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。\n画中描写了六位衣着艳丽的贵族妇女及其侍女于春夏之交赏花游园。\n画作不设背景，以工笔重彩绘仕女五人，女侍一人，另有小狗、白鹤及辛夷花点缀其间。\n全图六个人物的主次、远近安排巧妙，景物衬托少而精。\n两只小狗、一只白鹤、一株辛黄花使原本显得孤立的人物产生了左右呼应、前后联系的关系。\n半罩半露的透明织衫，使人物形象显得丰腴而华贵。\n而用笔和线条却细劲有神，流动多姿。\n浓丽的设色，头发的钩染、面部的晕色、衣着的装饰，都极尽工巧之能事，较好地表现了贵族妇女的细腻柔嫩的肌肤和丝织物的纹饰。\n《簪花仕女图》是 贵族人物画风格的代表。\n同时也体现出贵族仕女养尊处优、无所事事、游戏于花蝶鹤犬之间的生活情态。\n画面左端开始婷婷而立的髻插芍药花的贵族仕女，浅紫色的纱衫上，有以四个斜角田宇为一组的菱纹。\n白地帔子绘有彩色云鹤，从肩后身向前胸下垂。\n她右手举着刚捕捉的蝴蝶，左手提起帔子，使它成为垂直。\n她上身往前微倾，以迎接向她跑来的小狗。\n画面左起第二位妇女身材娇小，神情庄重，身着朱红披风，外套紫色纱罩，从远处巧移莲步而来。\n发髻上插海棠花，脖子饰金质云纹项圈。\n白裙上的紫色团花，从纱衫的下面透出，显得十分艳丽。\n破子从后肩向两臂平分下垂，双手抓紧薄纱，掩着帔子，同时也紧束了宽大的衣服。\n画面左起第三位贵族女人髻插荷花，身披白花格子纱衫，胸前束朱色斜格长裙曳于地而，紫色帔子上有粉和青花枝纹样。\n她右手略向上举，反掌拈红花一枝，左手髻上取下金钗朝着右边移去，目光注视新折下来的花枝，凝神遐思，准备将它插上发髻最显眼的地方。\n在她的面前有一只举足欲行的丹顶鹤，似乎引不起她一点兴趣。\n画面左起第四位侧立着的侍女执长柄团扇，团扇上绘着盛开的牡丹，红花绿叶相衬托，格外亮丽。\n她的妆扮，有异于卷中的其他贵族仕女。\n她也有一头浓密的黑发，梳成两个十字相合的发髻，中间用红缎带把那个髻子束在一起。\n她穿的朱色菱角纹的斜领处露出一部分，白色圈花的纱带，绕过纱衫一圈之后，在腹前打了个结子。\n白色的软底鞋尖，从彩色的衬裙下露出，它的形制不同于其他几位贵族妇女所穿的重台履。\n她的表情安祥却又若有所思，在当时嬉戏场合形成鲜明的对比。\n画面左起第五位仕女，发髻上插的红瓣花枝，纱衫上有深白色的菱形纹样。\n胸下的夹撷长裙曳于地而，紫绿色的团花平均分布在鲜明的朱红的地子之上，显得典雅、富丽；经纱衫掩盖过的部分，颜色相应减退。\n紫色的帔子上，彩绘着云风纹样，往后垂了下去，她轻举右手，用纤细的食指和拇指提起贴在脖肩上的纱衫领子，似有不胜初夏闷热气候的样子。\n她左手从纱衫的侧面伸出，手指向背而嬉戏的小狗打招呼，希望小狗也来给她逗趣。\n画面左侧起最后一位是一个贵族妇女，体态丰硕，发髻高大，上插牡丹花一枝，髻前饰玉步摇，那珍珠在不停地摇晃。\n她头上的髻发和短鬓，茸茸地分披在丰满的额前和耳边，显得青春焕发。\n她圆润的而庞，浮起了淡薄的红晕；瓜子形的黛画短眉，浓淡适宜地斜峙在粉额之前，眉间金色花子的点饰如豆般大小，朱唇小到恰好与整个而庞隐隐相称，她侧身作向右倾斜的姿势，外披紫色纱罩衫，衫上的龟背纹尚隐约可辨。\n朱色的长裙上，画有斜格纹样。\n紫绿色花纹的洁白丝绸衬裙，长过纱衫，拖曳到地而上。\n右手摆向前侧，靠着纱衫；左手执纬子前伸，纬穗的摆动，逗引着小狗作戏，而小狗深通人意，它朝纬穗不停地张嘴摆尾，作出扑跳的姿态。\n在贵族仕女们嬉游处的尽头，树立着一而玲珑石。\n石后有盛开的辛夷花，紫色的花朵，陪衬着少许的绿叶。\n石头下的地上有一丛绿油油的杂草，一起点缀着视野广阔的空间。\n卷无作者款印，亦无历代题跋及观款。\n以后，当代统治阶级为了粉饰太平，提倡所谓“文治”，也正好吻合了当时人民历经战乱、渴望安宁社会的生活的心情，宴游的风气从此大开，奢侈之风成为天宝以后统治者崇尚的对象，到了贞元年间，这种风气就更为突出。\n杜牧当时这样描述：至于贞元末，风流悠绮靡。\n周昉的《簪花仕女图》正是这个时期的典型代表，画家如实的描绘了在奢靡风气支配下的唐代宫廷仕女嬉游生活的典型环境。\n最早著录此卷的是清安岐《 》，认为是唐周昉所绘，其后《石渠宝笈·续编》及《 》皆沿用该观点，俱著录为《周昉仕女图》，然近代研究亦有持异议者。\n1972年，对此图进行重新装裱时，有人发现此图系后拼接而成，较明显者为左数第二个比例较小的仕女为后嵌入，而白鹤与画左小狗亦为剪裁而来，有研究者据此认为其原为屏风画。\n作品创作的时代问题也存在争议。\n学术界主要有三种观点：唐代说、五代南唐说和宋代说。\n唐代说：唐玄宗先天二年（公元71年）八月，太平公主谋反被诛杀，其在积善坊的府邸被没收。\n寿王李瑁与杨玉环大婚前，唐玄宗将太平公主的这处宅园赐给李瑁，成为寿王府。\n上巳节后的一天，长宁公主、咸宜公主等四位贵夫人前来寿王府，杨玉环领她们到花园赏花。\n这时，年轻的宫廷画家周昉奉诏为杨玉环画像，他来到寿王府。\n李瑁将周昉引至花园中，周昉见这五位贵妇人正游玩簪花，就静静地在旁边观察。\n几日后，周昉根据当日的场景，画出了《簪花仕女图》。\n作品从当时社会的现实生活出发，将现实生活中的贵族妇女，画得雍容华贵，画出一种闲适无聊的生活本质，表现出娇、奢、雅、逸的气息和女性柔软、温腻、动人的姿态，赋予作品鲜明的时代感。\n作品渲染的快乐而又略带懒散的情绪和气氛，正是恰当地层示了属于那个时代整个贵族有闲阶级的时代气氛；在表面华丽雍容的物质繁华背后，隐藏着人物内心深深的凄寂和幽怨。\n《簪花仕女图》中作者对人物神态抓得较好，注重挖掘仕女精神上的苦闷和空虚，反映了贵族奢侈生活后面的精神困境。\n其中，有别于其他五位的那个执扇侍女，表情相当安详，默默中若有所思的神情，与其他五位仕女的神态构成了鲜明的对比，这在反映现实的同时，在一定程度上也预示出唐代后期审美意趣由宏丽转向婉约的变化。\n另外，体态动势也是表达人物内心精神的重要因素，如果把动态处理得宜，也可以加强人物精神性格的表现。\n就画中人物的姿态而高，各不相同。\n左起第一位仕女因为有摇头摆尾、深通人意的小狗在其右侧，作为逗引小狗作戏的她，侧身玉立，上身向右倾斜，右手无意识地摆向前侧，左手执拂子向前伸向小狗，接养右侧的是一位婷婷玉立披白色纱衣的仕女，她漫不经心地举养右手，用纤细的食指和拇指提起贴在脖子上的纱衫领子，似有不胜闷热气候的沉重之感。\n她左手从纱衫的侧而伸出，似乎在向背着她作戏的小狗打着招呼。\n接着就是右后方侧立着执长柄团扇的侍女，她闲静自然。\n侍女的右前方也相当于她的左侧之处，是一位持花的仕女，她右手略向上举，反掌拈红花一枝，左手从发髻上取下金钗朝右边移去，似乎要把它插在最引人注意的地方，从远处姗姗而来的是一位身材小巧的仕女，她双手紧操着薄纱，掩着帔子，紧束着宽大的衣服，作向前迈步的姿势。\n最后一位仕女右手举着一只蝴蝶，左手提着帔子，要迎接从后而向她跑过来的小狗，她上身往前微倾，头往右微侧，在丰韵之中又平添了窈窕婀娜之态。\n由此可见，作者在人物姿态的处理上，为避免相同，又不失统一，颇费心思。\n画家在全幅构图中以相等的间隔安排了几位贵族妇女，一段一段地看去，仿佛每个妇女形象从眼前一幕一幕地移动，这种构图的规律，看完了整个场景，仿佛同画面人物一起游完了庭园。\n人物之间似有联系，又似独自悠闲。\n所以《簪花仕女图》的画而完整性并不是依靠空间、时间上的一致性诉诸观者的，它是依靠人与人之间的呼应和所营造的整个闲适和谐的气氛，这样一个独特的形式传达给观者的。\n在画而中，横列的散点视线之内，多半用静穆的姿态分战了适当的位置；又把她们之中的两位妇女安置在距离较远的后方，因之增大了广阔的视野，也就扩展了空间，不至于把观者的视线囿于狭小的画而之中。\n庭园里不藉更多什物作为衬托，但它的趣味并不因此而显得单调和贫乏，反而觉得愈益接近事物的真相。\n这种构图上的独特风格，具有强烈的时代气息。\n除了画面的并序排列外，《簪花仕女图》在人物比例的处理上也出现了一种有趣的现象，观者可以发现画面左起第二个妇女的比例是按照近大远小的原则安排的。\n从她的服饰和仪态来看，她是画家为了扩展观者的视野、开拓空间，而刻意安排在较远的地方，并不是因为身份的关系“近大远小”与按身份安排人物比例两种构图方法同时出现在一张画面上的。\n《簪花仕女图》画面上独到之处是精致细腻的画笔，作者以线造型，成功地描绘了妇女身上轻柔透亮的薄纱披肩，以及薄纱下隐约可见的手臂，并自始至终毫无变化地使用定型的线描，对仕女面部和手的描制，下笔稳重准确，力求匀称，衣裙图案花纹的用笔，信笔而成，转折处若断若续，似规整但又非常流动，使通常流于对称刻版的图案，重新赋予了灵巧而生动的活力。\n至于仕女的髻发和鬓丝，精细过于毫毛，根根可数，笔笔有飞动之感。\n对人物画的手部刻画，甚是到位。\n《簪花仕女图》中的贵族仕女袒胸露臂，双手毫无遮蔽，描绘起来，实非易事。\n作者用简洁遒劲的线条，准确地表现了各种不同的手势，骨法用笔的线条对作品产生了决定性的意义。\n《簪花仕女图》的线条达到了“骨法用笔”的高度统一，使之成为独立的存在，支配着整幅画的灵魂。\n《簪花仕女图》在赋彩的技巧上，恰当地运用了复杂的色调，重复中不觉得单调。\n紫色纱衫的一再出现，即是一个突出的例子。\n紫色与花青一并涂施，历有“青间紫，不如死”之说，而此图作者对其运用，似乎不受限制和约束。\n在紫色桩上有两处用花青勾画纹样，反而觉得十分典雅，正是作者在克服色彩运用矛盾的独到之处。\n从色彩的搭配到赋彩的层次，画家用纯净透明的白色穿插在各种色彩之中，使黑、白和许多明丽的色彩相互衬托又相互制约，形成了沉着和明快相结合的矛盾统一。\n赋彩上的层次清晰，分开丝绸间的叠压关系，使之有空气流动之感。\n纱衫笼罩下的肌肤和衣裙就如一层薄雾所掩盖，因而原来的肌肤和衣裙随之改变了颜色，但它却不因此而使人离开肌肤和衣裙原有色调的联想力。\n如此，各种颜色所涂成纱衫的质感，更深刻地映入观者的脑海里。\n《簪花仕女图》是全世界范围内唯一认定的唐代仕女画传世孤本。\n除了唯一性之外，其作品的艺术价值也很高，是典型的唐代仕女画标本型作品，是能代表唐代 风格的绘画作品。\n《簪花仕女图》这种仕女画风格在当时画坛上颇为流行，极大地影响了唐末乃至以后各朝代的仕女画坛和佛教艺术 。\n该作展现了极为浓郁的时代特色和民族气息，是中国传统绘画史上非常重要的一部作品。\n1984年月，中国邮电部特别发行《簪花仕女图》特种邮票和小型张。\n此卷曾经南宋内府收藏，南宋末归 所有，元、明间流传无考，清初为梁清标、安岐收藏，后入清内府。\n1924年，末代皇帝溥仪出宫，但在此前，他用了一年时间整理了1余件举世罕见的书画作品。\n在溥仪逊位前，溥仪便以“恩赐”名义，将内府所藏珍贵字画赏赐给其弟 、溥佳，让他们利用每日下学出宫机会，用黄绫包袱将书画带出，《簪花仕女图》就在其中。\n盗运出宫的书画起初存放在醇王府内。\n1925年，在 人协助下，这批书画被运抵天津，随溥仪先后在日租界内的张园、静园收藏。\n194年，溥仪到长春做了 皇帝，这批书画被运至当时的长春伪皇宫小白楼内。\n“小白楼”是一幢二层日式钢筋水泥楼，是日本人为溥仪修的保存善本图书及古玩字画的库房，内存藏品总数约1件，对外名曰“图书馆”。\n1945年8月，日本宣布战败投降前，日本关东军准备将伪满洲国迁到通化。\n8月17日，溥仪乘飞机企图逃往日本时，被 俘获，其携带的一部分书画和珠宝由苏联红军查扣，并转交 ，几经辗转后，《簪花仕女图》藏于辽宁省博物馆。\n217年7月，辽宁省博物馆举办《艺术·生活——辽宁省博物馆研发文创作品展》，展出镇馆之宝《簪花仕女图》。\n219年1月7日至22年1月5日，该作品在辽宁省博物馆将举办大型文物特色展览“又见大唐”中展出。\n22年9月28日，厦门海丝艺术品中心推出“复现——荣宝斋木版水印中秋特展非遗交互体验展”，展出木版水印作品《簪花仕女图》。\n周昉，生卒年不详，唐代画家，字仲朗，一字景玄，京兆（今陕西省西安市）人。\n出身于仕宦之家，曾官越州长史、宣州长史别驾。\n好属文，穷丹青之妙，擅画肖像、尤工仕女，初学张萱而加以写生变化，多写贵族妇女，所作悠游闲适，容貌丰腴，衣着华丽，用笔劲简，色彩柔艳，为当时宫廷、士大夫所重，称绝一时。",[23,7,28,27,59,60,61,62,63,64,65],"美人","鹤","狗","花","衣帽","饰品","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94df61ee873fdda8506e777d2dd87070.jpg","绢本","纵46厘米，横180厘米",[44,45],15398,116,{"id":73,"slug":74,"title":75,"dynasty":76,"author":77,"museum":78,"description":79,"tags":80,"thumbUrl":87,"material":88,"size":89,"collection":90,"collections":91,"showCount":92,"zanCount":93,"manualWeight":48,"mainColor":94},214707,"chun-hua-tu-ba-kai-yun-shou-ping-214707","春花图八开","清","恽寿平","上海博物馆","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[23,7,24,81,27,82,83,84,85,86],"册","没骨","花鸟","花卉","鸢尾","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa759adc318004a833d99020a6068e6.jpg","纸本,设色","26.3x35.7","花鸟画精选",[90],14420,63,"BDBDBD",{"id":96,"slug":97,"title":98,"dynasty":99,"author":100,"museum":101,"description":102,"tags":103,"thumbUrl":122,"material":123,"size":124,"collection":44,"collections":125,"showCount":126,"zanCount":127,"manualWeight":48,"mainColor":49},217887,"qing-ming-shang-he-tu-chou-ying-217887","清明上河图","明","仇英","美国大都会艺术博物馆","此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。",[23,7,25,28,27,104,105,106,107,108,109,34,110,111,112,113,114,115,116,117,118,119,120,121],"界画","临摹","人物","楼阁","小桥","流水","商铺","船只","街市","车马","建筑","庭院","行人","市集","舟楫","道路","市井","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102b4f88d7b2d81f25208305d2123fef.jpg","绢本,设色","29.2x645.2cm",[44,45],11185,132,{"id":129,"slug":130,"title":131,"dynasty":76,"author":77,"museum":132,"description":133,"tags":134,"thumbUrl":138,"material":88,"size":139,"collection":90,"collections":140,"showCount":141,"zanCount":142,"manualWeight":48,"mainColor":94},214744,"hua-hui-ce-yun-shou-ping-214744","花卉册","私人收藏","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,7,24,81,83,82,27,135,136,137],"紫藤","荷花","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab73f6dce929392ea6f25d5a923c813e.jpg","",[90],10967,60,{"id":144,"slug":145,"title":98,"dynasty":18,"author":146,"museum":20,"description":147,"tags":148,"thumbUrl":159,"material":160,"size":161,"collection":42,"collections":162,"showCount":164,"zanCount":165,"manualWeight":48,"mainColor":49},221320,"qing-ming-shang-he-tu-zhang-ze-duan-221320","张择端","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,7,24,25,104,28,27,106,107,108,109,149,150,151,34,112,152,36,153,154,31,155,156,116,157,35,119,158],"船","马","牛","店铺","城墙","车","码头","货船","商贩","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[42,163],"水墨画精选",8462,106,{"id":167,"slug":168,"title":169,"dynasty":99,"author":170,"museum":78,"description":171,"tags":172,"thumbUrl":179,"material":88,"size":180,"collection":181,"collections":182,"showCount":183,"zanCount":184,"manualWeight":48,"mainColor":94},214638,"wu-zhong-shan-shui-juan-shen-zhou-214638","吴中山水卷","沈周","画家画的是他家乡苏州的山水景象，山水构图平远，波光粼粼，山峦郁郁葱葱，被行人的小船打断了。图像没有任何标记，背面纸上有沈周写的长诗。",[23,7,24,25,173,27,29,108,109,174,175,34,176,35,177,86,178],"水墨","孤舟","亭","山石","皴法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","31.6x348","山水画精选",[181],7463,45,{"id":186,"slug":187,"title":188,"dynasty":189,"author":190,"museum":191,"description":192,"tags":193,"thumbUrl":195,"material":67,"size":196,"collection":181,"collections":197,"showCount":198,"zanCount":199,"manualWeight":48,"mainColor":94},220765,"fu-chun-shan-ju-tu-sheng-shan-tu-huang-gong-wang-220765","富春山居图-剩山图","元","黄公望","浙江省博物馆","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,7,24,25,173,177,29,34,30,31,194],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a787b3411565c7d5dc5dd29005c0c6.jpg","横51.4公分，高31.8公分",[181,45],6110,22,{"id":201,"slug":202,"title":203,"dynasty":204,"author":205,"museum":206,"description":207,"tags":208,"thumbUrl":212,"material":123,"size":213,"collection":44,"collections":214,"showCount":215,"zanCount":216,"manualWeight":48,"mainColor":94},216930,"han-xi-zai-ye-yan-tu-gu-hong-zhong-216930","韩熙载夜宴图","五代十国","顾闳中","台北故宫博物院","他出生于江南，在南唐时担任元宗父子的御史，与周文儒同时。据传说，韩熙载是一个很好的声乐表演者，他是夜里喝酒的特殊客人。后者想看看台阶灯、台阶蜡烛和摇曳的筹码，所以他命令马德在晚上监视他，上面画的就是这幅画。这是人物画的最后一部分，只有八个人物，没有任何痕迹，这幅画非常古老，虽然不是顾雏军的原作，但可能是很早的一个大师的摹本。",[23,7,209,25,28,27,106,59,63,210,211],"名画","乐器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3e16a6989ea7dc1166ef8b9300366.jpg","27.9x69",[44],6027,25,{"id":218,"slug":219,"title":220,"dynasty":99,"author":221,"museum":78,"description":222,"tags":223,"thumbUrl":228,"material":88,"size":229,"collection":90,"collections":230,"showCount":231,"zanCount":232,"manualWeight":48,"mainColor":94},216663,"hua-niao-ce-sun-ke-hong-216663","花鸟册","孙克弘","孙克弘的折枝画鸟画名重一时，是册共含牡丹、山茶、冬梅等花鸟画十六开，设色秀润清新，用墨精妙淡雅。孙克弘题引首：草木霑春。华亭克弘书。钤“雪居”朱文印、“汉阳长印”白文印。并自题“洞庭樵海张山人者，清贫守道，耻干谒人，真隐君子也。短褐一瓢，歌咏于青山白云中，消磨半生矣。兹老贫不能支吾薪水，因访余东皋雪堂，余又以贫不能为赠。聊写杂卉一册贻之。倘好事者以数斗易去，亦足为山人一箸之助也。汉阳守，华亭雪居孙克弘书并画。”",[7,81,27,173,83,84,224,225,226,227],"鸟","枝叶","枝干","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966c437cd22b844a3f1dd020db83444b.jpg","纵31.7厘米，横61.8 厘米",[90],5957,35,{"id":234,"slug":235,"title":236,"dynasty":76,"author":237,"museum":238,"description":239,"tags":240,"thumbUrl":246,"material":123,"size":247,"collection":44,"collections":248,"showCount":249,"zanCount":250,"manualWeight":48,"mainColor":49},214875,"gui-fei-chu-yu-tu-gu-jian-long-214875","贵妃出浴图","顾见龙","美国克利夫兰艺术博物馆","该图描绘了杨贵妃沐浴的情景，她赤身裸体，身披绣花红纱，身体半遮半掩，有古画人体的失落感，腿长，三寸金莲。戒指上有湖泊、石头和竹子以及红色的窗帘等奢侈的装饰，表示皇室和财富。画笔和颜料很重但不浑浊，金泥的中间轮廓很独特。",[23,209,7,24,241,28,27,106,59,242,243,244,63,245],"立轴","竹","荷","器","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39bc5a717a934b272fce5bd0a4f3c219.jpg","96.5x44.1",[44],5763,38,{"id":252,"slug":253,"title":254,"dynasty":54,"author":255,"museum":256,"description":257,"tags":258,"thumbUrl":265,"material":266,"size":267,"collection":44,"collections":268,"showCount":269,"zanCount":270,"manualWeight":48,"mainColor":271},223367,"ba-shi-qi-shen-xian-juan-wu-dao-zi-223367","八十七神仙卷","吴道子","徐悲鸿纪念馆","古时以农业为主，稻生双穗，或稻产丰收，是一种祥瑞，也称之为嘉禾。 画中这一丛稻长得比一般的稻子高大，茎叶茂盛，稻穗饱满沉重，显现出丰收的预兆。在用笔上，除稻穗外，都用花青和赭石以没骨法染画而成。嘉禾顶立在画幅中央，构图非常单纯，主题强烈，有著简朴而新顷之感。 《八十七神仙卷》是我国美术史上极其罕见的经典传世之作，代表了中国古代白描绘画的最高水平，其艺术魅力堪与宋代张择端的《清明上河图》比肩，我国著名画家徐悲鸿认为此卷 “足可颉颃欧洲最高贵名作” 。它栉千年之风，沐五朝之雨，送给今人一份厚重的文化遗产，实在是艺术史上的一个伟大奇迹!\n该卷属于绢本白描人物画卷，长292厘米，画面主体有87位道教人物白描画像，其中有3位带有头光的主神、10名武将、7位男仙、67名金童玉女由画面右端向左端行进。画面没有任何文字。卷尾附有1948年重新装裱时的七段题跋，由前至后为：徐悲鸿跋之一、徐悲鸿跋之二、张大千跋、徐悲鸿跋之三、谢稚柳跋、朱光潜跋、艾克跋及冯至译义、徐悲鸿跋之四，加上题跋装裱全画总长超过10米。年湮世远的绢画，其绢丝已朽败至毫无韧性和筋骨了，往往一个轻巧的动作，甚至是众人的呼吸都有可能对它造成无法挽回的伤害。\n《八十七神仙卷》为一代画圣吴道子的冠世巨作，也是吴道子现世仅存的一部白描绢本。是至今存世屈指可数的中国古代重要艺术瑰宝，代表了中国唐代白描绘画的最高水平。\n因场面之宏大，人物比例结构之精确，神情之华妙，构图之宏伟壮丽，线条之圆润劲健，而被历代画家艺术家奉为圭臬。现保存在徐悲鸿纪念馆，并为镇馆之宝。",[23,7,24,25,259,260,106,107,261,262,263,264],"宗教","白描","祥云","飘带","仪仗","队列","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de302348f3ee25a5f65f77fe3cfccd0.jpg","绢本白描","30x290cm",[44],5500,51,"F48FB1",{"id":273,"slug":274,"title":275,"dynasty":99,"author":100,"museum":276,"description":277,"tags":278,"thumbUrl":282,"material":283,"size":284,"collection":181,"collections":285,"showCount":286,"zanCount":287,"manualWeight":48,"mainColor":49},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[23,209,7,24,25,26,27,28,177,227,29,279,106,107,108,109,174,175,34,280,281],"桃花","田园","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 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雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这12幅行乐图展现了其在圆明园生活的各个场景，也表现了12个月的不同节令风俗。\n该幅为其中的三月赏桃",[23,7,27,28,104,106,107,29,279,34,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feca8fa167788554a7fc5800090ce37.jpg","纵188.2厘米，横102.2厘米",[90,45],1764,{"id":858,"slug":859,"title":860,"dynasty":189,"author":861,"museum":20,"description":862,"tags":863,"thumbUrl":868,"material":40,"size":869,"collection":181,"collections":870,"showCount":871,"zanCount":533,"manualWeight":48,"mainColor":49},221795,"chun-shan-tu-juan-shang-qi-221795","春山图卷","商琦","署款“曹南商琦德符”。鉴藏印钤清乾隆、嘉庆、宣统诸帝玺，共计8方。\n此图是商琦唯一存世的署款之作。远景峰峦叠翠，烟笼雾罩；近景丛林杂树，着春染绿；远景、近景之间衬以沙碛古桥，更添空阔苍茫之势。图中所绘物象众多，展现了作者较为全面的技法和营势造型的能力。近景山石刻画细致，先以浓墨勾轮廓，然后以汁绿晕染石面，既显示出岩石的纹理结构，更洋溢出山川间的一派春意。远景群峰则以浓淡墨或花青晕染为主，浑莽一片的山峦为全画烘托出雄伟壮阔的气势。点景树木皆苍郁深秀，但表现笔法富于变化，其近树以干、湿笔双勾树干和树叶，画法工整，近似于南宋院体绘画风格；远树或以侧锋横点，或以中锋竖点，只具树貌不具树形。近树、远树虽形态各异，但却共同装点出万物勃发、遍山染翠的春之景象。这是一幅形式美与意韵美高度统一的山水佳作。\n著录于清内府《石渠宝笈初编》。\n此卷原藏清宫内府，宣统年流入民间，解放后归国家文物局所有，后由文物局拨交故宫博物院。1958年，经由故宫博物院修复专家重新揭裱，令它恢复了旧貌。",[23,7,209,24,25,27,177,29,864,297,34,37,650,865,866,867],"山","远峰","近坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548dc4fc12cf23b6dda3d1f9b39b1d44.jpg","纵39.6厘米，横214.5厘米",[181,45],1751,{"id":873,"slug":874,"title":875,"dynasty":76,"author":876,"museum":101,"description":877,"tags":878,"thumbUrl":879,"material":88,"size":880,"collection":90,"collections":881,"showCount":882,"zanCount":702,"manualWeight":48,"mainColor":94},216258,"jing-fu-si-qi-dong-jing-tu-qian-wei-cheng-216258","景敷四气冬景图","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n拒霜因可入初冬，袅袅芳姿照浦秾。迴顾水华似相傲，耐寒还属木芙蓉。钤印：几席有余香",[7,24,83,28,27,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a25f1df3c06bf2bd6d2c19564df959a.jpg","21.9 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有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,7,24,173,177,241,29,176,558,34,920,560,37,227,86,178],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纵141厘米，横42.2厘米",[181,163],1622,{"id":926,"slug":927,"title":362,"dynasty":76,"author":928,"museum":20,"description":929,"tags":930,"thumbUrl":935,"material":803,"size":936,"collection":139,"collections":937,"showCount":938,"zanCount":332,"manualWeight":48,"mainColor":94},223241,"he-hua-tu-wu-ying-zhen-223241","吴应贞","《荷花图》是一幅表现池塘风和日丽景色的写实画，作者没有刻意地描绘水，而是通过惬意于荷花丛中的鱼儿，将一池清水巧妙地暗示了出来。作者又通过鱼儿若聚若离、或远或近的交错游动，巧妙地扩展了画面的深远空间。画中所绘荷花绰然俏丽，花、叶敷色艳丽而不浓腻，工致的晕染，旨在追求花、叶含水带露的润泽、鲜灵与生动，清逸秀爽的笔墨则写出了“出淤泥而不染”的荷花品格。",[23,7,28,27,83,136,137,931,932,933,934],"莲蓬","蜜蜂","鱼","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176f9dbe89816a1b32c18086be591086.jpg","纵130cm，横58.5cm",[],1591,{"id":940,"slug":941,"title":942,"dynasty":18,"author":538,"museum":539,"description":943,"tags":944,"thumbUrl":946,"material":123,"size":546,"collection":90,"collections":947,"showCount":948,"zanCount":657,"manualWeight":48,"mainColor":49},219012,"bai-he-tu-yi-mi-fei-219012","白鹤图(一)","画中仙鹤身姿卓然，长颈引向云端，喙尖轻启似欲鸣。白羽如霜，纹理细若鳞次；黑尾如墨，羽梢微扬带风致。修长鹤腿立于浅草间，与几丛翠竹叶相映成趣。右上角圆月朦胧，棕褐绢底衬得画面清寂雅致。笔墨间藏着文人的疏淡意趣，每一处细节都透着对自然生灵的细腻体察，仿佛能闻见竹林间的清风，看见月光下仙鹤独立的悠然之态，尽显古典绘画的空灵韵致。",[23,209,7,24,241,28,27,83,60,242,945],"月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75d2711fede74296897913b73c08612b.jpg",[90,45],1575,{"id":950,"slug":951,"title":952,"dynasty":76,"author":953,"museum":20,"description":954,"tags":955,"thumbUrl":958,"material":88,"size":959,"collection":90,"collections":960,"showCount":961,"zanCount":495,"manualWeight":48,"mainColor":94},219289,"ba-jiao-li-mao-tu-zhou-ren-yi-219289","芭蕉狸猫图轴","任颐","图绘芭蕉、狸猫。芭蕉叶以浓墨中锋勾勒轮廓，线条圆润流畅，富有表现力。叶面以饱含水份的花青、石绿、明黄等色晕染，色与水自然的交融，显现出丰富的深浅色调的变化，将叶片鲜活的物性表现得淋漓尽致。图中的猫儿没有繁琐的细节刻画，仅以寥寥数笔便点染出它们在静止状态下专注的神态和嬉戏顽皮时撕咬的动态，由此可见作者敏锐的观察力、坚实的素描基础和娴熟的笔墨造型能力。",[23,7,241,27,28,755,956,245,957,83],"猫","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f12e097eb2a6d1ebd860110d117c7a.jpg","纵181.4厘米，横94.8厘米",[90,45],1568,{"id":963,"slug":964,"title":965,"dynasty":99,"author":966,"museum":101,"description":967,"tags":968,"thumbUrl":969,"material":619,"size":970,"collection":90,"collections":971,"showCount":972,"zanCount":657,"manualWeight":48,"mainColor":94},222001,"bai-yu-lan-tu-juan-wen-zheng-ming-222001","白玉兰图卷","文徴明","公元1549年，即明嘉靖二十八年，这一年三月的一天，春光明媚，80岁的文徵明在家中庭院闲来无事，忽见亲手种植的白玉兰开花了，欣喜之余，他吟诗作画，忙得不亦乐乎",[23,7,86,83,84,27,446,25,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff15168a94a1e8cc14d5c9e9defbc85cb.jpg","27.9×133",[90,45],1562,{"id":974,"slug":975,"title":976,"dynasty":99,"author":170,"museum":206,"description":977,"tags":978,"thumbUrl":979,"material":827,"size":980,"collection":181,"collections":981,"showCount":982,"zanCount":332,"manualWeight":48,"mainColor":49},222104,"lu-shan-gao-tu-shen-zhou-222104","庐山高图","此图描绘的是庐山的景象，画中有白云、杂树、石阶、小路以及人物等。这幅图在技法上借鉴元代画家王蒙的笔意，笔法稳健，气势雄沉，具有强烈的节奏感和力量感。山峰多用解索皴，皴染厚重灵动；中段山峦则用折带皴，皴笔精细，墨色较淡，表现出崖壁的险峻。左边崖壁先匀后皴，墨色较重，并以焦墨密点，显得苍郁幽深。",[23,7,29,173,177,241,864,558,109,430,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61796c0c6453be4cd711d8316964db5.jpg","纵193.8 公分，横98.1 公分",[181,163],1546,{"id":984,"slug":985,"title":986,"dynasty":76,"author":77,"museum":20,"description":987,"tags":988,"thumbUrl":989,"material":990,"size":991,"collection":90,"collections":992,"showCount":993,"zanCount":994,"manualWeight":48,"mainColor":94},220975,"shan-shui-hua-hui-tu-ce-mu-dan-yun-shou-ping-220975","山水花卉图册-牡丹","《山水花鸟图》是清代 创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[23,7,209,24,81,27,28,82,83,327,698,226,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[90,45],1541,7,{"id":996,"slug":997,"title":998,"dynasty":18,"author":999,"museum":206,"description":1000,"tags":1001,"thumbUrl":1004,"material":123,"size":1005,"collection":42,"collections":1006,"showCount":993,"zanCount":1007,"manualWeight":48,"mainColor":94},216083,"qiu-kui-tu-li-shi-zhong-216083","秋葵图","李士忠","写秋葵一枝，工笔勾勒填彩，花瓣用粉细勾，叶用重绿，姿韵生动，重彩渲染，布局严谨。两朵开着的花与疏疏的叶子，充分表现出秋葵的神态，是南宋写生佳作。",[23,209,7,24,28,27,83,1002,62,1003,226],"秋葵","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e4f46a0ef378e801baa321bbe7168c.jpg","25x28cm",[42,90],10,{"id":1009,"slug":1010,"title":1011,"dynasty":99,"author":1012,"museum":675,"description":1013,"tags":1014,"thumbUrl":1017,"material":990,"size":1018,"collection":139,"collections":1019,"showCount":1020,"zanCount":495,"manualWeight":48,"mainColor":271},222601,"qiu-shan-yu-yin-tu-lan-ying-222601","秋山渔隐图","蓝瑛","绘乡间田园景色，远处山峰高耸，山脚下农舍排列整齐，栅栏四周树木环绕；近处河面上二只棚船停泊，船尾两人对坐而谈；岸上古木黝黑挺直，深秋季节中树叶凋零。纵观整幅，山水人家，古木船只，皆赋诗情画意。",[23,7,27,29,177,1015,394,174,106,176,35,109,1016,245],"枯树","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc1ad696df861ebcdfbf4523c6d8135.jpg","139.5x45cm",[],1533,{"id":1022,"slug":1023,"title":1024,"dynasty":99,"author":100,"museum":675,"description":1025,"tags":1026,"thumbUrl":1028,"material":724,"size":1029,"collection":181,"collections":1030,"showCount":1020,"zanCount":572,"manualWeight":48,"mainColor":49},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,7,24,241,26,27,28,29,106,107,108,34,176,37,114,38,649,560,1027],"仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","纵175厘米，横66.7厘米",[181,45],{"id":1032,"slug":1033,"title":1034,"dynasty":18,"author":1035,"museum":578,"description":1036,"tags":1037,"thumbUrl":1039,"material":803,"size":1040,"collection":42,"collections":1041,"showCount":1042,"zanCount":469,"manualWeight":48,"mainColor":49},221457,"jiu-long-tu-juan-quan-juan-chen-rong-221457","九龙图卷全卷","陈容","这样一个伴随着中国国运兴衰的图腾，艺术家们自然不会错过，从商周青铜器上的龙纹，到马王堆汉墓帛画，龙的形象始终跟随着中国历史的发展，而未有太大变化。画龙本身也成为了一个著名的典故既是“画龙点睛”。根据唐朝张彦远《历代名画记 张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[23,209,7,24,25,173,86,227,446,1038,502,37,297],"渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[42,90,163],1532,{"id":1044,"slug":1045,"title":1046,"dynasty":204,"author":414,"museum":364,"description":1047,"tags":1048,"thumbUrl":1049,"material":1050,"size":1051,"collection":42,"collections":1052,"showCount":1042,"zanCount":346,"manualWeight":48,"mainColor":49},221429,"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[23,209,7,24,25,28,27,83,448,281,224,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm",[42,90,45],{"id":1054,"slug":1055,"title":1056,"dynasty":189,"author":1057,"museum":78,"description":1058,"tags":1059,"thumbUrl":1065,"material":123,"size":139,"collection":90,"collections":1066,"showCount":1067,"zanCount":216,"manualWeight":48,"mainColor":49},214254,"qiu-shui-fu-yi-tu-ren-ren-fa-214254","秋水凫鹥图","任仁发","秋水凫鹥图是元朝作者任仁发的一幅代表作。这幅画作描绘了秋天的水鸟生活。\n\n在这幅画作中，任仁发巧妙地捕捉了秋天的水鸟的生活情景。他用浓墨重彩的画法，勾勒出了水鸟的身形。他还用细腻的线条勾勒出了水鸟的面容，让人感受到了水鸟的自然和优美。\n\n此外，任仁发在这幅画作中还描绘了水鸟周围的景色。他用色彩丰富的画法，描绘了水鸟周围的山川和河流。这些景色与水鸟的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，秋水凫鹥图是一幅精美的画作，描绘了秋天的水鸟生活。它让我们感受到了元朝作者任仁发对自然的崇敬之情，也让我们感受到了元朝文化的魅力。\n\n在这幅画作中，任仁发运用了丰富的色彩和细腻的线条，将水鸟的生活场景展现得淋漓尽致。他还用精美的画法描绘了水鸟周围的景色，让人感受到了自然与动物的和谐共存。\n\n秋水凫鹥图是元朝文化中的经典之作，也是任仁发的代表作之一。它不仅展现了任仁发的艺术才华，也是一幅能够唤起人们对自然的崇敬之情的画作。",[23,7,28,27,83,281,1060,1061,245,796,1062,1063,544,1064],"水禽","鸭子","树枝","花叶","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65117c93f7cf534891203b9f9c5bbf5.jpg",[90],1515,{"id":1069,"slug":1070,"title":1071,"dynasty":18,"author":1072,"museum":132,"description":1073,"tags":1074,"thumbUrl":1075,"material":123,"size":1076,"collection":42,"collections":1077,"showCount":1078,"zanCount":482,"manualWeight":48,"mainColor":49},218573,"lu-chi-zhuo-su-tu-wu-bing-218573","渌池擢素图","吴炳","吴炳，生卒年不详，南宋画家。毗陵武阳（今江苏常州）人。工画花鸟，写生折枝，妙夺造化，彩绘精致富丽。绍熙初（公元1131-1162年），宋光宗赵悼皇后李氏，赏识其画，授画院待诏，赐金带。。画风谨守院体，作品较多。画迹有《春池睡鸭》、《山茶鹁鸽》、《鸳鸯瑞莲》、《宝珠玉蝶》、《折枝绛桃》等二十六件，著录于《绘事备考》。传世作品有《出水芙蓉图》、《竹雀图》、《嘉禾草虫图》、《枇杷绣羽图》等。",[209,7,24,28,27,83,136,137,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6610c8fae2457627a5a08640bf940f45.jpg","25.4×26cm",[42,90],1495,{"id":1080,"slug":1081,"title":1082,"dynasty":99,"author":1083,"museum":132,"description":1084,"tags":1085,"thumbUrl":1087,"material":123,"size":1088,"collection":90,"collections":1089,"showCount":1090,"zanCount":747,"manualWeight":48,"mainColor":94},220230,"hua-niao-chong-cao-xie-sheng-ce-die-dian-chun-hua-chen-hong-shou-220230","花鸟虫草写生册-蝶点春花","陈洪绶","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,1086,7,24,81,27,28,83,279,604,84,712],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d24e4e72e70775f7e4626a7a610564.jpg","21.5×16cm",[90],1477,{"id":1092,"slug":1093,"title":1094,"dynasty":1095,"author":1096,"museum":20,"description":1097,"tags":1098,"thumbUrl":1101,"material":88,"size":1102,"collection":90,"collections":1103,"showCount":1104,"zanCount":1007,"manualWeight":48,"mainColor":94},216935,"hua-die-tu-zhou-qi-bai-shi-216935","花蝶图轴","民国","齐白石","画面以泼洒的蓝彩点染花朵，墨色线条勾勒叶片，苍劲中透着灵动。几株蓝花亭亭而立，叶片舒展如剑，与轻盈的花瓣相映成趣。花丛间，一只螳螂敛足欲动，姿态警觉；空中蝴蝶振翅，飞虫轻舞，小生灵的动态被捕捉得活灵活现。右上角题字与朱印相映，平衡构图之余更添文人意趣。整幅画作将自然生机与笔墨意趣相融，草虫的鲜活与花卉的雅致交织，尽显对生活细微之美的敏锐感知与精湛表现力。",[23,7,27,173,83,241,62,1099,1100,712,698],"蝶","螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1010a81c5646f35a6bf665ff905dca.jpg","103x41.3cm",[90],1472,{"id":1106,"slug":1107,"title":1108,"dynasty":76,"author":1109,"museum":539,"description":1110,"tags":1111,"thumbUrl":1114,"material":88,"size":1115,"collection":181,"collections":1116,"showCount":1117,"zanCount":1118,"manualWeight":48,"mainColor":94},214892,"shan-shui-tu-ce-shi-tao-214892","山水图册","石涛","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,7,173,177,81,29,107,34,1112,1113,227],"远岫","船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc4335799b8ab6338748c15eda11ad45.jpg","20.3x27.5cm",[181],1469,6,{"id":1120,"slug":1121,"title":1122,"dynasty":76,"author":77,"museum":132,"description":133,"tags":1123,"thumbUrl":1126,"material":88,"size":139,"collection":139,"collections":1127,"showCount":1128,"zanCount":1118,"manualWeight":48,"mainColor":94},214742,"hua-hui-ce-2-yun-shou-ping-214742","花卉册-2",[23,209,7,24,83,81,82,27,1124,1125,84,225],"萱草","桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be5a0e030dc2534dcd967c594f0154e.jpg",[],1468,{"id":1130,"slug":1131,"title":1132,"dynasty":76,"author":77,"museum":101,"description":1133,"tags":1134,"thumbUrl":1137,"material":1138,"size":1139,"collection":90,"collections":1140,"showCount":1141,"zanCount":482,"manualWeight":48,"mainColor":271},220992,"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[23,7,24,25,27,82,28,83,84,327,1135,453,136,279,450,795,451,797,1136,135,604,712],"百合","芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[90,45],1418,{"id":1143,"slug":1144,"title":362,"dynasty":99,"author":443,"museum":206,"description":1145,"tags":1146,"thumbUrl":1148,"material":342,"size":1149,"collection":90,"collections":1150,"showCount":1151,"zanCount":495,"manualWeight":48,"mainColor":94},218732,"he-hua-tu-xu-wei-218732","这幅画的构图简洁明了，布局清新精致。荷叶用滴水不漏的方式画出，而荷花则是寥寥数笔，充满了情感和笔墨的意趣。",[7,24,241,173,446,86,227,1147,136,137,367,931],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64b411afff5b620d7387710af664033.jpg","141.7x37.2cm",[90],1397,{"id":1153,"slug":1154,"title":1155,"dynasty":18,"author":1156,"museum":238,"description":1157,"tags":1158,"thumbUrl":1161,"material":123,"size":1162,"collection":42,"collections":1163,"showCount":1164,"zanCount":1165,"manualWeight":48,"mainColor":94},214253,"mu-niu-tu-li-chun-214253","牧牛图","李椿","牧牛图是宋代画家李椿的一幅代表作。这幅画作描绘了牧牛的生活场景。\n\n在这幅画作中，李椿巧妙地捕捉了牧牛的生活状态。他用浓墨重彩的画法，勾勒出了牧牛的身形。他还用细腻的线条勾勒出了牧牛的面容，让人感受到了牧牛的温顺和和蔼。\n\n此外，李椿在这幅画作中还描绘了牧牛周围的景色。他用色彩丰富的画法，描绘了牧牛周围的山川和河流。这些景色与牧牛的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，牧牛图是一幅精美的画作，描绘了牧牛的生活场景。它让我们感受到了宋代画家李椿对动物的喜爱之情，也让我们感受到了宋代文化的魅力。",[23,7,27,28,151,430,106,1159,298,1160],"草地","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95035fbb75855fef24415203e134b8ac.jpg","24.8x25.7",[42],1394,5,{"id":1167,"slug":1168,"title":1169,"dynasty":99,"author":1170,"museum":782,"description":1171,"tags":1172,"thumbUrl":1173,"material":342,"size":1174,"collection":181,"collections":1175,"showCount":1176,"zanCount":1007,"manualWeight":48,"mainColor":94},214259,"song-yan-xiao-si-tu-dai-jin-214259","松岩萧寺图","戴进","松岩萧寺图是明代画家戴进的一幅代表作。这幅画作描绘了萧寺的生活场景。\n\n在这幅画作中，戴进巧妙地捕捉了萧寺的生活状态。他用浓墨重彩的画法，勾勒出了萧寺的宏伟建筑。他还用细腻的线条勾勒出了萧寺内僧人修行的场景，让人感受到了萧寺内的宁静和谐。\n\n此外，戴进在这幅画作中还描绘了萧寺周围的景色。他用色彩丰富的画法，描绘了萧寺周围的山川和河流。这些景色与萧寺的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n松岩萧寺图是一幅能够唤起人们对萧寺的崇敬之情的画作。它展示了戴进的艺术才华，也是一幅能够让人们感受到明朝文化魅力的画作。",[23,7,173,29,177,449,176,107,108,109,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dadaa3dad497961e69e4dc516458e91.jpg","227x51.5",[181],1383,{"id":1178,"slug":1179,"title":1180,"dynasty":99,"author":1181,"museum":238,"description":1182,"tags":1183,"thumbUrl":1185,"material":123,"size":1186,"collection":44,"collections":1187,"showCount":1188,"zanCount":533,"manualWeight":48,"mainColor":271},214294,"xiang-shan-jiu-lao-tu-xie-huan-214294","香山九老图","谢环","谢环（1830-1888）是清代著名的画家，他的《山九老图》是其代表作之一。\n\n《山九老图》描绘了九位老僧依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出九位老僧与山林的和谐关系。谢环在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《山九老图》被认为是谢环画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《山九老图》也是收藏家们青睐的经典之作。",[23,7,24,25,28,27,106,29,175,430,176,1184],"仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e446d85f920ac135920733919a6fd0a.jpg","29.4x148.2",[44],1379,{"id":1190,"slug":1191,"title":1192,"dynasty":18,"author":474,"museum":56,"description":1193,"tags":1194,"thumbUrl":1196,"material":665,"size":1197,"collection":42,"collections":1198,"showCount":1199,"zanCount":482,"manualWeight":48,"mainColor":49},221339,"rui-he-tu-zhao-ji-221339","瑞鹤图","《瑞鹤图》描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。\n《瑞鹤图》，其不仅具神性的光辉与君主的华贵，也有仙音袅袅、高雅灵动之感。一方面，皇宫殿宇端端正正置于画面下方，均衡对称，留出三分之二湛蓝天空，正大光远，大气天成，颇具皇家风范。围绕殿宇的祥云打破屋宇水平线，稳重端庄的画面于是气韵流转，一派天趣。另一方面，仙鹤有表明志向高洁、品德高尚之意。停留在屋顶上的两只仙鹤，袅袅婷婷，以静寓动，与空中缭绕的鹤群相呼应，款款生姿。整个画面又多了一分高洁隽雅、飘逸灵秀之气。",[23,7,24,25,27,104,28,1195,281,107],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef20e4191bb4faf39fae804720c95f29.jpg","纵51厘米，横138.2厘米",[42,90],1376,{"id":1201,"slug":1202,"title":1203,"dynasty":76,"author":1204,"museum":132,"description":1205,"tags":1206,"thumbUrl":1207,"material":342,"size":1208,"collection":90,"collections":1209,"showCount":1210,"zanCount":702,"manualWeight":48,"mainColor":94},216924,"hua-niao-si-tiao-ping-zhu-da-216924","花鸟四条屏","朱耷","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[23,7,24,241,173,446,83,224,755,176,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700f64005b95bf5fc96a186eb8e59446.jpg","182.5×49cm",[90],1374,{"id":1212,"slug":1213,"title":1214,"dynasty":76,"author":77,"museum":132,"description":133,"tags":1215,"thumbUrl":1217,"material":88,"size":139,"collection":139,"collections":1218,"showCount":1219,"zanCount":736,"manualWeight":48,"mainColor":94},214738,"hua-hui-ce-4-yun-shou-ping-214738","花卉册-4",[23,7,24,81,82,28,27,279,417,84,225,1216],"红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326abb94d57aaaefc22233506e6e8c26.jpg",[],1350,{"id":1221,"slug":1222,"title":1223,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":1225,"thumbUrl":1227,"material":139,"size":1228,"collection":90,"collections":1229,"showCount":1230,"zanCount":521,"manualWeight":48,"mainColor":94},233901,"hua-hui-shan-shui-ce-yun-shou-ping-233901","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[7,24,82,27,83,279,1226,227],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10aa5773f16fa6bd4dd6b950a442d3b2.jpg","纵32.5厘米，横25.5厘米",[90],1349,{"id":1232,"slug":1233,"title":1234,"dynasty":99,"author":100,"museum":206,"description":1235,"tags":1236,"thumbUrl":1238,"material":123,"size":1239,"collection":181,"collections":1240,"showCount":1241,"zanCount":702,"manualWeight":48,"mainColor":49},216757,"shang-lin-tu-juan-chou-ying-216757","上林图卷","这卷书也在台北故宫，有一个类似的形象。它似乎比第一幅好，只是皴笔更简略一些",[23,7,24,25,26,27,28,104,29,106,107,34,31,1237,176,38],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166b13b5b6a049210ce9da368f29e43b.jpg","44.8x1208",[181],1347,{"id":1243,"slug":1244,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":1245,"thumbUrl":39,"material":40,"size":41,"collection":139,"collections":1259,"showCount":1260,"zanCount":521,"manualWeight":48,"mainColor":49},232934,"qian-li-jiang-shan-tu-juan-wang-xi-meng-232934",[23,209,7,25,1246,27,28,649,1247,1248,1249,1250,1251,1252,1253,1254,106,1255,1256,1257,920,1258],"青绿山水","江河","飞瀑","房舍","林木","渔村","水榭","长桥","渔舟","亭台","烟波","曲径","游船",[],1322,{"id":1262,"slug":1263,"title":1264,"dynasty":76,"author":1109,"museum":752,"description":1265,"tags":1266,"thumbUrl":1267,"material":88,"size":139,"collection":90,"collections":1268,"showCount":1269,"zanCount":1270,"manualWeight":48,"mainColor":94},218130,"shui-xian-zhu-zhi-tu-shi-tao-218130","水仙竹枝图","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品。花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。",[23,7,173,27,446,242,451,245,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112234b8c56ae7eab1e3115341e7947f.jpg",[90],1313,3,{"id":1272,"slug":1273,"title":1274,"dynasty":18,"author":1275,"museum":20,"description":1276,"tags":1277,"thumbUrl":1279,"material":1280,"size":1281,"collection":42,"collections":1282,"showCount":1283,"zanCount":332,"manualWeight":48,"mainColor":49},221559,"pi-pa-shan-niao-tu-lin-chun-221559","枇杷山鸟图","林椿","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。\n《石渠宝笈三编》著录。",[23,209,7,24,28,27,81,83,1278,281,227],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195499e5cd6dd07045004c96458c8a96.jpg","绢本 ，设色","纵26.9cm，横27.2cm",[42,90,45],1282,{"id":1285,"slug":1286,"title":552,"dynasty":18,"author":645,"museum":132,"description":1287,"tags":1288,"thumbUrl":1289,"material":123,"size":139,"collection":181,"collections":1290,"showCount":1291,"zanCount":994,"manualWeight":48,"mainColor":49},218625,"xi-shan-xing-lv-tu-guo-xi-218625","画面层峦叠嶂，主峰巍峨耸立，次峰拱卫环绕，尽显山川雄浑气势。山石以卷云皴法勾勒，纹理如波似浪，赋予山体灵动质感，仿佛云气在岩间流转。山间路径蜿蜒，行旅队伍缓缓前行，或挑担或驱马，于溪畔林间留下鲜活身影。溪流潺潺，树木葱茏，屋舍点缀其间，既有自然野趣，又含人文暖意。笔墨刚劲中见细腻，墨色层次丰富，高远、深远、平远三远之法交织，使画面空间错落有致。观者仿佛可登山远眺层林尽染，可沿溪漫步听水声潺潺，于山水间体悟静谧与生机的交融，感受那份穿越时光的艺术魅力。",[209,7,24,25,27,177,173,29,176,34,109,174,106,900,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9968fd31d72f248e2d7e1d780f9d2aa4.jpg",[181],1280,{"id":1293,"slug":1294,"title":1295,"dynasty":99,"author":1296,"museum":132,"description":1297,"tags":1298,"thumbUrl":1300,"material":123,"size":139,"collection":90,"collections":1301,"showCount":1291,"zanCount":409,"manualWeight":48,"mainColor":94},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[23,7,81,27,28,227,86,178,83,448,452,453,243,279,327,1299,245,1064],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[90],{"id":1303,"slug":1304,"title":1305,"dynasty":18,"author":293,"museum":20,"description":1306,"tags":1307,"thumbUrl":1309,"material":123,"size":1310,"collection":42,"collections":1311,"showCount":1312,"zanCount":1007,"manualWeight":48,"mainColor":94},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,7,24,25,105,260,27,28,86,178,1308,227,106,59,29,174,107,109,34],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[42],1270,{"id":1314,"slug":1315,"title":1316,"dynasty":99,"author":100,"museum":206,"description":1317,"tags":1318,"thumbUrl":1319,"material":123,"size":1320,"collection":181,"collections":1321,"showCount":1322,"zanCount":736,"manualWeight":48,"mainColor":49},214746,"bao-hui-tang-chou-ying-214746","宝绘堂","这是王诜和苏轼欣赏书画的一个场景。画面以蓝色和绿色为基调，远处山峰高耸，山脚下桃花灼灼，不远处的房子里聚集着几个人，其中几个人正坐在桌前研究画卷。",[7,26,27,28,29,106,107,175,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691070a2939592e5e3866e2392e29bbe.jpg","188.8x99.3",[181],1260,{"id":1324,"slug":1325,"title":1326,"dynasty":18,"author":1035,"museum":364,"description":1327,"tags":1328,"thumbUrl":1331,"material":381,"size":1332,"collection":42,"collections":1333,"showCount":1334,"zanCount":994,"manualWeight":48,"mainColor":1335},218607,"long-tu-chen-rong-218607","龙图","画面中龙的身形矫健盘绕，怒目圆睁，龙须飞扬，利爪遒劲，似欲破壁而出。水墨晕染间，云雾翻腾如墨浪奔涌，海浪卷动若白练横江，虚实相生中尽显龙的雄奇与威严。陈容以豪放笔法勾勒龙身鳞片，兼用泼墨与细描，浓淡干湿变化丰富，将龙的灵动与力量凝于绢素。整幅画作气韵生动，既存宋画的精工，又具文人画的写意豪情，把龙的神髓刻画得入木三分，为后世画龙范式立下标杆，尽显南宋绘画的艺术张力。",[7,209,24,241,173,177,502,957,1329,1330,297],"云","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9c956b8342baede8049fcb2307ef8f.jpg","103x64",[42],1255,"37474F",{"id":1337,"slug":1338,"title":1339,"dynasty":76,"author":77,"museum":78,"description":79,"tags":1340,"thumbUrl":1342,"material":88,"size":89,"collection":139,"collections":1343,"showCount":1344,"zanCount":1007,"manualWeight":48,"mainColor":94},214702,"chun-hua-tu-ba-kai-7-yun-shou-ping-214702","春花图八开-7",[23,7,24,81,82,27,83,1135,1341,227],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2389e1ac2ceb12e7d4b9e1c738856ee3.jpg",[],1232,{"id":1346,"slug":1347,"title":1348,"dynasty":99,"author":170,"museum":364,"description":1349,"tags":1350,"thumbUrl":1353,"material":139,"size":139,"collection":181,"collections":1354,"showCount":1355,"zanCount":1356,"manualWeight":48,"mainColor":94},237922,"shen-zhou-shan-shui-zhou-shen-zhou-237922","沈周山水轴","疏树数株，笔法中锋劲挺。后两峰并列，中有一坞系黏，左侧後方又延一峰，不施皴擦只以墨染，远峰亦以墨略勾勒淡烘染。通幅皴山画树，用笔疏朗，与黄公望名迹「富春山居」图卷有若干契合处；而大片水墨烘染山石则似又自米芾（1501-1107）出。自题云“米不米，黄不黄，淋漓水墨馀清苍。”落笔布墨间，盖心有所寄故能从腕底陶融调匀，蜕化而成。 年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。",[7,173,241,29,177,174,1351,34,649,109,650,1352],"蓑笠","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg",[181,163],1229,4,{"id":1358,"slug":1359,"title":1360,"dynasty":76,"author":77,"museum":132,"description":133,"tags":1361,"thumbUrl":1363,"material":88,"size":139,"collection":139,"collections":1364,"showCount":1365,"zanCount":1165,"manualWeight":48,"mainColor":94},214734,"hua-hui-ce-6-yun-shou-ping-214734","花卉册-6",[23,7,24,209,81,82,27,83,84,298,28,1362,173],"草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6add9c0b73e67c0dfd0de7e7d098a1.jpg",[],1228,{"id":1367,"slug":1368,"title":1369,"dynasty":1095,"author":1370,"museum":1371,"description":1372,"tags":1373,"thumbUrl":1375,"material":317,"size":139,"collection":1376,"collections":1377,"showCount":1378,"zanCount":332,"manualWeight":48,"mainColor":94},220450,"lian-chi-lin-yu-shan-220450","莲池","林玉山","国立台湾美术馆","这幅《莲池》是民国画家林玉山的工笔花鸟佳作，可从以下几方面鉴赏：\n\n一、技法表现：工笔精谨，写实入微\n林玉山擅长工笔重彩，这幅画以精细工笔技法刻画物象：荷叶的脉络、荷花的瓣层、白鹭的羽毛都被细腻勾勒，线条匀净流畅，尽显工笔“精工细作”的特质；同时融入写实观察，让荷花、荷叶的形态、白鹭的动态都极具自然真实感，体现他“写生入画”的创作理念。\n\n二、构图布局：疏密有致，动静相生\n画面布局繁而不乱：大片荷叶荷花层层叠叠，疏密、虚实对比鲜明；左下角的白鹭成为视觉焦点，以其灵动姿态打破静态莲池的沉寂，形成“静（莲荷）动（白鹭）相生”的节奏，让画面既有满幅的丰富感，又有视觉的呼吸感。\n\n三、色彩格调：典雅和谐，层次丰盈\n采用工笔重彩设色法，背景的暖棕色调与荷叶的蓝绿色调形成雅致对比，荷花的粉白、白鹭的素净又在色彩层次中穿插呼应，既保留了传统工笔的富丽感，又通过色调调和营造出莲池清幽朦胧的氛围，尽显色彩的抒情性。\n\n四、意境与风格：传统意趣与现代写实的融合\n画面营造出“清幽雅致”的田园意境，莲池的静谧、白鹭的灵动，传递出自然生机与文人式的闲逸情致。同时，林玉山将西方写实技法融入传统工笔，既延续了中国花鸟画的装饰美感与意境追求，又以写实观察赋予物象鲜活生命力，是民国时期“传统笔墨现代化”的典型探索，展现了他在工笔花鸟领域“古今融合、中西通汇”的独特风格。\n\n综上，这幅《莲池》以精湛工笔、精妙构图、典雅色彩，勾勒出诗意莲池的生动图景，既是林玉山个人艺术风格的凝练，也折射出民国时期传统绘画在现代转型中的探索与成就。",[23,7,24,28,27,83,136,137,1374,297],"白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ee7c758c3a5d09e9063bab49500b45.jpg","花鸟精选",[1376],1224,{"id":1380,"slug":1381,"title":1382,"dynasty":54,"author":55,"museum":20,"description":1383,"tags":1384,"thumbUrl":1385,"material":1386,"size":1387,"collection":139,"collections":1388,"showCount":1389,"zanCount":702,"manualWeight":48,"mainColor":49},227085,"hui-shan-shi-nv-tu-juan-zhou-fang-227085","挥扇仕女图卷","《挥扇仕女图》卷，传为唐周昉绘，绢本，设色，纵33.7厘米，横204.8厘米。\n无作者款印。引首清高宗弘历题“猗兰清画”四字。钤明韩世能 “韩世能印”、“韩仲子氏”、“世能”，清梁清标“蕉林书屋”、“蕉林居士”、“蕉林考藏”，清高宗弘历“古希天子”、“乾隆御览之宝”、“石渠宝笈”、“乾隆鉴赏”等鉴藏印，共31方。\n此图描绘了13位头挽高髻、细目圆面、长裙曳地的妃嫔和宫女形象。全幅以横向排列的形式展示了人物的各种活动：执扇慵坐、解囊抽琴、对镜理妆、绣案做工、挥扇闲憩等。作者注意画面横向疏密、松紧的韵律变化，纵向高低错落的层次变化，从而使得画面结构井然有序，并避免了构图上的单调呆板。图中色彩丰富，以红色为主，兼有青、灰、紫、绿等各色。冷暖色调相互映衬，显现出人物肌肤的细嫩和衣料的华贵。衣纹线条近铁线描，圆润秀劲，富有力度和柔韧性，较准确地勾画出了人物的种种体态。\n画家周昉出身于豪门显宦，因此，他对于贵族阶层绮靡奢华的生活非常熟悉。其仕女画不以烈女、贤妇、仙女等为表现对象，而是取材于现实生活中贵族妇女的行乐活动，具有强烈的时代感，从而迎合了中晚唐时期大官僚贵族们的审美意趣。其作品在张扬唐王朝繁华兴盛的物质生活的同时，亦揭示了贵妇们极度贫乏的精神世界。此图中嫔妃们体貌丰腴，衣饰华丽，但她们面含幽怨，举止慵倦，毫无生气。\n明张丑《清河书画舫》，清内府《石渠宝笈续编》，清阮元《石渠随笔》著录。",[23,7,24,25,28,27,106,758,59,227,63,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d64d42508b0dd39153cc6c8554c273c.jpg","纸本 ，设色","纵33.7cm，横204.8cm",[],1203,{"id":1391,"slug":1392,"title":1393,"dynasty":76,"author":1394,"museum":20,"description":1395,"tags":1396,"thumbUrl":1400,"material":803,"size":139,"collection":181,"collections":1401,"showCount":1402,"zanCount":1118,"manualWeight":48,"mainColor":94},214363,"xian-shan-lou-ge-tu-wang-shi-min-214363","仙山楼阁图","王时敏","王时敏（1722-1798）是清代著名的画家，他的作品《仙山楼阁图》是其代表作之一。\n\n《仙山楼阁图》描绘了一座仙山上的楼阁，周围是美丽的山林。王时敏在画中运用了精细的笔墨和细腻的造型，勾勒出楼阁的立体感和山林的秀美。\n\n《仙山楼阁图》被认为是王时敏写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仙山楼阁图》也是收藏家们青睐的经典之作。\n\n王时敏的《仙山楼阁图》是一幅描绘仙山楼阁的画作，它体现了中国传统文化中“仙山”的理念。在中国传统文化中，仙山象征着仙人悠闲的生活方式和高尚的品德，楼阁则是仙人的居所。王时敏的《仙山楼阁图》不仅是一幅精美的画作，更是一首关于仙人悠闲生活的诗篇。",[23,209,7,173,1397,241,1398,107,1399,34,560,446],"山水画","仙山","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c70b5945091899c430b0a87afa1fa91.jpg",[181],1186,{"id":1404,"slug":1405,"title":1406,"dynasty":99,"author":170,"museum":539,"description":1407,"tags":1408,"thumbUrl":1411,"material":123,"size":139,"collection":181,"collections":1412,"showCount":1413,"zanCount":521,"manualWeight":48,"mainColor":49},219733,"qing-jiang-you-ju-tu-shen-zhou-219733","清江幽居图","此作用笔苍润秀雅，取景疏密得宜。近岸老松盘曲，浓荫覆着茅堂，幽人居于其中，静听山籁。江岸迂回，板桥跨溪，远山以淡墨晕染，烟岚轻笼，殿宇藏于翠微间。\n\n通幅干湿笔墨相生，墨色层次分明，将夜雨初歇的空濛山色晕染得淋漓尽致，江天寥廓间尽见清寂雅致的山居意趣，尽显寄情林泉、幽栖忘俗的隐逸情怀。",[23,7,173,27,177,241,29,108,109,175,449,176,107,1409,1410],"幽居","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf8df9dd29c2dd40331e20cfa7ac27.jpg",[181],1176,{"id":1415,"slug":1416,"title":1417,"dynasty":76,"author":77,"museum":206,"description":1418,"tags":1419,"thumbUrl":1421,"material":27,"size":1422,"collection":90,"collections":1423,"showCount":1424,"zanCount":510,"manualWeight":48,"mainColor":94},220990,"mu-dan-tu-yun-shou-ping-220990","牡丹图","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[23,7,24,83,27,82,327,84,1420,227],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b5f207c857db2c2b1912c82d5800ded.jpg","纵28.5公分 横43公分",[90,45],1162,{"id":1426,"slug":1427,"title":1428,"dynasty":99,"author":170,"museum":1429,"description":1430,"tags":1431,"thumbUrl":1433,"material":803,"size":1434,"collection":181,"collections":1435,"showCount":1436,"zanCount":736,"manualWeight":48,"mainColor":94},220067,"hu-qiu-shi-er-jing-tu-ce-shen-zhou-220067","虎丘十二景图册","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,7,173,27,104,81,29,107,1432,108,109,174,106,34,175],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c6ccf4bdda3ae45520cc37a3415a38.jpg","31.1×40.2cmx12",[181],1160,{"id":1438,"slug":1439,"title":1440,"dynasty":76,"author":1441,"museum":20,"description":1442,"tags":1443,"thumbUrl":1448,"material":1449,"size":139,"collection":139,"collections":1450,"showCount":1451,"zanCount":1118,"manualWeight":48,"mainColor":94},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","程正揆","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,7,24,25,105,173,27,29,177,86,178,176,34,109,108,175,35,491,106,560,1444,920,1445,1446,1447],"峭壁","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨",[],1141,{"id":1453,"slug":1454,"title":1455,"dynasty":76,"author":77,"museum":675,"description":1456,"tags":1457,"thumbUrl":1462,"material":123,"size":1463,"collection":90,"collections":1464,"showCount":1465,"zanCount":1118,"manualWeight":48,"mainColor":49},216110,"yun-shou-ping-hua-guo-shu-cai-ce-ye-yun-shou-ping-216110","恽寿平花果蔬菜册页","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[209,7,24,81,260,173,27,83,1458,1459,1460,697,698,1461],"蔬菜","花果","丝瓜","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","26.1x19.9cm",[90],1136,{"id":1467,"slug":1468,"title":1469,"dynasty":99,"author":170,"museum":20,"description":1470,"tags":1471,"thumbUrl":1472,"material":990,"size":1473,"collection":181,"collections":1474,"showCount":1475,"zanCount":1165,"manualWeight":48,"mainColor":94},233832,"wo-you-tu-ce-qiu-shan-du-shu-shen-zhou-233832","卧游图册－秋山读书","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[7,24,81,173,29,106,394,176,109,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59290bda967d3ca108bc1fdca4fbebb.jpg","纵27.8厘米，横37.3厘米",[181,90,45],1120,{"id":1477,"slug":1478,"title":1479,"dynasty":99,"author":1480,"museum":206,"description":1481,"tags":1482,"thumbUrl":1483,"material":123,"size":1484,"collection":44,"collections":1485,"showCount":1486,"zanCount":1118,"manualWeight":48,"mainColor":49},216996,"sui-chao-tu-tang-yin-216996","岁朝图","唐寅","这幅画描绘的是元旦期间隐居在梅州山村，在节日前放松的情景。",[7,24,241,27,28,448,106,176,242,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fde0a52080c0f595740ed450c1c4367.jpg","125x49.7",[44,45],1119,{"id":1488,"slug":1489,"title":1490,"dynasty":76,"author":1491,"museum":515,"description":1492,"tags":1493,"thumbUrl":1494,"material":123,"size":1495,"collection":181,"collections":1496,"showCount":1497,"zanCount":1118,"manualWeight":48,"mainColor":49},214434,"xiu-yuan-tu-wang-yun-214434","休园图","王云","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,7,24,25,27,28,104,29,106,107,108,34,176,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c816996f71e8cca2630cc96ce0c65.jpg","纵54厘米，横129.5厘米",[181],1111,{"id":1499,"slug":1500,"title":1501,"dynasty":76,"author":77,"museum":132,"description":133,"tags":1502,"thumbUrl":1505,"material":88,"size":139,"collection":139,"collections":1506,"showCount":1507,"zanCount":1270,"manualWeight":48,"mainColor":94},214740,"hua-hui-ce-3-yun-shou-ping-214740","花卉册-3",[23,7,24,81,82,27,83,327,650,1503,839,1504,84],"腊梅","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c927f31d42dd0d26109d43256054d1e.jpg",[],1110,{"id":1509,"slug":1510,"title":1511,"dynasty":18,"author":887,"museum":206,"description":1512,"tags":1513,"thumbUrl":1514,"material":67,"size":139,"collection":42,"collections":1515,"showCount":1516,"zanCount":521,"manualWeight":48,"mainColor":49},218786,"yu-zhu-tu-su-shi-218786","雨竹图","展卷即见墨竹数竿，竹叶层叠如聚雨，浓淡相宜间，笔意随兴流转。竹枝以中锋行笔，挺而不僵，叶尖带露似垂非坠，尽得雨中之姿。墨色干湿互见，枯笔处显苍劲，湿笔处含润泽，如书家走笔般一气呵成。旁有题跋，字迹与竹枝笔意相通，墨痕交融，印鉴朱红点缀，更添古雅。整幅画无布景却意境丰满，竹之清劲与文人风骨相融，观之如闻雨声淅沥，见竹影婆娑，尽显文人画“以形写神”之妙，是笔墨与心性共生的典范，藏着宋元文人对自然与自我的深情观照。",[23,7,24,173,242,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33b2f2b006aa2ac63f2963676954dbf.jpg",[42],1106,{"id":1518,"slug":1519,"title":1520,"dynasty":76,"author":77,"museum":132,"description":133,"tags":1521,"thumbUrl":1523,"material":88,"size":139,"collection":139,"collections":1524,"showCount":1516,"zanCount":1356,"manualWeight":48,"mainColor":94},214736,"hua-hui-ce-5-yun-shou-ping-214736","花卉册-5",[23,7,24,81,82,27,84,327,279,1522,368,209],"丁香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8c1fc721132cfdc39d78db2f67e138.jpg",[],{"id":1526,"slug":1527,"title":1528,"dynasty":189,"author":1529,"museum":206,"description":1530,"tags":1531,"thumbUrl":1533,"material":88,"size":1534,"collection":181,"collections":1535,"showCount":1536,"zanCount":1118,"manualWeight":48,"mainColor":94},221745,"chun-tang-liu-se-zhou-zhu-shu-zhong-221745","春塘柳色轴","朱叔重","主题与关键字：春景、杨柳、江河、湖海、高士（士人、隐士）、寒林．枯树、竹、房舍、茅草屋、溪涧、湍泉、松、桥、篱笆、围墙。\n录入：石渠宝笈续编（宁寿宫），第五册，2765页 ；故宫书画录（卷五），第三册，192页；故宫书画图录，第五册，117-118页 【名称】元朱叔重春塘柳色轴 【规格】该幅 4155.公分；全幅 59.7公分 【收藏】 这幅画描写池畔的村屋景象，一名文人手持柺杖，沿著小径，在青葱的田野间漫步。\n全画的用笔极为柔和，著色也温润清雅，充分表现出春天里大地润泽，嫩绿遍野，万物滋长的盎然生意。\n朱叔重，十四世纪人，籍贯江蘇吴县。\n他虽然是一名书生，但在绘画方面，也有卓越的成就，不过流传下来的作品很少。",[23,7,27,29,177,241,1532,108,109,920,176,34,227],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","41x55.3厘米",[181,45],1069,{"id":1538,"slug":1539,"title":1540,"dynasty":189,"author":293,"museum":20,"description":1541,"tags":1542,"thumbUrl":1543,"material":381,"size":1544,"collection":90,"collections":1545,"showCount":1546,"zanCount":1547,"manualWeight":48,"mainColor":49},214260,"zhu-shi-tu-yi-ming-214260","竹石图","竹石图是一幅作者不详的元代画作。这幅画作描绘了竹林和石山的景象。\n\n在这幅画作中，画家巧妙地捕捉了竹林和石山的自然韵味。他用浓墨重彩的画法，勾勒出了竹林和石山的景象。他还用细腻的线条勾勒出了竹林和石山的细节，让人感受到了竹林和石山的自然韵味。\n\n此外，画家在这幅画作中还描绘了竹林和石山周围的景色。他用色彩丰富的画法，描绘了竹林和石山周围的山川和河流。这些景色与竹林和石山的自然韵味形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。",[23,7,209,24,241,173,242,245,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08730665024372a850d7031f0ea9663b.jpg","138x79",[90],1055,2,{"id":1549,"slug":1550,"title":1551,"dynasty":76,"author":77,"museum":78,"description":79,"tags":1552,"thumbUrl":1553,"material":88,"size":89,"collection":139,"collections":1554,"showCount":1555,"zanCount":1118,"manualWeight":48,"mainColor":94},214706,"chun-hua-tu-ba-kai-6-yun-shou-ping-214706","春花图八开-6",[23,7,24,209,81,82,27,83,62,1003,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a989ce46045ab5e8868995eea818ba.jpg",[],1054,{"id":1557,"slug":1558,"title":1559,"dynasty":18,"author":1275,"museum":206,"description":1560,"tags":1561,"thumbUrl":1564,"material":123,"size":1565,"collection":90,"collections":1566,"showCount":1567,"zanCount":572,"manualWeight":48,"mainColor":94},218892,"xie-sheng-hai-tang-tu-lin-chun-218892","写生海棠图","这幅画表现的是开花或含苞待放的海棠的一个单枝。花朵的颜色是白色粉末，带有一丝腮红，使它们变得精致而漂亮。",[23,7,24,1562,28,27,83,1563,698],"扇面","海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6ee140dbb46294f76dd28443ed475a.jpg","23.4x24",[90],1048,{"id":1569,"slug":1570,"title":1571,"dynasty":99,"author":1572,"museum":206,"description":1573,"tags":1574,"thumbUrl":1576,"material":88,"size":1577,"collection":181,"collections":1578,"showCount":1579,"zanCount":495,"manualWeight":48,"mainColor":94},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[23,7,24,241,27,28,178,29,106,1575,108,109,227,176,34],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[181],1044,{"id":1581,"slug":1582,"title":1583,"dynasty":76,"author":707,"museum":78,"description":1584,"tags":1585,"thumbUrl":1587,"material":88,"size":1588,"collection":90,"collections":1589,"showCount":1590,"zanCount":1356,"manualWeight":48,"mainColor":94},218895,"jin-ji-zhu-ju-tu-zhou-hua-yan-218895","锦鸡竹菊图轴","华嵒的《锦鸡竹菊图》轴既融合了没骨写生，又揉和了水墨泼染之长，形成了兼工带写、灵巧松秀的小写意风格，栩栩如生，姿态万千，艺术手法非常高超。",[7,27,83,28,241,1586,242,453,245],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e481200e5ac0e9cc66a96220c80926.jpg","纵106.8厘米，横47.2厘米",[90],1037,{"id":1592,"slug":1593,"title":1594,"dynasty":99,"author":170,"museum":206,"description":1595,"tags":1596,"thumbUrl":1597,"material":88,"size":1598,"collection":90,"collections":1599,"showCount":1600,"zanCount":1356,"manualWeight":48,"mainColor":94},214361,"ping-zhong-la-mei-tu-shen-zhou-214361","瓶中蜡梅图","沈周是一个慷慨大方的人。他能写诗和书法，也善于绘画，山水、花果、鸟、鱼、动物、人物，他都了如指掌，他的作品有一种稚拙的形态，笔触钝而有力，墨色浓重，给人一种厚重感和力量感，有古人的趣味。在这幅《瓶中蜡梅》中，梅花的茎部被用笔触画出，就像山水中的一棵树，显示出它冷峻的姿态。",[23,7,24,241,27,83,448,244,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9e9b4c56979665467b25f96882b252.jpg","140.6x31.6",[90],1021,{"id":1602,"slug":1603,"title":1604,"dynasty":189,"author":1605,"museum":206,"description":1606,"tags":1607,"thumbUrl":1608,"material":827,"size":1609,"collection":90,"collections":1610,"showCount":1611,"zanCount":521,"manualWeight":48,"mainColor":94},221741,"tai-ping-chun-se-zhou-zhang-zhong-221741","太平春色轴","张中","插花从花材的选择、色彩搭配、构图造型、乃至内涵意境都有了一定的要求。张中《太平春色》就是以插花为题材的绘画作品。",[23,7,24,241,28,27,83,327,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056cf2082cbbbc43245d5e3aee80f4c8.jpg","99.1x41.1公分",[90,45],1017,{"id":1613,"slug":1614,"title":1615,"dynasty":18,"author":1616,"museum":238,"description":1617,"tags":1618,"thumbUrl":1619,"material":381,"size":1620,"collection":44,"collections":1621,"showCount":1622,"zanCount":736,"manualWeight":48,"mainColor":49},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,209,7,24,25,173,27,177,29,106,107,108,109,34,175,280,35,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","34.6x566.4",[44],1013,{"id":1624,"slug":1625,"title":1626,"dynasty":76,"author":293,"museum":206,"description":1627,"tags":1628,"thumbUrl":1630,"material":123,"size":139,"collection":90,"collections":1631,"showCount":1632,"zanCount":572,"manualWeight":48,"mainColor":94},216218,"ke-si-hua-niao-zhou-yi-ming-216218","缂丝花鸟轴","缂丝花鸟轴是一件来自清朝的著名织物，它的特点是精细的缂丝织法，用细密的金丝或银丝织成花鸟图案。这种织物通常是用来装饰床单、枕头和窗帘的，也可以用作礼服的饰品。这种织物的制作需要高超的技艺，因此它们非常珍贵且价值高。",[368,1629,7,241,27,28,83,34,176,327,281,245],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb707e05f41a56d8bb90d7d98b005b201.jpg",[90],1010,{"id":1634,"slug":1635,"title":1636,"dynasty":76,"author":77,"museum":1637,"description":1638,"tags":1639,"thumbUrl":1641,"material":1642,"size":1643,"collection":90,"collections":1644,"showCount":1645,"zanCount":657,"manualWeight":48,"mainColor":94},220996,"hua-hui-tu-ce-li-hua-yun-shou-ping-220996","花卉图册·梨花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,7,24,209,81,82,27,83,1640,225,227],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ced6b3440393ea70433c90398c4a22.jpg","纸本 设色","24.5×29.3cm",[90,45],1003,{"id":1647,"slug":1648,"title":1649,"dynasty":18,"author":1650,"museum":20,"description":1651,"tags":1652,"thumbUrl":1654,"material":40,"size":1655,"collection":42,"collections":1656,"showCount":1657,"zanCount":510,"manualWeight":48,"mainColor":49},221538,"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[23,7,241,173,27,177,29,106,107,176,900,175,560,1653,394,34],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","纵192.5厘米，横111厘米",[42,181,163],995,{"id":1659,"slug":1660,"title":1661,"dynasty":99,"author":100,"museum":206,"description":1662,"tags":1663,"thumbUrl":1665,"material":123,"size":318,"collection":44,"collections":1666,"showCount":1667,"zanCount":657,"manualWeight":48,"mainColor":94},219968,"han-gong-chun-xiao-tu-chou-ying-219968","汉宫春晓图","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。\n《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,7,24,25,28,27,104,106,59,107,245,281,34,84,313,1664,314],"台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ef02bc84e372303950e1dc284071d3.jpg",[44],977,{"id":1669,"slug":1670,"title":1671,"dynasty":189,"author":1672,"museum":206,"description":1673,"tags":1674,"thumbUrl":1675,"material":342,"size":1676,"collection":181,"collections":1677,"showCount":1678,"zanCount":1356,"manualWeight":48,"mainColor":94},220150,"ni-zan-wang-meng-he-zuo-shan-shui-ni-zan-220150","倪瓒王蒙合作山水","倪瓒","独坐古松下。萧条遗世音（音字点去）心。青山列屏幛。流水奏鸣琴。安得忘机士。与我息烦襟。幽情寄豪楮。跫然闻足音。岁辛丑（西元一三六一年）四月五日东海倪瓒画松石望山图。并赋五言。奉寄文伯友兄。且以督屡约屡失期云。",[23,7,24,173,29,177,558,109,650,1575,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","本幅 119.9x56.1公分、全幅 58公分",[181,163],972,{"id":1680,"slug":1681,"title":1682,"dynasty":76,"author":953,"museum":191,"description":1683,"tags":1684,"thumbUrl":1685,"material":619,"size":1686,"collection":90,"collections":1687,"showCount":1688,"zanCount":1547,"manualWeight":48,"mainColor":94},223230,"mei-hua-shi-nv-tu-ren-yi-223230","梅花仕女图","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,7,27,106,59,448,758,173,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09824e74b525459649eeeeac703e697c.jpg","103 1cmx36 6cm",[90,45],967,{"id":1690,"slug":1691,"title":1692,"dynasty":99,"author":1572,"museum":206,"description":1693,"tags":1694,"thumbUrl":1695,"material":88,"size":1696,"collection":44,"collections":1697,"showCount":1698,"zanCount":1118,"manualWeight":48,"mainColor":94},214250,"shan-shui-tu-wen-zheng-ming-214250","山水图","画面上有一对夫妇坐在一个开放的亭子里，一个男孩拿着围巾站着，另一个男孩拿着门槛上的花瓶。在小屋的前后，竹子、松树和柳树被浓密的树荫包围。根据题词，这幅画似乎是对夏日家居生活的描写，而且画得非常好。",[23,7,24,81,173,27,28,177,34,394,1653,176,106,175,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e62ddd3da73b17a21cd499e257c992.jpg","66.7x34.8",[44],964,{"id":1700,"slug":1701,"title":1702,"dynasty":76,"author":1703,"museum":132,"description":1704,"tags":1705,"thumbUrl":1706,"material":342,"size":139,"collection":163,"collections":1707,"showCount":1708,"zanCount":1007,"manualWeight":48,"mainColor":94},216223,"han-mei-yi-zhi-hua-jin-nong-216223","寒梅一枝画","金农","金农（1862年－1930年）是清朝时期的画家，他以绘画寒梅花闻名。寒梅是一种以果实为名的花卉，它在冬季开花，而且十分耐寒，因此被称为寒梅。金农的画作中，寒梅通常是独自绽放的一朵花，或者是和其他花卉搭配使用。他的画风细腻，笔触细腻，很擅长描绘花卉的细微差别，并能真实地再现花朵的美丽和优雅。",[23,7,24,25,173,448,83,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11daab6d07b3e27d2714aa4ecfc5eece.jpg",[163],963,{"id":1710,"slug":1711,"title":1712,"dynasty":390,"author":391,"museum":20,"description":1713,"tags":1714,"thumbUrl":1715,"material":1716,"size":1717,"collection":44,"collections":1718,"showCount":1719,"zanCount":572,"manualWeight":48,"mainColor":49},221042,"nv-shi-zhen-tu-quan-juan-gu-kai-zhi-221042","女史箴图全卷","《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。",[23,7,25,260,27,28,106,59,63,86,227,242,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e16c9ec9cf1b988dbcda811f3ae11a.jpg","纸本，墨笔","横601厘米，纵27.9厘米",[44,45],944,{"id":1721,"slug":1722,"title":1723,"dynasty":189,"author":190,"museum":132,"description":1724,"tags":1725,"thumbUrl":1732,"material":88,"size":139,"collection":181,"collections":1733,"showCount":1719,"zanCount":1356,"manualWeight":48,"mainColor":94},216999,"cao-tang-yi-shi-tu-huang-gong-wang-216999","草堂遗世图","《草堂遗世图》是一幅著名的山水画。这幅画以浓烈的写意气息和精细的画工著称。黄公望在这幅画中描绘了一座废弃的草堂，静静地躺在草地上，被一片茂密的松林环绕。山川景色非常优美，清新宁静。画中还有一些杂草和枯萎的花朵，表现出草堂的荒凉和凋零。这幅画被认为是黄公望的代表作之一，因其精美的画工和深刻的哲理而广受赞誉。",[209,7,173,1397,446,1726,1727,1728,108,245,1729,1730,1731],"草堂","松林","山川","杂草","荒凉","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42536421d16089efc731a376cc411ad2.jpg",[181],{"id":1735,"slug":1736,"title":1737,"dynasty":99,"author":1738,"museum":539,"description":1739,"tags":1740,"thumbUrl":1741,"material":123,"size":1742,"collection":44,"collections":1743,"showCount":1744,"zanCount":657,"manualWeight":48,"mainColor":49},219525,"ren-mian-tao-hua-tu-zhang-ji-219525","人面桃花图","张纪","去年今日此门中，人面桃花相映红。人面不知何处去，桃花依旧笑春风。",[23,7,28,27,241,59,279,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ac97b44166d40664c733d6a911025b.jpg","纵101.2横49.7厘米",[44,45],926,{"id":1746,"slug":1747,"title":1748,"dynasty":76,"author":77,"museum":78,"description":79,"tags":1749,"thumbUrl":1750,"material":88,"size":89,"collection":139,"collections":1751,"showCount":1752,"zanCount":1356,"manualWeight":48,"mainColor":94},214703,"chun-hua-tu-ba-kai-8-yun-shou-ping-214703","春花图八开-8",[23,7,209,24,81,82,27,83,795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d530ee660882b48ebb828a273983c9.jpg",[],925,{"id":1754,"slug":1755,"title":1756,"dynasty":18,"author":1616,"museum":206,"description":1757,"tags":1758,"thumbUrl":1759,"material":67,"size":1760,"collection":42,"collections":1761,"showCount":1762,"zanCount":1007,"manualWeight":48,"mainColor":49},221574,"wan-he-song-feng-tu-li-tang-221574","万壑松风图","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[209,7,24,241,177,173,27,29,1575,176,558,34,650,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","188.7×139.8公分",[42,181,163],912,{"id":1764,"slug":1765,"title":1766,"dynasty":99,"author":221,"museum":78,"description":222,"tags":1767,"thumbUrl":1768,"material":88,"size":229,"collection":139,"collections":1769,"showCount":1770,"zanCount":1270,"manualWeight":48,"mainColor":94},216662,"hua-niao-ce-2-sun-ke-hong-216662","花鸟册-2",[7,24,81,27,28,83,62,1003,245,697,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331e0d82e712dc40afb5b3b91d67b4d4.jpg",[],911,{"id":1772,"slug":1773,"title":1774,"dynasty":76,"author":77,"museum":364,"description":1775,"tags":1776,"thumbUrl":1777,"material":139,"size":139,"collection":90,"collections":1778,"showCount":1779,"zanCount":1270,"manualWeight":48,"mainColor":94},235081,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235081","恽寿平花卉册","此作为没骨写生，以清润淡彩晕染桃花，粉嫩花瓣层次自然，嫩枝新芽鲜活灵动，将春日桃花柔婉娇妍的姿态尽显笔底，不见勾勒之痕却形神兼备。\n\n画幅左侧搭配行书题诗，笔意舒展雅致，诗画相映，文心诗意融于花香之间，尽显文人花鸟画的清雅格调。整体设色明秀柔和，带着江南春日的温润诗意，把桃花轻俏柔美的娇态精妙铺展，笔墨间饱含悠然的抒情特质，尽显清隽雅致的文人意趣。",[7,24,81,27,83,279,227,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05006248feb5fc43ca2e8c0e38ecde0.jpg",[90,45],908,{"id":1781,"slug":1782,"title":1783,"dynasty":76,"author":77,"museum":364,"description":740,"tags":1784,"thumbUrl":1785,"material":743,"size":744,"collection":90,"collections":1786,"showCount":1787,"zanCount":1270,"manualWeight":48,"mainColor":94},239423,"shan-shui-hua-hui-ce-yun-shou-ping-239423","山水花卉册",[7,24,81,82,27,84,85,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eef68a8ee5bb0820ecadbf2acb5d76.jpg",[90,45],906,{"id":1789,"slug":1790,"title":1791,"dynasty":204,"author":1792,"museum":206,"description":1793,"tags":1794,"thumbUrl":1798,"material":67,"size":1799,"collection":181,"collections":1800,"showCount":1801,"zanCount":1165,"manualWeight":48,"mainColor":49},221175,"ba-da-you-chun-tu-zhao-nie-221175","八达游春图","赵喦","《八达游春图》是五代·后梁画家赵喦创作的国画，此画绘有八骑人马欢呼游玩的景象，用色考究，笔墨精到，人物神态栩栩如生，可谓作者画作之精品。",[23,7,28,27,204,106,150,34,1532,245,1159,1795,1796,1797],"围栏","鞍马","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d033fc39e58455d7dde55b9f5c0f61.jpg","纵161厘米，横103厘米",[181,44,45],904,{"id":1803,"slug":1804,"title":1805,"dynasty":99,"author":170,"museum":1806,"description":1807,"tags":1808,"thumbUrl":1809,"material":803,"size":1810,"collection":181,"collections":1811,"showCount":1801,"zanCount":1165,"manualWeight":48,"mainColor":94},220034,"dong-zhuang-tu-ce-zhi-bei-gang-shen-zhou-220034","东庄图册之北港","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,209,7,24,81,173,177,29,430,243,109,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce1469f2e7f5176c41428873c3177e.jpg","纵28.6厘米，横33厘米",[181,45],{"id":1813,"slug":1814,"title":1815,"dynasty":76,"author":1816,"museum":78,"description":1817,"tags":1818,"thumbUrl":1819,"material":342,"size":1820,"collection":90,"collections":1821,"showCount":1822,"zanCount":1118,"manualWeight":48,"mainColor":94},214687,"mei-hua-zhu-shi-tu-ce-wang-shi-shen-214687","梅花竹石图册","汪士慎","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[7,24,81,173,260,448,242,431,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775e1c19a55ed4a95fa31138be1fa875.jpg","纵25 厘米 横31.5 厘米",[90],901,{"id":1824,"slug":1825,"title":1826,"dynasty":18,"author":1827,"museum":364,"description":1828,"tags":1829,"thumbUrl":1830,"material":123,"size":1831,"collection":90,"collections":1832,"showCount":1833,"zanCount":747,"manualWeight":48,"mainColor":49},218550,"lan-hua-tu-li-song-218550","篮花图","李嵩","篮中兰草姿态天然，素瓣轻舒似含清露，翠茎挺拔与垂落的花茎相映成趣。篮身纹理细密如织，经纬交错间见匠心，仿佛能触到竹篾的微凉。白花疏朗有致，或绽或敛，纤柔的藤蔓蜿蜒而出，添了几分野逸。沉褐底色晕染着时光的斑驳，更衬出花叶的洁净。笔致工细却不刻板，每一缕篮纹、每一片花瓣皆生动传神，清逸雅致的气息漫溢画面，如幽谷之风拂面，尽显宋画写实妙趣与诗意禅味。",[209,7,24,28,27,83,452,244,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8408f396186afc2fca5cf5309eee9a8.jpg","26x23",[90],889,{"id":1835,"slug":1836,"title":1837,"dynasty":189,"author":1672,"museum":78,"description":1838,"tags":1839,"thumbUrl":1840,"material":803,"size":1841,"collection":90,"collections":1842,"showCount":1843,"zanCount":1007,"manualWeight":48,"mainColor":94},219165,"yu-zhuang-qiu-ji-tu-ni-zan-219165","渔庄秋霁图","此图近景陂陀一片，五六株杂树如文士君子一般屹立其间，高洁清旷。中景湖水淡荡，空明澄净。远处几层矮坡，起伏有致，淡墨轻岚，没有一丝人迹，没有一声鸟语。该图静与道契，寂如枯禅，意境荒疏简远",[209,7,24,241,173,177,29,1015,245,491,490,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470f625eec64440664af4e12339303f9.jpg","纵96厘米，横47厘米",[90],888,{"id":1845,"slug":1846,"title":1847,"dynasty":189,"author":1848,"museum":78,"description":1849,"tags":1850,"thumbUrl":1851,"material":342,"size":1852,"collection":181,"collections":1853,"showCount":1854,"zanCount":1118,"manualWeight":48,"mainColor":94},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","吴镇","这卷描绘了江南水乡的景象，地势辽阔，云山不分，水天一色。在苍茫的景象中，散落着十四个渔民快乐地来回操纵着他们的船，他们的动作各不相同，有的醉卧在夕阳下，有的独自在烟波中捕鱼，有的在网中捕鱼，有的在帐篷的窗户上听雨，丰富而生动。吴镇的技法成熟，墨色浓淡相宜，将精细的轮廓线与厚重的表现力结合起来，用阴沉的墨色和强烈的笔触，仅用有限的笔墨就描绘出长江以南广阔而混杂的风景。",[23,209,7,24,25,173,1397,177,174,1351,1016,34,649,31,33,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd51c8d826dddc7c4be19c56c6b51be.jpg","33x651.6",[181],887,{"id":1856,"slug":1857,"title":1858,"dynasty":54,"author":293,"museum":364,"description":1859,"tags":1860,"thumbUrl":1865,"material":27,"size":139,"collection":44,"collections":1866,"showCount":1867,"zanCount":702,"manualWeight":48,"mainColor":49},219182,"dun-huang-yi-hui-guan-yin-tong-zi-tu-yi-ming-219182","敦煌遗绘观音童子图","画面氤氲着古朴慈悲的气息。观音端坐莲台，宝相庄严却含温婉，衣袂翩跹间藏着唐时雍容气度，手持净枝似欲洒下甘露。身后光环晕染开柔和光晕，将尘世喧嚣轻轻隔开。童子或捧莲趋前，稚手轻抬献清芬；或携枝凌空，小影翩跹逐流云，嬉闹之态与观音的静谧相映，更显佛法包容生机。岁月虽让色彩斑驳，却仍能窥见昔年绚丽，线条流畅如行云流水，每处细节皆藏敦煌艺术的厚重灵动，似在无声诉说千年信仰与美好。",[23,209,7,24,630,259,27,28,1861,296,1862,1863,1864,505],"观音","莲花","宝座","华盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc366f712b6d9c9d47ba3ab34ba8db06.jpg",[44],885,{"id":1869,"slug":1870,"title":1871,"dynasty":76,"author":707,"museum":752,"description":1872,"tags":1873,"thumbUrl":1874,"material":803,"size":1875,"collection":181,"collections":1876,"showCount":1867,"zanCount":1356,"manualWeight":48,"mainColor":49},214343,"san-jue-shan-shui-ce-hua-yan-214343","三绝山水册","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,7,81,173,27,177,29,245,281,106,430,864,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1075f02c862972d6c6c6e0ea0f290ca9.jpg","23.4x15.8",[181],{"id":1878,"slug":1879,"title":1880,"dynasty":99,"author":1881,"museum":615,"description":1882,"tags":1883,"thumbUrl":1884,"material":1885,"size":1886,"collection":181,"collections":1887,"showCount":1888,"zanCount":510,"manualWeight":48,"mainColor":49},222322,"song-he-yan-nian-tu-tong-kai-222322","松鹤延年图","童垲","此幅《松鹤延年图》寓意大吉，特别符合中国人对于吉祥、长寿的美好祈盼。画面中古树苍翠，松树蜿蜒摇曳；两只丹顶鹤身形高挑飘逸，如仙境来客一般；松树下开满吉祥的花朵，一派吉祥和谐的画意盎然纸上。",[23,7,24,209,241,28,27,83,449,60,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b8b639eb9444922ba6b202fd5837fa.jpg","绢本，设色画","97.2CM*201.8",[181,45],884,{"id":1890,"slug":1891,"title":686,"dynasty":76,"author":1892,"museum":20,"description":1893,"tags":1894,"thumbUrl":1895,"material":342,"size":1896,"collection":181,"collections":1897,"showCount":1898,"zanCount":510,"manualWeight":48,"mainColor":94},218485,"fu-chun-shan-ju-tu-wang-yuan-qi-218485","王原祁","这幅画创作于康熙三十二年（1693年），52岁，仿照元代绘画大师黄公望的名作《富春山居图》的笔法。在这次模仿中，他从容不迫地运用了皴法、擦法和点法，特别是在用笔用墨方面，先用笔后用墨，染色由淡到浓逐渐增加，最后以焦墨破之，给人以沉重之感。",[23,7,173,177,86,227,29,109,34,176,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b9a0c62b860f5eddbc70949a88e933.jpg","98.8x60.1cm",[181],880,{"id":1900,"slug":1901,"title":1902,"dynasty":99,"author":170,"museum":20,"description":1903,"tags":1904,"thumbUrl":1905,"material":123,"size":1906,"collection":44,"collections":1907,"showCount":1908,"zanCount":994,"manualWeight":48,"mainColor":94},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,7,24,25,173,177,29,245,108,109,174,394,175,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米",[44,181,45],877,{"id":1910,"slug":1911,"title":1912,"dynasty":99,"author":170,"museum":56,"description":1913,"tags":1914,"thumbUrl":1916,"material":1449,"size":1917,"collection":181,"collections":1918,"showCount":1919,"zanCount":1270,"manualWeight":48,"mainColor":94},222423,"su-shi-yan-jiang-die-zhang-tu-shen-zhou-222423","苏轼烟江叠嶂图","此幅图是根据赵孟頫的行书《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[23,7,173,25,177,29,174,34,37,176,558,491,1915,106],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","50*1165cm",[181,163],871,{"id":1921,"slug":1922,"title":1923,"dynasty":18,"author":538,"museum":364,"description":1924,"tags":1925,"thumbUrl":1928,"material":173,"size":1929,"collection":181,"collections":1930,"showCount":1931,"zanCount":510,"manualWeight":48,"mainColor":49},218544,"yu-qi-nong-yan-tu-mi-fei-218544","雨气浓烟图","烟雨濛濛，墨色轻染山峦，云雾似纱般缠绕峰峦，远近层次在虚实间晕开。近处林木苍劲，几椽茅舍隐于树影，水面上一叶扁舟悠然，似载着湿意的风。米氏笔法写意传神，将雨气的氤氲、烟岚的缥缈凝于尺幅，于淡墨间见悠远之境，仿佛能嗅到湿润的草木气息，听山间细雨沙沙，心境也随之沉静旷达。",[7,25,173,177,29,491,1926,37,31,1927,1255,194,649,34,108,86,227],"近树","小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ca15d5c9196dbbf7ceb73083e5d937.jpg","40x438",[181,42],865,{"id":1933,"slug":1934,"title":1935,"dynasty":18,"author":293,"museum":206,"description":1936,"tags":1937,"thumbUrl":1939,"material":123,"size":1940,"collection":42,"collections":1941,"showCount":1942,"zanCount":409,"manualWeight":48,"mainColor":49},218717,"xin-shao-hua-niao-tu-yi-ming-218717","新韶花鸟图","画中山茶花、梅花、菊花和水仙花围绕着海石盛开，各种植物和叶子交相辉映，一对麻雀在一旁观望，画面十分丰富。除了画底没有鸟之外，这幅作品的构图和表达方式与宋代李迪的《花鸟图》和南唐徐熙的《玉堂富贵图》相似。宋代郭若虚的《图说》中提到，南唐时有一种用于悬挂在宫殿中的 亭花，这可能是后来明代的仿制品。",[23,209,7,24,241,28,27,83,84,1938,176,299,1461,224],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9",[42],864,{"id":1944,"slug":1945,"title":1946,"dynasty":76,"author":1947,"museum":78,"description":1948,"tags":1949,"thumbUrl":1950,"material":88,"size":139,"collection":44,"collections":1951,"showCount":1952,"zanCount":1356,"manualWeight":48,"mainColor":94},214611,"hong-lou-meng-ren-wu-ce-ye-yu-lan-214611","红楼梦人物册页","喻兰","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[7,24,81,27,106,59,245,109,394,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab150ff0a3409c18b30e7aba25d52c8.jpg",[44],863,{"id":1954,"slug":1955,"title":1956,"dynasty":18,"author":474,"museum":206,"description":1957,"tags":1958,"thumbUrl":1967,"material":123,"size":1968,"collection":44,"collections":1969,"showCount":1970,"zanCount":1356,"manualWeight":48,"mainColor":49},214251,"wen-hui-tu-zhao-ji-214251","文会图","文会图是宋代诗人赵佶的一幅代表作。这幅画作描绘了文会图的美丽风景。\n\n文会图位于宋代的江西省，是一座著名的风景名胜。它有着壮丽的山水景色，群山环绕，江河纵横。这里的山川秀美，让人流连忘返。\n\n在这幅画作中，赵佶巧妙地捕捉了文会图的美丽景色。他用浓墨重彩的画法，勾勒出了文会图的群山和江河。他还描绘了文会图周围的古迹和古建筑，让人感受到了宋代文化的博大精深。\n\n总之，文会图是一幅精美的画作，描绘了文会图的美丽风景。它让我们感受到了宋代诗人赵佶对自然的崇敬之情，也让我们感受到了宋代文化的魅力。",[23,7,24,27,28,106,34,115,1959,1960,1961,759,1962,86,1963,1964,315,1965,1966],"饮酒","桌椅","餐具","聚会","场景描绘","细致写实","园林","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9e09405eba855cbe3e826712631928.jpg","184.4x123.9",[44],862,{"id":1972,"slug":1973,"title":98,"dynasty":18,"author":146,"museum":20,"description":147,"tags":1974,"thumbUrl":1976,"material":665,"size":1977,"collection":42,"collections":1978,"showCount":1979,"zanCount":1118,"manualWeight":48,"mainColor":49},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,7,25,104,27,1975,28,106,107,108,109,111,112,110,34,113,151,150,114,120,119,115,157,116],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","宽24.8厘米、长528.7厘米",[42,44,45],858,{"id":1981,"slug":1982,"title":1983,"dynasty":189,"author":1984,"museum":1985,"description":1986,"tags":1987,"thumbUrl":1988,"material":665,"size":1989,"collection":90,"collections":1990,"showCount":1991,"zanCount":1118,"manualWeight":48,"mainColor":49},221850,"mu-dan-hu-die-tu-shen-meng-jian-221850","牡丹蝴蝶图","沈孟坚","日本京都国立博物馆","图绘牡丹一枝，彩蝶二只，牡丹花以粉色为主色，尽显娇嫩、华丽，彩蝶闻花而来，翩翩起舞。此图构图精巧，勾画精细，动静相宜，栩栩如生。",[23,7,28,27,83,327,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e410cee36c9d4dcc1b24a9edab13549.jpg","26.9×27cm",[90,45],854,{"id":1993,"slug":1994,"title":1995,"dynasty":99,"author":1996,"museum":78,"description":1997,"tags":1998,"thumbUrl":1999,"material":342,"size":2000,"collection":90,"collections":2001,"showCount":2002,"zanCount":1356,"manualWeight":48,"mainColor":94},214646,"hua-hui-ce-1-chen-chun-214646","花卉册-1","陈淳","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[7,24,173,446,83,327,225,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58cc937edc184830f80264b72f580f3.jpg","纵28 厘米 横37.9 厘米",[90],853,{"id":2004,"slug":2005,"title":2006,"dynasty":18,"author":2007,"museum":364,"description":2008,"tags":2009,"thumbUrl":2010,"material":67,"size":2011,"collection":42,"collections":2012,"showCount":2013,"zanCount":736,"manualWeight":48,"mainColor":49},221182,"mei-zhu-tu-ye-ma-lin-221182","梅竹图页","马麟","绿竹丛中逶迤伸出白梅两枝，清丽冷艳",[23,209,7,24,81,28,27,83,448,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d26a148f7c6e0c7598c67b7543456d8.jpg","纵26厘米，横26.5厘米",[42,90,45],851,{"id":2015,"slug":2016,"title":2017,"dynasty":76,"author":1109,"museum":364,"description":2018,"tags":2019,"thumbUrl":2020,"material":2021,"size":2022,"collection":163,"collections":2023,"showCount":2024,"zanCount":1270,"manualWeight":48,"mainColor":94},224526,"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[23,7,24,25,173,177,543,242,431,29,449,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米",[163],845,{"id":2026,"slug":2027,"title":2028,"dynasty":18,"author":2029,"museum":20,"description":2030,"tags":2031,"thumbUrl":2032,"material":665,"size":2033,"collection":42,"collections":2034,"showCount":2035,"zanCount":521,"manualWeight":48,"mainColor":49},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 山水画风格继承董源、巨然， 在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,7,25,26,27,28,177,29,108,109,175,34,649,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","24cmx254cm",[42,181,45],840,{"id":2037,"slug":2038,"title":2039,"dynasty":76,"author":2040,"museum":206,"description":2041,"tags":2042,"thumbUrl":2044,"material":88,"size":2045,"collection":90,"collections":2046,"showCount":2047,"zanCount":1007,"manualWeight":48,"mainColor":94},219433,"teng-hua-shao-yao-zhou-zou-yi-gui-219433","藤花芍药轴","邹一桂","紫藤藤蔓虬曲伸展，紫蓝花穗垂落如串串玉珠，枝叶葱茏带露；下方芍药竞放，白瓣皎洁如霜，粉蕊柔婉似云，红苞艳若丹砂，叶片舒展有致，脉络清晰可见。设色清丽雅致，线条细腻灵动，花叶的姿态鲜活自然，尽显春日芳菲的生机与韵致。笔墨间藏着对自然的深情体察，每一处细节都透着工笔花卉的精妙之美，雅致中蕴蓬勃活力，宛如将春日一隅凝于绢素之上。",[7,24,241,28,27,83,2043,1136,227,84],"藤花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a37dff9eccfbfc632eca571c3b1785.jpg","129.1x60.8",[90],836,{"id":2049,"slug":2050,"title":2051,"dynasty":18,"author":293,"museum":206,"description":2052,"tags":2053,"thumbUrl":2054,"material":123,"size":2055,"collection":90,"collections":2056,"showCount":2057,"zanCount":1007,"manualWeight":48,"mainColor":49},218394,"shan-cha-mei-hua-tu-yi-ming-218394","山茶梅花图","此幅绘腊梅，山茶，麻雀。设色雅丽，笔墨造型古拙，唯用笔布置更接近陈洪绶、王武画格，故宋画气息不足。",[23,7,24,241,83,28,27,839,840,224,225,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1719fc6f38b792b19b924b5c41056d6.jpg","33.6x46.7",[90],833,{"id":2059,"slug":2060,"title":1479,"dynasty":18,"author":812,"museum":206,"description":2061,"tags":2062,"thumbUrl":2064,"material":317,"size":2065,"collection":42,"collections":2066,"showCount":2067,"zanCount":495,"manualWeight":48,"mainColor":49},221299,"sui-chao-tu-zhao-chang-221299","与过年有关的节令画在古代多称之为“岁朝图”，大致兴起于宋代，徽宗时期宫廷绘画艺术得到了空前的发展。《岁朝图》的本质就是高级年画。所谓“岁朝”是一年之初的文艺叫法。历来的文人皇帝很喜欢用这样的画往来友人赏赐臣下，恭贺新禧。",[23,209,7,24,241,27,28,83,84,2063,1479],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda10c5d8b72f237927104c275194e0a4.jpg","103.8×51.2cm",[42,90,45],830,{"id":2069,"slug":2070,"title":2071,"dynasty":204,"author":2072,"museum":206,"description":2073,"tags":2074,"thumbUrl":2075,"material":123,"size":2076,"collection":44,"collections":2077,"showCount":2078,"zanCount":702,"manualWeight":48,"mainColor":49},218529,"shi-nv-tu-zhou-wen-ju-218529","仕女图","周文矩","这幅画表现的是一个在桐荫的女人与一个奴隶贩子在栅栏上摊开她的画卷。画中没有名字，而衣服的图案，僵硬曲折，与文姬的风格相去甚远，很可能是后来的收藏家擅自给它起了个名字，所以才有了这个标题",[23,7,27,28,106,59,956,281,604,430,84,431,505,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb332ba757d3b97ebad0f1f7b7982c84e.jpg","180.9x102.1",[44],820,{"id":2080,"slug":2081,"title":2082,"dynasty":76,"author":2083,"museum":132,"description":2084,"tags":2085,"thumbUrl":2086,"material":342,"size":139,"collection":90,"collections":2087,"showCount":2088,"zanCount":994,"manualWeight":48,"mainColor":94},216366,"jing-ji-cong-lan-tu-zheng-ban-qiao-216366","荆棘从兰图","郑板桥","郑板桥是一位著名的清朝画家，他创作的《荆棘丛兰图》是一幅工笔画作品，以荆棘丛生的兰花为主题。这幅画用精细的笔法勾勒出了兰花的各个细节，如花瓣、花茎、花药和荆棘。整幅画给人以自然美的感受，同时也体现出了郑板桥在工笔画技法上的精湛技艺。",[23,7,24,25,173,446,86,178,227,452,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[90],816,{"id":2090,"slug":2091,"title":2092,"dynasty":18,"author":19,"museum":20,"description":21,"tags":2093,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":2095,"showCount":2096,"zanCount":1007,"manualWeight":48,"mainColor":49},221382,"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图",[23,7,209,24,25,26,27,28,177,29,649,31,108,34,1255,2094,37,38],"舟船",[42,44,45],809,{"id":2098,"slug":2099,"title":2100,"dynasty":99,"author":100,"museum":20,"description":2101,"tags":2102,"thumbUrl":2104,"material":40,"size":2105,"collection":44,"collections":2106,"showCount":2107,"zanCount":1118,"manualWeight":48,"mainColor":94},222194,"ren-wu-gu-shi-tu-gui-fei-xiao-zhuang-chou-ying-222194","人物故事图-贵妃晓妆","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,7,209,24,28,27,106,59,107,34,313,1664,281,84,2103,63],"器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6305566e747339ff404852138f61f051.jpg","每开纵41.4厘米，横33.8厘米",[44,45],808,{"id":2109,"slug":2110,"title":2111,"dynasty":18,"author":293,"museum":78,"description":2112,"tags":2113,"thumbUrl":2114,"material":123,"size":2115,"collection":42,"collections":2116,"showCount":2117,"zanCount":510,"manualWeight":48,"mainColor":49},218560,"ye-he-hua-tu-yi-ming-218560","夜合花图","画的是一枝两朵夜来香花，右枝花含苞待放，左枝花半开半合，洁白如玉，气质高雅。花朵被轻轻地勾勒和上色，用白色粉末点缀花蕊，用少量浅色墨水给拖曳的花朵上色。绿叶前后间隔，白花绿叶，色彩淡雅，让人赏心悦目。",[209,7,24,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横160.3厘米",[42,181,163],800,{"id":2131,"slug":2132,"title":2133,"dynasty":76,"author":77,"museum":78,"description":79,"tags":2134,"thumbUrl":2135,"material":88,"size":89,"collection":139,"collections":2136,"showCount":2137,"zanCount":994,"manualWeight":48,"mainColor":94},214705,"chun-hua-tu-ba-kai-5-yun-shou-ping-214705","春花图八开-5",[23,7,24,81,83,27,82,327,698,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe56baf02b8d416236f5828d6ab4cc83.jpg",[],793,{"id":2139,"slug":2140,"title":2141,"dynasty":18,"author":2142,"museum":1637,"description":2143,"tags":2144,"thumbUrl":2145,"material":67,"size":2146,"collection":42,"collections":2147,"showCount":2148,"zanCount":736,"manualWeight":48,"mainColor":49},221412,"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[23,7,209,29,173,177,241,107,108,109,558,1015,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[42,181,163],792,{"id":2150,"slug":2151,"title":2152,"dynasty":18,"author":812,"museum":206,"description":2153,"tags":2154,"thumbUrl":2155,"material":88,"size":2156,"collection":90,"collections":2157,"showCount":2158,"zanCount":510,"manualWeight":48,"mainColor":49},214815,"hua-niao-tu-zhao-chang-214815","花鸟图","这幅以元明风格绘制的水墨花卉画",[209,7,28,27,224,62,225,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111da4cdbebe9fd7bbaf5fcd9d2e5a34.jpg","45.8x29.5",[90],789,{"id":2160,"slug":2161,"title":2162,"dynasty":99,"author":2163,"museum":364,"description":2164,"tags":2165,"thumbUrl":2168,"material":123,"size":2169,"collection":44,"collections":2170,"showCount":2171,"zanCount":495,"manualWeight":48,"mainColor":49},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 长恨歌图卷(下卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,7,24,25,27,28,104,106,107,29,34,108,109,2094,1255,176,1237,115,2166,449,2167,31,649,114],"人群","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[44,45],775,{"id":2173,"slug":2174,"title":2175,"dynasty":99,"author":221,"museum":78,"description":222,"tags":2176,"thumbUrl":2177,"material":88,"size":229,"collection":139,"collections":2178,"showCount":2179,"zanCount":702,"manualWeight":48,"mainColor":94},216661,"hua-niao-ce-3-sun-ke-hong-216661","花鸟册-3",[7,81,27,28,83,281,1640,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcfb02f16a9dcdf42f888f2dbea6731.jpg",[],774,{"id":2181,"slug":2182,"title":2183,"dynasty":1095,"author":1096,"museum":20,"description":2184,"tags":2185,"thumbUrl":2187,"material":88,"size":2188,"collection":90,"collections":2189,"showCount":2190,"zanCount":1165,"manualWeight":48,"mainColor":94},216932,"hua-xia-zhou-qi-bai-shi-216932","画虾轴","墨痕流转间，虾的意态毕现。淡墨晕染虾身，层次细腻如见肌理通透；劲挺线条勾勒须足，纤细却藏弹性，似随水波轻颤。几只虾俯仰交错，须足相缠时竟有嬉戏之趣，留白处虽无池水，却满溢清灵之气。笔简神足，将虾的鲜活与水墨的韵致融于一纸，尽显生命的灵动与艺术的妙境。",[23,7,241,173,2186,83],"虾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0cba5480e9b60c0762bf4eec1cc7d9.jpg","68.4x34.5cm",[90],770,{"id":2192,"slug":2193,"title":362,"dynasty":18,"author":293,"museum":78,"description":2194,"tags":2195,"thumbUrl":2196,"material":123,"size":2197,"collection":90,"collections":2198,"showCount":2199,"zanCount":1007,"manualWeight":48,"mainColor":49},218552,"he-hua-tu-yi-ming-218552","画中的荷叶和菖蒲随风右旋，重叠的花瓣逐渐张开，荷叶花瓣用金笔精巧地勾勒，用红色到粉色的渐变画出。这是南宋时期的生活绘画杰作，其精致丰富的画风源于南宋花鸟画家吴炳。",[7,1562,83,28,27,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496db9762ca838af4ae8501a774c94ef.jpg","25.1x25.7cm",[90],765,{"id":2201,"slug":2202,"title":2203,"dynasty":99,"author":170,"museum":56,"description":2204,"tags":2205,"thumbUrl":2206,"material":2207,"size":2208,"collection":181,"collections":2209,"showCount":2210,"zanCount":1270,"manualWeight":48,"mainColor":94},222103,"shan-shui-zhou-wei-yuan-ya-ji-shen-zhou-222103","山水轴魏园雅集","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下,汇成棕棕小溪。溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。\n《魏园雅集图》上端题有沈周、祝颢、刘珏、陈述等人的诗文。祝颢的题诗“城市多喧隘，幽人自结庐。行藏循四勿，事业藉三余。留客尝新酿，呼孙倍旧书。悠悠清世里，何必上公车”正是画家借描绘自然景色来传达自己想隐逸山林、过一种悠闲的田园生活的写照。\n在《魏园雅集图》中，沈周采取了不同于同类题材的处理手法。画中，会晤场景占很小一部分，人物多为点景式。画家主要借寓意性的自然景色来抒发友情。这幅画以山水为主：远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，泉水飞流直下，汇成淙淙小溪；溪水旁有一小桥，岸畔置一茅亭。茅亭内，四人席地而坐，书童抱琴侍立一侧。山径上，一老者执杖而来。山上山下，草木葱茏，叶红似火的枫树点缀其间，为魏园增添了几分秀色。\n《魏园雅集图》主要沿袭董源、巨然的画风，辅以黄公望式的平台构图，布局实中有虚，有疏朗之感。从画中可以明显地看出画家对块面因素的苦心经营：山石施以披麻皴，显得粗犷有力；皴笔的疏密变化，加强了画面的黑白对比。尤其是画面中间那块留白较多、向右上方层层叠加的石坡将四周较暗的部分撑开，形成一种张力。在描绘山体的局部层次上，沈周采用视点移动的方法。这是他惯用的手法。他中年创作的《庐山高图》就采取了这种方法。《魏园雅集图》中，他取法王蒙，以浓墨点苔，用墨浓淡相间。沈周的山水画在表现形式上呈现早年细、晚年粗的特点。《魏园雅集图》的画风正处于由细变粗的时期，是他画风转变期的作品。\n该作品中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。画家皴染兼施，构筑的画面气魄雄浑沉静，实为诗书画熔为一炉的山水佳作。",[23,7,24,241,173,177,86,178,227,29,175,106,394,864,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[181],763,{"id":2212,"slug":2213,"title":2214,"dynasty":204,"author":2215,"museum":20,"description":2216,"tags":2217,"thumbUrl":2220,"material":67,"size":2221,"collection":181,"collections":2222,"showCount":2210,"zanCount":747,"manualWeight":48,"mainColor":49},221154,"xiao-xiang-tu-dong-yuan-221154","潇湘图","董源","本幅无作者款印，明朝董其昌得此图后视为至宝，并根据《宣和画谱》中的记载，定名为董源《潇湘图》，后入清宫内府收藏。\n“潇湘”指湖南省境内的潇河与湘江，二水汇入洞庭湖，“潇湘”也泛指江南河湖密布的地区。图绘一片湖光山色，山势平缓连绵，大片的水面中沙洲苇渚映带无尽。画面中以水墨间杂淡色，山峦多运用点子皴法，几乎不见线条，以墨点表现远山的植被，塑造出模糊而富有质感的山型轮廓。墨点的疏密浓淡，表现了山石的起伏凹凸。画家在作水墨渲染时留出些许空白，营造云雾迷濛之感，山林深蔚，烟水微茫。山水之中又有人物渔舟点缀其间，赋色鲜明，刻画入微，为寂静幽深的山林增添了无限生机。五代至北宋初年是中国山水画的成熟阶段，形成了不同风格，后人概括为“北派”与“南派”两支。董源此图被画史视为“南派”山水的开山之作。",[23,7,24,25,29,173,27,2218,31,34,2219,174,106,37],"披麻皴","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","纵50厘米，横141.4厘米",[181,163],{"id":2224,"slug":2225,"title":2226,"dynasty":18,"author":1650,"museum":364,"description":2227,"tags":2228,"thumbUrl":2229,"material":123,"size":2230,"collection":90,"collections":2231,"showCount":2210,"zanCount":1118,"manualWeight":48,"mainColor":94},218581,"hua-niao-shan-shui-xiao-pin-ce-shan-cha-ma-yuan-218581","花鸟山水小品册-山茶","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,7,24,81,83,27,28,227,839,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e793eaf7b0fe061b674b3389ac383bd.jpg","33*19",[90],{"id":2233,"slug":2234,"title":2235,"dynasty":99,"author":1083,"museum":101,"description":2236,"tags":2237,"thumbUrl":2239,"material":123,"size":139,"collection":90,"collections":2240,"showCount":2241,"zanCount":1547,"manualWeight":48,"mainColor":94},218031,"za-hua-ce-chen-hong-shou-218031","杂画册","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[7,27,28,81,83,712,2238,225],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c5103e3f5c96e67bf35677653152a4.jpg",[90,181,44],758,{"id":2243,"slug":2244,"title":2245,"dynasty":1095,"author":1096,"museum":132,"description":2246,"tags":2247,"thumbUrl":2249,"material":88,"size":2250,"collection":90,"collections":2251,"showCount":2252,"zanCount":1118,"manualWeight":48,"mainColor":94},216112,"nan-gua-tu-qi-bai-shi-216112","南瓜图","泼墨如团的南瓜坠于藤蔓间，浓黑墨块裹着赭红瓜棱，憨拙中藏老笔苍劲。缠绕的藤蔓似游丝若铁线，飞白处见笔意灵动，与沉实瓜体形成虚实相生韵致。墨色层次分明，焦浓淡墨晕染叶片叠嶂，留白透气不拥塞。赭红点睛，让质朴多了暖意。笔墨纵逸却守法度，看似随意挥洒，实则每笔都透着生活熟稔——田间寻常物化为充满生命力的意象，既有大写意豪放，又藏文人画雅致，老辣带天真，朴拙满生机。",[7,173,27,446,241,86,227,2248,697,698],"南瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f38d5ce9c88984c51b25fe54cc0d2bc.jpg","33.74x134.77cm",[90],757,{"id":2254,"slug":2255,"title":2256,"dynasty":76,"author":953,"museum":78,"description":2257,"tags":2258,"thumbUrl":2259,"material":123,"size":2257,"collection":90,"collections":2260,"showCount":2261,"zanCount":994,"manualWeight":48,"mainColor":94},218893,"fu-rong-bai-mao-tu-zhou-ren-yi-218893","芙蓉白猫图轴","纵134.2厘米，横47.8厘米",[23,7,209,24,241,28,27,83,450,956,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ad6bc3e192fef53d9ce6256744d731.jpg",[90],755,{"id":2263,"slug":2264,"title":2265,"dynasty":99,"author":1170,"museum":206,"description":2266,"tags":2267,"thumbUrl":2269,"material":67,"size":2270,"collection":181,"collections":2271,"showCount":2272,"zanCount":1118,"manualWeight":48,"mainColor":49},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[23,7,24,241,27,29,106,107,108,109,449,176,430,2268,175],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[181,163],752,{"id":2274,"slug":2275,"title":2276,"dynasty":76,"author":77,"museum":206,"description":2277,"tags":2278,"thumbUrl":2279,"material":827,"size":2280,"collection":90,"collections":2281,"showCount":2282,"zanCount":994,"manualWeight":48,"mainColor":94},220978,"hua-hui-shan-shui-he-ce-yun-shou-ping-220978","花卉山水合册","恽寿平传世作品极多，主要有《红梅山茶图》《桃花图》《 三友图》《林居高士图》等，笔墨润秀，神完气足。其没骨花卉画柔美秀雅，开创了一代新风，时人争相仿效。\n王翚有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》、《芳洲图》（常熟博物馆藏）等传世。着有《清晖画跋》。",[23,7,24,209,27,82,83,84,81,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d394a60f3fe31f74cc2a4529d753ab.jpg","43x29厘米",[90,45],750,{"id":2284,"slug":2285,"title":2286,"dynasty":189,"author":1848,"museum":20,"description":2287,"tags":2288,"thumbUrl":2289,"material":2290,"size":2291,"collection":163,"collections":2292,"showCount":2294,"zanCount":1165,"manualWeight":48,"mainColor":271},220780,"mo-zhu-po-shi-tu-wu-zhen-220780","墨竹坡石图","此图绘平坡拳石，竹枝斜垂。图中平坡直以淡墨晕染，拳石则重墨勾画轮廓，复以浓淡相间的墨色加以皴染，笔墨浑厚苍润。画面上方几茎竹枝斜斜垂入画面，不仅得“意在画外”之趣，且其插入的角度与取倾侧之势的坡石相呼应，使画面趋于平衡。整体画面欹中寓平，稳中求变，表现出作者控制全局的高超技巧。\n全图取景简洁，意境清幽，正如时人孙大雅《墨竹记》中所云：“……其趣适常在山岩林薄之下，故其笔类有幽远闲放之情，殊乏贵游子弟之气……”正道出了此图意趣之所在。",[23,7,24,241,173,242,245,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162c658d1d21976ed1ec52ed3d2446e9.jpg","纸本 墨笔","90cmx24cm",[163,2293],"竹石精选",747,{"id":2296,"slug":2297,"title":2298,"dynasty":204,"author":414,"museum":206,"description":2299,"tags":2300,"thumbUrl":2303,"material":123,"size":2304,"collection":90,"collections":2305,"showCount":2306,"zanCount":521,"manualWeight":48,"mainColor":94},218753,"xie-sheng-zhi-zi-xu-xi-218753","写生栀子","雪白的栀子花与绿叶相映成趣，麻雀站在树枝上，试图捕食被花香吸引的黄蜂。蜜蜂的发音与 封 相同，麻雀的发音与 爵 相似，所以用 爵 的谐音来表示祝贺，这是一幅成功的宫廷画。",[23,7,28,27,83,710,2301,224,801,1003,2302],"栀子","枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8936453d77d3d3461e49f1fe82137570.jpg","24.7x26.5",[90],744,{"id":2308,"slug":2309,"title":2310,"dynasty":1095,"author":1096,"museum":2311,"description":2312,"tags":2313,"thumbUrl":2316,"material":2317,"size":139,"collection":139,"collections":2318,"showCount":2319,"zanCount":1547,"manualWeight":48,"mainColor":94},220584,"hua-yu-chong-2-qi-bai-shi-220584","花与虫-2","Hwajeong Museum","此作以工写交融之法绘就，大写意晕染蔬果花卉：明黄葫芦腴润饱满，墨色瓜实朴拙厚重，丝瓜清透雅致，凌霄、月季柔媚鲜活，藤蔓以狂草般的笔墨肆意舒展，苍劲写意中尽得野趣生机。\n\n笔下草虫则以极精工的细笔刻画：蜻蜓翼脉纤毫毕现，螳螂举臂灵动逼真，蝴蝶振翅欲飞，将小虫的鲜活灵态尽致描摹。简逸朴拙的写意花草，搭配毫厘必现的工笔虫豸，将文人画的雅趣与乡野小景的生机融为一体，把寻常田间意趣化作耐品的丹青佳构。",[23,7,27,83,25,2314,1460,800,604,1100,2315,327,798,697,698],"葫芦","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55484ca9db9175f8ad8bbbb64dec7ae.jpg","color on 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该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[209,7,24,26,27,29,106,279,109,900,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7523abe5a9b1378dd5dd5ceda1a3ea.jpg","43×80.5cm",[],{"id":2468,"slug":2469,"title":2470,"dynasty":189,"author":2471,"museum":78,"description":2472,"tags":2473,"thumbUrl":2474,"material":173,"size":139,"collection":90,"collections":2475,"showCount":2476,"zanCount":510,"manualWeight":48,"mainColor":49},219213,"mo-mei-tu-wang-mian-219213","墨梅图","王冕","墨笔绘就的梅树，老干如铁，新枝挺秀，虬曲间自有风骨。花朵以圈点法写成，清妍淡雅，不施粉黛却含雪魄冰魂。枝桠疏密有致，留白处见空灵，墨色的浓淡干湿晕染出自然生机。题款行书与朱红印章相映，诗书画印浑然一体，更添文心雅致。整幅画清气袭人，将梅花的傲霜之姿与文人的狷介情怀相融，观之如闻暗香，尽显元人画梅的高致。",[23,7,173,241,448,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00404bc2afa0c1bb049526819a65b91b.jpg",[90],685,{"id":2478,"slug":2479,"title":2480,"dynasty":204,"author":414,"museum":206,"description":2481,"tags":2482,"thumbUrl":2483,"material":67,"size":2484,"collection":42,"collections":2485,"showCount":2486,"zanCount":1165,"manualWeight":48,"mainColor":49},221430,"mu-dan-hua-hui-tu-ye-xu-xi-221430","牡丹花卉图页","五代當時名家輩出：花鳥畫之黃筌、徐熙，前後輝映，造就了五代. 的光芒。，他想買下，無奈錢不夠，因此而與丈夫趙明誠雙雙",[23,209,7,24,81,27,83,327,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4545b75f5270a81a2bbe98ab5c0643.jpg","41×33",[42,90,45],683,{"id":2488,"slug":2489,"title":2490,"dynasty":204,"author":414,"museum":364,"description":2491,"tags":2492,"thumbUrl":2493,"material":123,"size":139,"collection":90,"collections":2494,"showCount":2495,"zanCount":521,"manualWeight":48,"mainColor":94},219178,"hong-mu-dan-tu-xu-xi-219178","红牡丹图","徐熙，五代南唐杰出画家，金陵（今南京）人，一说钟陵（今江西进贤）人。出身于“江南名族”。生于唐僖宗光启年间，后在开宝末年（公元975）随李后主归宋，不久病故。一生未官，郭若虚称他为“江南处士”。沈括说他是“江南布衣”。其性情豪爽旷达，志节高迈，善画花竹林木，蝉蝶草虫，其妙与自然无异。",[23,209,7,24,83,327,27,28,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffaf2140f2c68889a42d1ec443c4e02.jpg",[90],680,{"id":2497,"slug":2498,"title":2499,"dynasty":189,"author":190,"museum":20,"description":2500,"tags":2501,"thumbUrl":2503,"material":88,"size":2504,"collection":181,"collections":2505,"showCount":2506,"zanCount":1356,"manualWeight":48,"mainColor":49},218531,"kuai-xue-shi-qing-tu-huang-gong-wang-218531","快雪时晴图","《快雪时晴图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。 画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。山中的楼房里，有座香炉供奉着佛像。",[23,7,24,25,173,177,29,176,34,2502,178,227],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纵29.7厘米，横104.6厘米",[181,45],675,{"id":2508,"slug":2509,"title":2510,"dynasty":99,"author":221,"museum":78,"description":222,"tags":2511,"thumbUrl":2512,"material":88,"size":229,"collection":139,"collections":2513,"showCount":2514,"zanCount":1270,"manualWeight":48,"mainColor":94},216658,"hua-niao-ce-6-sun-ke-hong-216658","花鸟册-6",[7,81,27,28,83,245,450,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41af9d4f43aad81c01b9a55c45457cf1.jpg",[],672,{"id":2516,"slug":2517,"title":2518,"dynasty":189,"author":2519,"museum":364,"description":2520,"tags":2521,"thumbUrl":2524,"material":139,"size":139,"collection":139,"collections":2525,"showCount":2526,"zanCount":521,"manualWeight":48,"mainColor":94},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","赵孟頫","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[7,24,25,27,173,177,227,178,86,29,864,430,35,31,33,2522,194,2523],"芦苇","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,{"id":2528,"slug":2529,"title":2530,"dynasty":18,"author":2531,"museum":364,"description":2532,"tags":2533,"thumbUrl":2534,"material":67,"size":2535,"collection":42,"collections":2536,"showCount":2537,"zanCount":1270,"manualWeight":48,"mainColor":49},221435,"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[23,209,7,24,81,26,27,177,29,108,34,176,109,114,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[42,181,45],664,{"id":2539,"slug":2540,"title":2541,"dynasty":18,"author":1827,"museum":206,"description":2542,"tags":2543,"thumbUrl":2545,"material":123,"size":2546,"collection":90,"collections":2547,"showCount":2548,"zanCount":1007,"manualWeight":48,"mainColor":49},218937,"hua-lan-tu-dong-li-song-218937","花篮图-冬","篮子上装饰着水仙花、韵草、绿萼梅、单花茶花和蜡梅，中央的朱砂茶花以其艳丽的红色取胜，周围是芬芳的花朵。",[23,209,7,24,28,27,83,244,84,450,227,2544],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ed24f58dd4748fe5e7c6a5283a48e2.jpg","26.1x26.3",[90],662,{"id":2550,"slug":2551,"title":2552,"dynasty":99,"author":1083,"museum":20,"description":2553,"tags":2554,"thumbUrl":2556,"material":123,"size":2557,"collection":90,"collections":2558,"showCount":2559,"zanCount":1165,"manualWeight":48,"mainColor":49},221913,"he-hua-yuan-yang-tu-chen-hong-shou-221913","荷花鸳鸯图","此图以“出污泥而不染，濯清涟而不妖”的荷花为题，花朵清丽，或含苞，初绽、或怒放，多姿多态；枝叶带露，娉婷舒展，俯仰欹侧；湖石雄奇，锐利坚崚，厚重沉凝。两只彩蝶在空中翩翩起舞，一对鸳鸯在水面戏水悠然，打破了一池碧水的宁静。一只青蛙正隐伏于石后的荷叶上觊觎甲虫，弓身欲动，给画面平添了几许生机与意趣，从中可见画家善于观察的细心与状物精微的匠心。\n作品用笔工致而不显刻板，着色醇厚而不流于俗腻，画风素洁明快，既有应物象形的写生功底，又不乏变幻合宜的适度夸张，画面呈现出一种在繁与简，疏与密、刚与柔的对比变化中的合谐与统一。\n从署款和绘画风格上推断，当是陈洪绶中年的作品。",[23,209,7,24,241,28,27,83,243,2555,245],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f77fc76433fcfb9a62c0f14dd26a0c.jpg","纵183厘米，横98.3厘米",[90,45],661,{"id":2561,"slug":2562,"title":2563,"dynasty":99,"author":293,"museum":2564,"description":2565,"tags":2566,"thumbUrl":2567,"material":630,"size":2568,"collection":44,"collections":2569,"showCount":2570,"zanCount":1165,"manualWeight":48,"mainColor":49},222148,"san-da-shi-tu-shui-yue-yi-ming-222148","三大士图-水月","法海寺","观音又作观世音、观自在、光世音，这佛教中西方极乐世界教主阿弥陀佛左胁侍。水月观音图在法海寺壁画中最为出色。人物刻画既有传统的形制，又具有与实的基本手法，突破了僵硬的模式和程式，绘制技术精细完美，细微处一丝不苟。\n水月观音是三十三观音之一，面目端庄，大慈大悲。法海寺的水月观音，曲右腿，盘左膝，右肘膝托，左掌下抵，半跏坐于噍岩之上。面如满月，超然脱俗。是佛，却微露慈母的温情，是神，但足显处子般的恬静，给人以清新吸净之美感。穿着装饰，有宝冠、耳环、项圈、璎珞花饰、手钏、，手镯、络腋、宝带等八饰，样样齐全。观音莹莹酥胸坦露，纤纤玉手自然下垂，丰腴温暖富有弹性。轻纱蔽体，轻纱蔽体，脚锣上碎铃环绕“漫腰束饰，赤了一双脚”，使人更感到菩萨的慈悯可亲。\n唐宋以来，历代绘画都喜欢用纱布反映仕女的披肩来表现绘画的技巧，唯独法海寺壁画的薄纱占的面积那么大，线条那么精细、均匀、工整、挺拔，堪称壁画中的一绝。披纱上的图案是六菱花瓣，每一花瓣都由40多根金线组成，沥沥贴金，闪闪发光，细如蛛丝，薄如蝉翼，好象水月观音在轻纱下微微呼吸。\n水月观音一组画面是一个完整的体系。背景是浩淼的云水，缀以紫竹林、红牡丹、清泉流水，衬托出“诸天无实体，水月皆虚空”的佛理。水月观音左下部是五十三参后获得正果、成为观音胁侍的善财童子。善财童子，头略抬起，凝眸欲语，双手合十，虔诚中又带着几分稚气，生活气息浓郁。画工精细，连一根眉毛也不放过，眉根生肉，更显出纯洁无邪的童心。观音图右下角绘有观音菩萨的坐骑金毛犼，又叫狻猊，似犬，凶猛食人，每与龙斗，口中喷火数丈，龙往往不能取胜。左上部绘有一只鹦鹉，传说安息国人不知佛法，阿弥陀佛化为鹦鹉教化国人。右上部绘有韦驮护法神。",[23,7,630,259,27,28,106,300,109,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49aff56b059e667a9f0d7f368960c4be.jpg","450x450厘米",[44],658,{"id":2572,"slug":2573,"title":2574,"dynasty":76,"author":77,"museum":1637,"description":1638,"tags":2575,"thumbUrl":2576,"material":1642,"size":1643,"collection":90,"collections":2577,"showCount":2578,"zanCount":736,"manualWeight":48,"mainColor":94},220998,"hua-hui-tu-ce-gui-hua-yun-shou-ping-220998","花卉图册·桂花",[23,209,7,24,81,27,82,83,84,1125,226,1341],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3d4803a177ac67268b07a8c66a1114.jpg",[90,45],657,{"id":2580,"slug":2581,"title":2582,"dynasty":76,"author":1204,"museum":20,"description":2583,"tags":2584,"thumbUrl":2585,"material":1449,"size":2586,"collection":139,"collections":2587,"showCount":2588,"zanCount":48,"manualWeight":48,"mainColor":94},233459,"mao-shi-tu-juan-zhu-da-233459","猫石图卷","此图为朱耷71岁所作。全幅景致简洁，绘一只白猫蹲于石巅上拱背缩身，与山石浑然合成一体。它闭目养神，全然无心观赏四周荷花、兰花等俏丽的景致。作者显然运用了象征隐喻的手法，将客观的意象与主观的意识作了巧妙而含蓄的结合。他以心静如水的猫暗喻自己在清王朝统治下不闻不问，远离世俗的隐遁行为。图中荷叶及无名花草以墨气淋漓的泼墨法绘成，与白描勾勒，寥寥数笔的猫、石形成视觉上的黑白对比，不同色调的深浅变化，丰富了画面的空间层次，从而使全卷既充实又空灵。",[7,24,25,173,956,245,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ca2edd6ab75301d011c83693dfa665.jpg","纵34厘米，横218厘米",[],656,{"id":2590,"slug":2591,"title":2592,"dynasty":18,"author":474,"museum":20,"description":2593,"tags":2594,"thumbUrl":2595,"material":40,"size":2596,"collection":42,"collections":2597,"showCount":2588,"zanCount":1547,"manualWeight":48,"mainColor":271},221329,"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[23,7,209,24,241,28,27,106,449,242,210,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","纵147.2 厘米，横51.3 厘米",[42,90,45],{"id":2599,"slug":2600,"title":2601,"dynasty":99,"author":221,"museum":78,"description":222,"tags":2602,"thumbUrl":2603,"material":88,"size":229,"collection":139,"collections":2604,"showCount":2605,"zanCount":1118,"manualWeight":48,"mainColor":94},216660,"hua-niao-ce-4-sun-ke-hong-216660","花鸟册-4",[7,24,81,27,28,83,224,795,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095894dcf84ab92db529b2bd1c9b78cf.jpg",[],655,{"id":2607,"slug":2608,"title":2609,"dynasty":54,"author":2610,"museum":20,"description":2611,"tags":2612,"thumbUrl":2613,"material":67,"size":2614,"collection":382,"collections":2615,"showCount":2617,"zanCount":1356,"manualWeight":48,"mainColor":94},221052,"wu-niu-tu-quan-juan-han-huang-221052","五牛图全卷","韩滉","《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[23,7,25,27,28,227,86,178,151,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102bd0cd5d4cb918fdece3f7352d6ced.jpg","525.92X21.6cm",[382,2616],"碑帖精选",654,{"id":2619,"slug":2620,"title":1692,"dynasty":99,"author":170,"museum":206,"description":2621,"tags":2622,"thumbUrl":2623,"material":88,"size":2624,"collection":181,"collections":2625,"showCount":2626,"zanCount":1270,"manualWeight":48,"mainColor":94},214745,"shan-shui-tu-shen-zhou-214745","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[7,24,241,173,177,227,86,178,29,394,108,109,464,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[181],653,{"id":2628,"slug":2629,"title":2630,"dynasty":99,"author":170,"museum":20,"description":2631,"tags":2632,"thumbUrl":2634,"material":2635,"size":2636,"collection":44,"collections":2637,"showCount":2638,"zanCount":1165,"manualWeight":48,"mainColor":94},236332,"shen-zhou-liu-yin-zuo-diao-tu-zhou-shen-zhou-236332","沈周柳荫坐钓图轴","本幅自题五绝诗：“树根容我坐，八座未云安。芸屦春泥湿，荷衣晓露干。沈周。”钤“寄傲”印、“启南”印。图中画岩崖危耸，春湖柳溪，湖边老翁垂纶，神态安逸。作品布景自然，用笔苍润，设色以浅绛、花青为主，清淡秀冶，兼得天趣与人意之美。此作表现了沈周晚年的典型面貌，根据本幅所钤“墨林山人”、“项叔子”、“项元汴印”等鉴藏印，可知作品曾经明末收藏家项元汴收藏。",[7,241,173,177,29,1532,106,2633,176,109],"坐钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26e450d5af93a3a1c5b03a1c08feb02.jpg","绫本，设色","纵136.3厘米，横23.6厘米",[44,163,382],649,{"id":2640,"slug":2641,"title":2642,"dynasty":76,"author":876,"museum":276,"description":2643,"tags":2644,"thumbUrl":2645,"material":27,"size":2646,"collection":90,"collections":2647,"showCount":2648,"zanCount":495,"manualWeight":48,"mainColor":94},222691,"wan-you-tong-chun-tu-juan-qian-wei-cheng-222691","万有同春图卷","画卷以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以没骨法绘写花叶、花瓣，形态逼真。钱氏画风以干笔勾勒，重视烘染，笔墨浑然，用笔缜密，以青绿、赭石相间设色，极富宫廷富贵气息。\n一如其画卷的题目“万有”，他以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以恽寿平的没骨法绘写花叶、花瓣，形态逼真。我们可以轻松地根据花来辨别物种。",[23,7,25,27,28,83,327,795,451,279,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28df3bc101f8e21a132c570146c27eaa.jpg","36.3X787.3厘米",[90,45],647,{"id":2650,"slug":2651,"title":2652,"dynasty":18,"author":1035,"museum":2653,"description":2654,"tags":2655,"thumbUrl":2656,"material":381,"size":2657,"collection":90,"collections":2658,"showCount":2659,"zanCount":1165,"manualWeight":48,"mainColor":1335},219263,"yun-long-tu-chen-rong-219263","云龙图","广东省博物馆","陈容是南宋画家,生卒年不详,其绘画很有特点。《云龙图》是一幅足以代表陈容艺术风格的佳作。画中绘有一气势非凡、腾空飞跃的巨龙,其凌厉的龙爪,飞扬的龙须, 突兀的眼睛,锋利的牙齿,粗壮强劲的躯体,无不揭示了这是一条充满力量和超凡脱俗功力的神化了的龙。画上有画家自题: “扶河汉,触华嵩。普厥施,收成功。骑元气,游太空。所翁作。”画上钤有几方收藏印章。",[7,209,24,241,173,502,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35519b25bbea9229aa8a1232b23672c8.jpg","纵201.5厘米 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x 45.7厘米",[90,42],{"id":2681,"slug":2682,"title":2683,"dynasty":18,"author":293,"museum":752,"description":2684,"tags":2685,"thumbUrl":2686,"material":123,"size":139,"collection":90,"collections":2687,"showCount":2688,"zanCount":1270,"manualWeight":48,"mainColor":49},214834,"ke-si-mu-dan-hu-die-tu-yi-ming-214834","缂丝牡丹蝴蝶图","缂丝牡丹蝴蝶图是宋代佚名画家的一幅著名图画。这幅图画描绘了一朵牡丹花和蝴蝶在相互追逐的场景。牡丹花象征着美丽和优雅，而蝴蝶则代表着自由和转化。这幅图画结合了自然与人文的元素，展现出一种优美的意境。画中蝴蝶的细腻写实和牡丹花的浓艳色彩相得益彰，使得这幅图画在宋代颇受欢迎。",[23,7,209,24,1562,83,1629,27,327,604,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263c73234939963e2722e8b4fcab0d10.jpg",[90],637,{"id":2690,"slug":2691,"title":2692,"dynasty":76,"author":427,"museum":20,"description":2693,"tags":2694,"thumbUrl":2695,"material":665,"size":2696,"collection":90,"collections":2697,"showCount":2698,"zanCount":702,"manualWeight":48,"mainColor":94},223161,"song-mei-shuang-he-tu-shen-quan-223161","松梅双鹤图","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。\n将工笔、写意、兼工带写、重彩、淡彩、没骨、水墨、白描、勾勒填彩、钩花点叶等绘画技法在写生中灵活运用并加以发展，既重形似，又重神似。",[23,7,24,28,27,83,449,448,60,242,176,2238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc931c0442a93ab3c28aef5baea6bb17.jpg","191cm×98.cm",[90],633,{"id":2700,"slug":2701,"title":2702,"dynasty":99,"author":1480,"museum":206,"description":2703,"tags":2704,"thumbUrl":2705,"material":317,"size":2706,"collection":44,"collections":2707,"showCount":2698,"zanCount":1165,"manualWeight":48,"mainColor":49},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[23,7,24,25,27,29,1016,109,174,175,34,176,920,106,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","纵29.4cm，横351cm",[44,45],{"id":2709,"slug":2710,"title":2711,"dynasty":54,"author":255,"museum":364,"description":2712,"tags":2713,"thumbUrl":2719,"material":743,"size":744,"collection":139,"collections":2720,"showCount":2721,"zanCount":510,"manualWeight":48,"mainColor":94},289941,"song-zi-tian-wang-tu-wu-dao-zi-289941","送子天王图","《送子天王图》（又名《天王送子图》、《释迦降生图》）是唐代吴道子根据佛典《瑞应本起经》创作纸本墨笔画，一说宋人摹本。该作现藏于日本大阪市立美术馆。\n全图分为三个部分：第一段描绘一位王者气度的天神端坐中间，两旁是手执笏板的文臣、捧着砚台的仙女，以及仗剑围蛇的武将力士面对一条由二神降伏的巨龙。第二段画的是一个踞坐在石头之上的四臂披发尊神，身后烈焰腾腾。神像形貌诡异，颇具气势，左右两边是手捧瓶炉法器的天女神人。第三段即《释迦牟尼降生图》，内容是印度净饭王的儿子出生的故事。从画面上，可以看到释迦牟尼降生时，他的父亲抱着他到寺庙朝谒见自在天神的情景。\n此图写异域故事，而画中的人、鬼神、兽等却完全加以中国化，当是佛教与中国本土变化至唐日趋融合之势所致。此图意象繁富，以释迦降生为中心，天地诸界情状历历在目，技艺高超，想象奇特，令人神驰目眩。该图着色较淡，近乎白描。",[23,209,7,25,260,2714,2715,259,2716,2717,502,2718],"人物画","神话","天王","鬼怪","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbca5673da27ce7e942f4cd3b8991436.jpg",[],629,{"id":2723,"slug":2724,"title":2152,"dynasty":76,"author":2725,"museum":539,"description":2726,"tags":2727,"thumbUrl":2729,"material":123,"size":2730,"collection":90,"collections":2731,"showCount":2732,"zanCount":1007,"manualWeight":48,"mainColor":49},219051,"hua-niao-tu-zhou-quan-219051","周铨","绘河塘的一角，铺天盖地的荷叶和花朵高高耸立，白色花瓣中的黄色花蕊错落有致，刚刚冒出的小荷叶和花蕾展现出勃勃生机；地面上，一只羽毛斑斓、微闭双眼的野鸭子似乎正在打盹。",[23,7,27,28,241,83,136,137,2728,367],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74352fefe18eb2942c55d970a733680.jpg","94x48.6cm",[90],628,{"id":2734,"slug":2735,"title":2736,"dynasty":18,"author":293,"museum":206,"description":2737,"tags":2738,"thumbUrl":2740,"material":123,"size":139,"collection":44,"collections":2741,"showCount":2732,"zanCount":1270,"manualWeight":48,"mainColor":49},215043,"mo-gu-kai-zhi-luo-shen-fu-yi-ming-215043","摹顾恺之洛神赋","《洛神赋图》，相传是东晋名画家顾恺之根据曹植文学作品《洛神赋》的故事情节所创作的故事画。曹植原文借对梦幻之镜中人神恋爱的追求，抒发了爱情失意的自我感伤。",[23,7,24,25,28,27,105,106,59,502,957,227,2739],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c126a717e9affa0b4017e209a0f9a9.jpg",[44],{"id":2743,"slug":2744,"title":2745,"dynasty":76,"author":77,"museum":206,"description":2746,"tags":2747,"thumbUrl":2748,"material":27,"size":2749,"collection":90,"collections":2750,"showCount":2751,"zanCount":1118,"manualWeight":48,"mainColor":94},220988,"yu-zao-tu-ce-bai-he-yun-shou-ping-220988","鱼藻图册-百合","此套《瓯香馆写生册》共十幅，天津博物馆藏，描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[23,7,24,81,82,27,83,1135,698,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2762924bf1e1eee5608b789b14168bf1.jpg","37.8x60.5厘米",[90,45],626,{"id":2753,"slug":2754,"title":486,"dynasty":99,"author":170,"museum":206,"description":2755,"tags":2756,"thumbUrl":2757,"material":619,"size":2758,"collection":181,"collections":2759,"showCount":2760,"zanCount":5,"manualWeight":48,"mainColor":49},222101,"shan-shui-ce-shen-zhou-222101","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,7,209,24,81,173,177,29,394,109,1351,1016,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","37.4x58.8",[181,163],623,{"id":2762,"slug":2763,"title":2764,"dynasty":204,"author":2531,"museum":206,"description":2765,"tags":2766,"thumbUrl":2767,"material":67,"size":2768,"collection":139,"collections":2769,"showCount":2770,"zanCount":1356,"manualWeight":48,"mainColor":49},231954,"kuang-lu-tu-jing-hao-231954","匡庐图","全幅用水墨画出，画法皴染兼备，充分发挥了水墨画的长处。画幅上部危峰重叠，高耸入云，山巅树木丛生，山崖间飞瀑直泻而下，大有“银河落九天”之势。山腰密林之中深藏一处院落，从院落之中一路下山，山道蜿蜒盘旋，道旁溪流宛转曲折，最后注入山下湖中。山脚水边，巨石耸立，村居房舍掩映于密林之中。水上有渔人撑船，不远的坡旁路上，有一人正赶着毛驴慢行。画中只有两人，人物在画中只作为陪衬。其中有宋高宗所书“荆浩真迹神品”六个字，一般认为是其真迹。\n此画画中绝磴悬崖，平麓云林，虽看不出具体皴法。但笔墨间表现出了山的雄伟气势，烟岚的深远缥缈，比唐代山水大大前进了一步。\n图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[7,24,241,29,173,177,649,558,34,650,37,560,1255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","纵185.8厘米，横106.8厘米",[],621,{"id":2772,"slug":2773,"title":2774,"dynasty":292,"author":293,"museum":2340,"description":2775,"tags":2776,"thumbUrl":2777,"material":743,"size":744,"collection":139,"collections":2778,"showCount":2779,"zanCount":1165,"manualWeight":48,"mainColor":94},226505,"na-mo-guan-shi-yin-pu-sa-xiang-li-zhou-yi-ming-226505","南无观世音菩萨像立轴","这尊工笔重彩立像温婉静美，菩萨含笑垂目，宝冠璎珞华美庄重，手持净瓶拈花，尽显悲悯柔和。衣袂飘带层叠舒展，石青、石绿晕染出沉雅古拙的色调，局部描金虽斑驳黯淡，仍可见旧日精工。\n\n足踏莲台，旁侧缠枝花卉灵动舒展，清劲流畅的线条带着敦厚朴拙的气韵，将观音的端严慈悲与盛唐遗风相融，残损纸面晕开岁月沉香，尽显沉静古雅的禅意。",[7,241,27,259,106,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3999fc8fbc543a1a23451c0cb2a2a358.jpg",[],620,{"id":2781,"slug":2782,"title":2783,"dynasty":76,"author":707,"museum":20,"description":2784,"tags":2785,"thumbUrl":2787,"material":123,"size":2788,"collection":90,"collections":2789,"showCount":2779,"zanCount":1270,"manualWeight":48,"mainColor":94},219334,"hai-tang-qin-tu-tu-hua-yan-219334","海棠禽兔图","华嵒的花鸟画丰富了传统的“黄家富贵，徐熙野逸”的审美情趣，寓真情实感于创作，使作品具有丰富的感情和个性，具有雅俗共赏的特征。此图是他晚年的代表作，画家运用拟人化的手法，将鹦鹉按捺不住的欣喜和黑兔胆小好奇的神态表现得生动传神。在画法上，华嵒从恽寿平淡雅清丽的没骨花卉入手，涉猎诸家，形成了鲜明的个人风格。此图结构新奇，笔法将宋人工笔花鸟之细腻工致与写意花鸟之秀逸洗练相结合，敷色活泼。海棠以胭脂及白粉点染，树叶颜色用石青、石绿，其间又有微带白黄色的大叶，颜色浓丽湿润，黑兔的墨色变化更为微妙丰富，浓淡之间表现出柔软疏松的质感，并与树木花卉的暖色调和谐统一，使整幅画面洋溢着花香鸟语的初春气氛。",[23,7,241,27,28,83,1563,2786,281,227],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd34c59b5ebbf048bf68fd04c4a04bed.jpg","纵135.2厘米，横52.8厘米",[90,45],{"id":2791,"slug":2792,"title":2793,"dynasty":99,"author":1996,"museum":206,"description":2794,"tags":2795,"thumbUrl":2796,"material":123,"size":2797,"collection":90,"collections":2798,"showCount":2799,"zanCount":747,"manualWeight":48,"mainColor":49},214726,"hua-hui-tu-chen-chun-214726","花卉图","这幅画描绘了在海石后面盛开的各种花朵，包括五种栀子花、玫瑰花、百合花、天竺葵和红丹参。花朵是用无骨笔描绘的，栀子花和百合花的白色花朵是用钩花和点叶描绘的。景观安排得很细致，着色柔和优雅，不显庸俗，有别于晚年放笔写意的习惯，应该是五十岁以前的作品。",[23,7,24,209,241,27,446,83,84,245,867,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","188x96.9",[90],619,{"id":2801,"slug":2802,"title":2803,"dynasty":76,"author":2804,"museum":364,"description":2805,"tags":2806,"thumbUrl":2808,"material":139,"size":139,"collection":139,"collections":2809,"showCount":2810,"zanCount":1547,"manualWeight":48,"mainColor":94},235409,"wu-chang-shuo-sui-chao-qing-gong-tu-zhou-wu-chang-shuo-235409","吴昌硕岁朝清供图轴","吴昌硕","此作疏密布局精妙，斜出红梅自瓶中探伸，古拙湖石苍劲拙朴，案头水仙舒展清隽，蒲草萧疏有灵，配搭饱满鲜果，雅俗共赏。\n以篆籀笔法入画，笔墨苍劲老辣，设色浓淡相宜，明丽而不艳俗。朴茂雄浑的行书题字与画面浑然一体，金石古意尽显。既饱含文人案头的清雅逸趣，又暗合新春纳福的吉庆意蕴，将写意洒脱与写实鲜活相融，勾勒出岁朝之际悠然年味，尽显写意花鸟的朴拙雅致。",[7,27,173,241,83,227,86,448,451,2807,245,244],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6c68b7d5407cedbe24b1255ca78c0.jpg",[],618,{"id":2812,"slug":2813,"title":2814,"dynasty":18,"author":1072,"museum":364,"description":2815,"tags":2816,"thumbUrl":2817,"material":139,"size":139,"collection":139,"collections":2818,"showCount":2819,"zanCount":994,"manualWeight":48,"mainColor":271},227811,"chu-shui-fu-rong-tu-ye-wu-bing-227811","出水芙蓉图页","《出水芙蓉图》页，宋， ，设色，纵2.8cm，横25cm。\n本幅无款。\n有残印一角。\n裱边贴签：“吴炳 ”。\n一朵盛开的粉红色荷花占据整个 ，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。\n莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。\n画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。\n至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！ 旧题吴炳绘，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,7,209,24,81,28,27,83,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d8a0e1d27a9d9e1ea0a726ac79344.jpg",[],616,{"id":2821,"slug":2822,"title":2823,"dynasty":18,"author":2824,"museum":578,"description":2825,"tags":2826,"thumbUrl":2828,"material":27,"size":2829,"collection":42,"collections":2830,"showCount":2831,"zanCount":736,"manualWeight":48,"mainColor":49},221468,"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","鲁宗贵","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[23,7,209,24,28,27,83,1299,2827,713,698,227],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米",[42,90,45],615,{"id":2833,"slug":2834,"title":2835,"dynasty":390,"author":391,"museum":56,"description":2836,"tags":2837,"thumbUrl":2839,"material":67,"size":2840,"collection":181,"collections":2841,"showCount":2842,"zanCount":736,"manualWeight":48,"mainColor":49},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,7,24,25,28,27,106,59,2838,29,34,1329,281,175,227,86,178,1308,209],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[181,45],613,{"id":2844,"slug":2845,"title":2846,"dynasty":76,"author":1204,"museum":132,"description":2847,"tags":2848,"thumbUrl":2849,"material":342,"size":139,"collection":90,"collections":2850,"showCount":2851,"zanCount":1356,"manualWeight":48,"mainColor":94},216942,"yu-shi-tu-zhou-zhu-da-216942","鱼石图轴","朱耷的鱼石图轴是一件著名的绘画作品，它是朱耷在清朝时期创作的。这幅作品以细腻的线条和丰富的色彩，描绘了一幅生动的海洋图景，其中包括众多的海鱼和石头。鱼石图轴以其高超的绘画技巧和对海洋生物的生动描绘而闻名。",[23,7,24,241,173,446,933,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d988e50b2be54a69df81067fcfd25.jpg",[90],610,{"id":2853,"slug":2854,"title":2855,"dynasty":18,"author":2856,"museum":1985,"description":2857,"tags":2858,"thumbUrl":2859,"material":665,"size":2860,"collection":42,"collections":2861,"showCount":2862,"zanCount":994,"manualWeight":48,"mainColor":49},221594,"hong-bai-fu-rong-tu-li-di-221594","红白芙蓉图","李迪","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。\n《红白芙蓉图》是双幅画，描写红白芙蓉盛开的景色。红、白芙蓉各两朵，都画盛开时的花瓣，红色娇艳鲜嫩，白色粉白如玉，花叶为深绿色。",[23,7,24,83,28,27,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a01f8634d699b1442498a83bf153de.jpg","纵25.2×横26.cm×2",[42,45,90],609,{"id":2864,"slug":2865,"title":2866,"dynasty":99,"author":170,"museum":132,"description":2867,"tags":2868,"thumbUrl":2869,"material":123,"size":2870,"collection":181,"collections":2871,"showCount":2872,"zanCount":1356,"manualWeight":48,"mainColor":49},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[209,7,24,241,173,177,105,29,176,34,35,108,109,558,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[181],606,{"id":2874,"slug":2875,"title":1692,"dynasty":189,"author":2876,"museum":206,"description":2877,"tags":2878,"thumbUrl":2879,"material":342,"size":2880,"collection":181,"collections":2881,"showCount":2882,"zanCount":1165,"manualWeight":48,"mainColor":49},214249,"shan-shui-tu-cao-zhi-bai-214249","曹知白","两棵松树相向而立，树枝向下延伸呈蟹爪状，是北宋时期李成和郭熙的典型画风。这幅画浓淡相间，尤其是在远处的山峰之间，淡墨层层渲染，云层模糊不清，似有似无。",[23,209,7,173,177,29,394,176,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57a8f96ed896461c7ff36507601cb6a.jpg","68.1x34.3",[181],602,{"id":2884,"slug":2885,"title":2886,"dynasty":18,"author":781,"museum":206,"description":2887,"tags":2888,"thumbUrl":2889,"material":342,"size":2890,"collection":44,"collections":2891,"showCount":2892,"zanCount":1270,"manualWeight":48,"mainColor":94},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[23,7,24,25,260,29,107,108,109,175,34,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","28.9x364.6",[44],600,{"id":2894,"slug":2895,"title":2896,"dynasty":99,"author":221,"museum":78,"description":222,"tags":2897,"thumbUrl":2898,"material":88,"size":229,"collection":139,"collections":2899,"showCount":2900,"zanCount":1270,"manualWeight":48,"mainColor":94},216659,"hua-niao-ce-5-sun-ke-hong-216659","花鸟册-5",[7,81,28,27,83,224,62,1062,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc762cbbb53d0597b5436b458f6ea96.jpg",[],599,{"id":2902,"slug":2903,"title":2904,"dynasty":76,"author":674,"museum":20,"description":2905,"tags":2906,"thumbUrl":2909,"material":40,"size":2910,"collection":90,"collections":2911,"showCount":2912,"zanCount":1165,"manualWeight":48,"mainColor":49},222873,"wu-tong-shuang-tu-tu-leng-mei-222873","梧桐双兔图","此图似为中秋佳节而作。图中野菊满地，桂花飘香，高大的梧桐树下，两只肥硕的白兔惬意地在草地上嬉戏。双兔写实，造型准确生动，皮毛以细笔一一画出，具有柔软的质感。兔目用白色点出高光，令眼神活灵活现顿生神采。山石以折带笔方正写出，于坚硬中见峻峭之美。构图疏密有致，设色注重冷暖色调的对比。整幅作品大气秀美，富丽堂皇，受到了西洋绘画技法的影响，具有康熙朝宫廷绘画的风貌。",[23,7,28,27,957,2786,2907,432,313,2908,227],"梧桐","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d226d3f4c0a53ecbb5a2d754ae2b5b.jpg","纵176.2厘米，横95厘米",[90,45],595,{"id":2914,"slug":2915,"title":2916,"dynasty":99,"author":2917,"museum":206,"description":2918,"tags":2919,"thumbUrl":2920,"material":88,"size":2921,"collection":90,"collections":2922,"showCount":2923,"zanCount":409,"manualWeight":48,"mainColor":94},218793,"pi-pa-zhen-qin-tu-zhou-zhi-mian-218793","枇杷珍禽图","周之冕","画面中，枇杷枝叶舒卷，翠叶如盖，嫩黄果实攒聚枝间，饱满莹润。一只禽鸟栖于枝桠，羽色柔和，神态闲静，似在细赏花叶，又若欲振翅，姿态鲜活传神。画家运笔细腻，勾勒花叶轮廓精准，设色淡雅清逸；叶片脉络、果实肌理刻画入微，禽鸟羽毛层次分明，质感逼真。枝叶穿插自然，虚实相生，画面疏密有致，气韵流动。整体风格宁静雅致，融工笔之精丽与写意之灵动，尽显自然生机与闲适意趣，如同一帧鲜活的春日小景，引人驻足细品。",[209,7,24,241,28,27,83,1278,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b876424f375b541ae9f0153ebc04f8d.jpg","71.4x30.4cm",[90],594,{"id":2925,"slug":2926,"title":2927,"dynasty":18,"author":293,"museum":364,"description":2928,"tags":2929,"thumbUrl":2931,"material":123,"size":139,"collection":42,"collections":2932,"showCount":2933,"zanCount":1356,"manualWeight":48,"mainColor":49},218608,"xian-tao-tu-yi-ming-218608","仙桃图","绢本之上，三枚仙桃饱满圆润，似凝脂般温润的底色晕开淡粉霞彩，如晨露轻染的娇羞。枝干以苍劲线条勾勒，转折间藏着自然生机，叶片墨色层次分明，脉络清晰如触手可及。背景素净无华，更衬出果实的鲜嫩与枝干的挺括。整幅画取境简约却意韵悠长，写实技法中透着宋人对自然的细腻观察与雅致情怀。每一处晕染、每一笔线条，都藏着古画独有的温润静美，仿佛能让观者在静谧里嗅到果实的清甜，沉浸于宋代花鸟画的空灵之境，感受那份跨越千年的自然诗意与艺术匠心。",[7,24,83,28,27,2930,225],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de9cd90dd79570e54237657db38ac34.jpg",[42],588,{"id":2935,"slug":2936,"title":1692,"dynasty":189,"author":1672,"museum":206,"description":2937,"tags":2938,"thumbUrl":2940,"material":342,"size":2941,"collection":181,"collections":2942,"showCount":2943,"zanCount":1165,"manualWeight":48,"mainColor":94},218740,"shan-shui-tu-ni-zan-218740","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[23,209,7,24,241,173,177,2939,29,176,558,109,34,174,1351],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[181],579,{"id":2945,"slug":2946,"title":2947,"dynasty":18,"author":2029,"museum":206,"description":2948,"tags":2949,"thumbUrl":2954,"material":123,"size":2955,"collection":42,"collections":2956,"showCount":2957,"zanCount":1118,"manualWeight":48,"mainColor":49},219699,"nian-cha-tu-liu-song-nian-219699","撵茶图","《撵茶图》为工笔白描，描绘了宋代从磨茶到烹点的具体过程、用具和点茶场面。画中左前方一仆设坐在矮几上，正在转动碾磨磨茶，桌上有筛茶的茶罗、贮茶的茶盒等。另一人伫立桌边，提着汤瓶点茶(泡茶)，他左手边是煮水的炉、壶和茶巾，右手边是贮水瓮，桌上是茶筅、茶盏和盏托。一切显得十分安静整洁，专注有序。画面右侧有三人，一僧伏案执笔作书，传说此高僧就是中国历史上的“书圣”怀素。一人相对而坐，似在观赏，另一人坐其旁，正展卷欣赏。\n刘松年传世作品很多，仅涉及到茶事内容的就有《斗茶图》、《卢仝烹茶图卷》、《茗园赌市图》、《博古图》、《撵茶图》等多幅，对了解宋代茶事有很高的学术参考价值。《撵茶图》从一个侧面充分展示了贵族官宦之家讲究品茶的生动场面，是宋代茶叶品饮的真实写照。",[7,209,24,28,27,260,106,2950,2951,2952,759,2953,315],"茶具","桌案","棕榈","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e804e0a8eabdd2d17d440cc528efba.jpg","纵44.2厘米，横66.9厘米",[42,44],574,{"id":2959,"slug":2960,"title":362,"dynasty":76,"author":293,"museum":364,"description":2961,"tags":2962,"thumbUrl":2963,"material":139,"size":139,"collection":139,"collections":2964,"showCount":2965,"zanCount":1547,"manualWeight":48,"mainColor":94},223629,"he-hua-tu-yi-ming-223629","此作用笔秀润，设色清妍雅致。粉瓣荷花亭亭舒展，晕染出柔媚鲜活的层次，荷叶或苍绿如盖、或半卷含露，墨色浓淡尽显舒展生机。枯瘦莲蓬擎立，自带幽寂禅意。池中游鱼轻摆尾鳍，黑蜂振翅悬于淡赭素色的虚空，静中藏动，将夏日荷塘的鲜活气意晕开。整幅构图疏朗空灵，以浅淡底色晕出水汽氤氲的朦胧，不见满幅堆砌的繁复，将江南莲塘的清润宁和尽数铺陈，尽显文人画的悠然意趣，把溽暑里的荷塘清韵定格在绢素之上。",[23,209,7,24,241,27,28,83,243,137,931,933,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d474cb4c4b95102723b2afdeb3c667a.jpg",[],572,{"id":2967,"slug":2968,"title":2969,"dynasty":18,"author":812,"museum":206,"description":2970,"tags":2971,"thumbUrl":2974,"material":123,"size":2975,"collection":90,"collections":2976,"showCount":2965,"zanCount":1007,"manualWeight":48,"mainColor":94},218393,"xie-sheng-xing-hua-tu-zhao-chang-218393","写生杏花图","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[23,209,7,24,1562,28,27,710,83,2972,226,1461,2973],"杏花","花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","25.2x27.3",[90],{"id":2978,"slug":2979,"title":2980,"dynasty":18,"author":2981,"museum":206,"description":2982,"tags":2983,"thumbUrl":2984,"material":342,"size":2985,"collection":90,"collections":2986,"showCount":2965,"zanCount":702,"manualWeight":48,"mainColor":94},215109,"sui-han-san-you-tu-zhao-meng-jian-215109","岁寒三友图","赵孟坚","莹净的纸面上，画家以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹著如星芒般的松针与墨影般的竹叶，将它们横斜置於画面中央。这三株折枝植物的组合，不但是一件写生佳作，同时画中岁寒三友－松、竹、梅的组合，又代表当时文人认为应该具备的节操与美德。",[23,7,24,173,260,448,242,449,227,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb649cf50efa4be46ecb8b6ea14056db.jpg","32.2×53.4cm",[90],{"id":2988,"slug":2989,"title":2990,"dynasty":76,"author":293,"museum":20,"description":2991,"tags":2992,"thumbUrl":2996,"material":40,"size":854,"collection":44,"collections":2997,"showCount":2998,"zanCount":1270,"manualWeight":48,"mainColor":49},236166,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236166","雍正十二月行乐图","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[7,27,28,104,2993,29,107,1575,281,2994,176,106,2995],"行乐图","池塘","中式园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa170ee7ea987eca05f818f0474a20d1.jpg",[44,45],568,{"id":3000,"slug":3001,"title":3002,"dynasty":1095,"author":1096,"museum":3003,"description":3004,"tags":3005,"thumbUrl":3007,"material":3008,"size":139,"collection":139,"collections":3009,"showCount":3010,"zanCount":1547,"manualWeight":48,"mainColor":94},220590,"zhu-zi-he-kun-chong-qi-bai-shi-220590","竹子和昆虫","Oscar Niemeyer Museum","这幅画作以工写结合尽显意趣。焦墨挥就柳干，苍劲老拙，淡绿晕染柳叶，条缕垂坠如沐晚风，尽显柔曼舒展之态。枝头鸣蝉与藏于叶间的蚱蜢，用工笔细勾，翅脉纤毫毕现，身形灵动鲜活，仿佛能闻声感其振翅之姿。大写意的疏朗野逸，搭配工笔草虫的精致入微，将乡野秋日常见小景，化为充满生机的雅致画面，藏着画家对乡野闲趣的细腻体察，笔简而意足，平淡中尽显鲜活秋意。",[7,173,27,28,446,242,3006,1100,2315],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfeb1ed36cc88bbc8986e7ccf8468de5.jpg","Watercolor on paper",[],566,{"id":3012,"slug":3013,"title":3014,"dynasty":189,"author":2519,"museum":20,"description":3015,"tags":3016,"thumbUrl":3017,"material":342,"size":3018,"collection":90,"collections":3019,"showCount":3010,"zanCount":1270,"manualWeight":48,"mainColor":94},219899,"zhao-shi-yi-men-san-zhu-tu-zhao-meng-fu-219899","赵氏一门三竹图","此图卷可分三段，分别为赵孟頫之妻管道昇、赵孟頫、次子赵雍所画竹三支。第三段赵孟頫所画之竹，自画卷后方斜出，并一直向前伸展，竹梢低头向下，整体成一弓形，其上细枝左右仲出，竹叶茂密。此竹主要以淡墨画出，浓墨加点，笔法温雅厚重，墨色变化细腻丰富。",[23,7,24,25,173,178,227,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b327490001f9742b145ab2ea2c238a.jpg","纵34厘米 横108厘米",[90],{"id":3021,"slug":3022,"title":3023,"dynasty":18,"author":781,"museum":752,"description":3024,"tags":3025,"thumbUrl":3026,"material":342,"size":3027,"collection":42,"collections":3028,"showCount":3010,"zanCount":5,"manualWeight":48,"mainColor":94},214884,"lian-she-tu-li-gong-lin-214884","莲社图","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,209,7,24,25,260,27,259,106,29,34,175,245,86,1308,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[42],{"id":3030,"slug":3031,"title":3032,"dynasty":54,"author":577,"museum":20,"description":3033,"tags":3034,"thumbUrl":3035,"material":67,"size":3036,"collection":382,"collections":3037,"showCount":3038,"zanCount":736,"manualWeight":48,"mainColor":94},221064,"bu-nian-tu-quan-juan-yan-li-ben-221064","步辇图全卷","此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。\n字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。\n全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。\n此卷则为千年传世之本，首尾俱全。\n卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。\n研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。\n它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。\n卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,7,24,25,28,27,106,63,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795330e305e920af26685bf0960da803.jpg","纵38.5厘米，横129厘米。",[382,2616],564,{"id":3040,"slug":3041,"title":3042,"dynasty":99,"author":100,"museum":364,"description":3043,"tags":3044,"thumbUrl":3047,"material":123,"size":139,"collection":44,"collections":3048,"showCount":3049,"zanCount":1165,"manualWeight":48,"mainColor":49},216291,"er-shi-si-xiao-tu-ce-chou-ying-216291","二十四孝图册","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[209,7,24,81,28,27,106,3045,3046,2908,299],"孩童","土墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9bda63260d3643cffa6017775670d8.jpg",[44],563,{"id":3051,"slug":3052,"title":1540,"dynasty":189,"author":1672,"museum":206,"description":3053,"tags":3054,"thumbUrl":3055,"material":381,"size":139,"collection":163,"collections":3056,"showCount":3057,"zanCount":1165,"manualWeight":48,"mainColor":94},218759,"zhu-shi-tu-ni-zan-218759","简淡笔墨勾勒出一方清寂天地。嶙峋顽石以折带皴写就，骨力暗藏；几竿瘦竹用中锋挥毫，风神毕现。坡岸以淡墨扫出，不着繁饰却有山野之旷；竹叶疏密交织，寥寥数笔便见雅趣之浓。留白处似含虚寂之气，引观者神思悠远；笔墨间尽是淡远之怀，映画家澄净本心。无喧嚣之扰，无艳色之惑，简而不薄，疏而有致，于极简中藏深致，于清寂中见真趣。尽显文人画的空灵韵致，亦为超脱尘俗的精神气象凝于纸上。",[23,7,209,24,241,173,260,245,242,1015,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a185b2b68c761e19a18f984e0eb2ee.jpg",[163],561,{"id":3059,"slug":3060,"title":3061,"dynasty":54,"author":3062,"museum":3063,"description":3064,"tags":3065,"thumbUrl":3066,"material":743,"size":744,"collection":139,"collections":3067,"showCount":3068,"zanCount":1118,"manualWeight":48,"mainColor":49},289801,"jiang-fan-lou-ge-tu-li-si-xun-289801","江帆楼阁图","李思训","台北故宫博物馆","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[23,209,7,241,26,27,28,29,107,174,106,109,1575,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7533e67426c0003e89910674d0b6ce8c.jpg",[],556,{"id":3070,"slug":3071,"title":3072,"dynasty":18,"author":645,"museum":20,"description":3073,"tags":3074,"thumbUrl":3075,"material":3076,"size":3077,"collection":42,"collections":3078,"showCount":3079,"zanCount":1165,"manualWeight":48,"mainColor":49},221294,"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[23,7,209,24,25,173,177,29,245,1015,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[42,181,163],555,{"id":3081,"slug":3082,"title":3083,"dynasty":76,"author":293,"museum":20,"description":3084,"tags":3085,"thumbUrl":3086,"material":67,"size":139,"collection":44,"collections":3087,"showCount":3088,"zanCount":5,"manualWeight":48,"mainColor":94},236173,"yin-zhen-ban-shen-xiang-zhou-yi-ming-236173","胤禛半身像轴","清朝人画的胤禛像。爱新觉罗·胤禛（1678—1735） 雍正，满族，是清朝第五位皇帝，入关后第三位皇帝，清圣祖康熙第四子，母为孝恭仁皇后，即德妃乌雅氏，1722—1735年在位，年号雍正，庙号清世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之清泰陵。",[7,106,28,27,241,63,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f705ee2f9ff7c893abe608f40192e4d.jpg",[44,45],553,{"id":3090,"slug":3091,"title":3092,"dynasty":189,"author":487,"museum":20,"description":3093,"tags":3094,"thumbUrl":3095,"material":1716,"size":3096,"collection":181,"collections":3097,"showCount":3098,"zanCount":1547,"manualWeight":48,"mainColor":94},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[23,7,24,241,173,177,29,34,176,109,37,35,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纵118.1厘米，横36.2厘米",[181,163],552,{"id":3100,"slug":3101,"title":3102,"dynasty":18,"author":3103,"museum":20,"description":3104,"tags":3105,"thumbUrl":3106,"material":665,"size":3107,"collection":42,"collections":3108,"showCount":3109,"zanCount":736,"manualWeight":48,"mainColor":49},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[23,7,24,25,26,27,29,176,34,31,107,1255,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[42,90,45],551,{"id":3111,"slug":3112,"title":3113,"dynasty":99,"author":3114,"museum":20,"description":3115,"tags":3116,"thumbUrl":3118,"material":1716,"size":3119,"collection":181,"collections":3120,"showCount":3121,"zanCount":5,"manualWeight":48,"mainColor":94},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,7,24,209,241,27,29,177,3117,864,297,1575,108,560,650,34,491,37],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纵101.7厘米，横46.7厘米。",[181,45],549,{"id":3123,"slug":3124,"title":1692,"dynasty":99,"author":100,"museum":539,"description":3125,"tags":3126,"thumbUrl":3127,"material":123,"size":3128,"collection":181,"collections":3129,"showCount":3130,"zanCount":5,"manualWeight":48,"mainColor":49},218370,"shan-shui-tu-chou-ying-218370","这幅画描绘了一座山和一个深谷，一个有学问的人看着泉水，正在乘凉，一个有学问的人抱着琵琶走在山路上，而羊群和牛郎在溪流对岸嬉戏。这是大英博物馆收藏的唯一一幅仇英的真迹，因为它在对树木、岩石和人物的描绘方面接近仇英的实际笔触。",[23,7,209,28,27,177,29,34,650,106,109,2238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc24e2d4b1b7e561820f510b15f9bc13.jpg","138.8x72.5",[181,44,45],548,{"id":3132,"slug":3133,"title":3134,"dynasty":76,"author":2083,"museum":238,"description":3135,"tags":3136,"thumbUrl":3137,"material":3138,"size":139,"collection":90,"collections":3139,"showCount":3140,"zanCount":1547,"manualWeight":48,"mainColor":94},223294,"lan-zhu-tu-zheng-ban-qiao-223294","兰竹图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[7,24,241,173,452,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681d28d4f5f08cb75a05b07ab8eceef3.jpg","水墨纸本",[90,163],547,{"id":3142,"slug":3143,"title":3144,"dynasty":99,"author":1480,"museum":206,"description":3145,"tags":3146,"thumbUrl":3148,"material":743,"size":744,"collection":44,"collections":3149,"showCount":3150,"zanCount":736,"manualWeight":48,"mainColor":94},289743,"chang-e-ben-yue-tu-zhou-tang-yin-289743","嫦娥奔月图轴","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[7,241,27,106,59,3147,300,2786,2715,86,227,758],"嫦娥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2d4be6243b39a212c3aab3031453a.jpg",[44],539,{"id":3152,"slug":3153,"title":3154,"dynasty":76,"author":3155,"museum":364,"description":3156,"tags":3157,"thumbUrl":3158,"material":139,"size":139,"collection":90,"collections":3159,"showCount":3160,"zanCount":702,"manualWeight":48,"mainColor":94},228928,"hua-hui-hu-die-tu-juan-ma-quan-228928","花卉蝴蝶图卷","马荃","此作工写相融，以没骨法绘就群蝶，翅翼薄如蝉翼，晕染出绒毛的柔润质感，墨色浓淡相宜，黑蝶沉雅莹润，白蝶清透灵动。群蝶翩跹往复，似循着花香振翅而来，各有姿态，灵动生趣。\n\n间缀芍药、佛手数处，设色柔婉秀雅，花叶舒展自然，与蝶影相映成趣，将花底群蝶相逐的春日清景缓缓铺展。引首题字娟秀端丽，书画合璧，将闺中细腻意趣融于笔底，晕开一卷悠然雅致的花间清梦。",[23,7,24,25,27,28,178,227,83,84,604,327,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[90],537,{"id":3162,"slug":3163,"title":3164,"dynasty":18,"author":293,"museum":206,"description":3165,"tags":3166,"thumbUrl":3168,"material":123,"size":3169,"collection":44,"collections":3170,"showCount":3171,"zanCount":1356,"manualWeight":48,"mainColor":49},216215,"xian-yan-shou-lu-tu-yi-ming-216215","仙岩寿鹿图",""仙岩寿鹿图" 是宋朝时期的一幅绘画作品，其作者不详。这幅作品描绘了一处神奇的山洞，里面生活着许多寿鹿。寿鹿是一种传说中的动物，身体像鹿，有着长长的寿命。在这幅画中，寿鹿被描绘成了幸福、健康、长寿的象征。整幅画浓郁的山水意境，深深地吸引着观众的眼球。",[209,7,24,241,27,28,106,59,3167,957,245,650],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44803965d1305ff70dab68b3132a40c5.jpg","117.2x61.3cm",[44],533,{"id":3173,"slug":3174,"title":3175,"dynasty":189,"author":2519,"museum":206,"description":3176,"tags":3177,"thumbUrl":3178,"material":123,"size":3179,"collection":44,"collections":3180,"showCount":3171,"zanCount":1165,"manualWeight":48,"mainColor":49},214839,"yuan-ming-gui-qu-lai-ci-tu-zhao-meng-fu-214839","渊明归去来辞图","现在的画没有标记，据说是赵孟𫖯的作品，不过画风不一样。这幅画表现的是陶渊明在两个仆人的陪同下，带着他的法杖回来，一个人拿着琴和卷轴，另一个人拿着酒坛。门前的五棵柳树清楚地表明，画中的人是五柳先生。人物的衣着是快速、流畅和有力的笔触。柳树的树干被仔细地描绘出来，线条清晰可见。这幅画还用淡墨给水和天空轻轻上色，但很明显，暮色已经退去，秋天的空气铺天盖地。",[23,7,24,25,260,27,106,394,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d284481c01c8ff3b02e261ebb31a78f.jpg","27x72.5",[44],{"id":3182,"slug":3183,"title":3184,"dynasty":18,"author":3185,"museum":578,"description":3186,"tags":3187,"thumbUrl":3188,"material":123,"size":3189,"collection":42,"collections":3190,"showCount":3191,"zanCount":510,"manualWeight":48,"mainColor":1335},218605,"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[23,209,7,24,241,259,28,27,106,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[42,44],530,{"id":3193,"slug":3194,"title":3195,"dynasty":99,"author":443,"museum":364,"description":3196,"tags":3197,"thumbUrl":3200,"material":139,"size":139,"collection":139,"collections":3201,"showCount":3202,"zanCount":994,"manualWeight":48,"mainColor":94},228763,"shui-mo-pu-tao-tu-zhou-xu-wei-228763","水墨葡萄图轴","《明徐渭山水花卉人物图》是明代画家徐渭的作品，该画为纸本、水墨，尺幅纵26.9厘米，横8.厘米。\n现藏于 。\n自书款一而：“万历戊子夏仲，偶闲，寓崇侄子云齐中，漫为捉笔，真儿戏也。\n青藤渭。\n”下钤“徐渭之印”等二方。\n另有吴俊卿、李详题跋二页。\n钤印诸方。\n该册十八页，其中画十五页，分别作写意山水人物、写生 ，内容有婴戏、对弈、 、 、稻穗螃蟹等等。\n笔墨简括豪放，随意自然。\n选其二页，可窥真趣。\n徐渭（1521~159年）明代杰出书画家、 。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[23,7,24,241,173,446,447,3198,3199,697,698,86,1147],"泼墨","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg",[],528,{"id":3204,"slug":3205,"title":1540,"dynasty":76,"author":2083,"museum":364,"description":3206,"tags":3207,"thumbUrl":3208,"material":803,"size":139,"collection":90,"collections":3209,"showCount":3202,"zanCount":1270,"manualWeight":48,"mainColor":94},220050,"zhu-shi-tu-zheng-ban-qiao-220050","郑板桥(1693-1765)，原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。康熙秀才，雍正十年举人，乾隆元年(1736年)进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为扬州八怪重要代表人物。郑板桥一生只画兰、竹、石，自称四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人。其诗书画，世称三绝，是清代比较有代表性的文人画家。",[23,7,24,241,173,446,178,227,242,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb724f394a4ef707b4419ea206b3dbdac.jpg",[90],{"id":3211,"slug":3212,"title":3213,"dynasty":18,"author":3214,"museum":206,"description":3215,"tags":3216,"thumbUrl":3218,"material":88,"size":139,"collection":44,"collections":3219,"showCount":3220,"zanCount":1165,"manualWeight":48,"mainColor":49},216963,"guan-fu-xi-ying-tu-su-han-chen-216963","灌佛戏婴图","苏汉臣","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[7,209,24,28,27,106,327,242,430,3217,313],"假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc85835c28e628810548dd2c93dbfbd.jpg",[44],525,{"id":3222,"slug":3223,"title":1756,"dynasty":204,"author":3224,"museum":364,"description":3225,"tags":3226,"thumbUrl":3228,"material":743,"size":744,"collection":139,"collections":3229,"showCount":3230,"zanCount":1118,"manualWeight":48,"mainColor":49},289890,"wan-he-song-feng-tu-ju-ran-289890","巨然","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[23,209,7,173,29,241,177,1575,558,109,108,107,649,3227],"溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg",[],523,{"id":3232,"slug":3233,"title":3234,"dynasty":76,"author":77,"museum":1637,"description":1638,"tags":3235,"thumbUrl":3238,"material":1642,"size":1643,"collection":90,"collections":3239,"showCount":3230,"zanCount":1165,"manualWeight":48,"mainColor":94},221000,"hua-hui-tu-ce-dou-hua-shi-zhu-yun-shou-ping-221000","花卉图册·豆花石竹",[23,7,24,81,82,27,83,3236,3237],"豆花","石竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e5a05a9a06168177d3bb7fda38b174.jpg",[90,45],{"id":3241,"slug":3242,"title":3243,"dynasty":76,"author":77,"museum":206,"description":3244,"tags":3245,"thumbUrl":3248,"material":317,"size":3249,"collection":90,"collections":3250,"showCount":3251,"zanCount":521,"manualWeight":48,"mainColor":94},220986,"yan-xi-yu-le-zhou-yun-shou-ping-220986","燕喜鱼乐轴","本幅以没骨法绘成，直接用色点染，再略加勾画叶脉筋络。全幅设色典雅，有脱俗的气质",[23,7,24,241,28,27,83,279,3246,3247,933,281],"柳","燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813b61c4d298e29291dcdde76707c2d.jpg","120.5×61.2",[90,45],522,{"id":3253,"slug":3254,"title":3255,"dynasty":18,"author":293,"museum":56,"description":3256,"tags":3257,"thumbUrl":3258,"material":123,"size":139,"collection":44,"collections":3259,"showCount":3251,"zanCount":1356,"manualWeight":48,"mainColor":49},214860,"mo-gu-kai-zhi-luo-shen-fu-tu-di-er-juan-yi-ming-214860","摹顾恺之洛神赋图（第二卷）","摹顾恺之洛神赋图（第二卷）是宋朝佚名画家的一幅作品。这幅画描绘了洛神，她是中国神话中的一位美丽的仙女，被认为是花的化身。洛神赋图是一组描绘洛神的图画，可能是以绘画的形式来记录洛神的故事。这幅画的风格典雅，线条流畅，色彩明快，极富表现力。",[23,105,7,25,260,27,106,502,2094,29,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e06b4414fc9a2b292ec17325cf42bd.jpg",[44],{"id":3261,"slug":3262,"title":2152,"dynasty":189,"author":293,"museum":206,"description":3263,"tags":3264,"thumbUrl":3265,"material":123,"size":3266,"collection":90,"collections":3267,"showCount":3268,"zanCount":1356,"manualWeight":48,"mainColor":49},216222,"hua-niao-tu-yi-ming-216222","一对锦鸡被描绘成在花朵和岩石间游动，而一对燕子和喜鹊则各自点缀着这一场景。雉鸡的羽毛鲜艳夺目，与盛开的鲜花交相辉映。这幅画的色彩斑斓和绚丽通过笔法的运用得到了加强。花和鸟的笔触相当细致，有一种优雅的品质。叶子的着色似乎是杂乱无章的，有几处已经模糊或剥落。这幅画没有标记，但仍有元代的题记。",[7,24,209,28,27,83,224,62,245,796,1135,226,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ce90ed3be06a8274a00daaccbc1bec.jpg","167.6x101.9cm",[90],520,{"id":3270,"slug":3271,"title":3272,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":3274,"thumbUrl":3275,"material":743,"size":744,"collection":139,"collections":3276,"showCount":3277,"zanCount":1547,"manualWeight":48,"mainColor":94},288298,"he-hua-xiao-niao-tu-zhou-zhu-da-288298","荷花小鸟图轴","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,209,7,173,241,83,243,245,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc703fe503e21b896057d755c0c416262.jpg",[],519,{"id":3279,"slug":3280,"title":3281,"dynasty":54,"author":3282,"museum":364,"description":3283,"tags":3284,"thumbUrl":3286,"material":123,"size":139,"collection":181,"collections":3287,"showCount":3277,"zanCount":510,"manualWeight":48,"mainColor":49},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[23,209,7,25,27,29,2124,1015,281,174,176,31,34,2502,3285],"小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[181],{"id":3289,"slug":3290,"title":3291,"dynasty":189,"author":1672,"museum":206,"description":3292,"tags":3293,"thumbUrl":3294,"material":342,"size":3295,"collection":181,"collections":3296,"showCount":3297,"zanCount":1270,"manualWeight":48,"mainColor":94},220794,"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，经史子集，佛道经典，他都专心阅读批校，所藏法书名画，亦悉心临学。其书法天然古淡，有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带，常领略这里秀丽清幽的湖光山色，他的画也多取材于此。\n此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，作为近景与远景之间的过渡部分则多为大片空白，不着一墨, 是为湖水。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[23,7,24,241,173,29,177,175,1015,245,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 35.5cm",[181,163],518,{"id":3299,"slug":3300,"title":3301,"dynasty":18,"author":293,"museum":364,"description":3302,"tags":3303,"thumbUrl":3304,"material":123,"size":3305,"collection":42,"collections":3306,"showCount":3297,"zanCount":5,"manualWeight":48,"mainColor":49},214257,"yu-yuan-shi-chao-tu-yi-ming-214257","御苑市朝图","御苑市朝图是一幅作者不详的宋代画作。这幅画作描绘了宋朝的市场生活。\n\n在这幅画作中，画家巧妙地捕捉了宋朝的市场生活的繁华景象。他用浓墨重彩的画法，勾勒出了市场的熙熙攘攘的场面。他还用细腻的线条勾勒出了市场中出售各种商品的商贩，让人感受到了宋朝市场的繁荣景象。\n\n此外，画家在这幅画作中还描绘了市场周围的景色。他用色彩丰富的画法，描绘了市场周围的山川和河流。这些景色与市场的繁华场面形成了鲜明的对比，让人感受到了自然与人类活动的和谐\n共存。\n\n总之，御苑市朝图是一幅精美的画作，描绘了宋朝的市场生活。它让我们感受到了宋朝市场的繁荣景象，也让我们感受到了宋朝文化的魅力。",[23,209,7,24,241,104,27,29,107,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672f72d901c08686f814955355d9dcad.jpg","107x52",[42],{"id":3308,"slug":3309,"title":3310,"dynasty":76,"author":77,"museum":206,"description":325,"tags":3311,"thumbUrl":3312,"material":123,"size":329,"collection":139,"collections":3313,"showCount":3314,"zanCount":1270,"manualWeight":48,"mainColor":94},214305,"mu-dan-ce-5-yun-shou-ping-214305","牡丹册-5",[7,24,209,81,27,28,83,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3772de09b7a0a9f5b1dbfb42e2091f.jpg",[],516,{"id":3316,"slug":3317,"title":3318,"dynasty":76,"author":850,"museum":20,"description":3319,"tags":3320,"thumbUrl":3325,"material":40,"size":3326,"collection":181,"collections":3327,"showCount":3328,"zanCount":510,"manualWeight":48,"mainColor":49},222770,"wu-rui-tu-lang-shi-ning-222770","午瑞图","这是一幅近似于欧洲静物画的作品，青瓷瓶内插着蒲草叶、石榴花和蜀葵花，托盘里盛有李子和樱桃，几个粽子散落一旁。图中的粽子、蒲草等物暗示此画是为中国的传统节日——端午节而绘制的。就构图而言，画中物品聚散有致，呈正三角形布局，给人的视觉以稳定感。而绘制方法则采用色彩深浅及光影明暗的变化展示花叶、水果和瓷瓶的立体感，尤其是瓷瓶肩部见于欧洲绘画而中国画绝无的“高光”手法，能令观者清晰地体会到西方油画的技巧。虽然画面没有落年款，但根据清内务府造办处的档案记载，此图应作于雍正十年（1732年），属郎世宁在中国的早期作品。\n作为异域来客，为了使基督教广布中国，明末清初抵华的众多传教士们采取了将东西方文化相融合，而后循序渐进地推行教义的传教策略，郎世宁无疑是一位彻底的实践者。尽管此图中他对静物的表现技法源自欧洲油画，然而其内容反映的却是蕴含华夏民族两千余年文化精髓的风俗。正是由于借助兼得中外、博取东西的折衷技巧与迎合中国皇帝趣味的题材择选，才使郎世宁成为深得雍正、乾隆两位帝王赏识、并且大加重用的西洋画家，他有为数不少的画作存世亦得益于此。",[23,7,28,27,3321,368,3322,84,713,3323,227,3324],"中西结合","青瓷","粽子","静物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cf54c3f7bd81efc6632c675afac9c4.jpg","纵140厘米，横84厘米",[181,45],514,{"id":3330,"slug":3331,"title":3332,"dynasty":189,"author":487,"museum":206,"description":3333,"tags":3334,"thumbUrl":3335,"material":88,"size":3336,"collection":181,"collections":3337,"showCount":3338,"zanCount":5,"manualWeight":48,"mainColor":94},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[7,24,241,173,27,29,109,34,176,558,106,177,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[181],512,{"id":3340,"slug":3341,"title":3342,"dynasty":76,"author":77,"museum":1637,"description":1638,"tags":3343,"thumbUrl":3344,"material":1642,"size":1643,"collection":45,"collections":3345,"showCount":3346,"zanCount":1270,"manualWeight":48,"mainColor":94},220997,"hua-hui-tu-ce-zhu-shi-tu-yun-shou-ping-220997","花卉图册·竹石图",[23,7,24,27,81,82,242,245,1064,713,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddb009d00a9d8acb3b4ebc9060d819d.jpg",[45,2293],511,{"id":3348,"slug":3349,"title":3350,"dynasty":76,"author":2083,"museum":364,"description":3135,"tags":3351,"thumbUrl":3352,"material":827,"size":3353,"collection":90,"collections":3354,"showCount":3355,"zanCount":521,"manualWeight":48,"mainColor":94},223295,"mo-zhu-zheng-ban-qiao-223295","墨竹",[23,7,241,173,86,178,242,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b02064efe84ab0f7521ea162036d0de.jpg","38*138CM",[90,163],509,{"id":3357,"slug":3358,"title":3359,"dynasty":292,"author":3360,"museum":364,"description":3361,"tags":3362,"thumbUrl":3364,"material":743,"size":744,"collection":139,"collections":3365,"showCount":3366,"zanCount":1547,"manualWeight":48,"mainColor":49},231825,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231825","花园仕女图轴","上村松园","上村松园（1875——1949）生于京都，她是明治、大正、昭和时期十分活跃的女画家，她以日本画的传统手法为基础描绘出格调高的美女画，她画的美人惟妙惟肖、出神入化，受到人们的好评。12岁小学毕业后进入日本刚刚成立不久的绘画学校。后相继师事铃木松年、幸野梅岭、竹内栖凤等大师。15岁时以作品《四季美人图》参展第三次内国劝业博览会，获得一等褒奖，被传为京都天才少女。",[23,209,7,241,28,27,106,59,3363,65,505],"枫叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5291d70d90c2e3367d896a803781d8cf.jpg",[],507,{"id":3368,"slug":3369,"title":3370,"dynasty":76,"author":77,"museum":515,"description":516,"tags":3371,"thumbUrl":3372,"material":88,"size":3373,"collection":139,"collections":3374,"showCount":3375,"zanCount":994,"manualWeight":48,"mainColor":94},216591,"ou-xiang-guan-xie-sheng-ce-3-yun-shou-ping-216591","瓯香馆写生册-3",[7,24,81,27,82,83,135,62,1062,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e60e3d8683439073039aa23e65ff0f.jpg","26x36cm",[],506,{"id":3377,"slug":3378,"title":3379,"dynasty":204,"author":2531,"museum":364,"description":3380,"tags":3381,"thumbUrl":3382,"material":743,"size":744,"collection":139,"collections":3383,"showCount":3384,"zanCount":1118,"manualWeight":48,"mainColor":1335},287714,"kuang-lu-tu-tiao-se-ban-jing-hao-287714","匡庐图（调色版）","《匡芦图》是荆浩现存作品中比较可信的真作之一，图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。",[209,7,24,241,173,29,177,649,558,34,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8ad00d8855331e31469eec858e44e4.jpg",[],505,{"id":3386,"slug":3387,"title":3388,"dynasty":99,"author":170,"museum":56,"description":3389,"tags":3390,"thumbUrl":3391,"material":803,"size":3392,"collection":139,"collections":3393,"showCount":3394,"zanCount":1270,"manualWeight":48,"mainColor":94},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[23,7,24,173,177,178,86,227,29,175,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":3396,"slug":3397,"title":3398,"dynasty":99,"author":100,"museum":206,"description":3399,"tags":3400,"thumbUrl":3401,"material":88,"size":3402,"collection":181,"collections":3403,"showCount":3404,"zanCount":1165,"manualWeight":48,"mainColor":94},218534,"zhang-xin-gong-ci-tu-chou-ying-218534","长信宫词图","以著名的隋唐宫殿连昌宫为主题的诗画轴，诗塘上都附有所谓文征明书写的宫词二十五首。此幅与院藏《画长信宫词图》的书法与画风相当近似，当属同一组四幅对。当时的作坊，喜欢绘制以仇英画、文征明题诗的合璧之作来吸引买者。重青绿描金的山水，配上楼阁人物，四幅齐挂妆点厅堂时，肯定是相当富丽华贵。此幅诗画轴可能是以仇英绘图、陆师道题诗的〈仙山楼阁〉为模仿对象，连左前方松林与其间宫殿都有相似处，只是少了原作的典雅含蓄，更强调色彩缤纷与繁复细节。活动其间的宫人，或舞蹈，或凭栏，或抚琴，或对坐闲谈，观之令人兴味盎然。",[7,28,27,26,104,29,107,176,34,114,2268,1255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纵 66.8 公分 横37.6 公分",[181],501,{"id":3406,"slug":3407,"title":3408,"dynasty":76,"author":293,"museum":20,"description":3409,"tags":3410,"thumbUrl":3414,"material":123,"size":3415,"collection":44,"collections":3416,"showCount":3404,"zanCount":5,"manualWeight":48,"mainColor":49},214678,"xiao-sheng-xian-huang-hou-chao-fu-xiang-yi-ming-214678","孝圣宪皇后朝服像","清世宗孝圣宪皇后钮祜禄氏（1693年1月1日—1777年3月2日），满洲镶黄旗人，加封一等承恩公、四品典仪官凌柱之女。\n十三岁时入侍雍亲王府邸，为雍王胤禛藩邸格格。康熙五十年生弘历，即乾隆皇帝。雍正元年封为熹妃，雍正八年封为熹贵妃。雍正十三年其子弘历（乾隆皇帝）即位，尊为圣母皇太后，上徽号曰崇庆皇太后。卒于乾隆四十二年正月二十三日，葬泰东陵。全谥为：孝圣慈宣康惠敦和诚徽仁穆敬天光圣宪皇后。\n孝圣宪皇后一生享尽了荣华富贵，她寿数之高，在清代皇太后中居于首位，在中国历代皇太后中也是极为罕见的。",[23,7,28,27,106,3411,3412,1863,3413],"龙纹","朝服","珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631a192117b99cc7e5402bb134df43bd.jpg","248.7x116.8",[44],{"id":3418,"slug":3419,"title":3420,"dynasty":99,"author":1572,"museum":206,"description":3421,"tags":3422,"thumbUrl":3423,"material":88,"size":3424,"collection":181,"collections":3425,"showCount":3426,"zanCount":1118,"manualWeight":48,"mainColor":94},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[23,7,24,241,27,29,106,178,227,28,177,864,1575,175,109,108,430,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[181,163],498,{"id":3428,"slug":3429,"title":3430,"dynasty":204,"author":2215,"museum":276,"description":3431,"tags":3432,"thumbUrl":3435,"material":342,"size":3436,"collection":181,"collections":3437,"showCount":3426,"zanCount":1165,"manualWeight":48,"mainColor":49},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,209,7,24,25,173,177,29,3433,34,649,37,174,109,3434,175],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[181,163],{"id":3439,"slug":3440,"title":3441,"dynasty":189,"author":1057,"museum":3442,"description":3443,"tags":3444,"thumbUrl":3445,"material":88,"size":3446,"collection":90,"collections":3447,"showCount":3448,"zanCount":1007,"manualWeight":48,"mainColor":94},216741,"wu-wang-zui-gui-tu-ren-ren-fa-216741","五王醉归图","上海龙美术馆","《五王醉归图》出自元代画坛巨匠任仁发之手，描绘唐玄宗登基前，与四位兄弟出游饮宴，醉后策马归途的景象。据《旧唐书》记载，唐玄宗登基前，在兴庆坊西南方置楼，常邀诸王宴饮，赋诗燕嬉，感情深厚。本幅便是描绘其身为临淄王时醉后策马的景象。画中主角包括李隆基长兄宋王李宪、二兄申王李撝、四弟岐王李范，以及五弟薛王李业，另尚有四名侍从，合乘九匹骏马。\n任仁发的画马成就，堪与同时代的赵孟頫媲美。 《五王醉归图》是其笔下罕见的纸本作品，宋笺纸质细密，包浆良好，色彩明亮；用笔轻松自然，整幅线条勾勒凝练潇洒，人马排列为平铺式构图，是唐人造型和元人用笔之结合。",[23,7,24,25,28,27,106,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3028cb21d01ead2581ac3d3aa2d0dcc1.jpg","35x368cm",[90],497,{"id":3450,"slug":3451,"title":3452,"dynasty":99,"author":100,"museum":238,"description":3453,"tags":3454,"thumbUrl":3455,"material":123,"size":3456,"collection":44,"collections":3457,"showCount":3448,"zanCount":5,"manualWeight":48,"mainColor":94},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,7,25,24,28,27,104,29,106,107,175,108,109,242,34,176,115,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[44],{"id":3459,"slug":3460,"title":2429,"dynasty":18,"author":1650,"museum":1985,"description":3461,"tags":3462,"thumbUrl":3467,"material":3468,"size":3469,"collection":42,"collections":3470,"showCount":3471,"zanCount":1118,"manualWeight":48,"mainColor":49},221665,"han-jiang-du-diao-tu-ma-yuan-221665","此画是宋代马远创作的一幅山水画。这幅画作者以严谨的铁线描，画一叶扁舟，上有一位老翁俯身垂钓，船旁以淡墨寥寥数笔勾出水纹，四周都是空白。画家画得很少，但画面并不空。反而令人觉得江水浩渺，寒气逼人。而且还觉得空白之处有一种语言难以表述的意趣，是空疏寂静，还是萧条淡泊，真令人思之不尽。这种诗—般耐人寻味的境界，是画家的心灵与自然结合的产物，在艺术上则是利用虚实结合而产生的结果。",[23,209,7,173,3463,3464,106,174,1351,3465,3466],"留白","一角构图","寒江","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4397a99a1aaf5d5a5c49c8a75c016bec.jpg","绢本，水墨淡彩","纵26.7厘米，横50.6厘米",[42,181,45],495,{"id":3473,"slug":3474,"title":3475,"dynasty":18,"author":474,"museum":206,"description":3476,"tags":3477,"thumbUrl":3479,"material":123,"size":3480,"collection":42,"collections":3481,"showCount":3471,"zanCount":994,"manualWeight":48,"mainColor":49},219194,"ci-xiong-bai-ji-tu-zhao-ji-219194","雌雄白鸡图","红冠如焰，燃亮白羽霜华。雄鸡昂首振翅，尾羽若流云舒展；雌鸡依偎身侧，软羽轻覆，尽显亲昵。枝叶舒展间，墨色淡染，衬得禽鸟生动如活。笔锋细腻处，羽丝根根分明，冠色层层晕染，既见写实功力，更含脉脉温情。素朴背景中，生灵之趣与雅致之美交融，似闻晨啼轻响，恍见晨光微熹，尽显对生命意趣的细腻捕捉与诗意表达。",[23,209,7,24,241,28,27,83,3478,299],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d30065e7ab2d7ef0ea568cb41dfe6c1.jpg","纵152横37.4cm",[42,90,45],{"id":3483,"slug":3484,"title":3485,"dynasty":99,"author":293,"museum":364,"description":3486,"tags":3487,"thumbUrl":3488,"material":743,"size":744,"collection":139,"collections":3489,"showCount":3490,"zanCount":1547,"manualWeight":48,"mainColor":1335},228413,"shui-yue-guan-yin-xiang-yi-ming-228413","水月观音像","位于法海寺大殿内的壁画 距今已有六百多年",[7,28,27,259,106,1329,281,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab14eeab9a7f06bbdb65fb5f0a0afc0.jpg",[],494,{"id":3492,"slug":3493,"title":3494,"dynasty":3495,"author":3496,"museum":206,"description":3497,"tags":3498,"thumbUrl":3501,"material":123,"size":3502,"collection":44,"collections":3503,"showCount":3504,"zanCount":1118,"manualWeight":48,"mainColor":49},220434,"liu-chao-liang-zhang-seng-yao-xue-shan-hong-shu-tu-zhang-seng-yao-220434","六朝梁张僧繇雪山红树图","南北朝","张僧繇","全幅以淡墨勾勒物象，舍弃皴法，再敷以青绿、朱红、白粉等色彩。重复出现圆弧状造型的山体，呈现一种古拙感。　本幅原题为〈六朝梁张僧繇雪山红树图〉，据唐宋史籍所载，张僧繇（活动于六世纪前半）专长以外来的凹凸画法绘制佛道人物壁画。晚明时期流传许多张僧繇的「没骨山水」，且有董其昌、蓝瑛等人的临仿作品。此幅应是晚明时期对张僧繇画风的揣摩与想像。",[7,24,241,27,29,3499,3500,108,150,106,176,34],"雪山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd533a6eb07070436caaa6f33827a741c.jpg","118x60.8",[44,45],493,{"id":3506,"slug":3507,"title":3508,"dynasty":76,"author":674,"museum":539,"description":3509,"tags":3510,"thumbUrl":3511,"material":88,"size":3512,"collection":44,"collections":3513,"showCount":3514,"zanCount":1270,"manualWeight":48,"mainColor":94},219543,"mei-ren-tu-leng-mei-219543","美人图","这幅画被称为美人画（“美人画”），传统可以追溯到唐代（618-906）周放（约730-800）的画作。 这位女士坐在质朴的座位上，手里拿着一本书。 她随意的姿势、精致的外表和透明的衣着表明冷梅可能一直在描绘一个妓女。 艺术家的技巧可以从纺织品设计的细腻渲染和帷幔的流畅线条中看出。",[23,7,28,27,106,59,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c1e3b4f1eb980004fca2e6dfb0e546.jpg","纵90 厘米横31 厘米",[44],489,{"id":3516,"slug":3517,"title":3518,"dynasty":189,"author":1848,"museum":206,"description":3519,"tags":3520,"thumbUrl":3521,"material":342,"size":139,"collection":90,"collections":3522,"showCount":3514,"zanCount":1356,"manualWeight":48,"mainColor":94},216597,"mo-zhu-pu-ce-ye-wu-zhen-216597","墨竹谱册页","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[23,7,24,209,81,173,227,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4166808e7bc40a42f776572d6d7608.jpg",[90],{"id":3524,"slug":3525,"title":3526,"dynasty":76,"author":2040,"museum":206,"description":3527,"tags":3528,"thumbUrl":3530,"material":88,"size":3531,"collection":90,"collections":3532,"showCount":3514,"zanCount":510,"manualWeight":48,"mainColor":94},216219,"bi-tao-chun-niao-tu-zou-yi-gui-216219","碧桃春鸟图","碧桃春鸟图是清朝时期画家邹一桂的一幅名作。这幅画描绘了一只翠绿色的春天鸟儿，它正在一棵桃树上欢快地唱歌。画中的色彩鲜艳，线条流畅，构图精美，反映了邹一桂独特的画风。\n\n邹一桂（1630年～1708年）是清朝时期著名的画家，也是邹氏画派的创始人之一。他的作品擅长描绘自然景观，尤其擅长画鸟。邹一桂的碧桃春鸟图被认为是他的代表作之一，并被广泛收藏和喜爱。",[7,209,3529,27,28,279,281,227],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf75f4e0b3c61e6c01028b990b23d999.jpg","29.2x21.6公分",[90],{"id":3534,"slug":3535,"title":3536,"dynasty":18,"author":1072,"museum":3537,"description":3538,"tags":3539,"thumbUrl":3540,"material":123,"size":3541,"collection":42,"collections":3542,"showCount":3543,"zanCount":994,"manualWeight":48,"mainColor":49},218635,"shan-cha-tu-wu-bing-218635","山茶图","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[7,24,209,83,28,27,839,226,698,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[42,90],487,{"id":3545,"slug":3546,"title":3547,"dynasty":76,"author":77,"museum":515,"description":516,"tags":3548,"thumbUrl":3549,"material":88,"size":139,"collection":139,"collections":3550,"showCount":3551,"zanCount":1356,"manualWeight":48,"mainColor":94},216592,"ou-xiang-guan-xie-sheng-ce-2-yun-shou-ping-216592","瓯香馆写生册-2",[7,24,209,81,27,82,710,83,279,3246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018de872e84372dbf68adb58dee36ac1.jpg",[],485,{"id":3553,"slug":3554,"title":3555,"dynasty":18,"author":645,"museum":206,"description":3556,"tags":3557,"thumbUrl":3563,"material":2398,"size":3564,"collection":42,"collections":3565,"showCount":3566,"zanCount":1547,"manualWeight":48,"mainColor":49},219426,"xue-jing-tu-guo-xi-219426","雪景图","画中主景偏右半边，雪锋层叠，陡壑悬瀑，作高远景致，其间布列茅舍、溪桥、楼阁、瀑泉、林木等。左半边则绘溪涧蜿蜒，沙渚渔舟，遥山旷渺，作平远景色。本幅无作者款印，旧以画中状似卷云皴蟹爪枝法而传为郭熙所作",[7,1397,2502,3558,3559,107,3560,1250,3561,1254,491,3562,177],"茅舍","溪桥","瀑泉","溪涧","沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64544cce922b7a6232231fd541b948a5.jpg","194.3x111.1",[42],484,{"id":3568,"slug":3569,"title":3570,"dynasty":99,"author":3571,"museum":132,"description":3572,"tags":3573,"thumbUrl":3574,"material":342,"size":3575,"collection":181,"collections":3576,"showCount":3566,"zanCount":1356,"manualWeight":48,"mainColor":94},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 是姚绥代表作之一，被认为是中国画史上的经典之作。",[23,7,24,29,173,177,241,864,430,106,175,109,245,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","101x53cm",[181],{"id":3578,"slug":3579,"title":3580,"dynasty":189,"author":293,"museum":132,"description":3581,"tags":3582,"thumbUrl":3584,"material":123,"size":3585,"collection":90,"collections":3586,"showCount":3587,"zanCount":1270,"manualWeight":48,"mainColor":49},216732,"ju-hua-xiao-niao-tu-yi-ming-216732","菊花小鸟图","菊花小鸟图 是一幅来自中国元朝时期的著名图画。这幅图画被认为是元朝时期最著名的菊花图案之一，也是当时最具代表性的艺术品之一。\n\n这幅图画中的小鸟是鸟类中常见的山雀，它们正在菊花丛中欢快地嬉戏。菊花是中国传统文化中非常重要的象征，象征着品德高尚、忠诚可靠。在这幅图画中，菊花丛与小鸟的自然互动，展现出人与自然和谐相处的美好愿景。\n\n虽然这幅图画的作者并不是众所周知的，但它仍然是元朝时期艺术史上的重要作品，在当时的艺术市场上也颇受欢迎。如今，菊花小鸟图仍然是许多人所熟知和喜爱的著名图画之一。",[23,7,28,27,83,796,3583],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8acc0d8c6d4a1dedbc8b9a6a108b16.jpg","22.5x26.6cm",[90],479,{"id":3589,"slug":3590,"title":3591,"dynasty":99,"author":1083,"museum":539,"description":3592,"tags":3593,"thumbUrl":3594,"material":88,"size":3595,"collection":44,"collections":3596,"showCount":3597,"zanCount":1547,"manualWeight":48,"mainColor":49},219532,"ma-gu-xian-shou-tu-chen-hong-shou-219532","麻姑献寿图","“麻姑献寿”是传统绘画特别是民间年画的常见题材。传说三月三日西王母寿辰，麻姑在绛珠河畔以灵芝酿酒，为王母祝寿。麻姑是神话人物，晋代葛洪《神仙传》说她是建昌人，修道于牟州东南姑余山。此画描写麻姑和侍女二人，均面相端庄美丽。麻姑一手执仙杖，杖端系有盛灵芝酒的宝葫芦，另一手执玉盘。衣纹用线钩勒粗简方折，而衣上带图案的银白色花纹却描绘得极工细匀整，既素雅又华丽，显示出人物的非凡身份和在祝寿的特定情境中对寿者(西王母)的尊敬和虔诚。麻姑身后的侍女双手捧花瓶，瓶插雪白的梅花和红艳的山茶花，与麻姑面向一致，目视前方，神情专注。",[23,7,24,241,28,27,106,59,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe811cb5aa985accd1f172e8ea3508614.jpg","190.2x104.6厘米",[44,45],478,{"id":3599,"slug":3600,"title":3601,"dynasty":76,"author":3602,"museum":364,"description":3603,"tags":3604,"thumbUrl":3606,"material":743,"size":744,"collection":139,"collections":3607,"showCount":3608,"zanCount":1007,"manualWeight":48,"mainColor":94},235526,"he-hua-liao-shi-tu-zhou-wang-wu-235526","荷花蓼石图轴","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[209,7,24,241,27,28,136,137,3605,297,1064,83],"蓼石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4adc90c09b933312107f54c136768ed.jpg",[],477,{"id":3610,"slug":3611,"title":3612,"dynasty":3613,"author":293,"museum":3614,"description":3615,"tags":3616,"thumbUrl":3618,"material":3619,"size":3620,"collection":139,"collections":3621,"showCount":3622,"zanCount":1007,"manualWeight":48,"mainColor":94},223346,"ren-wu-yu-long-bo-hua-yi-ming-223346","人物御龙帛画","周","湖南省博物馆","描绘墓主人乘龙升天的情景。此幅非衣帛画上端有竹轴，轴上有丝绳，为一幅可以垂直悬挂的幡，应是战国时期楚国墓葬中用于引魂升天的铭旌，属于非衣性质的战国晚期帛画。",[209,7,24,3617,260,106,502,933],"帛画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05743bae5cc6226f24ed9e35e6b3c675.jpg","绢本水墨淡设色","长37.5厘米、宽28厘米",[],473,{"id":3624,"slug":3625,"title":3626,"dynasty":54,"author":293,"museum":3627,"description":3628,"tags":3629,"thumbUrl":3630,"material":3631,"size":139,"collection":44,"collections":3632,"showCount":3622,"zanCount":1270,"manualWeight":48,"mainColor":49},217282,"jiang-mo-bian-dun-huang-tu-juan-yi-ming-217282","降魔变·敦煌图卷","法国国家图书馆","纤细灵动的墨线勾勒出神态各异的人物，衣袂飘举间藏着唐代绘画的潇洒韵致。残存的朱红、赭石色调虽经岁月晕染，仍可窥见当初设色的浓淡相宜。画面分段铺陈降魔故事：左侧人物群像或肃穆或专注，似在静待一场斗法开启；中间帐幔低垂，端坐者的静谧与周遭张力暗合；右侧则将神魔相搏的激烈瞬间定格，动态构图尽显情节跌宕。整幅作品以叙事性画面传递佛教义理，线条流转与情节起伏相映成趣，既是唐代佛教艺术的生动遗存，也为后世窥见当时审美与信仰世界的窗口。",[209,7,24,25,27,28,259,106,2340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a40ea02cdf882170b7ef7d5d3e495f.jpg","设色,拓本",[44],{"id":3634,"slug":3635,"title":3636,"dynasty":18,"author":645,"museum":206,"description":3637,"tags":3638,"thumbUrl":3641,"material":317,"size":3642,"collection":42,"collections":3643,"showCount":3644,"zanCount":1270,"manualWeight":48,"mainColor":49},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,209,7,24,241,173,29,107,108,3639,559,3640,227,105,177],"村居","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[42,181,163],472,{"id":3646,"slug":3647,"title":3648,"dynasty":76,"author":1109,"museum":78,"description":3649,"tags":3650,"thumbUrl":3651,"material":342,"size":3652,"collection":181,"collections":3653,"showCount":3654,"zanCount":1270,"manualWeight":48,"mainColor":49},220423,"shan-shui-qing-yin-tu-shi-tao-220423","山水清音图","该画作未明是画何地方，但从画面上来看，描绘的地方明显是黄山景色。虽是黄山景色，但却不知是哪一个黄山景色。图中峭壁大岭，飞泉湍急，新松夭矫，丛篁滴翠。水阁凉亭间，两位高士正对坐桥亭，默参造化的神机。画面上重重叠叠的坡陀峰峦，或直耸、或斜出、或横卧，把境界推向深远，右侧则以峭壁贯通天地，构造新颖。",[23,7,173,177,241,29,558,1575,176,35,109,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296cf8c8039f22c3cd7610cdf01cbd29.jpg","纵102.6厘米，横42.5厘米",[181,163],469,{"id":3656,"slug":3657,"title":3658,"dynasty":99,"author":337,"museum":206,"description":3659,"tags":3660,"thumbUrl":3661,"material":342,"size":3662,"collection":181,"collections":3663,"showCount":3664,"zanCount":1356,"manualWeight":48,"mainColor":94},214297,"kan-shu-tu-wang-fu-214297","勘书图","王绂的画风继承了元代文人画的传统，强调笔墨的情感和趣味，是明代中期吴门画派的先驱。这是一幅画，画的是溪边的一座桥，三棵树挺立着，在树木和石头之间有一个栅栏和一个小屋，还有一个隐士坐在一个开放的亭子里看书。笔法优雅，墨色丰富，是即兴创作的杰作。",[23,7,241,29,173,177,864,297,430,650,108,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04dbe837615b77e0334d33331b76db.jpg","119.8x40.1",[181],468,{"id":3666,"slug":3667,"title":3668,"dynasty":99,"author":100,"museum":206,"description":3669,"tags":3670,"thumbUrl":3671,"material":2398,"size":3672,"collection":90,"collections":3673,"showCount":3674,"zanCount":1356,"manualWeight":48,"mainColor":94},220126,"shui-xian-la-mei-tu-chou-ying-220126","水仙腊梅图","仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,7,24,28,27,83,451,1503,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c69768c6eb0147608000594b1c8c39.jpg","纵47厘米，横25厘米",[90],467,{"id":3676,"slug":3677,"title":3678,"dynasty":76,"author":3679,"museum":206,"description":3680,"tags":3681,"thumbUrl":3683,"material":88,"size":3684,"collection":90,"collections":3685,"showCount":3686,"zanCount":1356,"manualWeight":48,"mainColor":94},220335,"cao-chong-hua-hui-hu-shi-si-ping-zi-wei-ju-lian-220335","草虫花卉湖石四屏-紫薇","居廉","居廉对岭南画派的影响十分深远，岭南画派创始人高剑父、陈树人均师从居廉。“二居”所创立的十香园成为岭南画派发源之地，当时岭南绘画界八成以上的人都出自十香园门下或是经受过二居绘画艺术的熏陶，在中国美术史上垂名的杰出弟子多达三十余人。二居以革命精神开创的“撞水”、“撞粉”技法被后来者沿袭至今，二居、二高一陈富于创新的革命艺术精神更使得岭南画派开一时风气之先，在中国画坛独领风骚。",[23,7,24,83,28,27,84,603,245,697,3682,1100],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3161675f1c6cc75d7b4fb092b58090a4.jpg","113×26.5厘米",[90],464,{"id":3688,"slug":3689,"title":3690,"dynasty":99,"author":170,"museum":20,"description":3691,"tags":3692,"thumbUrl":3693,"material":619,"size":3694,"collection":181,"collections":3695,"showCount":3696,"zanCount":1118,"manualWeight":48,"mainColor":94},222112,"chun-yun-die-zhang-li-zhou-shen-zhou-222112","春云叠嶂立轴","此作曾在康熙年间被高士奇收藏，并著录于其《江村消夏录》。该作描绘万物竞发、重峦叠嶂、云蒸霞蔚、春水泛漾的春天景象。画面清新雅致，刻画细腻，具有元人画的风格。\n但此作历来有真伪之辩。《春云叠嶂图》的整体风格，似有些米家元素，虽同样横点干皴，但山峦单一，林木呆板，与沈周其他仿米真迹如《西山雨观图》相去甚远，完全不符沈周任何时期的书风。但究其题识，又非一般人所能书之。",[23,7,173,241,29,1329,176,34,109,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911a706d3e48a8c708d471d8a1448b00.jpg","纵152.2厘米，横43.2厘米",[181,163],463,{"id":3698,"slug":3699,"title":3700,"dynasty":76,"author":3701,"museum":206,"description":3702,"tags":3703,"thumbUrl":3705,"material":123,"size":3706,"collection":44,"collections":3707,"showCount":3696,"zanCount":1007,"manualWeight":48,"mainColor":94},219480,"mai-jiang-tu-yao-wen-han-219480","卖浆图","姚文瀚","这幅画是市场上卖纸浆的场景。 十个人，男女老少，聚在一起，或搅炉熬浆； 或者提着锅卖掉； 对纸浆和器物的描述细致入微。 整幅作品色彩鲜艳、干净、美观，笔触细腻牢固，人物稍有浓淡，给人立体感。",[23,7,24,27,28,106,244,120,3704,505,2953,227],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a90c6c57541d710ff9ec582ae42b876.jpg","59.3x108cm",[44,45],{"id":3709,"slug":3710,"title":3711,"dynasty":99,"author":170,"museum":3712,"description":3713,"tags":3714,"thumbUrl":3716,"material":88,"size":3717,"collection":181,"collections":3718,"showCount":3719,"zanCount":1165,"manualWeight":48,"mainColor":94},219871,"zi-sang-zhao-yin-tu-shen-zhou-219871","紫桑招隐图","印第安纳波利斯艺术博物馆","首先这是一幅长卷，长卷的意思就是从右往左，一部分一部分的展开来看，首先我们看到的是山石和树木，一派江南景色扑面而来。\n沈周的画法是吴门画派的重要代表画家，吴门画派的风格传承自元代文人画，也就是元四家、赵孟頫等人，从这幅画里我们可以明显的看到山石、水面和远景的画法有元代文人画的痕迹地面的一些处理方法又让人想到赵孟頫的秋郊饮马图。\n继续往左边展览，有人物、屋舍、舟船，最后视线进入隔岸的平远之中。明代的文人画讲究逸气，就是恬淡自然的审美情趣。整个画面简约而不简单，树木、人物、山石等元素处理妥当，构思完整而成熟，笔墨潇洒，寥寥数笔一切就跃然纸上，富有生气的同时又辽远淡泊。\n这一点和宋代严整的画院风格是不同的，文人画到了沈周这个时期，算是正式成为中国绘画的主流审美。沈周下启文征明、董其昌，董其昌又下启王时敏等明清中国正统文人山水画，无疑对后世整个中国画的面貌和发展有深远的影响。",[23,7,24,25,27,177,29,174,106,920,3715,34,109,176,1016],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[181,45],460,{"id":3721,"slug":3722,"title":3723,"dynasty":390,"author":391,"museum":20,"description":1713,"tags":3724,"thumbUrl":3725,"material":1716,"size":1717,"collection":44,"collections":3726,"showCount":3727,"zanCount":1118,"manualWeight":48,"mainColor":94},221041,"nv-shi-zhen-tu-juan-quan-juan-gu-kai-zhi-221041","女史箴图卷全卷",[23,7,24,25,260,28,106,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e325b86458ef996bbbc4b4e8cbd033.jpg",[44,163],458,{"id":3729,"slug":3730,"title":3731,"dynasty":76,"author":3732,"museum":539,"description":3733,"tags":3734,"thumbUrl":3735,"material":123,"size":139,"collection":90,"collections":3736,"showCount":3737,"zanCount":1270,"manualWeight":48,"mainColor":49},219036,"mu-dan-yu-lan-tu-jiang-ting-xi-219036","牡丹玉兰图","蒋廷锡","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[23,7,24,83,28,27,327,417,224,62,2302,1003,176,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[90],456,{"id":3739,"slug":3740,"title":1540,"dynasty":189,"author":3741,"museum":20,"description":3742,"tags":3743,"thumbUrl":3744,"material":88,"size":3745,"collection":90,"collections":3746,"showCount":3737,"zanCount":1547,"manualWeight":48,"mainColor":49},214307,"zhu-shi-tu-li-kan-214307","李衎","这幅画中的竹子被整齐而优雅地画上了双色的轮廓，显示了大自然在春天的重生，老竹子旁边有两棵新竹子，让人想起雨后发芽的春笋。山坡上的悬崖被涂成漂亮的厚重的黑色，以突出形成的角落，岩石后面的小竹子和野树增加了多样性。",[23,209,7,24,241,173,177,242,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05faafdaaa730a5ac24d211025a2689.jpg","185.5x153.7",[90],{"id":3748,"slug":3749,"title":3750,"dynasty":18,"author":1827,"museum":206,"description":3751,"tags":3752,"thumbUrl":3754,"material":67,"size":3755,"collection":42,"collections":3756,"showCount":3757,"zanCount":510,"manualWeight":48,"mainColor":49},221490,"hua-lan-tu-li-song-221490","花篮图","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注由此跃然于绢上。",[23,209,7,24,81,28,27,83,244,3753,327,1135,84,698],"花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","26.1 x 26.3公分",[42,90,45],454,{"id":3759,"slug":3760,"title":3761,"dynasty":99,"author":1572,"museum":78,"description":3762,"tags":3763,"thumbUrl":3764,"material":123,"size":139,"collection":44,"collections":3765,"showCount":3766,"zanCount":1165,"manualWeight":48,"mainColor":271},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[23,7,24,25,27,29,106,34,920,1575,86,178,227,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg",[44,181],452,{"id":3768,"slug":3769,"title":3770,"dynasty":18,"author":351,"museum":206,"description":3771,"tags":3772,"thumbUrl":3773,"material":27,"size":3774,"collection":45,"collections":3775,"showCount":3776,"zanCount":510,"manualWeight":48,"mainColor":49},219050,"zhen-guo-tu-qian-xuan-219050","珍果图","果篮静卧素绢间，缠枝纹饰与环扣精巧，线条婉转如流泉绕石。篮中珍果错落，桃实丰腴带粉晕，叶瓣脉络分明，翠色欲滴处间杂赭红，似凝着晨露的润意。叶片边缘微卷，若有风过轻颤。色彩晕染细腻却不艳俗，绢本的古雅底色衬得果物愈发温润。笔触工致中藏文人清逸，无匠气之拘，寻常果实成诗中意象，藏宋人的生活雅趣与自然观照。细节处见沉静美感，如摩挲旧物，触得到时光沉淀的温润。每一笔都似含着慢时光里的用心，将日常小景绘成耐品的雅致画卷。",[23,209,7,28,27,713,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae85b115ae664ba777870700c2dcc5d.jpg","25.6x26.3",[45],451,{"id":3778,"slug":3779,"title":3780,"dynasty":76,"author":1109,"museum":752,"description":1265,"tags":3781,"thumbUrl":3782,"material":88,"size":139,"collection":90,"collections":3783,"showCount":3776,"zanCount":5,"manualWeight":48,"mainColor":94},218128,"qiu-shui-he-ye-tu-shi-tao-218128","秋水荷叶图",[23,7,24,209,81,173,27,446,243,137,1862,300,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfdd37fcf60f013839a1cf9ac9c4700.jpg",[90],{"id":3785,"slug":3786,"title":3787,"dynasty":189,"author":2519,"museum":20,"description":3788,"tags":3789,"thumbUrl":3791,"material":3792,"size":3793,"collection":382,"collections":3794,"showCount":3795,"zanCount":702,"manualWeight":48,"mainColor":94},220855,"luo-shen-fu-zhao-meng-fu-220855","洛神赋","赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”",[23,209,7,24,25,178,86,3790,227],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7597768b3ca40f9e0dc49b46194d249f.jpg","纸本，行书","纵29厘米，横220.9厘米。",[382],449,{"id":3797,"slug":3798,"title":3799,"dynasty":18,"author":1650,"museum":78,"description":3800,"tags":3801,"thumbUrl":3804,"material":123,"size":139,"collection":42,"collections":3805,"showCount":3795,"zanCount":1356,"manualWeight":48,"mainColor":49},218567,"song-xia-xian-yin-tu-ma-yuan-218567","松下闲吟图","老松盘枝如铁铸，松针以浓墨攒簇，垂藤轻曳间，苍劲里藏着几分柔韵。松下石畔，素衣人斜倚，似在沉吟——案上无纸笔，却有松风满袖为侣。右侧疏林瘦石，一抹飞影掠过天际，是归鸟还是流云？留白处，天地俱寂。线条简劲见筋骨，墨色浓淡相衬，将文人的清寂与旷达，凝入这方圆幅。不必喧嚣，不必繁复，只这松、这人、这飞影，便足以让时光放缓，与山水对吟。",[209,7,1562,173,106,449,245,281,175,3802,3803],"清寂","旷达","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d58c27d08d4106d2ba29dc444462bf0.jpg",[42],{"id":3807,"slug":3808,"title":3809,"dynasty":99,"author":443,"museum":1806,"description":3810,"tags":3811,"thumbUrl":3813,"material":803,"size":3814,"collection":181,"collections":3815,"showCount":3816,"zanCount":48,"manualWeight":48,"mainColor":49},222233,"za-hua-tu-xu-wei-222233","杂花图","《杂花图》是明代画家徐渭所创作的一幅泼墨画，纸本作品，是南京博物院18件镇馆之宝中唯一一件书画作品。画中分别将牡丹、石榴、荷花，梧桐、菊花、北瓜、扁豆、紫薇、紫藤、芭蕉、梅、兰、竹共计十三种花卉绘于一卷。\n《杂花图卷》是徐渭传世的佳作，在这卷十余米的长卷中，徐渭以酣畅淋漓的“胶墨”分别绘制了牡丹、石榴、梧桐、菊花、南瓜、扁豆、紫薇、紫藤、芭蕉、梅兰竹等13种花卉蔬果。徐渭以其疾飞狂扫的豪放气势，纵横挥洒，信笔涂抹：画中牡丹含羞沾露，占尽风流；硕荷、梅兰、修竹、榴枝，笔触歪斜正侧，跌来倒去，随意点染，自如流畅。作紫藤逸笔草草、洋洋洒洒。忽而，又如狂风乍起，点线飞舞，纵横密集，线条速急癫狂。顷刻，笔住墨涸，嘎然而止，墨彩纷呈，留下满纸斑斓。体现了他用笔峭拔劲挺多变与用墨洒脱自如的艺术风格。画中尽显着交响乐一般波澜起伏的宏大乐章。时隔4个世纪，画中依然显出墨迹淫淫的湿润感。\n《杂花图》卷，全图以牡丹起首，按牡丹象征富贵，这与徐青藤的身世相左，故而他一变旧法而改以泼墨写牡丹“虽有生意，终不是此花真面目”，在这枝墨牡丹上我们确实很难寻找富贵的痕迹了。紧接着石榴一枝，充分体现了他用笔的灵动，而墨荷：则重在展示墨彩的缤纷 。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,7,24,25,173,447,86,327,1299,136,2907,796,2248,3812,3682,3199,242],"扁豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","1053.5X30厘米",[181,163],448,{"id":3818,"slug":3819,"title":3820,"dynasty":189,"author":351,"museum":752,"description":3821,"tags":3822,"thumbUrl":3823,"material":88,"size":3824,"collection":44,"collections":3825,"showCount":3816,"zanCount":994,"manualWeight":48,"mainColor":94},220289,"yang-gui-fei-shang-ma-tu-qian-xuan-220289","杨贵妃上马图","《杨贵妃上马图》描绘唐玄宗与贵妃杨玉环准备出游的情景，玄宗骑马在前，回头望着贵妃，贵妃在两侍女协助下正往马鞍上爬，娇态毕现。\n作品构图接近唐代，人物分组而呈错落有致的横向排列，以人物间的顾盼联系各段，将全画串联起来，犹同舞台效果。\n《杨贵妃上马图》收录于《石渠宝笼续编·御书房》，画卷上现在仍可以清楚看到“御书房鉴藏宝”、“乾隆御览之宝”、“嘉庆御览之宝”等印，居中位置可看到“宣统御览之宝”的字样。说明一直为皇室所收藏，但不见《佚目》记载，未便肯定为《佚目》外的“东北货”。清王朝覆灭后，“末代皇帝”溥仪对故官藏画进行整理时，此画还在官中。后来随着太监的盗卖、溥仪对弟弟溥杰的“赏赐”以及其他流失途径，流出宫外，为湖州张珩购得，后经其叔张叔驯携带到美国出售他人，此画便流出国门，后进入美国弗利尔美术馆。",[23,7,24,25,28,27,106,59,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff618d905a3604488c129f373b3e069d1.jpg","纵29.5厘米，横117厘米",[44,45],{"id":3827,"slug":3828,"title":3829,"dynasty":76,"author":3830,"museum":539,"description":3831,"tags":3832,"thumbUrl":3833,"material":123,"size":139,"collection":44,"collections":3834,"showCount":3816,"zanCount":736,"manualWeight":48,"mainColor":49},219574,"tian-nv-san-hua-tu-xu-mei-219574","天女散花图","徐玫","此作中天女身姿婉柔，发髻轻簪雅饰，宽袖长裙随云舒卷，衣带如流风回雪，将凌虚而行的轻盈尽显。她手托花盏，眉目低垂含婉，似正将满捧花雨播向凡尘。细劲灵动的墨线勾勒仙袂翩跹的柔美，淡彩晕染裙间纹饰，古旧绢底晕开朦胧云霭，愈衬得天女出尘脱俗，仿佛携着缥缈仙气自云间缓步而来，将神女温婉端丽与飘逸灵动融为一体，尽显清丽秀雅的仕女画格调，余韵悠然绵长。",[23,7,24,241,28,27,106,59,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c2b641db2cfe3c536c5c9f958366b5.jpg",[44,45],{"id":3836,"slug":3837,"title":3838,"dynasty":99,"author":293,"museum":206,"description":3839,"tags":3840,"thumbUrl":3843,"material":123,"size":3844,"collection":44,"collections":3845,"showCount":3816,"zanCount":736,"manualWeight":48,"mainColor":49},214833,"ru-bi-tu-yi-ming-214833","入跸图","这是一幅皇帝扫墓的画，队伍从左到右，沿着水路往回走，战车和卫兵，以及大部分不能坐船的羽林军，沿着岸边行驶。从这幅画的特点和个别地理位置来看，这幅画中的皇帝不是别人，正是明朝的皇帝朱翊钧。明神宗是一位在历史上有很大争议的皇帝，但这幅画还是清楚地表明了明朝当时处于权力的巅峰。",[23,209,7,25,28,27,106,107,34,113,263,3841,3842],"皇家出行","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f5863d9951f963431189cd4b5e922e.jpg","92.10x3003.6",[44],{"id":3847,"slug":3848,"title":3849,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":3851,"thumbUrl":3852,"material":139,"size":139,"collection":90,"collections":3853,"showCount":3854,"zanCount":1547,"manualWeight":48,"mainColor":94},238119,"zi-teng-mu-dan-zhou-wu-chang-shuo-238119","紫藤牡丹轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[7,27,83,135,327,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfc622729b6d71aea89e743af379a39.jpg",[90,45],447,{"id":3856,"slug":3857,"title":3858,"dynasty":18,"author":812,"museum":364,"description":3859,"tags":3860,"thumbUrl":3861,"material":139,"size":139,"collection":139,"collections":3862,"showCount":3854,"zanCount":5,"manualWeight":48,"mainColor":49},231852,"song-hui-zong-ti-hua-niao-tu-zhao-chang-231852","宋徽宗题花鸟图","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。\n赵昌，字昌之，北宋时期（公元11世纪)，广汉剑南（今四川剑阁之南）人，生卒年不详。性情爽直高傲，刚正不阿。时州伯邵牧争求笔迹，不肯轻与。\n工书，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后过其艺，亦效徐崇嗣“没骨法”，常于清晨朝露未干，围绕花圃观察花木神态，调色描绘，自号“写生赵昌”。当时盛行厚彩重色，而赵昌所作一片平滑，明润匀薄，活色生香。真宗大中祥符（1008-1016）间，声誉益隆。丁朱崖奉白金五百为寿，昌感其意，亲往谢之。此时，朱崖邀其至东阁，求画生菜数窠及烂瓜生果等，昌挥笔遽成而去。晚年其自矜所作，往往深藏不市，若见自家画作流落市井，则复自购以归之，故世罕传。",[23,7,24,241,28,27,83,448,242,224,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4595cc6a353626e75beccdda5e1c00e.jpg",[],{"id":3864,"slug":3865,"title":3866,"dynasty":76,"author":1109,"museum":752,"description":1265,"tags":3867,"thumbUrl":3868,"material":88,"size":139,"collection":90,"collections":3869,"showCount":3870,"zanCount":1165,"manualWeight":48,"mainColor":94},218131,"tao-hua-zhu-zhi-tu-shi-tao-218131","桃花竹枝图",[23,7,24,83,173,27,279,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae9fc9a5c2869c1270ee768459d876.jpg",[90],446,{"id":3872,"slug":3873,"title":3874,"dynasty":76,"author":293,"museum":364,"description":3875,"tags":3876,"thumbUrl":3877,"material":123,"size":139,"collection":44,"collections":3878,"showCount":3870,"zanCount":1165,"manualWeight":48,"mainColor":49},216695,"hong-lou-meng-fu-tu-ce-yi-ming-216695","红楼梦赋图册","疏朗庭院间，虬枝松叶覆半面轩窗，雕花棂格透出彩绸轻曳。廊下女子或凭栏低语，或执扇凝眸；阶前二人衣袂相叠，似在话叙家常。坡上苔石生绿，丛花点染胭脂色，远处水榭隐于烟柳后，添几分悠远。淡彩晕染的笔触细腻勾勒园林景致，将红楼女儿的闲雅日常融于其间。温婉氛围如轻烟绕梁，既见深宅里的温柔情致，又藏着一丝难以言说的怅惘，似在静静诉说着那些藏于书页间的细腻心事。",[23,7,24,81,28,27,106,59,107,175,430,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf370b172b95445b5b66d2705d0e226e.jpg",[44],{"id":3880,"slug":3881,"title":2470,"dynasty":189,"author":293,"museum":56,"description":3882,"tags":3883,"thumbUrl":3884,"material":123,"size":3885,"collection":90,"collections":3886,"showCount":3870,"zanCount":994,"manualWeight":48,"mainColor":49},215142,"mo-mei-tu-yi-ming-215142","墨梅图是元朝时期的一幅名画，作者是佚名。这幅画描绘了一棵梅花树，梅花盛开，瓣瓣舒展，散发出浓浓的花香。画面上有几只蝴蝶，它们在梅花树周围飞舞，与花朵相互辉映。整幅画清新淡雅，浓轻相宜，富有诗意。墨梅图是中国古代山水画的典范之作，在历史上有很高的艺术价值。",[7,24,173,83,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f7caa3d46ac3b4a7bc205ebabf73b9.jpg","24.4x20.3cm",[90],{"id":3888,"slug":3889,"title":3890,"dynasty":18,"author":1616,"museum":20,"description":3891,"tags":3892,"thumbUrl":3893,"material":123,"size":3894,"collection":181,"collections":3895,"showCount":3896,"zanCount":1165,"manualWeight":48,"mainColor":49},218443,"qiu-lin-guan-quan-tu-li-tang-218443","秋林观泉图","这幅画描绘了峡谷口水流湍急，两岸岩石嶙峋，两个高士坐在水边的斜岩上，静静地看着山泉流淌。倾斜的岩石都用强烈的笔触凿出，体现出岩石坚硬的质地；森林茂密，不留缝隙，显示出浓郁的树荫。画家用画笔画出了树叶，强调了色彩。坡上和水中的落叶点缀了秋景。",[23,7,24,25,173,27,29,1446,109,176,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccc94015347c81f6c539b56469c6225.jpg","24.7x112.3cm",[181],445,{"id":3898,"slug":3899,"title":3900,"dynasty":76,"author":1109,"museum":78,"description":3901,"tags":3902,"thumbUrl":3904,"material":88,"size":3905,"collection":44,"collections":3906,"showCount":3907,"zanCount":1165,"manualWeight":48,"mainColor":94},220358,"xi-yuan-ya-ji-tu-juan-shi-tao-220358","西园雅集图卷","此长图景物繁复。庭园中芳草如茵，劲松盘根虬曲，柳树成荫，石桥流水，曲径通幽，清溪深处翠荫茂密，处处雅静怡人。此图布局严密，繁而不乱，密而不塞。通过作者苦心经营，将诸多不同人物、树木、山石、草木、花木及一些陈设，巧妙地统一在这幅长卷中。全卷结构井然有序，运思精妙，布局停匀。通卷虽不留空白，而疏密有致。\n全图共写人物24人，神态不一，衣着各异，人物组合有疏有密，却与空间的景物浑然一体。人物形象均以墨线勾写，几乎全为白描，设色淡雅，衣纹等看似信笔率意而成，实则深具功力，笔笔送到。人物形象逼真生动，有的造形略有夸张。总体来说，此画用笔淋漓纵率之中显得工致缜密，沉着痛快，墨色浓淡得宜。人物俱用细笔，所谓一种“细笔石涛”，精气逼人。山石、松木、芭蕉等，均在工写之间，形象精到，而又意趣动人。故此画不但是石涛的代表作，更是清代人物画发展中的精品。",[23,209,7,24,25,27,177,106,29,108,109,430,431,3903],"桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f5d3c589f09a558783d6079a9170b7.jpg","纵36.5厘米，横328厘米",[44,45],443,{"id":3909,"slug":3910,"title":3911,"dynasty":18,"author":474,"museum":20,"description":3912,"tags":3913,"thumbUrl":3914,"material":67,"size":3915,"collection":42,"collections":3916,"showCount":3917,"zanCount":1118,"manualWeight":48,"mainColor":49},221345,"fu-rong-jin-ji-tu-zhao-ji-221345","芙蓉锦鸡图","作为独立的画科，宋代的花鸟画无论在绘制技巧还是表现形式方面都已经达到高度的艺术水准，《芙蓉锦鸡图》便是其中的一幅精品。此图是描绘金秋景色的花鸟画作。图中芙蓉盛开，随风轻轻颤动，蝴蝶翩跹，相互追逐嬉戏，引得落在枝上的锦鸡回首凝视，目不转睛。本幅右上宋徽宗赵佶以瘦金体题“秋劲拒霜盛，峨冠锦羽鸡。已知全五德，安逸胜凫鹥”，右下书款“宣和殿御制并书”，草押书“天下一人”。鸡在中国向有“德禽”之称，《韩诗外传》载：“鸡有五德：头戴冠者，文也；足搏距者，武也；敌在前，敢斗者，勇也；见食相呼者，仁也；守夜不失者，信也”，可见其文武兼备、仁勇俱存、信守专一的性格为世人所激赏，难怪才艺绝代的一代帝王也会留下“已知全五德，安逸胜凫鹥”的诗句，流露出对安逸高贵之品格的赞许，由此体现了中国花鸟画的人文寓意。\n目前流传于世题为赵佶的作品中，艺术风格呈现出工致细丽与简朴生拙两种迥然有别的面目，工致细丽者如《芙蓉锦鸡图》、《腊梅山禽图》（台北故宫博物院藏）等，简朴生拙者如《柳鸦图》（上海博物馆藏）、《枇杷山鸟图》等。通过笔墨风格的比较分析，徐邦达先生指出前者不是赵佶所作，而是画院画家的作品，后者则为他的亲笔画迹，这一观点为多数艺术史研究者所认同。此外，现存记载南宋宫廷藏画的《南宋馆阁续录》卷三将此画列入与“御画”并列的“御题画”一类，表明《芙蓉锦鸡图》仅仅是由赵佶亲笔题诗的一幅花鸟画，并非其本人绘制。所以说，尽管图上有赵佶的题字，但此图作者却是一位没有留下姓名的画院高手。\n作为中国历史上最为关注艺事、醉心书画的帝王，宋徽宗赵佶在位期间广收名画巨迹，编纂皇家绘画收藏的书画著录——《宣和书谱》与《宣和画谱》，建立翰林图画院并完善其制度，还依据自己的审美观念亲自指导画院画家的学习与创作。关于绘画创作，赵佶在注重对被描绘对象细致入微的再现的同时，还要求画面蕴含诗歌的意境，令人观之有回味无穷的艺术体验，《芙蓉锦鸡图》无疑完美地体现出这位极具艺术修养的皇帝的美学思想。全图所用双钩法线条细劲，不仅花卉枝叶和锦鸡造型准确，芙蓉为锦鸡所压的低垂摇曳之态也能如实体现，加之色彩晕染得层次清晰，浓淡相宜，富丽堂皇中蕴涵端庄典雅的气质，堪称“形神兼备，曲尽其妙”。就构图而言，画幅左侧集中着芙蓉、锦鸡，与右上轻盈飞舞的蝴蝶遥相呼应，使得错综的布局显得密中见疏，揖让有度。以清瘦劲健的笔体写就的诗文和精致艳丽的图画更是互为辉映，相得益彰。",[23,7,209,24,28,27,83,450,1586,604,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05bfe5492760fd3a258b75e61f1a62fd.jpg","纵81.5厘米，横53.6厘米",[42,90,45],442,{"id":3919,"slug":3920,"title":3921,"dynasty":189,"author":487,"museum":132,"description":488,"tags":3922,"thumbUrl":3923,"material":342,"size":139,"collection":139,"collections":3924,"showCount":3917,"zanCount":48,"manualWeight":48,"mainColor":94},214577,"shan-shui-ce-2-wang-meng-214577","山水册-2",[209,7,24,81,173,177,29,394,176,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff325b98c3fa5098a784a9932e0c4b3b3.jpg",[],{"id":3926,"slug":3927,"title":3928,"dynasty":18,"author":3929,"museum":20,"description":3930,"tags":3931,"thumbUrl":3932,"material":123,"size":3933,"collection":42,"collections":3934,"showCount":3935,"zanCount":1356,"manualWeight":48,"mainColor":49},214887,"zhao-ling-liu-jun-tu-zhao-lin-214887","昭陵六骏图","赵霖","这幅画以唐太宗昭陵的六匹骏马为蓝本，分为六个部分，每个部分都有一匹马，并在侧面写有铭文。马匹的形状忠实于原作，但也注意到了画作的优势，通过有力的笔触和微妙的色彩，使马匹的皮毛更加逼真自然，战马驰骋疆场的雄姿也被生动地描绘出来。无论他们是奔跑、跳跃、行进还是站立，他们都被充分展现出来。",[23,7,24,25,28,27,105,150,957,106,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d6aa1f7279d174f484a829d34cfa3.jpg","27.4x444.2",[42],441,{"id":3937,"slug":3938,"title":3939,"dynasty":18,"author":1035,"museum":3940,"description":3941,"tags":3942,"thumbUrl":3943,"material":123,"size":3944,"collection":90,"collections":3945,"showCount":3946,"zanCount":1165,"manualWeight":48,"mainColor":49},219064,"shuang-long-xi-hai-tu-chen-rong-219064","双龙戏海图","圣路易斯艺术博物馆","绢本苍褐的底色上，云雾如墨烟般晕散，两条巨龙腾跃其间。上方龙身盘旋，鳞爪劲健，昂首欲飞；下方龙潜于汹涌浪涛，尾摆鳍张，与翻卷的浪花嬉戏。海浪以细腻线条勾勒，层层叠叠如奔雷涌动，龙鳞的纹理、龙须的飘逸皆刻画入微。整幅画将龙的威严与海的壮阔融于一体，云雾的虚渺与浪涛的实感相映，既见神兽的灵动神韵，又显自然的磅礴气势，笔墨间尽是沉雄与细腻的交织，意境深远，引人叹服。",[23,7,24,241,27,502,1330,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbee6e92aaf60e4d5ceb8d3fada746dc.jpg","纵135.2cm横84cm",[90],438,{"id":3948,"slug":3949,"title":3950,"dynasty":189,"author":487,"museum":132,"description":3951,"tags":3952,"thumbUrl":3954,"material":342,"size":3955,"collection":181,"collections":3956,"showCount":3946,"zanCount":1356,"manualWeight":48,"mainColor":94},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","远处的山峰高高耸立，山泉从远处汇聚到山脚下，山间的小路崎岖起伏，河滩上人影绰绰。这幅画仍然是王蒙一贯的风格，山水繁复，皴擦繁复，不乱，体现了山林的氤氲，苍茫的景观。",[7,209,24,1397,173,177,29,34,3953,175,108,109,176,37,2268,38],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[181],{"id":3958,"slug":3959,"title":3960,"dynasty":76,"author":953,"museum":20,"description":3961,"tags":3962,"thumbUrl":3965,"material":88,"size":3966,"collection":90,"collections":3967,"showCount":3968,"zanCount":1547,"manualWeight":48,"mainColor":94},219288,"mu-dan-bai-tou-tu-ren-yi-219288","牡丹白头图","任颐（1840—1896），字伯年，别号山阴道上行者，清末著名画家。浙江绍兴人，寓居上海，以卖画为生，与任熊、任熏、任预并称为“海上四任”，是“海上画派”中成就最为突出者。他的绘画吸收了民间艺术的技法，人物、肖像、山水、花鸟无不精工。\n其人物画早年师法陈洪绶，造型夸张，装饰效果强，后变得较为奔逸。其花鸟画早年师法北宋诸家，后融汇了恽派、陈淳、徐渭、朱耷的写意画法，又吸收了西方水彩绘画的色调，设色淡雅，格调清新明快，对近现代花鸟画产生了深远的影响。",[23,7,24,241,27,3963,83,327,3964,245,1062,62,224,298],"兼工带写","白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31c3984c898ba3c385fce26f73cd95b.jpg","纵133.5cm，横64.8cm",[90,45],437,{"id":3970,"slug":3971,"title":1479,"dynasty":76,"author":3972,"museum":206,"description":3973,"tags":3974,"thumbUrl":3975,"material":88,"size":3976,"collection":44,"collections":3977,"showCount":3968,"zanCount":521,"manualWeight":48,"mainColor":94},214713,"sui-chao-tu-jin-ting-biao-214713","金廷标","它描绘了孩子们在梅花盛开的院子里玩耍的情景。根据乾隆对这首诗的题词，这似乎是一个训诫。",[209,7,24,27,28,106,3045,108,313,34,298,84,115,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7359c4847fbcbefede1de57ca93a09.jpg","96x65.9",[44],{"id":3979,"slug":3980,"title":3981,"dynasty":204,"author":414,"museum":78,"description":3982,"tags":3983,"thumbUrl":3985,"material":381,"size":3986,"collection":90,"collections":3987,"showCount":3988,"zanCount":1270,"manualWeight":48,"mainColor":1335},220365,"xue-zhu-tu-xu-xi-220365","雪竹图","描绘江南雪后严寒中的枯木竹石。石后三竿粗竹挺拔苍劲，其旁有弯曲和折断了的竹竿，又有一些细嫩丛杂的小竹参差其间，更觉情趣盎然、生机勃勃。此图无款识。画中大石右侧的竹竿上，有篆书体倒写“此竹价重黄金百两”八字。此画以线条墨色为主，工整精微而写实，构图新颖，层次丰富，为五代的佳作。",[23,204,7,209,24,3984,28,173,242,431,430,2124],"落墨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22b918bbfe1d12ce62c14f33a7c8f3a.jpg","纵151.1厘米，横99.2厘米",[90],436,{"id":3990,"slug":3991,"title":3992,"dynasty":18,"author":2142,"museum":364,"description":3993,"tags":3994,"thumbUrl":3998,"material":743,"size":744,"collection":139,"collections":3999,"showCount":4000,"zanCount":1356,"manualWeight":48,"mainColor":49},283686,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生长着木叶尽脱的寒树。此画取景集中，以枯树、石碑和人物构成画面的主体，颇有荒寒冷寂的气氛。树枝以细线勾勒，再用墨染，枝干皆作“蟹爪”状，纵横交错，有苍劲之感。坡石为侧笔所绘的圆润而少有皴擦的线条构成，此为后世称之的“卷云皴”。枯树与石碑的组合，强化了幽凄惨澹的环境气氛，暗示出对遥远历史中那辉煌繁华往事的追忆。",[209,7,173,29,1015,245,106,177,3995,3996,3997],"荒寒","孤寂","读碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1d93dc2ab3cb636e2aed48546013ef.jpg",[],435,{"id":4002,"slug":4003,"title":4004,"dynasty":76,"author":4005,"museum":675,"description":4006,"tags":4007,"thumbUrl":4009,"material":67,"size":4010,"collection":90,"collections":4011,"showCount":4012,"zanCount":1118,"manualWeight":48,"mainColor":94},222678,"si-ji-hua-niao-tu-ping-chen-mei-222678","四季花鸟图屏","陈枚","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,7,24,28,27,327,281,4008,226],"绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b9c1625db6482ffad4734737f73a34.jpg","139X41CM",[90],434,{"id":4014,"slug":4015,"title":4016,"dynasty":189,"author":1848,"museum":20,"description":4017,"tags":4018,"thumbUrl":4019,"material":3076,"size":4020,"collection":44,"collections":4021,"showCount":4012,"zanCount":1270,"manualWeight":48,"mainColor":94},220778,"yu-fu-tu-wu-zhen-220778","渔父图","《渔父图》画远山丛树，流泉曲水，老树平坡。坡旁溪水一泓，小舟闲泊。一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。坡旁水泽，小舟闲泊。一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。”",[23,7,24,173,177,29,174,1351,430,109,176,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b62bd0e9cbfbeeae4460213b63e1fd.jpg","纵84.7厘米，横29.7厘米",[44,163],{"id":4023,"slug":4024,"title":4025,"dynasty":189,"author":487,"museum":206,"description":4026,"tags":4027,"thumbUrl":4028,"material":803,"size":4029,"collection":181,"collections":4030,"showCount":4031,"zanCount":5,"manualWeight":48,"mainColor":49},220815,"shan-shui-zhou-wang-meng-220815","山水轴","全画以高远法构图，崇山峻岭于雄奇中内具空灵之貌，山石与树木间开合有度，于多变的虚实呼应中构筑出丰厚华滋的气象",[23,7,241,173,29,177,176,34,108,109,175,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad77a15bec8b64335a9ac63c01ea4f87.jpg","该幅 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[1] 该画是中国现存最古老的帛画。",[7,24,65,260,27,106,502,4113],"凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875bb7f0c8c432a8d3b746c93c5ec5bd.jpg","绢本淡设色","纵31.2厘米，横23.2厘米",[],421,{"id":4120,"slug":4121,"title":4122,"dynasty":18,"author":2007,"museum":364,"description":4123,"tags":4124,"thumbUrl":4125,"material":665,"size":4126,"collection":42,"collections":4127,"showCount":4118,"zanCount":5,"manualWeight":48,"mainColor":49},221183,"mei-zhu-tu-ye-2-ma-lin-221183","梅竹图页2","画幅构图空灵简逸，笔墨勾勒韵染逼真，敷彩凸凹清丽雅洁。深绿沉厚的双钩竹叶润染，更凸显出雪白洁净的梅花。寒梅数枝，绿竹穿行，劲挺横斜，偃仰扶疏，笔墨虚实，极具工致灵动之妙。",[23,209,7,24,81,28,27,83,448,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f445c4f5d50251bdb395a7dcb9cb889.jpg","26.5×26厘米",[42,90,45],{"id":4129,"slug":4130,"title":4131,"dynasty":189,"author":190,"museum":1806,"description":4132,"tags":4133,"thumbUrl":4135,"material":342,"size":4136,"collection":181,"collections":4137,"showCount":4118,"zanCount":1165,"manualWeight":48,"mainColor":94},218260,"shui-ge-qing-you-tu-huang-gong-wang-218260","水阁清幽图","《水阁清幽图》画的是深山隐居之景。整幅画可分为远近两部分，景物以云气间隔。近景描绘一山间溪流从远处密林中涓涓而来，溪口有三座房子，房前有平台。溪流两岸，坡石层叠，树木成林，葱郁茂盛。山谷之间，云气弥漫，其后远景中一主峰耸立，形状如蹲似踞，两旁低峰回护，前伸山顶平台，使远近之景相互呼应。\n《水阁清幽图》画面右上角署款“大痴道人平阳黄公望画于云间客舍，时年八秩有一”，钤“黄氏子久”白文方印和“一峰道人”朱文方印。画面右侧另钤有梁清标“苍岩子”“蕉林居士”鉴藏印，右上有王时敏“西田”朱文印和王撰“颛菴”印及“董光裕印”白文方印各一枚。",[7,24,173,177,241,29,864,297,34,4134,35,109],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25bba667d059525d84d5bfdaa9f9e2d.jpg","纵104.5厘米，横67.3厘米",[181],{"id":4139,"slug":4140,"title":4141,"dynasty":189,"author":487,"museum":206,"description":4142,"tags":4143,"thumbUrl":4144,"material":827,"size":4145,"collection":181,"collections":4146,"showCount":4147,"zanCount":1356,"manualWeight":48,"mainColor":94},220816,"qiu-shan-cao-tang-tu-zhou-wang-meng-220816","秋山草堂图轴","1308－1385元画家。字叔明，号香光居士，湖州（今浙江吴兴）人。外祖父赵孟頫、外祖母管道升、舅父赵雍、表弟赵彦徵都是元代著名画家。王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。\n“王叔明画，从赵文敏风韵中来。……泛滥唐宋诸名家，而从董源、王维为宗，故其纵逸多姿，往往出文敏规格之外”。王蒙的画法，善变而多巧妙，喜画重山复岭之繁景，常用解索皴和焦墨点苔。所写山林树木，苍郁茂密而具有浑远的空间感。《秋山草堂图》画高山崇岭，茂树清淡，山脚草堂临水，水际荻花萧瑟堂内隐者怡然自得。表现出江南自然山川的湿润，创造出蓊郁深秀、浑厚华兹的境界。",[23,7,173,27,177,241,29,430,1726,109,174,108,1015,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f99ee1ba33b0552bd4f03b90e05f53.jpg","123.3×54.8",[181,163],412,{"id":4149,"slug":4150,"title":4151,"dynasty":76,"author":1204,"museum":132,"description":4152,"tags":4153,"thumbUrl":4154,"material":342,"size":139,"collection":90,"collections":4155,"showCount":4147,"zanCount":48,"manualWeight":48,"mainColor":94},218421,"he-tang-tu-zhu-da-218421","荷塘图","泼墨荷叶恣肆铺陈，浓墨处似沉云压顶，淡晕间若轻烟漫散，笔触枯润交错里藏着自然野趣。奇崛湖石以焦墨勾廓、泼墨晕肌理，造型古拙却含灵动之气。瘦劲荷茎斜出，点染水草丛生，留白处似漾开涟漪，又像无尽空寂。整幅画以水墨浓淡干湿，写尽荷塘清寒与孤傲，墨色流转间藏着画家内心幽微与超脱，观之如临秋塘，凉意浸肤，心绪随之沉潜。",[23,7,24,173,243,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe1cc52c0e7642c48fe19fea003a080.jpg",[90],{"id":4157,"slug":4158,"title":1692,"dynasty":18,"author":4159,"museum":206,"description":4160,"tags":4161,"thumbUrl":4162,"material":123,"size":4163,"collection":181,"collections":4164,"showCount":4147,"zanCount":1547,"manualWeight":48,"mainColor":49},214668,"shan-shui-tu-guo-zhong-shu-214668","郭忠恕","远处，两排大雁在天际尽头飞起；中间，两座山峰对峙，中间，一条河和一个湖缓缓浮现；附近，坡岸上有树木，河岸边隐约可见几座帐篷。湖面开阔而平静，一艘小独木舟，船头有一个渔夫在独自钓鱼，两只苍鹭，一只站在船边，另一只伸出翅膀盘旋，似乎在寻找水下的动静。",[7,209,29,281,174,1016,1015,394,109,649,464,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e63ec359e565f04c7e56a4c5ceb37a.jpg","53x72.2",[181],{"id":4166,"slug":4167,"title":4168,"dynasty":99,"author":170,"museum":20,"description":4169,"tags":4170,"thumbUrl":4171,"material":990,"size":4172,"collection":181,"collections":4173,"showCount":4174,"zanCount":1356,"manualWeight":48,"mainColor":94},222098,"jing-jiang-song-bie-tu-shen-zhou-222098","京江送别图","此图引首为王时敏题隶书“名迹貽徽”。本幅款署“沈周”。钤“启南”。后幅有沈周自题跋文，述作此图原由。另有明代文林书“送吳敘州之任序”、祝允明书“敘州府太守吳公詩序”及多家跋文。\n据《吴梅村先生集》考，此图成于明弘治四年(1491年)辛亥三月，沈周时年65岁。图中描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。吴愈是沈周的朋友，文徵明的岳丈，任所叙州，地处今四川宜宾。画面中主人乘舟远去，众人在岸边长揖作别。此时江南正是杨柳葱郁、山桃烂漫、风光无限之时。作者借描绘江南秀色流露出依依惜别之情，寄情于景，情景交融。远山以粗笔披麻皴法出之，墨色浓重滋润，线条苍秀，反映了沈周成熟的画风。",[23,7,556,177,25,29,174,106,34,108,109,3246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97856aac11363d716cd5b6de3f3eb0bf.jpg","纵28厘米，横159厘米",[181,45],411,{"id":4176,"slug":4177,"title":4178,"dynasty":18,"author":2029,"museum":20,"description":4179,"tags":4180,"thumbUrl":4181,"material":40,"size":4182,"collection":42,"collections":4183,"showCount":4184,"zanCount":510,"manualWeight":48,"mainColor":49},221541,"si-jing-shan-shui-tu-quan-juan-liu-song-nian-221541","四景山水图全卷","此卷图画分为四段，分别绘春、夏、秋、冬四时景象。\n第一幅，踏青，春花烂漫，杨柳葱翠；\n第二幅，纳凉，夏木浓荫，碧荷点点；\n第三幅，观山，秋高气爽，霜叶尽染；\n第四幅，赏雪，山裹银装，万籁俱寂。\n画面以人物活动为中心，结合界画技法，精心构建庭院台榭等建筑，工整精巧，或富丽，或古朴。山石以小斧劈皴法出之，苍逸劲健，行笔设色严谨而注重法度，画中人物虽小而形神完备。整幅作品面貌古朴，笔法精严，极富南宋画院作品的特色。临安（今浙江杭州）作为南宋都城所在，高官显贵们的庭园别墅建造甚多，刘松年身为画院画家，长年生活其间，描绘起来自然得心应手。此图立意于表现士绅官僚优裕闲适的生活，画家的注意力从山川自然的野韵转移到人工营造修饰的景物，这种题材风格的转变，从侧面反映出南宋时期，一大批无心复国的官僚们，专注于享乐的生活态度。正如诗云：“暖风薰得游人醉，只把杭州作汴州”。",[23,7,25,28,27,29,175,107,108,109,106,176,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa115d24c28f3208afa166893f49c7a.jpg","纵40厘米，横69厘米",[42,181,163],409,{"id":4186,"slug":4187,"title":4188,"dynasty":18,"author":474,"museum":20,"description":4189,"tags":4190,"thumbUrl":4191,"material":40,"size":4192,"collection":42,"collections":4193,"showCount":4194,"zanCount":5,"manualWeight":48,"mainColor":49},221336,"mei-hua-xiu-yan-tu-ye-zhao-ji-221336","梅花绣眼图页","本幅款识：“御笔”、“天下一人”。钤“御书”朱文葫芦形印一方。鉴藏印钤“阿蒙秘笈”。\n图中梅枝瘦劲，枝上疏花秀蕊，一只绣眼俏立枝头，鸣叫顾盼，与清丽的梅花相映成趣。此图虽然景物不多，却颇为优美动人。所绘梅花为宫梅，经过不断剪枝，人工修饰痕迹较重。此种梅的画法精细纤巧，敷色厚重，自有一种富贵气息，这样的风格趣味为宫廷所好尚，显然代表了皇家的审美意味。",[23,209,7,24,81,28,27,83,448,224,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3454d67dcf054bf343b75f96d35a1c22.jpg","纵24.5厘米，横24.8厘米",[42,90,45],408,{"id":4196,"slug":4197,"title":4198,"dynasty":76,"author":4199,"museum":78,"description":4200,"tags":4201,"thumbUrl":4202,"material":88,"size":4203,"collection":90,"collections":4204,"showCount":4194,"zanCount":1165,"manualWeight":48,"mainColor":94},214283,"pi-pa-tu-xu-gu-214283","枇杷图","虚谷","枇杷图是清代画家虚谷的一幅代表作。这幅画作描绘了枇杷树的生长过程。\n\n在这幅画作中，虚谷巧妙地捕捉了枇杷树的生长特征。他用浓墨重彩的画法，勾勒出了枇杷树的树冠和树干。他还用细腻的线条勾勒出了枇杷树的果实，让人感受到了枇杷树的自然韵味。",[23,209,7,24,27,83,173,446,1278,226,698,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08115f1f5f8532ace747821d30036.jpg","112.5x52",[90],{"id":4206,"slug":4207,"title":1774,"dynasty":76,"author":77,"museum":20,"description":4208,"tags":4209,"thumbUrl":4210,"material":990,"size":139,"collection":139,"collections":4211,"showCount":4212,"zanCount":1547,"manualWeight":48,"mainColor":94},234300,"yun-shou-ping-hua-hui-ce-yun-shou-ping-234300","恽寿平（1633年-1690年），初名格，字惟大，后改字寿平，以字行。别号南田。作为明末清初著名的书画家，他开创了没骨花卉画的独画风，是常州画派的开山祖师。自小敏慧，却一生坎坷\n恽（yùn）寿平出生于官宦之家，又是书香门第，曾祖父、祖父、爹爹、叔父不是为官就是为学，从小敏慧，长相出众，8岁便有咏莲花之诗。清初遭遇战乱，年仅12岁的恽寿平随父远走浙、闽、粤几省，风餐露宿，历尽艰险。后参加了福建建宁王祈的抗清队伍。\n顺治五年（1648年），闽浙总督陈锦率六万清军强攻建宁，15岁的恽寿平坚守孤城。城陷后，与兄皆被虏至清兵营。陈锦无子，其妻见寿平聪明清秀，收为养子。恽寿平虽在总督府生活优裕，但思亲之情未绝。五年后，遇灵隐寺方丈相救，才得以与家人团聚。此后，他刻苦钻研学问，古文、诗词、书画无不精擅。",[7,24,81,82,27,178,227,327,84,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc8ee0032281ae979767d6d432d5240.jpg",[],407,{"id":4214,"slug":4215,"title":4216,"dynasty":99,"author":443,"museum":752,"description":4217,"tags":4218,"thumbUrl":4219,"material":342,"size":4220,"collection":90,"collections":4221,"showCount":4212,"zanCount":1270,"manualWeight":48,"mainColor":94},220099,"shi-er-mo-hua-tu-juan-xu-wei-220099","十二墨花图卷","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,209,7,24,25,173,227,178,86,448,452,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6906eeb6ef87e0a0207882c285c054.jpg","全卷32.8cm×544cm",[90],{"id":4223,"slug":4224,"title":4225,"dynasty":18,"author":1650,"museum":3442,"description":4226,"tags":4227,"thumbUrl":4229,"material":123,"size":4230,"collection":42,"collections":4231,"showCount":4212,"zanCount":1270,"manualWeight":48,"mainColor":49},218630,"song-yan-guan-pu-tu-ma-yuan-218630","松岩观瀑图","一个高士酒后半躺在一棵松树下，山上的树干虬结，树枝斜向伸展，长长的、稀疏的树叶自由伸展，在用大笔画渲染的树木和岩石之间，充满了生命力。",[23,209,7,24,29,173,27,106,449,4228,558,109,245,430],"岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a25dcebcb10f5241aac60004e04959.jpg","26.3x24.6",[42],{"id":4233,"slug":4234,"title":4235,"dynasty":99,"author":170,"museum":206,"description":4236,"tags":4237,"thumbUrl":4238,"material":342,"size":4239,"collection":181,"collections":4240,"showCount":4241,"zanCount":1118,"manualWeight":48,"mainColor":94},219522,"ce-zhang-tu-shen-zhou-219522","策杖图","本幅采三段式构图，以河水来分隔画面，前景的树石与远景的山丘相照应，构图简约，显然脱胎于倪瓒之作。",[7,24,241,173,177,29,106,864,430,109,108,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa190a0de0a4b64ed7875a8e251871f.jpg","纵159.1公分、横72.2公分",[181],406,{"id":4243,"slug":4244,"title":1479,"dynasty":99,"author":4245,"museum":206,"description":4246,"tags":4247,"thumbUrl":4248,"material":88,"size":4249,"collection":90,"collections":4250,"showCount":4251,"zanCount":1118,"manualWeight":48,"mainColor":94},214731,"sui-chao-tu-bian-wen-jin-214731","边文进","仿古铜罐上装饰着十种花，包括梅花、兰花、茶花、水仙、天竺葵、灵芝、松树、柏树、柿子和如意，象征着十全十美。花瓶里的花的重心在较低的一侧，而上面的梅花的茎通向较高的一侧，这与现实相对应。",[7,24,241,27,28,83,448,449,244,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7df13b5b3b22f5b5a78294d592780.jpg","108x46.1",[90],404,{"id":4253,"slug":4254,"title":4255,"dynasty":18,"author":1650,"museum":364,"description":4256,"tags":4257,"thumbUrl":4258,"material":123,"size":4259,"collection":44,"collections":4260,"showCount":4261,"zanCount":1356,"manualWeight":48,"mainColor":49},218652,"song-xia-tan-qin-tu-ma-yuan-218652","松下弹琴图","这幅画的构图是马远的绘画风格，有岩石、松树和一个和尚，或者是 伯牙鼓琴 的典故。树木的叶子是用双钩和填充的方法进行层压和绘画的。石头的纹理是用斧头表达的，这使它们具有很好的质感。松针画得非常仔细，笔法严谨而纯粹。",[23,7,24,27,106,1575,176,34,296,210,177,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf693032a9cf5c8cec0275d6ef70b42.jpg","166.50x99厘米",[44],402,{"id":4263,"slug":4264,"title":4265,"dynasty":18,"author":4266,"museum":4267,"description":4268,"tags":4269,"thumbUrl":4270,"material":342,"size":139,"collection":163,"collections":4271,"showCount":4261,"zanCount":48,"manualWeight":48,"mainColor":94},216945,"liu-shi-tu-mu-xi-216945","六柿图","牧溪","日本京都大德寺龙光院","描绘了六个柿子，一前一后，一排五个。简洁的笔触，独特的墨色，以及随机但不凌乱的一排排柿子，给人留下了简单、朴素、宁静致远的禅意。这是一种简单、朴素、悠远的禅意。",[7,209,24,241,173,446,2807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f5ac03418f0bd72d3220bc771f9935.jpg",[163],{"id":4273,"slug":4274,"title":4275,"dynasty":204,"author":4276,"museum":3537,"description":4277,"tags":4278,"thumbUrl":4279,"material":123,"size":4280,"collection":90,"collections":4281,"showCount":4282,"zanCount":1165,"manualWeight":48,"mainColor":49},219095,"shou-tao-tu-ding-qian-219095","寿桃图","丁谦","桃实饱满，粉白肌理间晕开胭脂般的红晕，似刚从枝头摘下，还带着晨露的润意。环绕的叶片深浅交织，墨绿老叶与黄绿新叶相映，蜷曲叶缘藏着自然生机，叶脉走向如细密思绪，勾勒出叶片柔软质感。绢本古旧色调裹着画中鲜活，笔墨轻缓却藏饱满情致，仿佛把一段丰收与吉祥的时光定格，每一笔都透着中式美学的雅致，让人在静谧中感受生命的温润与美好。",[7,28,27,2930,698,226,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f630b561defc6ba2065e820e3396041.jpg","纵24.1横48.6厘米",[90],399,{"id":4284,"slug":4285,"title":1417,"dynasty":18,"author":812,"museum":206,"description":4286,"tags":4287,"thumbUrl":4288,"material":123,"size":4289,"collection":90,"collections":4290,"showCount":4291,"zanCount":1165,"manualWeight":48,"mainColor":49},219031,"mu-dan-tu-zhao-chang-219031","湖石下的鸢尾花、兰花和灵芝，以及湖石后盛开的牡丹，让人眼前一亮。虽然丝绸已经发黄发旧，但仍有光泽的感觉。",[23,209,7,24,28,27,83,327,698,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8b5880085e0d0be159ea0e1946d21d.jpg","143.5x59.3",[90],397,{"id":4293,"slug":4294,"title":4295,"dynasty":18,"author":1650,"museum":132,"description":4296,"tags":4297,"thumbUrl":4298,"material":123,"size":4299,"collection":42,"collections":4300,"showCount":4291,"zanCount":1547,"manualWeight":48,"mainColor":94},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,209,7,24,81,104,27,177,29,107,1575,491,176,34,37,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[42,181],{"id":4302,"slug":4303,"title":4304,"dynasty":18,"author":474,"museum":132,"description":4305,"tags":4306,"thumbUrl":4308,"material":123,"size":139,"collection":90,"collections":4309,"showCount":4291,"zanCount":1547,"manualWeight":48,"mainColor":49},216940,"yu-ying-tu-zhao-ji-216940","御鹰图","御鹰图是赵佶的一幅画作。赵佶是宋朝的一位著名的画家，他的画作被认为是中国画的典范，很受人们的喜爱。\n\n御鹰图描绘了一只雄健的鹰，看起来非常壮观。赵佶用细腻的笔法和精湛的技巧描绘了鹰的羽毛，使得整幅画看起来栩栩如生。\n\n赵佶的御鹰图被认为是宋朝画的代表作之一，它的风格独特，表现力强，被认为是宋朝画的典范。它被广泛收藏，并在许多艺术展览中展出。",[209,7,24,28,27,67,241,4307,1938,1062],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3210a771bedb5e6e81fe9066e3c66e.jpg",[90],{"id":4311,"slug":4312,"title":4313,"dynasty":99,"author":4314,"museum":20,"description":4315,"tags":4316,"thumbUrl":4317,"material":342,"size":4318,"collection":90,"collections":4319,"showCount":4291,"zanCount":994,"manualWeight":48,"mainColor":94},216204,"zhu-qin-tu-lv-ji-216204","竹禽图","吕纪","此幅景物简洁，一竿修竹自左下斜出，呈对角线贯穿画面。主干秀挺，侧枝细劲，叶片疏密有致，是宋元文人画竹之法。两只喜鹊在枝头鸣叫，带有吉祥平安的寓意。作品构图明朗，风格清秀，用小写意笔法，设色清新淡雅，与吕纪其他作品富贵面貌有所不同。",[7,24,241,28,27,83,242,1938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9dc4cfeb5b56018cf4b7bdb04e8a8c.jpg","纵148.5厘米，横467.7厘米",[90],{"id":4321,"slug":4322,"title":4323,"dynasty":189,"author":4324,"museum":101,"description":4325,"tags":4326,"thumbUrl":4327,"material":619,"size":4328,"collection":181,"collections":4329,"showCount":4330,"zanCount":5,"manualWeight":48,"mainColor":49},221810,"song-xuan-chun-ai-tu-zhou-zhang-yu-221810","松轩春霭图轴","张羽","此图表现了春山“纵使晴明天雨色，入云深处亦沾衣”的意态。近景处坡石曲折，树林阴翳，一湾溪水逶迤而过，茅舍数椽隐于林中，静谧无人；中景山腰白云缭绕，亭台楼阁闪现其间；远景画一主峰突兀，山色浓重浑然。山石的结构以披麻皴勾写，层次丰富，脉络井然；山体以米氏横点层层积染，并以墨点和色点相互交错。尤其是主峰的刻画，丰富而充满生机，能与高克恭相媲美。全图笔调粗放，墨色氤氲，青、蓝、墨、赭，融合于一片春色之中。",[23,7,24,241,173,27,29,1575,37,649,34,177,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbf82b9a395bf951704715997109750.jpg","纵91.5cm，横31.5cm",[181,45],396,{"id":4332,"slug":4333,"title":4334,"dynasty":99,"author":1480,"museum":539,"description":4335,"tags":4336,"thumbUrl":4337,"material":123,"size":4338,"collection":44,"collections":4339,"showCount":4330,"zanCount":1356,"manualWeight":48,"mainColor":49},218350,"ren-wu-gu-shi-ce-tang-yin-218350","人物故事册","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[23,7,24,81,27,260,106,59,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f6934a53787d0888fc281c204938c0.jpg","32x40.5",[4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所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[23,209,7,24,25,260,259,106,107,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","纵44.3cm，横580cm",[44,163],395,{"id":4369,"slug":4370,"title":4371,"dynasty":189,"author":3741,"museum":20,"description":4372,"tags":4373,"thumbUrl":4374,"material":342,"size":4375,"collection":90,"collections":4376,"showCount":4377,"zanCount":1547,"manualWeight":48,"mainColor":94},214583,"si-qing-tu-li-kan-214583","四清图","它原本是一个长卷，但在明朝中期被分成了两卷。此副是故宫博物院的部分，即后卷。兰、竹、石、梧被称为四清，比喻君子的高贵品格。虽然枝叶茂密，但笔触优雅简洁，墨色自然多变。",[23,209,7,24,25,173,178,227,28,177,242,431,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3499d343c9e9aef13f39fb8034bcc7.jpg","35.6x359.8",[90],394,{"id":4379,"slug":4380,"title":4381,"dynasty":99,"author":100,"museum":206,"description":4382,"tags":4383,"thumbUrl":4384,"material":88,"size":4385,"collection":44,"collections":4386,"showCount":4387,"zanCount":1356,"manualWeight":48,"mainColor":94},219374,"guan-shi-yin-pu-sa-chou-ying-219374","观世音菩萨","“观音大师踩一朵青色莲花，捧一柳，一盏水杯，从云端而来。他头上的皇冠离开了梨花佛的位置，但他没有画佛像，说明此作 这幅画卷的色彩明快、纯洁、淡雅，除了用细致的线条勾勒出轮廓外，脸部、手部和衣服也被晕染，表现出立体的效果。虽然有秋影（ 约1494-1552年）画中不过，这支卷轴笔和秋影的笔触与描绘的精细度，还是有相当大的差距，应该是后人冒用秋影之名的作品。",[209,7,24,241,259,106,28,27,1329,227,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纵104.2横52.5厘米",[44,45],393,{"id":4389,"slug":4390,"title":4391,"dynasty":76,"author":427,"museum":132,"description":4392,"tags":4393,"thumbUrl":4394,"material":88,"size":4395,"collection":90,"collections":4396,"showCount":4397,"zanCount":994,"manualWeight":48,"mainColor":49},219131,"xi-que-shuang-xi-tu-shen-quan-219131","喜鹊双喜图","虬枝盘曲间，梅蕊初绽如雪，几点淡红晕染枝头，似早春私语。一只喜鹊翘尾立于枝上，羽色浓淡相宜，墨羽如缎，白腹似雪，喙尖微抬，似欲鸣春；另一只栖于老干，回眸相顾，长尾垂落如墨线，与枝干的苍劲相映成趣。旁侧新竹数竿，青影摇曳，添几分生机。工笔细描见匠心，枝干皴擦显古拙，花瓣晕染含雅致，禽鸟神态毕肖。动静之间，春意流转，喜意暗生。整幅画韵致清和，既有自然野趣，又藏吉祥寓意，尽显传统花鸟之雅韵，观之令人心生愉悦。",[23,209,7,24,241,28,27,83,448,242,281,1938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe247e4c33f78d42b4640f989a2d41eb8.jpg","131x53.5cm",[90],391,{"id":4399,"slug":4400,"title":4401,"dynasty":76,"author":4402,"museum":364,"description":4403,"tags":4404,"thumbUrl":4405,"material":743,"size":744,"collection":139,"collections":4406,"showCount":4407,"zanCount":1356,"manualWeight":48,"mainColor":94},290612,"he-hua-zhou-wang-tu-bing-290612","荷花轴","王图炳","王图炳（1668-1743）：清朝江南华亭县（今上海市金山区）张堰镇人，一品大学士王顼龄之子。康熙五十一年（1712年）御赐进士，选庶吉士，授编修，官至礼部侍郎，降官侍读，加詹事衔。清代著名诗人、书画家。",[7,241,28,27,83,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6326436ed40ce4fc7bdd96e5c4b3674d.jpg",[],390,{"id":4409,"slug":4410,"title":4411,"dynasty":18,"author":474,"museum":132,"description":4412,"tags":4413,"thumbUrl":4415,"material":123,"size":3585,"collection":90,"collections":4416,"showCount":4417,"zanCount":1356,"manualWeight":48,"mainColor":49},218932,"you-hua-xiao-qin-tu-zhao-ji-218932","幽花小禽图","古绢底色如浸了岁月的茶褐，晕开一层幽淡气息。三丛菊花攒聚枝头，瓣瓣纤柔层叠，白蕊间泛着浅金，似把秋阳的暖融凝在花芯。枝叶以墨绿勾染，脉络纤细如丝，笔致细腻入微。一只小禽栖于枝侧，羽色褐棕相间，喙尖轻垂，仿佛正凝睇花叶，又似在聆听风过叶隙的轻响。鸟的灵动与花的静婉相映成趣，于静谧中暗涌着鲜活生机。整幅画工细却不板滞，色彩古雅而含清润，将宋人的审美意趣藏于方寸间——于细微处见天地，于幽花间蕴生机。",[209,7,24,28,27,83,453,4414,227],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5909a4d473eb21332f4d99779aadd870.jpg",[90],389,{"id":4419,"slug":4420,"title":1393,"dynasty":18,"author":3103,"museum":206,"description":4421,"tags":4422,"thumbUrl":4423,"material":123,"size":4424,"collection":181,"collections":4425,"showCount":4426,"zanCount":1547,"manualWeight":48,"mainColor":94},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","这幅仙山仙阁的画作，色彩鲜艳，白云在山腰盘旋，显得格外高雅。这幅画是由黄君璧捐赠的。",[23,7,24,241,26,27,28,104,29,107,34,37,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[181],388,{"id":4428,"slug":4429,"title":4430,"dynasty":18,"author":645,"museum":101,"description":4431,"tags":4432,"thumbUrl":4433,"material":4434,"size":4435,"collection":42,"collections":4436,"showCount":4437,"zanCount":1118,"manualWeight":48,"mainColor":49},221289,"shu-se-ping-yuan-tu-guo-xi-221289","树色平远图","此画描绘了河流两岸树色平远的景色。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。 画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[23,7,173,25,29,175,1015,245,174,106,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[42,181,163],387,{"id":4439,"slug":4440,"title":4441,"dynasty":390,"author":4442,"museum":206,"description":4443,"tags":4444,"thumbUrl":4445,"material":827,"size":4446,"collection":382,"collections":4447,"showCount":4437,"zanCount":1118,"manualWeight":48,"mainColor":94},221032,"kuai-xue-shi-qing-tie-wang-xi-zhi-221032","快雪时晴帖","王羲之","《快雪时晴帖》共全文4行，28字。它是作为一封信札写就的，其内容是作者在大雪初晴时以愉快心情对亲朋友人的问候。其中或行或楷，或流而止，或止而流，富有独特的节奏韵律。其笔法圆劲古雅，无一笔掉以轻心，无一字不表现出意致的悠闲逸豫。即使偶尔重心忽左忽右，全局依然匀整安稳，不失平衡的美感。",[23,209,7,24,25,227,178,86,3790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c8116be7345d164d7d629112cd78e6.jpg","纵23cm，横14.8cm",[382,2616],{"id":4449,"slug":4450,"title":4451,"dynasty":189,"author":487,"museum":20,"description":4452,"tags":4453,"thumbUrl":4454,"material":990,"size":4455,"collection":181,"collections":4456,"showCount":4457,"zanCount":1547,"manualWeight":48,"mainColor":94},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,209,7,24,241,27,177,29,106,150,151,108,109,1575,650,561,35,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纵139厘米，横58厘米",[181,45],385,{"id":4459,"slug":4460,"title":4461,"dynasty":204,"author":3224,"museum":206,"description":4462,"tags":4463,"thumbUrl":4464,"material":123,"size":4465,"collection":181,"collections":4466,"showCount":4457,"zanCount":5,"manualWeight":48,"mainColor":49},219910,"qiu-shan-wen-dao-tu-ju-ran-219910","秋山问道图","《秋山问道图》是一幅秋景山水画，以立幅构图画重重叠起的山峦，下部清澈的溪水，曲折的小路通向山中，山坳处茅舍数间，屋中有二人对坐，境界清幽。",[23,7,209,173,177,241,29,864,430,298,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4122bb46b9b23056909f68c43afe04b.jpg","横77.2厘米，纵165.2厘米",[181],{"id":4468,"slug":4469,"title":4470,"dynasty":18,"author":2142,"museum":56,"description":4471,"tags":4472,"thumbUrl":4474,"material":123,"size":4475,"collection":90,"collections":4476,"showCount":4457,"zanCount":1270,"manualWeight":48,"mainColor":49},216925,"han-ya-tu-li-cheng-216925","寒鸦图","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,209,7,24,25,173,177,1015,394,281,4473,2502,29,245,227,86,178],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 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字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,7,25,105,28,26,27,29,106,150,900,108,649,3842,4525,4526],"侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg",[],380,{"id":4531,"slug":4532,"title":4533,"dynasty":99,"author":4534,"museum":4535,"description":4536,"tags":4537,"thumbUrl":4539,"material":123,"size":139,"collection":90,"collections":4540,"showCount":4541,"zanCount":1547,"manualWeight":48,"mainColor":49},219280,"feng-huang-mu-dan-tu-sun-yi-219280","凤凰牡丹图","孙忆","九州国立博物馆","凤凰顾盼生姿，翎羽层叠如锦缎铺展，青绿冠羽衬得朱喙明艳，蓝红翅羽与尾羽眼斑流转虹光，每缕纹理皆细腻入毫。牡丹雍容吐蕊，白瓣胜雪、红瓣似霞，枝叶缠络间缀细碎白花，与凤凰相映成趣。古雅绢本色调晕染出静谧祥瑞，工笔线条精准流畅，设色浓淡相宜，华贵中透着清雅。整幅画将凤凰的祥瑞之气与牡丹的富贵之姿融于一体，尽显盛世花鸟的雍容气象，笔墨间藏着对美好生活的祈愿，是工笔花鸟里兼具艺术性与寓意的佳作。",[7,24,28,27,83,433,327,84,4538],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8785c401d091b29709625d8b0cf4c0e9.jpg",[90],379,{"id":4543,"slug":4544,"title":4545,"dynasty":76,"author":4546,"museum":206,"description":4547,"tags":4548,"thumbUrl":4552,"material":123,"size":4553,"collection":44,"collections":4554,"showCount":4555,"zanCount":1165,"manualWeight":48,"mainColor":94},216951,"zhong-qiu-jia-qing-tu-zhang-ting-yan-216951","中秋佳庆图","张廷彦","这幅画描绘了一个亭子，仆人们忙着送盒子里的食物，皇帝和皇后在露台上与大臣和音乐家们一起欣赏秋月。