135,116,81,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb92338e3965f50d1b87453e6a88b9d0.jpg",[],{"id":12022,"slug":12023,"title":11536,"dynasty":69,"author":3877,"museum":150,"description":12024,"tags":12025,"thumbUrl":12026,"material":59,"size":59,"collection":88,"collections":12027,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":12028},203343,"shan-shui-ren-wu-ce-wu-wei-203343","这幅册页以水墨写意见长，崖畔老者端坐凝眸，衣纹寥寥却神形毕肖。虬曲老树以浓墨泼洒枝干，点叶苍劲；水面细浪轻描淡写，漾出空远之境。山石用简括皴擦，与留白呼应，虚实间藏野趣。笔势纵逸洒脱，墨色浓淡相宜，将文人寄情山水的闲淡心境融于尺幅，尽显浙派水墨的奔放意韵。",[25,55,80,30,53,173,75,134,7,153,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bb09506d511ed471422b9ed6202fda8.jpg",[88],"cec8bc",{"id":12030,"slug":12031,"title":12032,"dynasty":18,"author":12033,"museum":150,"description":12034,"tags":12035,"thumbUrl":12037,"material":59,"size":59,"collection":60,"collections":12038,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":12039},201831,"pu-tao-tu-zhou-xu-fang-201831","葡萄图轴","许昉","藤蔓虬曲缠绕，如逸态横生；墨叶或浓泼或淡染，层叠有致，苍润鲜活。串串葡萄饱满沉实，墨色莹润似含露，尽显丰硕之态。下方孤石皴擦古拙，纹理分明，与柔蔓鲜果刚柔相衬。全卷以水墨写就，笔意洒脱灵动，墨韵丰富多变，清雅中透着生机，尽显传统花鸟之雅韵，笔墨精妙，意趣盎然。",[25,55,56,12036,7,27,23],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e3eee7c39fa6d04e4a8d96770a1f347.jpg",[60],"a6998b",{"id":12041,"slug":12042,"title":12043,"dynasty":18,"author":49,"museum":150,"description":12044,"tags":12045,"thumbUrl":12046,"material":59,"size":59,"collection":60,"collections":12047,"showCount":11734,"zanCount":43,"manualWeight":43,"mainColor":12048},201728,"qiu-hua-mao-die-tu-zhou-yun-shou-ping-201728","秋花猫蝶图轴","秋草纤柔间，白猫茸毛蓬松，墨蝶轻舞引其注目，憨态可掬。花叶以淡彩晕染，无需勾勒而形神兼备；顽石以枯笔皴擦，墨色层次分明。整幅画笔墨细腻，设色清雅，将猫的慵懒、蝶的轻盈与花草的生机相融，尽显闲庭秋趣。画面气韵生动，兼具工笔之精致与写意之传神，传递出悠然恬淡的秋日氛围。",[25,56,29,100,2204,7,5556,28,75,396,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6f6676bdf8b1ee5183a8c105dcf9ef.jpg",[60],"beb097",{"id":12050,"slug":12051,"title":12052,"dynasty":148,"author":5936,"museum":112,"description":12053,"tags":12054,"thumbUrl":12055,"material":262,"size":12056,"collection":59,"collections":12057,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},290936,"hua-shu-shi-tu-zhang-shun-zi-290936","画树石图","张舜咨（生卒年未详），元代画家。字师夔，号栎山，又号辄醉翁，浙江杭州人。曾任宁国路儒学教授，天顺二年(1329)调江浙行省承宣使，后调休宁县主簿。元末，又任漳州路龙溪、兴化路莆田县尹。善画山水、竹石，用笔沉着，颇有气势，兼工书法，亦精诗文，精心研习诸家画技，吸取各家之长，自成一家。作画讲究布局，大幅小景，布置各有其法。所作山水画，使人有身临其境之感。画古柏苍老擎天，别具风气。兼长诗、书，人称“三绝”。绘画作品有《楚云湘水图》、《关山行旅图》、《古柏》、《斗泉图》、《云山桧石》、《枯木图》、《秋野图》、《画楼酌别图》、《小景图》、《诗意图》、《谢家池塘》、《春江听雨》、《树石图》、《归思图》、《鹰桧图》等等。",[24,25,26,27,55,134,7,77,79,1579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23b2c70790d8e5aaee246590773cd4f.jpg","112.5x35",[],{"id":12059,"slug":12060,"title":1353,"dynasty":18,"author":3115,"museum":552,"description":12061,"tags":12062,"thumbUrl":12063,"material":641,"size":642,"collection":59,"collections":12064,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":44},288028,"mu-dan-tu-gao-feng-han-288028","高凤翰（1683—1749年），字西园，号南村，自号南阜山人，山东胶州人。曾任安徽歙县县丞，去官后流寓扬州。擅画山水、花卉。山水师法宋人，近赵令穰、郭熙一派。55岁左右，右手病疫改用左手，更号“尚左生”刻印“丁巳残人”。其画具有宋人雄浑之神，元人静逸之气。秦祖永《桐荫论画》评道：“离奇超妙，脱尽笔墨畦径，法备趣足，虽不规规于法，而实不离于法。”",[23,25,24,26,27,55,29,56,191,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3480b82813f3e74b11e99c7467ce72.jpg",[],{"id":12066,"slug":12067,"title":12068,"dynasty":18,"author":12069,"museum":552,"description":12070,"tags":12071,"thumbUrl":12072,"material":641,"size":642,"collection":59,"collections":12073,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},288022,"ren-wu-shan-shui-tu-li-zhou-huang-shen-288022","人物山水图立轴","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[23,25,27,55,30,80,134,7,82,1446,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68e29611b387c6a662fb3dbadc9ec9a.jpg",[],{"id":12075,"slug":12076,"title":12077,"dynasty":18,"author":201,"museum":552,"description":8866,"tags":12078,"thumbUrl":12079,"material":641,"size":642,"collection":59,"collections":12080,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":44},263681,"ke-si-qiu-tao-shou-dai-tu-zhou-yi-ming-263681","缂丝秋桃绶带图轴",[25,26,27,229,56,29,28,153,1934,189,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6711d2ba142659702743237925acf7.jpg",[],{"id":12082,"slug":12083,"title":12084,"dynasty":18,"author":12085,"museum":552,"description":12086,"tags":12087,"thumbUrl":12088,"material":641,"size":642,"collection":59,"collections":12089,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},239063,"lan-shi-wan-shan-zhang-pan-239063","兰石纨扇","张槃","张槃 （1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[25,26,714,28,29,188,7,1791,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ddf6b69090b1f2e7a17e0250ffe73b.jpg",[],{"id":12091,"slug":12092,"title":4918,"dynasty":18,"author":1205,"museum":552,"description":10881,"tags":12093,"thumbUrl":12095,"material":641,"size":642,"collection":59,"collections":12096,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},238481,"hua-hui-tu-ce-jiang-ting-xi-238481",[25,26,53,29,28,78,79,56,243,1628,7,3174,12094,1033,541],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7c9fca31ee664bedfe2e8bead96273.jpg",[],{"id":12098,"slug":12099,"title":4918,"dynasty":18,"author":1205,"museum":552,"description":10881,"tags":12100,"thumbUrl":12101,"material":641,"size":642,"collection":59,"collections":12102,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},238479,"hua-hui-tu-ce-jiang-ting-xi-238479",[25,26,53,29,28,78,79,56,243,435,7,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd3fdf4c9fd65cc5b501bf17420963f.jpg",[],{"id":12104,"slug":12105,"title":10116,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":12106,"thumbUrl":12107,"material":59,"size":59,"collection":59,"collections":12108,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},237768,"yuan-ji-shan-shui-tu-ce-shi-tao-237768",[24,25,26,53,55,29,75,80,7,136,81,324,11815,325,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdf237b23a0eee60675e6fe8c367619.jpg",[],{"id":12110,"slug":12111,"title":502,"dynasty":18,"author":214,"museum":5179,"description":5180,"tags":12112,"thumbUrl":12113,"material":59,"size":59,"collection":88,"collections":12114,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},236737,"shan-shui-ce-hua-yan-236737",[25,53,55,75,77,79,80,7,85,863,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff620b1906b09e35a616d2a87598efa8e.jpg",[88,122],{"id":12116,"slug":12117,"title":12118,"dynasty":69,"author":10302,"museum":71,"description":12119,"tags":12120,"thumbUrl":12121,"material":139,"size":12122,"collection":39,"collections":12123,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},236403,"ji-fou-tu-zhou-zhang-hong-236403","击缶图轴","图绘村边平坡，老树几株，一人击缶，一人起舞，男女老少多人围观。构图疏朗，用笔率意简放。树石仅用阔笔草草写出，人物线条迅疾多变，突出了坐、立、蹲、行等不同动态，笔简意赅，神完气足。此图将乡间民众娱乐生活的瞬间刻画得活灵活现，淋漓尽致。",[25,29,55,30,133,7,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5439d0806a75e6365375005f527e52.jpg","纵42.8厘米，横59厘米",[39,105,786],{"id":12125,"slug":12126,"title":12127,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":12128,"thumbUrl":12129,"material":641,"size":642,"collection":59,"collections":12130,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},235795,"mei-shi-shan-chen-hong-shou-235795","梅石扇",[25,714,29,187,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F101cedcf28c688377403387d3ba7a629.jpg",[],{"id":12132,"slug":12133,"title":4918,"dynasty":18,"author":2300,"museum":552,"description":12134,"tags":12135,"thumbUrl":12136,"material":641,"size":642,"collection":59,"collections":12137,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},235703,"hua-hui-tu-ce-zou-yi-gui-235703","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》。",[25,26,53,28,29,7,243,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67aa068da9b20483316a45af3038db10.jpg",[],{"id":12139,"slug":12140,"title":12141,"dynasty":69,"author":8882,"museum":552,"description":12142,"tags":12143,"thumbUrl":12144,"material":59,"size":59,"collection":59,"collections":12145,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},235593,"hua-wang-bai-gu-ban-ji-an-tu-zhou-wen-jia-235593","画王百穀半偈庵图轴","《王百谷半偈庵图》是明代画家 创作的纸本设色画，现藏于 。\n该图绘明代王百谷所居地半偈庵景色，院落中有湖石、青竹、松木等，石旁立有小石碑，晥门外有2人相立而谈。\n此图笔秀润简淡，构图巧妙别致。\n此画的构图和景物比较简洁，画有工日谷寓所——半偈庵，庭院中立有一湖，造型奇特，玲珑剔透。\n又有数棵树木，枝叶疏散，后有屋舍二间，陈设简陋，前后排列，前房供佛，后房中一榻一几，有一位上人独坐于床榻上，双日凝视，若有所思，屋子左侧有一束修竹，枝叶茂盛，近景有一道围墙，山间有一门楼，围墙两侧的右侧一树，左侧为一棕树。\n墙外有二人对话，一位作拱手状，一位持有策杖，姿态悠闲自在。\n此情此景，足以反映当时文人墨客优雅的生活环境及他们的志趣，王百谷半偈庵就是文人士大夫们所追求的优雅生活的写照。\n全图其画景物和作者自题识及王穉登等诗几乎各占一半，上诗、下图，相配十分得体。\n此画是文嘉7岁的作品，描绘当时文人王穉登所居半偈庵景色。\n王穉登（155—1612），字伯谷，也作百谷，长洲人，少时即以善作诗文著称，长而骏发，名满吴会，善书法，诸体兼备，文徵明没后，风雅归之穉登。\n全图用笔相当简练，湖石和竹树基本上继承了家学的传统，画法近学文徵明，远受元朝画家的影响，疏淡中蕴含秀润，树木用干笔勾皴后，用细墨点叶。\n用笔颇为老峭，加上构图过分简洁，使画面的意境稍嫌疏落之感。\n但由于画幅上面有文嘉的长段题识，起到了弥补此画构图的疏落之嫌…上诗塘又有王穉登录顾孟先、沈少卿宿半偈庵诗、这些自题识和王穉登题诗，为此画增色颇多，成为此画重要的组成部分。\n文嘉（151—158），明代画家，字休承，号义水，长洲（今江苏苏州）人，文徵明次子。\n官和州学正，继承家学，工小楷，擅画山水，笔法清脱，颇近倪瓒，着色山水，具幽澹之致，间仿卫蒙皴染，亦颇秀润，兼作花卉。\n精于鉴别古书画。\n传世作品有《赤壁夜游图》、《秋塘红藕图》、《沧山渔笛图》、《临董源溪山行旅图》轴，并著有《钤山堂书画记》。",[25,26,27,55,78,77,242,32,117,7,519,522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b4680056f3221272054815ba8098c4.jpg",[],{"id":12147,"slug":12148,"title":502,"dynasty":18,"author":7127,"museum":71,"description":12149,"tags":12150,"thumbUrl":12151,"material":967,"size":12152,"collection":59,"collections":12153,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},235026,"shan-shui-ce-wu-li-235026","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[25,26,53,55,80,85,134,82,7,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc84bebdcb3c8a0368bf20a1a97b797.jpg","23.2厘米，横28厘米",[],{"id":12155,"slug":12156,"title":9502,"dynasty":69,"author":201,"museum":552,"description":12157,"tags":12158,"thumbUrl":12159,"material":641,"size":642,"collection":59,"collections":12160,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},234925,"dong-qi-chang-shan-shui-ce-yi-ming-234925","此作用干笔淡墨铺陈丘壑，以极简皴擦绘出山峦层叠错落之态，苍润相生间尽显松秀空灵。萧疏林木散缀崖畔溪旁，不作繁饰，寥寥笔致便将山中秋寂清寒晕染开来。画面留白通透清灵，虚实相生间铺展出静穆澹远的林下幽境，笔墨间浸透着幽寂出尘的雅韵，观之如卧游林泉，俗尘尽涤。",[25,55,53,75,80,7,117,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cce78038cdde42a8656f3ea715d8201.jpg",[],{"id":12162,"slug":12163,"title":12164,"dynasty":18,"author":201,"museum":552,"description":12165,"tags":12166,"thumbUrl":12168,"material":59,"size":59,"collection":59,"collections":12169,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},234402,"xiao-shen-cheng-huang-hou-bian-fu-guan-zhu-xiang-zhou-yi-ming-234402","孝慎成皇后便服观竹像轴","她身着宝蓝团花常服，鬓边红白簪花点缀，安坐湖石之上，抬眼望向身旁青竹。笔底工细写实，衣袍纹样纤毫毕现，将皇后端凝温婉的仪态尽数铺陈。\n\n布景清雅悠然，青竹劲拔婆娑，水畔蔷薇烂漫，奇石与卉草错落点缀，晕染出皇家苑囿的闲静诗意。整作兼具工笔的精致与写意的清逸，将深宫中观竹的片刻悠然藏于柔润设色中，尽显中式庭院雅致意境与清宫女性的温婉风华。",[25,27,29,28,30,31,32,243,244,80,7,12167,228],"服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d30ee953a67fd3d64733afe86aaadb.jpg",[],{"id":12171,"slug":12172,"title":502,"dynasty":69,"author":1505,"museum":71,"description":8930,"tags":12173,"thumbUrl":12174,"material":7040,"size":7041,"collection":59,"collections":12175,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},234061,"shan-shui-ce-dong-qi-chang-234061",[25,26,53,55,75,80,82,7,81,9763,349,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa091a7ca4982bd9068ee0a650b07f502.jpg",[],{"id":12177,"slug":12178,"title":12179,"dynasty":18,"author":4526,"museum":71,"description":12180,"tags":12181,"thumbUrl":12182,"material":12183,"size":12184,"collection":59,"collections":12185,"showCount":233,"zanCount":511,"manualWeight":43,"mainColor":64},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。",[25,26,27,29,28,30,188,117,7,189,2884,2885,2886,2887,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb520acac6950d49e8cce35de80872eb2.jpg","纸本,设墨","111.5cm×41.6cm",[],{"id":12187,"slug":12188,"title":12189,"dynasty":18,"author":169,"museum":552,"description":3136,"tags":12190,"thumbUrl":12191,"material":967,"size":3139,"collection":59,"collections":12192,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},233693,"yuan-ji-lan-zhu-ce-mei-zhu-shi-shi-tao-233693","原济兰竹册－梅竹石",[25,26,55,53,187,32,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe61a39c4a7e08e81fbed3a68467d98df.jpg",[],{"id":12194,"slug":12195,"title":8702,"dynasty":18,"author":169,"museum":71,"description":8703,"tags":12196,"thumbUrl":12197,"material":8706,"size":8707,"collection":59,"collections":12198,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},233419,"yuan-ji-shan-shui-ce-shi-tao-233419",[25,53,55,75,80,7,81,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da9e78838b6d56b888f9f6637ee1aae.jpg",[],{"id":12200,"slug":12201,"title":8702,"dynasty":18,"author":169,"museum":71,"description":8703,"tags":12202,"thumbUrl":12203,"material":8706,"size":8707,"collection":59,"collections":12204,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},233418,"yuan-ji-shan-shui-ce-shi-tao-233418",[25,55,75,7,80,324,325,53,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92361a4fe6fb74ea4f312c51d24294e9.jpg",[],{"id":12206,"slug":12207,"title":8702,"dynasty":18,"author":169,"museum":71,"description":12208,"tags":12209,"thumbUrl":12210,"material":327,"size":10141,"collection":59,"collections":12211,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},233126,"yuan-ji-shan-shui-ce-shi-tao-233126","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,26,53,55,75,80,7,134,349,30,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a307905955c7d593b96754ac05d484.jpg",[],{"id":12213,"slug":12214,"title":12215,"dynasty":69,"author":4336,"museum":71,"description":12216,"tags":12217,"thumbUrl":12218,"material":967,"size":12219,"collection":59,"collections":12220,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},233118,"lin-xi-you-shang-tu-zhou-wen-zheng-ming-233118","临溪幽赏图轴","图中山坡上松柏、杂树高耸茂密，绿荫下溪水蜿蜒，溪上横卧小桥，桥上一老者临溪赏景，其后有童子侍立。用笔细谨，着墨精巧，意境清幽。",[25,26,27,55,75,80,81,1231,134,82,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0989418a5c49480611f009704cb440.jpg","纵127.3厘米 横50厘米",[],{"id":12222,"slug":12223,"title":12224,"dynasty":148,"author":12225,"museum":112,"description":12226,"tags":12227,"thumbUrl":12229,"material":327,"size":12230,"collection":59,"collections":12231,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,29,28,75,134,260,30,522,12228,7,519],"石墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff809b42c21c90b2a4b015928f355643c.jpg","102.4x51.3公分",[],{"id":12233,"slug":12234,"title":12235,"dynasty":18,"author":1363,"museum":552,"description":12236,"tags":12237,"thumbUrl":12238,"material":59,"size":59,"collection":59,"collections":12239,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},230195,"fang-gu-shan-shui-ce-yi-wang-jian-230195","仿古山水册一","此作用色清雅柔润，以披麻皴绘出山峦起伏肌理，敷色温润秀雅，淡染出层叠山势的虚实层次。\n\n近岸屋舍隐于苍林之下，古木森秀，枝叶苍润；中景板桥横跨水渚，渔人泛于清波，谷壑间雾气轻漫，晕开远近景深，远景峰岫含翠，淡远空灵。\n\n整体恬静安谧，将文人幽居理想融于尺幅，笔致沉稳工细，明丽设色却无艳俗之感，尽显仿古山水的雅致格调，观之如临幽林静渚，尘虑尽消。",[25,26,53,29,80,75,76,79,277,82,81,83,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371b62bc0f3bc1935cd4ac5a11e90071.jpg",[],{"id":12241,"slug":12242,"title":12243,"dynasty":69,"author":5428,"museum":552,"description":12244,"tags":12245,"thumbUrl":12246,"material":59,"size":59,"collection":59,"collections":12247,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},228491,"you-he-tu-du-jin-228491","友鹤图","此作绘水畔幽居，茅舍内隐士凭榻静思，竹松奇石环伺左右，远汀烟水空濛澹荡，晕染出清寂出尘的江乡暮色。笔墨秀润简淡，以轻岚淡墨铺就旷远意境，咫尺之间尽显林泉幽致。\n后接长篇题咏，诗书合璧，以鹤喻同心知己，寄寓了文人幽栖林下、澹泊自适，以鹤为友、物我两忘的隐逸襟怀，尽显明代文人画尚意抒情的特质，将林下高致的清雅意趣藏于尺幅之间，是兼具笔墨意趣与文人精神的上乘佳构。",[23,25,26,74,55,78,79,77,80,30,715,32,7,349,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fd2a2f16484e93696f6852f61d4223.jpg",[],{"id":12249,"slug":12250,"title":12251,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":12252,"thumbUrl":12253,"material":641,"size":642,"collection":59,"collections":12254,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},228289,"lin-ting-qing-hua-tu-shan-chen-hong-shou-228289","林亭清话图扇",[25,26,714,55,56,7,187,189,174,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5729e6e2e3e83f03d795a0edb6b54a82.jpg",[],{"id":12256,"slug":12257,"title":12258,"dynasty":369,"author":201,"museum":552,"description":12259,"tags":12260,"thumbUrl":12261,"material":59,"size":59,"collection":59,"collections":12262,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,4036,25,26,714,28,29,101,8423,81,7,1768],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d50f44903c7a03e510070aaade1260.jpg",[],{"id":12264,"slug":12265,"title":10723,"dynasty":369,"author":10724,"museum":552,"description":10725,"tags":12266,"thumbUrl":12267,"material":59,"size":59,"collection":59,"collections":12268,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},227756,"jiang-di-fang-mu-tu-yan-ci-ping-227756",[23,25,24,26,714,29,80,2079,81,10727,7,82,324,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e32dad27f36b039d1b36db0db02d9fd.jpg",[],{"id":12270,"slug":12271,"title":12272,"dynasty":369,"author":12273,"museum":552,"description":12274,"tags":12275,"thumbUrl":12276,"material":59,"size":59,"collection":59,"collections":12277,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,26,24,27,28,75,80,3203,153,1231,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37bba1188351b629f22203bd50fb89f.jpg",[],{"id":12279,"slug":12280,"title":12281,"dynasty":369,"author":201,"museum":552,"description":12282,"tags":12283,"thumbUrl":12284,"material":59,"size":59,"collection":59,"collections":12285,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,26,24,369,28,29,714,101,2688,7,541,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9de381462da7dc521dfb837af9d57c0.jpg",[],{"id":12287,"slug":12288,"title":12289,"dynasty":18,"author":7785,"museum":552,"description":12290,"tags":12291,"thumbUrl":12292,"material":59,"size":59,"collection":59,"collections":12293,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},224383,"fang-ni-zan-she-se-shan-shui-tu-wang-yuan-qi-224383","仿倪瓚設色山水圖","此作用倪瓒平远章法却自出机杼，远景山峦以干笔皴擦，披麻皴混以苔皴写尽山石嶙峋，浑厚苍劲间不失幽淡意趣。近渚林木清劲错落，屋舍隐于洲渚林泉，脱尽尘俗烟火气。\n设色浅淡温婉，赭石花青轻晕纸面，中和倪氏水墨冷寂，添几分温润柔和。师法云林萧疏意境，落笔却沉雄老辣，将南宗秀雅与北派苍厚相融。题诗与画境呼应，诗画合璧，师古不泥，尽显文人山水的雅逸风骨。",[23,24,25,27,29,80,76,75,79,115,338,117,136,259,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4338b8ae58b1ccd0bd17f1149f8ace0c.jpg",[],{"id":12295,"slug":12296,"title":12297,"dynasty":18,"author":12298,"museum":552,"description":12299,"tags":12300,"thumbUrl":12301,"material":59,"size":59,"collection":59,"collections":12302,"showCount":233,"zanCount":511,"manualWeight":43,"mainColor":64},224283,"shan-shui-hua-hui-ce-shi-si-fu-shan-224283","山水花卉冊(十四)","傅山","此作用色浅淡温润，以淡赭晕染崖壁，弱化山石棱角锋芒，尽显朴拙沉静的质感。前景枯林疏枝以简笔勾勒，不着浓墨修饰，空留出大片水泽，衬出山野空寂。远山仅以淡墨轻扫，虚实相生间拉开悠远层次。\n\n全画笔墨极简，不尚繁复描摹，以写意之法直抒胸臆，将萧散淡远的林下襟怀藏于淡远景致之中，静穆古雅的气质漫溢纸面。方寸间尽是冬日空山的清寂氛围，淡而不寡，简而不空，把胸中丘壑化作纸上清景，尽显文人画以意驭形的悠长余韵。",[23,25,26,53,55,75,80,133,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347803b95215729f574e8f7396313f9c.jpg",[],{"id":12304,"slug":12305,"title":12306,"dynasty":369,"author":201,"museum":71,"description":12307,"tags":12308,"thumbUrl":12309,"material":678,"size":12310,"collection":59,"collections":12311,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":44},223504,"song-jian-shan-qin-tu-yi-ming-223504","松涧山禽图","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。",[23,25,26,28,29,55,75,79,80,56,134,82,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358748c7ccf2b7905f2e1c8e5ca0f3c9.jpg","25.3x25.3厘米",[],{"id":12313,"slug":12314,"title":12315,"dynasty":148,"author":201,"museum":1060,"description":12316,"tags":12317,"thumbUrl":12319,"material":479,"size":12320,"collection":59,"collections":12321,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":44},223401,"si-shui-tu-yi-ming-223401","四睡图","图绘丰干、寒山、拾得三位僧人与一虎酣睡之景。二人坐姿入睡，一人半躺酣睡，一虎卧于三人之中，安详寂静；远处祥云朵朵，松青柏翠，所绘树杆皆以祥云形状，显示出浓浓的禅意。",[23,25,26,27,55,28,75,77,79,30,12318,101,81,135,134,7],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed90f15e151f2dd9dc88df95bfd31a45.jpg","77.8×34.3cm",[],{"id":12323,"slug":12324,"title":3125,"dynasty":69,"author":6191,"museum":1060,"description":12325,"tags":12326,"thumbUrl":12327,"material":479,"size":12328,"collection":59,"collections":12329,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},222454,"zhu-tu-tan-zhi-rui-222454","图绘斜坡上绿竹一丛，竹杆修长，竹叶茂密，但画面皴裂，中部一丛竹枝被抹去，很是惋惜。技法上，粗笔勾勒竹杆，浓墨绘主体竹叶，两侧及后方以淡墨绘数枝竹子，使画面更加丰满。檀芝瑞，明代画家，善梅兰墨竹。",[23,25,26,55,173,32,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55dcb5b2882ad12a2fc242681f729b11.jpg","25.8×21.8",[],{"id":12331,"slug":12332,"title":12333,"dynasty":369,"author":573,"museum":5179,"description":12334,"tags":12335,"thumbUrl":12336,"material":479,"size":12337,"collection":59,"collections":12338,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},221405,"zui-seng-tu-juan-quan-juan-li-gong-lin-221405","醉僧图卷全卷","此画应为南宋人作。卷末有苏轼草书题跋，另有署名“东村”的长跋，“东村”不知为何人，但书法精妙，当为大家手笔。画作的真伪、年代姑且不论，亦不论卷末题跋者是否苏轼，单就书法水平而言却是着实精彩的。",[23,25,26,74,434,55,77,78,1744,30,117,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a82f9d0989e0effd94ca4473f6f65d.jpg","画芯32.5x60.8cm",[],{"id":12340,"slug":12341,"title":12342,"dynasty":69,"author":238,"museum":150,"description":2587,"tags":12343,"thumbUrl":12344,"material":37,"size":2590,"collection":59,"collections":12345,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":44},219763,"lin-song-ren-hua-ce-15-chou-ying-219763","临宋人画册-15",[25,24,26,53,76,29,28,80,187,32,153,7,82,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e20650077b94b9f08a947fc72a72d71.jpg",[],{"id":12347,"slug":12348,"title":3776,"dynasty":369,"author":201,"museum":112,"description":12349,"tags":12350,"thumbUrl":12351,"material":37,"size":59,"collection":88,"collections":12352,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":64},218695,"shan-shui-tu-yi-ming-218695","笔墨简劲，枯树虬枝倚寒坡，墨色晕染如暮烟漫漶。构图虚实相生，留白处似衔无尽远山。线条勾勒率意却见骨力，皴擦间藏野趣。不追磅礴气势，独取幽寂之境——仿佛能触山涧清寒，闻叶落风鸣。小小尺幅纳天地远意，尽得宋画“以小见大”的韵致，藏着古人对自然的细腻观照，与诗意栖居的深情。每一笔皆见匠心，于简淡中显丘壑，于幽微处动人心，是宋画小品中意境清远的佳作。",[23,25,26,53,55,29,80,134,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff421981c00ba6927ad9ba004ef8775.jpg",[88],{"id":12354,"slug":12355,"title":12356,"dynasty":369,"author":573,"museum":184,"description":1482,"tags":12357,"thumbUrl":12358,"material":313,"size":59,"collection":59,"collections":12359,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":44},218082,"luo-han-tu-ce-5-li-gong-lin-218082","罗汉图册-5",[23,25,26,53,434,55,576,30,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b5838d523d7f97989c96f802106f024.jpg",[],{"id":12361,"slug":12362,"title":12363,"dynasty":369,"author":573,"museum":184,"description":1482,"tags":12364,"thumbUrl":12365,"material":313,"size":59,"collection":59,"collections":12366,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":44},218081,"luo-han-tu-ce-6-li-gong-lin-218081","罗汉图册-6",[23,25,26,53,434,576,30,134,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc77228dbf70a9baec8c191d1c09956de.jpg",[],{"id":12368,"slug":12369,"title":10805,"dynasty":69,"author":129,"museum":150,"description":12370,"tags":12371,"thumbUrl":12372,"material":59,"size":59,"collection":88,"collections":12373,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":12374},203304,"fang-gu-shan-shui-tu-ce-lan-ying-203304","这幅山水以苍劲笔墨勾勒山石轮廓，斧劈皴与枯笔皴擦交错，山石嶙峋肌理厚重，尽显嶙峋质感。山间枯树虬枝盘曲，枝桠疏朗伸展，携冬日清寂之态。远处瀑布飞泻潺潺，为静谧景致注入灵动生气。崖边红衣人物凭栏而立，似观瀑沉思，人与苍茫山水相映，更衬天地悠远、心境淡然。画面墨色层次丰富，淡设色晕染雅致，仿古意趣中蕴含个人笔墨风骨，于萧瑟里见深致，简淡中藏古雅气韵，是仿古山水的精妙之作。",[25,26,53,75,80,1231,134,7,55,29,30,116,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde014523e97d93ed8342b1099aececbd.jpg",[88],"a7a093",{"id":12376,"slug":12377,"title":12378,"dynasty":9797,"author":770,"museum":150,"description":12379,"tags":12380,"thumbUrl":12381,"material":59,"size":59,"collection":60,"collections":12382,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":12383},203125,"mao-shi-tu-zhou-pan-tian-shou-203125","猫石图轴","画面以大块淡赭色泼写孤石，笔触苍劲朴拙，石面肌理随墨色浓淡自然晕染。石上卧猫以黑白二色勾勒，墨块凝练，双目点染朱红，憨态中透着机警。上方留白处题款与印章错落，笔墨相生，尽显文人画意趣。整作构图奇崛，虚实相生，于简约中见雄健气象，是潘天寿花鸟走兽题材的典型之作。",[25,27,29,100,7,55,79,56,101,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c8d01e737f45658063d967ccb26be7d.jpg",[60],"dacbbe",{"id":12385,"slug":12386,"title":12387,"dynasty":18,"author":6097,"museum":150,"description":12388,"tags":12389,"thumbUrl":12390,"material":59,"size":59,"collection":60,"collections":12391,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":12392},202044,"mei-zhu-shui-xian-tu-zhou-gai-qi-202044","梅竹水仙图轴","画面中，湖石奇崛而立，淡蓝设色衬出古雅肌理，孔洞玲珑宛转；水仙叶片修长舒展，细笔勾勒间见温婉，黄花点缀添生机；梅枝横斜，粉瓣疏落有致，竹影婆娑穿插其间，更有灵芝静立石旁，清逸自生。工笔细腻处见精神，设色淡雅中显韵致，梅之娇、竹之劲、水仙之幽与湖石之拙相映成趣，笔墨流淌着文人意趣，雅致脱俗。",[25,56,28,29,187,32,174,7,2806,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4967e539c9c5f5de2f3445e8fd3a4a.jpg",[60],"bd9a64",{"id":12394,"slug":12395,"title":12396,"dynasty":18,"author":3257,"museum":150,"description":12397,"tags":12398,"thumbUrl":12399,"material":59,"size":59,"collection":60,"collections":12400,"showCount":233,"zanCount":511,"manualWeight":43,"mainColor":12401},201783,"qiang-wei-hu-die-tu-zhou-wang-wu-201783","蔷薇蝴蝶图轴","孤石苍劲立画面中央，墨色皴擦出厚重肌理，似载岁月沉淀之态。石侧月季粉瓣层叠，藤蔓缠绕间显灵动；石下蓝紫花卉舒展，青叶片片修长，线条柔婉。设色淡雅，水墨与淡彩交织，花鸟鲜活如生。工写结合的笔触，写意的洒脱与工笔的细腻相融，营造出静谧雅致的文人意境。",[25,56,7,676,29,28,55,243,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1342889a7f6f506778b9b065570749.jpg",[60],"bfb197",{"id":12403,"slug":12404,"title":12405,"dynasty":369,"author":201,"museum":150,"description":12406,"tags":12407,"thumbUrl":12408,"material":59,"size":59,"collection":497,"collections":12409,"showCount":233,"zanCount":43,"manualWeight":43,"mainColor":12410},201626,"wan-jing-tu-zhou-yi-ming-201626","晚景图轴","暮色四合，山峦隐于淡墨晕染的雾霭间，若有若无。近岸老树盘根，枝干遒劲如铁，与嶙峋孤石相依；山石以简劲皴法写就，纹理古拙，墨色浓淡交织出苍莽质感。中景山丘错落，松枝挺拔，远峰融于昏黄底色，似裹着夕阳余温。画面静谧苍茫，极简笔墨里藏着宋人山水的含蓄韵致，每一处线条都浸着岁月的沉静。",[25,80,75,863,7,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb22e196c3f81f2a3bf035663fe353ff.jpg",[497],"3c322a",{"id":12412,"slug":12413,"title":12414,"dynasty":69,"author":183,"museum":150,"description":12415,"tags":12416,"thumbUrl":12417,"material":59,"size":59,"collection":105,"collections":12418,"showCount":233,"zanCount":209,"manualWeight":43,"mainColor":12419},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。",[25,27,55,28,75,32,7,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fec70564938af3f83b89b4ca6f292cb.jpg",[105],"aba69d",{"id":12421,"slug":12422,"title":12423,"dynasty":18,"author":12424,"museum":552,"description":12425,"tags":12426,"thumbUrl":12427,"material":641,"size":642,"collection":59,"collections":12428,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},290595,"xue-lang-shi-tu-zhou-zhang-ruo-cheng-290595","雪浪石图轴","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。",[25,27,434,55,7,34,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1a6bc4dfd2f0415814e54a348ae864.jpg",[],{"id":12430,"slug":12431,"title":12432,"dynasty":148,"author":5602,"museum":552,"description":12433,"tags":12434,"thumbUrl":12435,"material":641,"size":642,"collection":59,"collections":12436,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},290261,"shan-shui-tu-zhou-ke-luo-ban-fang-cong-yi-290261","山水图轴（珂罗版）","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。",[23,25,24,27,55,80,7,82,85,242,81,84,75,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e173a9c7c9e329ac11f95e51162b3a.jpg",[],{"id":12438,"slug":12439,"title":1353,"dynasty":18,"author":3850,"museum":552,"description":12440,"tags":12441,"thumbUrl":12442,"material":641,"size":642,"collection":59,"collections":12443,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},288209,"mu-dan-tu-fan-qi-288209","此画写高低两丛牡丹，中间立一奇石。画面布置灵动飞扬，呈曲线变化。牡丹以淡墨双钩，施以淡彩渲染，有“没骨”之韵。叶片描画活泼，设笔工整。以淡墨晕染，结合皴笔，体现出奇石秀逸、坚实之感。工中带写，典雅高贵。",[23,25,27,29,28,56,191,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87ca10f75f4b5fbddf93c5348b30476.jpg",[],{"id":12445,"slug":12446,"title":12447,"dynasty":69,"author":201,"museum":552,"description":12448,"tags":12449,"thumbUrl":12450,"material":641,"size":642,"collection":59,"collections":12451,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},288057,"zhu-zhi-tu-tuan-shan-yi-ming-288057","竹枝图团扇","此作以团扇圆境框取景致，疏密排布极具巧思。淡赭写竹竿，清绿点染竹叶，笔致秀挺灵动，叶片错落偃仰，似有疏风拂过，摇曳生姿。\n当中湖石以枯墨皴擦晕染，苍涩古拙，和秀逸青竹形成刚柔相映的意趣。整幅设色清雅素净，无冗余修饰，以极简笔墨托出竹的清介高洁，暗藏文人爱竹慕贤的风骨。寥寥数笔间，便将林下淡然雅致的文人情韵铺陈开来，意境悠长隽永。",[23,25,26,714,29,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cbe8b1c7be47dc1008f4dae359086f.jpg",[],{"id":12453,"slug":12454,"title":12455,"dynasty":369,"author":12456,"museum":552,"description":12457,"tags":12458,"thumbUrl":12459,"material":641,"size":642,"collection":59,"collections":12460,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},287740,"shan-yao-lou-guan-tu-xiao-zhao-287740","山腰楼观图","萧照","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[24,25,80,27,75,55,242,82,85,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee482af3abadc276d8ab5fb2dc9223d.jpg",[],{"id":12462,"slug":12463,"title":12464,"dynasty":148,"author":2912,"museum":112,"description":12465,"tags":12466,"thumbUrl":12467,"material":205,"size":12468,"collection":59,"collections":12469,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},287535,"ping-an-pan-shi-zhou-gu-an-287535","平安磐石轴","此图墨笔画湖石，湖石向右侧倾斜，顶部似蘑菇状，上面生长着疏密有致的小草，在微风中摇曳。湖石用浓淡墨写出，连勾带染，略施皴擦，染以淡墨，富有立体感，富有装饰美。在湖石右侧的岸坡上有二株翠竹，左边一株新篁高大粗壮，竹竿挺拔，竹叶茂密，几乎布满了上半个画面，竹叶在风的吹动下向左边摇曳；右边一株新篁斜逸旁出，枝梢稚嫩，依倚在左边高节劲挺的竹旁。竹叶的浓淡疏密，前后左右，绰约多姿。竹下有几束幽草，坡草如茵，沿着堤岸而长，葳蕤有生意，用笔滋润淡雅；其间若有轻风细吹，所有的竹叶和草木皆作仰势，枝叶摇动，似乎发出瑟瑟之声。左侧有自题识：“至正庚寅囗秋顾定之作。”后钤有“顾定之印”白文印。\n此画构图稳定，意境深邃，虚处空旷无际，实处繁茂郁盛。整个画面使人感受到有一种恬淡、清雅的诗意，是顾氏墨竹画的代表作。",[25,26,27,55,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402119f720a698fd1faf97b7b2a3c2ab.jpg","186.8x103.8",[],{"id":12471,"slug":12472,"title":12473,"dynasty":18,"author":201,"museum":552,"description":12474,"tags":12475,"thumbUrl":12477,"material":641,"size":642,"collection":59,"collections":12478,"showCount":546,"zanCount":209,"manualWeight":43,"mainColor":64},273645,"zi-tan-mu-bian-xiu-hua-hui-tu-gua-ping-yi-ming-273645","紫檀木边绣花卉图挂屏","这幅挂屏以刺绣摹写花鸟小景，构图疏朗清雅。古拙湖石错落而立，虬曲花枝斜逸而出，缀满柔蕊繁花，两只文禽栖于枝上，顾盼呼应，姿态悠然灵动。\n\n绣法细腻匀整，配色浅淡柔和，将湖石的苍润肌理、花枝的柔婉之态，与禽鸟绒羽的蓬松质感一一呈现，把工笔花鸟的雅致意趣，以绣线晕染开来。紫檀回纹边框古雅端方，与绣面的温婉柔润相映，整体娴静雅致，尽显文人寄情林泉花鸟的澹然心境，是极具闲情雅趣的精巧之作。",[8868,12476,2888,1302,56,153,7,187,28],"绣品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e749fa0b6526b3ea6160a3ed54f8f6b.jpg",[],{"id":12480,"slug":12481,"title":12482,"dynasty":18,"author":12483,"museum":552,"description":12484,"tags":12485,"thumbUrl":12486,"material":641,"size":642,"collection":60,"collections":12487,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},239174,"hua-hui-ren-wu-ce-chen-zi-239174","花卉人物册","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[25,26,53,78,29,715,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82e326337b97264a726f19238d7447b.jpg",[60,105],{"id":12489,"slug":12490,"title":4309,"dynasty":18,"author":4310,"museum":552,"description":4311,"tags":12491,"thumbUrl":12492,"material":641,"size":642,"collection":59,"collections":12493,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},239077,"hua-niao-ping-liao-yun-jin-239077",[25,28,29,56,7,153,188,81,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F011e8653f2125ec769fee1900f4fdaaf.jpg",[],{"id":12495,"slug":12496,"title":4918,"dynasty":18,"author":1205,"museum":552,"description":10881,"tags":12497,"thumbUrl":12498,"material":641,"size":642,"collection":59,"collections":12499,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},238474,"hua-hui-tu-ce-jiang-ting-xi-238474",[25,26,53,29,28,56,243,7,1628,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f28d4d66d523afeb3ce0c120355ff82.jpg",[],{"id":12501,"slug":12502,"title":1143,"dynasty":69,"author":7503,"museum":552,"description":7504,"tags":12503,"thumbUrl":12504,"material":59,"size":59,"collection":59,"collections":12505,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},237668,"hua-niao-ce-ling-bi-zheng-237668",[25,26,53,24,29,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68c60feed082d7eaab4971b15b8c293.jpg",[],{"id":12507,"slug":12508,"title":502,"dynasty":18,"author":214,"museum":5179,"description":5180,"tags":12509,"thumbUrl":12510,"material":59,"size":59,"collection":88,"collections":12511,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},236736,"shan-shui-ce-hua-yan-236736",[25,26,53,55,78,79,7,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1492cbea826fde7cdd1dbfc776b89a1f.jpg",[88],{"id":12513,"slug":12514,"title":502,"dynasty":18,"author":214,"museum":5179,"description":5180,"tags":12515,"thumbUrl":12516,"material":59,"size":59,"collection":88,"collections":12517,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},236732,"shan-shui-ce-hua-yan-236732",[25,26,53,55,75,77,79,80,7,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d8a277272e0bd38422b7b0429d89611.jpg",[88],{"id":12519,"slug":12520,"title":8896,"dynasty":18,"author":12521,"museum":552,"description":12522,"tags":12523,"thumbUrl":12524,"material":641,"size":642,"collection":59,"collections":12525,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},236471,"shan-shui-shan-ni-tian-236471","倪田","初名宝田，字墨畊，别署墨畊父，号墨道人、墨翁，又号璧月盦主，江苏江都人，侨上海。画人物仕女及佛像皆取景高远，线条流畅，尤善画马及走兽，能随手挥洒，不用巧笔起稿。光绪中行商到沪，爱任颐画，即参用任法。水墨巨石，设色花卉，腴润遒劲，意境清新而富野趣。1910年任上海书画研究会庶务协董，其画在海上擅胜一时。兼工山水，但不多见，卖画沪上三十年，卒年六十五。传世作品有《写吴昌硕六十六岁肖像》轴，现藏上海博物馆。",[25,26,714,862,29,75,80,277,30,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946e1b0efb5e70a174e44ce59c560e49.jpg",[],{"id":12527,"slug":12528,"title":1143,"dynasty":69,"author":10682,"museum":552,"description":10683,"tags":12529,"thumbUrl":12530,"material":641,"size":642,"collection":59,"collections":12531,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},235730,"hua-niao-ce-tan-zhi-yi-235730",[25,26,55,434,188,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7a9c48fb193a4759de5f3786195065.jpg",[],{"id":12533,"slug":12534,"title":3256,"dynasty":18,"author":12535,"museum":552,"description":12536,"tags":12537,"thumbUrl":12538,"material":641,"size":642,"collection":59,"collections":12539,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},235714,"hua-hui-ce-zou-xian-ji-235714","邹显吉","字黎眉，号思静，一号华斋，自称湖北居人，晚号城南老圃，江苏无锡诸生。尝学诗于吴伟业，画摹宋、元，山水、人物均得古法。写生有邹菊之目。著北游集、湖北草堂诗。一门风雅，妻能画梅，兄、弟、子、侄，皆工画，新处各画小品一二种成卷，为时所艳称。康熙三十九年（一七oo）作罗浮佳处卷，时年六十五。",[25,26,53,29,28,56,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ec7bb907e4f2fccef7a81db0e8113d0.jpg",[],{"id":12541,"slug":12542,"title":12543,"dynasty":18,"author":201,"museum":552,"description":12544,"tags":12545,"thumbUrl":12546,"material":59,"size":59,"collection":60,"collections":12547,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},235039,"yuan-ji-za-hua-tu-ce-yi-ming-235039","原济杂画图册","此作为山水小品，以淡彩晕染出空濛春山，远峰如烟似雾，淡宕朦胧。垂柳柔丝轻曳，笔致细秀，尽写垂拂之姿。苔石旁高士凭岩静坐，敛神凝睇，似将身心融于林泉烟景之中。\n\n设色清润柔和，山石以淡赭、花青轻扫而成，不作繁复勾勒。左侧题诗与画面相映，诗画交融更添文气。全幅笔法松秀空灵，以简淡笔墨写尽山水清寂淡远之致，将文人寄情林泉、静赏春色的幽怀融于尺幅之间，简淡中见隽永风神，尽显文人画的雅致意境。",[24,25,26,53,55,29,80,30,307,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff086b9647f1af5e2513b93a9ed806f3b.jpg",[60,105],{"id":12549,"slug":12550,"title":12551,"dynasty":69,"author":183,"museum":71,"description":12552,"tags":12553,"thumbUrl":12554,"material":59,"size":59,"collection":59,"collections":12555,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},235013,"wang-shi-shan-hu-gang-mo-ji-ju-tu-ce-shan-shui-ye-xiang-sheng-mo-235013","汪氏珊瑚纲摩诘句图册-山水页","项圣谟，字逸，后字孔彰，浙江嘉兴人。为明末著名书画收藏家和画家。",[25,26,53,55,75,79,80,134,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797c660dd7397b8fec87aa05a287cfa4.jpg",[],{"id":12557,"slug":12558,"title":12559,"dynasty":69,"author":201,"museum":71,"description":12560,"tags":12561,"thumbUrl":12562,"material":59,"size":59,"collection":59,"collections":12563,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},234213,"dong-zhu-weng-zhu-lan-juan-yi-ming-234213","东渚翁竹兰卷","释文：归君体之示余，大司□东渚公所作兰竹，行笔秀润，意匠闲雅，真合作也。公在本兵，机务藂挫，而能游心翰墨如此，岂真所谓游刃有余地者哉？徵明题。",[23,25,3533,74,77,78,32,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18269934aac3e0b357318f647a70291e.jpg",[],{"id":12565,"slug":12566,"title":12567,"dynasty":369,"author":201,"museum":71,"description":12568,"tags":12569,"thumbUrl":12570,"material":313,"size":12571,"collection":59,"collections":12572,"showCount":546,"zanCount":511,"manualWeight":43,"mainColor":44},233003,"xiu-yu-ming-chun-tu-ye-yi-ming-233003","绣羽鸣春图页","图中画一只美丽的山鸟，单足立于太湖石上，神情凄楚，啼鸣不止，右爪不安地刨动。细观乃知其被一细绳系于石上，失去自由。作者用心至为深婉。宋欧阳修有句云：“始知锁向金笼听，不及林间自在啼”，亦即此意。\n太湖石的皴染较为粗疏，与小鸟翎毛之精细形成对比，主次分明。周围不设衬景，更显鸟之孤独。禽类本无表情，画家借鉴人类眼睛的画法表现其心理，堪称妙笔。",[24,25,26,1694,28,55,29,56,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d0c9f127df677be284b99a0e58c917.jpg","纵25.7cm，横24.1cm",[],{"id":12574,"slug":12575,"title":5015,"dynasty":369,"author":201,"museum":552,"description":12576,"tags":12577,"thumbUrl":12578,"material":59,"size":59,"collection":59,"collections":12579,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},232914,"han-lin-tu-yi-ming-232914","以瘦硬劲挺的笔触勾勒虬曲枯枝，蟹爪般的枝桠交错伸展，将冬林脱尽繁叶的苍古姿态尽显。古木错落倚着坡石生长，笔墨老辣洗练，褪去春华艳色，只留沉郁骨相。\n\n画面氤氲着清寂荒寒的氛围，将冬日郊野的冷冽萧索铺陈开来，于极简意象里藏着对枯淡幽远的美学追寻。不见翠色繁花，唯有枯木寒石，却在萧索间生出沉古雅逸的风骨，仿佛朔风穿林的空寂声响已在耳畔，将荒寒郊林的幽远意境揉进每一道笔痕中。",[24,25,26,27,55,75,1231,134,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c644df4ab44972659ce2cb160a6c132.jpg",[],{"id":12581,"slug":12582,"title":5052,"dynasty":18,"author":12298,"museum":130,"description":12583,"tags":12584,"thumbUrl":12585,"material":12586,"size":12587,"collection":59,"collections":12588,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},232580,"shan-shui-hua-hui-ce-fu-shan-232580","傅山傅眉《山水花卉冊》，该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开，绢本纸本均有，设色水墨俱全。纵25.7厘米，横25.2厘米，现藏于天津博物馆。\n傅山（1607-1684），明末清初思想家、书画家。善诗、书、画、其画山林，气概浩荡，骨格奇峭，丘壑磊落，有奇逸气势；间写竹石，不落恒蹊，超然出尘。因常披朱衣，故号朱衣道人。晚年喜欢苦酒，自称“老蘖禅”。\n傅眉（1628—1683）,傅山之子，字寿髦，一作寿毛，一字竹岭，自号小蘖禅，山西阳曲人。工诗书画，亦能篆刻，山水学父法古朴而有真趣。",[24,25,55,53,75,80,7,133,324,1911,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F673a2f02dd0a60f1669bc67d8546001d.jpg","绢本纸本","纵25.7厘米，横25.2厘米",[],{"id":12590,"slug":12591,"title":12592,"dynasty":69,"author":4470,"museum":552,"description":12593,"tags":12594,"thumbUrl":12595,"material":327,"size":12596,"collection":59,"collections":12597,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},231599,"da-mo-mian-bi-tu-song-xu-231599","达摩面壁图","此图所绘达摩形象古朴而虔诚，四周是野草蒙茸的岩洞，达摩身着红衣， 端坐于蒲团之上，正在修行。画心题“问法金銮不顺情，折盖潜向少林行。 若无断臂来承受，辜负如来十万程。”署款“庚子新春写于云间超果精舍。”押 “宋旭之印”、“石门山人”二印。",[23,25,26,27,29,75,576,30,7,82,541,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1fe66a812dbe56cfccf70204e699ab7.jpg","纵121.3横32.2厘米",[],{"id":12599,"slug":12600,"title":12601,"dynasty":18,"author":201,"museum":552,"description":12602,"tags":12603,"thumbUrl":12604,"material":59,"size":59,"collection":60,"collections":12605,"showCount":546,"zanCount":511,"manualWeight":43,"mainColor":64},230331,"qing-shi-quan-tu-ce-shi-kai-yi-ming-230331","清十犬图册-十开","《十犬图册》是清代画家佚名创作的一幅绢本设色画。\n此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。\n画法工整，具有一定的程式。\n对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[25,26,53,28,29,101,2688,134,7,78,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e2d3c8edc551956dced1e277f84ec6.jpg",[60],{"id":12607,"slug":12608,"title":12609,"dynasty":69,"author":201,"museum":552,"description":12610,"tags":12611,"thumbUrl":12612,"material":59,"size":59,"collection":59,"collections":12613,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},228780,"fang-li-tang-bai-niu-tu-yi-ming-228780","仿李唐百牛图","此作以长卷铺展郊野牧歌，百头水牛形神各异，或缓步山径、或卧息林麓、或就水嬉游，尽显野性生机。村童三两，或骑牛徐行、或滩间闲坐，稚态可掬。平远山水间，枯木疏林、浅坡村居晕染出淡远乡野意趣。笔墨朴雅清润，勾勒皴擦简淡灵秀，于苍旧绢色里晕开田园闲逸，将牧放日常的悠然意致尽数铺陈，写生状物精妙，尽显古雅的山野生机之美。",[23,25,26,74,29,76,2079,80,81,30,277,82,7,75,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84587f45aecfd3e120826fe52fe1e9fc.jpg",[],{"id":12615,"slug":12616,"title":12617,"dynasty":148,"author":12618,"museum":552,"description":12619,"tags":12620,"thumbUrl":12621,"material":59,"size":59,"collection":59,"collections":12622,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":1551},228076,"li-xian-xiang-zhou-yan-hui-228076","李仙像轴","颜辉","以宣传道教教义与神仙 为主要内容的造型艺术。\n包括日常供奉和用于斋醮等祈禳祭祀活动的神仙画像或雕塑的神像、故事画、水陆画以及宫观的藻饰与法器上的花纹图案、浮雕等。\n制作神像，形式多样。\n《太上洞玄灵宝国王行道经》称造像“随其所有,金银珠玉，绣画织成,刻本范泥,凿龛琢石,雕牙镂骨,印纸图画”等均可,只要“一念发心，大小随力,庄严朴素,各尽当时”。\n但具体制作，皆有定式。\n据道书《洞玄灵宝三洞奉道科戒营私》规定,造像必须“依经具其仪相”，“衣冠华座，并须如法”。\n天尊“帔以九色离罗或五色云霞、山水杂锦”等，“不得用纯紫、丹青、碧绿等”。\n真人“不得散发、长耳、独角，并须戴芙蓉、飞云、元始等冠”。\n左右二真“或持经执简，把诸香华，悉须恭肃，不得放诞手足，衣服偏斜”等。\n早期道教的塑像或画像曾经受到佛教艺术一定的影响。\n唐释法琳《辨正论》引王淳《三教论》云：“近世道士，取活无方，欲人归信，乃学佛家制作形像。\n假号天尊，及左右二真人。\n”唐太宗为王远知建太平观以及王轨重建茅山华阳观，其内殿塑造元始天尊像一躯，都取左右二真人夹侍的形式。\n其后，号然又取法佛教在诸天神头部加添圆光，但是，其形象是中国化的人物面貌，其创作思想深受道家哲学和道教教义的影响，其技法又是中国古铜器、汉画像砖以及古代人物画技法的直接继承，具有明显的道教美术自身的风格。\n有 北郊清源山老君像巨型石刻，晋祠彩塑以及元代的龙山石窟等。\n其中泉州石刻老君像，背松倚望，意态谦恭，两眼平视，慈祥和蔼，美须大耳，左手依膝，右手靠几，全身线条遒劲有力，洗炼概括。\n石像高5.1米,以整块天然巨石雕成，宏伟壮观，是道教造像艺术中的珍品。\n太原晋祠圣母殿创建于北宋天圣(12～12)年间，有圣母、宦官、女官及侍女像共4尊彩塑,以皇后、群臣、宫女的生活形象为范本,脸型、体态和感情流露都近于世俗生活的原型（见彩图）。\n龙山石窟，在太原西南约2公里处。\n始建于元元贞六年(1295)以前，窟内雕有三清、虚皇、张天师、三皇、玄真子、披云子和北七真的石像。\n主要修建者为随邱处机西游的十八行者之一的宋披云。\n他还增修龙山石窟五个洞，使其“殿阁峥嵘，金碧丹艧，如鳌头突出”。\n既运用中国传统的绘画手法，又力图体现道教的教义思想。\n以“画以立意”为宗旨，采用“以形写神”和“以神写形”的方法。\n在创作中不仅调动“出水”、“当风”等多种艺术手段，而且体现了道教对绘制神像的种种要求。\n唐开元二十九年 (741)，画玄元皇帝(太上老君)像，并以高祖、太宗、高宗、中宗、睿宗等五像陪祀。\n画家吴道子有五帝、五官、星宿像等，其中画于河南鹿邑太清宫的太上玄元皇帝像，史载系绢本，即绘于单幅绢上，不施裱褙，供奉时悬挂于壁间架上，后刻石于苏州玄妙观，才得以传世。\n秦汉间神仙思想盛行，在藻饰宫殿、陵墓的美术作品以及帛画中，常有关于神仙、祥异等内容。\n辽宁金县营城子汉墓壁画，其左上端云气缭绕，中有一人，身披羽毛；右上端有一龙，昂头相向。\n画中央有戴三山冠的佩剑人和白发之老翁，作神仙与墓主言谈状。\n壁画黑仙人佩剑、羽衣、须发、云气等形象朴茂高古，线条古朴随意，为道教壁画的先声。\n现存的泰山岱庙天贶殿的巨幅壁画《 》，以皇家宫廷生活为模式，描绘泰山神东岳大帝出巡和回銮的情景，场面浩大，人物众多，生动逼真，山水人物相互衬托，艺术的世俗化倾向浓厚，虽经明、清画工重加彩绘，工匠制作痕迹较重，但尚能体现宋代道画的特色。\n元代宫廷设有“诸色人匠总管府”，专门管理修建宫廷庙宇的各种工匠,彩塑家刘元统领“梵像提举司”,各地著名画工还加“待诏”衔。\n元代初期道教全真道曾盛极一时，山西永乐宫道教壁画就是集唐宋道画传统的中国美术史上的杰作。\n永乐宫壁画画面长9.68米，高4.26米,实绘大小神像共 286尊。\n三清殿壁画沿用《朝元仙仗图》的样式，以“三清”为中心，组成层次井然的仪仗，表达出“三清譬如北辰，居其所而群神拱之”的意思。\n全画分成多组，有雷公雨师、南斗六阙、北斗七星、八卦神君、十二生肖神君、 、三十二天帝君等群像。\n每位帝君和圣母左右均有十余名玉女侍奉。\n云气缭绕，壮丽浩荡，金碧辉煌，显示出元代道画画工们巨大的构图能力。\n线条圆润流畅，色彩浓淡相谐，宁静清逸，庄严肃穆。\n纯阳殿另有《纯阳帝君神游显化之图》壁画共52幅，七真殿有叙述全真教创始人王重阳诞生、得道、成仙和历次度化马丹阳、孙不二、邱处机等北七真事迹的故事画共42幅。\n这些壁画把山水、花鸟、鞍马、界画和人物糅合在一起，以表现人物情节为主。\n永乐宫壁画是由元代民间画工集体绘制而成的，他们堪称14世纪中国绘画史上最具有创造性的民间艺术家。\n元代以降，各地道观虽亦有以壁画传世，但大都陈陈相因,因袭模仿,无甚佳作。\n以道教故事、神仙思想为题材的道画，历久不衰，画家辈出。\n晋代画家顾恺之崇尚老庄，多以龙为题材作道画，附会老子犹龙之说法，其后云龙遂成为道画的特色之一。\n据《贞观公私画录》，顾恺之还画过《刘仙像》、《三天女像》等，并且著有《画云台山记》，叙述他的道祖故事画的内容和构思。\n画面上有丹崖险峻高大，颜色红紫，显示其为神仙之境。\n张天师脸形瘦削，飘然若仙，于丹崖七试弟子。\n其弟子王长穆然坐答，赵升神爽气怡。\n另二弟子则魄散神飞、汗流失色。\n唐代吴道子道释画兼擅。\n画家张素卿本人就是道士，乾符（874～879）中居四川青城山常道观，史载曾画有《老子过流沙图》、《五岳朝真图》、《九皇图》、《五星图》、《老人星图》、《二十四化真人像》、《太无先生像》等。\n前蜀主王建修青城山丈人观，请其于真君殿上画五岳、四渎、十二溪女、山林、溪沼、树木诸神及岳渎曹吏。\n蜀主诞辰时，张素卿画十二仙真，备受赞赏。\n凡有醮斋，开悬供奉。\n据《图画见闻志》称，五代时有名画家25余人，其中以道释画为主者达11人。\n丰富了道画的表现力。\n画家武宗元曾在宋真宗营造玉清昭应宫时,居名应召画殿画匠之首，史载，他17岁就画北邙山老子庙壁，颇称精绝。\n其传世道画《朝元仙仗图》原是壁画粉本，长 6米，高.48米。\n描绘南极天帝和东华天帝君率领仙官、侍从和仪仗朝谒玄元皇帝的场面，共有神仙人物87名，其中男仙11名，神将8名,余皆为手捧供品、仙果、乐器的仙女。\n画幅以手持宝剑的护法神开道，以甲卒、神将殿后，其中二天帝君都略高大于其他神仙，其处理手法与唐阎立本《历代帝王图》相类。\n各神仙的头上或身旁都有一个长形墨线描画的题名牌框，并标上该神仙的尊号，如“东华天帝君”、“扶桑大帝”等。\n全图主次分明，层次井然，线描人物各具神态，不相雷同，线条流畅，具有线描艺术的韵律感。\n宋元文人作画崇尚卷轴、册页、扇面，或有以道教题材结合山水、花鸟的内容，追求“清静无为”的境界，形成了超逸、淡泊、高雅的艺术风格。\n元代有些画家,如黄公望、张彦辅、马臻、方从义等本人就是道士。\n张渥所作《九歌图》和《太乙真人像》等，以白描手法描绘太乙真人手执如意,乘舟荷叶,舒展飘逸的“仙风”。\n元代画家颜辉有传世之作《李仙像》轴，画八仙之一的铁拐李，侧坐石上，神情肃穆，笔法精劲，人物与山水融和，表现了画家洒脱、超逸的情趣。\n明代画家吴伟所作《北海真人》，写骑龟仙者悠然泛海，昂首天外，无拘无碍。\n清代扬州画派金农所作的张天师像，更以古拙的笔墨趣味，表现画家超凡逸群的情思。\n当代画家张大千早年曾久居四川青城山，所绘王母、麻姑、陈抟、纯阳和张陵等道画，刻石于山，至今犹存。\n宋元以后，道教失去朝廷的支持，文人道画也逐渐衰微而同民间美术相结合。\n此后各地民间画工广泛从事于壁画、版画、年画以及用于道教斋醮活动中的水陆画。\n道教斋醮仪式中则广泛使用民间木雕、刺绣以及纸扎工艺美术品作为法器或陈设。\n各道观建筑中也普遍采用民间广泛流传的八仙、麒麟、万年青等吉祥辟邪的装饰图案。\n木版印制的门神、灶君、关帝、财神等神像，在民间流传尤盛。",[23,25,26,27,576,30,80,55,29,116,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff919d05c6f3b085bd2715d0b212f39ef.jpg",[],{"id":12624,"slug":12625,"title":12626,"dynasty":18,"author":12627,"museum":552,"description":12628,"tags":12629,"thumbUrl":12630,"material":59,"size":59,"collection":59,"collections":12631,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},224405,"bao-bi-zhuang-shi-er-feng-wang-xue-hao-224405","宝碧庄十二峰","王学浩","此作用笔苍润秀雅，以水墨兼淡色绘就十二枚湖石，各峰形神迥异，将赏石“瘦、透、漏、皱”之美尽致展现，或如干霄孤直，或若玲珑宛转，顽石似被赋予君子清介风骨。\n\n每石配行草题咏，笔意洒脱与奇石雅姿相互衬映，书画合璧，把文人寄情于石的雅怀尽显无余，将赏石意趣与文人情思相融，尽显传统文人画以物托志的风雅意韵，淡墨轻色间，勾勒出藏于奇石中的林下高致。",[23,25,26,74,55,29,75,78,79,7,12094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601424168e70bd55e579842423ea8b45.jpg",[],{"id":12633,"slug":12634,"title":12635,"dynasty":369,"author":201,"museum":552,"description":12636,"tags":12637,"thumbUrl":12638,"material":59,"size":59,"collection":59,"collections":12639,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},223634,"lian-zhou-xian-du-tu-yi-ming-223634","莲舟仙渡图","烟波浩渺间，仙人卧于莲舟，悠然展卷观览，似将云水清光尽数揽入卷中。右下角巉岩隐现，灵蛇蜿蜒而出，衬得水面愈发幽寂空灵。\n\n整幅以淡墨轻敷，留白晕染出氤氲水雾，将虚无仙境融于简淡笔意，摒弃浓艳设色，全凭清润色调烘托世外幽居的静穆氛围。仙人姿态萧散自在，不见凡尘烟火气，莲舟如扁槎一叶，载着出尘之思浮游烟涛，把道家归返自然、寄迹云山的隐逸意趣藏在水色晕染里，淡而弥远，清而有味，尽显小品画的雅致空灵。",[23,24,25,26,29,28,75,30,85,80,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885e41a3f8ad783f659bb4ddce07b10f.jpg",[],{"id":12641,"slug":12642,"title":12643,"dynasty":369,"author":201,"museum":552,"description":12644,"tags":12645,"thumbUrl":12647,"material":59,"size":59,"collection":59,"collections":12648,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},223607,"qiu-kui-shuang-ji-yi-ming-223607","秋葵双鸡","此作为刺绣小品，以针代笔，晕丝为色。秋葵枝桠舒展挺秀，明黄柔花缀于其上，旁侧异卉擎起橙红花序，灵石静立作衬。石畔双鸡正啄食戏玩，白羽清润蓬松，棕羽苍劲富有层次，翻翘尾羽灵动鲜活。\n\n绣作细腻入微，禽鸟绒羽纤毫毕现，花叶脉络宛然如生，浅纹水畔细草轻摇，将庭院闲居的日常小景晕染得充满雅致生机。整体清丽淡然，不见繁复雕饰，藏着宋人独有的雅致意趣，把寻常幽居的鲜活小景，定格为一幅隽永悠然的雅致画卷。",[23,25,26,29,28,56,12646,1187,7],"秋葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01762311c76cc6c7be1e41cb2bad8ffb.jpg",[],{"id":12650,"slug":12651,"title":12652,"dynasty":369,"author":201,"museum":71,"description":12653,"tags":12654,"thumbUrl":12657,"material":313,"size":12658,"collection":59,"collections":12659,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,24,25,26,74,55,29,80,75,28,78,1744,2280,77,79,12655,82,81,12656,277,153,7],"溪山","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":12661,"slug":12662,"title":12663,"dynasty":18,"author":3814,"museum":112,"description":12664,"tags":12665,"thumbUrl":12666,"material":507,"size":12667,"collection":39,"collections":12668,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},223327,"di-shi-liu-a-bi-da-zun-zhe-zhou-ding-guan-peng-223327","第十六阿必达尊者轴","乾隆皇帝第二次南巡时诣访杭州圣因寺，曾将寺中所藏唐贯休（823-912）十六罗汉像的序位及名号详加考订后送还，并命丁观鹏摹绘一组。此次展出其中两轴。该组罗汉除屡屡被重绘外，亦依其形象制作玉雕，是南巡衍生出的图像新好尚。",[23,25,26,27,576,28,29,30,7,1921,79,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92204ef8ac0f1ceed31060bb9280cade.jpg","127.5x57.5厘米",[39,105],{"id":12670,"slug":12671,"title":12672,"dynasty":18,"author":96,"museum":71,"description":12673,"tags":12674,"thumbUrl":12675,"material":139,"size":12676,"collection":59,"collections":12677,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},223228,"yue-ye-shan-ji-tu-ren-yi-223228","月夜山鸡图","本幅款识：“墨君仁兄有道之属伯年写于鸿城庽斋。”钤“颐印”白方印。收藏印钤“虞山张青莲博士鉴藏”。\n任颐的花鸟画多有兼工带写、明丽活泼的特点。画中巨石用淡墨勾写，以赭色随意勾描石上的丛草，竹子采用工写结合的方法，山鸡则以短粗的线条细细地绘出其皮毛的质感，又以浓淡设彩的变化呈现其体积感，使山鸡神情毕肖。全图用笔奔放灵活，设色淡雅清新，构图平中求奇，静中寓动。\n1998年，由北京大学张青莲教授转让，故宫博物院购藏。",[23,25,26,27,29,56,7245,1073,7,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f8caca1ede984a66f9290ea96cb503.jpg","纵111.2cm，横55.4cm",[],{"id":12679,"slug":12680,"title":12681,"dynasty":148,"author":201,"museum":112,"description":12682,"tags":12683,"thumbUrl":12686,"material":29,"size":12687,"collection":39,"collections":12688,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},221777,"ying-zhen-xiang-liu-zhou-yi-ming-221777","应真像（六）轴","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。\n尊者的容颜是肖像画的手法完成的，或浓眉大眼，或胡须横腮，或皱纹满面，眼窝四周并涂上厚厚蛤粉。此种造形给人以一股沉郁之感。",[23,25,26,27,576,29,28,30,134,7,80,259,35,12684,12685,79],"念珠","拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e946c6fb32967bbf5ea25f7204f80cc.jpg","该幅104.1x50.3公分；全幅 74.2公分",[39,105],{"id":12690,"slug":12691,"title":12692,"dynasty":369,"author":12693,"museum":112,"description":12694,"tags":12695,"thumbUrl":12696,"material":37,"size":12697,"collection":88,"collections":12698,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},218871,"cang-ji-qing-yue-tu-zhu-ci-zhong-218871","苍矶清樾图","祝次仲","这幅画描绘了从河面上凸出的河岛，清波荡漾，岛上绿草如茵，而学者则盘膝而坐，眺望着广阔的河面。这幅画的笔触与李唐相似，岩石是用草书的笔触凿出来的，松散而不夸张。",[23,25,714,55,29,80,7,81,153,1291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f4386ca16a392d3045300e4db4d45d.jpg","26.4x19.8",[88],{"id":12700,"slug":12701,"title":12702,"dynasty":69,"author":12703,"museum":112,"description":12704,"tags":12705,"thumbUrl":12706,"material":262,"size":12707,"collection":60,"collections":12708,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":44},218782,"lu-zhou-ju-yan-tu-zhu-fei-218782","芦洲聚雁图","朱芾","朱芾（活动于西元十四世纪后期），江苏华亭人，字孟辨，号沧洲生，洪武初，以翰林编修改中书舍人。其人才思飘逸，善画芦雁，集潇湘水云之致，兼善山水及白描人物。工词章翰墨之学，真、草、隶、篆清润遒劲，风度不凡。尝以所书篆瘗之细林山中，题曰篆冢。朱芾为当时名士杨维祯之门生，甚受杨氏器重，曾赞芾能以仁义为修，为其门之幸。本幅画芦洲聚雁，楷书画题，隶书识其作画经过，并赋七绝一首写其心境，笔法多变，结字错落，甚有奇趣。",[25,55,80,75,153,1990,81,7,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84fd87c7fb0b2f499c2bd78515980998.jpg","117.4x30.7cm",[60,88],{"id":12710,"slug":12711,"title":12712,"dynasty":18,"author":3814,"museum":112,"description":12713,"tags":12714,"thumbUrl":12715,"material":58,"size":3818,"collection":59,"collections":12716,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},218452,"shi-liu-luo-han-xiang-di-er-a-zi-da-zun-zhe-ding-guan-peng-218452","十六罗汉像-第二阿资答尊者","画面中阿资答尊者盘腿端坐磐石之上，面容褶皱如岁月镌刻的禅痕，双目微阖间似含悲悯与澄明。披衫以细密点染显质感，内层素衣线条流畅如行云，双手交握的姿态沉静而有力。磐石皴法古朴，与人物衣袂的柔劲形成呼应。笔墨细腻处见工致，设色淡雅中透庄重，将罗汉历经劫波后的澄静心境刻画得入木三分。整体气韵古朴悠远，仿佛能窥见修行者内心的万籁俱寂，尽显佛画题材中“以形写神”的妙境，引人沉潜于禅意的悠远时空里。",[25,26,576,30,28,29,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74c4056f9417377094733d742b5e9e3.jpg",[],{"id":12718,"slug":12719,"title":12720,"dynasty":18,"author":3115,"museum":1206,"description":12721,"tags":12722,"thumbUrl":12723,"material":58,"size":59,"collection":59,"collections":12724,"showCount":546,"zanCount":511,"manualWeight":43,"mainColor":64},214813,"shan-shui-hua-hui-tu-ce-6-gao-feng-han-214813","山水花卉图册-6","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[23,24,25,55,29,53,75,133,277,82,921,7,134,851,80,243,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5645da02a8b8b4685060ad00c3bc0b.jpg",[],{"id":12726,"slug":12727,"title":12728,"dynasty":18,"author":169,"museum":170,"description":12729,"tags":12730,"thumbUrl":12731,"material":58,"size":12732,"collection":59,"collections":12733,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":64},214528,"yi-jin-ling-ce-6-shi-tao-214528","忆金陵册-6","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[25,26,53,55,29,75,80,134,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b452f3101ec1685c039d9bb4dfd5c6.jpg","纵23.8厘米，横19.2厘米",[],{"id":12735,"slug":12736,"title":12737,"dynasty":9797,"author":4779,"museum":150,"description":12738,"tags":12739,"thumbUrl":12741,"material":59,"size":59,"collection":60,"collections":12742,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":12743},202843,"ying-tao-tu-zhou-qi-bai-shi-202843","樱桃图轴","这幅画构图简约却意趣盎然。墨线勾勒的竹篮纹理清晰质朴，篮内樱桃以朱砂泼洒点染，色泽浓艳饱满，颗颗似含清甜生机。后方孤石用大写意泼墨法，墨色层次丰富，与鲜红樱桃形成强烈对比，张力十足。左侧题字笔力遒劲，与画面相映成趣，尽显以简驭繁的功力，于日常小景中藏着对生活本真的热爱。",[25,56,55,29,1267,7,12740,77,79,23],"樱桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162f5e3f1a58485979158c16cf98556e.jpg",[60],"b5a389",{"id":12745,"slug":12746,"title":12747,"dynasty":18,"author":12748,"museum":150,"description":12749,"tags":12750,"thumbUrl":12752,"material":59,"size":59,"collection":60,"collections":12753,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":12754},202154,"ying-wu-tu-zhou-hua-nie-202154","鹦鹉图轴","华喦","画面中，鹦鹉翠羽红喙，栖息于虬枝之上，姿态悠然。枝干以淡墨勾勒，辅以浓淡晕染，尽显苍劲之态；旁侧竹影疏斜，石色淡蓝与墨痕交融，添得几分清逸。花鸟相映，笔墨灵动间，既见工笔之细腻，又含写意之洒脱，生机盎然中透着雅致。整体画风清新自然，形神兼备，将禽鸟之态与草木之韵巧妙融合，尽显文人画之韵味。",[25,56,29,28,173,1073,12751,7,27,23],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb329055352f47748cacf865a8e7e3dad.jpg",[60],"bfa884",{"id":12756,"slug":12757,"title":12758,"dynasty":18,"author":12759,"museum":150,"description":12760,"tags":12761,"thumbUrl":12762,"material":59,"size":59,"collection":88,"collections":12763,"showCount":546,"zanCount":43,"manualWeight":43,"mainColor":12764},202100,"wu-shan-wan-gui-tu-zhou-ma-zhong-li-202100","吴山晚归图轴","马中立","层岩错落，林木参差，溪流穿石蜿蜒，小桥横卧其上，一人策杖缓行，似赴晚归之途。山石以皴笔写就，纹理苍劲，兼施淡彩晕染，笔墨温润雅致。远处山峦隐于云雾，近景树木枯荣相衬，姿态各异。构图疏密得宜，虚实相生，将山野的清幽与晚归的静谧悄然融合，尽显传统山水的悠然意趣。",[25,26,27,80,55,29,75,277,82,134,7,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5b274cb3ab4c05a947697030d527f2.jpg",[88],"a4917d",{"id":12766,"slug":12767,"title":12768,"dynasty":148,"author":256,"museum":552,"description":2665,"tags":12769,"thumbUrl":12770,"material":641,"size":642,"collection":59,"collections":12771,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},290399,"shan-shui-tu-ke-luo-ban-ni-zan-290399","山水图（珂罗版）",[23,25,24,55,273,77,79,75,134,83,82,7,153,4115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd388e9b163af066519eb6f9234c22b13.jpg",[],{"id":12773,"slug":12774,"title":12775,"dynasty":369,"author":711,"museum":552,"description":12776,"tags":12777,"thumbUrl":12778,"material":641,"size":642,"collection":59,"collections":12779,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},289844,"song-quan-shuang-niao-tu-ma-yuan-289844","松泉双鸟图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[24,25,26,53,55,29,80,30,715,82,153,7,4115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907448da9b810fec8225fe3e1a09aff8.jpg",[],{"id":12781,"slug":12782,"title":9905,"dynasty":369,"author":9906,"museum":552,"description":12783,"tags":12784,"thumbUrl":12785,"material":641,"size":642,"collection":59,"collections":12786,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},288228,"yin-yan-fei-pu-tu-jiang-can-288228","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，",[23,24,25,26,27,55,80,82,7,133,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181a7d40b09d85f02f77d6c7241e2f97.jpg",[],{"id":12788,"slug":12789,"title":12790,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":12791,"thumbUrl":12792,"material":641,"size":642,"collection":59,"collections":12793,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},287641,"lao-lian-huo-xu-tu-li-zhou-chen-hong-shou-287641","老莲活须图立轴",[23,25,27,30,7,434,29,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ef134e5fdea008bf16660c0c2ac0b.jpg",[],{"id":12795,"slug":12796,"title":12797,"dynasty":148,"author":5347,"museum":552,"description":12798,"tags":12799,"thumbUrl":12800,"material":641,"size":642,"collection":59,"collections":12801,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},287552,"qing-chuan-song-ke-tu-zhao-yuan-287552","晴川送客图","赵原，中国元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。",[24,25,26,27,55,75,80,82,85,30,81,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecb486fbd110d78380ab0e715e10494e.jpg",[],{"id":12803,"slug":12804,"title":12805,"dynasty":69,"author":8430,"museum":552,"description":8431,"tags":12806,"thumbUrl":12807,"material":641,"size":642,"collection":59,"collections":12808,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},283643,"mo-bi-shan-shui-tu-wang-fu-283643","墨笔山水图",[24,25,26,27,55,80,85,82,7,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e1464e21e776c0b4325fbe0aacdb67.jpg",[],{"id":12810,"slug":12811,"title":12812,"dynasty":69,"author":12813,"museum":552,"description":12814,"tags":12815,"thumbUrl":12816,"material":641,"size":642,"collection":59,"collections":12817,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},239473,"fang-ni-shan-shui-shan-bian-wen-yu-239473","仿倪山水扇","卞文瑜","字孟硕，吴江（今江苏吴江）人。工画，见赏于董思白（其昌）、陈眉公（继儒）。明亡佯狂卒，年三十二。",[25,714,55,75,76,80,7,81,921,324,11855,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d62cdec0cf21a047c087ed05e3035b6.jpg",[],{"id":12819,"slug":12820,"title":12821,"dynasty":18,"author":12822,"museum":71,"description":12823,"tags":12824,"thumbUrl":12825,"material":327,"size":12826,"collection":105,"collections":12827,"showCount":107,"zanCount":511,"manualWeight":43,"mainColor":64},238976,"shan-shui-ce-ming-xie-ci-ce-wang-chen-238976","山水册－命写此册","王宸","在册的画幅都比较小，从作者题语也可知道，很大程度上不是为明确目标而作，只是闲暇时自己借之寓意寄兴，因此画面气氛淡雅怡然。",[25,26,53,55,80,133,1073,7,78,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40e1e9fa3bbd3ca158697b4f33e39a.jpg","纵21厘米，横28.2厘米",[105],{"id":12829,"slug":12830,"title":12831,"dynasty":18,"author":6283,"museum":552,"description":7368,"tags":12832,"thumbUrl":12833,"material":59,"size":59,"collection":88,"collections":12834,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},237883,"hua-yang-meng-zai-shi-yi-zhou-wang-hui-237883","画杨孟载诗意轴",[24,25,26,27,55,75,80,7,133,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd198bc536ace8ae72b28621379a6632.jpg",[88],{"id":12836,"slug":12837,"title":3365,"dynasty":18,"author":941,"museum":552,"description":4492,"tags":12838,"thumbUrl":12839,"material":641,"size":642,"collection":59,"collections":12840,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},237618,"hong-ren-shan-shui-ce-hong-ren-237618",[25,26,53,55,75,78,77,79,80,277,7,134,349,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd3963f9cc3e8bb7f5738ddd57592de.jpg",[],{"id":12842,"slug":12843,"title":12844,"dynasty":69,"author":12845,"museum":552,"description":12846,"tags":12847,"thumbUrl":12848,"material":641,"size":642,"collection":59,"collections":12849,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},237147,"jiao-shi-luo-han-xiang-zhou-fang-wei-yi-237147","蕉石罗汉像轴","方维仪","方维仪（1585—1668），字仲贤，安徽桐城人（今桐城市区凤仪里人）。明末著名女诗人、画家，所作有《清芬阁集》， 又辑历代妇女作品为《宫闺诗史》。其绘画师法宋代李公麟，尤擅长绘释道人物。特别是白描《观音大士图》形神兼备，许多人争相收藏。",[25,26,27,434,55,576,30,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd44d435139ab21d8ba948030582f85a3.jpg",[],{"id":12851,"slug":12852,"title":12853,"dynasty":18,"author":4422,"museum":552,"description":4423,"tags":12854,"thumbUrl":12855,"material":641,"size":642,"collection":59,"collections":12856,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},236472,"mei-zhu-you-qin-shan-ren-xun-236472","梅竹幽禽扇",[25,26,714,29,56,187,32,374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096af5dea5bdf2d74d283294105510ea.jpg",[],{"id":12858,"slug":12859,"title":12860,"dynasty":18,"author":9324,"museum":71,"description":12861,"tags":12862,"thumbUrl":12863,"material":1106,"size":12864,"collection":59,"collections":12865,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},236131,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236131","历朝贤后故事图","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。",[24,25,26,28,29,241,30,242,7,307,245,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2478e28c3fee0f24f940a85decdfb756.jpg","纵30.8厘米，横37.4厘米",[],{"id":12867,"slug":12868,"title":4918,"dynasty":18,"author":214,"museum":552,"description":12869,"tags":12870,"thumbUrl":12871,"material":59,"size":59,"collection":59,"collections":12872,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},236009,"hua-hui-tu-ce-hua-yan-236009","此作绘水滨水仙与墨竹，花瓣以淡白晕染，勾勒出清润娇柔之态，修长青叶以中锋写出，挺秀舒展，间伴数枝墨竹，枝叶萧疏清劲。水墨点染坡岸苔石，淡赭晕出水滩，虚实相生，衬出水畔清寂幽洁之境。右侧题字配朱印，融诗书画印为一体。\n\n笔法秀逸灵动，设色淡雅明净，尽显水仙与竹的君子姿容，简淡中透着生机，将双清相伴的幽逸意境淋漓展现，尽显文人画独有的清雅风骨，是写意花鸟的雅致佳作。",[25,26,53,29,55,56,174,32,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff181efb7f1cd28fdf14b74d85a75f345.jpg",[],{"id":12874,"slug":12875,"title":12876,"dynasty":69,"author":6788,"museum":552,"description":12877,"tags":12878,"thumbUrl":12879,"material":59,"size":59,"collection":59,"collections":12880,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},235995,"shui-xian-zhu-shi-tu-zhou-wang-gu-xiang-235995","水仙竹石图轴","此作用笔清隽秀雅，淡墨晕染湖石，嶙峋苍古自带枯寂沉静之态。白描勾勒水仙，叶片舒展清劲，花姿娟秀恍若月下凌波，自带出尘之姿。萧疏细竹点缀石畔，更添幽清淡雅之意。\n\n右上角题诗托物寄兴，将水仙拟作不染俗尘的江上月中佳人，书画合璧尽显文人画的抒情写意之趣。全幅墨色柔润层次分明，无浓丽之色，以极简笔墨营造出幽绝尘寰的林下清境，尽显文人士大夫追慕清雅的精神风骨。",[25,26,27,55,29,174,32,826,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad6b9f1288957748a2246dcc63d1667.jpg",[],{"id":12882,"slug":12883,"title":4918,"dynasty":18,"author":2300,"museum":552,"description":12134,"tags":12884,"thumbUrl":12885,"material":641,"size":642,"collection":59,"collections":12886,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},235699,"hua-hui-tu-ce-zou-yi-gui-235699",[25,26,53,29,28,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c38da395f27004b545fccb25128d3be.jpg",[],{"id":12888,"slug":12889,"title":3256,"dynasty":18,"author":3257,"museum":552,"description":3258,"tags":12890,"thumbUrl":12891,"material":641,"size":642,"collection":59,"collections":12892,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},235600,"hua-hui-ce-wang-wu-235600",[25,26,53,29,56,78,79,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecafdea033fb2dd3906ac6c25436dac.jpg",[],{"id":12894,"slug":12895,"title":10116,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":12896,"thumbUrl":12897,"material":641,"size":642,"collection":59,"collections":12898,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},235517,"yuan-ji-shan-shui-tu-ce-shi-tao-235517",[25,26,53,55,75,80,135,81,277,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539be3c07015b163b46cd40a7d09dfe6.jpg",[],{"id":12900,"slug":12901,"title":502,"dynasty":18,"author":475,"museum":552,"description":12902,"tags":12903,"thumbUrl":12904,"material":59,"size":59,"collection":59,"collections":12905,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},235167,"shan-shui-ce-zhu-da-235167","这幅画以大片留白铺就江天寥廓，将寒烟秋水的空茫意蕴藏于素纸之上。右侧淡墨勾勒丘坡枯木，笔意清瘦简逸，虬曲枯枝孤傲孑立，枯笔皴擦山石，不着浓墨晕染，尽显萧疏冷寂。\n\n空荡纸面恰如无人的寒江荒野，把天地荒寒的澹远之境铺陈开来。朱红钤印错落点缀，冷素笔墨与古雅印色相映，为清寂画面添了沉静厚重的余味。\n\n寥寥数笔便将幽独襟怀融于山水之间，极简意象里藏着沉郁孤高的心境，于空寂之中见深远意趣，淡远里尽显清冷孤绝的品格。",[25,55,53,80,81,136,135,7,75,4855,3938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c165116dd7770d6cc8dde0fdfaf4df9.jpg",[],{"id":12907,"slug":12908,"title":4926,"dynasty":18,"author":4927,"museum":71,"description":12909,"tags":12910,"thumbUrl":12911,"material":3566,"size":4931,"collection":59,"collections":12912,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},234965,"wu-wai-tian-yuan-tu-ce-kun-can-234965","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[25,26,24,53,55,75,77,79,80,7,81,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab7e989e6b953554dabccfa86cb3c35.jpg",[],{"id":12914,"slug":12915,"title":12916,"dynasty":18,"author":5439,"museum":71,"description":11870,"tags":12917,"thumbUrl":12921,"material":59,"size":59,"collection":59,"collections":12922,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},234465,"cui-zhu-gu-ting-tie-luo-shen-zhen-lin-234465","翠竹孤亭贴落",[25,26,12918,55,29,12919,12920,79,77,7,173,28],"贴落","翠竹","孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4daea092fc768f069f69a9adf8b4ae48.jpg",[],{"id":12924,"slug":12925,"title":12926,"dynasty":69,"author":8281,"museum":71,"description":12927,"tags":12928,"thumbUrl":12929,"material":479,"size":59,"collection":59,"collections":12930,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},234230,"san-cai-li-qu-tu-juan-zhang-fu-yang-234230","三才理趣图卷","张复阳(1403-1490)，名复，以字行，号南山，浙江平湖人。道士，居浙江洞霄宫一枝堂。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真；草树人物，各臻其妙。",[23,25,26,74,55,80,30,260,7,84,78,77,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d0330ddca90d3c56a5f65f60f97e1f.jpg",[],{"id":12932,"slug":12933,"title":12934,"dynasty":69,"author":5954,"museum":552,"description":12935,"tags":12936,"thumbUrl":12937,"material":59,"size":59,"collection":59,"collections":12938,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},234201,"mo-hua-juan-wang-duo-234201","墨花卷","《墨花卷》是中国清代的一幅古画，现藏于北京故宫博物院。",[23,24,25,26,74,55,56,173,187,188,191,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4d60f90bf1952b87ee06c51aba9e76.jpg",[],{"id":12940,"slug":12941,"title":940,"dynasty":18,"author":9663,"museum":71,"description":12942,"tags":12943,"thumbUrl":12944,"material":139,"size":12945,"collection":59,"collections":12946,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},233890,"huang-shan-tu-ce-mei-qing-233890","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[25,26,80,53,55,29,75,115,715,2667,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc4dbbd059f61494cfc3a76e398e246.jpg","纵26厘米，横33厘米",[],{"id":12948,"slug":12949,"title":12950,"dynasty":18,"author":169,"museum":552,"description":3136,"tags":12951,"thumbUrl":12952,"material":967,"size":3139,"collection":59,"collections":12953,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},233689,"yuan-ji-lan-zhu-ce-quan-shi-lan-zhi-shi-tao-233689","原济兰竹册－泉石兰芝",[25,26,53,55,188,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff06ea8d1a5f19d483fa4e2721b2b3214.jpg",[],{"id":12955,"slug":12956,"title":12957,"dynasty":18,"author":169,"museum":552,"description":3136,"tags":12958,"thumbUrl":12959,"material":967,"size":3139,"collection":59,"collections":12960,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},233680,"yuan-ji-lan-zhu-ce-gu-mu-lan-cao-shi-tao-233680","原济兰竹册－古木兰草",[25,26,53,55,78,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797de6a6914b98ce9c32818051c84e45.jpg",[],{"id":12962,"slug":12963,"title":5197,"dynasty":148,"author":2912,"museum":71,"description":12964,"tags":12965,"thumbUrl":12966,"material":598,"size":12967,"collection":59,"collections":12968,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},233415,"you-huang-xiu-shi-tu-zhou-gu-an-233415","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。",[25,26,27,55,32,7,2290,5994,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd945535c0c5cd391b4e454b8d95a6c6.jpg","纵184厘米，横102厘米",[],{"id":12970,"slug":12971,"title":12972,"dynasty":148,"author":1711,"museum":71,"description":12973,"tags":12974,"thumbUrl":12975,"material":313,"size":12976,"collection":59,"collections":12977,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},233201,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-233201","秋林远岫图页","赵武灵王（约公元前340年—前295年），中国战国中后期赵国君主，嬴姓，赵氏，名雍。（先秦时期男子称氏不称姓，故当称为赵雍，不叫嬴雍。）赵武灵王在位时，推行的“胡服骑射”政策，赵国因而得以强盛，灭中山国，败林胡、楼烦二族，辟云中、雁门、代三郡，并修筑了“赵长城”。武灵王本人在前296年的沙丘之乱中被幽禁饿死，谥号为武灵王（“灵”为贬义谥号，表示“乱而不损”，赵国君主称王，自武灵王谥号始）。",[25,26,24,1694,714,55,29,75,80,1231,134,324,7,153,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7e5b742b617c523f43b90f6a163971.jpg","68X77cm",[],{"id":12979,"slug":12980,"title":12981,"dynasty":18,"author":2159,"museum":150,"description":12982,"tags":12983,"thumbUrl":12984,"material":327,"size":59,"collection":59,"collections":12985,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},233190,"hua-hui-ce-shui-xian-ling-shi-ye-zhao-zhi-qian-233190","花卉册-水仙灵石页","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。",[25,26,53,29,56,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7825bfffeca2cb0f0b8420821bb54d.jpg",[],{"id":12987,"slug":12988,"title":12989,"dynasty":148,"author":256,"museum":112,"description":12990,"tags":12991,"thumbUrl":12992,"material":327,"size":12993,"collection":59,"collections":12994,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},232886,"shan-shui-shu-hua-he-bi-quan-juan-ni-zan-232886","山水书画合壁全卷","此画倪瓒六十三岁（西元一三六三年）作。山上长皴，未成折带；远树横点，神似大痴。盖云林本学董源，而又幼于黄公望三十三岁，故不能无影响也。此画本为赠行而作，受画者由水路往会稽，故所画系舟中望两岸之景，受画者为谁，已不可知。上款惟允二字，系画商妄改，借增此画身价。",[23,25,24,74,26,55,75,77,78,80,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf0bf161896ef34eaf69a1f8b40af91c.jpg","27.82*263.06厘米",[],{"id":12996,"slug":12997,"title":12998,"dynasty":69,"author":12999,"museum":552,"description":13000,"tags":13001,"thumbUrl":13002,"material":327,"size":13003,"collection":59,"collections":13004,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[23,25,26,74,55,434,75,79,77,78,80,7,81,133,136,8316,324,259,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 厘米",[],{"id":13006,"slug":13007,"title":13008,"dynasty":5251,"author":13009,"museum":552,"description":13010,"tags":13011,"thumbUrl":13012,"material":641,"size":642,"collection":59,"collections":13013,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,27,29,28,75,56,135,32,291,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31dcbd30fdf392e7be2c5ed69db9ae9a.jpg",[],{"id":13015,"slug":13016,"title":13017,"dynasty":5251,"author":13018,"museum":552,"description":13019,"tags":13020,"thumbUrl":13021,"material":641,"size":642,"collection":59,"collections":13022,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},231740,"an-tu-tao-shan-shi-dai-qin-qi-shu-hua-tu-ping-feng-di-er-ping-hai-bei-you-song-231740","安土桃山时代 琴棋书画图屏风第二屏","海北友松","海北 友松（かいほう ゆうしょう、天文2年（1533年） - 慶長20年6月2日（1615年6月27日））は、安土桃山時代から江戸時代初期にかけての絵師。海北派の始祖。",[23,25,27,55,29,80,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86678861db0d7126fe8de6b1c0631142.jpg",[],{"id":13024,"slug":13025,"title":13026,"dynasty":5251,"author":201,"museum":552,"description":13027,"tags":13028,"thumbUrl":13029,"material":59,"size":59,"collection":59,"collections":13030,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},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",[23,25,26,24,27,29,28,75,2079,30,307,80,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63ecd8f1f45323c17e46719497b70e4.jpg",[],{"id":13032,"slug":13033,"title":13034,"dynasty":18,"author":3992,"museum":552,"description":13035,"tags":13036,"thumbUrl":13037,"material":59,"size":59,"collection":59,"collections":13038,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[23,25,26,27,55,75,80,135,133,82,136,324,2351,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":13040,"slug":13041,"title":6513,"dynasty":18,"author":5900,"museum":552,"description":13042,"tags":13043,"thumbUrl":13044,"material":641,"size":642,"collection":59,"collections":13045,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},230362,"shan-shui-ce-ye-wang-zhi-rui-230362","汪之瑞（？—约1660年），字无瑞，号乘槎，清朝安徽休宁人，清初画家。生卒年不可具考，约和查士标同时，为明末新安画家李永昌高足。“新安四家”之一。",[25,26,53,55,75,80,7,81,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f78b8ecd3718efd6c5667138c15a033.jpg",[],{"id":13047,"slug":13048,"title":13049,"dynasty":18,"author":3824,"museum":552,"description":8653,"tags":13050,"thumbUrl":13051,"material":641,"size":642,"collection":59,"collections":13052,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},230214,"hua-hai-xi-ji-hui-ce-yu-sheng-230214","画海西集卉册",[25,26,53,29,28,56,7,4313,11378,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bd37e09a286a4c51cbf60bdd3607ac.jpg",[],{"id":13054,"slug":13055,"title":13056,"dynasty":69,"author":8719,"museum":552,"description":13057,"tags":13058,"thumbUrl":13059,"material":59,"size":59,"collection":59,"collections":13060,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},228387,"peng-lai-xian-yi-tu-juan-1-leng-qian-228387","蓬莱仙奕图卷-1","《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……”",[25,26,74,29,862,80,81,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f83116d1482be85f63c5b6bf0eda143.jpg",[],{"id":13062,"slug":13063,"title":4469,"dynasty":69,"author":4470,"museum":552,"description":13064,"tags":13065,"thumbUrl":13066,"material":59,"size":59,"collection":59,"collections":13067,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},228355,"luo-han-tu-song-xu-228355","此作用笔清隽沉稳，设色古雅柔和。主尊罗汉安坐岩穴，面含静穆，紫衣禅袍衣褶层叠凝练，抬手垂臂间自有出尘悠然气度。身前小沙弥身披朱红衲衣，俯身低首，以恭谨姿态衬得主尊静定庄严。背景枯木虬枝盘绕，苔点错落晕染出林麓荒寂，浅赭绢色晕染出幽谧山野氛围。画面以简淡笔触晕开禅意，将佛门清寂安然的林下修行之景，铺陈得静谧悠长，尽显平和冲淡的禅画意趣。",[23,25,26,4741,576,30,29,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bb748de064a314fbc717671321fa39.jpg",[],{"id":13069,"slug":13070,"title":13071,"dynasty":148,"author":201,"museum":552,"description":13072,"tags":13073,"thumbUrl":13074,"material":59,"size":59,"collection":59,"collections":13075,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},228200,"si-ji-feng-zhu-tu-zhou-yi-ming-228200","四季风竹图轴","此作用水墨写就丛竹，老干挺拔苍劲，新篁清润秀雅，高低错落排布，枝叶俯仰有姿，似裹挟穿林风韵。运笔遒劲爽利，竹叶下笔如削，虚实相生间，以浓淡墨色铺陈出前后层次，将竹之清刚气节尽显。画面洗练空灵，无多余皴染，以极简笔墨写尽竹之潇洒风神，藏动于静，仿若可聆风穿叶隙之声，暗合君子凌霜傲雪的品格风骨，尽显文人以物咏志的意涵，是墨竹写意中颇具意趣的上乘之作。",[23,24,25,26,27,55,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3960b7cca53261a5c677339f49302fe7.jpg",[],{"id":13077,"slug":13078,"title":13079,"dynasty":148,"author":13080,"museum":552,"description":13081,"tags":13082,"thumbUrl":13084,"material":59,"size":59,"collection":59,"collections":13085,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},228176,"xuan-men-shi-zi-tu-hua-zu-li-228176","玄门十子图","华祖立","《玄门十子图卷》是元代画家华祖立、吴炳共同所绘的画作，现收藏于上海博物馆。\n该图根据元赵孟頫《十子图》石刻本和木刻本摹写而成。\n十子为春秋战国时期著名道家人物，再加上老子共十一人。\n这十位分别为尹喜、辛钘（音jian）、庚桑楚、南荣趎（音chu）、尹文、士成绮、崔瞿、柏矩、列御寇（列子）和庄周（庄子）。\n该图所绘十一位人物神情严肃、造型各异、不设背景，其侧书以与之相应的传记。\n技法上，笔法刚劲，描绘人物线条园转秀逸，婉转流畅，设色淡雅，反映了这十一人的仙风道骨。\n华祖立（元代活动于十四世纪），字唐卿，籍贯不详，擅画人物。\n吴炳（元代活动于十四世纪），字彦辉，河南开封人，擅书法。",[23,25,26,74,434,29,30,7,79,13083],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc04f788d9b54ae5367fa0e9826ee7a.jpg",[],{"id":13087,"slug":13088,"title":13089,"dynasty":148,"author":1711,"museum":552,"description":13090,"tags":13091,"thumbUrl":13092,"material":59,"size":59,"collection":59,"collections":13093,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":1551},228029,"fang-you-tu-zhao-yong-228029","访友图","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[23,25,29,80,75,30,349,81,277,82,865,1231,134,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":13095,"slug":13096,"title":13097,"dynasty":18,"author":4526,"museum":71,"description":11947,"tags":13098,"thumbUrl":13099,"material":11951,"size":11952,"collection":59,"collections":13100,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":11954},223141,"shi-wan-tu-ce-5-ren-xiong-223141","十万图册5",[23,25,29,862,28,53,80,7,3221,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189bbf05898f4a844375d2898e2f33d.jpg",[],{"id":13102,"slug":13103,"title":13104,"dynasty":18,"author":13105,"museum":1060,"description":13106,"tags":13107,"thumbUrl":13108,"material":1106,"size":13109,"collection":59,"collections":13110,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},222803,"you-tu-zhao-fu-222803","犹图","赵福","图绘院落一角，湖石耸立，形状奇特，石上方一树枝伸出，白花朵朵点缀枝头；湖石四周杂草丛生，前方二只狗相互对望，淡黄色毛浓密，体格健壮。技法上，狗的毛发以细皴绘制，惟妙惟肖，湖石以深蓝色晕染，更显立体感。",[23,25,28,29,101,7,291,117,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876d1b2cf62983e4ca8dfa4acb71cb2c.jpg","24.4×24cm",[],{"id":13112,"slug":13113,"title":13114,"dynasty":69,"author":1184,"museum":847,"description":13115,"tags":13116,"thumbUrl":13117,"material":479,"size":13118,"collection":59,"collections":13119,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},222340,"wu-yang-zi-yang-xing-tu-quan-juan-tang-yin-222340","悟阳子养性图全卷","图绘溪水流淌、绿树成荫的幽静之处，有草厅一间，一老者坐于蒲团之上，双手握于膝上，仰望的姿势似观赏远处的大好山水，身旁一桌上置诗书几本，表达出修身养性的意境；卷后有文徵明题《悟阳子诗叙》，二大才子书画合璧，精彩绝伦！",[23,25,26,74,55,78,77,80,30,921,81,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7458bac5765bb1775c9eeabee74ee5f5.jpg","29.5x103.5cm",[],{"id":13121,"slug":13122,"title":13123,"dynasty":18,"author":941,"museum":71,"description":942,"tags":13124,"thumbUrl":13125,"material":327,"size":945,"collection":59,"collections":13126,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":64},220308,"huang-shan-tu-ce-19-hong-ren-220308","黄山图册-19",[23,24,25,26,53,55,75,80,7,259,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6dfe45f93f0cf56b0381c1faf8a8fe.jpg",[],{"id":13128,"slug":13129,"title":13130,"dynasty":18,"author":201,"museum":150,"description":13131,"tags":13132,"thumbUrl":13134,"material":58,"size":13135,"collection":39,"collections":13136,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":44},218480,"mao-xiang-xiao-xiang-tu-yi-ming-218480","冒襄肖像图","头戴围巾的男子坐在圆椅上，神情轻松，凝视着远方，他的围巾和衣服都是明代风格，线条流畅，形象生动；座位旁边的桌子是托盘和酒桌，砚台的形状是起伏的山峰，瀑布穿插着溪流和山谷，动态非凡。石头的底座是按照形状来塑造的，线条简单，还有一些当地的如意矮脚。",[23,25,26,28,29,78,30,7,13133,79],"家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7cd6fb035d8a671704cf1a5626532c7.jpg","82x44",[39],{"id":13138,"slug":13139,"title":13140,"dynasty":18,"author":201,"museum":1637,"description":13141,"tags":13142,"thumbUrl":13143,"material":327,"size":59,"collection":59,"collections":13144,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":1551},216860,"xi-xiang-ji-tu-ce-14-yi-ming-216860","西厢记图册-14","画面铺展一方雅致庭院，朱红栏杆蜿蜒勾连亭台，古树荫蔽下，山石错落生姿，几丛花草点缀其间，愈显清幽。人物衣袂轻扬，一立一跪间藏着西厢故事的婉转心事——站立者身姿温婉，似在俯身相询；跪拜者手持物件，神情恳切。工笔设色细腻，衣纹线条流畅，青绿草木与朱红栏杆相映成趣，将古典园林的静谧与人物互动的张力巧妙融合，仿佛能窥见西厢记中那段缠绵故事的一隅，笔墨间尽是对古典情韵的细腻描摹。",[25,26,53,29,241,30,242,82,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720652a38329f92eef957d18fe25b055.jpg",[],{"id":13146,"slug":13147,"title":1238,"dynasty":69,"author":8235,"museum":150,"description":13148,"tags":13149,"thumbUrl":13150,"material":59,"size":59,"collection":88,"collections":13151,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":13152},203179,"za-hua-ce-zhang-lu-203179","画面以水墨晕染出峭壁嶙峋之势，苍松倚石而生，虬枝劲挺。远处峰峦隐现于薄雾间，一轮夕阳悬于天际，暖红光晕轻笼山巅，与冷灰山石形成微妙对比。笔法简劲洒脱，干笔皴擦勾勒岩骨肌理，湿墨渲染出空濛氛围，墨色层次丰富，尽显山水雄浑与清寂。整体兼具北派刚健与文人雅致，自然之态与心境相融，意境悠远耐品。",[55,75,80,863,7,53,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383361f3e6bb08901e92cef60a80231.jpg",[88],"b8ada0",{"id":13154,"slug":13155,"title":13156,"dynasty":9797,"author":3542,"museum":150,"description":13157,"tags":13158,"thumbUrl":13159,"material":59,"size":59,"collection":60,"collections":13160,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":13161},202911,"xiong-ji-zhu-shi-tu-zhou-xu-bei-hong-202911","雄鸡竹石图轴","画面中雄鸡昂首伫立，尾羽以浓墨挥洒，墨色沉厚如铁，开张如戟；鸡冠与肉垂以朱红重彩点染，鲜妍夺目，与黑白羽毛形成强烈对比，尽显昂扬霸气。鸡爪以劲挺线条勾勒，骨节分明，抓石有力，姿态稳健。背景竹枝以淡墨或浅蓝写意写出，笔意疏朗；山石水墨晕染，皴擦结合，虚实相生。整作融传统写意笔墨与西画写实造型于一体，笔墨酣畅，形神兼备，竹石相映更衬雄鸡傲然风骨，是兼具气势与意趣的花鸟佳作。",[25,55,29,56,32,7,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbfe424b08eb53379fca7dd08369944.jpg",[60],"c2af91",{"id":13163,"slug":13164,"title":13165,"dynasty":9797,"author":13166,"museum":150,"description":13167,"tags":13168,"thumbUrl":13169,"material":59,"size":59,"collection":88,"collections":13170,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":13171},202810,"chun-shan-chi-ting-tu-zhou-huang-bin-hong-202810","春山池亭图轴","黄宾虹","水墨晕染间，春山如黛，云雾轻笼峰峦，层次悠远。近处溪流绕石，茅舍隐于繁荫，野趣盎然；中景池亭依崖而立，林木葱茏相映；远山墨色渐淡，尽显深邃空灵。笔墨苍劲，皴擦点染交织，墨色浓淡相宜，浑厚华滋中藏清逸，将春日山居的静谧生机凝于尺幅，尽显传统山水的韵致与匠心。",[25,55,80,75,349,82,7,134,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b05557af0339f05815787d4ee820f8.jpg",[88],"a4a59f",{"id":13173,"slug":13174,"title":13175,"dynasty":18,"author":475,"museum":150,"description":13176,"tags":13177,"thumbUrl":13178,"material":59,"size":59,"collection":59,"collections":13179,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":13180},202724,"shan-shui-hu-shi-tu-zhou-zhu-da-202724","山水湖石图轴","水墨晕染间，孤石嶙峋而立，皴擦笔触勾勒出顽石的苍劲骨力；石侧水仙疏枝淡叶，线条清逸灵动，与冷硬的山石形成柔刚对比。整幅笔墨简括却意韵悠长，清冷孤寂的氛围中，藏着八大山人特有的疏淡孤高之致，寥寥数笔便将物之神韵与心之所感融于一纸，尽显水墨写意的精妙。",[25,55,7,174,173,75,27,79,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9862c878fa5f27a2cabac8b5d15785b3.jpg",[],"d9d4ce",{"id":13182,"slug":13183,"title":13184,"dynasty":18,"author":697,"museum":150,"description":13185,"tags":13186,"thumbUrl":13190,"material":59,"size":59,"collection":59,"collections":13191,"showCount":107,"zanCount":511,"manualWeight":43,"mainColor":13192},202590,"zi-teng-tu-zhou-ju-lian-202590","紫藤图轴","画面中紫藤缠石舒展，虬枝遒劲，蓝紫花序垂悬若串，叶片翠润间带浅红秋意。两只蜜蜂振翅花间，形态鲜活，似欲采蜜，生动传神。山石以淡墨皴染，轮廓简括，与紫藤柔媚之姿形成刚柔相济之趣。画家运用撞水撞粉技法，使花叶色泽清透鲜活，质感细腻。整体设色雅致，笔墨灵动，于写生中见意趣，尽显岭南画派的细腻生动，传递出自然生机与恬淡之美。",[25,56,29,13187,13188,7,13189,28,23],"撞水撞粉","紫藤","蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a9f225018d0a124b416246b6455d28.jpg",[],"cac0b5",{"id":13194,"slug":13195,"title":13196,"dynasty":18,"author":475,"museum":150,"description":13197,"tags":13198,"thumbUrl":13199,"material":59,"size":59,"collection":59,"collections":13200,"showCount":107,"zanCount":43,"manualWeight":43,"mainColor":13201},202564,"ju-shi-shuang-niao-tu-zhou-zhu-da-202564","踞石双鸟图轴","画面以极简笔墨造境，孤石嶙峋，墨色浓淡相叠间显苍劲肌理。石上双鸟并踞，羽墨简括，眼作“白眼向人”之态，冷寂中暗藏孤愤。大片留白如空茫天地，衬出物象的遗世独立。笔墨洗练却力透纸背，寥寥数笔便将生命的孤寂与倔强凝于尺幅，荒寒之韵扑面而来，尽显八大特有的孤傲与沉郁，观之令人感其心迹，沉醉于那片空寂中的生命张力。",[25,55,7,153,56,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4fa21dba83672d19bb3f2515572bf5e.jpg",[],"c6b4a2",{"id":13203,"slug":13204,"title":13205,"dynasty":69,"author":1184,"museum":552,"description":13206,"tags":13207,"thumbUrl":13208,"material":641,"size":642,"collection":59,"collections":13209,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},290944,"tao-gu-zeng-ci-tu-zhou-tang-yin-290944","陶穀赠词图轴","陶穀赠词乃一历史故事。相传北宋初年，陶穀出使南唐，时南唐国力弱小，而陶穀态度傲慢，在南唐后主面前出言不逊。南唐臣僚忿而设下圈套，派宫妓秦蒻兰扮做驿吏之女以诱之。原本盛气凌人的陶穀，见到温婉美丽的秦蒻兰之后，不禁为之邪念萌动，曲意奉迎并赠词讨好，变得庸俗不堪，遂败慎独之戒。",[25,27,29,30,31,1446,134,7,99,77,79,28,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5b568319c9d19b4d17df302151bb77.jpg",[],{"id":13211,"slug":13212,"title":13213,"dynasty":148,"author":201,"museum":552,"description":13214,"tags":13215,"thumbUrl":13216,"material":641,"size":642,"collection":59,"collections":13217,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},290910,"cong-ju-tu-zhou-yi-ming-290910","丛菊图轴","此作用赭色绢底铺陈底色，嶙峋湖石立作骨架，将丛菊错落排布。白菊似雪团攒簇枝头，间杂紫蕊柔枝，晕染出深浅层次，尽现盛放之姿。或昂然舒展、或垂首含娇，将秋菊清灵雅致的情态描摹尽致。\n\n蝶虫悄然隐于花间叶隙，为幽寂花景暗添鲜活意趣。设色古雅沉静，勾勒兼具工致与写意：既细致刻画菊瓣柔润的舒展层次，又以淡墨晕出花叶的苍润蓬松，融工笔之细腻与水墨之清逸为一体。\n\n整幅画作藏着文人爱菊的幽怀，将秋菊凌霜之态与隐逸之美凝于绢素，静而不寂，淡而有味，晕开秋日篱畔的清隽意境。",[24,25,26,27,29,56,189,7,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18affc64ae70d5c5c9aac3439bc2a8af.jpg",[],{"id":13219,"slug":13220,"title":13221,"dynasty":148,"author":256,"museum":112,"description":13222,"tags":13223,"thumbUrl":13224,"material":262,"size":13225,"collection":59,"collections":13226,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},290840,"zhu-shu-ye-shi-zhou-ni-zan-290840","竹树野石轴","倪瓒作画不喜用色彩，别有一种清淡雅逸的韵味。此幅画修竹二竿，和枯木立于拳石畔，笔墨简率，不但竹叶本身深浅有致，和枯木、拳石间，也有浓淡之别。",[24,25,27,55,133,32,7,77,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb2d66746059dcafa5dfeec7b960f8c7.jpg","92x37.4",[],{"id":13228,"slug":13229,"title":13230,"dynasty":148,"author":201,"museum":552,"description":13231,"tags":13232,"thumbUrl":13233,"material":641,"size":642,"collection":59,"collections":13234,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},290403,"xi-shan-shu-wu-tu-yi-ming-290403","溪山书屋图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[25,24,80,55,27,75,277,82,85,134,7,3995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3085e8a7828c4656d239af647fcfa1c2.jpg",[],{"id":13236,"slug":13237,"title":13238,"dynasty":18,"author":417,"museum":552,"description":13239,"tags":13240,"thumbUrl":13241,"material":641,"size":642,"collection":59,"collections":13242,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},288527,"wei-zi-yao-huang-tu-li-zhou-li-shan-288527","魏紫姚黄图立轴","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[23,24,25,26,27,55,56,191,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8fdff25619c14a805e8b449db935228.jpg",[],{"id":13244,"slug":13245,"title":13246,"dynasty":18,"author":214,"museum":552,"description":4061,"tags":13247,"thumbUrl":13248,"material":641,"size":642,"collection":59,"collections":13249,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},288137,"lin-jiang-yuan-tiao-hua-yan-288137","临江远眺",[23,714,25,55,80,133,7,32,30,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7734b687bbefac8a3c347f49789a2.jpg",[],{"id":13251,"slug":13252,"title":13253,"dynasty":5251,"author":201,"museum":552,"description":13254,"tags":13255,"thumbUrl":13257,"material":641,"size":642,"collection":59,"collections":13258,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},287925,"bo-yuan-tie-yi-ming-287925","伯远帖","枯木虬曲瘦劲，枝桠舒展如篆籀古笔，笔法苍厚朴拙，自带萧散古意。窠石以阔笔皴擦晕染，棱线隐现，浑朴苍润，寥寥杂草轻勾，暗生机趣，简淡中见幽远意境。\n\n右侧题跋行书流丽秀雅，笔势连贯圆融，墨色干湿浓淡相映，笔意舒展自在。书画合璧，尺幅之间融绘事与文心，将文人林下清逸的审美意趣尽显无余，淡而有味，清隽耐看，尽显沉静萧散的文人风骨。",[25,26,77,78,55,134,7,79,13256],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d81274083973040679a9699e2071f8.jpg",[],{"id":13260,"slug":13261,"title":13262,"dynasty":69,"author":13263,"museum":552,"description":13264,"tags":13265,"thumbUrl":13266,"material":641,"size":642,"collection":59,"collections":13267,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},284291,"shui-xian-hu-shi-tu-shan-ye-zou-zhi-lin-284291","水仙湖石图扇页","邹之麟","邹之麟，字臣虎，号衣白、逸老、昧庵，江苏武进人，万历三十八年（1610）进士，明代官员、画家。",[714,25,55,56,174,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F604c6b45b302abb5c64b6192b7b8d27f.jpg",[],{"id":13269,"slug":13270,"title":502,"dynasty":69,"author":13271,"museum":552,"description":13272,"tags":13273,"thumbUrl":13274,"material":59,"size":59,"collection":59,"collections":13275,"showCount":63,"zanCount":511,"manualWeight":43,"mainColor":64},239546,"shan-shui-ce-shen-hao-239546","沈颢","此作以淡墨轻皴绘就雪后清晓之景，浅赭晕染远山，留白处隐见残雪覆于峦岫，起伏连绵间尽显空蒙萧寒。枯林错落萧疏，淡写枝干无叶之态，暗合冬日荒寂。山径间旅人策蹇缓行，为冷寂山水晕开一缕烟火暖意。\n\n画面与题诗清雅相融，以极简笔墨铺陈悠远画境，将冬日郊野的静谧诗意缓缓晕开，尽显文人画空灵淡远之致，于简淡疏朗间藏着清旷余韵，淡而不薄，枯而不涩，尽显幽远的林下诗意。",[25,26,53,55,75,80,115,117,2351,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5f5f8405bde5b52b15b6edd3558efa.jpg",[],{"id":13277,"slug":13278,"title":13279,"dynasty":18,"author":13280,"museum":552,"description":13281,"tags":13282,"thumbUrl":13283,"material":641,"size":642,"collection":59,"collections":13284,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},239422,"fang-nan-tian-shan-shui-zhou-bi-han-239422","仿南田山水轴","毕涵","毕涵，[清]（1732—1807）字有涵，号焦麓，又号止庵道人，晚称篆竹居士，阳湖（今江苏常州）人。",[25,26,27,55,75,76,80,135,81,136,1407,324,1366,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b1631bfd1fe0fb06f0c5ed8d3eddc.jpg",[],{"id":13286,"slug":13287,"title":502,"dynasty":18,"author":13288,"museum":552,"description":13289,"tags":13290,"thumbUrl":13291,"material":59,"size":59,"collection":59,"collections":13292,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},239011,"shan-shui-ce-li-dong-239011","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[25,26,53,241,29,80,242,81,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deb277063c436f61bd78e3b9d51ccb4.jpg",[],{"id":13294,"slug":13295,"title":13296,"dynasty":69,"author":13297,"museum":552,"description":13298,"tags":13299,"thumbUrl":13300,"material":641,"size":642,"collection":59,"collections":13301,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},237858,"lan-shi-shan-ye-zhang-chong-237858","兰石扇页","张翀","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",[25,714,29,28,75,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6176f2e161445dd7366cd14b19eeabb.jpg",[],{"id":13303,"slug":13304,"title":13305,"dynasty":69,"author":13306,"museum":552,"description":13307,"tags":13308,"thumbUrl":13309,"material":59,"size":59,"collection":88,"collections":13310,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},237784,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-jing-237784","诸家山水册-山水册页","王允京","字谦文，号秋岩，江宁（今南京）人。为和阳教谕。工写竹枝。《金陵琐事》",[25,26,53,55,75,80,277,30,7,81,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16133cce0fa9f391194a7d8bb3d8e77.jpg",[88,105],{"id":13312,"slug":13313,"title":10116,"dynasty":18,"author":169,"museum":552,"description":13314,"tags":13315,"thumbUrl":13316,"material":59,"size":59,"collection":59,"collections":13317,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},237763,"yuan-ji-shan-shui-tu-ce-shi-tao-237763","此帧以淡墨挥写坡岸幽篁，参差修竹挺拔清健，枝叶以中锋撇捺，笔意疏朗灵动，墨色晕染深浅自然，尽显竹之潇爽风神。浅淡皴擦的坡石简括朴拙，衬出竹林的秀逸清奇。\n\n右上角题书与画境相映，诗画合璧，将林下幽居的澹寂意趣诉诸尺幅，不见繁复刻画，却以极简笔墨勾勒出空寂悠远的林下天地，尽显以意驭笔、寄情于物的文人雅韵，寥寥数笔，便将尘嚣之外的幽栖之境铺陈眼前，余韵悠长。",[25,26,53,55,32,7,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac55975a4208e42209158f4bcbbd273.jpg",[],{"id":13319,"slug":13320,"title":502,"dynasty":69,"author":13271,"museum":552,"description":13321,"tags":13322,"thumbUrl":13323,"material":967,"size":59,"collection":88,"collections":13324,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},237628,"shan-shui-ce-shen-hao-237628","沈颢（1586—1680后），字朗倩，号石天、朗道人，吴（今江苏苏州）人。补博士弟子员。沈颢风仪轩举，博雅多闻。\n早年薙发为僧，中年还俗。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著“画尘”，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[25,55,53,75,80,134,7,865,324,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20073fbc7840edd200c6a8edfaff6335.jpg",[88],{"id":13326,"slug":13327,"title":13328,"dynasty":18,"author":13329,"museum":71,"description":13330,"tags":13331,"thumbUrl":13332,"material":139,"size":59,"collection":59,"collections":13333,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},237179,"hua-niao-kun-chong-ce-zhou-quan-237179","花鸟昆虫册","周铨","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”。",[25,29,53,56,7,243,160,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7fce8b64b25aff393f547c825704c93.jpg",[],{"id":13335,"slug":13336,"title":11513,"dynasty":18,"author":11514,"museum":552,"description":11515,"tags":13337,"thumbUrl":13338,"material":59,"size":59,"collection":59,"collections":13339,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},237092,"jiang-feng-shi-nv-ce-jiang-feng-237092",[25,26,53,29,28,30,31,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30cfe8403360aa70096addf15e3e7d8.jpg",[],{"id":13341,"slug":13342,"title":13343,"dynasty":18,"author":1195,"museum":71,"description":13344,"tags":13345,"thumbUrl":13346,"material":59,"size":59,"collection":59,"collections":13347,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},236580,"lan-mei-ce-wang-shi-shen-236580","兰梅册","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[25,26,53,55,434,56,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75afab0c0c8808e41e6f709b7058276.jpg",[],{"id":13349,"slug":13350,"title":13351,"dynasty":18,"author":4526,"museum":552,"description":4527,"tags":13352,"thumbUrl":13353,"material":641,"size":642,"collection":59,"collections":13354,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},236380,"bai-shi-tu-shan-ren-xiong-236380","拜石图扇",[25,26,714,29,30,7,28,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff573f29fb2a71e8e5e791e49c84f5928.jpg",[],{"id":13356,"slug":13357,"title":13358,"dynasty":69,"author":201,"museum":552,"description":13359,"tags":13360,"thumbUrl":13361,"material":313,"size":59,"collection":59,"collections":13362,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},236288,"wang-zi-yuan-hua-niao-ce-yi-ming-236288","王子元花鸟册","此作绘深秋江渚之景，三只鸿雁动静相生，意趣盎然。空中一雁振翅斜掠，翅羽纤毫毕现，破空之势尽显野逸灵动。滩涂之上，一雁引颈远眺似在呼朋，另一雁垂首理羽，姿态闲柔温婉。淡赭晕染寒波，朦胧空濛间尽显水天荒寒，枯墨写就的芦荻萧疏苍劲，笔致老辣苍拙。\n整幅以精细写实勾勒禽鸟情态，又以写意晕染烘托秋渚清寂氛围，将鸿雁的生机动静与江滩的幽寂融为一体，在方寸间晕染出深秋荒寒的幽远诗意，尽显写生花鸟的雅致意趣。",[25,26,53,29,28,55,153,32,56,7,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b64e9e0eda11266daa257b7e6202a3.jpg",[],{"id":13364,"slug":13365,"title":13366,"dynasty":18,"author":1363,"museum":552,"description":13367,"tags":13368,"thumbUrl":13369,"material":59,"size":59,"collection":59,"collections":13370,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},235862,"fang-zi-jiu-shan-shui-ye-wang-jian-235862","仿子久山水页","此作构图疏清远逸，近坡古木虬曲苍劲，扎根嶙峋石畔，枯枝干瘦却自有傲然姿态，苔点错落点缀，愈见清隽。远景山峦以干笔淡墨皴擦晕染，轮廓温和平柔，林麓间村舍隐现，似笼轻烟薄雾，满溢幽寂安闲的冬日山野意趣。\n笔墨追慕元人简淡萧散的风神，以淡墨晕出空寂冷峭的氛围，笔意醇厚内敛，无丝毫刻露之痕。对页题诗与画面呼应合璧，尽显古雅静穆的文人画韵致，将山水荒寒淡远之美诉诸笔端，是极具文人意趣的精妙小品。",[24,25,26,53,55,76,75,78,79,80,7,134,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55d50189bc2d501928537cc54c9ef61.jpg",[],{"id":13372,"slug":13373,"title":13374,"dynasty":69,"author":201,"museum":552,"description":13375,"tags":13376,"thumbUrl":13377,"material":641,"size":642,"collection":59,"collections":13378,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},235590,"wen-chu-hua-hui-ce-yi-ming-235590","文俶花卉册","此作用笔简逸古雅，以水墨皴擦写湖石，嶙峋苍劲，暗合文人赏石之趣。粉花柔枝亭亭而立，没骨晕染出花瓣柔润的娇态，淡绿枝叶舒展灵动，与湖石的朴拙刚硬形成柔刚对照。石畔细草偃仰生姿，枯梢添清寂野趣。\n\n浅淡设色配暗纹笺底，更衬出古雅隽永，朱红印章点缀画面，平衡构图之余，晕开沉静文气。整幅小品清疏淡远，寥寥数笔便将幽庭小景的闲雅意趣尽显，藏着江南庭院的温婉灵秀，静中生韵，淡里含情。",[25,26,53,29,55,28,7,243,160,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647cd67c4f69c7e2309690c50aabea39.jpg",[],{"id":13380,"slug":13381,"title":502,"dynasty":18,"author":475,"museum":552,"description":13382,"tags":13383,"thumbUrl":13385,"material":59,"size":59,"collection":59,"collections":13386,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},235173,"shan-shui-ce-zhu-da-235173","此作用笔极简枯淡，近景虬松孑立、枝干苍劲，旁侧矮松偃仰自适，坡石茅舍隐于淡墨浅痕之中，不着浓艳皴擦，尽得萧散之致。远景山峦以淡墨轻扫晕染，大片留白铺陈出水天渺茫，将天地空寂之意全然铺开。\n\n画作以虚代实，删繁就简，将满腔孤高幽寂寄寓在荒寒山景之中，淡远冷逸的意境里藏着遗世独立的沉郁心绪，寥寥数笔勾勒出天地间的清寥空阔，尽显空灵冷峭的独特意趣。",[25,55,173,75,53,80,133,7,324,153,13384,79],"民居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8494e46932a474e8df6edfda1c28c4b4.jpg",[],{"id":13388,"slug":13389,"title":11584,"dynasty":18,"author":169,"museum":552,"description":1537,"tags":13390,"thumbUrl":13391,"material":59,"size":59,"collection":59,"collections":13392,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},234655,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234655",[25,26,53,55,78,77,80,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071016330c634259e44baae9b2e5dae8.jpg",[],{"id":13394,"slug":13395,"title":13396,"dynasty":18,"author":13397,"museum":71,"description":13398,"tags":13399,"thumbUrl":13400,"material":59,"size":59,"collection":59,"collections":13401,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},234615,"shan-shui-wan-shan-lin-shu-234615","山水纨扇","林纾","林纾（1852年11月8日—1924年10月9日），中国近代文学家，字琴南，号畏庐，别署冷红生，福建闽县（今福州市）人。晚称蠡叟、践卓翁、六桥补柳翁、春觉斋主人。室名春觉斋、烟云楼等。\n早年曾从同县薛锡极读欧阳修文及杜甫诗。后读同县李宗言家所藏书，不下三四万卷，博学强记，能诗，能文，能画，有狂生的称号。光绪八年（1882年）举人，官教论，考进士不中。二十六年（1900年），在北京任五城中学国文教员。所作古文，为桐城派大师吴汝纶所推重，名益著，于是任北京大学讲席。\n辛亥革命后，入北洋军人徐树铮所办正志学校教学，推重桐城派古文。\n后在北京，专以译书售稿与卖文卖画为生。曾创办“苍霞精舍”——今福建工程学院前身。工诗古文辞，以意译外国名家小说见称于时。复肆力于画。山水初灵秀似文徵明，继而浓厚近戴熙。偶涉石涛，故其浑厚之中颇有淋漓之趣。其题画诗云：“平生不入三王派，家法微微出苦瓜，我意独饶山水味，何须攻苦学名家？”。花鸟得其师陈文台之传，淡墨薄色，神致生动。\n晚年居北京，求者多以山水，而花鸟则不复作矣。著畏庐文集、诗集、春觉斋题画跋及小说笔记等。",[25,26,714,29,80,242,7,81,75,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3cc5f175b7f04bff2dba309b92c9616.jpg",[],{"id":13403,"slug":13404,"title":13405,"dynasty":18,"author":13406,"museum":552,"description":10148,"tags":13407,"thumbUrl":13408,"material":59,"size":59,"collection":59,"collections":13409,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},234588,"shi-wan-shan-li-yu-lan-234588","石纨扇","李育兰",[25,26,714,55,188,826,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6059cd8caec6e0d78faafc2b169a37c8.jpg",[],{"id":13411,"slug":13412,"title":6513,"dynasty":18,"author":13413,"museum":71,"description":13414,"tags":13415,"thumbUrl":13416,"material":59,"size":59,"collection":59,"collections":13417,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},234516,"shan-shui-ce-ye-liu-yu-234516","柳遇","柳遇，字仙期，清朝吴县（今江苏苏州）人。\n工人物，精密生动，布置树石栏廊，点缀幽花细草，以及玩物器皿色色佳妙，不亚于仇英。宋荦抚吴时曾延其摹南唐顾闳中所画韩熙载夜宴图，及所画东坡与佛印谈禅像均为艺林称赏。《国[清]朝画徵录、在亭丛稿、读画辑略、画传编韵》。",[25,29,53,80,134,277,82,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d1afa33742324cc1ab319f7c56e75e.jpg",[],{"id":13419,"slug":13420,"title":13421,"dynasty":69,"author":13422,"museum":71,"description":13423,"tags":13424,"thumbUrl":13425,"material":59,"size":59,"collection":59,"collections":13426,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},234478,"shan-shui-shan-ye-guan-si-234478","山水扇页","关思","关思，明朝，生卒年不详，字何思，号虚白（明画录谓字九思，后以字行，更字仲通）。乌程（今江浙吴兴）人。万历（一五七三至一六二○）间名重海内，与宋旭齐名。善画山水，骨法气韵入二李、三王之微，拟王蒙、倪瓒更妙。初年的山水构图繁密，蹊径水口，犹多重叠，至晚年山头石面，粗疏数笔，林树离披，略加墨叶，人物飘然，舟室古雅，令人阅之，眼界肃清。崇祯三年（一六三○）作月夜行旅图、溪山雨霁图。《图绘宝鉴续纂、画史会要、无声诗史、乌程志、明画录、广印人传补遗》",[714,25,80,55,75,117,135,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b19b47dd17306afbd33ff18f0c8dd7.jpg",[],{"id":13428,"slug":13429,"title":13430,"dynasty":369,"author":13431,"museum":71,"description":13432,"tags":13433,"thumbUrl":13434,"material":839,"size":13435,"collection":59,"collections":13436,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},234010,"xue-jiang-mai-yu-ye-li-dong-234010","雪江卖鱼页","李东","李东，南宋画家。生卒年和籍贯均不详。南宋理宗时（公园1225-1264年）经常京师御街上出售他所画村田乐、常酣圆绘作品，为民间风俗画家。",[25,26,1694,55,29,75,80,82,85,137,134,1231,492,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba081b5d70387e01e514cd9655afe981.jpg","纵23.6厘米,横25.2厘米",[],{"id":13438,"slug":13439,"title":13440,"dynasty":18,"author":169,"museum":552,"description":3136,"tags":13441,"thumbUrl":13442,"material":967,"size":3139,"collection":59,"collections":13443,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},233681,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233681","原济兰竹册－兰石",[24,25,26,53,55,75,7,2807,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d93a65f4c725c210abdf4ee1e5accca.jpg",[],{"id":13445,"slug":13446,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":13448,"thumbUrl":13449,"material":59,"size":59,"collection":88,"collections":13450,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},233479,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233479","十竹斋五色笺谱册",[25,26,53,434,55,80,81,135,277,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e3ee77b6e06a944cb23362a403e4847.jpg",[88],{"id":13452,"slug":13453,"title":13454,"dynasty":69,"author":1184,"museum":71,"description":13455,"tags":13456,"thumbUrl":13457,"material":5284,"size":13458,"collection":59,"collections":13459,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},233139,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xing-chun-qiao-tu-ye-tang-yin-233139","明人西山胜景合壁册-行春桥图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[25,26,53,55,78,75,80,277,82,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff9513286f80bd3fb6fa61c9ad4e095.jpg","纵22.8cm，横33.2cm",[],{"id":13461,"slug":13462,"title":13463,"dynasty":5251,"author":201,"museum":552,"description":13464,"tags":13465,"thumbUrl":13468,"material":641,"size":642,"collection":59,"collections":13469,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},231677,"qing-feng-pu-bu-tu-yi-ming-231677","青楓瀑布図","整幅作品以飞瀑为骨，素白留白晕出水幕如银河垂落，撞向滩间黑石，激出层叠浪涛，笔绘水纹精细入微，将奔涌之势跃然纸上。\n\n斜出的青枫缀着翠色，柔化了瀑流的雄劲深峻，暗墨晕染的山壁衬得银练似的水瀑愈发通透。刚柔相衬间，将幽林飞泉的清寂禅意铺展开来，题字落款清雅融于画面，把山野间奔雷般的水势与枝桠垂立的安然相融，尽显东方山水写意的灵韵，藏着对山野幽居之趣的描摹。",[23,25,55,29,27,80,116,13466,13467,7],"青枫","水流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd353240fc86d9ff3f2e1d951b0fe099c.jpg",[],{"id":13471,"slug":13472,"title":13473,"dynasty":5251,"author":13474,"museum":552,"description":13475,"tags":13476,"thumbUrl":13477,"material":641,"size":642,"collection":59,"collections":13478,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":143},231664,"shi-ting-shi-dai-qin-gao-qun-xian-tu-xue-cun-zhou-ji-231664","室町时代 琴高群仙图","雪村周继","雪村周继（日语：雪村 周継，1504年－1589年），日本室町时代后期的禅僧画家与艺术家，出生于今日本本州岛中部的茨城县。他充分学习中国绘画技巧，为16世纪前后日本著名的水墨画画家之一。",[23,25,26,27,434,55,29,30,32,7,9891,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841033e7db0128542364452f7261ea9f.jpg",[],{"id":13480,"slug":13481,"title":13482,"dynasty":18,"author":13483,"museum":50,"description":13484,"tags":13485,"thumbUrl":13486,"material":6445,"size":13487,"collection":59,"collections":13488,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},231529,"xuan-shi-tu-li-fu-tang-231529","萱石图","李复堂","李鱓是扬州八怪中最早成名者，也是扬州八怪中唯一曾供职于康熙身边的画家，并应康熙命从蒋廷锡学艺，故画笔严谨而有书卷气。后返扬州，始纵笔大写，变得粗犷奔放，不拘一格。李鱓在戏剧性的一生中，接触到了当时包括墨骨、小写意、大写意各个派别的顶尖高手，并将粗笔与工细画两者进行了个性化的融合。李鱓是一个善于学习的人，他研究各家，并不是平均用力，而是有选择的学习自己需要的东西并加以消化融合，逐渐形成自家风貌。在他的笔下，既有明代浙派花鸟画的传统根底，又受到清代宫廷工笔花鸟和民间豪放花鸟画风的影响，因此他的作品既讲求造形构图，又讲求色墨的有机融合，这种绘画风格被后来的海派画家赵之谦、任伯年、吴昌硕等人继承，可以说，李觯堪称中国绘画史上起着承先启后作用的画家。\n《萱石图》以萱草为题材，描绘卧石与萱草相生相伴的情景。萱草是画家惯常表现的吉祥植物，古人认为萱草可以忘忧，因此又称其为“忘忧草”；又认为孕妇佩带萱草可以生男孩，因此又称萱草为“宜男”。图中作者自题诗点明了画意：“墨沉淋漓映袖寒，滥图赤棘傍阑干。凭君悬向闲庭馆，解却眉尖仔细看”。",[23,25,26,55,173,2862,7,79,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce067b869dab8e3a386223f3e59b334.jpg","74X60cm",[],{"id":13490,"slug":13491,"title":13492,"dynasty":369,"author":201,"museum":552,"description":13493,"tags":13494,"thumbUrl":13495,"material":59,"size":59,"collection":59,"collections":13496,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},227911,"zhu-jian-yuan-yang-tu-yi-ming-227911","竹涧鸳鸯图","这幅小品以边角取景，将幽寂山涧铺陈于尺幅之间。右侧崖壁古木斜出，新篁附石抽梢，苔痕历历；崖下茅舍半隐，野径蜿蜒，慢慢没入淡远平芜。\n\n画面左侧清空之上，禽鸟振翅穿空，将山涧的静气轻轻划破。淡墨晕染烟岚，远景虚渺朦胧，近景的竹、木、石以细劲勾勒间施皴擦，质感宛然。全作以简驭繁，不着浓艳，仅以水墨层次区分远近虚实，把江南山隅无人惊扰的闲逸尽数凝住，似可听闻涧水轻响、林风穿叶，将宋人寄情林泉的幽淡襟怀融在尺幅之中，余韵悠悠。",[23,25,714,28,29,80,32,82,466,56,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc68574cd4486c08d626211cf6dab797a.jpg",[],{"id":13498,"slug":13499,"title":13500,"dynasty":369,"author":201,"museum":552,"description":13501,"tags":13502,"thumbUrl":13504,"material":59,"size":59,"collection":59,"collections":13505,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,25,26,74,24,29,28,75,492,137,80,85,505,277,82,134,30,153,7,922,13503],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":13507,"slug":13508,"title":13509,"dynasty":69,"author":8235,"museum":150,"description":8236,"tags":13510,"thumbUrl":13512,"material":59,"size":59,"collection":59,"collections":13513,"showCount":63,"zanCount":511,"manualWeight":43,"mainColor":64},222506,"shen-xian-tu-ce-12-zhang-lu-222506","神仙图册12",[23,25,26,53,55,30,13511,7],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead3d0475cfde468914dce5f134d3524.jpg",[],{"id":13515,"slug":13516,"title":13517,"dynasty":18,"author":13518,"museum":150,"description":13519,"tags":13520,"thumbUrl":13521,"material":29,"size":13522,"collection":59,"collections":13523,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":44},219797,"hua-niao-cao-chong-tu-12-sun-long-219797","花鸟草虫图-12","孙龙","此册绢本设色，共十二图，描绘荷塘鹡鴒、蓼花螳螂、水藻玄蝉、秋塘青蛙、秋草蝗虫、蜀葵、黄叶麻雀、海棠白头等内容。",[25,55,29,56,700,7,79,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8be34d718fc3d34b8996dab3f8ae6d78.jpg","纵22.9 厘米 横21.5 厘米",[],{"id":13525,"slug":13526,"title":13527,"dynasty":369,"author":3522,"museum":112,"description":13528,"tags":13529,"thumbUrl":13531,"material":313,"size":59,"collection":59,"collections":13532,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},218673,"xi-hu-shi-jing-tu-ping-hu-qiu-yue-ye-xiao-yan-218673","西湖十景图-平湖秋月","秋夜湖光如镜，远山淡笼烟霞，墨色轻染出清寂的秋意。水面无波，似映着朦胧月色，岸边林木疏朗，隐见小舟泊于汀渚。左侧行书笔意婉转，与山水景致相映成趣，诗画交融间，藏着南宋文人的闲淡心境。笔墨简淡却意境悠远，仿佛能触到湖面的微凉，闻见夜露的清芬，将平湖秋月的空灵静谧凝于尺幅。江南水乡的雅致，秋夜湖景的静谧，皆在这一方画卷中缓缓流淌，尽显宋人的审美意趣。",[23,25,26,53,55,29,80,864,7,81,8316,13530,135],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfb40a0e7d764088ae5815d0d9ce724.jpg",[],{"id":13534,"slug":13535,"title":13536,"dynasty":18,"author":3814,"museum":112,"description":13537,"tags":13538,"thumbUrl":13539,"material":58,"size":3818,"collection":59,"collections":13540,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},218458,"shi-liu-luo-han-xiang-di-shi-wu-guo-ba-ga-zun-zhe-ding-guan-peng-218458","十六罗汉像-第十五锅巴嘎尊者","尊者面容清癯，皱纹如岁月镌刻的诗行，眼神凝注间漾着静定的禅光。褐色僧袍织纹细密，似裹着晨钟暮鼓的温煦；蓝紫格纹围裳错落，晕染出古雅的色块。他盘腿坐于嶙峋岩上，石纹皴擦朴拙，若承过千年风雨。手持拂尘，毛羽蓬松如轻云拢聚，柄上纹饰精巧，红金点缀似禅意跳动。衣袂线条柔中带刚，将僧袍垂坠感与尊者沉静姿态相融。工笔细腻却不滞涩，设色雅致而富层次，人物神态传神，仿佛能听见拂尘扫过衣角的轻响，禅意随笔墨漫溢，直抵人心。",[25,26,28,29,576,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517cc4c44b289ff7e521eeda619ee61b.jpg",[],{"id":13542,"slug":13543,"title":13544,"dynasty":18,"author":1363,"museum":184,"description":13545,"tags":13546,"thumbUrl":13547,"material":58,"size":59,"collection":59,"collections":13548,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},215022,"fang-gu-shan-shui-ce-8-wang-jian-215022","仿古山水册-8","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[25,55,53,6109,75,80,81,135,136,1407,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3e87a735bf5fbbc93441ab92abd2c3.jpg",[],{"id":13550,"slug":13551,"title":13552,"dynasty":18,"author":1363,"museum":184,"description":13545,"tags":13553,"thumbUrl":13554,"material":58,"size":59,"collection":59,"collections":13555,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},215010,"fang-gu-shan-shui-ce-19-wang-jian-215010","仿古山水册-19",[23,25,26,53,55,75,80,81,7,325,83,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ef3432372e2458db74ec31875d2652.jpg",[],{"id":13557,"slug":13558,"title":13559,"dynasty":369,"author":201,"museum":20,"description":13560,"tags":13561,"thumbUrl":13562,"material":262,"size":13563,"collection":59,"collections":13564,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},214945,"dao-zi-mo-bao-ren-wu-bai-miao-hua-38-yi-ming-214945","道子墨宝人物白描画-38","《道子墨宝》原作是一套古代民间画工制作道教壁画的白描画稿。画稿分三部分，第一部分描绘的是诸神朝谒；第二部分是阴曹地府中审判“罪犯”的景象，既所谓的“地狱变相图”；第三部分为搜山图。画稿伪托唐代画圣吴道子作，但从画稿的内容和画中人物的服饰等细节可以断定它不可能是唐代的作品。这套册页原无题，多达五十开的册页，每幅原作右上部位都有用白粉写的简化字符编号，表示一至五十，显然是民间画师用的稿本。",[23,24,25,26,434,30,2777,101,576,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7a7ac24e5dd5839f7e788e1096e808.jpg","34.2*38.4",[],{"id":13566,"slug":13567,"title":13568,"dynasty":18,"author":169,"museum":170,"description":12729,"tags":13569,"thumbUrl":13570,"material":58,"size":12732,"collection":59,"collections":13571,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":64},214526,"yi-jin-ling-ce-8-shi-tao-214526","忆金陵册-8",[25,26,53,55,75,80,349,82,7,79,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75951298d9f9cb463c2e3032e8fb2dd0.jpg",[],{"id":13573,"slug":13574,"title":13575,"dynasty":9797,"author":770,"museum":150,"description":13576,"tags":13577,"thumbUrl":13578,"material":59,"size":59,"collection":88,"collections":13579,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":13580},203151,"yan-yu-liang-bu-tu-zhou-pan-tian-shou-203151","烟雨两部图轴","烟雨濛濛里，山石以劲挺线条勾勒，墨块与留白交错，显雄浑之势。竹枝疏朗，笔触老辣，与石之厚重形成对比。题字“茶罢禅趣”点染文心，画面虽简却意境悠远，似闻雨声淅沥，禅意自生。笔力雄健却不失空灵，将自然之趣与文人意绪融于尺幅，读之如临烟雨天光，心境自宁。",[25,55,80,32,7,75,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfde7625e1e12c8c47f0659aee16bb9a.jpg",[88],"d2c6ae",{"id":13582,"slug":13583,"title":502,"dynasty":18,"author":13584,"museum":150,"description":13585,"tags":13586,"thumbUrl":13587,"material":59,"size":59,"collection":88,"collections":13588,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":13589},202983,"shan-shui-ce-zhang-zhi-wan-202983","张之万","笔墨以水墨晕染，山石皴擦显肌理，层峦叠嶂间藏古松虬劲，松针挺秀如戟。坡岸处仙鹤独立，姿态闲雅，添得清逸之致。近远景致虚实相生，线条简练却意韵绵长，整体透着雅致的文人意趣，静谧悠远的山水意境，在笔墨间缓缓流淌。",[25,55,75,80,715,675,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ff54f156698340f5152ee39c0dd66d3.jpg",[88],"cdbcaf",{"id":13591,"slug":13592,"title":13593,"dynasty":9797,"author":5290,"museum":150,"description":13594,"tags":13595,"thumbUrl":13596,"material":59,"size":59,"collection":88,"collections":13597,"showCount":63,"zanCount":511,"manualWeight":43,"mainColor":13598},202975,"shan-shui-ren-wu-tu-ce-pu-ru-202975","山水人物图册","画面以水墨写意铺展山林清寂之境。枯树虬枝盘曲，笔触苍劲，尽展老木经霜之态；山石以淡墨皴染，层次叠现，间缀浓墨点苔，暗添生机。远处峰峦隐现，崖巅小屋孑立，似藏幽人逸趣。近景小桥横跨，桥下流水隐约，意境悠远。整幅笔墨简淡却意韵醇厚，尽显文人山水的雅致空灵，于方寸册页间见天地之阔。",[25,55,80,1231,134,277,75,53,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd974a8a6c4ac6e4df3340df18bc8586.jpg",[88],"d5c7be",{"id":13600,"slug":13601,"title":13602,"dynasty":9797,"author":3542,"museum":150,"description":13603,"tags":13604,"thumbUrl":13605,"material":59,"size":59,"collection":60,"collections":13606,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":13607},202923,"mao-die-tu-zhou-xu-bei-hong-202923","猫蝶图轴","画面中黑白花猫蜷卧石上，墨色浓淡晕染出蓬松毛发，双目圆睁凝注翩跹黄蝶，神态灵动鲜活。旁侧淡笔绘疏草，线条清逸衬出野趣。整体笔墨兼工带写，形神兼备，于简约中见生趣，尽显对生灵情态的细腻捕捉与写意功底。",[25,55,29,100,56,7,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519c6d5d8712b83b2c2ef868028d73b5.jpg",[60],"e3d2b9",{"id":13609,"slug":13610,"title":13611,"dynasty":9797,"author":770,"museum":150,"description":13612,"tags":13613,"thumbUrl":13614,"material":59,"size":59,"collection":88,"collections":13615,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":13616},202913,"shan-shui-qiu-yan-tu-zhou-pan-tian-shou-202913","山水秋雁图轴","画面以极简构图营造深远秋意，淡墨晕染的远山与浓墨点染的近树形成鲜明对比，枝干挺拔如铁，叶丛苍劲似戟。一行秋雁排云而过，划破天际的空寂，添得几分灵动。笔墨干湿互用，浓淡相宜，线条刚健有力，尽显苍浑老辣之韵。山石以简括皴法勾勒，留白处似有无尽秋空，意境清旷悠远。",[25,80,153,55,29,7,75,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956729aaaa1e8f3bad8986c6d427a93e.jpg",[88],"d0c6b8",{"id":13618,"slug":13619,"title":13620,"dynasty":9797,"author":13621,"museum":150,"description":13622,"tags":13623,"thumbUrl":13624,"material":59,"size":59,"collection":60,"collections":13625,"showCount":63,"zanCount":43,"manualWeight":43,"mainColor":13626},202855,"mu-mian-tu-zhou-gao-jian-fu-202855","木棉图轴","高剑父","画面中老干虬曲，笔触劲健如斧劈，墨色浓淡交织间尽显苍劲古拙。枝头木棉花盛放，胭脂红与粉白相映，花瓣晕染自然，花蕊以重墨点醒，艳而不妖，生机勃发。背景留白与水墨块面虚实相生，枝干纵横交错间，既见笔力雄健，又含章法灵动，将木棉的豪迈气韵与自然生趣融为一体，尽显写意花鸟的洒脱意趣。",[25,56,55,29,75,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2544e5206bd4b48df10099992a7984.jpg",[60],"d4d1c4",{"id":13628,"slug":13629,"title":13630,"dynasty":69,"author":13631,"museum":150,"description":13632,"tags":13633,"thumbUrl":13634,"material":59,"size":59,"collection":88,"collections":13635,"showCount":63,"zanCount":511,"manualWeight":43,"mainColor":13636},201698,"shan-zhai-jia-mei-tu-juan-xie-shi-chen-201698","山斋假寐图卷","谢时臣","水墨晕染间，淡远山水渐次铺展。近处茅屋依石而建，松石环绕，屋内人影闲坐，似入假寐之境，幽居意趣盎然。山石以皴法勾勒，线条苍劲；树木枝干虬曲，叶簇繁密如盖。云雾缭绕于山间水畔，虚实相生间拓展了空间纵深，更添缥缈之韵。笔墨兼具雄浑与秀润，既含苍劲骨力，又蕴雅致情致，将文人寄情林泉的闲适心境娓娓道来。",[25,55,80,30,75,84,74,7,134,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ca7269425b89ff269e46bd4d2ce31f.jpg",[88],"9f9892",{"id":13638,"slug":13639,"title":13640,"dynasty":369,"author":201,"museum":552,"description":13641,"tags":13642,"thumbUrl":13643,"material":641,"size":642,"collection":59,"collections":13644,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},289120,"xie-qin-xian-bu-tu-yi-ming-289120","携琴闲步图","此作尽显宋人林居雅逸之趣。嶙峋怪石错立，古松虬曲盘桓，苍润笔墨绘就老松霜皮黛色，枝桠舒展如盖，自带浑古苍劲之态。左侧茅舍隐于山石间，回廊半遮，暗衬山居幽寂无扰。平坡之上，策杖士人徐行，似携琴欲赴山友之约，闲缓步履间尽显萧散意趣。远景山峦以淡墨晕染，虚实相生，将空濛山野收于尺幅，咫尺含千里之思。全画笔致简秀雅润，设色古淡沉静，以留白烘托出清寂悠然的隐逸氛围，将文人士大夫寄情林泉、静享丘壑的雅怀融在方寸之间，是宋人小品山水以小见大、借景抒怀的精妙之作。",[25,24,273,260,7,2352,75,9649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64fca472cc1a0c887e7007bd6cf8da4.jpg",[],{"id":13646,"slug":13647,"title":13648,"dynasty":148,"author":13649,"museum":552,"description":13650,"tags":13651,"thumbUrl":13652,"material":641,"size":642,"collection":59,"collections":13653,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},288972,"lou-ge-tu-xia-yong-288972","楼阁图","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》。",[25,24,241,242,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c51e158cfa2235056ffb84045eabb36.jpg",[],{"id":13655,"slug":13656,"title":4943,"dynasty":369,"author":201,"museum":552,"description":13657,"tags":13658,"thumbUrl":13659,"material":641,"size":642,"collection":59,"collections":13660,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},288947,"mei-zhu-ju-qin-tu-yi-ming-288947","此作为院体花鸟上乘之笔，以屈曲虬结的老梅为骨，皴擦勾勒间尽显凌寒老木的苍古拙朴。嫩条轻垂，缀着初绽的梅英，清浅柔润，暗递初春微熹生机。翠竹斜斜穿插，叶片劲挺舒展，疏密交织，晕染出疏朗清寒的氛围。\n\n五只禽鸟错落栖于枝桠之上，或敛羽静立，或转首理毛，或凝眸远眺，翎毛细笔勾勒柔和入微，神态宛然如生，将林间野禽的安闲慵懒尽数铺陈。\n\n整作设色简淡清逸，墨色层次柔婉，把冬春之交的林塘幽寂勾勒得诗意盎然，精微捕捉住自然生机里的澹泊野趣，尽显雅致内敛的审美意趣。",[25,24,26,27,28,29,56,187,32,153,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78076cb40c187dc09bd1719a0659b93b.jpg",[],{"id":13662,"slug":13663,"title":13664,"dynasty":369,"author":573,"museum":552,"description":8124,"tags":13665,"thumbUrl":13667,"material":641,"size":642,"collection":59,"collections":13668,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":1551},287752,"bai-miao-fo-xiang-di-san-zun-zhe-li-gong-lin-287752","白描佛像第三尊者",[23,25,24,27,434,576,30,13666,7],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05976b9b26c05ca628d7286b711da028.jpg",[],{"id":13670,"slug":13671,"title":13672,"dynasty":369,"author":13673,"museum":112,"description":13674,"tags":13675,"thumbUrl":13676,"material":205,"size":13677,"collection":59,"collections":13678,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},287643,"ren-shou-tu-cai-zhao-287643","仁寿图","蔡肇","这一幅画描绘两座玲珑多变的奇石，伫立在草地上。金与石本来象征着永恒，因此在画幅中，「石」与「寿」往往发生着联想。",[24,25,26,27,55,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad85880fefb74de60a55d0abac3d260.jpg","95.5x41.1",[],{"id":13680,"slug":13681,"title":13682,"dynasty":69,"author":6788,"museum":552,"description":13683,"tags":13684,"thumbUrl":13685,"material":59,"size":59,"collection":59,"collections":13686,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},239509,"mei-shi-shui-xian-zhou-wang-gu-xiang-239509","梅石水仙轴","此作用淡墨写意，取梅与水仙入画。老梅虬枝斜出，繁花轻缀，笔墨清疏尽显虬劲孤高之态。下方双钩水仙修长舒展，冰姿玉色与嶙峋湖石、纤纤幽草相映，愈发清雅出尘。右上角题以行书诗句，诗画相衬，文气盎然。\n\n全幅格调淡远清隽，以极简笔墨勾勒花木风神，将梅的傲骨与水仙的清灵相融，暗合文人寄情草木的雅趣，铺陈出幽寂出尘的意境，尽显清冷自持的文人襟怀，笔墨简淡却意韵悠长。",[25,27,28,55,29,434,187,174,7,160,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9300c8454f96ca8882a8f7a60d0a7318.jpg",[],{"id":13688,"slug":13689,"title":5060,"dynasty":18,"author":13690,"museum":552,"description":13691,"tags":13692,"thumbUrl":13693,"material":641,"size":642,"collection":59,"collections":13694,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},239023,"mo-mei-tu-zhou-yao-xie-239023","姚燮","姚燮（1805年—1864年），字梅伯，号复庄，又号大梅山民、上湖生、某伯、大某山民、复翁、复道人、野桥、东海生等，浙江宁波府镇海县崇邱乡姚家斗（今属宁波市北仑区下邵乡）人，祖籍浙江诸暨。晚清文学家、画家。\n道光举人，以著作教授终身。治学广涉经史、地理、释道、戏曲、小说、红学、诗歌、书画等多个领域。五岁赋诗，一生作诗万首。又擅画人物花鸟，尤精墨梅，人称“大梅先生”。\n著有《复庄诗问》《复庄骈俪文榷》《疏影楼词》《今乐考证》《红楼梦纲领》《退红衫》《梅心雪》《苦海航》等，编有《今乐府选》《皇朝骈文类苑》等，所著编为《大梅山馆集》传世。",[25,26,27,55,56,187,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90a32b36989d503119f8b789a313eb6.jpg",[],{"id":13696,"slug":13697,"title":6513,"dynasty":18,"author":13698,"museum":552,"description":13699,"tags":13700,"thumbUrl":13701,"material":59,"size":59,"collection":59,"collections":13702,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},238950,"shan-shui-ce-ye-zhou-kai-238950","周恺","此作以淡墨轻岚绘就江汀闲景，近岸古木虬曲苍劲，盘根错节间苔痕缀枝，暗蕴残冬余韵。扁舟系于树侧，舟中高士安坐，静对悠悠江流。江面波痕轻漾，远渚浅草隐现，群鸥掠空划破空寂，烟霭晕染处天水相融。题诗呼应画中意境，笔致秀雅简淡，以留白铺就清旷寂寥的氛围，将文人寄情丘壑、安然自适的林下襟怀藏于淡景之中，萧散简远，余韵悠长，尽现山水小品的诗意禅心。",[24,25,26,53,29,28,75,80,85,153,134,82,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d661281e157a77345991571e1d6467e.jpg",[],{"id":13704,"slug":13705,"title":13706,"dynasty":69,"author":183,"museum":552,"description":8412,"tags":13707,"thumbUrl":13708,"material":641,"size":642,"collection":59,"collections":13709,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},237840,"fu-rong-xiu-shi-shan-xiang-sheng-mo-237840","芙蓉秀石扇",[25,26,714,29,396,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0862e3664ed6beb1527079a38b72f0.jpg",[],{"id":13711,"slug":13712,"title":3256,"dynasty":18,"author":13713,"museum":552,"description":13714,"tags":13715,"thumbUrl":13716,"material":327,"size":59,"collection":59,"collections":13717,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},237288,"hua-hui-ce-wu-kai-237288","吴楷","吴楷，男，清嘉庆—咸丰时期（公元十八——十九世纪）著名画家 。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[25,26,53,29,28,56,715,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dc41ccb6c24d8ce8a08361981114ab.jpg",[],{"id":13719,"slug":13720,"title":502,"dynasty":18,"author":214,"museum":5179,"description":5180,"tags":13721,"thumbUrl":13722,"material":59,"size":59,"collection":88,"collections":13723,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},236735,"shan-shui-ce-hua-yan-236735",[24,25,26,53,55,75,7,160,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ebacb664f2aae0f93f68c6c06d1a97.jpg",[88],{"id":13725,"slug":13726,"title":502,"dynasty":18,"author":214,"museum":5179,"description":5180,"tags":13727,"thumbUrl":13729,"material":59,"size":59,"collection":88,"collections":13730,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},236733,"shan-shui-ce-hua-yan-236733",[25,26,53,55,29,80,7,260,135,81,13728],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127244c0a5a4503d512f2db8bb189821.jpg",[88],{"id":13732,"slug":13733,"title":1143,"dynasty":18,"author":214,"museum":5179,"description":13734,"tags":13735,"thumbUrl":13736,"material":59,"size":13737,"collection":59,"collections":13738,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},236619,"hua-niao-ce-hua-yan-236619","华喦（1682-1756），清画家。字秋岳，号新罗山人、东园生、布衣生等，福建上杭人。自幼即喜绘画，尤精花鸟。所作花鸟，多姿多态，生趣盎然，干笔枯墨间以淡彩，寓雅逸于艳丽之中，构图独出心裁，为清代中叶花鸟画之中坚，对后世扬州派、海派花鸟产生莫大影响。",[25,56,53,29,55,153,7,456,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4c44f1ebe33d4c79ae7de74f5940a92.jpg","31.2×44.7厘米",[],{"id":13740,"slug":13741,"title":4918,"dynasty":18,"author":214,"museum":552,"description":4061,"tags":13742,"thumbUrl":13743,"material":641,"size":642,"collection":59,"collections":13744,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},236007,"hua-hui-tu-ce-hua-yan-236007",[25,24,26,53,29,55,56,243,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b4dd9663bfb3636889292d375983c06.jpg",[],{"id":13746,"slug":13747,"title":13748,"dynasty":69,"author":4336,"museum":552,"description":13749,"tags":13750,"thumbUrl":13751,"material":59,"size":59,"collection":59,"collections":13752,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},235813,"wen-zheng-ming-ku-mu-shu-huang-tu-zhou-wen-zheng-ming-235813","文徵明枯木疏篁图轴","此画以枯木疏篁入景，古木虬枝盘曲如铁，枯涩老辣的笔墨勾勒皴擦，尽显苍劲古拙的岁月质感，斜逸枝桠下留白尽是空寂清寥。\n\n旁侧竹篁挺然，浓墨点染竹叶，笔力劲爽清健，与枯木淡墨皴擦相映成趣，一枯一荣、一拙一秀，暗合幽寂林泉之境。右上角题诗衬映，笔墨间藏着萧散的文人雅趣，以极简构图铺陈出林下幽居的淡远意境，将寄情丘壑的林下襟怀融在尺幅之中，尽显文人画简淡高古的风神。",[25,26,27,55,1579,32,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab42284bb386fc83349ff294d06b2c7.jpg",[],{"id":13754,"slug":13755,"title":13756,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":13757,"thumbUrl":13758,"material":641,"size":642,"collection":59,"collections":13759,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},235792,"gu-mu-shuang-qin-tu-shan-chen-hong-shou-235792","古木双禽图扇",[714,25,26,55,29,1231,134,56,153,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6700ebd2e30728259bed45f2fc5916.jpg",[],{"id":13761,"slug":13762,"title":7126,"dynasty":18,"author":7127,"museum":552,"description":13763,"tags":13764,"thumbUrl":13766,"material":59,"size":59,"collection":59,"collections":13767,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},235647,"shan-shui-tu-ce-wu-li-235647","近岸枯木虬枝遒劲，疏朗错落，坡石茅舍隐于一隅，野趣盎然。淡墨晕染远山，浑茫温润，点点飞鸟掠过长天，衬出江天寥廓空寂。右上角题诗寄怀，笔意萧散，与画面意境相融无间。\n\n整幅笔墨秀雅苍润，干笔皴擦尽显山石质感，淡墨铺陈晕染出深秋清寒气韵。以极简布景勾勒荒寒山居之境，将萧瑟秋意与静穆禅意揉合尺幅，尽显文人写意风神，淡远悠长，余韵袅袅。",[25,26,53,55,80,349,153,134,7,7584,13765],"传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbd83ad502c2b79feb48c37b8ae49fc.jpg",[],{"id":13769,"slug":13770,"title":13771,"dynasty":69,"author":201,"museum":552,"description":13772,"tags":13773,"thumbUrl":13774,"material":59,"size":59,"collection":59,"collections":13775,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},235321,"shen-shi-chong-han-tang-yu-ting-tu-zhou-yi-ming-235321","沈士充寒塘渔艇图轴","此作用笔清隽雅致，以干湿互济的笔墨勾勒冬江寒林之景。危崖层叠，以短皴复点苔墨，晕出山石厚重肌理，淡墨烘染出空蒙山雾，将远山隐于烟霭之中，平添幽寂荒寒之意。近岸枯木虬曲，木叶尽脱，枝桠苍劲舒展，与滩头乱石相映，尽展冬日元气萧索之态。\n\n溪间扁舟静泊，渔翁拥衣独坐舱头，孤舟暖篷与周遭清寒形成温冷对照，把渔人江渚独守的安闲隐逸，融在冬日水滨的淡远清旷之中，以景寄情，将幽逸况味刻画尽致。",[25,26,27,55,80,85,133,137,7,82,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891e488a81d900cd51693f501d860966.jpg",[],{"id":13777,"slug":13778,"title":502,"dynasty":18,"author":13779,"museum":552,"description":13780,"tags":13781,"thumbUrl":13782,"material":641,"size":642,"collection":88,"collections":13783,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},235302,"shan-shui-ce-zhang-feng-235302","张风","张风，一作鹳，字大风，号升州道士，又号上元老人，或署“真香佛空”、“真香佛空四海”，明代画家、诗人。江苏南京人。思宗崇祯时生员，明亡后不为官，家里贫穷。他擅画山水、人物、花卉，也精于画肖像。早年风格较为恬静闲适，神韵悠然。晚年他曾佩剑北游，所以笔墨风格瘦挺豪纵。他还精通画理。",[25,26,53,75,55,80,7,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f15bdaffee209fef5f771dbfcf84975.jpg",[88],{"id":13785,"slug":13786,"title":13787,"dynasty":18,"author":13788,"museum":552,"description":13789,"tags":13790,"thumbUrl":13791,"material":139,"size":59,"collection":59,"collections":13792,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},235037,"hua-ji-chan-yin-tu-ce-xiao-chen-235037","滑稽禅隐图册","萧晨","萧晨（生卒年不详），字灵曦，号中素，江苏扬州人。清初画家，李寅弟子，善画山水、人物，画雪景最为有名。虽以卖画为生，但时以诗人自居。",[228,25,26,53,29,55,30,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b9ea68fd581d7e4f943cc27d68e501.jpg",[],{"id":13794,"slug":13795,"title":13421,"dynasty":69,"author":13796,"museum":552,"description":13797,"tags":13798,"thumbUrl":13799,"material":59,"size":59,"collection":59,"collections":13800,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},234490,"shan-shui-shan-ye-yin-shi-234490","殷諟","明清时期，每逢中秋佳节，文人墨客们总会创作许多关于中秋赏月的扇面小品，相互赠予，以表思念团聚之情。",[714,25,26,55,75,80,135,81,116,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84869b58427aca239d1b651bb8eab1ba.jpg",[],{"id":13802,"slug":13803,"title":1143,"dynasty":18,"author":214,"museum":5179,"description":13804,"tags":13805,"thumbUrl":13806,"material":58,"size":13737,"collection":59,"collections":13807,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},233945,"hua-niao-ce-hua-yan-233945","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。",[25,26,53,29,55,56,7,374,375,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404f5926f037f2a7a183670d202de71c.jpg",[],{"id":13809,"slug":13810,"title":13811,"dynasty":148,"author":256,"museum":71,"description":13812,"tags":13813,"thumbUrl":13814,"material":967,"size":13815,"collection":59,"collections":13816,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},233885,"wu-zhu-xiu-shi-tu-zhou-ni-zan-233885","梧竹秀石图轴","图中绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。",[25,26,27,55,32,3288,7,79,78,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe669021468b32b5f44f9d6226b16a7dc.jpg","纵96厘米，横36.5厘米",[],{"id":13818,"slug":13819,"title":13820,"dynasty":69,"author":13271,"museum":71,"description":13821,"tags":13822,"thumbUrl":13824,"material":507,"size":13825,"collection":59,"collections":13826,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},233843,"bi-hu-zhu-shu-tu-zhou-shen-hao-233843","闭户著书图轴","画面苍松下篱门紧闭。窠石小溪，书屋内一人凭几挥笔著书。用笔工细严谨。自识“闭户著书多岁月，种松皆作老龙麟。安素先生，抱道高棲，日著书万言。穆如之风，真追支、许。其次公原定，逸才清骨，与予有缟紵之谊。近闻遷乔，写此代贺。癸酉中秋，朗道人颢”。钤“朗倩”白文方印等。另钤“乾隆御览之宝”等鉴藏印多方。按癸酉为崇祯六年，公元一六三三年，作者时年四十八岁。此图曾经清内府收藏。《石渠宝笈》著录。",[25,26,27,55,29,75,78,77,79,134,260,136,30,7,13823],"室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f512c1583ae2897dc676a32f26a2c32.jpg","纵96.2厘米，横40.7厘米",[],{"id":13828,"slug":13829,"title":13440,"dynasty":18,"author":169,"museum":552,"description":3136,"tags":13830,"thumbUrl":13831,"material":967,"size":3139,"collection":59,"collections":13832,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},233691,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233691",[25,55,53,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e224dbd84a4eb93b5effb45a3ce2c52.jpg",[],{"id":13834,"slug":13835,"title":13440,"dynasty":18,"author":169,"museum":552,"description":3136,"tags":13836,"thumbUrl":13837,"material":967,"size":3139,"collection":59,"collections":13838,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},233686,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233686",[25,26,53,55,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcface694a307906f45bdc6019882cf45.jpg",[],{"id":13840,"slug":13841,"title":11536,"dynasty":18,"author":4070,"museum":71,"description":11890,"tags":13842,"thumbUrl":13843,"material":11893,"size":11894,"collection":59,"collections":13844,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},233393,"shan-shui-ren-wu-ce-jin-nong-233393",[25,26,53,55,29,80,84,81,78,79,7,82,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b508b39647df860015e33b12d744377.jpg",[],{"id":13846,"slug":13847,"title":8438,"dynasty":18,"author":8439,"museum":71,"description":13848,"tags":13849,"thumbUrl":13850,"material":327,"size":13851,"collection":59,"collections":13852,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},233181,"fang-gu-ji-you-tu-ce-huang-yi-233181","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[25,26,53,55,75,79,77,78,80,7,349,81,259,3633],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde56bbb5dd5f5082bb9e8e48065c69cc.jpg","纵17.8cm，横50.8cm",[],{"id":13854,"slug":13855,"title":13856,"dynasty":148,"author":997,"museum":71,"description":13857,"tags":13858,"thumbUrl":13859,"material":2679,"size":13860,"collection":59,"collections":13861,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},233142,"zi-hua-xiang-tu-ye-zhao-meng-fu-233142","自画像图页","赵孟頫（音fǔ）（1254—1322年），元代画家、书法家，字子昂，号松雪、水精宫道人，吴兴（今浙江省湖州市）人。宋宗室，14岁时以父荫补真州司户参军，入元出仕，曾任翰林侍读学士、荣禄大夫等职，卒赠魏国公，谥文敏。他对诗文音律无所不通，书画造诣极为精深，乃元代的画坛领袖。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。他倡导复古，强调“书画同源”，主张师法自然。书法钟繇、二王、李邕、宋高宗赵构以及历代诸家，篆、隶、真、草各臻神妙。其绘画、书风和书学主张对当代及后世影响巨大而深远。",[25,26,53,29,30,32,7,82,78,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69b3b32deea9e4c5f3a8c69a1af184d.jpg","纵24cm，横23cm",[],{"id":13863,"slug":13864,"title":13865,"dynasty":369,"author":201,"museum":71,"description":13866,"tags":13867,"thumbUrl":13869,"material":13870,"size":13871,"collection":59,"collections":13872,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[3948,25,53,29,241,28,80,242,81,519,13868,244,7,79],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be54f010dc1e0bed94db829cee44280.jpg","绢本、设色","纵23.6厘米，横24.9厘米",[],{"id":13874,"slug":13875,"title":13876,"dynasty":148,"author":997,"museum":112,"description":13877,"tags":13878,"thumbUrl":13879,"material":119,"size":13880,"collection":59,"collections":13881,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[23,25,26,74,55,75,78,77,79,80,85,277,82,349,153,134,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":13883,"slug":13884,"title":13885,"dynasty":5251,"author":13886,"museum":552,"description":13887,"tags":13888,"thumbUrl":13889,"material":59,"size":59,"collection":59,"collections":13890,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},230487,"tai-gong-wang-wen-wang-tu-shou-ye-yuan-xin-230487","太公望文王图","狩野元信","此作用大片留白铺展空茫水色，寥寥柳丝牵起河畔清寂早春意趣。枯木旁细竹点景，极简笔触勾勒老叟踞石垂纶，身形松弛淡然，将静候的怅惘化入澹泊闲情。\n\n水墨晕染浅淡写意，舍去繁丽描摹，只以劲简线条刻绘人物风神，把隐逸襟怀与入世期许藏在空茫留白间，以东方水墨独有的留白哲思，将悠长等待的时光，铺陈在这无言空阔的画幅之中，尽显淡远幽寂的禅味。",[23,25,26,27,29,75,30,7,32,134,137,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2576cf375d2475dcb407cb2fc50632af.jpg",[],{"id":13892,"slug":13893,"title":13894,"dynasty":69,"author":201,"museum":552,"description":13895,"tags":13896,"thumbUrl":13897,"material":59,"size":59,"collection":59,"collections":13898,"showCount":91,"zanCount":511,"manualWeight":43,"mainColor":1551},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。",[23,25,28,29,27,30,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb68fa2bff19d21da694b1aa4c489e9.jpg",[],{"id":13900,"slug":13901,"title":13902,"dynasty":69,"author":201,"museum":552,"description":13903,"tags":13904,"thumbUrl":13905,"material":59,"size":59,"collection":59,"collections":13906,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,24,26,53,29,28,30,134,864,1446,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fc3b17d6c207455e34cbf09781ad9e.jpg",[],{"id":13908,"slug":13909,"title":13910,"dynasty":148,"author":201,"museum":552,"description":13911,"tags":13912,"thumbUrl":13913,"material":59,"size":59,"collection":59,"collections":13914,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},228238,"fei-yan-tu-wan-shan-yi-ming-228238","飞燕图纨扇","此幅纨扇小品笔墨简淡却意趣盎然。虬曲的老柳占据一隅，浓墨写出苍劲老干，尽显风霜质感，柔细柳条轻曳飘拂，笔致清逸，将春柳的柔媚姿态晕染开来。枝头禽鸟各具情态，或静栖缩羽，或侧目顾盼，寥寥数笔便点染出灵动生机。空中飞燕振翅穿掠，墨色浓淡变化间，将疾飞之姿精妙定格。\n\n画面留白开阔，淡墨轻勾远坡，衬出天地空寂，把暮春时分清寂又暗含生机的氛围铺陈开来。全作用笔极简却意韵悠长，以水墨写意之法，将春日禽柳共生的雅致生机藏于尺幅之间，尽显空灵简淡的文人意趣。",[23,25,26,714,55,153,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce88bcd629a6b17d680a5dd4e32460.jpg",[],{"id":13916,"slug":13917,"title":13918,"dynasty":369,"author":201,"museum":552,"description":13919,"tags":13920,"thumbUrl":13922,"material":59,"size":59,"collection":59,"collections":13923,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,24,25,29,28,154,13921,81,325,7,153,1893],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35baab3884004df1c48bee2955d8c10.jpg",[],{"id":13925,"slug":13926,"title":13927,"dynasty":369,"author":573,"museum":552,"description":13928,"tags":13929,"thumbUrl":13930,"material":59,"size":59,"collection":59,"collections":13931,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},227583,"qun-xian-gao-hui-tu-juan-li-gong-lin-227583","群仙高会图卷","李公麟（1049年－1106年），北宋画家。字伯时，号龙眠居士，舒州（今安徽桐城）人。\n\n进士出身，历南康、长垣尉、泗州录事参军，官至朝奉郎。擅画人物、佛道像，吸取历代流派之长，自创一格，多用线描，笔法如行云流水，而不设色，生动地表现了人物的神情意态，人称“白描”；尤精擅画鞍马，常观察群马生活，求其变化，下笔形神兼备。注重写生，画技博取前人之长，承继顾恺之、吴道子等人笔法，在新画中表达新义。 《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[23,25,26,74,434,80,30,242,153,7,349,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":13933,"slug":13934,"title":13935,"dynasty":369,"author":13936,"museum":552,"description":13937,"tags":13938,"thumbUrl":13939,"material":59,"size":59,"collection":59,"collections":13940,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},227523,"jiang-cun-tu-yan-wen-gui-227523","江邨图","燕文贵","淡墨晕开浩渺寒江，远山隐在烟霭之中，只剩浅淡轮廓，留白铺就冬江的空寂清寒。近岸枯木虬曲苍劲，枝桠带着萧寒肆意舒展，坡岸茅舍半掩，水畔小舟静泊，似候归人。\n\n整幅画色调清润冷寂，以留白晕染出空濛辽远意境，将江村冬日的荒寒淡远勾勒尽致。取景极简却意蕴悠长，淡墨皴擦与留白相映，把江天冬景的静穆萧寒藏于笔底，寥寥数笔烘托出幽寂澹泊的隐逸氛围，尽显山水以简驭繁，于淡远间见深致的隽永意趣。",[23,25,26,714,55,75,80,85,349,134,7,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7d2658158078a79f9c64679dd76f46.jpg",[],{"id":13942,"slug":13943,"title":13944,"dynasty":369,"author":201,"museum":552,"description":13945,"tags":13946,"thumbUrl":13947,"material":59,"size":59,"collection":59,"collections":13948,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},223623,"hua-shi-cao-chong-tu-yi-ming-223623","花石草虫图","此作用笔精微细腻，构图取舍精妙，折枝花倚顽石而生，柔媚与苍劲相映成趣。粉红花瓣以淡彩晕染，瓣尖轻着白粉，将盛放之姿描摹得楚楚动人，叶片脉络清晰可见，带着鲜活水润的质感。顽石以枯笔勾勒皴擦，嶙峋纹理尽显硬冷苍古，和花草的柔润形成鲜明对照。\n\n画中诸般小生灵皆栩栩如生：蜥蜴探首曳尾，似正蹑足穿行；蜗牛静附石上，蜷壳悠然；飞蜂悬于空中，振翅之态仿佛可闻轻响。整体设色浅淡清和，墨色层次丰富，将郊野一角的生机定格，藏着细腻观照万物的心意，于平朴之中尽显雅致生趣。",[23,25,24,28,29,56,7,291,700,11377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389a4324e39851ec48a8bf5727886c77.jpg",[],{"id":13950,"slug":13951,"title":13952,"dynasty":369,"author":201,"museum":71,"description":13953,"tags":13954,"thumbUrl":13955,"material":678,"size":13956,"collection":59,"collections":13957,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},223518,"mei-xi-fang-ting-tu-yi-ming-223518","梅溪放艇图","绘一雅士放艇溪中，回首遥视远方，渔夫于 船尾曲身奋力划桨。两株老梅斜出溪岸，虬曲多姿。山间云雾 缭绕，天水一色。大山巍然横卧，小峰如刀削斧劈，笔立其 侧。作者所绘老梅虬曲多姿，以白粉点梅花，用细笔描水草和 波浪，人物衣纹简劲，工写结合。全图用笔工细劲挺，构图生 动简洁，设色淡雅清丽",[23,25,714,55,29,80,28,85,133,7,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F727d30aba9a4f0befd1f131f9c55d89f.jpg","纵24.4厘米横24.7厘米",[],{"id":13959,"slug":13960,"title":13961,"dynasty":18,"author":1491,"museum":112,"description":13962,"tags":13963,"thumbUrl":13966,"material":664,"size":13967,"collection":59,"collections":13968,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},222854,"wan-tun-chun-mu-dong-gao-222854","万屯春牧","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,25,29,28,75,80,53,83,81,1212,101,306,308,133,7,82,2351,10036,13964,1894,13965,13728],"牧畜","苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982e7c4080b31bce2c30a9be63ca83.jpg","22.9x26厘米",[],{"id":13970,"slug":13971,"title":13972,"dynasty":18,"author":672,"museum":71,"description":13973,"tags":13974,"thumbUrl":13975,"material":1106,"size":13976,"collection":59,"collections":13977,"showCount":91,"zanCount":511,"manualWeight":43,"mainColor":64},222785,"hua-niao-ce-ye-05-lang-shi-ning-222785","花鸟册页05","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[23,53,28,29,77,56,191,7,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ffe40a33466d2b3e879170853c304b.jpg","纵32.6厘米，横28.6厘米",[],{"id":13979,"slug":13980,"title":13981,"dynasty":69,"author":431,"museum":552,"description":13982,"tags":13983,"thumbUrl":13984,"material":262,"size":59,"collection":59,"collections":13985,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},216318,"xi-xiang-ji-zhen-ben-tu-ce-5-chen-hong-shou-216318","西厢记真本图册-5","墨线如铁线盘桓，勾出虬枝的苍劲与兰草的疏朗。枝叶俯仰间藏着西厢故事的幽微情愫，风致漫过纸面。题字与物象相映，留白处漾着旧时光的清浅余韵。笔力沉雄却含柔婉，每道线条凝着古典韵致，将戏曲里的婉转心事，化作纸上静穆与灵动。画面简淡却见深致，似能听见古院私语，触到旧年温润气息。虬曲枝干、舒展兰叶，皆成故事注脚，在墨色里流转着永恒的古典浪漫。那些隐于线条间的细腻心绪，让静止的画面泛起涟漪，引观者坠入西厢的婉转情境中。",[25,26,53,434,55,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c90d054f46ef51244aa9561650f25d7.jpg",[],{"id":13987,"slug":13988,"title":13989,"dynasty":69,"author":431,"museum":552,"description":13990,"tags":13991,"thumbUrl":13992,"material":262,"size":59,"collection":59,"collections":13993,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":44},216317,"xi-xiang-ji-zhen-ben-tu-ce-4-chen-hong-shou-216317","西厢记真本图册-4","画面分作两帧，左帧云雾如絮漫卷，山石嶙峋似卧，墨线勾勒的云气与简笔丘壑相映，晕开空濛之韵；右帧闺阁深深，女子凭窗凝睇，衣袂轻垂间线条如铁线缠枝，刚柔相济。她鬓发高挽，神情温婉却藏着一丝怅惘，窗前栏杆与室内陈设皆简笔勾勒，却见匠心。整幅画古雅奇崛，山水的疏淡与人物的工致相映，将西厢故事里的幽微心绪，凝在这一纸墨痕中。每一笔都透着古拙的意趣，人物情态与自然景致交融，似能窥见那段缠绵故事里的片刻静思。",[25,26,53,434,241,30,31,7,1911,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1026ffdb44986e871987f8d0db8b221.jpg",[],{"id":13995,"slug":13996,"title":13997,"dynasty":148,"author":1930,"museum":112,"description":13998,"tags":13999,"thumbUrl":14000,"material":37,"size":11700,"collection":59,"collections":14001,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":64},214998,"xie-sheng-hua-hui-ce-10-wang-yuan-214998","写生花卉册-10","此画册有王渊绘画手法，但元代气息不足，可视为明清之际的王渊款花卉画。此套图册花鸟极其工细，勾勒精致，色彩鲜艳、古拙",[25,53,29,28,56,174,291,1136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba40f6328600aaed1a6515bcf707589a.jpg",[],{"id":14003,"slug":14004,"title":14005,"dynasty":18,"author":7913,"museum":184,"description":14006,"tags":14007,"thumbUrl":14008,"material":9261,"size":59,"collection":59,"collections":14009,"showCount":91,"zanCount":511,"manualWeight":43,"mainColor":64},214516,"shui-mo-tu-ce-2-zheng-min-214516","水墨图册-2","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[25,3533,78,77,53,434,80,1073,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda00fb8a2e81121bc53bec8dd40609c3.jpg",[],{"id":14011,"slug":14012,"title":14013,"dynasty":9797,"author":770,"museum":150,"description":14014,"tags":14015,"thumbUrl":14016,"material":59,"size":59,"collection":60,"collections":14017,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":14018},203281,"qin-niao-tu-zhou-pan-tian-shou-203281","禽鸟图轴","画面构图简括奇崛，一只禽鸟踞于孤石之上，姿态昂然。鸟身以浓淡交织的墨色写就，笔触沉雄老辣；喙爪用劲挺线条勾勒，神形毕肖。下方孤石施以淡赭设色，边缘枯笔皴擦，尽显苍劲质感。整作笔墨雄健，意境孤傲，于简约中见大气象，尽显独特艺术格调。",[25,55,29,56,7,153,79,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f551a908d40390f45cc5c476db2b61.jpg",[60],"d6c7b9",{"id":14020,"slug":14021,"title":14022,"dynasty":9797,"author":14023,"museum":150,"description":14024,"tags":14025,"thumbUrl":14028,"material":59,"size":59,"collection":60,"collections":14029,"showCount":91,"zanCount":511,"manualWeight":43,"mainColor":14030},203163,"qian-chun-tu-zhou-zhang-shan-ma-203163","千春图轴","张善孖","垂柳如烟，枝条婆娑，笔墨柔劲相生。树下老牛体态沉实，晕染细腻显肌理，憨态可掬。旁有茅屋隐现，山石错落，几羽小鸡啄食嬉戏，生机盎然。画面工写结合，设色清雅，田园意趣浓郁，尽显悠然恬淡之韵，传递出人与自然的和谐静谧。",[25,28,29,2079,56,7,14026,14027,23],"走兽","笔墨晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb77bad2ae0a608bcd987a6ffafd7b708.jpg",[60],"bcb2a1",{"id":14032,"slug":14033,"title":14034,"dynasty":9797,"author":14035,"museum":150,"description":14036,"tags":14037,"thumbUrl":14038,"material":59,"size":59,"collection":105,"collections":14039,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":14040},202897,"shuang-hu-tu-zhou-zhu-wen-hou-202897","双虎图轴","朱文侯","画面双虎情态各异，一卧地悠然，一昂首似啸，虎目含威，皮毛纹理以细腻笔触晕染，墨线勾勒间尽显雄健肌理。背景孤石以写意水墨皴擦，简括苍劲，与虎的工致刻画形成虚实对照，动静相生。笔墨融中西之法，既承传统国画气韵，又添写实意趣，将虎的威猛灵动跃然纸上，尽显自然生灵的野性张力与和谐之美。",[25,29,2777,101,28,55,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921d3be395eb81006a9262ec4d1098c9.jpg",[105],"c9b9ab",{"id":14042,"slug":14043,"title":14044,"dynasty":18,"author":475,"museum":150,"description":14045,"tags":14046,"thumbUrl":14047,"material":59,"size":59,"collection":59,"collections":14048,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":14049},202495,"he-ya-tu-zhou-zhu-da-202495","荷鸭图轴","水墨晕染间，阔荷泼墨而成，浓淡交织显生机；荷梗瘦劲挺拔，线条凝练。两只水鸭踞于孤石，一俯一啄，姿态朴拙，鸭眼以冷逸之态绘就，藏倔强孤傲。孤石枯笔皴擦，质感厚重。画面构图疏宕，笔意纵逸，极简物象蕴藉深沉情愫，清冷孤寂却暗涌生命张力，尽显简笔写意之妙。",[55,56,7,33,75,3938,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d2c21f4f417e6d8f94c77bc20d00a3.jpg",[],"928b78",{"id":14051,"slug":14052,"title":9473,"dynasty":18,"author":14053,"museum":150,"description":14054,"tags":14055,"thumbUrl":14056,"material":59,"size":59,"collection":88,"collections":14057,"showCount":91,"zanCount":511,"manualWeight":43,"mainColor":14058},202043,"shan-shui-tu-zhou-zhu-xuan-202043","朱轩","画面以水墨写意铺陈山水之趣，近处枯藤老树倚着嶙峋孤石而生，几间茅舍隐于林下，溪流绕石潺潺而过；远处山峦用淡墨皴染，线条疏朗，留白处漾出空濛悠远的意境。用笔简淡却意韵深厚，皴法细腻勾勒山石肌理，墨色层次晕染自然，尽显文人山水的清寂雅致，观之如入幽林深处，心绪随之沉静。",[55,80,75,134,7,8646,1212,173,2290,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d62665f6a0eb3fed5dfc9ea9e67dbac.jpg",[88],"c1a387",{"id":14060,"slug":14061,"title":14062,"dynasty":18,"author":169,"museum":150,"description":14063,"tags":14064,"thumbUrl":14065,"material":59,"size":59,"collection":60,"collections":14066,"showCount":91,"zanCount":511,"manualWeight":43,"mainColor":14067},201607,"jiao-ju-zhu-shi-tu-zhou-shi-tao-201607","焦菊竹石图轴","画面以水墨写意写竹石蕉菊，笔墨纵逸洒脱。焦墨挥就的竹叶如剑戟横斜，尽显劲节；阔大蕉叶浓淡相破，层次叠生；嶙峋奇石皴擦兼施，肌理毕现；丛菊点缀石畔，淡雅疏朗。整幅画气韵生动，以简驭繁，将竹的坚韧、石的苍劲、蕉的清逸、菊的傲岸融为一体，尽显文人画“以物喻志”的意趣。笔势跌宕，墨色淋漓，于山野之趣中藏笔墨之妙，不经意间流露自然生机与人格寄托，是写意花鸟中情景交融的佳作。",[55,75,32,189,7,56,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d75643bba6c7a73727d229570de7ff2.jpg",[60],"c2b6aa",{"id":14069,"slug":14070,"title":14071,"dynasty":18,"author":6097,"museum":150,"description":14072,"tags":14073,"thumbUrl":14075,"material":59,"size":59,"collection":88,"collections":14076,"showCount":91,"zanCount":43,"manualWeight":43,"mainColor":14077},201567,"dou-qiu-xiao-ge-tu-zhou-gai-qi-201567","逗秋小阁图轴","画中楼阁错落，朱栏环护，掩映于苍树奇石间。垂柳垂丝拂岸，墨线秀逸；湖石崚嶒突兀，青绿点染见玲珑。远山淡抹如黛，云雾轻笼似纱，秋意悄然弥漫。闲坐凭栏的人物，虽身形小巧却神情宛然，传递出悠然恬淡的文人意趣。笔墨工致细腻，线条婉转流畅，设色清新雅致，工笔勾勒与写意渲染相济，尽显秋日元气清嘉之态。",[28,29,242,7,2049,80,862,14074,241,23],"湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8de6062b677488e0f0be55db402bab.jpg",[88],"cecfc9",{"id":14079,"slug":14080,"title":14081,"dynasty":69,"author":1184,"museum":112,"description":14082,"tags":14083,"thumbUrl":14084,"material":262,"size":14085,"collection":59,"collections":14086,"showCount":331,"zanCount":511,"manualWeight":43,"mainColor":64},290843,"ban-ji-tuan-shan-zhou-tang-yin-290843","班姬团扇轴","不过，本画中真正的女主角班婕妤（约西元前48－6），乃是班昭的祖姑。由于自幼即工诗、善赋，汉成帝时（西元前33－前7在位），被选入宫掖，初封为少使，未几又晋升成婕妤。她虽然深受皇帝钟爱，但始终能够矜重自持，绝不恃宠而骄。“婕妤辞辇”的故事，不仅为当世所称颂，且频频为后代画家引为礼仪教化的绝佳典范。\n汉成帝晚年宠幸赵飞燕（西元前43－1）姊妹，逐渐冷落班婕妤。班婕妤为了远离内廷的内斗，索性自请前往长信宫侍奉皇太后。幽居期间，先后写了〈自悼赋〉、〈捣素赋〉和〈怨歌行〉，暗喻自己凄凉孤寂的晚景，因文辞哀婉动人，而得以代代流传。",[25,24,27,29,30,31,7,277,396,2029,79,77,4167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55340a9d1b1110624bc460885bb2005b.jpg","150.4x63.6",[],{"id":14088,"slug":14089,"title":14090,"dynasty":985,"author":3237,"museum":552,"description":14091,"tags":14092,"thumbUrl":14093,"material":641,"size":642,"collection":59,"collections":14094,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},290010,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-diao-guang-yin-290010","写生花卉册-枯树五羊盘陀","画作描绘枯树旁边羊只觅食的悠闲姿态，或坐、或立、或觅食，远处群山在云雾中时隐时现，两只羊抬头四顾，与远景遥相呼应，构图精美。",[25,53,29,133,3505,101,80,77,2280,79,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcdec8dd40c7593425e7f22ffa419fba.jpg",[],{"id":14096,"slug":14097,"title":13944,"dynasty":369,"author":201,"museum":552,"description":14098,"tags":14099,"thumbUrl":14100,"material":641,"size":642,"collection":59,"collections":14101,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":44},289939,"hua-shi-cao-chong-tu-yi-ming-289939","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[25,24,26,28,29,56,243,7,700,3604,13189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e736ec07c5274b496d790b42b1ee02.jpg",[],{"id":14103,"slug":14104,"title":14105,"dynasty":369,"author":14106,"museum":552,"description":14107,"tags":14108,"thumbUrl":14110,"material":641,"size":642,"collection":59,"collections":14111,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":44},288942,"xiao-xiang-ba-jing-yuan-pu-gui-fan-wang-hong-288942","潇湘八景-远浦归帆","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[24,25,26,74,55,75,80,82,349,134,7,14109],"远浦归帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe935a5ee75c65dca8ba2666e8e7fdb26.jpg",[],{"id":14113,"slug":14114,"title":14115,"dynasty":302,"author":11791,"museum":552,"description":11792,"tags":14116,"thumbUrl":14117,"material":641,"size":642,"collection":59,"collections":14118,"showCount":331,"zanCount":511,"manualWeight":43,"mainColor":44},288268,"yan-ai-qiu-she-tu-zhao-gan-288268","烟霭秋涉图",[23,25,26,273,55,75,7,133,1893,78,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee6c8d1442c8b87e43d233c47bb6fcf.jpg",[],{"id":14120,"slug":14121,"title":14122,"dynasty":69,"author":183,"museum":552,"description":8412,"tags":14123,"thumbUrl":14124,"material":641,"size":642,"collection":59,"collections":14125,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},287783,"xue-ying-yu-ren-tu-xiang-sheng-mo-287783","雪影渔人图",[23,24,25,26,27,55,80,134,85,7,82,79,137,851],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2180dbe5f9cb3d7d66cc8995b1afa3ba.jpg",[],{"id":14127,"slug":14128,"title":14129,"dynasty":18,"author":10806,"museum":552,"description":10807,"tags":14130,"thumbUrl":14131,"material":641,"size":642,"collection":59,"collections":14132,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":1551},287749,"yao-gen-he-shang-xiang-luo-pin-287749","药根和尚像",[25,30,576,55,29,7,79,77,27,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4e76fb6e1ecdc82aee9d08daf9d2ea.jpg",[],{"id":14134,"slug":14135,"title":14136,"dynasty":369,"author":201,"museum":112,"description":14137,"tags":14138,"thumbUrl":14139,"material":641,"size":14140,"collection":59,"collections":14141,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":44},287645,"zhu-lin-qing-hua-yi-ming-287645","竹林清话","此作用繁茂修竹铺陈画面主体，双钩墨笔写就竿叶劲挺秀拔，层层叠叠掩映出幽谧林下天地。两位高士对坐晤谈，衣纹简练舒展，神色悠然自在，小童垂手侍立一旁，神态恭谨安闲，将文人雅集的萧散之态尽显无余。画面虚实相生，沉郁古雅的绢色衬出林间清寂，设色淡逸简净，晕染出宋代文人简淡冲和的林下之风，把超脱尘俗的雅集闲情融在婆娑竹影之中，尽显古典雅致的文人意趣。",[24,25,26,27,29,55,30,32,7,8127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad085f071face0d2df057319392f5ecd.jpg","106.5x42.7",[],{"id":14143,"slug":14144,"title":502,"dynasty":18,"author":8091,"museum":71,"description":14145,"tags":14146,"thumbUrl":14148,"material":139,"size":59,"collection":59,"collections":14149,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},237188,"shan-shui-ce-sun-yi-237188","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[25,26,53,55,29,75,80,851,135,133,136,14147,1212,7],"雪峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6324878be9cb5df7ff8c9067c7b79125.jpg",[],{"id":14151,"slug":14152,"title":7126,"dynasty":18,"author":14153,"museum":71,"description":14154,"tags":14155,"thumbUrl":14156,"material":59,"size":59,"collection":88,"collections":14157,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},237127,"shan-shui-tu-ce-yao-song-237127","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。",[25,26,53,434,80,349,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c1ac569b12d1c32641d41a12f73d233.jpg",[88,105],{"id":14159,"slug":14160,"title":13343,"dynasty":18,"author":1195,"museum":71,"description":13344,"tags":14161,"thumbUrl":14162,"material":59,"size":59,"collection":59,"collections":14163,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},236586,"lan-mei-ce-wang-shi-shen-236586",[24,25,26,53,434,55,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3c10919d4ade83b1d3ec4403cf619.jpg",[],{"id":14165,"slug":14166,"title":11536,"dynasty":69,"author":8904,"museum":71,"description":11537,"tags":14167,"thumbUrl":14168,"material":327,"size":11540,"collection":59,"collections":14169,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},236481,"shan-shui-ren-wu-ce-guo-fen-ya-236481",[25,26,53,55,75,30,80,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7889f62e66395d3fd435d616098bca8f.jpg",[],{"id":14171,"slug":14172,"title":14173,"dynasty":69,"author":8882,"museum":552,"description":14174,"tags":14175,"thumbUrl":14176,"material":59,"size":59,"collection":59,"collections":14177,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},236405,"xiao-xiang-ba-jing-ce-wen-jia-236405","潇湘八景册","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[25,26,53,55,75,80,7,134,153,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3dfffd2ca4075882ee15afe72d4bc6.jpg",[],{"id":14179,"slug":14180,"title":14181,"dynasty":5251,"author":14182,"museum":552,"description":14183,"tags":14184,"thumbUrl":14185,"material":59,"size":59,"collection":88,"collections":14186,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},236333,"ma-shi-ying-shan-shui-chi-du-he-zhuang-zhou-ruan-da-cheng-236333","马士英山水尺牍合装轴","阮大铖","马士英（约1591～1646），字瑶草，贵州贵阳人，明末大臣，官至内阁首辅，相传本姓李，过继马氏，祖籍广西梧州。明万历己未（1619年）成进士，授南京户部主事，后历官严州、河南、大同知府、庐凤总督等职。甲申变后，马士英与南京兵部尚书史可法、南京户部尚书高弘图等拥立福王朱由崧为帝，是为弘光帝。因“拥兵迎福王于江上”有功，升任东阁大学士兼兵部尚书，都察院右副都御史，成为南明明弘光政权首辅，人称“马阁老”。后国事不济，拥立福王朱由崧登基，抵抗清兵入侵，最终殉国而死，但世人对其死因存疑，在清代，被后人所责骂。\n夏允彝、夏完淳父子《幸存录》对其持论公允。有《永城纪略》（含《永牍》）及部分诗文、书画作品传世。",[25,26,27,55,75,80,134,7,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cfd45a1fae363e79f9e55bf504aa31.jpg",[88,122,786],{"id":14188,"slug":14189,"title":4918,"dynasty":18,"author":214,"museum":552,"description":4061,"tags":14190,"thumbUrl":14191,"material":641,"size":642,"collection":59,"collections":14192,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},236006,"hua-hui-tu-ce-hua-yan-236006",[25,26,53,29,55,56,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79dd8d7c95f679d4f0f7cad234d7109e.jpg",[],{"id":14194,"slug":14195,"title":5052,"dynasty":69,"author":183,"museum":552,"description":14196,"tags":14197,"thumbUrl":14199,"material":59,"size":59,"collection":59,"collections":14200,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},235692,"shan-shui-hua-hui-ce-xiang-sheng-mo-235692","此作笔致清隽秀雅，以淡墨取韵。近岸白石棱层，间生细草幽苔，古意盎然。崖顶孤松虬曲斜出，枝叶疏朗尽显风骨。白衣高士席地凭栏，静望远山。远景峰峦以淡墨晕染，朦胧虚和，留白铺陈平沙水色，虚实相映。\n\n整体意境萧散淡远，将幽人林泉寄兴、澄怀观道的雅趣藏于尺幅，笔简而意长，尽显静穆悠然的文人逸韵，禅意漫溢，于极简笔墨中铺展出清远空寂的山水之境。",[25,53,55,75,80,7,134,30,135,324,14198,325],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281a62a3bf0e75586f28c2598162aca0.jpg",[],{"id":14202,"slug":14203,"title":7126,"dynasty":18,"author":7127,"museum":552,"description":14204,"tags":14205,"thumbUrl":14206,"material":59,"size":59,"collection":59,"collections":14207,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},235642,"shan-shui-tu-ce-wu-li-235642","此作用笔苍秀，意境淡远。近岸危石兀立，古木虬枝蟠曲，荫蔽下一扁舟泊停，舟中幽人凭舷远眺。湖面开阔空寂，水鸟三两掠波而过，远山以淡墨晕染，层叠晕幻，晕出温润空濛的暮色诗意。\n题诗与画面浑然相融，暗合日暮归樵的幽隐之趣。干湿浓淡间尽显水墨层次，枯笔写木，湿墨晕山，以简淡之笔勾勒出萧散出尘的林下景致，将文人幽居林泉的隐逸心境铺陈纸上，静穆雅致，余韵悠长。",[25,55,75,53,80,7,134,153,324,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815175b8d890959771f6894df9caddb9.jpg",[],{"id":14209,"slug":14210,"title":3256,"dynasty":18,"author":14211,"museum":552,"description":14212,"tags":14213,"thumbUrl":14214,"material":59,"size":59,"collection":60,"collections":14215,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},235566,"hua-hui-ce-fan-ting-zhen-235566","范廷镇","此作以枯淡水墨绘就梅石，左侧顽石晕染出厚重质感，苔痕暗藏生机，细草柔蔓斜出，中和石之嶙峋冷硬；右侧老梅枝干虬曲苍劲，花苞圆浑饱满，墨色枯润相济，尽显古梅傲雪之姿。\n\n书画相融无间，题诗借旧语寄慨，以梅石抒怀，将幽独清高的文人襟怀寄寓在朴拙笔墨中。整体简淡萧疏，刚柔相衬，以画言情，风骨凛然，尽显诗画相生的雅致意趣，朴拙之中见清逸，余韵悠长。",[25,26,53,55,7,243,493,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408c8a09ac4f62a1af0ad8c556f2968f.jpg",[60],{"id":14217,"slug":14218,"title":4060,"dynasty":18,"author":214,"museum":552,"description":4061,"tags":14219,"thumbUrl":14220,"material":641,"size":642,"collection":59,"collections":14221,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},235385,"hua-niao-tu-ce-hua-yan-235385",[25,26,53,55,29,56,374,7,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c84564d40ad840b5f82a96329943938.jpg",[],{"id":14223,"slug":14224,"title":14225,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":14226,"thumbUrl":14227,"material":641,"size":642,"collection":59,"collections":14228,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":44},235009,"tong-zi-li-fo-tu-zhou-chen-hong-shou-235009","童子礼佛图轴",[25,27,28,29,30,576,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff971afe5c6c7ed0ca4302dfe3bea8b.jpg",[],{"id":14230,"slug":14231,"title":14232,"dynasty":18,"author":7785,"museum":552,"description":14233,"tags":14234,"thumbUrl":14235,"material":327,"size":14236,"collection":59,"collections":14237,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},234895,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234895","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[25,26,53,29,75,76,78,79,80,277,82,81,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd041938481266e5261f5879a6dd0ddf8.jpg","纵21厘米，横27厘米",[],{"id":14239,"slug":14240,"title":502,"dynasty":18,"author":4274,"museum":552,"description":14241,"tags":14242,"thumbUrl":14244,"material":59,"size":59,"collection":59,"collections":14245,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},234645,"shan-shui-ce-cha-shi-biao-234645","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[25,26,53,55,78,75,80,349,117,324,14243,7,79],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c45098315924d5068c0fa9dad5a669e.jpg",[],{"id":14247,"slug":14248,"title":14249,"dynasty":18,"author":14250,"museum":552,"description":14251,"tags":14252,"thumbUrl":14253,"material":59,"size":59,"collection":59,"collections":14254,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},234517,"san-jun-zi-tu-ce-ye-kong-yu-qi-234517","三君子图册页","孔毓圻","孔毓圻（1657―1723）：字钟在，又字翊宸，号兰堂。山东曲阜人。孔子的第67代嫡长孙。\n康熙六年（1667），袭封衍圣公。九年（1670），授光禄大夫，十五年（1676），晋阶太子少师。\n好诗文，工擘窠大字，善画墨兰，得元人赵孟頫之旨。卒谥恭悫。有《兰堂集》、《幸鲁盛典》。妻方氏，江苏昆山人，山东按察副使方恒女，工诗，善画。\n《清史稿》列传二百七十儒林四：毓圻，字钟在。方幼，年十一，朝京师。圣祖召见瀛台，礼度如成人，奏对称旨。越二年，上幸学，召毓圻陪祀，太皇太后召入见，赐坐，问家世，具以对，赐茶及克食。辞出，命内臣送至宫门外，传谕从官善辅翼之。上御殿，毓圻从诸大臣朝参，及退，命自御道行，逡巡辞，上敦谕之，乃趋出。加太子少师。二十三年，上东巡，释奠孔子庙，留曲柄黄盖。谒林，周览遗迹，每事问，毓圻谨以对。因请扩林地，置守卫，除租赋，设百户，官秩视卫守备，皆许之。毓圻辑《幸鲁盛典》以进，复奏请重修孔子庙，白巡抚及河道总督，免县人河工应役。雍正元年，世宗命追封先圣五代王爵。十月，毓圻诣阙谢，疾作，上命医诊视，赐参饵。十一月，卒於京师，上遣内大臣奠茶酒。丧归，命皇三子及庄亲王允禄临奠，行人护行，赐葬，谥恭悫。毓圻工书，爱兰，自号曰兰堂。子传铎袭。在孔林东北处，有一座立有御碑亭的墓即为孔毓圻的墓葬。墓前有石碑1通，篆书“光禄大夫太子少师六十七世袭封衍圣公恭悫（què）先生墓”，由光禄大夫兼工部尚书、云间王顼（xū）龄篆。",[25,26,53,55,7,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce159a03d011e46275886933ef2f5682.jpg",[],{"id":14256,"slug":14257,"title":14258,"dynasty":18,"author":3115,"museum":71,"description":14259,"tags":14260,"thumbUrl":14261,"material":1106,"size":9067,"collection":59,"collections":14262,"showCount":331,"zanCount":511,"manualWeight":43,"mainColor":44},233876,"zi-hua-xiang-zhou-gao-feng-han-233876","自画像轴","《自画像》作于清雍正五年（1727年），时年作者45岁。画面上，高凤翰身着白衫，头戴斗笠，侧身倚石坐于断壁悬崖之上，崖上松柏怪生，崖下波涛澎湃，陡峭的巨石冲出水面，长空中，一只孤鹤飞翔而来，画家俯览水面，似引起无限思绪。当时正值高凤翰仕途转折时期，是年，他赴济南省试，应选，次年赴京应试，考列一等，分发安徽试用。他并不热衷仕途，对当时的社会状况也很不满，应试做官可能是生活所迫，作品即是他当时心境的写照。图中，画家将自己置于陡峭的绝壁之间，险峻的山石，汹涌的江水，奇生的古木，使人感受到的不是士大夫寄托林泉之志的山水，而是预示着人生的艰险，仕途的艰辛。\n此图构图新颖，以仰视的角度截取山崖一角，江水自远而近布满画面，气势强大，使景物具有高远和深远之势，以烘托主题。高凤翰的自画像非常写实，据载，高凤翰长眉广额，身体伟岸，又有美髯，曾自署“髯高”。他曾画过一幅《披褐图》，其人物面貌与此幅相似。",[25,27,29,30,80,7,75,79,77,81,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd09da7066bb42a50428c8157ac8ed8fd.jpg",[],{"id":14264,"slug":14265,"title":14266,"dynasty":18,"author":169,"museum":552,"description":3136,"tags":14267,"thumbUrl":14268,"material":967,"size":3139,"collection":59,"collections":14269,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},233682,"yuan-ji-lan-zhu-ce-po-shi-lan-cao-shi-tao-233682","原济兰竹册－坡石兰草",[25,26,53,55,188,7,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542666f0feb5f13e36b289e2702f417f.jpg",[],{"id":14271,"slug":14272,"title":14273,"dynasty":18,"author":201,"museum":552,"description":14274,"tags":14275,"thumbUrl":14276,"material":59,"size":14277,"collection":88,"collections":14278,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[80,30,306,4591,6125,28,75,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbade98b43e515adc2f6308244833407.jpg","87.3×50cm",[88,122],{"id":14280,"slug":14281,"title":14282,"dynasty":369,"author":201,"museum":112,"description":11344,"tags":14283,"thumbUrl":14284,"material":14285,"size":14286,"collection":59,"collections":14287,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":44},231345,"xiao-han-lin-tu-yi-ming-231345","小寒林图",[25,26,55,75,80,1231,134,7,1791],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50b96fc4e45788828c7ba9d17162640.jpg","轴","该幅42.2x49.2公分；全幅66.5公分",[],{"id":14289,"slug":14290,"title":6513,"dynasty":18,"author":12822,"museum":552,"description":14291,"tags":14292,"thumbUrl":14293,"material":641,"size":642,"collection":59,"collections":14294,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},230193,"shan-shui-ce-ye-wang-chen-230193","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。",[25,26,53,55,75,80,277,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b259c956580327d9785be7c1e0b5be.jpg",[],{"id":14296,"slug":14297,"title":14298,"dynasty":69,"author":201,"museum":552,"description":14299,"tags":14300,"thumbUrl":14301,"material":641,"size":642,"collection":59,"collections":14302,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,24,25,26,27,29,28,56,1990,1558,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8344bd58fa2be0ddc84d2f4c79e5c0ff.jpg",[],{"id":14304,"slug":14305,"title":14306,"dynasty":69,"author":201,"museum":552,"description":14307,"tags":14308,"thumbUrl":14309,"material":59,"size":59,"collection":59,"collections":14310,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},228802,"ke-si-hua-hui-ce-yi-ming-228802","缂丝花卉册","此作取景幽寂雅致，湖石古拙苍润，皴理宛然，自带沉静古意。兰叶舒卷萦回，柔条拂动似含清风，幽兰吐蕊暗香暗生。旁侧灵芝莹润清雅，粉蝶振翅翩跹，似循着花香而来，为静谧小景添了灵动生机。\n\n缂丝工艺尽显精妙，以色丝晕染铺陈，色调柔淡和谐，线条兼具挺括与柔婉。将文人幽居雅趣凝于尺幅，不见浓丽，只凭浅淡诸色勾勒出幽庭小景，尽得林下清隽之风，把中式美学里的疏淡恬然诠释得恰到好处，尽显雅致出尘的文人意趣。",[23,229,29,7,243,435,2807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c4c1280b97c6823afc5ce59e168796.jpg",[],{"id":14312,"slug":14313,"title":14314,"dynasty":69,"author":14315,"museum":552,"description":14316,"tags":14317,"thumbUrl":14320,"material":59,"size":59,"collection":59,"collections":14321,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":44},228334,"liu-yin-mu-qiao-tu-ye-lu-shi-ren-228334","柳荫暮桥图页","陆士仁","此作用绢本暖褐底色晕染出薄暮柔氛，池面轻笼烟霭，垂柳依依曳于晚风，枝桠停驻寒鸦，将诗意融于画面。坡岸竹树错落，远处板桥隐在淡雾之中，衬得暮色愈发静谧安闲。\n\n设色清淡雅润，线条秀婉细腻，未以繁复勾勒，只凭晕染铺就朦胧暮色，将晚春池畔的慵懒闲寂揉进笔墨里。题画诗与小景相映成趣，把暮夜将临的恬和诗意尽数铺陈，尽显文人抒情小景的淡远意致，将闲淡空寂的晚暮氛围描摹得恰到好处。",[25,29,80,53,2049,277,7,153,14318,14319],"田野","暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F988ee63a495d90b8af4ac0a7248c07b4.jpg",[],{"id":14323,"slug":14324,"title":12592,"dynasty":369,"author":201,"museum":552,"description":14325,"tags":14326,"thumbUrl":14327,"material":59,"size":59,"collection":59,"collections":14328,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":44},227928,"da-mo-mian-bi-tu-yi-ming-227928","此作用笔极简空灵，以淡墨晕染出空濛悠远的禅意天地。枯笔勾勒的崖边瘦松枝桠疏朗，伴着淡墨晕开的空寂山水，烘托出幽阒沉静的氛围。达摩身披宽袍静坐石上，身形简括却尽显静定肃穆，侍立的沙弥神态恭谨，愈发衬得画面寂廖安宁。整幅画以少胜多，舍去繁缛细节，用萧散澹远的笔墨传递出禅家清寂玄远的意趣，将面壁的枯坐修行化为极具氛围感的视觉图景，尽显水墨禅画以形写神的精妙。",[23,24,25,26,27,55,434,576,30,7,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e177f7ca701ef04d64427f39085162b.jpg",[],{"id":14330,"slug":14331,"title":14332,"dynasty":18,"author":5383,"museum":552,"description":14333,"tags":14334,"thumbUrl":14335,"material":59,"size":59,"collection":59,"collections":14336,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},224535,"fang-ni-qu-lin-shan-shui-zhu-chang-224535","仿倪去林山水","此作用笔简净松灵，取法倪氏平远意趣，绘就萧疏清旷的深秋丘壑。近岸枯木疏槎清瘦劲挺，枝桠寥寥，带着深秋荒寒之气。远山以淡墨轻扫勾勒，轮廓柔和简淡，留白水面悠悠延展，将空寂意境铺陈开来，林麓石畔的隐舍萧然出尘，不见烟火气。全幅笔墨淡逸清润，不作繁复皴染，以极简形制传递静穆萧散的文人雅韵，将倪画天真幽淡的冷寂气质得韵传神，尽写郊野秋意的疏朗空荒，藏着对枯淡美学的精准追摹与悠远体悟。",[23,25,55,75,76,27,80,1231,134,7,82,81,83,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b10416c0f2ccf154ddc3b890e53df8.jpg",[],{"id":14338,"slug":14339,"title":14340,"dynasty":18,"author":6283,"museum":552,"description":14341,"tags":14342,"thumbUrl":14343,"material":59,"size":59,"collection":59,"collections":14344,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},224473,"qing-wang-yun-wang-hui-he-bi-zhou-wang-hui-224473","清王云王翚合璧轴","此作用笔兼工带写，老桃枯干苍劲古拙，枝头桃花轻红柔丽，灼灼盛放，与叶芽新绿相映，晕染出春日融融生机。下方水畔鸳鸯伫立，翎毛晕染细腻，羽色明丽温润，情态安闲静雅。\n书画合璧，题字清隽秀雅，诗画呼应，将春日的恬和野趣晕透纸面，设色妍而不艳，既有院体花鸟的精工雅致，又饱含文人画的澹泊意趣，静穆中藏着蓬勃春机，尽显清和雅致的林下春光。",[23,25,26,27,29,28,56,190,1073,466,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4efb57d002aeb7ed5287d3e5fa93fa.jpg",[],{"id":14346,"slug":14347,"title":14348,"dynasty":18,"author":417,"museum":552,"description":14349,"tags":14350,"thumbUrl":14351,"material":59,"size":59,"collection":59,"collections":14352,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},224314,"hua-niao-ce-shi-kai-4-li-shan-224314","花鸟册十开4","画面以写意之笔绘石竹与湖石，粉红花瓣晕染柔润自然，间缀淡紫俏花提亮层次，挺劲绿叶以浓淡墨色写出，尽显花草鲜活姿态。一旁湖石枯笔皴擦，朴拙古雅，与娇柔花枝形成刚柔对照。\n\n左侧题诗笔墨纵逸洒脱，诗书画印相得益彰，将文人闲居消夏的悠然心境寄寓花间。整幅画随性疏朗，鲜活灵动，笔情墨趣间尽显放达雅致的文人意韵，尽显画者率真疏放的创作风骨。",[23,25,26,53,29,56,7,243,375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0550b3f94de6a3de549f2089b7718f7e.jpg",[],{"id":14354,"slug":14355,"title":14356,"dynasty":18,"author":9429,"museum":112,"description":14357,"tags":14358,"thumbUrl":14359,"material":119,"size":14360,"collection":59,"collections":14361,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},223104,"duan-qiao-can-xue-tu-dong-bang-da-223104","断桥残雪图","《断桥残雪图》画的是杭州西湖十景之一“断桥残雪”景。白堤第一桥曰断桥，界于前后两湖之间。春雪未消，悉琼林瑶树，晶莹朗澈。\n断桥残雪是西湖上著名的景色，以冬雪时远观桥面若隐若现于湖面而称著。属于西湖十景之一。每当瑞雪初霁，站在宝石山上向南眺望，西湖银装素裹，白堤横亘雪柳霜桃。断桥的石桥拱面无遮无拦，在阳光下冰雪消融，露出了斑驳的桥栏，而桥的两端还在皑皑白雪的覆盖下。依稀可辩的石桥身似隐似现，而涵洞中的白雪奕奕生光，桥面灰褐形成反差，远望去似断非断，故称断桥。明代画家李流芳《西湖卧游图题跋——断桥春望》称：“往时至湖上，从断桥一望，魂销欲死。还谓所知，湖之潋滟熹微，大约如晨光之着树，明月之入庐。盖山水映发，他处即有澄波巨浸，不及也。”",[23,25,26,80,29,75,79,277,349,1231,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8dfcaeca894047302a2b5b6fcbb4d6.jpg","133x66cm",[],{"id":14363,"slug":14364,"title":14365,"dynasty":69,"author":70,"museum":847,"description":14366,"tags":14367,"thumbUrl":14368,"material":14369,"size":14370,"collection":59,"collections":14371,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},222606,"qian-ren-shi-ye-you-shi-juan-shen-zhou-222606","千人石夜游诗卷","此卷系沈周画千人石夜游图卷尾沈石田与杨循吉写诗相和而书写录入的诗文。展现了沈周诗书画三绝的吴门才子本色。 沈周的书法起步于家传，初学赵孟頫；四十岁左右起，泛学诸家，而对宋四家用力最勤；至晚年更倾心学黄庭坚。喜用狼毫挥书，线条锋利铦锐，结构跌宕开阖，中宫收紧而四维开张，所谓“长撇大捺”，遒劲奇崛，也是明代的书法名家。",[23,78,77,74,55,79,864,7,80,9891],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35860016e1c8c78552c7fadc8481f4c.jpg","长卷，纸本，墨书","纵30.1厘米，横420厘米",[],{"id":14373,"slug":14374,"title":14375,"dynasty":69,"author":1625,"museum":552,"description":14376,"tags":14377,"thumbUrl":14378,"material":28,"size":14379,"collection":59,"collections":14380,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":5362},222045,"de-qu-zai-ren-ce-13-kai-5-wang-zhong-222045","得趣在人册13开5","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。",[23,24,25,26,53,29,28,56,7,189,160,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41fa59af75adeaa4a2a98037e8adbf2f.jpg","30×27厘米",[],{"id":14382,"slug":14383,"title":14384,"dynasty":18,"author":941,"museum":71,"description":942,"tags":14385,"thumbUrl":14386,"material":327,"size":945,"collection":59,"collections":14387,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},220288,"huang-shan-tu-ce-37-hong-ren-220288","黄山图册-37",[23,24,25,26,53,75,29,80,277,82,135,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70e277b94dfe9c6eeb04e5a7b98c942.jpg",[],{"id":14389,"slug":14390,"title":14391,"dynasty":69,"author":238,"museum":150,"description":2587,"tags":14392,"thumbUrl":14393,"material":37,"size":2590,"collection":59,"collections":14394,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":44},219774,"lin-song-ren-hua-ce-6-chou-ying-219774","临宋人画册-6",[25,29,28,76,79,30,7,99,1302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e050c9833328322db651cd7e96deda3.jpg",[],{"id":14396,"slug":14397,"title":14398,"dynasty":18,"author":7913,"museum":184,"description":14006,"tags":14399,"thumbUrl":14400,"material":262,"size":59,"collection":59,"collections":14401,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":64},214515,"shui-mo-tu-ce-3-zheng-min-214515","水墨图册-3",[25,55,53,78,80,134,7,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1071445050b66e554e0167e91e3c0252.jpg",[],{"id":14403,"slug":14404,"title":14405,"dynasty":9797,"author":770,"museum":150,"description":14406,"tags":14407,"thumbUrl":14408,"material":59,"size":59,"collection":122,"collections":14409,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":14410},203326,"zhi-hua-shi-ying-tu-zhou-pan-tian-shou-203326","指画石鹰图轴","指掌代笔，墨韵天成。鹰身以浓墨泼染，羽翼层叠间墨色浓淡相生，尽显猛禽雄健之姿；鹰眼如炬，喙爪劲挺，孤傲威猛的神态跃然纸上。下方孤石以简劲皴法勾勒，苍劲朴拙，与鹰的厚重墨色形成虚实对照。指画特有的肌理质感，赋予笔墨别样张力，于简约构图中见磅礴气势，静态里藏蓄势待发之动感，尽显大写意的雄浑风骨。",[25,26,55,27,7,153,101,79,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4efe91f24a8e619eb4f0cbaaf511357b.jpg",[122],"cec3b5",{"id":14412,"slug":14413,"title":14414,"dynasty":69,"author":14415,"museum":150,"description":14416,"tags":14417,"thumbUrl":14418,"material":59,"size":59,"collection":88,"collections":14419,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":14420},203054,"shan-shui-ji-ce-liu-jue-203054","山水集册","刘珏","此图以水墨为基调，山峦轮廓用皴法晕染，墨色层次丰富，尽显苍润之致。近景孤石突兀，附以疏木点缀，笔意朴拙；远景峰峦叠嶂，云雾轻缠，意境空灵悠远。平展的水面与连绵远山相映成趣，静谧中透着文人画特有的清幽雅致。画作融宋元山水意趣，笔法细腻却不失雄浑，简淡间见深致，传递出自然与心境相融的悠然之韵。",[80,55,75,7,324,53,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78fb603d0d3154326e6e2a0336fde23.jpg",[88],"b7aca0",{"id":14422,"slug":14423,"title":14424,"dynasty":9797,"author":13166,"museum":150,"description":14425,"tags":14426,"thumbUrl":14427,"material":59,"size":59,"collection":88,"collections":14428,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":14429},202955,"huang-shan-ji-you-tu-zhou-huang-bin-hong-202955","黄山纪游图轴","墨色浓淡交错，皴笔勾勒山石筋骨，淡墨晕染云雾，山峦似隐似现。亭中独坐之人与周遭枯树、溪流相映，清寂雅致。画面以文人笔墨写黄山之景，意境悠远，尽显传统山水的笔墨意趣与深邃情怀。",[25,55,29,75,27,80,349,134,82,7,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626bd145b267ba132a1f8aecd6ca5d4f.jpg",[88],"d7cebe",{"id":14431,"slug":14432,"title":9473,"dynasty":9797,"author":13166,"museum":150,"description":14433,"tags":14434,"thumbUrl":14436,"material":59,"size":59,"collection":88,"collections":14437,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":14438},202907,"shan-shui-tu-zhou-huang-bin-hong-202907","这幅山水图轴笔墨沉厚，山峦以积墨法层层晕染，苍劲雄浑间见灵秀。近处虬松挺峙，孤石嶙峋，枝干与石纹以焦墨勾勒，皴擦相生；山间云雾轻笼，远山隐现于烟霭，层次悠远。小桥横架溪上，屋舍藏于林麓，添得几分生趣。墨色浓淡干湿交织，黑密厚重中透出清润，尽显苍茫深邃之境，是传统山水笔墨与意境的精妙融合。",[25,80,55,75,14435,260,277,7,23],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f53ff3b160014904b50c306cc4c002.jpg",[88],"e1d9cb",{"id":14440,"slug":14441,"title":14442,"dynasty":18,"author":475,"museum":150,"description":14443,"tags":14444,"thumbUrl":14445,"material":59,"size":59,"collection":60,"collections":14446,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":14447},202238,"shuang-qi-tu-zhou-zhu-da-202238","双栖图轴","双禽相偎栖于岸石，墨色淋漓间显羽毛蓬松之态，眼神淡然却藏幽微心绪。背景山水简远，远山以淡墨晕染，近岸疏枝横斜，大片留白如雾气弥漫，拓展出虚静空濛的意境。笔墨极简而意韵丰沛，泼墨与细线条相济，寥寥数笔勾出禽鸟孤傲神韵，山水的空寂与双禽的相依形成微妙呼应，尽显文人画的空灵深邃，于简淡中藏沉郁，于留白处见真情。",[25,55,173,56,80,7,79,27,10193,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe975520ec4e677697bb4bbf987d17993.jpg",[60],"969089",{"id":14449,"slug":14450,"title":14451,"dynasty":18,"author":14452,"museum":150,"description":14453,"tags":14454,"thumbUrl":14455,"material":59,"size":59,"collection":88,"collections":14456,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":14457},202168,"xi-shan-tu-zhou-cha-ji-zuo-202168","溪山图轴","查继佐","这幅山水以水墨为底，山峦用皴法勾勒石质肌理，笔触苍劲老辣；草木以点染出之，疏密有致间见生机。山间云雾轻绕，虚实相生，营造出清旷悠远的意境。上方行书题跋笔墨洒脱，与下方山水相得益彰，印信点缀其间，诗书画印浑然一体。画风简淡空灵，不事雕琢，却于简括中藏深意，尽显文人画的逸趣与哲思，仿佛将观者带入一片静谧绝尘的山林之境。",[55,75,78,79,80,7,540,84,25,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c46a4d930d2a7e0b087c757ffda9d5.jpg",[88],"b7a28a",{"id":14459,"slug":14460,"title":14461,"dynasty":18,"author":14462,"museum":150,"description":14463,"tags":14464,"thumbUrl":14465,"material":59,"size":59,"collection":39,"collections":14466,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":14467},202098,"jiao-shi-shi-nv-tu-zhou-lu-da-yuan-202098","蕉石仕女图轴","路大爰","画面中，仕女凭石闲坐，手持杖藜，衣纹线条婉转流畅，神情悠然若有所思。背景芭蕉亭亭，叶片舒展，笔墨细致勾勒出蕉叶脉络与石的纹理，设色温润雅致，整体氛围静谧清幽，尽显传统仕女画的温婉韵致，传递出古典雅致的审美意趣。",[25,29,28,30,31,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a29562adbe49cef7beeb46d19c067a6.jpg",[39],"a08254",{"id":14469,"slug":14470,"title":14471,"dynasty":18,"author":14472,"museum":150,"description":14473,"tags":14474,"thumbUrl":14475,"material":59,"size":59,"collection":88,"collections":14476,"showCount":331,"zanCount":511,"manualWeight":43,"mainColor":14477},202091,"qiu-jiang-yao-qin-tu-zhou-shen-chao-202091","秋江瑶琴图轴","沈焯","秋江澄澈，岸畔林木错落，枝间红叶点缀，秋意悄然。近坡一人倚石抚琴，琴声随流水漫向远方；远岫以淡墨晕染，江天相接处云雾轻笼，意境旷远。用笔简逸，山石施以皴法，树木枝干虬劲，墨色浓淡相宜，设色雅致清新。留白巧妙，虚实相生，将文人雅士的闲适心境与秋江的清幽旷远融为一体，尽显传统山水画的诗意与韵味。",[25,80,29,75,82,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c8039c92f07f17f784b0f9b61296a0.jpg",[88],"c2a881",{"id":14479,"slug":14480,"title":14481,"dynasty":18,"author":14482,"museum":150,"description":14483,"tags":14484,"thumbUrl":14485,"material":59,"size":59,"collection":60,"collections":14486,"showCount":331,"zanCount":43,"manualWeight":43,"mainColor":14487},201901,"du-juan-hua-tu-zhou-qian-yuan-chang-201901","杜鹃花图轴","钱元昌","虬劲山石以写意皴擦出苍朴纹理，几丛杜鹃花或垂悬或簇拥，粉瓣叠簇如霞，翠叶点缀其间，工笔点染尽显娇妍。浅淡溪流蜿蜒而下，与山石花木相映，漾出清逸野趣。笔墨兼具灵动与工致，设色清雅却明艳动人，既捕捉杜鹃盛放之态，又借山石皴法衬出自然浑朴。画面生机盎然，融文人雅致与自然生机于一体，尽显清代花鸟画作的细腻气韵与意境营造之妙。",[25,56,29,7,28,75,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e58fd17f5bd440603250255bd40790.jpg",[60],"cab193",{"id":14489,"slug":14490,"title":14491,"dynasty":69,"author":7732,"museum":552,"description":14492,"tags":14493,"thumbUrl":14495,"material":641,"size":642,"collection":59,"collections":14496,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},290914,"xi-tong-tu-zhou-qian-gu-290914","洗桐图轴","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[25,27,24,55,29,30,134,7,9649,14494],"洗桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f93987532f06bf425d5a4264a76fb36.jpg",[],9,{"id":14499,"slug":14500,"title":14501,"dynasty":18,"author":8160,"museum":112,"description":8161,"tags":14502,"thumbUrl":14503,"material":262,"size":14504,"collection":59,"collections":14505,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":44},290590,"xue-jing-ren-wu-shi-ji-zhou-zhang-ruo-ai-290590","雪景人物事迹轴",[25,27,55,851,30,80,7,133,716,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc49d8d50a6d1af675ef6a22f8fed32.jpg","112.5x28.7",[],{"id":14507,"slug":14508,"title":14509,"dynasty":69,"author":5162,"museum":552,"description":14510,"tags":14511,"thumbUrl":14512,"material":641,"size":642,"collection":59,"collections":14513,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},290506,"duan-yang-jing-zhou-chen-jia-yan-290506","端阳景轴","陈嘉言（1538～？）字孔彰，浙江嘉兴人。善写花卉翎毛。",[25,26,27,29,56,7,629,1754,189,79,11454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7058ae7dbad931a1e56864cfa4bdd3.jpg",[],{"id":14515,"slug":14516,"title":7449,"dynasty":148,"author":10271,"museum":552,"description":14517,"tags":14518,"thumbUrl":14519,"material":641,"size":642,"collection":59,"collections":14520,"showCount":14497,"zanCount":511,"manualWeight":43,"mainColor":44},289232,"han-shan-shi-de-tu-yin-tuo-luo-289232","其实，《寒山拾得图》只是因陀罗所作的一整卷禅机图中的一部分，在日本，还有另外4幅因陀罗画的禅机图，它们分别是由石桥美术馆收藏的《丹霞烧佛图》、根津美术馆收藏的《布袋图》、静嘉堂文库美术馆收藏的《智常禅师图》以及畠山纪念馆所收藏的《李渤参智图》。这5幅作品统一被称为因陀罗的《禅机图短简》，都被指定为日本的国宝。据日本专家考证，因陀罗的禅机图并不只由这5幅画组成，可能还包括另外一幅《寒山拾得图》以及一幅《萧王问答图》，而东京国立博物馆收藏的这幅《寒山拾得图》则极有可能是整个画卷的末尾部分。\n日本自镰仓时代（1185-1333年）开始兴起收藏唐宋元等朝代的中国美术作品之风，因陀罗的禅机图也因此传入日本。不过，与中国人整卷欣赏美术作品不同，日本人更喜欢把一副长画卷裁成多个部分，然后裱制成画轴挂在茶室等房间的墙上分别欣赏。这也是因陀罗所画的一整卷禅机图被分成多个部分，现在分别由不同的美术馆收藏的原因。不过，不管是哪一幅作品都是享誉日本的名贵珍藏品。例如，《寒山拾得图》长期以来一直作为广岛藩藩主浅野家收藏的名品广为人知，其存放的木盒上还刻有以精通茶道而著称的松江藩藩主松平不昧的题签。",[25,55,30,576,77,79,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4fb5146a0d4804d5891fe4ca693d42.jpg",[],{"id":14522,"slug":14523,"title":714,"dynasty":69,"author":14524,"museum":552,"description":14525,"tags":14526,"thumbUrl":14527,"material":641,"size":642,"collection":59,"collections":14528,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},288082,"shan-mian-cui-zi-zhong-288082","崔子忠","崔子忠，1644年逝世，明画家，初名丹，字开予：改名子忠，字道母，号北海，青蚓（一作青引），生员，曾游董其昌之门，李自成克北京后，绝食死。",[714,25,24,26,29,30,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806b21063373374f7c893e05e7a8a147.jpg",[],{"id":14530,"slug":14531,"title":14532,"dynasty":69,"author":14533,"museum":552,"description":14534,"tags":14535,"thumbUrl":14536,"material":641,"size":642,"collection":59,"collections":14537,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":44},287945,"yan-shi-shui-xian-tu-zhou-lu-tian-ru-287945","岩石水仙图轴","卢天如","此作用淡墨写意落笔，兰叶以中锋写就，舒展挺劲，交叠错落间尽显柔韧生机。水仙花瓣以淡墨轻勾晕染，清雅秀润，细碎花序点缀其间，幽淡雅韵扑面而来。右侧岩石以枯淡侧锋皴擦，不取精细形貌，独取荒朴沉静之态，与水仙灵秀相映成趣。浅笔点染地面细草，极简笔墨便铺就清寂幽境。\n\n整体笔墨简淡秀雅，不事浓艳，以写意之姿托举出水仙的清逸高洁，寥寥数笔便勾勒出幽淡出尘之境，尽显水墨写意的含蓄雅致，将水仙冰肌玉骨的品性描摹得恰如其分。",[23,25,55,27,56,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01abbc0500f8034b968960ab0eb92e70.jpg",[],{"id":14539,"slug":14540,"title":8438,"dynasty":18,"author":8439,"museum":552,"description":14541,"tags":14542,"thumbUrl":14543,"material":59,"size":59,"collection":59,"collections":14544,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},239539,"fang-gu-ji-you-tu-ce-huang-yi-239539","此作用淡墨白描写村居小景，右侧老干虬结，层叶扶苏，掩映三两茅舍，舍内二人对坐晤谈，意态悠然。画面左侧留空疏朗，搭配长款题字，书画相映成趣。笔墨清简秀雅，纯以线条勾勒物象，不事浓艳设色，尽显萧散简远的文人画意趣，将乡居日常的闲淡静好缓缓铺陈，带着访古归来、寄情林泉的松弛闲适，尽显文人纪游小品的雅致格调。",[25,55,434,53,80,134,136,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb08a1c7fe97cbb74944a012e90a9b35c.jpg",[],{"id":14546,"slug":14547,"title":1238,"dynasty":18,"author":14548,"museum":552,"description":14549,"tags":14550,"thumbUrl":14551,"material":641,"size":642,"collection":60,"collections":14552,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},239379,"za-hua-ce-zhu-xiao-chun-239379","朱孝纯","朱孝纯（1729～1784）益州书画录附录误作朱纯孝。字子颍，号思堂，一号海愚，人呼戟髯。隶奉天汉军正红旗，东海（今山东郯城西）人。",[25,26,53,55,75,80,7,153,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14355672e64ee17d3f14759cd3824528.jpg",[60,122],{"id":14554,"slug":14555,"title":502,"dynasty":18,"author":14556,"museum":552,"description":14557,"tags":14558,"thumbUrl":14559,"material":641,"size":642,"collection":59,"collections":14560,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},239368,"shan-shui-ce-wang-san-xi-239368","王三锡","王三锡(1716—？) 太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[25,26,53,55,29,80,7,153,134,32,864,79,77,78,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa865d6cefc0c198737a49c1a24313f98.jpg",[],{"id":14562,"slug":14563,"title":14564,"dynasty":18,"author":14565,"museum":552,"description":14566,"tags":14567,"thumbUrl":14568,"material":59,"size":59,"collection":88,"collections":14569,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},238192,"shu-shan-guan-tu-zhou-li-shi-zhuo-238192","舒山馆图轴","李世倬","李世倬[清]（1687―1770）字天章，一字汉章、天涛，别号十石居士、太平拙吏、伊祁山人、清在号谷斋，又号菉园、星厓，居士，奉天（今辽宁沈阳）人，一作三韩（今内蒙喀喇沁旗西南）人，隶籍汉军正黄旗。如龙子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人称李太常。\n善画山水、人物、花鸟、果品，各臻其妙。少随父宦游江南，见王翚（1632—1717）得其讲论，后与马逸游，故宗法纯正而笔亦秀隽。其人物，自言得吴道子水陆道场图而阅之，遂悟其法。其花鸟、果品各种写意，盖得诸舅氏之指墨而易以笔，故能各名一家。晚年喜用指墨作人物、花鸟小品，以焦墨细擦，颇得轻重浅深之致。年逾八旬犹能作画，书小楷。",[25,29,28,75,80,260,135,116,242,133,134,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e170581d48db054aeb6b5322e7bd97.jpg",[88],{"id":14571,"slug":14572,"title":14573,"dynasty":18,"author":8643,"museum":552,"description":14574,"tags":14575,"thumbUrl":14576,"material":59,"size":59,"collection":59,"collections":14577,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},237880,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237880","杨晋仿古山水册","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[25,26,53,55,29,80,32,117,7,78,79,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61175dbfe080a1ad3dc87a345d7c1ae4.jpg",[],{"id":14579,"slug":14580,"title":14573,"dynasty":18,"author":8643,"museum":552,"description":14574,"tags":14581,"thumbUrl":14582,"material":59,"size":59,"collection":59,"collections":14583,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},237878,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237878",[25,26,53,55,75,76,80,277,82,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9624ef0bbef52c8f0aaf71b18b601c96.jpg",[],{"id":14585,"slug":14586,"title":11513,"dynasty":18,"author":11514,"museum":552,"description":11515,"tags":14587,"thumbUrl":14588,"material":59,"size":59,"collection":59,"collections":14589,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},237090,"jiang-feng-shi-nv-ce-jiang-feng-237090",[25,26,53,28,29,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64325d03208a05b98c8799a9b013979b.jpg",[],{"id":14591,"slug":14592,"title":11513,"dynasty":18,"author":11514,"museum":552,"description":11515,"tags":14593,"thumbUrl":14594,"material":59,"size":59,"collection":59,"collections":14595,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},237087,"jiang-feng-shi-nv-ce-jiang-feng-237087",[25,26,53,29,30,31,7,153,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c388e059ac7be16ab2c8569663a09e.jpg",[],{"id":14597,"slug":14598,"title":502,"dynasty":18,"author":14599,"museum":552,"description":14600,"tags":14601,"thumbUrl":14602,"material":641,"size":642,"collection":88,"collections":14603,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},236968,"shan-shui-ce-chen-jia-le-236968","陈嘉乐","陈嘉乐（生卒年不详），又名陈嘉荣，字子显，号东原。清代济南历城人。善诗，工书画，尤长于山水。画学王原祁风格，乾隆年间闻名于画坛。后被道光皇帝第九子、孚敬郡王奕譓请到京邸，跟其学画。",[25,26,53,55,133,1231,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84b52ecab9067cdea1c447f9d70892e.jpg",[88,105],{"id":14605,"slug":14606,"title":8896,"dynasty":69,"author":14607,"museum":552,"description":14608,"tags":14609,"thumbUrl":14610,"material":641,"size":642,"collection":59,"collections":14611,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},236807,"shan-shui-shan-wang-sheng-236807","王声","此作用金笺铺底，细笔皴写江岸坡石，修竹杂木错落布陈，枝叶扶疏间漾出清润生机。水面汀渚星罗，茅亭临水而建，亭中文士凭栏晤谈，将江南水畔的幽居雅趣，收于咫尺扇面。\n\n笔墨秀雅温润，设色浅淡明净，带着清雅淡远的画中意趣，简淡构图里藏着萧散闲逸的文人韵致，把林下清谈的悠然之态晕染开来，于尺幅间尽显山水雅集的淡远意境，是小品山水里的精妙佳构。",[714,25,80,29,75,32,7,277,82,349,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380490f5ce5ab387cf014456c62944a1.jpg",[],{"id":14613,"slug":14614,"title":14615,"dynasty":18,"author":201,"museum":552,"description":14616,"tags":14617,"thumbUrl":14618,"material":59,"size":59,"collection":59,"collections":14619,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},236706,"huang-ge-song-shi-shan-yi-ming-236706","黄阁松石扇","此作用淡墨挥写松石，古松主干虬曲扭转，疤结嶙峋尽显风霜姿态，松针攒簇如聚，笔力苍劲老辣，将古松傲骨全然彰显。淡墨晕染山石，与苍松相映，留白恰到好处，空灵悠远。\n\n左侧题诗以书入画，笔墨与诗文相融，尽显文人雅致。整幅扇面以极简水墨托物言志，借苍松石畔的清寂之景，寄寓了文人隐逸高旷的襟怀，古意盎然，寥寥数笔便将松柏坚韧超拔的品格勾勒尽致，意境清寂高古。",[25,26,714,55,78,79,7,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebeebb9f699c9ab69fa016e3fe22e00.jpg",[],{"id":14621,"slug":14622,"title":13343,"dynasty":18,"author":1195,"museum":71,"description":13344,"tags":14623,"thumbUrl":14624,"material":59,"size":59,"collection":59,"collections":14625,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},236585,"lan-mei-ce-wang-shi-shen-236585",[25,26,53,434,55,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a76fa9be9e56523ac0fc97e401588f4.jpg",[],{"id":14627,"slug":14628,"title":14629,"dynasty":18,"author":201,"museum":552,"description":14630,"tags":14631,"thumbUrl":14632,"material":59,"size":59,"collection":88,"collections":14633,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":44},236553,"fu-rang-shan-shui-tu-shan-yi-ming-236553","傅让山水图扇","此作用笔简淡萧疏，近景寒林枯槎错落，枝桠虬曲苍劲，茅庐隐于林间，暗合幽居野逸之趣。平湖横陈如镜，将远近山岚轻揽入怀，中景山峦以渴笔慢皴，矾头苍润，带着清远的文人意趣。\n\n全幅墨色干湿互济，以枯淡墨色绘尽荒寒之境，右上角题字清隽，与山水意境相融相生。整体章法疏朗简净，暗承元人山水遗风，不见浓墨重彩，只以淡墨轻岚晕染出幽寂的林下之思，静穆之间仿若可听林风穿林、平湖漾波，将文人寄情丘山的闲逸尽藏于尺幅之中。",[25,26,714,55,75,80,349,133,7,324,1366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac7ecfd72b7c604eda646d2f6a7b138.jpg",[88],{"id":14635,"slug":14636,"title":14637,"dynasty":18,"author":14638,"museum":552,"description":14639,"tags":14640,"thumbUrl":14641,"material":59,"size":59,"collection":88,"collections":14642,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},236507,"sun-shan-shui-ce-wang-ji-236507","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[24,25,26,53,55,29,80,115,338,81,136,7,324,84,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c33fe3c63a07639da94923c962c0cc.jpg",[88,105],{"id":14644,"slug":14645,"title":11536,"dynasty":69,"author":8904,"museum":71,"description":11537,"tags":14646,"thumbUrl":14647,"material":327,"size":11540,"collection":59,"collections":14648,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},236495,"shan-shui-ren-wu-ce-guo-fen-ya-236495",[25,26,53,55,29,434,30,260,7,80,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f10ef13b1e2178bbe658583b35a03a.jpg",[],{"id":14650,"slug":14651,"title":14652,"dynasty":18,"author":13397,"museum":552,"description":13398,"tags":14653,"thumbUrl":14654,"material":641,"size":642,"collection":59,"collections":14655,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},236470,"zhao-zi-gu-qin-shan-lin-shu-236470","昭子鼓琴扇",[25,26,714,29,55,30,80,1446,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bd4c713813222f55ba669fbd60bb522.jpg",[],{"id":14657,"slug":14658,"title":14173,"dynasty":69,"author":8882,"museum":552,"description":14174,"tags":14659,"thumbUrl":14660,"material":59,"size":59,"collection":59,"collections":14661,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},236409,"xiao-xiang-ba-jing-ce-wen-jia-236409",[25,26,53,55,29,80,85,82,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccacf44e1f4a322f23acbfb295a70237.jpg",[],{"id":14663,"slug":14664,"title":502,"dynasty":18,"author":7785,"museum":552,"description":14665,"tags":14666,"thumbUrl":14667,"material":59,"size":59,"collection":59,"collections":14668,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},236050,"shan-shui-ce-wang-yuan-qi-236050","此作用平远视角铺展春日江乡，近岸山居临水而建，柳丝如烟垂拂，桃樱绽点丹红，草木华滋晕染融融春意。以浅绛设色晕染山色，淡墨皴擦勾勒丘林肌理，远景云水空濛，汀渚花树浮沉烟岚之间，虚实相生营造出空灵淡远的韵致，将春日山水的清和闲适尽数铺陈，尽显文人寄情丘壑的雅逸襟怀。",[25,273,53,29,75,80,190,277,82,349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe512d3ae8f8afd41df0c7f6cefd04d77.jpg",[],{"id":14670,"slug":14671,"title":502,"dynasty":69,"author":4670,"museum":552,"description":14672,"tags":14673,"thumbUrl":14674,"material":59,"size":59,"collection":59,"collections":14675,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},235976,"shan-shui-ce-cheng-jia-sui-235976","此作用笔枯淡疏简，以大片留白晕染出寒江空濛的冬日萧瑟。虬曲枯松临水而立，枝桠间尽显萧寒之态。江岸之上，策蹇童子伴同醉意老翁缓缓徐行，晕开风雪初歇的倦归意趣。\n\n左侧题诗行书清隽疏朗，诗画相映成趣。以文衬景，将寄梅相思的幽怀融于萧索山水间，尽显晚明文人画以意境为先的雅逸风骨，淡墨间藏尽清冷疏旷的林下幽情，把失意文人避世闲怀悄然晕染在尺幅之间。",[25,26,55,78,75,53,80,260,30,259,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c56e66760a4cc0442a11737c23173bb.jpg",[],{"id":14677,"slug":14678,"title":14679,"dynasty":18,"author":14680,"museum":552,"description":14681,"tags":14682,"thumbUrl":14683,"material":641,"size":642,"collection":59,"collections":14684,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},235651,"gao-gang-du-li-tu-zhou-gao-qi-pei-235651","高岗独立图轴","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[25,27,55,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c53bced05d9f245d6d487fdbd44adb7.jpg",[],{"id":14686,"slug":14687,"title":502,"dynasty":18,"author":4274,"museum":552,"description":14688,"tags":14689,"thumbUrl":14690,"material":641,"size":642,"collection":59,"collections":14691,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},235510,"shan-shui-ce-cha-shi-biao-235510","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[25,26,53,55,75,80,134,7,153,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b312110167ea19a7bcb1408e6f3b2b7.jpg",[],{"id":14693,"slug":14694,"title":7126,"dynasty":69,"author":14695,"museum":552,"description":14696,"tags":14697,"thumbUrl":14698,"material":641,"size":642,"collection":59,"collections":14699,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},235462,"shan-shui-tu-ce-pan-zheng-235462","潘徵","潘徵 彦宗,又字子述",[25,55,53,75,80,85,133,7,349,82,137,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf288a160fc81e09e1e83153a888f3a.jpg",[],{"id":14701,"slug":14702,"title":4060,"dynasty":18,"author":214,"museum":552,"description":4061,"tags":14703,"thumbUrl":14704,"material":641,"size":642,"collection":59,"collections":14705,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},235382,"hua-niao-tu-ce-hua-yan-235382",[25,53,29,55,173,56,153,134,7,907,190,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138386aec3ffab6af465b55635726762.jpg",[],{"id":14707,"slug":14708,"title":13787,"dynasty":18,"author":13788,"museum":552,"description":13789,"tags":14709,"thumbUrl":14710,"material":139,"size":59,"collection":59,"collections":14711,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},235036,"hua-ji-chan-yin-tu-ce-xiao-chen-235036",[26,25,53,29,28,30,99,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c3d06103a3ae3d6cc1121a87800f86.jpg",[],{"id":14713,"slug":14714,"title":502,"dynasty":69,"author":14715,"museum":552,"description":14716,"tags":14717,"thumbUrl":14718,"material":59,"size":59,"collection":59,"collections":14719,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},234872,"shan-shui-ce-zhao-pu-234872","赵璞","此作以水墨写意绘就空山春景，远山以淡墨披麻皴轻施晕染，似笼着薄雾轻烟，将山野空濛之态悄然铺展。近岸古木盘曲、修篁挺立，苔点错落点缀坡石，寥寥数笔便勾勒出林泉幽寂之致。\n\n左侧题字笔意疏朗秀逸，墨色浓淡层次分明，诗画相映成趣。整幅没有浓丽设色，纯以水墨写尽春日丘壑的澹远空灵，将文人寄情山水的林下风流藏于尺幅之间，淡而愈浓，简而弥长，尽显文人画以情入画、诗画相融的雅致意韵。",[25,26,53,78,55,80,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07946324d8ab4adf4a14156f7fcd3b5.jpg",[],{"id":14721,"slug":14722,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":14725,"thumbUrl":14726,"material":139,"size":59,"collection":59,"collections":14727,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},234766,"huang-shan-tu-ce-jiang-zhu-234766","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[25,26,53,55,75,77,78,79,80,7,82,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dea837a9d05ce0a8212a104026573d.jpg",[],{"id":14729,"slug":14730,"title":14731,"dynasty":18,"author":201,"museum":552,"description":14732,"tags":14733,"thumbUrl":14734,"material":641,"size":642,"collection":59,"collections":14735,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},234706,"gu-yun-wu-zhu-gao-shi-shan-mian-yi-ming-234706","顾沄梧竹高士扇面","此作以扇面为卷，绘就林泉幽居之景。浅淡笔墨晕染出水色空濛，茅亭临波，高士凭栏闲坐，似在静赏烟水林峦。梧竹葱茏伴山石朴拙，墨色清润秀雅，将山林的幽寂之气铺陈开来。\n题识小字错落排布，诗画相映，把文人寄情丘山、静享闲逸的心境尽数藏于尺幅之间。构图疏密相宜，亭台人物虽小巧却情态悠然，衬以苍茂竹木与朦胧水色，将江南林泉的清寂雅致融于咫尺扇面，尽显萧散出尘的文人意趣，以简淡笔墨勾勒出隐逸林下的悠然意境，尽显画中寄情林泉的悠远韵致。",[714,55,29,173,30,3288,32,349,7,80,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb882582c71de5a9c47181782de4dcba1.jpg",[],{"id":14737,"slug":14738,"title":502,"dynasty":18,"author":4274,"museum":552,"description":14241,"tags":14739,"thumbUrl":14740,"material":59,"size":59,"collection":59,"collections":14741,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},234644,"shan-shui-ce-cha-shi-biao-234644",[25,26,53,55,78,80,117,349,277,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e9d06e411b9b13d70f95bc92270295.jpg",[],{"id":14743,"slug":14744,"title":14745,"dynasty":18,"author":5439,"museum":71,"description":11870,"tags":14746,"thumbUrl":14747,"material":59,"size":59,"collection":59,"collections":14748,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},234464,"zhu-shi-qiu-mu-tie-luo-shen-zhen-lin-234464","竹石秋木贴落",[25,26,55,434,75,32,826,134,7,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a82ab16ca030e25d29957577dca4f05.jpg",[],{"id":14750,"slug":14751,"title":1143,"dynasty":18,"author":214,"museum":5179,"description":13734,"tags":14752,"thumbUrl":14753,"material":479,"size":13737,"collection":59,"collections":14754,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},234315,"hua-niao-ce-hua-yan-234315",[24,25,26,53,55,29,56,7,153,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a71eb4272a0601ceda8e081d8be8f.jpg",[],{"id":14756,"slug":14757,"title":14758,"dynasty":69,"author":14759,"museum":71,"description":14760,"tags":14761,"thumbUrl":14762,"material":139,"size":59,"collection":59,"collections":14763,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},234237,"mei-hua-tu-juan-shu-jun-su-234237","梅花图卷","殳君素","殳君素，晚明画家。字质夫，江苏苏州人；师文嘉、钱谷，为入室弟子，有出蓝之美。古人涉山观水，常倚靠一根简便竹杖。因此，“携杖”几乎是中国文人山水画中高士、隐者的动作“标配”。",[23,25,26,74,55,78,1744,79,187,134,493,1496,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9fb05d15f30782dc4a115340379934.jpg",[],{"id":14765,"slug":14766,"title":8682,"dynasty":69,"author":1184,"museum":552,"description":2027,"tags":14767,"thumbUrl":14768,"material":59,"size":59,"collection":59,"collections":14769,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},234116,"shan-shui-tu-juan-tang-yin-234116",[25,26,74,29,75,78,77,79,80,85,82,349,153,134,7,277,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c60faca73548e694ea110cd96edf3b.jpg",[],{"id":14771,"slug":14772,"title":502,"dynasty":18,"author":14773,"museum":71,"description":14774,"tags":14775,"thumbUrl":14776,"material":967,"size":14777,"collection":59,"collections":14778,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":44},233975,"shan-shui-ce-gong-xian-233975","龚贤","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,25,55,80,133,7,75,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e6408d59a0ea66fdea582dbc4ac730.jpg","纵22.2厘米，横33.2厘米",[],{"id":14780,"slug":14781,"title":14782,"dynasty":18,"author":4274,"museum":71,"description":14783,"tags":14784,"thumbUrl":14785,"material":967,"size":14786,"collection":59,"collections":14787,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},233873,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233873","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[25,55,53,75,134,7,32,349,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f67dc7e616a181631a9047abcec4ab2.jpg","纵32.8cm，横52.8cm",[],{"id":14789,"slug":14790,"title":14791,"dynasty":69,"author":14792,"museum":71,"description":14793,"tags":14794,"thumbUrl":14796,"material":327,"size":59,"collection":59,"collections":14797,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},233855,"shi-hua-he-bi-ce-zhou-yong-233855","诗画合璧册","周用","周用（1476—1547，一作1476-1548），字行之，号伯川，南直隶苏州府吴江县（今江苏省苏州市吴江区）人。弘治十五年（1502）进士，授行人。正德初，迁南京兵科给事中，进言谏迎佛事及镇守江西中官不法事，迁广东布政司参议。嘉靖中，历官南京工部、刑部尚书。九庙灾，自陈致仕。后以工部尚书总督河道，官至吏部尚书。\n周用，字行之，吴江人。弘治十五年进士。授行人。正德初，擢南京兵科给事中。父忧服阕，留补礼科。已，乞南。改南京兵科。谏迎佛乌斯藏及以中旨迁黜尚书、都给事中等官，且请治镇守江西中官黎安罪。出为广东参议，预平番禺盗，有功。历浙江、山东副使。擢福建按察使，改河南右布政使。代监司鞫南阳滞狱，狱为之空。嘉靖八年擢右副都御史，巡抚南、赣。召协理院事。历吏部左、右侍郎。以起废不当，尚书汪鋐委罪僚属，乃调用南京刑部。就迁右都御史，工、刑二部尚书。九庙灾，自陈致仕。用端亮有节概。既罢，中外皆惜之，频有推荐。久之，以工部尚书起督河道，数月，改漕运。未上，召拜左都御史。二品九年满，加太子少保。二十五年代唐龙为吏部尚书。明年卒官。赠太子太保，谥恭肃。曾孙宗建，自有传。\n用掌宪时，慎自持而已，无所献替。其后宋景、屠侨继之，大略皆廉洁，与用相似。景未久卒，而侨居职八年。属严嵩柄政，风纪不振。议丁汝夔狱，受杖不能去。",[25,26,53,55,75,30,134,135,7,14795],"崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d378c5bb5d2e9457cf57b5aeda34e9.jpg",[],{"id":14799,"slug":14800,"title":14791,"dynasty":69,"author":14792,"museum":71,"description":14793,"tags":14801,"thumbUrl":14802,"material":327,"size":59,"collection":59,"collections":14803,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},233854,"shi-hua-he-bi-ce-zhou-yong-233854",[25,26,53,55,75,434,29,80,30,7,134,7673,2351,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b239f8f751456574441785c55cb076.jpg",[],{"id":14805,"slug":14806,"title":14807,"dynasty":69,"author":1184,"museum":71,"description":14808,"tags":14809,"thumbUrl":14810,"material":11604,"size":14811,"collection":59,"collections":14812,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},233798,"qiu-kui-tu-shan-ye-tang-yin-233798","秋葵图扇页","唐寅在扇页上重点刻画了三株茁壮的秋葵，并且通过诗文赞美了秋葵在寒霜气候及与杂草丛生、荆棘相伴的恶劣环境下，仍然“此中不改向阳心”的品质。从其咏物感怀的文辞中，可见他对人生的感悟和惆怅之情。全图笔墨技法娴熟，于灵动的勾描、晕染间自得疏散通脱的逸趣。\n扇页左右两边有唐寅友人孙益和与张衮的依韵和诗。整件作品图诗并茂，画作充满浓郁的文人书卷气。",[714,25,26,55,78,79,12646,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a4cf7bc6b161625b30e13b2232420e.jpg","纵18.1厘米 ，横51.3厘米",[],{"id":14814,"slug":14815,"title":14816,"dynasty":18,"author":169,"museum":552,"description":3136,"tags":14817,"thumbUrl":14818,"material":967,"size":3139,"collection":59,"collections":14819,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},233683,"yuan-ji-lan-zhu-ce-lan-zhu-shi-shi-tao-233683","原济兰竹册－兰竹石",[25,26,53,55,78,79,75,188,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635dcd1c255c153d2eb6030b17e88b3e.jpg",[],{"id":14821,"slug":14822,"title":14823,"dynasty":18,"author":2201,"museum":71,"description":14824,"tags":14825,"thumbUrl":14826,"material":139,"size":14827,"collection":59,"collections":14828,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},233377,"hua-shen-lin-yuan-feng-shan-diao-tu-zhou-xu-gu-233377","画沈麟元篈山钓徒轴","图绘梅鹤双清之景。茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。",[25,26,27,55,29,30,80,7,82,505,79,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec751d2727b05081fc4bed5c706e39f4.jpg","纵248.7厘米，横121.1厘米",[],{"id":14830,"slug":14831,"title":7577,"dynasty":18,"author":14832,"museum":71,"description":14833,"tags":14834,"thumbUrl":14835,"material":59,"size":59,"collection":59,"collections":14836,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},233229,"bao-shan-shi-jing-ce-wu-hong-233229","吴宏","张宏(1577-1668年后)，字君度，号鹤涧。吴郡（今江苏苏州）人。工画山水，善用短促笔法和湿润墨色画山石树木，风格独特，构图常具新意。\n山周回绕，重冈复岭，茂林平野，钟梵相闻，谓为别境。苏州文人蔡羽曾隐于此，号林屋山人；王宠亦曾师事蔡羽，读书于包山精舍。\n为富含自然风光与人文意涵之胜境。 「林屋洞」、「消夏湾」、「柳毅井」三开。",[25,26,53,55,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af1756d9dc8632822fc96b005a2036.jpg",[],{"id":14838,"slug":14839,"title":14840,"dynasty":148,"author":201,"museum":552,"description":14841,"tags":14842,"thumbUrl":14843,"material":59,"size":59,"collection":59,"collections":14844,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":44},228197,"shuang-ji-ling-er-yi-ming-228197","双鹡鸰儿","此作以极简构图，将双禽落于绢素一隅。