这幅画的风格似乎受到了明代宫廷绘画的启发，但笔触有些稀疏。",[209,7,104,27,106,107,175,4549,227,4550,4551],"露台","中秋赏月","宫廷佳庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a0e35fc35d7564a8cd3792e88ea71f.jpg","134.5x65.4",[44],377,{"id":4557,"slug":4558,"title":4559,"dynasty":99,"author":100,"museum":132,"description":4560,"tags":4561,"thumbUrl":4563,"material":123,"size":4564,"collection":44,"collections":4565,"showCount":4566,"zanCount":1118,"manualWeight":48,"mainColor":49},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,7,24,81,28,27,104,26,29,106,107,175,109,174,108,281,394,4562,300,900,59,245],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[44],376,{"id":4568,"slug":4569,"title":4570,"dynasty":99,"author":966,"museum":364,"description":4571,"tags":4572,"thumbUrl":4574,"material":139,"size":139,"collection":181,"collections":4575,"showCount":4576,"zanCount":48,"manualWeight":48,"mainColor":94},221983,"shan-shui-tu-li-zhou-wen-zheng-ming-221983","山水图立轴","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,7,27,107,900,29,864,297,430,4573,36,173,446,241,803],"房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bd88c485b1bbe4124fde6a8ae986b8.jpg",[181,163],375,{"id":4578,"slug":4579,"title":4580,"dynasty":18,"author":4581,"museum":206,"description":4582,"tags":4583,"thumbUrl":4585,"material":123,"size":4586,"collection":42,"collections":4587,"showCount":4576,"zanCount":1165,"manualWeight":48,"mainColor":94},219198,"ying-tao-huang-que-tu-ma-shi-chang-219198","樱桃黄雀图","马世昌","画中樱桃正熟，禽鸟顾盼，一派初夏光景。",[23,209,7,24,81,28,27,83,910,4584,281,225],"黄雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce24ced8f0f9757eb0cf1f98628ecd12.jpg","27x25.3cm",[42,90],{"id":4589,"slug":4590,"title":4591,"dynasty":99,"author":293,"museum":539,"description":4592,"tags":4593,"thumbUrl":4594,"material":88,"size":139,"collection":181,"collections":4595,"showCount":4576,"zanCount":1547,"manualWeight":48,"mainColor":94},217954,"ming-ren-shan-shui-hua-ce-yi-ming-217954","明人山水画册","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,7,24,173,27,81,29,174,281,394,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0798af0135642660cfeaaa1dabecdcc.jpg",[181],{"id":4597,"slug":4598,"title":4599,"dynasty":99,"author":4600,"museum":132,"description":4601,"tags":4602,"thumbUrl":4603,"material":88,"size":4604,"collection":90,"collections":4605,"showCount":4576,"zanCount":1547,"manualWeight":48,"mainColor":4606},216264,"ming-za-hua-ce-wang-zhong-216264","明杂画册","汪中","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[7,24,81,28,27,83,242,244,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334fee082046ab9e1386c51d5de90a35.jpg","30x27cm",[90],"FDD835",{"id":4608,"slug":4609,"title":4610,"dynasty":76,"author":1109,"museum":364,"description":4611,"tags":4612,"thumbUrl":4615,"material":139,"size":139,"collection":181,"collections":4616,"showCount":4617,"zanCount":1270,"manualWeight":48,"mainColor":94},224509,"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[23,7,24,81,173,27,177,29,174,4613,4614,176,34,490,227],"帆船","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg",[181,45],374,{"id":4619,"slug":4620,"title":4621,"dynasty":18,"author":1035,"museum":1985,"description":4622,"tags":4623,"thumbUrl":4624,"material":803,"size":4625,"collection":42,"collections":4626,"showCount":4617,"zanCount":5,"manualWeight":48,"mainColor":49},221458,"wu-long-tu-juan-chen-rong-221458","五龙图卷","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,209,7,24,25,173,177,502,176,558,37,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[42,181,163],{"id":4628,"slug":4629,"title":796,"dynasty":76,"author":2804,"museum":364,"descript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此图由钱镜塘先生捐赠，该画上堂为沪上鉴定大家吴湖帆先生题鉴，下有钱镜塘先生亲笔跋文。",[23,7,24,241,29,106,151,108,109,430,177,27,4653],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80401d4a9b5750d8677ebf9efd74019.jpg","144.2×105.1cm",[181,45],{"id":4658,"slug":4659,"title":4660,"dynasty":99,"author":3114,"museum":20,"description":4661,"tags":4662,"thumbUrl":4664,"material":4665,"size":4666,"collection":181,"collections":4667,"showCount":4646,"zanCount":48,"manualWeight":48,"mainColor":94},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,209,7,24,1397,177,27,173,2939,29,1575,176,31,151,34,491,1926,560,4663,37,2238],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[181,45],{"id":4669,"slug":4670,"title":4671,"dynasty":76,"author":4672,"museum":206,"description":4673,"tags":4674,"thumbUrl":4676,"material":123,"size":4677,"collection":181,"collections":4678,"showCount":4646,"zanCount":5,"manualWeight":48,"mainColor":94},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","唐岱","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[209,7,24,241,27,29,177,105,227,30,37,34,1575,650,4675,649,38],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[181],{"id":4680,"slug":4681,"title":4682,"dynasty":76,"author":293,"museum":364,"description":4683,"tags":4684,"thumbUrl":4687,"material":743,"size":744,"collection":139,"collections":4688,"showCount":4689,"zanCount":5,"manualWeight":48,"mainColor":49},288183,"mu-dan-yu-mao-tu-ye-yi-ming-288183","牡丹与猫图页","画面以工笔细绘庭院小景，蜷卧的白猫团作软雪，顶间墨斑与尾尖玄色相映，将睡梦憨态勾勒得灵动传神，似能轻闻浅鼾。旁侧牡丹柔瓣层叠，晕染出匀净粉白，枝叶舒展间带着温婉柔媚，古拙湖石皴擦苍劲，刚柔互衬晕开雅致意趣。整体色调清和古雅，绢底肌理晕开淡旧古韵，将庭院午后悠然静谧的闲情尽数铺展，笔意细腻写实，把日常小景绘得诗意悠然。",[23,7,28,27,327,956,4685,4686],"湖石","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd65baef04b6a9c9fcdd55cfc5d2c2c7.jpg",[],370,{"id":4691,"slug":4692,"title":4693,"dynasty":76,"author":4694,"museum":20,"description":4695,"tags":4696,"thumbUrl":4698,"material":990,"size":4699,"collection":90,"collections":4700,"showCount":4701,"zanCount":1118,"manualWeight":48,"mainColor":94},236307,"pu-tang-qiu-yan-zhou-yun-bing-236307","蒲塘秋艳轴","恽冰","荷，是南方最常见的水生植物，以历代文人墨客吟之以诗，形之以画。作者以写实的手法，成功地刻画了蒲塘秋日的丽景：碧水之上萍藻点点，绿荷盈盈。\n荷花在荷叶的衬托下，以含苞、初绽、怒放的三种生命形态展示着自然美。整幅运用仿恽南田笔意的没骨法，萍藻以色彩直接点就，显现出灵秀生动的物性。荷花以粉红色点染花尖，旋即以清水迅速晕开，色阶层次丰富，色调深浅过度自然，真实地展现出花瓣清淡雅丽之美以及荷花“出淤泥而不染，濯清涟而不妖”的内在神韵。\n恽冰，字清於，号浩如，别号兰陵女史，亦署南兰女子；卒年不详，武进（今江苏常州）人。清代乾隆、嘉庆、道光年间深得家传的一位女画家，诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[7,24,241,28,27,83,243,136,137,931,4697],"水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9622bb894e71ccc81a2bebb607fb57db.jpg","纵126.41cm 横56.4cm",[90,45],368,{"id":4703,"slug":4704,"title":4705,"dynasty":18,"author":146,"museum":364,"description":4706,"tags":4707,"thumbUrl":4709,"material":139,"size":139,"collection":139,"collections":4710,"showCount":4701,"zanCount":1270,"manualWeight":48,"mainColor":49},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,7,24,25,104,28,260,106,107,108,109,149,150,151,34,112,110,154,4708,31,35,155,116],"轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],{"id":4712,"slug":4713,"title":4714,"dynasty":189,"author":4715,"museum":539,"description":4716,"tags":4717,"thumbUrl":4718,"material":665,"size":4719,"collection":90,"collections":4720,"showCount":4701,"zanCount":1165,"manualWeight":48,"mainColor":94},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","谢楚芳","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 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94,"manualWeight":48,"mainColor":49},222392,"si-ji-hua-niao-tu-xia-lv-ji-222392","四季花鸟图-夏","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,7,209,3529,28,27,4870,4871,450,4872,176,4873,4874],"黄莺","野鸭","杜鹃","水岸","夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f39703be94e381648560a821fb184e.jpg","176.0×100.8",[90,45],{"id":4879,"slug":4880,"title":4881,"dynasty":18,"author":4882,"museum":206,"description":4883,"tags":4884,"thumbUrl":4886,"material":317,"size":4887,"collection":42,"collections":4888,"showCount":4863,"zanCount":1165,"manualWeight":48,"mainColor":49},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[23,7,209,24,241,28,27,83,957,2786,281,1015,1064,4885],"土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","纵193.7厘米、横103.4厘米",[42,90,45],{"id":4890,"slug":4891,"title":4892,"dynasty":2460,"author":293,"museum":132,"description":4893,"tags":4894,"thumbUrl":4897,"material":123,"size":139,"collection":90,"collections":4898,"showCount":4899,"zanCount":1356,"manualWeight":48,"mainColor":49},216908,"lu-yan-fu-rong-tu-yi-ming-216908","芦雁芙蓉图","芦雁芙蓉图是一幅佚名的隋代画作，它的创作时间大约在6世纪中期。这幅画的主题是芦雁和芙蓉，被认为是隋朝时期最优秀的花卉画之一。\n\n芦雁是一种常见的水鸟，在古代中国文学中常被描写为优美、品性高尚的鸟类。芙蓉是一种常见的花卉，被认为是一种具有极高艺术价值的植物。在这幅画中，芦雁和芙蓉被描绘得栩栩如生，使用的颜色十分丰富，线条流畅，构图巧妙，是一幅充满美感的艺术品。\n\n芦雁芙蓉图被认为是隋朝时期花卉画的代表作之一，其创作背景和风格反映了当时的文化、艺术特点。它对后世的艺术家们也产生了深远的影响。",[23,7,27,28,241,83,4895,450,2522,297,298,1938,84,299,4896],"雁","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg",[90],356,{"id":4901,"slug":4902,"title":4903,"dynasty":99,"author":4904,"museum":675,"description":4905,"tags":4906,"thumbUrl":4907,"material":619,"size":4908,"collection":90,"collections":4909,"showCount":4910,"zanCount":5,"manualWeight":48,"mainColor":94},222369,"mu-dan-tu-zhou-lu-zhi-222369","牡丹图轴","陆治","画卷绘折枝牡丹二枝，枝头各自开放花朵，棕色在前，金色略被遮挡，花朵硕大饱满，花瓣层层叠叠，中间配以鹅黄花蕊。技法上，花朵以墨晕染，再以鹅黄点缀花蕊，绿叶细笔深绿构绘叶脉，后以淡绿晕染，清新脱俗。\n陆治，字叔平，明代画家。因居包山，自号包山。善行、楷，尤通绘事，点染花鸟竹石清新自然，山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格。",[23,7,24,241,27,28,327,225,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd605f4b1d772948191c493247cd631c3.jpg","31.7x102.8厘米",[90,45],354,{"id":4912,"slug":4913,"title":4914,"dynasty":18,"author":474,"museum":364,"description":4915,"tags":4916,"thumbUrl":4917,"material":743,"size":744,"collection":139,"collections":4918,"showCount":4919,"zanCount":1547,"manualWeight":48,"mainColor":49},289007,"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-zhao-ji-289007","摹张萱虢国夫人游春图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,209,7,25,27,106,150,59,28,105,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb526d78da24aa77a7005eb850f4b55.jpg",[],352,{"id":4921,"slug":4922,"title":886,"dynasty":99,"author":966,"museum":20,"description":4923,"tags":4924,"thumbUrl":4925,"material":1716,"size":4926,"collection":163,"collections":4927,"showCount":4919,"zanCount":1270,"manualWeight":48,"mainColor":94},221978,"mo-zhu-tu-wen-zheng-ming-221978","本幅绘坡石兰竹、荆棘溪流，无作者款识，钤“悟言室印”、“徵仲”、“徵仲父”、“惟庚寅吾以降”。接纸文徵明自题一段，款署：“徵明題於玉磬山房”。钤“文徵明印”、“衡山”及引首章“停云”。\n图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。\n清顾文彬《过云楼书画记》著录。",[23,7,24,241,173,242,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec347ecd188da74ed1c680f3cb0f115.jpg","纵26.8厘米，横730厘米",[163,2293],{"id":4929,"slug":4930,"title":4931,"dynasty":99,"author":100,"museum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Museum of Art at Newfields","枯墨勾勒荷茎与水草，苍劲老辣带着风霜质感，赭石晕染残荷，铺展出秋塘的疏淡萧瑟。朱砂点就的红莲，浓艳醒目，在枯寂里绽出鲜活暖意，稚拙圆润的莲蓬，藏着乡野间的朴拙意趣。翅羽轻颤的小虫寥寥数笔便形神兼具，翩然灵动，和沉郁静穆的残荷形成鲜明动静反差。\n\n整幅画以少胜多，大写意笔墨里藏着对自然的细微体察，将秋塘的清寂生机揉合一处，平淡天真间尽是悠然意韵。",[23,7,173,27,446,241,227,136,931,800,137,4945],"花梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbede3ed88faf28cd4881cd596424cf78.jpg",[],{"id":4949,"slug":4950,"title":2459,"dynasty":2460,"author":2461,"museum":20,"description":4951,"tags":4952,"thumbUrl":4953,"material":67,"size":4954,"collection":382,"collections":4955,"showCount":4956,"zanCount":1356,"manualWeight":48,"mainColor":94},221049,"you-chun-tu-zhan-zi-qian-221049","图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。\n该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[23,7,24,25,26,27,29,106,107,108,109,281,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","纵43厘米，横80.5厘米。",[382],350,{"id":4958,"slug":4959,"title":4810,"dynasty":18,"author":4960,"museum":206,"description":4961,"tags":4962,"thumbUrl":4967,"material":123,"size":4968,"collection":90,"collections":4969,"showCount":4956,"zanCount":1270,"manualWeight":48,"mainColor":49},219395,"hua-niao-zhou-xiao-rong-219395","萧瀜","旧传为十一世纪辽画家萧瀜所作，但构图与北京故宫所藏吕纪〈桂菊山禽〉类似。加之在右幅石块上发现一「四明吕廷振印」之残印，推论此幅作品可能实为吕纪作品。图中描绘三只山鹧鸟俯盼于激流旁的岩石。上方舞动的竹叶的竹干，与下方的流水、及石上与空中鹊鸟的动向相互应和，形成一种吕纪花鸟特有的优雅却又互动频繁的构图。其中山鹧俗称拖尾练，常被误认为绶带鸟，而其中「绶」与「寿」谐音，而「竹」与「祝」谐音，用以表现祝寿之吉祥意。",[23,209,7,83,241,27,242,109,650,281,4963,4964,84,4965,4966],"山鹧","鹊鸟","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[90],{"id":4971,"slug":4972,"title":402,"dynasty":189,"author":190,"museum":206,"description":192,"tags":4973,"thumbUrl":4977,"material":67,"size":406,"collection":181,"collections":4978,"showCount":4979,"zanCount":1547,"manualWeight":48,"mainColor":94},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767",[23,7,24,25,173,177,29,174,109,34,4974,649,108,1254,2219,245,920,37,4975,4976],"江","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg",[181,163],349,{"id":4981,"slug":4982,"title":4983,"dynasty":76,"author":2804,"museum":364,"description":4984,"tags":4985,"thumbUrl":4986,"material":139,"size":139,"collection":90,"collections":4987,"showCount":4988,"zanCount":1270,"manualWeight":48,"mainColor":94},236535,"ju-hua-zhou-wu-chang-shuo-236535","菊花轴","吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[7,24,241,173,83,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ffe773aea11dae9ed7c7699653a8ef.jpg",[90,163],348,{"id":4990,"slug":4991,"title":4992,"dynasty":18,"author":887,"museum":752,"description":4993,"tags":4994,"thumbUrl":4995,"material":173,"size":139,"collection":382,"collections":4996,"showCount":4988,"zanCount":1270,"manualWeight":48,"mainColor":49},218610,"mo-zhu-tu-juan-mi-fei-ti-ba-su-shi-218610","墨竹图卷-米芾题跋","墨痕游走间，米芾“刷字”之韵跃然纸上。笔锋如剑戟横空，又似流云舒卷，欹侧相生的结体里，藏着跌宕起伏的节奏。浓墨沉雄如坠石，枯笔筋骨毕露若老树，干湿浓淡交织成流动的韵律。每一字皆为跃动的精灵，或大或小，或疏或密，章法气脉连贯如一气呵成。题跋中既有对苏轼墨竹的叹赏，更融入米芾自身的文人风骨——狂放不失雅致，洒脱暗藏匠心。观之如临溪听涛，酣畅淋漓，尽显宋人文艺的灵动与深邃，堪称书坛不朽之佳作。",[23,209,7,24,25,173,242,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751deaf605e5b1cdc4090029dc752a6a.jpg",[382],{"id":4998,"slug":4999,"title":5000,"dynasty":76,"author":836,"museum":206,"description":837,"tags":5001,"thumbUrl":5004,"material":88,"size":843,"collection":139,"collections":5005,"showCount":5006,"zanCount":1356,"manualWeight":48,"mainColor":94},219884,"er-shi-si-fan-hua-xin-feng-tu-tu-mi-yu-lian-hua-dong-gao-219884","二十四番花信风图-荼蘼与楝花",[7,24,81,27,28,83,5002,5003,225,227,86],"荼蘼花","楝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f51c412db2e14d03f85201b5498c68.jpg",[],347,{"id":5008,"slug":5009,"title":5010,"dynasty":76,"author":2083,"museum":78,"description":3135,"tags":5011,"thumbUrl":5012,"material":827,"size":5013,"collection":90,"collections":5014,"showCount":5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从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,7,24,241,173,83,448,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4232f4f2ae738877a1f8edd9442b7c.jpg","72.8x35",[90,163],345,{"id":5049,"slug":5050,"title":5051,"dynasty":76,"author":5052,"museum":20,"description":5053,"tags":5054,"thumbUrl":5055,"material":803,"size":5056,"collection":181,"collections":5057,"showCount":5058,"zanCount":5,"manualWeight":48,"mainColor":94},220330,"huang-shan-tu-ce-hong-ren-220330","黄山图册","弘仁","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,7,24,81,27,29,449,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a28d1fd70bd633868d57292ab972da0.jpg","21.5x18.3厘米",[181],344,{"id":5060,"slug":5061,"title":5062,"dynasty":204,"author":2215,"museum":5063,"description":5064,"tags":5065,"thumbUrl":5068,"material":381,"size":5069,"collection":163,"collections":5070,"showCount":5071,"zanCount":1547,"manualWeight":48,"mainColor":1335},219166,"han-lin-zhong-ting-tu-dong-yuan-219166","寒林重汀图","日本兵库县黑川文学院","此图皴笔粗,苔点则兼用渴笔、焦黑、乱锋为素的空处相掩映,黑白对比变化多端。垂柳分列面相之,而运笔迅疾,力量饱满。除长披麻外,复于岸之顾盼,村舍延,远景近景连成一片。此画技法高超,阴面以碎笔打点,或聚或散,不仅线、点的墨色和乃难得的绝世佳作。",[23,7,173,27,177,29,2125,2219,5066,34,35,108,5067],"水域","平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d474576e331ddcfa77cd48b6650a19.jpg","纵181.5、横116.5厘米",[163],343,{"id":5073,"slug":5074,"title":5075,"dynasty":204,"author":5076,"museum":206,"description":5077,"tags":5078,"thumbUrl":5079,"material":123,"size":5080,"collection":90,"collections":5081,"showCount":5071,"zanCount":1270,"manualWeight":48,"mainColor":49},216758,"zhu-shi-jin-jiu-tu-huang-ju-cai-216758","竹石锦鸠图","黄居寀","古木巨石旁，荆竹丛生，一弯溪水潺湲流过。一群斑鸠悠闲地在此休憩：有的展翅翱翔，有的在树枝上梳理羽毛作日光浴，有的低首翘尾地站在溪旁饮水，有的站在巨石上，摆出鞠躬、鼓颈的姿势，向下方的斑鸠“咕－咕－咕－”地鸣唱示好。\n斑鸠俗称“粉鸟”，因为颈部羽色黑底白点有若珍珠，因此也名为“珠颈斑鸠”或“锦鸠”。斑鸠们平常多栖息在空旷的平野或树林，但因生性机敏，接近相当不易。在这幅作品里，画家以精妙的画笔捕捉这一幕斑鸠群集的画面，至为难得。此外，纵横乖张的古树枝丫、浓淡对比强烈的斑驳巨石、虚渺无际的溪畔，更为这幕自然增添不少奇幻诡谲的气氛。",[23,7,24,83,28,27,242,431,281,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb10bc776e6b793817d89e43e76fbdf3.jpg","23.6 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45.7公分",[90],{"id":5083,"slug":5084,"title":5085,"dynasty":54,"author":293,"museum":206,"description":5086,"tags":5087,"thumbUrl":5088,"material":123,"size":5089,"collection":44,"collections":5090,"showCount":5091,"zanCount":1118,"manualWeight":48,"mainColor":49},223394,"tang-ren-gong-le-tu-zhou-yi-ming-223394","唐人宫乐图轴","图描写後宫嫔妃十人，围坐於一张巨型的方桌四周，有的品茗，也有的在行酒令。中央四人，则负责吹乐助兴。所持用的乐器，自右而左，分别为筚篥、琵琶、古筝与笙。旁立的二名侍女中，还有一人轻敲牙板，为她们打著节拍。从每个人脸上陶醉的表情来推想，席间的乐声理应十分优美，因为连蜷在桌底下的小狗，都未被惊扰到！\n这件作品并没有画家的款印，原本的签题标为「元人宫乐图」。仔细观察画中人物的发式，有的发髻梳向一侧，是为「坠马髻」，有的把发髻向两边梳开，在耳朵旁束成球形的「垂髻」，有的则头戴「花冠」，凡此，都符合唐代女性的装束。另外，绷竹席的长方案、腰子状的月牙几子、饮酒用的羽觞，还有琵琶横持，并以手持拨子的方式来弹奏等，亦在在与晚唐的时尚相侔。所以，现在画名已改定成「唐人宫乐图」画题《韩干呈马图》",[23,209,7,24,241,28,27,106,59,210,211,956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb907e859af37c3582daa5bb82bd4794.jpg","48.7x69.5",[44],342,{"id":5093,"slug":5094,"title":5095,"dynasty":76,"author":5096,"museum":78,"description":5097,"tags":5098,"thumbUrl":5099,"material":88,"size":5100,"collection":181,"collections":5101,"showCount":5091,"zanCount":1165,"manualWeight":48,"mainColor":94},214612,"shan-shui-san-ye-wang-jian-214612","山水散页","王鉴","王鉴（1598-1677），明末清初画家。字玄照，后改字元照、圆照、元炤，号湘碧，自称染香庵主，江苏太仓人。王世贞孙。与王时敏为子侄行，因年岁相若，互相砥砺。家藏名迹亦相埒。工画山水，受董其昌影响，追踵董源、巨然，多拟仿宋元诸家，善于青绿设色，皴染兼长。风格华润，纤不伤雅，但较平实。当时和王时敏被推为画坛领袖。后人把他与王时敏、王翚、王原祁合称“四王”，加吴历、恽寿平亦称“清六家”。",[7,209,24,27,26,177,29,864,297,430,37,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879022b3487ec1ad455bfe24af31707a.jpg","纵34.8厘米，横29.9厘米",[181],{"id":5103,"slug":5104,"title":5105,"dynasty":99,"author":170,"museum":364,"description":5106,"tags":5107,"thumbUrl":5108,"material":619,"size":139,"collection":139,"collections":5109,"showCount":5110,"zanCount":1547,"manualWeight":48,"mainColor":94},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,209,7,24,25,173,27,29,109,175,106,174,176,177,242,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,{"id":5112,"slug":5113,"title":417,"dynasty":99,"author":170,"museum":206,"description":2755,"tags":5114,"thumbUrl":5115,"material":803,"size":5116,"collection":90,"collections":5117,"showCount":5110,"zanCount":1547,"manualWeight":48,"mainColor":94},222106,"yu-lan-shen-zhou-222106",[23,209,7,24,81,173,27,417,394,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968bf12a3ae80ff7ce65c5d988345a5e.jpg","34.8×56.5厘米",[90,45],{"id":5119,"slug":5120,"title":5121,"dynasty":99,"author":170,"museum":364,"description":5122,"tags":5123,"thumbUrl":5124,"material":743,"size":744,"collection":139,"collections":5125,"showCount":5126,"zanCount":1547,"manualWeight":48,"mainColor":49},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,209,7,241,26,27,29,108,109,394,176,106,900,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg",[],340,{"id":5128,"slug":5129,"title":131,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":5130,"thumbUrl":5132,"material":139,"size":1228,"collection":139,"collections":5133,"showCount":5126,"zanCount":1165,"manualWeight":48,"mainColor":94},233896,"hua-hui-ce-yun-shou-ping-233896",[7,24,209,81,27,82,83,5131,1003,227,86,178],"绣球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de138b415462f9c2198e7b482bf75a8.jpg",[],{"id":5135,"slug":5136,"title":5137,"dynasty":99,"author":1170,"museum":206,"description":5138,"tags":5139,"thumbUrl":5141,"material":67,"size":5142,"collection":181,"collections":5143,"showCount":5126,"zanCount":48,"manualWeight":48,"mainColor":49},222033,"chun-han-tu-dai-jin-222033","春酣图","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[23,7,209,29,27,177,106,1575,108,109,174,394,5140,176,37,559,1016],"春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","纵291.3cm，横171.5cm",[181,45],{"id":5145,"slug":5146,"title":644,"dynasty":18,"author":645,"museum":206,"description":646,"tags":5147,"thumbUrl":5148,"material":5149,"size":654,"collection":139,"collections":5150,"showCount":5151,"zanCount":5,"manualWeight":48,"mainColor":49},231408,"zao-chun-tu-guo-xi-231408",[23,7,209,24,241,173,27,177,29,649,650,34,109,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨",[],338,{"id":5153,"slug":5154,"title":5155,"dynasty":76,"author":1204,"museum":20,"description":5156,"tags":5157,"thumbUrl":5159,"material":1716,"size":5160,"collection":139,"collections":5161,"showCount":5162,"zanCount":48,"manualWeight":48,"mainColor":94},233829,"he-shi-shui-niao-tu-zhou-zhu-da-233829","荷石水鸟图轴","图绘荷叶下一只水鸟栖于孤石上，形成全图之焦点。水鸟形状独特，单足独立，神态凄凉，它似在休憩，更似在冷眼观望这冰凉的世界。作者孤寂凄凉的处境、强烈的反清复明思想，以及面对清廷统治日益稳固而无可奈何的心境，或多或少地呈现于作品之中。",[7,173,241,83,245,243,5158,394,227],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60eb12ec5354ccf0a9bdd707a4d098.jpg","纵127厘米，横46厘米",[],336,{"id":5164,"slug":5165,"title":5166,"dynasty":99,"author":443,"museum":20,"description":5167,"tags":5168,"thumbUrl":5170,"material":803,"size":5171,"collection":44,"collections":5172,"showCount":5162,"zanCount":1270,"manualWeight":48,"mainColor":94},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[23,209,7,24,241,173,447,83,136,5169,227,86,178],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm 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眉桃脸不胜春，薄媚足精神。可惜许，沦落在风尘。”唐寅创作此画，则旨主揭示前蜀后主王衍荒淫腐败的生活，寓有鲜明的讽喻之意。\n此图为唐寅人物画中工笔重彩一路画风的代表作品，显示出他在造型、用笔、设色等方面的高超技艺。仕女体态匀称优美，削肩狭背，柳眉樱髻，额、鼻、颔施以“三白”，既吸收了张萱、周昉创造的“唐妆”仕女造型特色，又体现出明代追求清秀娟美的审美风尚。四人交错而立，平稳有序，并通过微倾的头部、略弯的立姿和攀连的手臂，形成动态的多样变化和相互的紧密联系，加强了形象的丰富性和生动感。笔墨技巧近法杜堇，远宗唐人，衣纹作琴弦描，细劲流畅，富有弹性和质感，冠服纹饰描画尤见精工，细致入微。设色鲜明，既有浓淡、冷暖色彩的强烈对比，又有相近色泽的巧妙过渡和搭配，使整体色调丰富而又和谐，浓艳中兼具清雅。作品画风带有雅俗共赏的艺术特色。",[23,7,24,241,27,28,106,59,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6a69f4c7f9bc4763217d4951ac15c8.jpg","纵124.7厘米，横63.6厘米",[44,45],332,{"id":5258,"slug":5259,"title":5260,"dynasty":189,"author":5261,"museum":20,"description":5262,"tags":5263,"thumbUrl":5264,"material":665,"size":5265,"collection":181,"collections":5266,"showCount":5256,"zanCount":5,"manualWeight":48,"mainColor":49},221858,"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[23,7,24,241,28,27,177,29,174,106,107,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[181,163],{"id":5268,"slug":5269,"title":5270,"dynasty":18,"author":293,"museum":238,"description":5271,"tags":5272,"thumbUrl":5273,"material":342,"size":5274,"collection":44,"collections":5275,"showCount":5256,"zanCount":1356,"manualWeight":48,"mainColor":94},214982,"dao-zi-mo-bao-ren-wu-bai-miao-hua-yi-ming-214982","道子墨宝人物白描画","《道子墨宝》原作是一套古代民间画工制作道教壁画的白描画稿。画稿分三部分，第一部分描绘的是诸神朝谒；第二部分是阴曹地府中审判“罪犯”的景象，既所谓的“地狱变相图”；第三部分为搜山图。画稿伪托唐代画圣吴道子作，但从画稿的内容和画中人物的服饰等细节可以断定它不可能是唐代的作品。这套册页原无题，多达五十开的册页，每幅原作右上部位都有用白粉写的简化字符编号，表示一至五十，显然是民间画师用的稿本。",[23,7,24,209,260,104,106,107,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874f90d9aa8cd68cb8fc118529bd192.jpg","34.2*38.4",[44],{"id":5277,"slug":5278,"title":5279,"dynasty":99,"author":100,"museum":752,"description":753,"tags":5280,"thumbUrl":5281,"material":123,"size":764,"collection":139,"collections":5282,"showCount":5283,"zanCount":48,"manualWeight":48,"mainColor":49},216363,"xi-xiang-ji-tu-ye-2-chou-ying-216363","西厢记图页-2",[7,24,81,28,27,106,150,108,109,29,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f417418f71dda24d7c8dff0d64502.jpg",[],331,{"id":5285,"slug":5286,"title":5287,"dynasty":189,"author":1672,"museum":20,"description":5288,"tags":5289,"thumbUrl":5290,"material":803,"size":5291,"collection":181,"collections":5292,"showCount":5293,"zanCount":1356,"manualWeight":48,"mainColor":94},220803,"qiu-ting-jia-shu-tu-ni-zan-220803","秋亭嘉树图","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，反映了作者人画俱老，淡泊自守的情怀。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n此画写的是江南山川景致一隅。平远山水，近处溪边、山石和坡岸：在崎岖不平的山石间长有二株树木，二株为点叶树，一株为长叶树，树干挺拔，枝叶直上，树叶萧疏、水边山坡的平地处筑有一草亭，草亭矮小，空无一人。草亭右侧有几株翠竹，枝叶茂密，将草亭右角遮掩。中间一宽水面，湖光波色，一片空旷；远处有浮现于湖面上的一片沙碛，伸向湖面；再远处为崇山，屹立于远处的湖面上，与近处的山石坡陀遥相呼应。\n该卷上诗塘有吴宽、朱果二家题记。\n画中自题“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”",[23,7,556,1397,241,177,178,227,86,430,175,340,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[181,163],329,{"id":5295,"slug":5296,"title":5297,"dynasty":76,"author":5298,"museum":206,"description":5299,"tags":5300,"thumbUrl":5301,"material":123,"size":139,"collection":45,"collections":5302,"showCount":5293,"zanCount":994,"manualWeight":48,"mainColor":94},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,209,7,24,25,28,27,105,106,107,108,109,34,151,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[45],{"id":5304,"slug":5305,"title":5306,"dynasty":99,"author":4512,"museum":675,"description":5307,"tags":5308,"thumbUrl":5310,"material":665,"size":5311,"collection":90,"collections":5312,"showCount":5313,"zanCount":1356,"manualWeight":48,"mainColor":49},222080,"qiu-hua-jia-die-tu-wen-chu-222080","秋花蛱蝶图","赵文俶(1595-1634年)字端容，今苏州人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名“寒山草木昆虫状”，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。",[23,7,24,28,27,83,4077,5309,299,225],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336545c0cf2814e864937a1efd910257.jpg","纵105厘米，横67厘米",[90,45],328,{"id":5315,"slug":5316,"title":5317,"dynasty":76,"author":1204,"museum":78,"description":5318,"tags":5319,"thumbUrl":5320,"material":342,"size":5321,"collection":90,"collections":5322,"showCount":5313,"zanCount":5,"manualWeight":48,"mainColor":94},218897,"hu-shi-shuang-niao-tu-zhou-zhu-da-218897","湖石双鸟图轴","此画中湖石的勾勒简洁，寥寥几笔圆转的皴法，显出灵动之势。石尖和石旁坡地上各蹲立一只小鸟，给画面平添一股生气。小鸟缩头弓背的形态，流溢出嘲讽的神气。作者用饱满的软毫，中锋运转，笔笔藏锋，圆浑含蓄。全图形体简约而寓意深晦，有很强的形式感。在创作上他取法自然，笔墨简练，大气磅礴，独具新意，创造了高旷纵横的风格。",[7,24,241,173,245,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0533c58e6d213b70b15fc5e48b8b42a2.jpg","纵136厘米，横48.7厘米",[90],{"id":5324,"slug":5325,"title":5326,"dynasty":76,"author":3732,"museum":364,"description":5327,"tags":5328,"thumbUrl":5329,"material":743,"size":744,"collection":90,"collections":5330,"showCount":5331,"zanCount":1547,"manualWeight":48,"mainColor":94},239249,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239249","牡丹十六种册","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[7,24,81,27,28,83,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e4a8c5c08aea53092bfe51363d6ad0.jpg",[90,45],327,{"id":5333,"slug":5334,"title":5335,"dynasty":54,"author":5336,"museum":78,"description":5337,"tags":5338,"thumbUrl":5339,"material":67,"size":5340,"collection":44,"collections":5341,"showCount":5342,"zanCount":1118,"manualWeight":48,"mainColor":49},221083,"gao-yi-tu-sun-wei-221083","高逸图","孙位","《高逸图》是孙位唯一存世的作品，也为目前屈指可数的几件唐代作品之一。画中表现的是魏晋时期著名的“竹林七贤”，目前画面仅剩四人，经考证是山涛、王戎、刘伶与阮籍。在技法上，孙位继承了顾恺之“劲紧连绵如吐丝”的行云流水的风格，但更加成熟。线条的变化更丰富，人物造型刻画更真实细致。《高逸图》著录于宋徽宗的《宣和画谱》里，画上钤印“宣和七玺”。作品的装裱保留了北宋的形式。",[23,7,24,25,27,106,245,1575,28,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83ff393ed82ede490cdbdd60bca7d62.jpg","纵45.2厘米，横168.7厘米",[44,45],326,{"id":5344,"slug":5345,"title":5346,"dynasty":76,"author":77,"museum":1637,"description":1638,"tags":5347,"thumbUrl":5348,"material":1642,"size":1643,"collection":90,"collections":5349,"showCount":5342,"zanCount":1165,"manualWeight":48,"mainColor":94},220999,"hua-hui-tu-ce-sui-han-san-you-tu-yun-shou-ping-220999","花卉图册·岁寒三友图",[23,7,209,24,81,82,27,83,449,242,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29a40cff960843c68f7263ecdb0bd8e.jpg",[90,45],{"id":5351,"slug":5352,"title":1108,"dynasty":76,"author":1204,"museum":132,"description":5353,"tags":5354,"thumbUrl":5355,"material":88,"size":139,"collection":181,"collections":5356,"showCount":5357,"zanCount":5,"manualWeight":48,"mainColor":94},214378,"shan-shui-tu-ce-zhu-da-214378","淡墨晕染的峰峦轻笼烟岚，留白处叠嶂隐现，似有无尽山光水色在虚空中流淌。枯树虬枝以简笔皴擦，苍劲中藏着萧瑟，山间屋舍疏落，人迹杳然却余温尚存。平阔水面上，几叶扁舟静泊，墨色浓淡交织出天地的空寂。笔意简括却含沉郁，每一道线条都似历经沧桑后的沉吟，留白非空，是故国之思的寄寓，亦是灵魂超脱的栖所。简淡山水间，铺展着一段沉默却滚烫的孤怀，让观者于静谧中触碰到那份跨越时空的寂寥与旷达。",[23,7,173,81,177,227,29,176,1015,5066,174,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f92853a53a5d93e0de8367effdc8b91.jpg",[181],324,{"id":5359,"slug":5360,"title":5361,"dynasty":189,"author":2519,"museum":20,"description":5362,"tags":5363,"thumbUrl":5364,"material":803,"size":5365,"collection":163,"collections":5366,"showCount":5367,"zanCount":994,"manualWeight":48,"mainColor":271},220865,"xiu-shi-shu-lin-tu-zhao-meng-fu-220865","秀石疏林图","赵孟頫绘竹石，强调“以书法入画”，此幅绘古木新篁生于平坡秀石之间，以飞白法画石，以篆书法绘树，纯用水墨表现，是其“书画同源”之理论在绘画实践中的具体体现，也是元代文人画最有代表性的作品之一。\n尾纸自题七言绝句：“石如飞白木如籀，写竹还于八法通。若也有人能会此，方知书画本来同。” 这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[23,7,24,173,245,394,242,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a72737a59228d852dc208411a0e28d.jpg","纵27.5cm，横62.8cm",[163,2293],322,{"id":5369,"slug":5370,"title":5371,"dynasty":18,"author":293,"museum":20,"description":5372,"tags":5373,"thumbUrl":5374,"material":173,"size":139,"collection":42,"collections":5375,"showCount":5367,"zanCount":5,"manualWeight":48,"mainColor":271},214846,"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[23,7,24,173,27,28,260,177,86,227,106,35,34,176,2950,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[42],{"id":5377,"slug":5378,"title":5379,"dynasty":76,"author":2804,"museum":20,"description":5380,"tags":5381,"thumbUrl":5382,"material":990,"size":5383,"collection":90,"collections":5384,"showCount":5385,"zanCount":5,"manualWeight":48,"mainColor":94},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,7,24,241,27,173,178,227,446,83,448,451,245,2807,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纵151.6厘米，横80.7厘米",[90,45],321,{"id":5387,"slug":5388,"title":1417,"dynasty":76,"author":2804,"museum":364,"description":5389,"tags":5390,"thumbUrl":5391,"material":27,"size":139,"collection":90,"collections":5392,"showCount":5393,"zanCount":5,"manualWeight":48,"mainColor":5394},224225,"mu-dan-tu-wu-chang-shuo-224225","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,209,7,24,241,27,173,83,327,178,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[90,45],320,"FFFFFF",{"id":5396,"slug":5397,"title":5398,"dynasty":18,"author":293,"museum":78,"description":5399,"tags":5400,"thumbUrl":5402,"material":123,"size":5403,"collection":90,"collections":5404,"showCount":5393,"zanCount":1118,"manualWeight":48,"mainColor":49},218540,"shu-kui-tu-yi-ming-218540","蜀葵图","这幅画描绘的是两枝蜀葵，枝头花开，粉红色和红色的花瓣清新娇艳，绿色的茎叶茂盛繁多。描绘细致工整，色彩丰富，墨线几乎看不到，着色漂亮，把花开的样子表现得淋漓尽致，令人陶醉。",[7,24,209,1562,27,28,83,5401,62,1003],"蜀葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409cefad89ff6783fe33bcc0e3b49c14.jpg","21.5x22.9cm",[90],{"id":5406,"slug":5407,"title":5408,"dynasty":76,"author":5096,"museum":20,"description":5409,"tags":5410,"thumbUrl":5411,"material":123,"size":5412,"collection":181,"collections":5413,"showCount":5414,"zanCount":5,"manualWeight":48,"mainColor":49},214365,"fang-ju-ran-shan-shui-wang-jian-214365","仿巨然山水","王鉴（1792-1867）是清代著名的画家，他的作品《仿巨然山水》是其代表作之一。\n\n《仿巨然山水》描绘了一幅山水画面，王鉴在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。王鉴在《仿巨然山水》中仿照了巨然（元代画家）的山水画风，并加以提升，使作品更具艺术性。\n\n《仿巨然山水》被认为是王鉴写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仿巨然山水》也是收藏家们青睐的经典之作。\n\n王鉴的《仿巨然山水》不仅是一幅精美的画作，更是一首关于自然之美的诗篇。在这幅画作中，王鉴巧妙地运用了水墨画的技法，勾勒出山水的层次感和自然的秀美。作品中的山川、树木、花卉都表现出了自然界的细腻与丰富，使观者感受到大自然的魅力。",[23,7,241,105,177,27,29,864,297,558,34,175,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8dfd4e6285792e5a5e9c104ff6bf42.jpg","220.8x109",[181],319,{"id":5416,"slug":5417,"title":5418,"dynasty":18,"author":781,"museum":206,"description":5419,"tags":5420,"thumbUrl":5422,"material":342,"size":2890,"collection":181,"collections":5423,"showCount":5424,"zanCount":5,"manualWeight":48,"mainColor":94},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,7,209,25,260,28,173,29,176,34,558,106,5421,108,109,1447,560,650],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg",[181],318,{"id":5426,"slug":5427,"title":5428,"dynasty":76,"author":876,"museum":101,"description":5429,"tags":5430,"thumbUrl":5431,"material":88,"size":880,"collection":139,"collections":5432,"showCount":5433,"zanCount":5,"manualWeight":48,"mainColor":94},216252,"jing-fu-si-qi-dong-jing-tu-6-qian-wei-cheng-216252","景敷四气冬景图-6","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n不妨叶面擎微雪，雅称花心射晓晖。独恨品题遗陆羽，仍慙色相号杨妃。钤印：会心不远、徳充符",[7,24,28,27,227,83,839,698,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e691047e218ba377e5b36caab22cef1.jpg",[],317,{"id":5435,"slug":5436,"title":5437,"dynasty":189,"author":487,"museum":132,"description":488,"tags":5438,"thumbUrl":5439,"material":342,"size":139,"collection":139,"collections":5440,"showCount":5433,"zanCount":48,"manualWeight":48,"mainColor":94},214576,"shan-shui-ce-3-wang-meng-214576","山水册-3",[209,7,173,177,81,29,34,151,109,4663,227],"https:\u002F\u002Fos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“嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,7,24,83,81,446,173,27,84,327,298,225,5508],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","32.5×57.3厘米",[90,45],314,{"id":5514,"slug":5515,"title":5516,"dynasty":76,"author":674,"museum":539,"description":5517,"tags":5518,"thumbUrl":5519,"material":123,"size":5520,"collection":44,"collections":5521,"showCount":5512,"zanCount":48,"manualWeight":48,"mainColor":94},218338,"shen-xian-gu-shi-tu-ce-leng-mei-218338","神仙故事图册","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,7,28,27,81,106,430,176,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3701c85d791f88982b1c29414dcbb054.jpg","38x42",[44],{"id":5523,"slug":5524,"title":5525,"dynasty":76,"author":1394,"museum":20,"description":5526,"tags":5527,"thumbUrl":5529,"material":342,"size":5530,"collection":90,"collections":5531,"showCount":5512,"zanCount":1356,"manualWeight":48,"mainColor":94},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[23,209,7,24,241,173,27,83,28,84,299,698,1461,5528],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","100.8x40.1",[90],{"id":5533,"slug":5534,"title":5535,"dynasty":99,"author":966,"museum":1637,"description":4571,"tags":5536,"thumbUrl":5537,"material":67,"size":5538,"collection":139,"collections":5539,"showCount":5540,"zanCount":48,"manualWeight":48,"mainColor":94},221985,"shan-shui-li-zhou-wen-zheng-ming-221985","山水立轴",[23,7,29,864,297,430,173,446,241,803,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee332f86c87306407e318e216c5c719a.jpg","169×97cm",[],313,{"id":5542,"slug":5543,"title":5544,"dynasty":76,"author":77,"museum":20,"description":5545,"tags":5546,"thumbUrl":5547,"material":40,"size":5548,"collection":139,"collections":5549,"showCount":5550,"zanCount":1270,"manualWeight":48,"mainColor":49},234922,"fu-chun-shan-tu-zhou-yun-shou-ping-234922","富春山图轴","图绘林木葱茂、山峦起伏的雄秀景色。此图是作者仿元黄公望《富春山图》画意之作，线条勾勒粗犷，笔势潇洒而秀润。淡墨皴染，墨色透明而不失凝重，显现出作者对黄氏笔墨技法的娴熟运用能力。",[7,24,241,173,177,29,34,176,31,35,108,2838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e6255603844435afcc8c4427ea5fcc.jpg","纵168cm，横69.2cm",[],312,{"id":5552,"slug":5553,"title":5554,"dynasty":76,"author":1109,"museum":20,"description":5555,"tags":5556,"thumbUrl":5557,"material":1449,"size":139,"collection":139,"collections":5558,"showCount":5550,"zanCount":1356,"manualWeight":48,"mainColor":94},234231,"yuan-ji-shan-shui-tu-juan-shi-tao-234231","原济山水图卷","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[23,7,173,25,177,29,108,109,176,34,35,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98857fb9227e3d88875c038ee2e558af.jpg",[],{"id":5560,"slug":5561,"title":5562,"dynasty":99,"author":4314,"museum":20,"description":5563,"tags":5564,"thumbUrl":5566,"material":5567,"size":5568,"collection":90,"collections":5569,"showCount":5550,"zanCount":1356,"manualWeight":48,"mainColor":49},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,209,7,24,241,28,27,83,5565,453,281,245,1062,84,1938],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[90,45],{"id":5571,"slug":5572,"title":5573,"dynasty":76,"author":293,"museum":364,"description":5574,"tags":5575,"thumbUrl":5580,"material":139,"size":139,"collection":139,"collections":5581,"showCount":5582,"zanCount":1547,"manualWeight":48,"mainColor":49},234383,"yin-zhen-shi-er-yue-jing-xing-le-tu-dan-pian-yi-ming-234383","胤禛十二月景行乐图单片","满池荷田田铺展，夏意随水汽漫过错落亭台。凭栏雅士闲赏菡萏，凌波画舫载着清趣缓行，庭院间仆从往来忙活，处处漾着松弛鲜活的意趣。\n设色柔润明丽，界画工细严整，人物情态鲜活入微，将消夏雅集的日常铺陈开来。笔底藏着雅致心思，把盛夏水乡的闲逸日常勾勒得细腻生动，尽显升平安逸的烟火意趣。",[7,104,27,28,106,107,136,109,5576,115,5577,5578,5579],"画舫","消夏","闲逸","雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F508d9ece16a44c74182184ecba879fff.jpg",[],311,{"id":5584,"slug":5585,"title":5586,"dynasty":18,"author":2007,"museum":1985,"description":5587,"tags":5588,"thumbUrl":5590,"material":665,"size":5591,"collection":42,"collections":5592,"showCount":5582,"zanCount":1270,"manualWeight":48,"mainColor":49},221184,"mei-hua-shuang-que-tu-ma-lin-221184","梅花双雀图","《中国历代精品梅兰竹菊(卷一):梅卷》介绍了梅花具有顶风凌雪、先春而发的高尚品格，颇可象征刚正忠贞、横而不流的人格，因此也就自然成为文人骚客反复咏叹的对象。\n在中国文学史上，对梅花的咏赞往往都寓托了作者深远的精神内涵，如陈同甫之诗云“疏枝横玉瘦，小萼点珠光”，是赞美梅花的清贵高古；陆放翁云“当年走马锦城西，曾为梅花醉似泥”，表达出对梅的喜爱之情已臻如痴如醉之境；谢枋得在抗元失败后，隐居武夷，作诗称“几生修得到梅花”，更是以梅花坚贞的品格自期。\n同样，在中国画创作中，梅也是一个重要的题材，它与兰、竹、菊合称为“四君子”。\n并逐渐成为中国花鸟画基本功训练的重要内容，尤其是在意笔花鸟画兴起之后，但凡有成就者，几乎没有不擅长梅、兰、竹、菊的。",[23,7,24,209,81,28,27,83,448,5589],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49bdbf46314f2ed5ab10d9d675a4e7b.jpg","纵28厘米，横29厘米",[42,90,45],{"id":5594,"slug":5595,"title":5596,"dynasty":99,"author":3114,"museum":206,"description":5597,"tags":5598,"thumbUrl":5599,"material":827,"size":5600,"collection":181,"collections":5601,"showCount":5582,"zanCount":1547,"manualWeight":48,"mainColor":94},220923,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-220923","临倪瓒东冈草堂图轴","注意画叶也要讲究笔法，不是胡乱的点画的，要“写”出来，画的叶子要有笔力。在开始画的时候，先浅墨而后蘸取浓墨在笔尖，由内到外，还需要有位置经营概念，去写画出来。",[23,7,173,105,241,29,430,176,109,106,227,177,1015,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0364821d55f9583be7c7bb15bf0fc.jpg","87.4x65",[181,163],{"id":5603,"slug":5604,"title":5605,"dynasty":204,"author":2215,"museum":56,"description":5606,"tags":5607,"thumbUrl":5608,"material":67,"size":5609,"collection":181,"collections":5610,"showCount":5611,"zanCount":48,"manualWeight":48,"mainColor":49},221153,"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[23,7,209,24,25,29,109,174,34,2218,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314a9f565c70.jpg","纵50厘米，横320厘米",[181,163],309,{"id":5613,"slug":5614,"title":5615,"dynasty":99,"author":170,"museum":752,"description":5616,"tags":5617,"thumbUrl":5618,"material":88,"size":5619,"collection":181,"collections":5620,"showCount":5611,"zanCount":5,"manualWeight":48,"mainColor":49},219997,"fang-wang-meng-shan-shui-tu-shen-zhou-219997","仿王蒙山水图","沈周（1427～1509）明代杰出书画家。字启南，号石田、白石翁、玉田生、有居竹居主人等。汉族，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。",[23,7,24,29,27,173,177,105,108,109,176,34,558,106,107,1445,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee133c9090a1b144a80565865755e15.jpg","121.2 × 60.2 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淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[23,7,24,209,241,28,27,83,136,137,2555,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[90,45],{"id":5708,"slug":5709,"title":5710,"dynasty":1095,"author":2335,"museum":2336,"description":5711,"tags":5712,"thumbUrl":5714,"material":139,"size":139,"collection":139,"collections":5715,"showCount":5696,"zanCount":48,"manualWeight":48,"mainColor":94},220497,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-ji-le-pu-sa-si-shen-xiang-zhang-da-qian-220497","张大千临摹敦煌壁画初唐伎乐菩萨四身像","四身伎乐菩萨环立莲台，眉目温婉静穆，气韵安然祥和。诸人各执乐器，或按排箫、或拨琵琶、或持拍板、或摇铃鼓，神态各殊却皆浸在丝竹雅韵之中。\n\n画作敷色浓烈妍丽，朱砂石青交相辉映，承袭初唐敦煌壁画的富丽厚重。铁线描勾勒衣袂婉转流动，晕染沉实细腻，精准复刻出古壁画的庙堂质感，将盛唐伎乐的雍容之美凝于绢上，让千年敦煌的梵音雅乐跃然眼前。",[23,7,24,105,2340,28,27,259,106,5713,210],"菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203948a899df0e2d4917b8f5c73e4421.jpg",[],{"id":5717,"slug":5718,"title":5719,"dynasty":18,"author":293,"museum":206,"description":5720,"tags":5721,"thumbUrl":5723,"material":123,"size":139,"collection":44,"collections":5724,"showCount":5696,"zanCount":1270,"manualWeight":48,"mainColor":1335},216983,"yu-lan-guan-yin-tu-yi-ming-216983","鱼篮观音图","鱼篮观音图是宋代佚名画家的作品，其中描绘了观音菩萨手持鱼篮的场景。观音菩萨是佛教中的一位观世音，被认为能够拯救苦难的众生。鱼篮观音图通常被用作冥想祈福的辅助图片，并且也被认为具有招财进宝的功效。这幅画作品流传至今，并且在许多佛教寺庙中都可以看到。",[7,24,209,241,259,106,28,27,227,5722],"鱼篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6e54f1af2dc55c1055152c478f86c4.jpg",[44],{"id":5726,"slug":5727,"title":5728,"dynasty":18,"author":553,"museum":206,"description":5729,"tags":5730,"thumbUrl":5731,"material":803,"size":5732,"collection":42,"collections":5733,"showCount":5734,"zanCount":5,"manualWeight":48,"mainColor":49},221383,"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[23,7,24,209,241,29,109,106,34,650,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","156.1x106.3cm",[42,163],303,{"id":5736,"slug":5737,"title":220,"dynasty":76,"author":77,"museum":364,"description":740,"tags":5738,"thumbUrl":5739,"material":743,"size":744,"collection":139,"collections":5740,"showCount":5741,"zanCount":1356,"manualWeight":48,"mainColor":94},239431,"hua-niao-ce-yun-shou-ping-239431",[7,24,81,27,82,83,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5391d418d6a9273a2cb10bd932c4d201.jpg",[],302,{"id":5743,"slug":5744,"title":5745,"dynasty":18,"author":1650,"museum":206,"description":5746,"tags":5747,"thumbUrl":5750,"material":342,"size":139,"collection":42,"collections":5751,"showCount":5741,"zanCount":1547,"manualWeight":48,"mainColor":49},220194,"song-xi-qing-tiao-tu-ma-yuan-220194","松溪清眺图","马远，祖籍河中（今山西永济），“靖康之变”北宋灭亡后，马远的祖父马兴祖随着宋高宗赵构南渡，因此马远是在南宋的都城临安（今浙江杭州）出生长大的。他的生卒和详细经历，很难查考。曾为南宋光宗、宁宗两朝（约1190年－1224年）的画院待诏。",[23,209,7,24,173,1397,177,5748,449,5749,864,175,865,297,431,34,560,650],"边角构图","溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf758ab459e20e424815729b0992857f.jpg",[42,181],{"id":5753,"slug":5754,"title":5755,"dynasty":18,"author":2142,"museum":206,"description":5756,"tags":5757,"thumbUrl":5758,"material":123,"size":5759,"collection":42,"collections":5760,"showCount":5741,"zanCount":1547,"manualWeight":48,"mainColor":49},218908,"han-lin-tu-li-cheng-218908","寒林图","老树虬枝如铁，皴裂躯干似承霜雪低语。蟹爪般枝桠向上伸展，墨色浓淡晕染清寂寒意。溪流蜿蜒穿林，坡石错落间远近层次渐铺，平远之境顿生。淡墨皴擦见长，清润雅致中透着荒寒之气，尽显北方山水萧索静谧。林间风声与水流轻响似可听闻，引人入幽深之境，于简淡笔墨里藏着无尽悠远意韵，仿佛能触到寒林深处的清冷与安宁。",[23,7,173,177,241,29,1653,394,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00763436e1ca42c45455bf4e9f3abae8.jpg","146.8x75.2",[42,181],{"id":5762,"slug":5763,"title":5764,"dynasty":18,"author":4266,"museum":206,"description":5765,"tags":5766,"thumbUrl":5771,"material":342,"size":5772,"collection":90,"collections":5773,"showCount":5741,"zanCount":1118,"manualWeight":48,"mainColor":94},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[23,7,24,25,173,710,446,83,84,5767,242,243,327,933,224,5768,5769,2248,931,5770,450,279,451],"蔬果","白菜","萝卜","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[90],{"id":5775,"slug":5776,"title":5777,"dynasty":76,"author":77,"museum":206,"description":325,"tags":5778,"thumbUrl":5779,"material":123,"size":329,"collection":139,"collections":5780,"showCount":5741,"zanCount":1270,"manualWeight":48,"mainColor":94},214304,"mu-dan-ce-2-yun-shou-ping-214304","牡丹册-2",[209,7,24,28,27,81,83,327,4008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c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48,"mainColor":94},220522,"xu-bei-hong-xiong-ji-tu-zhou-xu-bei-hong-220522","徐悲鸿雄鸡图轴","此作以大写意落笔，雄鸡身姿轩昂抖擞，红冠如灼灼丹火，浓墨泼就的翎羽苍劲如铁，留白晕出颈腹白羽，浓淡相生尽显神采。利爪紧扣崖岩，似将引吭长鸣，尽显昂扬不屈的气魄。\n\n崖石以淡赭泼染，枯笔勾皴出嶙峋质感，间杂数丛浅绿新篁，柔枝衬出顽石刚劲，刚柔相济。整幅画作笔力爽利简练，形神兼备，将雄鸡的英武风骨跃然纸上，寄寓着浩然正气，寥寥数笔便勾勒出禽石相融的生机，尽显写意花鸟的精妙意趣。",[23,7,24,241,173,27,83,5865,242,227],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe115ec61c0c6ef5f425bf65a2f50841a.jpg",[],{"id":5869,"slug":5870,"title":5871,"dynasty":99,"author":5872,"museum":364,"description":5873,"tags":5874,"thumbUrl":5875,"material":139,"size":139,"collection":139,"collections":5876,"showCount":5877,"zanCount":1547,"manualWeight":48,"mainColor":94},230882,"lan-hua-tu-zhou-zhou-tian-qiu-230882","兰花图轴","周天球","《明陈元素兰花图轴》是明朝陈元素所创作的画作。\n陈元素，生卒年不详，字古白，长洲(今江苏苏州)人。\n早负才名，工诗文、书画。\n擅山水，尤善墨兰。\n此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。\n明谓王榖祥、周天球所不及。",[209,7,24,241,173,452,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c31f43667a27327d9f6e11d682c75a8.jpg",[],296,{"id":5879,"slug":5880,"title":5881,"dynasty":76,"author":2804,"museum":364,"description":5389,"tags":5882,"thumbUrl":5883,"material":619,"size":139,"collection":90,"collections":5884,"showCount":5877,"zanCount":5,"manualWeight":48,"mainColor":94},224224,"shen-xiang-ting-mu-dan-tu-wu-chang-shuo-224224","沈香亭牡丹图",[23,7,24,241,27,446,83,327,453,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c9d82e7f776cb18bd2518ac5c4a852.jpg",[90,45],{"id":5886,"slug":5887,"title":5888,"dynasty":76,"author":1204,"museum":20,"description":5889,"tags":5890,"thumbUrl":5891,"material":342,"size":139,"collection":181,"collections":5892,"showCount":5877,"zanCount":1270,"manualWeight":48,"mainColor":94},218774,"bai-lu-tu-zhu-da-218774","柏鹿图","虬枝如铁，苍柏孑立，似承霜雪之重。白鹿昂首，长颈引向天际，目含清寂，身姿简括却筋骨隐现。墨色浓淡相济，枝干的枯涩与鹿身的柔劲相映，留白处更显空远孤高。画面无喧嚷，唯有冷寂中透出的坚守，恰如画家心境——于乱世中抱守孤洁，以物寄情，将满腔郁勃化入简淡笔墨，自成一派清绝之境。笔意纵逸却不失沉稳，每一处线条都藏着内敛的力量，让苍柏与白鹿成为跨越时空的精神载体，静静诉说着那份独属于旧朝遗民的孤傲与怅惘。",[23,7,173,241,446,177,957,3167,2167,394,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33c355a23e9081c6ca7d116aca7e485.jpg",[181,90],{"id":5894,"slug":5895,"title":5896,"dynasty":189,"author":5897,"museum":1985,"description":5898,"tags":5899,"thumbUrl":5900,"material":67,"size":5901,"collection":90,"collections":5902,"showCount":5903,"zanCount":994,"manualWeight":48,"mainColor":94},221703,"lan-tu-xue-chuang-221703","兰图","雪窗","简洁而秀逸的兰花，生于幽谷，遗世独立，清雅高洁。在历朝历代文人雅士的笔下，以兰花为表现对象的作品比比皆是。 画兰究竟始于何时已无法考证。《全唐诗》载有牟融《山寺律僧画兰竹》诗。查阅 唐宋绘画史专著，未见有关唐宋画家画兰的记载。史传宋杨补之画过兰花，但作品没有流传下来。有作品流传的画兰名家，当以徐禹功、赵孟坚、郑思肖为最早。其次如赵孟頫、赵雍、王英孙、释道隐、释明雪窗、李至规等亦擅画兰。\n释明雪窗 （？－约1352），元代僧人，画家，以画兰花闻名于世。俗姓曹，号雪窗，法号普明，通称明雪窗，松江（今属上海市）人，在平江出家。至元四年（1338）曾为平江虎丘云岩寺主持，后改为承天能仁主持。精于针灸，擅画兰。与释柏子庭齐名，时称“家家恕斋（班惟志）字，户户雪窗兰”。\n四海出家，同称释氏，中国佛教的出家人都姓释迦牟尼的“释”。在中国美术史上，都把这位元代画兰高僧称为“释明雪窗”，其实应该和石涛、髡残一样，把他称为“明雪窗”。雪窗和尚的画和他的名字一样，在今天鲜为人知，但在大师辈出的元代，雪窗和尚的兰花可谓是家喻户晓，我们无法想象“家家恕斋字，户户雪窗兰”所描述的是一种怎样的景象。\n元人孔齐撰《至正直记》（又名《静斋至正直记》、《静斋类稿》）是作者避兵四明时写的一部见闻杂记，内容包括当时政治、经济状况，器物制作情况，文学、艺术成就和当时的人文社会习俗，是一部很有资料价值的笔记。《至正直记》卷二有《画兰法》一文，记载了一位名叫郎玄隐的道士向孔齐传授明雪窗画兰技法，这些方法和今天画兰教科书里的方法并无二致。",[23,7,24,173,83,452,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c046834cdc068347a37c68ff699feb.jpg","32.9 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"title":5987,"dynasty":99,"author":170,"museum":101,"description":5988,"tags":5989,"thumbUrl":5991,"material":4796,"size":5992,"collection":181,"collections":5993,"showCount":5994,"zanCount":1356,"manualWeight":48,"mainColor":94},222100,"si-song-tu-ce-ye-shen-zhou-222100","四松图册页","四松图册页》画的是山野小景，虽然画面的中央是四棵形态各异的松树，但仔细观察会发现画的左下角杂树掩映之下，有小径通向人家。也正是这幽径人家，给充塞画面的寂静山野增添了活力。整幅作品分三个层次，前景是松树和人家，中景是以墨笔勾皴的浅绛山石，远景是以没骨法描绘的远山。从山石的画法看，既不属于前期的“细沈”，亦不属于晚年的简约“粗沈”，风格介乎二者之间。皴法以短披麻皴为主，有王蒙牛毛皴的影子。墨笔为主的整体基调，间以淡赭和花青点染，营造出视觉上很舒服的隽雅格调。",[23,209,7,24,5990,2939,173,177,29,1575,176,1250,649,446],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纵154厘米，横60.39厘米",[181,45],290,{"id":5996,"slug":5997,"title":2071,"dynasty":99,"author":5998,"museum":539,"description":5999,"tags":6000,"thumbUrl":6001,"material":123,"size":139,"collection":44,"collections":6002,"showCount":5994,"zanCount":1118,"manualWeight":48,"mainColor":49},219556,"shi-nv-tu-jiang-gan-219556","蒋干","春日深苑里，梅枝斜曳绽蕊，古殿檐角隐在花影后。两名仕女缓步游园，前者抬臂探花，似贪嗅浅淡春芳，后者抬手理鬓，眼波追随着花枝流转。\n\n衣纹以淡墨轻勾，敷色清妍柔润，朱红飘带轻垂摇曳，衬出仕女柔婉窈窕的身姿。山石花木晕染雅致，淡赭底色晕开暮春慵柔氛围，笔意秀逸灵动，将深闺仕女娇柔娴静的游园意趣藏在每一处笔触间，尽显清丽隽秀的古典风韵，把春日闲淡雅致的闺中情态铺陈得动人缱绻。",[23,7,24,241,28,27,106,59,758,840,107,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a387652910225c3f68016cca938aa4e.jpg",[44,45],{"id":6004,"slug":6005,"title":6006,"dynasty":76,"author":2083,"museum":364,"description":6007,"tags":6008,"thumbUrl":6009,"material":139,"size":139,"collection":90,"collections":6010,"showCount":6011,"zanCount":1356,"manualWeight":48,"mainColor":94},237929,"zheng-xie-lan-zhu-ju-tu-zhou-zheng-ban-qiao-237929","郑燮兰竹菊图轴","清代官吏、书画家、文学家。名燮，字克柔，江苏兴化人。康熙秀才、雍正举人、乾隆元年进士。“扬州八怪”之一。历官山东范县、潍县知县，有惠政。以请臻饥民忤大吏，乞疾归。诗书画均旷世独立，人称三绝。有《板桥全集》。",[7,173,446,178,241,452,242,453,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c9ee82db8bf4c30827b6a0b1e18900.jpg",[90,163],289,{"id":6013,"slug":6014,"title":6015,"dynasty":204,"author":2072,"museum":206,"description":6016,"tags":6017,"thumbUrl":6019,"material":123,"size":6020,"collection":44,"collections":6021,"showCount":6022,"zanCount":1356,"manualWeight":48,"mainColor":49},219691,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-219691","荷亭弈钓仕女图","画亭榭临池，前後碧柳四垂，二女亭中对奕。亭外池荷盛开，翠叶田田。仕女或倚栏垂钓或持扇观荷，一派夏日悠闲景象。通幅屋界、衣饰刻画精细，粉花绿叶著色清丽，本幅旧传为南唐周文矩之作，唯笔墨、器用皆显露出明清习气。",[23,7,209,24,241,28,27,106,59,175,136,107,1532,1664,313,6018],"弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe978a3e1bcbd02719a386cfad2d3d42b.jpg","195.1x98厘米",[44],287,{"id":6024,"slug":6025,"title":6026,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":6028,"thumbUrl":6031,"material":27,"size":6032,"collection":139,"collections":6033,"showCount":6034,"zanCount":5,"manualWeight":48,"mainColor":94},222738,"xian-e-chang-chun-tu-huang-ci-me-yu-yu-er-mu-dan-lang-shi-ning-222738","仙萼长春图黄刺么与鱼儿牡丹","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,209,7,24,81,27,28,83,6029,6030,281,225],"黄刺玫","鱼儿牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5d6ad2b6dcc4434e46f4033608090.jpg","宽28.4公分，高33.7公分",[],286,{"id":6036,"slug":6037,"title":6038,"dynasty":18,"author":6039,"museum":6040,"description":6041,"tags":6042,"thumbUrl":6043,"material":123,"size":6044,"collection":181,"collections":6045,"showCount":6034,"zanCount":994,"manualWeight":48,"mainColor":94},218391,"xiao-xiang-ba-jing-jiang-tian-mu-xue-wang-hong-218391","潇湘八景-江天暮雪","王洪","美国普林斯顿大学美术馆","此图淡墨轻岚，诗意优扬。其“江天暮雪”辽阔的水域占了书面的二分之一左右，近景的坡石和远方的山影仿佛都被广袤白雪所覆盖，画面正偏左有几株树叶凋落的乔木，树丛间隐约可见屋宇，顺着树枝垂下的方向看，一个渔翁正瑟缩着坐在船首。画面不以留白取胜，而将渔翁置于千山万径之间，以天地之山巅，冰雪之苍凉，衬托渔翁之微小。",[23,7,209,24,173,177,29,430,37,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","90.7×23.4厘米",[181],{"id":6047,"slug":6048,"title":6049,"dynasty":76,"author":707,"museum":206,"description":708,"tags":6050,"thumbUrl":6052,"material":88,"size":139,"collection":139,"collections":6053,"showCount":6034,"zanCount":1547,"manualWeight":48,"mainColor":94},214861,"xie-sheng-ce-4-hua-yan-214861","写生册-4",[209,7,368,27,28,933,6051,367,227,83],"海螺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185c3169af8452ffdbb9bb497462b957.jpg",[],{"id":6055,"slug":6056,"title":6057,"dynasty":54,"author":293,"museum":20,"description":6058,"tags":6059,"thumbUrl":6062,"material":123,"size":6063,"collection":181,"collections":6064,"showCount":6034,"zanCount":48,"manualWeight":48,"mainColor":49},214258,"gong-yuan-tu-yi-ming-214258","宫苑图","宫苑图是一幅作者不详的唐代画作。这幅画作描绘了唐朝皇宫的生活。\n\n在这幅画作中，画家巧妙地捕捉了唐朝皇宫的繁华景象。他用浓墨重彩的画法，勾勒出了皇宫的宏伟建筑。他还用细腻的线条勾勒出了皇宫中各种活动的场面，让人感受到了唐朝皇宫的繁荣景象。\n\n此外，画家在这幅画作中还描绘了皇宫周围的景色。他用色彩丰富的画法，描绘了皇宫周围的山川和河流。这些景色与皇宫的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n总之，宫苑图是一幅精美的画作，描绘了唐朝皇宫的生活。它让我们感受到了唐朝皇宫的繁荣景象，也让我们感受到了唐朝文化的魅力。",[23,209,7,24,27,104,107,29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其与郭熙《早春图》、范宽《溪山行旅图》，合称为“宋画之三大精品”",[209,7,1397,173,177,176,1575,109,6070,558],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a14a762dc0039a1efab5f1ab4cdccfa.jpg",[],285,{"id":6075,"slug":6076,"title":6077,"dynasty":76,"author":293,"museum":132,"description":6078,"tags":6079,"thumbUrl":6080,"material":123,"size":6081,"collection":90,"collections":6082,"showCount":6073,"zanCount":1356,"manualWeight":48,"mainColor":49},218955,"he-li-shi-zhu-tu-yi-ming-218955","鹤立石柱图","振翅的鹤，白羽层叠如凝雪，墨羽缀于翼尖似泼墨，长颈曲转间自有灵韵。双爪紧扣嶙峋石柱，石柱立于翻涌的浪涛之上，岩纹与水纹交织出苍劲古意。深褐底色衬得鹤羽愈发明净，动静相生间，似有清唳破风而来，尽显生灵与天地相融的傲然之态。笔意细腻处见羽毛纤毫，粗犷处显山石磅礴，于方寸间藏万千气象，足见匠心独运。",[7,24,28,27,241,281,60,245,504,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5174cd1ea8ffbe0f8da17cfa3f06a65b.jpg","171x89cm",[90],{"id":6084,"slug":6085,"title":3113,"dynasty":76,"author":6086,"museum":515,"description":6087,"tags":6088,"thumbUrl":6089,"material":342,"size":139,"collection":181,"collections":6090,"showCount":6073,"zanCount":5,"manualWeight":48,"mainColor":94},214492,"fang-gu-shan-shui-tu-cheng-ting-lu-214492","程庭鹭","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[7,173,177,105,24,227,178,29,245,109,649,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fa5973203512efafa690cc0c52a465.jpg",[181],{"id":6092,"slug":6093,"title":6094,"dynasty":76,"author":1109,"museum":364,"description":6095,"tags":6096,"thumbUrl":6097,"material":139,"size":139,"collection":139,"collections":6098,"showCount":6099,"zanCount":48,"manualWeight":48,"mainColor":94},229001,"jin-ling-sheng-ji-tu-ce-zhang-da-qian-ti-zhen-shi-tao-229001","金陵胜迹图册(张大千题)帧","此帧以淡赭晕染危崖，笔意简括古拙，衬出峭壁高峙之态。崖巅楼宇寥寥数笔，凭栏人影幽然，衬出山巅阒寂清旷。枯淡墨色点苔绘木，苍劲松灵，淡墨扫出空蒙天色，与赭色崖身相映，冷逸出尘。\n\n配行书题诗，诗书与画境相融，笔墨间浸透着清冷禅意，将冬初山阁清寂之景，与幽人寄怀合而为一，于尺幅间尽绘高旷出尘之致，尽显纵逸灵动的笔底才情，把山巅初消寒意的雅趣，晕染得淡远空灵，韵致悠长。",[23,209,7,24,81,27,177,227,86,29,107,430,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddb8b7cfbb4648cbf6458bf7f8aaa0.jpg",[],284,{"id":6101,"slug":6102,"title":6103,"dynasty":76,"author":77,"museum":1637,"description":1638,"tags":6104,"thumbUrl":6105,"material":67,"size":6106,"collection":90,"collections":6107,"showCount":6099,"zanCount":1356,"manualWeight":48,"mainColor":94},220995,"hua-hui-tu-ce-tao-hua-yun-shou-ping-220995","花卉图册·桃花",[23,7,24,81,27,82,83,279,84,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb300ee60f9ba34664528d3e4e7228c38.jpg","每帧纵32.5厘米，横25.5厘米",[90,45],{"id":6109,"slug":6110,"title":6111,"dynasty":99,"author":293,"museum":3940,"description":6112,"tags":6113,"thumbUrl":6114,"material":123,"size":139,"collection":44,"collections":6115,"showCount":6099,"zanCount":994,"manualWeight":48,"mainColor":49},219589,"ying-wu-shi-nv-tu-yi-ming-219589","鹦鹉仕女图","仕女发髻簪饰精巧，面庞柔丽含笑，朱色坠耳衬出温婉气质。青缎衣衫间绣朱红云纹，腰束锦带垂曳飘饰，配色沉雅鲜亮，尽显裁衣考究。她抬臂托举鹦鹉，指尖轻拢衣袂，姿态娴静柔缓。\n\n掌间鹦鹉翎羽红绿相映，灵动鲜活，将闺中女子的悠然与小生灵的俏皮相融。古绢底色晕染出岁月厚重，笔触工细写实，把深闺日常的闲雅意趣，藏在眉眼笑意与禽鸟互动间，静中生趣，尽显古典仕女画含蓄柔美的意蕴风骨。",[7,24,209,241,28,27,106,59,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46f589fcafbb38f6a42e918129a45e1a.jpg",[44,45],{"id":6117,"slug":6118,"title":6119,"dynasty":76,"author":850,"museum":20,"description":6120,"tags":6121,"thumbUrl":6122,"material":40,"size":6123,"collection":44,"collections":6124,"showCount":6125,"zanCount":5,"manualWeight":48,"mainColor":6126},222771,"ping-an-chun-xin-tu-li-zhou-lang-shi-ning-222771","平安春信图立轴","图绘在青竹、寒梅以及湖石点缀的田园环境中，两位身着汉装的男子正在以梅枝相递送，其典雅高贵的举止与优雅的环境相得益彰，情景交融之中加深了画意。\n《平安春信图》寓意吉祥，父子二人品竹赏梅，充满了浓郁的生活气息，画家以写实的手法表现了年少皇子睿智的目光，以及他与父皇融融的亲情。让人体会到严肃的宫廷生活中也有寻常百姓家的天伦之乐。\n这幅肖像，是作者参酌中法的新式肖像画，作者巧妙地将中西画融合在一起，产生出中西合璧的佳作。对人物的刻画细致入微，尤其两人面部表情的刻画，即将一老一少的不同面容能准确真实地表现出来，说明画家具有细致的观察能力和写实的功力。\n翠竹及人物面部以西画笔法，刻画入微，作品用色泽的深浅浓淡来表现人物的五官，立体感十足。而衣纹却用中国传统的笔墨勾线，加以晕染，亦显质感。",[23,7,209,24,241,27,28,106,242,245,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5a33b3478bd6f01524150db632d534.jpg","纵68.8厘米，横40.8厘米",[44,45],283,"2A56C6",{"id":6128,"slug":6129,"title":6130,"dynasty":18,"author":474,"museum":20,"description":6131,"tags":6132,"thumbUrl":6133,"material":67,"size":6134,"collection":42,"collections":6135,"showCount":6125,"zanCount":1270,"manualWeight":48,"mainColor":49},221341,"xiang-long-shi-tu-juan-zhao-ji-221341","祥龙石图卷","卷首画有一块立状太湖石，石顶端生有异草几株。太湖石宛如一条上下翻滚的蛟龙，其形貌占据了奇石必备的五个审美条件：瘦、漏、皱、透、丑。细看石上，有楷书“祥龙”二字。宋徽宗将此类奇石异草的出现，视为大宋国运之祥兆，赞之“挺然为瑞”，竭尽全力绘之。图左有宋徽宗为祥龙石而作的瘦金体题诗：“祥龙石者，立于环碧池之南，芳洲桥之西，相对则胜瀛也。其势胜湧，若虬龙出为瑞应之状，奇容巧态，莫能具绝妙而言之也。廼亲绘缣素，聊以四韵纪之。彼美蜿蜒势若龙，挺然为瑞独称雄。云凝好色来相借，水润清辉更不同。常带瞑烟疑振鬣，每乘宵雨恐凌空。故凭彩笔亲模写，融结功深未易穷。”署款“御制御画并书”，押署“天下一人”，钤朱文印“御书”、“宣和殿宝”，徐邦达先生认为此印“不佳，真伪待考”（徐邦达《古书画伪讹考辨》），但《祥龙石图》卷被公认为是宋徽宗的真迹。鉴定徽宗真迹的标尺除了瘦金体“御制御画并书”、“天下一人”画押及朱印“御书”和双龙御玺外，书画风格也是一项重要依据，即结合赵宋家族的书画历史特别是徽宗本人的美学思想及北宋绘画的历史发展状况，寻找其中存在的风格上的逻辑关系，再结合当时及晚一辈名人的题识，综合多种因素来判断。\n当时的徽宗特别迷恋太湖石，为了加大采运力度，特设苏杭应奉局专门在太湖周围开挖湖石。石工们因长期泡在水里挖石，导致肢体皮肤溃烂。运送巨石时，甚至不惜拆桥过船，靡费国资不计其数。徽宗根据一些湖石的形状封其为“盘固侯”、“蹲螭坐狮”、“金鳌玉龟”等吉祥名号，画中的“祥龙石”可能就是其中的一块。宋徽宗处心积虑地寻找花石纲和各种祥瑞之物，欲借此稳定朝廷、安抚民心，同时也为他提供了艺术创作的素材。在充满了道教神仙思想的宋徽宗看来，描绘祥瑞之物的绘画活动不仅仅是单纯的艺术创作，而且也是祈祷国家和民族福祉的独特形式和粉饰太平的最好的政治工具，《祥龙石图》卷正是这种思想的反映。\n有史以来，宋徽宗第一个在艺术创作上实现了诗书画印的完整统一。在《祥龙石图》卷中，徽宗的题画诗不在卷尾，而是作为画面构成的一个部分，这必定是作者将构思和构图同时经营的结果，这在中国绘画史上有着划时代的重要意义。该卷构图极简，用色颇精，格调雅致，具有典型的北宋院体绘画的艺术风格。画家以墨笔层层渲染出太湖石的坑眼，结构分明，笔墨细腻入微，极其工整精雅，极可能是写生之作。该卷钤有元内府“天历之宝”等印玺，拖尾有清代陈仁涛、吴荣光的题跋，《辛丑消夏记》著录。",[23,7,24,25,28,173,245,242,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d21118b231b6391de049a9701658812.jpg","纵53.8厘米，横127.5厘米",[42,163,2293],{"id":6137,"slug":6138,"title":6139,"dynasty":18,"author":1275,"museum":206,"description":6140,"tags":6141,"thumbUrl":6144,"material":123,"size":6145,"collection":90,"collections":6146,"showCount":6125,"zanCount":1165,"manualWeight":48,"mainColor":94},215108,"cheng-huang-ju-lv-tu-lin-chun-215108","橙黄橘绿图","橙黄橘绿图是宋朝著名画家林椿的代表作之一。这幅画作品以其鲜艳的色彩和生动的画风而闻名。\n\n橙黄橘绿图描绘了一个山水田园风光的场景，画面中有美丽的山峦、流动的河流、茂密的树林、漫山遍野的果树以及田田温馨的农舍。画中还有许多动物和人物，丰富了画面的内容。\n\n林椿在橙黄橘绿图中运用了丰富的色彩，让这幅画作充满了生机和活力。他使用的是深浅不一的黄色、橙色、绿色等色彩，使画面显得栩栩如生。\n\n橙黄橘绿图被誉为宋朝山水画的杰作，其中蕴含着林椿对自然界的敬畏和深刻的观察。它不仅是一幅美丽的画作，更是一份对自然的热爱和尊重的见证。",[23,209,7,24,81,28,27,83,6142,6143,225],"橙","橘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdd9d36a11dabb7bd116b3d6c267f63.jpg","23.8x24.3cm",[90],{"id":6148,"slug":6149,"title":6150,"dynasty":189,"author":487,"museum":132,"description":488,"tags":6151,"thumbUrl":6152,"material":342,"size":139,"collection":139,"collections":6153,"showCount":6125,"zanCount":48,"manualWeight":48,"mainColor":94},214571,"shan-shui-ce-6-wang-meng-214571","山水册-6",[7,24,81,173,177,29,394,242,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a5c5bcdebd737e04aa98f91fe3ade1.jpg",[],{"id":6155,"slug":6156,"title":6157,"dynasty":99,"author":170,"museum":20,"description":6158,"tags":6159,"thumbUrl":6160,"material":803,"size":6161,"collection":181,"collections":6162,"showCount":6163,"zanCount":1270,"manualWeight":48,"mainColor":94},234083,"wu-zhong-shan-shui-ce-shen-zhou-234083","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[7,24,81,173,29,178,227,177,175,109,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd6160b5ad1b7617f948483aa1c7c5.jpg","28.5*25.5cm",[181],282,{"id":6165,"slug":6166,"title":6167,"dynasty":76,"author":3679,"museum":364,"description":6168,"tags":6169,"thumbUrl":6170,"material":139,"size":139,"collection":90,"collections":6171,"showCount":6163,"zanCount":1356,"manualWeight":48,"mainColor":94},224364,"hua-hui-si-ping-zhi-yi-ju-lian-224364","花卉四屏之一","此作用笔兼工带写，艳红凌霄花晕染鲜活，明丽暖调点亮画面，虬曲藤蔓以枯笔勾勒，苍劲老辣尽显古拙质感。湖石以淡墨勾皴，空灵通透的孔洞颇具玲珑意趣，与柔蔓繁花形成刚柔对照。\n\n两只螳螂纤毫毕现，身形灵动写实，悄然栖于枝桠，暗藏盛夏幽丛间的野趣。画面疏密错落，花叶垂曳、顽石静立，草虫点缀出鲜活生机，将庭院小景的清幽雅致尽数铺展，尽显清丽脱俗的花鸟意韵。",[23,7,24,241,28,27,83,697,698,84,298,1100,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb303d0182d4e4c3f71398cf0140d09b1.jpg",[90,45],{"id":6173,"slug":6174,"title":4724,"dynasty":18,"author":6175,"museum":206,"description":6176,"tags":6177,"thumbUrl":6179,"material":123,"size":6180,"collection":42,"collections":6181,"showCount":6163,"zanCount":48,"manualWeight":48,"mainColor":94},218931,"shan-ju-tu-yan-su-218931","燕肃","画中有一条小溪，周围是平坦的河岸，沿岸种植着松树、竹子、桃树和李子，竹林深处有三间矮小的房子，有两个人相对而坐的宣。房子左边的石墙从山的左边升起，在小路的尽头有几条远处的树。灌木丛和墨水给人一种平静和放松的感觉，让人欲罢不能。其笔触与李唐有些相似",[23,7,24,27,177,29,6178,176,34,109,1445,650,464,38],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8067a53ba755fa9d9ae85c24902de6ec.jpg","23.9x25.3",[42,181],{"id":6183,"slug":6184,"title":220,"dynasty":76,"author":1204,"museum":132,"description":6185,"tags":6186,"thumbUrl":6187,"material":342,"size":139,"collection":90,"collections":6188,"showCount":6163,"zanCount":5,"manualWeight":48,"mainColor":94},216365,"hua-niao-ce-zhu-da-216365","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,7,24,81,173,29,1015,245,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab754ae9fd80f1f5e09675c769a6b8da.jpg",[90],{"id":6190,"slug":6191,"title":6192,"dynasty":76,"author":1109,"museum":132,"description":6193,"tags":6194,"thumbUrl":6196,"material":88,"size":6197,"collection":90,"collections":6198,"showCount":6163,"zanCount":5,"manualWeight":48,"mainColor":94},214566,"mo-zui-za-hua-tu-ce-shi-tao-214566","墨醉杂画图册","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,209,7,24,81,173,27,29,106,245,1532,6195],"野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe201a3420f1c56b81b5ab47c63b832a.jpg","纵51.4厘米，横35.4厘米",[90],{"id":6200,"slug":6201,"title":6202,"dynasty":99,"author":1480,"museum":364,"description":3145,"tags":6203,"thumbUrl":6205,"material":743,"size":744,"collection":139,"collections":6206,"showCount":6207,"zanCount":1356,"manualWeight":48,"mainColor":49},287566,"dou-cha-tu-tang-yin-287566","斗茶图",[209,7,24,106,27,28,1575,2950,6204,759],"斗茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd293d5a9de59641719f10323cd0d6158.jpg",[],281,{"id":6209,"slug":6210,"title":6211,"dynasty":54,"author":255,"museum":364,"description":6212,"tags":6213,"thumbUrl":6215,"material":139,"size":6216,"collection":44,"collections":6217,"showCount":6207,"zanCount":48,"manualWeight":48,"mainColor":49},221113,"guan-yin-pu-sa-xiang-wu-dao-zi-221113","观音菩萨像","吴道子（约680年—759年），又名道玄，唐代著名画家，画史尊称画圣。汉族，阳翟（今河南禹州）人。约生于公元680年（永隆元年） ，卒于公元758年（乾元元年）前后。少孤贫，年轻时即有画名。曾任兖州瑕丘（今山东滋阳）县尉，不久即辞职。后流落洛阳，从事壁画创作。开元年间以善画被召入宫廷，历任供奉、内教博士、宁王友。曾随张旭、贺知章学习书法，通过观赏公孙大娘舞剑，体会用笔之道。擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。",[7,24,260,259,106,6214],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab452937c56ebab3c3994f7c7a8a10c.jpg","80x32cm",[44],{"id":6219,"slug":6220,"title":6221,"dynasty":18,"author":1650,"museum":206,"description":6222,"tags":6223,"thumbUrl":6225,"material":665,"size":6226,"collection":42,"collections":6227,"showCount":6228,"zanCount":1270,"manualWeight":48,"mainColor":49},221513,"yi-yun-xian-xing-tu-ye-ma-yuan-221513","倚云仙杏图页","此图绘一枝杏花轻灵润秀、堆粉砌霜之姿。用笔精细工整，设色淡雅，气韵生动。",[23,7,24,81,27,28,83,6224,227],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691f620dcbbcac861019cd1c8d7a54bc.jpg","25.8X27.3",[42,90,45],280,{"id":6230,"slug":6231,"title":6232,"dynasty":18,"author":6233,"museum":364,"description":6234,"tags":6235,"thumbUrl":6236,"material":6237,"size":6238,"collection":382,"collections":6239,"showCount":6228,"zanCount":1356,"manualWeight":48,"mainColor":49},221221,"dao-gu-zhan-chang-yue-fei-221221","悼古战场","岳飞","岳飞我国历史上一位杰出的民族英雄。字鹏举，相州汤阴(今河南汤阴县)人。\n岳飞虽出身军伍，但自幼受到良好的中国传统教育和勤奋的学习，文武双全，能诗善词，书法以行、草为主，畅快淋漓，龙腾虎跃，气韵生动，章法严谨，意态精密，纤浓符中，刚劲不柔，自有一种淳正之气，颇含文臣气质。传世书迹，有《书谢眺诗》、《前后出师表》、《吊古战场文》等。\n岳飞草书《吊古战场》，相传碑文为岳飞书唐朝李华作的《吊古战场文》和南宋文天祥，清彭玉麟、德馨的题跋。碑共10石，每石高52厘米，宽103厘米，刻于清光绪九年(1883年)。现藏于杭州岳庙。",[23,209,7,24,25,86,178,1147,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491ff67b6cc8d84947170df024a1605.jpg","草书墨迹","28x424cm",[382],{"id":6241,"slug":6242,"title":6243,"dynasty":18,"author":1650,"museum":206,"description":6244,"tags":6245,"thumbUrl":6246,"material":88,"size":6247,"collection":181,"collections":6248,"showCount":6228,"zanCount":1270,"manualWeight":48,"mainColor":94},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,7,209,24,25,173,27,177,29,176,34,109,174,108,175,281,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[181,45],{"id":6250,"slug":6251,"title":6252,"dynasty":99,"author":100,"museum":56,"description":6253,"tags":6254,"thumbUrl":6255,"material":665,"size":6256,"collection":181,"collections":6257,"showCount":6258,"zanCount":994,"manualWeight":48,"mainColor":49},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,7,24,209,25,26,27,28,29,108,109,107,175,242,34,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[181,45],279,{"id":6260,"slug":6261,"title":6262,"dynasty":189,"author":351,"museum":20,"description":6263,"tags":6264,"thumbUrl":6265,"material":619,"size":6266,"collection":90,"collections":6267,"showCount":6258,"zanCount":1118,"manualWeight":48,"mainColor":94},221707,"ba-hua-tu-juan-qian-xuan-221707","八花图卷","此卷以分段法描绘海棠、梨花、杏花、水仙、桃花、牡丹等8种花卉，每种相对独立，合之又成为整体。8种花卉各具姿态，偃仰向背绝无雷同，笔致柔劲，一丝不苟，敷色清雅，浓淡相宜，整幅精工而不滞板，细腻而不纤巧。本幅前右下角钤“舜举”印一方，拖尾处有元代赵孟頫题跋：“右吴兴钱选舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。尔来此公日酣于酒，手指颤抖难复作此。而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。至元廿六年九月四日同郡赵孟頫。”",[23,7,24,25,27,28,83,451,327,1563,2301,1640,279,840,797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3daf5f7775f9a2ba3a9ee6a0616487.jpg","纵29.4厘米，横333.9厘米",[90,45],{"id":6269,"slug":6270,"title":6271,"dynasty":76,"author":77,"museum":675,"description":6272,"tags":6273,"thumbUrl":6275,"material":67,"size":6276,"collection":90,"collections":6277,"showCount":6258,"zanCount":510,"manualWeight":48,"mainColor":94},220989,"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","《湖山春暖图》 恽寿平山水取自黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，运笔飘逸潇洒，明丽简洁，天趣盎然。以水墨着色渲染，用笔含蓄，画法工整，恽寿平的艺术创作，有自己独创的艺术见解，反映出他成熟后的风格的高超技艺，依此可见，这幅画属于他的后期作品。",[23,7,24,25,27,29,177,34,6274,109,174,108,176,175],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1451fe83f699e29b98945f19f67af72.jpg","618.2cm x 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特色。从整幅图中来看，所有画面被牡丹、玉兰，海棠，禽鸟和假山石充溢，十分紧密，有明显的装饰性，使观者一望而生富丽之感。",[23,7,209,24,241,83,27,28,327,417,281,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66fe9d017d489145ac64737a1045253a.jpg",[],274,{"id":6358,"slug":6359,"title":6360,"dynasty":76,"author":2804,"museum":364,"description":6361,"tags":6362,"thumbUrl":6363,"material":139,"size":139,"collection":139,"collections":6364,"showCount":6356,"zanCount":1270,"manualWeight":48,"mainColor":5394},224215,"mo-mei-wu-chang-shuo-224215","墨梅","此作用笔以篆籀之法写梅干，顿挫老辣，枝桠如屈铁盘虬，尽现老梅饱经霜雪的嶙峋傲骨。淡墨圈点花朵，疏密错落缀于枝梢，素洁清雅，如暗香盈盈浮动。\n\n左上题诗行书挥洒，笔意与梅枝苍劲意趣呼应，诗书画印浑融一体。全幅以水墨写意，留白空灵疏朗，苍润相生，刚柔并济，将寒梅孤高清逸的品格尽显无余，寥寥笔墨间，既有金石书法的雄强骨力，又饱含文人淡泊出尘的雅致意韵。",[23,7,24,241,173,83,448,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4cd64462b75de0e38b9506dffabba6.jpg",[],{"id":6366,"slug":6367,"title":6368,"dynasty":76,"author":77,"museum":206,"description":1418,"tags":6369,"thumbUrl":6370,"material":27,"size":6371,"collection":90,"collections":6372,"showCount":6356,"zanCount":1547,"manualWeight":48,"mainColor":94},220991,"mu-dan-tu-ce-yun-shou-ping-220991","牡丹图册",[23,7,24,27,83,453,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1509bd428d413830e6d87672ff9b19.jpg","49.2x88.2",[90,45],{"id":6374,"slug":6375,"title":6376,"dynasty":189,"author":487,"museum":206,"description":6377,"tags":6378,"thumbUrl":6379,"material":827,"size":6380,"collection":181,"collections":6381,"showCount":6356,"zanCount":5,"manualWeight":48,"mainColor":94},220810,"song-chuang-gao-shi-tu-zhou-wang-meng-220810","松窗高士图轴","元王蒙松窗高士图轴，属于中国古画，于1362年（元顺帝至正二十二年）王蒙制作，长宽107.4x32.6公分、全幅 59.5公分，收藏于台北故宫博物院。",[23,7,24,241,173,29,449,106,109,176,920,177,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","107.4x32.6",[181,45],{"id":6383,"slug":6384,"title":6385,"dynasty":99,"author":2917,"museum":20,"description":6386,"tags":6387,"thumbUrl":6388,"material":1716,"size":6389,"collection":90,"collections":6390,"showCount":6391,"zanCount":1356,"manualWeight":48,"mainColor":94},222416,"bai-hua-tu-zhou-zhi-mian-222416","百花图","是图有作者自识：“萬曆壬寅(1602年)秋日寫，汝南周之冕。”系周之冕的晚年之作。该图勾画了四季花卉，其中木本花卉多为折枝。画家将吴派的写意山水笔墨转化为花鸟画的造型语言，形成了勾花点叶派。画家以写意的手法勾写或涂抹出花叶、枝干，随意之中透露着明快和清雅，反映出文人画家淡泊不羁的胸臆。\n清《石渠宝笈·三编》著录。",[23,7,24,27,28,83,25,448,279,417,84,225,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a3ecd116129eeb96dfb86398c9a098.jpg","纵31.5厘米，横706厘米",[90,45],273,{"id":6393,"slug":6394,"title":6395,"dynasty":76,"author":1109,"museum":56,"description":6396,"tags":6397,"thumbUrl":6399,"material":342,"size":6400,"collection":181,"collections":6401,"showCount":6391,"zanCount":1270,"manualWeight":48,"mainColor":49},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[23,7,24,241,173,177,29,6398,176,109,37,175,34,245,227],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[181],{"id":6403,"slug":6404,"title":5230,"dynasty":99,"author":100,"museum":539,"description":6405,"tags":6406,"thumbUrl":6416,"material":123,"size":6417,"collection":44,"collections":6418,"showCount":6391,"zanCount":1547,"manualWeight":48,"mainColor":49},219566,"xi-yuan-ya-ji-tu-chou-ying-219566","层叠奇峰拔地而起，晕染出幽寂高远的山境，霜林点丹、佳木凝翠，清溪蜿蜒穿绕岩谷。林麓间亭台隐现，雅集之人或立谈论艺，或执卷沉吟，侧旁侍童恭谨随侍，右下角二童煎茶添趣，将文人林下雅聚的闲逸意趣尽数铺陈。\n画作工细妍雅，设色清丽古润，以院体精工勾勒人物神态衣袂，又以文人画的萧散意韵晕染山水林泉，复刻出雅集的风流意气，将古今文人心心念念的林下清欢，凝于绢素之上，尽显古雅悠然的中式意趣。",[23,7,209,27,28,29,6407,6408,6409,6410,1255,5627,6411,6412,6413,6414,6415],"奇峰","霜林","佳木","清溪","侍童","煎茶","闲逸意趣","古雅悠然","林下雅聚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0809efd85a8a77ee96ecfd1cf70ae5e.jpg","纵127.90横54厘米",[44,45],{"id":6420,"slug":6421,"title":6422,"dynasty":99,"author":2917,"museum":20,"description":6423,"tags":6424,"thumbUrl":6425,"material":139,"size":139,"collection":90,"collections":6426,"showCount":6427,"zanCount":1547,"manualWeight":48,"mainColor":49},239086,"he-hua-yuan-yang-zhou-zhou-zhi-mian-239086","荷花鸳鸯轴","此图画面下部绘有一对鸳鸯，活跃在荷塘水草之中，一只雄性的徴莺，正潜水觅食，双翅合拢，羽尾上翘，伸颈张嘴，正在捕捉食物。另一只雌性站立在荷塘岸上，扭弯脖颈，双目炯炯有神，正在注视河水中正在捕食的雄性。画面的背景主要集中右上方，右侧湖石从旁伸展，湖石造型奇特，玲珑别透，湖石上面有一棵廾满花朵的花树，枝干弯曲，伸向画面左中侧。湖石旁有数株荷叶，荷茎挺拔，荷花盛开，荷叶有的平展，有的悬垂，荷叶整、残相间，另间有其水草。\n此图写湖石、荷花、鸳鹫，形象通真，生动传神。画面清秀，笔墨自然，设色艳丽。此画是周氏用勾花点叶画法画的一幅典型作品，作者把草书的笔法融汇到画法中去，运笔疾速，枝叶的穿插、花朵的安排都恰到好处。作品用笔简洁、概括，例如河岸、湖石的画法，用粗笔勾勒，只有很少的儿笔魃染，寥寥数笔却颇具形态，水面大部分空白，只以淡淡的几条水纹表现水的存在，却有动感，杂草看去似不经心之笔却错落有致。鸳鸯的造型是在写实的基础上略有变化。两只鸳鹫神态各异，但都生动自然，日似点漆，颇具精神。鸳鹫大部分以淡墨浅设色写出，颈部、背部的毛用纤细的笔法画出，根根可见，表现出画家娴熟的工笔技法。头、尾、足又巧妙地利用了生纸的性能，水墨自然晕开，甚为生动，翅膀用笔虽较硬，但由于水墨涸晕的效果，把羽毛丰满的鸳鸯形象表现得淋漓尽致。兼工.带写，别具一格。鸳整体设色浓淡得宜立体感很强。荷花采用匀花点叶法，花以线条勾出，叶子则直接落笔成形，然后以墨勾叶筋，荷花设色淡雅，清新自然。这一切都显示了画家的笔墨造形功力。",[7,209,241,83,27,28,136,2555,224,137,1062,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b8317f95838a26d9b5f0806530d75.jpg",[90,45],272,{"id":6429,"slug":6430,"title":6431,"dynasty":99,"author":1480,"museum":206,"description":6432,"tags":6433,"thumbUrl":6434,"material":88,"size":6435,"collection":45,"collections":6436,"showCount":6427,"zanCount":1356,"manualWeight":48,"mainColor":94},219330,"hua-ji-zhen-ji-zhou-tang-yin-219330","画鸡真迹轴","石上雄鸡昂首而立，羽色斑斓间透着昂然气度，恰应题中“血染红冠锦满身”之态。旁侧菊丛竞艳，红英灼灼如霞，黄蕊灿灿似金，白瓣皎皎若雪，枝叶扶疏间衬以修竹数竿，清逸之韵自生。双蝶翩跹于花间，翅影轻摇，为静景添灵动生机。整幅画作工写相济，设色淡雅却层次分明，禽鸟花卉皆形神兼备。题诗笔墨洒脱，与画面意境交融，尽显文人画“诗画同源”之妙，于方寸间藏生机与风骨，读来令人心折。",[7,24,241,27,28,3478,453,242,604,62,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca49404492f1b40b2f4829b76583fed.jpg","119.9x30.3",[45],{"id":6438,"slug":6439,"title":6440,"dynasty":76,"author":707,"museum":206,"description":708,"tags":6441,"thumbUrl":6442,"material":88,"size":139,"collection":139,"collections":6443,"showCount":6427,"zanCount":5,"manualWeight":48,"mainColor":94},214863,"xie-sheng-ce-2-hua-yan-214863","写生册-2",[7,173,28,710,5169,227,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F912e29096b40d434d041c6da838db51a.jpg",[],{"id":6445,"slug":6446,"title":6447,"dynasty":76,"author":77,"museum":206,"description":325,"tags":6448,"thumbUrl":6449,"material":123,"size":329,"collection":139,"collections":6450,"showCount":6451,"zanCount":994,"manualWeight":48,"mainColor":94},214303,"mu-dan-ce-3-yun-shou-ping-214303","牡丹册-3",[7,24,83,327,28,82,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa0ff34f933df084b45570f27fb53d.jpg",[],271,{"id":6453,"slug":6454,"title":6455,"dynasty":76,"author":6456,"museum":20,"description":6457,"tags":6458,"thumbUrl":6459,"material":139,"size":139,"collection":90,"collections":6460,"showCount":6461,"zanCount":1547,"manualWeight":48,"mainColor":94},238946,"tao-hua-ce-ye-ma-yuan-yu-238946","桃花册页","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[7,24,81,27,83,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c4fb8323fe9cc6ab422db9d25bae45.jpg",[90,45],270,{"id":6463,"slug":6464,"title":3134,"dynasty":76,"author":1816,"museum":364,"description":6465,"tags":6466,"thumbUrl":6467,"material":803,"size":139,"collection":90,"collections":6468,"showCount":6461,"zanCount":1165,"manualWeight":48,"mainColor":49},220147,"lan-zhu-tu-wang-shi-shen-220147","汪士慎工诗及八分书，画水仙、梅花清妙独绝。金农谓其画梅之妙，与高西唐（翔）异曲同工。汪士慎画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。西唐画疏枝半开蝉朵，用玉楼人口脂抹一点红，良缣精楮，各臻其微。汪士慎老而目瞽，为人画梅，或作八分书，工妙胜于未瞽时。精篆刻，与张潜乙、金筋齐名",[23,7,24,241,173,260,452,242,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02b3c39e8909994e36da16ef7bad4da.jpg",[90],{"id":6470,"slug":6471,"title":6472,"dynasty":189,"author":190,"museum":206,"description":6473,"tags":6474,"thumbUrl":6475,"material":381,"size":139,"collection":181,"collections":6476,"showCount":6461,"zanCount":5,"manualWeight":48,"mainColor":94},219479,"ji-gu-tu-hui-ce-shan-shui-tu-huang-gong-wang-219479","集古图绘册 山水图","此作用笔简淡松灵，以披麻皴慢写江南山峦，墨色干湿互济，晕染出峰峦浑厚苍润的质感。平缓坡峦间，杂木错落萧疏，枝桠以枯笔勾勒，尽显清秋疏朗之态。江畔茅舍临水而栖，静水无澜，铺陈出林泉幽寂的空阔意境。\n\n画面右上题跋与山水相映成趣，诗画交融，以笔墨寄寓林泉之志，褪去雕琢刻画之迹，直抒胸中丘壑，尽显文人山水简淡悠远的意韵，藏万千丘壑于浅淡之间，尽得元人山水萧散简远的风神。",[7,173,81,177,29,430,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378b06d34e0b7e450bf7a6cb0c9d4047.jpg",[181],{"id":6478,"slug":6479,"title":6480,"dynasty":76,"author":3732,"museum":782,"description":6481,"tags":6482,"thumbUrl":6485,"material":123,"size":6486,"collection":90,"collections":6487,"showCount":6461,"zanCount":1270,"manualWeight":48,"mainColor":94},218975,"teng-hua-shan-que-tu-jiang-ting-xi-218975","藤花山雀图","描绘缠绕椿树生长的紫藤花，另有白头翁、兰花、灵芝及湖石等元素。画作右下角款「臣蒋廷锡恭画」，左上方有康熙皇帝御题唐代岑参（715-770）〈石上藤〉一诗。该作曾录于《石渠宝笈》，后辗转流出清宫，成为阿部房次郎（1868-1937）的收藏。",[23,7,24,241,28,27,83,2043,6483,281,245,34,797,560,650,6484],"山雀","蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8205a0f0caa95b529902b560707fb7c9.jpg","纵212.5横97.1cm",[90,45],{"id":6489,"slug":6490,"title":6491,"dynasty":189,"author":1848,"museum":20,"description":2287,"tags":6492,"thumbUrl":6493,"material":1716,"size":6494,"collection":163,"collections":6495,"showCount":6496,"zanCount":1356,"manualWeight":48,"mainColor":49},220774,"mo-zhu-po-shi-tu-zhou-wu-zhen-220774","墨竹坡石图轴",[23,7,24,209,241,173,86,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d252d4771dcd257aaed5371ff0080f.jpg","纵103.4厘米，横33厘米。",[163,2293],269,{"id":6498,"slug":6499,"title":6500,"dynasty":18,"author":6501,"museum":364,"description":6502,"tags":6503,"thumbUrl":6504,"material":123,"size":6505,"collection":181,"collections":6506,"showCount":6507,"zanCount":1270,"manualWeight":48,"mainColor":49},218542,"qing-lv-shan-shui-tu-wang-shen-218542","青绿山水图","王诜","绢本之上，青绿设色古雅沉静。石青与石绿随山石肌理晕染，既有郭熙山水的雄健气势，又含文人画的清逸韵致。近处山石皴染结合，松枝苍劲挺拔；山间云雾淡墨轻扫，牵起远近峰峦呼应，营造深远空间感。林麓间隐现的小屋，与葱茏草木相映，藏着古人林泉高致的向往。古朴绢色衬出岁月沉淀的温润，自然山水的雄浑与文人情怀的雅致在此相融共生，尽显北宋青绿山水的独特韵味。",[7,24,26,27,177,29,649,34,176,560,114,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa963a4c7fe39c603be18f16b97851252.jpg","93x36",[181],268,{"id":6509,"slug":6510,"title":6511,"dynasty":99,"author":1480,"museum":132,"description":6512,"tags":6513,"thumbUrl":6514,"material":88,"size":6515,"collection":181,"collections":6516,"showCount":6507,"zanCount":1547,"manualWeight":48,"mainColor":49},217036,"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","唐寅在画画方面有很高的造诣，他的作品涵盖了许多不同的题材，包括自然风景、人物、花鸟、山水、古典寓言故事等。\n\n碧山琪树图是唐寅的一幅著名作品。这幅画描绘了一片美丽的山林，山顶上有一棵琪树，下面是茂盛的松柏林。唐寅用笔轻柔地勾勒出了各种山石、枝叶、花草的线条，使画面看起来栩栩如生。",[7,241,29,27,177,864,430,175,558,109,650,1575,867,1445,464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf99aba7e79792d4e1f74ad4b1015736.jpg","123x58cm",[181],{"id":6518,"slug":6519,"title":6520,"dynasty":76,"author":876,"museum":101,"description":6521,"tags":6522,"thumbUrl":6523,"material":88,"size":880,"collection":139,"collections":6524,"showCount":6507,"zanCount":5,"manualWeight":48,"mainColor":94},216246,"jing-fu-si-qi-dong-jing-tu-11-qian-wei-cheng-216246","景敷四气冬景图-11","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n一瀑高悬银凿落，四山攅积玉参差。并刀剪水作花后，转语堪诠杜老诗。钤印：泼墨",[7,24,27,28,83,795,227,86,84,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ef9652a7cd63623c4474d2e78468a1.jpg",[],{"id":6526,"slug":6527,"title":6528,"dynasty":189,"author":487,"museum":132,"description":488,"tags":6529,"thumbUrl":6530,"material":342,"size":139,"collection":139,"collections":6531,"showCount":6507,"zanCount":5,"manualWeight":48,"mainColor":94},214575,"shan-shui-ce-4-wang-meng-214575","山水册-4",[7,173,177,81,29,394,1653,245,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5504fc38b09d31f62673a31f0f0e94.jpg",[],{"id":6533,"slug":6534,"title":6535,"dynasty":18,"author":6536,"museum":364,"description":6537,"tags":6538,"thumbUrl":6539,"material":139,"size":139,"collection":139,"collections":6540,"showCount":6541,"zanCount":994,"manualWeight":48,"mainColor":49},227520,"hua-niao-tu-ye-wang-xiao-227520","花鸟图页","王晓","此作取暮春一隅，柔粉海棠攒簇枝头，花瓣轻绽似带朝露，嫩绿叶脉舒张，将春深花繁的柔媚尽数铺陈。两只白头鹎栖于枝上，一俯一仰，羽色晕染细腻柔和，头顶白羽莹洁醒目，胸腹褐绿温润自然，前者昂首似在啼鸣，将禽鸟灵动憨然的情态鲜活呈现。\n画面设色明秀雅致，工细写实中兼具灵动意趣，左侧题字笔致清雅，与花叶禽鸟相映成趣，把春日里禽鸟嬉游、花团锦簇的生机雅致融于尺幅，尽显清丽隽永的宋韵意致。",[23,209,7,24,81,28,27,83,224,62,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9548bd192610dc1989302803a5216821.jpg",[],267,{"id":6543,"slug":6544,"title":6545,"dynasty":99,"author":100,"museum":3614,"description":6546,"tags":6547,"thumbUrl":6550,"material":990,"size":6551,"collection":181,"collections":6552,"showCount":6541,"zanCount":1270,"manualWeight":48,"mainColor":94},222206,"feng-xi-chui-diao-tu-zhou-chou-ying-222206","枫溪垂钓图轴","此图画工细而见气势，反映了仇英的山水画的典型风格。\n画面展示了深秋辽阔的山川郊野的壮丽景色，远处楼阁隐现于山间的丛林和流动的云雾中；中景处层峦叠嶂；近景为红枫映掩的溪江上，身着素色朝服的士大夫在轻舟上静坐垂钓。\n画面高嶂巨壁，丘壑深远，笔墨健劲纯熟，设色古朴，采取传统的皴、擦、点、染相结合，使画幅气势雄阔，景致迷人，予人以心旷神怡之感。\n此图题跋印鉴较多。\n画首有清 的题诗：“枫落吴江候，烟蓬破冷浮；聊存竿线意，讵为釜鬲求。\n山色早辞夏，波光宜是秋；思莼风味在，静与日相谋。\n”落款为：“戌子秋月御题”（戌子系乾隆二十三年，即1768年）下钤有“乾隆宸翰”朱文小方印。\n图右上角钤有“乾隆御览之宝”圆形朱文印，与“淳化轩图书珍秘宝”白文方形印二方。\n图左上方钤有“淳化轩”朱文长方印“乾隆宸翰”白文大方印，“信天主人”朱文大方印，左上角钤“乾隆鉴赏”圆形白文印，下接“三希堂精鉴玺”长方形朱文印与“宜子孙”白文长方印。\n这些印都是乾隆帝钤盖在宫廷所藏的精品之上的常用印鉴。\n该图左下裱边刊有“同治三年二月江阴何栻廉眆以此桢见诒，十月初付沅甫弟珍藏。",[23,7,28,27,177,241,29,6548,31,174,106,176,1016,34,6549],"枫树","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纵127厘米，横8.5厘米",[181,45],{"id":6554,"slug":6555,"title":6556,"dynasty":99,"author":170,"museum":675,"description":6557,"tags":6558,"thumbUrl":6559,"material":619,"size":6560,"collection":90,"collections":6561,"showCount":6541,"zanCount":1547,"manualWeight":48,"mainColor":94},222118,"ping-he-tu-shen-zhou-222118","瓶荷图","此画是沈周作品中比较少见的工笔花鸟画，画上绘一铜壶，内植荷花荷叶各三株，交错而生。荷叶向背以深浅不同绿色区分，多取其背，使画面变浓艳为淡雅，凸现清高风格。作品形象写实，用笔简括，色泽温润，格调质朴。插花所用的铜壶以墨笔勾轮廓，没骨法渲染明暗，立体感很强。",[23,7,24,241,27,136,137,244,28,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551d511ecb28a9a711639a1773ee49c3.jpg","60x143cm",[90,45],{"id":6563,"slug":6564,"title":6565,"dynasty":18,"author":6566,"museum":752,"description":6567,"tags":6568,"thumbUrl":6569,"material":342,"size":6570,"collection":44,"collections":6571,"showCount":6541,"zanCount":1356,"manualWeight":48,"mainColor":94},216254,"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[23,209,7,24,25,260,173,106,35,34,29,150,227,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 x 436.2",[44,382],{"id":6573,"slug":6574,"title":6575,"dynasty":99,"author":1083,"museum":539,"description":6576,"tags":6577,"thumbUrl":6578,"material":123,"size":6579,"collection":90,"collections":6580,"showCount":6541,"zanCount":1165,"manualWeight":48,"mainColor":49},214701,"ping-hua-tu-chen-hong-shou-214701","瓶花图","陈洪绶用菊花和霜叶画了一个瓶子，以庆祝另一个人的生日。有些学者认为，在明朝晚期没有这么大的玻璃瓶。",[23,7,24,28,27,301,453,62,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf52640088b9212d2c81a4c6b72f18a8.jpg","174.5x98",[90],{"id":6582,"slug":6583,"title":6584,"dynasty":99,"author":170,"museum":20,"description":6585,"tags":6586,"thumbUrl":6587,"material":990,"size":6588,"collection":139,"collections":6589,"showCount":6590,"zanCount":1270,"manualWeight":48,"mainColor":94},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,7,24,25,173,27,177,29,649,34,449,109,176,175,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","37.5×65cm×4",[],266,{"id":6592,"slug":6593,"title":2814,"dynasty":18,"author":293,"museum":20,"description":6594,"tags":6595,"thumbUrl":6596,"material":40,"size":6597,"collection":139,"collections":6598,"showCount":6590,"zanCount":1165,"manualWeight":48,"mainColor":94},234008,"chu-shui-fu-rong-tu-ye-yi-ming-234008","一朵盛开的粉红色荷花占据整个画面，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！旧题吴炳绘，无据。",[7,24,81,28,27,83,243,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17db9572c20d73e7f8a55e19111edd03.jpg","纵23.8cm，横25cm",[],{"id":6600,"slug":6601,"title":6602,"dynasty":18,"author":2519,"museum":20,"description":6603,"tags":6604,"thumbUrl":6606,"material":2398,"size":6607,"collection":42,"collections":6608,"showCount":6609,"zanCount":1356,"manualWeight":48,"mainColor":49},220260,"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[23,209,7,24,241,27,28,449,106,29,6605,298,34,210],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","纵123.6厘米、横60.4厘米",[42],265,{"id":6611,"slug":6612,"title":6613,"dynasty":76,"author":1703,"museum":364,"description":6614,"tags":6615,"thumbUrl":6616,"material":139,"size":139,"collection":139,"collections":6617,"showCount":6618,"zanCount":5,"manualWeight":48,"mainColor":94},230238,"mei-hua-tu-ce-ye-9-jin-nong-230238","梅花图册页-9","此作用枯笔焦墨写老干，如铁铸横斜，皴擦出斑驳苍古的肌理，尽显梅枝饱经霜雪的虬劲风骨。淡墨圈瓣点蕊，繁花开处疏密错落，留白铺陈出清寂空阔的意境，无半分艳冶之态。\n\n以书入画，笔意朴拙古雅，将梅花疏淡冷逸之姿，与清冷高洁的品格融为一体。墨色浓淡交织，淡写繁花、重绘老干，明暗相生间勾勒出冬梅凌霜绽放的清逸之态，寥寥笔墨便把孤高脱俗的隐逸襟怀寄寓其中。",[23,7,24,81,173,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93535ffaf23a10cb1e78f850f322be37.jpg",[],264,{"id":6620,"slug":6621,"title":1692,"dynasty":189,"author":5444,"museum":206,"description":6622,"tags":6623,"thumbUrl":6624,"material":6625,"size":6626,"collection":181,"collections":6627,"showCount":6618,"zanCount":1547,"manualWeight":48,"mainColor":49},221755,"shan-shui-tu-sheng-mao-221755","元代盛懋《山水图》，盛懋 ，元代画家，字子昭。嘉兴（今属浙江）武塘人。善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,7,24,27,177,29,394,174,297,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8db6a22ddfe64262d4329b99efadcaf.jpg","纸本浅设色","120.5x40.6厘米",[181,45],{"id":6629,"slug":6630,"title":6631,"dynasty":76,"author":836,"museum":206,"description":837,"tags":6632,"thumbUrl":6634,"material":88,"size":843,"collection":139,"collections":6635,"showCount":6618,"zanCount":5,"manualWeight":48,"mainColor":94},219883,"er-shi-si-fan-hua-xin-feng-tu-rui-xiang-yu-shui-xian-dong-gao-219883","二十四番花信风图-瑞香与水仙",[7,24,81,27,28,6633,451,176,226,1461,698,227],"瑞香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8b06d96331425eb7144b02fc54b4d.jpg",[],{"id":6637,"slug":6638,"title":6639,"dynasty":76,"author":3701,"museum":206,"description":6640,"tags":6641,"thumbUrl":6645,"material":88,"size":139,"collection":44,"collections":6646,"showCount":6647,"zanCount":1270,"manualWeight":48,"mainColor":94},218044,"tian-wang-xiang-yao-wen-han-218044","天王像","绿面天王身披错彩镂金之甲，琵琶横抱，双目炯炯，威仪自生。衣纹流转如流云，祥云层叠似幻梦，衬得身形愈发雄健。身旁小兽灵动，背景人物隐现于山石间，添几分悠远。线条工细却不失劲道，色彩浓艳而协调，每一处纹饰皆精雕细琢，将护法神的威严与艺术的精巧融于一体，观之令人心生敬畏，更叹笔墨之妙。",[209,7,27,28,106,259,6642,6643,957,261,176,34,6644,227],"护法神","琵琶","威严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3382d15bc8135db2274f9d1bbb740ad.jpg",[44],263,{"id":6649,"slug":6650,"title":6651,"dynasty":18,"author":6652,"museum":364,"description":6653,"tags":6654,"thumbUrl":6655,"material":743,"size":744,"collection":139,"collections":6656,"showCount":6657,"zanCount":994,"manualWeight":48,"mainColor":94},288524,"xiao-xiang-qi-guan-tu-mi-you-ren-288524","潇湘奇观图","米友仁","《潇湘奇观图》用淋漓水墨画江上云山、云雾变幻的奇境，山峰、江水、树木并未作具体细致的描写，追求的是苍茫雨雾中自然界的特殊韵致。\n《潇湘奇观图》的画法用泼墨又参加积墨、破墨，使墨气淋漓，氤蕴浑厚。笔法甚少勾勒，而信笔横点，积点成山，藏锋其内，与墨浑然结合。树法似草，但与画面浑然一体。",[23,209,7,25,173,29,37,34,464,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99980652bf55d8e34d046ae41cea3fe6.jpg",[],262,{"id":6659,"slug":6660,"title":6661,"dynasty":54,"author":577,"museum":20,"description":6662,"tags":6663,"thumbUrl":6664,"material":40,"size":6665,"collection":163,"collections":6666,"showCount":6657,"zanCount":1547,"manualWeight":48,"mainColor":94},239524,"yan-li-ben-bu-nian-tu-juan-yan-li-ben-239524","阎立本步辇图卷","这是一幅历史画。它反映唐代初年一个重大的历史事件。公元七世纪，地处我国西南的吐蕃（今西藏地区）开始强大兴盛，其三十二世赞普松赞干布是个“骁勇多英略”的领袖。贞观八年（634年），他遣使臣到长安（今陕西西安），向唐王朝求婚联姻，唐太宗李世民答应了他的请求，决定将宗室女文成公主许配给松赞干布。贞观十五年（641年）春天，松赞干布派相国禄东赞到长安来迎接文成公主，唐太宗李世民则派礼部尚书江夏王宗室李道宗陪同文成公主进吐蕃。文成公主除了带去很多中原地区的文化典籍外，随行的还有许多各种行业的工匠，对于促进吐蕃经济、文化的发展起到了重要的作用。此后很长一段时间里，唐王朝和吐蕃之间关系融洽，和睦相处。\n阎立本以此为题，绘制了这幅歌颂古代汉、藏民族友好交往的作品。画幅描绘的是唐太宗李世民在宫内接见松赞干布派来的吐蕃使臣禄东赞的情景。李世民端坐在由六名宫女抬着的坐榻（又称步辇，图画即以此为名）上，另有三个宫女分别在前后掌扇和持华盖。唐太宗面前站立三人：最右者，身穿大红袍，是这次仪式的引见官员；中间是吐蕃的使臣禄东赞，拱手而立，发型和服饰与中原地区不同；最左为一穿白袍的内官。按照画家阎立本当时的地位和身份，他完全可能是这次历史性会见的目击者，所以他笔下的人物非常真实、生动。唐太宗李世民的威严，使臣禄东赞的干练、谦和，引见官员和内侍的恭谨，年轻宫女的天真活泼，都各具特点，跃然绢上，禄东赞和唐太宗等人在民族气质上的差别也有所表现。\n全画以细劲的线条塑造人物形象，线条纯熟，富有变化和表现力；设色浓重、鲜艳，是一幅出色的工笔重彩人物画作品。图中的李世民、禄东赞等人应当带有肖像画特征。",[23,209,7,24,25,27,106,28,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c10940154a8e201509088f4822cf0.jpg","纵38.5厘米，横129厘米",[163,382],{"id":6668,"slug":6669,"title":6670,"dynasty":76,"author":6671,"museum":364,"description":6672,"tags":6673,"thumbUrl":6674,"material":743,"size":744,"collection":90,"collections":6675,"showCount":6657,"zanCount":1547,"manualWeight":48,"mainColor":94},239058,"shan-shui-hua-niao-ce-yang-jin-239058","山水花鸟册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[7,24,81,173,27,83,243,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2612a5bb23dac773d1efcf83ecb99dd1.jpg",[90,45],{"id":6677,"slug":6678,"title":3359,"dynasty":292,"author":3360,"museum":364,"description":3361,"tags":6679,"thumbUrl":6681,"material":743,"size":744,"collection":139,"collections":6682,"showCount":6657,"zanCount":5,"manualWeight":48,"mainColor":94},231826,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231826",[23,7,24,241,28,27,106,59,505,65,227,448,6680],"花瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a3c759e4883325592f1223e2b185251.jpg",[],{"id":6684,"slug":6685,"title":6686,"dynasty":99,"author":221,"museum":20,"description":6687,"tags":6688,"thumbUrl":6689,"material":88,"size":6690,"collection":90,"collections":6691,"showCount":6657,"zanCount":736,"manualWeight":48,"mainColor":49},219121,"yu-tang-zhi-lan-tu-sun-ke-hong-219121","玉堂芝兰图","图绘拳石之旁，玉兰、兰花竞相开放。花、石的技法均极工细，玉兰花用粉多次轻染分出浓淡，再用工笔勾勒烘托出花瓣的肥大白嫩。枝干双勾填色并施以皴擦，极富质感。山石的技法是先以淡墨勾出轮廓，然后用浓淡墨多次晕染，逐渐加深，直至显现出丰富的前后层次及石体的细腻。山石玲珑剔透而刚硬，玉兰和兰花​​​​​​​婀娜多姿而柔媚。本幅设色明丽清亮，层次细密，变化微妙，典雅端丽，属作者绘画山水之作品。",[23,7,24,241,28,27,83,417,452,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb622e2d3d8f5803168e0fa600c2995e.jpg","横59厘米，纵135厘米",[90],{"id":6693,"slug":6694,"title":6695,"dynasty":189,"author":487,"museum":206,"description":6696,"tags":6697,"thumbUrl":6699,"material":123,"size":6700,"collection":181,"collections":6701,"showCount":6657,"zanCount":5,"manualWeight":48,"mainColor":49},218657,"song-shan-shu-wu-tu-wang-meng-218657","松山书屋图","山峦重叠，以干笔牛毛皴皴擦，松林杂树，蓊蓊郁郁，几密不透风。高士一人，展卷于茅屋中。左上角以小篆题曰「松山书屋」，通幅画作与题识方式，均展现王蒙古拙圆浑的笔韵。此帧完成于至正九年，是王蒙四十二岁之作。",[23,7,24,241,173,177,29,864,1575,6698,34,176,560],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688ec184ac7c5bc54e55285cace16b57.jpg","113x51.7cm",[181],{"id":6703,"slug":6704,"title":1692,"dynasty":99,"author":6705,"museum":752,"description":6706,"tags":6707,"thumbUrl":6708,"material":342,"size":6709,"collection":181,"collections":6710,"showCount":6657,"zanCount":48,"manualWeight":48,"mainColor":94},214298,"shan-shui-tu-liu-jue-214298","刘珏","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[23,7,24,25,173,177,29,34,176,37,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[181],{"id":6712,"slug":6713,"title":6714,"dynasty":76,"author":836,"museum":206,"description":837,"tags":6715,"thumbUrl":6717,"material":88,"size":843,"collection":139,"collections":6718,"showCount":6719,"zanCount":1165,"manualWeight":48,"mainColor":94},219875,"er-shi-si-fan-hua-xin-feng-tu-hai-tang-yu-qiang-wei-dong-gao-219875","二十四番花信风图-海棠与蔷薇",[209,7,24,81,27,28,86,1563,6716,84],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff95e31a5963a95c6acd4e4eb61d50b.jpg",[],261,{"id":6721,"slug":6722,"title":6723,"dynasty":99,"author":443,"museum":20,"description":6724,"tags":6725,"thumbUrl":6727,"material":4796,"size":6728,"collection":90,"collections":6729,"showCount":6730,"zanCount":48,"manualWeight":48,"mainColor":94},233464,"ren-wu-hua-hui-ce-xu-wei-233464","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[7,24,209,81,173,446,136,137,6726],"荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351e01471d4a02f5b5c49d72a35b166f.jpg","纵26.9厘米 横38.3厘米",[90,163],260,{"id":6732,"slug":6733,"title":6734,"dynasty":18,"author":781,"museum":364,"description":4058,"tags":6735,"thumbUrl":6736,"material":139,"size":139,"collection":139,"collections":6737,"showCount":6738,"zanCount":1270,"manualWeight":48,"mainColor":94},227580,"wu-ma-tu-li-gong-lin-227580","五马图",[23,7,209,24,25,260,27,106,150,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff861a45a3281680f50e29e58b525d252.jpg",[],259,{"id":6740,"slug":6741,"title":6742,"dynasty":18,"author":553,"museum":206,"description":6743,"tags":6744,"thumbUrl":6745,"material":67,"size":6746,"collection":42,"collections":6747,"showCount":6738,"zanCount":48,"manualWeight":48,"mainColor":49},221394,"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[23,209,7,24,241,177,173,29,864,2124,1015,107,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[42,181,163],{"id":6749,"slug":6750,"title":6751,"dynasty":1095,"author":1096,"museum":4942,"description":6752,"tags":6753,"thumbUrl":6755,"material":139,"size":139,"collection":139,"collections":6756,"showCount":6757,"zanCount":48,"manualWeight":48,"mainColor":94},220592,"yi-pan-ying-tao-qi-bai-shi-220592","一盘樱桃","以大写意之笔将寻常鲜果绘就满幅生机。朱砂点染樱桃，颗颗圆润饱满，色泽浓艳透亮，仿佛带着刚摘下的清甜鲜活，攒簇盈盘，尽显丰实意趣。墨笔勾勒案几枝桠，笔法老辣简劲，浓淡相宜，与朱红鲜果撞出强烈视觉张力，素净留白更衬果色鲜亮。散落的两枚樱桃添得灵动野趣，毫无刻意雕琢之感。整画删繁就简，将日常烟火提炼成雅俗共赏的文人意趣，笔底藏着天真烂漫，于极简中见至味，把平淡日常晕染成动人的诗意图景。",[23,7,24,27,173,446,178,227,910,6754,244],"木盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc252eafe3195b552bc810b3b6f3a19dd.jpg",[],258,{"id":6759,"slug":6760,"title":6761,"dynasty":18,"author":1035,"museum":6762,"description":6763,"tags":6764,"thumbUrl":6765,"material":342,"size":6766,"collection":90,"collections":6767,"showCount":6757,"zanCount":1356,"manualWeight":48,"mainColor":49},219265,"xi-zhu-long-tu-chen-rong-219265","戏珠龙图","苏宁博物馆","墨色淋漓间，矫健龙身腾跃于云雾之中，鳞爪飞扬，气势磅礴。龙首昂扬，双目炯炯，似与宝珠相戏，动感十足。画家以浓淡干湿的笔墨变化，勾勒出龙的刚劲体态与云雾的缥缈朦胧，虚实相生间尽显龙的威严与神秘。画面中题跋与印章错落，承载着历史印记，更添古朴厚重之感。整幅作品将龙的祥瑞之气与艺术的笔墨神韵融为一体，是传统龙题材绘画中的经典之作，尽显东方美学的独特魅力。",[209,7,24,25,173,502,37,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc419787f4a611822757835e84e90923c.jpg","纵32.5横237.5厘米",[90],{"id":6769,"slug":6770,"title":6771,"dynasty":2460,"author":293,"museum":78,"description":6772,"tags":6773,"thumbUrl":6774,"material":123,"size":6775,"collection":44,"collections":6776,"showCount":6757,"zanCount":48,"manualWeight":48,"mainColor":49},218466,"qing-you-zun-zhe-xiang-yi-ming-218466","庆有尊者像","尊者面容褶皱如苍松凝霜，双目微阖藏禅意，嘴角轻扬带几分超脱。衣袍纹样交错，黑白菱形间暗纹隐现，披帛垂落如流云卷舒，线条勾勒如铁线银钩，织物质感触手可及。手中竹杖纹理斑驳，似经岁月摩挲；脚边小兽蜷卧，双目半睁若伴若侍，憨态中藏灵韵。画面设色沉雅古朴，褐蓝主调衬出人物沉静，细节处见匠心——衣纹转折流畅，毛发蓬松柔软，杖身肌理分明，皆细腻传神。整体姿态闲适，静中蕴动，禅意与生活气息交融，尽显古画的厚重与灵动，观之如临禅境，心自澄明。",[7,24,259,28,27,106,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13174c2841fec92e686a973c4f67e315.jpg","127.3x62.8",[44],{"id":6778,"slug":6779,"title":6780,"dynasty":99,"author":293,"museum":101,"description":6781,"tags":6782,"thumbUrl":6783,"material":123,"size":6784,"collection":44,"collections":6785,"showCount":6757,"zanCount":1547,"manualWeight":48,"mainColor":49},218278,"ba-xian-tu-dui-fu-yi-ming-218278","八仙图对幅","这幅画的主角是吕洞宾、韩湘子、张果老和何仙姑。其中，张果老倒骑毛驴，而南极则骑着仙鹤漂浮在空中。",[209,7,24,241,27,28,106,281,315,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4836b19ce99b951c2196e0bdabb8b82a.jpg","139.7x78.7",[44],{"id":6787,"slug":6788,"title":6789,"dynasty":18,"author":6790,"museum":206,"description":6791,"tags":6792,"thumbUrl":6793,"material":123,"size":6794,"collection":44,"collections":6795,"showCount":6757,"zanCount":5,"manualWeight":48,"mainColor":49},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","赵构","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[23,7,24,25,209,178,260,27,106,114,34,176,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[44],{"id":6797,"slug":6798,"title":6799,"dynasty":18,"author":474,"museum":6800,"description":6801,"tags":6802,"thumbUrl":6803,"material":665,"size":6804,"collection":42,"collections":6805,"showCount":6806,"zanCount":1547,"manualWeight":48,"mainColor":49},221335,"tao-jiu-tu-zhao-ji-221335","桃鸠图","日本民间","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。\n此图桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。流传日本已久，长期以来被作为徽宗的真迹，受到良好的保护，现在是日本的国宝级文物。\n本图有“大观丁亥御笔天”的题记，丁亥年是1107年，这一年徽宗26岁，是画家早期的作品。\n从这幅画来看，描法纤细，傅染鲜润，与徐熙（五代）的水墨画要素和徐崇嗣的色彩为中心的没骨法花鸟比较接近。总的看来，色彩的表现给人以强烈的视觉感受，但仔细观察就会发现细部的轮廓线仍然非常明确。\n此册页在传为宋徽宗的作品中比较特别。桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽。传其为画家二十六岁时的作品。\n赵佶观察事物细致入微，这幅《桃鸠图》，画中的桃花与枝叶勾勒精工，栖息在树上的鸠鸟动态自然而生动，用生漆点睛，富有神采，整体色彩华丽，洋溢着悠扬的神韵，此画被誉为折枝花鸟画的典型。",[23,7,24,83,28,27,279,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19169b4c41d86b4cbbb34e3bf4af4222.jpg","28.5X27厘米",[42,90,45],257,{"id":6808,"slug":6809,"title":6810,"dynasty":76,"author":6811,"museum":20,"description":6812,"tags":6813,"thumbUrl":6815,"material":88,"size":6816,"collection":90,"collections":6817,"showCount":6806,"zanCount":1270,"manualWeight":48,"mainColor":94},220380,"hong-lian-lv-zao-tu-tang-guang-220380","红莲绿藻图","唐炗","此图是唐炗（音光）与恽寿平联手为祝王翚40岁诞辰所作。唐炗绘荷花，恽寿平画荇藻。荷花与荇藻皆采用了没骨法，透露出轻盈飘逸与湿润的感觉。微风中，仿佛莲叶与荷花的清香淡淡而来。水塘里荇藻则用一笔点画。状物形神兼备，风格清新淡雅。",[23,7,24,241,28,27,83,136,137,6814],"绿藻","https:\u002F\u00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花有三枝，两枝盛开，花瓣层层叠叠，另一枝含待放置的枝条，只露出尖尖的莲花。 朴华喜欢以水墨作画，与八大山人相似。",[23,7,24,241,173,446,83,136,137,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8096febc3e81d3c848b1646b4296b977.jpg","146X80cm",[45],{"id":6869,"slug":6870,"title":2429,"dynasty":18,"author":553,"museum":206,"description":6871,"tags":6872,"thumbUrl":6873,"material":67,"size":139,"collection":42,"collections":6874,"showCount":6850,"zanCount":5,"manualWeight":48,"mainColor":49},218922,"han-jiang-du-diao-tu-fan-kuan-218922","枯树虬枝如铁，在寒风中伸展筋骨，枝桠间似凝着霜雪的清冷。江面浩渺无垠，水波敛去喧嚣，只留一片沉静褐调，将天地空旷铺展到极致。孤舟一叶，钓者独倚，身影与舟楫融入江天，仿佛与自然达成无声默契。笔触简练却含深意，线条勾勒景物骨韵，色调晕染冬日萧寒。没有繁复铺陈，仅以极简元素，便营造出“天地一孤舟”的寂寥与超脱——那是文人心中对宁静的向往，是喧嚣外的片刻澄明，千年后仍能让观者触摸到穿透时光的静谧安然。",[23,7,173,1562,29,174,1351,394,177,4974],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ef92a86d76f6756a5cc670fe8e2a88.jpg",[42],{"id":6876,"slug":6877,"title":6878,"dynasty":76,"author":6879,"museum":364,"description":6880,"tags":6881,"thumbUrl":6882,"material":619,"size":6883,"collection":181,"collections":6884,"showCount":6885,"zanCount":48,"manualWeight":48,"mainColor":94},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[209,7,24,105,27,177,29,558,1575,176,560,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","226×83.4厘米",[181,163],255,{"id":6887,"slug":6888,"title":6889,"dynasty":18,"author":553,"museum":6890,"description":5478,"tags":6891,"thumbUrl":6892,"material":619,"size":6893,"collection":42,"collections":6894,"showCount":6885,"zanCount":5,"manualWeight":48,"mainColor":49},221415,"song-he-yan-nian-tu-zhou-fan-kuan-221415","松鹤延年图轴","苏州博物馆",[23,7,24,241,27,177,29,449,60,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0d8728a8941335a80cd12781a857b.jpg","193.1x74.4 厘米",[42,181,45],{"id":6896,"slug":6897,"title":6898,"dynasty":99,"author":1480,"museum":78,"description":6899,"tags":6900,"thumbUrl":6901,"material":88,"size":139,"collection":44,"collections":6902,"showCount":6885,"zanCount":1270,"manualWeight":48,"mainColor":94},219407,"qiu-feng-wan-shan-tu-tang-yin-219407","秋风纨扇图","图绘庭园一角，一女子手执纨扇，在坡前沉思徘徊。图中的仕女体态端庄，风姿婉约，秀发挽成高髻，饰以淡色鬓朵，越发衬托出发光乌亮。披帛和衣裙随风飘拂，巧妙地寓“秋”意于其中。从她眉宇间微露忧伤感的神色，和欲行又止的动态，表明她正陷入沉思之中：忧郁、怅惘，却又无可奈何！背景仅用细竹数枝、湖石一角来点缀，显得疏落空旷，令人联想到引申画外的僻静境界，平添几分萧瑟气象。整幅画的笔墨凝练明快，极其传神。",[7,24,241,260,173,27,106,59,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b5374ce013b2c7f9c2a6c4ac31ecab.jpg",[44],{"id":6904,"slug":6905,"title":6906,"dynasty":189,"author":1672,"museum":78,"description":6907,"tags":6908,"thumbUrl":6910,"material":342,"size":6911,"collection":181,"collections":6912,"showCount":6913,"zanCount":1270,"manualWeight":48,"mainColor":94},220082,"guai-shi-cong-huang-tu-ni-zan-220082","怪石丛篁图","怪石丛篁图轴，这一幅系倪瓒60 岁时所画，构图别致，山石用笔较繁。\n自跋：天妃庙里曾游处，怪石丛篁漫雨苔。今日江湖重回首，卜居南岭白云隈。 岁庚子（1360 年）十一月廿日，解后云冈道师 而纸笔皆不佳，漫尔作此，愧不能工。道师悯世忧国，以道术（德）为己任，汩汩城邑之中 不以为苦，不肯自逸（超）于风埃之表也，故 岁时，应云冈道师之请，赋诗并作画。",[7,173,29,241,177,6909,242,558,175,34,176],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d2a6fe7d61176933aaf86ed35700e3.jpg","94.2×26.8",[181],254,{"id":6915,"slug":6916,"title":6917,"dynasty":76,"author":850,"museum":20,"description":6918,"tags":6919,"thumbUrl":6923,"material":123,"size":6924,"collection":44,"collections":6925,"showCount":6913,"zanCount":1356,"manualWeight":48,"mainColor":49},215038,"ma-shu-tu-lang-shi-ning-215038","马术图","阿穆尔萨纳和先登上准噶尔汗国的达瓦齐因利益冲突而相互争斗，在他们失败后，阿穆尔萨纳要求加入清廷并拜访乾隆皇帝。乾隆皇帝对阿穆尔萨纳主动加入清朝感到欣喜若狂。阿穆尔萨纳投奔清廷后，康熙皇帝非常高兴，他对准噶尔帝国的内部情况有了更多的了解，并有信心利用准噶尔帝国的动乱完成其祖父康熙皇帝和父亲雍正皇帝的 未竟之业。考虑到阿姆尔-萨纳还没有感染水痘，在寒冷的冬季，听众在夏宫举行。",[23,209,7,27,106,150,6920,281,3842,6921,6922],"马术","郊野","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c5d061082897e962ce93759d1385c0.jpg","223.4x426.2",[44],{"id":6927,"slug":6928,"title":6929,"dynasty":99,"author":6930,"museum":78,"description":6931,"tags":6932,"thumbUrl":6933,"material":88,"size":6934,"collection":181,"collections":6935,"showCount":6913,"zanCount":1547,"manualWeight":48,"mainColor":94},214674,"san-jue-tu-yao-shou-214674","三绝图","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[7,24,27,173,29,106,1575,1064,298,1016,491,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd490e9ed3930554b04863c0b5aa07e4.jpg","纵31.2 厘米 横48.3 厘米",[181],{"id":6937,"slug":6938,"title":6939,"dynasty":76,"author":77,"museum":206,"description":325,"tags":6940,"thumbUrl":6941,"material":123,"size":329,"collection":139,"collections":6942,"showCount":6913,"zanCount":5,"manualWeight":48,"mainColor":94},214302,"mu-dan-ce-6-yun-shou-ping-214302","牡丹册-6",[7,24,81,27,83,327,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf3d8efc49ce810dd44e41bf1722ac45.jpg",[],{"id":6944,"slug":6945,"title":6946,"dynasty":99,"author":443,"museum":20,"description":6947,"tags":6948,"thumbUrl":6950,"material":1716,"size":6951,"collection":181,"collections":6952,"showCount":6953,"zanCount":1270,"manualWeight":48,"mainColor":94},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[23,7,24,25,173,447,1966,86,83,448,452,242,453,243,245,84,6949,697,176],"竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[181,163],253,{"id":6955,"slug":6956,"title":6957,"dynasty":76,"author":2804,"museum":20,"description":6958,"tags":6959,"thumbUrl":6960,"material":139,"size":139,"collection":90,"collections":6961,"showCount":6962,"zanCount":1547,"manualWeight":48,"mainColor":94},236892,"ba-jiao-mu-dan-zhou-wu-chang-shuo-236892","芭蕉牡丹轴","此画充分利用了水、墨二者的结合及浸渍变化，以饱含水分的笔触，率性而作，洗练简阔，却有神情气爽之感。\n吴昌硕（1844年~1927年），初名俊，后改俊卿，字昌硕，号缶庐、苦铁等，浙江安吉人。善书法，精篆刻，工诗擅画。其大写意花鸟，博取徐渭、八大、石涛、李鱓、赵之谦诸家之长，以篆、隶、狂草笔意入画，用笔雄健古拙，用墨酣畅淋漓，着色艳丽富贵，可谓匠心独运，为中国近代杰出的艺术家，海派主要画家之一。",[209,7,24,241,27,173,83,446,327,755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b7aefc21c35bfdb8ce148ec1e96f63.jpg",[90,45],252,{"id":6964,"slug":6965,"title":6966,"dynasty":18,"author":2007,"museum":101,"description":6967,"tags":6968,"thumbUrl":6969,"material":665,"size":6970,"collection":42,"collections":6971,"showCount":6962,"zanCount":48,"manualWeight":48,"mainColor":49},221189,"zhang-song-shan-shui-tu-ma-lin-221189","长松山水图","《长松山水图》是马麟传世作品中的经典之作，也是南宋院体山水画的代表作之一。\n由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[7,209,24,2544,27,177,29,1575,394,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d7532cb2d0174426dfa5dc1b1abb0a.jpg","25.1×26cm",[42,181,163],{"id":6973,"slug":6974,"title":6975,"dynasty":54,"author":55,"museum":206,"description":6976,"tags":6977,"thumbUrl":6980,"material":123,"size":6981,"collection":44,"collections":6982,"showCount":6962,"zanCount":1165,"manualWeight":48,"mainColor":49},218265,"ren-wu-juan-zhou-fang-218265","人物卷","它描绘了儿童在院子里玩灯笼，而女士们聚集在一起演奏音乐。详细描述了灯笼的种类和形状，但人物的脸和衣服与周家的不一样，所以这卷书一定是由后来的艺术家复制的。",[23,7,209,24,25,28,27,106,957,34,313,6978,6979,244],"小孩","大人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd5d7d833562e3e6f0969c27f3c1208.jpg","30.8x220",[44],{"id":6984,"slug":6985,"title":6986,"dynasty":189,"author":487,"museum":364,"description":6987,"tags":6988,"thumbUrl":6990,"material":743,"size":744,"collection":139,"collections":6991,"showCount":6992,"zanCount":48,"manualWeight":48,"mainColor":49},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,209,7,173,29,241,177,176,34,107,108,109,175,227,86,6989],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":6994,"slug":6995,"title":6996,"dynasty":76,"author":77,"museum":206,"description":325,"tags":6997,"thumbUrl":6998,"material":123,"size":329,"collection":139,"collections":6999,"showCount":6992,"zanCount":5,"manualWeight":48,"mainColor":94},214300,"mu-dan-ce-7-yun-shou-ping-214300","牡丹册-7",[7,209,83,27,82,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f7b2fc7446ee7009d16b458846da32.jpg",[],{"id":7001,"slug":7002,"title":7003,"dynasty":54,"author":3282,"museum":364,"description":7004,"tags":7005,"thumbUrl":7006,"material":743,"size":744,"collection":139,"collections":7007,"showCount":7008,"zanCount":1270,"manualWeight":48,"mainColor":49},289005,"wang-chuan-tu-wang-wei-289005","辋川图","《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[23,209,7,25,1397,27,177,29,107,34,31,174,6178,1965,464,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg",[],250,{"id":7010,"slug":7011,"title":220,"dynasty":99,"author":7012,"museum":364,"description":7013,"tags":7014,"thumbUrl":7016,"material":743,"size":744,"collection":90,"collections":7017,"showCount":7008,"zanCount":1270,"manualWeight":48,"mainColor":94},235720,"hua-niao-ce-tan-zhi-yi-235720","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[7,28,27,81,83,7015,225],"杨梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181ec405e55e4ff9733d37e050394af1.jpg",[90],{"id":7019,"slug":7020,"title":362,"dynasty":76,"author":7021,"museum":20,"description":7022,"tags":7023,"thumbUrl":7024,"material":619,"size":7025,"collection":139,"collections":7026,"showCount":7008,"zanCount":1547,"manualWeight":48,"mainColor":94},222643,"he-hua-tu-gao-feng-han-222643","高凤翰","图绘荷塘秋色，荷花于秋风中若俯若仰，似显似藏。荷叶或以浓墨泼染，以示勃勃生机，或以赭色晕染，以示萧索凋败。全图在墨彩交融中表现了满池风动、“接天莲叶无穷碧”的意境。作者以洒脱不羁的笔墨抒发了豪放的情怀。",[23,7,24,241,173,446,136,137,6726,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe153b110743b11a6b88ea2620ed2d20a.jpg","纵172厘米，横62厘米",[],{"id":7028,"slug":7029,"title":2499,"dynasty":189,"author":190,"museum":20,"description":7030,"tags":7031,"thumbUrl":7032,"material":803,"size":2504,"collection":181,"collections":7033,"showCount":7008,"zanCount":48,"manualWeight":48,"mainColor":94},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[23,7,24,25,173,29,177,86,227,864,2124,1015,650,4614,1445,4562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg",[181,163],{"id":7035,"slug":7036,"title":7037,"dynasty":18,"author":812,"museum":206,"description":2970,"tags":7038,"thumbUrl":2974,"material":123,"size":7040,"collection":42,"collections":7041,"showCount":7008,"zanCount":1270,"manualWeight":48,"mainColor":94},220176,"xing-hua-tu-zhao-chang-220176","杏花图",[23,209,7,24,7039,27,28,83,2972,226,227],"团扇","纵25.2厘米，横27.3厘米",[42,90],{"id":7043,"slug":7044,"title":7045,"dynasty":18,"author":1650,"museum":206,"description":7046,"tags":7047,"thumbUrl":7048,"material":123,"size":7049,"collection":181,"collections":7050,"showCount":7008,"zanCount":1165,"manualWeight":48,"mainColor":49},218612,"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","本幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢于画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[7,24,241,173,27,177,29,1575,394,106,108,300,176,37,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[181],{"id":7052,"slug":7053,"title":7054,"dynasty":76,"author":5052,"museum":364,"description":7055,"tags":7056,"thumbUrl":7057,"material":139,"size":7058,"collection":181,"collections":7059,"showCount":7060,"zanCount":48,"manualWeight":48,"mainColor":94},238025,"hong-ren-shan-shui-tu-ce-hong-ren-238025","弘仁山水图册","弘 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《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[23,209,7,24,241,173,177,3953,34,176,175,5066,245,7067],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[181],{"id":7072,"slug":7073,"title":2071,"dynasty":99,"author":1083,"museum":20,"description":7074,"tags":7075,"thumbUrl":7076,"material":123,"size":7077,"collection":44,"collections":7078,"showCount":7060,"zanCount":1547,"manualWeight":48,"mainColor":49},219628,"shi-nv-tu-chen-hong-shou-219628","陈洪绶（1599~1652），明末清初著名书画家、诗人。字章侯，幼名莲子，一名胥岸，号老莲，晚号老迟、悔迟，又号悔僧、云门僧。\n他的作品荒诞而深情，鲁迅先生对之极为推崇，认为“老莲的画，一代绝作”。\n陈洪绶是明代著名的人物画家，他在人物画中对女性形象有着独特的关注视点，在造型方面追 求高古奇骇的古拙之美，在色墨运用上崇尚淡彩的雅丽之美。\n他笔下的女性人物形象既具备了明清 时期女性纤弱清秀的时代气质，又通过“诗画相生”的艺术表达体现出中国文人画家的精神特质， 对后世女性人物形象塑造，乃至人物画的发展都产生了深刻影响。",[23,7,28,27,106,59,245,448,63,65,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebe8c0fcec8f056598c9426139fbf89.jpg","纵173.5横95.3厘米",[44,45],{"id":7080,"slug":7081,"title":7082,"dynasty":18,"author":887,"museum":364,"description":7083,"tags":7084,"thumbUrl":7085,"material":743,"size":744,"collection":139,"collections":7086,"showCount":7087,"zanCount":48,"manualWeight":48,"mainColor":49},288989,"xiao-xiang-zhu-shi-tu-su-shi-288989","潇湘竹石图","潇湘竹石图采用长卷式构图，展现湖南省零陵县西潇、湘二水合流处，遥接洞庭巨浸的苍茫景色。整幅画作以潇湘二水的交汇点为中心，远山烟水，风雨瘦竹，近水与云水、蹲石与远山、筱竹与烟树产生强烈对比，让人在窄窄画幅内如阅千里江山。",[209,7,24,173,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14407e88ebd5d78263a6e38373b327a6.jpg",[],248,{"id":7089,"slug":7090,"title":7091,"dynasty":99,"author":3114,"museum":20,"description":7092,"tags":7093,"thumbUrl":7094,"material":4665,"size":7095,"collection":181,"collections":7096,"showCount":7087,"zanCount":48,"manualWeight":48,"mainColor":94},220909,"shan-shui-ce-3-dong-qi-chang-220909","山水册3","《仿古山水图》册，明，董其昌绘，8开。\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,209,7,24,81,173,177,29,864,430,37,650,1727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纵26.3厘米，横25.5厘米",[181,163],{"id":7098,"slug":7099,"title":7100,"dynasty":99,"author":170,"museum":20,"description":1903,"tags":7101,"thumbUrl":1905,"material":803,"size":619,"collection":181,"collections":7102,"showCount":7087,"zanCount":5,"manualWeight":48,"mainColor":94},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[23,7,24,25,29,2939,173,27,177,178,86,176,34,109,108,174,175],[181],{"id":7104,"slug":7105,"title":7106,"dynasty":99,"author":3114,"museum":539,"description":7107,"tags":7108,"thumbUrl":7110,"material":342,"size":7111,"collection":181,"collections":7112,"showCount":7087,"zanCount":48,"manualWeight":48,"mainColor":94},219732,"quan-shi-qing-song-tu-dong-qi-chang-219732","泉石青松图","以淡墨晕染层叠山峦，留白铺就出空寂清灵的幽远氛围。近景苍松虬曲古拙，扎根嶙峋怪石，枝干舒展自带灵动生机。中景幽谷藏村居，流泉蜿蜒穿林而过，山林郁秀空灵。\n\n以干笔皴擦勾勒山石肌理，淡墨晕出山岚氤氲，笔墨简淡却意蕴悠长，尽显文人画萧散简远之趣。题诗与画面浑然相融，诗画一体，寄寓着林泉高致的隐逸情怀，整体格调清润雅致，将笔墨意趣与山水意境相融，尽显通透疏朗的超然意态，是文人山水的绝佳范本。",[23,7,24,173,177,241,29,864,431,449,430,7109],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f3dc782262e9a048daaa49bede99f.jpg","纵95.2横41.1厘米",[181,163],{"id":7114,"slug":7115,"title":7116,"dynasty":76,"author":77,"museum":206,"description":325,"tags":7117,"thumbUrl":7118,"material":123,"size":329,"collection":139,"collections":7119,"showCount":7087,"zanCount":5,"manualWeight":48,"mainColor":94},214301,"mu-dan-ce-4-yun-shou-ping-214301","牡丹册-4",[7,209,81,27,28,83,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62788f0a49f55255a39ab916f86585a7.jpg",[],{"id":7121,"slug":7122,"title":7123,"dynasty":76,"author":7124,"museum":364,"description":7125,"tags":7126,"thumbUrl":7127,"material":139,"size":139,"collection":139,"collections":7128,"showCount":7129,"zanCount":1356,"manualWeight":48,"mainColor":49},229041,"xi-huang-shang-ren-hua-niao-tu-ce-pu-ru-229041","羲皇上人花鸟图册","溥儒","此作为工笔小帧，虬曲梅枝缀满初绽花苞，粉白柔瓣轻晕胭脂色，深浅层叠间漾开融融春意。\n\n一只禽鸟振翅俯身，羽色晕染细腻写实，翅尖微张、爪部轻抬，将探花一瞬的灵动意态定格。古旧绢底晕开沉褐底色，愈发衬得花鸟鲜活清隽。笔致秀逸温婉，既得院体花鸟精工之妙，又裹挟文人画疏澹雅逸，将春日闲趣藏入古雅底色，把禽鸟探春的幽恬意韵勾勒入微，淡而不寡，静中生趣。",[7,24,81,27,28,83,281,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88269039c0cef8c5cb52798546158853.jpg",[],247,{"id":7131,"slug":7132,"title":7133,"dynasty":1095,"author":2335,"museum":7134,"description":7135,"tags":7136,"thumbUrl":7137,"material":139,"size":139,"collection":139,"collections":7138,"showCount":7129,"zanCount":1547,"manualWeight":48,"mainColor":94},220502,"xiu-zhu-shi-nv-zhang-da-qian-220502","修竹仕女","龙美术馆西岸馆","画面里仕女黛眉轻蹙，腮凝新荔，手托香腮作沉思状，发髻簪花，温婉娴静的闺怨之态呼之欲出。衣纹勾勒秀劲舒展，青蓝衣袍配朱红卷草纹饰，浓丽雅致，尽显东方女性柔婉仪态。\n\n左侧修竹以淡墨写意挥就，笔致清劲挺秀，竹影扶疏间衬出仕女的幽寂怅惘，柔媚人物与清逸修竹相映成趣，将传统工笔的细腻与写意的简淡融为一体，晕染出清远雅致的古典意境，把闺中女子的缱绻情思藏进幽篁清影之中。",[7,27,28,106,59,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548ed3ebfb17697cfd9745a87b1dadc6.jpg",[],{"id":7140,"slug":7141,"title":1661,"dynasty":76,"author":7142,"museum":20,"description":7143,"tags":7144,"thumbUrl":7145,"material":123,"size":7146,"collection":45,"collections":7147,"showCount":7129,"zanCount":1547,"manualWeight":48,"mainColor":49},219090,"han-gong-chun-xiao-tu-yuan-yao-219090","袁耀","此图名为汉代宫殿之景，实际上表现的是作者想象中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其活泼的蕴藉不仅展现出石质的厚实，同时加强了场景的动势，与工整精巧的殿宇楼阁形成粗放与华美、活泼与整洁的鲜明对比。",[7,209,104,27,28,29,107,108,109,175,34,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa2766d2513288b462cece660309b69.jpg","纵250厘米，横162厘米",[45],{"id":7149,"slug":7150,"title":7151,"dynasty":54,"author":255,"museum":7152,"description":7153,"tags":7154,"thumbUrl":7156,"material":139,"size":139,"collection":44,"collections":7157,"showCount":7158,"zanCount":48,"manualWeight":48,"mainColor":1335},221111,"xian-shi-kong-zi-xing-jiao-xiang-wu-dao-zi-221111","先师孔子行教像","原作佚失","中国古代绘制的各种形式和风格的孔子像存世较多，但真正被广泛认可和接受的是现存于山东曲阜孔庙的石刻本《孔子行教像》，一般认为该石刻本原作为唐代著名画家吴道子所绘，但原作早已不幸遗失。",[209,7,24,260,106,7155,86],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ebcef1acb329791e1db6fadd10e7165.jpg",[44],246,{"id":7160,"slug":7161,"title":7162,"dynasty":99,"author":3114,"museum":206,"description":7163,"tags":7164,"thumbUrl":7165,"material":2021,"size":7166,"collection":181,"collections":7167,"showCount":7158,"zanCount":1270,"manualWeight":48,"mainColor":94},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[23,209,7,24,241,173,177,105,2939,29,34,176,35,31,491,1926,1015,1575,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","96.3 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44.8cm",[181,163],{"id":7169,"slug":7170,"title":7171,"dynasty":76,"author":836,"museum":206,"description":837,"tags":7172,"thumbUrl":7177,"material":88,"size":843,"collection":139,"collections":7178,"showCount":7158,"zanCount":5,"manualWeight":48,"mainColor":94},219872,"er-shi-si-fan-hua-xin-feng-tu-mu-dan-yu-liu-hua-dong-gao-219872","二十四番花信风图-牡丹与柳花",[209,7,24,81,27,28,327,7173,7174,7175,226,7176],"柳花","花枝","柳叶","题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09a9f572835af6efd69b2ef51c9f79a.jpg",[],{"id":7180,"slug":7181,"title":7182,"dynasty":189,"author":1848,"museum":78,"description":7183,"tags":7184,"thumbUrl":7185,"material":173,"size":139,"collection":163,"collections":7186,"showCount":7158,"zanCount":1270,"manualWeight":48,"mainColor":49},219738,"zhu-pu-tu-wu-zhen-219738","竹谱图","此作用淡墨铺就底色，开篇幽草伴湖石，渐入修竹成林。竹竿劲挺如君子立世，以浓墨撇写竹叶，错落生姿，或迎风欹斜，或垂梢含露，墨色干湿浓淡交织，层次分明。后半段湖石渐耸，竹影疏密掩映，尽显野逸之趣。\n\n左侧题笔与画境相融，以书入画，笔墨老辣苍润，将隐逸林下的清寂意韵藏于一笔一划中，简淡之间尽是萧散出尘的林下风神，把竹之孤高与文人风骨晕染在卷幅里。",[23,7,173,25,242,431,177,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c704a7c558d314bd1858ec21db613.jpg",[163],{"id":7188,"slug":7189,"title":7190,"dynasty":99,"author":7191,"museum":206,"description":7192,"tags":7193,"thumbUrl":7194,"material":88,"size":7195,"collection":181,"collections":7196,"showCount":7158,"zanCount":5,"manualWeight":48,"mainColor":94},214588,"xi-shan-xie-sheng-ce-yun-shan-xian-ge-bian-wen-yu-214588","溪山写胜册-云山仙阁","卞文瑜","卞文瑜是一位著名的明代画家，他的作品《溪山写胜册-云山仙阁》是一幅非常珍贵的古代中国山水画。\n\n这幅画的构图十分精巧，将整幅画分成上下两部分，上部为云山仙阁，下部为溪流和山峦。画中的云山仙阁高耸入云，状如玉龙，气势磅礴。下方的溪流清澈可见底，水流蜿蜒曲折，流动自然。山峦远近错落有致，山川相连，给人以深远的视觉冲击。\n\n卞文瑜在这幅画中运用了自然之美的理念，将自然与人文相结合，创造出了一幅充满生机和美感的画作。他运用了细腻的笔法和柔和的色彩，使得整幅画面看起来非常自然和舒适。\n总的来说，《溪山写胜册-云山仙阁》是一幅优秀的古代中国山水画，值得珍藏。",[7,24,81,27,29,104,107,108,1015,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c88df2db3b86f6fbad65788ffbd4776.jpg","24.8x41.3cm",[181],{"id":7198,"slug":7199,"title":1234,"dynasty":18,"author":3103,"museum":206,"description":7200,"tags":7201,"thumbUrl":7202,"material":123,"size":7203,"collection":181,"collections":7204,"showCount":7205,"zanCount":1165,"manualWeight":48,"mainColor":49},218230,"shang-lin-tu-juan-zhao-bo-ju-218230","赵伯驹（生年不详，约卒于西元一一六二年），字千里，宋太祖七世孙，赵大年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛及人物，楼阁界画尤妙。上林苑乃秦朝旧苑，汉武帝扩建。周围三百里，离宫七十所，规模宏伟。苑中饲养禽兽多种,，春秋二季皇帝时常至此围猎。本卷青绿设色，画上林苑帝王围猎情景。人物众多，车辇仪仗无一不备。",[23,7,24,25,26,27,29,106,107,34,281,176,649,38,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[181],244,{"id":7207,"slug":7208,"title":7209,"dynasty":99,"author":1170,"museum":20,"description":7210,"tags":7211,"thumbUrl":7212,"material":123,"size":7213,"collection":181,"collections":7214,"showCount":7205,"zanCount":1270,"manualWeight":48,"mainColor":49},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,7,209,24,241,27,177,29,106,1575,176,920,340,109,175,561,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[181],{"id":7216,"slug":7217,"title":7218,"dynasty":18,"author":645,"museum":78,"description":7219,"tags":7220,"thumbUrl":7222,"material":381,"size":7223,"collection":181,"collections":7224,"showCount":7225,"zanCount":1547,"manualWeight":48,"mainColor":49},220326,"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[23,209,7,24,241,173,177,29,650,34,491,7221],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","纵167.7cm， 横53.6cm",[181,42],243,{"id":7227,"slug":7228,"title":7229,"dynasty":18,"author":1650,"museum":206,"description":7230,"tags":7231,"thumbUrl":7232,"material":381,"size":7233,"collection":44,"collections":7234,"showCount":7225,"zanCount":48,"manualWeight":48,"mainColor":49},219606,"cheng-long-tu-ma-yuan-219606","乘龙图","本幅画中人物为一老者，其鼻长，面相上谓为老龙相，此与马远时之皇帝宁宗，其面相之特征亦为老龙像。故宫所藏〈宁宗像〉，亦足证名此项面貌特征。按《庄子•天地》篇：「千岁厌世，去而上仙，彼乘白云，至于帝乡。」又《史记•封禅书》：「黄帝采首山铜，铸鼎于荆山下；鼎既成，有龙垂胡髯下迎黄帝，黄帝上骑，群臣后宫从上者七十余人，龙乃上去；余小臣不得上，乃悉持峦龙髯，龙髯拔坠，堕黄帝之弓，百官始仰望，黄帝既上天，乃抱其弓与胡髯号。」故后世皇帝死升天，上天乘龙。皇帝死曰「宾天」，宋代皇室信仰道教，作此图画是可从此道理连想。",[23,7,24,241,260,106,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da643835190212f952accdd55118302.jpg","本幅 108.1x52.6公分、全幅 54公分",[44],{"id":7236,"slug":7237,"title":7238,"dynasty":99,"author":1480,"museum":238,"description":7239,"tags":7240,"thumbUrl":7243,"material":1449,"size":7244,"collection":181,"collections":7245,"showCount":7246,"zanCount":1270,"manualWeight":48,"mainColor":49},222352,"qiu-shan-gao-shi-tu-juan-tang-yin-222352","秋山高士图卷","绘童子拱手侍立，圆凳旁之地面，铺设有席，席上散置纸笔书砚等物。中部三人相对畅谈，背景画树石苔草，运笔条畅有力，浓淡交织，极为精采。幅末设石桌，上置瓶炉，另一卷垂挂在地。",[23,7,25,27,29,177,28,7241,7242,174,109,175,34,176,35],"秋山","高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2acdbaf836a548b0d716e2dd10782a.jpg","23.7＊352cm",[181,45],242,{"id":7248,"slug":7249,"title":7250,"dynasty":18,"author":1827,"museum":20,"description":7251,"tags":7252,"thumbUrl":7255,"material":40,"size":7256,"collection":139,"collections":7257,"showCount":7246,"zanCount":1165,"manualWeight":48,"mainColor":49},221491,"huo-lang-tu-quan-juan-li-song-221491","货郎图全卷","古吴轩出版社主编的《李嵩货郎图》是《历代名画宣纸高清大图》系列之一，采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负地弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。\n画家借助货郎这一题材表现了南宋市井生活的一个侧面，是民俗学家不可多得的珍贵史料。",[23,209,7,24,25,28,260,27,106,3045,7253,7254,315,34,4896,61,227],"妇女","货担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff486169f4887c2ad43e56c3c00718926.jpg","纵25.5厘米，横70.4厘米",[],{"id":7259,"slug":7260,"title":7261,"dynasty":1095,"author":4791,"museum":2336,"description":7262,"tags":7263,"thumbUrl":7264,"material":139,"size":139,"collection":139,"collections":7265,"showCount":7246,"zanCount":48,"manualWeight":48,"mainColor":94},220545,"xu-bei-hong-hua-ma-tu-zhou-xu-bei-hong-220545","徐悲鸿画马图轴","以淋漓水墨写就奔马，浓淡晕染间，骏马肌肉的起伏张力尽显。昂首扬鬃，四蹄腾跃似踏风而来，马尾与颈鬃以狂放飞白扫出，裹挟着呼啸劲风，将奔马桀骜不羁的野性全然挥洒而出。\n\n舍弃繁复布景，将视线尽数锁于奔马之上，寥寥数笔便让马儿挣脱纸面桎梏，静帧画作仿若能闻蹄声惊雷，把中式写意传神的特质推至极致，尽显生命蓬勃昂扬的野性力量。",[23,209,7,24,241,173,150,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f81de666dcbcb1927f785be1e3e6f3.jpg",[],{"id":7267,"slug":7268,"title":7269,"dynasty":18,"author":4882,"museum":206,"description":7270,"tags":7271,"thumbUrl":7272,"material":123,"size":7273,"collection":42,"collections":7274,"showCount":7246,"zanCount":1547,"manualWeight":48,"mainColor":49},219216,"zhu-ou-tu-cui-bai-219216","竹鸥图","本幅画翠竹、芦草随风摇曳，水波也起伏荡漾，白鹭一只立于水中，则是放低了姿势，采逆向迎风、涉水而行的姿态，动静之间，形成均衡画幅的力量。幅上虽有崔白二字款，若和院藏崔白的「双喜图」相比较，在刻划花鸟的情态、掌握自然环境中一刹那生动的情景，两者的风味相类；但在用笔方面，崔白的笔墨线条，无论粗细柔劲、浓淡干湿、起伏顿挫，都为表现物象的质感、动态，随物变化。而在「竹鸥图」中，画白鸥的线条细挺，画竹子、芦草和坡石则是时有断续、富有弹性的线条，与院藏宋人「翠竹翎毛」中那种起伏变化明显，偏向于南宋风格的线条较为接近，因此本幅虽非崔白所作，但属宋代受崔白影响的作品之一。崔白（活动于11世纪后半），字子西，濠梁（今安徽凤阳）人。宋仁宗时（1022-1062）画院学艺。举凡道释、人物、禽兽、花卉无不精绝，尤擅长于花竹、山兔、枯荷、水凫、野雁之类。",[23,7,83,27,28,242,1374,650,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de49481fe805ec1b96d44ffd87decef.jpg","101.3x49.9cm",[42,90,45],{"id":7276,"slug":7277,"title":7278,"dynasty":76,"author":293,"museum":539,"description":7279,"tags":7280,"thumbUrl":7282,"material":88,"size":139,"collection":90,"collections":7283,"showCount":7246,"zanCount":1165,"manualWeight":48,"mainColor":49},216736,"hu-tu-yi-ming-216736","虎图","猛虎蹲踞于地，双目炯炯凝视前方，蓄势待发的姿态暗藏山林王者的威慑。墨线勾勒斑纹，浓淡交错间晕染出毛发的细腻层次，笔触兼具工致与雄健。背景丛草以简笔写意，虚实相生中凸显虎的主体地位。整体色调古朴沉敛，虽佚名却见娴熟笔墨功底，将虎的威猛与沉静之态融于画面，尽显清代兽畜画写实与传神的特质，静中寓动，气韵生动。",[7,24,368,27,28,7281,957,1064],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93c5c1a0ef67b390978f2e35d1221fd.jpg",[90],{"id":7285,"slug":7286,"title":4983,"dynasty":76,"author":2804,"museum":78,"description":7287,"tags":7288,"thumbUrl":7289,"material":803,"size":7290,"collection":90,"collections":7291,"showCount":7292,"zanCount":5,"manualWeight":48,"mainColor":94},237437,"ju-hua-zhou-wu-chang-shuo-237437","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” [2] 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[7,24,241,173,27,83,453,244,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac17540baab309bf666e37c3441ed42.jpg","纵119.9 厘米横51.6",[90],241,{"id":7294,"slug":7295,"title":7296,"dynasty":18,"author":293,"museum":206,"description":7297,"tags":7298,"thumbUrl":7300,"material":7301,"size":7302,"collection":139,"collections":7303,"showCount":7292,"zanCount":1356,"manualWeight":48,"mainColor":1335},223425,"song-ren-xi-mao-tu-zhou-yi-ming-223425","宋人戏猫图轴","本幅传为宋人所画，在庭园一角嬉戏的大小猫咪一共八只。画栏围绕，锦障高下相连，使园中彷佛别有洞天。群猫嬉戏於湖石、竹丛、桃树、牡丹之间，或静或动，生态盎然。画家观察入微，以瞳孔缩成线状的猫眼，点出了这场猫戏的时序，应该是日光强烈的日间。",[23,209,7,241,27,28,956,957,84,430,5630,244,7299],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ef8f54780c0c3ec5ce4fde928d99fc.jpg","轴 绢本","139.8x100.1cm",[],{"id":7305,"slug":7306,"title":7307,"dynasty":76,"author":1109,"museum":752,"description":7308,"tags":7309,"thumbUrl":7310,"material":88,"size":7311,"collection":139,"collections":7312,"showCount":7292,"zanCount":5,"manualWeight":48,"mainColor":94},214533,"yi-jin-ling-ce-shi-tao-214533","忆金陵册","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[7,24,173,27,29,107,108,109,174,176,34,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9786c88deb9d34c1413b59771dba7d8.jpg","纵23.8厘米，横19.2厘米",[],{"id":7314,"slug":7315,"title":7316,"dynasty":18,"author":2142,"museum":206,"description":7317,"tags":7318,"thumbUrl":7320,"material":743,"size":744,"collection":139,"collections":7321,"showCount":7322,"zanCount":1165,"manualWeight":48,"mainColor":49},289341,"han-lin-ping-ye-tu-li-cheng-289341","寒林平野图","图绘萧瑟的隆冬平野中，长松亭立，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。该图正是李成最擅长表现的场景。",[7,209,24,241,173,29,2125,5022,1015,394,177,227,7319],"萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a367dd49badf8d7559fae79a915a52.jpg",[],240,{"id":7324,"slug":7325,"title":362,"dynasty":204,"author":4640,"museum":364,"description":7326,"tags":7327,"thumbUrl":7328,"material":743,"size":744,"collection":139,"collections":7329,"showCount":7322,"zanCount":48,"manualWeight":48,"mainColor":49},289001,"he-hua-tu-huang-quan-289001","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[209,7,24,28,27,83,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a7d3c3f2290ee5f25db1f0672a6ce.jpg",[],{"id":7331,"slug":7332,"title":7333,"dynasty":99,"author":100,"museum":364,"description":7334,"tags":7335,"thumbUrl":7343,"material":139,"size":139,"collection":139,"collections":7344,"showCount":7322,"zanCount":1356,"manualWeight":48,"mainColor":49},228453,"qing-ming-shang-he-tu-shou-juan-han-yin-shou-ti-ba-chou-ying-228453","清明上河图手卷含引首题跋","此作以精工院笔重绘旧题，将晚明江南的升平烟火铺陈于长卷之内。青绿设色妍雅清丽，线条秀劲灵动，亭台楼阁层叠错落，商铺酒肆鳞次栉比，行人车马往来穿梭，贩夫走卒、文人仕女神态各异，鲜活复刻出南都的富庶风华。它既承袭古本骨架，又暗合明代世情，把市肆喧闹、舟桥津渡的俗世温情藏进每一处细节，工致的笔触晕染出江南独有的雅致与鲜活，让观者如穿行旧巷，尽览晚明的人间盛景。",[23,209,7,25,7336,28,7337,104,107,1255,110,2412,7338,7339,116,113,106,7340,7341,7342],"手卷","青绿设色","舟桥","津渡","市井生活","富庶风华","俗世温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc788a28a455ea93496704656398401.jpg",[],{"id":7346,"slug":7347,"title":7348,"dynasty":18,"author":7349,"museum":206,"description":7350,"tags":7351,"thumbUrl":7352,"material":827,"size":7353,"collection":139,"collections":7354,"showCount":7322,"zanCount":1356,"manualWeight":48,"mainColor":94},221608,"po-mo-xian-ren-tu-juan-liang-kai-221608","泼墨仙人图卷","梁楷","《泼墨仙人图》可以说是梁楷与画院画风决绝后,在绘画创作中自辟蹊径、独树一帜的具体体现。画面除面、胸部用细笔勾出轮廓外,其他皆用巨笔阔笔横扫,每一笔既有墨色的酣畅,又有水分的淋漓,十分纵肆狂放,已达到旁若无人的程度。从人物造型来看,作者有意夸张其头额部分,几乎占去整个头的三分之二,而把五官挤在下部很小的面积上,垂眉、细眼,鼻扁而大,嘴角下垂,既显得醉态可掬,却又诙谐滑稽,令人发笑,以生动的形象表现了作者的思想和生活态度,极尽嬉笑怒骂之态,从而体现了作品的思想深度。应该说梁楷画的不是“仙人”,而是他自己。",[23,7,24,173,3198,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da57b80a95a59b5229a6aa6845663ed.jpg","48×27公分",[],{"id":7356,"slug":7357,"title":7358,"dynasty":18,"author":2029,"museum":7359,"description":7360,"tags":7361,"thumbUrl":7362,"material":123,"size":7363,"collection":44,"collections":7364,"showCount":7322,"zanCount":1356,"manualWeight":48,"mainColor":49},218667,"gong-nv-tu-liu-song-nian-218667","宫女图","日本东京国立博物馆","画面铺展雅致静谧的宋式日常，几位宫女衣袂轻扬，或持物相待，或静立侧畔，神情温婉如春水。浴盆中孩童戏水喧闹，稚态可掬，与身旁娴静形成生动对照。背景苍劲的绿植与古朴小桌相映，笔墨细腻处见衣纹流转，设色淡雅间显器物温润。整幅画以细腻笔触捕捉宫廷生活的温情片刻，既藏宋画的精致风骨，又含人间烟火的柔软，似将千年的静谧与鲜活，凝于这一方绢素之上。",[23,209,7,24,1562,27,28,106,59,245,244,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8003e2340ab08b6d3bbb4b0c835b26ac.jpg","24.4x25.8",[44],{"id":7366,"slug":7367,"title":7368,"dynasty":76,"author":7369,"museum":206,"description":7370,"tags":7371,"thumbUrl":7375,"material":123,"size":7376,"collection":44,"collections":7377,"showCount":7322,"zanCount":736,"manualWeight":48,"mainColor":94},215148,"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-215148","仿杨大章宋院本金陵图卷","冯宁","长卷是一幅色彩斑斓的画，画中有山有城，有街有路，有车有马，有亭有村，有农业，有数百人。这个场景有一丝张择端《清明上河图》的宏大和活泼的风格。卷尾的签名是：乾隆五十年十一月，我冯宁受命仿制宋院体金陵画。",[23,209,7,25,27,28,105,29,107,106,194,7372,7373,34,120,7374],"街道","马匹","农业","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa95f5753c7200f69180a52966afeeee4.jpg","35x1050",[44],{"id":7379,"slug":7380,"title":7381,"dynasty":99,"author":1996,"museum":20,"description":7382,"tags":7383,"thumbUrl":7384,"material":1716,"size":7385,"collection":90,"collections":7386,"showCount":7387,"zanCount":48,"manualWeight":48,"mainColor":94},222553,"mu-dan-hua-hui-tu-chen-chun-222553","牡丹花卉图","本幅上部行草书自题：“春是花时节，红紫各自赋。勿言薄脂粉，适足表贞素。道復。”后钤“陈道復氏”、“陈淳之印”印。\n作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n陈道復创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如故宫博物院藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及上海博物馆藏《洛阳春色图卷》、《玉楼春色图卷》等等。这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家李日华为此幅作品所题云：“破一滴墨水，作种种妖妍。改旦暮之观，备四时之气”。",[23,7,24,173,83,327,698,178,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524ca64f679df2ecd19978f86c81b89a.jpg","纵54.8厘米，横30.8厘米",[90,45],239,{"id":7389,"slug":7390,"title":7391,"dynasty":18,"author":2856,"museum":1985,"description":2857,"tags":7392,"thumbUrl":7393,"material":665,"size":2860,"collection":139,"collections":7394,"showCount":7387,"zanCount":1356,"manualWeight":48,"mainColor":49},221595,"hong-bai-fu-rong-tu-er-li-di-221595","红白芙蓉图（二）",[23,7,209,24,28,27,83,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd25dc107fa4494ca042034f992513016.jpg",[],{"id":7396,"slug":7397,"title":7398,"dynasty":189,"author":1672,"museum":206,"description":7399,"tags":7400,"thumbUrl":7401,"material":173,"size":139,"collection":181,"collections":7402,"showCount":7387,"zanCount":48,"manualWeight":48,"mainColor":94},218823,"qiu-lin-yuan-shan-tu-ni-zan-218823","秋林远山图","疏木萧疏，枝桠挺劲如铁，带着秋的清寒。远山淡抹，似笼轻烟，与空阔的水面相映成趣。笔墨枯淡却含韵致，枯笔皴擦见骨力，淡墨晕染显空灵。留白处意蕴悠长，仿佛天地间只剩风声掠过林梢，尘俗尽散。画面极简却藏深致，将文人的孤高与对自然的静观融入丘壑，清冷中透着宁静，空寂里含着哲思，恰是元人山水那份超脱尘世的清逸之境。",[23,7,24,173,177,29,394,1653,491,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f642f6154c24c8d6629652c8982480.jpg",[181],{"id":7404,"slug":7405,"title":7406,"dynasty":18,"author":812,"museum":20,"description":7407,"tags":7408,"thumbUrl":7409,"material":7410,"size":7411,"collection":42,"collections":7412,"showCount":7413,"zanCount":1547,"manualWeight":48,"mainColor":94},221297,"xie-sheng-jia-die-tu-juan-zhao-chang-221297","写生蛱蝶图卷","该画作描绘了群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。笔法上，蝶、蚱以工笔细描，花草则以双勾填色法。设色清淡、浓艳各得其所，彩不压墨。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。",[23,7,24,25,28,27,4077,432,299,604,84,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b406765c81dbad32d814e51b46fac.jpg","纸本设色画","纵27.7厘米，横91厘米",[42,90,45],238,{"id":7415,"slug":7416,"title":7417,"dynasty":18,"author":2007,"museum":206,"description":7418,"tags":7419,"thumbUrl":7420,"material":139,"size":139,"collection":42,"collections":7421,"showCount":7413,"zanCount":5,"manualWeight":48,"mainColor":49},221186,"shi-liu-wen-niao-ma-lin-221186","石榴文鸟","马麟马世荣之孙，马远之子，马远是宋光宗、宋宁宗两朝画院待诏，马麟画承家学， 用笔圆劲，轩昂洒落，画风秀润处过于乃父。 ​",[23,7,24,28,27,83,1299,281,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e0f84a2d62c330aaeff7eb6de993c8.jpg",[42,90,45],{"id":7423,"slug":7424,"title":7425,"dynasty":18,"author":3214,"museum":206,"description":7426,"tags":7427,"thumbUrl":7428,"material":67,"size":7429,"collection":42,"collections":7430,"showCount":7431,"zanCount":1270,"manualWeight":48,"mainColor":49},221355,"qiu-ting-xi-ying-tu-su-han-chen-221355","秋庭戏婴图","该画作描绘了在秋天的一富家庭院里，姐弟俩正围着螺钿漆墩玩着自制的小玩具的情景。急躁的小弟弟全神贯注，衣领滑下了肩，显示出他顽皮、好动的外向性格；细心的姐姐耐心地照看着小弟弟，她性情沉静温和。两个孩子玩得着了迷，似乎忘记了刚才发生的一切。在他们身后的另一张螺钿漆墩上，杂乱地摆放着其他玩具，可能刚才他们曾在花丛边追打嬉闹过。 [2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[23,7,209,24,241,28,27,106,3045,245,450,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[42,90,44,45],237,{"id":7433,"slug":7434,"title":7435,"dynasty":18,"author":1616,"museum":206,"description":7436,"tags":7437,"thumbUrl":7438,"material":381,"size":7439,"collection":42,"collections":7440,"showCount":7431,"zanCount":1356,"manualWeight":48,"mainColor":49},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[23,7,209,25,173,177,86,227,29,108,109,174,1351,394,1016,920,176,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[42],{"id":7442,"slug":7443,"title":7444,"dynasty":76,"author":836,"museum":206,"description":837,"tags":7445,"thumbUrl":7447,"material":88,"size":843,"collection":139,"collections":7448,"showCount":7431,"zanCount":1547,"manualWeight":48,"mainColor":94},219881,"er-shi-si-fan-hua-xin-feng-tu-ying-tao-yu-ying-chun-dong-gao-219881","二十四番花信风图-樱桃与迎春",[7,24,81,27,28,83,910,7446,1062,1461,698,86,227],"迎春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbb4551c35981c815d28fac994eeefc.jpg",[],{"id":7450,"slug":7451,"title":7452,"dynasty":76,"author":836,"museum":206,"description":837,"tags":7453,"thumbUrl":7455,"material":88,"size":843,"collection":139,"collections":7456,"showCount":7431,"zanCount":1547,"manualWeight":48,"mainColor":94},219874,"er-shi-si-fan-hua-xin-feng-tu-mu-lan-yu-li-hua-dong-gao-219874","二十四番花信风图-木兰与梨花",[7,24,81,27,28,83,7454,1640,226,1461,86,227],"木兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7899210f12729525c86d211dedbbfe.jpg",[],{"id":7458,"slug":7459,"title":7460,"dynasty":76,"author":7461,"museum":539,"description":7462,"tags":7463,"thumbUrl":7465,"material":123,"size":7466,"collection":44,"collections":7467,"showCount":7431,"zanCount":5,"manualWeight":48,"mainColor":94},218354,"shi-nv-tu-ce-li-ting-xun-218354","仕女图册","李廷薰","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为秦贤和花痴，是一位罕见的艺术家，或者说是广东人。",[7,24,81,27,28,106,59,505,7464,86],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a6f600a83e3dfe0c423dd1fddcced.jpg","19x28",[44],{"id":7469,"slug":7470,"title":7471,"dynasty":76,"author":5096,"museum":78,"description":7472,"tags":7473,"thumbUrl":7474,"material":88,"size":7475,"collection":181,"collections":7476,"showCount":7431,"zanCount":5,"manualWeight":48,"mainColor":94},216993,"fang-song-yuan-shan-shui-ce-wang-jian-216993","仿宋元山水册","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,7,26,27,29,177,105,81,108,109,175,430,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a18fc942c1098dabc52e73dc3535442.jpg","纵55.4厘米，横36.0厘米",[181],{"id":7478,"slug":7479,"title":7480,"dynasty":76,"author":2083,"museum":364,"description":3135,"tags":7481,"thumbUrl":7482,"material":827,"size":139,"collection":90,"collections":7483,"showCount":7484,"zanCount":1356,"manualWeight":48,"mainColor":94},223300,"zhu-shi-tu-zhou-1-zheng-ban-qiao-223300","竹石图轴1",[23,7,24,241,173,242,431,452,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e3849c804728833e287d5719d8957.jpg",[90,163],236,{"id":7486,"slug":7487,"title":7488,"dynasty":189,"author":1672,"museum":206,"description":7489,"tags":7490,"thumbUrl":7491,"material":342,"size":7492,"collection":181,"collections":7493,"showCount":7484,"zanCount":1547,"manualWeight":48,"mainColor":94},220787,"jiang-ting-shan-se-zhou-ni-zan-220787","江亭山色轴","倪云林 《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[7,24,241,173,29,175,430,242,431,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[181,163],{"id":7495,"slug":7496,"title":7497,"dynasty":18,"author":7498,"museum":206,"description":7499,"tags":7500,"thumbUrl":7501,"material":123,"size":7502,"collection":90,"collections":7503,"showCount":7484,"zanCount":994,"manualWeight":48,"mainColor":94},215112,"xie-sheng-ying-su-tu-ai-xuan-215112","写生罂粟图","艾宣","此册共二十六开，包含许多精采的宋元册页。各别的作品曾经过南宋内府、十四世纪安徽收藏家吴志淳、十五世纪黔宁王沐璘、十七世纪山东收藏家张笃行等人收藏过。裱装形式上，除了少数有对题者，左边空白对幅皆以明代流行的金粟山藏经纸裱装之，并有风格统一的题签。配合裱纸上梁清标（一六二○－一六九一） 的收藏印，及比较院藏其他梁清标之题签，推测此册可能为梁清标所集，显示明末清初所理解的宋元画。",[23,209,7,24,1562,28,27,83,5034,84,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad36eaac06d8f20b835860208428a2.jpg","23.7x24.3cm",[90],{"id":7505,"slug":7506,"title":7507,"dynasty":76,"author":1109,"museum":20,"description":7508,"tags":7509,"thumbUrl":7510,"material":803,"size":7511,"collection":181,"collections":7512,"showCount":7513,"zanCount":5,"manualWeight":48,"mainColor":94},233123,"yuan-ji-shan-shui-ce-shi-tao-233123","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[7,446,27,173,81,177,29,1575,175,106,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123c2863fe8464093b6bc302b984f3bf.jpg","纵33.2cm，横22.8cm",[181,45],235,{"id":7515,"slug":7516,"title":7517,"dynasty":76,"author":1394,"museum":675,"description":5682,"tags":7518,"thumbUrl":7519,"material":88,"size":5685,"collection":181,"collections":7520,"showCount":7513,"zanCount":1547,"manualWeight":48,"mainColor":94},219994,"shan-shui-hua-chu-chun-wang-shi-min-219994","山水画-初春",[7,24,173,29,177,864,297,430,108,298,114,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae35075de48bf89446b66f24d13410.jpg",[181],{"id":7522,"slug":7523,"title":7524,"dynasty":18,"author":1275,"museum":206,"description":7525,"tags":7526,"thumbUrl":7528,"material":123,"size":7529,"collection":90,"collections":7530,"showCount":7513,"zanCount":5,"manualWeight":48,"mainColor":94},218939,"xie-sheng-yu-zan-tu-lin-chun-218939","写生玉簪图","这幅画描绘了玉针花站在一个妃子身上，其香味吸引了蝴蝶飞来飞去。花和蝴蝶都是先用细墨线勾勒，然后上色的。白色的花瓣和绿色的叶子使芬芳的花朵更加美丽。在左下角的叶子下面可以看到林椿的签名。",[23,7,209,1562,28,27,710,83,7527,604],"玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbcbd3282deb21b8a8f4f226720bde.jpg","23.6x24.6",[90],{"id":7532,"slug":7533,"title":6575,"dynasty":18,"author":293,"museum":132,"description":7534,"tags":7535,"thumbUrl":7536,"material":123,"size":7537,"collection":90,"collections":7538,"showCount":7513,"zanCount":1007,"manualWeight":48,"mainColor":49},218554,"ping-hua-tu-yi-ming-218554","画的是一个中心中空的竹制花篮，篮子里有几朵菊花和木槿。芙蓉花瓣由内而外由紫变淡红，大方得体，而粉色和白色的菊花层层叠叠，繁而不乱，画面不大，却诠释了秋天的多种色彩。",[7,24,27,28,83,453,244,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92ea7ee08022ee5215dc568f32303c97.jpg","21x19cm",[90],{"id":7540,"slug":7541,"title":7542,"dynasty":76,"author":7543,"museum":364,"description":7544,"tags":7545,"thumbUrl":7546,"material":990,"size":7547,"collection":139,"collections":7548,"showCount":7549,"zanCount":1547,"manualWeight":48,"mainColor":94},234803,"fang-yun-shou-ping-hua-hui-zhou-jiang-ji-xi-234803","仿恽寿平花卉轴","蒋季锡","蒋季锡，女（具体生卒年不详），从其画作上判断她大致活动于清康熙至雍正年间（公元1661－1735年），字苹南，江苏常熟人。陕西道监察御史、画家蒋伊之女，大学士蒋廷锡之妹。她出生与官宦书画世家，并常与父兄探讨画理，研习画艺。她的艺术功底深厚，思路开阔，在艺术上刻意求新。其花鸟画学马荃的勾染花卉法，兼学恽寿平的没骨写生法，同时巧妙地吸收了西洋的明暗技法，使她的画作工整细致、写实逼真、别有意境。\n落款自题七言诗一首：“一叶芳心任卷舒，客愁乡梦待何如。平生枉用藤溪纸，绿玉窗前好写书。仿瓯香馆笔意，苹南女史蒋季锡。”钤“苹南”、“季锡”印二方。",[7,24,241,83,27,82,453,755,84,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7049879c68c188c33b57a9d26849b1c6.jpg","纵107厘米，横33.4厘米",[],234,{"id":7551,"slug":7552,"title":1417,"dynasty":76,"author":77,"museum":364,"description":7553,"tags":7554,"thumbUrl":7555,"material":139,"size":139,"collection":139,"collections":7556,"showCount":7549,"zanCount":1270,"manualWeight":48,"mainColor":49},230251,"mu-dan-tu-yun-shou-ping-230251","此作用没骨法写就，以色代线，晕染出牡丹娇柔丰腴之态。白粉牡丹瓣层轻叠，莹润如凝脂；朱砂秾艳不俗，紫花幽柔淡雅，色彩过渡自然清妍，不见勾勒却形神兼备。枝叶以深浅草绿斡染，俯仰顾盼间尽显舒展生机，古拙顽石衬于花下，旁缀幽兰数茎，添清寂古雅之趣。\n\n右上题诗与花木相映，将富贵之态融入澹逸文气，以秀雅之笔消解艳俗，淡而不薄，丽而不妖，把写生之功与文人意趣相融，尽显春日花盛的清和雅致。",[23,7,24,241,27,83,327,604,245,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bcececee698ff8393e54eef5a76e67.jpg",[],{"id":7558,"slug":7559,"title":7560,"dynasty":18,"author":645,"museum":7561,"description":7562,"tags":7563,"thumbUrl":7564,"material":123,"size":7565,"collection":181,"collections":7566,"showCount":7549,"zanCount":5,"manualWeight":48,"mainColor":49},219184,"shan-cun-tu-guo-xi-219184","山村图","南京大学","描绘了巍峨巨峰下的峡谷中人们的隐居生活。整幅作品山势险峻，气势恢宏，细节之处描写入微，村落、人物生动传神。",[23,7,24,29,173,177,241,176,34,35,109,491,5243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bef5f72b428fd151f38b62ec7c4b5e.jpg","横54.2cm，纵109.8cm",[181],{"id":7568,"slug":7569,"title":1692,"dynasty":18,"author":1650,"museum":7570,"description":7571,"tags":7572,"thumbUrl":7573,"material":123,"size":7574,"collection":42,"collections":7575,"showCount":7549,"zanCount":48,"manualWeight":48,"mainColor":49},218658,"shan-shui-tu-ma-yuan-218658","维多利亚和阿尔伯特博物馆","虬枝如屈铁，斜出嶙峋崖壁，枯枝疏朗间透着苍劲风骨，垂悬的藤蔓似牵一缕寒烟。山石以斧劈皴斫出棱角分明，刚硬笔触衬得崖岸陡峭。远景以淡墨晕染，山峦隐现于虚渺雾霭，近景石畔或有幽人凭栏，小景点染更显天地空阔。边角构图不逐满幅，留白处藏尽清寂萧瑟，恰是宋人山水的空灵之境。笔底丘壑虽只一角，却以简驭繁、以小见大，藏无尽江山意趣，尽显马远山水的独特韵味——于有限画面中，铺展无限悠远的诗意与哲思，让人于尺幅间窥见宋人的山水情怀与审美境界。",[7,1562,173,177,29,394,176,109,174,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82362b63dc9e0b444518f5ec9c4176a.jpg","25.5x25.7",[42],{"id":7577,"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时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,7,209,25,29,177,27,176,34,7646,109,558,118,491,1915,38],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[42,181,163],232,{"id":7652,"slug":7653,"title":7654,"dynasty":76,"author":1109,"museum":20,"description":7655,"tags":7656,"thumbUrl":7657,"material":803,"size":7658,"collection":90,"collections":7659,"showCount":7650,"zanCount":5,"manualWeight":48,"mainColor":94},220392,"mei-zhu-tu-juan-shi-tao-220392","梅竹图卷","诗文与画作的有机结合不仅增添了文人画的书卷气息，同时也展示了作者于画艺之外的诗文功底和精湛的书法造诣。图中所绘梅竹或细笔勾勒，或阔笔勾斫，线条于方圆结合中秀拙相生。其多样的笔法与酣畅淋漓的施墨在半生半熟的纸质上达到了湿润而不漫漶的笔墨效果，堪称石涛晚年的写意画佳作。",[23,7,24,25,173,177,86,227,448,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c586308456b8200d8bd68ac0e8093.jpg","纵34.2厘米，横194.4厘米",[90],{"id":7661,"slug":7662,"title":7663,"dynasty":99,"author":4314,"museum":132,"description":7664,"tags":7665,"thumbUrl":7667,"material":123,"size":7668,"collection":90,"collections":7669,"showCount":7650,"zanCount":1270,"manualWeight":48,"mainColor":49},218918,"fu-gui-rong-hua-tu-lv-ji-218918","富贵荣华图","吕纪，花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。",[23,209,7,24,241,28,27,67,1086,83,1216,7666,4008,226],"白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcefe113f289970b9573cff9f3de1c6.jpg","49x25cm",[90],{"id":7671,"slug":7672,"title":7673,"dynasty":76,"author":7674,"museum":364,"description":7675,"tags":7676,"thumbUrl":7677,"material":743,"size":744,"collection":139,"collections":7678,"showCount":7679,"zanCount":48,"manualWeight":48,"mainColor":94},290079,"fang-gu-zhu-zi-tu-wei-gen-lao-ren-290079","仿古竹子图","味根老人","此幅墨竹取斜出之势排布，数竿修竹错落揖让，气韵连贯。老干以重墨挥写，圆劲苍厚，尽显风霜沉凝的古意；新篁以淡墨勾皴，清润秀挺，带着稚拙生机。竹叶以大写意撇捺而就，聚散疏密暗藏章法，浓淡墨色铺陈出前后层次，虚实相映间，将劲节疏朗的君子风姿尽皆展现。画面留白宽绰，右侧题字与竹影相映成趣，笔致简淡却意韵悠长，尽显文人寄情于物的清雅襟怀，是颇见功底的水墨写意佳品。",[23,7,24,241,173,242,3117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c6c0d8c8cc882f3d24cc4d9f64fbba.jpg",[],231,{"id":7681,"slug":7682,"title":7683,"dynasty":76,"author":2804,"museum":364,"description":5389,"tags":7684,"thumbUrl":7685,"material":619,"size":7686,"collection":90,"collections":7687,"showCount":7679,"zanCount":1270,"manualWeight":48,"mainColor":94},224221,"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷",[23,7,24,241,173,27,83,136,137,446,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[90,45],{"id":7689,"slug":7690,"title":7691,"dynasty":99,"author":1480,"museum":539,"description":7692,"tags":7693,"thumbUrl":7694,"material":123,"size":7695,"collection":44,"collections":7696,"showCount":7679,"zanCount":1118,"manualWeight":48,"mainColor":49},219530,"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[23,7,209,241,27,28,106,59,430,84,244,63,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[44],{"id":7698,"slug":7699,"title":7700,"dynasty":99,"author":1996,"museum":20,"description":7701,"tags":7702,"thumbUrl":7704,"material":342,"size":7705,"collection":90,"collections":7706,"showCount":7679,"zanCount":1547,"manualWeight":48,"mainColor":94},214639,"kui-shi-tu-chen-chun-214639","葵石图","一根秋葵枝条靠外，有一朵花和几片叶子，简单清爽；根部被杂草和嫩竹包围，参差不齐，稀稀拉拉；背景是海石，起伏不定，皱巴巴的。这幅画卷的构图和形状非常特别。在这幅画中，水墨画与诗词、书法与绘画的结合，充分表现了鳌鱼石的魅力和意境，使之成为生活中的佳作。",[23,7,24,241,173,446,83,245,7703,227,178],"葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c64a9381dbae4deff621b5fbbf49d.jpg","68.6x34",[90],{"id":7708,"slug":7709,"title":7710,"dynasty":18,"author":7711,"museum":364,"description":7712,"tags":7713,"thumbUrl":7715,"material":743,"size":744,"collection":139,"collections":7716,"showCount":7717,"zanCount":48,"manualWeight":48,"mainColor":49},288951,"shu-kui-you-mao-tu-mao-yi-288951","蜀葵游猫图","毛益","毛益（公元12世纪）〔南宋〕昆山（今属江苏）人，一作沛（今江苏沛县）人，生卒年不详。孝宗乾道(1165-1173)间画院待诏，工画翎毛、花竹，尤能渲染，似欲飞鸣。",[7,28,27,956,5401,451,7714],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe227c92570f7b4b3865f10d691aa7f.jpg",[],230,{"id":7719,"slug":7720,"title":7721,"dynasty":99,"author":7722,"museum":364,"description":7723,"tags":7724,"thumbUrl":7725,"material":990,"size":139,"collection":139,"collections":7726,"showCount":7717,"zanCount":48,"manualWeight":48,"mainColor":49},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[7,24,25,105,27,173,177,29,34,176,108,109,174,175,106,920,491,1915,1444,38,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],{"id":7728,"slug":7729,"title":7730,"dynasty":76,"author":876,"museum":101,"description":7731,"tags":7732,"thumbUrl":7733,"material":88,"size":880,"collection":139,"collections":7734,"showCount":7717,"zanCount":5,"manualWeight":48,"mainColor":94},216248,"jing-fu-si-qi-dong-jing-tu-9-qian-wei-cheng-216248","景敷四气冬景图-9","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n小艇沿溪兴致高，南枝春信屡相遭。还应傲得襄阳孟，何必探寻踏雪劳。钤印：得佳趣",[7,24,27,28,83,62,698,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b750876d25321dfc423a8a3b9d04e.jpg",[],{"id":7736,"slug":7737,"title":7738,"dynasty":99,"author":3114,"museum":206,"description":7739,"tags":7740,"thumbUrl":7743,"material":342,"size":7744,"collection":181,"collections":7745,"showCount":7717,"zanCount":1547,"manualWeight":48,"mainColor":94},214589,"zhou-xing-shi-jing-jiang-an-wang-shan-dong-qi-chang-214589","舟行十景-江岸望山","董其昌是明代著名画家，他的《舟行十景》系列画作中的《江岸望山》是一幅以山水为主题的画作。这幅画中，董其昌绘制了一条河流，河流两岸绿树成荫，清新的水面上划着许多小船，画面中央是一座山峰，山峰高耸入云，周围是葱郁的森林。董其昌在画中运用了自然透视法，使得这幅画呈现出浓郁的立体感。同时，董其昌还细致地描绘了河流两岸的居民生活，使得这幅画不仅有美好的山水风光，还有丰富的人文内涵。",[209,7,173,29,177,81,864,430,7741,7742,227],"江水","江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff107ac474552fe8a646073313322cb10.jpg","28.8x17.7cm",[181],{"id":7747,"slug":7748,"title":7749,"dynasty":189,"author":487,"museum":132,"description":488,"tags":7750,"thumbUrl":7751,"material":88,"size":139,"collection":139,"collections":7752,"showCount":7717,"zanCount":48,"manualWeight":48,"mainColor":94},214573,"shan-shui-ce-5-wang-meng-214573","山水册-5",[7,24,81,173,177,29,394,176,37,108,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06954314220392a3ccc54c83599ff836.jpg",[],{"id":7754,"slug":7755,"title":7756,"dynasty":76,"author":293,"museum":364,"description":7757,"tags":7758,"thumbUrl":7760,"material":139,"size":139,"collection":139,"collections":7761,"showCount":7762,"zanCount":48,"manualWeight":48,"mainColor":94},235370,"xu-gu-zi-teng-jin-yu-tu-zhou-yi-ming-235370","虚谷紫藤金鱼图轴","画面以写意紫藤搭配工笔金鱼，尽显悠然意趣。垂悬的紫藤花穗清浅柔润，叶片以浅绿、赭黄晕染，枝蔓舒展随性，将暮春的缱绻生机晕开。三尾红金鱼朱砂点染，身形莹润饱满，尾鳍轻摆，悠游于空濛水色间，鲜活灵动。\n\n淡墨轻点拟作浮萍水藻，留白托出澄澈池水，虚实相生间，营造出静谧空寂的池上氛围。左侧题字与绘景呼应，工写兼施，藤蔓写意求韵，游鱼工笔见形，把花下观鱼的闲雅日常定格于绢素，清逸秀雅的笔墨间，尽显文人情思与自然意趣。",[7,24,241,27,83,135,7759],"金鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35a58a932d565bb295a3031cfb929c.jpg",[],229,{"id":7764,"slug":7765,"title":7766,"dynasty":76,"author":5208,"museum":364,"description":7767,"tags":7768,"thumbUrl":7769,"material":1716,"size":7770,"collection":181,"collections":7771,"showCount":7762,"zanCount":1547,"manualWeight":48,"mainColor":94},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,209,7,24,25,173,177,29,864,431,430,1329,558,560,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纵28.8厘米，横404.1厘米",[181,163],{"id":7773,"slug":7774,"title":7775,"dynasty":76,"author":1204,"museum":132,"description":1205,"tags":7776,"thumbUrl":7777,"material":342,"size":1208,"collection":139,"collections":7778,"showCount":7762,"zanCount":1270,"manualWeight":48,"mainColor":94},216909,"hua-niao-si-tiao-ping-4-zhu-da-216909","花鸟四条屏-4",[23,7,173,446,241,243,137,224,245,83,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e75a5ceb8b50523c17e63136acafff.jpg",[],{"id":7780,"slug":7781,"title":7782,"dynasty":1095,"author":2335,"museum":132,"description":7783,"tags":7784,"thumbUrl":7787,"material":88,"size":139,"collection":90,"collections":7788,"showCount":7762,"zanCount":5,"manualWeight":48,"mainColor":94},216600,"mo-he-si-lian-ping-3-zhang-da-qian-216600","墨荷四联屏-3","泼墨淋漓处，荷叶如层云翻涌，浓淡干湿交织出万千层次，苍劲中透着灵动。几朵白莲亭亭玉立，瓣尖以淡墨轻勾，与墨叶的雄浑形成柔刚相映之趣。茎秆以劲挺线条穿引画面，似有清风暗度，摇曳生姿。留白如薄雾轻笼，晕染出荷塘的清幽野逸，笔意纵逸却不失雅致，疏朗中藏生机。墨色的晕化与线条的利落交织，将荷塘的静谧与鲜活凝于尺幅，仿佛能嗅到花叶间浮动的淡香，尽显墨荷的神韵与风骨。",[7,24,173,446,7785,136,137,7786,83],"屏条","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca7db73862a36d7500f1fd596d38685.jpg",[90],{"id":7790,"slug":7791,"title":1540,"dynasty":76,"author":2083,"museum":20,"description":7792,"tags":7793,"thumbUrl":7794,"material":1716,"size":7795,"collection":139,"collections":7796,"showCount":7797,"zanCount":48,"manualWeight":48,"mainColor":94},234675,"zhu-shi-tu-zheng-ban-qiao-234675","郑燮所画之竹，形象千姿百态，笔墨变化多端。同样是数竿竹枝，却有新竹、驼竹、凤竹、晴竹、盆景之竹、庭院之竹、山野之竹、水乡之竹的区别，并呈现各自不同的情态，给人以美的感受。画面上翠竹两竿，瘦劲挺拔，枝叶偃仰，萧疏清逸。竹枝下有山石及竹笋数支，恰当衬托出春竹之勃发郁茂，颇富自然之趣。其言将竹笋与鲥鱼相佐，又创美食之竹，新颖别致，独具匠心。",[7,173,446,177,178,227,241,242,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c732c7221c80d6d805a69736b50619.jpg","纵120厘米，横59.7厘米",[],228,{"id":7799,"slug":7800,"title":7801,"dynasty":76,"author":1109,"museum":364,"description":7802,"tags":7803,"thumbUrl":7804,"material":139,"size":139,"collection":139,"collections":7805,"showCount":7797,"zanCount":1165,"manualWeight":48,"mainColor":94},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[23,7,24,25,173,446,177,178,86,227,29,649,31,34,245,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],{"id":7807,"slug":7808,"title":5477,"dynasty":18,"author":293,"museum":132,"description":7809,"tags":7810,"thumbUrl":7811,"material":88,"size":139,"collection":181,"collections":7812,"showCount":7797,"zanCount":1356,"manualWeight":48,"mainColor":94},217118,"xue-jing-shan-shui-tu-yi-ming-217118","宋朝是中国历史上的一个朝代，时间为960年至1279年。宋朝的艺术创作较为繁荣，其中的山水画尤为著名。关于宋朝的山水画，很多都是佚名的。\n\n佚名的雪景山水图是一幅典型的宋朝山水画作品，其中描绘了雪景的美丽景色。这幅画作品中，佚名使用了极为精细的笔法和巧妙的色彩搭配，成功地表现了雪景的冷冽和自然的美。在这幅画中，佚名运用了层次感、对比和拓扑结构等技巧，使得画面更加立体生动。\n\n整幅画作品中，佚名还融入了许多细节，比如深夜里的月色和落雪的景色，以及山谷中的松柏和溪流。这些细节使得画面更加丰富，也增加了画面的视觉冲击力。\n\n总的来说，佚名的雪景山水图是一幅极具艺术价值的作品，它能够令人感受到宋朝山水画的魅力，也是中国艺术史上的经典之作。",[23,7,24,209,1160,173,177,29,2502,1575,864,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[181],{"id":7814,"slug":7815,"title":7816,"dynasty":76,"author":707,"museum":206,"description":708,"tags":7817,"thumbUrl":7820,"material":88,"size":139,"collection":139,"collections":7821,"showCount":7797,"zanCount":5,"manualWeight":48,"mainColor":94},214862,"xie-sheng-ce-3-hua-yan-214862","写生册-3",[7,24,81,173,27,28,7818,7819,957,697,698,713,227],"松鼠","鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F479bc39b276eae548d0b8940a600d55f.jpg",[],{"id":7823,"slug":7824,"title":7825,"dynasty":189,"author":2519,"museum":20,"description":7826,"tags":7827,"thumbUrl":7828,"material":7829,"size":7830,"collection":44,"collections":7831,"showCount":7832,"zanCount":1165,"manualWeight":48,"mainColor":94},220829,"ren-qi-tu-zhao-meng-fu-220829","人骑图","本幅绘一戴官帽腰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从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[23,7,28,27,104,29,107,176,37,34,108,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[181,45],{"id":7872,"slug":7873,"title":7874,"dynasty":18,"author":2007,"museum":7875,"description":7876,"tags":7877,"thumbUrl":7878,"material":123,"size":7879,"collection":90,"collections":7880,"showCount":7850,"zanCount":5,"manualWeight":48,"mainColor":49},219276,"xue-an-yuan-yang-tu-ma-lin-219276","雪岸鸳鸯图","耶鲁大学艺术博物馆","枯木虬枝横斜，皴擦间藏着岁月的肌理，寒梅疏花点点，似是雪夜里悄然绽放的星子。滩头双鸳相偎，绒羽层叠如软云，翅尖墨色晕染，静卧间漫出暖融的依偎。枝上雀鸟敛翅，瞳仁如豆，似在聆听风过梅梢的轻响。雪岸清寂，却因这几处生灵的动静相映，添了几分温润的生气。淡赭铺就的寒汀，与浓墨点染的枝干相衬，工致笔触里藏着写意的疏朗，宋人的雅致与对生命的细腻观照，尽在这方寸画卷里流转，每一处留白都似凝着冬日的清寒，却又裹着一丝不易察觉的暖。",[23,7,209,28,27,83,2555,448,430,224,2124,1410,543,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a755de7d0ae42e6354319de9befc494.jpg","188.5cmx99.8cm",[90,45,42],{"id":7882,"slug":7883,"title":7884,"dynasty":18,"author":7885,"museum":206,"description":7886,"tags":7887,"thumbUrl":7890,"material":123,"size":7891,"collection":42,"collections":7892,"showCount":7850,"zanCount":1165,"manualWeight":48,"mainColor":94},219214,"xue-jing-han-qin-tu-wang-ding-guo-219214","雪景寒禽图","王定国","王定国，（公元12世纪）〔南宋〕汴（今河南开封）人，生卒年不详。建炎元年（1127）随吴郡王渡江，居临安(今浙江杭州)。工花鸟，师李安忠，亦学崔白兄弟笔法，傅色轻淡，清雅不凡，人所不及。后吴郡王奏荐入仕，赐金紫。",[23,7,24,1562,27,28,83,2502,7888,225,7889],"寒禽","浆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf83af5f258b7e3cf2ddcfd3f3c7dabe.jpg","纵24.3厘米，横26厘米",[42,90],{"id":7894,"slug":7895,"title":886,"dynasty":18,"author":887,"museum":206,"description":7896,"tags":7897,"thumbUrl":7898,"material":342,"size":7899,"collection":42,"collections":7900,"showCount":7850,"zanCount":5,"manualWeight":48,"mainColor":94},218785,"mo-zhu-tu-su-shi-218785","画面以竹枝为墨，笔法浑厚，墨分五色；苏轼自称向文同学习画竹，而此图没有宋代的墨竹气息，想必是后期的成名之作。",[23,7,24,173,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f9b6809e9c8b462cdfb261eee443c8.jpg","31.5x27",[42],{"id":7902,"slug":7903,"title":7904,"dynasty":99,"author":100,"museum":752,"description":753,"tags":7905,"thumbUrl":7907,"material":123,"size":764,"collection":139,"collections":7908,"showCount":7850,"zanCount":48,"manualWeight":48,"mainColor":49},216358,"xi-xiang-ji-tu-ye-8-chou-ying-216358","西厢记图页-8",[7,28,27,104,106,59,340,34,176,1664,313,7906],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5046b988d6bf229c2bd14e1dcebb96ed.jpg",[],{"id":7910,"slug":7911,"title":7912,"dynasty":99,"author":1083,"museum":206,"description":7913,"tags":7914,"thumbUrl":7915,"material":123,"size":7916,"collection":139,"collections":7917,"showCount":7918,"zanCount":1547,"manualWeight":48,"mainColor":94},290313,"sui-chao-tu-zhou-chen-hong-shou-290313","岁朝图轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[7,209,24,241,27,28,83,448,839,417,244,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43f471122fe189fc01200784df42f1f.jpg","90.2x41.1",[],225,{"id":7920,"slug":7921,"title":7922,"dynasty":204,"author":7923,"museum":364,"description":7924,"tags":7925,"thumbUrl":7926,"material":743,"size":744,"collection":139,"collections":7927,"showCount":7918,"zanCount":48,"manualWeight":48,"mainColor":49},287365,"qing-lv-shan-shui-tu-ye-li-sheng-287365","青绿山水图页","李昇","擅墨竹，喜作窠石平远山水，颇有清趣。至正六年(1346)作有《淀湖送别图》卷(藏上海博物馆)，画面清波荡漾，湖上有小桥、扁舟，远望峰峦高耸，树林参差，山间古寺隐约可见，景色清幽，一派送别离人的气氛。清代词人朱彝尊很推重此画，题跋云：“松林清疏，峰岚渲以焦墨，淡林赢青作遥山，信称逸品。”",[23,7,24,29,26,27,107,108,109,176,34,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfdcad8870526ab254f3adb825fe8b72.jpg",[],{"id":7929,"slug":7930,"title":7931,"dynasty":76,"author":2804,"museum":364,"description":4630,"tags":7932,"thumbUrl":7933,"material":990,"size":4633,"collection":90,"collections":7934,"showCount":7918,"zanCount":5,"manualWeight":48,"mainColor":94},224231,"ju-hua-2-wu-chang-shuo-224231","菊花2",[23,7,24,209,241,27,173,446,796,176,226,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cb43cd66a1da94239b42b0c422a249.jpg",[90,45],{"id":7936,"slug":7937,"title":7938,"dynasty":189,"author":1672,"museum":206,"description":7939,"tags":7940,"thumbUrl":7942,"material":803,"size":7943,"collection":181,"collections":7944,"showCount":7918,"zanCount":1547,"manualWeight":48,"mainColor":94},220793,"an-chu-zhai-tu-juan-ni-zan-220793","安处斋图卷","倪瓒以擅长水墨山水为傲，所作多取材于太湖周边的优美景致。画中笔法简洁，山水意境悠远，野岸沙渚，疏林茅茨，柳树萧萧，颇有世外山野高人的遁世脱俗之感。画的右下角有作者的自题诗：“湖上斋居处士家，淡烟疏柳望中赊。安时为善年年乐，处顺谋身事事佳。竹叶夜香缸面酒，菊苗春点磨头茶。幽栖不作红尘客，遮莫寒江卷浪花。”左上角是乾隆御览后的即兴题诗：“是谁肥遁隐君家，家对湖山引兴赊。名取仲舒真可法，图成懒瓒亦云嘉。高眠不入客星梦，消渴常分谷雨茶，致我闲情频展玩，围炉听雪剪灯花。”",[23,7,24,25,173,177,29,394,245,175,109,7941,227,86],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[181,163],{"id":7946,"slug":7947,"title":7948,"dynasty":18,"author":2142,"museum":206,"description":7949,"tags":7950,"thumbUrl":7951,"material":123,"size":7952,"collection":42,"collections":7953,"showCount":7918,"zanCount":1270,"manualWeight":48,"mainColor":49},218132,"han-jiang-d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，横25.7厘米",[42,181,163],{"id":8114,"slug":8115,"title":8116,"dynasty":189,"author":2519,"museum":20,"description":8117,"tags":8118,"thumbUrl":8119,"material":40,"size":8120,"collection":44,"collections":8121,"showCount":8097,"zanCount":1118,"manualWeight":48,"mainColor":49},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[23,209,7,24,25,28,27,150,151,106,34,109,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","纵28.5厘米，横154厘米。",[44,45],{"id":8123,"slug":8124,"title":8125,"dynasty":189,"author":2519,"museum":101,"description":8126,"tags":8127,"thumbUrl":8128,"material":803,"size":8129,"collection":181,"collections":8130,"showCount":8097,"zanCount":1356,"manualWeight":48,"mainColor":94},220837,"shuang-song-ping-yuan-tu-zhao-meng-fu-220837","双松平远图","双松的画法稍工，山石则以带有飞白松动笔触勾括，略皴而无染。虽略存李郭画风之形，但简括异常，实属新体。\n画法上更具书法笔趣和文人墨戏的意味。卷首自识「子昂戏作双松平远」，卷尾又识「仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹，不能一二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仪所作者，虽未敢与古人比，然视近世画手则自谓稍异耳。因野云求画，故书其末。《大观录》、《墨缘汇观》、《无益有益齐读画诗》等书著录\n图中近景画苍松立于怪石枯木之中，远景写平坡矮山。写山石空勾轮廓，不加皴染，间有飞白。画双松则用细笔双钩，简约古雅。画面右上署“子昂戏作双松平远”八字，卷末自题日：“仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹不能一、二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仆所作者虽末能与古人比，然视近世画手，则自谓少异耳。因野云求画，故书其末。孟烦。”于此可见，赵孟頫欲弃南宋院体画风而直追唐、五代诸大家。",[7,24,25,173,177,29,449,176,174,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66f53d1e4db114c3b3d0147d1368cb.jpg","纵26.7厘米、横107.3厘米",[181,163],{"id":8132,"slug":8133,"title":8134,"dynasty":76,"author":953,"museum":20,"description":8135,"tags":8136,"thumbUrl":8137,"material":88,"size":8138,"collection":90,"collections":8139,"showCount":8097,"zanCount":48,"manualWeight":48,"mainColor":49},219290,"mu-dan-shuang-ji-tu-ren-yi-219290","牡丹双鸡图","双鸡栖于顽石间，一昂首红冠耀目，白羽墨翅错杂生姿；一低首绒羽蓬松，神态憨拙可亲。侧畔枝桠横斜，新叶带露泛红，墨笔勾枝与赭色点芽相映，漾出淡淡春息。鸡身羽毛以浓淡墨晕染，层次细腻；爪部线条劲挺，力透纸背。顽石用枯笔皴擦，质感厚重朴拙。整幅画兼工带写，禽鸟之灵趣与草木之生机浑然一体，笔墨生动间，尽显自然意趣与生活情味。",[23,7,209,241,27,83,446,3478,327,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769282408829ec883984c71495ff83f2.jpg","纵103.8cm，横44.5cm",[90,45],{"id":8141,"slug":8142,"title":8143,"dynasty":54,"author":8144,"museum":206,"description":8145,"tags":8146,"thumbUrl":8149,"material":123,"size":8150,"collection":181,"collections":8151,"showCount":8097,"zanCount":1547,"manualWeight":48,"mainColor":49},218963,"chun-shan-xing-lv-tu-li-zhao-dao-218963","春山行旅图","李昭道","这幅画描绘了唐明皇在前往四川寻求庇护以躲避安史之乱的途中放弃长安的场景。\n画面以绿色为主色调，有山有水，枝繁叶茂，春意盎然，二十多个人和十几匹马结伴而行，在蜿蜒而荒芜的道路上可以看到人影。虽然场景是春天，马儿在滚动，人们靠着树休息，看起来很轻松，但通往圣地的道路和沿途的崎岖转弯的气氛也会让人觉得很困难。\n该场景用细密的笔触勾勒出线条，然后用绿色和蓝色作画，使其优雅而美丽。",[23,7,24,26,27,29,106,107,176,34,900,559,561,8147,8148],"云气","勾勒填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f5bf3ce17fdd366423076e69f86db4.jpg","95.5x55.3厘米",[181],{"id":8153,"slug":8154,"title":8155,"dynasty":18,"author":8156,"museum":8157,"description":8158,"tags":8159,"thumbUrl":8161,"material":342,"size":8162,"collection":90,"collections":8163,"showCount":8097,"zanCount":1165,"manualWeight":48,"mainColor":94},218906,"bai-yan-tu-ma-ben-218906","百雁图","马贲","檀香山艺术博物馆","老愚离群影久孤，客来笑示百雁图。揩眵试数失两箇，莫喻画意翻令呼。得非长门报秋使，或是大窖传书奴。不然一举千里高鸿俱，其余淟泪碌琐徒，且唼且息翔且呼。营营郑圃田之稷，睢睢齐海隅之菰。遑知尔更衔尔芦，瓠肥卒至充人厨。小而曰鶀亦就笯，迩闻泽梁弛禁官罢虞，麋鹿鱼鳖同少苏，羽仪好在春云。河中马贲元佑、绍圣间人，长于百雁百鸦百鹿百牛等图，虽极繁伙而位置不乱。此卷尤为杰出也，可不宝哉！王逢并识。",[23,7,24,25,173,28,281,2522,8160],"群鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d77751cddde9611521a50fab81cbde3.jpg","579x45cm",[90],{"id":8165,"slug":8166,"title":8167,"dynasty":99,"author":170,"museum":364,"description":8168,"tags":8169,"thumbUrl":8170,"material":139,"size":139,"collection":139,"collections":8171,"showCount":8172,"zanCount":1547,"manualWeight":48,"mainColor":94},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,7,24,25,173,27,29,175,340,430,109,227,86,178,35,176,1532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":8174,"slug":8175,"title":2286,"dynasty":189,"author":8176,"museum":20,"description":8177,"tags":8178,"thumbUrl":8179,"material":1449,"size":8180,"collection":163,"collections":8181,"showCount":8172,"zanCount":1270,"manualWeight":48,"mainColor":49},221692,"mo-zhu-po-shi-tu-gao-ke-gong-221692","高克恭","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n本幅左下方高氏自识：“克恭为子敬作。”钤“彦敬”印。右侧钤“清父之印”、“顾氏珍玩”、“吴景旭印”、“仁山鉴定”等鉴藏印6方。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。",[23,7,209,24,241,173,242,245,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce981bedac3fc255cca37a531f85e131.jpg","纵121.6厘米，横42.1厘米",[163,2293],{"id":8183,"slug":8184,"title":8185,"dynasty":18,"author":2007,"museum":20,"description":8186,"tags":8187,"thumbUrl":8188,"material":67,"size":8189,"collection":42,"collections":8190,"showCount":8172,"zanCount":1270,"manualWeight":48,"mainColor":94},221180,"ceng-die-bing-xiao-tu-zhou-ma-lin-221180","层叠冰绡图轴","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。\n在绢素上画疏枝绿萼白梅两枝，枝瘦花繁，一枝高昂扬起，伸至画面右中部，枝疏花密，花朵绽开；一枝低垂叶艳，由画幅右侧横出，伸展画幅中部与另一挺拔高枝相呼应。两枝枝干清瘦如铁。\n本幅款识：“臣马麟。”另有宋宁宗皇后杨氏题“层叠冰绡”，并题诗：“浑如冷蝶宿花房。拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。赐王提举：”钤“杨蛙之章”、“丙子刊宁翰墨”朱文。\n鉴藏印有：“项元汴印”朱文、“墨林山人”白文、“项氏子京”白文、“楠李项氏之家宝玩”朱文、“项墨林鉴赏章”白文、“项子京家珍藏”朱文、“墨林秘玩”朱文、“商丘宋荦审定真迹“朱文、“汝修”白文、”顾氏口阁珍藏”朱文、“典礼纪察司印”朱文半印，另一方印文不辨。\n地轴裱有题记：“嘉靖丙寅秋，用四十五金得于妻弟陆氏，共二幅，共直百金。顾从德记”“宋马麟《层叠冰绡图》。明项元汴清秘。用前价得藏于天籁阁”。钤“墨林山人”白文、“子京父印”朱文。裱边钤“教育部点验之章”朱文。",[23,7,24,241,28,27,448,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0b5f8ab1f8c9f8f0a1fb245c1b08d17.jpg","纵101.7cm，横49.6cm",[42,90,45],{"id":8192,"slug":8193,"title":8194,"dynasty":1095,"author":4791,"museum":4792,"description":8195,"tags":8196,"thumbUrl":8198,"material":139,"size":139,"collection":139,"collections":8199,"showCount":8172,"zanCount":1270,"manualWeight":48,"mainColor":94},220526,"lan-mao-xu-bei-hong-220526","懒猫","明黄葵朵肆意盛放，苍劲枝叶舒展铺陈，将晴日生机晕染满幅。两只猫儿卧于石上，一猫懒腰哈欠，蓬松毛发纤毫毕现，娇憨慵懒之态跃然纸面；另一猫蜷身假寐，神态松弛安适。\n\n画作融西画写实与东方笔墨，以水墨晕染葵叶苍润质感，重彩点亮花瓣明妍鲜活，生灵造型精准生动，于日常闲景中，将繁花蓬勃与猫儿慵懒相映成趣，静动之间晕开松弛悠然的雅致意韵，尽显闲淡生机。",[23,7,24,27,173,446,8197,956,226,698],"向日葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56021136e3f49aa5e8fa268f00e74249.jpg",[],{"id":8201,"slug":8202,"title":8203,"dynasty":99,"author":100,"museum":539,"description":8204,"tags":8205,"thumbUrl":8206,"material":123,"size":8207,"collection":44,"collections":8208,"showCount":8172,"zanCount":1270,"manualWeight":48,"mainColor":49},219544,"xun-mei-tu-chou-ying-219544","寻梅图","仇英博取众长，多学于赵伯驹、刘松年，发展了南宋李唐、刘松年、马远、夏圭的'院体画'传统，集前人之大成，形成自己独特的艺术风格。他在山水、花卉、界画、人物、仕女等素材方面造诣极高，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为'明四家'。",[23,209,7,28,27,106,59,448,394,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaa20363f9665e27d71a3435ec5364b.jpg","102.7x50.7厘米",[44],{"id":8210,"slug":8211,"title":8212,"dynasty":204,"author":3224,"museum":206,"description":8213,"tags":8214,"thumbUrl":8215,"material":123,"size":8216,"collection":181,"collections":8217,"showCount":8172,"zanCount":1356,"manualWeight":48,"mainColor":49},218904,"xiao-yi-zhuan-lan-ting-tu-ju-ran-218904","萧翼赚兰亭图","这幅画描绘萧翼赚兰亭图的故事。唐太宗酷爱王羲之、王献之的书法，听说辩才和尚藏有羲之兰亭序真迹，于是派遣御史萧翼设法谋取。翼便以书生的打扮，先与辩才交游，两人常以诗文酬答，情感融洽，渐渐地，辩才对翼不加防备。有一天，趁辩才和尚外出，翼便偷走兰亭真迹",[23,7,241,173,177,29,34,108,109,650,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f67dfbeda3e115e84b0798018f410e.jpg","144.1x59.6",[181],{"id":8219,"slug":8220,"title":8221,"dynasty":76,"author":3679,"museum":364,"description":8222,"tags":8223,"thumbUrl":8225,"material":743,"size":744,"collection":139,"collections":8226,"showCount":8227,"zanCount":5,"manualWeight":48,"mainColor":94},288453,"shui-xian-shan-shi-tu-ye-ju-lian-288453","水仙山石图页","居廉（1828年9月22日－1904年5月5日），广东省广州府番禺县隔山乡人，原籍江苏扬州宝应县 [1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[23,7,24,27,28,83,451,245,8224,227,86],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f14912099b74f3d5a6aa2685fc8db4.jpg",[],218,{"id":8229,"slug":8230,"title":1223,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":8231,"thumbUrl":8232,"material":139,"size":139,"collection":139,"collections":8233,"showCount":8227,"zanCount":1270,"manualWeight":48,"mainColor":94},233911,"hua-hui-shan-shui-ce-yun-shou-ping-233911",[7,24,81,82,27,83,84,1563,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365b8ee143cb6b67cd7e5ece42f851e1.jpg",[],{"id":8235,"slug":8236,"title":8237,"dynasty":99,"author":170,"museum":364,"description":8238,"tags":8239,"thumbUrl":8240,"material":743,"size":744,"collection":139,"collections":8241,"showCount":8227,"zanCount":5,"manualWeight":48,"mainColor":94},228836,"qiu-jiang-xian-diao-tu-shen-zhou-228836","秋江闲钓图","文征明曾分析沈周画风的演变：“自其少时，作画已脱去家习，上师古人，有所模临，辄乱真迹，然所为率盈尺小景。至四十外始拓为大幅，粗枝大叶，草草而成，虽天真烂发，而规度点染，不若向时精工矣。”论其传统的渊源，主要受老师杜琼、刘珏、赵同鲁和父祖辈的影响，以董源、巨然、元四家为宗，于黄公望、王蒙、吴镇用功尤深，所得也最多。沈周学倪瓒往往用笔过于强劲，落墨亦过于浓重，所追求的并不是倪瓒那种若淡若疏的境界。此作无论从用笔还是构图，都有明显的模仿倪瓒的痕迹。",[23,7,173,177,241,86,227,29,174,1015,245,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61a9be30d5f9b913daebe5f42a2dddf.jpg",[],{"id":8243,"slug":8244,"title":8245,"dynasty":99,"author":100,"museum":752,"description":753,"tags":8246,"thumbUrl":8248,"material":123,"size":764,"collection":139,"collections":8249,"showCount":8227,"zanCount":48,"manualWeight":48,"mainColor":49},216361,"xi-xiang-ji-tu-ye-3-chou-ying-216361","西厢记图页-3",[7,28,27,104,5990,106,59,8247,107,34,136,2994,313,115],"男子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8160bed9793b09c0f8860270b639bc52.jpg",[],{"id":8251,"slug":8252,"title":8253,"dynasty":99,"author":1480,"museum":20,"description":8254,"tags":8255,"thumbUrl":8256,"material":990,"size":8257,"collection":181,"collections":8258,"showCount":8259,"zanCount":1547,"manualWeight":48,"mainColor":49},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[23,7,24,25,173,27,29,106,920,34,176,109,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[181,45],217,{"id":8261,"slug":8262,"title":8263,"dynasty":18,"author":4882,"museum":20,"description":8264,"tags":8265,"thumbUrl":8266,"material":40,"size":8267,"collection":42,"collections":8268,"showCount":8259,"zanCount":1165,"manualWeight":48,"mainColor":49},221445,"han-que-tu-juan-cui-bai-221445","寒雀图卷","本幅署款“崔白”二字，有清高宗弘历题诗一首。卷后明文彭题跋。\n图绘枯木及9只麻雀飞动或栖止其间的情景。9只小雀依飞鸣动静之态散落树间，自然形成三组。构图巧妙，布局得当，在动与静之间既有分割又有联系。\n作者以干湿兼用的墨色、松动灵活的笔法绘麻雀及树干。麻雀用笔干细，敷色清淡。树木枝干多用干墨皴擦晕染而成，无刻划痕迹，明显区别于黄筌画派花鸟画的创作技法。尽管此图在形势、风格上还较为工致优雅，但在北宋花鸟画中占主导地位的平和、富丽的特色，在崔白的作品中已不见，反映了北宋宫廷花鸟画在审美感受上进入了新的阶段。崔白新创的花鸟画改变了流传百年的黄筌画派的一统格局，推动了宋代花鸟画的发展。",[23,209,7,24,25,83,28,281,1015,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c651618a9378a8dc159bf2a2ceb5781.jpg","纵25.5厘米，横101.4厘米",[42,90,45],{"id":8270,"slug":8271,"title":8272,"dynasty":18,"author":2029,"museum":132,"description":8273,"tags":8274,"thumbUrl":8275,"material":123,"size":139,"collection":181,"collections":8276,"showCount":8259,"zanCount":5,"manualWeight":48,"mainColor":49},218580,"he-ting-xiao-xia-tu-liu-song-nian-218580","荷亭消夏图","竹影筛风，亭榭浮凉。几竿修竹环绕临水敞亭，亭中素衣人或凭栏观荷，或闲坐展卷，墨香混着竹韵漫开。下方溪流清浅，碎石错落，一士人曳杖徐行，童子负物紧随，身影在树荫与水光间轻晃。山石以细皴晕染，纹理温润如触；竹叶用劲挺笔触勾勒，层次疏密有致。\n\n风过竹梢的沙沙声，溪水叮咚的回响，与亭中人的静默相映，滤去夏日燥热，只留清幽雅致。笔墨细腻却不繁缛，每处细节都藏着宋时文人的闲适——仿佛能隔着千年，触到竹间那缕凉意，窥见他们把暑气酿成诗意的模样。整幅画如同一盏冰茶，入口清润，余味悠长。",[7,209,24,241,28,177,29,106,175,242,109,176,34,560,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d87850a086dc74d33f9a716e43966.jpg",[181],{"id":8278,"slug":8279,"title":8280,"dynasty":18,"author":781,"museum":132,"description":8281,"tags":8282,"thumbUrl":8283,"material":381,"size":139,"collection":42,"collections":8284,"showCount":8259,"zanCount":5,"manualWeight":48,"mainColor":49},218087,"luo-han-tu-ce-li-gong-lin-218087","罗汉图册","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[23,7,24,81,260,173,259,106,245,1653,394,176],"https:\u002F\u002Foss.chuangqi.store\u002Ft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。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,7,25,27,28,83,448,242,327,450,279,281,1938,84,1226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,{"id":8305,"slug":8306,"title":8307,"dynasty":76,"author":836,"museum":206,"description":837,"tags":8308,"thumbUrl":8310,"material":88,"size":843,"collection":139,"collections":8311,"showCount":8303,"zanCount":1547,"manualWeight":48,"mainColor":94},219878,"er-shi-si-fan-hua-xin-feng-tu-li-hua-yu-xing-hua-dong-gao-219878","二十四番花信风图-李花与杏花",[7,27,28,86,227,8309,2972,245,1062,1461],"李花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985d944013ffd751b9d943e22980248d.jpg",[],{"id":8313,"slug":8314,"title":8315,"dynasty":18,"author":1650,"museum":206,"description":8316,"tags":8317,"thumbUrl":8318,"material":123,"size":8319,"collection":181,"collections":8320,"showCount":8303,"zanCount":48,"manualWeight":48,"mainColor":49},219598,"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[23,7,24,241,173,27,177,242,106,29,227,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[181,44],{"id":8322,"slug":8323,"title":220,"dynasty":76,"author":77,"museum":364,"description":740,"tags":8324,"thumbUrl":8325,"material":743,"size":744,"collection":139,"collections":8326,"showCount":8327,"zanCount":5,"manualWeight":48,"mainColor":94},239432,"hua-niao-ce-yun-shou-ping-239432",[209,7,24,81,82,27,83,84,225,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e378a87f8912632f7510fda2eb40c7.jpg",[],215,{"id":8329,"slug":8330,"title":131,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":8331,"thumbUrl":8332,"material":139,"size":1228,"collection":139,"collections":8333,"showCount":8327,"zanCount":5,"manualWeight":48,"mainColor":94},233895,"hua-hui-ce-yun-shou-ping-233895",[209,7,24,81,27,82,83,84,795,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e39781d8731f909f8ad4b52da88dd7d.jpg",[],{"id":8335,"slug":8336,"title":3195,"dynasty":99,"author":443,"museum":20,"description":8337,"tags":8338,"thumbUrl":8350,"material":1716,"size":8351,"collection":139,"collections":8352,"showCount":8327,"zanCount":5,"manualWeight":48,"mainColor":94},233375,"shui-mo-pu-tao-tu-zhou-xu-wei-233375","此图曾经清代李佐贤、陈希濂等收藏。\n图中画一架葡萄，叶片茂盛，藤蔓缠绕，果实累累。作者以草书笔法作画，行笔豪迈而不肆野，叶、果用淡墨加胶矾挥洒，墨气淋漓酣畅，产生了极佳的晕散效果。\n画中所题诗见于《徐文长集三》卷十一，是徐渭作画时常书写的诗作之一，抒发了作者一生不遇的坎坷痛苦的心境。画中题字受米芾行书风格影响，结体紧凑，运笔舒缓大气，竖笔、捺笔流畅雄健，收锋沉稳，体现了其身为晚明大书家的深厚的艺术功力。",[7,24,241,173,446,3199,697,698,713,84,5767,447,8339,8340,8341,8342,8343,8344,299,8345,8346,8347,8348,8349],"墨色变化","藤蔓缠绕","果实垂挂","枝叶舒展","水墨淋漓","文人画风格","水墨植物","墨叶","墨果","藤蔓线条","写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ac2949f65bdc9dc171950992c953d5d.jpg","纵 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明遗民。\n朱耷是明太祖朱元璋第十七子朱权的九世孙，明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，早年书法取法黄庭坚 。花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少。\n八大山人由于他明朝宗室的特殊身世，和所处的时代背景，使他的画作不能像其它画家那样直抒胸臆，而是通过他那晦涩难解的题画诗和那种怪怪奇奇的变形画来表现。例如他所画的鱼和鸟，寥寥数笔，或拉长身子，或紧缩一团，倾是而非。特别是那对眼睛，有时是个椭圆形，都不是我们生活中所看的鱼、鸟的眼睛，生活中鱼、鸟的眼睛都是圆圆的，眼珠子在中央也不会转动。八大山人的鱼、鸟的眼珠子都能转动，有时还会翻白眼瞪人哩。他画的山石也不像平常画家画那个样子，浑浑圆圆，上大下小，头重脚轻，他想搁在哪里就在哪里，也不管它是不是稳当，立不立得住。他画的树，老干枯枝，仅仅几个杈椰，几片树叶，在森林中几万棵树也挑不出这样一颗树来。他画的风景、山、光秃秃的树，东倒西歪，荒荒凉凉，果真有这么个地方，我想谁也不肯到这里来安家落户。\n还有，他画上的题诗、签名和印章，也是怪怪的。例如他自号“八大山人”，解释的人很多，至今学者们还有不同争论。他有一方印章，印文刻作 ，有人说它是由“八大山人”四字组成，有的人则持慎重态度，称之为“屐形印”，因为它的形状像只木屐。至于他画上的题诗，许多句子更是令人难解。\n然而，八大山人明确地告诉我们：“横流乱世杈椰树，留得文林细揣摩”。又说：“想见时人解图画”。他是很希望人们能够理解他的画中之意的。因此许多学者经细心的研究，从他的画意和字里字间，探听出许多真消息。例如他有一个画押写作 ，很长时间人们一直称它为龟形画押，因为其形状特别像一只乌龟。后来才看出，原来是由“三月十九日”几个字变形组成，这恰好是明代最末一个皇帝崇祯自杀的日子，标志着明朝的灭亡。那么这个画押，也就表示对 亡国的纪念。\n康熙二十一年他曾经画了一幅《古梅图》，树的主干已空心，虬根露出，光秃的几枝杈椰，寥寥的点缀几个花朵，像是饱经风霜雷电劫后余生的样子。其上题了三首诗，第一首写道：“分付梅花吴道人，幽幽翟翟莫相亲。南山之南北山北，老得焚鱼扫虏尘。”“梅花吴道人”是指元代画家吴镇，自号“梅花道人”。方框内的字，显然是被当时或稍后的收藏者有意剜去，以避免文字狱灾祸。不难猜测，这个字不是“胡”，即是“虏”。清代统始者以满族入主中原，最忌讳的也是这两字。要在“南山之南北山北”扫除“胡尘”，朱耷非常明确地表达了他的反清复明思想。第二首诗写道：“得本还时末也非，曾无地瘦与天肥。梅花画里思思肖，和尚如何如采薇。”诗中用了两个典故，一是元初遗民画家郑思肖，在南宋灭亡之后隐居吴下，画兰花露根不画坡土，人问何故，他回答说：“土地都被人抢夺去了，你难道不知吗？”二是殷遗民伯夷、叔齐在周灭殷以后，耻不食周粟，隐居首阳山采薇而食，直至饿死。原来八大这幅《古梅图》虬根外露，也不画坡土，是仿照郑思肖画兰之意，暗含着国土被清人所抢夺，他这个明代宗室子孙，之所以成了和尚，正如伯夷、叔齐采薇首阳山那样，不肯臣服于新王朝。国破家亡，复国无望，这使他不能不“苦泪交千点”了。\n八大山人题画诗，是解开他画意的钥匙，然幽涩难解，如迷如雾，许多学者都下过一番功夫进行破释。例如康熙二十三年所作《甲子花鸟册》，其中第七页画一只八哥站在枯枝上，题诗曰：“衿翠鸟唤哥，吭圆哥换了。八哥语三虢，南飞鹧鸪少。”此诗之意，香港中文大学饶宗颐教授经过引经据典考释后结论说：“此诗画是讥‘虢’（指明）亡后，忠臣如鹧鸪之志切怀南，殊不多见。”这就是说，八大的作品，除了一般的国破家亡的情绪表达之外，有时还具体有所指。《瓜月图》亦是件有所指的作品，在题诗之后他记录说：“己巳润八月十五夜画所得”。面对着天上的圆月，和人间家家户户吃月饼，他的心被触动了，那么他“所得”是什么呢？画上题诗曰：“眼光饼子一面，月圆西瓜上时。个个指月饼子，驴年瓜熟为期。”有人根据吃月饼的风俗来源于反清义军传递起事暗号的民间故事，说八大在期盼着这一天到来。然而却要等到何年（驴年）呢？“驴年马月”是俗语，表示遥无定期。果真如此，则八大的心迹，就不只是徒有国亡余痛了。\n八大山人长于水墨写意，为其划时代的人物。 在水墨写意画中，又有专擅山水和专擅花鸟之别，八大山人则两者兼而善之。他的山水画，近师董其昌，远法董源、巨然、郭熙、米芾、黄公望、倪瓒诸家。例如康熙四十一年所作《书画册》（上海博物馆藏）共画了六幅山水小品，就可以看出深受董其昌的影响，其远笔的圆润则有着董、巨和黄公望的遗踪，墨法参照了米氏云山，而某些树石的组合形式，显然取自倪瓒。但是，我们在欣赏这些作品时，却又强烈地感觉到朱耷的个性，上述那些古人的法则，不过是他随手拈来为自己服务的。那些山、石、树、草，以及茅亭、房舍等，逸笔草草，看似漫不经心，随手拾掇，而干湿浓淡、疏密虚实、远近高低，笔笔无出法度之外，意境全在法度之中。这种无法而法的境界，是情感与技巧的高度结合，使艺术创作进入到一个自由王国。\n比起山水画来，八大山人的花鸟画创作，更具有他风格个性的典型性。顺治十六年所作《传綮写生册》（台北故宫博物院藏），和康熙五年作的《墨花卷》（北京故宫博物院藏），是八大早期作品，从中可以看到他的水墨写意花鸟画创作，深受沈周、陈淳、徐渭的影响，其用笔较方硬，题材、布局也未脱离前人窠臼，但是画中所表现出的兀傲之气，以及不拘一格的大胆剪裁，如不求物象的完整性，却已预示着他的未来的发展。\n八大山人花鸟画最突出特点是“少”，用他的话说是“廉”。少，一是描绘的对象少；二是塑造对象时用笔少。如康熙三十一年所作《花果鸟虫册》，其《涉事》一幅，只画一朵花瓣，总共不过七、八笔便成一幅画。在八大那里，每每一条鱼，一只鸟，一只雏鸡，一棵树，一朵花，一个果，甚至一笔不画，只盖一方印章，便都可以构成一幅完整的画面，可以说少到不可再少了的程度。前人所云“惜墨如金”，又说“以少少许胜多多许”，只有八大才真正做到了这点，可谓前无古人，后难继者。\n少，也许能有人作到，但是少而不薄，少而不贫，少而不单调，少而有味，少而有趣，透过少而给读者一个无限的思想空间，这是难有人作到的，八大山人却具备了如上的要求，这里大有文章。首先是他在用笔用墨上的功夫。他的用笔由方硬变圆润，饱和墨汁与运笔的方法相结合，一下笔就给人以浑厚丰富之感。他是第一个充分主动利用生宣纸特性以加强艺术表现力的画家。生宣纸的吸水能力强，容易使墨汁扩散（洇），这本来是缺点，而八大却把它变为优点，不但为水墨写意画开辟了一个广阔的前景，而且也创造了人们对水墨写意画的新观念，其功不朽。\n其次是形象的塑造。八大山人的花鸟造型，不是简单的变形，而是形与趣、与巧、与意的紧密结合，所以我们在欣赏时，就不会感到单薄和寂寞。再次是他的布局，特别讲究少许物象在二维空间中摆放的位置。其诀窍是充分利用空白，即前人所谓“计白当黑”。与此同时，并充分调动题跋、署款、印章在布局中的均衡、对称、疏密、虚实等的作用。他不像一般画家那样，先画好画，然后在恰当的位置题款和押印，而是有总体的规划设想，使每一点都在布局中起到举足轻重的作用，不多，不少，不奢侈，不节约。例如康熙三十三年所作《花鸟山水册》（上海博物馆藏），第一幅仅画一只雏鸡。小鸡置于画面中右偏下，这一位置的重心，将画面分割成四大块空间，每块空间的大小都不一样，平衡而有变化。由于小鸡头部方向朝左，故题诗在右第二大块空间中，使空荡的背景顿时活跃起来，视觉上起到突破平衡和内容丰富的作用。小鸡的刻画生动传神，动态像小孩刚学走路，蹒跚得十分可爱。瞪着大眼警惕着前方，特别是眼后加三撇，像电波一样，好似前方有什么声响传来，使小鸡心惊胆怯。这只小雏鸡我们可以理解为它刚出蛋壳，表示出对这个世界的惊异与警惕；也可以理解为走失了群体，找不到妈妈，感到孤独而害怕，如何理解，任人们驰骋想象的翅膀，所以有时候少画，反而思想的容量更大。\n少，不是目的而是手段，否则越少越好，艺术又会走入另一条邪径。少是相对的，例如康熙四十二年所作的《杨柳浴禽图》（北京故宫博物院藏），相对上述作品来说是“多”了，但比起一般画家处理同类题材的作品来，却少了许多许多。例如他对柳枝的处理，约有十二笔，就占住了整个画面上部的空间，不但表现出杨柳的老干新枝的质，也表现了枝条迎风的势。在春风料峭之中，八哥在洗刷自己的羽毛将振翅欲飞。这一生活小景，表现出无限的生意。康熙十六年所作的《河上花图》（天津艺术博物馆藏），是八大山人一生作品中仅见的长篇巨制，也是他笔墨最多、布局最复杂的一幅，但他仍然体现着少的原则。例如开卷的一丛荷花，总共超不出三十笔，笔减而意繁，一开卷便引人入胜。\n八大山人，前承古人，后启来者。白石老人曾有诗曰：“青藤（徐渭）雪个（八大山人）远凡胎，缶老（吴昌硕）当年别有才。我原九泉为走狗，三家门下转轮来。”其倾倒如此。今天随着东西方文化的交流，欣赏和理解他艺术的人越来越多。",[7,24,241,173,446,136,243,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afb4ee4d66f987d5bb2edff1946a7e.jpg",[163],{"id":8402,"slug":8403,"title":8404,"dynasty":54,"author":3282,"museum":132,"description":8405,"tags":8406,"thumbUrl":8407,"material":67,"size":8408,"collection":139,"collections":8409,"showCount":8392,"zanCount":48,"manualWeight":48,"mainColor":49},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,7,24,25,27,26,104,28,29,107,108,106,176,34,114,8147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","纵194.5cm，横60.5cm",[],{"id":8411,"slug":8412,"title":8413,"dynasty":18,"author":474,"museum":7359,"description":8414,"tags":8415,"thumbUrl":8416,"material":123,"size":8417,"collection":90,"collections":8418,"showCount":8392,"zanCount":5,"manualWeight":48,"mainColor":49},219138,"mei-que-tu-zhao-ji-219138","梅雀图","枝桠遒劲，凝着早春的清寒，几簇白梅点缀其间，花瓣薄如蝉翼，花蕊纤毫毕现，似有暗香浮动。一只麻雀敛翅而立，羽色层次分明，从褐棕的背羽到浅黄的腹羽，过渡细腻如天然；墨点的眼珠炯炯有神，喙尖微挑，仿佛正细嗅梅香。古雅的底色衬得生灵与花枝愈发鲜活，笔意工致却不刻板，枝桠的顿挫、羽毛的丝缕、花瓣的晕染，皆藏着对自然的敬畏与细腻感知。静穆中透着生机，仿佛能听见风过枝桠的轻响，看见雀儿转颈的灵动，将转瞬的雅致凝为永恒，尽显笔墨间的生趣与文人清逸。",[23,7,209,24,28,27,1562,83,448,5589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51843aee1c6bdffdd691d63bea2ddcbd.jpg","23.0×24.2cm",[90],{"id":8420,"slug":8421,"title":8422,"dynasty":76,"author":614,"museum":364,"description":8423,"tags":8424,"thumbUrl":8425,"material":88,"size":8426,"collection":44,"collections":8427,"showCount":8392,"zanCount":1547,"manualWeight":48,"mainColor":94},214670,"zhong-kui-tu-huang-shen-214670","钟馗图","这幅画描绘的是钟馗在吃石榴，而一个小孩子和他一起玩。这是黄慎委托的一幅吉祥画",[23,7,24,241,173,260,106,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6631ced5ea11c63e64cba3d283250e.jpg","149x110",[44],{"id":8429,"slug":8430,"title":8431,"dynasty":76,"author":8432,"museum":20,"description":8433,"tags":8434,"thumbUrl":8435,"material":139,"size":139,"collection":44,"collections":8436,"showCount":8437,"zanCount":1270,"manualWeight":48,"mainColor":94},237110,"shi-nv-ce-cui-wei-237110","仕女册","崔鏏","工人物、仕女，擅写真，宗法宫廷画家焦秉贞，略得西洋晕染技法，画面颇有古风，布局饱满，用笔细致，有宋院体画之风，带有受郎世宁画风影响的痕迹。描染净丽，格调婉约。",[7,27,28,81,106,59,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbff89887b390659e0e35416e22bea5.jpg",[44],213,{"id":8439,"slug":8440,"title":1862,"dynasty":76,"author":8441,"museum":364,"description":8442,"tags":8443,"thumbUrl":8445,"material":139,"size":139,"collection":139,"collections":8446,"showCount":8437,"zanCount":1547,"manualWeight":48,"mainColor":94},224110,"lian-hua-mian-yi-224110","绵亿","此作用色秀润柔和，盛放的主莲粉瓣晕染自然，金蕊明媚醒目，一旁花苞半敛，晕出柔婉的粉紫色泽。阔大荷叶以石绿晕绘，叶脉勾勒纤细清晰，舒展间带着水润生机。淡蓝碎花与纤柔细草错落点缀，衬出莲的清雅出尘。\n\n笔致轻柔秀雅，工细却无板滞之感，将莲的高洁清灵与柔媚娇美相融，淡素底色晕开夏日水畔的清和诗意，把水生花卉的静雅之美凝于尺幅，观之仿佛能嗅到浅淡荷香，尽显娴静悠远的文人意趣。",[7,24,83,28,27,136,137,4697,8444],"小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25226c11c993dc0c02d852defc77b4af.jpg",[],{"id":8448,"slug":8449,"title":8450,"dynasty":99,"author":3114,"museum":206,"description":8451,"tags":8452,"thumbUrl":8453,"material":803,"size":8454,"collection":181,"collections":8455,"showCount":8437,"zanCount":48,"manualWeight":48,"mainColor":94},220930,"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[23,209,7,24,241,173,29,105,177,178,227,245,34,865,31,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[181,163],{"id":8457,"slug":8458,"title":8459,"dynasty":99,"author":1480,"museum":206,"description":8460,"tags":8461,"thumbUrl":8462,"material":173,"size":8463,"collection":181,"collections":8464,"showCount":8437,"zanCount":5,"manualWeight":48,"mainColor":94},219331,"kong-shan-guan-pu-tu-tang-yin-219331","空山观瀑图","唐寅（1470—1523），字伯虎，一字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，据传于明宪宗成化六年庚寅年寅月寅日寅时生，故名唐寅。汉族，吴县（今江苏苏州）人。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文征明、徐祯卿并称“江南四才子”，画名更著，与沈周、文征明、仇英并称“吴门四家”。",[7,24,241,173,177,29,1575,558,176,106,1444,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f9b1868f56ffcbda8eabd2eb3efa9.jpg","60.5x38.6公分",[181],{"id":8466,"slug":8467,"title":3485,"dynasty":18,"author":293,"museum":8468,"description":8469,"tags":8470,"thumbUrl":8471,"material":123,"size":8472,"collection":44,"collections":8473,"showCount":8437,"zanCount":1270,"manualWeight":48,"mainColor":49},218476,"shui-yue-guan-yin-xiang-yi-ming-218476","奈良国立博物馆","观世音菩萨的雕像带着佛光，呈圆圈状，坐在一块立在水中的怪石上，旁边有一个插着柳枝的花瓶，静静地注视着左边下面水中反射的月亮。在背景中，从上面的悬崖可以看到一个瀑布。白色的慈悲女神与在曼陀罗的莲花部分看到的不一样。这幅图中的白衣观音似乎是在南宋时期的禅林中创作的，就像中国宋元时期和日本镰仓时期之后的情况一样。",[7,24,241,259,106,260,27,300,245,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b6ed05393745747280c984d98e7da9f.jpg","88x36.7",[44],{"id":8475,"slug":8476,"title":886,"dynasty":189,"author":1848,"museum":7875,"description":8477,"tags":8478,"thumbUrl":8479,"material":381,"size":8480,"collection":90,"collections":8481,"showCount":8437,"zanCount":1356,"manualWeight":48,"mainColor":94},216101,"mo-zhu-tu-wu-zhen-216101","这件作品是一幅描绘竹叶的图画，以其精细的绘画技巧和精美的艺术品质而闻名。墨竹图的名字来源于其使用的墨色，以及它描绘的竹子。墨竹图被认为是中国古代绘画艺术中最优秀的作品之一，并被许多人所珍视。",[23,7,24,1562,173,242,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b830328da9d88aa4e298e550fe00be.jpg","23.2x22.9cm",[90],{"id":8483,"slug":8484,"title":886,"dynasty":76,"author":2083,"museum":364,"description":8485,"tags":8486,"thumbUrl":8487,"material":139,"size":139,"collection":139,"collections":8488,"showCount":8489,"zanCount":5,"manualWeight":48,"mainColor":271},230140,"mo-zhu-tu-zheng-ban-qiao-230140","修竹挺拔舒展，以浓淡墨色铺陈枝叶，虚实错落间尽显萧疏清劲，仿佛携着晚来林风，簌簌有声。画竹以书入笔，笔意兼具行书灵动与隶书沉厚，竹叶如“个”似“介”，爽利遒劲，将竹的孤傲磊落全然铺展。左侧题诗与墨竹相映成趣，诗画交融，以竹为寄，把超脱世俗的清介襟怀藏进笔墨。寥寥数笔便写尽竹之神韵，将文人逸致与君子品性合而为一，尽显文人画托物言志、诗画同源的绝妙意境。",[23,7,24,241,173,178,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f843406125e3d7d75445cdef2772a3.jpg",[],212,{"id":8491,"slug":8492,"title":8493,"dynasty":54,"author":293,"museum":2340,"description":8494,"tags":8495,"thumbUrl":8497,"material":743,"size":744,"collection":139,"collections":8498,"showCount":8489,"zanCount":1118,"manualWeight":48,"mainColor":94},226215,"ku-zhu-shi-zao-jing-yi-ming-226215","窟主室藻井","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[209,7,630,259,28,27,502,84,8496],"卷草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9523ba3f8abaac0ac6ff9edee579d76d.jpg",[],{"id":8500,"slug":8501,"title":8502,"dynasty":18,"author":823,"museum":101,"description":8503,"tags":8504,"thumbUrl":8510,"material":381,"size":8511,"collection":42,"collections":8512,"showCount":8489,"zanCount":5,"manualWeight":48,"mainColor":49},220420,"shan-shi-qing-lan-tu-xia-gui-220420","山市晴岚图","昭山，位于湘潭，长沙交界处，离城20公里，突兀挺立在湘江东岸，是湘潭市的北大门。每逢雨后新晴，或是旭日破晓，万丈霞光撒在山间，雨气氤氲，色彩缤纷，美而壮观。北宋大书画家米芾将这一景观绘成《山市晴岚图》，列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[7,24,173,29,241,177,649,34,563,176,3285,1444,37,8505,8506,4663,8507,8508,8509],"晴岚","杂树","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","24.8×21.3cm",[42,163],{"id":8514,"slug":8515,"title":8516,"dynasty":76,"author":836,"museum":206,"description":837,"tags":8517,"thumbUrl":8519,"material":88,"size":843,"collection":139,"collections":8520,"showCount":8489,"zanCount":1356,"manualWeight":48,"mainColor":94},219882,"er-shi-si-fan-hua-xin-feng-tu-shan-fan-yu-lan-hua-dong-gao-219882","二十四番花信风图-山矾与兰花",[7,24,81,27,28,84,8518,797,298,86,227],"山矾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa300fd27248f7782bac6bc2754e41f05.jpg",[],{"id":8522,"slug":8523,"title":8524,"dynasty":76,"author":8525,"museum":206,"description":8526,"tags":8527,"thumbUrl":8528,"material":88,"size":8529,"collection":44,"collections":8530,"showCount":8489,"zanCount":1270,"manualWeight":48,"mainColor":94},216965,"ba-jiao-mei-ren-tu-xu-liang-biao-216965","芭蕉美人图","许良标","在这幅画中，一位面容姣好的少女坐在湖边的岩石上，手里拿着一把扇子，望着栏杆外的荷花田，陷入沉思。景物清晰，色彩鲜艳，构图上远近透视标准，色彩刻意镂空，可能是受到西方绘画的影响。",[7,209,24,27,28,59,755,136,175,108,245,313,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[44],{"id":8532,"slug":8533,"title":8534,"dynasty":99,"author":100,"museum":752,"description":753,"tags":8535,"thumbUrl":8536,"material":123,"size":764,"collection":139,"collections":8537,"showCount":8489,"zanCount":48,"manualWeight":48,"mainColor":49},216357,"xi-xiang-ji-tu-ye-7-chou-ying-216357","西厢记图页-7",[209,7,24,27,28,106,107,109,59,242,115,34,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2092ecff88dc4c51551d1cdeaf7c87.jpg",[],{"id":8539,"slug":8540,"title":8541,"dynasty":204,"author":2664,"museum":364,"description":8542,"tags":8543,"thumbUrl":8544,"material":743,"size":744,"collection":139,"collections":8545,"showCount":8546,"zanCount":48,"manualWeight":48,"mainColor":1335},288512,"shan-xi-dai-du-tu-guan-tong-288512","山溪待渡图","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 此画用墨饱满，笔法简炼雄劲。",[209,7,29,173,177,241,176,109,108,175,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34439de5b826ade79e2d3efccdbc4630.jpg",[],211,{"id":8548,"slug":8549,"title":8550,"dynasty":99,"author":170,"museum":364,"description":5122,"tags":8551,"thumbUrl":8553,"material":743,"size":744,"collection":139,"collections":8554,"showCount":8546,"zanCount":5,"manualWeight":48,"mainColor":49},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷",[23,209,7,25,24,1397,173,27,177,649,1250,1447,6178,108,109,8552,116,178,86,227],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],{"id":8556,"slug":8557,"title":3134,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":8558,"thumbUrl":8559,"material":743,"size":744,"collection":139,"collections":8560,"showCount":8546,"zanCount":1547,"manualWeight":48,"mainColor":94},287444,"lan-zhu-tu-shi-tao-287444",[209,7,24,241,173,242,452,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78897544684d19c2db3989df6b58bf38.jpg",[],{"id":8562,"slug":8563,"title":8564,"dynasty":99,"author":170,"museum":101,"description":8565,"tags":8566,"thumbUrl":8567,"material":88,"size":8568,"collection":181,"collections":8569,"showCount":8546,"zanCount":1547,"manualWeight":48,"mainColor":1335},219718,"qiu-lin-xian-diao-tu-shen-zhou-219718","秋林闲钓图","《秋林闲钓图》以士人悠游林下的生活场景为主线，画一老者，端坐于河边树下坡地，全神执竿垂钓。画树错落有致，姿态优美，笔力古健。此图于成化十一年乙未（1475年）所作，作者沈周时年四十九岁。图上有沈周的题款：“繫舟烟浪夕，笑语溢柴闗。淡墨灯前画，故情江上山。相交父子者，岂在酒杯间。与君将白发，共对钓丝閒。予谬交志刚彭君父子间几三十年，志刚有古道，通予有无，非市郭拍肩执袂者比也。乙未长至后一日志刚擕酌至有竹居，秉烛写此图并题其上，聊寓感感而已，诗画云乎哉。沈周。",[7,173,177,241,29,106,394,245,1016,1653,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59ec7decf5cf8b949fc64e7998369.jpg","纵152.4厘米，横62.9厘",[181],{"id":8571,"slug":8572,"title":8573,"dynasty":99,"author":100,"museum":206,"description":8574,"tags":8575,"thumbUrl":8576,"material":123,"size":8577,"collection":45,"collections":8578,"showCount":8546,"zanCount":5,"manualWeight":48,"mainColor":49},219318,"zhou-jin-tang-zhou-chou-ying-219318","昼锦堂轴","〈相州昼锦堂记〉是北宋欧阳修（1007-1072）为宰相韩琦（1008-1075） 所做的一篇记文，指出衣锦还乡本人之常情，且古今所同，而韩琦却建昼锦堂以为鉴诫，并未因富贵而夸耀，高节值得推崇。本幅又是所谓文征明书写题记，仇英绘图的合璧之作。苏州作坊多有这种形式的制作，优雅又具文化意涵，用来馈赠为官或显贵者，颇为恰当。画幅左方先图绘韩琦轻骑简装于返乡途中，接着越过山岭，则见到回到家中创建有昼锦堂的韩琦，正素衣凭几而坐。形成中国叙事画中所谓异时同图的表现方式。画家同时也采取了象征的手法，堂前的松树与堂",[7,209,24,241,28,26,27,29,107,106,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb655f51653565200dcbc0cddbe1a8ccf.jpg","192.7x 96.3",[45],{"id":8580,"slug":8581,"title":8582,"dynasty":18,"author":1072,"museum":78,"description":8583,"tags":8584,"thumbUrl":8585,"material":123,"size":8586,"collection":90,"collections":8587,"showCount":8546,"zanCount":1270,"manualWeight":48,"mainColor":49},219174,"zhu-que-tu-wu-bing-219174","竹雀图","此图写棘竹丛生，枝桠横出，枝头有一雀鸟正在悠闲地啄理羽毛。整幅场景景物聚于下侧，可见南宋构图新风的影响。图中竹枝用双钩技法，雀鸟在用颜色没骨画出后，重点部位再用墨线描出。这是吴炳传世佳作中的代表作。",[209,7,24,28,27,83,242,5589,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20dd6d46a7daa28f75681df47a33321.jpg","纵25厘米，横25厘米",[90],{"id":8589,"slug":8590,"title":8591,"dynasty":76,"author":1204,"museum":78,"description":8592,"tags":8593,"thumbUrl":8594,"material":342,"size":8595,"collection":90,"collections":8596,"showCount":8546,"zanCount":48,"manualWeight":48,"mainColor":94},218898,"yu-ya-tu-juan-zhu-da-218898","鱼鸭图卷","朱耷，号八大山人。八大山人被人们所称道不仅是因为他是一个独具个性的画家，还因为坚守民族气节的品质。明末崇祯皇帝自缢时，八大山人已九岁，作为一个宗室后裔遭到国破家亡的命运，其悲痛可以想象的。他佯狂避世，杜绝交往，甘于贫困，沉溺于书画的创作中。他的作品独具一种“笔意纵恣”的画风。这件《鱼鸭图》是他晚年艺术创作成熟阶段的代表作品 。画面上只有几只鸭子、几尾游鱼和几块半露水面的石块，造型十分简练，笔墨浓淡的处理却十分考究，生动地刻画出岩石的坚实感、鸭毛的松蓬以及鱼身上鳞、鳍的变化。八大将鱼眼画成“白眼”，喻含了他对清王朝的不满和蔑视。",[23,7,24,25,173,933,2728,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35823c256193bde43d49e8eda3ea517d.jpg","纵23.2厘米 横569.5厘米",[90],{"id":8598,"slug":8599,"title":8600,"dynasty":18,"author":4882,"museum":364,"description":8601,"tags":8602,"thumbUrl":8603,"material":743,"size":744,"collection":139,"collections":8604,"showCount":8605,"zanCount":5,"manualWeight":48,"mainColor":49},287576,"shuang-xi-tu-cui-bai-287576","双喜图","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[23,209,7,241,28,27,281,2786,1015,83,957,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg",[],210,{"id":8607,"slug":8608,"title":8609,"dynasty":54,"author":3282,"museum":782,"description":8610,"tags":8611,"thumbUrl":8613,"material":27,"size":139,"collection":44,"collections":8614,"showCount":8605,"zanCount":1547,"manualWeight":48,"mainColor":49},219167,"fu-sheng-shou-jing-tu-wang-wei-219167","伏生授经图","图中的伏生席地而坐，手持书卷，形象清矍苍老，似正在认真讲授。其神情专注而和蔼。从画中清晰可见伏生额头的皱纹与身体上极为松弛的皮肤，非常生动而且真实的描绘出了当时伏生的身体状况。通过画面中对伏生神态的描绘，可以想象，年老的伏生讲授《尚书》时的吃力。此图线描手法高超，敷色清雅。",[23,7,24,106,28,260,27,227,8612,63],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8701c647bf80d991a6ae005e685af840.jpg",[44],{"id":8616,"slug":8617,"title":8618,"dynasty":204,"author":2072,"museum":206,"description":8619,"tags":8620,"thumbUrl":8621,"material":123,"size":8622,"collection":44,"collections":8623,"showCount":8605,"zanCount":1270,"manualWeight":48,"mainColor":49},218748,"an-le-tu-zhou-wen-ju-218748","按乐图","这幅画描绘了一个有朱色栅栏的花园，花台上种着一棵香蕉，还有五个宫廷女乐师，两个人吹着竹笛和琵琶，一个人打着拍板，另外两个人拍着手掌，很和谐。这些人物身着双球，头发上插着半月形的角梳，每个人都有丰富的色彩。笔触如丝，色彩优雅明快，说明是南宋绘画大师所作。女士坐在朱漆的方凳上，藤椅的轮廓在两腿之间巧妙地形成了壶门的形状，腿和脚则是如意的形状。院子里的帐篷，有一根长长的横杆，两端都有灵芝花的装饰，上面挂着带有莲花图案的锦缎披风。",[23,7,1562,28,27,106,59,210,245,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0036a38b7087699df87e8643fee08137.jpg","23.5x24.9",[44],{"id":8625,"slug":8626,"title":8627,"dynasty":99,"author":1572,"museum":1806,"description":8628,"tags":8629,"thumbUrl":8630,"material":342,"size":8631,"collection":181,"collections":8632,"showCount":8605,"zanCount":5,"manualWeight":48,"mainColor":94},218246,"zhong-ting-bu-yue-tu-wen-zheng-ming-218246","中庭步月图","《中庭步月图》描绘的是文徵明自京师返回六年后（1532）一个初冬的月夜与来客啜茶聚餐后步于园中赏月话旧的真实记录，款有“风檐石鼎燃湘竹，夜久香浮乳花熟”和“命僮子烹苦茗等茶事记录。该图与苏东坡《记承天寺夜游》一文中描写的境界相同，全画笔墨洒脱清雅，画风平稳细净、明秀简雅，恰如其分地表现了这个特定环境中的情感世界。画风兼乎于“粗文”“细文”之间，工整文静中不失粗放清旷，雄浑气象，是文征明在这一年龄阶段所呈现出来的特有的风格特色，从中可明确感受到文征明绘画风格演变的一些基本脉络。",[7,24,173,177,178,86,106,34,300,114,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe584a4868045e12b6c6e719755dcfb31.jpg","纵147.6厘米，横50.5厘米",[181],{"id":8634,"slug":8635,"title":8636,"dynasty":76,"author":1491,"museum":515,"description":1492,"tags":8637,"thumbUrl":8638,"material":123,"size":1495,"collection":139,"collections":8639,"showCount":8605,"zanCount":5,"manualWeight":48,"mainColor":49},214431,"xiu-yuan-tu-4-wang-yun-214431","休园图-4",[23,7,27,104,28,107,34,176,300,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a073b1ae9a5267aafce1e667ff03c94.jpg",[],{"id":8641,"slug":8642,"title":8643,"dynasty":18,"author":887,"museum":364,"description":8644,"tags":8645,"thumbUrl":8646,"material":743,"size":744,"collection":139,"collections":8647,"showCount":8648,"zanCount":1547,"manualWeight":48,"mainColor":49},283690,"ku-mu-guai-shi-tu-su-shi-283690","枯木怪石图","《枯木怪石图》又名《木石图》，是北宋苏轼任徐州太守时曾亲往萧县圣泉寺时所创作的一幅纸本墨笔画，该画作现存于中国。\n该画作画面内容很简单，是一株枯木状如鹿角，一具怪石形如蜗牛，怪石后伸出星点矮竹。用笔看似疏野草草，不求形似，其实行笔的轻重缓急，盘根错节，都流露出作者很深的毛笔功底。",[209,7,173,245,543,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5c0c052b16d8867694167b7bda19b9.jpg",[],209,{"id":8650,"slug":8651,"title":8652,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":8653,"thumbUrl":8656,"material":27,"size":6032,"collection":139,"collections":8657,"showCount":8648,"zanCount":48,"manualWeight":48,"mainColor":94},222729,"xian-e-chang-chun-tu-bai-he-hua-yu-chan-zhi-mu-dan-lang-shi-ning-222729","仙萼长春图百合花与缠枝牡丹",[23,209,7,24,28,27,83,1135,8654,8655,225],"牡丹花","缠枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c55f7cc59936a5a8c9fc4611e39f44d.jpg",[],{"id":8659,"slug":8660,"title":8661,"dynasty":76,"author":836,"museum":206,"description":837,"tags":8662,"thumbUrl":8665,"material":88,"size":843,"collection":139,"collections":8666,"showCount":8648,"zanCount":5,"manualWeight":48,"mainColor":94},219876,"er-shi-si-fan-hua-xin-feng-tu-tang-di-yu-tao-hua-dong-gao-219876","二十四番花信风图-棠棣与桃花",[209,7,24,81,27,28,83,8663,279,8664,86,227],"棠棣","花信风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba17cf988bcf65f78a9b85775c599311.jpg",[],{"id":8668,"slug":8669,"title":8670,"dynasty":76,"author":427,"museum":78,"description":8671,"tags":8672,"thumbUrl":8673,"material":88,"size":8674,"collection":90,"collections":8675,"showCount":8648,"zanCount":5,"manualWeight":48,"mainColor":94},218903,"hua-niao-tu-zhou-shen-quan-218903","花鸟图轴","沈铨善绘花鸟翎毛，用笔细腻传神，设色富贵浓艳。他的绘画多以描绘松、梅、竹、鹿、鹤、雉等寓意祥瑞富贵的题材为多。是图设色名丽脱俗，极富装饰性。琵琶树下，繁花斗艳，一对锦鸡嬉戏其间，树梢果实累累，绿叶掩映，群鸟相鸣，给人喜庆祥和的视觉感受。此作绘于乾隆二十七年（壬午，1762），作者时年八十一岁。",[209,7,28,27,83,281,34,1461,225,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab98048035316f1f40ef1a094497f236.jpg","纵171.6厘米，横95.9 厘米",[90],{"id":8677,"slug":8678,"title":8679,"dynasty":18,"author":2007,"museum":132,"description":8680,"tags":8681,"thumbUrl":8683,"material":123,"size":8684,"collection":90,"collections":8685,"showCount":8648,"zanCount":1165,"manualWeight":48,"mainColor":49},218555,"mo-li-shu-fang-tu-ma-lin-218555","茉莉舒芳图","绢本古雅的底色上，茉莉枝蔓婉转伸展，白花团簇如凝雪，瓣瓣细腻温润，似含轻露未干。叶片以深浅墨绿晕染，脉络清晰可见，老叶的厚重与新叶的鲜嫩相映成趣。枝梗用笔挺劲又不失灵动，穿插错落间留白恰到好处，尽显疏密有致的构图巧思。整幅画精工雅致，将茉莉的清芬与静谧之美凝于绢素，仿佛能闻见淡淡花香，尽显南宋花鸟的细腻与诗意。笔墨间藏着对自然生灵的细致观察，每一处细节都透着温婉的匠心，让清雅之气溢于画面，是兼具技法与意境的佳作。",[209,7,24,28,27,83,8682,225,227],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9afa3f161454d0740d10b8abcc3695ff.jpg","22.8x22.8cm",[90],{"id":8687,"slug":8688,"title":8689,"dynasty":99,"author":3114,"museum":132,"description":8690,"tags":8691,"thumbUrl":8692,"material":88,"size":139,"collection":181,"collections":8693,"showCount":8648,"zanCount":5,"manualWeight":48,"mainColor":94},217035,"fang-gu-shan-shui-ce-liu-kai-dong-qi-chang-217035","仿古山水册六开","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,7,24,81,173,27,29,245,34,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c86fc6883114d3cb2271f4635b98dd.jpg",[181],{"id":8695,"slug":8696,"title":8697,"dynasty":99,"author":8698,"museum":206,"description":8699,"tags":8700,"thumbUrl":8701,"material":342,"size":8702,"collection":44,"collections":8703,"showCount":8648,"zanCount":1547,"manualWeight":48,"mainColor":94},214252,"luo-han-tu-li-yu-214252","罗汉图","李遹","罗汉图是明代画家李遹的一幅代表作。这幅画作描绘了罗汉的神圣形象。\n\n罗汉是佛教中的神，被认为是佛教徒的保护神。在这幅画作中，李遹巧妙地捕捉了罗汉的神圣形象。他用浓墨重彩的画法，勾勒出了罗汉的宏伟身形。他还用细腻的线条勾勒出了罗汉的面容，让人感受到了罗汉的慈祥和仁慈。\n\n此外，李遹在这幅画作中还描绘了罗汉周围的景色。他用色彩丰富的画法，描绘了罗汉周围的山川和河流。这些景色与罗汉的神圣形象形成了鲜明的对比，让人感受到了自然与神的和谐统一。\n\n总之，罗汉图是一幅精美的画作，描绘了罗汉的神圣形象。它让我们感受到了明代画家李遹对佛教的崇敬之情，也让我们感受到了明代文化的魅力。\n\n在这幅画作中，李遹运用了丰富的色彩和细腻的线条，将罗汉的神圣形象展现得淋漓尽致。他还用精美的画法描绘了罗汉周围的景色，让人感受到了自然与神的和谐统一。\n\n罗汉图是明代文化中的经典之作，也是李遹的代表作之一。它不仅展现了李遹的艺术才华，也是一幅能够唤起人们对佛教的崇敬之情的画作。",[23,7,24,259,260,173,106,502,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120eeb39e103b48205756344a5362f0a.jpg","56.6x32.6",[44],{"id":8705,"slug":8706,"title":1692,"dynasty":18,"author":1650,"museum":1985,"description":8707,"tags":8708,"thumbUrl":8709,"material":8710,"size":8711,"collection":42,"collections":8712,"showCount":8713,"zanCount":48,"manualWeight":48,"mainColor":49},221521,"shan-shui-tu-ma-yuan-221521","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[23,7,24,173,27,177,29,864,297,394,175,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4962268301cf0bc93362fcc04d9949.jpg","绢本墨画淡彩","28.2×38.3cm",[42,181,163],208,{"id":8715,"slug":8716,"title":8717,"dynasty":1095,"author":1096,"museum":8718,"description":8719,"tags":8720,"thumbUrl":8721,"material":4796,"size":139,"collection":139,"collections":8722,"showCount":8713,"zanCount":48,"manualWeight":48,"mainColor":94},220609,"xia-tu-qi-bai-shi-220609","虾图","中国现当代美术文献研究中心","这幅虾群灵动鲜活，是水墨写意的神来之笔。以淡墨晕染虾身，晕染出甲壳的通透质感，浓墨点睛、重笔挥毫虾枪与虾脑，寥寥数笔便勾勒出河虾的挺拔神气。细劲飘逸的长须似有若无，仿佛随水流轻颤，将群虾在清水中自在穿梭的姿态描摹得淋漓尽致。\n\n群虾排布错落有致，聚散得宜，画面留白暗藏水意，让观者仿佛能窥见池水清浅。左侧题诗与绘画面面相映，尽显晚年笔力的老辣生趣。写实与写意浑然相融，将文人意趣与自然生机揉合无间，寥寥水墨尽显国画留白写意的精妙，把河虾灵动活泼的天性尽数展现，勾勒出鲜活悠游的池底意趣。",[7,173,446,178,2186,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be1b5af9ae4beb75fd1a48ec1b40bd.jpg",[],{"id":8724,"slug":8725,"title":8726,"dynasty":54,"author":8144,"museum":206,"description":8727,"tags":8728,"thumbUrl":8729,"material":123,"size":8730,"collection":181,"collections":8731,"showCount":8713,"zanCount":5,"manualWeight":48,"mainColor":49},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","李昭道（675年－758年），字希俊，陇西成纪 （今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[209,7,24,25,26,27,28,104,29,107,106,109,111,34,1255,36,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[181],{"id":8733,"slug":8734,"title":8735,"dynasty":99,"author":293,"museum":2564,"description":8736,"tags":8737,"thumbUrl":8740,"material":630,"size":8741,"collection":139,"collections":8742,"showCount":8743,"zanCount":1270,"manualWeight":48,"mainColor":49},222144,"di-shi-tian-tu-dong-bi-yi-ming-222144","帝释天图东壁","帝释梵天图位于大殿内后墙壁两侧，共两铺，高3.2米,长14米，面积44.8平方米。壁画主要内容是以帝释梵天为首的二十诸天礼佛护法的行进队伍，故全称为帝释梵天礼护法图。绘二十诸天及侍从共36人物，每一人物高1.2米——1.6米。诸路天神鬼众浩浩荡荡，敬佛护法，各显其能。气势森严，排列有序，三五不一，相互呼应。纷至遝来，令人目不暇接。\n佛教壁画中表现帝释梵天的作品，在南朝梁代（400——450年）已见描绘，到唐、五代就广为流行，不少著名的画家都表现过这一题材。在唐两京、成都等地寺院就画过不少释梵天众图像。这些作品的内容不尽相同，技艺亦各异。诸天不仅为护法神，也被视为是方便导化众生的佛的化身。宋元以后，特别是明清，寺院的壁画中帝释梵天图极为流行。同时由于后期佛道掺杂，佛教图像中有了不少道教的神像，如道教中的紫微大帝、东岳大帝、雷神、风神等，也进入佛教图像行列，变为二十四天、三十三天等。法海寺壁画帝释梵天图基本上是按唐代的内容画出来的，二十诸天中没有道教神像，而且构图布局和形象处理与早期有着更多的传承关系。要看唐宋时代佛教一脉相承的“帝释梵天图”的形象，只能在法海寺壁画中看到。\n法海寺壁画完全保留了原来的密宗体系，具有唐代传统的模式，但法海寺壁画中人物形象又有着明显的时代特征。“一图说破天下事，诸般神灵眼内观”。帝释梵天图是我们了解佛教文化的一个窗口。（点击各图进入详解）",[23,630,7,259,28,27,106,261,8738,2715,8739],"神兽","华丽服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8069c6224709f156398f01bf2c3e79a0.jpg","高3.2米,长14米",[],207,{"id":8745,"slug":8746,"title":8747,"dynasty":18,"author":1827,"museum":364,"description":8748,"tags":8749,"thumbUrl":8750,"material":40,"size":1281,"collection":42,"collections":8751,"showCount":8743,"zanCount":1270,"manualWeight":48,"mainColor":49},221586,"guo-qin-tu-ye-li-song-221586","果禽图页","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[23,7,24,28,27,83,711,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d0bec16d60826eb99359fe54491c93.jpg",[42,90,45],{"id":8753,"slug":8754,"title":8755,"dynasty":189,"author":2519,"museum":206,"description":8756,"tags":8757,"thumbUrl":8758,"material":803,"size":8759,"collection":382,"collections":8760,"showCount":8743,"zanCount":1547,"manualWeight":48,"mainColor":94},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,209,7,24,25,178,260,173,27,106,29,174,109,300,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[382],{"id":8762,"slug":8763,"title":8764,"dynasty":1095,"author":2335,"museum":2336,"description":8765,"tags":8766,"thumbUrl":8767,"material":139,"size":139,"collection":139,"collections":8768,"showCount":8743,"zanCount":1270,"manualWeight":48,"mainColor":94},220499,"zhang-da-qian-lin-mo-dun-huang-bi-hua-shi-jia-shuo-fa-tu-zhang-da-qian-220499","张大千临摹敦煌壁画释迦说法图","主尊释迦端立莲台，朱红袈裟线条劲挺饱满，晕染柔和自然，尽显慈悲庄严。胁侍眷属仪容秀雅，衣饰华丽繁复，璎珞飘带灵动舒展，各持礼器法物，神态虔敬肃穆。背景宝树垂饰精巧，华盖仪仗规整庄严，整体色彩浓丽明妍，还原敦煌盛唐遗韵。\n\n此作以精妙笔墨复刻石窟古画，既保留原作雄浑厚重的西域风貌，又融入细腻笔情墨趣，让千年壁画神采跃然绢上，尽显传统工笔重彩的典雅华滋，是临摹敦煌壁画中的精品。",[23,7,105,2340,630,259,27,106,1862,1864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e6e538e6e12a841cd7a62f448f4e64.jpg",[],{"id":8770,"slug":8771,"title":8772,"dynasty":18,"author":823,"museum":206,"description":8773,"tags":8774,"thumbUrl":8775,"material":381,"size":8776,"collection":42,"collections":8777,"showCount":8743,"zanCount":5,"manualWeight":48,"mainColor":49},218864,"xi-shan-gao-yi-tu-xia-gui-218864","溪山高逸图","山石以劲挺斧劈皴勾勒，棱角如剑刃划破烟岚，却含苍润之气。树木疏朗，枝干屈铁盘结，墨色浓淡相济，叶簇攒云般摇曳，似在风中低语清寂。构图于层峦间藏空灵：远山隐黛，近树扶疏，溪涧凉意从林木间隙渗出，未绘却已感知。\n\n整幅画以极简笔墨写尽“高逸”：无喧嚣，唯山风穿林轻响；无俗事，唯隐者静观天地。树后茅舍隐约，似有高士凭窗，将尘心托付烟霞，精神游弋林泉。苍劲中见温婉，疏淡里藏深情——恰如宋人对自然的敬畏，对自由的向往，尽在咫尺画卷间，让观者也随笔墨潜入山林，暂忘尘扰。",[23,7,29,177,173,241,394,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83a500324062626de8322a3fc16b72d.jpg","45.5x36.5厘米",[42,181],{"id":8779,"slug":8780,"title":8781,"dynasty":99,"author":1083,"museum":8782,"description":8783,"tags":8784,"thumbUrl":8785,"material":123,"size":8786,"collection":44,"collections":8787,"showCount":8743,"zanCount":5,"manualWeight":48,"mainColor":1335},218407,"yin-cha-tu-chen-hong-shou-218407","饮茶图","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[23,7,24,28,27,106,245,243,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg","86x47",[44],{"id":8789,"slug":8790,"title":8791,"dynasty":76,"author":953,"museum":515,"description":8792,"tags":8793,"thumbUrl":8794,"material":88,"size":8795,"collection":44,"collections":8796,"showCount":8743,"zanCount":5,"manualWeight":48,"mainColor":94},217065,"san-yang-kai-tai-tu-ren-yi-217065","三羊开泰图","这是一幅三羊开泰的画作，象征着三羊开泰 的含义。这幅画画在生纸上，是艺术的杰作，人物形象显著，有老莲的传承。三只羊的排列也很引人注目，黑羊只露出眼睛和两个长角，进一步显示了作者的创造性和天才。",[23,7,27,173,28,241,106,8368,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaf294ec271b5da04f59a3aa051ce5f.jpg","145x75",[44],{"id":8798,"slug":8799,"title":8800,"dynasty":99,"author":293,"museum":7875,"description":8801,"tags":8802,"thumbUrl":8804,"material":123,"size":139,"collection":90,"collections":8805,"showCount":8743,"zanCount":1356,"manualWeight":48,"mainColor":49},216906,"lian-chi-cang-lu-tu-yi-ming-216906","莲池苍鹭图","莲池苍鹭图是明朝时期的一幅著名图画，作者不详。这幅图画描绘了一个山间池塘，池塘中有许多莲花，并有一只苍鹭在池塘中游荡。图画中还有许多树木和山峰，构成了一幅优美的山水画。