淡赭晕染底色，晕出秋意清冷。禽鸟造型写实入微，顶羽敷粉莹润蓬松，羽翼以浓淡墨色分理羽片层次，毫纤毕现。双鸟依偎静立，头颈微侧似聆风听雨，身姿安闲亲昵，尽显野趣温情。\n\n笔法工细却不板滞，禽爪劲挺勾勒，立于浅淡坡岸苔痕之上。画面留白开阔悠远，以虚衬实，将郊野清寂氛围晕染开来，尽显元代花鸟画尚简尚意的韵致，于方寸间藏着自然生灵的脉脉温情，淡远平和，余韵悠长。",[25,24,26,56,28,29,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb8fd125436b3f31e05dbfff4eb5db0.jpg",[],{"id":14846,"slug":14847,"title":14848,"dynasty":148,"author":201,"museum":552,"description":14849,"tags":14850,"thumbUrl":14851,"material":59,"size":59,"collection":59,"collections":14852,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},228192,"dong-jing-shan-shui-tu-tuan-shan-yi-ming-228192","冬景山水图团扇","此作以全景铺陈冬日丘壑，构图繁密却层次井然。山峦以苍劲的墨笔勾皴，浓淡晕染出山岩的嶙峋骨相，峰顶隐于淡墨烟霭之中，晕出隆冬空蒙萧寒的氛围。虬曲的枯木虬枝如铁，交错于山石林间，尽显冬日荒寒萧索。\n\n山坳间的幽居屋舍，为清寂山林晕开一丝暖意，将山野的静穆与山居的幽隐相融。全作用墨沉郁古雅，以浓淡变化区分山石阴阳向背，枯涩的笔意尽写冬日山林的清寥，暗合林泉高致的隐逸之思，把冬日山野的荒寒淡远与幽居意趣揉合，意境静雅清和。",[23,25,26,714,80,75,29,1231,134,83,277,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e681fea99720c55e7ea2cf24efa41.jpg",[],{"id":14854,"slug":14855,"title":14856,"dynasty":18,"author":417,"museum":552,"description":14857,"tags":14858,"thumbUrl":14859,"material":59,"size":59,"collection":59,"collections":14860,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},224316,"hua-niao-ce-shi-kai-6-li-shan-224316","花鸟册十开6","此作以水墨淡彩写就，右侧顽石以大写意挥就，焦墨点苔，苍劲朴拙，似藏山野沉浑之气。左侧花枝鲜活灵动，叶片以青绿分染，深浅层叠尽显舒展之姿，粉花柔婉点缀枝梢，轻丽动人。\n\n画面左上题以行书，笔意潇洒跌宕，书画相映成趣。笔致兼具放逸与秀雅，不拘成法，将花木清隽生机与顽石沉静古拙相互映衬，诗书画印浑然一体，把寻常小景绘出悠然林下之致，淡彩晕染衬出雅致格调，墨色干湿浓淡尽显写意意趣，尽显疏朗脱俗的文人审美意韵。",[23,25,26,53,173,29,78,79,7,56,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0972e453f468c17ec7ec34647dfa52a.jpg",[],{"id":14862,"slug":14863,"title":14864,"dynasty":148,"author":201,"museum":112,"description":14865,"tags":14866,"thumbUrl":14867,"material":37,"size":14868,"collection":39,"collections":14869,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,26,27,576,29,28,30,291,2883,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0f95eadeb3e05a9a8b4a1c9c7942a8.jpg","该幅 175.3x98.2公分；全幅 100.4公分",[39],{"id":14871,"slug":14872,"title":14873,"dynasty":148,"author":201,"museum":112,"description":14874,"tags":14875,"thumbUrl":14877,"material":205,"size":14878,"collection":59,"collections":14879,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":44},223364,"han-lin-tu-zhou-yi-ming-223364","寒林图轴","在郊野，有几株老树疏落地依傍水泽而生。树叶已全凋零落尽，露出了枯乾的枝枒，有老藤缠绕垂挂著。树木坡土都以墨色渲染，更觉得阴冷萧瑟。阵阵寒风吹皱了水面，波纹似长披麻交织如鳞状，一层一层地叠列，渐淡渐远空阔无边。",[24,25,26,27,55,434,75,1231,134,3203,80,7,14876,1212],"土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ca2ef5a32f1edf374364dcd8a9dd9a.jpg","162.4x102.3",[],{"id":14881,"slug":14882,"title":14883,"dynasty":69,"author":10328,"museum":112,"description":14884,"tags":14885,"thumbUrl":14886,"material":14887,"size":14888,"collection":59,"collections":14889,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},222157,"yi-shang-shou-shu-li-zai-222157","圯上授书","《明李在圯上授书图》描绘秦末张良得黄石公传授兵法的故事。张良曾闲步桥上，遇一老人故意将鞋丢到桥下，要求张良为他拾回并穿上。\n创作背景:良敬其老，勉强为之，老人微笑，去而复返，要求张良于五日后破晓时再会于该地。良依约前往，老人已先在，并怒斥他迟到为无礼。如是者三，良不断提前到，终于比老人早，老人喜，送他一册《太公兵法》，要他好好研读。谦抑敬老的张良得此秘笈，终能辅佐刘邦成其灭秦兴汉的开国霸业。",[23,25,26,53,55,28,75,30,80,7,81,78,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe160dab41e57c4aaf24743efdd630a9a.jpg","册页、册之第十六开、绢本、水墨","纵24.8cm、横26.5cm",[],{"id":14891,"slug":14892,"title":1238,"dynasty":69,"author":14893,"museum":150,"description":14894,"tags":14895,"thumbUrl":14899,"material":327,"size":14900,"collection":59,"collections":14901,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},221929,"za-hua-ce-guo-xu-221929","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。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,24,25,26,53,55,434,173,30,1073,7,14896,14897,2884,14898,35,2614,79],"椅子","篮子","砚台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7423d7c114d37fd72b377fa1ddb06057.jpg","纵28.5 厘米横46.5 厘米",[],{"id":14903,"slug":14904,"title":1238,"dynasty":69,"author":14893,"museum":150,"description":14894,"tags":14905,"thumbUrl":14906,"material":327,"size":14900,"collection":59,"collections":14907,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},221925,"za-hua-ce-guo-xu-221925",[23,4741,25,26,24,55,434,173,30,80,7,82,1154,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6615cbc99ad94c1f93fcbe8e64ec18c4.jpg",[],{"id":14909,"slug":14910,"title":14911,"dynasty":69,"author":431,"museum":71,"description":14912,"tags":14913,"thumbUrl":14914,"material":13870,"size":14915,"collection":59,"collections":14916,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":44},221890,"za-hua-tu-ce-wu-fa-ke-shuo-chen-hong-shou-221890","杂画图册-无法可说","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,25,26,53,29,30,7,79,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76004253cea302ae8e7a3a78577e9718.jpg","纵30.2＊横25.1ＣＭ",[],{"id":14918,"slug":14919,"title":14920,"dynasty":148,"author":1711,"museum":847,"description":14921,"tags":14922,"thumbUrl":14923,"material":1106,"size":14924,"collection":59,"collections":14925,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":44},221866,"cheng-jiang-han-yue-tu-zhao-yong-221866","澄江寒月图","此图为《唐宋元集绘册》中的第十四幅。作者用大片的空白和淡墨淡彩渲染出一种空旷寒峭的境界。\n画面中一轮圆月当空，江水苍茫，隐约可见远山起伏。近岸巨石枯树，有一孤舟停泊，仓内一人独坐。",[23,714,25,26,78,29,80,85,864,133,7,3072],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa397f5a6352c3ac829dc31fde3ebbda3.jpg","纵：25.5厘米，横：24.8厘米",[],{"id":14927,"slug":14928,"title":14929,"dynasty":302,"author":14930,"museum":71,"description":14931,"tags":14932,"thumbUrl":14933,"material":14934,"size":14935,"collection":59,"collections":14936,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":44},221169,"shi-liu-luo-han-xiang-bo-tuo-luo-zun-zhe-tang-ka-bu-ben-guan-xiu-221169","十六罗汉像-跛陀罗尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,25,26,576,30,29,1302,2777,101,445,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e87a35090383287dc1fb271d13fa681.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":14938,"slug":14939,"title":14940,"dynasty":369,"author":201,"museum":112,"description":14941,"tags":14942,"thumbUrl":14944,"material":37,"size":59,"collection":88,"collections":14945,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},218691,"da-jiang-gu-yu-tu-yi-ming-218691","大江孤屿图","圆形取景框中，大江烟波浩渺，云气轻笼水天，界限渐次模糊。江心孤屿如遗珠静卧，峰峦以淡墨晕染，隐现间透着清寂；几株苍树点缀岩畔，疏朗有致。左侧墨笔题跋流转，字迹与山水气韵相融，似在低诉江天的悠悠意绪。画作用笔简远，墨色层次淡宕，将宋人的简雅风骨凝于方寸之间。天地的辽阔与孤屿的幽独相映，江风的轻响仿佛穿纸而来，让观者如立江畔，心生旷远沉静，沉醉于这份跨越千年的淡远意境里。",[23,25,53,29,80,75,14943,7,82],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24065cccd3796ea3a69972381698f8ad.jpg",[88],{"id":14947,"slug":14948,"title":14949,"dynasty":69,"author":2418,"museum":71,"description":14950,"tags":14951,"thumbUrl":14952,"material":262,"size":14953,"collection":59,"collections":14954,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},214866,"shan-shui-ce-13-wen-zheng-ming-214866","山水册-13","文徵明（1313年－1370年）是明朝开国皇帝朱元璋的兄弟，在位时间为1341年-1368年。他是中国历史上著名的文人，被称为“文王”。他创作了许多著名的诗词、书法作品，其中包括《山水册》。\n\n《山水册》是文徵明的著名书法作品之一，共包含了十一幅图画。每幅图画都描绘了不同的山水风光，并配以文徵明的诗词。文徵明的书法风格具有流畅、柔和的特点，《山水册》的笔墨非常优美，被视为中国书法史上的经典之作。",[23,25,26,53,55,434,78,77,79,80,7,134,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c88cd26e4cf71c33534ce545991e59e.jpg","28.5x15.7cm",[],{"id":14956,"slug":14957,"title":14958,"dynasty":69,"author":431,"museum":184,"description":14959,"tags":14960,"thumbUrl":14961,"material":262,"size":14962,"collection":59,"collections":14963,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},214536,"mo-gu-ce-ye-13-chen-hong-shou-214536","摹古册页-13","枯笔疏枝，墨痕淡染，古意自泛黄纸页间漫溢。线条如铁线般刚劲，却藏秀逸之姿，枝桠转折处似含篆隶笔意，笔笔见骨。空寂背景里，枯树立于浅坡，旁侧小景以淡墨点染，简约却含生机。虽为摹古却不泥古：疏朗构图中留白写意，枯树孤高无萧瑟，反透沉静文人风骨。寥寥数笔尽得简远之趣，墨色浓淡相宜，将古雅气韵与个人情致融于方寸册页，观之如对古贤，心生悠然。",[25,26,53,55,434,80,133,7,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3781e162f368d0027eca7a9341d03d1.jpg","17.8x17.8cm",[],{"id":14965,"slug":14966,"title":14967,"dynasty":18,"author":475,"museum":184,"description":5420,"tags":14968,"thumbUrl":14969,"material":58,"size":59,"collection":59,"collections":14970,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},214372,"tian-guang-yun-jing-tu-ce-6-zhu-da-214372","天光云景图册-6",[23,25,26,55,75,53,80,7,153,134,277,82,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd00a79b361cedf9c13ed380609c577bc.jpg",[],{"id":14972,"slug":14973,"title":14974,"dynasty":18,"author":475,"museum":184,"description":5420,"tags":14975,"thumbUrl":14976,"material":58,"size":59,"collection":59,"collections":14977,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":64},214367,"tian-guang-yun-jing-tu-ce-10-zhu-da-214367","天光云景图册-10",[23,25,26,53,55,75,80,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85b6c7cd437cee2bf077c652fcd0eb0.jpg",[],{"id":14979,"slug":14980,"title":14981,"dynasty":18,"author":1363,"museum":150,"description":14982,"tags":14983,"thumbUrl":14984,"material":59,"size":59,"collection":88,"collections":14985,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":14986},203461,"fang-gu-shan-shui-ce-wang-jian-203461","仿古山水册","画面以淡逸笔墨铺展山水清景，左侧峭壁嶙峋，苔点错落间缀以丛树，显古雅苍劲；中景水域空明，坡石旁水草疏疏，漾出悠然之韵；远景山峦层叠，淡墨晕染中云气萦绕，虚实相映成趣。笔墨承宋元传统，皴擦温润细腻，设色雅致清淡，于仿古中融个人情致，尽显文人山水的静谧悠远之境。",[23,25,26,53,29,80,75,76,79,7,82,540,324,1894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde7f038a2d454f13f4247739e752050.jpg",[88],"cabca2",{"id":14988,"slug":14989,"title":14990,"dynasty":9797,"author":10074,"museum":150,"description":14991,"tags":14992,"thumbUrl":14993,"material":59,"size":59,"collection":60,"collections":14994,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":14995},203406,"bai-ying-tu-zhou-cheng-zhang-203406","白鹰图轴","白鹰伫立孤石之巅，羽翼以工笔细描晕染，洁白羽毛层次丰富，光泽流转间尽显蓬松质感。鹰眼如炬，喙爪锐利，凝蓄猛禽的雄健气势。孤石以水墨皴擦，纹理苍劲，与白鹰的细腻设色形成鲜明对比。鹰足系青绿绳结，粉紫饰物点缀，细节精巧生动。背景竹竿横斜，简约清雅，更衬主体突出。整幅工写结合，设色雅致，于静谧中藏动势，将白鹰之神骏与自然之趣融于一纸。",[28,29,7,56,75,55,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbfb60f58e8c623df5c4733041ee73c2.jpg",[60],"c7b89e",{"id":14997,"slug":14998,"title":14999,"dynasty":9797,"author":2370,"museum":150,"description":15000,"tags":15001,"thumbUrl":15002,"material":59,"size":59,"collection":39,"collections":15003,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15004},203271,"xiang-jun-tu-zhou-fu-bao-shi-203271","湘君图轴","湘君立于孤石之上，衣袂翩跹，手持花枝，神情温婉中藏着一丝怅然。傅抱石以灵动笔墨勾勒人物，线条流畅如泻玉，鹅黄衣衫与素白裙裾设色淡雅，青绿花枝点缀其间，简约却韵致十足。背景水墨晕染出朦胧水汽，孤石以粗墨皴擦，与人物轻盈形成反差，尽显楚辞缥缈的楚地风情。发髻耳饰简而传神，古典美人的婉约气质毕现，笔墨间漫溢着浪漫诗意与文人雅致，将楚辞中的湘君形象化为可视的艺术韵致。",[25,29,30,31,7,55,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6887ea3340a5245ca8ef513b031177a8.jpg",[39],"cebfa6",{"id":15006,"slug":15007,"title":15008,"dynasty":18,"author":15009,"museum":150,"description":15010,"tags":15011,"thumbUrl":15013,"material":59,"size":59,"collection":88,"collections":15014,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15015},203226,"shi-jia-shan-shui-tu-ce-zhao-shen-203226","十家山水图册","赵绅","淡墨晕染的远山如笼轻烟，层叠隐现间透着空灵。近景孤石嶙峋，以简练皴笔勾勒纹理，质感厚重苍劲。蜿蜒小径穿林而过，几株树木枝桠疏朗，浅红点缀似含秋意。小径上两行人缓步，身影悠然，衬得山野愈显静谧。笔墨清润雅致，设色浅淡自然，将山水之幽寂与人文之闲趣相融，尽显传统山水的悠远韵味。",[80,55,29,75,7,865,81,15012,53,23],"行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0e8ec4336ae36d51206ce7899479be.jpg",[88],"c2ab87",{"id":15017,"slug":15018,"title":15019,"dynasty":9797,"author":7218,"museum":150,"description":15020,"tags":15021,"thumbUrl":15022,"material":59,"size":59,"collection":39,"collections":15023,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15024},203114,"song-shi-gao-shi-tu-zhou-wang-zhen-203114","松石高士图轴","虬松盘曲，枝干以浓墨勾勒如铁，松针攒簇间点染淡彩，苍劲中见灵秀；旁卧孤石，皴擦浑厚，墨气沉雄。高士宽袍博带，巾冠轻覆，倚石闲坐，眉眼间尽是悠然超脱之态，衣纹简劲流畅，寥寥数笔便传神韵。背景山峦以淡墨晕染，留白处似有云气浮动，右侧题款笔墨洒脱，与画面气韵浑然一体。整作笔墨兼融写意与工致，景物简练却意境悠远，尽显文人画的雅致风骨，观之如沐清风，顿生尘外之想。",[25,26,29,30,7,55,75,715,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191dd89635d1b758a8b2bed757439f46.jpg",[39],"81776e",{"id":15026,"slug":15027,"title":358,"dynasty":18,"author":359,"museum":150,"description":15028,"tags":15029,"thumbUrl":15032,"material":59,"size":59,"collection":59,"collections":15033,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15034},202982,"hong-lou-meng-ren-wu-ce-ye-yu-lan-202982","轻烟笼径，淡草凝霜，女子素衣伫立，神情若有所思；旁侧奇石窟窿，隐有人物凭石而坐。笔墨细腻工致，设色清雅温润，园林小景与人物情态相融，尽得红楼故事中幽微婉转的韵致。",[25,1694,28,29,30,7,15030,15031],"园林","红楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205fe9fc22f08d420765905eaf9d2be8.jpg",[],"cbc1b2",{"id":15036,"slug":15037,"title":15038,"dynasty":9797,"author":3542,"museum":150,"description":15039,"tags":15040,"thumbUrl":15041,"material":59,"size":59,"collection":60,"collections":15042,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15043},202924,"yan-yan-yu-fei-zhou-xu-bei-hong-202924","燕燕于飞轴","画面中，女子着素衣紫衫立于松石之侧，衣纹流转间尽显温婉气质。上方飞燕以灵动墨笔绘就，羽翼舒展似欲乘风，与人物的写实勾勒相映成趣。淡染的远山晕出朦胧意境，松枝苍劲点染生机。整作融中西技法于一体，设色淡雅却见情韵，笔墨间藏着悠远诗意，仿佛将“燕燕于飞”的古典情致凝于尺幅之中。",[25,29,30,153,28,55,31,7,27,56,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ae72bbff0a00049112a86d1bc13611.jpg",[60],"ccc6b5",{"id":15045,"slug":15046,"title":15047,"dynasty":9797,"author":770,"museum":150,"description":15048,"tags":15049,"thumbUrl":15051,"material":59,"size":59,"collection":122,"collections":15052,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15053},202912,"zhi-hua-tu-jiu-tu-zhou-pan-tian-shou-202912","指画秃鹫图轴","此作以指代笔，墨韵淋漓间尽显秃鹫雄姿。焦墨泼洒写羽毛，浓淡干湿交错，蓬松中透苍劲；喙眼勾勒锐利，神形毕肖。秃鹫踞于孤石之巅，石体以粗放笔触皴擦，墨点错落，与猛禽气势相契。背景留白空灵，更衬主体沉雄霸悍。整体风格简劲老辣，尽显大写意精髓，于方寸间藏万钧之力。",[25,26,27,15050,55,7,153,101,23],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4517b0f8027d532fbdc79e1308ce6d99.jpg",[122],"bbb4ac",{"id":15055,"slug":15056,"title":15057,"dynasty":18,"author":14680,"museum":150,"description":15058,"tags":15059,"thumbUrl":15060,"material":59,"size":59,"collection":88,"collections":15061,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15062},202160,"zhi-hua-shan-shui-tu-zhou-gao-qi-pei-202160","指画山水图轴","以指代笔，匠心独运。画面中山石以浓淡墨块交错铺陈，指尖皴擦的肌理苍劲朴拙，线条简练却藏骨力。留白处烟岚隐现，意境空濛悠远。右侧行书题跋笔意洒脱，与画面率意风格浑然相融，朱红印章点缀其间，更添古雅韵致。整作跳出毛笔细腻窠臼，凭指尖独特触感传递山水雄浑灵秀之态，尽显苍古洒脱之趣，为指画艺术代表性佳作。",[15050,55,80,7,79,78,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad447925188041d26f194209d30acd6f.jpg",[88],"9f8c7b",{"id":15064,"slug":15065,"title":15066,"dynasty":18,"author":2300,"museum":150,"description":15067,"tags":15068,"thumbUrl":15069,"material":59,"size":59,"collection":60,"collections":15070,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15071},201938,"zi-teng-song-zhu-tu-zhou-zou-yi-gui-201938","紫藤松竹图轴","古松虬干苍劲，皮纹细腻如刻，紫藤柔蔓缠绕其上，紫花垂垂若流苏，淡雅中见生机。竹枝劲挺，叶片清润，孤石嶙峋，纹理古朴。笔墨兼具工细与意趣，设色雅致，紫藤之紫与松竹之绿相映成趣，构图疏密有致，于静谧中透出自然生机，尽显文人画的清雅韵致。",[28,29,56,715,32,13188,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24acb3bb3032406bbf5c21932bf4362f.jpg",[60],"a88457",{"id":15073,"slug":15074,"title":15075,"dynasty":69,"author":183,"museum":150,"description":15076,"tags":15077,"thumbUrl":15080,"material":59,"size":59,"collection":88,"collections":15081,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15082},201877,"qing-shan-hong-shu-tu-zhou-xiang-sheng-mo-201877","青山红树图轴","层叠远山以皴法勾勒晕染，苍劲质感中透着清润；近岸溪流蜿蜒，孤石错落，红树疏枝点染出淡远秋意。白衣士人持杖徐行于溪畔，身影与静谧山水相融，尽显文人雅士的闲适散淡。笔墨简淡却意韵悠长，设色清雅，红树与青山相映成趣，动静之间传递出悠远静谧的自然之境，契合明代文人画抒情特质，融自然之美与人文情怀于一体，观之如临其境，心随景远。",[25,80,75,29,7,1212,30,15078,15079,23],"红树","青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7cc67fc8a367175555ca8c738321d9.jpg",[88],"b5ae9a",{"id":15084,"slug":15085,"title":15086,"dynasty":18,"author":2300,"museum":150,"description":15087,"tags":15088,"thumbUrl":15089,"material":59,"size":59,"collection":60,"collections":15090,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15091},201711,"zi-wei-shou-dai-tu-zhou-zou-yi-gui-201711","紫薇绶带图轴","紫薇枝桠婉转伸展，花瓣以细腻笔触晕染，清雅含露；绶带鸟羽色明丽，尾羽修长飘逸，立于枝头神态灵动。下方孤石嶙峋，萱草叶片柔劲，花朵明艳相映。笔法工细入微，设色温润雅致，既捕捉花鸟自然生机，又融文人清逸意趣，将紫薇绰约之姿与绶带鸟灵动之态完美契合，尽显清代工笔花鸟的精湛与雅致。",[28,29,56,7,701,3615,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb838165f5a7c454c95802a5cd5f099a.jpg",[60],"b18f5d",{"id":15093,"slug":15094,"title":15095,"dynasty":18,"author":15096,"museum":150,"description":15097,"tags":15098,"thumbUrl":15099,"material":59,"size":59,"collection":60,"collections":15100,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15101},201612,"lan-shi-mei-hua-tu-zhou-chen-zhuan-201612","兰石梅花图轴","陈撰","墨笔写梅，枝虬劲而花疏朗，风骨暗藏；孤石以淡墨晕染，皴擦间见朴拙之态。兰叶修长婉转，线条灵动如舞，与梅石相映成趣。整幅画作简淡空灵，笔墨洗练却意韵悠长，将梅之傲、兰之幽、石之坚融于一纸，尽显清雅孤高的文人意趣，观之如沐清风，心凝神远。",[25,55,56,187,188,7,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73b8efa989ac9d4b64443852f69ecc5.jpg",[60],"c9baaa",{"id":15103,"slug":15104,"title":10370,"dynasty":18,"author":15105,"museum":150,"description":15106,"tags":15107,"thumbUrl":15109,"material":59,"size":59,"collection":60,"collections":15110,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15111},201560,"hua-niao-zhou-fang-xun-201560","方薰","画面中花枝蜿蜒舒展，紫粉花朵点缀其间，叶片清润有致。一只鸟儿静栖枝头，羽翼纹理细腻；另一只振翅欲飞，姿态灵动鲜活。下方孤石苍劲古朴，笔墨简练却质感十足。整体设色淡雅温润，线条流畅婉转，工笔与写意相融相生，既捕捉花鸟之生动情态，又勾勒山石之古拙气韵，营造出清雅静谧又生机盎然的意境，尽显传统花鸟画作的雅致韵致。",[25,56,27,29,28,153,7,15108,23],"花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9c292211ec570f1b3170452b6e70568.jpg",[60],"b89c76",{"id":15113,"slug":15114,"title":15115,"dynasty":69,"author":70,"museum":150,"description":15116,"tags":15117,"thumbUrl":15118,"material":59,"size":59,"collection":88,"collections":15119,"showCount":14497,"zanCount":43,"manualWeight":43,"mainColor":15120},201535,"fang-ni-shan-shui-zhou-shen-zhou-201535","仿倪山水轴","淡墨皴染的山石旁，几株树木疏朗错落，枯干携疏枝，繁叶间透出清浅意趣。一只飞鸟划破空濛，留白处晕开幽远静穆。笔墨简淡却藏韵致，构图疏旷得倪瓒遗风，空灵中凝着文人的旷达与清寂，似将山间清寂与悠远凝于方寸，引观者沉于这份远离尘嚣的疏淡之美。",[55,80,7,153,75,76,81,135,6240,2290,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a558445e77925e3332c85f9ec4ede2.jpg",[88],"b3a38d",{"id":15122,"slug":15123,"title":15124,"dynasty":69,"author":15125,"museum":112,"description":15126,"tags":15127,"thumbUrl":15128,"material":641,"size":642,"collection":59,"collections":15129,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},290947,"wen-shi-gan-jiao-zhou-jiang-yin-290947","文石甘蕉轴","姜隐","姜隐，字周佐，生卒不详。黄县人，明代画家，善画人物花卉。所画人物，形象生动，笔墨秀润峭利，工笔写意均佳。",[25,27,29,7,99,56,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e45fa945590ceed84e272db02fb28a8.jpg",[],{"id":15131,"slug":15132,"title":15133,"dynasty":369,"author":201,"museum":552,"description":15134,"tags":15135,"thumbUrl":15136,"material":641,"size":642,"collection":59,"collections":15137,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},290753,"ke-si-zi-zhi-xian-shou-tu-zhou-yi-ming-290753","缂丝紫芝仙寿图轴","土坡激流,石旁杂植海棠、雁来红、野菊。右岸草丛之间灵芝杂生。一株紫薇盛开,花团锦簇,双鸟栖息在枝头上,更显生意盎然。",[25,27,229,28,29,56,153,2806,243,7,540,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F893357c3c33f76725c1f9ce77d894337.jpg",[],{"id":15139,"slug":15140,"title":15141,"dynasty":18,"author":8160,"museum":552,"description":8161,"tags":15142,"thumbUrl":15143,"material":641,"size":642,"collection":59,"collections":15144,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},290592,"shui-xian-zhou-zhang-ruo-ai-290592","水仙轴",[25,27,1969,55,174,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7e7d7e7e21aa71f2f756547a0e920e.jpg",[],{"id":15146,"slug":15147,"title":15148,"dynasty":369,"author":201,"museum":552,"description":15149,"tags":15150,"thumbUrl":15152,"material":641,"size":642,"collection":59,"collections":15153,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":143},289972,"gu-mu-han-qin-tu-yi-ming-289972","古木寒禽图","此作用淡墨晕染寒林雪滩，枯木虬曲苍劲，疏枝横斜于荒寂寒林之中。山石积雪以留白衬出，淡墨轻勾棱线，尽显冰雪凝覆之态，古木皴擦老辣，满是风霜浸蚀的苍拙质感。\n整幅画面空阔萧索，不见禽鸟却遍溢孤寒冷寂之意，以极简笔致烘托出冬日林野的清空淡远，将格物精微的写生意趣与幽寂荒寒的意境相融，寥寥数笔勾勒出冬林孤冷的林下雅趣，尽显山水小品的隽永雅致。",[23,24,25,26,714,55,80,1579,153,7,851,15151,77,79],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c8d1663817686fd51de4dc7abe3ef7.jpg",[],{"id":15155,"slug":15156,"title":15157,"dynasty":369,"author":201,"museum":552,"description":15158,"tags":15159,"thumbUrl":15160,"material":641,"size":642,"collection":59,"collections":15161,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},289443,"na-liang-guan-pu-tu-yi-ming-289443","纳凉观瀑图","此作以小品尺幅绘就幽寂夏夜，水墨晕染出氤氲湿润的暮色氛围。错落山石环伺水榭，清浅碧波绕阶而过，廊下一人凭栏默然，隐于浓荫翠色间。\n\n画笔工致细腻，以浓淡墨色区分远近层次，林木苍润沉郁，屋舍雅致简净，将炎夏里林泉一隅的凉意尽数铺展。全画不见奔涌飞瀑，却以幽谧氛围烘托出观瀑听泉的雅兴，将宋代文人寄情林泉、消暑寻幽的闲淡心境藏于尺幅间，尽显雅致沉静的古典意趣。",[23,24,25,714,29,241,30,242,349,7,82,79,77,80,4168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2499ae694906cd477b1746fe1a72d544.jpg",[],{"id":15163,"slug":15164,"title":15165,"dynasty":18,"author":15166,"museum":552,"description":15167,"tags":15168,"thumbUrl":15169,"material":641,"size":642,"collection":59,"collections":15170,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},289360,"hua-niao-tu-zhou-zhang-mu-289360","花鸟图轴","张穆","张穆（1805年11月29日 ——1849年12月22日 ），山西平定人，近代的爱国思想家、地理学家、诗人和书法家。生于嘉庆十年（1805）。鸦片战争中，他曾抱着爱国热情，上书言事，奔走呼号，联络在京友人，通过纪念顾炎武的活动，振奋人心。此后，他本着张扬国威，抵御沙俄侵略的目的，致力于西北边疆地理和蒙古史的研究。1849年12月22日（道光二十九年十一月九日，己酉年丙子月壬寅日）卒于京师，享年四十五岁 。1850年归葬故乡 。",[25,26,27,55,56,153,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46f354ef038cd09fdc1ea8d21cc34e.jpg",[],{"id":15172,"slug":15173,"title":15174,"dynasty":148,"author":5347,"museum":552,"description":12798,"tags":15175,"thumbUrl":15177,"material":641,"size":642,"collection":59,"collections":15178,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},287551,"qing-chuan-song-ke-tu-zhuang-biao-ban-zhao-yuan-287551","晴川送客图（装裱版）",[25,24,55,27,80,30,85,82,7,81,83,15176,79],"送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faafaaded2cacd68c421ae104c8d7dbe1.jpg",[],{"id":15180,"slug":15181,"title":15182,"dynasty":69,"author":4336,"museum":552,"description":15183,"tags":15184,"thumbUrl":15186,"material":641,"size":642,"collection":59,"collections":15187,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},287433,"wen-shi-qiao-mu-tu-shan-mian-wen-zheng-ming-287433","文石乔木图扇面","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”。",[24,25,26,714,55,15185,7,134,79],"乔木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513cc666d4642f29b5417520032a27d3.jpg",[],{"id":15189,"slug":15190,"title":15191,"dynasty":18,"author":14680,"museum":552,"description":14681,"tags":15192,"thumbUrl":15193,"material":641,"size":642,"collection":59,"collections":15194,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},239485,"zhi-hua-shi-yan-tu-zhou-gao-qi-pei-239485","指画石雁图轴",[25,26,27,15050,55,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48489029acb5ca54042a87c4c967fb21.jpg",[],{"id":15196,"slug":15197,"title":15198,"dynasty":69,"author":431,"museum":552,"description":2268,"tags":15199,"thumbUrl":15200,"material":641,"size":642,"collection":59,"collections":15201,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},239475,"shi-si-shan-ye-chen-hong-shou-239475","诗思扇页",[714,28,434,29,30,7,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9baa8826689332c5f19b655e682f0040.jpg",[],{"id":15203,"slug":15204,"title":15205,"dynasty":18,"author":15206,"museum":552,"description":15207,"tags":15208,"thumbUrl":15209,"material":641,"size":642,"collection":59,"collections":15210,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":44},239069,"gu-qin-wan-shan-zhang-shi-bao-239069","鼓琴纨扇","张士保","张士保 (1805—1878) 字鞠如， 号菊如。山东掖县（今莱州市） 掖城人。清代画家、学者。1832年（道光十二年）选为副贡生。同治初年，山东巡抚丁宝桢在济南历下李清照故居设尚志堂，遍请“齐鲁穷经之士”来济讲学，他“巍然居首”。1878年（光绪四年），被选任临淄教谕，卒于任上，终年73岁。",[25,714,29,28,30,134,7,1446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7674b12fbde72e22895e58c1ec6635ca.jpg",[],{"id":15212,"slug":15213,"title":15214,"dynasty":18,"author":15215,"museum":552,"description":15216,"tags":15217,"thumbUrl":15218,"material":641,"size":642,"collection":59,"collections":15219,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},239032,"fang-cha-shi-biao-shan-shui-zhou-qin-bing-wen-239032","仿查士标山水轴","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。",[25,26,27,76,55,75,80,7,81,259,83,1073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc349e0153148851c98716702002c3df.jpg",[],{"id":15221,"slug":15222,"title":15223,"dynasty":18,"author":201,"museum":552,"description":15224,"tags":15225,"thumbUrl":15226,"material":59,"size":59,"collection":88,"collections":15227,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":143},238893,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238893","董诰春华集庆册","这是诗画合璧的雅致册页，上下两开各揽一境。上开绘庭院春景，亭台依着花木错落，嫩色初绽的枝桠探入闲庭，将春日闲居的恬然藏在方寸之间。下开写汀渚泛舟，柳丝蘸着春水漾开涟漪，扁舟悠游，尽揽江野春柔。\n\n设色清妍秀润，勾勒温婉细腻，工致中带着写意松弛。配书小楷隽秀端丽，诗书画意相融，将文人情思寄寓春日景致里。浅淡笔墨晕开江南春日元气，静赏间便能触摸清和雅致的春日意趣，余韵悠长。",[25,26,53,29,28,80,349,277,82,56,187,190,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc3ea22d6afddc092a8d36cd92c6dd4.jpg",[88,122],{"id":15229,"slug":15230,"title":15231,"dynasty":18,"author":15232,"museum":552,"description":15233,"tags":15234,"thumbUrl":15235,"material":641,"size":642,"collection":59,"collections":15236,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},238852,"mian-yi-hua-hui-xiao-ce-mian-yi-238852","绵亿花卉小册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[24,25,26,53,29,28,243,7,158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab1a50fb3825ff61cd894b7baeff77d.jpg",[],{"id":15238,"slug":15239,"title":15240,"dynasty":18,"author":1491,"museum":552,"description":7992,"tags":15241,"thumbUrl":15242,"material":641,"size":642,"collection":59,"collections":15243,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},238789,"hua-hui-xiao-ce-dong-gao-238789","花卉小册",[25,26,53,29,28,56,174,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F424f4fa09ec3757820ade6e2dd72066d.jpg",[],{"id":15245,"slug":15246,"title":15247,"dynasty":18,"author":15248,"museum":552,"description":15249,"tags":15250,"thumbUrl":15251,"material":59,"size":59,"collection":59,"collections":15252,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},238230,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238230","仿王翬山水册","曹夔音","此作用淡墨晕染远山，留白摹绘烟水浩渺，山峦以干笔皴擦出苍朴质感，汀渚错落隐于烟波间，寥寥数笔便勾勒出江乡秋日的空濛悠远。\n画面与左侧题诗相映成趣，诗画交融，将澹泊清旷的山居野趣铺陈开来。笔致秀雅沉静，脱尽尘俗，以极简笔墨营造出悠远空灵的意境，尽显寄情丘壑的文人雅韵，把传统山水的诗意氛围感烘托到极致。",[24,25,26,53,55,75,78,76,80,83,81,1407,153,7,277,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b5de921774d38902a6ec18c2be0775.jpg",[],{"id":15254,"slug":15255,"title":15256,"dynasty":18,"author":15257,"museum":552,"description":15258,"tags":15259,"thumbUrl":15260,"material":59,"size":59,"collection":59,"collections":15261,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},238103,"hong-wu-shan-shui-ce-hong-wu-238103","弘旿山水册","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。",[25,55,75,77,79,53,80,115,82,349,153,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea702a0b848736e7d8aabe7965edd89.jpg",[],{"id":15263,"slug":15264,"title":15265,"dynasty":18,"author":15266,"museum":552,"description":15267,"tags":15268,"thumbUrl":15270,"material":641,"size":642,"collection":59,"collections":15271,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},237402,"fang-li-cheng-yun-hai-shan-xu-ang-237402","仿李成云海扇","徐昂","此作以边角取景，右侧崖畔孤松蟠曲苍劲，松下幽人静坐远眺，淡墨短皴勾勒石体质感，松枝带霜，尽是萧寒清寂之态。左侧以留白晕作浩渺云海，几簇墨林浮沉云间，虚实相生，将平远清旷的山水意韵铺陈开来。\n\n全幅以水墨晕染，凭藉墨色浓淡分出层次，不作艳色修饰，空濛雾气晕化出幽远意境，暗合文人澄怀观道的林下襟怀，把林泉隐逸的静穆冷逸尽数藏在简淡笔墨中，淡而愈真，简而弥远。",[25,26,714,76,55,75,80,15269,134,30,7],"云海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5233ab20a95e74ecb0720e6632edcdd.jpg",[],{"id":15273,"slug":15274,"title":15275,"dynasty":18,"author":15276,"museum":552,"description":15277,"tags":15278,"thumbUrl":15279,"material":59,"size":59,"collection":59,"collections":15280,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},237171,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237171","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[25,26,53,29,75,80,30,153,117,445,82,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739b27baa7d852c5ae0f2b5a8fe4270d.jpg",[],{"id":15282,"slug":15283,"title":11513,"dynasty":18,"author":11514,"museum":552,"description":11515,"tags":15284,"thumbUrl":15285,"material":59,"size":59,"collection":59,"collections":15286,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},237085,"jiang-feng-shi-nv-ce-jiang-feng-237085",[25,26,53,29,30,31,7,864,28,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22de377271e24ad5411d88be3c4f6c16.jpg",[],{"id":15288,"slug":15289,"title":15290,"dynasty":18,"author":4274,"museum":552,"description":15291,"tags":15292,"thumbUrl":15293,"material":59,"size":59,"collection":59,"collections":15294,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},236575,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236575","樝梅壑山水十帧","查士标（1615—1698），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[25,26,53,55,78,79,75,80,117,85,30,349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa500eae7a23d41f6746de1ac5b6f218e.jpg",[],{"id":15296,"slug":15297,"title":14981,"dynasty":18,"author":15298,"museum":552,"description":15299,"tags":15300,"thumbUrl":15301,"material":59,"size":59,"collection":88,"collections":15302,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},236356,"fang-gu-shan-shui-ce-hu-jie-236356","胡节","胡节，字竹君，号井农，娄东（江苏太仓）人。山水师王翚，笔墨超逸，骨格秀整，虽严守师规，一种超尘拔俗之趣，耕烟（王翚）不能不放其出一头地。兼长杂卉。",[25,26,53,55,75,76,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5e6c24fba7d0ae7b5b43ca45dbdb68.jpg",[88,105],{"id":15304,"slug":15305,"title":15306,"dynasty":69,"author":15307,"museum":552,"description":15308,"tags":15309,"thumbUrl":15311,"material":59,"size":59,"collection":59,"collections":15312,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},236022,"ren-wu-tu-ce-fang-long-mian-ju-shi-chui-diao-tu-wen-nan-shou-mao-weng-236022","人物图册－仿龙眠居士垂钓图","文柟寿茂翁","此作诗画合璧，境致萧散出尘。绘卷以淡墨晕染云烟，崖岸之上，老翁垂竿独钓，简笔勾勒便将其安坐忘机的悠然情态尽显。对面飞瀑流云隐现于烟岚之间，空濛悠远，衬出江湖林下的清寂之境。\n\n题诗呼应画意，将临渊高坐比作神仙襟怀，把垂钓不为渔获、只为寄怀林泉的隐逸心境铺陈开来。笔简而意足，水墨轻岚间尽显静穆淡远的文人雅韵，把心向丘山、超然物外的林下风致淋漓展现，诗画衬发，尽显雅逸出俗的文人寄兴。",[25,26,53,55,76,77,79,30,80,137,15310,7],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf37a34ac43c682c605d9c4a280b2d79.jpg",[],{"id":15314,"slug":15315,"title":502,"dynasty":18,"author":15316,"museum":552,"description":15317,"tags":15318,"thumbUrl":15319,"material":59,"size":59,"collection":88,"collections":15320,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":44},235936,"shan-shui-ce-qi-zhi-jia-235936","祁豸佳","此作截取一隅丘壑绘就，危崖层叠错落，枯木虬曲盘桓，扎根顽石之上，枝叶疏朗有生趣。淡墨晕染的远山清润空蒙，留白代水，晕出幽寂萧疏的林下意境，笔法简淡却意趣悠长。\n\n左侧行书题跋笔墨舒展隽秀，书画相映，以文释画，尽显诗书画合一的文人雅趣。整幅以枯淡之笔写山水林泉，不做繁复皴染，于简淡苍劲间尽显古拙意韵，将林泉高致寄于尺幅，藏着画者寄情山水、脱略尘俗的襟怀。",[25,26,53,55,80,75,77,78,135,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5886999bb81b85f4ae8a784f64d3fa2e.jpg",[88],{"id":15322,"slug":15323,"title":3256,"dynasty":69,"author":15324,"museum":552,"description":15325,"tags":15326,"thumbUrl":15327,"material":641,"size":642,"collection":59,"collections":15328,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},235474,"hua-hui-ce-qi-xun-235474","戚勋","戚勋 (明)字世臣，号曲泉。山阴(今属绍兴)人。\n善画山水、花卉，得疏野之趣。",[24,25,26,53,55,29,188,160,7,78,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92b7d1827a7515af9e5c627642f7ec36.jpg",[],{"id":15330,"slug":15331,"title":7126,"dynasty":69,"author":14695,"museum":552,"description":14696,"tags":15332,"thumbUrl":15333,"material":641,"size":642,"collection":59,"collections":15334,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},235461,"shan-shui-tu-ce-pan-zheng-235461",[25,53,55,75,80,134,30,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F893aeb6a78c1a71b28fb93bb15dd2fd4.jpg",[],{"id":15336,"slug":15337,"title":4060,"dynasty":18,"author":214,"museum":552,"description":4061,"tags":15338,"thumbUrl":15339,"material":641,"size":642,"collection":59,"collections":15340,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},235383,"hua-niao-tu-ce-hua-yan-235383",[25,24,26,53,55,29,56,153,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2b49feda1cc4719fd7b8f2f8be4418.jpg",[],{"id":15342,"slug":15343,"title":15344,"dynasty":69,"author":201,"museum":552,"description":15345,"tags":15346,"thumbUrl":15347,"material":59,"size":59,"collection":88,"collections":15348,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},235138,"chen-dan-zhong-shan-shui-ce-yi-ming-235138","陈丹衷山水册","此作为边角小景，淡墨简笔勾勒嶙峋崖石，枯槎附石而生，枝桠疏朗野趣横生。崖畔悬垂酒壶，暗合题诗中寂廖愁怀，尽显幽寂清狂之态。\n\n左侧行书题诗笔意清隽温雅，诗画互衬，将落寞怅惘的心绪融于萧疏景致之中，尽显文人以意驭笔的创作特质。整体空灵雅致，以极简笔墨勾勒出清冷孤高的林下襟怀，文气盎然，把失意寄情山水的心境藏于尺幅之间，淡远清幽的意境扑面而来。",[25,26,53,55,80,7,75,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d28227930da10022c0c57342c21e77.jpg",[88],{"id":15350,"slug":15351,"title":15352,"dynasty":69,"author":8882,"museum":71,"description":10941,"tags":15353,"thumbUrl":15354,"material":139,"size":10944,"collection":59,"collections":15355,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},234810,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-chen-chun-yan-dang-cun-tu-ye-wen-jia-234810","吴门诸家寿袁方斋三绝册-陈淳雁荡村图页",[25,26,53,29,80,153,7,75,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec40a5cc6d9e80da78bcc30d423a643.jpg",[],{"id":15357,"slug":15358,"title":502,"dynasty":18,"author":4274,"museum":552,"description":14241,"tags":15359,"thumbUrl":15360,"material":59,"size":59,"collection":59,"collections":15361,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},234646,"shan-shui-ce-cha-shi-biao-234646",[25,26,53,78,29,55,75,80,349,81,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d074d877d902b1927f623c2683b05e.jpg",[],{"id":15363,"slug":15364,"title":15365,"dynasty":69,"author":15366,"museum":552,"description":15367,"tags":15368,"thumbUrl":15369,"material":59,"size":59,"collection":59,"collections":15370,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},234510,"gu-mu-you-huang-shan-wei-zhi-ke-234510","古木幽篁扇","魏之克","此图以枯木竹石为题材。画面近处枯树两三株高低偃仰，其旁幽篁散生，溪流宛转，远山隐隐起伏。树法用笔严谨，立干苍迈，出枝繁密，有李、郭遗意，丛竹以墨色分出远近。近处坡石多以方笔线皴，远山参用斧劈皴。画面墨色清逸，气息幽深，颇得萧疏苍茫之趣。",[25,26,714,55,1231,134,32,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd633618a97d955bc1ac3a76a3633e224.jpg",[],{"id":15372,"slug":15373,"title":15374,"dynasty":18,"author":15375,"museum":552,"description":15376,"tags":15377,"thumbUrl":15378,"material":59,"size":59,"collection":59,"collections":15379,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},234498,"zhi-wan-shan-shui-ce-ye-fan-zhi-wan-234498","志完山水册页","范志完","范志完（？—1643），字叔恺，号成六，本县利民人，宋范仲淹后裔。自幼聪颖，为文高古，母作《八行图》以教之。明朝崇祯四年（1631年）中进士。任宣府、宁国推官、真定知府、关内道副使。崇祯十四年（1641）冬，升右佥都御史、山西巡抚。后任兵部右侍郎兼右佥都御史，总督蓟州、永平、山海、通州、天津诸镇军务。",[25,26,53,29,78,80,134,277,153,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401e4555668bde7cde39e5bc5e7e4548.jpg",[],{"id":15381,"slug":15382,"title":15383,"dynasty":69,"author":15384,"museum":552,"description":15385,"tags":15386,"thumbUrl":15387,"material":59,"size":59,"collection":59,"collections":15388,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},234494,"qiu-lin-gui-ya-shan-ye-wei-xue-lian-234494","秋林归鸦扇页","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。",[25,26,714,55,29,173,75,117,153,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3374a14186c590941f96f205a19e21.jpg",[],{"id":15390,"slug":15391,"title":7126,"dynasty":18,"author":214,"museum":5179,"description":15392,"tags":15393,"thumbUrl":15394,"material":507,"size":15395,"collection":59,"collections":15396,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},234299,"shan-shui-tu-ce-hua-yan-234299","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[25,26,53,55,75,80,7,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8d4d6b1b1d3c0b3e8b1f9bfb2fbe25.jpg","31.2x44.7cm",[],{"id":15398,"slug":15399,"title":502,"dynasty":18,"author":14773,"museum":71,"description":14774,"tags":15400,"thumbUrl":15401,"material":967,"size":14777,"collection":59,"collections":15402,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},233973,"shan-shui-ce-gong-xian-233973",[25,55,75,53,80,7,81,325,349,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7c4e867cb34626de1215535caa7f51.jpg",[],{"id":15404,"slug":15405,"title":15406,"dynasty":69,"author":5954,"museum":150,"description":15407,"tags":15408,"thumbUrl":15410,"material":6445,"size":15411,"collection":59,"collections":15412,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},233678,"hua-hui-juan-wang-duo-233678","花卉卷","本幅墨笔，前隔水伊念曾题答，本幅有张囗、戴明说观款，后纸叶恭绰题记。钤“曾藏嵩山草堂”，“墨卿”，“慎得”等藏印。\n王铎（1592—1652年），字觉斯，号嵩樵、烟潭渔叟、痴仙道人等，孟津（今洛阳孟津县）人。明天启二年（1622年）进士，累官礼部尚书、东阁大学士。工诗文，能绘画。书法师钟繇、二王、颜真卿、米芾，尤得力于《淳化阁帖》，既浸淫于古法又有所创新。其书诸体悉备，最擅行、草书，笔法纵逸流畅，风格雄健险峻，是清初书法大家。刻有《拟山园帖》、《琅华馆帖》。《清史稿》有传。",[25,26,74,55,434,28,77,56,243,191,445,662,135,157,293,15409,7],"叶草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cbd58569f7990ba918a2a7dda226ed8.jpg","纵24.9厘米，横116厘米",[],{"id":15414,"slug":15415,"title":15416,"dynasty":369,"author":201,"museum":71,"description":15417,"tags":15418,"thumbUrl":15419,"material":327,"size":15420,"collection":59,"collections":15421,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":44},233210,"song-jian-shan-qin-tu-ye-yi-ming-233210","松涧山禽图页","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。这幅作品曾经明黔宁王沐琳和项元汴收藏。",[25,24,26,53,28,29,56,80,260,82,153,4025,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97df25750b2d414d498c6d636769ceb.jpg","25.3*25.3厘米",[],{"id":15423,"slug":15424,"title":15425,"dynasty":18,"author":214,"museum":552,"description":15426,"tags":15427,"thumbUrl":15428,"material":327,"size":15429,"collection":59,"collections":15430,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},231937,"xie-jin-ren-shi-yi-hua-ce-14-zhen-hua-yan-231937","写晋人诗意画册14帧","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、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。",[23,25,26,53,29,55,30,7,32,117,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30afb35e63e0280c3daa8a0cb5eff010.jpg","43x52cm",[],{"id":15432,"slug":15433,"title":15434,"dynasty":5251,"author":15435,"museum":552,"description":15436,"tags":15437,"thumbUrl":15438,"material":641,"size":642,"collection":59,"collections":15439,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},231674,"hu-shan-xiao-jing-tu-tian-you-song-xi-231674","湖山小景图","天游松溪","此作用上下分段的别致构图，上部行书题文与下部山水呼应成趣。近景危崖兀立，古松虬枝横斜，崖畔隐见古刹飞檐；右下汀洲之上楼阁错落，板桥连岸，渔舟系于浅渚，尽是江南水乡的悠然意态。远景烟水浩渺，峰峦浮沉在暖赭晕染的暮色间，水天相融晕出黄昏的柔暖朦胧。\n\n笔墨秀雅空灵，淡赭水墨晕染天色，山峦以简括斧劈皴带出硬朗骨相，苍松劲挺见风神，烟波轻笼见淡远。书画合璧，题文叙湖山雅事，画中藏林泉高致，将日暮湖游的清旷襟怀晕在纸间，尽显江南暮色的温软诗意，抒写出文人心中的山水闲逸之趣。",[23,25,26,27,55,29,80,242,277,82,85,349,7,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965469d075c6f7df24eb35b019b91297.jpg",[],{"id":15441,"slug":15442,"title":15443,"dynasty":5251,"author":201,"museum":552,"description":15444,"tags":15445,"thumbUrl":15447,"material":641,"size":642,"collection":59,"collections":15448,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,26,74,29,28,101,374,2777,7,15446,14026],"飞禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fecc5cc915716ebd972e929bfeddb0d.jpg",[],{"id":15450,"slug":15451,"title":15452,"dynasty":18,"author":1491,"museum":552,"description":15453,"tags":15454,"thumbUrl":15455,"material":59,"size":59,"collection":59,"collections":15456,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[25,26,53,28,29,30,133,32,7,153,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4020cb0580c7fcf23b624e65dd138147.jpg",[],{"id":15458,"slug":15459,"title":15460,"dynasty":18,"author":15461,"museum":552,"description":15462,"tags":15463,"thumbUrl":15464,"material":59,"size":59,"collection":59,"collections":15465,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":44},230221,"shan-shui-shi-yi-ce-6-kai-wu-chao-230221","山水诗意册6开","吴焯","此作截取山隅一隅写幽林泉石之景。危崖层叠嶙峋，飞泉穿漱乱石，清越泉声隐然纸上。古松盘根错节扎根崖壁，干枝虬曲苍劲，湿墨点染的松针葱郁灵动，尽显老柏岁寒之姿。\n笔墨简淡清逸，干皴擦写出山石肌理，淡墨晕染留白摹出空濛云气，右上角远林轻描淡绘，衬出山景空寂悠远。左侧题诗落款，书画相融，文气雅致。\n整幅小品以小景见丘壑，萧散静穆，将林泉幽寂与诗意禅思相融，尽显文人山水的写意旨趣，藏着林下幽居的澹然意绪。",[25,26,53,55,29,80,7,134,82,259,260,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3ba4841e3c3f6f755400e7e0f5c4bf.jpg",[],{"id":15467,"slug":15468,"title":9006,"dynasty":18,"author":384,"museum":552,"description":15469,"tags":15470,"thumbUrl":15471,"material":59,"size":59,"collection":59,"collections":15472,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},230142,"huang-shan-ba-jing-tu-ce-zheng-ban-qiao-230142","这幅小楷题跋清劲秀雅，结体端稳间带着疏朗意趣，笔画瘦硬匀净，既有晋唐小楷的古雅法度，又融入独有的散逸风骨。\n\n笔墨随着文思缓缓铺展，忆述画坛旧事时文墨相生相融，将文人雅怀藏进每一处笔墨细节。全无狂怪恣肆，反倒尽显静定冲淡的书卷气，是其书法中少见的敛藏之作。文思与笔情精妙融合，字里行间晕开平和悠然的文人本色，成为画册点睛的文墨双璧。",[25,26,53,55,75,80,7,134,349,277,82,153,863,865,32,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a215794450c842f2731c67ae4bfaf1.jpg",[],{"id":15474,"slug":15475,"title":15476,"dynasty":369,"author":573,"museum":552,"description":15477,"tags":15478,"thumbUrl":15479,"material":641,"size":642,"collection":59,"collections":15480,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":1551},228897,"bai-miao-fo-xiang-di-shi-san-zun-zhe-li-gong-lin-228897","白描佛像第十三尊者","“十八罗汉”的说法最早出现于北宋，图中器物造型风格接近宋代，每页有“卢椤枷进”款，从墨色辨认为后添款。因此本册非出自唐人之手，应是宋人所为。",[23,25,26,434,576,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd880a90f8361c742feb6ef65c59a1fdc.jpg",[],{"id":15482,"slug":15483,"title":15484,"dynasty":369,"author":201,"museum":552,"description":15485,"tags":15486,"thumbUrl":15488,"material":59,"size":59,"collection":59,"collections":15489,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":44},227932,"xue-ting-shui-qin-tu-yi-ming-227932","雪汀水禽图","此作以淡墨晕染萧寒冬境，水岸枯木虬曲苍劲，瘦削枝桠凌冽舒展，数只禽鸟缩羽栖息枝头，将冬日瑟缩畏寒之态尽显。右上一双水禽振翅掠空，破静谧成动静相生之趣。\n画家以留白晕染暗喻薄雪覆汀，设色简淡清润，笔触凝练细腻，枯枝的苍古、水禽灵动神态皆跃然绢上。尺幅之间铺陈出荒寒清远的意趣，尽显冬日郊野空寂冷逸，将冬汀荒萧寒疏之美藏于方寸，余韵悠悠。",[23,25,24,714,28,55,29,133,153,154,15487,7,13921,1791,851],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],{"id":15491,"slug":15492,"title":15493,"dynasty":18,"author":4274,"museum":552,"description":15494,"tags":15495,"thumbUrl":15496,"material":59,"size":59,"collection":59,"collections":15497,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},224256,"xian-lou-gao-zhi-cha-shi-biao-224256","仙楼高峙","此作用淡渴墨勾勒崖壁轮廓，皴擦简率松秀，寥寥数笔便绘出山石清峭之态。坡岸与丛木以写意点染，虚实相生间，晕染出幽寂空濛的山境。左侧行书笔致萧散飘逸，笔墨舒展随性，与画中简淡意境相融，文气悠悠。\n\n整体脱去尘俗，以极简的笔墨铺陈出清旷出尘的林下仙境，尽显新安画派笔简意赅、气韵荒寒的特质，观之如临幽林高阁，心神也随之沉静，沉醉于这份水墨疏淡里的幽远禅意。",[23,25,26,53,55,75,78,79,80,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7674da97971c55f319361c3f120ebd48.jpg",[],{"id":15499,"slug":15500,"title":15501,"dynasty":18,"author":4588,"museum":112,"description":15502,"tags":15503,"thumbUrl":15504,"material":15505,"size":15506,"collection":59,"collections":15507,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},222811,"hua-li-zhu-cui-xiu-ce-mu-lan-he-da-zi-222811","画丽珠萃秀册 - 木兰","画家题为赫达资，推测为院画家，但其生平不详，画风则继承焦秉贞仕女样式。左幅是文臣梁诗正于乾隆三年(1738)抄录古人诗句，或直接、或间接应和着画面所描绘的女性事迹。画面虽是宫苑仕女图式，但若对照诗句，多流露出颂赞不同妇德的寓意。\n此册十二开，各有签题，描绘西施、秦罗敷、秦弄玉、汉李夫人、卓文君、蔡文姬、吴丽居、寿阳公主、木兰、公孙大娘、红线、红拂女等女性人物。\n此图为木兰",[23,25,28,29,53,30,31,7,79,4591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c964f6437576cabbef96a1ffbf0f9c1.jpg","冊","43.8x62.2",[],{"id":15509,"slug":15510,"title":15511,"dynasty":18,"author":15512,"museum":112,"description":15513,"tags":15514,"thumbUrl":15515,"material":59,"size":15516,"collection":59,"collections":15517,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},222690,"xie-yu-tian-ci-yi-zhou-qian-zai-222690","写玉田词意轴","钱载","钱载（1708—1793），字坤一，号萚石，又号匏尊，晚号万松居士、百幅老人，秀水（今浙江嘉兴）人，清朝官吏、诗人、书画家。乾隆十七年进士，改庶吉士，散馆授编修，后授内阁学士兼礼部侍郎，上书房行走，《四库全书》总纂，山东学政。官至二品，而家道清贫，晚年卖画为生。\n工诗文精画，善水墨，尤工兰竹，著有《石斋诗文集》。诗宗北宋大文豪黄庭坚，为乾嘉年间“秀水派”的代表诗人。\n雍正十年，副榜贡生，举博学鸿词、举经学，就试皆未入选。乾隆十七年，成进士，改庶吉士，授编修。七迁内阁学士，直上书房。四十一年，督山东学政。四十五年，命祭告陕西、四川岳渎及帝王陵寝。寻擢礼部侍郎，充江南乡试考官，举顾问为第一，四书文纯用排偶，上以乖文体，命议处。吕氏春秋尧葬谷林，史记不书其地。乾隆元年，以山东巡抚岳濬奏，自东平改祀濮州。\n四十一年，大理寺卿尹嘉铨疏言当在平阳，下部议驳。载督学山东，谒濮州尧陵，自四川还道平阳，得尧陵州东北；及江南典试归，又至东平求旧时所祭尧陵，参互考订，以为在平阳者是。史记汤、武皆未著葬地，盖都於是葬於是则不书，尧亦其例。因疏请釐定。下大学士、九卿议驳，载奏辨；复议，仍寝不行。上谕曰：“经生论古，反覆辨证，原所不禁。但既陈之奏牍，并经廷臣集议，即不当再执成见。载斥吕不韦门下客浮说，不韦即不足取，亦尚不可以人废言。况其门下客所著书，所谓‘悬之国门，不易一字’，岂能谓不足为据？其时去古未远，或尚有所承述。乃欲在数千年后虚揣翻驳，有是理乎？载本晚达，且其事只是考古，是以不加深问。若遇朝廷政治，亦似此哓哓不已，朕必重治其罪。”命传旨申饬。载疏累数千言，语有未明，复为自注，时谓非章奏体，上亦未深诘也。四十八年，休致。五十八年，卒，年八十有五。\n金德瑛论诗宗黄庭坚，谓当辞必己出，不主故常。载初与订交，晚登第，乃为门下门生；诗亦宗庭坚，险入横出，崭然成一家。同县王又曾、万光泰辈相与唱酬，号秀水派。载又为陈群族孙，从陈群母陈受画法，苍秀高劲，亦如其诗。",[23,25,26,27,55,7,188,160,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f89cdd4b6dd65bf8c960069e65899b.jpg","137.7x68.4",[],{"id":15519,"slug":15520,"title":15521,"dynasty":69,"author":11675,"museum":552,"description":11676,"tags":15522,"thumbUrl":15523,"material":507,"size":11679,"collection":59,"collections":15524,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},222383,"guan-yin-ding-yun-peng-222383","观音",[23,24,25,27,576,29,30,7,28,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb88cf4d1b0a76ac7117cd039ba56472.jpg",[],{"id":15526,"slug":15527,"title":15528,"dynasty":18,"author":941,"museum":71,"description":942,"tags":15529,"thumbUrl":15530,"material":327,"size":945,"collection":59,"collections":15531,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},220293,"huang-shan-tu-ce-33-hong-ren-220293","黄山图册-33",[23,25,26,24,55,53,75,80,7,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a10959aaacaefc0287430af9e22999e.jpg",[],{"id":15533,"slug":15534,"title":15535,"dynasty":18,"author":941,"museum":71,"description":942,"tags":15536,"thumbUrl":15537,"material":327,"size":945,"collection":59,"collections":15538,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},220286,"huang-shan-tu-ce-39-hong-ren-220286","黄山图册-39",[23,24,25,26,53,55,75,80,7,3368,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c7d8f2fb5813ef5402c7d8210582ec.jpg",[],{"id":15540,"slug":15541,"title":15542,"dynasty":18,"author":941,"museum":71,"description":942,"tags":15543,"thumbUrl":15544,"material":327,"size":945,"collection":59,"collections":15545,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},220271,"huang-shan-tu-ce-52-hong-ren-220271","黄山图册-52",[23,25,26,53,55,75,80,7,260,83,3368,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75bd465030a0cf75c99a75a5a20ef9db.jpg",[],{"id":15547,"slug":15548,"title":15549,"dynasty":69,"author":201,"museum":2409,"description":15550,"tags":15551,"thumbUrl":15553,"material":37,"size":15554,"collection":60,"collections":15555,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},219103,"lu-cong-gui-qin-tu-yi-ming-219103","芦丛归禽图","疏芦斜曳，翎羽翩然。归禽或栖于汀石，或振翅掠空，笔墨简淡却意态鲜活。淡远的背景晕染出雨后空濛，恰与题跋中“宿雨涨”的诗意相契。诗画交融间，文人寄情林泉的雅趣悄然流露——无需浓妆艳抹，仅以清雅之韵勾勒自然闲静，仿佛芦叶簌簌声里，禽鸟轻啼，引观者心随归禽，一同栖入这方悠然天地。",[23,25,26,55,29,28,78,15552,153,864,7,490,1768],"芦丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87fb7b2785dc6077427ac6d731e773b1.jpg","纵22横17厘米",[60],{"id":15557,"slug":15558,"title":15559,"dynasty":69,"author":15560,"museum":130,"description":15561,"tags":15562,"thumbUrl":15563,"material":58,"size":15564,"collection":59,"collections":15565,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":64},219068,"xiao-xiang-ba-jing-ce-4-zhang-fu-219068","潇湘八景册-4","张复","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,25,5191,53,80,85,153,349,133,136,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62d0b3be84d63ac8951b6a29c47fd5af.jpg","30x33厘米",[],{"id":15567,"slug":15568,"title":15569,"dynasty":18,"author":9091,"museum":552,"description":15570,"tags":15571,"thumbUrl":15572,"material":327,"size":59,"collection":59,"collections":15573,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":1551},217086,"bai-miao-luo-han-31-leng-mei-217086","白描罗汉-31","冷枚（约1669年—1742年），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。清代宫廷画家。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。",[25,26,53,434,576,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6215d7577f07c619859204b0f6f08c2.jpg",[],{"id":15575,"slug":15576,"title":14981,"dynasty":18,"author":15577,"museum":150,"description":15578,"tags":15579,"thumbUrl":15581,"material":59,"size":59,"collection":88,"collections":15582,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":15583},203458,"fang-gu-shan-shui-ce-lan-meng-203458","蓝孟","画面以淡墨皴染铺陈冬日山水，山峦覆雪如银，枯树虬枝缀霜，屋舍隐于林麓间，静谧悠然。近景小桥横溪，红衣行人策杖而行，点染出寒冬生机。笔墨苍劲秀润，山石用皴法显肌理，树木枝干中锋勾勒见骨力，留白衬雪意空灵。整体意境清寂悠远，承袭古意又含个人笔墨情致，将冬日山水的幽趣融于册页之中。",[23,53,55,29,76,75,80,277,134,7,851,136,1791,135,3633,13384,5271,15580,8109,6109],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77df8ec4b2e964f0158c25d8a7390d34.jpg",[88],"9a9887",{"id":15585,"slug":15586,"title":1238,"dynasty":69,"author":431,"museum":150,"description":15587,"tags":15588,"thumbUrl":15589,"material":59,"size":59,"collection":60,"collections":15590,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":15591},203225,"za-hua-ce-chen-hong-shou-203225","上帧嶙峋孤石错落，数人凭石而立，衣纹线条如铁线般凝练，神态闲雅见古趣；下帧梅枝虬曲伸展，花朵疏淡点缀，淡墨与轻色交织出清雅之韵。笔墨简括却传神，造型奇崛高古，于册页方寸间藏文人逸致。线条刚劲又含柔婉，白描骨力与水墨灵秀兼具，景物虽简而意境悠远，尽显独特艺术风貌与笔底深功。",[25,26,53,434,55,29,30,7,187,56,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd37a74377b2761477c0b6d7e237aab7.jpg",[60],"dfd5c8",{"id":15593,"slug":15594,"title":7126,"dynasty":18,"author":2201,"museum":150,"description":15595,"tags":15596,"thumbUrl":15597,"material":59,"size":59,"collection":88,"collections":15598,"showCount":900,"zanCount":511,"manualWeight":43,"mainColor":15599},203028,"shan-shui-tu-ce-xu-gu-203028","画面中山峰以淡墨晕染出嶙峋峭拔之态，线条简劲如折铁，却含灵动韵致。山间树木以浓墨点叶，枝桠横斜间生机暗涌，与淡墨山体形成虚实相衬，清寂里藏着盎然意趣。构图疏朗空灵，墨色层次分明，既显山水苍劲古朴，又透出冷逸出尘的格调，尽得虚谷山水清奇之妙。",[25,80,53,55,75,7,81,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d74b837b0fb44ed0d10e804be04578d.jpg",[88],"d7c2b3",{"id":15601,"slug":15602,"title":15603,"dynasty":18,"author":169,"museum":150,"description":15604,"tags":15605,"thumbUrl":15607,"material":59,"size":59,"collection":59,"collections":15608,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":15609},202458,"zhong-kui-tu-zhou-shi-tao-202458","钟馗图轴","钟馗盘腿趺坐于石上，宽袍大袖随势铺展，线条如行云流水，寥寥数笔勾勒出衣袂飘逸与身躯敦实。头戴软巾，长髯垂胸，眉眼间凛然正气中藏几分散淡。身后竹影疏斜，山石皴擦简括，墨色浓淡相间，与人物白描线条相映成趣。画作以简驭繁，笔墨洒脱，既刻画出钟馗威严气度，又透着文人画清逸韵致，似见画中人于林泉间暂忘尘俗的悠然心境。",[25,30,434,55,7,32,79,15580,15606,23],"线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e144fe3ed3089e51488b72b7d172fc2.jpg",[],"77614f",{"id":15611,"slug":15612,"title":15613,"dynasty":18,"author":15512,"museum":150,"description":15614,"tags":15615,"thumbUrl":15616,"material":59,"size":59,"collection":122,"collections":15617,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":15618},202172,"song-zhu-lan-shi-tu-zhou-qian-zai-202172","松竹兰石图轴","这幅水墨画作以松竹兰石为景，苍松老干虬劲，松针如戟般簇生；修竹墨叶纷披，姿态秀逸灵动；幽兰柔茎吐叶，隐于石侧舒展；顽石皴擦简练，与草木共生相映。笔墨简括却意韵悠长，墨色浓淡交错，线条洒脱自然，尽显文人画清雅高洁之致，传递出自然与心性交融的逸趣风骨。",[25,55,715,32,188,7,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af5e40b2d10834556c472dc44ddbbff.jpg",[122],"b9ac9d",{"id":15620,"slug":15621,"title":15622,"dynasty":18,"author":15623,"museum":150,"description":15624,"tags":15625,"thumbUrl":15626,"material":59,"size":59,"collection":39,"collections":15627,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":15628},202145,"shu-ding-gao-zhen-tu-zhou-wang-wen-202145","树丁高枕图轴","汪文","苍松虬劲，枝干如铁，松针疏密有致，墨色清润中见古拙。树下幽石旁，文人袒衣倚石，酣然高卧，眉眼舒展，似与松风同梦，忘却尘俗烦忧。背景淡染远山，留白悠远，笔墨简淡却意蕴深长，尽显文人寄情林泉、超脱物外的雅趣。整幅画作气息闲适，传递出一种高枕忘忧、与自然相融的悠然心境。",[25,26,27,55,29,30,7,134,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f045f8107d32fe42d7484c8e8ffa62a.jpg",[39],"8a6d46",{"id":15630,"slug":15631,"title":15165,"dynasty":18,"author":15632,"museum":150,"description":15633,"tags":15634,"thumbUrl":15635,"material":59,"size":59,"collection":60,"collections":15636,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":15637},202053,"hua-niao-tu-zhou-sun-duan-202053","孙端","画面以墨竹为主体，竹竿挺秀，竹叶以浓淡墨笔挥洒，线条劲利洒脱，尽显竹之清劲气节。石畔设色花卉点缀，红粉白晕染细腻，与墨竹的刚健形成柔婉呼应。数只飞鸟穿竹而过，姿态灵动，为静谧景致注入生机。山石以写意皴擦，墨色层次分明，与竹、花、鸟疏密相衬，构图雅致。整体兼具文人写意的洒脱与写生的生动，清幽中透着自然生机，尽显传统花鸟之雅韵。",[25,56,55,29,32,153,7,75,28,676,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c4c2e3b910ca7e0a980d582ba6ba6e.jpg",[60],"8c7e6a",{"id":15639,"slug":15640,"title":15057,"dynasty":18,"author":14680,"museum":150,"description":15641,"tags":15642,"thumbUrl":15643,"material":59,"size":59,"collection":88,"collections":15644,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":15062},202017,"zhi-hua-shan-shui-tu-zhou-gao-qi-pei-202017","这幅山水以指作笔，墨色浓淡交织，勾勒出苍劲山石与悠远意境。指节蘸墨皴擦的山石，线条朴拙却含力道，墨块晕染间似有云雾流动，留白处更显空濛深远。右侧题款笔墨流畅，与画面浑然一体，诗画相映成趣。整体风格洒脱自然，于简淡中藏深意，尽显文人画的雅致与意趣，指画技法的独特质感赋予山水别样生机，观之如入静谧之境，心随山水悠远。",[15050,55,80,75,79,77,2290,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4ad22f7dc815809a7f2aac99ee9526e.jpg",[88],{"id":15646,"slug":15647,"title":15648,"dynasty":69,"author":10816,"museum":150,"description":15649,"tags":15650,"thumbUrl":15651,"material":59,"size":59,"collection":60,"collections":15652,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":15653},201774,"mei-zhu-shui-xian-tu-juan-chen-ji-ru-201774","梅竹水仙图卷","这幅长卷以梅、竹、水仙为主体，笔墨简淡却意韵绵长。梅枝虬曲苍劲，疏花点点，清气满纸；竹影婆娑，线条挺秀，风骨毕现；水仙叶片舒展，姿态绰约，宛若凌波。山石以淡墨晕染，与花木相映成趣，构图疏密有致，留白空灵，尽显文人雅士的超然心境与对自然生机的咏叹。整幅画作不尚浓艳，以水墨写意传情，于简约中见深致，尽显文人画的清雅风骨。",[25,74,55,56,187,32,174,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c71d44d5983ac84679164a2a06056e5.jpg",[60],"d1c5ae",{"id":15655,"slug":15656,"title":15657,"dynasty":18,"author":15658,"museum":150,"description":15659,"tags":15660,"thumbUrl":15661,"material":59,"size":59,"collection":39,"collections":15662,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":15663},201767,"mei-xia-shang-yue-tu-zhou-yu-ji-201767","梅下赏月图轴","余集","淡墨晕染出朦胧月色，清辉洒落夜空。老梅枝干虬曲疏朗，疏影横斜间尽显苍劲风骨。树下文人宽袍博带，负手伫立，凝眸望月的姿态闲逸中藏着幽寂。笔墨简练传神，设色清雅脱俗，留白营造空濛意境，将月夜静谧与文人孤怀雅致交融，尽显文人画空灵韵致。",[25,26,27,29,30,187,864,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3df64b4475f1bc42489848d0d2db25.jpg",[39],"c0b09b",{"id":15665,"slug":15666,"title":4335,"dynasty":69,"author":15667,"museum":150,"description":15668,"tags":15669,"thumbUrl":15670,"material":59,"size":59,"collection":122,"collections":15671,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":15672},201684,"lan-zhu-tu-juan-yang-wen-cong-201684","杨文骢","画面以水墨写意绘兰、竹、孤石，兰叶翩跹如带，墨线流畅中藏韵致；竹枝劲挺，竹叶错落，笔力刚健却含灵动之姿；山石泼墨晕染，辅以皴擦点染，苍朴厚重。三者疏密相生，相映成趣，于疏朗布局里透出文人清逸风骨与自然生机。笔墨洒脱随性，兼具写意之趣与笔墨之精，尽显作者对兰竹精神的体悟与艺术才情。",[25,74,55,188,32,7,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f55956cff9695a0c808f9a69a70da2c.jpg",[122],"b0a793",{"id":15674,"slug":15675,"title":15676,"dynasty":18,"author":11766,"museum":150,"description":15677,"tags":15678,"thumbUrl":15679,"material":59,"size":59,"collection":60,"collections":15680,"showCount":900,"zanCount":43,"manualWeight":43,"mainColor":15681},201524,"lan-shi-tu-zhou-jiang-pu-201524","兰石图轴","画面以淡墨晕染山石，皴擦间见朴拙之态；兰草以细劲线条勾勒，花叶舒展，清雅之气溢出绢素。石旁兰草丛生，叶姿绰约，花蕊点缀其间，似有暗香浮动。整体笔墨简洁，意境悠远，尽显文人画对自然意趣的追寻与品格的寄托。",[25,27,55,29,188,7,56,28,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8e084f0924beee06e99e9bdadc3cd1.jpg",[60],"b29566",{"id":15683,"slug":15684,"title":15685,"dynasty":148,"author":201,"museum":552,"description":15686,"tags":15687,"thumbUrl":15689,"material":641,"size":642,"collection":59,"collections":15690,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},290801,"san-yang-kai-tai-tu-zhou-yi-ming-290801","三阳开泰图轴","录入：故宫书画录（卷八），第四册，71页；故宫书画图录，第五册，267-26页",[25,27,29,30,3505,187,2049,863,7,15688,101],"三阳开泰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feba50b25eaa1043d133f4aeae80c3602.jpg",[],{"id":15692,"slug":15693,"title":15694,"dynasty":18,"author":15695,"museum":552,"description":15696,"tags":15697,"thumbUrl":15700,"material":641,"size":642,"collection":59,"collections":15701,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},290435,"dan-gang-qi-feng-tu-zhou-gao-qi-feng-290435","丹岗栖凤图轴","高其峰","高奇峰（1889—1933），晚清画家，名嵡，字奇峰，以字行，广东广州府番禺县（今广州）人。留学日本，同盟会员，与兄高剑父、陈树人画脉相连，画技相高，有“二高一陈”、“岭南三杰”、“岭南画派”创始人之一等盛誉。其人品高洁，“发扬真艺，领袖艺坛”（徐悲鸿）。画海横舟，劈波至勇，不薄墓碑“画圣高奇峰之墓”（林森书题）中民国“画圣”之名，时光如梭，颂声日高。 高奇峰的代表作品有《海鹰》《白马》《雄狮》《怒狮》《虎啸》《孤猿啼雪》《山高水长》等。出版有《高奇峰先生遗画集》。",[23,25,27,29,55,15698,15699,7,56],"神鸟","凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7e20c9e5f8aa0ebe10551bebacd861.jpg",[],{"id":15703,"slug":15704,"title":15705,"dynasty":148,"author":15706,"museum":112,"description":15707,"tags":15708,"thumbUrl":15710,"material":58,"size":642,"collection":59,"collections":15711,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},287765,"wu-rui-tu-lu-guang-287765","五瑞图","陆广","字季弘，号天游生，吴（今江苏苏州）人。擅画山水，取法黄公望、王蒙，风格轻淡苍润，萧散有致，后人评其格调在曹知白、徐贲之间。能诗，工小楷。",[25,24,27,29,56,7,2862,15709,32,2806,77,79],"枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716857fbc0e907b2b7bc67d7622d8ea2.jpg",[],{"id":15713,"slug":15714,"title":15715,"dynasty":69,"author":8882,"museum":552,"description":10599,"tags":15716,"thumbUrl":15717,"material":641,"size":642,"collection":59,"collections":15718,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},287439,"zhu-ming-feng-tian-tu-shan-mian-wen-jia-287439","竹明风恬图扇面",[24,25,26,714,55,32,7,133,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb53dd14890df9a037c0b39b8f0d9b91.jpg",[],{"id":15720,"slug":15721,"title":15722,"dynasty":18,"author":201,"museum":552,"description":15723,"tags":15724,"thumbUrl":15726,"material":641,"size":642,"collection":59,"collections":15727,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},242177,"guan-xiu-shi-liu-ying-zhen-xiang-yi-ming-242177","贯休十六应真像","此作用阴刻白描写就，佝偻的罗汉正凝神持卷诵读梵文，沟壑纵横的面庞刻满岁月沧桑，垂挂的佛珠与枯藤禅杖，晕开古朴清寂的禅意。\n\n衣纹线条刚柔相济，顿挫间尽显僧袍的厚重垂坠感，脚下山石皴法粗粝，更衬出罗汉沉潜观经的安然神态。题句呼应观经心境，将禅者毕生苦修、向道至诚的心境娓娓道来，把禅门沉静肃穆的氛围感烘托至极，尽显佛造像版画的精妙意趣。",[434,15725,576,30,7],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa74bfe62da9598727d2e6a13102a8c.jpg",[],{"id":15729,"slug":15730,"title":502,"dynasty":18,"author":14556,"museum":552,"description":14557,"tags":15731,"thumbUrl":15732,"material":641,"size":642,"collection":59,"collections":15733,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},239367,"shan-shui-ce-wang-san-xi-239367",[25,55,75,53,80,32,7,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d75387d275255b652e74a152a9ead9.jpg",[],{"id":15735,"slug":15736,"title":6938,"dynasty":18,"author":6939,"museum":71,"description":6940,"tags":15737,"thumbUrl":15738,"material":507,"size":6943,"collection":59,"collections":15739,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},238299,"shi-liu-luo-han-ce-jia-quan-238299",[25,29,28,30,7,81,82,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209df14bf79efea93fb2fc55410374f6.jpg",[],{"id":15741,"slug":15742,"title":15743,"dynasty":18,"author":15744,"museum":552,"description":15745,"tags":15746,"thumbUrl":15747,"material":641,"size":642,"collection":59,"collections":15748,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},237956,"ding-zhou-guan-yan-tu-ye-zhou-dao-237956","仃舟观雁图页","周道","江岸巉岩缀着苍润草木，扁舟轻系，舟中白衣士人静静凝望远空归雁。江天寥廓，淡墨晕染的远山混融在暮霭里，水色天光漫成一片柔润朦胧。\n\n题诗与画境相生，将暮春送别后的清寂揉进笔墨，桃花春水、空山飞燕，把缱绻怅惘尽藏在淡远笔致中。笔致淡简秀雅，设色素净空灵，将江南暮春的柔婉与林下幽人的闲远襟怀熔于一炉，淡远疏朗间漾着沉静诗意，尽显文人画寄兴遣怀的雅致，把隐逸闲情藏进江天暮色。",[25,26,53,55,29,78,79,80,85,153,7,82,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F272439c9531a1f9322cf97f3540fb749.jpg",[],{"id":15750,"slug":15751,"title":15752,"dynasty":18,"author":15753,"museum":552,"description":15754,"tags":15755,"thumbUrl":15756,"material":59,"size":59,"collection":88,"collections":15757,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},237562,"bian-gong-guai-shi-tu-zhou-fang-heng-xian-237562","汴宫怪石图轴","方亨咸","[清]小字姐哥，字吉偶，号邵村，号龙瞑、心童道士，安徽桐城人。拱乾子。顺治四年（一六四七）进士，官御史。能文，善书，精于小楷。山水仿黄公望，博大沈雄，力追古雅，与程正揆、顾大申时称鼎足。花鸟意态如生，曾绘百尺梧桐卷，雀雏入神品。\n平生足迹几遍天下，故其所见无非粉本，不规规于古人，所以更胜于古人。顺治十五年（一六五八）为刘年伯作山水轴。其康熙十七年（一六七八）作深林垂绘图，现在日本。《国[清]朝画识、图绘宝鉴续纂、古夫于亭录、百尺梧桐阁集、昭代尺牍小传、清朝书画家笔录、瓯钵罗室书画过目考、古代书画过目汇考附目》。传世作品有顺治十五年(1658)为刘年伯作山水轴。康熙十七年(1678)作《深林垂纶图》，现收藏于日本；康熙五年(1666)作《山水花鸟》册页、《江右纪游图册》共10帧，现藏故宫博物院；八年作《梅花双雀图》轴图录于《神州大观》；十三年作《松石图》图录于《中国名画集》；康熙十五年(1676)作《五苗图》轴藏上海博物馆。著有《邵村诗集》《塞外乐府》《楚粤使稿》等。方亨咸《似兰斯馨，如松之盛》书画象牙牌子现藏于西河自然博物馆。",[24,25,26,27,55,434,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001a2d9beefdd270ce2fe8ca67ac2ad.jpg",[88,786],{"id":15759,"slug":15760,"title":7126,"dynasty":18,"author":14153,"museum":552,"description":15761,"tags":15762,"thumbUrl":15764,"material":641,"size":642,"collection":59,"collections":15765,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},237487,"shan-shui-tu-ce-yao-song-237487","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[25,53,55,77,78,75,79,80,7,81,8316,1291,7673,15763,135],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f53938c1969f1a58b6dd58cd34eed5.jpg",[],{"id":15767,"slug":15768,"title":15769,"dynasty":18,"author":4274,"museum":71,"description":15770,"tags":15771,"thumbUrl":15772,"material":327,"size":59,"collection":59,"collections":15773,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},237215,"shu-hua-he-bi-ce-cha-shi-biao-237215","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[26,53,55,80,78,133,7,2079,134,491,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28036d56a8fc62b1f1ccc963059652c0.jpg",[],{"id":15775,"slug":15776,"title":15275,"dynasty":18,"author":15276,"museum":552,"description":15277,"tags":15777,"thumbUrl":15778,"material":59,"size":59,"collection":59,"collections":15779,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},237164,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237164",[25,26,53,29,80,277,82,30,81,7,349,190,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2949467f327c877a6d026d990de28f.jpg",[],{"id":15781,"slug":15782,"title":15783,"dynasty":69,"author":11675,"museum":552,"description":15784,"tags":15785,"thumbUrl":15786,"material":641,"size":642,"collection":59,"collections":15787,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},236809,"zhu-lan-shan-ye-ding-yun-peng-236809","竹兰扇页","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[25,714,55,32,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6234814c99876de84d31582731ba04a7.jpg",[],{"id":15789,"slug":15790,"title":502,"dynasty":18,"author":214,"museum":5179,"description":5180,"tags":15791,"thumbUrl":15792,"material":59,"size":59,"collection":88,"collections":15793,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},236738,"shan-shui-ce-hua-yan-236738",[25,26,53,55,75,80,7,81,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3471dccb41f6380abecbae7b7403b8e.jpg",[88,122],{"id":15795,"slug":15796,"title":15290,"dynasty":18,"author":4274,"museum":552,"description":15291,"tags":15797,"thumbUrl":15798,"material":59,"size":59,"collection":59,"collections":15799,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},236574,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236574",[25,26,53,55,75,80,134,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda8adb53b09c5473cface5002936a484.jpg",[],{"id":15801,"slug":15802,"title":15803,"dynasty":18,"author":15804,"museum":552,"description":15805,"tags":15806,"thumbUrl":15807,"material":641,"size":642,"collection":59,"collections":15808,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},236347,"hua-shi-shan-chen-heng-ke-236347","花石扇","陈衡恪","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[25,26,714,55,29,56,191,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F047729d5c3c7c01d47c56fd834e8846a.jpg",[],{"id":15810,"slug":15811,"title":7518,"dynasty":18,"author":201,"museum":552,"description":15812,"tags":15813,"thumbUrl":15814,"material":59,"size":59,"collection":59,"collections":15815,"showCount":354,"zanCount":511,"manualWeight":43,"mainColor":64},235986,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235986","这幅小品以极简淡墨造境，左侧以细碎渴笔写水岸杂木，苍劲朴拙，大片留白铺陈出浩渺空茫的水面。角落半舫茅舍隐于浅墨晕染的烟霭之间，野逸幽寂。水墨写意删繁就简，以少胜多，淡墨晕染出远山虚影，虚实相生间晕开清寂萧散的江南水畔意境，将文人寄情林泉、澹泊自持的心境藏于留白与笔意之中，笔简意足，尽显文人山水空灵雅韵，寥寥数笔便勾勒出可居可游的世外幽境，余韵悠长。",[25,55,75,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81da1cb2ae9861c40ac24b912ee88d23.jpg",[],{"id":15817,"slug":15818,"title":15819,"dynasty":69,"author":201,"museum":552,"description":15820,"tags":15821,"thumbUrl":15822,"material":641,"size":642,"collection":59,"collections":15823,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},235812,"qian-gu-bai-shi-tu-shan-ye-yi-ming-235812","钱穀柏石图扇页","此作用笔苍老朴拙，虬曲古柏盘桓于顽石之侧，皴擦间尽显柏皮嶙峋、主干遒劲的古茂之态，旁生幽竹萧疏挺秀，枝叶攒簇暗含生意。水墨晕染清润雅致，金笺底调更添沉静古雅氛围。左侧题诗与绘境相映，诗画谐和，暗合文人托物言志的意趣，以松柏之坚贞、修竹之清逸，寄寓林下幽居的澹泊襟怀，笔简意足，尽显逸笔草草、以意胜形的审美意韵，于尺幅间铺展出清寂淡远的林下雅风。",[25,26,714,55,75,260,1073,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e935ca8d567bed18f9d280b9b661f4b.jpg",[],{"id":15825,"slug":15826,"title":15827,"dynasty":18,"author":6283,"museum":552,"description":15828,"tags":15829,"thumbUrl":15830,"material":59,"size":59,"collection":59,"collections":15831,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},235776,"qing-chu-liu-da-jia-ji-ce-xia-ri-shan-ju-ye-wang-hui-235776","清初六大家集册-夏日山居页","此作以苍松为前景，虬干层枝劲秀郁茂，松下溪畔草庐隐于繁林之间，左见飞泉落涧，对岸烟水柔波漾着垂杨。以干笔皴擦、湿墨晕染交织出山林层次，苍润相生。繁密笔致却毫无拥塞之感，疏密错落间铺展出夏日山居的清和意趣。将林泉高致的隐逸襟怀寄寓尺幅，实景丘壑与文人幽怀相融，萧散悠然的林下之风漫溢纸面，尽显淡远恬和的山水雅韵。",[25,26,24,53,55,75,79,80,715,349,82,7,11306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90fc4bdee8bb93e59055c54cda66ee5d.jpg",[],{"id":15833,"slug":15834,"title":15835,"dynasty":18,"author":14680,"museum":552,"description":14681,"tags":15836,"thumbUrl":15838,"material":641,"size":642,"collection":59,"collections":15839,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},235654,"xi-yi-tu-zhou-gao-qi-pei-235654","蜥蜴图轴",[25,26,27,15050,55,29,15837,7,541,228],"蜥蜴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F085c06c4b3005f9957fed7c11a6221a0.jpg",[],{"id":15841,"slug":15842,"title":7126,"dynasty":18,"author":7127,"museum":552,"description":15843,"tags":15844,"thumbUrl":15845,"material":59,"size":59,"collection":59,"collections":15846,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},235645,"shan-shui-tu-ce-wu-li-235645","这幅山水以干笔皴擦铺陈丘壑，近岸村居错落疏朗，枯木伴卧波板桥，水色空濛间晕开江南平畴的幽寂。远山层叠浑厚，飞泉隐挂崖壁，林麓苍郁朴拙。\n\n笔墨苍秀简淡，带着元人山水的萧散意韵，将闲居丘壑的雅兴藏在淡墨轻岚中。整幅画恬澹冲和，缓缓铺展出山居清旷之致，把文人静穆的幽怀融于笔墨，于简淡中见沉郁朴厚的气韵，尽显文人山水画的雅致意趣。",[25,55,75,53,77,79,80,277,82,134,7,349,136,81,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e75ceb242252b4cd4f81ea3cef5820.jpg",[],{"id":15848,"slug":15849,"title":13374,"dynasty":69,"author":201,"museum":552,"description":15850,"tags":15851,"thumbUrl":15852,"material":641,"size":642,"collection":59,"collections":15853,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},235589,"wen-chu-hua-hui-ce-yi-ming-235589","此作以写意之笔绘湖石，墨色干湿浓淡交织，皴擦勾勒间尽显嶙峋苍朴的古拙质感。石畔以青蓝晕染小花，柔茎嫩叶娉婷舒展，秀灵雅致的花木和浑朴顽石形成刚柔相映的绝佳意趣。\n\n洒金笺底自带温润古雅的氛围感，边角朱红印章点缀，更添幽古气韵。整幅小品以简驭繁，笔致清浅却意韵饱满，将闲逸雅致的文人意趣融于尺幅之间，尽显隽逸风神，悠悠古意扑面而来。",[25,26,53,55,29,56,7,79,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96247d1d727cbe12030bb5469f2f1d34.jpg",[],{"id":15855,"slug":15856,"title":13374,"dynasty":69,"author":201,"museum":552,"description":15857,"tags":15858,"thumbUrl":15859,"material":641,"size":642,"collection":59,"collections":15860,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},235588,"wen-chu-hua-hui-ce-yi-ming-235588","此作用笔兼工带写，水墨晕染的湖石嶙峋朴拙，浓墨点苔衬出苍古意趣。淡粉晕染鸢尾，柔线勾出花娇叶秀，清雅柔婉。坡间杂草、石畔细枝皆以简笔写出，野意自生。将花草娇柔与湖石沉凝相映，以小幅尺幅营造出幽谧静雅的小景，淡墨轻色间漫溢出悠然的文人闲趣，不见繁复铺陈，却于一花一石间尽显雅致恬淡的小品意致，清丽动人。",[25,26,53,55,29,28,75,56,7,243,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F972e4a78d3efd7d3a7b7efe7336a0b4d.jpg",[],{"id":15862,"slug":15863,"title":13374,"dynasty":69,"author":201,"museum":552,"description":15864,"tags":15865,"thumbUrl":15866,"material":641,"size":642,"collection":59,"collections":15867,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},235584,"wen-chu-hua-hui-ce-yi-ming-235584","此帧小品以水墨晕染湖石，枯润相生，尽显嶙峋古拙之态。数茎黄花抽叶绽蕊，嫩茎柔叶舒展自然，设色明雅清隽，将娇柔生机晕染纸上。粉蝶翩跹而来，翅脉纤毫毕现，朱白斑纹点缀翅翼，为静谧小景添灵动生趣。地面细草偃仰错落，补足幽寂小景的意趣。\n\n全作用笔简淡疏朗，工写兼糅，将花木、湖石与草虫融为一体，既有写生的鲜活雅致，又具文人写意的萧散简远，暗含幽居赏玩的闲淡意趣，尽显清雅韵致。",[25,29,55,53,56,7,189,160,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17156255911e7f286c46754cfdd4844.jpg",[],{"id":15869,"slug":15870,"title":3256,"dynasty":18,"author":14211,"museum":552,"description":15871,"tags":15872,"thumbUrl":15873,"material":59,"size":59,"collection":59,"collections":15874,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},235576,"hua-hui-ce-fan-ting-zhen-235576","此作用水墨写意绘秋菊傍石之景，淡墨晕染拳石，留白勾勒石身肌理，苍润朴拙。丛菊层叠舒展，花瓣以浓淡墨色分染，尽显蓬松柔润之姿，衬叶枯荣有别，浓墨见苍劲、淡墨显清润，将秋菊凌霜盛放的悠然之态尽显。右下角细竹数枝，清瘦劲挺，为画面添一分疏秀之致。\n\n右侧题字笔力苍劲，诗书绘事相映成趣。整作脱去艳色，以水墨层次尽显秋日清冷高旷意境，借寒菊寄寓隐逸高格，尽显清雅淡远的文人风骨。",[25,55,53,56,189,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13db6cae2d7d989c0b396ae270259ea3.jpg",[],{"id":15876,"slug":15877,"title":13787,"dynasty":18,"author":13788,"museum":552,"description":13789,"tags":15878,"thumbUrl":15879,"material":139,"size":59,"collection":59,"collections":15880,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},235035,"hua-ji-chan-yin-tu-ce-xiao-chen-235035",[25,26,53,29,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803f7fe27a3a74e28aaabe5244a9ac12.jpg",[],{"id":15882,"slug":15883,"title":13787,"dynasty":18,"author":13788,"museum":552,"description":13789,"tags":15884,"thumbUrl":15885,"material":139,"size":59,"collection":59,"collections":15886,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},235033,"hua-ji-chan-yin-tu-ce-xiao-chen-235033",[25,53,29,28,79,30,7,6100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F798ea482cb6e10b0c0368eef837c433c.jpg",[],{"id":15888,"slug":15889,"title":13787,"dynasty":18,"author":13788,"museum":552,"description":13789,"tags":15890,"thumbUrl":15891,"material":139,"size":59,"collection":59,"collections":15892,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},235032,"hua-ji-chan-yin-tu-ce-xiao-chen-235032",[25,26,53,434,55,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ccb97b7c0901d8f1dd5906182a61106.jpg",[],{"id":15894,"slug":15895,"title":15896,"dynasty":69,"author":14759,"museum":552,"description":15897,"tags":15898,"thumbUrl":15899,"material":59,"size":59,"collection":59,"collections":15900,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},234818,"zhu-jia-shan-shui-ce-shu-jun-su-234818","诸家山水册","殳君素 [明]字质夫，吴（今江苏苏州）人。师文嘉（一五0一―一五八三）钱谷\n为入室弟子，有出蓝之美。候懋功、朱朗之流亚。按画体元诠有金陵殳质，字质甫，工山水。是否一人，待考。《无声诗史、弇州续稿》",[25,26,53,55,75,80,134,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef0813ead55ecab512339201cb44a55.jpg",[],{"id":15902,"slug":15903,"title":15904,"dynasty":69,"author":201,"museum":71,"description":15905,"tags":15906,"thumbUrl":15908,"material":15909,"size":15910,"collection":59,"collections":15911,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},234772,"ming-ren-mu-niu-dan-ye-yi-ming-234772","明人牧牛单页","绘初春时节，一边无叶的树枝上红花灼灼，空中一只燕子拍翅而来；树下一头体格强壮肥牛爆了脾气，似不愿听从牧童引导，故而孩童骑在牛角上，似与壮牛一比高低，童趣十足。",[25,26,55,53,2079,101,30,32,80,7,117,15907],"牧乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853a9009361ea4d001207b2469b897ea.jpg","绢本 ，墨笔","纵23cm，横24cm",[],{"id":15913,"slug":15914,"title":1238,"dynasty":18,"author":12483,"museum":71,"description":15915,"tags":15916,"thumbUrl":15917,"material":139,"size":59,"collection":59,"collections":15918,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},234309,"za-hua-ce-chen-zi-234309","陈字(1634一约1713)即陈小莲，幼唤鹿头，初名懦桢，宇无名，明末清初诸暨枫桥陈家村人。陈洪绶第四子，太学生，考授州同。\n资质颖悟，自幼得父钟爱，善书工画，笔墨洒脱酣畅，有大家气，所绘人物、花草别树一帜。其诗亦工，然为画名所掩。时人得陈字画，宝惜如老莲之作，故有“小莲”之号。达官贵人持重金求画，虽家贫如洗，亦不供片纸只字。为人表里如一，遇有不快，即面折人。人谓乃翁遗风，老莲再世。\n陈字痛惜其父著述散佚，设法于谱牒中钩沉，至亲朋中搜集，然老莲议论时政之策，终未一见，只得将所获诗文付梓行世。其时，陈氏一族日见衰落，族人不得已出卖祖先茔地。陈字游学归里，亟言不可，然亦无力赎回。此后，渡大江，历淮扬，吊汴梁古迹，揽京师胜景。在汝南邂逅毛奇龄，相顾太息，纵酒浇愁。毛奇龄赠诗曰：“相逢衣褐在准西，走马关前日欲低。此去一寻辽海雁，何年更听推南鸡。寒风落日醉当垆，燕市还寻旧酒徒，君到安州若相忆，为予重写庆卿图。”未几，贫病而卒。著有《小莲客游诗》，其画作亦有传世。",[24,25,26,53,29,28,7,34,291,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea103ead8b643bc8fe1c701c3daed1a.jpg",[],{"id":15920,"slug":15921,"title":15922,"dynasty":18,"author":15923,"museum":71,"description":15924,"tags":15925,"thumbUrl":15926,"material":479,"size":59,"collection":59,"collections":15927,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},234301,"yu-mu-shang-xin-ce-shan-shui-ce-gao-cen-234301","娱目赏心册-山水册","高岑","盛唐诗人高适和岑参的合称，为盛唐边塞诗歌代表诗人的专称。但“高岑”并称，则始于他们的好友杜甫《寄彭州高三十五使君适、虢州岑二十七长史参三十韵》：“高岑殊缓步，沈鲍得同行。”说他们两人成名较晚，而才学堪比沈约、鲍照，原非专称\n高适、岑参的诗以“悲壮为宗”(胡应麟《诗薮》)。他们都积极进取，但长期功名失意。一再出塞谋求报国立功，对仕途坎坷和边塞生活有着深刻体验。所作主要以边塞战争、塞上风光和仕途艰难为题材，善于运用七言古诗等体裁，表现报国安边、治国安民的壮志和奋发进取的精神，或抒发怀才不遇、功业无成的悲愤。其诗意气豪迈，情辞慷慨，奇偶相生，手法多样。这是他们共同的地方。\n由于生活经历、个性、文学思想和渊源等差异，高适、岑参的诗又有重要区别。“高悲壮而厚，岑奇逸而峭”（王士禛《师友师传续录》）。高适善于反映战士和农民的疾苦，暴露现实，笔调严谨，直抒胸臆，以常语感人；岑参擅长讴歌胜利，描绘奇境，抒发豪情，寓情于景，以奇语动人。\n高、岑边塞诗成就最高。近人以“高岑”并称往往是因其边塞诗。同时，唐代边塞诗派也被称为“高岑诗派”，诗风相近的王之涣、王翰、王昌龄、崔颢、李颀等人均被列入此派。\n高适（700—765) ，汉族。唐代边塞诗人。字达夫、仲武，沧州(今河北省景县)人,居住在宋中(今河南商丘一带)。少孤贫，爱交游，有游侠之风，并以建功立业自期。天宝八载(749)，经睢阳太守张九皋推荐,应举中第,授封丘尉。十一载,因不忍“鞭挞黎庶”和不甘“拜迎官长”而辞官，又一次到长安。次年入陇右、河西节度使哥舒翰幕，为掌书记。安史乱后，曾任淮南节度使、彭州刺史、蜀州刺史、剑南节度使等职，官至,封渤海县侯。世称“高常侍”。 有《高常侍集》等传世。永泰元年（765年）卒，终年64岁，赠礼部尚书，谥号忠。高适为唐代著名的边塞诗人，与岑参并称“高岑”。笔力雄健，气势奔放，洋溢着盛唐时期所特有的奋发进取、蓬勃向上的时代精神。早年曾游历长安，后到过蓟门、卢龙一带，寻求进身之路，都没有成功。在此前后，曾在宋中居住，与李白、杜甫结交。其诗直抒胸臆，不尚雕饰，以七言歌行最富特色，大多写边塞生活。\n岑参 (约715年—770年)唐代诗人，原籍南阳（今属河南新野），迁居江陵（今属湖北）。汉族，荆州江陵（湖北江陵）人，去世之时56岁，是唐代著名的边塞诗人。其诗歌富有浪漫主义的特色，气势雄伟，想象丰富，色彩瑰丽，热情奔放，尤其擅长七言歌行。",[25,26,53,55,75,78,79,80,7,349,4904,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb9dbfb8440fa8e56bd1b0b7a1a5c52.jpg",[],{"id":15929,"slug":15930,"title":15931,"dynasty":369,"author":201,"museum":71,"description":15932,"tags":15933,"thumbUrl":15934,"material":598,"size":15910,"collection":59,"collections":15935,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},234079,"mu-niu-tu-ye-yi-ming-234079","牧牛图页","此作以极简构图层叠出清寂悠远的乡野意趣，大片留白晕染出郊野冬日的空濛淡远。坡岸之上老牛蜷卧垂首，以淡墨轻施晕染，将其温驯慵懒的休憩之态尽显，似在静享午后闲光。侧旁牧童俯身专注于手边嬉玩，寥寥数笔便勾勒出孩童烂漫天真的神态。几丛细竹疏落布于画面边角，淡墨写就枝叶清萧，愈发衬出天地的空阔安闲。\n\n整幅画作以虚衬实，以简驭繁，将乡野日常的松弛闲趣藏于留白之中，把宋人尚意的美学融在浅淡笔墨里，悠悠闲静之意漫溢绢素。",[25,29,28,53,2079,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841eaa37b6840ef0d12d643444882ba7.jpg",[],{"id":15937,"slug":15938,"title":15939,"dynasty":369,"author":201,"museum":71,"description":15940,"tags":15941,"thumbUrl":15942,"material":1106,"size":15943,"collection":59,"collections":15944,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},234077,"liao-gui-tu-ye-yi-ming-234077","蓼龟图页","图绘溪水岸边，泥坡碎石，红蓼吐艳，野菊轻绽。一只老龟缓缓爬上坡岸，未及出水，便被蓼花上的小蜂所吸引，驻足昂首仰望，后足仍浸于池中，其悠闲自在、与世无争的神态表露无遗。用笔兼工带写，红蓼、乌龟以中锋细笔勾描，小草、花蕊用小写意法，工写结合，笔法灵活多样，设色淡雅清秀。",[25,24,26,53,28,29,56,101,7896,2010,456,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc24c6c29ada4fc7aa2fcd944487a6571.jpg","纵28.4厘米，横28厘米",[],{"id":15946,"slug":15947,"title":15948,"dynasty":18,"author":15949,"museum":71,"description":15950,"tags":15951,"thumbUrl":15952,"material":139,"size":15953,"collection":59,"collections":15954,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},233987,"wang-ke-zhou-xiang-ce-ding-gao-233987","汪可舟像册","丁皋","此册由丁皋绘头像，康涛补画僧服。通过本幅主人公汪氏题可知，此图作于乾隆丙子（二十一年，1756年）初冬日。本幅有江西吉安人范金镛题1则，对开及裱边有汪客吟自题2则。后幅为金农、袁枚、赵之谦等10家题记。\n图绘汪客吟56岁时半身像，髡发微须，面相庄重，双目有神。整个头像画法精细，用色柔和，渲染有度，极富立体感，当为丁氏肖像画杰作。汪氏对此像极为喜爱，一再品题，并于游历时随身携带，因而得有众多文人雅士题赠于后。",[25,29,28,30,31,7,187,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24cac436329340cb6b6d09bc2aaac607.jpg","纵21.6厘米，横6.4厘米",[],{"id":15956,"slug":15957,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":15958,"thumbUrl":15959,"material":59,"size":59,"collection":59,"collections":15960,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},233374,"shi-zhu-zhai-pu-ce-hu-ri-cong-233374",[25,26,53,55,29,134,189,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9130d676cfa08a2d37c8d1716a8eb941.jpg",[],{"id":15962,"slug":15963,"title":15964,"dynasty":18,"author":14832,"museum":71,"description":8057,"tags":15965,"thumbUrl":15966,"material":59,"size":59,"collection":59,"collections":15967,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},233228,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-fang-li-cheng-shan-shui-ye-wu-hong-233228","金陵诸家山水花卉册-仿李成山水页",[25,24,26,53,55,75,80,133,134,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff024a8ec9b6e0df9a39e8246585e9f.jpg",[],{"id":15969,"slug":15970,"title":6513,"dynasty":18,"author":15971,"museum":552,"description":15972,"tags":15973,"thumbUrl":15974,"material":327,"size":15975,"collection":59,"collections":15976,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},232611,"shan-shui-ce-ye-dai-si-wang-232611","戴思望","［清］字怀古，安徽休宁人。善鼓琴，能诗词，工书法。画山水宗法元人，峰峦林壑，精疏淡宕。每扁舟往来两浙、三吴间，遇佳山水辄留峦不忍去。善谐笔，有时旬日不语，人以为痴。构风疾而殁。《国［清］朝画徵录、桐阴论画、倚玉堂诗话、画传编韵、昭代尺牍小传》",[25,55,80,53,85,30,7,78,79,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675dbe42f36407113547d54da0288d21.jpg","25 x 32.8cm",[],{"id":15978,"slug":15979,"title":15980,"dynasty":18,"author":14680,"museum":50,"description":15981,"tags":15982,"thumbUrl":15984,"material":327,"size":15985,"collection":59,"collections":15986,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},231531,"zhi-hua-niu-bei-song-jing-tu-gao-qi-pei-231531","指画牛背诵经图","高其佩（1660或1672—1734年），字韦之，号且园，辽宁铁岭人，隶汉军镶黄旗，官至刑部侍郎。他擅长指画，即用手掌、手指和指甲勾划线条，并佐以毛笔。所绘人物、山水、花卉栩栩如生，丰富了中国画的表现技法，在清代画坛以指画独树一帜。清雍正年间曾宫中作画。\n所谓指画，即以手指蘸墨代替毛笔作画，用指尖、指甲、指背、掌沿等不同部位着纸，画出不同质感的线条，既保持了毛笔画的传统韵致，又有自己简约、刚健的特殊风味，从而能以得心应手地表现物象。",[23,25,26,15050,55,30,2079,7,15983],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ac262ebe35f216eebf751a05856bc.jpg","70.9×38.3cm",[],{"id":15988,"slug":15989,"title":15990,"dynasty":5251,"author":9966,"museum":552,"description":15991,"tags":15992,"thumbUrl":15993,"material":641,"size":642,"collection":59,"collections":15994,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},230489,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-yi-ping-yun-gu-deng-yan-230489","安土桃山 山水图屏风-第一屏","云谷等颜（1547～1618）画家。初学狩野派，后学雪舟水墨画。",[23,25,26,55,75,80,117,260,522,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959bfd52b542f4f8e07d6bd3acfd9022.jpg",[],{"id":15996,"slug":15997,"title":15998,"dynasty":148,"author":201,"museum":552,"description":15999,"tags":16000,"thumbUrl":16001,"material":59,"size":59,"collection":59,"collections":16002,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},228222,"qiu-lin-shan-zhuang-tu-ye-er-yi-ming-228222","秋林山庄图页二","此画以淡墨写就秋山幽居之景。萧疏枯木虬曲伸展，枝桠棱棱尽染清秋寥落之意，旁生细竹添得几分柔雅生机。山石以简笔勾勒，皴擦浅淡风骨清癯，崖畔栈道蜿蜒，板桥通连幽处茅舍，藏着山居闲逸。远景江天空阔，远山一抹轻晕，留白尽衬荒寒淡远。\n\n笔墨松秀简净，无过多繁饰，以简淡之形托出幽寂清远的林下意趣，将幽居山野的恬然与秋林清寂相融，尽显寄情林泉的文人雅怀，淡而韵长，简中见味。",[23,25,55,80,53,434,75,1231,134,32,7,277,349,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c54853a4977f83f600f2b3a3909c5df.jpg",[],{"id":16004,"slug":16005,"title":16006,"dynasty":18,"author":6283,"museum":552,"description":16007,"tags":16008,"thumbUrl":16009,"material":59,"size":59,"collection":59,"collections":16010,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},224460,"wan-wu-qiu-ying-tu-zhou-wang-hui-224460","晚梧秋影图轴","218年9月11日，“故宫博物院藏清初‘四王’绘画特展”在故宫文华殿书画馆开幕。\n该展览展出文物多达11件套，分为“‘师古’为宗”、“融古出新”以及“沾溉后学”三个单元。\n在展品的遴选上，不仅优选了艺术造诣高的绘画精品，同时又选择了能够体现“四王”画学思想的作品，如王鉴的《四家灵气图》、王原祁的《神完气足图》等。\n又如王时敏《秋山白云图》轴和王翚《晚梧秋影图》轴等，也是他们经典的代表作。\n该展览为绘画实践者提供了优秀的临摹范例，给广大观众带来深刻、丰富的艺术享受。",[23,25,26,27,55,75,715,907,349,277,82,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1cefd7828df8cbbeb1a228c219193e.jpg",[],{"id":16012,"slug":16013,"title":16014,"dynasty":69,"author":201,"museum":552,"description":16015,"tags":16016,"thumbUrl":16017,"material":59,"size":59,"collection":59,"collections":16018,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},223682,"feng-yu-po-zhou-tu-yi-ming-223682","风雨泊舟图","此作以淡墨晕染出空濛雨意，水雾裹挟秋意漫过江天。近岸怪石虬松相错，丹红枝叶点破深褐苍翠，晕开晚秋暖色。远山隐在烟霭中，只露嶙峋半截，将天地晕成一片苍茫。\n\n江面上薄雾横生，泊岸的舟楫静立，远水处孤帆在烟浪里浮沉，尽写羁旅之人待雨歇的怅惘。画师以虚实相生之法，将风雨欲来的沉郁秋江铺展开，淡墨轻皴晕出湿冷空寂的氛围感，把秋日羁泊的萧索意趣藏在烟水林峦之中。",[23,25,26,80,29,75,85,134,7,82,81,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04289f046947f163b3eebe5ac5d89837.jpg",[],{"id":16020,"slug":16021,"title":16022,"dynasty":69,"author":8235,"museum":150,"description":8236,"tags":16023,"thumbUrl":16024,"material":327,"size":16025,"collection":59,"collections":16026,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},222486,"shang-bo-hua-ji-xuan-36-11-zhang-lu-222486","上博画集选36-11",[23,25,55,30,7,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a62954a41ceae894e408b7beb8054bd.jpg","55.88厘米 27.94厘米",[],{"id":16028,"slug":16029,"title":16030,"dynasty":69,"author":9015,"museum":112,"description":16031,"tags":16032,"thumbUrl":16033,"material":507,"size":9019,"collection":59,"collections":16034,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},222072,"di-yi-a-ying-a-ji-da-zun-zhe-hua-zhou-wu-bin-222072","第一阿迎阿机达尊者画轴","十六罗汉，主要依据唐玄奘翻译的《大阿罗汉难提密多罗所说法住记》，他们是：一宾度啰跋罗惰阇、二迦诺迦伐蹉、三迦诺迦跋厘堕阇、四苏频陀、五诺距罗、六跋陀罗、七迦理迦、八伐阇罗弗多罗、九戍博迦、十半托迦、十一啰怙罗、十二那伽犀那、十三因揭陀、十四伐那婆斯、十五阿氏多、十六注荼半托迦。十六罗汉是释迦牟尼佛的弟子。据经典说，他们受了佛的嘱咐，不入涅盘，常住世间，受世人的供养而为众生作福田。此外，另有十八罗汉之说。此系于十六罗汉加上二位尊者。关于所加的二尊有多种说法。",[23,25,26,27,576,434,30,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6009dadca1f140131092eb0e9b93483.jpg",[],{"id":16036,"slug":16037,"title":15521,"dynasty":69,"author":9015,"museum":112,"description":16038,"tags":16039,"thumbUrl":16040,"material":507,"size":9019,"collection":59,"collections":16041,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},222070,"guan-yin-wu-bin-222070","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,25,26,69,576,29,30,32,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113196b48661d21fd07d43fc338d39c0.jpg",[],{"id":16043,"slug":16044,"title":16045,"dynasty":69,"author":431,"museum":71,"description":14912,"tags":16046,"thumbUrl":16047,"material":13870,"size":14915,"collection":59,"collections":16048,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},221888,"za-hua-tu-ce-lan-hua-zhu-shi-chen-hong-shou-221888","杂画图册-兰花柱石",[23,25,29,28,53,1211,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb47b5e42bf1487a0638711416eb14e.jpg",[],{"id":16050,"slug":16051,"title":16052,"dynasty":69,"author":431,"museum":71,"description":14912,"tags":16053,"thumbUrl":16054,"material":13870,"size":14915,"collection":59,"collections":16055,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":44},221887,"za-hua-tu-ce-fang-zhao-qian-li-bi-fa-chen-hong-shou-221887","杂画图册-仿赵千里笔法",[23,25,26,53,76,862,29,80,134,7,308,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5478b57693b040ba618e4030c80496.jpg",[],{"id":16057,"slug":16058,"title":16059,"dynasty":18,"author":16060,"museum":3191,"description":16061,"tags":16062,"thumbUrl":16063,"material":609,"size":16064,"collection":59,"collections":16065,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":59},220756,"shan-xia-chu-quan-tu-su-ren-shan-220756","山下出泉图","苏仁山","此作用笔清劲洗练，纯以白描淡墨写尽丘壑林泉。奇峭山石层叠错落，以勾勒皴擦带出嶙峋肌理，不着艳色却尽显山石清刚之态。山间古松斜逸虬曲，错落排布，为冷寂山景添几分清拔气韵。\n\n画面疏密相衬，高远山势间藏出深远意境，流泉隐于谷中，汀洲人家三两点缀，衬出林泉幽寂之致。整体萧散淡远，将文人隐逸的清冷意趣融于笔墨间，极简笔触晕染出超脱世俗的静穆氛围，尽显水墨留白的悠远意韵。",[23,25,55,273,75,115,82,81,7,8790,2351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178e99fe3c7ea1e6c456cc9ec449bd94.jpg","349 × 137.5 厘米",[],{"id":16067,"slug":16068,"title":16069,"dynasty":18,"author":16070,"museum":150,"description":16071,"tags":16072,"thumbUrl":16073,"material":37,"size":16074,"collection":59,"collections":16075,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},219844,"shan-shui-tu-ce-3-xie-sun-219844","山水图册-3","谢荪","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[25,26,53,55,29,75,80,277,82,7,153,134,136,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894f4e4e75e6cb0b82c2f6114e520119.jpg","14.2x19.2",[],{"id":16077,"slug":16078,"title":16079,"dynasty":69,"author":9015,"museum":112,"description":16080,"tags":16081,"thumbUrl":16082,"material":58,"size":59,"collection":59,"collections":16083,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},218049,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-3-wu-bin-218049","楞严廿五圆通佛像册-3","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。",[25,29,28,53,576,30,7,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dd325a1a78b73cf9ddc03a24004eb6.jpg",[],{"id":16085,"slug":16086,"title":16087,"dynasty":69,"author":9015,"museum":112,"description":16080,"tags":16088,"thumbUrl":16089,"material":58,"size":59,"collection":59,"collections":16090,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},218047,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-5-wu-bin-218047","楞严廿五圆通佛像册-5",[25,26,53,29,28,576,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0035f5b77bce14418a8c1ac95c95ca6c.jpg",[],{"id":16092,"slug":16093,"title":16094,"dynasty":18,"author":9091,"museum":552,"description":15570,"tags":16095,"thumbUrl":16096,"material":327,"size":59,"collection":59,"collections":16097,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":1551},217078,"bai-miao-luo-han-37-leng-mei-217078","白描罗汉-37",[18,25,26,53,434,576,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e6dd6b1de32526ca2b69bff1abac0a.jpg",[],{"id":16099,"slug":16100,"title":16101,"dynasty":69,"author":16102,"museum":112,"description":16103,"tags":16104,"thumbUrl":16105,"material":37,"size":16106,"collection":59,"collections":16107,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},216769,"jiu-lao-tu-1-huang-biao-216769","九老图-1","黄彪","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[24,25,29,28,74,715,32,190,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F481ec5024ae8a82f5b150af6a8c88cda.jpg","27.2x193",[],{"id":16109,"slug":16110,"title":16111,"dynasty":18,"author":8575,"museum":71,"description":16112,"tags":16113,"thumbUrl":16114,"material":58,"size":16115,"collection":59,"collections":16116,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":143},216224,"shi-jun-quan-tu-10-ai-qi-meng-216224","十骏犬图-10","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。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，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。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。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[23,25,26,28,29,101,2688,80,7,81,15487,79,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10f912cb31c2950c3d3be273fc84413.jpg","纵24.5厘米，横29.3厘米",[],{"id":16118,"slug":16119,"title":1229,"dynasty":69,"author":2418,"museum":71,"description":14950,"tags":16120,"thumbUrl":16121,"material":262,"size":14953,"collection":59,"collections":16122,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},214877,"shan-shui-ce-4-wen-zheng-ming-214877",[23,25,26,53,55,78,80,32,7,81,82,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd585d623484e8146c50015142b7397e9.jpg",[],{"id":16124,"slug":16125,"title":16126,"dynasty":69,"author":2418,"museum":71,"description":14950,"tags":16127,"thumbUrl":16128,"material":262,"size":14953,"collection":59,"collections":16129,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},214873,"shan-shui-ce-7-wen-zheng-ming-214873","山水册-7",[23,25,26,53,55,78,77,79,75,80,32,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd000820bf6c97737796e1fc843fd8252.jpg",[],{"id":16131,"slug":16132,"title":16133,"dynasty":18,"author":16134,"museum":150,"description":16135,"tags":16136,"thumbUrl":16137,"material":262,"size":16138,"collection":59,"collections":16139,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},214716,"shan-shui-ce-2-gao-xiang-214716","山水册-2","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[25,55,53,434,75,80,85,133,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fb57d6e9369bdf48b16b186a1fe5cc.jpg","纵23.9 厘米，横55.4 厘米",[],{"id":16141,"slug":16142,"title":16143,"dynasty":18,"author":16134,"museum":150,"description":16135,"tags":16144,"thumbUrl":16145,"material":262,"size":16138,"collection":59,"collections":16146,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},214697,"shan-shui-ce-11-gao-xiang-214697","山水册-11",[25,26,53,55,434,80,99,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279a58f67fbdc04d6c515180d557871.jpg",[],{"id":16148,"slug":16149,"title":16150,"dynasty":69,"author":431,"museum":184,"description":16151,"tags":16152,"thumbUrl":16153,"material":262,"size":14962,"collection":59,"collections":16154,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":64},214541,"mo-gu-ce-ye-10-chen-hong-shou-214541","摹古册页-10","摹古册是指模仿古代的书写方式进行写字的一种书法形式。陈洪绶是一位著名的明代书法家，他的书法风格被认为是对古代书法的很好的摹写。\n\n陈洪绶，字仲容，号凤阁山人，原籍江苏无锡，生于明朝洪武十五年（1382年）。他是明朝著名的书法家，也是《颜氏书苑》的编辑之一。他的书法被认为是对古代书法的很好的摹写，具有浓郁的古典气息。他的书法作品有《陈洪绶书法集》和《陈洪绶书法精选》等。",[25,26,53,434,55,30,7,79,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f85b8fbb500bbb91036ecbb4df16bc3.jpg",[],{"id":16156,"slug":16157,"title":16158,"dynasty":69,"author":1505,"museum":150,"description":16159,"tags":16160,"thumbUrl":16162,"material":59,"size":59,"collection":59,"collections":16163,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16164},203254,"ding-mao-xiao-jing-tu-ce-dong-qi-chang-203254","丁卯小景图册","笔墨清润疏朗，山峦以淡墨皴染，得空灵之致；修竹劲挺，孤石朴拙，意态萧散。左侧行书题跋与朱印相映，书画印浑然一体，尽显文人雅趣。画面虽小，却含丘壑万千，淡远意境中藏着禅意与哲思，是文人画“以书入画”“以意取胜”的典型范本，读之如沐清风，心归宁静。",[25,26,53,55,80,32,7,75,79,16161],"行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60cd0bb3d3541735a96190de8726cb1d.jpg",[],"9c9475",{"id":16166,"slug":16167,"title":15165,"dynasty":9797,"author":7218,"museum":150,"description":16168,"tags":16169,"thumbUrl":16171,"material":59,"size":59,"collection":60,"collections":16172,"showCount":354,"zanCount":511,"manualWeight":43,"mainColor":16173},203236,"hua-niao-tu-zhou-wang-zhen-203236","画面以灵动笔墨铺展，两羽翠鸟各踞一方，一栖崖石之巅，一立水中圆石，羽色鲜妍与墨石形成对比。山石以墨色皴擦显朴拙质感，淡墨线条勾出水波，清浅悠远。旁侧花叶施以设色，粉艳动人，竹叶劲挺如剑，笔触简练却神形兼备。整体构图错落有致，墨色浓淡相宜，于苍劲中见秀逸，将花鸟生机与自然意趣融于尺幅之间，尽显文人画的雅致韵味。",[56,29,55,7,16170,1269,75,23],"翠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a36bfac4a9c8967e584948092bdd94b.jpg",[60],"bdb09c",{"id":16175,"slug":16176,"title":7126,"dynasty":69,"author":8913,"museum":150,"description":16177,"tags":16178,"thumbUrl":16180,"material":59,"size":59,"collection":88,"collections":16181,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16182},203228,"shan-shui-tu-ce-shao-mi-203228","水墨淡染的画面中，枯树虬枝舒展，铁线般的枝干勾勒出苍劲之姿，皴擦间尽显老木的坚韧。树下乱石嶙峋，淡墨晕染出肌理与体积，与远处烟岚轻笼的山峦遥相呼应。空中数点飞鸟振翅，为清寂的景致注入灵动生气。整幅作品笔墨简括却意韵悠长，留白处藏无尽遐思，尽显文人画的疏朗雅致，于简淡中见丘壑，于静谧中闻风鸣，引人沉醉于这方清旷山水间。",[55,75,80,7,153,16179,53,23],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5306be20e5a8441bae221b5570176816.jpg",[88],"d1b98c",{"id":16184,"slug":16185,"title":15676,"dynasty":9797,"author":770,"museum":150,"description":16186,"tags":16187,"thumbUrl":16188,"material":59,"size":59,"collection":60,"collections":16189,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16190},203150,"lan-shi-tu-zhou-pan-tian-shou-203150","这幅水墨兰石图，笔墨雄健老辣。兰草以劲挺线条写出，穿插有致，墨色浓淡相间，姿态舒展而富有张力；怪石用大块墨色泼染，造型古拙奇崛，与兰草形成刚柔相济之趣。构图疏密对比强烈，留白巧妙，既显空灵之境，又含苍劲之气。题字书法笔力沉厚，与画面笔墨呼应，印章点缀更添古朴。整体尽显文人画的清雅意趣与作者独特的艺术风骨。",[25,55,188,7,77,79,27,56,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365c3b771e919be81790e1b074b9d7db.jpg",[60],"c3b9ad",{"id":16192,"slug":16193,"title":16194,"dynasty":9797,"author":770,"museum":150,"description":16195,"tags":16196,"thumbUrl":16197,"material":59,"size":59,"collection":60,"collections":16198,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16199},203126,"quan-shi-shui-xian-tu-zhou-pan-tian-shou-203126","拳石水仙图轴","水仙茎叶以劲挺线条勾勒，花头敷淡彩，清雅脱俗；拳石以浓淡干湿墨块泼写，造型奇崛朴拙，与柔媚的水仙形成刚柔相济之趣。构图疏密有致，留白空灵，尽显文人画的生机与意韵。笔墨苍劲老辣，兼具写意洒脱与造型精准，传递出清逸出尘的格调。画面于简淡中见精神，于对比中显张力，是传统花鸟与现代审美融合的佳作。",[25,55,29,56,174,7,27,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d95878a583bf0bc4d6f3e65a82280ec.jpg",[60],"cec4ba",{"id":16201,"slug":16202,"title":16203,"dynasty":9797,"author":16204,"museum":150,"description":16205,"tags":16206,"thumbUrl":16207,"material":59,"size":59,"collection":39,"collections":16208,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16209},202946,"ren-wu-tu-zhou-lv-feng-zi-202946","人物图轴","吕凤子","这幅画以水墨写意营造清寂之境，枯树虬枝盘曲，笔墨苍劲，皴擦间见老木风骨；人物衣袂简淡，蓝帽素衣，身姿闲静，寥寥数笔便传其神。山石以淡墨晕染，留白处衬出悠远氛围，整体气韵生动，尽显文人画的写意神韵，于简淡中藏深意，于质朴中见情味。",[25,55,173,30,133,7,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6158b10f7db1ffbdf75058b511ecba01.jpg",[39],"c9c1b5",{"id":16211,"slug":16212,"title":1614,"dynasty":18,"author":16213,"museum":150,"description":16214,"tags":16215,"thumbUrl":16216,"material":59,"size":59,"collection":59,"collections":16217,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16218},202656,"zhu-shi-tu-zhou-zheng-xie-202656","郑燮","画面中，几竿墨竹自孤石旁拔地而起，竹叶以浓淡干湿的水墨晕染，或聚或散，如挥毫时的笔意流转，撇捺间藏行书风骨。竹竿中锋勾勒，骨节分明，刚劲中带着柔韧，似有凌云之势。旁侧孤石以简淡皴法写就，纹理苍劲，与竹的清劲相映成趣，尽显文人画的雅致与风骨。墨色层次丰富，浓墨点叶显精神，淡墨勾竿见空灵，干湿变化间，竹的生机与石的沉稳交织，传递出不屈的气节与淡然的心境，是文人画中竹石题材的经典之作。",[55,32,7,78,75,27,25,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617b32b2361817b4b82b293939460373.jpg",[],"a79883",{"id":16220,"slug":16221,"title":12378,"dynasty":18,"author":475,"museum":150,"description":16222,"tags":16223,"thumbUrl":16224,"material":59,"size":59,"collection":59,"collections":16225,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16226},202292,"mao-shi-tu-zhou-zhu-da-202292","水墨淋漓间，孤石奇崛而立，猫蜷伏石上，形简神完。大写意笔触恣肆洒脱，墨色浓淡相生，寥寥数笔便勾勒出猫的慵懒之态与石的嶙峋之姿。留白处空灵悠远，清冷孤绝之韵暗涌，暗含遗世独立的心境。笔意简练却意蕴深长，于极简中见万千气象，尽显文人画的写意精髓。",[25,55,26,27,100,7,1267,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7163b95fa8f55149774fc6d97e488f7f.jpg",[],"d2c8c2",{"id":16228,"slug":16229,"title":15165,"dynasty":18,"author":6575,"museum":150,"description":16230,"tags":16231,"thumbUrl":16233,"material":59,"size":59,"collection":59,"collections":16234,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16235},202110,"hua-niao-tu-zhou-zhou-xian-202110","枝上繁花错落，橙红与素白相映成趣，墨叶浓淡相宜衬得花色愈显清雅。双鸟并栖，羽色斑斓，一者尾羽修长飘逸，一者身姿憨态可掬，顾盼间似有私语，尽显生机。笔墨兼工带写，花叶勾勒细腻，鸟羽晕染自然，设色温润雅致，于方寸间藏住春日闲情。",[29,56,28,55,153,7,16232],"牡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa676d03e98e519e57e5cb44377c771dc.jpg",[],"b09e85",{"id":16237,"slug":16238,"title":16239,"dynasty":148,"author":997,"museum":150,"description":16240,"tags":16241,"thumbUrl":16242,"material":59,"size":59,"collection":122,"collections":16243,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16244},202030,"lan-zhu-tu-he-zhuang-juan-zhao-meng-fu-202030","兰竹图合装卷","画面以水墨写意绘兰、竹与拳石，兰叶舒卷如流云，墨色层次细腻，或浓墨起笔，或淡墨收尾，柔婉中藏劲健；竹枝挺拔，竹叶寥寥数笔却见风骨，与兰草的清逸相映成趣；拳石以皴擦勾勒，纹理古拙苍劲，石隙间细草点缀，更添生机。整体构图疏朗，笔墨简淡却意韵悠长，尽显元代文人画的雅致情趣，将兰竹的君子气节与石的坚韧品格融于一纸，观之令人心生静穆，仿佛能嗅到兰草的幽芳。",[25,55,188,32,7,75,26,74,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffecf13c89a8c4d346ac45f908a4110d3.jpg",[122],"9f9691",{"id":16246,"slug":16247,"title":16248,"dynasty":18,"author":3115,"museum":150,"description":16249,"tags":16250,"thumbUrl":16251,"material":59,"size":59,"collection":60,"collections":16252,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16253},201964,"gao-gui-qing-xiao-tu-zhou-gao-feng-han-201964","高桧清霄图轴","桧树枝干虬劲盘空，苍皮皴裂如老龙鳞爪，尽显古木峥嵘之态。新梢垂叶，点缀些许艳蕊，于沉郁中透出鲜活。旁侧孤石崚嶒，笔墨简劲，与高桧形成刚柔相济的呼应。设色淡雅，皴法娴熟，笔意朴拙而气韵生动，将桧树的清霄之姿与石的沉稳融于一体，营造出静谧高远的氛围。",[25,29,7,75,134,56,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb14373474cac0838e138483555006d91.jpg",[60],"7e5b35",{"id":16255,"slug":16256,"title":16257,"dynasty":18,"author":214,"museum":150,"description":16258,"tags":16259,"thumbUrl":16260,"material":59,"size":59,"collection":39,"collections":16261,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16262},201936,"guan-yin-xiang-tu-zhou-hua-yan-201936","观音像图轴","观音趺坐孤石之上，衣纹用线细劲婉转如行云流水，兼工带写的笔触勾勒出飘逸灵动的质感。