莲池苍鹭图被认为是明朝时期山水画的代表作之一，其中融合了中国传统的山水画风格和新兴的写意山水画风格，反映了明朝时期的艺术特点。",[23,7,27,28,241,83,136,137,8803,281],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08681f58d681525cfd1a7c86c9d4cc8.jpg",[90],{"id":8807,"slug":8808,"title":220,"dynasty":76,"author":77,"museum":364,"description":740,"tags":8809,"thumbUrl":8810,"material":743,"size":744,"collection":139,"collections":8811,"showCount":8812,"zanCount":5,"manualWeight":48,"mainColor":94},239444,"hua-niao-ce-yun-shou-ping-239444",[7,24,81,27,28,83,281,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19250735f901fd0882f83c6edac72376.jpg",[],206,{"id":8814,"slug":8815,"title":8816,"dynasty":189,"author":2519,"museum":20,"description":8817,"tags":8818,"thumbUrl":8819,"material":40,"size":8820,"collection":90,"collections":8821,"showCount":8812,"zanCount":1547,"manualWeight":48,"mainColor":49},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,7,24,25,27,28,178,86,150,106,430,6922,1159,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[90,45],{"id":8823,"slug":8824,"title":8825,"dynasty":76,"author":77,"museum":675,"description":1456,"tags":8826,"thumbUrl":8827,"material":123,"size":1463,"collection":139,"collections":8828,"showCount":8812,"zanCount":1270,"manualWeight":48,"mainColor":49},216108,"yun-shou-ping-hua-guo-shu-cai-ce-ye-3-yun-shou-ping-216108","恽寿平花果蔬菜册页-3",[7,24,81,27,82,83,3199,697,698,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e662822fd50f45acad8354abff8c0d6.jpg",[],{"id":8830,"slug":8831,"title":8832,"dynasty":99,"author":170,"museum":364,"description":5122,"tags":8833,"thumbUrl":8835,"material":743,"size":744,"collection":139,"collections":8836,"showCount":8837,"zanCount":1270,"manualWeight":48,"mainColor":271},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[23,209,7,24,25,173,27,29,920,242,34,176,108,175,178,227,8834],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":8839,"slug":8840,"title":8841,"dynasty":189,"author":2519,"museum":20,"description":8842,"tags":8843,"thumbUrl":8844,"material":3076,"size":8845,"collection":163,"collections":8846,"showCount":8837,"zanCount":1547,"manualWeight":48,"mainColor":49},220869,"zhu-shi-tu-zhou-zhao-meng-fu-220869","竹石图轴","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[23,7,24,241,173,177,242,245,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e366d2b4e02d71e45a12788491653e.jpg","纵108.2厘米，横48.8厘米",[163,2293],{"id":8848,"slug":8849,"title":8850,"dynasty":76,"author":1109,"museum":752,"description":1265,"tags":8851,"thumbUrl":8853,"material":88,"size":139,"collection":90,"collections":8854,"showCount":8837,"zanCount":1547,"manualWeight":48,"mainColor":94},218126,"yu-xiang-jiao-ye-tu-shi-tao-218126","雨乡蕉叶图",[23,7,173,27,178,227,8852,1064],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d80c7cb86c795587ab382481f9fcbed.jpg",[90],{"id":8856,"slug":8857,"title":8858,"dynasty":99,"author":100,"museum":20,"description":8859,"tags":8860,"thumbUrl":8862,"material":123,"size":8863,"collection":181,"collections":8864,"showCount":8837,"zanCount":1165,"manualWeight":48,"mainColor":94},216385,"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[23,7,25,24,28,26,27,106,29,34,113,8861,86,178],"职贡","https: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的杰出代表。",[23,7,24,241,82,27,83,245,84,604,800,697,225,1461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","54.4x113.9",[90,45],{"id":8884,"slug":8885,"title":17,"dynasty":18,"author":8886,"museum":206,"description":8887,"tags":8888,"thumbUrl":8893,"material":67,"size":8894,"collection":42,"collections":8895,"showCount":8873,"zanCount":5,"manualWeight":48,"mainColor":49},221618,"qian-li-jiang-shan-tu-juan-jiang-can-221618","江参","该图用水墨写江南景色，群峰杂沓，山势绵亘。江水浩瀚，溪壑空远。草木葱茏，远树朦朦。阡陌纵横，农舍相属，咫尺千里，境界开阔。长卷中从始至终有一曲折的蛇形小道贯穿其中，图中山、水、桥、亭、村落、栈道、人物皆围绕这条山道而布置。故虽景物众多，连绵无尽，然皆循循可寻。该图采用了平远构图，意境开阔",[23,209,7,25,173,29,8889,7741,8890,867,8891,567,108,175,194,106,8892],"群峰","溪壑","农舍","平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c90cb29912f2c2c4d8f3b0431c5727.jpg","纵46.3厘米，横546.5厘米",[42,181,45],{"id":8897,"slug":8898,"title":8899,"dynasty":18,"author":474,"museum":78,"description":8900,"tags":8901,"thumbUrl":8903,"material":803,"size":8904,"collection":42,"collections":8905,"showCount":8873,"zanCount":48,"manualWeight":48,"mainColor":49},221334,"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[23,209,7,24,25,28,27,1532,4050,2522,8902,340,281,227],"大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纵34厘米，横223.2厘米",[42,90,45],{"id":8907,"slug":8908,"title":2214,"dynasty":204,"author":2215,"museum":20,"description":2216,"tags":8909,"thumbUrl":8911,"material":67,"size":2221,"collection":181,"collections":8912,"showCount":8873,"zanCount":1547,"manualWeight":48,"mainColor":94},221155,"xiao-xiang-tu-dong-yuan-221155",[23,7,25,24,1397,173,27,177,29,2219,8910,1254,106,37,4102],"苇渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70becfd35b6cdfbc2d291fa6d7b037e1.jpg",[181,163],{"id":8914,"slug":8915,"title":8916,"dynasty":76,"author":293,"museum":132,"description":8917,"tags":8918,"thumbUrl":8920,"material":123,"size":8921,"collection":90,"collections":8922,"showCount":8873,"zanCount":5,"manualWeight":48,"mainColor":49},218956,"gui-he-yan-nian-tu-yi-ming-218956","龟鹤延年图","丹顶朱冠，白羽墨翅，仙鹤或昂首引颈似欲唳天，或曲颈垂首若啄苔矶，姿态灵动。修竹挺翠，叶影婆娑，掩映其间；侧畔飞瀑流泉，漱石鸣玉，云雾氤氲如缕，漫笼山隰。笔墨古雅，设色沉朴，仙鹤的灵秀与竹石的清逸相映成趣，流露出祥瑞康宁的意蕴。画面古朴静谧，仿佛将自然生机凝于绢素之上，尽显岁月沉淀下的雅致与吉祥。",[7,28,27,242,60,4643,109,176,83,8919],"长寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cfda5f494d8b62a606671a72d79ae1.jpg","111x54cm",[90],{"id":8924,"slug":8925,"title":8926,"dynasty":99,"author":8927,"museum":132,"description":8928,"tags":8929,"thumbUrl":8930,"material":88,"size":8931,"collection":181,"collections":8932,"showCount":8873,"zanCount":1356,"manualWeight":48,"mainColor":49},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,7,27,29,28,177,864,297,430,175,174,1351,108,109,176,37,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[181,45],{"id":8934,"slug":8935,"title":8936,"dynasty":76,"author":293,"museum":3627,"description":8937,"tags":8938,"thumbUrl":8939,"material":803,"size":139,"collection":44,"collections":8940,"showCount":8873,"zanCount":1547,"manualWeight":48,"mainColor":1335},216870,"xi-xiang-ji-tu-ce-yi-ming-216870","西厢记图册","清辉漫洒的月夜，太湖石皱透玲珑，似藏幽怀几许。垂丝柳如缕拂墙，枝丫间漏下细碎银光。石畔佳人绿衫红襟，凭石凝眸，眉梢轻锁着朦胧心事；墙侧书生探身倚柳，目光灼灼，暗将情愫托与风。阶前细草缀淡紫小花，与石上苔痕相映成趣，更衬天地幽寂温柔。画面以淡彩晕染，线条婉转，凝住西厢记里墙头遥望的经典场景——不须言语，只眼波流转、柳丝轻拂，便把欲说还休的情愫，揉进月色朦胧的园囿中。",[7,27,28,81,106,59,245,300,1532,313,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd228540a2e55badb58a67f3b014301b9.jpg",[44,45],{"id":8942,"slug":8943,"title":8944,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":8945,"thumbUrl":8946,"material":743,"size":744,"collection":139,"collections":8947,"showCount":8948,"zanCount":48,"manualWeight":48,"mainColor":94},240255,"ba-da-shan-ren-xi-yuan-ya-ji-tu-ji-juan-zhu-da-240255","八大山人西园雅集图记卷",[23,7,24,25,86,178,173,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f9f166a40fcf4ec139f19c82aed61.jpg",[],203,{"id":8950,"slug":8951,"title":220,"dynasty":76,"author":77,"museum":364,"description":740,"tags":8952,"thumbUrl":8953,"material":743,"size":744,"collection":139,"collections":8954,"showCount":8948,"zanCount":1270,"manualWeight":48,"mainColor":94},239434,"hua-niao-ce-yun-shou-ping-239434",[7,27,82,83,81,798,697,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f83bf355d91cd4fd4d269c81b711e7.jpg",[],{"id":8956,"slug":8957,"title":8958,"dynasty":99,"author":293,"museum":364,"description":8959,"tags":8960,"thumbUrl":8961,"material":139,"size":139,"collection":139,"collections":8962,"showCount":8948,"zanCount":1270,"manualWeight":48,"mainColor":94},235322,"shen-zhou-xi-shan-wan-zhao-tu-zhou-yi-ming-235322","沈周溪山晚照图轴","此作用高远章法铺陈，上部危崖耸峙，飞泉自谷间垂落，苍劲皴笔勾勒出嶙峋厚重的山石肌理。下部溪岸错落，疏林亭亭，茅舍隐于陂岸之后，淡墨晕染出薄暮空濛之境。\n\n笔墨带着吴门画派的文人情致，枯湿浓淡相宜，简淡中见苍润。诗画合璧，将山居暮色里的幽寂禅意娓娓道来，林泉高致的雅兴融于尺幅，静穆空远，尽显晚照溪山的澹然逸趣。",[7,24,241,173,29,109,558,34,176,4562,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bbddeb071a1e562b0706ec6e36e9088.jpg",[],{"id":8964,"slug":8965,"title":8966,"dynasty":76,"author":2804,"museum":20,"description":8967,"tags":8968,"thumbUrl":8969,"material":8970,"size":8971,"collection":139,"collections":8972,"showCount":8948,"zanCount":1547,"manualWeight":48,"mainColor":94},233734,"zi-teng-tu-wu-chang-shuo-233734","紫藤图","此图是1905年吴昌硕62岁作，为花卉四条屏之末条。款：“乙巳（1905年）八月八日，安吉吳俊卿擬十三峰草堂”。钤“吴俊之印”。绘藤叶凌空倚势，宛若龙翔凤舞。藤条盘绕回曲，缠石数重。作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。同时，此画画气不画形，追求书法中气贯神通的审美意趣。正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，條系好春光。歲歲花長好，飄（飄）滿畫堂。”的诗境。",[7,241,27,446,83,135,697,2908,173,1308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c251ae9fe1e9537d5a6fe03ea212be.jpg","金笺，设色","纵163.4厘米，横47.3厘米",[],{"id":8974,"slug":8975,"title":8976,"dynasty":76,"author":2083,"museum":56,"description":8977,"tags":8978,"thumbUrl":8979,"material":8980,"size":8981,"collection":90,"collections":8982,"showCount":8948,"zanCount":48,"manualWeight":48,"mainColor":94},223297,"you-lan-tu-zheng-ban-qiao-223297","幽兰图","土坡相连，缝坎丛生绺绺兰草，几叶新竹点缀其间，纷披穿插，姿态如生。笔法灵活，挺秀劲丽，纵横涂抹，酣畅淋漓。画心作者行书七言律诗一首：“转过青山又一山，幽兰藏躲路回环。众香国里谁能到，容我书呆屋半间。 郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[23,7,173,446,178,452,242,245,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[90,163,382],{"id":8984,"slug":8985,"title":8986,"dynasty":99,"author":443,"museum":20,"description":8987,"tags":8988,"thumbUrl":8990,"material":803,"size":8991,"collection":44,"collections":8992,"showCount":8948,"zanCount":5,"manualWeight":48,"mainColor":49},222238,"lv-bei-yin-shi-tu-zhou-xu-wei-222238","驴背吟诗图轴","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”（《琅嬛文集·跋徐青藤小品画》）",[23,7,173,446,241,106,8989,86,227],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad70cb02cc5b283ac73c9e55c2df32ea.jpg","纵112.2厘米，横30厘米",[44,163],{"id":8994,"slug":8995,"title":8996,"dynasty":2460,"author":293,"museum":8997,"description":8998,"tags":8999,"thumbUrl":9000,"material":342,"size":139,"collection":163,"collections":9001,"showCount":8948,"zanCount":48,"manualWeight":48,"mainColor":49},218498,"fu-hu-luo-han-tu-yi-ming-218498","伏虎罗汉图","纳尔逊·阿特金森艺术博物馆","松枝苍劲如铁，虬干盘曲间洒落清寂。罗汉衣袂简淡，手持念珠，眉目舒展，静定之气溢于笔端。猛虎伏身于侧，斑纹墨线勾勒得古朴生动，却无往日凶戾，似被禅意悄然驯服，尾梢轻卷，与罗汉相望成趣。画面以淡墨晕染，线条洗练，每一笔皆藏古雅之韵。禅者的澄明与猛兽的温顺在此交融，于简素构图中铺展一方物我相忘的天地，仿佛能闻松风低语，见禅心照彻，尽显传统水墨中“以静制动”的妙趣与哲思。",[7,24,173,260,259,106,7281,957,394,176,543,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6874aa5c9ffd1e8999c79d811f94fa79.jpg",[163],{"id":9003,"slug":9004,"title":9005,"dynasty":76,"author":1204,"museum":132,"description":1205,"tags":9006,"thumbUrl":9007,"material":342,"size":1208,"collection":139,"collections":9008,"showCount":8948,"zanCount":5,"manualWeight":48,"mainColor":94},216912,"hua-niao-si-tiao-ping-2-zhu-da-216912","花鸟四条屏-2",[23,7,24,241,173,446,224,245,1015,340,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3572510108b8dddf5ab932d0d7dd6d.jpg",[],{"id":9010,"slug":9011,"title":9012,"dynasty":76,"author":850,"museum":20,"description":9013,"tags":9014,"thumbUrl":9015,"material":123,"size":9016,"collection":90,"collections":9017,"showCount":8948,"zanCount":1547,"manualWeight":48,"mainColor":94},216752,"wan-ji-shuang-lang-shi-ning-216752","万吉骦","乾隆八年（1743年，癸亥），郎世宁绘制《十骏图》轴，万吉骦被称赞为十骏之首。画上文字记载：“喀尔喀郡王多尔济札尔进，高四尺二寸、长七尺一寸五分。乾隆癸亥孟春，海西臣郎世宁恭画”\n载于《石渠宝笈初编》，收贮于御书房，由郎世宁一人所画，十幅十马分别命名为奔霄骢、赤花鹰、雪点雕、霹雳骧、薾云驶、万吉骦、阚虎骝、狮子玉、自在驈、英骥子。",[23,209,7,24,28,27,150,957,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71c71a91f3ec9d93f4380b8fbbde8b.jpg","纵239厘米，横269厘米",[90],{"id":9019,"slug":9020,"title":9021,"dynasty":99,"author":9022,"museum":364,"description":9023,"tags":9024,"thumbUrl":9025,"material":139,"size":139,"collection":139,"collections":9026,"showCount":9027,"zanCount":1270,"manualWeight":48,"mainColor":49},228390,"kong-que-mu-dan-tu-yin-hong-228390","孔雀牡丹图","殷宏","垂柳柔条轻曳，桃枝缀满繁花，引百鸟穿梭啼鸣。孔雀身披彩翎，羽斑环环相扣明丽夺目，信步于湖石之侧，气度雍容不凡。牡丹或素洁似雪，或秾艳若霞，与苍古湖石、翠色草木交织成趣，仙鹤亭亭而立更添清贵。\n整幅画笔致工细，设色妍雅柔和，将春日园林的富贵生机铺陈眼前，把翎毛花卉的灵动雅致糅合无间，尽显吉祥富丽的美好意涵，是极具代表性的工笔花鸟佳作。",[23,209,7,24,1086,27,28,83,312,327,34,1226,176,1461,1938,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1384e37440b3476c7844a32e3504f3.jpg",[],202,{"id":9029,"slug":9030,"title":131,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":9031,"thumbUrl":9032,"material":139,"size":1228,"collection":139,"collections":9033,"showCount":9034,"zanCount":1547,"manualWeight":48,"mainColor":94},233900,"hua-hui-ce-yun-shou-ping-233900",[7,24,209,81,82,27,62,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0a7750d865b52861787be6b9bef938.jpg",[],201,{"id":9036,"slug":9037,"title":9038,"dynasty":76,"author":9039,"museum":78,"description":9040,"tags":9041,"thumbUrl":9042,"material":803,"size":139,"collection":90,"collections":9043,"showCount":9034,"zanCount":48,"manualWeight":48,"mainColor":94},233182,"hua-hui-ce-ju-hua-hai-tang-ye-zhao-zhi-qian-233182","花卉册-菊花海棠页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[7,24,81,27,173,446,83,453,1563],"https:\u002F\u002Foss.chuangqi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是可以解释的教学。华严经》是佛陀成佛后第二天在菩提树下由文殊菩萨、普贤菩萨和其他高级菩萨宣讲的佛陀内在真理的教义。按照《华严经》画的七八或七九会，被称为华严变奏曲，是这幅画的主题。",[23,209,7,24,25,259,260,106,502,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0192474c5d3ca959fdaab930f638a005.jpg","34.6x1244",[44],{"id":9075,"slug":9076,"title":4016,"dynasty":18,"author":823,"museum":364,"description":9077,"tags":9078,"thumbUrl":9079,"material":123,"size":9080,"collection":181,"collections":9081,"showCount":9034,"zanCount":1547,"manualWeight":48,"mainColor":49},218591,"yu-fu-tu-xia-gui-218591","苍劲古木虬枝横斜，墨色浓淡间晕染出岁月纹理。近岸水波轻漾，似有渔舟隐于荫下；远处山峦以淡墨点染，云雾缭绕中透着空濛。简括笔触删繁就简，将渔父隐逸之趣藏于边角留白——晚风拂过林梢，渔歌是否在烟霭里隐约？整幅画以“一角半边”之构，融自然清旷与文人幽思，水墨淋漓间尽是南宋山水的空灵悠远，引观者沉湎于那份与世无争的恬淡。",[209,7,24,241,173,27,177,29,430,174,1410,491,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff03e35c72c989c0d7a10d5ee03dfc9.jpg","74.5x46",[181],{"id":9083,"slug":9084,"title":9085,"dynasty":18,"author":538,"museum":752,"description":9086,"tags":9087,"thumbUrl":9088,"material":342,"size":9089,"collection":181,"collections":9090,"showCount":9034,"zanCount":5,"manualWeight":48,"mainColor":94},218565,"yun-shan-yan-shu-tu-mi-fei-218565","云山烟树图","画中的山峰高耸入云，层峦叠嶂，岸边停靠着一艘船，堤坡上生长着几棵树，墨色浓郁；左边可以看到两座小屋，可以看到一个学者在窗边认真读书或写字。这幅画是米氏山水画的特点，但应归于明代。",[7,24,209,241,173,29,177,864,1329,430,175,174,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6782374152ab7d32375f6c3507c0a5f3.jpg","103.4x37.6cm",[181],{"id":9092,"slug":9093,"title":5535,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":9094,"thumbUrl":9095,"material":743,"size":744,"collection":139,"collections":9096,"showCount":9097,"zanCount":1547,"manualWeight":48,"mainColor":94},287968,"shan-shui-li-zhou-shi-tao-287968",[7,209,24,241,173,29,245,1575,175,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04d5c206c3321255a29bfe472c9932e.jpg",[],200,{"id":9099,"slug":9100,"title":9101,"dynasty":54,"author":255,"museum":256,"description":257,"tags":9102,"thumbUrl":9103,"material":266,"size":267,"collection":139,"collections":9104,"showCount":9097,"zanCount":1270,"manualWeight":48,"mainColor":94},223368,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-223368","八十七神仙卷画芯",[23,7,209,24,25,260,259,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36123b58a75f5a7d01e9b779c4e2af7b.jpg",[],{"id":9106,"slug":9107,"title":9108,"dynasty":99,"author":170,"museum":675,"description":9109,"tags":9110,"thumbUrl":9112,"material":67,"size":9113,"collection":181,"collections":9114,"showCount":9097,"zanCount":1270,"manualWeight":48,"mainColor":49},222134,"qing-shan-hong-shu-tu-shen-zhou-222134","青山红树图","图绘秋天山林间红绿相映的醉人美景，用笔细致，多淡墨勾勒，赋色明艳。远山、坡石用披麻皴表现山峦的青翠秀逸，近景是被秋风染红的树木，摇曳生姿；一长者持杖伫立在溪岸旁饱览山色。题识：“千树秋风万叶飞，林蹊苔径步斜晖。履声历落啄歌去，犹有余红点着衣。沈周。”",[23,7,24,241,27,177,29,106,430,9111,3500,108,109,650],"青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc471de5e3d6ba0b185a8a4cb7513ddee.jpg","65x147.2cm",[181,45],{"id":9116,"slug":9117,"title":9118,"dynasty":76,"author":1109,"museum":364,"description":9119,"tags":9120,"thumbUrl":9121,"material":139,"size":139,"collection":139,"collections":9122,"showCount":9123,"zanCount":1547,"manualWeight":48,"mainColor":94},234169,"yuan-ji-song-zhu-shi-tu-juan-shi-tao-234169","原济松竹石图卷","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,7,173,25,177,449,242,431,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a026c786782c5ee0e249a5786dafbd.jpg",[],199,{"id":9125,"slug":9126,"title":9127,"dynasty":1095,"author":1096,"museum":3003,"description":9128,"tags":9129,"thumbUrl":9130,"material":3008,"size":139,"collection":139,"collections":9131,"showCount":9123,"zanCount":48,"manualWeight":48,"mainColor":94},220585,"hu-lu-he-san-zhi-kun-chong-qi-bai-shi-220585","葫芦和三只昆虫","明黄葫芦以没骨法晕染，色块鲜亮通透，留白巧显葫身莹润质感。焦墨藤蔓如虬龙游走，狂放苍劲，墨叶大笔泼写，浑朴厚重，大写意的疏朗随性扑面而来。\n\n三只草虫用工笔细绘，蝶翅纹路纤毫毕现，蝈蝈、蚱蜢肢体灵动鲜活，工细与写意形成强烈对冲，将乡野秋意揉入画面。枯湿浓淡的墨色层次分明，老辣笔触带着稚拙生机，把篱边闲趣晕染得鲜活动人，俗世清欢藏在笔墨之间，尽显东方水墨的悠然意韵。",[7,24,241,173,27,83,2314,697,604,2315,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c47104068ce7e480840a2e1fddebeb.jpg",[],{"id":9133,"slug":9134,"title":1571,"dynasty":189,"author":351,"museum":9135,"description":9136,"tags":9137,"thumbUrl":9139,"material":123,"size":9140,"collection":42,"collections":9141,"showCount":9123,"zanCount":1356,"manualWeight":48,"mainColor":49},220394,"pin-cha-tu-qian-xuan-220394","大坂市立美术馆","本幅虽名为「品茶」，实与唐代以降「斗茶」的绘画传统有关。画中男子六人，左侧男子或持壶，或注汤点茶，或提笼注视对方；右侧三人或正举杯畅饮，或在等待取茶品尝。唯画中人物表情板滞，用色单调，画风不若钱选精细文雅，应是后人託名之作。",[23,7,209,27,106,9138,6204,244],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62aeab0bda969cca855a01b6bc6889e.jpg","35.5x68cm",[42],{"id":9143,"slug":9144,"title":9145,"dynasty":99,"author":1480,"museum":752,"description":9146,"tags":9147,"thumbUrl":9148,"material":27,"size":139,"collection":45,"collections":9149,"showCount":9123,"zanCount":1270,"manual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23.8厘米",[181],{"id":9188,"slug":9189,"title":9190,"dynasty":18,"author":645,"museum":206,"description":9191,"tags":9192,"thumbUrl":9193,"material":123,"size":9194,"collection":42,"collections":9195,"showCount":9167,"zanCount":5,"manualWeight":48,"mainColor":49},220227,"guan-shan-chun-xue-tu-guo-xi-220227","关山春雪图","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[23,7,1397,177,173,864,2124,34,114,558,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c61b8007643b9b3921aa749500eaf33.jpg","纵197.1厘米，横51.2厘米",[42,181],{"id":9197,"slug":9198,"title":552,"dynasty":189,"author":293,"museum":20,"description":9199,"tags":9200,"thumbUrl":9201,"material":123,"size":9202,"collection":181,"collections":9203,"showCount":9167,"zanCount":5,"manualWeight":48,"mainColor":49},218083,"xi-shan-xing-lv-tu-yi-ming-218083","溪山行旅图是元朝时期的一幅名画，出自佚名画家之手。这幅画描绘了一位旅人在溪山间游玩的情景。\n\n在画面的左侧，可以看到一座小山丘，上面种满了树木。旅人正站在山丘的山顶上，俯视着前方的景色。他手持竹筒，似乎是在欣赏周围的美景。\n\n在画面的右侧，是一条清澈的小溪，溪水潺潺流过。旅人似乎正准备沿着小溪走去，去寻找下一个游玩的地方。\n\n整幅画的画风浑然天成，笔触轻柔，描绘了大自然的美丽景色。这幅画不仅是一幅艺术作品，也是对元朝时期生活的一个精彩纪录。",[7,173,27,177,29,174,176,394,109,649,34,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f2b220aace68ac2f2e8d66ba147f2c.jpg","110.5x176.5cm",[181],{"id":9205,"slug":9206,"title":9207,"dynasty":76,"author":2804,"museum":20,"description":9208,"tags":9209,"thumbUrl":9210,"material":1449,"size":139,"collection":90,"collections":9211,"showCount":9212,"zanCount":1547,"manualWeight":48,"mainColor":94},237157,"lan-hua-zhou-wu-chang-shuo-237157","兰花轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[7,24,241,173,797,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6b4b3f9192dc4eaf607bfc0f395f74.jpg",[90],197,{"id":9214,"slug":9215,"title":9216,"dynasty":18,"author":1827,"museum":206,"description":9217,"tags":9218,"thumbUrl":9219,"material":123,"size":9220,"collection":42,"collections":9221,"showCount":9212,"zanCount":1547,"manualWeight":48,"mainColor":49},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[23,7,24,241,27,104,28,106,107,108,281,29,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[42,44,45],{"id":9223,"slug":9224,"title":9225,"dynasty":189,"author":5261,"museum":206,"description":9226,"tags":9227,"thumbUrl":9228,"material":123,"size":9229,"collection":44,"collections":9230,"showCount":9212,"zanCount":1547,"manualWeight":48,"mainColor":49},216989,"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[209,7,27,104,28,177,29,107,108,106,1575,37,175,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[44,181],{"id":9232,"slug":9233,"title":6854,"dynasty":76,"author":2804,"museum":20,"description":9208,"tags":9234,"thumbUrl":9235,"material":1449,"size":139,"collection":90,"collections":9236,"showCount":9237,"zanCount":5,"manualWeight":48,"mainColor":94},237158,"mei-hua-zhou-wu-chang-shuo-237158",[7,24,241,173,178,227,86,840,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080ddc2ba3abfecbf7d18533654b3d87.jpg",[90],196,{"id":9239,"slug":9240,"title":9241,"dynasty":76,"author":9242,"museum":364,"description":9243,"tags":9244,"thumbUrl":9245,"material":139,"size":139,"collection":139,"collections":9246,"showCount":9237,"zanCount":1270,"manualWeight":48,"mainColor":94},230215,"hua-niao-tu-ce-yu-zhi-230215","花鸟图册","余穉","此作工致秀雅，以桃花翠竹绘就春日小景。枝头桃花柔媚绽放，粉白花瓣晕染匀净，尽显娇妍之态，间杂翠绿竹叶，挺括舒展，鲜润清雅。\n\n三只春燕情态各异，两只红襟燕栖于花枝，羽翼丝缕毕现，绒羽蓬松柔软，神色悠然；一只白燕翩跹掠飞，灵动轻盈，动静相映成趣。整体设色明丽柔和，笔触细腻入微，将春日融融的生机与雅致融为一体，兼具写实之真与古典雅致之美，尽显清逸温婉的花鸟意趣。",[7,28,27,83,279,242,281,227,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f1730fb5283ee2b7dc13a5bfb558b7.jpg",[],{"id":9248,"slug":9249,"title":9250,"dynasty":292,"author":293,"museum":2340,"description":9251,"tags":9252,"thumbUrl":9256,"material":743,"size":744,"collection":139,"collections":9257,"showCount":9237,"zanCount":48,"manualWeight":48,"mainColor":49},226517,"cai-hui-na-mo-di-zang-pu-sa-zuo-xiang-yi-ming-226517","彩绘南无地藏菩萨坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[7,9253,27,106,259,9254,9255,1862,65],"彩绘","佛教","地藏菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d01f9871874d39add34560f2264bbe.jpg",[],{"id":9259,"slug":9260,"title":9261,"dynasty":18,"author":1035,"museum":101,"description":9262,"tags":9263,"thumbUrl":9264,"material":342,"size":9265,"collection":90,"collections":9266,"showCount":9237,"zanCount":1356,"manualWeight":48,"mainColor":49},218750,"yun-xing-yu-shi-tu-chen-rong-218750","云行雨施图","这幅无名画据说是宋代著名龙画家陈容的作品，与波士顿博物馆的标准九龙图相比，它最接近波士顿博物馆的收藏。两条龙盘踞在岩石间的缝隙中，墨色苍白而古老，笔触滴水不漏。这幅画可以说是陈所翁画派的一个精品。",[23,7,24,25,173,177,502,430,176,1329,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa093ef59801c36ccbbb03de72275687d.jpg","40x180cm",[90],{"id":9268,"slug":9269,"title":9270,"dynasty":76,"author":1892,"museum":539,"description":9271,"tags":9272,"thumbUrl":9273,"material":88,"size":9274,"collection":181,"collections":9275,"showCount":9237,"zanCount":1547,"manualWeight":48,"mainColor":94},217882,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[23,7,24,29,173,177,105,176,34,560,175,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[181],{"id":9277,"slug":9278,"title":9279,"dynasty":76,"author":9280,"museum":206,"description":9281,"tags":9282,"thumbUrl":9283,"material":665,"size":9284,"collection":139,"collections":9285,"showCount":9286,"zanCount":5,"manualWeight":48,"mainColor":94},232816,"mo-chou-ying-xi-yuan-ya-ji-tu-ding-guan-peng-232816","摹仇英西园雅集图","丁观鹏","丁观鹏在乾隆朝曾绘制大量摹古作品，然其仿制的对象有许多已被证实为明代商业伪作，此即一例。此幅底本目前仍藏台北故宫博物院，全幅以白描画成，由其较为修长瘦弱的造型判断，很接近尤求的白描风格，这类白描作品在苏州片伪古书画作品中常被冠以仇英之名。乾隆皇帝在此底本题诗表示「底须著色求形肖」，也成为此摹作用力之处。丁观鹏摹作在构图上保留原图，然在人物、家具与植物部分施彩，如吴派之淡雅，然更为明亮。亭子屋顶结构、柱子、湖石等，则具有西洋素描般的渐层光影效果，整幅作品可说是明代商业白描风格、吴派风格与外来西洋画法的结合。",[7,24,241,105,27,28,106,175,430,431,313,2951,759,1962,227,86,178,115,755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","95.1×43.9cm",[],195,{"id":9288,"slug":9289,"title":9290,"dynasty":76,"author":9291,"museum":364,"description":9292,"tags":9293,"thumbUrl":9294,"material":139,"size":139,"collection":44,"collections":9295,"showCount":9286,"zanCount":48,"manualWeight":48,"mainColor":94},223079,"shui-hu-ren-wu-ren-xun-223079","水浒人物","任薰","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称"三任"，合任预为"四任"，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,209,7,24,241,27,28,106,63,7464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc87cbb4b2700dc7566d2985222762f7.jpg",[44],{"id":9297,"slug":9298,"title":9299,"dynasty":76,"author":1394,"museum":675,"description":5682,"tags":9300,"thumbUrl":9302,"material":88,"size":5685,"collection":45,"collections":9303,"showCount":9286,"zanCount":5,"manualWeight":48,"mainColor":94},220000,"shan-shui-hua-han-shi-hou-yi-ri-hua-yu-xi-tian-mao-she-wang-shi-min-220000","山水画-寒食后一日画于西田茅舍",[7,24,173,27,177,29,864,431,34,464,37,1445,9301],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a4fe667946ab4386529b843dc33e21.jpg",[45],{"id":9305,"slug":9306,"title":1479,"dynasty":76,"author":9307,"museum":206,"description":9308,"tags":9309,"thumbUrl":9310,"material":123,"size":9311,"collection":90,"collections":9312,"showCount":9286,"zanCount":5,"manualWeight":48,"mainColor":94},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","恽寿平王翚笪重光杨晋","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[209,7,24,241,27,83,449,448,452,451,86,227,5192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[90],{"id":9314,"slug":9315,"title":9316,"dynasty":204,"author":414,"museum":206,"description":9317,"tags":9318,"thumbUrl":9320,"material":123,"size":9321,"collection":45,"collections":9322,"showCount":9286,"zanCount":1547,"manualWeight":48,"mainColor":49},219338,"rong-que-tu-xu-xi-219338","蓉雀图","芙蓉烂漫绽放，墨骨淡彩晕出娇嫩肌理，花瓣层叠间藏着自然野趣。苍劲枝干上，雀鸟或翘首啼鸣，或敛翅小憩，羽翼以细墨勾描，淡彩点染，神态活灵活现。空中飞鸟振翅，地面双雀啄食，动静交织间满是生机。徐熙“落墨法”的韵致尽显——墨线勾勒轮廓，淡彩晕染层次，不刻意求工，却于自然中见真趣。无宫廷富贵气，唯有山野花鸟相依的清逸，仿佛能闻雀鸣花语，触到风过花枝的轻颤，尽显五代花鸟的野逸之美。",[7,24,27,83,450,9319],"雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a8ec8db619167b3ec5865d642cfe66.jpg","75.8×62.2cm",[45],{"id":9324,"slug":9325,"title":9326,"dynasty":99,"author":9327,"museum":206,"description":9328,"tags":9329,"thumbUrl":9330,"material":381,"size":9331,"collection":90,"collections":9332,"showCount":9286,"zanCount":5,"manualWeight":48,"mainColor":49},214733,"mei-hua-tu-lu-fu-214733","梅花图","陆复","这幅《雪梅图》是元末王冕画法的衍生品，略有不同。枝干用飞白涂抹，然后用淡墨勾勒，花瓣则用油脂沾染，轻轻勾勒，红色的花蕊也被晒干，增强了梅花的优雅精神。",[7,241,27,28,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4128fe7627228b3bb64d50437c275998.jpg","205.3x108.7",[90],{"id":9334,"slug":9335,"title":486,"dynasty":76,"author":1109,"museum":364,"description":9336,"tags":9337,"thumbUrl":9338,"material":139,"size":139,"collection":181,"collections":9339,"showCount":9340,"zanCount":5,"manualWeight":48,"mainColor":94},224497,"shan-shui-ce-shi-tao-224497","此作以峡谷江流铺展画卷，春水澹澹载扁舟穿峡而过，舱中旅人静对山光。浅绛轻施晕染山石，清润柔和间见嶙峋风骨，枯笔皴擦点染枯枝，苍劲朴拙，与柔缓水色相映成趣。\n题诗伴画，将羁旅闲愁融进山岚烟波，画随诗添寂廖清旷之致。笔意灵动不拘一格，以淡墨轻岚晕开早春空蒙水雾，把文人隐逸襟怀寄寓在山水间，简淡画面中藏着悠长余韵，尽得山水写意之妙。",[23,7,27,173,177,81,29,174,109,176,394,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13ec00a8f9b85ce3fb668f29eabc877.jpg",[181,45],194,{"id":9342,"slug":9343,"title":9344,"dynasty":76,"author":876,"museum":206,"description":9345,"tags":9346,"thumbUrl":9347,"material":990,"size":9348,"collection":90,"collections":9349,"showCount":9340,"zanCount":48,"manualWeight":48,"mainColor":94},222697,"hua-chun-hua-san-zhong-zhou-qian-wei-cheng-222697","画春花三种轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,7,24,209,241,27,28,83,84,327,417,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","260x101.4",[90,45],{"id":9351,"slug":9352,"title":9353,"dynasty":189,"author":1672,"museum":206,"description":9354,"tags":9355,"thumbUrl":9356,"material":342,"size":9357,"collection":139,"collections":9358,"showCount":9359,"zanCount":1547,"manualWeight":48,"mainColor":94},232638,"rong-xi-zhai-tu-ni-zan-232638","容膝斋图","该图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，中幅为湖光波色，图上部的远岫遥岑横于波际。这种三段式的构图，是倪瓒山水画的特征之一。其山水取法于董源，石上横拖披麻，皴法清逸。其树法参差变化，结体有骨力，而树头枝梢，每多生意。枯树擦以枯笔，墨色浓淡错综而滋润浑厚。\n此画分近、中、远三景， 近处作平坡， 上植数枝树木， 间或缀以茅舍亭阁；远处作峦头或低矮的土坡。作为近景与远景之间的过渡部分则多为大片空白， 不着一墨， 是为湖水。\n画中落款“壬子岁七月五日，云林生写”，又自题诗云：“屋角春风多杏花，小斋容膝度年华；金棱跃水池鱼戏，彩凤栖林涧竹斜。叠叠清谈霏玉屑，萧萧白发岸乌纱。而今不二韩康价，市上悬壶未足夸。”\n倪瓒少小聪明， 早年专意读书， 家中清閟阁藏书数千卷， 经史子集， 佛道经典， 他都专心阅读批校， 所藏法书名画， 亦悉心临学。其书法天然古淡， 有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带， 常领略这里秀丽清幽的湖光山色， 他的画也多取材于此。\n此画作于明太祖洪武五年（1372），时年倪攒七十有二，两年后离世，因此也有“绝笔之作”一说。此画最初赠予其友檗轩，两年后又请倪瓒为其补题，寄赠予同乡的潘子仲医师。容膝斋是潘仁仲休闲居处。\n画家对佛道思想的追求，注重对尘世羁绊的超脱，这种思想映射到艺术创作中丰富了艺术品的文化内涵。《容膝斋图》中设置空亭但不见人，倪瓒有“亭下不逢人，夕阳滤秋影”的名句。空空的亭子和无人的山水，后人多认为这种设置是倪瓒内心的表达，是“今世那复有人”的悲叹。\n此图以墨笔画坡陀林屋，远山一角。近景处画山坡石陀，平平的一二层山石，山石皴法是渴笔方折，似有折带皴意，用笔总是干笔皴擦，有时墨色并没有透入纸背，但却没有丝毫纤弱单薄的弊端。近景一带坡岸及坡上植有杂树和瘦竹数株。高短参差不齐，树木偶用蟹爪鹿角技法，以干笔为主，树身多复笔。远岸岚岫绵延，在整个画最上端，使整个画面有深远之感。中景以湖塘相隔，画有草茅亭子，坐落在树木的右侧，对面为横卧的山坡。均出以简笔疏朗，自有一种空阔高旷的境界。这与倪云林的那种甘于寂寞，与世无争的性格十分相近。此画最为典型的即是简约，既不作高枝繁叶，又不为高山大壑，而常常采用疏林浅坡，简淡平远的构图，笔墨极为淡雅，画树墨色层次较多，中锋多于侧笔。近坡皴多染少，皴笔亦特觉清劲。点染皴擦也求简约，不作华奢之状。\n该图采用三段平远式的空间布局。前景是几棵枯树、坡石和屋舍，中景是一坡山，远景水天一色。这样的布局使人感到平实恬淡，简约单纯。这种近坡杂树数枝，远景云山一抹，中隔湖水一汪，最早出现在《六君子图》中，而在《容膝斋图》中发挥得更充分。这种比较稳定的“一河两岸”式的图式所表现的意境，使他的绘画风格达到了“萧疏淡远”的极致。\n该图布置前景时，常用粗而挺劲的线条勾勒出挺拔而气宇轩昂的几棵高大的树。这些树的穿插非常讲究，几棵主株，或高或低，俯仰成趣。或前或后，顾盼照应，让树有自然的深浅和层次，并且讲究穿插避让，使画面生动有变化。《容膝斋图》中的树少有树叶点缀，是几棵枯树，这与倪瓒平时讨厌落叶有关。",[7,173,1397,177,86,227,29,175,430,245,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db52534f3fee435e691757d2ad794f5.jpg","纵74.7cm，横35.5cm",[],193,{"id":9361,"slug":9362,"title":9363,"dynasty":76,"author":2083,"museum":78,"description":9364,"tags":9365,"thumbUrl":9366,"material":1449,"size":9367,"collection":90,"collections":9368,"showCount":9359,"zanCount":48,"manualWeight":48,"mainColor":94},223290,"san-qing-tu-li-zhou-zheng-ban-qiao-223290","三清图立轴","绘竹、兰、菊三君子，在画家眼里这三种更为清丽，全图皆水墨，竹的笔直修长，兰的清新幽香，菊的严霜开放，尽显君子谦谦之态。画作左侧有画家自题诗一首：兰梅竹菊四名家，但少春风第一花，寄于东君诸子弟，好将文事夺天葩。板桥郑燮。",[23,7,24,241,173,83,242,453,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2339494716d7ccd299644411857aea.jpg","152×39cm",[90,163],{"id":9370,"slug":9371,"title":9372,"dynasty":99,"author":100,"museum":1637,"description":9373,"tags":9374,"thumbUrl":9375,"material":67,"size":9376,"collection":181,"collections":9377,"showCount":9359,"zanCount":1547,"manualWeight":48,"mainColor":94},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,7,24,25,26,27,28,178,86,29,174,106,175,109,108,107,34,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[181,45],{"id":9379,"slug":9380,"title":9381,"dynasty":189,"author":9382,"museum":206,"description":9383,"tags":9384,"thumbUrl":9385,"material":827,"size":9386,"collection":181,"collections":9387,"showCount":9359,"zanCount":1165,"manualWeight":48,"mainColor":49},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[23,7,24,25,173,177,29,175,108,109,34,106,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[181,163],{"id":9389,"slug":9390,"title":9391,"dynasty":18,"author":9392,"museum":78,"description":9393,"tags":9394,"thumbUrl":9396,"material":665,"size":9397,"collection":42,"collections":9398,"showCount":9359,"zanCount":48,"manualWeight":48,"mainColor":49},221558,"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[23,7,24,5990,173,27,177,29,1653,394,9395,150,106,900,245,560,864],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","纵26.2厘米，横27.3 厘米",[42,181,163],{"id":9400,"slug":9401,"title":9402,"dynasty":99,"author":100,"museum":206,"description":9403,"tags":9404,"thumbUrl":9405,"material":123,"size":9406,"collection":45,"collections":9407,"showCount":9359,"zanCount":48,"manualWeight":48,"mainColor":49},219315,"yuan-lin-qing-ke-tu-zhou-chou-ying-219315","园林清课图轴","林竹繁茂的乡野，有一座院落人家，院中布置著厅堂、房舍、书斋、作坊；穿过花篱是为园池区，馆舍、亭榭围绕池畔而构筑。有读书、涤砚、纺纱、游园等活动。使富有园林之胜的画面，充满雅逸的生活情趣。",[209,7,28,27,104,1965,107,29,34,106,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236c98ca348fc2e3b6d92db44b00431.jpg","82.8x106.5",[45],{"id":9409,"slug":9410,"title":9411,"dynasty":99,"author":1083,"museum":364,"description":9412,"tags":9413,"thumbUrl":9414,"material":342,"size":139,"collection":181,"collections":9415,"showCount":9359,"zanCount":1270,"manualWeight":48,"mainColor":49},216322,"xi-xiang-ji-zhen-ben-tu-ce-chen-hong-shou-216322","西厢记真本图册","双石并置构出幽境，左石奇崛如骨，线条凝涩似铁，皴擦间露嶙峋之态；右石小巧玲珑，与左石相顾成趣。石畔淡扫苔痕，暗合《西厢》月下幽会的静谧氛围。题字笔墨古雅，与山石苍劲相融，整体气息静穆含情。画家以独特造型意趣，将文人画韵致注入画中，简淡处见深致，似在无声传递戏文里的婉转情愫，尽显古雅奇倔的艺术风格。每一笔墨皆藏匠心，于方寸间铺展戏文外的悠长余韵，让观者在石影苔痕里，触碰到那份含蓄的古典情致。",[7,81,260,173,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35f624afc5dc33ed7f8dd1e142d2bf7.jpg",[181],{"id":9417,"slug":9418,"title":9419,"dynasty":99,"author":9420,"museum":101,"description":9421,"tags":9422,"thumbUrl":9423,"material":123,"size":139,"collection":44,"collections":9424,"showCount":9359,"zanCount":5,"manualWeight":48,"mainColor":94},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,7,24,25,173,27,28,177,29,106,175,108,109,34,431,86,5579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[44],{"id":9426,"slug":9427,"title":9428,"dynasty":76,"author":293,"museum":9429,"description":9430,"tags":9431,"thumbUrl":9432,"material":123,"size":9433,"collection":44,"collections":9434,"showCount":9359,"zanCount":1270,"manualWeight":48,"mainColor":49},214337,"da-bei-shen-zhou-fo-xiang-yi-ming-214337","大悲神咒佛像","普林斯顿大学图书馆","描绘了《大悲咒》的前四十三句及其插图，最后一页为护法韦驮尊天菩萨。书中有一句话和一幅插图，经文在青色书中，解释在朱色书中。",[23,7,27,28,106,259,1862],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e895004504e57c59c94e87ae8fcdf58.jpg","27.5x16",[44],{"id":9436,"slug":9437,"title":9438,"dynasty":18,"author":293,"museum":20,"description":9439,"tags":9440,"thumbUrl":9441,"material":9442,"size":9443,"collection":42,"collections":9444,"showCount":9445,"zanCount":5,"manualWeight":48,"mainColor":49},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,7,25,28,27,260,106,59,29,2094,502,281,34,176,107,150,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[42,44,45],192,{"id":9447,"slug":9448,"title":9449,"dynasty":1095,"author":1096,"museum":3003,"description":9450,"tags":9451,"thumbUrl":9455,"material":3008,"size":139,"collection":139,"collections":9456,"showCount":9445,"zanCount":5,"manualWeight":48,"mainColor":94},220586,"li-zi-shu-he-san-zhi-kun-chong-qi-bai-shi-220586","李子树和三只昆虫","以焦墨挥写虬曲枝干，苍劲老辣带着朴拙野趣。明黄果实以没骨点染，圆厚饱满，鲜亮明快。墨色叶片兼工带写，叶缘焦墨棘刺点缀，粗粝间暗藏灵动。\n\n蝉踞枝桠、蝼蛄游于纸间，草虫刻画纤毫毕现，与大写意的花果形成强烈的工写对比，一简一繁，将乡野小景的生机尽致铺展。构图疏密错落，斜逸的枝条串联起满幅花果，鲜活虫趣让静态画幅瞬间鲜活，尽显自然天趣与田园诗意，于平淡中晕开醇厚的烟火意趣。",[209,7,3529,241,173,27,1278,3006,9452,603,9453,9454],"蝼蛄","工写结合","田园意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2ed094ae70ff55be21c091139f419b.jpg",[],{"id":9458,"slug":9459,"title":9460,"dynasty":99,"author":9461,"museum":539,"description":9462,"tags":9463,"thumbUrl":9467,"material":123,"size":9468,"collection":44,"collections":9469,"showCount":9445,"zanCount":1165,"manualWeight":48,"mainColor":49},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,209,7,24,241,104,27,28,9464,107,1237,106,150,8989,114,9465,263,9466,4525,34,36,153],"宫城","城池","官员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[44,45],{"id":9471,"slug":9472,"title":9473,"dynasty":18,"author":474,"museum":1637,"description":9474,"tags":9475,"thumbUrl":9476,"material":123,"size":139,"collection":42,"collections":9477,"showCount":9445,"zanCount":1547,"manualWeight":48,"mainColor":94},219112,"si-qin-tu-zhao-ji-219112","四禽图","枝桠横斜间，禽鸟各呈姿态：或敛翅静栖于梅梢，羽翎纹理纤毫毕现；或侧首凝睇，眼神藏着未语的灵秀；或振翅欲飞，翅尖似带起微风轻响。淡墨勾枝，浅彩点花，笔意清逸如春风拂过，花枝摇曳间，暗香仿佛浮动。\n\n行间题字与朱印错落，墨迹温润与朱砂明艳交织，似时光屐痕，与花鸟相映成趣，更添古雅之韵。每一笔透着对自然的敬畏，每处细节藏着文人闲情——不刻意雕琢，却于平淡中见真味，将生机与静谧凝于尺幅。\n\n整卷如流动的诗画，春日灵趣与岁月沉淀融于一体，读来心远尘嚣，仿佛置身鸟语花香的清境，忘却俗事纷扰。",[7,25,28,260,83,224,448,242,227,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c879664cc93247940a1bf71e75def95.jpg",[42,90],{"id":9479,"slug":9480,"title":2502,"dynasty":18,"author":1650,"museum":206,"description":9481,"tags":9482,"thumbUrl":9483,"material":123,"size":9484,"collection":181,"collections":9485,"showCount":9445,"zanCount":5,"manualWeight":48,"mainColor":49},218867,"xue-jing-ma-yuan-218867","枝条扭曲而低垂，叶子被剥落，枝条像弯曲的铁一样结实，有马远的 拖枝法 和角落构图的传承。山丘和石头是用淡墨画的，没有用粉笔，表面用白粉染色，使整幅画雪亮。建筑物的门窗用破碎的、颤动的线条代替尺子来画，从外面可以看到内部的情况。高石和仆人男孩弯着脖子坐在火上取暖，使室内外充满了寒冷。",[23,7,24,27,28,29,107,106,1015,2124,177,5748,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f0c0719bf8c7117400a007cafca3c6.jpg","26.7x27",[181],{"id":9487,"slug":9488,"title":2071,"dynasty":76,"author":293,"museum":3537,"description":9489,"tags":9490,"thumbUrl":9491,"material":123,"size":9492,"collection":44,"collections":9493,"showCount":9445,"zanCount":5,"manualWeight":48,"mainColor":49},218422,"shi-nv-tu-yi-ming-218422","画面中仕女身姿窈窕，衣袂轻垂如流云。左侧二人发髻簪饰精致，神态温婉相依，似低语絮谈；右侧小鬟恭立，身形纤弱，尽显娴静恭谨之态。线条细腻婉转，勾勒衣纹柔缓褶皱；设色古朴淡雅，棕褐基调晕染时光沉淀的温润质感。背景素净无华，更衬人物清雅气韵。虽佚名之作，细节处见匠心：发间金饰隐现微光，腰间丝带垂坠有致，衣料纹理细腻传神。笔墨间传递传统仕女画的含蓄之美，尽显闺阁女子温婉情致与古典韵致，如一缕旧时光里的清风，拂过观者心田。",[7,24,27,28,106,59,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5a96fcffa4d742d6230cf50a67fe0a.jpg","115x60.4",[44],{"id":9495,"slug":9496,"title":9497,"dynasty":1095,"author":1096,"museum":20,"description":9498,"tags":9499,"thumbUrl":9502,"material":88,"size":9503,"collection":90,"collections":9504,"showCount":9445,"zanCount":48,"manualWeight":48,"mainColor":94},216931,"zong-shu-guo-guo-tu-qi-bai-shi-216931","棕树蝈蝈图","赭色树干以浓淡墨线勾皴，如老藤盘结，墨叶纷披似风过梢头，洒脱不羁。画面一隅，蝈蝈翅脉分明，肢足灵动，朱红与赭黄晕染出鲜活质感，似欲振翅而鸣。工细的虫与豪放的树形成鲜明对照，笔意间藏着对生活的细腻观察。简淡的纸本上，墨色苍劲与设色明丽相映成趣，寻常景物里溢出盎然生机，尽显白石老人以小见大、以俗见雅的艺术妙趣。",[23,7,27,173,28,83,9500,9501,227],"棕树","蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34160a48a9de7587fb99671f3678ca1f.jpg","69.5x34.3cm",[90],{"id":9506,"slug":9507,"title":9508,"dynasty":189,"author":9509,"museum":132,"description":9510,"tags":9511,"thumbUrl":9512,"material":88,"size":9513,"collection":90,"collections":9514,"showCount":9445,"zanCount":1547,"manualWeight":48,"mainColor":49},216665,"ba-jun-tu-zhao-yong-216665","八骏图","赵雍","该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代"青绿山水"，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中"夹叶填彩"的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做"披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[7,24,25,28,27,150,430,245,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a3902ef0909cc4272f189e62ad7bd.jpg","36x270cm",[90],{"id":9516,"slug":9517,"title":9518,"dynasty":99,"author":9519,"museum":364,"description":9520,"tags":9521,"thumbUrl":9522,"material":40,"size":9523,"collection":90,"collections":9524,"showCount":9525,"zanCount":1270,"manualWeight":48,"mainColor":49},222574,"ju-hua-li-zhou-lu-kui-222574","菊花立轴","陆逵","图绘秋日之景色，树叶凋零，几片枝头叶片，摇摇欲坠；秋菊开放，叶茂花艳，数朵菊花争相开放。此图绘枯树时有些讨巧，枯树的枝杆上半部分如长在湖石上，与湖石融为一体，观之惊叹。陆逵，字仪吉，善人物及花草，明代画家。",[23,209,7,24,241,27,28,83,796,394,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","48.4x169cm",[90,45],191,{"id":9527,"slug":9528,"title":9529,"dynasty":18,"author":1650,"museum":20,"description":9530,"tags":9531,"thumbUrl":9532,"material":40,"size":9533,"collection":42,"collections":9534,"showCount":9525,"zanCount":1547,"manualWeight":48,"mainColor":49},221534,"bai-qiang-wei-tu-ye-ma-yuan-221534","白蔷薇图页","画中的白蔷薇花朵硕大，枝叶繁茂，光彩夺目。画家以细笔勾出花形，用白粉晕染花瓣，以深浅汁绿涂染枝叶，笔法严谨，一丝不苟，画风清丽活泼，颇具生气，代表了南宋画院花鸟画的典型风貌。\n宋代画院花鸟画继承了五代的传统，并在此基础上有所创新，黄荃“勾勒填彩、旨趣浓艳”的富贵风格统治着画坛近百年。其画法先以极工细的线条勾出轮廓，然后敷以重彩，层层晕染，往往掩盖住黑线，展现出一种极为工稳细腻和华贵富丽的风韵。",[23,209,7,24,28,27,83,6716,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd668d914b96b091a563b3ef5d0520878.jpg","纵26.2厘米，横25.8厘米",[42,181,45],{"id":9536,"slug":9537,"title":9538,"dynasty":18,"author":2029,"museum":101,"description":9539,"tags":9540,"thumbUrl":9541,"material":665,"size":9542,"collection":42,"collections":9543,"showCount":9525,"zanCount":1270,"manualWeight":48,"mainColor":49},221511,"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[23,7,209,24,25,28,177,173,29,2124,1015,176,35,31,174,1351,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[42,181,45],{"id":9545,"slug":9546,"title":9547,"dynasty":189,"author":190,"museum":20,"description":9548,"tags":9549,"thumbUrl":9550,"material":990,"size":9551,"collection":181,"collections":9552,"showCount":9525,"zanCount":1547,"manualWeight":48,"mainColor":94},220762,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-220762","丹崖玉树图轴","图中山峦重叠，高松杂树遍布窠石坡岸之上，梵寺仙观掩映于山石林木之中，溪流迴转，云烟缭绕，一派深远优美的意境。黄公望曾谓：“作山水者，必以董为师法，如吟诗之学杜也。”此图便是以董源、巨然创造的披麻皴手法写成，并以水墨浅绛设色。\n由于是在纸本上作画，作者较其《天池石壁图》、《九峰雪霁图》等绢本作品更充分地发挥了笔墨融合的韵味，用笔松秀，点染随意，潇洒自如，在不着笔处衬出迷蒙浮动的云烟雾气，虚实开合，愈增添了山水的灵秀，故虽崇山满纸而无迫塞之感。王原祁评黄氏画作曾云：“每见其布景用笔，于浑厚中仍饶逋峭，苍莽中转见娟妍，纤细而气益闳，填塞而境愈廓，意味无穷。”此作堪为代表。",[7,24,241,173,29,176,34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佚名，绢本，设色，纵2.9 横25.4厘米 上海博物馆藏 图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。\n花朵轻勾淡染，用白粉点画花蕊，用四绿加少量淡墨分染花拖，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之，最后用焦茶描绘其杆。\n绿叶穿插向背，白花绿叶，色泽淡雅，使人赏心悦目。",[23,209,7,24,28,27,5990,83,9615,227],"夜合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31ecf760311e803b651aa46969280b1.jpg",[],{"id":9619,"slug":9620,"title":9621,"dynasty":76,"author":9622,"museum":206,"description":9623,"tags":9624,"thumbUrl":9625,"material":139,"size":139,"collection":90,"collections":9626,"showCount":9608,"zanCount":48,"manualWeight":48,"mainColor":49},224119,"song-shu-tu-qian-long-224119","松树图","乾隆","展现了松树形神。其岁逾千年，貌古形诡，苍皮斑驳，树干粗壮，虬枝盘结，瘿瘤凸起，树根部透朽空洞却卓立干云，拔地拏天。树冠部三两根大枝斜逸而出，如同鲲鹏展翅，枝头嫩叶婆娑，一派生机欣荣。",[23,7,24,173,227,86,178,394,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b229b3381cb122dae4322e059d18d.jpg",[90,163],{"id":9628,"slug":9629,"title":9630,"dynasty":18,"author":9631,"museum":206,"description":9632,"tags":9633,"thumbUrl":9637,"material":803,"size":9638,"collection":44,"collections":9639,"showCount":9608,"zanCount":1270,"manualWeight":48,"mainColor":49},221217,"hua-fan-xiang-juan-zhang-sheng-wen-221217","画梵像卷","张胜温","《大理国梵像卷》是大理国（937－1254）（与五代和宋代同一时代）传世的唯一画卷，全卷设色贴金，绘製精谨，共分四段：第一段画大理国王利贞皇帝礼佛图，第二段绘佛、菩萨、佛母、天王和护法等数百位佛教人物，第三段为多心和护国宝幢，第四段是十六国王图。全卷内容丰富，素有「南天瑰宝」之誉。 内容大致为蛮王礼佛国、四金刚护法、八大龙王、十六观世音菩萨、五佛会图。 七佛图、维摩经变、四大菩萨、六佛母、十六罗汉、禅宗六祖、人大高僧、十二天神、宝塔经幢、十六国主众等组成。 《梵像卷》反映了佛教在南诏、大理国时期十分兴盛的历史， 是研究当时大理国崇奉密宗的历史和文化艺术的珍贵资料。",[23,7,24,25,259,28,27,106,9634,5713,9635,9636,227],"佛像","飞天","经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b98f57c5c0b171cfb25668ee54783e.jpg","全长1635.5厘米，宽30.4厘米",[44,45],{"id":9641,"slug":9642,"title":9643,"dynasty":18,"author":4266,"museum":9644,"description":9645,"tags":9646,"thumbUrl":9647,"material":342,"size":9648,"collection":163,"collections":9649,"showCount":9608,"zanCount":1356,"manualWeight":48,"mainColor":94},218647,"dong-ting-qiu-yue-tu-mu-xi-218647","洞庭秋月图","德川美术馆","据东京大学专门研究中国绘画史的小川裕中教授说，这幅《洞庭秋月》应该是潇湘八景中的第七幅。使用最简单的材料--水和墨，穆克希出色地捕捉到了潇湘地区的潮湿空气和朦胧的光线。",[23,7,173,29,174,300,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2680a913c7b3b674cc9769c96fa43ce.jpg","29.4x93.1",[163],{"id":9651,"slug":9652,"title":9653,"dynasty":99,"author":293,"museum":132,"description":9654,"tags":9655,"thumbUrl":9656,"material":123,"size":139,"collection":90,"collections":9657,"showCount":9608,"zanCount":1547,"manualWeight":48,"mainColor":49},216749,"hai-tang-fei-qin-tu-yi-ming-216749","海棠飞禽图","海棠花是一种常见的中国花卉，通常被认为是爱情、美好愿望和幸福的象征。这幅画的画风精细，笔法优美，极富艺术魅力。",[209,7,24,28,27,83,1563,281,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131241bc6542bdd047d08b2abfb54967.jpg",[90],{"id":9659,"slug":9660,"title":9661,"dynasty":76,"author":836,"museum":206,"description":837,"tags":9662,"thumbUrl":9665,"material":88,"size":843,"collection":139,"collections":9666,"showCount":9667,"zanCount":1547,"manualWeight":48,"mainColor":94},219879,"er-shi-si-fan-hua-xin-feng-tu-cai-hua-yu-wang-chun-dong-gao-219879","二十四番花信风图-菜花与望春",[7,24,27,28,81,86,178,9663,9664,432],"菜花","望春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d78a5260915fc3e83cdf201b35e28e.jpg",[],188,{"id":9669,"slug":9670,"title":9671,"dynasty":204,"author":2072,"museum":3940,"description":9672,"tags":9673,"thumbUrl":9674,"material":123,"size":139,"collection":44,"collections":9675,"showCount":9667,"zanCount":1356,"manualWeight":48,"mainColor":49},219590,"xiu-zhu-mei-ren-tu-zhou-wen-ju-219590","修竹美人图","幽庭春深，修竹亭亭映着绽蕊花枝。仕女发髻高绾，衣袂轻垂，静立凝望稚童，眉梢眼底浸着世家深宅的温婉闲静。红衣稚童攀折花枝，鲜活灵动的身影，恰好衬出仕女的娴柔静穆。\n\n笔墨苍润清逸，淡墨晕染竹木，细劲线条勾勒人物体态，设色古雅柔和，将深闺春日里闲散静好的日常晕染开来，把缱绻柔婉的东方诗意藏在花木竹石间，尽现古典雅致的闺中幽情。",[23,7,24,241,28,27,106,59,3045,242,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3506e1a0eb430a5f568336d083e69bc2.jpg",[44],{"id":9677,"slug":9678,"title":9679,"dynasty":99,"author":1083,"museum":539,"description":9680,"tags":9681,"thumbUrl":9682,"material":123,"size":9683,"collection":44,"collections":9684,"showCount":9667,"zanCount":1547,"manualWeight":48,"mainColor":49},219531,"bu-gun-tu-chen-hong-shou-219531","补衮图","衮是古代君王的礼服，补衮有补救规谏帝王过失的寓意。图中绘有四人，发髻高耸，雍容华贵。",[23,7,24,28,27,106,59,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0bcfbcf40168efa236701b517fe221.jpg","纵109横78.5cm",[44,45],{"id":9686,"slug":9687,"title":2214,"dynasty":18,"author":6652,"museum":78,"description":9688,"tags":9689,"thumbUrl":9690,"material":342,"size":139,"collection":181,"collections":9691,"showCount":9667,"zanCount":1547,"manualWeight":48,"mainColor":94},218592,"xiao-xiang-tu-mi-you-ren-218592","图绘三湘、九嶷之际，山峦逶迤、江水迷茫、杂木疏落、白云浮动之雨后景色，于一派空濛中，流露出清润的气氛。全图大都用淡墨晕染和点染，于树干、山凹、屋脊等处以重墨勾染，显出空间层次。云气或线勾或墨晕，工整而不呆板。此图与他另一幅《潇湘奇观图》画法一致，同为水墨云山的典型之作。",[7,24,25,173,177,29,37,34,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab948642dad21d5beec814b81b41d5c.jpg",[181],{"id":9693,"slug":9694,"title":9695,"dynasty":189,"author":2519,"museum":20,"description":9696,"tags":9697,"thumbUrl":9698,"material":342,"size":9699,"collection":181,"collections":9700,"showCount":9667,"zanCount":1547,"manualWeight":48,"mainColor":49},214659,"shui-cun-tu-zhao-meng-fu-214659","水村图","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[23,7,25,173,29,177,86,108,109,174,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[181],{"id":9702,"slug":9703,"title":4401,"dynasty":76,"author":9704,"museum":364,"description":9705,"tags":9706,"thumbUrl":9707,"material":743,"size":744,"collection":139,"collections":9708,"showCount":9709,"zanCount":1270,"manualWeight":48,"mainColor":94},235426,"he-hua-zhou-lu-hui-235426","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[7,24,241,27,173,83,136,137,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e20f7c46d85cc1273ebbc0538eb92b.jpg",[],187,{"id":9711,"slug":9712,"title":9713,"dynasty":18,"author":293,"museum":364,"description":9714,"tags":9715,"thumbUrl":9716,"material":139,"size":139,"collection":139,"collections":9717,"showCount":9709,"zanCount":1547,"manualWeight":48,"mainColor":49},227352,"fu-gui-li-mao-tu-yi-ming-227352","富贵狸猫图","宋朝人喜欢猫，原因归根于宋朝建立后，随着绝对君权的建立与官僚体制的完善，文人士大夫的社会地位有了很大提高，但也逐步失去了盛唐人那种“致君尧舜上”的历史条件。\n\n同时，宋代封建经济的发展水平远超过唐代，手工业、农业、商业的发展使得中小地主日益兴盛起来，商品经济更加活跃，城市经济繁荣发达，市民队伍迅速壮大。民众安居乐业，故而从曾经追求事业成功的“外王” 转变为重个体修养的 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×29.8cm",[90],{"id":9847,"slug":9848,"title":9849,"dynasty":99,"author":966,"museum":364,"description":9850,"tags":9851,"thumbUrl":9852,"material":139,"size":139,"collection":139,"collections":9853,"showCount":9836,"zanCount":1118,"manualWeight":48,"mainColor":49},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[23,7,24,25,27,29,178,177,28,175,108,109,34,106,227,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],{"id":9855,"slug":9856,"title":2152,"dynasty":76,"author":3155,"museum":364,"description":9857,"tags":9858,"thumbUrl":9859,"material":9860,"size":9861,"collection":90,"collections":9862,"showCount":9836,"zanCount":1118,"manualWeight":48,"mainColor":49},222662,"hua-niao-tu-ma-quan-222662","马荃（生卒年不详），字江香，江苏常熟人。清代女画家。马元驭之（1669—1722）女（一作马元驭孙女），逸妹。生活于康熙、乾隆年间，\n时与女画家恽冰齐名。\n龚克和妻。工花卉，妙得家法。其夫亦工书、画，偕游京师，以绘事给衣食，颇怡。夫亡归里，绸缠染翰，饮冰茹茶，而名益高，四方以缣素兼金求画者益聚。常蓄婢数人，悉令调铅杀粉。而琴川多贵游士女，皆来求授指法。时常州恽冰画以没骨名，而江香以勾染名，江南人谓之双绝。康熙三十五年（1696）作花卉草虫册十二页，乾隆四年（1739）作琳池草虫扇。马荃代表作品价位2008年行情在3—5万\u002F平尺，市场升值潜力较大，为很多书画收藏家所追捧。",[23,7,209,24,241,28,27,83,604,1135,5034,245,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ce5762f0e4335685920a74b317b42.jpg","设色绢本","82cm 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terial":123,"size":139,"collection":42,"collections":10067,"showCount":10023,"zanCount":5,"manualWeight":48,"mainColor":49},219008,"shuang-e-tu-zhao-chang-219008","双鹅图","画面中央下方画着两只鹅，黑白相间的鹅蹲在前面，转头拂动羽毛，纯白的鹅蹲在后面，脖子弯曲，都是自然舒适的状态。",[23,209,7,24,241,28,27,83,10065],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c1b4c1ebc02a4130ffab5754faea5d.jpg",[42,90],{"id":10069,"slug":10070,"title":10071,"dynasty":18,"author":823,"museum":206,"description":10072,"tags":10073,"thumbUrl":10074,"material":123,"size":10075,"collection":42,"collections":10076,"showCount":10023,"zanCount":1547,"manualWeight":48,"mainColor":49},218917,"guan-pu-tu-xia-gui-218917","观瀑图","画中的笔触平静而简练，水墨淋漓。近景突出，构图层次分明，实与虚、疏与密、远与近、开与合的对应关系明显，人物、树木、岩石的指向都是一步步画出来的，自然景物的细节更多是叠加的。这可能与夏圭的典型风格略有不同。",[23,7,173,27,1562,177,29,1575,558,33,176,175,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda09cc87c5f596f8d71593807efe86cf.jpg","24.7x25.7",[42],{"id":10078,"slug":10079,"title":10080,"dynasty":76,"author":1947,"museum":78,"description":1948,"tags":10081,"thumbUrl":10082,"material":123,"size":139,"collection":139,"collections":10083,"showCount":10023,"zanCount":48,"manualWeight":48,"mainColor":94},214610,"hong-lou-meng-ren-wu-ce-ye-2-yu-lan-214610","红楼梦人物册页-2",[7,27,28,81,178,86,104,175,242,106,59,109,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f5029b6dd2fd7aaf133fd9faf6ce40.jpg",[],{"id":10085,"slug":10086,"title":10087,"dynasty":18,"author":10088,"museum":364,"description":10089,"tags":10090,"thumbUrl":10091,"material":743,"size":744,"collection":139,"collections":10092,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":49},287569,"jiang-shan-lou-guan-tu-gao-qing-ban-yan-wen-gui-287569","江山楼观图（高清版）","燕文贵","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[23,209,7,24,25,173,29,649,1247,37,107,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c0dcc60066b1e64a74cc691d005bae.jpg",[],179,{"id":10095,"slug":10096,"title":10097,"dynasty":76,"author":293,"museum":20,"description":2991,"tags":10098,"thumbUrl":10099,"material":40,"size":854,"collection":139,"collections":10100,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":49},236172,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236172","雍正十二月行乐图轴",[7,28,104,27,29,106,107,34,490,115,313,176,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a7368abaea9d15bd4eedf67eb66b.jpg",[],{"id":10102,"slug":10103,"title":10104,"dynasty":204,"author":10105,"museum":206,"description":10106,"tags":10107,"thumbUrl":10109,"material":139,"size":139,"collection":139,"collections":10110,"showCount":10093,"zanCount":1547,"manualWeight":48,"mainColor":49},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,209,7,24,25,27,28,7742,1015,2522,174,1351,109,106,2125,2219,10108,1016,33,367],"初雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],{"id":10112,"slug":10113,"title":10114,"dynasty":76,"author":5208,"museum":1806,"description":10115,"tags":10116,"thumbUrl":10117,"material":803,"size":10118,"collection":181,"collections":10119,"showCount":10093,"zanCount":5,"manualWeight":48,"mainColor":49},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[23,7,209,25,173,177,29,649,650,34,558,37,174,5066,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[181,163],{"id":10121,"slug":10122,"title":10123,"dynasty":18,"author":2856,"museum":78,"description":10124,"tags":10125,"thumbUrl":10126,"material":665,"size":10127,"collection":42,"collections":10128,"showCount":10093,"zanCount":1270,"manualWeight":48,"mainColor":49},221596,"xue-shu-han-qin-tu-li-di-221596","雪树寒禽图","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。\n此图绘写寒气凛冽的深冬，天空中飘扬着霏霏絮雪，山野坡地上一枝落尽残叶的棘树在寒风中挺立。一丛修篁傍树而生，积雪的竹叶依然清翠晶亮。在这冷寂的雪天里，一只孤单的伯劳鸟，似乎倦于飞翔，在这里暂且栖息，它安详地停立在枝头上。凝视着微茫的雪色",[23,7,209,24,241,28,27,2124,1015,224,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1115e9ff920959c5d8924f9a138d9fa.jpg","纵115.7厘米，纵52.8厘米",[42,90,45],{"id":10130,"slug":10131,"title":10132,"dynasty":18,"author":4159,"museum":206,"description":10133,"tags":10134,"thumbUrl":10135,"material":827,"size":10136,"collection":42,"collections":10137,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":49},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,209,7,24,25,105,104,28,27,29,107,108,109,174,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[42,181,163],{"id":10139,"slug":10140,"title":10141,"dynasty":1095,"author":1096,"museum":3003,"description":10142,"tags":10143,"thumbUrl":10145,"material":3008,"size":139,"collection":139,"collections":10146,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":94},220588,"shu-cai-he-san-zhong-kun-chong-qi-bai-shi-220588","蔬菜和三种昆虫","以大写意挥毫白菜，浓墨铺陈菜叶，枯湿浓淡间尽显舒展之姿，朴拙厚重藏着清新生气，寥寥数笔便写出白菜的莹润鲜活。朱红辣椒点缀，艳色跳脱墨色，冷暖撞色生出明快野趣。\n\n工笔草虫细致入微，蜻蜓薄翼通透纤毫毕现，鸣虫灵动宛似欲振翅低吟，将草野生机凝于尺幅。题字苍劲老辣，书画印浑然相融，将田家寻常蔬食化为清趣盎然的雅境，以烟火日常寄寓冲淡天真的意趣，把乡野小景晕染成饱含诗意的鲜活画卷，尽显雅俗共赏的笔墨情致。",[23,7,173,27,446,28,241,86,227,5768,10144,800,2315],"辣椒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02273d02cbd82e57c1882fb536b59302.jpg",[],{"id":10148,"slug":10149,"title":10150,"dynasty":18,"author":1650,"museum":206,"description":10151,"tags":10152,"thumbUrl":10155,"material":123,"size":10156,"collection":90,"collections":10157,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":94},219203,"mei-zhu-shan-zhi-tu-ma-yuan-219203","梅竹山雉图","此图突出一个“简”，着墨甚少，然而笔精墨妙。图中梅树一棵，翠竹一枝，孤石一块，以简练的笔法画之，虽梅枝不多，怒张而有放射之态；翠竹柔姿与梅媲美；作者以浓墨大斧劈及丁头鼠尾画法相结合，石块质坚、方硬。只有图中的山雉，作者用笔精练，神彩俱牛，雄雉身上的背羽部分黑斑点，在银光闪烁的白羽上更黑更突出红脸上的黑眼，显得很有神态，黑颈白肚中夹着红色的胸羽，是画面中最能令人注目的视点。一只小小雌雉依偎在旁，更显雄者的威武，虽只有这一对雉，却使画面点缀得有声有色。",[23,7,209,24,1562,27,28,173,177,242,448,10153,245,10154,83],"山雉","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eef8b55514c8cfe1d3ed17f0508b497.jpg","纵24.1厘米，横25.2厘米",[90,42],{"id":10159,"slug":10160,"title":10161,"dynasty":99,"author":293,"museum":752,"description":10162,"tags":10163,"thumbUrl":10165,"material":123,"size":10166,"collection":44,"collections":10167,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":49},218294,"xiang-long-luo-han-tu-yi-ming-218294","降龙罗汉图","罗汉袒胸盘坐，红衣如焰翻卷，青带若云流转，神情从容间藏着威严。手中钵盂盛翠，似凝天地生机；法杖拄地，顶轮熠熠，似镇世间妄念。足下蛟龙蜷身，鳞爪毕现却温顺俯首，龙须轻摆仍余灵动，尽显降伏之态。背景幽岩深暗，衬出主体鲜活。线条劲健流畅，衣纹褶皱如行云流水；设色浓淡相宜，红与蓝的碰撞点亮画面。整作将罗汉法力无边与慈悲相济凝于笔端，龙的驯服更显佛法庄严，尽显明代佛画的精湛造诣与精神内核，观之令人心生敬畏与宁静。",[7,259,106,502,27,28,241,176,10164],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bcc5483184976244b0b04126d77aa8.jpg","172.2x109.2",[44],{"id":10169,"slug":10170,"title":10171,"dynasty":189,"author":487,"museum":132,"description":10172,"tags":10173,"thumbUrl":10174,"material":88,"size":10175,"collection":181,"collections":10176,"showCount":10093,"zanCount":48,"manualWeight":48,"mainColor":49},218024,"zhi-chuan-yi-ju-tu-wang-meng-218024","稚川移居图","《稚川移居图》为立轴，设色纸本。描绘了东晋葛洪携带家眷移居罗浮山，修道炼丹的故事。罗浮山位于今天广东省博罗县境内。葛洪，字稚川，号抱朴子，东晋道教学者、著名炼丹家。画中骑在牛背上的葛洪，身穿道袍，神情专注于手中的书卷，边走边看，全然不顾随他同行的家人。他身后，妻子和两个孩子同骑在牛背上，小的抱在怀里，大的坐在身后。随葛洪夫妇一起移居的，还有他的仆人们，他们或提着鸡笼，或牵着牛羊，或挑担负重，把生活必备之物搬运到山上。一路崇山峻岭，飞瀑流泉，几间茅草屋掩映在深山之中，屋前的庭院里，先行到达的仆人，在打扫庭院，迎候主人的到来。画面非常有感染力。",[7,24,1397,241,27,177,29,106,150,34,650,35,900,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1563a446791d46548d1f313e5337c941.jpg","120x54cm",[181],{"id":10178,"slug":10179,"title":10180,"dynasty":99,"author":1296,"museum":206,"description":10181,"tags":10182,"thumbUrl":10184,"material":88,"size":10185,"collection":90,"collections":10186,"showCount":10187,"zanCount":1270,"manualWeight":48,"mainColor":94},219468,"pan-tao-tu-xiang-sheng-mo-219468","蟠桃图","这帧折枝蟠桃，老干自上而下蜿蜒伸展，皴擦点苔尽显苍古拙朴。仙桃晕染柔润清妍，粉白底色过渡自然，桃尖晕开胭脂红，饱满鲜活似凝着晨露，恍若可触其清甜。叶片舒展有致，色泽分染出深浅层次，清雅秀逸。\n\n题诗与绘境相得益彰，书画合璧添文韵，鉴藏朱印错落排布，晕开古雅氛围。整作不尚浓艳，以写实笔触勾勒出仙桃灵秀清润，将蟠桃延寿的祥瑞寓意融于淡冶笔墨之中，尽显明代文人画雅致隽秀的意趣风骨，是文气与赏玩性兼具的小品佳制。",[7,241,27,28,10183,711,225,227],"桃树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88cbc4a96a4d38d9e8c7a095345af2a.jpg","111.3x31.4厘米",[90],178,{"id":10189,"slug":10190,"title":10191,"dynasty":18,"author":293,"museum":206,"description":10192,"tags":10193,"thumbUrl":10194,"material":123,"size":10195,"collection":45,"collections":10196,"showCount":10187,"zanCount":1356,"manualWeight":48,"mainColor":49},219187,"hua-wang-tu-yi-ming-219187","花王图","深红牡丹层叠如绮，凝脂染霞般盛放，花叶脉络分明，翠色欲滴。彩蝶翩跹其间，或停驻瓣尖，或振翅穿叶，灵动如生。下方拳石皴法古拙，纹理苍劲，与柔艳花簇相映成趣。笔墨工致却不刻板，设色浓妍而不失清雅，于绚烂中藏静穆，富贵气里透逸韵。一花一叶皆含生机，蝶影石姿俱见匠心，尽显宋代花鸟画状物传神之妙，仿佛能闻暗香浮动，触花叶温润，堪称工笔花鸟的典范之作。",[23,7,209,24,241,28,27,83,327,604,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e51ff66eaeeb48311a78d2dc98d048e.jpg","117.2x72.3公分",[45],{"id":10198,"slug":10199,"title":10200,"dynasty":18,"author":3103,"museum":206,"description":10201,"tags":10202,"thumbUrl":10203,"material":123,"size":10204,"collection":44,"collections":10205,"showCount":10187,"zanCount":5,"manualWeight":48,"mainColor":49},216969,"yu-wang-kai-shan-tu-juan-zhao-bo-ju-216969","禹王开山图卷","赵伯驹，是中国宋代画家。他的作品《禹王开山图卷》是一幅著名的山水画，是他最著名的作品之一。\n\n《禹王开山图卷》画中描绘的是禹王开山垦沼的故事，以及禹王统治时期的生活和文化。画面上的人物和建筑都极具细致和生动，山水风光也非常优美。\n\n赵伯驹的画风风格独特，他擅长用细腻的线条勾勒出各种题材，并运用浓淡自然的墨色，使画面充满生机和活力。《禹王开山图卷》是宋代著名的山水画之一，被视为赵伯驹的代表作。",[209,7,24,25,26,27,28,177,29,106,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ff12f946a0ce4f72da37bbe835ca4f7.jpg","35x221.1",[44],{"id":10207,"slug":10208,"title":10209,"dynasty":76,"author":707,"museum":206,"description":708,"tags":10210,"thumbUrl":10211,"materi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“大叶长梢动冕旒”，以深墨为面，淡墨为背，正是源自文同。（米芾曾言：“……（画竹）以深墨为面，淡墨为背，自文同始。”）再加上劲健的小枝穿插其间，使丛竹于庄重、淳厚之中显示出活脱的生韵。",[23,7,24,173,241,242,245,227,86,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d0dc87b7672540a9fb1c0aaa1a8915.jpg","纵132.8cm，横58.5cm",[163,2293],{"id":10242,"slug":10243,"title":10244,"dynasty":18,"author":7349,"museum":1985,"description":10245,"tags":10246,"thumbUrl":10248,"material":803,"size":10249,"collection":42,"collections":10250,"showCount":10221,"zanCount":1270,"manualWeight":48,"mainColor":94},221605,"tai-bai-xing-yin-tu-liang-kai-221605","太白行吟图","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 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14.2公分。",[42,45],{"id":10262,"slug":10263,"title":10264,"dynasty":189,"author":1672,"museum":206,"description":10265,"tags":10266,"thumbUrl":10267,"material":827,"size":10268,"collection":181,"collections":10269,"showCount":10221,"zanCount":48,"manualWeight":48,"mainColor":94},220790,"zi-zhi-shan-fang-tu-zhou-ni-zan-220790","紫芝山房图轴","《元倪瓒紫芝山房图轴》是元末明初画家倪瓒所创作，水墨画河岸、疏树、竹林和小亭，对岸山峦起伏，构图简洁，具清逸萧疏之趣。此幅墨色淡雅，现藏于台北故宫博物院。\n《元倪瓒紫芝山房图轴》侧笔写山石轮廓，苍劲沉着，画竹之笔尤为遒劲有力，是云林精品。",[7,24,241,173,1397,177,245,175,242,430,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","80.5x34.8",[181,163],{"id":10271,"slug":10272,"title":10273,"dynasty":18,"author":293,"museum":206,"description":10274,"tags":10275,"thumbUrl":10276,"material":123,"size":139,"collection":42,"collections":10277,"showCount":10221,"zanCount":1547,"manualWeight":48,"mainColor":49},218967,"la-mei-han-qin-tu-yi-ming-218967","腊梅寒禽图","寒汀疏影里，腊梅枝桠斜逸，点点白花似凝着清霜，在冷寂中透出淡香。岸畔山茶红萼灼灼，与枯瘦的梅枝相映，暖了一帧冬景。两只水禽悠游浅波，羽色素净，颈间一抹白如落雪，姿态闲逸得像在细品风的轻语。远处山影淡如烟岚，天际归鸟三两，更衬出天地的旷远。\n\n笔墨细腻却不刻意，草木的情态、水禽的姿态皆得自然之趣。宋人的心境藏在这帧画里：于寻常冬景中撷取宁静与生机，让清寂时光浸着温润诗意——没有浓墨重彩的渲染，却以极简的笔触，将冬的清寒与生命的从容，凝成了可触摸的温润。",[23,209,7,24,28,27,83,448,4414,245,490,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a6138737b9901f57872732e5659ef9.jpg",[42,90],{"id":10279,"slug":10280,"title":10281,"dynasty":18,"author":293,"museum":364,"description":10282,"tags":10283,"thumbUrl":10284,"material":743,"size":744,"collection":139,"collections":10285,"showCount":10286,"zanCount":48,"manualWeight":48,"mainColor":94},269050,"ke-si-zhao-ji-hua-niao-fang-zhou-yi-ming-269050","缂丝赵佶花鸟方轴","此作将缂丝工艺与文人意趣相融，下方织就清逸花鸟景致：靛蓝雀鸟栖于茶花枝上，翎毛纤毫毕现，灵动如生。浅粉茶花或盛放或含苞，嫩梢抽芽点缀枝间，粉蝶翩跹萦绕，晕开春日柔婉生机，写实细腻里暗藏温婉诗意。上方瘦金题笔秀挺劲健，诗画呼应，尽显宋代内敛雅致的审美意韵，静赏之间，可窥见宋时风物里的隽永雅致。",[7,1629,83,241,27,281,84,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5ebf148360aefe44bdffc6be5ec38f.jpg",[],176,{"id":10288,"slug":10289,"title":10290,"dynasty":54,"author":255,"museum":364,"description":6212,"tags":10291,"thumbUrl":10293,"material":10294,"size":10295,"collection":44,"collections":10296,"showCount":10286,"zanCount":5,"manualWeight":48,"mainColor":49},221112,"xie-yi-guan-yin-xiang-wu-dao-zi-221112","写意观音像",[7,259,106,260,7155,241,10292],"吴带当风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76df8acb5d86ef3de96d8dfef46cb63e.jpg","拓片","68x31厘米",[44],{"id":10298,"slug":10299,"title":10300,"dynasty":1095,"author":10301,"museum":2336,"description":10302,"tags":10303,"thumbUrl":10305,"material":139,"size":139,"collection":139,"collections":10306,"showCount":10286,"zanCount":5,"manualWeight":48,"mainColor":94},220488,"zhang-da-qian-yu-fei-yin-wang-xue-tao-he-zuo-he-tang-qing-qu-tu-wang-xue-tao-220488","张大千、于非誾、王雪涛合作荷塘清趣图","王雪涛","此作为三家合璧之妙品，以泼墨晕染荷叶，浓淡交织晕开雨后荷塘的氤氲水气，苍润淋漓间尽显池夏清寂雅致。白荷亭亭玉立，带着初经雨洗的舒展柔润，暗吐幽芳。\n上空红蜓振翅悬停，池边青蛙轻跃欲起，草叶间小蜻蜓静立，将初夏荷塘的鲜活生机悄然铺陈。书画相映成趣，题句点透菡萏初发的诗意。\n写意与工笔相融，泼墨的疏朗大气搭配草虫的工致鲜活，把荷塘的幽趣揉入笔墨，静中生灵韵，雅淡见天然，尽显文人意趣与写生妙谛。",[23,7,24,241,27,173,83,243,136,800,10304,137,367,446],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7972b04f6b3a1e7149a7f2c832b57a2.jpg",[],{"id":10308,"slug":10309,"title":10310,"dynasty":99,"author":1572,"museum":206,"description":10311,"tags":10312,"thumbUrl":10313,"material":342,"size":10314,"collection":181,"collections":10315,"showCount":10286,"zanCount":1356,"manualWeight":48,"mainColor":94},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[7,24,241,173,27,29,106,175,109,34,176,227,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[181],{"id":10317,"slug":10318,"title":10319,"dynasty":76,"author":10320,"museum":752,"description":10321,"tags":10322,"thumbUrl":10324,"material":88,"size":10325,"collection":45,"collections":10326,"showCount":10286,"zanCount":1547,"manualWeight":48,"mainColor":49},219264,"jin-ding-he-mei-tu-gai-qi-219264","金鼎和美图","改琦","画面中仕女群像情态和融，居中者衣袂温婉，手持细物若有所思；旁侧侍女或捧壶侍立，或举灯相照，姿态轻柔。案上金鼎、茶具雅致，衬出闺阁的娴静。线条细劲如丝，衣纹飘逸灵动，设色温润淡雅，发髻钗饰精巧入微。人物间互动自然，暖意融融，将日常闺中场景绘成一幅清丽雅致的和美图卷，尽显清代仕女画的秀逸韵致。",[23,7,24,241,28,27,106,59,10323,505,244,2950],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9eae989c0fdce3e7f5b0ecf0ef7bb.jpg","190 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cm",[45],{"id":10328,"slug":10329,"title":10330,"dynasty":76,"author":10331,"museum":539,"description":10332,"tags":10333,"thumbUrl":10334,"material":123,"size":139,"collection":90,"collections":10335,"showCount":10286,"zanCount":1547,"manualWeight":48,"mainColor":49},219033,"mao-tu-ying-zhao-219033","猫图","应召","蜷坐的花猫毛色斑斓，黑褐与橘白交织晕染，绒毛质感蓬松柔软。它回眸的瞬间，瞳仁如墨点般清亮，双耳微竖，似正留意周遭动静。淡赭色的背景上，散落着几枚浅墨点染的细石，简淡中见意趣。画家以细腻笔触捕捉猫的慵懒与机警，线条温婉却不失骨力，色彩雅致而富有层次。画面留白处更显空灵，虽无繁复布景，却于极简中藏生机，仿佛能感受到猫的呼吸与轻缓的尾摆，尽显写生之妙与文人画的雅致意韵。",[23,7,24,241,27,28,956,957,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d01ae3c172c6d7532860b25005a89da.jpg",[90],{"id":10337,"slug":10338,"title":10339,"dynasty":18,"author":10340,"museum":752,"description":10341,"tags":10342,"thumbUrl":10343,"material":123,"size":10344,"collection":181,"collections":10345,"showCount":10286,"zanCount":5,"manualWeight":48,"mainColor":49},214518,"ba-qiao-feng-xue-tu-wu-jun-chen-214518","灞桥风雪图","吴俊臣","这幅画描绘了一位身穿朱衣的老人在风雪中骑着驴子的情景。画的右上角的沟壑似乎暗示了行人的方向。这幅画的主要部分是一个突兀的岩石坡，有一些水墨。岩石都是用小斧头凿出来的，笔触犀利清晰，类似于王履的《华山图册》。这幅画也很受宋朝人的欢迎，画中的山峦起伏，山峰高耸。虽然这幅画没有标记，但它是明代山水画的杰作。",[7,209,241,173,177,29,108,150,106,1015,1575,176,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d557b70cd8249aa75223779299161f7.jpg","191x94.4",[181],{"id":10347,"slug":10348,"title":10349,"dynasty":18,"author":293,"museum":364,"description":10350,"tags":10351,"thumbUrl":10352,"material":139,"size":139,"collection":139,"collections":10353,"showCount":10354,"zanCount":1270,"manualWeight":48,"mainColor":271},227904,"bi-tao-tu-ye-yi-ming-227904","碧桃图页","《碧桃图》是宋代佚名画家创作的一幅绢本设色画，现藏于北京故宫博物院。\n该图绘碧桃两枝，枝上的碧桃花有的吐露盛开，有的含苞欲放。\n花瓣用细笔勾描后多层晕染，富有层次变化和立体感。\n全图用笔精细，设色淡雅，画面虽小，意趣无穷。\n在纨扇面上画红白碧桃两枝，枝上的桃花有的吐露盛开，有的含苞欲放，其花蕾、枝叶互相穿插其间，争奇斗艳，竞相怒放。\n左枝挺干盛开，右枝则斜向争艳，从这两枝繁花簇簇，苞蕾盈枝的描绘中，清香宜人的花味如绢中溢出，感到了春色的浓郁，花木葱郁茂盛的欣欣向荣气象呈现在眼前。\n本幅有：“于”“腾”联珠白文、“阿蒙精赏”朱文。\n宋代的花鸟画，在皇室的倡导下，已发展到了黄金时期。\n对客观物象的观察和描绘已丝丝入微，重“格物、穷理”已成为那一时期花鸟画坛的时尚，花鸟册页是其中的代表。\n该图是散页，已无从查考出处，观其画风，应是南宋初院人作品，是南宋写生作品，画面无款。\n宋人画风崇尚真实自然，在真实中求得词一般的境界。\n该图描绘的是一派春意盎然的景象，表现的是一红一白两枝桃花相互交错，花朵饱满丰盈，枝叶葱郁。\n该图没有繁杂的布势表现，但通过对花、叶、枝及嫩芽的精微生动的描绘，着实传达出春花怒放、春日融融的情意感觉。\n其中，尤以那层层叠叠的花瓣最引人注目，且每个花朵的形态走向各有差异，可以说无论是花朵的局部表现，还是整体的布势都是精彩的。\n该图构图简洁，在许多方面都留有写生的痕迹，比如，花瓣的开合、叶子的正反、刚出的嫩芽等表现，无不鲜活入微。\n然而，这种生活化的写生表现，确丝毫没有影响画家依照情意处理画面平面空间分割的意图。\n可能正是由于这种生活中形状的刺激，使得作者在画面的平面分割中，才采用了扇形分割，扇形成为作品中形状的主基调。\n作品从整体画面的团扇形到每一簇花朵，乃至每一簇叶子都呈各自不同的扇形分割，在这个分割中扇形可谓是变化至极。\n这种扇形能够给人以渐展、开阔的生发感觉，这就吻合了作品的情意内容，即由弱到强的春季桃花的生命气象。\n该图艺术精湛，花枝、花茎、花叶全用双勾。\n勾线细秀，赋色轻清。\n其中花瓣用细笔勾描后多层晕染。\n花叶的筋脉一丝不苟，丝丝入扣，有水分的质感，桃干的勾线，顿挫转折，笔笔中锋，凝重而空灵，富有层次变化和立体感。\n中国美术研究所研究员梁济海：这幅画在艺术手法上与《出水芙蓉》不一样，花枝茎叶全用双勾，不过用笔极为轻细，傅色也很淡雅，碧桃的丰盈、柔嫩和姣好的姿容，形成一种素雅的艺术格调。\n由本幅鉴藏印可知，该图曾经清代鉴藏家于腾收藏，经《中国古代书画目录》第二册著录。\n现藏于北京故宫博物院。",[23,209,7,24,81,27,28,83,279,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492d139f03f73b41512b3e28ecc1aab5.jpg",[],175,{"id":10356,"slug":10357,"title":10358,"dynasty":390,"author":391,"museum":364,"description":10359,"tags":10360,"thumbUrl":10361,"material":139,"size":139,"collection":139,"collections":10362,"showCount":10354,"zanCount":1356,"manualWeight":48,"mainColor":49},227037,"song-mo-ben-chuan-lie-nv-ren-zhi-tu-juan-gu-kai-zhi-227037","宋摹本 传 列女仁智图卷","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[23,209,7,24,25,260,105,106,150,154,227,86,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],{"id":10364,"slug":10365,"title":10366,"dynasty":18,"author":887,"museum":20,"description":10367,"tags":10368,"thumbUrl":10369,"material":803,"size":10370,"collection":382,"collections":10371,"showCount":10354,"zanCount":48,"manualWeight":48,"mainColor":94},221310,"zhi-ping-tie-su-shi-221310","治平帖","释文：\n轼启：久别思念不忘，远想体中佳胜，法眷各无恙。佛阁必已成就，焚修不易。数年念经，度得几人徒弟。应师仍在思蒙住院，如何？略望示及。石头桥、堋头两处坟茔，必烦照管。程六小心否，惟频与提举是要。非久求蜀中一郡归去，相见未间，惟保爱之，不宣。轼手启上。治平史院主、徐大师二大士侍者。八月十八日。\n卷末有赵孟頫、文徵明、王穉登题跋。鉴藏印有“商丘宋荦审定真迹”、“吴江张基德载图书”二方。本卷引首有明人所画苏轼像及释东皋妙声所书《东坡先生像赞》。\n此帖是苏轼书写的信札，内容主要是委托乡僧照管坟茔之事。根据帖后赵孟頫、文徵明、王穉登三人之跋可知，此帖当是苏轼于北宋熙宁年间在京师时所作，时年约30余岁。该帖笔法精细，字体遒媚，与苏轼早年书法特征吻合，正如赵孟頫所称“字划风流韵胜”。\n《平生壮观》卷二、《装余偶记》卷二、《盛京书画录》第二册著录。",[23,209,7,24,25,178,260,106,227,3790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9babc75fc8a45145c2cd4c01861509d.jpg","纵29.2厘米，横45.2厘米",[382],{"id":10373,"slug":10374,"title":10375,"dynasty":76,"author":10376,"museum":101,"description":10377,"tags":10378,"thumbUrl":10381,"material":123,"size":10382,"collection":44,"collections":10383,"showCount":10354,"zanCount":1356,"manualWeight":48,"mainColor":49},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,7,25,28,27,177,29,106,107,108,109,175,34,10379,10380,119,150,31,649,37],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[44,181],{"id":10385,"slug":10386,"title":10387,"dynasty":189,"author":351,"museum":132,"description":10388,"tags":10389,"thumbUrl":10390,"material":123,"size":139,"collection":90,"collections":10391,"showCount":10354,"zanCount":1547,"manualWeight":48,"mainColor":49},219186,"fu-rong-yuan-yang-tu-qian-xuan-219186","芙蓉鸳鸯图","芙蓉枝蔓自右上垂落，花叶丰腴，白瓣晕染淡红，似含晨露。一对鸳鸯相倚岸汀，羽色层次分明，红喙翠翎与素白绒羽相映，姿态亲昵如诉温情。画面设色温润雅致，绢本底色衬出古雅意蕴，笔墨工细却不刻板，于静谧中藏生机，尽显自然之美与缱绻意趣。枝间花叶错落有致，岸畔草石点缀生姿，整体构图虚实相生，将禽鸟的亲昵与花木的清妍融于一体，传递出恬淡悠然的古典情韵。",[23,209,7,28,27,83,450,2555,245,225,5491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226d4750da5198d9248ca7382ce9bb70.jpg",[90,45],{"id":10393,"slug":10394,"title":10395,"dynasty":18,"author":1650,"museum":7875,"description":10396,"tags":10397,"thumbUrl":10398,"material":123,"size":10399,"collection":44,"collections":10400,"showCount":10354,"zanCount":5,"manualWeight":48,"mainColor":49},218409,"yu-le-tu-ma-yuan-218409","渔乐图","山石以斧劈皴斫出棱线，苍松虬枝斜探，似要牵住远山的雾影。水面留白如镜，载一扁舟静泊，船篷半掩着渔获的细碎声响。近岸处两渔者对坐，或执竿轻叩地面，或捧物低语，衣袂随微风舒展，满是江湖散淡的意趣。\n\n马远以“一角”之景框定天地，却让渔樵的闲逸漫出画外——没有庙堂的车马喧，只有松风穿叶、水波轻漾的自在。笔墨简劲却藏着温软，将宋人的雅致与山野的旷达揉作一处：你看那渔者的笑纹，似能触到日光的暖；那松枝的弧度，恰如心尖的舒展。叫观者也想随这舟子，枕着松涛入眠，把尘事都忘在烟水之外。",[7,209,24,173,177,29,106,174,1575,491,5243,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c4fbdc76e30016d94462c310d63003.jpg","218.2x148",[44],{"id":10402,"slug":10403,"title":10404,"dynasty":189,"author":5444,"museum":78,"description":10405,"tags":10406,"thumbUrl":10407,"material":123,"size":10408,"collection":181,"collections":10409,"showCount":10354,"zanCount":1270,"manualWeight":48,"mainColor":49},218240,"qiu-jiang-chui-diao-tu-sheng-mao-218240","秋江垂钓图","秋江如练，薄雾轻笼远岫，山峦以赭石与青绿晕染，层次叠嶂间透着古雅。苍树虬枝斜倚江畔，枝干间点点残叶暗合秋意，笔墨工致中见清逸，线条勾勒树石之态兼具刚柔。江畔隐者抱膝而坐，垂纶于澄江之上，身影与秋水长天相融，似已忘尘。右侧茅舍旁，一樵者负薪而过，添得江野生趣。整幅画静谧悠远，将元代文人的林泉之志凝于尺幅，笔墨间流淌着清寂与悠然，引人沉醉于这秋江垂钓的闲逸之境。",[7,24,29,27,26,177,106,109,174,1351,1016,394,1653,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60dc44d3fbd45554e56a94f4390b8090.jpg","21.6x22.6cm",[181],{"id":10411,"slug":10412,"title":10413,"dynasty":99,"author":293,"museum":3537,"description":10414,"tags":10415,"thumbUrl":10417,"material":88,"size":10418,"collection":181,"collections":10419,"showCount":10354,"zanCount":5,"manualWeight":48,"mainColor":49},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[209,7,24,25,29,173,177,105,1575,174,491,10416,1444,34,33,1255,37],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[181],{"id":10421,"slug":10422,"title":10423,"dynasty":18,"author":293,"museum":752,"description":1306,"tags":10424,"thumbUrl":10425,"material":123,"size":10426,"collection":44,"collections":10427,"showCount":10354,"zanCount":48,"manualWeight":48,"mainColor":94},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[23,7,24,25,105,27,260,28,106,59,29,174,107,34,8147,176,5191,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[44],{"id":10429,"slug":10430,"title":10431,"dynasty":99,"author":337,"museum":206,"description":10432,"tags":10433,"thumbUrl":10434,"material":342,"size":10435,"collection":181,"collections":10436,"showCount":10354,"zanCount":1356,"manualWeight":48,"mainColor":49},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[23,7,24,241,173,177,29,34,558,560,920,1575,491,37,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[181],{"id":10438,"slug":10439,"title":10440,"dynasty":18,"author":293,"museum":578,"description":10441,"tags":10442,"thumbUrl":10444,"material":40,"size":10445,"collection":139,"collections":10446,"showCount":10447,"zanCount":1270,"manualWeight":48,"mainColor":94},223523,"li-hua-ying-wu-tu-yi-ming-223523","梨花鹦鹉图","画面上满是梨花，雪白的碎片，三种绿色，红顶红嘴鹦鹉站在树枝上，俯身闻着梨花的芬芳。 从技术上讲，梨花被涂成白色，茎是浅绿色； 鹦鹉是用每一根粗毛笔画出来的，丝绸蓬松，身体圆润，非常可爱！",[23,209,7,24,28,27,83,1640,10443,227],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58717acba13d2d5091e6b0c695bb5c0e.jpg","27.6x27.6cm",[],174,{"id":10449,"slug":10450,"title":10451,"dynasty":99,"author":1083,"museum":20,"description":10452,"tags":10453,"thumbUrl":10454,"material":40,"size":10455,"collection":44,"collections":10456,"showCount":10447,"zanCount":5,"manualWeight":48,"mainColor":49},221884,"xi-ying-tu-you-ming-tong-zi-li-fo-tu-chen-hong-shou-221884","戏婴图（又名童子礼佛图）","《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。",[23,7,28,27,106,245,244,259,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa41ef319564f201fad45f52a944993.jpg","纵150厘米，横67.3厘米",[44,45],{"id":10458,"slug":10459,"title":10460,"dynasty":54,"author":577,"museum":206,"description":10461,"tags":10462,"thumbUrl":10468,"material":317,"size":10469,"collection":44,"collections":10470,"showCount":10447,"zanCount":1356,"manualWeight":48,"mainColor":49},221066,"zhi-gong-tu-yan-li-ben-221066","职贡图","该画描绘的是唐太宗时，婆利国和罗刹国千里迢迢前来朝贡的情景。画中共有二十七人，其中白衣虬髯骑白马的人是罗刹国使者，身后有仆从打着伞执着扇，抬着礼物。左边穿长袍手里托着珊瑚打着伞盖的人是婆利国使者，他的随从也带着各式各样的礼物。整幅画设色淡雅，人物造型奇特，线条流畅自然。",[23,7,24,209,25,28,27,106,10463,150,4896,315,263,10464,10465,10466,505,10467],"异域人物","推车","随从","伞盖","行进场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e8b3405f3cc59b7a13648e7f06f67.jpg","纵61.5cm，横191.5cm",[44,45],{"id":10472,"slug":10473,"title":10474,"dynasty":76,"author":10475,"museum":515,"description":10476,"tags":10477,"thumbUrl":10479,"material":123,"size":10480,"collection":44,"collections":10481,"showCount":10447,"zanCount":1547,"manualWeight":48,"mainColor":49},220442,"chun-ye-yan-tao-li-yuan-tu-lv-huan-cheng-220442","春夜宴桃李园图","吕焕成","此图与吕焕成的传世作品《春山听阮图》（现藏旅顺博物馆）、《西溪图》（上海博物馆）的画法相类似，勾皴挺拔秀劲，人物生动细劲，意境幽深，既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n此幅绘李白春夜宴桃李园故事，人物刻画生动，桃园布置幽雅，桃树夭夭，灼灼其华，湖石玲珑，远山壮美。用笔细劲，敷色精诣，吕吉文做为清初吴门画派领军人物，此作名不虚传。",[23,7,24,241,28,27,106,29,279,431,10478,1959,430],"宴乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b1cce1cef029536624dbe6f4f8c3e5.jpg","199X96cm",[44,45],{"id":10483,"slug":10484,"title":6500,"dynasty":54,"author":3062,"museum":539,"description":10485,"tags":10486,"thumbUrl":10487,"material":123,"size":10488,"collection":181,"collections":10489,"showCount":10447,"zanCount":5,"manualWeight":48,"mainColor":1335},219766,"qing-lv-shan-shui-tu-li-si-xun-219766","李思训（651-716，一作653-718）唐代书画家。字建睍，一作建景。出身唐宗室。唐高祖从弟长平王李叔良孙，李孝斌子。陇西成纪(今甘肃天水市)人。唐高宗(650-683)时为江都令，武则天朝(684-704)弃官潜匿，唐中宗朝出为宗正卿，唐玄宗开元初，官至左武卫大将军，因玄宗时官至右武卫大将军，所以被称为“大李将军”。擅画青绿山水，受展子虔的影响，笔力遒劲。题材上多表现幽居之所。传为他的作品有台北故宫博物院藏的《江帆楼阁图》轴，画游人在江边活动，以细笔勾勒山石轮廓，赋重青绿色，富于装饰性。此画虽今被认定为宋人手笔，但可以反映他的画风。他的儿子李昭道，官至太子中舍人，也是著名的画家，人称“小李将军”，秉承家学，亦擅青绿山水，风格工巧繁缛。藏于台北故宫博物院的《明皇幸蜀图》画唐玄宗及随从逃难四川的情形，宋以来相传为他的作品，现被断为宋人摹本。此派的山水风格，在初唐的章怀太子墓和懿德太子墓壁画中亦可看到。",[23,209,7,24,241,26,27,28,104,29,107,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d907e9ba09310c5bbacf3e00fd591b.jpg","纵 60.70横34.50",[181],{"id":10491,"slug":10492,"title":10493,"dynasty":76,"author":10494,"museum":364,"description":10495,"tags":10496,"thumbUrl":10498,"material":139,"size":139,"collection":90,"collections":10499,"showCount":10500,"zanCount":5,"manualWeight":48,"mainColor":94},237149,"he-hua-yan-zi-zhou-wang-zhen-237149","荷花燕子轴","王震","此作为大写意花鸟佳作，淡墨晕染荷叶，留白衬出白荷莹润雅洁。荷茎瘦劲挺拔，枯墨点苔尽显苍古意趣。燕子栖于茎杆之上，以浓淡笔墨晕染羽翼，侧目远眺灵动有神，静穆之中暗涌生机。\n\n下方浓墨绘叶，丹色花串垂落，冷暖对比提亮画面层次。左上角题字笔力苍浑朴拙，书画相映成趣，兼具海派写意的纵肆洒脱，亦不失文人水墨的清雅意韵，于极简构图里铺陈夏日荷塘清寂，留白淡墨中尽显通透灵秀，平淡间藏满生机雅趣。",[7,24,241,83,173,27,446,136,10497,137,934,697],"燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b37c204f1cdc5992283504ca234ed3c.jpg",[90,45],172,{"id":10502,"slug":10503,"title":2235,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":10504,"thumbUrl":10505,"material":743,"size":744,"collection":90,"collections":10506,"showCount":10500,"zanCount":48,"manualWeight":48,"mainColor":94},235500,"za-hua-ce-zhu-da-235500",[7,24,81,173,243,136,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff29ff50245c3b93043a1ab132f67fec.jpg",[90,163],{"id":10508,"slug":10509,"title":10510,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":10513,"thumbUrl":10517,"material":67,"size":10518,"collection":139,"collections":10519,"showCount":10500,"zanCount":48,"manualWeight":48,"mainColor":94},230111,"hong-lou-meng-1-20-sun-wen-230111","红楼梦（1-20）","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[7,24,28,27,104,106,107,108,242,34,115,313,10514,10515,10516],"门窗","古装","衣饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a76bf1b00182a9d964a3d3a1dfb55de.jpg","纵43.3厘米、横76.5厘米",[],{"id":10521,"slug":10522,"title":10523,"dynasty":18,"author":1035,"museum":364,"description":10524,"tags":10525,"thumbUrl":10526,"material":139,"size":139,"collection":139,"collections":10527,"showCount":10500,"zanCount":48,"manualWeight":48,"mainColor":49},227690,"mo-long-tu-juan-chang-juan-chen-rong-227690","墨龙图卷(长卷)","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。",[23,209,7,25,173,502,1329,504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeade678f60985fee28594e370dca39b.jpg",[],{"id":10529,"slug":10530,"title":10531,"dynasty":76,"author":427,"museum":364,"description":10532,"tags":10533,"thumbUrl":10534,"material":665,"size":10535,"collection":139,"collections":10536,"showCount":10500,"zanCount":1547,"manualWeight":48,"mainColor":49},223160,"kong-que-yu-lan-mu-dan-tu-shen-quan-223160","孔雀玉兰牡丹图","沈铨（1682—1760）， 其画远师宋代黄家画派，近承明代吕纪，工写花卉翎毛，禽兽，设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画面注重写实，画风谨严工细，造型准确生动。",[23,209,7,24,368,28,27,83,312,417,327,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe434c61b051ad12a728a695b4c78c622.jpg","145×84cm",[],{"id":10538,"slug":10539,"title":10540,"dynasty":76,"author":9291,"museum":364,"description":10541,"tags":10542,"thumbUrl":10543,"material":10544,"size":10545,"collection":139,"collections":10546,"showCount":10500,"zanCount":48,"manualWeight":48,"mainColor":94},223091,"hua-niao-tu-li-zhou-ren-xun-223091","花鸟图立轴","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称三任，合任预为四任，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,368,7,24,241,28,27,83,10443,62,430,226,1461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea923f5fc4a6a88156616b48b14abb.jpg","立轴 纸本","128x34",[],{"id":10548,"slug":10549,"title":10550,"dynasty":189,"author":10551,"museum":20,"description":10552,"tags":10553,"thumbUrl":10554,"material":40,"size":10555,"collection":44,"collections":10556,"showCount":10500,"zanCount":1270,"manualWeight":48,"mainColor":49},221827,"long-gong-shui-fu-tu-zhu-yu-221827","龙宫水府图","朱玉","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。\n《石渠宝笈三编·乾清宫》著录。",[23,7,27,28,227,106,502,150,297,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d2e44d7f8f6c34cd2ea480ccffe619.jpg","纵45.6厘米，横43.3厘米",[44,45],{"id":10558,"slug":10559,"title":10560,"dynasty":18,"author":538,"museum":20,"description":10561,"tags":10562,"thumbUrl":10563,"material":803,"size":10564,"collection":382,"collections":10565,"showCount":10500,"zanCount":1270,"manualWeight":48,"mainColor":49},220393,"yan-shan-ming-mi-fei-220393","研山铭","《研山铭》与《虹县诗》用力稍过和《多景楼》的颇显急躁相比，此作以闲适纵逸的笔调显示出对所藏研山倍加珍重的得意与自信，点画如刀劈斧斫，气势如虹；粗者大笔如椽，几成块面，如“五、出、极、化”，细者劲似发条，弹槽欲出，如“怪、痕、震”。\n《研山铭》善于在正侧、偃仰、向背、转折、顿挫中形成飘逸超迈的气势、沉着痛快的风格。字的起笔往往颇重，到中间稍轻，遇到转折时提笔侧锋直转而下。捺笔的变化也很多，下笔的着重点有时在起笔，有时在落笔，有时却在一笔的中间，对于较长的横画还有一波三折。勾也富有特色。 侧倾的体势，欲左先右，欲扬先抑，都是为了增加跌宕跳跃的风姿、骏快飞扬的神气，以几十年集古字的浑厚功底作前提，故而出于天真自然，绝不矫揉造作。\n结字自由放达，信手天成，下笔挥洒纵横，跌宕多姿，不受前人羁勒，倾侧之中含稳重，一笔一划都融合在作品的整体精神之中，字字因势生形，字与字之间绝少连属，数字间没有明显的游丝映带，却能一气贯通，显得自然畅达。正是欹侧之势使上下、左右顾盼生情，险绝而生稳，收似欹反正之效。\n在章法布局上米芾借鉴运用了前人的技巧，打破局部的平稀和对称，并以向左倾斜流动的态势，形成一种行距间相互穿插的格局，在动态中求得总体的平衡。通篇时疏时穿，虚实相生，都在有意无意之间。从整体布局上看气象萧森，笔走龙蛇，在跳荡的表象之下，有浑然的整体存在，给人以强烈的对比感，通篇给人以强烈的音乐节奏感、韵律感。\n《研山铭》书体修长，且每个字长短都有变化，没有固定的尺寸，笔法遒媚，通观全篇，其笔迹竟无一处雷同，行中带草，笔势连绵，没有丝毫的飘忽之感，沉着稳重，并无粗涩横野，在圆转流美之中显示出恣肆烂漫、欹侧生姿的美韵",[23,209,7,24,25,178,173,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7374b1f0d39e9aa4bee66efe967e9999.jpg","纵36厘米，横136厘米",[382],{"id":10567,"slug":10568,"title":2152,"dynasty":99,"author":4904,"museum":206,"description":10569,"tags":10570,"thumbUrl":10571,"material":123,"size":139,"collection":90,"collections":10572,"showCount":10500,"zanCount":48,"manualWeight":48,"mainColor":49},219462,"hua-niao-tu-lu-zhi-219462","虬曲苍劲的老梅盘错伸展，柔粉新花缀满枝桠，垂拂的柳丝轻曳，晕开春日的软柔生机。两只白羽鹦鹉或栖或飞，姿态悠然闲适，绿羽鹦鹉俯身探向花枝，翠色翎毛鲜妍亮眼，鲜活灵动。\n\n画作兼取院体工致与文人雅意，墨笔勾勒梅骨古拙苍劲，禽鸟晕染细腻写实，设色柔丽雅致。将花木的清隽幽淡与禽鸟的鲜活灵韵相融，动静交织间，晕开春日独有的悠然闲情，尽显明丽雅致的花鸟意趣。",[7,24,28,27,83,224,10443,281,448,1062,62,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450a7cb42a9f747df8719efb27c47.jpg",[90],{"id":10574,"slug":10575,"title":10576,"dynasty":54,"author":3282,"museum":206,"description":10577,"tags":10578,"thumbUrl":10579,"material":67,"size":10580,"collection":181,"collections":10581,"showCount":10500,"zanCount":1547,"manualWeight":48,"mainColor":49},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,7,24,25,173,177,86,178,2124,29,1015,108,109,174,1351,175,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[181],{"id":10583,"slug":10584,"title":10585,"dynasty":18,"author":293,"museum":206,"description":10586,"tags":10587,"thumbUrl":10588,"material":123,"size":139,"collection":42,"collections":10589,"showCount":10500,"zanCount":5,"manualWeight":48,"mainColor":49},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[23,7,24,209,29,27,81,174,106,34,1410,297,6922,245,4663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[42,181],{"id":10591,"slug":10592,"title":1180,"dynasty":18,"author":10593,"museum":752,"description":10594,"tags":10595,"thumbUrl":10596,"material":123,"size":10597,"collection":44,"collections":10598,"showCount":10500,"zanCount":1547,"manualWeight":48,"mainColor":94},216922,"xiang-shan-jiu-lao-tu-ma-xing-zu-216922","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,209,7,25,28,27,106,242,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F695cadd81d87bdb7478f46096b1241a9.jpg","27.1x217.2",[44],{"id":10600,"slug":10601,"title":10602,"dynasty":76,"author":850,"museum":364,"description":10603,"tags":10604,"thumbUrl":10608,"material":743,"size":744,"collection":139,"collections":10609,"showCount":10610,"zanCount":1547,"manualWeight":48,"mainColor":49},290019,"qian-long-di-sui-chao-xing-le-tu-zhou-lang-shi-ning-290019","乾隆帝岁朝行乐图轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,7,241,27,28,104,106,107,115,3499,1575,448,2502,10605,10606,10607],"岁朝行乐","宫廷","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7cec0bd92f397ff05871378734d78.jpg",[],171,{"id":10612,"slug":10613,"title":10614,"dynasty":204,"author":2072,"museum":364,"description":10615,"tags":10616,"thumbUrl":10617,"material":139,"size":139,"collection":139,"collections":10618,"showCount":10610,"zanCount":510,"manualWeight":48,"mainColor":49},228384,"guan-wu-shi-nv-tu-zhou-wen-ju-228384","观舞仕女图","松奇石秀的庭院中，仕女们各尽其态，晕开一段闲雅深闺意趣。前景舞女立在红毡之上，扬袖振腕，身姿柔婉灵动，将舞蹈的曼妙尽致展现。侧旁侍女跪坐调鼓，应和节拍，另有仕女相携私语，目光流连。远景榻上仕女斜偎观舞，侍女垂手侍立身侧，尽显松弛慵闲。\n\n画作以铁线描勾勒衣袂裙裾，线条细劲流畅，设色古雅沉静，晕染柔和雅致，将仕女温婉娟秀的仪态，贵族深闺宴乐的慵懒柔靡尽数铺陈，把闺中日常的悠然意趣定格在古绢之上，尽显精工雅致的笔情墨韵。",[23,7,24,241,27,28,106,59,758,210,34,176,115,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba11e752bd59ac0714e9fc60eac044.jpg",[],{"id":10620,"slug":10621,"title":8841,"dynasty":76,"author":2083,"museum":364,"description":3135,"tags":10622,"thumbUrl":10623,"material":827,"size":139,"collection":90,"collections":10624,"showCount":10610,"zanCount":5,"manualWeight":48,"mainColor":94},223302,"zhu-shi-tu-zhou-zheng-ban-qiao-223302",[23,7,24,241,173,242,245,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f06ed11a80f23832798fc994366a211.jpg",[90,163],{"id":10626,"slug":10627,"title":10628,"dynasty":18,"author":1616,"museum":206,"description":10629,"tags":10630,"thumbUrl":10631,"material":381,"size":10632,"collection":42,"collections":10633,"showCount":10610,"zanCount":5,"manualWeight":48,"mainColor":49},220237,"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[23,7,24,209,29,106,245,1329,394,177,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[42],{"id":10635,"slug":10636,"title":10637,"dynasty":99,"author":170,"museum":1429,"description":1430,"tags":10638,"thumbUrl":10639,"material":803,"size":1434,"collection":139,"collections":10640,"showCount":10610,"zanCount":48,"manualWeight":48,"mainColor":94},220065,"hu-qiu-shi-er-jing-tu-ce-2-shen-zhou-220065","虎丘十二景图册-2",[23,7,173,177,81,104,29,107,175,106,34,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb0d3e152596b1384655b09d2103c65.jpg",[],{"id":10642,"slug":10643,"title":10644,"dynasty":18,"author":1650,"museum":206,"description":10645,"tags":10646,"thumbUrl":10647,"material":2398,"size":10648,"collection":42,"collections":10649,"showCount":10610,"zanCount":48,"manualWeight":48,"mainColor":94},218868,"he-gan-xu-ge-tu-ma-yuan-218868","河干虚阁图","这幅画描绘了一个站在河岸桂花树下的亭子，远处的柳树岸上有一个雕花的栅栏和一个月亮。这幅画在笔法和形式上都是马远的典型风格。",[23,7,1562,29,104,107,34,176,177,173,27,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78455ff7832d3c26e3468c39f388dd57.jpg","22.1x24.3",[42],{"id":10651,"slug":10652,"title":10653,"dynasty":99,"author":10654,"museum":206,"description":10655,"tags":10656,"thumbUrl":10657,"material":342,"size":10658,"collection":90,"collections":10659,"showCount":10610,"zanCount":5,"manualWeight":48,"mainColor":94},218849,"xing-hua-xi-que-tu-qian-gu-218849","杏花喜鹊图","钱谷","杏花开于春日，枝头上飞来一只喜鹊，寓有喜报春讯之意。画花写鸟之笔墨雅淡润厚，并有沈周文征明之遗韵。",[7,24,241,27,83,2972,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34acb04865ee01aff2df0f861c9af.jpg","116.6x34.3cm",[90],{"id":10661,"slug":10662,"title":10663,"dynasty":189,"author":190,"museum":10664,"description":10665,"tags":10666,"thumbUrl":10668,"material":88,"size":10669,"collection":181,"collections":10670,"showCount":10610,"zanCount":5,"manualWeight":48,"mainColor":49},218258,"shan-xi-fang-dai-tu-huang-gong-wang-218258","剡溪访戴图","云南省博物馆","《剡溪仿戴图轴》为黄公望晚年所作，描绘的是晋代著名书法家王羲之访问友人戴逵的故事。王羲之行船至剡溪，被途中雪景所吸引，一路慢行欣赏，在他将要到达目的地时，觉已尽兴，于是返回而未见友人。图中，蜿蜒溪水中有一叶小舟正使出村庄，小舟中坐有一人，拢袖御寒，船夫正用力划桨。\n整幅画面萧瑟寂冷，寒气逼人。画中山石、枯枝以“留白”的形式来表现被大雪覆盖，岩石上以浓墨点写枯树枝桠，更显萧瑟。山石堆叠，结构繁复，但用笔简洁，以淡墨为主，只在山石间的深凹处略加枯墨皴擦，空灵之感油然而生。山脚下庭院积雪，空无一人，更显寂寥。",[7,209,24,173,177,29,176,174,34,107,1015,2502,10667,464,560,2125,491,9050],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087820b95e4e9ded3f3d19b0cdb20388.jpg","76.6x55.3cm",[181],{"id":10672,"slug":10673,"title":10674,"dynasty":18,"author":10675,"museum":206,"description":10676,"tags":10677,"thumbUrl":10680,"material":123,"size":139,"collection":44,"collections":10681,"showCount":10610,"zanCount":1547,"manualWeight":48,"mainColor":49},216731,"wen-ji-gui-han-tu-chen-ju-zhong-216731","文姬归汉图","陈居中","旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,7,24,25,28,27,106,29,150,34,176,10678,4525,10679,5190,6921,3640],"旌旗","骑兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ccb7fb1bc626b0b7aa8fc314796013.jpg",[44],{"id":10683,"slug":10684,"title":10685,"dynasty":99,"author":170,"museum":20,"description":10686,"tags":10687,"thumbUrl":10688,"material":990,"size":10689,"collection":139,"collections":10690,"showCount":10691,"zanCount":5,"manualWeight":48,"mainColor":94},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[23,7,24,25,27,29,2939,177,178,86,864,297,175,34,176,920,1445,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],170,{"id":10693,"slug":10694,"title":10695,"dynasty":189,"author":351,"museum":364,"description":10696,"tags":10697,"thumbUrl":10698,"material":139,"size":139,"collection":139,"collections":10699,"showCount":10691,"zanCount":1270,"manualWeight":48,"mainColor":49},228020,"hua-lan-tu-ye-qian-xuan-228020","花篮图页","棕褐绢底晕开古雅底色，竹编花篮篾条交错，纹理写实朴拙，似可触手可感。篮中群芳错落排布，柔粉芍药舒展娇瓣，乳白月季凝含清韵，朱红小花点染亮色，碧色青叶俯仰生姿，花叶的阴阳向背层次分明。设色妍丽却不浓艳，工笔细绘暗含文人雅意，褪去刻板匠气，将折枝花卉的鲜活生机与花篮的质朴融于方寸之间，把秋日花篮的雅致鲜活定格绢上，晕染出静谧隽永的古典诗意，尽显幽淡雅致的审美意趣。",[23,7,209,27,28,83,62,244,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ef07ac91ee4d635310b37558cfb414.jpg",[],{"id":10701,"slug":10702,"title":10703,"dynasty":76,"author":1703,"museum":364,"description":10704,"tags":10705,"thumbUrl":10706,"material":803,"size":10707,"collection":90,"collections":10708,"showCount":10691,"zanCount":1547,"manualWeight":48,"mainColor":94},222707,"mei-hua-tu-li-zhou-jin-nong-222707","梅花图立轴","水墨绘梅树枝杆，中间淡墨皴染，外部浓墨晕染，粗壮遒劲；古梅细枝繁多，每一枝枝头皆花朵绽放，红色花朵娇艳欲滴，红花丛中绿叶渐渐长开，一个春天即将到来。",[23,7,24,241,173,27,448,226,840,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d44ddc3ccfb0f322631c48caa18fc7.jpg","61cmx33cm",[90,45],{"id":10710,"slug":10711,"title":10712,"dynasty":18,"author":781,"museum":1985,"description":10713,"tags":10714,"thumbUrl":10715,"material":5149,"size":10716,"collection":42,"collections":10717,"showCount":10691,"zanCount":1547,"manualWeight":48,"mainColor":49},221409,"wei-mo-ju-shi-xiang-li-gong-lin-221409","维摩居士像","李公麟（149～116），北宋舒州人（今安徽桐城人），宋代杰出画家。\n字伯时,号龙眠居士，(149-116)享年五十七岁。\n熙宁三年(公元17年)进士。\n李龙眠即李公麟，字伯时，安徽桐城人，因桐城有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n元符三年（11）病痹告老，居家乡桐城龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n李公麟做官三十年，也是他的艺术逐渐成熟，成为名画家的时期：这一时期也正是王安石变法失败，转入史称“朋党”之争的时期。\n李公麟和的关系很好，熙宁七年以后，王安石失势，退居，曾与李公麟同游，并赠诗四首，但同时，李公麟和反对王安石的等关系也很密切。\n李公麟和、、等人同是驸马家的座上客。\n他们在王诜家里的聚会曾被纪录在李公麟画的《》（现存各种摹本）中，米芾也为此写了一篇文章。\n他们十几个人在王诜家的花园中饮酒、作诗、写字画画、谈禅、论道等等。\n这是他们交游的第一个时期，是在苏轼被黜，离开汴梁去杭州作官以前。\n元丰二年（公元一○七九年）苏轼因作诗遭祸，陷入险境，王诜也被株连，据说李公麟在街上遇见苏家人，就以扇遮面，因而受到人们的讥笑。\n李公麟和等人第二次交游是在哲宗元祐年间，那时已经去世，正是旧党短期得势，而苏轼又恢复了自己的政治地位的时候，李公麟又画了第二幅《》。\n苏轼和的诗集中载多首赠诗和称赞他作品的诗。\n李公麟对于古代的美术修养极深。\n对古器物和古文字具有知识，曾摹绘古代的铜器并加以考订，他参加了整理皇家收藏的古器物的工作。\n他的父亲李虚一收藏古代画迹很多，他都进行临摹，并且也临摹了很多他人收藏的名迹。\n他保存了很多自己临摹前代名画的副本。\n他的绘画才能，首先表现 在他的题材的多样性上。\n他擅长鞍马、佛像、人物和。\n他在临摹古人名迹中掌握了绘画技法，而越出古人的技法。\n李公麟擅长画马和人物。\n他画的人物，据说能够从外貌上区别出“廊庙馆阁、山林、闾阎臧获、台舆皂隶”等社会各阶层人的特点，并能分别出地域和种族的具体特点，及动作表情的各种具体状态。\n他的艺术创造有生活现实性为基础，所以他敢于追求新的表现。\n他敢于突破前人的定式，画长带观音，飘带长过一身有半，还画过石上卧观音，这些都是他创造的新式样。\n他的创造性还表现 在他对题材的理解上，他画“观自在观音”，不是按照一般流行的坐相，他说“自在在心，不在相”，不必限制于某一固定的坐相，而是另创一种他认为能表现出心情自在的坐相。\n他画的“归去来辞”一诗把表现的重点放在正在思维中的神态上，不在一般化的描写田园松菊等自然风物，而注重描绘“临清流处”——发人深思的流水。\n李公麟画汉代的将军夺了胡人的马逃回来，在马上引弓瞄准追骑，箭锋所指，人马就应弦而倒。\n李公麟自己说，如果是旁人画就要画箭射中追骑了。\n可见李公麟很了解艺术的真实有别于生活的真实，表面上好象不合理，而能产生更强烈的艺术力量。\n他善画人物，尤工画马，称赞他：“龙眠胸中有千驷，不惟画肉兼画骨”。\n《》为其代表作。\n画中五匹大马，由五个人牵引，神采焕发，顾盼惊人。\n用笔简练，马的一举一动，极其细致生动地表现出骏马运动和性情的特征。\n他还发展了“”画法，创造出“扫支粉黛、淡毫清墨”，“不施，而光彩动人”。\n他的作品，保存下来的不多。\n除《》外，尚有《》《》《居士像》《十六小马图》《》《》《》《》《草堂图》《》《明皇演乐图》《农节图》《》《明皇醉归图》《》《汴桥会盟图》《白描罗汉图》《海会图》《》等。\n李公麟画了一幅六七个汉子围在桌旁赌博的《贤己图》，图中人物栩栩如生，其中有一个人伏在桌上，眼盯盆内的骰子，张嘴急呼，这时骰子转到“六”的位置上。\n元符三年（11）告老，居故乡桐城双溪，号龙眠居士。\n他好古博学，善鉴定。\n不仅能画人物鞍马、神仙佛道，也能画花鸟。\n他对传统绘画作过大量的临摹，同时重视写生，敢于独创。\n他的人物能从外貌上区别出身份、地域和性格特点。\n在画法上，他以著称。\n这种善用线描，多不设色的白描，造型准确，神态生动，这样就把传统的线描造型方法推进到一个新的水准。\n对其后代影响很大。\n他画的山水，亦有创格。\n工行、楷书，有晋、宋之风。\n后人论其作画“以立意在先，布置缘饰为次”。\n还长于考古。\n存世作品有《》《临苇偃牧放图》《九歌》《免胄图》《居士像》等图。\n《》，纸本浅设色，纵29.厘米，横22.5厘米。\n现为日本私人收藏。\n李公麟善于画马，“每欲画，必观群马，以尽其态”。\n《》就是李氏根据写生创作的。\n每匹马各有一人牵引。\n人、单线勾出比例准确，动作生动，清晰地表现出肌肉骨骼的结构，身体的重量感、软硬质感，乃至光泽印象，可代表他画的水准。\n尤见画中马匹、人物的生动神态，不愧为传世杰作。\n画后有跋。\n李公麟(149-116)，北宋著名画家。\n字伯时，号龙眠居士。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法 。\n李龙眠即李公麟，字伯时，祖籍舒州（今安徽桐城）， 桐城北乡龙眠山，李公麟归隐于山下，所以又自号龙眠居士或龙眠山人。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、米芾、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n居京师十年不游权贵之门，以访名园荫林为乐。\n元符三年（11）病痹告老，居家乡龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得正传；着色山水追李思训心法；画马过。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n传世作品有《》卷，现藏；《》卷、《维摩演教图》藏故宫博物院；《赤壁图》《蜀川胜概图》流往美国；《莲社图》轴（南宋摹本）藏南京博物院。\n李公麟是北宋时期一位颇具影响的名士，其绘画为当世第一。\n《》第七卷在评论他的作品时赞曰：“（龙眠）尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、、闾阎、臧荻、占舆、皂隶。\n至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。\n贵贱研丑止以肥红瘦黑分之。\n大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。\n”称“其神与万物交，智与百工通”。\n清初大家评李公麟：“自龙眠而后未有其匹，恐前世顾（恺之）、陆（探微）诸人亦所未及也。\n”而邓椿在他的《》里说：“画今古一人而已，以予观之，伯时既出，道玄（）讵容独步。\n”因此，李公麟笔下“扫去粉黛、淡毫轻墨、高雅超逸的画，被后人称为”天下绝艺矣”。\n在中国绘画技法中，线描是最有特色的技法之一，而纯用线条和浓淡墨色描绘实物的白描画法，可以说是线描技法发展的最高、最纯的阶段。\n而李公麟正是在这艺术浪尖上的弄潮儿，他使白描技法成为后人学画所遵从的样板典范，“犹如群龙之首”千百年来代代相传。\n北宋的人物画，其构形技法，到北宋后期为李公麟（149年-116年）发扬光大，线条健拔却有粗细浓淡，构图坚实稳秀而又灵动自然，画面简洁精练，但富有变化；题材广及人物、鞍马、、花鸟，既有真实感，又有文人情趣，而且所作皆不着色，被称作“大师”。\n《》和《》标志着单线勾勒的技法在中国绘画艺术中的巨大成就。\n单线勾勒的写实能力在于它有可能表现对象的形体、质感、量感、运动、空间。\n所以单线勾勒是一种效果明显而高度简洁的描绘技法。\n李公麟是一个卓 越的现实主义艺术的大师。\n他在绘画史上的地位尚有待更细致的分析，他创造了富于概括力的真实而鲜明的艺术形象，他掌握极优美的提炼形象的能力和表现技巧。\n但是他之选取非现实性的题材的倾向和追求一种与的生活密切联系的细腻的趣味，都说明他的艺术中蕴藏了一个危机。\n北宋的人物画，著名者有的《朝元仙仗图》，清秀娴丽，气度恢弘，而其构形技法，到北宋后期为李公麟发扬光大，线条健拔却有粗细浓淡。\n《五马图》为其传世佳作，纸本墨笔，纵29.厘米，横225厘 米，无名款。\n图以白描的手法画了五匹西域进贡给北宋朝廷的骏马，各由一名奚官牵引。\n每匹马后有宋黄庭坚题字，谓马之年龄、进贡时间、马名、收于何厩等，并 跋称为李伯时（公麟）所作。\n五匹马各具美名，令人遐想，依次为：凤头骢、锦膊骢、好头赤、照夜白、满川花，而五位奚官则前三人为西域装束，后两人为汉人。\n五匹马体格健壮，虽毛色不一，姿态各异，但显得驯养有素，极其温顺。\n五个奚官则因身份不同，或骄横，或气盛，或谨慎，或老成，举手投足，无不恰如其分。\n李龙眠画罗汉渡江，凡十有八人。\n一角漫灭，存十五人有半，及童子三人。\n一人值纸坏，仅见腰足。\n一人携杖，衣袂翩然，若将渡而无意者。\n一人凝立远望，开口自语。\n一人跽左足，蹲右足，以手捧膝作缠结状；双屦脱置足旁，回顾微哂。\n一人坐岸上，以手踞地，伸足入水，如测浅深者。\n者九人：一人以手揭衣，一人左手策杖，目皆下视，口呿不合。\n一人脱衣，双手捧之，而承以首。\n一人前其杖，回首视捧衣者。\n两童子首发鬅鬙，共舁一人以渡。\n所舁者，长眉覆颊，而怪伟如秋潭老蛟。\n一人仰面视长眉者。\n一人貌亦老苍，伛偻策杖，去岸无几，若幸其将至者。\n一人附童子背，童子瞪目闭口，以手反负之，若重不能胜者。\n一人貌老过於伛偻者，右足登岸，左足在水，若起未能。\n而已渡者一人，捉其右臂，作势起之。\n老者努其喙，缬纹皆见。\n又一人已渡者，双足尚跣，出其屦将纳之，而仰视石壁，以一指探鼻孔，轩渠自得。\n按：罗汉於佛氏为得道之称，後世所传高僧，犹云「锡飞」、「杯渡」。\n而为渡江，艰辛乃尔，殊可怪也。\n推画者之意，岂以佛氏之作止语默，皆与人同，而世之学佛者，徒求卓诡变幻、可喜可愕之迹，故为此图，以警发之与？昔人谓太清楼所藏吕真人画像，俨若孔、老，与他画师作轻扬状者不同，当即此意。\n的，性质上就是「看图作文」。\n作者体会到李龙眠人物画运笔传神，寓意含蓄的特点，对画面形象的记叙，也多攫住人物的自然神情。\n描写人物虽仅寥寥数语，却能得其精神。\n写方渡的罗汉，那种离岸涉水时敛神屏息的神情，及至中流时勉为其难的神情，去岸不远时庆幸欣喜的神情，描摹细腻，栩栩如生，并且凸显罗汉的不胜其苦。\n至于未渡的五个罗汉（其中一个，因纸坏仅见腰足），也极力描写他们各自不同的神态：一个是临渡而无意，一个是逡巡而观望，一个写出他决心初下的愉悦神情，一个描写入水将渡前的审慎心理。\n对这一组人物的刻意描写，也是为了衬托渡江的艰难。\n已渡者怡然自得的神态，实际上也是对渡江艰难的一种反衬。\n作者对於李龙眠画作「在心不在相」，著重人物内在精神的刻画，可谓深得其旨。\n从52岁辞官归故里之后就再也没有离开过家乡了，最后在故里去世，安葬在县城东南的磐石圩。\n李公麟（149～116），北宋舒州（今安徽桐城）人。\n有“独步中国画坛”、“宋画第一”等美誉。\n关于他的绘画，奇闻逸事颇多。\n传得最广的是他画马。\n公麟的马画得好是出了名的，为了画马，他常常去马厩中一呆就是一天，有一次皇宫御苑来了西域进贡的宝马，他来此画马，画成后，马却死了。\n人都说那马是被公麟摄了精魄去了。\n难怪他的马画得出神入幻。\n东坡有云：“龙眠胸中有千驷，不唯画肉兼画骨。\n”弄得后来管御马的小吏见了公麟就紧张，生怕他来画马，又把马给画死了。\n李公麟除了画画，还是个官员，他在政治上似乎没什么建树，在朝中似乎也是个没派别的人。\n在他做官的时候，正是苏东坡和王安石闹新旧党争的时候，但他既非新党又非旧党，他和苏、王二人都是朋友。\n这也许正是他艺术家气质的表现。\n不过，细数起来，他最要好的朋友还是苏东坡和黄庭坚。\n《苏轼诗选》里面就有《》和《》，这“戏书”和“画马试院”就可看出他们之间的友谊已经超出一般的官场交往，而是至交了。\n三个人都是考官，在科举考试的间隙李公麟画马，苏、黄二人题诗其上，岂不是忙里偷闲，情趣盎然。\n李公麟晚年因为身体不太好，回到了故里桐城龙眠山安度晚年，还建了一处大气的庄园叫做龙眠山庄。",[23,209,7,24,241,259,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53504efddd52e59c86dadee4e5abf751.jpg","纵91 2厘米，横51 4厘米",[42,44,163],{"id":10719,"slug":10720,"title":1956,"dynasty":18,"author":474,"museum":206,"description":10721,"tags":10722,"thumbUrl":10723,"material":67,"size":10724,"collection":42,"collections":10725,"showCount":10691,"zanCount":5,"manualWeight":48,"mainColor":49},221331,"wen-hui-tu-zhao-ji-221331","该画作描绘的是文人学者以文会友饮酒赋诗的场景。园林中绿草如茵，雕栏环绕，树木扶疏，九名文士围着坐在桌子的周围，树下立谈的二人，另外有童仆侍从者九人，人物姿态生动有致，呈现出文人学士饮酒赋诗畅谈之景。",[23,7,209,24,28,27,106,34,2951,315,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a52bb2f5e40f63f9d730b696f39f122.jpg","纵184.4厘米，横123.9厘米",[42,181,45],{"id":10727,"slug":10728,"title":10729,"dynasty":76,"author":77,"museum":206,"description":1418,"tags":10730,"thumbUrl":10733,"material":27,"size":10734,"collection":90,"collections":10735,"showCount":10691,"zanCount":1547,"manualWeight":48,"mainColor":94},220984,"yin-xing-li-fang-yun-shou-ping-220984","银杏栗房",[23,7,24,81,82,27,28,10731,10732,225,299],"银杏","栗房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79d66c05b6bf9a17cc28bba35d1c764.jpg","50.8厘米",[90,45],{"id":10737,"slug":10738,"title":10739,"dynasty":189,"author":1848,"museum":206,"description":10740,"tags":10741,"thumbUrl":10742,"material":803,"size":10743,"collection":163,"collections":10744,"showCount":10691,"zanCount":5,"manualWeight":48,"mainColor":94},220770,"mo-zhu-ce-wu-zhen-220770","墨竹册","《元吴镇墨竹册》是吴镇创作的水墨画，作品创作于元代，作品所画的是墨竹。页高403厘米，宽52厘米。现藏于台北故宫博物院。\n吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。 吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病。",[209,7,24,173,81,446,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed6606134c966f2275eb0bcfe36c8f6.jpg","纵40.3厘米，横52厘米",[163,2293],{"id":10746,"slug":10747,"title":10748,"dynasty":76,"author":836,"museum":206,"description":837,"tags":10749,"thumbUrl":10752,"material":88,"size":843,"collection":139,"collections":10753,"showCount":10691,"zanCount":5,"manualWeight":48,"mainColor":94},219873,"er-shi-si-fan-hua-xin-feng-tu-tong-hua-yu-mai-hua-dong-gao-219873","二十四番花信风图-桐花与麦花",[7,24,81,27,28,86,178,10750,10751,299,84,225,227],"桐花","麦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb86962c9013f1d6120ae7f94813ca0.jpg",[],{"id":10755,"slug":10756,"title":10757,"dynasty":99,"author":1480,"museum":101,"description":10758,"tags":10759,"thumbUrl":10760,"material":342,"size":10761,"collection":44,"collections":10762,"showCount":10691,"zanCount":736,"manualWeight":48,"mainColor":94},219700,"jiao-ye-shui-nv-tu-tang-yin-219700","蕉叶睡女图","唐寅是明中叶时期重要的人物画家，他多才多艺，不仅擅长画人物画，在文学、山水、花鸟，书法都有卓越的成就。唐寅，字子畏，另字伯虎，晚号六如居士，1470年出生于苏州，卒于1524年，与祝允明、文徵明、徐祯卿并称“吴中四才子”。\n明代仕女画的人物造型在经过魏晋时期的秀骨清像，隋唐的丰肥腴丽，宋元的端庄矜持后，逐渐变为明艳清瘦、削肩狭背。而唐寅作为“明四家”之一，他的仕女画师承唐代传统，飘洒高雅，人物造型优美，细巧秀逸，成为明代仕女画的典型代表。\n唐寅仕女画独特的艺术风格在中国美术史上有一定的地位，其绘画的风格对后世人物画的发展与创作有着重要影响，在各种拍卖会上也经常崭露头角。",[23,7,24,25,260,173,178,227,106,59,8852],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b3649559e91e7d9b4530da531e4c8.jpg","纵20.3cm，横61.0 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红谷子。据传，这幅画是在一座古墓中出土的，西方一些艺术史学家认为这是荆浩的作品，而另一些人则认为这是一幅早期山水画的摹本。",[7,29,177,173,2502,864,650,1015,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450b815bffc67a9837fae7bb49477ec6.jpg","纵138.3厘米,横75.5厘米",[181],{"id":10838,"slug":10839,"title":10840,"dynasty":18,"author":293,"museum":20,"description":10841,"tags":10842,"thumbUrl":10843,"material":665,"size":10844,"collection":42,"collections":10845,"showCount":10846,"zanCount":1547,"manualWeight":48,"mainColor":49},223519,"mei-zhu-shuang-que-tu-yi-ming-223519","梅竹双雀图","绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色勾填，层次丰富。竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。",[23,7,24,83,28,27,448,242,5589,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F478d67e9c8453c0f58a076b0bb58b8c1.jpg","26x26.5厘米",[42,90,45],168,{"id":10848,"slug":10849,"title":10850,"dynasty":1095,"author":10851,"museum":4047,"description":10852,"tags":10853,"thumbUrl":10856,"material":139,"size":139,"collection":139,"collections":10857,"showCount":10846,"zanCount":1270,"manualWeight":48,"mainColor":94},220578,"huang-bin-hong-ben-hua-niao-shan-shui-ce-ye-huang-bin-hong-220578","黄宾虹本花鸟山水册页","黄宾虹","此作以分段折枝花鸟铺陈，各景花木情态自具：牡丹秾艳娇柔，梅枝清癯疏朗，铃兰、山茶各见风姿。以淡彩晕染花萼枝叶，勾勒轻简见笔力，兼具写生之真与写意之逸，既有青藤白阳的纵逸笔意，又自出机杼。题跋书法与花木相映成趣，诗画交融，晕染淡雅却筋骨暗蕴，艳而不俗，淡而不薄，将花木的柔媚与文人画的清雅风骨相融，尽显明清逸格画韵的余味，笔底漾着沉静文心，是极具文人雅致的花鸟小品佳作。",[23,7,24,81,27,28,178,227,83,327,279,453,795,450,451,452,10854,10855],"墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf98760b63f1afddbdee99352c5f94a.jpg",[],{"id":10859,"slug":10860,"title":10861,"dynasty":54,"author":55,"museum":7875,"description":10862,"tags":10863,"thumbUrl":10864,"material":123,"size":139,"collection":44,"collections":10865,"showCount":10846,"zanCount":5,"manualWeight":48,"mainColor":94},219579,"zhi-shan-shi-nv-tu-zhou-fang-219579","执扇仕女图","画面以淡墨轻晕出幽寂庭院，仕女孑然独立，素衣柔婉，眉眼间凝着幽微怅惘。旁侧松梅虬枝疏朗，苍雅古拙的枝桠斜斜探伸，衬出院中空阔清寒的氛围。\n\n设色雅致内敛，浅淡赭石与花青晕染景物，虚实相生里晕开朦胧柔润的古雅意韵。笔致秀逸清隽，以简淡线条勾勒仕女风神，将深闺女子闲静缱绻的幽思，藏在氤氲的笔墨间。全图虚实相宜，把闺中清寂与仕女温婉愁绪悄然铺陈，尽显古典仕女画含蓄淡远的美学意境。",[7,1562,27,28,59,245,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1570cff7b0df2beea2b544ac3d39105.jpg",[44],{"id":10867,"slug":10868,"title":10869,"dynasty":18,"author":10870,"museum":364,"description":10871,"tags":10872,"thumbUrl":10874,"material":123,"size":139,"collection":42,"collections":10875,"showCount":10846,"zanCount":48,"manualWeight":48,"mainColor":49},218943,"yuan-lu-tu-yi-yuan-ji-218943","猿鹿图","易元吉","古木虬枝盘曲，浓荫层叠如盖，数只猿猴或攀附枝桠眺望，或倒挂垂藤嬉戏，或蹲踞树间理毛，神态各异，毛发细劲蓬松，尽显野趣生机。树下小鹿昂首抬望，似与枝头猿猴遥遥呼应，动静相生间，溢出山林的清寂悠然。\n\n笔墨工细灵动，树木皴染结合，叶片层叠有致；猿鹿造型精准，细节刻画入微，可见对自然生灵的深察。绢本色调温润古朴，衬出宋画雅致意境，仿佛林间风动，猿啼鹿鸣隐约可闻，将山野悠然意趣凝于尺幅，尽显自然之美与生命之趣。",[23,209,7,24,1562,27,28,10873,3167,430,431,225,957],"猿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef6adf05faacf36a9500267f5a38228.jpg",[42],{"id":10877,"slug":10878,"title":10879,"dynasty":76,"author":1703,"museum":132,"description":10880,"tags":10881,"thumbUrl":10882,"material":342,"size":139,"collection":90,"collections":10883,"showCount":10846,"zanCount":1547,"manualWeight":48,"mainColor":94},216333,"jin-nong-ba-kai-hua-niao-tu-jin-nong-216333","金农八开花鸟图","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[7,173,24,81,83,3246,2930,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f6b3e80250eba394b60f585bca7d31f.jpg",[90],{"id":10885,"slug":10886,"title":10887,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":10888,"thumbUrl":10889,"material":743,"size":744,"collection":139,"collections":10890,"showCount":10891,"zanCount":1165,"manualWeight":48,"mainColor":94},239116,"xing-hua-tu-zhou-wu-chang-shuo-239116","杏花图轴",[7,241,27,83,173,2972,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6ca2bb7e61d6bea1db2179b23ef156.jpg",[],167,{"id":10893,"slug":10894,"title":10895,"dynasty":189,"author":293,"museum":364,"description":10896,"tags":10897,"thumbUrl":10899,"material":743,"size":744,"collection":139,"collections":10900,"showCount":10891,"zanCount":48,"manualWeight":48,"mainColor":94},228180,"yong-le-gong-bi-hua-chao-yuan-tu-quan-tu-yi-ming-228180","永乐宫壁画朝元图全图","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[23,209,7,24,5491,630,259,27,106,28,10898],"重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876253f354c6f4ded8f8464fd3ee1773.jpg",[],{"id":10902,"slug":10903,"title":10904,"dynasty":76,"author":2804,"museum":364,"description":10905,"tags":10906,"thumbUrl":10907,"material":139,"size":139,"collection":139,"collections":10908,"showCount":10891,"zanCount":1547,"manualWeight":48,"mainColor":94},224212,"leng-yan-juan-er-yu-wu-chang-shuo-224212","冷艳捐二玉","此作用笔写意纵逸，水仙以浓淡层次的绿意绘就叶片，线条苍劲舒展，尽显清挺柔韧之姿。白花点缀其间，浓墨点染花心，明暗交织里，将水仙冰肌玉骨的冷艳之气铺陈开来。右侧湖石以泼墨为之，墨色淋漓斑驳，虚实相生间尽显古朴厚重，与水仙的清雅柔润形成刚柔反差。\n全画以书入画，笔力苍浑雅致，借水仙与顽石的组合托物言志，将文人孤傲清逸的品格寄于冷艳花姿中，寥寥数笔便将物象神韵与作者襟怀相融，意韵悠长。",[23,7,24,173,27,446,83,451,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01fb6c3d805917e235f7564f6f357b2.jpg",[],{"id":10910,"slug":10911,"title":2152,"dynasty":76,"author":427,"museum":276,"description":10532,"tags":10912,"thumbUrl":10913,"material":139,"size":139,"collection":139,"collections":10914,"showCount":10891,"zanCount":1165,"manualWeight":48,"mainColor":49},223165,"hua-niao-tu-shen-quan-223165",[23,7,24,241,28,27,83,795,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe00ca506998e033f25ccdeadf9498bce.jpg",[],{"id":10916,"slug":10917,"title":10918,"dynasty":99,"author":100,"museum":206,"description":10919,"tags":10920,"thumbUrl":10921,"material":827,"size":10922,"collection":139,"collections":10923,"showCount":10891,"zanCount":5,"manualWeight":48,"mainColor":94},222217,"zhao-meng-fu-xie-jing-huan-cha-tu-juan-chou-ying-222217","赵孟頫写经换茶图卷","画中，画匠出身的仇英尚“古意”，作品以宋代李公麟白描入手，并将色彩溶于线条之中，纤细柔和的画出了松林、竹篱间铺纸作书的赵孟頫，以及与之对坐的禅师，另有一书童手持茶叶。整个画面宁静淡然，秀雅温润，充满禅意。\n画后面的文徵明《心经》是以王羲之的书法名作《黄庭经》的笔法写成，而赵孟頫在求佛问道的过程中也曾多次抄写《黄庭坚》并有作品流传至今。如此看来，文徵明此处所书的《心经》，几乎可以说是赵孟頫风格的再现。",[23,7,24,25,28,27,106,34,176,1159,281,86,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c7765f2bce81c38906b328ef48f04.jpg","纵22厘米、横311厘米",[],{"id":10925,"slug":10926,"title":10927,"dynasty":204,"author":2664,"museum":206,"description":10928,"tags":10929,"thumbUrl":10930,"material":317,"size":10931,"collection":181,"collections":10932,"showCount":10891,"zanCount":5,"manualWeight":48,"mainColor":1335},221158,"qiu-shan-wan-cui-tu-guan-tong-221158","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[23,7,24,241,29,177,27,34,650,558,7241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a2dbf4ef7b6f0a300b3f97262a33e.jpg","横57.3厘米，纵140.5厘米",[181,163],{"id":10934,"slug":10935,"title":10936,"dynasty":76,"author":5208,"museum":10937,"description":10938,"tags":10939,"thumbUrl":10941,"material":342,"size":10942,"collection":163,"collections":10943,"showCount":10891,"zanCount":5,"manualWeight":48,"mainColor":271},220419,"xi-shan-yin-ju-tu-gong-xian-220419","溪山隐居图","昆仑堂美术馆","画面为宁静秋山，疏林草堂，实中带虚，意境清旷，堪称晚年佳构。上有自题，下有当代名家朱屺瞻鉴藏印。",[23,7,24,241,173,177,29,430,650,4614,10940],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd095417aca99ae94bd643be38542b71.jpg","11×42.5厘米",[163],{"id":10945,"slug":10946,"title":10947,"dynasty":54,"author":10948,"museum":782,"description":10949,"tags":10950,"thumbUrl":10951,"material":123,"size":10952,"collection":44,"collections":10953,"showCount":10891,"zanCount":994,"manualWeight":48,"mainColor":49},220267,"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","梁令瓒","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[23,209,7,24,25,259,28,27,260,106,151,150,957,502,2786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915d34a24fb6fe3187.jpg","纵27.5厘米，横489.7厘米",[44],{"id":10955,"slug":10956,"title":10957,"dynasty":76,"author":10958,"museum":206,"description":10959,"tags":10960,"thumbUrl":10961,"material":88,"size":10962,"collection":181,"collections":10963,"showCount":10891,"zanCount":5,"manualWeight":48,"mainColor":94},219533,"hui-yu-bi-zhong-qiu-tie-zi-shi-dong-bang-da-219533","绘御笔中秋帖子诗","董邦达","《中秋帖子词卷》是清代宫廷艺术的集大成之作，主要分为三部分：乾隆御笔题序、董邦达据乾隆词意绘画的山水画，以及内廷翰林据帖子词韵附和创作的诗文，并由大臣汪由敦抄写。卷中书画合壁，内容丰富，从这君臣和唱的山水诗画巨制中，可见乾隆皇在位初期锐意开创崭新气象的雄心壮志。",[7,27,29,106,175,107,34,176,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3831ec7dcdcdc2b2a1575be43d6b2da6.jpg","95.4x66.2厘米",[181],{"id":10965,"slug":10966,"title":10967,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":10968,"thumbUrl":10969,"material":743,"size":744,"collection":139,"collections":10970,"showCount":10971,"zanCount":5,"manualWeight":48,"mainColor":94},289650,"qiang-gen-ju-hua-tu-li-zhou-wu-chang-shuo-289650","墙跟菊花图立轴",[23,7,241,3529,27,453,245,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e6be5cc946debe5480bb68290241ce.jpg",[],166,{"id":10973,"slug":10974,"title":10975,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":10976,"thumbUrl":10980,"material":67,"size":10518,"collection":139,"collections":10981,"showCount":10971,"zanCount":48,"manualWeight":48,"mainColor":94},288381,"jing-huan-xian-qu-yan-hong-lou-meng-sun-wen-288381","警幻仙曲演红楼梦",[23,7,28,27,106,107,261,59,10977,10978,10979],"红楼题材","神话场景","仙乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa4413a9b7eda96a32622f5f6b8c0eb8.jpg",[],{"id":10983,"slug":10984,"title":10985,"dynasty":76,"author":427,"museum":132,"description":10986,"tags":10987,"thumbUrl":10989,"material":665,"size":10990,"collection":90,"collections":10991,"showCount":10971,"zanCount":48,"manualWeight":48,"mainColor":49},223164,"bai-n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是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[23,7,24,25,28,260,173,83,281,136,931,2522,367,245,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[42,90,163],{"id":11072,"slug":11073,"title":11074,"dynasty":189,"author":2519,"museum":11075,"description":11076,"tags":11077,"thumbUrl":11079,"material":803,"size":11080,"collection":382,"collections":11081,"showCount":11061,"zanCount":1270,"manualWeight":48,"mainColor":94},220845,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220845","《般若波罗蜜多心经》","甘肃天庆博物馆","赵孟頫一生抄写经书太多，一方面是自己礼佛之需，另一方面也是无形中增加了自己书法功力。此赵孟頫《心经》墨迹行书册，是为中峰和尚抄写的",[23,209,7,24,25,260,178,11078,259,227,106],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b128cdfa8732b90cc7f3d1ec7d91a42.jpg","26X151cm",[382],{"id":11083,"slug":11084,"title":11085,"dynasty":18,"author":293,"museum":206,"description":11086,"tags":11087,"thumbUrl":11091,"material":123,"size":139,"collection":42,"collections":11092,"showCount":11061,"zanCount":1270,"manualWeight":48,"mainColor":49},220204,"bo-gu-tu-yi-ming-220204","博古图","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[23,7,24,27,28,106,449,431,448,11088,315,115,3045,759,2951,11089,11090,9786],"古物","古玩","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[42,44],{"id":11094,"slug":11095,"title":11096,"dynasty":189,"author":487,"museum":206,"description":11097,"tags":11098,"thumbUrl":11099,"material":342,"size":11100,"collection":163,"collections":11101,"showCount":11061,"zanCount":48,"manualWeight":48,"mainColor":94},218773,"hua-xi-shu-wu-tu-wang-meng-218773","花溪书屋图","层峦叠嶂如卷舒展，林木葱茏间，溪流蜿蜒穿石而过，花溪的清浅便藏在这潺潺声里。山腰隐现书屋一角，竹窗半启，似有文人临窗对景，墨韵与山风悄然相融。王蒙以解索皴勾勒山石肌理，线条如藤蔓缠石，墨色浓淡相济，将山峦的厚重与草木的清润织成幽深之境。画面繁密却不失空灵，每一处皴擦点染皆见匠心——峰峦层叠、树木错落、书屋静谧，交织出元代文人避世栖居的诗意。山鸟啼鸣仿佛入耳，涧水清香似可轻嗅，尽显山水间的隐逸之趣与笔墨的精妙神韵。",[23,7,24,173,27,177,29,649,34,176,35,560,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82e97f416bf5d962388fc7adab04d04.jpg","31.2x51.9",[163],{"id":11103,"slug":11104,"title":11105,"dynasty":54,"author":11106,"museum":7875,"description":11107,"tags":11108,"thumbUrl":11109,"material":123,"size":11110,"collection":181,"collections":11111,"showCount":11061,"zanCount":5,"manualWeight":48,"mainColor":49},218238,"xi-shan-xue-ji-tu-yang-sheng-218238","溪山雪霁图","杨升","画面铺展雪后初霁的溪山胜境。层叠山峦覆着薄雪，肌理温润如凝脂，淡褐底色晕染出残雪消融的清润。近景松枝苍劲，几抹丹枫似燃，为素净天地添暖意；山间小径隐现行人，桥上红袍骑手与白衣者对语，马蹄踏雪声仿佛可闻。中景茅舍掩映林间，窗内人影依稀，似在煮茶赏雪。远景峰峦隐入烟霭，留白处似有余雪未尽。整幅画以淡墨轻染山石，线条婉转勾勒树石轮廓，设色雅致却藏生机，动静相济间，尽显唐时文人对山水隐逸之趣的向往。",[23,7,27,29,2124,176,34,108,106,150,175,35,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6649b347adabe03cc40f45facab14c08.jpg","118.9x60.3cm",[181,90],{"id":11113,"slug":11114,"title":11115,"dynasty":18,"author":293,"museum":11116,"description":11117,"tags":11118,"thumbUrl":11120,"material":123,"size":11121,"collection":90,"collections":11122,"showCount":11061,"zanCount":1356,"manualWeight":48,"mainColor":94},216748,"jia-die-tu-ye-yi-ming-216748","蛱蝶图页","辛辛那提艺术博物馆","蛱蝶图页是一幅著名的宋朝绘画，被认为是宋朝早期艺术发展的重要代表作之一。这幅画是由佚名艺术家创作的，其名字尚不为人所知。\n\n蛱蝶图页描绘了一只蛱蝶飞舞的场景，画面上的蛱蝶美丽、优美，表现出轻盈、自然的感觉。画中的蛱蝶身体清晰可见，细腻地描绘了蛱蝶的身体结构和色彩。蛱蝶的翅膀上有精细的花纹，使得整幅画充满了生动的艺术气息。\n\n蛱蝶图页是宋朝绘画发展的一个里程碑，它体现了宋朝早期艺术家对自然界的观察和描绘能力的高超。这幅画也是宋朝艺术史上非常重要的一件作品，被认为是宋朝绘画艺术的重要代表作之一。",[23,209,7,24,1562,5990,28,27,83,604,4077,11119,299],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50bde642897008fa269f1fcefa22eeff.jpg","25.4x24.8cm",[90],{"id":11124,"slug":11125,"title":8582,"dynasty":18,"author":293,"museum":11126,"description":11127,"tags":11128,"thumbUrl":11129,"material":123,"size":11130,"collection":90,"collections":11131,"showCount":11061,"zanCount":5,"manualWeight":48,"mainColor":49},216724,"zhu-que-tu-yi-ming-216724","德国国立民族博物馆","竹雀图是一幅中国宋朝时期的山水画。它的作者不详，因此被称作佚名。这幅画展现了一只竹雀坐在枯竹上，它仰望天空，看起来沉思，非常感人。背景是一片山林，山上有云雾，枯竹上有苔藓。这幅画浓烈的山水意境和出色的线条勾勒，使得它成为了一幅经典的中国画作品。",[23,209,7,24,1562,28,27,83,242,5589,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a620d767f5903f90715fcce25b8448e.jpg","24.1x23.4cm",[90],{"id":11133,"slug":11134,"title":11135,"dynasty":99,"author":170,"museum":364,"description":5122,"tags":11136,"thumbUrl":11137,"material":743,"size":744,"collection":139,"collections":11138,"showCount":11139,"zanCount":48,"manualWeight":48,"mainColor":94},290928,"jiang-shang-qing-shan-shen-zhou-290928","江上青山",[7,24,81,173,29,177,649,34,3639,900,106,150,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4db2a42b30a37fb39b0e95fca436c6c.jpg",[],163,{"id":11141,"slug":11142,"title":11143,"dynasty":76,"author":1109,"museum":364,"description":11144,"tags":11145,"thumbUrl":11146,"material":139,"size":139,"collection":163,"collections":11147,"showCount":11139,"zanCount":5,"manualWeight":48,"mainColor":94},235889,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235889","原济黄山游图册","此作用笔疏密相宜，淡墨铺陈烟林远景，以浓墨点染近木。几株杂木高低错立，或繁枝遒劲，或疏桠寥落，极简笔触便写尽枯荣姿态。篱边茅斋素朴安然，黛瓦白墙隐于林间，将江南山居的清寂野趣娓娓铺展。\n\n右上角题诗与画作相映成趣，诗书画印融为一体，禅意漫溢其间。笔墨间藏着春日山居的悠然意趣，把胸中林泉化作纸上丘壑，淡远清和，朴拙天真，观之恍若踏入画中，静赏春景，沉潜于物我两忘的幽谧意境之中。",[7,24,173,81,177,29,430,920,340,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04027f2c689ff46da102ff937cdb3245.jpg",[163,181],{"id":11149,"slug":11150,"title":1774,"dynasty":76,"author":77,"museum":364,"description":740,"tags":11151,"thumbUrl":11152,"material":743,"size":744,"collection":139,"collections":11153,"showCount":11139,"zanCount":1270,"manualWeight":48,"mainColor":94},235684,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235684",[7,24,81,27,83,327,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6930bde3108470cfd97757dcaf702f3.jpg",[],{"id":11155,"slug":11156,"title":11157,"dynasty":76,"author":953,"museum":20,"description":11158,"tags":11159,"thumbUrl":11160,"material":665,"size":11161,"collection":139,"collections":11162,"showCount":11139,"zanCount":48,"manualWeight":48,"mainColor":94},223237,"he-hua-yuan-yang-ren-yi-223237","荷花鸳鸯","虚谷在挽任伯年联中称誉：“笔无常法，别出新机，君艺称极也；天夺斯人，谁能继起，吾道其衰乎。\n”徐悲鸿则将任伯年“定之为仇十洲以后中国画家第一人”（《任伯年评传》），任伯年在近代绘画史上的杰出地位是举世公认的。他的画风新颖生动，风姿多彩，长于设色，于花鸟、人物、山水无所不能，无所不精。以个人成就而言，他的花鸟画最具特色，但从历史角度来衡量，则他的人物画成就更大，这是因为在清末人物画普遍弱化的历史环境中，任伯年显得尤为突出。\n任伯年精于写像，是一位杰出的肖像画家。他的人物画早年师法萧云从、陈洪绶、费晓楼等人，造型夸张奇伟，勾勒灵动，形神毕肖。他的山水画创作不多，但以笔法见长，自具特色。他的花鸟画更具创造性，富有巧趣。他早年以工笔花鸟见长，仿北宋人画法，纯以焦墨钩骨，赋色肥厚，近陈老莲一派。后来吸收了恽寿平的没骨画法以及陈淳、徐渭的写意画法和西洋绘画的技巧，将数者融合为一而又有所变化，形成了兼工带写、明快温馨、简逸放纵的笔调，开辟了花鸟画的新天地，对后世产生了巨大的影响。虽然由于任伯年出身贫寒，读书不多，故与吴昌硕、齐白石相比，画作中蕴涵的文思较乏，缺少一丝画外余音，但就笔法、墨法、结构、色彩而言，任画技巧更为丰富，足资后世借鉴。\n此帧任伯年的《荷花鸳鸯图》写鸳鸯游戏于荷田之中，荷叶硕大如盆，素雅的白莲花散发着幽香。画面以青绿色调为主，清新可人。因系画于熟绢之上，又以用水见长，故色彩交融明快自然，富于生气。笔与笔之间的留白，起到了透气和清醒视觉的作用，斑驳迷离，实非功力深至不能轻达此境。鸳鸯的造型古奥生动，运笔凌利，细节处收拾稳当，简练传神，均是彰显出任伯年独特而高超的绘画技艺之处。",[23,7,24,209,241,27,173,83,136,137,2555,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","纵138厘米，横42厘米",[],{"id":11164,"slug":11165,"title":11166,"dynasty":99,"author":293,"museum":2564,"description":8736,"tags":11167,"thumbUrl":11173,"material":630,"size":8741,"collection":139,"collections":11174,"showCount":11139,"zanCount":1547,"manualWeight":48,"mainColor":49},222146,"di-shi-tian-tu-xi-bi-yi-ming-222146","帝释天图西壁",[23,630,7,2714,11168,9254,27,11169,11170,11171,11172,8738],"宗教画","帝释天","梵天","二十诸天","礼佛护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0d0a32476aca8e67a68883cf52a49c.jpg",[],{"id":11176,"slug":11177,"title":11178,"dynasty":18,"author":474,"museum":276,"description":11179,"tags":11180,"thumbUrl":11181,"material":67,"size":11182,"collection":42,"collections":11183,"showCount":11139,"zanCount":1547,"manualWeight":48,"mainColor":94},221328,"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[23,209,7,24,25,28,27,83,448,10443,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[42,90,45],{"id":11185,"slug":11186,"title":131,"dynasty":76,"author":836,"museum":364,"description":11187,"tags":11188,"thumbUrl":11189,"material":743,"size":744,"collection":90,"collections":11190,"showCount":11191,"zanCount":1547,"manualWeight":48,"mainColor":94},238883,"hua-hui-ce-dong-gao-238883","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[7,24,81,28,27,83,84,62,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5565de81860414a56e206c890dc9266.jpg",[90,45],162,{"id":11193,"slug":11194,"title":11195,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":11196,"thumbUrl":11197,"material":139,"size":139,"collection":181,"collections":11198,"showCount":11191,"zanCount":1356,"manualWeight":48,"mainColor":94},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴",[7,173,177,241,24,86,178,227,29,108,109,34,35,106,176,558,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[181,163],{"id":11200,"slug":11201,"title":11202,"dynasty":76,"author":77,"museum":20,"description":11203,"tags":11204,"thumbUrl":11207,"material":990,"size":11208,"collection":139,"collections":11209,"showCount":11191,"zanCount":5,"manualWeight":48,"mainColor":94},233791,"liao-ting-yu-zao-tu-zhou-yun-shou-ping-233791","蓼汀鱼藻图轴","该幅是恽氏触景生情的写生之作。构图简洁无远、中、近景之分，仅绘青山园池的一隅：蓼花、翠竹与湖石构筑出典雅平和的意境，数尾游鱼惬意的神态又为全幅平添了几分生机和意趣。恽寿平在《瓯香馆集补遗画跋》曾言：“以古人为师犹未能臻妙，必进而师抚造化，庶几极妍尽态而为大雅之宗。” 此图便体现了他这种在传统的绘画之外，更注重师法自然的美学思想。在表现技法上，恽寿平采用的是他出古入新创制的“没骨”画风，即不用笔勾勒物象的轮廓线，而全以色彩点染而成。竹、芦、蓼叶及水藻施以浓淡不同的花青、淡赭、浅红等，每片叶均一笔撇出，缺少轮廓线的束缚，物象更具摇曳多姿的生动性。湖石以淡花青为主调，施用大量的水分晕染，没有干笔勾线，枯笔皴擦，湖石固然失去了石体坚硬的质感，但其玲珑剔透的秀润之美倍增。",[7,27,28,83,245,933,11205,367,11206],"蓼草","藻类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9bc3daeb5afc87149b9699423ade1b.jpg","纵135厘米，横62.6厘米",[],{"id":11211,"slug":11212,"title":11213,"dynasty":189,"author":5261,"museum":132,"description":11214,"tags":11215,"thumbUrl":11216,"material":123,"size":139,"collection":181,"collections":11217,"showCount":11191,"zanCount":1547,"manualWeight":48,"mainColor":49},220127,"mo-zhao-qian-li-qing-lv-shan-shui-hu-ting-hui-220127","摹赵千里青绿山水","以大青绿设色晕染山峦，石青石绿的厚重色调铺陈出苍古秀润的山川气象。主峰巍峨盘踞，山石勾勒填色间施皴擦，棱角分明又兼具温润质感，层叠峰峦拉开深远空间。\n山间隐现殿宇屋舍，林麓古木森郁，水岸板桥横陈，汀渚渔舟、江亭雅集错落点缀，将隐逸悠然的山居意趣融于山水烟岚之中。\n追摹北宋青绿山水的精工雅致，又裹挟元代山水画的萧散意韵，用色浓丽却不俗艳，勾勒细劲沉稳，章法严整兼具宏阔格局与细腻文心，尽显青绿山水的古典意涵与雅致格调。",[23,7,26,27,105,29,176,34,31,108,174,920,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a4204ffb83c828eabda3ee5617bad2.jpg",[181],{"id":11219,"slug":11220,"title":11221,"dynasty":99,"author":4314,"museum":752,"description":11222,"tags":11223,"thumbUrl":11224,"material":123,"size":11225,"collection":90,"collections":11226,"showCount":11191,"zanCount":48,"manualWeight":48,"mainColor":49},218959,"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[23,7,209,28,27,1575,2555,281,83,84,394,490,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[90],{"id":11228,"slug":11229,"title":11230,"dynasty":18,"author":538,"museum":752,"description":11231,"tags":11232,"thumbUrl":11233,"material":342,"size":11234,"collection":181,"collections":11235,"showCount":11191,"zanCount":1270,"manualWeight":48,"mainColor":271},218566,"yun-shan-tu-mi-fei-218566","云山图","这幅画画的是烟波浩渺的海岸上的渔船，雾锁山腰，笔墨淋漓。山峰都是用米氏的方法画的，用的是湿笔，虽然有后人伪造的痕迹，但仍然是难得的水墨游戏杰作。",[7,24,241,173,177,29,1329,430,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252b41bf8de2207a07dcd8bb3debcc4.jpg","55.2x27.7cm",[181],{"id":11237,"slug":11238,"title":11239,"dynasty":99,"author":443,"museum":364,"description":11240,"tags":11241,"thumbUrl":11242,"material":743,"size":744,"collection":139,"collections":11243,"showCount":11244,"zanCount":48,"manualWeight":48,"mainColor":49},289875,"xue-zhu-xu-wei-289875","雪竹","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[7,173,242,2124,245,86,227,241,446,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0c10587d925716d52958d37b02e71d.jpg",[],161,{"id":11246,"slug":11247,"title":11248,"dynasty":189,"author":293,"museum":206,"description":11249,"tags":11250,"thumbUrl":11251,"material":67,"size":11252,"collection":139,"collections":11253,"showCount":11244,"zanCount":5,"manualWeight":48,"mainColor":49},231477,"wen-shu-pu-sa-yi-ming-231477","文殊菩萨","菩萨垂目敛神，面庞圆融柔和，静穆间自含慈悲沉静的气韵。朱红衬袍搭配织金纹饰的华彩僧衣，衣纹流转自然，晕染得宜，古雅厚重的设色尽显质感。\n\n身下青狮昂首蹙眉，獠牙毕露，卷曲如棘的鬃毛发散周身，狞猛威悍的模样，恰好衬出菩萨的超然平和。画面仅以淡墨晕出圆光，素净背景将视觉焦点全然落于主仆二者之上。\n\n构图疏密得当，将神性肃穆与瑞兽犷悍融于一轴，用笔精细却无匠气，尽显此件佛造像兼具美学价值与精神意蕴的独特风貌。",[7,27,28,259,106,957,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c29bb18dc9a52f9c138d2229b1e27e.jpg","30.4x59.8厘米",[],{"id":11255,"slug":11256,"title":11257,"dynasty":76,"author":1109,"museum":364,"description":11258,"tags":11259,"thumbUrl":11260,"material":1449,"size":11261,"collection":163,"collections":11262,"showCount":11244,"zanCount":1270,"manualWeight":48,"mainColor":94},224527,"jiang-shan-sheng-lan-shi-tao-224527","江山胜揽","此卷绘山川湖泊。山峦连绵起伏，景物屑迭。树木茂密丛生，瀑布、溪水倾泻而下。水面宽广，云雾蒸腾，有寂静空灵之美。画中线条极细，有素描效果。山石用披麻铍，横直交错，秀灵而坚实。密集的破笔苔点，使山势更显苍莽。篁叶取法倪瓒，只是变萧疏为茂密。墨色的干湿浓淡恰到好处。画作用笔和山石构置繁密，但作者巧妙地运用虚实、黑白的均衡布局，通过水的空灵和云雾的蒸腾，避免了过分的迫塞。综合而论，这是一幅能代表石涛笔墨清腴，风格恣肆洒脱的山水作品。",[23,7,25,173,29,177,86,227,34,650,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fd2208972fffab3bc42dc072272735.jpg","纵20厘米，横762厘米",[163],{"id":11264,"slug":11265,"title":2071,"dynasty":99,"author":1480,"museum":364,"description":3145,"tags":11266,"thumbUrl":11267,"material":139,"size":139,"collection":44,"collections":11268,"showCount":11244,"zanCount":1356,"manualWeight":48,"mainColor":94},222333,"shi-nv-tu-tang-yin-222333",[23,7,28,27,227,106,59,245,2952,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a1ac006358157f9823c6c6e26a159a.jpg",[44,45],{"id":11270,"slug":11271,"title":11272,"dynasty":18,"author":1616,"museum":206,"description":11273,"tags":11274,"thumbUrl":11275,"material":827,"size":11276,"collection":42,"collections":11277,"showCount":11244,"zanCount":48,"manualWeight":48,"mainColor":94},221496,"zhu-ge-yan-bin-tu-li-tang-221496","竹阁延宾图","此图应为元代画家所绘，大青绿绘远处山峦起伏，陡峭险峻；中部湖面广阔，水面如静；近处树木蓊郁，岸上一处亭台建筑考究，两排并列，回廊延伸，亭内两人倚栏而坐，聊天赏景，不亦乐乎。",[23,7,1562,27,29,177,175,34,106,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac77efdcd38cd2854c5b2b506f96be70.jpg","23.7×20cm",[42,181,45],{"id":11279,"slug":11280,"title":11281,"dynasty":18,"author":11282,"museum":20,"description":11283,"tags":11284,"thumbUrl":11285,"material":1449,"size":11286,"collection":42,"collections":11287,"showCount":11244,"zanCount":1547,"manualWeight":48,"mainColor":94},221460,"chang-jiang-wan-li-tu-juan-zhao-fu-221460","长江万里图卷","赵黻","展开此卷，可看到万里江山中的烟云风雨、山石峻岭、山间小道、樵夫行旅、乘风破浪的小舟、穿云破雾的飞鸟、山谷中的屋宇、村落、归庄的农民、深山古寺等等，可谓东起吴越、西至巴蜀、万里江山、气势宏大、一气呵成。着重描写江山壮丽景色，气势雄伟，笔法学李唐而略纵逸，但仍未脱南宋院体画之痕迹。卷末款署“赵黻作”三字，钤“黻”朱文印，画面有明代钱惟善、张宁、陆树声等诗跋 。",[23,7,25,173,1397,177,29,1247,649,37,34,174,36,3434],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纵45.1厘米，横992.5厘米",[42,181,163],{"id":11289,"slug":11290,"title":11291,"dynasty":18,"author":3214,"museum":206,"description":11292,"tags":11293,"thumbUrl":11297,"material":67,"size":11298,"collection":42,"collections":11299,"showCount":11244,"zanCount":1356,"manualWeight":48,"mainColor":49},221380,"huo-lang-tu-su-han-chen-221380","货郎图","画面上描绘一位走乡串村的老货郎，推着小货车，走到一棵老梅树下的空旷场院上，货郎的到来，给孩子们带来了极大的快乐：货郎车上挂满了木叉、们‘耙，帽子、围巾、布兜、小风车、拨浪鼓、花篮、糖葫芦、花灯笼，各种佩饰等，品种繁多，琳琅满日。连货郎肩上、腰间、背后都有货物。由于货郎的到来，引来了四面八方的孩子，欣喜若狂地在货车周围戏耍。靠近货郎的一个背着小弟弟的男娃子，好像刚刚跑到这里，眼巴巴地瞧着货郎车上的东西，似有想买又没有买到的样子，所以老货郎的目光投向了这个背着弟弟而迟到的男娃子，停止了车，一手撒把指着小花鼓招引孩子：在车轮旁两个小孩，由于买到了喜爱的玩物，离开货车转身就跑，其中大的孩子手持糖葫芦满面笑容，兴高彩烈的样子。另一个小的孩子满心欢跳，一不小心，仰面跌了一个大跟斗，但是双眼还在找他喜爱的玩具。车头前又有两个站着的孩子，头上、身上戴着佩饰的那个孩子，一手指着货郎车的东西，似在告诉另一个孩子什么玩具好。头戴帽子穿着长袍的孩子，举起双手摇摆着，似有不让货郎车走开的意思。",[23,7,209,28,27,106,11294,448,299,64,11295,11296,84],"儿童","日用品","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca69375cfc2c3f744733e8fa2fb6541.jpg","纵159.2厘米，横97厘米",[42,44,45],{"id":11301,"slug":11302,"title":11303,"dynasty":18,"author":11304,"museum":206,"description":11305,"tags":11306,"thumbUrl":11307,"material":123,"size":139,"collection":90,"collections":11308,"showCount":11244,"zanCount":1165,"manualWeight":48,"mainColor":49},219722,"hua-die-tu-li-zhong-xuan-219722","花蝶图","李仲宣","此作取景雅致，草木错落排布，野趣盎然。挺秀的秋菊缀着金黄花盘，柔润白花轻绽，带露红浆果垂于青绿叶间，茎叶舒展的姿态写实入微，设色古雅沉稳，晕染细腻尽显草木鲜活生机。\n\n翩跹蝶虫刻画精细，翅脉纹理纤毫毕现，振翅姿态灵动逼真，仿佛携着花间微风扑面而来。整体构图疏密相宜，留白得当，以工笔技法写形传神，既有精致不苟的写实功力，又暗藏平淡天真的诗意，将秋日郊野一隅的闲适意趣定格，尽显创作者观照自然的细腻心境。",[7,209,28,27,83,604,62,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65cb4af11c29f63da0e9192564f9ae77.jpg",[90],{"id":11310,"slug":11311,"title":11312,"dynasty":189,"author":2519,"museum":539,"description":11313,"tags":11314,"thumbUrl":11315,"material":123,"size":11316,"collection":90,"collections":11317,"showCount":11244,"zanCount":1547,"manualWeight":48,"mainColor":49},219098,"shi-ma-tu-zhao-meng-fu-219098","十马图","群马姿态各异，或昂首伫立，或低头啮草，或相互亲昵，动静交织间满溢生机。线条勾勒细腻传神，鬃毛飘逸如丝缕，马尾垂落似流瀑，马匹肌理与灵动之态毕现。设色淡雅温润，赭墨晕染出毛色层次，古朴绢底衬得画面沉静雅致。马匹互动自然和谐，似能闻蹄声轻响，尽显画家对生命的细致体察与文人画的清逸韵味。",[23,7,24,25,28,27,150,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7681aecb61572b4fba7da83735ac45.jpg","纵26横233厘米",[90],{"id":11319,"slug":11320,"title":11321,"dynasty":76,"author":77,"museum":675,"description":1456,"tags":11322,"thumbUrl":11324,"material":123,"size":1463,"collection":139,"collections":11325,"showCount":11244,"zanCount":1547,"manualWeight":48,"mainColor":49},216109,"yun-shou-ping-hua-guo-shu-cai-ce-ye-2-yun-shou-ping-216109","恽寿平花果蔬菜册页-2",[209,7,24,81,27,28,242,11323,1064,227],"竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29bf8f805f27469ebc51bee115db2b4.jpg",[],{"id":11327,"slug":11328,"title":11329,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":11330,"thumbUrl":11331,"material":743,"size":744,"collection":139,"collections":11332,"showCount":11333,"zanCount":48,"manualWeight":48,"mainColor":94},288299,"ba-jiao-zhu-shi-tu-zhu-da-288299","芭蕉竹石图",[23,209,7,24,241,173,83,755,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e433e949bf49ac3086bddbbf9d0c776.jpg",[],160,{"id":11335,"slug":11336,"title":11337,"dynasty":18,"author":823,"museum":20,"description":11338,"tags":11339,"thumbUrl":11341,"material":619,"size":11342,"collection":42,"collections":11343,"showCount":11333,"zanCount":48,"manualWeight":48,"mainColor":49},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[23,7,24,173,27,177,29,2124,11340,174,1015,176,31,34],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[42,181,163],{"id":11345,"slug":11346,"title":11347,"dynasty":1095,"author":4791,"museum":4792,"description":11348,"tags":11349,"thumbUrl":11357,"material":11358,"size":139,"collection":139,"collections":11359,"showCount":11333,"zanCount":48,"manualWeight":48,"mainColor":94},220562,"yu-gong-yi-shan-xu-bei-hong-220562","愚公移山","以写实功底刻画出虬结如顽石的肌肉块垒，赤裸壮汉们挥锄蓄力，将千钧蛮力凝于舒展躯体之中，把移山的不屈意志具象为滚烫血肉。\n\n妇孺老者静立一侧，沉静目光藏着世代赓续的执念，缓行的大象驮负薪粮，为磅礴劳作添上一缕质朴烟火气。\n\n画作融西法解剖与东方水墨晕染于一体，让古老神话走出传说，将坚韧不拔的信念，化作眼前可视的磅礴群像，刻进民族骨血里的韧劲儿跃然绢素之上。",[23,7,27,11350,106,11351,151,11352,11353,10464,11354,11355,11356,7253,11294],"写实","大象","农具","竹篮","土地","壮汉","老人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f740d7fd7175fb0157e825af787bca.jpg","油彩",[],{"id":11361,"slug":11362,"title":11363,"dynasty":76,"author":427,"museum":56,"description":11364,"tags":11365,"thumbUrl":11366,"material":123,"size":11367,"collection":90,"collections":11368,"showCount":11333,"zanCount":1547,"manualWeight":48,"mainColor":49},219126,"shuang-lu-tu-shen-quan-219126","双鹿图","这幅画描绘了在秋季深山里，一对野鹿的生活状态。画面右边是高山悬崖的一段，崖壁上生长着盘如巨龙的古松，虽饱经风霜，仍然枝叶繁茂，粗大的树干上缠绕着藤本植物，从松、藤之间的上部缝隙里，可以看到一条瀑布，它穿过树叶的遮挡，飞流直下，形成巨大的水流，与画面下部的小溪相互呼应。悬崖的左边大幅留白，虽然没有具体描绘，应该能想象为山谷中弥漫着的雾气，在此处取得了无胜于有的效果。上述描绘景色，构成了本幅画的背景，说明了双鹿活动的大环境。双鹿为一公一母，一站一卧，它们伸长了耳朵正在倾听，身处深山老林，时刻保持高度警惕，这幅画正是描绘了这一刻的动态。双鹿周围，是一些正在盛开的白色野菊，山坡间生长着一丛丛色彩暗淡的野草，较好地表明了野草即将衰败、天气已届深秋。",[23,7,209,28,27,957,3167,29,34,340,558,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c88b537cee852bc63fd476f497b04f.jpg","120x50.5cm",[90],{"id":11370,"slug":11371,"title":8582,"dynasty":189,"author":10811,"museum":3537,"description":11372,"tags":11373,"thumbUrl":11374,"material":123,"size":11375,"collection":90,"collections":11376,"showCount":11333,"zanCount":5,"manualWeight":48,"mainColor":49},219077,"zhu-que-tu-wang-yuan-219077","三月，万物复苏，荆棘的枯叶和果实尚未脱落，杂草和绿竹已逐渐变绿，四只羽毛蓬松、身体圆润的鹌鹑在一起玩耍、进食。",[7,24,209,5491,241,28,27,83,242,224,298,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32bae4473f9f585646637c2c7a6b60d.jpg","53x38cm",[90],{"id":11378,"slug":11379,"title":11380,"dynasty":18,"author":4266,"museum":11381,"description":11382,"tags":11383,"thumbUrl":11384,"material":342,"size":11385,"collection":90,"collections":11386,"showCount":11333,"zanCount":1270,"manualWeight":48,"mainColor":94},216941,"fei-cui-ji-ling-tu-mu-xi-216941","翡翠鹡鸰图","日本MOA美术馆","翡翠鹡鸰图是宋朝画家牧溪的一幅著名作品。这幅画的主题是一只鹡鸰坐在一棵松树上，周围是密密麻麻的松枝和松针。画面上方是一片蓝天和白云。整幅画表现了牧溪独特的写实主义画风，细腻的线条和精确的造型使得画面栩栩如生。翡翠鹡鸰图被认为是牧溪的代表作之一，也是宋朝画风的典范。",[23,7,173,83,227,446,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5813acf30d16cb9177b3dd4d6e6c3b.jpg","79x31cm",[90],{"id":11388,"slug":11389,"title":11390,"dynasty":18,"author":6501,"museum":132,"description":11391,"tags":11392,"thumbUrl":11393,"material":123,"size":11394,"collection":90,"collections":11395,"showCount":11333,"zanCount":48,"manualWeight":48,"mainColor":1335},216667,"san-bai-tu-wang-shen-216667","三百图","王诜是宋朝时期的一位著名的绘画家，他是宋朝最伟大的画家之一。他的作品具有极高的艺术价值，被广泛收藏和珍藏。王诜以其精细的画风和生动的写实风格而闻名，他创作的作品涵盖了各种题材，包括人物画、山水画和花鸟画。",[7,24,209,28,27,281,2522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36792841b89168ee95409f74824b325c.jpg","131.5x82.5cm",[90],{"id":11397,"slug":11398,"title":11399,"dynasty":76,"author":707,"museum":206,"description":11400,"tags":11401,"thumbUrl":11403,"material":88,"size":11404,"collection":44,"collections":11405,"showCount":11333,"zanCount":48,"manualWeight":48,"mainColor":94},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[23,7,24,27,173,446,106,1532,245,3903,11402,432,227,8107,176,1352],"伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[44],{"id":11407,"slug":11408,"title":11409,"dynasty":18,"author":11410,"museum":11411,"description":11412,"tags":11413,"thumbUrl":11414,"material":381,"size":139,"collection":44,"collections":11415,"showCount":11333,"zanCount":48,"manualWeight":48,"mainColor":94},214651,"bu-dai-he-shang-tu-hu-zhi-fu-214651","布袋和尚图","胡直夫","日本京都野村博物馆","这是一幅简单的佛教僧侣回望尘世并返回斗室宫的画作。南宋画家胡直夫主要活跃在宋末元初，从事山水和人物画创作。他的白描技术来自于李公麟，他的笔触强而有力。他的人字形线描继续出现在后来的一般佛教色彩画中，并成为道教和佛教主题人物的一种特殊风格。他的大部分画作现在都被日本人收藏了。这幅画得到了景山比丘如燕的赞许。",[23,7,24,241,260,173,259,106,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093d29532ba9d45dca29e6f299658810.jpg",[44],{"id":11417,"slug":11418,"title":1122,"dynasty":99,"author":1996,"museum":78,"description":1997,"tags":11419,"thumbUrl":11420,"material":342,"size":2000,"collection":139,"collections":11421,"showCount":11333,"zanCount":48,"manualWeight":48,"mainColor":94},214645,"hua-hui-ce-2-chen-chun-214645",[7,24,81,173,446,83,2807,1062,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7b87db533064cfbc2864f3c0073898.jpg",[],{"id":11423,"slug":11424,"title":11425,"dynasty":54,"author":293,"museum":206,"description":11426,"tags":11427,"thumbUrl":11430,"material":123,"size":5089,"collection":44,"collections":11431,"showCount":11432,"zanCount":1547,"manualWeight":48,"mainColor":49},288360,"gong-le-tu-yi-ming-288360","宫乐图","本图描写后宫嫔妃十人,围坐于一张巨型的方桌四周,有的品茗,有的在行酒令。中央四人,则负责吹乐助兴。所持用的乐器,自右而左,分别为筚篥、琵琶、古筝与笙。",[23,7,24,27,28,106,59,758,210,956,11428,11429],"宫廷宴乐","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39857b914581e42221c8c2d3a920666e.jpg",[44],159,{"id":11434,"slug":11435,"title":11436,"dynasty":76,"author":1204,"museum":364,"description":11437,"tags":11438,"thumbUrl":11439,"material":743,"size":744,"collection":139,"collections":11440,"showCount":11432,"zanCount":48,"manualWeight":48,"mainColor":94},288133,"gu-mu-shuang-ying-tu-zhu-da-288133","古木双鹰图","前一时期题款中常见的“八大山人画”的“画”字，此时已经改为“写”字，这是画家后期典型的写法，而双鹰也是晚期常见的绘画题材。作为画面主体的双鹰憩息于盘石之上，一瑟索凝伫，一神情如铸，外形与神情均十分到位，笔墨造型上几乎无懈可击。不过与先贤林良有所不同的是，画家似乎并不仅仅着意于对禽鸟状貌的真实再现，作为画家笔下的一个艺术符号，它们更多传达的是孤傲荒寒的心灵感悟。画面背景古木寒槎，虬干疏枝，树身用劲笔复笔，益见沧桑枯寂之感。下方盘石内方外圆，危如累卵，益增险仄之势。画家借助古木、怪石这些元代大师们常绘的主题，辅以静默凝重的禽鸟，暗示出生命的枯涸风蚀，苛刻寂寥，笔墨极简而意境丰满，元气充溢，体现了凝重、冷峻、朗润、含蓄、静谧的艺术特征。",[23,7,209,173,83,241,4307,6398,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8855abe2ec0d96961f6c1c6e272c49d6.jpg",[],{"id":11442,"slug":11443,"title":11444,"dynasty":99,"author":100,"museum":364,"description":11445,"tags":11446,"thumbUrl":11447,"material":743,"size":744,"collection":139,"collections":11448,"showCount":11432,"zanCount":5,"manualWeight":48,"mainColor":49},287927,"qing-ming-shang-he-tu-ju-bu-chou-ying-287927","清明上河图(局部)","《清明上河图》是明代画家仇英创作的一幅重彩风俗画作品，现收藏于辽宁省博物馆。 现存世作品《清明上河图》有多本传为仇英所作，除此卷外，另有青州市博物馆藏本 ，台北故宫博物院藏本 ，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[209,7,25,27,28,106,107,108,109,2094,150,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg",[],{"id":11450,"slug":11451,"title":11452,"dynasty":99,"author":1012,"museum":206,"description":11453,"tags":11454,"thumbUrl":11455,"material":67,"size":11456,"collection":181,"collections":11457,"showCount":11432,"zanCount":1356,"manualWeight":48,"mainColor":49},222599,"bai-yun-hong-shu-tu-zhou-lan-ying-222599","白云红树图轴","此幅用没骨法以石青、石绿色画山石，用朱砂画小草，树叶也用浓艳的红、黄、青、绿没骨点出，云用白粉渲染。画面色彩浓重丰富，却又典雅清新。自识“张僧繇没骨法”，实为画家自己独创的画风，此幅为蓝瑛青绿重彩画的代表作。",[23,7,241,26,27,177,29,4501,3500,176,109,108,106,1575,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139497977653ee9c9be5bfb32552a0.jpg","纵189.4厘米，横48厘米",[181,45],{"id":11459,"slug":11460,"title":11461,"dynasty":18,"author":2142,"museum":752,"description":11462,"tags":11463,"thumbUrl":11464,"material":123,"size":11465,"collection":44,"collections":11466,"showCount":11432,"zanCount":48,"manualWeight":48,"mainColor":49},220448,"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,7,209,24,241,173,177,29,106,1575,176,558,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm",[44,42],{"id":11468,"slug":11469,"title":11470,"dynasty":189,"author":1672,"museum":78,"description":11471,"tags":11472,"thumbUrl":11473,"material":342,"size":11474,"collection":90,"collections":11475,"showCount":11432,"zanCount":48,"manualWeight":48,"mainColor":94},219890,"qi-shu-qiu-feng-tu-ni-zan-219890","琪树秋风图","以淡墨侧锋皴出坡上乔柯拳石，浓墨写细竹三五茎，苍古之中饶有秀润之气。倪瓒的作品，被时人称为“殊无市朝尘埃气”。画面总是平远小景，疏疏落落，悄无人影，枝头无绿叶，仅有萧疏瘦硬的干枝，具清冷、寂寞、淡然之意。与其说他表现的是景色，莫如说是心情的写照。",[7,173,1015,340,245,177,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0cb4cceff0554e3c0f7b5a3c8e2d7ab.jpg","纵62厘米，横43.3厘米",[90],{"id":11477,"slug":11478,"title":11479,"dynasty":18,"author":1650,"museum":101,"description":11480,"tags":11481,"thumbUrl":11482,"material":381,"size":139,"collection":181,"collections":11483,"showCount":11432,"zanCount":1547,"manualWeight":48,"mainColor":49},218590,"gui-zhuang-tu-ma-yuan-218590","归庄图","虬劲的松枝如墨线盘绕，斜覆在山间幽居之上，松针似点似染，苍润中藏着清劲。屋舍窗明几净，隐于松荫下，与远处淡墨晕染的峰峦、烟水相映。一人素衣独行，身影在空濛的天地间轻淡如尘。笔墨简括却意韵悠长，留白处尽是山水的空灵与归隐的恬淡，仿佛能听见松风掠过檐角，看见云气漫过山腰，将宋代文人心中的林泉之趣，凝在这一方绢素之中。",[23,7,209,241,173,177,29,175,1575,106,176,35,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b1435174880a33165f3ee3dd1c464e.jpg",[181],{"id":11485,"slug":11486,"title":1155,"dynasty":54,"author":2610,"museum":7875,"description":11487,"tags":11488,"thumbUrl":11489,"material":123,"size":11490,"collection":44,"collections":11491,"showCount":11432,"zanCount":5,"manualWeight":48,"mainColor":49},218385,"mu-niu-tu-han-huang-218385","平坡旷野间，双牛安卧，墨色晕染出厚重肌理，犄角宛转，似带泥土气息。牧童蜷身酣眠，草帽斜倚，竹杖横陈，尽是天真慵懒。旁侧老枝虬劲，竹影疏疏，墨痕浓淡交织出野趣。整幅画无喧嚣，唯留田园静穆。笔墨简括却神形毕肖，牛的憨态、牧童的自在，皆藏于线条间。盛唐乡野的悠然时光，仿佛凝在绢上，望之忘俗，心生惬意。",[209,7,24,27,28,106,151,242,245,227,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30f0dc982c6116348e28f459cb13d33.jpg","27.9x31.4",[44],{"id":11493,"slug":11494,"title":11495,"dynasty":76,"author":1109,"museum":539,"description":1110,"tags":11496,"thumbUrl":11497,"material":88,"size":1115,"collection":139,"collections":11498,"showCount":11432,"zanCount":48,"manualWeight":48,"mainColor":94},214891,"shan-shui-tu-ce-2-shi-tao-214891","山水图册-2",[23,7,173,177,81,29,109,174,464,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd319f48bef574dd573647e67866a3b95.jpg",[],{"id":11500,"slug":11501,"title":11502,"dynasty":76,"author":707,"museum":206,"description":708,"tags":11503,"thumbUrl":11504,"material":88,"size":139,"collection":139,"collections":11505,"showCount":11432,"zanCount":48,"manualWeight":48,"mainColor":94},214856,"xie-sheng-ce-8-hua-yan-214856","写生册-8",[7,24,81,27,28,83,224,931,243,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f47f6cc86c0d02af35246389a450d2.jpg",[],{"id":11507,"slug":11508,"title":11509,"dynasty":76,"author":850,"museum":364,"description":10603,"tags":11510,"thumbUrl":11512,"material":743,"size":744,"collection":139,"collections":11513,"showCount":11514,"zanCount":1547,"manualWeight":48,"mainColor":49},234708,"hua-guo-qin-wang-xiang-zhou-lang-shi-ning-234708","画果亲王像轴",[7,24,241,28,27,106,150,63,7464,11511],"弓箭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7698ac22bf24965860eb90abe749727.jpg",[],158,{"id":11516,"slug":11517,"title":11518,"dynasty":76,"author":2804,"museum":20,"description":11519,"tags":11520,"thumbUrl":11521,"material":11522,"size":11523,"collection":139,"collections":11524,"showCount":11514,"zanCount":5,"manualWeight":48,"mainColor":94},233723,"mu-dan-shui-xian-tu-wu-chang-shuo-233723","牡丹水仙图","图中牡丹以没骨积染法刻画，笔致潇洒飘逸，水与墨、色有机地交融，表现出牡丹旺盛的生命力和贵而不骄、艳而不俗的神韵。水仙以白描双勾法刻画，其不着一色的叶片与浓艳的牡丹相比具有洗尽铅华始见真的淡雅之美。生机勃发的牡丹和水仙营造出喜庆祥和的氛围，成功地表达了作者以此图祝福长辈健康长寿的主题，当属吴昌硕花卉画的代表作之一。",[7,27,83,241,327,451,298,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb479b3e734836eee55d462e42824a5c3.jpg","洒金，设色","纵174.7厘米，横47.5厘米",[],{"id":11526,"slug":11527,"title":11528,"dynasty":18,"author":1616,"museum":364,"description":11529,"tags":11530,"thumbUrl":11531,"material":139,"size":139,"collection":139,"collections":11532,"showCount":11514,"zanCount":5,"manualWeight":48,"mainColor":94},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[23,7,209,25,24,27,177,106,29,1575,176,34,560,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],{"id":11534,"slug":11535,"title":11536,"dynasty":99,"author":170,"museum":364,"description":11537,"tags":11538,"thumbUrl":11539,"material":803,"size":11540,"collection":181,"collections":11541,"showCount":11514,"zanCount":1547,"manualWeight":48,"mainColor":94},222121,"shi-zhu-tu-shen-zhou-222121","石竹图","石竹图，设色淡雅清幽，线条笔墨饱满有力，将竹的青翠挺拔，山石的坚硬如数展现，为其传世不多的佳品。画面中的竹、石、树体现了生物的灵气，体现了作者心灵与天地共呼吸，随悠云自来往的悠然心境。虽然整幅画面仅有很少的景物，但是作者的心境已经很自然的流露出来。 沈周在画中题识：“石丈有芳姿，此君无俗气。其中佳趣多，容我自来去。”",[23,209,7,24,173,177,245,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36554dbfb6c71407859f93a0a9573279.jpg","60×48cm",[181,163],{"id":11543,"slug":11544,"title":11545,"dynasty":99,"author":966,"museum":56,"description":11546,"tags":11547,"thumbUrl":11548,"material":619,"size":11549,"collection":181,"collections":11550,"showCount":11514,"zanCount":1547,"manualWeight":48,"mainColor":49},221994,"tao-yuan-wen-jin-tu-quan-juan-wen-zheng-ming-221994","桃源问津图全卷","全图画远山冈峦，叠翠连绵，溪水横流，树木葱郁，屋舍村字，掩映其间，有老者山道边策杖观瀑沉思，有妇人携幼拄杖于院篱门口问路，屋内四男子席地而坐，饮酒高谈。图中线条粗细旋转富于变化，墨色浓淡干湿，层次丰富。该图款识：“嘉靖甲寅二月既望。徵明识。时年八十有五。”嘉靖甲寅年为1556年。",[23,7,29,864,297,430,27,25,446,803,2094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be4d911f0f1c59073981b4c71b9d7db.jpg","纵23厘米，横578.3厘米",[181,45],{"id":11552,"slug":11553,"title":11554,"dynasty":76,"author":5096,"museum":132,"description":11555,"tags":11556,"thumbUrl":11557,"material":88,"size":139,"collection":181,"collections":11558,"showCount":11514,"zanCount":5,"manualWeight":48,"mainColor":94},215031,"fang-gu-shan-shui-ce-wang-jian-215031","仿古山水册","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[7,173,3117,177,81,29,34,176,560,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f5870a1a3d56961655bf14bd82552d.jpg",[181],{"id":11560,"slug":11561,"title":11562,"dynasty":99,"author":1083,"museum":20,"description":11563,"tags":11564,"thumbUrl":11567,"material":665,"size":10455,"collection":181,"collections":11568,"showCount":11569,"zanCount":48,"manualWeight":48,"mainColor":94},221880,"pin-cha-tu-li-zhou-chen-hong-shou-221880","品茶图立轴","画中两人相对而坐,似是一主一客。蕉叶铺地,主人坐于其上,旁置茶炉壶具，炉中炭火正炽。客人坐一怪石上，又以一方奇石为琴台，古琴已收入锦缎琴套中。此时，琴弦歇，茶正熟，两人手持茶盏，四目相视，正闻香品啜，耳边琴声犹在。此中乐趣,任凭读者遐思。读陈洪绶《品茶图》,至少能读出三点明代茶事信息来。",[23,209,7,24,241,27,28,106,244,136,11565,756,11566,678],"衣袍","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d2687f6bef527a3ee9c1f39e3b3a0.jpg",[181],157,{"id":11571,"slug":11572,"title":11573,"dynasty":18,"author":11574,"museum":1985,"description":11575,"tags":11576,"thumbUrl":11577,"material":67,"size":11578,"collection":42,"collections":11579,"showCount":11569,"zanCount":1270,"manualWeight":48,"mainColor":49},221464,"tu-tu-sun-long-221464","兔图","孙隆","孙隆（生卒年未详），一作孙龙，字纵吉，又字廷振，号都痴，武进（今江苏常州）人。开国忠愍侯孙兴祖之孙，宣德(1426-1435)间入值内廷，曾为“金门侍御”(翰林待诏)。生性颖敏，有仙人风度。工画花鸟，得徐熙、赵昌“没骨图法”，所绘禽鱼草虫不先勾勒定形而直接以色彩点染物象，此一画技可谓另开蹊径，自成一家，丰富了花鸟画传统技法，对后世泼彩写意影响深远。亦擅山水，宗宋代米芾、米友仁父子。从艺活动约在永乐、宣德、正统间，与林良(1416-1480)同时。传世作品有《雪禽梅竹图》轴、《芙蓉游鹅图》轴，现藏故宫博物院；《花鸟草虫图》卷藏吉林省博物馆；《花鸟草虫图册》十二页藏上海博物馆；《牡丹图》册页藏辽宁省博物馆。",[23,7,24,2544,27,28,957,2786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ec09cc9935e1e2fa5e683514485bfa.jpg","21.2×27.0",[42,90,45],{"id":11581,"slug":11582,"title":11583,"dynasty":99,"author":170,"museum":1429,"description":1430,"tags":11584,"thumbUrl":11585,"material":803,"size":1434,"collection":139,"collections":11586,"showCount":11569,"zanCount":48,"manualWeight":48,"mainColor":271},220054,"hu-qiu-shi-er-jing-tu-ce-12-shen-zhou-220054","虎丘十二景图册-12",[23,7,24,81,173,177,29,106,175,394,650,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383fa869df823cb3cac0c8fd9a89814.jpg",[],{"id":11588,"slug":11589,"title":11590,"dynasty":18,"author":474,"museum":11591,"description":11592,"tags":11593,"thumbUrl":11594,"material":123,"size":11595,"collection":90,"collections":11596,"showCount":11569,"zanCount":1270,"manualWeight":48,"mainColor":49},219170,"la-mei-shuang-qin-tu-zhao-ji-219170","腊梅双禽图","四川博物馆","描绘两只山雀栖止于梅树枝头，梅花含苞欲放，仅一朵绽开花蕾。梅之清韵与枝头的小鸟相映成趣，花鸟优美动人。全画以细劲的笔致、单纯秀雅的色调精妙入微地刻画花鸟形象，梅花轻柔美丽，山雀毛羽似泛光泽，其情态特征精细入微。",[23,209,7,24,28,27,83,448,224,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ef81c59e68fc11da552ce3e803576c.jpg","纵25.8厘米，横26.1厘米",[90],{"id":11598,"slug":11599,"title":11600,"dynasty":18,"author":1275,"museum":132,"description":11601,"tags":11602,"thumbUrl":11604,"material":123,"size":11605,"collection":90,"collections":11606,"showCount":11569,"zanCount":1547,"manualWeight":48,"mainColor":49},218964,"li-zhi-bai-xian-tu-lin-chun-218964","荔枝白鹇图","白鹇羽毛质感细腻，墨点顶冠与素白翎毛相映成趣，尾羽舒展如流云，俯身时翅尖微颤，似欲啄取枝间荔枝。荔枝殷红如丹，果皮肌理以细笔勾出，衬着墨绿的叶，浓淡间尽显生趣。枝干虬曲，墨线老劲，与禽鸟的柔媚形成巧妙对比。绢本古雅底色上，设色温润不艳，工笔细描中藏着自然的灵动，仿佛能闻见果熟的甜香，窥见禽鸟的轻啼。整幅画于精微处见真意，是宋人对生命意趣的细腻捕捉，静穆中透着鲜活生机，尽显院体花鸟的雅致与精妙。",[7,24,209,28,27,83,2827,11603,224,1062],"白鹇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7609305a0e20c4b4fa153525254ded.jpg","26x26cm",[90],{"id":11608,"slug":11609,"title":336,"dynasty":18,"author":4035,"museum":206,"description":11610,"tags":11611,"thumbUrl":11612,"material":123,"size":139,"collection":42,"collections":11613,"showCount":11569,"zanCount":48,"manualWeight":48,"mainColor":94},218747,"zhu-tu-wen-tong-218747","墨竹挺秀于素绢之上，枝干如铁线盘旋，墨色浓淡交织出老嫩层次。竹叶以“个”“人”形错落铺陈，笔意洒脱却不失矩度，似有风过叶舞之灵韵。文同“胸有成竹”的妙谛在此尽显：每枝每叶皆从心臆而出，无半分迟疑滞涩。老干苍劲如古松，新枝清逸若嫩柳，墨色干湿变化间藏盎然生机。留白处意蕴悠远，仿佛能闻竹间飒飒风声，见月下疏影横斜，将宋时文人画的意境与笔墨之美融于一纸。竹之坚贞与君子风骨相契，画者胸臆借竹抒发，尽展文人画的雅致气韵与精神内核。",[23,209,7,24,173,81,227,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6f635d98c2a3862422c3f72b140031.jpg",[42],{"id":11615,"slug":11616,"title":11617,"dynasty":54,"author":55,"museum":752,"description":11618,"tags":11619,"thumbUrl":11620,"material":123,"size":11621,"collection":44,"collections":11622,"showCount":11569,"zanCount":5,"manualWeight":48,"mainColor":1335},218270,"wei-mo-yan-jiao-tu-zhou-fang-218270","维摩演教图","文殊菩萨和维摩诘一直是绘画的常见主题。这幅画在一个宏大而丰富的场景中展示了大量的人物。在这幅画中，弟子们和文殊菩萨的马聚集在寺庙前，一位天女乘云而起，在寺庙中央，维摩诘和文殊菩萨在沙发上正在进行辩论。虽然画家也试图再现维摩诘的 清秀、脆弱和病态的外表，但花园和亭子的画法非常细致和细腻，是对当时文人和学者的家庭生活的歪曲表现。",[23,7,28,27,259,241,106,107,34,176,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44bcbc35fc6a4d4d7c2ebfa883cf4d08.jpg","113.5x41.8",[44],{"id":11624,"slug":11625,"title":11626,"dynasty":99,"author":100,"museum":206,"description":11627,"tags":11628,"thumbUrl":11631,"material":123,"size":11632,"collection":44,"collections":11633,"showCount":11569,"zanCount":1547,"manualWeight":48,"mainColor":49},218222,"ying-xi-tu-chou-ying-218222","婴戏图","孩子们在花园里玩耍的快乐场景。他们可能在弹钢琴、骑木马或看书，显示出对儿童生活的兴趣。",[7,24,28,27,106,3045,430,60,115,11629,5192,11630],"玩耍","明式风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605a2acb64c38c0548f9ab700825bd08.jpg","182x58.9",[44],{"id":11635,"slug":11636,"title":2990,"dynasty":76,"author":293,"museum":20,"description":2991,"tags":11637,"thumbUrl":11638,"material":40,"size":854,"collection":139,"collections":11639,"showCount":11640,"zanCount":48,"manualWeight":48,"mainColor":94},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167",[7,24,26,27,28,29,107,108,109,175,106,34,136,176,1532,2994,313,9155,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg",[],156,{"id":11642,"slug":11643,"title":11644,"dynasty":99,"author":100,"museum":20,"description":11645,"tags":11646,"thumbUrl":11649,"material":40,"size":11650,"collection":181,"collections":11651,"showCount":11640,"zanCount":1547,"manualWeight":48,"mainColor":94},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[23,7,24,209,241,27,28,29,34,35,11647,109,174,227,11648],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[181,45],{"id":11653,"slug":11654,"title":11655,"dynasty":189,"author":9382,"museum":101,"description":11656,"tags":11657,"thumbUrl":11658,"material":4796,"size":11659,"collection":181,"collections":11660,"showCount":11640,"zanCount":5,"manualWeight":48,"mainColor":94},221735,"shan-shui-zhu-shi-tu-quan-juan-zhao-yuan-221735","山水竹石图全卷","赵原（约1325—1374），元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。莒城（今山东莒县人，一作东平(今属山东)人，寓居苏州(今江苏苏州)。善诗文书画，擅山水。明太祖洪武（1368-1398）间征至中书令。洪武五年（1372）在昆陵作听松图，此顷被征至京图往贤着功名者像，应对忤旨，被杀。明洪武初奉诏入宫，因所画不称旨而被杀。\n关于赵原的师承说法不一，最经常的说法是王维和董源。也有说他师法董源、王蒙或米芾、高克恭。善用枯笔浓墨，作品多作浅绛山水，笔墨圆劲秀逸。亦长于画竹，画法多变，有龙角、凤尾、金错刀之称。兼能竹石，当时在平江一带负盛誉。有《合溪草堂图》、《晴川送客图》、《溪亭送客图》、《陆羽烹茶图》等传世。",[23,7,24,25,173,177,29,242,431,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纵25.7厘米，横380厘米",[181,163],{"id":11662,"slug":11663,"title":2276,"dynasty":76,"author":77,"museum":206,"description":11664,"tags":11665,"thumbUrl":11666,"material":827,"size":2280,"collection":90,"collections":11667,"showCount":11640,"zanCount":48,"manualWeight":48,"mainColor":94},220977,"hua-hui-shan-shui-he-ce-yun-shou-ping-220977","初工山水，笔墨秀峭，后与王翚交往，多作花卉，重视写生，往往用水墨淡彩，清润明丽，自成一格，有“恽派”之称。\n人称其笔有仙气，与王时敏、王鉴、王翚、王原祁、吴历齐名，为“清初六大家”之一。",[23,7,24,209,81,27,82,83,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f579f145d671f95c77813259add473.jpg",[90,45],{"id":11669,"slug":11670,"title":11671,"dynasty":189,"author":1848,"museum":191,"description":11672,"tags":11673,"thumbUrl":11674,"material":803,"size":11675,"collection":163,"collections":11676,"showCount":11640,"zanCount":5,"manualWeight":48,"mainColor":49},220777,"ku-mu-zhu-shi-tu-wu-zhen-220777","枯木竹石图","元吴镇所绘的《枯木竹石图》画的山中古木竹石， 藏巧于拙。近处古木枝桠遒劲，非常古雅清逸；石头尖峭如削。在构图上的确鬼斧神工,技高一筹。另外,此图在设色用笔上也足能代表吴镇的风格。枯木竹石图在好几个朝代都有画家的画作，也是中国山水画的常用名词。是作者以枯木（以物）抒情的一种表现手法，图中画的是扭曲干枯的枯树，挣扎着向外伸展，表现了作者坚硬顽强的性格，怪石与枯木皆用清淡、空灵、松散的笔墨似勾似擦，虽笔墨不多，却与其傲岸豪放的性格相一致，抒写了作者胸中的磊落不平。\n吴镇十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。",[23,209,7,173,177,446,543,242,431,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5797621a7b1b78697492ac6ae81f2540.jpg","纵103.3厘米 横33.3厘米",[163,2293],{"id":11678,"slug":11679,"title":11680,"dynasty":76,"author":77,"museum":364,"description":11681,"tags":11682,"thumbUrl":11683,"material":27,"size":11684,"collection":90,"collections":11685,"showCount":11640,"zanCount":1165,"manualWeight":48,"mainColor":49},220136,"yan-qiu-tu-yun-shou-ping-220136","艳秋图","此作为没骨花鸟之佳作，以晕染代勾勒，将秋花柔姿与顽石苍朴相融。红白菊花错落在嶙峋奇石间，瓣层舒展鲜活，设色明雅清润，艳而不俗。旁侧秋卉轻曳，石畔细草偃仰，层次铺陈自然和谐。\n\n画中不见刚硬线条，全以色泽晕染出花叶的蓬松柔润、山石的糙粝质感，将秋日群芳的妍丽雅致晕于绢素，鲜活灵动间满溢江南文人的温婉意趣。写实中暗含写意闲情，晕染出深秋清妍静雅的澹澹秋韵。",[23,7,24,241,27,82,796,298,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6547396a7425eb4e68a17e14638ceff.jpg","165×69.7厘米",[90],{"id":11687,"slug":11688,"title":11689,"dynasty":76,"author":5052,"museum":132,"description":11690,"tags":11691,"thumbUrl":11699,"material":342,"size":11700,"collection":181,"collections":11701,"showCount":11640,"zanCount":5,"manualWeight":48,"mainColor":94},220092,"hu-shan-qing-yi-tu-juan-shou-juan-hong-ren-220092","湖山清逸图卷手卷","根据《中国画史馨香录》书中所记，此题画诗原出自郑旼康熙戊申（1668年）录“渐公题诗二十三首”手钞本，1934年，许承尧录寄黄宾虹。渐江和尚画笔师法云林，又得徽州山水特别是黄山松壑云泉的蒙养，加之性格刚硬，所以其画并不为云林所囿。磊磊落落，逋峭冷隽，笔底山川，或幽深邃密，或峻拔嵯峨，气象高华而趣味淡宕，人品画品皆为时称道，是新安派中首屈一指的领军人物。观此卷气象，以平远式构图表现，岩壑奇秀，奇松点缀其中，沿江景物，用笔瘦硬，皴染枯淡而墨韵清润。以刚劲凝练的笔线勾勒，折带皴、披麻皴交互为用，山峰之间，礁石垒叠，疏疏密密、大大小小，形成参差错落的“矾块”，山峰中的涧溪，曲折逶迤而下，形如盘龙出水，跳荡击石，泠然有声。清人杨翰曾评论其突出的风格：“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”当时本幅之写照。此卷诗题：“清秋凝目郁苍苍，百里嶙峋一草堂。世代频更人不到，未燔书尽此中藏。",[7,25,173,1397,177,11692,2218,11693,11694,11695,11696,1726,11697,11698,8834,86,178],"折带皴","岩壑","奇松","礁石","涧溪","清润","冷隽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689de6099893b4044c6746888a67279c.jpg","引首17.5×66.5cm；画心17.5×131cm；题跋17.5×83.5cm",[181,163],{"id":11703,"slug":11704,"title":11705,"dynasty":54,"author":293,"museum":20,"description":11706,"tags":11707,"thumbUrl":11708,"material":123,"size":11709,"collection":45,"collections":11710,"showCount":11640,"zanCount":1270,"manualWeight":48,"mainColor":49},219760,"bai-ma-tu-yi-ming-219760","百马图","此图卷共描绘各种马95匹，牧马的奚官与圉人41人在一条河中及岸边洗马、戏马、驯马、饲马的场面。这幅图中所描绘的近百匹黑、白、红、花等各色马，有动有静，姿态各异，生动活泼。画家对马的描绘，极善抓住其动态和神情，运动中的马被表现得活泼顽皮，静立时的马又被表现得庄重威武。画中笔法清秀温雅，敷色清淡，可以看出唐法向宋元法变化的痕迹。",[23,209,7,24,25,27,28,150,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34693ea712a5b338887d9f2f6f7455af.jpg","纵68厘米、横1010厘米",[45],{"id":11712,"slug":11713,"title":11714,"dynasty":18,"author":1072,"museum":206,"description":11715,"tags":11716,"thumbUrl":11717,"material":123,"size":11718,"collection":42,"collections":11719,"showCount":11640,"zanCount":48,"manualWeight":48,"mainColor":94},219144,"zhu-cong-bai-tou-weng-tu-wu-bing-219144","竹丛白头翁图","画面中白头翁栖于竹枝，翎羽纤毫毕现，墨色晕染间绒羽柔润若触，喙爪劲挺见骨。竹丛枝叶交叠，线条清劲似铁线勾勒，翠色浅淡却透着生机，新篁嫩芽更显稚拙可爱。鸟的姿态灵动，似欲引吭或侧耳倾听，打破竹林静谧却又与清雅环境相融。画作以细腻写实之笔，精准捕捉禽鸟与植物形神，色彩淡雅温润，构图疏密有致，尽显宋代工笔花鸟的雅致韵致。方寸间藏自然生机与文人意趣，观之如置身幽篁深处，闻得禽鸣竹语，心随景静。",[23,209,7,24,1562,28,27,83,242,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a323ffe8ba1cd4340700718353b5a8.jpg","26.1x27.5cm",[42,90],{"id":11721,"slug":11722,"title":11723,"dynasty":1095,"author":2335,"museum":364,"description":11724,"tags":11725,"thumbUrl":11726,"material":342,"size":139,"collection":44,"collections":11727,"showCount":11640,"zanCount":1270,"manualWeight":48,"mainColor":94},218177,"da-qian-kuang-tu-ce-zhang-da-qian-218177","大千狂涂册","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[7,24,81,173,1147,178,106,243,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98a1662c3c897bee9d6dc355c56fbf0.jpg",[44,163],{"id":11729,"slug":11730,"title":11731,"dynasty":189,"author":2519,"museum":132,"description":11732,"tags":11733,"thumbUrl":11735,"material":123,"size":139,"collection":90,"collections":11736,"showCount":11640,"zanCount":1356,"manualWeight":48,"mainColor":49},216265,"xiang-ma-tu-ye-2-zhao-meng-fu-216265","相马图页-2","相马图是赵孟頫的一幅画作，产生于中国的元朝时期。它是赵孟頫的最著名的作品之一，并被认为是中国传统水墨画的杰作。\n\n相马图的绘画技巧非常精湛，色彩浓艳，线条优美。赵孟頫在画作中运用了中国传统的水墨画技法，并将其与西方的绘画技法相结合，创造出了独特的艺术风格。相马图被广泛认为是中国传统水墨画的经典之作，也是赵孟頫最著名的画作之一。",[23,7,24,209,27,28,81,106,150,11734,957],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfd49003f7298ef9c725d3bbc85f0cf.jpg",[90],{"id":11738,"slug":11739,"title":11740,"dynasty":390,"author":11741,"museum":78,"description":11742,"tags":11743,"thumbUrl":11745,"material":381,"size":11746,"collection":382,"collections":11747,"showCount":11640,"zanCount":5,"manualWeight":48,"mainColor":49},214519,"ya-tou-wan-tie-wang-xian-zhi-214519","鸭头丸帖","王献之","书写有力，笔触娴熟，笔触灵动有力，风格轻松；用墨明确，墨色清晰，由湿到干，由浓到淡的变化。用笔通常是 向外宽，与王羲之的 向内凹 相反，线条柔和、舒展，形态自然、优美。",[209,7,24,86,1147,803,11744,227],"墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fe0321ef54ba0e17ef41c3f66f72320.jpg","26.1x26.9",[382],{"id":11749,"slug":11750,"title":11751,"dynasty":18,"author":553,"museum":364,"description":11752,"tags":11753,"thumbUrl":11754,"material":743,"size":744,"collection":139,"collections":11755,"showCount":11756,"zanCount":1547,"manualWeight":48,"mainColor":1335},289985,"lin-liu-du-zuo-tu-fan-kuan-289985","临流独坐图","《临流独坐图》表现层峦叠蟑，山势起伏，溪谷间，云烟弥漫动荡，使深山幽小充盈着活力。",[209,7,24,29,173,177,649,176,1250,4614,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82f81787e5b0d6aa5b30a4e34620d.jpg",[],155,{"id":11758,"slug":11759,"title":220,"dynasty":76,"author":77,"museum":364,"description":740,"tags":11760,"thumbUrl":11761,"material":743,"size":744,"collection":139,"collections":11762,"showCount":11756,"zanCount":1547,"manualWeight":48,"mainColor":94},239435,"hua-niao-ce-yun-shou-ping-239435",[209,7,24,81,260,83,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8299fb7c2cc55824201acc436d25e464.jpg",[],{"id":11764,"slug":11765,"title":11766,"dynasty":76,"author":1083,"museum":132,"description":1084,"tags":11767,"thumbUrl":11770,"material":123,"size":1088,"collection":90,"collections":11771,"showCount":11756,"zanCount":1547,"manualWeight":48,"mainColor":49},220229,"hua-niao-cao-chong-xie-sheng-ce-shou-gu-qi-shi-chen-hong-shou-220229","花鸟草虫写生册-瘦古奇石",[23,209,7,24,81,27,28,177,245,11768,2063,11769],"瘦石","古石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8282cc767771cda337f1fc5a93cfc5cd.jpg",[90],{"id":11773,"slug":11774,"title":11775,"dynasty":54,"author":2610,"museum":20,"description":11776,"tags":11777,"thumbUrl":11778,"material":88,"size":4764,"collection":45,"collections":11779,"showCount":11756,"zanCount":1270,"manualWeight":48,"mainColor":94},219970,"wu-niu-tu-han-huang-219970","五牛图","《五牛图》中的五头牛从右至左一字排开，各具状貌，姿态互异。一俯首吃草荆棵蹭痒，一翘首前仰缓步前行，一纵峙而鸣，一回首舐舌，一络首而立。整幅画面除最后右侧有一小树外，没有其他的背景，因此每头牛可独立成章。",[23,7,24,25,27,28,227,86,178,151,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00eb300bc9aeab656f3c3031a5036af.jpg",[45],{"id":11781,"slug":11782,"title":2152,"dynasty":76,"author":11783,"museum":539,"description":11784,"tags":11785,"thumbUrl":11787,"material":123,"size":11788,"collection":90,"collections":11789,"showCount":11756,"zanCount":1547,"manualWeight":48,"mainColor":49},219037,"hua-niao-tu-yu-yuan-219037","虞沅","墨羽公鸡静立花侧，红冠似火，黑翎如缎，姿态沉稳中藏着几分灵动。粉白花卉枝叶舒展，花瓣层叠若绡，工笔细描下，每一处脉络都清晰可见，温婉雅致。几只彩蝶翩跹其间，或停于花尖，或掠过长空，为静谧画面注入鲜活生气。绢本底色温润如琥珀，设色淡雅清逸，笔墨间流淌着自然之韵，将花鸟之态与文人意趣融于一纸。细品之，仿佛能闻见花香浮动，听见蝶翅轻振，尽显传统工笔花鸟的细腻与生机，雅韵天成。",[209,7,24,241,28,27,83,327,795,11786,604,432,698],"公鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6f640052cff4b884ea0dd8c1a091f6.jpg","纵65.4横79.5厘米",[90],{"id":11791,"slug":11792,"title":11793,"dynasty":18,"author":293,"museum":206,"description":11794,"tags":11795,"thumbUrl":11796,"material":381,"size":11797,"collection":42,"collections":11798,"showCount":11756,"zanCount":1547,"manualWeight":48,"mainColor":94},218670,"qiu-shan-yu-ji-tu-yi-ming-218670","秋山雨霁图","雨霁后的秋山，似被洗去尘嚣。云雾如轻纱漫笼峰峦，在谷间缓缓流转，若隐若现的山影透着清润的轮廓。近坡上树木疏朗，枝叶带着湿意舒展，浅滩溪流潺潺，石间水痕依稀，犹存雨落余韵。墨色淡雅却层次分明，干笔皴擦勾勒山石肌理，湿墨晕染晕开云雾空濛，将秋山初晴的静谧与生机凝于一纸。那朦胧间的悠远清寂，恰是宋人山水中独有的意境——不刻意雕琢，却于简淡中藏着天地的灵秀，引人沉浸于这刚醒的秋意里，忘乎尘嚣。",[23,7,173,177,29,864,1329,34,281,650,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaad32c24dfc8fad734affdf00c5c629.jpg","28.9x50.4cm",[42,181],{"id":11800,"slug":11801,"title":11802,"dynasty":18,"author":1827,"museum":206,"description":11803,"tags":11804,"thumbUrl":11806,"material":123,"size":11807,"collection":44,"collections":11808,"showCount":11756,"zanCount":1547,"manualWeight":48,"mainColor":94},215107,"shi-dan-ying-xi-tu-li-song-215107","市担婴戏图","朴实的农村中，传来了熟悉的'咚不隆咚声。一位老货郎手摇着拨浪鼓，费力地挑着百货杂物走城串乡来了。一名还在喂餵乳的村妇，闻声赶上前来。大小娃儿们跟着围在一旁，又是焦急又是欢喜：争相向母亲示意哪个玩具好玩新奇；性急的，索幸自个儿爬上摊子抓取了！\n南宋时，画院曾流行描绘农村生活的情态，个中翘楚，首推李嵩。在这幅《市担婴戏图》里，可以亲眼目赌这位老画师画技的不凡。只消看看货郎担上、身上所披挂的各式膏药、杂货与童玩（据画上提示有“五百件”），就已足够令人眼花缭乱，技艺的超群也就不言而喻了。除此之外，画中在描绘货郎为生计辛勤奔波、村妇为家计费心盘量的同时，画家能匠心地摹绘孩童的无邪天真，更在在显示刻划手法的独到与细腻。李嵩出身民间工匠，对农村生活的观察，体会尤深。在图1这幅图中，他以精准、顿挫有致的笔法，既呈现出市井小民的情态，也展现乡野浓厚的生命气息，可说是一件杰出、令人动容的小品。",[23,7,24,1562,28,27,260,106,3045,7254,34,11805],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f373c10d3030225f43684528bc8cd74.jpg","25.8x27.6公分",[44],{"id":11810,"slug":11811,"title":11554,"dynasty":76,"author":10376,"museum":132,"description":11812,"tags":11813,"thumbUrl":11814,"material":88,"size":139,"collection":181,"collections":11815,"showCount":11756,"zanCount":48,"manualWeight":48,"mainColor":49},214603,"fang-gu-shan-shui-ce-wang-hui-214603","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",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横25.7厘米",[42],{"id":11850,"slug":11851,"title":11230,"dynasty":99,"author":170,"museum":20,"description":11852,"tags":11853,"thumbUrl":11854,"material":88,"size":11855,"collection":181,"collections":11856,"showCount":11824,"zanCount":48,"manualWeight":48,"mainColor":271},219865,"yun-shan-tu-shen-zhou-219865","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[23,7,173,29,177,241,34,37,176,31,175,491,1926,1927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[181],{"id":11858,"slug":11859,"title":11860,"dynasty":76,"author":11861,"museum":206,"description":11862,"tags":11863,"thumbUrl":11868,"material":88,"size":11869,"collection":90,"collections":11870,"showCount":11824,"zanCount":1356,"manualWeight":48,"mainColor":94},219454,"tian-zhong-jia-hui-tu-chen-shu-219454","天中佳卉图","陈舒","藤蔓扶摇向上，粉紫蜀葵次第绽放，花瓣轻透如绢，晕染出柔婉韵致。明黄百合斜逸生姿，金蕊微吐；暗红小花簇簇点缀，似燃细碎火苗。底部果实饱满如金丸，墨叶苍劲托衬，与嫩茎细草相映成趣。笔墨兼工带写，线条流转见生机，设色清雅却明艳，凝草木鲜活灵秀于尺幅，如沐和风，满纸溢自然温润雅致。",[7,24,241,27,28,227,83,5401,1124,11864,11865,11866,11867],"红色花卉","绿色叶片","细长草茎","黄色果实状花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91eeed2afbd9f96dd49ad53ecc3d2d1.jpg","115.8×46.1cm",[90],{"id":11872,"slug":11873,"title":11874,"dynasty":18,"author":1827,"museum":206,"description":11875,"tags":11876,"thumbUrl":11877,"material":123,"size":11878,"collection":42,"collections":11879,"showCount":11824,"zanCount":1270,"manualWeight":48,"mainColor":94},218926,"tian-zhong-shui-xi-tu-li-song-218926","天中水戏图","这幅画表现的是一艘用金色画成的巨大龙舟，上面有雕梁画栋和花窗装饰，宏伟而精致。龙头高耸，眉毛突出，张牙舞爪，舌头张开，船身密布鳞片，船尾高度弯曲上翘，给人一种威严的形象。",[23,7,209,24,81,104,27,28,107,502,2094,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cc9b39f9dfd96d1ccdd35955b36a94.jpg","24.5x25.1",[42],{"id":11881,"slug":11882,"title":11883,"dynasty":18,"author":823,"museum":364,"description":11884,"tags":11885,"thumbUrl":11888,"material":123,"size":7840,"collection":181,"collections":11889,"showCount":11824,"zanCount":1270,"manualWeight":48,"mainColor":49},218593,"feng-yu-gui-zhou-tu-xia-gui-218593","风雨归舟图","画面墨气淋漓，骤雨如丝斜织，远山隐入烟霭，近树被风揉得枝叶翻卷。蓑衣客躬身疾行，斗笠遮不住风雨，脚步却向着归途匆匆；江畔小舟半隐雾中，舟子撑篙破雨而来，船篷上似有雨珠滚落。墨色浓淡相济，湿笔晕染出天地苍茫，干笔勾勒出人物的急切与树石的坚韧。风雨的喧嚣仿佛透过绢素传来，归人的匆忙与自然的浩渺相映，既有生活的烟火气，又藏着山水间的悠远意境。寥寥几笔便将骤雨归舟的情景写尽，湿墨晕开的雨雾里，似能触到那份湿润的诗意，以及归心似箭的温暖底色。",[7,173,29,177,2838,106,34,649,281,11886,11887],"风雨","蓑衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeefa85c6c7e634a1e82deccf9bee42a.jpg",[181],{"id":11891,"slug":11892,"title":11893,"dynasty":18,"author":1650,"museum":78,"description":11894,"tags":11895,"thumbUrl":11899,"material":123,"size":11900,"collection":181,"collections":11901,"showCount":11824,"zanCount":5,"manualWeight":48,"mainColor":49},218237,"xue-ji-guan-mei-tu-ma-yuan-218237","雪屐观梅图","马远，号钦山。其祖父、伯父、父亲、兄弟均为南宋画院画家。他对花鸟、山水、人物都很擅长，尤以山水画的成就最为突出。在光宗、宁宗年间，他任画院待诏。学李唐，画山石用大斧劈皴，并创长斧劈皴，用笔凝重。构图上，一变五代、北宋以来的“全景式”，喜欢采用边角式的构图，或峭峰直上不见顶，或绝壁直下不显脚，人称“马一角”。《雪屐观梅图》画面的重心在左下角，水滩、苍松、老梅与人物集中与此。远处雪山只是以大斧劈皴刷扫，干净利落，与近处的巨石遥相呼应。",[7,209,1397,11896,5748,2502,7960,448,106,11897,11898],"大斧劈皴","巨石","水滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3179ad18bc15bc6742fc5df6ed494cdd.jpg","纵16.3 厘米，横100.9厘米",[181],{"id":11903,"slug":11904,"title":11905,"dynasty":76,"author":2040,"museum":364,"description":5969,"tags":11906,"thumbUrl":11909,"material":743,"size":744,"collection":139,"collections":11910,"showCount":11911,"zanCount":1165,"manualWeight":48,"mainColor":94},288274,"du-mu-shi-yi-tu-li-zhou-zou-yi-gui-288274","杜牧诗意图立轴",[23,209,7,24,241,83,28,27,84,543,11907,11908],"顽石","竹草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedd022cd80eec5e9b9f4773b20b52dd.jpg",[],153,{"id":11913,"slug":11914,"title":1132,"dynasty":18,"author":293,"museum":20,"description":11915,"tags":11916,"thumbUrl":11918,"material":803,"size":11919,"collection":139,"collections":11920,"showCount":11911,"zanCount":1270,"manualWeight":48,"mainColor":94},231540,"bai-hua-tu-juan-yi-ming-231540","此幅画四季花卉约60种，长近17米，堪称辉煌巨制。尾纸钤鉴藏印“棠村”、“蕉林梁氏书画之印”等，有乾隆、嘉庆、宣统鉴赏印及清内府鉴藏印多方。\n此图绘四季花卉五十余种，其中主要有梅花、山茶、牡丹、百合、芍药、海棠、萱花、含笑、碧桃、桃花、梨花、石竹花、罂粟、打破碗花、栀子、蕙兰、荷花、并蒂莲、鸡冠花、蓼花、芙蓉、扁豆花、石蒜花、桂花、菊花、山丹、牵牛花、凤仙花、蜀葵、秋葵等。\n花间分别点缀禽鸟、蜻蜓、蝴蝶、蜜蜂、蚱蜢、小鱼等，颇具自然生机和情趣。图中花卉和动物，都用细线勾描，浓淡墨多层晕染，花之娇态、层次，页之筋脉、转折、凹凸刻画得很细致。全图用笔工细，用墨于单纯中求丰富，统一中求变化，使画面富有秀雅之美。图卷首段的梅花的画法接近南宋扬无咎的风格而又有变化。这种工而不板，艳二不火的画风，开文人花鸟画的先河。画中钤有「乾隆御览之宝」、「三希堂精鉴玺」、「嘉庆御览之宝」、「宣统御览之宝」等印玺多方。无作者款印，曾经清内府收藏，《石渠宝笈三编》著録。\n画面上花鸟之间穿插自然，毫无牵强拼凑之意。其间又点缀蜂、蚊、蜻蜓、蝴蝶、游鱼、青蛙之类，显得生意盎然。全卷纯使水墨，亦加白描花卉，除卷首的梅花近似扬无咎的画法略带写意笔外，其他全用墨笔工写，以墨代色，兼勾勒墨染与白描，且融入了没骨画法，体现了宋工笔花鸟精密不苟的画风。又以单纯的水墨代替艳丽的设色，呈现出清淡典雅的情趣。一脱繁复刻板的院体末路，突破了传统花鸟画的时空限制，呈现出崭新的面貌。这种技法对元代钱选、王渊、赵衷的墨笔花卉以及后来文人水墨花卉都有一定的影响。",[23,209,7,24,25,28,27,83,11917,604,800,224,327,450,279,795],"百花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd98aa4ddc30bf83c5a67d1f1c11a05a.jpg","纵31.5厘米、横1679.5厘米",[],{"id":11922,"slug":11923,"title":11924,"dynasty":99,"author":170,"museum":206,"description":11925,"tags":11926,"thumbUrl":11927,"material":88,"size":11928,"collection":139,"collections":11929,"showCount":11911,"zanCount":5,"manualWeight":48,"mainColor":49},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[7,24,241,173,27,29,177,106,150,108,109,175,34,176,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],{"id":11931,"slug":11932,"title":11933,"dynasty":76,"author":1204,"museum":364,"description":11934,"tags":11935,"thumbUrl":11936,"material":139,"size":139,"collection":139,"collections":11937,"showCount":11911,"zanCount":48,"manualWeight":48,"mainColor":94},230272,"hua-he-ce-zhu-da-230272","画荷册","这幅墨荷以水墨写意铺陈，阔笔泼墨挥写荷叶，浓淡干湿交叠，晕染出叶片俯仰向背的错落姿态，墨色氤氲间尽显苍润厚重。荷花以极简的线条勾勒，舒展清癯，留白衬出花瓣的莹洁，孤高冷逸之态尽显。细劲挺拔的水草与厚重荷叶虚实相映，简淡空灵。\n\n画面以少胜多，寥寥数笔便将荷塘清寂之境铺展，清冷出尘的意趣藏于淡墨之中，以形写神，把幽独超迈的文人风骨融在笔墨间，尽显写意水墨以简驭繁的精妙。",[7,24,173,81,243,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470063c37b35045e9c6772f0cfa86f81.jpg",[],{"id":11939,"slug":11940,"title":3750,"dynasty":18,"author":293,"museum":364,"description":11941,"tags":11942,"thumbUrl":11943,"material":665,"size":11944,"collection":139,"collections":11945,"showCount":11911,"zanCount":48,"manualWeight":48,"mainColor":49},223466,"hua-lan-tu-yi-ming-223466","笔重，小花篮五彩，竹篮内荷花兰花盛开，竹丝，趋瘦高大，工笔画重，小花篮 满丝，钥匙空，露出荷花； 荷花自然展开，片片白红相间，娇艳欲滴，犹如荷花的芬芳。 这张图强调颜色，勾勒出图案，是素描笔画的一个很好的例子。",[23,209,7,24,28,27,83,244,452,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed81165b01055d89197d62fd13fc09c.jpg","19.1cm×26.5cm",[],{"id":11947,"slug":11948,"title":11949,"dynasty":76,"author":2083,"museum":364,"description":11950,"tags":11951,"thumbUrl":11952,"material":827,"size":11953,"collection":90,"collections":11954,"showCount":11911,"zanCount":48,"manualWeight":48,"mainColor":94},223299,"zhu-shi-tu-5-zheng-ban-qiao-223299","竹石图5","这幅《竹石图》，郑板桥将竹子画得艰瘦挺拔，节节屹立而上，直冲云天，每一片叶子都有着不同的表情，墨色水灵，逼真地表现竹的质感，而且竹的纤细清飒之美更衬托了石的另一番风情。在构图上又将竹与石的位置关系和题诗文字处理得十分协调，而且他的书法是越到晚年越是风神独具、挥洒自如、翰墨苍劲。“扬州八怪”之首的金农曾感叹：相较两人的画品，自己画的竹子终不如板桥有林下风度啊。\n郑板桥被后人誉为“诗、书、画”三绝的全才画家，且在三绝之中又有三真，特别强调要表现真性情、真意气、真趣味。\n郑板桥的绘画成就极高，尤擅画竹石，细枝粗叶，瘦劲孤高，格调超人。他画竹有“胸无成竹”的理论，并无师承，多得于纸窗粉壁日光月影，直接取法自然。他自称：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳。”针对苏东坡“胸有成竹”的说法，郑板桥强调的是胸中“莫知其然而然”的竹，要“胸中无竹”。这两个理论看似矛盾，实质却相通，同时强调构思与熟练技巧的高度结合，其创作体会鲜明地表露于一则题画中：“江馆清秋，晨起看竹，烟光、日影、露气皆浮动于浮枝密叶之间，胸中勃勃，遂有画意。其实胸中之竹，并不是眼中之竹也。因而磨墨展纸，落笔倏作变相，手中之竹，又不是胸中之竹也。”他笔下的竹注重“瘦与节”的结合，往往就是自己思想和人品的化身。据说，曾经有一大户大家请郑板桥画竹，酒过之后他便向这家墙壁上大盆洒墨，扔笔不画，晚上风雨大作把墙壁上的墨迹冲刷一遍，第二天一大早竟是一幅淋漓尽致的墨竹，还有几只麻雀以为来到了竹林撞昏在壁下。传说自然不可全信，但却可想见郑板桥作画的创造性。",[23,209,7,24,241,173,178,227,177,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6751617696efb541b17a01c9ddade642.jpg","179.5×101cm",[90,163],{"id":11956,"slug":11957,"title":11958,"dynasty":18,"author":781,"museum":364,"description":11959,"tags":11960,"thumbUrl":11961,"material":665,"size":11962,"collection":42,"collections":11963,"showCount":11911,"zanCount":48,"manualWeight":48,"mainColor":49},221404,"bai-miao-shi-nv-tu-li-gong-lin-221404","白描仕女图","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,7,24,209,260,106,59,107,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f89ca0cf650498658e9f6d3c15a75dd.jpg","30x30厘米",[42,44,163],{"id":11965,"slug":11966,"title":11967,"dynasty":1095,"author":4046,"museum":8718,"description":11968,"tags":11969,"thumbUrl":11970,"material":619,"size":139,"collection":139,"collections":11971,"showCount":11911,"zanCount":48,"manualWeight":48,"mainColor":94},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[23,7,24,241,27,173,177,29,650,109,432,34,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg",[],{"id":11973,"slug":11974,"title":11975,"dynasty":99,"author":1480,"museum":101,"description":11976,"tags":11977,"thumbUrl":11978,"material":123,"size":11979,"collection":181,"collections":11980,"showCount":11911,"zanCount":1547,"manualWeight":48,"mainColor":49},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,7,24,25,173,27,29,28,177,178,227,108,109,175,107,174,281,106,394,1016,900,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[181,45],{"id":11982,"slug":11983,"title":11984,"dynasty":18,"author":553,"museum":78,"description":11985,"tags":11986,"thumbUrl":11987,"material":342,"size":139,"collection":42,"collections":11988,"showCount":11911,"zanCount":48,"manualWeight":48,"mainColor":1335},219928,"wan-jing-tu-fan-kuan-219928","晚景图","此图山峦圆浑高峻，水边巨石垒垒，用密集的小斧劈皴和雨点皴皴染，山顶密植树木。山形和技法的确出于范宽，但是山峦间充满虚渺云雾、远山淡墨一抹以及笔法短促简率等画法，都带有南宋李唐画派的技法因子，画面缺乏范宽那种雄伟森严的气势，应是出于南宋早期继承范宽画风的画家之手。可惜作者姓名佚失，然亦是了解由范宽画风向南宋院体画风递变时期艺术面貌的重要实迹。",[23,7,177,173,29,864,34,650,4562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d38b2ea5d8305bc68e3d6e69a76fe72.jpg",[42],{"id":11990,"slug":11991,"title":11992,"dynasty":76,"author":293,"museum":752,"description":11993,"tags":11994,"thumbUrl":11995,"material":123,"size":139,"collection":44,"collections":11996,"showCount":11911,"zanCount":1356,"manualWeight":48,"mainColor":49},219491,"liu-yin-dou-cha-tu-yi-ming-219491","柳荫斗茶图","君德壶之所以受世人推崇，很大一部分原因是，君德脱胎于梨形，即经典脱胎于经典。\n耿宝昌先生曾在《明清瓷器鉴定》一书中谈到：“梨壶，因造型类似梨而得名。元代始烧造，其后历明、清两代，经久不衰”，是传承了几百年的经典之器。",[7,24,27,28,106,394,244,6204,1159,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5a6d9aeb8db5fa496b3792c21d17.jpg",[44],{"id":11998,"slug":11999,"title":1692,"dynasty":99,"author":12000,"museum":206,"description":12001,"tags":12002,"thumbUrl":12003,"material":88,"size":12004,"collection":181,"collections":12005,"showCount":11911,"zanCount":5,"manualWeight":48,"mainColor":94},214737,"shan-shui-tu-zhao-zuo-214737","赵左","这幅画描绘了一座远山，远处有长长的松树，还有一条安静、荒芜的山路。此幅笔墨有王蒙遗法，用笔转为清雅",[7,24,241,173,177,227,29,650,34,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffc14a94445ec38d2e703a1156fa299.jpg","122.5x34.7",[181],{"id":12007,"slug":12008,"title":12009,"dynasty":189,"author":2471,"museum":101,"description":12010,"tags":12011,"thumbUrl":12012,"material":381,"size":12013,"collection":90,"collections":12014,"showCount":11911,"zanCount":48,"manualWeight":48,"mainColor":49},214295,"han-mei-tu-wang-mian-214295","寒梅图","元代画家王冕（1280-1329）是中国古代著名的画家，他的《寒梅图》是其代表作之一。\n\n《寒梅图》描绘了一棵寒梅树，树上只有几朵花开，周围是一片荒芜的冬景。王冕在画中运用了凝重的笔墨和写意的造型，勾勒出了寒梅树的茂盛与脆弱，以及冬天的荒凉。\n\n《寒梅图》被认为是王冕写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《寒梅图》也是收藏家们青睐的经典之作。\n\n王冕的《寒梅图》是一幅描绘冬天荒凉的画作，但它却带给人们对生命的启示。寒梅树在荒凉的冬季依然绽放，它的坚韧与生命力激发了人们对生命的尊重与感悟。王冕的《寒梅图》不仅是一幅精美的画作，更是一首关于生命的诗篇。",[23,7,24,241,173,86,178,448,394,1062,1461,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74eb37c58ada5991af17df8bfe595f82.jpg","113x50.2",[90],{"id":12016,"slug":12017,"title":12018,"dynasty":18,"author":12019,"museum":206,"description":12020,"tags":12021,"thumbUrl":12022,"material":342,"size":12023,"collection":382,"collections":12024,"showCount":11911,"zanCount":1547,"manualWeight":48,"mainColor":49},214223,"xing-shu-qi-yan-jue-ju-zhou-wu-ju-214223","行书· 七言绝句轴","吴琚","这首七字诗是根据蔡襄的诗句写的，是宋代罕见的书法作品。吴氏的字俊美优雅，形体和姿态都与米芾一脉相承，但与北宋书法家的作品相比，吴琚的用笔快速有力，偶尔有飞白，显示出南宋书法家更注重渲染上下和整体的主旨，而不是对每个单字的提炼和完善。",[23,209,7,24,241,178,86,227,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb61b45191b67798358ba3eb2af0473.jpg","98.6x55.3",[382],{"id":12026,"slug":12027,"title":7912,"dynasty":99,"author":4904,"museum":364,"description":12028,"tags":12029,"thumbUrl":12031,"material":743,"size":744,"collection":139,"collections":12032,"showCount":12033,"zanCount":1270,"manualWeight":48,"mainColor":94},290309,"sui-chao-tu-zhou-lu-zhi-290309","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[209,7,24,241,27,83,448,451,327,244,86,227,12030],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":12035,"slug":12036,"title":12037,"dynasty":76,"author":1204,"museum":364,"description":12038,"tags":12039,"thumbUrl":12040,"material":139,"size":139,"collection":139,"collections":12041,"showCount":12033,"zanCount":48,"manualWeight":48,"mainColor":49},231001,"song-lu-tu-zhu-da-231001","松鹿图","《松鹿图》纵28厘米，横75厘米，纸本，作者朱耷。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。\n图中画一老松，根浅干高，上粗下细，枝枯叶疏，似病5人躯干，显示出生命的衰弱和意志的消沉。\n树后画一头重脚轻、摇摇欲坠的怪石，石旁画一只形体扭曲、双目圆瞪的鹿，地上是稀少短小的枯草。\n画面布局得当，笔法苍劲，流畅生动，寓意极深。\n《松鹿图》笔墨极简，然简中有味，能在寥寥几笔中传达出许多“余味”，需要极高深的功力和极高尚的笔墨趣味。\n松树取折枝意境，几根墨线，萧条淡泊，闲和严静，画面的萧索反映出他精神世界里的孤寂，完全从八大山人的精神状态中走出，既有文人的雅致，又含着僧人的禅意，还透着些道家的出世散淡，还带着些许皇家的富贵气息。\n此画最大的佳处就在于气息湮润，格调高雅，平淡天真，不着人间烟火气。\n梅花鹿是高雅富贵之物，被视为君子，与八大山人看空世事的情怀有不谋而合之处。\n此外“松鹿题材”也是传统的吉祥题材，“鹿”与“禄”同音，松树象征着高寿，《松鹿图》寄托着福禄长寿的美好寓意。\n八大山人的造诣不仅体现在书画创作和艺术成就上，就连他的精神境界，也是拈花微笑、艺术到家的，这从《松鹿图》的气韵上可见一斑。\n朱耷（1624—175年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『17』，小名耷。\n清顺治五年（1648年）落发为僧，法名传棨。\n一生字、号、别号甚多，有个山、驴屋驴、人屋等。\n康熙二十三年（1684年）始号八大山人。\n坎坷的命运影响着他的人生观及艺术创作思想，其绘画作品中多寄托着对清王朝的痛恨，对明王朝的眷恋之情。\n山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。\n花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。\n晚年署款将自己的号“八大山人”四个字以草书体连缀写，似“哭之”、“笑之”，借此暗寓他面对富于戏剧性变幻的人生，哭笑不得，百般无奈的感慨之情。\n他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。\n书法宗王献之、颜真卿，淳朴圆润，自成一格。\n朱耷中晚年，在书画作品款署中多使用“八大山人”。",[23,7,173,260,241,449,3167,242,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd179297b507ca3cef1bcc70058d3b3d.jpg",[],{"id":12043,"slug":12044,"title":12045,"dynasty":189,"author":9595,"museum":364,"description":12046,"tags":12047,"thumbUrl":12050,"material":139,"size":139,"collection":139,"collections":12051,"showCount":12033,"zanCount":1356,"manualWeight":48,"mainColor":49},228054,"bai-mei-tu-shou-juan-wang-zhen-peng-228054","百美图手卷","此作以长卷舒展，仕女群像错落排布，或展卷挥毫、调弦抚琴，或拈花私语、临案观画，尽现闺中清趣。线条细劲如春蚕吐丝，将云鬓花钗、襦裙飘带勾勒得柔婉细腻，仕女顾盼间尽显温婉秀逸之态。设色古雅淡和，赭黄绢底衬得朱蓝粉白衣袂清雅脱俗，与满卷题字错落呼应，诗画相映成趣，将深闺日常的娴静雅意缓缓铺陈，晕染出女子的幽微心绪与雅致韵致，宛如一卷鲜活的闺中清欢图，余韵悠长。",[23,7,24,25,28,27,106,59,63,210,12048,12049],"案几","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff76a94e092ff1a1c143055113ceff3b.jpg",[],{"id":12053,"slug":12054,"title":12055,"dynasty":99,"author":100,"museum":20,"description":2101,"tags":12056,"thumbUrl":12058,"material":40,"size":2105,"collection":139,"collections":12059,"showCount":12033,"zanCount":5,"manualWeight":48,"mainColor":94},222193,"ren-wu-gu-shi-tu-zhu-yuan-pin-gu-chou-ying-222193","人物故事图-竹院品古",[23,7,24,28,27,106,242,244,3045,10323,115,11088,12057],"品古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f688d90551ee6db64df0e5d88db472f.jpg",[],{"id":12061,"slug":12062,"title":12063,"dynasty":18,"author":3185,"museum":578,"description":12064,"tags":12065,"thumbUrl":12066,"material":665,"size":5651,"collection":42,"collections":12067,"showCount":12033,"zanCount":1547,"manualWeight":48,"mainColor":49},221658,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-221658","《五百罗汉图》之《应身观音》","画五百罗汉故事，包含佛教诸多教义僧人生活情境。有罗汉结集论事故事，有佛道斗法情境，有僧人日常生活状貌，也有长途跋涉稍作休憩游行僧形象。",[23,7,24,209,28,27,259,106,242,37,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg",[42,44,45],{"id":12069,"slug":12070,"title":12071,"dynasty":18,"author":12072,"museum":206,"description":12073,"tags":12074,"thumbUrl":12075,"material":827,"size":12076,"collection":42,"collections":12077,"showCount":12033,"zanCount":5,"manualWeight":48,"mainColor":49},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[23,209,7,24,81,173,27,177,29,175,34,174,30,491,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[42,181],{"id":12079,"slug":12080,"title":12081,"dynasty":1095,"author":2335,"museum":2336,"description":12082,"tags":12083,"thumbUrl":12085,"material":139,"size":139,"collection":139,"collections":12086,"showCount":12033,"zanCount":5,"manualWeight":48,"mainColor":94},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[23,7,24,26,27,29,30,1444,558,37,34,12084,105,177,227],"山间小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg",[],{"id":12088,"slug":12089,"title":12090,"dynasty":76,"author":1394,"museum":539,"description":12091,"tags":12092,"thumbUrl":12093,"material":342,"size":12094,"collection":181,"collections":12095,"showCount":12033,"zanCount":5,"manualWeight":48,"mainColor":94},220080,"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[23,7,173,241,105,177,29,108,109,34,176,558,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[181],{"id":12097,"slug":12098,"title":10180,"dynasty":76,"author":2040,"museum":12099,"description":12100,"tags":12101,"thumbUrl":12103,"material":123,"size":12104,"collection":90,"collections":12105,"showCount":12033,"zanCount":1547,"manualWeight":48,"mainColor":49},219539,"pan-tao-tu-zou-yi-gui-219539","承德避暑山庄博物馆","画面两只丹顶鹤立于青石之上姿态悠闲，石隙间画桃树一株硕果累累富有质感，峰峦之间瀑布鞋飞流而下。",[23,7,24,241,28,27,60,2930,176,109,12102,34],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6b446064c15c3f90edacbf7bbc946c.jpg","166cm×87cm",[90],{"id":12107,"slug":12108,"title":12109,"dynasty":1095,"author":1096,"museum":132,"description":12110,"tags":12111,"thumbUrl":12114,"material":88,"size":12115,"collection":90,"collections":12116,"showCount":12033,"zanCount":48,"manualWeight":48,"mainColor":94},216934,"deng-shu-zhou-qi-bai-shi-216934","灯鼠轴","案头油灯亮着红芯，剪刀斜倚灯旁，两只灰鼠各有姿态——一只攀柱啃噬灯芯，长尾垂落；一只蹲坐地上，抬首望灯，胡须微颤似嗅暖意。笔墨极简，鼠的憨态却跃然纸上：浓淡墨色晕染出绒绒质感，细长尾巴勾勒灵动，寥寥几笔便捉住鼠的机警与贪馋。灯柱线条稚拙却稳当，红烛芯如点睛之笔，在素净纸面上添了一抹鲜活。题字与画面相映，把日常小景写成逸趣，没有刻意雕琢，却藏着对生活细微处的体察，似在说寻常烟火里也有这般可爱的瞬间。",[23,7,173,27,241,446,7819,12112,12113,244,227,86],"灯","蜡烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1eaa5d9a0084397f64b5881322f7b2d.jpg","67.5x33.5cm",[90],{"id":12118,"slug":12119,"title":12120,"dynasty":76,"author":7021,"museum":782,"description":12121,"tags":12122,"thumbUrl":12123,"material":88,"size":139,"collection":90,"collections":12124,"showCount":12033,"zanCount":5,"manualWeight":48,"mainColor":94},214821,"shan-shui-hua-hui-tu-ce-gao-feng-han-214821","山水花卉图册","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[7,24,81,173,27,176,327,340,84,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cf54d8ff98e36838fdc0046806b6e0.jpg",[90],{"id":12126,"slug":12127,"title":1223,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":12128,"thumbUrl":12129,"material":139,"size":139,"collection":139,"collections":12130,"showCount":12131,"zanCount":1356,"manualWeight":48,"mainColor":94},233907,"hua-hui-shan-shui-ce-yun-shou-ping-233907",[209,7,24,81,27,82,28,83,798,697,698,934,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141cf9f332104177044cc00b6174e0b6.jpg",[],151,{"id":12133,"slug":12134,"title":1649,"dynasty":18,"author":1650,"museum":20,"description":1651,"tags":12135,"thumbUrl":12138,"material":40,"size":1655,"collection":139,"collections":12139,"showCount":12131,"zanCount":48,"manualWeight":48,"mainColor":49},233880,"ta-ge-tu-zhou-ma-yuan-233880",[7,209,241,173,27,29,176,34,1015,12136,106,107,37,109,177,12137],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg",[],{"id":12141,"slug":12142,"title":6861,"dynasty":76,"author":2804,"museum":20,"description":12143,"tags":12144,"thumbUrl":12145,"material":990,"size":12146,"collection":139,"collections":12147,"showCount":12131,"zanCount":1547,"manualWeight":48,"mainColor":94},233735,"he-hua-tu-zhou-wu-chang-shuo-233735","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[209,7,173,27,241,446,83,243,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18450c962cc4dc8033a867f98dea23ce.jpg","纵163.4厘米，横47.5厘米",[],{"id":12149,"slug":12150,"title":12151,"dynasty":204,"author":5076,"museum":206,"description":12152,"tags":12153,"thumbUrl":12154,"material":317,"size":12155,"collection":90,"collections":12156,"showCount":12131,"zanCount":1547,"manualWeight":48,"mainColor":1335},221151,"shan-zhe-ji-que-tu-huang-ju-cai-221151","山鹧棘雀图","山鹧棘雀图是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,209,7,28,27,83,281,1015,245,340,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5a20f43ca35824f3daa158e61bf297.jpg","纵97厘米，横53.6厘米",[90,45],{"id":12158,"slug":12159,"title":12160,"dynasty":76,"author":1394,"museum":675,"description":5682,"tags":12161,"thumbUrl":12162,"material":88,"size":5685,"collection":181,"collections":12163,"showCount":12131,"zanCount":5,"manualWeight":48,"mainColor":49},220004,"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久",[23,7,27,26,29,105,177,108,109,34,649,35,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg",[181],{"id":12165,"slug":12166,"title":12167,"dynasty":18,"author":1035,"museum":206,"description":12168,"tags":12169,"thumbUrl":12170,"material":67,"size":139,"collection":42,"collections":12171,"showCount":12131,"zanCount":48,"manualWeight":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ht":48,"mainColor":49},222110,"chun-hua-zhou-jin-zhou-shen-zhou-222110","春华昼锦轴",[23,7,241,173,177,29,106,150,175,108,109,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405bbf6040c503cd558417b6c40a9a0b.jpg","278.6x95.7公分、全幅 122公分",[181,163],{"id":12372,"slug":12373,"title":12374,"dynasty":18,"author":10870,"museum":364,"description":12375,"tags":12376,"thumbUrl":12377,"material":67,"size":12378,"collection":42,"collections":12379,"showCount":12335,"zanCount":1270,"manualWeight":48,"mainColor":49},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,209,7,24,25,27,28,83,957,2786,281,224,62,7889,867,176,9930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[42,90,45],{"id":12381,"slug":12382,"title":12383,"dynasty":1095,"author":4791,"museum":8718,"description":12384,"tags":12385,"thumbUrl":12386,"material":4796,"size":139,"collection":139,"collections":12387,"showCount":12335,"zanCount":5,"manualWeight":48,"mainColor":94},220575,"ben-ma-tu-xu-bei-hong-220575","奔马图","以淋漓水墨晕染出骏马的健硕肌理，浓淡干湿间，筋骨转折清晰可见，将写实的精准与写意的挥洒融为一体。鬃尾以狂放飞白扫就，裹挟着疾风肆意飞扬，四蹄腾跃间，尽显奔腾向前的悍勇姿态，不见鞍辔束缚，尽显龙马不羁神魂。\n\n整幅画面留白恰到好处，似将天地长风纳入尺幅，把骏马挣脱桎梏、一往无前的昂扬生命力，尽数铺陈在宣纸上，让观者仿佛能听见马蹄踏破长风的轰鸣，触摸到那份挣脱羁縻的自由豪情。",[7,173,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d34a4ac0759f407077ca59f5e4ee3f5.jpg",[],{"id":12389,"slug":12390,"title":1861,"dynasty":99,"author":100,"museum":206,"description":12391,"tags":12392,"thumbUrl":12393,"material":123,"size":139,"collection":44,"collections":12394,"showCount":12335,"zanCount":5,"manualWeight":48,"mainColor":49},219376,"guan-yin-chou-ying-219376","画中十六罗汉供奉观音，观音坐南海普陀山传法。 十六罗汉被他们包围。 布局很巧妙。",[7,24,241,259,28,27,106,261,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b7fd836ea2e1389bb6b95dda24eb6b.jpg",[44],{"id":12396,"slug":12397,"title":12398,"dynasty":18,"author":293,"museum":206,"description":12399,"tags":12400,"thumbUrl":12402,"material":88,"size":12403,"collection":42,"collections":12404,"showCount":12335,"zanCount":1270,"manualWeight":48,"mainColor":94},218728,"qiu-gua-tu-yi-ming-218728","秋瓜图","地上长着三个秋瓜，景观中还有藤蔓、树叶和花朵。瓜皮用老绿色着色，瓜棱用赭石填充，精致而有节奏。瓜的叶子被仔细地勾勒出来，藤蔓也是圆润而细致的。这幅画没有刻上作者的名字，但我们收藏的另外两幅画《宋代草木瓜》和《钱玄同秋瓜》在构图上与此框相似，而且此卷的笔法精细，与《宋代草木瓜》相似。",[23,7,24,28,27,83,12401,697,1341,227,81],"秋瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0270d205fb5d6c396d4cfa437041b14a.jpg","26.8x45.5厘米",[42],{"id":12406,"slug":12407,"title":12408,"dynasty":18,"author":2007,"museum":78,"description":12409,"tags":12410,"thumbUrl":12412,"material":123,"size":12413,"collection":181,"collections":12414,"showCount":12335,"zanCount":1270,"manualWeight":48,"mainColor":49},214609,"jiao-yuan-ye-zhang-tu-wan-shan-ye-ma-lin-214609","郊园曳杖图纨扇页","郊园曳杖图是宋朝时期马麟所作的一幅著名的山水画。这幅画描绘了一个人在郊外散步的场景，画中的人物拿着一根曳杖，走在一片绿色的郊园里，周围环绕着山峦和树木。\n\n马麟是宋朝时期著名的画家，他的画风轻松优美，富有感性，并且注重写实。在他的作品中，常常出现山水画题材，他将山水画中的景物和人物结合起来，表现出人与自然和谐相处的意境。郊园曳杖图就是这样一幅作品，它展示了一个人在郊外散步的情景，与周围的山水相互融合，充满了自然之美。\n\n马麟的郊园曳杖图是一幅经典的山水画作品，其中细腻的笔墨，流畅的线条，精确的造型，以及生动的写意，都体现了马麟作为画家的高超技艺。这幅画不仅为后人留下了宝贵的艺术瑰宝，也为我们展现了宋朝时期山水画的魅力。",[1562,7,209,24,27,177,29,106,34,12411,227],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4fe954c2ad1a1f925dcf460e2dd461.jpg","纵23.3 厘米 横23.7 厘米",[181],{"id":12416,"slug":12417,"title":12418,"dynasty":292,"author":293,"museum":364,"description":12419,"tags":12420,"thumbUrl":12421,"material":743,"size":744,"collection":139,"collections":12422,"showCount":12423,"zanCount":5,"manualWeight":48,"mainColor":94},290029,"long-hu-tu-ping-feng-yi-ming-290029","龙虎图屏风","左屏苍龙穿云破浪，墨色晕开翻涌云水，鳞爪张弛间尽显遒劲威严，龙神腾跃于江海云雾，动静间裹挟磅礴气势。右屏玄豹踞于苍松危岩，身姿沉凝雄健，斑纹写实灵动，山涧飞瀑与留白云雾衬出山野幽寂，静穆中暗藏猛兽蛰伏的张力。\n\n整作以水墨晕染写意，留白营造空濛禅意，笔力苍劲老辣，将神兽威仪与山水意境相融，尽显东方水墨走兽画的古典意韵。",[23,7,173,314,502,7281,1329,1330,242,176,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf2facc69f5f4dd4ac4b11950993457.jpg",[],147,{"id":12425,"slug":12426,"title":12427,"dynasty":18,"author":293,"museum":364,"description":12428,"tags":12429,"thumbUrl":12431,"material":743,"size":744,"collection":139,"collections":12432,"showCount":12423,"zanCount":1547,"manualWeight":48,"mainColor":49},227839,"qian-shou-guan-yin-li-xiang-yi-ming-227839","千手观音立像","千手观音又称千手千眼观世音、千眼千臂观世音等，是我国民间信仰的四大菩萨之一。千手观音是阿弥陀佛的左胁侍，与阿弥陀佛、大势至菩萨(阿弥陀佛的右胁侍)合称为“西方三圣”。",[23,7,24,241,27,28,259,106,4525,12430,505,4860],"莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be631ea3bf397f44a3c3ff849e91dc8.jpg",[],{"id":12434,"slug":12435,"title":12436,"dynasty":18,"author":4361,"museum":364,"description":12437,"tags":12438,"thumbUrl":12439,"material":139,"size":139,"collection":139,"collections":12440,"showCount":12423,"zanCount":1270,"manualWeight":48,"mainColor":49},227537,"chao-yuan-xian-zhang-tu-quan-tu-wu-zong-yuan-227537","朝元仙仗图全图","《朝元仙仗图》为北宋宗教画家武宗元所绘制的一幅绢本白描长卷，曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。",[23,7,259,260,25,106,107,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff20def5f9abc833a0d5a4c488f47d5ad.jpg",[],{"id":12442,"slug":12443,"title":840,"dynasty":99,"author":2917,"museum":206,"description":12444,"tags":12445,"thumbUrl":12446,"material":803,"size":12447,"collection":139,"collections":12448,"showCount":12423,"zanCount":48,"manualWeight":48,"mainColor":94},222412,"mei-hua-zhou-zhi-mian-222412","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。\n有明以来写花草者，无如吴郡，而吴郡自沈周之后，无如陈道复（1483—1544）陆叔平（1496—1576）然道复妙而不真，叔平真而不妙，周之冕似能兼之。周之冕采陈道复、陆治二家之长，为吴门画派重要画家。\n万历三十年（1602）作《竹石雄鸡图》轴和《百花图》卷，现藏故宫博物院；（1601）作 桃柳春燕图 手卷；《桂树榴雀图》轴藏南京博物院；万历十三年（1585）作《芙蓉凫鸭》图轴藏上海博物馆；十五年（1587）作《芙蓉双凫图》轴藏沈阳故宫博物院；三十年作《墨花图》卷藏天津市艺术博物馆；同年作《杏花锦鸡图》轴藏苏州市博物馆；二十四年作《梅花野雉图》轴藏辽宁省博物馆。",[23,7,24,1562,173,83,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbd89ea65005058bae7f1df5879f312.jpg","58x55.6厘米",[],{"id":12450,"slug":12451,"title":9603,"dynasty":99,"author":293,"museum":206,"description":12452,"tags":12453,"thumbUrl":12454,"material":317,"size":139,"collection":139,"collections":12455,"showCount":12423,"zanCount":5,"manualWeight":48,"mainColor":94},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,7,24,25,173,29,177,86,227,105,864,297,34,174,108,109,175,281,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],{"id":12457,"slug":12458,"title":12459,"dynasty":99,"author":170,"museum":206,"description":12460,"tags":12461,"thumbUrl":12462,"material":4434,"size":12463,"collection":181,"collections":12464,"showCount":12423,"zanCount":1547,"manualWeight":48,"mainColor":49},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[23,7,24,1397,173,177,864,1329,430,109,176,175,1653,394,560,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","152 2x43 2cm",[181,163],{"id":12466,"slug":12467,"title":12468,"dynasty":54,"author":577,"museum":20,"description":12469,"tags":12470,"thumbUrl":12471,"material":67,"size":12472,"collection":44,"collections":12473,"showCount":12423,"zanCount":1547,"manualWeight":48,"mainColor":94},221065,"kong-zi-di-zi-xiang-yan-li-ben-221065","孔子弟子像","《孔子弟子像》全图采取平列式构图，无背景，墨笔勾勒，着色，人物形象各异，须眉生动。绘孔子弟子立像五十九人，无名款。从体貌上对照，第三人即为孔子，以后诸人亦形态相仿，顺序一致，惟个别处有遗漏或增补，如子迟和子贡之间缺子夏，孔子前多出两人。但根据北京故宫博物院藏的宋无款《七十二贤相》卷进行对比，本幅画所绘为孔子及弟子像内容是确凿无疑的。",[23,7,209,24,25,28,27,260,106,227,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62b0109df8752c442e8801281dc33fb.jpg","纵32.3厘米，横870厘米",[44,45],{"id":12475,"slug":12476,"title":12477,"dynasty":18,"author":823,"museum":364,"description":12478,"tags":12479,"thumbUrl":12480,"material":123,"size":12481,"collection":181,"collections":12482,"showCount":12423,"zanCount":48,"manualWeight":48,"mainColor":49},220045,"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[209,7,24,241,173,177,29,558,1575,106,6605,650,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","142.2 × 70 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》是宋代佚名创作的绢本设色画，现藏于北京故宫博物院。\n此图绘 一只，嘴啄小虫，栖止于榴枝上，神形毕肖。\n图中枝梗从右向左斜出，沉甸甸的石榴挂于枝干。\n榴叶萧瑟，鸟的羽毛用淡黄染色后，再用粉白以短而细的笔触勾描，具有毛茸茸的质感。\n鸟的翅膀和尾部等处，浓淡墨色参用。\n画面设色侬艳而又对比鲜明。\n深秋时节， 成熟，绽开表皮，露出累累果实。\n石榴叶已由绿变黄，有的枯萎，有的被虫蛀蚀，写出了秋日的萧瑟。\n一只肥硕的黄鹂衔着小虫栖于榴枝上，悠然自得。\n黄鹂的羽毛经淡赭、黄色晕染后再用白线勾描，近于“没骨”。\n石榴枝叶赋色对比鲜明。\n对幅有清乾隆御题诗一首：“榴子熟时莺转时，野虫衔得集横枝。\n笑他自喜权供饱，忘却有人弹挟之。\n辛亥清和御笔。\n”钤“ ”、“ ”、“八征耄念”、“自强不息”玺印。\n本幅无款。\n钤鉴藏印“张笃行印”，另有2印不辨。\n清《石渠宝笈》著录。",[23,7,24,81,28,27,83,12612,12613,713,225,178,227],"榴枝","黄鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2351453d665df0945037e4ac4a342f.jpg",[],{"id":12617,"slug":12618,"title":12619,"dynasty":99,"author":12620,"museum":20,"description":12621,"tags":12622,"thumbUrl":12625,"material":665,"size":12626,"collection":44,"collections":12627,"showCount":12586,"zanCount":1547,"manualWeight":48,"mainColor":49},222154,"guan-yu-qin-jiang-tu-shang-xi-222154","关羽擒将图","商喜","此图描绘的是三国时期的大将关羽水淹七军、活捉敌将庞德的故事。画中关羽长须美髯，气宇轩昂，身穿铠甲，斜披绿袍，手抱单膝坐于青松之下，神态从容自得，周仓手持青龙偃月刀侍立一旁。而庞德衣衫尽褪被绑在木桩之上，兀自咬牙眦目，挣扎不休，不甘受缚的心态跃然纸上。\n本图虽是宫廷绘画，但表现的对象是家喻户晓的历史人物关羽，描绘的情节是人们喜闻乐见的三国故事。在题材的选取上与民间美术有不谋而合之处，体现了人们对英雄形象普遍的崇拜心理。在画法上，人物用工笔重彩，浓艳亮丽的色彩夺人眼目，人物形象的塑造吸收了民间美术的造型特点，特征突出，带有一定的程式化。画面尺幅巨大，构图宏伟壮观，反映了皇家艺术的豪华气派。",[23,209,7,24,28,27,106,12623,7464,430,12624,491,119],"武将","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cfe2aa230b981d80a1e2084434ca2c.jpg","纵198厘米，横236厘米",[44,45],{"id":12629,"slug":12630,"title":11291,"dynasty":99,"author":12631,"museum":539,"description":12632,"tags":12633,"thumbUrl":12635,"material":123,"size":12636,"collection":44,"collections":12637,"showCount":12586,"zanCount":1270,"manualWeight":48,"mainColor":49},219564,"huo-lang-tu-cui-zi-zhong-219564","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[23,7,28,27,241,1975,106,3045,12634,1575,176,432,281,315,34],"货郎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[44,45],{"id":12639,"slug":12640,"title":12641,"dynasty":18,"author":293,"museum":101,"description":12642,"tags":12643,"thumbUrl":12644,"material":88,"size":12645,"collection":90,"collections":12646,"showCount":12586,"zanCount":1270,"manualWeight":48,"mainColor":49},218851,"liu-ma-tu-yi-ming-218851","六马图","画面中六匹骏马神态各异，或低头啮草，或昂首嘶鸣，或随人徐行，鬃毛飞扬间尽显灵动生机。人物衣着朴素却细节饱满，牵马者的专注、骑马者的悠然、树下交谈者的闲适，皆通过简练线条勾勒得栩栩如生。背景以淡墨晕染山石，枯树虬枝点缀其间，营造出清旷悠远的氛围。整幅画作线条细腻流畅，设色淡雅自然，构图疏密有致，将人与马的日常互动融入山水意境中，既见写实之妙，又含雅致情韵，于静谧中藏生动，于细微处见匠心。",[23,7,25,27,28,106,150,430,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba5c4f2cdf33d8406cb0ae099666d89.jpg","46.2x168.3cm",[90],{"id":12648,"slug":12649,"title":12650,"dynasty":76,"author":77,"museum":675,"description":1456,"tags":12651,"thumbUrl":12653,"material":123,"size":1463,"collection":139,"collections":12654,"showCount":12586,"zanCount":1547,"manualWeight":48,"mainColor":49},216107,"yun-shou-ping-hua-guo-shu-cai-ce-ye-4-yun-shou-ping-216107","恽寿平花果蔬菜册页-4",[7,81,27,28,82,83,1458,12652,1003],"茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6bc6ad63fe8327a7125c68b0f32629.jpg",[],{"id":12656,"slug":12657,"title":12658,"dynasty":18,"author":823,"museum":101,"description":12659,"tags":12660,"thumbUrl":12661,"material":381,"size":12662,"collection":181,"collections":12663,"showCount":12586,"zanCount":5,"manualWeight":48,"mainColor":94},215111,"bu-yu-tu-xia-gui-215111","捕鱼图","捕鱼图是宋朝时期著名画家夏圭的一幅名作。这幅画描绘了一个捕鱼的场景，画面中有许多渔民在用各种方法捕捉鱼类。夏圭是宋朝时期著名的“四大家”之一，他的捕鱼图以其精细的细节和逼真的人物造型而闻名。这幅画被认为是宋朝时期画家对自然主题的精湛描绘的典范，并被视为中国绘画史上的杰作。",[23,209,7,24,1562,173,177,29,174,1351,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816c22a3a1796408cdb7def0393b7cd2.jpg","23.2×24.1cm",[181],{"id":12665,"slug":12666,"title":12667,"dynasty":99,"author":3114,"museum":206,"description":12668,"tags":12669,"thumbUrl":12670,"material":342,"size":139,"collection":181,"collections":12671,"showCount":12586,"zanCount":5,"manualWeight":48,"mainColor":94},214616,"fang-huang-gong-wang-dou-he-mi-lin-dong-qi-chang-214616","仿黄公望陡壑密林","董其昌是一位著名的明代画家，他的作品《仿黄公望陡壑密林》是一幅杂乱的山林画，充分展现了董其昌对自然的描绘能力。\n\n在这幅画中，董其昌通过细致的笔触和细腻的色彩，精确地描绘出了山林中的每一个细节。他使用浓密的线条和暗色调描绘出了树木，使得整幅画呈现出一种茂密的森林氛围。同时，董其昌还使用了浅色调和柔和的线条描绘出了山谷的景色，使得画面显得更加生动。\n\n总的来说，《仿黄公望陡壑密林》是一幅令人印象深刻的山林画，展示了董其昌的画风独特，也诠释了他对自然的热爱和描绘能力。",[7,24,173,177,105,81,29,864,34,560,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c809d6e5fc35ec243b8d09d730397b.jpg",[181],{"id":12673,"slug":12674,"title":12675,"dynasty":76,"author":12676,"museum":364,"description":12677,"tags":12678,"thumbUrl":12679,"material":743,"size":744,"collection":139,"collections":12680,"showCount":12681,"zanCount":48,"manualWeight":48,"mainColor":94},290384,"lan-hua-tu-juan-yun-xiang-290384","兰花图卷","韵香","女道士。能书擅画，尤擅画兰。主要作品有《空山听雨图册》",[23,209,7,24,25,173,452,245,227,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346cbb87cd3ed3e666639bdd70f910b5.jpg",[],144,{"id":12683,"slug":12684,"title":12685,"dynasty":189,"author":1672,"museum":364,"description":12686,"tags":12687,"thumbUrl":12688,"material":743,"size":744,"collection":139,"collections":12689,"showCount":12681,"zanCount":1356,"manualWeight":48,"mainColor":94},288916,"yu-shan-lin-he-tu-ni-zan-288916","虞山林壑图","取一河两岸式的构图，但水中有五道洲渚及一组杂树，远山近坡的淡墨皴染较多。画风较其典型作品繁密。与其盛年所作《渔庄秋霁图》、《枫落吴江图》等用线勾括坡石的画法相比，此图坡石皴擦善用乾笔，风格浑穆。应是倪氏晚期山水画的特点。",[23,209,7,241,173,29,1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[6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,209,7,24,28,27,83,281,84,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[42,90,45],{"id":12739,"slug":12740,"title":4430,"dynasty":18,"author":645,"museum":101,"description":12741,"tags":12742,"thumbUrl":12744,"material":4434,"size":4435,"collection":42,"collections":12745,"showCount":12681,"zanCount":1547,"manualWeight":48,"mainColor":49},221291,"shu-se-ping-yuan-tu-guo-xi-221291","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,7,24,25,173,177,12743,29,175,1653,394,245,109,174,227],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[42,181,163],{"id":12747,"slug":12748,"title":12749,"dynasty":189,"author":1672,"museum":206,"description":12750,"tags":12751,"thumbUrl":12752,"material":342,"size":12753,"collection":181,"collections":12754,"showCount":12681,"zanCount":5,"manualWeight":48,"mainColor":94},220789,"shu-lin-yuan-xiu-tu-zhou-ni-zan-220789","疎林远岫图轴","水墨畫河岸、疏樹、竹林與房舍，對岸則山巒起伏。用筆多中鋒，山石皴法以披麻為主，略有折帶筆意。幅上有壬子（一三七二）年款，時七十二歲。然本幅題款，實摹自本院藏倪氏真本「容膝齊圖」。用筆亦無倪氏一代大家之健勁，顯係後代摹品。",[7,24,241,173,177,29,34,298,297,35,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ea5b0016ae78ee46681955a92009ac.jpg","72.9x37.5",[181,163],{"id":12756,"slug":12757,"title":12758,"dynasty":189,"author":1848,"museum":20,"description":12759,"tags":12760,"thumbUrl":12762,"material":67,"size":12763,"collection":181,"collections":12764,"showCount":12681,"zanCount":5,"manualWeight":48,"mainColor":49},220779,"xi-shan-gao-yin-tu-wu-zhen-220779","溪山高隐图","《溪山高隐图》是元代画家吴镇创作的绢本墨笔画，现藏于北京故宫博物院。\n图绘高山巨石层峦重叠，远山云雾朦胧栈道顺山崖伸延，迂回盘绕，树林后溪水一湾，水榭半露，充满夏日中葱郁气氛，山石以水墨渲染，淡施披麻皴，圆点浓墨点苔。笔法稳健，墨气湿润。全画构图呈长方形，上不留天，下不留地，构图虽饱满，但密而不塞，疏密相间，故布局十分得宜。\n该图以深远式构图，远处高山叠嶂，群峰突起，高高耸起，山巅处云蒸霞蔚，山色柔和绵连。山坡和山坳处荆棘和杂木丛生。中间山腰处山石嶙峋突兀，山石或纵立，或横卧于山腰间，山径顺山脚伸延，蜿蜒迂回盘旋，成为上下山的一栈道、近景茂密的丛林后有溪水一湾，在山脚下临溪边有一间水榭，在山石和丛树的掩映下半露半隐，环境十分清静幽雅，充满夏日丰饶葱茏的气氛。\n吴镇的绘画题材大多为渔父、古木、竹石之类，均表现江南名山景色。《溪山高隐图》是他山水画中的代表作之一。《溪山高隐图》是其取法”巨然的一张典型作品。因为和巨然的作品《秋山问道图》比较，《溪山高隐图》似乎是临摹《秋山问道图》而比较萧散的作品。\n作者纯用水墨，利用其深浅浓淡，创造出一个静谧安详的环境，画幅较为孤寂、冷清的情凋也是画家处世态度的生动写照。山石以水墨渲染，淡披麻皴。这种皴法从巨然披麻皴出，把笔拉得垂直。他后来创造的“刮铁皴”，仿佛又硬又直，却硬中有婉，直中有收，笔头不枯硬，灵气从笔端间轻轻逸出，以圆点浓墨点苔，笔法稳健，墨气湿润，画法源于董源、巨然一路。近处坡石的用墨，以及秃笔随意点写树叶苔草的画法，是他的典型风格。\n《溪山高隐图》皴笔沉厚，坡角山边用笔大胆，横扫而出，用笔意味更似写意。主要山石皴笔提按变化明显，用笔奔放，是“写”出而非“皴”出。此图主峰最上部有一组巨石，用横侧笔势刷出，显然出自李唐马夏一系的斧劈皴。\n宋画研究学者寿勤泽：这幅画气势不凡，层峦叠岭，雄伟高峻，下方丛树溪水，临溪筑有草房两间，屋旁有小径通向山间。仅一片房屋处略施淡赭，通篇皆水墨。此图和常见的吴镇画有所区别，皴法以长披麻皴为主，法巨然画派画格，但线条较长，细长而且疏朗，似有不胜其力之感。",[23,7,24,12761,241,173,177,29,649,176,34,1575,109],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[181,163],{"id":12766,"slug":12767,"title":12768,"dynasty":76,"author":10376,"museum":206,"description":12769,"tags":12770,"thumbUrl":12771,"material":88,"size":12772,"collection":181,"collections":12773,"showCount":12681,"zanCount":5,"manualWeight":48,"mainColor":49},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,7,24,241,27,29,3500,176,558,109,107,34,227,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[181,45],{"id":12775,"slug":12776,"title":6500,"dynasty":76,"author":363,"museum":20,"description":12777,"tags":12778,"thumbUrl":12779,"material":123,"size":12780,"collection":181,"collections":12781,"showCount":12681,"zanCount":1547,"manualWeight":48,"mainColor":1335},219222,"qing-lv-shan-shui-tu-xie-sun-219222","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[23,7,24,26,27,29,34,176,109,107,35,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[181],{"id":12783,"slug":12784,"title":12785,"dynasty":18,"author":4266,"museum":12786,"description":12787,"tags":12788,"thumbUrl":12790,"material":342,"size":12791,"collection":139,"collections":12792,"showCount":12681,"zanCount":1547,"manualWeight":48,"mainColor":49},219192,"xiao-xiang-ba-jing-yu-cun-xi-zhao-mu-xi-219192","潇湘八景-渔村夕照","根津美术馆","烟霭似梦，轻覆潇湘水畔。远山如黛，在朦胧雾气中层层隐现，墨色浓淡间藏着天地的悠远。近岸林木苍劲，枝桠舒展，与嶙峋山石相映。水面上扁舟缓行，渔人影绰，似在暮色里寻归处。几处屋舍疏落，隐于树影烟岚间，不闻喧嚣，唯余静谧。\n\n水墨晕染出夕照的温柔，没有浓艳色彩，却以极简之笔勾勒出渔村黄昏的禅意空灵——天地人在此相融，时光仿佛停滞，只留山水与自然的清寂对话。每一处墨痕都藏着野趣与淡泊，让观者沉浸在这份恬淡悠远的意境里，似能听见风过林梢、水拍船舷的轻响，忘却尘俗纷扰。",[23,209,7,24,173,177,29,174,34,12789,4562,1251],"烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0abab9aa023a77aaf3089f0f4a2f97.jpg","33x112厘米",[],{"id":12794,"slug":12795,"title":9326,"dynasty":76,"author":1703,"museum":1806,"description":12796,"tags":12797,"thumbUrl":12798,"material":123,"size":12799,"collection":90,"collections":12800,"showCount":12681,"zanCount":5,"manualWeight":48,"mainColor":49},218859,"mei-hua-tu-jin-nong-218859","老干虬曲如铁，以浓墨劲笔勾勒，线条古拙苍劲，尽显梅树历经风霜的坚韧风骨。枝头繁花疏朗，或含苞待放，或悄然绽放，淡墨点染间透着清雅之韵，与深褐枝干形成鲜明对比，更衬出梅的冰清玉洁。右侧题跋以金农标志性的漆书书就，笔力沉厚，字体方整古朴，笔墨与画面意境交融，文气盎然。整幅作品不拘泥于形似，而重神韵，于简淡中见精神，传递出梅的孤傲品格与文人的清雅风骨，尽显扬州八怪特有的艺术个性，将文人画的意趣与梅的精神完美融合。",[23,7,24,241,173,448,83,178,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7b4e0d4c7ca7b49524552eb1cc5da.jpg","41x130cm",[90],{"id":12802,"slug":12803,"title":12804,"dynasty":99,"author":2917,"museum":206,"description":12805,"tags":12806,"thumbUrl":12807,"material":123,"size":12808,"collection":90,"collections":12809,"showCount":12681,"zanCount":1547,"manualWeight":48,"mainColor":49},218792,"hua-zhu-an-chun-tu-zhou-zhi-mian-218792","花竹鹌鹑图","瘦长的画幅，主景放置在幅右，秋日,石上几株绿竹，间杂著娇媚的蜀葵、牵牛花。石下一对鹌鹑，临风处有一只大凤蝶飞来。整幅画充满著婀娜明艳的光辉。题句多，亦足以让人诗画共赏。",[7,27,28,242,450,10824,604,176,83,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a00ce3772da92e745cee036acd9c15.jpg","111.7x29.7cm",[90],{"id":12811,"slug":12812,"title":1417,"dynasty":18,"author":293,"museum":12813,"description":12814,"tags":12815,"thumbUrl":12816,"material":123,"size":12817,"collection":90,"collections":12818,"showCount":12681,"zanCount":5,"manualWeight":48,"mainColor":1335},218645,"mu-dan-tu-yi-ming-218645","福冈市立美术馆","沉棕底色如旧绢凝香，中央牡丹姿态雍容却不失清雅。花瓣层叠如浪，米白与浅褐的晕染间藏着淡粉的柔韵，似被时光打磨出温润质感。墨线勾出的叶片翠意内敛，叶脉纤细如丝，与花的柔婉相映成趣。整幅画作工致细腻，尽显宋画的沉静风骨，将牡丹的端庄神韵凝于方寸之间，仿佛能窥见千年之前画者笔下那一抹含蓄的生机，静谧中流淌着古雅的诗意。",[23,209,7,24,83,28,27,327,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7837e7613763e599f5ea1a410e470c01.jpg","26.7x31.2",[90],{"id":12820,"slug":12821,"title":12822,"dynasty":99,"author":293,"museum":206,"description":12823,"tags":12824,"thumbUrl":12825,"material":123,"size":12826,"collection":44,"collections":12827,"showCount":12681,"zanCount":1547,"manualWeight":48,"mainColor":94},216959,"ming-tai-zu-ban-shen-xiang-yi-ming-216959","明太祖半身像","这幅画表现了朱元璋的壮年时期，他的脸几乎是正面的。他的脸是红色和紫色的，留着短胡须，眼睛有光泽，采取坐姿，双手自然放在膝盖上，暗示着一种权力和力量的感觉。他头上戴着头巾，穿着带有龙纹图案的明黄色御用长袍，腰间系着蟒蛇腰带，脚穿皂靴，看起来就像一个统治世界的国王。",[7,28,27,106,502,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1c716274a71c68d6b068424ee8dfa.jpg","270x163.6",[44],{"id":12829,"slug":12830,"title":131,"dynasty":76,"author":12831,"museum":78,"description":12832,"tags":12833,"thumbUrl":12834,"material":342,"size":139,"collection":90,"collections":12835,"showCount":12681,"zanCount":5,"manualWeight":48,"mainColor":94},214693,"hua-hui-ce-luo-pin-214693","罗聘","罗聘（1733年－1799年）是一位清代的画家，他的花卉册是一本记录花卉的画册，其中包含了许多精美的花卉画作。这本画册是由罗聘亲手绘制并装帧而成，并由他的学生赠送给他。罗聘是一位非常有才华的画家，他的花卉册中的画作非常生动，能够很好地展现出花卉的美丽和优美。\n\n这本画册是一件非常珍贵的艺术品，对于研究罗聘的艺术风格和清代花卉画艺术有着重要的意义。",[7,24,81,173,83,84,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22e30016320aef8a29832998f488225.jpg",[90],{"id":12837,"slug":12838,"title":3243,"dynasty":76,"author":77,"museum":364,"description":740,"tags":12839,"thumbUrl":12841,"material":743,"size":744,"collection":139,"collections":12842,"showCount":12843,"zanCount":1547,"manualWeight":48,"mainColor":94},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536",[7,209,241,24,28,27,83,279,933,281,86,227,12840],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2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画，然观其时代气息，应为宋人所作。",[23,7,209,1562,28,27,106,59,2950,227,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783b061be5eddc485e3cd90b44470fd.jpg",[],{"id":12888,"slug":12889,"title":12890,"dynasty":76,"author":2083,"museum":20,"description":12891,"tags":12892,"thumbUrl":12893,"material":827,"size":3353,"collection":90,"collections":12894,"showCount":12843,"zanCount":5,"manualWeight":48,"mainColor":94},223296,"mo-bi-zhu-shi-tu-zhou-zheng-ban-qiao-223296","墨笔竹石图轴","郑板桥画墨竹，多为写意之作。一气呵成．生活气息十分浓厚，一枝一叶．不论枯竹新篁，丛竹单枝，还是风中之竹。雨中之竹．都极富变化之妙．如竹之高低错落，浓淡枯荣．点染挥毫，无不精妙。画风清劲秀美，超尘脱俗，给人一种与众不同之感。他说：“文与可画竹，胸有成竹；郑板桥画竹，胸无成竹。与可之有成竹．所谓渭川千亩在胸中也；板桥之无成竹，如雷霆霹雳，草木怒生，有莫如其然而然者，盖大化之流行．其道如是，与可之有，板桥之无，是一是二解人会之。”实际上，板桥“胸无成竹”与文与可“胸有成竹”在根本上是不矛盾的，郑板桥注意的是在创作之前，构思要与熟练的技巧相结合，但这种写意画与文与可高度写实墨竹画在技法上又是有区别的，即有写意与写实、抽象与具象、神似与形似的不同。特别引人注目的是郑板桥画竹还讲究书与画的有机结合，“以草书之中竖长撇法运之”，他说：“书法有行款，竹更要有行款，书法有浓淡，竹更要有浓淡，书，去有疏密，竹更要有疏密。”为此，人们都能从他的字画中体味到。",[23,7,173,241,242,245,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00450bf3ebc8d27f10d2ec819e60152f.jpg",[90,163],{"id":12896,"slug":12897,"title":12898,"dynasty":189,"author":10811,"museum":206,"description":12899,"tags":12900,"thumbUrl":12902,"material":827,"size":12903,"collection":90,"collections":12904,"showCount":12843,"zanCount":5,"manualWeight":48,"mainColor":94},221838,"tao-zhu-jin-ji-tu-zhou-wang-yuan-221838","桃竹锦鸡图轴","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[23,7,556,28,83,241,2930,242,1586,650,12901,5799],"水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14268d3dd72321107b543bb80edf552.jpg","纵102.3cm，横55.4cm",[90,163],{"id":12906,"slug":12907,"title":12908,"dynasty":189,"author":190,"museum":20,"description":12909,"tags":12910,"thumbUrl":12911,"material":1716,"size":12912,"collection":181,"collections":12913,"showCount":12843,"zanCount":5,"manualWeight":48,"mainColor":49},220763,"jiu-feng-xue-ji-tu-huang-gong-wang-220763","九峰雪霁图","是图作于元至正九年（1349年），为黄公望81高龄之作。作者以水墨写意的手法汇集画出了江南松江一带的九座道教名山，时称“九峰”，体现了作者对道教全真教的崇拜。该图系画赠江浙儒学提举班惟志，时值正月春雪，有感雪霁寒意，画意肃穆静谧。图中的中、近景以干笔勾廓叠石，坡边微染赭黄，远处九峰留白，以淡墨衬染出雪山，是黄公望简繁合一的精品作。",[23,7,29,173,177,241,30,2124,31,650,1015,464,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21dcb6d646fd85003b240e46bb59dd9.jpg","纵117厘米，横55.5厘米",[181,163],{"id":12915,"slug":12916,"title":12917,"dynasty":18,"author":823,"museum":132,"description":12918,"tags":12919,"thumbUrl":12922,"material":123,"size":12923,"collection":181,"collections":12924,"showCount":12843,"zanCount":1356,"manualWeight":48,"mainColor":49},218571,"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","云雾似轻纱漫笼峰峦，墨色浓淡晕染出层叠山影。近处山石以劲挺线条勾勒肌理，远处峰峦隐入烟霭，虚实相生间拓开深远意境。飞瀑如白练倾泻而下，水汽与云雾交融，添了几分灵动。崖畔小亭古朴雅致，亭内人影隐约，或凭栏观瀑，或对弈品茗，将“避暑”闲逸悄然藏于山水。苍松虬枝斜出，与嶙峋怪石相映，笔墨苍劲中透着秀逸。整幅画以水墨为韵，借云雾之虚衬山峦之实，动静相宜间铺展夏日山林的清幽闲适，让人仿若置身其中，忘却尘嚣。",[7,209,24,29,173,177,175,558,37,176,34,491,560,1444,12920,12921],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","81x35cm",[181],{"id":12926,"slug":12927,"title":12928,"dynasty":18,"author":1650,"museum":364,"description":12929,"tags":12930,"thumbUrl":12931,"material":342,"size":12932,"collection":163,"collections":12933,"showCount":12843,"zanCount":5,"manualWeight":48,"mainColor":94},218564,"song-gao-zong-yu-zhi-xi-gong-yan-tu-ma-yuan-218564","宋高宗御制西宫宴图","马远绘侍宴图传世三件中的其中一幅",[7,209,24,241,104,173,29,107,1575,176,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b00e67510889e575c54629198f5565.jpg","122.5x52.2",[163],{"id":12935,"slug":12936,"title":12937,"dynasty":18,"author":4266,"museum":364,"description":12938,"tags":12939,"thumbUrl":12941,"material":342,"size":12942,"collection":163,"collections":12943,"showCount":12843,"zanCount":48,"manualWeight":48,"mainColor":94},218546,"yuan-xi-tu-mu-xi-218546","猿戏图","浓淡墨痕里，猿猴蜷卧于石巅，长尾如墨绦垂悬，圆眸闪着黠趣。山石以泼墨写意铺就，淡晕似烟岚轻笼，留白处漾开空寂禅意。猿的茸毛用焦墨点簇，蓬松间藏灵动，与山石的疏朗笔触相映，动静交织成趣。简笔不掩生机，天地仿佛在此刻静穆，唯有此猿与石，共守一段悠然时光。笔墨间禅味漫溢，不着一字却道尽自然真趣，似能听见猿猴轻啼，落于空濛山影里，余韵悠长。",[7,24,173,446,12940,245],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4443e07fced2cc55e4194b05b12d1ce3.jpg","68x27",[163],{"id":12945,"slug":12946,"title":12947,"dynasty":189,"author":2471,"museum":364,"description":12948,"tags":12949,"thumbUrl":12950,"material":139,"size":139,"collection":139,"collections":12951,"showCount":12952,"zanCount":48,"manualWeight":48,"mainColor":49},228265,"yue-xia-mei-hua-tu-wang-mian-228265","月下梅花图","古梅老干盘虬苍劲，如铁铸凝霜，却自枯槎间抽发柔枝，繁花轻缀如堆雪团玉。左上角圆月晕出朦胧暖光，将夜色晕化，清辉漫过梅枝，冷艳花影与溶溶月色缠织，把孤高疏淡的意境烘托到极致。\n\n以顿挫老辣的水墨写枝，尽显梅树硬骨，淡墨圈花留白，衬出花瓣冰清玉洁，笔简意足。题诗与画意相融，诗书画印浑然一体，尽显文人雅致风骨。将梅花凌霜傲雪的君子品格，与画者淡泊襟怀藏在尺幅清景之中，暗香似随月色浮动，观之便觉心神澄澈。",[23,7,24,241,173,448,300,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b72dd09d14af6300a2dd92f27a517ef.jpg",[],142,{"id":12954,"slug":12955,"title":12956,"dynasty":99,"author":12957,"museum":78,"description":12958,"tags":12959,"thumbUrl":12960,"material":139,"size":139,"collection":44,"collections":12961,"showCount":12952,"zanCount":1356,"manualWeight":48,"mainColor":94},222503,"shen-xian-tu-ce-zhang-lu-222503","神仙图册","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,7,209,24,81,173,260,27,106,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad175defc4617369b4400b273e45b98.jpg",[44],{"id":12963,"slug":12964,"title":12965,"dynasty":18,"author":2142,"museum":12966,"description":12967,"tags":12968,"thumbUrl":12969,"material":67,"size":12970,"collection":42,"collections":12971,"showCount":12952,"zanCount":48,"manualWeight":48,"mainColor":49},221440,"han-lin-gao-shi-tu-zhou-li-cheng-221440","寒林高士图轴","美国弗瑞尔美术馆","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,7,173,241,29,2125,7242,34,176,109,491,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425bbd40a0bd5977059e42cdf3fd2910.jpg","174 x 89.2 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为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[7,24,241,173,177,29,174,109,34,176,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb8841336c541c74149b055689d57ca9.jpg","纸本 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表作品，体现了典型的吴历个人风格。画家早年曾师法古人，又曾吸取西画的表现手法，风格与清初“四王”相似又有所不同，他注重实景取材，构图严谨，所以具有独特的面貌。",[7,24,209,241,27,177,29,394,109,281,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8370438109745994edfcc2de0eb2f4f9.jpg","纵123.5 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13160,"zanCount":5,"manualWeight":48,"mainColor":49},221709,"hua-cao-zhong-si-qian-xuan-221709","花草螽斯","钱选，字舜举，号玉潭，霅川人。宋景定间，乡贡进士。元初吴兴有八俊之号，以赵孟頫为称首，而选与焉。及孟頫被荐等朝，诸公皆相附取宦达，独选龃龉不合，流连诗画以终其身。人物师李公麟，山水师赵伯驹，花鸟师赵昌，尤善作折枝，得意者赋诗其上。赵孟頫尝从之问画法。尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉也。湖州人经其指教，类皆以能画称。画多人物花鸟，山水颇罕其传。",[23,7,28,27,83,712,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2cd550ee9c53d194f657bfeb038acc.jpg","26.6x23",[42,90,45],{"id":13195,"slug":13196,"title":13197,"dynasty":18,"author":13198,"museum":276,"description":13199,"tags":13200,"thumbUrl":13204,"material":40,"size":13205,"collection":382,"collections":13206,"showCount":13160,"zanCount":5,"manualWeight":48,"mainColor":94},221228,"hu-zhuang-qing-xia-tu-zhao-ling-rang-221228","湖庄清夏图","赵令穰","《湖庄清夏图》描绘了夏季湖的平远景色。开卷是湖庄临岸，垂柳拂溪；接接着一座小桥横跨水上，湖中莲叶田田，群鸭游;岸上绿树成的，远处烟水迷蒙；路转溪头，又见绿树环抱中，数间村舍，屋后一片林木，在烟雾笼罩下，横向舒展，时隐时显，更增加悠然的灵动气氛，充满幻梦般的诗意。卷末近景描绘三株形态各异的大树，与卷首树木相呼应，左下角有明代早期收藏印。",[23,209,7,24,25,29,173,27,177,12724,34,13201,33,13202,491,867,175,13203,7941],"湖水","岸堤","湖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6d42310b30e6d6aee565943dd6d4ff.jpg","纵19.1厘米，横161.3厘米",[382],{"id":13208,"slug":13209,"title":13210,"dynasty":99,"author":170,"museum":78,"description":13211,"tags":13212,"thumbUrl":13213,"material":123,"size":13214,"collection":181,"collections":13215,"showCount":13160,"zanCount":1165,"manualWeight":48,"mainColor":49},218247,"lin-dai-wen-jin-xie-an-dong-shan-tu-shen-zhou-218247","临戴文进谢安东山图","沈周（1427-1509年），字启南，号石田、白石翁，苏州人，不应科举，以诗文书画为事，山水师黄公望、吴镇，书法法黄庭坚，名重一时，吴中名家如文徵明、唐寅等都出其门下。与文徵明、唐寅、仇英合称“明四家”。\n本图是沈周五十四岁时所作，临摹的是比他略早的浙派著名画家戴进的《谢安东山图》，描绘东晋著名宰相谢安隐居东山时，携妓出游，纵情山水的情景。\n沈周的山水画，师法元代黄公望与吴镇，远溯五代董源、巨然，而戴进宗法的是南宋马远、夏圭，以风格而论，一为南方山水与水墨画的传统，一为北方山水与宫廷著色画的传统。沈周画多仿元人，此画风格在他的作品中既是一件孤品，也是一件奇品，堪称绝无仅有。\n此图高头大轴，青绿设色，山石轮廓明朗，皴笔似马牙、卷云而不若其蜷曲，似斧劈而不若其方硬，似披麻而不若其疏放绵长，这种皴法与戴进常用的源自马、夏的长斧劈皴不同，融合了南、北方山水的皴法特点。图画设色明朗鲜润，一部分山石近乎空勾，是宋代以来大青绿的设色方法。沈周一生所作山水，多为水墨，亦有浅绛，如此大轴青绿，实属平生仅见。其中人物亦造型端庄，服饰俨然，线条健爽，是明人追绍宋代院体画的风格。\n沈周此图或属偶一为之，却显示出画家不拘于一格的绘画能力以及兼收并蓄，广采博纳的眼界与胸襟。\n根据翁同龢1902年的日记，此画是翁氏因戊戌之变被黜归里后，其旧仆李元为其在北京购得的。",[23,7,24,209,241,27,29,106,107,1575,176,558,34,649,105,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[181],{"id":13217,"slug":13218,"title":2235,"dynasty":76,"author":13219,"museum":515,"description":13220,"tags":13221,"thumbUrl":13222,"material":88,"size":139,"collection":90,"collections":13223,"showCount":13160,"zanCount":5,"manualWeight":48,"mainColor":94},216589,"za-hua-ce-bian-shou-min-216589","边寿民","他的作品常常被收录在《边寿民杂画册》中。这本画册收录了边寿民的许多作品，包括花鸟画、人物画、山水画等。边寿民的画风浓郁，线条简洁，色彩明快，深受当时社会的喜爱。他的作品也被视为中国画的经典之作。",[23,7,173,446,5169,11353,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404de24995c9ac625b609aeaa91a95e6.jpg",[90],{"id":13225,"slug":13226,"title":13227,"dynasty":292,"author":13228,"museum":364,"description":13229,"tags":13230,"thumbUrl":13232,"material":139,"size":139,"collection":139,"collections":13233,"showCount":13234,"zanCount":5,"manualWeight":48,"mainColor":94},230477,"hua-niao-tu-ping-ge-shi-bei-zhai-230477","花鸟图屏","葛饰北斋","画面以浅褐素底铺陈秋塘底色，白鹭莹洁似雪，身姿挺秀悠然，羽色晕染细腻柔和，抬首静立间自带安然意态。旁侧枯荷舒展残叶、垂坠莲蓬，笔意简淡尽显清秋萧疏之致。整体构图留白松弛，淡彩晕染出温润雅致的侘寂意趣，将秋塘的清寂禅意藏于笔墨之间，物景相融相生，晕开东方独有的静谧诗意，寥寥勾勒便绘就幽淡闲雅的秋日荷塘意韵，尽显空灵雅致的东方美学意境。",[23,7,24,13231,28,27,83,243,1374,931,137],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c00298726ea46a856b6cbf562896d1.jpg",[],138,{"id":13236,"slug":13237,"title":13238,"dynasty":76,"author":2324,"museum":364,"description":13239,"tags":13240,"thumbUrl":13241,"material":139,"size":139,"collection":90,"collections":13242,"showCount":13234,"zanCount":48,"manualWeight":48,"mainColor":94},224310,"hua-niao-ce-shi-kai-li-shan-224310","花鸟册十开","《范本传真:李鱓花鸟册》是乾隆时原装裱，品相绝佳，原藏日本，曾于日本“扬州八怪”展上展出，而且当时“扬州八怪”展的宣传海报所用图片即为此册中“蕉阴兰蕙”一开；据日本原藏者介绍，此册几十年前在日还出版过挂历。\n图书信息 《范本传真:李鱓花鸟册》由人民美术出版社出版。",[23,7,173,81,83,136,446,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefaef9a058a6aa6890761dcabb948f6.jpg",[90,45],{"id":13244,"slug":13245,"title":13246,"dynasty":18,"author":8886,"museum":206,"description":13247,"tags":13248,"thumbUrl":13249,"material":67,"size":13250,"collection":42,"collections":13251,"showCount":13234,"zanCount":48,"manualWeight":48,"mainColor":49},221619,"mo-fan-kuan-lu-shan-tu-zhou-jiang-can-221619","摹范宽庐山图轴","本幅旧传为江参作，画采全景式构图，中央主峰巍峨耸立，峰顶遍布密林。山坳处，寺宇、亭台错落。\n杂树掩映间，可见泉瀑奔流，淙淙若闻其声。山道上，并绘有行旅策蹇，络绎于途。幅左下方题：「摹范华原庐山图」。《宣和画谱》虽未著录〈庐山图〉，然此作以短笔作皴，呈密集的雨点状，明显由〈溪山行旅图〉演化而来。",[23,7,24,241,105,177,173,29,864,650,34,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F826530b8c83c87209bddce538d219a64.jpg","347.4x131.8",[42,181,163],{"id":13253,"slug":13254,"title":13255,"dynasty":189,"author":1672,"museum":20,"description":13256,"tags":13257,"thumbUrl":13258,"material":13259,"size":13260,"collection":181,"collections":13261,"showCount":13234,"zanCount":5,"manualWeight":48,"mainColor":94},220797,"ku-mu-you-huang-tu-zhou-ni-zan-220797","枯木幽篁图轴","作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。\n此图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。构景简洁是倪云林画的突出特色，此图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。此图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民。” 平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。图中自题[古木幽篁寂滨，班班藓石翠含春，自知不入时人眼，画与蛟溪古逸民，云林生]。画幅上还有马治，松泉隐者诗题。",[23,7,24,241,173,543,340,245,2939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74dfc23fe071c9504a396c679d769fdc.jpg","纸本、墨笔","纵88.6厘米，横30厘米",[181,163],{"id":13263,"slug":13264,"title":13265,"dynasty":99,"author":170,"museum":1429,"description":1430,"tags":13266,"thumbUrl":13267,"material":803,"size":1434,"collection":139,"collections":13268,"showCount":13234,"zanCount":5,"manualWeight":48,"mainColor":94},220064,"hu-qiu-shi-er-jing-tu-ce-3-shen-zhou-220064","虎丘十二景图册-3",[23,209,7,24,81,173,177,29,107,242,1575,108,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111612596e2e7ea00726bc18bd6e599c.jpg",[],{"id":13270,"slug":13271,"title":13272,"dynasty":76,"author":13273,"museum":539,"description":13274,"tags":13275,"thumbUrl":13276,"material":88,"size":139,"collection":44,"collections":13277,"showCount":13234,"zanCount":994,"manualWeight":48,"mainColor":94},219550,"xie-yi-xun-long-tu-yu-zhi-ding-219550","斜倚薰笼图","禹之鼎","此作用笔秀雅匀净，线条挺括柔婉，浅淡敷色晕染精妙。斜倚薰笼的仕女软红覆身，执卷似读非读，眉眼含着慵懒倦怠，将深闺女子百无聊赖的娇柔之态尽显无余。立侍女子佩剑负囊，神色温婉恭谨，静穆疏离的情态与坐者形成微妙呼应。画面氛围幽柔沉静，把闺中静谧松弛的氛围烘托尽致，将仕女柔婉闲淡的幽微心绪刻画入微，尽显传统仕女画雅致隽秀的审美意韵。",[23,7,24,28,27,260,106,59,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886625e8924a96d8b20fbfff9e4f4569.jpg",[44,45],{"id":13279,"slug":13280,"title":13281,"dynasty":99,"author":1083,"museum":78,"description":13282,"tags":13283,"thumbUrl":13284,"material":123,"size":13285,"collection":44,"collections":13286,"showCount":13234,"zanCount":5,"manualWeight":48,"mainColor":49},219416,"yin-jiu-du-shu-tu-zhou-chen-hong-shou-219416","饮酒读书图轴","图绘一位文士头戴乌帽身穿朱衣，手持把杯，坐对书卷。长几上瓶插梅花竹叶，\n笔墨皆清劲。画面取斜向构图，布局大胆新奇。此图作于崇祯十六年癸未（1643），作者时年46岁。本年，明王朝已经处于风雨飘摇之际，陈洪绶只好南归。此图即作于舟泊天津杨柳青之时。图中有孔尚任题跋四则，不仅谈到购藏此图的经历，同时对于补充孔氏生平经历具有重要的史料价值。",[7,241,27,106,448,244,86,227,10855,10854,63,8612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd899a507a555b78db6a6bc70bf72310f.jpg","纵100.8厘米，横49.4厘米",[44],{"id":13288,"slug":13289,"title":13290,"dynasty":99,"author":170,"museum":206,"description":13291,"tags":13292,"thumbUrl":13293,"material":88,"size":13294,"collection":90,"collections":13295,"showCount":13234,"zanCount":5,"manualWeight":48,"mainColor":94},219361,"jiu-sheng-huan-yu-tu-shen-zhou-219361","鸠声唤雨图","述了行走在街头和庭园，常掠过一种和鸽子类似的鸟类，它的造型和色彩朴素，就连那咕咕的叫声，也是浑厚的，这便是斑颈鸠了。它的这份质朴，正是文人画家偏爱的感觉。斑颈鸠，体态雍容华丽，颈部斑点有如珍珠瑰丽，也是乡土鸟类中广为熟悉的鸟。沈周的一幅「鸠声唤雨」画出一只瞪著大眼、嘟著嘴，有著圆胖身体的斑颈鸠，孤孤单单栖踞枝头，看起来特别古朴与淡雅。",[7,209,24,241,27,446,281,1653,394,83,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da560143d64c8be1ba2d59b856a3b22.jpg","51.1x 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x 28.1 CM",[42,181,163],{"id":13339,"slug":13340,"title":13341,"dynasty":99,"author":170,"museum":1429,"description":1430,"tags":13342,"thumbUrl":13343,"material":803,"size":1434,"collection":139,"collections":13344,"showCount":13328,"zanCount":48,"manualWeight":48,"mainColor":49},220063,"hu-qiu-shi-er-jing-tu-ce-4-shen-zhou-220063","虎丘十二景图册-4",[23,7,209,81,173,29,175,107,106,34,761,12624,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bce900b7fa22a36598aac7aa31efa9d.jpg",[],{"id":13346,"slug":13347,"title":13348,"dynasty":18,"author":823,"museum":3712,"description":13349,"tags":13350,"thumbUrl":13351,"material":123,"size":139,"collection":42,"collections":13352,"showCount":13328,"zanCount":48,"manualWeight":48,"mainColor":94},219858,"mu-se-gui-yu-tu-xia-gui-219858","暮色归渔图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,7,173,177,29,174,1016,281,4562,394,1410,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3db900b82dc4e896d746b5cf1c4d8f.jpg",[42],{"id":13354,"slug":13355,"title":13356,"dynasty":76,"author":13357,"museum":20,"description":13358,"tags":13359,"thumbUrl":13360,"material":88,"size":13361,"collection":45,"collections":13362,"showCount":13328,"zanCount":1547,"manualWeight":48,"mainColor":94},219175,"shuang-mao-kui-yu-tu-cheng-zhang-219175","双猫窥鱼图","程璋","此图绘制的是一幅秋天的美好图景。一弯池水迂回荡漾，岸边苇草萌发，树枝随风而动，显得古朴与优雅。池塘边两只花猫，葡匐在岸上，双眼紧盯着沟渠中的游鱼。仿佛在欣赏他们惬意的身姿，溪水对岸，淡色轻染，烟霭迷濛。全画以水彩设色技法来体现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是因为画家懂得生物百态，所以画的木头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能符合自然景物的真实性。并利用干、湿、浓、淡的笔力墨法所产生的差异，整体变得稳重、秀润。",[23,209,7,24,241,27,28,173,956,933,1015,298,1064,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 横80.8cm",[45],{"id":13364,"slug":13365,"title":13366,"dynasty":76,"author":13367,"museum":206,"description":13368,"tags":13369,"thumbUrl":13370,"material":88,"size":13371,"collection":90,"collections":13372,"showCount":13328,"zanCount":1165,"manualWeight":48,"mainColor":94},218994,"gou-tu-shen-zhen-lin-218994","狗图","沈振麟","这是一幅站在竹子和梅花树下的京巴，姿态呆萌，系金钟，想必是宫廷犬的家族。描写敏感而写实，可能受到西方绘画风格的影响。",[7,27,28,957,448,242,241,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f54e80e7dec55c15cb031502a3d45e4.jpg","纵92.8横75.6厘米",[90],{"id":13374,"slug":13375,"title":13376,"dynasty":18,"author":1650,"museum":364,"description":13377,"tags":13378,"thumbUrl":13379,"material":123,"size":13380,"collection":181,"collections":13381,"showCount":13328,"zanCount":48,"manualWeight":48,"mainColor":49},218628,"fan-zhou-tu-ma-yuan-218628","泛舟图","烟波浩渺间，一叶扁舟轻漾于粼粼水面。船中二人，一卧一坐，或醉眠或凝思，与天地相融。远山如黛，淡墨晕染出云气缭绕的朦胧，似隐似现于天际；近岸怪石嶙峋，线条刚劲如铁，皴擦间见苍劲质感。疏疏芦苇随风摇曳，墨色浓淡相宜，添几分野趣生机。\n\n画面以边角构图见巧，留白处尽是烟波浩渺的空濛，引观者思绪飘向远方。笔墨简练却意蕴悠长，水墨晕染与线条勾勒相映成趣，将文人雅士超脱尘嚣的心境凝于方寸扇面。空灵雅致的意境，尽显南宋山水的诗意哲思，令人心向往之。",[7,209,1562,29,173,27,177,174,106,1351,245,2522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa216b268b23e2c63a87ea695ec2fbf8d.jpg","21.5x24",[181],{"id":13383,"slug":13384,"title":13385,"dynasty":18,"author":2856,"museum":364,"description":13386,"tags":13387,"thumbUrl":13388,"material":123,"size":13389,"collection":90,"collections":13390,"showCount":13328,"zanCount":1547,"manualWeight":48,"mainColor":49},218557,"zhen-qin-tu-li-di-218557","珍禽图","画面中两只禽鸟栖息于枝间，翎羽纤毫毕现，墨色晕染层次分明，黑褐斑纹与浅白羽毛相映成趣。上方禽鸟颔首敛翅，姿态娴静；下方者展翅欲动，羽翼柔润中透着劲挺。枝叶扶疏，浅金色叶片与棕褐枝干交织，古朴绢本底色衬出物象温润质感。构图疏密有致，动静相宜，每道线条皆见功底：羽毛的蓬松、枝干的纹理刻画入微，似能闻林间轻响，观禽鸟灵动之态。笔墨间藏着对自然的细腻体察，于方寸间尽显生机与雅致，让人沉醉于这份古朴而鲜活的意趣里。",[23,209,7,24,1562,28,27,83,281,1062,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232d7931170a1c143b987fbb2c17089a.jpg","28x32",[90],{"id":13392,"slug":13393,"title":13394,"dynasty":18,"author":1650,"museum":364,"description":13395,"tags":13396,"thumbUrl":13397,"material":342,"size":4230,"collection":163,"collections":13398,"showCount":13328,"zanCount":48,"manualWeight":48,"mainColor":49},218551,"gao-shi-xie-he-tu-ma-yuan-218551","高士携鹤图","垂丝柳影轻笼暮色，宽袍士人拄杖凝眸。身旁仙鹤独立，长颈引向天际，似欲与流云对语。画面构图疏朗，以简淡之笔见天地阔远：柳枝的柔曼衬出士人的清寂，鹤的高洁映其心性。淡墨晕染的远山如黛，近水无痕，留白处漾着幽远的禅意。线条简练却含筋骨，衣袂的飘举、鹤羽的疏劲，皆诉着隐逸之趣——抛却俗务，与鹤为友，在烟水间守一份澄澈自在。笔墨间藏着文人的精神归处，不恋尘嚣，只愿在山水云鹤间，寻得灵魂的安宁与超脱。",[23,209,7,24,1562,173,27,260,106,60,3246,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0535cd201a3698edcf794670a2a03726.jpg",[163],{"id":13400,"slug":13401,"title":13402,"dynasty":99,"author":293,"museum":206,"description":13403,"tags":13404,"thumbUrl":13405,"material":123,"size":13406,"collection":44,"collections":13407,"showCount":13328,"zanCount":1547,"manualWeight":48,"mainColor":49},218526,"fo-xiang-tu-yi-ming-218526","佛像图","这些天人各自手持法器，被他们的同伴骑着并护送着，他们都面朝右边，坐在天空的云朵上，可能是一组描绘天人聆听佛陀教诲的佛画的一部分。三面六臂的力士可能是来自八大天师的阿修罗；持剑的武士和美女是罗刹，罗刹是十二天之一，原本是异教的恶魔，被降服后成为佛教的保护者。整块画板用薄薄的颜料描绘了天人的肌肉，他们的袖子卷起又折起的样子，大多是兰花叶的样式，是吴道子以来专业画家的风格。这幅画的衣服上也有丰富的金色和钩纹装饰，颜料也有很多地方是泥金的。从这幅画的风格来看，它是在15世纪明朝时期绘制的。",[23,7,24,241,28,27,259,106,1329,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052330f7cc5224c48e44b4f0a6b3ba9.jpg","143.7x81.5",[44],{"id":13409,"slug":13410,"title":8422,"dynasty":76,"author":13411,"museum":539,"description":13412,"tags":13413,"thumbUrl":13414,"material":123,"size":13415,"collection":44,"collections":13416,"showCount":13328,"zanCount":48,"manualWeight":48,"mainColor":49},218356,"zhong-kui-tu-lv-xue-218356","吕学","图中描绘的是钟馗手持宝剑，两个小孩子手持灵芝，背着书卷。这些人物是以浙江画派的风格用犀利的笔触画出来的。",[23,7,24,241,260,173,106,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e129c128c96a4adf8e82487a264110.jpg","167.7x95.6",[44],{"id":13418,"slug":13419,"title":13420,"dynasty":76,"author":77,"museum":675,"description":1456,"tags":13421,"thumbUrl":13422,"material":123,"size":1463,"collection":139,"collections":13423,"showCount":13328,"zanCount":48,"manualWeight":48,"mainColor":49},216106,"yun-shou-ping-hua-guo-shu-cai-ce-ye-5-yun-shou-ping-216106","恽寿平花果蔬菜册页-5",[7,24,81,173,82,1458,5768],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f5f53e977e7efc527a9d38d0124d37.jpg",[],{"id":13425,"slug":13426,"title":13427,"dynasty":189,"author":2519,"museum":206,"description":13428,"tags":13429,"thumbUrl":13430,"material":803,"size":13431,"collection":139,"collections":13432,"showCount":13433,"zanCount":1547,"manualWeight":48,"mainColor":49},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[23,7,24,25,173,27,29,34,10380,31,35,178,86,227,177,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":13435,"slug":13436,"title":13437,"dynasty":292,"author":13438,"museum":364,"description":13439,"tags":13440,"thumbUrl":13441,"material":139,"size":139,"collection":139,"collections":13442,"showCount":13433,"zanCount":5,"manualWeight":48,"mainColor":49},225587,"xian-he-tu-ping-xu-xiao-ling-225587","仙鹤图屏","绪小玲","金地为底晕染出华贵底色，群鹤徐行姿态各异，或昂首引颈阔步向前，或垂首敛羽静立其间，排布错落自带悠然行进的韵律。\n\n笔墨晕染极具章法，白羽柔润清灵，玄色羽翼晕出明暗层次，挺劲纤细的长腿勾勒出丹顶鹤清隽出尘的身姿。左侧古松虬枝半掩，留白虚实相生，让画面疏密相宜，既衬出群鹤高洁仙气，也让屏面免于拥塞。整体铺陈出祥瑞静谧的氛围，将仙鹤自带的高洁之美定格屏间，尽显东方灵禽画的雅致意趣。",[23,7,28,27,83,1184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddaae8e4db67d67172777e9d18e21960.jpg",[],{"id":13444,"slug":13445,"title":13446,"dynasty":76,"author":13447,"museum":364,"description":13448,"tags":13449,"thumbUrl":13450,"material":990,"size":13451,"collection":139,"collections":13452,"showCount":13433,"zanCount":5,"manualWeight":48,"mainColor":94},222629,"ju-shi-yan-nian-tu-zhou-huang-shan-shou-222629","菊石延年图轴","黄山寿","绘秋日中菊花绽放，三种色彩，争相斗艳，蓝色湖石穿插其中。画上题诗“飘飘神采濯枝秀，不食烟火何妨瘦，精气有余骨相坚，餐英尚且能益寿”。黄山寿，原名曜，字旭初，晚清画家，工人物、山水，善墨龙等",[23,7,24,241,27,28,453,431,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017d9351b72d2e389bc0b7cd7ce8fbed.jpg","131X67cm",[],{"id":13454,"slug":13455,"title":13456,"dynasty":18,"author":1650,"museum":20,"description":13457,"tags":13458,"thumbUrl":13459,"material":40,"size":13460,"collection":42,"collections":13461,"showCount":13433,"zanCount":1547,"manualWeight":48,"mainColor":49},221529,"mei-shi-xi-fu-tu-ma-yuan-221529","梅石溪凫图","本幅款署“馬遠”。钤藏印：“ 潞王之寶”、“茅林心賞”、“阿蒙”、“于騰私印”。\n图中画山崖侧立，腊梅倒垂，薄雾蒙蒙的涧水中，一群野鸭正在游戏。山石以斧劈皴法画之，方硬峭拔，与用笔轻快、毛羽松蓬的野鸭形成鲜明的对比。倒垂曲折的枝条是马远特有的画法，故有“拖枝马远”之称。画面呈典型的对角线式构图，岩石、梅树都偏居画面的左上部分，梅树枝条的走势更强调了此种布局的形式感，右下方的野鸭既起到了平衡画面的作用，又是全图的点睛之笔，一幅“春江水暖鸭先知”的景象，无限生趣，跃然绢素。",[23,7,24,81,173,27,177,448,245,109,5158,281,83,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae794f0f7f856fe10e8845520e5badc4.jpg","纵26.7厘米，横28.6厘米",[42,90,45],{"id":13463,"slug":13464,"title":13465,"dynasty":18,"author":13466,"museum":206,"description":13467,"tags":13468,"thumbUrl":13469,"material":317,"size":13470,"collection":44,"collections":13471,"showCount":13433,"zanCount":1547,"manualWeight":48,"mainColor":94},221219,"liu-chao-qian-qin-su-hui-xuan-ji-tu-juan-zhu-shu-zhen-221219","六朝前秦苏蕙璇玑图卷","朱淑贞","（楷书璇玑图。文不录。又苏若兰织锦回文璇玑图序志一则。文不录）皇宋绍定三年（西元一二三０年）二月既望钱塘幽栖居士朱氏淑贞识。",[23,7,24,25,28,27,106,59,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b944c3884b1a33c0a64a2ef4c63382d.jpg","28.1×246.3",[44,45],{"id":13473,"slug":13474,"title":13475,"dynasty":54,"author":3062,"museum":20,"description":13476,"tags":13477,"thumbUrl":13479,"material":67,"size":13480,"collection":44,"collections":13481,"showCount":13433,"zanCount":1547,"manualWeight":48,"mainColor":49},221136,"yu-yuan-cai-lian-tu-li-si-xun-221136","御苑采莲图","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网格水纹，辉煌明丽，富有装饰性。此卷为吴景洲先生于1947年倾囊得之，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,7,26,27,28,104,29,107,106,108,109,136,34,176,1237,5222,13478],"采莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0bbca3f486b9ed26103a6d871d1d0e.jpg","23.90x77.20cm",[44,45],{"id":13483,"slug":13484,"title":13485,"dynasty":76,"author":10376,"museum":364,"description":13486,"tags":13487,"thumbUrl":13488,"material":842,"size":13489,"collection":181,"collections":13490,"showCount":13433,"zanCount":48,"manualWeight":48,"mainColor":94},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,7,24,81,173,27,29,1015,174,108,109,2502,176,920,227,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","30.5×21.5",[181],{"id":13492,"slug":13493,"title":13494,"dynasty":99,"author":100,"museum":206,"description":13495,"tags":13496,"thumbUrl":13497,"material":342,"size":13498,"collection":44,"collections":13499,"showCount":13433,"zanCount":1270,"manualWeight":48,"mainColor":94},219534,"qi-qiao-tu-chou-ying-219534","乞巧图","七夕又称为「乞巧节」、「女儿节」，最重要的习俗是妇女的乞巧活动。到七夕晚上，妇女们用彩线穿七孔针，在庭院中摆设香案，上有瓜果、鲜花、酒、针线等，向织女乞巧，在宋代还会摆上一种手捏的小泥人儿「磨喝乐」作为供奉神灵。这幅画的便是妇女乞巧的活动，星星高挂于天空，妇女群聚在庭院中，对着星空祭拜，衷心祈望自已能像织女般工巧，其中还有妇女对着星空穿针，\n全幅以白描为主，人物清雅，但用笔较为软弱无力，与仇英精致细腻的笔法大不相同，应非其所作。\n仇英（约一四九四－一五五二），江苏太仓人。字实父，号十洲。年轻时为漆工，后遇周臣赏识其才华，给予指导，而后成名。精工山水人物画，又善于临摹古画，几可乱真，作品具有院画之精丽而有士气。是明代四大画家之一。",[23,7,24,25,28,27,178,86,106,59,107,115,63,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd953712315a9e475c8de8c4fb11fdb.jpg","27.9x388.3厘米",[44],{"id":13501,"slug":13502,"title":13503,"dynasty":18,"author":13504,"museum":3442,"description":13505,"tags":13506,"thumbUrl":13508,"material":123,"size":139,"collection":90,"collections":13509,"showCount":13433,"zanCount":5,"manualWeight":48,"mainColor":271},218889,"mei-hua-shuang-que-tu-tang-zheng-zhong-218889","梅花双鹊图","汤正仲","虬干盘结如铁，皴擦间尽现老木苍劲之姿；新梢斜逸若剑，挺秀中暗藏生机。素蕊攒枝，以圈花点蕊之法写就，清疏淡雅如覆薄雪，暗香似欲溢出纸面。双鹊栖于枝间，一俯一仰顾盼有情，羽翼细墨勾勒与梅枝粗放形成呼应，添几分灵动暖意。整幅画以墨骨立形，淡彩敷色，既承扬派墨梅清逸，又融自家笔意沉厚。寒梅高洁品格与双鹊吉祥意趣交织，冬日清寂中晕开一抹生机，尽显宋人花鸟画雅致韵致与文人情怀。",[209,7,24,241,28,27,83,448,13507,281,1653,394],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15447dc3a3314b0bcbd372dc5a108d12.jpg",[90],{"id":13511,"slug":13512,"title":13513,"dynasty":18,"author":645,"museum":78,"description":13514,"tags":13515,"thumbUrl":13519,"material":381,"size":13520,"collection":181,"collections":13521,"showCount":13433,"zanCount":1356,"manualWeight":48,"mainColor":49},218586,"gu-mu-yao-shan-tu-zhou-guo-xi-218586","古木遥山图轴","全图画秋景山水，画文人士夫出行的情形，系平 远式构图。近景以水墨画坡石，上有古木数株，中 景绘两间敞轩和一座木构平房，内有主人，外有过 客，隔江远景坡地朦胧，其下有牛群散牧、孤舟帆饱。 该图是一幅相当写实的山水画，画家客观、概括地描 绘了所见的景物。因此，笔者认为，可借鉴动物考古 学和建筑学等学科的成果来分析、研究是图的绘制地 域，以便于确定其创作时代。",[209,7,24,241,173,29,6922,6398,13516,13517,13518,174,151,106],"坡石","敞轩","平房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b7f96f5bbf3b0e2a5e0fc103c93fe7.jpg","纵 185.2、横 107.5 厘米",[181],{"id":13523,"slug":13524,"title":13525,"dynasty":18,"author":293,"museum":364,"description":13526,"tags":13527,"thumbUrl":13528,"material":123,"size":13529,"collection":42,"collections":13530,"showCount":13433,"zanCount":5,"manualWeight":48,"mainColor":49},218583,"song-xia-jing-si-tu-yi-ming-218583","松下静思图","悬崖边的松树上画着一根粗壮有力的杆子，伸向远方，而一个高大的男人盘腿坐在下面的蒲团上，凝视着下方；远处，一轮明月挂在天上，圆盘般的月亮象征着农历的新月之夜。",[7,24,27,28,106,1575,245,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732621ebc2bf8ef9ef1e43c8b6b51669.jpg","21x21",[42],{"id":13532,"slug":13533,"title":13534,"dynasty":76,"author":1892,"museum":20,"description":13535,"tags":13536,"thumbUrl":13537,"material":342,"size":13538,"collection":181,"collections":13539,"showCount":13433,"zanCount":48,"manualWeight":48,"mainColor":94},218472,"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[23,7,173,177,105,241,29,176,34,31,35,1255,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纵141.7厘米，横51厘米",[181],{"id":13541,"slug":13542,"title":13543,"dynasty":18,"author":293,"museum":206,"description":13544,"tags":13545,"thumbUrl":13546,"material":123,"size":139,"collection":44,"collections":13547,"showCount":13433,"zanCount":1547,"manualWeight":48,"mainColor":94},216947,"tai-zu-zuo-xiang-zhou-yi-ming-216947","太祖坐像轴","太祖坐像轴是宋朝佚名的一件作品，是宋朝绘画中的重要代表作之一。这幅画以太祖爷爷——宋太祖赵匡胤为主人公，描绘了他坐在宝座上的情景。太祖坐像轴是一幅官方肖像画，用来表彰太祖的功绩和威严。\n\n画中，太祖坐在宝座上，身着皇帝的正装，头戴皇冠。他神态庄严，目光坚定，散发着强大的权威气息。\n\n太祖坐像轴的画风浓烈，笔画粗犷，色彩明快，体现了宋朝绘画中的特色。画中的人物肖像生动，细节丰富，反映了宋朝社会的文化和生活。这幅画是宋朝绘画史上的重要珍品，对于了解宋朝历史和文化具有重要意义。",[7,209,241,28,27,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d65ab6762e2ececdae6bd4811806e79.jpg",[44],{"id":13549,"slug":13550,"title":13551,"dynasty":18,"author":781,"museum":206,"description":13552,"tags":13553,"thumbUrl":13554,"material":342,"size":13555,"collection":44,"collections":13556,"showCount":13433,"zanCount":5,"manualWeight":48,"mainColor":94},216928,"mian-zhou-tu-li-gong-lin-216928","免胄图","卷轴的左侧是郭子仪，带领他的部队，平静地站在他身边。右侧是入侵关中的维吾尔族士兵，这是一个庞大而令人生畏的营地。这位身着军装的维吾尔族首领在其副手的陪同下，在向脱去盔甲、身着清凉的郭子仪致敬时，以敬佩的姿态跪下。郭德纲在俯身提供帮助时显得真诚而有礼貌，体现了一位名将的慷慨。",[23,209,7,24,25,260,28,106,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c419667adc75769d59561e46477a00.jpg","32.3x223.8",[44],{"id":13558,"slug":13559,"title":13560,"dynasty":76,"author":293,"museum":364,"description":13561,"tags":13562,"thumbUrl":13564,"material":743,"size":744,"collection":139,"collections":13565,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":94},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,25,1629,7,24,26,27,29,106,107,174,281,109,13563,1015,176,115,5627,227,86],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":13568,"slug":13569,"title":13570,"dynasty":76,"author":2804,"museum":364,"description":13571,"tags":13572,"thumbUrl":13573,"material":139,"size":139,"collection":90,"collections":13574,"showCount":13566,"zanCount":5,"manualWeight":48,"mainColor":94},239029,"hong-mei-juan-wu-chang-shuo-239029","红梅卷","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[7,25,173,27,448,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09767ee0d5b587971ce9dfadc909df1f.jpg",[90,45],{"id":13576,"slug":13577,"title":10097,"dynasty":76,"author":293,"museum":20,"description":2991,"tags":13578,"thumbUrl":13583,"material":40,"size":854,"collection":139,"collections":13584,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":49},236169,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236169",[7,27,28,104,29,107,1965,106,1255,176,34,2993,13579,13580,13581,13582,2451],"宫廷生活","节令风俗","中式建筑","西式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff841a07266c24ab45bc115c2dd2f7821.jpg",[],{"id":13586,"slug":13587,"title":13588,"dynasty":76,"author":953,"museum":364,"description":13589,"tags":13590,"thumbUrl":13591,"material":139,"size":139,"collection":139,"collections":13592,"showCount":13566,"zanCount":1547,"manualWeight":48,"mainColor":94},230128,"hua-niao-shu-guo-ce-ye-ba-kai-ren-yi-230128","花鸟蔬果册页(八开)","此作以淡墨铺染出空濛底色，枝桠间雀鸟静栖，以干笔丝毛晕染翎羽，写实中兼具写意意趣，朱红顶冠醒目鲜活，将禽鸟机灵敏锐的神态刻画入微。衬景枝叶以浓淡水墨挥洒而就，枯荣姿态各具，干湿层次丰富，与留白虚境相映成趣，营造出清寂悠然的秋日氛围。\n\n构图疏朗空灵，右下角题款朱印呼应雀首色彩，章法雅致和谐。笔意兼具写实的生动与文人画的写意气韵，将寻常禽鸟小景绘出澹远悠长的意境，尽显雅致灵动的花鸟意趣。",[7,81,173,27,446,83,225,5767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d23c459b8d850378f7361b3c25c3d70.jpg",[],{"id":13594,"slug":13595,"title":13596,"dynasty":76,"author":13037,"museum":364,"description":13597,"tags":13598,"thumbUrl":13599,"material":619,"size":13600,"collection":181,"collections":13601,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":94},222665,"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[23,7,173,27,177,241,29,176,34,35,108,109,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 横50CM",[181,163],{"id":13603,"slug":13604,"title":13605,"dynasty":99,"author":170,"museum":206,"description":13606,"tags":13607,"thumbUrl":13608,"material":827,"size":13609,"collection":139,"collections":13610,"showCount":13566,"zanCount":1547,"manualWeight":48,"mainColor":94},222108,"ming-xian-ya-ji-tu-zhou-shen-zhou-222108","名贤雅集图轴","此画设色雅淡，人物衣描粗细合度，用笔写意中带精谨。幅面狭长，山势呈“之”字形走向，益增高远平阔之感。",[23,7,24,241,27,106,29,108,109,394,177,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180750897d2f844fa69ecd89a1960845.jpg","252.9x44.5公分",[],{"id":13612,"slug":13613,"title":8009,"dynasty":99,"author":13614,"museum":675,"description":13615,"tags":13616,"thumbUrl":13617,"material":619,"size":13618,"collection":181,"collections":13619,"showCount":13566,"zanCount":1270,"manualWeight":48,"mainColor":49},222073,"ming-huang-xing-shu-tu-wu-bin-222073","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,7,24,29,27,28,177,106,150,107,108,109,176,558,34,900,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f879903396d07b9e64c58c5d2acea.jpg","65x112 厘米",[181,45],{"id":13621,"slug":13622,"title":13623,"dynasty":18,"author":645,"museum":206,"description":9191,"tags":13624,"thumbUrl":13625,"material":317,"size":13626,"collection":42,"collections":13627,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":49},221292,"hua-xue-jing-zhou-guo-xi-221292","画雪景轴",[23,7,1397,241,177,173,29,2124,174,108,1015,35,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13099bc99f6d0fba5d72371002c0734c.jpg","194.3×111.1",[42,181,163],{"id":13629,"slug":13630,"title":13631,"dynasty":76,"author":77,"museum":20,"description":13632,"tags":13633,"thumbUrl":13634,"material":67,"size":13635,"collection":90,"collections":13636,"showCount":13566,"zanCount":5,"manualWeight":48,"mainColor":94},220973,"shuang-qing-tu-yun-shou-ping-220973","双清图","本幅是恽寿平55岁时所作。以“双清”为画名是因为梅花以“众芳摇落独暄妍”的品格而水仙以淡色疏香和清气逼人的特性同被视为传统绘画题材中的“清物”。此图以淡花青晕染绢地，烘托双清的花色。梅树苍干繁枝，横斜取势，其花瓣法南宋扬无咎的画法，即以墨笔圈线为瓣，线条雅秀雄健，勾勒出花之勃勃生机。水仙法元人赵孟坚的白描笔韵，叶片用笔富于急迟、粗细、顿折诸变化，花儿或仰或俯，或张或合，亦变化多端。作者以活泼多变的表现技法成功地展示出梅花、水仙暗香浮动的美感。全图不刻意求工、求似，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,7,24,241,27,83,82,448,452,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da6c06676028e116b16baef378dbe92.jpg","纵88.5cm，横54cm",[90,45],{"id":13638,"slug":13639,"title":13640,"dynasty":1095,"author":1096,"museum":4792,"description":13641,"tags":13642,"thumbUrl":13643,"material":2021,"size":139,"collection":139,"collections":13644,"showCount":13566,"zanCount":5,"manualWeight":48,"mainColor":94},220600,"song-ying-zhou-qi-bai-shi-220600","松鹰（轴）","右上狂草长题与左侧苍松对角铺陈，虚实相映，章法奇崛沉稳。\n老松以枯笔写出虬曲主干，浓淡墨色分出嶙峋肌理，松针劲挺利落，尽显风霜淬炼的苍古之姿。\n石上雄鹰是画面焦点，焦墨勾出如钩利喙与锐利鹰眼，神彩凛凛；泼墨积墨晕染羽翮，块面层次分明，将猛禽雄悍桀骜的气度展露无遗，钢爪紧扣顽石，尽显睥睨寰宇的威严。\n整作以书入画，文人笔意与写生意趣相融，以朴拙老辣的笔墨寄寓凌云壮气，尽显写意花鸟的雄浑风骨。",[23,7,24,241,173,446,1575,4307,281,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede21b825405a236afb47189b88ee67.jpg",[],{"id":13646,"slug":13647,"title":13648,"dynasty":18,"author":2142,"museum":206,"description":13649,"tags":13650,"thumbUrl":13651,"material":803,"size":139,"collection":42,"collections":13652,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":49},220247,"xie-qing-chao-yi-pin-tu-li-cheng-220247","写清朝一品图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。",[23,7,209,24,241,173,177,29,1575,174,106,176,31,34,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ecb114ae83d161ba1539feb347adb9.jpg",[42],{"id":13654,"slug":13655,"title":12167,"dynasty":99,"author":13656,"museum":539,"description":13657,"tags":13658,"thumbUrl":13659,"material":123,"size":13660,"collection":181,"collections":13661,"showCount":13566,"zanCount":5,"manualWeight":48,"mainColor":49},219811,"hua-long-tu-wu-wei-219811","吴伟","吴伟（1459年—1508年），字次翁，又字士英、鲁夫，号小仙，江夏（今湖北武汉）人，明代著名画家。画院待诏，孝宗时授锦衣卫百户及赐“画状元”的图章。龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。弱冠至金陵画名遂起。",[23,7,173,241,106,502,29,430,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccae79785c4f93074462241752e72c09.jpg","139.5x94cm",[181],{"id":13663,"slug":13664,"title":13665,"dynasty":18,"author":1650,"museum":539,"description":13666,"tags":13667,"thumbUrl":13669,"material":123,"size":139,"collection":42,"collections":13670,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":49},219737,"yan-ai-qiu-she-tu-ma-yuan-219737","烟霭秋涉图","此作用笔简劲老辣，以半边取景铺陈秋山之境。远景峰林隐没在烟霭之中，淡墨晕染出空濛虚渺，似将秋意揉进雾色里。近岸古木盘曲，枯干如铁铸，枝头缀着丹红秋叶，为萧飒秋景添了一抹暖色。浅滩处旅人策杖徐行，缓步涉过清浅溪涧，将山野行旅的幽寂之意藏于细节。\n山石以斧劈皴扫出棱线，硬朗峭拔，和远景的朦胧柔润形成强烈虚实对比，以少胜多，留白处尽是山野空寂的秋意，把深秋山涧的清旷冷冽，尽数融在水墨浓淡之间，尽显秋山烟水的澹远诗意。",[23,2544,7,24,241,173,27,29,1015,13668,37,650,177,6922,297],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187656824905620f997701fcc165e4fd.jpg",[42,181],{"id":13672,"slug":13673,"title":13674,"dynasty":99,"author":1572,"museum":206,"description":13675,"tags":13676,"thumbUrl":13677,"material":173,"size":13678,"collection":163,"collections":13679,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":94},219344,"feng-yu-gui-zhou-tu-zhou-wen-zheng-ming-219344","风雨归舟图轴","文征明（1470～1559年），即文徵明，初名壁，字征明，后更字征仲，号衡山、停云，别号衡山居士，人称文衡山，斋名停云馆。长洲（今苏州）人。官至翰林待诏，私谥贞献先生。“吴门画派”创始人之一。是明代中期最著名的画家，大书法家。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”（也称吴门四才子）。与沈周、唐寅、仇英合称“明四家”。在当世他的名气极大，号称“文笔遍天下祖籍衡山，故号衡山居士，长洲（今江苏吴县）人。54岁时以岁贡生诣吏部试，授翰林院待诏，故称文待诏。",[7,24,241,173,177,29,558,34,650,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F648a657d5f76e78f5d702a150b241512.jpg","89.7x32.9公分",[163],{"id":13681,"slug":13682,"title":13683,"dynasty":18,"author":474,"museum":13684,"description":13685,"tags":13686,"thumbUrl":13687,"material":123,"size":13688,"collection":90,"collections":13689,"showCount":13566,"zanCount":1547,"manualWeight":48,"mainColor":49},218921,"ya-tu-zhao-ji-218921","鸭图","东京五岛美术馆","这幅画代表了徐熙的画派，虽然整幅画是彩色的，但水墨淋漓，充满了野趣。这幅画据说是徽宗所画，但由徽宗所画的可能性较小，但仍然是宋代花鸟画的代表作。",[23,209,7,24,241,28,27,83,2728],"https:\u002F\u002Foss.ch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纵98厘米",[90],{"id":13700,"slug":13701,"title":13702,"dynasty":99,"author":170,"museum":206,"description":13703,"tags":13704,"thumbUrl":13705,"material":381,"size":13706,"collection":181,"collections":13707,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":49},218488,"cang-ya-gao-hua-tu-shen-zhou-218488","苍崖高话图","本幅绢本仿吴镇，下笔草草若不经意，而笔极挺健。长松三株，两翁坐松下，旁置琴。背山高耸，崖下茅亭，阒然虚静。对山惟见山嘴，而小树旁出，其下横笔作水纹。经山林映衬，觉一片澄虚，如在真境。画有虽著意而不能工，草率中反饶韵致者。此幅不署年款，以书画作风而论，大约在七十岁时。",[23,7,209,241,173,177,29,175,106,394,7582,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a8a933a37400001daf47d4c1bb98a7d.jpg","149.9x77cm",[181],{"id":13709,"slug":13710,"title":11409,"dynasty":18,"author":7349,"museum":364,"description":13711,"tags":13712,"thumbUrl":13713,"material":342,"size":139,"collection":44,"collections":13714,"showCount":13566,"zanCount":48,"manualWeight":48,"mainColor":94},217069,"bu-dai-he-shang-tu-liang-kai-217069","布袋和尚是中国佛教图像中的一个著名人物，他被认为是弘法利生的传人。布袋和尚是由宋朝画家梁楷所绘制的。\n\n梁楷，原名梁可柔，是宋朝著名的画家，他以其精湛的绘画技艺而闻名。梁楷的作品大多描绘了佛教的场景和人物，其中包括布袋和尚的图像。\n\n布袋和尚的图像通常描绘出他的标志性外观，包括高耸的高顶头巾，满身袈裟，手持莲花，以及脸上带着坚定的信念和善意的笑容。这些图像通常被视为对佛教价值观的良好描述，包括善良、谅解和慈悲。\n\n梁楷的作品对中国画的发展产生了深远的影响，他的布袋和尚图像也成为了中国佛教图像的经典之作。如今，布袋和尚的图像仍然受到广泛的欢迎，并被视为中国文化的重要组成部分。",[23,7,24,18,241,259,106,173,10247,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904a61fa90ea575ee40aabf94c6fb98e.jpg",[44],{"id":13716,"slug":13717,"title":13718,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":13719,"thumbUrl":13720,"material":743,"size":744,"collection":181,"collections":13721,"showCount":13722,"zanCount":5,"manualWeight":48,"mainColor":49},235515,"yuan-ji-shan-shui-tu-ce-shi-tao-235515","原济山水图册",[7,173,177,81,29,108,34,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff14a3da145e6ba299fd3a7795c0f342c.jpg",[181,163],134,{"id":13724,"slug":13725,"title":13726,"dynasty":76,"author":13727,"museum":20,"description":13728,"tags":13729,"thumbUrl":13730,"material":40,"size":13731,"collection":44,"collections":13732,"showCount":13722,"zanCount":1356,"manualWeight":48,"mainColor":49},234307,"li-chao-xian-hou-gu-shi-tu-ce-jiao-bing-zhen-234307","历朝贤后故事图册","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[209,7,24,81,28,27,104,106,59,107,175,34,1664,29,115,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34017010e0ed0cafb36850368bb3c4.jpg","纵30.8厘米，横37.4厘米",[44,45],{"id":13734,"slug":13735,"title":13736,"dynasty":76,"author":293,"museum":364,"description":13737,"tags":13738,"thumbUrl":13739,"material":139,"size":139,"collection":139,"collections":13740,"showCount":13722,"zanCount":1547,"manualWeight":48,"mainColor":49},230304,"fang-lin-chun-cui-zhu-hua-niao-tu-shen-se-yi-ming-230304","仿林椿翠竹花鸟图（深色）","此作用色明丽雅致，以赭色绢底托举春日景致。艳红山茶缀于虬曲枝桠，青嫩新篁挺拔舒展，柔媚花枝与劲竹相映成趣。十余只禽鸟灵动错落，或栖于枝头理羽，或两两依偎低语，羽色晕染细腻柔和，将禽鸟绒羽的鲜活质感尽数呈现。\n\n画师以工细笔触勾勒花叶禽鸟，既承袭院体花鸟的精工写实，又暗合文人画的清幽意趣，将林泉春日里花木禽鸟的自在天趣铺展在尺幅间，生机盎然中尽显闲雅静谧的林下意韵。",[23,209,7,24,25,28,27,105,83,242,224,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae43cbb6fe15b0c90b72712f15b33f1.jpg",[],{"id":13742,"slug":13743,"title":13744,"dynasty":99,"author":1480,"museum":78,"description":13745,"tags":13746,"thumbUrl":13747,"material":724,"size":13748,"collection":181,"collections":13749,"showCount":13722,"zanCount":1270,"manualWeight":48,"mainColor":49},222367,"qi-lv-gui-si-tu-zhou-tang-yin-222367","骑驴归思图轴","此图以高远取势，主峰矫然而起，左侧栈道隐现，泉流悠远；右侧则曲径盘旋，一人笠帽策蹇前行，山坳丛树掩映之处，村舍俨然。前景山石崚嶒，树木蔚然，溪流潺潺，一樵夫正负薪踏桥而过。构图有北宋全景式山水的影子，而皴笔则长披短拂、水墨酣畅，出自南宋家法。笔墨劲爽、风格雄健。\n画幅自题：“乞求无得束书归，依旧骑驴向翠微。满面风霜尘土气，山妻相对有牛衣。吴郡唐寅诗意图。”钤：“唐伯虎”朱文印。另有朱曜和韵题诗一首，诗堂有王同愈、裱边有吴湖帆题跋。\n鉴藏印：“吴氏梅景书屋图书印”朱文印、“梅景书屋秘笈”朱文印等。",[23,7,241,27,177,29,176,109,108,34,8989,900,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e39436a4fe36429f039e86045ee10c7.jpg","纵77.7厘米 横37.5厘米",[181,163],{"id":13751,"slug":13752,"title":13753,"dynasty":99,"author":1480,"museum":206,"description":13754,"tags":13755,"thumbUrl":13756,"material":8104,"size":13757,"collection":163,"collections":13758,"showCount":13722,"zanCount":5,"manualWeight":48,"mainColor":94},222365,"feng-zhu-tu-tang-yin-222365","风竹图","《风竹图》是明代著名画家唐寅所作的一幅花鸟画，以风中之竹为描写对象。画中的风中之竹随风飘动，极富动感。\n此幅写风中之竹随风飘动，富有动感。截取局部特写，构图别致。取文同画竹法“浓墨为面，淡墨为背”，写意象之竹，融以书法用笔，其飞白效果颇具文人趣味。自题书法端庄秀美，笔划劲挺，并成为构图的一部分。迢迢阁题识：卷地尘沙起大风，篷头乱舞小庭中。欹枝折节难为直，一片西飞一片东。次唐子畏风竹图诗韵。己丑冬至录旧作。\n唐寅是一个饱尝了世态炎凉的滋味的画家，29岁时因为科场舞弊案被无辜牵连，蒙冤入狱。家里变得“僮仆据案，夫妻反目，归有狞狗，当门而噬”。画家在给文徵明的信中说：“昆山焚如，玉石皆毁，下流难处，众恶所归，海内遂以寅为不齿之士，握拳张胆，若赴仇敌。知与不知，皆指而唾，辱亦甚矣！”画中迎朔风而傲然挺立的风竹，几乎就是画家所处境况的再现。",[23,7,24,241,173,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc343a82dd43ee374a328fc69adbd27c4.jpg","47厘米 37.8厘米",[163,2293],{"id":13760,"slug":13761,"title":13762,"dynasty":54,"author":3282,"museum":13763,"description":13764,"tags":13765,"thumbUrl":13770,"material":803,"size":139,"collection":139,"collections":13771,"showCount":13722,"zanCount":48,"manualWeight":48,"mainColor":49},221146,"wang-chuan-tu-juan-wang-wei-221146","辋川图卷","美国西雅图美术馆","《辋川图》是唐代王维所作的单幅壁画，原作已无存，现只有历代临摹本存世。\n《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[209,7,630,105,7155,25,1397,2939,29,13766,109,118,106,1959,13767,13768,280,13769],"亭台楼榭","弈棋","投壶","意态萧然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87ac5cea2dc5878a9ef466c907a570d5.jpg",[],{"id":13773,"slug":13774,"title":13775,"dynasty":76,"author":77,"museum":1985,"description":13776,"tags":13777,"thumbUrl":13779,"material":1642,"size":13780,"collection":181,"collections":13781,"showCount":13722,"zanCount":1547,"manualWeight":48,"mainColor":94},221002,"hua-dao-xi-yang-tu-yun-shou-ping-221002","花岛夕阳图","恽寿平山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已”。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。",[23,7,27,173,25,29,4562,649,37,34,33,920,109,281,177,2522,2219,491,13778,1532,1575,7941,1256],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2703852885af6a04ae01bf1fbdb64d9d.jpg","26cmx111cm",[181,45],{"id":13783,"slug":13784,"title":13785,"dynasty":189,"author":2519,"museum":206,"description":13786,"tags":13787,"thumbUrl":13788,"material":27,"size":13789,"collection":181,"collections":13790,"showCount":13722,"zanCount":5,"manualWeight":48,"mainColor":94},220862,"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,209,7,24,241,27,177,29,1575,176,109,175,106,37,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[181,45],{"id":13792,"slug":13793,"title":13794,"dynasty":99,"author":293,"museum":364,"description":13795,"tags":13796,"thumbUrl":13797,"material":27,"size":139,"collection":45,"collections":13798,"showCount":13722,"zanCount":5,"manualWeight":48,"mainColor":49},219904,"cha-mei-san-qin-tu-yi-ming-219904","茶梅三禽图","画面章法错落，斜出的花枝贯穿画面，山茶如烈焰点染绢素，梅花似堆雪缀于枝桠，红白相映，撞色鲜活亮眼。\n\n枝上双禽依偎理羽，姿态闲静安适；石畔绶带鸟垂首啄饮，灵动生趣。湖石、幽竹与冰姿玉骨的水仙铺陈下景，衬出花木禽鸟的清隽雅致。\n\n设色妍丽不失清雅，工笔勾勒禽鸟羽毛、花瓣脉络，晕染柔和自然，写意绘就湖竹野趣，将隆冬时节的盎然生机定格，尽显院体花鸟雅致隽永的东方意趣，藏着岁末清和的鲜活生机。",[23,7,209,28,27,83,448,224,242,431,1064,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbd5614909282f3d3a425af305ca027.jpg",[45],{"id":13800,"slug":13801,"title":13802,"dynasty":18,"author":6652,"museum":782,"description":13803,"tags":13804,"thumbUrl":13806,"material":342,"size":13807,"collection":42,"collections":13808,"showCount":13722,"zanCount":48,"manualWeight":48,"mainColor":94},219861,"yuan-xiu-qing-yun-tu-mi-you-ren-219861","远岫晴云图","《远岫晴云图》是北宋书画家米友仁所创作的一幅水墨设色画，现藏于日本大阪市立美术馆。\n该画作是一幅文人画，描绘的是米友仁笔下常见的山水风景，画中以湿润的笔墨点染云山树石，表现烟云变幻、山色朦胧的动人景象。“米氏云山”的特色展示得淋漓尽致。\n《远岫晴云图》绘制的是烟雨迷蒙时的风景，远山模糊不清，近树萧疏迷离，一条溪流潺潺自远处绕到赏者面前。图中左下角作一小丛树，间隔溪水的对岸是云气缭绕的疏林，远处是尖锐如刻削的山峦。\n画面上有款“元晖戏作”四个字，上方另有横纸又自题“绍兴甲寅元夕前一日，自新昌泛舟来赴朝参，居临安七宝山戏作小卷，付与廪收口”。",[209,7,24,173,29,491,1329,34,176,177,13805],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe5e3ae0ecfe57c4dc77a8c68325a4c.jpg","24.7x28.6cm",[42],{"id":13810,"slug":13811,"title":13812,"dynasty":76,"author":5208,"museum":101,"description":13813,"tags":13814,"thumbUrl":13816,"material":342,"size":139,"collection":181,"collections":13817,"showCount":13722,"zanCount":5,"manualWeight":48,"mainColor":49},219708,"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[7,241,173,177,29,13815,920,1575,176,560,86,227],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg",[181],{"id":13819,"slug":13820,"title":8582,"dynasty":189,"author":10811,"museum":782,"description":13821,"tags":13822,"thumbUrl":13823,"material":342,"size":13824,"collection":90,"collections":13825,"showCount":13722,"zanCount":1270,"manualWeight":48,"mainColor":94},219062,"zhu-que-tu-wang-yuan-219062","画家在这幅画中使用了水墨，做了黑白的勾勒，描绘了竹叶的起伏、花朵和湖中不平整的石头。\n这幅画在构图和技法上与印第安纳波利斯艺术博物馆收藏的王原的《花竹山禽图》相似，但《花竹山禽图》的笔触更显年轻，可能是后来的摹本。这幅画上还刻有 摹黄筌竹雀图 的字样，构图与台北故宫的黄居寀画的鹧鸪和麻雀相似，仍保留了唐代画树下花鸟的传统，所以这幅画也许确实是仿黄筌的原作。",[209,7,556,28,260,83,242,224,604,176,432,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","139.3x49.9cm",[90],{"id":13827,"slug":13828,"title":998,"dynasty":18,"author":293,"museum":78,"description":13829,"tags":13830,"thumbUrl":13831,"material":123,"size":13832,"collection":90,"collections":13833,"showCount":13722,"zanCount":1356,"manualWeight":48,"mainColor":49},218563,"qiu-kui-tu-yi-ming-218563","画面中，秋葵舒展的花瓣如凝脂般温润，白中透粉的晕染似含朝露，娇嫩欲滴。花蕊以深褐点染，在素净花瓣间格外醒目，几笔细致勾勒便显生机。叶片脉络清晰，边缘锯齿纹理与枝干苍劲形成呼应，花苞或敛或绽，层次错落间见自然意趣。\n\n笔墨工致却不刻意，色彩淡雅而富韵致，尽显写生之妙——于细微处见真章，将秋葵清雅姿态凝于绢素。无繁复布景，仅以一花一叶情态，传递自然生命的静美与从容，仿佛能嗅到初秋清晨的微凉气息，藏着宋人对日常草木的深情观照。",[7,209,24,28,27,83,1002,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabea7ea1898f36c4440d93cfb77bd36.jpg","25.6x25.7",[90],{"id":13835,"slug":13836,"title":13837,"dynasty":18,"author":4266,"museum":13838,"description":13839,"tags":13840,"thumbUrl":13841,"material":342,"size":13842,"collection":44,"collections":13843,"showCount":13722,"zanCount":5,"manualWeight":48,"mainColor":49},218536,"er-zu-diao-xin-tu-mu-xi-218536","二祖调心图","京都藤井有邻馆","禅者趺坐，衣袂如流云舒卷，墨线简劲中见飘逸。猛虎蜷卧身侧，昔日凶威尽敛，竟似猫咪般温顺，双目微阖，与禅者气息相融。背景远山淡抹，枯树疏枝横斜，瀑流隐于云霭，天地间弥漫着空灵静谧的禅意。笔墨写意传神，不事雕琢却直抵心性——禅心可化戾气，猛兽亦归平和，这般物我两忘的境界，尽在尺幅之中流转，引人沉潜于禅思的悠远。",[7,24,173,260,259,106,7281,957,1015,29,558,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650cad3bf7fe8ebae276374eeee46d0c.jpg","121x55.5",[44],{"id":13845,"slug":13846,"title":13847,"dynasty":76,"author":13111,"museum":101,"description":13848,"tags":13849,"thumbUrl":13851,"material":342,"size":13852,"collection":181,"collections":13853,"showCount":13722,"zanCount":48,"manualWeight":48,"mainColor":94},218297,"fang-wang-meng-xi-shan-xing-lv-tu-wu-li-218297","仿王蒙溪山行旅图","这幅画是对王蒙溪山行旅的临摹。",[7,173,29,241,105,177,108,109,13850,34,176,174],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33014df16be3309cc002f849849cc715.jpg","59.1x27cm",[181],{"id":13855,"slug":13856,"title":13857,"dynasty":99,"author":4904,"museum":206,"description":13858,"tags":13859,"thumbUrl":13860,"material":123,"size":13861,"collection":90,"collections":13862,"showCount":13722,"zanCount":5,"manualWeight":48,"mainColor":49},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，在吴门派画家中具有一定新意，与陈淳并重于世。",[7,24,209,241,28,27,83,312,327,34,176,9980,7666,1086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[90],{"id":13864,"slug":13865,"title":13866,"dynasty":18,"author":781,"museum":364,"description":13867,"tags":13868,"thumbUrl":13870,"material":743,"size":744,"collection":44,"collections":13871,"showCount":13872,"zanCount":5,"manualWeight":48,"mainColor":94},287960,"bai-miao-ren-wu-tu-ce-li-gong-lin-287960","白描人物图册","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,7,209,81,260,106,12048,315,13869],"羽扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afa47d56204cb333f715bb4d382a90c.jpg",[44],133,{"id":13874,"slug":13875,"title":10097,"dynasty":76,"author":293,"museum":20,"description":2991,"tags":13876,"thumbUrl":13877,"material":40,"size":854,"collection":139,"collections":13878,"showCount":13872,"zanCount":48,"manualWeight":48,"mainColor":49},236171,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236171",[7,27,28,104,29,106,107,115,279,176,175,109,34,9155,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg",[],{"id":13880,"slug":13881,"title":13882,"dynasty":189,"author":1848,"museum":364,"description":13883,"tags":13884,"thumbUrl":13885,"material":139,"size":139,"collection":139,"collections":13886,"showCount":13872,"zanCount":1165,"manualWeight":48,"mainColor":94},228177,"fang-dong-po-feng-zhu-tu-wu-zhen-228177","仿东坡风竹图","此作用草书笔意写风竹，右侧竹竿劲挺带折，暗合疾风之势。浓墨挥写竹叶，聚散错落，叶梢尽含动感，似有穿林风鸣萦于耳侧。左侧题书与画作浑然一体，诗画合璧文气满溢。\n\n墨色干湿浓淡层次分明，以淡素纸色为底，虚实相生，将观竹怀人的幽思寄于毫端。把风竹萧然清骨，与林下襟怀相融，尽显以竹明志的元人画趣，是水墨写竹以意驭笔的绝佳典范。",[23,7,24,173,178,241,242,105,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23576077b3964e67aff08149c65dfeae.jpg",[],{"id":13888,"slug":13889,"title":13890,"dynasty":18,"author":887,"museum":364,"description":13891,"tags":13892,"thumbUrl":13893,"material":139,"size":139,"collection":139,"collections":13894,"showCount":13872,"zanCount":48,"manualWeight":48,"mainColor":94},227504,"chun-zhong-tie-su-shi-227504","春中帖","本帖鉴藏印有“奎章阁鉴书博士”、“柯氏清玩”、“柯九思鉴□真迹”、“江恂”、“王禹卿氏”。\n此帖是苏轼写给范纯粹（德孺）的信札。范纯粹是北宋著名政治家、文学家范仲淹的第四子。宋神宗元丰年间，共有五路军团出兵讨伐西夏，其中包括由高遵裕率领的环庆军和由刘昌祚率领的泾原军。《宋史》卷三一四《范纯粹本传》记载，北宋元丰末年，范纯粹因调和讨伐西夏的遵裕、昌祚两路军的矛盾有功，神宗将他由陕西转运判官进为转运副使，这与帖中德孺之官衔“运使金部”是一致的。据此可知，此信札的书写时间应为元丰末年，即元丰七八年间（1084—1085年），苏轼年约50岁左右。帖中“二哥”是指范纯仁（范仲淹次子）。\n此帖笔法自然流畅，寓巧于拙，仪态淳古，有浑厚凝重之韵致。虽有缺字、残损，仍不失为苏轼中年时期的上乘之作。",[86,178,7,24,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6570e429c4bfd4bd83be2b02954cabab.jpg",[],{"id":13896,"slug":13897,"title":686,"dynasty":76,"author":5096,"museum":675,"description":13898,"tags":13899,"thumbUrl":13902,"material":803,"size":13903,"collection":181,"collections":13904,"showCount":13872,"zanCount":48,"manualWeight":48,"mainColor":271},224481,"fu-chun-shan-ju-tu-wang-jian-224481","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[23,209,7,24,241,173,27,9156,29,109,107,176,34,177,105,13900,13901],"清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[181],{"id":13906,"slug":13907,"title":13908,"dynasty":189,"author":2519,"museum":206,"description":13909,"tags":13910,"thumbUrl":13913,"material":342,"size":13914,"collection":181,"collections":13915,"showCount":13872,"zanCount":1547,"manualWeight":48,"mainColor":94},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[23,7,209,24,25,173,177,178,227,29,1247,174,34,649,13911,13912],"岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[181],{"id":13917,"slug":13918,"title":13919,"dynasty":18,"author":12711,"museum":132,"description":13920,"tags":13921,"thumbUrl":13922,"material":342,"size":13923,"collection":90,"collections":13924,"showCount":13872,"zanCount":1270,"manualWeight":48,"mainColor":94},218568,"xiang-xue-hun-tu-yang-wu-jiu-218568","香雪魂图","画的是寒梅杆的两枝，主枝上有许多细而有力的枝条，上面的梅花有的盛开，有的含苞待放，香气四溢，很是热闹。",[23,7,24,209,173,260,840,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f2ec726fcf9db57c0bfd136610c735.jpg","29x45cm",[90],{"id":13926,"slug":13927,"title":13928,"dynasty":76,"author":1109,"museum":539,"description":1110,"tags":13929,"thumbUrl":13930,"material":88,"size":1115,"collection":139,"collections":13931,"showCount":13872,"zanCount":1547,"manualWeight":48,"mainColor":94},214886,"shan-shui-tu-ce-6-shi-tao-214886","山水图册-6",[23,7,173,177,81,29,107,430,176,35,491,37,114,1015,115,9156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f36b552940e2b7131526b7cd389c0cb.jpg",[],{"id":13933,"slug":13934,"title":13935,"dynasty":189,"author":293,"museum":206,"description":13936,"tags":13937,"thumbUrl":13938,"material":88,"size":13939,"collection":44,"collections":13940,"showCount":13872,"zanCount":5,"manualWeight":48,"mainColor":94},214807,"zhi-sheng-xian-xian-ban-shen-xiang-ce-ye-yi-ming-214807","至圣先贤半身像册页","这本60页的画册展示了从孔子到许衡（1209-1281），从春秋时期（公元前770-476年）到元朝的121位著名学者，最初被放置在清宫的南董殿，那里保存着皇帝、皇后和贤臣的图像。",[23,7,24,81,27,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe748c6349b35f74a47a36a974a96d104.jpg","33.3x24.3",[44],{"id":13942,"slug":13943,"title":13944,"dynasty":76,"author":13945,"museum":515,"description":13946,"tags":13947,"thumbUrl":13948,"material":88,"size":13949,"collection":181,"collections":13950,"showCount":13872,"zanCount":1547,"manualWeight":48,"mainColor":94},214486,"he-yi-shan-shui-tu-ce-he-yi-214486","赫奕山水图册","赫奕","清代画家赫奕的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，赫奕的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[23,209,7,24,81,173,177,29,34,920,176,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c971e483bde479efdfd6ef31b912533.jpg","34x25cm",[181],{"id":13952,"slug":13953,"title":13954,"dynasty":76,"author":707,"museum":752,"description":1872,"tags":13955,"thumbUrl":13956,"material":803,"size":1875,"collection":139,"collections":13957,"showCount":13872,"zanCount":1547,"manualWeight":48,"mainColor":49},214360,"san-jue-shan-shui-ce-6-hua-yan-214360","三绝山水册-6",[23,7,24,81,173,27,29,245,34,106,109,491,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7608d5a899512f1784976f15ec1988c3.jpg",[],{"id":13959,"slug":13960,"title":13961,"dynasty":99,"author":3114,"museum":364,"description":13962,"tags":13963,"thumbUrl":13964,"material":743,"size":744,"collection":139,"collections":13965,"showCount":127,"zanCount":1270,"manualWeight":48,"mainColor":94},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[7,209,24,241,173,29,177,176,34,109,649,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],{"id":13967,"slug":13968,"title":13969,"dynasty":76,"author":293,"museum":20,"description":13970,"tags":13971,"thumbUrl":13972,"material":67,"size":13973,"collection":44,"collections":13974,"showCount":127,"zanCount":1356,"manualWeight":48,"mainColor":49},236174,"yin-zhen-mei-ren-tu-yi-ming-236174","胤禛美人图","仕女于圆窗前端坐，轻倚桌案，一手闲雅地捻着念珠，正观赏两只嬉戏顽皮的猫咪。此图的取景面很小，仅透过二分之一的圆窗来刻画繁复的景致，但由于画家参用了西洋画的焦点透视法，将远、中、近三景安排得有条不紊，从而扩展了画面空间的纵深感，显得意韵悠长。窗下钟声滴答，近处猫咪玩闹，时光便在这似有似无中悄悄流逝。",[7,24,28,27,106,59,956,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd53a373485a1fc514f0f01339644f52.jpg","纵184厘米，横98厘米",[44,45],{"id":13976,"slug":13977,"title":13978,"dynasty":99,"author":170,"museum":20,"description":13979,"tags":13980,"thumbUrl":13981,"material":13982,"size":13983,"collection":139,"collections":13984,"showCount":127,"zanCount":5,"manualWeight":48,"mainColor":94},233766,"li-shi-tu-zhou-shen-zhou-233766","荔柿图轴","本幅墨笔画荔枝，柿子树二枝，上方自题“庚子元旦即兴”诗一首，款“右进作一首侑以荔柿图，奉吾宿田老兄新春一笑，周再拜”钤“启南”朱方印一。右下方收藏印“绍庭审定”等二方。\n沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[7,24,241,173,446,83,2827,2807,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 ，墨笔","纵128cm，横38.4cm",[],{"id":13986,"slug":13987,"title":13988,"dynasty":76,"author":2804,"museum":20,"description":13989,"tags":13990,"thumbUrl":13991,"material":803,"size":139,"collection":90,"collections":13992,"showCount":127,"zanCount":5,"manualWeight":48,"mainColor":94},224229,"lao-shao-nian-zhou-wu-chang-shuo-224229","老少年轴","使用西洋红设色，一老一新两丛雁来红，构图成对角斜势，虚实相生，主体突出。此作当是吴昌硕大胆运用洋红的最佳范例之一。他把金石的古厚质朴的意趣，引用到绘画用色方面来，自然不落于平薄，更无粉脂俗艳。吴昌硕可以说是大写意花卉史上最善于用色的高手之一。这种绘画方法，对之后的海派绘画，乃至齐白石等京派绘画产生了重大影响。",[23,7,24,241,27,446,178,227,84,299,226,2238,4008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ca4315e839c5191b026d588d9a0432.jpg",[90,45],{"id":13994,"slug":13995,"title":13996,"dynasty":99,"author":966,"museum":12496,"description":13997,"tags":13998,"thumbUrl":13999,"material":619,"size":14000,"collection":181,"collections":14001,"showCount":127,"zanCount":1356,"manualWeight":48,"mainColor":94},221947,"wan-he-zheng-liu-tu-zhou-wen-zheng-ming-221947","万壑争流图轴","图绘峡峨山势，山泉争流而下，山下溪水淙淙，坡上林木葱郁。画山用湿润的披麻破，行笔细节秀润，满纸青绿，场面壮观。\n满纸青绿设色，其法是先将浅赭色普染山石，然后留下石根之赭色，再将石绿、石青，而至墨青(花青和墨)色，薄薄地按序自下而上，分层积染。但文徵明匠心独运：其一，青绿中调和淡墨，清润幽雅，已不似以往大青绿之奇艳夺目；其二，石色薄敷，不掩墨骨，故仍是元初赵孟頫青绿设色方法的演变，无愧为文徵明晚年细笔青绿山水中的精品。",[23,7,24,241,27,29,177,109,34,176,106,558,1575,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[181,45],{"id":14003,"slug":14004,"title":14005,"dynasty":189,"author":1848,"museum":276,"description":14006,"tags":14007,"thumbUrl":14008,"material":4796,"size":14009,"collection":181,"collections":14010,"showCount":127,"zanCount":1547,"manualWeight":48,"mainColor":271},220785,"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[23,7,25,173,24,177,178,227,29,175,34,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纵23.8厘米，横277.8厘米",[181,163],{"id":14012,"slug":14013,"title":14014,"dynasty":76,"author":5208,"museum":132,"description":14015,"tags":14016,"thumbUrl":14017,"material":173,"size":14018,"collection":181,"collections":14019,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},220421,"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[23,7,24,241,173,177,29,8889,176,34,35,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[181,163],{"id":14021,"slug":14022,"title":14023,"dynasty":99,"author":3114,"museum":101,"description":14024,"tags":14025,"thumbUrl":14026,"material":803,"size":14027,"collection":181,"collections":14028,"showCount":127,"zanCount":5,"manualWeight":48,"mainColor":94},220347,"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[7,24,25,173,177,105,29,108,109,175,34,491,10416,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 x 219.1厘米",[181],{"id":14030,"slug":14031,"title":14032,"dynasty":204,"author":3224,"museum":206,"description":14033,"tags":14034,"thumbUrl":14035,"material":381,"size":14036,"collection":181,"collections":14037,"showCount":127,"zanCount":1547,"manualWeight":48,"mainColor":49},220142,"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[23,7,24,241,173,177,29,34,176,1445,175,560,245,867,7941,464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[181],{"id":14039,"slug":14040,"title":14041,"dynasty":18,"author":4266,"museum":5951,"description":14042,"tags":14043,"thumbUrl":14045,"material":342,"size":14046,"collection":139,"collections":14047,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":94},219189,"xiao-xiang-ba-jing-ping-sha-luo-yan-mu-xi-219189","潇湘八景-平沙落雁","烟霭轻笼的天地间，远山如黛晕染在薄纱般的雾色里，几抹淡影似云似烟，模糊了天与地的边界。近岸沙渚上，三两只雁影静立，羽翼的轮廓在朦胧中化开，仿佛刚落定的归客，与周遭的空寂融为一体。天际有雁阵掠过，纤细的墨线在虚白中牵起一缕灵动，不扰清宁，只添悠远禅意。\n\n极简笔墨勾勒出无尽空寂，淡墨晕染的层次藏着自然的呼吸，每一处留白都是心境的延伸。清旷之境里，喧嚣被滤去，唯有安宁漫上心尖，似与天地精神相往来，让人在静默中触摸到禅意的温度。",[23,7,209,173,29,281,37,14044,25,12724],"平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192cedb0f91bed94851114d42cfc8076.jpg","33x109.9厘米",[],{"id":14049,"slug":14050,"title":14051,"dynasty":189,"author":10811,"museum":206,"description":14052,"tags":14053,"thumbUrl":14055,"material":123,"size":14056,"collection":90,"collections":14057,"showCount":127,"zanCount":5,"manualWeight":48,"mainColor":94},219136,"hua-hui-ce-ya-zhi-cao-wang-yuan-219136","花卉册-鸭跖草","淡赭绢面上，鸭跖草细叶舒展如碧带，脉络隐现于墨痕的深浅交错间。数点蓝花轻缀叶丛，似星子落于草梢，带着未散的晨露莹光。两只蜻蜓姿态各异：红身者尾尖微垂，翅脉如丝缕勾勒，似欲栖于叶上；浅色者翼薄如纱，透着朦胧光影，正振翅掠过花丛。笔墨细腻却不繁琐，草叶的柔韧、花的娇俏、蜻蜓的轻盈皆藏于线条与淡色中。画面虽小，却凝住了一瞬的生机：风过草叶的轻颤，蜻蜓振翅的微响，都在古雅的底色里漫开，似夏日闲窗下偶然瞥见的小景，清宁而动人。",[23,209,7,24,81,27,28,83,14054,800],"鸭跖草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331c3055f4bc0f80bc6e1a1d4988a133.jpg","25.9x23.6cm",[90],{"id":14059,"slug":14060,"title":14061,"dynasty":76,"author":850,"museum":20,"description":14062,"tags":14063,"thumbUrl":14064,"material":123,"size":14065,"collection":90,"collections":14066,"showCount":127,"zanCount":1165,"manualWeight":48,"mainColor":94},218996,"han-hu-liu-zhou-lang-shi-ning-218996","阚虎骝轴","绢本之上，骏马昂首挺立，身姿矫健如虎。毛发质感细腻入微，鬃尾似流云垂落，斑纹错落间晕染出肌肉的起伏与光影变化，尽显写实功底。线条勾勒与色彩晕染相融，既有西方绘画的立体感，又不失东方笔墨的雅致。背景素净，题跋与朱印相映成趣，添几分古雅意蕴。此作将异域技法与本土审美巧妙结合，绘就骏马的灵动神韵，亦藏跨文化艺术碰撞的妙趣。",[23,7,24,241,28,27,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e691cfea774237a293ec3b0231849.jpg","纵270横240.3厘米",[90],{"id":14068,"slug":14069,"title":11626,"dynasty":76,"author":12831,"museum":78,"description":14070,"tags":14071,"thumbUrl":14072,"material":123,"size":139,"collection":44,"collections":14073,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},218250,"ying-xi-tu-luo-pin-218250","孩子们被描绘成在一棵树下以不同的姿势玩耍，有非常不同的、诙谐的行为。",[7,24,27,28,106,3045,430,340,108,313,1159,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10da7efee8c25f6e93f8c2460e80de8.jpg",[44],{"id":14075,"slug":14076,"title":14077,"dynasty":76,"author":2083,"museum":364,"description":14078,"tags":14079,"thumbUrl":14080,"material":743,"size":744,"collection":139,"collections":14081,"showCount":14082,"zanCount":1547,"manualWeight":48,"mainColor":271},288210,"feng-zhu-shi-tu-zheng-ban-qiao-288210","风竹石图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[23,209,7,24,241,173,242,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7bb909262c02f666ff04467c2a9a96.jpg",[],131,{"id":14084,"slug":14085,"title":14086,"dynasty":76,"author":5052,"museum":20,"description":14087,"tags":14088,"thumbUrl":14089,"material":139,"size":139,"collection":181,"collections":14090,"showCount":14082,"zanCount":5,"manualWeight":48,"mainColor":94},236894,"hong-ren-shan-shui-zhou-hong-ren-236894","弘仁山水轴","弘仁俗姓江，名韬，字六奇，出家后名后人，号渐江学人，又号无智、梅花古衲，安徽歙县人。作品多师法自然，清新，能传达山川之美。此图意境伟峻秀逸，构图洗炼简逸，笔墨苍劲整洁。",[209,7,24,241,173,177,29,449,175,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[181,163],{"id":14092,"slug":14093,"title":14094,"dynasty":76,"author":850,"museum":20,"description":14095,"tags":14096,"thumbUrl":14097,"material":40,"size":14098,"collection":181,"collections":14099,"showCount":14082,"zanCount":5,"manualWeight":48,"mainColor":94},236176,"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[368,7,209,24,27,28,106,29,150,7281,957,1575,1015,650,561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[181,45],{"id":14101,"slug":14102,"title":486,"dynasty":99,"author":3114,"museum":20,"description":14103,"tags":14104,"thumbUrl":14105,"material":4665,"size":7095,"collection":181,"collections":14106,"showCount":14082,"zanCount":48,"manualWeight":48,"mainColor":94},234054,"shan-shui-ce-dong-qi-chang-234054","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[7,173,177,81,29,176,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f794274dd866033cbee27bee1c45115.jpg",[181],{"id":14108,"slug":14109,"title":14110,"dynasty":76,"author":1109,"museum":364,"description":14111,"tags":14112,"thumbUrl":14113,"material":139,"size":139,"collection":139,"collections":14114,"showCount":14082,"zanCount":48,"manualWeight":48,"mainColor":94},228999,"zeng-liu-shi-tou-shan-shui-ce-shi-tao-228999","赠刘石头山水册","石涛（1642-177），明靖江王朱赞仪十世孙，朱亨嘉子。\n全州（今广西全县）人。\n原姓朱，名若极，小字阿长，明亡后出家为僧，自称苦瓜和尚，别号有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人，晚号瞎尊者、零丁老人等。\n顺治十三年（1656），石涛由江西庐山转赴安徽黄山，并在那里住了二十三年。\n期间他又先后游历扬州、杭州、宣城、贵池、泾县等处，后由黄山转赴南京、北京等地。\n【规格】册页，纸本，设色，纵57.79cm，横5.56cm 【馆藏】（美）纳尔逊-艾特金斯艺术馆馆 书画名传品类高，先生高出众皮毛。\n老夫也在皮毛类，一笑题成迅彩毫。\n大涤子呈石头先生传教。\n康熙三十二年（169）至扬州，直到雍正二年（1724）去世。\n石涛在山水、花鸟画上均取得很大成就，能熔铸千古，独出手眼，构图奇妙，笔墨神化。\n画山水一欲夺其造化，则莫神于好，莫精于勤，莫大于饱游天看，历历罗列于胸中，故勤于貌写名山大川，所谓搜尽奇峰打草稿，充分把握住自然的神韵，终成一代大师。",[209,7,24,81,173,177,29,245,394,175,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F549054364d68f4bbcf0732c4d69324e7.jpg",[],{"id":14116,"slug":14117,"title":14118,"dynasty":18,"author":293,"museum":364,"description":14119,"tags":14120,"thumbUrl":14121,"material":139,"size":139,"collection":139,"collections":14122,"showCount":14082,"zanCount":48,"manualWeight":48,"mainColor":94},227856,"shan-cha-hu-die-tu-ye-yi-ming-227856","山茶蝴蝶图页","以没骨晕染绘就白茶，瓣色柔润留白如凝脂莹洁，盛放与初绽花苞错落排布。浓墨绘叶，晕染出深浅枯润，将叶片舒展的柔劲姿态尽显。墨笔勾绘蝴蝶，翼上纹理纤毫毕现，振翅欲落的灵动，为静雅花枝添了鲜活意趣。\n\n赭色古雅底色衬得花木蝶影愈发清隽，构图疏朗秀逸。画面工致间带着写意韵致，将晴日山茶间的悠然小景定格，带着宋人的清雅审美，把一花一蝶的幽微之美晕染出隽永诗意，观之便好似踏入春日晴光，细品蝶绕山茶的闲静意趣。",[209,7,24,1562,28,27,83,839,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f81ba4e7647a8fb90303638a82667e5.jpg",[],{"id":14124,"slug":14125,"title":14126,"dynasty":204,"author":2531,"museum":206,"description":14127,"tags":14128,"thumbUrl":14129,"material":67,"size":139,"collection":139,"collections":14130,"showCount":14082,"zanCount":5,"manualWeight":48,"mainColor":49},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[209,7,24,241,173,177,29,649,558,34,560,650,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],{"id":14132,"slug":14133,"title":14134,"dynasty":76,"author":10376,"museum":56,"description":14135,"tags":14136,"thumbUrl":14138,"material":619,"size":14139,"collection":181,"collections":14140,"showCount":14082,"zanCount":48,"manualWeight":48,"mainColor":49},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,7,3117,177,27,29,34,649,31,1254,35,394,14137,490],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","82cm × 51 cm",[181,45],{"id":14142,"slug":14143,"title":14144,"dynasty":76,"author":13037,"museum":206,"description":14145,"tags":14146,"thumbUrl":14147,"material":990,"size":14148,"collection":181,"collections":14149,"showCount":14082,"zanCount":5,"manualWeight":48,"mainColor":94},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,7,25,173,27,177,29,558,449,175,108,109,491,37,34,176,86,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[181,45],{"id":14151,"slug":14152,"title":14153,"dynasty":1095,"author":6282,"museum":7134,"description":14154,"tags":14155,"thumbUrl":14156,"material":803,"size":139,"collection":139,"collections":14157,"showCount":14082,"zanCount":48,"manualWeight":48,"mainColor":94},220479,"hou-chi-bi-tu-fu-bao-shi-220479","后赤壁图","大块泼墨劈斫出雄奇岩壁，水墨淋漓间尽显嶙峋苍莽，留白衬出山涧空寂清冷。前景枯梅疏枝横斜，添了几分清寒幽峭。\n\n画面里三位文士衣袂飘然，悠然对谈，古雅超脱之态宛然眼前。以散锋乱笔写山石，皴擦晕染间氤氲出高旷荒寒之境，又以简练灵动的线条勾勒人物，将夜游的超然文思融在山水之间，笔底诗意盎然，把文人情致与山水胜景融为一体，尽显幽远绵长的古典意境。",[23,7,173,27,177,241,227,178,29,106,1015,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303fa795c9edac35723c91b8c3a07354.jpg",[],{"id":14159,"slug":14160,"title":14161,"dynasty":18,"author":823,"museum":78,"description":14162,"tags":14163,"thumbUrl":14164,"material":381,"size":14165,"collection":44,"collections":14166,"showCount":14082,"zanCount":5,"manualWeight":48,"mainColor":49},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[23,7,209,24,1562,173,177,29,1016,108,109,174,1351,106,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[44],{"id":14168,"slug":14169,"title":1692,"dynasty":76,"author":5052,"museum":3712,"description":12208,"tags":14170,"thumbUrl":14171,"material":342,"size":139,"collection":181,"collections":14172,"showCount":14082,"zanCount":48,"manualWeight":48,"mainColor":94},219900,"shan-shui-tu-hong-ren-219900",[23,7,24,241,173,177,29,175,1575,176,464,34,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[181],{"id":14174,"slug":14175,"title":14176,"dynasty":99,"author":100,"museum":539,"description":14177,"tags":14178,"thumbUrl":14180,"material":123,"size":14181,"collection":44,"collections":14182,"showCount":14082,"zanCount":5,"manualWeight":48,"mainColor":49},219528,"yu-yin-tu-chou-ying-219528","渔隐图","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[23,7,24,209,28,27,26,29,34,14179,109,245,1016,241],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[44,45],{"id":14184,"slug":14185,"title":14186,"dynasty":76,"author":2040,"museum":206,"description":14187,"tags":14188,"thumbUrl":14189,"material":27,"size":14190,"collection":90,"collections":14191,"showCount":14082,"zanCount":5,"manualWeight":48,"mainColor":94},219435,"shu-kui-shi-liu-zhou-zou-yi-gui-219435","蜀葵石榴轴","画面中蜀葵藤蔓舒展，淡紫花瓣层叠晕染，花蕊明黄点缀其间，叶片脉络清晰如缕，尽显工笔之细腻。旁侧石榴花枝虬劲，红橙花朵簇生，与蜀葵的柔婉形成鲜明对比，红绿相映间生机勃发。笔墨温婉雅致，设色清丽明快，枝叶的交错、花瓣的肌理皆刻画入微，既保留了自然野趣，又蕴含规整韵致。题跋与朱印错落有致，文气与画意交融，似将夏日的绚烂与清雅凝于一纸，观之如沐和风，满溢生机与雅致。",[7,24,241,27,28,83,5401,1299,698,1461,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5048cc1dc3f6fc3cf98be5ce658aca31.jpg","83.4x44.6",[90],{"id":14193,"slug":14194,"title":14195,"dynasty":18,"author":2824,"museum":206,"description":14196,"tags":14197,"thumbUrl":14198,"material":123,"size":14199,"collection":42,"collections":14200,"showCount":14082,"zanCount":5,"manualWeight":48,"mainColor":49},219278,"chun-shao-ming-xi-tu-lu-zong-gui-219278","春韶鸣喜图","此幅画春日山涧情景，石壁间激泉如响，巉巖上翠竹流青，梅竞妍，山雀鸣唱，野雉偎嬉，构思造境，描染俱佳，乃岁朝张挂之图画。本幅画石，皴法用笔直泻而不含蓄，且水墨淋漓，显非南宋人画法，而是明人学宋代之浙派风格。树干皴纹，也如同边文进、吕纪一系之用笔，花鸟施朱用粉，更近于吕纪风格，该院另藏有宋人”岁朝图“，构图同出一稿，树石画法更近于明人风格。",[23,7,209,24,241,28,27,83,448,839,224,176,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28e1b378998f3d4ce72f6c73aec9810.jpg","164x77.9公分",[42,90,45],{"id":14202,"slug":14203,"title":14204,"dynasty":204,"author":14205,"museum":364,"description":14206,"tags":14207,"thumbUrl":14208,"material":743,"size":744,"collection":139,"collections":14209,"showCount":14210,"zanCount":48,"manualWeight":48,"mainColor":49},288521,"gao-shi-tu-wei-xian-288521","高士图","卫贤","该画作是五代画家卫贤的代表作品，此图原著收录于《宣和画谱》中，名为“梁伯鸾图一”，为卫贤所作《高士图》组画之一, 原图共六幅，画有黔娄先生、楚狂接舆、老莱子、王仲孺、于陵子和梁伯鸾，但前五幅已佚失，仅剩下描绘梁鸿与孟光的这幅。该画作集山水、人物、建筑画为一体，手法准确精细。",[23,209,7,24,241,104,173,106,29,107,650,34,7242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f627c639ff7d85295cabc0114452119.jpg",[],130,{"id":14212,"slug":14213,"title":14214,"dynasty":76,"author":77,"museum":364,"description":740,"tags":14215,"thumbUrl":14216,"material":743,"size":744,"collection":139,"collections":14217,"showCount":14210,"zanCount":48,"manualWeight":48,"mainColor":49},288301,"hua-niao-cao-chong-tu-ce-yun-shou-ping-288301","花鸟草虫图册",[23,7,81,27,83,603,84,604,28,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F258fd1430fd11d1d5348dc536b1403e0.jpg",[],{"id":14219,"slug":14220,"title":14221,"dynasty":76,"author":2083,"museum":364,"description":14078,"tags":14222,"thumbUrl":14223,"material":743,"size":744,"collection":139,"collections":14224,"showCount":14210,"zanCount":1270,"manualWeight":48,"mainColor":49},288175,"zhu-tu-li-zhou-zheng-ban-qiao-288175","竹图立轴",[23,7,241,173,242,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fca82057ff711fbc4369fe72f5320b.jpg",[],{"id":14226,"slug":14227,"title":14228,"dynasty":76,"author":1204,"museum":3614,"description":14229,"tags":14230,"thumbUrl":14231,"material":803,"size":14232,"collection":90,"collections":14233,"showCount":14210,"zanCount":48,"manualWeight":48,"mainColor":94},237347,"song-lu-tu-zhou-zhu-da-237347","松鹿图轴","此画是清代朱耷的作品。这幅画采取近实远虚的枝法，前后错落有序，笔力遒劲，墨色秀润，情景生动，意境深远。该作不仅画精，而且图面之大在八大山人传世作品中极为罕见。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。这幅画描绘的是一株高耸粗壮的苍松，挺立在嶙峋的岩石上。松石下，两只向背的鹿在山石草坪之中小憩，一只长着角的鹿望着远方；另一只则侧身仰望天空。围着草坪的山石上，长着兰草、灵芝、小竹笔花草植物。",[7,24,241,173,260,449,3167,957,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8802766b2acbede1ed647fec5abad86.jpg","纵358厘米，横133.3厘米",[90],{"id":14235,"slug":14236,"title":1223,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":14237,"thumbUrl":14238,"material":139,"size":139,"collection":139,"collections":14239,"showCount":14210,"zanCount":48,"manualWeight":48,"mainColor":94},233909,"hua-hui-shan-shui-ce-yun-shou-ping-233909",[7,24,81,27,82,84,245,1064,340,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6174e80dbb9482ece91dbfbb01b8787f.jpg",[],{"id":14241,"slug":14242,"title":14243,"dynasty":99,"author":293,"museum":206,"description":14244,"tags":14245,"thumbUrl":14246,"material":827,"size":14247,"collection":139,"collections":14248,"showCount":14210,"zanCount":1118,"manualWeight":48,"mainColor":94},223648,"guan-yin-xiang-zhou-yi-ming-223648","观音像轴","这尊观音的世俗色彩浓厚，他眼睛散放著悲愍的光芒，好像一位慈祥的母亲。他的脸形、发丝、手脚都用淡墨细笔画成，笔力稳健。可是衣纹则是用楷书抄录《法华经．普门品》的经文来表现，全文从观音菩萨左臂靠近孩童的头部开始，字字连续，字迹端秀，一丝不苟，充分表现了作者虔诚的宗教情怀。\n送子观音手抱孩童，右手拿杨柳，左手捧水碗。《法华经．普门品》教导求子心切的妇女礼拜供养观世音菩萨，便能生下福德智慧的男子，或是面貌端庄的女子。画中观音衣纹以楷书抄录经文近两千字，由观音左臂靠近孩童头部开始，字字连续秀整，反映虔诚宗教情怀。 观音及孩童面目、手脚以淡墨细笔勾勒，由人物开面、体态、发髻样式及回首姿态，该幅观音当为晚明作品。",[23,209,7,24,241,259,28,27,106,1862,1086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8336ee8a1cdacdeb0cfb8d89211b8fc.jpg","98.1x35.6公分",[],{"id":14250,"slug":14251,"title":14252,"dynasty":76,"author":850,"museum":206,"description":14253,"tags":14254,"thumbUrl":14256,"material":665,"size":14257,"collection":181,"collections":14258,"showCount":14210,"zanCount":48,"manualWeight":48,"mainColor":49},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,7,28,27,29,107,109,176,34,1447,106,115,14255,1962],"行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm",[181,45],{"id":14260,"slug":14261,"title":14262,"dynasty":18,"author":2029,"museum":206,"description":14263,"tags":14264,"thumbUrl":14265,"material":27,"size":14266,"collection":42,"collections":14267,"showCount":14210,"zanCount":48,"manualWeight":48,"mainColor":49},221554,"xi-yuan-ya-ji-juan-liu-song-nian-221554","西园雅集卷","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。",[23,209,7,24,25,28,27,106,34,176,755,2951,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00b965e299d9c4feb3a56ffa3172034.jpg","34×191cm",[42,44,45],{"id":14269,"slug":14270,"title":14271,"dynasty":18,"author":2007,"museum":56,"description":14272,"tags":14273,"thumbUrl":14275,"material":665,"size":14276,"collection":42,"collections":14277,"showCount":14210,"zanCount":1270,"manualWeight":48,"mainColor":49},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,209,7,24,25,27,28,177,29,1532,108,111,106,31,14274,118,116,34],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[42,181,45],{"id":14279,"slug":14280,"title":1661,"dynasty":18,"author":3103,"museum":206,"description":14281,"tags":14282,"thumbUrl":14283,"material":123,"size":139,"collection":42,"collections":14284,"showCount":14210,"zanCount":48,"manualWeight":48,"mainColor":1335},219942,"han-gong-chun-xiao-tu-zhao-bo-ju-219942","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,7,104,27,26,28,29,107,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ccd5ae19644bbac9117abbd0f0ff532.jpg",[42],{"id":14286,"slug":14287,"title":14288,"dynasty":18,"author":293,"museum":3537,"description":14289,"tags":14290,"thumbUrl":14291,"material":123,"size":139,"collection":44,"collections":14292,"showCount":14210,"zanCount":5,"manualWeight":48,"mainColor":49},219575,"zhu-lin-shi-nv-tu-yi-ming-219575","竹林仕女图","画面晕染出幽谧清寂的林下氛围，修竹扶苏、虬枝横斜，苍苔覆着湖石，漫溢出山野闲静之气。白衣仕女款步而立，素裙曳地，怀拥器物，眉目温婉沉静，似在静听林风穿叶，将闺中闲思融于林泉烟霭之中。\n\n用笔细劲清润，设色浅淡古雅，虚实相生间将留白藏进幽独娴静的意韵里，不见丝毫喧嚣。把仕女的温婉闲情与林泉野趣糅合一处，尽显雅致内敛的东方意趣，寥寥尺幅间，澹澹诗意漫溢开来。",[209,7,24,28,27,106,59,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11033c937ae94ae2e0cc9b0a16169bd3.jpg",[44],{"id":14294,"slug":14295,"title":14296,"dynasty":99,"author":1572,"museum":206,"description":14297,"tags":14298,"thumbUrl":14299,"material":342,"size":14300,"collection":163,"collections":14301,"showCount":14210,"zanCount":48,"manualWeight":48,"mainColor":94},219519,"qin-he-tu-wen-zheng-ming-219519","琴鹤图","水墨晕染出淡远山居，苍松茂林环合小院。堂前二人对坐，似正横琴晤谈，院外童子携鹤缓步而来，将林泉雅趣揉进日常闲情里。\n\n笔致秀润温婉，枝叶晕染细腻，远山轻笼烟岚，留白里漾着闲澹松弛的意趣。题诗朱印与画面相融，把文人幽居自适、琴鹤相伴的林下风流，藏进每一缕墨色之中，淡而不寡，静中藏雅，尽显江南文人心底的归栖之乐。",[7,24,27,28,86,178,227,106,34,176,60,6605,464,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[163],{"id":14303,"slug":14304,"title":220,"dynasty":76,"author":77,"museum":364,"description":740,"tags":14305,"thumbUrl":14306,"material":743,"size":744,"collection":139,"collections":14307,"showCount":14308,"zanCount":48,"manualWeight":48,"mainColor":94},239437,"hua-niao-ce-yun-shou-ping-239437",[7,24,81,27,82,83,933,367,6680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea37733e86b90f083dc9a91eca90815.jpg",[],129,{"id":14310,"slug":14311,"title":14312,"dynasty":76,"author":1204,"museum":364,"description":14313,"tags":14314,"thumbUrl":14316,"material":139,"size":14317,"collection":90,"collections":14318,"showCount":14308,"zanCount":48,"manualWeight":48,"mainColor":94},236310,"zhu-jiao-tu-zhou-zhu-da-236310","竹蕉图轴","朱耷（1626－1706），族名朱统筌，有雪个、个山、人屋、道朗、八大山人等别号。 “八大”二字，据人解释有“哭之”、“笑之”，哭笑不得的意思。南昌人。明末清初卓越的大画家。他是明太祖朱元璋第十六子朱权的九世孙。朱权封宁王于南昌，繁衍八支，朱耷属弋阳王支，袭封辅国中尉。他的父祖都善书画，因此朱耷从小就受到艺术陶冶。八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。弱冠为诸生。明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。后隐居进贤县介冈及永丰县睦冈等地。顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。他想把这里造成一块世外桃源，以求达到他向来“欲觅一个自在场头”的愿望。但这个“自在场头”毕竟是建立在清王朝统治之下，“门外不必来车马”是不可能的。因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。一年多后，他又回到青云谱，并在这里度过“花甲华诞”。当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。后又隐避在南昌附近的北兰寺、开元观等处。并常卖画度日。后来自筑陋室，名“寤歌草”堂。叶丹居章江有《过八大山人》一诗云：“一室寤歌处，萧萧满席尘蓬蒿藏户暗，诗画入禅真。遗世逃名老，残山剩水身。青门旧业在，零落种瓜人”。他是孤寂贫寒地在这个环堵萧然的草堂中度过了他的晚年。\n八大山人一生以主要的精力从事绘画，他襟怀浩落，慷慨啸歌。由于时代特点和身世遭遇，他抱着对清王朝誓不妥协的态度，把满腔悲愤发泄于书画之中。所以画中出现是鼓腹的鸟，瞪眼的鱼，甚至禽鸟一足着地，以示与清廷势不两立，眼珠向上，以状白眼向青天。他常常把“八大山人”四个字联缀起来草写，形似“哭之”、“笑之”字样。他还有很多隐晦艰涩的诗句跋语，表示对清廷极端的仇恨和蔑视。\n他的作品，表现了鲜明的爱和憎。如脍灸人口的《孔雀图》及其题诗：“孔雀名花雨竹屏，竹梢强半墨生成；如何了得论三耳，恰是逢春坐二更。”辛辣地讽刺了那班头戴三眼花翎乌纱帽的汉族大地主屈膝求荣、投降新主子的奴才丑态。有一幅山水册页题云：“郭家皴法云头小，董老麻皮树上多；想见时人解图画，一峰还写宋山河。”他称慕五代北宁间画家董源、郭熙，以其独特笔墨描绘没有受外族侵凌的宋朝江山，而激发起热爱故国的思想感情。《鹊石图轴》（现藏画家八大山人纪念馆），画中描绘着两只喜鹊立于大石之上，究其画意，具有鹊巢鸠占，翔集浣磐的含义。《诗.召南.鹊巢》云：“维鹊有巢，维鸠居之。”传云：“尸鸠不自为巢，居鹊之成巢。”八大山人作此喻以讽刺清贵不善自谋而强占别人地主。并着意表现双鹊集栖于磐石之上，这不是尸鸠可以占据和动摇得了的。他常画的莲荷松石、梅兰竹菊、芦雁凫鹤、鱼鸭鹰鹿等等，大都象征他性格的倔强与高风亮节。他一生坚不为清廷权贵画一花一大石，而一般农民、贫士、山僧、小儿却很容易得到他的作品，这种不屈于权势的精神，历来为人们赞赏与称颂。\n八大山人在艺术上有杰出的成就。他以绘画为中心，对于书法、诗跋、篆刻也都有很高的造诣。在绘画上他以大笔水墨写意画著称，并善于泼墨，尤以花鸟画称美于世。在创作上他取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。三百年来，凡大笔写意画派都或多或少受了他的影响。清代张庚评他的画达到了“拙规矩于方圆，鄙精研于彩绘”的境界。他作画主张“省”，有时满幅大纸只画一鸟或一石，寥寥数笔，神情毕具。他的书法具有劲健秀畅的气格。篆刻形体古朴，独成格局。\n朱耷在形成自己风格的发展过程中，继承了前代的优良传统，又自辟蹊径。他的花鸟画，远宗五代徐熙的野逸画风和宋文人画家的兰竹墨梅，也受明林良、吕纪、陆治的技法影响，尤致意青藤白阳的粗放画风。他的山水画，远尚南朝宗炳，又师法董、巨、米芾、倪、黄以至董其昌等人的江南山水。在书法方面，他精研石鼓文，刻意临写汉、魏、晋、唐以来的诸家法帖，尤以王羲之的为多。\n朱耷绘画艺术的特点大致说来是以形写情，变形取神；着墨简淡，运笔奔放；布局疏朗，意境空旷；精力充沛，气势雄壮。他的形式和技法是他的真情实感的最好的一种表现。\n朱耷对艺术修养与功力铸锻，正如他自己所说的：“读书至万卷，此心乃无惑；如行路万里，转见大手笔。”他认为画事有如登高，“必频登而后可以无惧”，说明他对艺术不断磨炼的精神。清初画坛在革新与保守的对峙中，八大山人是革新派“四大画僧”中起了突出作用的一人。为了纪念这位大画家，解放后已在南昌市青云谱建立了“画家八大山人纪馆”。朱耷的艺术已经在东方尤其在日本以至世界画坛引起了很大的反映。八大山人的书画有少作品，已不复得见。如：《荷塘戏禽图卷》、《河上花并题图卷》、《鱼鸭图卷》、《鱼乐图卷》、《杂花图卷》以及《杨柳浴禽图轴》、《芙蓉芦雁图轴》、《大石游鱼图轴》、《双鹰图轴》、《古梅图轴》、《墨松图轴》、《秋荷图轴》、《芭蕉竹石图轴》、《椿鹿图轴》、《快雪时晴图轴》、《幽溪泛舟图轴》、《四帧绢本浅绛山水大屏》，以及许多条幅，册页中的花鸟鱼鸭，山水树石等。书法方面有《临兰亭序轴》、《临“临河叙”四屏》，以及各大家法帖和行草诗书轴册等，都在国内外的博物馆、院中珍藏。",[7,241,173,242,14315,227],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62eeee4764011b2c51b52909de9dad7.jpg","纵220.5厘米 横88厘米",[90,163],{"id":14320,"slug":14321,"title":13718,"dynasty":76,"author":1109,"museum":364,"description":14322,"tags":14323,"thumbUrl":14324,"material":139,"size":139,"collection":181,"collections":14325,"showCount":14308,"zanCount":5,"manualWeight":48,"mainColor":94},235878,"yuan-ji-shan-shui-tu-ce-shi-tao-235878","这一开诗画合璧，行书题诗笔力苍劲清隽，墨色朗润，将山居幽寂的诗意先行铺展。画面以淡墨晕染烟岚，山峦在雨意濛濛间晕化开朦胧轮廓，留白衬出空濛水汽。几椽山居隐在深林浅坳间，伴着茂树流泉，朴拙静雅。\n\n石涛以灵动写意的笔墨，把诗中霁后溪山的萧散意境全然绘出，简淡笔墨裹着秀润的江南意趣，诗画相映，恍若能听见古寺钟鸣随云霭漫过山峦，将文人画诗禅合一的意韵抒发尽致，带人踏入这世外幽居。",[7,24,81,173,27,177,86,227,29,34,35,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ca5c119bb37305c4db3d52e47af545.jpg",[181],{"id":14327,"slug":14328,"title":14329,"dynasty":99,"author":170,"museum":238,"description":14330,"tags":14331,"thumbUrl":14333,"material":803,"size":14334,"collection":139,"collections":14335,"showCount":14308,"zanCount":5,"manualWeight":48,"mainColor":94},231544,"huang-ju-dan-gui-tu-shen-zhou-231544","黄菊丹桂图","沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。\n王渊（公元13世纪-14世纪中叶），元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。工于花鸟、人物、山水。天历年间曾与唐棣在南京龙翔寺曾画过壁画，尤精于花鸟，堪称元代花鸟画巨擘。\n《黄菊丹桂图》明沈周仿自元画家王若水之作，图绘菊花，桂树，芙蓉，翠竹。并一双飞鸟巨石，画面静雅，傅色清新，所绘繁多而布置深稳，是石田习古佳作。",[23,7,27,241,28,177,430,453,224,245,84,281,14332],"丹桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69bac105908ae029d92cf2cc1b6e776.jpg","288.5X106.3\u002F397.1x127.4厘米",[],{"id":14337,"slug":14338,"title":14339,"dynasty":18,"author":14340,"museum":364,"description":14341,"tags":14342,"thumbUrl":14344,"material":139,"size":139,"collection":139,"collections":14345,"showCount":14308,"zanCount":1547,"manualWeight":48,"mainColor":49},227763,"xing-tao-zhi-cui-niao-tu-li-zhi-227763","杏（桃）枝翠鸟图","李志","仲夏时节，古人会用新收获的樱桃祭献宗庙。东汉时，有将樱桃赏赐给官员的礼制。\n\n唐代时，皇帝大摆宴席，邀请重臣体验采摘樱桃之乐，吃饱喝足后，再赠点儿樱桃给众臣，已成为一种宫廷传统。",[209,7,24,18,28,27,83,14343,11845,711,4008],"桃枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84468418d02fa7f462bcd1b1fe5fc83a.jpg",[],{"id":14347,"slug":14348,"title":14349,"dynasty":99,"author":14350,"museum":20,"description":14351,"tags":14352,"thumbUrl":14354,"material":14355,"size":14356,"collection":90,"collections":14357,"showCount":14308,"zanCount":5,"manualWeight":48,"mainColor":49},222447,"guan-mu-ji-qin-tu-juan-lin-liang-222447","灌木集禽图卷","林良","林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、锦鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。这幅长卷即为集禽图巨构。\n面画开道为三只麻雀，正展翅飞向丛林，迎面枝头有翠鸟、黄鹂啁啾，似示欢迎。步入林丛枝杈交错，白头翁在枝头成双鸣叫，山喜鹊与山鹧引颈对唱，小山雀则静歇枝上。密林深处展现阔叶灌木和粗劲竹丛，有寒鸦、鹡鸰、麻雀、白头翁、鹌鹑等，成双结对地和鸣、嬉玩，追逐其间。接着斜出几株老松，针叶茂密，成群斑鸠在此活动，一派家族欢聚气氛，然松林深处却有一只苍鹰在窥视，于平和中增添了一分杀气。结尾是荻岸水滨，一对鸬鹚在水面觅食，两只乌鸦涉水行进，另有翠鸟飞栖苇丛间，境界又变为空阔悠闲。\n作品布局采用平面散点的结构手法，移步换形，层层展开，疏密相间，动静结合。禽鸟动态逼真，情状各异，枝叶纵横交错，杂而不乱。古木老树、枯枝落叶已显现出萧索秋意，然群鸟骚动不拘的活泼天性，却使丛林依然充满蓬勃生机。\n此图画法以水墨为主，略施淡彩。禽鸟勾染相间，工写结合，洗练准确，笔简神完。灌木丛林用写意法，然也放而有度，不离规矩。全幅气势宏阔，景象万千，为林良存世的精品巨制。",[23,209,7,24,25,173,446,83,14353,1938,281,225],"灌木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba587401db7e2d99d630e876f2bb9c0b.jpg","纸本，淡设色","纵34厘米，横1211.2厘米",[90,163],{"id":14359,"slug":14360,"title":14361,"dynasty":18,"author":1650,"museum":206,"description":14362,"tags":14363,"thumbUrl":14365,"material":665,"size":14366,"collection":42,"collections":14367,"showCount":14308,"zanCount":5,"manualWeight":48,"mainColor":94},221520,"shan-jing-chun-xing-tu-ma-yuan-221520","山径春行图","《山径春行图》描绘了一个怡然自得的文人，一手捋着胡须，一手移动衣袖，慢步进行在春天的山径上，面向远方。似乎在触景生情吟咏赞美春天的诗句。随风飘动的柳枝，雀跃嬉戏的小鸟，生机勃发的山径两旁的桃花，既是在描写春天的自然景色，也是在借景抒发文人此时此刻内心充满诗意的喜悦之情。鸟语花香春意盎然而又显得闲适恬静的画面气氛，是文人内在修养和心理活动的生动写照，是对春天来临所唤起的生命之美的赞叹。",[23,209,7,1397,173,27,5748,3963,177,29,106,1532,281,1445,5140,34,560,491,296,759,14364],"枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[42,181,44,163],{"id":14369,"slug":14370,"title":14371,"dynasty":1095,"author":4791,"museum":4792,"description":14372,"tags":14373,"thumbUrl":14374,"material":139,"size":139,"collection":139,"collections":14375,"showCount":14308,"zanCount":48,"manualWeight":48,"mainColor":94},220569,"ben-ma-chang-sha-hui-zhan-xu-bei-hong-220569","奔马 (长沙会战)","以酣畅泼墨晕染出马的雄健躯体，留白巧绘额间白羽，浓淡干湿尽显水墨意趣。鬃尾如疾风卷舒，似裹挟破空罡风，四蹄舒张带着雷霆之势，将奔马勃发的劲力定格于纸面。\n右侧题字寄寓滚烫热忱，将匹夫之勇揉作家国担当，让战马的骁勇与民族气节相融。跃然纸上的不止是灵动骏马，更是山河飘摇里的不屈意志，笔墨间藏着赤子滚烫的热血，把救亡图存的呐喊凝于笔端，化作这匹奔马一往无前的身影。",[23,7,24,173,446,150,241,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f32ea37393a260fa91ca3652fb06b5a.jpg",[],{"id":14377,"slug":14378,"title":14379,"dynasty":76,"author":1204,"museum":20,"description":14380,"tags":14381,"thumbUrl":14382,"material":342,"size":14383,"collection":90,"collections":14384,"showCount":14308,"zanCount":48,"manualWeight":48,"mainColor":94},218775,"lu-yan-tu-zhu-da-218775","芦雁图","图绘6只芦雁在水际岸边飞、鸣、行、止的瞬间。芦雁的造型准确严谨，动、静的体态表现得出神入化。其背部的羽毛是先以淡墨晕染，趁湿在淡墨上点以浓墨，浓淡墨交融处显现出羽毛柔软细密的质感和厚重的量感。图中描绘山石的笔墨老辣娴熟，石上的青苔以卧笔横锋点染，纵横随意中不失章法，其苔点与芦雁身上的墨点在笔法上形成呼应，令全幅深得酣畅淋漓之趣。",[23,7,173,241,446,4895,2522,298,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dede01fc11a7c1a00978bff3e757b.jpg","纵221.5厘米，横114.2厘米",[90],{"id":14386,"slug":14387,"title":14388,"dynasty":204,"author":2072,"museum":206,"description":14389,"tags":14390,"thumbUrl":14391,"material":123,"size":14392,"collection":44,"collections":14393,"showCount":14308,"zanCount":1547,"manualWeight":48,"mainColor":94},218751,"shui-xie-kan-fu-tu-zhou-wen-ju-218751","水榭看凫图","亭子的窗户敞开，帘子高高卷起，内部装饰着水波纹的座屏，座屏的边缘是红色的悬卷金花，这是宋代的一种时尚。两张方凳并排放置，凳子是用棕色藤条编织的，脚是如意形状。另一边是一张单剖面和双剖面的方桌，上面覆盖着白色披肩，摆放着金铜香炉和书籍。湖中有鸭子和海凫相互嬉戏，自然景观丰富。水榭旁有桃花、竹子和柳树等植物，还有一个覆盖着河边花草树木的私人大厅和亭子。露台的边上是水边的栏杆，女士从那里惊讶地看着这一幕。",[23,7,24,27,28,104,106,59,1252,175,34,5158,109,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6128558cce10db8152fce876cb20fb95.jpg","24.5x26.7厘米",[44],{"id":14395,"slug":14396,"title":14397,"dynasty":54,"author":14398,"museum":206,"description":14399,"tags":14400,"thumbUrl":14401,"material":123,"size":14402,"collection":44,"collections":14403,"showCount":14308,"zanCount":1547,"manualWeight":48,"mainColor":49},218614,"hu-guo-tian-wang-xiang-yu-chi-yi-seng-218614","护国天王像","尉迟乙僧","本幅画手托宝塔的托塔天王，即世所谓之北方天王，为盛唐以后极受尊奉的佛像之一，其旁环侍之人物造型已为佛道相参之势。原谓尉僧乙僧所画，然细审其笔墨，应属明人风格。",[209,7,24,241,259,27,106,28,227,2340,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc1080a34fa72ca4f6198a683dc47ce.jpg","109x39.2cm",[44],{"id":14405,"slug":14406,"title":14407,"dynasty":18,"author":538,"museum":364,"description":14408,"tags":14409,"thumbUrl":14410,"material":743,"size":744,"collection":139,"collections":14411,"showCount":14412,"zanCount":1547,"manualWeight":48,"mainColor":94},283691,"chun-shan-rui-song-tu-mi-fei-283691","春山瑞松图","《宋米芾春山瑞松图》是宋代书画家米芾创作的一幅纸本画，原存清宫内府斋宫，现为台北故宫博物院藏。图中描绘云雾掩映的山林景色，图中白云满谷，远山耸立云端，近处古松数株隐显于雾气中。松下有亭，空无一人。山峦青绿晕染，再加“米点” 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（1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,7,24,3117,27,177,29,108,109,174,394,1653,35,649,2972,14631,2268,151],"春雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],{"id":14636,"slug":14637,"title":14638,"dynasty":18,"author":14639,"museum":1985,"description":14640,"tags":14641,"thumbUrl":14643,"material":67,"size":14644,"collection":42,"collections":14645,"showCount":14607,"zanCount":1270,"manualWeight":48,"mainColor":49},221555,"yuan-tu-mao-song-221555","猿图","毛松","这幅猴图在表现上非常出色，超越了单纯的写实，在众多的宋画当中亦堪称名品。据说所画的是日本猴而非中国猴，除水墨之外还使用了金泥，工笔细腻自然。南宋画院画家毛松所作的说法始于狩野探幽，但此说缺乏依据。曾由武田信玄捐赠与曼殊院觉如。该图在褐色的底色上，利用金泥所绘线条的交织，表现出绒毛的光泽。又以细腻的笔致，表现其面部的皱纹、嘴势、眼神以及颇有戏剧性的爪足，极其逼真地将这只金毛浓淡有致、赤面红耳的猿猴画了出来。",[23,209,7,24,28,173,27,12940,957,14642,11350],"金泥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5893ea0ae36c7bc5b4c46f296e8fce.jpg","纵：47.0cm，横：36.5cm",[42,90,45],{"id":14647,"slug":14648,"title":14649,"dynasty":18,"author":553,"museum":101,"description":14650,"tags":14651,"thumbUrl":14652,"material":665,"size":14653,"collection":42,"collections":14654,"showCount":14607,"zanCount":1547,"manualWeight":48,"mainColor":49},221391,"yan-lan-qiu-xiao-tu-fan-kuan-221391","烟岚秋晓图","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[23,7,24,25,29,177,27,176,34,37,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4500b9eb4cfa21cb904ea04c412212b.jpg","40x603.3cm",[42,181,163],{"id":14656,"slug":14657,"title":14658,"dynasty":1095,"author":14659,"museum":7134,"description":14660,"tags":14661,"thumbUrl":14664,"material":139,"size":139,"collection":139,"collections":14665,"showCount":14607,"zanCount":48,"manualWeight":48,"mainColor":94},220516,"zhong-kui-hui-jian-tu-pu-xin-she-220516","钟馗挥剑图","溥心畬","画面以枯松开篇，老干蟠曲、松枝萧疏，晕染出清寂古雅的氛围。红袍钟馗虬髯戟张，怒目圆睁，按佩剑挺立，威仪赫赫震慑鬼魅。身旁青面小鬼敛神吹笛，戏谑间更衬出钟馗的刚正威严。\n\n笔墨极具文人意趣，线条凝练古拙，设色清雅沉静，红袍醒目却不俗艳，淡墨勾勒松枝小鬼，尽显空灵雅致。整作以极简笔意，将钟馗的凛然正气与幽寂古意相融，寄寓驱邪安良的传统意涵，尽显雅致国风意蕴。",[7,27,28,106,394,7464,14662,14663,227],"剑","小鬼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a4169a576aae56350305e55cb3aa56.jpg",[],{"id":14667,"slug":14668,"title":14669,"dynasty":1095,"author":2335,"museum":14670,"description":14671,"tags":14672,"thumbUrl":14673,"material":14674,"size":139,"collection":139,"collections":14675,"showCount":14607,"zanCount":48,"manualWeight":48,"mainColor":94},220489,"zhu-mei-zhang-da-qian-220489","竹梅","The Chinese University of Hong Kong Library","此作以跨页小品写就，水墨清简疏淡。左侧修竹瘦劲挺拔，寥寥数笔写出竹叶翩然之姿，清峻孤高自带霜节。右侧梅枝横斜而出，淡墨圈花，花苞轻绽，冷香暗浮于留白之中。\n\n画面以少胜多，将竹之劲节与梅之清癯相融，寥寥逸笔尽显岁寒二友的君子风骨。题款墨色苍劲古雅，朱印点染提亮，文人情趣浑然天成。整幅淡墨浅痕却余韵悠长，把东方水墨的留白意趣藏在疏枝瘦叶之间，清冷雅致，尽显写意之妙。",[23,7,24,81,173,448,242,227,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928a3a570439bf1c01d26bb75a5c21e.jpg","Ink and colour on paper",[],{"id":14677,"slug":14678,"title":14679,"dynasty":99,"author":100,"museum":206,"description":14680,"tags":14681,"thumbUrl":14682,"material":123,"size":14683,"collection":44,"collections":14684,"showCount":14607,"zanCount":1270,"manualWeight":48,"mainColor":49},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[23,7,209,24,28,27,104,106,107,29,34,281,1329,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[44,45],{"id":14686,"slug":14687,"title":14688,"dynasty":18,"author":13198,"museum":7875,"description":14689,"tags":14690,"thumbUrl":14691,"material":123,"size":14692,"collection":42,"collections":14693,"showCount":14607,"zanCount":5,"manualWeight":48,"mainColor":94},219887,"yue-xia-yu-she-tu-zhao-ling-rang-219887","月下渔舍图","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。",[7,27,29,177,1015,281,108,109,300,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64745e0ff99130ce0f92eb82148afe6.jpg","26.7x26.7",[42],{"id":14695,"slug":14696,"title":14697,"dynasty":76,"author":13037,"museum":539,"description":14698,"tags":14699,"thumbUrl":14700,"material":88,"size":14701,"collection":181,"collections":14702,"showCount":14607,"zanCount":48,"manualWeight":48,"mainColor":94},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡[kūn]残（1612年-1692年），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[23,7,24,29,173,177,1015,174,109,649,920,37,34,111,31,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 横65cm",[181],{"id":14704,"slug":14705,"title":14706,"dynasty":99,"author":14707,"museum":206,"description":14708,"tags":14709,"thumbUrl":14710,"material":123,"size":14711,"collection":45,"collections":14712,"showCount":14607,"zanCount":5,"manualWeight":48,"mainColor":94},219445,"bai-yun-hong-shu-tu-guan-si-219445","白云红树图","关思","图绘山态云容，疏林茅屋。山作小青绿，树作无骨法，自言仿自赵孟頫，原画应该是赵子昂用唐人古意所作。",[7,24,241,27,177,29,4501,3500,34,176,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff525b318e6c156ebc050d824651a0d7b.jpg","129.3x50.5",[45],{"id":14714,"slug":14715,"title":1479,"dynasty":18,"author":293,"museum":206,"description":14716,"tags":14717,"thumbUrl":14719,"material":123,"size":14720,"collection":90,"collections":14721,"showCount":14607,"zanCount":5,"manualWeight":48,"mainColor":49},219277,"sui-chao-tu-yi-ming-219277","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[23,209,7,24,241,28,27,83,448,242,224,14718,176,84],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[90],{"id":14723,"slug":14724,"title":14725,"dynasty":292,"author":293,"museum":101,"description":14726,"tags":14727,"thumbUrl":14728,"material":123,"size":14729,"collection":44,"collections":14730,"showCount":14607,"zanCount":5,"manualWeight":48,"mainColor":49},218314,"fang-yuan-zui-yue-tu-yi-ming-218314","芳园醉月图","月夜清辉漫洒芳园，嶙峋山石旁花木扶疏，枝桠间繁花如雪，月下更显幽逸。园内人影错杂，或围坐醉谈，或信步寻幽，或凭栏浅笑，动静交织成一派闲适图景。小桥卧波，流水潺潺，石径蜿蜒穿林，远处奇峰隐现于月色朦胧中，添了几分旷远之致。人物衣袂轻扬，神态鲜活，生动勾勒出园居宴乐的融融暖意。笔墨细腻温婉，设色淡雅清和，山石皴染见古意，花木点描显灵秀，构图疏密得宜，将园林的清幽之境与人间的欢悦之情相融相契，尽展古典雅韵与生活意趣。",[209,7,24,241,27,28,106,108,109,176,34,300,448,1965],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5dcf17369c07d5993485e20a0c645b.jpg","155.5x102.3",[44],{"id":14732,"slug":14733,"title":14734,"dynasty":189,"author":2519,"museum":132,"description":11732,"tags":14735,"thumbUrl":14736,"material":123,"size":139,"collection":90,"collections":14737,"showCount":14607,"zanCount":1356,"manualWeight":48,"mainColor":49},216266,"xiang-ma-tu-ye-1-zhao-meng-fu-216266","相马图页-1",[23,7,24,209,81,27,28,260,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d24237744a85c7ce0038010bf1cae6e.jpg",[90],{"id":14739,"slug":14740,"title":14741,"dynasty":99,"author":443,"museum":206,"description":14742,"tags":14743,"thumbUrl":14747,"material":342,"size":14748,"collection":382,"collections":14749,"showCount":14607,"zanCount":48,"manualWeight":48,"mainColor":94},214213,"xing-shu-qi-yan-lian-xu-wei-214213","行书七言联","释文：水夕苍蚊残夏扇。河间红树早秋棃。秋霜先生咲览。天池山人徐渭书。",[23,7,24,86,241,14744,178,173,3500,1575,14745,14746],"对联","秋水","梨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cccc9d7148d5550a49ac995d9474fe6.jpg","132.2x32.4",[382],{"id":14751,"slug":14752,"title":14753,"dynasty":76,"author":363,"museum":364,"description":14754,"tags":14755,"thumbUrl":14756,"material":139,"size":139,"collection":139,"collections":14757,"showCount":14758,"zanCount":1270,"manualWeight":48,"mainColor":94},233230,"hong-lian-tu-ce-xie-sun-233230","红莲图册","画上自题：己未春日写似，伴翁老先生，谢荪。 钤一印。按己未为清康熙十八年，即公元1679年。\n谢荪（生卒年未详），清代画家。字缃酉，又字天令，常住南京。擅长画山水、花卉，与龚贤、樊圻齐名，为“金陵八家”之一。作品有《青绿山水图轴》等。",[209,7,27,28,81,136,137,367,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437de0e69fce243e2beeaba3fd223383.jpg",[],125,{"id":14760,"slug":14761,"title":14762,"dynasty":76,"author":1204,"museum":20,"description":14763,"tags":14764,"thumbUrl":14773,"material":803,"size":14774,"collection":139,"collections":14775,"showCount":14758,"zanCount":48,"manualWeight":48,"mainColor":94},231938,"cao-chong-tu-ce-zhu-da-231938","草虫图册","朱耷花鸟画成就特别突出，也最有个性。其画大多缘物抒情，用象征手法表达寓意，将物象人格化，寄托自己的感情。如画鱼、鸟，曾作“白眼向人”之状，抒发愤世嫉俗之情。其花鸟画风，可分为三个时期，50岁以前为僧时属早期，署款“传綮”、“个”、“驴” 、“人屋”，多绘蔬果、花卉、松梅一类题材，以卷册为多。画面比较精细工致，劲挺有力。50岁至65岁为中期，画风逐渐变化，喜绘鱼、鸟、草虫、动物，形象有所夸张，用笔挺劲刻削，动物和鸟的嘴、眼多呈方形，面作卵形，上大下小，岌岌可危，禽鸟多栖一足，悬一足。65岁以后为晚期、艺术日趋成熟。笔势变为朴茂雄伟，造型极为夸张，鱼、鸟之眼一圈一点，眼珠顶着眼圈，一幅“白眼向天”的神情。他画的鸟有些显得很倔强，即使落墨不多，却表现出鸟儿振羽，使人有不可一触，触之即飞的感觉。有些禽鸟拳足缩颈，一副既受欺又不屈的情态，在构图、笔墨上也更加简略。这些形象塑造，无疑是画家自的写照，即“愤慨悲歌，忧愤于世，一一寄情于笔墨”。他在题黄公望山水诗中写道：“郭家皴法云头小，董老麻皮树上多。想见时人解图画，一峰还与宋山河。表现出他的民族意识。此画作足以代表朱耷的艺术风格。笔墨简括凝练，形象夸张，意境清冷。画中山水树木，形象寂寥无不带有画家的个人烙印和情感。",[7,173,446,81,83,603,84,227,8349,14765,14766,14767,14768,14769,5990,14770,14771,14772],"水墨花鸟","草虫题材","花卉题材","水墨技法","写意技法","花鸟虫鱼","水墨花卉","水墨草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1832d1cbad4704515cafe4aadf8818b.jpg","纵26厘米，横41厘米",[],{"id":14777,"slug":14778,"title":14779,"dynasty":76,"author":850,"museum":364,"description":14780,"tags":14781,"thumbUrl":14782,"material":139,"size":139,"collection":139,"collections":14783,"showCount":14758,"zanCount":1547,"manualWeight":48,"mainColor":49},230202,"qian-long-di-hou-fei-xiang-juan-lang-shi-ning-230202","乾隆帝后妃像卷","郎世宁绘制的《乾隆肖像》是圆明园 珍品，是乾隆皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n原属圆明园收藏 【名称】：乾隆肖像 【类别】：字画 【年代】：清 【文物原属】：原属 收藏 【文物现状】： 【简介】： 绘制的《乾隆肖像》是 艺术品珍品，是 皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n乾隆皇帝主政的六十年中，甚为重视学术文化的整理和弘扬。\n其中以乾隆叁十八年（177）开始的 编纂工作最为令人称道。\n他聚集 、 、 、 等著名学者，将中国历代重要典籍整理并钞录下来，分隶于四部四十四类之下。\n全书卷帙浩繁、包罗万千，可谓中国传统学术文化的一次总整理，也是十八世纪当时学风的充分呈现。\n郎世宁（Giuseppe Castiglione‎,1688—1766）是意大利人，生于米兰，清康熙帝五十四年（1715）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙帝、雍正帝、乾隆帝的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾隆帝时 的代表人物。\n他的代表作品有《聚瑞图》、《嵩献英芝图》、《百骏图》（见插图）、《弘历及后妃像》、《 》等。",[23,7,24,368,28,27,25,106,63,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d20cbf88f26d2d9ea6382115ba01bed.jpg",[],{"id":14785,"slug":14786,"title":14787,"dynasty":18,"author":293,"museum":206,"description":14788,"tags":14789,"thumbUrl":14790,"material":665,"size":14791,"collection":139,"collections":14792,"showCount":14758,"zanCount":1270,"manualWeight":48,"mainColor":49},223516,"tao-hua-shan-niao-tu-yi-ming-223516","桃花山鸟图","此图采用双钩填彩法，用线工整挺秀、生动流畅、柔中带刚，画家追求的不是线的形式变化，而是对质感的表达。花瓣密集写实，鸟的羽毛细而柔，尾羽敷红色，有透明感。画面色彩雅致，鲜花轻敷淡染，一点也不矫揉造作。",[23,209,7,24,28,27,83,279,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8e8efee647a398a24f78c3f1f84561.jpg","纵23.8厘米横24.4厘米",[],{"id":14794,"slug":14795,"title":14796,"dynasty":18,"author":2029,"museum":206,"description":14797,"tags":14798,"thumbUrl":14799,"material":665,"size":14800,"collection":42,"collections":14801,"showCount":14758,"zanCount":48,"manualWeight":48,"mainColor":49},221544,"shi-ba-xue-shi-tu-juan-liu-song-nian-221544","十八学士图卷","作品描绘十八学士们的雅集生活。唐初十八学士这一历史，传到两宋，已经成为了典故。这些雅集活动大多不可缺少琴、棋、书、画四样东西。此外，歌舞曲艺、古玩彝器、诗词歌赋酒美食也都成为宋人文人雅集时候所常见的内容。",[23,7,24,25,28,27,106,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292859c44e3f3bde81de6bbfbd870ca.jpg","44.5x182.3",[42,44,45],{"id":14803,"slug":14804,"title":6500,"dynasty":99,"author":14805,"museum":8782,"description":14806,"tags":14807,"thumbUrl":14808,"material":88,"size":139,"collection":181,"collections":14809,"showCount":14758,"zanCount":1547,"manualWeight":48,"mainColor":49},219921,"qing-lv-shan-shui-tu-wen-jia-219921","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,7,24,241,26,27,29,177,558,34,106,176,109,4614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1820ac5ad6de7a128ff8fac67e031d3c.jpg",[181],{"id":14811,"slug":14812,"title":14813,"dynasty":189,"author":190,"museum":539,"description":14814,"tags":14815,"thumbUrl":14816,"material":381,"size":139,"collection":181,"collections":14817,"showCount":14758,"zanCount":48,"manualWeight":48,"mainColor":49},219736,"qiu-luan-die-zhang-tu-huang-gong-wang-219736","秋峦叠嶂图","整作以高远构局铺展秋山胜景，主峰崔嵬雄浑，层岩叠岫渐次铺陈，山林间枯木寒柯与葱郁杂木错立，晕染出清寂萧疏的秋意。\n以披麻皴慢写山石肌理，干笔淡墨皴擦点染，笔意松秀温润，淡墨晕开烟岚清旷之气，将山峦的苍古质感晕染尽致。水畔村居错落隐于林麓，汀渚回环、秋水澄澈，尽现山居幽寂之态。\n右侧长题随行布白，书画相融，以画寄情，将简淡超逸的山水意趣抒发淋漓，尽显寄兴林泉、丘壑自存的隐逸襟怀。",[23,7,24,241,173,177,29,649,34,4614,560,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c617dbbef3609487c4db666c2cf5ed.jpg",[181],{"id":14819,"slug":14820,"title":5371,"dynasty":189,"author":351,"museum":206,"description":14821,"tags":14822,"thumbUrl":14823,"material":123,"size":14824,"collection":44,"collections":14825,"showCount":14758,"zanCount":48,"manualWeight":48,"mainColor":94},219444,"lu-tong-peng-cha-tu-qian-xuan-219444","画中主人是卢同，唐朝济源人。学问非常渊博，并擅长诗文。隐居在少室山，不愿出来作官。他特别喜欢喝茶。这幅就是描绘卢同与童子，坐芭蕉下烹茶的情景。",[7,24,241,27,28,106,8852,245,244,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc5d62829496182e3834aaa1c88ab2a.jpg","128.7x37.3",[44],{"id":14827,"slug":14828,"title":14829,"dynasty":189,"author":2519,"museum":132,"description":14830,"tags":14831,"thumbUrl":14832,"material":381,"size":139,"collection":90,"collections":14833,"showCount":14758,"zanCount":1356,"manualWeight":48,"mainColor":49},219039,"bo-le-xiang-ma-tu-zhao-meng-fu-219039","伯乐相马图","画面疏密相生，左畔士人聚首，或坐案前持杖凝思，或立侧畔低语颔首，衣袂飘举间藏着识才的审慎；右方骏马昂首卓立，鬃毛如泼墨流转，肌理起伏尽是神骏之姿，侍从俯身理具，观者围立赞叹。\n\n白描线条圆劲如铁线，人物衣纹转折灵动，马身墨色浓淡晕染，层次分明。整幅场景似将伯乐相马的典故凝作静默对话：坐者的凝思、立者的专注、骏马的神俊，在古朴绢本底色衬映下，暗合“慧眼识珠”的咏叹——既有文人雅致，亦含对贤才的期许，寥寥细节间，情境与意蕴共生。",[23,7,209,260,28,173,27,106,150,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1dc7c2c172b3837c2820d3610aa60b.jpg",[90,44],{"id":14835,"slug":14836,"title":14837,"dynasty":18,"author":6790,"museum":206,"description":14838,"tags":14839,"thumbUrl":14840,"material":123,"size":14841,"collection":181,"collections":14842,"showCount":14758,"zanCount":1547,"manualWeight":48,"mainColor":49},218960,"peng-chuang-shui-qi-tu-zhao-gou-218960","蓬窗睡起图","温暖的春风吹拂着湖面，拂动着岩石岸边的两棵柳树的叶子。在岩石岸边，一艘独木舟漂浮在波浪上，船上的渔夫睡得很好，春风挑逗着他，他满足地伸了个懒腰",[23,7,24,173,29,174,394,245,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7141fb523a170d6777a1b10dd60a535.jpg","24.8x52.3",[181],{"id":14844,"slug":14845,"title":14846,"dynasty":18,"author":293,"museum":206,"description":14847,"tags":14848,"thumbUrl":14849,"material":123,"size":14850,"collection":42,"collections":14851,"showCount":14758,"zanCount":5,"manualWeight":48,"mainColor":49},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[2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-shi-220607","牵牛花蜻蜓图轴","此作以浓墨挥写牵牛藤蔓叶片，干湿浓淡错落，尽显叶片俯仰向背的参差生机。艳红牵牛花以明快色彩点染晕开，将朝颜盛放的娇妍鲜活定格。\n\n只以寥寥数笔勾勒蜻蜓，身形轻薄灵动，似振翅欲停于藤蔓间，为画面添就乡野清晨的鲜活野趣。右上角题字朴拙老辣，与画作笔墨相映成趣。\n\n整幅简而不空，繁而不乱，将日常乡野意趣凝于尺幅，以写意之笔把寻常风物化作清雅动人的画中诗意。",[23,7,24,241,173,27,83,798,800,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ccdfe4e554c859984e3ce344cbe197.jpg",[],{"id":14965,"slug":14966,"title":14967,"dynasty":1095,"author":1096,"museum":14968,"description":14969,"tags":14970,"thumbUrl":14971,"material":14972,"size":139,"collection":139,"collections":14973,"showCount":14904,"zanCount":48,"manualWeight":48,"mainColor":94},220593,"xia-qun-qi-bai-shi-220593","虾群","國立故宮博物院","这幅群虾图以极简水墨写就神致，群虾姿态各殊，或拨须缓游，或摆螯疾行，两两相逐间灵动鲜活。以淡墨晕染虾身，通透似覆薄壳，浓墨点染虾首与硬枪，焦墨提掣纤细长须，看似信手挥洒，却暗含水流动感，留白代水，虚实相生，将清水间群虾嬉游之景跃然纸上。\n既可见细致的写生功底，更尽显写意笔墨的简淡天真，寥寥数笔便将河虾的活泼生机全然带出，尽显作者画虾的炉火纯青，把寻常水族勾勒得意趣盎然。",[7,24,241,173,446,2186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681c191e1525a12aa95dd689a43c0860.jpg","ink 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松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[7,24,241,173,177,29,1575,15098,15099,108,109,176,34],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[42,181,163],{"id":15104,"slug":15105,"title":15106,"dynasty":99,"author":1170,"museum":9181,"description":15107,"tags":15108,"thumbUrl":15109,"material":2398,"size":15110,"collection":139,"collections":15111,"showCount":15048,"zanCount":48,"manualWeight":48,"mainColor":139},220728,"fang-ma-yuan-ta-ge-tu-dai-jin-220728","仿马远踏歌图","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。\n戴进作为明代著名的画家，绘画临摹精博，得唐宋诸家之妙，道释、神像、人物、山水、花果、翎毛、走兽等，无所不工。\n他的山水画画作品，注重选题。画法源出宋元，继承南宋水墨苍劲一派，主要吸收南宋时期的马远、夏圭（夏圭）风格，但也吸取北宋时期的李成和范宽，并取法郭熙、李唐、董源，用笔劲挺方硬，水墨淋漓酣畅，技巧纵横，画风雄健挺拔，俱遒劲苍润，一变南宋浑厚沉郁的风格，发展了马远、夏圭传统，善于用浓淡水墨的巧妙变化，来表现“铺叙远近，宏深雅淡”的品格，既有南宋院体遗风，又有元人水墨画意，被推为“浙派山水首席画师”",[23,7,24,209,29,177,27,176,34,37,106,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3256df255a4ff5cd730b5277dbb9e7.jpg","装裱：270.5×122.3厘米画心：182.4×107.4厘米",[],{"id":15113,"slug":15114,"title":15115,"dynasty":1095,"author":2335,"museum":132,"description":15116,"tags":15117,"thumbUrl":15120,"material":88,"size":15121,"collection":181,"collections":15122,"showCount":15048,"zanCount":48,"manualWeight":48,"mainColor":94},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,209,7,24,173,27,446,177,29,109,174,108,558,34,176,37,35,900,15118,15119],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[181,45],{"id":15124,"slug":15125,"title":15126,"dynasty":18,"author":4266,"museum":364,"description":6041,"tags":15127,"thumbUrl":6043,"material":342,"size":15129,"collection":139,"collections":15130,"showCount":15048,"zanCount":5,"manualWeight":48,"mainColor":94},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪",[23,209,7,24,2544,173,446,15128,1397,864,297,34,2124,37,12724,4100],"禅画","29.5X94.4厘米",[],{"id":15132,"slug":15133,"title":15134,"dynasty":18,"author":1650,"museum":132,"description":15135,"tags":15136,"thumbUrl":15137,"material":123,"size":15138,"collection":42,"collections":15139,"showCount":15048,"zanCount":48,"manualWeight":48,"mainColor":49},220071,"lin-xia-qing-yan-tu-ma-yuan-220071","林下清宴图","此作用笔苍劲老辣，斧劈皴勾勒山石棱角，峭拔硬朗的峰峦隐没在空濛烟霭之中，虚实相生晕染出幽渺的层次感。近岸古木虬枝舒展，汀渚蜿蜒柔缓，和远山形成刚柔对照。江头扁舟静泊，云岫深处藏着古寺，留白的烟岚晕开天地，把林下幽寂的清旷意境铺陈开来。\n整幅画以淡墨晕染出空寂冷逸的氛围，将林泉高致的雅趣藏于山水间，尽显悠然超脱的林下风流，暗合文人寄情林泉、清宴忘忧的隐逸襟怀。",[23,209,7,24,29,173,27,177,864,430,175,37,106,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 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余下四人为随从仆役，九人九骑，神态各异，呼之欲出\n2020年10月8日，在香港苏富比古代书画拍卖中，《五王醉归图》最终以3.065亿港币（折合约2.7亿元人民币）成交。\n《五王醉归图》描绘了唐代临淄王李隆基（即唐玄宗，712-756年在位）与他的四个兄弟宋王李成器、申王李成礼和岐王李范、薛王李业出游饮酒，醉后骑马回家的情景。据唐郑处诲《明皇杂录》中记载，五王少时感情和睦，常一同宴饮，或喝酒、下棋，或斗鸡、击球，或打猎、游赏。此卷画中共有五王，四个侍从，九骑九乘。其中，穿深红色衣服，由两个侍从搀扶者为李隆基，坐骑为“照夜白”；在李隆基后面的是身着淡黄衣、骑乌骓马、面部醉红的宋王李宪；接着是顾前盼后、骑玉花骢的岐王李范和骑黄骢骠的薛王李业；需要侍从侧骑服侍、伏鞍欲吐者为申王李撝，坐骑为九花虬。伺从挽着袖子，一边照料身旁醉得快坐不住的王，一边还要回头问后边那位能否撑得住，好不生动。",[23,7,25,27,28,106,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb754a83b3cca8f419f2c984d519f85bc.jpg","35.5x212.5厘米",[44,45],{"id":15307,"slug":15308,"title":15309,"dynasty":189,"author":487,"museum":206,"description":15310,"tags":15311,"thumbUrl":15313,"material":88,"size":15314,"collection":181,"collections":15315,"showCount":15226,"zanCount":5,"manualWeight":48,"mainColor":49},220812,"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[23,7,24,241,173,29,177,15312,9051,108,109,34,176,106,35],"深林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[181,163],{"id":15317,"slug":15318,"title":15319,"dynasty":1095,"author":1096,"museum":15320,"description":15321,"tags":15322,"thumbUrl":15323,"material":139,"size":139,"collection":139,"collections":15324,"showCount":15226,"zanCount":48,"manualWeight":48,"mainColor":94},220591,"jiu-hu-he-ju-hua-qi-bai-shi-220591","酒壶和菊花","Hong Kong Museum of Art","淡赭晕染出酒壶憨朴轮廓，留白衬出器物的温润拙厚。下方提篮中菊花攒簇，朱红明丽、赭黄沉凝、墨白清雅，花瓣勾勒老辣朴拙，枝叶苍劲带着蓬勃生机。右侧题笔顶天立地，楷隶相融的题字与画面相映成趣。虚实相生间，将日常小物化为寄情之物，以酒菊托祝寿深意，笔力雄浑简括，把乡野意趣与文人雅韵揉合一处，尽显冲淡隽永的东方意致，将寻常烟火绘成动人的诗意画卷。",[23,7,24,241,27,446,83,453,211,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b1dcc70632968186c19f507f452f51.jpg",[],{"id":15326,"slug":15327,"title":15328,"dynasty":18,"author":2856,"museum":206,"description":15329,"tags":15330,"thumbUrl":15331,"material":123,"size":15332,"collection":42,"collections":15333,"showCount":15226,"zanCount":5,"manualWeight":48,"mainColor":49},220356,"feng-yu-gui-mu-tu-li-di-220356","风雨归牧图","绘两牧童沿柳岸归牧，风雨大作，柳枝、丛芦在风雨中摇荡。牧童策牛逆风徐行，一牧童披蓑衣俯身紧拉住斗笠，另一牧童的斗笠被风吹落。画家善于从江南乡村常见的景象中挖掘出美感，非常富有生活气息。全图用笔工细严谨，牧童的神情、水牛的憨态也都描绘得很真切。",[23,7,28,27,177,151,957,106,430,1351,11886],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdacf6fa6d8af2dba4881d869e5c6742d.jpg","纵120.7cm，横102.8cm",[42],{"id":15335,"slug":15336,"title":15337,"dynasty":189,"author":5488,"museum":206,"description":15338,"tags":15339,"thumbUrl":15340,"material":342,"size":15341,"collection":90,"collections":15342,"showCount":15226,"zanCount":48,"manualWeight":48,"mainColor":49},214818,"jia-tu-guan-dao-sheng-214818","茄图","管道升（生卒年不详）是中国元代（1271年 - 1368年）的画家。他主要以写意山水画著称。管道升的茄图是一幅以茄子为主题的山水画。茄子是一种常见的蔬菜，被广泛用于烹饪。这幅画中的茄子极具写意，呈现出自然的姿态和神韵。管道升善于运用水墨画的技法，表现出山水中的细腻和精致。\n\n管道升的茄图是一幅脍炙人口的名作，被广泛传颂和收藏。它的笔墨简洁，意境深远，描绘出了大自然的美丽和生机。这幅画不仅描绘了山水的美景，而且也表达了作者对生活的感悟和思考。管道升的茄图是中国山水画史上的经典之作，对中国画坛产生了深远的影响。",[7,24,173,28,83,12652,226,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2d3ee1317752964db7545c6ea152f.jpg","52.1x28.4",[90],{"id":15344,"slug":15345,"title":15346,"dynasty":76,"author":15347,"museum":615,"description":15348,"tags":15349,"thumbUrl":15350,"material":27,"size":15351,"collection":181,"collections":15352,"showCount":15226,"zanCount":5,"manualWeight":48,"mainColor":15353},214176,"xie-qin-you-ju-tu-tu-xiang-zeng-qiang-cha-shi-biao-214176","携琴幽居图(图像增强)","查士标","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[7,27,177,25,29,175,108,109,34,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6e5f238a3606b6d1cab864e69f3c2f.jpg","135.8*25.5",[181],"aaa79f",{"id":15355,"slug":15356,"title":13718,"dynasty":76,"author":1109,"museum":20,"description":9119,"tags":15357,"thumbUrl":15358,"material":990,"size":7511,"collection":181,"collections":15359,"showCount":15360,"zanCount":48,"manualWeight":48,"mainColor":94},234296,"yuan-ji-shan-shui-tu-ce-shi-tao-234296",[209,7,24,81,27,173,177,29,430,106,35,491,10416,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66ce93c8dd6e2917b723381f2a32347.jpg",[181,45],121,{"id":15362,"slug":15363,"title":15364,"dynasty":18,"author":823,"museum":20,"description":15365,"tags":15366,"thumbUrl":15367,"material":803,"size":15368,"collection":139,"collections":15369,"showCount":15360,"zanCount":5,"manualWeight":48,"mainColor":49},233211,"lin-liu-fu-qin-tu-ye-xia-gui-233211","临流抚琴图页","宋代郭熙《林泉高致》云：“山以水为血脉”、“山得水一活”，水是山的眼睛，关乎画面的神采，最难画活。宋代的山水画中多以密致的线条勾出水纹，如现存李唐的《江山小景图》、马远的《水图》等都是以工致的笔法画出水纹。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。夏圭是善于在绘画中“用虚”的大师，在这幅画中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。画中的人物也很有特点，没有过多地描绘细节，而是注重表现身体的动势，笔简而神全。抚琴者似在弹奏，让人不禁联想到琴声的悠扬。\n作为一个欣赏者，我们可能更多地关注的是画面的内容和技法的运用，往往忽视了绘画材料本身。古人云：“皮之不存，毛将焉附?”画面的效果和气氛的营造，一方面取决于画家的精神境界和绘画技巧，另一方面取决于绘画的材料即媒材。唐、宋时期绘画尚用绢，至明末，画家皆用熟纸。夏圭此画作于熟绢之上，绢本细腻的质地适于表现笔墨的流利劲健，他充分利用了绢的特性，笔势纵横生动。\n元代庄肃的《画继补遗》中评价夏圭：“画山水人物极俗恶。宋末世道凋丧，人心迁革，圭遂滥得时名，其实无可取，仅可知时代姓名而已。”此论可谓偏颇至极。夏圭的山水画，用笔外露，非是缺点，而是其特点。夏文彦《图绘宝鉴》称赞夏圭说：“院人中画山水，自李唐以下，无出其右者也。”宋代绘画是中国传统绘画的精华，它来源于画家“外师造化，中得心源”，并非是抛弃自然的笔墨游戏。如宋代郭熙的《林泉高致》中提到画家对待绘画用“敬”的态度“凡一景之画，不以大小多少，必须注精以一之”、“必神与俱成之”、“必严重以肃之”、“必恪勤以周之”，不可“以轻心挑之”、“以慢心忽之”。夏圭正是以这种敬业的精神以及“心源”颖悟，在方寸之内，写出如此之大气象、大境界。\n宋、元以后文人画开始居于画坛的主流地位，夏圭的山水画不断遭到文人画家不公正的指责和排挤，虽偶有师法者，但已是落日余晖，失去了往日的辉煌。然而被文人画家“嗤之以鼻”的夏圭的山水画却跨越了国界，深深地影响了日本的绘画，出现了周文、雪舟等一批绘画大家，纷纷模仿夏圭的山水画。\n《临流抚琴图》是画家夏圭创作的一幅作品，该图是国家一级文物，图中绘一高士临流而坐，气象萧疏，意境深远。\n墨笔急扫之后，迅速以水笔接染，笔墨衔接自然，一气呵成。由于墨与水的使用恰到好处，使得整幅画面颜色透亮，一股清新之气扑面而来。画树木，得其形而又取其势，意笔写出枝干，偃仰屈曲，苍健老硬，有蛟龙惊虬之势；树叶点染而成，疏密有致，虚实相生，浓淡相宜，看似不经意，实则惨淡经营。茅屋隐现于树后，以墨笔勾出轮廓，再施以规则的点皴，极具装饰意味。画水有独特之处。",[7,209,24,1562,173,177,29,106,109,430,176,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b6e2189c33e42f16457ba45586676b.jpg","25.5X26厘米",[],{"id":15371,"slug":15372,"title":15373,"dynasty":76,"author":3602,"museum":238,"description":15374,"tags":15375,"thumbUrl":15376,"material":803,"size":15377,"collection":139,"collections":15378,"showCount":15360,"zanCount":5,"manualWeight":48,"mainColor":94},231946,"fang-shen-zhou-hua-hui-tu-wang-wu-231946","仿沈周花卉图","作品是在国民期间被带入国门的，但有几幅作品却被比齐白石的画漂亮，画的细节比齐白的还好。\n齐白石牛的蝉，比不过他画的天牛，可惜作品少了海外！这本书国画精口的细节很少，就是画了三张天牛画在上面树上的野画。简单的绘画风格与齐白石的一样，但作品却充满了满满的童趣。\n如果不是亲眼所见，谁也不会相信这是一张清朝的绘画，而且是由王武一个画家画出来的。笔墨十分的潇洒，尤其是在婚纱中的小作品中，烘焙精品的超小纸条。\n作品贵的精巧，贵在细节上面，大家仔细看绘画的整体风格，实际上比齐白石的作品外观要，而且布局更漂亮，但在工整秀丽之间又不失童趣。把一些动物与植物相间的神韵的画出来，难怪在外国的目光，这一类作品太妙了。\n对比的绘画，这只天牛虽然是属于水墨画，但要知道在200多年前，这水墨的风格画，尤其是场景小类的，能画到非常逼真的多，最重要的就如真的还活着，余生如生。\n一张好画的感觉体验一个人的绘画天赋，更表现了一个人的绘画功底。像王武和齐白石的作品，深入要光，还需要依靠对艺术绘画的一种深入理解，这样子有神韵！",[23,7,173,27,83,712,226,698,713,81,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25155c1c911c2cd3f45e7be509419dbd.jpg","53x38 厘米",[],{"id":15380,"slug":15381,"title":15382,"dynasty":76,"author":1204,"museum":364,"description":15383,"tags":15384,"thumbUrl":15385,"material":139,"size":139,"collection":139,"collections":15386,"showCount":15360,"zanCount":48,"manualWeight":48,"mainColor":94},230270,"hua-niao-chong-yu-shen-pin-zhu-da-230270","花鸟虫鱼神品","这一开册页书画合璧，尽显写意风流。右侧水墨花卉以极简笔墨成画，浓墨晕染花头，枯笔勾出素瓶，浓淡枯湿之间，将一花一器的幽寂勾勒殆尽，留白处尽是澹远空寂的禅意。左侧草书与画境呼应，笔墨纵逸苍劲，线条跌宕，和画面疏简孤高的气息融为一体。整体舍去所有赘饰，以少胜多，清冷孤傲的意趣浸透纸面，寥寥数笔就将文人澹泊疏离的心境铺陈开来，简而不空，淡而有味，尽显中式水墨留白造境的精妙。",[23,7,24,81,173,83,86,1147,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bec6de9b81819d99336f4632ebed928.jpg",[],{"id":15388,"slug":15389,"title":15390,"dynasty":189,"author":293,"museum":364,"description":15391,"tags":15392,"thumbUrl":15393,"material":139,"size":139,"collection":139,"collections":15394,"showCount":15360,"zanCount":1547,"manualWeight":48,"mainColor":49},228216,"mu-dan-hua-hui-tu-zhou-yi-ming-228216","牡丹花卉图轴","以深沉绢地托举群芳，白牡丹莹洁似凝脂，红牡丹浓艳若燃霞，紫牡丹晕染出雅致柔韵。花姿或肆意盛放、或含苞颔首，俯仰之间各有姿态。叶片以细腻晕染分出阴阳向背，脉络清浅舒展，将草木柔润生机尽藏笔底。构图繁而不乱，错落排布尽显繁茂却不觉拥塞，将牡丹的雍容富贵融于清雅古拙的笔意之中，尽显花鸟写生的精湛功力，把国色天香的神韵晕染得恰到好处。",[23,209,7,24,241,28,27,327,84,4008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f44b549ecd7f5efb68ebd193de03a4a.jpg",[],{"id":15396,"slug":15397,"title":15398,"dynasty":204,"author":293,"museum":206,"description":15399,"tags":15400,"thumbUrl":15401,"material":317,"size":15402,"collection":139,"collections":15403,"showCount":15360,"zanCount":5,"manualWeight":48,"mainColor":49},223336,"dan-feng-you-lu-tu-yi-ming-223336","丹枫呦鹿图","《丹枫呦鹿图》描绘的是群鹿游憩于色彩斑斓的秋林中的情景，造型生动真实，颇具情趣。其构图繁密饱满，形式美感强烈，装饰味浓。\n《丹枫呦鹿图》中，作者使用传统的皴法、勾勒之法较少，却大幅度使用了类似西方的光影之法来表现鹿的立体感，且敷色富丽鲜艳又有别干常见的没骨山水。实异于汉族文化地区之画作，属辽画之精品。",[23,7,24,209,241,27,28,6548,3167,957,34,2238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a0c1c1455178893acd65ad00afdad0.jpg","纵118.5cm，横64.6cm",[],{"id":15405,"slug":15406,"title":15407,"dynasty":76,"author":15408,"museum":364,"description":15409,"tags":15410,"thumbUrl":15411,"material":990,"size":15412,"collection":90,"collections":15413,"showCount":15360,"zanCount":1165,"manualWeight":48,"mainColor":94},223158,"qun-xian-zhu-shou-tu-fu-dao-ren-xiong-223158","群仙祝寿图佛道","任熊","此幅图画场面宏大，共绘神仙达22位之多，八仙中的七仙，寒山、拾得等包括佛教、道教及民间信仰的各路神仙。",[23,7,209,24,25,259,28,27,106,107,29,34,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea49554b72b9cdd2c017d8d51d64b0c0.jpg","86X170cm",[90],{"id":15415,"slug":15416,"title":15417,"dynasty":76,"author":3602,"museum":206,"description":15418,"tags":15419,"thumbUrl":15420,"material":15421,"size":15422,"collection":90,"collections":15423,"showCount":15360,"zanCount":48,"manualWeight":48,"mainColor":94},222807,"zhu-xia-hong-mei-wang-wu-222807","竹下红梅","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[23,7,24,81,27,28,83,242,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28b7f42c49990357f197784cca3d392.jpg","紙","27.9×36.3",[90,45],{"id":15425,"slug":15426,"title":15427,"dynasty":99,"author":170,"museum":20,"description":15428,"tags":15429,"thumbUrl":15430,"material":1716,"size":15431,"collection":181,"collections":15432,"showCount":15360,"zanCount":5,"manualWeight":48,"mainColor":94},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[23,7,24,25,173,29,177,86,227,37,34,491,1926,5022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[181,163],{"id":15434,"slug":15435,"title":15436,"dynasty":99,"author":4245,"museum":206,"description":15437,"tags":15438,"thumbUrl":15439,"material":123,"size":15440,"collection":90,"collections":15441,"showCount":15360,"zanCount":1547,"manualWeight":48,"mainColor":49},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[23,7,28,27,241,83,449,242,448,224,281,245,226,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[90,45],{"id":15443,"slug":15444,"title":5535,"dynasty":99,"author":3114,"museum":206,"description":15445,"tags":15446,"thumbUrl":15447,"material":67,"size":139,"collection":181,"collections":15448,"showCount":15360,"zanCount":48,"manualWeight":48,"mainColor":49},220919,"shan-shui-li-zhou-dong-qi-chang-220919","董其昌虽以古人为师，不过反对单纯机械地模拟蹈袭。因为随着阅历的增加与思想的成熟，的临摹是有选择地取舍，融入自己的创意。董认为如果离开了自己的创意，古人的精神也难以表达，因此应以自己独创的形式再现古人的“风神”。董其昌的临古可谓开一代先河。影响了后来许多的画家",[23,7,24,241,173,177,29,864,297,430,449,650,175,1410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[181,163],{"id":15450,"slug":15451,"title":15452,"dynasty":1095,"author":1096,"museum":8718,"description":15453,"tags":15454,"thumbUrl":15456,"material":15457,"size":139,"collection":139,"collections":15458,"showCount":15360,"zanCount":48,"manualWeight":48,"mainColor":94},220589,"hua-cao-gong-chong-ce-ye-lv-e-qi-bai-shi-220589","花草工虫册页 - 绿蛾","画作兼用工笔与写意之法，赭石晕染的残叶朴拙温润，淡墨轻勾叶脉，寥寥数笔便将深秋枯叶的枯瑟质感尽显，晕开沉静的秋意。停栖的绿蛾则以工笔细描，翠色鲜亮通透，翅脉纤毫毕现，绒毛蓬松质感呼之欲出，将小虫鲜活灵动之态尽数铺陈。暖调枯叶与冷调青蛾冷暖相映，静穆与生机形成强烈反差，于极简构图里藏着对日常小景的入微体察，将秋隅细碎生机凝练成雅致诗意，尽显平凡小景中的盎然意趣。",[7,27,28,173,81,698,15455,432],"蛾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c99521d45e323f18a6b311b794894d.jpg","纸本水墨设色",[],{"id":15460,"slug":15461,"title":15462,"dynasty":18,"author":645,"museum":3940,"description":15463,"tags":15464,"thumbUrl":15465,"material":123,"size":15466,"collection":181,"collections":15467,"showCount":15360,"zanCount":48,"manualWeight":48,"mainColor":49},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,7,209,241,177,173,27,29,864,2124,1015,4614,174,106,150,431,430,149,558,12624],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[181],{"id":15469,"slug":15470,"title":15471,"dynasty":76,"author":1394,"museum":675,"description":5682,"tags":15472,"thumbUrl":15473,"material":88,"size":5685,"collection":181,"collections":15474,"showCount":15360,"zanCount":5,"manualWeight":48,"mainColor":94},220005,"shan-shui-hua-fang-mei-dao-ren-wang-shi-min-220005","山水画-仿梅道人",[23,7,173,29,105,177,34,109,175,176,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b0369175196e03b3707498e97829e3.jpg",[181],{"id":15476,"slug":15477,"title":15478,"dynasty":18,"author":15479,"museum":206,"description":15480,"tags":15481,"thumbUrl":15483,"material":123,"size":15484,"collection":90,"collections":15485,"showCount":15360,"zanCount":1547,"manualWeight":48,"mainColor":49},219228,"ye-ju-qiu-chun-tu-li-an-zhong-219228","野菊秋鹑图","李安忠","画幅中心位置上画两只鹑鸟，全身几乎长满了近似粉白色的翎毛，只有少量的黑褐色斑毛，将头部与背勾画得更加显明突出。一只鹑鸟抬头远望，一只鹑鸟低头啄食，它们伫立在倾斜的土坡上、土坡的上方，白色的野菊花穿插在带棘的灌木中，还有竹竿枝权探头画面上、土坡的下方有蒲公英等野草花点缀着，一仰一俯的两只鹑鸟，互相依偎，自由地在大自然的环境中生活，其神态逼真，栩栩如生。该图设色淡雅，配色和谐。",[23,7,209,28,27,83,10824,15482,242],"野菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763aa29896547493e563c587705ce6b7.jpg","纵24.1cm，横40.5cm",[90,45,42],{"id":15487,"slug":15488,"title":15489,"dynasty":189,"author":1672,"museum":78,"description":15490,"tags":15491,"thumbUrl":15492,"material":342,"size":139,"collection":181,"collections":15493,"showCount":15360,"zanCount":1547,"manualWeight":48,"mainColor":49},217218,"gu-mu-cong-huang-tu-ni-zan-217218","古木丛篁图","倪瓒是一位非常有才华的画家，他在元朝时期担任过官员，同时也是一位著名的画家。他的古木丛篁图是他的代表作之一，被广泛认为是元朝画坛上的杰出作品。这幅图画的是一片树木茂密的森林，画面上的树木都长得非常壮观，给人以深深的感觉。倪瓒在画这幅图的时候，非常注重细节，每一棵树都绘制得非常精细。在这幅图中，倪瓒还表现出了树木之间的相互依存关系，这使得这幅图显得更加生动。",[23,7,173,24,241,260,86,177,394,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9485a61ec295472a35cd5b4873278e45.jpg",[181],{"id":15495,"slug":15496,"title":12822,"dynasty":99,"author":293,"museum":206,"description":15497,"tags":15498,"thumbUrl":15500,"material":88,"size":15501,"collection":44,"collections":15502,"showCount":15360,"zanCount":48,"manualWeight":48,"mainColor":94},216958,"ming-tai-zu-ban-shen-xiang-yi-ming-216958","这幅画描绘了朱元璋的长脸，气势非凡，眼睛深邃，脸颊修长。",[7,24,28,27,106,63,502,15499],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f24401c5275f2f31ff091e08817cfd6.jpg","101.6x65.4",[44],{"id":15504,"slug":15505,"title":15506,"dynasty":18,"author":7349,"museum":132,"description":15507,"tags":15508,"thumbUrl":15509,"material":342,"size":15510,"collection":90,"collections":15511,"showCount":15360,"zanCount":5,"manualWeight":48,"mainColor":49},216207,"qi-xiao-tu-liang-kai-216207","栖鸮图","栖鸮图是中国宋朝画家、书法家梁楷的名作。这幅画描绘了一只美丽的栖鸮鸟停在树枝上，身躯优美，栩栩如生。\n\n梁楷是宋朝最伟大的画家之一，他在画鸟时细致入微，把鸟的形态、羽毛和神情都写得栩栩如生。他的作品常常被视为中国画的精品，在世界艺术史上享有极高的地位。",[7,173,446,227,281,242,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c4639fd1e32157af0aa83de738b753.jpg","78x29cm",[90],{"id":15513,"slug":15514,"title":15515,"dynasty":99,"author":12000,"museum":206,"description":15516,"tags":15517,"thumbUrl":15518,"material":123,"size":15519,"collection":181,"collections":15520,"showCount":15360,"zanCount":5,"manualWeight":48,"mainColor":49},214739,"han-jiang-cao-ge-tu-zhao-zuo-214739","寒江草阁图","画江坞村居，从楼里可以看到远处的风景。长桥上锁，云雾缭绕，山峦起伏。森林湿润，层次分明。与烟雾和雾气混合在一起，感觉就像晴天开始时的一场突如其来的雨。烟雾在河边不时地出现和消失。这幅山水画非常特别，先用淡墨裂开，然后用焦墨破开，这样就可以看出笔墨的光彩，墨色也很浓。",[7,24,241,173,177,29,175,34,108,109,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2932a52531fae657b3d89f6fb99b15.jpg","160x51.8",[181],{"id":15522,"slug":15523,"title":15524,"dynasty":99,"author":1170,"museum":206,"description":15525,"tags":15526,"thumbUrl":15528,"material":381,"size":15529,"collection":181,"collections":15530,"showCount":15360,"zanCount":1165,"manualWeight":48,"mainColor":49},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[7,24,241,209,173,177,11886,15527,174,1351,108,109,34,649,37,118,225,176],"归舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[181],{"id":15532,"slug":15533,"title":15534,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":15535,"thumbUrl":15536,"material":743,"size":744,"collection":139,"collections":15537,"showCount":15538,"zanCount":5,"manualWeight":48,"mainColor":94},290425,"shan-shui-ce-8-zhen-shi-tao-290425","山水册8帧",[7,81,29,173,27,177,649,37,34,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e43bd7167cf84e5eb97a9e84d36de0.jpg",[],120,{"id":15540,"slug":15541,"title":10703,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":15542,"thumbUrl":15543,"material":743,"size":744,"collection":139,"collections":15544,"showCou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“文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[23,7,27,28,2714,15609,9254,15610,11248,1575,340,108,109,176,15611,4525,15612,15613,15614],"画中画","普贤菩萨","帝王","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纵136.4厘米，横62厘米",[44,45],{"id":15619,"slug":15620,"title":9634,"dynasty":76,"author":1703,"museum":675,"description":15621,"tags":15622,"thumbUrl":15623,"material":619,"size":15624,"collection":44,"collections":15625,"showCount":15538,"zanCount":5,"manualWeight":48,"mainColor":49},222705,"fo-xiang-jin-nong-222705","图中释迦牟尼，正面全身，头顶青螺结，身着红袈裟，一臂袒露拱手伫立，神态安详而肃穆。面部以刚劲的铁线描勾出，敷设淡彩，丰腴圆润，神采飘逸。周身的衣纹采用枯笔折绝画法，下接卷云莲座，线条展转流动，有升腾动荡之感。\n又于释迦两侧作记，右边文日：“十五年前为暖鹑居士写金刚经卷，刻之枣木，精装千本，善施天下名胜禅林……今又画佛，画菩萨、画罗汉，将俟世之信心，敬俸者锓摹上石，一如写经之流传云。七十四双机郡金农记。”左边题《古佛颂》，长远百余字。书体楷中兼隶，有“漆书”之称，其风格独绝。书画和谐，使佛像更为突出。其画面形式极适于“摹上石”流传于世。",[23,7,24,259,106,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef5ee14a984d59580b5e0d42f846e7c.jpg","133cm×62.5cm",[44],{"id":15627,"slug":15628,"title":15629,"dynasty":99,"author":1083,"museum":238,"description":15630,"tags":15631,"thumbUrl":15632,"material":81,"size":139,"collection":90,"collections":15633,"showCount":15538,"zanCount":5,"manualWeight":48,"mainColor":94},221905,"hua-niao-jing-pin-ce-chen-hong-shou-221905","花鸟精品册","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[7,24,81,27,28,83,245,1062,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852ddfb4bab4ecb9d65b1c1507a19737.jpg",[90,45],{"id":15635,"slug":15636,"title":15637,"dynasty":189,"author":10811,"museum":20,"description":15638,"tags":15639,"thumbUrl":15640,"material":40,"size":15641,"collection":90,"collections":15642,"showCount":15538,"zanCount":5,"manualWeight":48,"mainColor":49},221839,"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[23,189,7,24,241,28,27,83,3478,242,245,281,432,650,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[90,45],{"id":15644,"slug":15645,"title":15646,"dynasty":18,"author":474,"museum":206,"description":15647,"tags":15648,"thumbUrl":15649,"material":803,"size":15650,"collection":139,"collections":15651,"showCount":15538,"zanCount":1547,"manualWeight":48,"mainColor":94},221253,"mu-dan-shi-tie-ce-zhao-ji-221253","牡丹诗贴册","此作华丽富贵，疏密自然，用笔洒脱，线条粗细有致，笔势圆转流畅，书写时以手腕为轴心，少了点刚硬，多了些柔和，充分表现出了瘦金书体的婀娜之美，可能原先配有一幅双色牡丹图，作品参差错落，一气呵成，表现出了作者高度的艺术修养。",[23,209,7,24,81,4772,86,3790,173,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f35d3427d35e7def70a2f431c6cc271.jpg","34.8cm×53.3cm",[],{"id":15653,"slug":15654,"title":15655,"dynasty":99,"author":170,"museum":78,"description":15656,"tags":15657,"thumbUrl":15660,"material":342,"size":15661,"collection":181,"collections":15662,"showCount":15538,"zanCount":5,"manualWeight":48,"mainColor":94},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,7,24,25,173,177,29,15658,15659,176,34,175,109,174,35,1015,108],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 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厘米",[181],{"id":15664,"slug":15665,"title":15666,"dynasty":18,"author":8886,"museum":3940,"description":15667,"tags":15668,"thumbUrl":15669,"material":123,"size":15670,"collection":181,"collections":15671,"showCount":15538,"zanCount":1547,"manualWeight":48,"mainColor":49},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,2544,209,7,24,25,29,173,177,27,107,108,109,176,34,106,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[181],{"id":15673,"slug":15674,"title":15675,"dynasty":99,"author":100,"museum":78,"description":15676,"tags":15677,"thumbUrl":15678,"material":123,"size":15679,"collection":181,"collections":15680,"showCount":15538,"zanCount":48,"manualWeight":48,"mainColor":49},219780,"lin-song-ren-hua-ce-chou-ying-219780","临宋人画册","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[7,209,24,81,105,28,27,29,281,245,109,394,1575,650,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[181,44],{"id":15682,"slug":15683,"title":15684,"dynasty":99,"author":100,"museum":206,"description":15685,"tags":15686,"thumbUrl":15689,"material":123,"size":15690,"collection":44,"collections":15691,"showCount":15538,"zanCount":1547,"manualWeight":48,"mainColor":94},218181,"chun-xiao-tu-chou-ying-218181","纯孝图","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[209,7,24,81,28,27,106,107,15687,15688],"孝道","母爱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb17260b42142b1b7cf5eaa6624bcc18.jpg","32.8x21.9",[44],{"id":15693,"slug":15694,"title":15695,"dynasty":99,"author":14805,"museum":15696,"description":15697,"tags":15698,"thumbUrl":15699,"material":88,"size":15700,"collection":181,"collections":15701,"showCount":15538,"zanCount":48,"manualWeight":48,"mainColor":94},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[23,7,24,241,173,177,105,29,108,109,176,34,558,13850,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[181],{"id":15703,"slug":15704,"title":15705,"dynasty":76,"author":1892,"museum":1806,"description":15706,"tags":15707,"thumbUrl":15709,"material":342,"size":15710,"collection":181,"collections":15711,"showCount":15538,"zanCount":48,"manualWeight":48,"mainColor":94},217884,"xi-shan-lin-wu-tu-wang-yuan-qi-217884","溪山林屋图","溪山林屋图是王原祁的代表作之一，它们描绘了中国山林中的小屋、溪流、山峰和树木。这些画作通常都有一种平静而自然的感觉，体现了王原祁对中国传统山水画的热爱和自然美的追求。\n\n王原祁的溪山林屋图通常都是以水墨画的形式呈现的，他善于运用水墨画的特点，比如渗透、流动、清晰度等，使得他的画作充满了韵味和生命力。\n\n总的来说，王原祁的溪山林屋图是中国清朝时期画家中的佼佼者，它们不仅是艺术作品，而且也是中国文化遗产的重要组成部分。",[7,24,29,173,177,34,35,109,650,560,176,1250,464,15708],"山间植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe06c7f8fd41eded98cf111e60e234.jpg","82.8x45.3cm",[181],{"id":15713,"slug":15714,"title":15715,"dynasty":99,"author":293,"museum":206,"description":15716,"tags":15717,"thumbUrl":15719,"material":88,"size":139,"collection":44,"collections":15720,"showCount":15538,"zanCount":1270,"manualWeight":48,"mainColor":49},217063,"ming-dai-di-hou-ban-shen-xiang-yi-ming-217063","明代帝后半身像","宪宗纯皇帝与孝贞纯皇后",[7,24,28,27,106,15718,502,63,64,1086],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4dd485eb0cd4eaa47ae7a14e2407c.jpg",[44],{"id":15722,"slug":15723,"title":15724,"dynasty":76,"author":876,"museum":101,"description":15725,"tags":15726,"thumbUrl":15727,"material":88,"size":880,"collection":139,"collections":15728,"showCount":15538,"zanCount":5,"manualWeight":48,"mainColor":94},216257,"jing-fu-si-qi-dong-jing-tu-3-qian-wei-cheng-216257","景敷四气冬景图-3","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n洞口飞泉一道斜，是谁泛泛小舟拿。藤萝石上依然在，只欠洲前芦荻花。钤印：古香、太宝",[7,24,29,81,177,27,864,297,1015,175,650,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a2cf71eecc41ef3e7946ed6d498677.jpg",[],{"id":15730,"slug":15731,"title":15732,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":15733,"thumbUrl":15734,"material":743,"size":744,"collection":139,"collections":15735,"showCo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这里所选的一幅是“北港”，图中画一荷塘，波光如镜，荷叶亭亭玉立，疏密有致，摇曳多姿，岸上树木点写自然，情态各具；坡岸皴染结合，浓重得宜。\n本书作者沈周（1427～159）明代杰出书画家。\n传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。",[7,173,27,81,177,29,34,176,109,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff908fba6b302417e7c10f3ab17a103ba.jpg",[],{"id":15777,"slug":15778,"title":15779,"dynasty":189,"author":293,"museum":364,"description":15780,"tags":15781,"thumbUrl":15782,"material":67,"size":15783,"collection":139,"collections":15784,"showCount":15736,"zanCount":1547,"manualWeight":48,"mainColor":1335},223496,"pu-xian-pu-sa-xiang-yi-ming-223496","普贤菩萨像","普贤菩萨，佛教菩萨名，梵文Samantabhadra的意译，也曾译为遍吉菩萨，音译为三曼多跋陀罗。普贤菩萨是中国佛教的四大菩萨之一，象征着理德、行德，与象征着智德、正德的文殊菩萨相对应，同为释迦牟尼佛的左、右胁侍。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。",[23,7,24,241,259,27,106,957,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a209573aaa667331b08a345b2354a2.jpg","71x71",[],{"id":15786,"slug":15787,"title":15788,"dynasty":76,"author":876,"museum":206,"description":15789,"tags":15790,"thumbUrl":15791,"material":619,"size":15792,"collection":90,"collections":15793,"showCount":15736,"zanCount":5,"manualWeight":48,"mainColor":94},222694,"mei-cha-shui-xian-zhou-qian-wei-cheng-222694","梅茶水仙轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,209,7,24,241,28,27,840,591,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb394ac89657041d7c37b5fb8d711ba23.jpg","114.1x75.6",[90,45],{"id":15795,"slug":15796,"title":15797,"dynasty":99,"author":1083,"museum":675,"description":15798,"tags":15799,"thumbUrl":15808,"material":665,"size":15809,"collection":44,"collections":15810,"showCount":15736,"zanCount":1547,"manualWeight":48,"mainColor":49},221914,"jiao-lin-zhuo-jiu-tu-chen-hong-shou-221914","蕉林酌酒图","该图设色画夏日庭园，湖石玲珑，蕉竹摇翠，月季盛开。花石丛中，一老人傍石案，手把古爵，悠然酌酒。下有一仕女、一婢女，正忙于漉酒。画面器物，如鼎、壶、琴、书等，皆为古物，反映出主人的身份，是一位超然世外的好古博雅之士。\n线条:全画线条细劲，画法全用细劲的线描勾勒而成，衣褶用笔，细劲清圆，芭蕉奇石用笔简净而抑健，线条有如刀刻，呈现出刚柔、曲折，变化多端，功力极其精湛。其线描的长短、疏密、粗细均服从于写实要求，更多地按照画面构成的需要，产生一种略有装饰的效果，具有较高的审美价值。赋色淡雅透明，即使古铜器上的石绿、石青锈斑，也不作浓涂厚抹。\n色彩:此画总体来说，以青绿冷色凋为主，仅在蕉花、靠垫和仕女的内衣部位点染朱红，万绿丛中有几点红，因而观之对比鲜明而强烈，色彩较为艳丽，但却没有艳俗火气，充分说明画家在用墨设色方面，已达到了炉火纯青的境界。",[23,7,27,28,15800,26,15801,15802,755,4685,795,106,1959,15803,15804,6605,12875,15805,15806,211,15807,14472],"线描","夏日","庭园","漉酒","青铜器","鼎","壶","冷色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722b97356d758cf77ecdb51664e87f38.jpg","纵156.2厘米，横107厘米",[44,45],{"id":15812,"slug":15813,"title":15814,"dynasty":18,"author":1650,"museum":56,"description":15815,"tags":15816,"thumbUrl":15817,"material":27,"size":15818,"collection":42,"collections":15819,"showCount":15736,"zanCount":5,"manualWeight":48,"mainColor":49},221525,"song-shou-tu-ma-yuan-221525","松寿图","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[23,7,24,241,27,29,106,177,1575,176,296,759,340,394,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[42,181,163],{"id":15821,"slug":15822,"title":15823,"dynasty":189,"author":1848,"museum":78,"description":15824,"tags":15825,"thumbUrl":15826,"material":12542,"size":15827,"collection":163,"collections":15828,"showCount":15736,"zanCount":5,"manualWeight":48,"mainColor":271},220776,"song-shi-tu-zhou-wu-zhen-220776","松石图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。在创作思想上继承北宋末年文同、苏轼、米芾等人的文人画理论，提倡遗貌求神，以简逸为上，追求古意和士气，重视主观意兴的抒发。与宋代院体画的刻意求工、注重形似大相径庭，形成鲜明的时代风貌，也有力地推动了后世文人画的蓬勃发展。在元代短短90余年内，画坛名家辈出，其中以赵孟頫、钱选、高克恭、王渊等和号称元四家的黄公望、吴镇、倪瓒、王蒙最负盛名。\n《松石图》凸现在视野中心的只是一棵松树，然而他画的不是直立挺拔的苍松，而是一株干如弯弓，枝干倒长的怪松，它巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇抗怀孤德个性的自喻。\n国家文物鉴定委员会委员、国家文物局文物鉴定资格审核委员、故宫博物院研究员杨臣彬，徐邦达先生入室大弟子,精擅古书画鉴定。上世纪八十年代在民间收藏中发现吴镇《松石图》。《松石图》名款为“梅花道人墨戏”，铃印“梅花庵”、“嘉兴吴镇仲圭书画记”，系清宫旧藏之物。一古松的枝杆横卧上方，松下有湖石水草，构图呈上下两段，留出大片空白，各自为阵且互有联系。用浓墨在树石上点苔，浓重厚密。树石用笔倔强刚劲而不张扬外露，多用中锋，沉着老到，得古松苍劲之质，古松虽老，但无枯涩之感，干淡的用笔不失腴润，墨法鲜活，鲜嫩的水草和斑驳粗重的古松形成鲜明对比。",[23,209,7,24,241,173,177,449,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5441b5aa161a241633f08c79149ce2db.jpg","122.44x46cm",[163,2293],{"id":15830,"slug":15831,"title":15832,"dynasty":76,"author":15833,"museum":9181,"description":15834,"tags":15835,"thumbUrl":15836,"material":15837,"size":15838,"collection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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,7,24,173,242,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa503e8eac49b263916b21cd994b16e19.jpg","水墨,设色,纸本,册页","18×34.5厘米",[181,382],{"id":15841,"slug":15842,"title":15843,"dynasty":54,"author":293,"museum":206,"description":15844,"tags":15845,"thumbUrl":15847,"material":123,"size":15848,"collection":181,"collections":15849,"showCount":15736,"zanCount":1547,"manualWeight":48,"mainColor":49},220432,"tang-ren-hua-xue-jing-tu-yi-ming-220432","唐人画雪景图","这幅画，一座山一座山的描绘，大多形成三角形，有平正古拙的感觉。设色主要填染了石青、石绿，山石以金勾勒纹路表现，尚未有皴纹的使用，画法与李思训青绿山水一派相近。此幅现藏于台北故宫博物院，绢本青绿设色。",[23,7,241,27,29,177,2502,864,1015,35,176,15846],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d5ca5811dfaa4e9fdb31720f68781.jpg","135.4x69.1",[181,45],{"id":15851,"slug":15852,"title":15853,"dynasty":18,"author":474,"museum":782,"description":15854,"tags":15855,"thumbUrl":15856,"material":342,"size":15857,"collection":181,"collections":15858,"showCount":15736,"zanCount":5,"manualWeight":48,"mainColor":94},220353,"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","此作景物结构近似宋徽宗 〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[23,7,24,241,173,177,29,176,37,1015,491,2125,652,563,12724,1038],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[181,42],{"id":15860,"slug":15861,"title":15862,"dynasty":99,"author":170,"museum":1429,"description":1430,"tags":15863,"thumbUrl":15864,"material":803,"size":1434,"collection":139,"collections":15865,"showCount":15736,"zanCount":48,"manualWeight":48,"mainColor":49},220058,"hu-qiu-shi-er-jing-tu-ce-9-shen-zhou-220058","虎丘十二景图册-9",[23,209,7,24,81,173,177,106,394,176,108,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3884057356be4c3470aff4ddb99ae920.jpg",[],{"id":15867,"slug":15868,"title":15869,"dynasty":18,"author":15870,"museum":206,"description":15871,"tags":15872,"thumbUrl":15874,"material":27,"size":15875,"collection":90,"collections":15876,"showCount":15736,"zanCount":1547,"manualWeight":48,"mainColor":49},219945,"zhong-si-mian-die-tu-han-you-219945","螽斯绵瓞图","韩祐","本幅选自“宋元集绘”册第十三开。描写田间一角，花叶生长茂盛，瓜果也已熟透，引来了两只觅食的螽斯。",[23,209,7,24,28,27,712,15873,698,62,697],"瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233d23d19042c4fdd48f185c470972b0.jpg","25.3 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。\n《富贵白头图》为纸本，设色，纵12.1厘米，横74.82厘米，收藏于 。\n图中所绘牡丹艳放，在春风中姹紫嫣红，争奇斗妍，引得蜜蜂、蝴蝶在花间流连嬉戏，石上停息着一双白头翁鸟，神态娴静，与喧闹的蜂蝶相映成趣。\n湖石坚实厚重，衬出花卉的秀美。\n图中偏右一侧一块硕大而玲珑剔透的太湖石兀然而立，湖石的周围一丛盛开的牡丹，姹紫嫣红，争奇斗艳，或低首沉吟，或迎风怒放，引来一群蜜蜂、彩蝶在花丛之中追逐嬉戏，流连忘返，给人一种明媚而又温暖的春天气息。\n在湖石的上端栖停着一对白头翁鸟，一俯一仰，怡然自得，与上下翻飞，喧闹不已的蜂蝶，一动一静，相映成趣，美不胜收。\n该画鸟、蜂、蝶以工笔重彩画出，形态生动。\n花朵的红色、粉色、黄色晕染，非常写实。\n敷以深浅绿叶，以浓墨和红色勾筋。\n线条圆润饱满，叶片清秀洒脱，疏密有致；设色浓淡相依，明丽艳秀。\n而花中奇石用积墨与淡墨晕染相结合绘出，素雅动人。\n在绘画技法上，整幅画作的格调极为工致，造型准确，赋色艳丽，然而却又没有丝毫单滞、艳俗之感，可算得是居氏画作中的精品。\n（1828-194），字古泉，自号隔老人，广西桂林人，占籍广东番禹（今广州），居巢之堂弟。\n善画花鸟、草虫及人物，尤以写生见长。\n初学宋光宝及孟丽堂，亦得恽南田遗意，后吸收诸家之长，自成一体。\n笔法工整，设色妍丽，在继承和发展恽南没骨画法的基础上，创造出撞水法和撞粉法，为岭南派的重要奠基人之一，“二高一陈”皆出自其门下。\n《富贵白头图》自识“丁亥”，应为光绪十三年，也即公元1887年，乃其晚年之笔。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。",[23,7,24,241,28,27,83,327,3964,604,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575773c294369c3e892af56386f46796.jpg",[],{"id":16039,"slug":16040,"title":16041,"dynasty":76,"author":427,"museum":132,"description":10986,"tags":16042,"thumbUrl":16047,"material":665,"size":16048,"collection":90,"collections":16049,"showCount":15980,"zanCount":5,"manualWeight":48,"mainColor":94},223163,"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）",[23,7,25,28,27,83,16043,433,1184,312,281,34,840,327,16044,1532,176,109,16045,15283,16046],"百鸟","翠竹","繁花","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[90,45],{"id":16051,"slug":16052,"title":16053,"dynasty":99,"author":1480,"museum":20,"description":16054,"tags":16055,"thumbUrl":16056,"material":67,"size":16057,"collection":181,"collections":16058,"showCount":15980,"zanCount":48,"manualWeight":48,"mainColor":49},222346,"bu-xi-tu-tang-yin-222346","步溪图","一人徐步缓行，一人与之相对而立，神态怡然。衣纹洗练流畅，衣袖随风飘舞，生动刻画了悠闲自在的隐士形象。用笔苍秀，构图高远，画格既有南宋[院体]画遗风，又具有元代文人画秀雅的特色。右上自题诗云：[卜宅临溪上，开门近步头。渔樵通互市，耕钓是贻谋。山晓青排闼，波晴绿漾舟。主君朝学海，枕石漱清流。姑苏侍生唐寅作《步溪图》并题奉呈黎老大人先生。]下钤二印。",[23,7,173,177,29,241,34,176,106,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff633694d671ff94560b7fe877887ca21.jpg","纵159厘米，横84.3l厘米",[181,163],{"id":16060,"slug":16061,"title":16062,"dynasty":18,"author":1650,"museum":206,"description":16063,"tags":16064,"thumbUrl":16065,"material":16066,"size":16067,"collection":42,"collections":16068,"showCount":15980,"zanCount":1547,"manualWeight":48,"mainColor":49},221522,"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","此图描写大雪封山的清晨，一山民赶着两只身驮木炭的小毛驴在白雪皑皑的山间行走。山民衣着单薄，弓腰缩颈，使人感到雪天寒气逼人。毛驴、竹筐、木炭及人物衣纹均用干笔钩勒，并施以水墨渲染。\n作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[23,7,209,24,173,27,177,106,8989,3499,1015,176,561,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[42,181,163],{"id":16070,"slug":16071,"title":16072,"dynasty":18,"author":10675,"museum":206,"description":16073,"tags":16074,"thumbUrl":16075,"material":27,"size":16076,"collection":42,"collections":16077,"showCount":15980,"zanCount":5,"manualWeight":48,"mainColor":49},221456,"qie-zi-tu-juan-chen-ju-zhong-221456","茄子图卷","陈居中（生卒年不详），南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年（1207年）为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。 虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[23,209,7,24,25,28,27,12652,225,1461,712,1729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 191.2",[42,90,45],{"id":16079,"slug":16080,"title":16081,"dynasty":189,"author":1672,"museum":206,"description":16082,"tags":16083,"thumbUrl":16084,"material":803,"size":16085,"collection":163,"collections":16086,"showCount":15980,"zanCount":48,"manualWeight":48,"mainColor":49},220792,"gu-mu-zhu-shi-tu-zhou-ni-zan-220792","古木竹石图轴","《古木竹石图轴》绘坡石间疏竹数丛，枯树两株，笔墨浓淡相间，富有层次感，境界清旷，意境简远，呈现出一片清静幽远的气象。画轴上方有元明余诠、唐肃、高巽志、于思缉、张简、吴卢充、王璲等七处题诗。",[23,7,24,241,173,177,245,242,394,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575c01e50d18d2d517bef35aebf5ff48.jpg","47x27.4",[163,2293],{"id":16088,"slug":16089,"title":16090,"dynasty":76,"author":3679,"museum":206,"description":16091,"tags":16092,"thumbUrl":16093,"material":88,"size":3684,"collection":139,"collections":16094,"showCount":15980,"zanCount":5,"manualWeight":48,"mainColor":94},220334,"cao-chong-hua-hui-hu-shi-si-ping-xiu-qiu-ju-lian-220334","草虫花卉湖石四屏-绣球","这四屏分写牡丹、凌霄、绣球、紫薇等时卉，并配以湖石、蜂、蝶、知了、螳螂。于精密写实之外，饶富没骨花卉清新典丽的特质，虽因重装颜色稍褪，犹可清晰得见居氏惯采的撞水与撞粉画技，笔法工整，设色妍丽，让人赏心悦目。",[23,7,24,83,241,28,27,12508,604,4685],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245a38d04b5ce9f9c1b46c5c7acdf76a.jpg",[],{"id":16096,"slug":16097,"title":16098,"dynasty":189,"author":1672,"museum":206,"description":16099,"tags":16100,"thumbUrl":16101,"material":381,"size":16102,"collection":181,"collections":16103,"showCount":15980,"zanCount":48,"manualWeight":48,"mainColor":94},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[23,7,24,241,173,177,29,1575,4675,340,491,5066,298,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","纵83.4厘米，横52.9厘米",[181],{"id":16105,"slug":16106,"title":16107,"dynasty":99,"author":100,"museum":78,"description":16108,"tags":16109,"thumbUrl":16110,"material":342,"size":139,"collection":44,"collections":16111,"showCount":15980,"zanCount":5,"manualWeight":48,"mainColor":94},219403,"liu-xia-mian-qin-tu-zhou-chou-ying-219403","柳下眠琴图轴","柳丝轻垂，拂过苍劲老干，似携幽微风意。树下文人斜卧，衣袂舒展，琴置身侧，眉宇间尽是悠然散淡。童子捧物而立，眸中带着稚气的专注，悄然侍立，不扰这份清宁。山石寥寥数笔见嶙峋之态，草色浅淡更衬天地宽闲。笔墨工致中藏写意，线条柔中带刚，将文人林下之趣、物我两忘的心境悄然铺展。仿佛能闻柳间蝉鸣，听风过琴弦余韵，一派魏晋风骨般的疏朗自在，尽在尺幅间流转。",[7,24,241,28,173,27,106,1532,6605,245,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e410afa50f999f6c817fada7ee75f.jpg",[44],{"id":16113,"slug":16114,"title":16115,"dynasty":18,"author":4266,"museum":9644,"description":16116,"tags":16117,"thumbUrl":16118,"material":342,"size":16119,"collection":139,"collections":16120,"showCount":15980,"zanCount":48,"manualWeight":48,"mainColor":94},219190,"xiao-xiang-ba-jing-dong-ting-qiu-yue-mu-xi-219190","潇湘八景-洞庭秋月","薄雾似纱轻笼水面，远山隐于烟霭，如黛色剪影浮在天际。一叶扁舟孑然，渔翁身影模糊在夜色里，船尾涟漪搅碎秋月清辉。近岸树影婆娑，墨色淡染，似与雾气相融。天地静得只剩呼吸，秋夜凉意随淡墨游走，每一笔都透着禅意空灵。简淡笔触里藏着洞庭秋夜的幽远，观者仿佛听见水波轻响，看见月光洒在船舷，心沉入静谧烟波深处，触到自然最本真的呼吸。",[23,7,24,1397,173,446,1038,29,300,174,37,34,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbf818004329886216e8020600b6c8e.jpg","29.4x93.1厘米",[],{"id":16122,"slug":16123,"title":16124,"dynasty":18,"author":293,"museum":101,"description":16125,"tags":16126,"thumbUrl":16130,"material":123,"size":139,"collection":181,"collections":16131,"showCount":15980,"zanCount":1547,"manualWeight":48,"mainColor":49},219171,"si-ji-shan-shui-tu-yi-ming-219171","四季山水图","长卷铺展，四季流转于笔墨间。山石以斧劈皴勾勒，棱角分明如剑戟森立；树木或葱郁或萧疏，枯荣交替藏时序更迭。江波浩渺，帆影点点，山间屋舍隐现，行人穿梭林泉，尽显天人合一之趣。墨色浓淡相宜，虚实相生：远处山峦笼薄雾，近处景物纤毫毕现，层次深远如临其境。整幅画作兼具北派雄健风骨与南派秀逸雅致，于咫尺间纳千里江山，既见宋代山水画的精湛技法，更藏文人对自然时序的细腻感知与哲思。",[23,7,25,1397,173,12137,176,34,1247,4613,464,116,16127,16128,16129],"四季","天人合一","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9610bad6f53abc741aa292bb661c52c4.jpg",[181],{"id":16133,"slug":16134,"title":16135,"dynasty":18,"author":293,"museum":206,"description":16136,"tags":16137,"thumbUrl":16138,"material":123,"size":16139,"collection":181,"collections":16140,"showCount":15980,"zanCount":1547,"manualWeight":48,"mainColor":1335},218651,"chi-bi-tu-yi-ming-218651","赤壁图","此图边角式的构景，已演化为南宋画之面目，但笔墨的习惯与格式化，则透露出本幅的创作时间已晚至明朝了。本幅乃一叶扁舟为主景的局部山水。用锯齿描精绘漩流急浪，以回身仰望的苏东坡，来暗示出赤壁在画外的高耸。",[23,209,7,24,29,174,106,177,173,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee7fef708e8753e343d91346a2e744b.jpg","24x23.2cm",[181],{"id":16142,"slug":16143,"title":16144,"dynasty":18,"author":4266,"museum":364,"description":16145,"tags":16146,"thumbUrl":16147,"material":88,"size":16148,"collection":44,"collections":16149,"showCount":15980,"zanCount":1547,"manualWeight":48,"mainColor":49},218285,"ji-gong-tu-mu-xi-218285","济公图","画面人物情态鲜活，右侧身影衣衫宽博，神态不羁却藏温煦，似正与周遭人语。周遭老幼或凝神谛听，或俯身趋近，动态毕现。笔墨简括灵动，线条如行云流水，衣衫褶皱寥寥数笔便见洒脱之姿，墨色浓淡相宜，衬出人物神情的真切。背景淡远，更显群像生动。于简约中见真意，随性之笔捕捉瞬间生活气息，又暗蕴禅家超脱与悲悯，笔墨间那份直击人心的生动与温暖，悄然流转。观者仿佛能听见席间笑语，触到那份不拘形骸的自在，于水墨晕染里，感受画中人物的鲜活与烟火气交织的独特韵味。",[209,7,24,173,260,106,176,867,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8931c719123b1f804d7302dcd90dfc65.jpg","26x29",[44],{"id":16151,"slug":16152,"title":16153,"dynasty":99,"author":293,"museum":132,"description":16154,"tags":16155,"thumbUrl":16156,"material":123,"size":16157,"collection":90,"collections":16158,"showCount":15980,"zanCount":48,"manualWeight":48,"mainColor":49},216673,"mei-hua-xiao-niao-tu-yi-ming-216673","梅花小鸟图","梅花小鸟图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了一只小鸟停在一棵梅花树上，周围是一片茂密的树林。图画中使用了精致的线条和细腻的色彩，捕捉了小鸟和树林的美妙景象。这幅图画被认为是明朝时期图画艺术的杰作，具有极高的艺术价值。",[7,24,1562,27,28,83,448,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef71e1b2dede42b0a2dc0768e23aa09f.jpg","24.5x25cm",[90],{"id":16160,"slug":16161,"title":16162,"dynasty":189,"author":1672,"museum":364,"description":16163,"tags":16164,"thumbUrl":16165,"material":743,"size":744,"collection":139,"collections":16166,"showCount":16167,"zanCount":5,"manualWeight":48,"mainColor":94},290911,"tong-lu-qing-qin-zhou-ni-zan-290911","桐露清琴轴","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[209,7,173,241,29,1015,245,4614,227,86,3802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25266acd1f692249a38a65cbc9d8fa.jpg",[],117,{"id":16169,"slug":16170,"title":16171,"dynasty":99,"author":100,"museum":364,"description":16172,"tags":16173,"thumbUrl":16175,"material":743,"size":744,"collection":139,"collections":16176,"showCount":16167,"zanCount":1270,"manualWeight":48,"mainColor":49},287560,"gong-nv-you-yuan-tu-juan-chou-ying-287560","宫女游园图卷","此图中的女子涵盖量是真的不少了，有围坐对弈的，有团团坐斗草的，更有乐器演奏的，梳妆熏香烫衣一样不少，慢慢均是仪式感的古代慢生活",[23,7,25,28,27,758,107,115,4685,16174],"游园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed9f08f4878403d82d79b31123c8e1d.jpg",[],{"id":16178,"slug":16179,"title":16180,"dynasty":99,"author":1083,"museum":20,"description":16181,"tags":16182,"thumbUrl":16183,"material":1280,"size":16184,"collection":44,"collections":16185,"showCount":16167,"zanCount":1270,"manualWeight":48,"mainColor":49},237386,"shi-nv-zhou-chen-hong-shou-237386","仕女轴","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[7,24,241,27,28,106,59,11566,84,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113668156e4a80c8b3cb0d089b3479d4.jpg","纵173.5cm，横95.3cm",[44],{"id":16187,"slug":16188,"title":16189,"dynasty":76,"author":16190,"museum":20,"description":16191,"tags":16192,"thumbUrl":16193,"material":990,"size":139,"collection":90,"collections":16194,"showCount":16167,"zanCount":48,"manualWeight":48,"mainColor":94},237156,"zi-wei-gui-hua-tu-zhou-yun-huai-e-237156","紫薇桂花图轴","恽怀娥","恽怀娥为恽源濬长女，字纫兰，善画花卉， 尤其善画桃，窦镇《国朝书画家笔录》称其“花 卉精雅”，《耕砚田斋笔记》 则称其“著色鲜 润，一本家法”，都是指其花卉画而言，并言 其继承了恽南田一路的“家法”。传世作品目前 仅见有一件《紫薇桂花图轴》（北京故宫博物院 藏），文献著录的作品也仅有一件《岁朝图》（李 玉棻《瓯钵罗室书画过目考·附》）[32]。笔者并未 见过其传世作品，但从李湜《明清闺阁绘画研 究》中可知，“图中花瓣以粉笔带脂点染，气韵 生动，色度变化妙极自然，为其小帧画作中的 佳品”，说明仍然还是恽寿平没骨写生一路 的风格。",[7,241,27,83,3682,1125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6298096c9a83f2e4e2d26c8c1da3a71f.jpg",[90],{"id":16196,"slug":16197,"title":16198,"dynasty":76,"author":4199,"museum":364,"description":16199,"tags":16200,"thumbUrl":16201,"material":139,"size":139,"collection":90,"collections":16202,"showCount":16167,"zanCount":5,"manualWeight":48,"mainColor":94},236537,"xu-gu-san-yu-tu-zhou-xu-gu-236537","虚谷三鱼图轴","虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[7,24,241,27,933,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322ba8e10765708da950451e20edb9d5.jpg",[90,163],{"id":16204,"slug":16205,"title":16206,"dynasty":99,"author":3114,"museum":20,"description":16207,"tags":16208,"thumbUrl":16209,"material":803,"size":7095,"collection":139,"collections":16210,"showCount":16167,"zanCount":48,"manualWeight":48,"mainColor":94},234294,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234294","董其昌山水册","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[7,24,81,173,177,29,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c557e3d03c9fa8ddf25f0c6f8a1e0ef.jpg",[],{"id":16212,"slug":16213,"title":16214,"dynasty":76,"author":5208,"museum":675,"description":16215,"tags":16216,"thumbUrl":16218,"material":803,"size":16219,"collection":181,"collections":16220,"showCount":16167,"zanCount":1547,"manualWeight":48,"mainColor":49},222626,"gua-bi-fei-quan-tu-zhou-gong-xian-222626","挂壁飞泉图轴","此图描绘大山峻岭，云雾缥缈。山腰松林密布，草木葱茏，又有白瀑流涧，可闻水声。溪涧之上架廊桥一座，虽陂陀斜立，却有房合数间。近处古木并立，树荫浓郁，其间山庄院落隐于树林之中，山径通幽处，但闻鸟语声。作者用积墨法层层渲染山石，笔墨厚重，又“留白”以示云烟白瀑，黑白对比强烈。",[23,7,173,177,241,29,176,34,558,16217,175,109,108],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[181,163],{"id":16222,"slug":16223,"title":7218,"dynasty":76,"author":13037,"museum":7875,"description":16224,"tags":16225,"thumbUrl":16226,"material":88,"size":16227,"collection":181,"collections":16228,"showCount":16167,"zanCount":48,"manualWeight":48,"mainColor":49},220430,"you-gu-tu-kun-can-220430","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[23,7,24,241,29,27,177,107,109,176,34,37,106,6070,1575,1444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[181,45],{"id":16230,"slug":16231,"title":16232,"dynasty":18,"author":645,"museum":752,"description":16233,"tags":16234,"thumbUrl":16235,"material":342,"size":139,"collection":181,"collections":16236,"showCount":16167,"zanCount":5,"manualWeight":48,"mainColor":49},219946,"xi-shan-qiu-shuang-tu-guo-xi-219946","溪山秋爽图","此作画境清旷萧疏，以高远、深远之法排布山水。左畔层岩叠起，卷云皴写出山石嶙峋肌理，苍松杂木间植崖谷，枝叶枯荣尽染秋意。右侧留白铺陈溪岸远山，淡墨晕染出空濛秋气，虚实相映，将秋日山林的辽远静穆铺展尽致。\n\n干湿笔墨相济，勾勒皴擦尽显丘壑灵秀，点染林木兼具法度。将秋山的松风漱石、溪岸的澄澈清寂融于一卷，藏着林泉高致的文人意趣，仿佛踏入画中，便可揽尽秋日山岚的高爽清逸。",[7,29,241,67,173,177,9156,649,650,34,560,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a1d6d39da56cd4d6711f5f61995abd.jpg",[181],{"id":16238,"slug":16239,"title":16240,"dynasty":76,"author":77,"museum":78,"description":16241,"tags":16242,"thumbUrl":16243,"material":123,"size":2399,"collection":139,"collections":16244,"showCount":16167,"zanCount":1270,"manualWeight":48,"mainColor":94},219815,"hua-hui-shi-kai-8-yun-shou-ping-219815","花卉十开-8","此作以没骨法绘鸢尾，淡紫花瓣晕染柔润细腻，深浅紫韵自然晕开，将含露轻绽的娇柔情态尽致铺陈。叶片以汁绿分染，浅赭醒出叶筋，苍润舒展，与柔花形成刚柔互衬的清和意趣。\n\n左侧题书与花绘相映，诗画交融，逸韵悠然。全作弃墨线勾勒，以色造型，明洁秀润尽显清逸冶丽之风，将花草天趣与文人情思相融，淡冶之中自有静雅高致，是没骨花鸟的精妙佳构。",[209,7,24,81,82,27,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff281040b68aa6c58226f8690b30d0dcf.jpg",[],{"id":16246,"slug":16247,"title":16248,"dynasty":18,"author":293,"museum":16249,"description":16250,"tags":16251,"thumbUrl":16252,"material":342,"size":139,"collection":44,"collections":16253,"showCount":16167,"zanCount":1547,"manualWeight":48,"mainColor":49},219578,"fang-zhou-wen-ju-gong-zhong-tu-yi-ming-219578","仿周文矩宫中图","哈佛艺术博物馆","纯以铁线白描写就，线条细劲如春蚕吐丝，将仕女丰腴温婉的体态、罗衣垂坠的柔滑质感尽数勾勒。\n画面分作两段，左畔是闺阁梳妆日常：仕女对镜理鬓、净面匀妆，侍女捧具随侍，慵懒柔媚的深闺情态呼之欲出；右畔是宴乐场景，乐伎拨弹箜篌、吹奏丝竹，凝神专注的姿影静中藏动，恍若有清乐绕梁。\n素笔无彩却形神兼备，精准复刻出唐风仕女的雍容韵致，将深宫闲雅日常铺陈开来，尽显古典白描人物画的线条表现力与叙事意趣。",[23,7,24,25,260,106,59,210,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0e9606ed2bb57682b7a0e21098e2c3.jpg",[44],{"id":16255,"slug":16256,"title":16257,"dynasty":18,"author":293,"museum":364,"description":16258,"tags":16259,"thumbUrl":16260,"material":123,"size":139,"collection":42,"collections":16261,"showCount":16167,"zanCount":48,"manualWeight":48,"mainColor":49},218401,"e-xi-tu-yi-ming-218401","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[23,7,209,1562,28,27,10065,243,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[42],{"id":16263,"slug":16264,"title":16265,"dynasty":76,"author":10376,"museum":20,"description":16266,"tags":16267,"thumbUrl":16268,"material":123,"size":16269,"collection":181,"collections":16270,"showCount":16167,"zanCount":48,"manualWeight":48,"mainColor":49},218366,"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[23,7,24,25,173,27,29,4501,30,34,558,175,37,176,35,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[181],{"id":16272,"slug":16273,"title":16274,"dynasty":76,"author":707,"museum":206,"description":708,"tags":16275,"thumbUrl":16276,"material":88,"size":139,"collection":139,"collections":16277,"showCount":16167,"zanCount":48,"manualWeight":48,"mainColor":94},214855,"xie-sheng-ce-9-hua-yan-214855","写生册-9",[7,24,81,27,83,224,242,3963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368bbeff93155c53a4c9aede55749065.jpg",[],{"id":16279,"slug":16280,"title":16281,"dynasty":99,"author":16282,"museum":206,"description":16283,"tags":16284,"thumbUrl":16286,"material":381,"size":16287,"collection":382,"collections":16288,"showCount":16167,"zanCount":5,"manualWeight":48,"mainColor":94},214208,"qi-yan-lv-shi-wang-feng-yuan-214208","七言律诗","王逢元","王逢元以书名于当世，或有人议其真书稍肥，而顾麟则说他庄重沉稳，没有轻浮和机巧，他有钟、王的唯一传承。周辉还说，他最早是跟王羲之和智永学习书法，晚年则是黄庭坚，王逢元用普通文字写了九首七言诗，笔触中带着山谷的气息。",[23,7,24,86,241,178,16285],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69f4760d3de1a5ad0f1c1c1aaf46d46e.jpg","81.9x38.6",[382],{"id":16290,"slug":16291,"title":16292,"dynasty":204,"author":5076,"museum":364,"description":16293,"tags":16294,"thumbUrl":16295,"material":743,"size":744,"collection":139,"collections":16296,"showCount":71,"zanCount":5,"manualWeight":48,"mainColor":49},290143,"yao-miao-san-tu-tu-huang-ju-cai-290143","药苗三兔图","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[7,209,25,28,27,83,2786,281,84,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb438f57aef3d2f318cc466e59d223e48.jpg",[],{"id":16298,"slug":16299,"title":6854,"dynasty":76,"author":2804,"museum":36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在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[7,24,209,241,173,27,177,29,16310,60,176,34,106,560,503],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","纵123.8cm，横62.6cm",[],{"id":16315,"slug":16316,"title":16317,"dynasty":76,"author":1204,"museum":364,"description":16318,"tags":16319,"thumbUrl":16321,"material":139,"size":139,"collection":139,"collections":16322,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":94},230279,"yang-liu-yu-qin-tu-zhou-zhu-da-230279","杨柳浴禽图轴","《朱耷杨柳浴禽图轴》是清代朱耷创作的一幅画。\n本幅自识：“癸未冬日写，八大山人。\n”钤“八大山人”、“何园”、“真赏”印。\n“癸未”是康熙四十二年（17年）。\n鉴 ：“白门李氏珍藏”、“米舫平生之真赏”。\n裱边有狄平子题记二则，钤“狄平子”印等。\n此图是朱耷8岁所作。\n风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。\n此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。\n八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[23,7,24,241,173,446,83,245,16320,281,227],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919edce87f0eaaf6b6bab59b57d7634d.jpg",[],{"id":16324,"slug":16325,"title":9971,"dynasty":18,"author":146,"museum":364,"description":16326,"tags":16327,"thumbUrl":16335,"material":139,"size":139,"collection":139,"collections":16336,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":49},227394,"qing-ming-shang-he-tu-juan-zhang-ze-duan-227394","《清明上河图》卷，北宋，张择端作，绢本，淡设色，纵24.8厘米，横528厘米。\n《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。\n后幅有金张著、明吴宽等13家题记，钤96方印。\n《清河书画舫》、《庚子销夏记》、《式古堂书画记》等书著录。",[209,7,24,25,16328,3963,16329,16330,16331,6921,112,152,16332,113,151,11734,16333,117,16334,116,157],"淡设色","散点透视","汴河","虹桥","漕船","市井人物","城市生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6d5b509133b871c36ef9d9b4df3ba5.jpg",[],{"id":16338,"slug":16339,"title":16340,"dynasty":76,"author":9280,"museum":20,"description":16341,"tags":16342,"thumbUrl":16347,"material":16348,"size":16349,"collection":139,"collections":16350,"showCount":71,"zanCount":1118,"manualWeight":48,"mainColor":1335},223246,"wu-liang-shou-fu-tu-ding-guan-peng-223246","无量寿佛图","祥云朵朵，周围站立四大金刚及佛祖两大弟子伽叶、阿难，前有女信徒合掌跪拜，旁立哼、哈二将。线条工细，佛像脸部、手部及莲座，均用晕染法，显出明暗凹凸之感。以''钉头鼠尾''描表现的衣纹于规整中又平添几分洒脱。采用''勾勒填金''的方式，以泥金为墨绘在瓷青纸上，使画面色泽深重雅丽。",[23,368,7,209,28,16343,27,259,106,16344,16345,16346,107,261,227],"描金","佛","弟子","护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ded1bcb112cae3a4d25a8535de94a4.jpg","瓷青纸金画","纵99．3厘米，横61．9厘米",[],{"id":16352,"slug":16353,"title":16354,"dynasty":76,"author":15408,"museum":20,"description":16355,"tags":16356,"thumbUrl":16357,"material":88,"size":16358,"collection":90,"collections":16359,"showCount":71,"zanCount":1270,"manualWeight":48,"mainColor":94},219285,"tao-liu-shuang-yan-tu-ren-xiong-219285","桃柳双燕图","杨柳青青随风摇曳，桃花几株隐现其中，枝头上两只燕子正欢快地嬉戏。画家巧妙地通过弯曲的柳条和燕子的上下飞舞增加了画面的动感，暗示出轻拂花柳的春风。画面风貌写实，设色明丽，色彩对比柔和，桃花在柳条间若隐若现，成为画面中最明丽的亮点，可见画家在色彩运用上的娴熟技艺。",[23,7,27,83,241,279,3246,10497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f133d7080974e75316cc983e4b2b15.jpg","纵140.7厘米，横32.7厘米",[90],{"id":16361,"slug":16362,"title":16363,"dynasty":18,"author":293,"museum":132,"description":16364,"tags":16365,"thumbUrl":16367,"material":123,"size":139,"collection":90,"collections":16368,"showCount":71,"zanCount":5,"manualWeight":48,"mainColor":49},218950,"cao-chong-tu-yi-ming-218950","草虫图","藤蔓如蚓，蜿蜒牵惹着几片翠叶与明黄的花，柔劲的线条里藏着自然的生趣。笼栅细劲，圈住一只草虫——翅翼的纹理纤毫毕现，触须轻颤似在嗅闻叶间清香，敛足欲跃的姿态，让静穆画面漫出一丝灵动。绢本的古褐底色如陈年书卷，淡绿与嫩黄的晕染，似将春日温煦凝在绢上。\n\n宋人画草虫向来重写实却不泥于形，这帧小品无浓墨喧阗，只有对生命细微处的温柔体察：藤蔓卷舒、花叶轻颤、草虫意态，都藏着文人案头的闲雅时光。风过叶隙时，仿佛能听见那若有若无的虫鸣，漫溢出清宁的田园况味，古雅的色调里，沉淀着时光的温煦与悠然。",[23,7,28,27,83,603,697,698,1461,16366],"虫笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd768168c81591ad3b140352772d501.jpg",[90,42],{"id":16370,"slug":16371,"title":16372,"dynasty":18,"author":293,"museum":206,"description":16373,"tags":16374,"thumbUrl":16375,"material":123,"size":16376,"collection":42,"collections":16377,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":94},218811,"jie-hua-lou-ge-2-yi-ming-218811","界画楼阁2","这幅画和另一幅亭子的边框画应该是同一个人在同一时间画的，但这幅画离建筑更近一些，这使它更富丽堂皇。在这幅山崖画中，笔触与马、夏相似，但有相同的魅力。",[7,24,104,81,27,107,29,34,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4826f7703c0edc976ee25967d7cb579d.jpg","23.9x26.1",[42],{"id":16379,"slug":16380,"title":16381,"dynasty":18,"author":7349,"museum":752,"description":16382,"tags":16383,"thumbUrl":16384,"material":123,"size":16385,"collection":181,"collections":16386,"showCount":71,"zanCount":1547,"manualWeight":48,"mainColor":94},218036,"xue-shan-xing-lv-tu-liang-kai-218036","雪山行旅图","宋朝时期的画家梁楷是一位杰出的画家，其中最著名的作品之一就是《雪山行旅图》。\n\n《雪山行旅图》是一幅山水画，描绘的是一群人在雪山中旅行的场景。图中的人物用简单的线条勾勒出来，而山川、林木则是用浓厚的墨色勾勒出来的，给人以山水画的秀美感受。\n\n在《雪山行旅图》中，梁楷用笔触简练，表现出了雪山的壮丽景色。图中的人物虽然简练，却也能够传达出自然与人斗争的感觉。整幅画给人以清新、舒适的感觉，让人仿佛置身于山间，感受到大自然的魅力。\n\n《雪山行旅图》在宋朝时期是一幅非常具有代表性的作品，因为它体现了宋朝时期山水画的特点。梁楷在这幅画中巧妙地融合了中国传统的山水画风格与西方的透视画法，使得这幅画在当时颇受欢迎。目前，《雪山行旅图》还是许多博物馆和美术馆的珍藏之作。",[209,7,24,173,177,27,29,3499,106,150,1015,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b55a72db1829645297c286ba7aa49e.jpg","24.3x25.7cm",[181],{"id":16388,"slug":16389,"title":16390,"dynasty":76,"author":707,"museum":206,"description":708,"tags":16391,"thumbUrl":16392,"material":88,"size":139,"collection":139,"collections":16393,"showCount":71,"zanCount":5,"manualWeight":48,"mainColor":94},214837,"xie-sheng-ce-23-hua-yan-214837","写生册-23",[7,24,81,28,173,27,83,224,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554a2a03ccf067e9257790a3edcb8044.jpg",[],{"id":16395,"slug":16396,"title":16397,"dynasty":76,"author":293,"museum":206,"description":16398,"tags":16399,"thumbUrl":16400,"material":123,"size":16401,"collection":181,"collections":16402,"showCount":71,"zanCount":1270,"manualWeight":48,"mainColor":94},214660,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-1-yi-ming-214660","乾隆缂丝山水挂屏四轴-1","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[7,1629,27,29,107,34,176,1329,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9319e86c70e3c72abbd72d15b43374.jpg","93.8x25.6",[181],{"id":16404,"slug":16405,"title":16406,"dynasty":18,"author":15479,"museum":364,"descript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一日，友人赠我文湖州墨竹一枝，与坡仙画枯木图高下一般，不差分毫， 喜曰：此天成配偶也！如张华之雄剑遇雷焕之雌剑， 遂合于延平之津，神物有对，终必合也，此卷亦然。遂粘为一卷， 名曰：二妙事岂偶然哉？至正十五年岁在乙未十月上浣，高昌伯颜不花苍岩谨识。济南邢侗子愿鉴定。",[23,7,24,25,173,242,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc715dfe5b99d815d10e9ee48591023.jpg","纵23.4厘米，横87厘米",[163,2293],{"id":16484,"slug":16485,"title":1692,"dynasty":18,"author":823,"museum":1985,"description":16486,"tags":16487,"thumbUrl":16488,"material":16489,"size":16490,"collection":42,"collections":16491,"showCount":16411,"zanCount":48,"manualWeight":48,"mainColor":49},221507,"shan-shui-tu-xia-gui-221507","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等",[23,7,173,29,177,34,176,175,490,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab5472f3ba598d3a5927e16ecc79efb.jpg","绢本 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疾步狂呼，张着脖子歇斯底里的模样。 画家把六祖藐视宗教旧传统时这种玩世不恭的狂态，用干枯的焦墨勾线表现得淋漓尽致。画面笔触方折细劲，僧衣用线简括削劲，松针、树枝用笔爽利干净，眉眼五官和经卷则以淡墨略作勾画，六祖慧能撕经时狂颠和玩世不恭的神态已跃然纸上。",[23,7,24,209,241,173,10247,106,1015,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8195d6c6a142b8cfd17fc7dbb04a9365.jpg","70x30.3厘米",[163],{"id":16529,"slug":16530,"title":16531,"dynasty":18,"author":293,"museum":206,"description":16532,"tags":16533,"thumbUrl":16534,"material":123,"size":16535,"collection":42,"collections":16536,"showCount":16411,"zanCount":1547,"manualWeight":48,"mainColor":49},218797,"hua-hu-tu-yi-ming-218797","画虎图","这幅画上的签名是 袁桂珍画虎。在面板的左侧是 归真 的签名，似乎已经被改变。因此需要进一步研究，以确定这幅画是由 归真 还是 李 姓画家创作的。画中，旷野荒凉，松树茂盛，绿竹随风飘荡，溪水潺潺。中国的习俗是把鹰和虎都画在一起。'虎'字形容地势雄伟险要，'鹰'字指的是雄伟壮丽的人才展示。这是一种比喻方式，表达了一种优越的地位和挥舞大权的能力。对于古代画家来说，老虎并不像今天这样容易看到，这幅画对老虎的形态描绘得非常精致，是中国绘画史上最好的作品之一。画风的上限可能早于元代，但可能是南宋的作品。",[23,7,1562,27,177,7281,957,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15501d2a2c11b6aebfe96cf28f72ce0c.jpg","25.6x26.6",[42],{"id":16538,"slug":16539,"title":16540,"dynasty":18,"author":2029,"museum":206,"description":16541,"tags":16542,"thumbUrl":16543,"material":123,"size":16544,"collection":181,"collections":16545,"showCount":16411,"zanCount":1270,"manualWeight":48,"mainColor":49},218530,"tian-bao-jiu-ru-tu-liu-song-nian-218530","天保九如图","此卷是刘松年所作，画风精细，似乎是在文征明之后，卷首有宋高宗的题词，但不是真迹。",[23,7,24,25,26,27,28,177,29,107,175,394,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4c2a25e8fe1441ec33f5a675e61a18.jpg","53.8x302.2cm",[181],{"id":16547,"slug":16548,"title":8582,"dynasty":76,"author":293,"museum":132,"description":16549,"tags":16550,"thumbUrl":16551,"material":123,"size":16552,"collection":90,"collections":16553,"showCount":16411,"zanCount":48,"manualWeight":48,"mainColor":49},216675,"zhu-que-tu-yi-ming-216675","竹雀图是一幅出自清朝佚名画家之手的名画。这幅画描绘了一只竹雀和一些竹子的景象。竹雀图以其细腻的线条和精确的造型而闻名，代表了清朝时期中国画的高超技艺。此外，竹雀图还被认为是一幅充满寓意的画作，象征着含蓄、谦虚和高尚的品质。",[7,24,241,27,28,83,242,224,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af219407ce773a050075d6ae42b557d.jpg","128x29cm",[90],{"id":16555,"slug":16556,"title":16557,"dynasty":76,"author":293,"museum":364,"description":16558,"tags":16559,"thumbUrl":16562,"material":743,"size":744,"collection":139,"collections":16563,"showCount":16564,"zanCount":48,"manualWeight":48,"mainColor":94},234412,"qing-ren-lv-cai-shen-xiang-zhou-yi-ming-234412","清人绿财神像轴","画面核心的绿财神身覆翠色，忿怒面容暗含慈悲，踞坐白狮宝座，宝冠披帛华丽庄严，尽显护法尊神的威仪。虚空云海间环布诸位化现圣尊，层次分明；下方雪域山林间，信众牵驼持礼，列队朝奉，烟火供品俱全，融肃穆神性与鲜活世情于一体。\n\n以矿物彩料敷色，青蓝底色衬得诸像明丽厚重，铁线描流畅勾勒衣袂飘逸、瑞兽雄健，精准恪守藏传造像仪轨，又以细腻笔触铺陈出佛国盛景，尽显清代藏式唐卡富丽庄严的独特风韵。",[7,241,26,27,28,259,106,957,11351,150,16560,281,1329,29,16561,63],"狮子","供品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51485349796cab9064d6a260e9da4fb8.jpg",[],114,{"id":16566,"slug":16567,"title":16568,"dynasty":99,"author":1480,"museum":238,"description":16569,"tags":16570,"thumbUrl":16572,"material":6625,"size":16573,"collection":139,"collections":16574,"showCount":16564,"zanCount":1547,"manualWeight":48,"mainColor":94},232644,"hua-shan-tu-tang-yin-232644","华山图","唐伯虎才气横溢，但并不风流，他的诗、书、画被称为三绝，在绘画上，唐寅擅长山水，又工画人物，尤其是精于仕女，画风既工整秀丽，又潇洒飘逸，被称为“唐画”，为后人所推崇。书法源自赵孟頫一体，俊逸秀挺，颇见功夫。此外，他还能作曲，多采民歌形式。如此多才，明代文人中是少见的。\n唐寅早期绘画，“远攻李唐”、“近交沈周”。早期拜吴门画派创始人沈周为师。沈周和周臣都是当时苏州名画家，沈以元人画为宗，周则以南宋院画为师，这是明代两大画派，唐寅虽师周臣，却有胜蓝之誉。唐寅兼其所长，在南宋风格中融元人笔法，一时突飞猛进，以至超越老师周臣，名声大振。",[7,173,177,27,29,176,558,34,109,37,245,1445,16571],"山间建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe916074f76617bd5a06b97eccc3110f2.jpg","116.4x41.4厘米",[],{"id":16576,"slug":16577,"title":16578,"dynasty":99,"author":443,"museum":364,"description":16579,"tags":16580,"thumbUrl":16581,"material":139,"size":139,"collection":139,"collections":16582,"showCount":16564,"zanCount":5,"manualWeight":48,"mainColor":94},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,7,24,25,173,446,227,178,448,452,242,453,243,327,451,450,795,245,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],{"id":16584,"slug":16585,"title":16586,"dynasty":18,"author":1072,"museum":364,"description":16587,"tags":16588,"thumbUrl":16589,"material":139,"size":139,"collection":139,"collections":16590,"showCount":16564,"zanCount":48,"manualWeight":48,"mainColor":49},227964,"pi-pa-xiu-yan-tu-tuan-shan-ye-wu-bing-227964","枇杷绣眼图团扇页","画面中枇杷垂枝，圆实饱满的果子晕染出暖黄熟色，果皮绒毛似可触感，叶片正反层次分明，筋脉勾勒细致，一片残叶添了自然错落的意趣。绣眼鸟栖于枝桠，墨绿羽色莹润光泽，身形小巧灵动，垂首望向满枝鲜果，将禽鸟的娇憨馋态刻画入微。\n\n整幅工笔细腻写实，设色雅致柔和，疏密构图恰到好处，静美的果枝与鲜活的禽鸟相映，定格了初夏果熟禽来的清逸小景，把藏在日常里的诗意娓娓道来，淡而愈真，静中生趣。",[1562,28,27,83,1278,281,7,209,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7715eb3815a372e3b5e1f25007e64c6c.jpg",[],{"id":16592,"slug":16593,"title":16594,"dynasty":204,"author":5076,"museum":364,"description":16595,"tags":16596,"thumbUrl":16597,"material":139,"size":139,"collection":139,"collections":16598,"showCount":16564,"zanCount":1270,"manualWeight":48,"mainColor":94},227547,"shi-liu-tu-ye-huang-ju-cai-227547","石榴图页","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。擅绘花竹禽鸟，精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[23,209,7,24,81,27,28,83,1299,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3694de77f1763de9903d1d4aa0cf2982.jpg",[],{"id":16600,"slug":16601,"title":16602,"dynasty":76,"author":16603,"museum":364,"description":16604,"tags":16605,"thumbUrl":16606,"material":139,"size":139,"collection":139,"collections":16607,"showCount":16564,"zanCount":48,"manualWeight":48,"mainColor":94},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咸丰三年（1853）太平天国克扬州，迁邵伯，又迁郭村，逾年返扬。有请画南北斗星君像，乃诣蕃厘观图其塑像为稿本，其虚心若此。篆刻效法汉印，为画名所掩。卒年八十四。",[7,24,81,28,27,106,59,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bcbec6b44d875f6875f0d4a4e8faa49.jpg",[44],{"id":16760,"slug":16761,"title":16762,"dynasty":76,"author":953,"museum":364,"description":16763,"tags":16764,"thumbUrl":16766,"material":40,"size":16767,"collection":90,"collections":16768,"showCount":16724,"zanCount":48,"manualWeight":48,"mainColor":94},234983,"hua-hui-ling-mao-ping-ren-yi-234983","花卉翎毛屏","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[7,27,83,241,28,4538,84,2952,16765],"枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd890e2f692a2d99201f17f205a6278b8.jpg","149 x 61 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叶果实又仿效徐崇嗣的“没骨”画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,209,7,24,241,28,27,83,242,604,801,62,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caf6fb1a56d046b3a504e74b2fa9ef8.jpg","轴，绢本设色","纵99 4厘米，横54 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《对泉图》时也称他“学叔明（王蒙字）能脱塞实之习，自然高雅”。",[23,209,7,24,241,173,27,177,29,108,109,34,176,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15565c9a8c4a1de8ad94b72defc1db1d.jpg","纵122.4厘米，横38.9厘米",[181],{"id":16876,"slug":16877,"title":16878,"dynasty":18,"author":1616,"museum":206,"description":16879,"tags":16880,"thumbUrl":16884,"material":123,"size":16885,"collection":44,"collections":16886,"showCount":16724,"zanCount":5,"manualWeight":48,"mainColor":49},218162,"wen-ji-gui-han-tu-ce-li-tang-218162","文姬归汉图册","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[7,24,81,27,28,106,16881,113,16882,16883],"帐篷","胡地","毡房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66d2ebe72e8271220a920899a0213a3.jpg","50.7x39.7",[44],{"id":16888,"slug":16889,"title":11436,"dynasty":76,"author":1204,"museum":364,"description":11437,"tags":16890,"thumbUrl":16891,"material":743,"size":744,"collection":139,"collections":16892,"showCount":16893,"zanCount":48,"manualWeight":48,"mainColor":94},288642,"gu-mu-shuang-ying-tu-zhu-da-288642",[7,173,83,241,4307,543,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fee060243313bb3c67fb5a481c6693.jpg",[],112,{"id":16895,"slug":16896,"title":16897,"dynasty":204,"author":293,"museum":206,"description":16898,"tags":16899,"thumbUrl":16900,"material":743,"size":744,"collection":139,"collections":16901,"showCount":16893,"zanCount":48,"manualWeight":48,"mainColor":49},288517,"huan-yue-tu-yi-ming-288517","浣月图","庭院浓荫覆裹，夜色晕开朦胧柔光。仕女们姿态温婉舒展，正于池畔浣月戏玩。主角掬水揽月，月影随波轻漾，身侧女眷凝神静观，似沉溺在这静夜雅趣之中，案边侍女垂首侍立，屏声静气。\n\n衣袂线条柔婉凝练，寥寥几笔便勾勒出闺阁女子的柔婉体态，设色沉雅古拙，花木石台都晕染着幽幽夜色，将深宫院落的闲谧氛围尽数铺展。全画布景简淡却意蕴悠长，把月下清玩的闲情与深苑夜色相融，古雅沉静里藏着悠悠闺中意绪，尽显古画的含蓄雅致。",[23,7,27,28,106,59,115,84,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccd6842a037fe4359fde0eef99220dd.jpg",[],{"id":16903,"slug":16904,"title":14144,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":16905,"thumbUrl":16906,"material":743,"size":744,"collection":139,"collections":16907,"showCount":16893,"zanCount":5,"manualWeight":48,"mainColor":94},288091,"shan-shui-tu-juan-shi-tao-288091",[23,7,25,24,173,177,29,107,176,1250,109,464,175,1308,178,86,227,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6af245446b0e5843dd2cd8f5b76edc.jpg",[],{"id":16909,"slug":16910,"title":16911,"dynasty":1095,"author":16912,"museum":364,"description":16913,"tags":16914,"thumbUrl":16916,"material":743,"size":744,"collection":139,"collections":16917,"showCount":16893,"zanCount":48,"manualWeight":48,"mainColor":94},283788,"shuang-gou-zhi-lan-tu-lai-chu-sheng-283788","双钩芝兰图","来楚生","此作兼工带写，朱砂点染灵芝，秾丽鲜活，似凝着朝露生机。双钩兰叶以清劲线条勾勒，舒展挺拔，柔韧芝草与挺秀兰叶相映成趣。灵石以淡赭晕染、墨色皴擦，写意空灵，与花草形成刚柔对照。\n左上题字古拙朴茂，笔墨苍劲，书画相融，将祥瑞芝草与清雅幽兰相合，跳出题材俗套，尽显清隽雅致的文人意趣，笔底带着金石韵味，雅致脱俗，是写意与工致的绝佳融合。",[7,24,241,27,16915,28,3529,12102,5508,245,86,227],"双钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b3761fd32db867ee4ee6f60d14068ee.jpg",[],{"id":16919,"slug":16920,"title":16921,"dynasty":76,"author":2804,"museum":364,"description":16922,"tags":16923,"thumbUrl":16924,"material":139,"size":139,"collection":139,"collections":16925,"showCount":16893,"zanCount":5,"manualWeight":48,"mainColor":94},237971,"hua-hui-tu-zhou-wu-chang-shuo-237971","花卉图轴","此作集四季名卉于一纸，错落排布，繁而不杂，生机盎然。以没骨兼写意笔法绘就，牡丹以淡粉晕染花瓣，层层叠叠尽显雍容柔媚，墨色叶片苍劲老辣，金石笔意融于勾勒点染之间，朴拙浑厚。雏菊明黄鲜亮，山茶艳红古雅，白梅冰清玉润，紫藤柔蔓轻垂，诸花神态各异却和谐共生。\n\n题跋错落点缀于花枝空隙，书画相映，金石气与文人气交融氤氲。将文人写意的清雅风骨，与世俗吉庆的美好寄寓相融，尽显独特的雅俗共赏的风韵。",[7,83,27,446,327,453,84,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58e2bc2a21ad008b6c9be203089481b.jpg",[],{"id":16927,"slug":16928,"title":16929,"dynasty":76,"author":2804,"museum":20,"description":16930,"tags":16931,"thumbUrl":16933,"material":990,"size":11523,"collection":139,"collections":16934,"showCount":16893,"zanCount":5,"manualWeight":48,"mainColor":94},233730,"tian-zhu-shui-xian-tu-zhou-wu-chang-shuo-233730","天竺水仙图轴","此图又名《群仙祝寿》。图绘天竺、水仙。构图颇具匠心，水仙顺坡生长取斜势，而参差错落的天竺直、斜之姿兼备，使画面富于变化，情趣盎然。水仙的叶片以墨笔勾线，石绿填色，浓厚的色彩增添了鲜活的生机；高挑的天竺则以写实手法点染而成，其艳丽的嫣红色与水仙的绿色形成冷暖色调的对比，色彩明亮却不俗艳。此作是吴昌硕花卉画的代表作之一。\n天竺、水仙均有长寿之意，且谐“诸仙”之音，是寿意画的常用题材。范湖居士即周闲（1820-1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人。晚清上海重要画家，精于水墨花卉，与任熊、任颐、吴昌硕等相友善。图题“拟范湖居士”，可知此图有借鉴周氏之处。",[7,24,241,83,446,27,173,16932,451,298],"天竺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0176a3a4253556702b5d4630221776.jpg",[],{"id":16936,"slug":16937,"title":16938,"dynasty":76,"author":293,"museum":364,"description":16939,"tags":16940,"thumbUrl":16941,"material":139,"size":139,"collection":139,"collections":16942,"showCount":16893,"zanCount":1270,"manualWeight":48,"mainColor":49},230302,"fang-chou-ying-wang-chuan-tu-yi-ming-230302","仿仇英辋川图","此作用鲜亮石青、石绿晕染勾勒山峦，兼具勾勒骨力与晕染秀润，设色雅致明丽。画幅间烟波浩渺，云气悠然萦绕山谷峰林，村居屋舍错落隐现于林木水岸之间，将辋川别业的林泉意韵铺陈开来。整体意境清旷淡远，把诗意山居化为具象图景，尽显复古工笔青绿山水的雅逸格调，传递出隐世丘园的悠然禅意。",[23,7,24,25,26,27,28,105,29,649,37,34,114,31,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311e89b0c05248950e4ccf7747f51546.jpg",[],{"id":16944,"slug":16945,"title":16946,"dynasty":99,"author":1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“画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[23,7,209,25,26,27,28,177,29,1575,107,176,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],{"id":16964,"slug":16965,"title":16966,"dynasty":76,"author":77,"museum":78,"description":16967,"tags":16968,"thumbUrl":16969,"material":123,"size":2399,"collection":139,"collections":16970,"showCount":16893,"zanCount":5,"manualWeight":48,"mainColor":94},219817,"hua-hui-shi-kai-6-yun-shou-ping-219817","花卉十开-6","此作以没骨法绘就，以色代笔晕染柔润。粉白花瓣清透柔和，从边缘淡紫晕向花心莹白，将海棠怯怯娇柔的姿态尽显。叶片分敷粉绿，色泽过渡自然细润，以劲细线条勾勒叶脉，摹画出叶片舒展之态。\n\n整体格调清逸淡雅，摒弃轮廓勾勒的硬挺，纯以色彩晕染出花木鲜活生机，尽显文人情致里的秀润空灵，仿佛将庭前暮春幽花轻绽之景凝于绢上。笔简意足，将草木柔婉清丽的天趣诗意展现淋漓尽致。",[7,83,81,82,27,28,84,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe782f4173741fead3fb94a5abbe98375.jpg",[],{"id":16972,"slug":16973,"title":16974,"dynasty":99,"author":4904,"museum":206,"description":16975,"tags":16976,"thumbUrl":16978,"material":123,"size":16979,"collection":45,"collections":16980,"showCount":16893,"zanCount":48,"manualWeight":48,"mainColor":94},219463,"zhu-bao-ping-an-tu-lu-zhi-219463","竹报平安图","湖石朴拙矗立，青竹斜曳，叶叶清劲如裁，凌霄花攀缠绽蓝，晕染出柔润鲜活。三只鹌鹑姿态各异，或低首啄食细草，或两两偎依小憩，羽色晕染细腻，绒毛细密宛然。另有枯残秋叶秋意澹澹，衬出庭中一隅的幽寂生机。\n\n此作工写相融，设色雅致恬淡，淡赭底晕开古雅氛围。以幽竹暗合平安意涵，将清秋闲景揉入温润期许，笔致秀逸静美，尽显写生的雅致风神。",[209,7,24,241,27,28,242,431,224,697,16977,1729,227],"枯叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776f1def841c12e7af55aa92f83b859e.jpg","117.9x43.1",[45],{"id":16982,"slug":16983,"title":16984,"dynasty":18,"author":781,"museum":206,"description":16985,"tags":16986,"thumbUrl":16987,"material":342,"size":16988,"collection":44,"collections":16989,"showCount":16893,"zanCount":5,"manualWeight":48,"mainColor":94},218504,"gui-qu-lai-ci-juan-li-gong-lin-218504","归去来辞卷","画面以白描入笔，线条如清风拂柳，婉转间藏骨力。主角策杖徐行，衣袂飘举若流云，眉宇间漾着归隐的释然；仆从负笈紧随，姿态恭谨，似与主人共享归乡的轻悦。笔墨极简却意韵丰沛，无浓彩重墨，却以墨线的缓急粗细，勾勒出辞官归田的恬淡心境。每一笔都浸着文人对田园的向往，墨痕淡处是远离尘嚣的澄澈，线条动处是奔向本心的轻快。观者仿佛随画中人踏过青山，步入炊烟故园，感受那份不恋官场、归向自然的自在安宁。",[7,24,25,260,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6acdec1b46ff1f1232f15cdb6ca0b1c9.jpg","34x898.8",[44],{"id":16991,"slug":16992,"title":16993,"dynasty":99,"author":293,"museum":206,"description":16994,"tags":16995,"thumbUrl":16997,"material":123,"size":16998,"collection":44,"collections":16999,"showCount":16893,"zanCount":48,"manualWeight":48,"mainColor":49},218437,"shi-jia-mu-ni-fu-yi-ming-218437","释迦牟尼佛","该图像描绘了佛祖坐在三个小孩子的身体上，这种仪式很少见。台北故宫的这幅画是由一位不知名的明代艺术家所作，但与宋旭的佛像画有一定的联系，面板上也有他的印记和印章，所以可以说是他的作品。",[7,27,28,259,241,106,16344,14663,430,16996],"衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7058a98101b5e16f2e6e599d46b8955b.jpg","135.7x76.8",[44],{"id":17001,"slug":17002,"title":17003,"dynasty":76,"author":674,"museum":364,"description":17004,"tags":17005,"thumbUrl":17006,"material":803,"size":139,"collection":44,"collections":17007,"showCount":16893,"zanCount":5,"manualWeight":48,"mainColor":1335},217110,"bai-miao-luo-han-10-leng-mei-217110","白描罗汉-10","冷枚（约1669年—1742年），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。清代宫廷画家。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。",[7,24,81,260,259,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af19c162f3cd549674293ab8722bc5f.jpg",[44],{"id":17009,"slug":17010,"title":15247,"dynasty":76,"author":15053,"museum":206,"description":17011,"tags":17012,"thumbUrl":17013,"material":88,"size":139,"collection":90,"collections":17014,"showCount":16893,"zanCount":1270,"manualWeight":48,"mainColor":94},216102,"shu-guo-tu-zhang-xiong-216102","清朝张熊的蔬果图是指18世纪末19世纪初的清朝画家张熊所创作的一幅著名的绘画作品，其中描绘了许多种类的水果和蔬菜。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。\n\n张熊是一位著名的清朝画家，他的蔬果图是他的代表作之一。这幅画作品描绘了许多种类的水果和蔬菜，包括苹果、梨、桃子、柑橘、葡萄、菠萝、香蕉、西瓜、茄子、辣椒、芹菜、芥菜、豆芽等。画中的水果和蔬菜都按照真实的外观进行描绘，颜色鲜艳，造型生动。\n\n张熊的蔬果图是以轮廓线和色彩为主要表现手法的，在描绘水果和蔬菜的同时，还表现了每种水果和蔬菜的独特的形态和质地。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。",[23,7,24,27,28,5767,5769,14746,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf464bdc7825df56f0578c227961066.jpg",[90],{"id":17016,"slug":17017,"title":17018,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":17019,"thumbUrl":17021,"material":743,"size":744,"collection":139,"collections":17022,"showCount":17023,"zanCount":5,"manualWeight":48,"mainColor":94},290181,"hua-hui-si-tiao-ping-wu-chang-shuo-290181","花卉四条屏",[23,7,209,24,241,27,173,83,17020,86,227,4965],"寿桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9dc40faec11aee3f097844ed158d77.jpg",[],111,{"id":17025,"slug":17026,"title":1774,"dynasty":76,"author":77,"museum":364,"description":740,"tags":17027,"thumbUrl":17028,"material":743,"size":744,"collection":139,"collections":17029,"showCount":17023,"zanCount":48,"manualWeight":48,"mainColor":94},235084,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235084",[7,24,81,27,82,83,136,227],"htt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[1] 此画用墨饱满，笔法简炼雄劲",[23,209,7,24,241,173,177,29,176,109,558,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7d65425f3d01c20799553de0d51c58.jpg",[],{"id":17309,"slug":17310,"title":16206,"dynasty":99,"author":3114,"museum":364,"description":17311,"tags":17312,"thumbUrl":17313,"material":139,"size":139,"collection":181,"collections":17314,"showCount":17277,"zanCount":1547,"manualWeight":48,"mainColor":94},234974,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234974","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[7,173,29,34,37,491,177,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e702ea296c830fd9f358026fa00831e.jpg",[181],{"id":17316,"slug":17317,"title":17318,"dynasty":76,"author":2804,"museum":20,"description":8019,"tags":17319,"thumbUrl":17320,"material":139,"size":139,"collection":139,"collections":17321,"showCount":17277,"zanCount":1547,"manualWeight":48,"mainColor":94},233716,"wu-jun-qing-ju-hua-zhou-wu-chang-shuo-233716","吴俊卿菊花轴",[209,7,24,241,27,173,83,453,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9483dd71a4d1eb87931ea04b659d34.jpg",[],{"id":17323,"slug":17324,"title":17325,"dynasty":99,"author":1480,"museum":206,"description":17326,"tags":17327,"thumbUrl":17328,"material":827,"size":17329,"collection":44,"collections":17330,"showCount":17277,"zanCount":1547,"manualWeight":48,"mainColor":94},222366,"yin-he-tu-tang-yin-222366","饮鹤图","《六如居士饮鹤图》画中主人公山中给鹤饮水一事。右侧，有唐寅的题字，为唐寅传世不多的精品之作。历史上的唐伯虎尽管才华出众，有理想抱负，是位天才的画家，但他那愤世嫉俗的狂傲性格不容于这个社会。他一生坎坷，最后潦倒而死，年仅54岁。他临终时写的绝笔诗就表露了他刻骨铭心的留恋人间而又愤恨厌世的复杂心情：“生在阳间有散场，死归地府又何妨。阳间地府俱相似，只当飘流在异乡。”",[23,7,25,173,177,86,227,29,1575,106,60,558,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec58d2f56c2e7c9e604b90f864ec56.jpg","30x210",[44,163],{"id":17332,"slug":17333,"title":17334,"dynasty":99,"author":170,"museum":615,"description":17335,"tags":17336,"thumbUrl":17337,"material":665,"size":17338,"collection":90,"collections":17339,"showCount":17277,"zanCount":5,"manualWeight":48,"mainColor":49},222117,"chun-xuan-tu-shen-zhou-222117","椿萱图","此画的主体为椿萱，双钩设色。图绘千年椿树高大挺拔，枝叶繁茂；树下奇石玲珑，兰草丛生；萱草清柔透明，婀娜多姿；花朵妍丽娇嫩，宛如美女横波微盼。图右上角行书自题七律一首曰：“灵椿寿及八千岁，萱草同生寿亦同。白发高堂进春酒，凤凰飞下影云中。沈周”钤朱文 “沈氏启南”印、白文 “白石翁”印。沈周是个孝子，51岁时其父去世，一直留家照顾母亲，这也是他多次婉辞出仕的理由。其母99岁去世后，他多次创作思萱题材以怀念母亲。\n古代传说大椿长寿，庄子曾经说过“上古有大椿者，以八千岁为春，八千岁为秋”，可见它有多么长寿。因此古人就把它拿来比喻父亲，盼望父亲像大椿一样长生不老。后来为一切男性长辈祝寿，都尊称对方为“椿寿”。又因为当年孔子的儿子孔鲤怕打扰父亲思考问题，“趋庭而过”，快步走过自家的庭院，因此古人就把“椿”和“庭”合起来称“椿庭”，称父亲为“椿庭”。古人不单独把父亲称为“椿”，那毕竟是一棵树，而是称为“椿庭”。将“椿”、“萱”合称“椿萱”即代指父母，父母都健在称为“椿萱并茂”，前引“堂上椿萱雪满头”的诗句就是形容父母都老了，头发都白了。",[23,7,27,28,394,1124,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa835837569826e86e816c94d9ef1b7d0.jpg","纵170.9厘米，横92.8厘米",[90,45],{"id":17341,"slug":17342,"title":17343,"dynasty":189,"author":5444,"museum":1637,"description":17344,"tags":17345,"thumbUrl":17346,"material":665,"size":17347,"collection":181,"collections":17348,"showCount":17277,"zanCount":1270,"manualWeight":48,"mainColor":49},221754,"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[23,7,24,241,27,177,29,175,174,34,176,106,109,1445,38,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[181,45],{"id":17350,"slug":17351,"title":10674,"dynasty":18,"author":17352,"museum":17353,"description":17354,"tags":17355,"thumbUrl":17356,"material":665,"size":17357,"collection":42,"collections":17358,"showCount":17277,"zanCount":1547,"manualWeight":48,"mainColor":49},221678,"wen-ji-gui-han-tu-zhang-yu-221678","张瑀","吉林省博物院","全卷共画十二人，前有胡服官员执旗骑马引道，中间是头戴貂冠、身着华丽胡装、骑着骏马的蔡文姬，马前有两人挽缰，后面还有官员护送，并有猎犬、小驹、鹰相随。画面上风沙漫天、人骑错落有致，互相呼应，神情逼真，塞北风光尽现纸上。\n此图所绘是文姬归汉途中的情景。前端一汉人骑老马引路，肩扛圆月旗，躬背缩首，迎风沙而行，侧后方有一马驹紧紧相随。稍后数步便是画卷中心人物蔡文姬，头戴貂冠，身着华丽胡装， 脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 有的怀抱包裹，有的身背行囊，有的手架猎鹰，有的马上驮着毡毯。画面最后，是一头戴皮帽、身潸窄袖长袍、腰携箭饩、右手架鹰、左手执缰，骑于马上的武士，正驱马追赶行进的队伍，马旁还紧跟一猎犬。",[23,209,7,25,260,28,106,150,61,63,227,1966],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3649796ffeb0f1854f87bb5103aa850a.jpg","纵29cm，横129cm",[42,44,45],{"id":17360,"slug":17361,"title":17362,"dynasty":189,"author":2519,"museum":20,"description":17363,"tags":17364,"thumbUrl":17367,"material":619,"size":17368,"collection":44,"collections":17369,"showCount":17277,"zanCount":5,"manualWeight":48,"mainColor":49},220886,"zhu-ge-liang-xiang-zhou-zhao-meng-fu-220886","诸葛亮像轴","绘诸葛亮手持如意，凭隐囊而坐。隐囊的渊源在印度，汉译佛经中名作丹枕或倚枕，系印度上流社会日常生活中的习用之具。丹枕很早就进入中土（中原），传播时改名为隐囊。此图像中的隐囊既有图式相因的成分，也有着生活中的真实为依凭。",[23,7,24,241,27,28,106,227,11296,17365,17366],"床榻","鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff49140761c7111aa118768ff034947.jpg","纵208.4厘米,横100.6厘米",[44,45],{"id":17371,"slug":17372,"title":17373,"dynasty":189,"author":2519,"museum":12966,"description":17374,"tags":17375,"thumbUrl":17376,"material":17377,"size":17378,"collection":90,"collections":17379,"showCount":17277,"zanCount":48,"manualWeight":48,"mainColor":94},220827,"er-yang-tu-zhao-meng-fu-220827","二羊图","图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。右面的山羊张口睁目，尾巴上翘，身子向右而头部朝左，背部线条自然弯曲，羊毛轻软直长，描绘工细。左面的绵羊昂首而立，身躯朝左，头部右车毛卷而短。全图纯用水墨画出，却显色斑斓之状。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n右边是一只瘦劲的黑山羊，身躯朝右，头部向左，身上又长又直的羊毛画得非常工细，两旁的毛轻软地垂下来。背部线条自然弯曲，描绘工细。黑山羊尾巴上翘，低首蓄势，显得浑身是劲。\n左侧是一只肥硕的绵羊，身躯朝左，头部右转。身上覆着卷毛，以不同色调的墨画出。四条瘦小的腿支撑着身躯，其中三条腿直立，一条则微弯。绵羊昂首而立，从容自若地注视着旁边山羊。\n从画面来看，两羊体表特征差异最明显的是羊毛，山羊毛长而浓密，绵羊毛则短而稀疏。两羊站立的姿势相对，身躯相反。头部的回转呼应，使二者产生密切联系。山羊俯视，绵羊昂首，形成上下对应。山羊蓄势待发，有动感；绵羊神态安详，显得静穆，一动一静，意趣横生。\n此画所绘两羊特点突出、个性鲜明。山羊的毛质通过笔墨的干湿和浓淡加以区分，羊身体各部，如头、耳、眼、双角和四足，都用不同的笔法来强调。两羊的绘画手法，显示出画家熟练的传统画技巧。\n画中除两只羊外，没有任何背景衬托，构图与唐代韩滉《五牛图》颇为类似。赵孟頫或摄取《五牛图》的艺术手法，巧妙吸取了唐画的精致之处。",[23,7,24,25,173,957,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ee4f1fd52c8bf9bf5e327740aaa14.jpg","纸本 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92厘米",[90,45],{"id":17391,"slug":17392,"title":17393,"dynasty":189,"author":293,"museum":206,"description":17394,"tags":17395,"thumbUrl":17397,"material":88,"size":17398,"collection":90,"collections":17399,"showCount":17277,"zanCount":48,"manualWeight":48,"mainColor":94},218857,"yu-zao-tu-yi-ming-218857","鱼藻图","画面中一尾大鱼沉稳游弋，墨色斑驳的鳞纹如晕染的云影，鱼鳍轻摆间似漾开圈圈水纹。下方小鱼灵动活泼，细密银鳞在淡墨水面闪着微光。浮萍点点、水草疏疏，淡赭底色衬得画面清润雅致。笔墨兼具写实与写意，线条勾勒精准生动，晕染层次细腻，将水中生灵的悠然自得与水域的静谧空濛完美融合。观之如临清池，心随鱼游，尽显元代画作对自然生机的诗意捕捉，顿生悠然忘俗之趣。",[7,28,27,227,241,933,367,17396,12272],"藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19a2581b51df18cea45a78fb632c9d0.jpg","141.9x59.6cm",[90],{"id":17401,"slug":17402,"title":17403,"dynasty":18,"author":293,"museum":4535,"description":17404,"tags":17405,"thumbUrl":17406,"material":123,"size":139,"collection":44,"collections":17407,"showCount":17277,"zanCount":1547,"manualWeight":48,"mainColor":1335},218475,"e-mi-tuo-fo-san-zun-xiang-yi-ming-218475","阿弥陀佛三尊像","画面以中央佛尊为核心，两侧胁侍菩萨对称而立，构图均衡庄重。佛身袈裟朱红浓艳，衣纹流转间尽显织物纹理的细腻；菩萨璎珞垂坠、披帛飘拂，纹饰繁复却不失灵动，每一处线条皆勾勒得精准雅致。背景莲座层叠，祥云萦绕，色调古雅沉敛，与主体鲜明色彩形成微妙平衡。整幅画作既流露宗教造像的肃穆神圣，又通过衣饰细节刻画，传递宋代艺术对质感与韵律的极致追求，仿佛能让人触摸到那份跨越时空的宁静慈悲。",[7,259,106,27,28,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b2174681840b9c33a3c7c2fedd82bbe.jpg",[44],{"id":17409,"slug":17410,"title":17411,"dynasty":76,"author":5096,"museum":20,"description":17412,"tags":17413,"thumbUrl":17414,"material":123,"size":17415,"collection":181,"collections":17416,"showCount":17277,"zanCount":5,"manualWeight":48,"mainColor":94},218435,"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[23,7,24,25,26,27,29,177,649,34,560,10380,37,1255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","纵23厘米，横198.7厘米",[181],{"id":17418,"slug":17419,"title":17420,"dynasty":76,"author":293,"museum":539,"description":17421,"tags":17422,"thumbUrl":17423,"material":123,"size":139,"collection":44,"collections":17424,"showCount":17277,"zanCount":1547,"manualWeight":48,"mainColor":94},218429,"yang-gui-fei-you-yuan-ban-hua-yi-ming-218429","杨贵妃游园版画","红衣仕女身姿婉约，凝眸间似含游园的惬意；跪姿侍从持物躬身，恭谨神态跃然纸上。竹栏掩映的庭院里，花木扶疏，石径蜿蜒，衬出几分雅致清幽。右侧人物立于栏侧，目光轻落，似与仕女共享园景之美。画面以流畅线条勾勒衣纹，色彩古朴却明艳，将古典游园的闲适氛围与人物互动巧妙融合。飘动的衣袂、点缀的花木、竹栏的纹理，每一处细节都传递着千年雅致韵味，让人仿佛窥见那段悠然的园居时光，沉浸在古典生活的清幽与闲适中。",[23,7,5188,5189,27,106,59,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0caa96964a9db4f424c1e94abf61435.jpg",[44],{"id":17426,"slug":17427,"title":17428,"dynasty":189,"author":293,"museum":539,"description":17429,"tags":17430,"thumbUrl":17431,"material":123,"size":17432,"collection":44,"collections":17433,"showCount":17277,"zanCount":48,"manualWeight":48,"mainColor":49},218322,"di-shi-san-luo-han-yin-jie-tuo-yi-ming-218322","第十三罗汉因揭陀","铭文表明，这是一套16罗汉中的第13罗汉，其余的已经没有了。笔法工整，颜料精致，是刘墉的遗作。我们不知道灵芝上的苔藓裂纹是否是独一无二的，还是因为绿色石头的失色而造成的。",[23,7,24,241,27,28,259,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71bf7fa5ae17cb049fe8365b643e0e.jpg","126x61.5",[44],{"id":17435,"slug":17436,"title":17437,"dynasty":76,"author":2040,"museum":364,"description":5969,"tags":17438,"thumbUrl":17439,"material":743,"size":744,"collection":139,"collections":17440,"showCount":17441,"zanCount":1270,"manualWeight":48,"mainColor":94},289748,"li-hua-ye-yue-tu-zhou-zou-yi-gui-289748","梨花夜月图轴",[7,209,241,28,27,83,1640,300,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff5dcc5f61ef2890fee967d4bf94603b.jpg",[],108,{"id":17443,"slug":17444,"title":17445,"dynasty":18,"author":7349,"museum":364,"description":17446,"tags":17447,"thumbUrl":17449,"material":743,"size":744,"collection":139,"collections":17450,"showCount":17441,"zanCount":1547,"manualWeight":48,"mainColor":94},289727,"li-bai-xing-yin-tu-liang-kai-289727","李白行吟图","该图描绘了李白的形象，作者梁楷在画面上没有任何背景，只用寥寥数笔画出李白飘飘欲仙，冉冉欲举的形象。他不同于屈原行吟式的忧愤，也不同于杜甫行吟式的深沉，而是浪漫欹侧，嬉笑怒斥的“诗仙”。",[23,209,7,173,106,241,227,446,17448],"行吟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba1e42d1fc4ad5f1a90454310803462.jpg",[],{"id":17452,"slug":17453,"title":5477,"dynasty":18,"author":645,"museum":206,"description":17454,"tags":17455,"thumbUrl":17456,"material":381,"size":17457,"collection":42,"collections":17458,"showCount":17441,"zanCount":48,"manualWeight":48,"mainColor":49},288542,"xue-jing-shan-shui-tu-guo-xi-288542","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[23,209,7,29,173,2502,108,109,174,107,1015,176,6178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379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247.7cm",[],{"id":17491,"slug":17492,"title":17493,"dynasty":189,"author":293,"museum":364,"description":17494,"tags":17495,"thumbUrl":17498,"material":743,"size":744,"collection":139,"collections":17499,"showCount":17441,"zanCount":1547,"manualWeight":48,"mainColor":49},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[23,7,24,25,104,260,28,502,107,16687,149,106,15028,297,17496,118,17497,4873],"宫殿式建筑","龙舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg",[],{"id":17501,"slug":17502,"title":17503,"dynasty":189,"author":293,"museum":364,"description":17504,"tags":17505,"thumbUrl":17506,"material":139,"size":139,"collection":139,"collections":17507,"showCount":17441,"zanCount":5,"manualWeight":48,"mainColor":49},228168,"fang-qian-xuan-hua-niao-hua-yi-ming-228168","仿钱选花鸟画","画面取春日一角，海棠柔枝斜出，白花轻绽，晕染出温润秀雅的底色。两只禽鸟动静相映，一只伫立于高枝，羽色晕染细腻柔和，神态悠然自若；另一只俯身枝桠，似在啄弄新蕊，灵动尽显。右上角飞虫轻掠，更添鲜活生趣。\n\n整幅设色浅淡清丽，勾勒线条柔婉精细，尽得原作花鸟古雅秀润之韵，将春日林禽的恬然意趣收于尺幅之间，笔墨雅致内敛，闲静雅致的小景里，藏着春日最动人的温柔生机。",[23,7,209,24,105,28,27,83,224,62,1062,698,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0e41ae4620431cb6be12a31d46f40a.jpg",[],{"id":17509,"slug":17510,"title":17511,"dynasty":18,"author":15479,"museum":364,"description":17512,"tags":17513,"thumbUrl":17514,"material":139,"size":139,"collection":139,"collections":17515,"showCount":17441,"zanCount":1165,"manualWeight":48,"mainColor":94},227939,"qing-chun-die-xi-tu-li-an-zhong-227939","晴春蝶戏图","《宋李安忠晴春蝶戏图》是南宋画家李安忠所创作的一幅设色扇面画，藏于 。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[23,209,7,24,1562,28,27,83,604,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],{"id":17517,"slug":17518,"title":16477,"dynasty":99,"author":1480,"museum":101,"description":17519,"tags":17520,"thumbUrl":17521,"material":3138,"size":17522,"collection":139,"collections":17523,"showCount":17441,"zanCount":1547,"manualWeight":48,"mainColor":94},222336,"mo-zhu-tu-juan-tang-yin-222336","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,7,24,25,173,242,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109eda6bf170676477b998002e80e269.jpg","29.1x150.2cm",[],{"id":17525,"slug":17526,"title":17527,"dynasty":99,"author":170,"museum":206,"description":2755,"tags":17528,"thumbUrl":17529,"material":803,"size":5116,"collection":139,"collections":17530,"showCount":17441,"zanCount":1547,"manualWeight":48,"mainColor":94},222107,"he-hua-yu-dun-wa-shen-zhou-222107","荷花与蹲蛙",[23,209,7,24,173,446,227,136,10304,137,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa0b35a5a56cdef8fbb2e9da30170c2.jpg",[],{"id":17532,"slug":17533,"title":886,"dynasty":189,"author":9509,"museum":101,"description":17534,"tags":17535,"thumbUrl":17536,"material":27,"size":17537,"collection":163,"collections":17538,"showCount":17441,"zanCount":48,"manualWeight":48,"mainColor":94},221863,"mo-zhu-tu-zhao-yong-221863","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[23,7,209,24,173,86,178,227,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c49ae27cf37c90ce47878755601d49.jpg","26.7×172.7cm",[163,2293],{"id":17540,"slug":17541,"title":17542,"dynasty":54,"author":17543,"museum":206,"description":17544,"tags":17545,"thumbUrl":17546,"material":827,"size":17547,"collection":382,"collections":17548,"showCount":17441,"zanCount":5,"manualWeight":48,"mainColor":94},221081,"shu-pu-quan-juan-sun-guo-ting-221081","书谱全卷","孙过庭","《书谱》为唐代书法家孙过庭所著的书法理论著作。成书于武后垂拱三年，他亲自以草书书写全书。《书谱》共分两卷，内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为 “序”，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为 “谱”，作者生前未能完成，现仅存第一卷。《书谱》对中国书法的影响是非常巨大的，奠定了书法理论的基本框架。其中提到反对写字如同绘画“巧涉丹青功亏翰墨”，认为书法审美观念要“趋变适时”，所谓“质文三变，驰骛沿革，物理常然”，反对把书法当作秘诀，择人而授的保守态度。孙过庭认为习书法应要篆、隶、楷、草四书融合交汇，否则想谈书法，是不可能的。“草不兼真，殆于专谨；真不通草，殊非翰札，真以点画为形质，使转为情性；草以点画为情性，使转为形质。草乖使转，不能成字；真亏点画，犹可记文。回互虽殊，大体相涉。故亦傍通二篆，俯贯八分，包括篇章，涵泳飞自。若毫厘不察，则胡越殊风者焉。”",[23,209,7,24,25,1147,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81244536434fcb124a9a91d41523c4a8.jpg","纵26.5厘米，横900.8厘米",[382,2616],{"id":17550,"slug":17551,"title":486,"dynasty":99,"author":3114,"museum":20,"description":17552,"tags":17553,"thumbUrl":17554,"material":803,"size":17555,"collection":181,"collections":17556,"showCount":17441,"zanCount":5,"manualWeight":48,"mainColor":94},220918,"shan-shui-ce-dong-qi-chang-220918","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,7,173,177,81,86,178,227,29,864,297,430,431,245,35,1329,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[181,163],{"id":17558,"slug":17559,"title":17560,"dynasty":1095,"author":2335,"museum":2336,"description":17561,"tags":17562,"thumbUrl":17564,"material":139,"size":139,"collection":139,"collections":17565,"showCount":17441,"zanCount":5,"manualWeight":48,"mainColor":94},220491,"zhang-da-qian-yang-xiong-du-shu-tu-zhang-da-qian-220491","张大千杨雄读书图","此作用淡墨铺就清寂意境，右侧枯木虬劲苍古，枝桠错落间漫出萧索秋意。嶙峋湖石立在一旁，苔痕轻缀，晕开幽幽古意。\n\n榻上主人眉目疏朗静和，正浸在书卷意趣里神游，身侧侍童垂首伫立，一室安闲自适。案头笔墨横陈，暗合读书主题。\n\n左上角题笔行书舒展雅致，书画相映，文气暗生。全幅以水墨淡绘，摒去浓丽敷色，以极简笔触勾勒人物情态与周遭景致，将贤士沉湎诗书、物我两忘的静穆心境，晕染得淋漓尽致，尽显林下雅逸风流。",[23,7,24,241,173,28,106,245,394,8612,12876,10854,10855,12877,17563,65],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb9c04228945a41faa0f8502855c33b.jpg",[],{"id":17567,"slug":17568,"title":17569,"dynasty":189,"author":293,"museum":206,"description":17570,"tags":17571,"thumbUrl":17572,"material":123,"size":17573,"collection":90,"collections":17574,"showCount":17441,"zanCount":1270,"manualWeight":48,"mainColor":49},219956,"fu-rong-hua-ya-tu-yi-ming-219956","芙蓉花鸭图","画面取境清寂悠然，芙蓉从左畔斜逸而上，莹白花头晕染出柔润娇嫩，墨色叶片苍劲厚重，明暗间衬出花之柔媚与枝叶的朴拙苍润。池沼间两只水鸭亲昵相依，以细笔丝毛刻画翎羽，浓淡墨色晕出绒羽蓬松质感，憨态毕现。浅绿点染浮萍水波，愈发衬出水畔安闲静谧。\n\n工写兼融，设色秀雅沉稳，将花木的柔、禽鸟的憨静交织一处，把秋日池隅的悠然意韵定格绢素，内敛雅致中藏着鲜活生趣，尽显花鸟小品的隽永意境。",[209,7,24,241,28,665,83,450,1061,1060,84,5192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d272febbf98aa5b9a5dc38399cd4a67.jpg","119.3x45.8",[90],{"id":17576,"slug":17577,"title":17578,"dynasty":76,"author":17579,"museum":11116,"description":17580,"tags":17581,"thumbUrl":17582,"material":88,"size":17583,"collection":181,"collections":17584,"showCount":17441,"zanCount":48,"manualWeight":48,"mainColor":94},219932,"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[23,7,24,209,241,27,26,177,29,1575,108,106,35,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[181],{"id":17586,"slug":17587,"title":17588,"dynasty":76,"author":77,"museum":78,"description":17589,"tags":17590,"thumbUrl":17591,"material":123,"size":2399,"collection":139,"collections":17592,"showCount":17441,"zanCount":1547,"manualWeight":48,"mainColor":94},219819,"hua-hui-shi-kai-4-yun-shou-ping-219819","花卉十开-4","此作以没骨法绘就杜鹃，枝桠舒展错落，艳红杜鹃次第绽放在绢素之上。花瓣以色晕染，从浓烈朱红渐过渡到柔粉，边缘轻透灵动，将盛放时的娇柔鲜活尽数呈现。叶片敷色层次分明，苍嫩绿意与丹红花瓣相映，鲜活雅致。\n右上角题诗与绘面呼应，诗画交融，将杜鹃含露待放的山野清灵勾勒入心。整作不用墨骨，纯以色彩塑形晕染，尽显清雅文人意趣，把春日杜鹃的生机定格，静谧间满溢草木蓬勃灵气，藏着笔下花木写意的雅致情致。",[7,24,81,27,82,83,84,4872,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd845887bc2884d5aced37e1e46e150a4.jpg",[],{"id":17594,"slug":17595,"title":17596,"dynasty":99,"author":1480,"museum":539,"description":17597,"tags":17598,"thumbUrl":17599,"material":123,"size":17600,"collection":44,"collections":17601,"showCount":17441,"zanCount":5,"manualWeight":48,"mainColor":49},219791,"xian-shan-ji-xue-tu-wei-tang-yin-219791","仙山积雪图(伪)","以淡赭晕染层叠雪山，留白造境尽显雪域寥廓空寂。红衣胡商与褐驼形成鲜亮色彩反差，醒目亮眼。人物虬髯胡服，牵驼徐行，骆驼憨拙生动，抬蹄缓移，将塞外羁旅的苦寒苍茫尽显笔底。\n\n线条简括写意，舍弃繁复皴擦，以极简色调烘托荒寒辽远的异域氛围，写意间藏质朴厚重，把行者的孤寂与天地的浩渺相融，淡远清旷，尽显萧瑟冷寂的雪域行旅意趣。",[23,7,241,27,106,957,29,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0633bdf79276409a6fb09df39c2199.jpg","纵109.9、横38.9厘米",[44],{"id":17603,"slug":17604,"title":17605,"dynasty":18,"author":474,"museum":206,"description":17606,"tags":17607,"thumbUrl":17608,"material":123,"size":17609,"collection":90,"collections":17610,"showCount":17441,"zanCount":48,"manualWeight":48,"mainColor":49},219243,"la-mei-shan-qin-tu-zhao-ji-219243","蜡梅山禽图","画中有蜡梅一枝，自右下方向左上方挺生，枝细瘦，却用双线勾成，并略加晕染，勾出结节。蜡梅花用勾线填色法画成，疏朗地缀于枝头。一对白头翁安逸地栖于枝上，形态各异，用笔精炼准确，形象生动。",[23,7,24,241,28,27,83,448,1938,451,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e78e323c8fc6210fddf024e14353a71.jpg","纵83.3横53.3厘米",[90,42,45],{"id":17612,"slug":17613,"title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升天 只是象征性的。",[7,27,28,177,29,107,175,108,109,106,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b971ceb4fd2fd33ceb99ce9b77277c4.jpg","180x106.3",[181],{"id":17658,"slug":17659,"title":17660,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":17661,"thumbUrl":17663,"material":743,"size":744,"collection":139,"collections":17664,"showCount":17665,"zanCount":5,"manualWeight":48,"mainColor":94},290459,"shan-shui-qing-ya-tu-ce-shi-tao-290459","山水清雅图册",[209,7,24,81,29,27,177,176,464,12920,491,227,17662],"清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3bd638039d20e8dcda51965ebdcf87c.jpg",[],107,{"id":17667,"slug":17668,"title":17669,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":17670,"thumbUrl":17671,"material":743,"size":744,"collection":139,"collections":17672,"showCount":17665,"zanCount":48,"manualWeight":48,"mainColor":94},283660,"gu-bai-shuang-qin-tu-zhou-zhu-da-283660","古柏双禽图轴",[23,7,209,241,173,83,394,281,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0311e7b30ddf2cabaf3bd0c4bbc710bd.jpg",[],{"id":17674,"slug":17675,"title":17676,"dynasty":99,"author":2917,"museum":364,"description":17677,"tags":17678,"thumbUrl":17679,"material":139,"size":139,"collection":90,"collections":17680,"showCount":17665,"zanCount":48,"manualWeight":48,"mainColor":94},236454,"mei-cha-yuan-yang-zhou-zhou-zhi-mian-236454","梅茶鸳鸯轴","周之冕（生卒年不详），“活跃与嘉靖、万历年间”（据《式古堂书画汇考》卷三十七中所载《周复卿小斋雅致图》中署年“万历甲戌（1574）八月朔”，可将之生卒年具体只嘉靖、万历间。）字服卿，号少谷，长洲(今江苏苏州)人。专擅花鸟画，家中饲养禽鸟，以求在画中得其神韵和形态。花卉则采陈淳、陆治之长，兼工带写，设色鲜妍，自成一家。周之冕与同时代的苏州画家们开创了勾花点叶派，在花鸟画坛上影响了明末及清代的笔墨风格。",[7,24,241,27,83,448,591,2555],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f8f5cd312ad0f599e1c1adbc8ba6c3.jpg",[90,45,382],{"id":17682,"slug":17683,"title":1774,"dynasty":76,"author":77,"museum":364,"description":740,"tags":17684,"thumbUrl":17685,"material":743,"size":744,"collection":139,"collections":17686,"showCount":17665,"zanCount":5,"manualWeight":48,"mainColor":94},235083,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235083",[209,7,24,81,27,82,83,84,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd080a0982598eaf4d529200e5e92e27c.jpg",[],{"id":17688,"slug":17689,"title":17690,"dynasty":76,"author":17691,"museum":364,"description":17692,"tags":17693,"thumbUrl":17694,"material":139,"size":139,"collection":139,"collections":17695,"showCount":17665,"zanCount":5,"manualWeight":48,"mainColor":94},234589,"hai-tang-wan-shan-zhang-zhao-xiang-234589","海棠纨扇","张兆祥","张兆祥(1852年-1908年),，画家， 字和庵。天津人。师从孟绣村，多才多艺，通晓西洋照相技法和诗文书画，尤擅写生，画花鸟，并吸收郎世宁西洋画法，开一代画坛新风，自成一派。其作品传世甚少，尤为宝贵。藏于天津市艺术博物馆的《石榴花》，色彩浓艳，风姿绝伦，堪称珍品。其弟子陆文郁等人也在画坛名噪一时。",[7,24,1562,27,28,83,1563,225,1461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c0b8090cb60efc3ac11e58b2f23728.jpg",[],{"id":17697,"slug":17698,"title":17699,"dynasty":54,"author":255,"museum":364,"description":17700,"tags":17701,"thumbUrl":17702,"material":67,"size":17703,"collection":139,"collections":17704,"showCount":17665,"zanCount":5,"manualWeight":48,"mainColor":1335},232270,"luo-han-tu-zhou-wu-dao-zi-232270","罗汉图轴","吴道子又名道玄，被后人称为“画圣”，开元年间以善画被召入宫廷，擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。存世作品有《送子天王图》，《八十七神仙卷》，《罗汉图立轴》等。",[23,209,7,24,241,259,106,260,27,430,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce47e1d86e72735b929b272c4c741b4c.jpg","148.4x76.6厘米",[],{"id":17706,"slug":17707,"title":17708,"dynasty":99,"author":293,"museum":364,"description":9251,"tags":17709,"thumbUrl":17711,"material":743,"size":744,"collection":139,"collections":17712,"showCount":17665,"zanCount":48,"manualWeight":48,"mainColor":1335},228412,"wen-shu-pu-sa-zuo-xiang-yi-ming-228412","文殊菩萨坐像",[7,24,259,28,27,106,29,37,107,34,176,261,17710,26,104],"古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83145718fc035e6637afa89f6ad83dea.jpg",[],{"id":17714,"slug":17715,"title":17716,"dynasty":18,"author":812,"museum":364,"description":17717,"tags":17718,"thumbUrl":17719,"material":139,"size":139,"collection":139,"collections":17720,"showCount":17665,"zanCount":48,"manualWeight":48,"mainColor":49},227518,"mo-li-hua-tu-zhao-chang-227518","茉莉花图","赵昌（730—814），字洪祚，天水人。祖不器，父居贞，皆有名于时。李承昭为昭义节度，辟昌在幕府。贞元七年，为虔州刺史。属安南都护为夷獠所逐，拜安南都护，夷人率化。十年，因屋坏伤胫，恳疏乞还，以检校兵部郎中裴泰代之，入拜国子祭酒。及泰为首领所逐，德宗诏昌问状。昌时年七十二，而精健如少年者，德宗奇之，复命为都护，南人相贺。",[23,209,7,24,1160,1562,28,27,82,83,8682,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c26aa0a5bf06d8540629ecbc54cada7.jpg",[],{"id":17722,"slug":17723,"title":17724,"dynasty":76,"author":4005,"museum":675,"description":4006,"tags":17725,"thumbUrl":17726,"material":67,"size":4010,"collection":139,"collections":17727,"showCount":17665,"zanCount":1270,"manualWeight":48,"mainColor":94},222680,"si-ji-hua-niao-tu-ping-3-chen-mei-222680","四季花鸟图屏3",[23,7,24,209,241,28,27,83,799,224,7666,4008,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb354d235264b4e3fbffcc1189098cae9.jpg",[],{"id":17729,"slug":17730,"title":8841,"dynasty":189,"author":17731,"museum":20,"description":17732,"tags":17733,"thumbUrl":17734,"material":67,"size":17735,"collection":163,"collections":17736,"showCount":17665,"zanCount":5,"manualWeight":48,"mainColor":49},221699,"zhu-shi-tu-zhou-gu-an-221699","顾安","该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[23,7,209,241,173,242,245,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff805e3a06970a6ba0a00217aa34855.jpg","170.7x99.7",[163,2293],{"id":17738,"slug":17739,"title":1692,"dynasty":18,"author":2142,"museum":364,"description":12967,"tags":17740,"thumbUrl":17741,"material":27,"size":139,"collection":42,"collections":17742,"showCount":17665,"zanCount":48,"manualWeight":48,"mainColor":49},221441,"shan-shui-tu-li-cheng-221441",[23,7,24,209,173,177,27,29,30,108,109,174,34,650,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[42,181,163],{"id":17744,"slug":17745,"title":17746,"dynasty":18,"author":474,"museum":101,"description":17747,"tags":17748,"thumbUrl":17749,"material":665,"size":17750,"collection":42,"collections":17751,"showCount":17665,"zanCount":48,"manualWeight":48,"mainColor":94},221343,"zhu-qin-tu-quan-juan-zhao-ji-221343","竹禽图全卷","这幅《竹禽图》横55.4厘米，纵33.8厘米。宋人花鸟画都是以小品画见长，又以精细而见功。此画也不例外。在粗略的崖石间伸出两枝翠竹，一上一下形成一个侧着的“V”字。竹枝和竹叶都没有勾勒，此画法与赵佶的《芙蓉锦鸡图》等以往的画作有所不同。翠竹下面的还有一丛荆棘。一上一下的竹枝上停着两只小鸟。下面的那只鸟侧对着人们，它仰着头在看上面的那只鸟。上面的那只鸟腹部正对着人们，头向右侧着，它回望着下面的那只鸟。两小鸟目光相对，互相顾盼，仿佛就差嘴巴一张一合鸣叫的瞬间了。这两只小鸟是画面的主角。看着它们就使人想起杜甫的那句“两个黄鹂鸣翠柳”。不妨换一下，“两只小鸟鸣翠竹”。\n全画竹草崖石用写意画的方法处理，两小鸟用工笔画的方法绘制。粗细方法互助也显示了徽宗的绘画技艺的高妙。画卷后面有皇室后裔赵孟頫的题跋：“道君聪明，天纵其于绘事，尤极神妙。动植物无不曲尽其性，殆若天地生成，非人力所能及。此卷不用描墨，粉彩自然，宜为世宝。然丛尔小禽蒙圣人所录，抑何幸耶。”",[23,7,24,25,28,27,86,227,83,242,245,1938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","画心纵33.8厘米，横55.5厘米",[42,2293],{"id":17753,"slug":17754,"title":17755,"dynasty":18,"author":645,"museum":206,"description":17756,"tags":17757,"thumbUrl":17758,"material":67,"size":17759,"collection":42,"collections":17760,"showCount":17665,"zanCount":5,"manualWeight":48,"mainColor":49},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远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衣角，似藏着几分娇憨。鼓身镶边缀点，旁侧鼓槌斜倚，小鞋散落，细节里尽是日常的鲜活。绢本的棕褐晕染出时光的温软，线条简淡却藏着细腻——衣纹褶皱随姿态舒展，孩童眼神澄澈如溪，悄然勾连起宋人对稚子生活的珍视。没有繁复布景，天真却漫溢开来，仿佛能触到柔软布料，听见孩童细碎笑语。画中藏不住的生动与温情，将寻常童趣凝作永恒的画面，让时光在此刻慢了下来。",[7,209,24,28,27,106,17831,17832,17833,63],"婴孩","鼓","鼓槌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f3549cbb86ed88cd0157c95e237591.jpg",[44],{"id":17837,"slug":17838,"title":17839,"dynasty":76,"author":8525,"museum":206,"description":17840,"tags":17841,"thumbUrl":17843,"material":123,"size":17844,"collection":44,"collections":17845,"showCount":17665,"zanCount":1270,"manualWeight":48,"mainColor":94},216966,"xian-ren-tu-xu-liang-biao-216966","仙人图","仙女被描绘成骑着一只凤凰，或西方的王母。