面容娴静温婉，双目微阖含悲悯，神情澄澈空灵。石畔疏竹数枝，墨色淡逸，与素净衣袍相映成趣，更添禅意悠远。整幅笔墨简约却神形兼备，将宗教人物的庄严与文人画的雅致融于一体，尽显独特艺术韵味。",[25,26,27,576,55,434,30,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5aa248d8423f5e2a82cbaa4c65e9381.jpg",[39],"bfb1aa",{"id":16264,"slug":16265,"title":16266,"dynasty":18,"author":16267,"museum":150,"description":16268,"tags":16269,"thumbUrl":16270,"material":59,"size":59,"collection":39,"collections":16271,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16272},201815,"mei-hua-ren-wu-dou-fang-zhou-ceng-yan-dong-201815","梅花人物斗方轴","曾衍东","墨梅枝桠疏朗，花瓣淡染，笔致清逸见韵致；孤石上人物闲倚，神情淡然，似在凝思梅香。画作以简淡水墨勾勒文人意趣，意境清幽，笔墨间藏着对自然的体悟与心境的写照，尽显雅致的书卷气息。",[55,187,30,7,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a19327fbaaf13fd86f1f2ddfcfef666.jpg",[39],"a58e6c",{"id":16274,"slug":16275,"title":16276,"dynasty":18,"author":49,"museum":150,"description":16277,"tags":16278,"thumbUrl":16279,"material":59,"size":59,"collection":60,"collections":16280,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16281},201752,"ying-su-tu-zhou-yun-shou-ping-201752","罂粟图轴","画面中罂粟花姿容百态，朱红的热烈似火，粉白的清雅若云，淡蓝叶片舒展灵动，衬以皴染的孤石，构图疏宕有致。画家无需墨线勾勒，直接以色彩晕染出花瓣的娇嫩层次与叶片的轻盈质感，笔触细腻却不失自然生机。山石的皴法添古朴之韵，花石间流露“写生得其神”的意趣，题款与印章相映成趣，尽显文人花鸟的雅致韵致，于简约中见丰腴，清逸中含情韵。",[56,29,28,75,7,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb772f089af01ebb7db92eb0979543e.jpg",[60],"b3a78e",{"id":16283,"slug":16284,"title":16285,"dynasty":148,"author":256,"museum":150,"description":16286,"tags":16287,"thumbUrl":16290,"material":59,"size":59,"collection":122,"collections":16291,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16292},201732,"qiu-kong-luo-ye-tu-zhou-ni-zan-201732","秋空落叶图轴","画面以疏简之笔铺陈，枯树虬枝倚孤石而立，旁伴修竹数竿，笔墨清劲萧散。枯树枝干以中锋勾勒，线条如铁线坚韧；孤石用折带皴法，简约间见古拙质感；细竹丛生，笔意灵动，与枯树孤石相映成趣。整幅以干笔淡墨为基调，不施浓彩，传递出空寂淡远的意境，尽显文人画“逸笔草草”的精髓。题跋与书画交融，笔墨间流淌着超脱尘俗的淡泊心境，于极简中藏无穷意蕴，仿佛引观者步入一片清寂的精神桃源。",[25,55,133,7,32,75,11427,4856,1268,16288,16289,2290,23],"萧散","空寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5d2095a7384dd19afad4a082832798.jpg",[122],"8f827b",{"id":16294,"slug":16295,"title":4689,"dynasty":18,"author":16296,"museum":150,"description":16297,"tags":16298,"thumbUrl":16299,"material":59,"size":59,"collection":60,"collections":16300,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16301},201709,"mu-dan-tu-zhou-zhang-wei-201709","张伟","牡丹簇生，或素白皎洁，或粉靥含露，或紫瓣凝香，一抹嫣红错落其间，尽显雍容之姿。叶片墨色浓淡相宜，脉络分明，与花瓣的细腻晕染相得益彰。下方奇石皴擦有致，形态嶙峋，旁缀兰草数枝，清逸秀雅，衬出花石的生机。整作工笔细腻，线条婉转，设色雅致，将牡丹的富贵气象与文人画的清雅意趣糅合，笔墨间见功底，意韵中藏情致。",[25,27,28,29,56,191,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea226e0a554a9661ff87035ad0a13f3.jpg",[60],"bba789",{"id":16303,"slug":16304,"title":16305,"dynasty":18,"author":6514,"museum":150,"description":16306,"tags":16307,"thumbUrl":16308,"material":59,"size":59,"collection":88,"collections":16309,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16310},201657,"huang-shan-lian-hua-feng-tu-zhou-dai-ben-xiao-201657","黄山莲华峰图轴","峰峦奇崛的莲华峰，以干笔淡墨皴擦出山石的坚峭肌理，线条简劲有力。山间松枝虬劲，与嶙峋怪石相映成趣，留白处似云雾缭绕，营造出清寂悠远的意境。笔墨间透着新安画派的简淡空灵，将黄山的雄奇与文人的隐逸情怀融为一体，观之令人心生旷远之感。",[25,80,75,7,11427,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2bcc0f88b53343c46d50ade0d5ac0d.jpg",[88],"917549",{"id":16312,"slug":16313,"title":16314,"dynasty":18,"author":475,"museum":150,"description":16315,"tags":16316,"thumbUrl":16317,"material":59,"size":59,"collection":60,"collections":16318,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16319},201609,"yu-niao-tu-zhou-zhu-da-201609","鱼鸟图轴","孤石以泼墨写就，墨气淋漓如铁，石上寒鸟敛翅缩颈，目光斜睨，似带冷眼观世之态；石下双鲤游于虚白间，鱼眼圆凸，尾鳍轻摆，却藏倔强之意。水墨写意之法简括传神，浓淡干湿互衬，留白处尽显空寂。画面无波无浪，却于极简中见沉郁，孤鸟与游鱼皆成心境外化，藏遗民之孤傲与落寞，是八大山人笔墨精髓之体现，简中含深味，淡里藏沉情。",[25,55,7,565,374,56,6240,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F397bdd53515dde833b98f027bcb09a8d.jpg",[60],"b3a68d",{"id":16321,"slug":16322,"title":16323,"dynasty":18,"author":475,"museum":150,"description":16324,"tags":16325,"thumbUrl":16326,"material":59,"size":59,"collection":122,"collections":16327,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16328},201575,"chun-lu-tu-zhou-zhu-da-201575","椿鹿图轴","画面中鹿昂首向上，似与虬曲椿树相呼应。水墨写意之法，椿干以浓墨挥写，苍劲老辣；鹿身淡墨晕染，线条简括却形神毕肖，眼神清冷中藏孤峭。底部孤石寥寥几笔，更衬出空寂之境。整作笔墨简练却意蕴深沉，尽显遗民画家的孤傲心境与艺术造诣。",[25,26,55,27,101,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb44987a834af87f1597bbde598ae92.jpg",[122],"cec0ac",{"id":16330,"slug":16331,"title":16332,"dynasty":69,"author":8913,"museum":150,"description":16333,"tags":16334,"thumbUrl":16335,"material":59,"size":59,"collection":88,"collections":16336,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16337},201534,"feng-lin-yue-shang-tu-zhou-shao-mi-201534","风林月上图轴","淡墨晕染出朦胧月色，风拂林叶轻摇，山石以简淡皴法勾勒，纹理疏朗。树下孤石旁，似有幽人对月凝思，意境清寂悠远。笔墨简练却含韵致，林木萧疏中见生机，月色朦胧里藏静穆，尽显文人画空灵淡远之趣，于简淡中蕴藉深致，引人入胜。",[25,55,80,134,7,864,75,27,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9e76f6b5a8de6e5fd83a32616456c2.jpg",[88],"b49d83",{"id":16339,"slug":16340,"title":16341,"dynasty":148,"author":997,"museum":150,"description":16342,"tags":16343,"thumbUrl":16344,"material":59,"size":59,"collection":122,"collections":16345,"showCount":354,"zanCount":43,"manualWeight":43,"mainColor":16346},201391,"lan-zhu-shi-tu-juan-zhao-meng-fu-201391","兰竹石图卷","这幅作品将书法与绘画熔于一炉，尽显“书画同源”之妙。兰叶以草书笔意挥写，线条婉转中藏劲健，如惊风飘举；竹枝取行书撇捺之态，挺劲利落，似晴雪坠枝。孤石用淡墨皴擦，笔墨朴拙厚重，与兰竹的灵动形成刚柔相济的韵律。画面不重色彩，纯以水墨生发，墨色浓淡干湿变化丰富，兰的清雅、竹的气节、石的沉稳浑然一体，传递出文人雅士的高洁情怀与超逸心境。每一笔皆见书法功底，每一处皆含笔墨情趣，是元代文人画的典范之作。",[25,26,74,55,7,188,32,78,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f90cc98f593fda6d922cf157917812.jpg",[122],"a89888",{"id":16348,"slug":16349,"title":16350,"dynasty":18,"author":201,"museum":552,"description":16351,"tags":16352,"thumbUrl":16356,"material":641,"size":642,"collection":59,"collections":16357,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},259443,"guang-xu-kuan-dou-cai-lan-zhi-wen-bei-yi-ming-259443","光绪款斗彩兰芝纹杯","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。",[16353,16354,6100,174,7,2807,16355,34],"陶瓷","斗彩","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee46b942b2eaa5347391cd719e601db2.jpg",[],{"id":16359,"slug":16360,"title":16361,"dynasty":69,"author":16362,"museum":552,"description":16363,"tags":16364,"thumbUrl":16365,"material":327,"size":59,"collection":786,"collections":16366,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},240122,"ceng-ti-nan-fu-ti-bi-shi-ye-wei-shu-240122","曾题南阜题壁诗页","囗淑","题壁诗始于两汉，盛于唐宋。汉代以后，题壁者代不乏人。南北朝 唐代，题壁诗骤然大增，开始形成一种风气。宋代题壁之风方兴未艾，举凡邮亭、驿墙、寺壁等处多所题咏，叫人目不暇接。",[25,26,78,55,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc006c3d52dd04e84a83844fbf6e40075.jpg",[786],{"id":16368,"slug":16369,"title":16370,"dynasty":18,"author":16371,"museum":552,"description":16372,"tags":16373,"thumbUrl":16374,"material":641,"size":642,"collection":59,"collections":16375,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},239472,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-zhu-ce-ye-zhao-xiu-lan-239472","清初十四家书画集锦册-竹册页","赵岫兰","此作用水墨写就兰竹拳石，兰花柔茎舒展、花瓣轻绽，自有绰约风姿；兰叶劲挺修长，中锋挥写间尽显飘逸灵动之态。拳石以淡墨晕染，略作勾勒，朴拙简淡，下方竹叶偃仰交错，笔墨简括却神完气足。\n\n右侧行书笔墨纵逸，墨色浓淡富于变化，笔势连贯洒脱。书画合璧，文与画相生，尽显文人寄情草木的幽隐襟怀，将兰竹君子的清逸风骨融于纸面，寥寥数笔却意韵悠长，浸透着以物明志的传统文人审美意趣，是清代文人雅致书画小品的典型之作。",[25,26,53,55,188,32,7,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c07be911e74f05bd3c041cb09d501a.jpg",[],{"id":16377,"slug":16378,"title":12482,"dynasty":18,"author":12483,"museum":552,"description":12484,"tags":16379,"thumbUrl":16380,"material":641,"size":642,"collection":59,"collections":16381,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},239185,"hua-hui-ren-wu-ce-chen-zi-239185",[24,25,26,53,29,78,79,174,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401470b037fc39297ac3a27c9ad728b9.jpg",[],{"id":16383,"slug":16384,"title":16385,"dynasty":18,"author":1491,"museum":552,"description":16386,"tags":16387,"thumbUrl":16388,"material":59,"size":59,"collection":59,"collections":16389,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},238817,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238817","董诰律宣韶景册","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”。",[25,26,53,29,28,75,80,134,7,277,30,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f3e5fb8262386be620539be12f76fb.jpg",[],{"id":16391,"slug":16392,"title":7991,"dynasty":18,"author":1491,"museum":552,"description":7992,"tags":16393,"thumbUrl":16394,"material":641,"size":642,"collection":59,"collections":16395,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},238338,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238338",[25,26,53,55,32,7,864,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a390948499bdf0d8ff782920fed3d13.jpg",[],{"id":16397,"slug":16398,"title":502,"dynasty":18,"author":16399,"museum":552,"description":16400,"tags":16401,"thumbUrl":16402,"material":59,"size":59,"collection":59,"collections":16403,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},237981,"shan-shui-ce-zhang-geng-237981","张庚","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[25,55,53,75,80,85,134,7,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9284971e037bcb8c782d61992981497.jpg",[],{"id":16405,"slug":16406,"title":16407,"dynasty":18,"author":16408,"museum":552,"description":16409,"tags":16410,"thumbUrl":16411,"material":641,"size":642,"collection":60,"collections":16412,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},237471,"shan-shui-hua-shi-ce-wang-han-237471","山水花石册","王翰","王翰（公元687年~726年），字子羽，并州晋阳（今山西太原市）人，唐代边塞诗人。与王昌龄同时期，王翰这样一个有才气的诗人，其集不传。其诗载于《全唐诗》的，仅有14首。登进士第，举直言极谏，调昌乐尉。复举超拔群类，召为秘书正字。擢通事舍人、驾部员外。出为汝州长史，改仙州别驾。",[25,26,53,55,78,79,134,7,153,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d681f86ea612ef4254f2f5adcb54420.jpg",[60,88],{"id":16414,"slug":16415,"title":8896,"dynasty":69,"author":16416,"museum":552,"description":16417,"tags":16418,"thumbUrl":16419,"material":641,"size":642,"collection":59,"collections":16420,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},237406,"shan-shui-shan-chen-xun-237406","陈勋","陈勋，明，闽县（今福州）人。万历二十九年（一六零一）进士，除南武学教授，历南京工、户部主事，榷广陵关。",[25,714,55,75,80,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df6e016dac264e90240fbf2af8cc92.jpg",[],{"id":16422,"slug":16423,"title":6958,"dynasty":18,"author":4274,"museum":552,"description":16424,"tags":16425,"thumbUrl":16426,"material":59,"size":59,"collection":59,"collections":16427,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},237243,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237243","此作以大片留白铺陈空寂澹远意境，以极简水墨勾勒丘壑意趣。古木苍劲老干嶙峋，枯笔皴擦晕染出岁月斑驳，新发枝叶以湿墨点簇，枯润相生间漾出清浅生机。坡石以淡墨晕写，线条简括清逸，寥寥数笔便晕染出山石朴拙之态，旁生幽竹清瘦挺拔，与古木相映成趣。\n\n笔墨疏淡松秀，尽显萧散简远的文人意趣，将山野幽居的林下清趣凝于尺幅间，观之便如身临幽寂林泉，涤荡俗尘，静穆淡远的林下风致扑面而来。",[25,55,53,1175,32,826,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F873ff1ff70cc1b675c9b03040c355974.jpg",[],{"id":16429,"slug":16430,"title":502,"dynasty":18,"author":4274,"museum":552,"description":10424,"tags":16431,"thumbUrl":16432,"material":59,"size":59,"collection":59,"collections":16433,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},237107,"shan-shui-ce-cha-shi-biao-237107",[25,55,75,53,80,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932bf4e23892e521f49f6c8c15827234.jpg",[],{"id":16435,"slug":16436,"title":502,"dynasty":18,"author":4274,"museum":552,"description":10424,"tags":16437,"thumbUrl":16438,"material":59,"size":59,"collection":59,"collections":16439,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},237104,"shan-shui-ce-cha-shi-biao-237104",[25,26,53,55,75,79,80,134,7,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8cb579f52b9778f9a2236fb5a437172.jpg",[],{"id":16441,"slug":16442,"title":16443,"dynasty":18,"author":16444,"museum":552,"description":16445,"tags":16446,"thumbUrl":16447,"material":327,"size":59,"collection":59,"collections":16448,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},237068,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237068","补景古臣松梅观鹤图像并附山水册","徐佐","水墨浅绘林亭水畔，双松苍劲卓立，草屋幽藏于林下，浅滩汀洲横陈远浦，留白铺就空寂萧散的淡远意境。笔致清瘦秀雅，以极简笔墨勾勒出幽居林下的闲澹之景，暗合题诗中的隐逸意趣。诗书合璧，墨色朴淡松秀，不见浓丽敷色，尽以线条晕染出林下观览的清寂闲情，将简逸风骨藏于尺幅之间，淡墨之中自有悠长余韵，尽显清雅绝尘的林下雅兴。",[25,26,53,55,434,80,715,349,277,7,117,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e103788a96e8976d06a0220665940d.jpg",[],{"id":16450,"slug":16451,"title":12482,"dynasty":69,"author":16452,"museum":552,"description":16453,"tags":16454,"thumbUrl":16455,"material":327,"size":59,"collection":59,"collections":16456,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},237059,"hua-hui-ren-wu-ce-mao-fu-guang-237059","毛复光","此作用笔苍古，虬曲老松盘桓画面，松针攒簇如盖，古藤缠绕皴裂枝干，尽显松柏久经风霜的拙朴雄健。右侧以浓淡墨色勾勒嶙峋山石，干笔皴擦出岩体质感，飞泉借留白衬出灵动水态，潺潺山涧隐于松石之间，动静相映。\n\n画面左侧留白题字，虚实相生，水墨写意苍润兼具，铺展出山林幽寂之景。笔墨饱含文人澹泊意趣，以简淡的水墨层次，写尽林泉隐逸的清幽雅致，将寄情山水的林下之风藏于方寸画幅之中。",[25,26,53,55,75,715,7,1231,79,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86198f7926d54182d8d5f08234686caf.jpg",[],{"id":16458,"slug":16459,"title":16460,"dynasty":69,"author":16461,"museum":552,"description":16462,"tags":16463,"thumbUrl":16464,"material":641,"size":642,"collection":59,"collections":16465,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},237044,"mo-shi-shan-mian-bao-zhuang-xing-237044","墨石扇面","包壮行","包壮行，字穉修，扬州（今江苏扬州）人。崇祯十六年癸未杨廷鉴榜二甲24名进士，官工部主事。\n工书、画，钩勒梅花，水墨竹石，尝作松柏祝寿图，今藏南京博物院。尤喜累石为山。工制灯，能裁纨绮作奇石列树，及车马、宫室、人物其上，以象唐宋画家。纳火于中，夜视之、宛若黄鹤（王蒙）、辋川（王维）之遗墨也。至今传为“包灯”云。",[4741,25,26,714,55,75,7,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e23f677aa9f9bbb54547607f863c09.jpg",[],{"id":16467,"slug":16468,"title":16469,"dynasty":69,"author":16470,"museum":71,"description":16471,"tags":16472,"thumbUrl":16473,"material":327,"size":59,"collection":59,"collections":16474,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},237016,"xi-zhu-ce-zhu-ying-237016","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[24,25,26,53,55,80,82,7,30,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6391a2b3978865708fba12be746feb.jpg",[],{"id":16476,"slug":16477,"title":502,"dynasty":69,"author":4470,"museum":71,"description":11813,"tags":16478,"thumbUrl":16479,"material":5284,"size":11817,"collection":59,"collections":16480,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},236906,"shan-shui-ce-song-xu-236906",[25,26,53,29,75,80,85,863,349,134,865,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eded255add548b04be279de94216f6.jpg",[],{"id":16482,"slug":16483,"title":16484,"dynasty":69,"author":201,"museum":552,"description":16485,"tags":16486,"thumbUrl":16488,"material":641,"size":642,"collection":59,"collections":16489,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},236698,"zhang-long-zhang-guan-quan-shan-yi-ming-236698","张龙章观泉扇","此水墨扇面小品以枯木湖石营构幽境，虬曲古木斜出，枝桠带叶，苍劲中隐有生机。玲珑湖石皴染兼具，朴拙奇崛。高士斜倚木下，衣纹清劲简练，神态悠然静穆，正观听眼前流泉。整体笔墨简逸秀雅，萧散淡远。左侧题字朱印与画面相映，融书画于一体，将文人遁世丘园、寄情林泉的闲淡襟怀藏于尺幅之间，尽显林下幽居的隐逸意趣，是文人写意画中寄畅山水的典型佳作。",[4741,25,26,714,55,28,75,30,7,117,16487,82],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404a2ba9065e81af3f80a09faa1b453c.jpg",[],{"id":16491,"slug":16492,"title":8896,"dynasty":69,"author":16493,"museum":552,"description":16494,"tags":16495,"thumbUrl":16497,"material":641,"size":642,"collection":59,"collections":16498,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},236686,"shan-shui-shan-lin-zhi-jing-236686","林之菁","此作用笔简率老辣，借扇面形制铺展山水丘壑，取景疏密相宜。左处远山奇崛，枯笔短皴勾勒嶙峋石质，留白摹作平湖，一叶扁舟轻泛，晕开清寂烟波。右侧近林错落，以浓淡墨色分出枝叶层叠意趣，掩映水畔草堂，尽显幽居闲致。\n水墨晕染简淡清逸，题款笔墨随性自然，与画面浑然相融，尽显文人画萧散悠远之态，将林泉雅怀寄于尺幅之间，铺展出静穆雅致的山水幽境。",[25,26,714,55,75,78,79,80,117,16496,7],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447bd42652dd8d564104ff7ff58498f8.jpg",[],{"id":16500,"slug":16501,"title":5899,"dynasty":18,"author":5900,"museum":71,"description":5901,"tags":16502,"thumbUrl":16503,"material":59,"size":59,"collection":59,"collections":16504,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},236648,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236648",[25,26,53,78,55,75,80,7,81,136,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29977ccc3743cdca9c020690be5a9a8b.jpg",[],{"id":16506,"slug":16507,"title":16508,"dynasty":69,"author":16509,"museum":552,"description":16510,"tags":16511,"thumbUrl":16514,"material":641,"size":642,"collection":59,"collections":16515,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},236373,"lu-ting-yuan-tiao-shan-ye-guan-hong-236373","芦汀远眺扇页","管鸿","此作用金笺为底，以细笔绘就江天秋意。浩渺水面铺陈开清寂底色，汀洲芦苇苍苍，似携晚风轻摇。左岸枯木疏枝缀着残叶，晕染出萧索秋韵。石矶之上幽人独立，凭眺远空，将羁怀寄于水色烟波。\n\n设色浅淡秀润，线条简净秀逸，细勾芦叶层次，晕染波纹微动，衬出水天寥廓清旷。题款小字与画面浑然相融，将文人幽远襟怀藏在空阔汀洲间，观之如坠入秋日江天的闲寂清冷，意韵悠长。",[25,714,55,8779,75,80,30,1990,81,7,16512,16513,325],"汀洲","远眺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af07f4f088c8fa7e05738a2787dc8f.jpg",[],{"id":16517,"slug":16518,"title":16519,"dynasty":18,"author":15804,"museum":552,"description":15805,"tags":16520,"thumbUrl":16521,"material":641,"size":642,"collection":59,"collections":16522,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},236345,"lan-shi-shan-chen-heng-ke-236345","兰石扇",[25,26,714,55,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b0b0f407e80c61552f26599ae871d3.jpg",[],{"id":16524,"slug":16525,"title":16526,"dynasty":69,"author":16461,"museum":552,"description":16462,"tags":16527,"thumbUrl":16528,"material":641,"size":642,"collection":59,"collections":16529,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},236294,"feng-shi-tu-shan-bao-zhuang-xing-236294","凤石图扇",[25,714,55,7,78,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F004c259b5b547371ae95a9860784cb28.jpg",[],{"id":16531,"slug":16532,"title":16533,"dynasty":18,"author":3060,"museum":71,"description":16534,"tags":16535,"thumbUrl":16536,"material":1106,"size":16537,"collection":59,"collections":16538,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},236117,"shan-shui-lou-ge-ce-chen-mei-236117","山水楼阁册","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[25,26,53,29,28,241,78,79,80,242,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d86db339f229ab77df8bc58aa06c0e6.jpg","纵31厘米，横25.3厘米",[],{"id":16540,"slug":16541,"title":502,"dynasty":18,"author":7785,"museum":552,"description":16542,"tags":16543,"thumbUrl":16545,"material":59,"size":59,"collection":59,"collections":16546,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},236049,"shan-shui-ce-wang-yuan-qi-236049","这幅画作以层峦叠嶂铺展章法，高远、深远兼具，山势开合藏露，尽显山川的浑茫厚重。以干笔积墨皴擦山峦，墨色干湿浓淡层次丰富，笔力苍劲浑厚，带着醇厚的古拙意趣。山径蜿蜒穿梭岩岫之间，水渚回环、村居掩映林麓，野木错落点染，将江南山水的清润含蓄融于笔墨法度之中，萧散淡远的文人雅趣跃然纸上，于规整的笔墨程式里，流露平淡天真的林下风致，尽显正统山水画的沉郁苍润之美。",[25,26,53,55,75,80,4904,1212,81,12656,16544,7],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73d6255fbd42c680ae4c75448644853.jpg",[],{"id":16548,"slug":16549,"title":502,"dynasty":18,"author":7785,"museum":552,"description":16550,"tags":16551,"thumbUrl":16552,"material":59,"size":59,"collection":59,"collections":16553,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},236045,"shan-shui-ce-wang-yuan-qi-236045","此作用淡墨渴笔绘就，近处危石嶙峋，修竹劲挺清疏，古木倚石而立，林梢后隐见草庐，漾出幽居世外的闲寂。平湖横陈中景，远山以干笔皴擦，淡墨晕染，山峦错落朦胧，似笼着轻烟，晕出空寂萧疏的氛围感。\n笔墨简淡松秀，以留白造境，凭虚实相生勾勒山川丘壑的静穆悠远，不着浓艳敷色，全以笔墨意趣铺就清旷淡远的禅意，观之如临幽寂林泉，心下悠然沉静。",[25,26,53,55,75,80,349,117,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730960dc4a489440549caf97a31a5c00.jpg",[],{"id":16555,"slug":16556,"title":16557,"dynasty":18,"author":16558,"museum":552,"description":16559,"tags":16560,"thumbUrl":16561,"material":59,"size":59,"collection":59,"collections":16562,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},235863,"shan-shui-ye-ye-xin-235863","山水页","叶欣","此作用笔秀雅松灵，以浅绛轻敷山石林木，山居隐于苍松之下，坡陀间幽人策杖徐行，远山以淡墨晕染，烟岚浮动，尽显空寂淡远之致。\n左侧行书题诗笔致萧散，与画面意境融契无间，将江南山水的温润清和尽数铺展。整幅诗画合璧，淡宕的笔墨间浸透文人幽居林泉的雅逸襟怀，简淡中见深致，素朴中含隽永，把山水林泉的静美与林下幽居的意趣合而为一，尽显文人小品画的悠然格调。",[25,26,53,78,55,80,349,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4d2468dbdcf6e2e037f3317ba07355.jpg",[],{"id":16564,"slug":16565,"title":16566,"dynasty":18,"author":201,"museum":552,"description":16567,"tags":16568,"thumbUrl":16569,"material":641,"size":642,"collection":59,"collections":16570,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},235790,"wu-li-lin-tang-shi-si-tu-shan-ye-yi-ming-235790","吴历林塘诗思图扇页","此作用淡墨写就林塘秋景，取景清寂萧疏。近岸渔舟独棹，蓑翁垂纶，坡岸间疏林错落，茅庐隐于修竹茂树之下，远汀横斜，归雁掠过长天，淡墨晕开暮霭轻云，将秋日郊野的静谧寥廓尽数铺陈。\n笔墨松秀简淡，以干笔皴擦勾勒山石林木，墨色清润柔和，层次井然。题诗与画面相映成趣，将幽居闲眺、寄情林泉的隐逸诗意收束在尺幅之间，尽显萧散淡远的文人画意趣，静穆悠远，引人沉入秋日闲居的清宁遐思里。",[25,26,714,55,75,78,79,80,117,1073,277,82,153,349,85,30,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c905d93c173e008f79cf2e820329ff4.jpg",[],{"id":16572,"slug":16573,"title":5052,"dynasty":69,"author":183,"museum":552,"description":8412,"tags":16574,"thumbUrl":16575,"material":641,"size":642,"collection":59,"collections":16576,"showCount":426,"zanCount":511,"manualWeight":43,"mainColor":64},235689,"shan-shui-hua-hui-ce-xiang-sheng-mo-235689",[24,25,26,53,55,75,80,277,82,81,135,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ce76f18a440db12e15e7aac8a905f.jpg",[],{"id":16578,"slug":16579,"title":14981,"dynasty":69,"author":13271,"museum":552,"description":16580,"tags":16581,"thumbUrl":16582,"material":641,"size":642,"collection":59,"collections":16583,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},235632,"fang-gu-shan-shui-ce-shen-hao-235632","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[25,26,53,55,29,75,76,80,7,81,242,277,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa698f25ebf99871d4d9aff675b534aa9.jpg",[],{"id":16585,"slug":16586,"title":14981,"dynasty":69,"author":13271,"museum":552,"description":16587,"tags":16588,"thumbUrl":16589,"material":59,"size":59,"collection":59,"collections":16590,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},235626,"fang-gu-shan-shui-ce-shen-hao-235626","此作以淡墨晕染山峦，皴擦相济刻画出山石嶙峋肌理，近坡石错落横生，浅波隐现溪石，蜿蜒栈道串联谷中村居与山巅古寺，远景峰峦淡化为浅灰虚影，虚实相生晕染出悠远空寂的山林意境。\n\n右上题字朱印雅致点缀，文人气韵悠然暗合仿古意趣。笔墨简淡松灵，不刻意雕琢却尽得山水真趣，将林泉幽居的静穆逸致融于尺幅之中，尽显文人画尚意抒情的特质，是师法古人又自出机杼的小品佳制。",[24,25,26,53,55,29,75,76,80,7,82,134,277,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F211c9dc6b8ace33b6a81cfb116839d6b.jpg",[],{"id":16592,"slug":16593,"title":7126,"dynasty":69,"author":14695,"museum":552,"description":14696,"tags":16594,"thumbUrl":16595,"material":641,"size":642,"collection":59,"collections":16596,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},235460,"shan-shui-tu-ce-pan-zheng-235460",[25,55,53,75,80,7,81,277,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb13a97cbcea40f048ede3e3e78f3a6.jpg",[],{"id":16598,"slug":16599,"title":7126,"dynasty":69,"author":14695,"museum":552,"description":16600,"tags":16601,"thumbUrl":16602,"material":59,"size":59,"collection":59,"collections":16603,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},235457,"shan-shui-tu-ce-pan-zheng-235457","此作用笔简劲老辣，以干笔淡墨皴擦出山石嶙峋质感，留白代作平湖，虚实相生。崖壁间山居错落藏于岩岫，野趣盎然。近湖畔孤亭孑立，细柱撑顶，更衬出山水清寂空阔。右上角朱印点睛，静穆水墨中晕开一抹亮色。整体意境萧散淡远，尽显文人画简淡空灵意趣，以极简笔墨写尽林泉幽居之致，观之如临无人之境，俗念俱消。",[25,26,53,55,75,80,349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4339426ce7db412654a1b123d4ac7c8d.jpg",[],{"id":16605,"slug":16606,"title":502,"dynasty":69,"author":13271,"museum":552,"description":16580,"tags":16607,"thumbUrl":16609,"material":641,"size":642,"collection":59,"collections":16610,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},235288,"shan-shui-ce-shen-hao-235288",[25,26,53,55,29,80,7,134,324,16608,75,1212],"近坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c85e276233d6bb58482c6dfade07a2.jpg",[],{"id":16612,"slug":16613,"title":502,"dynasty":69,"author":6737,"museum":552,"description":16614,"tags":16615,"thumbUrl":16616,"material":59,"size":59,"collection":59,"collections":16617,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},235151,"shan-shui-ce-li-liu-fang-235151","此作以淡墨渴笔写山林幽境，危壁飞瀑从云崖间倾泻而下，苍松扎根峭岩，枯木虬枝斜探出画面，野意横生。\n桥上幽人凭栏静立，观瀑听涛，身影安闲自在，将飞瀑之动与观者之静相映成趣。墨色干湿互用，山石以侧锋皴擦，留白烘托出空寂萧疏的林下意境。笔意松灵兼具筋骨，简淡中藏沉厚，尽得元人山水遗韵又自具风神，把文人寄情丘壑、静悟山水的幽怀藏于尺幅间，是小品山水里的绝佳妙制。",[24,25,26,53,55,75,173,80,277,82,116,81,30,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddf9e8578717e69fdd14861a45946dc.jpg",[],{"id":16619,"slug":16620,"title":16621,"dynasty":18,"author":6283,"museum":552,"description":16622,"tags":16623,"thumbUrl":16624,"material":59,"size":59,"collection":59,"collections":16625,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},235103,"huai-yin-tu-ce-wang-hui-235103","槐隐图册","此帧以淡墨写就林泉幽隐之境，柔垂柳丝牵起清寂氛围，崖畔幽草簌簌，右侧老槐伴修竹错落而立。笔墨苍秀松灵，山石以淡墨轻皴，不重具象形貌，只取丘壑简淡之致。留白铺陈出空阔疏朗的林下天地，将文人耽幽守寂的襟怀藏在浅淡墨色间。\n\n题款墨痕雅致，与画面浑然相融，笔致松脱空灵，全是随心挥洒的闲适意态，无刻意刻画，仅以逸笔勾勒出山野幽居的清寒澹泊，尽显静穆萧散的林下风流，把寄情林泉的雅趣尽数铺陈开来，是文人写意山水以意驭笔的佳制。",[25,26,53,55,75,32,907,7,160,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f4d949a1291f30492ce464c1c9df96.jpg",[],{"id":16627,"slug":16628,"title":16629,"dynasty":18,"author":7913,"museum":552,"description":16630,"tags":16631,"thumbUrl":16632,"material":59,"size":59,"collection":59,"collections":16633,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},235100,"zheng-min-shan-shui-ce-zheng-min-235100","郑旼山水册","此作以枯笔淡墨写危崖栈道，山石轮廓简约空灵，崖边古木虬曲苍劲，几位行旅缓步山径，为清寂的山水晕开几分灵动暖意。笔墨简淡疏朗，尽显萧疏淡远的荒寒意趣，是新安画派简逸清泠的典型风貌。\n\n左侧题跋笔力苍劲，书法与山水呼应相合，文气融于画意，让整幅小品兼具笔墨意趣与文人雅韵，淡而不寡，简而有神，将山水的幽寂清冷与文人情致相融，余韵悠长。",[25,26,53,55,75,77,78,80,30,134,7,7673,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0534891de7a684db29a99a1dcb16ff93.jpg",[],{"id":16635,"slug":16636,"title":16637,"dynasty":18,"author":3060,"museum":552,"description":16638,"tags":16639,"thumbUrl":16640,"material":641,"size":642,"collection":59,"collections":16641,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},234945,"yue-man-qing-you-ce-chen-mei-234945","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》。",[24,25,26,53,29,28,30,31,81,277,82,7,78,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a79bb60951349b844904bd5a72956c6.jpg",[],{"id":16643,"slug":16644,"title":14232,"dynasty":18,"author":7785,"museum":552,"description":14233,"tags":16645,"thumbUrl":16647,"material":327,"size":14236,"collection":59,"collections":16648,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},234889,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234889",[25,26,53,29,80,76,78,79,75,16646,81,82,277,153,7],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a787b044c23fe3b27d88960491f37b.jpg",[],{"id":16650,"slug":16651,"title":14232,"dynasty":18,"author":7785,"museum":552,"description":14233,"tags":16652,"thumbUrl":16653,"material":327,"size":14236,"collection":59,"collections":16654,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},234887,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234887",[25,26,53,55,29,80,7,133,79,77,76,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ea3f7a2022586320112e00571e5695.jpg",[],{"id":16656,"slug":16657,"title":14232,"dynasty":18,"author":7785,"museum":552,"description":14233,"tags":16658,"thumbUrl":16659,"material":327,"size":14236,"collection":59,"collections":16660,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},234883,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234883",[25,53,55,75,6109,80,7,81,349,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c8b0cce110bfb67b33a9bc773241b5.jpg",[],{"id":16662,"slug":16663,"title":502,"dynasty":18,"author":7832,"museum":552,"description":16664,"tags":16665,"thumbUrl":16666,"material":641,"size":642,"collection":59,"collections":16667,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},234861,"shan-shui-ce-wang-gai-234861","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[25,53,29,80,7,133,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1563bebaf6a5a1a98350d83871f55fa.jpg",[],{"id":16669,"slug":16670,"title":502,"dynasty":18,"author":7832,"museum":552,"description":16664,"tags":16671,"thumbUrl":16672,"material":641,"size":642,"collection":59,"collections":16673,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},234860,"shan-shui-ce-wang-gai-234860",[25,26,53,55,29,80,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4bee3722f0a4c89f5cb7050f73d845.jpg",[],{"id":16675,"slug":16676,"title":15896,"dynasty":69,"author":14759,"museum":552,"description":15897,"tags":16677,"thumbUrl":16678,"material":59,"size":59,"collection":59,"collections":16679,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},234817,"zhu-jia-shan-shui-ce-shu-jun-su-234817",[25,26,53,55,434,80,1231,134,7,136,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13cbd4a038b4f123be0cf94c7ef4a46.jpg",[],{"id":16681,"slug":16682,"title":13396,"dynasty":18,"author":13584,"museum":552,"description":16683,"tags":16684,"thumbUrl":16685,"material":59,"size":59,"collection":59,"collections":16686,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},234669,"shan-shui-wan-shan-zhang-zhi-wan-234669","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[25,26,714,55,75,80,134,349,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8564562cf635c390306476346180fd6f.jpg",[],{"id":16688,"slug":16689,"title":14637,"dynasty":18,"author":14638,"museum":71,"description":14639,"tags":16690,"thumbUrl":16691,"material":479,"size":59,"collection":59,"collections":16692,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},234311,"sun-shan-shui-ce-wang-ji-234311",[25,26,53,55,80,134,277,30,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e749d71188004706e7a09094515a226.jpg",[],{"id":16694,"slug":16695,"title":502,"dynasty":18,"author":7832,"museum":2160,"description":7833,"tags":16696,"thumbUrl":16697,"material":59,"size":59,"collection":59,"collections":16698,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},234103,"shan-shui-ce-wang-gai-234103",[25,26,53,55,29,80,153,1231,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e926f8a7aebfe76f961f15d344372e0.jpg",[],{"id":16700,"slug":16701,"title":11684,"dynasty":148,"author":11685,"museum":71,"description":16702,"tags":16703,"thumbUrl":16704,"material":678,"size":16705,"collection":59,"collections":16706,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},233893,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-233893","陆行直字季道吴江（今江苏吴江）人。洪武中（公元1368—1398年）以人才授翰林典籍。善书诗画清劲为人所称。小传见《画史会要》、《珊瑚網》等书。 此图画巨大的湖石一堵屹立画面正中旁边梧桐和柏树冲天而立。笔墨清劲构图平中寓险为陆行直传世名作。画右自题词一首：「侯虫凄段人语西风岸月落沙平流水漫 驚见芦花来雁。可憐瘦损兰趁多情因为卿卿只有一枝梧页不知多少秋声。」后识「友人张叔夏赠余之作也余不能记忆于至治元年仲夏二十四日戏作碧梧苍石与冶仙西 窗夜坐因语及此转瞬二十一载今卿卿叔夏皆成故人恍然如隔世事遂书于卷首以记一时之感慨云。季道陆行直题。」钤「致和斋」、「陆季道氏」二印右下又题词一首 款「陆行直重题」。本幅有元刘则□、页衡、冶仙、曹仲达、卫达辰等十四家题记诗塘有明刘稽、周鼎题识裱边有谢希曾跋语。钤明项子京等收藏印多方。《汪氏珊 瑚網》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。",[25,26,27,55,75,78,77,7,134,3288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a0d56a3607216b38f91cd9c8d213f8.jpg","纵107cm，横53.2cm",[],{"id":16708,"slug":16709,"title":940,"dynasty":18,"author":9663,"museum":71,"description":12942,"tags":16710,"thumbUrl":16711,"material":139,"size":12945,"collection":59,"collections":16712,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},233432,"huang-shan-tu-ce-mei-qing-233432",[25,55,75,53,79,80,83,7,349,153,865,32,117,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3248ca9a22b55ef40d212ff75967d3.jpg",[],{"id":16714,"slug":16715,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":16716,"thumbUrl":16717,"material":59,"size":59,"collection":59,"collections":16718,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},233364,"shi-zhu-zhai-pu-ce-hu-ri-cong-233364",[25,26,53,55,29,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe2ea7355e35027e3c415f8d313c469.jpg",[],{"id":16720,"slug":16721,"title":16722,"dynasty":18,"author":201,"museum":552,"description":16723,"tags":16724,"thumbUrl":16725,"material":59,"size":59,"collection":59,"collections":16726,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},230333,"bai-miao-luo-han-tu-ce-yi-ming-230333","白描罗汉图册","此作用墨笔白描辅以淡墨晕染，布袋和尚袒胸踞坐崖间石台，手持拂尘，笑眼弯弯神态安恬，尽显自在禅意。下方侍者温驯抚鹿，麋鹿灵动温顺，衬出画面平和宁寂。背景以枯淡墨线勾勒奇崛山石，间缀荒草野木，皴擦简练却将岩穴幽深荒寂尽显。\n\n整幅线条清劲秀雅，构图虚实相生，将禅林幽寂氛围与悠然禅意融为一体，工细刻画中带着写意的萧散简远，尽显雅致出尘的禅林清趣。",[24,25,26,53,434,576,30,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac3702465bd235f35148b38f8343fb6.jpg",[],{"id":16728,"slug":16729,"title":16730,"dynasty":369,"author":201,"museum":552,"description":16731,"tags":16732,"thumbUrl":16733,"material":59,"size":59,"collection":59,"collections":16734,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},227860,"dou-niu-tu-yi-ming-227860","斗牛图","枯木斜欱，淡墨晕出朦胧坡岸，寥寥数笔便铺就荒寂郊野底色。两头犍牛犄角相抵，四蹄攒动拧转，躯体的肌肉轮廓以浓墨晕染，将角力间迸发的蛮力与野性尽数展露。\n\n全作笔致简淡却精准传神，舍去多余修饰，独取斗牛最酣烈的一瞬定格。以写意笔墨捕捉牲畜好斗的天生野性，乡野间蓬勃朴拙的生趣跃然绢素，于疏淡之中蕴藏着饱满蓬勃的生命力，尽显以简驭繁的写意妙趣。",[23,25,24,26,27,29,28,2079,7,117,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd528a92ff060f51045a85b2c95ebad86.jpg",[],{"id":16736,"slug":16737,"title":16738,"dynasty":369,"author":201,"museum":552,"description":16739,"tags":16740,"thumbUrl":16742,"material":59,"size":59,"collection":59,"collections":16743,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":143},227849,"han-ke-shan-zhe-tu-yi-ming-227849","寒柯山鹧图","此作用笔苍劲老辣，绘就隆冬寒林之景。虬曲古柯凝着薄雪，枝桠枯瘦萧疏，晕染出彻骨清寒。两只山鹧栖于枝头，羽色晕染细腻，墨色浓淡间绒羽质感尽显，神态安闲静穆，为荒寂雪景添上灵动生机。\n\n整幅小品以极简布局营造出幽谧冷寂的意境，工写结合，山水小景与花鸟相映成趣，于简淡中藏着精微刻画，将冬日林泉的清冷凝寂与禽鸟的鲜活生机相融，尽显宋人清冷雅致的审美意趣，方寸之间，意蕴悠长。",[23,24,25,26,714,28,29,56,133,16741,7,153,79],"山鹧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8af24f946845e287b4724601d027e49d.jpg",[],{"id":16745,"slug":16746,"title":16747,"dynasty":5251,"author":201,"museum":552,"description":16748,"tags":16749,"thumbUrl":16756,"material":641,"size":642,"collection":59,"collections":16757,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},225453,"fu-shi-hui-211-yi-ming-225453","浮世绘211","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。",[16750,6125,29,30,31,7,349,16751,16752,16753,16754,16755],"浮世绘","星月","夜空","沙地","和服","木屐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a362d1ef6bc7d7e9149c0833a1111d.jpg",[],{"id":16759,"slug":16760,"title":16761,"dynasty":18,"author":12298,"museum":552,"description":16762,"tags":16763,"thumbUrl":16764,"material":59,"size":59,"collection":59,"collections":16765,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},224278,"shan-shui-hua-hui-ce-shi-yi-fu-shan-224278","山水花卉冊(十一)","此作用淡赭铺就底色，晕开烟岚暮色。远景山峦以淡墨轻扫，隐入空濛雾霭间，虚渺悠远；近山石以浓墨挥写出朴拙块面，厚重沉凝，虚实相映间拉开天地纵深。阔静水面之上，红衣旅人独行滩涂，渺小身形衬出天地辽寂荒寒，点染出萧散淡远的意境。\n\n全画笔墨简淡写意，舍却精细描摹，重在意境生发，寥寥数笔铺陈出荒寒空灵之境，将孤高出世的襟怀寄寓其中，笔简而意足，清冷孤高的林下之风扑面而来。",[23,25,26,53,55,29,80,7,30,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52592c15fcc9a4bed6abbb257d1bc05a.jpg",[],{"id":16767,"slug":16768,"title":16769,"dynasty":18,"author":12298,"museum":552,"description":16770,"tags":16771,"thumbUrl":16772,"material":59,"size":59,"collection":59,"collections":16773,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},224275,"shan-shui-hua-hui-ce-ba-fu-shan-224275","山水花卉冊(八)","这幅小品以浅绛晕染出清旷秋山，层叠峰峦如瘦玉排云，淡赭轻敷，尽显清峭空灵。前景枯木虬枝盘错，苍劲如龙，带着深秋的荒寒古拙，将山野萧索之气铺展开来。溪涧蜿蜒穿林，板桥横卧浅流，似能听见潺潺水声，衬出空山幽寂。\n全画笔简意足，以淡墨勾勒形神，轻施淡彩不着浓艳，将文人山水的疏朗意趣藏于尺幅之间。静穆空寂中暗含生机，无繁复皴擦却将丘壑灵韵尽数托出，寄寓着林泉高致，淡而不薄，简而有味，尽显水墨小品的隽永余韵。",[23,25,29,80,277,82,1231,134,7,75,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef01adc37194acb4634f850f7a504be.jpg",[],{"id":16775,"slug":16776,"title":16777,"dynasty":369,"author":201,"museum":552,"description":16778,"tags":16779,"thumbUrl":16780,"material":59,"size":59,"collection":59,"collections":16781,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[23,25,26,24,28,29,56,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99a9723a31fb617dfb1466dbf0e6edb.jpg",[],{"id":16783,"slug":16784,"title":16785,"dynasty":369,"author":201,"museum":71,"description":16786,"tags":16787,"thumbUrl":16788,"material":678,"size":16789,"collection":59,"collections":16790,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":44},223464,"yan-gui-tu-yi-ming-223464","岩桧图","此图描绘君烟上古树参天，天气稀疏。 照片取自山的一角，左侧用雄壮的笔描绘牛仔山的陡峭上升，两棵枯萎的古树斜向空中。 笔下潇洒奔放，风风火火。 山石外，竹水亭，元代远有人居二宋，似呼唤同伴来此歇息。 山石古树的写意，笔法是郭熙的，但郭繁星的笔法是郭繁星的一点点，被认为是南锡熙画派的作品。",[23,25,26,55,29,80,7,134,78,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f1cb467eb71decc35abd1492185aa5.jpg","50.5×39.2厘米",[],{"id":16792,"slug":16793,"title":16794,"dynasty":369,"author":201,"museum":71,"description":16795,"tags":16796,"thumbUrl":16798,"material":1106,"size":16799,"collection":59,"collections":16800,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},223444,"han-tang-fu-lv-tu-ye-yi-ming-223444","寒塘凫侣图页","此图无款，旧签题为“赵昌寒凫侣”，但究其画，近似马远画法，带有南宋画风的痕迹，与北宋赵昌无涉，故改为佚名之作。\n图左侧塘岸土坡，白梅一枝斜出，枝上梅花怒放，枝下茶花、水仙盛开。一对野鸭嬉戏于水中，顾盼生姿，逗人喜爱。对岸土坡败苇稀疏，两只蓝色的小鸟前后相随飞向远方，随之视去画有尽而意无穷。\n对开有清乾隆皇帝御题诗一首：“平湖已动鲤鱼风，湖岸秋花色尚红。波上双凫多乐意，依稀识者有吴融。”\n清《石渠宝笈续编》著录。",[23,25,28,29,53,187,5928,338,16797,7],"红蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92b016892178b99231b9f07507027218.jpg","纵16.6厘米，横20.8厘米",[],{"id":16802,"slug":16803,"title":16804,"dynasty":69,"author":8235,"museum":150,"description":8236,"tags":16805,"thumbUrl":16806,"material":327,"size":16025,"collection":59,"collections":16807,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},222498,"shang-bo-hua-ji-xuan-36-6-zhang-lu-222498","上博画集选36-6",[23,25,26,55,434,173,30,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0872a043b825d208f53f98791685b53.jpg",[],{"id":16809,"slug":16810,"title":16811,"dynasty":69,"author":8235,"museum":150,"description":8236,"tags":16812,"thumbUrl":16813,"material":327,"size":16025,"collection":59,"collections":16814,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},222488,"shang-bo-hua-ji-xuan-36-13-zhang-lu-222488","上博画集选36-13",[23,25,55,30,7,32,434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf31efb42942adab7f389d0a4a0dab0.jpg",[],{"id":16816,"slug":16817,"title":16818,"dynasty":69,"author":3126,"museum":835,"description":16819,"tags":16820,"thumbUrl":16821,"material":609,"size":16822,"collection":59,"collections":16823,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},222370,"wen-yin-tu-juan-yao-shou-222370","文饮图卷","姚绶（1422-1495年），字公绶，号穀庵、丹丘子、云东逸史等。明天顺八年（1464年）进士，官至广东道监察御史，因忤权贵被贬永宁知县，遂称病辞官归里，以诗文书画终老其生。其书法初学宋克，后宗张雨、赵孟俯，并参以黄庭坚；绘画方面，他继承了元代文人画传统，主要师法吴镇、王蒙、赵孟俯，可谓明代前期文人画家中的领军人物之一，在元代文人画与明代吴门画派之间起着承上启下的关键作用。",[23,24,25,26,74,55,78,77,79,173,75,30,80,32,81,349,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a051ea9fd252ec4da1dd0ba33659ff.jpg","23.3 x77.2厘米",[],{"id":16825,"slug":16826,"title":16827,"dynasty":18,"author":941,"museum":71,"description":942,"tags":16828,"thumbUrl":16829,"material":327,"size":945,"collection":59,"collections":16830,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},220287,"huang-shan-tu-ce-38-hong-ren-220287","黄山图册-38",[23,24,25,26,53,55,75,80,7,153,260,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8050f86d74f9f189592f51fa09919131.jpg",[],{"id":16832,"slug":16833,"title":16834,"dynasty":18,"author":941,"museum":71,"description":942,"tags":16835,"thumbUrl":16836,"material":327,"size":945,"collection":59,"collections":16837,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},220270,"huang-shan-tu-ce-53-hong-ren-220270","黄山图册-53",[23,24,25,26,53,55,75,80,7,260,84,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67aafcc8d6af09bf5f118df30194186.jpg",[],{"id":16839,"slug":16840,"title":16841,"dynasty":18,"author":941,"museum":71,"description":942,"tags":16842,"thumbUrl":16843,"material":327,"size":945,"collection":59,"collections":16844,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},220266,"huang-shan-tu-ce-56-hong-ren-220266","黄山图册-56",[23,24,25,26,53,55,29,75,80,7,260,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de6fed94445abea4698dda270244910.jpg",[],{"id":16846,"slug":16847,"title":16848,"dynasty":18,"author":941,"museum":71,"description":942,"tags":16849,"thumbUrl":16850,"material":327,"size":945,"collection":59,"collections":16851,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},220264,"huang-shan-tu-ce-58-hong-ren-220264","黄山图册-58",[23,25,26,24,53,55,75,80,7,260,2351,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92a6870efbb6b4180b333ef2eaa322c4.jpg",[],{"id":16853,"slug":16854,"title":16855,"dynasty":18,"author":4526,"museum":150,"description":16856,"tags":16857,"thumbUrl":16858,"material":327,"size":16859,"collection":59,"collections":16860,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},219823,"ren-wu-ce-ye-12-ren-xiong-219823","人物册页-12","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，绘画师法陈洪绶，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。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[25,26,53,29,30,7,865,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1a820031b1cf7c1add6c47e734430.jpg","27.2x34.3厘米",[],{"id":16862,"slug":16863,"title":10352,"dynasty":69,"author":16864,"museum":170,"description":16865,"tags":16866,"thumbUrl":16867,"material":58,"size":16868,"collection":59,"collections":16869,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},219675,"fang-gu-shan-shui-ce-3-yun-xiang-219675","恽向","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[25,26,53,55,80,76,75,277,82,7,134,1073,324,81,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0685213bd864cf9c9a8c5e43505bcfda.jpg","26x15.2",[],{"id":16871,"slug":16872,"title":16873,"dynasty":18,"author":16134,"museum":150,"description":16135,"tags":16874,"thumbUrl":16875,"material":262,"size":16138,"collection":59,"collections":16876,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},214698,"shan-shui-ce-10-gao-xiang-214698","山水册-10",[25,55,53,75,80,117,136,324,9712,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3eab95424d49319149dcee15d4bf78f.jpg",[],{"id":16878,"slug":16879,"title":16880,"dynasty":69,"author":431,"museum":184,"description":16151,"tags":16881,"thumbUrl":16882,"material":327,"size":14962,"collection":59,"collections":16883,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},214548,"mo-gu-ce-ye-3-chen-hong-shou-214548","摹古册页-3",[25,26,53,55,76,79,7,153,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce87e9fd24d1f3bb04407d4eb72f9bbf.jpg",[],{"id":16885,"slug":16886,"title":16887,"dynasty":69,"author":431,"museum":184,"description":16151,"tags":16888,"thumbUrl":16889,"material":262,"size":14962,"collection":59,"collections":16890,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":64},214543,"mo-gu-ce-ye-8-chen-hong-shou-214543","摹古册页-8",[25,53,55,76,80,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768f74c8fbd0c1a75f279a0b32632035.jpg",[],{"id":16892,"slug":16893,"title":16894,"dynasty":18,"author":4422,"museum":150,"description":16895,"tags":16896,"thumbUrl":16897,"material":59,"size":59,"collection":88,"collections":16898,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":16899},203435,"he-zuo-da-mo-ting-quan-tu-zhou-ren-xun-203435","合作达摩听泉图轴","红衣达摩端坐古木虬枝间，静听涧泉漱石。面容清癯，神情沉敛，朱红衣袍浓艳雅致，与水墨山石相映成趣。旁侧枯树虬曲，墨线勾勒枝干，间缀淡红残叶；涧水潺潺，皴法写水纹，灵动若有声。山石以水墨皴染，层次分明；小景如竹丛苔点，细致入微。画面工细中含写意，设色明快却不失古雅，尽显海派绘画面貌。清幽意境里，达摩禅定之态与自然清音相融，传递出静谧深远的禅意。",[23,25,27,29,28,30,576,80,134,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff88b076cfb9358af5c835493f8409d04.jpg",[88],"b29884",{"id":16901,"slug":16902,"title":7126,"dynasty":69,"author":183,"museum":150,"description":16903,"tags":16904,"thumbUrl":16905,"material":59,"size":59,"collection":88,"collections":16906,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":16907},203175,"shan-shui-tu-ce-xiang-sheng-mo-203175","册页分帧藏趣，一帧孤石嶙峋，墨笔勾皴间显奇崛之态，孔洞宛转似含林泉意趣；一帧水汀清旷，淡彩晕染出江南韵致，岸树扶疏映孤舟轻漾。笔致清雅兼具宋元遗韵，山石用皴法见肌理，草木设色明润，于方寸间铺展山水之幽，尽得自然天真与文人风骨，尽显画家对自然的细腻体察与笔墨情致。",[25,26,53,55,29,80,7,85,75,81,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167a7f2671a618dc8efc481bba98cbdb.jpg",[88],"cac2b1",{"id":16909,"slug":16910,"title":16911,"dynasty":9797,"author":13166,"museum":150,"description":16912,"tags":16913,"thumbUrl":16914,"material":59,"size":59,"collection":88,"collections":16915,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":16916},203155,"hu-she-qing-hui-tu-zhou-huang-bin-hong-203155","湖舍清晖图轴","笔墨苍劲间，丘壑含清晖。近景山石以多变皴法写就，浓淡墨色交织出古拙质感；树木虬曲，红叶点染秋意，小桥隐于林麓。中景湖舍错落，藏在烟树间，一派悠然野趣；远景山峦层叠，淡墨晕染出朦胧烟霞，水色空濛。整幅以水墨为骨，设色淡雅，既有传统山水的章法，又透出浑厚华滋的韵致，湖光山色间尽显文人画的静谧深邃，似能闻林间风、湖畔声，引人沉醉。",[25,80,75,55,29,7,277,82,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b84740e53cbaade3d8a427ea1b0f12.jpg",[88],"d6cebb",{"id":16918,"slug":16919,"title":502,"dynasty":18,"author":16920,"museum":150,"description":16921,"tags":16922,"thumbUrl":16924,"material":59,"size":59,"collection":59,"collections":16925,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":16926},203093,"shan-shui-ce-cai-jia-203093","蔡嘉","水墨晕染间，枯树虬枝盘曲如铁线，笔力劲健中见苍劲之态；奇石嶙峋，皴擦结合显嶙峋肌理，墨色浓淡相济层次分明。旁侧修竹数竿，清瘦有姿，与枯树奇石相映成趣。画面意境清寂淡远，笔墨简练却意韵悠长，尽显文人画的雅致风骨，于小品之中藏大千气象，枯涩里蕴生机流转。",[25,55,75,134,32,7,80,53,16923],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab3e0d8273e7752720e3d56350b03e6.jpg",[],"beb29f",{"id":16928,"slug":16929,"title":16930,"dynasty":18,"author":9663,"museum":150,"description":16931,"tags":16932,"thumbUrl":16934,"material":59,"size":59,"collection":59,"collections":16935,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":16936},203012,"zhi-shui-ji-you-tu-ce-mei-qing-203012","沚水纪游图册","淡墨轻皴间，峰峦如幻。孤石崛立似承云气，细枝攒动隐现生机。飞鸟掠空，添得天地一痕灵动。线条兼工带写，皴擦若有若无，将山水的清寂悠远铺展纸上。无需浓彩，只凭水墨晕染，便勾勒出纪游途中的幽致，仿佛能闻山风轻拂，见流水无声。每一处笔触都藏着对自然的体察，把行旅的心境融于山水，让观者随画境步入那片空灵之境。",[80,55,75,7,153,53,16933],"国","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ebf464ef2272267794f25948d18f52.jpg",[],"d9cfbd",{"id":16938,"slug":16939,"title":16940,"dynasty":9797,"author":7218,"museum":150,"description":16941,"tags":16942,"thumbUrl":16943,"material":59,"size":59,"collection":60,"collections":16944,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":16945},202995,"mu-dan-yu-lan-tu-zhou-wang-zhen-202995","牡丹玉兰图轴","画面中牡丹雍容竞艳，粉白紫黄诸色交织，花瓣层叠间流露饱满生机；玉兰皎洁疏朗，枝桠舒展中尽显清雅之姿。孤石以浓墨泼写，皴擦见骨，与花叶柔媚形成刚柔相济之趣。笔墨洒脱淋漓，设色明艳而不失雅致，花叶勾勒兼具奔放与传神，将富贵气象与高洁韵致融于一轴，生机盎然又格调清逸。",[25,56,29,191,7,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9f73c4a184c0eb83deea2b531b65031.jpg",[60],"bbb3a3",{"id":16947,"slug":16948,"title":16949,"dynasty":18,"author":3115,"museum":150,"description":16950,"tags":16951,"thumbUrl":16952,"material":59,"size":59,"collection":59,"collections":16953,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":16954},202649,"ya-chen-tu-zhou-gao-feng-han-202649","鸦陈图轴","笔墨纵逸洒脱，苍劲的老树枝干虬曲，与嶙峋怪石相映成趣。群鸦振翅掠过天际，疏密错落间尽显灵动生机。老树干枯中藏古劲，怪石以皴擦之法勾勒，墨色浓淡相宜，题跋与朱印点缀其间，更添文人意趣。整幅画作于简淡中见奇崛，写意之韵流淌于笔端，尽显自然之苍茫与生命之灵动。",[25,55,27,153,134,7,75,79,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f6cb09b6451f484debb27b83f72d1a.jpg",[],"a5957c",{"id":16956,"slug":16957,"title":16958,"dynasty":18,"author":16959,"museum":150,"description":16960,"tags":16961,"thumbUrl":16962,"material":59,"size":59,"collection":59,"collections":16963,"showCount":426,"zanCount":511,"manualWeight":43,"mainColor":16964},202643,"song-xia-jian-hua-tu-zhou-lv-xue-202643","松下间话图轴","吕学","古松虬枝垂覆，苍劲笔墨勾勒出盘桓之姿。近景处，一人倚石闲坐，似在静思；溪边另一人俯身打理茶具，流水潺潺绕石而过。山石以皴法写就，兼施淡墨晕染，尽显清润质感。画面意境静谧悠然，传递出文人林下谈道的闲适况味，笔墨间流露传统山水雅韵与文人风骨。",[55,75,80,30,82,7,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4519062600108b4f0ff7bbd54c586.jpg",[],"896c42",{"id":16966,"slug":16967,"title":7253,"dynasty":18,"author":7785,"museum":150,"description":16968,"tags":16969,"thumbUrl":16970,"material":59,"size":59,"collection":59,"collections":16971,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":16972},202519,"fang-huang-gong-wang-shan-shui-zhou-wang-yuan-qi-202519","此作承元人笔意，以干淡苍劲之墨写山川气象。山峦层叠处，披麻皴与干笔擦染交织，如篆籀般朴拙有力；墨色由淡入浓，层层积染出深远空间。溪流蜿蜒穿林，小桥静卧波上，亭榭隐于松竹间，孤石点缀岸畔，处处见幽逸之趣。整体意境清旷古雅，笔墨间既有黄公望的萧散简远，又融自家沉雄醇厚之韵，尽显传统山水画的笔墨意趣与文人情怀。",[25,26,27,55,75,76,80,277,82,349,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ad98ce0515e75ac2017dc4c090222b6.jpg",[],"c3ad8f",{"id":16974,"slug":16975,"title":16976,"dynasty":18,"author":941,"museum":150,"description":16977,"tags":16978,"thumbUrl":16979,"material":59,"size":59,"collection":59,"collections":16980,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":16981},202505,"song-jian-guan-yun-tu-zhou-hong-ren-202505","松涧观云图轴","画面以刚劲线条勾勒山石轮廓，皴法简淡却骨力内蕴，尽显冷逸清旷之致。危崖层叠间，几株古松挺然卓立，涧水隐于石隙似有声，云雾如轻烟缭绕，将远近景致晕染得虚实相生。笔墨洗练纯净，意境空濛悠远，仿佛可置身其间，听松风穿涧，观云气舒卷，感受自然与心境的交融。每一处笔触皆见匠心，传递出画家对山水的深刻体悟与超然情怀。",[25,26,27,55,80,75,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f9000b2ad036a50a5a91c763d6699a.jpg",[],"b6a88e",{"id":16983,"slug":16984,"title":10459,"dynasty":18,"author":169,"museum":150,"description":16985,"tags":16986,"thumbUrl":16987,"material":59,"size":59,"collection":122,"collections":16988,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":16989},202183,"sui-han-san-you-tu-zhou-shi-tao-202183","墨色流转间，竹枝劲挺如戟，叶态疏密有致，浓墨勾筋、淡墨染叶，尽显清刚之气；孤石以皴擦兼晕染出肌理，朴拙中藏苍劲；梅枝疏斜横逸，花苞隐现，似携暗香浮动。整幅画以水墨写岁寒三友，笔势纵逸不拘，将文人风骨与自然意趣融于一纸，观者可感竹韧、石稳、梅雅，于氤氲里见傲骨精神。",[25,55,27,32,187,7,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd828269eaab06b508f74325835e6592f.jpg",[122],"b1a292",{"id":16991,"slug":16992,"title":16993,"dynasty":69,"author":4336,"museum":150,"description":16994,"tags":16995,"thumbUrl":16997,"material":59,"size":59,"collection":59,"collections":16998,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":16999},202175,"shu-shi-tu-zhou-wen-zheng-ming-202175","树石图轴","这幅树石图以枯树、顽石与修竹入景，笔墨苍秀兼具。树干以淡墨中锋勾勒，枝桠虬曲伸展，点叶疏密有致；山石用皴法皴擦，墨色层次丰富，干湿浓淡相间，尽显古朴质感。构图简洁却意境悠远，清寂中透着生机，尽显文人画的雅致韵致，仿佛能感受到林间的静谧气息，于简淡笔墨里藏深幽之趣。",[25,55,27,7,134,32,75,135,16996],"点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf7a1972936afe62a587b1908efee3c6.jpg",[],"a79784",{"id":17001,"slug":17002,"title":17003,"dynasty":69,"author":17004,"museum":150,"description":17005,"tags":17006,"thumbUrl":17007,"material":59,"size":59,"collection":88,"collections":17008,"showCount":426,"zanCount":511,"manualWeight":43,"mainColor":17009},202171,"hua-gao-juan-song-mao-jin-202171","画稿卷","宋懋晋","这卷画稿似作者案头的笔墨私语，纸上罗列着形态各异的山石与树木。山石或嶙峋陡峭，皴擦点染间尽显肌理；或圆浑朴拙，线条勾勒出温润质感。旁侧树木亦姿态万千，虬枝盘曲、疏干横斜、繁叶层叠，简练笔触精准捕捉树的风骨。每帧小景旁或有细碎批注，藏着对笔墨运用的思索。虽为草稿，却于随性中见严谨，是日常写生与技法研习的鲜活荟萃，映照着作者艺术成长的脉络，质朴中透着生动意趣。",[25,74,434,80,75,7,134,76,15580,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e890d4b2db37a8588d6f648977769f5.jpg",[88],"d2a86e",{"id":17011,"slug":17012,"title":17013,"dynasty":18,"author":10806,"museum":150,"description":17014,"tags":17015,"thumbUrl":17016,"material":59,"size":59,"collection":60,"collections":17017,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":17018},202155,"zhu-shi-lan-hua-tu-zhou-luo-pin-202155","竹石兰花图轴","墨竹数竿挺劲而立，竹叶以浓淡墨色层叠挥洒，焦墨勾筋、淡墨衬叶，似带飒飒清风；旁侧孤石以简笔勾勒轮廓，皴擦间见朴拙沉厚之态；石边幽兰疏朗点缀，叶片纤柔却暗含风骨，几笔淡墨便显幽芳之姿。整幅以水墨写意成篇，笔墨纵逸洒脱又不失法度，将竹之劲节、石之坚稳、兰之清雅融于一纸，尽显清逸孤傲之韵，观之如置身林下，闻得草木间淡淡清气。",[55,25,26,27,32,188,7,173,75,56,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bb747987d8440fdeee328caca8aae27.jpg",[60],"ae9e89",{"id":17020,"slug":17021,"title":17022,"dynasty":18,"author":17023,"museum":150,"description":17024,"tags":17025,"thumbUrl":17026,"material":59,"size":59,"collection":88,"collections":17027,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":17028},202104,"gu-mu-han-quan-tu-zhou-li-yu-202104","古木寒泉图轴","李誉","画面中苍劲古木错落成景，枝干虬曲多姿，墨笔勾勒显纹理，设色淡雅添清韵。林间寒泉蜿蜒隐现，山石点缀其间，营造出清冷幽寂的氛围。笔墨兼具工致与意趣，树干以皴法见苍古，枝叶晕染显层次，尽显文人山水的雅致韵味，引人沉醉于这静谧悠远的自然之境。",[25,55,29,80,16179,7,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F952f3ef10dec688fe37754e248952024.jpg",[88],"ad957c",{"id":17030,"slug":17031,"title":17032,"dynasty":18,"author":6575,"museum":150,"description":17033,"tags":17034,"thumbUrl":17035,"material":59,"size":59,"collection":59,"collections":17036,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":17037},202095,"ping-he-ling-shi-tu-zhou-zhou-xian-202095","瓶荷灵石图轴","青瓷瓶釉色浅蓝温润，瓶中粉白荷花盛放，蕊心橙红灵动，荷叶舒展带露，脉络细腻。旁侧灵石以墨笔皴擦，形态古拙苍劲，与瓶荷的柔美形成刚柔相济之趣。画作设色清雅，工写结合，线条流畅，尽显文人案头清供的雅致意境，韵致幽远，笔墨天成。",[33,445,34,7,28,29,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb394e8a13fe1df173a564143a046dd94.jpg",[],"c0b29b",{"id":17039,"slug":17040,"title":17041,"dynasty":18,"author":17042,"museum":150,"description":17043,"tags":17044,"thumbUrl":17045,"material":59,"size":59,"collection":60,"collections":17046,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":17047},202055,"ji-ju-tu-zhou-fan-zhen-202055","鸡菊图轴","范箴","画面取深秋一隅，老树虬枝盘曲，孤石嶙峋横卧。石畔数丛白菊素雅绽妍，花瓣舒展如缕，清芬暗浮。一只锦鸡栖于石上，翎羽翩然，尾羽如墨染丝绦垂落，姿态悠然自若。笔触工细入微，锦鸡羽毛纹理勾勒精谨，设色淡雅却见层次；菊花以白描点染，尽显高洁之态；树石用墨晕染，苍劲中带朴拙。构图疏密得宜，虚实相生，将秋日清寂与生机融于一体，暗含“菊之高洁”与“鸡之吉祥”的双重意韵，尽显传统花鸟的雅致情致。",[25,28,56,189,1187,29,27,7,134,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9187ef59011432bf1ef0e09e601c3a5d.jpg",[60],"876237",{"id":17049,"slug":17050,"title":17013,"dynasty":18,"author":17051,"museum":150,"description":17052,"tags":17053,"thumbUrl":17054,"material":59,"size":59,"collection":122,"collections":17055,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":17056},202047,"zhu-shi-lan-hua-tu-zhou-tie-zhou-202047","铁舟","这幅水墨写意之作，以灵动笔触勾勒兰竹石的韵致。兰叶柔韧舒展，花茎轻垂，墨色淡雅；翠竹枝干挺劲，竹叶如戟，浓淡相宜；山石以简括皴擦与泼墨晕染结合，朴拙自然。构图疏密错落，虚实相生，笔墨洒脱中见细腻，将兰之幽、竹之劲、石之朴融于一纸，尽显文人画的清雅风骨，仿佛裹挟着山野草木的清气，引人入胜。",[25,55,173,75,188,32,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe67cba7f9ede8caba52bbc183942bb84.jpg",[122],"bcae97",{"id":17058,"slug":17059,"title":17060,"dynasty":18,"author":17061,"museum":150,"description":17062,"tags":17063,"thumbUrl":17064,"material":59,"size":59,"collection":60,"collections":17065,"showCount":426,"zanCount":511,"manualWeight":43,"mainColor":17066},202006,"sui-han-liu-yi-tu-zhou-ji-fen-202006","岁寒六逸图轴","计芬","画面以孤石为底，古松虬枝盘曲，苍劲枝干间点缀粉嫩梅蕊，石畔水仙亭亭玉立，翠竹疏影横斜。一只飞鸟栖于松枝，姿态轻盈灵动，似在细嗅寒香。笔墨兼工带写，山石以浓淡墨皴染，尽显厚重质感；花卉禽鸟线条细腻，设色清雅，于冷寂中透出盎然生机。整体意境幽远，将岁寒之景与清雅草木相糅，传递出文人所追求的坚贞与逸趣。",[25,27,55,29,56,7,4211,187,32,174,153,28,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ef25d4d0194effd36b39ee4e050800.jpg",[60],"b6a38e",{"id":17068,"slug":17069,"title":17070,"dynasty":18,"author":4422,"museum":150,"description":17071,"tags":17072,"thumbUrl":17073,"material":59,"size":59,"collection":60,"collections":17074,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":17075},201937,"mu-dan-shan-zhi-tu-zhou-ren-xun-201937","牡丹山雉图轴","画面中，牡丹雍容绽放，花瓣层叠晕染，色泽清雅；山雉羽色斑斓，立于嶙峋孤石之上，姿态悠然。花枝交错间，叶片的脉络与山石的肌理皆以工笔细描，设色温润和谐，既显物象之生动，又含古雅之韵致。整幅作品工致精巧，花鸟情态毕肖，动静相生间，将自然生机与文人意趣融于一纸，尽显传统花鸟画作的细腻与灵动。",[28,29,56,191,7,27,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77567af00b8a89b199b0dd46619f9c5d.jpg",[60],"cec0b0",{"id":17077,"slug":17078,"title":15165,"dynasty":18,"author":17079,"museum":150,"description":17080,"tags":17081,"thumbUrl":17082,"material":59,"size":59,"collection":60,"collections":17083,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":17084},201929,"hua-niao-tu-zhou-jin-li-ying-201929","金礼瀛","画面中，禽鸟立于玉兰枝梢，羽翼纹理细腻传神，神态悠然；下方牡丹雍容绽放，粉白与鹅黄交织，花瓣层叠晕染自然，尽显华贵之姿；蓝绿叶片舒展灵动，衬得花色更显娇嫩；旁侧顽石与枝干勾勒朴拙，纹理生动，增添古雅之趣。整作工笔细腻，设色清新雅致，构图错落有致，于静谧中流露春日生机，尽显文人花鸟的温婉韵致与对自然生机的细腻捕捉。",[25,28,29,56,191,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860811d653ec5fe9e3d0caabaee3bee4.jpg",[60],"c4b39c",{"id":17086,"slug":17087,"title":17088,"dynasty":69,"author":70,"museum":150,"description":17089,"tags":17090,"thumbUrl":17091,"material":59,"size":59,"collection":88,"collections":17092,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":17093},201733,"tai-shi-tu-zhou-shen-zhou-201733","苔石图轴","画面笔墨苍润沉厚，嶙峋苔石以皴染相济之法写就，纹理间见朴拙意趣；旁侧亭榭简括雅致，疏枝欹斜映带，远山淡抹如黛，衬出空寂清旷之境。题跋行书流畅自然，与苍劲山石、淡远山水相映成趣，诗书画印浑然一体，尽显文人画的逸致与风骨。墨色层次丰富，干湿浓淡间传递出静谧悠然的气息，仿佛可闻林间风语，观石上苔痕，于简淡中藏深意。",[25,55,80,7,349,75,78,79,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7409f01d6de34898fd17e0a540333f0.jpg",[88],"c6bda9",{"id":17095,"slug":17096,"title":17097,"dynasty":18,"author":49,"museum":150,"description":17098,"tags":17099,"thumbUrl":17101,"material":59,"size":59,"collection":59,"collections":17102,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":17103},201714,"ju-shi-tu-zhou-yun-shou-ping-201714","菊石图轴","画面中菊花与山石相依成趣，以没骨法晕染出万千姿态。白菊素洁如霜，粉菊柔婉似霞，紫菊幽艳，黄菊暖润，花瓣层叠间色彩过渡自然，叶片脉络清晰可辨，尽显鲜活生机。山石以淡赭皴擦，肌理厚重朴拙，与柔美的花卉形成刚柔对比。整体构图疏密得当，花枝摇曳生姿，笔墨间蕴含文人画的清雅意趣，将秋菊傲霜之态与自然天趣完美融合，观之如临东篱，暗香袭人。",[54,29,56,189,7,75,79,17100],"工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94bfe52ee698d0c343d8fabf261795f.jpg",[],"a37d54",{"id":17105,"slug":17106,"title":11861,"dynasty":18,"author":7785,"museum":150,"description":17107,"tags":17108,"thumbUrl":17109,"material":59,"size":59,"collection":88,"collections":17110,"showCount":426,"zanCount":511,"manualWeight":43,"mainColor":17111},201632,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-yuan-qi-201632","画面山峦层叠，笔墨苍劲浑厚，以披麻皴勾勒山石纹理，尽显古雅气象。山间林木葱茏，枝干虬劲，墨色浓淡相宜；溪畔屋舍掩映，小桥横跨流水，意境悠远静谧。整作承黄公望笔意，兼具自家“金刚杵”般的笔力，于临摹中见己意，尽显文人山水的深邃韵致，观之如入林泉之境，悠然忘俗。",[25,27,55,75,76,80,277,82,349,81,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9468468f58758dc9a39a243a9dda1f.jpg",[88],"b8b7b1",{"id":17113,"slug":17114,"title":17115,"dynasty":69,"author":431,"museum":150,"description":17116,"tags":17117,"thumbUrl":17118,"material":59,"size":59,"collection":60,"collections":17119,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":17120},201627,"mei-hua-xiao-niao-tu-zhou-chen-hong-shou-201627","梅花小鸟图轴","枯枝如铁，梅萼疏疏缀于虬干，一只小鸟敛翅静立，目光低垂似有所悟。下方怪石嶙峋，皴法古拙，笔墨厚重中见灵秀；石畔红叶嫣然，淡染红韵，与墨色冷寂形成微妙平衡。线条凝练如篆，造型奇崛却生动，文人画的清逸雅致尽在其中，简淡中藏深意，观之令人心静神远。",[25,26,27,28,29,56,187,7,8579,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3b05e96bb6c5f645b61919cbeb783.jpg",[60],"746849",{"id":17122,"slug":17123,"title":17124,"dynasty":18,"author":169,"museum":150,"description":17125,"tags":17126,"thumbUrl":17127,"material":59,"size":59,"collection":59,"collections":17128,"showCount":426,"zanCount":43,"manualWeight":43,"mainColor":17129},201427,"kan-mei-tu-zhou-shi-tao-201427","看梅图轴","梅枝夭矫盘桓，墨色浓淡间缀以疏花，笔意灵动中见清逸。旁侧巨石以粗犷笔触皴擦，嶙峋苍劲；阔大芭蕉叶层叠舒展，墨韵层次丰富。画面构图错落，虚实相生，水墨淋漓处尽显纵恣之趣，自然景物间暗藏幽远禅意，是文人画中笔墨与意境交融的典范之作。",[25,55,27,187,7,75,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674a517a37835790fe183283ea5bfe40.jpg",[],"937d62",{"id":17131,"slug":17132,"title":17133,"dynasty":148,"author":201,"museum":552,"description":17134,"tags":17135,"thumbUrl":17137,"material":641,"size":642,"collection":59,"collections":17138,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":44},290792,"da-mo-xiang-zhou-yi-ming-290792","达摩像轴","《达摩像图轴》中达摩坐于象背上，宝像庄严，有五名僧众围绕其间，边上花木围绕使得人物形象更具端庄肃穆。此图设色清雅，线条流畅。款题：枝隐口头陀吴彬斋心拜写。钤吴彬之印、吴文中氏。吴彬笔下的罗汉像十分奇特怪异，每出新奇，迥别旧人，以往常见的仙风道骨的想象被五官夸张扭曲的形象所取代。然而这种丑，并非一般意义上的丑陋，而有着化腐朽为神奇的魅力。",[25,27,576,29,30,7,79,77,17136,7979],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8da4ca089dc4f730930588cf09e755.jpg",[],{"id":17140,"slug":17141,"title":17142,"dynasty":369,"author":201,"museum":112,"description":17143,"tags":17144,"thumbUrl":17145,"material":37,"size":17146,"collection":59,"collections":17147,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":44},290719,"yu-e-tu-zhou-yi-ming-290719","浴鹅图轴","一只白鹅游于湖上，抬头望著杏花，此景与「宫娥望幸」正有谐音之趣。画幅上钤有「内府图书之印」，这方印是北宋的官印，古人据此订为宋人作。然此方「内府图书之印」与唐玄宗「鹡鸰颂」、易元吉「猴猫图」上所钤之「内府图书之印」相比对，本幅的印章有存疑之处。本幅虽有追法宋人花鸟画之意，但无论是画柳树，或皴石头、或画羽禽，均属吕纪一派典型画风。",[24,25,27,56,28,29,4462,153,134,7,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5705dcba2d67d720f99aab39d5c7dd27.jpg","181.4x98.2",[],{"id":17149,"slug":17150,"title":17151,"dynasty":369,"author":201,"museum":552,"description":17152,"tags":17153,"thumbUrl":17155,"material":641,"size":642,"collection":59,"collections":17156,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":44},290240,"dai-du-tu-ye-yi-ming-290240","待渡图页","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。",[23,25,26,80,55,75,133,7,82,85,153,760,17154],"待渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f121a7110bd25d54a369b4fcbdf9a33.jpg",[],{"id":17158,"slug":17159,"title":2075,"dynasty":369,"author":201,"museum":552,"description":17160,"tags":17161,"thumbUrl":17162,"material":641,"size":642,"collection":59,"collections":17163,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":143},289225,"mu-niu-tu-yi-ming-289225","此作以淡墨晕染出空寂郊野，疏竹错落，枝叶轻曳，晕开萧散野趣。坡岸平缓舒展，放牛郎踞坐侧畔，垂首凝神，似正拨弄草叶，浑然忘机。一旁水牛敛首蜷卧，温驯恬然，与牧童的自在两相映照。\n\n全幅无繁复勾勒，仅以水墨写意铺陈，将江南郊野慵懒午后定格。把牧歌式的松弛藏在极简笔墨间，淡远空濛，尽显雅致含蓄的审美意韵，暗合了对幽居林泉、安然自适的生活向往。",[23,24,714,25,55,2079,32,30,7,9649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598d9e8fa7682ff2432eda0cf044c6ba.jpg",[],{"id":17165,"slug":17166,"title":8090,"dynasty":18,"author":17167,"museum":552,"description":17168,"tags":17169,"thumbUrl":17170,"material":641,"size":642,"collection":59,"collections":17171,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},288498,"shan-shui-tu-li-zhou-pu-yi-zhai-288498","溥毅斋","此作用笔简淡清逸，以淡赭晕染崖石，枯焦墨笔勾皴点苔，写出岩崖苍朴温润的质感。三处幽兰随坡崖错落而生，兰叶以中锋勾勒，笔力舒展挺劲，暗含书法意趣，淡红点染兰蕊，清雅含蓄。\n\n画面留白开阔，不着过多修饰，便将山野幽寂之境铺展眼前，尽显文人画简淡天真的意趣。以兰自喻，借芝兰幽居山野、孤芳自赏之姿，抒静穆清逸的林下襟怀，是寄情花木、以画明志的写意佳作。",[23,25,26,27,29,55,188,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1787921528d915c87b802c21f619acb.jpg",[],{"id":17173,"slug":17174,"title":17175,"dynasty":18,"author":201,"museum":552,"description":17176,"tags":17177,"thumbUrl":17178,"material":641,"size":642,"collection":59,"collections":17179,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},270530,"zhu-gu-rui-jun-wang-shu-hua-ying-xi-tu-mian-zhe-shan-yi-ming-270530","竹股瑞郡王书画婴戏图面折扇","扇面以湖石框构庭院小景，芭蕉浓荫铺就雅致底色。仕女稚童错落排布，长者持卷安立，衣袂柔婉舒展，稚童嬉游绕侧，神态鲜活灵动，将天伦闲趣融于画面。\n\n笔墨兼工带写，皴擦勾勒出湖石苍润肌理，芭蕉阔叶晕染细腻柔润，于扇面方寸间铺展出清幽悠然的庭院日常，把旧时光里的温婉生机定格在咫尺纨素之上，尽显世俗烟火里的融融意趣。",[714,25,26,29,30,5135,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F553921fb7ab52a370c6c46a3113ac805.jpg",[],{"id":17181,"slug":17182,"title":17183,"dynasty":18,"author":201,"museum":552,"description":17184,"tags":17185,"thumbUrl":17187,"material":641,"size":642,"collection":59,"collections":17188,"showCount":317,"zanCount":511,"manualWeight":43,"mainColor":44},259558,"xuan-tong-kuan-fen-cai-shui-xian-wen-zhong-yi-ming-259558","宣统款粉彩水仙纹盅","此器秀巧雅致，敞口敛腹，釉色莹润匀净。以青花晕染湖石，苍润古朴，晕染自然，尽显嶙峋之态。石畔水仙丛生，粉黄娇花配青绿柔茎，粉彩敷色明丽清浅，与青花色调相映成趣。足底细点苔痕，衬出些许野趣生机。整体构图疏朗悠然，将水仙清隽出尘的风骨尽显无遗，不见繁缛雕饰，却自带着文人案头清供的雅致意趣，把温婉风致藏入瓷间，韵致悠长。",[16353,17186,16355,6100,174,7],"粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7c2f0900577fc4716bb4133d4e5b36.jpg",[],{"id":17190,"slug":17191,"title":17192,"dynasty":18,"author":17193,"museum":552,"description":17194,"tags":17195,"thumbUrl":17198,"material":641,"size":642,"collection":59,"collections":17199,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":44},240150,"shi-juan-yong-rong-240150","诗卷","永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,25,26,74,78,77,79,55,29,28,75,115,338,17196,863,7,349,153,1231,134,56,189,187,32,188,33,191,190,396,174,100,565,82,17197,291,160,117],"月","镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bef9db8d13140b80a43b3a09f5f780.jpg",[],{"id":17201,"slug":17202,"title":17203,"dynasty":69,"author":17204,"museum":71,"description":17205,"tags":17206,"thumbUrl":17209,"material":327,"size":17210,"collection":786,"collections":17211,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},240024,"xing-shu-lin-jie-jin-shi-juan-cai-yu-240024","行书临解缙诗卷","蔡羽","《临解缙诗》释文\n款署“嘉靖丙申”。丙申为明嘉靖十五年（1536年）。钤“九逵”印。\n《临解缙诗》书法深得王羲之笔意，尤其得力于《集王圣教序》和《兰亭序》。笔势遒逸俊美，流媚多姿，宛转得势，结字清秀。李日华《六研斋笔记》中云：“蔡林屋行押书，遒美有逸韵。”",[23,77,74,78,76,79,55,2886,445,907,13530,17207,17208,338,291,115,17196,1911,7],"溪","浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf3bf5705f74db8508254a8b8f7366f.jpg","29×822.2cm",[786],{"id":17213,"slug":17214,"title":502,"dynasty":18,"author":14556,"museum":552,"description":17215,"tags":17216,"thumbUrl":17217,"material":59,"size":59,"collection":59,"collections":17218,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},239364,"shan-shui-ce-wang-san-xi-239364","此帧以淡墨晕染远山，将谷中氤氲雾气铺陈开来，左上飞瀑垂落，碎玉落入寒潭，随波漾开清浅留白，摹写出平湖空寂。近景虬曲矮树斜生石畔，墨色点染的花叶与身旁幽竹交映，石隙细流潺潺汇入清溪。\n\n配题诗以笔补画境，将林樾阴浓、山光浸溪的幽寂尽数托出，整体笔墨秀润清雅，于尺幅间铺展出世外林泉的静穆禅意，观之如临其境，似能呼吸到谷中清润山风，将山水间的闲澹空明悄然藏于笔墨方寸中。",[25,26,53,55,29,80,32,82,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af868a5a5bb3d88f883d36b6aacae40.jpg",[],{"id":17220,"slug":17221,"title":502,"dynasty":18,"author":14556,"museum":552,"description":17222,"tags":17223,"thumbUrl":17224,"material":59,"size":59,"collection":59,"collections":17225,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},239362,"shan-shui-ce-wang-san-xi-239362","此作取景分两重溪山，上部峡谷溪流宛转，矶渚错落排布，淡墨晕染山石，线条松秀灵动，间杂几株清瘦林木，幽寂空阔之意扑面而来。下半段以险峻崖嶂为主体，双松虬曲扎根危石，古拙苍劲，姿态奇崛。下方汀岸平缓，茅舍隐现一角，与上部深远山水形成疏密对照。\n\n全作用浅绛淡设色，笔墨简淡秀雅，意境清远冷寂，尽显文人画萧散淡远之致，将江南溪山的清旷之美，以极简笔墨勾勒晕染，淡而不薄，简中见雅，寄寓着画者林泉高致的隐逸襟怀。",[25,55,75,53,80,3368,81,8316,10173,153,82,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85d082822abb6054ae8bb023d4baaba3.jpg",[],{"id":17227,"slug":17228,"title":7126,"dynasty":69,"author":10302,"museum":552,"description":17229,"tags":17230,"thumbUrl":17231,"material":641,"size":642,"collection":59,"collections":17232,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},239321,"shan-shui-tu-ce-zhang-hong-239321","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[25,26,53,55,75,80,7,134,1231,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd2edef713a7351041f53ee6949307.jpg",[],{"id":17234,"slug":17235,"title":10624,"dynasty":69,"author":10625,"museum":552,"description":17236,"tags":17237,"thumbUrl":17238,"material":59,"size":59,"collection":59,"collections":17239,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},239266,"shu-hua-tu-ce-cheng-min-239266","此作以枯笔写古木老干，皴擦极简便带出苍朴嶙峋的质感。兰叶以焦墨挥写，笔势纵逸洒脱，长短交错、顾盼生姿，将兰草清挺舒展之态尽显无遗，花瓣以淡墨轻点，雅致简约，不着浓艳。\n\n全幅构图疏密相宜，留白得当，以少胜多，把幽兰孤高脱俗的君子气质烘托得淋漓尽致。整幅小品尽显文人水墨的雅致意趣，将画者寄情于兰的高洁情志融于笔墨之间，淡雅空灵，意韵悠长。",[25,26,53,55,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbf4cf9c69cfd1e2dbbb5fc84f93e03.jpg",[],{"id":17241,"slug":17242,"title":4669,"dynasty":18,"author":17243,"museum":552,"description":17244,"tags":17245,"thumbUrl":17246,"material":59,"size":59,"collection":59,"collections":17247,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":44},239208,"song-shi-zhou-mei-geng-239208","梅庚","此作以苍松怪石为景，右侧丛松拔地顶天，苍劲主干以鳞皴写出，斑驳松皮尽显岁月古拙。松冠层叠如伞，笔墨凝练清隽，自带萧散之气。下方湖石奇崛瘦透，淡墨晕染勾勒轮廓，浓墨点苔提点意趣，虚实相生，尽显嶙峋朴野之态。全幅留白开阔悠远，将苍松的虬劲古茂与顽石的静穆朴拙相融，尽显简淡清逸的文人意趣，淡而弥厚，清而弥永，藏着山林古意与雅致风骨。",[25,26,27,55,75,715,826,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F896f2c1c8248965d6d19b20c2e31837a.jpg",[],{"id":17249,"slug":17250,"title":17251,"dynasty":18,"author":9493,"museum":552,"description":17252,"tags":17253,"thumbUrl":17254,"material":59,"size":59,"collection":59,"collections":17255,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},239135,"shan-shui-he-hui-ce-zhang-zong-cang-239135","山水合绘册","此作用笔枯淡清劲，以细碎排线勾勒水波，层层叠叠间铺展出缓流浅滩的柔缓水态。左下角汀渚以焦墨点染丛草，苍朴野逸，右上角矶石以淡墨晕出轮廓，留白衬出苔痕斑驳。\n\n全幅摒弃重彩繁皴，以极简笔墨营造江渚幽寂之境，无喧嚣物象，只留水波漱石的清旷野趣，将水畔荒寒静谧的氛围尽数铺陈，尽显文人山水萧散冷逸的雅韵，于平淡疏朗间，写尽林下水边的悠然意趣。",[25,26,53,55,75,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84401a2343027df5773770f569ee993d.jpg",[],{"id":17257,"slug":17258,"title":17259,"dynasty":18,"author":1491,"museum":552,"description":17260,"tags":17261,"thumbUrl":17262,"material":59,"size":59,"collection":59,"collections":17263,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},238840,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238840","画归余纪典图册","这帧小卷以淡墨轻彩晕染出归闲雅境，浅赭晕开晓月清光，柔粉点染花枝，将春园暮色晕成温柔的底色。湖石瘦皱通透，与参差屋舍、疏林相映，檐角轻挑着晚空的静穆。\n\n三五雅人信步闲谈，衣袂轻扬，把仕退归来的松弛散逸揉入园中。留白处题字舒展，笔墨与景致相融无间，无重彩浓抹，只以清简笔触铺陈日常幽趣，将林下闲居的从容安恬藏在一草一檐里，满卷皆是江南园居的温婉意韵，尽写归余岁月的澹然闲情。",[25,29,28,241,30,242,7,190,864,134,13384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0e03bc057a4ceaa3bdb7ac94fb69f4d.jpg",[],{"id":17265,"slug":17266,"title":7991,"dynasty":18,"author":1491,"museum":552,"description":16386,"tags":17267,"thumbUrl":17268,"material":59,"size":59,"collection":59,"collections":17269,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},238337,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238337",[25,26,53,55,29,32,7,160,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef712e608a3179dbcbae8425b9d6089e.jpg",[],{"id":17271,"slug":17272,"title":6938,"dynasty":18,"author":6939,"museum":71,"description":6940,"tags":17273,"thumbUrl":17274,"material":507,"size":6943,"collection":59,"collections":17275,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},238297,"shi-liu-luo-han-ce-jia-quan-238297",[25,26,53,55,29,434,576,30,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd75feacfac5243ce88fab7dbc8999901.jpg",[],{"id":17277,"slug":17278,"title":17279,"dynasty":69,"author":14607,"museum":552,"description":17280,"tags":17281,"thumbUrl":17282,"material":641,"size":642,"collection":59,"collections":17283,"showCount":317,"zanCount":511,"manualWeight":43,"mainColor":64},237941,"liu-yan-shi-nv-shan-wang-sheng-237941","柳燕仕女扇","此作以淡墨晕染垂柳，柔丝垂垂如烟似霭，将暮春缱绻慵懒的意绪缓缓铺陈。嶙峋湖石以枯笔皴擦，朴拙苍劲，恰好与柳枝的柔婉形成刚柔对照。\n两名仕女身形简雅清瘦，衣纹线条轻逸舒展，未施浓彩重墨，却将林下伫立、悠然遐思的温婉情态尽藏其间。\n尺幅之内以简驭繁，留白空寂悠远，把文人写意的通透灵秀融于小品之中，淡和清逸，余韵绵长。",[25,714,55,434,29,30,31,907,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db20f3c747693ce1bae3a1b506e223b.jpg",[],{"id":17285,"slug":17286,"title":1238,"dynasty":18,"author":12483,"museum":552,"description":12484,"tags":17287,"thumbUrl":17288,"material":641,"size":642,"collection":59,"collections":17289,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},237282,"za-hua-ce-chen-zi-237282",[25,26,53,55,29,80,133,7,30,324,14243,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1242b39a30b6b8be408502d9b8728d.jpg",[],{"id":17291,"slug":17292,"title":6958,"dynasty":18,"author":4274,"museum":552,"description":14688,"tags":17293,"thumbUrl":17294,"material":641,"size":642,"collection":59,"collections":17295,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},237249,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237249",[25,55,53,1231,134,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7335720c416dd6f8d3c282eaabb8912d.jpg",[],{"id":17297,"slug":17298,"title":6958,"dynasty":18,"author":4274,"museum":552,"description":14688,"tags":17299,"thumbUrl":17300,"material":641,"size":642,"collection":59,"collections":17301,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},237247,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237247",[25,26,53,55,134,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11591d21a2f8597e71abf9556e957f81.jpg",[],{"id":17303,"slug":17304,"title":15275,"dynasty":18,"author":15276,"museum":552,"description":15277,"tags":17305,"thumbUrl":17306,"material":59,"size":59,"collection":59,"collections":17307,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},237162,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237162",[25,26,53,29,80,30,349,32,7,81,79,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff47182c53825422b7fce4b0d310b53de.jpg",[],{"id":17309,"slug":17310,"title":502,"dynasty":18,"author":4274,"museum":552,"description":10424,"tags":17311,"thumbUrl":17312,"material":59,"size":59,"collection":59,"collections":17313,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},237106,"shan-shui-ce-cha-shi-biao-237106",[25,26,53,55,80,81,277,82,85,7,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c3c7b9db23d012365667c2d45e9f9.jpg",[],{"id":17315,"slug":17316,"title":502,"dynasty":18,"author":4274,"museum":552,"description":10424,"tags":17317,"thumbUrl":17318,"material":59,"size":59,"collection":59,"collections":17319,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},237102,"shan-shui-ce-cha-shi-biao-237102",[25,26,55,75,53,80,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb162e797ab10d3ae1eb181564a16043f.jpg",[],{"id":17321,"slug":17322,"title":16443,"dynasty":18,"author":16444,"museum":552,"description":17323,"tags":17324,"thumbUrl":17325,"material":327,"size":59,"collection":59,"collections":17326,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},237061,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237061","此作左书右绘，笔墨简淡清逸。画幅右侧以淡墨晕染山居小景，高松卓立挺秀，浓荫覆着茅舍，浅滩乱石错落成趣，远山虚晕留白，尽显空灵悠远。左侧题诗与绘境相和，咏叹松梅林下幽隐意趣。整体笔意萧散简雅，以极简笔墨勾勒出清寂出尘的林下襟怀，将幽居世外、不与俗争的文人意趣融于尺幅间，淡墨浅痕里藏着静穆悠长的林泉高致，静中生味，淡而弥远。",[25,26,55,434,53,78,79,80,715,187,242,7,81,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde60ccd65fd10829b807274fbdf8ff.jpg",[],{"id":17328,"slug":17329,"title":17330,"dynasty":18,"author":6283,"museum":552,"description":6541,"tags":17331,"thumbUrl":17332,"material":641,"size":642,"collection":59,"collections":17333,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},237000,"xue-jing-shan-shui-ce-wang-hui-237000","雪景山水册",[25,26,53,55,75,80,851,277,349,242,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a95f21a757869f6960a0e4b30638e21.jpg",[],{"id":17335,"slug":17336,"title":502,"dynasty":18,"author":17337,"museum":552,"description":17338,"tags":17339,"thumbUrl":17340,"material":641,"size":642,"collection":59,"collections":17341,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},236988,"shan-shui-ce-zhang-xi-236988","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[25,26,53,55,75,78,79,80,277,82,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14806fff5a66b9c26c15e38670e1e3e9.jpg",[],{"id":17343,"slug":17344,"title":502,"dynasty":69,"author":4470,"museum":71,"description":11813,"tags":17345,"thumbUrl":17346,"material":5284,"size":11817,"collection":59,"collections":17347,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},236903,"shan-shui-ce-song-xu-236903",[25,26,53,29,75,80,242,85,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd298b51fc5d843f47382253ac2f8c23c.jpg",[],{"id":17349,"slug":17350,"title":17351,"dynasty":69,"author":6737,"museum":552,"description":17352,"tags":17353,"thumbUrl":17354,"material":641,"size":642,"collection":59,"collections":17355,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},236805,"hua-song-shan-mian-li-liu-fang-236805","画松扇面","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[25,714,55,75,715,133,493,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877dac155f5c4776fc977e126374dad0.jpg",[],{"id":17357,"slug":17358,"title":10109,"dynasty":69,"author":201,"museum":552,"description":17359,"tags":17360,"thumbUrl":17361,"material":59,"size":59,"collection":59,"collections":17362,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},236761,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236761","周天球，字公瑕，号幼海，一作幻海，又号六止生，群玉山人，群玉山樵。江苏苏州人。博学多识，以诗文、书画名世。少年时于文征明门下学习书法。善大小篆、古隶、行楷，晚年自辟蹊径，一时丰碑大碣无不出其手，善写兰，间作水墨花卉。《明画录》云：“墨兰松雪后失传，惟天球独得其妙。”",[25,26,24,53,55,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc22e612bdf61e8f2ec1babad66c571.jpg",[],{"id":17364,"slug":17365,"title":15290,"dynasty":18,"author":4274,"museum":552,"description":15291,"tags":17366,"thumbUrl":17367,"material":59,"size":59,"collection":59,"collections":17368,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},236572,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236572",[25,26,53,55,78,79,75,80,82,7,134,863],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd17f10de567733a5c327b3249389aaa.jpg",[],{"id":17370,"slug":17371,"title":502,"dynasty":18,"author":17372,"museum":552,"description":17373,"tags":17374,"thumbUrl":17375,"material":313,"size":59,"collection":59,"collections":17376,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},236502,"shan-shui-ce-cheng-ming-236502","程鸣","程鸣（1676-1745），字友声，号松门，安徽歙县人，占籍江苏仪征。黄宾虹在《黄山画苑论略》中云其为雍正年间诸生。山水学於石涛（道济）参以程邃，每以秃毫渴墨，运以中锋，纯以书法成之，不加渲染，自然沈郁苍浑。诗出王士祯之门，尝为士祯作古夫于亭图，与陈撰、方士庶、厉鹗为诗画友。",[25,26,53,55,29,80,7,82,81,324,116,8646,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49af4914e228e5d43bacfee39b2237e7.jpg",[],{"id":17378,"slug":17379,"title":11536,"dynasty":69,"author":8904,"museum":71,"description":11537,"tags":17380,"thumbUrl":17381,"material":327,"size":11540,"collection":59,"collections":17382,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},236482,"shan-shui-ren-wu-ce-guo-fen-ya-236482",[25,55,53,434,80,30,85,505,187,134,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb202a7336136f338bf6b7017558691.jpg",[],{"id":17384,"slug":17385,"title":11806,"dynasty":18,"author":8439,"museum":552,"description":17386,"tags":17387,"thumbUrl":17388,"material":59,"size":59,"collection":59,"collections":17389,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},236419,"shan-shui-he-ce-huang-yi-236419","此作用笔简劲古雅，以淡墨勾勒皴擦山石丘壑，造型朴拙苍厚，带着金石篆刻般的凝练质感。画面取边角构图，留白疏朗空灵，山石与浅淡草木相映，营造出清寂淡远的幽居意境。左侧题识与山水相映成趣，诗画交融，尽显文人画的闲散意趣，将金石古雅意趣融于山水笔墨间，简淡之中自有沉静悠长的古韵，寥寥数笔便勾勒出超脱尘俗的林泉之致。",[25,26,53,55,75,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F462d8a31e1f1ec6ddc928f67776a187c.jpg",[],{"id":17391,"slug":17392,"title":17393,"dynasty":18,"author":3814,"museum":552,"description":17394,"tags":17395,"thumbUrl":17396,"material":641,"size":642,"collection":59,"collections":17397,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},236036,"di-si-a-li-zun-zhe-ding-guan-peng-236036","第四嗄礼尊者","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》。",[25,26,24,228,576,28,29,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e67fa3908e03a3ed7975e7c623e8c60.jpg",[],{"id":17399,"slug":17400,"title":7518,"dynasty":18,"author":201,"museum":552,"description":17401,"tags":17402,"thumbUrl":17403,"material":59,"size":59,"collection":59,"collections":17404,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},235984,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235984","此作用笔松灵简淡，以枯笔勾皴石骨，淡墨晕染山石苍润质感。主峰奇崛高拔，岩间苔木轻缀，暗藏山野生机。左侧流泉沿石涧蜿蜒而下，似有声韵潺潺而出。右侧山麓茅舍掩映，素朴圆窗透着幽居闲意，远景疏木淡描、板桥横陈，留白铺就空寂开阔的意境。整幅以少胜多，萧疏清寂，将林泉隐逸的意趣融于尺幅间，尽显文人山水静穆淡远的旨趣，笔底尽是幽居林泉的恬然逸致。",[25,26,53,55,75,80,7,134,82,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af1ecce7d9c3d96decf8ee1b9840d56.jpg",[],{"id":17406,"slug":17407,"title":7126,"dynasty":18,"author":17408,"museum":552,"description":17409,"tags":17410,"thumbUrl":17411,"material":641,"size":642,"collection":59,"collections":17412,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},235922,"shan-shui-tu-ce-mei-chong-235922","梅翀","梅翀，明末清初画家，字培翌、培翼，号鹿墅，安徽宣城人，生卒年不详，艺术家，代表作《幽林探胜图》等。",[25,26,53,55,29,80,242,81,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F584dc382ba2512e9137efe4215de9b65.jpg",[],{"id":17414,"slug":17415,"title":14981,"dynasty":69,"author":13271,"museum":552,"description":16580,"tags":17416,"thumbUrl":17417,"material":641,"size":642,"collection":59,"collections":17418,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},235630,"fang-gu-shan-shui-ce-shen-hao-235630",[25,55,53,76,75,80,133,7,349,30,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcef9a985b4193102c5b6bef5a8abb3b.jpg",[],{"id":17420,"slug":17421,"title":13374,"dynasty":69,"author":201,"museum":552,"description":17422,"tags":17423,"thumbUrl":17424,"material":641,"size":642,"collection":59,"collections":17425,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},235587,"wen-chu-hua-hui-ce-yi-ming-235587","此作以洒金绢为底，构图疏朗留白。水墨写意湖石，枯笔皴擦点苔，嶙峋苍古自带沉凝朴拙的金石气。旁侧数茎幽花挺秀，粉紫花瓣晕染柔润，青嫩细茎摇曳生姿，娇柔清雅的花与苍拙硬朗的石刚柔对照，相映成趣。\n\n左下角题识钤印，添就文人情韵，整体笔致秀逸，设色清和，将秋庭幽寂小景铺陈开来，冷隽静穆里暗淌生机，尽显小品画的雅致意趣，把文人画疏淡幽远的审美意趣藏入尺幅之间。",[25,24,53,29,55,75,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e0e0251e8fe8ee5f8bf2a3993c547a.jpg",[],{"id":17427,"slug":17428,"title":502,"dynasty":18,"author":5383,"museum":552,"description":17429,"tags":17430,"thumbUrl":17431,"material":59,"size":59,"collection":59,"collections":17432,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},235550,"shan-shui-ce-zhu-chang-235550","此作以极简笔墨铺就秋山幽寂之境，开篇题句衬出清旷意趣。近岸茅庐隐于丹枫枝桠间，淡赭点染秋光，笔致秀润松灵。中渚山峦以枯笔淡墨轻皴晕染，形神简淡虚灵，与浅波寒渚相映，满是萧疏秋韵。\n\n全画以留白载意，删却冗杂，将山闲人寂的诗意藏于空灵构图间，笔墨清简却意韵悠长，在清寂萧疏里铺展出文人画的雅逸风神，淡而弥永，余韵悠然。",[25,55,29,80,349,7,81,79,53,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a5edcea1bcd047ada5d045b3d24882.jpg",[],{"id":17434,"slug":17435,"title":3256,"dynasty":69,"author":15324,"museum":552,"description":15325,"tags":17436,"thumbUrl":17437,"material":641,"size":642,"collection":59,"collections":17438,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},235471,"hua-hui-ce-qi-xun-235471",[25,26,53,55,1073,7,243,77,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4650bca68e2a6517f0f353b1beec2035.jpg",[],{"id":17440,"slug":17441,"title":17442,"dynasty":18,"author":3983,"museum":552,"description":17443,"tags":17444,"thumbUrl":17445,"material":59,"size":59,"collection":59,"collections":17446,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},235137,"chen-yun-ke-xiao-xiang-tu-zhou-fei-dan-xu-235137","陈云柯小像图轴","费丹旭陈云柯小像图轴是清代的图轴。\n图绘须髯垂髫、笑容可掬的像主陈云柯坐于平石之上，左右以竹、石相伴。\n人物的面部以传统方式表现，用线条勾勒，淡彩 ，刻画细腻。\n衣纹以线条为骨，古拙而流畅。\n图中坚硬的山石以湿墨皴擦出形，秀挺的青竹以浓淡墨相衬晕染，朦胧有致。\n石与竹烘托出像主的中心位置，同时，以物托志，标示出像主高致朗逸的内在情怀。\n款署 ：“癸巳冬十一月，云柯先生属写。\n晓楼费丹旭。\n”钤“子苕”朱文印。\n鉴藏印有 “ 印”、“石雪斋秘笈印”等共4方。\n“癸巳”是道光十三年(18年)，作者时年岁。",[24,25,26,27,434,55,29,30,32,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae970ae071e04f94b8ee705744f033d.jpg",[],{"id":17448,"slug":17449,"title":16629,"dynasty":18,"author":7913,"museum":552,"description":17450,"tags":17451,"thumbUrl":17452,"material":59,"size":59,"collection":59,"collections":17453,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},235097,"zheng-min-shan-shui-ce-zheng-min-235097","此作用淡墨勾勒皴染山峦，简率笔致铺就出山川疏淡荒寒之态，山间苍松错落隐现，寥寥数笔便烘托出幽寂空蒙的林泉之境，尽显简淡清逸的典型风貌。\n\n左侧题笔萧散隽雅，诗文与画境两相呼应，寄寓着寄情丘壑、超尘出俗的隐逸襟怀。整幅作品以简驭繁，净洁雅素，以笔墨写尽林泉幽致，将山水静穆与文人幽怀融为一体，淡远空灵，余韵悠长，是清代文人山水画中极具代表性的清逸之作。",[25,26,53,55,75,80,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd385a39e368a353355424531a3bc0d.jpg",[],{"id":17455,"slug":17456,"title":502,"dynasty":18,"author":7127,"museum":71,"description":12149,"tags":17457,"thumbUrl":17458,"material":967,"size":12152,"collection":59,"collections":17459,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},235016,"shan-shui-ce-wu-li-235016",[25,24,26,53,55,78,79,75,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156efb030ae76d105034c69b34121e47.jpg",[],{"id":17461,"slug":17462,"title":502,"dynasty":69,"author":14715,"museum":552,"description":17463,"tags":17464,"thumbUrl":17465,"material":59,"size":59,"collection":59,"collections":17466,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},234870,"shan-shui-ce-zhao-pu-234870","此作用淡墨轻皴崖壁，笔致松灵秀逸，奇崛崖岸并无霸悍之气，坡岸林木错落疏朗，简率点染间自带幽寂荒寒之韵。\n\n配页行书隽雅疏朗，笔墨与山水意趣相融，诗文寄寓林泉雅怀，尽抒幽栖林下的文人襟抱。整幅简淡萧散，以极简笔墨晕染出悠远沉静的山水意境，诗画相映，尽显以意驭笔、以韵胜形的文人画特质，将闲逸山居的清雅意趣藏于尺幅之中。",[25,26,53,55,78,80,7,81,153,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccdaadd83b497c1afd2fed27a2f25291.jpg",[],{"id":17468,"slug":17469,"title":502,"dynasty":69,"author":14715,"museum":552,"description":17470,"tags":17471,"thumbUrl":17472,"material":59,"size":59,"collection":59,"collections":17473,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},234867,"shan-shui-ce-zhao-pu-234867","此作用淡墨轻皴主峰，陡拔苍劲间带着秋日萧寒，坡岸枯木错落、顽石点苔，晕染出空山岑寂之态。留白隐去云霭山岚，衬出山野疏旷清寒。\n左侧题诗笔墨清隽，书画合璧。画境呼应题中禅心自安之意，将秋山冷疏与林下幽寂禅趣相融，笔致萧散简淡，以山水为心神归处，淡墨轻岚间尽显空灵静穆的文人雅韵，把林泉隐逸的襟怀藏在淡远景致之中，诗画相映，尽显文人寄情山水的静穆襟怀。",[25,55,53,75,80,115,7,81,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccdd34e87d7472dfcb2b797cf448022.jpg",[],{"id":17475,"slug":17476,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":17477,"thumbUrl":17478,"material":139,"size":59,"collection":59,"collections":17479,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},234741,"huang-shan-tu-ce-jiang-zhu-234741",[25,26,53,55,80,135,7,84,81,75,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe579d6f706c66a4b60473f1fa9f408e1.jpg",[],{"id":17481,"slug":17482,"title":502,"dynasty":69,"author":8913,"museum":552,"description":10439,"tags":17483,"thumbUrl":17484,"material":59,"size":59,"collection":59,"collections":17485,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},234665,"shan-shui-ce-shao-mi-234665",[24,25,26,53,55,75,80,7,134,82,85,349,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1a6a24b24c48b15067832ea331eb98.jpg",[],{"id":17487,"slug":17488,"title":502,"dynasty":18,"author":4274,"museum":552,"description":14241,"tags":17489,"thumbUrl":17490,"material":59,"size":59,"collection":59,"collections":17491,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},234639,"shan-shui-ce-cha-shi-biao-234639",[25,26,53,55,29,80,133,85,153,82,7,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b4e5b7d54682fbdb90b8120d8bd186f.jpg",[],{"id":17493,"slug":17494,"title":502,"dynasty":18,"author":14773,"museum":71,"description":14774,"tags":17495,"thumbUrl":17496,"material":967,"size":14777,"collection":59,"collections":17497,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},233983,"shan-shui-ce-gong-xian-233983",[25,26,55,75,53,80,1231,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf86e32d664c90f631ee430e8bc7af60.jpg",[],{"id":17499,"slug":17500,"title":17501,"dynasty":18,"author":10806,"museum":71,"description":17502,"tags":17503,"thumbUrl":17504,"material":139,"size":17505,"collection":59,"collections":17506,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},233447,"ren-wu-shan-shui-ce-luo-pin-233447","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[25,26,53,55,29,30,80,117,505,865,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fe9195b07b86cf1f7afa6179f485290.jpg","纵24.2厘米，横30.7厘米",[],{"id":17508,"slug":17509,"title":17510,"dynasty":18,"author":4808,"museum":71,"description":17511,"tags":17512,"thumbUrl":17521,"material":139,"size":17522,"collection":59,"collections":17523,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},232891,"yan-ju-luo-han-xiang-zhou-jin-ting-biao-232891","岩居罗汉像轴","图中罗汉眉目清秀，披发，戴耳环，臂腕佩钏、镯，着袒右式袈裟，自在坐，手捧如意，系模仿了菩萨的形象。罗汉、童子衣纹分别运用了蚯蚓纹、钉头鼠尾描，造型工整，设色清雅。《秘殿珠林三编》著录。",[23,25,29,28,576,30,80,7,81,259,79,17513,17514,1212,17515,1791,17516,17517,17518,17519,17520,27],"侍童","袈裟","山洞","苔草","腕钏","法器","小和尚","坐姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc582b7bb574e8613ec65f5335044ec6a.jpg","纵99.5厘米，横53.2厘米",[],{"id":17525,"slug":17526,"title":17527,"dynasty":5251,"author":17528,"museum":552,"description":17529,"tags":17530,"thumbUrl":17531,"material":641,"size":642,"collection":59,"collections":17532,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},231606,"ju-zhen-hua-pu-shang-zhong-xia-ce-xia-shou-ye-tan-you-231606","聚珍画谱.上中下册（下）","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。",[25,26,53,55,29,434,80,56,30,242,277,82,187,188,32,189,7,349,153,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f0f3f9d209b31058c7b680bf600a6.jpg",[],{"id":17534,"slug":17535,"title":17536,"dynasty":18,"author":475,"museum":552,"description":638,"tags":17537,"thumbUrl":17538,"material":641,"size":642,"collection":59,"collections":17539,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},230282,"hua-niao-shan-shui-ce-ba-kai-zhu-da-230282","花鸟山水册八开",[25,26,53,55,56,80,7,153,565,33,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73043b7ba44730441ec6f9634ec31f70.jpg",[],{"id":17541,"slug":17542,"title":17543,"dynasty":69,"author":17544,"museum":552,"description":17545,"tags":17546,"thumbUrl":17547,"material":59,"size":59,"collection":59,"collections":17548,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},228900,"xiao-fu-tu-juan-zhang-feng-bu-tu-gu-meng-you-228900","啸赋图卷张风补图","顾梦游","水墨淡绘峰林幽谷，隐者策杖独行，留白疏淡间，漾出幽远超尘的林下意趣。随行行书长卷笔致秀雅舒展，录就《啸赋》全篇，笔墨清逸萧散，与画境相映成趣。\n\n书画合璧，将赋文里寄怀烟霞、啸傲林泉的隐逸襟怀融于卷中，明人尚雅的高致风流尽在其中，文、书、画相生相融，勾勒出古贤遁世丘山的澹泊襟怀。",[23,24,25,26,74,434,55,80,7,77,78,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2daf2a4d157139ac44e11d0373f8546.jpg",[],{"id":17550,"slug":17551,"title":17552,"dynasty":148,"author":201,"museum":552,"description":17553,"tags":17554,"thumbUrl":17555,"material":59,"size":59,"collection":59,"collections":17556,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":44},228219,"hou-tu-yi-ming-228219","猴图","《五猴图》是近现代佚名画家创作的一幅中国画。\n尺寸：97×68.5cm 溥儒题签：宋人五猱图，心畬题。\n印文：心畬（白文） 溥儒题：五猱图绢本，松石皆古秀，五猱亦宋人笔墨，盖宋人所作。\n右方半印或有款识，已经裁翦。\n画境略似李迪。\n宋时画院多能画猿猱，往往不题名。\n此当时习尚如是。\n故赏宋画曾不以无款而轻之也。\n上耑有鲁府图书印，明时晋府鲁府肃府所藏多真。\n其下左方则有钤山堂印，知曾入分宜严氏家者，其可重当何如耶。\n壬寅十二月溥儒题。\n印文：心畬（朱文） 藏印：鲁府图书（上中）、钤山堂书画印（左下）、严嵩藏章、嘉谟（右下），另一印模糊不可辨识",[25,26,714,55,29,2260,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129fc44a8e7e51d24a0064077af65def.jpg",[],{"id":17558,"slug":17559,"title":17560,"dynasty":148,"author":201,"museum":552,"description":17561,"tags":17562,"thumbUrl":17563,"material":641,"size":642,"collection":59,"collections":17564,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":44},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。",[25,26,27,576,30,29,28,35,7,1921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd95137bbda0087e21b255de14140e188.jpg",[],{"id":17566,"slug":17567,"title":17568,"dynasty":5251,"author":201,"museum":552,"description":16748,"tags":17569,"thumbUrl":17570,"material":641,"size":642,"collection":59,"collections":17571,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},225459,"fu-shi-hui-217-yi-ming-225459","浮世绘217",[16750,29,28,31,187,7,81,309,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029ea63e601dc52690012371a9edbaa5.jpg",[],{"id":17573,"slug":17574,"title":17575,"dynasty":69,"author":201,"museum":552,"description":17576,"tags":17577,"thumbUrl":17578,"material":59,"size":59,"collection":59,"collections":17579,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},223679,"gu-xiu-shi-liu-ying-zhen-ce-12-yi-ming-223679","顾绣十六应真册12","林间崖畔，罗汉安坐于兽纹华座，神态安然静定，座前猛虎俯首顺服，尽敛凶煞之态。两侧侍者躬身侍立，一人持器，一人奉供，神态恭谨肃穆。\n\n画面以铁线白描为骨，劲挺流畅的线条勾勒出人物衣褶的繁复层次，将织物柔润华美尽显无遗，树石轮廓苍劲简练，衬出林间幽寂禅意。猛虎斑纹晕染细腻，毛发质感逼真生动。整幅画作清逸古雅，暗藏罗汉威德镇服猛兽的禅理，尽显精湛工力，意境幽远沉静。",[23,25,26,53,434,576,30,2777,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41420e3d7b2b1cd03e2f46ae6145720b.jpg",[],{"id":17581,"slug":17582,"title":17583,"dynasty":18,"author":4526,"museum":71,"description":17584,"tags":17585,"thumbUrl":17588,"material":1106,"size":17589,"collection":59,"collections":17590,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":44},223150,"yao-xie-shi-yi-tu-ce-di-wu-kai-bai-yuan-ru-lao-ren-dao-qi-san-zu-gui-ren-xiong-223150","姚燮诗意图册-第五开：白猿如老人，倒騎三足龟","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[23,25,24,53,28,29,17586,17587,82,7,81,259,1085,101],"白猿","三足龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25992424e85224bdb7548f3617444b35.jpg","纵27.3厘米，横32.5厘米",[],{"id":17592,"slug":17593,"title":17594,"dynasty":18,"author":7913,"museum":835,"description":9007,"tags":17595,"thumbUrl":17596,"material":3724,"size":59,"collection":59,"collections":17597,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":1551},222720,"huang-shan-ba-jing-tu-ce-9-zheng-min-222720","黄山八景图册9",[23,25,26,53,55,75,78,79,80,7,260,83,7673],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4a7c5f90d3f92150458ca74b74af4ee.jpg",[],{"id":17599,"slug":17600,"title":17601,"dynasty":18,"author":3115,"museum":835,"description":11353,"tags":17602,"thumbUrl":17603,"material":5191,"size":17604,"collection":59,"collections":17605,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},222640,"shan-shui-shu-fa-ce-liu-kai-6-gao-feng-han-222640","山水书法册六开-6",[23,25,26,53,29,80,134,82,7,16496,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2348720d3ad3a648a8bba4976edd090a.jpg","31.8x24.8厘米",[],{"id":17607,"slug":17608,"title":17609,"dynasty":148,"author":17610,"museum":112,"description":17611,"tags":17612,"thumbUrl":17614,"material":327,"size":17615,"collection":59,"collections":17616,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},221761,"qi-yan-lv-shi-liang-qi-221761","七言律诗","良琦","释良琦，字元璞，苏州人。住天平山之龙门寺。与顾阿瑛、陶宗仪、张渥等交游甚密。元末随顾瑛移居嘉兴,住城东兴圣寺。既究禅理，兼通儒学，亦能诗文。",[23,24,26,77,78,55,79,17613,82,864,32,349,7],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4867de88d29dfd67b134418ad75ba572.jpg","50.8x73.9厘米",[],{"id":17618,"slug":17619,"title":17620,"dynasty":18,"author":17621,"museum":3191,"description":17622,"tags":17623,"thumbUrl":17625,"material":17626,"size":17627,"collection":59,"collections":17628,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":59},220743,"shan-shui-ji-4-wang-shi-min-weng-ling-wu-hong-deng-220743","山水集4","王時敏,翁陵,吳宏等","此作以枯淡笔墨写古松风骨，老干虬曲斑驳，皴擦间尽显嶙峋苍古，仿佛阅尽岁序风霜。松针攒簇劲挺，笔致细密爽利，将老松傲岸之姿勾勒尽致。右上角题款清雅隽秀，笔墨与题识相映成趣，极简构图烘托出古松沉静超拔的林下风神。整体笔意高简清逸，带着文人画特有的幽澹意趣，寥寥数笔便将古松坚韧不拔的苍劲之态尽显，藏着古拙澹远的山林雅致意蕴。",[25,26,53,55,75,260,1579,493,17624,7],"松针","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315f8395b0f70be8ef6e3b43ca0c1d1e.jpg","水墨,紙本,冊","各約22 × 14.2厘米",[],{"id":17630,"slug":17631,"title":17632,"dynasty":18,"author":16070,"museum":150,"description":16071,"tags":17633,"thumbUrl":17634,"material":37,"size":16074,"collection":59,"collections":17635,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},219841,"shan-shui-tu-ce-6-xie-sun-219841","山水图册-6",[25,26,53,29,80,75,7,81,136,84,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabec3aa886306dbb692fec513e8e16ad.jpg",[],{"id":17637,"slug":17638,"title":17639,"dynasty":148,"author":201,"museum":112,"description":17640,"tags":17641,"thumbUrl":17642,"material":37,"size":59,"collection":59,"collections":17643,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":44},218186,"ying-zhen-xiang-zhou-4-yi-ming-218186","应真像轴-4","罗汉趺坐古石之上，袒胸露腹间肌理隐现，袈裟轻覆，衣纹线条婉转如流水。他手持莲花状法器，目光低垂，神情肃穆中藏着几分悠然。身旁松枝苍劲，墨色浓淡相宜，与浅赭底色相映，衬出人物沉静气质。草鞋的编织纹理、石上的苔藓痕迹，皆刻画入微见匠心。画风古朴雅致，以简练笔墨传神，人物与自然相融，尽显禅意悠然的古雅意境，仿佛能窥见千年之前的宁静瞬间。",[25,26,27,29,576,30,7,117,160,1303,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd50f6affb27ab7c6b5a6526c5947016f.jpg",[],{"id":17645,"slug":17646,"title":17647,"dynasty":69,"author":17648,"museum":874,"description":17649,"tags":17650,"thumbUrl":17651,"material":58,"size":17652,"collection":59,"collections":17653,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},217874,"zhou-li-yuan-shang-kuan-shen-ce-si-hu-yu-kun-217874","周栎园上款什册(四)","胡玉昆","虬枝盘曲的枯树如铁铸般挺立，皴擦点染间尽透苍劲老辣；浓墨勾勒的顽石与淡墨晕染的远山形成虚实交织，近处隐者倚树而立，似在静赏秋江远岫，幽寂中藏着清旷。左侧题跋笔墨流畅，与山水景致相映成趣，诗画交融间，文人雅士的逸兴与哲思悄然流露。整幅作品以简驭繁，墨色枯润相生，构图疏密有致，既见笔墨功底，更含寄情于景的深致意韵，尽显晚明文人画的雅致风骨。",[25,26,53,55,80,134,7,78,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b4ddd582ed501a9c0a1600e63d9427.jpg","24.7x32.3cm",[],{"id":17655,"slug":17656,"title":17657,"dynasty":369,"author":8384,"museum":170,"description":8385,"tags":17658,"thumbUrl":17659,"material":37,"size":8388,"collection":59,"collections":17660,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},216914,"xiang-shan-jiu-lao-tu-9-ma-xing-zu-216914","香山九老图-9",[23,25,26,28,29,30,242,82,349,134,80,865,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47bf3b1cda1170fe2dbf623646bc7975.jpg",[],{"id":17662,"slug":17663,"title":17664,"dynasty":18,"author":1363,"museum":184,"description":13545,"tags":17665,"thumbUrl":17666,"material":58,"size":59,"collection":59,"collections":17667,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},215019,"fang-gu-shan-shui-ce-11-wang-jian-215019","仿古山水册-11",[25,24,26,53,55,29,75,80,133,134,135,136,9763,260,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6429a86e8e01bea1e64db6649a6a5136.jpg",[],{"id":17669,"slug":17670,"title":17671,"dynasty":18,"author":14680,"museum":874,"description":17672,"tags":17673,"thumbUrl":17675,"material":262,"size":17676,"collection":59,"collections":17677,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":64},214930,"zhi-tou-za-hua-ce-8-gao-qi-pei-214930","指头杂画册-8","清朝时期的高其佩是一位著名的画家，他的指头杂画册是一本收录了他的各种杂画的画册。