仙女拿着一顶花帽，并由一只携带生日珍珠的白鹿陪伴。景色清晰，色彩鲜艳，是对长寿的长久赞美。人物、凤凰和白鹿的着色受到西方绘画的明暗影响。",[209,7,24,241,28,27,17842,3167,84,340,1329],"仙人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0446b8d31845aaa90342626f5354c64.jpg","260.5x142.6",[44],{"id":17847,"slug":17848,"title":17136,"dynasty":99,"author":12620,"museum":206,"description":17849,"tags":17850,"thumbUrl":17851,"material":123,"size":17852,"collection":90,"collections":17853,"showCount":17665,"zanCount":48,"manualWeight":48,"mainColor":49},216213,"xie-sheng-tu-shang-xi-216213","商喜是明朝时期的一位著名画家。他的写生图是指他在观察实物的基础上进行的写生画。这些画作经常描绘自然风景、动物、人物等，体现出商喜对于自然现象的敏锐观察力和细腻的描绘能力。商喜的写生图具有浓郁的生活气息和生动的感染力，为后世留下了宝贵的艺术瑰宝。\n\n商喜的写生图作品较多，涵盖了多种题材。其中，他的花鸟画尤其出色，作品中常常出现各种花卉和鸟类，每一幅画作都能够流露出自然的美丽与生机。此外，商喜还绘制了许多人物画，其中有写实的肖像画，也有富有想象力的设计人物。他的人物画作品体现了商喜对人物形态和神态的细致捕捉，能够生动地展现人物的个性和心理。商喜的写生图作品为后世留下了深刻的印象，为中国画的发展做出了重要贡献。",[7,24,28,27,83,957,956,61,281,242,62,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae66413060d9efa0846a06cffbc58a1.jpg","84.6x61.8cm",[90],{"id":17855,"slug":17856,"title":17857,"dynasty":99,"author":17858,"museum":7359,"description":17859,"tags":17860,"thumbUrl":17861,"material":342,"size":17862,"collection":181,"collections":17863,"showCount":17665,"zanCount":5,"manualWeight":48,"mainColor":94},215039,"pu-tao-tu-nao-an-215039","葡萄图","挠庵","挠庵是明朝时期的一位著名文人。他是著名的画家，以他的葡萄图而闻名。葡萄图是他的代表作之一，是他在明朝时期所创作的一幅葡萄图。这幅画展示了一个葡萄园的景象，画中的葡萄树和葡萄非常逼真，可以看出挠庵在绘画技巧方面颇有造诣。葡萄图被认为是明朝时期著名画家的杰作之一，被誉为“葡萄图之祖”，在中国画坛上享有盛誉。",[23,7,24,173,446,83,3199,697,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f035cf390a823093bc490ce8493db.jpg","27.5×29.3cm",[181],{"id":17865,"slug":17866,"title":17867,"dynasty":76,"author":707,"museum":206,"description":708,"tags":17868,"thumbUrl":17869,"material":88,"size":139,"collection":139,"collections":17870,"showCount":17665,"zanCount":48,"manualWeight":48,"mainColor":94},214836,"xie-sheng-ce-24-hua-yan-214836","写生册-24",[7,24,81,27,260,106,259,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7af5d340d1adb25d509df9d455283ac7.jpg",[],{"id":17872,"slug":17873,"title":17874,"dynasty":76,"author":77,"museum":364,"description":740,"tags":17875,"thumbUrl":17876,"material":743,"size":744,"collection":139,"collections":17877,"showCount":165,"zanCount":5,"manualWeight":48,"mainColor":49},290529,"zhu-bai-chang-chun-zhou-yun-shou-ping-290529","竹柏长春轴",[209,7,24,241,27,83,242,2167,245,84,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb714bb59defcdde65007397212cbb037.jpg",[],{"id":17879,"slug":17880,"title":12720,"dynasty":18,"author":2142,"museum":364,"description":17881,"tags":17882,"thumbUrl":17883,"material":743,"size":744,"collection":139,"collections":17884,"showCount":165,"zanCount":1547,"manualWeight":48,"mainColor":49},288290,"mao-lin-yuan-xiu-tu-li-cheng-288290","《茂林远岫图》描绘的是夏日山水景色，其中峰峦叠翠，奇峰矗立，远山奇峰崛立，空远清旷；近处轻舟泊渡，行人车马往来；中景山谷之间殿阁林立，塔影隐没其中，飞泉水口，如闻其声，如临其境，整幅作品呈现了一派寓闹于静的景致。\n《茂林远岫图》就绘画技法而论，刻画细腻，神形有致；画面构图“三远”法的并用，构景主次疏密的安排等，无不透露出北宋山水画风貌的典型气息。",[23,209,7,24,25,173,177,29,12723,649,34,5022,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ba5f640d5b6339147fba4ccbde437.jpg",[],{"id":17886,"slug":17887,"title":17888,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":17889,"thumbUrl":17890,"material":743,"size":744,"collection":139,"collections":17891,"showCount":165,"zanCount":5,"manualWeight":48,"mainColor":94},287419,"hai-tang-chun-qiu-tu-zhu-da-287419","海棠春秋图",[23,209,7,24,241,173,83,1563,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5640b26d0debfdda6acd1c0fbf679437.jpg",[],{"id":17893,"slug":17894,"title":17895,"dynasty":76,"author":17896,"museum":364,"description":17897,"tags":17898,"thumbUrl":17899,"material":139,"size":139,"collection":90,"collections":17900,"showCount":165,"zanCount":1356,"manualWeight":48,"mainColor":94},234366,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234366","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[7,24,81,27,105,83,452,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e08f4453ea59c906d1aecbc008de815.jpg",[90],{"id":17902,"slug":17903,"title":17904,"dynasty":18,"author":2856,"museum":12966,"description":17905,"tags":17906,"thumbUrl":17907,"material":803,"size":17908,"collection":139,"collections":17909,"showCount":165,"zanCount":1547,"manualWeight":48,"mainColor":49},232874,"pan-tao-qing-niao-tu-juan-li-di-232874","蟠桃青鸟图卷","此幅重色画蟠桃青鸟，用笔应物象形，禽鸟造形精确，蟠桃用没骨画法，枝叶安排妥帖，整体观之，明代宫廷画家所作的可能性大一些。 李迪，生卒年不详。",[23,209,7,24,25,28,27,83,711,281,34,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],{"id":17911,"slug":17912,"title":16381,"dynasty":18,"author":2029,"museum":16628,"description":17913,"tags":17914,"thumbUrl":17915,"material":665,"size":17916,"collection":42,"collections":17917,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":49},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[23,7,209,24,241,173,27,29,3499,176,1015,108,109,900,177,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[42,181],{"id":17919,"slug":17920,"title":10071,"dynasty":18,"author":293,"museum":101,"description":17921,"tags":17922,"thumbUrl":17923,"material":17924,"size":17925,"collection":42,"collections":17926,"showCount":165,"zanCount":5,"manualWeight":48,"mainColor":49},223647,"guan-pu-tu-yi-ming-223647","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 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从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[1562,7,24,83,327,27,173,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b4e60c9cc0dc84edd2a1739d852f0d.jpg",[],{"id":18128,"slug":18129,"title":18130,"dynasty":204,"author":414,"museum":20,"description":18131,"tags":18132,"thumbUrl":18134,"material":67,"size":18135,"collection":139,"collections":18136,"showCount":18111,"zanCount":5,"manualWeight":48,"mainColor":49},233213,"dou-jia-qing-ting-tu-ye-xu-xi-233213","豆荚蜻蜓图页","图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。画面构图简洁自然，疏密得体。画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。其中蜻蜓的描绘神妙入微。画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙入微。蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织，都细微地表现了出来。蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。从绘画题材及笔墨技巧上看，具有徐熙画的特征。《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写”。但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。旧题为徐熙作。徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。写意出古人之外，自造于妙。尤能设色，绝有生意”。从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜓尤备极工细，神韵奕奕。对花写照的写生功力，令人惊叹。色调素雅，变化层次微妙，工写兼施，相映成趣。构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思（以景喻理）。",[209,7,24,83,28,27,18133,800,698,62,227],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880a27b634787e986672e82222fc17bb.jpg","纵27厘米，横23厘米",[],{"id":18138,"slug":18139,"title":18140,"dynasty":76,"author":77,"museum":206,"description":18141,"tags":18142,"thumbUrl":18143,"material":665,"size":18144,"collection":139,"collections":18145,"showCount":18111,"zanCount":5,"manualWeight":48,"mainColor":94},232677,"dong-li-qiu-se-tu-yun-shou-ping-232677","东篱秋色图","恽寿平(1633~1690)，初名格，字寿平，后以字行，更字正叔，号南田、云溪外史、东园生，晚年又号白云外史、瓯香散人。善画山水、花卉。早年画山水，取法元、五代大家。中年后以画花卉为主，自创一种名为“仿北宋徐崇嗣”的没骨花卉画法，即以潇洒秀逸的用笔直接点蘸敷染而成。这种画法独开生面，风靡一时。其山水画创作亦从未间断，有很高成就，笔墨灵秀，以神韵、情趣取胜。作品有《晴川揽胜图轴》、《设色花卉册》、《花果图册》等。",[368,7,24,241,83,84,27,82,796,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e5c11e2567494e206962fa4dbf026f.jpg","107.6x54.5厘米",[],{"id":18147,"slug":18148,"title":18149,"dynasty":189,"author":1848,"museum":206,"description":18150,"tags":18151,"thumbUrl":18152,"material":803,"size":18153,"collection":139,"collections":18154,"showCount":18111,"zanCount":5,"manualWeight":48,"mainColor":94},231500,"mo-zhu-pu-ce-ye-gao-qing-si-fu-wu-zhen-231500","墨竹谱册页（高清四幅）","吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病",[23,7,209,24,81,173,86,227,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a763ebdaf12beb20835513dca92c2a2.jpg","高403厘米，宽52厘米",[],{"id":18156,"slug":18157,"title":7358,"dynasty":18,"author":2029,"museum":364,"description":18158,"tags":18159,"thumbUrl":18161,"material":139,"size":139,"collection":139,"collections":18162,"showCount":18111,"zanCount":1165,"manualWeight":48,"mainColor":49},227801,"gong-nv-tu-liu-song-nian-227801","桐荫覆满深院，围栏外花木萦回，三位宫女消磨着悠长白日。红衣女子斜身倚过小杌，抬手遥遥指向前方，似唤榻上友人共赏景致，罗裙纹饰随抬手动作柔婉舒展。榻上宫女支颐托腮，目光追着前者指尖，眉眼浸着慵懒娇柔。立在侧旁的侍女垂眸静立，敛着恭谨自持。\n\n全幅设色古雅妍丽，衣物质感纤毫毕现，花木围栏皆以细笔晕染，棕褐绢底衬得满幅宁和。画中无宫闱沉郁，只将深宫日常里松弛闲散的片刻定格，把少女间的娇憨意趣藏在细腻笔触中，晕开宋时独有的雅致闲淡。",[23,7,209,24,1562,28,27,106,59,430,3903,18160,65,63],"凳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc5296a5a36c0ab6eb8605bdcbdefd0.jpg",[],{"id":18164,"slug":18165,"title":18166,"dynasty":18,"author":823,"museum":364,"description":18167,"tags":18168,"thumbUrl":18169,"material":139,"size":139,"collection":139,"collections":18170,"showCount":18111,"zanCount":48,"manualWeight":48,"mainColor":271},227724,"zuo-kan-yun-qi-xia-gui-227724","坐看云起","《坐看云起图》为南宋画家夏圭所绘。左侧山石处款署“夏圭”。\n图绘江流滚滚，一人坐于临江高台上，旁放一高杖。身后峭壁有一古松，盘虬曲折。\n\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,209,7,173,29,1562,177,106,1575,109,245,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8e1bea9257f9b429a7874901d3a2ca.jpg",[],{"id":18172,"slug":18173,"title":18174,"dynasty":76,"author":2083,"museum":364,"description":3135,"tags":18175,"thumbUrl":18176,"material":827,"size":139,"collection":90,"collections":18177,"showCount":18111,"zanCount":5,"manualWeight":48,"mainColor":94},223301,"zhu-shi-tu-zhou-3-zheng-ban-qiao-223301","竹石图轴3",[23,7,24,241,173,178,227,86,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f693b107ed41d72c1e72ff211b8570.jpg",[90,163],{"id":18179,"slug":18180,"title":18181,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":18182,"thumbUrl":18183,"material":27,"size":6032,"collection":139,"collections":18184,"showCount":18111,"zanCount":5,"manualWeight":48,"mainColor":94},222751,"xian-e-chang-chun-tu-07a-lang-shi-ning-222751","仙萼长春图-07a",[23,7,24,28,27,83,136,604,137,84,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb31a611f6bc17b2cd92a02ab60f10f.jpg",[],{"id":18186,"slug":18187,"title":18188,"dynasty":189,"author":351,"museum":1985,"description":18189,"tags":18190,"thumbUrl":18191,"material":40,"size":18192,"collection":44,"collections":18193,"showCount":18111,"zanCount":5,"manualWeight":48,"mainColor":49},221714,"ba-jiao-tang-zi-tu-qian-xuan-221714","芭蕉唐子图","图绘三个孩童呆在一个似沙窖一样的场地里，二孩端坐，一孩侧卧，皆专心致志玩耍；后面一块蓝色湖石耸立，形状奇特，数棵芭蕉长势茂盛，叶面碧绿宽大，生机勃勃。",[23,7,27,28,106,296,755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adc604b34d72f5e7124ec9b6584ce7d.jpg","25.2×21cm",[44,45],{"id":18195,"slug":18196,"title":18197,"dynasty":18,"author":474,"museum":206,"description":18198,"tags":18199,"thumbUrl":18200,"material":67,"size":18201,"collection":42,"collections":18202,"showCount":18111,"zanCount":5,"manualWeight":48,"mainColor":49},221344,"la-mei-shan-qin-tu-zhou-zhao-ji-221344","腊梅山禽图轴","画面构图十分简约，两丛开花的萱草，一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁。\n画家笔墨细致。萱草、梅树、花朵的轮廓，都用工细线条勾勒，树杆的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。\n两只挤在一起的白头翁最为传神，鸟头都朝向左前方，呼应着左边的留白。身体成交叉向，两只鸟眼圆溜溜，显得机警而敏感，似乎一有风吹草动，随时就要腾空而去。",[23,7,209,241,28,27,83,448,452,14981,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbda2c89bcfa6df1b60effce2a1968.jpg","82.8x52.8cm",[42,90,45],{"id":18204,"slug":18205,"title":18206,"dynasty":204,"author":14205,"museum":20,"description":18207,"tags":18208,"thumbUrl":18209,"material":160,"size":18210,"collection":181,"collections":18211,"showCount":18111,"zanCount":48,"manualWeight":48,"mainColor":94},221160,"gao-shi-tu-juan-wei-xian-221160","高士图卷","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。\n此图曾经宋周密《云烟过眼录》，明张丑《清河书画舫》、清孙承泽《庚子销夏记》、安岐《墨缘汇观》、《石渠宝笈·续编》、阮元《石渠随笔》等书著录，是一件递藏有绪、鉴定界公认的五代卫贤真迹。",[23,7,28,104,27,177,29,106,107,34,650,115,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd234cb19159b5ecad6fb82a14b63fd9.jpg","纵134.5厘米，横52.5厘米。",[181,163],{"id":18213,"slug":18214,"title":18215,"dynasty":76,"author":77,"museum":101,"description":18216,"tags":18217,"thumbUrl":18218,"material":18219,"size":18220,"collection":181,"collections":18221,"showCount":18111,"zanCount":48,"manualWeight":48,"mainColor":94},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[23,7,209,24,5990,27,178,86,105,430,698,300,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[181,45],{"id":18223,"slug":18224,"title":18225,"dynasty":189,"author":2519,"museum":206,"description":5362,"tags":18226,"thumbUrl":18227,"material":827,"size":18228,"collection":163,"collections":18229,"showCount":18111,"zanCount":1270,"manualWeight":48,"mainColor":49},220863,"shu-lin-xiu-shi-tu-zhao-meng-fu-220863","疏林秀石图",[23,7,24,241,173,177,178,227,394,245,242,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c43af0a92bd0ec53908bd0fc414eb3.jpg","纵27.5厘米，横62.8厘米",[163,2293],{"id":18231,"slug":18232,"title":18233,"dynasty":1095,"author":10851,"museum":18234,"description":18235,"tags":18236,"thumbUrl":18237,"material":18238,"size":139,"collection":139,"collections":18239,"showCount":18111,"zanCount":48,"manualWeight":48,"mainColor":94},220579,"fu-chun-jiang-feng-guang-huang-bin-hong-220579","富春江风光","Smithsonian's National Museum of Asian Art","此作以渴笔焦墨写层叠峰峦，苍劲朴拙，云烟留白虚实相生，铺展出山居的清幽深远。近景村居错落隐于林木间，扁舟泛江，野趣盎然。题画诗与笔墨浑然一体，浑厚华滋中带着疏朗灵秀，将山水静穆与生机相融，尽显山川浑厚、草木华滋的典型风貌。黑密厚重的积墨之法，勾勒江峰奇崛挺拔，留白处氤氲水汽，整幅画刚柔并济，于朴茂中见秀逸，藏万千丘壑于尺幅间，将山水的幽隽诗意娓娓道来，笔底晕染出静谧悠然的山居意趣。",[7,173,177,29,174,175,34,176,109,24,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a79877bcd55fa426bfd1b6ba2533842.jpg","Ink and color on paper",[],{"id":18241,"slug":18242,"title":18243,"dynasty":76,"author":3679,"museum":206,"description":16091,"tags":18244,"thumbUrl":18245,"material":88,"size":3684,"collection":139,"collections":18246,"showCount":18111,"zanCount":5,"manualWeight":48,"mainColor":94},220332,"cao-chong-hua-hui-hu-shi-si-ping-ling-xiao-ju-lian-220332","草虫花卉湖石四屏-凌霄",[23,7,209,241,27,28,327,603,245,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c30eb79bde7328d62f40006fb6c480.jpg",[],{"id":18248,"slug":18249,"title":11626,"dynasty":18,"author":293,"museum":364,"description":18250,"tags":18251,"thumbUrl":18252,"material":123,"size":18253,"collection":45,"collections":18254,"showCount":18111,"zanCount":1547,"manualWeight":48,"mainColor":49},219054,"ying-xi-tu-yi-ming-219054","苍树虬枝荫蔽下，一架斜搭的棚架成了稚子的欢闹场。红衣孩童伏在架面，似要顺着木纹滑下，姿态憨拙可爱；旁侧小儿伸手引伴，另一个正手脚并用地向上攀爬，顶端的孩子扬臂欢笑，满是得意。笔墨细腻处，衣纹的褶皱、孩童的发髻皆清晰可见，质朴的色调晕染出温润的氛围。画面无繁复修饰，却将童年的天真烂漫描摹得淋漓尽致，仿佛能听见稚子的嬉笑声穿透时光，让观者也不禁被这份纯粹的欢愉所感染，沉醉在那片无忧的童趣里。",[209,7,24,28,27,106,17831,430,1795,11805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cdaf16c7bbadec7066e3e97e58d9b97.jpg","22.3x20.7",[45],{"id":18256,"slug":18257,"title":18258,"dynasty":18,"author":293,"museum":206,"description":18259,"tags":18260,"thumbUrl":18261,"material":123,"size":139,"collection":181,"collections":18262,"showCount":18111,"zanCount":1356,"manualWeight":48,"mainColor":49},218798,"gu-mu-zhu-shi-tu-yi-ming-218798","古木竹石图","这幅画显示了一块巨大的岩石，上面有两棵枯树和海滩上的两片新竹林。岩石用飞白画法，树木用篆书画法，以李国的蟹爪为树枝。树木和石头的笔触是动态的，与竹叶的笔触相映成趣，就像教堂字体的四肢，使这幅画成为书法的趣味。这是 历代绘画作品集 中的一幅画。",[23,209,7,24,173,177,1653,394,242,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e42937020f7b42fb8c718a993ded4.jpg",[181],{"id":18264,"slug":18265,"title":18266,"dynasty":18,"author":1650,"museum":132,"description":18267,"tags":18268,"thumbUrl":18269,"material":123,"size":139,"collection":181,"collections":18270,"showCount":18111,"zanCount":5,"manualWeight":48,"mainColor":1335},218584,"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[7,209,24,29,27,177,241,864,297,430,279,109,151,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[181],{"id":18272,"slug":18273,"title":2152,"dynasty":99,"author":293,"museum":539,"description":18274,"tags":18275,"thumbUrl":18276,"material":123,"size":18277,"collection":90,"collections":18278,"showCount":18111,"zanCount":48,"manualWeight":48,"mainColor":49},216733,"hua-niao-tu-yi-ming-216733","花鸟图是中国明朝时期的一种流行的图画作品，通常用来装饰宫殿、庙宇、寺庙和民间住宅。花鸟图画的主题是花和鸟，这些图画通常具有浓郁的艺术气息，并且富有想象力。花鸟图画的风格各异，有的呈现出绚丽多彩的色彩，有的则更加简洁和精细。花鸟图画被广泛地应用于家具、屏风、纸品等各种物品上，为人们的生活带来美感和情感的满足。",[23,7,24,27,28,83,224,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ee16ee0d6aa3b7e54d2fc25984cc1c.jpg","26x22.2cm",[90],{"id":18280,"slug":18281,"title":18282,"dynasty":76,"author":1109,"museum":539,"description":1110,"tags":18283,"thumbUrl":18284,"material":88,"size":1115,"collection":139,"collections":18285,"showCount":18111,"zanCount":48,"manualWeight":48,"mainColor":94},214888,"shan-shui-tu-ce-5-shi-tao-214888","山水图册-5",[23,7,173,27,81,177,29,107,34,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c7502bb24d845dbe3fdcd70b9b300d.jpg",[],{"id":18287,"slug":18288,"title":18289,"dynasty":76,"author":5298,"museum":206,"description":18290,"tags":18291,"thumbUrl":18294,"material":88,"size":18295,"collection":181,"collections":18296,"showCount":18111,"zanCount":5,"manualWeight":48,"mainColor":94},214832,"fang-tang-ren-da-yu-zhi-shui-tu-xie-sui-214832","仿唐人大禹治水图","谢遂（1743-1815年）是一位清代画家，他最著名的作品之一是《仿唐人大禹治水图》。这幅画描绘了传说中的大禹如何利用智慧和勇气治理水旱，保护人民免受灾害的故事。画中大禹站在江边，手持着伞，身旁是他的忠实追随者。大禹所在的位置是一座山峰，表示他的权威和力量。整幅画的画风浓重，线条流畅，色彩和谐。这幅画是谢遂在清代的代表作之一，在当时颇受欢迎，并被广泛流传。",[209,7,27,106,29,176,558,18292,18293],"大禹治水","神话传说","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af9e7e13ca4921759b92fd42dfeb838.jpg","160.7x89.8",[181,44],{"id":18298,"slug":18299,"title":1360,"dynasty":99,"author":1996,"museum":78,"description":1997,"tags":18300,"thumbUrl":18301,"material":342,"size":2000,"collection":139,"collections":18302,"showCount":18111,"zanCount":5,"manualWeight":48,"mainColor":94},214640,"hua-hui-ce-6-chen-chun-214640",[7,173,446,83,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffadadcc9005db4ef39cb1d0158d98cdd.jpg",[],{"id":18304,"slug":18305,"title":18306,"dynasty":76,"author":3701,"museum":364,"description":18307,"tags":18308,"thumbUrl":18312,"material":743,"size":744,"collection":139,"collections":18313,"showCount":18314,"zanCount":5,"manualWeight":48,"mainColor":49},290321,"sui-chao-huan-qing-tu-zhou-yao-wen-han-290321","岁朝欢庆图轴","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[209,7,241,27,28,104,106,107,121,3045,18309,1195,227,18310,18311],"欢庆","岁朝","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf8387fdb8f15f8876fbb2dd7fcc6d29.jpg",[],104,{"id":18316,"slug":18317,"title":18318,"dynasty":189,"author":190,"museum":364,"description":18319,"tags":18320,"thumbUrl":18321,"material":743,"size":744,"collection":139,"collections":18322,"showCount":18314,"zanCount":48,"manualWeight":48,"mainColor":94},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[209,7,24,241,173,177,29,175,108,109,394,176,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],{"id":18324,"slug":18325,"title":18326,"dynasty":76,"author":18327,"museum":364,"description":12340,"tags":18328,"thumbUrl":18329,"material":139,"size":139,"collection":139,"collections":18330,"showCount":18314,"zanCount":48,"manualWeight":48,"mainColor":94},234591,"jin-yu-wan-shan-duan-xue-hai-234591","金鱼纨扇","段学海",[7,24,1562,28,27,83,7759,367,1504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f8c809ca71eff535a97f2bdaa63cab.jpg",[],{"id":18332,"slug":18333,"title":18334,"dynasty":76,"author":953,"museum":364,"description":18335,"tags":18336,"thumbUrl":18337,"material":139,"size":139,"collection":139,"collections":18338,"showCount":18314,"zanCount":48,"manualWeight":48,"mainColor":94},230120,"ping-lan-shang-he-tu-ren-yi-230120","凭栏赏荷图","《任伯年绘画作品图录》是 27年5月1日出版的图书，由任伯年编著。\n出版社: ; 第1版 (27年5月1日) ISBN: 755441 条形码: 尺寸: 22.2 7.5 cm 重量: .9 Kg 《任伯年绘画作品图录(套装上下卷)》内容简介：任伯年的艺术像海派诸家一样，以个性鲜明的艺术风貌反映了怫郁昂藏而又充满生机的时代气息，一变晚清文人画家笔下的雅人高致、陈陈相因与不食人间烟火，作品立意由出世而入世，艺术趣味由雅转“俗”，艺术形式由千篇一律而化为多姿多彩。\n他的艺术风格生动雅丽，明快清新，既不同于赵之谦的朴茂道艳，虚谷的冷隽超逸，也有别于吴昌硕的苍浑醇厚，加以多能兼善，题材广泛，意趣盎然，技艺超妙，诗情洋溢，某些人物画更是寄托深远，所以生前身后，声誉极高，一直被认为是海派的重要代表之一。\n《任伯年绘画作品图录(套装上下卷)(上卷)》目录： 1865年 乙丑 1.仕女图 1866年 丙寅 2.小浃江话别图 .悔花仕女图 1867年 丁卯 4.松下问道图 5.孔雀牡丹图 6. 7.范湖居士六十八岁小像 8.授书图 9.四李人物屏之一 1.四季人物屏之二 11.四季人物屏之三 12.四季人物屏之四 1868年 戊辰 1.斗梅图 14.沙馥三十九岁小像 15.佩秋夫人小像(合作) 16.横云山民行乞图 17.陈允升像 18.榴生像 19.任阜长像 2.水草金鱼图 21. 22.悟生出尘图 2.梅柏白鹏图 1869年 己巳 24.任淞云像(合作) 187年 庚午 25.新秋鹅浴图 26.松鹤图 27.吹箫引凤图 28.访友图 29.人物图 1871年 辛未 .孔雀芭蕉图 1872年 壬申 1.钟馗图 2.凤凰牡丹图 .献瑞图 4.钟馗图 5.礼佛图 6.花蝶图 7.南瓜三鸡图 8.水仙飞禽图 9.芭蕉燕子图 4.夜荷栖鸭图 41.蕉花母鸡图 42.牡丹猫石图 4.山雨欲来风满楼 44.花鸟册(合作) 45.游艇吟箫图 46.凭栏赏荷图 187年 癸酉 47.爱莲图 48.葵花双鸡图 49.残荷鹭鸶图 5.茂叔爱莲图 51.葛仲华二十七岁小像 52.松鹤寿柏图 5.三思图 54.牵牛菖蒲图 1874年 甲戌 55.钟馗图 56.二老并坐图 57.苏武牧羊图 58.女仙图 59.红薇飞禽图 6.苏武牧羊图 61.富贵长寿 62.三羊开泰 6.芍药幽禽图 64.花鸟扇 1875年 乙亥 65.牡丹图 …… 《任伯年绘画作品图录(套装上下卷)(下卷)》目录： 1886年 丙戌 76.三仙图 77.东坡玩砚图 78.东坡玩砚图 79.桃花八哥 8.深山观泉图 81.牧羊图 82.仙鹤 8.听溪图 84.承天夜游图 85. 86.芦鸭图 87.幽鸟鸣春图 88.隔帘规梅图 89.松鹤竹石图 9.桃石群鸟图 91.桃源问津图 92.苍松紫藤图 9.枇杷栖禽图 94.临八人山人八哥图 95.仿高克恭云山图 96.山水阁页 97.玉兰四禽图 98.花鸟册 99.桃花小鸟图 4.仿石田山水图 41.银河秋浅图 1887年 丁亥 42.村居立锄图 4.钟馗图 44.高邕之像 45.松下论诗图 46.童子斗蟋蟀图 47.寒林高士 48.苏长公石钟辨讹图 49.策马图 41.牧羊图 411.岁朝图 412.松鸠图 41.桃鹅图 414.花鸟册 415.封侯图 416.萍花八哥图 417.江上秋痕图 418.天竹白猫图 419.焦叶题书图 42.秋江渔父图 421.紫微鸳鸯图 422.桃石图 1888年 戊子 42. 424.女娲炼石图 425.归牧图 426. 427.寒林牧马图 428.玉局参禅图 429.金谷园图 4.芭蕉狸猫图 41.苏武牧羊图 42.羲之爱鹅图 4.仕女图册之一 44.仕女图册之二 45.仕女图册之三 46.仕女图册之四 47.仕女图册之五 48.仕女图册之六 49.仕女图册之七 44.仕女图册之八 441.仕女图册之九 442.仕女图册之十 44.仕女图册之十一 444.仕女图册之十二 445.午瑞图 446.白猫双雀图 447.岁朝清供图 448.雀声藤影 449.猫鸟图 45.柳塘清趣图 451.红松仙鹤图 ……",[23,209,7,24,241,27,28,106,243,136,313,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66ee07d43326e2168f004fc64dd0a95.jpg",[],{"id":18340,"slug":18341,"title":18342,"dynasty":76,"author":10376,"museum":364,"description":18343,"tags":18344,"thumbUrl":18354,"material":139,"size":139,"collection":139,"collections":18355,"showCount":18314,"zanCount":48,"manualWeight":48,"mainColor":94},224449,"tang-yin-shi-yi-tu-li-zhou-wang-hui-224449","唐寅诗意图立轴","此作取景虚实相映，笔意苍秀兼具。右侧危崖层叠，斧劈皴勾勒出山岩厚重质感，苔点晕染让山石愈发生动，崖顶山居藏在深林之中，清寂出尘。左侧烟水浩淼，汀渚林木错落，远处楼阁隐在薄雾间，晕染出空濛烟雨之态。浅滩孤舟随波，渔翁独钓，漾出幽淡闲远的林下意趣。浅绛设色柔和雅致，将宋画的精工与元人山水的萧散相融，把林泉隐逸之思，铺陈为可游可居的湖山胜境，尽显文人山水画里悠远澹泊的雅韵。",[23,7,209,24,241,18345,27,9156,12137,18346,6178,18347,107,174,14952,1250,18348,18349,18350,18351,18352,18353],"文人山水画","危崖","烟水","湖山","隐逸","澹泊","苍秀","萧散","精工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ebebd62a991bc27c793316c7c0ff81.jpg",[],{"id":18357,"slug":18358,"title":18359,"dynasty":18,"author":293,"museum":364,"description":18360,"tags":18361,"thumbUrl":18362,"material":40,"size":18363,"collection":139,"collections":18364,"showCount":18314,"zanCount":1547,"manualWeight":48,"mainColor":49},223374,"feng-huang-tu-zhou-yi-ming-223374","凤凰图轴","图上一只蓝翎凤凰立于花丛中，红冠鲜艳，眼神威严、犀利，羽毛七彩斑斓，尾翎修长，单脚站立彰显百鸟之王的尊贵；四周牡丹盛开，花团锦簇，丹顶鹤、鸳鸯数只陪伴左右。此幅无款无印，应出自宫廷画家之手，宫廷风格甚浓。",[23,209,7,241,28,27,83,433,60,2555,327,34,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b738fbba9f87096a63c79173451352a.jpg","92x43cm",[],{"id":18366,"slug":18367,"title":18368,"dynasty":99,"author":13614,"museum":206,"description":13615,"tags":18369,"thumbUrl":18370,"material":67,"size":18371,"collection":44,"collections":18372,"showCount":18314,"zanCount":48,"manualWeight":48,"mainColor":94},222066,"mi-le-fo-wu-bin-222066","弥勒佛",[23,7,24,27,28,259,106,81,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce39456c770de63cb1cae3b58b4969d.jpg","62.3 x 35.3厘米",[44,45],{"id":18374,"slug":18375,"title":18376,"dynasty":18,"author":1650,"museum":206,"description":18377,"tags":18378,"thumbUrl":18382,"material":18383,"size":18384,"collection":42,"collections":18385,"showCount":18314,"zanCount":48,"manualWeight":48,"mainColor":49},221518,"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[23,209,7,24,241,173,27,177,29,300,18379,15976,1575,1015,106,18380,650,18381,1226],"寒岩","轩","湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[42,181,163],{"id":18387,"slug":18388,"title":18389,"dynasty":18,"author":3214,"museum":1985,"description":18390,"tags":18391,"thumbUrl":18393,"material":665,"size":18394,"collection":42,"collections":18395,"showCount":18314,"zanCount":1356,"manualWeight":48,"mainColor":49},221353,"zhen-tong-kui-lei-tu-su-han-chen-221353","侲童傀儡图","本画署款苏汉臣所作，苏汉臣（1094―1172），汴梁（今河南开封）人，宋代宫廷画家，历徽宗、高宗、孝宗三朝。苏汉臣画师刘宗古，善画仙佛人物，尤以婴戏图题材最为著名。苏汉臣在宋代画家中以画儿童婴戏著称，因此后世凡见宋人无款婴戏图常题苏汉臣作用来提高画的价值。宋朝社会流行木偶戏，宋人称之为“傀儡戏”，同时傀儡也被制成了儿童的玩具。本幅苏汉臣所画的《侲童傀儡图》描绘的正是三个小童在玩“杖头傀儡”的场景。作者笔下的小童神情专注，笔法简洁细劲，设色典雅。石色的使用最忌板滞轻浮，而本画中的石色明丽沉稳，堪称典范。图中假山的画法与宋徽宗《祥龙石图》如出一辙，阴阳凹凸皆以龙麟状的墨块点画而成，这与南宋院体画喜用小斧劈皴不同。这也在一定程度上反映了作者传承的是北宋宣和院体画风。",[23,209,7,28,27,106,11294,18392,34,1160],"傀儡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128d6f14c797843ff768db6c9441c208.jpg","23.6×23.2cm",[42,44,45],{"id":18397,"slug":18398,"title":18399,"dynasty":390,"author":18400,"museum":20,"description":18401,"tags":18402,"thumbUrl":18403,"material":803,"size":18404,"collection":2616,"collections":18405,"showCount":18314,"zanCount":5,"manualWeight":48,"mainColor":94},221026,"bo-yuan-tie-wang-xun-221026","伯远帖","王珣","《伯远帖》是晋王珣(350—401年)写的一封信。原文：“珣頓首頓首，伯遠勝業情期群從之寶。自以羸患, 志在優遊。始獲此出意不剋申。分別如昨永爲疇古。遠隔嶺嶠，不相瞻臨。”\n卷前引首有乾隆御书：“江左風華”四大字，上有“乾隆御笔”一玺。并御题：“唐人真迹已不可多得，況晉人耶！內府所藏右軍快雪帖、大令中秋帖，皆希世之珍。今又得王珣此幅，繭紙家风，信堪並美！幾余清赏，亦臨池一助也。御識。”钤“乾隆宸翰”、“涵虛朗鑒”二玺。\n前隔水御书：“家學世範，草聖有傳。宣和書譜”12字。下有：“乾隆宸翰”、“幾暇臨池”、“耽書是宿缘”三玺。\n又御识：“乾隆丙寅春月，獲王珣此帖，遂與快雪中秋二迹並藏養心殿溫室中，顔曰三希堂，御筆。又識”，钤“乾”、“隆”二玺。\n后隔水上有明董其昌跋，后有乾隆御笔绘枯枝文石，并识：“王珣帖與其昌跋皆可寶玩，即裝池側理亦光潤堪愛，漫制枯枝文石以配之。乾隆丙寅春正，長春書屋御識”，钤“几暇怡情”一玺。后有“墨云”一玺。\n卷尾敕董邦达绘图，邦达有记，又有沈德潜书“三希堂歌”。\n卷后有董其昌、王肯堂题记。\n此帖与陆机《平复帖》为现今仅存的两件晋代名人法书。\n王羲之作为“书圣”，垂范百代。但他的书作只以临本、摹本和刻本的形式流传，没有一件真迹传世。王氏家族世代擅书，名家辈出，然其作品命运亦大抵相同。唯羲之族侄王珣有此短笺留在人间，实在是不幸中的大幸。我们可以从中窥见“二王”行草书使转用笔的精微之处，这是刻帖和双勾填墨摹本所无法传达的。\n王珣本人有书名，此帖风神俊朗，潇洒流利，在王氏家族书风的基础上自具面目，在中国书法史上具有崇高的地位。\n王珣《伯远帖》自乾隆十一年（1746年）进入内府，经乾隆品题，与王羲之《快雪时晴帖》、王献之《中秋帖》并藏在养心殿西暖阁内的尽间，乾隆御书匾额“三希堂”。 乾隆十二年又精选内府所藏魏晋唐宋元明书家134家真迹，包括三希在内，摹勒上石，命名《三希堂法帖》。在西苑的北海建“阅古楼”，把上述刻石嵌在楼内墙上，拓本流传以示临池之模范。三希原件仍藏在养心殿三希堂。\n1911年以后至1924年溥仪出宫以前，《伯远帖》、《中秋帖》曾藏在敬懿皇贵妃所居的寿康宫，溥仪出宫之时，敬懿皇贵妃将此帖带出宫，后流散在外。1951 年周恩来总理指示将《伯远帖》、《中秋帖》从香港购回，交故宫博物院收藏。\n《宣和书谱》、《画禅室随笔》、《书画记》、《平生壮观》、《墨缘汇观》、《式古堂书画汇考》、《佩文斋书画谱》、《石渠宝笈·初编》、《古书画过眼要录》等书著录。",[23,209,7,24,25,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246f88fa2111a0004e79f669a9b961c0.jpg","纵25.1cm，横17.2cm",[2616],{"id":18407,"slug":18408,"title":18409,"dynasty":390,"author":11741,"museum":20,"description":18410,"tags":18411,"thumbUrl":18412,"material":18413,"size":18414,"collection":382,"collections":18415,"showCount":18314,"zanCount":5,"manualWeight":48,"mainColor":271},221020,"dong-shan-song-tie-wang-xian-zhi-221020","东山松帖","《东山松帖》又名《新埭帖》、《东山帖》。《东山松帖》是王献之所书写的一通信札，下笔婆娑，百态横生，萧散秀逸。",[24,7,178,86,227,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2e1dad8d0f5a784fa42000b553eb90.jpg","纸本墨迹","纵22.8厘米，横22.3厘米",[382],{"id":18417,"slug":18418,"title":18419,"dynasty":99,"author":3114,"museum":20,"description":18420,"tags":18421,"thumbUrl":18422,"material":67,"size":18423,"collection":181,"collections":18424,"showCount":18314,"zanCount":1547,"manualWeight":48,"mainColor":94},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[23,7,24,173,177,178,227,241,29,34,108,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[181,163],{"id":18426,"slug":18427,"title":29,"dynasty":1095,"author":6282,"museum":4792,"description":18428,"tags":18429,"thumbUrl":18430,"material":139,"size":139,"collection":139,"collections":18431,"showCount":18314,"zanCount":5,"manualWeight":48,"mainColor":94},220477,"shan-shui-fu-bao-shi-220477","此作用笔秀润，设色雅致，以烟岚晕染远山，黛色层叠间漾出空濛秋意。中景丹枫与青松交错，赭石铺就秋山暖调，村居隐于林麓，野趣横生。近畔水榭临流，凭栏二人闲对，静赏天光云影，将秋日江村的幽寂闲恬铺陈开来。题画诗与笔墨相映，文心入画，将文人寄情山水、栖居林泉的诗意愿景藏于尺幅之间，观之如临清秋江村，尽揽山居雅趣。",[7,27,177,29,107,34,491,10416,2238,1575,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d127d461e95daec85dc02446a8bd1d.jpg",[],{"id":18433,"slug":18434,"title":18435,"dynasty":189,"author":18436,"museum":238,"description":18437,"tags":18438,"thumbUrl":18439,"material":381,"size":18440,"collection":44,"collections":18441,"showCount":18314,"zanCount":5,"manualWeight":48,"mainColor":49},220366,"zhong-kui-yue-ye-chu-you-tu-yan-hui-220366","钟馗月夜出游图","颜辉","颜辉，字秋月，庐陵(今江西吉安)人；—作江山(今浙江)人。擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣。大德(1297-1307)间尝画辅I，匝宫壁。所作《李仙像》，绢本着色，衣纹粗笔勾染，鬓发细笔勾描，主线粗，副线细，笔势转折富于变化，开明初吴伟画法之先河。传世作品有《中山出猎图》轴，图录于《故宫书画集》，《钟馗月夜出游图》现藏美国克利夫兰美术馆。\n关于元代画家颜辉的生平，画史上记载很少，仅《图绘宝鉴》中略有提及他擅画道释人物。明代吴宽《匏翁家藏集》中谓其“画鬼尤工，笔法奇崛，有八面生动之意”。颜辉还兼擅山水，画风有李成、郭熙的遗韵。",[23,209,7,24,25,260,173,106,300,7464,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb1ea86b91ff3415a751ad1b0b59ac4.jpg","24.8X240.3",[44,163],{"id":18443,"slug":18444,"title":18445,"dynasty":189,"author":17731,"museum":11116,"description":18446,"tags":18447,"thumbUrl":18448,"material":342,"size":18449,"collection":90,"collections":18450,"showCount":18314,"zanCount":48,"manualWeight":48,"mainColor":94},220322,"wan-jie-tu-gu-an-220322","晚节图","此作以墨写竹，竿干劲挺修长，节痕匀整，藏坚韧不屈之态。竹叶以浓淡墨笔撇捺挥写，错落层叠、顾盼生姿，尽显萧疏散朗之致，将竹的清灵秀逸全然托出。\n\n画作以竹明志，借凌霜不凋的修竹暗合持守晚节的君子襟怀，把文人画托物言志的意趣融于笔墨间。笔致洗练老辣，墨色层次分明，简淡素净的纸色衬出墨竹清韵，通篇空灵雅致，满卷皆溢清刚雅正的高古之气，是墨竹画中形神兼备的佳构。",[23,7,24,173,241,242,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1bd0ec0a82b701fca3fa1e53d0bce.jpg","113.7x33.2厘米",[90],{"id":18452,"slug":18453,"title":18454,"dynasty":76,"author":77,"museum":78,"description":18455,"tags":18456,"thumbUrl":18457,"material":123,"size":2399,"collection":139,"collections":18458,"showCount":18314,"zanCount":5,"manualWeight":48,"mainColor":94},219821,"hua-hui-shi-kai-2-yun-shou-ping-219821","花卉十开-2","这幅花卉以没骨之法绘就，淡赭底衬出清透雅致的基调。嫩黄花瓣以轻匀色彩晕染，边缘微微化开，仿佛带着朝露舒展，花蕊明黄点睛，尽显娇妍柔媚。叶片以深浅绿意区分阴阳向背，细劲墨线勾勒叶脉，将草木鲜润柔嫩的质感全然带出。\n\n花枝穿插错落，删繁就简，毫无生硬雕琢之感。全作以色彩堆叠出花叶层次，不见勾勒硬线，尽显江南花木清隽秀雅的天趣，将仲夏篱边悠然自在的清景凝于尺幅，淡静雅致间蕴藏蓬勃自然生机。",[7,24,81,27,83,84,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02991a6910c01aff3d84e90e53c39c06.jpg",[],{"id":18460,"slug":18461,"title":18462,"dynasty":76,"author":1394,"museum":206,"description":18463,"tags":18464,"thumbUrl":18465,"material":123,"size":18466,"collection":181,"collections":18467,"showCount":18314,"zanCount":48,"manualWeight":48,"mainColor":94},219653,"song-yan-jing-le-tu-wang-shi-min-219653","松岩静乐图","烟客画山水，宗法元四家，晚年尤倾力黄公望，逐入痴翁堂奥，巽笔湿笔，自具心裁。此为七十九岁老年之作，笔墨犹不脱秀润之色。",[7,27,177,29,1575,176,109,34,35,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485b1637050632062640af0dec5e5eb.jpg","168x76.3",[181],{"id":18469,"slug":18470,"title":18471,"dynasty":18,"author":3103,"museum":206,"description":18472,"tags":18473,"thumbUrl":18474,"material":123,"size":18475,"collection":181,"collections":18476,"showCount":18314,"zanCount":1356,"manualWeight":48,"mainColor":49},218527,"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[23,209,7,24,25,26,27,106,29,28,176,31,34,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[181],{"id":18478,"slug":18479,"title":18480,"dynasty":189,"author":18481,"museum":675,"description":18482,"tags":18483,"thumbUrl":18484,"material":123,"size":18485,"collection":181,"collections":18486,"showCount":18314,"zanCount":1547,"manualWeight":48,"mainColor":49},218229,"qing-shan-hong-xing-tu-ma-wan-218229","青山红杏图","马琬","青山红杏图是中国元朝时期著名的画家马琬的杰作之一。这幅图像是一幅山水画，描绘了一片山峰环绕的山谷，谷底有一条清澈的小溪流过。山峰上绿油油的树木点缀着几朵红色的杏花，与苍翠的山峰形成鲜明的对比。整幅画非常细腻，笔触流畅，给人以清新自然的感觉。\n\n马琬是元朝时期著名的画家，他的画风独特，善于描绘自然风光。他的作品中常常出现山水、花鸟、山峰和小溪的景象，并融入了自己的想象力和创造力。青山红杏图就是马琬这种画风的经典代表之一。",[7,209,24,26,27,29,177,864,430,6224,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210df1734801534a679e4b785cd61260.jpg","24.2x22.7cm",[181],{"id":18488,"slug":18489,"title":18490,"dynasty":18,"author":293,"museum":206,"description":18491,"tags":18492,"thumbUrl":18494,"material":123,"size":18495,"collection":90,"collections":18496,"showCount":18314,"zanCount":1547,"manualWeight":48,"mainColor":94},216599,"xiu-huang-quan-hua-hua-niao-ce-2-yi-ming-216599","绣黄筌画花鸟册-2","绣线交织出兰叶的柔婉姿态，针脚起落间，叶脉的细腻纹路清晰可见，似微风拂过便会轻颤。浅金色花簇缀于青碧草间，色泽温润雅致，与素净底色相衬，流露宋人独有的清逸审美。角落的红墨小物，色彩对比鲜明却不失和谐，为静谧画面添了几分灵动。此作以针代笔，将绘画的工致与刺绣的肌理感相融，既复刻了黄筌画派的细腻，又借丝线的质感赋予画面立体生机，仿佛能窥见宋时窗下，一缕兰香随绣线漫开的静谧时刻，尽显传统工艺与文人意趣的精妙碰撞。",[209,7,24,81,27,83,452,62,227,18493],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9056d18793811b531cba23d39e80e11f.jpg","23.1x21.1cm",[90],{"id":18498,"slug":18499,"title":18500,"dynasty":18,"author":18501,"museum":1637,"description":18502,"tags":18503,"thumbUrl":18504,"material":123,"size":18505,"collection":44,"collections":18506,"showCount":18314,"zanCount":1356,"manualWeight":48,"mainColor":94},215008,"xie-shen-lao-jun-bian-hua-shi-shi-tu-wang-li-yong-215008","写神老君变化十式图","王利用","道教以老子为祖先，赋予这位先秦哲人以神秘而神圣的光芒，赋予他自己神奇的力量。在这幅画中，老子被分段描绘在横幅上，从天地初开到殷商时期，老子化身为顾主、金阙皇帝、玉华子、大成子、广寿子、广成子、镇星子、解颐子、牟成子、川桓子等真实人格。宋朝皇帝提倡道教，所以这类题材的绘画很受欢迎。",[23,209,7,24,25,28,27,259,106,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474edbfbed198eb48c688584feee12ec.jpg","44.8x188.4",[44],{"id":18508,"slug":18509,"title":18510,"dynasty":189,"author":1057,"museum":7359,"description":18511,"tags":18512,"thumbUrl":18514,"material":123,"size":18515,"collection":90,"collections":18516,"showCount":18314,"zanCount":5,"manualWeight":48,"mainColor":49},214823,"da-dou-tu-ren-ren-fa-214823","大豆图","任仁发是中国元代的一位画家，他的作品中有一幅著名的名为《大豆图》的画作。《大豆图》是一幅巨幅的屏风画，画面上描绘了一片肥沃的大豆田，田里满是绿油油的大豆苗和成熟的大豆果实，非常生动形象。据说，这幅画是任仁发在他的经历过艰苦卓绝的农村生活后创作的，他希望通过这幅画向人们展示农村的美好景象，并寄托对故乡的怀念之情。任仁发的《大豆图》被誉为元代绘画的杰作，并被认为是中国古代农业画的典范。",[7,27,28,18513,1003,244],"大豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fabe52ec754cf337e53d8710c0851e8.jpg","18.7x19.4cm",[90],{"id":18518,"slug":18519,"title":7307,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":18520,"thumbUrl":18521,"material":743,"size":744,"collection":139,"collections":18522,"showCount":18523,"zanCount":5,"manualWeight":48,"mainColor":94},287452,"yi-jin-ling-ce-shi-tao-287452",[7,81,173,86,227,177,29,1015,920,176,300,6178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4024d85ab10042e974297b9aa2ce45b2.jpg",[],103,{"id":18525,"slug":18526,"title":10927,"dynasty":204,"author":2664,"museum":364,"description":10928,"tags":18527,"thumbUrl":18528,"material":743,"size":744,"collection":139,"collections":18529,"showCount":18523,"zanCount":5,"manualWeight":48,"mainColor":49},283688,"qiu-shan-wan-cui-tu-guan-tong-283688",[23,209,7,24,241,173,27,29,7241,176,34,649,558,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],{"id":18531,"slug":18532,"title":18533,"dynasty":76,"author":2804,"museum":364,"description":18534,"tags":18535,"thumbUrl":18536,"material":139,"size":139,"collection":139,"collections":18537,"showCount":18523,"zanCount":5,"manualWeight":48,"mainColor":94},235233,"ju-shi-zhou-wu-chang-shuo-235233","菊石轴","此作用笔雄老苍劲，以篆籀之法入画，将金石意趣融于绘事。左侧狂草长题与右侧花木山石虚实相映，通篇气机贯通。泼墨写石，干湿浓墨晕染出嶙峋朴拙之态，淡墨勾菊瓣、浓墨点枝叶，尽显菊花清隽凌霜之姿；下方牡丹设色秾丽饱满，艳而不俗，与寒菊形成雅艳对照。\n\n诗画互衬，借黄英、牡丹寄寓疏狂高逸的襟怀，将文人意趣与世俗审美相融，尽显晚年沉郁浑朴的大写意风骨。",[7,24,241,209,27,173,446,453,431,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ca9fe70ff6300da429378a633361f7.jpg",[],{"id":18539,"slug":18540,"title":18541,"dynasty":189,"author":2471,"museum":206,"description":18542,"tags":18543,"thumbUrl":18544,"material":381,"size":18545,"collection":139,"collections":18546,"showCount":18523,"zanCount":5,"manualWeight":48,"mainColor":49},228263,"nan-zhi-chun-zao-tu-wang-mian-228263","南枝春早图","《南枝春早图》是元代 创作的绢本墨笔画，现藏于 。\n这幅图用浓淡相间的笔墨写枝干，一枝粗枝由画面下部右端斜出向上。\n大枝上再缀小枝，纵横交织，十分自然。\n枝上梅花繁密，有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现了出来，给人一种清雅自得之感。\n此画轴用浓淡相间笔墨写枝干，一千粗枝由画面下部右端斜出向上，大枝上再缀小枝，纵横交织，枝条生长茂盛，前后左右伸展交错，呈四出之势-枝上梅花繁密，千花万蕊，天真烂漫，生机盎然。\n有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现出来，给人一种清雅白得之感。\n梅花作为独立的绘画题材，兴自北宋，现在常见的“墨渍”、“圈瓣”两法，亦于斯时产生。\n相传释仲仁因偶见月光映梅于窗纸上得到启发，创以“墨渍法”；扬补之承仲仁墨梅之风，常对庭园老梅写生，乃创“圈瓣法”，两位画梅大家对后世影响极大，王冕即是在他们基础上取得成就的。\n今传王冕作品多件，俱为水墨，“墨渍”、“圈瓣”画法皆有，以“圈瓣”法为多。\n其作品不宥于陈法，有新的面貌；水平之高，或认为“不减扬补之”《墨梅人名录》，这幅《南枝春早图》即是其代表之作。\n王冕在梅谱中不称写梅而称“扫梅”，并总结扫梅十要，即“得意下笔，水墨浓淡，枝分左右，横斜上下，老嫩相兼，下笔不填，有花无花，花分疏密，枝分女字，十宁藏花：”这“十要”在此图中都发挥得淋漓尽致。\n充分表现了他丰富的艺术手法和独具匠心的布局能力： 此图的画法，以“飞白法”画梅，兼有书法笔意，花枝交接处，似笔断意连，运笔风神峭拔，挺劲潇洒，自根至梢一气呵成。\n在花与枝的处理上，王冕采用枝多花繁的格局，这幅墨梅图，虽枝花繁茂，但繁而不乱，疏密有绪，密中见疏，疏中仍有聚散。\n在此画中，王冕的花办采用圈法，可谓是王氏别出新意。\n所画的梅花往往正侧向背，高低偃合，妙趣横生、在画幅右侧中间有作者自题诗：“和靖（按：即宋代林和靖，不求功名，隐居丙湖孤山，赐溢和靖先生）门前雪作堆，多年积得满身苔，疏华个个团冰玉，羌笛吹他不下来：癸已夏五会稽王元章自南作。\n”下钤朱文二印，当为其本人所刻。\n王冕（1287—159），元代画家、诗人：字元章，号煮石山农、饭牛翁、会稽外史、梅花屋主等：诸暨（今属浙江）人，出身农家，白天放牛，晚至佛寺长明灯下读书：后从韩性学，试进士不第，即弃去，读古兵法，曾游大都（今北京），纵观居庸、古北关塞：泰不花荐以翰林院供职，不就、携妻孥归隐九里山，“以缯幅短长为得米之差”，工画墨梅，学扬无咎，花密枝繁，生意盎然，劲健有力，或用胭脂作没竹梅：廾善画竹，名其斋为“竹斋”。\n兼能刻印，相传以花乳石（青田石一类）作印材，白他创始：作诗多描写隐逸生活。\n部分作品也能反映民间疾苦，语言质朴，不拘常格：传世画迹有《为良佐写墨梅图》卷，《墨梅图》轴、《南枝春早图》轴。\n并著有《梅谱》一书等。",[23,7,24,241,173,840,394,245,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1227e7f33e2100268c266b6b18d98d06.jpg","151.4x52.2",[],{"id":18548,"slug":18549,"title":18550,"dynasty":76,"author":2804,"museum":364,"description":5389,"tags":18551,"thumbUrl":18552,"material":1642,"size":139,"collection":45,"collections":18553,"showCount":18523,"zanCount":48,"manualWeight":48,"mainColor":94},224237,"ju-you-huang-hua-wu-chang-shuo-224237","鞠有黄花",[23,7,24,241,27,173,83,453,245,227,86,1308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51472c0177bf4af05998090e6d6ffd8e.jpg",[45],{"id":18555,"slug":18556,"title":18557,"dynasty":76,"author":4005,"museum":675,"description":4006,"tags":18558,"thumbUrl":18559,"material":67,"size":4010,"collection":139,"collections":18560,"showCount":18523,"zanCount":1356,"manualWeight":48,"mainColor":94},222683,"si-ji-hua-niao-tu-ping-6-chen-mei-222683","四季花鸟图屏6",[23,7,28,27,83,450,224,245,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78822ac937e1da347d3173f152b03859.jpg",[],{"id":18562,"slug":18563,"title":18564,"dynasty":18,"author":1650,"museum":20,"description":8707,"tags":18565,"thumbUrl":18566,"material":67,"size":18567,"collection":42,"collections":18568,"showCount":18523,"zanCount":5,"manualWeight":48,"mainColor":49},221516,"kong-qiu-xiang-tu-ye-ma-yuan-221516","孔丘像图页",[23,7,24,81,106,260,27,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140533cc0f37b2814b2ddd30cf0df06f.jpg","27.7x23.2",[42,44,45],{"id":18570,"slug":18571,"title":18572,"dynasty":18,"author":553,"museum":206,"description":18573,"tags":18574,"thumbUrl":18575,"material":67,"size":18576,"collection":42,"collections":18577,"showCount":18523,"zanCount":48,"manualWeight":48,"mainColor":49},221393,"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[23,209,7,24,241,177,173,29,3953,1248,650,560,34,1399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[42,181,163],{"id":18579,"slug":18580,"title":18581,"dynasty":189,"author":1672,"museum":101,"description":18582,"tags":18583,"thumbUrl":18584,"material":67,"size":18585,"collection":181,"collections":18586,"showCount":18523,"zanCount":48,"manualWeight":48,"mainColor":94},220801,"jiang-zhu-feng-lin-tu-zhou-ni-zan-220801","江渚风林图轴","倪瓒，世皆称倪云林（1301-1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，与黄公望、王蒙、吴镇合称元四家。倪瓒山水画风疏朗峻逸、风轻云淡，这种惜墨如金的朴拙，别具一格，恰似世人心目中那种内心安宁的渴望。倪瓒出身大地主家庭，长兄为“真人”级的道教上层，在元代道教繁盛的背景下，青少年时代过得滋润无比，家中藏书名画甚众，朝夕把玩、洁身有闲，研摩书画可谓必然。\n长兄故后，倪瓒家道日渐衰落，多年不事生产且倪瓒的洁癖常为世人侧目、权贵厌弃（有传说最后得死法是被朱元璋故意扔进粪坑淹死），遂寄情山水，云游访道，漫游江林，不做官不供职，书法诗画天真无饰，毫无烟火气，人谓有魏晋风骨，后人称“倪高士”。董其昌评曰：“古淡天真，米痴(即米芾)后一人而已。”把倪瓒评为米芾之后第一人，可谓高山仰止。\n倪瓒对明清绘画影响巨大，有意无意，若淡若疏的画风为士大夫礼拜，后人仿之追之者极众，明四僧中石涛、大家董其昌、徐渭（被郑板桥、齐白石跪称：“愿为青藤门下走狗”那位）均追崇不已，至今仍被评为“中国古代十大画家”。同时代的黄公望（年长其32岁），花十年时间，替倪瓒画《江山胜揽图》卷，卷长二丈五尺余，可谓巨作，若不认可，必无此为。（顺便说下：黄公望也是全真教名人，元明画家或应考证下他们受宗教影响而形成的独特心理特征和文化背景，或可更好的理解其人创作心路。）\n《江渚风林图轴》从题诗看，应为同时代学者虞戡嘱作，诗曰：江渚暮潮初落，风林霜叶浑稀。倚仗柴门闲寂，怀人山色依微。 据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[23,7,24,241,173,1397,177,1015,394,245,29,491,7741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[181,163],{"id":18588,"slug":18589,"title":18590,"dynasty":76,"author":953,"museum":101,"description":18591,"tags":18592,"thumbUrl":18593,"material":4796,"size":139,"collection":139,"collections":18594,"showCount":18523,"zanCount":1547,"manualWeight":48,"mainColor":94},220471,"dong-wu-hua-niao-ren-yi-220471","动物花鸟","此作用笔灵动写意，淡墨晕染出空濛柔润的水色背景，烘托出清寂悠然的氛围。枝上红顶雀鸟，以干湿笔墨皴擦出蓬松绒羽，朱红顶冠鲜亮醒目，将禽鸟的灵动野趣尽显无遗。下方伏于枝叶间的禽鸟探身侧目，姿态机敏鲜活。\n\n枯笔写就的老枝苍劲疏朗，叶片以浓淡墨色晕染，虚实相映，留白恰到好处。画面简淡天真，将秋意里的幽寂与小禽的生机相融，寥寥数笔，便把闲淡野逸之趣藏于笔墨间，尽显传统写意花鸟的雅致意韵。",[7,24,173,27,446,83,224,1062,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adf0c2f4c3b76213aefde5481ee095a.jpg",[],{"id":18596,"slug":18597,"title":18598,"dynasty":99,"author":3114,"museum":101,"description":18599,"tags":18600,"thumbUrl":18601,"material":803,"size":14027,"collection":181,"collections":18602,"showCount":18523,"zanCount":48,"manualWeight":48,"mainColor":94},220344,"fang-mi-fei-shan-shui-tu-juan-dong-qi-chang-220344","仿米芾山水图卷","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[209,7,24,25,173,29,177,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9110a3b8272916474ce78d43f4cf6a08.jpg",[181,382],{"id":18604,"slug":18605,"title":18606,"dynasty":18,"author":18607,"museum":206,"description":18608,"tags":18609,"thumbUrl":18611,"material":123,"size":18612,"collection":42,"collections":18613,"showCount":18523,"zanCount":48,"manualWeight":48,"mainColor":49},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,209,7,24,25,27,28,29,108,109,151,34,8891,18610,281,175],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[42,181],{"id":18615,"slug":18616,"title":18617,"dynasty":99,"author":170,"museum":1429,"description":1430,"tags":18618,"thumbUrl":18619,"material":803,"size":1434,"collection":139,"collections":18620,"showCount":18523,"zanCount":5,"manualWeight":48,"mainColor":94},220062,"hu-qiu-shi-er-jing-tu-ce-5-shen-zhou-220062","虎丘十二景图册-5",[23,7,24,81,173,29,106,175,242,107,2268,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b98caed8ba3c7e8188c4fa105bf846.jpg",[],{"id":18622,"slug":18623,"title":18624,"dynasty":99,"author":293,"museum":206,"description":18625,"tags":18626,"thumbUrl":18628,"material":123,"size":18629,"collection":45,"collections":18630,"showCount":18523,"zanCount":48,"manualWeight":48,"mainColor":49},219353,"hua-niao-tu-xing-hua-shuang-ya-yi-ming-219353","花鸟图-杏花双鸭","此幅绘柳岸池塘，杏花繁茂，双燕翻飞，翠鸟窥机、二鸭嬉戏。",[7,27,28,83,2972,18627,1532,281,490,298,14364],"双鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08be92aa3800553c043da2d21b1ba09.jpg","161.5x80.1",[45],{"id":18632,"slug":18633,"title":18634,"dynasty":99,"author":9022,"museum":15696,"description":18635,"tags":18636,"thumbUrl":18638,"material":123,"size":18639,"collection":90,"collections":18640,"showCount":18523,"zanCount":5,"manualWeight":48,"mainColor":49},219115,"zao-chun-hua-qin-tu-yin-hong-219115","早春花禽图","枯枝盘曲如铁，山茶吐艳似燃，几枝早梅缀着淡粉花苞，悄然泄露春讯。禽鸟或栖于岩畔顾盼，或立于枝间啁啾，翅羽纹理细如毫发，喙爪色泽鲜妍如生。地面鹌鹑缩颈梳羽，与岩上对视双鸟相映成趣，动静之间满是早春的慵懒与生机。设色温润雅致，墨骨与彩晕交融，既见工笔细腻，又含写意灵动。整幅画如无声春曲，将料峭时节的萌动鲜活凝于绢素，观者仿佛能嗅到微香、听见轻啼，尽览自然生机的悄然苏醒。",[23,7,24,28,27,83,176,109,84,1938,34,18637],"早春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569747867dc70978b50213d39ad4728a.jpg","纵168.7cm横102.7cm",[90],{"id":18642,"slug":18643,"title":18644,"dynasty":18,"author":474,"museum":206,"description":18645,"tags":18646,"thumbUrl":18647,"material":342,"size":18648,"collection":42,"collections":18649,"showCount":18523,"zanCount":48,"manualWeight":48,"mainColor":49},218788,"hua-ying-tu-zhao-ji-218788","画鹰图","该图描绘了一只雄鹰威风凛凛地站在一棵枯树的树干上，在孔武有力的鹰嘴帮助下，仰头梳理自己的羽毛。",[23,7,24,28,173,83,4307,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff856060d6a30964688536f3e2943de33.jpg","88.8x43",[42],{"id":18651,"slug":18652,"title":18653,"dynasty":189,"author":10811,"museum":78,"description":18654,"tags":18655,"thumbUrl":18656,"material":342,"size":18657,"collection":90,"collections":18658,"showCount":18523,"zanCount":48,"manualWeight":48,"mainColor":94},218762,"zhu-shi-ji-qin-tu-wang-yuan-218762","竹石集禽图","王渊（生卒年不详），字若水，号澹轩，钱塘（今浙江杭州）人。元代后期职业画家，擅画水墨花鸟、竹石、山水等。\n此图又名《花竹禽雀图》，以墨笔描绘园中禽雀栖息翱翔的场景。画面以一雄一雌的两禽为主体，雄禽立于湖石之上，炯炯有神，展现出胸部美丽斑斓的羽毛；辞禽于湖石下仰头回眸。在石后杜鹃盛开、竹枝生长，竹稍鸟群或栖息欲飞、或翻飞腾跃。\n技法上，王渊充分发挥墨彩的效果，通过运用浓淡枯湿的不同墨色，将水墨皴染和细笔勾勒等多种手法相结合，生动写实地表现出湖石、花朵、竹枝、禽鸟的不同质感，呈现出禽鸟的丰富神态，绘画细腻写实，是元代水墨画中的典型作品。",[23,7,209,24,241,173,28,227,242,431,281,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5497a6ceb9b1d521898be3b33cd857fc.jpg","纵137.5 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骨晕染而成，摒弃浓艳富丽，清冷幽洁自带孤高韵致，一扫牡丹流俗的富贵之气。\n淡墨湖石以写意皴染绘就，朴雅苍润，苔点隐约，与柔媚花影形成刚柔对照。旁生秀竹浅赭敷色，清瘦挺拔，枝叶舒展柔和，衬得花容愈发幽绝尘寰。左上行题诗呼应画意，将牡丹幽芳风骨引向诗文意境，工写兼备间，尽抒文人清雅出尘的审美意趣。",[23,7,24,241,27,28,173,327,242,245,83,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7ce165a5673fa2c97572f9249cf42a.jpg",[],{"id":18802,"slug":18803,"title":18804,"dynasty":189,"author":1848,"museum":206,"description":18805,"tags":18806,"thumbUrl":18807,"material":827,"size":18808,"collection":163,"collections":18809,"showCount":18721,"zanCount":48,"manualWeight":48,"mainColor":49},220781,"zhu-shi-tu-ye-wu-zhen-220781","竹石图页","吴镇师承方面，于董源、巨然所得最多。其实董源、巨然并不是文人画家，但由于他们生活在江南，表现江南山川，创造了平淡天真、苍茫浑厚的山水画风，恰到好处地表现了山川之气韵，这种气韵正是宋代以后文人画家所梦寐以求的。从米芾开始，董巨画风开始受到青睐，延及赵孟頫、元四家，董巨画风大受推崇，整个元代山水画坛大多以董巨为依归，力求韵外之致。吴镇对董巨是下过很深的功夫的，他自己说：“董源画《寒林重汀图》，笔法苍劲，世所罕见，因观其真迹，摹其万一。”",[23,209,7,173,177,81,242,431,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe30f4d3ae723c1fb823e512d8473ef.jpg","本幅 90.6x42.5公分、全幅 61.3公分",[163,2293],{"id":18811,"slug":18812,"title":18813,"dynasty":1095,"author":1096,"museum":18814,"description":18815,"tags":18816,"thumbUrl":18817,"material":139,"size":139,"collection":139,"collections":18818,"showCount":18721,"zanCount":48,"manualWeight":48,"mainColor":94},220606,"song-shi-shan-shui-qi-bai-shi-220606","宋式山水","Kyoto National Museum","这幅作品跳脱山水旧法，以斩截刚劲的线条将山峦拆解为方正硬朗的几何岩体，块面堆叠出雄浑厚重的山野气势，全无传统皴法的柔婉，自带稚拙刚健的力量感。\n浅勾淡染的云气柔化山石冷硬，山坳中隐现的屋舍晕开山居悠然意趣。下方枯林以极简枝桠舒展，疏清淡雅，与上部重峦形成疏密对照。\n它以全新造型重构山水意境，将笔墨的写意精神，融于现代感的视觉表达，于朴拙间开创出别具一格的山水新风貌。",[7,173,241,177,29,176,34,37,35,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c9a3dc4e5e42b53615a5f03733ed05.jpg",[],{"id":18820,"slug":18821,"title":18822,"dynasty":18,"author":293,"museum":206,"description":18823,"tags":18824,"thumbUrl":18825,"material":123,"size":18826,"collection":42,"collections":18827,"showCount":18721,"zanCount":5,"manualWeight":48,"mainColor":94},218883,"xian-guan-nong-hua-tu-yi-ming-218883","仙馆秾花图","亭台楼阁错落有致，木构窗棂细密精巧，飞檐翘角带着宋式建筑的清雅韵味。阁内数人或对坐清谈，或凭栏远眺，衣袂轻扬间透着闲适散淡；阶下一人缓步小径，似在赏玩周遭景致。苍松倚石而立，枝叶遒劲，庭院间花木点缀，山石错落，笔墨细腻却不失灵动，悄然铺展宋人的雅致生活图景。画面静谧温润，细节处见匠心，仿佛能窥见千年前那方庭院里的悠然时光，尽显宋代文人雅士的生活意趣与审美追求。",[23,7,27,104,28,81,106,107,34,62,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973f9d56457127b7ab4280a85457e24c.jpg","26.4x27.2",[42],{"id":18829,"slug":18830,"title":18831,"dynasty":99,"author":2917,"museum":206,"description":18832,"tags":18833,"thumbUrl":18834,"material":123,"size":18835,"collection":90,"collections":18836,"showCount":18721,"zanCount":5,"manualWeight":48,"mainColor":49},218791,"ba-bai-chang-chun-tu-zhou-zhi-mian-218791","八百长春图","群鸟聚于虬枝间，动静交织成趣。或振翅俯冲，羽翼翻飞带起风意；或引颈相鸣，喙张似闻啁啾之声；或敛翼静栖，黑亮羽色衬暖褐底色，浓淡墨痕晕染出羽毛层次。虬枝蜿蜒，叶芽点缀其间，野趣盎然。整幅画面鲜活生动，鸟的姿态各异却和谐相融，似捕捉了林间一瞬的热闹场景，墨色与绢本底色相映成辉，尽显自然生机与笔墨意趣。",[23,7,209,24,241,28,83,281,394,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd7ed05d03aaa2f92e4f07cd2b388aa.jpg","111.8x50cm",[90],{"id":18838,"slug":18839,"title":18840,"dynasty":189,"author":1848,"museum":206,"description":18841,"tags":18842,"thumbUrl":18843,"material":381,"size":18844,"collection":181,"collections":18845,"showCount":18721,"zanCount":48,"manualWeight":48,"mainColor":94},218763,"xi-liu-gui-ting-tu-wu-zhen-218763","溪流归艇图","这幅画作于至正二年（公元1342年），当时他已经63岁了。溪流来回蜿蜒，森林茂密而阴凉。笔触强烈而浑厚，墨层清晰。纸张磨损严重",[23,7,24,173,177,29,109,174,108,176,34,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71089dbec8ab8f57de8f53bf2bd0a54.jpg","44x26.7",[181],{"id":18847,"slug":18848,"title":18849,"dynasty":18,"author":13198,"museum":364,"description":18850,"tags":18851,"thumbUrl":18852,"material":123,"size":139,"collection":45,"collections":18853,"showCount":18721,"zanCount":5,"manualWeight":48,"mainColor":49},218660,"he-ting-na-liang-tu-zhao-ling-rang-218660","荷亭纳凉图","亭畔柳丝轻垂如帘，半掩着凭栏闲坐的身影。池中荷叶片片叠翠，粉白的花影在微风里轻晃，似与远处烟霭中的山峦遥遥对语。远山以淡墨晕染，隐在薄云与江雾间，江天浩渺处，几只水鸟掠过，更添空寂。近景的石径、矮墙与草木，笔墨细腻却不繁冗，色彩温润如旧时光里的浅茶。整幅画没有燥热的夏意，只有风过荷塘的清凉与文人的从容——仿佛能听见荷叶上的露水滴落，也能看见那人眼中的江天辽阔。宋人的雅致与诗意，就这样凝在这一方圆幅里，淡而悠长，静而生动。",[23,209,7,24,27,28,29,106,175,243,136,34,281,13201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79a4b33df725714b75d1cedff8520f.jpg",[45],{"id":18855,"slug":18856,"title":18857,"dynasty":18,"author":6652,"museum":206,"description":18858,"tags":18859,"thumbUrl":18860,"material":342,"size":18861,"collection":42,"collections":18862,"showCount":18721,"zanCount":1547,"manualWeight":48,"mainColor":94},218641,"yun-shan-de-yi-tu-mi-you-ren-218641","云山得意图","米友仁（公元1086—1165年），南宋书画家。字元晖，米芾长子。徽宗宣和四年应选入掌画学, 南渡后官兵部侍郎、敷文阁直学上。米友仁受家庭的熏陶，能书善画，长于山水。他受文人画主张的影响，所作山水“点滴烟云，草草而成，而不失天真”，与当时流行的山水画风迥异其趣。其画法被后世称为“米点山水”，予元明以来的山水画创作以相当的影响。传世作品有《潇湘奇观图》卷、 《云山得意图》卷。",[23,7,24,25,173,177,86,227,29,1329,864,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[42,382],{"id":18864,"slug":18865,"title":18866,"dynasty":204,"author":18867,"museum":206,"description":18868,"tags":18869,"thumbUrl":18870,"material":123,"size":18871,"collection":44,"collections":18872,"showCount":18721,"zanCount":1547,"manualWeight":48,"mainColor":49},218616,"cai-zhi-xian-tu-wang-qi-han-218616","采芝仙图","王齐翰","传说中仙人的生活,「食则翠芝朱英」。求长生不死的灵药,芝是最为重要的一种。采芝的题材也就相当常见。本幅画仙人手捧大桃，肩荷锄挂筠篮，篮中有紫芝，一鹤后隋。画之质地为绢，绢之经纬疏如纱布，就墨底所见，是先托底而后画。明代浙派画家喜作民间题材，本幅即是。五代无此风格，题名误。",[7,24,241,27,28,106,60,12102,63,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ae3571f69dc7ccc9cd9ff70c419cc7.jpg","99.7x54cm",[44],{"id":18874,"slug":18875,"title":18876,"dynasty":18,"author":293,"museum":206,"description":18877,"tags":18878,"thumbUrl":18879,"material":123,"size":18880,"collection":44,"collections":18881,"showCount":18721,"zanCount":1270,"manualWeight":48,"mainColor":49},218392,"hua-ping-ren-wu-tu-yi-ming-218392","画屏人物图","画面铺展宋代文人闲居的日常图景。端坐的雅士衣袂宽博，神情淡然，侧立侍从执壶倾注，似将茶汤温煦融入此刻静谧。背景画屏叠映山水与人物，虚实相生间，把室内清居与屏中丘壑连为一体，更添雅致意趣。案上茶器莹润，架上典籍罗列，瓶中花枝疏朗，每一处陈设皆藏宋人的审美格调——不刻意雕琢，却见处处用心。古朴绢色晕染时光质感，细腻线条勾勒人物从容，仿佛能听见茶烟轻散时的喟叹，窥见那个时代文人内心的澄澈与自在。这帧小景，恰是宋代文人精神世界的生动缩影，于细微处见天地。",[23,7,24,27,28,106,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acb38e674bcaf962f75e9151169ea4e.jpg","29x27.8",[44],{"id":18883,"slug":18884,"title":18885,"dynasty":189,"author":18886,"museum":20,"description":18887,"tags":18888,"thumbUrl":18889,"material":342,"size":18890,"collection":181,"collections":18891,"showCount":18721,"zanCount":1270,"manualWeight":48,"mainColor":94},218307,"shu-lin-yuan-shan-tu-shen-xuan-218307","疏林远山图","沈铉","疏林错落，枝干虬劲如篆笔写就，墨色枯润相间，尽显古木苍然之态。林间茅舍隐现，似藏幽人逸趣，不施华彩却含生趣。中景水面空濛，留白处似有波光轻漾，与远山淡墨相融。层峦叠嶂以简笔晕染，云雾缭绕间显深远之致，无刻意雕琢却见丘壑万千。整幅画以极简之笔造极幽之境，元人淡泊宁静的心境跃然纸上，观之如入林泉深处，尘嚣尽散，只余清寂与悠远。笔墨间藏着自然的呼吸，每一处线条都似在诉说着对山水的深情，让人心生向往，沉醉于这份远离俗世的清雅之美。",[7,24,173,177,29,491,7067,394,176,109,1445,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d537a21bab97b3365385b72b0fd995.jpg","30x50.1cm",[181],{"id":18893,"slug":18894,"title":2152,"dynasty":76,"author":293,"museum":752,"description":18895,"tags":18896,"thumbUrl":18897,"material":123,"size":18898,"collection":90,"collections":18899,"showCount":18721,"zanCount":5,"manualWeight":48,"mainColor":49},216726,"hua-niao-tu-yi-ming-216726","花鸟图是清朝时期佚名画家创作的一类绘画作品，其中包含了许多花卉和鸟类的描绘。这类画作通常都具有鲜艳的色彩和精致的细节，描绘的花卉和鸟类也常常具有浓郁的自然气息。花鸟图被广泛地用作装饰品，被视作清朝文化中的珍宝。",[7,24,241,28,27,83,224,62,604,1062,1159,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ae1b447224169fc778d51c627cec2c.jpg","60.5x34.9cm",[90],{"id":18901,"slug":18902,"title":18903,"dynasty":189,"author":1672,"museum":206,"description":18904,"tags":18905,"thumbUrl":18906,"material":342,"size":18907,"collection":181,"collections":18908,"showCount":18909,"zanCount":5,"manualWeight":48,"mainColor":94},288975,"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[209,7,24,241,173,29,394,175,108,109,227,86,3995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[181],101,{"id":18911,"slug":18912,"title":18913,"dynasty":76,"author":1947,"museum":20,"description":18914,"tags":18915,"thumbUrl":18916,"material":18917,"size":18918,"collection":44,"collections":18919,"showCount":18909,"zanCount":1547,"manualWeight":48,"mainColor":94},238287,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238287","喻兰仕女清娱图册","此图册共八幅。从精美的器皿、工巧的家具、华丽的服饰可知作者表现的是富贵人家女子，通过女子在室内品茗、吹箫、梳妆、投壶等行乐活动，说明了优越的生活环境不仅保障了她们衣食无忧，亦为她们提供了种种休闲条件，从而令她们具有多方面的修养。",[209,7,24,81,27,28,106,59,281,210,244,63,755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f754f2a14cd591c9ca80e5a781de197.jpg","纸本、设色","每开纵17厘米，横22.7厘米",[44,45],{"id":18921,"slug":18922,"title":18923,"dynasty":99,"author":18924,"museum":18925,"description":18926,"tags":18927,"thumbUrl":18928,"material":1449,"size":18929,"collection":90,"collections":18930,"showCount":18909,"zanCount":5,"manualWeight":48,"mainColor":94},237544,"mo-zhu-tu-ce-feng-qi-zhen-237544","墨竹图册","冯起震","山东省博物馆","这幅《墨竹图》，所绘为风中之竹。画中有老竹二竿，小竹三竿，另有新篁三株。作者以淡墨绘老竹的竿与叶。竹竿亭亭竖劲，枝繁叶盛。一棵小竹依傍其左，另两竿小竹立其右。小竹枝、竿、叶均以浓墨写出，将青春勃发的幼竹秀颀、挺拔之态淋漓洒脱地表现出来。作者在写竹叶时，无论老竹幼竹，都用墨的浓淡的层次不同，来分出其阴阳向背以及叶梢的枯萎卷折，自然逼真，有形有神。\n竹下，有新笋拔地而起。其中一株已抽出肥嫩的竹节，大有冲天而发之势。另外两株小笋则跃跃欲试，似在蓄积力量，等待着雨后的拔节。笋皆以浓墨写出，清新可人。\n画中之竹，因经受着风的吹打，均倾向右侧。竹，非草非木，虽中心虚空，却能任风卷残云，我自岿然。这种宁折不弯的品性，正是画家通过他的《墨竹图》要传达给世人的。竹不是孤根而生，一枝独秀。在广袤的田园，抑或是在贫瘠的山间，竹必定是以群体的形式迎击着时时掠过的东西南北风。冯起震的《墨竹图》，着力渲染了竹的这种相依而生的特性。画中所绘竹丛，密处不繁，疏处不陋，有长幼之序，有父子之亲，老幼相傍，高下互让，拳拳之情，俨然如人间的手足相携，父子顾盼。\n以竹入画，始自唐代。初系著色，五代时用墨染，北宋开始流行墨竹。宋·李昉在《文苑英华》中说竹“劲本竖节不受霜，刚也；绿叶凄凄翠荫浮浮，柔也；虚心而直无所隐蔽，忠也；不孤根以挺拔，必相依以擢秀，义也”。这“刚、柔、忠、义”四种品德，正是历代中国文人所看重的修养与情操，甚至将其中的“忠”与“义”看得比生命还要重要。所以，谦谦君子，案头必定有竹相伴。以墨写竹，摒去了其他色彩，铅华洗尽，纯以黑白示人，更是清雅飘逸。北宋之后，墨竹在画坛上大行其道。到了明代，随着文人画日见称盛，墨竹作者更是名家辈出，冯起震便是其中自具特色的一位。\n《墨竹图》布局尤其独特。画中别无他物，只置绿竹一丛，顶天立地，上下均不留空间，只在左右两侧留白。画家只截取了竹的生长状态中的一部分予以表现，而不是写其全貌。至于竹究竟有多高，叶究竟有多茂，只有观者自己去想象了。由此，也可见出作者不为成法所拘，在画幅上自由驰骋的一面。\n如此大的篇幅，应当是作者张纸于壁上，一挥而就。所以，才使得这幅画淋漓利落，满纸清风。",[7,24,81,173,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce3c0964d656b67a08c1ef1ccd0e3f4.jpg","纵178厘米，横88厘米",[90],{"id":18932,"slug":18933,"title":18107,"dynasty":76,"author":2804,"museum":364,"description":18934,"tags":18935,"thumbUrl":18936,"material":139,"size":139,"collection":139,"collections":18937,"showCount":18909,"zanCount":48,"manualWeight":48,"mainColor":94},235404,"mu-dan-zhou-wu-chang-shuo-235404","此作虚实相生，右上角题款与左下花木湖石遥相呼应。牡丹以阔笔泼色，胭脂点染花瓣，浓艳厚重，带着苍浑的金石意趣，柔艳花姿里暗蕴雄强骨力。叶片焦墨挥写，线条老辣苍劲，与牡丹柔色形成强烈反差，更衬花之秾艳。\n\n湖石以淡墨晕染，焦墨提点轮廓，朴拙古雅。藤蔓缠绕穿插，填补留白让层次愈显丰满。题字带着篆隶笔意，与画境浑然相融，将篆刻的苍茫意趣尽数融入画笔，跳出牡丹富贵柔媚的陈套，化为疏野苍劲的文人风骨，纵横恣肆间不失雅致，尽显雄强古茂的写意格调。",[7,24,241,209,27,173,446,83,327,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e01c9ee92e8c23d37723f245dada53.jpg",[],{"id":18939,"slug":18940,"title":5230,"dynasty":18,"author":2029,"museum":206,"description":18941,"tags":18942,"thumbUrl":18943,"material":803,"size":14266,"collection":139,"collections":18944,"showCount":18909,"zanCount":5,"manualWeight":48,"mainColor":49},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。\n西园为北宋驸马都尉王诜之第，当代文人墨客多雅集于此。元丰初，王诜曾邀同苏轼、苏辙、黄庭坚、米芾、蔡肇、李之仪、李公麟、晁补之、张耒、秦观、刘泾、陈景元、王钦臣、郑嘉会、圆通大师（日本渡宋僧大江定基）十六人游园。苏轼是宋代著名诗人、文学家、书画家。京中文人学士围绕在苏轼周围，拥戴他为文坛盟主。史称“西园雅集”，众人认为可与晋代王羲之“兰亭集会”相比。",[23,7,24,25,28,27,177,106,29,108,109,430,340,1575,298,175,210,1959,12049,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785b62b366399fa57e2029f4f.jpg",[],{"id":18946,"slug":18947,"title":18948,"dynasty":18949,"author":18950,"museum":364,"description":18951,"tags":18952,"thumbUrl":18953,"material":743,"size":744,"collection":139,"collections":18954,"showCount":18909,"zanCount":5,"manualWeight":48,"mainColor":49},231039,"tai-hang-shan-ji-wei-dan-231039","太行山记","汉","韦诞","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[209,7,24,86,25,178,173,227,3790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bfe89ff080cb08ac0a64e22cd3a4985.jpg",[],{"id":18956,"slug":18957,"title":1417,"dynasty":18,"author":293,"museum":364,"description":18958,"tags":18959,"thumbUrl":18960,"material":139,"size":139,"collection":139,"collections":18961,"showCount":18909,"zanCount":48,"manualWeight":48,"mainColor":94},227896,"mu-dan-tu-yi-ming-227896","此作以工笔设色绘就，将牡丹的雍容之态尽显绢上。重瓣花头饱满蓬松，紫艳花瓣层层叠叠，以色晕染出瓣面明暗渐变，从瓣根的深紫过渡至瓣尖的柔粉，将花瓣舒展翻卷的柔媚质感描摹入微，把牡丹的华贵风韵定格。嫩绿的萼片与枝叶作为映衬，线条细劲灵动，勾勒出叶片舒展的姿态，浅绿设色柔而清透，与花的浓艳形成冷暖呼应，愈衬花头妍丽不俗。\n\n整幅构图紧凑却不显拥塞，团扇形制里氤氲着雅致静谧的氛围，尽显内敛的审美意趣，将国色天香的雅致风骨凝于尺幅之间。",[23,209,7,24,1562,27,28,83,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e83d9bc1bd1f8aa4ab7a2bddd7fdce5.jpg",[],{"id":18963,"slug":18964,"title":18965,"dynasty":3495,"author":18966,"museum":364,"description":18967,"tags":18968,"thumbUrl":18970,"material":139,"size":139,"collection":139,"collections":18971,"showCount":18909,"zanCount":48,"manualWeight":48,"mainColor":94},227059,"chen-tian-mu-yun-hai-tu-gu-ye-wang-227059","陈天目云海图","顾野王","顾野王(519-581年)，原名顾体伦，字希冯， 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横5厘米。",[209,7,24,241,27,28,83,327,1575,224,176,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4c0d3181e223fbb9eb02524df05a4.jpg",[],{"id":19126,"slug":19127,"title":19128,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":19129,"thumbUrl":19130,"material":743,"size":744,"collection":139,"collections":19131,"showCount":19116,"zanCount":5,"manualWeight":48,"mainColor":94},235133,"ju-shi-tu-zhou-wu-chang-shuo-235133","菊石图轴",[7,241,83,446,27,453,431,19042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee122e684142d4f2b96c49a249c633f3.jpg",[],{"id":19133,"slug":19134,"title":1223,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":19135,"thumbUrl":19136,"material":139,"size":139,"collection":139,"collections":19137,"showCount":19116,"zanCount":5,"manualWeight":48,"mainColor":94},233904,"hua-hui-shan-shui-ce-yun-shou-ping-233904",[7,24,81,27,83,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbf2e23316e1383346d504dafb8bee8.jpg",[],{"id":19139,"slug":19140,"title":19141,"dynasty":76,"author":1109,"museum":364,"description":19142,"tags":19143,"thumbUrl":19144,"material":1716,"size":19145,"collection":90,"collections":19146,"showCount":19116,"zanCount":48,"manualWeight":48,"mainColor":94},233679,"yuan-ji-lan-zhu-ce-mei-lan-shi-shi-tao-233679","原济兰竹册－梅兰石","石涛的花鸟、兰竹，不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。石涛还讲求气势。他笔情恣肆，淋漓洒脱，不拘小处瑕疵，作品具有一种豪放郁勃的气势，以奔放之势见胜。郑板桥在《板桥题画》中云：“石涛善画，盖有万种，兰竹其余事也。”可见他对石涛的兰竹之作评级最高。此石涛《兰竹册》为故宫馆藏精品，计十八开，以兰为主，配以竹、石、梅等。",[7,24,81,173,178,86,227,448,452,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adcbe7ff4a237a50f27c41a03aba237.jpg","纵43.2cm，横30.2cm",[90],{"id":19148,"slug":19149,"title":19150,"dynasty":99,"author":170,"museum":364,"description":19151,"tags":19152,"thumbUrl":19153,"material":743,"size":744,"collection":139,"collections":19154,"showCount":19116,"zanCount":1547,"manualWeight":48,"mainColor":94},228824,"san-zi-tu-shen-zhou-228824","三梓图","此图绘梓树三棵，树下二高士漫步对谈，三树排列得当，用笔浑然无迹，人物几笔勾勒，极显“粗沈”之功力。",[23,7,24,241,173,177,178,227,106,394,281,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50afdc956c6c0467cbc2cece7598519d.jpg",[],{"id":19156,"slug":19157,"title":19158,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":19159,"thumbUrl":19161,"material":27,"size":6032,"collection":139,"collections":19162,"showCount":19116,"zanCount":48,"manualWeight":48,"mainColor":94},222752,"xian-e-chang-chun-tu-07b-lang-shi-ning-222752","仙萼长春图-07b",[23,209,7,24,81,27,28,83,281,17141,3236,19160],"稷穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d348e9e77d0b308e8a29479ec471bb0.jpg",[],{"id":19164,"slug":19165,"title":19166,"dynasty":99,"author":966,"museum":206,"description":19167,"tags":19168,"thumbUrl":19169,"material":67,"size":19170,"collection":181,"collections":19171,"showCount":19116,"zanCount":1356,"manualWeight":48,"mainColor":49},221974,"gu-mu-han-quan-tu-zhou-wen-zheng-ming-221974","古木寒泉图轴","一松一柏，相旁而生。柏树老干分披，杈枒四出；其后松树两干并伸，参云直上。背景石壁与松柏紧贴，塞地漫天，几无余地，忽于绝高处界出飞泉一道，数折而下，遂使通幅于紧迫繁复之中，遽尔空灵疏朗，确为神来之笔。",[23,7,241,173,27,177,29,394,109,176,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84d499504792f62282c466eaa4ed0af.jpg","194.1x59.3cm",[181,45],{"id":19173,"slug":19174,"title":19175,"dynasty":18,"author":823,"museum":101,"description":19176,"tags":19177,"thumbUrl":19178,"material":5149,"size":19179,"collection":42,"collections":19180,"showCount":19116,"zanCount":48,"manualWeight":48,"mainColor":49},221659,"xi-kou-chui-diao-tu-xia-gui-221659","溪口垂钓图","夏圭，生卒年不详。南宋画家。字禹玉，临安（今浙江杭州）人。早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,7,24,173,29,109,174,1351,1016,394,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","23.2x23.8厘米",[42,181,45],{"id":19182,"slug":19183,"title":10071,"dynasty":18,"author":1650,"museum":101,"description":19184,"tags":19185,"thumbUrl":19186,"material":665,"size":19187,"collection":42,"collections":19188,"showCount":19116,"zanCount":5,"manualWeight":48,"mainColor":94},221537,"guan-pu-tu-ma-yuan-221537","在中国历代传统绘画作品中，有相当数量的佳作，在画面风格和审美意趣上都具有某种明确的思想倾向，而这种倾向又多集中体现在对儒、道、释文化的承载上，比如宋代山水画的绘画形式和意境传达，除了受宋代理学的影响外，又常和老庄思想及佛教文化中的出世情怀相关联，但与一般意义的宗教绘画教化功用又有所不同，该绘画作品往往会透露出作者内心的情感思绪，特别是对出世情怀的向往，从而使画面呈现出独特的风格特点和意境营造，这类作品在以后的历史阶段着实影响了不少画家，南宋的马远就是这样一个例子。",[23,7,24,1562,29,173,177,558,430,176,106,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fef887806591c0a160593aa1c4c9e00.jpg","30×30cm",[42,181,45],{"id":19190,"slug":19191,"title":19192,"dynasty":76,"author":77,"museum":78,"description":19193,"tags":19194,"thumbUrl":19195,"material":123,"size":2399,"collection":139,"collections":19196,"showCount":19116,"zanCount":1547,"manualWeight":48,"mainColor":94},219818,"hua-hui-shi-kai-5-yun-shou-ping-219818","花卉十开-5","此作用没骨法绘就，不见墨线勾勒，纯以色泽晕染造型。粉紫月季花瓣自瓣根至瓣尖由深渐浅，层层晕开，盛放者娇柔饱满，含苞花蕾玲珑含露，柔媚动人。叶片以深浅青绿区分阴阳向背，色泽清润鲜活，将月季的盎然生机传神铺陈。画面右侧题字配朱印，与花叶相映成趣，融笔墨意趣与写生精妙为一体，尽显雅致秀逸的文人意趣，把花卉清妍之态鲜活定格，笔墨简淡却意蕴悠长，尽显淡雅明净的审美意趣，将月季柔媚风姿静静铺展于绢素之上。",[7,27,82,83,795,84,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bce3f469d9ea7fa61fd921e063a2d5f.jpg",[],{"id":19198,"slug":19199,"title":19200,"dynasty":99,"author":293,"museum":238,"description":19201,"tags":19202,"thumbUrl":19203,"material":27,"size":139,"collection":44,"collections":19204,"showCount":19116,"zanCount":48,"manualWeight":48,"mainColor":49},219244,"zeng-zhang-tian-wang-xiang-yi-ming-219244","增长天王像","青面怒目，须髯戟张，增长天王的威严扑面而来。铠甲错金缀彩，纹饰繁复如锦，每一处云纹、兽首皆精雕细琢，尽显庄重华贵。手中长剑横陈，寒光隐现，似欲斩断世间烦恼；身侧旌旗飘曳，彩带翻飞，裹挟着风雷之势。周围护法形象各异，或嗔目咆哮，或持械拱卫，动静之间，张力十足。色彩沉厚而不失明艳，线条刚劲又含灵动，将护法神祇的勇猛与神圣刻画得入木三分，仿佛能感受到那份震慑邪魔、守护正法的磅礴力量。整幅画作既保留了宗教造像的庄严法度，又以细腻笔触赋予形象鲜活生命力，尽显传统绘画的精湛技艺与精神内涵。",[23,7,28,27,10898,259,106,7464,261,505,1086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d8acda20c1ab0fd65a2786e1df0fa2.jpg",[44],{"id":19206,"slug":19207,"title":19208,"dynasty":18,"author":19209,"museum":206,"description":19210,"tags":19211,"thumbUrl":19218,"material":123,"size":19219,"collection":90,"collections":19220,"showCount":19116,"zanCount":5,"manualWeight":48,"mainColor":94},219202,"xian-yan-yuan-lu-tu-ma-shi-rong-219202","仙岩猿鹿图","马世荣","岩岫间古木扶疏，虬枝盘曲，叶态丰茂，翠影婆娑。猿猱或攀附枝柯，或隐于叶隙，姿态灵动；麋鹿潜身丛筱，茸角微露，神情悠然。山石皴法细腻，纹理毕现，苔点繁密如星，更添苍润之气。设色古雅沉静，赭石为底衬出林木葱郁，墨色浓淡相宜，线条细劲却不失婉转。整幅画将仙岩幽邃与生灵自在融于一体，笔墨工致中见生机，意境空灵里藏野趣，仿佛能闻林间风声、猿啼鹿鸣，尽显宋人对自然生灵的细腻观照与诗意捕捉。",[23,7,1562,27,28,957,10873,3167,650,34,176,19212,19213,19214,14888,19215,19216,19217],"宋代绘画","花鸟兽类","细腻笔触","山石景观","枝叶树木","动物形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022e7f9aab8d54c6068b8efa4d35a5e4.jpg","26.6x26.6cm",[90,42],{"id":19222,"slug":19223,"title":15923,"dynasty":76,"author":7142,"museum":238,"description":19224,"tags":19225,"thumbUrl":19226,"material":123,"size":19227,"collection":181,"collections":19228,"showCount":19116,"zanCount":1547,"manualWeight":48,"mainColor":49},219094,"shu-zhan-xing-lv-tu-yuan-yao-219094","层岩叠嶂间，栈道似银线盘绕绝壁，危石嶙峋欲倾，云雾如幔轻笼深谷。红叶点染崖侧，秋意暗生，却难消蜀道之险。行旅者负囊牵马，沿窄道缓行，身影虽微，步履之艰可见。袁耀以劲皴写山石肌理，界画栈道线条精准如铁，墨色浓淡相济，赭色晕染得宜。山川雄浑与行旅之微相融，既展自然伟力，又藏人间烟火。险峻中见生机，苍茫里显温情，尽现清代山水界画之精妙意趣。",[23,7,24,27,29,177,104,649,567,106,150,34,37,900,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b289cc09c905080f6e7bad369ba016.jpg","186.7x255.3",[181],{"id":19230,"slug":19231,"title":19232,"dynasty":18,"author":1827,"museum":206,"description":19233,"tags":19234,"thumbUrl":19236,"material":123,"size":19237,"collection":42,"collections":19238,"showCount":19116,"zanCount":48,"manualWeight":48,"mainColor":49},218974,"shui-dian-zhao-liang-tu-li-song-218974","水殿招凉图","画中有一道门，将湖水引入运河，流向宫廷花园。有顶的廊桥建在池塘和沼泽上，下面是底，上面是一排叉柱，柱子上有锅炉，锅炉之间有梁，这对研究宋代的桥梁和水闸是很有价值的资料。碑文上写着 李部长 几个字，从画风上看，应该是李松的作品。",[23,209,7,1562,104,27,106,107,19235,109,1532,115],"廊桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666a148dad7f30d97877d2b6a766c63a.jpg","24.5x25.4",[42],{"id":19240,"slug":19241,"title":19242,"dynasty":18,"author":13198,"museum":206,"description":19243,"tags":19244,"thumbUrl":19245,"material":123,"size":19246,"collection":42,"collections":19247,"showCount":19116,"zanCount":48,"manualWeight":48,"mainColor":49},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[23,7,24,1562,173,29,28,16328,3246,175,33,297,491,1410,430,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[42,181],{"id":19249,"slug":19250,"title":19251,"dynasty":204,"author":414,"museum":206,"description":19252,"tags":19253,"thumbUrl":19254,"material":123,"size":19255,"collection":90,"collections":19256,"showCount":19116,"zanCount":48,"manualWeight":48,"mainColor":49},218703,"ji-he-tu-xu-xi-218703","芰荷图","徐熙出生于江宁（今南京），也有记载认为他出生于锺陵（今江西南昌进贤县），一生从没有担任官职，只是专心绘画，他的绘画风格质朴简练，他创作了水墨淡彩的绘画方法，运用墨的浓淡变化，勾点兼施，画出花卉的枝叶萼蕊，略施淡彩，使色不碍墨不掩笔迹而生气动人。善于描绘汀花野竹、水鸟渊鱼、凫雁、鹭鸶、蒲藻、虾鱼、丛艳、折枝、园蔬药苗等。",[23,7,24,241,83,173,27,28,243,136,137,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2cbafe8b7c62d5722cbe40085ab683.jpg","97.6x46.2cm",[90],{"id":19258,"slug":19259,"title":19260,"dynasty":18,"author":1650,"museum":206,"description":19261,"tags":19262,"thumbUrl":19263,"material":123,"size":19264,"collection":181,"collections":19265,"showCount":19116,"zanCount":1270,"manualWeight":48,"mainColor":49},218689,"tan-mei-tu-ma-yuan-218689","探梅图","这幅大画来自张大千的旧藏，丝绸已经破损，但仔细观察笔触，它是由明代浙江画派的画家所作。",[23,7,173,177,241,29,448,106,1015,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdfc40fea4f0be200f77555498f468f.jpg","192x99.6",[181],{"id":19267,"slug":19268,"title":291,"dynasty":189,"author":293,"museum":364,"description":19269,"tags":19270,"thumbUrl":19271,"material":123,"size":19272,"collection":44,"collections":19273,"showCount":19116,"zanCount":48,"manualWeight":48,"mainColor":49},218444,"shui-yue-guan-yin-tu-yi-ming-218444","月色漫过绢面，晕开一层古雅的昏黄。观音趺坐于石上，衣袂如流水般铺展，垂眸间似含万顷慈悲。身后水月相涵，清波与月影交融成虚灵的境象，竹影疏斜掠过衣纹，添几分清寂禅意。线条柔婉却藏力道，每一笔都似在诉说禅心的空灵——不著凡尘，只留月华与水韵缠绵。这帧古画如同一枚被时光浸润的禅偈，静静铺展时，便将观者引入那片空明澄澈的水月世界，心也随之沉静下来。衣纹的流转、月色的朦胧、禅意的悠远，在方寸之间交织成一场无声的修行，让浮躁被温柔涤荡，只余对空性的敬畏与向往。",[23,7,24,241,259,28,260,27,106,300,340,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e706788ef465ef888e2024e9954d0f.jpg","83.8x43.2",[44],{"id":19275,"slug":19276,"title":19277,"dynasty":18,"author":781,"museum":7875,"description":19278,"tags":19279,"thumbUrl":19280,"material":342,"size":19281,"collection":44,"collections":19282,"showCount":19116,"zanCount":1547,"manualWeight":48,"mainColor":94},218425,"han-shan-shi-de-tu-li-gong-lin-218425","寒山拾得图","二人相携而立，笑意漫上眉梢，满溢自在随性的意趣。简练灵动的白描线条勾勒衣袂，墨色浓淡交错间，衣纹流转如行云，尽显人物憨态与洒脱。拾得轻倚探身，寒山持杖而立，眉眼间的默契似藏着尘世之外的欢愉，无拘无束。素净之笔不着艳色，却以淡墨晕染出禅意悠悠的况味，仿佛引观者步入远离尘嚣的自在天地，尽显宋代文人画中对心性自由的向往与追寻。",[209,7,24,260,173,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9a720d40393360ea1871508bb9400e7.jpg","27.3x13",[44],{"id":19284,"slug":19285,"title":10114,"dynasty":189,"author":293,"museum":675,"description":19286,"tags":19287,"thumbUrl":19288,"material":342,"size":19289,"collection":181,"collections":19290,"showCount":19116,"zanCount":1547,"manualWeight":48,"mainColor":49},218185,"qian-yan-wan-he-tu-yi-ming-218185","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。",[7,1397,173,177,241,176,649,37,558,34,107,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3efb5c974ab0404cb1856cfe625eb62.jpg","129.3x67.6cm",[181],{"id":19292,"slug":19293,"title":19294,"dynasty":76,"author":3701,"museum":364,"description":19295,"tags":19296,"thumbUrl":19297,"material":123,"size":139,"collection":44,"collections":19298,"showCount":19116,"zanCount":5,"manualWeight":48,"mainColor":807},217227,"li-dai-di-wang-zhen-xiang-yao-wen-han-217227","历代帝王真像","姚文瀚的《历代帝王真像图》是一部巨著，包含了从秦始皇到清朝乾隆帝的220位帝王的真像。这幅画卷以宫廷内务府的资料为基础，经过姚文瀚的精心研究和描绘，每一位帝王的真像都非常逼真，与当时的实际相差无几。\n\n姚文瀚在制作《历代帝王真像图》时，花了超过20年的时间，并且聘请了许多著名的艺术家协助他的工作。最终，他完成了这部传世的巨著，使得我们能够通过这幅画卷了解到中国历史上许多伟大的帝王的长相。",[7,24,28,27,106,502,63,1195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf5715b9cb0f6635601027daac360af.jpg",[44],{"id":19300,"slug":19301,"title":19302,"dynasty":76,"author":77,"museum":364,"description":740,"tags":19303,"thumbUrl":19304,"material":743,"size":744,"collection":139,"collections":19305,"showCount":19306,"zanCount":48,"manualWeight":48,"mainColor":94},290530,"bai-he-zhou-yun-shou-ping-290530","百合轴",[7,241,173,260,83,1135,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda214bdfbec48dbeefb5222aec5f386b.jpg",[],99,{"id":19308,"slug":19309,"title":4983,"dynasty":76,"author":77,"museum":364,"description":740,"tags":19310,"thumbUrl":19311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鸳鸯造型精巧，色墨交融，栩栩如生。 岸边画一枝老柳，笔墨老辣。 右下角，渚石上诞生了几朵野花，色彩淡雅，分外妖娆。",[23,7,24,28,27,83,19373,2555,109,298,1729],"寒柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164801a49616e2eaf0f52e7357700d20.jpg","纵60cm,横85cm",[90,45],{"id":19378,"slug":19379,"title":14379,"dynasty":99,"author":14350,"museum":539,"description":19380,"tags":19381,"thumbUrl":19382,"material":123,"size":139,"collection":90,"collections":19383,"showCount":19306,"zanCount":5,"manualWeight":48,"mainColor":49},219052,"lu-yan-tu-lin-liang-219052","墨色浓淡交织间，苇丛恣肆舒展，叶片如剑划破虚灵的背景，尽显野逸之趣。雁群姿态憨然，或低头啄食，或翘首顾盼，羽毛以淡墨晕染，绒质感呼之欲出，兼工带写的笔法将水禽的灵动与野趣凝于尺幅。画面不着艳色，却于水墨淋漓中透出秋江芦岸的清寂与生机，笔力雄健又不失细腻，尽显写意花鸟的奔放与传神，仿佛能听见苇叶沙沙，雁鸣轻啼，将自然之趣定格成永恒的诗意图景。",[23,7,173,446,83,2522,4895,281,4975,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef142504755ac0f39ccbabbb50b7aca.jpg",[90],{"id":19385,"slug":19386,"title":19387,"dynasty":99,"author":4314,"museum":206,"description":19388,"tags":19389,"thumbUrl":19391,"material":123,"size":19392,"collection":90,"collections":19393,"showCount":19306,"zanCount":48,"manualWeight":48,"mainColor":49},218787,"xian-chun-si-xi-tu-lv-ji-218787","先春四喜图","梅枝苍劲，皴痕间晕开早春的暖意——淡粉花萼次第舒展，艳红山茶点缀其间，为清寒添了几分热烈。四只喜鹊姿态各异：或立于枝巅梳理羽翼，或俯身探看枝干纹理，或两两相望似在私语，灵动身影让静谧画面骤然鲜活。鸟羽的黑白分明，与花的柔粉、叶的浅绿相映成趣，绢本暖黄底色更衬出雅致与喜庆。工笔细描的鸟羽纹理、花瓣脉络，与写意勾勒的枝干苍劲形成巧妙平衡，将吉祥意趣藏进每一处生动细节。整幅画似有春风拂面，让人心头漾起融融暖意。",[7,24,241,28,27,83,448,224,19390],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc55ecd4d03ee71fbc7cd4b5d506fd18.jpg","139.8x49.2cm",[90],{"id":19395,"slug":19396,"title":1692,"dynasty":189,"author":19397,"museum":19398,"description":19399,"tags":19400,"thumbUrl":19401,"material":123,"size":19402,"collection":181,"collections":19403,"showCount":19306,"zanCount":1547,"manualWeight":48,"mainColor":49},218252,"shan-shui-tu-zhang-yu-218252","张雨","中央美术学院","层岩叠嶂如篆，皴笔勾出嶙峋骨，墨色晕染间丘壑自生。松风盘桓，虬枝探向云霭，林间小径隐现，似留隐者屐痕。涧水漱石，苔痕漫漶，草木葱茏处藏着清寂。笔墨苍润相济，干笔见劲，湿墨生烟，将林泉之趣凝于尺幅。意境悠远如太古，尘嚣尽散，只余一片澄明，引人沉潜于山水间，体悟那份超脱世俗的淡然与自在。",[7,27,177,29,176,34,649,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45777cf65d0ff7deccb539b3c7b08765.jpg","168x97cm",[181],{"id":19405,"slug":19406,"title":19407,"dynasty":76,"author":5052,"museum":9181,"description":19408,"tags":19409,"thumbUrl":19410,"material":342,"size":19411,"collection":181,"collections":19412,"showCount":19306,"zanCount":48,"manualWeight":48,"mainColor":94},218109,"xin-an-yi-yun-ce-jian-jiang-hua-he-hong-ren-218109","新安逸韵册(渐江画壑)","郑旼的 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le":4025,"dynasty":99,"author":3114,"museum":20,"description":19543,"tags":19544,"thumbUrl":19545,"material":40,"size":19546,"collection":181,"collections":19547,"showCount":19458,"zanCount":5,"manualWeight":48,"mainColor":94},220942,"shan-shui-zhou-dong-qi-chang-220942","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\n画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,7,173,177,241,29,175,1015,558,176,560,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff039a744060007272b38d2af34273261.jpg","纵154.1cm，横64.3cm.",[181,163],{"id":19549,"slug":19550,"title":19551,"dynasty":99,"author":1572,"museum":675,"description":19552,"tags":19553,"thumbUrl":19554,"material":342,"size":139,"collection":382,"collections":19555,"showCount":19458,"zanCount":1270,"manualWeight":48,"mainColor":94},219983,"song-li-yuan-gui-pan-gu-xu-wen-zheng-ming-219983","送李愿归盘谷序","此作为书画合璧的精品，八十四岁高龄所作小楷清劲秀丽，笔力沉实端雅，尽显晋唐小楷隽雅遗韵，文辞古朴高逸。\n\n山水取全景式构图铺展盘谷幽境，山峦层叠起伏，林木蓊郁苍秀，村居错落排布于河畔幽谷之间，笔墨温润雅致，将文中林泉隐逸的恬淡幽寂意境具象还原，尽显吴门画派清雅风神。书画相得益彰，将文章里的隐逸雅趣与文人林下襟怀尽数铺陈。",[23,7,24,25,1195,86,173,177,29,34,35,31,649,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47372cf13dcfe47c86dc4aa3bbc2f0d0.jpg",[382,163],{"id":19557,"slug":19558,"title":8066,"dynasty":99,"author":1480,"museum":206,"description":19559,"tags":19560,"thumbUrl":19561,"material":67,"size":19562,"collection":181,"collections":19563,"showCount":19458,"zanCount":48,"manualWeight":48,"mainColor":49},219972,"hua-xi-yu-yin-tu-tang-yin-219972","此作用淡墨晕染远空平林，湖山杳渺清旷，尽显江南水色的空濛柔婉。近景苍松虬曲倚立怪石，流泉绕石萦回，草木华滋鲜润。扁舟渔父悠然独坐于花溪之上，随波信游，静览周遭春景。\n\n画作将诗意与画境相融，以秀润灵逸的笔墨写尽渔隐江湖的自在。既有院体山水的精整工致，又带文人画的萧散简淡，把幽居林泉、超脱尘俗的文人理想寄寓在清寂山水之间，尽显江南隐逸的淡远雅趣，藏着一份避世忘机的闲适安然。",[23,7,24,173,27,177,29,1575,650,109,174,106,34,697,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1791960d880f80ab89155121d9e3fe.jpg","74.7x35.8",[181],{"id":19565,"slug":19566,"title":19567,"dynasty":204,"author":3224,"museum":206,"description":19568,"tags":19569,"thumbUrl":19571,"material":342,"size":19572,"collection":181,"collections":19573,"showCount":19458,"zanCount":48,"manualWeight":48,"mainColor":94},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,7,209,24,25,173,177,178,86,227,29,176,34,558,19570,174,37,649,1445],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[181],{"id":19575,"slug":19576,"title":19577,"dynasty":189,"author":19578,"museum":11116,"description":19579,"tags":19580,"thumbUrl":19581,"material":123,"size":19582,"collection":44,"collections":19583,"showCount":19458,"zanCount":1547,"manualWeight":48,"mainColor":49},219908,"huang-jin-lv-tu-liu-yuan-219908","黄金缕图","刘元","图绘司马才仲昼寝入梦、苏小小翩然而至的情景。笔致精工，不论是人物的情态、衣着，还是廊柱、台阶以及室内之桌椅，均极为精细。",[23,7,28,27,106,67,260,12789,5630,505,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d4b71eeaa09ae87d84db9d741bd8e7.jpg","28.9x73.4厘米",[44],{"id":19585,"slug":19586,"title":19587,"dynasty":99,"author":293,"museum":3712,"description":19588,"tags":19589,"thumbUrl":19591,"material":123,"size":19592,"collection":44,"collections":19593,"showCount":19458,"zanCount":1547,"manualWeight":48,"mainColor":49},219583,"zhen-qin-huo-lang-tu-yi-ming-219583","珍禽货郎图","画面里货郎车层层叠叠，珍禽翎羽、精巧玩物错落排布，老者俯身递出物件，眉眼含着温煦笑意。周遭稚童各有神态，或踮脚抬首凝眸张望，或蹲坐嬉玩，灵动尽显。\n\n笔线细腻遒劲，晕染古雅柔和，将巷陌间的鲜活烟火铺展开来，把货郎营生的热闹、孩童嬉游的天真揉为一处，藏着市井日常的融融暖意，尽显世俗浮生的悠然意趣，是描摹民间烟火气的精妙之作。",[23,7,28,27,106,3045,12634,1938,315,19590,1086],"传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1b0f675a44b3481be33a930c92e338.jpg","纵161.5横97.2厘米",[44,45],{"id":19595,"slug":19596,"title":19597,"dynasty":99,"author":13656,"museum":539,"description":19598,"tags":19599,"thumbUrl":19600,"material":342,"size":19601,"collection":44,"collections":19602,"showCount":19458,"zanCount":48,"manualWeight":48,"mainColor":49},219507,"liu-min-tu-wu-wei-219507","流民图","“流民图”这个概念，可以追溯至文献中记载的北宋郑侠《流民图》，也即一种讽喻社会阴暗面的政治寓言。",[23,209,7,24,25,173,260,106,29,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ee54b264cb8fd4942f81dde5e61dca.jpg","纵38.5横546.5厘米",[44,163],{"id":19604,"slug":19605,"title":19606,"dynasty":18,"author":1650,"museum":206,"description":19607,"tags":19608,"thumbUrl":19610,"material":123,"size":19611,"collection":181,"collections":19612,"showCount":19458,"zanCount":48,"manualWeight":48,"mainColor":49},219001,"shan-shui-ren-wu-tu-ma-yuan-219001","山水人物图","在松树的阴影下，两个人面对悬崖的对面站着，各自做着倾斜和弯曲的动作，似乎在练习呼气的艺术。岩石用横笔侧画，松枝扭曲僵硬，布满雾气，用笔墨画出了南宋的风格。这幅画的年代大约是在元朝和明朝初期。最初它可能是一个屏幕，但现在它以卷轴的形式被框住了。",[23,209,7,24,29,106,1575,176,108,173,27,177,19609,5748],"南宋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c415298a6ebf1893920cac4c8f6236.jpg","77.1x126.4",[181],{"id":19614,"slug":19615,"title":19616,"dynasty":99,"author":19617,"museum":206,"description":19618,"tags":19619,"thumbUrl":19620,"material":88,"size":19621,"collection":181,"collections":19622,"showCount":19458,"zanCount":48,"manualWeight":48,"mainColor":94},218371,"wu-yue-jiang-shen-tu-wen-bo-ren-218371","五月江深图","文伯仁","画面以对角线构图，一边布置葱郁的山林，一边则为浩瀚的江天；山林中隐蔽数间屋舍，有一人独倚栏杆远眺江景，传达出僻地幽居的情景。",[7,241,27,177,227,29,864,297,430,650,558,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b946e829e4768e353c4fcb8e2f88a.jpg","110.3x45.3cm",[181],{"id":19624,"slug":19625,"title":19626,"dynasty":18,"author":8886,"museum":132,"description":19627,"tags":19628,"thumbUrl":19629,"material":123,"size":19630,"collection":181,"collections":19631,"showCount":19458,"zanCount":1547,"manualWeight":48,"mainColor":49},217869,"qiu-lin-die-zhang-tu-jiang-can-217869","秋林叠嶂图","秋林叠嶂图描绘的是一片秋天的山林，这片山林位于海拔较高的地方，因此能看到远处的秋天的山林。这幅画的画面非常宁静，令人感到非常舒适。画中有许多树木，其中有许多松树，还有一些枫树。这些树木都长得非常茂盛，充满了生机。画中还有许多山峰，山峰之间相互倚靠，形成了一道道叠嶂。画中还有几只鸟儿，它们在枫树的枝头上唱着歌。\n\n总的来说，这幅秋林叠嶂图是一幅非常优秀的山水画作品，江参的画风独特，山水画作品非常出名。这幅画的描绘的秋天的山林非常真实，令人感觉非常自然，是一幅非常美丽的画作。",[7,1397,3953,9051,1575,6548,281,109,107,1731],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1988e2d8ba1187067f488aa5793dcca.jpg","168.7x96.3cm",[181],{"id":19633,"slug":19634,"title":19635,"dynasty":76,"author":876,"museum":101,"description":19636,"tags":19637,"thumbUrl":19638,"material":88,"size":880,"collection":139,"collections":19639,"showCount":19458,"zanCount":5,"manualWeight":48,"mainColor":94},216245,"jing-fu-si-qi-dong-jing-tu-12-qian-wei-cheng-216245","景敷四气冬景图-12","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n朵开月月映阶唇，带雪披风更可人。须识此花深易理，四时一气贯长春。甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆",[7,1397,173,27,177,3499,2125,35,650,15976,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc995690cd5b9f284ba9e2c0b83cd22.jpg",[],{"id":19641,"slug":19642,"title":19643,"dynasty":76,"author":1816,"museum":78,"description":1817,"tags":19644,"thumbUrl":19645,"material":342,"size":1820,"collection":139,"collections":19646,"showCount":19458,"zanCount":1547,"manualWeight":48,"mainColor":94},214686,"mei-hua-zhu-shi-tu-ce-3-wang-shi-shen-214686","梅花竹石图册-3",[7,24,81,173,448,242,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789cbb5f9f7a7413c78364ba6bcf38e4.jpg",[],{"id":19648,"slug":19649,"title":19650,"dynasty":54,"author":19651,"museum":206,"description":19652,"tags":19653,"thumbUrl":19654,"material":88,"size":19655,"collection":90,"collections":19656,"showCount":19458,"zanCount":48,"manualWeight":48,"mainColor":94},214586,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-liu-shui-diao-guang-yin-214586","写生花卉册-枯树五羊磐陀流水","刁光胤","刁光胤的写生花卉册是一件著名的绘画作品，其中的枯树五羊磐陀流水图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了刁光胤对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，刁光胤运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的枯树五羊磐陀流水是一幅清新而美丽的山水画，它体现了刁光胤对自然的热爱和对传统文化的尊重。\n\n总的来说，刁光胤的写生花卉册是一件精美的绘画作品，其中的枯树五羊磐陀流水图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了刁光胤对自然的热爱和对传统文化的尊重。",[7,24,81,27,29,1015,957,109,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab32d24499975cca0c619bebd3c0cd32.jpg","33.9x36.4cm",[90],{"id":19658,"slug":19659,"title":19660,"dynasty":76,"author":850,"museum":20,"description":19661,"tags":19662,"thumbUrl":19663,"material":40,"size":19664,"collection":90,"collections":19665,"showCount":19666,"zanCount":1547,"manualWeight":48,"mainColor":94},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[7,209,24,241,28,27,13695,106,150,281,29,1015,650,1159,31,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米",[90,181,44,45],97,{"id":19668,"slug":19669,"title":19670,"dynasty":99,"author":293,"museum":20,"description":16001,"tags":19671,"thumbUrl":19672,"material":665,"size":139,"collection":44,"collections":19673,"showCount":19666,"zanCount":1547,"manualWeight":48,"mainColor":49},236160,"zhang-fei-xiang-zhou-yi-ming-236160","张飞像轴",[7,241,27,106,28,7464,63,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc798faf4f2e36c88656db7ea294b9113.jpg",[44,45],{"id":19675,"slug":19676,"title":19677,"dynasty":99,"author":3114,"museum":206,"description":19678,"tags":19679,"thumbUrl":19680,"material":803,"size":19681,"collection":139,"collections":19682,"showCount":19666,"zanCount":48,"manualWeight":48,"mainColor":94},231955,"lin-ni-zan-dong-gang-cao-tang-tu-dong-qi-chang-231955","临倪瓒东岗草堂图","可知题识，董其昌于崇祯二年（1629）夏天临写倪瓒〈东冈草堂〉图，同时抄录画上倪瓒与张雨的原题。研究倪瓒早期画迹时，亦有引用此辅作为 证者不过此作用笔用墨与董其昌一般有异，疑因下因作品写角作品。画幅右图存文从简574-168）之印。",[7,24,173,105,177,29,394,1653,175,109,245,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112f046e4c5e977c915d92b5b64d49d5.jpg","87.4×65厘米",[],{"id":19684,"slug":19685,"title":19686,"dynasty":18,"author":2531,"museum":12966,"description":19687,"tags":19688,"thumbUrl":19689,"material":67,"size":19690,"collection":42,"collections":19691,"showCount":19666,"zanCount":48,"manualWeight":48,"mainColor":49},226547,"zhong-li-fang-dao-tu-li-zhou-jing-hao-226547","钟离访道图立轴","荆浩（约850-？），字浩然，号洪谷子，山西沁水人，五代后梁画家，尊为北方山水画派之祖。因避战乱，常年隐居太行山 。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[23,7,24,241,29,173,177,649,34,558,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[42,181,163],{"id":19693,"slug":19694,"title":19695,"dynasty":18,"author":538,"museum":19696,"description":19697,"tags":19698,"thumbUrl":19699,"material":5149,"size":19700,"collection":139,"collections":19701,"showCount":19666,"zanCount":5,"manualWeight":48,"mainColor":49},223341,"yun-qi-lou-tu-mi-fei-223341","云起楼图","赛克勒美术馆","画中“云起楼图”题字，确为明董其昌真迹，非常珍贵。\n米芾最擅长的是以笔墨点染的方式描绘江南山水，本件《云起楼图》是典型的“米氏云山”的传统，在技法上，采用江南画家董源、巨然的传统，以苔墨点与晕染来画圆弧形的山峦，让山水形象融合在一片雾气中，特别具有抒情的韵味。\n画面约中景处，丘陵顶端有一两座院落，下可眺望江景，远观则为烟云变幻的山峦。这让人联想起米芾位于润州（江苏镇江）北固山的故居“海岳庵”，附近有名胜“甘露寺”与“多景楼”，米芾时常登览赋诗（例如《秋暑憩多景楼诗》），浏览江南云雾变化的景致。米芾之子米友仁的《潇湘奇观卷》亦是描绘“海岳庵”一带的山川景色。米芾润州家居的景观，成为创作云山图最重要的题材之一。\n近景亦以类似的墨点图写前后两排的松木，墨色稍浓，其间及其与远山间，仍以烟云留白的技法分隔空间，与整幅图表达空间层次感的幽缈之意相映成趣。其山木树石的风格似乎可从董源处寻其渊源。除此之外，米芾“以山水古今相师”，即融合古人技法与对自然山水的体悟成一家，风格独特，故世称“大米”。\n这幅又作《天降时雨图》，画家巧妙地运用“烟云掩映”的技法，分隔远山与松木之间的空间感，尤其是墨点晕染的圆转山头，可见其山顶积墨浓重、表现阴影，山腰以下则没人淡墨晕染的烟云中，仿佛连绵的山峦出入云霭间，幽缈、空远。",[23,7,173,29,1329,34,177,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104b03b59e1d79cc0c5f6fda4b889ce9.jpg","150cm×78.8cm",[],{"id":19703,"slug":19704,"title":19705,"dynasty":76,"author":850,"museum":20,"description":19706,"tags":19707,"thumbUrl":19708,"material":67,"size":19709,"collection":44,"collections":19710,"showCount":19666,"zanCount":48,"manualWeight":48,"mainColor":94},222791,"dao-guang-di-chao-fu-xiang-zhou-lang-shi-ning-222791","道光帝朝服像轴","郎世宁（1688-1766），意大利米兰人，原名朱塞佩·伽斯底里奥内。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，在中国传统绘画技法中融合了讲究立体效果，注意透视和明暗，重视写实和结构准确的合理性。擅画肖像、走兽、花果、翎毛，尤善画马。他是将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐。",[23,7,24,241,28,27,106,15611,63,502,3412],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ebc1b16c1a24a78979bfc2d02b1314.jpg","35x57",[44,45],{"id":19712,"slug":19713,"title":19714,"dynasty":18,"author":19715,"museum":56,"description":19716,"tags":19717,"thumbUrl":19718,"material":4796,"size":19719,"collection":139,"collections":19720,"showCount":19666,"zanCount":1547,"manualWeight":48,"mainColor":94},221396,"bai-lian-she-tu-quan-juan-zhang-ji-221396","白莲社图全卷","张激","该画运用连环画的形式，描绘了东晋元兴年间，高僧惠远在庐山东林寺同18位贤士建白莲社专修净土法门，并与陆修静、陶渊明、谢灵运相善故事。\n全卷主要描绘了经筵会讲、金像赞佛、笺经校义三个情节，全图共分八段，绘高僧名士19人，僮仆12，采用的是李公麟开创的白描手法，树和山石的线条极富质感，枝叶多用尖笔鹰爪法，苍劲挺秀。人物淡墨须眉，浓墨点睛，神采毕现。图中还画了虎、豹、驯鹿等动物，并表现了驯服怡悦的神态，突出了高僧文士们的神秘生活状态，画作整体表现出清淡、高洁、幽雅的风格。",[23,7,25,260,173,259,106,29,430,431,109,175,16687,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedeaf58a1fb7e1565730651e19bdb961.jpg","纵34.9厘米，横848.8厘米",[],{"id":19722,"slug":19723,"title":19724,"dynasty":189,"author":2519,"museum":20,"description":19725,"tags":19726,"thumbUrl":19727,"material":19728,"size":19729,"collection":181,"collections":19730,"showCount":19666,"zanCount":1356,"manualWeight":48,"mainColor":49},220878,"shu-dao-nan-zhao-meng-fu-220878","蜀道难","此图描写了大自然动人心魄的奇险与壮伟，给人以回肠荡气之感。诸多的画面此隐彼现，无论是山之高，水之急，河山之改观，林木之荒寂，连峰绝壁之险，皆有逼人之势，其气象之宏伟，其境界之阔大，确非他人可及。再从总体来看，其变化极速，愈变愈奇，又往往出人意料，使人目不暇接。正如清代诗评家沈德潜所盛称：“笔势纵横，如虬飞蠖动，起雷霆于指顾之间。”",[23,7,27,29,106,150,430,176,37,900,114,2238,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54697ce08d4ec72533884797c61458dd.jpg","立轴，纸本设色","纵154.4厘米，纵56.6厘米",[181,45],{"id":19732,"slug":19733,"title":19734,"dynasty":99,"author":1170,"museum":752,"description":19735,"tags":19736,"thumbUrl":19738,"material":88,"size":19739,"collection":181,"collections":19740,"showCount":19666,"zanCount":48,"manualWeight":48,"mainColor":94},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,7,24,25,173,27,29,177,1016,174,281,394,109,176,19737,1351,175,34],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 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袁的画法继承宋代宫廷画的风格，结实、工细，体积感强。并能把雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，既精细入微，又气势磅礴，有力地提高了“界画”的表现能力，被推为清代“界画”第一。",[7,24,241,104,27,28,107,1237,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541a38c45bc135a29e893993570190f9.jpg","纵104厘米，横49.5厘米",[181,45],{"id":19775,"slug":19776,"title":2071,"dynasty":76,"author":19777,"museum":539,"description":19778,"tags":19779,"thumbUrl":19780,"material":88,"size":19781,"collection":44,"collections":19782,"showCount":19666,"zanCount":1547,"manualWeight":48,"mainColor":49},218513,"shi-nv-tu-wang-zhao-xiang-218513","王兆祥","描绘了一个女人在喂养一只八哥，她的身体很轻盈，展示了她的三寸金莲。",[7,24,241,260,27,106,59,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960305f61098ea3cba367f9a0d72cb95.jpg","136.8x61.8",[44],{"id":19784,"slug":19785,"title":19786,"dynasty":99,"author":3571,"museum":132,"description":19787,"tags":19788,"thumbUrl":19789,"material":342,"size":139,"collection":181,"collections":19790,"showCount":19666,"zanCount":5,"manualWeight":48,"mainColor":49},217058,"chun-shan-pian-zhou-tu-yao-sui-217058","春山扁舟图","姚绥是明朝的一位著名画家，他的作品《春山扁舟图》是一幅典型的山水画，描绘了一段美好的春天，山峦翠绿，水面波光粼粼，扁舟悠然自得地漂流在江中。图中的山水景色清新宜人，构图简洁大方，笔墨流畅自然，是姚绥非常优秀的代表作。",[7,173,177,29,174,109,558,34,176,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d7c3ea94eed15c56d67aa937bbc39c.jpg",[181],{"id":19792,"slug":19793,"title":1214,"dynasty":99,"author":1996,"museum":78,"description":1997,"tags":19794,"thumbUrl":19795,"material":342,"size":2000,"collection":139,"collections":19796,"showCount":19666,"zanCount":48,"manualWeight":48,"mainColor":94},214642,"hua-hui-ce-4-chen-chun-214642",[209,7,173,446,81,83,84,225,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c6f394b5716476a6daa9123972186.jpg",[],{"id":19798,"slug":19799,"title":19800,"dynasty":99,"author":1996,"museum":78,"description":1997,"tags":19801,"thumbUrl":19802,"material":342,"size":2000,"collection":139,"collections":19803,"showCount":19666,"zanCount":48,"manualWeight":48,"mainColor":94},214636,"hua-hui-ce-8-chen-chun-214636","花卉册-8",[7,24,81,173,83,243,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da666316e5f79ec4f2838877e43329f.jpg",[],{"id":19805,"slug":19806,"title":19807,"dynasty":189,"author":2519,"museum":206,"description":19808,"tags":19809,"thumbUrl":19811,"material":381,"size":19812,"collection":382,"collections":19813,"showCount":19666,"zanCount":5,"manualWeight":48,"mainColor":94},214382,"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[209,7,24,86,241,178,173,29,279,394,19810,109],"孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","154.2x84.7",[382],{"id":19815,"slug":19816,"title":19817,"dynasty":204,"author":2072,"museum":364,"description":19818,"tags":19819,"thumbUrl":19821,"material":743,"size":744,"collection":139,"collections":19822,"showCount":19823,"zanCount":1270,"manualWeight":48,"mainColor":94},289987,"gong-zhong-tu-zhou-wen-ju-289987","宫中图","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,209,7,25,260,106,59,19820,3045,12226,210,10606,178,86],"宫女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd82c5d2ffc57e3999164c6f4a0c240dd.jpg",[],96,{"id":19825,"slug":19826,"title":19827,"dynasty":54,"author":3282,"museum":364,"description":19828,"tags":19829,"thumbUrl":19830,"material":743,"size":744,"collection":139,"collections":19831,"showCount":19823,"zanCount":48,"manualWeight":48,"mainColor":1335},288455,"jiang-shan-xue-ji-tu-wang-wei-288455","江山雪霁图","图绘峰峦层叠，长松杂树，瀑布由山腰奔腾而下，隐入林中。中景山脚平陂，古木耸立，房舍寺院；左侧白雪覆山，小径曲折通向远处，农夫相间往来，石岩之前溪流潺缓，注入冬湖，近岸又有板桥一座。近景高树参天，坡石伏岸，竹篱房舍隐见。此图构思成熟，笔法谨严认真，多以细秀圆润笔作皴画石，一丝不苟，再加以平衬染渲，点缀勾提。显示出一种清静、纯洁、寒意袭人的气氛。细微处，可见篱栅圈地，旅人穿山而行，更是增添了一种盎然生机。",[7,25,1397,173,2502,1015,2125,281,7319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec14c9886abbd9d04a89c8b10683b62.jpg",[],{"id":19833,"slug":19834,"title":19835,"dynasty":99,"author":19836,"museum":364,"description":19837,"tags":19838,"thumbUrl":19841,"material":743,"size":744,"collection":139,"collections":19842,"showCount":19823,"zanCount":5,"manualWeight":48,"mainColor":49},288002,"tang-yuan-xi-chun-tu-juan-zhu-zhan-ji-288002","唐苑嬉春图卷","朱瞻基","画面上画了五只猫，其动作神情都不一样。颜色趋于白花的猫。这种动物类的绘画里，无非就是两种要注意的。\n其一是造型。照猫画虎也行，照虎画猫也行，一定要把它的型抓住，神另说。这五只猫，每一只猫的形态还是很生动的。这只叼着鸟的猫，其回身的动作和眼神，都是一致的。",[23,7,209,25,28,27,956,242,84,19839,19840],"走兽","嬉春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0eac807c246b76d65c027745f5ba9a.jpg",[],{"id":19844,"slug":19845,"title":19846,"dynasty":18,"author":3214,"museum":364,"description":19847,"tags":19848,"thumbUrl":19851,"material":743,"size":744,"collection":139,"collections":19852,"showCount":19823,"zanCount":48,"manualWeight":48,"mainColor":49},287575,"dong-ri-xi-ying-tu-su-han-chen-287575","冬日戏婴图","图中画二童婴在庭园嬉戏。男孩左手拿着一根美丽的孔雀毛，女孩右手持一面绣花的小锦旗来回摇摆，逗着跟随着他们来回跑的小猫。画中描绘的虽然是冬景，但是花园中翠竹青青，茶花、梅花竞相开放。儿童形象富而不骄，华而不贵，充满宋代城市中的世俗生活情趣。整幅画面作者用笔工整细致，设色艳丽。技法纯熟，形神兼备。",[209,7,241,27,28,106,3045,448,242,839,956,19849,19850],"冬日","戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f4da80266afbaa0934659384b709df.jpg",[],{"id":19854,"slug":19855,"title":4983,"dynasty":76,"author":4199,"museum":206,"description":19856,"tags":19857,"thumbUrl":19858,"material":803,"size":19859,"collection":90,"collections":19860,"showCount":19823,"zanCount":1547,"manualWeight":48,"mainColor":94},237221,"ju-hua-zhou-xu-gu-237221","虚谷（1824年－1896年），清代僧人及画家。俗姓朱，名怀仁，一名虚白，号紫阳山人。新安（今安徽歙县）人，世居扬州，同治、光绪年间寓居上海。\n虚谷工山水、花卉、动物、禽鸟，尤善长画松鼠及金鱼。亦工肖像，擅书，能诗善文，着有《虚谷和尚诗录》。曾在上海、是晚清画坛的巨子，为“ 他曾任清军参将，后因不愿奉命打 其为人性情孤僻，非相处情深者不能得其片纸。携笔墨、着僧装，“闲中写出三千幅，行乞人间作饭钱”，其一生极为清苦，却云游四海，其行程之广，作品之多，为当时所罕见。他承古创新，独辟捷径，广集素材，勤于创作，终成一代巨擘。",[7,24,241,27,83,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe7cc2ae8930ce3b58efcd7f5e7c78b.jpg","197.4×48.2",[90],{"id":19862,"slug":19863,"title":19864,"dynasty":99,"author":293,"museum":364,"description":19865,"tags":19866,"thumbUrl":19867,"material":67,"size":139,"collection":90,"collections":19868,"showCount":19823,"zanCount":1547,"manualWeight":48,"mainColor":49},236282,"wang-zi-yuan-hua-niao-ce-yi-ming-236282","王子元花鸟册","此作清雅悠然，绶带鸟栖于梨枝之上，翎毛以细笔丝描晕染，墨色层叠尽显绒羽柔泽，蓝首醒目，长尾轻曳，姿态娴静灵动。枝头梨花绽放，淡墨勾瓣，敷色轻浅柔润，将花瓣舒展之态描摹尽致。叶片以没骨晕染，浓淡晕化间尽显春日枝叶的鲜活生机。\n\n画面构图疏朗雅致，工写相融，于细腻笔触中藏着写意的悠然意趣，将禽鸟的灵动与花木的温婉相融，笔墨间晕开春日清和的淡远意境，尽显静谧雅致的文人闲情。",[7,24,81,27,28,83,224,62,225,1086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0060be9a1a7849c84dd94d58fb96a4.jpg",[90,45],{"id":19870,"slug":19871,"title":131,"dynasty":76,"author":3602,"museum":364,"description":3603,"tags":19872,"thumbUrl":19873,"material":743,"size":744,"collection":90,"collections":19874,"showCount":19823,"zanCount":48,"manualWeight":48,"mainColor":94},235595,"hua-hui-ce-wang-wu-235595",[209,7,24,81,27,28,83,245,84,225,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[90,45],{"id":19876,"slug":19877,"title":19878,"dynasty":76,"author":1109,"museum":20,"description":19879,"tags":19880,"thumbUrl":19881,"material":1716,"size":19882,"collection":139,"collections":19883,"showCount":19823,"zanCount":5,"manualWeight":48,"mainColor":94},233405,"mo-he-tu-zhou-shi-tao-233405","墨荷图轴","图绘欣欣向荣的荷塘景色。构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。钤白文印二方：“靖江后人”、“大涤堂”。",[7,24,241,173,178,243,137,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fe017aa56845f71e72ee664ba076f8.jpg","纵90.2厘米，横50.4厘米",[],{"id":19885,"slug":19886,"title":19887,"dynasty":99,"author":293,"museum":238,"description":19888,"tags":19889,"thumbUrl":19890,"material":139,"size":139,"collection":139,"collections":19891,"showCount":19823,"zanCount":1547,"manualWeight":48,"mainColor":49},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[23,7,24,25,28,27,105,83,242,450,62,224,604,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],{"id":19893,"slug":19894,"title":19895,"dynasty":204,"author":2215,"museum":364,"description":19896,"tags":19897,"thumbUrl":19898,"material":139,"size":139,"collection":139,"collections":19899,"showCount":19823,"zanCount":48,"manualWeight":48,"mainColor":49},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[23,7,24,209,241,173,177,29,34,108,109,35,106,176,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],{"id":19901,"slug":19902,"title":6342,"dynasty":76,"author":2804,"museum":675,"description":19903,"tags":19904,"thumbUrl":19905,"material":619,"size":19906,"collection":90,"collections":19907,"showCount":19823,"zanCount":48,"manualWeight":48,"mainColor":94},224223,"song-mei-tu-wu-chang-shuo-224223","松树倾斜，画面苍劲，树干稍写皴擦，尽显斑驳质感；松枝斜披，干笔勾枝，浓墨勾画松针。梅干多取直势，稍加润泽，小枝横陈，意境空潆深远。梅花点写，错落纷陈。全图笔势如龙飞，舒放自如，有意在笔先之妙。",[23,7,24,241,173,27,83,449,448,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394f15aa9a6c228570b112034349569c.jpg","纵135.6厘米，横67.8厘米",[90,45],{"id":19909,"slug":19910,"title":4045,"dynasty":76,"author":850,"museum":20,"description":15230,"tags":19911,"thumbUrl":19912,"material":40,"size":15233,"collection":90,"collections":19913,"showCount":19823,"zanCount":5,"manualWeight":48,"mainColor":94},222781,"hua-niao-ce-ye-lang-shi-ning-222781",[23,209,7,24,81,28,27,83,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a60274f5f3dad5f48ce75b5aa1af22.jpg",[90,45],{"id":19915,"slug":19916,"title":19917,"dynasty":76,"author":4005,"museum":675,"description":4006,"tags":19918,"thumbUrl":19919,"material":67,"size":4010,"collection":139,"collections":19920,"showCount":19823,"zanCount":5,"manualWeight":48,"mainColor":94},222684,"si-ji-hua-niao-tu-ping-7-chen-mei-222684","四季花鸟图屏7",[23,7,27,28,83,448,796,224,1062,650,2238,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaf378e4fccac3e55f9b45892458c5c.jpg",[],{"id":19922,"slug":19923,"title":19924,"dynasty":18,"author":2142,"museum":56,"description":19925,"tags":19926,"thumbUrl":19927,"material":18383,"size":19928,"collection":139,"collections":19929,"showCount":19823,"zanCount":48,"manualWeight":48,"mainColor":49},221411,"xiao-han-lin-tu-juan-li-cheng-221411","小寒林图卷","绘远处山恋起伏，云雾空蒙；近处松树数株，松干挺直，枝杈虬曲多姿，林木笼罩于烟霭雾气之中，四周坡面山石间杂树丛生，郁郁葱葱。李成，五代画家，画山石以“卷云皴”；画寒林创“蟹爪”法，其学生郭熙亦秉承其画风。",[23,7,24,25,173,29,177,1250,1015,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c461e36f2a0526a7f631fdaa0a30b03.jpg","39.4x71.4\u002F39.4x233厘米",[],{"id":19931,"slug":19932,"title":19933,"dynasty":76,"author":77,"museum":364,"description":1638,"tags":19934,"thumbUrl":19935,"material":10855,"size":19936,"collection":90,"collections":19937,"showCount":19823,"zanCount":48,"manualWeight":48,"mainColor":271},221001,"hua-hui-li-zhou-yun-shou-ping-221001","花卉立轴",[23,7,241,82,27,83,327,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72df777f65aff6071f8368bf22ed0ab.jpg","48.5×118.5",[90,45],{"id":19939,"slug":19940,"title":19941,"dynasty":189,"author":1672,"museum":20,"description":19942,"tags":19943,"thumbUrl":19944,"material":1716,"size":19945,"collection":163,"collections":19946,"showCount":19823,"zanCount":48,"manualWeight":48,"mainColor":49},220798,"wu-zhu-xiu-shi-tu-ni-zan-220798","梧竹秀石图","《梧竹秀石图》绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。\n图中画梧桐一株，疏竹数竿，湖石平坡，间以涓涓细流。与以往画家惯用干淡松秀笔墨表现不同的是，全画用大胆的墨笔写成，颇具苍润淋漓之妙。梧叶用阔笔、湿墨侧抹而出，莽苍超忽，而清阴如覆；树干、秀石的表现亦以侧笔写成，湖石用浓墨皴出，其浑厚有北苑之意。这幅画为倪瓒画风成熟期少见的变体之作。画家通过对墨色浓淡、干湿的运用，使画面极富层次感。梧桐、竹石的表现与宋院体画讲究写真、追求形似相比已颇有变化，更突出了笔墨对自我性灵的抒发。正合《艺苑卮言》中云：“山水以气韵为主，形模寓乎其中。”草草点染而又不改物形的矛盾，倪瓒在此图中将其处理得恰到好处。",[23,209,7,173,241,242,2907,245,178,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2c141173efcc16d73f1e7f7f7cf9c1.jpg","纵96cm，横36.5cm",[163,2293],{"id":19948,"slug":19949,"title":19950,"dynasty":189,"author":1848,"museum":101,"description":19951,"tags":19952,"thumbUrl":19954,"material":803,"size":19955,"collection":181,"collections":19956,"showCount":19823,"zanCount":1270,"manualWeight":48,"mainColor":94},220782,"lu-tan-diao-ting-tu-wu-zhen-220782","芦滩钓艇图","《芦滩钓艇图卷》（现藏大都会）使吴镇享有萌画家的地位，此一点无论是国内抑或海外的艺术评论意见均颇统一。纠其原因，则是画中原本仅作为点缀的人物在画家的笔下呈现“卡通式”的形象，这一夺景的表现，并未使画作的立意失衡，而是呈现出别样的意趣来，无论是大都会所藏，还是弗利尔所藏的其他数幅吴镇所绘的“渔父图”皆是充满趣味性的形象。然我们知道其部分渔父形象的作品为仿荆浩，虽然很难再找见荆浩创作的渔父形象（可确证的）。但从台北故宫博物院所藏的北宋画家范宽之《溪山行旅图》进行观察（范早期习荆浩、李成，而该画作恰恰是习荆浩的），不难发现——吴镇画中之“渔父”形象与范宽画中的“渔父”形象，两者间颇有关联性（虽范宽的作品已较模糊，然从船体与人物构造观，尚可发现有其相通之处），故此种“卡通式”的“渔父”形象，许于唐未的荆浩画中，已形成其旨趣，只是后人不觉，皆将吴镇视为萌家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[23,7,24,173,177,446,29,174,109,34,2522,14952,1351,19953,490],"滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","39x65",[181,163],{"id":19958,"slug":19959,"title":19960,"dynasty":1095,"author":10851,"museum":4792,"description":19961,"tags":19962,"thumbUrl":19963,"material":19964,"size":139,"collection":139,"collections":19965,"showCount":19823,"zanCount":48,"manualWeight":48,"mainColor":94},220577,"bin-hong-mo-miao-huang-bin-hong-220577","宾虹墨妙","这幅山水以双峰对峙构景，留白作水湾，山麓渔村茅舍错落，滩头枯木虬曲苍劲，水面扁舟轻泛，野逸之趣扑面而来。\n\n以焦墨积墨写山，皴擦点染间尽显山峦浑厚华滋，墨色浓淡相生，带着萧疏清寂的冬日况味，将山川静穆幽深藏于笔底。题款行书朴拙苍劲，与画面浑融一体，文人意趣尽显。整体意境清寂淡远，于简淡中见苍茫，寥寥数笔便勾勒出山水灵秀静谧，尽显水墨写意的通透韵致，藏着独有的山水襟怀。",[7,24,173,177,29,174,394,35,31,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdef6faf38959b0a429a84507d8f8ac0.jpg","墨笔设色、 纸本水墨",[],{"id":19967,"slug":19968,"title":19969,"dynasty":99,"author":14350,"museum":206,"description":19970,"tags":19971,"thumbUrl":19972,"material":342,"size":19973,"collection":90,"collections":19974,"showCount":19823,"zanCount":5,"manualWeight":48,"mainColor":49},218845,"ying-tu-lin-liang-218845","鹰图","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意没骨技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[7,24,209,241,173,446,83,281,4307,10154,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d271fc592f2aaf9b0f31185b041e211.jpg","133.4x80.5cm",[90],{"id":19976,"slug":19977,"title":19978,"dynasty":76,"author":293,"museum":206,"description":19979,"tags":19980,"thumbUrl":19982,"material":123,"size":19983,"collection":90,"collections":19984,"showCount":19823,"zanCount":5,"manualWeight":48,"mainColor":94},218818,"fu-gui-ji-qing-tu-yi-ming-218818","富贵吉庆图","这幅画是在七色牡丹花下画了一对公鸡和母鸡接近小鸡的场景。牡丹的画法是恽代英式的，鸡的形状也很准确，采用的是略带西方色彩的凹版画法，所以这幅画应该是清代宫廷画家的作品。",[7,27,28,83,11786,19981,15909,327,298,432],"母鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b682bea290156c24b7bd4517051447.jpg","138.5x69cm",[90],{"id":19986,"slug":19987,"title":19988,"dynasty":18,"author":1650,"museum":132,"description":19989,"tags":19990,"thumbUrl":19991,"material":123,"size":139,"collection":181,"collections":19992,"showCount":19823,"zanCount":5,"manualWeight":48,"mainColor":49},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[23,209,7,24,241,27,28,177,29,175,430,2124,106,650,1410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[181],{"id":19994,"slug":19995,"title":9576,"dynasty":18,"author":293,"museum":206,"description":19996,"tags":19997,"thumbUrl":19998,"material":123,"size":19999,"collection":90,"collections":20000,"showCount":19823,"zanCount":1547,"manualWeight":48,"mainColor":49},216214,"xi-ma-tu-yi-ming-216214","洗马图是宋朝时期的一幅著名图画，其作者不详。这幅图展示了一群人在洗马，图中人物栩栩如生，每个人都有自己独特的表情和动作。洗马图被认为是中国古代绘画史上的杰作，其精细的绘画技巧和生动的人物造型吸引了许多观众的眼球。\n\n洗马图是在宋朝时期创作的，当时中国的绘画艺术正处于高峰期。在宋朝时期，绘画艺术得到了极大的发展，许多著名的绘画家都涌现出来，创作出了许多传世的杰作。洗马图就是其中的一例，其精细的绘画技巧和生动的人物造型使其成为了中国古代绘画史上的杰作。\n\n目前，洗马图被认为是中国古代艺术宝藏之一，并被收藏在台北故宫博物院之中。许多人都向往能够看到这幅珍贵的图画，并为其中的细节所惊叹。洗马图是中国古代艺术的杰作，值得我们去探究和珍视。",[7,24,209,28,27,106,150,430,104,2544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b0938793c42dc54607d2778cc0ab9b.jpg","55x60.8cm",[90],{"id":20002,"slug":20003,"title":1155,"dynasty":18,"author":293,"museum":782,"description":20004,"tags":20005,"thumbUrl":20006,"material":123,"size":20007,"collection":42,"collections":20008,"showCount":19823,"zanCount":5,"manualWeight":48,"mainColor":49},215141,"mu-niu-tu-yi-ming-215141","柳树下母子牛与牧童幽然自得，老牛正舔小水牛，使人很自然想起舔犊情深的成语。一牧童依坐在柳树下打盹欲睡，远处池塘水波拂动，柳树及所有青草一齐飘拂一边，显然是春风和熙的春天情境。",[23,7,28,27,106,151,430,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb029c7a8756d57f421eeee8d256b9e45.jpg","24.7x25.6cm",[42,90],{"id":20010,"slug":20011,"title":20012,"dynasty":99,"author":100,"museum":206,"description":20013,"tags":20014,"thumbUrl":20017,"material":123,"size":20018,"collection":181,"collections":20019,"showCount":19823,"zanCount":48,"manualWeight":48,"mainColor":94},214585,"lin-song-yuan-liu-jing-ce-gao-feng-yuan-hu-chou-ying-214585","临宋元六景册-高峰远湖","明代画家仇英的临宋元六景册是一件著名的绘画作品，其中的高峰远湖图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了仇英对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，仇英运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的高峰远湖是一幅清新而美丽的山水画，它体现了仇英对自然的热爱和对传统文化的尊重。\n\n总的来说，仇英的临宋元六景册是一件精美的绘画作品，其中的高峰远湖图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了仇英对自然的热爱和对传统文化的尊重。",[7,24,81,105,27,28,29,20015,20016,174,281,175],"高峰","远湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c93acfe478b7285b0a2f003b964b0.jpg","29.2x47.1cm",[181],{"id":20021,"slug":20022,"title":20023,"dynasty":76,"author":707,"museum":752,"description":1872,"tags":20024,"thumbUrl":20025,"material":803,"size":1875,"collection":139,"collections":20026,"showCount":19823,"zanCount":5,"manualWeight":48,"mainColor":49},214354,"san-jue-shan-shui-ce-7-hua-yan-214354","三绝山水册-7",[23,7,173,27,81,177,29,245,34,106,491,5066,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6649a7f927eb2299be006731defc02c.jpg",[],{"id":20028,"slug":20029,"title":20030,"dynasty":18,"author":10870,"museum":364,"description":20031,"tags":20032,"thumbUrl":20033,"material":743,"size":744,"collection":139,"collections":20034,"showCount":20035,"zanCount":48,"manualWeight":48,"mainColor":49},288289,"mao-hou-tu-yi-yuan-ji-288289","猫猴图","《宋易元吉猴猫图卷》画孙猴儿一只，脖子上围绑着粗绳，圈系在地，两只小花猫，大概路经此地，不经意中，一为猴儿挟抱，另一则惊避回顾。画中二小猫，全身毫毛皆用纤细的笔线，笔笔丝出，再加色晕染。黄花猫斑纹处是以淡赭墨染绘，毛色层次井然分明。盘坐在地的猴儿也是采同样手法处理，然而毛发更见丰盈毛绒，多而不乱。作者传神体物的绘画表现，足能成为北宋人写生写实的艺事风格代表。\n画家除了在此展现出精巧的画技外，捕捉动物生态，更有其独到之处。无论是调皮捣蛋的顽猴；或是它怀中畏怯无奈的小猫；或是一旁怒目嘶叫、张牙舞爪的幸免者，这三者间生动的神情，及合于本性、出于自然的瞬间互动，都藉由画家敏睿的观察，和传神的画笔，铺陈出如此富有戏剧效果的画面。",[209,7,24,27,28,956,12940,957,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d00ee3f96e092903f2ea29821abb153.jpg",[],95,{"id":20037,"slug":20038,"title":20039,"dynasty":76,"author":15053,"museum":364,"description":15054,"tags":20040,"thumbUrl":20041,"material":743,"size":744,"collection":139,"collections":20042,"showCount":20035,"zanCount":48,"manualWeight":48,"mainColor":94},236740,"tao-hua-jia-die-wan-shan-zhang-xiong-236740","桃花蛱蝶纨扇",[7,24,1562,368,28,27,83,279,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55170b403bb25051d64dc082a1e881e2.jpg",[],{"id":20044,"slug":20045,"title":1540,"dynasty":76,"author":2083,"museum":20,"description":7792,"tags":20046,"thumbUrl":20047,"material":1716,"size":7795,"collection":139,"collections":20048,"showCount":20035,"zanCount":48,"manualWeight":48,"mainColor":94},234676,"zhu-shi-tu-zheng-ban-qiao-234676",[7,173,241,242,245,446,24,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4678f3aee954a45f278520cc553534f1.jpg",[],{"id":20050,"slug":20051,"title":20052,"dynasty":99,"author":20053,"museum":364,"description":20054,"tags":20055,"thumbUrl":20056,"material":139,"size":139,"collection":139,"collections":20057,"showCount":20035,"zanCount":5,"manualWeight":48,"mainColor":94},234215,"chen-qin-zhu-lan-ju-shi-juan-chen-qin-234215","陈芹竹兰菊石卷","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，传世作品有《为佩庭作竹石图》（现藏故宫博物院）、《修篁文石图》（现藏南京博物馆）等。工书法，师钟繇，二王，尤善章草。《自书诗》行书册古雅畅达，妍媚洒脱，含章草意态。",[23,209,7,24,25,173,178,86,242,452,453,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05f0ec9be94c42d09d7d995a4450e60.jpg",[],{"id":20059,"slug":20060,"title":20061,"dynasty":76,"author":1703,"museum":364,"description":20062,"tags":20063,"thumbUrl":20064,"material":139,"size":139,"collection":139,"collections":20065,"showCount":20035,"zanCount":48,"manualWeight":48,"mainColor":94},230874,"mei-hua-tu-ce-jin-nong-230874","梅花图册","这幅画以水墨写梅，老干虬曲苍劲，淡墨晕染出斑驳古拙的质感，枝桠斜逸舒展，尽显老树凌寒的沉浑气度。枝头梅花以淡墨勾瓣，留白衬出冰洁花容，浓墨点蕊，疏密有致，于简淡中见清艳孤高，将梅花傲霜之态全然托出。\n\n左侧隶书题跋朴茂沉厚，笔力苍劲，画与文相映成趣，把画梅心得与爱梅之情落于纸间。整作脱去甜熟妍丽，以极简笔墨写尽梅之清癯风骨，藏着画者疏淡超脱的文人襟怀，以意趣取胜，尽显水墨花卉的空灵淡远之美。",[7,24,81,173,83,448,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe1220c3355013ed53f3eb499f35db0.jpg",[],{"id":20067,"slug":20068,"title":20069,"dynasty":76,"author":836,"museum":364,"description":20070,"tags":20071,"thumbUrl":20072,"material":139,"size":139,"collection":139,"collections":20073,"showCount":20035,"zanCount":5,"manualWeight":48,"mainColor":94},230248,"he-hua-hong-liao-dong-gao-230248","荷花红蓼","此作对开铺陈，群芳错落生姿，粉山茶娇妍柔婉，朱月季明艳鲜活，黄萱草清雅舒展，枝叶穿插顾盼，尽显春日花木蓬勃生机。\n\n设色明丽柔和，晕染细腻匀净，将草木天然神韵勾勒得鲜活动人。左侧题诗与画境呼应，诗书画印相融相合，晕开文人雅趣。笔触秀逸兼具工致，既恪守写生法度，又暗合闲淡悠然的审美意趣，将春日群芳的柔媚丰姿凝于素笺，尽展传统花鸟雅致隽秀的笔墨情致。",[7,24,81,27,28,83,84,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb0cc576e00222d934108ce911daf05.jpg",[],{"id":20075,"slug":20076,"title":20077,"dynasty":99,"author":1996,"museum":364,"description":20078,"tags":20079,"thumbUrl":20080,"material":139,"size":139,"collection":139,"collections":20081,"showCount":20035,"zanCount":5,"manualWeight":48,"mainColor":94},228466,"luo-yang-chun-se-tu-chen-chun-228466","洛阳春色图","明陈淳洛阳春色图此卷绘数株盛开的牡丹，雍容华贵，以没骨法写意。\n湖石枯笔勾皴，淡墨晕染，色墨并用。\n画风疏爽秀逸，艳丽清新。\n自题：“己亥秋日，道复书并图。\n”款“道复制”，钤‘白阳山人“朱文方印、”复父氏“白文方印。\n拖尾自题草书牡丹诗。\n【名称】明 陈淳 洛阳春色图 ，横111.2厘米。\n南京博物院藏。\n（148-1544）：又作1482-159年，长洲（今江苏苏州）人。\n字道复，后以字行，更字复甫，号白阳，又号白阳山人。\n陈淳少年作画以元人为法，深受水墨写意的影响。\n他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。\n他的有些作品，所画质朴，可以看出受沈周画法的影响。\n与徐渭并称白阳青藤。\n陈氏少年作画工细，中年后笔法放纵，自立门户。\n陈淳师从文徵明，在其门下声誉最高。\n曾评其曰：“吾于道复仅举业师耳，其书画自有门径。\n” 己亥为嘉靖十八年，作者时年五十七岁。",[23,7,24,25,27,173,446,83,327,245,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],{"id":20083,"slug":20084,"title":20085,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":20086,"thumbUrl":20088,"material":27,"size":6032,"collection":139,"collections":20089,"showCount":20035,"zanCount":48,"manualWeight":48,"mainColor":94},222749,"xian-e-chang-chun-tu-06a-lang-shi-ning-222749","仙萼长春图-06a",[23,209,7,24,81,27,28,83,20087,327],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adacdd9409943ffa72bb6bc318274c3.jpg",[],{"id":20091,"slug":20092,"title":20093,"dynasty":76,"author":4005,"museum":675,"description":4006,"tags":20094,"thumbUrl":20095,"material":67,"size":4010,"collection":139,"collections":20096,"showCount":20035,"zanCount":1356,"manualWeight":48,"mainColor":94},222679,"si-ji-hua-niao-tu-ping-2-chen-mei-222679","四季花鸟图屏2",[23,7,28,27,83,224,62,1062,698,327,452,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81b6aab8d5cdb347668d913e6a8ccedc.jpg",[],{"id":20098,"slug":20099,"title":20100,"dynasty":99,"author":1996,"museum":206,"description":5042,"tags":20101,"thumbUrl":20103,"material":619,"size":20104,"collection":90,"collections":20105,"showCount":20035,"zanCount":48,"manualWeight":48,"mainColor":94},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴",[23,7,241,173,27,446,83,136,931,1061,367,2522,1086,6922,1938,84,299,14884,2939,8349,12901,20102],"明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[90,45],{"id":20107,"slug":20108,"title":20109,"dynasty":99,"author":2917,"museum":56,"description":20110,"tags":20111,"thumbUrl":20112,"material":139,"size":20113,"collection":90,"collections":20114,"showCount":20035,"zanCount":48,"manualWeight":48,"mainColor":94},222415,"mei-hua-ye-zhi-tu-zhou-zhi-mian-222415","梅花野雉图","彩绘老干红梅，野雉栖于其上，竹石映带左右。作者周之冕江苏苏州人，善画花鸟，能的其神态；设色清雅，在陈淳、陆治之间，钩花点叶，间出新意。惟酒成癖，诚是一病。此图写生意味颇浓，构图匀称；工笔精细逼真，而无板滞痕迹，正是难能可贵之处。上有作者“丙申夏日汝南周之冕写”名款，下钤“周之冕印”、“服卿”印章二方。图的整体布局严谨，描摹惟妙惟肖，是同时期画作中的佳品。",[23,7,83,27,173,448,224,245,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2989106565d8ba25606cccdc69711.jpg","纵: 134.5厘米. 横: 33.6厘米",[90,45],{"id":20116,"slug":20117,"title":20118,"dynasty":99,"author":1480,"museum":20,"description":20119,"tags":20120,"thumbUrl":20121,"material":14355,"size":20122,"collection":181,"collections":20123,"showCount":20035,"zanCount":1547,"manualWeight":48,"mainColor":94},222359,"guan-mei-tu-zhou-tang-yin-222359","观梅图轴","画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。\n此图曾经清代毕沅等人鉴藏。",[23,7,24,241,173,177,178,448,176,106,1015,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纵108.6厘米，横34.5厘米。",[181,163],{"id":20125,"slug":20126,"title":20127,"dynasty":189,"author":2438,"museum":206,"description":20128,"tags":20129,"thumbUrl":20130,"material":317,"size":20131,"collection":45,"collections":20132,"showCount":20035,"zanCount":5,"manualWeight":48,"mainColor":49},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[23,7,24,209,241,28,27,106,59,242,245,62,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","该幅70x31.4公分；全幅 57.5公分",[45,2293],{"id":20134,"slug":20135,"title":20136,"dynasty":18,"author":20137,"museum":101,"description":20138,"tags":20139,"thumbUrl":20140,"material":27,"size":20141,"collection":42,"collections":20142,"showCount":20035,"zanCount":48,"manualWeight":48,"mainColor":49},221254,"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,7,209,25,27,177,29,1575,175,150,106,491,37,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 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文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。",[1086,7,259,106,27,28,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0851ac32f089bd3d50806252e5ff4f18.jpg","158.4x94.5",[44],{"id":20219,"slug":20220,"title":20221,"dynasty":99,"author":20222,"museum":364,"description":20223,"tags":20224,"thumbUrl":20225,"material":88,"size":139,"collection":44,"collections":20226,"showCount":20035,"zanCount":48,"manualWeight":48,"mainColor":94},216347,"xi-xiang-ji-cha-ye-min-qi-ji-216347","西厢记插页","闵齐伋","眉眼低垂间，凝着西厢故事里的幽婉心事。墨线勾勒的衣袂似随微风轻漾，素色衣衫衬得身姿温婉窈窕。精致的发髻簪着小巧头饰，鬓角发丝垂落，添了几分柔媚。手中淡蓝团扇半掩，扇面纹路隐约，与轻拢衣襟的手势相映，似在掩饰心头的娇羞与沉思。古朴边框饰以卷草纹样，缠缠绕绕间晕开明清插画的雅致。左侧题款墨痕清逸，朱红印章点缀，笔墨与丹青相融，将剧中人物的情态凝于一纸，淡远而悠长，尽显古典仕女画的含蓄之美。",[7,24,81,260,27,106,59,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39940e524f20f38b6f876b1cdd2cf929.jpg",[44],{"id":20228,"slug":20229,"title":20230,"dynasty":76,"author":20231,"museum":515,"description":20232,"tags":20233,"thumbUrl":20234,"material":342,"size":20235,"collection":90,"collections":20236,"showCount":20035,"zanCount":48,"manualWeight":48,"mainColor":94},216113,"song-ying-tu-gao-qi-pei-216113","松鹰图","高其佩","高其佩的指画，墨法得力于吴镇，形象近于吴伟，以减笔写意法见长，尤喜画虎、画钟馗。在技巧方面，他在《述画诗》中道：“吾画从吾手，甲骨掌背俱，手落尚无物，物成手却无。”可见他的指画运用了手的各个部分。他的指画有“叱石成羊”之妙，人物形象极为生动，面部用尖指甲细勾，简练传神，画衣纹指尖指甲并用，顿挫自如，冠靴用指掌涂抹，墨色浑然；花鸟画则随意点染的浓淡干湿墨色，飞动不露笔痕的粗细线条，蹲鹰的蓬松羽毛，老树的苍劲之质均表现得十分出色。\n高其佩以指画在画坛独树一帜，指画作品清、奇、简淡浑厚，而神韵尤在指墨之外，其艺术成就，对后世影响很大。在他之后，出现了很多知名指画家，其中包括他的徒弟“扬州八怪”的罗聘，李鱓和黄慎亦擅指画，清晚期著名的指画家就有一百多人，现代国画大师潘天寿、钱松岩等都深受其影响。他的指画创作则信手一挥，倾刻数十幅，令人惊讶，一生的作画数量极为惊人。主要作品有：《饱虎图》、《雁行图》、《怒容钟馗图》、《梧桐喜鹊图》、《虬松莫岫图》、《高冈独立图》、《稻穗螳螂图》、《松阴小琪图》、《指画人物》册等。",[23,7,209,173,446,177,241,394,1575,4307,281,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff940dda9a789d8da923f8b9917eaad90.jpg","172x90cm",[90],{"id":20238,"slug":20239,"title":20240,"dynasty":76,"author":13727,"museum":364,"description":20241,"tags":20242,"thumbUrl":20243,"material":88,"size":139,"collection":44,"collections":20244,"showCount":20035,"zanCount":48,"manualWeight":48,"mainColor":94},215098,"tui-bei-tu-ce-8-jiao-bing-zhen-215098","推背图册-8","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,7,24,81,27,28,106,12940,3478,430,259,957,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4d07410d2bb7ccfcf7622ce2e9c2ff.jpg",[44],{"id":20246,"slug":20247,"title":20248,"dynasty":18,"author":781,"museum":364,"description":20249,"tags":20250,"thumbUrl":20251,"material":342,"size":20252,"collection":44,"collections":20253,"showCount":20035,"zanCount":1547,"manualWeight":48,"mainColor":94},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,209,7,24,25,260,173,106,107,108,109,227,150,175,176,34,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[44],{"id":20255,"slug":20256,"title":20257,"dynasty":76,"author":4672,"museum":206,"description":20258,"tags":20259,"thumbUrl":20260,"material":123,"size":20261,"collection":181,"collections":20262,"showCount":20035,"zanCount":1547,"manualWeight":48,"mainColor":49},214810,"qing-feng-tu-tang-dai-214810","庆丰图","这是一幅典型的清代风格的庭院画，描绘了新建的凤仪城，其大厅宏伟，市场井然有序，色彩美丽。",[23,7,26,27,29,107,106,34,649,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae9375823b07d0753215b6cf25b5637.jpg","393.6x234",[181],{"id":20264,"slug":20265,"title":20266,"dynasty":189,"author":1848,"museum":364,"description":20267,"tags":20268,"thumbUrl":20269,"material":743,"size":744,"collection":139,"collections":20270,"showCount":20271,"zanCount":1547,"manualWeight":48,"mainColor":94},291024,"yun-dang-qing-ying-tu-zhou-wu-zhen-291024","筼筜清影图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[209,7,24,241,173,242,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3b2615b892119aa8db2b0673c921dd.jpg",[],94,{"id":20273,"slug":20274,"title":220,"dynasty":76,"author":77,"museum":364,"description":740,"tags":20275,"thumbUrl":20276,"material":743,"size":744,"collection":139,"collections":20277,"showCount":20271,"zanCount":5,"manualWeight":48,"mainColor":94},239436,"hua-niao-ce-yun-shou-ping-239436",[7,24,81,27,173,83,224,2522,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05eae777b986ef2a408940cb2ef9ae36.jpg",[],{"id":20279,"slug":20280,"title":20281,"dynasty":76,"author":5052,"museum":364,"description":20282,"tags":20283,"thumbUrl":20284,"material":139,"size":139,"collection":181,"collections":20285,"showCount":20271,"zanCount":48,"manualWeight":48,"mainColor":94},237614,"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[7,24,173,177,81,178,227,29,245,503,558,864,297,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[181,163],{"id":20287,"slug":20288,"title":20289,"dynasty":76,"author":1109,"museum":20,"description":20290,"tags":20291,"thumbUrl":20293,"material":803,"size":20294,"collection":139,"collections":20295,"showCount":20271,"zanCount":5,"manualWeight":48,"mainColor":94},233956,"yuan-ji-shan-shui-heng-zhou-shi-tao-233956","原济山水横轴","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[7,24,20292,173,177,29,650,34,109,174,106,558,1575,176],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff862291aff18cd6d44ac688b5b35c856.jpg","纵46.5cm，横30.7cm",[],{"id":20297,"slug":20298,"title":486,"dynasty":76,"author":1204,"museum":20299,"description":20300,"tags":20301,"thumbUrl":20302,"material":803,"size":20303,"collection":139,"collections":20304,"showCount":20271,"zanCount":48,"manualWeight":48,"mainColor":94},231387,"shan-shui-ce-zhu-da-231387","故宫出版社","朱耷，明太祖朱元璋第十七子朱权九世孙，本名朱统托，字雪箇，号八大山人、箇山 、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[7,24,81,173,29,245,242,430,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c452f4285c6312c00652736062c93d6.jpg","纵二六厘米，横四一厘米",[],{"id":20306,"slug":20307,"title":20308,"dynasty":18,"author":20309,"museum":364,"description":20310,"tags":20311,"thumbUrl":20312,"material":139,"size":139,"collection":139,"collections":20313,"showCount":20271,"zanCount":5,"manualWeight":48,"mainColor":94},227753,"ju-cong-fei-die-tu-ye-zhu-shao-zong-227753","菊丛飞蝶图页","朱绍宗","《菊丛飞蝶图》页，宋，朱绍宗绘，纨扇页，绢本，设色，纵23.7厘米，横24.4厘米。\n本幅款识：“朱”。钤鉴藏印2方，印文模糊，唯可辨一“璘”字。裱边题签：“朱绍宗菊丛飞蝶”。\n图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。\n对幅有清乾隆御题诗：“趋炎殊众卉，放英独于秋。舞去风全香，承来露半流。绘者具神解，渊明晤庄周。”钤“八征耄念之宝”朱文印、“自强不息”白文印。\n存《四朝选藻》册中。《石渠宝笈续编》著录。",[23,7,24,5990,28,27,83,796,604,84,178,227,1160,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee499b5bb1bb99a6d174c1ae3c18abf.jpg",[],{"id":20315,"slug":20316,"title":20317,"dynasty":76,"author":10376,"museum":56,"description":14135,"tags":20318,"thumbUrl":20319,"material":1642,"size":14633,"collection":139,"collections":20320,"showCount":20271,"zanCount":5,"manualWeight":48,"mainColor":49},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法",[23,7,24,29,3117,177,27,241,649,34,108,109,37,1255,2268,106,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg",[],{"id":20322,"slug":20323,"title":20324,"dynasty":76,"author":4005,"museum":675,"description":4006,"tags":20325,"thumbUrl":20326,"material":67,"size":4010,"collection":139,"collections":20327,"showCount":20271,"zanCount":5,"manualWeight":48,"mainColor":94},222685,"si-ji-hua-niao-tu-ping-8-chen-mei-222685","四季花鸟图屏8",[23,7,24,241,28,27,83,448,839,224,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff120bb949e796c509e974641e34be539.jpg",[],{"id":20329,"slug":20330,"title":20331,"dynasty":76,"author":4005,"museum":675,"description":4006,"tags":20332,"thumbUrl":20333,"material":67,"size":4010,"collection":139,"collections":20334,"showCount":20271,"zanCount":1270,"manualWeight":48,"mainColor":94},222682,"si-ji-hua-niao-tu-ping-5-chen-mei-222682","四季花鸟图屏5",[23,7,24,28,27,83,136,137,2555,1862,931,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d0a7150805b19feb3ed4f0a01d4fd0.jpg",[],{"id":20336,"slug":20337,"title":20338,"dynasty":99,"author":170,"museum":206,"description":2755,"tags":20339,"thumbUrl":20340,"material":139,"size":20341,"collection":139,"collections":20342,"showCount":20271,"zanCount":48,"manualWeight":48,"mainColor":49},222109,"fang-fan-kuan-shan-shui-shen-zhou-222109","仿范宽山水",[23,7,173,27,29,430,176,106,177,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a75f134440ced5f01d925c27d12f935.jpg","54.2x99.5厘米",[],{"id":20344,"slug":20345,"title":20346,"dynasty":189,"author":10811,"museum":1985,"description":20347,"tags":20348,"thumbUrl":20349,"material":665,"size":20350,"collection":90,"collections":20351,"showCount":20271,"zanCount":48,"manualWeight":48,"mainColor":49},221840,"lian-ji-ling-tu-wang-yuan-221840","莲鹡鸰图","此图是唐绘手鉴《笔耕园》60幅册页中的一幅。王渊花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，得写生之妙，时称“绝艺”。天机溢发，肖古而不泥古。",[23,209,7,24,28,27,83,136,281,137,931],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8dcc488c7d4ab10557e1ad0364ca7b.jpg","29.9×36cm",[90,45],{"id":20353,"slug":20354,"title":20355,"dynasty":18,"author":4882,"museum":364,"description":20356,"tags":20357,"thumbUrl":20358,"material":67,"size":20359,"collection":42,"collections":20360,"showCount":20271,"zanCount":48,"manualWeight":48,"mainColor":49},221442,"xie-sheng-cao-chong-tu-juan-cui-bai-221442","写生草虫图卷","崔白，字子西，北宋濠梁人，杰出的花鸟画家。北宋中期翰林图画院画家，擅长画花鸟，所做动物在写生基础上概括，形象生动活泼。他不仅擅画花竹翎毛、败荷凫雁，而且画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生，所画鹅、蝉、雀堪称三绝。他一改百余年画风，成为北宋画坛革新主将，数百年来颇受画坛尊祟。\n崔白的一生中大部分时间只是个民间画工，生活颠沛流离，后来有很多人都为他的不得赏识打抱不平。像米芾在他的《画史》中说，在嘉年间（1056—1063年），公卿贵族们的收藏竞相一味求古，多是阎立本、韩滉一类画家的赝品，而对于像崔白这么优秀的当代画家的画作，他们却熟视无睹。",[23,7,24,25,28,27,710,603,604,299,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80e1171b5cd251561cf91850b031251.jpg","26×150",[42,90,45],{"id":20362,"slug":20363,"title":20364,"dynasty":18,"author":377,"museum":20365,"description":20366,"tags":20367,"thumbUrl":20368,"material":803,"size":20369,"collection":382,"collections":20370,"showCount":20271,"zanCount":5,"manualWeight":48,"mainColor":49},221263,"liu-ming-zhong-mo-zhu-fu-huang-ting-jian-221263","刘明仲墨竹赋","湖北襄阳图书馆","黄庭坚在书学上追求一种自然之美，忘我的境界，无法之法。他自称“老夫之书本无法也。但观世间万缘，如蚊蚋聚散，未尝一事横于胸中。遇纸则书，纸尽则已，亦不计较工拙与人之品藻讥弹，譬如木人舞中节拍，人叹其工，舞罢则又萧然矣。”他认为“心不知手，手不知心”是书法创作的最高境界。\n黄庭坚《刘明仲墨竹赋》元佑三年作于京师开封府，此帖拓本来源于清朝黄湄《黄文节公法书石刻》，作品横32厘米，纵30.5厘米，共25页",[23,209,7,24,25,178,86,173,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3d7079ee1b5e8a0bf2ec9b0a24e24a.jpg","横32厘米，纵30.5厘米",[382],{"id":20372,"slug":20373,"title":20374,"dynasty":99,"author":3114,"museum":20,"description":16207,"tags":20375,"thumbUrl":20376,"materi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《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[23,7,173,27,177,29,34,1575,176,114,560,649,35,10667,1250,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[181,163],{"id":20387,"slug":20388,"title":20389,"dynasty":1095,"author":4791,"museum":4792,"description":20390,"tags":20391,"thumbUrl":20392,"material":139,"size":139,"collection":139,"collections":20393,"showCount":20271,"zanCount":48,"manualWeight":48,"mainColor":94},220554,"song-ren-pi-ma-chang-xiao-shi-yi-xu-bei-hong-220554","宋人匹马长啸诗意","以浓淡干湿的墨色晕染出骏马的遒劲筋骨，鬃尾以狂放泼墨扫就，翻卷如疾风吹过，将骏马桀骜昂扬的神采尽皆彰显。背景柳丝荒草以淡墨虚笔铺陈，留白烘托出马的苍劲雄浑，虚实相生间，旷野清寂与骏马长嘶的氛围感扑面而来，仿佛能听见振鬣嘶鸣的回响，将诗意化为鲜活的视觉意象。写实造型与写意笔墨浑然相融，既见骏马剽悍俊朗的体态，又尽显旷远灵动的意境，把旷野孤马的豪迈洒脱诠释得淋漓尽致。",[23,7,173,446,150,1159,1226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604243463a321fc532bc209c6152f12.jpg",[],{"id":20395,"slug":20396,"title":20397,"dynasty":76,"author":20398,"museum":206,"description":20399,"tags":20400,"thumbUrl":20402,"material":123,"size":20403,"collection":90,"collections":20404,"showCount":20271,"zanCount":48,"manualWeight":48,"mainColor":94},220405,"song-jian-wo-hu-tu-a-er-bai-220405","松间卧虎图","阿尔粺","清代阿尔粺绘。阿尔粺是一位满族画家，字香榖，舒穆禄氏，满洲镶蓝旗人。阿尔粺善画虎、鹰等，《啸亭杂录》云 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下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[23,209,7,24,241,28,27,83,448,242,245,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[42,90],{"id":20447,"slug":20448,"title":20449,"dynasty":18,"author":2824,"museum":132,"description":20450,"tags":20451,"thumbUrl":20452,"material":88,"size":20453,"collection":90,"collections":20454,"showCount":20271,"zanCount":1356,"manualWeight":48,"mainColor":94},218947,"e-tu-lu-zong-gui-218947","鹅图","绘有一只雏鸟在母亲脖子后面的右侧，低头看着水面，而另一只雏鸟则在母亲的左侧，抬头望天，呜呜地叫着。这个场景相当有趣，反映了动物之间的母子关系。",[7,209,24,28,27,83,10065,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7faa8a7a2eafd67f868c6d30b023f7.jpg","60x80cm",[90],{"id":20456,"slug":20457,"title":20458,"dynasty":18,"author":293,"museum":364,"description":20459,"tags":20460,"thumbUrl":20461,"material":342,"size":20462,"collection":181,"collections":20463,"showCount":20271,"zanCount":1547,"manualWeight":48,"mainColor":1335},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[7,24,1562,28,173,27,109,281,34,245,83,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[181,42],{"id":20465,"slug":20466,"title":20467,"dynasty":76,"author":293,"museum":364,"description":20468,"tags":20469,"thumbUrl":20470,"material":123,"size":20471,"collection":44,"collections":20472,"showCount":20271,"zanCount":1270,"manualWeight":48,"mainColor":49},218281,"ting-yuan-chun-se-tu-yi-ming-218281","庭苑春色图","画面铺展雅致庭苑景致，暖棕底色晕染时光温润。端坐的女子轻抱琵琶，指尖似凝住弦上余韵，眉眼神情专注而娴静；旁侧侍女俯身案前，动作轻柔如春风拂过，案上器物错落，笼中雀鸟似待和鸣。枝间梅花疏影横斜，点点春意悄然入画，与古朴陈设相映成趣。细腻笔触勾勒人物情态，器物细节精致传神，将春日庭苑里的闲适雅致娓娓道来，尽显古典生活的温婉诗意，仿佛能闻得弦音与花香交织，静享一段时光的从容。",[23,7,27,28,104,106,59,107,448,244,210,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029dbcde4f6cb854e31576e88c28885e.jpg","24x24",[44],{"id":20474,"slug":20475,"title":20476,"dynasty":18,"author":293,"museum":752,"description":20477,"tags":20478,"thumbUrl":20482,"material":123,"size":10426,"collection":44,"collections":20483,"showCount":20271,"zanCount":1547,"manualWeight":48,"mainColor":94},218235,"luo-shen-fu-tu-yi-ming-218235","洛神赋图","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,209,7,24,25,27,28,106,59,20479,174,109,34,8147,20480,281,20481,10978],"洛神","仙禽异兽","怅惘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",[44],{"id":20485,"slug":20486,"title":20487,"dynasty":76,"author":614,"museum":1806,"description":20488,"tags":20489,"thumbUrl":20490,"material":88,"size":20491,"collection":44,"collections":20492,"showCount":20271,"zanCount":1547,"manualWeight":48,"mainColor":94},216737,"tan-zhu-tu-huang-shen-216737","探珠图","这些人物以狂野的斜体线条生动地呈现出来。笔触干净而流畅，无论是下龙取珠的老人还是婀娜多姿的女仙，都很好地表达了性格的刚强和形式的力量之间的对比。通过大面积的水墨渲染，云朵和波浪显露出来，创造出一种奇怪的危险气氛和一个充满勇气的世界。",[23,7,24,209,241,173,27,106,446,297,448,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d0167c87aa5f07e7434b67578e3bc7.jpg","纵185厘米，横107厘米",[44],{"id":20494,"slug":20495,"title":20496,"dynasty":99,"author":1996,"museum":78,"description":1997,"tags":20497,"thumbUrl":20498,"material":342,"size":2000,"collection":139,"collections":20499,"showCount":20271,"zanCount":48,"manualWeight":48,"mainColor":94},214620,"hua-hui-ce-21-chen-chun-214620","花卉册-21",[7,173,446,81,24,243,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610ad50195f120bc2cf0a96d0f254470.jpg",[],{"id":20501,"slug":20502,"title":20503,"dynasty":76,"author":836,"museum":364,"description":20504,"tags":20505,"thumbUrl":20506,"material":139,"size":139,"collection":90,"collections":20507,"showCount":20508,"zanCount":48,"manualWeight":48,"mainColor":94},238366,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238366","董诰延春荟彩图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[7,24,81,28,27,83,84,698,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e56e69a03dcde8ab9a366f27b7c94c8.jpg",[90,45],93,{"id":20510,"slug":20511,"title":20512,"dynasty":76,"author":16463,"museum":364,"description":20513,"tags":20514,"thumbUrl":20515,"material":743,"size":744,"collection":181,"collections":20516,"showCount":20508,"zanCount":48,"manualWeight":48,"mainColor":94},235658,"shan-shui-ping-yuan-jiang-235658","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[7,24,241,104,27,28,177,29,107,35,34,176,281,109,2238,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[181],{"id":20518,"slug":20519,"title":17044,"dynasty":189,"author":10811,"museum":364,"description":20520,"tags":20521,"thumbUrl":20522,"material":139,"size":20523,"collection":139,"collections":20524,"showCount":20508,"zanCount":1547,"manualWeight":48,"mainColor":49},231513,"hua-niao-tu-juan-wang-yuan-231513","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[23,7,209,25,28,27,86,227,83,448,327,242,245,279,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 厘米",[],{"id":20526,"slug":20527,"title":20528,"dynasty":76,"author":1109,"museum":238,"description":20529,"tags":20530,"thumbUrl":20531,"material":803,"size":20532,"collection":139,"collections":20533,"showCount":20508,"zanCount":5,"manualWeight":48,"mainColor":94},231362,"qin-huai-he-tu-shi-tao-231362","秦淮河图","石涛与弘仁、髡残、朱耷合称“清初四僧”，在中国书画史上影响巨大。本博分享的石涛国画作品，选自美国弗利尔美术馆（Freer Gallery of Art）珍藏的金陵山水册页：《金陵怀古册》，画面多为金陵（今南京）之景。作品中可以看出，石涛用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[7,24,173,27,177,29,174,106,1015,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfce3ea245449c5759644e50c10c5ea.jpg","25.5 x 20.2厘米",[],{"id":20535,"slug":20536,"title":20537,"dynasty":54,"author":577,"museum":364,"description":20538,"tags":20539,"thumbUrl":20540,"material":139,"size":139,"collection":139,"collections":20541,"showCount":20508,"zanCount":48,"manualWeight":48,"mainColor":49},231006,"guan-yin-xiang-li-zhou-yan-li-ben-231006","观音像立轴","此作沉静古雅，观音面含悲悯柔光，仪容温婉澄澈，乌发覆首，宝饰轻缀，自带清寂祥和的禅意氛围。衣袍晕染层次雅致沉稳，暗饰缠枝纹隐于面料间，既见勾勒法度又含柔婉气韵，掌心轻托净水宝瓶，暗合渡世慈悲的意涵。莲台层叠舒展，线条圆融柔和，将神性肃穆与东方古典温润揉为一处。整体设色带着岁月晕开的厚重质感，笔意内敛克制，将大士的安恬慈悲凝于绢素之上，观之令人心下安定，尽显东方造像的静穆大美。",[23,209,7,24,241,27,28,259,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba7bf5765139b07c598993ea3c1aef4.jpg",[],{"id":20543,"slug":20544,"title":20545,"dynasty":76,"author":13727,"museum":20,"description":20546,"tags":20547,"thumbUrl":20549,"material":40,"size":20550,"collection":44,"collections":20551,"showCount":20508,"zanCount":5,"manualWeight":48,"mainColor":49},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,7,24,25,27,28,104,29,106,107,109,111,34,175,108,11647,20548],"城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[44,45],{"id":20553,"slug":20554,"title":20555,"dynasty":99,"author":4314,"museum":1985,"description":4868,"tags":20556,"thumbUrl":20557,"material":665,"size":4876,"collection":139,"collections":20558,"showCount":20508,"zanCount":1547,"manualWeight":48,"mainColor":49},222395,"si-ji-hua-niao-tu-dong-lv-ji-222395","四季花鸟图-冬",[23,7,209,241,28,27,83,448,242,650,1015,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf95f29adc2d1bbf6024f906d309a0a3.jpg",[],{"id":20560,"slug":20561,"title":20562,"dynasty":99,"author":4600,"museum":364,"description":20563,"tags":20564,"thumbUrl":20565,"material":28,"size":20566,"collection":90,"collections":20567,"showCount":20508,"zanCount":5,"manualWeight":48,"mainColor":4606},222042,"de-qu-zai-ren-ce-13-kai-wang-zhong-222042","得趣在人册13开","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[23,209,7,24,81,27,28,83,242,224,62,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f74d819ae04a78f0a4642cdafcc5cd.jpg","30×27厘米",[90,45],{"id":20569,"slug":20570,"title":20571,"dynasty":18,"author":1616,"museum":675,"description":20572,"tags":20573,"thumbUrl":20574,"material":67,"size":20575,"collection":42,"collections":20576,"showCount":20508,"zanCount":5,"manualWeight":48,"mainColor":49},221578,"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","《濠梁秋水图》是宋代画家李唐创作的一幅中国画，描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。\n《濠梁秋水图》的创作，似乎正处于其风格转变过程中的后期，是南宋新风格的开始，构图局部取景的方式已有所体现；而《采薇图》只不过是把要表现的物象更加拉近了而已。皴法上，此图出现了大量的侧锋用笔，洗练、刚劲，但笔触略小，石质坚实，这是大斧劈皴的雏形。到了《采薇图》，则变为阔笔挥洒，更加简略，充满速度和力感，转变体现得更加明显了。还有《采薇图》的远景部分，仿佛弥漫着一层雾气，树石的画法也是水气淋漓，这可能与李唐已久居江南有关。《濠梁秋水图》则显得稍有不同，透露出一种浑厚深沉的山水景象。\n从用笔、风格、水准等方面来看，《濠梁秋水图》当属李唐从《万壑松风图》到《采薇图》之间的过渡作品，仿佛是他在为北宋风格向南宋风格的转变做精巧的注释一般，因而显示出此作珍贵的历史价值和学术价值。",[23,7,24,25,29,173,177,106,34,650,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","纵24厘米，横114.5厘米",[42,181,45],{"id":20578,"slug":20579,"title":20580,"dynasty":18,"author":474,"museum":20,"description":20581,"tags":20582,"thumbUrl":20584,"material":4434,"size":20585,"collection":42,"collections":20586,"showCount":20508,"zanCount":48,"manualWeight":48,"mainColor":94},221333,"pi-pa-shan-niao-tu-ye-zhao-ji-221333","枇杷山鸟图页","本幅款押“天下一人”。钤“御书”朱文葫芦形印一方。裱边题签：“宋宣和枇杷山鸟”。鉴藏印钤“宣统御览之宝”，中缝钤“八征耄念之宝”、“太上皇帝之宝”朱文印各一方。\n图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[23,7,24,1562,173,28,82,83,1278,6483,20583,86,227],"凤蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc63c4273f7440564bd9b6a15e123f.jpg","纵22.6厘米，横24.5厘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于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[209,7,24,241,27,106,59,210,28,115,34,755,759,20727,2951],"焚香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e91c925d5a97ce7aba2fd11b9a72400.jpg",[],92,{"id":20732,"slug":20733,"title":20734,"dynasty":76,"author":20735,"museum":364,"description":20736,"tags":20737,"thumbUrl":20738,"material":743,"size":744,"collection":139,"collections":20739,"showCount":20730,"zanCount":1547,"manualWeight":48,"mainColor":94},237945,"yue-ji-lan-hua-wan-shan-zhang-pan-237945","月季兰花纨扇","张槃","张槃 （1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[7,24,1562,27,83,795,452,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e694aee14afb2a0093a45ad78f3bea.jpg",[],{"id":20741,"slug":20742,"title":20743,"dynasty":99,"author":443,"museum":20,"description":20744,"tags":20745,"thumbUrl":20746,"material":1449,"size":8991,"collection":139,"collections":20747,"showCount":20730,"zanCount":48,"manualWeight":48,"mainColor":94},233886,"lv-bei-yin-shi-tu-xu-wei-233886","驴背吟诗图","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”",[7,173,446,241,106,8989,1062,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d461acc6ac4f5a17dde4039154ab4c.jpg",[],{"id":20749,"slug":20750,"title":16135,"dynasty":18,"author":20751,"museum":206,"description":20752,"tags":20753,"thumbUrl":20754,"material":803,"size":20755,"collection":139,"collections":20756,"showCount":20730,"zanCount":1547,"manualWeight":48,"mainColor":94},232841,"chi-bi-tu-wu-yuan-zhi-232841","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[23,7,24,25,173,177,29,174,503,34,7741,491,5243,649,37,1444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纵50.8厘米，横136.4厘米",[],{"id":20758,"slug":20759,"title":20760,"dynasty":99,"author":966,"museum":675,"description":20761,"tags":20762,"thumbUrl":20763,"material":803,"size":20764,"collection":139,"collections":20765,"showCount":20730,"zanCount":48,"manualWeight":48,"mainColor":271},231835,"lin-xie-jian-cha-tu-wen-zheng-ming-231835","林榭煎茶图","该图所绘山丘起伏，而湖水澄澈，临湖平缓的坡岸上有茅屋数间，竹篱围而成院，杂树环绕。主人于房内凭窗远眺，一童正在室外烹茶，另一人拄杖沿湖边小径而行，似来访友，毫无城市的杂沓、喧嚣，表现了文人悠闲、恬淡的生活情趣。此图笔墨遒劲秀雅，线条流畅工致。\n此图描绘林榭处煎茶情景。此画右起青山林立，山顶山腰山坡间树木丛生，远见似一片片青绿林带，呈烟消碧落的景致。山下为江水一泓，河面宽阔，水平如镜，一派风和日丽的景色。画的中部座落着几间屋宇房舍，四周林木丛生，数间房舍掩映在树木之下，且被竹篱环抱，房舍内，一位长者坐室内凝思，室外一人煮茶，身着便服，这是此画核心部分。画卷的左边为不高不矮土坡山石，在坡岸上长满了杂木和丛草，葱葱郁郁，一派春光明媚，正是煎茶的最好时节。画中有作者自题“徵明为禄之作。”卷末有文徵明白题七言诗一首，赞美君山风光。\n煮茶历来为古贤名士选取的题材之一，远的不说，如元代有赵原的《陆羽烹茶图》，表现唐代茶人陆羽的故事，陆羽不但嗜茶著名，而且对茶很有研究，撰有《茶经》，世称其为“茶神”。又有明代丁云鹏绘有《煮茶图》，画面亦描绘唐代陆羽煮茶的典故。该图是文徵明中年时期所作。\n《林榭煎茶图》以更广阔的湖景描绘，在茶会所蕴含的雅俗之辨意味以外，更叠加以隐逸的超越意涵。悠游闲适、山湖相映，共同映射着苏州文人复杂的内心世界。\n此图笔墨遒劲秀雅，线条流畅工致。山石用牛毛皴，浅淡的青绿设色，近树精勾细琢，远树概括取景。人物的衣纹用高古游丝描。人物形象各俱神态，通过人物眼神、姿态、衣着等具体描绘来突出此画的主题。此画的技法，全画用笔秀润，勾点结合秀逸天成。设色清新秀丽，调色清淡有浓丽绚烂之致，虽浓丽又隽雅不艳俗，为时辈所难以企及。",[23,7,24,25,173,177,29,175,34,176,109,178,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9697288498df44d150ee73c094c572.jpg","纵25.7厘米，横114.9厘米",[],{"id":20767,"slug":20768,"title":20769,"dynasty":18,"author":781,"museum":364,"description":20770,"tags":20771,"thumbUrl":20772,"material":139,"size":139,"collection":44,"collections":20773,"showCount":20730,"zanCount":48,"manualWeight":48,"mainColor":1335},228895,"bai-miao-fo-xiang-di-san-zun-zhe-li-gong-lin-228895","白描佛像第三尊者","此作用笔兼具铁线之刚劲与游丝之柔韧，行云流水般勾勒出尊者清癯沧桑的风骨。眉峰微蹙垂目凝神，仿佛正于幽林静悟禅机，沉静淡然的禅意溢于眉眼之间。衣褶线条随体态利落转折，纱罗布料的垂坠轻薄之感呼之欲出，将静坐的松弛动态尽显。旁侧挺劲棕榈与层叠奇石，以淡墨轻擦晕染，寥寥数笔铺陈出空山幽寂的林下氛围。整幅以白描立骨，不施浓艳敷色，尽显素雅古拙的韵致，将禅家内敛沉静的气度融于笔墨，尽显清雅文人意趣。",[23,7,24,241,260,259,106,430,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b0cb0ff09215be2d518fb581eea61d.jpg",[44],{"id":20775,"slug":20776,"title":20777,"dynasty":99,"author":443,"museum":364,"description":20778,"tags":20779,"thumbUrl":20780,"material":139,"size":139,"collection":139,"collections":20781,"showCount":20730,"zanCount":48,"manualWeight":48,"mainColor":94},228761,"shi-er-yue-hua-hui-tu-quan-juan-xu-wei-228761","十二月花卉图全卷","此作用笔纵逸狂放，以水墨晕染替代敷色，浓淡干湿间尽显花卉神韵。牡丹苍润饱满，墨色浓沉见雍容；蜀葵疏朗清劲，淡墨勾勒存清雅，水草兰叶信笔挥洒，野趣横生。\n\n诗画相生相伴，题诗与笔墨意境交融，将文人的疏放心性寄寓于一花一草之中，脱略形似而独尚神韵，以极简的水墨语言写尽花木风骨情态，尽显大写意花鸟的淋漓意趣，是笔墨性情与文人情思完美合一的典范。",[23,7,24,25,173,83,327,450,452,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4e8f11f67d43edc105e9c7369bf569.jpg",[],{"id":20783,"slug":20784,"title":20785,"dynasty":18,"author":2824,"museum":364,"description":20786,"tags":20787,"thumbUrl":20788,"material":139,"size":139,"collection":139,"collections":20789,"showCount":20730,"zanCount":48,"manualWeight":48,"mainColor":49},227735,"xia-hui-pian-fang-tu-ye-lu-zong-gui-227735","夏卉骈芳图页","《鹅图》是南宋鲁宗贵创作的绢本设色画。\n《鹅图》描绘一只母鹅，背上驼着两只雏鹅在水中游戏，其中一只雏鹅曲颈望着水面，另一只则似乎和母鹅述说着什么，母鹅扭转过头来爱抚地倾听，表现出母鹅和雏鹅之间有似慈母和娇子之间的母子亲情。\n图中绘有大白鹅一只，背负两只雏鹅在水面上浮游，其中一只雏鹅在母鹅右侧颈后，低头引颈望水中，另一只雏鹅在母鹅左侧，抬头向天呜叫，鹅妈妈欣喜扭转过头来，似作侧耳细细倾听小仔的歌声。\n画面颇为情趣，给人以一种温馨善良的感觉。\n作者在构图上颇有新意，无任何背景作陪衬，河水以浅墨一抹而过，起到衬托作用，突出其主题。\n作者捕捉到这种母鹅背负雏鹅的情节，在一般画鹅的作品中不乏多见。\n在布局上取近景，以特写的镜头，将主体突出在画面的居中位置，为了说明母鹅带着雏鹅在水中游戏，一是鹅身前方的匦面留空多；二是母鹅的腿向后伸，虽没有画出水波纹，但这二点足以看出运动的鹅体具有向前浮游的动感。\n另外，采取色差变化来塑造母鹅与仔鹅的形体，以周围的浅灰色烘托出母鹅的洁白，又以墨笔勾勒及黑色晕染出母鹅背上栖卧的两只雏鹅。\n一般来说雏鹅的毛羽是鹅黄色的，但作者采用了与实体自然色相差甚远的黑色，这也是作者的又一新意。\n全图以染为主，仅在嘴、脚及羽毛部略以淡线勾勒，其羽毛形态隐约见真。\n整个图的艺术语言凝重简练，形态栩栩如生，画意情趣生动，意味绵绵。\n鲁宗贵，生卒年未详。\n南宋画家。\n室名筠斋，钱塘(今浙江杭州)人。\n理宗绍定时(1228一12)为画院待诏，出人杨驸马家。\n工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。\n尤长于写生，鸡雏乳鸭，甚有生意。\n画迹有《金葵翠羽》、《竹枝山鹧》、《梨花白燕》等图，著录于《绘事备考》。\n传世作品有《春韶鸣喜图》、《夏卉骈芳图》册页。",[209,7,24,81,1562,28,27,83,84,1135,450,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271a4d7d9c178ff1ca01282a323a7b3e.jpg",[],{"id":20791,"slug":20792,"title":9508,"dynasty":76,"author":850,"museum":206,"description":20793,"tags":20794,"thumbUrl":20795,"material":40,"size":20796,"collection":90,"collections":20797,"showCount":20730,"zanCount":48,"manualWeight":48,"mainColor":94},222755,"ba-jun-tu-lang-shi-ning-222755","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,209,7,24,28,27,150,1532,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e92b33c9ffa5dd5113ef3c90fe3aac.jpg","139.3公分，横：80.2公分",[90,45],{"id":20799,"slug":20800,"title":20801,"dynasty":76,"author":5208,"museum":78,"description":20802,"tags":20803,"thumbUrl":20804,"material":10855,"size":20805,"collection":181,"collections":20806,"showCount":20730,"zanCount":5,"manualWeight":48,"mainColor":94},222611,"shan-shui-ba-jing-ce-gong-xian-222611","山水八景册","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,7,173,177,81,29,1015,920,37,3715,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916def8a20ec4b554a2eb8de0cf5329f.jpg","纵24.4 厘米 横49.7 厘米",[181,163],{"id":20808,"slug":20809,"title":20810,"dynasty":99,"author":19417,"museum":56,"description":20811,"tags":20812,"thumbUrl":20813,"material":619,"size":20814,"collection":181,"collections":20815,"showCount":20730,"zanCount":48,"manualWeight":48,"mainColor":49},222466,"lan-ting-xu-quan-juan-zhu-yun-ming-222466","兰亭序全卷","本卷为祝允明行书《兰亭序》全文与文徵明为之补图的书画合璧作品。祝氏书法宽博雄放，尤具自家风神。文氏补图画王羲之等人兰亭修契之事，设色雅丽，笔墨娴熟\n此本《兰亭序》即是二人追求隐逸自由的代表画作，也是二人友谊的见证。",[23,209,7,24,25,178,173,27,227,86,29,34,175,108,109,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495121fe18a1376a9191624843f67a1.jpg","26.7x146厘米",[181,45],{"id":20817,"slug":20818,"title":20819,"dynasty":99,"author":1480,"museum":20,"description":5251,"tags":20820,"thumbUrl":20821,"material":20,"size":5254,"collection":44,"collections":20822,"showCount":20730,"zanCount":48,"manualWeight":48,"mainColor":94},222350,"wang-shu-gong-ji-tu-tang-yin-222350","王蜀宫妓图",[23,7,24,241,28,27,106,59,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185c945ec24f42176232f09a48815d.jpg",[44,45],{"id":20824,"slug":20825,"title":20826,"dynasty":18,"author":553,"museum":364,"description":5478,"tags":20827,"thumbUrl":20828,"material":27,"size":20829,"collection":42,"collections":20830,"showCount":20730,"zanCount":5,"manualWeight":48,"mainColor":49},221431,"qiu-yi-tu-li-shan-fan-kuan-221431","秋意图立軕",[23,7,24,241,27,29,177,176,34,109,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3263c8c2537dc9bc31283a3c58aea08c.jpg","50.8x36.5",[42,181,45],{"id":20832,"slug":20833,"title":20834,"dynasty":18,"author":781,"museum":20,"description":20835,"tags":20836,"thumbUrl":20837,"material":67,"size":20838,"collection":42,"collections":20839,"showCount":20730,"zanCount":5,"manualWeight":48,"mainColor":49},221397,"lin-wei-yan-mu-fang-tu-juan-quan-juan-li-gong-lin-221397","临韦偃牧放图卷全卷","这是一幅宋朝画家李公麟临摹唐朝画家韦偃的作品。画幅为长卷形式，从右自左展开。在高低不平的土坡和广阔的平原间，牧者驱赶着大群马匹蜂拥而来，马嘶人叫，热闹异常。画面中段以后，马群逐渐散开成组各自活动，有的低头觅食，有的追赶嬉闹，有的奔跑，有的就地翻滚，还有几匹马走向远处的小河去饮水。众多的马匹姿态各异，生动自然。放马的牧人，有的骑在马上，有的穿戴较为整齐，有的则敞胸露怀赤足，在树荫里休息的牧人为契丹族，其中似乎还有等级的差别。整个画面的构图，前半部拥塞、紧张，后半部疏散、松弛，富于节奏感。\n全图共画了人一百四十余口、马一千二百多匹，可谓洋洋大观。\n画中的马匹和人物均用墨线勾勒，线条挺拔有力，色泽较浓重，坡石墨色稍淡，略有皴擦，再用赭石色渲染，加强了画面的气氛。构图和笔墨的变化。使整个作品主次分明、生动活泼，避免了呆板、重复和混乱。如此庞大的构图，若没有长时间的经营和缜密的运思，即使是临摹，也是难以设想的。\n李公麟的大部分绘画作品是画在纸上的，并不施色彩，“惟临摹古画，用绢素着色”（元·汤垕《画鉴》）。这件作品为临摹本，用绢素作画并施淡彩，与画史的记载完全吻合。唐朝画家韦偃已无可靠的作品存世，通过李公麟的这个摹本，也可以领略其绘画的风采。",[23,209,7,24,25,105,260,150,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407cbff0db594e50f3614e4d2025047.jpg","纵46.2厘米，横429.8厘米。",[42,44,163],{"id":20841,"slug":20842,"title":20843,"dynasty":18,"author":2007,"museum":20,"description":20844,"tags":20845,"thumbUrl":20846,"material":40,"size":20847,"collection":90,"collections":20848,"showCount":20730,"zanCount":48,"manualWeight":48,"mainColor":49},221185,"ju-lv-tu-ma-lin-221185","橘绿图","图中橘子由绿转黄，满压枝头。\n画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。\n橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。\n虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。",[23,7,209,24,1562,28,27,83,6143,1003,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb517af2b4a5bcb26aab4781737446347.jpg","纵2cm，横2.5cm",[90,45],{"id":20850,"slug":20851,"title":20852,"dynasty":189,"author":2519,"museum":20,"description":20853,"tags":20854,"thumbUrl":20855,"material":803,"size":20856,"collection":382,"collections":20857,"showCount":20730,"zanCount":1547,"manualWeight":48,"mainColor":94},220825,"wan-shou-qu-juan-zhao-meng-fu-220825","万寿曲卷","赵孟頫晚年主要在集贤、翰林二院任职，撰写过不少应诏、应制的诗文。此卷是其抄录在皇庆年间官集贤侍读学士时“应制”而作的乐府颂词，也是现存赵孟頫唯一署“臣”字款的作品。卷中书写一丝不苟，结构端严精谨，字势挺拔刚健，笔法精美且富于变化，属于赵书从中晚年风格向极晚年风格过渡的一件佳作。\n译文:闾阖初开。正苍苍曙色，天上春回。绛帻鸡人时报，禁漏频催。九奏钧天帝乐，御香惹，千官环珮。鸣鞘静，嵩岳三呼万岁，声震如雷。殊方异域尽来。满彤廷贡珍，皇化无外。日绕龙颜，云近绛阙蓬莱。四海欢欣鼓舞，圣德过，唐虞三代。年年宴，王母瑶池，紫霞长进琼杯。\n春满皇州。见祥烟拥日，初照龙楼。宫花苑柳，映仙仗云移，金鼎香浮。宝光生玉斧，听鸣凤，箫韶乐奏。德与和气游。天生圣人，千载希有。祥瑞电绕虹流。有云成五色，芝生三秀。四海泰平，致民物雍熙，朝野歌讴。千官齐拜舞，玉杯进，长生酒春（二字倒写）。愿皇庆万年，天子与天同寿。\n天上春风（此字点去）来。正阳和布泽，斗柄初回。一朵祥云捧日，万象生辉。帝德光昭四表，玉帛尽，梯航来会。彤廷敞，花覆千官，紫霄鹓鹭裵佪。仁风徧满九垓。望霓旌缓引，宝扇徐开。喜动龙颜，和气蔼然交泰。九奏箫韶舜乐，兽尊举，麒麟香叆。从今数，亿万斯年，圣主福如天大。\n瑞日当天。对绛阙蓬莱，非雾非烟。翠光覆禁苑，正淑景和（此字点去）芳妍。彩仗和风细转，御香飘满黄金殿。喜万国会朝，千官拜舞，亿兆同欢。福祉如山如川。应玉渚流虹，璇枢飞电。八音奏舜韶，庆玉烛调元。岁岁龙舆凤辇，九重春醉蟠桃宴。天下太平，祝吾皇，寿与天地齐年。臣孟頫。",[23,209,7,24,25,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37efe029da300c60a044e81cd8a85eee.jpg","27.5*144cm",[382],{"id":20859,"slug":20860,"title":20861,"dynasty":99,"author":170,"museum":1806,"description":1807,"tags":20862,"thumbUrl":20864,"material":803,"size":1810,"collection":139,"collections":20865,"showCount":20730,"zanCount":5,"manualWeight":48,"mainColor":94},220025,"dong-zhuang-tu-ce-zhi-he-dong-shen-zhou-220025","东庄图册之鹤洞",[23,7,24,81,173,177,29,60,20863,109,34,176,3715,1064],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae2436dfdae7b3a2935aef740291ff1.jpg",[],{"id":20867,"slug":20868,"title":20869,"dynasty":99,"author":170,"museum":1806,"description":1807,"tags":20870,"thumbUrl":20872,"material":88,"size":1810,"collection":139,"collections":20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厘米 横21.5 厘米",[90],{"id":20900,"slug":20901,"title":20902,"dynasty":76,"author":11861,"museum":206,"description":20903,"tags":20904,"thumbUrl":20905,"material":123,"size":20906,"collection":90,"collections":20907,"showCount":20730,"zanCount":1270,"manualWeight":48,"mainColor":94},219455,"tian-zhong-jia-hui-chen-shu-219455","天中佳卉","山石层叠，青绿晕染间见苍劲肌理，墨线勾勒出嶙峋之态；旁侧花枝扶疏，红英灼灼若焰，粉瓣轻舒似云，橙黄花朵衬着修长叶片，清雅动人。笔墨兼工带写，设色明丽却不失蕴藉，将草木的生机与石的沉稳相融，尽显初夏时节的盎然意趣。仿佛微风拂过，花香浮动，叶片轻颤，于静谧中藏着灵动，是一幅雅致动人的案头清供佳制，尽显文人画的秀逸之韵。",[7,27,28,173,83,241,245,84,225,176,1135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541bb4ac861feedf8baad632d78276d4.jpg","115.8x46.1",[90],{"id":20909,"slug":20910,"title":20911,"dynasty":18,"author":20912,"museum":78,"description":20913,"tags":20914,"thumbUrl":20915,"material":381,"size":20916,"collection":181,"collections":20917,"showCount":20730,"zanCount":1356,"manualWeight":48,"mainColor":49},218400,"du-fu-shi-yi-tu-zhao-kui-218400","杜甫诗意图","赵葵","此图为唐代诗人杜甫“竹深留客处，荷净纳凉时”佳句为题，描绘的是一片竹林景色。图中丛草茂密，绿竹幽深，连绵万顷，层层叠翠，尤以竹林深处，一条蜿蜒小路上，有二人策驴缓行，显然是欲溯溪而上，至一塘绿水处，荷叶飘香，临流水阁数间，令人畅想，不免有流连忘返之意，若能高卧闲居，听竹闻香，自然就可以荣辱皆忘，陶然忘机。所谓一心，就是这个状态，无关乎身家性命，但求此心真诚无二，为将者保家卫国，为画者怡情自乐，君子无为而无不为，皆能不出其位，用现在的话说，就是干一行，爱一行，少些杂念，自然可以有所成就。岳飞曾说，文官不爱钱，武官不惜命。其实也是这个道理。故人若能一心不乱，大可以报效国家于危难之际，小可以洁身自好于巷陌之间。",[23,7,25,173,177,242,108,109,175,176,34,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵74.7厘米，横 212.2厘米",[181],{"id":20919,"slug":20920,"title":19827,"dynasty":189,"author":20921,"museum":20,"description":20922,"tags":20923,"thumbUrl":20924,"material":342,"size":20925,"collection":181,"collections":20926,"showCount":20730,"zanCount":1270,"manualWeight":48,"mainColor":271},218304,"jiang-shan-xue-ji-tu-wu-jin-218304","吴瑾","寒江雪霁，天地归于素净。孤峰列峙，覆雪的岩壁透着冷峭；疏林枯木，枝桠苍劲如铁，似在寒风中守着一份清寂。江面上薄雾轻笼，一叶扁舟漾开微澜，舟中隐见人影，独对这空阔山水。笔墨淡润，山石以简皴晕染，留白处尽现雪的洁净；树木勾勒简练却含古意，每一笔都藏着文人的疏阔心境。整幅画无喧嚣，唯有静谧漫溢——雪落的轻响、江风的微痕，都凝在这方天地里，将冬日的清寒与悠远，酿成一杯可饮的孤寂，又透着几分超脱尘俗的淡然。",[7,209,24,173,177,1397,864,2124,430,174,7741,650,2502,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc709be6367a49457c47bb2faa4ff5bf3.jpg","30x58.3cm",[181],{"id":20928,"slug":20929,"title":20930,"dynasty":99,"author":1480,"museum":364,"description":20931,"tags":20932,"thumbUrl":20933,"material":88,"size":20934,"collection":44,"collections":20935,"showCount":20730,"zanCount":5,"manualWeight":48,"mainColor":94},215040,"shi-cai-zi-tu-tang-yin-215040","十才子图","此卷是唐伯虎的虚构作品，后记说是宋徽宗赵佶临摹的，并说赵佶与吴宽一起南下。 吴宽死于1504年，而正德十年是1515年，吴宽已死了十一年，所以此画只能是赝品，但画技中上，可以作为参考。",[23,7,24,25,28,27,106,175,29,34,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7c8a37613f6aa905d740483ae67edd.jpg","31.5x123.5",[44],{"id":20937,"slug":20938,"title":20939,"dynasty":76,"author":707,"museum":206,"description":708,"tags":20940,"thumbUrl":20941,"material":88,"size":139,"collection":139,"collections":20942,"showCount":20730,"zanCount":5,"manualWeight":48,"mainColor":94},214854,"xie-sheng-ce-10-hua-yan-214854","写生册-10",[209,7,24,81,27,446,956,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c22dd57e8312db10b0da18f4b21fb8c.jpg",[],{"id":20944,"slug":20945,"title":1692,"dynasty":76,"author":15347,"museum":56,"description":20946,"tags":20947,"thumbUrl":20948,"material":88,"size":20949,"collection":181,"collections":20950,"showCount":20730,"zanCount":5,"manualWeight":48,"mainColor":94},214692,"shan-shui-tu-cha-shi-biao-214692","这是查士标罕见的无骨山水之一，远处的云和山融合在一起，近处的几个泥滩，阴影中的柳树和丝带垂下；两个人和一头驴为这一场景增色不少。查士标，字尔瞻，清初画家，与孙逸、汪无端、僧弘仁等书画家一起被称为“新安四家”。",[23,7,29,173,177,178,1532,31,33,106,151,34,174,491,10416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc953330b3b38786d8ac4d32756933080.jpg","90.1x36.7",[181],{"id":20952,"slug":20953,"title":20954,"dynasty":76,"author":707,"museum":752,"description":1872,"tags":20955,"thumbUrl":20956,"material":803,"size":1875,"collection":139,"collections":20957,"showCount":20730,"zanCount":48,"manualWeight":48,"mainColor":49},214349,"san-jue-shan-shui-ce-8-hua-yan-214349","三绝山水册-8",[23,7,173,27,177,81,29,175,108,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ff06b8f3beab62344a0d21f610c76c.jpg",[],{"id":20959,"slug":20960,"title":20961,"dynasty":76,"author":4005,"museum":364,"description":20962,"tags":20963,"thumbUrl":20964,"material":743,"size":744,"collection":139,"collections":20965,"showCount":20966,"zanCount":48,"manualWeight":48,"mainColor":94},288092,"yuan-ben-qing-ming-shang-he-tu-chen-mei-288092","院本清明上河图","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[7,104,25,28,27,107,175,1575,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3f7497bacbc0ee63d999b8bc543f10.jpg",[],91,{"id":20968,"slug":20969,"title":20970,"dynasty":18,"author":645,"museum":364,"description":20971,"tags":20972,"thumbUrl":20973,"material":743,"size":744,"collection":139,"collections":20974,"showCount":20966,"zanCount":5,"manualWeight":48,"mainColor":49},287574,"qiao-song-ping-yuan-tu-guo-xi-287574","乔松平远图","此图绘近处陂陀之上苍松二株，主干遒劲，枝丫奇出。树下坡岩交叠．石间山泉流缓，似有潺潺而动的音韵之声，远山连绵起伏，幻于迷蒙之中。",[7,209,173,29,449,176,491,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9775c3c716c1040beb11e08a7bdc34.jpg",[],{"id":20976,"slug":20977,"title":20978,"dynasty":189,"author":2471,"museum":364,"description":20979,"tags":20980,"thumbUrl":20981,"material":743,"size":744,"collection":139,"collections":20982,"showCount":20966,"zanCount":5,"manualWeight":48,"mainColor":94},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,7,24,25,173,177,178,227,86,29,449,448,174,106,34,109,245,175,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],{"id":20984,"slug":20985,"title":20986,"dynasty":76,"author":2725,"museum":20,"description":20987,"tags":20988,"thumbUrl":20989,"material":990,"size":139,"collection":90,"collections":20990,"showCount":20966,"zanCount":1547,"manualWeight":48,"mainColor":94},237172,"hua-niao-kun-chong-ce-zhou-quan-237172","花鸟昆虫册","沈铨 （1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[7,209,24,81,28,27,83,327,712,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fed9927c9cb8158097d1385b7448f6.jpg",[90,45],{"id":20992,"slug":20993,"title":20994,"dynasty":76,"author":4199,"museum":364,"description":12591,"tags":20995,"thumbUrl":20997,"material":743,"size":744,"collection":139,"collections":20998,"showCount":20966,"zanCount":1547,"manualWeight":48,"mainColor":94},237154,"xu-gu-fo-shou-pi-pa-zhou-xu-gu-237154","虚谷佛手枇杷轴",[7,24,241,27,173,83,20996,1278,227],"佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c22a161fdeda5bce69030c4501bc0a0.jpg",[],{"id":21000,"slug":21001,"title":4983,"dynasty":76,"author":4199,"museum":364,"description":16199,"tags":21002,"thumbUrl":21003,"material":139,"size":139,"collection":90,"collections":21004,"showCount":20966,"zanCount":48,"manualWeight":48,"mainColor":94},236536,"ju-hua-zhou-xu-gu-236536",[7,24,241,173,27,83,453,446,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b132bc15cc8d2b8bf8215263d9b1c17.jpg",[90,163],{"id":21006,"slug":21007,"title":21008,"dynasty":76,"author":10376,"museum":364,"description":21009,"tags":21010,"thumbUrl":21011,"material":139,"size":139,"collection":181,"collections":21012,"showCount":20966,"zanCount":48,"manualWeight":48,"mainColor":94},235778,"ming-xian-ji-jin-ce-fang-guan-tong-shan-shui-ye-wang-hui-235778","名贤集锦册-仿关仝山水页","此作用笔追摹北派山水意趣，危峰崚嶒拔地而起，以硬朗繁复的皴法刻画岩壁肌理，将山石的苍劲厚重尽数铺展。山间古木虬曲错落，枝叶攒簇尽显苍郁生机。山坳处山居隐现，为雄奇冷峭的山水晕开一缕悠然烟火气，留白的溪山道途让画面疏密有致，暗合虚实相生之理。\n\n画作师法关仝却自存灵秀，把北宗山水的雄浑刚劲与南宗笔墨的秀润雅致相融，笔力苍劲不失隽秀，整幅画面静穆悠远，尽显林泉高致的文人雅趣，是师古而化的精妙之作。",[7,173,177,105,81,29,864,430,35,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4175456b66ebb696d2bb21cd59305c.jpg",[181],{"id":21014,"slug":21015,"title":21016,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":21017,"thumbUrl":21018,"material":743,"size":744,"collection":139,"collections":21019,"showCount":20966,"zanCount":5,"manualWeight":48,"mainColor":94},235635,"bai-lian-tu-zhou-wu-chang-shuo-235635","白莲图轴",[7,24,241,173,27,83,243,137,226,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c0df205ec2ce42c42492c16896f1a8.jpg",[],{"id":21021,"slug":21022,"title":21023,"dynasty":99,"author":443,"museum":20,"description":21024,"tags":21025,"thumbUrl":21026,"material":803,"size":21027,"collection":139,"collections":21028,"showCount":20966,"zanCount":5,"manualWeight":48,"mainColor":94},233727,"mo-hua-juan-xu-wei-233727","墨花卷","本幅水墨花卉十六段，其顺序是：牡丹、梅花、竹石、玉簪、绣球、萱草、荷花、石榴、芙蓉、秋海棠、菊花、秋葵、双勾竹、水仙、茶花、梅花每段自题七绝一首。末端自题诗。款：“万历五年重九为从子十郎君戏作于木瓜桥之花园馆，金晶山人”印“文长”“两溟渔鸣”白方。引首自书“识得东风”后幅吴俊卿题记。",[7,24,25,173,446,86,178,227,448,452,242,453,243,84,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],{"id":21030,"slug":21031,"title":21032,"dynasty":54,"author":21033,"museum":364,"description":21034,"tags":21035,"thumbUrl":21036,"material":139,"size":139,"collection":139,"collections":21037,"showCount":20966,"zanCount":1547,"manualWeight":48,"mainColor":49},232623,"wan-song-qiu-lin-tu-quan-juan-zhang-zao-232623","万松秋林图全卷","张璪","论画山水树石》中说到“山水之变，始于吴，成于二李”之后，紧接着便说“树石之状，妙于韦偃，穷于张通(张璪)”。在唐人心目中，张璪的画还是高于王维等人的。张璪作画喜用紫毫秃笔，属于吴道子型激情一派画家，他往往秃笔抹写，画至得意处，忘乎所已。干脆以手醮色，挥涂起来，久而久之，形成习惯，乃至于发展为王默的“脚蹙手抹”。后世的指画当受其影响。\n张璪的山水画另一大特色就是以墨为主，不贵五彩。荆浩《笔法记》云“张藻员外树石，气韵俱盛，笔墨积微，真思卓然，不贵五彩，旷古绝今，未之有也。”这种“不贵五彩”、“笔墨积微”水墨画法在绘画技法上是一个极大的突破。",[23,209,7,24,25,173,27,177,29,449,3953,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c33524bed7f62604513b963bc367865.jpg",[],{"id":21039,"slug":21040,"title":21041,"dynasty":76,"author":1109,"museum":364,"description":21042,"tags":21043,"thumbUrl":21044,"material":139,"size":139,"collection":139,"collections":21045,"showCount":20966,"zanCount":5,"manualWeight":48,"mainColor":94},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[7,24,25,27,29,177,178,227,86,279,174,281,107,108,109,175,34,176,37,13850,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],{"id":21047,"slug":21048,"title":2552,"dynasty":76,"author":953,"museum":20,"description":11158,"tags":21049,"thumbUrl":21050,"material":21051,"size":11161,"collection":90,"collections":21052,"showCount":20966,"zanCount":5,"manualWeight":48,"mainColor":94},223238,"he-hua-yuan-ya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，同时也充分体现了当时人民生活的现状。画中表现了一位医生正在给病人针灸，画面上的人物表情各异，栩栩如生，表现出画家对生活的细致观察和体验，也体现了画家的一种人文主义关怀，表达了作者对当时下层劳动人民的同情。这幅《炙艾图》既是一幅古代绘画珍品，也是传统艾灸治病的真实写照，为我们了解宋代中医灸法治病提供了宝贵而形象的资料。",[23,209,7,24,28,27,106,1015,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb7dc93dedae7fb05e015e0366dc9fc.jpg","纵68．8厘米，横58．7厘米",[42,44,45],{"id":21082,"slug":21083,"title":21084,"dynasty":18,"author":1650,"museum":206,"description":21085,"tags":21086,"thumbUrl":21087,"material":665,"size":21088,"collection":42,"collections":21089,"showCount":20966,"zanCount":48,"manualWeight":48,"mainColor":49},221514,"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[23,7,24,241,27,104,28,29,107,106,1575,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[42,181,163],{"id":21091,"slug":21092,"title":21093,"dynasty":54,"author":11106,"museum":20,"description":21094,"tags":21095,"thumbUrl":21096,"material":67,"size":21097,"collection":181,"collections":21098,"showCount":20966,"zanCount":48,"manualWeight":48,"mainColor":49},221092,"peng-lai-fei-xue-tu-ye-yang-sheng-221092","蓬莱飞雪图页","《杨升蓬莱飞雪图》是元代诗人柯九思创作的一首七言绝句。\n仙山一夕遍琼瑶，万木森森长玉苗。\n处处楼台相掩映，素娥白鹤正逍遥。\n柯九思： 元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[23,7,24,81,27,28,29,107,108,430,2124,106,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[181,45],{"id":21100,"slug":21101,"title":21102,"dynasty":1095,"author":4791,"museum":4792,"description":21103,"tags":21104,"thumbUrl":21105,"material":139,"size":139,"collection":139,"collections":21106,"showCount":20966,"zanCount":48,"manualWeight":48,"mainColor":94},220530,"shuang-mao-xu-bei-hong-220530","双猫","幽蓝繁枝澹叶垂落，晕开清寂雅致的底色。两只狸奴静踞石上，一醒一眠相映成趣。左侧玄纹花猫抬眸平视，蓬松绒毛以淡墨晕染留白，将软绒质感描摹入微，神情警觉又暗含温驯灵动。右侧花斑小猫蜷身假寐，柔润笔触晕出慵懒憨态。\n\n下方顽石以泼墨写意而成，枯涩苍劲的笔墨衬出朴拙厚重，与猫的柔润形成鲜明刚柔对照。整幅画作融中西技法，以写实造型捕捉生灵鲜活意态，又以文人水墨营造幽澹氛围，将闲庭猫趣定格纸面，尽显悠然松弛的闲适意韵。",[23,209,7,24,241,173,27,446,956,430,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12e40cf83c19d7df05c2ff1a576a69e.jpg",[],{"id":21108,"slug":21109,"title":21110,"dynasty":99,"author":21111,"museum":238,"description":21112,"tags":21113,"thumbUrl":21114,"material":123,"size":21115,"collection":44,"collections":21116,"showCount":20966,"zanCount":1356,"manualWeight":48,"mainColor":49},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,7,24,25,29,27,177,106,108,109,174,1351,107,34,176,7646,920,37,11886,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[44,45],{"id":21118,"slug":21119,"title":21120,"dynasty":76,"author":1109,"museum":364,"description":21121,"tags":21122,"thumbUrl":21123,"material":88,"size":20294,"collection":181,"collections":21124,"showCount":20966,"zanCount":1547,"manualWeight":48,"mainColor":94},220124,"cai-shi-tu-zhou-shi-tao-220124","采石图轴","石涛(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,7,24,241,173,27,29,245,1575,503,37,491,175,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg",[181],{"id":21126,"slug":21127,"title":21128,"dynasty":99,"author":1996,"museum":20,"description":21129,"tags":21130,"thumbUrl":21131,"material":342,"size":21132,"collection":181,"collections":21133,"showCount":20966,"zanCount":1547,"manualWeight":48,"mainColor":94},220110,"mo-bi-shan-shui-tu-chen-chun-220110","墨笔山水图","陈氏以写意花卉享誉画坛，与徐谓并称“青藤白阳”，传世山水作品并不多见，此作显示出他在山水画方面别有一番造诣。图中近景绘平坡古树，树下一人翘首远眺，远景高岩耸立，秀木成林，烟云缭绕，掩映着溪流的尽头。画家用笔写意韵味很浓，笔迹放纵老到，淋漓疏爽，细看似乎笔笔皆不经意，纵览全幅却是结构严密，墨色轻重有别，虚实得当。画面中清雅空幽、萧散闲逸的意境流露出来自文氏门下的师承传统。",[23,7,24,241,173,177,29,430,1575,108,109,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7c7f71b3d4294315661e3a9f670632.jpg","纵107.8厘米，横67.8厘米",[181,163],{"id":21135,"slug":21136,"title":21137,"dynasty":76,"author":9242,"museum":20,"description":21138,"tags":21139,"thumbUrl":21140,"material":123,"size":21141,"collection":90,"collections":21142,"showCount":20966,"zanCount":5,"manualWeight":48,"mainColor":94},219221,"duan-yang-jing-tu-yu-zhi-219221","端阳景图","本图借助对动植物的描绘来体现端阳时节大地回暖的场景。在日丽水暖的郊外，牡丹花、野菊花等植物竞相绽放，青蛙、蟾蜍和蜻蜓等植物在春光中跳跃、飞翔，一派生机盎然的欢悦景象。此图是作者任职宫廷之后所作，线条工细、匀整、流畅，设色淡雅富丽并充满装饰性。动植物造型精确且充满生趣，显示出作者较强的写实手法。",[23,7,28,27,83,84,1064,10304,800,957,712,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee229c4c1e5619fb234c345e8e4f6d14.jpg","纵137.3厘米，横68.8厘米",[90],{"id":21144,"slug":21145,"title":21146,"dynasty":18,"author":474,"museum":1806,"description":21147,"tags":21148,"thumbUrl":21149,"material":88,"size":21150,"collection":90,"collections":21151,"showCount":20966,"zanCount":1547,"manualWeight":48,"mainColor":49},219085,"qu-yu-tu-zhao-ji-219085","鸜鹆图","枯松虬枝如铁，松针细劲如丝，三只鸜鹆各呈姿态——枝上者振翅欲起，喙微张似唤侣；空中双鸟俯冲而下，羽翼翻飞间尽显灵动。鸟羽的绒质感与松皮的粗糙纹理形成鲜明对比，笔致工细却不失生趣。旁侧瘦金书题跋笔锋挺劲，与画面的苍劲灵动相映成趣，加之错落的朱印，更添古朴雅致。整幅画作将写实工笔与文人意趣融于一体，动静相宜，形神兼备，尽显宋代院体画的精妙与雅致。",[7,209,24,28,83,281,1575,10154,173,27,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5e3b05c779fc2ee02230a1b9ba12cd.jpg","纵88.2横52厘米",[90],{"id":21153,"slug":21154,"title":21155,"dynasty":18,"author":21156,"museum":206,"description":21157,"tags":21158,"thumbUrl":21159,"material":123,"size":21160,"collection":181,"collections":21161,"showCount":20966,"zanCount":1270,"manualWeight":48,"mainColor":49},218533,"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[7,24,241,27,177,178,86,29,107,34,176,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[181,42],{"id":21163,"slug":21164,"title":11230,"dynasty":189,"author":8176,"museum":3537,"description":21165,"tags":21166,"thumbUrl":21167,"material":342,"size":15918,"collection":181,"collections":21168,"showCount":20966,"zanCount":5,"manualWeight":48,"mainColor":49},217908,"yun-shan-tu-gao-ke-gong-217908","云山图是元朝时期画家高克恭的代表作之一。它是一幅山水画，以精细的笔墨和色彩表现出美丽的山水风光。画中的山川曲折，云雾缭绕，景色壮美。高克恭在画中运用了多种技法，包括透视法、深浅对比和色彩叠加，使得画面栩栩如生，充满了立体感。\n\n高克恭的云山图吸引了众多观众的目光，因为它不仅展现了美丽的山水风光，还展现了元朝时期画家对自然的深刻观察和对细节的精确捕捉。同时，云山图还蕴含着对中国传统文化的热爱和尊重。画中的山水景观被渲染得如此逼真，令人流连忘返。高克恭的云山图是中国传统山水画的精品，值得欣赏和珍藏。",[7,173,177,29,1329,430,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89c75652c5efc54f87590867c62f5b03.jpg",[181],{"id":21170,"slug":21171,"title":21172,"dynasty":54,"author":293,"museum":3627,"description":21173,"tags":21174,"thumbUrl":21176,"material":3631,"size":139,"collection":139,"collections":21177,"showCount":20966,"zanCount":48,"manualWeight":48,"mainColor":49},217287,"jiang-mo-bian-dun-huang-tu-juan-3-yi-ming-217287","降魔变·敦煌图卷-3","树影婆娑间，故事徐徐铺展。墨线勾勒的衣袂翻飞里，左侧人群神色各异——或凝神静听，或交头接耳，衣袍的赭黄与青绿晕染出人间烟火气。\n\n帐幔轻垂，裹着一室虔诚：帐内人物或合十默祷，或低语交谈，虬髯者的粗犷与稚童的灵动相映成趣。旁侧大象纹饰古雅，背上的图案似藏玄机，卧于茵席间，添了几分神圣静谧。\n\n右侧僧众团坐，赭红衣袂与墨色僧袍交织，光头的圆润衬着肃穆神情，仿佛法音正缓缓流转。他们或指或听，姿态各异却皆凝向中心，将叙事的焦点引向那份庄严。\n\n淡彩晕染的纸页上，线条如行云流水，把宗教的神圣与人间的鲜活揉作一处。每一笔都藏着敦煌艺术的古朴韵致，让千年前的故事，在今日仍能触到那份温热的虔诚与生动。",[209,7,24,25,27,28,259,106,2340,11351,210,34,1862,16881,21175,502],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78417d9a75ae607f87c5184762deb39.jpg",[],{"id":21179,"slug":21180,"title":21181,"dynasty":189,"author":293,"museum":206,"description":21182,"tags":21183,"thumbUrl":21184,"material":123,"size":21185,"collection":90,"collections":21186,"showCount":20966,"zanCount":48,"manualWeight":48,"mainColor":94},215139,"bing-tao-han-xiao-tu-yi-ming-215139","饼桃含笑图","绢色温润如陈年素笺，托出一枝含笑与饼桃。墨笔勾枝，线条老劲却藏柔意，枝桠间，含笑花瓣轻展，白瓣晕浅粉，似含未语的羞涩；饼桃圆润饱满，裹着淡润光泽，透着朴拙生机。叶片以淡墨晕染，脉络细腻，与枝干苍劲相映成趣。几方朱印点缀，红韵与素色交织，更显古雅。画中无喧嚣，唯有花木静美：含笑的含蓄、饼桃的憨态，在简淡笔触里凝成清雅意境，仿佛能闻见那缕若有若无的暗香，尽得宋元文人画的幽淡之味，让观者心沉于这份素净的生机里。",[23,7,24,1562,28,27,83,2930,327,2302,1003,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb03408a7f7684830af45e313ff9f410.jpg","22.9x23.6cm",[90],{"id":21188,"slug":21189,"title":21190,"dynasty":189,"author":21191,"museum":78,"description":21192,"tags":21193,"thumbUrl":21194,"material":381,"size":21195,"collection":181,"collections":21196,"showCount":20966,"zanCount":5,"manualWeight":48,"mainColor":49},215037,"teng-wang-ge-tu-san-ye-xia-yong-215037","滕王阁图散页","夏永","此图描绘了唐代洪州（今江西南昌）名胜滕王阁，此楼依山傍水，是登高远眺之佳处，与黄鹤楼、岳阳楼并称“江南三大名楼”，唐代诗人王勃曾作滕王阁序，留下“落霞与孤鹜齐飞，秋水共长天一色”的名句，使此楼垂名后世。",[209,7,24,104,173,107,29,174,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3937fc23fb0df816f2e1017fd0ca690c.jpg","纵25.5厘米 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创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[23,7,173,177,241,29,174,21268,1015,394,176,491,490,34,21269],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],{"id":21273,"slug":21274,"title":21275,"dynasty":18,"author":2007,"museum":364,"description":21276,"tags":21277,"thumbUrl":21278,"material":139,"size":139,"collection":139,"collections":21279,"showCount":21224,"zanCount":48,"manualWeight":48,"mainColor":94},227633,"zuo-kan-yun-qi-tu-wang-wei-shi-yi-ma-lin-227633","坐看云起图-王维诗意","行到水穷处，坐看云起时。",[23,7,209,24,173,27,29,177,176,34,1329,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fc5a4c30410523ad6dec74afa8db56.jpg",[],{"id":21281,"slug":21282,"title":21283,"dynasty":18,"author":3214,"museum":364,"description":21284,"tags":21285,"thumbUrl":21287,"material":139,"size":139,"collection":139,"collections":21288,"showCount":21224,"zanCount":1547,"manualWeight":48,"mainColor":49},227509,"zhuang-jing-shi-nv-tu-su-han-chen-227509","妆靓仕女图","《妆靓仕女图》是宋代画家苏汉臣创作的一幅绢本扇面画。",[23,209,7,24,1562,27,28,106,59,758,452,315,21286,7906],"妆饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e31d25805d2c3d737c9b6538502ea6.jpg",[],{"id":21290,"slug":21291,"title":6861,"dynasty":76,"author":2324,"museum":364,"description":21292,"tags":21293,"thumbUrl":21294,"material":139,"size":139,"collection":139,"collections":21295,"showCount":21224,"zanCount":48,"manualWeight":48,"mainColor":94},224332,"he-hua-tu-zhou-li-shan-224332","这幅作品以书入画，诗墨相融。狂放苍劲的题笔沿边排布，与水墨荷塘相映成趣。荷叶以泼墨晕染，浓淡干湿间尽显酣畅野逸，墨色沉凝处如积雨重碧，浅淡处似晓露初歇。花瓣以淡墨轻勾，含露亭亭，在浓墨荷叶的衬托下愈显清柔雅致。\n笔线纵恣写意，荷梗挺拔舒展，卷叶、莲蓬错落点缀，虚实相生间晕开荷塘清寂又蓬勃的生机。整幅将物象风神与文人意趣交织，以大写意笔法把荷塘逸态与胸中意气相融，尽显疏朗狂逸的格调，是性情与笔墨共生的绝佳范本。",[23,7,24,241,173,446,178,227,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b036304de3bc3acd1b8f63768ad6326.jpg",[],{"id":21297,"slug":21298,"title":21299,"dynasty":76,"author":2405,"museum":56,"description":2406,"tags":21300,"thumbUrl":21303,"material":2414,"size":2415,"collection":139,"collections":21304,"showCount":21224,"zanCount":5,"manualWeight":48,"mainColor":49},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段",[23,209,7,25,27,28,29,280,21301,9465,17710,107,108,109,21302,110,106,120,34,176,117],"村镇","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg",[],{"id":21306,"slug":21307,"title":21308,"dynasty":99,"author":1480,"museum":515,"description":21309,"tags":21310,"thumbUrl":21311,"material":40,"size":21312,"collection":139,"collections":21313,"showCount":21224,"zanCount":1547,"manualWeight":48,"mainColor":49},222344,"song-lin-yang-bian-tu-tang-yin-222344","松林扬鞭图","图绘春雪消融，鲜花盛开的季节，文人逸士策马扬鞭结伴郊游的美好景致。画心左上角有画家自题七言诗一首：“女几山前春雪消，路傍仙杏发柔条。心期此日同游赏，载酒扬鞭过野桥。”署款“唐寅”。钤“南京解元”、“六如居士”二印。",[23,7,173,27,177,241,1575,106,150,176,649,34,900,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41ce84768985f365b4a778ba934bd0d.jpg","145.3cm 横：72.5cm。",[],{"id":21315,"slug":21316,"title":21317,"dynasty":18,"author":1035,"museum":6800,"description":21318,"tags":21319,"thumbUrl":21320,"material":4434,"size":21321,"collection":42,"collections":21322,"showCount":21224,"zanCount":48,"manualWeight":48,"mainColor":49},221459,"mo-long-juan-chen-rong-221459","墨龙卷","此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[23,7,173,25,502,1329,297,446,3198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd432ff264797bbb1461c11c9690c404d.jpg","185.8厘米×106.1厘米",[42,90,163],{"id":21324,"slug":21325,"title":21326,"dynasty":18,"author":10675,"museum":20,"description":21327,"tags":21328,"thumbUrl":21329,"material":40,"size":21330,"collection":42,"collections":21331,"showCount":21224,"zanCount":5,"manualWeight":48,"mainColor":49},221455,"si-yang-tu-chen-ju-zhong-221455","四羊图","这是南宋画家陈居中创作的一幅极为生动的动物画。在很小的尺幅上，画家选取了一个日常的景象，在村郊野外的小土坡上，牧羊人正在小憩，两只白色的小山羊打闹嬉戏，一只似是占到了便宜，惹得另一只发火地低头撞来，另一只毛色略重的老羊似欲走来制止，又一只则立于土坡之上，沉静地俯视着下面所发生的一切。四只羊的组合仿佛是一个家庭，母亲正在看管着孩子，父亲则高高在上，保持着一家之主的威严，画家将动物之间的情爱描写得十分真实，又富有人世的生活意趣。在置景上力求简单明快，土坡只以墨笔勾出轮廓，略加擦染，几株小草与荆棘也安排得很疏阔，画面左上角画一株老干，侧生一棵新枝。画家亦注重细节的刻画，如立于树干上的两只小山雀，俯首观看，形态生动。全图无论是写物、写景，皆突出了一个“动”字，生活气息极为浓厚。\n图中山羊的形态描绘准确，体现了画家深厚的写生功底，如小山羊跳跃、抵撞的姿态，老山羊前蹄收缩、双耳上竖的细部动作，甚至翻转的双角，均表现得一丝不苟，体现了宋代院体绘画精工细致、刻划入微的风格特征。全图毫无板滞之气，画家抓住表现对象的主要特征，舍弃琐碎的细节，运用不多的笔墨和写意的手法追求言简意赅的艺术效果。\n此画在构图上受时代流风的影响，采用南宋院体山水的边角式布局法。画面以斜对角式区分，左下部分为全部景物，右上部分则全部留白，将所要表现的物体加以集中，使狭小的尺幅产生一定的空间感，虚实对比更加鲜明，以此增强画面的吸引力。\n在中国古代文字中，“羊”字与“祥”、“阳”相通，“吉祥”在古文中就写作“吉羊”；又《易经》中谓每年正月卦象为三阳在下，三阴在上，故古人称每年正月为三阳开泰之时，此成语也就成了常用的吉祥语。这幅画表现的四羊即寓意三阳在下，一阳在上，反映了祈盼吉祥如意的美好愿望。\n陈居中最擅长人马画，但对动物写生一类题材也很热衷，并刻画得细致生动，这幅带有吉祥寓意的《四羊图》页即代表了他在这一方面的艺术水平。",[23,7,209,28,27,8368,957,1015,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","纵22.5厘米，横24厘米",[42,90,45],{"id":21333,"slug":21334,"title":21335,"dynasty":76,"author":77,"museum":20,"description":21336,"tags":21337,"thumbUrl":21338,"material":990,"size":21339,"collection":181,"collections":21340,"showCount":21224,"zanCount":48,"manualWeight":48,"mainColor":94},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,7,24,81,173,27,29,107,108,174,281,34,176,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[181,163],{"id":21342,"slug":21343,"title":21344,"dynasty":76,"author":77,"museum":206,"description":21345,"tags":21346,"thumbUrl":21347,"material":803,"size":21348,"collection":181,"collections":21349,"showCount":21224,"zanCount":5,"manualWeight":48,"mainColor":94},220971,"fang-ni-zan-gu-mu-cong-huang-tu-yun-shou-ping-220971","仿倪瓒古木丛篁图","《仿倪瓒古木丛篁图》仿倪瓒遗意，画古木平泉，丛篁积翠。技法上，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。构图简洁，画面丰富，为倪瓒作画特色。",[23,7,24,241,173,177,105,394,242,245,1653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c40f667736f6fd2b6ac59e572161654.jpg","纵81cm，横32.7cm",[181,163],{"id":21351,"slug":21352,"title":21353,"dynasty":189,"author":487,"museum":206,"description":21354,"tags":21355,"thumbUrl":21356,"material":88,"size":21357,"collection":181,"collections":21358,"showCount":21224,"zanCount":5,"manualWeight":48,"mainColor":49},220819,"ju-qu-lin-wu-tu-wang-meng-220819","具区林屋图","此幅画面的右上角有王蒙以隶书题的“具曲林屋”四个字，底下署“叔明为日章画”，具区是古时太湖的旧称。\n王蒙截取太湖山中极小的一块区域，提炼加工，组织而成这幅极富生活情趣的画面：右下方一坡角，数株大树并列生於其间，林下有高士临水而坐，好像正欣赏著眼前的美景。水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人独坐其间看书；山间小路迂回，曲径通幽，数栋屋宇参差错落於山谷之中，有妇女活动其间。\n图中山石用“牛毛皴”与“解索皴”干笔皴擦而成，多曲折旋转之笔，以突显出太湖一带山石特有的质感；树叶则用墨与色直接点染而成，丹崖碧树，一派秋日山水景象。\n该画作描写江苏太湖林屋洞之景色。玲珑的洞壑、层叠的山石、繁密的树林、错落的村舍和粼粼水波填满了整幅画面，大胆地摆脱了自然景象的拘囿。全作的构图几乎密不透风，但因画家有虚实相济的观念，故在画幅的左上角营造出「透」的部分，使得全作毫无迫塞的感觉。王蒙用牛毛皴皴擦山石，长披麻皴画树干，又杂以繁密的苔点，笔法变化多端，细腻丰富。墨色层层点染，浓淡分明，同时又用了赭石、藤黄、朱砂和朱标点染，使得全作秋意满幅。\n全图除了溪流之外，几乎被山石、树木、林间茅舍填充的没有空隙，这种饱满的构图方式在中国古代绘画作品中极为罕见，开辟出国画构图之奇境。",[23,209,7,1397,5491,27,177,29,650,34,2238,35,107,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecaeed00379af6afdfac3af833b2d69.jpg","68.7 x 42.5cm",[181,45],{"id":21360,"slug":21361,"title":21362,"dynasty":189,"author":1848,"museum":20,"description":21363,"tags":21364,"thumbUrl":21366,"material":67,"size":21367,"collection":181,"collections":21368,"showCount":21224,"zanCount":5,"manualWeight":48,"mainColor":49},220783,"lu-hua-han-yan-tu-wu-zhen-220783","芦花寒雁图","《芦花寒雁图》是元代画家吴镇创作的一幅绢本墨笔画，现收藏于北京故宫博物院。\n《芦花寒雁图》以平远法绘秋日水滨景色，水面微波荡漾，蒹葭苍苍，一双芦雁振翅飞起，渔父于舟头仰首凝视。画面空灵寒寂，形成了平淡清远的境界。图中以平行置景的手法表现空阔无际的水泊，以浓淡变化的水墨表现远近层次，平中见奇。\n此图中心部分画了一个大的芦苇塘，时已深秋，两岸芦花在随风摆动。塘中画一正在行驶的小船，船头一艄公须髯飘拂，一边划桨，一边昂首望天，他显然听到了寒空雁叫，才把目光转向天空。上部空中，有两只孤雁，正背着小船的方向飞去。\n自屈原《渔父》及《庄子》中的渔父形象在文学作品中出现后，渔父成了清高孤洁、避世脱俗、浪迹江湖的隐士化身。渔父形象的大量出现并形成一种风气是在元代。由于元代在中国历史上是蒙古民族入主中原并统治全中国的朝代，其民族歧视政策使大量文人都采取古典绘画的人文意蕴了不与之合作的态度。在这种社会背景下，渔父清高、避世、逍遥的人生为许多隐退文人所仿效，这其中，吴镇对渔父最为情有独钟。\n吴镇在元至顺元年（公元1330年）所绘的《芦花寒雁图》是其一系列“渔隐”主题作品中的一幅，在画中适当变化了《寒林重汀图》中的构画元素。\n《芦花寒雁图》中双雁起飞，渔父仰首观望，通过细致描绘周边环境，巧妙地把渔父安排于水面一个较突出的位置。 此图画幅不大，却意境深远。画面采用三段式构图，平行的披麻皴。横向铺开，除了渔父和寒雁外，《芦花寒雁图》中的大多物象都能在《寒林重汀图》中找到，可见董源对吴镇的影响。\n此图技法上用柔润的线条勾写物象，笔法灵活，疏简秀逸，自然平淡，苍润华滋，具有文人的书卷气。图中山石、坡地直接用大笔，连扫带染，使得皴笔与渲染的墨色自然地交融在一起。再加以披麻皴，罩一层水墨，略分浓淡，以区分山石的凹凸向背。在水域的处理上，更是用湿笔淡墨层层铺陈。在用墨上，饱蘸水分，将江南湿润的空气流动在画中。",[23,7,24,241,173,177,227,174,1351,21365,281,29],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[181,163],{"id":21370,"slug":21371,"title":21372,"dynasty":189,"author":3741,"museum":20,"description":21373,"tags":21374,"thumbUrl":21375,"material":123,"size":21376,"collection":90,"collections":21377,"showCount":21224,"zanCount":5,"manualWeight":48,"mainColor":49},220342,"mu-yu-zhu-tu-li-kan-220342","沐雨竹图","自宋以来，梅、兰、竹、菊被士大夫称为“四君子”，象征“清高”“幽洁”“虚心”“隐逸”“气节”等精神品格。当社会危机、民族危机严重时，一些知识分子无力抗争，在孤愤与绝望中把情感寄托于笔墨，通过高度净化了的形式，表现这几种植物的品性，以喻君子的傲骨和高风。入元以后，“四君子”画不但更为兴盛，而且在思想情感的表现上更加丰富和深刻，笔墨情趣也更加讲究。特别是墨竹，用笔单纯简洁、挥洒自由，具有书法的意态，引起了士大夫的强烈兴趣。",[7,24,241,173,28,242,431,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcead2e46dbd68e83194ae99afee9827.jpg","纵111.5厘米，横55 厘米",[90],{"id":21379,"slug":21380,"title":21381,"dynasty":18,"author":2007,"museum":12786,"description":21382,"tags":21383,"thumbUrl":21384,"material":381,"size":21385,"collection":42,"collections":21386,"showCount":21224,"zanCount":48,"manualWeight":48,"mainColor":49},220312,"xi-yang-qiu-se-tu-ma-lin-220312","夕阳秋色图","《夕阳秋色图》画面上的淡云浅山已经褪色，水流处一片苍茫。这种岁月的沧桑，在画墨的点线之中且隐且行，既刻录了时间的优雅，又释放出历史的气味。\n宋理宗赵昀在欣赏《夕阳秋色图》时忘乎所以，把一切朝中繁杂置之脑后，流连画中苍茫山水、江南秋色。在几只燕子嬉戏的场景里，忽然想起活泼可爱的周汉公主。在膝下无子的岁月里，这位掌上明珠得到理宗的万般宠爱。",[7,29,27,177,4562,491,34,281,490,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd624d868e1bf9f63b27d62406ca745.jpg","51.3X26.6厘米",[42,163],{"id":21388,"slug":21389,"title":21390,"dynasty":189,"author":1848,"museum":21391,"description":21392,"tags":21393,"thumbUrl":21394,"material":342,"size":21395,"collection":181,"collections":21396,"showCount":21224,"zanCount":5,"manualWeight":48,"mainColor":49},219974,"song-quan-tu-wu-zhen-219974","松泉图","南京市博物馆","此图用秃笔勾勒树石,干墨皴擦,描绘松针则用笔尖,可看出画家的特有风格。画上有画家的自题诗:“长松兮亭亭,流泉兮泠泠, 漱白石兮散晴雪,舞天风兮吟秋声。景幽佳兮足静赏,中有人兮眉青青。松兮泉兮何所拟,研池阴阴兮清澈底,挂高堂兮素壁间,夜半风雷兮忽飞起。”署款“至元四年夏至日,奉为子渊戏作松泉，梅花道人书。”钤有“嘉兴吴镇,仲圭书画记”。",[23,7,24,241,173,177,29,1575,15098,176,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefdfbd5e2d90e3f8ec272a86ef27862.jpg","105.3厘米 横31.7厘米",[181],{"id":21398,"slug":21399,"title":21400,"dynasty":18,"author":21401,"museum":132,"description":21402,"tags":21403,"thumbUrl":21404,"material":123,"size":21405,"collection":90,"collections":21406,"showCount":21224,"zanCount":1547,"manualWeight":48,"mainColor":49},218929,"hong-ye-xiao-niao-tu-wu-yuan-yu-218929","红叶小鸟图","吴元瑜","此幅《红叶小鸟图》是现今所知的唯一署款之作，“元瑜”二字书写古拙，笔法柔中带刚。画的设色极高古，小鸟羽毛描绘精细，指爪紧握树枝，眼神灵活，舌尖颤动如发清音，状物写情生动传神，定为宋画应无疑问。而且画幅上藏印累累，包括黔宁王沐昂，著名的收藏家宋荦，近代鉴藏家吴湖帆、钱镜塘、王季迁等。虽暂时仍未查有著录，但正如杨仁恺在裱绫中所题，“画心钤明清诸家钤印，当有所据也”。",[209,7,24,83,28,27,224,2238,1062,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e95be5e4206dc53f32e2bb88825d63.jpg","42x25cm",[90],{"id":21408,"slug":21409,"title":21410,"dynasty":99,"author":221,"museum":20,"description":21411,"tags":21412,"thumbUrl":21413,"material":342,"size":21414,"collection":90,"collections":21415,"showCount":21224,"zanCount":48,"manualWeight":48,"mainColor":271},218770,"mao-die-tu-sun-ke-hong-218770","耄耋图","此图是幅寓意画。图绘一猫仰头注目空中飞蝶，意欲捕捉的生动瞬间。猫蝶即耄耋的谐音，古代人生八十称耄，九十称耋，寓长寿之意。本幅构图简洁，无任何背景衬托，蝶与猫构成一上一下、一动一静的对比，别有情趣。猫以墨彩重写，又以粗毫勾其毛发，造型准确生动。蝶以水墨绘出，勾染结合，着笔简约传神。此为作者墨笔粗简一路画风的代表作。",[23,7,173,956,604,446,241,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67f1548430697540b035cee22f8e29a.jpg","纵139.5厘米，横47厘米",[90],{"id":21417,"slug":21418,"title":21419,"dynasty":18,"author":21420,"museum":206,"description":21421,"tags":21422,"thumbUrl":21423,"material":123,"size":139,"collection":181,"collections":21424,"showCount":21224,"zanCount":1547,"manualWeight":48,"mainColor":94},218677,"xi-hu-shi-jing-tu-lei-feng-xi-zhao-ye-xiao-yan-218677","西湖十景图-雷峰夕照","叶肖岩","山峦晕染着暮色的暖调，古塔静立在层岩之上，夕照的金辉轻覆于林梢与塔檐，晕开朦胧的暖意。近处松枝虬劲，山石皴擦细腻；远处峰峦隐入淡墨，虚实间藏着江南的温婉。左侧墨笔题跋的线条与山水肌理相映，文辞与画意交织，将西湖黄昏的悠然意趣凝于尺幅。苍劲与柔婉并存，写实与写意相融，尽显雷峰夕照的静谧深远——仿佛晚风掠过塔铃轻响，时光沉淀的诗意在笔墨间缓缓流淌，让观者窥见千年西湖黄昏的温婉与悠长。",[23,7,24,81,27,29,4562,107,86,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6bfc3fb9153780220775dfbeb9338f.jpg",[181],{"id":21426,"slug":21427,"title":21428,"dynasty":18,"author":1827,"museum":364,"description":21429,"tags":21430,"thumbUrl":21431,"material":123,"size":21432,"collection":45,"collections":21433,"showCount":21224,"zanCount":5,"manualWeight":48,"mainColor":49},218594,"lan-you-shang-tu-li-song-218594","阑游赏图","三个女人坐在一座偏远的山边的亭子里，在高大的树荫下，从栅栏上欣赏风景，而亭子外面的两个女仆则身材修长，姿态优美。该技术的特点是岩石上的小笔触，树木和远处的山丘都是农场画的特点。",[7,24,28,27,104,29,106,175,34,107,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd89ca87b97de7d9898441c2291b095a.jpg","22x20.6",[45],{"id":21435,"slug":21436,"title":21437,"dynasty":76,"author":10376,"museum":20,"description":21438,"tags":21439,"thumbUrl":21440,"material":342,"size":21441,"collection":181,"collections":21442,"showCount":21224,"zanCount":5,"manualWeight":48,"mainColor":94},218520,"yan-qi-gao-shi-tu-wang-hui-218520","岩栖高士图","此图是王翚盛年山水画代表作。该图以高远式构图，画高岩幽壑，长松平湖，岩崖间古木盘虬，杂草丛生，山径盘陀，叠叠山泉涌出峡谷，流入湖中。峡谷间山馆水榭或半隐于崖畔，或横架于流泉之上。近岸平坡松荫下一人仰坐，似在欣赏幽雅的湖光山色。此画结构严谨，意境清幽。据记载明代唐寅曾有之，画家虽未言仿唐寅画法，然所画山石用元人干笔皴擦，参用宋人斧劈皴法，苍劲秀润，用墨干湿相济，变化多端，极富逸趣与韵味，似应是画家早期精研唐寅画法后的变化所得，体现了画家这一时期山水画的典型风貌。\n图中王翚自识虽未署年款，但笪重光题跋书于壬子年，即清康熙十一年（1672年），王石谷时年41岁，此图应作于当时或稍前。本幅上方王翚自题七言诗：“高士岩栖趣自幽，白云天半读书楼。银河落向千峰裹，长和松涛万壑秋。”又笪重光、恽寿平题和。从三人题诗中得知，此图作于毗陵（今江苏武进）舟次，时三人聚会于此，研讨绘画达40余日，以诗书画互赠，堪称“艺林盛事”。此图乃王翚画赠笪氏之作。",[23,7,24,241,173,177,29,106,1575,558,176,114,109,394,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2e386c670104c6002b4b8f716d6d0a.jpg","纵122.7厘米，横31.5厘米",[181],{"id":21444,"slug":21445,"title":21446,"dynasty":204,"author":4640,"museum":364,"description":21447,"tags":21448,"thumbUrl":21450,"material":743,"size":744,"collection":139,"collections":21451,"showCount":21452,"zanCount":48,"manualWeight":48,"mainColor":49},288974,"ping-po-shan-niao-tu-huang-quan-288974","苹婆山鸟图","竹石花雀学刁光胤与滕昌佑、山水松石学李升、人物龙水学孙位、画鹤学薛稷，皆能脱去古人格律，自创新意。而且，黄筌一家具擅绘画，其弟唯亮，子居宝、居实、居寀，其中尤以黄居寀的成就最大，黄氏父子的花鸟画，在当时人们普遍认为其风格特点是“黄家富贵”。宋人沈括在《梦溪笔谈》中明确指出：“诸黄(指黄氏一家)画花妙在傅色，用笔极新细，殆不见墨迹，但以轻色染成，谓之写生”。\n入秋的山林，一颗颗绯红了脸颊的苹果，悬挂在枝叶间。芬芳的气味、鲜艳的色彩，招来了不少「小过客」们在此停留，留下了许多的斑点与啮痕。一只娇小的粉红鹦嘴，也忍不住好奇地飞了上来。它轻巧地停落在弯细的枝桠上，仰着圆小的脸蛋，摇着细长的尾巴，淘气地又蹦又跳的，好不开心！\n粉红鹦嘴旧名黄头，是种可爱、善斗的小鸟。而吸引粉红鹦嘴的苹果树，传统名为「林檎（禽）」或「来禽」。名称的由来，据说是因为它的果实（即苹果）味道甘醇、甜美，因此常常能吸引许多鸟禽来此聚集的缘故。至于画名以「苹婆」（即柰，又名凤眼珠）相称，应是古人误题了，两者事实上并不相同。\n这幅精巧的「苹婆山鸟」，旧传为五代画家黄筌（活动于903-965）所作。黄筌是中国花鸟画史里，开创工笔细致风格的大师，对五代到北宋初期的画坛影响深远。这幅画作虽非大师亲笔，可是无论是特写式的取景方式或是精辟入理的写实趣味，都明显受到黄筌的影响，是一幅宋代杰出的花鸟画小品。",[7,1562,28,27,83,281,21449],"苹婆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ea7a4296d2a431f72d4200daacb413.jpg",[],89,{"id":21454,"slug":21455,"title":21456,"dynasty":18,"author":10088,"museum":206,"description":21457,"tags":21458,"thumbUrl":21459,"material":743,"size":21460,"collection":139,"collections":21461,"showCount":21452,"zanCount":48,"manualWeight":48,"mainColor":49},288949,"xi-shan-lou-guan-tu-yan-wen-gui-288949","溪山楼观图","《溪山楼观图》是一件立轴作品，代表北宋初全景式山水的典型。此图绘高远、深远景色，溪山重叠，自下而上，自近及远，繁复细密。在险峻的峰峦之中，显现出雄伟壮观的楼观殿宇，山崖下水榭回廊与水波浩渺的江面互相映衬，加上陡峭的山势与艰险的山径，使此画的境界雄浑沉秀，繁中见清。笔法尖劲峭丽，山石皴中有染，精细工整，是“燕家景致”的典型范例。",[23,209,7,24,173,29,107,176,34,109,177,241,227],"https:\u0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由此可见画家的绘制初衷和生活情趣。",[23,7,24,81,173,27,29,83,242,431,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6888d1d28a0071d48ff437e6713a55.jpg",[],{"id":21471,"slug":21472,"title":21473,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":21474,"thumbUrl":21475,"material":27,"size":6032,"collection":139,"collections":21476,"showCount":21452,"zanCount":1270,"manualWeight":48,"mainColor":94},222747,"xian-e-chang-chun-tu-05a-lang-shi-ning-222747","仙萼长春图-05a",[23,7,28,27,83,84,934,4008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed7da96ce0c7b5d28a9d61f8f6ce6aa.jpg",[],{"id":21478,"slug":21479,"title":4903,"dynasty":76,"author":21480,"museum":615,"description":21481,"tags":21482,"thumbUrl":21483,"material":40,"size":21484,"collection":90,"collections":21485,"showCount":21452,"zanCount":5,"manualWeight":48,"mainColor":49},222687,"mu-dan-tu-zhou-chen-zhuo-222687","陈卓","绘盛开牡丹数朵，姹紫嫣红，花瓣层层叠叠，绿叶繁茂；湖石立于花中，灰黑的颜色让花儿更加娇艳。图中的牡丹为典型的没骨画法。陈卓，字中立，清代画家，擅绘青绿山水，喜作青绿设色，兼工花鸟、人物。",[23,7,24,241,28,27,327,176,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3a743980de113f98a6c8a0a9babb69.jpg","149x68cm",[90,45],{"id":21487,"slug":21488,"title":21489,"dynasty":99,"author":170,"museum":20,"description":21490,"tags":21491,"thumbUrl":21492,"material":990,"size":21493,"collection":181,"collections":21494,"showCount":21452,"zanCount":1547,"manualWeight":48,"mainColor":94},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[23,7,173,177,27,29,34,340,279,4614,109,650,106,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[181,163],{"id":21496,"slug":21497,"title":21498,"dynasty":189,"author":17731,"museum":206,"description":21499,"tags":21500,"thumbUrl":21501,"material":827,"size":21502,"collection":163,"collections":21503,"showCount":21452,"zanCount":5,"manualWeight":48,"mainColor":49},221762,"quan-shi-xin-huang-tu-gu-an-221762","拳石新篁图","《拳石新篁图》写新篁数竿，瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。",[23,7,556,241,86,178,227,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1abfe83cffc1cff26cbc173920a8abd.jpg","纵76厘米，横40厘米",[163,2293],{"id":21505,"slug":21506,"title":21507,"dynasty":18,"author":823,"museum":101,"description":13349,"tags":21508,"thumbUrl":21509,"material":17377,"size":21510,"collection":42,"collections":21511,"showCount":21452,"zanCount":48,"manualWeight":48,"mainColor":94},221664,"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷",[23,7,24,25,173,177,29,174,4974,430,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","29.3x376",[42,181,163],{"id":21513,"slug":21514,"title":21515,"dynasty":54,"author":293,"museum":364,"description":21516,"tags":21517,"thumbUrl":21518,"material":139,"size":139,"collection":44,"collections":21519,"showCount":21452,"zanCount":1547,"manualWeight":48,"mainColor":94},221132,"duan-jian-bi-mu-bi-hua-lin-ben-yi-ming-221132","“段简壁”墓壁画临本","此作人物排布错落有致，仕女丰腴端雅，挽高髻、着交领襦裙，披帛垂曳间尽显柔婉雍容。两位侍从装束干练，神态恭谨肃穆。全作用铁线描勾勒，劲挺流畅，精准刻画出人物体态与衣物褶皱起伏。设色古雅清隽，红褐、石紫配色沉稳厚重，岁月浸蚀留下斑驳痕迹，却更衬出盛唐的独特审美意韵。画作写实细腻，还原了彼时的妆束仪制，将墓主人出行仪卫的从容气度凝于壁间，尽显大唐的雍容风华。",[23,7,24,209,630,105,260,27,28,106,59,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bdf5ea3b57dfd093ec32a74891c16.jpg",[44,45],{"id":21521,"slug":21522,"title":21523,"dynasty":189,"author":2519,"museum":101,"description":21524,"tags":21525,"thumbUrl":21526,"material":803,"size":21527,"collection":44,"collections":21528,"showCount":21452,"zanCount":5,"manualWeight":48,"mainColor":49},220834,"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[23,7,24,25,27,28,86,178,106,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d11be852e9ee5dd0f93e513e3b855e.jpg","纵:32.2cm 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1429-1505），字廷振，浙江鄞县人。花鸟初学边文进（15 世纪），后又广摹唐宋名家，艺事益能精进。明孝宗弘治（1488-1505）间与林良（约1424-1500 后）同值仁智殿， 任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 八哥、山鸟停憩、飞翔于其间。溪中游鱼成群，隔岸两对鸳鸯，景致富丽而怡人。画中并无作者款印，布局与笔意，饶有吕纪之精神面貌，研判应出自传承吕氏风格的宫廷画家之手。",[23,7,209,28,27,83,4538,84,2555,1062,1461,490,298,281,1532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[90],{"id":21604,"slug":21605,"title":21606,"dynasty":18,"author":1650,"museum":206,"description":2227,"tags":21607,"thumbUrl":21609,"material":123,"size":2230,"collection":139,"collections":21610,"showCount":21452,"zanCount":1547,"manualWeight":48,"mainColor":94},218575,"hua-niao-shan-shui-xiao-pin-ce-tao-shi-ma-yuan-218575","花鸟山水小品册-桃实",[23,7,24,81,27,28,83,21608,225,227],"桃实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faadbefdeadf6a41201afc56e25773c67.jpg",[],{"id":21612,"slug":21613,"title":21614,"dynasty":76,"author":9280,"museum":206,"description":21615,"tags":21616,"thumbUrl":21619,"material":342,"size":139,"collection":44,"collections":21620,"showCount":21452,"zanCount":5,"manualWeight":48,"mainColor":94},217923,"tang-ming-huang-ji-ju-tu-ding-guan-peng-217923","唐明皇击鞠图","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[209,7,24,28,260,27,104,106,150,114,227,63,21617,21618],"古代人物","马球场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3def1caee6bc241053a237d8871f10.jpg",[44],{"id":21622,"slug":21623,"title":21624,"dynasty":189,"author":351,"museum":7359,"description":21625,"tags":21626,"thumbUrl":21628,"material":123,"size":21629,"collection":90,"collections":21630,"showCount":21452,"zanCount":1356,"manualWeight":48,"mainColor":49},216098,"sun-tu-qian-xuan-216098","笋图","钱选（1213年－1275年），字善彦，元朝时期的书画家。他是著名的书法家和画家，也是著名的丹青家。他的著名作品有《笋图》。\n\n《笋图》是钱选的代表作之一，它是一幅花卉画，描绘了一棵竹子长出的笋竹。画中笋竹细腻而精巧，表现了钱选对竹子的生长过程的细致观察和深刻理解。画中的竹叶细腻，竹子的轮廓线清晰，构图简单而优美。整幅画浑然一体，极富艺术魅力。钱选的《笋图》被誉为元朝花卉画的代表作之一。",[7,24,27,28,21627],"笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa36c699fa827e03d1122c5524ea426.jpg","21x31.5cm",[90],{"id":21632,"slug":21633,"title":21634,"dynasty":76,"author":707,"museum":206,"description":708,"tags":21635,"thumbUrl":21636,"material":88,"size":139,"collection":139,"collections":21637,"showCount":21452,"zanCount":48,"manualWeight":48,"mainColor":94},214848,"xie-sheng-ce-15-hua-yan-214848","写生册-15",[7,24,81,173,957,12940,1062,713,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22de583f690d4844cea3aa5bdc79e136.jpg",[],{"id":21639,"slug":21640,"title":21641,"dynasty":76,"author":707,"museum":752,"description":1872,"tags":21642,"thumbUrl":21643,"material":803,"size":1875,"collection":139,"collections":21644,"showCount":21452,"zanCount":5,"manualWeight":48,"mainColor":49},214353,"san-jue-shan-shui-ce-11-hua-yan-214353","三绝山水册-11",[23,7,24,81,173,27,29,464,34,1329,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F062aa97e82de940580bf8cfb91b7d3f7.jpg",[],{"id":21646,"slug":21647,"title":21648,"dynasty":99,"author":21649,"museum":206,"description":21650,"tags":21651,"thumbUrl":21652,"material":342,"size":21653,"collection":382,"collections":21654,"showCount":21452,"zanCount":48,"manualWeight":48,"mainColor":94},214209,"cao-shu-zhou-mo-shi-long-214209","草书轴","莫是龙","释文：挥手寒原日欲西。霜禽向客有情啼。空山摇落无相赠。独与春风送马头。云卿书。",[23,7,24,241,1147,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2076e1c76e1c425049da7a553c9a512f.jpg","133.5x53.7",[382],{"id":21656,"slug":21657,"title":1826,"dynasty":189,"author":351,"museum":364,"description":21658,"tags":21659,"thumbUrl":21660,"material":743,"size":744,"collection":139,"collections":21661,"showCount":21662,"zanCount":5,"manualWeight":48,"mainColor":49},290093,"lan-hua-tu-qian-xuan-290093","虽然精细工整,但绝不是镜子似的照搬现实,藤篮的复杂图案、花卉的舒卷姿态和排列位置,无不经过巧妙经营和提炼,来自于心与物碰撞熔铸的艺术之意象,这是应该加以明确的。",[7,83,28,27,327,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10cab7b8f6574051eeaabfa10382fa55.jpg",[],88,{"id":21664,"slug":21665,"title":6535,"dynasty":76,"author":953,"museum":364,"description":1683,"tags":21666,"thumbUrl":21667,"material":743,"size":744,"collection":139,"collections":21668,"showCount":21662,"zanCount":1547,"manualWeight":48,"mainColor":94},288138,"hua-niao-tu-ye-ren-yi-288138",[23,7,1562,28,27,83,281,795,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60e23a255768ce7e9fd81450f398093.jpg",[],{"id":21670,"slug":21671,"title":21672,"dynasty":76,"author":21673,"museum":364,"description":21674,"tags":21675,"thumbUrl":21677,"material":743,"size":744,"collection":139,"collections":21678,"showCount":21662,"zanCount":1547,"manualWeight":48,"mainColor":94},239215,"qian-yan-hong-tao-tu-zhou-qian-yu-ling-239215","千岩红桃图轴","钱与龄","清代女画家钱与龄（1763—1827年），字九英。其曾祖母陈书（字南楼）是太学生陈尧勋的长女，她的作品被乾隆帝赏识，很多作品有乾隆帝题诗。乾隆帝评她的作品是：“结构总无巾帼气”。钱与龄从小受曾祖母的影响，耳濡目染，笔墨技法上继承家风，蔚为大观。",[7,241,27,28,83,711,14343,21676],"桃叶","https:\u002F\u002Foss.chuangqi.store\u00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即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[209,7,24,81,27,28,368,106,151,18610,34,109,21726,280,5192],"农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[181,44,45],{"id":21731,"slug":21732,"title":21733,"dynasty":76,"author":2405,"museum":56,"description":2406,"tags":21734,"thumbUrl":21736,"material":2414,"size":2415,"collection":139,"collections":21737,"showCount":21662,"zanCount":1547,"manualWeight":48,"mainColor":49},222819,"gu-su-fan-hua-tu-di-san-duan-xu-yang-222819","姑苏繁华图第三段",[23,209,7,25,28,27,106,107,108,109,111,110,9465,280,29,120,2409,21735,155,117],"古街","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ce7b45c379e1c3d731de80836559d.jpg",[],{"id":21739,"slug":21740,"title":21741,"dynasty":76,"author":850,"museum":206,"description":14253,"tags":21742,"thumbUrl":21744,"material":665,"size":14257,"collection":181,"collections":21745,"showCount":21662,"zanCount":5,"manualWeight":48,"mainColor":49},222769,"shi-er-yue-ling-tu-zheng-yue-lang-shi-ning-222769","十二月令图（正月）",[23,7,27,28,104,106,107,115,176,34,114,21743],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7578701c0511c7e8d219ace0c798cee0.jpg",[181,45],{"id":21747,"slug":21748,"title":21749,"dynasty":99,"author":1480,"museum":206,"description":21750,"tags":21751,"thumbUrl":21752,"material":827,"size":21753,"collection":139,"collections":21754,"showCount":21662,"zanCount":1547,"manualWeight":48,"mainColor":49},222338,"shan-lu-song-sheng-tu-tang-yin-222338","山路松声图","此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。",[23,7,1397,27,177,864,297,1575,558,109,108,650,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48db7aab0e53558f48e3527907dacf3.jpg","纵194.5厘米，横102.8厘米",[],{"id":21756,"slug":21757,"title":21758,"dynasty":99,"author":1480,"museum":20,"description":21759,"tags":21760,"thumbUrl":21761,"material":1716,"size":21762,"collection":139,"collections":21763,"showCount":21662,"zanCount":48,"manualWeight":48,"mainColor":94},222335,"mo-mei-tu-zhou-tang-yin-222335","墨梅图轴","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。\n本幅自题：“黄金布地梵王家，白玉成林腊后花。对酒不妨还弄墨，一枝清影写横斜。□堂看梅和王少傅韵。吴趋唐寅。",[209,7,24,241,173,448,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239c6bbe3e5d4ec00d78c8e1005a79.jpg","纵96厘米，横36厘米",[],{"id":21765,"slug":21766,"title":21767,"dynasty":99,"author":100,"museum":20,"description":2101,"tags":21768,"thumbUrl":21772,"material":40,"size":2105,"collection":139,"collections":21773,"showCount":21662,"zanCount":48,"manualWeight":48,"mainColor":94},222192,"ren-wu-gu-shi-tu-xun-yang-pi-pa-chou-ying-222192","人物故事图-浔阳琵琶",[23,7,19002,27,5990,106,2094,29,34,11734,21769,21770,21771],"音乐","历史故事","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35abb769ff5e9054e9cf450da226925.jpg",[],{"id":21775,"slug":21776,"title":21777,"dynasty":18,"author":2029,"museum":206,"description":21778,"tags":21779,"thumbUrl":21780,"material":21781,"size":21782,"collection":42,"collections":21783,"showCount":21662,"zanCount":5,"manualWeight":48,"mainColor":49},221545,"yao-chi-xian-shou-tu-liu-song-nian-221545","瑶池献寿图","《瑶池献寿图》是南宋画家刘松年所创作，此图描绘了仙山楼阁的神仙世界，是当时上层社会的做寿喜庆场面。\n人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,7,28,27,177,104,29,106,107,1575,176,34,37,1255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20358360b91c23dd09f3758afe3d4ad8.jpg","立轴 绢本 设色","纵198.7厘米，横109.1厘米",[42,44,45],{"id":21785,"slug":21786,"title":21787,"dynasty":18,"author":781,"museum":364,"description":21788,"tags":21789,"thumbUrl":21790,"material":803,"size":21791,"collection":42,"collections":21792,"showCount":21662,"zanCount":1547,"manualWeight":48,"mainColor":94},221398,"fa-hai-ling-shan-tu-ce-li-gong-lin-221398","法海灵山图册","尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也",[23,7,209,24,81,260,259,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0df1b380f365d00c48d70258594a85.jpg","23x299cm",[42,44],{"id":21794,"slug":21795,"title":21796,"dynasty":18,"author":6501,"museum":12966,"description":21797,"tags":21798,"thumbUrl":21799,"material":67,"size":21800,"collection":139,"collections":21801,"showCount":21662,"zanCount":48,"manualWeight":48,"mainColor":49},221375,"xi-shan-qiu-ji-tu-wang-shen-221375","溪山秋霁图","《溪山秋霁图》是北宋 创作的绢画淡设色画，现藏于美国华盛顿弗利尔美术馆。\n图绘秋日雨过天晴后的山青水秀。\n图上群山叠嶂起伏，江水空阔浩淼；近处雨后树木更愈翠绿，江边草屋掩映于树林中；山中可见数座屋脊；远处云雾下的山峦更显妖娆。\n本图以长卷形式表现 雨过天晴后郊野的清丽风光。\n卷中忽而两山夹峙野水逶迤，忽而重岩叠嶂连绵而起，忽而江水横陈浩渺空阔，其中点缀高人逸士渔夫钓者，表现其悠闲生活情趣。\n此图画风清润秀雅，用笔尖利。\n整幅画面布置有序，意境优美，正如宋人论画山水所写：出于可游可居之景。\n王诜，字晋卿，北宋画家，所作烟江云山、寒林幽谷，水墨清润，设色高古绝俗",[7,209,25,173,177,178,227,29,34,176,560,37,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cbc8e85c993c64e82f3c902744c596.jpg","纵45.2厘米，横206厘米",[],{"id":21803,"slug":21804,"title":21805,"dynasty":54,"author":8144,"museum":206,"description":21806,"tags":21807,"thumbUrl":21808,"material":67,"size":21809,"collection":181,"collections":21810,"showCount":21662,"zanCount":48,"manualWeight":48,"mainColor":49},221095,"long-chi-jing-du-tu-li-zhao-dao-221095","龙池竞渡图","大致在宋、元时期，涌现出了一批以反映园林建筑为主要题材的绘画作品，这种充满人文景观的建筑绘画作品，除了表现技巧上的成熟外，也营造出一种全新的绘画艺术形式，形成以楼图为主体、以山水为背景、以人物舟车为点缀的界画艺术",[23,7,24,1562,26,27,104,29,107,108,174,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dff8d35255766cbed16cb1427c7429.jpg","28.5x29.7cm",[181,45],{"id":21812,"slug":21813,"title":21814,"dynasty":99,"author":3114,"museum":20,"description":21815,"tags":21816,"thumbUrl":21817,"material":12542,"size":21818,"collection":181,"collections":21819,"showCount":21662,"zanCount":5,"manualWeight":48,"mainColor":94},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[23,7,24,241,173,29,34,176,177,178,1966,491,866,1015,13516,649,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纵89.5厘米，横51.6厘米",[181,163],{"id":21821,"slug":21822,"title":21823,"dynasty":1095,"author":4791,"museum":4792,"description":21824,"tags":21825,"thumbUrl":21826,"material":139,"size":139,"collection":139,"collections":21827,"showCount":21662,"zanCount":48,"manualWeight":48,"mainColor":94},220574,"feng-yu-ji-ming-xu-bei-hong-220574","风雨鸡鸣","滂沱风雨被晕染在冷灰底色中，危岩之上雄鸡振羽昂首，丹红鸡冠如炬，刺破漫天雨幕。它利爪紧扣嶙峋石峰，尾羽怒张，长啼似欲穿破阴霾，将不屈意气倾泻而出。\n\n左侧墨竹在狂风里倾伏翻卷，枝叶乱颤，更衬出雄鸡卓然独立的身姿。整幅画以水墨干湿浓淡铺就氛围，将乱世之中的沉郁压抑与志士觉醒的炽热力量相融，以禽竹山石托物言志，把不屈的民族气节藏在笔锋之下，满纸皆是冲破黑暗的激昂心气。",[23,7,173,27,241,446,83,3478,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30e5ae80b9dd47726b0e88ad80cc9dd.jpg",[],{"id":21829,"slug":21830,"title":21831,"dynasty":1095,"author":4791,"museum":4792,"description":21832,"tags":21833,"thumbUrl":21834,"material":139,"size":139,"collection":139,"collections":21835,"showCount":21662,"zanCount":48,"manualWeight":48,"mainColor":94},220521,"jun-mo-xiao-xiang-xu-bei-hong-220521","君墨肖像","此作以骨法用笔写就，铁线描勾勒轮廓与衣褶，兼具书法笔意，简练肯定又带着写意灵动。画师捕捉了沉思的瞬间，以淡墨晕染面部，精准带出人物骨骼肌理，戴镜抬眼的神态温雅又暗含思索，将文人的儒雅风骨刻画入微。桌角摊开的书页更添文人气韵，中西技法相融，以国画笔墨为骨，吸纳西画写实精髓，形神兼备，将对象沉稳内敛的气质尽显于纸面，是现代国画肖像画极具代表性的佳作。",[7,173,27,260,106,8612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0ff221f3fc04b8413d2e6cefe5b64c.jpg",[],{"id":21837,"slug":21838,"title":21839,"dynasty":1095,"author":2335,"museum":4792,"description":21840,"tags":21841,"thumbUrl":21842,"material":619,"size":139,"collection":139,"collections":21843,"showCount":21662,"zanCount":48,"manualWeight":48,"mainColor":94},220500,"e-mei-jin-ding-heng-pi-zhang-da-qian-220500","峨嵋金顶（横披）","云海翻涌将山峦裁出虚实层次，一侧以浅赭勾勒山石，枯涩皴笔尽显崖壁嶙峋苍劲，另一侧以青绿重彩晕染坡峦，层叠笔触晕开蓊郁生机。山巅楼宇隐于翠色之上，在流云间恍若仙阙。\n画作糅合北派山水的雄浑大气与南宗的秀润空灵，打破青绿旧有范式，以色调对冲凸显山川刚柔并济的质感，将峰岳的高华巍峨与清虚空灵凝于尺幅。边角题跋朱印呼应，文气与画韵相融，引观者神游绝顶，揽云听松，坠入烟霞之中。",[7,24,27,26,29,177,30,18969,34,503,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bb0493805dbede2bd10a16c58db9f5.jpg",[],{"id":21845,"slug":21846,"title":21847,"dynasty":204,"author":3224,"museum":3537,"description":19568,"tags":21848,"thumbUrl":21849,"material":381,"size":21850,"collection":181,"collections":21851,"showCount":21662,"zanCount":5,"manualWeight":48,"mainColor":49},219877,"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图",[23,209,7,24,25,173,29,37,560,34,649,174,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[181],{"id":21853,"slug":21854,"title":21855,"dynasty":99,"author":1572,"museum":20,"description":21856,"tags":21857,"thumbUrl":21858,"material":88,"size":21859,"collection":181,"collections":21860,"showCount":21662,"zanCount":1547,"manualWeight":48,"mainColor":94},219721,"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明（1470—1559年），原名壁，字徵明，后以字行，改字徵仲，长洲（今江苏省苏州）人。家世武弁，自祖父起始以文显，父文林曾任温州永嘉知县。他幼习经籍诗文，喜爱书画，文师吴宽，书法学李应祯，绘画宗沈周。少时即享才名，与祝允明、唐寅、徐祯卿并称“吴中四才子”。然在科举道路上却很坎坷，从弘治乙卯（1495年）26岁到嘉靖壬午（1522年）53岁，十次应举均落第，直至54岁才受荐以贡生进京，待诏翰林院。四年中目睹官场腐败，一再乞归，57岁回归故里，潜心诗文书画。他通晓各科绘画之艺，擅长各种细粗之法，其目力和控笔能力极佳，80多岁时还能十分流利地书写蝇头小楷竟日不倦。绘画上与沈周共创“吴派”，又与沈周、唐寅、仇英并称“吴门四家”。书法上与祝允明、王宠并誉为“吴中三家”。 文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[23,7,24,25,29,175,34,176,27,2939,114,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[181,382],{"id":21862,"slug":21863,"title":21864,"dynasty":76,"author":3972,"museum":206,"description":21865,"tags":21866,"thumbUrl":21867,"material":88,"size":21868,"collection":45,"collections":21869,"showCount":21662,"zanCount":48,"manualWeight":48,"mainColor":94},219437,"yao-chi-xian-shou-zhou-jin-ting-biao-219437","瑶池献寿轴","画面以轻烟似的云气铺展仙境，两位仙子衣袂翩跹：一位手捧寿桃，红晕欲滴，似凝天地灵韵；另一位侧身相伴，眉宇间藏温婉笑意。衣纹线条流畅如行云，蓝白裙摆与淡墨云气交融，虚实相生。下方古木虬枝掩映朱红殿宇一角，与上方缥缈云境呼应，既显仙境高远，又隐人间烟火。笔墨细腻处，衣袂褶皱似有风动，寿桃艳色点染暖意；设色清雅间，云气淡墨晕染出空灵，古木深绿衬出沉静。整幅画将献寿的祥瑞与仙袂的灵动相融，工笔线条的雅致与水墨晕染的缥缈交织，尽显古典画韵里的温婉与高远，仿佛能闻云间仙乐，见寿意流转。",[7,28,27,106,59,1329,430,114,17020],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d071f0e819e2c29432b9dc8116c7df3.jpg","90.7x56.5",[45],{"id":21871,"slug":21872,"title":21873,"dynasty":99,"author":293,"museum":206,"description":21874,"tags":21875,"thumbUrl":21877,"material":123,"size":21878,"collection":45,"collections":21879,"showCount":21662,"zanCount":48,"manualWeight":48,"mainColor":49},219347,"mo-xi-yuan-ya-ji-tu-yi-ming-219347","摹西园雅集图","本幅描绘历史上有名的“西园雅集”情形，在附马都尉王诜家的这次雅集，聚集了北宋当时顶尖的文人雅士，由米芾的一篇记流传后世，历代多有画作。此幅传明人所作，细观或是周臣老画师临摹刘松年原画所作，在历代临摹本中属上品。",[209,7,24,241,27,106,29,1575,176,227,105,21876],"西园雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593962859ed60f1a0711ce80559eaffd.jpg","191.2 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98.3cm",[45],{"id":21881,"slug":21882,"title":21883,"dynasty":76,"author":3972,"museum":20,"description":21884,"tags":21885,"thumbUrl":21886,"material":88,"size":21887,"collection":44,"collections":21888,"showCount":21662,"zanCount":1547,"manualWeight":48,"mainColor":94},219223,"er-tong-dou-cao-tu-jin-ting-biao-219223","儿童斗草图","此图表现的是端午节儿童们斗草的游戏。有的以比赛采得的花草作对，这是文斗；有的把叶柄相勾拉拽，也称“拔根儿”，就是武斗。",[23,209,7,24,241,28,27,106,1532,298,432,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f548edff091b9ba461b027bf11c428.jpg","纵105.3厘米，横79.5厘米",[44],{"id":21890,"slug":21891,"title":21892,"dynasty":99,"author":1572,"museum":20,"description":21893,"tags":21894,"thumbUrl":21895,"material":123,"size":21896,"collection":181,"collections":21897,"showCount":21662,"zanCount":5,"manualWeight":48,"mainColor":94},219201,"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便展现出文人雅士潇洒的身姿。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失优雅，艳而别具秀润。",[23,7,24,25,27,28,29,178,106,175,109,34,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[181],{"id":21899,"slug":21900,"title":21901,"dynasty":54,"author":21902,"museum":206,"description":21903,"tags":21904,"thumbUrl":21905,"material":342,"size":21906,"collection":163,"collections":21907,"showCount":21662,"zanCount":48,"manualWeight":48,"mainColor":94},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,7,24,25,173,177,86,178,227,29,1726,34,176,109,175,245,108,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[163],{"id":21909,"slug":21910,"title":21911,"dynasty":189,"author":21912,"museum":78,"description":21913,"tags":21914,"thumbUrl":21915,"material":123,"size":21916,"collection":181,"collections":21917,"showCount":21662,"zanCount":1547,"manualWeight":48,"mainColor":49},218274,"song-yin-ju-yin-tu-tang-di-218274","松阴聚饮图","唐棣","此图近景画河畔数棵长松高耸，树后露出数间茅屋。松荫下四位长者席地而坐，正举杯畅饮。旁有两人手捧壶盘侍候，一人抱矮案前来。对岸中景是古树茅舍。远景群山蜿蜒。图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。",[7,173,29,106,1575,241,177,864,430,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4259c6c43bf240ae46222348c74993e.jpg","纵14.4厘米，横97.1厘米",[181],{"id":21919,"slug":21920,"title":21921,"dynasty":189,"author":21922,"museum":132,"description":21923,"tags":21924,"thumbUrl":21925,"material":88,"size":139,"collection":181,"collections":21926,"showCount":21662,"zanCount":1270,"manualWeight":48,"mainColor":49},216997,"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[7,173,177,86,227,178,29,242,864,558,4614,109,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[181],{"id":21928,"slug":21929,"title":21930,"dynasty":99,"author":293,"museum":132,"description":21931,"tags":21932,"thumbUrl":21933,"material":342,"size":21934,"collection":90,"collections":21935,"showCount":21662,"zanCount":48,"manualWeight":48,"mainColor":94},216671,"mo-he-tu-yi-ming-216671","墨荷图","墨荷图是明朝时期的一幅水墨画作品，作者是佚名。这幅画的主题是人与自然的和谐关系，描绘了一片森林中的景色。",[7,24,173,243,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7c76365ae85c084aaded251b4cdbcc.jpg","29x35cm",[90],{"id":21937,"slug":21938,"title":21939,"dynasty":76,"author":707,"museum":206,"description":708,"tags":21940,"thumbUrl":21941,"material":88,"size":139,"collection":139,"collections":21942,"showCount":21662,"zanCount":5,"manualWeight":48,"mainColor":94},214845,"xie-sheng-ce-17-hua-yan-214845","写生册-17",[7,27,173,710,446,81,10304,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2311999714a7fff92f6e461b753aac20.jpg",[],{"id":21944,"slug":21945,"title":21946,"dynasty":99,"author":1996,"museum":78,"description":1997,"tags":21947,"thumbUrl":21948,"material":342,"size":2000,"collection":139,"collections":21949,"showCount":21662,"zanCount":5,"manualWeight":48,"mainColor":94},214635,"hua-hui-ce-9-chen-chun-214635","花卉册-9",[7,24,81,173,446,83,84,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f6b8367f309befbd90a7589bac9e70.jpg",[],{"id":21951,"slug":21952,"title":21953,"dynasty":76,"author":77,"museum":364,"description":740,"tags":21954,"thumbUrl":21955,"material":743,"size":744,"collection":139,"collections":21956,"showCount":21957,"zanCount":1547,"manualWeight":48,"mainColor":94},290538,"bei-tang-qiu-ying-yun-shou-ping-290538","北堂秋影",[7,81,27,83,84,28,86,227,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30507f70fa4d4d14fa0b8ae423c42c20.jpg",[],87,{"id":21959,"slug":21960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(1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,7,314,83,28,27,449,327,450,60,4307,312,281,29,650,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],{"id":21968,"slug":21969,"title":4983,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":21970,"thumbUrl":21971,"material":743,"size":744,"collection":139,"collections":21972,"showCount":21957,"zanCount":1270,"manualWeight":48,"mainColor":94},239525,"ju-hua-zhou-wu-chang-shuo-239525",[7,241,83,173,27,453,327,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ebcc6f54b50ae6c545c98be3383c48f.jpg",[],{"id":21974,"slug":21975,"title":131,"dynasty":99,"author":1296,"museum":56,"description":21976,"tags":21977,"thumbUrl":21978,"material":1642,"size":21979,"collection":90,"collections":21980,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":94},237438,"hua-hui-ce-xiang-sheng-mo-237438","项圣谟五十六岁创作的《花卉十开》是其花鸟画册页精品之一。十幅画皆纸本设色、淡彩没骨，依次画千叶桃花、石榴、白色桃花、白色梅花、海棠、兰花、野菊、秋菊、荷花荷叶、莲蓬莲藕，第一、三、四、五、八开画家题诗，第二、六、七、九、十开画家仅题名号，每一幅都有清代画家汪家珍题写诗文。",[7,24,81,27,83,839,86,227,1086,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482745d7ab05be19737eae85edd0cf06.jpg","31 X 23 CM X 10",[90,45],{"id":21982,"slug":21983,"title":21984,"dynasty":76,"author":1109,"museum":20,"description":21985,"tags":21986,"thumbUrl":21988,"material":990,"size":21989,"collection":90,"collections":21990,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":94},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[209,7,24,5990,368,173,27,29,86,178,177,1575,920,649,2523,21987,106,176,35,1445],"烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[90,181,45],{"id":21992,"slug":21993,"title":15823,"dynasty":99,"author":170,"museum":20,"description":21994,"tags":21995,"thumbUrl":21996,"material":13982,"size":21997,"collection":139,"collections":21998,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":49},233710,"song-shi-tu-zhou-shen-zhou-233710","《松石图轴》笔墨简逸而又沉着，物象写实而又生动，画法兼具写生、写意之妙，诚如王世贞所评：“石田氏乃能以浅色淡墨作之，而神采更自翩翩，所谓妙而真也。”本图小楷自题：“从来松老方生子 ，老得儿郎必定贤，况是先生年未老，生儿当后见参天。春雨先生有佳子后生久矣...”。款识：成化十六年（1480年）四月七日沈周写。",[7,24,241,173,177,1575,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1665f1137e2b1d28bb1c98d93298150.jpg","纵156.2cm，横72.9cm",[],{"id":22000,"slug":22001,"title":22002,"dynasty":2460,"author":2461,"museum":20,"description":22003,"tags":22004,"thumbUrl":22005,"material":22006,"size":22007,"collection":139,"collections":22008,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":94},232939,"you-chun-tu-juan-zhan-zi-qian-232939","游春图卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。下端一角，便是坡陀花树，围绕山庄。描绘出明媚春光和游人在山水中纵情游乐的神态。各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。\n早期的山水画通常会呈现出“人大于山和水不容泛、树木若伸臂布指”的状态，这说明了早期山水画的不成熟，在构图方面体现了较为幼稚的特点。《游春图》的章法布置则突破了以往的画风束缚，形成了十分有特色的构图方式，结构层次颇有特点。它的画面的右上部主要是山峦的表现，绘有大量的崇山峻岭，展现了一副山峦起伏、峰回百转的形态。若在之前，这个画面可能就算是完成了整个景观背景的塑造。但是展子虔并没有到此为止，在画面的右下方，他在画面中画上了山间小径，小径则是由低矮的树木、草丛组成，曲径通幽，旖旎风光、透逛山路，成为了右上方巍峨高山的延伸部分。这样，高山便成为了山路的背景，山路又成为了高山的细节铺垫和展现。这就使得整个画面比前期山水画更显全面、沉稳、丰富。而在画面的左侧，观者可以看到展子虔在此绘有一处低矮的小山丘。这一小山丘能够与右侧上方的崇山峻岭遥遥相对，形成鲜明的对比。在画面的中问，则有大片江河，形成一道波光粼粼的天堑，并与湖水、天空融会在一起，使得整个画面形成湖天一色、山河并举的形象。值得一提的是，画面并未只以山川与河流为主，而是在细节之处加以点缀：江河之中有小船点缀其中，船中有三四位神态各异、姿态不同的人物，将人声、山河画面融合在一起，并通过山川、河流、船舶、人物等形象构造出整个画面的图片比例。\n深究整个《游春图》，可以发现该画以山川、水系为主体，将人物、古刹、船舶、阁楼等融于山水，成为画面中的重要景观。这些景观相互配合，运用其形象的客观物象来表达画面事物之间的大小、高低、远近等的关系。合理地处理画面关系，使得展子虔对画面的比例、深度等都能有十分准确的把握，并根据其特点，进行处理和变化。也正是由于这种十分合理的处理和变化，才能够使得山水画的构造变得更加符合现实，使得该画变化成了“超然物外”的穿插构图，形成隋代山水画的新格局，使得中国山水人物画的表现形式和审美取向变得更加成熟。\n运笔成熟，表现独特。展子虔在绘画创作上十分敢于并善于创新，尤其善于在细节处用笔。在观者欣赏《游春图》的时候，不难发现它无处不是点缀着代表盎然生气的绿色。例如，画面就有很多还没有完全长满枝芽的树木，这些枝芽就是展子虔运用独特的勾画技巧形成的，即青绿勾填技法。这种技法不仅仅使得他的创作变得“细密精致而臻丽”，更让他的这种创作方法成为了中国山水画的重要技法之一。\n在绘画山川石木的时候，展子虔善于运用细节，运用细笔勾勒它们的轮廓。以青绿色以及其他明丽的色彩来展现画面。例如，他在刻画《游春图》的山石树木之时，善于将山石树木的线条不用刻意有粗细、明暗的变化，它们不用刻意地添加皱祈，也照样能体现出古朴苍劲、俊朗豪迈的形象。而在描绘人物的时候，展子虔也习惯运用细节来展现人物的形态、神态等，虽然画面中的人物形象没有过大改变，但是人物神情却可以是各有特色，每个人的衣着外观都十分飘逸流畅，也使得观者有“观人于微，，的感受。另外，他还善于运用“点花”的方法，勾勒细节，例如对枝芽的处理，他也会运用粉点点上，形成芽苞初放的形象。而在绘画人物上，作者也是用了这种点染的方法，让细小如豆的人马等都形态毕现。\n青绿重彩，工细巧整。在隋代之前，魏晋时期的山水画不仅仅在构图、形状、用笔等方面都比较单一，而且在整个画面的用色方面也都十分单一。而在隋代展子虔的《游春图》中，其形状不仅仅充满变化，而且在用色上也更加丰富和大胆。展子虔为了改变以往单调而简单的填色方式，将自己大胆的想象和细致的技法运用到画面中。《游春图》以青绿色为主色调，并在此基础上，形成细工精琢的用色方法。例如，在画面右上部分，作者开始运用青绿着色，展现了初春山林间盎然的生机。而在右下部分，表现山间小路时，作者却用泥金来表现，展现了山林中春寒未退的山色。这样两类用色，使整个画面的表现力更加丰富。同时，在绘画树木之时，展子虔更加注重细节的刻画。在对树叶设色时，它不仅仅运用色填或者色染，而且还运用点彩的形式，来展现含苞初放的春日娇态。\n《游春图》除了对画面中的不同物象进行了十分具有特点的用色之外，在敷色上增加各种晕染等方法，使不同对象在色彩表达上显得更加统一而完善。在描绘松树时，画家并没有以松针来展现，而是用深绿色运笔，在表现其他花木时，画家则运用桃红色、白粉色等来展现，形成单纯而丰富、古朴而艳丽的形象特点。因而，纵观整个《游春图》，其画面展现的是新绿成荫、繁花盛开、水天一色、深浅莫辨的特点。而在对人物的描绘过程中，展子虔运用山后白云来展现人物所处的背景，并能够以此来衬托人物游春时的心境。而对于人物本身的形象来说，展子虔则也善于用粉色和白色进行点染，使得整个画面更显风格细腻、轻松生动。\n唐代僧彦悰《后画录》：“触物为情，备皆妙绝”，“远近山川，咫尺千里。”\n唐代张彦远：“动笔形似，画外有情。”\n宋代《宣和画谱》：“写江山远近之势尤工，故咫尺有千里之势。”\n明代董其昌：（《游春图》）是“世所罕见”的墨宝。\n当代作家沈从文：“这画卷的重要,实在是对于中国山水画史的桥梁意义……没有它，历史即少了一个重要环节。”\n现存于故宫博物院的《游春图》是展子虔唯一传世的代表作，也是世界上存在最早的画卷，它的存在，对中国乃至世界的绘画史、艺术史都具有极为重要的作用。\n在《游春图》出现之前，中国早期的山水画通常是“人大于山、水不容泛”。也就是说，绘画中人物形象的塑造比山还要大，而对于水的绘画，却永远不会有波光粼粼的形态，而是犹如一潭死水般地停留在画布上。可见，在展子虔之前的，尤其是南北朝时期的山水画仍然存在很多不足，这些画家们通常无法把握好山水、人物的比例关系，也不能完美、生动地展现山水的飘逸之感。而《游春图》出现之后则打破了这种限制，全图无处不展现着一种空间之美，人物、山水疏密安排十分得宜，展现着自然界的交替、交换与重叠。\n游春图之所以能够成为中国山水画承上启下的代表作品，不仅仅在于画面呈现的内容，更在于它异于前人的创作手法和审美取向，展现出了于方寸之地尽显千里之姿的艺术特点。\n《游春图》构图壮阔沉静，设色古艳，富有典丽的装饰意味，体现出承上启下的风格，也标志着山水画即将进入成熟期，他在山水画上所达到的成就及其绘画方法，直接开启了唐代画家李思训、李昭道父子金碧山水的先河。\n1980年5月27日华国锋到日本进行正式访问时，赠给日本天皇的礼品中，就有一幅中国现代女画家临摹的隋朝画家展子虔的《游春图》。",[209,7,24,25,26,27,29,106,107,108,109,279,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd3613327ff7d09b2f5cbe51fadde61.jpg","绢本绘画","高43厘米，宽80.5厘米",[],{"id":22010,"slug":22011,"title":22012,"dynasty":99,"author":100,"museum":364,"description":22013,"tags":22014,"thumbUrl":22015,"material":139,"size":139,"collection":139,"collections":22016,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":49},228443,"ting-qin-tu-ye-chou-ying-228443","听琴图页","青绿晕染的崖谷间，飞瀑漱石，古松虬曲横斜。松下石台之上，抚琴人信手拨弦，对面听者垂眸凝神，将身心都浸在松风声与琴音里。侧旁童子正俯身溪畔汲水，浑然不觉周遭雅韵。\n画面以静取景，以动点染，明丽的设色衬出林涧清寂，人物神态宛然生动，将山林雅集、知音相和的悠然意趣，尽藏于尺幅之间，把文人寄情丘壑的雅致心境铺陈得淋漓尽致。",[23,7,24,81,28,27,26,29,106,210,109,34,176,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aa149186a2d0e6c5d0c2565807183.jpg",[],{"id":22018,"slug":22019,"title":22020,"dynasty":18,"author":1650,"museum":364,"description":22021,"tags":22022,"thumbUrl":22023,"material":139,"size":139,"collection":139,"collections":22024,"showCount":21957,"zanCount":5,"manualWeight":48,"mainColor":49},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[23,209,7,24,29,173,27,12137,1575,107,491,300,176,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":22026,"slug":22027,"title":22028,"dynasty":204,"author":2072,"museum":364,"description":22029,"tags":22030,"thumbUrl":22031,"material":139,"size":139,"collection":139,"collections":22032,"showCount":21957,"zanCount":5,"manualWeight":48,"mainColor":49},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[23,209,7,24,25,28,27,106,1575,756,315,227,759,20632,1420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],{"id":22034,"slug":22035,"title":22036,"dynasty":99,"author":293,"museum":20,"description":22037,"tags":22038,"thumbUrl":22039,"material":67,"size":22040,"collection":139,"collections":22041,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":49},223339,"er-lang-shen-sou-shan-tu-juan-yi-ming-223339","二郎神搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,7,24,25,28,27,106,29,34,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a66aa3c0dc8d8069db69e347e0a460.jpg","53×561cm",[],{"id":22043,"slug":22044,"title":22045,"dynasty":99,"author":4314,"museum":191,"description":22046,"tags":22047,"thumbUrl":22049,"material":665,"size":22050,"collection":90,"collections":22051,"showCount":21957,"zanCount":5,"manualWeight":48,"mainColor":49},222399,"mei-cha-zhi-que-tu-lv-ji-222399","梅茶雉雀图","此图描绘的是着色雪景，寒意茫茫，坡石上，有白梅老干欹曲，双雉栖息干上，一正一反，侧首相互呼应，形态生动。树根处，隐隐露出兰叶丛草，梅枝虬曲凌 空，花朵疏密散聚，气势飞动，更添无限寒意。数雀聚集栖于上部梅枝之上，山茶红映其间，正如《无声诗史》所评设色鲜丽，生气奕弈。远处岗阜覆雪，涧水 曲流，冷壑荒寂。此画属于工笔重彩一体，色彩浓重妍丽，覆雪山石皴染结合，明暗对比强烈，造成雪景冷雪之意境。",[23,7,24,241,27,28,83,448,839,14718,22048,394,650],"鸟雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34babdb1d62fbd1860bbd9300b314237.jpg","97.8X183.1",[90,45],{"id":22053,"slug":22054,"title":22055,"dynasty":18,"author":6652,"museum":20,"description":22056,"tags":22057,"thumbUrl":22059,"material":1716,"size":22060,"collection":42,"collections":22061,"showCount":21957,"zanCount":5,"manualWeight":48,"mainColor":94},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[23,7,24,25,173,1397,177,13805,178,227,1329,864,34,491,1926,22058],"水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[42,181,163],{"id":22063,"slug":22064,"title":22065,"dynasty":54,"author":293,"museum":1985,"description":22066,"tags":22067,"thumbUrl":22069,"material":619,"size":22070,"collection":90,"collections":22071,"showCount":21957,"zanCount":5,"manualWeight":48,"mainColor":49},221144,"ci-shan-dian-xin-tu-yi-ming-221144","此山点心图","唐绘手鉴笔耕园",[23,7,27,28,22068],"点心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd463580216147b46561ba8406a7b22.jpg","24.6×24.2",[90,45],{"id":22073,"slug":22074,"title":22075,"dynasty":99,"author":22076,"museum":20,"description":22077,"tags":22078,"thumbUrl":22079,"material":342,"size":22080,"collection":181,"collections":22081,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":271},220395,"song-shi-tu-li-yong-chang-220395","松石图","李永昌","李永昌(公元17世纪)，生卒年不详。字周生，安徽休宁人。善画，尤工山水，仿元人笔意，与董其昌齐名，为新安派先锋。此图坡石前一棵老松，左曲右折的松干顶端零星地伸出几个枝桠，疏落凋枯的针叶无言地表明它已进入了暮年。松旁不远，几株杂树簇聚一团，在寥阔的天地间，显得渺小、孱弱，无依无靠。画的右上角自题：“醉剧松可倚，诗成石可刊，何须慕岩穴，咫尺是林峦。甲戌初夏画并题，拟待先社兄览笑。",[23,7,24,241,173,177,1575,176,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2546621a64c9e5e0abeb01db4b8a812.jpg","纵111cm，横54.5cm",[181,163],{"id":22083,"slug":22084,"title":22085,"dynasty":18,"author":13198,"museum":539,"description":22086,"tags":22087,"thumbUrl":22088,"material":381,"size":139,"collection":42,"collections":22089,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":49},219789,"zhou-yue-tu-zhao-ling-rang-219789","舟月图","画面以大片空寂底色铺就，将月夜江天的辽远清寒尽数晕开。扁舟横卧水面，舟中二人意态悠然，一人凭舷凝望悬垂的冷月，一人垂竿静候，寥寥数笔便勾勒出闲逸松弛的林下幽情。淡墨轻皴出水波微漾，朦胧月色漫过空阔江面，将天地晕成浑然一色的清寂。边角的古印题字晕染出古雅厚重，整幅画作以极简之笔写尽淡远萧疏的意趣，把文人寄情烟波、物我两忘的幽淡心境藏在空寂月色里，尽显水墨山水以少胜多的诗意禅味。",[209,7,24,173,260,27,106,174,300,227,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b922f084156fdab8779361947ae5c3.jpg",[42],{"id":22091,"slug":22092,"title":18073,"dynasty":18,"author":22093,"museum":675,"description":22094,"tags":22095,"thumbUrl":22096,"material":123,"size":22097,"collection":44,"collections":22098,"showCount":21957,"zanCount":1547,"manualWeight":48,"mainColor":49},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,209,7,24,25,28,27,104,177,106,107,29,34,150,175,115,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[44],{"id":22100,"slug":22101,"title":22102,"dynasty":99,"author":100,"museum":752,"description":22103,"tags":22104,"thumbUrl":22105,"material":123,"size":139,"collection":181,"collections":22106,"showCount":21957,"zanCount":5,"manualWeight":48,"mainColor":49},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[7,24,241,28,27,29,104,106,107,150,175,34,176,109,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[181],{"id":22108,"slug":22109,"title":22110,"dynasty":54,"author":2610,"museum":364,"description":22111,"tags":22112,"thumbUrl":22113,"material":123,"size":22114,"collection":44,"collections":22115,"showCount":21957,"zanCount":1547,"manualWeight":48,"mainColor":49},219580,"nong-qian-tu-han-huang-219580","农迁图","此图是少有的描绘唐代农民生活的写实画作。左侧男子一手持竹杖，一手拿干粮而食，头戴斗笠，腰挂麻鞋，小腿上还系有绑带，可见行路之辛苦。其后一妇人手抱婴儿，骑驴而行，脸上似有疲倦之色。",[7,24,25,28,27,106,151,8989,61,8368,21726],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f0ca4e6c67a7e352a230c6af67845a.jpg","25.1x91.1厘米",[44],{"id":22117,"slug":22118,"title":22119,"dynasty":18,"author":2029,"museum":206,"description":22120,"tags":22121,"thumbUrl":22124,"material":123,"size":22125,"collection":181,"collections":22126,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":94},219388,"ma-gu-cai-zhi-xian-tu-liu-song-nian-219388","麻姑采芝仙图","画中一众仙姑，结伴山间采药，正在林间休息。不知何故，仙姑们的发际线严重退后，仅剩一光溜的脸蛋，状貌甚异，身板瘦削，可能是日夜忙碌劳累所致。画中人物用线与山石、松树一般呆硬，人物形象、树、石套路严重，或为明末或清代早期的画作。",[7,27,106,29,176,34,59,22122,22123,2715],"麻姑","采芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca18f2756764adf26aa0982d7262715.jpg","116.4x82.1厘米",[181,44],{"id":22128,"slug":22129,"title":22130,"dynasty":76,"author":5208,"museum":515,"description":22131,"tags":22132,"thumbUrl":22133,"material":342,"size":22134,"collection":163,"collections":22135,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":1335},219177,"song-lin-shu-wu-tu-gong-xian-219177","松林书屋图","全图笔墨恣肆，气象氤氲，以竹林、书屋等景观构造了一个理想的隐逸世界。左上自题七言诗一首，末署“甲子初秋半亩龚贤并题”。钤“臣贤私印”、“半千”二印。甲子为康熙二十三年，公元1684年，作者时年86岁。",[23,7,173,177,241,29,1727,6698,176,558,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09717ac0071d60023828679c622fb9e.jpg","纵274.5 横128.5厘米",[163],{"id":22137,"slug":22138,"title":22139,"dynasty":99,"author":293,"museum":3537,"description":22140,"tags":22141,"thumbUrl":22142,"material":123,"size":22143,"collection":90,"collections":22144,"showCount":21957,"zanCount":5,"manualWeight":48,"mainColor":49},219080,"luo-hua-you-yu-tu-yi-ming-219080","落花游鱼图","画面下部描绘了一条张着嘴的鸳鸯鱼，鱼身上有绚丽的背鳍和斑点，周围有荷叶和花朵，还有一条更低调的鲤鱼，鳞片整齐，鱼鳍挥舞，似乎正在向鸳鸯鱼游去。",[7,24,28,27,83,933,136,17130,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfa03c687a78c5002929fc39069b598.jpg","49.3x33.5cm",[90],{"id":22146,"slug":22147,"title":22148,"dynasty":204,"author":1792,"museum":206,"description":22149,"tags":22150,"thumbUrl":22151,"material":123,"size":22152,"collection":44,"collections":22153,"showCount":21957,"zanCount":1547,"manualWeight":48,"mainColor":49},218923,"ba-da-chun-you-tu-zhao-nie-218923","八达春游图","画中有八位骑马的贵族，园中的草木都呈现出新绿，马儿轻盈地踏着，显示出春日郊游的愉快气氛。马匹、树木和岩石的笔触细腻精致，超越了唐朝和五代，与北宋的风格相似。",[23,209,7,24,28,27,106,150,34,1159,1795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07199252c59d7bfa0a3af33b99ab6823.jpg","161.9x102",[44],{"id":22155,"slug":22156,"title":22157,"dynasty":18,"author":1827,"museum":206,"description":22158,"tags":22159,"thumbUrl":22160,"material":123,"size":22161,"collection":42,"collections":22162,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":49},218896,"song-wu-yan-bin-tu-li-song-218896","松坞延宾图","这幅画描绘了山中溪边的一个村庄，一个贵族把自己隐居起来，在家里建起了一些区域，当客人到来时，他们会用菜肴招待。这幅画是艺术家笔下的杰作，虽然它很饱满，但有一股清晰的水流在其中流淌。",[23,7,24,1562,104,27,28,106,107,449,430,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af25e2e2d0263c374707240ac706ee.jpg","24.5x24.4",[42],{"id":22164,"slug":22165,"title":22166,"dynasty":18,"author":293,"museum":206,"description":22167,"tags":22168,"thumbUrl":22169,"material":123,"size":22170,"collection":90,"collections":22171,"showCount":21957,"zanCount":1547,"manualWeight":48,"mainColor":94},218861,"die-fen-hua-cong-tu-yi-ming-218861","蝶粉花丛图","画面上画着五枝月季花，枝头上的花有的开得灿烂，有的含苞待放，花瓣是红色的，花尖是粉红色的，枝头上的叶子是深绿色的，花和叶子色彩斑斓，清新漂亮，两只蝴蝶在花丛中盘旋，伴着花香翩翩起舞。这幅画的笔触和色彩与卫昇，林椿的相似，应该说是南宋画派的代表作。",[23,7,209,28,27,83,81,604,327,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59d14f0dd44d2a05a8c854eb299aff6.jpg","23.6x25.2",[90],{"id":22173,"slug":22174,"title":22175,"dynasty":99,"author":4314,"museum":206,"description":22176,"tags":22177,"thumbUrl":22178,"material":123,"size":22179,"collection":90,"collections":22180,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":49},218789,"chun-xi-tu-lv-ji-218789","春喜图","疏梅横斜，数羽雏鸟栖于枝间，啾鸣似唤春声。老干虬曲，山鹧羽色斑斓，立于石畔枝上，姿态雍容闲雅。靛蓝山石衬暖褐禽羽，白梅与粉花点染其间，清妍与厚重相映。笔墨工致细腻，禽鸟神态鲜活，花木情态毕肖。全图春意氤氲，生机流转，于工笔间见灵动韵致，尽显春日雅趣与自然生机。",[7,24,241,28,27,83,448,224,176,7174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6167804c0c9e5cfe350a337b21ab551e.jpg","137.4x42cm",[90],{"id":22182,"slug":22183,"title":8057,"dynasty":99,"author":4245,"museum":20,"description":22184,"tags":22185,"thumbUrl":22186,"material":123,"size":22187,"collection":90,"collections":22188,"showCount":21957,"zanCount":48,"manualWeight":48,"mainColor":49},218768,"zhu-he-shuang-qing-tu-bian-wen-jin-218768","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[23,209,7,24,241,28,173,27,242,60,298,83,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[90],{"id":22190,"slug":22191,"title":22192,"dynasty":18,"author":6566,"museum":206,"description":22193,"tags":22194,"thumbUrl":22196,"material":381,"size":139,"collection":163,"collections":22197,"showCount":21957,"zanCount":5,"manualWeight":48,"mainColor":94},218687,"qing-quan-ming-he-tu-ma-he-zhi-218687","清泉鸣鹤图","淡墨晕染的山峦在云雾中若隐若现，似远似近间透出空濛之趣。岸侧虬枝盘曲，老干新枝交织，墨色浓淡相衬，尽显草木生机。清泉自石间潺潺而下，漱玉之声仿佛可闻。几只仙鹤或立汀洲，或振翅轻翔，羽翅线条流畅如兰叶，姿态灵动逸脱。鹤鸣与泉声相和，在幽寂的山水间漾开清旷之韵。整幅画笔墨简淡却意韵深浓，山石皴法疏朗，构图疏密有致，将自然的静谧与生命的灵动融于一纸，尽显宋人对林泉之乐的诗意追寻，读之令人心向澄明。",[23,7,173,29,281,60,22195,109,34,176,37,177,2544,24,25],"清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666423ffde0f0389cb0fa868b5cac17a.jpg",[163],{"id":22199,"slug":22200,"title":22201,"dynasty":189,"author":5444,"museum":206,"description":22202,"tags":22203,"thumbUrl":22206,"material":123,"size":22207,"collection":181,"collections":22208,"showCount":21957,"zanCount":1270,"manualWeight":48,"mainColor":94},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[23,7,173,29,177,109,174,1351,175,394,108,6922,22204,491,22205,6549],"岸树","溪面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[181],{"id":22210,"slug":22211,"title":20476,"dynasty":18,"author":781,"museum":3537,"descripti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任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[209,7,24,241,173,177,105,29,649,34,1575,650,35,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[181,163],{"id":22325,"slug":22326,"title":220,"dynasty":76,"author":707,"museum":12966,"description":22327,"tags":22328,"thumbUrl":22329,"material":88,"size":22330,"collection":90,"collections":22331,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":94},233943,"hua-niao-ce-hua-yan-233943","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等，老年自喻飘篷者，福建上杭蛟洋华佳(家)人(原白砂里人)，后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称三绝，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年(1703)华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上高山云鹤、水国浮牛、青松悬崖和倚马题诗四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，得交当路巨公，名闻于上，但并不得意，据戴熙《习苦斋画絮》载:华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鳝、郑板桥及盐商巨子马曰管、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\u2028 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余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[7,24,81,27,173,446,83,224,1064,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7a15ddd053c23937374547a7f95ffdd.jpg","31.2×44.7厘米",[90],{"id":22333,"slug":22334,"title":22335,"dynasty":76,"author":1109,"museum":20,"description":22336,"tags":22337,"thumbUrl":22338,"material":803,"size":22339,"collection":139,"collections":22340,"showCount":22268,"zanCount":1547,"manualWeight":48,"mainColor":94},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[7,173,241,177,29,108,109,34,35,176,281,245,1352,449,491,194,2268,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],{"id":22342,"slug":22343,"title":22344,"dynasty":54,"author":8144,"museum":101,"description":22345,"tags":22346,"thumbUrl":22347,"material":67,"size":22348,"collection":139,"collections":22349,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":49},232624,"hai-tian-xu-ri-tu-juan-li-zhao-dao-232624","海天旭日图卷","此卷以青绿为主调，山峰勾以全绿，所画人物细小如豆，亭台楼阁、海浪舟桥，无不形象生动，尤其画幅中上方有一金龙，腾云驾雾，整个局面宏伟壮阔、气势不凡。",[23,7,26,27,25,28,29,1329,649,114,37,13911,34,35,1027],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc0164cbe171565b2c95e35e12fa8cf.jpg","47.1 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197.4厘米",[],{"id":22351,"slug":22352,"title":22353,"dynasty":99,"author":293,"museum":364,"description":9251,"tags":22354,"thumbUrl":22355,"material":743,"size":744,"collection":139,"collections":22356,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":49},228405,"da-pu-xian-pu-sa-zuo-xiang-yi-ming-228405","大普贤菩萨坐像",[7,259,106,28,27,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879769e52d7eb2be5f8935ae85a068a2.jpg",[],{"id":22358,"slug":22359,"title":22360,"dynasty":18,"author":781,"museum":364,"description":22361,"tags":22362,"thumbUrl":22363,"material":139,"size":139,"collection":139,"collections":22364,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":94},227609,"wei-mo-yan-jiao-tu-juan-li-gong-lin-227609","维摩演教图卷","《维摩演教图》卷，传为宋李公麟绘，纸本，墨笔，纵34.6厘米，横207.5厘米。\n\n无作者款印。画后幅有明沈度书《心经》及跋“永乐丙戍岁，予客燕台真如寺，老僧元觉出示李龙眠演教图真迹，随索予书《心经》附后，自愧玉台难并，固辞再三。老僧索之甚笃，勉强净手谨书一通。是夕上元日也。云间沈度。”丙戌为明永乐四年（1406年）。并有明董其昌、王穉登题跋。钤元柯九思“柯氏敬仲”，清索额图“钦赐忠孝长白山长索额图字九如号愚庵书画珍藏永贻子孙”、“长白索氏珍藏图书印”，清宣统皇帝“宣统御览之宝”、“宣统鉴赏”等鉴藏印，共57方。\n\n此图取材于佛教《维摩诘经》，描绘的是装病在家的维摩诘向奉佛祖释迦牟尼之命前来探病的文殊菩萨宣讲大乘教义的场面。全图意在表现维摩诘所具有的高深机智及其对佛教教义的巧思善辩。画中维摩诘坐于锦榻之上，精神矍铄地谈论教义，对面的文殊菩萨脚踩莲花，双手合十，对维摩诘的说法心悦诚服。画幅中部绘天女故意往大弟子舍利弗身上撒沾衣不坠的花瓣，令躲闪不及的舍利弗连忙振衣抖拂。维摩见此当即指出佛教应该视万物皆空的教义实质。\n\n佛教是公元前6至5世纪由释迦牟尼于印度创立，相传东汉明帝时传入中国。艺术家们为了扩大佛教在中国的影响，在表现佛教人物或故事时逐渐将他们中国化，生活化，以符合中国人的审美观。从东晋顾恺之到隋唐敦煌壁画，维摩诘尚被表现为“须眉奋张，目光如炬”的形象，而此图中他已完全成为汉化的佛教徒的形象。文殊菩萨体态雍容端庄，犹如现实生活中名门望族之人。众天女于恭谨中显露出活泼的神情，毫无宗教的虔诚之态。文人世俗思想融入宗教画创作中无疑增添了作品的亲和力，同时也增强了作品的感染力。全图为扫却粉黛的墨线勾描，遒劲圆转而富于表现力度的游丝描和铁线描相辅相成，在成功地刻画出神态各异的人物形象的同时，洁净轻淡的笔法也与佛教“空即是色，色即是空”的教义相吻合。\n\n此图无款，对作者有三种推测：明人沈度、董其昌、王穉登等人在画卷的跋中皆称作者为宋代李公麟。当代学者金维诺等先生认为作者应是金代的马云卿，主要根据是美国大都会博物馆藏有元代王振鹏《临马云卿画维摩不二图草本》。王振鹏在卷后题跋中称：“至大元年二月初一日拜住怯薛第二日，隆福宫花园山子上，西荷叶殿内，臣王振鹏特奉仁宗皇帝潜邸圣旨，临金马云卿画维摩不二图草本。”王振鹏的临本与此幅的艺术风格、构图章法等极为相仿，只是在局部纹饰上稍有细微变化。但目前亦有专家认为此图既不是李公麟所作，亦非马云卿所为，它应是宋佚名画家的作品。事实上，无论作者是谁，该图代表着早期白描人物画的最高成就当是无可争议的。",[23,209,7,24,25,259,106,260,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a5ca121eafafb8b8cc4acc361a11f6.jpg",[],{"id":22366,"slug":22367,"title":22368,"dynasty":204,"author":5076,"museum":364,"description":22369,"tags":22370,"thumbUrl":22372,"material":139,"size":139,"collection":139,"collections":22373,"showCount":22268,"zanCount":1270,"manualWeight":48,"mainColor":49},227262,"xue-jing-ba-jiao-han-que-tu-huang-ju-cai-227262","雪景芭蕉寒雀图","麻雀是我们生活中常见的鸟类，身形娇小，机敏灵活，却也憨态可掬，更因为打不倒的顽强生命力，在画家们的笔下，散发出了生机勃勃的魅力，一幅花鸟画中，因为麻雀的构成，顿时“活”了起来，因此国画麻雀也相当受画家和收藏者们喜爱",[23,209,7,24,241,27,83,28,2502,755,22371,448,450],"寒雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267d2fc6d76d34d83a59c288d428c4e8.jpg",[],{"id":22375,"slug":22376,"title":22377,"dynasty":76,"author":1109,"museum":364,"description":22378,"tags":22379,"thumbUrl":22380,"material":743,"size":744,"collection":139,"collections":22381,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":49},224528,"mu-dan-lan-hua-tu-zhou-shi-tao-224528","牡丹兰花图轴","石涛的花鸟、兰竹，多用水墨写意法，行笔爽利，用墨淋漓简练，给人以清峻、挺拔、浑厚之感。石涛的兰竹画为中国画史中的一绝。图中兰叶瘦劲，浓墨托出，交迭穿插，兰花散发出幽香。",[23,209,7,24,241,173,446,86,227,83,327,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],{"id":22383,"slug":22384,"title":20961,"dynasty":76,"author":22385,"museum":206,"description":22386,"tags":22387,"thumbUrl":22393,"material":139,"size":22394,"collection":44,"collections":22395,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":49},222834,"yuan-ben-qing-ming-shang-he-tu-sun-hu-222834","孙祜","此画由清宫画院的五位画家协作画成，是参照了各朝仿本、集各家所长的作品。同时增加了明清时代的特殊风俗，如踏青、表演等等娱乐活动，亦增添了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，使画中人物增加到超过4,000人，而且受到西洋画风的影响，街道房舍均以透视原理作画，并有西式建筑行置其中。此卷用色鲜丽明亮，用笔达圆熟细致，所画之桥梁、屋宇、人物皆细腻严谨，是院画中的精品之作。",[23,7,25,27,28,106,107,36,21212,7372,12940,22388,22389,22390,13582,22391,1975,22392],"戏剧","特技","擂台","踏青","院画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98aa9c3aaaf37a0138ff09866aaaffc7.jpg","长1152.8公分及宽35.6公分",[44,45],{"id":22397,"slug":22398,"title":22399,"dynasty":99,"author":22400,"museum":206,"description":22401,"tags":22402,"thumbUrl":22403,"material":4796,"size":22404,"collection":181,"collections":22405,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":94},222166,"ban-chuang-qing-cui-tu-zhou-xia-chang-222166","半窗晴翠图轴","夏昶","夏昶（1388—1470），字仲昭，號自在居士，江蘇崑山人。永樂十三年（1415）進士，官至太常寺卿。精於楷書，曾為永樂皇帝書榜。師法王紱（1362－1416），繪竹觀察入微，名聲遠播域外。 墨竹取其一竿，由底部凌空而起，枝幹堅立。巧妙運用濃淡墨色變化，表現竹葉正反向背，畫面大量留白，營造層次空間感。竹爲文人士大夫節操象徵，夏氏為官處事清廉，墨竹瘦勁孤高，為其人格寫照。",[23,7,24,241,173,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d9c2987b664b21c5009d24314eaec2.jpg","139.2x45.3厘米",[181,163],{"id":22407,"slug":22408,"title":2663,"dynasty":99,"author":1170,"museum":20,"description":22409,"tags":22410,"thumbUrl":22411,"material":990,"size":22412,"collection":181,"collections":22413,"showCount":22268,"zanCount":1547,"manualWeight":48,"mainColor":5394},222028,"guan-shan-xing-lv-tu-dai-jin-222028","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[23,7,173,177,29,108,109,430,176,35,151,150,175,559,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[181,163],{"id":22415,"slug":22416,"title":15823,"dynasty":189,"author":5444,"museum":20,"description":22417,"tags":22418,"thumbUrl":22419,"material":1449,"size":22420,"collection":181,"collections":22421,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":49},221756,"song-shi-tu-zhou-sheng-mao-221756","本幅左上款署：“至正己亥仲秋廿二日武唐盛懋子昭作此图为祐祯寿。”下钤“子昭”、“盛懋”印。“至正己亥”为至正十九年（1353年），受画人“祐祯”不知为何许人。本幅左下钤鉴藏印“囗公读过”、“见阳图书”、“寒云珍藏元人名迹”、“子安珍藏记”。\n此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[23,209,7,24,241,173,177,1575,298,245,394,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纵77.4厘米，横27.2厘米",[181,163],{"id":22423,"slug":22424,"title":22425,"dynasty":18,"author":1650,"museum":206,"description":22426,"tags":22427,"thumbUrl":22428,"material":40,"size":22429,"collection":42,"collections":22430,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":49},221527,"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[23,7,24,1397,241,173,177,27,864,431,430,108,106,150,900,2124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[42,181,163],{"id":22432,"slug":22433,"title":22434,"dynasty":18,"author":18662,"museum":20,"description":22435,"tags":22436,"thumbUrl":22437,"material":27,"size":22438,"collection":42,"collections":22439,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":49},221439,"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[23,7,24,209,29,177,173,27,176,558,34,35,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[42,181,163],{"id":22441,"slug":22442,"title":336,"dynasty":54,"author":22443,"museum":1985,"description":22444,"tags":22445,"thumbUrl":22446,"material":22447,"size":22448,"collection":163,"collections":22449,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":94},221093,"zhu-tu-rong-yang-221093","荣阳","晚唐时期的绘画，最可注意的就是花鸟画的兴起，中国绘画史上以题材而论，人物画发展最早，其次是山水，花鸟画居第三。花鸟图形用来作丝帛上的花纹和壁画上的装饰，自战国到汉唐都很普遍。但成为绘画的独立题材，是始于中唐而盛于晚唐。边鸾的“折枝”花卉，只画一枝花，无根无干，风格新颖，很受当时人的欢迎。他兼精翎毛，于是奠定了花鸟画的地位。刁光胤更将花鸟画发展到了完善的地步。",[23,7,173,242,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a425482415215a9b6abe08555c3dcd.jpg","绢本，水墨","27.2*23.0cm",[163,2293],{"id":22451,"slug":22452,"title":22453,"dynasty":99,"author":3114,"museum":675,"description":22454,"tags":22455,"thumbUrl":22456,"material":22457,"size":22458,"collection":181,"collections":22459,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":271},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[23,209,7,24,241,173,27,177,29,1015,176,491,866,34,226,14137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[181,163],{"id":22461,"slug":22462,"title":22463,"dynasty":18,"author":5444,"museum":206,"description":22464,"tags":22465,"thumbUrl":16705,"material":27,"size":139,"collection":42,"collections":22466,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":94},220337,"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[23,7,24,81,27,29,174,1351,281,34,109,1016,491,1926,33],[42],{"id":22468,"slug":22469,"title":22470,"dynasty":99,"author":3114,"museum":752,"description":22471,"tags":22472,"thumbUrl":22473,"material":342,"size":22474,"collection":181,"collections":22475,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":94},220002,"pei-jin-gong-shi-yi-tu-dong-qi-chang-220002","裴晋公诗意图","此图是董其昌仿黄公望笔法画唐代裴度的诗意。题跋：门径俯清溪，茅檐古木齐。红尘飞不到，时有小禽啼。君山丈见访海上，写此为赠。补裴晋公（度）诗意图也。 丁已正元三日玄宰识。",[23,7,24,241,173,177,29,176,34,35,106,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c018965263283f7d9de23c6134c8ab.jpg","130.5×39.2cm",[181],{"id":22477,"slug":22478,"title":22479,"dynasty":99,"author":293,"museum":7875,"description":22480,"tags":22481,"thumbUrl":22482,"material":123,"size":139,"collection":44,"collections":22483,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":94},219582,"tong-zi-li-fo-tu-yi-ming-219582","童子礼佛图","团扇取景庭院一隅，玲珑湖石旁牡丹绽蕊晕香，晕染出雅致闲静的氛围。数位童子稚态尽显，或合力捧持佛龛，或敛衣垂首礼拜，憨拙的动作将孩童模仿佛事的天真烂漫融于其中。设色柔丽清雅，衣纹线条纤细婉转，将童子娇憨的神态与稚嫩身形刻画入微，并未渲染礼佛的肃穆沉重，反以孩童的烂漫消解了仪式感，尽显日常嬉玩的松弛意趣，是兼具工致院体笔意与市井童真的小品佳作。",[209,7,24,1562,259,27,106,296,245,84,227,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95ae7ebde4a39a5de3ea7632554bec3.jpg",[44],{"id":22485,"slug":22486,"title":22487,"dynasty":76,"author":22488,"museum":539,"description":22489,"tags":22490,"thumbUrl":22492,"material":123,"size":22493,"collection":44,"collections":22494,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":94},219558,"chun-jie-mo-jing-tu-xu-ting-kun-219558","春节磨镜图","徐廷琨","深宅巷口寒梅初绽，年意漫溢在古雅院墙间。老匠人俯身转轴磨镜，铜轮轻转，正将镜面拭得锃亮。仕女携稚子围拢观望，孩童们或捧起面具把玩，或躲在朱门后探头窥看，更有小顽童踮脚逗趣，把岁朝的松弛鲜活尽数铺展。朱红楹联衬着素淡院墙，冷枝与暖色调相映，笔触细腻温婉，将市井年俗的温情揉进淡墨浅彩里，把巷陌间的年节烟火定格，晕开旧时光里独有的团圆暖意。",[23,7,27,28,241,106,11356,11294,7253,448,14744,22491,35,298,1729],"磨镜工具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b293983689f1320abb018c4c354e19.jpg","53x109cm",[44,45],{"id":22496,"slug":22497,"title":22498,"dynasty":18,"author":3214,"museum":206,"description":22499,"tags":22500,"thumbUrl":22501,"material":123,"size":22502,"collection":44,"collections":22503,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":49},219402,"wu-rui-tu-zhou-su-han-chen-219402","五瑞图轴","本幅描绘五个孩童带着各式的面具，模仿大人们跳起「大傩舞」，傩是一种驱鬼避邪的仪式﹐主要是以扮演各种鬼怪所害怕的人物﹐以达驱鬼除邪的目的。本幅不但设色鲜艳丰富，画家更精心描绘衣服上的各种质材与花纹。画中场景设在一个置有湖石的花园，湖石以细笔皴擦质地，并以留白显示突起的棱线，地面则以排点与平行短线表现树叶与杂草，这些特点显示与弘治宫廷画家吕文英作品有相同的描绘格套，应为明代宫廷风格。",[209,7,24,241,28,27,106,3045,327,242,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9ef843f31da8da3bf30cd9d26b5ab.jpg","165.5x102.5",[44],{"id":22505,"slug":22506,"title":22507,"dynasty":76,"author":10801,"museum":752,"description":22508,"tags":22509,"thumbUrl":22511,"material":88,"size":22512,"collection":45,"collections":22513,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":94},219272,"fang-gong-kai-zhong-nan-gui-qu-tu-fei-dan-xu-219272","仿龚开终南鬼趣图","费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[23,7,27,28,105,106,109,1532,11566,84,298,296,22510,1959,299],"老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3f08da92920c2ef320d48087d820c1a.jpg","124.7x56.5厘米",[45],{"id":22515,"slug":22516,"title":22517,"dynasty":99,"author":293,"museum":238,"description":22518,"tags":22519,"thumbUrl":22520,"material":173,"size":139,"collection":163,"collections":22521,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":49},219245,"qun-yu-xi-shui-tu-yi-ming-219245","群鱼戏水图","画面中四条游鱼摆尾摇鳍，姿态各异：或俯冲而下，或结伴游弋，或相互顾盼，似在清浅碧波中自在穿梭。鱼身以淡墨晕染出细腻鳞纹，线条简劲灵动，将鱼儿的鲜活质感勾勒得淋漓尽致。下方水藻疏朗写意，寥寥数笔点染出摇曳之姿，与游鱼相映成趣，暗喻水的澄澈空濛。背景素净，不着浓墨却尽显空寂中的生机，仿佛能听见水波轻漾之声。整幅作品笔墨简约却意韵悠长，以灵动鱼群与疏淡水藻，营造出悠然恬淡的自然之趣，传递出古人对生命本真的细腻观照与闲适心境。",[23,7,24,173,28,933,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0776132fb25c9eb3a02af0d582f360a.jpg",[163],{"id":22523,"slug":22524,"title":22525,"dynasty":18,"author":22526,"museum":206,"description":22527,"tags":22528,"thumbUrl":22530,"material":123,"size":22531,"collection":90,"collections":22532,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":94},219225,"song-zhi-qun-lu-tu-mou-zhong-fu-219225","松芝群鹿图","牟仲甫","图绘松荫下双鹿，旁有翠竹灵芝。二鹿耸起耳朵，目光凝视同方向，似为某事所惊动。画家以极精致的笔法，描画出二鹿的形态，捕捉到自然界中生动微妙的刹那，这就是宋朝画家的长处。牟仲甫，生卒年待考。随州（今湖北省随县）人。画猿獐猴鹿与易元吉相似，画鸡尤有意趣。",[23,7,209,1562,27,28,449,3167,22529],"芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8e3db937a2cc36b9216018ebe39af9.jpg","23.9x24.3cm",[90],{"id":22534,"slug":22535,"title":22536,"dynasty":189,"author":10811,"museum":364,"description":22537,"tags":22538,"thumbUrl":22539,"material":123,"size":14056,"collection":90,"collections":22540,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":94},219123,"hua-hui-ce-ju-wang-yuan-219123","花卉册-菊","赭黄绢底晕开浅淡秋光，几簇白菊簇生枝侧。花瓣以细劲游丝勾勒，层叠如缕，留白处恍若凝着晨露；旁逸竹枝挺秀，竹叶撇捺间见笔力，墨色深浅映出劲节。右下角粉蝶轻振翅翼，翅脉以淡墨晕染，姿态翩跹欲落未落，为静谧花竹注入灵动生气。\n\n笔法兼工带写，柔媚菊瓣与刚劲竹枝相衬，无浓艳设色却清雅入骨。画面凝萃着文人对秋菊傲霜的喟叹，亦藏着对自然生机的细腻捕捉。笔墨间流转元代文人画的内敛韵致——于素淡中见丰腴，于细微处显匠心，每一笔都似在诉说秋日常景里的清雅情味，让观者沉湎于这份不事张扬的诗意中。",[23,7,24,209,81,27,28,83,453,242,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b9037637de8126cac747bb8560b156.jpg",[90],{"id":22542,"slug":22543,"title":22544,"dynasty":18,"author":293,"museum":132,"description":22545,"tags":22546,"thumbUrl":22547,"material":123,"size":22548,"collection":90,"collections":22549,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor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柳树周围画有五只猫。 母猫的皮毛颜色很好。 它看起来天真无邪，喜欢在草坡上玩耍。",[7,209,27,28,957,956,394,1532,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd568342453b18257f81c6e57ff45b4c5.jpg","纵121横73厘米",[90],{"id":22551,"slug":22552,"title":22553,"dynasty":189,"author":351,"museum":206,"description":22554,"tags":22555,"thumbUrl":22556,"material":88,"size":22557,"collection":90,"collections":22558,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":94},219110,"tao-zhi-song-shu-tu-qian-xuan-219110","桃枝松鼠图","画中一株桃枝，枝上桃叶披盖，桃果结实鲜嫩。一只松鼠攀附在桃枝上，桃枝似乎随之颤动。松鼠长尾蓬松，高高翘起，四肢紧紧抓住树枝，正小心翼翼向桃子行进。该画不设背景，用没骨法画出松鼠和桃枝，设色清丽，颇有情趣。",[23,7,209,28,27,83,7818,14343,711,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee543dd71f018935820f6ac096a19bf.jpg","纵26.3公分，横44.3公分",[90],{"id":22560,"slug":22561,"title":22562,"dynasty":76,"author":13111,"museum":20,"description":22563,"tags":22564,"thumbUrl":22565,"material":123,"size":22566,"collection":181,"collections":22567,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":49},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历（1632—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。少年时遭遇明亡，信奉佛教，后转为信奉基督教。曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。吴历以其独到的艺术风貌与“四王”、恽寿平并称“清初六大家”。据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,7,241,173,177,29,864,297,34,35,108,650,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[181],{"id":22569,"slug":22570,"title":22571,"dynasty":99,"author":293,"museum":752,"description":22572,"tags":22573,"thumbUrl":22574,"material":123,"size":22575,"collection":44,"collections":22576,"showCount":22268,"zanCount":5,"manualWeight":48,"mainColor":49},218275,"ji-le-tu-yi-ming-218275","伎乐图","衣袂相偎处，古调似欲漫出绢素。一人执杖而立，衣纹沉郁如暮云垂落；一人抱阮斜倚，弦上仿佛栖着未散的余音。线条简淡却藏韵致，服饰褶皱如流水舒展，古雅色调晕染出时光的温润。两人姿态亲昵，似共守一段静谧辰光，又或在乐声里彼此慰藉。无繁复布景，仅以人物相依与乐器呼应，便勾勒出伎乐生涯中的一抹温情——让千年后的观者，仍能触到那份含蓄暖意与悠然古意，于绢素间听见岁月的轻吟。",[7,241,27,28,106,59,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb577d3e5073e741217357fcfbccf10a8.jpg","83.4x38.2",[44],{"id":22578,"slug":22579,"title":9145,"dynasty":189,"author":5444,"museum":132,"description":22580,"tags":22581,"thumbUrl":22583,"material":123,"size":22584,"collection":181,"collections":22585,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":49},217866,"chun-shan-you-qi-tu-sheng-mao-217866","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[7,29,27,177,106,150,108,107,175,34,176,2268,491,1926,114,22582,1504,560],"游骑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[181],{"id":22587,"slug":22588,"title":22589,"dynasty":189,"author":293,"museum":132,"description":22590,"tags":22591,"thumbUrl":22592,"material":123,"size":139,"collection":90,"collections":22593,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":49},216668,"you-yu-tu-yi-ming-216668","游鱼图","游鱼图是由元朝（1271-1368年）的佚名画家创作的一幅著名的中国画作。这幅画描绘了一条鱼游动在清澈的池塘中，周围是葱郁的树木和山峦。画中的鱼看起来栩栩如生，似乎可以随时从画面中跳出来。这幅画被认为是元朝画坛上最杰出的代表作之一，因其精细的绘画技巧和生动的写意风格而备受赞赏。",[7,24,173,27,28,933,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c4249a76f6272444c798a69ae2976f.jpg",[90],{"id":22595,"slug":22596,"title":22597,"dynasty":76,"author":707,"museum":206,"description":708,"tags":22598,"thumbUrl":22599,"material":88,"size":139,"collection":139,"collections":22600,"showCount":22268,"zanCount":48,"manualWeight":48,"mainColor":94},214841,"xie-sheng-ce-20-hua-yan-214841","写生册-20",[7,27,28,933,367,227,710,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce710137779d736844fb703d7a06705.jpg",[],{"id":22602,"slug":22603,"title":22604,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":22605,"thumbUrl":22606,"material":743,"size":744,"collection":139,"collections":22607,"showCount":22608,"zanCount":48,"manualWeight":48,"mainColor":49},290354,"hua-he-hua-zhou-chen-hong-shou-290354","画荷花轴",[209,7,24,241,27,83,136,245,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daddd5c38e884b7ee705d40059080ce.jpg",[],85,{"id":22610,"slug":22611,"title":22612,"dynasty":18,"author":823,"museum":364,"description":13349,"tags":22613,"thumbUrl":22615,"material":743,"size":744,"collection":139,"collections":22616,"showCount":22608,"zanCount":1547,"manualWeight":48,"mainColor":49},289131,"hu-pan-you-ju-tu-xia-gui-289131","湖畔幽居图",[1562,7,209,29,173,177,108,109,175,34,1447,491,22614,1409,106,10011,1731],"湖畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c2afeea3f577fe63a183d96a3c4ef6.jpg",[],{"id":22618,"slug":22619,"title":22620,"dynasty":18,"author":4882,"museum":206,"description":22621,"tags":22622,"thumbUrl":22623,"material":317,"size":22624,"collection":42,"collections":22625,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":49},288266,"pi-pa-kong-que-tu-cui-bai-288266","枇杷孔雀图","不同于崔白其他传世作品，画面富丽堂皇，显示出了崔白对黄筌父子画风的传承，应是其尚未变法以前的作品。画中的主体是一对雄雌孔雀，一只栖立在枇杷树上，一只游憩于花丛之间。两只小鸟立于枇杷树枝头，与画面左侧展翅的绶带鸟相望。背景处一块湖石，中间有细竹、杂花相互掩映。 整幅作品为全景式构图，丰满繁复。禽鸟造型体态雍容，逼真生动，惟妙惟肖。在绘画技法上，禽鸟使用的是典型的勾线设色法，用线遒劲，设色上层层渲染，富丽华美。而对画面背景处的山石、枇杷树干的表达，画家则使用了稍微写意性的笔法进行勾勒，并在此基础上使用了皴染技法表现凹凸质感和阴阳向背。这种对树干与景石的描绘方法，我们似乎可以从中感受到崔白在 《双喜图》中，描绘树干所使用的灵活悠游又不失法度的水墨工写结合技法。",[23,7,24,28,27,83,1278,312,281,2063,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","183.1x109.8",[42],{"id":22627,"slug":22628,"title":4639,"dynasty":18,"author":474,"museum":364,"description":4915,"tags":22629,"thumbUrl":22630,"material":743,"size":744,"collection":139,"collections":22631,"showCount":22608,"zanCount":1547,"manualWeight":48,"mainColor":94},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888",[23,209,7,24,25,28,173,83,281,242,1938,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],{"id":22633,"slug":22634,"title":22635,"dynasty":76,"author":953,"museum":20,"description":22636,"tags":22637,"thumbUrl":22638,"material":990,"size":22639,"collection":44,"collections":22640,"showCount":22608,"zanCount":48,"manualWeight":48,"mainColor":94},237136,"ren-yi-feng-chen-san-xia-tu-zhou-ren-yi-237136","任颐风尘三侠图轴","该图的大致内容是：隋末司徒杨素的侍妾红拂女与才子李靖相爱后私定终生，后在剑侠虬髯客的帮助下为唐王李世民建立了功勋。所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。\n风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。\n任颐《风尘三侠图》所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。画家用钉头鼠尾描组成火焰般的衣纹，表现出自己内心按捺不住的激情。任颐曾多次以风尘三侠为题作画，反映了画家对描绘反封建题材的人物画怀有炽热的创作热情。\n马匹作白描法，颇有装饰趣味，黑驴用没骨法，但肌肤的表现效果欠佳。",[209,7,24,241,27,28,106,150,8989],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f741247a6bb0597dc560a48dfb84f.jpg","纵148.5cm、横66cm",[44],{"id":22642,"slug":22643,"title":22644,"dynasty":76,"author":2804,"museum":20,"description":22645,"tags":22646,"thumbUrl":22647,"material":803,"size":139,"collection":90,"collections":22648,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":94},236981,"qiu-se-zhou-wu-chang-shuo-236981","秋色轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[7,24,241,27,173,178,227,245,10154,299,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc0e8896205933dd0727840cc37da2b.jpg",[90,163],{"id":22650,"slug":22651,"title":2846,"dynasty":76,"author":1204,"museum":20,"description":22652,"tags":22653,"thumbUrl":22654,"material":803,"size":22655,"collection":163,"collections":22656,"showCount":22608,"zanCount":48,"manualWeight":48,"mainColor":94},236775,"yu-shi-tu-zhou-zhu-da-236775","此画面十分简洁，仅以简练的笔画，画一鱼一石。一湖石座落在画幅的左侧中段，湖石造型奇特，取岌岌可危之势，石中用枯笔皴染又加重墨点，鱼一尾在宽阔河中游弋，把鱼在特定的环境中的动态和神气表现得活灵活现，其造型非常准确而传神。唯独鱼眼一圈一点，眼珠顶着眼圈，即眼珠点在眼眶的上方，一副白眼向天的神情，形象洗练，造型夸张，表情奇特，构图大胆、新奇。由于画面仅有的怪石、鱼，又画在左侧和下端，而右侧的空白处，作者以自题款署及清王澍题记加以补白，对使整幅作品起到了平衡的作用。\n王澍题记：“八大山人挟忠义激发之气形于翰墨，故其作画不求形似，但取其意于苍茫寂历之间，意画即心，此所谓神韵者也。”\n八大山人的画不少是没有记年，但从风格及款署的习惯，可以判断是那一个时期的作品。如此《鱼石图》轴，款署“八大山人”，据考证他59岁至80岁，用“八大山人”署名，是“八大期”。依据《鱼石图》的特点和署名写法可以判断为晚年时期的作品。",[7,24,173,241,245,933,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1465c1b39b489696b27be749224da061.jpg","纵58.3厘米，横48.6厘米",[163],{"id":22658,"slug":22659,"title":22660,"dynasty":76,"author":707,"museum":20,"description":22661,"tags":22662,"thumbUrl":22664,"material":990,"size":22665,"collection":90,"collections":22666,"showCount":22608,"zanCount":48,"manualWeight":48,"mainColor":94},233941,"hua-yan-qiang-wei-shan-niao-zhou-hua-yan-233941","华嵒蔷薇山鸟轴","华嵒作为活跃于扬州卖画的职业画家，其花鸟画创作善于捕捉自然界中最生动的天趣。图绘春光明媚的时节，一只山鸟栖于蔷薇枝头，引吭高鸣，其清脆的鸣声不仅令无声的画面声情并茂，且生动地图解了“花气晴熏日，鸟声娇战春”之诗意。此图笔墨松秀，设色清丽淡雅，造型自然传神，构图简约空灵，显示了画家在小写意花鸟画方面的非凡造诣和俊逸清新的独特画风。",[7,209,241,27,173,446,83,6716,22663,245],"山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c4ffd5974bd96e38b7cc4bca6e60ff.jpg","纵127.1厘米，横55.5厘米",[90],{"id":22668,"slug":22669,"title":22670,"dynasty":54,"author":577,"museum":364,"description":22671,"tags":22672,"thumbUrl":22673,"material":139,"size":139,"collection":139,"collections":22674,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":49},231005,"shi-nv-xiao-xiang-li-zhou-yan-li-ben-231005","仕女肖像立轴","此作工致写实，仕女端然危坐，神态恬然沉静，尽显闺秀端凝气度。豆绿团衫温婉雅致，衣缘绣纹清丽柔润，发丝轻挽簪花素净，衣纹线条匀细凝练，晕染柔和自然，将仕女娴静温婉的风姿尽数铺展。身侧条案陈置清供法器，古雅沉静，暗合文人雅致意趣。整体设色柔澹沉稳，古绢晕开旧时光晕，笔意朴拙不失精细，将东方古典仕女内敛静穆的风华凝于绢素之上，静谧耐看，带着醇厚古雅的质感。",[23,209,7,241,27,28,106,59,63,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b73f886d81289c69433793116e980d.jpg",[],{"id":22676,"slug":22677,"title":16938,"dynasty":76,"author":293,"museum":364,"description":22678,"tags":22679,"thumbUrl":22680,"material":743,"size":744,"collection":139,"collections":22681,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":49},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,7,24,25,26,27,29,105,28,177,649,34,37,31,35,1255,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],{"id":22683,"slug":22684,"title":22685,"dynasty":189,"author":351,"museum":364,"description":22686,"tags":22687,"thumbUrl":22688,"material":139,"size":139,"collection":139,"collections":22689,"showCount":22608,"zanCount":48,"manualWeight":48,"mainColor":94},228018,"lai-qin-zhi-zi-tu-qian-xuan-228018","来禽栀子图","宋末元初杰出的画家、书法家、诗人， 、 、 、 、肖子中、陈天逸、 、姚式并称“吴兴八俊”，钱选为“吴兴八俊”之首。\n“不管六朝兴废事，一樽且向画图开。\n”宋末元初，特殊的时代环境使得大多数汉文人从仕途中退却，隐逸文化成为当时汉文人生活方式的主流。\n同时，老庄隐逸思想中“平”“淡”的审美特质影响了画家的诗画品格。\n元初画家钱选的花鸟绘画作品所蕴含的诗画意蕴，充分体现了这种影响。\n《东山存稿》卷二中言及钱选作诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”以“淡”而归“真率”，绘画与诗文的统一格调，是钱选人格心理的真实写照。\n绘画主流由宫廷而转入民间的过程中，画家的自我意志得到了畅意与释放。\n宋末元初这一时期，钱选、赵孟、龚开、郑思肖等画家的作品中明显可见题画或题画诗的出现，实质是画家的文人意识与自我认知意识的一种抒发。\n钱选传世可考的一些 作品中常见其题诗，《秋瓜图》中道：“写向小窗醒醉目，东陵闲说故秦侯。\n”《梨花图》卷中题：“寂寞阑干泪满枝，洗妆犹带旧风姿。\n闭门夜雨空愁思，不似金波欲暗时。\n”从绘画题材看，画中的秋瓜、梨花等并非有太多奇巧之处，但画家入木三分的刻画赋与其丰富的情感内涵，再结合题画诗将意蕴内涵表现更为明确。\n“写向小窗醒醉目”是不谙世事的放纵，“东陵闲说故秦侯”却是满腔无奈的追忆与感喟，此秋瓜已非彼秋瓜也。\n而画中的梨花更已幻化为一风华绝代的美人，哀怨忧愁，褪尽铅华，悱恻百转却欲说还休。\n诗句是朴素平实的，而画中的对象在诗意中展开了延伸，从平常无奇的花鸟草木亦能体会出其情意所至。\n诗意中所表达的心绪在绘画的审美中与画家的情感相交融，画作意境由此而得以延伸。\n如果说南宋精美工细的花鸟画小品中能看出画家对具体物象细腻的揣度与恭谨的表现，在钱选的花鸟画中，画家所赋予物象的情感则通过诗作不露痕迹地带出，“洗妆犹带旧风姿”，一个“洗”字将观者对一树梨花的清新冷韵形象地再现出来，伤感、追忆的情绪已在枝头花间弥漫，而作者的情感似乎是中性的、平淡的。\n画境与诗境的相通并非是简单直接的描述或说明，而是在另一个较高层次上意趣的通融。\n钱选位居“吴兴八俊”并非完全以其绘画，而是“以诗擅名”，画为文之极，深厚的文学修养必然影响到其对绘画的理解与表现。\n清代陆心源所撰《仪顾堂集》《钱选传》中道：“尤善作折枝，其得意者赋诗其上。\n”钱选流传至今的画作上，无论有无题诗，皆有款识印章的出现。\n款识的出现与变化可能还有另外的原因，当绘画作品突破皇家欣赏的专属，在民间也广为流传时，作品的真伪问题就突显了出来。\n钱选在吴兴当地的画誉较高，时人以“吴兴三绝”分别指钱选的画、赵孟的字以及冯应科的笔。\n钱选作品在具备较高绘画造诣的同时，也有较强的课徒之资。\n其作品《来禽栀子图》现藏于美国弗利尔美术馆，图上绘有两株栀子花并未见禽鸟，一说可能是原图的残简，有一说“来禽栀子”本为花名。\n画中两株花枝势态怡然，摇曳生姿。\n花、叶穿插掩映有致，色调淡雅和谐。\n其画后隔水有赵孟跋：“来禽栀子，生意俱足。\n舜举丹青之妙于斯见之。\n其他琐者必其徒所为也。\n孟”足见，钱选的绘画在当时已为众多后学所追摹本。\n赵孟在钱选《八花图》卷后题跋：“右吴兴钱舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。\n尔来此公日酣于酒，手指颤掉，难复作此。\n而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。\n”山东省出土的钱选《白莲图》卷上也有作者的自跋：“余改号溪翁者，盖赝本甚多，因出新意，使作伪之人知所愧焉。\n钱选舜举。\n”显然，款识与画家身份的辨别在元初得到了进一步的发展，至元中后期画家在画面题款已蔚然成风，同时对画家书法品质的要求也起到了推动的作用。\n从作品来看，钱选书法明显承袭钟繇一路风格，含蓄内敛、平淡天真，法度严谨却又以拙胜巧。\n在钱选的绘画作品中，诗文、书法、绘画、款印相得益彰，书法的审美意蕴与题画诗意均呈现出某种同一的美学特质。\n再经由赵孟等人对“书画同源”观念的推动，发展为大多数文人画家所接受，奠定了后来整个文人画作样式上的基本面貌。\n明代沈颢在《画》中言：“元以前多不用款，款或隐之石隙，恐书不精，有伤画局。\n后来书绘并工，附丽成观。\n”显然，元初是书画款识的一个分界点，沈颢还从画面的结构关系上指出：“一幅中有天然候款处，失之则伤局。\n” 在花鸟画史研究中，论及钱选都认为其承南宋的画风。\n从画面效果来看，现藏于 的《牡丹图》卷是钱选花鸟画中风格较为接近南宋院体的一幅。\n也可能是由于牡丹本身繁茂明丽、雍容华贵的特质，拉近了作品与宫廷审美风格的关联。\n在钱选的画笔之下，花团锦簇，枝叶丰茂，写出牡丹的繁盛之妆容。\n明丽丰满的花头似乎随风摇曳，令人在体会到灼目芳华时却又顿生转瞬既逝的感喟。\n画面空疏有致，题款：“万卉何能继后尘，蜂喧蝶驻亦钟情。\n莫嫌开处春还暮，长向西都见太平。\n”七绝一首在画面左侧，画面形式上来看，题款与牡丹位置相距甚远，中有留白。\n显然作者在画面经营上是匠心独运的，以留白与牡丹花枝紧簇形成对比，增添了繁与简、荣与空之间的对比，从而增添了对牡丹内在审美意蕴的理解。\n题画诗所形成的纵向线条感疏朗有致，增添了画面的形式构成。\n从画面的整体来看，小楷的书写效果，朴实无华，独特一帜。\n同时，又能以诗意提升画意，作者在传承传统技法的同时，以自我的文化修养为作品的创新发展注入了新的因素。\n与同时代的画家相比，钱选花鸟画作品的独特性体现出两方面的辩证联系：一方面是显性的，时人评价钱选之诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”此论形容其绘画含蓄凝练，以平淡为格。\n在传承古典绘画技法的同时，将传统 的审美范畴拓展到更富于文人气质的表现上。\n其绘画命意高古，造型赋色独具意趣，以题画诗延伸画意，并在形式上以题跋款识介入画面，形成诗文书画合一的画面风格，为后世文人画家所效仿。\n另一方面，也是更为本质的一方面，他始终坚持在绘画本体的层面进行创作，文学因素的影响始终建立在其对绘画本身的追求与坚持之上。\n即使在钱选晚期的代表作《白莲图》卷中，色彩的渲染简约到了极致，几乎近于白描，但用线造型无不流畅细腻，富于表现力，可谓“精工之极”的典范。\n在宋元相交之际，绘画向主观写意转变的时代潮流中，钱选始终坚持对客观物象的尊重，坚持“状物”之美的表现，将富于文人意味的审美理想内化于其作品之中，这使他与当时的主流绘画样式拉开了距离，从而树立了自我的价值，形成独特的自我风格。",[23,209,7,24,25,27,28,83,2301,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2c8b9c667d1fd5c374bd1445018bdf.jpg",[],{"id":22691,"slug":22692,"title":22693,"dynasty":18,"author":538,"museum":364,"description":22694,"tags":22695,"thumbUrl":22696,"material":139,"size":139,"collection":139,"collections":22697,"showCount":22608,"zanCount":1547,"manualWeight":48,"mainColor":49},227515,"xi-qiao-xian-shui-tu-zhou-mi-fei-227515","溪桥闲睡图轴","米芾平生书法用功最深，成就以行书为最大。南宋以来的著名汇帖中，多数刻其法书，流播之广泛，影响之深远，在北宋四大书家中，实可首屈一指。康有为曾说:唐言结构，宋尚意趣。意为宋代书法家讲求意趣和个性，而米芾在这方面尤其突出。\n米芾习书，自称集古字，虽有人以为笑柄，也有赞美说天姿辕轹未须夸，集古终能自立家(王文治)。这从一定程度上说明了米氏书法成功的来由。根据米芾自述，在听从苏东坡学习晋书以前，大致可以看出他受五位唐人的影响最深:颜真卿、欧阳询、褚遂良、沈传师、段季展。\n米芾作为北宋著名的画家，处在一个文人画的成熟时代，其绘画题材十分广泛，人物、山水、松石、梅、兰、竹、菊无所不画;米芾在山水画上成就最大，但他不喜欢危峰高耸、层峦叠嶂的北方山水，更欣赏的是江南水乡瞬息万变的烟云雾景，天真平淡，不装巧趣的风貌;所以米芾在艺术风格里追求的是自然。他所创造的米氏云山都是信笔作来，烟云掩映。",[23,7,209,241,173,29,177,108,109,106,34,558,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fc0c226ae1c64375a959be6d59f6a7.jpg",[],{"id":22699,"slug":22700,"title":22701,"dynasty":76,"author":3679,"museum":364,"description":22702,"tags":22703,"thumbUrl":22704,"material":139,"size":139,"collection":139,"collections":22705,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":94},224378,"hua-hui-qi-shi-ce-shi-er-kai-8-ju-lian-224378","花卉奇石册-十二开-8","此作用笔秀润工致，湖石嶙峋朴拙，留白孔洞衬出通透雅姿，旁侧幽竹叶叶分明，清隽舒展。石畔野花柔婉娇妍，细草萦地，将小景衬得生机悠然。\n\n附石螳螂昂首凝神，振翅小虫翩跹于空，草虫刻画毫厘毕现，将灵动野趣藏于静雅景致中。设色轻浅柔和，晕染细腻自然，工笔精致却不板滞，将幽寂庭隅的清趣鲜活定格，于尺幅绢素间，糅合草木的静雅与草虫的生机，尽显闲淡悠然的逸致，勾勒出夏日庭间的鲜活幽谧。",[23,7,24,81,27,28,83,242,2063,84,712,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288770c4e7a26717f5dbb64eb7856ee.jpg",[],{"id":22707,"slug":22708,"title":22709,"dynasty":76,"author":674,"museum":20,"description":22710,"tags":22711,"thumbUrl":22712,"material":40,"size":22713,"collection":44,"collections":22714,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":49},222862,"shi-gong-ci-tu-ce-leng-mei-222862","十宫词图册","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,7,28,27,104,178,227,106,107,502,2838,297,1532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e2972b1c52918200e2cb77c491e77.jpg","纵33.1厘米，横29.3厘米",[44],{"id":22716,"slug":22717,"title":22718,"dynasty":99,"author":1996,"museum":276,"description":5506,"tags":22719,"thumbUrl":22720,"material":619,"size":5510,"collection":139,"collections":22721,"showCount":22608,"zanCount":48,"manualWeight":48,"mainColor":94},222568,"hua-hui-tu-7-chen-chun-222568","花卉图7",[23,209,7,24,1086,446,173,27,83,84,225,226,1461,8349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg",[],{"id":22723,"slug":22724,"title":22725,"dynasty":99,"author":13656,"museum":20,"description":22726,"tags":22727,"thumbUrl":22728,"material":40,"size":22729,"collection":44,"collections":22730,"showCount":22608,"zanCount":48,"manualWeight":48,"mainColor":49},222404,"shu-xia-du-shu-tu-zhou-hui-wu-wei-222404","树下读书图轴绘","画面内容表现的是传统的隐逸耕读题材，一位中年文士耕牧之余在树下休憩，展卷读书，自得其乐。明中期以后政治日益腐败，科举仕途之路充满了不确定性，因此不少文人产生了遁世思想，选择远离官场的闲适生活。吴伟一生两度出入宫廷，对官场和民间都有着深刻的体会，此类题材多次出现在他的笔下。此作用笔潇洒劲健，多以侧锋运笔，锋芒毕露。",[7,209,24,241,173,27,106,29,430,431,281,490,14604,177,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[44,163],{"id":22732,"slug":22733,"title":22734,"dynasty":99,"author":4314,"museum":1985,"description":4868,"tags":22735,"thumbUrl":22737,"material":665,"size":4876,"collection":139,"collections":22738,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":49},222393,"si-ji-hua-niao-tu-chun-lv-ji-222393","四季花鸟图-春",[23,7,209,28,27,83,448,224,2555,176,1062,241,22736],"开花树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342faa17d4f14661d3abe4bf10e5735.jpg",[],{"id":22740,"slug":22741,"title":5615,"dynasty":99,"author":21111,"museum":1806,"description":22742,"tags":22743,"thumbUrl":22744,"material":619,"size":22745,"collection":181,"collections":22746,"showCount":22608,"zanCount":48,"manualWeight":48,"mainColor":94},222076,"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[23,7,1397,105,177,173,176,34,107,108,109,567,175,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[181,163],{"id":22748,"slug":22749,"title":22750,"dynasty":189,"author":8176,"museum":206,"description":22751,"tags":22752,"thumbUrl":22754,"material":22755,"size":22756,"collection":181,"collections":22757,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":49},221689,"yun-heng-xiu-ling-zhou-gao-ke-gong-221689","云横秀岭轴","画面上高岭秀拔，烟树云横，清涧流泉，木桥孤亭。笔法厚重，设色浓郁，气韵流润。山顶部分树头作青绿横点，山下坡角多用“披麻”皴法间施赭色，吸收了董源、米芾二家法，别开生面，自成家数，是高氏山水画代表作。本幅无作者款印，上方元邓文原、李衎二题称此图为高氏所画，当可信。李衎题云：“予谓彦敬画山水，秀润有余而颇乏笔力，常欲以此告之，宦游南北不得会面者今十年矣。此图树老石苍，明丽洒落，古所谓有笔有墨者，使人心降气下，绝无可议者”。该题时在至大己酉(19)六月，是高氏去世前一年。高氏创作此图的时间应在此前不久。本幅尚有清乾隆皇帝弘历题诗一首，并钤乾隆诸玺。《石渠宝笈》等书著录。",[23,7,1397,241,173,27,177,1329,864,22753,34,560,176,37,565],"岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a3b151c29770cbb6ae78260a23de70.jpg","绢本，重设色","纵182.2厘米，横16.7厘米",[181,163],{"id":22759,"slug":22760,"title":22761,"dynasty":18,"author":1650,"museum":752,"description":22762,"tags":22763,"thumbUrl":22764,"material":342,"size":22765,"collection":181,"collections":22766,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":49},220355,"ge-jiang-yu-di-tu-ma-yuan-220355","隔江渔笛图","虬曲古松斜探向江心，水榭之上，对坐雅士凝神侧耳。江渚渔舟隐约，悠悠笛声似随烟波漫过江心，牵住了右下角策杖白衣人的脚步，他正循声缓行。\n\n空濛烟霭晕染开远近山水，以虚实相生之笔，将无形笛音化为可见的诗意。取景删繁就简，把咫尺画幅铺展出阔远意境，淡墨轻岚间，揉合山水闲趣与知音灵犀，静里含声，淡中藏情，尽揽清雅韵致。",[7,24,29,241,27,177,174,175,106,109,394,1016,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d364841d70827b047f24fae7b80225.jpg","156.1 x 86.3 cm",[181],{"id":22768,"slug":22769,"title":22770,"dynasty":76,"author":850,"museum":206,"description":22771,"tags":22772,"thumbUrl":22773,"material":123,"size":22774,"collection":45,"collections":22775,"showCount":22608,"zanCount":1547,"manualWeight":48,"mainColor":94},219302,"shi-jun-tu-zhi-ru-yi-cong-zhou-lang-shi-ning-219302","十骏图之如意骢轴","银鬃如瀑覆颈垂尾，肌理间星斑错落似落雪沾霜。骏马昂首而立，筋肉起伏藏于柔毫之下——西洋写实技法精准勾勒骨相，东方水墨晕染鬃毛显柔韵。绢本素净如宣纸，衬得如意骢神骏挺拔，姿态灵动若将嘶鸣。旁侧墨笔题跋与朱印相映，添文人雅趣。中西技法相融，既存西域良驹的雄健风骨，又含中式审美的含蓄意境，成鞍马画作中跨文化对话的传世妙品。",[7,24,241,28,27,150,957,11350,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38449328316c44de09d076a3ad08c00d.jpg","231.2x278.1",[45],{"id":22777,"slug":22778,"title":22779,"dynasty":18,"author":22780,"museum":7875,"description":22781,"tags":22782,"thumbUrl":22783,"material":342,"size":22784,"collection":90,"collections":22785,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":94},218640,"qiu-lan-tu-quan-juan-zheng-si-xiao-218640","秋兰图全卷","郑思肖","这幅画描绘了一棚无根的兰花，只有几片叶子，其中两片叶子细长而美丽，右边的兰花盛开，芳香四溢。",[23,7,24,25,173,446,452,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50b81ebe46546096d829c3ee4a31f63.jpg","23.2x55.6",[90],{"id":22787,"slug":22788,"title":22789,"dynasty":99,"author":22790,"museum":206,"description":22791,"tags":22792,"thumbUrl":22793,"material":342,"size":22794,"collection":44,"collections":22795,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":94},216944,"ru-lai-xiang-sun-huang-216944","如来像","孙璜","Rādhārāṇī是释迦牟尼佛的十大名号之一。如 又称 如来，即 真如，指的是佛陀所说的绝对真理，按照这个真理行事，就能达到佛陀领地的外部世界。中国佛教徒尊崇他为最高的神灵。这幅画的笔法与《曹衣出水》相同，只是手太大了，也可能是作者为了显示自己的 神性 而想这么做。",[7,24,259,106,260,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df3abe0179d316e6b6680707fa9ce16.jpg","101x45.1",[44],{"id":22797,"slug":22798,"title":22799,"dynasty":76,"author":20231,"museum":539,"description":22800,"tags":22801,"thumbUrl":22803,"material":88,"size":22804,"collection":44,"collections":22805,"showCount":22608,"zanCount":48,"manualWeight":48,"mainColor":94},214987,"zhi-tou-za-hua-ce-gao-qi-pei-214987","指头杂画册","清朝时期的高其佩是一位著名的画家，他的指头杂画册是一本收录了他的各种杂画的画册。这本画册是高其佩的代表作之一，其中包含了他的许多经典作品。高其佩的指头杂画册被广泛认为是清朝时期最优秀的画册之一，其中的画作展现了高其佩高超的画技和对自然的深刻理解。\n\n高其佩的指头杂画册中的画作涵盖了许多不同的题材，包括自然风景、人物、动物、花卉等。他的画作细腻生动，富有表现力，深受观众的喜爱。高其佩还经常在他的画作中加入许多寓意深刻的元素，使得他的画作不仅具有观赏性，而且富有哲理性。\n\n高其佩的指头杂画册是他一生的杰作，也是中国传统绘画的瑰宝。现在，这本画册被广泛收藏，并被认为是中国文化遗产的重要组成部分。",[23,7,24,81,173,22802,106,59,300,227],"指头画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1303c0abf4226c4f79f47a932c622f9e.jpg","36.7x33.1cm",[44,90],{"id":22807,"slug":22808,"title":22809,"dynasty":99,"author":7191,"museum":206,"description":22810,"tags":22811,"thumbUrl":22812,"material":342,"size":22813,"collection":181,"collections":22814,"showCount":22608,"zanCount":48,"manualWeight":48,"mainColor":94},214587,"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[209,7,24,81,173,105,177,29,108,109,34,176,35,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[181],{"id":22816,"slug":22817,"title":22818,"dynasty":76,"author":707,"museum":752,"description":1872,"tags":22819,"thumbUrl":22820,"material":803,"size":1875,"collection":139,"collections":22821,"showCount":22608,"zanCount":5,"manualWeight":48,"mainColor":49},214356,"san-jue-shan-shui-ce-4-hua-yan-214356","三绝山水册-4",[23,7,24,81,27,173,177,29,176,34,109,464,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472b6ddb8c19b4a43c8b7bba13cd7d00.jpg",[],{"id":22823,"slug":22824,"title":22825,"dynasty":99,"author":1996,"museum":364,"description":22826,"tags":22827,"thumbUrl":22828,"material":743,"size":744,"collection":139,"collections":22829,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":94},290918,"ping-he-xie-sheng-zhou-chen-chun-290918","瓶荷写生轴","陈淳（1483－1544），字道复，自号白阳山人，江苏长洲人。擅长写意花卉，尤妙写生。款‘辛丑秋日’，时年五十八岁。宋、明以后，花道兴盛，仿古铜觚既可插花，亦可为书斋案头摆饰，深得文人推崇。长梗荷花与叶柄向上伸展，几乎占满画面，独树一格。以钩勒法写荷，没骨法写叶，杂草劲挺交错其中。寥寥几笔写出花叶形态，水墨交融层次丰富，将文人审美情趣与花卉写意完美结合，应是画家醉后遣兴之作。",[7,241,173,83,136,244,227,710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde40b5e80b3b9679327bf17061f192c9.jpg",[],84,{"id":22832,"slug":22833,"title":7912,"dynasty":99,"author":22834,"museum":364,"description":22835,"tags":22836,"thumbUrl":22837,"material":743,"size":744,"collection":139,"collections":22838,"showCount":22830,"zanCount":5,"manualWeight":48,"mainColor":49},290312,"sui-chao-tu-zhou-tao-cheng-290312","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[7,24,241,209,27,83,449,448,15804,227,86,178,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],{"id":22840,"slug":22841,"title":22842,"dynasty":189,"author":351,"museum":364,"description":22843,"tags":22844,"thumbUrl":22845,"material":743,"size":744,"collection":139,"collections":22846,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":49},290099,"fu-yu-shan-ju-tu-qian-xuan-290099","浮玉山居图","《浮玉山居图》是钱选为山居霅川浮玉山的写景。图中山峦分三组，山势峻峭。湖上烟雾蒙蒙，山坳白云缭绕，更有用简笔点缀的茅舍、渡舟、小桥、老翁，一派江南水乡清润秀妍景色。全卷笔意冲淡，画意静穆，用笔工整而不板。",[23,209,7,24,25,27,29,176,1250,6178,109,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c05f9c52d56eb6131b8f94b511ff173.jpg",[],{"id":22848,"slug":22849,"title":22850,"dynasty":204,"author":4640,"museum":364,"description":22851,"tags":22852,"thumbUrl":22853,"material":743,"size":744,"collection":139,"collections":22854,"showCount":22830,"zanCount":5,"manualWeight":48,"mainColor":49},287374,"mu-dan-tu-ye-huang-quan-287374","牡丹图页","五代时期的黄荃擅长工笔牡丹，钩花填色，富丽工巧。北宋郭若虚在《图画见闻志》中称其为“黄家富贵”。他笔下的牡丹不仅着意表现牡丹的姿态，更重视表现牡丹富贵吉祥的寓意。",[209,7,24,83,28,27,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc068ad0be98f133efd214bda7be63318.jpg",[],{"id":22856,"slug":22857,"title":486,"dynasty":76,"author":1204,"museum":364,"description":22858,"tags":22859,"thumbUrl":22860,"material":139,"size":139,"collection":181,"collections":22861,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":94},235165,"shan-shui-ce-zhu-da-235165","此作用笔简淡疏朗，以极省减的墨色绘就山水丘林。远山以枯淡墨线勾出轮廓，淡墨晕染出覆雪清寒，林麓隐在氤氲雾气间。近岸枯木虬曲错落，间有矮松凝立，坡岸浅渚以淡墨轻扫，寥寥数笔便铺展出江天寥廓的空茫。\n\n大片留白铺陈出天地荒寒的禅意，题款与朱印点缀留白处，虚实相生。整体气韵冷逸孤高，淡墨里藏着疏淡超脱的襟怀，将萧寒天地与幽独心境相融，笔底皆是清冷出尘的林下意趣，淡而弥远，简却传神。",[7,24,81,173,177,29,1015,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef34faa497c9e7d24e38b8640a268bb.jpg",[181,163],{"id":22863,"slug":22864,"title":22865,"dynasty":76,"author":22866,"museum":364,"description":22867,"tags":22868,"thumbUrl":22869,"material":139,"size":139,"collection":139,"collections":22870,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":49},230220,"zhu-lin-qi-xian-tu-yu-ling-230220","竹林七贤图","俞龄","茂林修竹围出一方幽隐天地，清溪穿林而过，山石错落间，贤士们各寻幽趣：或凭栏低语，或临流浣漱，或围坐弈棋，或卧于松石间静听竹涛。淡墨写竹虚实相生，将林下清寂晕染开来，人物衣袂飘然，神态闲散疏朗，尽显放旷超脱的魏晋风神。\n\n整幅画面疏密相宜，把林泉高致与雅集之乐相融，笔墨简淡却意韵悠长，将先贤寄身丘壑、不逐尘俗的襟怀凝于绢素，让千年前的林下风流历历在目。",[23,7,24,27,28,106,29,242,431,1959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00aacaf067d0373a0657f73de52f1401.jpg",[],{"id":22872,"slug":22873,"title":22874,"dynasty":99,"author":293,"museum":364,"description":22875,"tags":22876,"thumbUrl":22877,"material":743,"size":744,"collection":139,"collections":22878,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":1335},228411,"wen-shu-xiang-yi-ming-228411","文殊像","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[209,7,24,630,259,28,27,106,29,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d6a64a1e16572aa440c8f1e0300caf.jpg",[],{"id":22880,"slug":22881,"title":22882,"dynasty":18,"author":293,"museum":78,"description":22883,"tags":22884,"thumbUrl":22885,"material":665,"size":22886,"collection":42,"collections":22887,"showCount":22830,"zanCount":5,"manualWeight":48,"mainColor":49},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[23,209,7,24,25,104,28,27,106,107,109,154,149,34,36,9885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","纵55.4厘米横124.1厘米",[42,45],{"id":22889,"slug":22890,"title":22891,"dynasty":76,"author":293,"museum":20,"description":22892,"tags":22893,"thumbUrl":22894,"material":665,"size":22895,"collection":139,"collections":22896,"showCount":22830,"zanCount":1547,"manualWeight":48,"mainColor":49},223473,"zhi-ping-shi-nv-tu-yi-ming-223473","执瓶仕女图","画中少女立于画中，长袍长裙飘扬，高举丝绸高瓶，丝绒修长，露出的右手指甲细长，这姑娘应为高官达人家眷或宫廷内女子",[7,24,241,27,28,106,59,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c7df1b022f11cc8235ca9a2a3f80c2.jpg","92x56厘米",[],{"id":22898,"slug":22899,"title":22900,"dynasty":76,"author":10376,"museum":56,"description":14135,"tags":22901,"thumbUrl":22903,"material":1642,"size":14633,"collection":139,"collections":22904,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":49},222814,"fang-gu-si-ji-shan-shui-tu-fang-li-ying-qiu-ping-lin-san-mu-wang-hui-222814","仿古四季山水图-仿李营丘平林散牧",[23,7,3117,27,177,29,1015,3433,22902,151,174,35,491,109,1445],"牧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28673520e3afdb6b01f941c6478c7144.jpg",[],{"id":22906,"slug":22907,"title":22908,"dynasty":99,"author":337,"museum":206,"description":22909,"tags":22910,"thumbUrl":22911,"material":619,"size":22912,"collection":181,"collections":22913,"showCount":22830,"zanCount":1547,"manualWeight":48,"mainColor":49},222525,"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","此图是王绂的代表作，写文人雅士于山亭聚会的情景。该图立意古逸，构图严谨。图中笔墨浑厚华滋，在继承元代文人画的基础上融合进了自己的笔意。山石先以枯淡墨皴写，按结构层层叠加，最后以浓重墨勾勒点苔，使整幅画面有苍润之感。\n此画立意古逸，构图严谨，山上小溪、泉水流淌有声，山下河中可泛舟，山林间亭台楼阁隐现，这是一处可游可居的幽雅胜境。近景古朴山亭中已有几个文人在那里论诗作画，山下还有文人或乘舟、或步行赶来应约赴会。此图山水胜境为文人雅集提供了优美环境，文人雅集又为山水胜境增添了诗情画意。\n此画笔墨深厚滋润，结构繁密，但密而不塞。画法上颇富于变化，是在王蒙的章法上加以变化而来。山石皴法点苔，似从王蒙法度中来，然后用笔粗犷，又有新意。有的山石以枯笔作解索皴，兼用乱柴皴、小斧劈皴，笔线富于动感。然后层层迭染，最后以浓墨勾皴打点，积墨层层，显得凝重厚实。树木和茅亭的画法在王蒙、倪瓒之间，笔力雄劲，墨气沉厚。即使山顶的小树，也一一画出树干，各具形态，而不是元画中常见的以点为树的处理。整个画面具有既苍茫湿润又清灵爽利的特殊效果。",[7,24,241,173,177,29,175,106,34,176,109,37,1445,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[181,163],{"id":22915,"slug":22916,"title":22917,"dynasty":99,"author":100,"museum":20,"description":2101,"tags":22918,"thumbUrl":22919,"material":40,"size":2105,"collection":139,"collections":22920,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":94},222190,"ren-wu-gu-shi-tu-ming-fei-chu-sai-chou-ying-222190","人物故事图-明妃出塞",[23,7,209,24,81,28,27,106,150,154,900,59,956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ba20774bb9e29add1a777c3c73b95e.jpg",[],{"id":22922,"slug":22923,"title":22924,"dynasty":99,"author":966,"museum":206,"description":22925,"tags":22926,"thumbUrl":22927,"material":67,"size":22928,"collection":181,"collections":22929,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":94},221969,"fang-wang-meng-shan-shui-zhou-wen-zheng-ming-221969","仿王蒙山水轴","该幅画叠峦飞瀑，山溪蜿蜒。全作景密而笔松，意精而迹放，清奇浑厚。此帧纸狭而长，构景重叠而繁复。徵明晚年好作此种，晚期吴派亦多受此影响。\n五月五日，仿王蒙山水轴。此幅构景重叠而繁复，略似沈周庐山高，而庐山高为宽纸短幅，其中时以云水隔断，此帧纸狭而长，峰峦晴爽，故更觉繁密重叠也。徵明晚年好作此种，晚期吴派亦多受此影响。结顶一山，石纹勾勒，甚为奇特，董其昌山水，常在群山中一两处作奇石，盖亦自此出。\n此帧董其昌旁题云：“文待诏仿黄鹤山樵，几欲乱眞”，是出自由衷之赞语。此帧景密而笔松，意精而迹放，清奇浑厚，兼而有之。是大家悉力之作。",[23,7,241,173,177,105,29,176,34,558,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd029fea8a32761fc2fa01e64733e96fa.jpg","全幅 57.2公分",[181,163],{"id":22931,"slug":22932,"title":1692,"dynasty":18,"author":22933,"museum":12966,"description":22934,"tags":22935,"thumbUrl":22936,"material":173,"size":22937,"collection":42,"collections":22938,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":49},221505,"shan-shui-tu-yan-ci-yu-221505","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[23,7,209,24,27,177,29,176,34,37,650,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[42,181,163],{"id":22940,"slug":22941,"title":22942,"dynasty":54,"author":22943,"museum":206,"description":22944,"tags":22945,"thumbUrl":22946,"material":40,"size":22947,"collection":44,"collections":22948,"showCount":22830,"zanCount":5,"manualWeight":48,"mainColor":49},221134,"da-bei-guan-yin-xiang-zhou-fan-qiong-221134","大悲观音像轴","范琼","头戴宝冠，宝冠中画阿弥陀佛，在青色莲台上结跏趺坐。\n他有三只眼睛、四十二只手，每只手掌中间还画一只眼睛，是密教中千手千眼观音（又称大悲观音）的一种类型。\n此幅右下方有范琼（活动于八四六－八七九年）的题款，虽然清代的查士标和张丑都认为这是一幅范琼的真迹，可是这幅观音女相的造形与唐代的 不同，反而和明代的观音较为接近，所以推测它可能是一件明代的画作。\n范琼，唐文宗时人。86至84（开成年）与陈皓、彭坚同时同艺寓居蜀城（今成都）。三人善画人物、佛像、天王、罗汉、鬼神。三人同手于诸寺图画佛像。自大中至乾符，笔无暂释，图画二百余间墙壁。如圣寿寺大殿释伽像，行道北方天王像、西方变相、殿上小壁水月观音等，与圣兴寺大殿东北二方天王、药师十二神、释迦十弟子、弥勒像、大悲变相等；名目虽同，形状一无同者。\n尝作刍瑟磨像两堵，设色未半，笔踪俨然，后之妙手终莫能继。\n大中年（八四七至八五九）所绘大悲观音像躯不盈尺而三十六臂皆端重安稳，所执诸物各尽其妙。\n笔迹如缕而精劲温润，妙穷毫厘。\n其卢楞伽、曹仲宣之徒欤。\n《德隅斋画品、米芾画史、图画见闻志》",[209,7,24,241,259,106,27,28,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cbcfa8a4804974fb3a4d454c07fde3.jpg","该幅 67.3x39.9公分；右上边题签 23.8x2公分；左下方题 26.7x8.7公分",[44,45],{"id":22950,"slug":22951,"title":22952,"dynasty":390,"author":22953,"museum":206,"description":22954,"tags":22955,"thumbUrl":22956,"material":803,"size":22957,"collection":181,"collections":22958,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":49},221014,"shan-shan-tu-juan-dai-kui-221014","剡山图卷","戴逵","戴逵（326－396年），字安道，谯郡铚县（今安徽省濉溪县临涣镇）人。东晋时期隐士、美术家、雕塑家，金城太守戴绥之子。\n\n早年师从名儒范宣，博学多才，善于鼓琴，工于绘画人物和山水。终身不仕，坚拒太宰武陵王（司马晞）召命和王徽之雪夜拜访。\n\n孝武帝司马曜即位，累次征辟，全部不就。太元二十一年，去世。著有《戴逵集》9卷，今已散佚。",[23,209,7,24,25,27,177,29,649,34,176,920,14137,227,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","38.4x615",[181,45],{"id":22960,"slug":22961,"title":22962,"dynasty":189,"author":2519,"museum":11075,"description":22963,"tags":22964,"thumbUrl":22965,"material":803,"size":22966,"collection":382,"collections":22967,"showCount":22830,"zanCount":5,"manualWeight":48,"mainColor":94},220884,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220884","般若波罗密多心经","2017年12月，赵孟頫《般若波罗蜜多心经》以1.909亿元的成交价被甘肃天庆博物馆竞得。",[23,209,7,24,25,259,178,86,11078,227,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0264b2ce1fb06dde7fecef5a1e0eb419.jpg","28.6×11.9cm×5",[382],{"id":22969,"slug":22970,"title":22971,"dynasty":99,"author":1480,"museum":206,"description":22972,"tags":22973,"thumbUrl":22974,"material":342,"size":22975,"collection":44,"collections":22976,"showCount":22830,"zanCount":1547,"manualWeight":48,"mainColor":94},220377,"ban-ji-tuan-shan-tu-tang-yin-220377","班姬团扇图","画中，班姬手拈纨扇，独自在棕榈树下悄然而立。尽管画的是明眸粉颊、姿容秀丽，神情却怅然若有所思。庭前，点缀着一株花蕊绽放的蜀葵，画家应是想藉此来暗示时序已属夏末秋凉的季节。\n唐寅原是恋恋红尘里的有情种子，素来就擅长图写女性形象。本幅援引文学作品入画，透过人物与景境的巧妙配搭，具体呈现了画中人的感情和际遇。这份深刻、动人的描写力，无疑已让观者超迈了时空的隔阻，共感于汉代美人的沧桑与情痴！",[23,7,24,241,27,28,106,59,430,298,115,7039,227,1966],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c91421866b019a6fe5f56d55012294.jpg","150.4×63.6公分",[44,45],{"id":22978,"slug":22979,"title":22980,"dynasty":99,"author":293,"museum":7359,"description":22981,"tags":22982,"thumbUrl":22985,"material":2398,"size":139,"collection":45,"collections":22986,"showCount":22830,"zanCount":5,"manualWeight":48,"mainColor":1335},220336,"kong-que-ming-wang-yi-ming-220336","孔雀明王","主尊身色莹白慈悲，六臂分持莲华、鲜果、摩尼宝珠与孔雀翎，怀捧宝瓶，璎珞衣饰以金彩勾勒，尽显华贵庄严。乘骑孔雀羽翼丰美晕染细腻，翎羽层次分明，神姿昂然。背景以深褐为底，孔雀开屏式圆光环伺主尊，眼纹环饰精巧神秘。整体设色沉厚古雅，工笔细密入微，衣袂织物的柔润光泽与造像的神圣感融为一体，在静谧肃穆的氛围里，传递出密宗造像护国息灾的神圣力量，是极具代表性的佛绘精品。",[23,7,28,27,241,259,106,312,224,1862,22983,10898,22984,11056,4896,84],"多臂人物","装饰图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe61e91b9aaf3f5abd9e79c97669b37e.jpg",[45],{"id":22988,"slug":22989,"title":19827,"dynasty":18,"author":22990,"museum":206,"description":22991,"tags":22992,"thumbUrl":22993,"material":123,"size":22994,"collection":42,"collections":22995,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":1335},220218,"jiang-shan-xue-ji-tu-lou-guan-220218","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[23,209,7,1397,1160,27,177,864,2124,7741,35,34,2125,176,107,118,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[42,181],{"id":22997,"slug":22998,"title":22999,"dynasty":99,"author":1480,"museum":23000,"description":23001,"tags":23002,"thumbUrl":9818,"material":123,"size":139,"collection":44,"collections":23003,"showCount":22830,"zanCount":1547,"manualWeight":48,"mainColor":49},219588,"wang-xian-zhi-xiu-xi-dao-mao-xu-qu-xin-an-gong-zhu-tu-tang-yin-219588","王献之休郗道茂续娶新安公主图","沃尔特斯艺术博物馆","画面以枯荣交织的柳树起笔，萧寂山水铺陈出沉郁底色。右侧男子抬臂欲语，眉宇间漫着化不开的怅然，满腔无奈终究凝在抬手之间。左侧郗道茂依偎侍女，垂首敛肩将悲戚藏在背影里，被弃的凄楚默然漫溢。\n\n淡墨晕染山石空远幽寂，衬得这场诀别更添孤凉。工细衣纹勾勒出人物仪态，将情爱里身不由己的遗憾揉进绢本，把旧年憾事定格成含蓄深沉的无声诗篇，失意与伤情铺展在山水之间，余韵悠长。",[7,28,27,177,106,59,29,1532,176,394],[44],{"id":23005,"slug":23006,"title":11303,"dynasty":99,"author":23007,"museum":101,"description":23008,"tags":23009,"thumbUrl":23010,"material":123,"size":23011,"collection":90,"collections":23012,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":49},219312,"hua-die-tu-lv-jing-fu-219312","吕敬甫","棕褐底色如古笺轻展，鲜妍花卉自其间漾开生机。粉白花瓣晕染淡红边缘，似沾晨露般娇嫩；翠叶柔茎交错，脉络清晰如织。彩蝶翩跹，或振翅掠花，或停瓣小憩；草虫隐于叶底，细足微蜷，灵动毕现。笔墨细腻见工致，设色淡雅含明艳，晕染自然天成。画面简而丰沛，动静相宜，将田园闲逸凝于尺幅。观之如沐清风，心随蝶影轻飏，仿佛能闻花叶簌簌、虫翅微振，尽得自然野趣与雅致情味。",[7,28,27,83,604,712,84,1086,299,8224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F487bfc2f1c455b3d2ec1c663f8992c9a.jpg","101.6x53cm",[90],{"id":23014,"slug":23015,"title":23016,"dynasty":189,"author":487,"museum":752,"description":23017,"tags":23018,"thumbUrl":23019,"material":803,"size":23020,"collection":181,"collections":23021,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":94},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,7,24,25,173,27,29,175,107,108,109,34,394,177,178,1308,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[181],{"id":23023,"slug":23024,"title":23025,"dynasty":99,"author":20193,"museum":20,"description":23026,"tags":23027,"thumbUrl":23029,"material":123,"size":23030,"collection":181,"collections":23031,"showCount":22830,"zanCount":1547,"manualWeight":48,"mainColor":49},219127,"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[23,7,173,27,241,29,177,174,34,650,491,111,106,23028,227],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[181],{"id":23033,"slug":23034,"title":23035,"dynasty":18,"author":293,"museum":206,"description":23036,"tags":23037,"thumbUrl":23038,"material":123,"size":23039,"collection":90,"collections":23040,"showCount":22830,"zanCount":5,"manualWeight":48,"mainColor":94},218714,"yang-liu-ru-que-tu-yi-ming-218714","杨柳乳雀图","这幅画描绘了一只鸟在喂养它的孩子。这只鸟被描绘得简单而微妙，它的翅膀用浓墨勾勒，用淡墨上色，小鸟的身高、腹部和背部，俯视、仰视和俯视的姿势都非常精致。柳树稀疏的、交叉的、交错的、下垂的枝条也画得很好。",[23,209,7,24,28,27,83,16320,9319,225,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf6bfbc2c1c72fbc541eff9d6f5e0b7.jpg","24.8x24.8",[90],{"id":23042,"slug":23043,"title":23044,"dynasty":99,"author":293,"museum":101,"description":23045,"tags":23046,"thumbUrl":23047,"material":123,"size":23048,"collection":44,"collections":23049,"showCount":22830,"zanCount":5,"manualWeight":48,"mainColor":49},218510,"wang-yuan-shuai-tu-yi-ming-218510","王元帅图","这是一幅道教的水陆画，出自明朝的一位宫廷画家之手。它原本是晚清皇帝翁同龢的收藏品，但后来传到了国外。",[7,24,1086,259,28,27,106,502,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f92abe7d417f37cf2f5565f9557e76.jpg","98.4x62.5",[44],{"id":23051,"slug":23052,"title":23053,"dynasty":189,"author":9382,"museum":206,"description":23054,"tags":23055,"thumbUrl":23056,"material":342,"size":23057,"collection":181,"collections":23058,"showCount":22830,"zanCount":5,"manualWeight":48,"mainColor":94},218168,"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","《溪亭秋色图》，以墨笔画苍崖古木，溪边水阁。图的左下有作者自署“赵原画”，右上方题有 “有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[23,7,173,241,177,86,227,29,175,34,176,109,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[181],{"id":23060,"slug":23061,"title":1417,"dynasty":99,"author":1996,"museum":206,"description":23062,"tags":23063,"thumbUrl":23064,"material":88,"size":23065,"collection":90,"collections":23066,"showCount":22830,"zanCount":48,"manualWeight":48,"mainColor":94},214727,"mu-dan-tu-chen-chun-214727","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[7,24,241,446,173,27,178,86,83,327,226,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[90],{"id":23068,"slug":23069,"title":23070,"dynasty":204,"author":5076,"museum":364,"description":16293,"tags":23071,"thumbUrl":23072,"material":743,"size":744,"collection":139,"collections":23073,"showCount":23074,"zanCount":48,"manualWeight":48,"mainColor":49},290142,"hui-qin-tu-huang-ju-cai-290142","会禽图",[209,7,24,241,28,27,83,281,448,839,2063,1938,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg",[],83,{"id":23076,"slug":23077,"title":10395,"dynasty":204,"author":2531,"museum":364,"description":23078,"tags":23079,"thumbUrl":23080,"material":743,"size":744,"collection":139,"collections":23081,"showCount":23074,"zanCount":48,"manualWeight":48,"mainColor":49},288460,"yu-le-tu-jing-hao-288460","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[209,7,24,25,173,1397,108,109,6398,176,107,106,1016,6549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe6d632a1b6babf419082b8f11a8e7b.jpg",[],{"id":23083,"slug":23084,"title":23085,"dynasty":18,"author":2856,"museum":364,"description":23086,"tags":23087,"thumbUrl":23088,"material":743,"size":744,"collection":139,"collections":23089,"showCount":23074,"zanCount":1270,"manualWeight":48,"mainColor":49},288332,"hong-bai-fu-rong-tu-ye-yi-li-di-288332","红白芙蓉图页一","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。",[23,209,7,24,28,27,83,450,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd98b04c253b7294f848e933790d49cf.jpg",[],{"id":23091,"slug":23092,"title":3750,"dynasty":18,"author":812,"museum":364,"description":23093,"tags":23094,"thumbUrl":23095,"material":743,"size":744,"collection":139,"collections":23096,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":49},288270,"hua-lan-tu-zhao-chang-288270","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[23,209,7,24,83,28,27,327,453,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2085ee9a72b9b6a9215540541abb702a.jpg",[],{"id":23098,"slug":23099,"title":23100,"dynasty":99,"author":22400,"museum":364,"description":23101,"tags":23102,"thumbUrl":23104,"material":743,"size":744,"collection":139,"collections":23105,"showCount":23074,"zanCount":48,"manualWeight":48,"mainColor":94},287357,"xiao-xiang-guo-yu-tu-chang-juan-xia-chang-287357","潇湘过雨图长卷","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。",[23,209,7,24,25,173,242,23103,86,3350],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c0fd5961a81d394a14a9f0c62e6bd1.jpg",[],{"id":23107,"slug":23108,"title":23109,"dynasty":99,"author":1996,"museum":364,"description":23110,"tags":23111,"thumbUrl":23112,"material":139,"size":139,"collection":139,"collections":23113,"showCount":23074,"zanCount":48,"manualWeight":48,"mainColor":94},235992,"chen-dao-fu-mu-dan-hua-hui-tu-zhou-chen-chun-235992","陈道复牡丹花卉图轴","《明陈道复牡丹花卉图轴》是明朝画家陈道复创作的作品，作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n【名称】明陈道复牡丹花卉图轴 【类别】纸本，墨笔 【规格】纵54.8cm，横.8cm 【年代】 【作者】 【文物现状】现藏北京故宫博物馆 该幅上部行草书自题：“春是花时节，红紫各自赋。\n勿言薄脂粉，适足表贞素。\n道复。\n”后钤“陈道复氏”、“陈淳之印”印。\n陈道复创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如 藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及 藏《洛阳春色图卷》、《玉楼春色图卷》等等。\n这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家 为此幅作品所题云：“破一滴墨水，作种种妖妍。\n改旦暮之观，备四时之气”。\n陈道复（148--1544）明画家，初名淳，字道复，后以字行，改字复甫，号白阳山人，长洲（今江苏吴县）人。\n曾从 学书画，后不拘师法。\n书工行草。\n山水学 而笔迹放纵。\n擅写意花卉，淡墨浅色，风格疏爽，后人把他与 并称“青藤白阳”，为明代中期水墨写意花卉画创出新格调的代表人物。",[7,241,173,83,327,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a6bc858d99429f0d210e5e62f738e6.jpg",[],{"id":23115,"slug":23116,"title":23117,"dynasty":76,"author":1703,"museum":20,"description":23118,"tags":23119,"thumbUrl":23120,"material":23121,"size":23122,"collection":181,"collections":23123,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":94},233390,"shan-shui-ren-wu-ce-jin-nong-233390","山水人物册","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[7,24,81,27,260,173,106,755,109,313,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196382a9fa13f1fdd21f5ad09cb12d1a.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[181,44,45],{"id":23125,"slug":23126,"title":23127,"dynasty":76,"author":7142,"museum":20,"description":7866,"tags":23128,"thumbUrl":23129,"material":40,"size":7869,"collection":139,"collections":23130,"showCount":23074,"zanCount":48,"manualWeight":48,"mainColor":49},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴",[7,24,241,104,27,28,29,107,1255,37,34,176,108,2268,503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg",[],{"id":23132,"slug":23133,"title":23134,"dynasty":204,"author":5076,"museum":12966,"description":23135,"tags":23136,"thumbUrl":23137,"material":803,"size":23138,"collection":139,"collections":23139,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":94},231849,"he-hua-ya-zi-tu-huang-ju-cai-231849","荷花鸭子图","这是一幅以渲染为主的没骨法作品。画上两朵白色莲花，一片荷叶，一只机灵的鸭子，构图不可谓不简洁。鸭子的画法极尽写实之能事，以极工细的手法细心渲染出每一个细节。虽然荷叶和荷花的画法是没骨法，但近景的坡石和小草却是写意画法，或许正是这微小的细节，把这幅画扔到了元代。不过构图的仰视和几乎无延伸的局部感觉，也是和宋代画家拉开距离的显著特点。",[7,209,28,27,83,243,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e9d5a6b846c9f5cabd99ac03c39dab.jpg","87x55.7cm",[],{"id":23141,"slug":23142,"title":4004,"dynasty":76,"author":4005,"museum":364,"description":23143,"tags":23144,"thumbUrl":23145,"material":139,"size":139,"collection":139,"collections":23146,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":94},229033,"si-ji-hua-niao-tu-ping-chen-mei-229033","此作用没骨法晕染牡丹，朱红、莹白、粉胭、鎏金的花瓣层叠柔润，将花王雍容之态尽展笔底。苍古顽石虬枝旁逸，墨色叶片浓淡相宜，衬得群芳愈发妍丽。\n\n两只春燕翩跹于空，一黑一白相映成趣，振翅姿态灵动鲜活，似携春风穿掠花间，让静雅画幅漾起融融生气。整体设色明妍雅致，工细中带着写意的松弛，将春日芳华揉入绢素，典雅娴静里满溢春日花鸟的鲜活意趣。",[23,209,7,28,27,83,327,10497,225,176,13231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c30e140c85d897bb067b888cfe4136.jpg",[],{"id":23148,"slug":23149,"title":23150,"dynasty":99,"author":19617,"museum":364,"description":23151,"tags":23152,"thumbUrl":23153,"material":139,"size":139,"collection":163,"collections":23154,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":94},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[23,209,7,24,25,173,177,105,29,1015,108,109,174,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[163],{"id":23156,"slug":23157,"title":9594,"dynasty":18,"author":146,"museum":364,"description":23158,"tags":23159,"thumbUrl":23160,"material":139,"size":139,"collection":139,"collections":23161,"showCount":23074,"zanCount":48,"manualWeight":48,"mainColor":49},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[23,209,7,24,104,28,27,107,36,111,106,490,34,114,1237,13202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],{"id":23163,"slug":23164,"title":23165,"dynasty":76,"author":23166,"museum":364,"description":23167,"tags":23168,"thumbUrl":23169,"material":4796,"size":23170,"collection":181,"collections":23171,"showCount":23074,"zanCount":48,"manualWeight":48,"mainColor":94},224169,"song-shu-tu-gua-zhou-li-fang-ying-224169","松树图挂轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,7,24,241,173,177,1575,245,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93021041cb164b00da3dbc86d0eb5b96.jpg","100x45",[181],{"id":23173,"slug":23174,"title":23175,"dynasty":189,"author":293,"museum":364,"description":23176,"tags":23177,"thumbUrl":23180,"material":139,"size":139,"collection":139,"collections":23181,"showCount":23074,"zanCount":1547,"manualWeight":48,"mainColor":49},223616,"shi-di-pu-sa-yi-ming-223616","十地菩萨","此作图绘天界胜境，祥云翻卷如绵，晕染出缥缈禅意。六位菩萨仪容温婉慈悲，宝冠璎珞层层叠叠，錾刻入微，尽显华贵庄严。衣袂敷色厚重雅致，朱砂暖艳撞映石青沉邃，晕染柔和自然，将织物肌理与垂坠感尽数展现。\n\n菩萨排布错落有致，或合掌凝思，或垂目禅定，法相自带沉静祥和的气韵。线条婉转流畅，勾勒出体态舒展柔和，细节处纹饰精巧细腻，将工笔重彩的精妙匠艺展露无遗，神性之美与世俗工巧相融，满溢静谧的宗教感染力。",[23,23175,7,28,27,259,106,261,19002,23178,23179],"华贵庄严","沉静祥和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e8e98cf3a4bed512db310fe30d0f538.jpg",[],{"id":23183,"slug":23184,"title":23185,"dynasty":18,"author":293,"museum":206,"description":23186,"tags":23187,"thumbUrl":23188,"material":67,"size":23189,"collection":42,"collections":23190,"showCount":23074,"zanCount":48,"manualWeight":48,"mainColor":49},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,7,24,241,27,29,177,864,2124,5749,281,34,175,35,650,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[42,181,163],{"id":23192,"slug":23193,"title":23194,"dynasty":76,"author":953,"museum":364,"description":23195,"tags":23196,"thumbUrl":23198,"material":40,"size":23199,"collection":44,"collections":23200,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":94},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[23,7,24,25,27,28,2714,29,1184,261,107,136,34,176,299,17842,505,23197,3963],"祝寿元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[44,45],{"id":23202,"slug":23203,"title":23204,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":23205,"thumbUrl":23208,"material":27,"size":6032,"collection":139,"collections":23209,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":94},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a",[23,209,7,24,81,27,28,13695,11350,83,84,245,1341,1461,867,299,23206,23207,225,176,432],"色彩","造型逼真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg",[],{"id":23211,"slug":23212,"title":23213,"dynasty":18,"author":7349,"museum":1985,"description":23214,"tags":23215,"thumbUrl":23216,"material":665,"size":23217,"collection":42,"collections":23218,"showCount":23074,"zanCount":48,"manualWeight":48,"mainColor":49},221602,"chu-shan-shi-jia-tu-zhou-liang-kai-221602","出山释迦图轴","释迦着单衣跣足站于枯树旁，手举胸前，双眸微微下视，面容清瘦，须发密长。尽管已值冬季，衣带在寒风中飘举，但释迦似乎并未感受到寒冷，丝毫没有瑟瑟呵冻之态，而是神情专注，愈显入山苦修悟道后，意志弥坚。画家以劲利的线条画排叠的衣纹，用笔谨严，于人物神情刻画尤见功力；苍幹枯枝，用笔劲硬，很好地烘托了环境。背景的坡石略加勾皴，树石的画法还可看出受到李唐的影响，此图与其传世减笔人物画相比，属较为工致的画作。画幅左侧的石壁上署有“御前图画梁楷”六字款。",[23,7,24,241,27,259,106,245,1015,10247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823f2524319f6cbdc884ddb4cd9087a.jpg","纵119厘米，横52厘米",[42,181],{"id":23220,"slug":23221,"title":23222,"dynasty":18,"author":2856,"museum":20,"description":23223,"tags":23224,"thumbUrl":23225,"material":40,"size":23226,"collection":42,"collections":23227,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":49},221592,"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[23,7,24,241,28,27,83,957,4307,14718,394,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","纵189厘米，横209.5厘米",[42,90,45],{"id":23229,"slug":23230,"title":23231,"dynasty":18,"author":2856,"museum":206,"description":23232,"tags":23233,"thumbUrl":23235,"material":23236,"size":23237,"collection":42,"collections":23238,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":49},221591,"jiu-ci-tu-juan-li-di-221591","九鹚图卷","李迪“画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，超亦能作山水小景。构思精妙，功力深湛，雄伟处动人心魄。”所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动，刻画细致，各具神态。山水师法李唐，也多又佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”",[23,209,7,24,25,27,28,83,1532,432,245,23234],"鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba83bf3091278e25daedea126febf6f5.jpg","设色,浅设色","本幅34.7x226.6 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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[7,24,241,26,27,29,106,150,107,430,176,177,900,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd3324ba8d0e045e5d6ab0a5260113f.jpg","152.4x78.7",[181],{"id":23267,"slug":23268,"title":23269,"dynasty":99,"author":293,"museum":752,"description":23270,"tags":23271,"thumbUrl":23272,"material":123,"size":23273,"collection":45,"collections":23274,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":49},219251,"dong-shan-wo-hu-tu-yi-ming-219251","冬山卧虎图","寒岩之上，猛虎蜷卧。斑纹以墨线精准勾勒，间杂赭色轻晕，皮毛的蓬松质感似触手可及。虎目微阖，似憩非眠，虽无咆哮之威，却藏沉潜气势。旁侧古松虬曲，枝干如铁，松针疏密有致；岩石皴法朴拙，斑驳处隐见残雪，透出冬日清寂。笔墨兼工带写，动物造型生动传神，山水布景简括古雅。整幅画于静谧中蕴张力，既见画师对生灵姿态的细腻捕捉，亦显对冬日山景的深刻体察，在沉郁色调里，铺展一段自然与生命的悠然对话。",[7,24,27,28,7281,957,29,1575,176,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4902029b2d5488e3af7e90169c94e1c.jpg","26.1x40.6厘米",[45],{"id":23276,"slug":23277,"title":23278,"dynasty":189,"author":293,"museum":238,"description":23279,"tags":23280,"thumbUrl":23283,"material":123,"size":139,"collection":44,"collections":23284,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":1335},219235,"yao-shi-ru-lai-ji-shi-er-shen-jiang-tu-yi-ming-219235","药师如来及十二神将图","中央药师如来法相庄严，结跏趺坐于层叠莲座之上，手印沉静，身周光环如晕，暖意暗涌。十二神将环伺左右，或持法器怒目，或执兵戈肃立，衣袂间纹饰流转，铠甲暗映微光。构图层次分明，从莲座之稳到神将之动，动静相生；色彩沉郁中见华彩，金箔隐现于深褐与朱红之间，似藏千年香火余温。整幅画作既显佛法的慈悲肃穆，又含护法神将的威严张力，每一处线条与色彩的交织，皆暗喻着护持众生的愿力与力量，仿佛能听见古刹钟声里，护法者的坚定心跳。",[23,7,259,106,28,27,241,23281,23282],"佛教人物","神将","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fdf94c9cba41d6cda65e6d7278d109b.jpg",[44],{"id":23286,"slug":23287,"title":10674,"dynasty":18,"author":1616,"museum":206,"description":23288,"tags":23289,"thumbUrl":23290,"material":123,"size":23291,"collection":45,"collections":23292,"showCount":23074,"zanCount":48,"manualWeight":48,"mainColor":49},219046,"wen-ji-gui-han-tu-li-tang-219046","内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[23,209,7,24,241,177,173,27,29,106,107,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98081f5e1c3a4f47f750a16639f8f66.jpg","50.7公分*39.7公分",[45],{"id":23294,"slug":23295,"title":23296,"dynasty":18,"author":1650,"museum":132,"description":23297,"tags":23298,"thumbUrl":23299,"material":381,"size":139,"collection":90,"collections":23300,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":1335},218909,"song-xia-qun-lu-tu-ma-yuan-218909","松下群鹿图","松枝如铁线盘曲，苍劲中透着清逸，松针细密如织，筛下斑驳光影。鹿群或静立凝神，或缓步石间，与松涛山影相融成趣。远山以淡墨晕染，云雾似轻纱流转，留白处尽展天地空阔。笔墨简练却意境悠远，枯润相生的笔触里，藏着宋人对自然的敬畏与诗意栖居的向往。边角构图见乾坤，每一处细节都透着匠心，将山水的静谧与生灵的灵动悄然铺展，让观者在静谧中感受山林间的和谐共生，沉醉于宋画独有的雅致与哲思。",[23,7,394,29,864,297,430,173,446,241,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bebd7f7819200a7a40265b7a859bb3.jpg",[90,181],{"id":23302,"slug":23303,"title":23304,"dynasty":76,"author":1816,"museum":78,"description":23305,"tags":23306,"thumbUrl":23307,"material":342,"size":23308,"collection":90,"collections":23309,"showCount":23074,"zanCount":5,"manualWeight":48,"mainColor":94},218902,"mao-tu-zhou-wang-shi-shen-218902","猫图轴","此轴画一黑白相间的猫蹲踞石上，双目斜睨画外，神态生动。画上题诗“每餐先备买鱼钱，曾记携归小似拳，一自爪牙动黠鼠，傍人安稳卧青氊”。并题为雍正六年戊申（1728）九月所画，时年32岁。",[7,173,446,241,956,298,1064,1062,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e98d0a6a379b6c7d84e39c07b0d0aec.jpg","纵125.7厘米，横60.8 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，现藏于大阪市立美术馆。\n《明皇避暑宫图》描绘唐明皇的避暑宫，背山面水，宏伟壮观。从图下的宫门向内，亭台楼阁、水榭宫室、长廊庭院，层层深入。单是屋脊斗拱，就不下十几座，无不刻画工细精确，结构严谨华丽。虽然楼阁密集，但有巨石、古树点缀其间，故而前后的层次清晰，加上左边的水色，与后山的空朦相映衬，却也疏密有致，雍容大度。\n《明皇避暑宫图》，勾线劲挺，虽说有界尺相助，但是众多的曲线，依然得徒手勾勒。",[23,7,24,241,104,28,27,29,107,114,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc3db0ed91249e6e8c0490e405536b5.jpg",[],{"id":23446,"slug":23447,"title":23448,"dynasty":54,"author":23449,"museum":364,"description":23450,"tags":23451,"thumbUrl":23452,"material":139,"size":139,"collection":139,"collections":23453,"showCount":23379,"zanCount":48,"manualWeight":48,"mainColor":49},227256,"xi-ma-tu-ye-li-yu-227256","戏马图页","李煜","李煜（937年5月5日－978年8月15日），又称李后主，为南唐的末代君主，徐州人。李煜原名从嘉，字重光，号锺山隐士、锺锋隠者、白莲居士、莲峰居士等。李煜在南唐灭亡后被北宋俘虏，但是却成为了中国历史上首屈一指的词人，获誉为“千古词帝”，作品千古流名。",[23,209,7,24,27,28,106,150,430,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f5c0df0888c4e88dad6808987fed8e.jpg",[],{"id":23455,"slug":23456,"title":15814,"dynasty":76,"author":23457,"museum":364,"description":23458,"tags":23459,"thumbUrl":23460,"material":990,"size":23461,"collection":90,"collections":23462,"showCount":23379,"zanCount":48,"manualWeight":48,"mainColor":94},223123,"song-shou-tu-ci-xi-223123","慈禧","画上绘青雀二只，体形修长，尾巴炫丽，一只立于松枝俯身正于下方的另一只呼应。题识：光绪己丑年冬下浣御笔",[23,7,209,27,28,83,449,281,451,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e79512e4e37d1650006f4772e9ece27.jpg","129×64.5cm",[90,45],{"id":23464,"slug":23465,"title":23466,"dynasty":99,"author":23467,"museum":1806,"description":23468,"tags":23469,"thumbUrl":23470,"material":40,"size":23471,"collection":90,"collections":23472,"showCount":23379,"zanCount":5,"manualWeight":48,"mainColor":49},222661,"guo-se-tian-xiang-tu-ma-yi-222661","国色天香图","马逸","《国色天香图》是一幅富丽堂皇的工笔重彩花卉图。图中的牡丹花开娇艳，明丽动人，色彩丰富饱满，姿态优雅，设色极其讲究，勾线细致圆润。\n而花下奇石则用积墨与淡墨晕染相结合绘出，以石绿、石青略染。兰花以重粉罩染，胭脂点蕊，素雅动人。地面以淡彩渲染，营造出空间的伸缩感。《国色天香图》堪称“中国牡丹第一图”，是中国古代牡丹绘画最杰出的作品。",[23,7,209,28,27,83,327,452,245,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59572009fd6e71cd365f81d2e0b28489.jpg","纵101.7厘米，横49.5厘米",[90,45],{"id":23474,"slug":23475,"title":23476,"dynasty":189,"author":1605,"museum":206,"description":23477,"tags":23478,"thumbUrl":23479,"material":88,"size":23480,"collection":90,"collections":23481,"showCount":23379,"zanCount":48,"manualWeight":48,"mainColor":94},221740,"xie-sheng-hua-niao-zhou-zhang-zhong-221740","写生花鸟轴","该幅绘沙石间，一紫冠白鸡足蹈蜈蚣，神情颇为生动，配景并有蜀葵、萱花、栀子、石榴、百合、虞美人、石竹、石菖蒲等各式夏卉，殆以钩花点叶法成之，设色雅丽，然不似张中笔墨，为后代画家托名之作。",[209,7,24,241,710,27,83,3478,84,603,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6bf03ce5d03b4b0d24067f72905518.jpg","122.8x43.3公分",[90,45],{"id":23483,"slug":23484,"title":23485,"dynasty":18,"author":1650,"museum":276,"description":23486,"tags":23487,"thumbUrl":23488,"material":665,"size":23489,"collection":42,"collections":23490,"showCount":23379,"zanCount":48,"manualWeight":48,"mainColor":94},221668,"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[23,7,24,209,27,104,29,107,175,1329,34,649,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[42,181],{"id":23492,"slug":23493,"title":15328,"dynasty":18,"author":2856,"museum":206,"description":23494,"tags":23495,"thumbUrl":23496,"material":67,"size":23497,"collection":42,"collections":23498,"showCount":23379,"zanCount":48,"manualWeight":48,"mainColor":49},221597,"feng-yu-gui-mu-tu-li-di-221597","《风雨归牧图》描绘的是两个牧童赶牛归家的场景，整个画面勾点结合，浓淡相济，层次丰富，朦朦胧胧，带来了凤雨欲来，细雾先到的清润之感。\n这幅画表现的是风雨刚来的一刹那，柳梢被风吹得摇摆，两个骑牛的牧童，急忙地往家跑。一个匍匐在牛背，用手扯住牧笠，挡住急风骤雨；另一个帽子已被风吹落，在迷濛的空间，可以依稀看到倾斜的雨流。诗堂有题诗一首写道：“冒雨衔风两牧儿，笠蓑低绾绿杨枝，深宫玉食何从得，稼穑艰难岂不知。”署款“缉熙殿书”，钤“御前之印”一玺。",[23,209,7,24,28,27,151,957,430,1159,11886],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640cb098d037ce82eb11fa48ec2f370e.jpg","纵123.7厘米，横102.8厘米",[42,44,45],{"id":23500,"slug":23501,"title":23502,"dynasty":54,"author":3282,"museum":364,"description":23503,"tags":23504,"thumbUrl":23505,"material":619,"size":23506,"collection":181,"collections":23507,"showCount":23379,"zanCount":48,"manualWeight":48,"mainColor":49},221145,"jiang-gao-hui-yu-tu-wang-wei-221145","江皋会遇图","王维（701年－761年，一说699年—761年），河东蒲州（今山西运城）人，祖籍山西祁县。唐朝著名诗人、画家，字摩诘，号摩诘居士。\n王维出身河东王氏，于开元十九年（731年）状元及第。历官右拾遗、监察御史、河西节度使判官。唐玄宗天宝年间，王维拜吏部郎中、给事中。安禄山攻陷长安时，王维被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，故世称“王右丞”。\n王维参禅悟理，学庄信道，精通诗、书、画、音乐等，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。苏轼评价其：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”存诗400余首，代表诗作有《相思》、《山居秋暝》等。著作有《王右丞集》、《画学秘诀》。\n此《著色山水》（江皋会遇图）据传为唐代著名诗人王维的山水作品。由于年代久远，已破损严重，泛黄变暗，依稀可见山水、树木与村落，卷首部分有北宋刘唐老的题跋。",[23,7,24,25,173,29,34,107,178,227,177,2939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45181fa423d8069ce2d2a5500fa3692.jpg","29x128厘米",[181,45],{"id":23509,"slug":23510,"title":23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图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[209,7,173,29,241,174,1016,109,245,1575,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51f1c201cfa513a49117cc20e56993.jpg","189.1x88.5",[],81,{"id":23672,"slug":23673,"title":10927,"dynasty":204,"author":2664,"museum":364,"description":10928,"tags":23674,"thumbUrl":23676,"material":743,"size":744,"collection":139,"collections":23677,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":1335},289356,"qiu-shan-wan-cui-tu-guan-tong-289356",[209,7,24,241,173,27,29,7241,1015,558,23675,177],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ececd0d022d954f2d70d8ead2688868.jpg",[],{"id":23679,"slug":23680,"title":2141,"dynasty":18,"author":2142,"museum":364,"description":23681,"tags":23682,"thumbUrl":23683,"material":743,"size":744,"collection":139,"collections":23684,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":49},288508,"qing-luan-xiao-si-tu-li-cheng-288508","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[23,209,7,24,29,241,173,177,649,107,13097,108,109,558,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],{"id":23686,"slug":23687,"title":23688,"dynasty":99,"author":100,"museum":364,"description":23689,"tags":23690,"thumbUrl":23691,"material":743,"size":744,"collection":139,"collections":23692,"showCount":23670,"zanCount":5,"manualWeight":48,"mainColor":49},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[23,209,7,24,25,29,27,177,105,649,34,35,2094,108,109,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],{"id":23694,"slug":23695,"title":3731,"dynasty":76,"author":23696,"museum":364,"description":23697,"tags":23698,"thumbUrl":23699,"material":743,"size":744,"collection":139,"collections":23700,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":94},283786,"mu-dan-yu-lan-tu-liu-de-liu-283786","刘德六","画面取春日小景，老干虬劲舒展，满枝玉兰冰姿清雅，与下方秾艳牡丹相映成趣。湖石造型奇崛，勾勒皴擦尽显嶙峋质感，成为花木间的视觉支点。两只禽鸟一动一静，振翅的春鸟掠过花枝，另一只探于花下，为画面添就鲜活生机。\n\n此作用笔兼工带写，玉兰以淡墨写意枝干，白花轻勾淡染，尽显清逸；牡丹设色妍丽却不俗艳，花叶层次饱满鲜活。整体设色明快和谐，将春日芳菲的富贵雅致，与江南暮春的悠然意趣相融，在写实写生中晕染出文人画的娴静意韵，尽揽春日生机雅致。",[7,24,83,241,27,327,417,281,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839a7a0acc34077c380f4ae54ab45aab.jpg",[],{"id":23702,"slug":23703,"title":23704,"dynasty":76,"author":293,"museum":20,"description":23705,"tags":23706,"thumbUrl":23708,"material":139,"size":139,"collection":44,"collections":23709,"showCount":23670,"zanCount":1547,"manualWeight":48,"mainColor":49},238431,"fu-gui-sui-chao-tu-zhou-yi-ming-238431","福贵岁朝图轴","孩童们有的手举鱼、龙等各种形象的彩灯；有的胆大的孩子点燃炮竹，周围孩子掩耳观望；有的孩子登高折梅枝，树下的孩子将花枝插入瓶中，寓意岁岁平安；湖面已结冰，孩子们在冰面滑动冰车，打打闹闹，不小心滑倒还哈哈大笑；还有孩子吹拉弹唱，奏响乐器，妙趣横生。欢度佳节的喜气跃然纸上，仿佛能听到孩子们嬉闹的笑声。",[7,27,28,106,107,175,448,3045,15280,23707,210,502,933,18729,18310],"炮竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8b1d3424982278598217ea629c0f2.jpg",[44,45],{"id":23711,"slug":23712,"title":23713,"dynasty":76,"author":10376,"museum":364,"description":23390,"tags":23714,"thumbUrl":23715,"material":139,"size":139,"collection":181,"collections":23716,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":94},238076,"fang-tang-yin-chi-bi-zhou-wang-hui-238076","仿唐寅赤璧轴",[7,556,241,177,105,29,300,174,281,650,34,31,106,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc312ca88e21a4c731326d3c55ba6c1f.jpg",[181],{"id":23718,"slug":23719,"title":23720,"dynasty":99,"author":13656,"museum":20,"description":23721,"tags":23722,"thumbUrl":23725,"material":22447,"size":23726,"collection":139,"collections":23727,"showCount":23670,"zanCount":5,"manualWeight":48,"mainColor":49},233461,"ba-qiao-feng-xue-tu-zhou-wu-wei-233461","灞桥风雪图轴","“灞桥”位于西安市东的灞河之上，是东去洛阳的必经之路，古人常于此送别，唐诗中“灞桥折柳”的典故即由此而出。\n吴伟此图并非写实之景，而是取其送别的含意。图绘严冬景象，山岩积雪，树木萧瑟，行旅之人正在通过一座狭小的木桥。作者用侧锋卧笔勾勒山石，线条粗率，行笔劲疾，锋芒外露。",[7,1397,241,173,177,2502,23723,108,1015,176,559,23724],"严冬","送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c5cc504cdaa6433fc325448a895f7b1.jpg","纵138.1厘米，横106厘米",[],{"id":23729,"slug":23730,"title":23731,"dynasty":18,"author":293,"museum":20,"description":23732,"tags":23733,"thumbUrl":23734,"material":40,"size":4079,"collection":139,"collections":23735,"showCount":23670,"zanCount":1547,"manualWeight":48,"mainColor":49},233457,"hai-tang-jia-die-tu-ye-yi-ming-233457","海棠蛱蝶图页","图绘阳春三月，蛱蝶翩翩起舞于海棠花枝间。画家着重表现海棠在乍起的春风中花枝招展的动感瞬间，花朵偃仰向背，叶片翻卷辗转，枝干呈“S”形的曲张之态，通过描绘有形的花叶，成功地渲染出了无形的醉人春风和隽永的春意。图中花瓣先以墨笔双勾轮廓线，中锋行笔，线条圆润流畅。然后在花瓣外侧上部略点胭脂红，旋即以清水将色彩晕染开，最后罩上一层白粉，为海棠花亮丽的色调增添了几多妩媚的意韵。叶片用工整的双勾填色笔法表现，作者根据叶片受光照程度的不同而填染以石绿、墨赭等颜色，从而充分表露出叶片“清如水碧，洁如霜露”的美感，显示出画家细致的观察力和深厚的写实功底。",[7,209,28,27,83,1563,604,84,712,81,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd95887671acb5a0c68bda59dc14b1a0.jpg",[],{"id":23737,"slug":23738,"title":9101,"dynasty":54,"author":255,"museum":132,"description":23739,"tags":23740,"thumbUrl":23741,"material":67,"size":23742,"collection":139,"collections":23743,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":49},232268,"ba-shi-qi-shen-xian-juan-hua-xin-wu-dao-zi-232268","吴道子勤奋好学，天资过人，借鉴古法，画技创新，打破沿袭顾恺之的游丝描，开创兰叶描，把复杂的物体形态凹凸面、阴阳面，归纳为不可再减的“线”，画出物体的线条性格，探索线条变化规律，力求每条线符合造型传神的要求，《八十七神仙卷》就是这样一幅充满线条美妙韵律的千古神作。\n《八十七神仙卷》是描绘八十七位仙人去朝拜元始天尊场景，画面人物描绘夸张，帝王高大魁梧，神圣威严，面相和蔼，头罩光环，构图以帝王为中心分布聚集，左右端是身披铠甲的护将武士，须发如生，毛根出肉，怒目圆睁，握拳拔剑。最为引人注目是出尘脱俗，如花似玉，明艳动人，顾盼生姿的数十位仙女，吹奏打板，抚琴托盘，捧花献果，举旗摇幡，长裙肥袖，满壁风动，发髻头饰，高耸光鲜，神态自若，形象各异。\n《八十七神仙卷》画面阵容恢弘，排布随意，主角突出，层次分明，人物神情丰富，形态举止自然，写实与艺术夸张手法结合并用，线条流畅如水，舞动飘逸如风，瑞气喷涌如云，天堂景致如虹，是一幅匠心独运神来之笔，画苑冠冕千古名作\n《八十七神仙卷》帝王天仙、武将文官等男士仙人造像，这些神仙人物以凡间人物为创作原形。《八十七神仙卷》是一幅道教画，道教是惟一在中国本土发育的宗教，由先秦道家思想演化而来，尊老子为道祖，奉老子著作《道德经》为主要经典，信仰尊道贵德，认为道是产生天地万物的本源，人和万物由道生、由德育，道可以修得升天成仙，长生不死。道教神仙众多，既有来源于中国古代神话人物，又有历朝褒奖、社会崇拜的真人，成为凡界修道成仙的范例，形成庞大繁杂的神仙谱系。道教神仙故有凡间人物化身，有以普通人面貌隐迹凡世。\n《八十七神仙卷》仙女众多，仙女的形象、发髻、头饰、衣衫及手持晋献花篮、托盘、果品，吹奏器乐、举旗打幡等，构成仙女喜乐，花枝招展，祥云缥缈，众神欢颜的天堂盛景，画卷中各式仙女造型是研究唐风民俗的珍贵资料\n仙女发饰，呈现出奇异多彩，令人眼花缭乱，一千多年前古代妇女发艺，放在当代也是时尚造型，媲美现代科技手段的发艺打理，由此可见作者对大唐皇室贵族妇女梳妆研究充分，观察细致，作者的社会生活见识广泛，发艺素材积累深厚，创作随心所欲，绘画信手拈来，塑造出一群貌美如花形象鲜活的天堂仙女。\n吴道子身处唐朝中期，是大唐历史最辉煌时代，史称“开元盛世”或“开元之治”，社会经济空前繁荣，国力空前强盛，人口大幅度增长，商业发达，城市繁华，上流社会时尚流行奢靡之风，来自波斯的西域工匠，带来金银珠宝与精湛加工技艺，把大唐金饰制品与华贵头饰，从皇室走出成为富豪贵族的奢侈配置。\n唐代画家周昉、张萱、王贞白等民间仕女画的片段，发式造型相似画卷中仙女，但没有佩戴耀目华贵的头饰，华贵头饰显然不属于普通妇女。在吴道子笔下仙女，不仅发型发饰具有大唐韵味，而且体现唐代崇尚妇女身形微胖的审美观念，仙女们个个脸型圆润，体态丰腴，气质雍容，超凡脱俗。\n《八十七神仙卷》服饰与纹样局部，白描有条不紊，构图复杂繁密，铁线萦绕，丝丝入扣，显示了绘画的精细功力，把仙人衣着刻画的风舞飘动，牵之欲出。唐代服饰是以社会经济发达为基础，纺织、印染技术达到了历史巅峰，为服饰文化提供了物质条件。唐代服饰具有多样性、开放性、奢华性的特点，多样性表现为融合多民族文化与中外文化的款式设计；开放性体现在造型样式方面如衣裙、肩披、围腰的“粉胸半掩疑暗雪”的装扮，图16即是唐代画家张萱《捣练图》中女性服饰图样；奢华性是服饰的绚丽多彩与华贵配饰及梳妆相搭，唐诗“眉黛夺得萱草色 红裙妒杀石榴花”，就是对唐代仕女及服饰的美艳写照。\n吴道子把唐代服饰风貌搬上《八十七神仙卷》，尤其衣衫纹样画法，线条密集、画迹流畅、繁杂有序、柔韧雄放、粗细相间、交织如网、鲜活灵动、造型夸张的笔法，后世称为“吴家样”，对衣饰飘舞形象称为“吴带当风”画法，表现了后人对吴道子超凡画技与与作品魅力的敬仰崇拜。\n唐朝从“贞观之治”到“开元之治”期间一百多年，虽有外患内乱但终被平息，国家政治局势基本稳定，经济繁荣昌盛，也是文化艺术发展的最好时代，涌现多位载入史册的文化名人，带领唐朝的文学诗歌、书法绘画、音乐舞蹈等取得了辉煌成就。《八十七神仙卷》仙女群组形象，有取材唐朝宫廷乐舞的身影",[23,7,24,25,260,259,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa144931d6cc1956dc7dacc5dd4c037.jpg","画芯长800厘米、宽75厘米",[],{"id":23745,"slug":23746,"title":23747,"dynasty":76,"author":1109,"museum":364,"description":23748,"tags":23749,"thumbUrl":23750,"material":139,"size":139,"collection":139,"collections":23751,"showCount":23670,"zanCount":5,"manualWeight":48,"mainColor":49},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[23,7,24,25,27,29,177,86,178,227,864,297,108,107,34,650,2268,5421,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],{"id":23753,"slug":23754,"title":23755,"dynasty":18,"author":293,"museum":364,"description":23756,"tags":23757,"thumbUrl":23758,"material":139,"size":139,"collection":139,"collections":23759,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":94},227377,"qiu-lan-zhan-rui-tu-yi-ming-227377","秋兰绽蕊图","图绘秋兰数茎，兰叶修长劲挺，兰花吐蕊，清丽雅逸。对开有清乾隆御题诗一首：“写兰反楚辞，亦足终古矣。底识其为秋，疏叶濩冷蕊。意出常人表，或远代其子。”钤“八征耄念之宝”、“自强不息”、“太上皇帝之宝”等玺印。",[23,7,24,1562,27,83,452,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656591bb10af68e7bd8abcd88003f28a.jpg",[],{"id":23761,"slug":23762,"title":23763,"dynasty":76,"author":293,"museum":364,"description":23764,"tags":23765,"thumbUrl":23766,"material":139,"size":139,"collection":139,"collections":23767,"showCount":23670,"zanCount":1547,"manualWeight":48,"mainColor":49},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[23,209,7,24,241,28,27,104,106,107,108,109,29,34,84,175,12624,313,5140,114,115,21743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],{"id":23769,"slug":23770,"title":23771,"dynasty":76,"author":9280,"museum":20,"description":23772,"tags":23773,"thumbUrl":23774,"material":67,"size":23775,"collection":139,"collections":23776,"showCount":23670,"zanCount":1547,"manualWeight":48,"mainColor":94},223245,"bao-xiang-guan-yin-tu-ding-guan-peng-223245","宝相观音图","观音为佛教大乘菩萨之一，佛经上说此菩萨能“救苦难众生”，示现种种形象，名为“普门示众”，一般形态多作女相。此图绘千手宝相观音一尊，各手分别持小斧、莲花、宝剑、弓箭等各种法宝；头上祥云朵朵飘荡，云中托出小佛十尊，花朵飞扬。观音面容和手臂作多层烘托，有较强的立体质感。说明作者在继承传统技法的同时，也吸收了西洋画的明暗、透视等特点，形成了自己的风格。",[23,7,24,28,27,259,106,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37e22633a51a0e53a44d585e1614e45.jpg","122.7x58.65",[],{"id":23778,"slug":23779,"title":23780,"dynasty":18,"author":1616,"museum":20,"description":23781,"tags":23782,"thumbUrl":23783,"material":67,"size":23784,"collection":42,"collections":23785,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":49},221580,"mu-niu-tu-ye-li-tang-221580","牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[23,209,7,24,81,1562,27,151,1015,281,227,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[42,44,45],{"id":23787,"slug":23788,"title":23789,"dynasty":18,"author":474,"museum":56,"description":23790,"tags":23791,"thumbUrl":23792,"material":7336,"size":23793,"collection":382,"collections":23794,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":49},221348,"cai-xing-chi-juan-zhao-ji-221348","蔡行敕卷","此帖乃宋徽宗赵佶不允蔡行辞殿中省事之手敕。行书，凡二十一字，共一百二十七字。此敕行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。\n此卷是宋徽宗不准蔡行辞去领殿中省之职所颁的敕书全文行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。",[23,209,7,24,25,178,86,227,803,11744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deae8a7337124f7de79f711ec96d05f.jpg","行书35.5 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cm",[382],{"id":23796,"slug":23797,"title":23798,"dynasty":1095,"author":1096,"museum":8718,"description":23799,"tags":23800,"thumbUrl":23801,"material":15457,"size":139,"collection":139,"collections":23802,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":94},220599,"gong-chong-ce-ye-qing-e-qi-bai-shi-220599","工虫册页·青蛾","此作兼工带写，工笔绘就的青蛾形神兼备，翅翼薄透似可察纹理脉络，细足纤毫毕现，振翅欲飞的灵动跃然纸上，将小虫的鲜活生趣定格。\n\n散落的粉红花瓣以写意晕染而成，柔润朦胧，浅淡底色晕出水雾般的空濛氛围感，与工笔小虫形成虚实对照，繁简相宜。大片留白铺就清寂的意境，将晚春残花轻坠、小虫流连的闲静之景娓娓道来，写实的精致与文人写意的禅意相融，寥寥笔墨间藏着冲淡天真的闲情逸趣，尽显悠然雅致的东方意韵。",[7,24,81,28,27,801,6680,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3b02997a36403c257cbc7867068a62.jpg",[],{"id":23804,"slug":23805,"title":23806,"dynasty":1095,"author":1096,"museum":14968,"description":23807,"tags":23808,"thumbUrl":23809,"material":23810,"size":139,"collection":139,"collections":23811,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":94},220583,"zhuan-shu-e-mi-tuo-fo-qi-bai-shi-220583","篆书“阿弥陀佛”","此作用隶意入篆，打破篆书匀整旧制，起收笔斩截刚劲，线条厚重苍莽，带着金石摩挲出的斑驳质感。四字排布开张奇崛，字势欹侧错落却浑融一体，将佛号的庄穆，以生辣雄强的笔力托出。\n\n左侧题款小字灵动舒展，与厚重篆文形成动静对冲，疏密间尽显错落意趣。整作褪去雕琢匠气，把禅门静穆与写意野趣相融，笔墨间满是老辣天真的风骨，以书法写尽禅意沉浑。",[7,24,241,259,1308,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd1d7fbd1e528643671dd29dda0d313.jpg","Ink on paper",[],{"id":23813,"slug":23814,"title":23815,"dynasty":99,"author":443,"museum":752,"description":4217,"tags":23816,"thumbUrl":23817,"material":342,"size":4220,"collection":139,"collections":23818,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":94},220100,"shi-er-mo-hua-tu-juan-3-xu-wei-220100","十二墨花图卷-3",[23,209,7,24,25,173,83,242,243,1064,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e70c5fdddd68d2662d99287215d9176.jpg",[],{"id":23820,"slug":23821,"title":23822,"dynasty":76,"author":16463,"museum":539,"description":23823,"tags":23824,"thumbUrl":23825,"material":123,"size":23826,"collection":181,"collections":23827,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":49},220076,"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[23,7,24,209,104,27,28,107,29,108,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[181],{"id":23829,"slug":23830,"title":23831,"dynasty":99,"author":170,"museum":1806,"description":1807,"tags":23832,"thumbUrl":23833,"material":88,"size":1810,"collection":139,"collections":23834,"showCount":23670,"zanCount":5,"manualWeight":48,"mainColor":94},220016,"dong-zhuang-tu-ce-zhi-zhi-lao-ting-shen-zhou-220016","东庄图册之知乐亭",[23,7,24,81,173,27,29,175,394,1653,109,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31227e877f62e0718e4ec5caba521bf3.jpg",[],{"id":23836,"slug":23837,"title":16363,"dynasty":76,"author":23838,"museum":752,"description":23839,"tags":23840,"thumbUrl":23841,"material":88,"size":139,"collection":45,"collections":23842,"showCount":23670,"zanCount":1547,"manualWeight":48,"mainColor":49},219257,"cao-chong-tu-shang-rui-219257","上睿","画面以古雅绢色铺底，苍劲岩石兀立其间，其上百合舒展素瓣，清雅动人；旁侧藤蔓牵绕，细碎小花点缀，更添自然生趣。一只雀鸟振翅而来，羽翼纤毫毕现，姿态灵动似欲停驻花间。笔墨细腻处见功夫：花卉勾勒精致，叶片脉络分明；岩石皴擦有致，尽显朴拙质感。设色淡雅温润，白百合与暖棕背景相映成趣，整体氛围静谧中藏生机，仿佛能闻得隐于画间的花香鸟语，尽显清代花鸟画作的雅致意韵。",[23,7,24,28,27,83,245,281,1135,650,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c78ce61f7fcee14a5c12b26c976e97.jpg",[45],{"id":23844,"slug":23845,"title":23846,"dynasty":2460,"author":293,"museum":78,"description":23847,"tags":23848,"thumbUrl":23849,"material":123,"size":23850,"collection":90,"collections":23851,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":49},219253,"shuang-fu-tu-yi-ming-219253","双凫图","沙岸之上，双凫相栖。一昂首侧顾，羽色分明，墨线勾勒间见灵动；一俯身啄沙，姿态憨拙，似与细石苔草低语。左侧芦苇数茎，叶尖斜挑，墨色浓淡相衬，劲挺中含野趣。背景沙坡淡墨晕染，疏点散落，隐现苔痕添清寂。画面不着艳色，仅以水墨勾染，却将凫鸟闲适、草木疏朗尽现。静谧里仿佛闻风过苇叶轻响，见凫鸟戏沙悠然。极简笔触藏对自然神韵的深察，尽显古画“以形写神”妙趣，于清淡间传递自然生机与文人清雅意韵。",[7,27,28,83,1938,367,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f65c79e8538775c4d7b5a1690582de5.jpg","25.7x22.3cm",[90],{"id":23853,"slug":23854,"title":23855,"dynasty":76,"author":1394,"museum":20,"description":23856,"tags":23857,"thumbUrl":23858,"material":342,"size":23859,"collection":181,"collections":23860,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":94},219106,"yu-shan-xi-bie-tu-wang-shi-min-219106","虞山惜别图","此图取常熟城郊虞山之景，用笔苍劲老辣，颇具元代黄公望笔意，山石作披麻皴，苔点细密, 皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,209,7,24,241,173,177,2939,29,864,34,35,37,109,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[181],{"id":23862,"slug":23863,"title":23864,"dynasty":18,"author":1616,"museum":206,"description":23865,"tags":23866,"thumbUrl":23869,"material":123,"size":23870,"collection":42,"collections":23871,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":49},218981,"xian-yan-cai-yao-tu-li-tang-218981","仙岩采药图","这幅画来自《名画集》的第七板块，描绘了一个男人肩上扛着一个葫芦，沿着一条蜿蜒的小路走到森林里去采药。艺术家以森林中交错的树枝和茂密的树叶为 实，以溪流和小路为 虚，并采用了对应于实和虚的对角线布局，暗示了南宋边缘构图的思想。石头和树木的轮廓是用浓墨勾勒出来的，树叶是用双钩画出来的，然后用绿色覆盖，使森林看起来更加茂盛。画笔很灵活，用尖锐的细笔画出水面，用更简单的笔触在岩石和树木上创造纹理。没有作者的标记，但树木和石头的画法以及配色都与李唐的相似。也许这就是为什么老签名表明这幅画是李唐的作品。",[23,209,7,24,173,177,106,394,23867,29,23868],"山岩","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb1d36a81146ad83b80ed92d8cd863.jpg","22.4x23.8",[42],{"id":23873,"slug":23874,"title":23875,"dynasty":76,"author":9280,"museum":206,"description":23876,"tags":23877,"thumbUrl":23878,"material":123,"size":23879,"collection":44,"collections":23880,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":94},218459,"shi-liu-luo-han-xiang-di-shi-si-na-a-ga-sai-na-zun-zhe-ding-guan-peng-218459","十六罗汉像-第十四纳阿噶塞纳尊者","虽临摹自贯休的作品，但这套16幅画用明暗法来表现人物脸部、手部和脚部的裸露部分，使其具有逼真生动的肌肉纹理。周围的家具和石头有相当精确的透视，明显受到西方绘画风格的影响，色彩鲜艳丰富，有凹凸的立体感。人物的头发和胡须也被仔细地、艰苦地描绘出来。这幅画展示了罗汉的性格和品质，他是一个具有超越性思维和开放性思想的人。",[7,24,27,28,106,259,227,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72eac59f02a9575a8bac111da40f688.jpg","127.5x57.5",[44],{"id":23882,"slug":23883,"title":23884,"dynasty":189,"author":23885,"museum":206,"description":23886,"tags":23887,"thumbUrl":23888,"material":88,"size":23889,"collection":181,"collections":23890,"showCount":23670,"zanCount":1547,"manualWeight":48,"mainColor":94},218433,"jiang-xiang-qiu-wan-tu-li-shi-xing-218433","江乡秋晚图","李士行","画上御制诗为乾隆二十七年四月第三次南巡时所作。由档案可知，此卷为史贻直（1682 —1763）于二月十二日在扬州贡进，他当时任文渊阁大学士兼吏部尚书，为可进献贡物的高级官员。从卷上「史铁珍藏书画」印亦可推知此画原为其藏品。李士行（1282 —1382）为元代画竹名家，此卷为其难得之山水画作。据笪重光（1623 —1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[23,7,25,173,177,29,491,10030,34,31,32,2219,10380,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","31x117.4cm",[181],{"id":23892,"slug":23893,"title":23894,"dynasty":76,"author":1394,"museum":1806,"description":23895,"tags":23896,"thumbUrl":23897,"material":342,"size":23898,"collection":181,"collections":23899,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":94},217885,"xia-shan-fei-pu-tu-wang-shi-min-217885","夏山飞瀑图","王时敏（1592年—1680年）明末清初画家。初名赞虞，字逊之，号烟客，自号偶谐道人，晚号西庐老人等，江苏太仓人，首辅王锡爵孙，翰林王衡独子。崇祯初以荫官太常寺卿，故被称为“王奉常”。擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。",[7,24,241,173,177,29,864,558,560,34,464,650,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4aafdd248a746d5dca26f65ac644d6.jpg","106.2x48.2cm",[181],{"id":23901,"slug":23902,"title":11479,"dynasty":18,"author":23903,"museum":132,"description":23904,"tags":23905,"thumbUrl":23906,"material":123,"size":139,"collection":181,"collections":23907,"showCount":23670,"zanCount":5,"manualWeight":48,"mainColor":49},214826,"gui-zhuang-tu-li-xi-cheng-214826","李希成","李希成（约1086年—约1158年）是一位著名的宋代画家。他的代表作之一是《归庄图》，这幅画描绘了一位老人归还到他的庄园。老人骑着马，身后是一排竹林，前面是一座庄园。整幅画给人以温馨、宁静的感觉。《归庄图》是李希成的一个经典作品，代表了他扎实的技术和对自然的精准描绘。\n\n李希成还创作了许多其他优秀的作品，包括《山水图》、《虎图》和《鹿图》。他的作品常常被描绘成清新、宁静的景观，捕捉到了大自然的精髓。李希成是宋代“四大画家”之一，与黄庭坚、苏轼和韩愈并称。他对中国画的发展产生了深远的影响，是中国画史上不可磨灭的巨匠。",[23,7,24,1562,29,27,177,864,297,106,35,430,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6e45b2e30a82967b3ef0547a95e5ba.jpg",[181],{"id":23909,"slug":23910,"title":23911,"dynasty":99,"author":1996,"museum":78,"description":1997,"tags":23912,"thumbUrl":23913,"material":342,"size":2000,"collection":139,"collections":23914,"showCount":23670,"zanCount":48,"manualWeight":48,"mainColor":94},214632,"hua-hui-ce-12-chen-chun-214632","花卉册-12",[7,24,83,81,173,446,84,1299,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e40faa7cd3036d885f277f8b75cd67b.jpg",[],{"id":23916,"slug":23917,"title":23918,"dynasty":99,"author":1480,"museum":206,"description":23919,"tags":23920,"thumbUrl":23922,"material":827,"size":23923,"collection":139,"collections":23924,"showCount":23925,"zanCount":5,"manualWeight":48,"mainColor":94},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[23,7,209,25,24,260,173,105,106,23921,1959,759,34,176,178,86],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","23.8厘米*838厘米",[],80,{"id":23927,"slug":23928,"title":23929,"dynasty":76,"author":17651,"museum":364,"description":23930,"tags":23931,"thumbUrl":23933,"material":139,"size":139,"collection":139,"collections":23934,"showCount":23925,"zanCount":1547,"manualWeight":48,"mainColor":94},238191,"hua-hui-chong-die-zhou-yu-sheng-238191","花卉虫蝶轴","此作以工细之笔铺展秋日野趣，湖石错落间，萱花似燃、夕颜凝白，杂花柔枝相衬，野趣横生。画师以极细笔触晕染草虫蛱蝶，翅脉通透、触须纤毫毕现，振翅欲飞间将秋郊生机尽数铺展。设色秀雅清淡，妍而不俗，花叶俯仰生姿，瘦挺草叶穿插其间，疏密布局相得益彰。\n左侧题诗与画作呼应，诗画合璧更添文雅意境，将清秋幽寂又鲜活的意趣藏于尺幅之中，尽显写生精妙功底，把自然小景绘得雅致动人。",[7,24,241,27,28,84,23932,604,62,1064,245,712,83],"虫蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6199de4d5acfeaec5e8cafcd7497b4c3.jpg",[],{"id":23936,"slug":23937,"title":18107,"dynasty":76,"author":9704,"museum":364,"description":23938,"tags":23939,"thumbUrl":23940,"material":803,"size":139,"collection":90,"collections":23941,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":94},237219,"mu-dan-zhou-lu-hui-237219","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。\n幼习举子业，秀才入学试为第一，有人举报其父曾参加 从 尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤 旋客吴幕，得游三湘，所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工 尝作衡山记游图八幅，认为生平杰作，谓可媲美\n光绪 图中衣冠、中年归苏州，潜心绘事，考订 为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹",[7,24,241,27,83,327,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19c6ad9cdb51e1097c313f45d064bf4.jpg",[90,45],{"id":23943,"slug":23944,"title":23945,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":23946,"thumbUrl":23947,"material":743,"size":744,"collection":139,"collections":23948,"showCount":23925,"zanCount":1547,"manualWeight":48,"mainColor":94},235463,"hong-mei-tu-zhou-wu-chang-shuo-235463","红梅图轴",[7,446,27,227,86,448,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ee665f6d35f02aab575c4b2632afd6a.jpg",[],{"id":23950,"slug":23951,"title":23952,"dynasty":99,"author":966,"museum":20,"description":23953,"tags":23954,"thumbUrl":23955,"material":139,"size":139,"collection":139,"collections":23956,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":94},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,209,7,24,25,178,173,27,177,29,174,106,176,34,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],{"id":23958,"slug":23959,"title":486,"dynasty":99,"author":23960,"museum":20,"description":23961,"tags":23962,"thumbUrl":23963,"material":1386,"size":23964,"collection":181,"collections":23965,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":49},234318,"shan-shui-ce-song-xu-234318","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[7,173,177,81,29,109,108,1015,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f139067519e7c0c0636a193cc49cf5.jpg","纵31cm，横42cm",[181,45],{"id":23967,"slug":23968,"title":23969,"dynasty":292,"author":293,"museum":364,"description":23970,"tags":23971,"thumbUrl":23972,"material":743,"size":744,"collection":139,"collections":23973,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":94},231689,"shan-cha-hua-xiao-qin-tu-zhou-yi-ming-231689","山茶花小禽图轴","此作兼用工笔与写意，老干虬曲苍劲，山茶厚叶凝翠，丹花灼灼绽放，枝上小禽侧目伫立，灵动娇憨的神态跃然纸上。设色雅致沉稳，花叶晕染细腻柔和，禽鸟绒羽的质感描摹入微，既有院体花鸟的精工之态，又饱含文人画的清逸格调。\n\n题诗与画作相映成趣，将探春报春之意藏于景中，把早春山茶盛放、幽禽暂驻的清寂生机铺陈开来，一花一禽皆含雅意，尽显传统花鸟的悠然禅意。",[23,7,24,241,27,28,83,14572,281,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a1618f40479b25ced4925a880d9b34.jpg",[],{"id":23975,"slug":23976,"title":23977,"dynasty":99,"author":293,"museum":12966,"description":23978,"tags":23979,"thumbUrl":23983,"material":619,"size":23984,"collection":139,"collections":23985,"showCount":23925,"zanCount":5,"manualWeight":48,"mainColor":49},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[23,7,25,27,28,177,29,957,7281,150,23980,3167,23981,16560,12940,34,650,560,340,23982],"象","山羊","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","34.5x744厘米",[],{"id":23987,"slug":23988,"title":23989,"dynasty":54,"author":577,"museum":364,"description":23990,"tags":23991,"thumbUrl":23992,"material":139,"size":139,"collection":139,"collections":23993,"showCount":23925,"zanCount":5,"manualWeight":48,"mainColor":49},231021,"gu-di-wang-tu-juan-li-dai-di-wang-tu-juan-yan-li-ben-231021","古帝王图卷.历代帝王图卷","《国宝在线历代帝王》是2年 出版的图书。\n第1版 (2年12月1日) ISBN: 786726519 条形码: 978786726518 尺寸: 29.8 22.4 1 cm 重量: 259 g 历代帝王，是中国人物画历史上一个重要的题材。\n古代没有照片，千古一帝的仪容，全仗绘画来保存。\n最早的帝王画，可以追溯到种种遥远而缺乏实证的文字记载，如《孔子家语·观周》中，记载孔子参观周朝的明堂，见四周的墙壁上画有圣主尧、舜和暴君夏桀、商纣的肖像。\n他认为这些帝王图『各有善恶之状，兴废之诫焉』。\n孔子的这番评价， 一语道明了古代帝王画的功能，乃是出于礼教的宣传目的。\n当孔子把『兴废之诫』作为绘画艺术的基本任务时，他或许没想到，这样的思想在很长一段时期竟主宰了中国人物画的创作功能，甚至建国后盛行一时的伟人像、英雄像，与这一见解其实也异曲同工。\n唐代张彦远在《历代名画记》中引用了三国时曹植与孔子相类似的见解：『观画者，见三皇五帝，莫不仰戴；见三季暴主，莫不悲惋……是知存乎鉴戒者，图画也。\n』早期的帝王画大都是以屏画、壁画的形式出现，通过形象上的『善恶对比』，达到『成教化，助人伦』的目的，正所谓『见善足以戒恶，见恶足以思贤』。\n自汉代以后，宫廷壁画及卷轴画中的帝王图已成为委婉地向统治者进谏的政治性作品，不但臣僚们利用它来推行政见，而且帝王也用它来美化自己，表现能接受历史的经验，是趋贤去恶的明主。\n然而，『不见五陵豪杰墓，无花无酒锄作田』，随着大量绘有大批壁画的建筑物的损毁，后人却只能通过文字记载来想像这些作品的风采了。\n千秋功过画帝王 流传至今的帝王卷丑画中，以传为唐代阎立本所绘的《历代帝王图》和《步辇图》最早。\n尤其是《历代帝王图》，是一件典型的礼教绘画作品。\n画中共刻画了汉魏以来十三个帝王的形象。\n帝王的服饰、仪仗、起居、侍从等都表现着统治者共同的特征和气势，而一画家又通过入微地表现不同帝王的不同个性，象征并反映了这些帝王的千秋功过。\n相传同是阎立本所画反映唐太宗接见吐蕃使者的《步辇图》，则向我们传达了另一个信息——帝王的肖像常常同时也是一种记录重要事件的方法，很有些像今天的记录影片。\n这样的情况在西方甚至更为普遍，比如我们对大卫的《拿破伦加冕》和《马拉之死》大概不会陌生。\n正是通过这些作品，使我们对久远的历史场景在头脑中产生了一定的直观印象。\n依靠类似于《步辇图》这样的作品，使今人仍能较确切地了解盛唐帝王的威仪和处理重大事件的方式。\n在中国，类似的作品还有不少，如传宋徽宗所作的《听琴图》和清郎世宁所作的《 》等。\n古代，大多数的帝王肖像出于宫廷画家的手笔，特别是当朝帝王的画往往由专职的宫廷画家完成。\n不过民间也流传着一些以帝王为题材的绘画作品，且主要以远古的传说故事为内容。\n尽管同样具有礼教的功能，但正所谓[生后是非谁管得，满村争说蔡中郎]，这些作品，其实不过是人们凭想像的[演义]，而并不具备真实可靠的史料价值了。\n唐 阎立本 历代帝王图 唐 阎立本 历代帝王图 卷 之一 唐 阎立本 历代帝王图 卷 之二 唐 阎立本 历代帝王图 卷 之三 唐 阎立本 历代帝王图 卷 之四 唐 阎立本 历代帝王图 卷 之五 唐 阎立本 历代帝王图 卷 之六 唐 阎立本 历代帝王图 卷 之七 唐 阎立本 历代帝王图 卷 局部 唐 阎立本 步辇图 卷 绢本",[23,209,7,24,25,28,27,106,15611,4525,63,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99416fb53247fd7f686c65bbf85a9c.jpg",[],{"id":23995,"slug":23996,"title":23997,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":23998,"thumbUrl":24001,"material":67,"size":10518,"collection":139,"collections":24002,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":271},230110,"hong-lou-meng-280-sun-wen-230110","红楼梦280",[7,28,27,23999,24000,758,107,115,34,84,106,25],"红楼梦","大观园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b546e3871ae691d9c459756f0333ad1.jpg",[],{"id":24004,"slug":24005,"title":24006,"dynasty":76,"author":24007,"museum":364,"description":24008,"tags":24009,"thumbUrl":24010,"material":139,"size":139,"collection":139,"collections":24011,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":271},224343,"she-se-mu-dan-zhou-fan-qi-224343","设色牡丹轴","樊圻","这幅作品以湖石为骨，牡丹为魂，湖石以浓墨勾勒皴擦，嶙峋苍古，朴拙沉厚，稳稳托举花株。牡丹以没骨晕染，粉瓣柔润层叠，白蕊轻透蓬松，自带雍容妍态；绿叶以汁绿晕染出阴阳向背，鲜活舒展。\n笔墨兼容工致与写意，设色秀雅沉静，将牡丹华贵与湖石清奇相融，柔刚相济。整幅画面静穆中藏生机，雅致脱俗，尽显花石相映的清幽意趣。",[23,368,7,241,27,28,83,327,245,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9dfde28aebea23e14127821d8f6868d.jpg",[],{"id":24013,"slug":24014,"title":24015,"dynasty":18,"author":293,"museum":20,"description":22037,"tags":24016,"thumbUrl":24017,"material":40,"size":24018,"collection":139,"collections":24019,"showCount":23925,"zanCount":5,"manualWeight":48,"mainColor":49},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷",[23,7,209,24,25,28,27,106,29,957,7281,5673,4307,22248,2786,34,176,281,18694,2717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],{"id":24021,"slug":24022,"title":24023,"dynasty":76,"author":293,"museum":364,"description":24024,"tags":24025,"thumbUrl":24026,"material":139,"size":139,"collection":139,"collections":24027,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":94},223459,"shan-shui-xiao-pin-yi-ming-223459","山水小品","小品画一般以小立轴、镜片、册页、扇面等形式为主，广泛应用于社会，凡宾馆、小会议室、小客厅、以及各种娱乐场所的室内装饰布置，都常用小品画。 可以说中国画能进入寻常百姓家的主要是小品画，所以小品画是人民群众喜闻乐见的形式。 其四，小品画的表现手法比较自由随意也是它的一个特点。",[23,7,24,173,27,177,81,29,245,174,490,1966,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614164daf8e9e4af388f9ada7fdd61ea.jpg",[],{"id":24029,"slug":24030,"title":24031,"dynasty":99,"author":1480,"museum":78,"description":24032,"tags":24033,"thumbUrl":24034,"material":2021,"size":24035,"collection":181,"collections":24036,"showCount":23925,"zanCount":5,"manualWeight":48,"mainColor":94},222357,"feng-tian-xing-du-tu-zhou-tang-yin-222357","葑田行犊图轴","此图取材于唐代李密的故事，史记李密骑牛住缑山拜访名士包恺，牛角挂一卷《汉书》，边走边读。本图并没有强调此一情节。而是突出了“行过松阴懒着鞭”的悠闲之意。图绘一老者手执长鞭骑牛前行，老者表情悠闲，一路观景，牛身形壮硕，四肢有力；上面松枝繁茂，郁郁葱葱。",[23,7,24,241,173,177,86,106,151,1575,176,394,697,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纵74.7，横42.7厘米",[181,163],{"id":24038,"slug":24039,"title":24040,"dynasty":99,"author":100,"museum":78,"description":24041,"tags":24042,"thumbUrl":24044,"material":803,"size":24045,"collection":181,"collections":24046,"showCount":23925,"zanCount":5,"manualWeight":48,"mainColor":94},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,209,7,24,241,27,28,24043,242,175,106,29,109,176,34,281,174],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[181,45],{"id":24048,"slug":24049,"title":24050,"dynasty":99,"author":1083,"museum":78,"description":24051,"tags":24052,"thumbUrl":24053,"material":67,"size":24054,"collection":90,"collections":24055,"showCount":23925,"zanCount":5,"manualWeight":48,"mainColor":94},221895,"mei-hua-xiao-niao-chen-hong-shou-221895","梅花小鸟","此图虽为花鸟，却有山水格局。勾皴之石较为丰富，与梅树虬劲的老干浑然一体；红树有虫啮之痕，与树后精整的双钩之竹相映成趣；梅枝与小鸟，在大片空白的衬托下，成为鲜明的画眼。由此而营造了一种静中有动，清寒澄爽的意境。画梅颇有蓝瑛意趣，而气息雅于其师。藏上海博物馆。\n陈洪绶（1598-1652)，字章侯，号老莲，诸砰枫桥（今属浙江）人。出生干没落官宦之家的陈洪绶能诗，擅书画，尤长于绘画。人物、山水、花鸟、走兽无所不精，是明末淸初最著名的画家之一。初学蓝瑛，师法唐人，兼有李公麟、赵孟频之妙。运笔旋转，一气呵成，具有鲜明独特的风格。花鸟画渊源两宋，颇有奇趣。",[7,24,83,27,28,448,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b5794e3e57e740d6a66c2ddcd1a652.jpg","22.2x21cm",[90,45],{"id":24057,"slug":24058,"title":17857,"dynasty":18,"author":24059,"museum":364,"description":24060,"tags":24061,"thumbUrl":24062,"material":3138,"size":24063,"collection":42,"collections":24064,"showCount":23925,"zanCount":1547,"manualWeight":48,"mainColor":49},221249,"pu-tao-tu-wen-ri-guan-221249","温日观","善草书，精画葡萄，自成一家。他于一笔中带有深浅不同之墨色画叶，并以深墨点染仍带湿润 之葡萄，表现出明暗和体积，颇显自然逼真，人称“温葡萄”，很得赵孟頫推崇。元至元二十七年（1290），温日观偶遇同乡士人曾遇，得知他即将赴京，欣然画葡萄两幅，一幅托他带给赵孟頫，另一幅赠给曾遇。次年，赵孟頫在葡萄卷上题跋：“日观老师作墨葡萄，初若不经意，而枝叶肯棨，细玩之纤悉皆具，殆非学所能至。俗人恳恳求之，靳不与一笔。遇佳士，虽不求，辄索纸笔挥洒无吝色，岂可谓道人胸中无泾渭耶。吾与师仅一再面，去冬曾君自吴来燕，辱以一纸见寄，相望数千里不遐遗乃尔。因想胜风，欲相从西湖山水间，何可得也。”\n温日观画葡萄率意而作，天真烂漫，吐露心声。《画禅》称他：“自成一家法，人不可测。”由于他擅长草书，葡萄的梗须枝叶都用草书笔法，收藏者以此鉴别真赝。陈继儒称他：“葡萄极得草书三昧法。”有一幅作于至元二十八年（1291）的《葡萄图》轴，上面题诗“香稻雨催熟，丹心老变灰。夕阳归路近，魂梦日徘徊”，后流入日本。《葡萄图》卷现藏美国高居翰先生景元斋。为人超逸绝尘，出言愤世骇俗。行书法杨凝式。据戴表元《宋温日观书心经》题跋，说他“放浪啸傲于西湖三竺间五十年”，享年当在六十岁以上。",[23,209,7,24,83,173,3199,697,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f93f7fe5ef5954868af2d6649c5e2f2.jpg","27×188.5cm",[42,90,163],{"id":24066,"slug":24067,"title":24068,"dynasty":189,"author":1672,"museum":206,"description":24069,"tags":24070,"thumbUrl":24071,"material":317,"size":24072,"collection":181,"collections":24073,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":94},220786,"song-lin-ting-zi-zhou-ni-zan-220786","松林亭子轴","《松林亭子图》为倪瓒54岁时所作，画上落款时间为至正十四年（1354）初冬。在1354年前后，倪瓒的生活因元末社会动荡而发生一系列变化。“至正八年（1348）台州黄岩方国珍起义，至正十一年红巾军起义，十三年张士诚起兵泰州⋯⋯至正十二年，元军与红巾军在太湖流域大战，无锡、苏州等地处于战火硝烟之中，倪瓒避兵于甫里南渚陆玄素家。”元政府的苛捐杂税没有因为战争而消减，反而有愈演愈烈之势。朱德润在《平江路问弭盗策》中叙述了当时赋税的繁重：“科征之际，枷系满屋，鞭挞盈道，直至生民困苦，饥寒迫身。至于酒课、盐课、税课，比之国之初增至十倍。”倪瓒本人也于至正六年（1346）在《馀不溪咏并续》中叹道：“余既为农畎亩，身依稼穑。复而政繁，奔走州里。”倪瓒在兄长去世后，田亩赋税的豁免权随之消失，加之对生活品质的追求，用度豪奢，重赋剥削，也逐渐品尝到生活的重压。于是，在战火与课税中，倪瓒选择变卖田产，弃家逃避兵火之灾。\n《松林亭子图》，现藏于台北故宫博物院，绢本墨画，纵83.4厘米，横52.9厘米，画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。”倪瓒的跋文交代了创作的时间，受画者，以及创作的主题。",[23,7,24,241,173,177,29,175,449,430,431,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da39d40c4ed54cede808d8b666499.jpg","276x74.5cm",[181,163],{"id":24075,"slug":24076,"title":24077,"dynasty":18,"author":12711,"museum":206,"description":24078,"tags":24079,"thumbUrl":24080,"material":123,"size":24081,"collection":42,"collections":24082,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":49},219965,"du-zuo-tan-qin-tu-yang-wu-jiu-219965","独坐弹琴图","扬无咎（1097─1169年），字补之，号逃禅老人，又号清夷长者，清江（今属江西省）人，寓居南昌。自称为东汉著名文学家扬雄之后，故其姓氏从“手”而不从“木”。生平事迹不详。他为人正直耿介，绍兴（1131─1162年）年间，奸相当道，朝廷对外妥协苟安，无咎“不直秦桧，累征不起”，一生没有作官，是一位藐视权贵的画家。他为梅花传神写照，以“墨梅擅天下，身后寸纸千金”，成为中国梅画的初始者之一。事实上，“画如其人”，无咎笔底高标清韵的梅花，正是画家素洁坚贞的高尚操守的化身。",[23,7,24,241,173,177,178,86,227,106,210,29,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8dca1f72c4020db5b4154f5b7b91632.jpg","40x25.5",[42,181],{"id":24084,"slug":24085,"title":24086,"dynasty":99,"author":13656,"museum":78,"description":24087,"tags":24088,"thumbUrl":24090,"material":123,"size":24091,"collection":44,"collections":24092,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":49},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[7,209,24,241,173,446,27,29,106,174,281,109,1653,394,14952,1351,245,2522,697,650,24089],"秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[44],{"id":24094,"slug":24095,"title":16512,"dynasty":76,"author":5096,"museum":539,"description":24096,"tags":24097,"thumbUrl":24098,"material":342,"size":24099,"collection":181,"collections":24100,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":94},219743,"fang-ju-ran-shan-shui-tu-wang-jian-219743","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[7,24,29,864,297,430,4573,173,446,241,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472899d1492e7cb68ad1e494ac1c01e3.jpg","纵130.3横49.7厘米",[181],{"id":24102,"slug":24103,"title":24104,"dynasty":189,"author":190,"museum":206,"description":24105,"tags":24106,"thumbUrl":24107,"material":67,"size":24108,"collection":181,"collections":24109,"showCount":23925,"zanCount":5,"manualWeight":48,"mainColor":49},219504,"tie-ya-tu-huang-gong-wang-219504","铁崖图","此作近景作小坡树石，右置小桥，左布人家；中远景左方峰峦平顶叠加相连，右方则云烟飘渺，仅露出局部山头、崖壁。画中物像钩定轮廓後，多以规整卧笔点叶、点苔，略显平板。",[7,24,241,173,177,29,176,34,37,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45b7cbc7b51e6e5ecc78a2cd2b60d17.jpg","157.5x64.9公分",[181],{"id":24111,"slug":24112,"title":24113,"dynasty":99,"author":1170,"museum":206,"description":24114,"tags":24115,"thumbUrl":24116,"material":173,"size":139,"collection":163,"collections":24117,"showCount":23925,"zanCount":5,"manualWeight":48,"mainColor":49},219339,"fu-song-guan-pu-tu-dai-jin-219339","抚松观瀑图","虬松横斜如探身老者，枝桠间松针攒簇，墨色浓淡相济，尽显苍劲古拙之姿。飞瀑自崖壁垂落，线条如练，与朦胧山雾相融，添几分空濛悠远。松下二人或立或俯，似低语，又或凝听瀑声，神态悠然，将文人雅士闲适心境藏于山水间。左侧亭台半隐松荫，木质结构线条简洁，与自然景致浑然一体。山石皴擦刚健，草木点染灵动，笔墨兼具挺劲与秀逸。整幅画山水相映，人物点睛，传递出远离尘嚣、寄情林泉的淡泊之韵，仿佛能闻松涛与瀑声交织，引人沉醉于这份林泉雅趣中。",[7,24,241,29,177,27,1575,558,175,106,176,109,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff224b7dc4b4561098e04194164c63257.jpg",[163],{"id":24119,"slug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ections":24196,"showCount":23925,"zanCount":48,"manualWeight":48,"mainColor":94},214490,"cheng-fang-fang-gu-shan-shui-tu-cheng-fang-214490","程淓仿古山水图","程淓","清代程淓的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程淓对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程淓是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程淓的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程淓对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程淓的画风魅力，还能了解中国传统的山水风情。",[23,7,173,3117,177,241,29,34,35,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64344232495e911adda77560a5895256.jpg","28x17cm",[181],{"id":24198,"slug":24199,"title":24200,"dynasty":76,"author":707,"museum":752,"description":1872,"tags":24201,"thumbUrl":24202,"material":803,"size":1875,"collection":139,"collections":24203,"showCount":23925,"zanCount":5,"manualWeight":48,"mainColor":49},214357,"san-jue-shan-shui-ce-3-hua-yan-214357","三绝山水册-3",[23,7,24,81,173,27,29,114,119,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbbe74ad51b2f834a84bc920cbd5367.jpg",[],{"id":24205,"slug":24206,"title":24207,"dynasty":18,"author":1035,"museum":364,"description":24208,"tags":24209,"thumbUrl":24210,"material":743,"size":744,"collection":139,"collections":24211,"showCount":24212,"zanCount":5,"manualWeight":48,"mainColor":94},289594,"wu-long-tu-chen-rong-289594","五龙图","陈容，字公储，号所翁，福建长乐人，南宋端平二年（1235年）进士，曾做过福建莆田太守。南宋著名画家。《金溪县志》作临川（今属江西）人，《图绘宝鉴》作福唐（今福建福清）人。生卒年不详。陈容墓在福建长乐。\n诗文豪壮，尤善画龙，变化欲活，世传‘所翁龙’是也。”\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,7,25,24,173,502,2715,227,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad44d787cfa6bf3de62f57ee2d80a9fc.jpg",[],79,{"id":24214,"slug":24215,"title":24216,"dynasty":18,"author":24217,"museum":206,"description":24218,"tags":24219,"thumbUrl":24221,"material":743,"size":24222,"collection":42,"collections":24223,"showCount":24212,"zanCount":5,"manualWeight":48,"mainColor":49},287652,"wei-lu-bo-gu-tu-zhang-xun-li-287652","围炉博古图","张训礼","庭中松树挺立，梅花盛开。屏风前三文士围束腰长桌而坐，其中二文士坐於榻上，榻下壶门开光，一观画，一盥手回首；靠背扶手椅上文士手作研磨状，似为点茶备茶。一文士园中踱步吟诗。",[209,7,241,27,106,28,12920,107,244,24220],"博古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc850534567ac90cd07b70a89c97c8ca.jpg","138x72.7",[42],{"id":24225,"slug":24226,"title":24227,"dynasty":189,"author":351,"museum":364,"description":24228,"tags":24229,"thumbUrl":24231,"material":743,"size":744,"collection":139,"collections":24232,"showCount":24212,"zanCount":5,"manualWeight":48,"mainColor":49},287308,"yu-tu-xiao-niao-tu-juan-qian-xuan-287308","玉兔小鸟图卷","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,7,25,28,27,2786,281,83,84,10154,24230],"草本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb81428e6f03395c30ef0e049ea155af.jpg",[],{"id":24234,"slug":24235,"title":24236,"dynasty":76,"author":707,"museum":20,"description":24237,"tags":24238,"thumbUrl":24239,"material":3076,"size":24240,"collection":44,"collections":24241,"showCount":24212,"zanCount":48,"manualWeight":48,"mainColor":94},237744,"bai-miao-shi-nv-hua-zhou-hua-yan-237744","白描仕女画轴","此图绘一端庄文弱的女子，低头垂目，双手笼袖，侧身坐于藤木秀榻上。侍女手捧书函正急步送上前来。此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。构图奇巧，画幅的上半部没有一笔字画涂抹，人物及款题均置于下半部。大面积的空白位于人物的上方，扩展了人物上部的空间，同时又以“此时无声胜有声”的暇想意境充实了画面。此外，上半部无笔墨的空旷亦与细笔白描人物简洁的笔风相吻合，有助于突出主体人物。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[7,24,241,260,106,59,63,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8f10a6089ea06b787ca52b83785359.jpg","纵82厘米，横32.2厘米",[44],{"id":24243,"slug":24244,"title":24245,"dynasty":76,"author":4199,"museum":206,"description":19856,"tags":24246,"thumbUrl":24247,"material":803,"size":139,"collection":90,"collections":24248,"showCount":24212,"zanCount":48,"manualWeight":48,"mainColor":94},237220,"xu-gu-yang-liu-jin-yu-tu-zhou-xu-gu-237220","虚谷杨柳金鱼图轴",[7,241,27,173,83,16320,7759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c814e1d8ff895dc019b71e2a3d06d5.jpg",[90],{"id":24250,"slug":24251,"title":2384,"dynasty":99,"author":443,"museum":364,"description":11240,"tags":24252,"thumbUrl":24253,"material":743,"size":744,"collection":139,"collections":24254,"showCount":24212,"zanCount":5,"manualWeight":48,"mainColor":94},236014,"shui-mo-mu-dan-tu-zhou-xu-wei-236014",[209,7,24,241,173,446,83,327,698,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b9b9003c0b06152df4c09bc658910.jpg",[],{"id":24256,"slug":24257,"title":24258,"dynasty":18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横47.9厘米",[90,45],{"id":24297,"slug":24298,"title":24299,"dynasty":99,"author":24267,"museum":206,"description":24300,"tags":24301,"thumbUrl":24302,"material":619,"size":24303,"collection":181,"collections":24304,"showCount":24212,"zanCount":48,"manualWeight":48,"mainColor":94},222372,"song-quan-shi-si-zhou-zhou-chen-222372","松泉诗思轴","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[23,7,24,241,173,27,29,1575,176,15098,106,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","114.6x53.1",[181,45],{"id":24306,"slug":24307,"title":24308,"dynasty":189,"author":21912,"museum":206,"description":24309,"tags":24310,"thumbUrl":24311,"material":123,"size":24312,"collection":139,"collections":24313,"showCount":24212,"zanCount":1547,"manualWeight":48,"mainColor":49},221801,"fang-guo-xi-qiu-shan-xing-lv-zhou-tang-di-221801","仿郭熙秋山行旅轴","元文宗天历二年(1329)应诏在南京龙翔寺绘制画壁，至顺四年(1333)第二次北上大都，奉诏在宫廷作画。\n在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。\n传世作品有元统二年(1334)作《林荫聚饮图》轴、至元四年(1338)作《霜浦归渔图》轴，图录于《中国绘画史图录》上册；《携琴远眺图》轴现藏四川省博物馆；《雪港捕渔图》轴藏上海博物馆；《云浦驾舟图》册页、《仿郭熙秋山行旅图》轴藏台北故宫博物院。",[23,209,7,24,241,173,27,29,176,34,559,177,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8381f79ff9423e46f2961c5ae4ff6f0.jpg","151.9x103.7",[],{"id":24315,"slug":24316,"title":24317,"dynasty":18,"author":7349,"museum":20203,"description":24318,"tags":24319,"thumbUrl":24322,"material":67,"size":24323,"collection":42,"collections":24324,"showCount":24212,"zanCount":48,"manualWeight":48,"mainColor":49},221612,"can-zhi-tu-juan-liang-kai-221612","蚕织图卷","图描绘江浙一带的蚕织户自“腊月浴蚕”到“下机入箱”为止的养蚕、织帛的整个生产过程。该卷由二十四个场面组成，用长房贯穿，每个场面下有楷书小字，注明内容。全卷场面宏大，共绘七十四人，翁媪长幼，皆服宋装。图中人物的神态举止，惟妙惟肖，桑树、户牖、几席、蚕具、织具等，富有写真写实之风。",[23,7,25,28,27,104,106,24320,24321,115,35,34,9885,173,12030,65],"织机","蚕桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5708c7869732c0eddc83d2007b004137.jpg","27.5x513",[42,44,45],{"id":24326,"slug":24327,"title":24328,"dynasty":18,"author":812,"museum":364,"description":24329,"tags":24330,"thumbUrl":24333,"material":665,"size":24334,"collection":42,"collections":24335,"showCount":24212,"zanCount":5,"manualWeight":48,"mainColor":49},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[23,7,209,25,28,27,83,10824,242,243,224,560,432,697,14137,7889,24331,24332],"野花","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","横301.5cm纵32.5cm",[42,90,45],{"id":24337,"slug":24338,"title":24339,"dynasty":54,"author":24340,"museum":20,"description":24341,"tags":24342,"thumbUrl":24343,"material":803,"size":24344,"collection":382,"collections":24345,"showCount":24212,"zanCount":48,"manualWeight":48,"mainColor":94},221090,"mo-lan-ting-xu-juan-yu-shi-nan-221090","摹兰亭序卷","虞世南","《兰亭序》是东晋右军将军王羲之51岁时的得意之笔，记述了他与当朝众多达官显贵、文人墨客雅集兰亭、修稧事也的壮观景象，抒发了他对人之生死、修短随化的感叹。崇山峻岭之下，茂林修竹之边，乘带酒意，挥毫泼墨，为众人诗赋草成序文，文章清新优美，书法遒健飘逸。被历代书界奉为极品。宋代书法大家 米芾称其为“中国行书第一帖”。王羲之因此也被后世尊为“书圣”。后人在研究其书法艺术时赞誉颇多：“点画秀美，行气流畅”，“清风出袖，明月入怀”，“飘若浮云，矫若惊龙”，“遒媚劲健，绝代所无”，“贵越群品，古今莫二”。确实如此，传说王羲之以后也曾再书《兰亭序》，但均逊色于原作，所以《兰亭序》原稿一直为王羲之视为传家之宝，为王氏后代收藏，传至王羲之第七代时被唐太宗李世民“骗”入朝廷，唐太宗得《兰亭序》后，曾诏名手赵模、冯承素、虞世南、褚遂良等人钩摹数个乱真副本，分赐亲贵近臣，之后民间也广为临摹，但无一胜过王羲之的原作，所以《兰亭序》真迹被唐太宗视为稀世珍品而最终殉葬，这更让后世对《兰亭序》原作崇敬不已，冠以中国书法第一帖的美名实在无可争议。\n\n千百年来，《兰亭序》有多个版本在世间流传，最受推崇的是藏于北京故宫博物院的冯承素摹本《兰亭序》。《冯本》为唐代内府栩书官冯承素摹写，因其卷引首处钤有“神龙”二字的左半小印，后世又称其为“神龙本”，因使用“双钩”摹法，为唐人摹本中最接近兰亭真迹者。此本摹写精细，笔法、墨气、行款、神韵，都得以体现，公认为是最好的摹本。",[23,209,7,24,25,105,178,227,86,3790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8266ea63061d7e4a5ed03a1107c08fd.jpg","纵24.8cm，横57.7cm。",[382,2616],{"id":24347,"slug":24348,"title":24349,"dynasty":189,"author":487,"museum":238,"description":24350,"tags":24351,"thumbUrl":24352,"material":88,"size":24353,"collection":44,"collections":24354,"showCount":24212,"zanCount":1547,"manualWeight":48,"mainColor":49},220437,"bi-hu-zhu-shu-tu-wang-meng-220437","闭户著书图","王蒙绘画风格可分为早、中、晚三个阶段；早期宗学家法，即师法外家赵氏风范；中期泛学前代诸家，也是自己独特画风的初创期，这一时期大约自至正初年隐居开始，持续至至正二十年（1360）左右；后期则是其风格的成熟期，大约自至正二十年后至卒于狱中。\n本图应为其风格初创时期的作品，笔墨、题材、画面空间等诸多方面都体现了这一时期的显著特点：笔墨上已脱离了早期的摹古阶段，开始形成皴法繁复、苔点密集的风格特征；用笔跳跃扭动，浓墨、淡墨、焦墨混用，苔点看似杂乱，实则经过精心安排，这种笔墨技巧十分适合表现江南山川圆润多土、草木茂密之感。",[23,7,24,173,177,29,864,1575,394,35,108,109,245,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm",[44,45],{"id":24356,"slug":24357,"title":24358,"dynasty":18,"author":293,"museum":206,"description":24359,"tags":24360,"thumbUrl":24362,"material":123,"size":24363,"collection":42,"collections":24364,"showCount":24212,"zanCount":1547,"manualWeight":48,"mainColor":94},220363,"sang-zhi-huang-niao-tu-yi-ming-220363","桑枝黄鸟图","北宋绘画讲求写生，当时的画家必需要能同时掌握大自然中瞬息万变的面貌，以及具备精湛的绘画技巧。因此这件作品所体现画家这份力图师法自然、再现自然的匠心，令人弥足珍惜。",[23,7,209,24,81,28,27,83,281,24361,225],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84d0d6b4547248df308176a7ee1cb94.jpg","25.4 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自逸，酬咨万姓切如伤。惟斯继述诚应勖，亦曰流连慎戒荒，高堰重蒙皇考建，千秋淮郡倚金汤。御制恭依皇祖览淮黄诗韵。臣于敏中奉敕敬书。",[23,7,24,25,28,27,104,31,24433,649,490,114,106,111,34,1255,15028,2166,4975,24434],"堤坝","水利工程","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bc9f5a94b12c79923f595bc701a8c2.jpg","68.8x1096.17cm",[181],{"id":24439,"slug":24440,"title":24441,"dynasty":18,"author":7349,"museum":364,"description":24442,"tags":24443,"thumbUrl":24444,"material":342,"size":24445,"collection":44,"collections":24446,"showCount":24212,"zanCount":5,"manualWeight":48,"mainColor":49},218585,"lan-ting-ti-xu-tu-liang-kai-218585","兰亭题序图","松枝虬劲，墨色浓淡交织出苍古意韵。雅士二人，衣纹以极简线条勾勒，却见洒脱之态——一人凭案凝思，似在斟酌字句；一人侧立静听，神态悠然。案上瓶梅斜逸，木盒静陈，细节处暗藏文心。笔墨删繁就简，却将兰亭雅集的清旷之境、文人相契的灵犀之态，尽纳其中。虽无繁复刻画，却于简约中见深厚，如品淡茶，唇齿留香，尽显文人画的逸致与风骨。每一笔皆不多余，每处留白皆藏深意，仿佛清风过耳，让人心生向往。",[7,24,209,173,260,20612,106,394,245,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6948482f3ced4ffd228934551e7fb4.jpg","28x48",[44],{"id":24448,"slug":24449,"title":24450,"dynasty":204,"author":19012,"museum":752,"description":24451,"tags":24452,"thumbUrl":24453,"material":123,"size":24454,"collection":44,"collections":24455,"showCount":24212,"zanCount":1270,"manualWeight":48,"mainColor":49},218269,"gu-dai-di-huang-tu-guan-xiu-218269","古代帝皇图","这幅画是根据《诗经》中的诗句题写的，描绘了古代六位皇帝，即神农、伏羲、女娲、轩辕、颛顼和帝喾。官方指定为16世纪明代浙江画派画家的作品。",[7,24,241,27,106,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d18c667d87a2ae5421a40180a406ac.jpg","106.4x55.6",[44],{"id":24457,"slug":24458,"title":24459,"dynasty":76,"author":24460,"museum":206,"description":24461,"tags":24462,"thumbUrl":24469,"material":88,"size":24470,"collection":181,"collections":24471,"showCount":24212,"zanCount":48,"manualWeight":48,"mainColor":94},218165,"huang-he-lou-tu-guan-huai-218165","黄鹤楼图","关槐","关槐（十八世纪）字晋卿，号云岩，晚号青城山人，仁和（今杭州）人。乾隆间供奉内廷，宠眷特懋。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。\n黄鹤楼位于湖北武昌县西，汉阳门内黄鹤山上，楼高踞山巅，东瞩蛇山，西瞰大江，极富江山之胜。此楼始建于孙吴，然代见整修增益。 「寰宇记」有云：「昔费文祎登仙，每乘黄鹤于此楼驾，故名。」关槐此幅绘城郭临岸，江帆交织，波光粼粼，诚武汉之写生景也。",[23,7,209,1397,27,24463,24464,24465,24466,107,29,24467,24468,710],"黄鹤楼","城郭","江帆","大江","波光","恬静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff013021d891bfaafb4122f34dac1c641.jpg","162.5x70.1cm",[181],{"id":24473,"slug":24474,"title":24475,"dynasty":18,"author":1650,"museum":132,"description":4296,"tags":24476,"thumbUrl":24477,"material":123,"size":4299,"collection":139,"collections":24478,"showCount":24212,"zanCount":48,"manualWeight":48,"mainColor":94},218074,"song-di-ming-ti-ce-er-ma-yuan-218074","宋帝命题册(二)",[23,2544,7,24,81,27,173,177,86,227,29,1015,245,109,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913cbd18783e2ebead9fd965f7f6a798.jpg",[],{"id":24480,"slug":24481,"title":9270,"dynasty":76,"author":1892,"museum":8782,"description":24482,"tags":24483,"thumbUrl":24484,"material":88,"size":24485,"collection":181,"collections":24486,"showCount":24212,"zanCount":48,"manualWeight":48,"mainColor":49},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,7,24,241,173,177,29,864,430,449,108,109,35,37,176,6398,194,560,9050,651,20163,12724],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[181],{"id":24488,"slug":24489,"title":5719,"dynasty":99,"author":13614,"museum":206,"description":24490,"tags":24491,"thumbUrl":24492,"material":381,"size":24493,"collection":44,"collections":24494,"showCount":24212,"zanCount":48,"manualWeight":48,"mainColor":49},216995,"yu-lan-guan-yin-tu-wu-bin-216995","这幅画描绘的是鱼篓里的观音，身穿草鞋，手持经卷，旁边还有一个背着鱼篓的小孩。虽然她是个女人，但她的脸是椭圆形的，有大眉毛和大眼睛，她没有女人的特征。她的身体和孩子的身体比例不均，人物被拉长变形，衣服用浓墨重彩的笔触画出来，有很多平行的弧形线条，整个作品奇特而有趣。",[209,7,24,241,259,106,260,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fbc09085c36b93a042a9a0aa5784c1.jpg","187.8x85",[44],{"id":24496,"slug":24497,"title":24498,"dynasty":18,"author":293,"museum":20,"description":24499,"tags":24500,"thumbUrl":24502,"material":123,"size":24503,"collection":90,"collections":24504,"showCount":24212,"zanCount":1547,"manualWeight":48,"mainColor":94},216750,"yuan-hou-zhai-guo-tu-yi-ming-216750","猿猴摘果图","此图绘深山野林中，三只猿猴攀援栖止于树枝上。其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。",[23,209,7,24,1562,28,27,227,24501,34,713,957],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19385bb53dc3ac8f2ae0ebf08a7d2ed.jpg","纵25厘米，横25.6厘米",[90],{"id":24506,"slug":24507,"title":24508,"dynasty":18,"author":10088,"museum":206,"description":24509,"tags":24510,"thumbUrl":24511,"material":123,"size":24512,"collection":181,"collections":24513,"showCount":24212,"zanCount":5,"manualWeight":48,"mainColor":94},215110,"qi-feng-wan-mu-tu-yan-wen-gui-215110","奇峰万木图","这幅作品中除了峭拔的奇峰外，并未见有燕文贵画风的特点。而由山石的造型、皴法、树法、点苔、设色等，也都比较接近南、北宋之交院画家李唐的「江山小景」卷来看，应当是一幅南宋习自李唐风格的作品。\n登临高山之顶，一幕奇峰汇聚、林木茂盛、云雾蒸腾的景致，正置于观者眼前。大自然的神奇与灵秀，使得这一座座高耸峭拔的奇峰与挺劲丛生的松杉，看来犹如刺天入云的绿色天柱，由近至远，幽缈地在天地之间起落、绵延。",[23,7,209,24,81,173,27,29,34,6407,177,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ce2e5b35c1ba22aa5ee4dea5f39ab1.jpg","24.5 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。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[7,24,81,27,28,83,84,135,227,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ad03ae2e1d9e12b784846270fbb25e.jpg",[90],{"id":24557,"slug":24558,"title":1223,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":24559,"thumbUrl":24560,"material":139,"size":139,"collection":139,"collections":24561,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},233912,"hua-hui-shan-shui-ce-yun-shou-ping-233912",[7,24,209,81,173,29,177,108,1015,176,35,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408186742edebb584c8928001e6a308d.jpg",[],{"id":24563,"slug":24564,"title":9612,"dynasty":18,"author":293,"museum":20,"description":24565,"tags":24566,"thumbUrl":24567,"material":40,"size":24568,"collection":139,"collections":24569,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":49},233017,"ye-he-hua-tu-ye-yi-ming-233017","图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。花朵轻勾淡染，用白粉点画花蕊，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之。绿叶穿插向背，层次安排巧妙，画面简约而不单薄。",[209,7,24,81,28,27,83,9615,698,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf71474db059bf26e08b661dea46f53.jpg","纵24.5cm，横25.4cm",[],{"id":24571,"slug":24572,"title":7316,"dynasty":18,"author":2142,"museum":206,"description":24573,"tags":24574,"thumbUrl":24576,"material":5149,"size":24577,"collection":42,"collections":24578,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":49},232619,"han-lin-ping-ye-tu-li-cheng-232619","北宋山水画主要承续五代荆浩、关仝的北方山水画系，由李成、范宽创立一代新风，传派繁衍。北宋时代，知名画家的人数仅从《图画见闻录》和《画继》两书来统计，就有386人之多。而李成的山水画以“气象萧疏，烟林清旷，毫锋颖脱，墨法精微”而著称，因而《宣和画谱》云：“凡称山水者，必以成为古今第一”。\n图绘萧瑟的隆冬平野中，长松亭立，林木薄疏，小丘起伏，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。此画李成用硬笔锐锋，在绢上勾画的松针，粗干细枝，土坡石廓，线条瘦硬坚韧，极具功力，即使不染墨，也神定气足。图中所绘树枝，无论粗细，均呈弧曲形，将线条的力度发挥到了最大程度。所以李成的画，仅用淡墨作少量的烘染，给人以一种秀润淡雅的享受。\n李成注重真实的山水写生，深谙透视画理，墨法变化微妙，风格清新，意韵精致。他的山水画不但表现出山川气象形势的变化，而且还特别强调了季节气候的特点，其中最突出的成就，是他创造了“寒林”的形象。\n另外，李成作画总是用墨不浓，轻淡如在烟雾里，显得缥缈幽清，史称李成“惜墨如金”。\n李成(919—967)，字咸熙，其先人为唐宗室，世居长安(今西安)。他出身贵族，有文学才能，性情旷达，聪颖多才，因世变抑郁不得志，而好饮酒与游历。善画山水以自娱。《宣和画谱》记述他的山水画说：“所画山林薮泽，平远险易，萦带曲折，飞流、危栈、断桥、绝涧、水石，风雨晦明，烟云雪雾之状，一皆吐其胸中，而写之笔下。”李成在继承前代成就的基础上，将山水画的表现内容和技巧，推向了纵深的发展，影响而及元、明、清。",[7,24,241,173,177,29,1015,394,5022,245,649,10154,24575],"裸根","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcee0e7c9374961a654e3f9f6b89cc35.jpg","纵137.8厘米，横69.2厘",[42],{"id":24580,"slug":24581,"title":24582,"dynasty":18,"author":2007,"museum":206,"description":24583,"tags":24584,"thumbUrl":24586,"material":123,"size":24587,"collection":42,"collections":24588,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":49},231052,"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","云气浩荡漫卷寰宇，巡行仪仗铺陈开三界威仪。尊神安坐牛舆，仙官神将扈从环伺，或腾云跨兽，或执旄持戟，旌旗翻卷如龙，神性肃穆融于缥缈云雾之间。\n\n笔墨苍劲古雅，设色沉敛厚重，以铁线描勾勒衣袂甲胄，须发纹路纤毫毕现。云雾晕染层层叠叠，虚实相生，将天界出行的宏阔盛景缓缓铺展。画面疏密有致，云间仙众、浪里神异错落排布，既恪守仪仗森严规制，又尽显仙道空灵意境，将神话中的巡游盛景定格于绢素之上，尽显工笔精致入微的意趣与神性之美。",[23,7,209,28,27,259,106,151,502,957,2715,37,263,24585],"神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9",[42],{"id":24590,"slug":24591,"title":24592,"dynasty":76,"author":10801,"museum":364,"description":24593,"tags":24594,"thumbUrl":24595,"material":743,"size":744,"collection":139,"collections":24596,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":94},230976,"tan-mei-shi-nv-tu-fei-dan-xu-230976","探梅仕女图","本图以采梅仕女为主景，她立于溪石上，左手抱着梅干，右手举起正欲攀花，姿态自然生动，十分传神。仕女用细笔勾成，笔墨细柔，设色淡雅，面容俊俏，身材婀娜，充分体现出费丹旭仕女图的美学特征。",[23,7,27,28,59,106,448,245,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebadd248a4abef29f28af2255c5ade4.jpg",[],{"id":24598,"slug":24599,"title":11626,"dynasty":99,"author":24600,"museum":364,"description":24601,"tags":24602,"thumbUrl":24606,"material":139,"size":139,"collection":139,"collections":24607,"showCount":24528,"zanCount":1547,"manualWeight":48,"mainColor":49},228359,"ying-xi-tu-xia-kui-228359","夏葵","画面疏密有致，左侧稚童踩桌扮作伶人，挥旗扬袖，玩伴们敲锣击鼓，将市井戏台搬作儿戏，喧闹活泼；右侧孩童或围缸逗弄游鱼，或持杖拨弄摆件，还有小大人模样的稚童踮脚照看木栏里的同伴，各得其乐。\n衣纹勾勒清劲细腻，设色古雅柔和，把幼童的憨态天真尽数铺陈，嬉闹的神态鲜活灵动，将稚子日常的嬉玩刻画入微，满卷皆是烟火融融的童真暖意，尽显世俗童趣的治愈生机。",[7,24,27,28,106,3045,933,24603,24604,7340,24605],"童趣","童真","治愈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22977837d9b61111f00b8de004be2c7d.jpg",[],{"id":24609,"slug":24610,"title":4025,"dynasty":76,"author":1892,"museum":364,"description":24611,"tags":24612,"thumbUrl":24613,"material":1716,"size":24614,"collection":181,"collections":24615,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},224390,"shan-shui-zhou-wang-yuan-qi-224390","王原祁，明崇禎十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，號麓台、石師道人，江南省蘇州府太倉人(今江蘇太倉)，王時敏孫。康熙九年（1670年）進士，觀政於吏部、任順天鄉試同考官，後任直隸順德府任縣（今河北省邢台市任縣）知縣，地當九河下流，滏漳諸水復久壅塞，腴田變為污渚，圪劉累泊等處，即古大陸澤為患，尤甚甲子乙丑秋雨連旬，水勢陡發，堤岸盡壊，田萊俱成巨浸。\n原祁請照淮揚例，永免水荒田賦三千餘金，民困以蘇其餘如，築堤以防水憲，建橋以通水道，斃盜賊以安民命，明僎介以昭典禮，發倉儲以救羸，着跡難以枚舉。丙寅，奉命行取擢諫垣，改翰林，累官少司農，卒於位，賜祭葬如例，康熙五十九年入祀名宦。\n以畫供奉內廷，康熙四十四年奉旨與孫嶽頒、宋駿業等編《佩文齋書畫譜》，五十六年主持繪《萬壽盛典圖》為康熙帝祝壽。擅畫山水，繼承家法，學元四家，以黃公望為宗，喜用幹筆焦墨，層層皴擦，用筆沉着，自稱筆端有金剛杵。與王時敏、王鑑、王翬並稱“四王”，形成婁東畫派，左右清代三百年畫壇，成為正統派中堅人物。享年七十四。\n其所著畫論有《雨窗漫筆》與《麓台題畫稿》。擅長做詩，有《罨畫樓集》3卷。\n晚清婁東畫派代表人物秦祖永論王原祁畫風：『中年秀潤，晚年蒼渾」；論其畫曰：『沈雄驗右，元氣淋漓，筆端金剛杵之語不虛也」",[23,7,173,241,29,177,176,34,560,650,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ded737cee2cb67416324c0fd6c159.jpg","纵91厘米，横46厘米",[181],{"id":24617,"slug":24618,"title":24619,"dynasty":76,"author":7142,"museum":20,"description":24620,"tags":24621,"thumbUrl":24622,"material":40,"size":24623,"collection":181,"collections":24624,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":49},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,7,27,104,28,29,1575,107,175,111,176,37,490,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[181,45],{"id":24626,"slug":24627,"title":24628,"dynasty":76,"author":24629,"museum":615,"description":24630,"tags":24631,"thumbUrl":24632,"material":22447,"size":24633,"collection":181,"collections":24634,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":49},223283,"bai-long-tan-li-zhou-dai-ben-xiao-223283","白龙潭立轴","戴本孝","回群山峰势险峻，几道飞泉从山腰倾泻而下，直接在山脚下的深潭中，被潭壁山岩环绕，画面茂密，有一种艺术感。 “花池深桃”的构想。",[23,7,173,241,29,177,864,558,430,1329,650,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","54x188.6cm",[181,163],{"id":24636,"slug":24637,"title":2470,"dynasty":76,"author":1703,"museum":20,"description":24638,"tags":24639,"thumbUrl":24640,"material":1716,"size":24641,"collection":90,"collections":24642,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":94},222706,"mo-mei-tu-jin-nong-222706","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[23,7,24,173,241,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7967e3dda2c9b321a8c00cdad902d330.jpg","纵117厘米，横43.6厘米",[90,45],{"id":24644,"slug":24645,"title":24646,"dynasty":76,"author":24647,"museum":515,"description":24648,"tags":24649,"thumbUrl":24650,"material":665,"size":24651,"collection":181,"collections":24652,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":49},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[23,7,24,241,173,105,177,29,1015,1575,176,6698,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[181],{"id":24654,"slug":24655,"title":24656,"dynasty":99,"author":1996,"museum":20,"description":5042,"tags":24657,"thumbUrl":24658,"material":665,"size":24659,"collection":90,"collections":24660,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":49},222554,"zhuo-se-hua-hui-tu-zhou-chen-chun-222554","着色花卉图轴",[23,7,209,24,241,27,446,83,84,242,245,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","59cmx113.4cm",[90,45],{"id":24662,"slug":24663,"title":24664,"dynasty":99,"author":24665,"museum":206,"description":24666,"tags":24667,"thumbUrl":24668,"material":803,"size":24669,"collection":90,"collections":24670,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},222433,"hua-die-cao-chong-ce-du-da-cheng-222433","花蝶草虫册","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,7,173,81,83,62,1099,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd5485eb18b52994d17f0f3d39c21a.jpg","27x34cm",[90],{"id":24672,"slug":24673,"title":24674,"dynasty":99,"author":12620,"museum":206,"description":24675,"tags":24676,"thumbUrl":24677,"material":27,"size":24678,"collection":44,"collections":24679,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":49},222156,"fu-lu-shou-zhou-shang-xi-222156","福禄寿轴","商喜，字惟吉（一说恒吉），明朝人，生卒年月不详，宣德年间宫廷画家，善画人物、山水、花卉等。其作品有《关羽擒将图》、《岁朝图》、《明宣宗行乐图》及《四仙拱寿图》等。",[7,24,241,28,27,106,3167,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc109f3513539842e3b9b3db723a0ee5.jpg","259.6x85",[44,163],{"id":24681,"slug":24682,"title":24683,"dynasty":99,"author":170,"museum":78,"description":24684,"tags":24685,"thumbUrl":24687,"material":665,"size":24688,"collection":181,"collections":24689,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,209,7,24,81,1397,27,173,177,104,28,446,107,34,106,24686],"诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[181],{"id":24691,"slug":24692,"title":24693,"dynasty":99,"author":24694,"museum":206,"description":24695,"tags":24696,"thumbUrl":24697,"material":123,"size":24698,"collection":90,"collections":24699,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},221942,"hua-hua-die-zhou-zhao-wen-chu-221942","画花蝶轴","赵文俶","赵文俶，长洲（今苏州）人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名「寒山草木昆虫状」，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。赵文俶此卷迭经恭亲王奕砢、觯斋郭世五收藏，明女史画家作品妍雅若此，甚属难得。",[23,7,241,27,28,83,245,62,1099,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c039a1b9f0137adce7892838c9292e0.jpg","149.3x47",[90,45],{"id":24701,"slug":24702,"title":24703,"dynasty":99,"author":24704,"museum":101,"description":24705,"tags":24706,"thumbUrl":24707,"material":619,"size":24708,"collection":181,"collections":24709,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":49},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[23,7,24,25,28,27,29,106,430,340,298,109,175,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[181,45],{"id":24711,"slug":24712,"title":24713,"dynasty":18,"author":1827,"museum":1637,"description":24714,"tags":24715,"thumbUrl":24716,"material":40,"size":24717,"collection":42,"collections":24718,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},221488,"ming-huang-dou-ji-tu-li-song-221488","明皇斗鸡图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,7,24,209,28,27,106,150,107,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89089138511bc1aca4f7a0f4bc671a45.jpg","纵25.6厘米，横26.4厘米",[42,44,45],{"id":24720,"slug":24721,"title":24722,"dynasty":189,"author":1672,"museum":20,"description":24723,"tags":24724,"thumbUrl":24725,"material":24726,"size":24727,"collection":181,"collections":24728,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":49},220796,"lin-ting-yuan-xiu-tu-zhou-ni-zan-220796","林亭远岫图轴","《东方画谱·元代山水篇：林亭远岫图》采用三段式构图法，观此图与倪瓒的《松亭山色图》、《容膝斋图》颇有相似处。近景有两株并排生长的高树，线条劲健，笔力十足，可见多用中锋较少侧笔，故显得结实挺拔。画山石使用大量折带皴，看似草草村擦，实则苍老劲健，笔法精湛，炉火纯青。所画江面平静无风，没有舟舸，整幅画亦不见人烟，而见孤亭独立，呈现出了恬静幽远的意境。",[23,7,173,29,1015,175,491,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8750e9292710e5790e47df600dda4c.jpg","纸本，立轴","纵87.3厘米，横31.4厘米",[181,163],{"id":24730,"slug":24731,"title":24732,"dynasty":1095,"author":4791,"museum":4792,"description":24733,"tags":24734,"thumbUrl":24735,"material":139,"size":139,"collection":139,"collections":24736,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},220519,"zhang-cai-qin-xiang-xu-bei-hong-220519","张采芹像","此作以淡墨白描写就，洗练雅致。画家精准捕捉主人公温文儒雅的神态，一袭长衫垂坠自然，背手而立的姿态舒展从容，将民国文人沉静端方的风骨尽显无遗。\n\n画面四周题跋疏密有致，墨迹与画像相得益彰，既是挚友间的交游印记，也让画面饱满和谐。作品摒弃繁复设色，以凝练线条勾勒形神，寥寥数笔便将人物气度入微呈现，文气与画韵交融，是兼具写实传神与文人意趣的写意肖像精品。",[23,7,24,260,173,106,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444958c704403f2e072309bafd507fb5.jpg",[],{"id":24738,"slug":24739,"title":24740,"dynasty":18,"author":10675,"museum":206,"description":24741,"tags":24742,"thumbUrl":24743,"material":123,"size":24744,"collection":42,"collections":24745,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":49},220234,"chen-ju-zhong-ping-yuan-she-lu-tu-chen-ju-zhong-220234","陈居中平原射鹿图","平野寥廓萧瑟，将塞外猎场的辽远铺展开来。骑手俯身引弓，满弦待发，衣摆随奔马带起的劲风翻涌，骏马四蹄腾空，肌理紧绷绷迸发出奔逐的力量。前方野鹿弓腰疾逃，肢体满是惊惶，奔逃的仓促与骑手的沉凝形成鲜明对冲，将狩猎瞬间的张力拉至顶峰。\n\n画作以极简布景衬出旷野苍茫，线条劲挺爽利，晕染精细熨帖，把人马的剽悍雄健与野鹿的仓皇奔逃刻画得鲜活逼真，将草原射猎的快意与北国的雄放意趣，凝在这奔逐的一瞬之间。",[23,209,7,24,27,28,106,150,3167,2523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68da4e95aefa993938654434b8b7a50.jpg","36.8×54.9",[42],{"id":24747,"slug":24748,"title":24749,"dynasty":18,"author":293,"museum":206,"description":24750,"tags":24751,"thumbUrl":24752,"material":123,"size":24753,"collection":42,"collections":24754,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":49},220217,"zhu-shi-shuang-lu-tu-yi-ming-220217","竹石双鹭图","整幅画面以留白营造幽远意境，右下拳石嶙峋，丛竹攒簇，墨色苍润，枝叶带风自含山野清趣。两只白鹭一动一静，一者振翅掠空，翎羽舒展灵动，一者徐行浅滩，身姿安然闲适，动静相映，愈发衬出水面空寂无波。\n\n淡墨轻勾汀渚细草，浅染出水泽清浅之态，赭色绢底晕开初夏郊塘的温润氛围。笔致秀雅清润，不施浓艳，以极简物象铺陈出悠远禅意，将塘间幽寂之美收揽尺幅，观之如临静塘，暑意尽散，尽显雅致空灵的宋人意趣。",[23,7,209,24,28,27,83,242,431,12489,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf49cc778c3c4eb41b7d150d5f1c280.jpg","31.4x28.1",[42],{"id":24756,"slug":24757,"title":24758,"dynasty":99,"author":24267,"museum":1637,"description":24759,"tags":24760,"thumbUrl":24761,"material":123,"size":24762,"collection":181,"collections":24763,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":49},219935,"bei-ming-tu-zhou-chen-219935","北溟图","此图描绘了古代北海的波澜壮阔。《庄子》开篇《逍遥游》载：“北冥有鱼，其名为鲲，鲲之大，不知几千里也”。渤海古代称北海，亦即北冥，北冥亦作北溟。",[23,7,25,29,28,177,107,34,37,7582,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177597f502a07f40362a79fb62f4475a.jpg","135.9x28.3厘米",[181],{"id":24765,"slug":24766,"title":24767,"dynasty":99,"author":1480,"museum":101,"description":24768,"tags":24769,"thumbUrl":24770,"material":123,"size":139,"collection":181,"collections":24771,"showCount":24528,"zanCount":1270,"manualWeight":48,"mainColor":49},219717,"you-diao-tu-tang-yin-219717","游钓图","烟岚轻笼远峰，墨色晕开江天暮色，空濛间漾着清寂悠然。中流扁舟一叶，渔者卧于舟头，随波浮沉，将江海寄怀揉入闲淡烟波。近岸危崖之上，虬松盘曲斜伸，丹枫点染出秋意暖色，幽轩依崖而筑，侍童静立阶侧，似在等候凭栏观江的主人。\n\n画作以斧劈皴勾勒山石棱角，刚劲中晕以淡墨烟霭，刚柔相济。题诗与画面相映，将仕路失意后的林泉之乐铺陈开来，把文人放旷自适的隐逸之思藏在笔底烟霞，萧散简远，尽显诗意与画意交融的吴门雅韵。",[7,241,27,177,29,174,34,650,106,109,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ac5f73b824988b7d0c801d54a6c2e4.jpg",[181],{"id":24773,"slug":24774,"title":24775,"dynasty":76,"author":953,"museum":20,"description":24776,"tags":24777,"thumbUrl":24779,"material":88,"size":24780,"collection":44,"collections":24781,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},219631,"feng-yu-du-qiao-tu-ren-yi-219631","风雨渡桥图","狂风卷着冷雨席卷而来，柳丝如乱发狂舞，将滂沱之势尽显。渡桥二人缩肩弓背，撑伞者竭力护着身旁同伴，浓淡墨色晕染出湿衣的沉坠褶皱，仓促步履间却带着相携的温情，将风雨里的窘迫暖意定格。\n\n石桥以枯笔泼墨绘就，苍劲厚重，和柔媚翻飞的柳丝形成刚柔反差。水面以淡墨晕开朦胧水雾，暗藏雨打涟漪的空濛，左下角水草斜偃，呼应着肆虐风势。画作以大写意笔墨铺陈天候之烈，又于人物眉眼间刻画入微，将外在风雨与内在人情相融，落笔酣畅洒脱，意韵悠长动人。",[23,7,241,173,27,446,106,108,430,11886,24778],"渡桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7f921eff5817be7c13f4bae6cb7363.jpg","155.5x43.5厘米",[44,45],{"id":24783,"slug":24784,"title":24785,"dynasty":99,"author":1012,"museum":206,"description":24786,"tags":24787,"thumbUrl":24788,"material":123,"size":24789,"collection":181,"collections":24790,"showCount":24528,"zanCount":1547,"manualWeight":48,"mainColor":49},219401,"qiu-ting-shi-si-tu-lan-ying-219401","秋亭诗思图","画中以简洁三笔交代的下泻溪流，以及避开树干歪斜的茅草亭盖等画法，皆显得自信而可爱，洵为佳作。",[7,24,241,173,27,29,175,394,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc6a620f5800d5eb1c75122ee4fa99c.jpg","169.3x51.8",[181],{"id":24792,"slug":24793,"title":8600,"dynasty":99,"author":7590,"museum":206,"description":24794,"tags":24795,"thumbUrl":24796,"material":123,"size":24797,"collection":90,"collections":24798,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},219378,"shuang-xi-tu-wang-wei-lie-219378","王维烈，字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。",[7,24,27,28,83,448,224,1216,226,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a7e80f45c240fc050ed87c323beb18.jpg","85×39cm",[90],{"id":24800,"slug":24801,"title":14379,"dynasty":18,"author":5076,"museum":206,"description":24802,"tags":24803,"thumbUrl":24804,"material":123,"size":24805,"collection":42,"collections":24806,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":49},219300,"lu-yan-tu-huang-ju-cai-219300","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[23,7,209,24,28,27,83,4895,2522,224,297,1410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米",[42,90,45],{"id":24808,"slug":24809,"title":4313,"dynasty":189,"author":1057,"museum":10664,"description":24810,"tags":24811,"thumbUrl":24812,"material":123,"size":24813,"collection":90,"collections":24814,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":49},219274,"zhu-qin-tu-ren-ren-fa-219274","此图为工笔写生小品，颇具宋代院体风格，线条细劲匀称，色彩典雅，动静结合，生趣盎然。画面上，一只鸟栖于竹梢上，昂首作鸣叫状，瞬间的动态表现得极为成功，姿态逼真，灵气飞扬，似闻之有声。画家画竹用双钩笔法完成，笔画坚实细劲。被风吹乱的竹叶之阴阳向背表现得自然准确，虽为静止的瞬间，却有动的意味。此画尺幅虽小，然气韵飞扬，灵动自然。任仁发此幅画作继承了宋代院体画传统，笔势稳健，双钩之线均匀细劲，并填以典雅、和谐、轻艳的色彩，使得画面严谨而婉丽、和谐而富有生机。从收藏印鉴看，该作曾经明代大收藏家王士祯及清代王允祥珍藏。由此可知，此画为传世佳作。",[7,209,24,28,27,242,1938,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c7c64af9c22bf6f547706221e866df.jpg","纵25.8厘米，横22.9厘米",[90],{"id":24816,"slug":24817,"title":24818,"dynasty":99,"author":293,"museum":752,"description":24819,"tags":24820,"thumbUrl":24821,"material":123,"size":139,"collection":90,"collections":24822,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":49},219122,"an-chun-bai-hua-tu-yi-ming-219122","鹌鹑百花图","鹌鹑敛翅蹲踞，羽纹以细劲墨线勾勒，敷染赭褐与墨黑，斑纹交错如鳞，绒毛质感毕现。旁侧花枝扶疏，白瓣粉蕊的花朵舒展如蝶翼，紫菊点缀其间，叶片墨绿带黄晕，藤蔓缠绕有致。前景草叶劲挺，枯枝斜出添野趣，背景赭黄绢底温润古雅。整幅画以工笔细描见长，禽鸟的憨态与花卉的鲜妍相映成趣，疏密布局得当，于静谧中藏生机，尽显花鸟写生的细腻与意趣。",[209,7,24,27,28,83,10824,62,698,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cdc4849f24e6562ead882abb23c70e.jpg",[90],{"id":24824,"slug":24825,"title":24826,"dynasty":18,"author":1275,"museum":3940,"description":24827,"tags":24828,"thumbUrl":24829,"material":123,"size":24830,"collection":42,"collections":24831,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":49},219083,"shan-qin-mi-shi-tu-lin-chun-219083","山禽觅食图","描绘了两枝树支。 下部枝叶有阔叶，叶片黄色，多孔。 最左边的叶子上有一只黑色的昆虫，似乎已经吃掉了叶子。 高大的枯树的叶子已经枯萎。 而右边的树枝上，却长出了新的叶芽，站在树枝上的鸟儿正盯着那只黑色的虫子。",[23,209,7,24,28,27,83,14981,1062,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4ff92e043a2bee2158780d7469100a.jpg","26.5x25.7cm",[42,90],{"id":24833,"slug":24834,"title":24835,"dynasty":76,"author":24836,"museum":539,"description":24837,"tags":24838,"thumbUrl":24839,"material":123,"size":24840,"collection":90,"collections":24841,"showCount":24528,"zanCount":1547,"manualWeight":48,"mainColor":49},219035,"yan-shang-ying-tu-zhang-yu-sen-219035","岩上鹰图","张雨森","苍岩之巅，雄鹰敛翅伫立。羽翮黑白相间，斑纹细密如织，蓬松处似含风露，利爪紧扣石隙，筋骨隐现沉凝力道。山石以枯笔皴擦，纹理嶙峋若斧劈，与鹰羽的细腻勾勒相映成趣。旁侧虬枝横斜，红叶点缀其间，添几分秋意清寂。背景绢色沉郁，更衬出鹰的孤高与山石的冷峻。画面于写实中融写意之韵，雄鹰沉静姿态下藏蓄势待发的张力，笔墨间尽展自然生机与生命的苍劲力量，观之令人感佩造物之奇与绘者匠心。",[23,209,7,24,241,28,27,4307,650,34,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adea9a4d59fe57c41686f184054adc1.jpg","纵163.5横88.1厘米",[90],{"id":24843,"slug":24844,"title":24845,"dynasty":18,"author":24846,"museum":752,"description":24847,"tags":24848,"thumbUrl":24850,"material":123,"size":24851,"collection":44,"collections":24852,"showCount":24528,"zanCount":1547,"manualWeight":48,"mainColor":49},218306,"jian-nv-lian-dan-tu-xu-chong-ju-218306","僭女练丹图","徐崇矩","乘玄驹腾跃，袂带飘举间执器引丹。黑马鬃毛劲挺，四蹄踏空似凌虚，与素衣白冠的人物相映，清逸中藏英气。坡岸嶙峋，墨色皴擦见苍劲，几株细竹点染生机。丹烟袅袅升于褐绢之上，暗合仙道清虚之境。\n\n绢色沉褐如浸岁月，工笔勾勒与写意皴染相融：衣纹流畅如行云，马身肌理写实见骨，山石皴法古拙含韵。神情专注处，丹火隐现，方寸间藏天地玄机——既显宋画格物致知的精微，又透仙道氤氲的缥缈，古雅深邃，引人探入画中秘境。",[209,7,1160,28,27,106,150,245,24849],"炼丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2534c674db225970dc309e9344f4111c.jpg","74.2x45.3",[44],{"id":24854,"slug":24855,"title":24856,"dynasty":18,"author":24857,"museum":132,"description":24858,"tags":24859,"thumbUrl":24860,"material":123,"size":24861,"collection":181,"collections":24862,"showCount":24528,"zanCount":1547,"manualWeight":48,"mainColor":49},218233,"shen-shan-fang-yin-tu-yu-jian-218233","深山访隐图","玉涧","枯松斜倚崖边，松针以墨线疏疏勾出，苍劲中带着荒寒之韵。山石轮廓用简练笔触皴擦，肌理分明，层层向远延伸，山岚似轻烟漫过谷间，模糊了远近界限。林麓深处，几椽屋舍隐现，被松影与雾气轻掩，恰是访隐者追寻的幽居。画面色调古雅，绢本沉郁质感衬得水墨清寂。墨笔题识错落右上角，文气与画意相融，似诉说访隐心境。整幅画以简淡之笔勾勒深山静谧幽深，每一线条、每块墨色都透着对隐逸之境的向往，让人仿佛听见山风穿松的轻响，触摸到林间清寒气息。",[7,173,1397,177,446,29,1575,176,491,34,4614,1444,2268,37,18020],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[181],{"id":24864,"slug":24865,"title":24866,"dynasty":189,"author":8176,"museum":132,"description":24867,"tags":24868,"thumbUrl":24869,"material":342,"size":24870,"collection":181,"collections":24871,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[23,7,24,241,173,177,29,394,558,281,1064,650,1329,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[181],{"id":24873,"slug":24874,"title":24875,"dynasty":18,"author":4266,"museum":132,"description":24876,"tags":24877,"thumbUrl":24878,"material":381,"size":24879,"collection":90,"collections":24880,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":49},216905,"yuan-hou-tu-mu-xi-216905","猿猴图","猿猴图是宋朝画家牧溪的一幅名作。这幅画描绘了一群猿猴在森林中的生活。牧溪在这幅画中展现了猿猴的各种姿态和表情，并通过森林的树木、花草和鸟类来增强画面的生动感。这幅画被认为是牧溪最优秀的作品之一，其中巧妙地融合了传统中国画风和西方透视画法。",[7,209,173,957,12940,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f9647d72e31482e658c10b4cc0b24.jpg","88x33cm",[90],{"id":24882,"slug":24883,"title":24884,"dynasty":99,"author":221,"museum":206,"description":24885,"tags":24886,"thumbUrl":24887,"material":88,"size":24888,"collection":45,"collections":24889,"showCount":24528,"zanCount":1547,"manualWeight":48,"mainColor":94},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘（1532—1611） 明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。",[23,7,24,25,27,28,177,227,178,29,106,107,108,109,245,34,175,115,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd58699418b7719eb47ed1909ad872c.jpg","279x1333.9",[45],{"id":24891,"slug":24892,"title":24893,"dynasty":76,"author":876,"museum":101,"description":24894,"tags":24895,"thumbUrl":24896,"material":88,"size":880,"collection":139,"collections":24897,"showCount":24528,"zanCount":5,"manualWeight":48,"mainColor":94},216247,"jing-fu-si-qi-dong-jing-tu-10-qian-wei-cheng-216247","景敷四气冬景图-10","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n赭英粉萼共争新，不独迎春且探春。大矣乾元善资始，物犹如此况乎人。钤印：妙意写清快",[7,24,27,29,107,1575,176,37,1445,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32a0ecdde6718846ff99634ffe2046cb.jpg",[],{"id":24899,"slug":24900,"title":24901,"dynasty":18,"author":15479,"museum":78,"description":24902,"tags":24903,"thumbUrl":24904,"material":123,"size":24905,"collection":90,"collections":24906,"showCount":24528,"zanCount":1270,"manualWeight":48,"mainColor":49},216082,"an-chun-tu-ye-li-an-zhong-216082","鹌鹑图页","此宋人鹌鹑图页，无作者款印。图绘鹌鹑一只，体形滚圆，斑纹、毛羽如生，作回首状，点缀平坡、秋黍等。清代曾经清耿昭忠、耿嘉祚父子收藏，各有鉴藏印记。近代经吴湖帆、潘静淑夫妇收藏，有吴湖帆题签：“北宋李安忠鹌鹑”。",[23,7,24,209,5990,28,27,83,10824,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d691dcbeca802bd7e1c7806aa13adcd.jpg","纵23.5厘米，横23.1厘米",[90],{"id":24908,"slug":24909,"title":24910,"dynasty":99,"author":337,"museum":206,"description":24911,"tags":24912,"thumbUrl":24913,"material":342,"size":24914,"collection":181,"collections":24915,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},215044,"shan-shui-ji-jing-wang-fu-215044","山水集景","王绂（1567-1630）是明朝时期的文学家，他的山水集景是一部著名的诗集。该诗集收录了王绂写的许多关于山水风景的诗歌，这些诗歌描写了自然风光、山川景色、湖泊和其他自然景观。王绂的诗歌以其精美的描写、优美的语言和深刻的思想而闻名，被认为是中国古典诗歌中的杰出作品。",[23,7,173,29,177,242,175,176,34,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd65f978a54b6280267aea6cc2cd8f.jpg","68.8x37cm",[181],{"id":24917,"slug":24918,"title":24919,"dynasty":18,"author":293,"museum":238,"description":5271,"tags":24920,"thumbUrl":24921,"material":342,"size":5274,"collection":139,"collections":24922,"showCount":24528,"zanCount":1547,"manualWeight":48,"mainColor":94},214983,"dao-zi-mo-bao-ren-wu-bai-miao-hua-2-yi-ming-214983","道子墨宝人物白描画-2",[23,7,24,260,106,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eeddadab043e71b851c8ff4a307f137.jpg",[],{"id":24924,"slug":24925,"title":24926,"dynasty":76,"author":1109,"museum":539,"description":1110,"tags":24927,"thumbUrl":24928,"material":88,"size":1115,"collection":139,"collections":24929,"showCount":24528,"zanCount":48,"manualWeight":48,"mainColor":94},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7",[23,209,7,24,81,173,27,29,245,34,491,37,177,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg",[],{"id":24931,"slug":24932,"title":24933,"dynasty":76,"author":293,"museum":364,"description":13561,"tags":24934,"thumbUrl":24935,"material":743,"size":744,"collection":139,"collections":24936,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},263553,"ke-si-yu-zhi-shi-hua-hui-tu-ce-yu-lan-yi-ming-263553","缂丝御制诗花卉图册-玉兰",[7,81,28,27,83,417,86,227,1629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7af2d1ea50bfd898d461b49a15cfa160.jpg",[],77,{"id":24939,"slug":24940,"title":4025,"dynasty":76,"author":13037,"museum":364,"description":24941,"tags":24942,"thumbUrl":24943,"material":139,"size":139,"collection":181,"collections":24944,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},239477,"shan-shui-zhou-kun-can-239477","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[7,173,177,241,29,108,109,34,176,37,106,464,10154,2268,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[181,163],{"id":24946,"slug":24947,"title":1393,"dynasty":99,"author":24948,"museum":364,"description":24949,"tags":24950,"thumbUrl":24951,"material":139,"size":139,"collection":45,"collections":24952,"showCount":24937,"zanCount":5,"manualWeight":48,"mainColor":94},239038,"xian-shan-lou-ge-tu-sheng-mao-ye-239038","盛懋烨","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[7,24,241,27,29,177,86,107,1575,176,491,1255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab740f67c531848bac66c388d0ad2130.jpg",[45],{"id":24954,"slug":24955,"title":24956,"dynasty":76,"author":836,"museum":364,"description":24957,"tags":24958,"thumbUrl":24959,"material":139,"size":139,"collection":90,"collections":24960,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},238342,"si-ji-hua-hui-ce-dong-gao-238342","四季花卉册","此作以没骨法绘就春日群芳，设色柔婉清新。白牡丹花瓣晕染层叠，莹润饱满，尽显雍容之态；旁侧粉花轻绽，胭脂点染花苞，娇妍粉嫩，灵动鲜活。左侧嫩枝青叶敷色淡雅，笔致秀逸，将草木舒展之姿尽数勾勒。\n\n画面构图错落舒展，数枝花枝交织却不显拥塞，气息恬和雅致。以细腻笔触晕染花叶的柔润肌理，将春日群芳竞绽的清柔意趣定格纸面，雅致秀润，尽显传统花卉小品的隽永韵味。",[7,24,81,27,28,83,327,279,84,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66475b0ae51b2faa51d20ca589d4cd02.jpg",[90,45],{"id":24962,"slug":24963,"title":23389,"dynasty":76,"author":10376,"museum":364,"description":23390,"tags":24964,"thumbUrl":24965,"material":139,"size":139,"collection":139,"collections":24966,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591",[209,7,24,81,173,177,29,107,108,109,174,175,34,558,176,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],{"id":24968,"slug":24969,"title":24970,"dynasty":99,"author":24971,"museum":364,"description":24972,"tags":24973,"thumbUrl":24974,"material":139,"size":139,"collection":90,"collections":24975,"showCount":24937,"zanCount":5,"manualWeight":48,"mainColor":49},237497,"mo-he-yuan-yang-tu-zhou-li-yin-237497","墨荷鸳鸯图轴","李因","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。 [1]\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[7,24,241,173,83,243,2555,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557524c45070d0779dcb0b92bcfbebf5.jpg",[90],{"id":24977,"slug":24978,"title":9241,"dynasty":76,"author":707,"museum":364,"description":24979,"tags":24980,"thumbUrl":24981,"material":743,"size":744,"collection":90,"collections":24982,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},235381,"hua-niao-tu-ce-hua-yan-235381","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[7,81,27,83,242,224,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e4d0cc55e7ee07e955ecc27f59a38e.jpg",[90],{"id":24984,"slug":24985,"title":16206,"dynasty":99,"author":293,"museum":364,"description":24986,"tags":24987,"thumbUrl":24988,"material":743,"size":744,"collection":181,"collections":24989,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},234924,"dong-qi-chang-shan-shui-ce-yi-ming-234924","此作用笔松秀虚灵，以淡墨晕染开鸿蒙云气，将远山隐入烟岚，留白衬出无尽空茫。近岸苍松蟠曲，浅渚连山层层延展，平远之境悠悠铺陈。\n墨色清润淡雅，简淡皴擦间，漾开了水泽的空濛静穆。题印落于留白处，与山水相映成趣，书画印浑然相融。整幅画萧散简远，以极简笔墨勾勒出幽寂清远之境，尽显文人画平淡天真的意趣，观之便觉心随山水沉静，独得幽居之乐。",[7,24,81,173,29,864,430,1329,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd808de803d791f66197ab19d95eb2ca7.jpg",[181],{"id":24991,"slug":24992,"title":24993,"dynasty":18,"author":4266,"museum":364,"description":24994,"tags":24995,"thumbUrl":24996,"material":139,"size":139,"collection":139,"collections":24997,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":49},227717,"lian-yan-tu-mu-xi-227717","莲燕图","牧溪，宋末元初之画僧，无准禅师的弟子。四川人，生卒年不详。依径山无准师范出家，法名法常。于宋末理宗、度宗时（1225～1270），在杭州西湖长庆寺为杂役僧。性情英豪，嗜饮酒，醉则寝，觉则朗吟。擅长画佛像、人物、花果、鸟兽、山水、龙虎、猿鹤等，题材广泛。画风继承石恪、梁楷之减笔画，与中唐以来之逸格山水画，风格壮阔，自由放逸。其生平画迹与作品在国内之流传甚少，然日本极早即流传其画迹，且因其画风对日本艺坛产生强烈影响，故其画迹一直为名流所收藏，如观音猿鹤图、龙虎图、栗柿图、芙蓉图、老松八哥鸟图、潇湘八景图、柳燕图等，其中之观音猿鹤图三幅，相传系日僧圣一于宋理宗淳祐元年（1241），由中国带往日本者，目前被视为日本国宝。\n\n水墨皆禅，万法唯心，对牧溪而言，他也许从未定义自己是个画家，而首先是个僧人，是个禅师。他的画被归为禅画的范畴，禅画将生命的解脱视为最高存在意涵。画中幽远超然的留白，似乎天地之间，只剩你与他笔下的一只蜻蜓、一颗萝卜、一只小燕。生命原本就是这么简单。",[7,209,24,241,173,83,136,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67985521198db5b72190fbaa7002bfa.jpg",[],{"id":24999,"slug":25000,"title":25001,"dynasty":18,"author":25002,"museum":364,"description":25003,"tags":25004,"thumbUrl":25005,"material":139,"size":139,"collection":139,"collections":25006,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":49},227545,"luo-hua-you-yu-tu-juan-liu-cai-227545","落花游鱼图卷","刘寀","《落花游鱼图》是北宋刘寀创作的绢本设色画，现藏于美国圣路易美术馆。\n\n此图开始先画盛开的杏花，伸向水面，向后展开，落花引来群鱼争食、或聚或散，或潜游，或上浮，或回泳，翻藻戏蒲，以示水中的畅泳自然之态。其画法全用渲染，间或用没骨法，不见钩勒，活泼生动。这种表现方法和诗情画意，独创一格，多为后人所仿效。",[23,7,25,28,27,933,136,17130,367,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa408c3b0e7c06087b3ea0051b1546b89.jpg",[],{"id":25008,"slug":25009,"title":15570,"dynasty":76,"author":1703,"museum":364,"description":25010,"tags":25011,"thumbUrl":25013,"material":803,"size":10707,"collection":90,"collections":25014,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},222708,"mei-hua-tu-zhou-jin-nong-222708","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[23,7,241,173,446,448,226,245,227,86,25012],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg",[90,45],{"id":25016,"slug":25017,"title":25018,"dynasty":99,"author":966,"museum":675,"description":25019,"tags":25020,"thumbUrl":25021,"material":619,"size":25022,"collection":90,"collections":25023,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},221992,"song-shi-gao-shi-tu-wen-zheng-ming-221992","松石高士图","据蔡羽序记，正德十三年二月十九日，文徵明与好友蔡羽、王守、王宠、汤珍等人至无锡惠山游览，品茗饮茶，吟诗唱和，十分相得，事后便创作了这幅记事性作品。画面采用截取式构图，突出“茶会”场景，在一片松林中有座茅亭泉井，诸人冶游其间，或围井而坐，展卷吟哦，或散步林间，赏景交谈，或观看童子煮茶。人物面相虽少肖像画特征，大都雷同，动态、情致刻画却迥异，饶有生意，并传达出共通的闲适、文雅气质，反映了文人画家传神胜于写形的艺术宗旨。同时，青山绿树、苍松翠柏的幽雅环境，与文人士子的茶会活动相映衬，也营造出情景交融的诗意境界。",[23,7,29,864,297,430,27,446,241,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c92706428937b31f81e452f3db90dc6.jpg","纵71cm，横35cm",[90,45],{"id":25025,"slug":25026,"title":25027,"dynasty":18,"author":6566,"museum":56,"description":25028,"tags":25029,"thumbUrl":25030,"material":25031,"size":25032,"collection":42,"collections":25033,"showCount":24937,"zanCount":5,"manualWeight":48,"mainColor":94},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[23,7,24,25,260,173,27,106,29,34,175,108,109,281,245,900,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[42,44,45],{"id":25035,"slug":25036,"title":25037,"dynasty":18,"author":10088,"museum":12966,"description":25038,"tags":25039,"thumbUrl":25041,"material":67,"size":25042,"collection":42,"collections":25043,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":49},221418,"dong-xue-shan-shui-tu-juan-yan-wen-gui-221418","冬雪山水图卷","景口郭卑天锡父题。长卷绘山连绵起伏，山顶云雾缭绕，山下河水平静，村落树木白雪覆盖，画面静谧空旷。",[23,209,7,24,25,27,177,29,25040,10379,31,34,176],"冬雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769365f4d6505b4b415e55c2a2bad217.jpg","34.7x354.5厘米",[42,181,163],{"id":25045,"slug":25046,"title":25047,"dynasty":204,"author":25048,"museum":20,"description":25049,"tags":25050,"thumbUrl":25051,"material":67,"size":25052,"collection":44,"collections":25053,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":49},221152,"lang-yuan-nv-xian-tu-juan-ruan-gao-221152","阆苑女仙图卷","阮郜","“阆苑”是传说中仙人的住处，有时也指宫苑。此图描绘的当是仙山阆苑，为仙女生活游玩之地。图中描绘苍松翠竹间，一群女仙休闲的情景，其中三个地位显赫，在小仙女的陪侍下坐在一起，或执卷欲书，或展卷凝视，或拨弄三弦。四周有乘鸾女仙、乘龙女仙、驾云女仙，还有在海面上凌波漫步，缓缓而来的女仙，与地上群仙互为呼应。\n画中女仙体态纤弱，衣纹勾描细密圆软，一反唐周昉时代侍女之丰肥与衣纹线条之方硬。树枝多画成蟹爪状，画法略似李成。坡石以墨线勾，染青绿色。水纹繁复，刻划极为生动，有唐人遗风。清人高士奇在跋中云：“五代阮郜畫，世不多見。《閬苑仙女圖》曾入宣和御府，筆墨深厚，非陳居中、蘇漢臣輩所可比擬。”",[23,209,7,24,25,28,27,106,59,29,34,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde423de1a5e6f1d004a4e19fd7e97f3e.jpg","纵42.7厘米，横177.2厘米。",[44,45],{"id":25055,"slug":25056,"title":25057,"dynasty":99,"author":3114,"museum":20,"description":25058,"tags":25059,"thumbUrl":25060,"material":1716,"size":25061,"collection":181,"collections":25062,"showCount":24937,"zanCount":5,"manualWeight":48,"mainColor":94},220906,"she-shan-you-jing-tu-zhou-dong-qi-chang-220906","佘山游境图轴","《董其昌佘山游境图轴》是明代画家董其昌所创作的一幅纸本纸本墨笔画。",[23,209,7,24,241,173,177,29,176,34,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68466d3a79e9cb3ca5526c09f52f5482.jpg","纵98.4厘米，横41厘米",[181,163],{"id":25064,"slug":25065,"title":25066,"dynasty":99,"author":293,"museum":752,"description":25067,"tags":25068,"thumbUrl":25069,"material":803,"size":139,"collection":44,"collections":25070,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":49},219895,"liu-hai-du-hai-tu-yi-ming-219895","刘海渡海图","赤足凌于翻涌浪涛之上，衣袂被海风拂卷翻飞，仙者神色沉静安然，不见渡海的惶然。怀中紧捧三足金蟾，另一手牵系着仙桃的丝带，仙家灵韵尽数铺展。\n\n画作以劲挺流畅的线条勾勒衣褶，衣物垂坠质感尽显。细密笔触层叠出浪涛奔涌之态，虚实相映烘托出烟波浩渺的渡海意境。整体色调沉古雅致，将世外之人超凡出尘的气质晕染开来，把刘海渡海的传说融于笔墨间，空灵悠远，在叙事与审美之间达成绝妙平衡，尽显古画仙逸出尘的独特意趣。",[7,24,241,27,28,259,106,1330,23247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e14f2c2835480ab5d26a9db6287108.jpg",[44],{"id":25072,"slug":25073,"title":25074,"dynasty":18,"author":293,"museum":206,"description":25075,"tags":25076,"thumbUrl":25079,"material":123,"size":25080,"collection":42,"collections":25081,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":49},219200,"lu-ting-bai-lu-tu-yi-ming-219200","芦汀白鹭图","图绘白鹭两对栖于芦苇丛生的洲渚岸边，一饮啄、一飞降、一静息，一仰首迎接。全画用墨层次丰富，掌握住秋天的景致气氛。在题材、构图、设色上保留南宋汀渚水鸟小景画的意趣，但通幅笔力较为薄弱。",[23,7,27,28,5990,83,2522,1374,25077,281,25078,173],"汀渚","水泽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77827917d9c35594679d81fabbd6da53.jpg","25x25.5cm",[42,90],{"id":25083,"slug":25084,"title":25085,"dynasty":99,"author":293,"museum":539,"description":25086,"tags":25087,"thumbUrl":25088,"material":123,"size":25089,"collection":90,"collections":25090,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":49},219003,"gua-shu-tu-yi-ming-219003","瓜鼠图","这幅画描绘了一只老鼠啃食甜瓜的情景，象征着甜瓜的长寿和后人的祝福。由于没有背景，瓜子很逼真，老鼠很灵动，使这个民俗吉祥的题材变得清新雅致，不是一般的普通手笔，可能是出自训练有素的宫廷画师之手。",[23,209,7,24,28,27,83,7819,15873,62,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786880bde7884db33cdeb9b80987b151.jpg","24.6x25.6cm",[90],{"id":25092,"slug":25093,"title":20911,"dynasty":76,"author":1892,"museum":78,"description":25094,"tags":25095,"thumbUrl":25097,"material":123,"size":25098,"collection":181,"collections":25099,"showCount":24937,"zanCount":5,"manualWeight":48,"mainColor":49},218264,"du-fu-shi-yi-tu-wang-yuan-qi-218264","层峦叠嶂间，干笔皴擦的远山如黛，云雾缭绕中透出苍劲之姿。山腰亭台隐于松竹深处，林木葱茏间藏文人栖居的意趣。近景山石以浓墨勾勒，皴染结合尽显厚重质感；虬松枝干盘曲，松针如簇，笔力遒劲。整幅画笔墨苍润，构图深远，将山水之清幽与诗意之境相融，尽显沉雄古逸的娄东派山水韵味，仿佛可闻林泉间的文人雅韵，观之如入静谧悠远的诗意山水世界。",[23,7,24,27,177,29,175,176,37,34,114,25096],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e15a2b69c75609ee0d8554e5cc662c.jpg","321x92cm",[181],{"id":25101,"slug":25102,"title":25103,"dynasty":18,"author":1650,"museum":206,"description":25104,"tags":25105,"thumbUrl":25107,"material":123,"size":25108,"collection":181,"collections":25109,"showCount":24937,"zanCount":5,"manualWeight":48,"mainColor":94},218163,"xue-tan-shuang-lu-tu-ma-yuan-218163","雪滩双鹭图","画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应。",[23,209,7,24,241,173,27,29,1015,176,2124,25106,5223,245],"滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70fa992caf6ec5e7624ac5e868a7e17.jpg","纵60厘米，横38厘米",[181],{"id":25111,"slug":25112,"title":25113,"dynasty":18,"author":781,"museum":364,"description":25114,"tags":25115,"thumbUrl":25117,"material":803,"size":139,"collection":44,"collections":25118,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},218076,"bai-miao-luo-han-tu-ce-1-li-gong-lin-218076","白描罗汉图册-1","白描罗汉图册是宋朝画家李公麟所创作的一组绘画作品，收录了许多关于罗汉的故事和传说。罗汉是佛教中的圣人，象征着智慧和善良。李公麟在这一组作品中，以简洁明快的笔触和精细的工笔画风，为读者展现了罗汉的传奇人生。\n\n李公麟的白描罗汉图册是宋朝绘画中的一大杰作，因其精美的画风和细腻的内容而受到许多人的喜爱。他运用了一种独特的白描画法，在画面中展现出纯净和精细的质感。每幅画都描绘了一个生动的故事，让人们可以通过观看这些画作，了解到罗汉的传奇人生。\n\n总的来说，李公麟的白描罗汉图册是一部优秀的绘画作品，值得收藏和鉴赏。如果您对宋朝绘画或佛教传说感兴趣，不妨花一些时间来欣赏这一组美丽的画作。",[23,7,24,81,260,173,259,106,25116,7582,37],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c753992917e049858fa3fcec2e2773.jpg",[44],{"id":25120,"slug":25121,"title":25122,"dynasty":189,"author":25123,"museum":206,"description":25124,"tags":25125,"thumbUrl":25126,"material":123,"size":25127,"collection":44,"collections":25128,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":49},216971,"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[7,24,241,27,28,259,106,242,245,281,297,63,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[44],{"id":25130,"slug":25131,"title":25132,"dynasty":189,"author":293,"museum":206,"description":25133,"tags":25134,"thumbUrl":25135,"material":123,"size":25136,"collection":90,"collections":25137,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":49},216210,"san-yang-kai-tai-tu-yi-ming-216210","三阳开泰图","三阳开泰图 中有三只羊的图像。这三只羊代表着三阳的出现，是象征和平、繁荣的象征。根据传统，三只羊通常被描绘成站立在一起、头朝上的形态，表示他们正在向天空中的女娲献上膜拜。\n\n这三只羊可能会有不同的造型，但通常都是描绘成充满活力、生机勃勃的样子。他们的毛发通常是乌黑色或棕色，身体健硕，眼神炯炯有神。在三阳开泰图 中，这三只羊是象征着繁荣的重要元素，也是艺术家用来传达历史意义和文化价值的重要工具。",[7,209,5491,28,27,8368,448,242,431,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a2a7077a6eff7a42cc886854ac759.jpg","163.5x100cm",[90],{"id":25139,"slug":25140,"title":25141,"dynasty":99,"author":1996,"museum":78,"description":1997,"tags":25142,"thumbUrl":25143,"material":342,"size":2000,"collection":139,"collections":25144,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},214622,"hua-hui-ce-19-chen-chun-214622","花卉册-19",[7,24,209,81,173,446,83,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b278267b998a115bffa6c856ead4911.jpg",[],{"id":25146,"slug":25147,"title":25148,"dynasty":99,"author":3114,"museum":206,"description":25149,"tags":25150,"thumbUrl":25151,"material":342,"size":139,"collection":181,"collections":25152,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},214614,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-fang-gao-ke-gong-shan-shui-dong-qi-chang-214614","仿宋元人缩本画及跋册-仿高克恭山水","董其昌是中国明清时期的画家、书法家，出生于浙江省杭州市。他的作品有许多著名的山水画，其中包括《虞山图》。此外，董其昌还有许多仿宋元人缩本画和跋册，其中包括《仿高克恭山水》。\n\n《仿高克恭山水》是董其昌的一幅仿宋元人缩本画，其中描绘了秀美的山水风光。在这幅画中，董其昌运用了仿宋元人风格的画法，使得画面充满了古朴的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n《仿高克恭山水》是董其昌的杰作之一，它被广泛收藏和展览，并被认为是中国仿宋元人风格山水画的代表作之一。董其昌的作品对中国书画史上的发展起到了重要的作用，并且被认为是中国书画史上的经典之作。",[7,24,81,173,27,29,30,34,37,176,560,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1523aa0b726e258ba37810ef1a4d3eeb.jpg",[181],{"id":25154,"slug":25155,"title":25156,"dynasty":18,"author":538,"museum":78,"description":25157,"tags":25158,"thumbUrl":25159,"material":342,"size":25160,"collection":139,"collections":25161,"showCount":24937,"zanCount":48,"manualWeight":48,"mainColor":94},214280,"duo-jing-lou-shi-tie-2-mi-fei-214280","多景楼诗帖-2","笔势如天马行空，八面出锋却无一丝狂乱。浓墨处沉雄如坠石，飞白间灵动似流云。“梦”字欹侧中藏稳劲，“曾”字转折处见刚柔，“游”之走笔如轻舟逐浪，“天”之撇捺若长空舒翼。每一笔都带着“刷字”的痛快，却又暗合法度，晋韵唐法融于一己性情。墨色干湿浓淡相间，线条粗细缓急交错，织就充满韵律的画面——仿佛能听见运笔时的飒飒风声，见其挥毫时的潇洒神态。沉着中见痛快，飘逸里藏筋骨，于不经意间尽显大家气象，这便是米字独有的魅力。",[209,7,24,86,178,3790,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0973bce6cbdb78d7eee5551d38d37e.jpg","31.2x538.1",[],{"id":25163,"slug":25164,"title":25165,"dynasty":204,"author":414,"museum":364,"description":2491,"tags":25166,"thumbUrl":25167,"material":743,"size":744,"collection":139,"collections":25168,"showCount":25169,"zanCount":48,"manualWeight":48,"mainColor":49},290555,"wu-dai-nan-tang-hua-hui-cao-chong-juan-xu-xi-290555","五代南唐花卉草虫卷",[209,7,24,25,28,27,83,453,603,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6d9fb677d356b11b5aa6b55f88bca7.jpg",[],76,{"id":25171,"slug":25172,"title":25173,"dynasty":54,"author":255,"museum":364,"description":6212,"tags":25174,"thumbUrl":25175,"material":743,"size":744,"collection":139,"collections":25176,"showCount":25169,"zanCount":48,"manualWeight":48,"mainColor":49},290511,"bao-ji-bin-ga-luo-fo-xiang-wu-dao-zi-290511","宝积宾伽罗佛像",[7,209,24,241,259,27,106,9254,9634,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff024de3f0cf5457299698b68bc41684e.jpg",[],{"id":25178,"slug":25179,"title":25180,"dynasty":189,"author":293,"museum":364,"description":25181,"tags":25182,"thumbUrl":25183,"material":743,"size":744,"collection":139,"collections":25184,"showCount":25169,"zanCount":5,"manualWeight":48,"mainColor":49},290067,"you-yuan-shi-nv-tu-yi-ming-290067","游园仕女图","湖石清奇嶙峋，梅枝缀着初绽的花苞，棕榈幽立，朱栏回环圈住一院春柔。主仆二人缓步游赏，仕女罗裙曳地，执扇抬首凝睇花枝，静嗅春信，侍女垂目紧随，姿态恭谨低柔。\n\n整作设色调古雅沉静，笔触细秀温婉，以淡墨轻彩晕染出深闺庭院的幽寂，将深闺女子探春的闲静情态藏在无言的游园片段里。没有喧嚷盛景，只借极简园景烘托出娴静疏离的闺中春日氛围，将仕女含蓄的春思融在无言的抬首凝望中，尽显元代工笔雅致内敛的特质，晕开古典闺苑的幽柔诗意。",[7,1562,27,28,106,59,448,4685,115,13052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3619554a1b63843503db4e649a80a6f3.jpg",[],{"id":25186,"slug":25187,"title":25188,"dynasty":99,"author":170,"museum":364,"description":5122,"tags":25189,"thumbUrl":25190,"material":743,"size":744,"collection":139,"collections":25191,"showCount":25169,"zanCount":5,"manualWeight":48,"mainColor":94},288067,"chui-diao-tu-shen-zhou-288067","垂钓图",[23,7,209,173,241,24,29,106,1352,245,109,6549,1351,86,227,18349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5701209ee802812e6ba423e0fd68c748.jpg",[],{"id":25193,"slug":25194,"title":24275,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":25195,"thumbUrl":25196,"material":743,"size":744,"collection":139,"collections":25197,"showCount":25169,"zanCount":5,"manualWeight":48,"mainColor":94},239513,"mu-dan-shui-xian-zhou-wu-chang-shuo-239513",[7,241,27,83,446,327,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e8a39a2d5b5e7b4c77db06de234c4.jpg",[],{"id":25199,"slug":25200,"title":220,"dynasty":76,"author":77,"museum":364,"description":740,"tags":25201,"thumbUrl":25202,"material":743,"size":744,"collection":139,"collections":25203,"showCount":25169,"zanCount":48,"manualWeight":48,"mainColor":94},239433,"hua-niao-ce-yun-shou-ping-239433",[7,24,81,82,27,173,83,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142b6495fb6062dbc40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厘米 横62.4 厘米",[],{"id":25330,"slug":25331,"title":25332,"dynasty":189,"author":351,"museum":20,"description":25333,"tags":25334,"thumbUrl":25335,"material":990,"size":25336,"collection":181,"collections":25337,"showCount":25169,"zanCount":5,"manualWeight":48,"mainColor":49},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[23,209,7,24,25,27,28,86,227,29,34,35,33,176,1575,491,10416,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[181,45],{"id":25339,"slug":25340,"title":25341,"dynasty":18,"author":7349,"museum":20,"description":25342,"tags":25343,"thumbUrl":25344,"material":22447,"size":25345,"collection":42,"collections":25346,"showCount":25169,"zanCount":48,"manualWeight":48,"mainColor":49},221617,"xue-zhan-xing-qi-tu-ye-liang-kai-221617","雪栈行骑图页","画中表现了深冬山中，白雪覆盖了山林，两位行人骑着牲口匆匆赶路的情景。技法上基本是以没骨方式染出雪山，以少许淡墨略皴，用生动的笔划画出人物与丛树。整幅画用笔很少，反映了梁楷的“画法简逸”、“惜墨如金”的风格。",[23,7,173,81,177,209,29,2124,1015,150,106,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbecd869a79db686331de7ca8c64673f.jpg","纵23.5、横24.2厘米",[42,181,45],{"id":25348,"slug":25349,"title":25350,"dynasty":18,"author":25351,"museum":206,"description":25352,"tags":25353,"thumbUrl":25354,"material":342,"size":25355,"collection":382,"collections":25356,"showCount":25169,"zanCount":5,"manualWeight":48,"mainColor":94},221247,"lao-zi-qi-niu-tu-zhou-chao-bu-zhi-221247","老子骑牛图轴","晁补之","图中心位置画有一位光秃尖顶、宽额留须的圆脸老人，他身穿右衽长袍，腰有缚带，在两道浓黑的月牙形的长眉下，藏着一对炯炯有神的笑眼，和颜悦色地正面对着观众，骑乘在一头壮牛身上，他双手按扶着牛背。由于山路崎岖险要，刚出幽谷关，地势突变平缓，又要准备西去，这时主人露出成功的喜悦。乘骑在主人的驾驭下，继续开步行进。图左上角画有枯枝残藤沿岩壁漫漶而下，岩石峭壁，大有谷关之要，出关后风光截然不同。\n本图署款：“晁无咎写。”钤印一“云屏烟障吾庐”。诗塘有宋王诜四言赞。本幅有清高宗弘历题诗。收传印记有“明文清世家图书”，清乾隆鉴藏八玺全。",[7,24,241,173,106,151,86,178,227,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c80c3c9a6bb3b8623ed0876ee5a459.jpg","50.6x20.4",[382],{"id":25358,"slug":25359,"title":25360,"dynasty":189,"author":2519,"museum":78,"description":25361,"tags":25362,"thumbUrl":25363,"material":803,"size":25364,"collection":382,"collections":25365,"showCount":25169,"zanCount":5,"manualWeight":48,"mainColor":94},220833,"guang-fu-chong-jian-ta-ji-zhao-meng-fu-220833","光福重建塔记","光福寺建于梁大同年，位于吴县郑尉山黾峰。元代寺内原塔毁坏。元延祐年间，众僧化缘重新建塔。至治元年立碑记，由住持沙门了清撰文，由赵孟頫书写碑文并篆额。《光福重建塔记》为赵孟頫晚年得意之作。明代书家董其昌在卷后题跋中评说：“此卷笔意虚和，尤可宝也。”\n释文：光福重建塔记佛慧雄辩大师，本寺住持沙门了清撰。 前翰林学士承旨、荣禄大夫知制诰兼修国史赵孟頫书并篆题 塔者，西域圣人之灵庙，众生灭罪致福之具也。自阿育王建初，后代震旦之来表刹兴盛者，莫盛于萧梁之世焉。光福塔实者，梁大同权舆，唐会昌暴殄，复兴咸通，至赵宋，宋至今朝大德中，住山磻师时毕方鸟栖其颠，以致铁石瓦甓(pì)（砖）隳(huī)（毁坏）哉，有不可葺(qì)（修理房屋）者。住持相师谟(mó)（计划）画鼎(dǐng)（正当、正在）创，真人周静翁仙宗而尚佛，来自双凤，作檀越主，率寺邻富而信者幼成徐公、沙门愿而干者成、彻、德三公暨寺职班员涓吉命匠篾栖鸾竹索以为绹村化羊杉缚以为架，撤顶至踵草，古从新，即旧基，越旧制，别絫(lěi)（累）层级，至五半，徐公脱屦(jù)（古时用麻、葛制成的鞋）索诃相师，迁乔梵行，施心愿力，唯静翁不移。走书成曰：“山中住持闻有更易，倘林屋清师补处，则塔缘幸甚，香火幸甚。”既而疏来洞庭，孤云乃起，一苇未杭，翁已羽化，乌乎！元度乎？重来乎？三叹终至，至未席温，或谓塔缘幸欤，不幸欤？余曰：佛三祇(zhǐ)（恭敬）百刻修六度万行以戒、定、慧，力成舍利，益众生者，塔之谓也。由塔即庙，庙即貌，佛圣德令众归，命行檀波罗而得福田。今啬(sè)一缘，将普万化是苻佛本愿，益众生欤？果元度之类欤？子知其然而不知其所以然欤？于是越明年，具梵礼，迎铜像，出化东。行首翁之儿妇魏氏母子承祯同调无改大父之道，乐助而之任洋沙头太仓苏台蓂(míng)见四新稇(kǔn)载而返，寻遇不请之檀朱公阙工施财施艺特银其相轮之顶，复有刾(cì)（刺）血为墨，书妙经者，二渡长江，入长淮，募远者三大槩(gài)（概），廿馀同袍，听命辅势，忘倦宣劳，聚诸村鸠。诸工一举而完。七级自尖以还，饰盖至四。岁暮收工，明年像复出，西募，春行，夏归，秋作，馀层列屋，皆落成，其辉辉乎，摩尼圆明；沓(tà)沓乎，露盘屃赑（xìbì）(赑屃:传说中的动物，像龟。旧时石碑座多雕刻成赑屃形状)。碧瓦鳞集，画檐翚(huī)飞，帀(zā)（匝）阑楯而宝鉩(xǐ)（鉨：古“玺”），和鸣镇山川而人天瞻仰。具功德一十五种：消罪业八千万，四千不夜常光，免责备于香火，实一不幸而众幸且甚也。遂书。其延祐改元二月十日之建始，来年五月望日之毕工。系以辞曰：阿阇(shé)（高僧）世藏设利罗，阿育得之出恒河，八万四千起塔婆。后世则之广兴建，四方玲珑成八面，萧梁以前世未见。我此灵庙实大同，起伏二次三鸠工，延祐以来又六冬。清宁仙人德相佛，福缘慈缘普泽物，白花岩头橛(jué)屼(wù)屼。清也薄有铜像缘，两募一举功其圆，尽未来际民福田。常光历刻射牛斗，羌椅椅兮淑吾后，哿(gě)矣富人寿长久。 至治元年二月望日建，皇帝陛下千万寿。",[23,7,24,86,25,178,259,1432,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b0b925128b820dd4472547148a6de.jpg","纵29厘米，横377厘米",[382],{"id":25367,"slug":25368,"title":25369,"dynasty":1095,"author":1096,"museum":8718,"description":25370,"tags":25371,"thumbUrl":25372,"material":15457,"size":139,"collection":139,"collections":25373,"showCount":25169,"zanCount":48,"manualWeight":48,"mainColor":94},220601,"gong-chong-ce-ye-mo-e-qi-bai-shi-220601","工虫册页·墨蛾","此作工写相映成趣。几片贝叶以写意出之，赭色晕染叶片，红笔勾勒叶脉，寥寥数笔便带着舒展松弛的野趣，似将秋光揉进纸间。右侧墨蛾则以工细笔法刻画，翅脉纹理纤毫毕现，躯体斑纹层次分明，黑褐晕染厚重通透，将飞蛾朴拙鲜活的姿态精准定格，仿佛振翅欲飞。\n\n简淡写意与精细工笔相互衬映，把乡野日常小景绘得意韵悠长，藏着对檐下秋虫的脉脉温情，以小品之态尽显雅致鲜活的生机，笔底皆是烟火气里的自然意趣。",[7,24,81,28,173,27,15455,698,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd4614bf0ace25e61b5220a30eff0cc.jpg",[],{"id":25375,"slug":25376,"title":25377,"dynasty":1095,"author":25378,"museum":8718,"description":25379,"tags":25380,"thumbUrl":25381,"material":619,"size":139,"collection":139,"collections":25382,"showCount":25169,"zanCount":48,"manualWeight":48,"mainColor":94},220476,"wan-shan-hong-bian-li-ke-ran-220476","万山红遍","李可染","以大面积朱砂晕染层林，丹红似燃，浓烈却不失厚重意蕴，将秋山烂漫尽数铺展。焦墨勾勒山石轮廓，苍劲雄浑的墨色与艳烈丹红碰撞，生出极强视觉张力。垂落的飞瀑如素练破山而下，为沉郁秋景注入灵动生机。山坳间错落的白墙黛瓦民居，晕开一抹烟火暖意，让宏阔秋景多了几分温婉烟火气。笔力苍拙厚重，色彩对比强烈却和谐相融，将秋日山林的绚烂大气与静谧雅致合而为一，尽显秋山盛景的磅礴诗意。",[23,7,27,177,446,29,558,560,35,2238,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cecc510a934210856686c503976ce7a.jpg",[],{"id":25384,"slug":25385,"title":25386,"dynasty":18,"author":25387,"museum":206,"description":25388,"tags":25389,"thumbUrl":25392,"material":381,"size":25393,"collection":42,"collections":25394,"showCount":25169,"zanCount":48,"manualWeight":48,"mainColor":49},220191,"hui-chong-qiu-ye-pan-diao-hui-chong-220191","惠崇秋野盘雕","惠崇","惠崇（965- 1017），福建建阳人，北宋僧人，擅诗、画。作为诗人，他专精五律，多写自然小景，忌用典、尚白描，力求精工莹洁，颇为欧阳修等大家称道；作为画家，他“工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也”（北宋郭若虚语）。苏轼为惠崇画作《春江晚景》的题诗：“竹外桃花三两枝，春江水暖鸭先知”，名传千古。",[23,209,7,24,27,28,281,245,394,83,25390,25391],"秋野","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg","23.7x24.9",[42,90],{"id":25396,"slug":25397,"title":25398,"dynasty":99,"author":293,"museum":56,"description":25399,"tags":25400,"thumbUrl":25402,"material":123,"size":25403,"collection":44,"collections":25404,"showCount":25169,"zanCount":5,"manualWeight":48,"mainColor":49},219537,"qi-ying-sheng-hui-tu-yi-ming-219537","耆英胜会图","《耆英胜会图》为辽宁省博物馆首次对外展出，画作反映了北宋年间，“耆英会”的成员们日常闲聚的场景。整幅画作人物栩栩如生，将那一时期士大夫们不问政事、优哉游哉的画面描绘了出来。画作上，在几个主要人物旁边都写有姓名，这为辨识“耆英会”成员提供了方便。辽宁省博物馆工作人员分析认为，这些姓名可能是作者在画完之后特意写上的。\n在《耆英胜会图》的左半部，画有一个案几，司马光静坐在案几后，右手持笔，摆出了想要落笔书写的样子。案几上，纸张铺开，砚中有墨。在司马光的右手边，富弼端坐着，双手互揣衣袖，慈祥地静观着他。\n因为二人在这幅画里有距离感，按照常规视觉，司马光在画里的形象应该大于富弼，但实际上却恰恰相反。“中国古代绘画与西方绘画不同，在人物构图上，更强调尊卑观念。也就是说，在一幅画里，要凸显尊者、主人公的形象。”《民国辽沈金石书画史》作者、沈阳故宫博物馆副研究员沈广杰对画作进行了解读。他说，就《耆英胜会图》来看，从年龄上，富弼要长于司马光，而如果从官职上，前者也要高于后者，所以富弼的形象大于司马光就在情理之中了。",[23,7,25,27,2714,28,5627,1575,12048,12049,86,25401,7714],"士大夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32aec312de9de2887e7eb87c9352fd6c.jpg","纵47横344厘米",[44,45,382],{"id":25406,"slug":25407,"title":25408,"dynasty":292,"author":293,"museum":206,"description":25409,"tags":25410,"thumbUrl":25411,"material":123,"size":25412,"collection":44,"collections":25413,"showCount":25169,"zanCount":5,"manualWeight":48,"mainColor":49},219410,"huo-lang-tu-zhou-yi-ming-219410","货郎图轴","货郎挑担来到牡丹花下敲锣叫卖，孩童们争相前来，有拿铜钱的、拖玩具小车、打陀螺，还有手上把玩风车，脸上洋溢着欢喜与兴奋。货郎扁担为高肩形式，装饰着一对华丽的蟠龙，这是明代流行的样式。伞盖下悬挂灯笼、葫芦。置物架上内嵌木格，装满了瓶罐、玩具，及福禄寿样貌的泥塑偶人。背景牡丹盛开，桃实累累，充满吉祥意味。",[7,24,241,28,27,106,3045,12634,315,2953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c2e1b92d7b7e924913d4aafee674fb.jpg","183.5x116.3",[44],{"id":25415,"slug":25416,"title":12804,"dynasty":18,"author":293,"museum":132,"description":25417,"tags":25418,"thumbUrl":25419,"material":123,"size":25420,"collection":90,"collections":25421,"showCount":25169,"zanCount":5,"manualWeight":48,"mainColor":49},218949,"hua-zhu-an-chun-tu-yi-ming-218949","绢本之上，墨彩交织出温润古意。数只鹌鹑或低头啄食，或侧耳呼应，羽毛纹理细腻如绒，神态憨态可掬；竹枝挺拔，叶片婆娑，藤蔓缠绕间缀着娇艳花朵，石畔幽草含露，一派生机盎然。画家以精湛写生功底，捕捉自然瞬间的灵动：鹌鹑的互动、花叶的摇曳，皆形神毕肖。整体氛围静谧雅致，似能闻见草木清香，窥见田园一隅的闲适安然，尽显宋画“格物致知”的审美意趣——于细微处见天地，于平淡中藏深情，将寻常景致绘就成耐人寻味的诗意画卷。",[7,24,25,28,27,242,10824,62,224,697,298,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f14da85deeb768a04b8571e1787dcc.jpg","33x179cm",[90],{"id":25423,"slug":25424,"title":25425,"dynasty":189,"author":25426,"museum":206,"description":25427,"tags":25428,"thumbUrl":25429,"material":342,"size":25430,"collection":181,"collections":25431,"showCount":25169,"zanCount":1547,"manualWeight":48,"mainColor":94},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[23,7,24,241,173,177,227,86,178,29,864,1329,2124,430,558,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[181],{"id":25433,"slug":25434,"title":25435,"dynasty":18,"author":293,"museum":206,"description":25436,"tags":25437,"thumbUrl":25438,"material":123,"size":25439,"collection":181,"collections":25440,"showCount":25169,"zanCount":1547,"manualWeight":48,"mainColor":94},218806,"song-ren-ji-hui-han-shan-xing-lv-yi-ming-218806","宋人集绘-寒山行旅","本页绘一轮明月高悬天际，其下寒江平展，枯树横生蟹爪，景色萧疏空阔。近处坡丘二起，左丘上，古松成双，参差挺峙。松下亭中，有旅人坐憩。两丘间，土桥横江相连，沿著右丘，小径一路蜿蜒东去，丘势亦转成峰，环抱于江渚之后。行旅三两或骑或行，殆欲踏寒归去。山石形若卷云，皴法笔势劲捷，遥山远树则用染与前景分虚实，空间的气氛感颇为独到。",[23,7,209,24,81,177,173,29,864,394,900,106,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8b5a6304e7640a65792a19ed547c98.jpg","25.2x26.3",[181],{"id":25442,"slug":25443,"title":25444,"dynasty":189,"author":293,"museum":25445,"description":25446,"tags":25447,"thumbUrl":25448,"material":123,"size":25449,"collection":181,"collections":25450,"showCount":25169,"zanCount":1356,"manualWeight":48,"mainColor":49},218225,"qing-shan-hua-ge-tu-yi-ming-218225","青山画阁图","朵云轩","此图绘重峦之中的楼阁，游人漫步其中，凭栏远眺，两 只小舟荡于溪水之上。山石的画法受郭熙影响，界画楼阁手法工谨，当属职业画家所创作的山水楼阁画。",[7,24,1397,27,26,177,9111,107,108,109,34,176,2838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F460d65a40c463c3ffa5784432d4acd69.jpg","170x103cm",[181],{"id":25452,"slug":25453,"title":25454,"dynasty":99,"author":293,"museum":3537,"description":25455,"tags":25456,"thumbUrl":25457,"material":123,"size":25458,"collection":181,"collections":25459,"showCount":25169,"zanCount":48,"manualWeight":48,"mainColor":49},217911,"shan-zhuang-guan-he-tu-yi-ming-217911","山庄观鹤图","山庄观鹤图是明朝时期的一幅名画，作者是佚名画家。这幅画描绘了一座山庄，山庄周围群山环抱，绿树成荫，空气清新。在山庄的前院，有一只鹤正在观赏花草，显得十分和善。这幅画浓烈的山水意境，深刻地表现出了古人对自然界的敬畏和虔诚，同时也展现了明朝画家独特的画风和技巧。",[7,241,27,29,177,106,175,108,109,107,34,176,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fad8a02e60f7dc3edd0d39a2250f75.jpg","195.5x99cm",[181],{"id":25461,"slug":25462,"title":25463,"dynasty":76,"author":1816,"museum":78,"description":1817,"tags":25464,"thumbUrl":25465,"material":342,"size":1820,"collection":139,"collections":25466,"showCount":25169,"zanCount":48,"manualWeight":48,"mainColor":94},214680,"mei-hua-zhu-shi-tu-ce-8-wang-shi-shen-214680","梅花竹石图册-8",[209,7,24,81,173,448,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8e419cb950121bdd96f39dcd6d2a1d.jpg",[],{"id":25468,"slug":25469,"title":25470,"dynasty":189,"author":293,"museum":206,"description":25471,"tags":25472,"thumbUrl":25473,"material":123,"size":25474,"collection":44,"collections":25475,"showCount":25476,"zanCount":1270,"manualWeight":48,"mainColor":49},290745,"mei-hua-shi-nv-zhou-yi-ming-290745","梅花仕女轴","此幅画作，梅花树下，一名身形窈窕的美人，正手持铜镜，专注地妆扮着自己。身侧，并点缀了奇石和水仙花。全画的情境，被塑造得无比恬静而优雅。\n美人额间所装饰的梅花形“花钿”，似乎是整张画中最引人注目的焦点。唐代徐坚的《初学记》曾记载，南朝宋武帝（420－422在位）的女儿寿阳公主，某一日，在含章殿屋檐下休息假寐时，刚好有朵梅花掉落到她的额头上。当公主醒来起身，这朵梅花居然还停留在额间。此情此景，被宫中的女眷们看见，均大表赞赏，甚至纷纷起而仿效，掀起一股“梅花妆”的流行风潮。",[7,241,27,28,106,59,758,448,451,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc4a265b52f01bd880e3e8c0aac9848.jpg","131.4x63",[44],75,{"id":25478,"slug":25479,"title":17258,"dynasty":189,"author":351,"museum":364,"description":25480,"tags":25481,"thumbUrl":25482,"material":743,"size":744,"collection":139,"collections":25483,"showCount":25476,"zanCount":5,"manualWeight":48,"mainColor":49},290085,"zhao-liang-shi-nv-tu-qian-xuan-290085","这幅“宋钱选招凉仕女图”以美人为主题。画中两位美人，举止娴雅，体态轻盈纤弱，削肩瓜子脸，正是宋人欣赏的美女典型。再看看她们的穿着：内穿低胸衣、窄长裙、外着对襟褙子，也是宋代妇女所常穿的时装。至于她们手中的圆扇，又名为团扇或纨扇。它们除了能够避暑、招凉之外，因为形式、材质、扇面巧富变化，所以也是仕女手中不可或缺的重要饰品。\n庭园里，两位纤细窈窕的美人，手持着圆扇，相偕漫步而来。园中植立着传统庭园中常见剔透嶙峋的太湖石，石后还有一株花树，绽放着好似月季的花朵。美人头上，戴着不同款式的高帽，尤其是那层层高起的花形冠，样子相当别致新颖，或许是当时最新流行的款式吧\n这幅传为钱选（1235-1303左右）所作的“招凉仕女”，由于仕女面容、衣服的白粉及花上的朱砂多已脱落，因此颜色显得相当素雅简淡。钱选是南宋末一位相当具有文才与气节的画家，画风以细腻见长。这幅作品画风与存世钱选作品风格不尽相同，但仍不失无一幅南宋典雅的仕女画佳作",[7,2714,28,27,59,758,245,84,7039,17264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f42f52ef48908dcf2b212818ad4433.jpg",[],{"id":25485,"slug":25486,"title":25487,"dynasty":204,"author":2531,"museum":206,"description":23078,"tags":25488,"thumbUrl":25489,"material":381,"size":25490,"collection":139,"collections":25491,"showCount":25476,"zanCount":5,"manualWeight":48,"mainColor":49},289925,"yu-le-tu-zhou-jing-hao-289925","渔乐图轴",[7,241,173,177,29,1016,1015,245,109,394,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda905b5bc4e53571550e7355ed79a2b.jpg","189.4x125.9",[],{"id":25493,"slug":25494,"title":25495,"dynasty":204,"author":25496,"museum":364,"description":25497,"tags":25498,"thumbUrl":25499,"material":743,"size":744,"collection":139,"collections":25500,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":49},289777,"lian-chi-shui-qin-tu-zhou-er-gu-de-qian-289777","莲池水禽图轴二","顾德谦","顾德谦，五代南唐画家。建康(江苏)人，专喜好画道教神像画，又善画动植物。深受李后主厚爱。他画的人物，神韵清劲，笔力雄健。传世作品有《太上像》、《太上度关图》、《太上图》、《太上采芝像》、《四子太上像》、《采芝图》、《仙迹图》、《洞庭灵烟图》等20余件，见《宣和画谱》。",[23,7,241,3529,27,28,136,1060,2994,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb96d9cd6b47e7470bafecaed08c207.jpg",[],{"id":25502,"slug":25503,"title":25504,"dynasty":204,"author":5076,"museum":364,"description":16293,"tags":25505,"thumbUrl":25506,"material":743,"size":744,"collection":139,"collections":25507,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":49},289453,"shi-liu-tu-huang-ju-cai-289453","石榴图",[209,7,24,83,27,28,1299,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcfa0285b330e25a9c43ac0ab66d7224.jpg",[],{"id":25509,"slug":25510,"title":25511,"dynasty":204,"author":2215,"museum":364,"description":25512,"tags":25513,"thumbUrl":25514,"material":743,"size":744,"collection":139,"collections":25515,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":49},288554,"xiao-xiang-tu-hua-xin-dong-yuan-288554","潇湘图画心","《潇湘图》中表现的是南方山水，图绘一片湖光山色，山势平缓连绵，山峦多用披麻皴，并以墨点渲染山峦之上的植被，平远的构图方式和近景中大片水域的结合，让画面有很强的空间感，更呈现出江南山水的迷蒙。山水之中又有人物渔舟其间，赋色鲜明，趣味横生，为寂静幽深的山林增添了无限生机。\n《潇湘图》被画史视为“南派”山水的开山之作 ，也是中国山水画史上代表性作品之一。",[23,209,7,24,25,173,29,109,174,1016,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeebc0ca9167bf3b40bd6d5a6b3e8cc6.jpg",[],{"id":25517,"slug":25518,"title":25519,"dynasty":18,"author":1275,"museum":364,"description":25520,"tags":25521,"thumbUrl":25522,"material":743,"size":744,"collection":139,"collections":25523,"showCount":25476,"zanCount":5,"manualWeight":48,"mainColor":49},288492,"guo-shu-lai-qin-tu-lin-chun-288492","果熟来禽图","《果熟来禽图》绘有林檎果一枝，枝上硕果累累。系挂着沉甸甸果实的枝丫，仿佛在轻轻地颤动。果叶正反面刻画细致，连虫蚀的痕迹都颇为清晰。果树上有一小鸟，它转颈回眸，振翅欲飞。画面虽不繁复，却充满生气盎然的意趣，表现出作者蕴藉空灵的审美追求",[23,7,209,3529,28,27,281,713,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae85ba9562268d73b08485dbcf58808.jpg",[],{"id":25525,"slug":25526,"title":25527,"dynasty":18,"author":553,"museum":364,"description":25528,"tags":25529,"thumbUrl":25530,"material":743,"size":744,"collection":139,"collections":25531,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":1335},287539,"xue-shan-lou-ge-tu-fan-kuan-287539","雪山楼阁图","此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。",[7,29,173,177,107,3499,109,176,34,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7164b3c1f63766c284a26f90276d03.jpg",[],{"id":25533,"slug":25534,"title":25535,"dynasty":99,"author":1083,"museum":364,"description":25536,"tags":25537,"thumbUrl":25538,"material":803,"size":139,"collection":44,"collections":25539,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":49},237222,"chen-hong-shou-jin-jue-tu-juan-chen-hong-shou-237222","陈洪绶晋爵图卷","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今 明代著名书画家、诗人。\n年少师事 明亡入 一生以画见长，尤工 所画人物躯干伟岸，衣纹 花鸟等描绘精细，设色清丽，富有装饰味。