这本画册是高其佩的代表作之一，其中包含了他的许多经典作品。高其佩的指头杂画册被广泛认为是清朝时期最优秀的画册之一，其中的画作展现了高其佩高超的画技和对自然的深刻理解。\n\n高其佩的指头杂画册中的画作涵盖了许多不同的题材，包括自然风景、人物、动物、花卉等。他的画作细腻生动，富有表现力，深受观众的喜爱。高其佩还经常在他的画作中加入许多寓意深刻的元素，使得他的画作不仅具有观赏性，而且富有哲理性。\n\n高其佩的指头杂画册是他一生的杰作，也是中国传统绘画的瑰宝。现在，这本画册被广泛收藏，并被认为是中国文化遗产的重要组成部分。",[23,25,17674,55,53,56,187,188,7,435],"指头画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192f264b095fbac3932c6e7f953e8610.jpg","36.7x33.1cm",[],{"id":17679,"slug":17680,"title":502,"dynasty":18,"author":6311,"museum":150,"description":17681,"tags":17682,"thumbUrl":17683,"material":59,"size":59,"collection":88,"collections":17684,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17685},203382,"shan-shui-ce-xiao-yun-cong-203382","左页枯树虬枝傍孤石，墨笔勾勒间见苍劲，山石皴擦显肌理；右页险峰对峙藏小亭，淡青晕染出空濛，松枝斜逸添生趣。笔墨兼具工致与写意，构图疏密相宜，意境清旷悠远，尽显文人山水的雅致风骨，似引观者步入林泉深处，感天地之静穆。",[25,80,53,75,55,29,349,7,133,715,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482b66e2b58fc0f71ac9c8d7ab0f29e3.jpg",[88],"b5b5ae",{"id":17687,"slug":17688,"title":17689,"dynasty":18,"author":1195,"museum":150,"description":17690,"tags":17691,"thumbUrl":17692,"material":59,"size":59,"collection":60,"collections":17693,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17694},203139,"mei-hua-zhu-shi-tu-ce-wang-shi-shen-203139","梅花竹石图册","墨色流转间，梅枝苍劲横斜，花瓣以淡墨点染，或含苞待放，或绽露清妍，姿态各异却尽显灵动。旁侧竹石与梅枝相映成趣，笔触简练却见风骨，水墨浓淡交织，赋予景物鲜活气韵。清逸古雅的文人意趣扑面而来，仿佛梅香暗浮于纸面，尽显那份超然物外的雅致与疏朗。",[25,55,56,187,7,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09f60bf93c450352e8b7cf4311e1da28.jpg",[60],"e0cdba",{"id":17696,"slug":17697,"title":17698,"dynasty":9797,"author":4779,"museum":150,"description":17699,"tags":17700,"thumbUrl":17701,"material":59,"size":59,"collection":59,"collections":17702,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17703},202817,"ba-jiao-ba-ge-tu-zhou-qi-bai-shi-202817","芭蕉八哥图轴","泼墨挥洒芭蕉叶，浓淡墨色交织出苍劲舒展之姿；八哥栖于孤石，重墨点羽，喙眼轻勾便显灵动憨态。笔墨简括却意趣横生，白石老人以质朴笔触点染自然生机，芭蕉的阔朗与八哥的鲜活相映成趣，于平凡景致中藏尽写意妙韵，尽显深厚笔墨功力与对生灵的真挚热爱。",[25,55,29,56,153,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8204c3d7e0db512ce74f09239dfeddf9.jpg",[],"bab4a2",{"id":17705,"slug":17706,"title":17707,"dynasty":9797,"author":17708,"museum":150,"description":17709,"tags":17710,"thumbUrl":17711,"material":59,"size":59,"collection":59,"collections":17712,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17713},202742,"luo-han-xiang-zhou-zhang-ze-202742","罗汉像轴","张泽","画面中虬劲的枯树盘根错节，枝干如铁铸般伸向天际，与苍茫山石相映成趣。一位罗汉身着素衣静坐于树旁石间，神态安然，似在冥思。水墨淋漓的笔法简练却传神，枯树的苍劲、山石的浑厚与人物的恬淡融为一体，营造出静谧悠远的禅意氛围，尽显传统笔墨的韵味与哲思。",[25,55,30,1231,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bee7794ec346d411f553e1c528db0e.jpg",[],"a8a189",{"id":17715,"slug":17716,"title":2647,"dynasty":18,"author":8501,"museum":150,"description":17717,"tags":17718,"thumbUrl":17719,"material":59,"size":59,"collection":59,"collections":17720,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17721},202717,"gu-mu-zhu-shi-tu-zhou-luo-mu-202717","水墨晕染间，古木枝干虬曲如苍龙，皴擦点染尽显苍劲质感。旁侧竹石相映，修竹挺秀添生机，怪石嶙峋藏古意。构图疏朗却气韵连贯，笔墨简淡而意趣悠远，尽显文人画的清雅风骨，于简约中见深致，于朴拙中藏灵秀。",[25,26,27,55,75,1175,32,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30b77fff55289153204e0134d0d6a50c.jpg",[],"c9c1ae",{"id":17723,"slug":17724,"title":17725,"dynasty":18,"author":96,"museum":150,"description":17726,"tags":17727,"thumbUrl":17728,"material":59,"size":59,"collection":59,"collections":17729,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17730},202615,"tao-yuan-ming-yi-shi-guan-pu-tu-zhou-ren-yi-202615","陶渊明倚石观瀑图轴","画面中，陶渊明倚孤石而坐，宽袍缓带，神情闲适，似醉心于身前飞瀑流泉之趣。山石以皴法勾勒，墨色浓淡相间，旁侧松枝苍劲，笔墨简括却见意趣。人物刻画细腻传神，衣纹线条流畅洒脱，兼具工笔的精致与水墨的灵动。设色淡雅，意境清旷，将隐士寄情山水的旷达心境娓娓道来。整幅画作笔墨生动，形神兼备，于简淡中蕴含深远的文人意趣，尽显独特的艺术韵味。",[25,30,7,28,75,55,29,80,715,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70743691b77f7fddaf748d477d867281.jpg",[],"c6b8aa",{"id":17732,"slug":17733,"title":17734,"dynasty":69,"author":17735,"museum":150,"description":17736,"tags":17737,"thumbUrl":17738,"material":59,"size":59,"collection":59,"collections":17739,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17740},202579,"zhu-shi-tu-juan-gui-chang-shi-202579","竹石图卷","归昌世","墨竹劲挺多姿，竹叶以中锋挥写，笔触灵动，聚散相宜，尽显竹之清逸风骨；旁侧孤石以枯笔皴擦，线条朴拙，与劲竹相映成趣。整卷以水墨为媒，气韵流转，笔墨简练却意韵深浓，融文人画的清雅与逸趣于一卷，将竹的坚韧气节与石的沉稳品格悄然传递，读之如沐清风，顿生超尘之想。",[25,26,74,55,32,7,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4b87f58f9c494442720dd002a808e5.jpg",[],"000000",{"id":17742,"slug":17743,"title":17744,"dynasty":18,"author":12521,"museum":150,"description":17745,"tags":17746,"thumbUrl":17747,"material":59,"size":59,"collection":39,"collections":17748,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17749},202123,"ren-wu-jing-xin-ni-tian-202123","人物镜心","画面中三人围坐，衣袂轻扬间神态宛然，或凝思或低语，意趣闲适。背景竹枝疏朗，墨色淋漓，山石皴擦有致，盆栽花卉设色妍丽，工写结合间见笔墨韵致。线条兼具劲挺与柔婉，设色淡雅却不失层次，将文人雅集的悠然情境娓娓道来，尽显绘画兼容并蓄之妙。",[25,26,29,30,28,55,75,32,826,191,31,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0ce16a4aca2ad54c09ecc04f443672.jpg",[39],"c5b7ae",{"id":17751,"slug":17752,"title":1614,"dynasty":18,"author":17753,"museum":150,"description":17754,"tags":17755,"thumbUrl":17756,"material":59,"size":59,"collection":122,"collections":17757,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17758},202115,"zhu-shi-tu-zhou-miao-shi-202115","苗实","数竿青竹挺拔而立，竹叶以浓墨挥写，笔触利落，疏密交错间尽显清劲风骨；旁侧孤石以粗放线条勾勒轮廓，墨色层次丰富，皴擦点染中透出苍劲质感。竹石相依，墨韵流转，文人画的清雅之气扑面而来，笔意洒脱自然，意境悠远淡逸，将水墨写意的神韵诠释得淋漓尽致。",[25,55,27,32,7,75,79,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3059cc641a914071043ff03d09afa1c.jpg",[122],"a39284",{"id":17760,"slug":17761,"title":9473,"dynasty":18,"author":17762,"museum":150,"description":17763,"tags":17764,"thumbUrl":17766,"material":59,"size":59,"collection":59,"collections":17767,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17768},202107,"shan-shui-tu-zhou-wang-cheng-ru-202107","汪承儒","画面远山层叠，以简练皴笔勾勒肌理，近岸枯树疏枝，姿态萧散。溪流蜿蜒，岩石错落，笔墨苍劲中见清雅。构图虚实相生，留白处漾出悠远意境，尽显文人山水的淡远之趣。整体气韵生动，于简淡中藏深意，是清代文人画中颇具意趣的山水佳作。",[55,27,80,75,133,7,17765],"流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3bfa3f34be4275806751defa152dbea.jpg",[],"c3b098",{"id":17770,"slug":17771,"title":17772,"dynasty":18,"author":17773,"museum":150,"description":17774,"tags":17775,"thumbUrl":17776,"material":59,"size":59,"collection":60,"collections":17777,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17778},202059,"zhu-que-tu-zhou-dai-da-you-202059","竹雀图轴","戴大有","这幅画作以清雅之笔绘就竹石飞鸟之景。左侧巨石以皴擦结合的手法，勾勒出厚重沉稳的质感，石间杂草丛生，更显自然野趣。数竿修竹自石畔挺出，枝干挺拔有力，竹叶以浓淡相间的墨色点染，疏密有致，尽显竹之劲节与生机。右侧水面开阔，淡墨晕染出粼粼波光，远处隐约岸渚，留白处意境悠远。空中三只飞鸟姿态轻盈，羽翼灵动，为静谧画面增添生机与动感。整体画风兼工带写，墨色层次丰富，既有文人画的清雅韵致，又不失自然生机的和谐之美。构图疏密得当，动静相宜，将竹的高洁、石的沉稳、水的宁静与鸟的灵动融为一体，传递出恬淡自在的田园意趣。",[25,27,55,32,153,7,56,75,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7899e9f716f2981255fe10499c917d33.jpg",[60],"a58458",{"id":17780,"slug":17781,"title":1614,"dynasty":18,"author":17782,"museum":150,"description":17783,"tags":17784,"thumbUrl":17785,"material":59,"size":59,"collection":122,"collections":17786,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17787},202033,"zhu-shi-tu-zhou-hong-li-202033","弘历","墨竹枝干挺秀，竹叶以焦墨劲写、淡墨辅衬，笔锋转折间见潇洒之态，尽显竹之疏朗气节。旁侧怪石以大块墨晕晕染，兼施简皴，苍劲厚重，与修竹形成刚柔相济之趣。画面构图疏宕有致，水墨层次分明，题款书法笔力沉稳，印章点缀其间，更添古朴雅韵。整幅画作融写意笔墨与文人意趣于一体，简淡中见生机，传递出清逸脱俗的君子风骨。",[25,55,27,32,7,173,79,77,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F637f6ca74250fd549a1928997997c787.jpg",[122],"a48c75",{"id":17789,"slug":17790,"title":17791,"dynasty":18,"author":17792,"museum":150,"description":17793,"tags":17794,"thumbUrl":17795,"material":59,"size":59,"collection":88,"collections":17796,"showCount":317,"zanCount":511,"manualWeight":43,"mainColor":17797},201862,"fang-zi-jiu-shan-shui-tu-zhou-wu-kun-201862","仿子久山水图轴","吴崑","这幅山水笔墨苍逸，追摹子久笔意。山石以披麻皴皴擦结合，线条简练却见质感，山峦起伏间尽显雄浑之势；林木勾勒灵动，松针点染有致，与山石相映成趣。近处屋舍临溪而建，隐于疏林之下，意境静谧；中景水域开阔，衔接远近层次；远景峰峦叠嶂，空灵深远。整体构图虚实相生，水墨晕染间流露清幽淡远的文人气息，尽显传统山水的笔墨神韵与归隐情怀。",[25,26,27,55,80,75,81,82,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a372a685da266c4b13425587a64fac.jpg",[88],"bba185",{"id":17799,"slug":17800,"title":17801,"dynasty":18,"author":17802,"museum":150,"description":17803,"tags":17804,"thumbUrl":17805,"material":59,"size":59,"collection":60,"collections":17806,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17807},201828,"liu-ya-tu-zhou-zhang-ceng-201828","柳鸭图轴","张嶒","柳枝以枯笔写就，虬干苍劲，柳条垂曳如缕，墨色虚实相生，尽显萧疏之态。三只水鸭或缓步或伫立，憨态可掬，羽毛以浓淡墨晕染，层次丰沛，与地面荒草、孤石相映成趣。画作以水墨为韵，线条简练却神形毕肖，意境清逸淡远，暗含文人画闲雅意趣，观之令人心生宁静。",[25,55,56,27,307,155,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c0731f8aa3290d4a19e4c2b948385.jpg",[60],"b0a497",{"id":17809,"slug":17810,"title":17811,"dynasty":18,"author":475,"museum":150,"description":17812,"tags":17813,"thumbUrl":17814,"material":59,"size":59,"collection":59,"collections":17815,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17816},201801,"shu-hua-he-zhuang-juan-zhu-da-201801","书画合装卷","墨色浓淡交织，山水渐露孤清风骨。虬枝老树盘绕于嶙峋孤石旁，皴法简括的峰峦隐在薄雾里，每一处留白都似浸着沉郁的情愫。旁侧书法笔力苍劲，与画面气韵浑然一体，书画相融如寒潭映月，清冷中藏着孤傲的灵魂低语，将无声的咏叹揉进每一寸纸墨。",[55,80,78,75,134,7,79,26,74,16923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cedba2d835e11887187aa4076be54f2.jpg",[],"cfc4b7",{"id":17818,"slug":17819,"title":17820,"dynasty":18,"author":17821,"museum":150,"description":17822,"tags":17823,"thumbUrl":17824,"material":59,"size":59,"collection":88,"collections":17825,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17826},201723,"fang-ni-zan-shan-shui-juan-di-da-kun-201723","仿倪瓒山水卷","翟大坤","这幅山水取倪瓒笔意，以简约淡远的笔墨铺陈清寂景致。近处坡石用干笔皴擦，线条疏朗有致；几株树木挺拔错落，枝桠简练传神；远处山峦淡墨晕染，层次隐现，留白处烟水浩渺，尽显空灵之趣。题跋与朱印相映成趣，添文人雅韵。整体画面清逸绝尘，传递出超然物外的淡泊心境，宛如流动的诗意画卷，引人入胜。",[25,55,80,75,79,76,81,7,324,4856,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27748032ceff446ae69efb08af9cd4c8.jpg",[88],"aea698",{"id":17828,"slug":17829,"title":17830,"dynasty":18,"author":214,"museum":150,"description":17831,"tags":17832,"thumbUrl":17833,"material":59,"size":59,"collection":60,"collections":17834,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17835},201722,"song-zhu-mei-shi-tu-zhou-hua-yan-201722","松竹梅石图轴","画面中，古松虬干盘曲，松针如簇似戟，尽显苍劲老辣；修竹亭亭玉立，竹叶疏斜摇曳，姿态清逸洒脱；梅枝悄然探出，几点淡蕊缀于枝头，暗送幽微生机；嶙峋怪石以灵动皴法写就，纹理交错间透出朴拙之趣。笔墨兼工带写，松针细密见工致，枝干石体泼墨显写意，墨色浓淡相宜，设色清雅含蓄。整幅作品融自然生机与文人风骨于一体，岁寒三友的坚韧高洁跃然纸上，尽显清隽秀逸之韵。",[746,75,715,32,187,7,25,26,56,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bcd22a81c57f4d5674bfcd69e8e01f1.jpg",[60],"b99972",{"id":17837,"slug":17838,"title":17839,"dynasty":18,"author":7785,"museum":150,"description":17840,"tags":17841,"thumbUrl":17843,"material":59,"size":59,"collection":88,"collections":17844,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17845},201583,"qing-quan-bai-shi-tu-zhou-wang-yuan-qi-201583","清泉白石图轴","这幅山水笔墨苍劲浑厚，干笔皴擦间叠积墨色，显娄东派沉雄古逸之韵。远山隐现云雾中，近景白石映清泉，林木疏密有致，亭台点缀其间，意境清幽淡远。山石勾勒用中锋，皴法细腻，设色淡雅，布局严谨，于简淡中藏深远，尽显文人画的静谧与深邃，是王氏山水笔墨功力与意趣的集中体现。",[80,75,55,29,349,7,17842,23],"清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc7fc30594b5e7a50533664ef86c1e8.jpg",[88],"c1bcad",{"id":17847,"slug":17848,"title":17849,"dynasty":69,"author":17850,"museum":150,"description":17851,"tags":17852,"thumbUrl":17853,"material":59,"size":59,"collection":59,"collections":17854,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17855},201569,"xiao-zhai-ting-yu-tu-zhou-ju-jie-201569","小斋听雨图轴","居节","淡墨晕染出空濛雨意，远山隐于烟霭如黛，近水澄澈映带林木。岸边枯树虬枝舒展，石矶错落有致，深幽处似藏小斋一角——雨丝虽无形，湿重的枝叶、静谧的水面却暗传淅沥雨声，清寂安然。笔墨细劲勾勒山石轮廓，淡墨皴擦表现肌理，树木枝干虬曲尽显雅致。整体意境空灵淡远，将听雨闲适心境融入山水，尽显文人对自然与生活的诗意观照。",[25,55,80,133,7,75,27,16923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2e9f8448f4178f6f45d3f5dd8ee99c.jpg",[],"c7bfb6",{"id":17857,"slug":17858,"title":17859,"dynasty":18,"author":475,"museum":150,"description":17860,"tags":17861,"thumbUrl":17862,"material":59,"size":59,"collection":60,"collections":17863,"showCount":317,"zanCount":43,"manualWeight":43,"mainColor":17864},201390,"he-hua-cui-niao-tu-zhou-zhu-da-201390","荷花翠鸟图轴","泼墨荷叶阔大沉郁，笔势纵逸间见苍劲，水墨浓淡交错晕染出层叠意韵。两只翠鸟栖于石上，身形简括却神完气足，墨色点染的羽翼与喙爪锐利分明，尤为特别的是那翻白的眼瞳，似含冷眼观世的孤峭，暗合画家遗世独立的心境。山石以寥寥数笔勾勒，留白处更显空寂清冷，整幅构图极简却张力十足。水墨虚实相生间，将荷花的清逸与生命的孤寂凝成一处，尽显“墨点无多泪点多”的深沉况味，于简淡中藏万千丘壑。",[25,55,56,33,7,27,26,445,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe755ee907a1d41e69034194a8ea26a48.jpg",[60],"b5b2ac",{"id":17866,"slug":17867,"title":11302,"dynasty":369,"author":201,"museum":552,"description":17152,"tags":17868,"thumbUrl":17869,"material":641,"size":642,"collection":59,"collections":17870,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":143},290233,"dai-du-tu-yi-ming-290233",[23,25,714,29,28,80,242,307,85,30,82,7,17154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a0d7ad95adbdcc0f7f9eaf1fe1311fe.jpg",[],{"id":17872,"slug":17873,"title":11765,"dynasty":5251,"author":17874,"museum":552,"description":17875,"tags":17876,"thumbUrl":17877,"material":641,"size":642,"collection":59,"collections":17878,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},290026,"lan-shi-tu-li-shi-ying-290026","李昰应","李昰应（朝鲜语：이하응，1821年—1898年），字时伯，号石坡、榆屐道人、老悟樵人、海东居士等，朝鲜半岛近代史上著名的保守派政治家，也是一名书画家。",[23,25,26,55,188,7,56,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4acf1f668f8b2f16f54c192cf9394d.jpg",[],{"id":17880,"slug":17881,"title":17882,"dynasty":5251,"author":17883,"museum":552,"description":17884,"tags":17885,"thumbUrl":17886,"material":641,"size":642,"collection":59,"collections":17887,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[23,25,29,30,28,76,1345,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c39ad05a2847e35692f384ea8977fe2.jpg",[],{"id":17889,"slug":17890,"title":17891,"dynasty":18,"author":17892,"museum":552,"description":17893,"tags":17894,"thumbUrl":17895,"material":641,"size":642,"collection":59,"collections":17896,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239541,"shi-cui-zhu-shan-jiang-que-lan-239541","石翠竹扇","蒋確兰","此帧以湖石为骨，左植翠竹，右纫幽兰，疏密排布贴合扇面形制，雅致妥帖。湖石以泼墨写意，皴擦间墨色浓淡层次分明，尽显朴拙苍劲的嶙峋之态。翠竹以淡墨写竿，浓墨点染竹叶，清挺有节，自带疏朗清气。兰叶以细劲墨线挥写，穿插舒展若临风摇曳，花朵轻勾淡晕，幽柔清雅。右上角题款笔意萧散，与画面气息浑然相融。全作用水墨为主，淡彩轻施，将兰之幽、竹之劲、石之朴揉合一处，暗合君子比德的文人心趣，寥寥笔墨尽抒林下清逸襟怀。",[228,24,25,26,714,55,434,7,32,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fceb190df75efaba0195a1f0598d696.jpg",[],{"id":17898,"slug":17899,"title":17900,"dynasty":18,"author":17901,"museum":552,"description":17902,"tags":17903,"thumbUrl":17904,"material":641,"size":642,"collection":59,"collections":17905,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239490,"shan-shui-ce-3-shang-guan-zhou-239490","山水册3","上官周","上官周（1665年—1752年），原名世显，后改名周，字文佐，号竹庄，福建长汀南山官坊人，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。\n山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。",[25,26,53,55,75,80,85,134,7,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1852e608baf86edefaabe4cdc812fe80.jpg",[],{"id":17907,"slug":17908,"title":17909,"dynasty":18,"author":201,"museum":552,"description":17910,"tags":17911,"thumbUrl":17912,"material":59,"size":59,"collection":59,"collections":17913,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239369,"wang-su-yan-pan-chui-lun-tu-zhou-yi-ming-239369","王愫岩畔垂纶图轴","此作用笔苍润兼具，以淡墨晕染远山，留白衬出寒云漠漠的空濛清寂，近景枯木虬枝盘错，皴法简练老辣，尽显冬林萧疏之态。溪湾萦回，寒波澄澈，扁舟随水漾开，渔翁垂纶独钓，暗合题诗里逍遥世外的幽怀。行书题笔清逸流畅，书画相映成趣，尽显文人画诗书画合璧的雅趣。整幅画以荒寒之景写幽隐之心，淡远空寂的意境里，藏着林泉高致的文人意趣，笔简而意悠长。",[25,26,27,55,80,85,137,1231,134,75,79,78,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365095b142e809844ad3c19e6f68a954.jpg",[],{"id":17915,"slug":17916,"title":502,"dynasty":18,"author":4274,"museum":552,"description":14688,"tags":17917,"thumbUrl":17918,"material":641,"size":642,"collection":59,"collections":17919,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239336,"shan-shui-ce-cha-shi-biao-239336",[25,26,53,55,78,75,80,277,82,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8dff69e7110e34fb36fb8e410db69d.jpg",[],{"id":17921,"slug":17922,"title":502,"dynasty":18,"author":4274,"museum":552,"description":14688,"tags":17923,"thumbUrl":17924,"material":641,"size":642,"collection":59,"collections":17925,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239327,"shan-shui-ce-cha-shi-biao-239327",[25,26,53,55,78,79,75,80,81,7,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04d216a446ca49c15db08c73d6c236.jpg",[],{"id":17927,"slug":17928,"title":7126,"dynasty":69,"author":10302,"museum":552,"description":17229,"tags":17929,"thumbUrl":17930,"material":641,"size":642,"collection":59,"collections":17931,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239320,"shan-shui-tu-ce-zhang-hong-239320",[25,26,53,55,75,80,1231,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4606b884818a0b7e96b725c688834e.jpg",[],{"id":17933,"slug":17934,"title":7126,"dynasty":69,"author":10302,"museum":552,"description":17229,"tags":17935,"thumbUrl":17936,"material":641,"size":642,"collection":59,"collections":17937,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239319,"shan-shui-tu-ce-zhang-hong-239319",[25,26,53,55,80,7,1231,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed268a0a51003fddaa16ed58fd04a0a.jpg",[],{"id":17939,"slug":17940,"title":7126,"dynasty":69,"author":10302,"museum":552,"description":17229,"tags":17941,"thumbUrl":17942,"material":641,"size":642,"collection":59,"collections":17943,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239317,"shan-shui-tu-ce-zhang-hong-239317",[25,26,53,55,75,80,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bcd0ae5a819ecfe1c4477219f1c0469.jpg",[],{"id":17945,"slug":17946,"title":10624,"dynasty":69,"author":10625,"museum":552,"description":17947,"tags":17948,"thumbUrl":17949,"material":641,"size":642,"collection":59,"collections":17950,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239270,"shu-hua-tu-ce-cheng-min-239270","此作用淡墨勾勒皴擦湖石，线条苍劲古拙，将湖石瘦硬通透、空灵奇崛之态尽显，笔意间饱含文人赏石的清雅意趣。旁侧墨竹以浓墨挥写，竹叶聚散俯仰各具姿态，枝干劲挺清逸，尽显君子之姿。\n\n竹石相伴，浓淡墨色相互映衬，层次分明。画面留白恰到好处，以简驭繁，寥寥数笔便将幽寂清远的林下之风铺陈开来，借竹石寄寓高洁品格，笔墨简括却意韵悠长，尽显以笔抒怀的雅致意境。",[25,55,53,7,32,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa673ad7e41ab6f3eda59624cc978d827.jpg",[],{"id":17952,"slug":17953,"title":10624,"dynasty":69,"author":10625,"museum":552,"description":17954,"tags":17955,"thumbUrl":17956,"material":641,"size":642,"collection":59,"collections":17957,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239259,"shu-hua-tu-ce-cheng-min-239259","此作用水墨写意写就，枯木枝桠如铁戟硬张，笔法老辣苍劲，嶙峋躯干尽显岁月剥蚀下的古拙不屈。拳石以淡墨晕染勾勒，简括写意，衬出枯木孤高之态。边角新竹清瘦劲拔，寥寥数笔便见清逸生机，与枯木沧桑自成冷暖对照。\n画面留白空灵疏朗，以极简笔墨传递出古淡荒寒的文人意趣，枯荣相生间暗合禅思，于简淡苍秀的笔触里，藏着静穆悠远的中式风神，是托物言志的文人小品典范。",[25,26,53,55,134,1231,7,1073,153,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3712d8cf7920f1ca728ea1b1f4abda73.jpg",[],{"id":17959,"slug":17960,"title":17961,"dynasty":18,"author":17962,"museum":552,"description":17963,"tags":17964,"thumbUrl":17965,"material":59,"size":59,"collection":786,"collections":17966,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239227,"hui-shi-ce-hu-zhen-kai-239227","绘石册","胡贞开","[清]字循蜚，号瑟庵，又号皋鹤，别号耳空居士，仁和（今杭州）人。",[25,26,53,55,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b976ee66ebc5e06444d91355b720dc.jpg",[786],{"id":17968,"slug":17969,"title":17251,"dynasty":18,"author":9493,"museum":552,"description":17970,"tags":17971,"thumbUrl":17972,"material":59,"size":59,"collection":59,"collections":17973,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239131,"shan-shui-he-hui-ce-zhang-zong-cang-239131","此作以平远视界铺展江南野趣，水墨轻施，淡岚氤氲。坡岸间松石错落，杂木萧疏清瘦，几杆修竹伴衬茅庐隐于林泉之间，尽得幽居雅意。水面空蒙浩渺，远山层叠晕染如黛，淡而有神，将平野清寂之景晕染雅致。笔墨松秀简淡脱尽繁缛，题款朴拙古雅与画面浑然相融，尽显文人画萧散静穆的林下之风，将林泉高致的隐逸情怀寄寓淡墨浅痕中，整幅清润秀雅，尽显平和悠远的山水逸趣。",[25,26,53,55,75,80,133,7,349,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff743d229cc696c06725a7445e18885e8.jpg",[],{"id":17975,"slug":17976,"title":17251,"dynasty":18,"author":9493,"museum":552,"description":11460,"tags":17977,"thumbUrl":17978,"material":641,"size":642,"collection":59,"collections":17979,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239129,"shan-shui-he-hui-ce-zhang-zong-cang-239129",[25,55,53,80,32,349,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe70698e4f1bcb7e38491e55857ed5ea5.jpg",[],{"id":17981,"slug":17982,"title":8896,"dynasty":18,"author":17983,"museum":552,"description":17984,"tags":17985,"thumbUrl":17986,"material":641,"size":642,"collection":59,"collections":17987,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},239000,"shan-shui-shan-zhou-zhi-shen-239000","周之慎","此作用金笺为底，水墨写就林泉小景。近岸老梅盘虬苍劲，枝桠舒展间尽见古拙意趣，树下幽人策杖徐行，似在寻幽揽胜。远景以淡墨晕染云山，留白代水，烟波浩渺之意自现。\n\n笔触枯淡松秀，干笔勾勒枝桠，皴擦山石尽显肌理，墨色清润层次分明。整体简淡萧疏，将冬日林泉的幽寂空远铺陈开来，暗合文人雅逸襟怀，寥寥数笔便把林下寻幽的静谧意趣尽数藏于尺幅扇面之中，雅致耐品，尽显文人山水小品的澹远意境。",[25,26,714,55,75,80,133,7,135,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd13bda96871de933bd27f74874eefc.jpg",[],{"id":17989,"slug":17990,"title":17991,"dynasty":18,"author":17992,"museum":552,"description":17993,"tags":17994,"thumbUrl":17995,"material":641,"size":642,"collection":59,"collections":17996,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},238942,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238942","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。",[25,26,53,29,28,80,30,153,1990,324,325,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F624ce11958013751a41324b0385b82a1.jpg",[],{"id":17998,"slug":17999,"title":18000,"dynasty":18,"author":9429,"museum":552,"description":18001,"tags":18002,"thumbUrl":18003,"material":59,"size":59,"collection":59,"collections":18004,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},238756,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238756","画弘历拟古诗意图册","此作用淡墨绘就行旅小景，左侧城堞隐于烟柳山峦间，石径沿陂岸迤逦延展。策马路过的士人衬出荒村的清寂。远景山峦以干笔皴擦，苍朴雅致，近岸林木简淡清润，虚实相映晕染出空濛悠远的氛围。配页书法端雅工稳，诗画呼应，将拟古羁旅诗意融于尺幅山水间。笔致松秀灵和，简净萧疏，把行旅幽寂的况味藏在淡墨山水里，诗画合璧，尽显清和淡远的绵长意韵。",[25,26,53,55,29,75,241,80,30,306,242,865,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f6b582e70bcee5d7540efab516672d.jpg",[],{"id":18006,"slug":18007,"title":18008,"dynasty":18,"author":9429,"museum":552,"description":18009,"tags":18010,"thumbUrl":18011,"material":59,"size":59,"collection":59,"collections":18012,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},238720,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238720","画弘历和江文通诗意图册","此作用笔清隽萧散，以水墨晕染出月夜空蒙之境。左上角谯楼隐在烟霭中，留白铺就出辽远夜色，右下角茅舍旁，老翁凭栏望月，树石苍秀简澹。\n画面将怀远幽思融在淡墨山色间，诗画合璧呼应诗意，天地俱寂里，幽人寄情明月，虚实相生间晕开悠悠愁绪。无浓丽敷色，全以极简笔墨铺陈出清远孤寂的意境，将文人情思和山水夜色融为一体，尽显清雅淡远的文人画意趣。",[25,26,55,241,53,75,77,79,30,242,864,349,80,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870e2824ee524e800c8f5fd3fce2de7c.jpg",[],{"id":18014,"slug":18015,"title":18008,"dynasty":18,"author":9429,"museum":552,"description":18016,"tags":18017,"thumbUrl":18018,"material":59,"size":59,"collection":59,"collections":18019,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},238719,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238719","画面分作两处景致，左侧亭畔雅士驻足凝睇，右侧水村茅庐内有人凭窗独坐，一色清月悬于墨色夜空，牵起两地幽思。\n作者以枯淡笔墨绘林木萧疏，淡墨晕开烟水空濛，留白铺就夜色清寂，将羁旅怀远的缱绻心绪融于萧疏秋景之中。诗画合璧，把客子念旧的别愁，化作眼前空濛悠远的秋宵图景，简澹秀雅的笔触里，尽显文人写意水墨的空灵风神，清冷月色漫过水岸亭台，晕开满幅寂廖怀人之思。",[25,26,53,55,434,28,30,349,81,921,80,7,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685e75274ee14cd63fb4e9d802c99914.jpg",[],{"id":18021,"slug":18022,"title":18023,"dynasty":18,"author":3824,"museum":552,"description":8653,"tags":18024,"thumbUrl":18025,"material":641,"size":642,"collection":59,"collections":18026,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},238543,"hua-shou-pu-ce-yu-sheng-238543","画兽谱册",[25,26,53,29,28,75,101,80,135,82,7,79,77,577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e195d1cb03a98ec6f13efa18e214b2e.jpg",[],{"id":18028,"slug":18029,"title":502,"dynasty":18,"author":18030,"museum":552,"description":18031,"tags":18032,"thumbUrl":18033,"material":59,"size":59,"collection":59,"collections":18034,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},238152,"shan-shui-ce-yun-xi-238152","允禧","此作用左诗右图的形制，尽显文人雅趣。画面笔墨清润淡雅，山峦以披麻皴写就，层叠起伏间带着苍秀古拙之意。林麓间村居隐现，溪桥横陈，淡淡晕染的云烟铺就出空寂幽远的山居氛围，将红尘隔绝的林下之境缓缓铺展。配诗与山水呼应，将眼前丘壑视作仙乡，落笔清隽，书画合璧尽显静穆萧散的隐逸意趣，寥寥笔墨勾勒出超然世外的悠远意境，尽显寄情山水的文人襟怀。",[25,26,53,55,75,80,242,277,82,7,81,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93487567e330727c50dc26b00c0aefb.jpg",[],{"id":18036,"slug":18037,"title":18038,"dynasty":18,"author":14680,"museum":552,"description":14681,"tags":18039,"thumbUrl":18040,"material":641,"size":642,"collection":59,"collections":18041,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},238044,"zhi-hua-za-hua-ce-gao-qi-pei-238044","指画杂画册",[25,15050,55,53,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf57b60557a413207e3a8f6af292689.jpg",[],{"id":18043,"slug":18044,"title":502,"dynasty":18,"author":16399,"museum":552,"description":16400,"tags":18045,"thumbUrl":18047,"material":59,"size":59,"collection":59,"collections":18048,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237983,"shan-shui-ce-zhang-geng-237983",[25,55,75,80,115,117,1291,7,18046],"茅棚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69353596057afc784bba572a188fc10.jpg",[],{"id":18050,"slug":18051,"title":18052,"dynasty":18,"author":18053,"museum":552,"description":18054,"tags":18055,"thumbUrl":18056,"material":641,"size":642,"collection":59,"collections":18057,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237957,"qi-shi-guan-quan-tu-ye-xie-cai-237957","奇石观泉图页","谢棌","此作用笔清润简淡，以浅绛晕染山水，山石以披麻皴轻擦敷色，枯木虬枝萧疏错落，漫溢冬日清寂之气。幽人踞坐溪石，临流观泉，静中含动，将林泉高致的雅趣凝于尺幅间。\n\n诗书印合璧，笔墨秀逸温雅，题诗恰合画中意涵，尽显文人寄情山水、寻味知音的林下襟怀。整幅小品文气盎然，以简淡之笔写尽林泉幽寂的诗意闲情，意境恬澹冲和，尽显文人画的雅致意趣。",[25,26,53,55,75,80,7,82,133,30,79,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9956ef13ca623961fd1f885cf5971c.jpg",[],{"id":18059,"slug":18060,"title":10888,"dynasty":18,"author":8439,"museum":552,"description":10889,"tags":18061,"thumbUrl":18062,"material":641,"size":642,"collection":59,"collections":18063,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237726,"wu-sheng-shi-yi-tu-ce-huang-yi-237726",[25,26,53,55,434,75,80,30,7,134,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e532ccf97e7123f828d185a09a5033.jpg",[],{"id":18065,"slug":18066,"title":502,"dynasty":69,"author":13271,"museum":552,"description":18067,"tags":18068,"thumbUrl":18069,"material":59,"size":59,"collection":59,"collections":18070,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237634,"shan-shui-ce-shen-hao-237634","此作用笔简逸空灵，近景坡岸茅舍清寂敞亮，屋侧古松倚山挺出，虬枝斜曳自带苍古意韵。以干笔皴擦表现山石嶙峋肌理，淡墨晕染山峦，留白化作平湖，将远近景致自然衔接。远处峰峦以淡墨轻扫，朦胧悠远，衬出空寂萧散的氛围。\n\n全画不见繁复刻画，以极简笔墨写尽林泉幽居之雅，将山居的静穆淡远尽数铺展，暗含文人寄情山水、栖心丘壑的隐逸之思，尽显文人山水疏淡清和的意趣。",[25,55,80,53,75,349,7,134,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeddc31dbfe2a1b9bb4ca9675ed01a45.jpg",[],{"id":18072,"slug":18073,"title":18074,"dynasty":18,"author":18075,"museum":552,"description":18076,"tags":18077,"thumbUrl":18078,"material":59,"size":59,"collection":59,"collections":18079,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237567,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237567","王凫画分咏小石诗册","王凫","此作为行书诗册，笔墨舒展灵动，墨色晕染自然，清雅书卷气扑面而来。两页题诗布局疏朗匀停，笔锋时而遒劲苍润，时而秀逸婉转，自带悠然韵律。诗文揽山海烟霞入怀，将方寸天地间的林泉幽思铺陈开来，把对丘壑旧梦的眷恋诉诸笔端，笔墨与诗意相融相合，尽显文人风雅从容的林下之风，是书画合一的雅致小品。",[25,26,53,78,79,55,29,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c124e458d042c59fd6d7fae33486b8.jpg",[],{"id":18081,"slug":18082,"title":502,"dynasty":18,"author":18083,"museum":71,"description":18084,"tags":18085,"thumbUrl":18086,"material":59,"size":59,"collection":59,"collections":18087,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237559,"shan-shui-ce-wen-dian-237559","文点","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[25,26,53,55,75,80,7,133,153,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ac7df2cc9d5056d352fd122b9a26d5.jpg",[],{"id":18089,"slug":18090,"title":7126,"dynasty":18,"author":14153,"museum":552,"description":15761,"tags":18091,"thumbUrl":18092,"material":641,"size":642,"collection":59,"collections":18093,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237480,"shan-shui-tu-ce-yao-song-237480",[25,26,53,55,75,78,77,79,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc21a81878d2ae56c3b30fc7bc6e7643f.jpg",[],{"id":18095,"slug":18096,"title":18097,"dynasty":69,"author":13271,"museum":150,"description":18098,"tags":18099,"thumbUrl":18100,"material":507,"size":18101,"collection":59,"collections":18102,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237267,"shen-hao-shan-shui-tu-ce-shen-hao-237267","沈灏山水图册","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[25,26,24,53,55,75,80,115,117,277,338,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00dd60538f0f673a1a97b9f647aa6e14.jpg","15.2x23.6厘米",[],{"id":18104,"slug":18105,"title":18097,"dynasty":69,"author":13271,"museum":150,"description":18098,"tags":18106,"thumbUrl":18107,"material":507,"size":18101,"collection":59,"collections":18108,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237266,"shen-hao-shan-shui-tu-ce-shen-hao-237266",[25,26,53,434,55,80,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb239bf63bec4c31886f19a33836f1907.jpg",[],{"id":18110,"slug":18111,"title":6958,"dynasty":18,"author":4274,"museum":552,"description":14688,"tags":18112,"thumbUrl":18113,"material":641,"size":642,"collection":59,"collections":18114,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237248,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237248",[25,55,53,75,1231,134,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2d9843c1b95c9f4d63df2639ef0cb.jpg",[],{"id":18116,"slug":18117,"title":15769,"dynasty":18,"author":4274,"museum":71,"description":15770,"tags":18118,"thumbUrl":18119,"material":327,"size":59,"collection":59,"collections":18120,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237214,"shu-hua-he-bi-ce-cha-shi-biao-237214",[25,26,53,55,80,78,75,7,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf7afdbaa958fcc0dfeef3dde355713.jpg",[],{"id":18122,"slug":18123,"title":12482,"dynasty":69,"author":16452,"museum":552,"description":18124,"tags":18125,"thumbUrl":18126,"material":327,"size":59,"collection":59,"collections":18127,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237055,"hua-hui-ren-wu-ce-mao-fu-guang-237055","左半幅烟江帆影，远山以浅墨晕染层叠舒展，三两舟楫静泊水湾，漾出清寂野趣。右半幅古木虬劲，浓墨点苔尽显苍健，草亭幽人趺静坐卧，似在静听松涛、闲观烟水。\n\n画作以干湿浓墨铺陈层次，近景沉郁、远景清浅，疏密相映，浅绛淡墨晕出山居空寂之境。笔致简逸萧疏，将文人寄情林泉的闲散意趣藏于笔墨间，尽显清雅澹泊的晚明山水小品风神。",[25,26,53,55,75,80,134,85,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733b2e880f55443018890a369a472fbe.jpg",[],{"id":18129,"slug":18130,"title":502,"dynasty":69,"author":18131,"museum":552,"description":18132,"tags":18133,"thumbUrl":18134,"material":327,"size":59,"collection":59,"collections":18135,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},237038,"shan-shui-ce-li-hang-zhi-237038","李杭之","李杭之[明]（？―一六四四）字僧筏，流芳（一五七五―一六二九）子。\n年未四十，弃诸生放浪山水。好古彝器，然遇人困难辄赠之。诗文书画，酷似其父。有月泛图，张鸿磐题云：“小李风流继阿翁，萧疏笔墨见心胸。”崇祯十二年（一六三九）尝作山水扇，现藏故宫博物馆。《列朝诗集小传》、《小松圆阁书画跋》、《南翔志》",[25,55,53,75,80,134,277,82,349,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a579f29aa8dbba2b788e39f201e5c7e.jpg",[],{"id":18137,"slug":18138,"title":10109,"dynasty":69,"author":201,"museum":552,"description":17359,"tags":18139,"thumbUrl":18140,"material":59,"size":59,"collection":59,"collections":18141,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},236758,"zhou-tian-qiu-mo-lan-tu-ce-yi-ming-236758",[24,25,26,53,55,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff526eb92dd36f9b3394b062db8d28daf.jpg",[],{"id":18143,"slug":18144,"title":18145,"dynasty":69,"author":17004,"museum":552,"description":18146,"tags":18147,"thumbUrl":18148,"material":59,"size":59,"collection":59,"collections":18149,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},236639,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236639","宋懋晋江南名胜图册","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[25,55,29,75,53,80,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffff95abe78ca4b2b399419d17c0bca90.jpg",[],{"id":18151,"slug":18152,"title":502,"dynasty":18,"author":4274,"museum":552,"description":10424,"tags":18153,"thumbUrl":18154,"material":59,"size":59,"collection":59,"collections":18155,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},236596,"shan-shui-ce-cha-shi-biao-236596",[25,26,53,55,75,80,134,277,30,7,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c5a31ba571ba653ac6679cd5cb13b41.jpg",[],{"id":18157,"slug":18158,"title":502,"dynasty":18,"author":4274,"museum":552,"description":10424,"tags":18159,"thumbUrl":18160,"material":59,"size":59,"collection":59,"collections":18161,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},236593,"shan-shui-ce-cha-shi-biao-236593",[25,26,53,55,80,133,1073,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a355018b93df16e25234ef184f9854.jpg",[],{"id":18163,"slug":18164,"title":8912,"dynasty":69,"author":8913,"museum":71,"description":8914,"tags":18165,"thumbUrl":18166,"material":59,"size":59,"collection":59,"collections":18167,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},236565,"xiao-ke-guan-shan-shui-ce-shao-mi-236565",[25,26,53,55,75,80,7,82,134,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f88df69eae3e3a27f1735617cf75efd.jpg",[],{"id":18169,"slug":18170,"title":18171,"dynasty":18,"author":15804,"museum":552,"description":15805,"tags":18172,"thumbUrl":18173,"material":641,"size":642,"collection":59,"collections":18174,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},236350,"za-hua-shan-ye-chen-heng-ke-236350","杂画扇页",[25,26,714,29,55,7,56,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07e2421ced78394cf1ce4ba582a785a.jpg",[],{"id":18176,"slug":18177,"title":8006,"dynasty":18,"author":201,"museum":552,"description":18178,"tags":18179,"thumbUrl":18180,"material":59,"size":59,"collection":59,"collections":18181,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},236062,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236062","此作画境开合有致，近景危崖嶙峋对峙，古松虬曲斜倚崖间，苍劲老辣。坡岸间杂草矮木错落，野意横生。幽谷里溪流隐现，右侧枯木疏枝横斜，萧散清寂。远景平湖如镜，彼岸山峦逶迤，林麓朦胧晕染在空濛烟岚之中。\n\n笔墨兼擅苍秀，山石以短皴点苔，勾勒出坚硬质感，晕染柔和自然。设色简淡明净，以水墨晕出水色天光的空濛，将深秋萧疏之气揉进山水静穆之中，幽寂淡远的林下意境油然而生，尽显仿古山水的雅致意趣。",[25,26,53,29,75,76,80,7,260,81,324,1291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f40330fbbba36daca0dd28b9a2a4247.jpg",[],{"id":18183,"slug":18184,"title":18185,"dynasty":18,"author":16920,"museum":552,"description":18186,"tags":18187,"thumbUrl":18188,"material":641,"size":642,"collection":59,"collections":18189,"showCount":5,"zanCount":511,"manualWeight":43,"mainColor":64},235963,"cai-jia-hua-hui-tu-ce-cai-jia-235963","蔡嘉花卉图册","蔡嘉(1686-1779)，字松原，一字岑州，号雪堂，一号旅亭，又号朱方老民，清朝江苏丹阳人，侨居扬州。所居曰高寒旧馆。与高翔、汪士慎、朱冕为诗画友。",[25,53,29,56,33,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dff31be84f9dd472ce61007950f2aba.jpg",[],{"id":18191,"slug":18192,"title":18185,"dynasty":18,"author":201,"museum":552,"description":18193,"tags":18194,"thumbUrl":18195,"material":59,"size":59,"collection":59,"collections":18196,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235956,"cai-jia-hua-hui-tu-ce-yi-ming-235956","这幅画以湖石为骨，皴染间尽显嶙峋苍润，将顽石的朴拙厚重晕染得淋漓尽致。石畔水仙挺秀舒展，花瓣莹润留白，嫩黄的花蕊点出清雅生机，修长叶片劲挺带露，与湖石刚柔相济，旁侧细竹疏淡点缀，添几分清逸灵秀。\n\n笔墨兼工带写，设色明净素雅，勾勒晕染间将水仙的清隽姿态刻画入微。右侧题诗与画面呼应，诗画相融，悠悠文人意趣随花木舒展弥漫开来，整体意境娴静清雅，尽揽花木隽秀风骨，暗藏文士观物寄情的闲淡心境。",[25,26,53,29,55,56,174,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2329e768406daed9e7f203e5808d8c.jpg",[],{"id":18198,"slug":18199,"title":18200,"dynasty":69,"author":8913,"museum":552,"description":18201,"tags":18202,"thumbUrl":18203,"material":641,"size":642,"collection":59,"collections":18204,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235755,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235755","梅花文从简诗合璧册","邵弥，明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。",[25,26,53,55,78,79,187,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b65fcd216b58af1bbec8ffc3cbfb76.jpg",[],{"id":18206,"slug":18207,"title":18200,"dynasty":69,"author":8913,"museum":552,"description":18201,"tags":18208,"thumbUrl":18209,"material":641,"size":642,"collection":59,"collections":18210,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235754,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235754",[25,26,53,55,434,187,7,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b3012daf04bf5a9ce3369312dcaa85.jpg",[],{"id":18212,"slug":18213,"title":14981,"dynasty":69,"author":13271,"museum":552,"description":18214,"tags":18215,"thumbUrl":18220,"material":59,"size":59,"collection":59,"collections":18221,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235628,"fang-gu-shan-shui-ce-shen-hao-235628","此作写就晚秋江村之境。近岸危石棱峭，枯木疏枝缀着残叶，一椽茅舍静立滩头，野水浅横，汀洲错落如星。隔江岩岫错落，村舍隐在寒林之间，远景峰峦晕染如黛，归雁掠过长空，将秋意拉得清寂辽远。\n\n笔触简劲枯淡，干笔皴擦山石见苍润意趣，淡墨晕开烟岚，以寥寥笔墨铺展出幽远空寂的林下之境，题款清隽与画面相映，尽现萧散淡远的文人襟怀，清寂里藏着悠然林下闲情。",[25,26,53,55,75,76,79,80,135,81,153,349,7,6109,18216,13765,18217,173,18218,83,18219,7329,1508,2351,522],"山水景物","文人画风格","淡墨渲染","岩壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33e6aa0cdae181fda2df10d0a65ae56.jpg",[],{"id":18223,"slug":18224,"title":502,"dynasty":18,"author":5383,"museum":552,"description":18225,"tags":18226,"thumbUrl":18227,"material":641,"size":642,"collection":59,"collections":18228,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235549,"shan-shui-ce-zhu-chang-235549","祝昌[清]字山嘲，安徽广德人（一作安徽舒城人），居新安（今安徽歙县），又客汉上。顺治六年（一六四九）进士（清朝书画家笔录误入道光朝）。山水学渐江，后学元季诸家，画多逸致。性孤介，遇不以礼，虽饼金不售。《国[清]朝画徵录、图绘宝鉴续纂》",[25,24,26,53,55,75,80,115,32,7,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac044037aab56993b260bc938b97f33b.jpg",[],{"id":18230,"slug":18231,"title":502,"dynasty":18,"author":5383,"museum":552,"description":18225,"tags":18232,"thumbUrl":18233,"material":641,"size":642,"collection":59,"collections":18234,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235548,"shan-shui-ce-zhu-chang-235548",[25,26,53,55,80,7,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf55747da418ba7d5091bde1ab7ebcf3.jpg",[],{"id":18236,"slug":18237,"title":18185,"dynasty":18,"author":16920,"museum":552,"description":18238,"tags":18239,"thumbUrl":18240,"material":59,"size":59,"collection":59,"collections":18241,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235412,"cai-jia-hua-hui-tu-ce-cai-jia-235412","这幅以水墨绘就汀洲小景，虚实相映意境清逸。左侧墨竹遒劲挺拔，浓淡墨色铺陈竹叶，层层叠叠尽显苍劲舒展之姿，笔法爽利简练，尽显君子挺秀之态。右侧水仙以淡墨勾勒晕染，花叶柔婉舒展，与劲竹刚柔相济。浅淡墨色晕染坡岸石矶，留白衬出空寂幽远的氛围。右上角题诗衬于山水间，书画合璧，文气雅致。整作笔墨简淡却意韵悠长，将幽澹闲逸的文人意趣寄于其中，寥寥数笔便将清寂出尘的林下景致勾勒尽致，尽显水墨写意的清雅风骨。",[25,26,53,55,29,32,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074af2181a5ee05f97a71c3fd8aaea32.jpg",[],{"id":18243,"slug":18244,"title":13593,"dynasty":18,"author":12069,"museum":552,"description":12070,"tags":18245,"thumbUrl":18246,"material":641,"size":642,"collection":59,"collections":18247,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235360,"shan-shui-ren-wu-tu-ce-huang-shen-235360",[25,26,53,55,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918a8204d9441ca882cc91084758e0ba.jpg",[],{"id":18249,"slug":18250,"title":502,"dynasty":69,"author":13271,"museum":552,"description":16580,"tags":18251,"thumbUrl":18252,"material":641,"size":642,"collection":59,"collections":18253,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235291,"shan-shui-ce-shen-hao-235291",[25,55,29,53,75,80,133,7,522,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278c1d4f84440a69c71fa24b1ccc3cbc.jpg",[],{"id":18255,"slug":18256,"title":502,"dynasty":18,"author":16558,"museum":552,"description":18257,"tags":18258,"thumbUrl":18259,"material":59,"size":59,"collection":59,"collections":18260,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235176,"shan-shui-ce-ye-xin-235176","此作淡墨轻施，以大片留白晕出空濛天色，坡石苍古朴拙，线条简括却带着浑朴质感。几株花树以淡绿点染枝头，如烟似雾，晕开春日郊野的清润生机。\n左下角二人悠行于坡岸，一人负杖徐行，一人悄然随行，身形虽小却意态宛然，为静穆山水添入悠然野趣。整幅笔墨秀雅简净，没有繁复皴染，只以浅淡设色烘托出恬寂清幽的郊原氛围，将春日山行的萧散闲逸，融于简淡空灵的画面之中，淡而有味，简而不空，尽显出清远淡逸的文人意趣。",[25,26,53,55,29,80,30,7,134,865,135,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9de9bb41992d4b1556201d3e02c1eb3a.jpg",[],{"id":18262,"slug":18263,"title":16629,"dynasty":18,"author":7913,"museum":552,"description":18264,"tags":18265,"thumbUrl":18266,"material":59,"size":59,"collection":59,"collections":18267,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235099,"zheng-min-shan-shui-ce-zheng-min-235099","此作为水墨山水与行书题诗合璧之作。绘者以清劲简逸的淡墨勾勒皴擦山石林木，笔致空灵简淡，不作浓艳晕染，晕出山岚空濛的温润氛围。画面孤松挺秀临幽涧，崖顶茅亭孑然独立，古洞藏于崖畔，处处透着古禅林的冷寂幽绝，恰与题诗意境呼应。\n\n整幅作品以画载诗心，诗书与山水意境相融，尽得萧散静穆的林下之风，将幽栖林泉的尘外之思寄寓尺幅间，淡远冲和，悠悠禅意漫溢纸面，尽显清逸淡简的画中逸趣。",[25,26,53,55,78,75,80,277,82,7,260,349,81,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84e9fc2dfcee711535c64d30d924d0d7.jpg",[],{"id":18269,"slug":18270,"title":16629,"dynasty":18,"author":7913,"museum":552,"description":18271,"tags":18272,"thumbUrl":18275,"material":59,"size":59,"collection":59,"collections":18276,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},235095,"zheng-min-shan-shui-ce-zheng-min-235095","此作以淡墨写平林小景，枯木虬劲疏朗，枝桠错落伸展，崖畔茅舍孑然独立，远山以浅墨轻扫晕染，淡远朦胧。画面留白疏朗空寂，尽显萧散冷逸的林下之风。\n笔墨简淡松灵，不事浓艳雕琢，以极简笔意勾勒出荒寒清远的意境，深得倪瓒遗韵，尽显新安画派崇尚疏淡雅逸的意趣。搭配左侧行书题跋，笔致清劲秀雅，书画相得益彰，文气盎然，将山水的清冷澹泊与文人隐逸之思相融，悠悠然见林下高致。",[25,26,53,55,80,78,75,134,7,349,135,133,18273,15580,173,81,259,18274,77,2290],"小筑","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550867f3e60c4cab630f75e34d2b8d86.jpg",[],{"id":18278,"slug":18279,"title":502,"dynasty":69,"author":14715,"museum":552,"description":18280,"tags":18281,"thumbUrl":18282,"material":59,"size":59,"collection":59,"collections":18283,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},234866,"shan-shui-ce-zhao-pu-234866","此帧以淡墨写就平远秋江，近岸修竹疏朗，汀渚隐于浅烟微波，远山如黛晕染空濛。题诗与画意两相呼应，将江天寥廓、宿雁初歇的清寂描摹尽致。\n\n笔墨简淡清空，以留白衬江波无澜，远山轻施披麻皴，墨色淡宕虚和，全不作刻露之笔。帧内题录唱和诗作，书画同帧交融，将江南秋暮的冷逸闲淡徐徐铺展，不见一丝喧嚣躁气，尽显寄兴林泉、澄怀观道的文人雅趣，把秋日江天的静穆诗意晕染在尺幅之间。",[25,26,53,55,77,79,75,80,81,153,82,7,85,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbdd62ea7e52cb749057e52bf55d58.jpg",[],{"id":18285,"slug":18286,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":18287,"thumbUrl":18288,"material":139,"size":59,"collection":59,"collections":18289,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},234762,"huang-shan-tu-ce-jiang-zhu-234762",[25,26,53,434,55,78,77,79,80,7,4904,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05887aa4adaf32ffa4c1d46dedaa148b.jpg",[],{"id":18291,"slug":18292,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":18293,"thumbUrl":18294,"material":139,"size":59,"collection":59,"collections":18295,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},234754,"huang-shan-tu-ce-jiang-zhu-234754",[25,26,53,434,55,80,7,260,78,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e99093438ffb2b990db33c89709f7c6.jpg",[],{"id":18297,"slug":18298,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":18299,"thumbUrl":18300,"material":139,"size":59,"collection":59,"collections":18301,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},234730,"huang-shan-tu-ce-jiang-zhu-234730",[25,26,53,29,80,75,77,78,79,135,81,82,7,8579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d61fead5fd444cfed967d7134880d7.jpg",[],{"id":18303,"slug":18304,"title":18305,"dynasty":18,"author":18306,"museum":552,"description":18307,"tags":18308,"thumbUrl":18309,"material":59,"size":59,"collection":59,"collections":18310,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},234616,"zhu-shi-wan-shan-yang-neng-ge-234616","竹石纨扇","杨能格","杨能格（清）字季良，号简侯。汉军正红旗人，道光十六年2甲23名进士，授翰林院编修，充广东主考官、浙江同考官，官赞善。同治四年升甘肃按察使，五年、迁江宁布政使。工书，师法王羲之、颜真卿，自成一格。著有《归观斋诗赋草》、《海天集》等。见《清代翰林传略》、《中国美术家人名辞典》.",[25,26,714,55,75,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5115005b56a3d3b2717aaca23b528244.jpg",[],{"id":18312,"slug":18313,"title":18314,"dynasty":69,"author":18315,"museum":552,"description":18316,"tags":18317,"thumbUrl":18318,"material":59,"size":59,"collection":59,"collections":18319,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},234260,"shan-shui-he-zhuang-tu-juan-sun-wei-234260","山水合装图卷","孙玮","孙玮，号松溪翁，明代隆庆万历间吴（今江苏苏州）人。工山水。其事迹已收入《中国美术家人名辞典》。",[23,24,25,26,74,55,29,80,349,153,277,82,134,7,242,81,135,77,78,1744,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f75bafa04edc4b27c971f59e44d99dc.jpg",[],{"id":18321,"slug":18322,"title":18323,"dynasty":18,"author":8439,"museum":71,"description":13848,"tags":18324,"thumbUrl":18325,"material":3566,"size":18326,"collection":59,"collections":18327,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},234185,"xie-qin-fang-you-juan-huang-yi-234185","携琴访友卷",[23,25,26,74,55,29,78,79,80,30,81,7,277,82,349,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4af429963430d611c94223cadd68049.jpg","纵26.7cm，横90.1cm",[],{"id":18329,"slug":18330,"title":7696,"dynasty":369,"author":4081,"museum":71,"description":7697,"tags":18331,"thumbUrl":18332,"material":678,"size":7700,"collection":59,"collections":18333,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},233994,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233994",[25,24,26,53,434,55,29,30,117,135,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617453e3aa7873680d5f00b1148dced4.jpg",[],{"id":18335,"slug":18336,"title":7696,"dynasty":369,"author":4081,"museum":71,"description":7697,"tags":18337,"thumbUrl":18338,"material":678,"size":7700,"collection":59,"collections":18339,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},233990,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233990",[25,26,53,434,29,30,80,81,7,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61718b8742bb720398eef3dacda1993.jpg",[],{"id":18341,"slug":18342,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":18343,"thumbUrl":18344,"material":59,"size":59,"collection":59,"collections":18345,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},233645,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233645",[25,26,53,29,6125,187,7,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc8a1897fe637bbcb526c68ebe6122c.jpg",[],{"id":18347,"slug":18348,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":18349,"thumbUrl":18350,"material":59,"size":59,"collection":59,"collections":18351,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},233302,"shi-zhu-zhai-pu-ce-hu-ri-cong-233302",[25,55,29,7,99,79,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d670ca4fe5bcf366d78b46d268769a7.jpg",[],{"id":18353,"slug":18354,"title":18355,"dynasty":18,"author":201,"museum":71,"description":18356,"tags":18357,"thumbUrl":18358,"material":327,"size":18359,"collection":59,"collections":18360,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},233092,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233092","平定苗疆战图册","《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。",[28,29,75,80,30,306,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb0af8976491b307f447c8f619b2b3f.jpg","纵55.4cm，横90.8cm",[],{"id":18362,"slug":18363,"title":18364,"dynasty":18,"author":201,"museum":552,"description":18365,"tags":18366,"thumbUrl":18370,"material":59,"size":59,"collection":59,"collections":18371,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},230314,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-qin-wang-ai-xin-jue-luo-hong-zhou-yi-ming-230314","历代帝王贵妃大臣朝服像(亲王爱新觉罗.弘昼)","整作取景春日庭院，古柳垂绦抽新绿，花树缀粉、湖石错落，晕染出悠然雅致的闲居氛围。主位贵胄安坐石上，展卷细读，神态松弛自适。两侧侍从躬身奉物，身姿恭谨，将清代宗室日常仪制暗藏其间。\n\n衣纹描摹细腻写实，旗装官帽的制式纹理清晰可见，衣料褶皱层次自然，把服饰质感还原入微。设色调和柔润，衣袍的暗紫、赭红与草木新色相映，工笔勾勒兼顾写意氛围感，将贵胄春日闲读的松弛日常铺陈开来，兼具纪实性与审美意趣，鲜活再现了旧时王府一隅的平和图景。",[23,25,29,28,30,307,135,456,244,153,308,18367,7,18368,18369],"清代服饰","小植物","淡彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cca75b7d728fa0178020b8b4edc4960.jpg",[],{"id":18373,"slug":18374,"title":18375,"dynasty":69,"author":18376,"museum":552,"description":18377,"tags":18378,"thumbUrl":18379,"material":59,"size":59,"collection":59,"collections":18380,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},224554,"shu-hua-ce-ye-19-xiao-yun-cong-wang-shi-zhen-224554","《书画册页》-19","萧云从 王士祯","以淡墨晕染烟霭长空，崖壁奇崛高耸，文士策杖凭崖，凝望远江平芜。枯木虬枝错落坡岸，间有柔枝茂叶点缀荒寒，笔墨以干淡皴擦勾勒山石肌理，兼得宋画苍劲与文人画雅逸。\n\n题跋朱印错落留白处，诗画相融，将幽居林泉的隐逸心绪藏在萧疏景致间，清寂淡远的古意漫溢纸面，暗合画中孤高文人心志。",[25,26,53,55,29,75,77,79,80,30,134,7,3368,259,81,493,1911,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaae4723fd04a5f2ab0bf9de09a0ba0.jpg",[],{"id":18382,"slug":18383,"title":18384,"dynasty":18,"author":12298,"museum":552,"description":18385,"tags":18386,"thumbUrl":18387,"material":59,"size":59,"collection":59,"collections":18388,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},224273,"shan-shui-hua-hui-ce-er-fu-shan-224273","山水花卉冊(二)","此作以淡赭晕染出水天浑然的底色，群峰被绘作奇崛瘦硬的嶙峋之态，如笋如刃错落浮于虚渺烟岚之间。山间林木以细笔极简点簇，萧疏冷逸。画面留白肆意铺陈，勾勒出荒寒空濛的幽寂意境。左侧题印与山水相映，添了文墨雅趣。画家舍去繁复皴染，以简淡笔墨写胸中丘壑，将北方山川的奇峭风骨，与遗世孤高的文人意趣相融，尽显清冷淡远的禅味，笔墨简净却意韵悠长。",[23,25,26,53,55,29,80,7,277,81,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a89b3cc5fc5b36085465ba8a7fd6dc.jpg",[],{"id":18390,"slug":18391,"title":18392,"dynasty":18,"author":7913,"museum":835,"description":9007,"tags":18393,"thumbUrl":18394,"material":3724,"size":59,"collection":59,"collections":18395,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},222719,"huang-shan-ba-jing-tu-ce-8-zheng-min-222719","黄山八景图册8",[23,25,26,53,55,80,7,81,84,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c88e2857cdb070f757087ef007a96c.jpg",[],{"id":18397,"slug":18398,"title":18399,"dynasty":69,"author":8235,"museum":150,"description":8236,"tags":18400,"thumbUrl":18401,"material":327,"size":16025,"collection":59,"collections":18402,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},222493,"shang-bo-hua-ji-xuan-36-18-zhang-lu-222493","上博画集选36-18",[23,25,26,55,29,434,30,101,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176250897c57274dbe9190eac2ccac21.jpg",[],{"id":18404,"slug":18405,"title":18406,"dynasty":18,"author":4526,"museum":150,"description":16856,"tags":18407,"thumbUrl":18408,"material":327,"size":16859,"collection":59,"collections":18409,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},219827,"ren-wu-ce-ye-8-ren-xiong-219827","人物册页-8",[25,26,53,29,28,55,30,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b080557279f886286d277a9306e9dec.jpg",[],{"id":18411,"slug":18412,"title":18413,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":18414,"thumbUrl":18415,"material":205,"size":59,"collection":59,"collections":18416,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},218203,"luo-han-zhou-7-wu-bin-218203","罗汉轴-7",[25,26,27,576,434,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe308f94ab9816bb27c5720a8ca766e53.jpg",[],{"id":18418,"slug":18419,"title":18420,"dynasty":69,"author":9015,"museum":112,"description":16080,"tags":18421,"thumbUrl":18422,"material":58,"size":59,"collection":59,"collections":18423,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},218048,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-4-wu-bin-218048","楞严廿五圆通佛像册-4",[25,26,53,29,28,576,30,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed1dca4c9715be1310c88f52f4241de.jpg",[],{"id":18425,"slug":18426,"title":18427,"dynasty":69,"author":5428,"museum":552,"description":18428,"tags":18429,"thumbUrl":18430,"material":327,"size":59,"collection":59,"collections":18431,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":1551},217126,"shui-hu-quan-tu-70-du-jin-217126","水浒全图-70","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[25,26,53,434,30,242,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255e2f6c88de7a3a1c41ef61d51668c2.jpg",[],{"id":18433,"slug":18434,"title":18435,"dynasty":69,"author":431,"museum":552,"description":18436,"tags":18437,"thumbUrl":18438,"material":262,"size":59,"collection":59,"collections":18439,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":44},216307,"xi-xiang-ji-zhen-ben-tu-ce-13-chen-hong-shou-216307","西厢记真本图册-13","墨线如铁线盘屈，却牵出柔婉韵致。月夜松影横斜，泼洒清寂；石畔人物衣袂轻垂，眉目间凝着西厢故事的幽微心绪。陈洪绶以古拙笔意勾勒景物，松枝虬劲、衣纹流转皆见匠心。构图疏密相生，左页月色空濛与右页人物情态相映，诗画交织间，将古典传奇的细腻情愫凝于尺幅。笔端既有金石般刚健，又藏水样温婉，让这帧图册成为穿越时光的深情注脚。",[25,26,53,434,55,29,30,31,864,117,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f62cdd513daf3995abe71d428418eeb.jpg",[],{"id":18441,"slug":18442,"title":18443,"dynasty":18,"author":9324,"museum":552,"description":18444,"tags":18445,"thumbUrl":18446,"material":58,"size":59,"collection":59,"collections":18447,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":64},215101,"tui-bei-tu-ce-7-jiao-bing-zhen-215101","推背图册-7","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,25,26,53,28,29,306,3604,101,7,80,160,8451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86763678f88afa62a40f3f9360dffeb8.jpg",[],{"id":18449,"slug":18450,"title":18451,"dynasty":69,"author":18452,"museum":150,"description":18453,"tags":18454,"thumbUrl":18455,"material":59,"size":59,"collection":122,"collections":18456,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18457},203445,"gu-mu-han-ya-tu-zhou-zhou-wen-jing-203445","古木寒鸦图轴","周文靖","画面以水墨写就，古木虬枝苍劲如铁，枝干交错间寒鸦或栖或飞，姿态灵动，动静相宜。近景巨石嶙峋，浓淡墨色皴擦出沉厚肌理；旁侧修竹摇曳、杂草点缀，添野逸之趣。远景淡墨晕染，朦胧林木隐现，虚实相生拓展空间层次。寒鸦的鲜活与古木的沧桑相融，清寂中藏生机，尽显文人画的雅致意趣与笔墨功底。",[23,24,25,27,55,134,153,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca48ff9044a2aa4ea5b8d3d6d0dbde3.jpg",[122],"aaa095",{"id":18459,"slug":18460,"title":18461,"dynasty":18,"author":3983,"museum":150,"description":18462,"tags":18463,"thumbUrl":18464,"material":59,"size":59,"collection":59,"collections":18465,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18466},203433,"chui-xiao-shi-nv-tu-zhou-fei-dan-xu-203433","吹箫仕女图轴","古木荫浓下，两位仕女姿态闲雅。一者倚石吹箫，箫声似若萦绕林间；一者坐于树侧，捧物低眉凝思。衣纹以工笔细描，线条流畅婉转，尽显罗裳轻柔质感。设色淡雅温润，肤色晕染细腻，眉眼间流露温婉娴静之态。树下牡丹盛放，花叶舒展，与苍劲古木相映成趣，添几分生机雅致。画面意境清幽恬淡，将仕女的柔美与自然景致融合，尽显传统仕女画的含蓄韵致与细腻笔情。",[25,26,27,28,29,30,31,1446,117,191,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd889d4ef1989404aa7e468314ecefa7.jpg",[],"ac7d54",{"id":18468,"slug":18469,"title":18470,"dynasty":18,"author":16134,"museum":150,"description":18471,"tags":18472,"thumbUrl":18473,"material":59,"size":59,"collection":88,"collections":18474,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18475},203417,"shan-shui-shi-ti-he-ce-gao-xiang-203417","山水诗题合册","这幅山水以淡墨晕染为底，线条简括灵动，山石轮廓勾勒随性却见清劲骨力，皴擦间流露文人画特有的简逸之气。近景疏木萧散，枝桠姿态天然；中景隐现屋舍亭宇，似藏幽人居停之境；远山淡远如黛，留白处若萦轻烟，整体营造出静谧悠远的超然氛围。笔墨不尚繁复，全凭水墨层次与线条韵味传递意趣，尽显清代文人山水的简淡天真与清幽之致。",[80,55,75,7,349,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058cd7810811cb813c0ff2f6c8e1d5f3.jpg",[88],"c9bdb6",{"id":18477,"slug":18478,"title":18479,"dynasty":9797,"author":18480,"museum":150,"description":18481,"tags":18482,"thumbUrl":18483,"material":59,"size":59,"collection":105,"collections":18484,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18485},203349,"xie-xiao-fang-hu-shi-xiang-zhou-wu-hu-fan-203349","写小方壶石像轴","吴湖帆","这幅画以孤石为核心，笔墨灵动兼具工致。石身用青绿设色晕染，辅以精细勾勒与皴法，尽显嶙峋肌理与古雅气韵。石上题款与旁侧书法呼应，行书笔力俊逸，与设色山石相融，流露文人画“书画一体”的意趣。整体风格清逸雅致，将赏石之乐凝于笔端，传递出对自然造物的细腻感知与审美情致。",[25,862,29,7,79,78,28,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37eca22d5ececc2655d6e274f66ad42.jpg",[105],"e0d3bb",{"id":18487,"slug":18488,"title":502,"dynasty":18,"author":18489,"museum":150,"description":18490,"tags":18491,"thumbUrl":18492,"material":59,"size":59,"collection":88,"collections":18493,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18494},203344,"shan-shui-ce-shen-zong-jing-203344","沈宗敬","画面以水墨写意山水，枯笔皴擦勾勒山石轮廓，肌理分明；疏木倚石而生，枝干苍劲，墨色浓淡间见层次。远处烟水朦胧，远山淡染，尽显悠远之致。右侧行书题跋笔墨流畅，与朱红印章相映成趣，文气盎然。整体笔墨简淡却意蕴深厚，似可居可游，流露文人寄情山水的闲逸心境，尽显古雅清幽之韵。",[25,80,53,55,75,7,81,79,77,1268,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3157965d37ecd9e52d9b653dfba206a8.jpg",[88],"e5e1cf",{"id":18496,"slug":18497,"title":18498,"dynasty":18,"author":49,"museum":150,"description":18499,"tags":18500,"thumbUrl":18501,"material":59,"size":59,"collection":59,"collections":18502,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18503},203301,"shan-shui-tu-he-ce-yun-shou-ping-203301","山水图合册","笔墨疏秀间见清逸之韵，构图简约中藏空灵之境。孤石以淡墨皴擦，线条洗练却含苍劲；亭畔老树虬枝轻展，浅设色晕染出秋意，流水绕阶，亭榭隐于林麓，一派悠然野趣。画面摒弃浓艳，以简胜繁，将自然清幽与文人雅致融于尺幅，尽显笔底性灵。",[25,26,53,55,29,80,7,349,134,82,10575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd465b2ecf12ba2bb23d323c2dbaa88c5.jpg",[],"d6ccc0",{"id":18505,"slug":18506,"title":502,"dynasty":18,"author":18507,"museum":150,"description":18508,"tags":18509,"thumbUrl":18510,"material":59,"size":59,"collection":88,"collections":18511,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18512},203267,"shan-shui-ce-wang-zhuan-203267","王撰","画面远山层叠，以淡墨皴染出悠远之态，峰峦起伏间显空灵。近岸林木疏朗，枝干细笔勾勒，墨色浓淡相衬，叶态各异见生趣。水边小屋隐于树后，添几分烟火气却不扰静谧。整体笔墨雅致，意境恬淡，尽显文人山水的清逸之韵，似可闻林间风、观水畔云，引人入悠然之境。",[25,55,75,53,80,134,7,82,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1bbdf09e16ca648c95bf02a97ffec57.jpg",[88],"ccc4b3",{"id":18514,"slug":18515,"title":18516,"dynasty":18,"author":9663,"museum":150,"description":18517,"tags":18518,"thumbUrl":18520,"material":59,"size":59,"collection":88,"collections":18521,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18522},203261,"nan-gui-lin-wu-tu-ce-mei-qing-203261","南归林屋图册","水墨晕染的山景中，皴笔勾勒的孤石与疏枝树木相映，林间雅士凭崖而坐，似在静赏林泉之趣。笔墨清逸洒脱，山石的纹理与树木的姿态皆透着自然野趣，又暗含文人诗意，将归居林屋的静谧心境与山水之美相融，尽显小品画的雅致韵致。",[55,80,75,7,81,2614,18519,7479,23],"小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11713062c9832ae7395e93f0ac543c39.jpg",[88],"d4c7b8",{"id":18524,"slug":18525,"title":18526,"dynasty":69,"author":18527,"museum":150,"description":18528,"tags":18529,"thumbUrl":18530,"material":59,"size":59,"collection":122,"collections":18531,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18532},203224,"hu-fu-shi-er-jing-tu-ce-chen-ji-203224","虎阜十二景图册","陈楫","这幅画作以水墨为媒，勾勒出苍树伴孤石的清寂之景。古树虬枝盘曲，墨色层次丰富，尽显老干的苍劲姿态；孤石嶙峋突兀，以简练皴法晕染纹理，凸显山石的坚硬质感。构图疏朗有致，笔墨雅致空灵，流露着文人画独有的清幽意趣，仿佛将园林小景的静谧韵味凝于尺幅之间。",[25,55,75,7,134,53,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b45f4cc55eda3525463eb10a9651760.jpg",[122],"b2a28e",{"id":18534,"slug":18535,"title":18536,"dynasty":9797,"author":18537,"museum":150,"description":18538,"tags":18539,"thumbUrl":18540,"material":59,"size":59,"collection":59,"collections":18541,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18542},203203,"he-zuo-mei-zhu-quan-shi-tu-zhou-jiang-han-ting-203203","合作梅竹拳石图轴","江寒汀","画面中，老梅虬干以焦墨挥写，苍劲嶙峋，枝桠间淡粉梅花点缀，娇嫩与古拙相映成趣。数竿修竹劲挺疏朗，竹叶以劲健线条勾勒，气韵清逸。拳石以水墨皴擦晕染，块面厚重，与梅竹构成疏密有致的格局。笔墨交融间，尽显文人画的清雅意趣，梅之傲骨、竹之气节、石之坚韧，凝注君子品格。题款行书流畅洒脱，朱印点缀，更添古雅韵致。整幅作品气韵生动，墨色浓淡相宜，设色清雅，是两位画家联袂创作的佳构，尽显传统水墨的写意精神。",[25,187,32,7,55,29,75,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0538bfe62f5ce094f6461b3b89abac97.jpg",[],"c7bfaf",{"id":18544,"slug":18545,"title":18546,"dynasty":18,"author":2149,"museum":150,"description":18547,"tags":18548,"thumbUrl":18549,"material":59,"size":59,"collection":88,"collections":18550,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18551},203146,"fang-song-yuan-liu-jia-shan-shui-tu-ce-wang-shi-min-203146","仿宋元六家山水图册","此作承宋元山水文脉，山峦以细腻皴法勾勒晕染，墨色层次丰富，兼具苍劲与秀润。近景林木扶疏，中景水波澹澹，远景峰峦叠嶂，构图开合有度，营造出悠远静谧的意境。笔致沉稳中见灵动，既得古法神韵，又蕴个人情致，尽显文人画的雅致与深邃，似可漫步其间，感受山水之幽。",[25,26,53,75,55,29,80,7,81,76,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ee17f9ffe81733f657801f0c6ab503.jpg",[88],"d4d4cf",{"id":18553,"slug":18554,"title":18555,"dynasty":18,"author":18556,"museum":150,"description":18557,"tags":18558,"thumbUrl":18559,"material":59,"size":59,"collection":122,"collections":18560,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18561},203089,"shan-shui-bing-shu-shi-ce-jiang-shi-jie-203089","山水并书诗册","姜实节","水墨绘就的竹石图，竹枝劲挺，竹叶以简练笔触写出，疏密有致；孤石淡墨皴擦，形态古拙。旁侧行书题跋笔墨流畅，与画面浑然一体，诗画相契，尽显文人意趣。整体风格清雅淡远，笔墨洗练却韵味醇厚，竹石的清逸与书法的洒脱交融，传递出悠然的文人心境，是诗书画结合的佳作。",[55,32,7,78,75,26,53,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d7c6ba55db3f2ac38e975d15449977.jpg",[122],"d3bea4",{"id":18563,"slug":18564,"title":12378,"dynasty":9797,"author":3542,"museum":150,"description":18565,"tags":18566,"thumbUrl":18567,"material":59,"size":59,"collection":105,"collections":18568,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18569},203083,"mao-shi-tu-zhou-xu-bei-hong-203083","画中猫黑白相间，蓬松毛发以酣畅墨色晕染，留白处显轻盈质感，双目圆睁如琉璃，炯炯有神，似凝神远眺。身下顽石以淡赭泼洒，浓墨勾皴，轮廓朴拙见筋骨。旁侧细叶舒展，墨绿点染生机盎然，石下劲草以劲挺线条写出，添野趣。整幅笔墨兼具写意洒脱与写实精微，猫的灵动与石的厚重相映成趣，简约构图藏盎然生趣，尽显对生灵的细致体察与笔墨掌控力。",[25,55,29,100,7,101,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cade910d4e7d82265313e42466a941a.jpg",[105],"cdbea8",{"id":18571,"slug":18572,"title":502,"dynasty":18,"author":14211,"museum":150,"description":18573,"tags":18574,"thumbUrl":18575,"material":59,"size":59,"collection":88,"collections":18576,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18577},203068,"shan-shui-ce-fan-ting-zhen-203068","画面以淡墨晕染出悠远意境，枯木疏枝错立，枝干虬曲如铁，尽显苍劲之态；溪流蜿蜒穿林而过，清浅可见；远山以简淡皴笔勾勒，隐于薄雾间，更添空濛。坡岸旁茅屋数椽，孑然独立，似藏着文人隐逸的闲思。上方题跋以行书挥就，笔墨流畅，与下方山水相映成趣，文气与画韵交融，尽显清代文人画的雅致风骨。",[80,55,75,1231,134,53,78,7,1212,921,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21cab7d862819f2018fb3d9f1be9da9.jpg",[88],"cab397",{"id":18579,"slug":18580,"title":18581,"dynasty":18,"author":2488,"museum":150,"description":18582,"tags":18583,"thumbUrl":18584,"material":59,"size":59,"collection":59,"collections":18585,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18586},202654,"ba-jiao-mei-zhu-tu-zhou-zhang-xiong-202654","芭蕉梅竹图轴","画面以芭蕉为主体，阔大叶片用浓墨泼洒，笔触雄浑却藏细腻脉络；梅枝疏斜横逸，花蕊点点含春，竹枝亭亭玉立，与嶙峋湖石相倚。坡岸草色葱茏，水墨晕染间见清趣。笔墨简劲洒脱，水墨淋漓中透着雅致，将芭蕉的苍劲、梅的傲骨、竹的虚心融于一卷，尽显文人画的清逸风骨，传递出悠然淡泊的襟怀。",[25,55,56,187,32,99,7,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F124b3c2830653cf0f5659470cf16b1d2.jpg",[],"c3ae8b",{"id":18588,"slug":18589,"title":18590,"dynasty":69,"author":129,"museum":150,"description":18591,"tags":18592,"thumbUrl":18593,"material":59,"size":59,"collection":59,"collections":18594,"showCount":5,"zanCount":511,"manualWeight":43,"mainColor":18595},202642,"ni-wu-meng-fa-shan-shui-shan-ye-lan-ying-202642","拟五蒙法山水扇页","画面山峦层叠，皴擦勾勒间尽显苍劲笔力，林木虬曲，墨色浓淡相宜，溪涧蜿蜒穿石而过，古雅茅舍隐于林麓，意境清幽而气势浑朴。扇面构图疏密有致，于有限空间内铺展深远山水，线条硬挺如铁，皴染结合显山石厚重；松枝盘曲，墨韵沉郁，尽显自然野趣与文人逸致。笔墨干湿互用，层次丰富，既得山川之灵秀，又含绘者匠心，是一幅颇具功底的山水佳作。",[80,714,75,55,7,3269,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4661e2050d62667210102e5ab783b97b.jpg",[],"ac916e",{"id":18597,"slug":18598,"title":18599,"dynasty":18,"author":18600,"museum":150,"description":18601,"tags":18602,"thumbUrl":18603,"material":59,"size":59,"collection":59,"collections":18604,"showCount":5,"zanCount":511,"manualWeight":43,"mainColor":18605},202640,"mei-shi-shuang-niao-tu-zhou-zhang-yan-qi-202640","梅石双鸟图轴","张延耆","虬曲的老梅枝干盘绕于嶙峋怪石之上，枝间双鸟相栖，似有私语。石畔点缀艳红果实与翠叶，墨色的枝干与石头苍劲古朴，红果绿叶相映成趣，生机暗藏。用笔细致入微，鸟羽的纹理、枝干的皴法皆见功底；设色淡雅温润，不张扬却显雅致。整体画面兼具工笔的精致与写意的灵动，将传统花鸟的意趣与生机展现得淋漓尽致，尽显文人画的雅致韵味。",[25,26,27,29,56,187,28,7,153,134,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1083970f0adf45cc6991f547f813eebf.jpg",[],"90704b",{"id":18607,"slug":18608,"title":18609,"dynasty":18,"author":12521,"museum":150,"description":18610,"tags":18611,"thumbUrl":18612,"material":59,"size":59,"collection":59,"collections":18613,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18614},202619,"dong-li-ao-shuang-tu-zhou-ni-tian-202619","东篱傲霜图轴","水墨写意之笔绘秋菊傲霜之姿，孤石嶙峋，墨色沉厚，皴擦间显朴拙质感；丛菊错落，花瓣淡墨勾描，轻盈舒展，叶片浓墨泼写，苍劲淋漓。菊枝挺秀与顽石相依，尽展凌秋不屈风骨。笔墨浓淡干湿互衬，洒脱自然，将花之清逸与石之沉稳相融，蕴藉文人高洁意趣，观之动人。",[25,55,56,189,7,27,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e1b93140cbbfc077337dde6bfa456db.jpg",[],"c0b6ae",{"id":18616,"slug":18617,"title":10370,"dynasty":18,"author":18618,"museum":150,"description":18619,"tags":18620,"thumbUrl":18621,"material":59,"size":59,"collection":59,"collections":18622,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18623},202575,"hua-niao-zhou-xu-gang-202575","徐冈","枝头双鸟相偎，羽色柔润，神态亲昵；一鸟倒挂枝间，爪力矫健，姿态灵动，似与同伴嬉戏。细枝疏叶间点缀数朵小花，淡墨勾线，设色清雅，绢本底色更衬出古雅韵致。笔墨兼具工写，鸟的翎毛刻画入微，枝叶则带写意之趣，动静相生间流露自然生机。题款与朱印相映，添文人画的书卷气，整体构图疏朗却意趣盎然，尽显花鸟小品的雅致情韵。",[25,56,28,29,27,153,7,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d8bf4fc04a9b61e21b082545e3ffe0.jpg",[],"846635",{"id":18625,"slug":18626,"title":18627,"dynasty":18,"author":18628,"museum":150,"description":18629,"tags":18630,"thumbUrl":18631,"material":59,"size":59,"collection":59,"collections":18632,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18633},202534,"liu-ya-tu-zhou-que-lan-202534","柳鸦图轴","阙岚","画面以简约构图营造静谧生趣，柳枝轻垂，一只乌鸦倒挂枝间，喙微张似欲鸣；下方孤石上，另一只乌鸦昂首呼应，姿态鲜活。禽鸟以工笔细绘，墨色浓淡晕染出羽毛层次，爪部纹理清晰；柳枝线条轻盈，岩石以淡墨皴擦显质感。古朴绢色衬得画面雅致，动静之间，尽显自然意趣。",[25,27,28,56,7,153,10575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e68f379d21cf1c169161e52809cb92.jpg",[],"916a32",{"id":18635,"slug":18636,"title":18637,"dynasty":18,"author":16213,"museum":150,"description":18638,"tags":18639,"thumbUrl":18640,"material":59,"size":59,"collection":59,"collections":18641,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":17740},202492,"lan-hua-zhu-shi-tu-juan-zheng-xie-202492","兰花竹石图卷","这幅图卷以水墨写意兰、竹、孤石，兰叶舒展如书法撇捺，竹叶劲挺呈“个”“人”之姿，顽石皴擦见骨。三者错落呼应，笔墨淋漓间，兰的清雅、竹的劲节、石的朴拙相映成趣，尽显文人画疏朗气韵。题跋行书流畅洒脱，与物象浑然一体，藏露相生虚实得宜，简淡中见风骨，传递出孤傲超逸的胸襟。",[25,55,74,188,32,7,78,77,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e65767f45ad06115ee7b83a6ef3c99.jpg",[],{"id":18643,"slug":18644,"title":18645,"dynasty":18,"author":2159,"museum":150,"description":18646,"tags":18647,"thumbUrl":18648,"material":59,"size":59,"collection":59,"collections":18649,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18650},202441,"hua-hui-heng-pi-zhao-zhi-qian-202441","花卉横披","老干盘曲如铁，墨痕浓淡间见骨力；设色花卉妍丽清雅，粉橙花瓣与青蓝叶片相映成趣。嶙峋孤石以泼墨写意，留白处漾出空灵。整幅画作笔墨纵逸却不失法度，写意中藏精工，生机盎然间流露清逸古雅的文人韵致。",[25,26,56,29,7,55,134,396,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa19e2309ce7afcf0bf3819c811f7fb1b.jpg",[],"d5c7b6",{"id":18652,"slug":18653,"title":18654,"dynasty":18,"author":18655,"museum":150,"description":18656,"tags":18657,"thumbUrl":18658,"material":59,"size":59,"collection":59,"collections":18659,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18660},202324,"shui-xian-tu-zhou-wu-tao-202324","水仙图轴","吴滔","画面里水仙丛生，叶片修长挺括，以劲健线条勾勒，花朵淡雅点缀，生机流转。旁侧山石泼墨晕染，墨色浓淡交错，苍润有致，与水仙清逸形成刚柔呼应。笔墨兼具写意洒脱与细节传神，尽显文人画雅致意趣，传递出清幽淡远的林下之风。",[25,55,56,174,7,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12469334f45499f9bdba55889d93107b.jpg",[],"c9c6c2",{"id":18662,"slug":18663,"title":18664,"dynasty":18,"author":18665,"museum":150,"description":18666,"tags":18667,"thumbUrl":18668,"material":59,"size":59,"collection":59,"collections":18669,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18670},202102,"ping-hua-hu-shi-tu-zhou-jiang-bao-ling-202102","瓶花湖石图轴","蒋宝龄","暖橙色陶罐古朴雅致，环耳以墨线勾勒，简约传神。罐中插玉兰与细蕊花枝：玉兰花瓣淡墨晕染，留白处尽显清润；粉蕊花枝衬浅绿叶片，纤细枝条摇曳生姿。左侧湖石以泼墨写意，浓淡干湿的笔触堆叠出嶙峋纹理，墨色交融间见苍劲之态。构图疏朗，笔墨兼具写意与工致，花的清雅与石的朴拙相映成趣。右侧行书题跋笔墨流畅，与画面浑然一体，尽显文人意趣。",[25,27,55,29,56,7,34,16161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67420c716f8d55dc83aa9e190a988114.jpg",[],"b5a087",{"id":18672,"slug":18673,"title":18674,"dynasty":18,"author":4422,"museum":150,"description":18675,"tags":18676,"thumbUrl":18677,"material":59,"size":59,"collection":59,"collections":18678,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18679},202094,"hai-tang-cao-chong-tu-zhou-ren-xun-202094","海棠草虫图轴","画面以孤石为骨，皴擦间见古拙纹理；海棠花叶设色清雅，蓝绿叶片层叠有致，粉白花朵娇柔含露；藤蔓垂挂紫蓝小花，点缀其间更显生机。草虫刻画工细入微，翅脉清晰如缕，姿态鲜活欲飞，似闻虫鸣之声。用笔兼工带写，线条婉转灵动，设色明丽雅致，将花草虫石的自然意趣凝于立轴之中，尽显工笔花鸟的细腻韵味与生机盎然之态。",[25,26,27,29,56,7,3614,28,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85425bf439bb8c0433ee37f769b68493.jpg",[],"cbbeaf",{"id":18681,"slug":18682,"title":18683,"dynasty":18,"author":18684,"museum":150,"description":18685,"tags":18686,"thumbUrl":18688,"material":59,"size":59,"collection":59,"collections":18689,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18690},202040,"kong-que-jiao-shi-tu-zhou-ren-yu-202040","孔雀蕉石图轴","任预","画面中孔雀姿态雍容，立于嶙峋孤石之上，羽翼纹理细腻入微，蓝绿斑斓间透着华贵。蕉叶舒展如扇，线条流畅飘逸，与孔雀尾屏相映成趣；点缀的红果鲜亮，为清雅画面添一抹生机。工笔设色精致，色彩过渡自然，既有传统花鸟的雅致，又具灵动鲜活之态，构图疏密有致，尽显海派绘画的清新意韵。",[25,28,56,29,7,18687],"立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd49c937bbc7cde8a79d3068dccb61e.jpg",[],"b6a99a",{"id":18692,"slug":18693,"title":18694,"dynasty":18,"author":18695,"museum":150,"description":18696,"tags":18697,"thumbUrl":18698,"material":59,"size":59,"collection":60,"collections":18699,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18700},201975,"lan-zhu-ling-zhi-tu-zhou-xia-da-yi-201975","兰竹灵芝图轴","夏大易","兰草舒展，墨线流转间见幽逸之姿；竹枝劲健，竹叶撇捺如书，尽显清刚；石边灵芝小巧，添祥瑞之韵。画作以水墨为媒，笔墨简淡却意趣盎然，兰竹的高洁与灵芝的吉庆交织，蕴藉文人画的清雅风骨。观之若闻兰香，似感竹风，心境随之澄明，尽显传统笔墨的灵动神韵。",[25,55,188,32,2806,7,27,56,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb228f3020cb1e3c51ca805c0db574c.jpg",[60],"b7a082",{"id":18702,"slug":18703,"title":18704,"dynasty":18,"author":18705,"museum":150,"description":18706,"tags":18707,"thumbUrl":18708,"material":59,"size":59,"collection":60,"collections":18709,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18710},201928,"lan-zhu-tu-zhou-jiang-shen-201928","兰竹图轴","蒋深","水墨晕染间，竹枝挺秀如剑，竹叶或聚或散，墨色枯润相生，尽显笔意潇洒；兰草纤叶舒展，柔中带韧，与苍劲孤石相伴，幽韵暗生。孤石以简皴勾勒，朴拙厚重，构图疏密相宜，气韵连贯。竹之清刚与兰之幽柔交织，传递出文人笔下君子的高洁品格与林下逸趣，笔墨简练却神髓毕现，是一幅颇具雅韵的水墨佳作。",[25,55,188,32,7,27,75,56,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03d76cc5a0aa0742ef28272702b4a281.jpg",[60],"805c28",{"id":18712,"slug":18713,"title":18714,"dynasty":18,"author":3992,"museum":150,"description":18715,"tags":18716,"thumbUrl":18717,"material":59,"size":59,"collection":88,"collections":18718,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18719},201869,"shan-shui-ren-wu-zhou-gao-jian-201869","山水人物轴","画面以淡墨皴染山石，老树虬枝盘曲，枝桠间似有寒蕊隐现，清寂中含生机。近景怪石错落，小径蜿蜒；中景茅舍疏朗，屋内人影闲坐，情态悠然。远山轻描淡写，与朦胧天色相融，意境悠远。笔墨简练传神，枯笔勾勒枝干，淡墨晕染山石，尽显文人画疏淡雅致之韵，传递出雅士寄情林泉、闲适自适的心境。",[25,26,27,55,75,80,30,134,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd0945797e4dd2cbdb29a5afb0192c8.jpg",[88],"c4b19b",{"id":18721,"slug":18722,"title":18723,"dynasty":18,"author":49,"museum":150,"description":18724,"tags":18725,"thumbUrl":18726,"material":59,"size":59,"collection":88,"collections":18727,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18728},201720,"qiu-lin-lao-wu-tu-zhou-yun-shou-ping-201720","秋林老屋图轴","秋林枝叶疏落，老屋静立一隅，山石嶙峋叠嶂，溪流蜿蜒而过，营造出清旷淡远的秋日意境。水墨笔触温润雅致，树木枝干苍劲多姿，山石皴法细腻灵动，兼具自然之趣与笔墨之美。构图虚实相生，留白意蕴悠长，尽显文人画的淡泊心境，仿佛能听见林间风声与溪水低语，引人沉浸于这份静谧悠然的山林之境。",[25,55,80,75,82,7,1290,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2bd831a2958bec5ed607700b5bad73.jpg",[88],"b9aa9a",{"id":18730,"slug":18731,"title":18732,"dynasty":18,"author":12822,"museum":150,"description":18733,"tags":18734,"thumbUrl":18735,"material":59,"size":59,"collection":88,"collections":18736,"showCount":5,"zanCount":511,"manualWeight":43,"mainColor":18737},201670,"xiang-yuan-mao-wu-tu-zhou-wang-chen-201670","乡园茅屋图轴","画面近景溪流蜿蜒，茅屋隐于苍树怪石间，野趣天成；中景林木疏朗，孤舟泊岸，似含渔樵闲意；远景山峦层叠，皴笔苍劲，墨色晕染出云气氤氲之态。笔墨承袭娄东遗风，山石勾勒简练，皴擦结合显浑厚质感，树木枝干虬劲，点叶疏密有致。整体意境清幽淡远，融乡园静谧与自然生机，尽显文人画雅致意趣。",[80,55,75,85,1212,81,7,921,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2d1f9c5afed701cfbb51aafb1b035b.jpg",[88],"c1bab3",{"id":18739,"slug":18740,"title":18741,"dynasty":18,"author":2201,"museum":150,"description":18742,"tags":18743,"thumbUrl":18744,"material":59,"size":59,"collection":39,"collections":18745,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18746},201605,"wu-liang-shou-fu-tu-zhou-xu-gu-201605","无量寿佛图轴","画面中无量寿佛安坐于苍劲岩石之上，红衣黑边的袈裟色泽浓艳却不失沉稳，衣纹线条以虚谷特有的战笔勾勒，兼具刚劲与灵动。佛容慈和，眉须纤毫毕现，指节微屈似在拈花说法，神态宁静超然。旁侧翠叶舒展，墨色岩石与清新绿植相映成趣，水墨晕染间显自然生机。整幅画作兼工带写，设色明快雅致，既传递出宗教的肃穆庄严，又蕴含海派绘画的灵动意趣，尽显虚谷笔下水墨与设色的巧妙融合。",[25,576,30,29,7,28,55,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F423100c8babcdc51530a4113891936e3.jpg",[39],"bd9f8c",{"id":18748,"slug":18749,"title":18750,"dynasty":18,"author":18751,"museum":150,"description":18752,"tags":18753,"thumbUrl":18754,"material":59,"size":59,"collection":60,"collections":18755,"showCount":5,"zanCount":43,"manualWeight":43,"mainColor":18756},201577,"zhu-jian-you-qin-tu-zhou-zhang-yu-201577","竹涧幽禽图轴","张敔","墨竹疏朗挺劲，叶片以浓淡墨色交错点撇，枝干纵横间藏着自然生趣。孤石之上，禽鸟静栖，羽翼墨痕层叠，神态安然。岩石以简皴淡擦显肌理，与竹的清逸相映，水墨氤氲中透出清幽之境，尽显文人写意花鸟的雅致，于简淡中见精妙，静谧里含生机。",[25,55,56,32,7,153,27,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5208450b40140c47f7b042cbc21023.jpg",[60],"b6a899",{"id":18758,"slug":18759,"title":16777,"dynasty":369,"author":201,"museum":552,"description":18760,"tags":18761,"thumbUrl":18762,"material":641,"size":642,"collection":59,"collections":18763,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":143},289936,"xiu-yu-ming-chun-tu-yi-ming-289936","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。",[25,26,24,1969,28,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f81ccde1f1a949245f5668f0b3bcdc2.jpg",[],{"id":18765,"slug":18766,"title":16785,"dynasty":369,"author":201,"museum":552,"description":18767,"tags":18768,"thumbUrl":18769,"material":641,"size":642,"collection":59,"collections":18770,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},289006,"yan-gui-tu-yi-ming-289006","此作以淡墨晕染衬出嶙峋怪石，皴笔老辣苍劲，尽显崖石的奇崛荒寒。枯桧虬枝盘曲如铁，瘦硬的枝干挣脱顽石束缚，寥寥数笔便写尽古桧扎根绝境、兀立风霜的傲骨。\n\n左侧题诗与画作相映成趣，诗画交融，晕开萧寒清寂的林下氛围。整幅不作繁复晕染，以极简水墨勾勒形神，将宋人的尚简重意藏于毫端，以岩桧自况，尽显沉浑刚劲的生命张力，是借物言志的水墨小品佳作。",[25,24,26,55,77,78,7,133,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd743fcacac99515bed7070972b6a5f0.jpg",[],{"id":18772,"slug":18773,"title":18774,"dynasty":18,"author":17193,"museum":552,"description":18775,"tags":18776,"thumbUrl":18777,"material":59,"size":59,"collection":59,"collections":18778,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},239382,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239382","画载月十咏诗意册","此作用浅绛绘就秋日林居之景，近处村舍错落，篱墙萦回，丹枫杂树点染出秋意暖色，村居意趣悠然。中景烟水空濛，淡墨晕开渺渺水汽，洲渚间霜林疏朗，留白铺就开阔平远的意境。远景峰峦舒缓延绵，左侧孤峰拔地而起，奇崛醒目，为淡远山水添了几分峭拔。\n\n笔墨秀雅松灵，以干笔皴擦出山石肌理，淡赭、花青轻敷晕染，色调清润柔和。右上角题诗衬景，诗画交融，将载月归游的诗意融于萧淡秋光里，整体气息安闲淡远，褪去尘嚣烟火，尽显文人画雅致静穆的林泉意韵。",[25,26,53,29,75,80,7,349,136,81,324,84,1366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec62eee0d9bbb718c9e92e17c565eca.jpg",[],{"id":18780,"slug":18781,"title":10624,"dynasty":69,"author":10625,"museum":552,"description":18782,"tags":18783,"thumbUrl":18784,"material":59,"size":59,"collection":59,"collections":18785,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},239265,"shu-hua-tu-ce-cheng-min-239265","此作用笔极简，以淡墨勾勒湖石，留白衬出嶙峋空灵之态，枯润线条尽显硬挺质感。兰叶以中锋挥写，笔势舒展劲健，俯仰生姿，寥寥数笔便将幽兰清挺孤傲的韵致尽显。角落细碎苔草与修长兰叶形成疏密对照，画面虚实相生，清雅绝尘。\n全幅以水墨为骨，不施丹青，尽显重韵尚简之妙，借兰石托物言志，寄寓超脱世俗、守正高洁的襟怀，笔墨间晕开冲淡悠远的林下之风，是意韵悠长的写意小品佳作。",[25,26,53,55,75,188,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a2bc3083f764a8425c72894ad21147.jpg",[],{"id":18787,"slug":18788,"title":10624,"dynasty":69,"author":10625,"museum":552,"description":18789,"tags":18790,"thumbUrl":18791,"material":641,"size":642,"collection":59,"collections":18792,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},239261,"shu-hua-tu-ce-cheng-min-239261","此作以水墨写意枯木竹石，枯木虬曲苍劲，用笔老辣爽利，嶙峋枝干带着锐刺，尽显古拙孤傲的萧瑟意态。下方墨竹叶脉分明，中锋挥写的叶片错落舒展，劲挺清逸，与枯木的苍涩刚硬形成刚柔呼应，淡墨晕染的坡石极简勾勒，托衬出画面清寂氛围。\n整幅小品逸笔草草，以简驭繁，将物象风骨尽数展现，以画寄情，暗含着文人淡泊清峻的襟怀，尽显水墨小品以意取胜的雅致格调。",[25,26,53,55,133,1073,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70843173388f7acd3b50f4ee03a450d.jpg",[],{"id":18794,"slug":18795,"title":10624,"dynasty":69,"author":10625,"museum":552,"description":18796,"tags":18797,"thumbUrl":18798,"material":641,"size":642,"collection":59,"collections":18799,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},239258,"shu-hua-tu-ce-cheng-min-239258","此作以奇石为骨，丛竹环生依附，尽显文人水墨小品意趣。奇石以淡墨勾廓，略施皴擦，留白衬出嶙峋朴拙的质感，空灵通透间见出山石之态。\n\n墨竹叶以浓墨点染，攒三聚五，笔力劲挺爽利，枝叶错落交叠，虚实相生，将竹的清劲疏朗描摹尽致。竹石相映，以竹之贞直配石之沉稳，暗合君子风骨寄兴，整体简淡清逸，墨色浓淡层次分明，笔简意足，清雅脱俗，尽现传统文人画托物言志的幽远意韵。",[25,26,53,55,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8b34f1bb4ee3f77267f432252292a2.jpg",[],{"id":18801,"slug":18802,"title":17251,"dynasty":18,"author":9493,"museum":552,"description":18803,"tags":18804,"thumbUrl":18805,"material":59,"size":59,"collection":59,"collections":18806,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},239128,"shan-shui-he-hui-ce-zhang-zong-cang-239128","张宗苍（1686-1756），字默存，江苏苏州人，画家。 师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[25,26,53,55,75,80,349,32,133,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51769c9ca6acc7b93c0cf228380035a0.jpg",[],{"id":18808,"slug":18809,"title":18810,"dynasty":18,"author":18811,"museum":552,"description":18812,"tags":18813,"thumbUrl":18814,"material":641,"size":642,"collection":59,"collections":18815,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},239068,"shou-zhu-bi-ling-wan-shan-wang-cheng-feng-239068","寿祝避龄纨扇","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》",[25,26,714,29,28,32,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c14bda65bcdbc5ce398a97ad4514c9.jpg",[],{"id":18817,"slug":18818,"title":502,"dynasty":18,"author":13288,"museum":552,"description":13289,"tags":18819,"thumbUrl":18820,"material":59,"size":59,"collection":59,"collections":18821,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},239009,"shan-shui-ce-li-dong-239009",[25,26,80,53,29,75,7,134,1231,242,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd8593f537fd8054f69e75921f515f98.jpg",[],{"id":18823,"slug":18824,"title":502,"dynasty":18,"author":8643,"museum":552,"description":14574,"tags":18825,"thumbUrl":18826,"material":59,"size":59,"collection":59,"collections":18827,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},238986,"shan-shui-ce-yang-jin-238986",[25,26,53,55,75,80,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f7fb8af76716c23aa175da6b00b49b.jpg",[],{"id":18829,"slug":18830,"title":18831,"dynasty":18,"author":1491,"museum":552,"description":18832,"tags":18833,"thumbUrl":18834,"material":59,"size":59,"collection":59,"collections":18835,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},238773,"shan-shui-ren-wu-xiao-ce-dong-gao-238773","山水人物小册","此作以淡墨写就冬山清景，枯木虬枝交错横斜，枝头轻缀花萼似凝残雪，将冬末将醒的清寒尽数铺展。林畔茅舍隐于枝桠之后，一角檐宇晕着浅淡暖调，于冷寂山景中揉进细碎烟火暖意。\n\n留白作平湖寒波，愈发衬出山峦林木的空疏淡远。笔意清简秀润，淡墨晕染山石肌理，以极简笔墨勾勒出荒寒又暗含生息的幽寂意境，尽显文人画简淡天真的意趣，将冬日山野的疏旷闲静晕染得如诗如幻。",[25,26,53,55,29,75,80,30,1231,134,7,242,135,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbce2040900dbd46b6b00f543fc9ef3b.jpg",[],{"id":18837,"slug":18838,"title":18831,"dynasty":18,"author":1491,"museum":552,"description":18839,"tags":18840,"thumbUrl":18841,"material":59,"size":59,"collection":59,"collections":18842,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},238772,"shan-shui-ren-wu-xiao-ce-dong-gao-238772","此作以奇崛山石为骨架，留白虚写云气，虚实相映拉开空间层次。细笔勾勒山石肌理，以短皴复加点染，刻画出苍厚朴拙的质感。崖间点缀细碎丹叶，晕出清秋日色。左侧山道隐见行人，渺小身形衬出山岳雄奇，衬出林泉幽寂之境。\n\n淡墨轻晕山岚，空濛悠远，左上角题款小字融于画境，文气悠然。整体笔致松秀灵润，简淡清逸，将山林荒寒之美与幽居雅意相融，萧散意趣尽显，淡而有味，余韵悠长。",[25,26,53,55,29,75,80,30,7,81,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f587cb90e7a12ac069befcffe5fbe5.jpg",[],{"id":18844,"slug":18845,"title":18000,"dynasty":18,"author":9429,"museum":552,"description":18846,"tags":18847,"thumbUrl":18848,"material":59,"size":59,"collection":59,"collections":18849,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},238766,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238766","此作截取庭院一角，素衫文士静立林间，半幅围墙圈住一方幽隅，虬枝错叶疏密有致。数只飞鸟或低空掠影，或振翼远去，为静谧小苑添了灵动生气。\n\n画面以淡墨轻勾慢染，笔致秀润简淡，不着浓艳色彩，将林泉闲居的清寂氛围感烘托尽致。左侧题诗与画境相映成趣，诗画合璧，把文人寄情丘山、澹泊自适的林下襟怀融于尺幅之中，萧散淡远，余韵悠然，尽显文人诗意画的雅致格调。",[25,26,53,55,29,30,81,153,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7508f2bcc3d467137ff4bbc1b416305e.jpg",[],{"id":18851,"slug":18852,"title":18008,"dynasty":18,"author":9429,"museum":552,"description":18853,"tags":18854,"thumbUrl":18855,"material":59,"size":59,"collection":59,"collections":18856,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},238726,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238726","此作用笔简淡清逸，亭轩栖于林石之间，主人凭窗凝坐，静览周遭山色。古木虬曲苍劲，坡石隐现错落，衬出幽庭清寂安闲。屋宇勾勒工稳细致，山石林木以干笔皴擦，笔墨松秀空灵，尽显文人雅淡之趣。右上角题诗与画面相映成趣，将闲居幽赏的文愫融于水墨之中，诗画相生，把林下栖迟的静穆意境烘托恰到好处，传递出冲淡安和的古典文人心境。",[25,26,53,55,75,30,242,80,117,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261eeaf85c4400f3618fb4ca3bd1de65.jpg",[],{"id":18858,"slug":18859,"title":18008,"dynasty":18,"author":9429,"museum":552,"description":18860,"tags":18861,"thumbUrl":18862,"material":59,"size":59,"collection":59,"collections":18863,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},238725,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238725","此作以水墨晕开春日水居雅景，柳丝垂绦依依拂岸，二人临石闲坐，抬目遥览远汀。柔波萦回水畔，凫雁群游浅沙，远空禽鸟振翅列队掠过长天，将春日清和生机铺展卷上。淡墨晕出空濛水色，细笔勾出柳丝轻飏之态，人物意态萧散恬然，尽显闲居悠游之趣。题诗与绘景相生相融，笔墨简淡却意韵悠长，将春日水滨的澹澹清宁晕染尽致，把闲淡诗意铺展为眼前画卷。",[25,55,434,53,78,79,30,153,307,82,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf25d862aa5bf02732ec2c8fdc99f40.jpg",[],{"id":18865,"slug":18866,"title":502,"dynasty":18,"author":9429,"museum":552,"description":18867,"tags":18868,"thumbUrl":18869,"material":59,"size":59,"collection":59,"collections":18870,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},238668,"shan-shui-ce-dong-bang-da-238668","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，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、虞山派之间。与董源、董其昌并称“三董”。",[24,25,26,53,55,75,80,349,7,81,324,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2d80abb9728ca904e08699490ed3127.jpg",[],{"id":18872,"slug":18873,"title":18874,"dynasty":18,"author":3593,"museum":552,"description":18875,"tags":18876,"thumbUrl":18877,"material":59,"size":59,"collection":59,"collections":18878,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},238532,"shan-shui-xiao-ce-qian-wei-cheng-238532","山水小册","此作以淡墨晕开冬日荒寒之境。坡岸巨石敦厚朴拙，干笔皴擦勾勒肌理，尽显嶙峋苍劲。几株枯木虬曲错立，枝桠疏朗舒展，留白处晕开清寂萧寒。侧畔细竹伶仃探立，一点生机揉碎冷意。远景平岗淡染如烟，以留白代浩渺水色，铺展出空蒙江天。\n\n笔墨简淡清隽，以虚写实，寥寥数笔便将江野疏旷冷逸尽显。笔意松秀沉静，萧索之中藏着澹泊文心，以简驭繁，把幽寂淡远的林下之思融在尺幅之间，尽显文人山水小品的雅致空灵。",[25,26,53,55,80,7,133,32,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bfea9c680036f8238928879145b5857.jpg",[],{"id":18880,"slug":18881,"title":18874,"dynasty":18,"author":3593,"museum":552,"description":18882,"tags":18883,"thumbUrl":18884,"material":59,"size":59,"collection":59,"collections":18885,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},238520,"shan-shui-xiao-ce-qian-wei-cheng-238520","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。",[25,26,53,55,75,79,80,1231,134,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83a3df877634e15ec7163e5760b9aa6e.jpg",[],{"id":18887,"slug":18888,"title":502,"dynasty":18,"author":16399,"museum":552,"description":16400,"tags":18889,"thumbUrl":18890,"material":59,"size":59,"collection":59,"collections":18891,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237978,"shan-shui-ce-zhang-geng-237978",[25,26,53,55,75,80,7,134,1231,324,259,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fce665a63f8e1dd865596c08a13d029.jpg",[],{"id":18893,"slug":18894,"title":502,"dynasty":18,"author":16399,"museum":552,"description":16400,"tags":18895,"thumbUrl":18896,"material":59,"size":59,"collection":59,"collections":18897,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237976,"shan-shui-ce-zhang-geng-237976",[25,26,53,55,75,80,349,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1e6e9c156e556ec0312bd4b8e47f1b.jpg",[],{"id":18899,"slug":18900,"title":502,"dynasty":18,"author":18901,"museum":552,"description":18902,"tags":18903,"thumbUrl":18904,"material":59,"size":59,"collection":59,"collections":18905,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},237897,"shan-shui-ce-cheng-hui-hao-237897","程徽灏","此作用笔简逸枯淡，以水墨写就平远秋山。近岸浅渚错落，枯木疏林偃仰生姿，坡坳茅舍幽然孑立，暗合幽人高隐之境。远山以淡墨轻扫，留白衬出山峦清润空濛，极简皴擦勾勒山石嶙峋质感，不着浓墨却见丘壑深致。\n\n题识书法与画面相得益彰，笔墨相融尽显文人画萧散简远意趣。整幅小品以少胜多，以简驭繁，将江南秋山的清寂之美藏于寥寥笔意间，淡而有味，简而愈远，氤氲静穆林下之风，观之如临林泉，得山居幽赏之雅兴。",[25,55,53,75,77,79,80,117,135,349,82,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49652381d04759b8ac564f600d23d62a.jpg",[],{"id":18907,"slug":18908,"title":7126,"dynasty":18,"author":16558,"museum":552,"description":18909,"tags":18910,"thumbUrl":18911,"material":641,"size":642,"collection":59,"collections":18912,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237779,"shan-shui-tu-ce-ye-xin-237779","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。",[25,26,53,55,80,7,349,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9907a7ae38908a1bc47f44e1141ebeb.jpg",[],{"id":18914,"slug":18915,"title":10888,"dynasty":18,"author":8439,"museum":552,"description":10889,"tags":18916,"thumbUrl":18917,"material":641,"size":642,"collection":59,"collections":18918,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237722,"wu-sheng-shi-yi-tu-ce-huang-yi-237722",[25,26,53,29,55,80,349,7,81,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60cdcb8c5625aef907d5302e9f66bb63.jpg",[],{"id":18920,"slug":18921,"title":10888,"dynasty":18,"author":8439,"museum":552,"description":10889,"tags":18922,"thumbUrl":18923,"material":641,"size":642,"collection":59,"collections":18924,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237719,"wu-sheng-shi-yi-tu-ce-huang-yi-237719",[25,26,53,55,80,7,79,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00253b5a1d90201c2bccbf7ecb988b53.jpg",[],{"id":18926,"slug":18927,"title":10888,"dynasty":18,"author":8439,"museum":552,"description":10889,"tags":18928,"thumbUrl":18929,"material":641,"size":642,"collection":59,"collections":18930,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237718,"wu-sheng-shi-yi-tu-ce-huang-yi-237718",[25,26,53,55,434,80,7,82,79,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd272be12de38e1425571fca9a93a2cd.jpg",[],{"id":18932,"slug":18933,"title":18934,"dynasty":18,"author":18935,"museum":552,"description":18936,"tags":18937,"thumbUrl":18938,"material":641,"size":642,"collection":59,"collections":18939,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237642,"li-yin-fang-gu-shan-shui-ce-li-yin-237642","李寅仿古山水册","李寅","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[25,26,53,55,76,78,79,80,7,85,349,81,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff418d2381b7df0d539beedad2f5e22ff.jpg",[],{"id":18941,"slug":18942,"title":502,"dynasty":69,"author":13271,"museum":552,"description":16580,"tags":18943,"thumbUrl":18944,"material":641,"size":642,"collection":59,"collections":18945,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237631,"shan-shui-ce-shen-hao-237631",[25,26,55,53,75,80,134,7,2352,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0043e5c24d42fb004db3b6b1fddca9a.jpg",[],{"id":18947,"slug":18948,"title":8006,"dynasty":18,"author":6283,"museum":552,"description":6541,"tags":18949,"thumbUrl":18950,"material":641,"size":642,"collection":59,"collections":18951,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237596,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237596",[25,26,53,55,75,76,80,134,153,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb016ca5ab187483519932e9f0a58f8f.jpg",[],{"id":18953,"slug":18954,"title":8006,"dynasty":18,"author":6283,"museum":552,"description":7368,"tags":18955,"thumbUrl":18956,"material":59,"size":59,"collection":59,"collections":18957,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237595,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237595",[25,26,53,55,80,349,277,81,7,324,75,79,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769ee6e6b1586e807a48102a11c50080.jpg",[],{"id":18959,"slug":18960,"title":502,"dynasty":18,"author":12483,"museum":552,"description":12484,"tags":18961,"thumbUrl":18962,"material":641,"size":642,"collection":59,"collections":18963,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237525,"shan-shui-ce-chen-zi-237525",[25,26,53,29,862,80,7,349,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb20f05cf93fed745296cfb09b80e066.jpg",[],{"id":18965,"slug":18966,"title":502,"dynasty":18,"author":12483,"museum":552,"description":12484,"tags":18967,"thumbUrl":18968,"material":641,"size":642,"collection":59,"collections":18969,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},237519,"shan-shui-ce-chen-zi-237519",[25,26,53,29,78,80,277,82,85,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17554939d4c613f21ad5685d9d8150fd.jpg",[],{"id":18971,"slug":18972,"title":5052,"dynasty":69,"author":9301,"museum":552,"description":9302,"tags":18973,"thumbUrl":18974,"material":641,"size":642,"collection":59,"collections":18975,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237509,"shan-shui-hua-hui-ce-jiang-shou-cheng-237509",[25,26,53,78,55,29,75,80,277,82,134,7,116,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F657b8503a53cdef5c5728cb4fe25766b.jpg",[],{"id":18977,"slug":18978,"title":5052,"dynasty":69,"author":9301,"museum":552,"description":9302,"tags":18979,"thumbUrl":18980,"material":641,"size":642,"collection":59,"collections":18981,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237508,"shan-shui-hua-hui-ce-jiang-shou-cheng-237508",[25,26,53,55,29,78,77,189,32,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4dbe46d53d181c81ca244fb5ea08b9.jpg",[],{"id":18983,"slug":18984,"title":16407,"dynasty":18,"author":16408,"museum":552,"description":16409,"tags":18985,"thumbUrl":18986,"material":641,"size":642,"collection":59,"collections":18987,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},237477,"shan-shui-hua-shi-ce-wang-han-237477",[25,26,53,29,77,79,456,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b2f890fd6714f05622c06b0820ccd46.jpg",[],{"id":18989,"slug":18990,"title":1238,"dynasty":18,"author":18991,"museum":552,"description":18992,"tags":18993,"thumbUrl":18994,"material":641,"size":642,"collection":59,"collections":18995,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},236940,"za-hua-ce-wang-liu-zhen-236940","王六真","此作以水墨写意铺就萧寒小景，枯木斜倚嶙峋危石，虬枝上簇着苍劲松针，淡墨晕开迷蒙远山，留白拟作覆雪寒原，矮舍隐在淡墨晕染间，只余素朴轮廓。\n\n浓墨勾出山石苍硬肌理，淡墨铺陈空茫远景，虚实相生间，冬日山野冷寂萧疏的意趣尽显笔端。寥寥数笔寄情于荒寒淡远之境，以少胜多，在留白处生出幽微余韵，尽显文人画简淡空灵的意致，于简淡笔墨里晕开苍茫萧寒，将清冷幽寂的冬日荒村意境烘托得淋漓尽致。",[25,26,53,55,80,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918c9e12007f6ce7d1af477e9a0acea6.jpg",[],{"id":18997,"slug":18998,"title":18145,"dynasty":69,"author":17004,"museum":552,"description":18146,"tags":18999,"thumbUrl":19001,"material":59,"size":59,"collection":59,"collections":19002,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},236631,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236631",[25,29,80,241,53,242,19000,115,338,81,7,7826],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe9876839ccc753bd132cae785acbb2.jpg",[],{"id":19004,"slug":19005,"title":8912,"dynasty":69,"author":8913,"museum":71,"description":8914,"tags":19006,"thumbUrl":19007,"material":59,"size":59,"collection":59,"collections":19008,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},236564,"xiao-ke-guan-shan-shui-ce-shao-mi-236564",[25,26,53,55,75,80,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5801f364eb2634d33ab35579082d61f.jpg",[],{"id":19010,"slug":19011,"title":8912,"dynasty":69,"author":8913,"museum":71,"description":8914,"tags":19012,"thumbUrl":19013,"material":59,"size":59,"collection":59,"collections":19014,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},236563,"xiao-ke-guan-shan-shui-ce-shao-mi-236563",[25,26,53,55,80,7,81,349,75,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9804301dadceae7541c545b4a35e5e6.jpg",[],{"id":19016,"slug":19017,"title":19018,"dynasty":18,"author":12483,"museum":552,"description":19019,"tags":19020,"thumbUrl":19021,"material":59,"size":59,"collection":59,"collections":19022,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},236530,"ren-wu-gu-shi-ce-chen-zi-236530","人物故事册","陈字(1634一约1713)即陈小莲，幼唤鹿头，初名懦桢，宇无名，明末清初诸暨枫桥陈家村人。陈洪绶第四子，太学生，考授州同。",[25,26,29,28,30,7,82,85,117,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4152fd2bdc1dbb197b8f2aa605538b2.jpg",[],{"id":19024,"slug":19025,"title":11536,"dynasty":69,"author":8904,"museum":71,"description":11537,"tags":19026,"thumbUrl":19027,"material":327,"size":11540,"collection":59,"collections":19028,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},236493,"shan-shui-ren-wu-ce-guo-fen-ya-236493",[25,55,53,75,80,7,82,134,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36bb13a736e7281b79c516bf628e9d5e.jpg",[],{"id":19030,"slug":19031,"title":11536,"dynasty":69,"author":8904,"museum":71,"description":11537,"tags":19032,"thumbUrl":19033,"material":327,"size":11540,"collection":59,"collections":19034,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},236490,"shan-shui-ren-wu-ce-guo-fen-ya-236490",[25,26,53,55,30,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2383d769754b2d17ce136128e6a40b8.jpg",[],{"id":19036,"slug":19037,"title":19038,"dynasty":18,"author":3814,"museum":552,"description":17394,"tags":19039,"thumbUrl":19040,"material":641,"size":642,"collection":59,"collections":19041,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},236033,"di-shi-liu-a-bi-da-zun-zhe-ding-guan-peng-236033","第十六阿必达尊者",[25,26,24,28,29,576,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7417bff997ca36a40398cc65e446a54.jpg",[],{"id":19043,"slug":19044,"title":18185,"dynasty":18,"author":201,"museum":552,"description":19045,"tags":19046,"thumbUrl":19047,"material":59,"size":59,"collection":59,"collections":19048,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235958,"cai-jia-hua-hui-tu-ce-yi-ming-235958","此作用淡墨写兰绘石，兰叶舒展挺秀，穿插顾盼有致，笔力清劲洒脱，将幽兰柔而不折的姿态勾勒尽致。花苞隐于叶间，含露待放，古拙湖石错落布于丛兰之侧，苔点缀饰更添苍润意趣。\n\n画面留白空灵，搭配左侧题诗，诗画相映，尽显文人水墨的萧散简远。整幅画以简驭繁，以淡墨氤氲出清寂出尘的意境，借幽兰寄寓君子孤高脱俗的品格，把中式文人画的清雅高逸之风尽数铺展，笔墨寥寥却神韵具足，意韵悠长。",[25,26,53,434,55,79,188,7,160,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de71015eb8c0bc0926ad08d809f0d86.jpg",[],{"id":19050,"slug":19051,"title":19052,"dynasty":69,"author":5153,"museum":552,"description":7394,"tags":19053,"thumbUrl":19054,"material":641,"size":642,"collection":59,"collections":19055,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235767,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-xiao-xia-wan-tu-ye-lu-zhi-235767","吴门诸家寿袁方斋三绝册-销夏湾图页",[25,26,53,80,349,7,29,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeda8f034a827bd11757040b1093eb3e.jpg",[],{"id":19057,"slug":19058,"title":19059,"dynasty":69,"author":537,"museum":552,"description":6053,"tags":19060,"thumbUrl":19061,"material":641,"size":642,"collection":59,"collections":19062,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235766,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-tian-chi-shan-tu-ye-chen-chun-235766","吴门诸家寿袁方斋三绝册-天池山图页",[25,26,53,55,29,80,115,117,7,77,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88ed34264a705b2ce16bac1657e9992.jpg",[],{"id":19064,"slug":19065,"title":18200,"dynasty":69,"author":8913,"museum":552,"description":18201,"tags":19066,"thumbUrl":19067,"material":641,"size":642,"collection":59,"collections":19068,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235758,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235758",[25,26,53,55,187,7,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1983d082172c37f5c984c940a63f5c6e.jpg",[],{"id":19070,"slug":19071,"title":18200,"dynasty":69,"author":8913,"museum":552,"description":18201,"tags":19072,"thumbUrl":19073,"material":641,"size":642,"collection":59,"collections":19074,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235753,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235753",[25,26,53,55,78,79,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315a5abde95c1039816f04b3021b26c1.jpg",[],{"id":19076,"slug":19077,"title":14981,"dynasty":69,"author":13271,"museum":552,"description":19078,"tags":19079,"thumbUrl":19080,"material":59,"size":59,"collection":59,"collections":19081,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235622,"fang-gu-shan-shui-ce-shen-hao-235622","此作淡墨轻岚，意韵萧疏清旷。