亦能画 还长于为文学作品创作 其画手法简练，色彩沉着含蓄，其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[7,24,25,28,27,106,59,210,176,34,109,1255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddd38d94f0d83cb4ba3169e2191ffee.jpg",[44],{"id":25541,"slug":25542,"title":220,"dynasty":76,"author":6456,"museum":364,"description":6457,"tags":25543,"thumbUrl":25544,"material":139,"size":20,"collection":90,"collections":25545,"showCount":25476,"zanCount":5,"manualWeight":48,"mainColor":94},236606,"hua-niao-ce-ma-yuan-yu-236606",[7,24,81,27,173,83,224,1062,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e74d9e1c5842148c80d29f7995d049e.jpg",[90,45],{"id":25547,"slug":25548,"title":25549,"dynasty":18,"author":16956,"museum":364,"description":25550,"tags":25551,"thumbUrl":25552,"material":139,"size":139,"collection":139,"collections":25553,"showCount":25476,"zanCount":5,"manualWeight":48,"mainColor":49},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[23,209,7,24,25,26,27,28,29,864,297,34,107,175,108,174,13911,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],{"id":25555,"slug":25556,"title":25557,"dynasty":189,"author":2519,"museum":206,"description":25558,"tags":25559,"thumbUrl":25560,"material":67,"size":25561,"collection":139,"collections":25562,"showCount":25476,"zanCount":5,"manualWeight":48,"mainColor":94},231340,"zhu-shi-tu-yuan-dai-ji-jin-zhi-yi-zhao-meng-fu-231340","竹石图－元代集锦之一","此幅赵孟頫《枯木竹石》画中书法的笔法，比之于其它常见的名件，本件在画石的“飞白法”，由于画石是都用中锋的圆笔，犹如“玉箸篆”的笔画，行笔安稳，并无强烈的快速感，显不出“飞白法”。这也兼见于画枯木条的笔法。画竹为新篁，出锋锐利如新硎发刃，从“结叶”的方法如“燕尾”、如“个”，及棘条圆体感，比之于其它备件，如同为台北故宫藏大德三年（1299己亥，为杨安甫作）的《疏林秀石》最为接近。本件《枯木竹石》款：“子昂为成之作”，书风与印记：“赵子昂印”，也是相同。真品应无疑义。因此，本件可定为1299年作。就元代论，画竹尚是注重生态，若比之于同时期的李衍（1244年-1320年），赵孟頫如“燕尾”、如“个”的竹叶结组，重视笔趣远高于自然生态。更由于纸张稍熟，吸墨性不强，对岩石的渲染加强了块面感与浑厚的端重。吴升《大观录》记此画：“竹则掩翠稍寒，柯则若虬蟠形古，气韵奕奕。”安仪周：“水墨作怪石平坡，细竹棘革，笔墨气韵兼美。”是对整体画作气息的描述。\n存世的赵孟頫“古木竹石”这一类题材尚多。横向发展的兰竹画，存世的几件作品，都是“中央为准”，两旁再布置。这一当门的大石，也正是“石如飞白”的标志。大有一石当关，昂扬于天地之间。这从前举台北故宫藏《疏林秀石》（《宋元集绘册》第四开）；《无款竹木》（《宋元集绘册》第十一开）；北京故宫藏《秀石疏林》；克利夫兰馆的《竹石幽兰》（为善夫），再加以本件《枯木竹石》均是如出一辙的布局。即使换成是轴装直件，以北京故宫藏《古林竹石》，中央立石最为标准。至若台北故宫《窠木竹石》；王己干旧藏《枯树竹石》，画中立石都可做如此观。这种同样的布局，一再出现，意味着什么呢？或许这是庭园、郊野一角的即景？\n就竹的题材，从赵孟頫的题款常写道“为口口作”，表示元代以来，画家常用之以为投赠。这因笔砚间，画竹画兰便利。对于“竹”的意识，赵孟頫在他的《松雪斋集》《修竹赋》：“虚其心实其节，贯四时而不改柯易叶。则吾以是观君子之德。”表意是相当传统。画竹配上的“石”，赵孟頫的诗文里，未见有所指示。再以虞集咏《子昂竹石》：“数尺琅开近玉阶，连昌宫苑少人来。庚庚苍石如人立，恐有题名上紫苔。”的“庚庚苍石如人立”，“庚庚”是坚强，也将石拟人化，还是与“观君子之德”相同了。",[7,24,173,177,242,431,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb050c2489317ffbfaa32479f5913e8.jpg","纵99．4厘米，横48．2厘米",[],{"id":25564,"slug":25565,"title":25566,"dynasty":76,"author":13273,"museum":364,"description":25567,"tags":25568,"thumbUrl":25569,"material":743,"size":744,"collection":139,"collections":25570,"showCount":25476,"zanCount":5,"manualWeight":48,"mainColor":94},230858,"lin-tian-wang-song-zi-tu-yu-zhi-ding-230858","临天王送子图","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[23,7,24,25,259,260,106,18694,502,957,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2a2ab40be6165dd013479e508c193e.jpg",[],{"id":25572,"slug":25573,"title":10097,"dynasty":76,"author":293,"museum":364,"description":25574,"tags":25575,"thumbUrl":25576,"material":743,"size":744,"collection":139,"collections":25577,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":94},230348,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-230348","水岸楼台层叠错落，奇石流泉蜿蜒在庭院间。近舍里宾朋凭栏谈笑，空场间人群簇立，围观高架旁的杂艺演出。远景烟波轻笼水乡，屋舍连片沿水岸铺展，拱桥上行人摩肩接踵，新梅缀枝，漫染融融春意。\n\n整作工笔细腻温婉，以淡彩晕染出雅致底色，将苑囿闲情与江南市井的喧闹烟火相融，疏密有致的构图里，铺陈出春日佳节松弛鲜活的盛景，尽揽雅致祥和的岁时意趣。",[7,27,28,104,106,107,175,108,109,34,448,115,2166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2627069d8464d638cd4130d2f3b07cf.jpg",[],{"id":25579,"slug":25580,"title":25581,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":25582,"thumbUrl":25583,"material":67,"size":10518,"collection":139,"collections":25584,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":94},230109,"hong-lou-meng-190-sun-wen-230109","红楼梦190",[7,28,27,368,106,150,9395,107,1015,115,104,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371fd944c59868ac77daf0417c1ff2a6.jpg",[],{"id":25586,"slug":25587,"title":613,"dynasty":99,"author":24704,"museum":364,"description":25588,"tags":25589,"thumbUrl":25590,"material":139,"size":139,"collection":139,"collections":25591,"showCount":25476,"zanCount":1270,"manualWeight":48,"mainColor":94},228912,"tao-hua-yuan-tu-qian-gu-228912","此作以长卷铺展江南水村，开篇烟波澹荡，远渚含烟，水鸟凌虚翔集，渔舟泛于微波之上，渔人或垂纶独钓，或呼友聚谈，野趣盎然。\n\n沿岸柳丝拂水，桃林绽艳，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[23,7,24,25,173,27,177,28,29,106,279,109,174,1016,281,108,175,933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb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（1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,209,7,24,25,27,173,83,178,1147,227,243,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[181,163],{"id":25620,"slug":25621,"title":25622,"dynasty":76,"author":25623,"museum":675,"description":25624,"tags":25625,"thumbUrl":25626,"material":317,"size":25627,"collection":44,"collections":25628,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":49},222523,"zhu-shou-tu-zhou-wang-wen-wei-222523","祝寿图轴","王文炜","寿星和梅花鹿是这一题材必备的图像，婴戏图表示多子，也代表了吉祥的寓意，除此之外本图中还描绘了对坐书案的两位文仕，为本图平添了高雅的情趣。画面设色妍雅，笔墨生动。",[23,7,24,209,241,27,28,106,3045,11356,3167,1575,176,109,4965],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9cf9fe0adff55e94e42726ea4c7077.jpg","80X160",[44,45],{"id":25630,"slug":25631,"title":25632,"dynasty":99,"author":1072,"museum":206,"description":25633,"tags":25634,"thumbUrl":25636,"material":25637,"size":25638,"collection":90,"collections":25639,"showCount":25476,"zanCount":5,"manualWeight":48,"mainColor":49},222173,"jia-he-cao-chong-tu-wu-bing-222173","嘉禾草虫图","本幅选自「名绘集珍」册。画水稻两株，在田间婷婷伫立，成串的稻穗，已经俯首低垂。蝴蝶、花虻和蜻蜓，有的兀自在空中飞舞，有的则栖息在叶梢。由于右上方的叶子，和上方的稻穗，均溢出了画幅的边界，推测可能是表面曾经遭到污损，才由大裁小，改装成现在所看到的形式。",[23,1086,7,209,28,27,83,25635,603,604,800,932,299],"嘉禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c3e40e787e59113179f539e535e2cfe.jpg","册页，设色","27.3 x 45.7公分",[90,45],{"id":25641,"slug":25642,"title":25643,"dynasty":99,"author":3114,"museum":206,"description":25644,"tags":25645,"thumbUrl":25646,"material":4796,"size":25647,"collection":181,"collections":25648,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":94},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[23,7,24,241,173,177,86,178,29,431,109,1575,34,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[181,163],{"id":25650,"slug":25651,"title":25652,"dynasty":99,"author":3114,"museum":206,"description":25653,"tags":25654,"thumbUrl":25655,"material":803,"size":25656,"collection":181,"collections":25657,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":94},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,7,24,241,173,177,86,227,29,6407,4501,34,35,176,31,37,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[181,163],{"id":25659,"slug":25660,"title":25661,"dynasty":99,"author":3114,"museum":206,"description":9729,"tags":25662,"thumbUrl":25663,"material":9732,"size":139,"collection":181,"collections":25664,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":49},220935,"fang-fan-kuan-xi-shan-xing-lv-tu-dong-qi-chang-220935","仿范宽谿山行旅图",[7,24,29,105,177,173,27,176,649,34,900,650,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6af289c5e3cc8977a1679c323cf75a.jpg",[181,163],{"id":25666,"slug":25667,"title":25668,"dynasty":76,"author":953,"museum":25669,"description":25670,"tags":25671,"thumbUrl":25672,"material":4796,"size":139,"collection":139,"collections":25673,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":94},220464,"tao-hua-yuan-ren-yi-220464","桃花源","亚瑟·M·赛克勒美术馆","淡墨勾皴层叠岩壁，浅晕青绿晕开山岚清润。老樵负斧驻足，抬首凝望漫山繁花。苍劲虬枝缀满素色花团，如堆雪覆枝，将山野晕染出朦胧柔婉。幽寂山石隐在花影石隙，似藏着无人惊扰的洞天。\n人物衣褶简括灵动，抬首的怔忡神态宛然在目，将误入世外山境的沉醉凝于笔端。淡墨写意晕出空寂悠远的山野氛围，清简笔墨铺展出世外天地的悠然意趣，把隐逸避世的幽韵尽数融在这尺幅之中。",[23,7,241,27,3963,106,29,448,176,34,109,10164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2b3db8d3cbb318979a7513a7d5b907.jpg",[],{"id":25675,"slug":25676,"title":25677,"dynasty":99,"author":11783,"museum":11116,"description":25678,"tags":25679,"thumbUrl":25680,"material":123,"size":25681,"collection":90,"collections":25682,"showCount":25476,"zanCount":48,"manualWeight":48,"mainColor":49},220315,"li-hua-shuang-jiu-tu-yu-yuan-220315","梨花双鸠图","陶渊明的诗作在清新自然的氛围中营造了一种恬淡宁静、纯朴自然的境界，这正是老庄艺术境界与人生境界的合一。钱选追慕陶渊明式的的隐逸生活，他曾画了多幅《归去来图》以示对陶潜的景仰之情，画中曾经题诗：“衡门植五柳，东篱采丛菊。长啸有余清，无奈酒不足。当世宜沈酣，作色召侮辱。乘兴赋归欤，千载一辞独。”钱选的传世作品《柴桑翁像》卷描绘陶渊明头戴明纱巾，脚着木屐，携杖款款而行的样子。画中题道：“晋陶渊明得天真之趣，无青州从事而不可陶写胸中磊落，尝命童子佩酒以随，故时人模写之。余不敏，亦写此以况。”可见钱选是借陶渊明来书写胸臆，仿陶潜之隐逸，寻道老庄，建自身之心隐，表达对陶潜自喻的隐居素志和平淡生活情趣的田园生活的向往，钱选在生活和绘画创作中极力营造心目中“桃花源”，一个平和、繁华但又远离尘世，隐心俗世之外，又从世外深情俯视人间之境。",[23,7,24,241,28,27,83,1640,17066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f327fd3c66d28a0a0a4df196d628d00.jpg","97cm×30.2cm",[90],{"id":25684,"slug":25685,"title":25686,"dynasty":99,"author":25687,"museum":20,"description":25688,"tags":25689,"thumbUrl":25690,"material":123,"size":25691,"collection":181,"collections":25692,"showCount":25476,"zanCount":5,"manualWeight":48,"mainColor":49},220077,"yan-dang-shan-tu-ye-cheng-220077","雁荡山图","叶澄","此图描绘的是位于浙江省境内号称东南第一山的北雁荡山。画卷徐徐展开，一处处风景逐渐展现，按作者以小字标出的各处风景的名称，计有石门潭、章毅楼、石佛岩、石樑洞、灵风洞、罗汉洞、净明寺、蓼花峰、响岩等。作者对景写生，笔底风景各具奇姿，虽仅是雁荡山的一部分，却已展现出它的奇秀特色和壮阔气势。\n图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[23,7,24,25,173,27,29,177,864,650,34,37,109,2268,6407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[181,45],{"id":25694,"slug":25695,"title":25696,"dynasty":76,"author":13037,"museum":539,"description":14698,"tags":25697,"thumbUrl":25698,"material":88,"size":14701,"collection":181,"collections":25699,"showCount":25476,"zanCount":48,"manualWeight"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全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,209,7,24,25,173,29,107,174,109,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6099983a79040c7157e7afea0e72b08.jpg",[],{"id":25898,"slug":25899,"title":25900,"dynasty":76,"author":293,"museum":364,"description":13561,"tags":25901,"thumbUrl":25902,"material":743,"size":744,"collection":139,"collections":25903,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":94},263655,"ke-si-yu-zhi-shi-hua-hui-tu-ce-tao-hua-yi-ming-263655","缂丝御制诗花卉图册-桃花",[209,7,81,1629,28,27,83,279,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa17ec3a0050f40eac53095f1b343d5.jpg",[],{"id":25905,"slug":25906,"title":25907,"dynasty":76,"author":6671,"museum":364,"description":25908,"tags":25909,"thumbUrl":25910,"material":139,"size":139,"collection":181,"collections":25911,"showCount":25839,"zanCount":48,"manualWeight":48,"mainColor":94},237876,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237876","杨晋仿古山水册","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[7,24,81,27,29,177,105,108,109,394,864,281,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[181,45],{"id":25913,"slug":25914,"title":25915,"dynasty":76,"author":1204,"museum":20,"description":25916,"tags":25917,"thumbUrl":25918,"material":1716,"size":25919,"collection":90,"collections":25920,"showCount":25839,"zanCount":1547,"manualWeight":48,"mainColor":94},237621,"gu-mei-tu-zhou-zhu-da-237621","古梅图轴","图绘一株古梅树，根部无土，树心中空，旁枝上数朵梅花盛开，显示出顽强的生命力。根据画中的自题诗：“梅花画里思思肖”而知，此图是朱耷仿宋遗民画家郑思肖画兰不着土、以暗示国土为异族人所夺之意的画作，表达了他对明朝的怀念之情。图中用笔苍健有力，线条粗犷，多方硬曲折。施墨枯润结合，富有表现力。此图是朱耷中年时期的代表作。\n本幅朱耷自题三首，分别款署：“驴屋驴书”，钤“字日年”朱文印；“壬小春又题”，钤“驴”朱文印；“夫婿殊驴”。“壬小春”是指清康熙二十一年（1682年），朱耷时年57岁。\n幅下有罗朝汉题记。鉴藏印有“惠祖斋”朱文印、“大兴刘铨福家世守印”白文印。",[7,24,241,173,446,448,394,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d898d1a97529363294d5d785eed0c86.jpg","纵96厘米，横55厘米",[90],{"id":25922,"slug":25923,"title":25924,"dynasty":99,"author":1012,"museum":364,"description":25925,"tags":25926,"thumbUrl":25927,"material":743,"size":744,"collection":139,"collections":25928,"showCount":25839,"zanCount":48,"manualWeight":48,"mainColor":49},234705,"lan-ying-sun-di-he-hua-zhu-shi-shan-ye-lan-ying-234705","蓝瑛、孙杕合画竹石扇页","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[7,24,1562,173,177,242,431,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a1b06275fa3ac945a043c4ba8219d.jpg",[],{"id":25930,"slug":25931,"title":25932,"dynasty":99,"author":25933,"museum":20,"description":25934,"tags":25935,"thumbUrl":25936,"material":990,"size":139,"collection":139,"collections":25937,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":94},234199,"mei-hua-juan-lu-fu-234199","梅花卷","陆復","陆复，明代人，字明本，自号梅花主人，江苏吴江人。善画墨梅。",[23,7,24,209,25,173,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71088b2bdc23a064be93938e4fef182c.jpg",[],{"id":25939,"slug":25940,"title":16317,"dynasty":76,"author":1204,"museum":20,"description":25941,"tags":25942,"thumbUrl":25950,"material":1716,"size":25951,"collection":139,"collections":25952,"showCount":25839,"zanCount":48,"manualWeight":48,"mainColor":94},233712,"yang-liu-yu-qin-tu-zhou-zhu-da-233712","此图是朱耷80岁所作。风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[7,173,241,446,16320,1938,245,83,25943,10154,25944,176,14364,16285,8349,14765,25945,25946,25947,25948,25949],"水墨写意","孤鸟","山石禽鸟","杨柳枝条","浴禽","水墨山石","写意禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323d4fc355eb966f9589caed04ec16f5.jpg","纵119厘米，横58.4厘米",[],{"id":25954,"slug":25955,"title":25956,"dynasty":99,"author":100,"museum":364,"description":25957,"tags":25958,"thumbUrl":25959,"material":139,"size":139,"collection":139,"collections":25960,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":49},228449,"tao-cun-cao-tang-chou-ying-228449","桃村草堂","《桃村草堂图》明代 创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[23,7,24,241,27,28,26,29,106,175,34,109,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":25962,"slug":25963,"title":886,"dynasty":99,"author":25964,"museum":364,"description":25965,"tags":25966,"thumbUrl":25967,"material":139,"size":139,"collection":139,"collections":25968,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":94},228343,"mo-zhu-tu-wang-you-228343","王右","此作用笔老辣爽利，以浓墨挥写竹竿，劲挺舒展如君子立世；竹叶欹正交错，墨色干湿浓淡相映，错落间尽显偃仰生姿的清灵意态，留白空灵疏朗，衬出幽篁萧散之致。\n\n左侧行书题跋笔势跌宕奇逸，与竹的清刚风神相得益彰，诗书画印浑融一体，将竹的坚贞品格寄寓笔墨。整幅以意写形，脱去匠气，尽显文人写意画以物明志的幽远意趣，清逸苍劲，足见绘者不凡的笔墨功底与文人襟怀。",[23,7,25,173,242,86,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bce774dc22c38310f619a62d3623a.jpg",[],{"id":25970,"slug":25971,"title":25972,"dynasty":18,"author":16956,"museum":364,"description":25973,"tags":25974,"thumbUrl":25975,"material":139,"size":139,"collection":139,"collections":25976,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":49},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,209,7,25,26,27,28,177,29,107,108,109,174,34,106,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":25978,"slug":25979,"title":25980,"dynasty":76,"author":3679,"museum":364,"description":25981,"tags":25982,"thumbUrl":25983,"material":139,"size":139,"collection":139,"collections":25984,"showCount":25839,"zanCount":1547,"manualWeight":48,"mainColor":94},224366,"hua-hui-si-ping-zhi-er-ju-lian-224366","花卉四屏之二","此作用笔秀雅工丽，素白牡丹以淡墨勾瓣，浅红晕染花心，柔润饱满如凝脂，尽展雍容柔媚之态。墨色叶片浓淡参差，苍润交错，衬出花之洁雅清贵。\n嶙峋湖石以水墨皴擦勾勒，孔洞玲珑古朴，刚硬质感与柔美花株相映，刚柔相济。飞蜂振翅穿行花间，灵动鲜活，为静谧花景添了盎然生机，动静之间尽显春日花下恬然意趣。\n设色明秀清雅，无艳俗之气，兼具写生之真与写意之韵，将花木情态勾勒入神，藏着悠然清逸的文人雅趣。",[23,209,7,24,241,28,27,83,327,932,176,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9fa90dceefd3869dc23af99f9a1298.jpg",[],{"id":25986,"slug":25987,"title":25988,"dynasty":99,"author":1996,"museum":276,"description":5506,"tags":25989,"thumbUrl":25990,"material":619,"size":5510,"collection":139,"collections":25991,"showCount":25839,"zanCount":48,"manualWeight":48,"mainColor":94},222570,"hua-hui-tu-9-chen-chun-222570","花卉图9",[23,209,7,24,446,173,27,83,84,698,245,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f0254a2eb9eb07ea7e50656f0f7475.jpg",[],{"id":25993,"slug":25994,"title":25995,"dynasty":99,"author":14350,"museum":20,"description":25996,"tags":25997,"thumbUrl":25998,"material":3076,"size":25999,"collection":90,"collections":26000,"showCount":25839,"zanCount":48,"manualWeight":48,"mainColor":271},222444,"kong-que-tu-zhou-lin-liang-222444","孔雀图轴","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[23,7,24,241,173,446,83,312,242,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec841a14c5d417972a86639dc89581e2.jpg","纵155.3厘米，横78厘米",[90,163],{"id":26002,"slug":26003,"title":26004,"dynasty":99,"author":100,"museum":20,"description":2101,"tags":26005,"thumbUrl":26006,"material":40,"size":2105,"collection":139,"collections":26007,"showCount":25839,"zanCount":48,"manualWeight":48,"mainColor":94},222189,"ren-wu-gu-shi-tu-zhuo-liu-hua-tu-chou-ying-222189","人物故事图-捉柳花图",[23,7,24,28,27,81,106,1532,35,29,109,1159,6978,115,19041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f4e6ab2a4ef0d6aec4e0ebef87e333.jpg",[],{"id":26009,"slug":26010,"title":26011,"dynasty":99,"author":100,"museum":20,"description":2101,"tags":26012,"thumbUrl":26013,"material":40,"size":2105,"collection":139,"collections":26014,"showCount":25839,"zanCount":48,"manualWeight":48,"mainColor":94},222186,"ren-wu-gu-shi-tu-nan-hua-qiu-shui-chou-ying-222186","人物故事图-南华秋水",[23,7,24,81,28,27,29,106,109,108,34,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b45609e2c083db0ccce468498ced4.jpg",[],{"id":26016,"slug":26017,"title":26018,"dynasty":18,"author":26019,"museum":12966,"description":26020,"tags":26021,"thumbUrl":26022,"material":40,"size":26023,"collection":42,"collections":26024,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":49},221680,"song-shan-xing-lv-tu-li-shan-221680","松杉行旅图","李山","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,209,7,24,241,173,177,29,449,431,106,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[42,181,163],{"id":26026,"slug":26027,"title":26028,"dynasty":18,"author":6652,"museum":20,"description":26029,"tags":26030,"thumbUrl":26031,"material":26032,"size":26033,"collection":139,"collections":26034,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":94},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","本幅无款印，后纸自题一段：“先公居鎮江四十年，作庵於城之東高崗上，以海岳命名，一時國士皆賦詩，不能盡記。翰林承旨翟公詩：‘楚米仙人好樓居，植梧崇岡結精廬。下瞰赤縣賓蟾鳥，東西跳丸天馳驅。腹藏萬卷胸垂胡，論議如何決九渠。掀髯送目遊八區，欲叫虞舜浮蒼梧。'云云，餘不能記也。此卷乃庵上所見，大抵山水奇觀，變態萬層，多在晨晴晦雨間，世人鮮複知此。余生平熟瀟湘奇觀，每於登臨佳處，輒複寫其真趣成長卷以悅目，不俟驅使爲之，此豈悅他人物者乎。此紙滲墨，本不可運筆，仲謀勤請不容辭，故爲戲作。紹興乙卯孟春建康□□官舍，友仁題。羊毫作字，正如此紙作畫耳。”乙卯为绍兴五年（1135年），米友仁50岁。后纸另有薛羲、葛元喆、吴匏硕、贡师泰、邓宇志、董其昌等宋、元、明14家题跋。\n米友仁为北宋著名书画家米芾长子，父子两人共创“米家山水”。此图绘米友仁十分熟悉的潇湘奇观景致，深得其“变态万层”之“真趣”。开卷便是浓云翻滚，隐现出远山坡脚，随着云气的飘动变幻，逐渐显露出山形，重迭起伏的峰峦影影绰绰地展现于团团白云中。中段山川始露出清晰真容，主山屹立，尖峰高耸，树丛映带，沙渚数重，甚富高远和深远感。结尾处山色又渐趋淡远，唯近处林岸、草庐明晰。自首至尾，迷濛、清明以及远近、浓淡，几度变幻，奥妙莫测。\n时隐时显，忽明忽晦，迷濛又富有变化，故时人谓他“善画无根树，能描朦胧云。”(汤垕《画鉴》)同时他也很讲究笔法，以大笔触的遒劲笔法来泼染水墨，墨随笔走，在大笔涂染块面中，多有纵点、横点、落茄点和不规则的破笔点，亦见连勾带擦的线条。笔与墨的有机结合，使米氏云山兼具滋润和沉郁的特色。\n清·郁逢庆《书画题跋记》、卞永誉《式古堂书画汇考》、吴升《大观录》、顾文彬《过云楼书画记》等书著录。",[23,7,25,173,177,24,86,178,227,29,649,37,34,1112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米",[],{"id":26036,"slug":26037,"title":26038,"dynasty":18,"author":4361,"museum":364,"description":26039,"tags":26040,"thumbUrl":26041,"material":67,"size":4365,"collection":139,"collections":26042,"showCount":25839,"zanCount":5,"manualWeight":48,"mai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曾收藏於美國華人收藏家王季遷手中，在其去世後失竊下落不明。\n\n該畫作描繪了五方帝君中的三個帝君，去往朝謁天上的最高統治者時的隊仗行列。畫家以流利的長線條描繪此圖，畫中人物栩栩如生，表情生動，描畫出了不同的人物的不同的身份與形態特徵，成功地表現出帝君的莊嚴、神將的威武和仙女的丰姿，是白描人物畫的代表作。",[23,7,209,25,260,259,106,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e6bd28a60a6c338f34ccc4c8b090642.jpg",[],{"id":26044,"slug":26045,"title":26046,"dynasty":18,"author":293,"museum":206,"description":26047,"tags":26048,"thumbUrl":26050,"material":123,"size":26051,"collection":42,"collections":26052,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":49},221238,"xue-lu-shuang-yan-zhou-yi-ming-221238","雪芦双雁轴","描绘的是寒冬汀岸一隅，四只雁栖息于芦苇丛下的岸边，有的仰天引颈而望，有的蹲伏理翎，另外二只掠空飞起。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自左下角向内延伸，其余部分大片留白，形成清远空旷的意境",[23,209,7,24,241,28,27,83,26049,2522,281,2502,298],"双雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c1047960693bbada4ff966b1451860.jpg","174.6x99.5",[42,90,45],{"id":26054,"slug":26055,"title":13837,"dynasty":204,"author":20609,"museum":1985,"description":20610,"tags":26056,"thumbUrl":26058,"material":803,"size":20614,"collection":44,"collections":26059,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":94},221177,"er-zu-diao-xin-tu-shi-ke-221177",[23,209,7,173,106,259,7281,26057],"禅定","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5231745a90758af093f0219512406582.jpg",[44,163],{"id":26061,"slug":26062,"title":26063,"dynasty":99,"author":3114,"museum":56,"description":26064,"tags":26065,"thumbUrl":26066,"material":26067,"size":26068,"collection":181,"collections":26069,"showCount":25839,"zanCount":48,"manualWeight":48,"mainColor":94},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,7,24,25,173,178,177,864,1329,34,35,194,560,491,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[181,163],{"id":26071,"slug":26072,"title":26073,"dynasty":189,"author":487,"museum":20,"description":26074,"tags":26075,"thumbUrl":26076,"material":803,"size":26077,"collection":181,"collections":26078,"showCount":25839,"zanCount":48,"manualWeight":48,"mainColor":94},220823,"xi-jiao-cao-tang-tu-zhou-wang-meng-220823","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[7,173,27,177,29,394,106,174,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd459330bfb44d64cef6e2da24450ad.jpg","纵97cm ，横27.2cm",[181,163],{"id":26080,"slug":26081,"title":26082,"dynasty":189,"author":487,"museum":206,"description":26083,"tags":26084,"thumbUrl":26085,"material":803,"size":26086,"collection":181,"collections":26087,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":49},220814,"shan-zhong-gui-yin-tu-wang-meng-220814","山中归隐图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,7,209,29,173,241,177,864,297,34,558,920,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[181,163],{"id":26089,"slug":26090,"title":26091,"dynasty":18,"author":26092,"museum":7875,"description":26093,"tags":26094,"thumbUrl":26095,"material":123,"size":26096,"collection":42,"collections":26097,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":94},219885,"ku-mu-xi-qin-tu-xu-dao-ning-219885","枯木溪禽图","许道宁","许道宁，北宋画家，生卒年不详，活跃于北宋初到北宋中期，长安（今陕西西安）人，又作河间 (今河北河间县)人。 许道宁擅长绘林木、平远、野水、秋江、雪景、寒林,并将这些自然景色和行旅、野渡、捕鱼等人文景观相结合,画风豪放，笔法简快潇洒,峰峦峻秀挺拔,山林强劲有力,幽林荒冷萧条。 传世作品有《渔父图》（又叫《秋江鱼艇图》）、《关山密雪图》、《秋山萧寺图》。",[7,173,27,29,1015,1938,245,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9597e31491ea2287ed2d24e604cb11.jpg","25.7x25.1",[42,90],{"id":26099,"slug":26100,"title":26101,"dynasty":99,"author":170,"museum":206,"description":26102,"tags":26103,"thumbUrl":26104,"material":342,"size":26105,"collection":163,"collections":26106,"showCount":25839,"zanCount":5,"manualWeight":48,"mainColor":94},219524,"guo-suo-tu-shen-zhou-219524","郭索图","该图是幅淡墨写意作品。“酒醉菊黄蟹正肥”，是雅俗共赏的著名的诗句。南方江浙一带的画家与市民每逢秋季无不饮酒食蟹。画家作此画的画意亦在于此。画幅的中间部位画清水大阐蟹一只，坚实如锯齿般的双螯，如钳子似的夹住稻穗，蟹壳尖楞突出，如一把把锐利尖刀，爬沙横行于水草之间。蟹爪过处，如闻郭索之声，故以此名命。此当为江南水乡深秋时节，这是稻谷、大豆已成熟，临近收割，这正是螃蟹最肥壮的时期“过雨黄花千蕊发，经霜紫蟹两螯肥”。正是“持螯赏菊”的良宵佳时。技法上，体黑，先用淡墨画蟹壳、蟹脚，勾勒而成，用焦墨画爪尖和蟹壳回凸，然后用浓墨渲染双蟹螯，形成体白，黑白相间，极有韵趣。其背景稻穗一根，用笔随意，草草点染，似不经意一挥而成。此画可谓为大画家沈周戏墨之作，随物赋形，但却形神兼备，可见他写生的功力之深厚。画幅上端有作者自题款:“郭郭索索，还用草缚。不敢横行，沙水夜落。沈周。”钤“石田”白文印。此图经清内府收藏。画幅右上端有乾隆题赞",[209,7,173,446,24,227,5169,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3862c7b20f88c912c2f1841c8d16126c.jpg","纵49.4 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"id":26263,"slug":26264,"title":26265,"dynasty":99,"author":1083,"museum":364,"description":26266,"tags":26267,"thumbUrl":26268,"material":139,"size":139,"collection":44,"collections":26269,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":49},237159,"guan-yin-zhou-chen-hong-shou-237159","观音轴","陈洪绶（1599～1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺唻洎为僧，后頭樤还俗，以卖画为生。享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。名作《九歌图》《屈子行吟图》《插图》《水浒叶子》《博古叶子》等，工诗善书，有《宝纶堂集》。\n1652年去世。",[7,24,241,259,106,28,27,136,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc28aeb4164075d3d687abc7936a726.jpg",[44],{"id":26271,"slug":26272,"title":5505,"dynasty":76,"author":2040,"museum":364,"description":26273,"tags":26274,"thumbUrl":26275,"material":743,"size":744,"collection":90,"collections":26276,"showCount":26211,"zanCount":5,"manualWeight":48,"mainColor":94},235697,"hua-hui-tu-ce-zou-yi-gui-235697","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[7,24,81,28,27,83,62,1003,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8572a0ccd2626980bd110f0ac70b1c.jpg",[90,45],{"id":26278,"slug":26279,"title":26280,"dynasty":99,"author":26281,"museum":364,"description":26282,"tags":26283,"thumbUrl":26285,"material":743,"size":744,"collection":139,"collections":26286,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":94},235582,"yu-chuan-zhu-cha-tu-zhou-ding-yun-peng-235582","玉川煮茶图轴","丁云鹏","图中描绘出唐代名士卢仝煮茶的情景，是丁云鹏晚年创作的工笔精细画作。卢仝（约796—835年），济源人，祖籍范阳（今河北涿州），早年隐居少室山，自号玉川子，后移居洛阳。诗文俱佳，曾作《月蚀诗》以刺时政，得到韩愈的称赞。性好饮茶，所作《茶歌》中句多奇警。画面上的卢仝身着便服，头戴襆巾，手持羽扇，单腿盘坐于芭蕉前的青石上，背后怪石嶙峋，修竹碧绿，两名仆人在旁侍候。卢仝目不转睛地注视着火上的茶炉，全神贯注的神情被刻划得细致入微。画面花、竹、芭蕉笔笔刻画工整，怪石的阴阳、纹理交代清晰，赋色清淡冷隽，葱翠欲滴，闲和严静的幽雅气氛直扑人面。人物衣纹则用飘洒不群的高古游丝描，或清圆细劲的铁线描，以区别不同质地的衣料，显示出画家别具匠心之处。全图的绘画技巧变化多样而风格基调统一，人物神情生动，树石生机勃勃，笔法如行云流水，超然出众",[209,7,24,241,27,28,106,242,8852,6909,109,84,2950,26284,115],"长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1a43a9c64722e33546b4e6cdbb8bfa.jpg",[],{"id":26288,"slug":26289,"title":4198,"dynasty":76,"author":4199,"museum":364,"description":26290,"tags":26291,"thumbUrl":26292,"material":139,"size":139,"collection":139,"collections":26293,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":94},235012,"pi-pa-tu-xu-gu-235012","有“晚清画苑第一家”之誉的虚谷，曾与吴昌硕、任伯年并称为“海派画坛三杰”。 虚谷一生萍踪浪迹，精通佛禅兼知老庄，在艺术创造上敢于破格创新，是位不同流俗的一代奇才。\n虚谷的画，轻快利索、明净空灵，将清冷飘逸的超脱精神与强烈的生命活力交织在一起，有着水彩画般的透明感。无论是色彩创意、造型语言、构成图式还是笔墨个性，虚谷都突破了传统规范，每一幅作品都会给人耳目一新和精神为之一振的感觉，在晚清画坛可谓独树一帜，吴昌硕盛赞他为“一拳打破去来今”。\n虚谷是位全才型的画家，花鸟、人物、山水皆精，而平凡的蔬菜瓜果一经他的生花妙笔，立刻化为秀雅鲜活的动人形象。由此可见，虚谷是在用蘸满感情的笔墨，抒发着自己热爱自然、憧憬人间美景的情志。作于1896年的《枇杷图》（如图），便是他的一幅笔墨精绝的传世名作。\n绘制这幅画时，虚谷已经是73岁的高龄，然而画面如此精气逼人，真仿佛如有神助。画中一丛长势壮盛的枇杷枝干直挺，一派峥嵘之气。构图顶天立地，布满全幅，用逆笔和枯笔粗细有致地画出了鲜明的节奏感。下方足足四分之一的画面以虚而淡的笔法和色调，衬托出上部鲜艳的果实无比鲜嫩可人、水灵欲滴，使观者的目光情不自禁地上移，也使枇杷树在无形之中有了蓬勃向上的生姿，顿生明媚而祥瑞的意境。\n虚谷在画中的行笔是十分快捷的，在信手挥洒中以精练的笔墨一气呵成，却并无急躁之感。他以含水量很大的湿笔从上到下舞动，而湿笔中又时不时地露出飞白，使人感到沐浴在阳光和雨露中的枇杷树是如此的滋润明洁。从最浓的树叶到最淡的树叶，竟然找不到两片完全相同的，也找不到两个完全相同的果实，真是按部就班、主次分明。虚谷在造型中参用了西洋油画的方法，以虚为主，虚实相生，虽然随手点染却又在漫不经意中显得统一而连贯，使整个画面宁静、安逸、祥和又明亮，反映出画家超凡的自信、深厚的修养和随心所欲的自由境界。\n名画家陈小蝶在《近代六十名画家传》评价道：“虚谷和尚用笔如风雨骤至，灵气透出纸背，无一笔滞相。”虚谷一生寄情于书画，安享着“一树梅花天地春”的恬适，这幅画中就透露出了画家看空名利、追求身心和悦的心境，令人悠然神往。",[7,24,83,27,173,227,1278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869b939dcfafda528edfa62e15da9aa6.jpg",[],{"id":26295,"slug":26296,"title":26297,"dynasty":99,"author":170,"museum":20,"description":26298,"tags":26299,"thumbUrl":26300,"material":139,"size":139,"collection":139,"collections":26301,"showCount":26211,"zanCount":5,"manualWeight":48,"mainColor":94},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","这类将屋舍置于山林中的作品，寓意“尘远六街身世别”;又在书屋旁环栽秋桂、梧桐等，桂树风姿绰绰，书屋内所藏甚丰，堆满书籍的书桌旁侧坐一老者，一童捧物趋亭而至，情志恰如乾隆所题：“幽人结屋桂花阴，叶叶绿琼穗穗金。彼自悠然无世念，小山动我白驹心。”为诗人所津津乐道的隐逸生活，作为一种文化现象，在我国古代社会可谓源远流长。《易经》有云：“不事王侯，高尚其事”，儒家有“天下有道则见，无道则隐”。“邦有道则仕，邦无道则可卷而怀之”的待时之隐，老庄哲学有“道隐无名”思想，可以说，儒道思想分别为我国的仕宦文化、隐逸文化提供了哲学上的依据。在两种文化思维的相互碰撞、交融之下，中国士人每每被整合成“内道外儒”的人格类型，表现在士人的生存方式上就是“隐逸”。",[7,556,27,2939,177,241,29,430,1125,6698,106,109,298,115,491,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg",[],{"id":26303,"slug":26304,"title":26305,"dynasty":76,"author":12831,"museum":20,"description":26306,"tags":26307,"thumbUrl":26308,"material":990,"size":26309,"collection":90,"collections":26310,"showCount":26211,"zanCount":5,"manualWeight":48,"mainColor":94},233442,"ren-wu-shan-shui-ce-luo-pin-233442","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[7,173,27,81,106,29,174,109,394,1064,1532,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a819271c2f702af1a4af64f0b7b134.jpg","纵24.2厘米，横30.7厘米",[90,181,45],{"id":26312,"slug":26313,"title":26314,"dynasty":99,"author":293,"museum":364,"description":26315,"tags":26316,"thumbUrl":26319,"material":139,"size":139,"collection":139,"collections":26320,"showCount":26211,"zanCount":5,"manualWeight":48,"mainColor":49},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,7,24,25,27,28,105,86,83,281,312,60,34,176,432,26317,136,26318],"日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],{"id":26322,"slug":26323,"title":26324,"dynasty":76,"author":5052,"museum":78,"description":26325,"tags":26326,"thumbUrl":26328,"material":803,"size":26329,"collection":139,"collections":26330,"showCount":26211,"zanCount":5,"manualWeight":48,"mainColor":94},231483,"jiu-xi-feng-he-tu-hong-ren-231483","九谿峰壑图","弘仁（1610-1664），俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后出家为僧，字无智，号渐江，又号梅花古衲。安徽歙县人。山水学宋元笔意，直追元代的倪瓒，多写黄山松石，为清初“四画僧”之一。\n\n所画山水有强烈的写实性，山石形状多取自他熟悉的黄山和武夷山，坚硬峭拔，石面干净。用笔多方折，墨色干而单，构图简洁，形成一种空旷冷郁的境界。",[7,24,29,260,173,177,30,26327,1015,176,114,227],"壑谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394a8eac2513dc3a8eac76d6356b43f.jpg","纵110.6厘米，横58.9厘米",[],{"id":26332,"slug":26333,"title":26334,"dynasty":76,"author":5052,"museum":364,"description":26335,"tags":26336,"thumbUrl":26337,"material":139,"size":139,"collection":139,"collections":26338,"showCount":26211,"zanCount":5,"manualWeight":48,"mainColor":94},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[23,209,7,24,241,173,177,29,1015,650,558,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b461f26c82fb4c0466a95df1af5d932.jpg",[],{"id":26340,"slug":26341,"title":26342,"dynasty":18,"author":823,"museum":364,"description":26343,"tags":26344,"thumbUrl":26345,"material":139,"size":139,"collection":139,"collections":26346,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":49},227765,"mu-se-yu-cun-tu-ye-xia-gui-227765","暮色渔村图页","宋代绘画是中国绘画艺术发展的高峰。南宋退至杭州以后，宗室子弟也随之退至杭州，宗室子弟多具艺术兴趣、禀赋、修养。南宋虽偏安江南，但在绘画上却依然取得了瞩目的成就。宫廷绘画仍是当时绘画发展的主流，江南的自然和人文环境，使南宋绘画别具自己的特色。山水画从北宋全景式的大山大水及松石，变成了用笔简括、章法谨严、高度剪裁的边角特写。人物画着重挖掘人物的精神状貌及动人的情节，注重塑造性格鲜明的艺术形象。花鸟画努力进行形象提炼，有着高度的写实能力。而千姿百态的西湖画更显示了南宋画的特色。此时的文人士夫画在主观的表达和笔墨效果的探索上亦有较大的贡献。夏圭、马远、李唐和刘鹤年并称南宋四大画家。这里介绍四大画家之一夏圭绘画赏析，他的主要作品有《溪山清远图》《临流赋琴图》《雪堂客话图》《烟岫林居图》《西湖柳艇图》《洞庭秋月图》《梧竹溪堂图》《山水十二景图》《雪溪放牧图页》《风雨行舟图》《山腰楼观图页》《泽畔疾风图》《钱塘秋潮图》《松溪泛月图》《寒林对雪图》《山市晴岚图》《松崖客话图》《遥岑烟霭图》《灞桥风雪图》《观瀑图》《坐看云起图》《长江万里图》《捕鱼图团扇》等。",[7,173,177,81,29,281,174,394,4562,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fd431501dd6f7cc9573e2445db7b27.jpg",[],{"id":26348,"slug":26349,"title":26350,"dynasty":18,"author":293,"museum":364,"description":26351,"tags":26352,"thumbUrl":26354,"material":139,"size":139,"collection":139,"collections":26355,"showCount":26211,"zanCount":5,"manualWeight":48,"mainColor":94},227372,"yu-ying-shi-nv-tu-yi-ming-227372","浴婴仕女图","《浴婴图》南宋，佚名，绢本设色，纵35.8厘米，横35.9厘米，美国弗瑞尔美术馆藏。\n\n画面中共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义。",[23,209,7,24,28,27,106,59,26353,227,63],"婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a808fa71ca6fd850c6dafb4642ee508.jpg",[],{"id":26357,"slug":26358,"title":26359,"dynasty":54,"author":8144,"museum":364,"description":26360,"tags":26361,"thumbUrl":26362,"material":139,"size":139,"collection":139,"collections":26363,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":49},227243,"gong-dian-tu-ye-li-zhao-dao-227243","宫殿图页","大小李将军：李思训、李昭道\n\n李思训 (653一718)唐代书画家。成纪(今甘肃天水)人。唐宗室,高宗时为江都令。武则天当政，弃官潜匿。神龙元年(705)出为宗正卿。玄宗开元初官左武卫大将军。李邕碑称「云麾将军」。工书法，尤擅画山水树石，笔力犹劲。格调细密。好写湍獭潺湲，云霞缥缈之景，鸟兽草木，皆穷其态。朱景玄说他「国朝山水第一，列神品」。这种青绿为质、金碧为纹的山水画，富有装饰性，源出于隋代展子虔，继承并发展了六朝以来以色彩为主的表现形式。明代董其昌推之为「北宗上之祖。唐代张彦远说「山水之变，始于吴(道子)，成于二李(思训、昭道)」。世称「二李」为「大、小李将军」。画迹有《山居四皓图》、《江山渔乐图》、《群峰茂林图》等十七件，著录于《宣和书谱》。存世作品有《江帆楼阁图》轴，绢本，设色，长松秀岭，翠竹掩映，山径层迭，碧殿朱廊，江天阔渺，风帆溯流，具唐衣冠者四人，山右青绿，有简单斫笔，安岐评谓「傅色古豔，笔墨超轶。」现藏台北故宫博物院。",[23,7,24,26,27,104,29,107,176,34,2094,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0c482941c845fe70d4fbfffeaffeec.jpg",[],{"id":26365,"slug":26366,"title":26367,"dynasty":76,"author":293,"museum":364,"description":26368,"tags":26369,"thumbUrl":26371,"material":139,"size":139,"collection":139,"collections":26372,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":49},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[23,7,209,241,28,27,104,29,107,106,2502,115,34,151,35,26370],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],{"id":26374,"slug":26375,"title":26376,"dynasty":18,"author":293,"museum":364,"description":26377,"tags":26378,"thumbUrl":26379,"material":139,"size":139,"collection":139,"collections":26380,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":49},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,7,209,24,241,28,27,242,5589,2786,243,83,957,1064,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],{"id":26382,"slug":26383,"title":26384,"dynasty":18,"author":293,"museum":20,"description":26385,"tags":26386,"thumbUrl":26387,"material":1050,"size":26388,"collection":42,"collections":26389,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":49},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,209,7,24,25,27,29,34,108,109,174,35,177,28,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","纵24.5厘米，横185.5厘米",[42,181,163],{"id":26391,"slug":26392,"title":26393,"dynasty":76,"author":9280,"museum":17353,"description":26394,"tags":26395,"thumbUrl":26399,"material":990,"size":26400,"collection":44,"collections":26401,"showCount":26211,"zanCount":5,"manualWeight":48,"mainColor":94},223310,"fa-jie-yuan-liu-tu-juan-ding-guan-peng-223310","法界源流图卷","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[7,25,28,27,26396,9254,9634,5713,26397,2718,26398,261,2714],"宗教绘画","佛界人物","佛具法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd590947cd8119aa4c54bfeec57db03cf.jpg","纵33厘米、横1635厘米",[44],{"id":26403,"slug":26404,"title":26405,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":26406,"thumbUrl":26407,"material":27,"size":6032,"collection":139,"collections":26408,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":94},222742,"xian-e-chang-chun-tu-02b-lang-shi-ning-222742","仙萼长春图-02b",[23,209,7,24,81,28,27,83,224,417,84,226,4538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44752a8e4622ebb38b8e513c4f4c435f.jpg",[],{"id":26410,"slug":26411,"title":26412,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":26413,"thumbUrl":26414,"material":27,"size":6032,"collection":139,"collections":26415,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":94},222740,"xian-e-chang-chun-tu-01b-lang-shi-ning-222740","仙萼长春图-01b",[23,7,24,81,27,83,28,279,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672474ab59f90287bfe66517e17cf0b7.jpg",[],{"id":26417,"slug":26418,"title":26419,"dynasty":99,"author":19617,"museum":20,"description":26420,"tags":26421,"thumbUrl":26423,"material":990,"size":26424,"collection":181,"collections":26425,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":94},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[23,7,25,27,177,29,108,109,175,34,920,174,106,26422,176,2268],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纵34.8厘米，横713.5厘米",[181,45],{"id":26427,"slug":26428,"title":3555,"dynasty":99,"author":26429,"museum":364,"description":26430,"tags":26431,"thumbUrl":26432,"material":990,"size":26433,"collection":181,"collections":26434,"showCount":26211,"zanCount":1270,"manualWeight":48,"mainColor":94},222050,"xue-jing-tu-zhang-peng-222050","张鹏","图上山顶白雪霭霭，近处树木枝叉覆盖着薄雪，一老翁身着蓑衣，头戴小帽，坐于船头，悠闲的垂钓；此时水面的平静，树木、群山笼罩在白雪中，似乎一切都是静止的。技法上，雪山以粗细条勾勒，淡色晕染山体。张鹏，字应秋，号云程，明代画家，",[23,7,173,177,29,241,2502,176,1015,174,1351,107,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","97X53cm",[181,163],{"id":26436,"slug":26437,"title":26438,"dynasty":189,"author":9595,"museum":206,"description":26439,"tags":26440,"thumbUrl":26442,"material":27,"size":26443,"collection":44,"collections":26444,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":49},221852,"hua-ke-jiu-si-xie-bin-feng-tu-juan-wang-zhen-peng-221852","画柯九思写豳风图卷","豳，在岐山北，为周先世立国之地。据说成王（？－西元前1021）幼年继位，周公（？－西元前1032）摄政，为令成王了解农桑为政教首务，并关心百姓的四季生活，作豳风晓谕周人祖先后稷、公刘稼穑重农的传统。此卷图绘〈豳风?七月〉，为孔子所辑《诗经》十五国风中最长的一首，由农事之始写至农事之终，先写衣食，次叙农耕蚕桑，最后论至打猎与秋收冬藏，共计八段，全卷青绿设色，每段旁书原文参照。旧题与跋均以为是元代王振鹏（活动于十四世纪前半），及柯九思（1290－1343）作品，然画中已见明代仇英（约1494－1552）影响，推测应为十六世纪后苏州托名之作。",[23,209,7,25,27,28,106,29,108,109,34,84,176,26441],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb935cec3f8c3cf1b21654d10eed78a.jpg","高53.8隔12本893隔12拖127厘米",[44,45],{"id":26446,"slug":26447,"title":26448,"dynasty":18,"author":1650,"museum":206,"description":21085,"tags":26449,"thumbUrl":26450,"material":26451,"size":26452,"collection":42,"collections":26453,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":49},221515,"hua-deng-shi-yan-tu-zhuang-biao-ma-yuan-221515","华灯侍宴图（装裱）",[23,7,24,28,27,29,107,34,106,104,114,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345c3f34a1ad94ec43a66b9c6788247.jpg","设色 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(1195-1224)朝时画院待诏,赐金带。以擅绘山水而与同代的李唐、刘松年、马远一起被并称为“南宋四家”。在四家之中,夏圭以善于剪裁与美化自然景物的“边角景”构图,与同僚马远齐名,号称“马夏”。《山水家法》论他“气韵尤高,宜为一代名士”;《图绘宝鉴》评他:“院人中画山水,自李唐以下无出其右者也”,以此可见其在画史之中的地位。夏圭在画史之中的地位虽然显赫,但存留作品不多,且历来学术界对他的作品存在很大争议,直至目前尚很少有作品被一致公认是他的真迹。",[23,209,7,24,29,173,177,174,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95425229909f712a7e6095adf133d631.jpg","245x59.2",[181,163],{"id":26463,"slug":26464,"title":26465,"dynasty":99,"author":21111,"museum":132,"description":26466,"tags":26467,"thumbUrl":26468,"material":123,"size":26469,"collection":181,"collections":26470,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":49},220068,"han-lin-xing-lv-tu-xie-shi-chen-220068","寒林行旅图","画面以高远、平远之境铺陈，危崖层叠向上，虬松枯木扎根岩隙，枝桠劲挺尽显冬日元气。中层江天寥廓，远帆点点，衬出寒山空寂萧疏。近处以栈道行旅、山居茅舍破了荒寒，添上烟火暖意。\n\n笔墨兼融雄健与雅致，斧劈皴勾勒山石嶙峋质感，枯笔写木，笔力苍劲老辣，既绘出冬日山林的清寂荒寒，又暗藏旅人赶路的生趣，将山野冷意与人情暖意相融，大气苍莽又不失细腻意韵。",[7,173,177,241,29,2125,559,176,558,106,150,174,34,900,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa68c24099e5a53a7f113148c70a7c46.jpg","151.5x74",[181],{"id":26472,"slug":26473,"title":26474,"dynasty":99,"author":21111,"museum":101,"description":26475,"tags":26476,"thumbUrl":26477,"material":123,"size":26478,"collection":181,"collections":26479,"showCount":26211,"zanCount":1547,"manualWeight":48,"mainColor":49},219716,"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[7,24,209,241,173,27,177,29,1575,109,558,106,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[181],{"id":26481,"slug":26482,"title":26483,"dynasty":18,"author":7349,"museum":20,"description":26484,"tags":26485,"thumbUrl":26486,"material":342,"size":26487,"collection":44,"collections":26488,"showCount":26211,"zanCount":5,"manualWeight":48,"mainColor":94},219698,"you-jun-shu-shan-tu-liang-kai-219698","右军书扇图","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元初赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[23,7,173,25,20612,106,430,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f0b5917d813d0d1d8a70b22a64c5bf.jpg","纵27.9厘米，横66.2厘米",[44,382],{"id":26490,"slug":26491,"title":26492,"dynasty":99,"author":4904,"museum":206,"description":26493,"tags":26494,"thumbUrl":26497,"material":27,"size":26498,"collection":181,"collections":26499,"showCount":26211,"zanCount":1547,"manualWeight":48,"mainColor":49},219458,"chun-shan-xi-ge-tu-lu-zhi-219458","春山溪阁图","弘治九年（1496年）生。世代耕读，其父与文徵明有交谊，遂从学于文徵明门下。早年为诸生，屡试不中，转为书画，善画山水、花鸟。隐居支硎山。",[7,27,29,177,26495,26496,108,109,34,176,107],"春山","溪阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd616fa2129ced1c381c18d595332f452.jpg","118.5x66.1",[181],{"id":26501,"slug":26502,"title":26503,"dynasty":189,"author":2519,"museum":539,"description":26504,"tags":26505,"thumbUrl":26506,"material":123,"size":139,"collection":90,"collections":26507,"showCount":26211,"zanCount":5,"manualWeight":48,"mainColor":49},219321,"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[23,7,24,241,27,28,150,430,86,178,227,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[90],{"id":26509,"slug":26510,"title":26511,"dynasty":18,"author":781,"museum":132,"description":26512,"tags":26513,"thumbUrl":26514,"material":342,"size":26515,"collection":90,"collections":26516,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":271},218998,"xuan-ya-le-ma-tu-li-gong-lin-218998","悬崖勒马图","墨线如铁线缠枝，于素绢上勾勒出悬崖边的瞬间张力。骏马昂首奋蹄，鬃毛飞扬间似有嘶鸣溢出，前蹄悬于虚空的刹那，被笔锋精准定格。牵马者衣袂飘举，身姿微倾间与马同承风势，腕间缰绳若有若无，却牵住满幅屏息时刻。悬崖皴擦淡远，衬得人马动态愈显鲜明。宋画雅致不止静穆，更在这动中藏定的禅意——勒马非止控身，更是收心。素绢留白恰是心绪回旋余地，墨色浓淡间，见画者以线塑魂的功力，亦见宋代文人对“止”与“悟”的哲思，笔端藏锋，意韵悠长。",[209,7,24,241,260,173,150,106,242,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff787966bf24640bcbb1304f1af0dc9ca.jpg","纵44.7横24.8cm",[90],{"id":26518,"slug":26519,"title":26520,"dynasty":99,"author":14350,"museum":132,"description":26521,"tags":26522,"thumbUrl":26524,"material":123,"size":26525,"collection":90,"collections":26526,"showCount":26211,"zanCount":48,"manualWeight":48,"mainColor":1335},218962,"xue-jing-shui-qin-tu-lin-liang-218962","雪景水禽图","寒林雪意笼于纸面，枯枝以枯笔焦墨写出，如铁骨横斜，墨色浓淡交织间见苍劲之态。几只水禽错落分布：枝头者羽翼覆雪，绒毛细腻处见工致；石上者昂首远眺，身姿灵动似欲振翅。留白隐作积雪，清寂中藏生机。笔墨兼工带写，禽鸟形神毕肖，背景枯枝竹丛则写意挥洒，墨韵淋漓。寒冬萧瑟却未失活力，于荒寒中见生命意趣，尽显对自然的细致观察与笔墨掌控力，是冬日花鸟题材中的妙品。",[7,3529,173,3963,2502,2125,10154,1060,245,12217,3802,26523],"生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48a378a33ce7744cfbe4f86a39a9d8d6.jpg","142.5x55.5cm",[90],{"id":26528,"slug":26529,"title":26530,"dynasty":18,"author":293,"museum":206,"description":26531,"tags":26532,"thumbUrl":26533,"material":123,"size":26534,"collection":4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。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,7,24,25,173,177,29,107,34,174,109,176,175,281,149,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":26638,"slug":26639,"title":1540,"dynasty":76,"author":2083,"museum":364,"description":26640,"tags":26641,"thumbUrl":26642,"material":139,"size":139,"collection":139,"collections":26643,"showCount":26564,"zanCount":48,"manualWeight":48,"mainColor":94},230887,"zhu-shi-tu-zheng-ban-qiao-230887","瘦石嶙峋，以枯淡笔墨勾勒皴擦，孤挺而立，自带清刚硬骨。丛竹依石滋长，老竿挺劲苍润，新篁秀拔轻盈。竹叶以浓墨挥扫，疏密错落，俯仰生姿，笔下竹影似有清风吹过，摇曳有声。\n题画小诗与笔墨相映成趣，诗书印融为一体，将竹石经风历雪不改其节的品格，暗合自身刚直襟怀。以物言志，寥寥笔墨间形神兼备，把君子风骨寄寓尺幅之中，尽显文人写意画的意趣风神。",[7,173,446,241,242,245,86,178,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeeec0ce1c915aea89507bc1e9c4f47c.jpg",[],{"id":26645,"slug":26646,"title":22139,"dynasty":76,"author":6456,"museum":364,"description":26647,"tags":26648,"thumbUrl":26650,"material":139,"size":139,"collection":139,"collections":26651,"showCount":26564,"zanCount":48,"manualWeight":48,"mainColor":271},228968,"luo-hua-you-yu-tu-ma-yuan-yu-228968","柔条垂拂牵缀艳红繁花，将暮春清韵轻轻铺展。水面之上，荇藻参差漾着细波，睡荇悬根随水轻摆，漾开空濛水色。数尾游鱼穿弋其间，摆尾逐着飘零落花，灵动悠然，把春水的生机藏在幽谧里。\n\n全作用没骨晕染，淡彩轻敷，将花叶柔润、柳条纤长的质感晕染尽致，未着一笔写水，却借藻荇与游鱼的姿态，将春水空明漾开。花随水去，鱼逐花影，把幽赏春池的闲逸融在笔底，观之便如临浅春水泽，漫生出恬然清和的诗意。",[23,7,24,241,27,83,26649,17130,1532,4697,28],"游鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84302d047146391e5135486d1a4f33c6.jpg",[],{"id":26653,"slug":26654,"title":26655,"dynasty":99,"author":966,"museum":364,"description":26656,"tags":26657,"thumbUrl":26658,"material":139,"size":139,"collection":139,"collections":26659,"showCount":26564,"zanCount":5,"manualWeight":48,"mainColor":94},228872,"lan-zhu-tu-juan-wen-zheng-ming-228872","兰竹图卷","此卷以水墨写就兰竹，通幅铺陈疏密有致。墨竹或劲挺纵逸，或垂叶萧萧，以浓淡墨色区分前后层次，尽显风过篁林的灵动之态。兰草随势穿插于竹石间，笔致柔婉舒展，暗香幽然自生。\n\n卷尾行书题跋笔意秀雅流畅，与画境相得益彰，书画合璧尽显文人雅致。全作用笔清劲秀逸，以极简水墨托出兰竹君子清介之姿，将画者冲淡平和的襟怀寄于毫端，萧散清逸的幽致扑面而来，尽显文人写意的风雅意趣。",[23,209,7,24,25,173,86,452,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83d42f07b1f36ad1f0ed4b8c48e3d8b.jpg",[],{"id":26661,"slug":26662,"title":26663,"dynasty":99,"author":100,"museum":206,"description":26664,"tags":26665,"thumbUrl":26667,"material":317,"size":26668,"collection":44,"collections":26669,"showCount":26564,"zanCount":1270,"manualWeight":48,"mainColor":94},228445,"di-wang-dao-tong-wan-nian-tu-ce-chou-ying-228445","帝王道统万年图册","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等20为中国历史名主的画像和事迹",[209,7,24,81,28,27,106,244,26666,21212,63],"铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63189a24bb1d7c00253398001e840c12.jpg","共20开，每开32.5＊32.6ＣＭ",[44],{"id":26671,"slug":26672,"title":26673,"dynasty":76,"author":13219,"museum":364,"description":26674,"tags":26675,"thumbUrl":26676,"material":139,"size":139,"collection":139,"collections":26677,"showCount":26564,"zanCount":48,"manualWeight":48,"mainColor":271},228320,"yu-xie-hua-cao-tu-ce-bian-shou-min-228320","鱼蟹花草图册","此作用朱砂绘就秋花，笔致朴拙洗练，叶片舒展顾盼有情，将草木摇曳之姿尽显于纸上。枝干苍劲古雅，带着随性自然的笔墨情致，淡墨题款错落排布，与画作相映成趣，雅致清逸。\n\n虽仅绘一花一枝，却将秋意的疏朗与草木的生机相融，文人意趣盎然，尽显闲淡超逸的审美意韵。以简驭繁，把草木风姿与文人雅怀融为一体，笔墨间尽显写意画的空灵雅致，带着澹泊天真的文人风骨。",[209,7,24,81,27,432,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8f9868f959e1211d78469c11f99cc1.jpg",[],{"id":26679,"slug":26680,"title":26681,"dynasty":99,"author":1083,"museum":206,"description":26682,"tags":26683,"thumbUrl":26684,"material":123,"size":26685,"collection":139,"collections":26686,"showCount":26564,"zanCount":1547,"manualWeight":48,"mainColor":49},228290,"mei-hua-shan-niao-zhou-chen-hong-shou-228290","梅花山鸟轴","推荐的明陈洪绶(1599一1652)、元杨维祯(1296一l7)及明夏昶(l88一l47)三位画家所绘的梅花山鸟、岁寒图及奇石修皇图等古画为题材，印制邮票一组。松、竹、梅夙有“岁寒三友”的称、天寒地冻，唯松柏常青；竹性耐寒，劲直中节；梅花为我国的国花，素洁清芬，高雅绝俗。选为邮票图案，不仅可阐扬中国固有文化与艺术，且可代表国人崇高的志节。志号品名: 专124 (18)岁寒三友图古画邮票全套面值: 2元邮票规格: 5.9651.46mm: P12印刷机构: 瑞士哥瓦锡厂印刷版别: 影写版: 影写版邮票纸整张枚数: 5(15)枚相关资料: 摄影者吴呈芳(1)梅花山鸟：绢本，轴，横49.6公分，纵124.公分。陈洪绶明诸暨人，生于明神宗万历二十七年，卒于清世祖顺治九年。字章侯，号老莲，又号云门僧，赋性狂散。其画人物，神态特真，时谓三百年无此笔墨，花鸟草虫，亦多精妙。(2)岁寒图：纸本，轴，横2公分，纵98.1公分。杨维祯元诸暨人，生于元成宗元贞二年，卒于明太祖洪武三年。字廉夫，号铁崖，又号铁笛道人，善书画，父杨宏，筑楼铁崖山，植梅去梯，俾其读书。明太祖征诏不赴，赋诗见志。()奇石修皇图：纸本，轴，横14.7公分，纵275.1公分。夏昶明昆山人，生于明太祖洪武二十一年，卒于宪宗成化六年。字仲昭，号自在居士，又号玉峰，举进士，为翰林院庶吉士，正统中仕至太常卿。善书，能诗，精绘事，尤工墨竹，其所作竹技，烟姿雨色，偃直疏浓，各循矩度，楷书画竹，时推第一。",[7,24,241,27,28,448,224,245,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c74366f27a7acd6bb8197d976548e3.jpg","124.3x49.6",[],{"id":26688,"slug":26689,"title":26690,"dynasty":18,"author":293,"museum":206,"description":5825,"tags":26691,"thumbUrl":26693,"material":317,"size":5829,"collection":139,"collections":26694,"showCount":26564,"zanCount":5,"manualWeight":48,"mainColor":49},227553,"nei-ren-shuang-lu-tu-gao-qing-chang-juan-yi-ming-227553","内人双陆图（高清长卷）",[23,209,7,24,25,28,27,106,758,244,63,26692],"游戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa27a712d7149fa45d5a57a0744f2417c.jpg",[],{"id":26696,"slug":26697,"title":26698,"dynasty":18,"author":2142,"museum":364,"description":26699,"tags":26700,"thumbUrl":26704,"material":139,"size":139,"collection":139,"collections":26705,"showCount":26564,"zanCount":48,"manualWeight":48,"mainColor":49},227546,"song-quan-pan-shi-tu-li-cheng-227546","松泉磐石图","《宋人松泉磐石轴》是宋代画家李成的画作，中国古画，访幅之题材与风格，属“松石格”之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。",[7,12761,1397,241,173,1575,543,15099,2125,109,26701,26702,26703],"清涧","浪花","漩涡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3403b986d1807ecdd059fbd28f5b4be6.jpg",[],{"id":26707,"slug":26708,"title":26709,"dynasty":204,"author":3224,"museum":364,"description":26710,"tags":26711,"thumbUrl":26712,"material":139,"size":139,"collection":139,"collections":26713,"showCount":26564,"zanCount":48,"manualWeight":48,"mainColor":49},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,209,7,24,241,173,27,177,2218,29,864,297,37,650,1575,34,560,464,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":26715,"slug":26716,"title":26717,"dynasty":76,"author":3679,"museum":364,"description":26718,"tags":26719,"thumbUrl":26721,"material":139,"size":139,"collection":139,"collections":26722,"showCount":26564,"zanCount":5,"manualWeight":48,"mainColor":94},224367,"hua-hui-si-ping-zhi-si-ju-lian-224367","花卉四屏之四","此作用没骨晕染绘绣球，淡蓝敷色晕出团花柔润雅致，赭石点染萼边枝叶，清妍动人。湖石以淡墨勾皴，留白衬出空灵剔透的嶙峋肌理，与花枝相映成趣。两只秋蝉振翅穿飞，翅脉纤毫毕现，将静雅画面揉入灵动生机，暗合清秋将临的闲淡意韵，整体明秀温婉，笔法秀逸轻盈，尽显婉约雅致的花鸟意趣。",[23,7,24,28,27,83,245,26720,226,8224],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ed7a1dd429364a77988b1cdcaa1b67.jpg",[],{"id":26724,"slug":26725,"title":26726,"dynasty":76,"author":876,"museum":26727,"description":26728,"tags":26729,"thumbUrl":26730,"material":990,"size":26731,"collection":181,"collections":26732,"showCount":26564,"zanCount":5,"manualWeight":48,"mainColor":49},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,7,24,25,27,29,177,28,86,178,227,176,107,108,109,175,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[181,45],{"id":26734,"slug":26735,"title":26736,"dynasty":76,"author":614,"museum":615,"description":616,"tags":26737,"thumbUrl":26738,"material":619,"size":620,"collection":181,"collections":26739,"showCount":26564,"zanCount":1547,"manualWeight":48,"mainColor":49},222672,"tao-hua-yuan-tu-juan-huang-shen-222672","桃花源图卷",[23,7,25,27,177,279,107,109,174,106,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af1485e8add576fe39965e2d112d3a5.jpg",[181,45],{"id":26741,"slug":26742,"title":26743,"dynasty":99,"author":1480,"museum":56,"description":26744,"tags":26745,"thumbUrl":26747,"material":619,"size":26748,"collection":181,"collections":26749,"showCount":26564,"zanCount":1547,"manualWeight":48,"mainColor":94},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[23,209,7,24,241,173,27,177,29,106,26746,340,176,34,37,108],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[181,163],{"id":26751,"slug":26752,"title":26753,"dynasty":99,"author":19836,"museum":206,"description":26754,"tags":26755,"thumbUrl":26757,"material":619,"size":26758,"collection":90,"collections":26759,"showCount":26564,"zanCount":1270,"manualWeight":48,"mainColor":49},222085,"hua-zi-mu-ji-tu-zhou-zhu-zhan-ji-222085","画子母鸡图轴","此画无背景，仅在一公、一母、七雏的鸡群附近俩有一些杂草，遍布地面，虽较稀疏，但远看似一层薄薄的绿色地毯，以象征出整片的草地，对整个画面起到陪衬作用。画幅下部和偏右画有一公鸡、一母鸡。右侧的公鸡低首啄食，口内衔虫，近靠二雏，二双爪有力地抓在地上，长尾飞翘舒展开来，双翅紧合，头部有较大的肉冠及肉瓣，脚健壮，跗臁及趾皆被鳞板，趾网、后趾高而短小，尾部发达。左侧为一母鸡蹲在地上，作待哺的神态，双爪有力地抓地上，嘴短、鼻孔被鳞状瓣，头部肉冠和肉瓣比公鸡小，尾巴上二翘舒展开来。七只小鸡偎近母鸡，其中一只雏鸡，全身旱绒绒的一小团，走起来呈摇摇摆摆之状，似具有初出壳的娇弱之态，皆生动传神，充分体现明宣宗有着写实的功力。\n此画以工笔勾勒白鸡，且勾线十分明显，偏向于工整之笔，染色也较平面化。画法上以工笔勾勒，别开生面，焦墨点睛，炯炯有神，羽毛捕法精细，双爪勾勒，笔扎实有力。鸡的形象画得真实生动，质感强烈，表现了一瞬间各鸡的动作神态。",[23,7,24,241,28,27,83,3478,26756,227],"小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c553fe940de32eacb1d4b982556980.jpg","79.7x57.2cm",[90,45],{"id":26761,"slug":26762,"title":26763,"dynasty":18,"author":2029,"museum":20,"description":26764,"tags":26765,"thumbUrl":26766,"material":665,"size":26767,"collection":139,"collections":26768,"showCount":26564,"zanCount":1547,"manualWeight":48,"mainColor":94},221510,"lu-tong-peng-cha-tu-juan-liu-song-nian-221510","卢仝烹茶图卷","此画画山石瘦削，有松槐生石罅，下覆茅屋。卢仝拥书坐，赤脚。婢治茶具，长须奴肩壶汲泉。款落刘松年，蝇头小楷，署在松节。后幅有唐寅跋：“右玉川子烹茶图，乃宋刘松年作。玉川子豪宕放逸，傲睨一世，甘心数间之破屋，而独变怪鬼神于诗。观其《茶歌》一章，其平生宿抱忧世超物之志，洞然于几语之间，读之者可想见其人矣。松年复绘为图，其亦景行高风，而将以自企也。夫玉川子之向，洛阳人不知也，独昌黎知之。去昌黎数百年，知之者复寒矣。而松年温之，亦不可不为之遭也。予观是图于石湖卢臬副第，喜其败炉故鼎、添火候鸣之状宛然在目，非松年其能握笔乎书此以俟具法眼者。唐寅。”",[23,7,24,25,173,28,106,34,35,1575,340,244,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a801a8050e41c693fef9c47af61fc7.jpg","24.1x44.7",[],{"id":26770,"slug":26771,"title":26772,"dynasty":18,"author":12711,"museum":206,"description":12712,"tags":26773,"thumbUrl":26774,"material":5149,"size":12715,"collection":42,"collections":26775,"showCount":26564,"zanCount":5,"manualWeight":48,"mainColor":94},221465,"si-mei-tu-juan-quan-juan-yang-wu-jiu-221465","四梅图卷全卷",[23,209,7,24,25,173,260,448,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21caf8fd4f408a77f793104e6fbc872.jpg",[42,90,45],{"id":26777,"slug":26778,"title":26779,"dynasty":18,"author":26780,"muse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饶有苏汉臣一派“著色鲜润、体度如生”的意趣。惟配景花树，失之刻镂、少自然，加以湖石上附加的苔点，画法已近乎明人习气。此图表现出儿童游戏轻松诙谐的一面。以是，推断此幅原应有所本，当属明代仿宋的佳作。",[7,28,27,106,11805,24603,604,34,84,210,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbb027ec6f04ae9381a03904106a8b.jpg",[],{"id":26966,"slug":26967,"title":26968,"dynasty":189,"author":2519,"museum":364,"description":26969,"tags":26970,"thumbUrl":26971,"material":743,"size":744,"collection":139,"collections":26972,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":49},288978,"xie-you-yu-qiu-he-tu-zhao-meng-fu-288978","谢幼舆丘壑图","《谢幼舆丘壑图》画江岸峰峦秀起，雾霭微茫，江面平静如镜。境界旷远。整个画面宛如宇宙万象被过滤提升成晶莹剔透般充满着音乐性的宁静世界。笔法秀润、清旷，虽系学李成、郭熙 画法而来，但一变宋人工整刻划之体。\n该图绘东晋谢鲲故事。鲲字幼舆，好老庄，善奏琴，寄迹山林。图绘茫茫山川， 荫荫松林，幼舆独坐水畔丘壑，观水流潺潺，听松涛阵阵，意态悠闲，神性超脱。图卷布局甚奇，绘法古拙，学晋、唐风格，一洗宋人旧习。",[209,7,25,26,27,29,1575,106,1409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1102a9d9b42da6940a786b6d7fe6427.jpg",[],{"id":26974,"slug":26975,"title":19734,"dynasty":18,"author":26092,"museum":364,"description":26976,"tags":26977,"thumbUrl":26979,"material":743,"size":744,"collection":139,"collections":26980,"showCount":26949,"zanCount":5,"manualWeight":48,"mainColor":49},288540,"qiu-jiang-yu-ting-tu-xu-dao-ning-288540","此画将一望无际的山峰罗列于江岸，挺拔陡峭，险峻之极。山头用竖直细线皴出，也就是肺胃的“峰头直皴而下”，用笔之挺劲突出了岩石坚硬锋利的质感。山坡上，楼阁精致，树木峥嵘；两山间，潺潺的溪流由近及远婉转地汇入江中。平静的江面上有一窄小的木桥，两位行者正从桥上走过；江中几只渔舟游弋，上面忙碌的人像是在捕鱼。所有的景物都被描绘得既自然又贴切，显得那么和谐。",[23,209,7,25,173,1397,177,29,1247,174,1015,26978,559,6922],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d66b790819b514ce094377a357ca9.jpg",[],{"id":26982,"slug":26983,"title":10703,"dynasty":76,"author":1816,"museum":364,"description":26984,"tags":26985,"thumbUrl":26986,"material":743,"size":744,"collection":139,"collections":26987,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":49},288499,"mei-hua-tu-li-zhou-wang-shi-shen-288499","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[23,7,24,209,241,173,83,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce92462c168f27ae0eaae5b49de4644d.jpg",[],{"id":26989,"slug":26990,"title":26991,"dynasty":76,"author":77,"museum":364,"description":740,"tags":26992,"thumbUrl":26993,"material":743,"size":744,"collection":139,"collections":26994,"showCount":26949,"zanCount":5,"manualWeight":48,"mainColor":5394},287731,"shan-mian-shan-shui-hua-hui-ce-yun-shou-ping-287731","扇面山水花卉册",[1562,7,24,81,173,27,242,245,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a68bc6121d0e0d9f243c202d21e65c.jpg",[],{"id":26996,"slug":26997,"title":26998,"dynasty":99,"author":293,"museum":364,"description":26999,"tags":27000,"thumbUrl":27001,"material":743,"size":744,"collection":139,"collections":27002,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":49},287391,"hu-die-hua-hui-ye-yi-ming-287391","蝴蝶花卉页","此作以沉雅地色衬景，坡岸之上一花挺生，柔茎舒展，叶片晕染出深浅层次，素色小花清雅柔婉。三蝶翩跹，色分浓淡，姿态各异，或逐花低回，或振翅缓翔，将郊野春时的悠然意趣凝于方寸。\n\n装裱织锦边框纹样精巧，与画面浑然相融。整作工致细腻，配色古静沉稳，不做繁丽铺陈，仅以清简技法勾勒闲逸生机，尽显小品雅致韵致，将虫花相伴的自然清趣娓娓铺展，恬淡动人，尽显古雅闲逸的东方意韵。",[23,7,24,83,27,28,84,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b8a85c99b2cd00f3ec6e578572fb29.jpg",[],{"id":27004,"slug":27005,"title":27006,"dynasty":76,"author":293,"museum":364,"description":13561,"tags":27007,"thumbUrl":27009,"material":743,"size":744,"collection":139,"collections":27010,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":94},263656,"ke-si-yu-zhi-shi-hua-hui-tu-ce-shi-liu-hua-yi-ming-263656","缂丝御制诗花卉图册-石榴花",[7,24,5990,27,28,83,27008,84,86,227,1629],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1df1585458c1487b63fa145618dd8c.jpg",[],{"id":27012,"slug":27013,"title":131,"dynasty":76,"author":6456,"museum":364,"description":27014,"tags":27015,"thumbUrl":27016,"material":743,"size":744,"collection":90,"collections":27017,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":94},239092,"hua-hui-ce-ma-yuan-yu-239092","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[7,24,83,27,28,81,84,713,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec853be8f8ea23a0294c015b174f259.jpg",[90,45],{"id":27019,"slug":27020,"title":23389,"dynasty":76,"author":10376,"museum":364,"description":27021,"tags":27022,"thumbUrl":27023,"material":743,"size":744,"collection":181,"collections":27024,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":94},234956,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234956","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[7,24,81,27,177,105,29,394,176,37,491,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9365e63d8219fdbc7a9693bddcec7a.jpg",[181,45],{"id":27026,"slug":27027,"title":27028,"dynasty":76,"author":850,"museum":20,"description":27029,"tags":27030,"thumbUrl":27036,"material":665,"size":27037,"collection":139,"collections":27038,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":94},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[7,24,209,241,368,28,27,27031,27032,106,150,11511,27033,34,1159,1445,14888,27034,27035],"中西合璧技法","写实风格","射猎场景","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","25.7×33厘米",[],{"id":27040,"slug":27041,"title":27042,"dynasty":99,"author":100,"museum":364,"description":27043,"tags":27044,"thumbUrl":27045,"material":139,"size":139,"collection":139,"collections":27046,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":94},234272,"chou-ying-han-gong-chun-xiao-tu-cheng-shan-chou-ying-234272","仇英汉宫春晓图成扇","仇英是明代最有代表性的画家之一，与沈周，文徵明和唐寅被后世并称为“明四家”、“吴门四家” ，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。",[7,24,1562,1086,28,27,106,758,59,107,115,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f8f3181d7241595427cab87333c805.jpg",[],{"id":27048,"slug":27049,"title":1223,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":27050,"thumbUrl":27051,"material":139,"size":139,"collection":139,"collections":27052,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":94},233908,"hua-hui-shan-shui-ce-yun-shou-ping-233908",[7,81,24,173,29,1532,2409,108,1250,174,227,86,177,10011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdc695aa86b4de6eec57f11a4c771330.jpg",[],{"id":27054,"slug":27055,"title":131,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":27056,"thumbUrl":27057,"material":139,"size":1228,"collection":139,"collections":27058,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":94},233899,"hua-hui-ce-yun-shou-ping-233899",[7,24,81,82,173,27,83,84,2302,1003,1461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d0de15881eaef9e1fd66f6593c6ec1.jpg",[],{"id":27060,"slug":27061,"title":27062,"dynasty":76,"author":4199,"museum":132,"description":27063,"tags":27064,"thumbUrl":27065,"material":803,"size":27066,"collection":139,"collections":27067,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":94},233738,"he-ju-tu-xu-gu-233738","鹤菊图","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。",[7,24,241,173,27,83,446,60,453,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd2764d2a4771380b4af360eaf65809.jpg","143x39cm",[],{"id":27069,"slug":27070,"title":27071,"dynasty":292,"author":293,"museum":364,"description":27072,"tags":27073,"thumbUrl":27075,"material":743,"size":744,"collection":139,"collections":27076,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":1335},231613,"fu-hua-qian-shou-guan-yin-xiang-li-zhou-yi-ming-231613","佛画 千手观音像立轴","暗沉底色晕开静谧肃穆的氛围，主尊合掌垂眸，慈悲肃穆尽显。千臂层叠排布，或持法器、或结法印，错落有序却不显冗杂，衣纹褶皱古朴厚重，残存的贴金痕迹晕开旧时华贵光彩。\n\n左右胁侍恭谨分立，一人捧供盘奉呈信物，一人持经卷垂首凝神，衣饰绮丽繁复，与主尊浑朴庄严形成呼应。整体设色沉敛内敛，线条遒劲凝练，将仪轨整饬与神性慈悲相融，虽历经岁月色泽黯淡，依旧传递出厚重沉静的宗教感染力，尽显古佛画典雅庄重的美学意韵。",[23,7,24,241,259,27,28,106,1861,27074],"千手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8917d247ca8224fc3f2301f7f6315fe.jpg",[],{"id":27078,"slug":27079,"title":27080,"dynasty":76,"author":850,"museum":364,"description":27081,"tags":27082,"thumbUrl":27083,"material":139,"size":139,"collection":139,"collections":27084,"showCount":26949,"zanCount":5,"manualWeight":48,"mainColor":49},230203,"qian-long-huang-di-da-yue-tu-lang-shi-ning-230203","乾隆皇帝大阅图","《乾隆皇帝大阅图》是清代画家 创作的一幅绢本设色画，现收藏于 。\n此图画的是乾隆皇帝于他即位后的第四年（179年）首次去南苑检阅八旗官兵时的雄姿。\n乾隆全副武装，佩带弓箭，威风凛凛，气度不凡。\n全图以鲜艳明丽的色泽，细密工致的笔触描绘这位29岁青年君主的形象，人物及马匹富有立体感，明显看出是采用了欧洲的明暗画法；衣服、头盔、皮毛等质感很强；背景中天空的云霭，色彩丰富多变。\n《乾隆皇帝大阅图》所画为乾隆皇帝骑马的形象。\n他头戴金盔，身穿铠甲，骑在骏马上，全副武装，佩带弓箭检阅八旗官兵时的雄姿。\n清高宗乾隆作为清入关后的第四任皇帝，始终认为“骑射乃满洲之根本”，为此，极其重视军队的建设，通过南苑阅兵、木兰秋狝、南海冰嬉等种种活动，来促使八旗兵保持强大的战斗力。\n依照本图的御制诗可知，该图描绘的是乾隆亲临南苑（今北京南）检阅八旗将士时的英武之姿。\n此次大阅正值清军与西域的霍集占兄弟激烈交战之际，所以，高宗乾隆除按惯例巡视八旗军的队列及各种兵器、火器的操练活动外，还暗含有向叛军炫耀清王朝的实力与军威之意。\n在南苑第一次大阅后，便命令宫廷画家朗世宁画此画。\n画中乾隆帝和马，西洋画风浓厚，十分细腻，运用中国的毛笔、纸绡和色彩，却能以欧洲的绘画方法注重对象的解剖结构和立体感的表达。\n在光线的运用上则与欧洲面法有所不同，欧洲商家喜欢表现人物脸部在特定的光线照射下分明的凹凸感，而传统的中国“写真”技艺，则要求被画者是不受光线变化常态下的相貌。\n因此，郎世宁适当地吸取了传统中国“写真”技艺的表现手法，所画人物均取正面光照，使人面面部五官清晰，画得相当精致笔触细腻柔和，又注意体面结构和立体效果，衣服的质感也很强。\n以细密的短线，按照素描的画法来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅来表现马匹的立体感和厚重感来画马。\n人物乾隆，则在造型上比较严谨，注重解剖机构，非常的写实符合解剖学的比例。\n画作体现中西绘画相互渗透并趋向相融合，融合的结果是绘画的审美追求朝着“写实”的方向发展。\n教授刘伟宏：郎世宁用中西融合的画法所画的《乾隆皇帝大阅图》，描绘了乾隆皇帝举行盛大阅礼的场面，具有独特的艺术魅力。\n明末清初，传教士的进入促进了西方古典主义写实绘画技法与中国传统绘画技法的融合与发展，一改传统中国画的笔墨及线描风格。\n这个时期绘画的主要特点集中在记实性，其中发展较为瞩目的题材包括装饰性壁画、人物风俗、人物肖像、战功图及祭祀等。\n《乾隆皇帝大阅图》从造型、明暗、构图及透视等方面详细阐述西方绘画技法对中国画的影响，体现了西方绘画技法促进了中国画对光影元素的运用、明暗和透视法的兴起以及色彩的广泛使用。\n郎世宁（1688—1766），原名朱塞佩·伽斯底里奥内，生于米兰。\n清康熙帝五十四年作为天主教耶稣会的修道士来中国传教。\n随即入宫进入如意馆，成为宫廷画家，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾峰帝时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》等。",[23,209,7,24,28,27,106,150,7464,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb27b0558240e575c4f488632ba8c11.jpg",[],{"id":27086,"slug":27087,"title":27088,"dynasty":99,"author":14350,"museum":364,"description":27089,"tags":27090,"thumbUrl":27093,"material":139,"size":139,"collection":139,"collections":27094,"showCount":26949,"zanCount":5,"manualWeight":48,"mainColor":49},228485,"qiao-lin-bai-que-tu-juan-lin-liang-228485","乔林百雀图卷","整卷以水墨挥毫，枯木槎枒间百雀各呈其态，飞栖鸣集无一雷同。劲爽墨笔勾勒禽鸟翎羽，干湿浓淡晕出绒羽蓬松质感，枯林苍劲荒疏，与群雀喧腾相映，在萧索冬日漾出盎然生趣。\n笔墨简括老辣，融院体工致与文人写意于一体，将小雀的灵动狡黠描摹入微，于长卷间铺展野逸灵动的自然意趣，尽显水墨花鸟纵逸格调，是水墨禽鸟画中极具表现力的佳构。",[23,7,24,25,173,446,83,27091,224,27092,1062,298,281],"乔木","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f738b6a6309084a7933eb775da10da.jpg",[],{"id":27096,"slug":27097,"title":27098,"dynasty":18,"author":1650,"museum":364,"description":27099,"tags":27100,"thumbUrl":27101,"material":139,"size":139,"collection":139,"collections":27102,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":271},227824,"qiu-jiang-dai-du-tu-ye-ma-yuan-227824","秋江待渡图页","此作以边角取景，尽显空灵澹远之意趣。虬松扎根危崖，枝干苍劲扭转，松叶攒簇间带着秋意萧疏。远山以淡墨轻勾慢染，晕出朦胧黛色，江岸留白成阔朗秋水，愈衬出天地清寂。水岸泊着孤舟，舟上旅人静坐待渡，将羁旅闲愁融于冷寂江天之中。淡赭设色晕出秋日氛围感，笔致简劲秀逸，以少胜多，寥寥笔墨便勾勒出幽远无尽的诗意余韵，将山水间的清冷闲雅尽数藏于尺幅之间。",[23,7,209,24,81,173,177,27,29,174,394,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986bccab4158b6928756c26c3978e0d8.jpg",[],{"id":27104,"slug":27105,"title":27106,"dynasty":76,"author":1394,"museum":364,"description":27107,"tags":27108,"thumbUrl":27109,"material":139,"size":139,"collection":139,"collections":27110,"showCount":26949,"zanCount":1547,"manualWeight":48,"mainColor":49},224431,"song-feng-die-zhang-tu-wang-shi-min-224431","松风叠嶂图","此作用全景式构图铺展丘壑，主峰崔嵬凌天，层峦迤逦延展，兼具高远之雄与深远之幽。以披麻皴写山石肌理，笔触松秀温润，浅绛设色晕染柔和，古雅苍润间带着清和明丽。\n苍松虬枝横斜，涧谷飞泉隐现，山居茅舍错落掩映于林麓间，处处透着幽寂闲逸的林下意趣。题款书法清雅隽秀，与山水笔墨浑然相融，尽显宋元文人画平淡天真的意韵，将林泉高致的静穆之美，尽数凝于尺幅之间，是追摹古意又暗含己心的山水佳制。",[23,7,1397,27,177,1575,30,109,34,176,920,108,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84858b1ff2685d5dbd3bc173639e5d99.jpg",[],{"id":27112,"slug":27113,"title":27114,"dynasty":76,"author":674,"museum":675,"description":27115,"tags":27116,"thumbUrl":27120,"material":67,"size":27121,"collection":44,"collections":27122,"showCount":26949,"zanCount":5,"manualWeight":48,"mainColor":49},222872,"chun-ge-juan-du-zhou-leng-mei-222872","春阁倦读轴","图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。图中人物比例匀称，衣纹线条圆润流畅，可以看出画家的深厚功底。而背景的描绘也显得独具匠心，无论悬于墙上的画幅、笛子，还是膝下的小犬都不是可有可无之物，图中人物的生活情趣和身份均由此得到印证。此作如此精妙地刻画出人物的精神层面，无疑堪称人物画佳作。",[23,368,209,7,24,241,28,27,106,59,61,327,27117,27118,301,27119,505],"桌","凳","书卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866bd4a4449c988942f5f5abcf3da75a.jpg","170x100cm",[44],{"id":27124,"slug":27125,"title":27126,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":27127,"thumbUrl":27128,"material":27,"size":6032,"collection":139,"collections":27129,"showCount":26949,"zanCount":48,"manualWeight":48,"mainColor":94},222744,"xian-e-chang-chun-tu-03b-lang-shi-ning-222744","仙萼长春图-03b",[23,209,7,24,28,27,83,795,281,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00506c220c38058c15ebc098e593bc75.jpg",[],{"id":27131,"slug":27132,"title":11291,"dynasty":99,"author":27133,"museum":20,"description":27134,"tags":27135,"thumbUrl":27136,"material":40,"size":27137,"collection":44,"collections":27138,"showCount":26949,"zanCount":1547,"manualWeight":48,"mainColor":49},222049,"huo-lang-tu-ji-sheng-222049","计盛","“货郎图”属于风俗画，这一题材自宋代以来就十分流行。画面中货郎衣着整洁，儿童服饰华丽，货架上的各类物品丰富而精致。画法上刻画细腻，设色浓艳，已将宋人民间货郎图中的生活气息转化为宫廷贵族气息，因而又有“宫廷货郎”之称。",[23,7,24,27,28,104,106,3045,12634,315,7299,34,432,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379a6e73b4bffc5ce7f9a7fab61b9170.jpg","纵192.4厘米，横98.7厘米",[44,45],{"id":27140,"slug":27141,"title":27142,"dynasty":99,"author":1083,"museum":56,"description":27143,"tags":27144,"thumbUrl":27145,"material":123,"size":27146,"collection":90,"collections":27147,"showCount":26949,"zanCount":5,"manualWeight":48,"mainColor":1335},221885,"dou-cao-tu-chen-hong-shou-221885","斗草图","这幅画作描绘的是端阳时节，仕女五人围坐石下斗草为戏的情节。人物神态生动微妙，各具神韵。湖石上盘曲老松，质量厚实，与疏朗的人物布局构成鲜明的对比，有利于打破构图的呆板。陈氏画风变形夸张，用笔谨劲连绵，如行云游丝，转折有力；设色艳而不俗。此作正是画家典型风格的代表作。款署[庚寅秋，老莲洪绶画于护兰书堂]。庚寅为清顺治七年，系公元一六五○年，陈洪绶时年五十三岁。款下钤[洪绶]朱文长方印。",[23,209,7,24,28,260,27,59,1575,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0622469e201b8215901cfacb0c5aa797.jpg","纵134.3、横48厘米",[90,45],{"id":27149,"slug":27150,"title":27151,"dynasty":18,"author":2029,"museum":206,"description":27152,"tags":27153,"thumbUrl":27155,"material":67,"size":27156,"collection":42,"collections":27157,"showCount":26949,"zanCount":5,"manualWeight":48,"mainColor":49},221549,"luo-han-tu-1-liu-song-nian-221549","罗汉图1","该图画一罗汉，长眉深目，头角峥嵘，伏倚枯枝。旁绘一小僧展衣接受树上猿猴献果。该图描绘工丽精当，笔法劲秀。背景设色以墨为主。层层渲染，纯净明丽。人物则以敷彩为主，墨染为辅，对比明媚雅致",[23,209,7,259,2714,28,27,25116,27154,24501,10154],"僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a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， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[209,7,24,241,173,1015,242,245,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d55eecf41bf1bce479bcfa86bdf890.jpg",[],{"id":27280,"slug":27281,"title":11291,"dynasty":18,"author":3214,"museum":364,"description":27282,"tags":27283,"thumbUrl":27284,"material":743,"size":744,"collection":139,"collections":27285,"showCount":27270,"zanCount":1547,"manualWeight":48,"mainColor":49},288533,"huo-lang-tu-su-han-chen-288533","苏汉臣，北宋末南宋初画家。生卒年不详。汴梁（今河南开封）人，一说为钱塘（今浙江杭州）人。曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。",[23,7,209,28,27,106,3045,12634,327,244,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7455767adc67dca109f33b66a6d8714d.jpg",[],{"id":27287,"slug":27288,"title":27289,"dynasty":18,"author":474,"museum":364,"description":4915,"tags":27290,"thumbUrl":27292,"material":743,"size":744,"collection":139,"collections":27293,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":49},288519,"du-he-tu-zhao-ji-288519","独鹤图",[7,83,28,60,27,86,227,27291],"孤高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62691d2740456475597b024d6913e80.jpg",[],{"id":27295,"slug":27296,"title":27297,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":27298,"thumbUrl":27299,"material":743,"size":744,"collection":139,"collections":27300,"showCount":27270,"zanCount":1547,"manualWeight":48,"mainColor":5394},288286,"zi-shou-tu-wu-chang-shuo-288286","紫绶图",[23,7,241,27,173,83,135,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817e309dc8834874824452e90adb0bb1.jpg",[],{"id":27302,"slug":27303,"title":27304,"dynasty":99,"author":1480,"museum":364,"description":3145,"tags":27305,"thumbUrl":27306,"material":743,"size":744,"collection":139,"collections":27307,"showCount":27270,"zanCount":1547,"manualWeight":48,"mainColor":49},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)",[23,209,7,24,25,27,177,29,174,107,176,34,109,7242,175,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":27309,"slug":27310,"title":27311,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":27312,"thumbUrl":27313,"material":743,"size":744,"collection":139,"collections":27314,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},287696,"bai-lu-xiao-niao-tu-li-zhou-zhu-da-287696","白鹭小鸟图立轴",[7,209,24,241,173,83,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fbd45d978190e5929c928f8a6bc919.jpg",[],{"id":27316,"slug":27317,"title":27318,"dynasty":204,"author":2072,"museum":364,"description":19818,"tags":27319,"thumbUrl":27320,"material":743,"size":744,"collection":139,"collections":27321,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":49},287395,"ye-yan-tu-ye-zhou-wen-ju-287395","夜宴图页",[23,7,209,5990,28,27,106,59,2451,211,279,86,178,2452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55dccd52718d026c6ccf8e9eb9557d7d.jpg",[],{"id":27323,"slug":27324,"title":27325,"dynasty":76,"author":27326,"museum":364,"description":27327,"tags":27328,"thumbUrl":27329,"material":139,"size":139,"collection":44,"collections":27330,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},239309,"shi-nv-tu-ye-huang-yao-239309","仕女图页","黄曜","柳荫垂覆，朱栏萦立，仕女素衣雅致，鬟发温婉，凭栏凝睇架上青鸟，眉眼间晕着淡淡幽思。浅设色晕染出枝叶清润质感，衣袂褶皱柔缓舒展，将闺中女子春日里的缱绻闲愁悄然铺陈。左侧题字配印，笔墨秀雅与画面相映。\n\n全画笔致清隽细腻，将江南春景的柔婉与仕女静穆怅惘相融，淡墨轻岚间静中生韵，把闺中闲绪糅入春日烟柳，含蓄绵长的古典情致漫溢纸面，余味悠然。",[7,24,81,28,27,106,59,281,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4560235a4bc933ed5d63f130017ba2f9.jpg",[44],{"id":27332,"slug":27333,"title":27334,"dynasty":99,"author":293,"museum":27335,"description":27336,"tags":27337,"thumbUrl":27338,"material":139,"size":139,"collection":44,"collections":27339,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":94},238562,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238562","明人升平翊赞图并书赞册","德国国立柏林民俗博物馆","此作工笔重彩，设色妍丽沉稳。朱漆楼宇界画工致，飞檐翼然，堂内宾主雅集宴乐，丝竹相和、把盏酬唱，一派闲雅升平。另一侧甲胄武士整队而来，鞍饰鲜亮、仪仗严整，赳赳威仪和宴饮雅趣相映成趣。\n山石松瀑勾勒细致，草木布景层次分明，人物衣纹走线考究，武士的英挺、宴客的雍容皆被细致摹写。以工致笔触铺陈出承平之世的礼乐典仪，将朝堂酬酢的盛大描摹尽致，处处流露着对盛世安稳的由衷赞颂。",[7,27,28,104,81,106,107,108,150,394,175,109,61,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6599ab556ad7494df2f3406cc7785279.jpg",[44,45],{"id":27341,"slug":27342,"title":27343,"dynasty":76,"author":2804,"museum":20,"description":27344,"tags":27345,"thumbUrl":27346,"material":990,"size":27347,"collection":139,"collections":27348,"showCount":27270,"zanCount":1547,"manualWeight":48,"mainColor":94},233733,"yu-lan-tu-zhou-wu-chang-shuo-233733","玉兰图轴","图绘玉兰花依石而开的景致。白描的玉兰与墨染的山石形成强烈的黑白对比，相互依托，虚实相生。兰、石以金石篆籀的笔法入画，浑厚老辣的笔墨融入简率疏野的写意花鸟画格之中，营造出“豪放而馨香”的绮丽效果，与图中苍劲有力的书法相映生辉。此幅当属诗书画有机结合的佳作。",[7,24,241,173,446,83,417,245,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5741ce1b277c358cd2642fad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陈洪绶生活在晚明时期，朝廷极度腐败，文化方面却呈现出多变而丰富的面貌，陈洪绶是彼时最具强烈个性的艺术巨匠，在绘画的各个题材中均有独特的创造性，并影响中国绘画数百年，流风至今不衰。\n陈洪绶的这件《梨花图》绘于绢本，纵76公分，横26公分，题款：老莲洪绶画。虽未署年款，据陈洪绶传世的其它创作于深柳读书堂的作品及《梨花图》的风格推断，这件作品应创作于十七世纪三十年代中期，那时陈洪绶年龄近四十，绘画技巧已然十分纯熟。画面高低变化，巧妙地丰富了画面的视觉效果。陈洪绶的花鸟画作品，体现了他的精神品位，在构图和造型上都打破了传统样式的束缚，有古拙之趣，造型新颖、拙朴率真，这是在继承传统的基础上显现出的强烈个人风格风貌。其花鸟画表现手法，受宋代院体画风的影响，造型严谨，工笔双钩，设色艳丽，由此汲取艺术精华并发展而来。又受明末大写意花鸟画的影响，用笔洒脱灵动，兼工带写，水墨交融。这件《梨花图》既是画家长期写生锤炼的结晶，也是宋代花鸟画的神韵所在。因陈洪绶花鸟绘画具有高度的装饰性，所以类似《梅花图》这样的题材在当时必定广受欢迎。",[23,7,24,241,28,27,83,1640,226,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed725b25d09198789d5bf2f2832ed81.jpg","76×26 cm",[],{"id":27359,"slug":27360,"title":27361,"dynasty":99,"author":1996,"museum":364,"description":27362,"tags":27363,"thumbUrl":27364,"material":139,"size":139,"collection":139,"collections":27365,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":94},231011,"qiu-tang-hua-ya-tu-chen-chun-231011","秋塘花鸭图","此作用淡墨轻铺底色，墨色晕染出花鸭绒羽蓬松柔润，青灰头羽、赭黄喙部鲜亮醒目，鸭身浮沉秋水，憨态悠然，尽显野趣生机。残荷枯黄老叶以赭石、花青晕染，莲蓬挺秀，败菊缀于右上角，淡彩点染出秋意阑珊。汀草、蓼花细笔勾勒，干湿浓淡的墨色交织，衬出水波澹澹。\n\n画作兼工带写，水墨为主略施淡彩，笔意纵逸又不失秀雅，将深秋塘间清寂又鲜活的意趣尽数铺展，笔情墨趣间尽显文人写意的雅致随性，揉合秋日池溏的萧疏与生机，淡远空灵的意境扑面而来。",[209,7,24,241,446,173,27,83,243,2728,931,367,6922,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13db65695720260f6c24cc85f7896486.jpg",[],{"id":27367,"slug":27368,"title":27369,"dynasty":76,"author":1109,"museum":364,"description":27370,"tags":27371,"thumbUrl":27372,"material":139,"size":139,"collection":139,"collections":27373,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},228997,"hua-niao-tu-ce-12-kai-shi-tao-228997","花鸟图册12开","此作用笔简淡清逸，枯湿浓淡的笔墨绘就枝叶，偃仰之间自带舒展生韵。淡黄绿色轻晕花形，不着勾勒，似含露半绽，朦胧雅致。\n行书题诗与画意相得益彰，笔势同画中笔墨呼应相生，以花木寄寓出脱尘的襟怀。画面留白空濛悠远，以少胜多，将草木清灵意趣与文人雅逸情志相融，淡远萧疏之间，尽显自在风骨，是以画写心的佳作。",[7,24,81,173,27,83,86,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e3557a950fe9eb3922bef3edf50e34b.jpg",[],{"id":27375,"slug":27376,"title":27377,"dynasty":18,"author":1650,"museum":364,"description":27378,"tags":27379,"thumbUrl":27380,"material":139,"size":139,"collection":139,"collections":27381,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":49},227817,"ju-bei-yao-yue-tu-ma-yuan-227817","举杯邀月图","此作用笔极简却意韵悠长，虬曲老梅斜探出崖壁，枝桠硬劲如屈铁，寥寥几笔便写尽枯寒清瘦之态。山坳屋角悬着冷月，清辉漫过嶙峋山石。水畔幽人席地而坐，似将一身襟怀尽数托付给溶溶月色与泠泠波光。\n画师以斧劈皴利落勾勒山石棱角，淡墨晕染出水色空濛，取景只撷边角小景，却以少胜多，把独酌邀月的疏旷禅意凝在咫尺绢本间，将文人寄心林泉、醉忘尘俗的隐逸情怀晕染尽致，空灵悠远的雅寂氛围扑面而来，余韵悠长。",[23,209,7,24,173,27,177,106,29,300,1015,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747cfa4bb3157bd6ddb01ea703372731.jpg",[],{"id":27383,"slug":27384,"title":7922,"dynasty":18,"author":2029,"museum":364,"description":27385,"tags":27386,"thumbUrl":27387,"material":139,"size":139,"collection":139,"collections":27388,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":49},227806,"qing-lv-shan-shui-tu-ye-liu-song-nian-227806","此作以青绿晕染山峦，淡墨勾勒丘壑轮廓，糅合精工雅致与烟火意趣。春柳垂荫如翠色帷幕，将画面切割出疏密层次，树下行人往来如织，或策马徐行，或驻足交谈，石桥下溪水流淌，三两村人浣洗休憩，鲜活的市井日常跃然纸面。\n\n远景峰峦逶迤，以石青石绿轻敷，敷色秀润沉稳，不见浓艳浮薄，将春日山野的明媚柔丽晕染开来。笔致细巧灵动，把山水之幽与俗世之暖相融，于尺幅之间铺展了一卷生机盎然的春日山居行乐图，尽显春日江南山野的悠然意韵。",[23,209,7,24,5990,26,27,29,106,108,109,150,34,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F485a6a80668b2daa57a22eff4e87382a.jpg",[],{"id":27390,"slug":27391,"title":13094,"dynasty":204,"author":3224,"museum":238,"description":27392,"tags":27393,"thumbUrl":27394,"material":139,"size":139,"collection":139,"collections":27395,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":49},227598,"xi-shan-lan-re-tu-ju-ran-227598","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[23,7,173,29,241,177,864,297,430,114,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284d1d8ee4ace39214acee2790ee85be.jpg",[],{"id":27397,"slug":27398,"title":27399,"dynasty":76,"author":2804,"museum":364,"description":5389,"tags":27400,"thumbUrl":27401,"material":619,"size":27402,"collection":90,"collections":27403,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":94},224220,"chun-feng-chui-chu-hong-wu-chang-shuo-224220","春风吹出红",[23,7,24,83,27,173,86,227,327,698,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe082f7e60dc29bf6eac47500e2168d46.jpg","69x104厘米",[90,45],{"id":27405,"slug":27406,"title":27407,"dynasty":76,"author":2804,"museum":364,"description":27408,"tags":27409,"thumbUrl":27411,"material":139,"size":139,"collection":139,"collections":27412,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},224216,"tian-zhu-shui-xian-zhou-wu-chang-shuo-224216","天竹水仙轴","《艺海集珍》是26年月1日文物出版社出版的图书，作者是刘麒子。\n本集所收中国近现代 作品一百六十余件，均来自私家收藏。\n值得强调的是，这些藏品的拥有者本人既是具备一定实力的书画篆刻家，又是活跃在 界的业余鉴赏家。\n本集收录了国内私家收藏的中国近现代著名书画家作品计一百六十余件，包括任伯年、蒲华、吴昌硕、黄宾虹、张大千、马一浮、吴湖帆、弘一、吴茀之、沙孟海、周昌谷、潘天寿、沈尹默、傅抱石、齐白石、江寒汀、程十发、黄胄、陆俨少、陆维钊、启功、朱屺瞻、陈佩秋、唐云等。\n竹石公鸡图轴 钟魁啖鬼图轴 人物故事图四屏 溪堂烟壑图轴 林泉野屋图轴 牡丹湖石图轴 博古菊花图轴 松庐山居图轴 岁朝清供图轴 黄菊寿石图轴 墨竹图轴 博古红梅图轴 行书文稿手卷 天竹水仙图轴 竹石图轴",[23,7,241,27,446,83,27410,451,298,227],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe34ea47443956a65404d4783bc4513f9.jpg",[],{"id":27414,"slug":27415,"title":83,"dynasty":76,"author":707,"museum":364,"description":27416,"tags":27417,"thumbUrl":27418,"material":743,"size":744,"collection":139,"collections":27419,"showCount":27270,"zanCount":1547,"manualWeight":48,"mainColor":5394},224162,"hua-niao-hua-yan-224162","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[23,7,24,27,83,224,1062,297,298,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8abdb76674bf8f6b4a883e5a267d9d69.jpg",[],{"id":27421,"slug":27422,"title":27423,"dynasty":18,"author":293,"museum":1985,"description":27424,"tags":27425,"thumbUrl":27426,"material":40,"size":27427,"collection":139,"collections":27428,"showCount":27270,"zanCount":1356,"manualWeight":48,"mainColor":1335},223578,"xuan-zang-san-zang-xiang-li-zhou-yi-ming-223578","玄奘三藏像立轴","绘玄奘大师赤足芒履，体态壮硕，略有疲惫，身负满载佛经的行笈，右手拿着拂尘，前悬灯盏，日夜兼程、西去取经。",[23,7,24,241,259,106,27,28,505,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F543bc49dad0fa1d57d1f2a920b223347.jpg","135.1×59.9cm",[],{"id":27430,"slug":27431,"title":27432,"dynasty":76,"author":850,"museum":364,"description":10603,"tags":27433,"thumbUrl":27434,"material":40,"size":139,"collection":90,"collections":27435,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":49},222776,"hua-bai-ying-zhou-lang-shi-ning-222776","画白鹰轴",[23,7,209,241,27,28,281,957,1575,394,558,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8821bbc34360056591a52a75a4e58a03.jpg",[90,45],{"id":27437,"slug":27438,"title":27439,"dynasty":99,"author":966,"museum":206,"description":27440,"tags":27441,"thumbUrl":27442,"material":827,"size":139,"collection":181,"collections":27443,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},221968,"fang-li-cheng-xi-shan-shen-xue-zhou-wen-zheng-ming-221968","仿李成溪山深雪轴","绘山石耸立，悬崖绝壁，白雪霭霭，山涧中一股瀑布倾泻而下，在山脚下汇入河流，河岸边树木修长，树叶凋零，一桥横跨两岸。题识：正德十年乙亥仿李营丘溪山深雪图 徵明。",[23,7,24,241,173,177,105,29,2502,176,34,558,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[181,45],{"id":27445,"slug":27446,"title":27447,"dynasty":99,"author":1083,"museum":20,"description":27448,"tags":27449,"thumbUrl":27450,"material":1716,"size":27451,"collection":90,"collections":27452,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},221894,"mei-shi-tu-zhou-chen-hong-shou-221894","梅石图轴","本幅署款“老蓮洪綬畫于柳莊”。钤“蓮白衣”。\n是图以古拙奇特的造型绘拳石耸立，旁伴一株被截去诸多枝干的老梅树，树上几朵梅花绽蕾展瓣。构图简约洗练，并注重物象间的相互衬托与对比。画石用线勾出圆润的外形，再以淡墨渲染。画梅则用浓、枯墨笔勾勒，线条古拙方硬，具金石韵味，体现了老梅饱经沧桑的古木气息。\n清内府《石渠宝笈》著录。",[23,7,24,241,173,448,245,394,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccbca84501d57cd1d024bcd73a8d609.jpg","纵115.2厘米，横56厘米",[90,163],{"id":27454,"slug":27455,"title":27456,"dynasty":18,"author":27457,"museum":364,"description":27458,"tags":27459,"thumbUrl":27460,"material":27461,"size":27462,"collection":42,"collections":27463,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":49},221599,"luo-han-xi-yi-gua-zhou-lin-ting-gui-221599","罗汉洗衣挂轴","林庭珪","整作以苍劲古松与幽寂崖谷铺陈出世外氛围，将罗汉洗衣的日常绘得意趣盎然。下方罗汉或俯身浣洗布帛、或用力拧绞衣物，动态憨朴自然，衣袂褶皱随动作舒展，质感写实入微。上方二僧持物旁观，神态松弛闲适，崖边悬垂的僧衣晕染出柔和的色彩层次，暗合僧家清简日常。\n\n笔墨兼具工致与写意，山石松木以浓墨勾勒皴擦，尽显苍浑老辣，罗汉面容细节刻画精细，褪去神像的肃穆高远，还原僧众山间悠游的烟火日常，在禅意与世俗意趣间寻得精妙平衡，尽显宋代人物写生的细腻共情与雅致格调。",[23,209,7,24,241,259,28,27,106,650,1575,109,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc5e0c2176d701ed80a3ec70560fa41.jpg","立轴绢本","112.3x53",[42,44,45],{"id":27465,"slug":27466,"title":25103,"dynasty":18,"author":1650,"museum":206,"description":27467,"tags":27468,"thumbUrl":27469,"material":67,"size":25108,"collection":42,"collections":27470,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":49},221539,"xue-tan-shuang-lu-tu-ma-yuan-221539","此图描绘雪后郊野水滨的景色。全图用笔苍劲有力，景物及白鹭皆以粗笔写出，不加刻意修饰却十分形象，白鹭的神态较为生动。全图构图严谨、造型生动、诗意盎然，为马远画中精品。\n画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应\n此图为江湖小景，梅枝斜出崖上。梅取折枝，并特别突出远折枝”成为它的突出风貌。图中近景的山石，以浓墨大斧劈勾皴点染， 远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 实际上是作为点缀物。画面境界十分幽远开阔。\n此图远处画雪山，空漯一片，近置溪流，冰棱历历，岸边枯荻老树参差，有数只白鹭闲憩，一样卷缩畏寒，表现了中国画习见的荒寒境界。此图亦体现出马远绘画简而刚的特点，山色溪涧皆在烟色微茫中，树取一枝，石取一角，溪出一湾。简率中透露出清旷之旨。用笔草草，只在写意，如树枝虬曲之态勾勒极为生动。\n此图以特写镜头式描绘双鹭在雪滩上栖息的情景。画中左侧上方画有巨石一角，下方还有奇石曲壁，在巨石与奇石之间伸出曲臂老梅一枝及一簇竹丛；在下边的水塘枯苇中有一对白鹭，一只藏在背风的石边苇子中，披着一身白羽，扭头张望，另一只在枯树干边缩颈御寒，虽然图中未见纷飞的雪花，确从老梅枝上的积雪及芦苇中的几处余雪，可见是雪后的河滩边，融雪更比下雪寒。一对白鹭或以静静栖息越冬，或已疲劳后同到雪滩来休息，在画面的上面有一对山雀在梅枝头，一只在俯首瞰视，一只刚落停枝头，发出喳喳叫声，因此引起苇塘中的白鹭昂首张望。但另一只毫无反映，只顾自己静静的酣睡。\n此图以禽鸟为山水之衬景，是融花鸟于山水及诗境的特殊表现形式。此图实景集中于左边角，崖壁与崎岖的石岸，配合着高悬其上的枯树，形成一个开阔的空间，将雪滩和白鹭涵纳其中，远山简单数笔，用淡墨烘出，空漾一片，写出了严寒的景象。\n此图与其他作品一样，在笔墨的运用上也很成功。作者用硬如曲铁的笔触来画树石，山石用浓墨勾出，以大斧劈及小斧劈画出石质坚硬，老梅枝曲枝有疏有密，又显苍老；芦苇用细笔淡墨画之。尤其对白鹭的描绘，在绢素本色上留白，淡墨轻勾，只有嘴及双腿用浓墨细笔画之，仔细观察羽毛绒绒，神态逼真，而且图中不只是一对可见的白鹭，主要是描写鹭鸟在雪滩上栖息时的静态。在梅枝头上的一对山雀，冬雪之后主要是描写他们在秃梅枝之问飞动栖伫的情况。上下两种鸟的姿态，是动静对比，也是画面上色差的对比。网右下方石际有马远款字。曾经明安桂坡、项元汴藏。",[23,7,24,209,173,177,3463,2502,19953,12489,1015,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87344f3b4cf68fea492a2b2e78463c8c.jpg",[42,90,45],{"id":27472,"slug":27473,"title":27474,"dynasty":54,"author":3062,"museum":206,"description":3064,"tags":27475,"thumbUrl":27476,"material":27477,"size":27478,"collection":44,"collections":27479,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":49},221135,"jiang-fan-lou-ge-zhou-li-si-xun-221135","江帆楼阁轴",[7,209,24,241,26,27,28,29,107,174,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e663d48c7ef6294ae9f191dc300630.jpg","画布","纵101.9厘米，横54.7厘米",[44,45],{"id":27481,"slug":27482,"title":27483,"dynasty":189,"author":487,"museum":206,"description":27484,"tags":27485,"thumbUrl":27486,"material":27487,"size":27488,"collection":181,"collections":27489,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[23,7,24,241,173,177,29,175,34,176,109,35,558,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 62.3公分",[181,163],{"id":27491,"slug":27492,"title":27493,"dynasty":1095,"author":2335,"museum":7134,"description":27494,"tags":27495,"thumbUrl":27496,"material":139,"size":139,"collection":139,"collections":27497,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},220501,"song-xia-ya-ji-zhang-da-qian-220501","松下雅集","松石挺劲苍古，蟠曲枝干如虬龙卧云，苔皴晕染尽述岁月风霜。青绿坡岸雅致莹润，一角丹枫点染秋韵，柔化古松沉郁色调。\n\n四位高士或立或坐，宽袍博带，神清骨秀，似正清谈畅叙，襟怀洒落出尘。衣纹线条清隽秀逸，仪态宛然，尽显魏晋林下风流。\n\n画作取法古意，将元人雅逸笔致与青绿浅绛相融，萧散简远中不失精工雅致，把山林雅集的清旷高致晕染纸上，尽显文人士大夫寄情林泉的悠然襟怀。",[7,24,241,27,106,449,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c213317f505fe7d4d6db612a690ec.jpg",[],{"id":27499,"slug":27500,"title":27501,"dynasty":76,"author":9291,"museum":364,"description":27502,"tags":27503,"thumbUrl":27504,"material":27,"size":139,"collection":90,"collections":27505,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":94},220141,"ling-bo-shui-xian-tu-juan-ren-xun-220141","凌波水仙图卷","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[23,209,7,24,368,25,28,27,83,451,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[90],{"id":27507,"slug":27508,"title":27509,"dynasty":18,"author":27510,"museum":752,"description":27511,"tags":27512,"thumbUrl":27513,"material":803,"size":27514,"collection":42,"collections":27515,"showCount":27270,"zanCount":1547,"manualWeight":48,"mainColor":1335},220074,"jia-pai-tu-quan-juan-gong-kai-220074","笳拍图全卷","龚开","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,7,24,25,260,106,150,16881,86,178,1147,1195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","全卷30.6X770厘米",[42],{"id":27517,"slug":27518,"title":27519,"dynasty":18,"author":293,"museum":78,"description":27520,"tags":27521,"thumbUrl":27522,"material":123,"size":27523,"collection":181,"collections":27524,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":49},219957,"jiang-tian-chun-se-tu-yi-ming-219957","江天春色图","以半边雄奇崖壁衬出半幅浩渺江天，虚实相生间铺展出清旷春景。淡施青绿晕染崖石积雪，冷润雅致，带着残冬未尽的清寒。山腰间隐着两隅茅舍，藏于松云崖岫之间，更衬林泉幽寂。汀岸老松虬曲，板桥卧于浅渚，悠悠生出林下幽居的雅趣。远景山峦以淡墨轻晕，和烟波江色融成一片空濛，将春日江天的静穆辽远晕染尽致，暗合寄情林泉、澄怀观道的山水雅意。",[209,7,24,1562,27,177,29,175,108,34,176,7741,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9003bc40ef9f1cd9031a6c367ac98e.jpg","26.4*20.5",[181],{"id":27526,"slug":27527,"title":27528,"dynasty":99,"author":27529,"museum":3537,"description":27530,"tags":27531,"thumbUrl":27542,"material":123,"size":27543,"collection":181,"collections":27544,"showCount":27270,"zanCount":1547,"manualWeight":48,"mainColor":94},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[7,24,25,27,29,177,86,178,174,109,175,281,4562,300,1016,108,27532,27533,27534,8505,27535,27536,27537,27538,27539,27540,1251,27541],"远浦","归帆","山市","江天","暮雪","洞庭","夜雨","烟寺","晚钟","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[181],{"id":27546,"slug":27547,"title":27548,"dynasty":76,"author":77,"museum":78,"description":27549,"tags":27550,"thumbUrl":27551,"material":123,"size":2399,"collection":139,"collections":27552,"showCount":27270,"zanCount":1547,"manualWeight":48,"mainColor":94},219813,"hua-hui-shi-kai-10-yun-shou-ping-219813","花卉十开-10","此作用淡墨白描写就，笔致清灵秀雅。花头或昂或俯，瓣片勾勒细腻通透，如冰裁玉琢，自带绰约风姿，仿佛见凌波仙子悄然伫立。长叶以虚实线条写就，舒展如素带，前后层次分明，将水仙修长清劲的姿态尽显。\n\n笔底脱胎古法，以极简淡墨晕衬出花叶温润质感，未施丹青却自带清润仙气。题识与画面相映成趣，尽显文人雅致，寥寥数笔便定格水仙疏朗脱俗的神韵，观之如闻幽芳，将写生之趣与古意格调相融，尽显清逸出尘的意境。",[7,24,81,260,173,84,451,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966f21bff6318b643128e01db81b0e85.jpg",[],{"id":27554,"slug":27555,"title":27556,"dynasty":18,"author":27557,"museum":206,"description":27558,"tags":27559,"thumbUrl":27565,"material":123,"size":27566,"collection":44,"collections":27567,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":49},219695,"duan-yang-xi-ying-tu-su-chao-219695","端阳戏婴图","苏焯","画中描写端午节时的恶作剧，三个粉粧玉琢的胖娃娃中﹐穿红色肚兜的孩子左手拿著石榴，右手用绳系著蟾蜍，正要惊吓较小的孩子，另一个则赶来制止这场恶作剧，三孩童的手与脚皆带金钏玉饰﹐身上则佩挂长命锁﹐表示其出身的骄贵﹐衣纹图案细腻﹐利用淡染色块﹐十分成功地将人物衣著单薄下肌肤的质感表现出来。 更将人物的表情、神态很传神地掌握，像这个拿著蛤蟆的孩，一脸恶作剧的神情，连手上的蛤蟆也闪著狡猾得意的笑容，而惊吓过度的孩子则蹲在地上，双手护著头，十分害怕地颤抖著，不由得令人心生爱怜，另一个见义勇为的孩子，一个箭步赶来，神情坚定地要阻止这场恶作剧，空白的背景，更加凸显他们神气活现的面貌。",[23,7,24,28,27,106,3045,27560,1299,27561,27562,27563,27564,24603],"蟾蜍","长命锁","金钏玉饰","端阳","恶作剧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3da25db485c4495d2fa1b8a9eaea3cf.jpg","纵：88.9公分，横：51.3公分",[44],{"id":27569,"slug":27570,"title":1155,"dynasty":99,"author":27571,"museum":20,"description":27572,"tags":27573,"thumbUrl":27574,"material":342,"size":27575,"collection":90,"collections":27576,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},219358,"mu-niu-tu-li-lin-219358","李麟","画面串联起数幅牧牛小景：牧童牵绳引牛涉过浅溪，牛儿低首饮水；稚童持竿逗弄，牛儿仰头呼应；更有童子骑牛，随牛缓步林间。笔墨简淡却意趣盎然：牛身以淡墨晕染，憨态可掬；牧童身形虽小，衣纹寥寥几笔便勾勒出天真烂漫之态。背景树木疏朗，坡石浅淡，留白处似含悠然风致。整卷洋溢着田园的闲静与生机，将寻常牧歌化为清雅的笔墨图景，尽显文人画的恬淡意趣。",[23,7,24,25,173,446,178,227,151,106,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ffc8e11b8b0d9721f2d41b9535d6b.jpg","纵34.2横156.2厘米",[90,163],{"id":27578,"slug":27579,"title":27580,"dynasty":189,"author":2876,"museum":206,"description":27581,"tags":27582,"thumbUrl":27583,"material":173,"size":27584,"collection":163,"collections":27585,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},219354,"song-lin-ping-yuan-zhou-cao-zhi-bai-219354","松林平远轴","曹知白（1272～1355），元代画家，字又玄，号云西，人称贞素先生。华亭（今上海市松江县）人 。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[7,24,241,173,1397,8892,177,1015,176,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a1ae065d01421150a94b252022a7e.jpg","75.4x43公分",[163],{"id":27587,"slug":27588,"title":27589,"dynasty":18,"author":293,"museum":206,"description":27590,"tags":27591,"thumbUrl":27592,"material":123,"size":27593,"collection":42,"collections":27594,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},218839,"song-xi-you-qi-tu-yi-ming-218839","松溪游骑图","画面描绘了一座横跨溪流的桥梁，高大的松树从溪流岸边的大窠中升起，露出农场的大门和农场的一角，主人正从春天的郊游中返回。这幅画与刘松年的画风相似，与故宫收藏的《四季山水卷》中的春景相似，可以确定是刘松年南宋画派的作品。",[23,7,209,24,29,27,177,449,109,150,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922c2209b73b6b6fb69c2e5b68d4b33.jpg","23.1x25.8",[42],{"id":27596,"slug":27597,"title":27598,"dynasty":189,"author":1848,"museum":206,"description":27599,"tags":27600,"thumbUrl":27601,"material":123,"size":139,"collection":181,"collections":27602,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},218765,"xu-xie-ting-quan-tu-wu-zhen-218765","虚榭听泉图","枯树虬枝如铁，墨色浓淡交织间尽显苍劲老辣。山泉自崖壁倾泻而下，细流蜿蜒，泠泠水声似在耳畔萦绕。林下虚榭空寂，虽无人影，却恍若有隐者凭栏，静听泉石相和，心随流水悠远。远山以淡墨晕染，云雾轻笼，更添空濛之致。整幅画笔墨简淡却意境深幽，散发出元人特有的隐逸气度，于静谧中藏生机，于朴拙中见灵秀。不事雕琢的线条里，浸透着散淡超脱的情怀，引人沉浸其中，暂忘尘俗纷扰，尽享自然之趣。每一处墨色的晕染、线条的勾勒，都藏着对天地的敬畏与对本心的坚守，让观者在无声的画面里，听见心灵与自然的共鸣。",[23,7,173,177,29,175,7109,109,394,176,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc9b3797243816d5b728fd7eeef1266.jpg",[181],{"id":27604,"slug":27605,"title":27606,"dynasty":18,"author":293,"museum":206,"description":27607,"tags":27608,"thumbUrl":27609,"material":123,"size":139,"collection":90,"collections":27610,"showCount":27270,"zanCount":1356,"manualWeight":48,"mainColor":94},218710,"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[23,209,7,24,1562,28,27,83,839,224,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[90],{"id":27612,"slug":27613,"title":27614,"dynasty":18,"author":27615,"museum":364,"description":27616,"tags":27617,"thumbUrl":27618,"material":123,"size":139,"collection":45,"collections":27619,"showCount":27270,"zanCount":1547,"manualWeight":48,"mainColor":49},218659,"xi-shan-ye-zhang-tu-zhu-yi-218659","溪山曳杖图","朱义","溪光映带间，楼阁凭水而立，飞檐轻挑流云。虬枝老干上素花堆雪，暗香似随溪风漫溢。崖岫间隐现小亭，与层岩苍松相映，添得几分奇崛。\n\n径边曳杖人缓步而行，衣袂沾着山岚清润，似在细品林泉幽意。远山如黛，烟岚轻笼，江天浩渺处归舟几点，将天地拉得宽闲。\n\n整幅画以淡墨皴染山水，用细笔勾勒亭台人物，素花的留白与山石的浓淡相映成趣。动静之间，藏着宋人的雅致风骨——于山水间寻幽，让身心与自然相融，每一处笔触都似在诉说文人心中的丘壑。\n\n没有喧嚣，只有溪声、松影与步履轻缓，将“天人合一”的意趣，凝在这一方扇面里。",[23,209,7,24,1562,27,29,106,175,108,109,448,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf47ca4d9fab18381e6f16e1d10768a0.jpg",[45],{"id":27621,"slug":27622,"title":16257,"dynasty":18,"author":293,"museum":132,"description":16258,"tags":27623,"thumbUrl":16260,"material":123,"size":139,"collection":42,"collections":27624,"showCount":27270,"zanCount":1547,"manualWeight":48,"mainColor":49},218537,"e-xi-tu-yi-ming-218537",[23,7,24,1562,27,28,10065,243,430,297,227],[42,90],{"id":27626,"slug":27627,"title":27628,"dynasty":99,"author":24267,"museum":206,"description":27629,"tags":27630,"thumbUrl":27632,"material":123,"size":27633,"collection":44,"collections":27634,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":49},218528,"shan-ting-na-liang-tu-zhou-chen-218528","山亭纳凉图","图中显示，一块奇怪的石头直立着，被几株香蕉植物保护着。亭子里，一个有学问的人左手坐着，右手拿着一把羽扇，旁边放着一个卷轴、一本小册子和一个特瓦。他坐在地上，享受着寒冷的感觉。在亭子外面，孩子们伸出手臂为花瓶采摘棉花糖花，营造出一种轻松平静的气氛。签名：周晨。",[23,7,24,241,27,28,106,175,176,755,108,313,299,114,27631],"纳凉场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79d2558d621c11890f2a8f08fc3817e.jpg","95.9x58.9",[44],{"id":27636,"slug":27637,"title":27638,"dynasty":99,"author":1480,"museum":20,"description":27639,"tags":27640,"thumbUrl":27641,"material":342,"size":27642,"collection":181,"collections":27643,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":94},218339,"gao-mu-ci-ya-tu-tang-yin-218339","高木慈鸦图","弧形扇面间，清寂之境徐徐铺展。枯树三五成丛，枝干虬曲如篆，焦墨勾勒处尽显苍劲老辣，墨色浓淡交错间藏着岁月痕迹。寒鸦数点，或栖于枝梢理羽，或振翅掠过天际，翅羽轻扬时添几分灵动生气。远山以淡墨晕染，云雾氤氲缭绕，与近树的沉郁形成虚实相映，层次悠远如幻。整幅画以简驭繁，笔墨洗练却意境深幽，文人画的雅致疏旷尽在其中——仿佛风过林间，鸦鸣隐约，方寸扇面竟藏得万千丘壑，引人沉湎于这份静谧与悠远。",[23,1562,7,24,173,177,281,34,10379,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc421b662148e119d639962a695dae4a6.jpg","纵16.5cm，横47.3cm",[181,163],{"id":27645,"slug":27646,"title":8697,"dynasty":189,"author":293,"museum":101,"description":27647,"tags":27648,"thumbUrl":27649,"material":123,"size":27650,"collection":44,"collections":27651,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":1335},218310,"luo-han-tu-yi-ming-218310","丰腴袒胸的罗汉立于绢素之上，光头浓髯，眉目间透着沉静的威严。朱红披帛斜搭肩头，随体态垂落自然褶皱；橙黄下裳宽松覆足，赤脚踝间系着细饰，添了几分随性。右手托莲碗，碗中清莲绽放，花瓣层叠，似携着佛国的净气。\n\n线条劲挺却不失柔润，勾勒出肌肤的丰腴与衣物的质感；设色古朴雅致，朱红与橙黄的暖调衬着绢本的古旧底色，更显沉静。整幅画将罗汉的庄重与生活化细节相融，既见佛法的肃穆，又含人间温情——似在无声传递禅意的悠远，让观者于古雅笔墨中，触到佛性与人性交织的温度。\n\n笔墨间藏着元代人物画的凝练，每一处褶皱、每片莲瓣都透着匠人的用心，把罗汉的神性与烟火气揉得恰到好处，似一幅流动的禅语，静静诉说着时光里的禅意绵长。",[7,24,241,27,106,259,243,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e1ecce8051f6de779a1b198f6fa590.jpg","112.4x49.1",[44],{"id":27653,"slug":27654,"title":27655,"dynasty":189,"author":4086,"museum":78,"description":27656,"tags":27657,"thumbUrl":27658,"material":342,"size":27659,"collection":90,"collections":27660,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},218257,"shu-shi-tu-chen-lin-218257","树石图","虬枝枯树斜倚坡石，墨线如铁般盘结交错，似诉岁月沧桑。山石以淡墨晕染，皴擦相间，肌理分明，朴拙中透着空灵。左侧题跋笔意流转，诗画相映，书卷气盎然。整幅作品简而不空，墨色清润，意境萧散淡远。枯树的苍劲与山石的沉稳相融，于静谧间藏生机，尽显文人画的雅致风骨。观之如临清寂山林，心随笔墨沉淀，得一份古雅之趣，笔墨间的留白与晕染，更让画面余韵悠长，耐人寻味。",[7,24,209,173,1015,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e4aac310bc644eed1f183659092e43.jpg","30.6x49.7cm",[90],{"id":27662,"slug":27663,"title":27664,"dynasty":189,"author":293,"museum":18925,"description":27665,"tags":27666,"thumbUrl":27668,"material":123,"size":27669,"collection":181,"collections":27670,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":49},218218,"cang-ying-wu-zhu-tu-yi-ming-218218","苍鹰梧竹图","苍鹰梧竹图是元朝时期的一幅著名图画，作者不详。这幅画描绘了一只苍鹰和一根梧竹之间的关系。苍鹰是一种大型鸟类，通常被认为是捕食者，而梧竹则是一种常见的树种。在这幅画中，苍鹰似乎正在用它的爪子抓住梧竹。",[7,209,24,28,27,83,281,27667,394,340],"苍鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca78eed227b0a78bb43d1239104ae986.jpg","146x93cm",[181,90],{"id":27672,"slug":27673,"title":27674,"dynasty":189,"author":5444,"museum":206,"description":27675,"tags":27676,"thumbUrl":27677,"material":123,"size":27678,"collection":44,"collections":27679,"showCount":27270,"zanCount":5,"manualWeight":48,"mainColor":1335},216961,"yuan-an-wo-xue-tu-sheng-mao-216961","袁安卧雪图","袁安在东汉时期来自汝南，被称为邵公。他是河南省的一名官员，是一个善良而有爱心的官员。画中的人身穿大红衣服，骑着马，是洛阳的一名法官。当他在一场大雪中赶到袁安家时，看到他门前的雪还没有被清理干净。邻居们以为袁某死了，于是他们敲门进去了。他问他为什么不出去，回答说不适合打扰别人，因为大家在雪下都很饿。洛阳县令认为他是个有德行的人，就推荐他作为亲属候选人来做这个职位。本画题名为 盛懋，但画风已被明人从其风格中改编。",[7,24,209,241,29,106,2502,34,176,177,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3ebe4b34f0a5a378b181b1a4225e6f.jpg","149x83.8",[44],{"id":27681,"slug":27682,"title":27683,"dynasty":189,"author":10811,"museum":206,"description":27684,"tags":27685,"thumbUrl":27686,"material":123,"size":27687,"collection":90,"collections":27688,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":49},216949,"han-jiang-lu-yan-zhou-wang-yuan-216949","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[7,241,28,27,83,5491,2522,8902,3465,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde012ecdad844b3e749ba9f388e9437d.jpg","149.7x62.7公分、全幅 90公分",[90],{"id":27690,"slug":27691,"title":27692,"dynasty":99,"author":293,"museum":752,"description":27693,"tags":27694,"thumbUrl":27695,"material":123,"size":27696,"collection":44,"collections":27697,"showCount":27270,"zanCount":1547,"manualWeight":48,"mainColor":49},215030,"si-ma-guang-gui-yin-tu-yi-ming-215030","司马光归隐图","独乐园 是宋代司马光在熙宁六年（1073年）左右建造的，虽然不是什么宏伟的房子，但因为司马光在这里写了《资治通鉴》，苏轼等人也在这里写了诗，所以它就出名了。李格非的《洛阳名园记》描述了该园的 水笔、读书堂、鱼贯寺、药园 和 竹园。《竹园》、《看山台》、《浇花》中也对这七种景象进行了简单的描述。这张图片是对竹子种植园的故事的描述。画中的鲜活人物可与晋国的陶渊明媲美。",[23,7,27,28,106,340,109,176,18349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32007569961fc2242c4cd2050def5e9.jpg","76x136",[44],{"id":27699,"slug":27700,"title":27701,"dynasty":189,"author":2519,"museum":206,"description":27702,"tags":27703,"thumbUrl":27704,"material":88,"size":27705,"collection":44,"collections":27706,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[23,7,24,25,27,29,106,86,178,227,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[44],{"id":27708,"slug":27709,"title":486,"dynasty":76,"author":27710,"museum":78,"description":27711,"tags":27712,"thumbUrl":27713,"material":342,"size":27714,"collection":181,"collections":27715,"showCount":27270,"zanCount":48,"manualWeight":48,"mainColor":94},214718,"shan-shui-ce-gao-xiang-214718","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[209,7,24,81,173,177,29,34,176,37,491,1926,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a88cf22fa589ab4ab3aa7596243f9d.jpg","纵23.9 厘米，横55.4 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纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[23,209,7,24,241,173,177,29,6398,176,31,4675,34,1653,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg",[],{"id":27841,"slug":27842,"title":27843,"dynasty":18,"author":293,"museum":364,"description":9439,"tags":27844,"thumbUrl":27845,"material":9442,"size":9443,"collection":42,"collections":27846,"showCount":27730,"zanCount":48,"manualWeight":48,"mainColor":49},223548,"luo-shen-tu-juan-yi-ming-223548","洛神图卷",[23,7,24,25,27,28,178,227,106,29,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg",[42,44,45],{"id":27848,"slug":27849,"title":27850,"dynasty":18,"author":293,"museum":78,"description":27851,"tags":27852,"thumbUrl":27855,"material":665,"size":27856,"collection":139,"collections":27857,"showCount":27730,"zanCount":1547,"manualWeight":48,"mainColor":49},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[23,7,24,25,27,28,106,59,3045,210,242,430,431,313,115,505,27853,3903,27854],"发饰","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],{"id":27859,"slug":27860,"title":27861,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":27862,"thumbUrl":27863,"material":27,"size":6032,"collection":139,"collections":27864,"showCount":27730,"zanCount":48,"manualWeight":48,"mainColor":94},222748,"xian-e-chang-chun-tu-05b-lang-shi-ning-222748","仙萼长春图-05b",[23,209,7,24,81,27,28,13695,83,224,84,1062,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ff46c0b7d6fa3b8909b3f40b0c5a9.jpg",[],{"id":27866,"slug":27867,"title":27868,"dynasty":99,"author":1170,"museum":20,"description":27869,"tags":27870,"thumbUrl":27871,"material":990,"size":27872,"collection":90,"collections":27873,"showCount":27730,"zanCount":1547,"manualWeight":48,"mainColor":94},222036,"kui-shi-xia-die-tu-zhou-dai-jin-222036","葵石峡蝶图轴","此幅画盛开的蜀葵一株，两只蝴蝶翩翩飞舞。\n在戴进的作品中，工笔设色花鸟并不多见，此图用笔细润，色彩清丽，既保留了宋代院体花鸟的工致，又吸收了元代钱选没骨设色的文雅之气。画面下端的湖石纹理粗糙，凹凸有致，与花卉草虫形成鲜明的对比。\n近代何昆玉、庞莱臣《虚斋名画录》卷二著录。",[23,209,7,241,27,28,83,7703,604,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7690becc18ef2b29aaf5e830a77ab9fb.jpg","纵115厘米，横39.6厘米",[90,45],{"id":27875,"slug":27876,"title":5477,"dynasty":18,"author":7349,"museum":1985,"description":27877,"tags":27878,"thumbUrl":27881,"material":67,"size":27882,"collection":139,"collections":27883,"showCount":27730,"zanCount":5,"manualWeight":48,"mainColor":49},221615,"xue-jing-shan-shui-tu-liang-kai-221615","图中描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。水边两棵老树，其虬曲的枝干和稀疏的树叶，是以细致的笔法刻画出来的。画山石，仿北宋范宽的笔法，以簇点画密林；而山体皴笔甚少，在以淡墨渲染的天空的映衬下，给人以白雪皑皑之感。整个画面呈现出荒凉萧瑟的氛围。在画幅左下角寒溪边缘有“梁楷”的落款。此图不失为南宋院体山水画的经典之作。",[23,7,209,29,2502,106,8989,394,27879,176,173,177,28,27880],"寒溪","荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb6676a5452362239059e95da23644d.jpg","111.3cmx49.7cm",[],{"id":27885,"slug":27886,"title":27887,"dynasty":54,"author":27888,"museum":20,"description":27889,"tags":27890,"thumbUrl":27891,"material":803,"size":27892,"collection":382,"collections":27893,"showCount":27730,"zanCount":48,"manualWeight":48,"mainColor":49},221088,"meng-zhao-tie-juan-liu-gong-quan-221088","蒙诏帖卷","柳公权","《蒙诏帖》卷，传为唐柳公权书，纸本，行书，纵26.8厘米，横57.4厘米。\n\n释文：\n公权蒙诏, 出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[209,7,24,25,178,1147,86,227,3790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5e4a285528d158dd273e3ee4b593bd.jpg","纵26.8厘米，横57.4厘米",[382,2616],{"id":27895,"slug":27896,"title":27897,"dynasty":189,"author":1672,"museum":15596,"description":27898,"tags":27899,"thumbUrl":27900,"material":88,"size":27901,"collection":163,"collections":27902,"showCount":27730,"zanCount":48,"manualWeight":48,"mainColor":94},220800,"shui-zhu-ju-tu-ni-zan-220800","水竹居图","此图以青绿设色绘江南初秋景色。\n山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。\n画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n图右上倪瓒自题：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。",[23,7,173,1397,177,178,86,227,20163,446,297,242,430,176,491,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 X 53 CM",[163,2293],{"id":27904,"slug":27905,"title":27906,"dynasty":1095,"author":2335,"museum":7134,"description":27907,"tags":27908,"thumbUrl":27910,"material":139,"size":139,"collection":139,"collections":27911,"showCount":27730,"zanCount":5,"manualWeight":48,"mainColor":94},220503,"he-du-ye-qu-zhang-da-qian-220503","荷堵野趣","这幅画以泼墨泼彩晕染出荷塘野意，那株凌空舒展的巨荷最为夺目，墨色苍浑沉厚，瓣叶如流云狂卷，带着风雨将临的恣肆野逸。下方白荷冰清玉洁，线条柔婉雅致，与浓如泼墨的荷叶形成强烈反差。淡粉烟霞般的底色晕开水汽氤氲，把荷塘缥缈朦胧的夏夜氛围铺陈开来。干湿浓淡的墨色肆意碰撞，笔力雄健不失清雅生机，将荷塘的清寂苍茫与蓬勃野趣融于一体，尽显水墨淋漓的写意之美，满是蓬勃的生命张力。",[7,173,27,136,137,241,446,27909],"墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f536715eecbc62d1e1108ce9d6bcb5.jpg",[],{"id":27913,"slug":27914,"title":27915,"dynasty":99,"author":10654,"museum":364,"description":27916,"tags":27917,"thumbUrl":27918,"material":803,"size":139,"collection":44,"collections":27919,"showCount":27730,"zanCount":5,"manualWeight":48,"mainColor":94},220103,"zhong-kui-yi-jia-tu-qian-gu-220103","钟馗移家图","钱谷（公元1508~1578年），字叔宝，号磬室，江苏苏州人。好读书，曾手抄稀有书籍，跟从文征明学习诗文书画。山水笔墨疏朗稳健，也能画人物、兰竹，风格较平实。编有〈续吴都文粹〉等。作品有〈雪山策骞图轴〉，〈虎丘前山图轴〉，〈董姬像（册页）〉，〈晴雪长松图轴〉。",[23,7,24,25,260,27,106,2717,259,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee38741396103f6c03bb189f8e3e50a.jpg",[44],{"id":27921,"slug":27922,"title":27923,"dynasty":99,"author":170,"museum":1806,"description":1807,"tags":27924,"thumbUrl":27925,"material":88,"size":1810,"collection":139,"collections":27926,"showCount":27730,"zanCount":5,"manualWeight":48,"mainColor":94},220019,"dong-zhuang-tu-ce-zhi-zhe-gui-qiao-shen-zhou-220019","东庄图册之折桂桥",[23,7,173,27,81,29,108,109,242,394,114,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e6c408cd67552c039d8fa8da7af631.jpg",[],{"id":27928,"slug":27929,"title":27930,"dynasty":189,"author":487,"museum":56,"description":27931,"tags":27932,"thumbUrl":27933,"material":88,"size":27934,"collection":181,"collections":27935,"showCount":27730,"zanCount":48,"manualWeight":48,"mainColor":94},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,209,7,24,25,29,27,177,107,34,176,37,86,227,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[181,45],{"id":27937,"slug":27938,"title":27939,"dynasty":76,"author":293,"museum":101,"description":27940,"tags":27941,"thumbUrl":27942,"material":381,"size":139,"collection":181,"collections":27943,"showCount":27730,"zanCount":5,"manualWeight":48,"mainColor":94},219864,"qing-ren-fang-xi-shan-wu-jin-tu-yi-ming-219864","清人仿溪山无尽图","整卷铺展千里丘壑，峰岭层叠攒簇，苔点皴擦尽显山石苍浑质感，烟岚轻笼幽谷溪川，晕染出空濛悠远的意境。村居田庐散缀林麓水湄，野桥横溪、茂林修竹，尽显山居幽寂之致，复刻全景山水的雄浑大气，又糅入文人画的静穆意趣。沉厚绢色晕开烟峦，笔墨带着追摹古贤的沉静韵味，将林泉高隐的诗意融于层叠山水间，让观览者随着溪山延展，步入烟霞丘壑，沉浸在清寂旷远的山水雅趣中。",[23,7,25,29,27,177,649,34,37,31,194,13563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1062bdcf0ab3c5882ef217057ef7f7.jpg",[181],{"id":27945,"slug":27946,"title":27947,"dynasty":99,"author":1572,"museum":206,"description":27948,"tags":27949,"thumbUrl":27950,"material":88,"size":27951,"collection":45,"collections":27952,"showCount":27730,"zanCount":1547,"manualWeight":48,"mainColor":94},219341,"yu-yu-chun-shu-tu-wen-zheng-ming-219341","雨余春树图","全幅中间为一条宽阔溪水，将其画面纵切成上、下两段，上段即画幅远处崇山叠嶂，山峰耸立，主峰两侧的山峰较矮小，隐约可见。中间山峰顶平壁峭，山上和山坡处树木成林，郁郁葱葱，山脚临河处座落着几间屋宇草舍，掩映在丛树荫下。河滩上有二位高士边闲聊边观赏风景。在溪水夹岸，即此画幅的下段，这是此幅画的主题。夹岸坡陀叠起，崎岖不平，有的坡陀伸展至水上，坡陀上长有几棵高大的松树和其他杂树。古松萧疏错落，坡陀上的平台相参，临溪处筑有一小亭，累见高士策杖优游，间吟望远悠闲自在，展现出一派隐逸文人的诗画境界",[7,24,27,29,430,175,109,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad5d61d2c68ecef13e5225b2f2d4ac4b.jpg","纵94.3厘米，横30.3厘米",[45],{"id":27954,"slug":27955,"title":27956,"dynasty":18,"author":293,"museum":101,"description":27957,"tags":27958,"thumbUrl":27959,"material":27,"size":27960,"collection":45,"collections":27961,"showCount":27730,"zanCount":48,"manualWeight":48,"mainColor":94},219226,"lv-dong-bin-guo-yue-yang-lou-tu-yi-ming-219226","吕洞宾过岳阳楼图","飞檐翘角似欲凌云，层叠瓦当如鳞排列，宋代楼阁的雅致在圆幅中徐徐铺陈。楼上回廊人影错落，或执盏品茗，或凭栏望水；楼下石阶人潮攘攘，市井声息仿佛可闻。衣袂轻扬的身影悄然驻足，仙韵与凡俗在此温柔碰撞。远山淡墨晕染，近树浓笔点染，古旧绢色裹着岁月温度，将“过楼”瞬间定格成既有人间烟火、又藏仙意缥缈的画卷。没有惊世邂逅，只有含蓄相逢——尘俗热闹里藏着跨越凡界的余味，引人遐想那仙客过楼时，风掠过檐角的轻响，与楼中茶烟的缠绵。",[23,7,209,1562,104,27,106,107,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fcaf3edfa5fb282679ccfb73b4778f.jpg","23.8x25.1厘米",[45],{"id":27963,"slug":27964,"title":27965,"dynasty":99,"author":27966,"museum":206,"description":27967,"tags":27968,"thumbUrl":27969,"material":88,"size":27970,"collection":90,"collections":27971,"showCount":27730,"zanCount":5,"manualWeight":48,"mainColor":94},218878,"xian-chun-bao-xi-tu-liu-shi-ru-218878","先春报喜图","刘世儒","虬枝盘曲如铁，嫩蕊缀枝似霞，寒香暗浮处，数只喜鹊栖于梅间。或翘首啼鸣，清音欲穿晓寒；或侧耳相和，墨羽轻拂春风。花瓣染粉带露，枝干皴擦见骨，工笔与写意相融，既得梅之清雅，又显鹊之灵动。题字与花鸟相映，诗趣入画，更添文人雅韵。整幅画如早春晨曦，将料峭生机与报喜暖意悄然铺展——梅开先春，鹊鸣报喜，每一笔藏岁月期许，每处细节漾人间欢悦，观之令人心脾俱畅，仿佛已闻春声渐近。",[7,24,241,27,28,83,448,281,19390,86,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bf908b018a03efb77d029306b4e34c.jpg","113.4x56.6cm",[90],{"id":27973,"slug":27974,"title":27975,"dynasty":189,"author":293,"museum":206,"description":27976,"tags":27977,"thumbUrl":27978,"material":88,"size":27979,"collection":90,"collections":27980,"showCount":27730,"zanCount":1547,"manualWeight":48,"mainColor":49},218835,"hua-e-xiao-jing-tu-yi-ming-218835","花鹅小景图","白鹅曲颈伫立，绒羽以细笔晕染，柔润如凝脂，尾羽纹理纤毫可见。身旁草叶疏朗，野花含露轻绽，淡紫与浅红的花瓣似携微风颤动；后方岩石以简劲笔触皴擦，苍朴质感与鹅的柔媚相映成趣。古旧纸色衬得景物愈发温润，笔触间藏着细腻生机——仿佛能听见鹅喙轻啄草叶的细碎声响，或是风拂野花的微颤。整幅小景虽简，却将自然的恬淡雅致凝于尺幅，细处见工致，疏处显意趣，尽显宋元小景画的清逸之韵。",[209,7,24,28,27,10065,62,245,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aca3e9066be932f6397474cf4d654f4.jpg","57.5x37cm",[90],{"id":27982,"slug":27983,"title":27984,"dynasty":18,"author":4035,"museum":206,"description":27985,"tags":27986,"thumbUrl":27987,"material":123,"size":27988,"collection":42,"collections":27989,"showCount":27730,"zanCount":5,"manualWeight":48,"mainColor":94},218746,"lang-gan-ting-xiu-tu-wen-tong-218746","琅玕挺秀图","画的是两根竹子的墨迹，竹叶在风中摇曳。与文同的水墨游戏标准 墨竹 相比，这个小框架特别有趣。",[23,7,24,81,173,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ca0d9372912c6958ecc427f42b609c.jpg","46.7x29.7",[42],{"id":27991,"slug":27992,"title":27993,"dynasty":189,"author":21922,"museum":132,"description":27994,"tags":27995,"thumbUrl":27996,"material":342,"size":27997,"collection":181,"collections":27998,"showCount":27730,"zanCount":5,"manualWeight":48,"mainColor":94},217264,"dan-tai-chun-xiao-tu-lu-guang-217264","丹台春晓图","陆广是元朝时期的一位著名的画家，他的作品《丹台春晓图》是他最著名的一幅画。这幅画描绘了丹台山的景色，山上有云雾缭绕，树木葱茏，小溪流动，鸟儿在枝头鸣叫。这幅画的色彩鲜艳，线条流畅，构图巧妙，深受人们喜爱。\n\n陆广在这幅画中运用了自然写生的技巧，使画面栩栩如生，栩栩如生。他还运用了虚实对比的手法，使画面更加丰富多彩。此外，他还运用了一些中国传统的画法，如重彩和写意画法，使这幅画更加独特。\n\n陆广的《丹台春晓图》不仅是他最著名的作品，也是元朝时期著名的艺术杰作之一。它不仅体现了陆广的才华，也反映了元朝时期艺术的发展。现在，这幅画被广泛收藏和展览，并且被认为是中国传统艺术的杰出代表作之一。",[7,24,241,173,177,29,176,34,108,109,114,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6a463b9955bf3520ee003ff8feb0ec.jpg","61.6x26cm",[181],{"id":28000,"slug":28001,"title":8697,"dynasty":99,"author":23960,"museum":206,"description":28002,"tags":28003,"thumbUrl":28004,"material":123,"size":28005,"collection":44,"collections":28006,"showCount":27730,"zanCount":48,"manualWeight":48,"mainColor":49},216948,"luo-han-tu-song-xu-216948","这是一幅达摩面对水面的画作，看起来很疲惫，嘴唇紧闭在思考。笔触重而不浊，是宋旭的原画风格。",[7,241,27,106,29,1575,245,37,177,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd87f722f408a0c00a88f3338e2dc80.jpg","140.6x36.3",[44],{"id":28008,"slug":28009,"title":28010,"dynasty":76,"author":293,"museum":364,"description":28011,"tags":28012,"thumbUrl":28013,"material":123,"size":139,"collection":139,"collections":28014,"showCount":27730,"zanCount":48,"manualWeight":48,"mainColor":49},216721,"hong-lou-meng-fu-tu-ce-4-yi-ming-216721","红楼梦赋图册-4","雕栏玉砌间，仕女倩影错落。粉墙黛瓦映着疏林碧水，镂空花窗透进软风，携阶前牡丹暗香漫入廊下。有人凭栏凝思，有人低语浅笑，衣袂翩跹似流云拂过青石。笔墨细腻处，衣纹褶皱如流水轻漾，花木枝叶含露带烟。庭院深深里，旧梦依稀，钗环叮当仿佛在耳，裙裾扫过的痕迹仍留着温婉。每一处勾勒皆藏雅致，将红楼的清愁与温柔凝于方寸，让观者沉醉在这古典诗意中，不忍移目。",[23,7,27,28,106,59,107,327,34,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff381526f1252d41cd5878fb4b31a31b5.jpg",[],{"id":28016,"slug":28017,"title":28018,"dynasty":189,"author":293,"museum":206,"description":28019,"tags":28020,"thumbUrl":28022,"material":88,"size":139,"collection":90,"collections":28023,"showCount":27730,"zanCount":5,"manualWeight":48,"mainColor":94},216209,"san-yang-kai-tai-tu-zhou-yi-ming-216209","三羊开泰图轴","三羊喻三阳开泰，吉祥之意。采用一孩三羊构图方式，小孩骑在最大只的绵羊上，手拿枝条，头戴皮幅，低头看着最小的那只羊。",[7,241,106,8368,27,4966,227,86,28021],"三羊开泰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e5313ba3f7ad1912675271f03e5126.jpg",[90],{"id":28025,"slug":28026,"title":28027,"dynasty":18,"author":6175,"museum":206,"description":28028,"tags":28029,"thumbUrl":28031,"material":88,"size":28032,"collection":181,"collections":28033,"showCount":27730,"zanCount":5,"manualWeight":48,"mainColor":94},216081,"sui-gu-xian-chou-tu-yan-su-216081","邃谷仙俦图","圆幅之内，邃谷幽深如藏太古。松枝盘虬探向涧水，垂瀑溅起的碎玉似携泠泠清响；山石皴染得苍劲见骨，云气轻笼远岫，把虚实边界晕成了仙意。林下幽处，或有对坐的身影，或有倚石的闲态，不沾尘俗的自在漫在空气里。笔墨精细却不刻板，宋画的沉静韵致裹着仙气——没有喧闹，只有丘壑间的清旷，风过松梢时，仿佛能听见仙俦的谈笑声随谷风散开，勾着人想踏入这片无拘天地，把心神安放在这太古般的宁静里。",[23,7,173,27,177,29,34,650,106,28030],"深谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ca0b247e5fd62845b263e8d81f1433.jpg","23.9x24.4cm",[181],{"id":28035,"slug":28036,"title":7912,"dynasty":99,"author":12620,"museum":206,"description":28037,"tags":28038,"thumbUrl":28039,"material":743,"size":28040,"collection":139,"collections":28041,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":94},290319,"sui-chao-tu-zhou-shang-xi-290319","明代宫廷绘画的历史，从明代建国伊始就已经开始，经过永乐、宣德、成化、弘治几朝，宫廷绘画达到了兴盛阶段，到嘉靖、万历以后，逐渐衰微。赵原、卓迪、周位、王仲玉等是初期院体画家的代表。宣德以后，宫廷画家不断增多，著名的有谢环、商喜、倪端、李在、石锐、周文靖等，他们的绘画，技艺全面，师法南宋“院体”，各有特点。",[209,7,24,241,83,27,28,448,839,451,12102,245,227,18310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1aa42f9fe4334c91fc98ee028966eda.jpg","130.9x57.4",[],68,{"id":28044,"slug":28045,"title":28046,"dynasty":76,"author":5052,"museum":364,"description":12208,"tags":28047,"thumbUrl":28048,"material":743,"size":744,"collection":139,"collections":28049,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":94},289899,"song-jian-qing-yin-tu-zhou-hong-ren-289899","松涧清音图轴",[209,7,24,241,173,29,449,175,245,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ee8ed58b9be8df7d7a8c0c6ef64c97.jpg",[],{"id":28051,"slug":28052,"title":28053,"dynasty":18,"author":474,"museum":364,"description":28054,"tags":28055,"thumbUrl":28056,"material":743,"size":744,"collection":139,"collections":28057,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":49},289655,"xue-jiang-gui-zhao-tu-zhao-ji-289655","雪江归棹图","《雪江归棹图》描绘的是冬日雪景山水画。全图不着色，仅以细碎之笔勾勒、点皴山石，淡墨渲染江天，衬映出皑皑雪峰。",[23,209,7,25,1397,2502,649,31,174,1015,107,281,173,27,86,227,3802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ccf8a6b79d6e33362afa23ac8564cb.jpg",[],{"id":28059,"slug":28060,"title":28061,"dynasty":204,"author":18867,"museum":364,"description":28062,"tags":28063,"thumbUrl":28064,"material":743,"size":744,"collection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在画中自题，最早一开创作于“丁未” (1667 年)，石涛时年26岁。\n整套册页作品分别作于1667年、1669年、167年，1672年，即从石涛的26岁至1岁，历时6年之久，实为石涛倾力之作。\n《罗汉百开图》册页集人物、山水、花鸟之大成，是石涛技艺日臻成熟时的作品，所绘人物，造型生动，神态各异，笔墨洗练，叙事清楚，饱含人文情怀。\n石涛最早的人物画是康熙时期所作的《百美图》，这是对仇英作品的临摹，更是一次再创作。\n吴湖帆正是看了此画，才有上面提到的‘石涛画人物最佳’之说。\n这幅画被石涛的老师梅青借走，供于香案之上，每日膜拜，后不知所踪。\n美国大都会博物馆所藏《十六应真图》，长达六米，人物纯用线描，而配以山水背景。\n另外还听说波士顿博物馆藏有一幅石涛人物画。\n有记录的石涛作品，现存世约4件，《石涛罗汉百开册页》占了其中1件。\n崔如琢还另外藏有石涛的两套册页以及手卷、中堂、条幅若干，藏品总数达1件，应该是收藏石涛作品最多的人。\n但他始终认为，《石涛罗汉百开册页》的价值最为独特，较之同时代西方文艺复兴时期的绘画，无论内容、题材、技法都称得上相映生辉。",[7,24,259,173,260,106,394,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedcff1d2c958f6590b2e104032c599.jpg",[44],{"id":28110,"slug":28111,"title":28112,"dynasty":76,"author":1109,"museum":364,"description":28113,"tags":28114,"thumbUrl":28115,"material":139,"size":139,"collection":139,"collections":28116,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":94},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[209,7,24,173,27,29,177,178,227,394,1653,175,108,109,174,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],{"id":28118,"slug":28119,"title":28120,"dynasty":18,"author":1650,"museum":364,"description":28121,"tags":28122,"thumbUrl":28124,"material":139,"size":139,"collection":139,"collections":28125,"showCount":28042,"zanCount":5,"manualWeight":48,"mainColor":49},227821,"song-feng-ting-tu-ye-ma-yuan-227821","松风亭图页","这幅小品以边角取景，将山水意趣藏于尺幅之间。右侧虬松苍劲盘曲，枝干如铁，松针攒簇劲挺，斜斜探向半空，似携着穿林松风。古松之畔，山亭飞檐翘角，半掩于松石间，雅致清寂。左侧留白晕染远山，淡墨轻描，虚实相映，衬出山林空阔萧散的意境。\n\n用笔刚简老辣，墨色干湿浓淡错落，勾勒皴擦间，山石枯涩、古松苍润的质感尽显，以少胜多，把林泉幽居的静谧禅意铺陈开来，藏着文人心中归向林泉的高远意趣，尺幅之中意蕴悠长。",[23,209,7,24,1397,104,175,1575,176,491,173,27,177,28123,4686,17768,227],"边角取景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa207a22d1b0e544e2ed8382683769b21.jpg",[],{"id":28127,"slug":28128,"title":28129,"dynasty":76,"author":1892,"museum":56,"description":28130,"tags":28131,"thumbUrl":28132,"material":619,"size":28133,"collection":181,"collections":28134,"showCount":28042,"zanCount":5,"manualWeight":48,"mainColor":94},224388,"shan-zhong-zao-chun-tu-wang-yuan-qi-224388","山中早春图","此画写重山复岭，纵向逶迤，松溪水榭，亭桥山居，错落其间，层次深远。构图平中带险，笔法秀劲，气韵苍润，色调沉着凝重，不失为晚年之佳作。",[23,7,1397,27,177,864,297,34,1575,650,114,560,491,5243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb20b6bf1f9e17cdf68c0ce52a990f7.jpg","纵100cm，横44.7cm",[181],{"id":28136,"slug":28137,"title":2711,"dynasty":18,"author":293,"museum":364,"description":28138,"tags":28139,"thumbUrl":28140,"material":139,"size":139,"collection":139,"collections":28141,"showCount":28042,"zanCount":1547,"manualWeight":48,"mainColor":49},223655,"song-zi-tian-wang-tu-yi-ming-223655","此作为白描神品，以铁线描、兰叶描交错挥写，尽显吴带当风的流动韵致。\n画卷起首帝后侍从环侍，仪度端雅雍容；继而护法神将狞猛威严，流云焰气翻卷烘托出天界的诡谲神圣；中段天女执器缓行，身姿柔婉静穆；后段天王安坐肃穆，诸鬼神环伺拱卫，末了瑞兽载仙疾驰，灵动飞扬。\n全卷人物身份鲜明，神情各殊，帝王的沉凝、天女的温婉、神将的凶戾皆刻画入微，线条或刚劲如铁、或飘逸如丝，将天界仪卫的盛大庄严铺陈尽致，虽为摹本，依旧留存原作神采，是水墨线描的绝佳范本。",[23,209,7,24,25,260,259,106,502,957,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1875d213531142bdb5f15a8d47809ba.jpg",[],{"id":28143,"slug":28144,"title":28145,"dynasty":18,"author":293,"museum":364,"description":28146,"tags":28147,"thumbUrl":28148,"material":139,"size":139,"collection":139,"collections":28149,"showCount":28042,"zanCount":5,"manualWeight":48,"mainColor":94},223596,"guan-shou-guan-hua-tu-yi-ming-223596","盥手观花图","庭院清寂，仕女方盥手罢，正凝睇案头花簇。画面虚实相衬，左侧留白更衬出右侧庭院的幽谧雅致。长案错落陈开花卉、妆具，器物勾勒工细古雅，尽显深闺陈设的精致意趣。\n\n仕女身姿温婉端丽，两名侍女或持团扇或奉巾侍立，情态柔婉生动，将深闺日常的闲雅意趣缓缓铺陈。设色古雅沉静，棕褐底色晕染出庭院朦胧静谧的氛围，衣袂的素净浅淡与花簇的明丽鲜活相映晕合，笔触柔润细腻。\n\n画笔致工秀含蓄，将宋人娴静内敛的审美意趣融于闺中清赏的日常里，晕开淡远悠长的东方诗意。",[23,209,7,24,27,28,106,59,244,62,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43601ebbe84e62c48f0a06a97221751c.jpg",[],{"id":28151,"slug":28152,"title":28153,"dynasty":99,"author":966,"museum":20,"description":28154,"tags":28155,"thumbUrl":28156,"material":28157,"size":21896,"collection":28158,"collections":28159,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":94},221971,"lan-ting-xiu-qi-tu-quan-juan-wen-zheng-ming-221971","兰亭修契图全卷","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。\n卷尾下钤“徵明父印”、“徵仲父印”，右下有“雪坪心赏”、“杜氏藏画”印，左下有“与古维新”印。尾纸首段是文徵明临写王羲之所书的《兰亭序》，其后又有文氏行书自题一段：“曾君曰潜，自号兰亭，余为其写《流觞图》，既临褉帖，兰之复赋，此诗发其命名之意，壬寅五月。”“猗兰亭子袭清芬，珍重山阴迹未陈。高音漫传幽谷操，清真重见永和人。香生环珮光风远，秀茁庭阶玉树新。何必流觞须上巳，一簾（芳？）意四时春。文徵明”。钤“徵明印”、“悟言室印”。由此可知，因曾潜的号与“兰亭修褉”发生的地点相同，文氏便将这一题材入画，并为之题诗，贻赠友朋。尾纸另有王穀祥、陆师道、许初、文彭、文嘉、周复后的题跋。壬寅年为明嘉靖二十一年（1542年）。",[23,7,24,25,27,28,178,29,106,175,109,1250,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb0d378f8205d4f6be244afbdc9303a.jpg","金笺地，设色","山水精选",[28158],{"id":28161,"slug":28162,"title":28163,"dynasty":18,"author":6175,"museum":20,"description":28164,"tags":28165,"thumbUrl":28166,"material":67,"size":28167,"collection":42,"collections":28168,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":49},221426,"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[23,7,24,29,177,27,15976,864,430,108,109,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[42,181,163],{"id":28170,"slug":28171,"title":28172,"dynasty":18,"author":28173,"museum":20,"description":28174,"tags":28175,"thumbUrl":28176,"material":123,"size":28177,"collection":382,"collections":28178,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":94},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[23,209,7,24,25,178,86,173,29,174,2502,4974,1410,12602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[382],{"id":28180,"slug":28181,"title":28182,"dynasty":1095,"author":4791,"museum":4792,"description":28183,"tags":28184,"thumbUrl":28185,"material":139,"size":139,"collection":139,"collections":28186,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":94},220535,"da-shu-shuang-ma-xu-bei-hong-220535","大树双马","泼墨写就古木虬枝，浓淡墨色晕染出繁密冠盖，老干皴擦尽显饱经风霜的沉浑苍劲，带着穿越岁月的雄强生机。\n下方双马情态各异，棕马垂首缓行啮草，筋骨松弛尽显悠然意态，白马昂首长嘶，鬃毛飞扬神骏昂扬，一动一静相映成趣。\n画作融贯中西，以国画写意笔墨铺陈意境，暗合西画的形体结构，将古木的沧桑厚重与骏马的灵动勃发相融，浅淡远景晕染出郊野疏阔，藏着松弛野趣，尽显生命的不同姿态。",[23,7,173,27,150,394,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16779d29c7db2be6f8c5a99604e1dee9.jpg",[],{"id":28188,"slug":28189,"title":28190,"dynasty":76,"author":23166,"museum":1806,"description":28191,"tags":28192,"thumbUrl":28193,"material":123,"size":28194,"collection":90,"collections":28195,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":49},220436,"bai-hua-cheng-rui-tu-li-fang-ying-220436","百花呈瑞图","李方膺的这件作品一反他笔墨豪放，纵逸豪宕的风格，用笔、设色都较工整收敛，清新明快，秀丽雅致。从自题七言中推知此画也许是为长辈所作，所以画面祥和安逸，色调稳重。\n李方膺的作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼 诗草》，仅二十六首，多数散见于画上。",[23,7,24,241,27,83,451,327,84,446,5795,14767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff472fcd233211bf609eb0bda41e43b4d.jpg","纵162.5厘米，横43.1厘米",[90,45],{"id":28197,"slug":28198,"title":28199,"dynasty":76,"author":10376,"museum":20,"description":28200,"tags":28201,"thumbUrl":28202,"material":342,"size":28203,"collection":163,"collections":28204,"showCount":28042,"zanCount":5,"manualWeight":48,"mainColor":94},220379,"fang-ju-ran-yan-fu-yuan-xiu-tu-wang-hui-220379","仿巨然烟浮远岫图","此幅以纵向构图取势，山头处作小块状的矾头，为雄伟的山峦增添了灵巧的韵动感。山谷间绘茂密的丛林，使苍茫的山峦增添了生命的气息。图中山石以大披麻皴皴擦，其明净淡雅的线条营造了画面云烟飘渺的意境。\n此图是王翚晚年仿宋巨然《烟浮远岫图》的代表作之一。据王翚仿巨然的同名画扇（现藏北京故宫博物院）款题而知，王翚首次见到巨然的《烟浮远岫图》是在“毗陵庄太史家”，当时他42岁（癸丑，1673年），款题：“巨然《烟浮远岫图》今在毗陵庄太史家，真海内第一墨宝。余尝借观，背临大概。寄呈闻川尊先生。”又题长句，落款“癸丑上巳日，石谷重识。”王翚自此不断地仿巨然《烟浮远岫图》，或自娱，或送友人留念。他送笪重光的仿品目前藏于美国普林斯敦大学美术馆。根据图上所钤“王藻儒考藏图书”印可知本幅是他送友人王藻儒之作。\n《王奉常书画题跋》、《吴越所见书画录》著录。",[23,7,24,241,29,27,177,649,34,37,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d1a5c1fb9dc7984b460e2cfeed8b21.jpg","纵187厘米，横67.2厘米",[163,181],{"id":28206,"slug":28207,"title":28208,"dynasty":99,"author":1480,"museum":364,"description":28209,"tags":28210,"thumbUrl":28211,"material":342,"size":28212,"collection":181,"collections":28213,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":49},220070,"gao-yan-shang-mei-tu-tang-yin-220070","高岩赏梅图","此作用笔灵秀兼具劲健，卷云皴勾勒出高岩奇崛之态，层叠飞泉沿壁下注，木桥架于清溪之上，野意盎然。右侧缓坡疏林茅舍错落，隐士凭栏远眺，远景江天寥廓，落日晕染平川，清寂空濛。\n\n笔墨间糅合宋画的挺括与元人松秀，枯木枝桠简劲，点叶清润雅致。题诗与山水相生，将幽居高卧、寄情林泉的出世襟怀融于尺幅，以淡远之境写澹泊之心，尽显文人山水画的清逸韵致，是诗意与画境完美合璧的佳作。",[7,173,177,241,29,448,175,108,109,176,34,558,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0187c50b0efe3c29ab5d2d6bc7fb4d.jpg","71.5 x 34.3 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色彩鲜艳明快，笔墨工整。",[7,209,24,241,28,27,106,29,448,244,63,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16ec146f1085c0dfe8356014a6f5971.jpg","纵119.7横61.5厘米",[44],{"id":28252,"slug":28253,"title":28254,"dynasty":189,"author":293,"museum":206,"description":28255,"tags":28256,"thumbUrl":28257,"material":2398,"size":139,"collection":181,"collections":28258,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":1335},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[23,7,1397,105,177,27,2502,176,1015,109,35,491,1926,1575,560,2125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg",[181],{"id":28260,"slug":28261,"title":28262,"dynasty":18,"author":1616,"museum":132,"description":28263,"tags":28264,"thumbUrl":28265,"material":123,"size":28266,"collection":90,"collections":28267,"showCount":28042,"zanCount":5,"manualWeight":48,"mainColor":49},218970,"yu-yu-fang-mu-tu-li-tang-218970","雨余放牧图","雨后的山野浸着清润气息，山峦如黛，轻烟似纱晕染其间，远近层次在水墨中渐次铺展。老松虬枝盘结，苍劲枝干斜倚崖边，松针上似还挂着未干的雨珠。坡地间，牛群散卧或缓行，有的低头啃食带露青草，有的两两相依，蹄印浅浅印在湿润泥土上。远处山影朦胧，几只飞鸟掠过天际，更衬出天地静谧。整幅画将田园悠然与自然清旷融于一体，每一笔都带着岁月温润，仿佛能嗅到雨后泥土芬芳，听见风过松林轻响，让人沉醉在这份与世无争的安然里。",[7,24,29,177,173,27,151,1575,281,176,34,394,491,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b23892c23ea69db3c885cc88ea4dc2d.jpg","纵204横96厘米",[90],{"id":28269,"slug":28270,"title":17784,"dynasty":18,"author":293,"museum":206,"description":28271,"tags":28272,"thumbUrl":28273,"material":342,"size":28274,"collection":181,"collections":28275,"showCount":28042,"zanCount":5,"manualWeight":48,"mainColor":94},218802,"xi-shan-xian-guan-tu-yi-ming-218802","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭和亭子，渔民在溪水中垂钓，对世界的年龄漠不关心。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它更像是吴镇的作品，或者是他的画派的画家。",[23,7,209,173,177,29,107,109,174,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b516d907046bcbf6ec55b7114bf4e5.jpg","32.4x24.8",[181],{"id":28277,"slug":28278,"title":8697,"dynasty":18,"author":293,"museum":206,"description":28279,"tags":28280,"thumbUrl":28282,"material":123,"size":28283,"collection":44,"collections":28284,"showCount":28042,"zanCount":5,"manualWeight":48,"mainColor":49},218719,"luo-han-tu-yi-ming-218719","在花园的一个角落里，一个盘腿的罗什坐在冥想椅上，右手拿着一个花瓶，从花瓶里向天空照出一道红光。椅子前面是一张花台，上面有一盆植物和一个香炉，花台前面是一个人，手里拿着一个宝箱。颜色鲜艳，装饰柔和，笔触精确。罗汉和拜师者衣服上的凤凰和花朵图案，禅椅上的锦垫，花几上的花巾，禅椅上的树和坐垫，甚至拜师者的头发，都刻画得非常细致，可与刘松年的罗汉院画相媲美。",[23,7,24,241,27,28,259,106,25116,1532,313,28281,17366,4525,34,2951],"座椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd362133adfb33f41649c7af71c1066fb.jpg","105.5x55.6",[44],{"id":28286,"slug":28287,"title":28288,"dynasty":76,"author":13273,"museum":20,"description":28289,"tags":28290,"thumbUrl":28292,"material":123,"size":28293,"collection":44,"collections":28294,"showCount":28042,"zanCount":5,"manualWeight":48,"mainColor":94},218523,"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[23,7,24,25,28,27,106,453,62,27117,28291,11566,12875,10779,505,86,178,227],"椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","32.4x136.4",[44],{"id":28296,"slug":28297,"title":28298,"dynasty":99,"author":1572,"museum":132,"description":28299,"tags":28300,"thumbUrl":28301,"material":123,"size":28302,"collection":181,"collections":28303,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":49},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[7,24,241,27,29,1575,174,1351,176,109,4614,1016,177,28,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[181],{"id":28305,"slug":28306,"title":12495,"dynasty":189,"author":293,"museum":206,"description":28307,"tags":28308,"thumbUrl":28309,"material":342,"size":28310,"collection":181,"collections":28311,"showCount":28042,"zanCount":48,"manualWeight":48,"mainColor":94},218283,"jiang-tian-lou-ge-tu-yi-ming-218283","层楼倚崖耸峙，飞檐翘角若振翅欲飞，木构窗棂皆细致勾勒，尽显楼阁之巍峨精巧。江面浩渺无垠，数叶轻舟泛于云水之间，似有渔歌隐约。远山如黛，在云雾氤氲中层层晕染，渐次隐入天际，天地间尽是清旷之气。笔墨简淡却意韵悠长，将建筑的工致与江天的空阔相融，清风仿佛穿堂而过，涛声似在耳畔轻吟。画面静谧空灵，尽显元人山水之悠远意境，观之令人心随舟行，神驰于江天之间，顿生旷达之感。",[7,104,260,29,107,174,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b9cd06ac1c83e4a168b35b2a899c84.jpg","83.7x40cm",[181],{"id":28313,"slug":28314,"title":28315,"dynasty":189,"author":293,"museum":20,"description":28316,"tags":28317,"thumbUrl":28318,"material":123,"size":28319,"collection":181,"collections":28320,"showCount":28042,"zanCount":5,"manualWeight":48,"mainColor":49},218190,"han-jiang-xing-lv-tu-yi-ming-218190","寒江行旅图","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过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是不可或缺的重要人物。",[23,7,173,446,83,224,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a952a0aa9c1a5088e4461d5982c15c7.jpg","30.3×31.3",[90,163],{"id":28499,"slug":28500,"title":28501,"dynasty":99,"author":2917,"museum":206,"description":28502,"tags":28503,"thumbUrl":28504,"material":827,"size":28505,"collection":181,"collections":28506,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":49},222414,"hua-zhu-an-chun-zhou-zhou-zhi-mian-222414","花竹鹌鹑轴","绘雨后竹子越发翠绿，紫色的喇叭花缠绕其上，湖石下一对鹌鹑正观景觅食。画顶端有范允临题：雨过竹色明，风恬鸟声乐。睡起北窗凉，斜阳在高阁。周之冕，字服卿，明代画家，擅花鸟，所绘鸟禽栩栩如生。",[23,7,24,241,83,27,28,242,10824,450,604,298,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877ec000da3e80bb4d127ada41a2f4e7.jpg","111.7x29.7",[181,163],{"id":28508,"slug":28509,"title":28510,"dynasty":99,"author":28511,"museum":20,"description":28512,"tags":28513,"thumbUrl":28514,"material":40,"size":28515,"collection":44,"collections":28516,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":94},222082,"sui-chao-jia-zhao-tu-zhu-jian-shen-222082","岁朝佳兆图","朱见深","画幅右上方有明宪宗朱见深御题：“柏柿如意。一脉春回暖气随，风云万里值明时。画图今日来佳兆，如意年年百事宜。”款署：“成化辛丑文华殿御笔”，钤“广运之宝”。\n图中画钟馗，犀利的目光紧盯着飞来的蝙蝠，一手持如意，一手扶在小鬼的肩头；小鬼双手捧着盛有柿子和柏枝的托盘，寓意“百事如意”。\n明代以前，悬挂钟馗像是年节时一项重要的风俗活动，用以驱鬼辟邪，至明清之交此风俗才渐渐移向端午，所以这幅“岁朝佳兆图”可以看作是一幅祈祥祝福的宫廷年画。此图作于成化十七年（1481年），画法老练，衣纹的勾描顿挫有力，人物的造型生动夸张，显示了这位皇帝画家的娴熟技能。",[23,209,7,24,241,27,28,260,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b9fc4e6f55bfb12448810b6d3f9227.jpg","纵59.7厘米，横35.5厘米",[44,45],{"id":28518,"slug":28519,"title":28520,"dynasty":99,"author":1170,"museum":206,"description":28521,"tags":28522,"thumbUrl":28523,"material":40,"size":28524,"collection":181,"collections":28525,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":49},222038,"zhang-song-wu-lu-zhou-dai-jin-222038","长松五鹿轴","这幅画的主题是长松和鹿，长松代表长寿，鹿因与「禄」谐音，带有「福禄」或「俸禄」的意思，所以这张画具有祝寿或是祈福的功能。本画的构图与戴进一般作品不同，垂直的松林、形状像石笋的山峰和围绕的祥云几乎塞满画面全部的空间，让整幅画充满平面装饰的趣味。",[23,7,241,27,29,1575,3167,957,177,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8af83ff4d6f77521d790ed2136c0af.jpg","纵：142.5厘米 横：72.4厘米",[181,45],{"id":28527,"slug":28528,"title":28529,"dynasty":99,"author":28530,"museum":206,"description":28531,"tags":28532,"thumbUrl":28533,"material":6625,"size":28534,"collection":181,"collections":28535,"showCount":28358,"zanCount":5,"manualWeight":48,"mainColor":94},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[23,7,24,241,27,177,29,1575,35,558,176,1445,106,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","122.4x51.5厘米",[181,163],{"id":28537,"slug":28538,"title":28539,"dynasty":189,"author":5444,"museum":20,"description":28540,"tags":28541,"thumbUrl":28542,"material":40,"size":28543,"collection":181,"collections":28544,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":94},221753,"zuo-kan-yun-qi-tu-sheng-mao-221753","坐看云起图","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[23,7,24,1562,173,27,177,29,106,281,394,1653,176,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[181,45],{"id":28546,"slug":28547,"title":28548,"dynasty":76,"author":10376,"museum":101,"description":28549,"tags":28550,"thumbUrl":28551,"material":88,"size":28552,"collection":181,"collections":28553,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":94},219901,"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","此为王翚仿关仝笔意作太行山图,其于画幅中央作突兀怪石、山泉溪谷,以细密雨点皴作出,颇有范宽枪笔俱均之势",[23,7,24,25,29,27,177,649,37,34,1112,31,176,1255,2523,9156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[181],{"id":28555,"slug":28556,"title":1692,"dynasty":99,"author":1170,"museum":206,"description":28557,"tags":28558,"thumbUrl":28559,"material":381,"size":28560,"collection":181,"collections":28561,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":49},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[7,24,209,177,173,27,29,108,109,174,175,34,558,106,176,241,560,649,1444,118,464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[181],{"id":28563,"slug":28564,"title":11671,"dynasty":18,"author":293,"museum":206,"description":28565,"tags":28566,"thumbUrl":28567,"material":123,"size":28568,"collection":90,"collections":28569,"showCount":28358,"zanCount":5,"manualWeight":48,"mainColor":49},219181,"ku-mu-zhu-shi-tu-yi-ming-219181","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石头后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的突显，属元代枯木竹石画风。画中草木与院藏赵孟俯〈竹石古木〉表现诸如，此画上虽无款印，但可估计此后一画风的古代例子，学者猜测可能正与赵孟俯关系密切。",[23,7,173,241,543,242,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59e40997092e7d1968961782449871.jpg","107.9x51.1",[90],{"id":28571,"slug":28572,"title":28573,"dynasty":18,"author":2007,"museum":7875,"description":28574,"tags":28575,"thumbUrl":28577,"material":123,"size":28578,"collection":90,"collections":28579,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":94},219084,"can-he-yuan-yang-tu-ma-lin-219084","残荷鸳鸯图","图为荷塘岸边枯萎的荷花，两朵荷花干枯，细杆上隐约可见一层薄薄的雪花，似弯折折断； 一对鸳鸯站在岸边，羽毛鲜艳，身体匀称，一副低头的样子，似乎在寻找食物。",[209,7,24,1562,27,28,243,28576,2555,224,83,245,227],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8148e5c307f646b726f878e7dad3e86.jpg","25.4x24.4cm",[90],{"id":28581,"slug":28582,"title":28583,"dynasty":76,"author":17074,"museum":206,"description":28584,"tags":28585,"thumbUrl":28586,"material":88,"size":28587,"collection":90,"collections":28588,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":94},218810,"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","画面中两只额摩鸟姿态悠然，昂首者似欲引吭，俯身者若寻幽草。翎羽纤毫毕现，颈间蓝红绒羽如霞披覆，肌理质感细腻入微。旁侧牡丹姹紫、玉兰皎洁，枝桠间燕语呢喃，石畔小雀啄食，生机盎然。青绿山石晕染温润，皴擦有致，与禽鸟花木相映成趣。上下题跋为御制诗文，笔墨苍劲，典重之气扑面而来。整幅画作工写兼备，设色妍丽却不失清雅，奇禽异卉共构一堂，既有自然生趣，亦含皇家苑囿的雍容气象，堪称清代宫廷花鸟走兽画的精品之作。",[209,7,24,241,28,27,83,224,327,430,176,86,227,281,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[90],{"id":28590,"slug":28591,"title":28592,"dynasty":18,"author":3185,"museum":578,"description":28593,"tags":28594,"thumbUrl":28595,"material":123,"size":28596,"collection":139,"collections":28597,"showCount":28358,"zanCount":5,"manualWeight":48,"mainColor":1335},218603,"wu-bai-luo-han-zhi-shou-hu-shu-jin-tu-zhou-ji-chang-218603","五百罗汉之受胡输赆图","画面的上半部分是五个罗汉在云中行走，身后是由松柏树组成的瀑布，而下半部分是一个长鼻黑眼的胡人骑着骆驼，手里拿着一个珊瑚，另一个胡人负责拉着骆驼。风景和人物是用柔和的细线画出来的，使其生动而自然。北周庾信的《哀江南》写道。西边的大厅用浮玉覆盖，南边的大厅用羽毛覆盖。武秦与越阴，荆燕与楚舞。这就是为什么后来经常用 西厅南隅 的说法来指代来自四面八方的贡品的朝拜。这幅图像和面向山姆的竹林图像都是献宝的图像，而且都显示了非汉族人的打扮，如身穿红袍、打扮成金人的骆驼手。",[23,7,24,241,259,27,106,28,431,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a32d2b58935d5585c6c8a74a79b2ef4.jpg","110.5x52.0",[],{"id":28599,"slug":28600,"title":28601,"dynasty":76,"author":1947,"museum":364,"description":28602,"tags":28603,"thumbUrl":28605,"material":123,"size":28606,"collection":44,"collections":28607,"showCount":28358,"zanCount":5,"manualWeight":48,"mainColor":49},218491,"ting-qin-tu-yu-lan-218491","听琴图","幽篁入镜，琴音似萦。室内雅集间，主人横琴而坐，指下弦动；侧畔听者凝神，眉宇间尽是悠然。侍女轻持乐器侍立，案上文玩罗列，红萼点缀其间，更添几分雅致。窗外竹影婆娑，与镜中幽林相映，虚实交织间，尽显文人闲逸之趣。笔墨细腻，器物精描，人物神态宛然，将一段琴韵中的闲适时光，凝于绢素之上，引人沉醉于这清寂又温暖的雅境里。",[7,209,28,27,106,10323,210,6605,242,28604,5579,5578,27214],"文玩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79ea1cf75ecae2ee4a8c203cf5dc219.jpg","88x41.7",[44],{"id":28609,"slug":28610,"title":22201,"dynasty":189,"author":293,"museum":20,"description":28611,"tags":28612,"thumbUrl":28613,"material":123,"size":28614,"collection":181,"collections":28615,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":49},218217,"qiu-xi-chui-diao-tu-yi-ming-218217","画中的渔夫端坐在边石上，手持鱼竿，凝视着水面，似乎随时都可能有鱼上钩。身后是一片葱郁的树林，秋天的色彩浓郁而温暖。水面上漂浮着几片落叶，显示出季节的变迁。\n\n整幅画流露出一种平和而悠闲的气氛，令人感到身心放松。这也是秋溪垂钓图的独特魅力所在。",[7,173,27,29,394,1653,245,109,106,1351,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d078f22a1ebaa637bd9d0770e6f670d.jpg","26x23.7cm",[181],{"id":28617,"slug":28618,"title":1692,"dynasty":189,"author":28619,"museum":206,"description":28620,"tags":28621,"thumbUrl":28622,"material":342,"size":28623,"collection":181,"collections":28624,"showCount":28358,"zanCount":1547,"manualWeight":48,"mainColor":49},218166,"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[23,7,24,241,173,177,29,176,34,109,108,35,558,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[181],{"id":28626,"slug":28627,"title":28628,"dynasty":54,"author":293,"museum":3627,"description":28629,"tags":28630,"thumbUrl":28631,"material":3631,"size":139,"collection":139,"collections":28632,"showCount":28358,"zanCount":5,"manualWeight":48,"mainColor":49},217286,"jiang-mo-bian-dun-huang-tu-juan-4-yi-ming-217286","降魔变·敦煌图卷-4","古朴绢本上，笔墨流转间铺展着一段生动叙事。左侧世俗人物神态各异，衣袂飘举间透着生活气息；中间裸身有须者围坐伞下，伞面纹饰繁复，身旁神兽昂首展翼，灵动线条勾勒出其威猛与祥瑞兼具的姿态；右侧僧侣群像肃穆，衣袍色彩沉稳，传递出宁静的宗教氛围。整幅画以流畅线描为骨，设色淡雅却层次分明，人物与神兽、世俗与神圣场景交织，既捕捉生活细节，又蕴含佛教故事的庄严奇幻，岁月痕迹里仍能感受到鲜活的艺术张力。",[209,7,24,25,27,28,259,2340,106,8738,29,281,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc400e9da6b17613f5e9395694aaabf3d.jpg",[],{"id":28634,"slug":28635,"title":18690,"dynasty":18,"author":293,"museum":20203,"description":28636,"tags":28637,"thumbUrl":28638,"material":342,"size":28639,"collection":44,"collections":28640,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":94},217001,"jiu-ge-tu-yi-ming-217001","此《九歌图》共九段，分别绘《东君》《河伯》《湘夫人》《大司命》《少司令》《云中君》《湘君》 《山鬼》《国荡》，缺《东皇太一》《礼魂》。",[23,7,24,25,260,173,106,899,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec00dfbd7a8b8065f4b1da78192376.jpg","33x743",[44],{"id":28642,"slug":28643,"title":28644,"dynasty":76,"author":28645,"museum":206,"description":28646,"tags":28647,"thumbUrl":28648,"material":123,"size":28649,"collection":44,"collections":28650,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":94},216968,"li-zhu-cui-xiu-ce-liang-mu-lan-he-da-zi-216968","丽珠萃秀册-梁木兰","赫达资","梁木兰是清朝著名的艺术家，她是在《丽珠萃秀册》中被介绍的。《丽珠萃秀册》是一部清朝时期的艺术名录，其中记录了当时著名的艺术家、书画家、雕塑家、音乐家和舞蹈家的作品和生平经历。梁木兰是其中的一位艺术家，她出身于辽宁省大连市，在清朝时期以其精湛的书法和绘画技艺而闻名。",[7,24,81,27,28,106,245,29,7464,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607e3ef4147ab6d830a434d5bcc7fcb8.jpg","30.1x22.5",[44],{"id":28652,"slug":28653,"title":1155,"dynasty":54,"author":13140,"museum":132,"description":28654,"tags":28655,"thumbUrl":28656,"material":88,"size":139,"collection":90,"collections":28657,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":94},216664,"mu-niu-tu-dai-song-216664","牧牛图 是一幅画作，出自唐朝时期的画家戴嵩。它是一幅水墨画，描绘了一头牛在田野里放牧的场景。这幅画被认为是戴嵩的代表作之一，因为它体现了戴嵩独特的画风和技巧。牧牛图在唐朝时期广受欢迎，并被认为是中国水墨画的杰出作品。",[7,24,173,27,106,151,430,1159,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f31192c42e51a9881f491e3d50c022.jpg",[90],{"id":28659,"slug":28660,"title":28661,"dynasty":76,"author":28662,"museum":364,"description":28663,"tags":28664,"thumbUrl":28665,"material":123,"size":28666,"collection":44,"collections":28667,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":94},214835,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-214835","仿李晞古采薇图全卷","萧晨","在右边，伯益坐在山坡上，双膝弯曲，认真听着舒淇的讲话，舒淇俯身向前致意，面前放着一把锄头和一筐野菜。萧琛，字灵溪，号仲素，清代画家，善诗，精画，山水人物，师承唐宋。",[23,7,24,25,105,27,28,177,106,1575,176,34,227,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341cd77a009ea4082f79b83c8e83756d.jpg","\u001659.2x27.1",[44],{"id":28669,"slug":28670,"title":28671,"dynasty":99,"author":3114,"museum":206,"description":28672,"tags":28673,"thumbUrl":28674,"material":88,"size":28675,"collection":181,"collections":28676,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":94},214590,"ji-you-hua-ce-jiao-shan-yan-yu-chang-shan-dong-qi-chang-214590","纪游画册-焦山烟雨常山","董其昌是明代著名的画家，他的作品《焦山烟雨常山》是一本纪游画册，记录了他对焦山和常山的游览所作的绘画。这本画册中包含了许多令人惊叹的景观画作，描绘了焦山和常山的自然景观，包括山峦、河流、树木和山水。\n\n董其昌的画风具有浓厚的写实主义倾向，他擅长运用细腻的笔触和精确的色彩渲染，使得他的作品生动形象，充满了真实感。他善于捕捉山水景观的细微变化，表现出了对自然的敬畏之情。\n\n在《焦山烟雨常山》中，董其昌运用了各种不同的画法和技巧，将焦山和常山的自然景观表现得栩栩如生。他擅长运用水墨画的质朴和透明感，使得山水画作充满了韵味。此外，他还注重色彩的运用，运用暖色和冷色的对比，使得画面更加丰富多彩。\n\n总的来说，董其昌的《焦山烟雨常山》是一本绝妙的纪游画册，值得收藏和品味。它不仅体现了董其昌的出色的绘画技巧，而且也展现了他对自然的敏锐观察力和对传统山水画的热爱。董其昌的作品中蕴含着深厚的文化内涵，是中国传统艺术的瑰宝。",[7,24,81,173,177,29,23629,864,430,37,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb86795e50c1a5356ae611c865f7019e.jpg","31.9x17.5cm",[181],{"id":28678,"slug":28679,"title":28680,"dynasty":76,"author":707,"museum":752,"description":1872,"tags":28681,"thumbUrl":28682,"material":803,"size":1875,"collection":139,"collections":28683,"showCount":28358,"zanCount":48,"manualWeight":48,"mainColor":49},214350,"san-jue-shan-shui-ce-12-hua-yan-214350","三绝山水册-12",[23,7,24,81,173,177,29,176,34,920,1420,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d645bd7614b93420bcf09623d61f35a.jpg",[],{"id":28685,"slug":28686,"title":5034,"dynasty":76,"author":77,"museum":364,"description":740,"tags":28687,"thumbUrl":28688,"material":743,"size":744,"collection":139,"collections":28689,"showCount":28690,"zanCount":48,"manualWeight":48,"mainColor":94},290532,"ying-su-yun-shou-ping-290532",[7,81,83,28,27,5034,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b483d6b1aafd58666bcab7fadd694.jpg",[],66,{"id":28692,"slug":28693,"title":28694,"dynasty":189,"author":293,"museum":364,"description":28695,"tags":28696,"thumbUrl":28697,"material":743,"size":744,"collection":139,"collections":28698,"showCount":28690,"zanCount":48,"manualWeight":48,"mainColor":49},290062,"tao-hua-yuan-die-tu-yi-ming-290062","桃花猿蝶图","此作以折枝桃花铺陈画面，柔枝缀满盛放繁花，花瓣晕染细腻，枝叶舒展含露，尽显春日夭桃的娇妍柔媚。猿猴掩映于花枝间，仅露半身与修长猿臂，探伸的姿态暗含灵动憨趣，将猿的机警野态藏在烂漫花影里，动静相生，暗合山林幽趣。\n\n古旧绢色晕染出沉静古朴的基调，清雅敷色衬得花猿愈发生动，以尺幅小景框住林泉一角的生机，尽显幽闲野逸的文人情致，将雅致意趣藏于方寸之间。",[1562,7,209,28,27,279,12940,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e287e8609db02fcf1f553464e2db193.jpg",[],{"id":28700,"slug":28701,"title":28702,"dynasty":18,"author":2007,"museum":206,"description":28703,"tags":28704,"thumbUrl":28706,"material":381,"size":28707,"collection":139,"collections":28708,"showCount":28690,"zanCount":48,"manualWeight":48,"mainColor":49},289562,"jing-ting-song-feng-tu-ma-lin-289562","静听松风图","图绘迎风高松三株，偃仰盘曲，宛若苍龙。枝干遒劲，山风阵阵，枝叶飘洒，藤条飞舞。一老者屈腿悠然坐于临岸松树下，衣襟微开，姿态随意，似侧耳聆听松涛，神气舒畅，有道骨仙风，一童执扇立于前。此画中树干用浓墨线密皴，用笔密实，细枝用线刚劲又不乏柔挺之意。山石用小斧劈皴，远山以线条勾勒后多用水墨渲染，使画面更为清润。人物衣纹劲利流畅，秀逸柔润。",[23,209,7,24,241,27,177,106,29,1575,176,109,28705,7714],"松风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf04368e056b821d8008c1e1d3ddd623.jpg","226.6x110.3",[],{"id":28710,"slug":28711,"title":28712,"dynasty":18,"author":887,"museum":364,"description":8644,"tags":28713,"thumbUrl":28714,"material":743,"size":744,"collection":139,"collections":28715,"showCount":28690,"zanCount":48,"manualWeight":48,"mainColor":49},288990,"gu-mu-guai-shi-tu-su-shi-288990","古木怪石图",[209,7,24,173,245,1653,394,242,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0321701a92b7edb7afa959d7597be7e.jpg",[],{"id":28717,"slug":28718,"title":28719,"dynasty":18,"author":28720,"museum":364,"description":28721,"tags":28722,"thumbUrl":28724,"material":743,"size":744,"collection":139,"collections":28725,"showCount":28690,"zanCount":48,"manualWeight":48,"mainColor":49},288976,"tai-ye-he-feng-tu-feng-da-you-288976","太液荷风图","冯大有","南宋画家，生卒年不详，是南宋吴门（今江苏苏州）人。他自号怡斋，画史记载他善于捕捉莲花风、晴、老、嫩不同的面貌，可说是画莲的能手。",[1562,7,209,28,27,26,83,136,137,281,28723],"微风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feffd42f9cf8108f6afa83f0ebe8d2397.jpg",[],{"id":28727,"slug":28728,"title":28729,"dynasty":76,"author":28730,"museum":364,"description":28731,"tags":28732,"thu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王凝 ， (公元11世纪)〔北宋〕江南人，生卒年不详。画院待诏，为熙宁(1068-1077)前画院高手，工画花竹、翎毛，《宣和画谱》称：“下笔有法，颇得生意。又工为鹦鹉及狮、猫等，非山林草野之所能，不唯责形象之似，亦兼取其富贵态度，自是一格，苟不能焉，终不到也。”重视写生，观察入微，用笔工整，设色绚丽，神态逼肖，形神兼备，笔力精劲，具有宋代院体画特点，作品流传甚少。《宣和画谱》著录御府藏其《绣墩狮猫图》一幅。传世作品有《子母鸡图》册页，纸本，设色，纵42.2厘米，横32.3厘米，描绘一只母鸡携群雏作啄饲状之情景，以形写神，构思巧妙，藏露倚侧，曲尽其妙，笔墨简练，韵格清新，耐人寻味。画面钤有元代顾德辉“金粟道人”、明代“侯懋功印”、清代“宣统御览之宝”和“锡山谈氏珍藏”等收藏印5枚。此图原为清宫旧藏，是故宫《集古图集》册页之一帧，《石渠宝笈初编》著录，现藏台北故宫博物院。",[23,209,7,24,83,28,27,19981,26756],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c311c2ad6d882cfc576c77d301c9e91.jpg","纵42.2厘米，横32.3厘米",[90,45],{"id":28955,"slug":28956,"title":28957,"dynasty":189,"author":1848,"museum":206,"description":28958,"tags":28959,"thumbUrl":28960,"material":827,"size":28961,"collection":181,"collections":28962,"showCount":28690,"zanCount":48,"manualWeight":48,"mainColor":94},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 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olor":49},227296,"gui-xiu-shi-ping-tu-zhou-sheng-shi-yan-227296","闺秀诗评图轴","盛师颜","古时大家闺秀“大门不出，二门不迈”，待在家里的时间长，因此也有闲暇读诗书。一来可以打发时光，二来可以排解幽思。\n\n在这幅画中，一名女子端坐在案几之上，手持一本诗文书卷，神态娴静，正在专心致志地读书。",[23,1160,7,24,241,28,27,59,8612,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0333452de9ecd696360b84a95fb6751a.jpg",[],{"id":29320,"slug":29321,"title":29322,"dynasty":204,"author":2072,"museum":206,"description":29323,"tags":29324,"thumbUrl":29325,"material":139,"size":139,"collection":139,"collections":29326,"showCount":29199,"zanCount":5,"manualWeight":48,"mainColor":49},226706,"he-ting-yi-diao-shi-nv-tu-zhou-zhou-wen-ju-226706","荷亭奕钓仕女图轴","五代南唐周文矩荷亭奕钓仕女图轴，中国古画之一，作者是五代南唐周文矩，幅195.1x98公分；全幅100公分，收藏于台北故宫博物院。",[7,24,241,27,28,106,59,175,136,107,313,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6da1de419707f3ac4b12376b237d53c6.jpg",[],{"id":29328,"slug":29329,"title":29330,"dynasty":18,"author":293,"museum":101,"description":29331,"tags":29332,"thumbUrl":29333,"material":67,"size":29334,"collection":139,"collections":29335,"showCount":29199,"zanCount":5,"manualWeight":48,"mainColor":1335},223493,"ming-huang-xing-shu-tu-zhou-yi-ming-223493","明皇幸蜀图轴","此画绘安史之乱之后，唐玄宗李隆基离开长安逃往巴蜀避难的故事。一群人仓促慌乱而逃，此时杨贵妃已经被唐玄宗赐死于马嵬坡，而画面中无人骑行的白马，应该就是杨贵妃死前的坐骑。",[23,7,27,29,106,241,177,150,176,34,900,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a9c78e8345ce04c7530887632de2f2.jpg","33x45",[],{"id":29337,"slug":29338,"title":886,"dynasty":76,"author":29339,"museum":364,"description":29340,"tags":29341,"thumbUrl":29342,"material":1449,"size":139,"collection":139,"collections":29343,"showCount":29199,"zanCount":5,"manualWeight":48,"mainColor":94},223279,"mo-zhu-tu-liu-shao-ye-223279","刘绍邺","图绘竹子一株，杆三枝，一杆粗壮，二杆修长，竹叶茂盛苍翠。技法上，竹节处以深墨勾勒，凸显竹节的修长；竹深淡墨绘制，更有层次感。",[23,7,24,241,173,242,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316c1218e8b1a967840a981f4c923a3d.jpg",[],{"id":29345,"slug":29346,"title":29347,"dynasty":76,"author":850,"museum":206,"description":29348,"tags":29349,"thumbUrl":29351,"material":40,"size":29352,"collection":90,"collections":29353,"showCount":29199,"zanCount":48,"manualWeight":48,"mainColor":94},222722,"shi-jun-quan-tu-zhi-ba-shan-xing-lang-lang-shi-ning-222722","十骏犬图之八睒星狼","睒星狼为宫廷名犬之一，为科尔沁四等台吉丹达里逊进献。绘睒星狼位于画面中央偏下位置，其身后则以配景形式绘有高大的树木和低矮的花草，色泽鲜丽，清晰细致。",[23,7,24,209,28,27,957,29350,279,34,432,227],"名犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776979946ef2bb6e343e1385068093ab.jpg","246.6x163.8",[90,45],{"id":29355,"slug":29356,"title":29357,"dynasty":76,"author":13037,"museum":20,"description":29358,"tags":29359,"thumbUrl":29360,"material":1716,"size":29361,"collection":181,"collections":29362,"showCount":29199,"zanCount":5,"manualWeight":48,"mainColor":94},222666,"yu-xi-shan-gen-tu-zhou-kun-can-222666","雨洗山根图轴","此幅作于清康熙二年（1663年），时画家52岁。画家以爽快的笔法画出雨后山川清新怡人的景色。画中突出表现林叶低垂、瀑布奔流、溪水浸润及云雾流动这些和雨水密切相关的景象。构图繁密严谨，用笔娴熟苍健，意境悠远深邃。",[23,7,24,241,173,177,29,34,35,174,109,176,1445,394,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03932682651547307896f5d9c08b293b.jpg","纵103厘米，横59.9厘米",[181,163],{"id":29364,"slug":29365,"title":29366,"dynasty":99,"author":29367,"museum":20,"description":29368,"tags":29369,"thumbUrl":29370,"material":40,"size":29371,"collection":90,"collections":29372,"showCount":29199,"zanCount":48,"manualWeight":48,"mainColor":49},222456,"liu-qin-bai-xian-li-zhou-wang-zhao-222456","柳禽白鹇立轴","汪肇","《柳禽白鹇图》绘溪水奔流，浪花翻滚，岸边青草依依，两只白鹇一俯一仰，悠然闲憩。一株杨柳，枝条倒垂，随风飘动；柳畔桃花盛开，数只燕子翻腾嬉戏于柳枝之间，充满早春气息。白鹇画法工细，形象写实，生动传神。羽毛色彩，对比鲜艳。此图工写结合，造型生动自然，色彩丰富，与画家粗简放逸之风有所不同。",[23,209,7,24,241,83,27,28,9453,281,10497,11603,16320,279,109,18637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9797ae11c53f7557aad5da268f564.jpg","纵190，横103",[90,45],{"id":29374,"slug":29375,"title":29376,"dynasty":99,"author":100,"museum":29377,"description":29378,"tags":29379,"thumbUrl":29380,"material":29381,"size":29382,"collection":139,"collections":29383,"showCount":29199,"zanCount":5,"manualWeight":48,"mainColor":94},222197,"jia-fu-ren-li-tu-chou-ying-222197","佳妇人例图","日本早稻田大学图书馆","《佳妇人例图》落款为“实父仇英制”，共绘人物60位，构图、内容、人数与《千秋绝艳图》均雷同，所以有专家言《佳妇人例图》属《千秋绝艳图》的母图或白描草图。\n仇英 ，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[23,7,24,25,260,28,106,59,63,12876,10854,10855,12877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],{"id":29385,"slug":29386,"title":29387,"dynasty":99,"author":966,"museum":56,"description":29388,"tags":29389,"thumbUrl":29390,"material":619,"size":29391,"collection":181,"collections":29392,"showCount":29199,"zanCount":5,"manualWeight":48,"mainColor":49},221981,"shan-zhuang-ke-zhi-tu-wen-zheng-ming-221981","山庄客至图","描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。整幅作品以S型构图，山石皴然兼施，多有抬点，笔致气魄洋溢。是典型的文人画作，淡于仕进，优游林下，以诗文书画自娱，表现自己的品格情怀。此画描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。",[23,7,107,29,864,297,430,4573,27,241,446,803,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677782faafd32968920256e48cddfb04.jpg","纵87.5厘米，横27.3厘米",[181,45],{"id":29394,"slug":29395,"title":29396,"dynasty":189,"author":21191,"museum":20,"description":29397,"tags":29398,"thumbUrl":29399,"material":3076,"size":29400,"collection":181,"collections":29401,"showCount":29199,"zanCount":5,"manualWeight":48,"mainColor":49},221820,"yue-yang-lou-tu-xia-yong-221820","岳阳楼图","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何著笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。 其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[23,7,104,1562,260,27,107,29,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a4943b845226bb520d7033519a172d.jpg","纵24.4厘米，横26.2厘米",[181,163],{"id":29403,"slug":29404,"title":29405,"dynasty":189,"author":17731,"museum":20,"description":29406,"tags":29407,"thumbUrl":29408,"material":803,"size":29409,"collection":163,"collections":29410,"showCount":29199,"zanCount":1547,"manualWeight":48,"mainColor":94},221698,"xin-huang-tu-zhou-gu-an-221698","新篁图轴","作品内容多描写风竹的新篁。运笔遒劲，法度严谨，墨色浓润而匀净，表现风竹的偃仰扶疏、或是新篁的挺健嫩秀，结构取势都恰到好处，具有生动之致，行笔谨严，遒劲挺秀，用墨润泽焕烂，画湖石带勾带染，得皱透之姿，在李衍、柯九思外，自有一股萧疏清逸之气，成为一格。",[23,7,209,241,173,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b21a4dee0286730581dec54763556ab.jpg","91cm,33.1cm",[163,2293],{"id":29412,"slug":29413,"title":29414,"dynasty":189,"author":8176,"museum":206,"description":29415,"tags":29416,"thumbUrl":29417,"material":18383,"size":29418,"collection":181,"collections":29419,"showCount":29199,"zanCount":48,"manualWeight":48,"mainColor":49},221690,"hua-chun-shan-qing-yu-zhou-gao-ke-gong-221690","画春山晴雨轴","高克恭（1248－1310），号房山。其先回鹘人，占籍大同，后居武林。字彦敬，号房山老人，仕至刑部尚书。画山水，学米氏父子，造诣精绝。后学董源、李成、巨然笔法，专取写意气韵，亦擅长墨竹。高克恭画盛名盖世，而流传作品不多。此幅画溪边小景，云影满山，用笔含蓄凝练，用墨温婉蕴藉，突出宁静的氛围。",[23,7,241,173,27,177,29,864,1329,430,1575,109,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","125.1 x 99.7cm.",[181,163],{"id":29421,"slug":29422,"title":29423,"dynasty":18,"author":6566,"museum":20,"description":29424,"tags":29425,"thumbUrl":29426,"material":160,"size":29427,"collection":42,"collections":29428,"showCount":29199,"zanCount":1547,"manualWeight":48,"mainColor":49},221621,"hou-chi-bi-fu-tu-juan-ma-he-zhi-221621","后赤壁赋图卷","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[23,209,7,24,25,260,173,27,29,106,174,394,300,109,281,245,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","25.9*143cm",[42,181,45],{"id":29430,"slug":29431,"title":29432,"dynasty":18,"author":1650,"museum":364,"description":29433,"tags":29434,"thumbUrl":29435,"material":803,"size":29436,"collection":42,"collections":29437,"showCount":29199,"zanCount":48,"manualWeight":48,"mainColor":49},221540,"gao-shi-guan-tiao-tu-ma-yuan-221540","高士観眺图","本作是马远“边角山水”之代表作，他以简练的笔法和精致的诗画意境成功表现了山间景色，笔法劲爽，意境深邃。作品构图精巧，位置经营独到而臻极致。树木、远山集中绘于画幅左侧，以淡墨皴染的山径渐次虚淡。近处的高士持杖远眺，人物衣纹或是兰叶描、或是钉头鼠尾描，线条劲直，或如刀砍竹，或行笔略有颤掣，人物本身怡然惬意的神情已经跃然纸上。画幅右侧大量留白，虚渺空灵。另有一只白鹤转头回望，与高士相响应，款款深情，意蕴无穷，给观者以无穷遐想",[23,7,24,29,175,106,173,27,177,245,394,17234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4306c43ca294d4cdac872ca054890ff8.jpg","82x67",[42,181,163],{"id":29439,"slug":29440,"title":29441,"dynasty":18,"author":29442,"museum":238,"description":29443,"tags":29444,"thumbUrl":29445,"material":40,"size":29446,"collection":139,"collections":29447,"showCount":29199,"zanCount":48,"manualWeight":48,"mainColor":94},221352,"fan-wang-li-fo-tu-juan-zhao-guang-fu-221352","番王礼佛图卷","赵光辅","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[209,7,24,25,259,28,27,106,227,505,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979126ec026d2d53f7d8ef93beef224e.jpg","纵28.6厘米，横103.5厘米",[],{"id":29449,"slug":29450,"title":29451,"dynasty":18,"author":24857,"museum":29452,"description":29453,"tags":29454,"thumbUrl":29456,"material":803,"size":139,"collection":42,"collections":29457,"showCount":29199,"zanCount":48,"manualWeight":48,"mainColor":94},220361,"yuan-pu-gui-fan-tu-yu-jian-220361","远浦归帆图","名古屋德川美术馆","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[23,209,7,24,173,177,29,174,86,649,19737,29455,1966],"远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523feeccb80b8a79fb8b4c95a88ae5d5.jpg",[42],{"id":29459,"slug":29460,"title":29461,"dynasty":18,"author":293,"museum":29462,"description":29463,"tags":29464,"thumbUrl":29465,"material":123,"size":139,"collection":42,"collections":29466,"showCount":29199,"zanCount":48,"manualWeight":48,"mainColor":1335},220255,"xia-jing-shan-shui-tu-yi-ming-220255","夏景山水图","日本久远寺","此图绘深山幽谷，山雨欲来，树木摇曳，云雾弥漫，一隐士拄杖欲过溪桥，侧首观赏林泉，怡然自乐。本图为四季山水四条幅中的一幅，其中春景图早已遗失，其内容不详；秋景图和冬景图流失于日本后，经大内氏、明智院传到金地院；此图在日本由滨松城主太田资宗施给久远寺。各幅在构图、景物刻画上既相互联系，又富于变化，每幅上都有流失日本前钤的二枚鉴藏印。后日本收藏者足利三代将军义满又在画幅上钤『天山』鉴藏印。这三幅图是目前流传下来的宋代四季山水图中最早的作品，体现了南宋画院早期山水画的风格特征。",[23,7,209,1397,241,173,27,177,28,29,1575,176,37,106,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd810dc2b018ad6e47852a0c78483968.jpg",[42],{"id":29468,"slug":29469,"title":29470,"dynasty":18,"author":293,"museum":206,"description":29471,"tags":29472,"thumbUrl":29473,"material":67,"size":29474,"collection":42,"collections":29475,"showCount":29199,"zanCount":48,"manualWeight":48,"mainColor":49},220236,"bian-zhuang-zi-ci-hu-1-yi-ming-220236","卞庄子刺虎1","宋人画卞庄子刺虎图，是从宋代遗存下来的古画，由于作品未留署名，尚不能确定作者是谁，有人推测是出自宋代李公麟之手！这幅画是一副寓意图，描绘的是两只老虎想吃一头牛，而卞庄又想猎杀两只老虎的场景，通过这些场景和最后结果的描绘想劝告人们做事不要只凭勇气，而没有智慧；另一方面的，也阐释出自己人“两只老虎”相争，最后却被别人得到利益。",[7,28,27,106,7281,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34154e0aa0ce30e7ee5f4a8eb6e91b1.jpg","39×169.1公分",[42],{"id":29477,"slug":29478,"title":29479,"dynasty":99,"author":12000,"museum":29480,"description":29481,"tags":29482,"thumbUrl":29483,"material":123,"size":29484,"collection":181,"collections":29485,"showCount":29199,"zanCount":5,"manualWeight":48,"mainColor":49},219979,"qiu-shan-du-shu-tu-zhao-zuo-219979","秋山读书图","武汉博物馆","此作用高远、平远构图铺展秋山胜景，山峦层叠浑厚，以淡墨皴擦间杂赭石晕染，晕开秋山苍润暖意。近林木虬枝疏朗，丹黄点染秋叶，萧疏秋意扑面而来。水岸蜿蜒错落，村居隐于林泉之间，淡笔轻勾出幽居闲致。\n\n笔墨秀雅温润，以淡远之韵绘就山居清寂，将文人寄情林泉、幽居耕读的雅逸心境融于尺幅之间。淡墨轻岚间藏着静穆萧散的诗意，观之便如踏入秋山，似能聆山涧潺湲、沐林间清风，尽显文人山水抒情之妙。",[23,7,241,29,27,177,34,176,464,6922,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d715d2c069e6ab53794d5fc6647f892.jpg","49x97cm",[181],{"id":29487,"slug":29488,"title":29489,"dynasty":76,"author":293,"museum":132,"description":29490,"tags":29491,"thumbUrl":29494,"material":123,"size":139,"collection":44,"collections":29495,"showCount":29199,"zanCount":1547,"manualWeight":48,"mainColor":49},219478,"hu-ren-xing-lv-tu-yi-ming-219478","胡人行旅图","此作以枯寂寒荒的塞外平野为底，疏槎兀立，淡墨晕染出土石的荒寒之气。画面里的行旅队伍意态生动，有人策骑缓行，裹紧衣袍抵御朔风，有人牵马驻足，与同伴低语暂歇，鞍上驮囊暗合行路迢遥。\n\n笔触简淡古雅，设色沉着温润，将边地行旅的羁旅劳顿，同侪间的松弛慰藉细腻铺陈。未刻意描摹壮阔景致，只截取这一段行路日常，便将塞外游子的漂泊况味尽显，带着质朴厚重的边地生活质感，淡远的氛围感勾画出羁旅之人的漫漫归途。",[209,7,27,106,150,1015,900,29492,559,29493],"羁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当年道士等将真谛五术福智五百零九卷，毛成子等二十七家二百三十五卷，通共七百四十八卷，放在坛上。这本书被放在祭坛上，朱棣和费祎的弟子们烧香放火。诸子道书灰飞烟灭，楚、费二人从之感而死。接下来将是梵文的火书和赫拉克勒斯，作为一个新的展台，更加明亮和纯净。当时，摩腾法师的神奇变身凌空而起，冷不丁的一句话：，狐狸不是大师级的，灯不是太阳和月亮的光。池子不是巨大的海，山不是蝴蝶的山。达摩的云彩笼罩着世界，美好的种子绽放。达摩的显现无处不在，改造着众生。即使是佛法、戒律和其他神力的宣扬，也让许多出家的人感到惊讶。",[23,209,7,24,259,104,27,106,176,37,114,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg",[44],{"id":29905,"slug":29906,"title":29907,"dynasty":76,"author":29908,"museum":78,"description":29909,"tags":29910,"thumbUrl":29911,"material":123,"size":139,"collection":44,"collections":29912,"showCount":29644,"zanCount":1547,"manualWeight":48,"mainColor":94},218387,"xie-liu-ru-shi-fu-jin-xiao-xiang-tu-gu-shao-218387","写柳如是幅巾小象图","顾韶","顾韶，字螺峰，钱塘(今杭州)人。清代画家顾洛女。其父擅人物、山水、花卉、翎毛，尤长仕女。写古衣冠，渊雅静穆。顾韶得父真传，人物、花卉臻妙，尤妙婴戏图。\n这幅肖像所画人物为明末清初名妓柳如是。上书小篆“柳如是幅巾小象”，落款“螺峰女史顾韶学画”，钤“螺峰”朱白文印。\n柳如是（1618—1664）本姓杨，名爱，字蘼芜，又有影怜、云娟等别名，改姓柳，名是，又名隐，字如是，号我闻室主人，人称河东君。嘉兴人。明末名妓，秦淮八艳之一。幼年为盛泽徐氏养女，后入吴江故相周道登家为侍婢。继为盛泽归家院妓，能诗善画，曾结交陈子龙，欲托身而未能。后嫁钱谦益为妾，南明亡，劝谦益殉国，不能从。谦益卒，族人争产，自经死。有《戊寅草》、《湖上草》等。\n史载柳如是喜男装。这幅小象中，她幅巾广袖，风姿如玉，眉目间自有清逸之气，可谓传神。",[7,24,241,260,27,106,59,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9021ddbd10d5a9fe53dfbc4a7171900.jpg",[44],{"id":29914,"slug":29915,"title":8697,"dynasty":76,"author":1703,"museum":539,"description":29916,"tags":29917,"thumbUrl":29918,"material":342,"size":29919,"collection":44,"collections":29920,"showCount":29644,"zanCount":48,"manualWeight":48,"mainColor":94},218382,"luo-han-tu-jin-nong-218382","这是一幅长须罗汉坐在棕榈树下，神态安详的画，他已经获得了大罗汉的果位。这幅画是金农人物画的代表作。",[23,7,24,241,259,260,173,106,430,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75ebb87baf372dcdb84c225c1bba02a.jpg","69.1x25.5",[44],{"id":29922,"slug":29923,"title":5477,"dynasty":189,"author":29924,"museum":7359,"description":29925,"tags":29926,"thumbUrl":29927,"material":123,"size":139,"collection":181,"collections":29928,"showCount":29644,"zanCount":5,"manualWeight":48,"mainColor":1335},218251,"xue-jing-shan-shui-tu-sun-jun-ze-218251","孙君泽","寒枝疏瘦，柳条如丝绦般摇曳于雪色间。远山覆雪，皴笔淡染出苍茫寒意；近景暖阁内人影依稀，似有围炉清谈之趣。画面融南宋院体的精工与元人山水的空灵，留白处见雪意，线条间藏生机。萧寒天地中，暖阁的烟火气与远山的静谧相映成趣，于素净笔墨间，寻得一份静谧温情，尽显冬日山水的清旷之美。",[7,1397,241,173,27,177,2502,29,175,1532,176,106,15976,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b3736813819c79171866fb270f653e.jpg",[181],{"id":29930,"slug":29931,"title":29932,"dynasty":54,"author":29933,"museum":20,"description":29934,"tags":29935,"thumbUrl":29936,"material":123,"size":29937,"collection":44,"collections":29938,"showCount":29644,"zanCount":48,"manualWeight":48,"mainColor":49},218143,"liu-zun-zhe-xiang-tu-ce-lu-leng-qie-218143","六尊者像图册","卢楞伽","卢楞伽（生卒年不详），长安（今西安）人。学画于吴道子，喜作经文变相一类绘画，唐玄宗驻跸四川期间由汴入蜀，声名益著。乾元（758-760年）初于大圣慈寺画行道僧，颜真卿为之题名，号称“二绝”。",[23,7,24,81,27,28,259,106,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc5667212353981bcfb16635801cb73.jpg","30x58",[44],{"id":29940,"slug":29941,"title":29942,"dynasty":18,"author":1650,"museum":132,"description":4296,"tags":29943,"thumbUrl":29944,"material":123,"size":4299,"collection":139,"collections":29945,"showCount":29644,"zanCount":5,"manualWeight":48,"mainColor":94},218066,"song-di-ming-ti-ce-san-ma-yuan-218066","宋帝命题册(三)",[23,7,24,81,173,177,86,178,227,29,1575,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c1925505197c148c13f3497d28a207.jpg",[],{"id":29947,"slug":29948,"title":29949,"dynasty":18,"author":1650,"museum":132,"description":4296,"tags":29950,"thumbUrl":29951,"material":123,"size":4299,"collection":139,"collections":29952,"showCount":29644,"zanCount":48,"manualWeight":48,"mainColor":94},218064,"song-di-ming-ti-ce-si-ma-yuan-218064","宋帝命题册(四)",[23,7,24,81,27,1397,864,107,34,37,491,114,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ea61e29236947548d533291b9864bb.jpg",[],{"id":29954,"slug":29955,"title":29956,"dynasty":204,"author":19012,"museum":206,"description":29957,"tags":29958,"thumbUrl":29959,"material":123,"size":139,"collection":44,"collections":29960,"showCount":29644,"zanCount":5,"manualWeight":48,"mainColor":49},216985,"luo-han-zhou-guan-xiu-216985","罗汉轴","罗汉图是五代十国时期的一件珍贵的文物。它是一幅画，描绘了佛教的著名的罗汉（又被称作“菩萨”）。这幅画的特别之处在于，它是由贯休所画。\n\n贯休（907年-971年）是五代十国时期的一位著名的佛教徒和文学家。他是宋朝的开国皇帝赵匡胤的政治顾问，在赵匡胤建立宋朝后，贯休成为了宋朝的一位高级官员。贯休是当时佛教界的知名人士，他著有许多佛教经典，并且在佛教研究方面有很高的造诣。\n\n罗汉图是五代十国时期最重要的佛教文物之一，它对于研究这一时期的佛教文化和历史具有重要的价值。",[7,24,241,259,2714,27,28,106,299,315,11056,5192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dce4cc8cc12226031be8f6e4d29a72c.jpg",[44],{"id":29962,"slug":29963,"title":29964,"dynasty":99,"author":4314,"museum":206,"description":29965,"tags":29966,"thumbUrl":29968,"material":123,"size":29969,"collection":90,"collections":29970,"showCount":29644,"zanCount":48,"manualWeight":48,"mainColor":49},216845,"qiu-zhu-shui-qin-tu-lv-ji-216845","秋渚水禽图","这幅画的布局集中在右下角，占据了图片的绝大部分。从画的右侧中间伸展出几根稀疏的芦苇，有的直上，有的向左，芦苇叶大多下垂;在图片下方，有几根芦苇栖息在堤岸上，其中一根在月亮的脖子上叽叽喳喳，另外两根芦苇回头看。屏幕左侧是平静清澈的海水，是芦苇漂浮的天堂。在图片上方是满月，空旷时，明亮的月光投射在地球上。\n画中的芦苇写得很好，外表生动。芦苇是用厚厚的光和光不同颜色的层叠叠而成的，非常细腻，不仅形状像神萧，而且羽毛的光泽也显现出来。芦苇和木槿的叶茎，淡墨，刷掉。视觉要以浅色演色性，看不到笔痕，使领域广阔而深远;用马原画湖石，夏贵墨钩法，加换，坚固简单;这幅画异常真实，自然而壮观。这幅画，和路易姬的其他花鸟画一样，极大地丰富了花鸟画和笔墨的表达。",[23,209,7,28,27,83,1060,2522,84,300,5066,29967],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa017ac0164b088a5d177f88bd5bd52d1.jpg","纵177.2厘米，横107.3厘米",[90],{"id":29972,"slug":29973,"title":29974,"dynasty":76,"author":293,"museum":206,"description":29975,"tags":29976,"thumbUrl":29977,"material":88,"size":139,"collection":90,"collections":29978,"showCount":29644,"zanCount":1547,"manualWeight":48,"mainColor":94},216604,"niao-pu-ce-yi-ming-216604","鸟谱册","翎羽覆蓝如染，腹间留白似雪，双鸟栖息枝头，姿态悠然。枝上白瓣轻绽，若星点坠叶间；红实缀枝，如丹砂凝珠。墨石以皴擦出肌理，朴拙中见苍劲。旁侧题跋笔意流转，朱印钤盖添韵，笔墨与丹青交融，自然生机与文人雅致相映成趣。画面清逸古雅，于细微处藏匠心，将禽鸟之态、草木之姿绘得灵动鲜活，尽显传统花鸟之韵致，观之如临幽境，心随鸟羽轻扬，沉醉于这份自然与笔墨交织的雅致中。",[7,27,28,81,83,245,281,227,795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fbe133283d9300756a99be85b74661e.jpg",[90],{"id":29980,"slug":29981,"title":29982,"dynasty":189,"author":1848,"museum":206,"description":3519,"tags":29983,"thumbUrl":29984,"material":342,"size":139,"collection":139,"collections":29985,"showCount":29644,"zanCount":48,"manualWeight":48,"mainColor":94},216595,"mo-zhu-pu-ce-ye-3-wu-zhen-216595","墨竹谱册页-3",[23,7,24,173,81,86,227,242,3350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50b05cf34ed2b1620b65ae7ad0712f3.jpg",[],{"id":29987,"slug":29988,"title":29989,"dynasty":99,"author":4600,"museum":132,"description":4601,"tags":29990,"thumbUrl":29991,"material":88,"size":4604,"collection":139,"collections":29992,"showCount":29644,"zanCount":5,"manualWeight":48,"mainColor":4606},216263,"ming-za-hua-ce-2-wang-zhong-216263","明杂画册-2",[7,24,81,27,28,83,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031eea93913669c390a6cd9e1119488c.jpg",[],{"id":29994,"slug":29995,"title":29996,"dynasty":99,"author":1996,"museum":78,"description":1997,"tags":29997,"thumbUrl":29998,"material":342,"size":2000,"collection":139,"collections":29999,"showCount":29644,"zanCount":48,"manualWeight":48,"mainColor":94},214627,"hua-hui-ce-16-chen-chun-214627","花卉册-16",[7,173,446,81,84,5768,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84bb14fac9bc80e3378b9dace3eb0549.jpg",[],{"id":30001,"slug":30002,"title":30003,"dynasty":76,"author":707,"museum":752,"description":1872,"tags":30004,"thumbUrl":30005,"material":803,"size":1875,"collection":139,"collections":30006,"showCount":29644,"zanCount":48,"manualWeight":48,"mainColor":49},214347,"san-jue-shan-shui-ce-13-hua-yan-214347","三绝山水册-13",[23,7,24,173,177,81,29,245,34,37,1575,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf04188718fcb81c7be51f07fefa49c1.jpg",[],{"id":30008,"slug":30009,"title":30010,"dynasty":189,"author":487,"museum":206,"description":6987,"tags":30011,"thumbUrl":30012,"material":342,"size":30013,"collection":139,"collections":30014,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":94},290960,"gu-kou-chun-geng-tu-wang-meng-290960","谷口春耕图",[209,7,24,241,173,29,177,176,394,6178,26422,4653,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2e70b6711706e72d0fd7a32ef37df4.jpg","124.9x37.1",[],{"id":30016,"slug":30017,"title":30018,"dynasty":18,"author":812,"museum":206,"description":23093,"tags":30019,"thumbUrl":30020,"material":67,"size":4289,"collection":139,"collections":30021,"showCount":93,"zanCount":1547,"manualWeight":48,"mainColor":49},290298,"hua-mu-dan-zhou-zhao-chang-290298","画牡丹轴",[209,7,241,27,28,83,327,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd4bca642dcf11d1cb871a52b5b38d1.jpg",[],{"id":30023,"slug":30024,"title":30025,"dynasty":18,"author":4266,"museum":364,"description":30026,"tags":30027,"thumbUrl":30028,"material":743,"size":744,"collection":139,"collections":30029,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":49},289610,"da-de-si-san-zhou-mu-xi-289610","大德寺三轴","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[7,173,259,106,12940,60,1653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe99cf51b9466552ce92335fe26fb02.jpg",[],{"id":30031,"slug":30032,"title":30033,"dynasty":18,"author":24846,"museum":364,"description":30034,"tags":30035,"thumbUrl":30036,"material":743,"size":744,"collection":139,"collections":30037,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},288991,"shi-nv-pu-die-tu-xu-chong-ju-288991","仕女扑蝶图","徐熙孙，与徐崇嗣、徐崇勋为弟兄，生卒年不详。画有祖风，所作花木、禽鸟形骨轻秀。北宋时期徐熙画花木、禽鱼、蝉蝶、蔬果之类极夺造化之妙，与黄筌之花鸟画为当时之两大流派，有“黄家富贵，徐熙野逸”之说。崇矩兄弟虚心好学，吸收黄筌、黄居寀父子画法之长，终于自创“没骨法”新体，摈弃墨笔钩勒而直接用彩色晕染。亦工仕女，曲眉丰脸，姿态可人，有唐人风。",[7,28,27,106,59,604,13052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f63fff7f725a432c5603c8ef3f3dea.jpg",[],{"id":30039,"slug":30040,"title":30041,"dynasty":99,"author":170,"museum":364,"description":5122,"tags":30042,"thumbUrl":30044,"material":743,"size":744,"collection":139,"collections":30045,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},287523,"shan-shui-qiu-yu-ku-shu-tu-ye-shen-zhou-287523","山水秋雨枯树图页",[7,173,29,1015,245,86,227,30043],"秋雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575f5eda6608d49616b249b8bc8e93a3.jpg",[],{"id":30047,"slug":30048,"title":30049,"dynasty":99,"author":24267,"museum":364,"description":30050,"tags":30051,"thumbUrl":30054,"material":743,"size":744,"collection":139,"collections":30055,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":94},287361,"liu-min-tu-juan-gao-qing-zhou-chen-287361","流民图卷(高清)","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[23,7,25,209,173,27,106,30052,8368,61,12940,86,30053],"流民","民生疾苦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89baea17418e8268052ddf9c5e1952b0.jpg",[],{"id":30057,"slug":30058,"title":30059,"dynasty":76,"author":30060,"museum":20,"description":30061,"tags":30062,"thumbUrl":30063,"material":139,"size":139,"collection":181,"collections":30064,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},239443,"fu-chun-shan-ju-tu-juan-huang-jun-239443","富春山居图卷","黄均","黄均（1775－1850），字上琓，号榖原、榖源、香畴、墨华居士、墨华庵主，元和（今苏州）人。据嘉道间大臣梁章钜(1775 - 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[23,7,25,27,177,29,176,34,31,558,1255,111,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[181,45],{"id":30066,"slug":30067,"title":1783,"dynasty":76,"author":77,"museum":364,"description":740,"tags":30068,"thumbUrl":30069,"material":743,"size":744,"collection":139,"collections":30070,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},239430,"shan-shui-hua-hui-ce-yun-shou-ping-239430",[7,173,177,29,174,281,394,2522,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131190f5d73525615989a121640b7a89.jpg",[],{"id":30072,"slug":30073,"title":30074,"dynasty":76,"author":30075,"museum":20,"description":30076,"tags":30077,"thumbUrl":30078,"material":803,"size":139,"collection":382,"collections":30079,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":94},238975,"he-hua-wang-wen-zhi-ti-yong-zhou-pan-gong-shou-238975","荷花王文治题咏轴","潘恭寿","潘恭寿 （1741－1794），字慎夫，号握篔，又号莲巢，丹徒（今江苏镇江）人。中年归依佛门后，法号达莲。",[241,7,24,173,27,136,137,178,86,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa48d2065c663302255911bf30c46e5.jpg",[382],{"id":30081,"slug":30082,"title":30083,"dynasty":76,"author":2405,"museum":20,"description":30084,"tags":30085,"thumbUrl":30086,"material":40,"size":30087,"collection":44,"collections":30088,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},238204,"duan-yang-gu-shi-tu-ce-xu-yang-238204","端阳故事图册","此图册各开分别描绘了端阳节期间的重要民俗活动，集中表现了历代各地的风俗习惯。每开均以隶书题写画名，并以行书对画作加以注释，以便读者进一步理解画面内容。乾隆皇帝作为出身于满族的清王朝统治者，将顺民心、近民俗视为稳定朝政的一条治国的根本之道，他常谕令宫廷画家以写实的绘画技法表现汉族的民俗事象，除谕令徐扬绘本图册之外，还谕令徐扬绘《姑苏繁华图》、《京春诗意图》，以及命宫廷画家周鲲绘《村市生涯图》等等，以便对汉民族的风俗传统有更为形象的认知。\n第一开名《射粉团》，题：“射粉团，唐宫中造粉团角黍饤盘中，以小弓射之，中者得食。”\n第二开名《赐枭羹》，题：“汉令郡国贡枭为羹赐官以恶鸟，故食之。”\n第三开名《採药草》，题：“五日午时蓄採众药治病，最效验。”\n第四开名《养鸲鹆》，题：“取鸲鹆儿毛羽新成者去舌尖，养之皆善语。”\n第五开名《悬艾人》，题：“荆楚风俗以艾为人悬门户上，以禳毒气。”\n第六开名《系采丝》，题：“系采丝，以五色丝系臂，谓之长命缕。”\n第七开名《裹角黍》，题：“以菰叶裹粘米为角黍取阴阳包裹之义，以赞时也。”\n第八开名《观競渡》，题：“观競渡，聚众临流称为龙舟胜会。”\n此图册构图严谨精妙，人物造型秀逸生动，线条遒劲流畅，色彩明丽典雅，显示出作者较强的写实功底和乾隆朝宫廷绘画工整清丽的笔墨特点。\n图册上钤有乾隆皇帝诸方玺印：“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等。",[7,24,81,28,27,106,430,227,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23165b22fac125b7d6ddb6e8f6f1549e.jpg","每开纵20.7厘米，横18.2厘米",[44,45],{"id":30090,"slug":30091,"title":30092,"dynasty":99,"author":1083,"museum":364,"description":30093,"tags":30094,"thumbUrl":30095,"material":139,"size":139,"collection":139,"collections":30096,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":49},237908,"ting-qin-zhou-chen-hong-shou-237908","听琴轴","《陈洪绶听琴轴》是明代画家陈洪绶创作的一幅绫本设色画，该画现藏于 。\n款署：“枫溪弗迟老人陈洪绶写于定香桥畔。\n”钤“字章侯”白文印。\n图绘一端庄文弱的女子在专心抚琴的场景。\n其优美的琴音吸引了周围的人，侍女驻足恭听，不愿打扰动听的旋律；男子侧耳静听，不愿落掉每一个音符。\n“弹”与“听”构成了画作的主题，也表达了文人所向往的一种娱乐情趣和他们日常的家居生活状态。\n此幅所绘人物形象古拙，线描造型准确传神，显现出作者深厚的艺术功底和既写实又独具韵味的笔墨特点，是其仕女人物画的代表作之一。",[7,24,209,241,27,28,260,106,59,210,448,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f517614b1bbd46132ab010b3fe9ea3e.jpg",[],{"id":30098,"slug":30099,"title":30100,"dynasty":76,"author":2040,"museum":20,"description":26273,"tags":30101,"thumbUrl":30102,"material":139,"size":139,"collection":90,"collections":30103,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},236194,"hua-mei-hua-zhang-zhao-shu-shi-cheng-shan-zou-yi-gui-236194","画梅花张照书诗成扇",[7,24,1562,27,83,448,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e5ea3cc711760373bed9285838479.jpg",[90,45],{"id":30105,"slug":30106,"title":20281,"dynasty":76,"author":293,"museum":364,"description":30107,"tags":30108,"thumbUrl":30109,"material":139,"size":139,"collection":44,"collections":30110,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":94},235155,"hong-ren-shan-shui-ce-yi-ming-235155","此作为书画合璧，题字行书清隽疏朗，诗文自带幽寂襟怀，与下幅山水浑然相融。\n\n画面以淡墨皴擦写秋山，山石造型方硬简劲，不作繁复修饰，尽显冷峻清瘦之态。几株疏木错落林间，枝叶简淡萧疏，衬出空山寥落之境。林下二人对坐晤谈，于幽寂山境中添上几分文人情致，不见烟火气，只余林泉高致。整幅笔墨极简，却将静穆淡远的出世意趣尽数铺陈，淡而不枯、简而不空，尽显文人山水画以简驭繁的悠远意境，藏着寄心林泉的幽然雅怀。",[7,24,81,173,177,29,34,176,106,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5652b925f461d694a5eb18ea56028f.jpg",[44,382],{"id":30112,"slug":30113,"title":30114,"dynasty":99,"author":11574,"museum":20,"description":30115,"tags":30116,"thumbUrl":30117,"material":40,"size":30118,"collection":139,"collections":30119,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":49},233881,"fu-rong-e-tu-zhou-sun-long-233881","芙蓉鹅图轴","图绘池塘草畔，一只大鹅昂首前望，侧立于芙蓉、湖石下。芙蓉花叶用先点后勾法画成，墨、色相间。太湖石以没骨法渲染。鹅则兼用没骨与勾勒，以淡墨线勾勒轮廓、羽毛，淡墨渲染花色，朱棕赭石填染咀和掌，造型严整，笔致工细。整幅画不拘泥于细节的刻划，而是从整体出发，着力表现白鹅、芙蓉的生动神态。\n在画法上，作者将写意与写形、没骨与勾勒、水墨与淡彩融为一体，和谐地统一于图画之中。这种画法的渊源，应为宋、元以来水墨写意花鸟技法的发展和变异，是孙隆的一种创造，开写意花鸟画之新风。此图为其存世佳作。",[7,209,24,241,83,27,82,450,10065,137,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4161d97123ab1447f6e046cfecf58534.jpg","纵159.3厘米，横84.1厘米",[],{"id":30121,"slug":30122,"title":30123,"dynasty":189,"author":1672,"museum":206,"description":30124,"tags":30125,"thumbUrl":30127,"material":803,"size":30128,"collection":139,"collections":30129,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":94},232254,"tong-lu-qing-qin-tu-ni-zan-232254","桐露清琴图","元代画家倪瓒喜爱梧桐，相传他每日令童子汲水清洗院中的桐树，“门前杨柳密藏鸦，春事到桐花。敲火试新茶。想月珮，云衣故家。苔生雨馆，尘凝锦瑟，寂寞听鸣蛙。芳草际天涯。蝶栩栩，春晖梦赊。”春日阶前桐花开，画家试新茶时想起故家，有如庄周梦蝶，已是芳草天涯。这首《太常引 伤逝》题在一幅画作中，可惜画作已不见。《桐露清琴图》中几株挺拔的桐树立于竹舍茅屋边，不知是不是就是画家心中的故园呢？\n“桐花快落春风老，梅子微酸晚雨晴。从此嬉游时节少，不须日日报诗成。”春风与桐花归去后，无须整日游春赋诗，不如在雨后夏夜多读几本书吧。",[7,173,29,177,178,227,864,430,340,35,245,8892,7176,30126,12724,7067,1726,560,650],"枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","90.1x30 厘米",[],{"id":30131,"slug":30132,"title":30133,"dynasty":292,"author":293,"museum":364,"description":30134,"tags":30135,"thumbUrl":30136,"material":743,"size":744,"collection":139,"collections":30137,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":94},231610,"fu-hua-bai-miao-shi-er-tian-tu-xiang-di-shi-tian-zhen-hai-ben-dong-jing-yi-ming-231610","佛画 白描十二天图像 帝释天(珍海本-东京)","此作为白描佛画，以纯墨线塑就神祇形象。作者以游丝描勾勒衣袂褶皱，婉转舒展如流云拂过，尽显织物飘逸柔润；刻画宝冠璎珞时则换为挺劲铁线描，凝练勾勒出庄严华贵的气度。\n帝释天面容慈悲沉静，眉眼间自带悲悯沉静的神性。两侧题字斑驳古拙，为画作晕染出厚重的岁月质感。整作极简笔墨中兼具宗教造像的肃穆威仪，尽显中古佛画的典雅法度，笔墨之间藏着东方宗教美术的内敛禅意，是一件极具韵味的宗教绘事佳品。",[23,7,24,259,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f79510cd2eea3790c69a98476d0571.jpg",[],{"id":30139,"slug":30140,"title":30141,"dynasty":99,"author":170,"museum":206,"description":30142,"tags":30143,"thumbUrl":30144,"material":803,"size":30145,"collection":139,"collections":30146,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},231359,"xie-sheng-ce-zhi-ji-tu-shen-zhou-231359","写生册之鸡图","2017年是农历丁酉鸡年，鸡在中国的十二生肖中寓意吉祥，鸡与“吉”谐音，因此被视为吉祥之禽。鸡有五德“文、武、勇、仁、信”，雄鸡是好斗的勇士，它的气魄和英姿受到历代文人墨客的赏识，同时公鸡有信德，报时从不会报错，古人说这是“守夜不失时”，是信德的表现。在中国画中，鸡的题材有着大吉大利、金鸡报晓、金鸡迎春、闻鸡起舞等吉祥寓意，所以深受历代画家喜爱，历史上留下了许多画鸡佳作。\n目前见到比较早的画鸡作品，是南宋宫廷画家李迪画的绢本《鸡雏待饲图》。画面未画任何背景，以写实手法描绘了两只憨态可掬的雏鸡，一只站立，一只半卧，均张嘴待哺，一副等待母鸡饲喂的天真模样，刻画细致入微，形象生动自然，难怪被明代大收藏家项墨林钤盖上“神品”的印章。明代画家沈周也爱画鸡，他画的《芙蓉雄鸡图》，运用简练的勾勒，淡雅的设色，将一只雄鸡刻画得活灵活现。他在画中题句：“百斗不一挫，高鸣人尽惊，忠臣与孝子，夜半候雄声。”赋予了鸡高贵不凡的品德。曾经郑振铎收藏后捐给中国美术馆的水墨《鸡》，题诗“突弁峩峩血染成，雄姿独擅斗芳名”，堪称中国水墨写意花鸟画的鼻祖。",[209,7,24,81,173,446,710,83,3478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd4c5f12c94f57193e9fef705b25e832.jpg","34.8×53.8cm",[],{"id":30148,"slug":30149,"title":30150,"dynasty":76,"author":1109,"museum":364,"description":30151,"tags":30152,"thumbUrl":30153,"material":139,"size":139,"collection":139,"collections":30154,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":49},229000,"jiao-ye-mo-se-tu-ce-12-kai-shi-tao-229000","郊野墨色图册12开","《石涛花卉》是219年中国书店出版的图书，作者是孙棋。\n石涛是一位多才多艺的艺术家，善画山水，兼工墨竹、花卉、人物。\n他吸收传统文化的精髓，但不受传统精神束缚，反对墨守成规，敢于打破陈法，主张对绘画技法进行变革和创新，是中国绘画史上出类拔萃、屈指可数的人物之一。\n石涛精于花卉蔬果，尤其是传统的“四君子”题材的绘画。\n他在继承传统的基础上进行创新，花卉潇洒隽朗、天真烂漫、清气袭人，人物生拙古朴、别具一格。\n可以说，石涛开清代花鸟画之先河，在中国花鸟画史上有着不可替代的地位。\n着色花卉图册八帧 岷江春色图 花卉图册十二帧 细笔花卉图册十帧 山水花卉图册八帧 郊野墨色图册十二帧 苦瓜和尚书画册十二帧 人物花鸟图册八帧 陶渊明诗意图册十二帧 写枝山诗意图册十帧",[7,173,27,177,81,29,864,297,34,35,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a1d8a7dff20448467a31c175199486.jpg",[],{"id":30156,"slug":30157,"title":30158,"dynasty":99,"author":4904,"museum":364,"description":30159,"tags":30160,"thumbUrl":30161,"material":139,"size":139,"collection":139,"collections":30162,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},228465,"kong-que-mei-hua-tu-zhou-lu-zhi-228465","孔雀梅花图轴","虬曲老梅横斜错落，红白两色梅花次第绽放在柔枝之上，冷艳娇柔间衬出古木苍劲朴拙。两只孔雀栖于枝头，一仰一顾，翠色绒羽晕染细腻，眼状翎斑层叠分明，华贵翎羽舒展下垂，姿态悠然又灵动传神，尽显瑞禽雍容气度。\n\n画作兼工带写，以工笔精绘孔雀肌理，写意铺陈梅枝古态，冷暖色调交融和谐，将春日生机与祥瑞意趣藏于笔墨之间，暗合咏颂长寿的美好寄寓，是兼具雅致文心与吉祥意涵的精妙之作。",[23,7,24,241,28,27,83,312,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e3d407997aaad3691b913985c7aa58.jpg",[],{"id":30164,"slug":30165,"title":30166,"dynasty":18,"author":474,"museum":364,"description":30167,"tags":30168,"thumbUrl":30170,"material":139,"size":139,"collection":139,"collections":30171,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},227489,"ting-qin-tu-li-zhou-zhao-ji-227489","听琴图立轴","徽宗一朝，在中国绘画发展历史上具有重要意义。熟悉徽宗宫中艺事的邓椿在《画继》中载徽宗之言：“朕万几余暇，别无他好，惟好画耳。”赵佶以皇帝之尊提倡绘画，广招天下贤士进翰林图画院，提高院画家地位，并将“画学”前所未有地纳入科举的轨道，中国绘画的职业化至此达至极盛。",[23,7,24,241,27,28,106,449,242,210,227,759,30169,10779,63,431],"琴桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305792b178f52b137d5657051444750f.jpg",[],{"id":30173,"slug":30174,"title":30175,"dynasty":76,"author":7124,"museum":364,"description":30176,"tags":30177,"thumbUrl":30178,"material":139,"size":139,"collection":139,"collections":30179,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},226639,"shan-shui-shan-mian-pu-ru-226639","山水扇面","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,7,1562,29,27,1575,106,176,109,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1194f3f821239671a24fdd604c5306ed.jpg",[],{"id":30181,"slug":30182,"title":30183,"dynasty":18,"author":2531,"museum":364,"description":30184,"tags":30185,"thumbUrl":30186,"material":139,"size":139,"collection":139,"collections":30187,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":1335},226544,"gui-zhao-tu-zhou-jing-hao-226544","归棹图轴","五代十国时，虽然国家四分五裂战乱连年，南唐都城所在地却相对平稳，于是有了书画艺术的一个发展高峰期。特别是中国山水画发展的重要时期，一些画家在唐代以青绿或水墨青绿在屏障上挥写大山大水或松石林木的基础上，深入大自然中进行创作。五代时中国水墨山水画趋于成熟，以以荆浩、关仝为代表的北方画家和以董源、巨然为代表的南方画家创立了真实生动的雄伟北方峻岭和秀丽江南山川两大山水画体系，世称“荆、关、董、巨”。这里介绍荆浩绘画作品。",[23,209,7,24,241,173,177,29,174,109,175,281,34,106,491,1915,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99961b5d997a891ba19d41dce3890d15.jpg",[],{"id":30189,"slug":30190,"title":20662,"dynasty":18,"author":293,"museum":364,"description":30191,"tags":30192,"thumbUrl":30193,"material":743,"size":744,"collection":139,"collections":30194,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},223663,"e-mi-tuo-fo-tu-yi-ming-223663","阿弥陀佛（梵语Amitābha），又名无量佛、无量光佛、无量寿佛等。大乘经载，阿弥陀佛在过去久远劫时曾立大愿，建立西方净土，广渡无边众生，成就无量庄严功德，为大乘佛教所广为崇敬和弘扬。大乘佛经主要如《无量寿经》、《阿弥陀经》、《观无量寿佛经》，对阿弥陀佛及其西方极乐世界均有详述。大乘佛教流传之地，如中国、日本等大乘教区，阿弥陀佛信仰也尤为繁盛和重要。而汉传佛教的净土宗，则完全以往生阿弥陀佛的西方净土作为专修的法门。",[23,1160,7,24,241,259,106,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe74592da1391b22d35470a1a2831b583.jpg",[],{"id":30196,"slug":30197,"title":30198,"dynasty":18,"author":293,"museum":364,"description":30199,"tags":30200,"thumbUrl":30202,"material":139,"size":139,"collection":139,"collections":30203,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":49},223632,"lian-chi-shui-qin-tu-zhou-dui-zhou-er-yi-ming-223632","莲池水禽图轴对轴二","以没骨晕染写就盛夏荷塘生机，粉荷或粲然盛放，或含苞待绽，淡粉水色晕出花瓣柔润层次，娇妍动人。石绿敷色的荷叶，渍染出卷舒枯荣，苍润兼具，尽显池上蓊勃夏意。\n\n两只水禽优游波间，翎羽细勾淡染，姿态闲舒缓和，破开繁花叶影的静谧，添了灵动生趣。\n\n古雅的旧绢底色晕染出宋韵古澹，构图疏密错落，将荷塘幽谧生机融于尺幅，藏着宋人格物观照的雅致意趣，虽经岁时磨损，依旧能窥见院体花鸟工致温婉的审美品格。",[23,209,7,24,241,28,27,243,136,137,1060,30201],"池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad2f0b5b63fb5100d6e2037573719a0.jpg",[],{"id":30205,"slug":30206,"title":30207,"dynasty":18,"author":293,"museum":206,"description":7297,"tags":30208,"thumbUrl":30212,"material":67,"size":7302,"collection":139,"collections":30213,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":1335},223471,"xi-mao-tu-yi-ming-223471","戏猫图",[23,7,209,27,28,956,957,83,244,327,84,315,30209,115,2951,7299,867,30210,30211],"宠物","设色工笔","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg",[],{"id":30215,"slug":30216,"title":30217,"dynasty":76,"author":9280,"museum":206,"description":30218,"tags":30219,"thumbUrl":30220,"material":803,"size":30221,"collection":44,"collections":30222,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},223326,"mo-gu-kai-zhi-luo-shen-tu-juan-ding-guan-peng-223326","摹顾恺之洛神图卷","《清丁观鹏摹顾恺之洛神图》虽是摹本，然山水造型已自朴拙稚趣的古典画洋，转为成熟的金碧山水，且景物间的比例关系已趋精确；援以西洋明暗设色法与定点透视法，表现脸部五官、马匹体态与空间层次，营造合乎视觉经验的画面。丁观鹏在当时受到西洋绘画的影响，本卷中采取光影与透视法即是。",[23,7,24,25,27,28,106,150,34,176,105,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea4b7ef2e14f9b4457400360dcabf0de.jpg","28.1x587.5",[44,45],{"id":30224,"slug":30225,"title":30226,"dynasty":76,"author":850,"museum":206,"description":14253,"tags":30227,"thumbUrl":30228,"material":665,"size":14257,"collection":181,"collections":30229,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":271},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）",[23,209,7,28,27,104,29,107,106,115,176,34,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg",[181,45],{"id":30231,"slug":30232,"title":30233,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":30234,"thumbUrl":30235,"material":27,"size":6032,"collection":139,"collections":30236,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},222746,"xian-e-chang-chun-tu-04b-lang-shi-ning-222746","仙萼长春图-04b",[23,7,209,24,81,28,27,83,224,225,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb1c18ed325a1598fb52160021a962f.jpg",[],{"id":30238,"slug":30239,"title":30240,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":30241,"thumbUrl":30242,"material":27,"size":6032,"collection":139,"collections":30243,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":94},222739,"xian-e-chang-chun-tu-01a-lang-shi-ning-222739","仙萼长春图-01a",[23,209,7,24,81,28,27,83,327,227,13695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327134945f8934e75f6ed2989c364895.jpg",[],{"id":30245,"slug":30246,"title":30247,"dynasty":99,"author":1012,"museum":206,"description":30248,"tags":3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衬出超凡仙逸。留白开阔空灵，将世外之人的澹泊闲情，知己同游的融融意态铺陈开来，笔底藏着山林隐者的逍遥，古意悠悠，静雅动人。",[23,7,24,241,28,260,27,106,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc7edf6d9652291b3fbe4295465e07a.jpg",[44],{"id":30414,"slug":30415,"title":30416,"dynasty":99,"author":19836,"museum":206,"description":30417,"tags":30418,"thumbUrl":30419,"material":88,"size":30420,"collection":45,"collections":30421,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":94},219301,"xi-yuan-tu-zhu-zhan-ji-219301","戏猿图","此图画水石间，大小三猿嬉戏。石上一黑猿怀抱幼子，子猿伸臂似在争要什么，情态娇憨可爱。树上另一只黑猿拿着一枝花果，欲投又止，似在戏逗。石周围长着细竹秀草，石下边溪水潺潺。 [1] 图中洋溢著温馨亲子之情，寓有崇尚人伦之意。画猿得宋易元吉神韵，背景之竹丛苇草、荆棘枇杷，线条自然流利。山石皴法圆润，得董巨遗韵。整幅画构图中正和谐，与宣宗皇帝雍容大度，颇能呼应。",[209,7,24,27,28,10873,957,242,431,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66456e94601929135286fec127ea8bba.jpg","纵162.3厘米，横127.7厘米",[45],{"id":30423,"slug":30424,"title":30425,"dynasty":76,"author":7142,"museum":20,"description":30426,"tags":30427,"thumbUrl":30428,"material":123,"size":30429,"collection":181,"collections":30430,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":49},219092,"shan-zhuang-qiu-ren-tu-yuan-yao-219092","山庄秋稔图","此图描绘山庄秋天的景色。村舍环绕于绿色山树中，茅庐内村人闲适，近处一牧童放牛于缓坡之上；远山高耸，突兀奇绝，烟云缭绕。设色青绿，构思精巧，结构准确，层次分明，显现出作者精于刻画的写实功力。",[7,27,104,28,177,29,107,176,34,106,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8916945174cef62eec1b5b888a7cedde.jpg","纵182.5厘米，横96.8厘米",[181],{"id":30432,"slug":30433,"title":30434,"dynasty":99,"author":1572,"museum":539,"description":30435,"tags":30436,"thumbUrl":30437,"material":123,"size":30438,"collection":90,"collections":30439,"showCount":93,"zanCount":1547,"manualWeight":48,"mainColor":49},219028,"qun-lu-tu-wen-zheng-ming-219028","群鹿图","层峦叠嶂间林木苍郁，群鹿嬉戏于溪畔石边，或卧饮清泉，或昂首远眺，或追逐嬉闹，姿态各异，灵动鲜活。鹿谐音“禄”，群鹿齐聚暗合福禄绵延的祥瑞寓意，藏着文人对顺遂生活的寄望。山石以淡墨皴染，线条清劲中见温润；树木勾勒细致，枝叶繁密却不杂乱；鹿群的轮廓与肌理刻画入微，神态毕肖。整幅画将山水的清幽与走兽的生机相融，尽显吴门画派雅致醇厚的格调，古旧绢色更添岁月沉淀的静谧之美，似在诉说自然与人文交织的诗意篇章。",[23,7,27,28,177,29,3167,957,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7960bcc17b6b77977da508ad692bfa.jpg","纵186.5横96厘米",[90],{"id":30441,"slug":30442,"title":1155,"dynasty":18,"author":293,"museum":364,"description":30443,"tags":30444,"thumbUrl":30445,"material":123,"size":30446,"collection":42,"collections":30447,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},219011,"mu-niu-tu-yi-ming-219011","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[23,209,7,24,1562,173,27,151,394,245,109,227,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[42],{"id":30449,"slug":30450,"title":14638,"dynasty":18,"author":4266,"museum":132,"description":30451,"tags":30452,"thumbUrl":30453,"material":88,"size":8379,"collection":90,"collections":30454,"showCount":93,"zanCount":1270,"manualWeight":48,"mainColor":49},218941,"yuan-tu-mu-xi-218941","墨色晕染间，猿猴踞于山石之上，敛息凝神，似与周遭空寂相融。枯枝斜出，线条简劲如铁，牵起几分悠远禅意。山石以淡墨皴擦，肌理隐现却不刻意，留白处尽是天地的虚静。整幅画无多余笔墨，却在简淡中藏着深湛的禅思——物我两忘，心与境合。猿的眼神安详，仿佛已沉入永恒的静谧，连风都在此刻停驻。笔墨的疏朗与意境的幽远交织，恰似禅者的顿悟，于无声处叩击心灵。每一处淡墨的晕散、每一道线条的起落，都在诉说着禅画的精髓：不执于形，只追于心。山石的朴拙、猿的静定，共同织就一幅空灵的禅境图卷，引人踏入物我两忘的虚静之境。",[7,24,209,173,446,177,10873,957,245,1062,1729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a688cef2370db7643864b3746bd2747.jpg",[90],{"id":30456,"slug":30457,"title":9270,"dynasty":76,"author":1892,"museum":4848,"description":24482,"tags":30458,"thumbUrl":30459,"material":88,"size":139,"collection":181,"collections":30460,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},217987,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987",[7,24,241,29,177,27,105,176,34,109,108,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[181],{"id":30462,"slug":30463,"title":30464,"dynasty":99,"author":4600,"museum":132,"description":4601,"tags":30465,"thumbUrl":30467,"material":88,"size":4604,"collection":139,"collections":30468,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":4606},216259,"ming-za-hua-ce-6-wang-zhong-216259","明杂画册-6",[7,27,28,227,83,603,299,713,30466,698],"根茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f2d1231e91e0eead919ad5dde30bb8.jpg",[],{"id":30470,"slug":30471,"title":30472,"dynasty":189,"author":2876,"museum":78,"description":30473,"tags":30474,"thumbUrl":30475,"material":381,"size":30476,"collection":181,"collections":30477,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":49},214730,"qing-liang-wan-cui-tu-cao-zhi-bai-214730","清凉晚翠图","曹知白（1272-1355），字又玄，号云西，今上海松江人。与黄公望、倪瓒交往最密，常以书画相酬唱。山水继承李郭画派，风格清疏简淡、秀润飘逸。他对松江地方贡献很大。1294年，朝廷诏令中书左丞开凿吴淞江，曹知白以策从行，功绩居多。1298年，他又提出置阏成堤之法，取得良好效果。后被荐为昆山教谕，不久辞去。卒后葬于松江修竹乡干山之原。",[7,173,29,177,86,227,394,1653,174,109,245,491,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba94454b3af5651c31aa4a282fe07e1.jpg","纵21.1厘米，横21.2厘米",[181],{"id":30479,"slug":30480,"title":1479,"dynasty":189,"author":293,"museum":206,"description":30481,"tags":30482,"thumbUrl":30483,"material":123,"size":30484,"collection":44,"collections":30485,"showCount":93,"zanCount":5,"manualWeight":48,"mainColor":49},214667,"sui-chao-tu-yi-ming-214667","这幅画描绘了元旦的热闹场面，村子里人山人海，喜气洋洋，老老少少欢天喜地地迎接春天。从笔触和服装来看，这幅画是由明代仇英画派的画家所作。",[7,27,28,29,106,107,1015,115,35,175,281,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5571aa43f0fbb8334aac6f762fc1a525.jpg","146.5x45.3",[44],{"id":30487,"slug":30488,"title":30489,"dynasty":189,"author":190,"museum":206,"description":30490,"tags":30491,"thumbUrl":30492,"material":743,"size":744,"collection":139,"collections":30493,"showCount":30494,"zanCount":1547,"manualWeight":48,"mainColor":49},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[209,7,24,241,173,29,30,34,109,175,245,177,86,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":30496,"slug":30497,"title":30498,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":30499,"thumbUrl":30500,"material":743,"size":744,"collection":139,"collections":30501,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},290080,"hong-hua-tu-li-zhou-wu-chang-shuo-290080","红花图立轴",[23,7,241,27,173,83,1216,245,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188cc8526e0cecaabcb51988541cb2c9.jpg",[],{"id":30503,"slug":30504,"title":30505,"dynasty":204,"author":30506,"museum":364,"description":30507,"tags":30508,"thumbUrl":30509,"material":743,"size":744,"collection":139,"collections":30510,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":49},289960,"jiang-xing-chu-xue-tu-zhao-gan-289960","江行初雪图","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,209,7,25,27,1397,3465,174,1351,1015,2522,2502,1016,106,26370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6231144b6f47232f68a05a22d27743f8.jpg",[],{"id":30512,"slug":30513,"title":30514,"dynasty":18,"author":4266,"museum":364,"description":30026,"tags":30515,"thumbUrl":30517,"material":743,"size":744,"collection":139,"collections":30518,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},288931,"liu-yan-tu-mu-xi-288931","柳燕图",[209,7,173,83,241,3246,30516],"飞燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a4bbe2fedd263205569199a0c9d5b4.jpg",[],{"id":30520,"slug":30521,"title":30522,"dynasty":76,"author":1703,"museum":364,"description":30523,"tags":30524,"thumbUrl":30525,"material":743,"size":744,"collection":139,"collections":30526,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},288390,"mei-hua-tu-lian-li-zhou-jin-nong-288390","梅花图联立轴","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[23,7,241,83,448,173,27,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18a90a4baed7675ccdbb4e7b13fa224e.jpg",[],{"id":30528,"slug":30529,"title":30530,"dynasty":76,"author":876,"museum":364,"description":15789,"tags":30531,"thumbUrl":30532,"material":743,"size":744,"collection":139,"collections":30533,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},239458,"hui-bu-si-guo-juan-qian-wei-cheng-239458","回部四果卷",[7,24,25,27,28,178,86,227,1299,2807,713,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a10e9be96c5643887aeff2b4ec9e0b8.jpg",[],{"id":30535,"slug":30536,"title":30537,"dynasty":76,"author":293,"museum":206,"description":30538,"tags":30539,"thumbUrl":30540,"material":619,"size":30541,"collection":44,"collections":30542,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},238870,"mei-gui-fei-chun-gui-ren-xing-le-tu-zhou-yi-ming-238870","玫贵妃春贵人行乐图轴","此图描绘玫贵妃与春贵人、鑫常在花园中钓鱼的情景。人物形神毕肖，个性鲜明，明显带有肖像画特征，对研究晚清嫔妃的宫廷娱乐生活具有较为珍贵的影像价值。\n此图所绘主人公玫贵妃，姓徐佳氏，是清代咸丰皇帝的嫔妃，初为贵人，后进玫嫔。同治皇帝在位时，尊封其为玫贵妃。",[7,241,28,27,106,59,1532,136,137,176,313,84,2994,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0271796fde7f4f01e55be68f0f4a86c.jpg","纵169cm，横90cm",[44,45],{"id":30544,"slug":30545,"title":4025,"dynasty":76,"author":1394,"museum":20,"description":30546,"tags":30547,"thumbUrl":30549,"material":1716,"size":30550,"collection":181,"collections":30551,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},237575,"shan-shui-zhou-wang-shi-min-237575","本幅款署：“己酉初夏为公超词兄画。王时敏。” 钤“王时敏印”、“西庐老人”、“真寄”朱文印。\n“己酉”为清康熙八年（1669年），王时敏时年78岁。\n此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[209,7,24,241,173,29,652,1250,560,108,464,2218,30548],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纵135厘米，横63厘米",[181,163],{"id":30553,"slug":30554,"title":30555,"dynasty":76,"author":13037,"museum":20,"description":13038,"tags":30556,"thumbUrl":30559,"material":1642,"size":139,"collection":181,"collections":30560,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},236272,"qiu-shan-you-jing-tu-zhou-kun-can-236272","秋山幽静图轴",[7,1397,241,173,7241,109,174,108,107,899,558,30557,30558],"幽境","苍莽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca894ea502bfc800f010545c07b430e.jpg",[181,163],{"id":30562,"slug":30563,"title":5505,"dynasty":76,"author":707,"museum":364,"description":30564,"tags":30565,"thumbUrl":30566,"material":139,"size":139,"collection":90,"collections":30567,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},236002,"hua-hui-tu-ce-hua-yan-236002","此作取景清雅，折枝粉菊伴棘条挺然生姿，朱色竹枝斜斜破局，水墨湖石静卧留白处，虚实错落间尽显疏朗意韵。\n\n设色秀润柔和，菊瓣晕染细腻，将霜蕊的清妍尽显；朱竹艳而不俗，风骨暗藏；湖石以淡墨轻擦慢皴，苍润空灵。右上角题诗入画，与花木绘境相映，诗书印画相融，文气满溢。\n\n笔意松灵秀逸，将花木的清刚与温婉揉为一处，借草木寄寓幽人风骨，淡远雅致的逸趣扑面而来，尽显文人隽雅的审美意趣。",[7,27,173,81,83,453,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaea60374c721a553bff14a64dc81773.jpg",[90,45],{"id":30569,"slug":30570,"title":30571,"dynasty":76,"author":614,"museum":364,"description":30572,"tags":30573,"thumbUrl":30574,"material":743,"size":744,"collection":90,"collections":30575,"showCount":30494,"zanCount":1270,"manualWeight":48,"mainColor":94},235482,"huang-shen-shu-guo-tu-ce-huang-shen-235482","黄慎蔬果图册","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[7,24,81,173,27,5767,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a06080dfb464dc2918e366572dfcfde.jpg",[90],{"id":30577,"slug":30578,"title":30579,"dynasty":99,"author":30580,"museum":364,"description":30581,"tags":30582,"thumbUrl":30583,"material":743,"size":744,"collection":139,"collections":30584,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":94},234847,"hai-tang-fu-die-tu-shan-ye-qu-yuan-jing-234847","海棠蚨蝶图扇页","瞿元镜","瞿元镜 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汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[7,24,27,28,29,107,108,109,34,176,114,17563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],{"id":30692,"slug":30693,"title":30694,"dynasty":18,"author":293,"museum":206,"description":30695,"tags":30696,"thumbUrl":30697,"material":123,"size":30698,"collection":42,"collections":30699,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},223520,"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[23,7,209,24,241,28,27,83,448,242,224,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[42,90,45],{"id":30701,"slug":30702,"title":30703,"dynasty":99,"author":1012,"museum":515,"description":30704,"tags":30705,"thumbUrl":30706,"material":4796,"size":30707,"collection":181,"collections":30708,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},222600,"qiu-shan-you-ju-tu-juan-lan-ying-222600","秋山幽居图卷","这幅画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。他的画法有两种，一种作钩勒浅绛法。另一种作没骨法，设色鲜艳突目，所画红树、青山、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水作品。",[23,7,25,173,177,29,7241,464,34,109,174,281,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","26.3x246.5",[181,163],{"id":30710,"slug":30711,"title":8670,"dynasty":99,"author":14350,"museum":78,"description":30712,"tags":30713,"thumbUrl":30714,"material":27,"size":30715,"collection":90,"collections":30716,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":94},222448,"hua-niao-tu-zhou-lin-liang-222448","林良作花鸟画取材十分广泛。他最擅于画禽鸟，从江湖山野的苍鹰、小雀、鱼鸟、芦雁，到宫廷后苑的仙鹤、孔雀、凤凰等等，都一一入画。他对禽鸟作了细致入微的观察，将禽鸟的飞鸣食宿之态，跳攀争斗之势表现得十分准确、生动、传神。林良画的花木同样是生气勃勃：汀芦、灌木、翠枝、枯藤等植物呈现出含苞养秀、荣枯凋落等各种生态，充满野趣和生机。\n林良在花鸟画领域中，最具创造性的是他对水墨写意技法的运用。他把南宋马远、夏圭的水墨山水画技法引入花鸟画之中，打破了工笔与写意的界限，大大丰富了花鸟画的表现方法。而林良的写意，又只是在写实之中略为开放，既不背离形似，又不着意于酷似。他以水墨为主作画，黑白变化多端。萧镃于明景泰六年为林良的《九思图》题曰：“……宣庙间，边景昭五色翎毛称独步，近日林良用水墨，落笔往往皆天趣。”《明画录》则称林良“着色花果翎毛极精巧，取水墨为烟波出没，凫雁嚵唼容与之态，颇见清淡。树木遒劲如草书，人莫能及。”",[23,7,241,173,446,83,224,1062,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a383be487dab662a8b62819082463dd.jpg","36X183cm",[90,163],{"id":30718,"slug":30719,"title":30720,"dynasty":189,"author":9595,"museum":206,"description":30721,"tags":30722,"thumbUrl":30724,"material":67,"size":30725,"collection":181,"collections":30726,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,209,7,24,25,104,260,27,106,107,502,149,297,34,30723,227],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[181,163],{"id":30728,"slug":30729,"title":30730,"dynasty":99,"author":3114,"museum":20,"description":30731,"tags":30732,"thumbUrl":30733,"material":30734,"size":30735,"collection":181,"collections":30736,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},220940,"fang-gu-shan-shui-dong-qi-chang-220940","仿古山水","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。\n此图册作于明天启元年（1621年），董其昌时年67岁。",[7,24,81,173,29,1015,176,109,105,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ec528469518e200ec75e5ee4b32691.jpg","纸本,水墨和设色","每开纵26.3厘米,横25.5厘米",[181,163],{"id":30738,"slug":30739,"title":30740,"dynasty":189,"author":9595,"museum":101,"description":30741,"tags":30742,"thumbUrl":30743,"material":123,"size":30744,"collection":44,"collections":30745,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":49},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,7,24,25,104,28,27,106,107,34,176,109,175,108,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[44,45],{"id":30747,"slug":30748,"title":30749,"dynasty":189,"author":21912,"museum":101,"description":30750,"tags":30751,"thumbUrl":30752,"material":381,"size":30753,"collection":163,"collections":30754,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":49},220369,"mo-ji-shi-yi-tu-tang-di-220369","摩诘诗意图","《摩诘诗意图》毫无疑问是唐棣山水画的代表作。画面近景巨树磅礴有力，远景平野延展不绝，树木是典型的蟹爪枝，山石是典型的鬼面石，皴法是典型的卷云皴，真可谓得李郭“真传”。",[23,7,173,29,394,176,177,241,491,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd21367e223c6a2061d4a44ff001c3.jpg","71x46cm",[163],{"id":30756,"slug":30757,"title":30758,"dynasty":99,"author":30759,"museum":752,"description":30760,"tags":30761,"thumbUrl":30762,"material":342,"size":30763,"collection":163,"collections":30764,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},220357,"yue-xia-pu-tao-tu-wang-liang-chen-220357","月下葡萄图","王良臣","王良臣（ 生卒年不详），平生无可考。作花卉，意在沈周、徐渭之间，疑为明嘉、万历年间画家。",[7,24,241,173,83,3199,300,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c5d497af84a9427a0bb325bf7c4c38.jpg","188.4x60.2",[163],{"id":30766,"slug":30767,"title":30768,"dynasty":204,"author":30769,"museum":206,"description":30770,"tags":30771,"thumbUrl":30772,"material":123,"size":30773,"collection":44,"collections":30774,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":49},220250,"she-qi-tu-li-zan-hua-220250","射骑图","李赞华","《射骑图》画在一匹装饰得很华丽的骏马面前，站立着一位中年的契丹贵族，服饰上有着“髡发左衽”的特点。所谓髡发，就是剃光了头顶，四周蓄着一圈头发，额前较短，两鬓较长，后面还梳了两根细辫子，辫梢绕着一个小圆圈。画中人物还着左衽的中衣，外罩圆领窄袖的长袍，袍长过膝，腰里裹着一块白色的皮筒卷，即田猎时所穿的“杆腰”，上束金银装饰的皮带。左边腰间挎着一个弓瞍（囊），右边胁下很显著的地方挂着一个长袋子，中间缝一块虎皮，周围装饰着很深的黑色毛皮，袋子上部有球状圆顶，看来这个袋子大约是一个箭筒。",[23,7,209,28,27,106,150,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c627e579c074623886c010c525eb1.jpg","纵27.1厘米，横49.5厘米",[44],{"id":30776,"slug":30777,"title":30778,"dynasty":99,"author":170,"museum":1806,"description":1807,"tags":30779,"thumbUrl":30784,"material":803,"size":1810,"collection":139,"collections":30785,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},220033,"dong-zhuang-tu-ce-zhi-dao-qi-shen-zhou-220033","东庄图册之稻畦",[23,7,24,81,173,29,30780,30781,109,430,1064,30782,30783],"稻","田","屋","田埂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5694bd462c6b7cd7977b9ef743f30161.jpg",[],{"id":30787,"slug":30788,"title":30789,"dynasty":18,"author":7349,"museum":206,"description":30790,"tags":30791,"thumbUrl":30792,"material":803,"size":30793,"collection":42,"collections":30794,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":94},219954,"shan-yin-shu-sha-tu-liang-kai-219954","山阴书箑图","画中每个人物均表情生动，衣纹线条潇洒流畅，虽然不见得是梁楷亲笔所作，却能充分掌握住写意人物的简率趣味。",[23,209,7,24,173,260,10247,106,394,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b1cc436980034bf908ab2030dac5a49.jpg","31.3×58.9公分",[42],{"id":30796,"slug":30797,"title":30798,"dynasty":18,"author":7349,"museum":206,"description":30799,"tags":30800,"thumbUrl":30801,"material":123,"size":30802,"collection":44,"collections":30803,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},219608,"dong-li-gao-shi-tu-liang-kai-219608","东篱高士图","《宋梁楷东篱高士图轴》是南宋画家梁楷创作的作品此画中一高士手拿菊花，漫步在山中。背景用淡墨烘染，而红叶跟高士手中的菊花，点出这幅图画的是秋天。陶渊明是著名的“隐逸诗人”，又特别爱菊花，因此图中的高士不禁让人联想到陶渊明。",[23,209,7,24,241,10247,173,27,106,7242,394,176,109,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6dfba9b9f71ac3b315d150e8db4344f.jpg","纵71.5厘米，横36.7厘米",[44],{"id":30805,"slug":30806,"title":30807,"dynasty":189,"author":293,"museum":7875,"description":30808,"tags":30809,"thumbUrl":30810,"material":123,"size":30811,"collection":44,"collections":30812,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":94},219584,"ting-yuan-chui-di-tu-yi-ming-219584","庭院吹笛图","淡墨轻勾围栏，赭石晕染庭阶，古奇湖石倚立一旁，皴笔苍劲朴拙，带着幽古意态。仕女团髻簪花，罗裙垂曳覆地，静坐凝神，柔婉秀雅的身姿融于空寂庭院中。\n\n设色简淡古雅，沉郁绢色衬出静穆氛围，留白处漫着清寂闲淡，将深闺女子的幽怅藏于无声里。笔致工细却不繁缛，人物情态含蓄温婉，寥寥笔墨便将庭院幽闲意趣与仕女静柔风姿相融，古淡悠长的韵致漫开，把深闺的闲静怅惘晕在空庭里。",[7,24,27,106,59,210,245,115,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d0463155dcdec810230aaf5d57bc7c.jpg","纵25.4横23.5厘米",[44],{"id":30814,"slug":30815,"title":1956,"dynasty":204,"author":30816,"museum":206,"description":30817,"tags":30818,"thumbUrl":30819,"material":123,"size":30820,"collection":44,"collections":30821,"showCount":30494,"zanCount":1547,"manualWeight":48,"mainColor":49},219490,"wen-hui-tu-qiu-wen-bo-219490","丘文播","图绘四文士宴饮、赋诗、抚琴的雅集场景。四人均宽衣大袍，坐于榻上，身旁置酒杯、酒瓶，似在即席作文行酒。四位人物的姿态不一，一人停笔凝思，一人秉笔疾书，而右下者似已醉态微呈，意欲下榻，侍童忙为其穿靴并扶撑其腰，文士转身挥手，招呼怀抱锦袱之女子，而女子则淡妆素抹，作扭首含羞之态。左下背向文士，则牵住右下文士之腰带，似有不让其离席之状。三位挽双髻女子，或抱琴、或端杯侍立于榻旁。此图人物造型具有唐风，结构严谨，衣纹线条疏密有致，运笔极为娴熟。背景中的古树，枝干劲挺虬曲，树叶以三角形堆叠法绘成，并根据疏密搭配，间以色彩轻重渲染，使之古茂苍雄，更进一步衬托了“文会”主题之雅意。",[209,7,24,28,27,260,106,759,10323,394,176,2951,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a055f28d65527ebeb12ed1c39e04aab.jpg","纵84.9厘米，横49.6厘米",[44],{"id":30823,"slug":30824,"title":30825,"dynasty":99,"author":7012,"museum":206,"description":30826,"tags":30827,"thumbUrl":30828,"material":27,"size":30829,"collection":90,"collections":30830,"showCount":30494,"zanCount":1547,"manualWeight":48,"mainColor":94},219406,"song-qin-tu-tan-zhi-yi-219406","松禽图","松针如缕，淡蓝晕染似含晨露清光，垂枝轻逸如丝带斜曳。鸟儿敛翅栖于枝上，羽色温润，黑眸凝睇间藏着几分闲逸与机警。笔墨细腻处，鸟羽纹理纤毫毕现；写意枝干带着自然苍劲，工写相济间气韵流动。留白铺陈更显空灵，仿佛能听见风过松梢轻响，窥见林间幽寂。整幅画无繁复景致，却于极简中见真意——是文人对自然宁静的向往，亦是笔墨间流淌的雅致情韵，将寻常小景化作耐人寻味的诗意栖居。",[7,24,241,28,27,83,449,1938,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565dd85179d3be607a9685089f10b499.jpg","138.3x33.6",[90],{"id":30832,"slug":30833,"title":30834,"dynasty":99,"author":24148,"museum":206,"description":30835,"tags":30836,"thumbUrl":30837,"material":342,"size":30838,"collection":44,"collections":30839,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},219362,"guan-shi-yin-xiang-tu-shen-shi-chong-219362","观世音像图","淡墨线条如行云流水，勾勒出观音端坐之姿。衣纹婉转流畅，纱幔轻盈似有风动，垂坠间尽显织物柔韵。她垂眸含慈，眉宇间凝着悲悯与安宁，头饰虽简却见匠心，衬得面容圣洁温婉。留白处散落的题跋与朱印，既添古朴韵味，亦映证作品流传脉络。整幅画以极简笔触，传递出深沉禅意与人文温度，观之如沐清辉，心渐沉静。",[7,24,209,241,259,106,260,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d098b00d77f489e63754c4af5e92d3.jpg","60.1x32",[44],{"id":30841,"slug":30842,"title":30843,"dynasty":99,"author":30844,"museum":206,"description":30845,"tags":30846,"thumbUrl":30848,"material":123,"size":30849,"collection":45,"collections":30850,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[209,7,24,241,27,28,177,29,107,175,108,109,176,34,30847,115,560,1444],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[45],{"id":30852,"slug":30853,"title":30854,"dynasty":99,"author":293,"museum":752,"description":30855,"tags":30856,"thumbUrl":30858,"material":123,"size":139,"collection":90,"collections":30859,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":49},218987,"ying-jue-ye-tu-tu-yi-ming-218987","鹰攫野兔图","苍鹰振翅俯冲，利爪紧扣野兔，生死博弈的瞬间被凝于绢素。鹰羽纹理毕现，毳毛蓬松若触；野兔蜷身挣扎，双目圆睁含惧。旁侧山石以浓墨皴擦，肌理厚重；枝上红白花簇点缀，柔艳与苍劲相映。笔墨兼具工致与写意，动静相生间，既藏自然野趣，亦显传统花鸟对生命瞬间的精准捕捉——凌厉中见细腻，苍莽里含生机，尽展古画摹写物象、传递意韵的精妙。",[7,27,28,241,4307,30857,650,327],"野兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419616a943fe6b976a5a62a0f0010da8.jpg",[90],{"id":30861,"slug":30862,"title":30863,"dynasty":18,"author":293,"museum":206,"description":30864,"tags":30865,"thumbUrl":30867,"material":123,"size":30868,"collection":42,"collections":30869,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":94},218855,"he-ting-ting-yu-tu-yi-ming-218855","荷亭听雨图","这幅画描绘了一个荷花亭，主人躺在沙发上看荷花、听雨声，而一个童仆拿着小提琴在桥头的花下姗姗来迟，抱头鼠窜，而一只受惊的鸟儿则飞上了天空。