近滩石矶错落，策杖行人徐行水畔，野趣自生。左岸篱舍山居静立，一人凭檐远望，衬出林间幽寂。远山以干笔淡墨皴擦晕染，层叠朦胧，烟岚轻笼如诗。枯木疏枝虬曲，笔墨松灵简淡，以极简皴擦写出山石肌理，晕染间尽显空濛悠远的林下意境。题跋小字清雅悠然，与山水景致浑然相融，尽显文人画崇尚的平淡天真，悠悠隐逸之思浸透纸面，藏着独有的萧散简远之美。",[25,26,53,55,76,75,80,115,338,7,1231,134,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec495cb138b4f1daaa7eeafb820a626e.jpg",[],{"id":19083,"slug":19084,"title":3256,"dynasty":18,"author":14211,"museum":552,"description":19085,"tags":19086,"thumbUrl":19087,"material":59,"size":59,"collection":59,"collections":19088,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235571,"hua-hui-ce-fan-ting-zhen-235571","此作用淡墨晕染湖石，枯笔点苔，虚实相生间尽显嶙峋古拙。萱花以细劲墨线勾勒瓣形，淡墨轻敷花萼，柔婉舒展，尽显绰约清姿。兰叶中锋走笔，笔势秀挺洒脱，自带舒展韵致。\n\n书画合璧，题诗与笔墨相映，文气盎然。整幅小品删繁就简，以水墨写意将花木灵秀之态与文人澹泊襟怀相融，疏朗雅致的格调里尽显传统水墨的写意风神，藏着幽淡出尘的雅趣。",[25,26,53,55,434,7,629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1de1a3410bf6f0ba296d0caa3cbde71.jpg",[],{"id":19090,"slug":19091,"title":3256,"dynasty":18,"author":14211,"museum":552,"description":19092,"tags":19093,"thumbUrl":19094,"material":59,"size":59,"collection":59,"collections":19095,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235569,"hua-hui-ce-fan-ting-zhen-235569","此作以水墨写林泉幽致，枯笔挥扫古松虬枝，松针层叠攒聚，晕开幽森古意，似有风穿松涛暗涌。右侧顽石嶙峋，皴法简劲朴拙，石面苍润肌理尽显岁月沉凝。左下角附石苔癣垂垂，与松枝顾盼呼应，将山野清寂收于尺幅。\n\n全作用墨枯湿浓淡相宜，留白衬出山岚空濛，笔致纵逸萧散，未施一色，全然以水墨晕染出世外林泉的静穆澹远，于简淡笔墨间写尽山林苍古冷峭之态，尽显寄情林丘、静赏幽栖的文人雅趣。",[25,26,53,55,7,260,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92da6d211852dbdb1e5e17f8ba712f44.jpg",[],{"id":19097,"slug":19098,"title":3256,"dynasty":18,"author":14211,"museum":552,"description":19099,"tags":19100,"thumbUrl":19101,"material":59,"size":59,"collection":59,"collections":19102,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235568,"hua-hui-ce-fan-ting-zhen-235568","这幅以墨梅为题，老干以焦墨枯笔写出，皴擦间尽显嶙峋苍古，新枝则以淡墨勾勒，舒展挺秀。枝头梅花以留白为瓣，淡墨点萼，疏密错落间，将寒梅素艳清寂的姿态尽显。侧畔湖石以泼墨晕染，与清癯梅枝相映，更衬出梅之孤高脱俗。\n\n右上角题以行书诗句，笔意疏朗秀逸，书画交融，尽显文人画的雅致意趣，把寒梅凌雪独放的高洁品格寄寓其中，淡远清旷的氛围感扑面而来，是借物抒怀的佳制。",[25,26,53,55,434,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8f5dd0a290dc7ae3c9c04d40973469.jpg",[],{"id":19104,"slug":19105,"title":18185,"dynasty":18,"author":16920,"museum":552,"description":18186,"tags":19106,"thumbUrl":19107,"material":641,"size":642,"collection":59,"collections":19108,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235415,"cai-jia-hua-hui-tu-ce-cai-jia-235415",[25,26,53,29,28,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe49a61e04fd872e1f381aecca81aad5d.jpg",[],{"id":19110,"slug":19111,"title":13593,"dynasty":18,"author":12069,"museum":552,"description":12070,"tags":19112,"thumbUrl":19113,"material":641,"size":642,"collection":59,"collections":19114,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235364,"shan-shui-ren-wu-tu-ce-huang-shen-235364",[25,55,434,53,80,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e04c16d43ae47478509c2ae93a2b93.jpg",[],{"id":19116,"slug":19117,"title":502,"dynasty":18,"author":13779,"museum":552,"description":13780,"tags":19118,"thumbUrl":19119,"material":641,"size":642,"collection":59,"collections":19120,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235308,"shan-shui-ce-zhang-feng-235308",[25,26,53,55,75,80,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e258a8dced29309f62b117e41eac757.jpg",[],{"id":19122,"slug":19123,"title":502,"dynasty":18,"author":13779,"museum":552,"description":13780,"tags":19124,"thumbUrl":19125,"material":641,"size":642,"collection":59,"collections":19126,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235306,"shan-shui-ce-zhang-feng-235306",[25,26,53,55,75,80,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff398503fd192290f5ebeb56ae904501e.jpg",[],{"id":19128,"slug":19129,"title":1238,"dynasty":18,"author":12069,"museum":552,"description":12070,"tags":19130,"thumbUrl":19131,"material":641,"size":642,"collection":59,"collections":19132,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235194,"za-hua-ce-huang-shen-235194",[25,53,55,29,7,174,78,79,56,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F304685599d4029eb63b9ef1d7c95bed2.jpg",[],{"id":19134,"slug":19135,"title":16629,"dynasty":18,"author":7913,"museum":552,"description":19136,"tags":19137,"thumbUrl":19138,"material":59,"size":59,"collection":59,"collections":19139,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235094,"zheng-min-shan-shui-ce-zheng-min-235094","此作用淡墨绘就平林远渚，近岸老枝斜出，荒草萋萋，中洲村居隐于林间，远山含晕，群雁掠水而去，全幅简淡空灵，得倪瓒遗意，将皖南秋郊清旷冷寂的意韵尽显无遗。左侧题跋笔致清劲舒展，与画作格调相得益彰，文画相融，尽显画者寄情林泉、超然物外的文人逸趣。全作淡而不枯，简而意足，尽显幽淡冲和的文人画旨趣，是新安画派以笔抒怀的典型佳构。",[25,26,53,55,78,75,80,7,153,134,82,349,324,1291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0209f2ab9b0ee85b7f0dcf8ce1c2a1e2.jpg",[],{"id":19141,"slug":19142,"title":1238,"dynasty":18,"author":214,"museum":552,"description":4061,"tags":19143,"thumbUrl":19144,"material":641,"size":642,"collection":59,"collections":19145,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},235056,"za-hua-ce-hua-yan-235056",[25,26,53,29,55,75,30,80,715,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a659cdf189e2e459efbb1a95a2b0a8.jpg",[],{"id":19147,"slug":19148,"title":19149,"dynasty":18,"author":8013,"museum":552,"description":19150,"tags":19151,"thumbUrl":19152,"material":59,"size":59,"collection":59,"collections":19153,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},234825,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-xu-fang-234825","诸家书画合璧册-山水页","徐枋（1622年5月3日——1694年11月7日），明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[25,26,53,55,434,80,134,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c97aa471370a2c91116fc1493138e0.jpg",[],{"id":19155,"slug":19156,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":19157,"thumbUrl":19160,"material":139,"size":59,"collection":59,"collections":19161,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},234744,"huang-shan-tu-ce-jiang-zhu-234744",[25,26,55,53,80,75,7,19158,81,19159],"山岩","流云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925e10595371feb8002f66e4475bbc24.jpg",[],{"id":19163,"slug":19164,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":19165,"thumbUrl":19166,"material":139,"size":59,"collection":59,"collections":19167,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},234743,"huang-shan-tu-ce-jiang-zhu-234743",[25,26,53,434,55,80,242,135,81,77,78,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34525e365391844244f12a6cd072250f.jpg",[],{"id":19169,"slug":19170,"title":19171,"dynasty":18,"author":19172,"museum":552,"description":19173,"tags":19174,"thumbUrl":19175,"material":59,"size":59,"collection":59,"collections":19176,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},234558,"yu-mu-shang-xin-ce-mei-shi-ce-ye-jiang-hong-234558","娱目赏心册-梅石册页","姜泓","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[25,26,53,29,79,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b698879a4331a0955ec7b2d67409895.jpg",[],{"id":19178,"slug":19179,"title":19180,"dynasty":18,"author":6283,"museum":71,"description":19181,"tags":19182,"thumbUrl":19183,"material":479,"size":59,"collection":59,"collections":19184,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},234236,"qiang-jiao-zhong-mei-tu-juan-wang-hui-234236","墙角种梅图卷","图上自题七言诗一首并识：“子鹤种梅墙角，庶几幽人韵事。余为补图，并题一绝，博诸君春雪之和。”该图卷上另有杨晋、恽寿平、王武等二十余家题诗、词，通过他们的题跋可知此图是王翚应杨晋的请求，绘杨晋在新居墙角处移植古梅一本之事。王翚以册页的形式为杨晋画了二幅图。第一幅图绘远山连绵、平波静水以及枝干清癯如铁的梅树。第二幅图绘修篁摇翠影、高台筑草亭以及高士临窗赏梅的情景。二幅图繁简不一，但是均以细润娟秀的笔墨真实地刻画出杨晋生活的居所环境，反映了其以竹、梅为邻的生活情趣。此图卷也印证了王翚与杨晋之间深厚的师生情谊。王翚被邀请画友人居所的写生之作还有许多，如他34岁时应鹤客先生张文钺之邀，绘其庭院里的仙鹤，自言“有鹤来至庭际”以“命余作图以纪其事”",[23,24,25,26,74,55,75,78,77,79,187,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914023115b1962e8a0c6180d27212af9.jpg",[],{"id":19186,"slug":19187,"title":7696,"dynasty":369,"author":4081,"museum":71,"description":7697,"tags":19188,"thumbUrl":19189,"material":678,"size":7700,"collection":59,"collections":19190,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},233992,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233992",[25,26,53,55,29,80,30,81,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349fcb7ad546845394e3797ae641ddf3.jpg",[],{"id":19192,"slug":19193,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":19194,"thumbUrl":19195,"material":59,"size":59,"collection":59,"collections":19196,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},233674,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233674",[25,26,53,6125,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bc83c8ac1a72b21480d781818c121e.jpg",[],{"id":19198,"slug":19199,"title":940,"dynasty":18,"author":9663,"museum":71,"description":12942,"tags":19200,"thumbUrl":19201,"material":139,"size":12945,"collection":59,"collections":19202,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},233431,"huang-shan-tu-ce-mei-qing-233431",[24,25,26,53,55,29,75,80,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64697d4ffeb9d62b64b52694b8252241.jpg",[],{"id":19204,"slug":19205,"title":940,"dynasty":18,"author":9663,"museum":71,"description":12942,"tags":19206,"thumbUrl":19207,"material":139,"size":12945,"collection":59,"collections":19208,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},233427,"huang-shan-tu-ce-mei-qing-233427",[25,26,53,55,75,79,78,80,7,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd096bf49cf5049b7e952c9e0534d334.jpg",[],{"id":19210,"slug":19211,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":19212,"thumbUrl":19213,"material":59,"size":59,"collection":59,"collections":19214,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},233372,"shi-zhu-zhai-pu-ce-hu-ri-cong-233372",[25,26,53,55,29,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076a0552e496125da5663d5e4444c1c2.jpg",[],{"id":19216,"slug":19217,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":19218,"thumbUrl":19219,"material":59,"size":59,"collection":59,"collections":19220,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},233363,"shi-zhu-zhai-pu-ce-hu-ri-cong-233363",[25,26,53,29,7,134,187,56,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01cfea4e9147e229bdd346f9e7426cbc.jpg",[],{"id":19222,"slug":19223,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":19224,"thumbUrl":19225,"material":59,"size":59,"collection":59,"collections":19226,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},233361,"shi-zhu-zhai-pu-ce-hu-ri-cong-233361",[25,26,53,55,29,117,7,82,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3721b3bf32a1f3c05e8d60cd0cb2cc46.jpg",[],{"id":19228,"slug":19229,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":19230,"thumbUrl":19231,"material":59,"size":59,"collection":59,"collections":19232,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},233259,"shi-zhu-zhai-pu-ce-hu-ri-cong-233259",[25,26,53,55,434,188,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2ba13c5765fd931a5b0c7889a88475.jpg",[],{"id":19234,"slug":19235,"title":19236,"dynasty":18,"author":201,"museum":71,"description":19237,"tags":19238,"thumbUrl":19239,"material":1106,"size":19240,"collection":59,"collections":19241,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},231386,"shi-quan-tu-ce-shi-kai-yi-ming-231386","十犬图册十开","此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。画法工整，具有一定的程式。对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[25,26,53,29,28,101,7,81,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2c02c8aedf5520ae8fcbdebc503278.jpg","纵37.2厘米，横23.3厘米",[],{"id":19243,"slug":19244,"title":19245,"dynasty":5251,"author":201,"museum":552,"description":19246,"tags":19247,"thumbUrl":19248,"material":641,"size":642,"collection":59,"collections":19249,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},230548,"ming-qing-fang-gu-fen-ben-6-sheng-bai-hua-hui-juan-yi-ming-230548","明清仿古粉本-6- 胜白 花卉卷","此卷以水墨绘就，兼具工致与写意之趣。左侧湖石隐于幽草间，枯笔皴擦勾勒石体质感，苍劲古拙，野意盎然。右侧花枝错落舒展，枝干以清劲笔线写出，力道暗藏。叶片以淡墨晕染，浓墨点醒叶脉，层次分明，绣球花以白描圈点，空灵雅致，旁侧小花晕勾结合，疏密相生。全作用墨清和，虚实相映，将湖石的冷寂幽趣与花枝的柔妍盛放相融，尽显文人水墨的清雅淡远，笔底含韵，墨色空灵，尽显古典花鸟的清逸格调。",[23,25,26,74,55,434,243,7,157,1136,79,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8339dee55b3aa72625aa9c24a2f9a3b.jpg",[],{"id":19251,"slug":19252,"title":19253,"dynasty":18,"author":201,"museum":552,"description":19254,"tags":19255,"thumbUrl":19260,"material":641,"size":642,"collection":59,"collections":19261,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},229531,"song-hua-shi-zi-shi-chang-fang-yan-yi-ming-229531","松花石紫石长方砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[19256,2887,3436,19257,7,188,19258,19259],"文房","长方","松花石","紫石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94586f7eb5ebc52ba93f2b08c298d10.jpg",[],{"id":19263,"slug":19264,"title":19265,"dynasty":18,"author":201,"museum":552,"description":19266,"tags":19267,"thumbUrl":19270,"material":641,"size":642,"collection":59,"collections":19271,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},229490,"fa-lang-cai-huang-ju-hua-bai-di-cha-zhong-yi-ming-229490","珐瑯彩黄菊花白地茶钟","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[16353,19268,29,189,7,19269,34],"珐琅彩","白地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d74eec026a0a0796645e238a71742e4.jpg",[],{"id":19273,"slug":19274,"title":19275,"dynasty":69,"author":201,"museum":552,"description":19276,"tags":19277,"thumbUrl":19278,"material":59,"size":59,"collection":59,"collections":19279,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},228774,"san-jiao-tu-yi-ming-228774","三教图","此作用淡墨轻色铺就萧寒冬景，枯松虬枝蟠曲，山石皴染疏淡清寂。三位宗师比肩而立：居中佛陀身披赭红僧袍，神态安和慈悲；左侧道家装束素洁，持法器缓立；右侧儒者宽袍端方，意态温厚从容。\n\n三人情态融洽，暗合明代三教合流的思潮。画作笔墨极简却传神勾勒出人物气韵，设色克制素雅，背景荒寒萧索更衬出三人的超世浑穆，将思想交融的深意寄于清冷悠远的意境中，以绘事暗合时代文化内核，意蕴悠长。",[23,25,26,29,434,55,30,133,7,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc952d2dd4a35924f92022678f5059a29.jpg",[],{"id":19281,"slug":19282,"title":19283,"dynasty":148,"author":201,"museum":552,"description":19284,"tags":19285,"thumbUrl":19286,"material":59,"size":59,"collection":59,"collections":19287,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},228185,"wu-zu-shi-tu-zhou-yi-ming-228185","五祖师图轴","这幅画以淡墨枯笔写就，简率洗练。古木虬曲傍于左侧，衣袂飘然的老僧随侍童缓步而来，神情澹然浑不在意。对面士人携合十礼拜的幼童，姿态恭谨，将初见时的敬慕描摹尽致。\n\n线条苍劲灵动，寥寥数笔便勾勒出人物的形神气度，留白恰到好处，衬出幽寂禅意。右上角题字禅思隽永，点破“一梦一场”的浮生况味，笔墨与题旨相融，将禅家勘破世事的通透藏进简淡的画面之中，尽显元人写意的萧散空灵，是禅意人物画中的精妙小品。",[23,25,26,27,434,55,30,134,7,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc7802bce6f6c60922914a329599d76.jpg",[],{"id":19289,"slug":19290,"title":19291,"dynasty":369,"author":201,"museum":552,"description":19292,"tags":19293,"thumbUrl":19296,"material":59,"size":59,"collection":59,"collections":19297,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},227386,"xian-zi-bu-xia-tu-yi-ming-227386","蚬子捕虾图","在中国绘画艺术的发展长河中，占据一隅的佚名绘画对艺术发展的推动力不容忽视。宋代良好的文化环境对于绘画的推动，一方面体现在精英画家辈出，院体画风曲高和寡；另一方面民间绘事日渐活跃，绘画成为了市井百姓喜闻乐见的一种表现形式，绘画佚名在当时也成为一种普遍现象。",[25,26,27,55,434,30,19294,7,137,19295],"虾","网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4890625d4b59bdb61cff118fe7b536f.jpg",[],{"id":19299,"slug":19300,"title":19301,"dynasty":985,"author":201,"museum":552,"description":19302,"tags":19303,"thumbUrl":19304,"material":641,"size":642,"collection":59,"collections":19305,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},227114,"hai-shou-pu-tao-wen-jing-8-yi-ming-227114","海兽葡萄纹镜-8","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[25,26,80,29,7,277,190,79,135,81,1212,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fc5af77fc87fecb506467f9c818316.jpg",[],{"id":19307,"slug":19308,"title":19309,"dynasty":18,"author":417,"museum":552,"description":19310,"tags":19311,"thumbUrl":19312,"material":59,"size":59,"collection":59,"collections":19313,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},224304,"hua-hui-shi-er-kai-5-li-shan-224304","花卉十二开5","此作以淡逸之笔绘秋花插于石盆，花枝错落舒展，紫、粉、黄三色菊瓣柔润鲜活，叶片带着雨霁后的清润绿意，笔致写意却不失花姿娇妍。墨色勾勒的盆石朴拙苍劲，与花枝的秀雅相映成趣。右侧题字笔势俊朗，与画面融为一体，尽显文人意趣，将秋花傲霜清寂的神韵尽显，似能嗅见雨后秋芳的淡香，清恬雅致的文人逸趣溢满纸面。",[23,25,26,53,29,56,189,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f779b644fd4b30b18c9bcb45d3724f8.jpg",[],{"id":19315,"slug":19316,"title":19317,"dynasty":18,"author":417,"museum":552,"description":19318,"tags":19319,"thumbUrl":19320,"material":59,"size":59,"collection":59,"collections":19321,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},224301,"hua-hui-shi-er-kai-2-li-shan-224301","花卉十二开2","这幅画以写意笔墨绘就石畔幽花野卉，水墨晕染的湖石朴拙苍劲，淡紫二月兰柔婉舒展，花瓣晕染清透雅致，叶片敷色明润鲜活，细草瘦劲挺秀。笔墨刚柔相济，写意间不失花木娇柔之态，寥寥数笔便将林下野逸生机尽显。题诗与画意相映成趣，诗书画印融为一体，尽显文人写意画的雅致意趣，笔情墨趣间饱含悠然林下的澹然情怀，尽显随性洒脱却不失细腻的创作意韵。",[23,25,26,53,29,55,173,243,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d201bc5fee7ea3e50e27c60d4d7c93.jpg",[],{"id":19323,"slug":19324,"title":19325,"dynasty":69,"author":201,"museum":552,"description":19326,"tags":19327,"thumbUrl":19328,"material":59,"size":59,"collection":59,"collections":19329,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},223680,"gu-xiu-shi-liu-ying-zhen-ce-17-yi-ming-223680","顾绣十六应真册17","此作为白描禅意佳作，以古虬松与灵透湖石铺就幽寂禅境。线条细劲清逸，笔下人物各尽其态：伏地礼拜的弟子身形俯垂，满含至诚恭敬；松下安坐的尊者神态澹然沉静，眉眼间尽是禅者的出尘气度，侧立童子恭谨侍立，神色温驯内敛。衣褶流转自然，尽显织物柔劲质感，松皮皴擦简洁古雅，湖石轮廓灵秀苍润，笔意洗练却将禅门肃穆仪轨描摹得生动传神，清寂雅静的禅意浸透画面，尽显传统白描人物画的精妙功力。",[23,25,26,53,434,30,134,7,34,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a3c92129c994cd163649971bb82dc4.jpg",[],{"id":19331,"slug":19332,"title":19333,"dynasty":69,"author":14893,"museum":150,"description":19334,"tags":19335,"thumbUrl":19336,"material":262,"size":19337,"collection":59,"collections":19338,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},219785,"za-hua-ce-5-guo-xu-219785","杂画册-5","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。",[25,26,53,55,56,32,189,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f1fb9db05fa3407e01e966ee406c53.jpg","纵28.5 厘米 横46.5 厘米",[],{"id":19340,"slug":19341,"title":19342,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":19343,"thumbUrl":19344,"material":205,"size":59,"collection":59,"collections":19345,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},218211,"luo-han-zhou-3-wu-bin-218211","罗汉轴-3",[25,26,24,27,576,30,434,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1192f8ab8328275b72de362f79c9f8e0.jpg",[],{"id":19347,"slug":19348,"title":19349,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":19350,"thumbUrl":19351,"material":205,"size":59,"collection":59,"collections":19352,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},218206,"luo-han-zhou-5-wu-bin-218206","罗汉轴-5",[25,26,27,576,30,55,29,434,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f2484175118f77e236b97df7b23273.jpg",[],{"id":19354,"slug":19355,"title":19356,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":19357,"thumbUrl":19358,"material":205,"size":59,"collection":59,"collections":19359,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},218204,"luo-han-zhou-6-wu-bin-218204","罗汉轴-6",[25,27,576,30,7,434,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35aac0752dfc87b582f545bc8170cfc7.jpg",[],{"id":19361,"slug":19362,"title":19363,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":19364,"thumbUrl":19365,"material":205,"size":59,"collection":59,"collections":19366,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},218201,"luo-han-zhou-8-wu-bin-218201","罗汉轴-8",[25,27,576,30,434,29,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0f034f4c63939e7fd7084bf7c067374.jpg",[],{"id":19368,"slug":19369,"title":19370,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":19371,"thumbUrl":19372,"material":205,"size":59,"collection":59,"collections":19373,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":44},218196,"luo-han-zhou-13-wu-bin-218196","罗汉轴-13",[25,27,576,30,28,29,434,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb065401f37f25ef01b6b34d14d8ae48.jpg",[],{"id":19375,"slug":19376,"title":19377,"dynasty":369,"author":19378,"museum":170,"description":19379,"tags":19380,"thumbUrl":19381,"material":262,"size":19382,"collection":59,"collections":19383,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},217993,"shi-liu-ying-zhen-tu-2-fan-long-217993","十六应真图-2","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,24,25,26,434,55,576,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30126a076b380d1c463fd706ec17e435.jpg","30.5x1062.5",[],{"id":19385,"slug":19386,"title":19387,"dynasty":369,"author":19378,"museum":170,"description":19379,"tags":19388,"thumbUrl":19390,"material":262,"size":19382,"collection":59,"collections":19391,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},217967,"shi-liu-ying-zhen-tu-20-fan-long-217967","十六应真图-20",[23,25,26,434,55,576,30,2777,7,80,259,19389],"植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70102ab60c4542a4a81ec3c625fb424.jpg",[],{"id":19393,"slug":19394,"title":19395,"dynasty":69,"author":5428,"museum":552,"description":18428,"tags":19396,"thumbUrl":19397,"material":327,"size":59,"collection":59,"collections":19398,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":1551},217167,"shui-hu-quan-tu-28-du-jin-217167","水浒全图-28",[25,26,53,434,30,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85d1f454e72b75d5836cb23e8c4f67.jpg",[],{"id":19400,"slug":19401,"title":19402,"dynasty":369,"author":8384,"museum":170,"description":8385,"tags":19403,"thumbUrl":19404,"material":37,"size":8388,"collection":59,"collections":19405,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},216916,"xiang-shan-jiu-lao-tu-8-ma-xing-zu-216916","香山九老图-8",[23,25,26,28,29,75,30,80,349,117,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c9a9d17a833ceb3f0e35d9e3689650.jpg",[],{"id":19407,"slug":19408,"title":19409,"dynasty":18,"author":201,"museum":184,"description":19237,"tags":19410,"thumbUrl":19411,"material":58,"size":59,"collection":59,"collections":19412,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},216242,"shi-quan-tu-ce-2-yi-ming-216242","十犬图册-2",[23,53,26,28,29,78,77,79,8423,101,133,15487,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa418c271e0bcba56b03113fe504c11f6.jpg",[],{"id":19414,"slug":19415,"title":19416,"dynasty":18,"author":9324,"museum":552,"description":18444,"tags":19417,"thumbUrl":19418,"material":58,"size":59,"collection":59,"collections":19419,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":64},215095,"tui-bei-tu-ce-11-jiao-bing-zhen-215095","推背图册-11",[23,24,25,26,53,28,29,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071d369a583ecac5808ddfd7772a1580.jpg",[],{"id":19421,"slug":19422,"title":19423,"dynasty":18,"author":7723,"museum":112,"description":19424,"tags":19425,"thumbUrl":19426,"material":37,"size":59,"collection":59,"collections":19427,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":1551},215049,"shu-hua-he-bi-tu-ce-2-qian-long-215049","书画合璧图册-2","乾隆皇帝（1711-1799年在位）是清朝的第六位皇帝，他是一位非常喜爱书画的皇帝，并且也是一位出色的书画家。他的书画合璧图册是他的一部杰作，其中收集了他自己的书画作品以及其他著名书画家的作品。这本图册有很多种版本，不同版本中包含的作品也有所不同。乾隆皇帝的书画合璧图册被认为是中国书画史上的一部重要著作，因为它收集了当时最优秀的书画作品，并且这本图册本身也是一部艺术杰作。",[23,25,26,53,2280,55,80,30,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043c866561a662391cede40f5e9be577.jpg",[],{"id":19429,"slug":19430,"title":502,"dynasty":69,"author":19431,"museum":150,"description":19432,"tags":19433,"thumbUrl":19434,"material":59,"size":59,"collection":88,"collections":19435,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19436},203411,"shan-shui-ce-ni-yuan-lu-203411","倪元璐","枯树虬枝以篆隶笔意写就，线条如铁线盘旋，顿挫间见金石气。孤石用短皴擦染，墨色浓淡相济，朴拙中透着清逸。远山淡墨晕染，留白处尽显空濛。整幅以水墨为骨，书意入画，干湿交错的笔触将荒寒之境写得空灵而有生机。朱红印章点缀素纸，于简淡中添一抹雅韵，尽显文人画的疏朗与情致。",[55,80,133,7,75,77,53,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50412a7bc0ea502ec1634649f72e1ac.jpg",[88],"daccad",{"id":19438,"slug":19439,"title":19440,"dynasty":9797,"author":7218,"museum":150,"description":19441,"tags":19442,"thumbUrl":19443,"material":59,"size":59,"collection":88,"collections":19444,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19445},203393,"shan-shui-ren-wu-tu-zhou-wang-zhen-203393","山水人物图轴","画面中苍松虬劲，枝干如铁，松针以浓淡墨点簇，尽显古木苍劲之姿。树下二人或坐或立，衣纹线条简练流畅，神态悠然，似在畅叙幽情。背景山石以泼墨晕染，虚实相间，留白处营造出悠远意境。整体笔墨洒脱，融山水之静谧与人物之生动于一体，写意之趣盎然，尽显传统书画的笔墨神韵。",[25,55,29,80,30,134,7,173,15580,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13e65b6c9bff109b8e67dff8d9a9a21d.jpg",[88],"a4998e",{"id":19447,"slug":19448,"title":19449,"dynasty":9797,"author":7218,"museum":150,"description":19450,"tags":19451,"thumbUrl":19453,"material":59,"size":59,"collection":60,"collections":19454,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19455},203361,"ju-shi-qu-yu-tu-zhou-wang-zhen-203361","菊石鸲鹆图轴","画面中，墨石以浓淡交错的笔触皴擦而成，嶙峋朴拙；黄菊墨叶，笔墨洒脱，花瓣舒展间见生机；鸲鹆栖石，羽色浓黑，眼神灵动，似有鸣意。右侧题跋笔墨流畅，与花鸟山石相映成趣，朱印点缀，更添雅致。整体构图疏密得宜，墨色层次分明，设色清雅却不失鲜活，兼具文人画的意趣与海派绘画的灵动，将自然物象的神韵凝练于笔端，传递出悠然恬淡的文人情怀。",[25,56,55,29,189,7,19452,28,12094,79,23],"鸲鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce26c4858e75dfa7d4f5a83ba4c28e2f.jpg",[60],"c3af9e",{"id":19457,"slug":19458,"title":7126,"dynasty":18,"author":9663,"museum":150,"description":19459,"tags":19460,"thumbUrl":19462,"material":59,"size":59,"collection":59,"collections":19463,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19464},203259,"shan-shui-tu-ce-mei-qing-203259","画面中山石奇峭，笔墨苍劲，皴擦点染间勾勒出山川肌理。近景孤石旁松枝斜逸，姿态疏朗；远处淡墨晕染的峰峦若隐若现，空濛悠远。此作用水墨为骨，兼施淡彩，线条灵动又不失厚重，皴法运用精妙，将山川的雄奇与静谧相融合，意境清旷深邃，尽显文人画的雅致与自然之趣。",[25,80,53,55,29,75,7,135,19461],"远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ee94dfe74299a0f489e1a241efbcd9.jpg",[],"bfa693",{"id":19466,"slug":19467,"title":19468,"dynasty":9797,"author":3542,"museum":150,"description":19469,"tags":19470,"thumbUrl":19471,"material":59,"size":59,"collection":59,"collections":19472,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19473},202918,"tai-shan-yi-jiao-tu-zhou-xu-bei-hong-202918","泰山一角图轴","画面以险峻崖壁为主体，墨线奔放勾勒，皴擦间显山石肌理与体积感。崖畔古松苍劲，松针以浓墨点染，枝桠虬曲有力，尽显坚韧之姿。淡赭石晕染山体，间杂花青淡蓝衬出云雾缥缈，几只飞鸟掠过天际，添灵动生机。整作融传统笔墨气韵与西画写实手法，于简练构图中见泰山一角的雄浑气象，笔力雄健，意境悠远。",[25,80,55,29,7,153,75,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3d917f5df21717ae73528ffa10b6ab.jpg",[],"beb3a0",{"id":19475,"slug":19476,"title":10459,"dynasty":9797,"author":19477,"museum":150,"description":19478,"tags":19479,"thumbUrl":19480,"material":59,"size":59,"collection":59,"collections":19481,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19482},202775,"sui-han-san-you-tu-zhou-feng-chao-ran-202775","冯超然","画面中梅枝虬劲，疏花缀于枝头，姿态清逸；嶙峋孤石以皴法写就，纹理苍古；水仙叶片舒展如带，白花素雅，与旁侧红果垂枝相映成趣。笔墨兼工带写，水墨晕染与淡彩设色相融，线条灵动中见沉稳，营造出静谧雅致的文人意趣，尽显岁寒花木的清贞之姿。",[25,29,28,75,187,174,7,56,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa1328c40e52481f55b38e1194c4bc8.jpg",[],"c6c4bd",{"id":19484,"slug":19485,"title":1614,"dynasty":69,"author":19486,"museum":150,"description":19487,"tags":19488,"thumbUrl":19489,"material":59,"size":59,"collection":59,"collections":19490,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19491},202714,"zhu-shi-tu-zhou-dai-ming-shuo-202714","戴明说","墨竹挺劲多姿，枝节错落间尽显清逸风骨，竹叶以浓淡墨色挥写，笔触利落如剑，藏露有致，墨韵层次分明。旁侧孤石以简括皴擦出苍劲肌理，朴拙厚重，与秀逸之竹相映成趣，虚实相生间营造出清雅空寂的意境。整幅以水墨写意笔法为之，气韵生动，文人雅韵扑面而来，仿佛可闻竹间清风，尽显画者对竹之性情的深悟，是写意竹石题材中的佳构。",[25,55,32,7,173,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3753024db2d96a54257f56708c66dc92.jpg",[],"cdb5a6",{"id":19493,"slug":19494,"title":19495,"dynasty":18,"author":19496,"museum":150,"description":19497,"tags":19498,"thumbUrl":19499,"material":59,"size":59,"collection":59,"collections":19500,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19501},202636,"ying-tao-shi-nv-tu-zhou-zheng-wen-chao-202636","樱桃仕女图轴","郑文焯","仕女着素衣立于坡前，衣纹线条流畅灵动，手持细枝轻嗅，抬首望向斜逸的樱桃枝。枝上花叶疏朗，淡墨点染间透着雅致。背景栅栏简笔勾勒，山石以水墨写意，笔墨简练却意境清幽。整体设色淡雅，无浓艳之态，文人画的闲适意趣尽显，静谧中藏着对自然的细腻感知，似有轻风吹过，衣袂微动，氛围悠然恬淡。",[25,29,30,31,7,12740,55,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859dd46f472cd41df3ba1e20b046d41b.jpg",[],"c4af97",{"id":19503,"slug":19504,"title":19505,"dynasty":18,"author":19506,"museum":150,"description":19507,"tags":19508,"thumbUrl":19509,"material":59,"size":59,"collection":59,"collections":19510,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19511},202552,"you-he-shou-mei-tu-zhou-jin-lian-202552","有鹤守梅图轴","金湅","一只仙鹤伫立梅枝下，羽白胜雪，墨羽点缀，丹顶如朱，身姿挺秀。老梅虬枝盘结，繁花缀枝，浓墨写干见苍劲，淡彩点花显妍媚。下方怪石以泼墨皴擦，朴拙厚重。笔墨兼施，写意传神，鹤之高洁与梅之傲岸相映，尽显清雅古逸之韵，传递出坚守孤高的文人意趣。",[25,55,29,56,187,675,7,173,75,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12295bad032e2a4f220fd253cae8ad6.jpg",[],"ac9881",{"id":19513,"slug":19514,"title":19515,"dynasty":69,"author":19431,"museum":150,"description":19516,"tags":19517,"thumbUrl":19518,"material":59,"size":59,"collection":59,"collections":19519,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19520},202502,"shi-tu-zhou-ni-yuan-lu-202502","石图轴","孤石孑然挺立于素绢之上，形态奇崛透漏，孔洞错落如环，尽显瘦皱玲珑之姿。墨色浓淡干湿交织，线条以书法笔意勾勒，中锋骨力内蕴，侧锋皴擦显苍劲，点染间石之肌理与嶙峋质感毕现。石体层叠错落，留白与墨色相映成趣，虚实相生间营造空灵沉雄的意境。文人画的写意精神融于笔端，孤石不仅是自然物象，更暗含孤傲清介的品格寄托，尽显明代文人以石喻志的风雅情韵。",[25,55,7,75,27,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de0d1e00d8bc1255c616ec1e37f3798.jpg",[],"a3906f",{"id":19522,"slug":19523,"title":19524,"dynasty":69,"author":3877,"museum":150,"description":19525,"tags":19526,"thumbUrl":19527,"material":59,"size":59,"collection":59,"collections":19528,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19529},202498,"shi-nv-shan-ye-wu-wei-202498","仕女扇页","这幅扇页笔墨灵动，仕女倚石闲坐，神情娴雅，衣纹线条流畅自然，尽显温婉之姿。旁侧树石以浓淡相宜的水墨皴擦，枝干苍劲，石面朴拙，与仕女的柔美形成鲜明对比。构图疏密有致，以简洁的景物衬出人物的静雅，意境清幽悠远。画家以豪放洒脱的笔致，将水墨的灵动与线条的精准结合，寥寥数笔便勾勒出悠然的氛围，传递出明代仕女画特有的雅致韵致，于方寸扇面间藏尽闲逸情致。",[714,55,30,523,7,75,16179,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f7671aa8e32559e4356648213f2d8a.jpg",[],"acadb1",{"id":19531,"slug":19532,"title":19533,"dynasty":18,"author":19534,"museum":150,"description":19535,"tags":19536,"thumbUrl":19538,"material":59,"size":59,"collection":59,"collections":19539,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19540},202466,"shuang-lin-zhu-shi-tu-zhou-wang-hui-202466","霜林竹石图轴","王翬","画面枯树枝干虬曲，以淡墨干笔勾勒，尽显苍劲老辣之态；竹枝挺秀，竹叶浓淡相衬，清雅灵动；旁侧孤石皴擦结合，纹理自然。笔墨兼具宋元遗韵，线条骨力内蕴，墨色层次丰富，于萧瑟中透出清逸之气，文人画的雅致意境尽显。",[25,27,55,7,134,32,75,77,19537],"印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf953690bf7d2a8e1fadeeca845c0b7.jpg",[],"d1c3b3",{"id":19542,"slug":19543,"title":19544,"dynasty":18,"author":7785,"museum":150,"description":19545,"tags":19546,"thumbUrl":19548,"material":59,"size":59,"collection":59,"collections":19549,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19550},202464,"ping-xi-yuan-xiu-tu-zhou-wang-yuan-qi-202464","平溪远岫图轴","画面以干笔淡墨皴擦为基调，远山层峦用披麻皴勾勒肌理，墨色由淡及浓渐次晕染，铺展出深远的空间层次。近景孤石嶙峋，几竿修竹挺秀而立，旁侧小屋隐于岩间，似藏幽人逸趣；平溪蜿蜒，水纹轻描淡写，与远山的雄浑形成动静呼应。笔墨承袭黄公望遗意，融入自家“龙脉”之说，结构严谨气韵连贯，于简淡中见苍劲，平实处显深秀，恰是娄东派仿古而变古的雅致风骨。",[55,80,75,11427,32,7,82,15580,2667,324,19547,23],"平溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc144cde14372b3303cf6210d6011f8bc.jpg",[],"d3c2af",{"id":19552,"slug":19553,"title":19554,"dynasty":18,"author":169,"museum":150,"description":19555,"tags":19556,"thumbUrl":19557,"material":59,"size":59,"collection":59,"collections":19558,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19559},202358,"guan-yin-tu-zhou-shi-tao-202358","观音图轴","画中观音盘腿趺坐于石畔，衣袂线条婉转流畅，墨色浓淡相间，尽显衣物质感与飘逸。其面容恬静慈悲，双目微阖，似在冥思观照世间。背景孤石以粗犷笔触勾勒，皴擦结合，苍劲有力；旁侧疏竹数枝，笔墨简洁，更添清幽之韵。整幅作品以水墨写意见长，将观音神圣与自然静谧相融，尽显石涛笔墨灵动与禅意悠远，于简淡中见深邃，素净中藏慈悲。",[25,55,30,7,32,576,27,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c7dbd72ed52d6b1ed7c7ae381b2cd8.jpg",[],"c5bbb1",{"id":19561,"slug":19562,"title":19563,"dynasty":18,"author":169,"museum":150,"description":19564,"tags":19565,"thumbUrl":19566,"material":59,"size":59,"collection":59,"collections":19567,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19568},202282,"song-zhu-shuang-qing-tu-zhou-shi-tao-202282","松竹双清图轴","苍松倚石而立，枝干盘曲如虬，松针以浓墨点簇，层叠交错，尽显老松苍劲之态；旁侧修竹数竿，竹叶以劲挺线条勾勒，疏朗有致，与松枝相映成趣。山石以泼墨皴擦，墨色淋漓，点苔错落，肌理浑厚。整幅以水墨写意为主，笔墨纵逸洒脱，皴擦点染并用，简淡中见精神，松竹双清，传递出文人画特有的高洁清逸之韵，于方寸间藏丘壑，于水墨里显性情。",[25,55,715,32,7,173,75,27,16923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dcedc759aa6c79df764a477853c8893.jpg",[],"7a7b77",{"id":19570,"slug":19571,"title":19572,"dynasty":18,"author":15105,"museum":150,"description":19573,"tags":19574,"thumbUrl":19575,"material":59,"size":59,"collection":59,"collections":19576,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19577},202223,"fang-wu-zhen-shan-shui-heng-pi-fang-xun-202223","仿吴镇山水横披","笔墨苍润沉郁，得吴镇山水神韵。山石以披麻皴层层皴染，纹理厚重灵动；溪流蜿蜒穿涧，乱石错落，水波澹澹，野趣天成。古木虬枝盘曲，松针劲挺如戟，枯枝疏朗有致，笔墨干湿互济，浓淡相衔。构图开合自然，虚实相生，远山隐于烟霭，近景草木石涧刻画入微，营造出静谧幽深的林泉之境，藏文人逸兴与丘壑之心于尺幅间。",[25,55,80,75,82,7,134,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec9507da59c335728d9bf5f6dccc1ea.jpg",[],"b4a7a2",{"id":19579,"slug":19580,"title":19581,"dynasty":18,"author":19582,"museum":150,"description":19583,"tags":19584,"thumbUrl":19585,"material":59,"size":59,"collection":59,"collections":19586,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19587},202119,"hua-hui-tong-jing-ping-zhang-chun-lei-202119","花卉通景屏","张春雷","画面中，虬劲梅枝纵横交错，墨线勾勒出枝干的苍劲质感，细碎的梅花以淡墨点染，疏疏落落地缀于枝头，似含清浅暗香。背景处竹叶用淡墨晕染，笔意空灵，与梅枝的遒劲形成虚实对比。左下角山石以焦墨皴擦，纹理粗砺，沉稳的墨块与轻盈的花枝竹叶相映，更显古朴雅致。整体笔墨简淡却意境悠远，梅的傲岸、竹的劲节与石的坚实交融，尽显文人画的清雅韵致，传递出宁静淡泊的文人情怀。",[25,55,187,32,7,56,10575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb95f8d5dbfa8d981e9caf4d928d788f.jpg",[],"a47c45",{"id":19589,"slug":19590,"title":17097,"dynasty":18,"author":14472,"museum":150,"description":19591,"tags":19592,"thumbUrl":19593,"material":59,"size":59,"collection":59,"collections":19594,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19595},202086,"ju-shi-tu-zhou-shen-chao-202086","画面以苍劲孤石为基，丛菊盛放其间，白似霜雪、黄若金蕊、紫如霞绮，间缀朱红，花叶脉络勾勒工细，尽显秋菊傲霜之姿。旁侧老树枝干虬曲，残叶轻垂，添萧瑟秋意；细枝上小红果点缀，生机暗蕴。笔墨虚实相济，设色淡雅清润，既得写生之真，又含写意之趣。背景留白疏朗，与景物相映成趣，将菊之高洁、石之沉稳、树之疏逸融于一体，传递出文人画清逸脱俗的审美意韵。",[25,27,29,28,7,56,189,826,117,24,16923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c8971a1599f1dbf0257b11d4fe116e9.jpg",[],"d8c5a5",{"id":19597,"slug":19598,"title":1614,"dynasty":18,"author":5374,"museum":150,"description":19599,"tags":19600,"thumbUrl":19601,"material":59,"size":59,"collection":122,"collections":19602,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19603},202032,"zhu-shi-tu-zhou-zhu-sheng-202032","几竿修竹挺拔向上，竹叶以浓淡墨色点染，疏密交错间透着自然生趣，笔锋似书法撇捺，尽显竹之清劲气节。旁侧孤石嶙峋，皴擦勾勒中见苍劲质感，与秀竹相映成趣。整作以水墨为韵，墨色层次丰富，干湿变化自然，将竹的坚韧与石的沉稳相融，传递出文人画的雅致生机，观之如沐清风，尽显笔墨匠心与自然意趣。",[25,26,27,55,7,32,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79da04c35f8770b54d73380057245b10.jpg",[122],"7c6a40",{"id":19605,"slug":19606,"title":19607,"dynasty":18,"author":19608,"museum":150,"description":19609,"tags":19610,"thumbUrl":19611,"material":59,"size":59,"collection":105,"collections":19612,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19613},201971,"zhu-shi-song-zhi-tu-zhou-zhao-zhi-chen-201971","竹石松芝图轴","赵之琛","画面左上老松虬枝盘曲，松针攒簇如轮，笔墨苍劲有力；中部湖石玲珑透漏，干笔皴擦间显厚重质感；旁侧修竹挺秀，竹叶以清劲线条勾勒，疏密得宜；下方兰草轻曳，灵芝淡彩点缀，生机暗藏。松竹石象征君子品格，灵芝寄寓吉祥，整体清雅脱俗，尽显文人画的逸趣与笔墨深致。",[25,27,55,29,715,32,7,75,15606,2290,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83560b821c41d51b597b959f884fe177.jpg",[105],"cdba9d",{"id":19615,"slug":19616,"title":19617,"dynasty":18,"author":19618,"museum":150,"description":19619,"tags":19620,"thumbUrl":19621,"material":59,"size":59,"collection":122,"collections":19622,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19623},201927,"mei-zhu-shan-shi-tu-zhou-ma-yuan-yu-201927","梅竹山石图轴","马元驭","梅枝横斜逸出，疏蕊点点若隐若现，似携清寒暗香；竹丛挺劲，叶影婆娑，笔墨挥洒间尽显潇洒意态；山石以水墨皴擦，轮廓苍劲朴拙，纹理自然天成。整幅画作墨色浓淡相宜，线条灵动有致，将梅之清逸、竹之坚韧、石之沉稳相融，意韵悠长。文人画的清雅风骨尽显，观之如临幽境，得悟君子高洁之趣。",[25,55,187,32,7,26,75,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9786fe2c76aed90b38ec71d671a50f09.jpg",[122],"a2876a",{"id":19625,"slug":19626,"title":1614,"dynasty":18,"author":19627,"museum":150,"description":19628,"tags":19629,"thumbUrl":19630,"material":59,"size":59,"collection":122,"collections":19631,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19632},201914,"zhu-shi-tu-zhou-jiang-he-201914","蒋和","画面中几竿修竹挺拔而立，竹叶以浓淡墨笔点染交错，笔触劲健如书，竹竿节理分明，尽显清劲之姿；旁侧孤石以枯湿墨皴擦勾勒，纹理苍古朴拙，与竹枝的疏朗灵动相映成趣。竹石相依，不刻意求工却于挥洒间藏章法，笔墨间浸透着文人意趣，传递出清雅孤高的气韵，是传统竹石题材中凝练自然物象与寄托精神的典型之作。",[25,55,32,7,75,173,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6d29465423398a01fc3cd1b11d4bb6.jpg",[122],"ab977d",{"id":19634,"slug":19635,"title":19636,"dynasty":18,"author":19637,"museum":150,"description":19638,"tags":19639,"thumbUrl":19641,"material":59,"size":59,"collection":60,"collections":19642,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19643},201878,"pen-lan-tu-zhou-sun-zhi-gao-201878","盆兰图轴","孙志皋","盆中幽兰，叶姿劲挺而含柔韵，笔墨勾勒间见灵动。盆器造型古朴，侧畔孤石与细草相映，添几分野趣。笔触苍秀相济，墨色浓淡相宜，将兰之清雅风骨尽现。构图疏朗有致，意境幽远，尽显文人雅士对高洁品格的追慕，是清代兰草图中的精品。",[25,55,56,188,7,27,15580,19640,23],"清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363c85f304aa173a1d4eb5bf111ba33a.jpg",[60],"896634",{"id":19645,"slug":19646,"title":19647,"dynasty":18,"author":19582,"museum":150,"description":19648,"tags":19649,"thumbUrl":19650,"material":59,"size":59,"collection":60,"collections":19651,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19652},201876,"mei-shi-shui-xian-tu-zhou-zhang-chun-lei-201876","梅石水仙图轴","画面中梅枝虬劲舒展，墨色浓淡交织尽显苍劲风骨，淡粉花朵点缀枝头，清雅脱俗；孤石以写意笔触勾勒，墨晕皴擦间见厚重质感；水仙叶片修长流畅，白花素净灵动，与梅石相映成趣。笔墨兼工带写，设色淡雅，将梅的坚韧、石的沉稳与水仙的清逸融于一体，尽显文人画的雅致意趣与生机。",[25,55,29,56,187,174,7,173,746,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b185ddfa1b82e50cc32f99402a89dc1.jpg",[60],"c4ad90",{"id":19654,"slug":19655,"title":18704,"dynasty":18,"author":19656,"museum":150,"description":19657,"tags":19658,"thumbUrl":19659,"material":59,"size":59,"collection":122,"collections":19660,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19661},201788,"lan-zhu-tu-zhou-cao-ting-dong-201788","曹廷栋","水墨晕染间，兰叶舒展如带，劲挺中藏柔婉，花萼轻垂，墨痕淡逸似有暗香浮动；竹枝横斜，竹叶如剑，笔锋利落显风骨。旁侧孤石以简笔勾勒，淡墨皴擦，与兰竹形成虚实相生之境。整幅作品笔墨洗练，意趣清幽，兰竹的君子之姿与文人的逸致相融，尽显清雅脱俗的韵致。",[25,55,188,32,7,26,27,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7284dfed9cf852f553f3636fa3ef2946.jpg",[122],"b5946c",{"id":19663,"slug":19664,"title":19665,"dynasty":18,"author":96,"museum":150,"description":19666,"tags":19667,"thumbUrl":19668,"material":59,"size":59,"collection":60,"collections":19669,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19670},201754,"zi-wei-yuan-yang-tu-zhou-ren-yi-201754","紫薇鸳鸯图轴","画面中几只鸳鸯情态鲜活，或振翅欲飞，或相偎嬉戏，羽色斑斓细腻，细节刻画入微。紫薇花枝虬曲伸展，花叶以浓淡墨色点染，与设色明艳的鸳鸯相映成趣。下方巨石用写意皴法绘就，线条简练却见质感。整体笔墨兼工带写，工致处显羽毛纹理之精，写意处彰花叶山石之灵，花鸟与景物相融，清新自然，尽显生机，是海派花鸟的典型佳作。",[25,26,27,56,29,28,7,701,466,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadaabfe1be27a1b226296300a32d5de8.jpg",[60],"ddd3bf",{"id":19672,"slug":19673,"title":1614,"dynasty":69,"author":19674,"museum":150,"description":19675,"tags":19676,"thumbUrl":19677,"material":59,"size":59,"collection":122,"collections":19678,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19679},201731,"zhu-shi-tu-zhou-jin-shi-201731","金湜","画面中，嶙峋怪石以浓淡相宜的水墨皴染，纹理厚重，形态奇崛；数竿修竹用白描勾勒，线条清劲，竹叶疏密错落，似含风致。竹石相伴，刚柔相济，既显山石的沉稳，又彰修竹的清雅，暗合文人坚韧与超脱的心境。笔墨简练却神韵十足，墨石的沉郁与白竹的空灵形成鲜明对比，尽显物象之韵与画家的笔墨功底，传递出清雅高逸的文人气息。",[25,26,27,434,55,75,32,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284f6df2bd8b54bcbdc0583b74b900d0.jpg",[122],"c7af8d",{"id":19681,"slug":19682,"title":19683,"dynasty":18,"author":19534,"museum":150,"description":19684,"tags":19685,"thumbUrl":19686,"material":59,"size":59,"collection":88,"collections":19687,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":17740},201713,"fang-dong-yuan-wan-he-song-feng-tu-zhou-wang-hui-201713","仿董源万壑松风图轴","画面层峦叠嶂，云雾轻笼峰谷，虚实相映间显山川深远。苍松虬劲盘曲，松针浓墨攒簇，与淡墨山石形成明暗对比，溪水隐于林间似携松风穿涧。笔墨上皴擦互用，承董源南宗温润秀逸，融自家苍劲古拙之韵，线条勾勒精准，墨色层次丰富，尽显山川浑厚、草木华滋之态。整体意境清幽旷远，文人山水的雅致与深邃尽藏其中。",[25,80,75,55,76,134,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93649f5412769e97c0c246f8f7089bc.jpg",[88],{"id":19689,"slug":19690,"title":19691,"dynasty":18,"author":475,"museum":150,"description":19692,"tags":19693,"thumbUrl":19694,"material":59,"size":59,"collection":88,"collections":19695,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19696},201683,"qiu-lin-ting-zi-tu-zhou-zhu-da-201683","秋林亭子图轴","悬崖耸峙，秋木疏枝横斜，茅亭隐于林麓间，似含幽思。近处溪流缓淌，远岫淡抹如黛，水天相映成空濛。笔墨简劲老辣，以水墨写意出荒寒之境，树木枝干虬曲如铁，山石皴擦寥寥却见骨力。留白处尽是余韵，清冷孤寂中藏超然逸气，尽显文人山水的简淡深致。",[25,55,80,349,134,75,7,4545,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2353175154fbe0e89a0e13305460a4e0.jpg",[88],"bba49b",{"id":19698,"slug":19699,"title":19700,"dynasty":18,"author":3060,"museum":150,"description":19701,"tags":19702,"thumbUrl":19703,"material":59,"size":59,"collection":88,"collections":19704,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19705},201666,"xi-shan-gui-qiao-tu-zhou-chen-mei-201666","溪山归樵图轴","寒林萧瑟覆轻雪，峰峦叠嶂间留白写意，山石以皴法勾斫肌理，线条苍劲。枯树枝桠虬曲，错落于溪谷旁，似待樵人归迹。笔墨简淡却意境悠远，冬日溪山的清旷冷寂与自然野趣交融，尽显传统山水的静谧之美，于无声处藏生机。",[25,80,75,16179,27,29,7,3203,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c3278e6597d5a0bb1853e4be25bb5e.jpg",[88],"d1bc9f",{"id":19707,"slug":19708,"title":19709,"dynasty":69,"author":3877,"museum":150,"description":19710,"tags":19711,"thumbUrl":19712,"material":59,"size":59,"collection":122,"collections":19713,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19714},201638,"pu-shi-tu-zhou-wu-wei-201638","蒲石图轴","画面以孤石为核心，水墨皴擦间勾勒出嶙峋肌理，墨色浓淡层叠，尽显苍劲古朴之态。石畔蒲草数茎，细笔轻描，柔韧舒展，与顽石的厚重形成刚柔相济的妙趣，生机隐现。旁题行书诗句，笔墨洒脱流畅，诗画交融，文人意韵盎然。整作笔法放逸，水墨淋漓，兼具浙派的豪放气度与文人画的雅致情致，于简淡构图中见深远意境，寥寥数笔却将物象神韵捕捉殆尽，尽显画家笔墨功力与艺术巧思。",[25,55,7,78,75,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2ebb8776cf71b8fc9e1ce742c12b91.jpg",[122],"ac987e",{"id":19716,"slug":19717,"title":19718,"dynasty":18,"author":19719,"museum":150,"description":19720,"tags":19721,"thumbUrl":19722,"material":59,"size":59,"collection":60,"collections":19723,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19724},201594,"qiu-xiao-cui-yu-tu-zhou-xu-gang-201594","秋晓翠羽图轴","徐岡","秋晓时分，清露未晞，疏枝横斜间，数只翠羽或静栖枝头，或轻振翅羽，姿态鲜活灵动。山石以淡墨晕皴，肌理朴拙自然；枝叶用细劲笔触勾勒，间杂浅淡设色，晕染出秋意的疏朗雅致。鸟羽刻画入微，绒毛细密可见，尽显工笔之精；背景留白写意，衬出晨晓的空寂悠远。整幅画作工写相济，意境清幽，将秋日拂晓的静谧与生机悄然融合，流淌着文人画的温婉韵致。",[25,56,27,55,29,28,7,153,375,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb63fba4b0c8678fd228d10af45e5eaf.jpg",[60],"a9a8a4",{"id":19726,"slug":19727,"title":19728,"dynasty":18,"author":3257,"museum":150,"description":19729,"tags":19730,"thumbUrl":19731,"material":59,"size":59,"collection":60,"collections":19732,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19733},201586,"huang-hua-ling-shi-tu-zhou-wang-wu-201586","黄花灵石图轴","画面中，几株菊花亭亭玉立，花瓣舒展有致，设色淡雅却暗含明艳，叶片墨色浓淡交织，层次丰富。旁侧灵石以写意笔触勾勒，皴擦间尽显古朴苍劲之态，与柔美的菊花形成刚柔相济的对比。整幅画作笔墨兼具工致与灵动，工笔绘花见细腻，写意写石显风骨，动静相生。题跋与印章错落排布，增添了书画合璧的文人意趣，传递出菊花傲霜的高洁品格与灵石的坚贞意象，尽显清代花鸟画作的雅致韵致。",[25,27,56,189,7,28,29,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b71856954ec9744c464f74a1455eae.jpg",[60],"dfceb1",{"id":19735,"slug":19736,"title":19737,"dynasty":18,"author":17372,"museum":150,"description":19738,"tags":19739,"thumbUrl":19740,"material":59,"size":59,"collection":39,"collections":19741,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19742},201523,"zhong-kui-lin-liu-ba-juan-tu-zhou-cheng-ming-201523","钟馗临流把卷图轴","画面中钟馗踞坐孤石之上，临流展卷沉思，神情专注间褪去传统驱邪的凶煞感，尽显儒雅闲逸之态。衣纹以劲挺线条勾勒，墨色浓淡相宜，人物姿态洒脱自然。背景山水以淡墨皴染，溪流潺潺绕石而过，孤石错落有致，营造出清寂悠远的氛围。整作以水墨为基调，笔墨苍劲灵动，将钟馗的文人化形象刻画得生动传神，细腻捕捉其沉浸书卷的内心世界，打破刻板印象，尽显画家独特的艺术表达与笔墨功力。",[25,55,30,7,82,77,79,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac43d1c8e17b7d8f84e1acbb5fb73d8.jpg",[39],"a18864",{"id":19744,"slug":19745,"title":19746,"dynasty":302,"author":19747,"museum":150,"description":19748,"tags":19749,"thumbUrl":19750,"material":59,"size":59,"collection":60,"collections":19751,"showCount":178,"zanCount":43,"manualWeight":43,"mainColor":19752},201465,"xue-zhu-tu-zhou-xu-xi-201465","雪竹图轴","徐熙","这幅作品以水墨为底，淡彩轻敷，绘就雪后竹林的清寂野趣。竹秆线条劲挺，积雪借留白与衬染隐现，竹叶覆雪却不失挺健之姿。山石以粗笔皴擦，墨色浓淡相叠，显朴拙厚重。画面弃艳取淡，凭墨色层次与线条韵律营造荒寒静谧之境，尽展“野逸”风骨，于简淡中藏生机，枯枝劲竹间流露自然本真之美。",[55,75,32,7,56,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7699f799f01df0019ea37a9f9865c849.jpg",[60],"4e3921",{"id":19754,"slug":19755,"title":19756,"dynasty":18,"author":516,"museum":552,"description":19757,"tags":19758,"thumbUrl":19759,"material":641,"size":642,"collection":59,"collections":19760,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":44},288408,"jin-lan-qi-hu-pou-jin-lan-yu-sun-wen-288408","金澜契互剖金澜语","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸。",[23,25,28,29,30,31,80,242,349,277,82,7,851,2047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1711a4116bf9c4f211193501edc48129.jpg",[],{"id":19762,"slug":19763,"title":19764,"dynasty":18,"author":201,"museum":552,"description":19765,"tags":19766,"thumbUrl":19767,"material":641,"size":642,"collection":59,"collections":19768,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},288396,"die-tu-yi-ming-288396","蝶图","此作留白疏朗，意韵清寂淡远。以淡墨晕染湖石，枯涩笔法尽显山石朴拙苍古之态。幽兰叶条舒展柔婉，嫩黄花苞隐于叶间，暗吐幽芳。右下角褐彩藤壶附石而生，肌理斑驳，与湖石形成明暗层次。两只粉蝶翩跹于空，破了画面的岑寂，添几分灵动生趣。\n\n笔墨松秀简淡，以小景写清秋闲趣，将文人心底的幽怀寄寓草木虫蝶之间，尽显传统花鸟画以物抒情的清雅韵致。",[23,25,29,27,56,188,435,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3366338c1f1d0a7398f4b77fbcc5197.jpg",[],{"id":19770,"slug":19771,"title":19772,"dynasty":18,"author":201,"museum":552,"description":19773,"tags":19774,"thumbUrl":19775,"material":641,"size":642,"collection":59,"collections":19776,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},288032,"zhu-tu-li-zhou-yi-ming-288032","竹图立轴","此作以水墨写意写就，竹枝挺拔舒展，竹叶挥毫爽利，以浓淡墨色区分叠压层次，聚散错落间尽显晴竹婆娑清劲之姿。湖石以淡墨晕染勾勒，意到笔不到，不着意摹画纹理，却将嶙峋空透的古拙之态尽显。竹石相伴，虚实相生，简淡笔墨间带着清逸出尘的文人意趣，不着艳色，只以水墨托写出君子劲节高格，将画者胸中疏朗襟怀寄寓其中，笔底自带着萧散闲适的雅韵，尽显文人写意画的简淡风神。",[23,25,27,55,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a18809d1e4307d8e46df9a212d5f80.jpg",[],{"id":19778,"slug":19779,"title":19780,"dynasty":5251,"author":201,"museum":552,"description":19781,"tags":19782,"thumbUrl":19783,"material":641,"size":642,"collection":59,"collections":19784,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},281573,"hei-cai-ren-wu-tu-zhou-yi-ming-281573","黑彩人物图轴","此作以淡墨晕染出朗润圆光，将人物包裹在清寂氛围里。主人公垂目冥思，髭髯苍劲，赤足踏于浅溪石畔，衣袂以赭红轻勾慢写，线条舒展简劲，既见衣衫垂坠之态，又暗含静定禅意。\n\n画面以大面积留白衬出幽远空寂，浅绘微波苔石，淡去周遭繁芜，只将心神归于人物静定的姿态。整幅笔墨简淡空灵，以虚写实，把出世的澄澈禅思藏在极简的画面中，观之如沐清宁，尽得禅画空寂澹泊之妙。",[25,26,27,55,29,30,576,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f82175b71d1081c4164a4da6ddfda6.jpg",[],{"id":19786,"slug":19787,"title":19788,"dynasty":18,"author":201,"museum":552,"description":19789,"tags":19790,"thumbUrl":19792,"material":641,"size":642,"collection":59,"collections":19793,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":44},272899,"zi-tan-mu-bian-qian-tong-zi-wen-zhong-tang-yi-ming-272899","紫檀木边嵌铜字纹中堂","这对挂屏以铜丝塑形，浅底托衬出文人雅趣。左幅修竹劲拔挺秀，叶片翻卷如承风而动，伴立奇石，尽显君子坚韧不屈的姿态。右幅幽兰生于石畔，叶条舒展飘逸，清寂中暗含孤高雅洁之韵。\n紫檀边框沉稳古雅，将铜塑的清隽与木色的厚重相融，雅致天成。工艺虽简却尽显匠心，把竹的苍劲、兰的幽柔刻画入微，自带林下之风，寥寥数笔便勾勒出传统文人崇尚的隐逸品格，古意悠然，沉静内敛。",[32,188,7,3435,2888,3436,19791],"中堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6430f6646ff7e012fd6048726adeef54.jpg",[],{"id":19795,"slug":19796,"title":19797,"dynasty":18,"author":201,"museum":552,"description":19798,"tags":19799,"thumbUrl":19802,"material":641,"size":642,"collection":59,"collections":19803,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},259794,"qing-hua-shi-nv-tu-xiao-pan-yi-ming-259794","青花仕女图小盘","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。",[16353,19800,30,31,7,19801],"青花","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0787a4fa8e854a493e1aba293499cf6.jpg",[],{"id":19805,"slug":19806,"title":19807,"dynasty":18,"author":19808,"museum":552,"description":19809,"tags":19810,"thumbUrl":19811,"material":641,"size":642,"collection":59,"collections":19812,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},240526,"shi-ti-huang-shan-tu-ce-zhang-qi-zong-240526","诗题黄山图册","张起宗","此作为行书诗册，用笔清劲秀雅，牵丝映带间尽显灵动韵致，结体疏密随心排布，章法舒展疏朗，墨色温润且浓淡有别，兼具帖学的隽秀与文人写意的松弛自在。\n诗作以黄山胜景为骨，将天都峰的奇崛云海、盘虬古松尽付笔端，字句间浸满对山水的沉醉与赞叹，书与诗交融相衬，尽显旧时文人寄情山水、以笔抒怀的澄澈襟怀。",[26,53,78,77,80,7,865,349,55,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9377adb7e258a0d2af75dab10298ad22.jpg",[],{"id":19814,"slug":19815,"title":19816,"dynasty":69,"author":19817,"museum":552,"description":19818,"tags":19819,"thumbUrl":19820,"material":641,"size":642,"collection":59,"collections":19821,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},240273,"qi-lv-shi-zhou-mi-wan-zhong-240273","七律诗轴","米万钟","米万钟（1570—1628年），字仲诏，号友石，又号海淀渔长、石隐庵居士，原籍陕西安化，后当锦衣卫，居北京，米芾后裔。明万历二十三年（1595年）进士，后任江西按察使。天启五年（1625年）被魏忠贤党人倪文焕弹劾，降罪削籍。崇祯元年（1628年）复官，仕至太仆少卿，卒于官。有好石之癖，又能画石。善画山水、花竹。书法行、草得家法，与董其昌齐名，称“南董北米”。书迹流传甚多。著《篆隶考讹》二卷。",[26,27,78,55,7,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a96b8297ddbbcfca1dee77e82e3875.jpg",[],{"id":19823,"slug":19824,"title":19825,"dynasty":18,"author":19826,"museum":552,"description":19827,"tags":19828,"thumbUrl":19829,"material":641,"size":642,"collection":59,"collections":19830,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239505,"lv-bi-shan-shui-ce-lv-bi-239505","吕璧山水册","吕璧","此页以淡墨晕空山秋境，危崖崔嵬，飞泉漱石而下，清溪蜿蜒穿林，溪畔杂木萧疏，山坳幽亭隐现，尽显空灵淡远之致。水墨皴擦轻柔秀润，山石简笔勾勒间，晕染出嶙峋质感；林木点染随性写意，带着萧散野逸的秋况。\n\n左侧题诗与画境相融，笔意清隽温雅，将山涧清秋的幽寂澄澈铺陈开来，诗画合璧尽显文人雅趣，藏着画者寄情林泉的幽怀，淡而不薄，简中见雅，悠悠秋意随墨色漫溢纸面。",[25,26,53,55,80,7,116,81,242,78,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d06d232d5a2b7274b47e448ccffa36.jpg",[],{"id":19832,"slug":19833,"title":19825,"dynasty":18,"author":19826,"museum":552,"description":19834,"tags":19835,"thumbUrl":19836,"material":641,"size":642,"collection":59,"collections":19837,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239501,"lv-bi-shan-shui-ce-lv-bi-239501","此作以淡墨绘就冬日郊野，枯木虬枝错落清癯劲挺，村舍隐于林畔，远山危峰淡晕铺开，留白晕染出冷寂空濛的氛围。\n\n笔墨松秀淡润，枯木以渴笔勾勒皴擦，尽显苍劲之姿，山石简括皴点，不作繁饰。左配题诗与画境呼应，将萧索冬景糅进幽远文思，借清冷山水寄寓林下闲寂襟怀，简淡萧散间，尽显悠长文人画韵致。",[25,26,53,55,80,133,7,324,242,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cd3435ba837e825cc8dbc38875a0c2f.jpg",[],{"id":19839,"slug":19840,"title":19841,"dynasty":18,"author":17901,"museum":552,"description":17902,"tags":19842,"thumbUrl":19843,"material":641,"size":642,"collection":59,"collections":19844,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239493,"shan-shui-ce-5-shang-guan-zhou-239493","山水册5",[25,26,53,55,75,80,7,81,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb045e6d49fa6f42150510c7d063e3d3d.jpg",[],{"id":19846,"slug":19847,"title":19848,"dynasty":18,"author":17901,"museum":552,"description":17902,"tags":19849,"thumbUrl":19850,"material":641,"size":642,"collection":59,"collections":19851,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239492,"shan-shui-ce-4-shang-guan-zhou-239492","山水册4",[25,53,55,75,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8b968d8f8f8e336bf898d314aa48fbb.jpg",[],{"id":19853,"slug":19854,"title":18774,"dynasty":18,"author":17193,"museum":552,"description":19855,"tags":19856,"thumbUrl":19857,"material":59,"size":59,"collection":59,"collections":19858,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239378,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239378","此作以干笔淡墨绘就冬日水村，取景清寂淡远。近岸老木虬曲苍劲，石拱桥卧于浅溪之上，将目光牵向水畔幽居。中洲孤亭枕水，枯林错落坡陀，远景汀洲朦胧晕染，留白铺展出烟水空濛之态。\n\n边角题诗与画意浑然相融，无繁复皴染，却将冬夜清寒静谧铺陈尽致。笔致松秀空灵，尽显文人画简淡天真的雅逸格调，把幽居寄兴、耽恋林泉的隐逸情思藏在淡墨轻岚之中，尽显闲寂出尘的林下之风。",[25,53,55,80,75,277,349,134,7,133,135,1291,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a700c6cfc566e3df68eb9cf7dc7ed1.jpg",[],{"id":19860,"slug":19861,"title":502,"dynasty":18,"author":4274,"museum":552,"description":14688,"tags":19862,"thumbUrl":19863,"material":641,"size":642,"collection":59,"collections":19864,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239333,"shan-shui-ce-cha-shi-biao-239333",[25,26,53,55,80,7,84,75,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92a22c129bceea4111e69815da2ba08d.jpg",[],{"id":19866,"slug":19867,"title":17961,"dynasty":18,"author":17962,"museum":552,"description":19868,"tags":19869,"thumbUrl":19870,"material":59,"size":59,"collection":59,"collections":19871,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239234,"hui-shi-ce-hu-zhen-kai-239234","淡赭与花青晕染湖石，勾画出嶙峋通透的身姿，石间以朱红点苔，在素雅底色里晕开鲜活意趣。笔致清简空灵，寥寥数笔尽显湖石瘦透漏皱之美，勾勒出赏石的古雅况味。\n\n右侧长款题跋诗书合璧，将品石心境落于纸面，以画寄情，把文人耽爱林泉的雅趣融于尺幅之中，苍润雅致间尽显悠游物外的审美意趣，是文人小品里的精妙之作。",[25,26,53,55,29,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb65259690ca30f74487b899e3fba2c4b.jpg",[],{"id":19873,"slug":19874,"title":17961,"dynasty":18,"author":17962,"museum":552,"description":19875,"tags":19876,"thumbUrl":19877,"material":59,"size":59,"collection":59,"collections":19878,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239232,"hui-shi-ce-hu-zhen-kai-239232","此作用淡墨晕染铺陈，浓墨勾勒皴擦，将湖石玲珑奇崛之态尽显。石身孔洞宛转通透，瘦、漏、透、皱的赏石之美跃然纸上，笔墨简淡却意趣悠长。一旁题字与绘石相映，文气雅致悠然，尽显文人藏石赏石的清雅意趣。整幅画作脱略形似，重在传神，以简约笔墨托物寄情，将传统文人画的淡远清隽意境娓娓道来，把对湖石的赏爱融入笔底，平淡天真间自有沉静雅致的韵味。",[25,26,53,55,75,79,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d52b238e2ec787e1d8bafc689c74e08.jpg",[],{"id":19880,"slug":19881,"title":17961,"dynasty":18,"author":17962,"museum":552,"description":19882,"tags":19883,"thumbUrl":19884,"material":59,"size":59,"collection":59,"collections":19885,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239230,"hui-shi-ce-hu-zhen-kai-239230","画面绘两方湖石，青褐者嶙峋多孔，瘦透兼具，冷峻古拙，宛若天工裁出的冷峭奇峰；枯黄石肌理苍劲如老根盘曲，皴擦出饱经风霜的质感。二者形态反差强烈却呼应成趣，尽显案头灵石的清奇风骨。\n\n右上角行书题跋笔意隽秀，以诗文衬石，将湖石比作山岳双雄，点出其神理气势，诗画相映，把文人爱石藏石的雅趣融于方寸。设色淡雅克制，以淡墨晕染皴擦，勾勒出灵石肌理，尽显小品画的雅致意趣，藏丘壑于尺幅之间。",[25,26,53,29,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e32babb52285568aaf3b92412d2acfe.jpg",[],{"id":19887,"slug":19888,"title":19889,"dynasty":18,"author":8013,"museum":552,"description":19890,"tags":19891,"thumbUrl":19892,"material":59,"size":59,"collection":59,"collections":19893,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239197,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239197","三大名山十二图册","此帧以枯淡水墨绘就山林胜景，层峦错落雄峙，云气在山谷溪涧间蜿蜒漫溢，将峰石晕染出空濛悠远之态。山脚林木错落，以简括笔触点染，苍朴古雅。\n画面左侧题字笔意萧散简劲，书画合璧，尽显幽寂襟怀。整幅笔墨疏淡清旷，不事雕琢，以极简皴擦勾勒写尽丘壑意趣，淡墨间漾着静穆出尘的隐逸之思，藏着寄迹林泉的清冷孤高。",[25,26,53,55,75,78,79,80,117,1911,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f25b6bf35c3adb10577e662e851804d.jpg",[],{"id":19895,"slug":19896,"title":502,"dynasty":18,"author":19897,"museum":552,"description":19898,"tags":19899,"thumbUrl":19900,"material":59,"size":59,"collection":59,"collections":19901,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239044,"shan-shui-ce-wu-lin-239044","吴麐","（一六九一―一七七二）字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[24,25,55,75,53,80,349,85,134,7,324,8317,81,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10abb4a9cea588c79e458516e9c3c1bb.jpg",[],{"id":19903,"slug":19904,"title":502,"dynasty":18,"author":19897,"museum":552,"description":19905,"tags":19906,"thumbUrl":19907,"material":59,"size":59,"collection":59,"collections":19908,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239041,"shan-shui-ce-wu-lin-239041","此作取景疏空灵透，远山以淡墨轻勾慢染，笔致简括却见层峦起伏，留白代云气，将山峦虚实衔连，晕染出空濛悠远的烟岚之态。近岸苍松错落，干枝挺拔苍劲、松针攒簇有致，坡石以短皴带染，拙朴厚重间不失温润质感。左侧题字朱印与画面相映成趣，诗画合璧尽显文人雅韵。全幅以水墨写意，不施重彩，却将江南山水的清寂淡远融于尺幅，以极简笔情墨韵传递出林泉高致的幽寂心境，尽显文人山水画的空灵意趣。",[25,26,53,55,75,80,117,115,7,9688],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd76dc3dbada10613fbee6ad216f6da18.jpg",[],{"id":19910,"slug":19911,"title":502,"dynasty":18,"author":19897,"museum":552,"description":19898,"tags":19912,"thumbUrl":19913,"material":2164,"size":19914,"collection":59,"collections":19915,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},239035,"shan-shui-ce-wu-lin-239035",[25,55,75,53,80,1073,7,81,324,14243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7f352ac31678676f1f347f32b5939c9.jpg","20 x 11.5 cm",[],{"id":19917,"slug":19918,"title":19919,"dynasty":18,"author":1491,"museum":552,"description":19920,"tags":19921,"thumbUrl":19922,"material":59,"size":59,"collection":59,"collections":19923,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},238907,"fang-song-yuan-shan-shui-ce-dong-gao-238907","仿宋元山水册","此作取冬日平远山居小景，近岸茅舍依水而立，有人凭窗凝睇汀渚烟水。枯木寒林错杂丛生，枝桠劲挺如铁，衬出萧疏冬意。山石皴擦细密松秀，尽得苍厚古拙之趣，远山以淡墨晕染，轻岚浮动间层叠延展，清润空灵。\n笔墨干湿相宜，设色淡和雅致，将冬日山乡幽寂淡远的氛围铺陈开来。尺幅之间藏林泉之趣，把文人寄情丘壑、静享闲逸的意趣融于烟水林木间，意境清远淡寂，韵致悠然。",[25,26,53,76,55,29,75,80,1231,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad5f1dd521de68e2f6010f28f477749.jpg",[],{"id":19925,"slug":19926,"title":18000,"dynasty":18,"author":9429,"museum":552,"description":19927,"tags":19928,"thumbUrl":19929,"material":59,"size":59,"collection":59,"collections":19930,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},238743,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238743","这幅画以淡墨晕染平沙秋野，远山轻描淡写，恍若烟霭浮空。近岸枯木疏朗，衰草漫覆荒坡，清寂萧索的秋意浸透纸面。崖边士人负手远眺，似在牵惹羁旅乡思，身侧童子牵马静立，暗合行游倦憩之意。淡简笔墨不施浓艳，以留白铺展出平阔辽远的郊野空境，诗画相融，将行旅中的怅惘幽思寄寓荒寒淡远的景致里，笔意清润含蓄，尽显秋日行吟的澹泊诗意。",[25,26,53,55,75,80,30,306,117,865,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa459ca736e3a0c1534d05ecafdaf3c.jpg",[],{"id":19932,"slug":19933,"title":502,"dynasty":18,"author":9429,"museum":552,"description":18867,"tags":19934,"thumbUrl":19935,"material":641,"size":642,"collection":59,"collections":19936,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},238677,"shan-shui-ce-dong-bang-da-238677",[25,53,55,29,80,349,307,5692,7,324,522,81,13728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9bd99b29422934b5584d890f8425e1.jpg",[],{"id":19938,"slug":19939,"title":502,"dynasty":18,"author":9429,"museum":552,"description":18867,"tags":19940,"thumbUrl":19941,"material":641,"size":642,"collection":59,"collections":19942,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":143},238675,"shan-shui-ce-dong-bang-da-238675",[25,26,53,55,29,80,32,7,75,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fae584a02e7d75a080e845d4ae23fb.jpg",[],{"id":19944,"slug":19945,"title":18874,"dynasty":18,"author":3593,"museum":552,"description":19946,"tags":19947,"thumbUrl":19948,"material":59,"size":59,"collection":59,"collections":19949,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":143},238534,"shan-shui-xiao-ce-qian-wei-cheng-238534","此作用笔苍秀清润，以细劲皴笔绘就虬曲古松，盘绕的枝干尽显风霜磨砺之态，细碎枝桠交错如网，写尽寒林萧索。坡石以淡墨勾勒晕染，朴拙厚重间与枯木相互映衬。远景山峦以淡墨轻晕，烟岚留白萦绕，将冬日空濛荒寒的幽寂之境铺陈开来。\n\n整作墨色层次雅致，简淡中见精微，以极简的布景勾勒出清冷出尘的林下之致，尽显文人山水淡远空寂的意韵，把冬日山林的萧寒幽僻，藏在淡墨轻描之间。",[25,26,53,55,75,80,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8aa1502b0366a36bcc826149b12cf71.jpg",[],{"id":19951,"slug":19952,"title":18874,"dynasty":18,"author":3593,"museum":552,"description":19953,"tags":19954,"thumbUrl":19955,"material":59,"size":59,"collection":59,"collections":19956,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},238515,"shan-shui-xiao-ce-qian-wei-cheng-238515","此作以淡墨干笔绘秋山幽境，近岸枯木伴茅舍，清寂萧疏，对岸危崖虬松兀立，远山澹澹隐在烟霭之中，构图疏密相宜，笔致简淡清和。留白间氤氲出空阔冷逸的秋意，将林泉幽寂的禅意晕染开来。搭配题诗钤印，诗画相映，把秋日山林的静穆萧散之美藏于笔墨留白里，尽显文人山水悠然林下的意韵，不事雕琢却意境悠长，尽显雅致的文人画旨趣。",[25,26,53,55,80,134,7,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e16c6829a46dfc96a38818d964bc5bb.jpg",[],{"id":19958,"slug":19959,"title":18874,"dynasty":18,"author":3593,"museum":552,"description":19960,"tags":19961,"thumbUrl":19962,"material":59,"size":59,"collection":59,"collections":19963,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},238512,"shan-shui-xiao-ce-qian-wei-cheng-238512","此作以淡墨绘就水滨春初之景，近岸枯木虬枝遒劲，皴笔清硬尽显瘦挺之姿，旁侧柔柳轻垂，细条袅袅漾着春柔生机，刚柔相映成趣。坡石苍朴错落，浅墨晕染出水色空濛，远岫澹隐于烟岚间，留白铺就湖天寥廓。\n画面边角朱印与题字错落排布，笔墨意趣与金石雅致相融。全幅未施重彩，纯以水墨勾勒皴擦，清简秀逸的笔致里漾出幽寂淡远的闲情，将冬尽春萌之际的澹泊清和描摹尽致，观之如临水凭风，坐看烟光暮色，尘嚣尽涤，尽显文人画简淡天真的雅逸之境。",[25,26,53,55,75,80,134,7,324,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d651eff98a264098a0f6f2e6395fd4.jpg",[],{"id":19965,"slug":19966,"title":7126,"dynasty":18,"author":14153,"museum":552,"description":15761,"tags":19967,"thumbUrl":19968,"material":641,"size":642,"collection":59,"collections":19969,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},238037,"shan-shui-tu-ce-yao-song-238037",[25,26,53,55,78,79,80,101,117,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75609f7b577bd518e42e53d90aead612.jpg",[],{"id":19971,"slug":19972,"title":7126,"dynasty":18,"author":19973,"museum":552,"description":19974,"tags":19975,"thumbUrl":19976,"material":641,"size":642,"collection":59,"collections":19977,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237954,"shan-shui-tu-ce-liu-yu-237954","柳堉","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[25,26,53,55,434,75,80,133,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdce722b2afe04d6513aa5de7aa7a8371.jpg",[],{"id":19979,"slug":19980,"title":7126,"dynasty":18,"author":19973,"museum":552,"description":19981,"tags":19982,"thumbUrl":19983,"material":59,"size":59,"collection":59,"collections":19984,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237950,"shan-shui-tu-ce-liu-yu-237950","此页以水墨写就幽谷山居，淡墨皴擦山石，苍松错落层叠，山居隐于茂林深处，留白晕出山野空寂清旷的氛围，萧散淡远，意韵悠长。\n左侧题诗笔墨清逸流动，诗画相映，以文衬景，将林泉隐逸的雅怀融于尺幅间。全作用笔简淡空灵，不做繁复勾勒，只以水墨干湿浓淡晕染出超脱尘嚣的栖居之境，带着静穆禅意，尽显寄情林泉的文人雅趣。",[25,26,53,55,78,77,75,115,117,349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb69de19da72e06304d50790390aa714b.jpg",[],{"id":19986,"slug":19987,"title":7126,"dynasty":18,"author":19973,"museum":552,"description":19988,"tags":19989,"thumbUrl":19990,"material":59,"size":59,"collection":59,"collections":19991,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237949,"shan-shui-tu-ce-liu-yu-237949","此作以焦墨渴笔绘层叠峰峦，繁皴密点写就山石硬朗肌理，林木蓊郁翳然，山坳茅舍幽隐，丘壑深幽间漾着静穆古意。左侧题诗与画境相映，诗画交融，将林泉高隐的太古幽情铺陈开来，把天地浑茫沉静与隐逸者的澹泊襟怀融为一体，尽显朴拙苍茫的林下之风，带着静绝尘嚣的雅逸意趣，是颇具文人意致的山水小品。",[25,26,53,55,75,80,115,277,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f5cc63a0c355272ddb3f76da532e1f.jpg",[],{"id":19993,"slug":19994,"title":502,"dynasty":18,"author":17372,"museum":552,"description":19995,"tags":19996,"thumbUrl":19997,"material":641,"size":642,"collection":59,"collections":19998,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237918,"shan-shui-ce-cheng-ming-237918","清代中早期画家、文人、收藏家,安徽歙县人,字友声,号松门,乾隆诸生。",[25,55,75,53,79,80,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451df77cba5093d449dc23b60b11f5ea.jpg",[],{"id":20000,"slug":20001,"title":502,"dynasty":18,"author":17372,"museum":552,"description":19995,"tags":20002,"thumbUrl":20003,"material":641,"size":642,"collection":59,"collections":20004,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237914,"shan-shui-ce-cheng-ming-237914",[25,26,53,434,55,80,133,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F982dad0cd7bc65fc303756d6cf12c5b7.jpg",[],{"id":20006,"slug":20007,"title":502,"dynasty":18,"author":18901,"museum":552,"description":20008,"tags":20009,"thumbUrl":20010,"material":59,"size":59,"collection":59,"collections":20011,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":44},237903,"shan-shui-ce-cheng-hui-hao-237903","乾隆庚戌年间画家",[25,26,53,55,75,80,134,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6506c9e93cf612ad83d6e4dd33f799d0.jpg",[],{"id":20013,"slug":20014,"title":502,"dynasty":18,"author":18901,"museum":552,"description":20015,"tags":20016,"thumbUrl":20017,"material":59,"size":59,"collection":59,"collections":20018,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":44},237902,"shan-shui-ce-cheng-hui-hao-237902","此作用水墨写意绘就林下小景，几株树木虬曲苍劲，干枝以焦笔勾勒，枝叶以淡墨点簇，虚实相生间尽显萧散清姿。湖石以简笔皴擦晕染，朴拙厚重，与周围草木相映成趣。\n\n画面留白空灵，墨色干湿浓淡层次分明，寥寥数笔便营造出幽寂淡远的林下氛围。右上角配行书题识，笔墨意趣与画境相融，尽显文人画诗书画一体的雅致，藏着画者寄情林泉的闲淡意趣。",[25,26,53,55,75,80,7,134,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2c41e5f0c835308ae08d570d1e2f1e.jpg",[],{"id":20020,"slug":20021,"title":7126,"dynasty":18,"author":20022,"museum":552,"description":20023,"tags":20024,"thumbUrl":20025,"material":641,"size":642,"collection":59,"collections":20026,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237759,"shan-shui-tu-ce-cheng-zheng-kui-237759","程正揆","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[25,26,53,55,80,7,78,75,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd76ec78f35dd3edab1239a9660b57e76.jpg",[],{"id":20028,"slug":20029,"title":7126,"dynasty":18,"author":20022,"museum":552,"description":20023,"tags":20030,"thumbUrl":20031,"material":641,"size":642,"collection":59,"collections":20032,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237749,"shan-shui-tu-ce-cheng-zheng-kui-237749",[25,26,53,55,80,7,78,75,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcebaf1471d5e654358e56060f877929.jpg",[],{"id":20034,"slug":20035,"title":18074,"dynasty":18,"author":18075,"museum":552,"description":20036,"tags":20037,"thumbUrl":20038,"material":59,"size":59,"collection":59,"collections":20039,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237571,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237571","此行书诗册笔墨隽秀温雅，结体疏朗灵动。点画提转自然圆融，章法错落有致，自带林下散淡闲逸之风。\n册中以诗咏石，将奇石比作美人、掌峰，把嶙峋石态晕染出清雅情致，诗书合璧，尽显文人赏石雅趣。墨色浓淡合宜，两枚朱印点缀页间，朱墨相映愈添古雅意韵，藏着旧时文人耽爱林泉、寄情物我的悠然心境，尽显清雅脱俗的审美意趣。",[25,26,53,78,79,55,7,864,863,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1942e63b58f707edffece43cd82cbc22.jpg",[],{"id":20041,"slug":20042,"title":5052,"dynasty":69,"author":9301,"museum":552,"description":9302,"tags":20043,"thumbUrl":20044,"material":641,"size":642,"collection":59,"collections":20045,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237503,"shan-shui-hua-hui-ce-jiang-shou-cheng-237503",[25,26,53,78,55,434,80,115,117,2667,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8208bae8572f67ce9052943eb3c783.jpg",[],{"id":20047,"slug":20048,"title":16407,"dynasty":18,"author":16408,"museum":552,"description":16409,"tags":20049,"thumbUrl":20050,"material":641,"size":642,"collection":59,"collections":20051,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":44},237474,"shan-shui-hua-shi-ce-wang-han-237474",[25,26,53,55,78,79,80,864,134,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc5ccda4a98b32de3f5f8d6b02c52a2.jpg",[],{"id":20053,"slug":20054,"title":16407,"dynasty":18,"author":16408,"museum":552,"description":16409,"tags":20055,"thumbUrl":20056,"material":641,"size":642,"collection":59,"collections":20057,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237472,"shan-shui-hua-shi-ce-wang-han-237472",[25,55,53,75,7,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50f404b86907e9e2442a993687249c4.jpg",[],{"id":20059,"slug":20060,"title":502,"dynasty":18,"author":20061,"museum":552,"description":20062,"tags":20063,"thumbUrl":20064,"material":327,"size":59,"collection":59,"collections":20065,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237373,"shan-shui-ce-wang-jiu-237373","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[25,26,53,55,75,80,134,1231,7,82,135,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e7a2a33bfda69b945ed1dbdc564dfe.jpg",[],{"id":20067,"slug":20068,"title":12482,"dynasty":69,"author":16452,"museum":552,"description":20069,"tags":20070,"thumbUrl":20071,"material":327,"size":59,"collection":59,"collections":20072,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237058,"hua-hui-ren-wu-ce-mao-fu-guang-237058","此作用水墨写意写就，构图疏简空灵。拳石以淡墨晕染块面，间以浓墨皴擦勾勒，苍润兼具，尽显嶙峋朴拙之态。幽兰叶茎舒展飘逸，笔势柔韧清劲，将蕙兰清雅脱俗之姿尽显，点缀的小花简淡含蓄，暗有暗香浮动之感。旁侧瘦竹枝挺叶劲，笔力爽利凝练，与兰、石相映成趣。\n\n左侧题字与画面相得益彰，诗画交融。整体笔墨简淡却意韵悠长，以兰竹的君子清姿搭配顽石朴拙，寥寥数笔便将创作者淡泊脱俗的襟怀融于画中，清雅古逸，尽显明代文人水墨小品寄情于物的雅致意趣。",[25,26,53,55,7,188,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877100ff2e8ca2f8448e4a9a55e77d3e.jpg",[],{"id":20074,"slug":20075,"title":12482,"dynasty":69,"author":16452,"museum":552,"description":20076,"tags":20077,"thumbUrl":20078,"material":327,"size":59,"collection":59,"collections":20079,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},237056,"hua-hui-ren-wu-ce-mao-fu-guang-237056","此作用淡墨晕开潇潇雨意，满纸漾着清寒秋瑟。左侧藤蔓蔬果以浓淡墨色铺陈，枝叶俯仰欹斜，尽显疾风里的飘摇之姿，笔致简劲洒脱，墨色虚实相生，将草木在风雨里的情态勾勒尽致。\n\n右侧水汀之上孤禽敛羽独立，在迷濛雨色中愈见清寂幽独。题款与画面浑然相融，诗画合璧，以极简笔墨托出萧疏野趣，尽显写意画以意驭笔的妙处，把秋雨中荒寒澹远的林下之美诉诸笔端，淡而有味，简中见丰。",[25,26,53,55,243,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa58d9c607abbfe448386e9755d899cc5.jpg",[],{"id":20081,"slug":20082,"title":17330,"dynasty":18,"author":6283,"museum":552,"description":6541,"tags":20083,"thumbUrl":20084,"material":641,"size":642,"collection":59,"collections":20085,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},236996,"xue-jing-shan-shui-ce-wang-hui-236996",[25,26,53,55,75,80,492,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4a858b197e1a9d6c2a073d76f89f76.jpg",[],{"id":20087,"slug":20088,"title":20089,"dynasty":18,"author":20090,"museum":552,"description":20091,"tags":20092,"thumbUrl":20093,"material":641,"size":642,"collection":59,"collections":20094,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},236857,"zhu-shi-ce-wang-e-236857","竹石册","王崿","字山眉，一作小眉，亦作山麋，山陰（今浙江紹興）人。諸生。工書，善山水、蘭、竹，人物師陳洪綬。",[25,26,53,55,78,77,32,826,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9124cf4b91d0e3abb67ee73dd9cd4c.jpg",[],{"id":20096,"slug":20097,"title":502,"dynasty":18,"author":4274,"museum":552,"description":10424,"tags":20098,"thumbUrl":20099,"material":59,"size":59,"collection":59,"collections":20100,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},236597,"shan-shui-ce-cha-shi-biao-236597",[25,26,53,55,80,117,7,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e047732c8c8a64e1cb3b13bcd37706e.jpg",[],{"id":20102,"slug":20103,"title":14637,"dynasty":18,"author":14638,"museum":552,"description":14639,"tags":20104,"thumbUrl":20105,"material":59,"size":59,"collection":59,"collections":20106,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},236515,"sun-shan-shui-ce-wang-ji-236515",[25,26,53,55,75,80,82,7,32,134,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe95c2454fa5fa03f3ccda0dfecb9465c.jpg",[],{"id":20108,"slug":20109,"title":11536,"dynasty":69,"author":8904,"museum":71,"description":11537,"tags":20110,"thumbUrl":20111,"material":327,"size":11540,"collection":59,"collections":20112,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},236486,"shan-shui-ren-wu-ce-guo-fen-ya-236486",[25,26,24,53,55,29,30,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe210ca5b646e37da24883b3562f301f5.jpg",[],{"id":20114,"slug":20115,"title":20116,"dynasty":69,"author":201,"museum":552,"description":20117,"tags":20118,"thumbUrl":20119,"material":59,"size":59,"collection":59,"collections":20120,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},236435,"shu-zhi-shan-shui-ce-yi-ming-236435","殳执山水册","此作以清隽之笔绘就江干林麓之景。坡岸之上，数株青松错落成林，松针细劲匀整，枝干虬曲苍秀，尽显古木清挺之姿。浅滩矶石错落横陈，点染着幽蓝小花与青碧芳草，水畔留白以虚代实，晕出空濛江色。\n\n设色浅淡明净，赭石晕染坡岸、花青点苔敷色，笔墨秀雅温润。全画虚实相生，以简淡笔致铺陈出萧散清寂的林下氛围，将文人幽居林泉的闲远意趣藏于淡冶景致中，尽显沉静空悠的山水雅韵，尽显文人画寄情丘壑的典型意趣。",[25,26,53,29,80,134,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaace795f58d2da17bebed8d7d6881cb.jpg",[],{"id":20122,"slug":20123,"title":20116,"dynasty":69,"author":201,"museum":552,"description":20124,"tags":20125,"thumbUrl":20126,"material":59,"size":59,"collection":59,"collections":20127,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},236433,"shu-zhi-shan-shui-ce-yi-ming-236433","此作以淡墨晕染出空濛月夜山境，云雾留白铺陈，将山林古刹托于烟霭之中。明月悬于浅灰天际，古松虬枝、佛塔禅院隐现云间，似远还近。枯淡线条勾勒松木枝桠，蓬松云气以水墨晕染而成，淡赭轻点秋叶，清冷又带着几缕暖色生机。\n整幅画作将秋夜幽寂写得如诗似幻，清寂空灵间满是禅意，把寄情林泉、寻味尘外的意趣藏于尺幅之间，寥寥笔墨便勾勒出超脱尘俗的山水禅境，尽显小品山水的雅致意韵。",[25,26,53,55,29,80,241,242,153,864,135,81,84,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc5f70ff9752b852ec1d91690ace04e.jpg",[],{"id":20129,"slug":20130,"title":20131,"dynasty":18,"author":15804,"museum":552,"description":15805,"tags":20132,"thumbUrl":20133,"material":641,"size":642,"collection":59,"collections":20134,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},236348,"shui-shi-shan-chen-heng-ke-236348","水石扇",[25,26,714,55,80,7,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8def83258460be0af96b09c78c48aa69.jpg",[],{"id":20136,"slug":20137,"title":1238,"dynasty":18,"author":12483,"museum":552,"description":12484,"tags":20138,"thumbUrl":20139,"material":641,"size":642,"collection":59,"collections":20140,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},236281,"za-hua-ce-chen-zi-236281",[25,26,29,53,80,30,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da4a7182eaf3aa3d92dfd1b9f5c373f.jpg",[],{"id":20142,"slug":20143,"title":20144,"dynasty":18,"author":3814,"museum":552,"description":17394,"tags":20145,"thumbUrl":20146,"material":641,"size":642,"collection":59,"collections":20147,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},236037,"di-liu-ba-ha-da-la-zun-zhe-ding-guan-peng-236037","第六拔哈达喇尊者",[25,24,29,28,576,30,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d5b59992fe64e5f0d9af1f5de7eb6f.jpg",[],{"id":20149,"slug":20150,"title":20151,"dynasty":18,"author":3814,"museum":552,"description":17394,"tags":20152,"thumbUrl":20153,"material":641,"size":642,"collection":59,"collections":20154,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},236035,"di-er-a-zi-da-zun-zhe-ding-guan-peng-236035","第二阿资答尊者",[25,26,27,576,28,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bcf25c6a8c3f92bce62f6b5eb3b4e4.jpg",[],{"id":20156,"slug":20157,"title":20158,"dynasty":18,"author":3814,"museum":552,"description":17394,"tags":20159,"thumbUrl":20163,"material":641,"size":642,"collection":59,"collections":20164,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":143},236032,"di-shi-wu-guo-ba-ga-zun-zhe-ding-guan-peng-236032","第十五锅巴嘎尊者",[24,25,26,27,576,28,29,30,7,20160,20161,20162,79],"衣袍","坐垫","鞋子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812ef70a8bc1f8e633dc4ddf0adb9e60.jpg",[],{"id":20166,"slug":20167,"title":18038,"dynasty":18,"author":14680,"museum":552,"description":14681,"tags":20168,"thumbUrl":20169,"material":641,"size":642,"collection":59,"collections":20170,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},235952,"zhi-hua-za-hua-ce-gao-qi-pei-235952",[25,26,53,15050,55,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b884d5ab8767b41f2f5b27edebebd5.jpg",[],{"id":20172,"slug":20173,"title":18038,"dynasty":18,"author":14680,"museum":552,"description":14681,"tags":20174,"thumbUrl":20175,"material":641,"size":642,"collection":59,"collections":20176,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},235951,"zhi-hua-za-hua-ce-gao-qi-pei-235951",[25,26,53,15050,55,7,153,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F086ffdf9eb0aa97c8efca190e4003903.jpg",[],{"id":20178,"slug":20179,"title":502,"dynasty":18,"author":15316,"museum":552,"description":20180,"tags":20181,"thumbUrl":20182,"material":59,"size":59,"collection":59,"collections":20183,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":44},235945,"shan-shui-ce-qi-zhi-jia-235945","此作用极简淡墨铺陈丘林野景，坡岸之上古松斜欹，杂木荒寒，枝桠错落间尽现初冬萧索意趣。远山以干笔淡皴轻勾，墨色晕染出空濛清旷的幽远意境，留白处尽显山水疏朗空寂之态。\n\n左幅行书题跋笔致秀逸舒展，与画面的清简格调浑然相融，书画相映，衬出文人雅逸的林下之风。全作用笔简净含蓄，以清冷淡远的笔墨勾勒出冲淡冷寂的山水意韵，尽显文人画中萧散淡远的审美意趣。",[25,26,53,55,75,78,79,80,81,7,277,349,135,1791,134,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabfe5cbbdc3931077709f5f8b72cba5a.jpg",[],{"id":20185,"slug":20186,"title":7126,"dynasty":18,"author":17408,"museum":552,"description":17409,"tags":20187,"thumbUrl":20188,"material":641,"size":642,"collection":59,"collections":20189,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},235921,"shan-shui-tu-ce-mei-chong-235921",[25,26,53,55,80,7,81,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635d8c96de649bef05d32908f7072d22.jpg",[],{"id":20191,"slug":20192,"title":7126,"dynasty":18,"author":17408,"museum":552,"description":17409,"tags":20193,"thumbUrl":20194,"material":641,"size":642,"collection":59,"collections":20195,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},235918,"shan-shui-tu-ce-mei-chong-235918",[25,26,53,55,80,75,7,349,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b9de35d6ab334a6dff958cc15b276a8.jpg",[],{"id":20197,"slug":20198,"title":7126,"dynasty":18,"author":17408,"museum":552,"description":17409,"tags":20199,"thumbUrl":20200,"material":641,"size":642,"collection":59,"collections":20201,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},235917,"shan-shui-tu-ce-mei-chong-235917",[25,26,24,53,55,29,75,80,715,7,153,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08fe1c0ed0f617749ef3fab32741bf16.jpg",[],{"id":20203,"slug":20204,"title":3256,"dynasty":18,"author":14211,"museum":552,"description":20205,"tags":20206,"thumbUrl":20207,"material":59,"size":59,"collection":59,"collections":20208,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},235570,"hua-hui-ce-fan-ting-zhen-235570","此作以墨绘竹，老干挺拔苍劲，节处以留白摹拟积雪，自带清寂寒意。新篁舒展向上，与老竹错落成趣。竹叶以浓淡墨色次第点染，虚实交错，枝叶婆娑间尽显灵动生机，不见板滞之态。\n\n绘竹时中锋运笔写竿，圆劲爽利；侧锋挥叶，兼具法度与写意意趣。淡墨勾石，简淡空灵，衬出修竹的秀雅高洁。题字与画作相映，诗书画印融为一体，将凌霜傲雪的君子风骨藏于笔墨之中，清寂间不失傲然生机，尽显文人画雅致意韵，是颇具情致的小品佳作。",[25,55,53,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43f4e2a39bbb75f906de711ca469ae9.jpg",[],{"id":20210,"slug":20211,"title":502,"dynasty":18,"author":19973,"museum":552,"description":19974,"tags":20212,"thumbUrl":20213,"material":641,"size":642,"collection":59,"collections":20214,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},235494,"shan-shui-ce-liu-yu-235494",[25,26,53,55,75,77,78,79,80,7,134,277,82,136,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8baf66db1615a9818a722bb646ef0e1.jpg",[],{"id":20216,"slug":20217,"title":18185,"dynasty":18,"author":16920,"museum":552,"description":18186,"tags":20218,"thumbUrl":20219,"material":641,"size":642,"collection":59,"collections":20220,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},235420,"cai-jia-hua-hui-tu-ce-cai-jia-235420",[25,26,53,55,29,28,7,243,435,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe7a30342711083f7b1a53de3221fc4.jpg",[],{"id":20222,"slug":20223,"title":20224,"dynasty":18,"author":201,"museum":552,"description":20225,"tags":20226,"thumbUrl":20227,"material":641,"size":642,"collection":59,"collections":20228,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},235317,"ba-jia-shan-shui-ce-quan-xiu-zi-zhan-xiao-xiang-ce-ye-yi-ming-235317","八家山水册-诠修子瞻小像册页","此作对开以书画合璧呈现，右侧淡墨绘古松盘虬，枝干皴写苍劲，松针攒簇见郁茂生机。林下高士策杖缓行，童子随侍身侧，石边陈置茶器，野逸清寂，尽展林泉幽居的雅趣。\n\n左侧行书笔致萧散灵动，墨色浓淡错落，诗书相映，文气沛然。全作用笔洗练简淡，以少胜多，将文人寄情山水、耽于丘壑的幽怀融于尺幅，于简远疏淡间氤氲出悠长意境，尽显传统文人画的雅致韵致。",[25,26,53,29,30,81,7,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058ec6626100f74ea43503c833ef5901.jpg",[],{"id":20230,"slug":20231,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":20232,"thumbUrl":20233,"material":139,"size":59,"collection":59,"collections":20234,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},234748,"huang-shan-tu-ce-jiang-zhu-234748",[25,26,53,78,29,80,7,4904,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecd3973a697777016bcc61960dab61c.jpg",[],{"id":20236,"slug":20237,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":20238,"thumbUrl":20239,"material":139,"size":59,"collection":59,"collections":20240,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},234746,"huang-shan-tu-ce-jiang-zhu-234746",[25,26,53,55,75,80,242,7,260,78,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7c723508ec3b20b97d144f263ba63a.jpg",[],{"id":20242,"slug":20243,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":20244,"thumbUrl":20245,"material":139,"size":59,"collection":59,"collections":20246,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},234745,"huang-shan-tu-ce-jiang-zhu-234745",[25,26,53,55,75,80,7,260,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c86ff12ef5503fad3298fc8d1ced0e3.jpg",[],{"id":20248,"slug":20249,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":20250,"thumbUrl":20252,"material":139,"size":59,"collection":59,"collections":20253,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},234742,"huang-shan-tu-ce-jiang-zhu-234742",[25,26,53,55,75,78,77,80,20251,7],"峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc603bcfea893b3e6f93c3ec7fd3238c1.jpg",[],{"id":20255,"slug":20256,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":20257,"thumbUrl":20258,"material":139,"size":59,"collection":59,"collections":20259,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},234736,"huang-shan-tu-ce-jiang-zhu-234736",[25,26,53,55,80,7,75,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5ac565588516320e964234a7dad28e.jpg",[],{"id":20261,"slug":20262,"title":502,"dynasty":69,"author":8913,"museum":552,"description":10439,"tags":20263,"thumbUrl":20264,"material":59,"size":59,"collection":59,"collections":20265,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},234666,"shan-shui-ce-shao-mi-234666",[25,26,53,55,80,85,349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07e4c3390b7a056f39afcc7ed2a00020.jpg",[],{"id":20267,"slug":20268,"title":20269,"dynasty":18,"author":20270,"museum":552,"description":20271,"tags":20272,"thumbUrl":20273,"material":59,"size":59,"collection":59,"collections":20274,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},234603,"qiu-kong-ya-yu-wan-shan-shen-tang-234603","秋空鸦语纨扇","沈塘","沈塘，按广印人，传作唐。字莲舫，别字雪庐，世居江苏吴江。幼即好画，後从陆恢（一八五一-一九二o）游。为吴大激（一八三五-一九o二）。张之洞（一八三七-一九o九）所契重，与补修承华事略。旋移家苏州，四方求画者不绝于门。宣统三年（一九一一）尝仿倪瓒山水图，载海上名家画集。亦善篆刻。《费树蔚撰沈君墓志铭、卓观斋笔记、广印人传》",[25,26,714,55,434,29,30,134,153,7,80,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd0fcb10136472fc068076ff3d7a54d.jpg",[],{"id":20276,"slug":20277,"title":20278,"dynasty":18,"author":20279,"museum":552,"description":19173,"tags":20280,"thumbUrl":20281,"material":59,"size":59,"collection":59,"collections":20282,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},234554,"yu-mu-shang-xin-ce-shan-shui-ce-ye-wu-huan-234554","娱目赏心册-山水册页","吴澴",[25,26,53,29,56,7,79,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd798b4f40760e10b84f277469cb440fd.jpg",[],{"id":20284,"slug":20285,"title":20286,"dynasty":18,"author":20287,"museum":552,"description":19173,"tags":20288,"thumbUrl":20289,"material":59,"size":59,"collection":59,"collections":20290,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},234552,"yu-mu-shang-xin-ce-jiao-shi-ce-ye-pan-fa-sheng-234552","娱目赏心册-蕉石册页","潘阀盛",[25,26,53,55,79,78,189,32,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9da955732040f9592fd5810cfe3ec2.jpg",[],{"id":20292,"slug":20293,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20294,"thumbUrl":20295,"material":59,"size":59,"collection":59,"collections":20296,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233673,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233673",[25,26,53,6125,29,7,446,2806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1221307ccb659fe60cc76bd9fbac0500.jpg",[],{"id":20298,"slug":20299,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20300,"thumbUrl":20301,"material":59,"size":59,"collection":59,"collections":20302,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":4375},233632,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233632",[25,26,53,29,6125,7,7620,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2b0039ddc2316d01cbf0216614d9cf.jpg",[],{"id":20304,"slug":20305,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20306,"thumbUrl":20307,"material":59,"size":59,"collection":59,"collections":20308,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233598,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233598",[24,25,26,53,29,6125,56,174,7,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfb97e4ea71a61e803fe771d9bb95cb.jpg",[],{"id":20310,"slug":20311,"title":940,"dynasty":18,"author":9663,"museum":71,"description":12942,"tags":20312,"thumbUrl":20313,"material":139,"size":12945,"collection":59,"collections":20314,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233428,"huang-shan-tu-ce-mei-qing-233428",[25,26,53,55,75,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55b6c96f4001d1a81849cfc239daddf.jpg",[],{"id":20316,"slug":20317,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20318,"thumbUrl":20319,"material":59,"size":59,"collection":59,"collections":20320,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233348,"shi-zhu-zhai-pu-ce-hu-ri-cong-233348",[25,26,53,55,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8454de02c2b0aa5cfb8e8fe84ed1258.jpg",[],{"id":20322,"slug":20323,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20324,"thumbUrl":20325,"material":59,"size":59,"collection":59,"collections":20326,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233347,"shi-zhu-zhai-pu-ce-hu-ri-cong-233347",[25,26,53,29,7,79,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0171e87a4998fcf3c382ba42343c0103.jpg",[],{"id":20328,"slug":20329,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20330,"thumbUrl":20331,"material":59,"size":59,"collection":59,"collections":20332,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233313,"shi-zhu-zhai-pu-ce-hu-ri-cong-233313",[25,29,53,56,32,374,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae02d2265926aa8760b043416c565942.jpg",[],{"id":20334,"slug":20335,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20336,"thumbUrl":20337,"material":59,"size":59,"collection":59,"collections":20338,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233312,"shi-zhu-zhai-pu-ce-hu-ri-cong-233312",[25,26,53,55,29,56,153,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a2989dcb9602f2a2f9e64d20e66e7e6.jpg",[],{"id":20340,"slug":20341,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20342,"thumbUrl":20343,"material":59,"size":59,"collection":59,"collections":20344,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233308,"shi-zhu-zhai-pu-ce-hu-ri-cong-233308",[25,26,53,55,29,7,34,662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c7fca12cfec6d1e907ebbf71107d52.jpg",[],{"id":20346,"slug":20347,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20348,"thumbUrl":20349,"material":59,"size":59,"collection":59,"collections":20350,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233301,"shi-zhu-zhai-pu-ce-hu-ri-cong-233301",[25,26,53,29,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f14ad57ab46f8a636f55a7c348d2665.jpg",[],{"id":20352,"slug":20353,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20354,"thumbUrl":20355,"material":59,"size":59,"collection":59,"collections":20356,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233287,"shi-zhu-zhai-pu-ce-hu-ri-cong-233287",[25,26,53,55,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e95e301f39bb4935ca96d6868ec9e6a.jpg",[],{"id":20358,"slug":20359,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20360,"thumbUrl":20361,"material":59,"size":59,"collection":59,"collections":20362,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233279,"shi-zhu-zhai-pu-ce-hu-ri-cong-233279",[25,55,53,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbe9980b8e94b819ee19a0853f6a194.jpg",[],{"id":20364,"slug":20365,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20366,"thumbUrl":20367,"material":59,"size":59,"collection":59,"collections":20368,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233242,"shi-zhu-zhai-pu-ce-hu-ri-cong-233242",[25,26,53,434,55,76,7,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27de24df89b5b47187e7909f27c2fecb.jpg",[],{"id":20370,"slug":20371,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20372,"thumbUrl":20373,"material":59,"size":59,"collection":59,"collections":20374,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233239,"shi-zhu-zhai-pu-ce-hu-ri-cong-233239",[25,29,53,188,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84967cf2ab0b08d173a92115c4eb6ab2.jpg",[],{"id":20376,"slug":20377,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":20378,"thumbUrl":20379,"material":59,"size":59,"collection":59,"collections":20380,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233237,"shi-zhu-zhai-pu-ce-hu-ri-cong-233237",[25,29,53,189,7,134,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc3bd4f23dd069523507d7850ec885e.jpg",[],{"id":20382,"slug":20383,"title":940,"dynasty":18,"author":9663,"museum":71,"description":12942,"tags":20384,"thumbUrl":20385,"material":139,"size":12945,"collection":59,"collections":20386,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},233153,"huang-shan-tu-ce-mei-qing-233153",[25,26,53,55,80,349,7,32,79,77,78,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5bf1b57de79061b65b1e8bd28d46c5.jpg",[],{"id":20388,"slug":20389,"title":20390,"dynasty":148,"author":201,"museum":552,"description":20391,"tags":20392,"thumbUrl":20393,"material":59,"size":59,"collection":59,"collections":20394,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":44},228235,"tie-guai-li-yi-ming-228235","铁拐李","此作用水墨写意落笔，将人物刻画入神。袒露的虬劲筋骨带着山野风霜，褴褛衣衫随体赋形，跛足拄杖，抬手似在凌虚唤气，神态桀骜疏狂，落魄不羁的仙风道骨跃然绢上。背景以淡墨晕出山岚烟霭，斜出的松枝点染清寂氛围，左上角题字添就古雅意趣。画作笔墨简括老辣，以神写形，不求工细却精准捕捉住世俗仙人的独特神韵，淡墨晕染的朦胧氛围感让人物融于山水之间，尽显超脱世外的悠远风骨。",[25,26,27,576,434,55,30,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16332208f6f76dad3a1b35acea3b160e.jpg",[],{"id":20396,"slug":20397,"title":20398,"dynasty":18,"author":2149,"museum":552,"description":20399,"tags":20400,"thumbUrl":20403,"material":20404,"size":20405,"collection":59,"collections":20406,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":143},224411,"shu-hua-shi-liu-kai-12-wang-shi-min-224411","书画十六开-12","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,25,26,53,78,55,863,864,33,445,446,20401,7,160,20402,338,115],"船","露","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84aedfa28e75d33e856affa0fda90d1.jpg","墨色绢本","48x32",[],{"id":20408,"slug":20409,"title":20410,"dynasty":18,"author":20411,"museum":552,"description":20412,"tags":20413,"thumbUrl":20414,"material":59,"size":59,"collection":59,"collections":20415,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},224108,"shan-shui-hua-hui-ce-jiu-fu-mei-224108","山水花卉冊(九)","傅眉","此作以扇面取景，分作两段景致。上部烟柳笼堤，淡墨晕染远山，云气朦胧悠远，柳枝如烟似雾，苍劲枝干托曳柔条，刚柔相济，汀渚水色空濛，漾出幽寂春寒之意。下半幅叠石临流，水榭孤悬矶石之上，碧波萦回石畔，古松盘曲于岩岫之间，笔墨苍润朴拙。\n全作用浅赭铺陈底色，墨色浓淡掩映，将江南水岸早春的清寂闲雅凝于尺幅，既有文人画的简淡空灵，又带着质朴厚重的笔致，意境萧散淡远，尽显静穆幽隽的林下之致，雅静悠然，余韵悠长。",[23,25,55,29,53,80,349,82,277,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812487675da15e438230aa404acdf6dc.jpg",[],{"id":20417,"slug":20418,"title":20419,"dynasty":18,"author":7913,"museum":835,"description":9007,"tags":20420,"thumbUrl":20421,"material":3724,"size":59,"collection":59,"collections":20422,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":1551},222714,"huang-shan-ba-jing-tu-ce-3-zheng-min-222714","黄山八景图册3",[23,25,26,53,55,75,80,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe867f889879a8e62b86b36c5b0a5a158.jpg",[],{"id":20424,"slug":20425,"title":20426,"dynasty":18,"author":3115,"museum":835,"description":11353,"tags":20427,"thumbUrl":20428,"material":5191,"size":17604,"collection":59,"collections":20429,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},222638,"shan-shui-shu-fa-ce-liu-kai-4-gao-feng-han-222638","山水书法册六开-4",[23,25,26,53,55,75,80,277,82,30,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f6a136073f3bb154cce56b914e397b.jpg",[],{"id":20431,"slug":20432,"title":20433,"dynasty":18,"author":3115,"museum":835,"description":11353,"tags":20434,"thumbUrl":20435,"material":5191,"size":17604,"collection":59,"collections":20436,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},222637,"shan-shui-shu-fa-ce-liu-kai-3-gao-feng-han-222637","山水书法册六开-3",[23,25,26,53,29,78,79,134,190,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726010e2ae0381698f9dcb7ef1bf9740.jpg",[],{"id":20438,"slug":20439,"title":20440,"dynasty":18,"author":17621,"museum":3191,"description":20441,"tags":20442,"thumbUrl":20443,"material":17626,"size":17627,"collection":59,"collections":20444,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":59},220742,"shan-shui-ji-5-wang-shi-min-weng-ling-wu-hong-deng-220742","山水集5","此作用笔苍简老辣，枯木虬枝盘错如腾龙，皴擦间尽显风霜浸淫的苍古之态，嶙峋湖石以淡墨晕染勾勒，朴拙静穆，自带沉厚古意。几丛幽篁依木而生，清隽枝叶柔婉舒展，与古木顽石的苍劲刚硬相映成趣。\n\n题款朱印点缀右上角，书画相融，暗合文人寄兴林泉的雅趣。整幅小品萧散淡远，以极简尺幅写尽林下幽致，将幽居自适的隐逸襟怀藏进笔墨，淡墨轻岚间漫溢出静雅出尘的古韵。",[25,434,55,80,1231,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1ea7fe02ad98deb6fb430a7a2880886.jpg",[],{"id":20446,"slug":20447,"title":20448,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":20449,"thumbUrl":20450,"material":205,"size":59,"collection":59,"collections":20451,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":44},218198,"luo-han-zhou-11-wu-bin-218198","罗汉轴-11",[25,26,27,576,434,55,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffb03f613c1186fd0e11eee0c0cd809.jpg",[],{"id":20453,"slug":20454,"title":20455,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":20456,"thumbUrl":20457,"material":205,"size":59,"collection":59,"collections":20458,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":44},218193,"luo-han-zhou-15-wu-bin-218193","罗汉轴-15",[24,25,26,27,576,434,55,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb234f7edd56810035c940af755828ffb.jpg",[],{"id":20460,"slug":20461,"title":20462,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":20463,"thumbUrl":20464,"material":205,"size":59,"collection":59,"collections":20465,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":44},218191,"luo-han-zhou-16-wu-bin-218191","罗汉轴-16",[25,26,27,576,30,434,55,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afaccef315e3f48b5493946585ef43a.jpg",[],{"id":20467,"slug":20468,"title":20469,"dynasty":69,"author":5428,"museum":552,"description":18428,"tags":20470,"thumbUrl":20472,"material":327,"size":59,"collection":59,"collections":20473,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":1551},217179,"shui-hu-quan-tu-16-du-jin-217179","水浒全图-16",[4741,25,26,53,434,20471,30,7,82,81],"线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fda2493fdb745fe8a24d5a5bce76655.jpg",[],{"id":20475,"slug":20476,"title":20477,"dynasty":69,"author":5428,"museum":552,"description":18428,"tags":20478,"thumbUrl":20479,"material":327,"size":59,"collection":59,"collections":20480,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":1551},217156,"shui-hu-quan-tu-40-du-jin-217156","水浒全图-40",[25,26,53,55,80,7,134,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4a760b71a906b4854ee853ef6ccc80.jpg",[],{"id":20482,"slug":20483,"title":20484,"dynasty":18,"author":20485,"museum":184,"description":20486,"tags":20487,"thumbUrl":20488,"material":58,"size":20489,"collection":59,"collections":20490,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},217013,"ruan-yuan-yi-shi-shi-jing-tu-ce-2-wang-yun-217013","阮元遗事十景图册-2","汪鋆","阮元遗事十景图册是清朝时期汪鋆的一部作品。汪鋆（1735-1815年）是一位著名的清代画家，他的作品主要描绘人物、山水、花鸟等题材。阮元遗事十景图册是一部十幅图册，每幅图画都是汪鋆根据阮元的遗事描绘的人物和景象。阮元是一位著名的文学家，他的作品富有感染力，深受读者喜爱。汪鋆的这部作品通过艺术手法，将阮元的遗事生动地呈现在读者面前。",[25,26,53,29,55,28,32,117,522,7,79,2351,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb94257423282e8468e199f742fb12f4.jpg","27.9x33cm",[],{"id":20492,"slug":20493,"title":20494,"dynasty":18,"author":9324,"museum":552,"description":18444,"tags":20495,"thumbUrl":20496,"material":58,"size":59,"collection":59,"collections":20497,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},215077,"tui-bei-tu-ce-25-jiao-bing-zhen-215077","推背图册-25",[23,18,25,26,53,28,29,30,7,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe064f466f3fc5702463050d94b8c4f1.jpg",[],{"id":20499,"slug":20500,"title":20501,"dynasty":18,"author":9324,"museum":552,"description":18444,"tags":20502,"thumbUrl":20503,"material":58,"size":59,"collection":59,"collections":20504,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":64},215059,"tui-bei-tu-ce-43-jiao-bing-zhen-215059","推背图册-43",[23,25,28,29,30,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62756c1cf9fb28cccf55ce8a76f66961.jpg",[],{"id":20506,"slug":20507,"title":14981,"dynasty":69,"author":1505,"museum":150,"description":20508,"tags":20509,"thumbUrl":20510,"material":59,"size":59,"collection":88,"collections":20511,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20512},203450,"fang-gu-shan-shui-ce-dong-qi-chang-203450","此册页笔墨清润疏朗，以淡墨晕染山水，山石勾勒简约见骨，皴擦间透出苍润质感。近景树木点染灵动，水畔小屋隐于林麓，远景山峦层叠，虚实相生间营造空濛悠远之境。左侧书法笔势流畅，与山水笔墨呼应，书画一体尽显文人书卷气。作品不重写实而重神韵，仿古中见个人意趣，传递平淡天真的审美追求。",[23,25,26,53,55,75,80,115,338,117,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23aa82e44cde290d191d0410a2c35585.jpg",[88],"9e927d",{"id":20514,"slug":20515,"title":20516,"dynasty":18,"author":6514,"museum":150,"description":20517,"tags":20518,"thumbUrl":20525,"material":59,"size":59,"collection":88,"collections":20526,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20527},203369,"hua-shan-shi-er-jing-tu-ce-dai-ben-xiao-203369","华山十二景图册","峰峦奇崛，山石以简洁皴法勾勒肌理，淡墨晕染出空灵之境。笔墨苍劲中见秀逸，线条刚健却含蕴藉，将华山的险峻与清寂融为一体。山间亭台隐现，林木疏朗，题跋书法与画作相映成趣，尽显文人画诗画合一的韵味。每帧皆为独立景致，却气脉连贯，于咫尺间展现华山十二景的雄奇幽深，传递自然与人文交织的静谧之美。",[25,55,75,80,7,349,77,79,53,78,1268,135,20519,3269,2290,4856,20520,20521,716,20522,20523,11308,20524,23],"峰峦","勾勒","晕染","雄奇","幽深","诗画合一","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63cfa9e421d3d6cddafd3f1c8dd688c4.jpg",[88],"e3d8cf",{"id":20529,"slug":20530,"title":20531,"dynasty":9797,"author":20532,"museum":150,"description":20533,"tags":20534,"thumbUrl":20535,"material":59,"size":59,"collection":105,"collections":20536,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20537},203279,"qiao-song-zhi-shou-tu-zhou-chen-shi-ceng-203279","乔松之寿图轴","陈师曾","画面以苍劲乔松与奇崛孤石为主体，松干以赭石泼洒，肌理厚重如老鳞；松针以焦墨劲扫，锋芒毕露，尽显松之坚韧。下方孤石以浓淡干湿的水墨写就，孔洞交错，造型古拙，与松枝刚健形成呼应。笔墨洒脱不羁，兼具写意之趣与文人风骨，松石相衬寓意长寿安康，尽显传统文人画精神内涵。",[55,29,7,27,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7a7941316e8aed075cd7ae925b90a7.jpg",[105],"a49381",{"id":20539,"slug":20540,"title":20541,"dynasty":9797,"author":4779,"museum":150,"description":20542,"tags":20543,"thumbUrl":20544,"material":59,"size":59,"collection":59,"collections":20545,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20546},203036,"lan-shi-e-niao-tu-zhou-qi-bai-shi-203036","兰石鹗鸟图轴","鹗鸟踞于孤石之巅，墨羽苍劲，圆眸点染得炯炯有神，憨态里藏着几分警觉。石侧兰草疏逸，叶线流转如舞，赭黄点花添野趣生机。整作笔墨简括却意韵丰沛，白石老人以写意之法，将寻常花鸟写得鲜活灵动，质朴中见真趣，尽显对自然生命的深切观照。",[25,26,27,55,29,56,7,188,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ec0051c034414f824b7176241d2c61.jpg",[],"c5af91",{"id":20548,"slug":20549,"title":20550,"dynasty":9797,"author":20551,"museum":150,"description":20552,"tags":20553,"thumbUrl":20554,"material":59,"size":59,"collection":59,"collections":20555,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20556},202968,"hua-hui-tu-zhou-wu-zheng-202968","花卉图轴","吴徵","画面以写意笔触铺陈，墨竹枝干挺劲，叶片错落间见笔力；数丛花卉点缀其间，色彩明丽却不失雅致，红叶片片似染秋光，白菊淡雅衬于石旁。巨石以泼墨晕染，皴擦兼施，苍劲古朴。笔墨交融处，既有文人画的意趣，又显自然生机。设色与水墨相映成趣，动静相宜，尽显秋意盎然之态。",[25,26,56,55,29,32,189,7,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1bc80ecaad70862308e2d9cc36936e9.jpg",[],"c2b7a7",{"id":20558,"slug":20559,"title":20560,"dynasty":9797,"author":20561,"museum":150,"description":20562,"tags":20563,"thumbUrl":10,"material":59,"size":59,"collection":59,"collections":20564,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20565},202766,"jiao-he-tu-zhou-zhao-shu-ru-202766","蕉鹤图轴","赵叔孺","仙鹤立于孤石之上，丹顶朱红，墨羽劲挺，白羽如凝雪，俯身轻触旁侧粉艳花枝，情态悠然。下方芭蕉叶以浓淡墨色层叠晕染，叶脉线条劲健，舒展间尽显生机；花枝细碎，粉白相间，与苍木相映成趣。笔墨融工细与写意于一体，仙鹤造型精准灵动，花叶树木则挥洒自如，色彩淡雅温润，整体清逸雅致，韵味悠长。",[56,28,55,29,7,27,23],[],"8b8f86",{"id":20567,"slug":20568,"title":20569,"dynasty":9797,"author":4779,"museum":150,"description":20570,"tags":20571,"thumbUrl":20572,"material":59,"size":59,"collection":59,"collections":20573,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20574},202755,"shi-shou-tu-zhou-qi-bai-shi-202755","石寿图轴","画面以淋漓水墨绘出数块嶙峋之石，墨色浓淡交错，笔触苍劲老辣，似随意挥洒却筋骨暗藏。两只禽鸟姿态鲜活，一昂首远眺，一俯身凝思，长尾轻曳如丝，羽毛以简笔勾勒却神形毕肖。整幅画作于简淡中见生机，石之朴拙与鸟之灵动相映成趣，尽显写意花鸟的妙趣横生，传递出清逸自然的意韵。",[25,55,56,7,153,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc2c544677133c070f23ea31d9b3eac.jpg",[],"d2cfc7",{"id":20576,"slug":20577,"title":20578,"dynasty":18,"author":20579,"museum":150,"description":20580,"tags":20581,"thumbUrl":20583,"material":59,"size":59,"collection":59,"collections":20584,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20585},202737,"pu-ti-luo-han-tu-zhou-gao-jun-202737","菩提罗汉图轴","高峻","菩提树下，罗汉宽袍博带，墨线勾勒的衣纹流畅舒展，身姿沉稳。树身以墨笔皴擦，纹理苍古，枝叶染以暖黄，如沐禅光。罗汉面容清癯，眼神沉静，指尖微抬似有所悟，神态间满是超然。背景浅设色晕染，青蓝花草与墨石相映，简淡中蕴生机。笔墨写意中见工致，人物情态传神，景物烘托出清寂禅境，尽显佛家空灵之韵。",[25,576,30,55,29,20582,7,75,173,23],"菩提","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe95d43ee84a8da090a4eb8485a049ab9.jpg",[],"ae9377",{"id":20587,"slug":20588,"title":20589,"dynasty":69,"author":183,"museum":150,"description":20590,"tags":20591,"thumbUrl":20592,"material":59,"size":59,"collection":59,"collections":20593,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20594},202729,"huai-you-tu-zhou-xiang-sheng-mo-202729","怀友图轴","画面以水墨皴染山水，近处林木葱茏，茅舍隐于树石间，质朴雅致。水面孤舟轻漾，舟中二人对坐闲谈，意态悠然。远山淡墨晕染，云雾飘渺，意境空灵悠远。笔墨简淡却韵味醇厚，借山水之静衬怀友之情，尽显文人画清雅意趣。",[80,55,75,85,30,134,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbcd25b029681ac7b23efb2b6230e17b.jpg",[],"bfb099",{"id":20596,"slug":20597,"title":20598,"dynasty":69,"author":3181,"museum":150,"description":20599,"tags":20600,"thumbUrl":20601,"material":59,"size":59,"collection":59,"collections":20602,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20603},202720,"zhu-qin-tu-zhou-lin-liang-202720","竹禽图轴","竹枝以劲健墨线挥写，浓淡交错间枝叶舒展，似带清飒之风。岩石用粗放笔触勾勒，皴擦点染中见苍莽质感，与翠竹相映成趣。禽鸟姿态鲜活：或栖于石巅凝眸远眺，羽翅纹理隐现细腻；或振翅穿竹而过，翎毛飞扬尽显灵动。笔墨兼工带写，于水墨淋漓中藏精致，野逸之气与典雅之韵交融，生动再现竹石间禽鸟的自然意趣，尽显明代花鸟写意的独特风神，观之如临生机盎然的林泉之境。",[56,55,27,32,153,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a2e50d507ae07c8c691b02941571591.jpg",[],"8a7c6a",{"id":20605,"slug":20606,"title":20607,"dynasty":18,"author":20608,"museum":150,"description":20609,"tags":20610,"thumbUrl":20611,"material":59,"size":59,"collection":59,"collections":20612,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20613},202661,"song-xi-gao-yi-tu-zhou-zhu-ang-zhi-202661","松溪高逸图轴","朱昂之","此图以奇崛山石为骨架，皴法勾勒出嶙峋肌理，云雾缭绕峰谷间，显幽深空灵之境。苍松虬劲盘曲，松针浓墨点染，生机勃发；山涧溪流隐现，小径蜿蜒，山脚茅舍雅致，暗寓高逸之士居停之趣。远处峰峦叠嶂，笔墨由实转虚，拓展悠远空间。整体笔墨苍秀相济，山石皴擦结合，树木笔法灵动，构图疏密有致，传递出文人山水的清寂淡泊与自然意趣。",[80,75,715,84,349,55,29,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec5664d35aea5ede9f26fccd37b77b3.jpg",[],"b27c51",{"id":20615,"slug":20616,"title":20617,"dynasty":18,"author":551,"museum":150,"description":20618,"tags":20619,"thumbUrl":20620,"material":59,"size":59,"collection":59,"collections":20621,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20622},202637,"guo-se-guo-xiang-tu-zhou-wu-chang-shuo-202637","国色国香图轴","这幅画为吴昌硕写意花鸟的典范之作。牡丹雍容，以浓艳设色晕染，花瓣层叠间尽显华贵；山石以泼墨写出，块面苍劲，与柔婉花草形成刚柔对比；兰草线条如草书挥洒，笔墨兼具金石沉雄与水墨灵动。色彩饱和却不失雅致，构图疏密有致，将牡丹“国色国香”的神韵诠释得入木三分，尽显画家晚年炉火纯青的艺术造诣。",[56,191,7,188,27,55,29,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c52ed3a765a026e77bd94151313b0f.jpg",[],"b0a394",{"id":20624,"slug":20625,"title":20626,"dynasty":18,"author":417,"museum":150,"description":20627,"tags":20628,"thumbUrl":20629,"material":59,"size":59,"collection":59,"collections":20630,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20631},202632,"song-gui-zhu-lan-tu-zhou-li-shan-202632","松桂竹兰图轴","画面中老松虬干盘曲，枝干如铁铸般苍劲，松针攒簇似剑戟；桂叶扶疏，墨色浓淡交错间显层叠之姿；竹影疏斜、兰草纤柔，与嶙峋孤石相映成趣。笔墨纵逸奔放，兼工带写，线条老辣洒脱，皴擦点染中草木山石皆具神采。构图疏密有致，虚实相生，气韵流转自如，于豪放挥洒里藏雅致，尽显文人写意之韵，观之满溢自然野趣与清逸风骨。",[25,55,56,715,188,32,1021,7,173,75,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd1c1cc1d77e4150bd3cca8709a1666.jpg",[],"9d8771",{"id":20633,"slug":20634,"title":20635,"dynasty":18,"author":15949,"museum":150,"description":20636,"tags":20637,"thumbUrl":20639,"material":59,"size":59,"collection":59,"collections":20640,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20641},202602,"qian-feng-xiao-xiang-tu-zhou-ding-gao-202602","钱沣肖像图轴","这幅肖像图工写相济，人物端坐孤石之上，面部刻画精准传神，衣纹线条流畅自然，设色淡雅古朴。背景以写意笔触绘虬曲老树、平远田野，近侧马匹悠然觅食，清幽景致与人物沉静气质相融，尽显清代肖像画的精湛技艺与文人意境。",[20638,29,30,306,7,134,28,27,23],"标签：国画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c86b28f9c5d2a99cda48a2a0fc1577.jpg",[],"b9935f",{"id":20643,"slug":20644,"title":20645,"dynasty":18,"author":8224,"museum":150,"description":20646,"tags":20647,"thumbUrl":20648,"material":59,"size":59,"collection":59,"collections":20649,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20650},202566,"e-mei-xue-ji-tu-zhou-pu-hua-202566","峨眉雪霁图轴","淡墨晕染的山峦覆着留白的积雪，清寒之气扑面而来。枯笔勾勒的寒林枝干虬劲交错，如铁骨般立于崖边。山间小屋隐现，在苍茫雪景中透出些许暖意，却未扰那份静谧。笔墨挥洒间，逸气满纸，苍劲笔触写尽峨眉雪霁的疏朗空寂，似能听见雪落声，触到山风的凛冽。",[25,55,80,75,1231,134,7,3203,6240,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7f0a194ac88716ec5917eb248d99792.jpg",[],"a1978d",{"id":20652,"slug":20653,"title":20654,"dynasty":69,"author":537,"museum":150,"description":20655,"tags":20656,"thumbUrl":20657,"material":59,"size":59,"collection":59,"collections":20658,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20659},202497,"yi-shi-shui-xian-tu-zhou-chen-chun-202497","倚石水仙图轴","淡墨晕染出嶙峋孤石，石侧水仙叶片以劲挺墨线勾勒，舒展灵动如带；花头用简淡笔触点染，清雅含露。笔墨疏朗洒脱，墨色浓淡相宜，尽显文人写意之趣。水仙的高洁与孤石的沉静相映成趣，韵致清逸出尘，寥寥数笔间，将自然生机与文人风骨融于一纸，是明代水墨花鸟的逸品之作。",[25,55,27,7,174,56,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea6759add7d54715065c72fd2fc6d0fb.jpg",[],"beae9b",{"id":20661,"slug":20662,"title":20663,"dynasty":69,"author":1505,"museum":150,"description":20664,"tags":20665,"thumbUrl":20666,"material":59,"size":59,"collection":59,"collections":20667,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20668},202483,"xi-shan-yu-yi-tu-zhou-dong-qi-chang-202483","溪山雨意图轴","雨雾轻笼溪山，远山淡墨晕染，峰峦隐于烟霭间，空濛悠远。近景苍松枯木交错，笔意萧散，墨色浓淡相宜；村落藏于林麓，小桥跨流水，石径蜿蜒，生机暗涌。皴擦点染间，笔墨层次丰富，雨意的湿润感透过纸背，似能嗅到山间清润气息。文人之笔凝山水空灵，水墨晕染与线条疏朗相映，尽显雅致韵致，引人入胜。",[55,80,75,277,82,7,134,1231,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e8fd6b511c6bb0bc9dbf8e9973f101b.jpg",[],"b7a7a2",{"id":20670,"slug":20671,"title":20672,"dynasty":18,"author":96,"museum":150,"description":20673,"tags":20674,"thumbUrl":20675,"material":59,"size":59,"collection":59,"collections":20676,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":17740},202459,"wu-tong-feng-huang-tu-zhou-ren-yi-202459","梧桐凤凰图轴","画面里梧桐枝干盘曲，墨笔勾勒间见苍劲，叶片泼墨点染，浓淡相宜。凤凰姿态鲜活，一昂首伫立，一俯身欲动，羽翼色彩明丽，红棕蓝白交织，兼工带写的笔触既细腻刻画翎羽纹理，又写意挥洒气韵。山石淡彩晕染，与花鸟相映，整体生机盎然，尽显笔墨灵动之趣。",[25,29,56,153,7,26,28,55,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79c26eca296fc073a890ea02db07c6b.jpg",[],{"id":20678,"slug":20679,"title":4403,"dynasty":18,"author":551,"museum":150,"description":20680,"tags":20681,"thumbUrl":20682,"material":59,"size":59,"collection":59,"collections":20683,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20684},202435,"yu-lan-tu-zhou-wu-chang-shuo-202435","枝干以篆籀之笔挥写，浓墨线条如铁线盘屈，转折间藏金石铿锵之韵；玉兰花朵留白写意，瓣瓣清疏，与苍劲枝干相映，刚柔相济。下方孤石以泼墨晕染与干笔皴擦相叠，块面虚实相生，托出花木挺秀之姿。整幅以水墨为骨，简中寓繁，于黑白交织间尽显文人画的写意精神，苍古而不失生机，雅逸中见雄浑。",[55,56,7,577,10575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6465efcc4cdc35babd2dd7c21b5f75.jpg",[],"cdc4ba",{"id":20686,"slug":20687,"title":18704,"dynasty":18,"author":551,"museum":150,"description":20688,"tags":20689,"thumbUrl":20690,"material":59,"size":59,"collection":59,"collections":20691,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20692},202378,"lan-zhu-tu-zhou-wu-chang-shuo-202378","兰竹傍石而生，笔墨苍劲中见清雅。以金石入画之法，篆隶线条勾勒花叶枝干，如铁画银钩，墨色浓淡相宜，竹叶潇洒有姿，兰草柔韧含韵，孤石朴拙古雅。构图简括却气韵生动，水墨晕染间，尽显文人画的意趣与君子风骨。花草虽柔，却因笔力刚健而具刚劲之态，将自然之美与画家胸襟相融，观之神清气爽，韵味无穷。",[55,27,188,32,7,26,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928518d14ff5028ef1fcc06816447429.jpg",[],"c4b7a8",{"id":20694,"slug":20695,"title":20696,"dynasty":18,"author":6283,"museum":150,"description":20697,"tags":20698,"thumbUrl":20699,"material":59,"size":59,"collection":59,"collections":20700,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":17740},202368,"zuo-ting-song-feng-tu-juan-wang-hui-202368","坐听松风图卷","松涛穿林，山风入怀。虬松盘曲，笔墨皴擦间尽显苍劲之姿；雅士端坐石畔，神情悠然，似与松声相和。远山含黛，近岫嶙峋，墨色层次丰富，皴法多变，兼具宋元山水的雄浑与清雅。整卷意境空灵，静中寓动，仿佛松风拂面，尽显文人画的诗意禅趣，是王翚融古创新的经典之作。",[25,74,80,30,75,55,134,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cb552e39b032d3e85073bef49afb696.jpg",[],{"id":20702,"slug":20703,"title":20704,"dynasty":18,"author":4526,"museum":150,"description":20705,"tags":20706,"thumbUrl":20707,"material":59,"size":59,"collection":59,"collections":20708,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20709},202344,"hu-shi-pen-lan-tu-zhou-ren-xiong-202344","湖石盆兰图轴","画面以水墨写湖石，笔势雄健，墨色浓淡相破，皴擦间见山石嶙峋之态；盆中幽兰以淡蓝设色，叶如长剑挺秀，花姿疏朗清雅，与湖石的厚重形成刚柔对比。构图简洁却意韵悠长，湖石的苍劲与兰花的纤柔相映成趣，尽显文人画的雅致风骨，传递出对高洁品格的寄寓。",[25,55,29,188,7,56,10575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72a2c7304974d939496b51d9e88f8849.jpg",[],"baaea0",{"id":20711,"slug":20712,"title":4606,"dynasty":18,"author":8224,"museum":150,"description":20713,"tags":20714,"thumbUrl":20715,"material":59,"size":59,"collection":59,"collections":20716,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20717},202330,"mei-hua-lan-shi-tu-zhou-pu-hua-202330","画面以水墨挥洒出孤石嶙峋之态，梅枝虬曲横斜，花蕊疏疏落落地缀于枝间，清气暗生；兰草数茎挺秀，叶片劲健如剑，与梅石相映成趣。笔墨洒脱不羁，墨色浓淡相宜，梅的苍劲、兰的清雅、石的朴拙浑然一体，于简约中见生机，疏淡里藏情韵，尽显文人画的逸趣风骨。",[25,55,56,187,188,7,27,16923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b8deef7db0f94ce77e38e286bc53958.jpg",[],"c0b2a5",{"id":20719,"slug":20720,"title":20721,"dynasty":18,"author":20722,"museum":150,"description":20723,"tags":20724,"thumbUrl":20726,"material":59,"size":59,"collection":59,"collections":20727,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20728},202308,"shui-ge-dui-hua-tu-zhou-wang-jian-202308","水阁对话图轴","王鑑","画面山峦层叠起伏，以披麻皴皴染山石肌理，笔墨苍劲古拙，墨色浓淡相宜，尽显山林苍润之态。山麓水阁隐于林木间，似有雅士对谈，意境清幽悠然。溪流蜿蜒穿谷而过，与山石、林木相映成趣，衬出深远静谧的氛围。整作承元四家遗风，融宋人丘壑与元人笔墨，笔墨精谨，气韵沉雄，是清初正统山水画的典型之作。",[80,75,55,27,20725,82,7,134,23],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c2c51532f52cea3b0652510b342342.jpg",[],"8e7a62",{"id":20730,"slug":20731,"title":2647,"dynasty":18,"author":8501,"museum":150,"description":20732,"tags":20733,"thumbUrl":20735,"material":59,"size":59,"collection":59,"collections":20736,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":17721},202274,"gu-mu-zhu-shi-tu-zhou-luo-mu-202274","古木虬枝盘结，枝干以浓淡墨色交错挥写，苍劲中藏灵动之姿；旁侧孤石嶙峋，线条简练却见朴拙质感；几丛修竹点缀其间，笔墨清逸，更添幽趣。整幅以水墨写意成篇，墨韵淋漓，意境古雅清幽，尽显文人画的疏淡风骨与自然意趣。",[25,55,27,1175,32,7,173,20734,23],"苍劲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46729a1bc2f6b34236a33ab3add24293.jpg",[],{"id":20738,"slug":20739,"title":20740,"dynasty":18,"author":20741,"museum":150,"description":20742,"tags":20743,"thumbUrl":20744,"material":59,"size":59,"collection":59,"collections":20745,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20746},202253,"guan-yin-xiang-zhou-liu-yan-chong-202253","观音像轴","刘彦冲","画面中观音端坐孤石之上，怀抱童子，面容温婉慈悲，眼含悲悯。衣袂以细劲婉转的线条勾勒，飘举若流云，兼具工笔之精致与写意之灵动；设色淡雅清润，衣纹晕染柔和，尽显衣料质感。背景修竹数竿，竹叶以墨笔撇写，疏密有致，与古朴的孤石相映，营造出空灵祥和的氛围。笔墨层次丰富，人物神情刻画入微，童子红衣点缀其间，于素雅中添一抹暖意。整体意境宁静悠远，传递出观音普度众生的悲悯情怀，是宗教题材与文人笔墨的巧妙融合。",[25,27,576,30,32,7,29,28,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cdffed6c72dcd68cefbd5c151d8ffdf.jpg",[],"c7b8a7",{"id":20748,"slug":20749,"title":20750,"dynasty":18,"author":16134,"museum":150,"description":20751,"tags":20752,"thumbUrl":20753,"material":59,"size":59,"collection":59,"collections":20754,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20755},202251,"bi-shan-cui-zhu-tu-juan-gao-xiang-202251","碧山翠竹图卷","墨竹疏朗挺秀，与淡墨皴染的孤石相映成趣。竹叶以浓淡墨色区分层次，笔触灵动如写；竹竿瘦劲有节，尽显清逸之姿。卷上行书题识与水墨竹石呼应，诗画相融，更添雅韵。整体画风简淡自然，笔墨洗练，传递出文人画特有的淡泊心境与孤高品格。",[25,74,55,32,7,78,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a3cd84db9672e3f5e33384cce5da17.jpg",[],"b1a18c",{"id":20757,"slug":20758,"title":20759,"dynasty":18,"author":169,"museum":150,"description":20760,"tags":20761,"thumbUrl":20762,"material":59,"size":59,"collection":59,"collections":20763,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20764},202248,"fang-mi-shan-shui-zhou-shi-tao-202248","仿米山水轴","这幅山水以水墨为基调，米氏点染技法铺陈云峦，山石以简括笔触勾勒，晕染间显苍润质感。近岸孤石旁松枝摇曳，亭宇半藏于林麓；江中孤舟一叶，蓑笠人影隐约，添得清寂幽远之致。笔墨纵逸中见法度，既承袭米派云山的空濛意趣，又注入石涛独有的灵动生机，虚实相生间，将自然丘壑与文人胸臆相融，尽显山水之灵秀与诗意。",[25,55,80,85,505,349,7,75,76,26,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c62f448eabf37913d48c0eea7c3a560.jpg",[],"c4b7a7",{"id":20766,"slug":20767,"title":10015,"dynasty":18,"author":20768,"museum":150,"description":20769,"tags":20770,"thumbUrl":20771,"material":59,"size":59,"collection":59,"collections":20772,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20773},202209,"shi-nv-tu-zhou-jiang-xun-202209","姜壎","画面中仕女倚石而立，衣袂轻垂，眉目含愁，似有闲思萦绕。梅枝疏朗，淡粉花苞点缀其间，与皴染古拙的湖石相映，清寂里透着幽微春意。仕女发髻簪饰精巧，衣纹线条细腻流畅，设色淡雅温润，工笔之韵尽显。整体氛围静谧空灵，闺中闲愁与梅石清雅相融，笔墨间流露温婉文人意趣。",[28,29,30,187,7,10575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3cc2b9fb3425f244b6f85e108fec2c.jpg",[],"d4c9c1",{"id":20775,"slug":20776,"title":20777,"dynasty":18,"author":20778,"museum":150,"description":20779,"tags":20780,"thumbUrl":20781,"material":59,"size":59,"collection":59,"collections":20782,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20783},202134,"song-ju-zhu-shi-tu-zhou-hu-yuan-202134","松菊竹石图轴","胡远","画面取松、竹、菊、石为景，笔墨写意洒脱，设色清雅宜人。苍松虬枝盘曲，松针以浓墨簇点，尽显刚劲；翠竹叶片挺括，撇捺间透着气节；秋菊团簇绽放，淡彩点染中见傲霜之姿；巨石以皴法皴擦，纹理苍古厚重。四物相衬，构筑出静谧高洁的文人意境，借自然物象寄寓品格追求。题款书法流畅，印章点缀其间，书画印相映成趣，更添雅致韵味。",[25,55,29,715,32,189,7,75,27,26,19537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5b6308ea95f752d5b643132bdaf25b5.jpg",[],"a4978b",{"id":20785,"slug":20786,"title":9473,"dynasty":18,"author":15923,"museum":150,"description":20787,"tags":20788,"thumbUrl":20791,"material":59,"size":59,"collection":59,"collections":20792,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20793},202076,"shan-shui-tu-zhou-gao-cen-202076","山峦层叠间云气轻笼，近岸溪流潺潺，茅舍隐于林木，树木或苍劲葱郁或疏朗古拙；中景山石嶙峋，松竹掩映处屋宇依稀，似有幽人栖居；远景奇峰刺破霭色，气势浑朴。笔墨皴染相济，山石以劲挺线条勾勒轮廓，复施皴法表现肌理，树木枝干虬曲，叶色浓淡相宜，设色淡雅温润，营造出深远空间层次与静谧山林气韵，尽显文人山水之雅致清逸。",[80,75,349,82,81,20789,29,7,28,20790],"墨色","茅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3c0ff1f465bb10ba2d3eee470320fe.jpg",[],"947f64",{"id":20795,"slug":20796,"title":1614,"dynasty":18,"author":20797,"museum":150,"description":20798,"tags":20799,"thumbUrl":20800,"material":59,"size":59,"collection":122,"collections":20801,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20802},202046,"zhu-shi-tu-zhou-hong-fan-202046","洪范","这幅竹石图以水墨写意成趣，竹枝劲挺，竹叶撇捺间带风致，墨色浓淡交错显婆娑之态；孤石嶙峋，淡墨晕染衬其厚重，皴擦点苔增其苍劲。竹之清逸与石之沉稳相映，笔墨简练却传神，尽显文人画的意趣风骨。墨气淋漓间，自然生机与笔墨韵味交融，堪称水墨写意的精妙之作。",[25,55,32,7,75,27,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d5a67c78540a4cdd15949eef79eff19.jpg",[122],"b2a18f",{"id":20804,"slug":20805,"title":13184,"dynasty":18,"author":417,"museum":150,"description":20806,"tags":20807,"thumbUrl":20808,"material":59,"size":59,"collection":60,"collections":20809,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20810},201766,"zi-teng-tu-zhou-li-shan-201766","藤蔓如虬龙盘绕孤石，墨色浓淡相济，线条恣肆灵动，紫藤花以淡蓝点染，清雅脱俗。笔意奔放中见细腻，尽显写意花鸟之生机，孤石的沉雄与藤蔓的柔婉相映成趣，传递出自然的野逸之趣。墨色的干湿变化丰富，藤蔓缠绕的姿态富有动感，淡彩的晕染增添了画面的清新雅致，整体风格洒脱不羁，兼具笔墨意趣与生活气息。",[25,27,55,29,7,1231,56,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fddc96bfada5ed3529be25559e535a3.jpg",[60],"d8c6ae",{"id":20812,"slug":20813,"title":20814,"dynasty":18,"author":7127,"museum":150,"description":20815,"tags":20816,"thumbUrl":20817,"material":59,"size":59,"collection":88,"collections":20818,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20819},201712,"shan-cun-shen-yin-tu-zhou-wu-li-201712","山村深隐图轴","画面层峦叠嶂，山石以干笔皴法勾勒，纹理苍劲，墨色浓淡交错，尽显浑厚质感。山间林木错落，老树虬枝，溪涧流水潺潺，岸边孤石点缀，茅屋隐于林麓间，似藏隐逸之趣。整体意境幽远静谧，笔墨苍秀，将山林的幽深与山居的闲适相融，尽显文人山水的清雅韵致。",[25,80,75,55,82,7,134,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f85f297e3a44b141d74446db0f6a99.jpg",[88],"c3b2a6",{"id":20821,"slug":20822,"title":20823,"dynasty":69,"author":201,"museum":150,"description":20824,"tags":20825,"thumbUrl":20826,"material":59,"size":59,"collection":59,"collections":20827,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20828},201621,"song-ying-mei-que-tu-zhou-yi-ming-201621","松鹰梅鹊图轴","画面中猛禽伫立孤石之巅，羽翼纹理细腻工致，墨色晕染层次分明，尽显翎羽的蓬松质感与劲健气势；利爪紧扣石面，姿态挺拔，目光如炬，透出傲然威仪。山石以粗犷皴法勾勒，墨色浓淡交错，线条苍劲老辣，凸显崖壁的嶙峋坚硬；旁侧松枝疏逸，松针挺劲，与山石的厚重形成呼应。整作工写结合，于细腻处见精工，粗犷处显雄浑，将猛禽的孤傲与自然的古拙相融，传递出沉静而磅礴的生命力。",[25,27,56,28,75,2059,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76a1a3cb90775dc060e895aec3e6d17.jpg",[],"77674e",{"id":20830,"slug":20831,"title":20832,"dynasty":18,"author":20833,"museum":150,"description":20834,"tags":20835,"thumbUrl":20836,"material":59,"size":59,"collection":59,"collections":20837,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20838},201570,"mo-zhu-tu-zhou-you-yin-201570","墨竹图轴","尤荫","墨竹疏朗挺劲，枝干以中锋运笔，遒健如铁；竹叶侧锋挥洒，浓淡干湿交错，姿态万千，似闻飒飒清风。下方孤石以简括皴法写就，朴拙厚重，与修竹刚柔相济。右上角行书题跋流畅，朱红印章点缀，书画印浑然一体，尽显文人雅韵。整幅以水墨写意竹之坚韧气节，笔墨间流露画者胸臆，气韵生动，意趣盎然。",[25,26,27,55,32,79,78,7,10575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd45d58da661f43aefd0a6b613e1197c4.jpg",[],"baaa98",{"id":20840,"slug":20841,"title":20842,"dynasty":18,"author":20843,"museum":150,"description":20844,"tags":20845,"thumbUrl":20847,"material":59,"size":59,"collection":59,"collections":20848,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20849},201556,"lang-huan-ke-zhu-tu-zhou-qian-du-201556","琅嬛刻烛图轴","钱杜","这幅画描绘了一处雅致的庭院景致：错落的孤石形态古拙，芭蕉叶舒展如盖，绿意沁人。庭院深处的小屋内，似有文人围坐雅集，尽显闲逸之趣。笔墨工细精致，山石勾勒与皴染结合，芭蕉叶片脉络清晰可见；设色清润淡雅，整体氛围宁静闲适，将文人生活的诗意与从容展现得淋漓尽致。",[25,27,28,29,7,99,20846],"人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601df539628e065f4f450490f6e3f23a.jpg",[],"d5bf9e",{"id":20851,"slug":20852,"title":974,"dynasty":18,"author":475,"museum":150,"description":20853,"tags":20854,"thumbUrl":20855,"material":59,"size":59,"collection":59,"collections":20856,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20857},201450,"hu-shi-shuang-niao-tu-zhou-zhu-da-201450","画面以极简构图层叠意蕴，奇崛湖石以泼墨写就，墨痕浓淡交织如老树盘根，线条老辣中藏着不羁。双鸟栖于石间，身形小巧却眼神冷峭，似凝思似远眺，孑然之态暗合孤高心境。留白处如旷野无声，将物象的疏淡与心绪的沉郁晕染开来。笔墨删繁就简，却于方寸间见乾坤，每一笔都带着率性与深情，是写意花鸟中直抵人心的妙品。",[25,55,56,7,153,27,173,19537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9056d91a286d4bd16dd71e072dff9874.jpg",[],"cdbdac",{"id":20859,"slug":20860,"title":20861,"dynasty":18,"author":2149,"museum":150,"description":20862,"tags":20863,"thumbUrl":20864,"material":59,"size":59,"collection":88,"collections":20865,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20866},201440,"fang-ni-chun-lin-shan-ying-tu-zhou-wang-shi-min-201440","仿倪春林山影图轴","这幅画作笔墨疏淡空灵，近景孤石倚岸，几株疏林枝干挺秀，墨色清润；中景湖面平阔如镜，渺无人踪；远景山峦以简淡皴法勾勒，轮廓柔和，隐现于烟霭之中。整体意境萧散简远，既得倪春林山水的清幽神韵，又融入自身苍劲古拙的笔意，于仿古中见匠心，尽显文人山水画的超逸雅致与静谧深远之趣。",[55,80,75,76,7,1292,27,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0899d7b62fc6baafe2c0cbd127a4d9df.jpg",[88],"c2bfb8",{"id":20868,"slug":20869,"title":20870,"dynasty":69,"author":1018,"museum":150,"description":20871,"tags":20872,"thumbUrl":20873,"material":59,"size":59,"collection":60,"collections":20874,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20875},201426,"han-xiang-you-niao-tu-zhou-lv-ji-201426","寒香幽鸟图轴","古梅虬枝盘亘画面，皴擦出苍劲肌理，素白梅花缀满枝桠，似携寒香浮动。数只禽鸟情态各异：栖于干者交颈亲昵，立岩上者昂首顾盼，羽色晕染细腻，翎毛毕现。岩岫嶙峋如孤石傲立，旁生翠竹数竿，叶影婆娑，与梅花相映成趣。设色淡雅厚重兼具，梅瓣以白笔点染，衬赭底显冰洁；枝干墨骨勾勒，见写意苍劲。工笔绘禽鸟之灵，写意写梅竹之韵，疏密构图间，凝住冬日花鸟的幽寂清趣，尽显明代花鸟的雅致风骨。",[28,29,56,187,32,153,134,7,490,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc2c98bea625a5b622aa95892498246.jpg",[60],"765f49",{"id":20877,"slug":20878,"title":20879,"dynasty":69,"author":2418,"museum":150,"description":20880,"tags":20881,"thumbUrl":20882,"material":59,"size":59,"collection":88,"collections":20883,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20884},201409,"shi-bi-fei-hong-tu-zhou-wen-zheng-ming-201409","石壁飞虹图轴","峭壁如削，飞瀑悬垂若虹，山间林木葱郁，山麓茅舍错落，蹊径上行人缓步，意境清幽淡远。用笔精细挺秀，皴法柔和温润，墨色层次丰富，兼具宋元笔意与文人雅致。构图严谨却灵动，山石的厚重与流水的轻盈相映，传递出静谧安闲的文人气息，尽显文氏山水的苍润之美。",[25,80,55,75,7,82,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43b7b8faef5a5aea53a8fd7f0abed1aa.jpg",[88],"c9c0af",{"id":20886,"slug":20887,"title":8728,"dynasty":69,"author":129,"museum":150,"description":20888,"tags":20889,"thumbUrl":20890,"material":59,"size":59,"collection":60,"collections":20891,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20892},201348,"hua-niao-shan-lan-ying-201348","扇面之上，孤石以皴法写出，纹理苍劲古拙；石侧花卉嫣然，花瓣以细腻设色晕染，姿态绰约。笔墨工写相济，线条挺劲中含秀逸，色彩清丽却不失厚重，石的嶙峋与花的柔媚相映成趣，于方寸之间尽显自然生机与文人雅致，是一幅兼具观赏性与意趣的花鸟佳作。",[25,714,56,28,75,29,7,191,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd76eeb85fbd356c6aed7a5b00a630319.jpg",[60],"e4d9c3",{"id":20894,"slug":20895,"title":15165,"dynasty":18,"author":3257,"museum":150,"description":20896,"tags":20897,"thumbUrl":20898,"material":59,"size":59,"collection":60,"collections":20899,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20900},201319,"hua-niao-tu-zhou-wang-wu-201319","老梅枝干盘曲，墨色苍劲中见秀逸，淡粉花瓣疏密有致，春意悄然浮动。乌鸫栖于枝间，羽黑如漆，昂首欲啼，神态鲜活灵动。树下湖石以细皴勾勒纹理，古朴厚重；石畔兰草舒展，野花点缀，笔墨清润雅致。画面工写结合，设色淡雅，构图虚实相生，既捕捉花鸟之生机，又蕴含文人清幽意趣，尽显清代花鸟的雅致格调与自然之美。",[25,26,27,56,187,28,29,7,153,188,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4521f38cc0ebc89d1aec78924719c6.jpg",[60],"c8bcb4",{"id":20902,"slug":20903,"title":562,"dynasty":18,"author":475,"museum":150,"description":20904,"tags":20905,"thumbUrl":20906,"material":59,"size":59,"collection":60,"collections":20907,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20908},201317,"yu-shi-tu-zhou-zhu-da-201317","孤石以水墨泼写，浓淡干湿交织出嶙峋质感，笔势纵逸却藏枯寂禅意。石畔一尾游鱼，眼梢斜睨似带冷傲，寥寥数笔勾出灵动身姿，与巨石沉郁形成虚实对照。画面留白如空濛烟水，无波无澜，极简中孕含无尽孤寂——将遗民心绪凝于尺幅，于水墨里见出生命的倔强与疏离。",[55,7,565,56,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d9fcaf340cdd329c39455a5bb90fd1.jpg",[60],"c5b8a9",{"id":20910,"slug":20911,"title":20912,"dynasty":69,"author":431,"museum":150,"description":20913,"tags":20914,"thumbUrl":20917,"material":59,"size":59,"collection":60,"collections":20918,"showCount":209,"zanCount":43,"manualWeight":43,"mainColor":20919},201279,"chun-feng-jia-die-tu-juan-chen-hong-shou-201279","春风蛱蝶图卷","此卷以淡赭绢本为底，工笔设色绘春日胜景。梅枝虬曲，花蕊粉嫩；水仙亭亭，叶片翠润；翠竹修长，枝叶疏朗。鸟儿栖于竹梢，双目炯炯；蛱蝶翻飞于花间，翅翼灵动。山石勾勒简括，皴擦有致，与柔婉花草形成刚柔对比。线条细劲圆转，设色淡雅清丽，兼具文人逸趣与工笔精致。构图疏密错落，动静相生，将春风生机凝于卷中，尽显古雅秀逸之韵。",[25,74,28,29,56,187,32,174,435,374,7,75,20915,20916,23],"细劲线条","淡雅设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93ca69747dc9757da59eb8c8ea393df.jpg",[60],"b29c7a",{"id":20921,"slug":20922,"title":20923,"dynasty":18,"author":20924,"museum":552,"description":20925,"tags":20926,"thumbUrl":20927,"material":641,"size":642,"collection":59,"collections":20928,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},290388,"shan-shui-tu-ye-gu-yin-guang-290388","山水图页","顾胤光","此作用笔简淡秀逸，以干笔皴擦勾勒山石肌理，湿墨晕染晕开远山空濛。近岸枯木虬曲多姿，或疏枝苍劲、傲骨嶙峋，或垂丝轻曳、柔态扶风。水面以留白代碧波，汀洲茅舍隐于林麓，幽寂清旷。右上角题字古雅，朱印点睛，诗画相融无间。\n整幅不作浓艳敷色，尽显萧散冷逸的林下之风，将春日水岸的淡远空寂勾勒入微，藏着文人画独有的简淡意趣，观之便如身临无人江渚，揽天地疏朗，偷得片刻沉静闲逸。",[23,25,26,55,80,134,324,921,153,325,7,77,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956b7d014aafa4df5b1732f2cb42b6a7.jpg",[],{"id":20930,"slug":20931,"title":20932,"dynasty":5251,"author":201,"museum":552,"description":20933,"tags":20934,"thumbUrl":20939,"material":641,"size":642,"collection":59,"collections":20940,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},289177,"goya-lovers-sitting-on-a-rock-yi-ming-289177","Goya--Lovers Sitting on a Rock","这幅速写以率性粗朴的线条，定格下缱绻亲昵的瞬间。男子斜倚，手搭腰间漫出松弛戏谑，女子倾身向前，如瀑长发将二人缠绕成独属的私密结界。\n\n水墨晕染铺陈出朦胧暧昧的氛围，留白的背景将所有目光都锁在二人贴近的身影中。衣褶的凌厉线条反衬出依偎时的柔软张力，潦草却精准地刻画出神态里的沉醉眷恋，把未加修饰的情欲与浪漫揉进笔触里。即兴的速写留存下最鲜活的悸动，仿佛这片刻温存即将随晚风消散，粗粝笔触里藏着最直白热烈的情愫，将私密亲昵瞬间凝作永恒。",[20935,20936,4166,20937,7,20938],"素描","速写","恋人","亲昵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2812e9ddced06232fc07073a34442e.jpg",[],{"id":20942,"slug":20943,"title":20944,"dynasty":18,"author":14452,"museum":552,"description":20945,"tags":20946,"thumbUrl":20947,"material":641,"size":642,"collection":59,"collections":20948,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},287417,"zui-yuan-tu-zhou-cha-ji-zuo-287417","醉园图轴","查继佐（1601年8月1日－1676年3月4日），初名继佑，初字三秀，更字友三，号伊璜，又号与斋，别号东山钓史、钓玉。浙江海宁人。\n父查尔翰，家贫多病，崇祯六年（1633年）举人。明朝亡后，随鲁王监国绍兴，授兵部职方。在浙东地区亲自率军抗击清军。顺治三年（1646年）清军攻占绍兴，隐居海宁硖石东山万石窝，改号为左尹非人。顺治九年（1652年）于西湖觉觉堂讲学，旋至杭州铁冶岭之敬修堂讲学，从学者众，人称敬修先生。康熙元年（1662年），罹南浔庄廷鑨私刻《明史》案，列名参校，下狱论死，后获救。晚年喜写梅。\n他与张岱、谈迁、万斯同合称为“浙东四大史家”\n著有《罪惟录》《国寿录》《鲁春秋》《东山国语》《班汉史沦》《续西厢》等作品。",[23,25,26,27,55,1744,77,7,188,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82c67fc3f75ec511cfe8bf0f21d7fc0.jpg",[],{"id":20950,"slug":20951,"title":20952,"dynasty":18,"author":201,"museum":552,"description":20953,"tags":20954,"thumbUrl":20955,"material":641,"size":642,"collection":59,"collections":20956,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},269041,"xiu-qiu-hua-xiong-ji-tu-zhou-yi-ming-269041","绣秋花雄鸡图轴","此作为刺绣佳作，意韵悠然。雄鸡伫立坡上，绣线晕染出红褐锦羽的饱满绒泽，墨蓝尾翎纹理毕现，抬足侧目间神气倨傲，形神兼备。旁侧秋葵挺秀舒展，柔瓣晕着暖黄淡色，枝叶勾染清雅；湖石以施针摹仿皴纹，朴拙古雅，衬出花木清疏之态。\n\n整作用针细密雅致，配色温润柔和，以绣线肌理替代笔墨皴染，兼具工笔之细腻与绒线的暖润质感，将秋日庭隅的闲静生机晕染开来，禽花木石相映成趣，尽显绣艺的清丽雅致，把清秋小景的娴静意趣尽数勾勒。",[27,56,29,12476,2303,396,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8b6e28af26cb765fc2238966b45eae.jpg",[],{"id":20958,"slug":20959,"title":20960,"dynasty":18,"author":201,"museum":552,"description":20961,"tags":20962,"thumbUrl":20965,"material":641,"size":642,"collection":59,"collections":20966,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},262154,"wu-cai-jiao-shi-tu-bi-tong-yi-ming-262154","五彩蕉石图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[16353,20963,29,99,7,20964],"五彩","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97d13a81b6fb1e668368265b8329b678.jpg",[],{"id":20968,"slug":20969,"title":20970,"dynasty":18,"author":201,"museum":552,"description":20971,"tags":20972,"thumbUrl":20973,"material":641,"size":642,"collection":59,"collections":20974,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},259314,"jia-qing-kuan-wu-cai-hua-hui-wen-zhong-yi-ming-259314","嘉庆款五彩花卉纹盅","器型秀巧端庄，敞口敛腹，圈足修胎匀净，釉面莹白温润。以五彩绘就庭中小景，青料晕染湖石苍枝，尽显嶙峋古雅；浅绿勾勒兰草柔叶舒展，细黄点饰碎花错落其间，枝头矾红小果提亮画面，色调明雅和谐。构图疏朗有致，将文人案头清趣凝于方寸瓷间，笔致细腻秀逸，无繁缛堆砌，尽显清雅隽秀的气韵，把文人审美意趣融于日用器具，是雅致精巧的制瓷佳构。",[16353,6100,20963,243,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7349de26be563adf98378cb0123469f4.jpg",[],{"id":20976,"slug":20977,"title":20978,"dynasty":18,"author":201,"museum":552,"description":19798,"tags":20979,"thumbUrl":20980,"material":641,"size":642,"collection":59,"collections":20981,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},258785,"jia-qing-kuan-qing-hua-song-zhu-mei-tu-yu-hu-chun-ping-yi-ming-258785","嘉庆款青花松竹梅图玉壶春瓶",[16353,19800,18,715,32,187,7,135,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccaf9318bbc108b6645af6bf4eee2dd.jpg",[],{"id":20983,"slug":20984,"title":20985,"dynasty":18,"author":201,"museum":552,"description":20986,"tags":20987,"thumbUrl":20988,"material":641,"size":642,"collection":59,"collections":20989,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},257755,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-chun-yi-ming-257755","康熙款五彩十二月花卉纹杯-春","杯体莹白似凝脂，温润澄澈。外壁以五彩绘就春景，湖石挺秀古雅，幽兰柔婉舒展，星点小花点缀其间，晕开春日清和意趣。青花题字隽秀雅致，与柔妍彩饰相映成趣，笔墨细腻写实，将幽兰芳辰的娴静诗意融于瓷间。\n\n器型轻盈灵秀，线条流转柔婉，釉色匀净透亮，色彩搭配明丽柔和，把文人雅致情怀凝于方寸瓷上，尽显雅致文气与精妙工法，藏着春日独有的清逸温婉，是兼具审美意趣与工艺水准的彩瓷佳作。",[16353,20963,29,243,7,174,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c3773712a56ee09b908fe45a67272c6.jpg",[],{"id":20991,"slug":20992,"title":20993,"dynasty":18,"author":201,"museum":552,"description":20994,"tags":20995,"thumbUrl":20999,"material":641,"size":642,"collection":59,"collections":21000,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":1551},252684,"qing-yu-kai-guang-mei-lan-zhu-ju-wen-wei-jiao-bi-tong-yi-ming-252684","青玉开光梅兰竹菊纹委角笔筒","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。",[228,20996,3436,20997,187,188,32,189,7,20964,20998],"玉石","开光","委角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2159a85e3327ab3acddca07d0dd9dff6.jpg",[],{"id":21002,"slug":21003,"title":21004,"dynasty":18,"author":201,"museum":552,"description":21005,"tags":21006,"thumbUrl":21011,"material":641,"size":642,"collection":59,"collections":21012,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},250184,"qian-long-kuan-hua-fa-lang-yue-ji-shuang-zhi-tu-bi-yan-hu-yi-ming-250184","乾隆款画珐琅月季双雉图鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[228,21007,21008,29,56,676,21009,21010,34,7],"画珐琅","珐琅器","雉","鼻烟壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d8dd0e40dd7c19e0dc1699993d4cb8.jpg",[],{"id":21014,"slug":21015,"title":21016,"dynasty":18,"author":201,"museum":552,"description":21017,"tags":21018,"thumbUrl":21021,"material":641,"size":642,"collection":59,"collections":21022,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},242167,"shan-jing-shi-yi-ming-242167","山景石","此石宛若水墨晕染的层叠云山，通体皴皱嶙峋，似鬼斧神工劈斫而成。中部拱出空窍，如幽谷穿云，虚实相生间衬出山林深远意境。\n\n石色苍灰沉凝，纹理似卷云、似斧劈，将自然山川的雄奇与文人情趣融于一身。既有峰峦起伏的磅礴大气，又藏曲径通幽的雅致，仿若将千里林泉缩于盈尺之间，静立便似能听见山风穿谷，尽显传统赏石“瘦、透、漏、皱”的审美意趣，是把天地山水意蕴收纳案头的清赏佳物。",[228,7,21019,3436,21020],"山景","孔洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0efd171a241d94b1daebb9a6f34807c0.jpg",[],{"id":21024,"slug":21025,"title":21026,"dynasty":18,"author":20022,"museum":552,"description":20023,"tags":21027,"thumbUrl":21028,"material":641,"size":642,"collection":59,"collections":21029,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},240913,"wu-lv-zhou-cheng-zheng-kui-240913","五律轴",[77,27,78,1744,55,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5f3184806d8dc7411f81b683c97183.jpg",[],{"id":21031,"slug":21032,"title":21033,"dynasty":18,"author":21034,"museum":552,"description":21035,"tags":21036,"thumbUrl":21037,"material":641,"size":642,"collection":59,"collections":21038,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},240542,"wu-shan-yun-shi-ti-huang-shan-tu-ce-wu-shan-yun-240542","吴山云诗题黄山图册","吴山云","此作为小楷题画诗，笔致清劲内敛，结体端稳雅致，墨色匀净沉静，既有馆阁体的整饬工稳，又不失文人书法的隽秀意趣。\n诗文铺陈黄山天都峰奇崛灵秀，将莲巅云霭、林壑松涛尽付笔端，把对黄山胜景的倾慕藏在点画之间。笔墨与文思相融，以清雅书风衬山水意趣，尽显文人观山水寄情抒怀的风雅。纸页黄斑晕开岁月痕迹，为小品更添古旧温润质感，虽为题跋，却自成一方清雅天地。",[25,26,53,78,77,80,79,55,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2b8a124386bc5dd5f171e9147cf16f6.jpg",[],{"id":21040,"slug":21041,"title":21042,"dynasty":18,"author":21043,"museum":552,"description":21044,"tags":21045,"thumbUrl":21046,"material":641,"size":642,"collection":59,"collections":21047,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},240516,"wei-yun-bing-hua-huang-shan-tu-ce-wang-jia-zhen-240516","为允冰画黄山图册","汪家珍","[清]字壁人，又名葵，字叔向。安徽歙县人。工山水，与汪之瑞、孙无逸齐名。人物、花鸟、虫鱼，尤传神入妙。顺治七年（一六五o）为方式玉作山水卷。主要著作有《阿聪笔记》《格庵山水合锦卷》《乔松图》等。",[24,25,26,53,80,75,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf93f89e3d0e9f82c204d5d1ad6072e.jpg",[],{"id":21049,"slug":21050,"title":21051,"dynasty":18,"author":201,"museum":552,"description":21052,"tags":21053,"thumbUrl":21061,"material":641,"size":642,"collection":59,"collections":21062,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},240479,"fa-shi-shan-shi-zhou-yi-ming-240479","法式善诗轴","此作用笔灵动秀雅，提按顿挫富于变化，牵丝映带自然舒展，字字顾盼生姿，行气贯通流畅。以行书书自作诗篇，笔墨与诗意相融无间，将古寺林泉的清寂禅意诉诸笔端。\n\n章法排布疏密得宜，正文大字萧散简远，落款小字清雅端凝，二者相映成趣，尽显文人逸致。整幅作品意韵悠长，笔墨间漫溢出幽淡出尘的林下之风，尽显书写者的文人修养，是极具韵致的行书佳构。",[77,78,27,55,79,21054,21055,242,291,7,21056,21057,6653,21058,21059,21060,16923],"红墙","古寺","江湖","钟磬","家","楼","路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3491ad0f926bdea271c18da54c29375b.jpg",[],{"id":21064,"slug":21065,"title":21066,"dynasty":69,"author":21067,"museum":552,"description":21068,"tags":21069,"thumbUrl":21072,"material":641,"size":642,"collection":59,"collections":21073,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},240380,"shi-ye-wang-yi-240380","诗页","王宜","王宜，字嶰谷，江苏太仓人。乾隆年间，官新建知县。凤仪弟，原祁会孙。山水善承家学，笔意松秀，与兄齐名",[26,77,78,79,53,21070,116,863,918,8722,115,21071,7],"山泉","虹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bbe2396b0268171903e777b805d4db.jpg",[],{"id":21075,"slug":21076,"title":502,"dynasty":18,"author":17243,"museum":552,"description":21077,"tags":21078,"thumbUrl":21079,"material":59,"size":59,"collection":59,"collections":21080,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},239549,"shan-shui-ce-mei-geng-239549","此作以淡墨枯笔绘就幽林山径，虬松盘曲于危石之间，枝桠苍劲灵动，山道蜿蜒隐现林麓。策杖行人缓行其间，萧寒空寂的山林意境扑面而来。画面以简淡笔墨勾勒山石肌理，淡墨晕染出空濛山岚，尽显幽寂萧散之致。\n\n上方行书题跋笔意疏朗隽秀，书画相映成趣。整幅以意驭笔，将寻幽访胜的雅趣藏于冷寂山水，澹泊空远的林下之风溢于纸间，尽显文人画以简驭繁、以意取胜的逸韵，观之如亲身步入林谷，静品清奇山境与澹泊心境交融之美。",[24,25,26,53,55,75,80,260,30,7,2351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee35d78dc3d7560d93b703b085963d1.jpg",[],{"id":21082,"slug":21083,"title":6061,"dynasty":18,"author":21084,"museum":552,"description":21085,"tags":21086,"thumbUrl":21087,"material":59,"size":59,"collection":59,"collections":21088,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},239520,"shan-shui-zhou-chen-yuan-fu-239520","陈元复","此作用笔追摹元人逸韵，近岸枯木虬曲苍劲，枝桠疏朗萧索，自见古拙生机。矮舍临溪而建，寥寥数笔便写尽幽居野寂之态。平湖横陈，淡墨轻扫为远山，隐现于氤氲水汽之中，留白铺陈出水天辽阔的空濛意境。\n整幅画作以干笔淡墨绘就，删繁就简洗去铅华，将江南水滨的荒寒清寂，化作静穆淡远的诗意。无多余点染，却把文人幽居林泉的出世意趣藏于留白之间，淡远空疏，余韵悠长，尽显水墨山水的萧散雅致。",[25,26,27,55,75,80,349,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89e01da2dfa08acb1ea41a5e04ee551.jpg",[],{"id":21090,"slug":21091,"title":21092,"dynasty":18,"author":19897,"museum":552,"description":21093,"tags":21094,"thumbUrl":21095,"material":641,"size":642,"collection":59,"collections":21096,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},239468,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-shan-shui-ce-ye-wu-lin-239468","清初十四家书画集锦册-山水册页","字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[25,26,53,78,55,75,80,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d482443f0fd978a4ac52d5a00b4276f.jpg",[],{"id":21098,"slug":21099,"title":502,"dynasty":18,"author":21100,"museum":552,"description":21101,"tags":21102,"thumbUrl":21103,"material":59,"size":59,"collection":59,"collections":21104,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},239346,"shan-shui-ce-lin-fu-chang-239346","林福昌","此作用笔清简淡远，以枯墨写出虬屈枯木，枝桠苍劲萧瑟，自带荒寒秋意。旁生疏竹错落参差，柔叶劲竿，与枯木相映成趣，添了几分清逸生气。坡石以枯笔浅皴，淡墨晕染，质感自现。远山以淡墨轻笼，朦胧悠远，拉展出空阔景深。\n\n角落题字衬出文人气韵，整幅小品以极简笔墨营造出幽寂萧疏的林下之境，将寄情林泉的隐逸雅趣融于尺幅之间，尽显文人山水写意的留白妙处，淡而有味，简中见情。",[25,55,53,75,80,133,1073,7,324,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cf300e8148b2938bc1202831e8b506c.jpg",[],{"id":21106,"slug":21107,"title":14981,"dynasty":18,"author":19897,"museum":552,"description":21108,"tags":21109,"thumbUrl":21110,"material":59,"size":59,"collection":59,"collections":21111,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},239303,"fang-gu-shan-shui-ce-wu-lin-239303","吴麐（1691～1772），字粟园，一作粟原，一字尧圃，安徽歙县籍，家江西景德镇。其家有景德镇古窑，与唐熊年三窑并称吴窑。山水学黄公望，以疏散简淡为主，用墨干湿相参不见痕迹，长于小幅，若大幅则病其翠弱，亦不多见。生平有古君子风，老客扬州汪贻士家。",[25,55,53,75,80,7,134,1291,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa457ff173cf445b6309d8c245c6fc557.jpg",[],{"id":21113,"slug":21114,"title":14981,"dynasty":18,"author":19897,"museum":552,"description":21108,"tags":21115,"thumbUrl":21116,"material":59,"size":59,"collection":59,"collections":21117,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},239302,"fang-gu-shan-shui-ce-wu-lin-239302",[25,26,53,55,75,6109,80,133,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfb6f231b20f7efeb24306fe4b9cb63e.jpg",[],{"id":21119,"slug":21120,"title":17961,"dynasty":18,"author":17962,"museum":552,"description":21121,"tags":21122,"thumbUrl":21123,"material":59,"size":59,"collection":59,"collections":21124,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},239235,"hui-shi-ce-hu-zhen-kai-239235","以水墨写意摹绘湖石，运笔苍劲老辣，皴擦勾写间尽显嶙峋肌理。层叠孔洞错落排布，将湖石瘦、漏、透、皱的特质尽致铺陈，浓淡墨色晕染出明暗层次，虚实相生，仿若可触石体坚硬质感。右侧行书题字笔意舒展洒脱，墨色清润雅致，书画相映成趣，将文人藏石赏石的清雅意趣融于方寸纸面，尽显中式赏石文化里的隽永风骨，是把闲情雅好与水墨意韵融合的精妙小品。",[25,26,53,55,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8810c6bbf23d7862340178ed19072c1f.jpg",[],{"id":21126,"slug":21127,"title":17961,"dynasty":18,"author":17962,"museum":552,"description":21128,"tags":21129,"thumbUrl":21130,"material":59,"size":59,"collection":59,"collections":21131,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},239233,"hui-shi-ce-hu-zhen-kai-239233","以枯淡写意之笔勾勒湖石，干湿墨色互用，皴擦间尽显瘦透漏皱之态，孔洞虚实相生，暗含丘壑灵趣。左侧行书题诗错落排布，笔致清逸疏朗，书画相映成趣。\n\n整幅小品简淡空灵，不着冗余修饰，以极简笔墨抓住湖石奇崛之姿，将文人赏石的雅趣寄于毫端。以形写神，寥寥数笔便将湖石的通透灵动与画者澹泊襟怀融为一体，尽显文人写意画的雅致天然，韵致悠长，藏着传统文人的疏淡意趣。",[25,55,53,7,77,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1c36b2f0ca6694b3a147f2c26b44895.jpg",[],{"id":21133,"slug":21134,"title":17961,"dynasty":18,"author":17962,"museum":552,"description":21135,"tags":21136,"thumbUrl":21137,"material":59,"size":59,"collection":59,"collections":21138,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},239231,"hui-shi-ce-hu-zhen-kai-239231","此作用淋漓水墨写湖石，以枯湿浓淡的墨色变化勾勒皴擦，将湖石玲珑剔透之态尽展纸上。孔洞错落有致，风骨嶙峋苍劲，尽显传统赏石“透、漏、瘦、皱”之美，笔意朴拙老辣，带着沉静古雅的意趣。\n\n左侧题书与湖石相映成趣，诗书与绘事相融，文气盎然，将文人藏石爱石的雅趣寄于尺幅之间。笔墨间浸透着对造物奇趣的体察，以意驭笔、以形传神，寥寥数笔便定格湖石清奇风骨，余韵悠长。",[25,26,53,55,7,78,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec9547dd9eb8e4a7677069c31352fa8.jpg",[],{"id":21140,"slug":21141,"title":12482,"dynasty":18,"author":12483,"museum":552,"description":12484,"tags":21142,"thumbUrl":21143,"material":641,"size":642,"collection":59,"collections":21144,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},239179,"hua-hui-ren-wu-ce-chen-zi-239179",[25,26,53,29,30,31,7,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f692e0c4ac7f5b2ecb60ee3814da9e0.jpg",[],{"id":21146,"slug":21147,"title":5052,"dynasty":18,"author":15804,"museum":552,"description":15805,"tags":21148,"thumbUrl":21149,"material":641,"size":642,"collection":59,"collections":21150,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},239155,"shan-shui-hua-hui-ce-chen-heng-ke-239155",[25,26,53,55,78,79,75,80,260,4904,7,2667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0ea724bc454d10e8804f9bfe42a487c.jpg",[],{"id":21152,"slug":21153,"title":21154,"dynasty":18,"author":12822,"museum":552,"description":21155,"tags":21156,"thumbUrl":21157,"material":59,"size":59,"collection":59,"collections":21158,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},238979,"shan-shui-ce-fang-huang-zi-jiu-bi-yi-wang-chen-238979","山水册－仿黄子久笔意","此作用笔苍秀松灵，以披麻皴绘山峦，尽显元人山水萧散淡远之态。山峦层叠间，飞瀑垂落，草亭临渊静立，坡岸杂木扶疏，姿态苍古。淡赭敷色清润雅致，构图虚实相生，高远深远兼具，既恪守黄子久简淡天真的笔意，又融入自身笔墨的苍厚老辣。林泉间幽寂隐逸之致尽显，将文人寄情山水的林下风流藏于尺幅之间，师古而不失己意，清寂淡远的意境漫溢纸面，是摹古自出机杼的佳构。",[25,26,53,55,75,76,80,277,82,349,81,135,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f968b7da59c6e8be88ba70997f38a3d.jpg",[],{"id":21160,"slug":21161,"title":21162,"dynasty":18,"author":9429,"museum":552,"description":18867,"tags":21163,"thumbUrl":21164,"material":641,"size":642,"collection":59,"collections":21165,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},238866,"wu-jia-shan-shui-ce-li-shi-zhuo-shan-shui-ye-dong-bang-da-238866","五家山水册-李世倬山水页",[25,26,53,55,75,80,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5191b2b778b82d360c867fd5e2fbd2c8.jpg",[],{"id":21167,"slug":21168,"title":17259,"dynasty":18,"author":1491,"museum":552,"description":7992,"tags":21169,"thumbUrl":21170,"material":641,"size":642,"collection":59,"collections":21171,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},238837,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238837",[25,26,53,29,55,133,134,242,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51609493c6f334e18790340249d72b37.jpg",[],{"id":21173,"slug":21174,"title":502,"dynasty":18,"author":9429,"museum":552,"description":18867,"tags":21175,"thumbUrl":21176,"material":641,"size":642,"collection":59,"collections":21177,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},238695,"shan-shui-ce-dong-bang-da-238695",[25,55,53,75,80,7,81,349,324,11855,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26117a273dd69e2219f2bd5d928b80d2.jpg",[],{"id":21179,"slug":21180,"title":21181,"dynasty":18,"author":201,"museum":552,"description":21182,"tags":21183,"thumbUrl":21184,"material":641,"size":642,"collection":59,"collections":21185,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},238582,"qing-ren-lie-quan-tu-ce-yi-ming-238582","清人猎犬图册","此作以绢本设色绘就，两只猎犬居于春山之下，一黑一黄互动亲昵，伏地抬首间神态灵动宛然。画家以细腻笔触晕染犬身毛发，将绒毛细密的肌理质感表现入微，写实工细又不失生动意趣。背景以淡墨轻勾山石枯木，几枝春蕊点缀出清寂雅致的氛围，衬得猎犬更具闲适悠然之态。\n左侧题跋笔意苍劲舒展，述此犬渊源，书画合璧，更添文雅沉静之韵。整幅小品将走兽写生的写实精度与古典雅致意境相融，尽显精巧审美，于尺幅之间藏尽细腻生动的写生功力与中式赏物的雅致情致。",[25,26,53,29,28,101,7,187,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe086a9deb8b5a2c7a20385a41538881f.jpg",[],{"id":21187,"slug":21188,"title":18874,"dynasty":18,"author":3593,"museum":552,"description":21189,"tags":21190,"thumbUrl":21191,"material":59,"size":59,"collection":59,"collections":21192,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":143},238530,"shan-shui-xiao-ce-qian-wei-cheng-238530","这幅山水以跨页铺展清寂秋山之景，淡紫与浅赭晕染峰峦，烟岚缠绕崖谷，晕开空濛幽远的氛围感。近处以细笔写枯木虬枝，苍劲舒展，林麓间村居隐现，野桥横过寒溪，生机暗蕴萧疏之中。远山层叠渐淡，融于烟霭，将平远、深远之境收拢于尺幅。\n\n笔墨简淡清润，略去繁复皴擦，以淡彩轻染衬出山水清灵之气，尽显文人山水的书卷意趣，在简净画面中铺陈出萧淡天真的山野逸韵，将秋冬山乡的空寂冷雅娓娓道来。",[25,26,53,55,29,75,80,134,277,82,349,7,83,81,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50dbb87d4e75b4bd5ca8862fa38a9f58.jpg",[],{"id":21194,"slug":21195,"title":18874,"dynasty":18,"author":3593,"museum":552,"description":21196,"tags":21197,"thumbUrl":21198,"material":59,"size":59,"collection":59,"collections":21199,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},238528,"shan-shui-xiao-ce-qian-wei-cheng-238528","此作以册页开合铺陈山水之致，近岸古木枯荣错落，虬枝苍劲，坡石以淡墨轻皴，尽显嶙峋肌理。留白铺就阔朗水面，一叶扁舟静泊，渔翁垂纶，暗合寄情江湖的隐逸闲趣。远景以淡墨晕染平林远山，朦胧晕化，将咫尺画幅拉展出悠远纵深。\n\n全作用笔松秀空灵，以水墨晕染出清寂淡远的意境，将江南水泽的静穆雅致收于尺幅之中，以简淡笔墨写尽林下丘壑的悠然襟怀，尽显文人山水以画言情的意趣。",[25,26,53,55,80,115,82,134,153,7,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafdb6049c94f34145323caec020a6c43.jpg",[],{"id":21201,"slug":21202,"title":18874,"dynasty":18,"author":3593,"museum":552,"description":21203,"tags":21204,"thumbUrl":21205,"material":59,"size":59,"collection":59,"collections":21206,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},238526,"shan-shui-xiao-ce-qian-wei-cheng-238526","此作为开合册页，笔墨松秀简淡，浅绛轻敷晕染出空濛云烟。左幅杂木层叠，古木虬曲苍劲，枝叶间以花青、朱砂轻点，晕开秋日鲜活生机。右侧危崖错落排布，涧石隐现于嶙峋山石间，留白衬出山岚流荡，将幽寂林壑铺陈开来。\n\n全作用笔清润柔和，山石皴擦简括雅致，以淡赭晕染丘峦，整体意境静谧萧散，将秋日林峦的清旷藏于尺幅之中，淡墨轻岚间漾出幽远秋意，尽显文人山水简澹深致的意趣。",[25,53,55,29,75,80,117,135,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f3dbc20d28a2504afff9e616b25db6.jpg",[],{"id":21208,"slug":21209,"title":18874,"dynasty":18,"author":3593,"museum":552,"description":18882,"tags":21210,"thumbUrl":21211,"material":59,"size":59,"collection":59,"collections":21212,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},238524,"shan-shui-xiao-ce-qian-wei-cheng-238524",[25,55,75,53,80,277,82,1231,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff182266dfb7f3fc4e6a2d62bc75c6222.jpg",[],{"id":21214,"slug":21215,"title":502,"dynasty":18,"author":21216,"museum":552,"description":21217,"tags":21218,"thumbUrl":21219,"material":641,"size":642,"collection":59,"collections":21220,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":4375},238007,"shan-shui-ce-qin-zu-yong-238007","秦祖永","秦祖永，道光五年（1825年）生，光绪十年（1884 年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[25,26,53,55,80,115,338,117,7,324,78,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726eda8082c671f313f77c8f44a8f088.jpg",[],{"id":21222,"slug":21223,"title":502,"dynasty":18,"author":17372,"museum":552,"description":19995,"tags":21224,"thumbUrl":21225,"material":641,"size":642,"collection":59,"collections":21226,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237917,"shan-shui-ce-cheng-ming-237917",[25,26,53,55,29,75,80,349,153,133,7,324,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad585c9cd05d3305114348da5b5788f.jpg",[],{"id":21228,"slug":21229,"title":8896,"dynasty":69,"author":10302,"museum":552,"description":17229,"tags":21230,"thumbUrl":21231,"material":641,"size":642,"collection":59,"collections":21232,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237857,"shan-shui-shan-zhang-hong-237857",[714,25,26,80,75,55,115,81,136,7,79,349,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F838ad09356f496023e03e1254a6daa87.jpg",[],{"id":21234,"slug":21235,"title":7126,"dynasty":18,"author":16558,"museum":552,"description":18909,"tags":21236,"thumbUrl":21237,"material":641,"size":642,"collection":59,"collections":21238,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237778,"shan-shui-tu-ce-ye-xin-237778",[25,26,53,55,75,80,349,7,85,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff932829918fc4468ad83d077d9bc62b6.jpg",[],{"id":21240,"slug":21241,"title":7126,"dynasty":18,"author":20022,"museum":552,"description":20023,"tags":21242,"thumbUrl":21243,"material":641,"size":642,"collection":59,"collections":21244,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237756,"shan-shui-tu-ce-cheng-zheng-kui-237756",[25,26,53,55,80,7,134,324,78,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e772c7ac61382334a75e4c69cdde321.jpg",[],{"id":21246,"slug":21247,"title":7126,"dynasty":18,"author":20022,"museum":552,"description":20023,"tags":21248,"thumbUrl":21249,"material":641,"size":642,"collection":59,"collections":21250,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237752,"shan-shui-tu-ce-cheng-zheng-kui-237752",[25,26,53,55,29,78,79,75,80,117,349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21feff1a2b5e2c312f04b06ee44e84d.jpg",[],{"id":21252,"slug":21253,"title":7126,"dynasty":18,"author":20022,"museum":552,"description":20023,"tags":21254,"thumbUrl":21255,"material":641,"size":642,"collection":59,"collections":21256,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237750,"shan-shui-tu-ce-cheng-zheng-kui-237750",[25,26,53,55,75,78,79,80,85,82,7,81,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9791083dc623bc131a485f497b7648.jpg",[],{"id":21258,"slug":21259,"title":7126,"dynasty":18,"author":20022,"museum":552,"description":20023,"tags":21260,"thumbUrl":21261,"material":641,"size":642,"collection":59,"collections":21262,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237746,"shan-shui-tu-ce-cheng-zheng-kui-237746",[25,55,78,53,75,80,7,81,324,349,79,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab672cc8a29cd292737dbf9d8762a32.jpg",[],{"id":21264,"slug":21265,"title":21266,"dynasty":18,"author":4274,"museum":552,"description":14688,"tags":21267,"thumbUrl":21268,"material":641,"size":642,"collection":59,"collections":21269,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237660,"ku-mu-zhu-shi-ce-cha-shi-biao-237660","枯木竹石册",[25,26,53,55,78,77,79,32,1579,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202b7fb3dbb6cfa369a5d00142a6688e.jpg",[],{"id":21271,"slug":21272,"title":21266,"dynasty":18,"author":4274,"museum":552,"description":14688,"tags":21273,"thumbUrl":21274,"material":641,"size":642,"collection":59,"collections":21275,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237656,"ku-mu-zhu-shi-ce-cha-shi-biao-237656",[25,26,53,55,78,79,1579,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88343beb358a62f0fe07ca2e5bfa9a9.jpg",[],{"id":21277,"slug":21278,"title":21266,"dynasty":18,"author":4274,"museum":552,"description":14688,"tags":21279,"thumbUrl":21280,"material":641,"size":642,"collection":59,"collections":21281,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237654,"ku-mu-zhu-shi-ce-cha-shi-biao-237654",[25,26,53,55,78,79,1579,32,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d0626bccb9c99285e4b3764c87be2a.jpg",[],{"id":21283,"slug":21284,"title":7126,"dynasty":18,"author":14153,"museum":552,"description":15761,"tags":21285,"thumbUrl":21286,"material":641,"size":642,"collection":59,"collections":21287,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237482,"shan-shui-tu-ce-yao-song-237482",[25,26,53,55,78,75,80,7,117,277,79,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9279561c441fbfa0710aa559471b8984.jpg",[],{"id":21289,"slug":21290,"title":16407,"dynasty":18,"author":16408,"museum":552,"description":16409,"tags":21291,"thumbUrl":21292,"material":641,"size":642,"collection":59,"collections":21293,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237476,"shan-shui-hua-shi-ce-wang-han-237476",[25,26,53,55,77,79,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a580a79438f6fc52fba142f09f95cad.jpg",[],{"id":21295,"slug":21296,"title":1238,"dynasty":18,"author":12483,"museum":552,"description":12484,"tags":21297,"thumbUrl":21298,"material":641,"size":642,"collection":59,"collections":21299,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237278,"za-hua-ce-chen-zi-237278",[25,26,53,29,55,80,85,30,134,7,79,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ce4804471a8d22f5713ae4234b5ba5.jpg",[],{"id":21301,"slug":21302,"title":502,"dynasty":69,"author":21303,"museum":552,"description":21304,"tags":21305,"thumbUrl":21306,"material":641,"size":642,"collection":59,"collections":21307,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237005,"shan-shui-ce-sun-ri-shao-237005","孙日绍","明代进士",[25,26,53,55,29,75,78,80,117,7,349,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84aec7d37744377ddc39a1b5d41197b1.jpg",[],{"id":21309,"slug":21310,"title":502,"dynasty":69,"author":21303,"museum":552,"description":21304,"tags":21311,"thumbUrl":21312,"material":641,"size":642,"collection":59,"collections":21313,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237004,"shan-shui-ce-sun-ri-shao-237004",[25,26,53,55,434,78,115,338,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4acdfb95abf370a91eee90b63348a4.jpg",[],{"id":21315,"slug":21316,"title":502,"dynasty":69,"author":21303,"museum":552,"description":21304,"tags":21317,"thumbUrl":21318,"material":641,"size":642,"collection":59,"collections":21319,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},237002,"shan-shui-ce-sun-ri-shao-237002",[25,26,53,55,75,80,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3e9549ca88f219bcff1b8fa396147e0.jpg",[],{"id":21321,"slug":21322,"title":20089,"dynasty":18,"author":20090,"museum":552,"description":20091,"tags":21323,"thumbUrl":21324,"material":641,"size":642,"collection":59,"collections":21325,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},236856,"zhu-shi-ce-wang-e-236856",[25,26,53,78,55,29,32,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2774c4e41427aa96fef5db542f6084.jpg",[],{"id":21327,"slug":21328,"title":21329,"dynasty":18,"author":12069,"museum":552,"description":12070,"tags":21330,"thumbUrl":21331,"material":641,"size":642,"collection":59,"collections":21332,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},236660,"bie-you-feng-wei-ce-huang-shen-236660","别有风味册",[25,26,24,53,55,75,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca5355dabdeb653fca6eda384934c84e.jpg",[],{"id":21334,"slug":21335,"title":21329,"dynasty":18,"author":12069,"museum":552,"description":12070,"tags":21336,"thumbUrl":21337,"material":641,"size":642,"collection":59,"collections":21338,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},236659,"bie-you-feng-wei-ce-huang-shen-236659",[25,26,53,55,78,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7cdd455fe0ca5db9731132077fd68d2.jpg",[],{"id":21340,"slug":21341,"title":502,"dynasty":18,"author":4274,"museum":552,"description":10424,"tags":21342,"thumbUrl":21343,"material":59,"size":59,"collection":59,"collections":21344,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},236595,"shan-shui-ce-cha-shi-biao-236595",[25,26,53,55,75,80,133,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb74f071bc415e447038ca7fc2f9aaea.jpg",[],{"id":21346,"slug":21347,"title":8912,"dynasty":69,"author":8913,"museum":71,"description":8914,"tags":21348,"thumbUrl":21349,"material":59,"size":59,"collection":59,"collections":21350,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},236567,"xiao-ke-guan-shan-shui-ce-shao-mi-236567",[25,26,53,55,434,80,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2209776338ed5db2f744503d64328f45.jpg",[],{"id":21352,"slug":21353,"title":19018,"dynasty":18,"author":12483,"museum":552,"description":19019,"tags":21354,"thumbUrl":21356,"material":59,"size":59,"collection":59,"collections":21357,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},236529,"ren-wu-gu-shi-ce-chen-zi-236529",[25,26,1694,28,29,30,7,21355,78,7581],"文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff54fccd32a559ffc7cfc0968776d33c9.jpg",[],{"id":21359,"slug":21360,"title":19018,"dynasty":18,"author":12483,"museum":552,"description":19019,"tags":21361,"thumbUrl":21362,"material":59,"size":59,"collection":59,"collections":21363,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},236524,"ren-wu-gu-shi-ce-chen-zi-236524",[25,26,53,29,30,77,79,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90875df1da6b6d7c13e4c0095f788266.jpg",[],{"id":21365,"slug":21366,"title":14981,"dynasty":18,"author":15298,"museum":552,"description":15299,"tags":21367,"thumbUrl":21368,"material":59,"size":59,"collection":59,"collections":21369,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},236357,"fang-gu-shan-shui-ce-hu-jie-236357",[25,26,53,55,75,80,7,6109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a45a39466dfd043cc7b90ca8f549d7.jpg",[],{"id":21371,"slug":21372,"title":1238,"dynasty":18,"author":12483,"museum":552,"description":12484,"tags":21373,"thumbUrl":21374,"material":641,"size":642,"collection":59,"collections":21375,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},236279,"za-hua-ce-chen-zi-236279",[25,26,53,29,75,80,30,81,7,1911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be45b29909e48c758b9ea306ea4c02c.jpg",[],{"id":21377,"slug":21378,"title":1238,"dynasty":18,"author":12483,"museum":552,"description":12484,"tags":21379,"thumbUrl":21380,"material":641,"size":642,"collection":59,"collections":21381,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},236276,"za-hua-ce-chen-zi-236276",[25,26,53,29,28,56,174,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90feac66a67b59f196868960c701ca8b.jpg",[],{"id":21383,"slug":21384,"title":3256,"dynasty":18,"author":14211,"museum":552,"description":21385,"tags":21386,"thumbUrl":21387,"material":59,"size":59,"collection":59,"collections":21388,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},235567,"hua-hui-ce-fan-ting-zhen-235567","此作以枯木为绘写主体，老干皴擦细致，斑驳纹理与嶙峋树洞尽显岁月蚀刻的沧桑。枝头以墨点攒簇成叶，虚实错落，淡墨晕染出空濛悠远的氛围。树下顽石简笔勾勒，与古木相映，衬出林泉幽寂之态。\n\n右侧题行书诗句，笔墨俊朗洒脱，诗画交融，将凌云古木的高迈意气尽显。整幅以水墨写意而成，笔法松灵却暗含劲力，淡墨层次丰富，简淡中见朴拙雅逸，尽显文人画寄情于物的意趣，将古树霜色凌天的苍古高华凝于尺幅之间。",[25,26,53,55,75,78,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb9c1960e6fb6c5b81f0de6eae4c90c4.jpg",[],{"id":21390,"slug":21391,"title":502,"dynasty":18,"author":201,"museum":552,"description":21392,"tags":21393,"thumbUrl":21394,"material":641,"size":642,"collection":59,"collections":21395,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},235401,"shan-shui-ce-yi-ming-235401","此作用极简淡墨勾勒皴擦，以留白摹写烟水空茫，营造出幽寂清寒的荒远之境。水面巨石孤峙，轮廓朴拙苍劲，淡墨晕染石体质感，苔点隐现，几株矮松扎根石侧，为冷寂画面添上一抹生机。\n\n远山仅以淡墨轻扫，融入烟霭之中，虚实相生，将天地悠远空阔的意趣尽数铺展。笔墨简净含蓄，舍去繁复刻画，以意驭形，尽显静穆淡远的文人画旨趣，观之如临荒寒水滨，尘嚣尽褪，独留山水间的澹泊禅意。",[25,26,53,55,80,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84de1cffb54e73773ccf96c3e8a1fe43.jpg",[],{"id":21397,"slug":21398,"title":502,"dynasty":18,"author":201,"museum":552,"description":21399,"tags":21400,"thumbUrl":21401,"material":641,"size":642,"collection":59,"collections":21402,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},235400,"shan-shui-ce-yi-ming-235400","此作以淡墨晕染烟岚，枯笔皴擦勾勒石骨，浅赭轻敷山巅，尽显清润萧疏意趣。留白化作浩渺烟波，将近景碎石、中景山崖与远峰连缀成幽寂天地。山石苍朴与烟水柔润相映，无繁复点染，却以极简笔墨铺展出空寂山水之美，恍若秋日江天初霁，淡远清和，藏着文人画简淡天真的意韵。山野静穆辽远的秋意藏在浅墨轻色中，观之如临无人之境，引人沉入这份疏淡安然的诗意里。",[25,26,53,55,75,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee43428c884ed4a3308af41b87ca914d.jpg",[],{"id":21404,"slug":21405,"title":502,"dynasty":18,"author":201,"museum":552,"description":21406,"tags":21407,"thumbUrl":21408,"material":641,"size":642,"collection":59,"collections":21409,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},235399,"shan-shui-ce-yi-ming-235399","此作用笔松灵萧散，以淡渴墨勾勒皴擦山体，以披麻皴意写山峦肌理，线条舒缓柔润，弱化山石棱角，尽显丘壑的温润空濛。仅以少许赭石轻染岩穴，淡墨点染山巅与坡脚的杂木，简笔错落间晕开山野生机。\n\n画面留白肆意，将山岚云气、浅滩空阔藏于其中，舍去繁复景致，以清简笔意写尽林泉幽寂，尽显文人画简淡天真的意趣。似是闲中寄兴随手点染，把空山松风、悠然丘壑藏在淡墨浅彩之间，观之如临幽寂林泉，静享山野清宁。",[25,26,53,55,29,75,80,115,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec47f448ae79517daff81e3a5bc18b4.jpg",[],{"id":21411,"slug":21412,"title":502,"dynasty":18,"author":17243,"museum":552,"description":21413,"tags":21414,"thumbUrl":21415,"material":59,"size":59,"collection":59,"collections":21416,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},235376,"shan-shui-ce-mei-geng-235376","此作书画合璧，以淡墨晕染危崖孤峙，石骨瘦硬嶙峋，崖畔疏草轻曳，两位高士凭栏远眺，山岫以浅墨虚淡晕开，渺远朦胧。笔意洗练简淡，尽得山水荒萧清远之致。\n\n题跋行书苍劲舒朗，文辞描摹山境奇崛诡怪，与画面逸趣互为呼应，将山川奇崛之态与林下幽怀相融，尽显静穆萧散的文人意韵，极简笔墨勾勒出超尘绝俗的世外之境，余韵悠长。",[25,26,53,55,75,80,7,3368,30,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec20673a8b6ba474bec2f109530873d9.jpg",[],{"id":21418,"slug":21419,"title":13593,"dynasty":18,"author":12069,"museum":552,"description":21420,"tags":21421,"thumbUrl":21422,"material":59,"size":59,"collection":59,"collections":21423,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},235363,"shan-shui-ren-wu-tu-ce-huang-shen-235363","此作用淡墨晕染出水汀空寂之境，枯笔劲写汀渚兰草，叶态舒展恣肆，野趣盎然。水鸭浮波仅以数笔点就，憨然悠然，灵动传神。右上角狂草题识，笔势与画中野逸之气相融，书画相映，更添文韵。\n全幅删繁就简，以极简写意手法勾勒乡野闲景，萧疏淡远，尽得文人逸笔之趣，将幽澹林下之思藏于水墨间，观之令人心神松弛，如临其境得享乡野闲静。",[25,26,53,55,434,80,30,160,7,349,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60720fc54410d8b98cc92a29ba63eb4c.jpg",[],{"id":21425,"slug":21426,"title":13593,"dynasty":18,"author":12069,"museum":552,"description":21427,"tags":21428,"thumbUrl":21429,"material":59,"size":59,"collection":59,"collections":21430,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},235362,"shan-shui-ren-wu-tu-ce-huang-shen-235362","此作以写意之笔绘就山海之境，左侧海岸怪石崚嶒，枯笔皴擦勾勒出嶙峋石质，笔力苍劲老辣，尽显山石朴拙硬朗之态。海面以淡墨晕染、浅青点染层叠浪涛，虚实相映间，将海风吹拂、微波漾动的态势尽显，水汽氤氲之中，远方风帆隐约朦胧，留白铺陈出浩渺空茫的辽远海境。左上角题字笔势纵逸跌宕，笔墨意趣与画面浑然相融。整幅简淡疏旷，以极简笔墨烘托出山海间荒寂苍茫的氛围，寥寥数笔便铺展江海寥廓意境，尽显文人写意山水的空灵意趣。",[25,55,29,80,7,85,75,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face1ecb47d181d582ef8be4b98b6446a.jpg",[],{"id":21432,"slug":21433,"title":502,"dynasty":18,"author":13779,"museum":552,"description":13780,"tags":21434,"thumbUrl":21435,"material":641,"size":642,"collection":59,"collections":21436,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},235303,"shan-shui-ce-zhang-feng-235303",[25,26,53,29,80,85,30,7,135,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b8c24615ddb853889919d6c3b82bc2.jpg",[],{"id":21438,"slug":21439,"title":502,"dynasty":18,"author":7785,"museum":552,"description":21440,"tags":21441,"thumbUrl":21444,"material":59,"size":59,"collection":59,"collections":21445,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},235106,"shan-shui-ce-wang-yuan-qi-235106","此作以平远之法铺展湖山景致，烟波浩渺的水面占据画面大半，留白尽显清旷空濛之意。近岸怪石错落，幽篁杂木傍水而生，茅庐隐于林麓间，暗合幽居之趣。远山以淡墨轻勾浅染，简淡空灵，与开阔水面相映，烘托出萧疏静谧的秋郊水岸氛围。\n\n笔墨苍润松秀，干笔皴擦间带着浑朴意韵，淡墨晕染铺就空濛水色，不着浓艳设色，以简淡之笔追摹元人山水的隐逸格调，于极简构图里藏悠远意境，将江南水畔的清寂之美娓娓道来，尽显文人画的平淡天真之趣。",[25,24,53,55,80,32,7,82,21442,324,75,2290,4115,716,1893,21443],"茅庐","平淡天真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3aab3bbf105bb9a8c681b98a225361f.jpg",[],{"id":21447,"slug":21448,"title":12543,"dynasty":18,"author":201,"museum":552,"description":21449,"tags":21450,"thumbUrl":21451,"material":59,"size":59,"collection":59,"collections":21452,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},235041,"yuan-ji-za-hua-tu-ce-yi-ming-235041","此作以没骨法绘芙蓉，粉紫花瓣秾丽饱满，墨色叶片苍润厚重，浅赭底色晕染出秋日薄暮的暖柔氛围感。石畔浅流缓淌，细草斜生，顽石静卧水间，野趣悠然。左侧题诗朱印相映，诗画交融，将“偏爱秋水”的幽怀寄于尺幅之间。\n\n设色清隽雅致，水墨晕染鲜活灵动，花叶的干湿浓淡尽显芙蓉娇态，水岸细草又带笔意苍劲，把秋日清寂幽远的意境藏于一花一石，尽显文人寄情花木山水、抒怀遣兴的风雅格调，淡而不寡，艳而不俗。",[25,29,55,53,56,396,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93aba21c9075ae825d22864ce0ac1e6.jpg",[],{"id":21454,"slug":21455,"title":12543,"dynasty":18,"author":201,"museum":552,"description":21456,"tags":21457,"thumbUrl":21458,"material":59,"size":59,"collection":59,"collections":21459,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},235040,"yuan-ji-za-hua-tu-ce-yi-ming-235040","此作为水墨山水小品，以淡墨晕染出清秋萧索意趣。近处坡石错落，杂木虬曲苍劲，茅舍隐于松荫之下，板桥跨溪独悬，野趣盎然。远山以淡墨轻扫，浑茫虚灵，将画面拉向悠远空寂。\n题诗与画境相融，把旧梦金陵的怅惘寄寓在溪山秋景之中，诗画合璧，暗合文人借景抒怀的意趣。笔致松秀简淡，不作繁复皴染，却将荒寒幽寂的秋意烘托尽致，淡远空灵之间，藏着澹泊又带着怅然的悠悠心绪，尽显文人山水以简驭繁的韵致。",[25,55,75,53,80,349,277,134,7,81,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2976a2fe76233a14d1dbe89f5c7f7bf8.jpg",[],{"id":21461,"slug":21462,"title":502,"dynasty":18,"author":9429,"museum":71,"description":21463,"tags":21464,"thumbUrl":21465,"material":59,"size":59,"collection":59,"collections":21466,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},234793,"shan-shui-ce-dong-bang-da-234793","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[25,26,53,55,75,80,81,135,82,277,7,349,1231,134,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d394e3188a6393c396bd36ad031d0.jpg",[],{"id":21468,"slug":21469,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":21470,"thumbUrl":21471,"material":139,"size":59,"collection":59,"collections":21472,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},234737,"huang-shan-tu-ce-jiang-zhu-234737",[25,26,53,55,78,80,7,75,30,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19d84c59c34f592404253775634172bb.jpg",[],{"id":21474,"slug":21475,"title":940,"dynasty":18,"author":14723,"museum":71,"description":14724,"tags":21476,"thumbUrl":21477,"material":139,"size":59,"collection":59,"collections":21478,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},234734,"huang-shan-tu-ce-jiang-zhu-234734",[25,26,53,434,78,79,80,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8d131c6d5abfb1356e4647762a6c8f.jpg",[],{"id":21480,"slug":21481,"title":21482,"dynasty":18,"author":201,"museum":552,"description":19173,"tags":21483,"thumbUrl":21484,"material":59,"size":59,"collection":59,"collections":21485,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},234560,"yu-mu-shang-xin-ce-he-jin-xiang-shan-shui-ce-ye-yi-ming-234560","娱目赏心册-何金骧山水册页",[25,26,53,55,80,134,7,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1423785ffbba5ed6ced31b86f79c9df3.jpg",[],{"id":21487,"slug":21488,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21489,"thumbUrl":21490,"material":59,"size":59,"collection":59,"collections":21491,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233653,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233653",[25,26,53,29,6125,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37cd14a2dc18be10b30fba2a932ea4ae.jpg",[],{"id":21493,"slug":21494,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21495,"thumbUrl":21496,"material":59,"size":59,"collection":59,"collections":21497,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233644,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233644",[25,26,53,6125,29,187,864,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e14ea8490da38df86f57a947469855.jpg",[],{"id":21499,"slug":21500,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21501,"thumbUrl":21502,"material":59,"size":59,"collection":59,"collections":21503,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233634,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233634",[25,26,53,6125,29,55,30,7,306,505,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bde464b6f1a59ae5b31cc01b1a57c80.jpg",[],{"id":21505,"slug":21506,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21507,"thumbUrl":21508,"material":59,"size":59,"collection":59,"collections":21509,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233631,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233631",[25,26,53,29,6125,56,187,189,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3636e71beae028e006745d6453eed3c.jpg",[],{"id":21511,"slug":21512,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21513,"thumbUrl":21515,"material":59,"size":59,"collection":59,"collections":21516,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233629,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233629",[25,26,53,6125,29,55,101,7,21514],"水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5217130de18befad77650e80b0bccf6b.jpg",[],{"id":21518,"slug":21519,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21520,"thumbUrl":21521,"material":59,"size":59,"collection":59,"collections":21522,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233609,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233609",[25,26,53,29,6125,7,56,375,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0614343551e0acce73f1482ef59b8d93.jpg",[],{"id":21524,"slug":21525,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21526,"thumbUrl":21527,"material":59,"size":59,"collection":59,"collections":21528,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233597,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233597",[69,53,29,434,80,117,115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cad9723383e88011447b54f2fb212a7.jpg",[],{"id":21530,"slug":21531,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21532,"thumbUrl":21533,"material":59,"size":59,"collection":59,"collections":21534,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233596,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233596",[25,26,53,6125,29,134,1231,7,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2a819e83abdad2eb571c86968d1fac.jpg",[],{"id":21536,"slug":21537,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21538,"thumbUrl":21539,"material":59,"size":59,"collection":59,"collections":21540,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233588,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233588",[25,26,53,55,434,30,260,7,134,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd980a8067eafd4b76cd98fecc121eb32.jpg",[],{"id":21542,"slug":21543,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21544,"thumbUrl":21545,"material":59,"size":59,"collection":59,"collections":21546,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233576,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233576",[25,26,53,29,56,7,6125,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6237d92a1d842a14d1e25b95c3e18c.jpg",[],{"id":21548,"slug":21549,"title":940,"dynasty":18,"author":9663,"museum":71,"description":12942,"tags":21550,"thumbUrl":21551,"material":139,"size":12945,"collection":59,"collections":21552,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233438,"huang-shan-tu-ce-mei-qing-233438",[25,55,29,80,115,1911,20251,7,79,53,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd50f9bb50f598e131c06a4c2f36415c.jpg",[],{"id":21554,"slug":21555,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21556,"thumbUrl":21557,"material":59,"size":59,"collection":59,"collections":21558,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233359,"shi-zhu-zhai-pu-ce-hu-ri-cong-233359",[25,29,53,187,7,133,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6b4f1159d54878d92221e6e5e314fb.jpg",[],{"id":21560,"slug":21561,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21562,"thumbUrl":21563,"material":59,"size":59,"collection":59,"collections":21564,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233355,"shi-zhu-zhai-pu-ce-hu-ri-cong-233355",[25,26,53,55,29,75,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0f897e981c4fcc0805b03581ab18bd2.jpg",[],{"id":21566,"slug":21567,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21568,"thumbUrl":21569,"material":59,"size":59,"collection":59,"collections":21570,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233354,"shi-zhu-zhai-pu-ce-hu-ri-cong-233354",[25,26,53,55,29,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faade93ff1f2bd4f9c452ff314d70bf35.jpg",[],{"id":21572,"slug":21573,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21574,"thumbUrl":21575,"material":59,"size":59,"collection":59,"collections":21576,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233352,"shi-zhu-zhai-pu-ce-hu-ri-cong-233352",[25,26,53,55,434,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc107fdf63bfcc83a8568343016192104.jpg",[],{"id":21578,"slug":21579,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21580,"thumbUrl":21581,"material":59,"size":59,"collection":59,"collections":21582,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233351,"shi-zhu-zhai-pu-ce-hu-ri-cong-233351",[25,26,53,55,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58864d9953a6403f484b668fae9bf0a1.jpg",[],{"id":21584,"slug":21585,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21586,"thumbUrl":21587,"material":59,"size":59,"collection":59,"collections":21588,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233350,"shi-zhu-zhai-pu-ce-hu-ri-cong-233350",[25,26,53,28,55,29,7,160,79,4741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17864883c7033a4ff0cb6157831b3d5b.jpg",[],{"id":21590,"slug":21591,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21592,"thumbUrl":21593,"material":59,"size":59,"collection":59,"collections":21594,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233349,"shi-zhu-zhai-pu-ce-hu-ri-cong-233349",[25,53,55,29,7,243,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ca369672436bfbe8f1a6bee5ed09cf.jpg",[],{"id":21596,"slug":21597,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21598,"thumbUrl":21599,"material":59,"size":59,"collection":59,"collections":21600,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233346,"shi-zhu-zhai-pu-ce-hu-ri-cong-233346",[25,55,29,7,79,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8247f1813d46bb2bd78d14ced4e899.jpg",[],{"id":21602,"slug":21603,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21604,"thumbUrl":21605,"material":59,"size":59,"collection":59,"collections":21606,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233345,"shi-zhu-zhai-pu-ce-hu-ri-cong-233345",[25,26,53,55,29,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0abdbde8ec0cd642b95ebc302eb91.jpg",[],{"id":21608,"slug":21609,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21610,"thumbUrl":21611,"material":59,"size":59,"collection":59,"collections":21612,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233344,"shi-zhu-zhai-pu-ce-hu-ri-cong-233344",[24,25,26,53,29,7,79,434,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b2c48c791f1a73aeb181a6c0b9e84b.jpg",[],{"id":21614,"slug":21615,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21616,"thumbUrl":21617,"material":59,"size":59,"collection":59,"collections":21618,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233343,"shi-zhu-zhai-pu-ce-hu-ri-cong-233343",[25,26,53,55,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1668eaa5f91f77709dfa0a7517d980.jpg",[],{"id":21620,"slug":21621,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21622,"thumbUrl":21623,"material":59,"size":59,"collection":59,"collections":21624,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233342,"shi-zhu-zhai-pu-ce-hu-ri-cong-233342",[25,26,53,29,55,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046815acbeca2e880bebbab773d8948a.jpg",[],{"id":21626,"slug":21627,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21628,"thumbUrl":21629,"material":59,"size":59,"collection":59,"collections":21630,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233341,"shi-zhu-zhai-pu-ce-hu-ri-cong-233341",[25,26,53,29,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb25d8be5187f97a1b72b277d9cbf614.jpg",[],{"id":21632,"slug":21633,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21634,"thumbUrl":21635,"material":59,"size":59,"collection":59,"collections":21636,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233339,"shi-zhu-zhai-pu-ce-hu-ri-cong-233339",[24,25,26,53,55,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040572bede82abfe2f653b739c5811bc.jpg",[],{"id":21638,"slug":21639,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21640,"thumbUrl":21641,"material":59,"size":59,"collection":59,"collections":21642,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233338,"shi-zhu-zhai-pu-ce-hu-ri-cong-233338",[24,25,26,53,55,29,75,7,188,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda011f1739e4521e59e1add2fe88d2b0.jpg",[],{"id":21644,"slug":21645,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21646,"thumbUrl":21647,"material":59,"size":59,"collection":59,"collections":21648,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233337,"shi-zhu-zhai-pu-ce-hu-ri-cong-233337",[25,26,53,29,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb25f7e48d451cde642d52314c5bc27cd.jpg",[],{"id":21650,"slug":21651,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21652,"thumbUrl":21653,"material":59,"size":59,"collection":59,"collections":21654,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233336,"shi-zhu-zhai-pu-ce-hu-ri-cong-233336",[25,29,55,7,53,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b058f2d5fca60b05030e25067894989.jpg",[],{"id":21656,"slug":21657,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21658,"thumbUrl":21659,"material":59,"size":59,"collection":59,"collections":21660,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233335,"shi-zhu-zhai-pu-ce-hu-ri-cong-233335",[25,53,29,55,75,79,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65fe756169e0a263cea5cc56dba50ade.jpg",[],{"id":21662,"slug":21663,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21664,"thumbUrl":21665,"material":59,"size":59,"collection":59,"collections":21666,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233334,"shi-zhu-zhai-pu-ce-hu-ri-cong-233334",[25,24,53,29,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601bc968d16a05649f20bb989dbc1606.jpg",[],{"id":21668,"slug":21669,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21670,"thumbUrl":21671,"material":59,"size":59,"collection":59,"collections":21672,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233331,"shi-zhu-zhai-pu-ce-hu-ri-cong-233331",[25,26,53,55,29,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff490adf82fb0a24ba5b3383d8f623088.jpg",[],{"id":21674,"slug":21675,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21676,"thumbUrl":21677,"material":59,"size":59,"collection":59,"collections":21678,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233293,"shi-zhu-zhai-pu-ce-hu-ri-cong-233293",[25,29,53,715,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9022773e85c2596e773b7211773ea4d4.jpg",[],{"id":21680,"slug":21681,"title":11610,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":21682,"thumbUrl":21683,"material":59,"size":59,"collection":59,"collections":21684,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233278,"shi-zhu-zhai-pu-ce-hu-ri-cong-233278",[25,26,53,55,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89922fd452732363497873b6ddbe07c.jpg",[],{"id":21686,"slug":21687,"title":940,"dynasty":18,"author":9663,"museum":71,"description":12942,"tags":21688,"thumbUrl":21689,"material":139,"size":12945,"collection":59,"collections":21690,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},233155,"huang-shan-tu-ce-mei-qing-233155",[25,26,53,55,75,80,7,84,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e263c5152f071c8c08bf320f732ccb.jpg",[],{"id":21692,"slug":21693,"title":21694,"dynasty":5251,"author":21695,"museum":552,"description":21696,"tags":21697,"thumbUrl":21700,"material":641,"size":642,"collection":59,"collections":21701,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},232471,"he-er-bai-yin-130-he-er-bai-yin-232471","荷尔拜因130","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[30,21698,12167,20935,3734,21699,7,4771,1302,15606,27],"女性","明暗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd292e044c446de77c69a21457fdb881b.jpg",[],{"id":21703,"slug":21704,"title":21705,"dynasty":5251,"author":21706,"museum":552,"description":21707,"tags":21708,"thumbUrl":21712,"material":641,"size":642,"collection":59,"collections":21713,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},232120,"landscape-circa-museum-of-fine-arts-houston-usa-de-jia-232120","Landscape - circa - - Museum of Fine Arts - Houston (USA)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[21709,21710,7,308,14318,9763,324,21711],"印象派","油画","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710e0e89e3c6389421326bdd6b0ed7f0.jpg",[],{"id":21715,"slug":21716,"title":21717,"dynasty":5251,"author":21718,"museum":552,"description":21719,"tags":21720,"thumbUrl":21721,"material":641,"size":642,"collection":59,"collections":21722,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},231631,"shi-ting-shi-dai-zhu-zhai-du-shu-tu-zhou-wen-231631","室町时代 竹斋读书图","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[25,26,27,55,78,79,80,7,134,32,30,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4952e7551ba4aa4ca15319a1c60d38.jpg",[],{"id":21724,"slug":21725,"title":21726,"dynasty":5251,"author":21727,"museum":552,"description":21728,"tags":21729,"thumbUrl":21730,"material":313,"size":642,"collection":59,"collections":21731,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},230566,"bo-tuo-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230566","跛陀罗尊者","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,25,26,27,576,28,29,30,2777,101,445,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f361ef0328a78a64e1136188ce9c11.jpg",[],{"id":21733,"slug":21734,"title":21735,"dynasty":18,"author":201,"museum":552,"description":20994,"tags":21736,"thumbUrl":21737,"material":641,"size":642,"collection":59,"collections":21738,"showCount":511,"zanCount":511,"manualWeight":43,"mainColor":44},230028,"qing-yu-shi-zi-yi-ming-230028","青玉石子",[228,20996,7,3436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393cd94a93137581be196f4f1b559d0b.jpg",[],{"id":21740,"slug":21741,"title":21742,"dynasty":985,"author":201,"museum":21743,"description":21744,"tags":21745,"thumbUrl":21747,"material":641,"size":642,"collection":59,"collections":21748,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},226405,"ku-yong-dao-bei-bi-yi-ming-226405","窟甬道北壁","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[21746,576,55,30,7],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c49d49e67b1b9ca3796f42390fd5231.jpg",[],{"id":21750,"slug":21751,"title":21752,"dynasty":5251,"author":201,"museum":552,"description":16748,"tags":21753,"thumbUrl":21754,"material":641,"size":642,"collection":59,"collections":21755,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},225517,"fu-shi-hui-275-yi-ming-225517","浮世绘275",[16750,6125,29,30,7,1073,17613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1421bb850f09393523dea84cd541e.jpg",[],{"id":21757,"slug":21758,"title":21759,"dynasty":18,"author":7913,"museum":835,"description":9007,"tags":21760,"thumbUrl":21761,"material":3724,"size":59,"collection":59,"collections":21762,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":1551},222718,"huang-shan-ba-jing-tu-ce-7-zheng-min-222718","黄山八景图册7",[23,25,26,53,55,75,80,135,277,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc50a7be94e2ba511328461200f70aca0.jpg",[],{"id":21764,"slug":21765,"title":21766,"dynasty":18,"author":7913,"museum":835,"description":9007,"tags":21767,"thumbUrl":21768,"material":3724,"size":59,"collection":59,"collections":21769,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":1551},222716,"huang-shan-ba-jing-tu-ce-5-zheng-min-222716","黄山八景图册5",[23,24,25,26,53,55,75,80,115,82,81,7,4904],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe008686d9db54867c58e095398184ce9.jpg",[],{"id":21771,"slug":21772,"title":21773,"dynasty":18,"author":21774,"museum":3191,"description":21775,"tags":21776,"thumbUrl":21781,"material":21782,"size":21783,"collection":59,"collections":21784,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":59},220693,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220693","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,25,26,53,78,77,55,29,75,80,242,81,864,82,21777,21778,21779,863,21780,7],"平林","田","秋水","红月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb096dba09967f3165e9ac12273771f79.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":21786,"slug":21787,"title":21788,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":21789,"thumbUrl":21790,"material":205,"size":59,"collection":59,"collections":21791,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},218197,"luo-han-zhou-12-wu-bin-218197","罗汉轴-12",[25,27,576,434,55,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33fcdba9b6dea170bc43cde307520c80.jpg",[],{"id":21793,"slug":21794,"title":21795,"dynasty":69,"author":9015,"museum":112,"description":9976,"tags":21796,"thumbUrl":21797,"material":205,"size":59,"collection":59,"collections":21798,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":44},218195,"luo-han-zhou-14-wu-bin-218195","罗汉轴-14",[25,27,576,30,434,29,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce6a5287035998b5600f5210a81ba5cb.jpg",[],{"id":21800,"slug":21801,"title":21802,"dynasty":69,"author":21803,"museum":552,"description":21804,"tags":21805,"thumbUrl":21806,"material":327,"size":59,"collection":59,"collections":21807,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},218060,"bai-miao-jiu-ge-tu-ce-5-zhu-yun-ming-218060","白描九歌图册-5","祝允明","素纸铺陈，墨线流转如诗。人物衣袂若流云舒卷，眉眼间凝着楚辞里独有的幽婉，似湘水之畔的神祇踏波而来。白描不施粉黛，却以线条的轻重缓急，勾勒出衣纹的风致、神情的怅惘。寥寥数笔，兰舟芷草的意象隐现，仿佛能听见远古歌吟在纸上游走。墨色虽淡，却筋骨暗蕴，将九歌的浪漫与缥缈凝于方寸之间。每一道笔触都藏着深情，似在诉说那些关于思念与等待的古老传说，于素净中见丰腴，于简约中显悠远，让观者在墨线起落间，触摸到楚辞深处的温柔与怅然。",[24,25,26,53,434,30,7,31,80,864,865,349,863],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093e4ec91b5e0169d2c45a6beb14ef0b.jpg",[],{"id":21809,"slug":21810,"title":21811,"dynasty":18,"author":16267,"museum":552,"description":21812,"tags":21813,"thumbUrl":21814,"material":58,"size":59,"collection":59,"collections":21815,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},218012,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-6-ceng-yan-dong-218012","七道子山水人物画册18帧-6","曾衍东的作品大多描绘了山水风光，他喜欢运用细腻的笔法来捕捉山间的峰峦、河流的曲折和云雾的起伏。他的作品中常常出现清新的山水景观，充满了诗意和富有感染力的气氛。\n\n此外，曾衍东还经常画人物，他的人物画作品中常常出现的是闲适的书生或山民。他的人物画充满了生动的感情，能够真实地反映出人物的内心世界。",[23,25,26,53,55,80,153,82,32,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce53c54296b2bf70a459b58e08ebb822.jpg",[],{"id":21817,"slug":21818,"title":21819,"dynasty":369,"author":19378,"museum":170,"description":19379,"tags":21820,"thumbUrl":21821,"material":262,"size":19382,"collection":59,"collections":21822,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},217991,"shi-liu-ying-zhen-tu-3-fan-long-217991","十六应真图-3",[23,25,26,74,576,434,55,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c171e49bc9fa347480014be24a4eef.jpg",[],{"id":21824,"slug":21825,"title":21826,"dynasty":369,"author":19378,"museum":170,"description":19379,"tags":21827,"thumbUrl":21828,"material":262,"size":19382,"collection":59,"collections":21829,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},217976,"shi-liu-ying-zhen-tu-11-fan-long-217976","十六应真图-11",[23,25,26,434,55,576,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff9a81bfc29ee65d9fed6a10d66ee61.jpg",[],{"id":21831,"slug":21832,"title":21833,"dynasty":369,"author":19378,"museum":170,"description":19379,"tags":21834,"thumbUrl":21835,"material":262,"size":19382,"collection":59,"collections":21836,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},217975,"shi-liu-ying-zhen-tu-12-fan-long-217975","十六应真图-12",[23,24,25,26,434,55,576,30,260,2260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9734a74cb986d44860f93bbf18065a.jpg",[],{"id":21838,"slug":21839,"title":21840,"dynasty":369,"author":19378,"museum":170,"description":19379,"tags":21841,"thumbUrl":21842,"material":262,"size":19382,"collection":59,"collections":21843,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},217963,"shi-liu-ying-zhen-tu-24-fan-long-217963","十六应真图-24",[23,25,3533,434,80,7,82,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c0159b3d47fd0ef308b145d7ef6ea9f.jpg",[],{"id":21845,"slug":21846,"title":21847,"dynasty":369,"author":19378,"museum":170,"description":19379,"tags":21848,"thumbUrl":21849,"material":262,"size":19382,"collection":59,"collections":21850,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},217962,"shi-liu-ying-zhen-tu-25-fan-long-217962","十六应真图-25",[23,25,26,434,55,75,7,259,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6141496bea847bde64e7e7527e0be78b.jpg",[],{"id":21852,"slug":21853,"title":21854,"dynasty":69,"author":5428,"museum":552,"description":18428,"tags":21855,"thumbUrl":21856,"material":327,"size":59,"collection":59,"collections":21857,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":1551},217135,"shui-hu-quan-tu-55-du-jin-217135","水浒全图-55",[25,26,53,434,30,7,260,1768],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01fb02be565ddd27399d144b1fd004c6.jpg",[],{"id":21859,"slug":21860,"title":21861,"dynasty":18,"author":201,"museum":184,"description":19237,"tags":21862,"thumbUrl":21863,"material":58,"size":59,"collection":59,"collections":21864,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},216240,"shi-quan-tu-ce-4-yi-ming-216240","十犬图册-4",[23,25,26,53,29,28,101,2688,133,7,78,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb8d97463015471b50f5b5ca351499e.jpg",[],{"id":21866,"slug":21867,"title":21868,"dynasty":18,"author":201,"museum":184,"description":19237,"tags":21869,"thumbUrl":21870,"material":58,"size":59,"collection":59,"collections":21871,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},216234,"shi-quan-tu-ce-10-yi-ming-216234","十犬图册-10",[23,25,26,53,28,29,101,7,117,77,78,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d4583e76250578185eee609f6beeac.jpg",[],{"id":21873,"slug":21874,"title":21875,"dynasty":18,"author":201,"museum":552,"description":21876,"tags":21877,"thumbUrl":21879,"material":37,"size":7471,"collection":59,"collections":21880,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},215913,"qing-ren-xiao-xiang-tu-ce-2-yi-ming-215913","清人肖像图册-2","树下石畔，端坐者衣袂清和。红顶帽映蓝袍翠裳，色泽沉敛却见雅致。手中书卷半展，神情恬淡，似浸于文思间。侧旁木桌置瓶花、文玩，笔触细腻，衬出文人雅趣。画作兼工带写，人物形神毕肖，景物简淡却富生趣，尽显清代肖像画于写实中蕴藉意境之妙。整幅画面静穆温婉，仿佛时光凝驻，将古人的闲雅情态悄然定格。",[25,29,28,30,191,117,7,21878,34,35],"桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7c4cbfd2765bcfaa496e21d1cdbd24b.jpg",[],{"id":21882,"slug":21883,"title":21884,"dynasty":18,"author":201,"museum":552,"description":21885,"tags":21886,"thumbUrl":21887,"material":37,"size":7471,"collection":59,"collections":21888,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},215899,"qing-ren-xiao-xiang-tu-ce-18-yi-ming-215899","清人肖像图册-18","画面中人物盘腿坐于花毯之上，红顶小帽衬得面容沉静，蓝袍素雅，浅裳宽松，手中书卷半展，似正沉浸于文思之间。背景古树虬枝苍劲，叶色浓翠，旁侧山石嶙峋，小桌置物简约，自然景致与人物情态相融。暖调底色晕染出时光的温润感，人物神态刻画细腻，眉眼间透着悠然恬淡，衣纹线条流畅，色彩搭配和谐雅致。整幅画作将写实与写意结合，既捕捉人物文雅的气质，又以自然景物烘托出闲适的文人意境，尽显清代肖像画中对形神与情境的精妙表达。",[25,29,28,30,7,117,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc9b2dad768189869649dfc3bb362ff.jpg",[],{"id":21890,"slug":21891,"title":21892,"dynasty":18,"author":201,"museum":552,"description":21893,"tags":21894,"thumbUrl":21895,"material":327,"size":59,"collection":59,"collections":21896,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},215240,"bai-miao-jie-tou-mai-mai-hua-ce-317-yi-ming-215240","白描街头买卖画册-317","素笺上，线条如行云般游走。垂钓者静倚岩岸，竿尖微颤，银鳞已悬于线端，眉眼间尽是悠然。衣纹随坐姿婉转，岩石纹理以疏笔点染，脚边竹篮与渔网状物，晕开几分烟火暖意。水面淡墨轻勾，似有细浪微动，寥寥数笔便拓出清旷之境。白描的意趣，正在于以简驭繁：人物的闲逸、鱼的鲜活、器物的朴拙，皆由凝练线条勾勒得淋漓尽致，于简淡中藏着旧时生活里的从容与真味。",[23,25,26,53,434,30,565,7,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6b449b6b3ac763eb3ece3518440542.jpg",[],{"id":21898,"slug":21899,"title":21900,"dynasty":18,"author":201,"museum":552,"description":21901,"tags":21902,"thumbUrl":21903,"material":327,"size":59,"collection":59,"collections":21904,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},215228,"bai-miao-jie-tou-mai-mai-hua-ce-329-yi-ming-215228","白描街头买卖画册-329","线条如行云流水，勾勒出市井一隅的恬淡。女子倚石而坐，头巾轻裹，衣袂简净，腕间似凝着几分闲适。身侧轮盘静立，架上器物隐约，似藏着街头买卖的细碎日常。远山淡墨晕开，地面零星小物散落，更添朴实质感。白描素净里，无浓墨重彩，却将寻常烟火的温柔，藏进每道流畅线条中。观者仿佛触到市井里的轻缓时光，品咂出生活本真的温润——那些未说出口的日常，都在这简洁勾勒里，漾着淡淡的暖意。",[23,25,434,53,30,7,324,35,1921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9adcc9739b6615ed795d27c0215b40f.jpg",[],{"id":21906,"slug":21907,"title":21908,"dynasty":18,"author":9324,"museum":552,"description":18444,"tags":21909,"thumbUrl":21911,"material":58,"size":59,"collection":59,"collections":21912,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":64},215076,"tui-bei-tu-ce-33-jiao-bing-zhen-215076","推背图册-33",[23,25,26,53,28,29,2260,101,7,21910,540],"日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2484f1301ddd3803681725f6ff3e9507.jpg",[],{"id":21914,"slug":21915,"title":21916,"dynasty":9797,"author":7218,"museum":150,"description":21917,"tags":21918,"thumbUrl":21919,"material":59,"size":59,"collection":39,"collections":21920,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":21921},203364,"da-mo-mian-bi-tu-zhou-wang-zhen-203364","达摩面壁图轴","画面中达摩身着宽袍端坐孤石，面容清癯双目微阖，似入禅定之境。身后圆光隐现，衬出超然气质。衣纹以简练墨线勾勒，洒脱流畅；山石用浓淡泼墨皴擦，粗犷雄浑，与人物清雅形成鲜明对比。留白处题款笔墨与画面交融，禅意与文气交织，尽显静谧深邃的修行氛围。",[25,55,30,7,576,75,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e7bebe9ea9bf70400c30ecf8ef7f748.jpg",[39],"9b9389",{"id":21923,"slug":21924,"title":17097,"dynasty":9797,"author":4779,"museum":150,"description":21925,"tags":21926,"thumbUrl":21927,"material":59,"size":59,"collection":59,"collections":21928,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":21929},203208,"ju-shi-tu-zhou-qi-bai-shi-203208","浓墨泼洒出孤石，笔势雄浑苍劲，墨韵淋漓厚重；秋菊簇生绽放，红妍似火、黄灿如金、白洁若雪，设色鲜妍浓烈，花瓣以简劲笔触勾勒层叠之态，叶片墨色浓淡相间，野趣盎然。两只小蜂翩跹枝间，灵动俏皮，为萧瑟秋意注入鲜活生机。白石老人以老辣洒脱的笔墨，将菊之傲霜风骨与石之沉稳坚毅相融，尽显写意花鸟的生机与意趣，满纸皆是对自然生命的热忱与艺术的炉火纯青。",[25,26,56,189,7,55,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f68ebd18c07f191a7fed68459650101.jpg",[],"908a73",{"id":21931,"slug":21932,"title":18741,"dynasty":9797,"author":21933,"museum":150,"description":21934,"tags":21935,"thumbUrl":21936,"material":59,"size":59,"collection":59,"collections":21937,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":21938},203073,"wu-liang-shou-fu-tu-zhou-qiao-ben-guan-xue-203073","桥本关雪","画面以水墨手法绘无量寿佛趺坐之姿，线条简括却形神兼备。衣袍淡墨晕染，褶皱随势勾勒尽显质感；面部须发寥寥数笔，神情沉静肃穆似入冥思。身后淡墨圈出圆光，含蓄映现神圣气象。背景泼墨点染孤石枯藤，笔意洒脱，墨色浓淡交错，营造空灵悠远的禅意空间。整幅画作于极简中见深致，水墨虚实相生间，传递静谧祥和的宗教意蕴，尽显东方艺术的写意之美。",[55,576,30,7,1231,134,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe88b5dc18d12ce992c9055643c50b8.jpg",[],"c2b9a7",{"id":21940,"slug":21941,"title":17097,"dynasty":9797,"author":21942,"museum":150,"description":21943,"tags":21944,"thumbUrl":21945,"material":59,"size":59,"collection":59,"collections":21946,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":21947},203002,"ju-shi-tu-zhou-ma-gong-yu-203002","马公愚","此图以孤石为基，秋菊攀附而生，笔墨兼具刚柔。石体以水墨皴染，线条简劲，墨色浓淡层叠，显沉稳厚重之态；菊花花瓣用淡彩点写，轻盈灵动，墨叶以焦墨挥洒，苍劲有力，花叶相映成趣。构图疏密得当，静石与活菊相衬，尽展文人画的清雅意趣，传递出秋菊傲霜、孤石持守的高洁品格，韵味隽永。",[25,27,29,7,189,55,56,75,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aef738886fd29e3562a8f2ff8dfb1c0.jpg",[],"cac4b1",{"id":21949,"slug":21950,"title":21951,"dynasty":9797,"author":21952,"museum":150,"description":21953,"tags":21954,"thumbUrl":21955,"material":59,"size":59,"collection":59,"collections":21956,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":21957},202805,"ting-qiu-tu-zhou-wang-yun-202805","听秋图轴","王云","画面中，白衣老者倚石闲坐，红衣童子侧立相伴，芭蕉阔叶舒展，翠竹修颀挺拔，石间草木点缀，尽显秋日清寂之趣。笔墨灵动，人物神态悠然，设色淡雅温润，景物写意传神，墨色浓淡相宜，营造出“听秋”的闲适意境，传递出文人雅士对自然时序的细腻感知与恬淡心境。",[25,29,30,32,99,7,55,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d4b106ae13bc4524522365b9b50634.jpg",[],"cbc6b9",{"id":21959,"slug":21960,"title":21961,"dynasty":9797,"author":4779,"museum":150,"description":21962,"tags":21963,"thumbUrl":21964,"material":59,"size":59,"collection":59,"collections":21965,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":21966},202785,"yu-lan-zhi-ji-tu-zhou-qi-bai-shi-202785","玉兰稚鸡图轴","稚鸡独立孤石之上，羽色层次分明：颈间白羽莹洁，背羽泛着青蓝与赭褐的光泽，尾翎斑纹疏朗有致，双目炯炯，神态警觉。近旁老树干以浓墨挥写，笔触苍劲，飞白处显树纹肌理；玉兰枝条穿插自然，苞芽以淡墨点染，清逸动人。禽鸟刻画兼工带写，设色清雅鲜活；树木则用大写意，水墨淋漓间见笔力。整幅画动静相宜，稚鸡的沉稳与枝条的疏朗相映成趣，满纸生机，尽展白石老人于花鸟题材中的匠心独运。",[25,56,29,7,55,27,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc822c66e549fe146860b9977e5ce9b7.jpg",[],"b9b4a5",{"id":21968,"slug":21969,"title":21970,"dynasty":9797,"author":3542,"museum":150,"description":21971,"tags":21972,"thumbUrl":21973,"material":59,"size":59,"collection":59,"collections":21974,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":21975},202751,"xiong-ji-tu-zhou-xu-bei-hong-202751","雄鸡图轴","画面中雄鸡昂首伫立岩巅，红冠如烈焰跃动，白羽衬黑翎，墨色浓淡相生，笔触刚健洒脱。以水墨写意为主，兼融西画写实功底，鸡身线条简练却形神兼备，爪部勾勒精准有力，岩石以泼墨晕染衬出质感，旁侧淡墨竹影疏朗，更显清逸之气。雄鸡姿态昂扬，似欲引吭，传递出奋进勃发的生命力，尽显画家对精神气节的赞颂。整幅作品笔墨生动，意境雄阔，将传统水墨韵味与现代审美相融合，为花鸟题材中的精品。",[25,55,29,56,32,7,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb230eb78c68c4ef9a81552f1d834106a.jpg",[],"cabba8",{"id":21977,"slug":21978,"title":21979,"dynasty":18,"author":20608,"museum":150,"description":21980,"tags":21981,"thumbUrl":21982,"material":59,"size":59,"collection":59,"collections":21983,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":21984},202731,"ba-jiao-mo-mei-tu-zhou-zhu-ang-zhi-202731","芭蕉墨梅图轴","浓墨挥写的芭蕉叶，笔触豪放洒脱，墨色浓淡交织，层叠间见叶片的舒展与厚重。纤细的梅枝蜿蜒穿插，疏花点点，与芭蕉的苍劲形成刚柔相济之美。石畔竹影婆娑，添了几分清趣。整幅以水墨为韵，构图疏密有致，虚实相生，清雅的意境中透着生机盎然，尽显笔墨间的文人雅致。",[55,187,32,7,27,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69359169b096727e4bde0069de13a169.jpg",[],"b19577",{"id":21986,"slug":21987,"title":1614,"dynasty":18,"author":21988,"museum":150,"description":21989,"tags":21990,"thumbUrl":21991,"material":59,"size":59,"collection":59,"collections":21992,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":21993},202673,"zhu-shi-tu-zhou-tang-mi-202673","汤密","修竹数竿凌云而立，竹叶以泼墨写意之法点染，笔触利落，墨色层次分明，疏密间藏风动之姿。旁侧奇石嶙峋，以粗犷皴法勾其肌理，浓墨点苔衬出苍劲质感。竹之清雅与石之沉雄相映成趣，笔墨简练却意境悠远，尽显文人画中对自然风骨的咏叹，满纸清雅之气。",[25,55,32,7,75,27,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35238fd6f489d0642499479546892efe.jpg",[],"a59582",{"id":21995,"slug":21996,"title":21997,"dynasty":18,"author":214,"museum":150,"description":21998,"tags":21999,"thumbUrl":22000,"material":59,"size":59,"collection":59,"collections":22001,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22002},202668,"dong-shan-xie-ji-tu-zhou-hua-yan-202668","东山携妓图轴","画面以清雅水墨设色铺陈，垂丝柳树与疏朗竹枝相映，孤石点缀其间，营造出悠然山林氛围。四位人物姿态鲜活：身着宽袍者神情闲适，似是谢安；三位女子衣袂轻扬，或回首低语或抬手指点，动态毕现。画家以流畅线条勾勒人物形神，兼用工写之法——树石以写意笔触挥洒，墨色浓淡相生；人物细节则细腻传神，尽显雅致意趣。整幅作品将谢安东山隐居的风流韵致与文人闲适情怀融于笔端，意境悠远绵长。",[55,29,30,307,7,1073,746,2290,8134,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56a78ec92adec4be766f2e8e39a8aa0.jpg",[],"f7f8f4",{"id":22004,"slug":22005,"title":1614,"dynasty":69,"author":22006,"museum":150,"description":22007,"tags":22008,"thumbUrl":22009,"material":59,"size":59,"collection":59,"collections":22010,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22011},202647,"zhu-shi-tu-zhou-qu-jun-202647","瞿俊","画面以水墨写意写竹石，竹竿挺劲修长，竹叶以浓淡墨色交错撇捺，如疾风过林，灵动而富韵律。旁侧孤石以枯笔皴擦勾勒，纹理苍劲古朴，与翠竹相映成趣。笔墨简括却意韵深幽，尽显文人画清雅风骨——竹之疏朗有节，石之沉稳坚韧，暗合君子品格。整幅画作不事雕琢，于黑白间见疏密开合之妙，以物寄情，流露画家淡泊心境与对自然生机的体悟。",[25,55,32,7,75,77,2290,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f87e519c4aef7b3bee758408a0299b0.jpg",[],"c7b79f",{"id":22013,"slug":22014,"title":22015,"dynasty":18,"author":551,"museum":150,"description":22016,"tags":22017,"thumbUrl":22018,"material":59,"size":59,"collection":59,"collections":22019,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22020},202624,"qiu-ju-tu-zhou-wu-chang-shuo-202624","秋菊图轴","石侧秋菊簇生，黄瓣金灿如洒，粉蕊艳而不妖，墨叶以焦墨挥写，筋脉毕露如铁线；旁立瘦石嶙峋，淡墨皴擦显肌理，枯枝斜出缀几点红萼，似梅枝傲雪，添秋寒清韵。用笔取篆籀之劲，线条沉雄，墨色浓淡相济；设色大胆明快，藤黄点染黄菊，胭脂晕开粉瓣，对比中见和谐。秋意浓处生机不减，傲骨暗藏，尽显文人画“托物言志”之趣，笔墨间满溢苍劲烂漫的大写意风神。",[25,26,56,189,7,55,29,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeeb190504e60757e2c5de04d04612c1.jpg",[],"c2b9ac",{"id":22022,"slug":22023,"title":4689,"dynasty":18,"author":22024,"museum":150,"description":22025,"tags":22026,"thumbUrl":22027,"material":59,"size":59,"collection":59,"collections":22028,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22029},202597,"mu-dan-tu-zhou-huang-shan-shou-202597","黄山寿","画面中牡丹雍容多姿，红粉白黄诸色交织，花瓣层叠细腻，尽显华贵之态。湖石淡绿设色，造型奇崛，与艳丽花卉相映成趣。叶片以细劲线条勾勒，墨色浓淡相宜，脉络清晰，兼具工笔精致与写意灵动。整体设色淡雅明快，既存花卉生机，又融文人秀逸气韵，笔墨细腻见功力，灵动显神韵，将牡丹绰约风姿与湖石清奇之态完美融合，展现清代花鸟画作的典型风貌与艺术魅力。",[28,29,191,56,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ac76a8a54a7e60ae5cbeaebf433d6a.jpg",[],"ded2c5",{"id":22031,"slug":22032,"title":22033,"dynasty":18,"author":11766,"museum":150,"description":22034,"tags":22035,"thumbUrl":22038,"material":59,"size":59,"collection":59,"collections":22039,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22040},202592,"fu-gui-shou-kao-tu-zhou-jiang-pu-202592","富贵寿考图轴","粉艳牡丹倚苍润湖石而生，花瓣层叠晕染，如凝脂含露，尽显雍容之态；绿叶或浓绿或浅碧，脉络清晰，与湖石的青蓝泼染相映成趣。工笔设色细腻雅致，牡丹以淡粉逐层晕染，丰姿绰约；湖石用墨色兼渲染，孔洞玲珑，苍劲中藏秀逸。笔墨间，牡丹喻富贵，湖石寄寿考，构图疏密有致，气息清和温婉，于传统花鸟范式中，藏吉祥意蕴与文人雅趣。",[25,56,28,29,191,7,22036,22037,23],"雅致","富贵寿考","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9256ca19b99020c3286821802da3ce52.jpg",[],"b6a88f",{"id":22042,"slug":22043,"title":22044,"dynasty":18,"author":12069,"museum":150,"description":22045,"tags":22046,"thumbUrl":22047,"material":59,"size":59,"collection":59,"collections":22048,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22049},202587,"feng-chen-san-xia-tu-zhou-huang-shen-202587","风尘三侠图轴","画面以简练笔墨勾勒风尘三侠的相遇瞬间：李靖躬身揖礼，红拂女侧身凝眸，虬髯客扶鞍回望，驴儿垂首立旁，动态鲜活传神。孤石嶙峋，树木疏朗，背景留白恰到好处，衬出江湖侠气。笔墨挥洒如草书入画，线条流转灵动，设色淡雅却见神采，将三人的豪爽与默契尽融于写意笔触中，尽显扬州八怪的放逸风骨，让千年传奇在尺幅间生动再现。",[29,30,7,55,134,306,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b58123a3895072145a2ac6a31a6dbc9.jpg",[],"b6a391",{"id":22051,"slug":22052,"title":1614,"dynasty":18,"author":22024,"museum":150,"description":22053,"tags":22054,"thumbUrl":22055,"material":59,"size":59,"collection":59,"collections":22056,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22057},202553,"zhu-shi-tu-zhou-huang-shan-shou-202553","墨竹枝干遒劲挺拔，竹叶以劲健笔触撇捺挥洒，疏密错落间尽显清风傲骨之姿；湖石造型奇崛古拙，墨色浓淡相衬，皴擦点染中见肌理苍润之趣。竹石相依，清雅之气溢于纸端，笔墨间既有传统文人画的逸韵，又具灵动鲜活的个人风格，于简约构图里传递出自然生机与文人雅意。",[25,55,27,32,7,75,56,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82677a15ba2d2972fe8dff38c894b165.jpg",[],"cec6c3",{"id":22059,"slug":22060,"title":1614,"dynasty":18,"author":96,"museum":150,"description":22061,"tags":22062,"thumbUrl":22063,"material":59,"size":59,"collection":59,"collections":22064,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22065},202533,"zhu-shi-tu-zhou-ren-yi-202533","墨竹枝干挺劲，焦墨勒节处笔力顿挫如锥画沙；竹叶纷披，浓淡墨色交织似雨打青筠，疏密间藏风中之姿。旁侧孤石以淡墨皴染，与劲竹相映成趣，虚实相生。整幅笔墨灵动洒脱，气韵天成，既得文竹清雅之致，又具写意洒脱之态，尽显竹石相依的古雅意境。",[55,32,7,2885,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F525ff0b05c0a136a6c67d4672e6111ab.jpg",[],"b7a896",{"id":22067,"slug":22068,"title":1614,"dynasty":18,"author":8557,"museum":150,"description":22069,"tags":22070,"thumbUrl":22071,"material":59,"size":59,"collection":59,"collections":22072,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22073},202504,"zhu-shi-tu-zhou-min-zhen-202504","墨竹挺拔劲健，枝叶以浓淡干湿之墨挥写，笔触利落如剑，疏密交错间尽显清风傲骨。旁侧山石以粗犷墨线勾勒，皴擦结合，质感厚重古朴，与竹之灵秀形成刚柔相济之趣。整幅画面气韵生动，墨色层次丰富，于简淡中见精神，传递出文人画特有的清雅品格与坚韧气节。",[25,55,32,7,75,27,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98672f66be0f85565b1f146c135ea0b.jpg",[],"c6b7aa",{"id":22075,"slug":22076,"title":22077,"dynasty":18,"author":214,"museum":150,"description":22078,"tags":22079,"thumbUrl":22080,"material":59,"size":59,"collection":59,"collections":22081,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22082},202485,"he-ming-jia-qu-tu-zhou-hua-yan-202485","和鸣佳趣图轴","枯枝疏朗，红枫点染秋意，两只禽鸟相和而鸣：枝上者俯身垂首，似凝听应答；石上者昂首振羽，若引吭高歌。鸟羽细笔勾勒，墨色浓淡相宜，尾羽线条飘逸灵动；山石以写意皴擦，苍劲中见朴拙。笔墨兼工带写，既得禽鸟生动之态，又显文人画清雅之趣。题款书法与画面相映，气韵贯通，尽显“和鸣佳趣”之境，于简淡中藏生机，于笔墨间见性情。",[25,56,55,29,27,153,7,28,75,16923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7cfe920333b0765889dce7190d0e63.jpg",[],"b09f90",{"id":22084,"slug":22085,"title":22086,"dynasty":18,"author":22087,"museum":150,"description":22088,"tags":22089,"thumbUrl":22091,"material":59,"size":59,"collection":59,"collections":22092,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22093},202472,"hua-hui-zhou-wu-xi-zai-202472","花卉轴","吴熙载","竹枝挺秀，竹叶以浓淡墨色挥洒，姿态生动；顽石用淡墨晕染，枯笔勾边，朴拙厚重。下方花草叶片清劲，小白花点缀其间，设色浅淡雅致。构图疏密相宜，笔墨兼具金石之趣与写意灵动，尽显文人画的清幽格调，于简淡中见生机。",[25,56,5994,7,29,173,22090,2290,174,20734,22036,23],"金石韵味","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2962a2f69b5bcc0aa47e0de26ed7235.jpg",[],"a39b85",{"id":22095,"slug":22096,"title":19554,"dynasty":18,"author":22097,"museum":150,"description":22098,"tags":22099,"thumbUrl":22100,"material":59,"size":59,"collection":59,"collections":22101,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22102},202415,"guan-yin-tu-zhou-xi-gang-202415","奚冈","画面中观音立于石畔，面容安详，双目微阖，神情慈悲温婉。衣纹以流畅白描勾勒，线条细腻婉转，尽显衣袂飘飘之态。身后老树虬枝盘曲，枝干苍劲，竹叶疏朗有致，墨色浓淡相宜，与岩石的皴擦相映成趣。整体以水墨绘就，清雅淡然，意境空灵静谧，传递出悠远禅意，令人心生肃穆。",[434,55,27,576,30,134,32,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916672e15c67ece04d879bd11b41b273.jpg",[],"d0c1ab",{"id":22104,"slug":22105,"title":22106,"dynasty":18,"author":22097,"museum":150,"description":22107,"tags":22108,"thumbUrl":22109,"material":59,"size":59,"collection":59,"collections":22110,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22111},202406,"zhu-shi-lan-hua-zhou-xi-gang-202406","竹石兰花轴","竹枝劲挺如剑，竹叶以浓淡墨色点染，疏密间藏风致；山石用枯笔皴擦，纹理苍劲古拙；兰草纤柔舒展，线条流畅灵动。三者错落布局，刚柔相济，笔墨简淡却意韵悠长。文人画的清雅之气弥漫画面，仿佛兰香暗浮，竹影婆娑，尽显自然生机与画家对物象的精妙捕捉。",[25,26,27,55,188,32,7,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a8cdf51a0d26a459ecb962b007783c.jpg",[],"c4a477",{"id":22113,"slug":22114,"title":22115,"dynasty":18,"author":22116,"museum":150,"description":22117,"tags":22118,"thumbUrl":22119,"material":59,"size":59,"collection":59,"collections":22120,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22121},202403,"yun-feng-yan-chu-tu-zhou-dai-xi-202403","云峰烟楚图轴","戴熙","峰峦层叠，皴笔皴擦山石脉络，墨色浓淡交织出嶙峋质感。云雾如轻纱漫卷，缠绕山腰处虚实相生，拓延画面深远之境。下方枯树虬枝伸展，与嶙峋怪石相映成趣，小径蜿蜒隐现，似引观者步入山林幽寂。笔墨清润雅致，意境萧疏淡远，尽显文人山水的空灵韵味，于简淡中藏丘壑，于虚静中见生机。",[25,80,75,55,27,7,134,1231,277,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde293d9a33c22e0ad8d782f493fb767f.jpg",[],"c9bba9",{"id":22123,"slug":22124,"title":1614,"dynasty":18,"author":22125,"museum":150,"description":22126,"tags":22127,"thumbUrl":22128,"material":59,"size":59,"collection":59,"collections":22129,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22130},202388,"zhu-shi-tu-zhou-bi-long-202388","毕泷","水墨写竹石，淡墨皴染的孤石朴拙厚重，浓墨挥就的竹枝劲挺，竹叶如剑，疏密有致间见清劲风骨。笔墨简括却气韵生动，竹之潇逸与石之沉稳相映，尽显文人画的雅致孤傲。不事雕琢，以凝练之笔传物象精神，是对竹石品格的诗意诠释。",[25,55,32,7,26,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddf198c9b62bd4eee5872d8cfe875c8.jpg",[],"beaa90",{"id":22132,"slug":22133,"title":1614,"dynasty":18,"author":551,"museum":150,"description":22134,"tags":22135,"thumbUrl":22136,"material":59,"size":59,"collection":59,"collections":22137,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22138},202327,"zhu-shi-tu-zhou-wu-chang-shuo-202327","墨竹以焦墨挥写，竹叶如剑戟横斜，笔力沉雄，裹挟金石篆刻的苍劲质感。枝干虬曲而挺拔，暗含凌云之势。下方孤石以淡墨晕染，线条粗犷朴拙，与浓墨修竹相映成趣，虚实间涌动生机。整幅画融书法笔意于笔墨，笔势开张，墨色层次分明，尽显文人画的洒脱风骨，仿佛竹叶簌簌之声入耳，石间坚韧之态入心。",[25,55,32,7,78,27,26,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7327533b37646a825914a593787a8bec.jpg",[],"ccc8bd",{"id":22140,"slug":22141,"title":1614,"dynasty":18,"author":551,"museum":150,"description":22142,"tags":22143,"thumbUrl":22144,"material":59,"size":59,"collection":59,"collections":22145,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22138},202309,"zhu-shi-tu-zhou-wu-chang-shuo-202309","此图以水墨写竹石，竹枝挺劲如篆，竹叶泼洒似剑，墨色浓淡交错间尽显苍莽生气。石以大写意出之，泼墨晕染与枯笔皴擦相济，嶙峋朴拙，与修竹清劲相映成趣。笔力沉雄老辣，篆书笔意隐于线条，金石之气扑面而来。竹石相倚寄寓高洁品格，寥寥数笔意境浑成，是吴昌硕以书入画的典型风貌。",[25,55,32,7,75,79,77,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6ebd0629608c633f56f1bdc8b48851.jpg",[],{"id":22147,"slug":22148,"title":3562,"dynasty":18,"author":5900,"museum":150,"description":22149,"tags":22150,"thumbUrl":22151,"material":59,"size":59,"collection":59,"collections":22152,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22153},202294,"song-shi-tu-zhou-wang-zhi-rui-202294","画面以孤松、湖石构境，疏朗中藏张力。松干挺拔，皮纹斑驳如鳞，松针以劲挺短线勾出，苍劲毕现；旁侧湖石奇崛，浓墨干笔皴擦，嶙峋骨感十足。树下苔点与坡岸墨块相映，朴拙野趣自生。右侧题款笔墨流畅，与画面气韵相融，尽显“诗书画印”合一之韵。整体墨色简淡却有神采，线条洗练而含筋骨，传递出清寂孤高的文人意趣，是新安画派简劲风格的典型体现。",[25,55,7,260,75,2290,27,77,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f0219c63c407354b8571e14aebaae2f.jpg",[],"877e70",{"id":22155,"slug":22156,"title":22157,"dynasty":18,"author":16213,"museum":150,"description":22158,"tags":22159,"thumbUrl":22160,"material":59,"size":59,"collection":59,"collections":22161,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":17740},202287,"zhi-lan-zhu-shi-tu-zhou-zheng-xie-202287","芝兰竹石图轴","竹枝以篆隶笔意勾勒，劲挺如铁线，竹叶泼墨挥洒，浓淡交错间见灵动风神。孤石瘦硬嶙峋，皴擦简练却骨力深藏，芝兰于石隙间柔蔓舒展，与劲竹刚柔相济。墨色干湿浓淡随心流转，层次丰富自然。整幅画以简驭繁，将文人倔强清雅寄于草木山石，笔墨间尽是“胸有成竹”的意趣，尽显板桥画艺中“以书入画”的独特韵味。",[25,26,27,55,75,188,32,7,2885,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f8fd5168c3fb448436671d5a728838.jpg",[],{"id":22163,"slug":22164,"title":22165,"dynasty":69,"author":10816,"museum":150,"description":22166,"tags":22167,"thumbUrl":22168,"material":59,"size":59,"collection":59,"collections":22169,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22170},202258,"ting-gao-mu-ye-tu-zhou-chen-ji-ru-202258","亭皋木叶图轴","寒林积素，远山静默如卧，几株枯木疏枝横斜，与江畔茅亭相映成趣。水墨晕染间，山石以简括皴法勾勒肌理，笔墨苍润中透着空灵。画面无喧嚣，唯余天地间的清寂，似可听雪落簌簌，感冬日萧寒里的悠然心境，尽显文人画的淡远之致。",[25,26,27,55,75,80,349,134,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa30439a67528208aefb5a352c4063c.jpg",[],"b6aa95",{"id":22172,"slug":22173,"title":1614,"dynasty":18,"author":22174,"museum":150,"description":22175,"tags":22176,"thumbUrl":22177,"material":59,"size":59,"collection":122,"collections":22178,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22179},202140,"zhu-shi-tu-zhou-wu-zhao-202140","吴照","墨竹丛生，枝干挺拔有节，竹叶层叠纷扬，笔触利落灵动，墨色浓淡交织，似含清风拂动之姿。旁侧孤石以简练线条勾勒，皴擦间显苍劲质感，与秀逸之竹相衬，暗蕴文人“竹石同心”的清雅意趣。整幅笔墨简练却气韵生动，将竹的高洁与石的沉稳融于一体，尽显传统文人画的雅致风骨。",[25,26,27,55,75,32,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f91983f7f718697dee434b8ab0179c.jpg",[122],"69472f",{"id":22181,"slug":22182,"title":22183,"dynasty":18,"author":22184,"museum":150,"description":22185,"tags":22186,"thumbUrl":22187,"material":59,"size":59,"collection":59,"collections":22188,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22189},202071,"fang-cao-zhi-bai-shan-shui-tu-zhou-shi-shang-rui-202071","仿曹知白山水图轴","释上睿","此图笔墨清润秀逸，构图层次错落有致。山峦以简洁皴法勾勒，敷淡墨晕染，尽显清旷之姿；林木疏朗，老树枯藤间透着萧散意趣，寒枝点缀更添清冷。留白处似含雪意，山石与林木相映成趣，得元人山水之神韵。整体意境悠远淡泊，笔墨间流露文人画的闲适心境，仿曹知白而自有雅致。",[80,75,76,134,1231,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bced0683b1b4d35b9796b1b91a07f0.jpg",[],"a99172",{"id":22191,"slug":22192,"title":22193,"dynasty":18,"author":22194,"museum":150,"description":22195,"tags":22196,"thumbUrl":22197,"material":59,"size":59,"collection":59,"collections":22198,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22199},202022,"fang-lu-zhi-hua-niao-zhou-pan-gong-shou-202022","仿陆治花鸟轴","潘恭寿","这幅花鸟轴笔墨秀逸，设色温婉。枝头红葩灼灼绽放，绿叶扶疏摇曳，双鸟栖枝顾盼，神态灵动鲜活；石畔萱草临风舒展，色泽明润如染。工笔勾勒线条细劲流畅，设色淡雅却层次分明，既承袭陆治花鸟的清逸之姿，又融入自身温婉笔致，于方寸间尽显盎然生机与闲适意趣，堪称清代临摹花鸟的雅致之作。",[28,29,56,7,76,27,16232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7914b09c585a9dd9f40d77e3fe808d.jpg",[],"a98956",{"id":22201,"slug":22202,"title":1614,"dynasty":18,"author":22203,"museum":150,"description":22204,"tags":22205,"thumbUrl":22206,"material":59,"size":59,"collection":122,"collections":22207,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22208},202004,"zhu-shi-tu-zhou-xia-hui-202004","夏翚","墨竹数竿挺拔向上，竹叶以焦墨挥写，笔触劲利如削，浓淡错落间尽显层次感。竹下怪石嶙峋，淡墨晕染出石之肌理，与浓墨竹枝形成虚实对比，苍劲中见秀逸。整幅以水墨为韵，笔墨淋漓，既得竹之劲节，又显石之沉稳，尽显清雅意趣与笔墨功底，仿佛可闻竹影婆娑之声，观之令人心静。",[25,26,27,55,32,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401a884d3795a951c0fd384cac228bf.jpg",[122],"b5a697",{"id":22210,"slug":22211,"title":22212,"dynasty":18,"author":22213,"museum":150,"description":22214,"tags":22215,"thumbUrl":22216,"material":59,"size":59,"collection":122,"collections":22217,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22218},201996,"ku-mu-zhi-shi-tu-zhou-shen-rong-201996","枯木芝石图轴","沈荣","画面中嶙峋湖石以水墨写意而成，墨色浓淡相济，皴擦间尽显苍劲肌理；旁侧枯木枝干虬曲，线条简劲疏朗，意韵清寂。左下角灵芝亭亭而立，杂草丛生，笔触灵动鲜活，与顽石枯木相映成趣。整体构图疏宕有致，意境幽远，尽显文人画雅致情致，简淡中藏生机，古拙中见韵致。",[55,173,75,1579,7,2806,278,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd5cc715cf338ab8dd7cd94aa6d3b43.jpg",[122],"baa794",{"id":22220,"slug":22221,"title":9473,"dynasty":18,"author":22222,"museum":150,"description":22223,"tags":22224,"thumbUrl":22225,"material":59,"size":59,"collection":59,"collections":22226,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22227},201961,"shan-shui-tu-zhou-zhen-yun-201961","枕云","画面以层叠奇峰为骨，枯树虬枝交错，墨色浓淡间晕染出山间云雾的缥缈。近处几株老树苍劲，枝干如铁，树下隐现茅舍，似藏幽人逸趣。山石勾勒兼皴擦，线条挺健，皴法细腻，衬出山体的嶙峋质感。远处峰峦隐于烟霭，虚实相生，营造出深远的空间感。整体意境清寂，笔墨雅致，尽显传统山水的文人意趣。",[25,80,55,29,1231,134,7,75,27,1911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7086cc8e29ee4e35a153253f9cc8fa8.jpg",[],"988774",{"id":22229,"slug":22230,"title":22231,"dynasty":18,"author":96,"museum":150,"description":22232,"tags":22233,"thumbUrl":22234,"material":59,"size":59,"collection":59,"collections":22235,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22236},201960,"hong-ye-ti-shi-tu-zhou-ren-yi-201960","红叶题诗图轴","画面中，仕女凭石端坐，纤手拈红叶欲题，眉宇间凝着淡淡幽思。旁侧老树虬枝盘曲，枯枝疏朗，墨色皴擦间见苍劲；山石以淡墨晕染，与人物青绿衣袂相映成趣。人物线描细腻柔婉，设色清雅，尽显温婉气质；树木山石则笔力洒脱，兼具写意之韵。整幅画融工笔与写意于一体，将红叶题诗的古典情致化作清寂悠远的画面，引人遐思。",[25,30,29,31,7,133,28,173,10575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b99f0ccae6da7fb87161d6cb3f2cdf.jpg",[],"a8a288",{"id":22238,"slug":22239,"title":22240,"dynasty":18,"author":5374,"museum":150,"description":22241,"tags":22242,"thumbUrl":22243,"material":59,"size":59,"collection":59,"collections":22244,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22245},201950,"zhu-shi-tong-jing-ping-zhu-sheng-201950","竹石通景屏","墨竹枝干挺劲如铁，竹叶以浓淡干湿之墨挥洒，疏密交错间尽显层次与动感。孤石以淡墨皴擦晕染，与劲竹相映成趣，虚实相生。笔触兼具书法意趣，洒脱自然中藏着严谨法度，将竹的坚韧气节与文人逸趣融于一体，画面清雅脱俗，尽显传统水墨之韵。",[25,55,32,7,75,16923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09f616116d4bfdd5a4376e515e335d66.jpg",[],"a18051",{"id":22247,"slug":22248,"title":22249,"dynasty":18,"author":22250,"museum":150,"description":22251,"tags":22252,"thumbUrl":22253,"material":59,"size":59,"collection":122,"collections":22254,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22255},201910,"san-shu-tu-zhou-lv-qian-201910","三树图轴","吕潜","画面以三株古树为主体，枝干虬曲苍劲，树皮纹理用细劲笔触勾勒，间杂皴擦，尽显岁月斑驳。树叶以浓淡墨点染，疏密交错，生机暗藏。树下坡石错落，杂草以简率线条写出，野趣天成。整体笔墨清逸，构图简洁却意境悠远，仿佛能窥见林间的静谧时光，尽显文人画的清雅意趣。",[25,55,27,16179,7,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88531340a6a7bfeb1f57572a1eaef6a.jpg",[122],"a79172",{"id":22257,"slug":22258,"title":22259,"dynasty":18,"author":22260,"museum":150,"description":22261,"tags":22262,"thumbUrl":22263,"material":59,"size":59,"collection":59,"collections":22264,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22265},201837,"song-yin-fu-zuo-tu-zhou-zhou-lian-201837","松阴趺坐图轴","周莲","画面以水墨绘就，古松虬劲盘曲，枝干如铁，松针以细劲笔触勾勒，疏密有致间尽显生机。旁侧湖石嶙峋，孔洞交错，以皴法晕染出古朴纹理。树下雅士趺坐，案上清供简约，似在静思观物，氛围悠然恬淡。笔墨运用娴熟，线条流畅中见顿挫，墨色层次细腻，于简洁构图中传递出文人画的清雅意韵，尽显闲适旷达的心境。",[25,55,30,7,75,34,17100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe168f1dd8250d521fbd2f63e09e144.jpg",[],"d3be9f",{"id":22267,"slug":22268,"title":22269,"dynasty":18,"author":96,"museum":150,"description":22270,"tags":22271,"thumbUrl":22273,"material":59,"size":59,"collection":59,"collections":22274,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22275},201703,"yu-fu-tu-zhou-ren-yi-201703","渔夫图轴","画面中渔者头戴蓑笠，身披素袍，手持钓竿孑立崖边。笔墨简劲洒脱，水墨淋漓间兼工带写，形神兼备。侧身远眺的姿态，似与苍茫山水相融，传递出超然尘俗的渔隐意趣，恬淡空灵的氛围中，尽显传统文人对自在生活的向往。",[25,55,30,505,137,27,7,22272],"兼工带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08c40e5d9a89e6211070d2a51180604a.jpg",[],"e5d8cd",{"id":22277,"slug":22278,"title":22279,"dynasty":18,"author":22280,"museum":150,"description":22281,"tags":22282,"thumbUrl":22283,"material":59,"size":59,"collection":88,"collections":22284,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22285},201512,"shan-shui-shan-ye-deng-ji-wu-ling-201512","山水扇页等集","吴令","扇面尺幅间，山水意趣深。层岩以皴法写就，纹理苍劲嶙峋；飞瀑流泉倾泻崖间，添灵动生机；数椽屋舍隐于茂林怪石间，藏文人幽居之趣。笔墨浓淡相宜，线条婉转，草木葱茏处墨点繁密，山石勾勒处笔力劲健。构图疏密有致，静谧清雅中似闻林泉清音，尽显传统山水悠然意境。",[714,80,75,55,29,7,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7b9838a4116fb0dbcc37d0540824d74.jpg",[88],"c0ab8e",{"id":22287,"slug":22288,"title":22289,"dynasty":18,"author":22290,"museum":150,"description":22291,"tags":22292,"thumbUrl":22293,"material":59,"size":59,"collection":88,"collections":22294,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22295},201477,"dong-ting-qiu-si-tu-zhou-gu-fang-201477","洞庭秋思图轴","顾昉","画面以水墨皴染绘就洞庭秋意，近处松石苍劲，老树虬枝盘曲，石间苔点细密，尽显秋林萧疏之态。中景屋舍隐于林麓，笔墨简淡却意韵悠长；远处湖山淡远，水天相连，墨色层次渐浅，营造出旷远清寂的空间感。整体布局疏密有致，皴法灵动多变，水墨晕染间传递出秋思的静谧与悠远，尽显传统山水的笔墨韵味与文人逸趣。",[25,80,55,75,134,7,27,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c9bf33a58d1db13ca112b83be188d3a.jpg",[88],"bcaa90",{"id":22297,"slug":22298,"title":22299,"dynasty":18,"author":7913,"museum":150,"description":22300,"tags":22301,"thumbUrl":22302,"material":59,"size":59,"collection":59,"collections":22303,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22304},201458,"wei-dian-yi-zuo-shan-shui-zhou-zheng-min-201458","为奠乙作山水轴","峰峦峻拔，山石以干笔皴擦勾勒，线条劲挺，尽显嶙峋骨力。山间枯木疏枝，笔法简劲古拙，枝桠舒展间似含清寂之气。近处坡石错落，墨色浓淡相济，层次分明。笔墨简洁却意境悠远，将山林静谧与文人雅趣相融，尽显新安画派的笔墨神韵。",[80,55,75,7,27,25,24,16923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d34fa41c3a255af201761b0e67f0857.jpg",[],"c3b5ad",{"id":22306,"slug":22307,"title":22308,"dynasty":69,"author":238,"museum":150,"description":22309,"tags":22310,"thumbUrl":22311,"material":59,"size":59,"collection":39,"collections":22312,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22313},201404,"yuan-yang-shi-nv-tu-zhou-chou-ying-201404","鸳鸯仕女图轴","画面中仕女温婉伫立，衣袂轻扬间尽显娴雅之态，身旁幼童仰首，似在聆听絮语，情态毕肖。近处湖石玲珑，草木疏秀，虬枝老树斜出，枝间花叶细碎，清逸自生。笔墨工致细腻，线条流畅婉转，设色淡雅却含精致，将明代工笔人物的雅致韵味凝于尺幅。景物与人物相融，静谧悠然的氛围漫溢开来，似可触古时闲逸时光的温度。",[28,29,30,31,7,134,25,26,27,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8003d57393fb82b135b5e81813c1f7ea.jpg",[39],"bab2a7",{"id":22315,"slug":22316,"title":22317,"dynasty":18,"author":49,"museum":150,"description":22318,"tags":22319,"thumbUrl":22320,"material":59,"size":59,"collection":88,"collections":22321,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22322},201384,"gu-mu-han-yan-tu-zhou-yun-shou-ping-201384","古木寒烟图轴","淡墨皴染的山峦间，寒烟轻笼，几株古木枝干遒劲，或疏或密立于坡岸。溪流蜿蜒穿石而下，石畔草色依稀，笔墨简练却意境清寂。皴法运用恰到好处，既显山石肌理，又含文人画的空灵之趣，淡远中见苍劲，仿佛能闻林间风声，尽显冬日山野的静谧悠远。",[55,75,80,1175,7,82,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d958f6ce0da9611602d578226bbee67.jpg",[88],"b0aca2",{"id":22324,"slug":22325,"title":22326,"dynasty":18,"author":8091,"museum":150,"description":22327,"tags":22328,"thumbUrl":22329,"material":59,"size":59,"collection":88,"collections":22330,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22331},201373,"hua-shan-sun-yi-201373","画扇","画面以水墨晕染山石，皴法勾勒肌理，远山近石错落有致。人物凭孤石闲坐，衣袂轻扬间神态悠然，似与自然相融。线条简练却藏韵致，留白处衬出空灵之境，尽显文人画的雅致闲适，笔墨间流淌着对山水的眷恋与诗意栖居的向往。",[714,55,80,30,75,7,434,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d69c8c67b4de651988eaf04da6481ea.jpg",[88],"dddfde",{"id":22333,"slug":22334,"title":22335,"dynasty":18,"author":20722,"museum":150,"description":22336,"tags":22337,"thumbUrl":22338,"material":59,"size":59,"collection":88,"collections":22339,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22340},201342,"fu-yan-yuan-xiu-tu-deng-shan-ye-wang-jian-201342","浮烟远岫图等扇页","近坡苍木虬劲，山石皴擦有致，肌理分明；中景溪流萦回，林木疏密相间，生机暗藏；远景峰岫连绵，烟霭轻笼如纱，渐次淡远。笔墨取法元人，干笔皴擦见古拙，湿墨晕染显空灵，墨色层次丰富，设色淡雅温润。构图于扇面有限空间内铺展开合，景致精巧却意境悠远，尽显清旷闲逸之趣，是师古而能化的山水佳构。",[714,80,29,75,25,26,135,3269,82,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb1a5198e5852418cd4fb934ee9c012.jpg",[88],"c8bcab",{"id":22342,"slug":22343,"title":22344,"dynasty":148,"author":256,"museum":150,"description":22345,"tags":22346,"thumbUrl":22347,"material":59,"size":59,"collection":59,"collections":22348,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22349},201334,"liu-jun-zi-tu-zhou-ni-zan-201334","六君子图轴","画面以平远构图铺展，坡岸之上六树挺然伫立，枝干疏朗虬劲，宛若君子傲立。山石用干笔淡墨皴擦，线条简劲利落，墨色清润有层次；远山淡远朦胧，水面空阔留白，尽显“逸笔草草”的文人意趣。空寂静谧中，传递出萧散淡泊的心境，是元人山水的经典之作。",[25,55,80,7,75,27,19537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a083e78f3fd4bdfa867f0e9cc1976f1.jpg",[],"a7a394",{"id":22351,"slug":22352,"title":22353,"dynasty":18,"author":22354,"museum":150,"description":22355,"tags":22356,"thumbUrl":22357,"material":59,"size":59,"collection":105,"collections":22358,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22359},201320,"ma-tu-zhou-qian-feng-201320","马图轴","钱沣","画面中群马神态各异，或扬蹄奔腾，或低头啮草，或静立顾盼，动静交织间尽显生机。笔墨以水墨为底，线条劲挺勾勒马匹身形，鬃毛挥洒见笔意，肌肉纹理隐现质感；老树虬枝盘曲，墨色浓淡相叠，孤石点缀其间，与马群相映成趣。整体气韵生动，既捕捉到骏马的矫健之姿，又以清雅笔墨营造出自然意趣，彰显出笔墨与造型的精妙融合。",[25,55,306,101,27,7,134,79,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe42ca1fb626778d549f2c60b4bcfcca7.jpg",[105],"bab5ac",{"id":22361,"slug":22362,"title":22363,"dynasty":69,"author":2418,"museum":150,"description":22364,"tags":22365,"thumbUrl":22366,"material":59,"size":59,"collection":122,"collections":22367,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22368},201302,"shuang-ke-zhu-shi-tu-zhou-wen-zheng-ming-201302","霜柯竹石图轴","这幅画以水墨写意绘就枯树、修竹与顽石之景。枯树枝干虬劲，墨色浓淡交错显苍古质感；修竹清劲挺拔，竹叶细劲勾勒，疏密有致见灵动；顽石以淡墨皴染，形态朴拙厚重。三者相依成景，构图简洁雅致，笔墨苍润秀逸，尽显文人画清逸高洁之韵，传递出孤傲超俗的精神品格。",[25,55,27,75,134,32,7,2290,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada183b0f1307f7f2de11a76d9e501bb.jpg",[122],"baa687",{"id":22370,"slug":22371,"title":22372,"dynasty":18,"author":3257,"museum":150,"description":22373,"tags":22374,"thumbUrl":22376,"material":59,"size":59,"collection":60,"collections":22377,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22378},201263,"yuan-yang-bai-lu-tu-zhou-wang-wu-201263","鸳鸯白鹭图轴","画面左侧坡岸，一对鸳鸯相偎相依，羽色斑斓间流露亲昵；右侧孤石之上，白鹭单足独立，长颈微曲，姿态闲雅。周遭花卉盛放，叶片舒展，水草随波摇曳，水面波纹细腻如织，营造出清幽静谧的氛围。设色温润淡雅，线条细腻灵动，花鸟造型传神，兼具工笔之精致与写意之韵致，尽显自然生机与文人雅趣。",[25,24,28,29,56,466,22375,7,1991,325,23],"白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a12e2a506a1bd05c957ed8715fb377c.jpg",[60],"8b7952",{"id":22380,"slug":22381,"title":22382,"dynasty":18,"author":214,"museum":150,"description":22383,"tags":22384,"thumbUrl":22386,"material":59,"size":59,"collection":59,"collections":22387,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22388},201252,"li-zhi-qian-niu-tu-zhou-hua-yan-201252","荔枝牵牛图轴","这幅画构图疏密有致，荔枝果实红艳饱满，质感鲜活，叶片以水墨晕染，笔触细腻间见灵动。藤蔓牵绕，柔姿与荔果的热烈相映；右侧孤石写意勾勒，皴擦简练却显苍劲，石畔细草点缀，野趣盎然。笔墨兼工带写，设色清雅明艳，将花果生机与山石朴拙相融，于咫尺间蕴自然意趣，尽显独特花鸟韵味，耐人寻味。",[25,56,746,29,55,7,22385,18687],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bea4d9758af6f7074f177735f569470.jpg",[],"bcad95",{"id":22390,"slug":22391,"title":22392,"dynasty":69,"author":431,"museum":150,"description":22393,"tags":22394,"thumbUrl":22396,"material":59,"size":59,"collection":59,"collections":22397,"showCount":511,"zanCount":43,"manualWeight":43,"mainColor":22398},201248,"mei-hua-shan-niao-tu-zhou-chen-hong-shou-201248","梅花山鸟图轴","老梅枝干虬曲盘纡，笔法刚劲如铁线勾勒，墨色浓淡交错间，尽显苍古之姿。山石以简括线条勾勒轮廓，皴擦点染兼具，肌理质感毕现。山鸟栖于枝间，造型小巧灵动，羽色轻淡却神形毕肖，为画面添生机。整体画风奇逸古雅，工写结合，清雅意韵溢于纸间，营造出静谧悠远的文人画境。",[24,25,56,28,55,75,187,7,22395],"飞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecb30d1544dc55f0ba41bf23603999cf.jpg",[],"928268",{"id":22400,"slug":22401,"title":22402,"dynasty":18,"author":201,"museum":552,"description":22403,"tags":22404,"thumbUrl":22405,"material":641,"size":642,"collection":59,"collections":22406,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},272689,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-que-shi-chao-huang-mo-yi-ming-272689","御制月令七十二候诗色墨-鹊始巢黄墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[2885,21355,3436,153,81,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45139f3b198451b9bc2b339cb7283b99.jpg",[],{"id":22408,"slug":22409,"title":22410,"dynasty":18,"author":201,"museum":552,"description":22411,"tags":22412,"thumbUrl":22413,"material":641,"size":642,"collection":59,"collections":22414,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},262156,"yong-zheng-kuan-wu-cai-ren-wu-tu-wan-yi-ming-262156","雍正款五彩人物图碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[16353,16355,20963,30,7,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49497f6180a756fa9b747af93a3c2086.jpg",[],{"id":22416,"slug":22417,"title":22418,"dynasty":18,"author":201,"museum":552,"description":22411,"tags":22419,"thumbUrl":22420,"material":641,"size":642,"collection":59,"collections":22421,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},261706,"yong-zheng-kuan-dou-cai-hua-niao-wen-fang-kou-ping-yi-ming-261706","雍正款斗彩花鸟纹方口瓶",[16353,16354,56,153,243,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf5ab495d375a0a62c42ed173cdba487.jpg",[],{"id":22423,"slug":22424,"title":22425,"dynasty":18,"author":201,"museum":552,"description":19798,"tags":22426,"thumbUrl":22429,"material":641,"size":642,"collection":59,"collections":22430,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},261037,"qing-hua-hua-niao-tu-wan-yi-ming-261037","青花花鸟图碗",[16353,19800,56,187,7,22427,16355,22428],"碗","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb790ec2757148a1b0cd4523877867d2a.jpg",[],{"id":22432,"slug":22433,"title":22434,"dynasty":18,"author":201,"museum":552,"description":19798,"tags":22435,"thumbUrl":22436,"material":641,"size":642,"collection":59,"collections":22437,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},260165,"qian-long-kuan-qing-hua-shi-ju-jiu-zhong-yi-ming-260165","乾隆款青花诗句酒盅",[16353,6100,19800,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d8ba7f23936cd161084c5d5f24010f.jpg",[],{"id":22439,"slug":22440,"title":22441,"dynasty":18,"author":201,"museum":552,"description":22442,"tags":22443,"thumbUrl":22444,"material":641,"size":642,"collection":59,"collections":22445,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},259368,"wu-cai-hua-hui-wen-zhong-yi-ming-259368","五彩花卉纹盅","撇口弧腹，器型秀巧温婉。外壁以五彩铺陈水仙湖石小景，青花勾绘湖石，发色沉润古雅，皴染出嶙峋质感。嫩黄莹白的水仙舒展娇柔花姿，翠绿茎叶纤秀细腻，间杂细小花苞与苔草碎石，生机暗涌。\n\n设色明柔协调，晕染自然柔和，笔触细腻写实，将水仙清隽出尘的姿态尽显无遗，暗含文人案头清供的雅致意趣，把寻常饮具晕染成一方带着书卷气的诗意小景，尽显彩瓷工艺精细秀美的特质。",[16353,6100,16355,20963,174,7,243,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bf1751117a1f09683238b0e656d343.jpg",[],{"id":22447,"slug":22448,"title":22449,"dynasty":18,"author":201,"museum":552,"description":22450,"tags":22451,"thumbUrl":22454,"material":641,"size":642,"collection":59,"collections":22455,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},258600,"qian-long-kuan-fang-ge-you-bi-shan-zi-yi-ming-258600","乾隆款仿哥釉笔山子","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[16353,22452,22453,34,7],"仿哥釉","开片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a38469b5856464adf6ed9a1a62ebe7c.jpg",[],{"id":22457,"slug":22458,"title":22459,"dynasty":18,"author":201,"museum":552,"description":19798,"tags":22460,"thumbUrl":22461,"material":641,"size":642,"collection":59,"collections":22462,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},258474,"qing-hua-sui-han-san-you-tu-yu-hu-chun-ping-yi-ming-258474","青花岁寒三友图玉壶春瓶",[16353,19800,29,715,32,187,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eddeec27d73c5932aa88f6ac1ff3bdd.jpg",[],{"id":22464,"slug":22465,"title":22466,"dynasty":18,"author":201,"museum":552,"description":22467,"tags":22468,"thumbUrl":22469,"material":641,"size":642,"collection":59,"collections":22470,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":143},257749,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-xiao-yi-ming-257749","康熙款五彩十二月花卉纹杯-晓","胎质莹白轻薄，釉色匀净温润，外壁以五彩绘就花石景致。靛蓝湖石造型奇崛古雅，皴染细腻，尽显文人赏石的意趣。折枝月季舒展柔美，朱红花瓣晕染自然，嫩绿叶脉清透鲜活，浅黄小花点缀其间，色彩明丽和谐却无艳俗之感。\n\n画笔工细灵动，将花枝的娇柔与湖石的苍劲形成鲜明对照，雅致清丽，尽显闲适恬淡的文人意韵，藏着中式美学里含蓄清雅的春日闲情，是彩瓷小品里的精巧之作。",[228,16353,20963,29,243,191,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b90eef9cdf2d14fdaf6181d8917ac65.jpg",[],{"id":22472,"slug":22473,"title":22474,"dynasty":18,"author":201,"museum":552,"description":22475,"tags":22476,"thumbUrl":22477,"material":641,"size":642,"collection":59,"collections":22478,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},257739,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-qian-yi-ming-257739","康熙款五彩十二月花卉纹杯-千","胎质莹润洁白，釉色匀净清透。杯身以青花与五彩绘就秋菊景致，蓝石卧于杯底，菊枝斜逸舒展，红褐菊瓣饱满柔婉，枝叶脉络勾勒细腻写实。冷暖色调相映成趣，将深秋菊绽的清寂雅韵凝于方寸杯壁，工笔秀润雅致，晕染自然柔和，把文人画的清冷意趣融于瓷上，尽显雅致沉静的古典意蕴，是彩瓷小品里的精巧之作。",[16353,20963,29,243,189,7,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5028f96f9537f89892206d84303339f0.jpg",[],{"id":22480,"slug":22481,"title":22482,"dynasty":18,"author":201,"museum":552,"description":22483,"tags":22484,"thumbUrl":22485,"material":641,"size":642,"collection":59,"collections":22486,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},256683,"fen-cai-kai-guang-ren-wu-cha-hu-yi-ming-256683","粉彩开光人物茶壶","此壶以轧道锦地为底，留白开光构图精巧雅致。开光内庭院图景写实生动，亭台翼然临于松石之间，仕人围坐清谈，童子恭谨侍立，草木晕染细腻柔润，将江南园林的悠然闲适铺陈开来。壶身遍饰粉彩小花，描金勾边衬出华贵质感，器型饱满圆润，釉色莹亮匀净。\n它将制瓷工巧与文人意趣相融，设色明丽柔和，笔触精细入微，把日常闲情绘于瓷上，藏着隽永古典的审美意趣，是实用与陈设俱佳的雅器。",[16353,17186,20997,29,30,349,80,242,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d39da74b71559248eba30870f4c7f.jpg",[],{"id":22488,"slug":22489,"title":22490,"dynasty":18,"author":201,"museum":552,"description":22491,"tags":22492,"thumbUrl":22494,"material":641,"size":642,"collection":59,"collections":22495,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":1551},254004,"shou-shan-shi-luo-han-xiang-yi-ming-254004","寿山石罗汉像","此作以凝润莹白的寿山石雕琢而成，石面带着经年柔润包浆，晕开浅褐浆色，自带沉静古意。罗汉圆颅光头，虬髯环绕唇边，面容含笑，神情温煦平和。宽袖僧衣褶皱婉转舒展，将织物垂坠柔软的质感表现尽致。\n\n他斜坐悠然，一手搭膝，一手轻抚身侧瑞兽，姿态松弛自在，尽显罗汉超脱尘俗的闲适禅态。瑞兽昂首亲昵蹭向罗汉，憨态灵动，与罗汉相映成趣。随形镂空岩座摹拟天然枯根错落孔洞，疏密有致，与造像的圆融柔和形成视觉反差，衬得整器雅致古拙，尽显清代圆雕工艺的写实意趣与空灵禅韵。",[22493,3436,576,30,101,7],"寿山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc25977476c71f73344e2ad91bedf8d.jpg",[],{"id":22497,"slug":22498,"title":22499,"dynasty":18,"author":201,"museum":552,"description":22500,"tags":22501,"thumbUrl":22503,"material":641,"size":642,"collection":59,"collections":22504,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},252729,"ying-shi-shan-zi-yi-ming-252729","英石山子","此石山子苍古奇崛，周身褶皱嶙峋，仿若镌尽岁月肌理。孔洞勾连错落，似烟霞穿岫，将层峦叠嶂缩于案头，尽得赏石瘦、漏、透、皱之妙谛。\n\n石色朴拙深沉，包浆凝润莹和，晕染着旧时文人案头摩挲的温痕。它将山野林泉的丘壑意趣敛于方寸，静立便自带幽远烟岚，案头置放便可卧游山水，寄寓着古人以石为媒、寄情林泉的清雅襟怀，是文房清供里的逸致佳品。",[18,22502,7,3436,34],"石雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6380528be0c8625482a22247cdb028.jpg",[],{"id":22506,"slug":22507,"title":22508,"dynasty":18,"author":201,"museum":552,"description":20994,"tags":22509,"thumbUrl":22510,"material":641,"size":642,"collection":59,"collections":22511,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},252716,"qing-yu-shan-zi-yi-ming-252716","青玉山子",[228,20996,3436,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa390e1637c1d1d0b98e3527fd876ce12.jpg",[],{"id":22513,"slug":22514,"title":22515,"dynasty":18,"author":201,"museum":552,"description":22516,"tags":22517,"thumbUrl":22518,"material":641,"size":642,"collection":59,"collections":22519,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},251662,"qing-yu-luo-han-mian-bi-tu-shan-zi-yi-ming-251662","青玉罗汉面壁图山子","以圆雕结合透雕技法，将禅意景致凝于青玉之上。罗汉垂眉敛目，衣褶流转柔和，似沉潜于静观冥思中。旁侧虬枝弯折出槎桠，苍劲嶙峋，与侧旁陡岩壁立的山岩，形成动静相映的意境。玉料自带的浅黄绺沁晕染岩面，晕开风霜斑驳的质感，素雅莹润的玉色衬出清寂淡远的禅味。将林下参禅的幽谧藏入玉石方寸间，尽显刀工对写意氛围感的精妙拿捏，把佛禅静思之美融于玉色刀痕中，清隽空灵，余韵悠长。",[20996,3436,228,576,30,115,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c3d691d662cae960ad0df2640e381c.jpg",[],{"id":22521,"slug":22522,"title":22523,"dynasty":18,"author":201,"museum":552,"description":22524,"tags":22525,"thumbUrl":22527,"material":641,"size":642,"collection":59,"collections":22528,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":1551},251493,"bi-yu-mi-dian-bai-shi-tu-shan-zi-yi-ming-251493","碧玉米颠拜石图山子","这方玉雕以沉郁莹润的碧色玉料随形施艺，将米颠拜石的文人雅趣凝于方寸。苍松虬劲盘绕山石之上，松针层叠细密，枝桠蜿蜒有度，尽显古松苍劲之态。山石层叠错落，刀工圆润利落，随玉料走势勾勒出嶙峋肌理，留白处暗含悠远意境。匠人将文人典故融于玉石雕刻之间，把顽石与雅士的韵致藏于玉料的厚重质感中，静穆雅致里尽显文心，将玉质温润与文人情思完美相融，尽显不俗匠心。",[228,20996,3436,30,7,260,22526],"山子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F508ded3aba587d823c6c18607439bb1c.jpg",[],{"id":22530,"slug":22531,"title":22532,"dynasty":18,"author":201,"museum":552,"description":20994,"tags":22533,"thumbUrl":22537,"material":641,"size":642,"collection":59,"collections":22538,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},251034,"qing-yu-tian-jin-ti-shi-cha-ping-yi-ming-251034","青玉填金题诗插屏",[20996,22534,3436,77,80,29,7,134,22535,22536,81,135],"填金","题诗","景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3dbf760c1d83416bf946e1ed188d96.jpg",[],{"id":22540,"slug":22541,"title":22542,"dynasty":18,"author":201,"museum":552,"description":22543,"tags":22544,"thumbUrl":22547,"material":641,"size":642,"collection":59,"collections":22548,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},242539,"qing-chu-tuo-bao-xian-tang-fa-tie-yi-ming-242539","清初拓宝贤堂法帖","此作为行书刻帖，字势灵动舒展，刚柔并济。笔墨粗细变化自然，牵丝映带间笔意连贯，行气舒朗流畅，尽显书写者清逸散淡的文人意趣。\n\n整帖排布匀整，乌亮拓墨与留白相映，既有手写原作的潇洒韵致，又因刻拓工艺晕染出苍朴厚重的金石质感，精妙复刻出原迹的笔墨细节。\n\n字里行间浸透清雅书卷气，尽显明清刻帖复刻古法的功力，在方寸之间留存下古帖的笔墨风神，是兼具审美意趣与帖学价值的刻本佳作。",[15725,77,13256,78,2280,22545,577,1744,79,864,22546,7],"隶书","星河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e36128f7ce1719b889445ed60f1080.jpg",[],{"id":22550,"slug":22551,"title":22552,"dynasty":18,"author":201,"museum":552,"description":20994,"tags":22553,"thumbUrl":22554,"material":641,"size":642,"collection":59,"collections":22555,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},242166,"yu-gen-shan-shi-yi-ming-242166","玉根山石",[228,20996,3436,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c86c045e1088b2ba647c3093aae66bb.jpg",[],{"id":22557,"slug":22558,"title":22559,"dynasty":18,"author":22560,"museum":552,"description":22561,"tags":22562,"thumbUrl":22564,"material":641,"size":642,"collection":59,"collections":22565,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},241564,"cao-ji-lu-yu-zhou-cao-ji-241564","曹錤录语轴","曹錤","此作为行书轴，师法赵孟頫、董其昌一脉，笔致秀雅温润，点画舒展精劲。牵丝映带自然流畅，行气贯通，通篇气息匀停和顺。\n\n书写米芾藏石轶事，笔墨间暗含闲适文趣，结体妍雅又不失灵动。章法疏朗，字距行距排布合宜，墨色有浓淡枯湿之变，细节尽显用心。落款小字规整秀洁，与正文相得益彰，尽显清代帖学书法的典型风貌，是兼具笔墨意趣与文人情思的行书佳作。",[78,77,27,79,55,864,7,22563],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254c4d4e80a175aa1acd23f5f33dcef8.jpg",[],{"id":22567,"slug":22568,"title":22569,"dynasty":18,"author":22570,"museum":552,"description":22571,"tags":22572,"thumbUrl":22573,"material":641,"size":642,"collection":59,"collections":22574,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},240617,"shi-zhou-qiu-zun-sheng-240617","诗轴","裘尊生","清代画家，生卒年不详，约活动于雍正、乾隆年间。字果万，一字义门，号青萝，钱塘（今杭州）人。雍正年间（1723—1735）客淮扬（今扬州）。工人物、花鸟，尤擅墨荷。",[25,26,77,27,78,31,7,1911,115,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59b8d50b4bee086ea5129e1313ca07eb.jpg",[],{"id":22576,"slug":22577,"title":22578,"dynasty":18,"author":22579,"museum":552,"description":22580,"tags":22581,"thumbUrl":22582,"material":641,"size":642,"collection":59,"collections":22583,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},239861,"ba-zhi-gong-fu-ye-han-feng-239861","跋致功甫页","韩崶","韩崶（1758—1834），字禹三，号旭亭、桂舲，别称种梅老人，元和（今江苏省苏州市）人。",[26,77,78,55,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9258d203d5ed809e3040d6c7a9fc48.jpg",[],{"id":22585,"slug":22586,"title":1238,"dynasty":18,"author":14548,"museum":552,"description":14549,"tags":22587,"thumbUrl":22588,"material":641,"size":642,"collection":59,"collections":22589,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},239394,"za-hua-ce-zhu-xiao-chun-239394",[25,26,53,55,30,7,1231,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341fcd2e02099856c12d6da0e176967f.jpg",[],{"id":22591,"slug":22592,"title":1238,"dynasty":18,"author":14548,"museum":552,"description":14549,"tags":22593,"thumbUrl":22594,"material":641,"size":642,"collection":59,"collections":22595,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},239393,"za-hua-ce-zhu-xiao-chun-239393",[25,55,53,75,134,1791,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae62d0a81cb5244158390efd2509c49f.jpg",[],{"id":22597,"slug":22598,"title":1238,"dynasty":18,"author":14548,"museum":552,"description":14549,"tags":22599,"thumbUrl":22600,"material":641,"size":642,"collection":59,"collections":22601,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},239390,"za-hua-ce-zhu-xiao-chun-239390",[25,26,53,55,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde12c5d16d6fadc7633f81b7d7e92d2c.jpg",[],{"id":22603,"slug":22604,"title":1238,"dynasty":18,"author":14548,"museum":552,"description":14549,"tags":22605,"thumbUrl":22606,"material":641,"size":642,"collection":59,"collections":22607,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},239387,"za-hua-ce-zhu-xiao-chun-239387",[25,26,53,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71494a89ecd6b1128075bc4391e4293e.jpg",[],{"id":22609,"slug":22610,"title":1238,"dynasty":18,"author":14548,"museum":552,"description":14549,"tags":22611,"thumbUrl":22612,"material":641,"size":642,"collection":59,"collections":22613,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},239386,"za-hua-ce-zhu-xiao-chun-239386",[25,26,53,55,79,7,188,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F522d9c75ede6df650b45bdb46ab4dea4.jpg",[],{"id":22615,"slug":22616,"title":15223,"dynasty":18,"author":201,"museum":552,"description":22617,"tags":22618,"thumbUrl":22619,"material":59,"size":59,"collection":59,"collections":22620,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":143},238898,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238898","这是诗画合璧的雅致册页，上下两开各以山水呼应题诗意境。上开层林蓊郁，溪桥架于浅流，山居隐于翠微之间，墨色苍润秀雅，晕染出盛春山林清润幽深的融融生机。\n\n下开枯木疏朗，村舍依水而建，淡墨轻皴晕出早春将醒的萧寒淡远。配套书法端秀工稳，与山水景致相得益彰，笔墨间兼具文人气韵与静谧禅意，将春日山林从繁茂到初醒的不同情致一一铺展，诗与画浑融无间，观之如揽春山清韵，尽得中式文人画的雅致意趣。",[25,26,53,55,80,81,29,78,75,7,82,135,12094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69442da05342a53e64e8ac9de29a7a88.jpg",[],{"id":22622,"slug":22623,"title":15223,"dynasty":18,"author":201,"museum":552,"description":22624,"tags":22625,"thumbUrl":22626,"material":59,"size":59,"collection":59,"collections":22627,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},238896,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238896","此作为诗画合璧的小品佳制。上方绘溪村早春，疏柳未匀新绿，板桥卧于浅溪之上，水色空濛，漫着初春清寂的淡霭；下方画沐雨春郊，耕牛就坡而憩，新芜初萌，野树含烟，尽是田家春日的恬和意趣。\n\n配笔挺秀雅的馆阁小楷，诗句与画境呼应相合。整体笔墨清浅柔润，设色淡净温丽，以极简尺幅铺展出早春的柔润清和，将郊野春景的澹远闲雅与乡居意趣相融，把春日的恬然生机藏于疏淡笔墨之间，尽显雅致温婉的小品意韵。",[25,26,53,29,80,2079,117,7,78,75,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb63941b23d36907b1802ce7750404b.jpg",[],{"id":22629,"slug":22630,"title":502,"dynasty":18,"author":9429,"museum":552,"description":18867,"tags":22631,"thumbUrl":22632,"material":641,"size":642,"collection":59,"collections":22633,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},238689,"shan-shui-ce-dong-bang-da-238689",[25,26,55,53,75,80,115,338,117,277,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb5e81de8681eeed35879b2e28ae6a6.jpg",[],{"id":22635,"slug":22636,"title":502,"dynasty":18,"author":9429,"museum":552,"description":18867,"tags":22637,"thumbUrl":22638,"material":641,"size":642,"collection":59,"collections":22639,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},238688,"shan-shui-ce-dong-bang-da-238688",[25,26,53,434,55,80,349,81,277,82,242,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb4deb934387fb3bf61ea3812e0d305.jpg",[],{"id":22641,"slug":22642,"title":21181,"dynasty":18,"author":201,"museum":552,"description":22643,"tags":22644,"thumbUrl":22645,"material":641,"size":642,"collection":59,"collections":22646,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},238588,"qing-ren-lie-quan-tu-ce-yi-ming-238588","此作工致写实，右幅绘柳下回廊之畔，细犬伏地休憩，棕白相间的毛色晕染细腻，身形舒展灵动，目光警觉有神，将猎犬温顺又不失机敏的神态勾勒得鲜活生动。垂柳依依拂动，苔草点缀阶侧，浅淡设色晕染出庭院的幽寂闲雅。左幅行书题字笔墨舒展雅致，文与图相映成趣。整作敷色柔和清雅，将灵犬神韵与庭院静景相融，既有写生的生动写实，又饱含文人雅逸意趣，尽显中式小品画作的闲静雅致之美。",[25,26,53,29,101,8423,307,7,540,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e32766fa086215c925a6a30aac8acda.jpg",[],{"id":22648,"slug":22649,"title":22650,"dynasty":18,"author":1491,"museum":552,"description":7992,"tags":22651,"thumbUrl":22652,"material":641,"size":642,"collection":59,"collections":22653,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},238411,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238411","董诰荟景含晖图小册",[25,26,53,29,75,80,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d7652f2a4ca3e69afb94d30c3cbaf0d.jpg",[],{"id":22655,"slug":22656,"title":502,"dynasty":18,"author":22657,"museum":112,"description":22658,"tags":22659,"thumbUrl":22660,"material":29,"size":22661,"collection":59,"collections":22662,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},238266,"shan-shui-ce-zhang-yan-238266","张演","巉岩峻岭间云气萦回，飞瀑漱石汇入湍流，石矶错落在烟波里，将山野的清旷铺展眼前。粉墙黛瓦的山居枕水而栖，堂内一人凭窗静览山光，一人闲坐对语，竹树环合、古木撑天，把幽居雅静揉入烟岚。\n兼工带写的笔法下，设色清润淡雅，山石皴擦带着苍劲质感，屋舍人物细致灵动，将林泉高致的隐逸意趣藏在尺幅之中。既有山水的雄浑悠远，又有人居的温煦悠然，把古人寄情丘山、卧游林下的襟怀，晕染在绢素之上，尽现幽寂安闲的山居意韵。",[25,29,80,75,53,82,242,81,259,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F157b5f538d6393ec89b77bf41baaf34b.jpg","37.1x31.7",[],{"id":22664,"slug":22665,"title":22666,"dynasty":18,"author":22667,"museum":552,"description":22668,"tags":22669,"thumbUrl":22670,"material":641,"size":642,"collection":59,"collections":22671,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":44},238112,"yun-zi-hua-hui-ce-yun-zi-238112","恽资花卉册","恽资","此作诗画合璧，以岁寒三友入绘。虬曲梅枝缀花数朵，清竹依石而立，湖石朴拙苍润。墨色雅致秀润，梅之疏朗、竹之劲挺，与湖石的古拙相映成趣，尽显高洁之态。题诗笔意清逸，诗文与画意呼应，将文人崇尚的坚贞风骨寄寓草木之中。笔致简淡却意韵悠长，以寥寥笔墨勾勒出雅致脱俗的意境，尽显传统文人画以物言志的意趣，把清雅文思融于花木湖石之间，淡远脱俗的文人风骨扑面而来。",[25,26,53,29,32,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e5d29434792d6fd7f51dd1a86786ad.jpg",[],{"id":22673,"slug":22674,"title":18074,"dynasty":18,"author":18075,"museum":552,"description":22675,"tags":22676,"thumbUrl":22677,"material":59,"size":59,"collection":59,"collections":22678,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},237570,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237570","此作为行书诗册，笔墨清隽秀雅，行气疏朗自然。以小石为咏题，将拳石林泉逸致寄于笔端，诗文雅致写意，把寸石晕染出山海意趣。笔画舒展灵秀，结体错落有致，字字自带悠然意韵。文人闲逸襟怀藏于笔墨行间，诗与书相映成趣，将江南春韵的雅致融于方寸之内，尽显文人士大夫的林下风流，是文人书画合璧的雅致小品，尽显清雅不俗的文人意趣。",[53,78,77,26,79,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c207d13a86e7f23c75977046f29faa.jpg",[],{"id":22680,"slug":22681,"title":18074,"dynasty":18,"author":18075,"museum":552,"description":22682,"tags":22683,"thumbUrl":22684,"material":59,"size":59,"collection":59,"collections":22685,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},237569,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237569","此作为诗册双页，右页行书笔致舒展俊朗，以诗文铺陈一拳小石的古拙意态，寄寓文人幽远襟怀。左页小楷端秀清劲，墨色匀净莹润，笔锋含敛雅致，暗藏藏石惜石的文人雅趣。\n\n书页装裱素洁清雅，诗书相融，将文人赏石的幽情逸致藏于点画之间。行书抒情写意，小楷端严静雅，两种书体相映成趣，尽显文人墨客的笔墨修养与寄情于物的雅致心境，尺幅之间满是文墨相融的古典意韵。",[25,26,53,78,79,7,55,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842951d6d0788198c51dcc2b442889ff.jpg",[],{"id":22687,"slug":22688,"title":18074,"dynasty":18,"author":18075,"museum":552,"description":22689,"tags":22690,"thumbUrl":22691,"material":59,"size":59,"collection":59,"collections":22692,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},237568,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237568","此作为诗书合璧的小品佳作，以小楷书写纪游感怀之诗，笔致秀润温婉，结体端雅间带着灵动意趣，兼具小楷的端稳与行书的舒逸，尽显江南文人的隽秀气质。纸面带着岁月晕染的古旧质感，墨色沉凝雅致，诗中纪游抒怀的文思，与温润笔墨相融，将山河意绪与幽微情思藏入点画之间，晕开旧时文人的清雅风神，尽显清人尺牍小品的隽永意韵。",[25,26,53,78,79,55,29,7,80,117,19000,918,826,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09a044737524aa3e925932c871ee2ff.jpg",[],{"id":22694,"slug":22695,"title":502,"dynasty":18,"author":14599,"museum":552,"description":22696,"tags":22697,"thumbUrl":22698,"material":327,"size":59,"collection":59,"collections":22699,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},236965,"shan-shui-ce-chen-jia-le-236965","陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌“十哲”之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[25,26,53,55,75,80,7,81,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2104caba48836b8a2cbef32986072d6.jpg",[],{"id":22701,"slug":22702,"title":502,"dynasty":18,"author":14599,"museum":552,"description":14600,"tags":22703,"thumbUrl":22704,"material":641,"size":642,"collection":59,"collections":22705,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},236962,"shan-shui-ce-chen-jia-le-236962",[25,26,53,55,29,80,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bc8032235febd5780b52bc73563d89e.jpg",[],{"id":22707,"slug":22708,"title":502,"dynasty":18,"author":14599,"museum":552,"description":14600,"tags":22709,"thumbUrl":22710,"material":641,"size":642,"collection":59,"collections":22711,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},236961,"shan-shui-ce-chen-jia-le-236961",[25,55,53,7,32,134,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06139650e30941732b5db5669152b267.jpg",[],{"id":22713,"slug":22714,"title":8912,"dynasty":69,"author":8913,"museum":71,"description":8914,"tags":22715,"thumbUrl":22716,"material":59,"size":59,"collection":59,"collections":22717,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},236568,"xiao-ke-guan-shan-shui-ce-shao-mi-236568",[24,25,26,53,55,29,80,7,78,79,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4852be434f3a3766f017475219dc9a.jpg",[],{"id":22719,"slug":22720,"title":14981,"dynasty":18,"author":15298,"museum":552,"description":15299,"tags":22721,"thumbUrl":22722,"material":59,"size":59,"collection":59,"collections":22723,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},236361,"fang-gu-shan-shui-ce-hu-jie-236361",[25,26,53,55,75,76,80,1231,134,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad5e8d3d2598a51fd13954a2ba7cb132.jpg",[],{"id":22725,"slug":22726,"title":502,"dynasty":18,"author":201,"museum":552,"description":22727,"tags":22728,"thumbUrl":22729,"material":641,"size":642,"collection":59,"collections":22730,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},235398,"shan-shui-ce-yi-ming-235398","此作取平远之景，近处坡岸怪石棱棱，苔点轻缀，暗生意趣。左侧三株寒木虬枝疏叶，孑然独立，衬出郊野空寂悠远。远景山峦以没骨淡扫，云气裹挟峰峦，虚实相生，将山野荒寒清逸缓缓铺陈。笔触松秀简淡，设色浅明净洁，以留白承接天地，把秋郊萧散淡远融于尺幅之间，尽显静穆冷逸的文人山水意趣，观之如临空寂荒寒之野，引人沉湎于这份疏淡幽远的林下诗意中。",[25,26,53,55,75,80,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0cfc237a7370b37bd77c37e26a6bc6.jpg",[],{"id":22732,"slug":22733,"title":502,"dynasty":18,"author":201,"museum":552,"description":22734,"tags":22735,"thumbUrl":22736,"material":641,"size":642,"collection":59,"collections":22737,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},235397,"shan-shui-ce-yi-ming-235397","此作以淡墨晕染烟水空濛之境，近岸危石朴拙苍润，浅草缀于石畔暗生意趣。水洲之上新柳抽芽，嫩色轻敷，柔枝舒展，尽显早春萌动生机。一叶扁舟浮于烟波深处，渔人幽然泛游，似在春波里漫寻闲意。\n\n远景山峦隐没在霭霭云烟之中，虚实相生，将春日江天的空阔淡远铺陈开来。整幅笔致松秀淡雅，不施繁复皴染，以留白衬出烟水浩渺，把江南早春的柔润清和尽数写出，将文人寄情山水的幽逸心境融在淡墨轻色之中，清寂又带着融融春意，尽显平淡天真的画中逸趣。",[25,26,53,55,80,7,85,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19b419a22771b0dccddfb779b8300e5e.jpg",[],{"id":22739,"slug":22740,"title":502,"dynasty":18,"author":201,"museum":552,"description":22741,"tags":22742,"thumbUrl":22743,"material":641,"size":642,"collection":59,"collections":22744,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},235396,"shan-shui-ce-yi-ming-235396","此作用淡墨晕染铺就沙碛荒漠，以虚渺留白勾勒出辽远空寂的天地格局。画面中顽石兀立，苍朴的石形与周遭晕染的虚柔沙地形成强烈虚实对比，沉凝的块面破开荒芜的单调。远景关隘隐现于淡墨烟霭，三两旅人驱策而行，渺小身影衬出塞外天地的阔大清冷。\n全幅设色浅淡素雅，以极简笔触勾勒行旅意象，无繁复皴擦，只以水墨晕染传递出塞下荒原的荒寒萧索，将塞外行旅的孤寂与天地浩渺的清寂融为一体，尽显悠远淡宕的山水意趣。",[25,26,53,55,29,80,7,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e4c187e3a92cc620c53b2211f654771.jpg",[],{"id":22746,"slug":22747,"title":502,"dynasty":18,"author":201,"museum":552,"description":22748,"tags":22749,"thumbUrl":22750,"material":641,"size":642,"collection":59,"collections":22751,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},235394,"shan-shui-ce-yi-ming-235394","近景老树虬曲苍劲，枯桠疏朗舒展，经风霜的古意扑面而来，与浅皴淡染的坡石相融，自带萧疏沉静的质感。远景以淡墨晕染山峦林舍，烟岚氤氲间，林木错落隐现，村居藏于云霭之中，不见人声，却满溢山居幽寂的意趣。\n全作用笔松秀，水墨干湿互用，以浓淡层次铺展秋山空濛之境，无一笔艳色点缀，尽显简淡萧散的文人画意韵，将山野间清寂淡远的秋日山居图景缓缓铺陈，观之如临其境，仿佛能聆闻山中风声，浸染林间清润气息。",[25,26,53,55,80,1231,134,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e62411695dd3070f970b1b6130a6ccc.jpg",[],{"id":22753,"slug":22754,"title":502,"dynasty":18,"author":17243,"museum":552,"description":22755,"tags":22756,"thumbUrl":22757,"material":59,"size":59,"collection":59,"collections":22758,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},235378,"shan-shui-ce-mei-geng-235378","以淡墨轻绘寒崖，留白晕染晓雪初霁的空蒙。山石皴法松秀简淡，寥寥笔致勾勒出崖岸枯寂之态，枯草垂悬崖边，愈发衬出雪后山境的清冷淡雅。\n页间题诗与画境相融，以俊逸笔墨铺陈晓雪垂崖、云絮奔涌的奇趣，将静穆雪景晕染出奔逸动感。整体简淡疏朗，清冷萧疏的意趣漫溢纸面，淡而有味，简而意足，以诗画合璧传递出文人山水的幽绝雅兴。",[25,26,53,55,75,80,7,82,133,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a0e93cacfc37d2010773b0746a58603.jpg",[],{"id":22760,"slug":22761,"title":12543,"dynasty":18,"author":201,"museum":552,"description":22762,"tags":22763,"thumbUrl":22764,"material":59,"size":59,"collection":59,"collections":22765,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},235044,"yuan-ji-za-hua-tu-ce-yi-ming-235044","此作用写意水墨绘就兰石，运笔纵逸老辣。怪石以阔笔泼墨晕染，留白勾勒纹理，浑朴厚重，苍莽质感尽显。幽兰以中锋写兰叶，笔势舒展虬曲，如锥画沙，尽显柔韧舒展之姿，淡墨点花，清雅空灵。左侧题款笔力雄健，与画面相映成趣。\n\n整体构图极简，以兰之清逸衬石之朴拙，借物抒怀尽显文人画以物明志的意趣。寥寥数笔间将君子风骨寄寓其中，简淡中见情致，尽显水墨写意的精妙韵味，古雅清幽的意境扑面而来。",[25,26,53,55,188,7,77,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fc2549e142b73e8a4a519e5c9296a25.jpg",[],{"id":22767,"slug":22768,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22769,"thumbUrl":22770,"material":59,"size":59,"collection":59,"collections":22771,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233672,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233672",[25,26,53,6125,29,7,33,1213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d2f5eebe069fd51c331cf53b85ab3c.jpg",[],{"id":22773,"slug":22774,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22775,"thumbUrl":22776,"material":59,"size":59,"collection":59,"collections":22777,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233671,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233671",[25,26,53,6125,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F740c8d859e1092d0de6e0a43936de530.jpg",[],{"id":22779,"slug":22780,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22781,"thumbUrl":22782,"material":59,"size":59,"collection":59,"collections":22783,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233670,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233670",[24,25,26,53,6125,55,29,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d9552793abc776ef5899cceafadfa7.jpg",[],{"id":22785,"slug":22786,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22787,"thumbUrl":22788,"material":59,"size":59,"collection":59,"collections":22789,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233669,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233669",[25,26,53,6125,29,32,7,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b9fc7fe501b116d5a06dbd9148616f.jpg",[],{"id":22791,"slug":22792,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22793,"thumbUrl":22794,"material":59,"size":59,"collection":59,"collections":22795,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233668,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233668",[25,26,53,6125,29,7,32,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fef40d58e42217723f7931aba83d47f.jpg",[],{"id":22797,"slug":22798,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22799,"thumbUrl":22800,"material":59,"size":59,"collection":59,"collections":22801,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233642,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233642",[25,26,53,6125,29,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9b65b23dbd1e5a44ca0c02c0b2024a.jpg",[],{"id":22803,"slug":22804,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22805,"thumbUrl":22806,"material":59,"size":59,"collection":59,"collections":22807,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233633,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233633",[25,26,53,55,434,30,7,306,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3272e34b0a85814af532f1167443ca9.jpg",[],{"id":22809,"slug":22810,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22811,"thumbUrl":22812,"material":59,"size":59,"collection":59,"collections":22813,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":4375},233630,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233630",[25,26,53,434,29,7,7620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed8c035c93ea71c1c6508f5b30304de.jpg",[],{"id":22815,"slug":22816,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22817,"thumbUrl":22818,"material":59,"size":59,"collection":59,"collections":22819,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233628,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233628",[25,26,53,6125,55,29,101,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc651fb84c4675225530d62e8461f4631.jpg",[],{"id":22821,"slug":22822,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22823,"thumbUrl":22824,"material":59,"size":59,"collection":59,"collections":22825,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233595,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233595",[25,26,53,6125,29,134,493,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3268f84ae0e74326c3a7ee88f3bb805d.jpg",[],{"id":22827,"slug":22828,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22829,"thumbUrl":22830,"material":59,"size":59,"collection":59,"collections":22831,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233590,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233590",[25,26,53,434,29,30,7,82,32,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53781c8caa6582ae24ef302042cc8876.jpg",[],{"id":22833,"slug":22834,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22835,"thumbUrl":22836,"material":59,"size":59,"collection":59,"collections":22837,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233587,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233587",[25,26,53,29,56,174,158,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7df8c002604ffa9fe9cb4e4720f4a0.jpg",[],{"id":22839,"slug":22840,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22841,"thumbUrl":22842,"material":59,"size":59,"collection":59,"collections":22843,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233586,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233586",[25,26,53,434,55,30,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1311d0b14f60eacbae6257cd7fc1e762.jpg",[],{"id":22845,"slug":22846,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22847,"thumbUrl":22848,"material":59,"size":59,"collection":59,"collections":22849,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233575,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233575",[25,26,53,29,6125,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f3c1346ef7b44dae6538fbe5ca7909e.jpg",[],{"id":22851,"slug":22852,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22853,"thumbUrl":22854,"material":59,"size":59,"collection":59,"collections":22855,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233574,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233574",[25,53,29,6125,7,188,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3676c50cf3dbe551bf14ba09a4eabb.jpg",[],{"id":22857,"slug":22858,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22859,"thumbUrl":22860,"material":59,"size":59,"collection":59,"collections":22861,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233573,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233573",[25,26,53,29,55,6125,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a3f5073392c8a8f8a6eda7e0ed1a6.jpg",[],{"id":22863,"slug":22864,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22865,"thumbUrl":22866,"material":59,"size":59,"collection":59,"collections":22867,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233572,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233572",[25,26,53,55,29,7,540,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041b1fe96cb6ade8aaf99c1a0bfb024a.jpg",[],{"id":22869,"slug":22870,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22871,"thumbUrl":22872,"material":59,"size":59,"collection":59,"collections":22873,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233555,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233555",[25,26,53,434,80,7,134,79,81,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548ba45a45574fa91801853f8f6a6cde.jpg",[],{"id":22875,"slug":22876,"title":13447,"dynasty":69,"author":11611,"museum":552,"description":11612,"tags":22877,"thumbUrl":22878,"material":59,"size":59,"collection":59,"collections":22879,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},233481,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233481",[25,26,53,55,434,6125,80,134,153,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971a74b3e6a72c6c591b3e5e836abcd5.jpg",[],{"id":22881,"slug":22882,"title":22883,"dynasty":148,"author":1930,"museum":552,"description":22884,"tags":22885,"thumbUrl":22886,"material":641,"size":642,"collection":59,"collections":22887,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},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。",[25,26,53,29,28,56,174,435,7,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5716efe6384104a79a3d1722cdf621ef.jpg",[],{"id":22889,"slug":22890,"title":22891,"dynasty":18,"author":201,"museum":552,"description":22892,"tags":22893,"thumbUrl":22894,"material":641,"size":642,"collection":59,"collections":22895,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},229308,"xiao-shi-dan-yi-ming-229308","小石胆","这两件石胆，一者薄透如凝脂残片，暖棕色泽似陈酿蜜膏，边缘天成朴拙，带着未经修饰的天然意趣。另一枚饱满莹润，如熔蜜冷凝为蛋形，通透肌理间隐现絮状细纹，将千万年山岩灵气封存在内。\n\n素净底色衬出天然赏石的清灵雅韵，不见繁复雕饰，只以本真质地诉尽造物精微，尽显旧时藏家寄情于石的闲情，将山野间的天工妙趣凝于案头，晕开沉静古雅的文人气韵。",[29,28,7,20996,1303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6a72dfbcf79135405572e73578e7da0.jpg",[],{"id":22897,"slug":22898,"title":22899,"dynasty":69,"author":201,"museum":552,"description":22900,"tags":22901,"thumbUrl":22904,"material":37,"size":59,"collection":59,"collections":22905,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},216564,"xuan-da-shan-xi-san-zhen-tu-76-yi-ming-216564","宣大山西三镇图-76","明万历三十一年秘阁本",[23,25,29,862,80,241,22902,1407,22903,522,7,79],"山脉","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4296cdba0f905bb62888df43a15f834d.jpg",[],{"id":22907,"slug":22908,"title":22909,"dynasty":69,"author":201,"museum":552,"description":22900,"tags":22910,"thumbUrl":22912,"material":37,"size":59,"collection":59,"collections":22913,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},216515,"xuan-da-shan-xi-san-zhen-tu-124-yi-ming-216515","宣大山西三镇图-124",[23,25,29,862,28,80,349,865,7,79,77,83,22911],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5f367939de2c93e4d95463605ad28f.jpg",[],{"id":22915,"slug":22916,"title":22917,"dynasty":18,"author":201,"museum":552,"description":22918,"tags":22919,"thumbUrl":22920,"material":37,"size":7471,"collection":59,"collections":22921,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},215912,"qing-ren-xiao-xiang-tu-ce-4-yi-ming-215912","清人肖像图册-4","画面中人物端坐于朱红栏杆围合的台榭之上，红顶小帽与靛蓝长褂相映成趣，衣袂间暗纹隐现，手持书卷似在凝思片刻闲静。左侧石案上青瓷盆兰舒展叶片，旁侧虬枝翠叶点缀生姿，石阶铺陈细碎卵石，背景木构檐角与浅褐墙面晕染出古朴温润的气息。人物神态沉静温婉，衣饰色彩对比鲜明却不失雅致格调，环境陈设简净中见文心。笔墨细腻勾勒出清代文人生活的闲雅意趣，每一处细节皆藏着对日常情境的诗意捕捉，似能窥见彼时文人于庭院间读书品茗的悠然时光。",[25,26,29,28,30,242,244,1922,7,188,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3227d2e6bf21158682719350b10e112e.jpg",[],{"id":22923,"slug":22924,"title":22925,"dynasty":18,"author":201,"museum":552,"description":22926,"tags":22927,"thumbUrl":22928,"material":37,"size":7471,"collection":59,"collections":22929,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},215910,"qing-ren-xiao-xiang-tu-ce-5-yi-ming-215910","清人肖像图册-5","端坐的人物头戴朱红顶帽，宝蓝长袍覆身，衣料质感厚重却不失飘逸，黑裤坠地更显身形端稳。案上棋盘静静铺展，似待对弈之人；旁侧茶具温润，小摆件玲珑，隐透文人日常雅趣。背景以淡墨晕染山石轮廓，疏花点缀其间，清雅氛围悄然包裹人物。笔触细腻处，面部神情刻画入微，眉宇间藏着从容；衣纹线条流畅，尽显笔墨功底。整幅画作于简约构图中见精巧，人物气度与环境雅韵相融，生动传递出清代肖像画的传神与雅致之美。",[25,26,29,28,30,34,35,189,7,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09674573595ccfb3888dc3a20ef94d89.jpg",[],{"id":22931,"slug":22932,"title":22933,"dynasty":18,"author":201,"museum":552,"description":22934,"tags":22935,"thumbUrl":22937,"material":37,"size":7471,"collection":59,"collections":22938,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},215904,"qing-ren-xiao-xiang-tu-ce-15-yi-ming-215904","清人肖像图册-15","画面中人物身着宝蓝色长袍，衣袂垂坠如静水，襟前盘扣错落有致，暗合古韵。发髻轻挽，簪饰简约，眉目间透着温婉沉静。左侧桌案陈设雅致：青瓷瓶插细枝翠叶，旁置玲珑奇石，案面纹理似含烟霞。右侧兰草植于绿釉盆中，幽姿逸韵，与人物娴静气质相映成趣。人物坐姿端方，双手轻搭膝上，指尖微露，神情淡然如月下清辉。整幅画作笔墨细腻，色彩温润，旧纸斑驳质感更添岁月沉香，似在静静诉说一段往昔的雅致时光。",[25,28,29,30,22936,188,7,34,35,1303],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140f2f34f238c8281d924d48b20a2053.jpg",[],{"id":22940,"slug":22941,"title":22942,"dynasty":18,"author":201,"museum":552,"description":22943,"tags":22944,"thumbUrl":22945,"material":262,"size":59,"collection":59,"collections":22946,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},215584,"tian-xia-ming-shan-tu-39-yi-ming-215584","天下名山图-39","这幅山水以简练线条勾勒，左侧山崖陡峭，皴法简洁却显嶙峋之势，几株林木点缀其间，添了生机。右侧江面开阔，波光粼粼间数艘小船悠然，或行或泊，尽显水乡闲意。远处山峦叠嶂，隐约可见屋宇错落，似藏人间烟火。整体构图疏密有致，山崖的凝重与水面的空灵相映成趣，笔墨虽简，却将山水的雄奇与悠远意境尽纳其中，让人仿佛置身于这方山水之间，听风观水，心生宁静。",[25,26,434,80,7,85,81,9909,1291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53faa2f72235d5cf33680a3576e2c0c.jpg",[],{"id":22948,"slug":22949,"title":22950,"dynasty":18,"author":201,"museum":552,"description":22951,"tags":22952,"thumbUrl":22953,"material":262,"size":59,"collection":59,"collections":22954,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},215568,"tian-xia-ming-shan-tu-56-yi-ming-215568","天下名山图-56","画面以白描勾勒山水气韵，峰峦叠嶂间，数道飞瀑倾泻而下，似有轰鸣之声穿纸而出。山间云雾缭绕，淡墨晕染与线条交织，虚实相生衬出山体巍峨雄浑。近处水波以细密曲线勾勒，层层叠叠如鳞，灵动富韵；远处山石线条刚劲，刚柔相济。构图疏密有致，左方孤峰挺拔，右方群峦聚涌，瀑布如银练串联天地，融山水壮阔与灵秀于一纸。笔墨简练却意境深远，尽显传统山水写意精神，让人仿若置身清幽高旷的名山胜境，感受自然静谧与磅礴交织的独特韵味。",[25,434,75,53,80,116,4904,84,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88f3a53445e6ad103372d03d6a62a91.jpg",[],{"id":22956,"slug":22957,"title":22958,"dynasty":18,"author":201,"museum":552,"description":22959,"tags":22960,"thumbUrl":22961,"material":262,"size":59,"collection":59,"collections":22962,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":64},215567,"tian-xia-ming-shan-tu-59-yi-ming-215567","天下名山图-59","墨线勾勒的山石嶙峋如削，崖壁间瀑布倾泻如练，湍流裹挟碎玉般的水花奔涌不息。左侧砥柱独立江心，身姿挺拔似与惊涛对峙；山间云雾轻笼，若隐若现的林木点缀出几分生机。整幅画以线为骨，刚劲处见山石棱角分明，柔婉处显水流气韵灵动，动静相衬间，既展山河雄奇之姿，又藏天地空灵之趣，仿佛能听见瀑声轰鸣与江浪拍岸，引人沉浸于这方山水的壮阔与幽远。",[25,434,80,7,82,81,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadca08f6e6d25da15450b2e2e4ed0b5f.jpg",[],{"id":22964,"slug":22965,"title":14981,"dynasty":18,"author":20722,"museum":150,"description":22966,"tags":22967,"thumbUrl":22968,"material":59,"size":59,"collection":59,"collections":22969,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":22970},203427,"fang-gu-shan-shui-ce-wang-jian-203427","此图以温润设色铺陈山水景致，近景松石错落，虬枝古松苍劲含翠，红褐枝干添韵致；崖畔小亭隐于青绿间，似待幽人。中景水波清浅，散置矶石，远岸芦苇轻曳，晕染空濛之境。山石皴染相济，笔墨雅致承古意，尽显文人山水的闲淡疏旷，尺幅间藏丘壑生机。",[80,29,75,349,715,6109,53,862,7,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc168928bd68bde045c963f32cad64deb.jpg",[],"7c8981",{"id":22972,"slug":22973,"title":502,"dynasty":18,"author":22974,"museum":150,"description":22975,"tags":22976,"thumbUrl":22977,"material":59,"size":59,"collection":59,"collections":22978,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":16199},203378,"shan-shui-ce-yang-bo-run-203378","杨伯润","这幅山水册页以水墨为基，淡设色晕染出清雅氛围。成片竹林以细劲线条勾勒，墨色浓淡相衬，尽显竹之挺秀；溪间流水蜿蜒，孤石点缀其中，小桥连接两岸，桥上人物凭栏而立，与自然景致相融。笔墨兼具细腻与洒脱，山石以浅皴晕染，肌理隐现，整体意境静谧悠远，藏文人画的闲适之韵，于方寸间营造出可居可游的山水之境。",[25,55,80,53,32,277,82,7,29,30,10575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c64374602413aa636507f0aa5eec41.jpg",[],{"id":22980,"slug":22981,"title":12876,"dynasty":9797,"author":20532,"museum":150,"description":22982,"tags":22983,"thumbUrl":22984,"material":59,"size":59,"collection":59,"collections":22985,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":22986},203315,"shui-xian-zhu-shi-tu-zhou-chen-shi-ceng-203315","大块墨色泼写的湖石奇崛嶙峋，笔力沉雄，浓淡墨韵间见苍劲质感；石边劲竹数竿，竹叶简劲利落，尽显挺拔之姿；旁侧水仙疏朗有致，花茎纤细灵动，花朵淡雅出尘。整幅以水墨写意，笔墨洒脱自然，石之朴拙、竹之坚韧、水仙之清逸相映成趣，气韵生动，饱含文人画的雅致意趣与精神风骨。",[25,55,173,7,32,174,79,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a706abaaf5af89a8080854d46c4e5e.jpg",[],"a09584",{"id":22988,"slug":22989,"title":7126,"dynasty":69,"author":8913,"museum":150,"description":22990,"tags":22991,"thumbUrl":22992,"material":59,"size":59,"collection":88,"collections":22993,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":16182},203215,"shan-shui-tu-ce-shao-mi-203215","淡墨晕染出悠远山水意境，枯树虬枝疏朗伸展，枝桠间飞鸟或栖或翔，动静相宜。近景山石以简练皴法勾勒，形态朴拙；远山含黛，平远水面漾着清寂，天地间漫着淡淡的幽远气息。笔墨清逸雅致，线条灵动中见沉稳，将文人疏淡心境融入自然之境，空寂淡远的氛围扑面而来，意蕴悠长，尽显文人画的清雅之趣。",[25,55,80,133,153,7,75,53,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ed60d3038b3b6077e6b6404278d965.jpg",[88],{"id":22995,"slug":22996,"title":22997,"dynasty":9797,"author":22998,"museum":150,"description":22999,"tags":23000,"thumbUrl":23001,"material":59,"size":59,"collection":59,"collections":23002,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23003},203197,"yuan-ye-chou-nv-tu-zhou-ren-jin-203197","元夜愁女图轴","任堇","水墨晕染间，仕女凭立竹石之侧，云鬓轻挽，衣袂飘举，手持花枝似对月凝思。孤石以泼墨写意，苍劲朴拙；竹枝疏斜，笔意清逸。人物以白描勾勒，线条温婉流畅，尽显娴雅之态。题跋行书与画面相映，墨韵交融，愁绪暗生。整作简淡空灵，文人意趣浓厚，于尺幅间藏元夜幽思。",[25,55,434,30,31,7,32,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e042060843597fb3f4d3298da9d5d43.jpg",[],"c1bdad",{"id":23005,"slug":23006,"title":21916,"dynasty":9797,"author":23007,"museum":150,"description":23008,"tags":23009,"thumbUrl":23010,"material":59,"size":59,"collection":59,"collections":23011,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23012},203196,"da-mo-mian-bi-tu-zhou-xu-lang-xi-203196","徐朗西","达摩趺坐石上，衣纹以水墨写意挥洒，简括线条勾勒出沉凝姿态。旁侧松石相生，松枝虬劲如铁，墨色浓淡交织；山石皴擦见骨，与人物虚灵之态相映。笔墨纵逸却含内敛，意境清寂深远，将禅者冥思与自然相融，尽显面壁的空灵执着。",[25,55,30,7,75,576,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38232662c0543e98b9d462699d65734.jpg",[],"bfb29e",{"id":23014,"slug":23015,"title":23016,"dynasty":18,"author":20722,"museum":150,"description":23017,"tags":23018,"thumbUrl":23020,"material":59,"size":59,"collection":59,"collections":23021,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23022},203097,"shan-shui-ji-jin-ce-wang-jian-203097","山水集锦册","画面以水墨皴染勾勒山水景致，近景坡石错落，林木疏朗，枝干挺拔间见苍劲笔力；中景山峦层叠，皴法细密，墨色浓淡相宜，显丘壑之幽深；远景峰岫隐现于烟霭中，留白处似有云雾流转，拓展了空间意境。整体笔墨温润醇厚，兼具宋元山水的秀逸与苍莽，于咫尺册页间营造出清旷悠远的山水气象，尽显传统文人画的雅致意趣。",[25,26,53,55,75,80,7,82,23019],"老","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f6a40601042dc257b043d2ea89213d.jpg",[],"dbd6d1",{"id":23024,"slug":23025,"title":7126,"dynasty":69,"author":183,"museum":150,"description":23026,"tags":23027,"thumbUrl":23028,"material":59,"size":59,"collection":88,"collections":23029,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":16907},203024,"shan-shui-tu-ce-xiang-sheng-mo-203024","笔墨清润雅致，意境淡远幽然。孤石造型奇崛，以线勾勒见骨力，皴擦间蕴朴拙之味；山水铺陈淡雅，树木错落生姿，水面静谧映林峦，偶现孤舟轻点，添得几分闲逸。设色浅绛交融水墨，工笔与写意相济，尽显文人画之抒情韵致，于册页间藏丘壑之美，传递出悠然旷达的心境。",[25,80,7,55,29,28,75,53,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a2f1d9beeab94f274c4cd68dcd5bbbd.jpg",[88],{"id":23031,"slug":23032,"title":7126,"dynasty":18,"author":9663,"museum":150,"description":23033,"tags":23034,"thumbUrl":23035,"material":59,"size":59,"collection":59,"collections":23036,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":19464},203019,"shan-shui-tu-ce-mei-qing-203019","这幅山水册页以苍劲笔墨绘就悬崖景致，皴擦点染间，山石纹理毕现，尽显嶙峋之态。岩间虬枝轻垂，似与朦胧烟岚相映；留白处云雾浮动，将近崖与远峰晕染出层次分明的空濛感。淡墨勾勒的远山如黛，与近景的厚重形成虚实相生的韵致，整体意境清旷悠远，笔墨兼具秀逸与沉雄，流露文人画特有的超脱意趣。",[80,55,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5514530adef40de616ad770ca337303b.jpg",[],{"id":23038,"slug":23039,"title":17097,"dynasty":9797,"author":21942,"museum":150,"description":23040,"tags":23041,"thumbUrl":23042,"material":59,"size":59,"collection":59,"collections":23043,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":21947},203001,"ju-shi-tu-zhou-ma-gong-yu-203001","画面中孤石耸立，墨色淋漓，以泼染兼皴擦之法绘就，尽显苍劲厚重；石畔菊花簇生，淡赭花瓣舒展有致，墨叶浓淡相间，笔意洒脱，花叶与石相映成趣。题跋行书流畅自然，朱印点缀其间，添得几分雅致。整幅画作气韵生动，既见菊花傲霜之姿，又显石之坚韧，蕴含文人画的高洁意韵与笔墨情致。",[25,27,55,29,56,189,7,79,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e9b9667f3c373e2d998b23b0844489.jpg",[],{"id":23045,"slug":23046,"title":23047,"dynasty":18,"author":23048,"museum":150,"description":23049,"tags":23050,"thumbUrl":23052,"material":59,"size":59,"collection":59,"collections":23053,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23054},202634,"zhu-shi-tu-cheng-shan-hu-gong-shou-202634","竹石图成扇","胡公寿","扇面之上，墨竹劲挺多姿，枝叶以浓淡错落的墨色挥写，纷披间藏劲健笔意，似有清风拂面。旁侧孤石以简括皴笔勾勒，纹理隐现中透出朴拙厚重。竹石相依，疏密有致，于咫尺扇面间铺展出清雅疏朗的意境。笔墨洒脱自然，兼具文人画的风骨与写意的灵动韵致，墨色层次丰富，竹叶的柔劲与石的沉稳形成巧妙对比，尽显自然生机与文人雅趣。整幅画作简练中见深意，是传统竹石题材里的雅致佳构。",[714,25,55,32,7,75,23051],"写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c69d9234b7da936e6936919a218f487.jpg",[],"aba497",{"id":23056,"slug":23057,"title":4412,"dynasty":18,"author":22024,"museum":150,"description":23058,"tags":23059,"thumbUrl":23060,"material":59,"size":59,"collection":59,"collections":23061,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23062},202555,"mei-shi-tu-zhou-huang-shan-shou-202555","梅枝虬劲多姿，枝干以浓墨勾勒，顿挫有力，似蕴含无限生机。枝上繁花以淡墨点染，疏密有致，或聚或散，清雅脱俗。下方孤石以水墨皴擦结合晕染，纹理苍莽，形态古朴，与梅枝相互映衬，更显梅之傲岸风骨。整幅作品笔墨灵动，兼具写意的洒脱与细节的精致，将梅的高洁与石的沉稳完美融合，尽显文人画的清雅意趣，营造出幽远静谧的艺术境界。",[25,55,187,7,56,75,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f07a1890f857e0e2c1bf2f722ed48ba.jpg",[],"c2b7ab",{"id":23064,"slug":23065,"title":23066,"dynasty":18,"author":214,"museum":150,"description":23067,"tags":23068,"thumbUrl":23069,"material":59,"size":59,"collection":59,"collections":23070,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23071},202496,"zhu-shi-mu-dan-tu-zhou-hua-yan-202496","竹石牡丹图轴","墨竹数竿挺拔，竹叶以简劲笔触挥写，疏密错落间墨色层次分明；牡丹数朵妍丽，花瓣晕染柔润，粉紫相间却不失清雅；顽石以泼墨皴擦，苍朴厚重，与纤巧花草形成刚柔相济之趣。构图疏密有致，笔墨兼工带写，既有工笔的细腻，又有水墨的洒脱，尽显文人画的清逸雅致，传递自然生机与艺术意趣的交融。",[25,56,32,191,7,55,29,28,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a90940048b9d03d0c5f422043cecb32.jpg",[],"9d8b79",{"id":23073,"slug":23074,"title":23075,"dynasty":18,"author":6097,"museum":150,"description":23076,"tags":23077,"thumbUrl":23078,"material":59,"size":59,"collection":59,"collections":23079,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23080},202393,"luo-han-tu-zhou-gai-qi-202393","罗汉图轴","画面中罗汉端坐椅上，衣纹以白描勾勒，线条流畅细腻；侍者持杖立侧，神态恭谨。右侧瓶插芭蕉，旁置香炉，孤石错落，景致清幽。笔墨简洁传神，人物情态自然，尽显闲适之趣。题跋与朱印相映，更添文雅韵味。",[434,30,7,79,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7849505b6d0ce4fef128f5043643542.jpg",[],"dccfbc",{"id":23082,"slug":23083,"title":23084,"dynasty":18,"author":96,"museum":150,"description":23085,"tags":23086,"thumbUrl":23087,"material":59,"size":59,"collection":59,"collections":23088,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23089},202354,"zi-ling-ba-diao-tu-zhou-ren-yi-202354","子陵罢钓图轴","画面以简约笔触绘就隐逸场景：身披蓑衣的严子陵立于岩边，钓竿斜逸，孤石伴侧，淡墨晕染的水面漾开清寂。水墨写意间，线条简练传神，蓑衣质感借墨色浓淡层次尽显，人物神情淡然超脱，传递出不恋功名的隐逸心境。画家以寥寥数笔凝萃典故情怀，尺幅间尽显笔墨之妙与悠远意境。",[55,30,7,137,75,35,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a87c426275a7261bad2a7490f29693.jpg",[],"cac0b9",{"id":23091,"slug":23092,"title":23093,"dynasty":69,"author":23094,"museum":150,"description":23095,"tags":23096,"thumbUrl":23098,"material":59,"size":59,"collection":59,"collections":23099,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23100},202348,"lan-hua-tu-zhou-xue-su-su-202348","兰花图轴","薛素素","画中幽兰数茎，叶片以流畅墨线勾勒，婉转舒展如临风飘举；花瓣淡墨点簇，清雅有致。孤石以枯笔皴擦，古拙质朴，与兰草相映愈显空谷幽独之态。行书题跋错落其间，笔墨灵动，朱红印章点缀，更添章法之妙。整幅以水墨写意，简而传神，韵致清幽，尽显兰之高洁品格与文人画的雅致情韵。",[25,55,188,7,78,79,26,173,23097,23],"雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f125116d7f19c95c88480658d6c296d.jpg",[],"b2a89c",{"id":23102,"slug":23103,"title":23104,"dynasty":18,"author":22097,"museum":150,"description":23105,"tags":23106,"thumbUrl":23107,"material":59,"size":59,"collection":59,"collections":23108,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23109},202331,"mu-dan-bai-ling-tu-zhou-xi-gang-202331","牡丹柏灵图轴","画面以苍劲松柏为引，虬枝盘曲如铁，松针密簇似绒，尽显古木风霜之姿。下方牡丹绽放，粉瓣层叠含露，色泽温润雅致，叶片脉络清晰，设色清丽不俗。嶙峋怪石穿插其间，皴法简练质朴，与柔媚花姿形成刚柔相济之趣。笔墨兼具工致与写意：松柏用笔劲健老辣，牡丹晕染细腻灵动，山石勾勒随性自然。整体意境清逸典雅，于寻常花木中透出文人画的清韵风骨，尽显画家兼擅花鸟与山水的深厚功底。",[191,134,7,56,28,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecd54372869f196b0a7e6f95361f5d2.jpg",[],"d4c6a9",{"id":23111,"slug":23112,"title":23113,"dynasty":18,"author":4422,"museum":150,"description":23114,"tags":23115,"thumbUrl":23118,"material":59,"size":59,"collection":59,"collections":23119,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23120},202328,"dong-ya-pu-tuan-jing-zuo-tu-zhou-ren-xun-202328","东崖蒲团静坐图轴","画面中禅者趺坐孤石之上，衣纹细劲流畅如铁线，神情恬淡超然。侧旁朱红几架承托荷瓶，花叶清雅疏朗，与素衣禅者相映成趣，满溢禅意。任薰以工笔勾勒见长，衣褶转折富有韵律，设色淡雅脱俗，背景留白更衬出画面的空灵之境，将禅者的沉静心境与周遭清寂氛围融为一体，尽显晚清海派绘画的精致与意韵。",[28,29,30,33,7,576,23116,23117,23],"瓶","几架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe45214763e7ff4c4c5c213dc8cfd9d.jpg",[],"d9cec2",{"id":23122,"slug":23123,"title":23124,"dynasty":18,"author":7127,"museum":150,"description":23125,"tags":23126,"thumbUrl":23127,"material":59,"size":59,"collection":59,"collections":23128,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23129},202249,"wei-xiao-yin-qiu-tu-zhou-wu-li-202249","渭篠吟秋图轴","墨竹倚孤石而生，枝叶纷披间墨色浓淡交织，或浓黑沉凝，或浅淡如烟，晕染出秋意萧疏之境。竹叶笔触挺劲洒脱，错落有致，似携风而动；山石以淡墨皴擦勾勒，纹理苍古朴拙，与浓墨修竹形成虚实对比，愈显竹之清劲气节。画面简括却意蕴悠长，清雅中藏文人风骨，秋的静谧与竹的生机相融，耐人寻味。",[25,55,32,7,75,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ebade044342e43a923c71e37adc6af2.jpg",[],"91806f",{"id":23131,"slug":23132,"title":1614,"dynasty":18,"author":23133,"museum":150,"description":23134,"tags":23135,"thumbUrl":23136,"material":59,"size":59,"collection":59,"collections":23137,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23138},202139,"zhu-shi-tu-zhou-zhen-ran-202139","真然","画面中修竹倚孤石而生，竹竿挺拔劲直，竹叶以浓淡墨色撇写，聚散有致，尽显潇洒灵动之态。怪石以水墨皴擦勾勒，纹理苍劲古朴，与竹的清逸形成刚柔相济之美。笔墨简括却气韵充沛，竹之虚心劲节与石之沉稳坚韧相衬，蕴藉着文人画特有的孤傲高洁意趣，是水墨写意的精妙之作。",[25,55,32,7,75,16923],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1219b663d09275a8a410e9fc1b6d20.jpg",[],"c8bdad",{"id":23140,"slug":23141,"title":1614,"dynasty":18,"author":5374,"museum":150,"description":23142,"tags":23143,"thumbUrl":23144,"material":59,"size":59,"collection":122,"collections":23145,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":19603},201966,"zhu-shi-tu-zhou-zhu-sheng-201966","修竹数竿挺拔如君子，竹叶纷披似翠羽轻飏，墨色浓淡相济，笔力劲健洒脱，尽显竹之清劲气节。旁侧孤石以淡墨皴擦，纹理自然苍劲，与修竹相映成趣，营造出静谧清幽的文人意境。整幅画作气韵生动，将竹的坚韧与石的沉稳融为一体，尽显传统文人画的雅致风骨与自然意趣。",[25,26,27,55,32,7,75,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2e8778857423e510ff1efe4d9c11724.jpg",[122],{"id":23147,"slug":23148,"title":1614,"dynasty":18,"author":21988,"museum":150,"description":23149,"tags":23150,"thumbUrl":23151,"material":59,"size":59,"collection":122,"collections":23152,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":21993},201894,"zhu-shi-tu-zhou-tang-mi-201894","画面中竹竿劲挺修长，竹叶以浓淡错落的墨笔挥写，笔触灵动如随风摇曳，尽显竹之清逸姿态。山石轮廓粗犷，皴擦结合的笔墨勾勒出嶙峋肌理，坚硬质感与竹的柔韧相映成趣。竹石相依相衬，营造出清雅孤高的文人意境，笔墨间流露自然生机与风骨。整幅作品气韵生动，墨色层次丰富，将自然物象与文人情怀相融，传递出静谧悠远的审美意趣。",[25,55,32,7,75,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c5cd39c9b6b96d1e1d01a3748f6216b.jpg",[122],{"id":23154,"slug":23155,"title":23156,"dynasty":18,"author":23157,"museum":150,"description":23158,"tags":23159,"thumbUrl":23160,"material":59,"size":59,"collection":59,"collections":23161,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23162},201824,"lan-zhu-shi-tu-zhou-zhao-jiu-ding-201824","兰竹石图轴","赵九鼎","水墨写意绘兰竹倚石，气韵天成。竹枝挺秀，竹叶以浓淡墨挥写，撇捺劲健；幽兰叶片柔韧舒展，线条流转，与竹之刚健相映成趣。石体泼墨淡染，轮廓朴拙，墨色层次丰富，尽显苍劲古拙。三者错落相依，疏密有致，留白空灵，传递清雅淡泊与孤傲风骨，笔墨简练却意韵悠长，尽显传统写意花鸟之神韵。",[25,55,188,32,7,173,56,15580,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2d9a4a8a68e78e4b7efa40166ea0fa.jpg",[],"dfd3c4",{"id":23164,"slug":23165,"title":23166,"dynasty":69,"author":10866,"museum":150,"description":23167,"tags":23168,"thumbUrl":23169,"material":59,"size":59,"collection":39,"collections":23170,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23171},201596,"lin-song-ren-ren-ma-tu-juan-wen-cong-jian-201596","临宋人人马图卷","这幅临作取法宋人，既葆有写实工致的传统，又融入文人画的雅逸气质。人物着红衣立岸，衣纹线条流畅婉转，设色清丽；马匹或静立或卧饮，造型精准，鬃毛蹄足勾勒细腻，神态鲜活。背景树石以皴染结合，枝叶婆娑有致，水面留白映出清旷之境。笔墨间兼具细腻描摹与洒脱意趣，虽为临摹却暗含作者对宋画精髓的体悟，尽显人马相依的闲逸氛围，传递出古典画韵中的悠然情致。",[25,26,74,76,30,306,28,75,29,7,117,78,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728f69b3fe8b3702dd685e79d0d3d319.jpg",[39],"e1cfb8",{"id":23173,"slug":23174,"title":3562,"dynasty":18,"author":14556,"museum":150,"description":23175,"tags":23176,"thumbUrl":23177,"material":59,"size":59,"collection":59,"collections":23178,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23179},201506,"song-shi-tu-zhou-wang-san-xi-201506","双松并立，老干虬劲，斑驳纹理以皴擦结合写就，笔墨苍劲中见细腻。松石相依，石体用墨浓淡有致，与松干的留白形成对比，周遭杂草丛生，野趣盎然。整幅画面清幽静谧，尽显自然生机，笔墨间流露对松石风骨的推崇，意境悠远。",[25,55,75,7,134,18687],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d77b4cc96c685b21b9e9071ef280958.jpg",[],"bdbab0",{"id":23181,"slug":23182,"title":23183,"dynasty":69,"author":2418,"museum":150,"description":23184,"tags":23185,"thumbUrl":23186,"material":59,"size":59,"collection":88,"collections":23187,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23188},201405,"yun-shan-tu-zhou-wen-zheng-ming-201405","云山图轴","这幅山水以水墨为基调，晕染出烟霞弥漫的云山胜景。山峦用淡墨皴擦，轮廓隐于云雾间，显空灵之态；山脚树木枝干挺秀，与缭绕的云气相映，添生机。画面上方行书题识笔致清劲，搭配朱红印章，诗书画印相融，尽展文人画韵致。整体气息静谧淡远，笔墨清润雅致，似将观者引入烟岚深处，感受自然与文人情怀的交融，尽显文氏山水的雅逸意趣。",[25,80,55,75,78,79,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29b96cdabac41971e50410a974eac41.jpg",[88],"b3ab9c",{"id":23190,"slug":23191,"title":23192,"dynasty":69,"author":431,"museum":150,"description":23193,"tags":23194,"thumbUrl":23195,"material":59,"size":59,"collection":60,"collections":23196,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23197},201364,"hua-hui-shan-chen-hong-shou-201364","花卉扇","画面以孤石为基，花卉藤蔓缠绕其上，枝叶舒展间尽显生机。线条古拙凝练，如铁线般刚劲有力，花卉造型略带夸张却不失雅致，石体以浓墨皴擦，与淡墨勾勒的花叶形成虚实对比。构图疏密得当，契合扇面弧形形制，气韵贯通。笔墨间渗透出文人画的清逸风骨，既见技法之精，更显品格之高，是陈氏花卉画中的典型之作。",[714,28,434,7,56,243,79,25,7581,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4f553ed4f4765dd3b3d4965f5b4be8.jpg",[60],"eff1ef",{"id":23199,"slug":23200,"title":8728,"dynasty":69,"author":2418,"museum":150,"description":23201,"tags":23202,"thumbUrl":23203,"material":59,"size":59,"collection":122,"collections":23204,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23205},201363,"hua-niao-shan-wen-zheng-ming-201363","这幅扇面以水墨写意见长，笔致清逸。孤石嶙峋，以淡墨皴染出苍劲肌理；竹枝挺秀，竹叶浓淡相间，尽显柔韧风骨；旁生兰草，线条柔婉摇曳。构图疏密有致，留白空灵，笔墨兼具工细与洒脱，于简淡中见生机。无浓艳色彩，仅靠墨色层次营造意境，将自然之趣与文人清雅情怀相融，传递出静谧淡远的心境，是文氏花鸟小品中颇具代表性的佳作。",[25,26,714,55,7,32,188,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2bc327a75e8032446c02245f98b76bf.jpg",[122],"c3b59a",{"id":23207,"slug":23208,"title":23209,"dynasty":69,"author":23210,"museum":150,"description":23211,"tags":23212,"thumbUrl":23214,"material":59,"size":59,"collection":60,"collections":23215,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23216},201361,"hua-niao-hua-shan-ji-wang-wei-lie-201361","花鸟画扇集","王维烈","画面以孤石为基，旁生劲草与细茎花卉，红黄花蕊点缀其间，色彩清雅。两只彩蝶翩跹，一只翠翅带纹，一只黄翅轻盈，姿态灵动。笔墨兼用工写，石块以水墨皴染显苍劲，花草蝴蝶则设色工细，线条婉转。整体构图疏朗有致，动静相宜，尽显自然生趣与文人雅意。",[714,56,29,28,7,435,456,23213,2290,23],"水墨皴染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683c2720557968608b3cb53c8048aa05.jpg",[60],"d6c1a1",{"id":23218,"slug":23219,"title":23220,"dynasty":69,"author":8365,"museum":150,"description":23221,"tags":23222,"thumbUrl":23223,"material":59,"size":59,"collection":88,"collections":23224,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":17740},201333,"hun-lun-tu-juan-zhu-de-run-201333","浑沦图卷","《浑沦图卷》以水墨写意入笔，笔墨苍劲洒脱，意境浑融无迹。山峦在氤氲墨气中隐现，草木萧疏却藏生机，孤石兀立见古拙之趣。书画相生，行书题跋流畅自然，与画面的简逸风格相映成趣，尽显文人画的哲思与逸韵。",[55,173,78,80,7,74,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d3b128fa58c462e1ce41c0ff6a2dd2d.jpg",[88],{"id":23226,"slug":23227,"title":23228,"dynasty":69,"author":5803,"museum":150,"description":23229,"tags":23230,"thumbUrl":23231,"material":59,"size":59,"collection":122,"collections":23232,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23233},201324,"jia-yu-qiu-sheng-tu-zhou-xia-chang-201324","戛玉秋声图轴","秋风拂过，竹枝摇曳如鸣佩环，恰应“戛玉秋声”之题。墨竹以浓淡相济之笔写就，竹叶纷披却见章法，俯仰向背各呈姿态，笔触劲利如刀削，尽显劲节傲骨；竹竿挺拔，节脉分明，暗含坚韧之气。旁侧孤石以淡墨皴染，纹理古拙，与浓墨竹枝形成虚实对比，沉稳中见灵秀。石畔细草点缀，墨点零星，更添野趣生机。整幅画笔墨清雅，意境悠远，文人画的逸趣与竹石的风骨交融，读之如闻秋籁，心生澄明。",[25,55,32,7,75,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f9cd5dbb28ae861fab5ccac078c5ee.jpg",[122],"a6a196",{"id":23235,"slug":23236,"title":23237,"dynasty":18,"author":9493,"museum":150,"description":23238,"tags":23239,"thumbUrl":23240,"material":59,"size":59,"collection":88,"collections":23241,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23242},201308,"fang-da-chi-qiu-shan-tu-zhou-zhang-zong-cang-201308","仿大痴秋山图轴","画面层峦叠嶂，笔墨苍劲温润。山石以皴法勾勒纹理，质感厚重见骨力；秋树萧疏，枝桠错落间透着清寂。山间屋舍隐于林麓，似有烟火却静谧；近景溪畔孤石与疏木相映，远景云霭缭绕，意境旷远。师法大痴笔意，融元人萧散简远与自家苍润之韵，尽显秋山淡远清疏之美。",[25,80,75,76,134,7,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9c257dc5713d35be8aee7d0681ae48.jpg",[88],"cbbba4",{"id":23244,"slug":23245,"title":23246,"dynasty":69,"author":8032,"museum":150,"description":23247,"tags":23248,"thumbUrl":23249,"material":59,"size":59,"collection":88,"collections":23250,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23251},201299,"ju-qu-lin-wu-tu-zhou-wen-bo-ren-201299","具区林屋图轴","画面层峦叠嶂，山石以细密皴法晕染勾勒，纹理交错间尽显苍劲质感。林木扶疏，枝丫虬曲，墨色浓淡相宜，虽见秋冬萧索却暗藏生机。山间屋舍隐于林麓，溪流蜿蜒穿石而过，意境清幽雅致。整幅画兼具吴门画派的秀逸与笔墨精细之态，将江南山水的灵秀与文人居隐的意趣融于笔端，精谨中透着自然野趣，是明代文人山水画的典型佳作。",[25,80,75,82,7,81,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15178265548b14a80610a6815efedc5e.jpg",[88],"b1a19a",{"id":23253,"slug":23254,"title":23255,"dynasty":69,"author":183,"museum":150,"description":23256,"tags":23257,"thumbUrl":23258,"material":59,"size":59,"collection":39,"collections":23259,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23260},201294,"tan-mei-tu-juan-xiang-sheng-mo-201294","探梅图卷","画面以水墨写意，老梅枝干虬劲横斜，花苞点点蕴生机。文人宽袍俯身，凝神探梅，姿态痴憨尽显对梅的钟爱。旁侧孤石嶙峋，竹影疏淡，衬出清寂雅致之境。笔墨简劲，枝干用皴法勾染，苍劲中见柔韧；梅蕊点染精巧，暗藏春意。右侧题跋满布，行书笔意洒脱，诗画相映，印信点缀，尽显诗书画印合一的文人雅趣，传递传统文人对梅的清雅追求与精神寄托。",[25,55,30,187,7,78,77,79,75,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a28f4fc260a01fd004c1ee1438556e.jpg",[39],"d1c5a6",{"id":23262,"slug":23263,"title":23264,"dynasty":18,"author":214,"museum":150,"description":23265,"tags":23266,"thumbUrl":23267,"material":59,"size":59,"collection":88,"collections":23268,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23269},201288,"qiu-pu-bing-pei-tu-zhou-hua-yan-201288","秋浦并辔图轴","秋浦清浅，两岸坡石错落，枯树虬枝斜出，点染萧瑟秋意。二人并辔徐行，红衫者策白马，白衣人跨黑马，衣袂轻扬间尽显闲适。远山以淡墨晕染，云雾缭绕似隐似现；近景山石皴擦有致，树木枝干苍劲。人物勾勒简练传神，马匹动态鲜活，兼工带写的笔触融合写意洒脱与工笔细腻，营造出清旷悠远的意境，恍若友人同行、闲话秋光的悠然之趣。",[25,27,29,28,75,30,306,80,133,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365d12fb06b6333bdabe5374554608e7.jpg",[88],"d2c6b0",{"id":23271,"slug":23272,"title":20598,"dynasty":69,"author":3181,"museum":150,"description":23273,"tags":23274,"thumbUrl":23275,"material":59,"size":59,"collection":60,"collections":23276,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":20603},201267,"zhu-qin-tu-zhou-lin-liang-201267","墨竹横斜，枝干劲挺如铁，叶片挥洒若雨，尽显书法笔意之妙。石矶之上禽鸟独立，羽纹细勾中见工致；空中飞鸟振翅，墨色晕染间显灵动。笔势纵放却不失法度，水墨浓淡层次分明，苍劲中透着野逸生机。简括的构图里，竹、石、禽鸟相映成趣，于写意挥洒间藏精巧细节，传递出自然天趣与文人意韵的交融，是明代花鸟画中水墨写意的典范之作。",[25,24,55,173,746,56,32,153,7,490,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac13943bc456dfa82014aa91b6e3ad3.jpg",[60],{"id":23278,"slug":23279,"title":23280,"dynasty":18,"author":169,"museum":150,"description":23281,"tags":23282,"thumbUrl":23283,"material":59,"size":59,"collection":122,"collections":23284,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23285},201255,"lan-zhu-shui-xian-tu-zhou-shi-tao-201255","兰竹水仙图轴","画面以水墨写意绘就，孤石旁兰草疏朗舒展，竹叶劲挺有姿，水仙隐现其间。笔墨洒脱淋漓，墨色浓淡相生，线条抑扬顿挫，兼具刚柔之美。石之苍劲与草木之秀雅相映成趣，题跋与朱印错落点缀，更添文人意韵。整体气韵生动，风骨清逸，尽显超然物外的雅致情怀。",[25,26,27,55,188,32,174,7,173,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1ffa73d0c04cab03af3e110aedeae3.jpg",[122],"c1b5a0",{"id":23287,"slug":23288,"title":23289,"dynasty":18,"author":169,"museum":150,"description":23290,"tags":23291,"thumbUrl":23292,"material":59,"size":59,"collection":88,"collections":23293,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23294},201246,"zui-yin-tu-zhou-shi-tao-201246","醉吟图轴","画面以水墨皴染为主，淡设色辅之。山石勾勒粗犷灵动，皴法多变尽显丘壑肌理；林木浓淡相间，苍劲中见秀逸；茅屋隐于林间，屋内人影若醉若吟，意境清寂含逸。构图错落有致，虚实相生，笔墨纵逸洒脱，将山水之幽与文人之趣融于一体，尽显石涛“我法”之妙。",[55,75,29,80,7,30,134,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6702227e832df71792af1b4dfe30f1d5.jpg",[88],"92846f",{"id":23296,"slug":23297,"title":23298,"dynasty":18,"author":475,"museum":150,"description":23299,"tags":23300,"thumbUrl":23302,"material":59,"size":59,"collection":59,"collections":23303,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23304},201244,"kong-gu-cang-ying-tu-zhou-zhu-da-201244","空谷苍鹰图轴","苍鹰敛翅独立嶙峋怪石之上，目光如炬睥睨空谷，孤傲冷峻之态毕现。水墨晕染间，浓淡干湿交织出羽毛层次与石面肌理，线条简练却力道千钧，寥寥数笔勾勒出苍鹰雄健身姿与枯树萧瑟之姿。空濛背景弱化环境繁复，更衬主体孑然独立，传递出遗世沉郁与桀骜。极简构图承载深沉情感，水墨写意笔法融物象与心境，尽显独特艺术风骨与精神世界。",[55,173,23301,7,133,291],"苍鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99610d1496ebb1768e006c3c6d703ab2.jpg",[],"50504c",{"id":23306,"slug":23307,"title":18704,"dynasty":69,"author":4336,"museum":150,"description":23308,"tags":23309,"thumbUrl":23310,"material":59,"size":59,"collection":122,"collections":23311,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23312},201242,"lan-zhu-tu-zhou-wen-zheng-ming-201242","这幅兰竹图以水墨写意，笔墨疏朗而富有韵致。竹枝挺拔，竹叶如笔走龙蛇般撇捺舒展，兼具书法的骨力与画意的灵动；兰草纤叶柔婉，随风摇曳，似携清幽之气；孤石以淡墨勾廓，皴擦相间，朴拙中见古雅。兰竹相依于石畔，三者相生相衬，营造出清雅绝尘的意境。左侧题款笔墨流畅，书画交融，尽显文人画托物言志之趣，传递出高洁淡远的品格追求。",[25,55,188,32,7,27,75,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d677683b0f84962d5ca7b47884c0e69.jpg",[122],"c7c1b7",{"id":23314,"slug":23315,"title":9473,"dynasty":18,"author":23316,"museum":150,"description":23317,"tags":23318,"thumbUrl":23319,"material":59,"size":59,"collection":88,"collections":23320,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23321},201237,"shan-shui-tu-zhou-xie-wei-xian-201237","谢为宪","近景苍松盘曲于孤石之上，枝干虬劲如铁，松针以浓墨点染，疏密相间；山间云雾轻拢，远岫层叠，轮廓简洁却显雄浑；水面孤舟一叶，隐于烟霭，添幽寂之韵。笔墨清润，以简练线条勾山石，墨色晕染出云雾朦胧感，松枝苍劲与远山空灵相映，营造悠远静谧的山水意境，尽显文人雅致，仿佛置身烟水空濛之境，心随景远。",[25,80,55,29,85,27,75,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6425cb4e57d749a1b2e432756de38894.jpg",[88],"7c6c43",{"id":23323,"slug":23324,"title":23325,"dynasty":18,"author":475,"museum":150,"description":23326,"tags":23327,"thumbUrl":23328,"material":59,"size":59,"collection":60,"collections":23329,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23330},201233,"hua-niao-ping-zhi-yi-zhu-da-201233","花鸟屏之一","画面以寥寥数笔构建清冷意境，孤石奇崛，禽鸟缩颈伫立，似敛尽尘嚣。水墨淋漓间，浓淡墨色交织出苍劲质感，线条简练却藏万钧力道。禽鸟羽翅的斑驳墨点与孤石的粗放笔触相映，尽显写意的纵逸洒脱。整幅作品于极简中见深邃，孤寂中藏倔强，将生命的幽思凝于尺幅之间，引人遐思。",[25,55,56,7,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b0e9fd7667b95f0c6522a942450d88.jpg",[60],"cbbfaa",{"id":23332,"slug":23333,"title":15676,"dynasty":18,"author":551,"museum":150,"description":23334,"tags":23335,"thumbUrl":23336,"material":59,"size":59,"collection":60,"collections":23337,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":23338},201226,"lan-shi-tu-zhou-wu-chang-shuo-201226","墨韵流转间，幽兰倚石而生，兰叶以篆隶笔意挥洒，线条如铁线盘曲，刚劲中含婉转，尽显金石入画的苍劲风骨。山石泼墨晕染，苍浑厚重，与兰草焦墨劲笔形成虚实相映，清雅逸趣扑面而来。兰叶交错纵横，似有风动，姿态灵动；孤石嶙峋，泼墨间藏肌理，与幽兰相衬，传递孤傲高洁之韵。整幅画雄浑中见秀逸，笔力老辣却韵致天成，是文人写意的经典之作。",[25,55,188,7,26,56,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fab5d86dcc3cd2d18d603b440c76012.jpg",[60],"c2bbad",1777535693836]