这幅画与刘松年的风格相似，笔触厚实而坚定，画感引人入胜。",[23,209,7,27,104,28,175,243,34,107,30866],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4871b40e4780da845cf4f472108e38a.jpg","23.2x24.4",[42,44],{"id":30871,"slug":30872,"title":30873,"dynasty":189,"author":2519,"museum":206,"description":13786,"tags":30874,"thumbUrl":30875,"material":123,"size":30876,"collection":90,"collections":30877,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":49},218830,"shuang-ji-tu-zhou-zhao-meng-fu-218830","双骥图轴",[7,241,27,28,106,150,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae25d8ef2b999b84e7d49b2c4aee4162.jpg","102.8x50.9cm",[90],{"id":30879,"slug":30880,"title":30881,"dynasty":18,"author":293,"museum":206,"description":30882,"tags":30883,"thumbUrl":30885,"material":123,"size":139,"collection":181,"collections":30886,"showCount":30494,"zanCount":1547,"manualWeight":48,"mainColor":49},218724,"qiu-zhu-wen-qin-tu-yi-ming-218724","秋渚文禽图","这是一幅秋日的水岛画，画中有飞鸟和参天古树，意境凄凉。该书被故宫博物院和大英博物馆收藏，学者们普遍认为是元代的作品。",[23,7,209,28,173,27,394,1653,245,1938,30884,297,6922],"渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419d1c3920e5f599788e02111ab56aa9.jpg",[181],{"id":30888,"slug":30889,"title":30890,"dynasty":18,"author":30891,"museum":364,"description":30892,"tags":30893,"thumbUrl":30894,"material":123,"size":139,"collection":181,"collections":30895,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},218611,"han-lin-ce-zhang-tu-hu-yan-long-218611","寒林策杖图","胡彦龙","寒林枝干虬曲如铁，墨色浓淡交织出萧瑟之态。右侧山石以沉凝皴笔勾勒，纹理苍劲，与疏林相映成趣。坡岸之上，策杖者孑然独立，衣袂轻扬似携山风，身影虽小却意态悠然。古雅的棕褐底色衬出笔墨清劲，虚实间藏着宋人的隐逸情怀——林泉之致，不在喧嚣，而在山、树、人的静默相对里。笔墨简淡却韵味悠长，冬日清寒与心境澄明揉进每一笔，观者仿佛能听见林间风声，触到山石凉，读懂那份寄情山水的淡然。",[7,24,29,106,394,176,177,27,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60709ae11956c61255df326d8727958c.jpg",[181],{"id":30897,"slug":30898,"title":30899,"dynasty":18,"author":1275,"museum":364,"description":30900,"tags":30901,"thumbUrl":30903,"material":123,"size":30904,"collection":42,"collections":30905,"showCount":30494,"zanCount":1547,"manualWeight":48,"mainColor":49},218558,"he-hua-chong-jie-tu-lin-chun-218558","荷花虫介图","这幅画描绘了一个有着厚厚的白色条纹和点状绿色皮肤的大绿瓜，红色的蜻蜓和两只蜜蜂在瓜上盘旋，似乎是水果的香味吸引了它们；一只绿色的蚱蜢蹲在宽大的叶面上，似乎也在向瓜爬来。",[209,7,24,28,27,83,136,30902,245,1064],"虫介","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11bbb375e79fb24e593b6af6beedad0f.jpg","28x26",[42],{"id":30907,"slug":30908,"title":30909,"dynasty":76,"author":13111,"museum":20,"description":30910,"tags":30911,"thumbUrl":30912,"material":342,"size":30913,"collection":181,"collections":30914,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},218497,"fang-mei-dao-ren-xia-shan-yu-ji-tu-wu-li-218497","仿梅道人夏山雨霁图","画中远处山峦起伏，层层叠叠，由近及远，矾头突兀，山顶冲入云端，似与天际相连，深山溪水，泉涌不息。中景为广阔的湖面和平坦的沙滩，溪水潺潺；近景为岩石坡，树木茂密，树荫下有几座木屋和草亭，或隐或现，山间有蜿蜒的小路，坡的两边有木板路。",[23,7,24,241,173,177,105,29,108,109,34,649,920,560,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3af964d48c19eeba1aedf541e32e4c.jpg","94.5x35cm",[181],{"id":30916,"slug":30917,"title":4016,"dynasty":99,"author":293,"museum":539,"description":30918,"tags":30919,"thumbUrl":30920,"material":123,"size":30921,"collection":44,"collections":30922,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},218360,"yu-fu-tu-yi-ming-218360","这幅画描绘了一条小船停泊在河岸边的一棵大柳树旁，船边有一个渔夫在睡觉，对面有一个小孩在盯着水面，船边挂着一个鱼哨，而画面中的水波似乎在摇晃着小船。",[23,7,173,260,106,174,109,281,394,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51b1c5078844ad604b93da19526e59.jpg","25x25",[44,45],{"id":30924,"slug":30925,"title":30926,"dynasty":189,"author":293,"museum":1806,"description":30927,"tags":30928,"thumbUrl":30929,"material":123,"size":30930,"collection":181,"collections":30931,"showCount":30494,"zanCount":1270,"manualWeight":48,"mainColor":49},218207,"song-zhai-jing-zuo-tu-yi-ming-218207","松斋静坐图","松斋静坐图是中国元朝时期的一幅著名绘画，作者是佚名。\n\n这幅画的主要内容是一位老僧人在森林中静坐，周围的景色非常宁静。老僧人的脸上没有表情，但整个画面都透露出一种深沉的内省与冥想的气息。\n\n这幅画的风格融合了中国传统的山水画和人物画的元素，画面精致细腻，色彩和谐。松斋静坐图是元朝时期佛教文化的经典代表之一，也是中国绘画史上的珍贵艺术品。",[7,1397,177,27,449,394,176,175,558,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d571379b374461e93289d1506ce0bf6.jpg","170x106.7cm",[181],{"id":30933,"slug":30934,"title":30935,"dynasty":18,"author":1650,"museum":132,"description":4296,"tags":30936,"thumbUrl":30937,"material":123,"size":4299,"collection":139,"collections":30938,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},218059,"song-di-ming-ti-ce-wu-ma-yuan-218059","宋帝命题册(五)",[23,7,24,81,27,29,1015,108,106,86,227,178,109,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7665b03ac750068444024f2eb3650a7.jpg",[],{"id":30940,"slug":30941,"title":30942,"dynasty":99,"author":13614,"museum":206,"description":30943,"tags":30944,"thumbUrl":30945,"material":88,"size":139,"collection":44,"collections":30946,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},218052,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-wu-bin-218052","楞严廿五圆通佛像册","吴彬是明朝的一位著名的文人，他是一位著名的佛学家，在佛教史上有很大的贡献。\n\n楞严廿五圆通佛像册是吴彬所著的一部著名的佛教著作，也是中国佛教史上最著名的像册之一。该像册收录了25尊佛像的图像，其中包括释迦牟尼佛、阿弥陀佛和观世音菩萨等著名的佛像。\n\n像册的图像都是用黑白线条绘制的，但是非常精细，每个细节都清晰可见。这本像册不仅是一部艺术杰作，而且也是一部佛教经典，对于学习佛教的人来说非常有价值。",[7,24,81,27,28,259,106,8852],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aadd995b48af2ed2edde0fe67d588ec.jpg",[44],{"id":30948,"slug":30949,"title":30950,"dynasty":99,"author":1083,"museum":101,"description":2236,"tags":30951,"thumbUrl":30953,"material":123,"size":139,"collection":139,"collections":30954,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},218029,"za-hua-ce-3-chen-hong-shou-218029","杂画册-3",[7,24,81,27,28,83,453,30952,225],"蜗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f00443d432896845aecc3bed05fd9.jpg",[],{"id":30956,"slug":30957,"title":5477,"dynasty":76,"author":30958,"museum":132,"description":30959,"tags":30960,"thumbUrl":30961,"material":123,"size":30962,"collection":181,"collections":30963,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},217880,"xue-jing-shan-shui-tu-li-yin-217880","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[7,24,29,27,177,2502,864,2124,108,1015,9395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20922a690b3a66dc5412ba0ade0554d6.jpg","138x80cm",[181],{"id":30965,"slug":30966,"title":30967,"dynasty":189,"author":18436,"museum":206,"description":30968,"tags":30969,"thumbUrl":30970,"material":123,"size":30971,"collection":44,"collections":30972,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},216990,"shi-de-zi-tu-yan-hui-216990","拾得子图","拾得子图是指《拾得》这本书中所收录的图画，其中包含了许多关于中国古代历史、文化、生活、工艺技术的图画。《拾得》是元朝时期的一本图画书，作者是颜辉。这本书是在元朝时期绘制的，所以拾得子图中所描绘的内容也主要是元朝时期的。\n\n拾得子图中收录了许多元朝时期的图画，包括人物画、动物画、植物画、建筑物画、花卉画、工艺品画等。这些图画描绘了元朝时期的生活、文化、工艺技术等方面的内容，为我们了解元朝时期的历史、文化提供了重要的资料。",[7,24,241,259,106,173,260,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5385df89b8f503cbf4142f4a1cbf67d.jpg","152.8x69.5",[44],{"id":30974,"slug":30975,"title":30976,"dynasty":189,"author":293,"museum":132,"description":30977,"tags":30978,"thumbUrl":30980,"material":123,"size":30981,"collection":90,"collections":30982,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":49},216751,"shi-hu-san-biao-tu-yi-ming-216751","十虎三彪图","这是一幅虎画长卷，名曰《十虎三彪图》，宋人佚名作，共画了十只虎，三只彪。\n\n龙生九子，各有不同。虎生三子，必有一彪。\n\n在传统文化里，龙虎都少不了一些衍生同类，彪是虎演化而来的。故事相传，母虎生有三虎崽，其中一虎崽格外凶狠彪悍，有吞食另外两只幼崽的能力，因此母虎日夜提防着凶虎崽和另外两只虎崽单独相处。",[23,7,24,25,173,177,7281,30979,957,34,176],"彪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22319c2472e4a7063456b1ee2a4fb07f.jpg","27x349cm",[90],{"id":30984,"slug":30985,"title":12937,"dynasty":18,"author":10870,"museum":132,"description":30986,"tags":30987,"thumbUrl":30988,"material":123,"size":11605,"collection":90,"collections":30989,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":49},216669,"yuan-xi-tu-yi-yuan-ji-216669","枝间猿猱倒挂，长尾如丝垂悬，似欲探取下方轻物，姿态灵动若脱纸而出。虬枝盘曲如铁，缀以青果繁叶，墨色浓淡交错间，见苍劲中含生机。远山以淡墨皴染，近石用粗笔勾勒，虚实相映间拓开清旷空间。猿之毛发细劲蓬松，根根可见；果叶晕染鲜活，如沐朝露。笔墨工致却不失野趣，于方寸圆扇内凝注山林间的灵动瞬间——风过枝颤，猿眸流转，似能闻叶隙间的轻响。宋画的精微与诗意在此尽显：以细致笔触捕捉生命本真，用简淡意境传递自然野逸，让观者仿若置身深林，与这灵物共醉于片刻闲趣。风过枝摇时，灵猿的每一寸毛发都似在轻颤，果叶的脉络里藏着晨露的光，深林的野趣与宋人的雅致，尽凝于这一方圆幅中。",[7,209,27,28,957,12940,430,176,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e09b8ae55b49ba935e0ab9aca615986.jpg",[90],{"id":30991,"slug":30992,"title":30993,"dynasty":99,"author":24267,"museum":20,"description":30994,"tags":30995,"thumbUrl":30996,"material":88,"size":30997,"collection":44,"collections":30998,"showCount":30494,"zanCount":48,"manualWeight":48,"mainColor":94},216085,"ming-huang-you-yue-gong-tu-zhou-chen-216085","明皇游月宫图","这是一幅带有作者美好想象的画作。表现的是唐人小说中明皇李隆基曾偕方士梦游月中宫殿的情景。全图笔法工细，继承了南宋笔墨精妙的传统，注重人物个性的展示、人物与环境的配合，以及不同社会阶层人物神态、服饰的刻画，从中可见唐明皇高贵典雅的神态，侍从恭敬谦卑的表情和侍女们端庄优雅的气质等。此图是周臣优秀的人物画之一。",[23,7,209,1562,27,106,300,34,29,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb23230d53038694868c25d0ae2a93d4.jpg","纵18.6厘米，横50厘米",[44],{"id":31000,"slug":31001,"title":31002,"dynasty":99,"author":3114,"museum":206,"description":31003,"tags":31004,"thumbUrl":31005,"material":342,"size":139,"collection":181,"collections":31006,"showCount":30494,"zanCount":5,"manualWeight":48,"mainColor":94},214613,"shu-hua-ce-yu-shan-dong-qi-chang-214613","书画册-虞山","董其昌（1794年－1856年）是中国明清时期的画家、书法家。他出生于浙江省杭州市，是中国书画史上著名的画僧之一。董其昌在书法和画画方面都有很高的造诣，尤其擅长山水画，其中以写意山水画最为出名。他的著名作品有《虞山图》，这幅画描绘了浙江省虞山的秀美景色。\n\n《虞山图》是董其昌的代表作之一，它展现了他对自然风光的独特描绘方式。在这幅画中，董其昌运用了大量的写意手法，使得画面充满了浓郁的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n董其昌的《虞山图》不仅是他自己的杰作，也是中国书画史上的经典之作。它被广泛收藏和展览，并被认为是中国山水画的代表作之一。",[7,24,81,173,177,86,29,30,34,35,650,1445,649,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04f9ae98aa539c6d04e4ab22c644a70.jpg",[181],{"id":31008,"slug":31009,"title":31010,"dynasty":18,"author":645,"museum":364,"description":17454,"tags":31011,"thumbUrl":31012,"material":743,"size":744,"collection":139,"collections":31013,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},290493,"qiu-jiang-mi-du-tu-guo-xi-290493","秋江觅渡图",[209,7,1397,27,177,394,24089,17235,491,7742,1256,7319,3996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bb3c54ae0c2dc5c4f7d3a36485b611.jpg",[],61,{"id":31016,"slug":31017,"title":31018,"dynasty":76,"author":31019,"museum":364,"description":31020,"tags":31021,"thumbUrl":31022,"material":743,"size":744,"collection":139,"collections":31023,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":94},290428,"yi-zhai-hua-niao-hua-ce-7-zhen-long-xin-290428","益斋花鸟画册7帧","龙忻","此作以淡逸之笔绘就幽庭小景，苍润奇石皴染古拙，石畔花草疏斜生姿。蓝果莹润如珠，叶片枯荣相济，粉花含露将绽，清妍动人。一只蛱蝶振翅而来，翅翼赭黄晕着朱红，斑纹纤毫毕现，灵动鲜活。\n\n画作兼用工没骨，设色秀雅柔和，笔致温婉细腻，将草木生灵的幽柔意趣尽显。动静相生间，暗合文人心底的闲适雅致，是小品花鸟的动人佳构。",[7,81,28,27,83,604,84,7889,6909,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492260d8ba146abee202deef8c0515b7.jpg",[],{"id":31025,"slug":31026,"title":31027,"dynasty":18,"author":293,"museum":364,"description":8601,"tags":31028,"thumbUrl":31029,"material":743,"size":744,"collection":139,"collections":31030,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":94},290364,"song-ke-si-gui-zhi-shuang-xi-tu-zhou-yi-ming-290364","宋缂丝桂枝双喜图轴",[209,7,24,241,1629,28,27,83,7857,19390,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dbe196f445bd63ff9d958a5436a371b.jpg",[],{"id":31032,"slug":31033,"title":31034,"dynasty":204,"author":2072,"museum":364,"description":19818,"tags":31035,"thumbUrl":31038,"material":743,"size":744,"collection":139,"collections":31039,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},290013,"he-le-shi-nv-tu-zhou-wen-ju-290013","合乐仕女图",[23,7,25,2714,28,27,59,758,210,31036,11429,31037,86,178,227,7963],"奏乐","闺阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66132f9f2e6e9d33fbf23643535dd1c2.jpg",[],{"id":31041,"slug":31042,"title":31043,"dynasty":204,"author":2674,"museum":206,"description":31044,"tags":31045,"thumbUrl":31046,"material":743,"size":744,"collection":139,"collections":31047,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},289769,"zhu-lin-bo-ge-tu-huang-quan-289769","竹林鹁鸽图","几只珠颈斑鸠活动于郊原上，其中二只飞翔于低空，另外三只正漫步于竹丛边。流露出在大自然间怡然自得之情景。作者注重写生，对鸟的形状以至神态，都极用心观察，如羽毛层层叠覆的变化也都详加描绘。该幅旧传为黄筌之作，与台北故宫博物院所藏的另一幅宋人竹石鸠子图在构景方面十分相近。",[23,209,7,24,241,28,27,83,242,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F481384d9428a1823aa92b9176ad4f6ae.jpg",[],{"id":31049,"slug":31050,"title":552,"dynasty":18,"author":9392,"museum":364,"description":31051,"tags":31052,"thumbUrl":31053,"material":743,"size":744,"collection":139,"collections":31054,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},288839,"xi-shan-xing-lv-tu-zhu-rui-288839","朱锐，中国宋代画家。生卒年不详，活动于北宋末南宋初。河北人。原为北宋宣和画院待诏，南渡后又入绍兴画院，任待诏，授迪功郎，赐金带。擅山水，工雪景，师法王维，所画多骡纲、雪猎、盘车、行旅等题材，表现了车辆旅人跋涉于荒寒苍凉的溪山之间的艰辛之状。形象真实，主题鲜明，情景动人。有《盘车图》传世。",[7,1397,173,177,1015,176,109,900,151,106,559,2502,3995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea03f9828d4df9b53dc2f163cd69a4a0.jpg",[],{"id":31056,"slug":31057,"title":31058,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":31059,"thumbUrl":31060,"material":743,"size":744,"collection":139,"collections":31061,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":94},288273,"xiao-pin-shi-tao-288273","小品",[7,31058,27,8852,86,227,14472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebeed5d921918aa4363b232b4501e06.jpg",[],{"id":31063,"slug":31064,"title":31065,"dynasty":189,"author":1672,"museum":206,"description":31066,"tags":31067,"thumbUrl":31068,"material":743,"size":744,"collection":139,"collections":31069,"sho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创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,209,7,24,104,28,27,29,107,2502,16687,34,114,115,176,31240,17710,15976,2125,1255,1965],"长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":31244,"slug":31245,"title":31246,"dynasty":18,"author":293,"museum":364,"description":31247,"tags":31248,"thumbUrl":31249,"material":139,"size":139,"collection":139,"collections":31250,"showCount":31014,"zanCount":1165,"manualWeight":48,"mainColor":49},223630,"he-xie-tu-yi-ming-223630","荷蟹图","《宋人画荷蟹图》是宋代佚名创作是一幅中国画。\n图中残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。\n潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。\n画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。\n此图画面意境生动，题材别出新意，为宋人写实画作的典范。\n【简介】 本幅无款。\n钤印一方，印文模糊不辨。",[23,209,7,24,27,28,243,5169,137,367,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180dab128ffc6da8aaed986bccf8201c.jpg",[],{"id":31252,"slug":31253,"title":31254,"dynasty":18,"author":293,"museum":20,"description":31255,"tags":31256,"thumbUrl":31257,"material":665,"size":31258,"collection":139,"collections":31259,"showCount":31014,"zanCount":1547,"manualWeight":48,"mainColor":49},223584,"wa-que-qi-zhi-tu-ye-yi-ming-223584","瓦雀栖枝图页","此画绘海棠一枝，果实散挂枝头，树叶已染秋霜。\n枝头栖息着姿势各异的五只瓦雀，其中一只正仰首注视着枝叶上的昆虫，张口欲啄，形象生动活泼。\n整个画面张弛有致，设色研丽，刻画写实。\n海棠间杂红、黄、绿色，细看可见叶、果有些已遭虫蚀。\n作者取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。\n鸟的羽毛用细笔一笔一笔勾描，具有毛茸茸的质感。",[23,7,209,24,81,28,27,83,281,17141,1062,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398ac81f47572946b8488c7c3af380e0.jpg","纵28.9厘米横29厘米",[],{"id":31261,"slug":31262,"title":31263,"dynasty":18,"author":823,"museum":20,"description":31264,"tags":31265,"thumbUrl":31266,"material":67,"size":31267,"collection":139,"collections":31268,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},223340,"yun-feng-yuan-tiao-tu-xia-gui-223340","云峰远眺图","图绘群山相拥，山腰中云雾霭霭，一平坦处二人观景寒暄，一小童拿一长竿站立其后；远处松木成林，楼台庭院坐落于山腰中，隐约的山峰高耸陡峭，侧面如刀削般平整。此画画风近夏圭风格，画面简而不空，所画山峰线条刚劲、峰顶尖利！",[23,209,7,24,173,29,177,106,30,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728ca2ae2c5d24dda0b691a4c2b1e73f.jpg","24.8*26.4cm",[],{"id":31270,"slug":31271,"title":31272,"dynasty":76,"author":31273,"museum":364,"description":31274,"tags":31275,"thumbUrl":31276,"material":803,"size":139,"collection":44,"collections":31277,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":5394},223276,"luo-han-chang-juan-hong-yi-fa-shi-223276","罗汉长卷","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,209,7,24,25,259,260,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5bdb6c55f2c12f941fbbee4339b485.jpg",[44],{"id":31279,"slug":31280,"title":31281,"dynasty":76,"author":850,"museum":206,"description":14253,"tags":31282,"thumbUrl":31283,"material":665,"size":14257,"collection":181,"collections":31284,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[23,209,7,28,27,104,13695,106,107,29,15846,34,115,35,1664,313,176,26370,114,21213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[181,45],{"id":31286,"slug":31287,"title":31288,"dynasty":76,"author":31289,"museum":78,"description":31290,"tags":31291,"thumbUrl":31292,"material":12351,"size":31293,"collection":181,"collections":31294,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":94},222632,"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[23,7,24,25,173,27,177,29,864,297,34,176,35,174,109,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","26×455",[181,163],{"id":31296,"slug":31297,"title":31298,"dynasty":99,"author":31299,"museum":206,"description":31300,"tags":31301,"thumbUrl":31305,"material":5149,"size":31306,"collection":181,"collections":31307,"showCount":31014,"zanCount":5,"manualWeight":48,"mainColor":49},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,7,209,1397,173,31302,31303,649,558,108,174,31304,3639,559,107,34,651],"云头皴","蟹爪枝","客舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","109.1×188.8cm",[181,163],{"id":31309,"slug":31310,"title":30514,"dynasty":189,"author":31311,"museum":206,"description":31312,"tags":31313,"thumbUrl":31314,"material":665,"size":31315,"collection":163,"collections":31316,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},221857,"liu-yan-tu-sheng-chang-nian-221857","盛昌年","本幅无作者款识，右侧有“廷晖”残印半方及康有为、王季迁藏印。\n整幅画面构图繁密，洋溢着一派春和景明的气象。\n图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。\n山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非 家。\n画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。\n吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。\n此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。\n在色彩上两者都具有相似的绚丽色泽。\n此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。",[23,7,173,241,83,3246,3247,281,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718470a984f0d650aff4498a17cee84d.jpg","75.9x25.5",[163,2293],{"id":31318,"slug":31319,"title":1540,"dynasty":189,"author":23885,"museum":56,"description":31320,"tags":31321,"thumbUrl":31322,"material":67,"size":31323,"collection":163,"collections":31324,"showCount":31014,"zanCount":5,"manualWeight":48,"mainColor":49},221805,"zhu-shi-tu-li-shi-xing-221805","水墨画坡石重叠，三竿晴竹顶天立地，旁傍拳石，丛篁荆棘掩映衬托。竹叶疏密偃仰有致，显出微风乍起有向上飘举之势。石皴圆润，存董、巨遗法。余图浓淡虚实，笔笔相应，同笔自然灵活稳健，墨色偏淡层次分明。画心左侧行书署：“蓟丘李士行遵道作”款。左下角钤梁清标、临圣斋收藏印证。李士行(1282—1328)，字遵道，号黄岩，河北蓟丘人是名画家李衔的长子。诗歌、书画除力承家学之外，又得赵孟頫和鲜于枢之指授，善画山水，以所画大明宫图入晃仁宗嘉奖其能。画竹石枝叶挺秀，得写生妙趣。此图墨竹画法纯出李衔，披石大披麻皴，有别于乃父之渴笔渲染。现藏辽宁省博物馆。",[23,7,173,241,242,431,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ecc7ea8f565c5eebab3e747c307003.jpg","画心纵170、横92.3厘米",[163,2293],{"id":31326,"slug":31327,"title":5755,"dynasty":189,"author":2876,"museum":20,"description":31328,"tags":31329,"thumbUrl":31330,"material":381,"size":31331,"collection":181,"collections":31332,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":271},221790,"han-lin-tu-cao-zhi-bai-221790","曹知白(1272—1355), 字又元, 号云西, 又字贞素, 人称贞素先生, 华亭(今上海松江县) 人。至元中任昆山教谕, 曾北上大都(今北京), 不久辞归, 隐居不仕, 饱览经书和研究道家之说。自写书斋匾额曰：“常清净”, 以示求闲适恬静意趣。《寒林图》画枯林一行于坡石之间, 树干劲挺, 疏落有致, 笔墨带有秀润气, 属中年之作。",[23,7,24,29,173,177,1653,394,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d273f7f19185342efa1150df078a26.jpg","纵27.3厘米横26.2厘米",[181,163],{"id":31334,"slug":31335,"title":31336,"dynasty":189,"author":1057,"museum":238,"description":17777,"tags":31337,"thumbUrl":31338,"material":40,"size":31339,"collection":44,"collections":31340,"showCount":31014,"zanCount":5,"manualWeight":48,"mainColor":49},221770,"ren-ma-tu-ren-ren-fa-221770","人马图",[23,7,24,25,28,27,150,106,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476e55f8d28399ffef02dac57ac64f66.jpg","纵：50.6cm，横：36cm",[44,45],{"id":31342,"slug":31343,"title":31344,"dynasty":18,"author":25387,"museum":1985,"description":31345,"tags":31346,"thumbUrl":31347,"material":31348,"size":31349,"collection":42,"collections":31350,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},221251,"yan-tu-hui-chong-221251","雁图","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[23,209,7,24,173,27,4895,281,297,2522,245,2544,25391,1938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[42,90,45],{"id":31352,"slug":31353,"title":31354,"dynasty":189,"author":2519,"museum":364,"description":31355,"tags":31356,"thumbUrl":31357,"material":803,"size":31358,"collection":181,"collections":31359,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},220850,"lou-ge-ting-tai-tu-zhao-meng-fu-220850","楼阁亭台图","赵孟頫绘画，山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。力主变革南宋院体格调，自谓“作画贵有古意，若无古意，虽工无益”，遥追五代、北宋法度，论者谓：“有唐人之致去其纤；有北宋人之雄去其犷。”开创了元代新画风。 交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。能诗文，风格和婉。兼工篆刻，以“圆朱文”著称。",[23,7,24,104,28,173,107,1255,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[181,163],{"id":31361,"slug":31362,"title":31363,"dynasty":189,"author":2519,"museum":20,"description":31364,"tags":31365,"thumbUrl":31366,"material":31367,"size":31368,"collection":42,"collections":31369,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},220842,"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[23,7,24,25,27,83,242,281,86,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 设色画","纵25.4厘米,横36.2厘米",[42,90,45],{"id":31371,"slug":31372,"title":31373,"dynasty":189,"author":487,"museum":206,"description":31374,"tags":31375,"thumbUrl":31376,"material":67,"size":31377,"collection":181,"collections":31378,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},220817,"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[23,209,7,24,241,173,27,177,29,34,109,108,175,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[181,45],{"id":31380,"slug":31381,"title":31382,"dynasty":1095,"author":2335,"museum":4942,"description":31383,"tags":31384,"thumbUrl":31385,"material":139,"size":139,"collection":139,"collections":31386,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":94},220494,"chan-yu-liu-zhang-da-qian-220494","蝉与柳","以淡墨挥写柳干，枯笔焦墨提点节疤，苍劲老辣。柳条以中锋曳动，兼施花青淡赭晕染，虚实交错如流烟漫卷，将秋风里柳丝的柔曼含露尽皆写出。\n\n隐于柳荫的秋蝉只以数笔点就，形简神完，似将振翅。配题诗句暗合清秋意境，笔墨诗思交融，尽现疏淡幽寂的秋日况味，以极简的写意笔墨，勾勒出物我皆忘的闲淡禅意。",[23,7,173,446,3006,3246,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac69fc3a617ba8d5e5c90182a798a91.jpg",[],{"id":31388,"slug":31389,"title":19260,"dynasty":99,"author":1083,"museum":78,"description":31390,"tags":31391,"thumbUrl":31392,"material":123,"size":31393,"collection":90,"collections":31394,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},220339,"tan-mei-tu-chen-hong-shou-220339","陈洪绶（1598-1652年），字章侯，号老莲，甲申（1644年）后号悔迟、老迟等，浙江诸暨人。通诗文，有《宝纶堂集》十卷传世。工书善画，人物、花鸟、山水皆能，尤以人物画为后世所重。初师蓝瑛，后取法李公麟、赵孟頫，所作人物，造型夸张变形，高古伟岸，运笔旋转，一气呵成，线条凝练遒劲，设色古拙，形成了高古静穆的独特画风。此图树石工笔水墨（色）相间，绘三人一马行至岸边，驻足停留，线条劲健利索，树杈枝干翻挺矫健，枝叶繁茂，给人以清幽深邃之感。",[23,7,24,241,28,27,106,150,448,29,430,650,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13b3619cb9ad6a25f7b080296fabf4.jpg","纵131.3厘米，横49.0厘米",[90,45],{"id":31396,"slug":31397,"title":31398,"dynasty":204,"author":31399,"museum":206,"description":31400,"tags":31401,"thumbUrl":31403,"material":123,"size":31404,"collection":44,"collections":31405,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},220246,"chu-lie-tu-hu-gui-220246","出猎图","胡瓌","本幅描写塞外族人，携鹰出猎之情景。画面绘猎骑者四人，穿圆领窄袖长袍，腰配短刀，骑者左手驭马，右手架着猎鹰，四骑聚于一处，似在交流狩猎经过。最右端者之马鞍上，捆扎一只胸前渗血的野兔。人物的髡发须髯、骏马的鬃鬣、猎鹰的毛羽，无不描绘精致，形象逼真。作者传为胡瓌，契丹人，约活动于九、十世纪之间，素以精于描绘塞外风光及人马而闻名，因以名之。",[23,7,24,209,27,28,106,150,900,31402],"狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb54e1035101d68949b7ae4331ce513.jpg","32.9x44.3",[44],{"id":31407,"slug":31408,"title":8697,"dynasty":189,"author":31409,"museum":7359,"description":31410,"tags":31411,"thumbUrl":31412,"material":123,"size":31413,"collection":42,"collections":31414,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},220240,"luo-han-tu-cai-shan-220240","蔡山","本图描绘的是一位拄拐杖坐在岩石上的罗汉，从姿态上看来应属第一宾度罗跋啰堕阇尊者，尊者右足跨在左膝之上，半跏坐于岩石上，右手执竹杖靠住右肩，容貌古野呈胡相，长眉之下慈悲坚毅的目光炯炯有神。用笔稳健有力，脸上皱纹、衣服褶纹、以及手足线条等均相当周密，调整合宜，设色淡雅，不碍线条的流畅。罗汉坐的岩石隙缝中暗藏有“蔡山”落款。估计此图原为十六罗汉图全套中的一幅，现存有类似风格的另一幅罗汉图。从苍老消痩的罗汉表现手法中可以看出蔡山的固有画风，画中透露出的怪异氛围，与同时代的颜辉派有着相通之处。画面右下角有足利义直的寄进铭“奉三宝弟子右兵卫督源直义舍入”， 可知它是捐献给足利直义的某寺之物。据说由足利直义于贞和2年(1346)赠予高野山金刚三昧院。\n“蔡山”之名，根据室町时代的 “君台观左右帐记”中记载，除了“元人”之外，其他均不详，传统的画史上也始终未见其名。就署名于岩石隙缝一事来看，似仍沿袭了宋代的古风，元代中期以后，此风便不多见了。本幅罗汉图属于高古细润的作风，那是融和了南宋以来，文人画和职业画工的优点，在元画中又是一件杰出而珍贵的作品。",[23,7,24,241,259,106,28,27,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea77b489c9244d27f3da7403e09bf107.jpg","113.3×53.9 cm",[42],{"id":31416,"slug":31417,"title":31418,"dynasty":76,"author":1394,"museum":675,"description":5682,"tags":31419,"thumbUrl":31420,"material":88,"size":5685,"collection":181,"collections":31421,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":94},220001,"shan-shui-hua-fang-mi-you-ren-wang-shi-min-220001","山水画-仿米友仁",[7,24,173,105,29,864,297,34,37,114,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6726d39f7aa7017108d87a88825bc186.jpg",[181],{"id":31423,"slug":31424,"title":9643,"dynasty":18,"author":24857,"museum":31425,"description":31426,"tags":31427,"thumbUrl":31428,"material":381,"size":139,"collection":181,"collections":31429,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":94},219920,"dong-ting-qiu-yue-tu-yu-jian-219920","日本文化厅","南宋玉涧的《洞庭秋月图》描绘了楼阁、圆月和树枝等，栩栩如生在大片的留白处题诗一首：“四面平湖月满出，一阿螺髻镜中看，岳阳楼上听长笛，诉尽崎岖行路难。洞庭秋月。”月光如泻，笛声悠扬，画中有声，诗画辉映，足见玉涧是一位集诗、书、画三绝为一身的僧人。",[23,209,7,24,25,173,86,227,29,300,175,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e259371a089172ab221af814ccd9dc.jpg",[181],{"id":31431,"slug":31432,"title":31433,"dynasty":18,"author":22093,"museum":364,"description":31434,"tags":31435,"thumbUrl":31436,"material":123,"size":31437,"collection":44,"collections":31438,"showCount":31014,"zanCount":5,"manualWeight":48,"mainColor":49},219755,"zhong-xing-zhen-ying-tu-liu-duan-ben-xiao-zhao-219755","中兴祯应图六段本","萧照（公元1131年-公元1162年），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,7,209,25,28,27,177,29,106,107,150,175,34,15028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba4eb15be72fe5d39ab5fa3b3fd957.jpg","31x1148厘米",[44],{"id":31440,"slug":31441,"title":31442,"dynasty":189,"author":351,"museum":206,"description":31443,"tags":31444,"thumbUrl":31446,"material":67,"size":31447,"collection":45,"collections":31448,"showCount":31014,"zanCount":5,"manualWeight":48,"mainColor":94},219725,"lian-shi-san-shu-tu-qian-xuan-219725","莲实三鼠图","纨扇形制的画面里，三鼠神态各异，或俯身嗅探、或啃食莲实，狡黠灵动的野趣跃然绢上，将小鼠的机警活泼描摹得细腻传神。衬景的秋梨肌理莹润，残败莲实带着翠色余韵，搭配缀露的红叶野果，晕开融融秋意。\n\n设色清润雅致，写实中带着文人情致，将寻常秋日小景赋予吉祥意涵，鼠兆多子、秋实喻富足，暗合岁稔年丰的美好祈愿。静穆秋实衬出动鼠的鲜活，工细笔致兼具雅致隽淡，把日常闲景绘得野趣盎然，藏着秋日里的闲雅生机。",[209,7,24,81,27,28,7819,31445,713,957,83],"莲实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3462c462d5281290d856a9a109fae6.jpg","28.2x24.3",[45],{"id":31450,"slug":31451,"title":31452,"dynasty":18,"author":293,"museum":78,"description":31453,"tags":31454,"thumbUrl":31455,"material":123,"size":31456,"collection":181,"collections":31457,"showCount":31014,"zanCount":1547,"manualWeight":48,"mainColor":49},218662,"song-feng-lou-guan-tu-yi-ming-218662","松风楼观图","山顶上的松树被涂上了颜色，天空中出现了奇特的山峰，山坡上的森林中矗立着建筑和房屋。悬崖边上有围栏和行人。艺术家用长线和水流来画山和石头，用各种点和线来画森林。近处的山是沉重的，远处的山是缥缈的，近处的树是苍白的，远处的树是缥缈的，显示出由于空气的阻隔，近处和远处的景物在视觉上的差异。",[23,7,24,209,1562,177,27,29,449,107,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05aa16083afb2ee32eae9a2801aa5c94.jpg","25.6x27.1",[181],{"id":31459,"slug":31460,"title":31461,"dynasty":18,"author":6566,"museum":20,"description":31462,"tags":31463,"thumbUrl":31464,"material":381,"size":31465,"collection":44,"collections":31466,"showCount":31014,"zanCount":1547,"manualWeight":48,"mainColor":49},218626,"tang-feng-tu-ce-ma-he-zhi-218626","唐风图册","马和之，生卒年月不详，钱塘人（杭州），南宋著名人物画家，主要社会活动在高宗时期。据记载马和之的官方身份为画院待诏，又有文献说他曾考中进士，官至工部或兵部侍郎。这么看，在南宋画院中，马和之身份特殊，不是一般的伎术官员。南宋末期的著名文人周密说他为画师之首，语意是模糊的，具体情况有待学术界去研讨清晰。\n在绘画上，马和之以人物画著称。他的绘画技术主要学习唐代吴道子、宋代李公麟两家。技术成熟期的马和之，在吴、李基础上，独创了人物形象的独特描摹技术：柳叶描（又称蚂蟥描）。这种描法的线条粗细变化丰富，用笔起伏明显，清俊不羁，活泼潇洒，韵味十足。因他创作上的成就斐然，人们以“小吴生”称之，将其置于吴道\n子这类大师的行列。南宋以后的绘画大家黄公望、吴镇、唐寅、任伯年、徐悲鸿等人皆对其推崇备至。\n马和之的传世作品尚有很多，其中《后赤壁赋图》、《 古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[23,7,24,81,260,106,29,34,175,281,150,109,900,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[44],{"id":31468,"slug":31469,"title":28053,"dynasty":18,"author":293,"museum":78,"description":31470,"tags":31471,"thumbUrl":31472,"material":123,"size":31473,"collection":181,"collections":31474,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},218587,"xue-jiang-gui-zhao-tu-yi-ming-218587","寒江雪霁，远山如卧，素白积雪覆在黛色峰峦上，似披一层清薄的纱。岸边茅舍隐于疏林后，枯枝横斜间，隐约见炊烟轻袅，恍若有人家正温酒候归。江面上归棹缓移，帆影淡远，桨声似被雪色浸软，只剩水波微漾的静穆。\n\n笔墨简淡却意韵悠长：山峦以淡墨晕染，积雪肌理用细笔勾出，枯树枝桠如铁线遒劲，尽显冬日清寂之美。整幅画虚实相生，留白处含清寒之气，归舟的动与雪景的静相映成趣，藏着宋人对自然的敬畏与隐逸生活的向往——于静谧中见生机，于简淡中蕴深情，每一处细节都在诉说冬日江上的淡然心境。",[23,7,24,173,29,174,649,34,35,2502,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeef43a75f0757cbfd80d5f97f0987c.jpg","26.4x26.5",[181],{"id":31476,"slug":31477,"title":31478,"dynasty":18,"author":1650,"museum":206,"description":2227,"tags":31479,"thumbUrl":31481,"material":123,"size":2230,"collection":139,"collections":31482,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":94},218569,"hua-niao-shan-shui-xiao-pin-ce-shan-jing-zhang-xing-ma-yuan-218569","花鸟山水小品册-山径杖行",[23,2544,7,24,81,27,177,29,106,31480,34,650,227],"山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6032da58b059d48a3d1b48a9d58189.jpg",[],{"id":31484,"slug":31485,"title":31486,"dynasty":99,"author":1572,"museum":20,"description":31487,"tags":31488,"thumbUrl":31489,"material":88,"size":31490,"collection":382,"collections":31491,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":94},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[23,7,24,25,2939,173,27,28,29,107,108,109,175,34,176,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[382,181],{"id":31493,"slug":31494,"title":1692,"dynasty":99,"author":22076,"museum":20,"description":31495,"tags":31496,"thumbUrl":31497,"material":88,"size":31498,"collection":181,"collections":31499,"showCount":31014,"zanCount":1547,"manualWeight":48,"mainColor":94},218374,"shan-shui-tu-li-yong-chang-218374","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[23,7,173,177,241,227,29,176,34,1015,1575,35,6178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纵125.7cm，横58.8cm",[181],{"id":31501,"slug":31502,"title":31503,"dynasty":18,"author":293,"museum":20,"description":31504,"tags":31505,"thumbUrl":31511,"material":342,"size":139,"collection":181,"collections":31512,"showCount":31014,"zanCount":1547,"manualWeight":48,"mainColor":49},218320,"lu-hong-cao-tang-shi-zhi-tu-yi-ming-218320","卢鸿草堂十志图","长卷徐徐展开，十帧隐逸图景次第铺呈。峰岫含烟，林麓交映，古树盘曲如铁，流泉飞泻似练。其间草堂错落，或临溪筑榭，或依山构宇，隐者或凭轩观瀑，或策杖行吟，或围坐论道，意态悠然。墨色浓淡相宜，皴擦点染间见丘壑之妙；题辞穿插其间，笔意与画意相生，文气氤氲。整幅作品古雅沉静，尽得林泉高致之趣，仿佛能闻松风竹韵，听山涧清音，令人心向往之，沉醉于那片远离尘嚣的幽居天地。",[23,209,7,25,173,29,1726,899,16217,31506,31507,31508,177,1420,18349,31509,31510],"峰岫","林麓","隐者","古雅","林泉高致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96939053844aa2166756d34301b6320a.jpg",[181],{"id":31514,"slug":31515,"title":31516,"dynasty":99,"author":31517,"museum":206,"description":31518,"tags":31519,"thumbUrl":31526,"material":123,"size":31527,"collection":44,"collections":31528,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":49},218267,"qi-xian-tu-juan-liu-zhong-xian-218267","七贤图卷","刘仲贤","素绢之上，赭黄底色晕染出古朴雅致的氛围。雅士们或踞坐鼓琴，指尖似凝弦上意；或对弈楸枰，棋局间藏尽机锋；或醉卧倾杯，醺然态尽显放达；或执笔临帖，墨痕若带纸间香。人物衣袂翩然，线条流畅婉转，神态鲜活灵动——鼓琴者专注，对弈者凝思，醉酒者憨态，执笔人沉静。简淡背景未加繁复修饰，却将文人雅集的闲适超脱烘托得淋漓尽致。笔墨间暗蕴魏晋风骨余韵，将古代文人的精神情致凝成永恒画面，尽显生活之趣与心灵之境。",[23,7,24,25,27,28,106,5627,210,31520,31521,12049,31522,31523,27119,9787,31524,31525,20632,12048],"棋具","酒器","古琴","棋盘","对弈","书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e87f9ff8949e45d600c5bd0cd4deed.jpg","31.4x128.5",[44],{"id":31530,"slug":31531,"title":31532,"dynasty":189,"author":25323,"museum":364,"description":31533,"tags":31534,"thumbUrl":31535,"material":342,"size":139,"collection":44,"collections":31536,"showCount":31014,"zanCount":48,"manualWeight":48,"mainColor":94},218244,"xue-ye-fang-dai-tu-zhang-wo-218244","雪夜访戴图","疏枝横斜，托出夜雪的清寒；孤棹轻漾，载得随性的旷达。画面中，枯树虬劲如铁，寒江空蒙似练，小舟泊于岸侧，篷窗半掩。舟中人物或凭舷凝思，或敛袖安坐，神态悠然自适。此作取王子猷雪夜访戴典故，不着一字写雪，却以萧索枯枝、静谧孤舟暗合冬夜清寂。笔墨简练传神，线条流畅婉转，皴染淡雅自然，将魏晋士人“乘兴而来，兴尽而返”的旷达心境，融入寒江孤棹的图景。观者仿佛能透过纸面，触摸那份不拘形迹的自在，感受超脱世俗的精神余韵，尽显古典文人画的意境之美。",[7,24,260,173,106,174,1015,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52371083784394e711a04b815e88c70f.jpg",[44],{"id":31538,"slug":31539,"title":31540,"dynasty":18,"author":781,"museum":364,"description":31541,"tags":315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形与质，大小不一，疏密，散落。有人生感和禅意。 是八大山人一贯的写意风格。",[23,209,7,24,25,173,446,178,227,5767,14746,5770,31630,31631,797],"蒜","黄瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b940c2439fdac30eea8813cf5a83875.jpg","28×206.5厘米",[],{"id":31636,"slug":31637,"title":12898,"dynasty":189,"author":10811,"museum":20,"description":12899,"tags":31638,"thumbUrl":31639,"material":1716,"size":12903,"collection":139,"collections":31640,"showCount":142,"zanCount":5,"manualWeight":48,"mainColor":49},233824,"tao-zhu-jin-ji-tu-zhou-wang-yuan-233824",[7,24,241,173,28,83,2930,242,1586,245,1062,432,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fe80188608afae39245cc2e1cd29b2.jpg",[],{"id":31642,"slug":31643,"title":486,"dynasty":99,"author":3114,"museum":20,"description":16207,"tags":31644,"thumbUrl":31645,"material":990,"size":7095,"collection":181,"collections":31646,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},233800,"shan-shui-ce-dong-qi-chang-233800",[7,24,81,173,27,29,177,864,297,34,340,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034929475ad5bc8450af2c928ccea8b8.jpg",[181],{"id":31648,"slug":31649,"title":5691,"dynasty":18,"author":1275,"museum":20,"description":31650,"tags":31651,"thumbUrl":31653,"material":40,"size":21253,"collection":139,"collections":31654,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},233004,"guo-shu-lai-qin-tu-ye-lin-chun-233004","画家选取果木的一枝写秋景：寂静的山林木叶泛黄，沉甸甸的果实早已熟透却无人采摘，任由虫儿噬蚀。一只小鸟蓦然飞上枝头，打破了空间的宁静。忽而，它转颈回眸，振翅欲飞，在这收获的季节里，它是否被画面外更为诱人的景色所吸引呢？\n折枝画法发挥了小幅的特长，作者以活泼的形式突出表现了枝叶、果实的色彩和禽鸟的情态，大不盈尺却美轮美奂，在饱满丰硕的果实和小鸟怡然自得的鸣唱中，画外的情趣、诗意与画意相结合，加强了花鸟画借物抒情的目的，令人赏心。\n小鸟的动态用细劲柔和的笔致勾勒，蓬松的羽毛则以浑融的墨色晕染，木叶的枯萎、残损、锈斑，果子上被虫儿叮咬的痕迹都被一一描绘出来，可见画家从自然景致中“摄集花形鸟态”的高超的写生能力。在构图上删繁就简，明洁奇巧，既保持了画院花鸟画“要物形不改”状物精微的写实精神，又表现出作者蕴藉空灵的审美追求。设色轻敷淡染，黄绿的叶子、淡红的果实、鹅黄的小鸟，分外和谐明丽。",[7,209,24,28,27,83,31652,1938,1062,1003],"果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b4d59a08468c0294c3fe6a31110e6d.jpg",[],{"id":31656,"slug":31657,"title":31658,"dynasty":54,"author":31659,"museum":56,"description":31660,"tags":31661,"thumbUrl":31662,"material":803,"size":31663,"collection":139,"collections":31664,"showCount":142,"zanCount":5,"manualWeight":48,"mainColor":49},232269,"gu-shi-si-tie-zhang-xu-232269","古诗四帖","张旭","通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。”今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”\n释文:东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问棘花。应逐上元酒，同来访蔡家。\n北阙临丹水，南宫生绛云。龙泥印玉简，大火练真文。上元风雨散，中天哥吹分。虚驾千寻上，空香万里闻\n谢灵运王子晋赞\n淑质非不丽，难之以万年。储宫非不贵，岂若上登天。王子复清旷，区中实哗嚣。喧既见浮丘公，与尔共纷翻。\n岩下一老公，四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不别可？其书非世教，其人必贤哲。\n备注:《古诗四帖》录文为四首诗赋。前两首分别是南北朝庾信的《道士步虚词》之六和之八，后两首是南朝谢灵运的《王子晋赞》和《岩下见一老翁四五少年赞》。\n《庾子山集》和《谢灵运集校注》分别录有原文如下：\n东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问枣花。上元应送酒，来向蔡经家。\n北阙临玄水，南宫生绛云。龙泥印玉策，大火炼真文。上元风雨散，中天歌吹分。灵驾千寻上，空香万里闻。\n谢灵运王子晋赞\n淑质非不丽，难以之百年。储宫非不贵，岂若登云天。王子爱清净，区中实骅嚣。喧既见浮丘公，与尔共纷翻。\n岩下见一老翁四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不可别。其书非世教，其人必贤哲。\n《古诗四帖》是否为张旭所作，尚有争议，但它是张旭笔法系统中一件重要的作品。它大部分线条不强调提按，而重视粗细均匀的线条中使转与速度的变化。中侧锋并用，笔锋常落在线条端部的一侧，但立即转为中锋；同时流畅中又往往生出圭角，如“年”、“别”等字，有不可端倪之感。左右部分衔接时，有时用粗重的线条。这一点在颜真卿《刘中使帖》中“期”、“将”的笔触也可看到，通过此点能看到颜、张的关系。\n狂草中的点画与其他书体中的点画不同。其一，狂草点画在连续运动中完成，而且较为快速，对控制用笔的敏捷、准确有很高要求；其二，其他书体字体中留驻、按顿等常用的方法在狂草中无法使用，只能更多地依靠手腕及其他关节的控制，因此在临习中一定要找到与点画形状相配合的运动方式。一种点画，书家可以用不同的笔法临写出大体相似的形状，但对狂草来说，只有自然而流畅地书写出这一形状才是可取的，其它操作方法不是把学习者和欣赏者引向另一种风格，而是引人离开草书。\n《古诗四帖》中有少量弱笔，但无损于整个作品的流动、敦厚，就大部分线条而言，已达到得心应手、落笔成趣的境界。草书中不离法则而随意驱运法则，这是高闲等人从来不曾梦想过的境地。\n“四帖”中真正使人感到意外的还是字结构。由于阅读与欣赏习惯的影响，“单字结构”总是欣赏者感觉中甩不掉的一个层面。与张旭其他作品相比，这件作品不符合他惯常的构字规则。\n《古诗四帖》属狂草。特点是较过去更为狂放，整体气势如长江大河一泻千里，急风骤雨，所以在草书发展史上是新突破。它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。\n《古诗四帖》，张旭自己并未书款，说它是张旭作品是根据董其昌鉴定， 后人多沿此说，但也颇有争议。\n张旭草书的章法大致可以分为单字界限清晰和单字界限不清晰这样两类。前者如《晚复帖》，后者如《古诗四帖》。两类作品书写时的心态有所不同。前一类作品书写时注意力可以主要放在字结构上，同时关注各字的连缀即可；后一类作品书写时以线条疏密及连续性的控制为首要目标。狂草中空间的疏密有时出现强烈的变化，但张旭的作品中，疏密变化都是逐渐发生的。换言之，由疏到密，或由密到疏，都有个过渡阶段，《肚痛贴》中从“肚痛”到“不可”这样突兀的变化只是个特例。\n《古诗四帖》笔法奔放不羁，如惊电激雷，倏忽万里，而又不离规矩。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。董其昌评说：“有悬崖坠，急雨旋风之势。”\n《古诗四帖》通篇气势奔放，运笔无往不收，如锥划沙，无纤巧浮华之笔。盛唐时期，以张旭为代表的一派草书风靡一时，它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。正如唐代文学家韩愈《送高闲上人序》中所云：“张旭善草书，不冶它技，喜怒窘穷，忧悲愉佚，怨恨，思慕，酣醉无聊，不平，有动于心，必于从草书焉发之。”\n《古诗四帖》早在北宋宋仁宗嘉佑年间已有刻本流传，墨迹进入北宋内府。“靖康之乱”散入民间，南宋后期为贾似道收藏。后转入南宋收藏家赵与勤家。明代归著名收藏家华夏的真赏斋，后又归项元汴，清时入内府。\n宋《宣和书谱》定为南北朝谢灵运书，元明时《云烟过眼录》、《珊瑚网书跋》、《平生壮观》均有记载，传至明朝中期，对作者产生怀疑，直到董其昌，才从诗韵变化揭示原说破绽并据草书肯定为张旭之作。《石渠宝笈初编》将此帖误断为赝品。\n关于是否是张旭真迹，明清均有争议，到现在仍有学者有不同意见。",[23,209,7,24,86,25,1147,227,27,3790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b552411f9ee44f8aa35e32c763c8a8.jpg","纵28.8厘米，横192.3厘米",[],{"id":31666,"slug":31667,"title":31668,"dynasty":76,"author":5052,"museum":364,"description":31669,"tags":31670,"thumbUrl":31671,"material":139,"size":139,"collection":139,"collections":31672,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},230133,"yu-yu-liu-se-tu-hong-ren-230133","雨余柳色图","《雨余柳色图》是 僧侣画家 的国画作品。\n该画为立轴，纸本墨笔，纵84.4厘米，横45.厘米，现藏于 。\n《雨余柳色图》奥境奇辟，缅邈幽深，峰峦俊逸，水渚错落，林木萧疏，江水辽阔，远山浮动。\n全幅以山、坡为主，图右缀有几株垂柳，一座小小木桥；图左设有几栋屋宇，远处画一道流水。\n此画笔墨苍劲整洁，以细笔为主，兼用侧锋，并用乾笔皴擦，有秀逸清幽之气。\n弘仁（161--1664）[清]僧。\n明诸生，甲申后为僧，号渐江，一号无智，人称梅花古衲，俗姓江，名韬，字六奇，后改名舫，字鸥盟， 人。\n少孤贫，性癖，以铅椠养母。\n一日负米行三十里，不逮期，欲赴练江死。\n母殡后不婚不宦。\n明亡后清兵进逼 时，曾参加反清复明斗争，后于 落发为僧，法名弘仁，字无智，号 ，又号梅花古衲，数年后重返故里，一心研习画学。\n游 之幔亭，皈依报亲寺古航师为圆顶焉。",[7,209,24,241,173,177,29,1532,108,107,245,10154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8413b0a13127d754377e4b83368527.jpg",[],{"id":31674,"slug":31675,"title":31676,"dynasty":18,"author":31677,"museum":364,"description":31678,"tags":31679,"thumbUrl":31680,"material":139,"size":139,"collection":139,"collections":31681,"showCount":142,"zanCount":5,"manualWeight":48,"mainColor":94},227816,"xie-sheng-zi-wei-wei-sheng-227816","写生紫薇","卫昇","卫昇，(公元1世纪)〔南宋〕其生平仅见元代夏文彦撰《图绘宝鉴》卷四载“卫昇，画花鸟甚佳”7字，与南宋画人平列在一起，可见卫昇为南宋时人。\n传世作品仅有《写生紫薇图》册页，绢本，设色，纵2.8厘米，横25.厘米，以工笔重色法写折枝盛开之紫薇花，造型精确，结构严谨，用笔工整，敷色雅丽，是一幅精到之作，具有南宋院体画特点，现藏 。",[23,209,7,24,28,27,83,3682,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaa4997a97e82526f8899902e8a264a.jpg",[],{"id":31683,"slug":31684,"title":413,"dynasty":76,"author":2040,"museum":364,"description":31685,"tags":31686,"thumbUrl":31687,"material":139,"size":139,"collection":139,"collections":31688,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},224591,"yu-tang-fu-gui-tu-zou-yi-gui-224591","《玉堂富贵图》是清代邹一桂的作品，该图规格为197×96cm，此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n该图画是邹一桂的作品，作于清代。\n此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n汉代皇宫有“玉堂殿”，后世以“玉堂”指翰林院，“历金门，上玉堂有日矣”的意思是职位高升指日可待。\n“富贵”一词出自《论语-颜渊》：“商闻之矣，生死有命，富贵在天。\n”，指富裕而显贵的意思。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n牡丹敷以淡粉，用重粉点染边缘，显得晶莹剔透、庄重典雅。\n整个画面热烈而秀雅，韵味十足。\n，字小山。\n善画人物、花卉、翎毛、偶画山水。\n擅长水墨花卉，极有重名。",[23,209,7,24,241,28,27,83,327,417,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74591eb4de60da169f51849ba65b2284.jpg",[],{"id":31690,"slug":31691,"title":31692,"dynasty":76,"author":2804,"museum":364,"description":31693,"tags":31694,"thumbUrl":31695,"material":803,"size":31696,"collection":90,"collections":31697,"showCount":142,"zanCount":1547,"manualWeight":48,"mainColor":94},224236,"xia-qi-tu-zhou-wu-chang-shuo-224236","霞气图轴","昌硕最擅长写意花卉，受徐渭和八大山人影响最大，由于他书法、篆刻功底深厚，他把书法、篆刻的行笔、运刀及章法、体势融入绘画，形成了富有金石味的独特画风。吴昌硕作画用“草篆书”以书法入画；线条功力异常深厚。虽然从状物绘形的角度看其线条的质感似乎不够丰富、切实，但恰恰是舍弃了形的羁绊，吴昌硕的绘画才步入了“意”的厅堂，从而形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”表现形式。",[23,7,241,173,27,83,448,245,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c20d7acbfac92920da123a70b33adeb.jpg","125x29",[90,45],{"id":31699,"slug":31700,"title":31701,"dynasty":76,"author":2804,"museum":364,"description":31702,"tags":31703,"thumbUrl":31704,"material":139,"size":139,"collection":139,"collections":31705,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":271},224214,"pin-mei-tu-wu-chang-shuo-224214","品梅图","此作为典型文人清供小景，红梅老枝苍劲朴拙，胭脂点染花苞艳而不妖，尽显虬枝凌寒盛放的生机。茶炉以淡墨晕染，焦墨点出炽红炭火，留白暗喻水汽蒸腾，古雅茶壶静置炉上，角落油伞添了几分俗世烟火意趣，将围炉品茗赏梅的幽居闲逸铺陈开来。\n\n作者以金石笔法入画，笔力雄健老辣，苍劲题诗与疏朗画面浑然一体，诗书画印相融相合，将文人雅致闲情寄寓寻常清景中，寥寥数笔便勾勒出冬日小聚的清寂快意，把日常小景升华为超然雅致的文人意境。",[23,7,24,241,27,173,448,243,244,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20264ba227d2d6600d508cc9d63b4ae.jpg",[],{"id":31707,"slug":31708,"title":31709,"dynasty":18,"author":293,"museum":206,"description":31710,"tags":31711,"thumbUrl":31713,"material":27,"size":31714,"collection":42,"collections":31715,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},223566,"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,7,209,241,29,177,173,864,2124,34,560,31712,174,4614],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[42,181,163],{"id":31717,"slug":31718,"title":31719,"dynasty":18,"author":293,"museum":20,"description":31720,"tags":31721,"thumbUrl":31722,"material":40,"size":31723,"collection":139,"collections":31724,"showCount":142,"zanCount":1270,"manualWeight":48,"mainColor":49},223475,"zhe-zhi-hua-hui-tu-yi-ming-223475","折枝花卉图","此卷画折枝海棠、栀子、芙蓉、梅花共四幅，枝页繁茂，花儿怒放。花瓣、花页用勾勒填色法。花之娇态、页之正反和明暗表现得恰到好处。图中用笔缜密严谨，但工而不板，设色艳而不俗。第一段海棠树干上署有「赵昌」二字款，从字迹、画风分析，此款伪，实为当时高手所作。画面钤有「乾隆御览之宝」、「嘉庆御览之宝」、「宣统御览之宝」等印玺。曾经陈自明、清内府收藏。不见著録。",[23,7,24,25,2544,28,27,354,84,448,327,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e760018d01b4d8788990c09188ef3fe.jpg","每段49.2x77.6cm",[],{"id":31726,"slug":31727,"title":31728,"dynasty":76,"author":31729,"museum":20,"description":31730,"tags":31731,"thumbUrl":31733,"material":990,"size":31734,"collection":139,"collections":31735,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},223280,"ping-an-ru-yi-tu-yong-rong-223280","平安如意图","永瑢","该图有乾隆御书七绝一首，题跋恭呈孝圣太后。设色画松、梅、茶花、瓶、如意等，寓意“平安如意”，乾隆用以进献其母，表示吉祥和祝福。\n该画以淡墨干笔勾勒花瓶，设色淡雅，颇具文人雅趣。",[23,7,27,446,241,227,11566,1504,840,31732,1461,225],"如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55fe051adda6e8cbfcf05822d916be9c.jpg","91cmx34.7cm",[],{"id":31737,"slug":31738,"title":14144,"dynasty":76,"author":31739,"museum":101,"description":31740,"tags":31741,"thumbUrl":31742,"material":31743,"size":31744,"collection":181,"collections":31745,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","张赐宁","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[23,7,24,25,173,27,29,177,864,297,31,174,1575,35,650,491,1915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 x274.0厘米",[181,163],{"id":31747,"slug":31748,"title":31749,"dynasty":99,"author":1296,"museum":20,"description":31750,"tags":31751,"thumbUrl":31752,"material":1716,"size":31753,"collection":181,"collections":31754,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},222674,"ting-song-tu-zhou-xiang-sheng-mo-222674","听松图轴","本幅自题：“偶寻鹿迹来游此，坐听松风亦爽然。庚寅登高日寓江城西郊，喜此二言，骤笔补图。项圣谟。”钤“胥山樵项伯子”等印3方。“庚寅”乃清顺治七年（1650年），项氏54岁。“登高”为重阳节之古俗。据题可知此图系项氏于顺治七年重阳节与友人登高时为吟得佳句而绘。\n作品画云崖雾涌，长松虬枝，高士临流吟赏。树石用笔浑厚沉着，人物线条圆秀朴拙，意境清旷高古，具项圣谟山水人物画的典型风貌。",[23,7,173,241,29,1575,106,650,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76a9e06e51c1074aa07a48f7d377c6c.jpg","纵138.5厘米，横60厘米",[181,163],{"id":31756,"slug":31757,"title":31758,"dynasty":99,"author":31759,"museum":206,"description":31760,"tags":31761,"thumbUrl":31762,"material":827,"size":31763,"collection":181,"collections":31764,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},222411,"shui-mian-wen-xiang-zhou-wen-cong-jian-222411","水面闻香轴","文从简","图绘荷塘一隅，圆盘状荷叶遮住水面，墨色浓郁，四周水草繁茂，三支荷花突颖而出，二支绽放，一支含苞待放，高处荷杆上一只翠鸟探头向水中望去，翠鸟红喙细长尖锐，全身毛发柔软整齐，神情活泼。",[23,7,241,27,28,136,137,224,367,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e54eae5e00cccc24c1fccf44406de6.jpg","106.8x43.8厘米",[181,163],{"id":31766,"slug":31767,"title":31768,"dynasty":99,"author":966,"museum":675,"description":4571,"tags":31769,"thumbUrl":31770,"material":665,"size":31771,"collection":181,"collections":31772,"showCount":142,"zanCount":1547,"manualWeight":48,"mainColor":49},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷",[23,7,24,25,27,29,178,86,177,28,649,31,107,108,109,174,175,281,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[181,45],{"id":31774,"slug":31775,"title":31776,"dynasty":189,"author":3741,"museum":20,"description":31777,"tags":31778,"thumbUrl":31779,"material":1280,"size":31780,"collection":163,"collections":31781,"showCount":142,"zanCount":5,"manualWeight":48,"mainColor":49},221814,"shuang-gou-zhu-tu-li-kan-221814","双钩竹图","李衎（1245-1320），字仲宾，号息斋道人，蓟丘（今北京）人。皇庆元年（1312年）为吏部尚书，拜集贤殿大学士，与赵孟頫相友善。死后追封蓟国公，谥文简。善画竹，墨竹初师王庭筠，继师文同，青绿设色师李颇。",[23,209,7,24,241,16915,28,242,245,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53499e6ca3eee6c531a56818fa98b16c.jpg","纵185.5cm，横153.7cm",[163,2293],{"id":31783,"slug":31784,"title":31785,"dynasty":18,"author":293,"museum":1637,"description":31786,"tags":31787,"thumbUrl":31788,"material":803,"size":31789,"collection":42,"collections":31790,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,7,24,25,173,177,29,34,650,37,559,864,297,245,900,175,281,1653,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[42,181,163],{"id":31792,"slug":31793,"title":3928,"dynasty":18,"author":3929,"museum":20,"description":31794,"tags":31795,"thumbUrl":31796,"material":40,"size":31797,"collection":139,"collections":31798,"showCount":142,"zanCount":1547,"manualWeight":48,"mainColor":94},221676,"zhao-ling-liu-jun-tu-zhao-lin-221676","此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,7,24,25,27,28,150,106,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93242b603674493d0c3b514b8339e19.jpg","纵27.4厘米，横444.9厘米",[],{"id":31800,"slug":31801,"title":31802,"dynasty":18,"author":6566,"museum":20,"description":31803,"tags":31804,"thumbUrl":31805,"material":40,"size":31806,"collection":42,"collections":31807,"showCount":142,"zanCount":5,"manualWeight":48,"mainColor":49},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[23,7,24,25,260,27,178,86,106,107,34,113,29,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[42,181,45],{"id":31809,"slug":31810,"title":31811,"dynasty":99,"author":3114,"museum":206,"description":31812,"tags":31813,"thumbUrl":31814,"material":827,"size":31815,"collection":181,"collections":31816,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,7,24,173,29,177,105,86,178,227,108,109,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 横30.25cm",[181,163],{"id":31818,"slug":31819,"title":31820,"dynasty":99,"author":14350,"museum":9181,"description":31821,"tags":31822,"thumbUrl":31823,"material":31824,"size":31825,"collection":90,"collections":31826,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":139},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[23,7,24,173,446,241,83,957,281,1015,245,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 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滩岸布置崖冈枯木，通幅用淡墨图写，景物出没于空旷有无之间，明润秀雅，较李郭山水更为虚灵简远。此图是李公年传世的唯一的画迹。",[7,173,177,241,29,649,1653,394,245,175,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885b7547f08c8a2d5e1e3041dfe3ad24.jpg","纵130厘米，横48.4厘米",[181],{"id":31873,"slug":31874,"title":10387,"dynasty":76,"author":24971,"museum":78,"description":31875,"tags":31876,"thumbUrl":31877,"material":342,"size":31878,"collection":90,"collections":31879,"showCount":142,"zanCount":5,"manualWeight":48,"mainColor":94},218900,"fu-rong-yuan-yang-tu-li-yin-218900","该画以竖构图表现池畔一隅，景致于深阔中见清逸，画的下方，几缕淡淡的游丝线勾出透明的水域，一对鸳鸯仿佛边游边聊着。画的中上部，从画外探进来的芙蓉花占了画面三分之二多，一枝俯垂，一枝上扬，俯仰之间既各得其韵，又彼此呼应；芙蓉花是用白描法淡墨勾勒而成，花朵之间的摆布迎让有序、相辅相成，毫无刻意造作之气，线条使转流畅，给人以运笔迅疾之感；叶子用没骨法点饰，大小、浓淡适宜，层次分明，墨色明透清亮，且叶筋勾勒得劲健挺拔，淡墨写出的几缕蒲草叶点缀其间，与花的团叶互为映衬，又于疏密中见丰富。水面上，两只鸳鸯相拥着游向接近水面的花，大概是雌鸳鸯嗅到了花香发出惊叫，引得雄鸳鸯回头观望，那温柔的神态充满爱意。鸳鸯的造型生动、准确，羽毛勾勒后用淡墨晕染，笔触细腻，墨分五彩，虽未着色却显现出绚丽华滋的富贵之气。纵观全画，作者以构图的疏朗与简括，笔墨的简洁与精劲，营造出花开季节游禽恬淡安闲的状态，进而通过诗画的意境传达出一种浪漫气息。同时，画面的空明与洁静，也体现出作者高超的笔墨功夫。",[7,173,83,241,450,2555,544,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63764a7a72a14f84ca58ebff73c6e3c8.jpg","纵115厘米，横47.3厘米",[90],{"id":31881,"slug":31882,"title":1692,"dynasty":189,"author":18436,"museum":31883,"description":31884,"tags":31885,"thumbUrl":31886,"material":123,"size":31887,"collection":181,"collections":31888,"showCount":142,"zanCount":5,"manualWeight":48,"mainColor":49},218242,"shan-shui-tu-yan-hui-218242","开封市博物馆","层岩叠壑间云雾氤氲，似将山峦晕染成流动的诗行。枯木虬枝如墨笔狂舞，皴擦点染间尽显苍劲力道，却又于虬曲中藏着生机。山间屋舍隐于林麓，半露半藏，似有逸士凭窗观云，将尘嚣隔绝在外。水墨淋漓处，浓淡干湿交织，远山如黛，近石如铁，树木扶疏间，光影流转成幽寂之境。\n\n这幅山水将自然丘壑化为心象，笔墨既见法度又含写意，于沉郁中透出空灵。它以苍劲的笔触勾勒天地骨架，用氤氲的墨气晕开文人幽怀，仿佛能让人听见山风穿林、涧水潺潺，在静默中与天地精神往来，尽显元人寄情山水、以笔抒怀的意趣。",[7,173,27,177,29,176,34,175,35,394,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8acb54e2e79d4575f1c162e13375372.jpg","136x127cm",[181],{"id":31890,"slug":31891,"title":31892,"dynasty":76,"author":13111,"museum":132,"description":31893,"tags":31894,"thumbUrl":31895,"material":342,"size":139,"collection":181,"collections":31896,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},217980,"fang-bei-yuan-qiu-shan-ting-zi-tu-wu-li-217980","仿北苑秋山亭子图","吴历的画风清新自然，笔法简洁流畅。在这幅画中，他巧妙地运用了构图、色彩和线条的对比，使得整幅画面显得格外生动。他还细心地捕捉了自然界的细节，比如山亭的屋顶上长满青苔，树叶上的露珠闪闪发光。\n\n这幅画被认为是吴历的杰作之一，其独特的画风和精细的绘画技巧得到了广泛赞誉。它不仅是一幅美丽的画作，也是对中国古代山水画的精湛再现。",[7,24,173,29,175,430,176,177,105,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd29e36c3ff5f94f648797f2e11c33d.jpg",[181],{"id":31898,"slug":31899,"title":31900,"dynasty":76,"author":293,"museum":206,"description":31901,"tags":31902,"thumbUrl":31903,"material":88,"size":31904,"collection":90,"collections":31905,"showCount":142,"zanCount":5,"manualWeight":48,"mainColor":94},216208,"xuan-zong-yu-ti-hua-ma-yi-ming-216208","宣宗御题画马","宣宗御题画马 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（约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,209,7,25,24,27,28,106,29,108,109,176,6398,449,755,84,5627,2451,31954,227],"赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],{"id":31958,"slug":31959,"title":31960,"dynasty":18,"author":1616,"museum":364,"description":24524,"tags":31961,"thumbUrl":31963,"material":743,"size":744,"collection":139,"collections":31964,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":49},288223,"qiu-dong-shan-shui-tu-li-tang-288223","秋冬山水图",[7,1397,173,177,1015,1575,558,176,25781,31962],"寒寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec7f5b52580af7e7f6660f1752608c3.jpg",[],{"id":31966,"slug":31967,"title":7425,"dynasty":18,"author":3214,"museum":364,"description":31968,"tags":31969,"thumbUrl":31970,"material":743,"size":744,"collection":139,"collections":31971,"showCount":31931,"zanCount":5,"manualWeight":48,"mainColor":49},287454,"qiu-ting-xi-ying-tu-su-han-chen-287454","《秋庭戏婴图》以细腻的笔法，描绘两个锦衣孩童在庭院玩着一种推枣磨的游戏。兄妹两人无论从头发、眉目，衣饰，都精心刻画，丝染兼备，而且变化极为丰富，以长而圆润的线条，画出衣纹，再仔细点染衣服上的花纹，不仅画出质料的柔软细致，更赋予衣服华丽的质感，这些细微的处理，使得子孩丰润、柔软、细致的模样，跃然于纸上。",[23,7,209,28,27,106,11805,450,245,115,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414a0dd806bab4abffe5b1350464294b.jpg",[],{"id":31973,"slug":31974,"title":31975,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":31976,"thumbUrl":31978,"material":743,"size":744,"collection":139,"collections":31979,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},283628,"mu-gua-tu-ye-zhu-da-283628","木瓜图页",[7,83,27,173,31977,227],"木瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77c387388d496516ea355d516ace384.jpg",[],{"id":31981,"slug":31982,"title":31983,"dynasty":189,"author":293,"museum":20,"description":31984,"tags":31985,"thumbUrl":31986,"material":1716,"size":31987,"collection":181,"collections":31988,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},239526,"ni-zan-qiu-ting-jia-shu-tu-zhou-yi-ming-239526","倪瓒秋亭嘉树图轴","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，幽静雅洁，仿佛笼罩在一片月色之中。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n本幅自题：“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”\n本卷上诗塘有吴宽、朱果二家题记。曾经清内府收藏。",[7,173,241,86,227,177,29,430,175,242,491,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08768391940841042688571157736a1b.jpg","纵114cm，横34.3cm",[181,382],{"id":31990,"slug":31991,"title":31992,"dynasty":76,"author":4546,"museum":20,"description":31993,"tags":31994,"thumbUrl":31995,"material":40,"size":31996,"collection":45,"collections":31997,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},238228,"hong-li-xing-le-tu-zhou-zhang-ting-yan-238228","弘历行乐图轴","此画描绘了乾隆皇帝在园囿中休闲自娱的场面。深秋的庭院，林木依旧繁茂，色彩十分丰富。中年的皇帝闲坐于廊下观赏庭中景致，若有所思，桌案上已经铺设了纸砚，一童子侍立，手执拂尘，一童子正捧书册而至。画中楼阁桥梁以直尺界笔描绘，融明代仇英的传统建筑画技法与海西透视法于一体，工致而不呆板。",[7,24,241,27,28,104,368,106,107,34,115,432,114,21213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238dc91c650fc7be74daa9b715d2f6b8.jpg","纵119.1厘米，横213厘米",[45],{"id":31999,"slug":32000,"title":18107,"dynasty":76,"author":32001,"museum":364,"description":32002,"tags":32003,"thumbUrl":32004,"material":139,"size":139,"collection":90,"collections":32005,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},237457,"mu-dan-zhou-zhang-meng-gao-237457","张孟皋","张孟皋，一字梦皋，名学广，以字行，工画人物，翎毛、花卉、尤工折枝。道光时官钱塘典史。所作元气浑然。 张孟皋之名，盖由近人吴昌硕师事其风而名声振广，吴缶翁师其数十年，题画多见拟仿学、临等。尤如张赐宁等为官江浙者，其作赋色妍丽，用笔洒脱，极得时人珍爱，任伯年亦有题师张孟皋。\n张孟皋是清代嘉道时期的一位花卉画家，画史上介绍很简单，他名学广，字孟皋，以自行。多记载他是天津人，实际应是北平（今北京）大兴人，他在自己的画作上多次题“北平张孟皋”。",[7,241,27,28,83,327,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d14e2a9c338194b64463d0442e5d96.jpg",[90],{"id":32007,"slug":32008,"title":11195,"dynasty":76,"author":1109,"museum":20,"description":5555,"tags":32009,"thumbUrl":32010,"material":803,"size":139,"collection":181,"collections":32011,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},237235,"yuan-ji-shan-shui-tu-zhou-shi-tao-237235",[7,173,241,24,209,29,503,34,558,650,4614,109,227,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[181],{"id":32013,"slug":32014,"title":20281,"dynasty":76,"author":5052,"museum":364,"description":12208,"tags":32015,"thumbUrl":32016,"material":743,"size":744,"collection":181,"collections":32017,"showCount":31931,"zanCount":5,"manualWeight":48,"mainColor":94},235611,"hong-ren-shan-shui-ce-hong-ren-235611",[7,24,173,29,107,1575,503,176,1444,5990,177,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[181],{"id":32019,"slug":32020,"title":6734,"dynasty":18,"author":781,"museum":364,"description":32021,"tags":32022,"thumbUrl":32023,"material":743,"size":744,"collection":139,"collections":32024,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},230972,"wu-ma-tu-li-gong-lin-230972","此图画的是宋朝元佑初年天驷监中的五匹西域名马，马旁各有一名奚官或圉人执辔引领。画中无作者款印，前4马后，各有黄庭坚签题的马名、产地、年岁、尺寸，卷末有黄庭坚“李公麟作”题跋：这些由西域诸国进贡的骏马，马名依序是“凤头骢”、“锦膊骢”、“好头赤”、“照夜白”，第五匹马佚名，经考证可能为“满川花”。画中的5位马官，两位是汉人，其余的为外族，形貌、服饰、神情各不相同，但在气质上却有着微妙的类似之处。",[23,209,7,24,25,260,27,106,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec0ca19437f2221e38f8bcfaa50fb4.jpg",[],{"id":32026,"slug":32027,"title":32028,"dynasty":292,"author":293,"museum":364,"description":32029,"tags":32030,"thumbUrl":32031,"material":743,"size":744,"collection":139,"collections":32032,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":49},230838,"cai-hui-si-bi-ru-yi-lun-guan-yin-xiang-yi-ming-230838","彩绘四臂如意轮观音像","此作以自在坐姿塑法相，菩萨面容沉静端严，宝冠缀饰华贵，璎珞环身尽显庄严。四臂各司其职，主臂托腮思惟，余臂持印握器，将悲悯自在的神韵相融。设色古雅厚重，石青、朱砂晕染出衣袂层次，头光环叠晕彩，衬出清寂高华。岁月留痕的斑驳残损，更添沧桑质感，圆转线条勾勒出舒展灵动的体态，尽显古雅释画的典雅法度，静穆间裹挟着慈悲意趣，是兼具宗教性与艺术性的珍贵遗存。",[23,7,24,27,259,106,28,1862,227,65,9253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca1f62971c665b5f5fb84f347665e2f.jpg",[],{"id":32034,"slug":32035,"title":32036,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":32037,"thumbUrl":32039,"material":67,"size":10518,"collection":139,"collections":32040,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188",[7,24,27,28,104,106,107,108,109,175,279,176,313,115,34,9155,3217,32038,560],"圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg",[],{"id":32042,"slug":32043,"title":32044,"dynasty":99,"author":14489,"museum":364,"description":32045,"tags":32046,"thumbUrl":32047,"material":139,"size":139,"collection":139,"collections":32048,"showCount":31931,"zanCount":1270,"manualWeight":48,"mainColor":94},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 前言 一夏昶 墨竹图轴 二戴进 归舟图 三沈贞吉 秋林观瀑图轴 四刘珏 烟水微茫图 五沈周 花鸟册 六沈周 岸波图卷 七文徵明 三绝图卷 八文徵明 五月江深图幅 九唐寅 农训图轴 一○唐寅 灌木丛篠图轴 一一陈淳 牡丹湖石图轴 一二王宠 春山图 一三陆治 溪山访友图轴 一四陆治 唐人诗意山水册 一五王问 雪景山水轴 一六王问 赏月图金面扇页 一七文彭、文嘉草书卢仝饮茶诗、为壶梁作山水卷 一八文嘉 垂虹亭图卷 一九文伯仁 为怀谷作山水轴 二○陈焕 重岩飞瀑图幅 二一文伯仁 石湖草堂图 二二钱谷 临流独坐图扇页 二三钱谷 摹吴镇、倪云林山水卷 二四周天球 兰花图金面扇页 二五孙克弘 墨竹图 二六陈嘉言 水仙梅雀图轴 二七丁云鹏 秋山远眺图幅 二八董其昌 绿溪清嶂图 二九陈裸 野屋寒水图扇页 三○米万钟 三一归昌世 竹石图轴 三二李流芳 仿宋元各家山水 三三顾凝远 吴中名胜十景图 三四张宏等 八家送寇慎去官图册 三五蓝瑛 松岩观瀑图轴 三六蓝瑛 仿大痴山轴 三七伍瑞隆 墨牡丹图轴 三八吴彬 仙楼飞撷图轴 三九何适 林中草亭图轴 四○孙枝 踏雪访友图轴 四一唐志 契门泊渔舟图轴 四二濮桓 芝石图 四三周之冕 杏花锦鸡图轴 四四周臣 桃花源图 四五陈章侯、 胡华鬟山水梅花合册 四六江必名 白雪高风图 四七侯懋功 为秦山作山水扇页 四八李士达 西园雅集图卷 四九王翘 花蝶草虫卷 五○尤求 白描饮中八仙图卷 五一钱贡 福源寺图卷 五二恽向 仿古山水册 五三袁尚统 迎春图轴 五四项圣谟 山水兰竹图 五五郑元勋 临石田山水幅 五六陈洪绶扑蝶图扇面 五七陈洪绶何天章行乐图卷 五八万寿祺 五九王时敏端阳墨花轴 六○王时敏山水轴 六一王时敏秋山晓霁图 六二王鉴虞山十景册 六三程遂为烟翁作山水轴 六四黄向坚万里寻亲图轴 六五龚贤墨笔山水册 六六龚贤山水卷 六七朱轩山水册 六八徐枋北苑山水 六九罗牧山水轴 七○王犟仿范宽山水轴 七一王犟山水册 七二王武水仙湖石图轴 七三恽寿平山水、花卉册 七四上睿为梅作行乐图册 七五原济广陵茱萸湾图扇页 七六原济六君子图幅 七七王原祁仿大痴山水幅 七八王原祁仿梅道人秋山图幅 七九王原祁仿赵大年江乡春晓图轴 八○王啄祁仿大痴富春大岭图轴 八一查士标溪山佳处图轴 八二华邑、许滨桃柳双鸭图幅 八三华嵒宋儒诗意图轴 八四沈铨碧梧栖凤图 八五高凤翰甘菊图 八六边寿民芦帷册 八七张庚仿北苑夏山图幅 八八李鱓芍药图轴 八九李鱓风雨芭蕉图轴 九○李鱓、陈撰等（六人合作）花果扇页 九一金农香林扫塔图轴 九二黄慎群盲聚讼人物轴 九三黄慎八仙 九四高翔临倪瓒竹树小山图扇页 九五方士庶野云晚濑图轴 九六郑燮竹石图轴 九七李方膺松石图 九八钱维城五君子图轴 九九罗聘篦谷像 一○○罗聘兰花图 一○一方薰柏龄图轴. 一○二奚冈陂塘秋水图轴 一○三张崟临顿新居第三图卷 一○四张培敦玉溪梦隐图 一○五改琦竹石幽兰图轴 一○六屠倬为南雅作山水轴 一○七王礼琵琶仕女图 一○八虚谷松鹤中堂 一○九任薰茹叶蜻蜓图 一一○任薰花鸟册 一一一任颐风云三侠图轴 一一二任颐狸猫竹石图轴 一一三吴昌硕杞菊延年图轴 一一四吴觳祥深山水秀图卷 一一五任预射雁图 一一六陆远仿子久溪山秋霭图幅 一一七方大猷为敬翁作山水 一一八翟大坤草堂赏泉图轴 一一九蔡嘉山水册 一二○张风 一二一祝昌溪水无尽图 一二二华浚仿周文矩临镜美人图幅 一二三张弼草书册 一二四沈周 一二五陈献章七绝赛兰香诗轴 一二六王鏊草书七律轴 一二七祝允明行草九愍等诗卷 一二八祝允明滕王阁序诗卷 一二九文徵明行书七律二首 一三○文徵明尺牍 一三一文徵明小楷落花诗卷 一三二唐寅行书七律轴 一三三王问草书五律金面扇页 一三四周天球楷书子凉览古一首金面扇页 一三五徐渭行草应制咏墨诗轴 一三六徐渭行草应制咏剑诗轴 一三七王樨登行书五言诗轴 一三八申时行行草摺扇面 一三九董其昌草书五言诗轴 一四○范允临行书五言绝句轴 一四一赵宦光等二十家诗词册 一四二张瑞图行草五律诗轴 一四三张瑞图行草陶诗册 一四四文震孟行书登麻姑山诗轴 一四五文从简行书册页 一四六倪元璐行书五律金面扇页 一四七傅山草书七绝轴 一四八傅山、傅眉手书诗词册 一四九归庄行草七言诗轴 一五○徐枋草书五律 一五一查士标行草七绝诗 一五二查士标行书轴 一五三张照临朱子行书轴 一五四郑燮行草七律轴 一五五刘墉致英和信札册 一五六梁同书 一五七翁方纲七言行书轴 一五八钱沣行书欧阳公李公李欣诗句轴 一五九黄易七言篆书联 一六○铁保七言行书联 一六一陈豫钟五言篆书联 一六二陈鸿寿七言隶书联 一六三赵之谦为理卿行书七言诗轴 一六四翁同龠禾八言行书联 一六五沈曾植行书七绝",[23,7,24,209,241,27,28,177,29,106,150,175,1653,394,449,2124,864,650,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],{"id":32050,"slug":32051,"title":24015,"dynasty":99,"author":31299,"museum":206,"description":32052,"tags":32053,"thumbUrl":32054,"material":67,"size":139,"collection":139,"collections":32055,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},228368,"sou-shan-tu-juan-li-zai-228368","苍松躯干虬结嶙峋，疤节错生尽显古拙雄健，松针攒簇如戟，苍劲之意溢出纸面。左侧群妖姿态怪诞灵动，或疾奔呼号，或惶然疾走，铁线白描勾勒出魑魅惊惶奔逃的身形，衣袂毛发皆带着仓皇动感，将神异妖物的惶遽神态刻画入微。\n\n淡墨晕染烘托出山林幽寂的荒蛮底色，笔力劲挺洗练，虚实相生间，搜山捉妖的紧张氛围跃然纸上，把这场神异搜山的诡谲张力诠释得淋漓尽致，尽显笔底风神，将山野间的奇幻荒怪之气铺陈开来。",[23,7,25,260,173,106,957,394,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F243e48218103e4f5026b059cf667cf60.jpg",[],{"id":32057,"slug":32058,"title":14424,"dynasty":189,"author":351,"museum":364,"description":32059,"tags":32060,"thumbUrl":32063,"material":139,"size":139,"collection":139,"collections":32064,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":49},228316,"jin-hui-dui-tu-qian-xuan-228316","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[23,7,24,25,28,27,83,712,299,1966,20602,84,604,32061,713,698,32062],"杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],{"id":32066,"slug":32067,"title":32068,"dynasty":76,"author":5096,"museum":364,"description":32069,"tags":32070,"thumbUrl":32071,"material":743,"size":744,"collection":139,"collections":32072,"showCount":31931,"zanCount":5,"manualWeight":48,"mainColor":94},224476,"fang-hui-chong-bi-yi-shan-mian-wang-jian-224476","仿惠崇笔意扇面","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n[ 万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,209,7,24,1562,27,173,177,29,174,281,34,920,340,491,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],{"id":32074,"slug":32075,"title":32076,"dynasty":76,"author":1394,"museum":206,"description":32077,"tags":32078,"thumbUrl":32079,"material":827,"size":32080,"collection":181,"collections":32081,"showCount":31931,"zanCount":1547,"manualWeight":48,"mainColor":94},224433,"fang-wang-wei-jiang-shan-xue-ji-zhou-wang-shi-min-224433","倣王维江山雪霁轴","王时敏师承董其昌，师法黄公望，少时就极为聪颖，祖父王锡爵嘱托董其昌对其进行指导，创作了绘画人门的画稿即《课徒稿》。受董其昌的影响，王时敏少年便从摹古开始，因家里名画收藏丰富，方便王时敏深入钻研宋、元传统的笔墨画法。王时敏对黄公望顶礼膜拜，对其作品中干枯的笔墨和浑厚潇洒的画，风学习最下功夫。到了晚年时期，王时敏画风日益成熟，他追求用笔本身的变化，形成了用笔求“毛”的独特风格，要求有枯有润，有苍有秀，淡墨干笔皴擦，浓墨加湿渲染，老辣苍茫，墨法淳厚，从而形成了苍茫浑厚的山水画风",[7,27,29,105,177,241,227,864,2124,430,108,109,35,650,37,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[181],{"id":32083,"slug":32084,"title":32085,"dynasty":99,"author":293,"museum":206,"description":32086,"tags":32087,"thumbUrl":32088,"material":665,"size":32089,"collection":139,"collections":32090,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":49},223490,"ming-tai-zu-zhu-yuan-zhang-zuo-xiang-tu-zhou-yi-ming-223490","明太祖朱元璋坐像图轴","明太祖（1368－1398在位），明朝開國皇帝，姓朱，名元璋，年號洪武，濠州 (今安徽鳳陽)人。幼孤，入皇覺寺為僧，元末群雄並起，有雄才，以布衣成帝業。\n絹地彩繪太祖坐像，筆筆工整，風格嚴謹，幅面巨大，氣派堂皇。畫中皇帝頭戴烏紗折角向上巾，身著圓領織金盤龍皇袍，端坐金扶手椅，容貌豐偉，鬚短而黑，當值盛年。",[23,7,24,241,1086,28,27,106,502,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa200f5ca4dc4d864c1d4c5a8a568a941.jpg","137x84",[],{"id":32092,"slug":32093,"title":32094,"dynasty":76,"author":10958,"museum":206,"description":32095,"tags":32096,"thumbUrl":32097,"material":827,"size":32098,"collection":181,"collections":32099,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,7,24,25,27,29,177,104,227,107,108,109,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[181],{"id":32101,"slug":32102,"title":32103,"dynasty":76,"author":1703,"museum":364,"description":32104,"tags":32105,"thumbUrl":32106,"material":803,"size":32107,"collection":90,"collections":32108,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},222710,"an-ma-tu-jin-nong-222710","鞍马图","图绘一人一马，所绘人物头戴翎毛宽边帽，身披红色披风，满脸胡茬一幅西域人的长相；身边的白马高大威武，颈脖上挂了一串红色绒球，尾巴用红绳扎上，主人手抚马背，可见主人对马儿的喜爱。",[23,7,24,241,173,27,106,150,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa5a47ca9c74a302637305b2584337b.jpg","76x43厘米",[90,45],{"id":32110,"slug":32111,"title":32112,"dynasty":76,"author":5208,"museum":56,"description":32113,"tags":32114,"thumbUrl":32115,"material":32116,"size":32117,"collection":181,"collections":32118,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":49},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[23,209,7,24,241,173,29273,29,109,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[181,163],{"id":32120,"slug":32121,"title":32122,"dynasty":99,"author":100,"museum":20,"description":32123,"tags":32124,"thumbUrl":32125,"material":40,"size":32126,"collection":181,"collections":32127,"showCount":31931,"zanCount":1547,"manualWeight":48,"mainColor":49},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[23,209,7,24,241,28,27,104,106,59,758,107,115,210,430,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[181,45],{"id":32129,"slug":32130,"title":32131,"dynasty":99,"author":22400,"museum":20,"description":32132,"tags":32133,"thumbUrl":32134,"material":32135,"size":32136,"collection":163,"collections":32137,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},222167,"qi-shui-qing-feng-tu-xia-chang-222167","淇水清风图","夏昶（1388至1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，昆山（今江苏昆山）人。昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n有“夏卿一个竹，西凉十锭金”之谣。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学王绂兼学陈继，有自己的面目，声誉大大超过了他的老师。",[23,7,24,25,173,1308,86,227,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1e1ca00868d871f0471a4a53755cd6.jpg","纸本设","纵27.6CM 横98CM",[163],{"id":32139,"slug":32140,"title":32141,"dynasty":99,"author":4245,"museum":206,"description":32142,"tags":32143,"thumbUrl":32144,"material":665,"size":32145,"collection":90,"collections":32146,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":49},221939,"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。\n其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。\n边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。\n《春花三喜图》就是边景昭花鸟画之一。\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。\n雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\n图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。\n本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。\n边景昭（生卒年不详），字文进，福建沙县人。\n明宣德年间官武英殿待诏，擅画花鸟，笔墨承南宋院体，设色沉着雅丽。\n其子楚芳（一作祥）承父业，占籍锦衣（世袭任职锦衣卫）。",[23,7,24,209,241,28,27,83,242,62,224,245,19390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","纵165.2，横98.3cm",[90,45],{"id":32148,"slug":32149,"title":13623,"dynasty":189,"author":5444,"museum":206,"description":32150,"tags":32151,"thumbUrl":32152,"material":827,"size":32153,"collection":181,"collections":32154,"showCount":31931,"zanCount":5,"manualWeight":48,"mainColor":94},221752,"hua-xue-jing-zhou-sheng-mao-221752","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,209,7,24,241,173,27,177,29,2502,2125,34,35,3558,31,1445,176,15846,4663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[181,163],{"id":32156,"slug":32157,"title":32158,"dynasty":18,"author":27510,"museum":12966,"description":32159,"tags":32160,"thumbUrl":32161,"material":803,"size":32162,"collection":42,"collections":32163,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},221449,"zhong-shan-chu-you-tu-juan-gong-kai-221449","中山出游图卷","《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面",[23,7,25,260,173,106,2717,150,7464,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8280b5c0f8df796c30604681cc79ff9.jpg","纵32.8厘米，横169.5厘米",[42,181,45],{"id":32165,"slug":32166,"title":32167,"dynasty":18,"author":781,"museum":12966,"description":32168,"tags":32169,"thumbUrl":32170,"material":40,"size":32171,"collection":42,"collections":32172,"showCount":31931,"zanCount":1547,"manualWeight":48,"mainColor":49},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,209,7,24,25,260,173,27,106,29,34,35,174,109,175,178,1195,453,242,281,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 x 521.5 cm",[42,44,163],{"id":32174,"slug":32175,"title":32176,"dynasty":18,"author":3214,"museum":206,"description":32177,"tags":32178,"thumbUrl":32179,"material":665,"size":32180,"collection":42,"collections":32181,"showCount":31931,"zanCount":5,"manualWeight":48,"mainColor":49},221354,"kai-tai-tu-zhou-su-han-chen-221354","开泰图轴","画中的孩童欢乐地骑在一只大羊背上，身边围绕着各色大小造型不一、矫健欢腾的小羊，神气十足。据了解，北宋时期的日常生活中，羊并非骑乘的动物，但画中白羊被配上如神骏宝象般的鞍辔，散发着非同一般的宫廷贵气。群羊在草地中或饮，或食，或奔走，或徜徉，悠然自得的环绕在童子身边。画面背后还以长松梅花做背景，点有一双喜鹊，意取“喜上眉梢”。童子神采飞扬，群羊热闹欢腾，整幅画面充满了一派富丽祥和之气。那白胖小子丰润柔软的模样跃然于纸上，栩栩如生，令人心生爱怜。",[23,209,7,24,241,27,28,106,957,8368,430,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0dcb740080929d847e81c2fd0a8fd4.jpg","纵106厘米，横52厘米",[42,44,45],{"id":32183,"slug":32184,"title":32185,"dynasty":76,"author":77,"museum":206,"description":32186,"tags":32187,"thumbUrl":32188,"material":827,"size":32189,"collection":90,"collections":32190,"showCount":31931,"zanCount":5,"manualWeight":48,"mainColor":271},220982,"wu-qing-tu-zhou-yun-shou-ping-220982","五清图轴","恽寿平为人敦厚，个性孤介洒脱，不愿应试科举，以卖画为生，过着与世无争的日子，气节和人品相当受人敬重，而他的画也如他的人品一样，具有高洁不流俗的风格。五清指的是松、竹、梅及水、月。松柏经霜雪而不凋谢，竹子以其有节空心，代表君子的节操与虚心；梅花不畏风霜，愈冷愈开花，是品格坚贞的写照；而水与明月更是清澈透明、洁白无瑕的象征，所以合称「五清」，自古以来就常被用来比喻君子的德行。君子才德兼备，有高风亮节的情操，和「贫贱不能移，富贵不能屈」的志节，是社会上值得尊敬的人。这幅画，恽寿平以五清来代表君子，构图简单，分为三段，上段画老松由右横斜至左，明月高挂当空，中段则有梅花盛开，伴着青翠绿竹；下段流水潺潺。款识「辛酉初秋南田寿平制」，是恽寿平四十九岁的作品。笔墨多变，有的墨色饱含水份，有的枯干焦浓。有的先湿后枯，先浓后淡，墨趣丰饶。用笔温文柔和，呈现一种平和宁静的气氛，就像他所敬重的谦谦君子一般",[23,7,241,27,449,448,242,431,300,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870f71bba414a2c44d511dc3af19b001.jpg","86.1x38.4",[90,45],{"id":32192,"slug":32193,"title":32194,"dynasty":189,"author":1672,"museum":238,"description":32195,"tags":32196,"thumbUrl":32197,"material":803,"size":32198,"collection":163,"collections":32199,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},220805,"yun-shi-qiao-ke-tu-zhou-ni-zan-220805","筠石乔柯图轴","此画用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。树杆上挂满了细繁的藤蔓垂条，图中的篁竹属于倪瓒墨竹中叶尖向上的新篁画法，颇见功力。画面一如倪瓒一贯呈现的风格：构图简洁，干笔皴檫，意境清远萧疏。",[23,7,241,173,177,242,431,430,1653,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4ba73df5db160da5171569d0a459b0.jpg","横67.3厘米，横36.8厘米",[163,2293],{"id":32201,"slug":32202,"title":32203,"dynasty":99,"author":100,"museum":206,"description":32204,"tags":32205,"thumbUrl":32206,"material":88,"size":32207,"collection":44,"collections":32208,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[7,209,24,241,28,27,173,177,106,759,296,16310,176,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","279.5x100",[44,45],{"id":32210,"slug":32211,"title":32212,"dynasty":99,"author":293,"museum":7875,"description":32213,"tags":32214,"thumbUrl":32215,"material":123,"size":32216,"collection":90,"collections":32217,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":49},220340,"chun-jing-hua-niao-tu-yi-ming-220340","春景花鸟图","画面以早春雪景铺陈意境，老梅虬枝盘曲，枝头凝雪，冰萼缀枝。群雀栖于梅梢，灵动啾鸣，破了雪天的清寂。下方奇石覆雪，锦雉静静伫立，翎羽斑斓细腻，身旁细竹轻沾雪色，更衬出禽鸟的安然。角落里山茶吐艳，朱砂色的花萼点亮冷调的底色。\n\n工笔设色晕染柔和精微，禽鸟绒毛的蓬松、古木皲裂的苍劲都刻画入微，清冷雪景与暖调花色禽羽相映，将冬寒未褪、春意初萌的幽澹野趣尽藏其中，尽显雅致静穆又生意暗涌的格调。",[23,7,209,24,28,27,448,242,176,224,14718,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1068b2760f18f253d69357fe4d36b4c1.jpg","155.2 × 93.3",[90,45],{"id":32219,"slug":32220,"title":32221,"dynasty":18,"author":293,"museum":782,"description":32222,"tags":32223,"thumbUrl":32224,"material":342,"size":139,"collection":44,"collections":32225,"showCount":31931,"zanCount":5,"manualWeight":48,"mainColor":49},219587,"hu-fa-tian-wang-tu-yi-ming-219587","护法天王图","全作以长卷铺陈浩荡群像，排布疏密有致。左侧雅士云集，宽袍博带，神态或清隽沉凝，或温雅端方，铁线游丝般的线条勾勒出出尘风神。右侧融世俗百态，驯虎、舆车错落，仆役走卒情态鲜活，雅俗相映，消解了仙圣绘的疏离感。\n\n绢面虽经岁月晕染，浅淡古雅的设色依旧耐看，劲挺流转的线描尽显白描功底。衣袂飘举间将清贵气度与市井意趣揉为一体，在庄严仪轨之中藏着鲜活烟火，尽显中古人物画的叙事张力与笔墨意韵。",[23,7,24,25,259,260,27,28,106,7281,957,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac3273b94acfdc6de56954e04e0abfb.jpg",[44],{"id":32227,"slug":32228,"title":32229,"dynasty":99,"author":13656,"museum":206,"description":32230,"tags":32231,"thumbUrl":32232,"material":173,"size":139,"collection":44,"collections":32233,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},219509,"xian-zong-lv-he-tu-wu-wei-219509","仙踪侣鹤图","吴伟（1459-1508）明代著名画家。字次翁，又字士英、鲁夫、号小仙。江夏（今湖北武汉）人，流寓金陵。画院待诏。孝宗时授锦衣卫百户及赐“画状元”的图章。他自幼收养于钱昕家，伴其子读书，行有窃弄笔墨的机会。年二十后至金陵，书画之名已渐起，画法与戴进相似。精山水，落笔健壮，最长于白描人物。时与杜堇、沈周、郭翊齐名。用笔奔放，画时泼墨如云，旁观者骇，巨细曲折，各有条理，人皆为之叹服。传其画法的有蒋嵩、张路、宋臣、蒋贵、宋澄春、王仪等，被称为“江夏派”。代表作品有：《采芝图》、《仙踪侣鹤图》、《芝仙图》、《溪山渔艇图》以及白描《人物图》、《神仙图》等。",[7,173,106,60,446,241,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda2e7992cbb8a068d0f82e6784bf8ce.jpg",[44],{"id":32235,"slug":32236,"title":32237,"dynasty":99,"author":293,"museum":206,"description":32238,"tags":32239,"thumbUrl":32240,"material":27,"size":139,"collection":45,"collections":32241,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":49},219352,"ji-tu-yi-ming-219352","鸡图","红冠劲挺的雄鸡立于侧，黑羽如缎，尾翎舒展若墨染；白羽带斑的母鸡低头轻啄，身旁雏鸡憨态可掬，或蹭母翼下，或伸颈欲食，亲子温情流淌于笔端。旁侧百合悄然绽放，淡粉花瓣与嫩绿枝叶点缀，添几分雅致。古绢底色沉敛，线条细劲精准，设色温润自然——雄鸡艳红与黑羽对比鲜明，母鸡素白与雏鸡嫩黄相映成趣。无繁复布景，却以细腻笔触勾勒鸡群生动情态，既有田园恬淡，又暗合“吉（鸡）祥和合（百合）”的美好期许，尽显明代工笔花鸟的雅致意趣与生活气息。",[1086,7,24,28,27,67,3529,11786,19981,26756,84,9930,2908],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf02b4d3eb9621cbc675af2bd1bf32f3.jpg",[45],{"id":32243,"slug":32244,"title":32245,"dynasty":99,"author":2917,"museum":206,"description":32246,"tags":32247,"thumbUrl":32249,"material":123,"size":32250,"collection":90,"collections":32251,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":49},219319,"qu-ge-jie-shou-tu-zhou-zhi-mian-219319","衢歌介寿图","周之冕(1521-?)，明代画家。字服卿，号少谷，长洲(今江苏苏州)人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。",[1086,12761,7,24,241,67,27,83,84,1938,1575,176,32248,3963],"勾花点叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345b4913e090ae3d73841591489baea3.jpg","138.1×56.7cm",[90],{"id":32253,"slug":32254,"title":32255,"dynasty":18,"author":1616,"museum":206,"description":32256,"tags":32257,"thumbUrl":32258,"material":123,"size":32259,"collection":42,"collections":32260,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},218968,"da-jiang-fu-yu-tu-li-tang-218968","大江浮玉图","图片显示的是一条大河，波涛汹涌，两艘河船一起停泊在附近的码头上。有一些岛屿升入河中，几块巨石与主山遥相呼应，而森林树木、寺庙和漂浮的人物被描绘得非常详细。其笔法与郭熙的《早春》相似，结构与徽宗的《溪山秋色》相似。它可能是郭熙在宣和、绍兴年间（1119-1162）制作的。",[23,7,24,173,29,177,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54993d0fc188603ac72284d8609e6fb4.jpg","20.8x22.2",[42,181],{"id":32262,"slug":32263,"title":32264,"dynasty":99,"author":4904,"museum":206,"description":32265,"tags":32266,"thumbUrl":32267,"material":88,"size":32268,"collection":90,"collections":32269,"showCount":31931,"zanCount":48,"manualWeight":48,"mainColor":94},218847,"shuang-ji-tu-lu-zhi-218847","双鸡图","双鸡相倚石畔，一羽红冠微昂，一羽低首敛翅，毛羽以细笔勾染，晕出柔润光泽。石体干墨皴擦，纹理苍劲，与旁侧舒展的草叶形成刚柔对比。蜻蜓振翅悬于草尖，细足轻点，姿态灵动如真。笔墨间工写交织，设色淡雅却藏生机，题款朱印错落，更添古朴意蕴。整幅画似截取田园一隅，静谧中透着鲜活气息，将寻常物态绘出文人雅趣，尽显笔墨之妙与自然之趣，读之如沐林间清意，心随画境沉于恬淡。",[7,24,241,27,83,3478,245,1064,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28bf2849a86dd45fd3a78edb2b1cdfa.jpg","63.2x31.5cm",[90],{"id":32271,"slug":32272,"title":32273,"dynasty":18,"author":32274,"museum":1806,"description":32275,"tags":32276,"thumbUrl":32278,"material":123,"size":32279,"collection":139,"collections":32280,"showCount":31931,"zanCount":1270,"manualWeight":48,"mainColor":49},218642,"si-ji-mu-niu-tu-yan-ci-ping-218642","四季牧牛图","阎次平","长卷铺展，四季牧歌徐徐启幕。春柳垂丝，牛群缓步林间，蹄印轻踏新草；夏木荫浓，一牛卧地纳凉，牧童侧坐闲憩，蝉鸣似隐叶间；秋阳正好，老牛伏身，牧童倚背小憩，树影斑驳洒落；冬风未寒，两牛相依，牧童骑牛信步，柳梢轻摇伴归途。树干苍劲虬曲，笔墨勾勒出牛的憨态肌理，牧童神态悠然，或坐或行皆显天真。画面静谧却藏鲜活气息，四季流转间，恬淡之趣溢于绢素，尽显宋人笔下自然意韵与生活情味。",[23,209,7,24,25,173,28,177,151,106,25753,430,1532,1159,5233,11354,32277],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1489cb236d6a2e63c61b98228bdc5e34.jpg","35x99.7x4",[],{"id":32282,"slug":32283,"title":32284,"dynasty":18,"author":3185,"museum":578,"description":32285,"tags":32286,"thumbUrl":32287,"material":123,"size":32288,"collection":139,"collections":32289,"showCount":31931,"zanCount":5,"manualWeight":48,"mainColor":1335},218604,"wu-bai-luo-han-zhi-zhu-lin-zhi-chen-tu-zhou-ji-chang-218604","五百罗汉之竹林致琛图","这幅画描绘了三个罗汉坐在云雾和绿竹之间，两个罗汉侧身站立，俯视着他们，一个罗汉手里拿着珊瑚，等待着接待他们。",[23,209,7,24,27,28,259,106,242],"https:\u002F\u002Foss.chuangqi.sto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ction":181,"collections":32440,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[7,24,25,173,105,177,29,108,109,174,175,394,176,106,1575,1532,35,33,491,1926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[181],{"id":32442,"slug":32443,"title":32444,"dynasty":99,"author":23960,"museum":364,"description":32445,"tags":32446,"thumbUrl":32447,"material":139,"size":139,"collection":181,"collections":32448,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":49},239193,"shan-chuan-ming-sheng-ce-song-xu-239193","山川名胜册","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[7,27,29,177,81,864,297,430,1445,106,560,652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518b2ae9119abeee9db28c3ed23d5e41.jpg",[181,45],{"id":32450,"slug":32451,"title":22562,"dynasty":76,"author":13037,"museum":364,"description":24941,"tags":32452,"thumbUrl":32453,"material":139,"size":139,"collection":181,"collections":32454,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},237873,"shan-shui-tu-zhou-kun-can-237873",[7,173,177,241,24,178,227,29,649,34,558,1255,560,650,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[181,382],{"id":32456,"slug":32457,"title":486,"dynasty":76,"author":707,"museum":12966,"description":32458,"tags":32459,"thumbUrl":32460,"material":139,"size":139,"collection":181,"collections":32461,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},236728,"shan-shui-ce-hua-yan-236728","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[7,27,81,173,177,864,297,175,242,108,281,245,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa832e728718e0546bb3aa1e9daaea510.jpg",[181,45],{"id":32463,"slug":32464,"title":32465,"dynasty":99,"author":32466,"museum":364,"description":32467,"tags":32468,"thumbUrl":32469,"material":139,"size":139,"collection":90,"collections":32470,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":49},236618,"gui-shi-lan-zhi-zhou-chen-can-236618","桂石兰芝轴","陈粲","陈粲名，1524年出生，国籍中国，是 万历间画家，代表作是春景鸳鸯图。\n陈粲名（1524～？）明代万历间画家。\n字长倩，一字兰谷，号雪庵、道光、雪谷子，长洲 （今江苏苏州）人。\n万历间以善花鸟闻名于时。\n传世作品有《春景鸳鸯图》轴，绢本，设色，纵17.4厘米，横82.7厘米，现藏 ；《桂石兰芝图》轴，绢本，设色，纵11.2厘米，横49厘米，藏故宫博物院；万历四十三年(1615)作《兰竹图册》著录于《 》。",[7,24,241,27,28,83,5565,431,12102,452,84,176,15499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[90,45],{"id":32472,"slug":32473,"title":32474,"dynasty":76,"author":293,"museum":20,"description":32475,"tags":32476,"thumbUrl":32478,"material":139,"size":32479,"collection":139,"collections":32480,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","瑞雪轻覆朱宫翠檐，琼枝素裹，将御苑晕作琉璃天地。整幅画笔致工细入微，殿宇雕梁画栋分毫毕现，人物衣袂鲜活灵动。岁朝佳节间，众人或围聚展玩古玩，或信步笑谈，稚童嬉闹于阶前，暖阁中老者安坐闲话，融融暖意漫过银装素裹的苑囿，将年节的雍容闲适与团圆意趣铺陈得鲜活生动，清冷雪景晕染下，更衬出岁朝的温情缱绻，尽显雅致年味。",[7,27,28,104,241,29,106,107,175,34,2502,115,12624,313,176,114,15976,14255,32477],"宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],{"id":32482,"slug":32483,"title":32484,"dynasty":76,"author":1109,"museum":20,"description":32485,"tags":32486,"thumbUrl":32487,"material":990,"size":32488,"collection":139,"collections":32489,"showCount":32392,"zanCount":1270,"manualWeight":48,"mainColor":94},233959,"dui-ju-tu-zhou-shi-tao-233959","对菊图轴","图绘双松虬结的庭院内梅、竹互映，房舍错落，屋内高士观赏秋菊，其品菊的举止生动传神，点明了“对菊”的画作主题。庭院外是迂回盘桓的山峦和自远而近的江水，它们为高士远离世俗的隐居之地平添了几分清幽。此图与石涛贯有的笔墨雄健纵恣、豪放洒脱的画风不同，刻画工整细腻，或徐或疾的笔致和富于节奏变化的朱点、墨点自得一股苍莽之气。此幅当属石涛居住扬州时期创作的一幅难得的精细之作。",[7,24,173,177,241,227,29,449,453,2409,176,34,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7030dd986967133b9acf5ab16c143856.jpg","纵99.5厘米，横40.2厘米",[],{"id":32491,"slug":32492,"title":1223,"dynasty":76,"author":77,"museum":364,"description":1224,"tags":32493,"thumbUrl":32494,"material":139,"size":139,"collection":139,"collections":32495,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},233910,"hua-hui-shan-shui-ce-yun-shou-ping-233910",[7,209,173,29,34,174,35,178,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f978b31f4e82d9cf3cbe5710996a355.jpg",[],{"id":32497,"slug":32498,"title":32499,"dynasty":292,"author":293,"museum":364,"description":32500,"tags":32501,"thumbUrl":32502,"material":743,"size":744,"collection":139,"collections":32503,"showCount":32392,"zanCount":5,"manualWeight":48,"mainColor":49},230792,"cai-hui-wu-dai-juan-hua-gong-yang-tu-yi-ming-230792","彩绘五代绢画供养图","此作分上下两重图景，上段佛境庄穆沉静，主尊安坐莲台，说法施印，二胁侍垂眸合掌随侍左右，线条劲挺匀净，设色沉凝古雅，晕染柔和晕开诸佛的端严宝相。下段供养人乌纱袍服，持炉躬身礼拜，神情恭谨内敛，笔触朴拙写实，精准描摹出士人的仪制风貌。\n画作以上下布局勾连神性与俗世，褪却的底色里仍藏着旧日鲜妍，将信仰的肃穆与世俗的敬畏相融，尽显佛绘神俗共生的独特意趣，兼具宗教价值与世俗审美意韵。",[23,7,67,27,106,259,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f833634d337b622021a4a78d357d12.jpg",[],{"id":32505,"slug":32506,"title":6535,"dynasty":18,"author":6536,"museum":364,"description":32507,"tags":32508,"thumbUrl":32511,"material":139,"size":139,"collection":139,"collections":32512,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":49},228050,"hua-niao-tu-ye-wang-xiao-228050","此作以柔枝海棠为景，两只白头翁栖于枝上，一昂首啁啾，一侧耳凝望，情态灵动鲜活。花瓣晕染细腻，粉白渐变柔和饱满，枝叶勾勒挺括，敷色雅致温润。禽鸟羽毛丝缕毕现，将绒羽蓬松质感描摹入微，工细笔触尽显精妙。整幅设色清逸柔婉，留白妥帖悠远，搭配题字更添文趣，将春日花鸟的缱绻生机定格绢上，清雅静谧里藏着灵动意趣，尽显雅致细腻的古典审美意趣。",[23,7,24,209,28,27,83,1563,32509,1420,17662,32510],"白头翁","灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97693085cc822f814fba371da1aa941e.jpg",[],{"id":32514,"slug":32515,"title":32516,"dynasty":18,"author":1650,"museum":364,"description":32517,"tags":32518,"thumbUrl":32519,"material":139,"size":139,"collection":139,"collections":32520,"showCount":32392,"zanCount":5,"manualWeight":48,"mainColor":49},227822,"jiang-yin-du-shu-tu-ye-ma-yuan-227822","江荫读书图页","此作用边角取景，绘就江天寥廓之境。淡墨晕染远山，隐现烟霭之中，愈显空濛悠远。近岸危崖虬曲，寒梅凝枝、丹枫缀艳，冷暖相映为萧索冬色添几分鲜活。板桥之上，二人围坐展卷，在幽寂江隅漫品诗书，闲雅意趣随江风漾开。\n笔意苍劲洗练，大片留白拓宽了江天之境，将冬日江隅的清寂与文人林下雅兴相融，尽显空灵隽秀的诗意之美。",[23,209,7,24,81,27,28,177,29,106,1015,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2d753a9bb5372213332d31fe07b403.jpg",[],{"id":32522,"slug":32523,"title":32524,"dynasty":18,"author":538,"museum":364,"description":32525,"tags":32526,"thumbUrl":32527,"material":139,"size":139,"collection":139,"collections":32528,"showCount":32392,"zanCount":5,"manualWeight":48,"mainColor":49},227514,"ting-pu-tu-mi-fei-227514","听瀑图","北宋·米芾《听瀑图》(传)，纸本，42x35厘米，美国弗利尔美术馆藏。世已无米芾画迹传世，应该是明、清好事者按记载中的米芾画法为蓝本而进行的臆造之迹。\n\n元代以后，由苏轼（1037-1101）、米芾等人倡导的“文人画”审美趣味大为发展，并逐渐成为画坛主流，苏轼、米芾等人因首倡之功而备受推崇。一些“文人画”家和持“文人画”观点的理论家更是将米芾提升到画圣的高度。\n\n晚明大书画家、理论家董其昌（1555-1636）便极力推崇米芾，他说：“诗至少陵，书至鲁公，画至二米，古今之变，天下之能事毕矣。”在董其昌看来，米芾不仅是严格意义上的画家，而且还是一代宗师，画史地位是非常高的。\n\n董其昌在整个明清画坛的影响是毋庸置疑的，米芾因董其昌的极力推崇，在明清画坛上牢牢占据着重要地位。清书画鉴赏家卞永誉（1645-1712）评米芾画：“岂知南宫迥不群，一扫千古丹青尘。”显然，卞永誉也将米芾作为开宗立派的大家看待",[23,209,7,24,173,260,29,106,558,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b61a781aa7191005d890d7f6abbfaf4.jpg",[],{"id":32530,"slug":32531,"title":32532,"dynasty":18,"author":474,"museum":364,"description":32533,"tags":32534,"thumbUrl":32535,"material":139,"size":139,"collection":139,"collections":32536,"showCount":32392,"zanCount":5,"manualWeight":48,"mainColor":49},227486,"zhu-ji-tu-li-zhou-zhao-ji-227486","竹鸡图立轴","赵佶（宋徽宗，1082年6月7日-1135年6月4日），出生于汴京（今河南开封），宋神宗第十一子，北宋第八位皇帝。\n\n赵佶在位期间追求奢靡、政治腐败、外交不力，以致民怨四起并埋下北宋靖康年间亡国的祸根。但赵佶在书法绘画等艺术领域天赋非凡，独创“瘦金体”书法，《芙蓉锦鸡图》《池塘秋晚图》等都是传世名作。靖康之变后赵佶被俘北上，1135年死于五国城，庙号徽宗。",[23,7,24,241,28,27,83,242,3478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879cf431b3c0d996cb701c6e9c6a171b.jpg",[],{"id":32538,"slug":32539,"title":32540,"dynasty":76,"author":3679,"museum":364,"description":32541,"tags":32542,"thumbUrl":32543,"material":139,"size":139,"collection":139,"collections":32544,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},224370,"hua-hui-qi-shi-ce-shi-er-kai-10-ju-lian-224370","花卉奇石册-十二开-10","此作以灵秀湖石为主体，朴拙纹理自带幽古意趣。细茎挺出，嫩黄碎花娇俏垂曳，与苍朴湖石形成柔刚对照。石上豆娘静立，翅脉纤毫毕现，将小虫灵动之态尽致描摹。\n\n画中运用撞水撞粉技法，花叶水润鲜活，苔草以淡青晕染，与赭石湖石色调柔润相融，静中藏动，生机暗涌。全幅工写兼备，寥寥数笔便将庭院小景的恬然意趣捕捉，将草木生灵的幽微情态勾勒无遗，尽显写生精妙，满溢闲逸清雅的文人意韵。",[23,7,24,81,27,28,83,84,2063,712,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057086feec0f2550986e5d5e2c2e3f6a.jpg",[],{"id":32546,"slug":32547,"title":32548,"dynasty":189,"author":293,"museum":364,"description":32549,"tags":32550,"thumbUrl":32551,"material":743,"size":744,"collection":139,"collections":32552,"showCount":32392,"zanCount":5,"manualWeight":48,"mainColor":1335},223644,"xu-kong-cang-pu-sa-xiang-2-yi-ming-223644","虚空藏菩萨像2","虚空藏（梵语 ākāśagarbha，音译啊迦舍嘎赫婆）菩萨摩诃萨，密号库藏金刚。汉译又作尊上虚空孕菩萨摩诃萨、虚空库菩萨摩诃萨、虚空光菩萨摩诃萨，是中国大乘佛教八大菩萨摩诃萨之一。\n虚空藏菩萨摩诃萨在无量菩萨中专主智慧、功德和财富。因尊上智慧、功德、财富如虚空一样广阔无边，并能满足世间一切如法持戒者的善求善愿，使无量无边众生获得无穷利益，故有此虚空藏圣名。\n虚空藏菩萨具有赐予利乐的力量。“藏”表示无限福德智慧，“虚空”表广大，《大方等大集经》指出：虚空藏如同富翁，相应困苦众生，只要到她面前，即会施予救济。因此，虚空藏菩萨是以济度众生为乐的菩萨。",[23,209,7,24,5491,241,259,106,28,27,1862],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ea3f19b6f9f690523f6b6e2e09ea73.jpg",[],{"id":32554,"slug":32555,"title":32556,"dynasty":18,"author":293,"museum":4792,"description":32557,"tags":32558,"thumbUrl":32559,"material":67,"size":32560,"collection":90,"collections":32561,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":49},223463,"shan-que-pi-pa-tu-yi-ming-223463","山鹊枇杷图","图绘两只山雀站在枇杷枝上。枝头果实累累，枇杷青涩，黄中带绿。",[209,7,24,81,28,27,83,281,1278,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17bd14416d2c445966f588ee332fa32c.jpg","30X31cm",[90,45],{"id":32563,"slug":32564,"title":32565,"dynasty":76,"author":15408,"museum":20,"description":32566,"tags":32567,"thumbUrl":32568,"material":32569,"size":32570,"collection":181,"collections":32571,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":49},223136,"shi-wan-tu-ce-ren-xiong-223136","十万图册","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,7,24,81,27,26,29,177,176,34,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665e6202ad6aba5ebcf701093a7cb813.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[181],{"id":32573,"slug":32574,"title":32575,"dynasty":76,"author":850,"museum":206,"description":14253,"tags":32576,"thumbUrl":32579,"material":665,"size":14257,"collection":181,"collections":32580,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":49},222759,"shi-er-yue-ling-tu-11-yue-lang-shi-ning-222759","十二月令图（11月）",[23,7,28,27,106,107,34,176,115,32577,32578],"参禅","古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ec9adc0590d630722ea9245c07bfe.jpg",[181,45],{"id":32582,"slug":32583,"title":32584,"dynasty":76,"author":32585,"museum":615,"description":32586,"tags":32587,"thumbUrl":32588,"material":665,"size":32589,"collection":90,"collections":32590,"showCount":32392,"zanCount":5,"manualWeight":48,"mainColor":49},222689,"wu-tong-bai-tou-tu-que-lan-222689","梧桐白头图","阙岚","《梧桐白头图》是画家75岁时绘制的，工写结合，笔墨清灵，有一种纤尘不染的秀洁韵味。上部绘挺健梧桐，叶茂子实，一枝斜穿画面，绿叶飘动。一对白头鸟依偎枝上，亲密无间。下部绘神奇多彩灵石，石缝坡脚间花草杂生。笔墨细腻古朴，风格温润典雅。左下自题“道光壬辰季重九日仿瓯香馆本于天光云景斋。阙岚”。",[23,209,7,24,241,28,27,83,2907,3964,650,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b42a65036debf55e7ebec34ee90c7e.jpg","纵101厘米，横40.5厘米",[90,45],{"id":32592,"slug":32593,"title":32594,"dynasty":99,"author":1996,"museum":276,"description":5506,"tags":32595,"thumbUrl":32597,"material":619,"size":5510,"collection":139,"collections":32598,"showCount":32392,"zanCount":5,"manualWeight":48,"mainColor":94},222567,"hua-hui-tu-6-chen-chun-222567","花卉图6",[23,7,24,27,173,446,83,84,1064,245,225,1086,32596,12901],"花鸟写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68019c2e22e4fd3401f2575cba804984.jpg",[],{"id":32600,"slug":32601,"title":32602,"dynasty":99,"author":32603,"museum":20,"description":32604,"tags":32605,"thumbUrl":32606,"material":803,"size":32607,"collection":139,"collections":32608,"showCount":32392,"zanCount":5,"manualWeight":48,"mainColor":94},222388,"mo-lan-tu-zhou-wen-peng-222388","墨兰图轴","文彭","图中以水墨画兰花两丛荆棘二枝。以渴笔淡写荆棘卷曲、兰叶舒畅之姿，并以水墨草点兰花偃仰、互相交织之状，节奏感强，和自题草书“月摇庭下珂，风递谷中香”融为一体。\n作者用水墨画土坡上兰花两丛，兰花正侧偃仰，均五办为则，如蝶起舞，或敞办盛开，或含苞待放，叶丛柔嫩舒展，十分俊爽。另有二枝荆棘，在丛兰间卷曲向上生长，与舒展的兰花交织在一起，产生和谐的节奏感，并和自题的草书“月摇庭下珂，风递谷中香”融为一体。\n兰、梅、竹、菊“四君子”是我国文人画的传统题材，落笔时，这四者可分可合，亦可单独成画幅，但都赋予对象以人格，象征高洁的品格和正直、坚韧、乐观等精神、具体说，兰为“王者之香”，画兰，须写其清雅幽香，洁身自好。文彭擅画兰、竹，此《兰花图》轴，是他的代表作之一。\n作者所画的兰花、叶子用笔自如，或粗或细，行笔住行顿挫有力，节奏感强，具有一种古拙、朴厚的趣味。所画荆棘，用笔具有一种内涵的力量，这种力量忽轻忽重，行笔的速度忽快忽慢，由此而产生的一种优美动人的节奏，所以在文氏笔下的荆棘表现出曲折向上，生意盎然的神态。所画的兰花，花以淡墨为办，浓墨点心，叶用笔流畅，显出临风飘动，活泼自然。画家将兰花与荆棘为伍，笔意贯穿，墨色停匀。土坡用简洁的干笔，侧锋皴擦，更见明快爽朗。此画作者以书法入画，故此画具有书家笔法的节奏、韵律，轻重徐疾、提按顿挫富有变化，文彭此图可谓诗书画契合无间，表现了文人画家的气质和神采，给人以艺术美的享受。",[23,7,24,241,173,452,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd67f08bd86808aad80c5ec02566e21c2.jpg","纵65厘米，横31．2厘米",[],{"id":32610,"slug":32611,"title":32612,"dynasty":99,"author":100,"museum":1985,"description":32613,"tags":32614,"thumbUrl":32615,"material":665,"size":32616,"collection":139,"collections":32617,"showCount":32392,"zanCount":5,"manualWeight":48,"mainColor":94},222213,"chuan-ren-xing-tu-chou-ying-222213","船人形图","笔耕园收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有些其他朝代品质极高的优秀作品。",[23,7,24,1562,28,27,106,59,174,430,242,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9007b806bd999f26739186ddee7c280.jpg","纵23.1厘米，横23.1厘米",[],{"id":32619,"slug":32620,"title":32621,"dynasty":99,"author":100,"museum":206,"description":32622,"tags":32623,"thumbUrl":32624,"material":67,"size":139,"collection":139,"collections":32625,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[23,7,24,1562,28,27,29,242,243,34,920,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],{"id":32627,"slug":32628,"title":32629,"dynasty":99,"author":4904,"museum":206,"description":32630,"tags":32631,"thumbUrl":32632,"material":32633,"size":32634,"collection":90,"collections":32635,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},222179,"hua-hui-shan-mian-lu-zhi-222179","花卉扇面","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,7,24,209,1562,27,83,84,2302,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf89fa4fadd7ff6f66e547f02d3e913.jpg","泥金，纸本","纵18.3厘米， 横52.5厘米",[90,45],{"id":32637,"slug":32638,"title":32639,"dynasty":99,"author":1170,"museum":56,"description":32640,"tags":32641,"thumbUrl":32642,"material":40,"size":32643,"collection":181,"collections":32644,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":49},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,209,7,24,241,173,27,177,29,175,108,109,34,558,106,176,37,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[181,163],{"id":32646,"slug":32647,"title":2235,"dynasty":99,"author":32648,"museum":78,"description":32649,"tags":32650,"thumbUrl":32651,"material":803,"size":32652,"collection":181,"collections":32653,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},221933,"za-hua-ce-guo-xu-221933","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,7,24,173,260,81,106,1015,313,227,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0573efbe7b213e884e25992b2193b58.jpg","纵28.5 厘米横46.5 厘米",[181,44],{"id":32655,"slug":32656,"title":32657,"dynasty":99,"author":32658,"museum":101,"description":32659,"tags":32660,"thumbUrl":32661,"material":990,"size":32662,"collection":181,"collections":32663,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,7,24,25,27,29,28,177,173,16127,107,108,109,175,281,176,34,37,106,2094,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 x1183.6cm",[181,45],{"id":32665,"slug":32666,"title":32667,"dynasty":189,"author":32668,"museum":206,"description":32669,"tags":32670,"thumbUrl":32671,"material":27,"size":32672,"collection":90,"collections":32673,"showCount":32392,"zanCount":5,"manualWeight":48,"mainColor":94},221743,"gu-he-yun-song-tu-zhou-ba-yan-bu-ha-221743","古壑云松图轴","巴颜布哈","该幅构景很突出，苍松高耸，峰岭出于云表。\n笔墨颇具文人画的趣味。\n【规格】该幅12242.2公分；全幅6公分 【收藏】 主题与关键字：松、云 石渠宝笈续编（乾清宫），第一册，页51 故宫书画录（卷五），第三册，页194 故宫书画图录，第五册，页1-14 巴颜布哈（生年不详，卒于公元一三五九年），元史列传作伯颜不花的斤。\n蒙古人，姓畏吾儿氏，高昌王的孙子。\n字苍巖，号苍崖。\n是元朝大书法家鲜于枢的外甥。\n作官至江东廉访副使。\n通晓音乐，以画龙出名。",[23,7,24,241,173,177,29,449,1329,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6532dd4672785d8ba523288a0bcec6ec.jpg","122x42.2公分",[90,163],{"id":32675,"slug":32676,"title":32677,"dynasty":189,"author":17731,"museum":20,"description":32678,"tags":32679,"thumbUrl":32680,"material":3076,"size":32681,"collection":163,"collections":32682,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":49},221697,"you-huang-xiu-shi-tu-zhou-gu-an-221697","幽篁秀石图轴","署款“东淮安定之”。下钤“顾定之印”等印3方。画幅左侧有明代张绅题记。\n此图绘数竿青竹在清风晨露中绰约多姿的体态。顾安在创作上力求表现竹子“清且真”的物态风神。“清”是指竹子不卑不亢、清高脱俗的内在品性，它是元代文人画家所追求向往的君子品德；“真”是指竹子清瘦隽逸、披霜戴雪的外在形貌，强调竹画艺术的写实精神。图中所绘之竹以淡墨写竿，浓墨画叶，深浅墨色虚实互衬，加强了画面层次感，扩展了空间。竹叶的画法遵循赵孟頫所倡导的“写竹还须八法通”的原则，熟练地以书法的“捺”法起笔收笔，叶根及叶尖皆见笔锋，写出其错落参差、披离偃仰之态。图中的湖石以墨、色点染，具有玲珑剔透之美，也映衬出竹之秀润娴静。全图以简洁的笔墨营造出“无穷出清新”的清逸意境。\n此卷原藏清宫内府，宣统年流入民间，为徐石雪所收藏，解放后捐献给国家文物局。文物局于1957年4月27日将它拨交故宫博物院。",[23,7,241,173,28,177,242,431,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e2953593c979f764e7fe4b77b7f4bc.jpg","纵184cm，横12cm",[163,2293],{"id":32684,"slug":32685,"title":32686,"dynasty":18,"author":2856,"museum":101,"description":32687,"tags":32688,"thumbUrl":32689,"material":9860,"size":32690,"collection":42,"collections":32691,"showCount":32392,"zanCount":5,"manualWeight":48,"mainColor":49},221589,"shuang-que-tu-li-di-221589","双雀图","景德二年（1005年），状元及第，出任徐州通判。历任著作郎、直史馆、三司盐铁判官、海州监税、右司谏、知郓州、起居舍人、吏部员外郎、三司盐铁副使、知制诰、秘书监、等职，在地方政绩卓著，在中央参与军国要务，出入内外，两度担任同平章事（宰相），以太子太傅致仕。\n庆历七年（1047年），李迪去世，享年七十七岁，追赠司空兼侍中，谥号“文定”，宋仁宗亲题其碑首为“遗直之碑”。《全宋诗》录其诗，《全宋文》录有其文。",[23,7,24,1562,27,28,83,394,281,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe559fda312675455de696e9c73c23466.jpg","35x34",[42,90,45],{"id":32693,"slug":32694,"title":4025,"dynasty":18,"author":823,"museum":206,"description":32695,"tags":32696,"thumbUrl":32697,"material":27,"size":32698,"collection":181,"collections":32699,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},221225,"shan-shui-zhou-xia-gui-221225","诗塘 王铎题云。老干不事纤细小巧。骨格坚凝韶秀。有大家气。即此一画。雪色蒙晦。石寒铁色。噫。阴晴不可知。有天道寓于中。谓画者果无意欤。夏圭钱塘人。宁宗时擅名。师范宽李唐。宗有其俪。凡以觕粝冒圭者非其真也。丙戌三月时居燕。为二弟仲和题。王铎。钤印一。铎。",[23,7,1397,241,173,27,177,176,34,1444,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da237f95d56b5840f04b1a93af93930.jpg","该幅47.6x32.5公分；诗塘28x32.6公分",[181,163],{"id":32701,"slug":32702,"title":28435,"dynasty":99,"author":3114,"museum":675,"description":32703,"tags":32704,"thumbUrl":32705,"material":2021,"size":32706,"collection":181,"collections":32707,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},220956,"shu-lin-yuan-xiu-tu-dong-qi-chang-220956","董其昌为同年袁可立而作。\n此图为近景画，坡石错落，勾勒圆浑。坡上疏林，用笔虽简而各蕴姿态。\n中景水面空旷，一山耸峙，在平远的构图上颇见险势。整幅画简洁朴拙。",[23,7,24,241,173,177,29,7067,1112,650,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9762e8762c363347fa3b81bfaec84.jpg","纵98.7厘米，横38.6厘米",[181,163],{"id":32709,"slug":32710,"title":32711,"dynasty":99,"author":3114,"museum":206,"description":32712,"tags":32713,"thumbUrl":32715,"material":827,"size":32716,"collection":181,"collections":32717,"showCount":32392,"zanCount":48,"manualWeight":48,"mainColor":94},220941,"yan-shu-mao-tang-zhou-dong-qi-chang-220941","烟树茆堂轴","董其昌流连于西湖一带，于寺院中绘成此轴。画上题诗原本是为好友陈继儒题画所书，后来亦常使用于其它画作上",[23,7,24,241,173,177,29,21987,32714,864,430,298,109],"茆堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c95aa5cb46913f3d622bdcbc5a0246.jpg","107.6x37.4公分、全幅 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，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[209,7,24,241,173,29,650,109,108,6398,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ada88a03a52c4de8777c1e838bcd236.jpg",[],57,{"id":32938,"slug":32939,"title":32940,"dynasty":189,"author":293,"museum":364,"description":32941,"tags":32942,"thumbUrl":32943,"material":743,"size":744,"collection":139,"collections":32944,"showCount":32936,"zanCount":5,"manualWeight":48,"mainColor":49},290258,"long-hu-tu-yi-ming-290258","龙虎图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[7,241,173,7281,502,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba15b6a022629488be8950a2002ec80.jpg",[],{"id":32946,"slug":32947,"title":32948,"dynasty":18,"author":823,"museum":364,"description":32949,"tags":32950,"thumbUrl":32952,"material":743,"size":744,"collection":139,"collections":32953,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":49},289947,"song-xi-fan-yue-tu-xia-gui-289947","松溪泛月图","为夏圭的典型之作，近景几株松树，渔翁泛舟江上，明月高悬，烟波浩淼，水天一色。简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。",[23,1562,7,209,173,177,1575,174,300,29,32951,227,7714],"泛舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f2945a3cf2401ced6554359bde119ad.jpg",[],{"id":32955,"slug":32956,"title":32957,"dynasty":18,"author":26092,"museum":206,"description":32958,"tags":32959,"thumbUrl":32961,"material":381,"size":32962,"collection":42,"collections":32963,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":1335},289867,"xue-xi-yu-fu-tu-xu-dao-ning-289867","雪溪渔父图","许道宁 北宋画家。生卒年不详，约970年-1052年。活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅山水，师法李成，初于汴京（今河南开封）端门前卖药，以画吸引顾客，渐为人所知。多写林木、野水、秋江、雪景、寒林、渔浦等，并点缀行旅、野渡、捕鱼等人物，行笔简快，峰峦峭拔，林木劲硬，人称能得李成之气。宋朝人张士逊曾写诗称赞说：“李成谢世范宽死，唯有长安许道宁。”黄庭坚激赏他醉后所作的画。在《答王道济寺丞观许道宁山水图》诗中写道：“往逢醉许在长安，蛮溪大砚磨松烟。忽呼绢素翻砚水，久不下笔或经年。异时踏门闯白首，巾冠欹斜更索酒。举杯意气欲翻盆，倒卧虚樽即八九。醉拾枯笔墨淋浪，势若山崩不停手。数尺江山万里遥。满堂风物冷萧萧。”生动地展示了许道宁醉中作画的神情举止，见出他画技的高超。",[7,1397,173,177,2502,29,1015,2125,14179,32960,245,1016,24412],"溪岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7037404c7f9e8aaac7306673c66fb64.jpg","169x110",[42],{"id":32965,"slug":32966,"title":32967,"dynasty":18,"author":2142,"museum":364,"description":11462,"tags":32968,"thumbUrl":32969,"material":743,"size":744,"collection":139,"collections":32970,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":49},289660,"song-xia-gao-shi-tu-li-cheng-289660","松下高士图",[23,7,209,241,173,29,106,1015,7242,177,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f602d1c6e4474cdb9b8901a8eac0943.jpg",[],{"id":32972,"slug":32973,"title":5755,"dynasty":18,"author":645,"museum":206,"description":17454,"tags":32974,"thumbUrl":32975,"material":67,"size":744,"collection":139,"collections":32976,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":49},288831,"han-lin-tu-guo-xi-288831",[23,7,173,1397,1015,2125,2502,177,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f730e4c4ef38aba763543541f0e5e17.jpg",[],{"id":32978,"slug":32979,"title":32980,"dynasty":18,"author":4882,"museum":364,"description":32981,"tags":32982,"thumbUrl":32983,"material":743,"size":744,"collection":139,"collections":32984,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":49},287586,"hua-pi-pa-kong-que-cui-bai-287586","画枇杷孔雀","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[7,209,83,28,27,312,1278,84,2063,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485ccbcaf466a1e71621d56277378c3.jpg",[],{"id":32986,"slug":32987,"title":32988,"dynasty":76,"author":5096,"museum":364,"description":32989,"tags":32990,"thumbUrl":32991,"material":803,"size":139,"collection":181,"collections":32992,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":49},238971,"wang-jian-shan-shui-tu-zhou-wang-jian-238971","王鉴山水图轴","万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[209,7,24,241,173,177,29,175,109,34,176,920,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[181,163],{"id":32994,"slug":32995,"title":32996,"dynasty":99,"author":26281,"museum":20,"description":26282,"tags":32997,"thumbUrl":32998,"material":619,"size":32999,"collection":45,"collections":33000,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":49},237895,"ming-ren-zhu-cha-tu-zhou-ding-yun-peng-237895","明人煮茶图轴",[7,24,241,27,28,106,755,340,84,2950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094a120df71d56d0cb60610819a00d95.jpg","纵137.3厘米，横64.4厘米",[45],{"id":33002,"slug":33003,"title":33004,"dynasty":99,"author":1296,"museum":364,"description":33005,"tags":33006,"thumbUrl":33007,"material":139,"size":139,"collection":90,"collections":33008,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":49},237698,"shan-shui-hua-guo-ce-xiang-sheng-mo-237698","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[7,209,27,28,1459,1299,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6cca07ebe77c836898663ca11c9d3b.jpg",[90,181],{"id":33010,"slug":33011,"title":33012,"dynasty":76,"author":7142,"museum":20,"description":33013,"tags":33014,"thumbUrl":33015,"material":40,"size":33016,"collection":181,"collections":33017,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":94},236719,"shan-shui-lou-ge-zhou-yuan-yao-236719","山水楼阁轴","此图是袁耀中年时期创作的大幅画作。绘高山峻岭，山石陡峭，树木葱郁，楼阁华丽壮观，境界幽美。图中用笔严谨精到，山水以工笔画出，墨色富于浓淡变化，明净雅致，意境恬淡，别有一番韵致。",[7,104,27,28,177,29,107,176,34,31,174,114,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2cab51c3f5a3bcd636d980beb75aed.jpg","纵202.3厘米，横118.5厘米",[181,45],{"id":33019,"slug":33020,"title":33021,"dynasty":76,"author":293,"museum":20,"description":33022,"tags":33023,"thumbUrl":33024,"material":40,"size":33025,"collection":44,"collections":33026,"showCount":32936,"zanCount":5,"manualWeight":48,"mainColor":49},236161,"qing-ren-wan-guo-lai-chao-tu-zhou-yi-ming-236161","清人万国来朝图轴","此画描绘的是藩属及外国使臣到紫禁城朝贺的场面。作者以鸟瞰的角度从太和门前的两个青铜狮子画起，将紫禁城中的主要建筑一一收入画幅，近大远小，主次分明，层次丰富，在大雪的银装素裹之下，整个场面宏伟壮观。",[209,7,24,104,27,106,107,1237,2502,11351,3842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3007a2fd17c1d62f37b42bee59db909.jpg","纵299cm，横207cm",[44,45],{"id":33028,"slug":33029,"title":33030,"dynasty":99,"author":33031,"museum":20,"description":33032,"tags":33033,"thumbUrl":33034,"material":1386,"size":139,"collection":139,"collections":33035,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":94},234995,"lan-zhu-zhou-chen-yuan-su-234995","兰竹轴","陈元素","陈元素，生卒年不详，明代书画家。字古白、孝平、金刚，号素翁、处廓先生，私谥贞文先生，南直隶苏州府长洲（今江苏苏州）人，万历诸生。早负才名，工诗文，尤善书法，楷书法欧阳，草入二王之室，工山水，尤善写兰，得文征明之秀媚。有《古今名将传》、《南牅日笺》。",[209,7,24,241,173,452,245,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f282cae8acc7a40f7ae7ffdf6630dba.jpg",[],{"id":33037,"slug":33038,"title":17044,"dynasty":99,"author":24971,"museum":12694,"description":33039,"tags":33040,"thumbUrl":33041,"material":803,"size":139,"collection":139,"collections":33042,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":94},234160,"hua-niao-tu-juan-li-yin-234160","李因（1610－1685），字是庵，号龛山逸史，晚号今生。明末清初女诗人、画家。会稽（今浙江绍兴）人，一作钱塘（今杭州）人。早年为江浙名妓，后嫁光禄卿葛征奇为妾，在绘画上崇尚隽雅，在山水画上学习米芾、米友仁，画山水、花鸟，疏爽隽逸，毫无女子纤弱之气。亦工诗，著有《竹笑轩吟草》等，诗笔清奇，有中唐遗韵。\n李因名声很大，也颇为自负，经常将自己视作唐朝的王维。",[23,209,7,25,173,83,281,84,86,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F395b220e33ecb40388d49fc859a4ba09.jpg",[],{"id":33044,"slug":33045,"title":33046,"dynasty":76,"author":7124,"museum":206,"description":33047,"tags":33048,"thumbUrl":33049,"material":803,"size":33050,"collection":139,"collections":33051,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":94},231958,"song-shu-ren-wu-tu-zhou-pu-ru-231958","松树人物图轴","松树画的苍劲有力。不过，要说到画松树的高手，还是要提到明代的听松老人过仪，他画的松树是最值得称道的。\n溥心畬[yú]（1896年9月2日—1963年11月18日），满族，原名爱新觉罗·溥儒，初字仲衡，改字心畬，自号羲皇上人、西山逸士，北京人，著名书画家、收藏家。为清恭亲王奕訢之孙。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,7,173,177,241,1575,106,29,245,37,176,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd4de942e3134374eef408c4a33d.jpg","130x32cm",[],{"id":33053,"slug":33054,"title":33055,"dynasty":18,"author":781,"museum":1985,"description":33056,"tags":33057,"thumbUrl":33058,"material":803,"size":33059,"collection":139,"collections":33060,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":94},231424,"xiao-xiang-wo-you-tu-juan-li-gong-lin-231424","潇湘卧游图卷","《潇湘卧游图》为纸本墨笔，纵30.2厘米，横399.4厘米，意境开阔，大开大阖，随着观者视觉的移动，描绘了潇湘美景。 卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[23,7,24,25,173,29,177,86,178,227,491,10416,34,1447],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],{"id":33062,"slug":33063,"title":33064,"dynasty":189,"author":1848,"museum":206,"description":33065,"tags":33066,"thumbUrl":33076,"material":33077,"size":33078,"collection":181,"collections":33079,"showCount":32936,"zanCount":5,"manualWeight":48,"mainColor":49},231383,"qing-jiang-chun-xiao-tu-wu-zhen-231383","清江春晓图","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。 ‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[7,1397,173,33067,446,104,177,19003,491,558,33068,33069,1249,33070,33071,33072,1575,565,6070,33073,106,33074,33075],"渴笔皴法","山泉","亭台楼阁","木桥","清江","扁舟","江心岛","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米",[181],{"id":33081,"slug":33082,"title":33083,"dynasty":76,"author":4005,"museum":364,"description":33084,"tags":33085,"thumbUrl":33086,"material":139,"size":139,"collection":139,"collections":33087,"showCount":32936,"zanCount":5,"manualWeight":48,"mainColor":94},229034,"shan-shui-lou-ge-tu-ce-chen-mei-229034","山水楼阁图册","朱楹黄瓦的殿宇层叠错落，界笔勾勒工整流丽，台磴之上的小人三两，为深庭晕开细碎烟火。中景平湖如镜，枯木疏朗映于水面，板桥衔起村郭，行人缓步，将皇家苑囿的华贵揉进乡野清趣。\n\n远景山峦晕染如烟，似被流云轻裹，墨色由浓转淡，与天际融作一处。工笔重彩糅合浅绛晕染，明雅清润的设色下，殿宇的富丽与林泉的清逸相映成趣，将楼阁的精巧与山水的悠远调和得恰到好处，尽展清妍秀逸的幽隽意境。",[7,104,27,28,81,227,29,107,108,34,176,114,115,37,491,1015,12624,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":33089,"slug":33090,"title":26539,"dynasty":76,"author":1109,"museum":364,"description":33091,"tags":33092,"thumbUrl":33093,"material":139,"size":139,"collection":139,"collections":33094,"showCount":32936,"zanCount":5,"manualWeight":48,"mainColor":94},228983,"tao-yuan-tu-shi-tao-228983","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[7,24,25,27,29,173,177,649,37,194,35,34,281,109,1445,13850,279,21268,560,491,13778,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],{"id":33096,"slug":33097,"title":33098,"dynasty":18,"author":474,"museum":364,"description":33099,"tags":33100,"thumbUrl":33102,"material":139,"size":139,"collection":139,"collections":33103,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":94},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,209,7,24,25,28,173,27,227,3246,29283,33101,4895,340,281,430,367],"芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],{"id":33105,"slug":33106,"title":28601,"dynasty":204,"author":2072,"museum":364,"description":33107,"tags":33108,"thumbUrl":33109,"material":139,"size":139,"collection":139,"collections":33110,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":49},226707,"ting-qin-tu-zhou-wen-ju-226707","周文矩是中国五代时期南唐人，生卒年不详，大约在南唐中主李璟、后主李煜时期，官至翰林待诏，擅长画佛道、人物、车马、屋木、山水题材，最擅长画仕女画。他是出色的肖像画家。所绘作品多以宫廷贵族的生活为题材，画风和唐代的周昉比较相近，独创了“战笔”描法。\n\n《听琴图》，传为五代周文矩所作，绢本，立轴，纵60厘米，横47厘米，现收藏于美国克利夫兰美术馆藏。画上题款“周文矩”，但传为明朝唐寅唐伯虎所作赝品。",[23,7,24,209,28,260,27,106,1015,175,176,210,649,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375f9f9c019d3847bfbc827a8b08238c.jpg",[],{"id":33112,"slug":33113,"title":33114,"dynasty":76,"author":1109,"museum":364,"description":33115,"tags":33116,"thumbUrl":33117,"material":139,"size":139,"collection":139,"collections":33118,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":49},224529,"zi-yun-jing-kai-yi-zhi-yan-shi-tao-224529","自云荆开一支眼","此作用开合之法排布丘壑，左右双峰雄峙，清溪自幽谷蜿蜒而出，层层铺展山水景深。笔法师法自然却不拘成法，方折勾勒山石轮廓，皴擦间带出苍厚质感，以赭石晕染岩面、花青点染林木苔痕，冷暖色调交织晕融，让雄奇山势裹着清润秀逸。\n\n谷间山居隐于林麓，暗合幽栖林下的野逸意趣，题识与画面相映成趣，诗画共生。笔墨纵恣灵变，摆脱摹古桎梏，以己心观照山水，将丘壑藏于笔底，尽显洒脱疏朗的性灵意趣，是借山川写胸臆的佳构。",[23,7,24,29,27,177,176,34,35,227,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d708bf201803287d6fb36b1c9262a54.jpg",[],{"id":33120,"slug":33121,"title":33122,"dynasty":76,"author":17074,"museum":364,"description":33123,"tags":33124,"thumbUrl":33125,"material":139,"size":139,"collection":139,"collections":33126,"showCount":32936,"zanCount":48,"manualWeight":48,"mainColor":94},224238,"zhu-ju-quan-shi-yang-da-zhang-224238","竹菊泉石","此作用笔清隽雅致，构图疏密相宜。嶙峋湖石居于画面中心，皴擦简约却尽显峭拔质感，撑起画面骨架。左侧淡墨写竹，枝叶轻曳似携秋风，留白处恍有清光流转，空灵秀逸。右下菊丛灼灼，黄紫双色错落层叠，瓣叶柔润鲜活，晕染出满幅秋意。细泉蜿蜒穿石而过，为冷寂添了几分灵动生机。\n\n设色浅淡柔和，以素净底色衬出花木之妍、湖石之朴，将秋日林泉的幽寂闲适铺陈开来，尽显雅致出尘的隐逸意趣。",[23,7,24,81,28,27,242,453,245,109,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a0e88bdb88ecce18fd83ad4aa28c84.jpg",[],{"id":33128,"slug":33129,"title":33130,"dynasty":18,"author":293,"museum":364,"description":33131,"tags":33132,"thumbUrl":33133,"material":139,"size":139,"collection":139,"collections":33134,"showCount":32936,"zanCount":5,"manualWeight":48,"mainColor":94},223668,"xue-shan-xing-qi-tu-ye-yi-ming-223668","雪山行骑图页","此作用淡墨晕染萧寒天色，以敷粉留白晕染山石积雪，遍铺清寂冷冽的冬日元气。琼峰素裹，梢顶微缀暖色苔点，打破素白单调。近岸丹枫凝红，暖色调破开漫天寒意，冷暖和融，愈显冬日山林的幽寂旷远。\n天际寒鸦数点，更衬天地空茫。溪岸小径之上，行旅策蹇徐行，身影渺小却点睛，将羁旅的萧索孤清缓缓铺陈，把冬日行役的荒寒况味藏于尺幅小景之中。笔意简淡清润，以小见大，尽显幽远冷隽的山水意趣，藏着细腻的冬旅体察。",[23,209,7,24,81,27,28,29,3499,150,106,34,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9779e57a11c43e5207a10113109fa36.jpg",[],{"id":33136,"slug":33137,"title":33138,"dynasty":189,"author":293,"museum":206,"description":33139,"tags":33140,"thumbUrl":33142,"material":81,"size":33143,"collection":139,"collections":33144,"showCount":32936,"zanCount":5,"manualWeight":48,"mainColor":94},223477,"zhao-liang-shi-nv-tu-yi-ming-223477","招涼仕女图","在这幅钱选的《招凉仕女图》中，以瘦为美的审美品味依旧可以被观众窥得。侍女身穿低胸衣、下身窄长裙，外套长褙子，修长了整个身形。右侧仕女头戴“重楼子”花冠。这种花冠据考证甚至高至两尺。它以漆纱制成的冠还能隐约透露出里面的发髻，让人感觉到轻盈精巧。左侧仕女头戴“玉兰花苞”花冠，像极了《瑶台步月图》中带团冠的贵妇，均由于装束打扮显现出修长而文弱的姿态。手中的圆扇子，把微风吹起，更突显了女子“犹抱琵琶半遮面”的含蓄娇柔之美。",[23,7,27,28,106,59,63,33141],"扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23d01f5d1870e7232b8d79ac68c4fc55.jpg","22.4 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厘米，横71.2厘米",[90,163],{"id":33502,"slug":33503,"title":33504,"dynasty":76,"author":2804,"museum":364,"description":33505,"tags":33506,"thumbUrl":33507,"material":139,"size":139,"collection":139,"collections":33508,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},235242,"shu-guo-ping-zhou-wu-chang-shuo-235242","蔬果屏轴","此作用篆籀之趣写就寻常蔬果，泼墨如椽，墨色浓淡铺陈出菜叶的舒展野逸，枯湿变化尽显苍劲老辣的笔力。朱红晕染南瓜，暖润厚重，萝卜鲜活水灵，将乡野烟火的朴拙意趣，揉入文人笔墨之中。\n题长款行书诗文，笔势跌宕烂漫，与画面相映成趣，诗画合璧间，把案头清赏与田园之思融为一体，寻常果蔬不再只是吃食，化为充满生命力的雅逸景致，烟火气裹挟书卷意，落笔皆见真性情。",[7,24,241,27,173,227,2248,5769,5768,5767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fe66098bf656c8cdfdc8cafbd20a46.jpg",[],{"id":33510,"slug":33511,"title":4983,"dynasty":99,"author":1296,"museum":364,"description":27766,"tags":33512,"thumbUrl":33513,"material":743,"size":744,"collection":139,"collections":33514,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},235239,"ju-hua-zhou-xiang-sheng-mo-235239",[7,24,241,27,83,453,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdcf136285d92857c81bcceda00dd6a4.jpg",[],{"id":33516,"slug":33517,"title":33518,"dynasty":76,"author":2804,"museum":364,"description":33519,"tags":33520,"thumbUrl":33522,"material":139,"size":139,"collection":139,"collections":33523,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},235232,"liao-hong-he-bai-tu-zhou-wu-chang-shuo-235232","蓼红荷白图轴","以大写意之笔铺陈秋塘意趣，上方荷叶泼墨挥就，浓淡干湿交织，尽显苍浑朴拙之态，留白花瓣莹洁雅致，与墨色荷叶相映成趣。下方蓼花茎干细劲，朱红点染花序，鲜活灵动如沐秋风。\n\n左上题字错落排布，书意与画意相融相生。全作用笔兼具篆籀古意，看似率意挥洒，实则疏密得宜，红蓼墨荷冷暖相衬，将清秋疏朗野逸的意趣藏于笔底，寥寥数笔便勾勒出秋光满塘的鲜活生机，尽显文人写意画的雅逸朴厚。",[7,24,241,173,27,83,243,33521],"蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed59055e1f284cd3c40ef5375f4a0596.jpg",[],{"id":33525,"slug":33526,"title":33527,"dynasty":76,"author":33528,"museum":20,"description":33529,"tags":33530,"thumbUrl":33531,"material":990,"size":33532,"collection":139,"collections":33533,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},234683,"chen-shi-ceng-tao-liu-pi-pa-tu-zhou-chen-heng-ke-234683","陈师曾桃榴枇杷图轴","陈衡恪","图绘桃、石榴、枇杷各一枝，参差有序，果实累累。画中以花青色配以浓淡不同的墨色画桃叶，再以重墨勾勒筋脉。桃实红绿相间，色泽自然。石榴的枝条硬朗秀挺，小叶片片看似随意，然点画得轻灵活泼，与较浓重的桃叶、枇杷叶相映衬，使画面轻重有别，富有韵律感。",[209,7,24,241,83,27,173,2930,1299,1278,225,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f93683f8661e46f36da1e89a8b0199c.jpg","纵87.5厘米， 横44.8厘米",[],{"id":33535,"slug":33536,"title":33537,"dynasty":99,"author":1996,"museum":20,"description":33538,"tags":33539,"thumbUrl":33540,"material":4796,"size":33541,"collection":139,"collections":33542,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":94},234121,"fang-mi-shan-shui-tu-juan-chen-chun-234121","仿米山水图卷","图中山峦隐现起伏不断，雾气弥漫，杂树成林，山涧泉 水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[7,24,25,173,29,105,13805,37,34,176,558,175,109,491,1926,651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纵14．8厘米横247．2厘米",[],{"id":33544,"slug":33545,"title":33546,"dynasty":189,"author":293,"museum":364,"description":33547,"tags":33548,"thumbUrl":33549,"material":139,"size":139,"collection":139,"collections":33550,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},232829,"mei-hua-shuang-que-tu-li-zhou-yi-ming-232829","梅花双雀图立轴","此作以虬曲老梅为骨，苍劲枝干皴染细致，苔点错落尽显嶙峋古意。枝头梅朵冰洁柔粉，与旁侧挺秀翠竹相映，冷枝翠叶晕开清隽春息。几只山雀或栖止梳羽，或振翅穿林，灵动鲜活的身姿，将静谧冬景揉进灵动生气。\n\n笔墨工写兼具，勾勒禽鸟身形写实精细，绘写梅竹则苍润朴拙，淡设色与古绢底色相融晕染，尽显清淡雅致。将冬日花木的坚贞与初醒的生机相融，藏着元代花鸟特有的疏淡文人意趣，简淡间晕开悠长雅致。",[23,7,241,27,28,448,242,5589,281,83,1653,394,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6397c4387e860162f3a156b850ce1148.jpg",[],{"id":33552,"slug":33553,"title":33554,"dynasty":76,"author":33555,"museum":364,"description":33556,"tags":33557,"thumbUrl":33558,"material":139,"size":139,"collection":139,"collections":33559,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},230854,"lan-zhu-shi-tu-zhu-sheng-230854","兰竹石图","诸昇","淡墨晕染坡岸，焦墨点苔点缀，寥寥数笔便勾勒出幽寂崖畔的清冷底色。兰叶以中锋挥就，笔势柔韧舒展，或斜曳迎风，或挺拔舒展，如君子立世，清劲洒脱。\n\n兰花以浓墨点簇，隐于叶隙之间，含而不发，暗合雅士含蓄内敛的品格。整幅画作以水墨浓淡铺陈层次，简淡疏朗，以少胜多，不着艳色，却恍见空谷幽兰暗香浮动，将兰草孤高清逸之态尽数彰显，尽显文人借物抒怀的写意意趣，把水墨的空灵雅致渲染到极致。",[7,24,173,446,452,242,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4634c9d1a59b7eb1c6b4e3b1a07df0.jpg",[],{"id":33561,"slug":33562,"title":33563,"dynasty":76,"author":674,"museum":364,"description":33564,"tags":33565,"thumbUrl":33570,"material":139,"size":139,"collection":139,"collections":33571,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":94},230145,"yang-zheng-tu-ce-quan-shi-ye-leng-mei-230145","养正图册全十页","《冷枚养正图册》是清代画家冷枚创作的一幅绢本设色画。\n《冷枚养正图册又称《圣功图》，是带有启蒙教育性质的作品，明清两代均有绘制。\n此套册页共1开，画面内容皆为历代贤明君主的故事。\n每开对题均有张若蔼书写对应故事情节的文字。\n两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。\n署款：“臣冷枚敬画。\n”钤“臣冷枚”印。\n此册虽为人物画，但作为背景的楼阁宫阙占有相当的比重，不难看出西方技法对画家的影响。\n建筑物的画法适当借用了 ，并力图在设色上用晕染的深浅表现构件的明暗关系，突出建筑的立体感。\n从作品整体看，构图、线条、色彩并没有摆脱明代画家仇英的设色界画系统，画面带有较多的装饰色彩和平面感觉，在表现建筑的体积感和建筑材料的质感上尚显不足。\n冷枚，生卒年不洋，约生活十公元17世纪后期至18世纪前期，字吉臣，号令门画史，胶州（今属山东）人。\n曾经跟随康熙时宫廷画家焦秉贞学俩，约丁康熙中期进入宫廷供职，直至乾隆七年尚在。\n擅长画人物、什女及山水，面风工整、细致，色彩较浓丽，具有装饰性。\n画法得力曲面写生，上中带写，白康熙到乾隆末，糅合中两技法之画风在画院内颇为盛行，而且影响到民间艺术，冷枚为此技弦之积极推行者。\n传世作品有《避馨山庄图》等。",[5990,7,665,2714,104,28,33566,33567,33568,920,34,86,33569],"晕染","历史故事画","贤君故事","启蒙教育","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99c5bbc18613ed7885de8cc288a9d11.jpg",[],{"id":33573,"slug":33574,"title":33575,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":33576,"thumbUrl":33577,"material":67,"size":10518,"collection":139,"collections":33578,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},230106,"hong-lou-meng-187-sun-wen-230106","红楼梦187",[7,24,28,27,106,107,115,755,34,84,3217,313,10779,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c40ad935649f53a2bfc48d53e55d45f.jpg",[],{"id":33580,"slug":33581,"title":3452,"dynasty":99,"author":100,"museum":364,"description":33582,"tags":33583,"thumbUrl":33584,"material":743,"size":744,"collection":139,"collections":33585,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":94},228455,"du-le-yuan-tu-chou-ying-228455","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[23,7,24,25,27,28,104,106,107,108,109,175,34,340,176,115,313,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],{"id":33587,"slug":33588,"title":33589,"dynasty":189,"author":25323,"museum":364,"description":33590,"tags":33591,"thumbUrl":33592,"material":743,"size":744,"collection":139,"collections":33593,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},228078,"jiu-ge-tu-juan-zhang-wo-228078","九歌图卷","《九歌图》是元代张渥于1346年创作的画作，此画现藏于吉林省博物馆。画上题记：至正六年，丙戌，即1346年。\n《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[209,7,24,25,260,106,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd703b650dbb12a74da0ce542b73749.jpg",[],{"id":33595,"slug":33596,"title":33597,"dynasty":18,"author":293,"museum":364,"description":33598,"tags":33599,"thumbUrl":33600,"material":139,"size":139,"collection":139,"collections":33601,"showCount":33382,"zanCount":1547,"manualWeight":48,"mainColor":49},227910,"zhu-mei-xiao-qin-tu-tuan-shan-yi-ming-227910","竹梅小禽图团扇","寒梅疏枝缀满莹白香蕊，清挺竹叶交错掩映，衬出幽隽雅致的冬初小景。三只山雀姿态各异，或敛羽栖于枝头侧目远眺，或俯身啄探似欲衔取花枝，蓬松绒毛以细笔晕染而出，灵动鲜活呼之欲出。\n\n整幅小品设色古雅淡逸，笔法兼具写实功力与文人情致，苍劲梅枝、秀劲竹叶与娇憨禽鸟相映成趣，将郊野小景的清新生机，定格在尺幅团扇之中，尽显宋画小品兼具写实意趣与雅致意境的独特魅力。",[209,7,24,1562,28,27,83,242,448,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014ad6d20b32bd8ed109194ceff64ab9.jpg",[],{"id":33603,"slug":33604,"title":33605,"dynasty":18,"author":293,"museum":364,"description":15780,"tags":33606,"thumbUrl":33607,"material":743,"size":744,"collection":139,"collections":33608,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},227867,"pu-xian-pu-sa-tu-yi-ming-227867","普贤菩萨图",[23,7,24,241,259,27,106,957,28,1862,11351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7baa4b163280a926f7c11272d4784ad.jpg",[],{"id":33610,"slug":33611,"title":33612,"dynasty":18,"author":1072,"museum":364,"description":33613,"tags":33614,"thumbUrl":33615,"material":139,"size":139,"collection":139,"collections":33616,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},227779,"zhu-chong-tu-ye-wu-bing-227779","竹虫图页","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的没骨画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,209,7,24,1562,28,27,83,242,801,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01191a7671ec45bee311028ed57ed69c.jpg",[],{"id":33618,"slug":33619,"title":33620,"dynasty":18,"author":823,"museum":364,"description":33621,"tags":33622,"thumbUrl":33623,"material":139,"size":139,"collection":139,"collections":33624,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},227726,"song-xia-guan-pu-xia-gui-227726","松下观瀑","《松下观瀑图》为南宋画家夏圭所作。右下山石处款署“夏圭”。\n\n图绘一瀑布飞流，水边峭壁悬一古松。一高士坐于松下观赏飞瀑。\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,7,24,209,1562,173,177,29,1575,558,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea35dcf8553220d48caebb48114605af.jpg",[],{"id":33626,"slug":33627,"title":33628,"dynasty":99,"author":293,"museum":364,"description":33629,"tags":33630,"thumbUrl":33631,"material":665,"size":33632,"collection":181,"collections":33633,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},223460,"shan-shui-lou-ge-tu-ye-yi-ming-223460","山水楼阁图页","图中绘高山峻岭，山石陡峭，树木葱郁，群山中有一楼阁，作为画中心，色彩不同于高山树木的墨绿，采用偏黄绘画，具有中国建筑特色，极为突出",[23,7,24,81,104,173,27,29,107,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae4ea4a3f42436225874305e3ba8ce.jpg","40X43",[181,163],{"id":33635,"slug":33636,"title":33637,"dynasty":54,"author":293,"museum":20,"description":33638,"tags":33639,"thumbUrl":33648,"material":665,"size":33649,"collection":139,"collections":33650,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":94},223360,"fu-xi-nv-wa-xiang-ye-yi-ming-223360","伏羲女娲像页","此图上彩画人首蛇身男女二人，均着窄衫小袖绛红色胡装，二人腰相连，共着一条白裙。男居左，无须，头戴笼冠，张左手执矩，矩上有墨斗（已被腐蚀）。女居在右，束高髻，张右手执规。男女上身相拥，中间两臂相连，下尾盘曲相交四节成螺旋状。两人头上有圆轮，周画圆圈以象征日；尾下有下弯月牙一，周画圆圈以象征月。画面四周面遍布大小相等的圆圈，部分以线相连象征星辰。",[23,7,27,2714,631,33640,33641,33642,26317,33643,33644,33645,33646,33647],"伏羲","女娲","人首蛇身","月","星辰","规","矩","胡装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98549c4ea49fd625aec04606563866db.jpg","199.6*175CM,横上82*53.7CM厘米.",[],{"id":33652,"slug":33653,"title":33654,"dynasty":76,"author":293,"museum":101,"description":33655,"tags":33656,"thumbUrl":33659,"material":139,"size":33660,"collection":139,"collections":33661,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},223357,"fang-dong-yuan-jiang-nan-yan-luan-tu-juan-yi-ming-223357","仿董源江南烟峦图卷","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。\n画面上有山峦复叠、烟树沙川的夏日景致。画面中央山峦起伏连绵，上方水面空阔回转；一道道沙川和坡丘在水上和岸边延伸推展，两人泛舟水上；岸上树木丛生，百草丰茂，其间有牛羊悠闲吃草，有农人从容劳作；一道一道的冈峦，苍苍茫茫由近向远渐渐推展开去，忽明忽暗，层峦叠嶂，极具自然掩映的趣味。",[7,24,25,173,105,177,29,37,34,174,31,33657,3434,33658,8552],"丘陵","丛竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff949cfedb91c38ffe9314bf3c1e04eb8.jpg","30x600厘米",[],{"id":33663,"slug":33664,"title":33665,"dynasty":18,"author":293,"museum":101,"description":33666,"tags":33667,"thumbUrl":33669,"material":665,"size":33670,"collection":42,"collections":33671,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},223354,"fang-zhou-fang-xi-ying-tu-yi-ming-223354","仿周昉戏婴图","周昉《戏婴图》已失传，本卷为宋人摹本，技法设色均有周昉风骨。图绘五个女子与七个幼孩嬉戏、为幼孩洗浴、穿衣的生活场景。中国古代人物画，有“婴戏图”这一种类。“婴”字，作“孩童”解。以小孩的生活、游戏为描绘对象，表现孩童的天真、稚拙、活泼、可爱，画面生动、有趣，寄托了人们对于美好生活--“多子多福”的向往，所以历来很受大众的欢迎，在唐、宋时期无论题材还是技法都已相当成熟。如宋苏汉臣的《秋庭戏婴图》可谓杰作。",[23,7,209,28,27,106,59,26353,956,3045,505,33668,67],"孩童嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b11b8ef4628a62aa0c11093093e5b0.jpg","纵30.5厘米，横111.8厘米",[42],{"id":33673,"slug":33674,"title":33675,"dynasty":76,"author":6862,"museum":4792,"description":33676,"tags":33677,"thumbUrl":33678,"material":33679,"size":33680,"collection":90,"collections":33681,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},223252,"zhu-ju-hua-tu-zhou-pu-hua-223252","竹菊花图轴","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,7,27,173,241,83,242,453,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f837281a5a3ede855624505ab9f5514.jpg","纸本，册页，设色","纵27厘米、横34厘米",[90,45],{"id":33683,"slug":33684,"title":33685,"dynasty":76,"author":953,"museum":675,"description":1683,"tags":33686,"thumbUrl":33687,"material":619,"size":9723,"collection":139,"collections":33688,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图",[23,368,7,24,27,446,83,19981,26756,279,34,226,1461,9930,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg",[],{"id":33690,"slug":33691,"title":33692,"dynasty":76,"author":850,"museum":206,"description":14253,"tags":33693,"thumbUrl":33694,"material":665,"size":14257,"collection":181,"collections":33695,"showCount":33382,"zanCount":1547,"manualWeight":48,"mainColor":94},222767,"shi-er-yue-ling-tu-8-yue-lang-shi-ning-222767","十二月令图（8月）",[23,7,24,28,27,104,106,107,34,176,115,175,84,313,12624,761,1965],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9d2819dab19c67c4bf7cfb5fc58f1a.jpg",[181,45],{"id":33697,"slug":33698,"title":33699,"dynasty":99,"author":19617,"museum":206,"description":33700,"tags":33701,"thumbUrl":33702,"material":88,"size":33703,"collection":163,"collections":33704,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":94},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,7,24,241,173,27,177,227,29,449,242,175,108,109,176,34,281,394,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[163,45],{"id":33706,"slug":33707,"title":33708,"dynasty":99,"author":12000,"museum":206,"description":33709,"tags":33710,"thumbUrl":33712,"material":173,"size":33713,"collection":181,"collections":33714,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左（1573—1644）左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭（今上海松江）人。\n赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为“赵秋草”。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米（芾）非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为“苏松派”。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，以画山水最为擅长，主要师法“明四家”之一的沈周，风格雄劲古拙，为“松江派”之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧；并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云；或作浅绛设色，与笔墨的运用相融。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[23,209,7,24,241,173,177,176,1015,37,558,33711,2125,29],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[181,45],{"id":33716,"slug":33717,"title":33718,"dynasty":18,"author":15479,"museum":78,"description":8748,"tags":33719,"thumbUrl":33720,"material":33721,"size":33722,"collection":42,"collections":33723,"showCount":33382,"zanCount":1547,"manualWeight":48,"mainColor":49},221585,"an-chun-tu-li-an-zhong-221585","鹌鹑图",[23,209,7,24,28,27,83,10824,604,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0a7a66cc5c8697ff42ab6e379a7cb63.jpg","设色绢","52x68",[42,90,45],{"id":33725,"slug":33726,"title":33727,"dynasty":18,"author":1650,"museum":1985,"description":33728,"tags":33729,"thumbUrl":33730,"material":67,"size":2011,"collection":139,"collections":33731,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":49},221531,"jiang-shang-xiao-chuan-tu-ma-yuan-221531","江上小船图","马远（约1140－约1225年后），南宋画家。字遥父，号钦山，原籍河中（今山西永济），侨寓钱塘（今浙江杭州）。出身绘画世家，南宋光宗、宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,7,209,24,1562,173,27,106,174,29,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9920e6cf5cd9c356e5072e6bc0e4c7e.jpg",[],{"id":33733,"slug":33734,"title":33735,"dynasty":18,"author":6566,"museum":276,"description":33736,"tags":33737,"thumbUrl":33738,"material":67,"size":33739,"collection":42,"collections":33740,"showCount":33382,"zanCount":1547,"manualWeight":48,"mainColor":49},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,209,7,24,25,260,27,178,227,86,106,107,109,108,175,394,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[42,181,45],{"id":33742,"slug":33743,"title":33744,"dynasty":18,"author":33745,"museum":20,"description":33746,"tags":33747,"thumbUrl":33748,"material":40,"size":33749,"collection":42,"collections":33750,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},221436,"jiang-shan-fang-mu-tu-juan-qi-xu-221436","江山放牧图卷","祁序","本幅无款，上有清高宗弘历御题五律诗一首。前隔水有金章宗完颜璟瘦金体书题签：“祁序江山放牧图”。清梁清标书签：“北宋祁序江山放牧图蕉林珍藏”。鉴藏印有金章宗“内殿珍玩”、“明昌”、“明昌宝玩”、“御府宝绘”；清耿昭忠“耿昭忠信公氏一字在良别号长白山长收藏书画印记”，梁清标“蕉林”、“观其大略”以及乾隆、嘉庆、宣统诸帝之玺。\n此图为平远式构图，取景开阔。图绘初春时节，牧童们在湖泽坡岸间牧牛的情景，是典型的宋代风俗小品画。作品表现了各种情态的牛，或低头饮水，或昂首举目，或扭身顾盼，或侧身前行，皆神态生动，富有情趣，显示出作者娴熟的笔墨技法和准确的造型能力。图中点景的树木具有宋人李唐刻画粗简的遗风，树干以粗线条勾勒轮廓，润墨皴擦，显现出苍健之态、虬曲之美；树叶用笔致细腻的夹叶法表现，中锋行笔，线条圆润工整，展现出树木丰润华滋之美。堤岸坡石的表现别具匠心，以曲折弯转的墨线勾边，再以石绿色晕染坡面，亮丽的色彩不仅丰富了画面的色调，也为全幅增添了万物复苏的春之气息。作者将悠闲惬意的牛与风和日丽的环境有机地融为一体，画面中洋溢着浓郁的乡土风情。\n此幅是祁序流存至今的唯一一件作品，原藏清宫内府，宣统年间为溥仪运出宫，存于长春的小白楼内，后为周觉民获得。1983年9月由周觉民之妻李倩玉捐献给故宫博物院。\n著录于清内府《石渠宝笈初编》。",[23,209,7,24,25,173,177,29,151,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7be5f835fcaeb89d01f42e584182ea.jpg","纵47.3厘米，横115.6厘米",[42],{"id":33752,"slug":33753,"title":16437,"dynasty":18,"author":10088,"museum":364,"description":33754,"tags":33755,"thumbUrl":33756,"material":27,"size":33757,"collection":42,"collections":33758,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},221424,"shan-shui-tu-ye-yan-wen-gui-221424","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,209,7,24,81,27,177,29,34,114,111,491,1915,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[42,181,163],{"id":33760,"slug":33761,"title":33762,"dynasty":1095,"author":1096,"museum":8718,"description":33763,"tags":33764,"thumbUrl":33765,"material":15457,"size":139,"collection":139,"collections":33766,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},220595,"gong-chong-ce-ye-guo-guo-qi-bai-shi-220595","工虫册页·蝈蝈","此作以工写相映成趣，左侧赭红草叶写意挥就，笔致苍劲洒脱，寥寥数笔便勾勒出舒展野逸之态，淡墨晕染的浅淡底色晕开朦胧乡野意韵。右侧蝈蝈则以工笔细描，翠色躯体鲜亮通透，触须纤毫毕现，肢节纹理分明，振翅欲动，仿佛下一秒便要跃向草叶，将乡野小虫的灵动鲜活凝于纸面。\n\n简笔写意的朴拙与精微工细的鲜活彼此映衬，把寻常乡野小景绘得生机满溢，藏着对自然烟火的细腻体察，于平淡日常里撷取鲜活意趣。",[7,24,81,28,27,83,9501,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf64a8cd4f60805de0416aa2528db217.jpg",[],{"id":33768,"slug":33769,"title":33770,"dynasty":76,"author":33771,"museum":615,"description":33772,"tags":33773,"thumbUrl":33774,"material":342,"size":33775,"collection":163,"collections":33776,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},220360,"fang-ni-yun-lin-gu-mu-yuan-shan-tu-zhou-zhu-chang-220360","仿倪云林古木远山图轴","祝昌","图以水墨描绘江南水乡泽国景色。层岗丘阜，错落起伏，溪涧潆洄，林木蓊郁，有茅屋数间依偎于山麓，扁舟数个荡漾于水面，景色旷远，意境清幽。画面主要用墨笔干皴，得倪瓒三昧。",[23,7,24,241,173,177,105,29,6398,491,394,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11257d3e5577a6cd1823f109ea6a2bdb.jpg","53.5x177.6",[163],{"id":33778,"slug":33779,"title":33780,"dynasty":18,"author":293,"museum":33781,"description":33782,"tags":33783,"thumbUrl":33784,"material":27,"size":33785,"collection":139,"collections":33786,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":49},220241,"rui-guang-ta-si-tian-wang-xiang-4-yi-ming-220241","瑞光塔四天王像4","苏州瑞光寺塔","是可供研究唐代吴道子画风的一件重要绘画遗存。\n吴道子一生以宗教画创作为主，留下壁画三百余壁，但从唐武宗会昌五年（845）废寺毁佛像以后，存留就寥寥无几了。不过，他的画风由唐代粉本，和后世画家的仿作中所保存下来的还是不少。四天王像的创作年代在大中祥符六年（1013）之前，距吴道子逝世两个半世纪左右，当时，吴画原作还有少量寺庙壁画遗存。他的画风在宗教画中有强大影响。从四天王像中，就明显地可以看到吴道子画风的几个富有特征的表现。",[209,7,28,27,259,106,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6228be4d803c0cec9fb87a8cbef04b3.jpg","42.5X123厘米",[],{"id":33788,"slug":33789,"title":33790,"dynasty":76,"author":77,"museum":364,"description":33791,"tags":33792,"thumbUrl":33793,"material":88,"size":33794,"collection":90,"collections":33795,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[23,7,24,83,209,241,82,27,28,327,298,340,84,225,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[90],{"id":33797,"slug":33798,"title":33799,"dynasty":18,"author":33800,"museum":206,"description":33801,"tags":33802,"thumbUrl":33803,"material":123,"size":33804,"collection":90,"collections":33805,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":94},219940,"ye-shu-cao-chong-tu-xu-di-219940","野蔬草虫图","许迪","素净的地面上，有一株孤伶伶的白菜。零星的叶片，褪了不少绿意，也被虫子啃蚀得有些残破。一只红尾的蝗虫大剌剌地弹跳了过来，看来又是想要来饱食一顿的饕客。白菜上方，另一位访客－淡黄的粉蝶也翩然而至，与一只黑翅的蜻蜓不期而遇。看这只蜻蜓摩拳搓掌的样子，不禁令人替这只娇弱的粉蝶捏把冷汗。",[23,209,7,1562,28,27,1458,603,604,800,2315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9714821a89822cea4d8aee785f1a6b.jpg","纵25.8厘米、横26.9厘米",[90],{"id":33807,"slug":33808,"title":33809,"dynasty":76,"author":850,"museum":20,"description":33810,"tags":33811,"thumbUrl":33812,"material":123,"size":33813,"collection":90,"collections":33814,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},219870,"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[23,209,7,24,241,28,27,13695,1575,558,176,11022,12102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[90],{"id":33816,"slug":33817,"title":33818,"dynasty":76,"author":15408,"museum":78,"description":33819,"tags":33820,"thumbUrl":33821,"material":803,"size":33822,"collection":44,"collections":33823,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},219832,"ren-wu-ce-ye-ren-xiong-219832","人物册页","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[7,27,81,106,394,11294,864,297,224,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4150ff29e9c640b589400940438db8.jpg","27.2x34.3厘米",[44],{"id":33825,"slug":33826,"title":33827,"dynasty":99,"author":13656,"museum":78,"description":33828,"tags":33829,"thumbUrl":33830,"material":342,"size":33831,"collection":44,"collections":33832,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},219405,"tie-di-tu-wu-wei-219405","铁笛图","《铁笛图》表现的是一位文人雅士饮酒作歌的场景。画面的背景为古松森森、四寂无人的僻静之处；画的当中为一文士，焚香而坐，手端酒杯，其态陶然欲醉；侧边有一侍女，双手棒着一支尺许铁笛。此画技法精湛，松树以浓墨描画而成，令人一睹之下有雄健劲硕之感；画中人物线条流畅，神态毕肖，奇逸潇洒，分外动人。",[7,24,260,106,1575,431,12876,10854,10855,12877,20631,210,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37d0c161bcf80421932b82d79808e2.jpg","纵32.1厘米，横155.4厘米",[44],{"id":33834,"slug":33835,"title":33836,"dynasty":76,"author":850,"museum":206,"description":33837,"tags":33838,"thumbUrl":33839,"material":123,"size":33840,"collection":45,"collections":33841,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":94},219303,"shi-jun-tu-zhi-xue-dian-diao-zhou-lang-shi-ning-219303","十骏图之雪点雕轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物、花鸟，尤善犬马。科尔沁郡王诺们额尔和图于乾隆八（西元一七四三）年，进贡骏马一匹。",[7,209,241,27,28,150,957,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e84b14360acb49ba0390128d53f6779.jpg","238.2x270.6",[45],{"id":33843,"slug":33844,"title":33845,"dynasty":76,"author":5096,"museum":20,"description":33846,"tags":33847,"thumbUrl":33848,"material":123,"size":33849,"collection":181,"collections":33850,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},219220,"fang-da-chi-shan-shui-tu-wang-jian-219220","仿大痴山水图","此图沿“S”形的水路，绘一河两岸的景色，笔墨技法精湛，设色清丽脱俗，表现了江南山水沉郁深秀的自然气象。图中山石、树木勾染以仿大痴，即黄公望的画面为主，同时参法董源及唐初巨然的笔力，显现出王鉴晚年对古人笔墨融会贯通的掌控能力。",[23,209,7,24,241,27,29,109,176,34,105,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4bb0de74fcee4bbd39f292a92cc45.jpg","纵122.5厘米，横61.5厘米",[181],{"id":33852,"slug":33853,"title":33854,"dynasty":204,"author":33855,"museum":206,"description":33856,"tags":33857,"thumbUrl":33858,"material":123,"size":33859,"collection":90,"collections":33860,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":94},219212,"gu-mu-jin-jiu-tu-tang-xi-ya-219212","古木锦鸠图","唐希雅","苍劲棘枝斜逸，锋芒暗藏的枝桠间，一只锦鸠悠然栖息。羽色层次细腻，翠绿覆背，褐羽衬胸，翅间赭红轻点，尾羽沉黑如墨，连绒羽的柔润质感都被精心晕染。它昂首敛翅，眼神澄澈，与枯枝嶙峋形成动静相宜的对照。素净绢底衬得禽鸟鲜活、枝干古拙。笔墨工细却不板滞，线条劲挺中含柔婉，将生灵生机与古木风骨融于方寸，尽显五代花鸟写生的精妙神韵，藏着天地静美与盎然生机。",[23,7,209,1562,83,28,27,6398,224,10154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188bf758524620865734d70b114afc3e.jpg","24.7x26.1cm",[90],{"id":33862,"slug":33863,"title":33864,"dynasty":18,"author":1275,"museum":206,"description":33865,"tags":33866,"thumbUrl":33867,"material":123,"size":33868,"collection":42,"collections":33869,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},219205,"hua-mu-zhen-qin-tu-lin-chun-219205","花木珍禽图","画面中花木扶疏，珍禽顾盼生姿，翎羽纹理细腻如织，每一片花瓣都似凝着晨露的清润。淡赭色的背景晕染出雅致的古意，草木的姿态舒展自然，禽鸟的动态鲜活传神——或低头理羽，或抬足欲行，仿佛能听见羽翼轻振的细碎声响。工笔勾勒的线条精准灵动，设色淡雅却见层次，将自然生灵的生机与宋人的清幽审美融于一方圆扇之中，尽显写生妙趣与雅致格调，似能让人嗅到花木的浅香，触到古绢上的温润时光。",[23,209,7,24,1562,28,27,83,62,430,224,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[42,90],{"id":33871,"slug":33872,"title":10395,"dynasty":99,"author":24267,"museum":20,"description":33873,"tags":33874,"thumbUrl":33876,"material":88,"size":33877,"collection":44,"collections":33878,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":94},219059,"yu-le-tu-zhou-chen-219059","周臣（生卒年不详），字舜卿，号东村，吴县（今江苏苏州）人。画山水师陈暹（1405－1496年），摹古于宋人李成、郭熙、马远、夏圭，用笔纯熟，所谓“行家”意胜耳。何良俊以为，与戴进（1388－1462年）并驱，则互有所长，亦是院体中一高手。兼工人物，古貌奇姿，绵细萧散，各极意能。 　　图绘江南水乡渔人作业生活的场景。作者细腻地捕捉渔人们各种动作，扣鱼、撒网、垂钓、捞虾、织网等，以及他们天真自然的神态，表现他们淳朴的性情和一种于生计中寻找乐趣的生活态度，刻画入微，生动明快。同时，传达出文人心目中渔隐的回归思想。绘画技法上，人物以勾写塑其形廓，薄色淡染，衣纹施镢头描，水画波线显其动态，坡石以湿墨皴染，笔法纯熟率逸，出自宋人写实的绘画风格。",[23,7,25,173,28,106,174,430,31,2522,1016,177,149,33875],"渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纵32厘米，横239厘米",[44],{"id":33880,"slug":33881,"title":33882,"dynasty":18,"author":293,"museum":364,"description":33883,"tags":33884,"thumbUrl":33885,"material":67,"size":33886,"collection":42,"collections":33887,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":49},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[23,209,7,24,27,177,29,394,175,109,106,150,227,176,108,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[42],{"id":33889,"slug":33890,"title":33891,"dynasty":189,"author":293,"museum":132,"description":33892,"tags":33893,"thumbUrl":33894,"material":123,"size":33895,"collection":44,"collections":33896,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":49},219007,"shou-lie-tu-yi-ming-219007","狩猎图","猎手策马前行，肩挎箭囊的弧度里藏着草原的风，暖黄衣袍与黑马的沉墨撞出视觉张力，粗砺笔触勾出游牧者的剽悍。猎犬腾跃紧随，四肢的动感与马的沉稳形成呼应，背景晕染的朦胧弱化了具体场景，却让狩猎的紧张感直抵人心。墨色的浓淡晕染出马匹的肌理，衣纹的褶皱里藏着动作的余韵，没有繁复修饰，却将猎场上的瞬间生机与豪迈气慨鲜活铺展——每一笔都是对生活本真的捕捉，仿佛能听见马蹄踏过草地的声响，看见猎手眼中的锐利与专注，让游牧民族狩猎时的粗犷与灵动，在岁月里静静流淌。",[7,27,106,150,957,31402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14464278e09077cfad9f79eba8cf35e5.jpg","24.4x27.4cm",[44],{"id":33898,"slug":33899,"title":33900,"dynasty":76,"author":10958,"museum":206,"description":33901,"tags":33902,"thumbUrl":33904,"material":88,"size":33905,"collection":139,"collections":33906,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},218726,"yu-hua-yuan-gu-bai-tu-dong-bang-da-218726","御花园古柏图","乾隆吟成古柏行，命董邦达作图。工笔界画摛藻堂，殿宇结构严谨，色彩华丽，似是内廷供奉所作。古柏则以写意笔趣画成，这才是董氏之笔。",[7,24,104,27,29,107,33903,177],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9fbe8158fef5a7328b02c3d23c2004.jpg","194.2x111.5cm",[],{"id":33908,"slug":33909,"title":33910,"dynasty":189,"author":293,"museum":364,"description":33911,"tags":33912,"thumbUrl":33913,"material":173,"size":139,"collection":163,"collections":33914,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},218496,"dong-po-qi-lv-tu-yi-ming-218496","东坡骑驴图","驴背人影衣袂掀动，似携一身野风穿行于淡墨峰峦间。松枝斜出如笔，与天边流云共织清寂，驴蹄轻踏处，草叶簌簌声仿佛随墨色漫开。笔墨简劲却藏深情，没有繁复设色，仅以水墨勾勒人物的孤远与从容——那是坡公贬谪途中的淡然，也是画者对先贤心境的隔空呼应。峰峦的淡皴如旧梦晕染，松风与驴鸣似在耳畔低回，简淡画面里，沉潜着文人遭际中的旷达文心。每一道笔触都像在诉说：纵使前路风雨，仍以悠然姿态，踏遍山河。画面虽简，意蕴却厚，如陈酒浅酌，余味漫过时光。",[23,7,24,241,173,446,260,106,8989,430,176,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f93ebd14f269b38bf81415ee2b5a2d.jpg",[163],{"id":33916,"slug":33917,"title":33918,"dynasty":99,"author":293,"museum":3537,"description":33919,"tags":33920,"thumbUrl":33921,"material":123,"size":33922,"collection":44,"collections":33923,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":49},218451,"mao-nv-tu-yi-ming-218451","毛女图","飞瀑自崖间倾泻，溅起细碎水痕，苔石旁草木疏朗。毛女侧立，发髻簪着粉白小花，衣袂轻垂，眉目间透着悠然清寂。身旁灵鹿昂首，似与她共赏山光。山石以淡墨皴擦，肌理朴拙却藏层次；瀑布线条流畅，动静相衬。绢本的古雅色调，更添岁月沉淀的温润。画面简淡却意韵悠长，将毛女栖隐山林、与兽为友的传说，化作一卷仙逸之境，笔墨间满是山野的清旷与绝尘的况味。",[7,24,1562,27,28,106,957,29,109,245,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13675267f743bc53cfd605358debfb0.jpg","21x21.4",[44],{"id":33925,"slug":33926,"title":33927,"dynasty":76,"author":5096,"museum":20,"description":33928,"tags":33929,"thumbUrl":33930,"material":342,"size":33931,"collection":181,"collections":33932,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},218390,"fang-ni-yun-lin-xi-ting-shan-se-tu-wang-jian-218390","仿倪云林溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[23,7,173,29,177,105,864,297,175,430,245,109,1015,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[181],{"id":33934,"slug":33935,"title":33936,"dynasty":76,"author":674,"museum":539,"description":5517,"tags":33937,"thumbUrl":33938,"material":123,"size":5520,"collection":139,"collections":33939,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},218325,"shen-xian-gu-shi-tu-ce-11-leng-mei-218325","神仙故事图册-11",[23,7,28,27,106,502,1329,18694,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265342d420f4fcbf9947c00f2685e6c8.jpg",[],{"id":33941,"slug":33942,"title":33943,"dynasty":76,"author":10958,"museum":206,"description":33944,"tags":33945,"thumbUrl":33946,"material":342,"size":33947,"collection":181,"collections":33948,"showCount":33382,"zanCount":48,"manualWeight":48,"mainColor":94},218319,"fang-wang-meng-wan-die-fu-rong-tu-dong-bang-da-218319","仿王蒙万叠芙蓉图","董邦达为清代画家，在山水题材上造诣颇深。他具有双重身份，不仅为朝廷命官，而且是一位颇有才气的画家。作为官员的董邦达，一生可谓仕途通达，早年高中进士，身为朝廷命官，平日忙于公务，作画只是董邦达的业余爱好。然而，董邦达具有绘画的天赋，尤其擅长山水画，名噪一时。",[7,173,1397,177,105,176,34,35,31,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1794d4956e0a07d2cd810a08d5a76fc0.jpg","纵133cm，横63.3cm",[181],{"id":33950,"slug":33951,"title":33952,"dynasty":76,"author":9291,"museum":78,"description":33953,"tags":33954,"thumbUrl":33957,"material":123,"size":33958,"collection":44,"collections":33959,"showCount":33382,"zanCount":5,"manualWeight":48,"mainColor":94},218248,"ke-zhai-ji-gu-tu-juan-shang-ren-xun-218248","愙斋集古图卷-上","这部作品有两卷：上卷和下卷。上卷由艺术家任薰绘制，下卷由胡祥和陆恢合作完成。\n任薰的这幅画描绘了坐在客人对面的吴氏。他盘腿坐在沙发上，周围都是珍贵的古董，古董铜器被逐一命名。",[23,7,25,27,28,106,15804,33955,211,33956],"礼器","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed9fef0b9a8c954811340da2b17afad5.jpg","41.5x160.5",[44],{"id":3396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，设色",[],{"id":34151,"slug":34152,"title":34153,"dynasty":99,"author":1480,"museum":20,"description":34154,"tags":34155,"thumbUrl":34156,"material":1716,"size":34157,"collection":139,"collections":34158,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":94},233707,"you-ren-yan-zuo-tu-zhou-tang-yin-233707","幽人燕坐图轴","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。",[7,24,241,173,177,29,175,34,176,109,106,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5448d0d425ec0f6d6a2e9b1bd7bf7016.jpg","纵120.3厘米，横25.8厘米",[],{"id":34160,"slug":34161,"title":34162,"dynasty":76,"author":4199,"museum":20,"description":34163,"tags":34164,"thumbUrl":34165,"material":990,"size":34166,"collection":139,"collections":34167,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},233178,"ping-ju-tu-zhou-xu-gu-233178","瓶菊图轴","此图为瓶插秋菊的小品画。构图匠心独运，巧于设置，高低错落的瓶和壶、“S”形走势的秋菊令画面富有活力，并形成多层次的节律变化。设色淡雅清新，笔法灵活娴熟，是虚谷晚年的花卉画代表作。",[7,24,209,241,27,173,453,449,244,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd971ac61959e2aff3b2a1a61b30a51c6.jpg","纵126.2厘米，横57.7厘米",[],{"id":34169,"slug":34170,"title":34171,"dynasty":189,"author":2519,"museum":101,"description":34172,"tags":34173,"thumbUrl":34174,"material":665,"size":34175,"collection":181,"collections":34176,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":49},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,209,7,24,25,5491,27,28,106,150,109,34,1159,176,32277,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","横28.1厘米，纵155.5厘米",[181],{"id":34178,"slug":34179,"title":34180,"dynasty":76,"author":2324,"museum":78,"description":34181,"tags":34182,"thumbUrl":34183,"material":803,"size":34184,"collection":139,"collections":34185,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},231561,"lan-zhu-tu-ce-li-shan-231561","兰竹图册","李鱓 （1686-1762），清代书画家。曾为宫廷作画，后任滕县知县，为政清简，以忤大吏罢归。在扬州卖画。为扬州八怪之一。擅画花卉虫鸟，初师蒋廷锡，画法工致；又师高其佩，进而趋向粗笔写意，并取法林良、徐谓、朱耷，落笔劲健，纵横驰骋，不拘绳墨而有气势，有时使用重色或彩墨结合，颇得天趣。因在扬州见石涛作品，遂用破笔泼墨作画，风格一变。传世作品有《五松图》《芭蕉萱石图》和《墨荷图》等。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后又受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年始转入粗笔写意，大胆泼辣，挥洒自如，感情充沛，富有气势。他大大拓展了写意花鸟画的表现领域，大自然中的花草树木，人们日常生活的各种用具，乃至向来不登大雅之堂的农家食用之物如桑、蚕、破芭蕉扇之类，也一一摄入画中，其题材之广泛多样远远超过了前人。\n其写意花鸟画，努力学习石涛破笔泼墨的画法，酣畅淋漓，笔墨奔放，富有动感，充分表达了作者的创作激情。同时，他又吸取了没骨花卉的表现方法，工细严谨，色墨淡雅，变化丰富，形体富于立体感，在作画时，他经常能做到二者并用，自然浑融，灵活多变，具有较强的艺术表现力。\n在扬州八怪中，李鱓是受到清末批评家猛烈批评的一位，主要指责他脱离传统，笔墨缺乏蕴藉含蓄，有“霸悍之气”、“失之于犷”等。纵观李鱓一生创作，他是一位富有独创才能的画家。",[7,24,81,173,446,452,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b1e16345a5ca07089cab1d16f3637f.jpg","纵189．7厘米，横63．4厘米",[],{"id":34187,"slug":34188,"title":34189,"dynasty":99,"author":1012,"museum":206,"description":34190,"tags":34191,"thumbUrl":34192,"material":67,"size":34193,"collection":139,"collections":34194,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":49},231347,"fang-zhang-seng-yao-shan-shui-tu-lan-ying-231347","仿张僧繇山水图","该幅《明蓝瑛仿张僧繇山水图》轴便充分体现了蓝瑛的绘画风貌。纵观全画，山水相接，红树青岩、小桥流水、白云缭绕，好一派洁净幽奇、绝妙脱俗的仙境！画中水天交融，近处流淌的湖水与远处的天际自然地连接在—起，从而产生一种宽阔辽远之感，同时也把山、石、树木自然地烘托出来。山石的突兀和树木的复杂变化与水天合一的平静简洁形成了鲜明的对比。河岸上峦石林立、叠叠错错，石崖间挺立着各种姿态野逸、遒劲的树木，它们深深地扎根于硬石之中，充分展现了其顽强的生命力。层层推远的山石和错落有致的树木逶迤远去，一直延伸至远处群山的云雾升腾处，引导观者将视线层层推进。",[7,24,241,105,27,26,29,430,175,1329,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5c68735d15e53cd740fe2ea977fefb3.jpg","纵177厘米，横91厘米",[],{"id":34196,"slug":34197,"title":34198,"dynasty":189,"author":9382,"museum":206,"description":34199,"tags":34200,"thumbUrl":34201,"material":1449,"size":9386,"collection":139,"collections":34202,"showCount":34001,"zanCount":1547,"manualWeight":48,"mainColor":94},231334,"lu-yu-peng-cha-tu-yuan-dai-ji-jin-zhi-liu-zhao-yuan-231334","陆羽烹茶图－元代集锦之六","此图绘山水清远,茅檐数座,屋内峨冠博带、倚坐榻上者即为陆羽,前有一童子焙炉烹茶。本幅有作者自题:“陆羽烹茶图”。画面图文并茂,铸造了士大夫烟霞痼疾与泉石膏肓的精神世界,从一个侧面折射了元代的社会思潮。此图山石皴法的侧锋圆转,树点墨法的粗重厚实,无不着意经营,缺少空灵虚旷、自然无为的韵致,特别是湿笔淡墨的运用,还未能打破宋人的陈式。本幅有窥班诗题,还有乾隆皇帝的御题诗。\n图绘远山起伏，水面辽阔，临溪筑有草阁，丛树掩映。阁内一人坐于榻上，当为陆羽，一童子拥炉烹茶。陆羽为唐代学者，闭门著书，不愿为官，以嗜茶闻名，有《茶经》传世。此图表现了文人隐居闲适的生活。远山近坡用披麻皴，皴笔圆转虬曲，颇多侧锋，树法书落，学董巨而有变化。[画师今赵元，东吴谅无双]是当时对赵原绘画的评价。[画师]是对职业画家的称谓，元代职业画家的绘画题材、画风都不同程度地受到文人画家的影响，于此图可见一斑",[7,24,25,173,177,29,175,34,109,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8860eaa9c2ef53a43976d02ab2796f0.jpg",[],{"id":34204,"slug":34205,"title":34206,"dynasty":76,"author":293,"museum":364,"description":34207,"tags":34208,"thumbUrl":34209,"material":139,"size":139,"collection":139,"collections":34210,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":49},230305,"fang-han-gong-chun-xiao-tu-yi-ming-230305","仿汉宫春晓图","此作铺展深宫春日盛景，亭台楼阁勾描工致，柳石花木晕染雅致，将宫苑春意揉进朱廊翠荫里。仕女们或临窗研墨、凭栏观戏，或蹴鞠扑蝶、闲庭信步，娇柔百态鲜活灵动，把深院中的松弛雅兴尽数铺陈。设色明丽柔婉，线条秀润细腻，复刻出原作的绮靡雅致，将宫廷日常的闲逸温婉晕染绢上，让旧日宫苑的春日烟火气扑面而来，尽显古典仕女画的柔美韵致与院体工笔的精妙意趣。",[7,24,25,209,28,27,104,105,106,59,107,115,34,176,313,1664,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6489682bcd338587262df0a3fe163436.jpg",[],{"id":34212,"slug":34213,"title":34214,"dynasty":76,"author":1109,"museum":364,"description":34215,"tags":34216,"thumbUrl":34217,"material":139,"size":139,"collection":139,"collections":34218,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},228996,"hua-hui-shan-shui-ce-ye-12-kai-shi-tao-228996","花卉山水册页12开","《陈师曾画集》是以画家个案研究为切入点，以介绍画家作品为主线，将过去未被出版的近现代有影响画家作品编辑出版，为近现代绘画学习、研究提供第一手资料。\n进入二十世纪来，中国近代画家成为美术界、收藏界研究、关注的热点。\n《陈师曾画集》由 出版。\n菊花书画卷(局部) 花卉山水人物册页四开 花卉册页二开 仿李觯册页四开 花卉(合作) 花卉山水册页五开 山水册页二开 山水 墨兰 水仙 梅花 碧霞元君祠图 拟沈周夏日山居图 北京风俗图册页三十四开 秋花奇石 墨荷 鬼趣图 钟馗读书图 达摩图 读画图 深山古寺 山林人家 仙鹤 岁寒清供图 深山秋烟 姚华小像 花卉四条 清供图 菊石图 山水册页四开 花卉四条 松树 听秋图 蔬笋 拟吴仲圭山水 群仙上寿图 山水 花鸟四屏 山水 仿沈周山水 山水 山水册页四开 忽见千帆 半山流泉 荷 芍药 些 芭蕉 花卉四屏 菊石 兰竹 仿石涛山水 鸡冠花 金壶细叶 携酒与鱼 梅花 兰石 梅竹双雀(合作) 佛手 赤壁图 山水 桃花 梅石 芭蕉菊花 腊梅秀石 山水长卷(合作) 花卉 山水册页 溪流浣衣 江乡秋获 山原行旅 村醪泥醉 雨洗铅华 空谷幽香 烟寒雨昏 老圃秋容 梅竹 月季花 花卉四条 秋园晚艳 桃花 绣球花 山林楼影 姜白石词意图册十二开 山水册页四开 山水诗画册页十六开 竹 写摩诘诗意 园林小景册页六开 山水册页二开 花卉山水册页十开 山水花果册页四开 枇杷 竹笋 杨诚斋诗意图册页六开 花卉册页八开 枇杷 秋柳图 达摩图 猴戏图(合作) 菊石 玉兰 墨笔山水 溪山松居图 山林静处 霜林红万山 山林深处 竹石 花红叶翠 附：常用印章 陈师曾年表",[7,24,81,27,173,29,107,281,300,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f22ccc2a5c9017120af6648fb95f4bf.jpg",[],{"id":34220,"slug":34221,"title":34222,"dynasty":99,"author":1083,"museum":364,"description":34223,"tags":34224,"thumbUrl":34225,"material":139,"size":139,"collection":139,"collections":34226,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":49},228324,"pu-sa-mo-ding-tu-chen-hong-shou-228324","菩萨摩顶图","此作用笔清劲圆转，白描衣纹古拙又带着灵动意趣，翩然衣袂暗藏沉静厚重的质感。高僧垂目含凝，面相奇古内敛，斜倚的锡杖间，清肃威仪隐然流露。身旁童子神态鲜活灵动，一动一静反差相生，暗合禅家动静之趣。\n\n古雅错落的题跋与画面相映，书画合璧交融文气禅意。设色素淡克制，以赭石与墨色晕染，尽显古澹空灵意境。笔底揉合出世静定与入世生气，简约铺陈间晕开幽远禅韵，寥寥数笔勾勒出超脱世外的清寂氛围感。",[23,99,7,24,241,259,106,27,260,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13b60712db3d2482a26bf69baa0e528.jpg",[],{"id":34228,"slug":34229,"title":34230,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":34231,"thumbUrl":34232,"material":743,"size":744,"collection":139,"collections":34233,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":49},228299,"hua-niao-ce-xie-zhi-liu-ti-ba-ben-chen-hong-shou-228299","花鸟册（谢稚柳题跋本）",[7,24,81,27,28,83,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8661ccd841a6b0332bdf5e8f1dd2c7bf.jpg",[],{"id":34235,"slug":34236,"title":34237,"dynasty":18,"author":3185,"museum":364,"description":34238,"tags":34239,"thumbUrl":34240,"material":139,"size":139,"collection":139,"collections":34241,"showCount":34001,"zanCount":1547,"manualWeight":48,"mainColor":49},227952,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-227952","五百罗汉图之应身观音","画面主次分明，应身观音安坐于视觉中心，圆光晕染间神态慈悲自在，衣袂舒展流转。身旁僧众或合十谛听，或垂目静思，清癯面容尽显禅门肃穆沉静。\n\n下方文人执卷商榷，童子随侍侧旁，雅意融融。整作设色调和古雅，衣纹以铁线描勾勒，劲挺流畅的线条尽显衣物褶皱的层叠质感，各个人物面相各有风骨，细节鲜活灵动。\n\n布景以祥云朱柱晕染出缥缈佛境，竹石点衬增添清幽禅意，将佛界的静穆与俗世雅意相融，尽显工笔人物画的精湛造诣，晕散开冲淡安和的禅意底蕴。",[23,7,24,259,28,27,106,242,37,2544,19590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0a4e63aacdd50a770d92a6826a7327.jpg",[],{"id":34243,"slug":34244,"title":34245,"dynasty":18,"author":293,"museum":364,"description":34246,"tags":34247,"thumbUrl":34248,"material":743,"size":744,"collection":139,"collections":34249,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":94},227903,"pan-long-tu-shou-juan-yi-ming-227903","盘龙图手卷","此作以暖褐素缎为地，银线盘绣双龙矫健灵动，鳞爪细密有致，正探爪逐戏焰珠，龙目圆睁、口部大张，尽显威猛神姿。\n祥云遍铺画面，粉紫青绿晕染出柔婉层次，托衬出瑞龙腾跃云海的磅礴意境。绣法精巧入微，以针线复刻出龙的刚劲体态，将传统祥瑞意象融于丝缕之间，静展于卷上，亦能让人感知龙游九霄的浩荡生机，尽显传统刺绣工艺的精妙意趣。",[23,7,24,25,28,27,502,1329,26317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e12dea5004fd750f6246f53d4c6e6d.jpg",[],{"id":34251,"slug":34252,"title":34253,"dynasty":18,"author":1650,"museum":364,"description":34254,"tags":34255,"thumbUrl":34256,"material":139,"size":139,"collection":139,"collections":34257,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":49},227820,"song-yin-guan-lu-tu-ma-yuan-227820","松荫观鹿图","此作用笔清劲爽利，取景以偏概全，将平远之境铺陈得含蓄悠长。右侧虬松横斜，松针如铁，苍劲古雅的身姿探入空濛烟水。凭栏雅士白衣素简，静望烟岚深处，身旁侍童垂首伫立，简笔勾勒便将悠然意态尽显。对岸林影以淡墨晕染，朦胧虚化，汀洲浅渚间麋鹿低头啮草，为清寂画面添了灵动生趣。大片留白晕开浩渺江天，以少胜多，把幽居林下的闲静逸思藏在笔墨间，淡墨轻岚间漫溢着清寂萧散的雅致，意境空远悠长。",[23,7,209,24,29,173,27,177,449,3167,106,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ecf7d98118704a77489ac9ae5f3019.jpg",[],{"id":34259,"slug":34260,"title":34261,"dynasty":76,"author":10376,"museum":206,"description":34262,"tags":34263,"thumbUrl":34264,"material":67,"size":34265,"collection":181,"collections":34266,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":49},224464,"lin-fan-kuan-xue-shan-tu-zhou-wang-hui-224464","临范宽雪山图轴","山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。",[23,7,1397,105,177,173,27,3499,176,1015,464,241,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f304fcaa92d84ebd0825d65cc92b1c.jpg","本幅 187.7x115.5公分、全幅 118.3公分",[181,163],{"id":34268,"slug":34269,"title":34270,"dynasty":76,"author":2804,"museum":364,"description":34271,"tags":34272,"thumbUrl":34273,"material":619,"size":34274,"collection":181,"collections":34275,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},224235,"cuo-luo-shan-hu-zhi-tu-wu-chang-shuo-224235","错落珊瑚枝图","吴昌硕善于画花卉，此幅《错落珊瑚枝》为吴氏花卉画之力作，“错落珊瑚枝，铁网出海底”，如其款识中所题，画面结构严谨，用笔遒劲，吴昌硕善于用线，每枝枝干、每片花叶都似铁杆般坚韧，富有生命力。其构图极为讲究，画家首先用两尊顽石坐落于画面两侧，稳住了画面重心。数枝天竺从顽石后方穿插向上，更与树叶形成疏密对比，几簇天竺果高低错落、顾盼生姿、扶摇而上。",[23,7,241,446,27,173,177,176,299,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4feda463be4617f92164883644e7b38b.jpg","纵183厘米，横93厘米",[181,45],{"id":34277,"slug":34278,"title":34279,"dynasty":76,"author":707,"museum":364,"description":34280,"tags":34281,"thumbUrl":34282,"material":139,"size":139,"collection":139,"collections":34283,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":94},224171,"tian-shan-ji-xue-tu-hua-yan-224171","天山积雪图","名画家说名画：李燕说华喦是河北美术出版社出版的一部作品。\n《名画家说名画:李燕说华喦》包括：天山积雪图、金屋春深图、松下观流图、苏米对书图、钟馗赏竹图、竹林七贤图、隔水吟窗图、曹松堂肖像、春宴图、钟馗嫁妹图、关山勒马图、渔家乐图、梅鹤图、渔夫晚归图内容。\n天山积雪图 金屋春深图 松下观流图 苏米对书图 钟馗赏竹图 竹林七贤图 隔水吟窗图 曹松堂肖像 春宴图 钟馗嫁妹图 关山勒马图 渔家乐图 梅鹤图 渔夫晚归图",[23,7,209,24,241,27,173,28,106,11734,864,2124,281,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d7fd76d8b44ae76dbc675b8ffbd77.jpg",[],{"id":34285,"slug":34286,"title":34287,"dynasty":18,"author":293,"museum":20,"description":34288,"tags":34289,"thumbUrl":34290,"material":67,"size":34291,"collection":42,"collections":34292,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":1335},223603,"qiu-shan-hong-shu-tu-zhou-yi-ming-223603","秋山红树图轴","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。",[23,7,209,24,241,27,29,3500,7241,558,108,109,4675,650,34,30,563,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6349a3c7dd2d9bcdb8c6e7b79d431705.jpg","197.8x111.8",[42,181,163],{"id":34294,"slug":34295,"title":34296,"dynasty":99,"author":1996,"museum":276,"description":5506,"tags":34297,"thumbUrl":34298,"material":619,"size":5510,"collection":139,"collections":34299,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":94},222565,"hua-hui-tu-4-chen-chun-222565","花卉图4",[23,7,83,446,173,27,84,1124,1341,24331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a8d0fc1f066a0983129200e58f195a.jpg",[],{"id":34301,"slug":34302,"title":34303,"dynasty":99,"author":12957,"museum":206,"description":34304,"tags":34305,"thumbUrl":34306,"material":342,"size":34307,"collection":44,"collections":34308,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":94},222521,"lao-zi-qi-niu-zhou-zhang-lu-222521","老子骑牛轴","《老子骑牛图》人物的面部刻画得非常传神，衣纹的穿插也灵活巧妙，整个人物给人一气画成之感，形象生动而富有情致。",[23,7,556,241,106,151,227,446,173,957,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206effd797ba2e6ba61c8c1c5ee3941c.jpg","纵101.5厘米 横55.3厘米",[44],{"id":34310,"slug":34311,"title":34312,"dynasty":99,"author":19836,"museum":364,"description":34313,"tags":34314,"thumbUrl":34317,"material":803,"size":139,"collection":181,"collections":34318,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},222422,"lian-peng-tu-song-yin-tu-zhu-zhan-ji-222422","莲蓬图松荫图","画卷破裂为两段，一段为莲蒲段，一段为松荫段。此画为莲蒲段画面。画面绘荷叶、莲蓬、小鸟、湖石、水草。极少勾勒，类似没骨画法，用浓淡墨色晕染，格调简逸质朴。封面为铜版纸印刷，作品为宣纸印刷。",[23,7,24,27,28,83,931,224,1575,298,34315,367,491,34316,227],"枯荷","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a1522d7865cbf91ab2342631f19567.jpg",[181,163],{"id":34320,"slug":34321,"title":34322,"dynasty":99,"author":19758,"museum":56,"description":34323,"tags":34324,"thumbUrl":34325,"material":1716,"size":34326,"collection":163,"collections":34327,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":94},222083,"mo-bi-shan-shui-ren-wu-zhou-you-qiu-222083","墨笔山水人物轴","此幅完全以水墨绘制，笔法精细，功力深厚。远处丛山峻岭，山巅墨色如黛；中部一棵松树绘画清晰，枝杆细长，松枝自然伸展；近处厅一座，厅前几位雅士席地而坐，侃侃而谈，四周绿树环抱。尤求，字子求，工山水，善人物，明代画家。",[23,7,24,241,173,28,177,29,106,34,109,176,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6786c4d9ae057bd41bb8eba3527de43a.jpg","50.7x126.2cm",[163],{"id":34329,"slug":34330,"title":34331,"dynasty":99,"author":966,"museum":20,"description":34332,"tags":34333,"thumbUrl":34334,"material":14355,"size":34335,"collection":139,"collections":34336,"showCount":34001,"zanCount":1547,"manualWeight":48,"mainColor":94},221997,"xiang-jun-xiang-fu-ren-tu-wen-zheng-ming-221997","湘君湘夫人图","该图是文徵明早期仅存的人物画名作。此图根据屈原《九歌》中“湘君”、“湘夫人”两章而作。画面上湘君、湘夫人一前一后，前者手持羽扇，侧身后顾，似与后者对答，神情生动。人物造型来自晋顾恺之《女史箴图》、《洛神赋图》，形象古雅，体态修长，长袖飘逸，衣裙曳地，用游丝描，施朱红及白粉，精工古雅。从文徵明和王稺登的题跋可知，文徵明曾请仇英以此题作画，但文氏看过后并不满意，自己又重新创作。可见，文氏是在刻意追求一种“古意”，与仇英有不同的审美趣好。画上方自书《湘君》、《湘夫人》两章，后署“正德十二年丁醜二月已未停雲館中書”。正德十二年（1517年），时文徵明48岁。本幅有文徵明、文嘉、王稺登题跋。\n经清·耿昭忠等鉴藏。",[23,7,24,209,241,28,260,27,106,59,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97f60c8237a52c52ad96b4e9d3caf10.jpg","纵100.8厘米，横35.6厘米",[],{"id":34338,"slug":34339,"title":34340,"dynasty":189,"author":9509,"museum":1985,"description":34341,"tags":34342,"thumbUrl":34343,"material":40,"size":34344,"collection":90,"collections":34345,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":49},221868,"ma-yuan-hou-tu-zhao-yong-221868","马猿猴图","图绘一马一猴，棕色老马微闭眼，卧于地，四蹄白额；三只猴子趴在马背上，前臂紧紧箍住马宽，生怕被翻倒。",[23,7,24,27,28,150,12940,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1442745ce95163d515106a3804234b.jpg","32.3×31.7cm",[90,45],{"id":34347,"slug":34348,"title":34349,"dynasty":189,"author":9509,"museum":101,"description":34350,"tags":34351,"thumbUrl":34352,"material":619,"size":34353,"collection":44,"collections":34354,"showCount":34001,"zanCount":1547,"manualWeight":48,"mainColor":49},221862,"xian-xian-tu-juan-zhao-yong-221862","先贤图卷","赵雍，字仲穆，吴兴（今浙江湖州）人，元代书画家，赵孟頫之子。擅山水画，尤精人物鞍马，亦作界画。书法善长正书，行书，草书和篆书，精通鉴赏。",[23,7,24,25,27,28,106,29,150,430,431,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8403e17bbe756dab1b941b50b1cce0ba.jpg","纵29.3厘米，横208.7厘米",[44,45],{"id":34356,"slug":34357,"title":18510,"dynasty":189,"author":1057,"museum":1985,"description":34358,"tags":34359,"thumbUrl":34361,"material":619,"size":34362,"collection":90,"collections":34363,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},221772,"da-dou-tu-ren-ren-fa-221772","任仁发（1254—1327年），字子明，一字子垚，号月山道人，其先祖为邳县（今属江苏省）人，后迁居松江（今属上海）。擅长书法、绘画，书学李北海，画学李公麟。画马尤其出色，曾奉敕画御苑马厩中的名马，得到皇帝的赏识。擅长人物画，所画人物笔墨苍润，生动传神。此外任仁发还是一位很有成就的水利专家，曾先后主持修治浙西吴松江、大都（今北京）通惠河等工程，并有水利工程著作传世。\n传世作品有：至元十七年（1280）作《出圉图》卷，《二马图》卷，《张果见明皇图》卷，藏故宫博物院；《秋水凫鹥图》轴，藏上海博物馆；《饮中八仙图》《贡马图》《横琴高士图》《秋林诗友图》藏台北故宫博物院；《神骏图》《三骏图》《九马图》在美国；《饲马图》在英国；《文会图》《牵马图》等在日本。著有《浙西水利议答录》十卷。《书史会要》、《书画史》、《六研斋随笔》、《黄渡镇志》、《海上墨林》、《练水画徵录》。",[23,7,27,28,83,800,34360,3236,225,5491],"豆叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3356f80cc6353f6b9795618f4536e468.jpg","纵18.7厘米，横19.4厘米",[90,45],{"id":34365,"slug":34366,"title":34367,"dynasty":18,"author":10088,"museum":206,"description":33754,"tags":34368,"thumbUrl":34369,"material":139,"size":139,"collection":42,"collections":34370,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":49},221421,"da-jiang-tu-yan-wen-gui-221421","大江图",[23,7,24,25,173,177,29,1247,111,107,108,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c21e1641668e9acb1a358f7b09ffe9f.jpg",[42,181,163],{"id":34372,"slug":34373,"title":34374,"dynasty":18,"author":34375,"museum":20,"description":34376,"tags":34377,"thumbUrl":34379,"material":40,"size":34380,"collection":42,"collections":34381,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":49},221419,"lu-ting-mi-xue-tu-quan-juan-liang-shi-min-221419","芦汀密雪图全卷","梁师闵","此卷为梁师闵的传世孤品，描绘严冬时节的沙渚平川，坡石竹枝已尽为白雪覆盖，丛丛干枯的芦草在阴沉晦暗的背景下瑟瑟隐现。清寂之中，一池湖水尚未封冻，两只鸂鶒（音xī chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[23,7,24,25,28,27,2522,2124,174,281,34378,27535,29,227,178,86],"寒沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[42,181,163],{"id":34383,"slug":34384,"title":34385,"dynasty":54,"author":3062,"museum":20,"description":34386,"tags":34387,"thumbUrl":34388,"material":67,"size":34389,"collection":181,"collections":34390,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},221100,"jiu-cheng-bi-shu-tu-ye-li-si-xun-221100","九成避暑图页","本幅无款识，右裱边项子京题：“唐云麾将军李思训画京畿瑞雪图，宋宣和御府藏物也，定为神品第一。\n古胥山樵项圣谟获于梅花和尚塔前，得秘玩焉，百金亦勿与易。\n” 扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。\n这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。\n正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。\n在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。\n有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[23,7,26,27,29,104,107,649,34,114,1237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2acc632af78cc169721bcff835e47cd6.jpg","纵28.5厘米，横31.6厘米",[181,45],{"id":34392,"slug":34393,"title":34394,"dynasty":1095,"author":4791,"museum":7134,"description":34395,"tags":34396,"thumbUrl":34397,"material":139,"size":139,"collection":139,"collections":34398,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":94},220543,"shuang-jun-xu-bei-hong-220543","双骏","浓淡墨色铺就两匹俊马的迥异姿态，黑马垂首衔草，浓墨泼写鬃尾，焦墨勒出筋肉起伏，留白提亮的蹄足莹润干净，尽显温驯悠然。红马昂首长嘶，赭红染就躯体，飞扬的鬃发如流云翻涌，线条劲挺利落，将烈马桀骜悍勇的气魄尽数挥洒。\n\n以写意笔法勾勒马的肌理轮廓，揉合西洋写实的精准与东方水墨的灵逸，寥寥数笔便将骏马筋骨与神采凝于纸面。画面留白营造出郊野的空寂悠远，边角题字补全章法，文气与画意相融，将生灵蓬勃的野性生机定格于尺幅间，尽显骏马的不屈风骨。",[23,209,7,24,173,27,446,150,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569a982798b011d434271fc901fb3e82.jpg",[],{"id":34400,"slug":34401,"title":34402,"dynasty":1095,"author":4791,"museum":4792,"description":34403,"tags":34404,"thumbUrl":34405,"material":139,"size":139,"collection":139,"collections":34406,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},220529,"pin-fu-xu-bei-hong-220529","贫妇","以水墨写意糅合西画写实技法，刻画出负重前行的劳动者形象。顿挫的墨线勾画出粗布衣衫的褶皱肌理，淡赭晕染出黝黑皲裂的皮肤，面容上尽是被岁月蚀刻的疲惫麻木。紧攥木杖的关节凸起，满载的背篓纹理写实，将底层求生的艰辛具象呈现。创作者以饱含共情的笔触，将人体解剖的精准融于东方水墨的写意语境中，粗粝朴拙的笔调里，藏着对劳苦大众的深切悲悯，静穆的画面之下，涌动着直击人心的力量，将生存的重压与劳动者的隐忍坚韧定格于纸面。",[23,7,24,173,27,106,241,63,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed65caf0e5744e732bc73e4b5612ea0.jpg",[],{"id":34408,"slug":34409,"title":34410,"dynasty":1095,"author":6282,"museum":4047,"description":34411,"tags":34412,"thumbUrl":34413,"material":139,"size":139,"collection":139,"collections":34414,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},220480,"cui-can-fu-bao-shi-220480","摧残","以淡墨晕染枝叶，萧疏破败的墨痕间，残存的花朵带着褪败的艳色，晕开朦胧颓靡的氛围。以花木残败之态寄寓心绪，将感时伤世的沉郁藏入写意笔触里。枝叶偃蹇错落，墨色虚实相生，带着随性却压抑的格调，残花虽仍有灼灼余韵，却难掩周身衰颓破败之意。\n\n题字拙朴厚重，与画面萧索的意境呼应，没有直白的呼号，只借残卉枯枝暗喻时局，把乱世忧思藏入花木描摹中，含蓄沉郁，将文人画的雅致与悲怆的忧怀相融，落笔皆是怅惘。",[23,7,24,173,27,83,453,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecf1760b67ff2b8a9221984d65f156b.jpg",[],{"id":34416,"slug":34417,"title":34418,"dynasty":99,"author":1170,"museum":132,"description":34419,"tags":34420,"thumbUrl":34421,"material":342,"size":34422,"collection":181,"collections":34423,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":271},219993,"yan-he-gu-zhou-tu-dai-jin-219993","岩壑孤舟图","戴进精于山水，兼于人物，在笔墨的运用上，善以斧劈描绘山石，皴染兼施。《岩壑孤舟图》的构图并不繁琐，石头嶙峋奇状，蓄意营建，斧劈顺着轮廓线短砍，更助长质感。凡斧劈之处，皆能体现山石的多面之感。近景有细微的墨色变化，增加立体感与厚实感。马、夏的构图方式，有“马一角”、“夏半边”之称，戴进在自己的作品中，也继承了这种特征，并颇能吸收马夏斜向布置景物的特质。而且近景所占画面的比例以及人物动向皆可看出他对近景的强调，这一点和马夏也是相合的。\n戴进笔下的人物，线条一向简单有力，却能注意到人体身态的描写及社会身分的表达。《岩壑孤舟图》中的渔夫，其刻画人物佝偻的形象，既是完成衣纹，也是完成身型的简单有力的线条，还能表达出渔夫的年迈。",[23,7,173,241,177,29,174,1351,106,1575,503,109,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07f653fe9da537ea27bcd571089a78a.jpg","纵91.2厘米，横35厘米",[181],{"id":34425,"slug":34426,"title":34427,"dynasty":76,"author":15347,"museum":101,"description":34428,"tags":34429,"thumbUrl":34430,"material":342,"size":139,"collection":181,"collections":34431,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},219709,"fan-zhao-tu-cha-shi-biao-219709","泛棹图","近岸苍松枯柳错落，枝桠虬曲疏朗，将江渚萧疏尽数铺展。扁舟之上幽人独坐，静看烟水微茫，远山以淡墨轻扫晕染，清润空濛，似笼着秋日薄雾。\n\n作画笔触简淡松秀，以干笔皴擦山石，墨色干湿浓淡相生，脱前人之形而得清逸神韵。通篇清远冷寂，将幽人寄情山水、物我两忘的心境融于空茫江色之间，淡墨晕染里藏着林下闲静之风，寥寥数笔便勾勒出超脱尘俗的空濛雅境，尽显文人画疏淡孤高的逸趣。",[7,173,29,174,1351,430,491,490,1410,446,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6896344e0526eaae4fe9dad4d459f05c.jpg",[181],{"id":34433,"slug":34434,"title":34435,"dynasty":189,"author":351,"museum":78,"description":34436,"tags":34437,"thumbUrl":34438,"material":342,"size":34439,"collection":44,"collections":34440,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":49},219621,"song-tai-zu-cu-ju-tu-qian-xuan-219621","宋太祖蹴鞠图","原图为宋代名画家苏汉臣所绘，钱选在临摹之后题字：“蹴鞠图旧藏秘府，今摹图之。若非天人革命，应莫观之，言何画哉。”表现出了对此画仰慕已久的心情。明人唐文凤在《梧冈集》中有《题蹴鞠图》诗，诗中说明前两人踢球的是宋太祖赵匡胤与其弟宋太宗，后四人观看的是大臣赵普、楚昭辅、党进、石守信，都是宋朝开国的功勋，他们都喜欢踢球；“明良相逢同一时，乘闲且复相娱嬉，军中之乐谅亦宜。”此图说明了蹴鞠是宋代初年军中之乐，是宋朝开国皇帝和贵族都喜爱的活动，因此，开启了中国古代足球发展的第二个高潮时期。在《宋史·礼志》《乐志》中记载，凡是朝廷的盛大宴会都有足球表演。在《武林旧事》中记载，宋代除了官家有蹴鞠专业艺人之外，民间的瓦子中也有蹴鞠艺人表演，而在宋代开展最为广泛的则是“寒食蹴鞠”民俗活动；“寒食梁州十万家，蹴鞠秋千尚豪华。”（陆游《春晚感事》）在这样从上到下全国的足球热潮氛围中，便有了高俅、张明、柳三复等因踢球而发迹的人物。《宋太祖蹴鞠图》为后人提供了研究宋代足球发展最宝贵的资料。",[7,24,28,27,106,105,227,86,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a53204849892062b0904a61f11a9dd7.jpg","宽28.6厘米，长56.3厘米",[44],{"id":34442,"slug":34443,"title":34444,"dynasty":18,"author":2029,"museum":539,"description":34445,"tags":34446,"thumbUrl":34447,"material":123,"size":34448,"collection":382,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ctions":34516,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":49},218631,"lu-yan-tu-lin-liang-218631","画面以淡墨晕染出秋郊水畔的清寂氛围，芦苇疏斜摇曳，残荷半卷低垂，尽显萧瑟之致。一只雁振翅俯冲而下，羽翼的劲健与气流的动感跃然绢上；地面三只雁姿态各异——或低头啄食，喙尖轻触水面，似有涟漪隐现；或昂首远眺，颈间线条舒展，似与飞雁相和；或蜷身小憩，绒毛以淡墨点染，憨态可掬。\n\n笔墨兼工带写，雁的羽毛以浓淡墨色层叠晕染，质感蓬松而富有层次；芦苇则用劲挺的线条勾勒，末梢的飞白似有风掠过。整幅画于简淡中见生机，动静相宜，将禽鸟的野逸之趣与自然的清幽之境融为一体，尽显水墨写意的灵动韵味。",[209,7,173,446,83,4895,2522,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce0607b35d95314ba2cb9879ec01f41.jpg","179x99",[90],{"id":34518,"slug":34519,"title":34520,"dynasty":99,"author":1083,"museum":101,"description":2236,"tags":34521,"thumbUrl":34522,"material":123,"size":139,"collection":139,"collections":34523,"showCount":34001,"zanCount":5,"manualWeight":48,"mainColor":94},218022,"za-hua-ce-8-chen-hong-shou-218022","杂画册-8",[209,7,24,81,28,27,83,448,224,1653,394,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3872c863e7a4d020187cfd8dc2c8c712.jpg",[],{"id":34525,"slug":34526,"title":34527,"dynasty":99,"author":1083,"museum":101,"description":2236,"tags":34528,"thumbUrl":34529,"material":123,"size":139,"collection":139,"collections":34530,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},218018,"za-hua-ce-12-chen-hong-shou-218018","杂画册-12",[7,81,28,27,83,839,698,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b56466e530ac59e292032c7b05d5f9.jpg",[],{"id":34532,"slug":34533,"title":7003,"dynasty":99,"author":293,"museum":132,"description":34534,"tags":34535,"thumbUrl":34536,"material":123,"size":139,"collection":181,"collections":34537,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":49},217977,"wang-chuan-tu-yi-ming-217977","辋川图采用了中国传统的山水画风格，画面中展示了辽河流域的山峦、河流、村庄和城市。画中还有许多人物，展示了当时这一地区的生活方式和文化。\n\n辋川图因其精美的绘画技巧和对历史文化的精准再现而闻名，是中国山水画史上的珍贵艺术品。目前，辋川图被认为是中国古代山水画的杰作，具有极高的艺术价值和文化意义。",[23,209,7,25,1397,104,27,649,109,107,34,106,174,194,13563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d11196376a0cf5547e83905727dc07.jpg",[181],{"id":34539,"slug":34540,"title":34541,"dynasty":189,"author":10811,"museum":132,"description":34542,"tags":34543,"thumbUrl":34544,"material":123,"size":34545,"collection":90,"collections":34546,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":49},216674,"ge-zi-tu-wang-yuan-216674","鸽子图","王渊（生卒年不详）是中国元朝（1271年 - 1368年）的一位著名画家，他的代表作品是《鸽子图》。《鸽子图》是一幅水墨画，描绘了一群自由自在地飞翔的鸽子。这幅画被认为是王渊最优秀的作品之一，其中体现了王渊对动物自然、生动的描绘方式。此外，《鸽子图》还展示了王渊对色彩运用的精湛技巧，使得画面栩栩如生，充满生机和活力。",[23,7,27,28,83,281,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2859eb0a4bf8656af4d2d93c4ff4064.jpg","26x28cm",[90],{"id":34548,"slug":34549,"title":34550,"dynasty":76,"author":1109,"museum":782,"description":34551,"tags":34552,"thumbUrl":34553,"material":88,"size":139,"collection":181,"collections":34554,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,7,81,27,173,29,86,178,177,446,864,297,430,35,175,108,109,106,245,394,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[181],{"id":34556,"slug":34557,"title":1692,"dynasty":99,"author":10654,"museum":206,"description":34558,"tags":34559,"thumbUrl":34561,"material":342,"size":34562,"collection":181,"collections":34563,"showCount":34001,"zanCount":48,"manualWeight":48,"mainColor":94},214729,"shan-shui-tu-qian-gu-214729","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[7,24,241,173,177,1420,227,29,176,34,175,1575,30,1445,37,561,34560,1444,9050,6398,6178],"林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","117.6x24.6",[181],{"id":34565,"slug":34566,"title":5596,"dynasty":99,"author":3114,"museum":364,"description":13962,"tags":34567,"thumbUrl":34568,"material":743,"size":744,"collection":139,"collections":34569,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},290886,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-290886",[7,173,1397,105,394,1726,176,86,227,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6845308d6e74e26371b15c8a563743f4.jpg",[],54,{"id":34572,"slug":34573,"title":34574,"dynasty":99,"author":100,"museum":206,"description":34575,"tags":34576,"thumbUrl":34578,"material":123,"size":34579,"collection":139,"collections":34580,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":49},290879,"chun-you-wan-gui-tu-zhou-chou-ying-290879","春游晚归图轴","本幅画夜幕低垂中，主仆四人春游归来。边角式的布局虽源于南宋院画，但取意则与明初戴进的「春游晚归」相近。惟仇作烘染细腻，人物情态生动，较戴进描写更加细致详实",[7,241,28,27,1397,106,1249,34,176,34577,6921],"春游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b904ecf120414f9ce0182de0f6afa95.jpg","145.5x76.5",[],{"id":34582,"slug":34583,"title":34584,"dynasty":204,"author":414,"museum":364,"description":34585,"tags":34586,"thumbUrl":34587,"material":743,"size":744,"collection":139,"collections":34588,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":49},290554,"wu-dai-nan-tang-rong-que-zhou-xu-xi-290554","五代南唐蓉雀轴","第四册，页54故宫书画图录，第一册，页65-66该幅画芙蓉盛开，与奇石交相掩映，石下尚有数株雏菊。一对对麻雀、白头翁与鶺鴒互相顾盼唱和，唯有一只麻雀孤独地在空中飞翔。该幅无款，旧传为五代南唐（十世纪初）徐熙之作，然细审此幅的笔墨与徐熙不类，当出自后人之手。",[7,209,241,83,28,27,281,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c26b3108f3c64d1cad0b53319ca6e2f.jpg",[],{"id":34590,"slug":34591,"title":34592,"dynasty":18,"author":6039,"museum":364,"description":34593,"tags":34594,"thumbUrl":34596,"material":743,"size":744,"collection":139,"collections":34597,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":49},288733,"xiao-xiang-ba-jing-tu-juan-si-wang-hong-288733","潇湘八景图卷四","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[209,7,25,173,1397,394,34595,649,490,650,1256],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034d632a84422ddb4076996f3fafebb4.jpg",[],{"id":34599,"slug":34600,"title":34601,"dynasty":76,"author":10511,"museum":364,"description":34602,"tags":34603,"thumbUrl":34604,"material":743,"size":744,"collection":139,"collections":34605,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":49},288402,"han-xiang-yun-zui-mian-shao-yao-chou-sun-wen-288402","憨湘云醉眠芍药绸","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸。",[23,7,28,27,106,59,34595,1965,1136,2451,1959,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c0ad93722cfabe4eaa249ff739d37d.jpg",[],{"id":34607,"slug":34608,"title":34609,"dynasty":18,"author":2856,"museum":364,"description":34610,"tags":34611,"thumbUrl":34613,"material":743,"size":744,"collection":139,"collections":34614,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},288326,"qiu-hui-cao-chong-tu-li-di-288326","秋卉草虫图","本幅画叶稍上，螳螂高举双臂，想要捕食金龟子，金龟子适时察觉，立即振翅飞起。螳螂扑了空，只好无奈地回首怅望。昆虫追逐与逃脱的生死瞬间，透过画家的描绘，扣人心弦",[209,7,28,27,83,603,1100,34612,227],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d045300c5b04cb819d7d29c68685b7.jpg",[],{"id":34616,"slug":34617,"title":34618,"dynasty":76,"author":19485,"museum":364,"description":19486,"tags":34619,"thumbUrl":34621,"material":743,"size":744,"collection":139,"collections":34622,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},288234,"duo-zi-tu-li-zhou-qu-zhao-lin-288234","多子图立轴",[23,7,241,28,27,83,281,1299,242,245,34620],"多子多福","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84673a9abd63bfd4f7c5dbd2d3b0bdb3.jpg",[],{"id":34624,"slug":34625,"title":34626,"dynasty":99,"author":1480,"museum":364,"description":3145,"tags":34627,"thumbUrl":34628,"material":743,"size":744,"collection":139,"collections":34629,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},287732,"wei-zhu-zui-yu-tu-tang-yin-287732","苇渚醉渔图",[7,209,173,241,29,174,300,2522,1016,86,227,1959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ed30e7e4f9029d9633816e33680693.jpg",[],{"id":34631,"slug":34632,"title":34633,"dynasty":99,"author":443,"museum":4792,"description":34634,"tags":34635,"thumbUrl":34636,"material":803,"size":139,"collection":382,"collections":34637,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},240643,"tang-shi-zhou-xu-wei-240643","唐诗轴","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 ）。明代中期文學家、書畫家、戲曲家、軍事家\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。\n徐渭的文藝創作所涉及的領域很廣，但它們共同的特徵是：藝術上絕不依傍他人，喜好獨創一格，具有強烈的個性，風格豪邁而放逸，而且常常表現出對民間文學的愛好。\n明代的詩壇，由於前七子與後七子的提倡，出現了一股擬古的風潮。這種擬古的風氣，在一定意義上有礙於詩歌藝術的發展。徐渭對此深致不滿，並作了尖鋭的批評。 [16] 他説：“鳥學人言，本性還是鳥；寫詩如果一意模擬前人，學得再像，也不過是鳥學人言而已，毫無真實的價值。”徐渭自己的詩歌創作，注重表達個人對社會生活的實際情感，風格略近李賀，問學盛唐，並雜取南朝，出入宋元，而終不失其為自我。這個傾向為稍後主張抒發性靈的公安派所繼承，對改變晚明詩風具有重要意義。公安派的代表人物袁宏道對徐渭的詩有一段精彩的評述：“文長既不得志於有司，遂乃放浪麴櫱，恣情山水……其所見山奔海立。如寡婦之夜泣，羈人之寒起。當其放意，平疇千里；偶爾幽峭，鬼語秋墳。” [6] [17]\n徐渭的散文，以《自為墓誌銘》一篇最為出色。此外，許多尺牘也很有特色，潑辣機智，幽默多趣，文風遠啓金聖嘆一流。但總的來説，徐渭散文方面的成就不及詩歌。\n徐渭的書法和明代早期書壇沉悶的氣氛對比顯得格外突出，他最擅長氣勢磅礴的狂草，但一般人很難看懂，用筆狼藉，他對自己的書法極為喜歡，自認為“書法第一，詩第二，文第三，畫第四”。\n徐渭打破了以“台閣體”為主導的明代書壇的寂寞，開啓和引領了晚明“尚態”書風，把明代書法引向了新的高峯。陶望齡認為其書法“稱為奇絕，謂有明一人”。袁宏道則稱：“予不能書，而謬謂文長書決在王雅宜、文徵仲之上，不論書法而論書神，先生者誠八法之散聖，字林之俠客矣！”\n徐渭的書法及書法觀的產生，與明朝中、晚期的思想、文化、審美觀念巨大變遷相吻合。他的書法也是從吳門書派主張唐法的反叛中出發，繼而吸取北宋蘇軾、黃庭堅、米芾追求藝術個性化的積極因素中走來。徐渭的作品諸如《寄雲嶽子九首冊》《為仰南書六首詩卷》《李白蘇軾九首詩卷》《春園暮雨詩軸》等作品中黃庭堅書法的筆意比比皆是。\n徐渭在《書季子微所藏摹本蘭亭》中所説的“時時露己筆意” 的審美精神。他的原話是：“非特字也，世間諸有為事，凡臨摹直寄興耳，銖而較，寸而合，豈真我面目哉？臨摹《蘭亭》本者多矣，然時時露已筆意者，始稱高手。予閲茲本，雖不能必知其為何人，然窺其露已筆意，必高手也。優孟之似孫叔敖，豈並其鬚眉軀幹而似之耶？亦取諸其意氣而已矣。”\n如果説徐渭的行書已用“己意”實現了對傳統筆法的改變，那麼，最大的改變是那些高頭大軸的中堂行草書。以前説“董其昌破壞了墨法”，在這則要説“徐渭破壞了筆法”。徐渭在書法從卷冊翰札的文房把玩轉向廳堂展示審美的變革中，實現了作品創作中筆法的改造。《代應制詠劍草書軸》和《代應制詠墨草書軸》是其代表作。徐渭這種借鑑於繪畫的點畫表現方法，是對晉唐筆法的創造性破壞。對於書法藝術這種美術化傾向的改變。\n明代的水墨寫意畫迅速發展，以徐渭為代表的潑墨大寫意畫非常流行。徐渭憑藉自己特有的才華，成為明代成就極高的寫意畫大師。\n徐渭的潑墨寫意花鳥畫，別開生面，自成一家。其花鳥畫，兼收各家之長而不為所限，大膽變革，極具創造力。其寫意畫，無論是花卉還是花鳥，皆一揮而就，一切盡在似與不似之間，對筆下的四時花木，畫家運用勾、點、潑、皴等多種筆墨形態，將牡丹之雍容、紫薇之雋秀、竹子之蕭疏、霜菊之孤傲、寒梅之挺潔的神韻刻畫的入木三分，分別舒展九尺與五尺的梧桐和芭蕉，直衝畫外，不見首尾，與密如驟雨的葡萄、虯如蟠龍的藤蔓構成了巨大的張力，充溢在畫面中的縱橫之氣和豪放境界更是前所未有。他的水墨葡萄，串串果實倒掛枝頭，水鮮嫩欲滴，形象生動，茂盛的葉子以大塊水墨點成，風格疏放，不求形似，代表了徐渭的大寫意花卉的風格。豐富的運動軌跡與濃淡、徐疾、大小、乾濕、疏密程度各異的筆蹤墨韻，無不具備振筆疾書的即興性和不可重複性，呈現出中國繪畫中最為強烈的抽象表現主義，使其藴含某種內在的氣質、精神，這種氣質、精神又使欣賞者有如臨其境之感。徐渭筆下的南瓜、菊花圖，一氣呵成，驅墨如雲，氣勢逼人，同時又恰如其分的駕馭筆墨，輕重、濃淡、疏密、乾濕極富變化。墨法上既呈隨意浸滲的墨暈，又見控制得宜的濃淡。雖然被徐渭自稱“戲抹”，然而在寫意中仍生動的傳達出了花果的不同秉性和生韻。它的梧桐圖，只以潑墨筆法繪其一小部分，卻有使人聯想到挺拔正直的參天梧桐。正如翁方綱所説：“紙才一尺樹百尺，何以著此青林廬。恐是磊落千丈氣，夜半被酒歌噓唏。” 徐渭以其精湛的筆法，在似與不似之間，為欣賞者營造出一片開闊的審美天地。\n徐渭將自己的書法技巧和筆法融於畫中，正如張岱所言：“今見青藤（徐渭）諸畫，離奇超脱，蒼勁中姿媚躍出，與其書法奇絕略同。昔人謂摩詰之詩，詩中有畫，摩詰之畫，畫中有詩；餘謂青藤之書，書中有畫，青藤之畫，畫中有書。” [24] 他的《墨葡萄圖》，墨的濃淡顯示了葉的質感，題詩的字體結構與行距不規則，如葡萄藤蔓一樣在空中自由延伸，書與畫融為一體。\n徐渭的書法造詣很高，其跌宕縱橫的筆法有助於繪畫藝術的巧妙變化，如畫墨荷、葡萄，大刀闊斧，縱橫馳騁，沒有深厚的書法功力是難以做到的。徐渭曾做一幅《梅花蕉葉圖》，將梅花與芭蕉放在一起，並且在畫上題寫道：“芭蕉伴梅花，此是王維畫”，顯示出徐渭與王維在某些構圖上的源流關係。當然，王維畫雪裏芭蕉，更突出一種禪機，即，使得雪的清寒與芭蕉的心空構成畫面的宗教底藴，而徐渭在這樣的畫面組合中，更突出一種超越時空的主體解放性。\n徐渭的書法和畫法都極為嫺熟，功底深厚，他的題字，如他的潑墨寫意畫，縱橫不羈，洋洋灑灑；他的潑墨寫意畫，融合了精熟的筆法，意趣橫生，極富韻味。\n徐渭晚年悲苦淒涼，形影相弔，他將自己的悲憤和懷才不遇之感融注於筆端，筆下的墨竹，枝淡葉濃，逸筆草草，竹枝氣勢勁健，竹葉俯垂含情，雖屬竹枝而高潔清爽之氣不減。這正是畫家身處下層，懷才不遇，品格高潔，絕世獨立人格的光輝寫照。他的潑墨牡丹，不拘於牡丹的富貴高雅特徵，色彩絢爛，他卻常常以水墨繪之，有意改其本性，其目的是有賦予牡丹清雅脱俗的格調和神韻，所謂“從來國色無裝點，空染胭脂媚俗人。”\n徐渭的繪畫主觀感情色彩強烈，筆墨揮灑放縱，從而把中國寫意花鳥畫推向了書寫強烈思想情感的最高境界，把在生宣紙上隨意控制筆墨以表現情感的寫意花鳥畫技巧提高到了前所未有的高度。成為中國寫意花鳥畫發展中的里程碑，開創了中國大寫意畫派的先河，為文人畫的發展提供了廣闊的空間。其畫風對清代的八大山人、石濤、揚州八怪以及近現代的吳昌碩、齊白石等都產生了深遠影響。\n徐渭既採用北雜劇的形式，又吸收南曲的自然格律，創作有雜劇集《四聲猿》，其中包括《狂鼓史漁陽三弄》《玉禪師翠鄉一夢》《雌木蘭替父從軍》《女狀元辭凰得鳳》四個獨立的戲。《狂鼓史漁陽三弄》又稱《陰罵曹》，是有感於嚴嵩殺害沈鍊之事而創作的，表現出狂傲的反抗精神。後兩個戲都是寫女扮男裝建功立業的故事，反映了他對婦女的看法，有一定的反封建意義。這些作品都打破了雜劇固定的格式，為戲劇形式上的多樣化開拓了門津。《四聲猿》，高華爽俊，有着反抗思想與革新精神，對明代中後葉的戲曲創作起到重要的影響。湯顯祖曾説：“《四聲猿》乃詞壇飛將，輒為之演唱數通，安得生致文長，自拔其舌！”\n此外，徐渭對當時流行的輕視南戲之風非常反感。他認為南戲有自己寬鬆自由的格律，受到民間的歡迎，它通俗、多采，“無今人時文氣”，可是卻“無人選集，亦無表其名目者”。為此，徐渭寫下了《南詞敍錄》，首次對南戲加以總結，研究了南戲的藝術特點，著錄了宋元南戲六十種、明初戲文四十七種，以反對戲曲創作的駢麗風尚，扶植新興的俗曲。 [6] 這是中國第一部關於南戲的理論專著，在戲劇史上具有重要意義。雜劇《歌代嘯》、小説《雲合奇縱》（即《英烈傳》），據説也是徐渭所作。\n在戲劇理論方面，徐渭主張“本色”，即戲劇語言應當符合人物的身份，應當使用口語和俗語，以保證人物的真實性，而反對典雅的駢語，過度的修飾，這些看法都頗有見地。\n徐渭文自負才略，喜出奇謀，談論行軍打仗的形勢策略大多得其要領。擔任胡宗憲的幕僚時，協助其抗擊倭寇，並參與制定誘降海盜汪直、徐海等人的計謀。晚年悉心培養名將李如松，使其建立不朽功勳。",[7,24,241,173,227,86,1147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3a57aac6b64d6fc61ee1dcd1d59672.jpg",[382],{"id":34639,"slug":34640,"title":34641,"dynasty":204,"author":293,"museum":364,"description":34642,"tags":34643,"thumbUrl":34644,"material":139,"size":139,"collection":139,"collections":34645,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":49},239547,"huang-quan-xie-sheng-zhen-qin-tu-juan-yi-ming-239547","黄筌写生珍禽图卷","此作写实功底极尽精微，将十余类禽鸟、虫豸与灵龟一一铺陈。画师以淡墨细勾轮廓，随类施色晕染，禽鸟绒羽纤毫毕现，虫翼轻薄通透，龟甲纹理凹凸逼真。每一只生灵都形神兼备，振翅的雀鸟、爬行的甲虫、静立的水禽，皆定格住最鲜活的瞬间，尽显对自然万物的入微体察。\n\n虽为写生稿的合集，却处处彰显工笔花鸟的极致功底，将生灵的鲜活神韵凝于绢素之上，尽显五代写实工笔的隽永魅力。",[7,209,24,25,28,27,83,281,801,4643,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332fee9c6e6f4bf61e5511d43efcaedc.jpg",[],{"id":34647,"slug":34648,"title":21758,"dynasty":76,"author":2804,"museum":364,"description":34649,"tags":34650,"thumbUrl":34651,"material":139,"size":139,"collection":90,"collections":34652,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},239112,"mo-mei-tu-zhou-wu-chang-shuo-239112","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[7,24,241,173,448,394,86,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57278f7c874bcd2afc57071bfc181d8f.jpg",[90,382],{"id":34654,"slug":34655,"title":26590,"dynasty":76,"author":26591,"museum":364,"description":26592,"tags":34656,"thumbUrl":34657,"material":743,"size":744,"collection":139,"collections":34658,"showCount":34570,"zanCount":1547,"manualWeight":48,"mainColor":271},239079,"hua-niao-ping-liao-yun-jin-239079",[7,28,27,83,245,224,62,225,650,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957fa757ccae928e12a60604cca10b13.jpg",[],{"id":34660,"slug":34661,"title":34662,"dynasty":76,"author":836,"museum":364,"description":20504,"tags":34663,"thumbUrl":34664,"material":139,"size":139,"collection":382,"collections":34665,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},238317,"qiu-hua-si-shou-zhou-dong-gao-238317","秋花四首轴",[7,24,241,27,28,11566,5309,3753,299,84,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70d4386e484a0de4f87b2b3e7b37d2.jpg",[382],{"id":34667,"slug":34668,"title":34669,"dynasty":76,"author":24836,"museum":364,"description":34670,"tags":34671,"thumbUrl":34672,"material":139,"size":139,"collection":181,"collections":34673,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},238231,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238231","山静日长图册","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[7,27,29,177,81,106,34,176,37,109,3167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e501d9ee404748c7a19862371ad4663.jpg",[181,45],{"id":34675,"slug":34676,"title":34677,"dynasty":76,"author":5052,"museum":364,"description":12208,"tags":34678,"thumbUrl":34679,"material":743,"size":744,"collection":139,"collections":34680,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},237962,"hong-ren-shan-shui-ye-hong-ren-237962","弘仁山水页",[7,173,177,81,29,864,431,430,245,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3848dc7a70e5c11a9d7c7ea91e38be.jpg",[],{"id":34682,"slug":34683,"title":34684,"dynasty":76,"author":293,"museum":364,"description":34685,"tags":34686,"thumbUrl":34687,"material":139,"size":139,"collection":139,"collections":34688,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},235610,"hong-ren-xi-yan-song-xue-tu-zhou-yi-ming-235610","弘仁西岩松雪图轴","以淡墨勾勒皴擦，笔致清劲洗练，将冬日萧寒山境铺陈眼前。危崖层叠凌然耸立，石壁方折硬挺如刀削斧劈，尽显山石孤高嶙峋之态。留白晕染出漫山积雪，素净莹洁，与虬曲枯松相映，愈添荒寒清寂之意。\n\n山间石阶、崖顶幽居藏于苍茫雪景中，似隔绝尘寰烟火，恍若世外幽境。画作以极简笔墨营造出空灵淡远的禅意，清冷孤高的意境直透纸背，尽显静穆萧散的山水逸趣，将冬日山居的幽寂出尘之美尽数铺陈开来。",[7,241,173,29,177,449,2124,650,864,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febca332b4a42388ea31a1981cf2e1c04.jpg",[],{"id":34690,"slug":34691,"title":131,"dynasty":76,"author":34692,"museum":364,"description":34693,"tags":34694,"thumbUrl":34695,"material":743,"size":744,"collection":90,"collections":34696,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},235211,"hua-hui-ce-zhang-wei-235211","张伟","清代画家张伟的花卉写生图，是一组工笔细描的花卉图。",[7,24,83,81,27,28,453,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0af649121c5bfa8eb70d98878fbc2a5.jpg",[90],{"id":34698,"slug":34699,"title":34700,"dynasty":76,"author":707,"museum":364,"description":34701,"tags":34702,"thumbUrl":34703,"material":139,"size":139,"collection":139,"collections":34704,"showCount":34570,"zanCount":48,"manualWeight":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马兴祖 山西永济人，绍兴1131年-1162年间画院待诏。擅画花鸟，人物，山水，杂画。《浪图》纵20，8厘米，横22厘米，东京国立美术馆藏。",[23,209,7,24,1160,1562,173,28,297,34774,29],"浪涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a18ac02739bb609ce29d13ab637a86f.jpg",[],{"id":34778,"slug":34779,"title":34780,"dynasty":18,"author":22780,"museum":364,"description":34781,"tags":34782,"thumbUrl":34783,"material":139,"size":139,"collection":139,"collections":34784,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},227293,"mo-lan-tu-zheng-si-xiao-227293","墨兰图","《元郑思肖墨兰图》是元代画家郑思肖所创作的一幅写意水墨画，现为日本大阪市立美术馆藏。该作也是作者留下的传世作品，也是反映他创作思想和艺术造诣的代表作。该作是一幅非常抒情的文人写意水墨画，描绘出兰的野逸、不畏风霜，孤高自傲，无人花自馨的高尚品格。作者借笔墨抒发胸中逸气，是自我思想品格的写照。",[23,7,24,25,173,452,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c729b870cc6b268814e99c4e289b7d.jpg",[],{"id":34786,"slug":34787,"title":34788,"dynasty":54,"author":34789,"museum":364,"description":34790,"tags":34791,"thumbUrl":34792,"material":139,"size":139,"collection":139,"collections":34793,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":1335},227084,"ru-yi-lun-guan-yin-tu-liang-quan-227084","如意轮观音图","良全","良全（ryouzen）为活跃于14世纪的画家，关于其经历目前详情不明。但是从其作品中所留下的题赞等可知其为与干峰士昙（kenbousidon）（1285～1361）以及干峰士昙担任主持（jyuuji）的京都东福寺有着密切关系的画师。\n\n此幅“如意轮观音图”的上部树木取自技法超前的水墨画，尊像部分一般认为是彩色如意轮观音像的水墨画版。观音的衣裙及宝冠、莲花宝座等处施有细腻的金泥图案，却并不夺目，圆光的背后隐约可见的岩石采用淡墨描绘，画面整体围绕观音描述其周围的空间，本图是唯有精通水墨技法的良全方能绘成，作为14世纪的水墨佛画也可谓是极其成功的。画面右下角有“海西人（kaiseijin）良全笔”的金泥落款。",[23,7,24,241,259,28,27,106,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c0e7681f40aff4454529feba431a61.jpg",[],{"id":34795,"slug":34796,"title":34797,"dynasty":204,"author":2072,"museum":364,"description":34798,"tags":34799,"thumbUrl":34800,"material":139,"size":139,"collection":139,"collections":34801,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":49},226709,"he-le-tu-zhou-wen-ju-226709","合乐图","周文矩，善于深入观察和体会现实生活中的各色人物，把握他们的思想感情和性格特征，因此塑造出来的人物各不相同，达到形神兼备的艺术境界。他的仕女画从题材内容到表现形式，都继承了唐代周昉的传统。\n\n该图人物画卷与同是五代时期大画家顾闳中的传世名作《韩熙载夜宴图》卷有重大联系。这不仅是因为此图在绘画风格上与后者极为类似，而且在画面内容上也符合画史事实。",[23,209,7,24,25,28,27,106,59,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a17334f891c05bde91603b85c042b93.jpg",[],{"id":34803,"slug":34804,"title":5888,"dynasty":76,"author":427,"museum":6890,"description":34805,"tags":34806,"thumbUrl":34808,"material":665,"size":34809,"collection":139,"collections":34810,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":49},223159,"bai-lu-tu-shen-quan-223159","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。\n此画场面雄奇壮阔，波涛汹涌的溪边，在坡石平地处，幽憩着两只梅花鹿：其中一只雄性的梅花鹿屹立于坡上，二足着地，前左腿略微弯曲上提，仰首远眺，汲角往后，短尾微翘，背复部梅花斑纹清晰可见；另一只雌性梅花鹿，卧伏于山石上，两耳耸立，伸着脖颈，双目远视，画面下端为山石横卧，山石下急流滚滚，波纹起伏。在画幅右侧下坡石后，一棵巨大的柏树拔地而起，树干粗壮，枝干曲直向上，虬枝盘旋，相互交织在一起，其中有数枝横入画幅左侧和中部。在画幅打上侧款署“乾隆丙寅二秋”即1746年。\n此图极为清丽活泼。画面内容是柏树下、溪流畔的风景，两只梅花鹿一立一卧，神态悠然，动态生动，极是传神。最为引人注意的是鹿的描绘，十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，十分细致而并非完全照抄写实，显得画面既真实又不泥于细节。\n画家所作笔墨用意有二：其一，横出的柏树枝叶，使上端牢旷的画面得以填补，起到了使画面构图充满和平衡作用；其二，浓密枝叶形成大片的树荫，正是梅花鹿憩息最好去处和场所。在古柏后有石壁远崖，隐约可见山涧泉水顺流而下，汇聚在宽阔无际的江河中，构成一幅清丽娴雅的景致，令人心旷神怡。作者在创作此画时，特别注意虚笔在背景处理中的运用，虚实相生，阴阳分明，赋色妍丽清雅。此画题材富有吉庆寓意。",[23,209,7,24,28,27,957,29,3167,34807,558,176,340],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e97721781d653cc08291b2edf0edcd7.jpg","纵98 .2厘米，横47.2厘米",[],{"id":34812,"slug":34813,"title":34814,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":34815,"thumbUrl":34817,"material":27,"size":6032,"collection":139,"collections":34818,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},222736,"xian-e-chang-chun-tu-yu-mei-ren-yu-hu-die-hua-lang-shi-ning-222736","仙萼长春图虞美人与蝴蝶花",[23,7,24,83,28,27,14999,34816,245,299],"蝴蝶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cf8ef4ea03d3198d245b3fb1aea4e0.jpg",[],{"id":34820,"slug":34821,"title":34822,"dynasty":76,"author":21673,"museum":364,"description":34823,"tags":34824,"thumbUrl":34828,"material":990,"size":34829,"collection":139,"collections":34830,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,209,7,24,25,27,28,243,933,224,367,800,2522,17636,931,1374,34825,4697,34826,9930,84,297,34827,281],"红鱼","莲叶","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],{"id":34832,"slug":34833,"title":34834,"dynasty":99,"author":1012,"museum":675,"description":34835,"tags":34836,"thumbUrl":34837,"material":803,"size":34838,"collection":90,"collections":34839,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},222604,"hong-ye-qiu-qin-tu-lan-ying-222604","红叶秋禽图","枝头稀稀落落的几片叶子，让人联想到地上可能已有大片的落叶，秋意渐浓",[23,241,7,27,173,83,2238,1938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0891cd63ac53d923be6085e133c60d20.jpg","35.8x94.7",[90,45],{"id":34841,"slug":34842,"title":34843,"dynasty":99,"author":34844,"museum":56,"description":34845,"tags":34846,"thumbUrl":34847,"material":803,"size":34848,"collection":181,"collections":34849,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[23,7,24,241,27,177,28,29,242,430,35,109,106,650,3558,1445,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横35厘米",[181,45],{"id":34851,"slug":34852,"title":34853,"dynasty":99,"author":34854,"museum":615,"description":34855,"tags":34856,"thumbUrl":34857,"material":803,"size":34858,"collection":181,"collections":34859,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},222323,"song-bai-tu-fang-yi-zhi-222323","松柏图","方以智","图绘松柏两棵，一棵虬枝叶茂，另一棵上半段已残缺，仍坚强孤傲立于山石之上，树下隐约现长亭横顶，此处为观景纳凉之佳地；远处山色浓重，云蒸雾绕，透出孤寂冷清之意境。方以智，字密之，号曼公，明代哲学家、画家，明末清初出家为僧",[23,7,173,177,241,25780,29,245,175,503,176,34,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60d9e5554f54a559543073dca6744eb.jpg","47.3x125.6厘米",[181,163],{"id":34861,"slug":34862,"title":34863,"dynasty":99,"author":19617,"museum":4848,"description":34864,"tags":34865,"thumbUrl":34867,"material":2021,"size":34868,"collection":181,"collections":34869,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,7,173,241,29,242,23629,109,2908,9930,177,99,19590,5207,299,4100,446,34866,1038],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","48X123cm",[181,163],{"id":34871,"slug":34872,"title":34873,"dynasty":189,"author":351,"museum":101,"description":34874,"tags":34875,"thumbUrl":34876,"material":803,"size":34877,"collection":139,"collections":34878,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},221713,"wang-xi-zhi-guan-e-tu-quan-juan-qian-xuan-221713","王羲之观鹅图全卷","《王羲之观鹅图》是描写东晋书圣王羲之观白鹅的情景。此图画法，笔画简约，千墨燥锋，似是枯瘦格调，而其皴山石、立屋宇，却是较为精密且有顿挫有致的用笔技巧。山石皴笔时见飞动与疏密有致，笔划松动而老辣，空灵而沉着。\n此画为长卷，画面开阔。远景为平远山水景色，中景为一片宽阔河水，水面开阔平如镜，有几只白鹅正在河面上戏水，使谧静的河上略见生气：近处为村落，下面为坡石，坡石间和平地上，丛生松林杂树，树的后边为一座较大的屋宇水榭，水榭中站着两人，高者为此画主人公王羲之，正在凝视前方河面上戏水的鹅群，神情专一，仔细观看鹅群戏水的多姿多态。王羲之的身后为幼童，似乎也随着主人正在观看一群白鹅。\n在画面左侧，作者有一首七言题诗： “修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 “乾隆御览之宝”与“石渠宝笈”玺",[23,7,24,25,27,28,178,227,29,106,175,242,34,10065],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31301d79c761a30f82e35acb1616dd0c.jpg","23.2X92.7厘米",[],{"id":34880,"slug":34881,"title":29451,"dynasty":18,"author":4266,"museum":1985,"description":34882,"tags":34883,"thumbUrl":34884,"material":803,"size":34885,"collection":42,"collections":34886,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},221503,"yuan-pu-gui-fan-tu-mu-xi-221503","《远浦归帆图》为《潇湘八景图》之一。“潇湘”这一意象在中国画中具有特殊的地位。“潇湘山水”的出现，或许是与宏大的帝国山水对立的，它具有更强烈的私人属性，属于性灵的山水篇章。潇湘山水并非是指今天的“潇湘洞庭”，而是泛指一种江湖的情调与雅趣。牧溪和尚以“潇湘”为旨，融禅理于画，可谓画中有禅，禅中有画。今读《远浦归帆图》，只为见本心。",[23,7,173,29,25,174,34,281,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1af47130223d09239906eae4799cb.jpg","32.5*112.7CM",[42,181,163],{"id":34888,"slug":34889,"title":34890,"dynasty":18,"author":2856,"museum":101,"description":34891,"tags":34892,"thumbUrl":34893,"material":67,"size":34894,"collection":42,"collections":34895,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":49},221501,"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[23,7,209,1562,28,27,3246,8368,957,106,1159,12411,6921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","24.1×24.8cm",[42,90,163],{"id":34897,"slug":34898,"title":34899,"dynasty":18,"author":553,"museum":101,"description":14650,"tags":34900,"thumbUrl":34901,"material":665,"size":14653,"collection":42,"collections":34902,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":49},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷",[23,7,24,25,29,177,27,176,34,37,1255,6922,560,2268,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg",[42,181,163],{"id":34904,"slug":34905,"title":34906,"dynasty":18,"author":34907,"museum":364,"description":34908,"tags":34909,"thumbUrl":34910,"material":67,"size":34911,"collection":42,"collections":34912,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},221322,"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[23,7,24,25,27,29,107,175,109,174,34,176,106,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[42,181,163],{"id":34914,"slug":34915,"title":34916,"dynasty":18,"author":6790,"museum":206,"description":34917,"tags":34918,"thumbUrl":34919,"material":67,"size":34920,"collection":44,"collections":34921,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},221201,"song-gao-zong-shu-xiao-jing-ma-he-zhi-hui-tu-ce-zhao-gou-221201","宋高宗书孝经马和之绘图册","圖冊原本應為圖文相連的長卷，後來因破損嚴重，改裝成書畫分開的冊頁形式。畫幅各藉不同場景，詮釋各階層人士盡孝及忠君的雙重意涵。圖文相輔，充分突顯了“為君主立言”的創作初衷。圖冊諸題跋均肯定《孝經》書法出自於宋高宗之手。畫幅風格則與馬和之全然不同，部分山石皴法反倒與李唐、蕭照較近。",[23,209,7,24,81,27,106,86,1195,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ba40826be74d19b5b9d115b4400475.jpg","40x88厘米",[44,45],{"id":34923,"slug":34924,"title":34925,"dynasty":189,"author":2519,"museum":206,"description":34926,"tags":34927,"thumbUrl":34928,"material":803,"size":34929,"collection":181,"collections":34930,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},220889,"zhong-jiang-die-zhang-juan-zhao-meng-fu-220889","重江叠嶂卷","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。卷首仅存“嶂图”二字，余字残缺。",[7,24,25,173,177,29,4974,30,650,34,491,5243,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f892218196d47fd9afe5964f960f54.jpg","该幅28.4x176.4公分；隔水一 11.3公分；引首 28.4x123.3公分；隔水二 10.1公分；隔水三 10.1公分；拖尾 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nt":34570,"zanCount":48,"manualWeight":48,"mainColor":49},218836,"shan-shui-xiao-jing-yi-ming-218836","山水小景","这幅画与米氏的《云雾山》不尽相同，因为它的裂纹较少，茄子状的点也少。这幅画并不完全相同，可能是来自大风堂张大千捐赠给台北故宫的一幅立轴画的上部。",[23,209,7,24,173,177,29,864,652,34,650,491,1926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125522e300339c83e5781612e33c5b72.jpg","13.2x26.2",[42],{"id":35086,"slug":35087,"title":35088,"dynasty":99,"author":20193,"museum":20,"description":35089,"tags":35090,"thumbUrl":35091,"material":123,"size":35092,"collection":181,"collections":35093,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":49},218760,"hong-nong-du-hu-tu-zhu-duan-218760","弘农渡虎图","此画构图奇突，场面壮观，景物与人物活动相辅相成，充满生趣。画法上看，其人物、马匹的线条简练，姿态土动。人物多承马远，用线顿挫。画树木，笔法曲折多顿挫变化，枝如鹰爪；画山石顿笔勾描，略施皴染，间用马、夏的斧劈皴和水墨渍染。天与水皆用淡墨晕染，烘托出了雪景。从此图的内容到形式来看，都体现了明代院体画的特色。",[23,7,24,241,27,28,177,106,150,7281,29,176,34,900,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886a91eebdb1ac1117494daf67ec29d6.jpg","纵174厘米，横113.6厘米",[181,44],{"id":35095,"slug":35096,"title":11230,"dynasty":18,"author":6652,"museum":7875,"description":35097,"tags":35098,"thumbUrl":35099,"material":342,"size":35100,"collection":181,"collections":35101,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},218638,"yun-shan-tu-mi-you-ren-218638","画面以淡墨晕染出空濛烟霭，山峦在云雾间若隐若现，如幻如真。米点皴错落铺陈，墨色浓淡相间，既显山石肌理，又衬云气轻盈流动。近景树木简笔勾勒，与远处朦胧峰峦形成虚实对比，平远构图延展空间悠远感。水面留白与墨色交融，似有波光粼粼，更添清寂之韵。整幅画不重细节描摹，而以气韵生动取胜，将江南山水的湿润灵秀与文人闲适心境融为一体，尽显“米家山水”空灵淡远之美。",[7,24,173,29,177,37,30,34,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea101c3fbc9a743e0b8c3bb0bdac1ade.jpg","18.3x72.1",[181],{"id":35103,"slug":35104,"title":35105,"dynasty":18,"author":293,"museum":78,"description":35106,"tags":35107,"thumbUrl":35108,"material":123,"size":35109,"collection":42,"collections":35110,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":49},218619,"yuan-lu-tu-yi-ming-218619","猿鹭图","在画山的一棵老松树上，一只猴子右手抱着一只苍鹭，左手挥舞着，似乎在吓唬坐在树顶的另一只苍鹭，尽管树顶的苍鹭确实受到了惊吓，它张着尖嘴，翅膀微微张开，似乎准备逃走了。紧握着的游隼张开的嘴，似乎在呼救。",[23,209,7,24,1562,27,28,227,10873,5223,1575,340,245,394,281,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68a43a8dfe0798f567015c2597b7b30.jpg","23.3x23.8",[42],{"id":35112,"slug":35113,"title":33718,"dynasty":18,"author":15479,"museum":364,"description":35114,"tags":35115,"thumbUrl":35116,"material":803,"size":35117,"collection":90,"collections":35118,"showCount":34570,"zanCount":1547,"manualWeight":48,"mainColor":49},218549,"an-chun-tu-li-an-zhong-218549","画面分上下两帧，各绘一只鹌鹑，姿态迥异却各得神韵。上方鹌鹑低头探向草丛，羽翅纹理细密如织，绒毛质感似触手可及；下方鹌鹑昂首而立，目光警觉，尾羽舒展间尽显灵动。背景以疏淡笔墨勾出枯苇、细枝，与鹌鹑的工致刻画形成对比，清雅中透着野趣。绢本设色温润古朴，禽鸟的鲜活与环境的萧瑟相映，既见宋代院体画的精致写实，又藏自然生机的悄然流动，尽显宋人观物入微的审美意趣。",[209,7,24,28,27,83,1938,10824,1064,10154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3b3fb868cf2e335d61dbfc6fae97c5.jpg","23x25",[90],{"id":35120,"slug":35121,"title":35122,"dynasty":292,"author":293,"museum":101,"description":35123,"tags":35124,"thumbUrl":35125,"material":88,"size":35126,"collection":44,"collections":35127,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":49},218316,"ri-ben-du-tang-tian-shen-tu-yi-ming-218316","日本· 渡唐天神图","人物宽袍博带，衣纹流转间见古朴气度。手中梅枝缀着花苞，清韵暗生；身侧囊匣似藏典籍，隐现渡海求艺的初心。上方题字墨痕苍劲，与人物沉静神态相契，勾连起东瀛与大唐的文化牵系。画面虽简，却以含蓄笔触，将古代跨海求法的虔诚与文化交融的暖意凝于纸上，似能窥见千年前那些跨越沧海的身影，带着对文明的向往，在笔墨间留下永恒的回响。",[7,24,241,27,106,28,448,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040b1b8dece6ec842089b519db230ca5.jpg","94.8x36.5",[44],{"id":35129,"slug":35130,"title":35131,"dynasty":18,"author":26019,"museum":7875,"description":35132,"tags":35133,"thumbUrl":35134,"material":123,"size":35135,"collection":181,"collections":35136,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":94},218280,"feng-yu-shan-shui-tu-li-shan-218280","风雨山水图","三条瀑布从画面右侧倾泻而下，与下方的岩石撞击出波浪，而左岸的松树形状奇特，树枝拍打着，似乎在跟随风向向右倾斜。一座桥横跨两岸，两个人和一头驴子在桥上逆风而行。",[23,7,24,29,1653,394,177,27,11886,176,34,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f605ea64091fed8c0af258bb334556.jpg","24.1x24.8cm",[181],{"id":35138,"slug":35139,"title":35140,"dynasty":189,"author":21922,"museum":132,"description":35141,"tags":35142,"thumbUrl":35143,"material":342,"size":35144,"collection":181,"collections":35145,"showCount":34570,"zanCount":5,"manualWeight":48,"mainColor":49},218256,"xi-ting-shan-se-tu-lu-guang-218256","溪亭山色图","峰峦层叠如黛，飞瀑如练悬垂崖间，水汽似漫过纸面。坡岸旁枯木疏枝意态萧散，秋意清寂尽现。临流筑榭，隐者凭栏或对谈，时光缓缓流淌。笔墨苍润兼具，皴擦间见山石肌理，线条灵动藏古雅韵致。整幅画清幽淡远，文人丘壑化为纸上烟霞，尽显元人山水空灵超脱。观之如入静谧之境，尘心渐息，仿佛能闻瀑声松涛，触到溪畔清风。",[7,241,173,177,29,175,430,558,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143810d1b0b02dc21227e0b62f9768c8.jpg","89.1x25.4cm",[181],{"id":35147,"slug":35148,"title":1692,"dynasty":99,"author":31299,"museum":132,"description":35149,"tags":35150,"thumbUrl":35151,"material":123,"size":35152,"collection":181,"collections":35153,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":1335},218098,"shan-shui-tu-li-zai-218098","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[7,24,209,241,173,27,177,29,30,34,108,109,37,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[181],{"id":35155,"slug":35156,"title":14204,"dynasty":189,"author":8176,"museum":7875,"description":35157,"tags":35158,"thumbUrl":35159,"material":123,"size":35160,"collection":181,"collections":35161,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":1335},217926,"gao-shi-tu-gao-ke-gong-217926","高士图是中国元朝时期的著名画家高克恭的代表作之一。这幅画描绘了一位儒家士人的形象，体现了高克恭对传统文化的尊敬。\n\n高士图的画风典雅、精致，采用了传统的山水画的手法，但又有别于传统的山水画，展现出高克恭独特的艺术风格。在这幅画中，高士端坐在池塘边，手托着下巴，神态沉静、自若，表现出了儒家士人的谦逊、淡泊的态度。\n\n高士图被认为是高克恭的代表作之一，因为它体现了高克恭对中国传统文化的尊敬，以及他对儒家哲学的理解。这幅画也被认为是元朝时期艺术发展的里程碑，因为它展现了艺术家对传统文化的传承与创新的完美结合。",[7,24,29,173,27,394,1653,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f7a2c46e365347d66d4983ee269969.jpg","179.7x101.6cm",[181],{"id":35163,"slug":35164,"title":8422,"dynasty":99,"author":10654,"museum":206,"description":35165,"tags":35166,"thumbUrl":35167,"material":88,"size":139,"collection":44,"collections":35168,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},216980,"zhong-kui-tu-qian-gu-216980","这幅画描绘了钟馗带着他的涉猎器在寒冷的森林中独自行走，旧传锺馗本唐德宗时之武举魁首，因貌丑见斥，自刎身亡，德宗后悔莫及，封为驱魔大神。此后，钟馗的名气越来越大，人们在年底和端午节挂起钟馗的雕像，以驱除邪气。钱谷的这件作品，色彩淡雅，气氛独特，与民间形象不同。",[7,24,241,173,260,106,1015,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0421f0df4b30dcc416c55929cbe0eab3.jpg",[44],{"id":35170,"slug":35171,"title":35172,"dynasty":76,"author":10958,"museum":206,"description":35173,"tags":35174,"thumbUrl":35175,"material":342,"size":35176,"collection":181,"collections":35177,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[7,24,209,241,173,177,29,108,109,175,106,151,430,242,35,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[181],{"id":35179,"slug":35180,"title":35181,"dynasty":99,"author":293,"museum":206,"description":35182,"tags":35183,"thumbUrl":35184,"material":88,"size":35185,"collection":90,"collections":35186,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},216216,"ming-ren-hua-suan-ni-tu-yi-ming-216216","明人画狻猊图","这幅画的主题是狻猊，它是古代中国神话中的一种强大的兽，被认为是一种深深联系着天地万物的神兽。在这幅画中，画家细致地描绘了狻猊的身体特征，并运用了各种色彩来表现狻猊的神秘和强大。这幅画是一个经典的代表作，展现了明朝画家对古代传统文化的热爱和尊重。",[7,209,24,27,28,957,16560,394,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8a9122c3bb3c95220a73fd82916619.jpg","211.9x178.6cm",[90],{"id":35188,"slug":35189,"title":8697,"dynasty":99,"author":35190,"museum":206,"description":35191,"tags":35192,"thumbUrl":35193,"material":88,"size":35194,"collection":44,"collections":35195,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":49},214747,"luo-han-tu-zhao-xiu-lu-214747","赵修禄","画中的罗汉眉毛胡子一把抓，左手持袖，右手持珠，化作水波，脚踏浪花，形象生动。衣服的轮廓和画作的线条都非常清晰细腻，所谓流畅的笔触可能就是这种笔触风格的体现。",[7,24,241,259,106,27,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0de78a831d6c5e798e599ccb531b57.jpg","82.3x24.2",[44],{"id":35197,"slug":35198,"title":35199,"dynasty":189,"author":25426,"museum":752,"description":35200,"tags":35201,"thumbUrl":35202,"material":88,"size":35203,"collection":181,"collections":35204,"showCount":34570,"zanCount":48,"manualWeight":48,"mainColor":94},214383,"yu-le-tu-fang-cong-yi-214383","鱼乐图","画面中，一个樵夫与渔民在岸边上喝酒，反映了工人的简单情感和生活细节。一棵垂柳树耸立在画中，映衬着翠绿的山丘和海滩。这幅画是素描，笔触强烈而尖锐，色彩明亮而优雅。虽然这幅画是由方从义题写的，但其风格更接近明代的戴进和吴伟的风格。",[23,7,24,241,173,177,29,430,31,106,1064,245,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00272ba6a9af3a5abb90b8e961a2292f.jpg","143.8x43.2",[181],{"id":35206,"slug":35207,"title":35208,"dynasty":99,"author":100,"museum":206,"description":35209,"tags":35210,"thumbUrl":35211,"material":123,"size":35212,"collection":181,"collections":35213,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},290878,"song-ting-shi-quan-tu-zhou-chou-ying-290878","松亭试泉图轴","画中峰峦峥嵘，在云雾间半藏半露，近处陡峭的山岩间，一挂飞瀑跌成数叠，曲折流至松林溪间，临溪一歇山重檐松亭，亭中隐士品茶赏景，童子蹲着煮茶，亭外溪边一童子正持瓶汲泉。作者画出了一片娱性怡情的天地。",[209,7,241,27,28,29,175,1575,106,109,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d3e2d68807da9d43ef17fbb8fb40a7.jpg","128.1x61",[181],53,{"id":35216,"slug":35217,"title":35218,"dynasty":204,"author":2674,"museum":206,"description":35219,"tags":35220,"thumbUrl":35221,"material":743,"size":744,"collection":139,"collections":35222,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},290376,"zhu-mei-han-que-tu-zhou-huang-quan-290376","竹梅寒雀图轴","雪寒中，朱连雀、桑鳲、八哥、麻雀栖于梅竹枝蔓中，此项题材、布景，可见于《边文进三友百禽》。从画幅横大于纵，与一般立轴纵大于横，有所不同，或许原本为一大画幅，因残破割裂而成者。画中绿竹竿，每节以重笔勾勒，连节处虚空，这种画法，亦见于边氏作风。八哥羽毛，其墨黑如碳，一般是以灯炱加胶所成，枝干留有残雪，用破笔沾白粉戳出，其法亦见于吕纪诸画中。就风格论，该画出于明人，为边文进、吕纪一系画家所作。",[7,209,3529,241,28,27,448,242,281,22371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5b9b276031df00cd0af945364161f1b.jpg",[],{"id":35224,"slug":35225,"title":35226,"dynasty":18,"author":474,"museum":20,"description":35227,"tags":35228,"thumbUrl":35229,"material":3792,"size":35230,"collection":382,"collections":35231,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},239597,"su-shi-gui-yuan-tie-ye-zhao-ji-239597","苏轼归院帖页","释文：\n此虽云同归院，亦不云宿于院中。不知别有文字，证得是宿学士院为复。只是公家传说如此，乞更批示。轼白。\n今当改云宿学士院为复，且只依旧云宿待漏舍，幸批示。\n鉴藏印钤“子孙永保“、”项氏子京“、”项墨林父秘笈之印“、”退密“、”宣统御览之宝“等五方。\n此帖是《宋人法书六种》卷之一，叙述了批示“同归院”、“宿学士院”、“宿待漏舍”三个名称统一之事。从帖文中可知，该帖是苏轼做翰林学士时所书，时间应为北宋元祐元年至四年之间（1086―1089年），苏轼时年51至54岁。\n前人虽云苏轼书学颜真卿、杨凝式，但实际受徐浩行书的影响最深。此帖笔致萧散，结态随意，似不经意而笔到法随，已不见学古痕迹。诚如苏轼自己所说：“不践古人，自出新意。”虽短短五行，已臻化境。\n《石渠宝笈续编》重华宫著录。",[23,209,7,24,178,86,227,803,3790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e060cd1b3354e1c0cf55b5c1306316.jpg","纵35.1厘米，横12.4厘米",[382],{"id":35233,"slug":35234,"title":5326,"dynasty":76,"author":3732,"museum":364,"description":5327,"tags":35235,"thumbUrl":35236,"material":743,"size":744,"collection":139,"collections":35237,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},239248,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239248",[7,24,83,81,28,27,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10c20a2249c853072ea9c34d74b851b.jpg",[],{"id":35239,"slug":35240,"title":35241,"dynasty":76,"author":2804,"museum":364,"description":34649,"tags":35242,"thumbUrl":35243,"material":139,"size":139,"collection":90,"collections":35244,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},239224,"qiu-kui-tu-zhou-wu-chang-shuo-239224","秋葵图轴",[7,24,241,173,446,83,1002],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836ceef94f170edd7143c50853624a41.jpg",[90,163],{"id":35246,"slug":35247,"title":35248,"dynasty":76,"author":35249,"museum":364,"description":35250,"tags":35251,"thumbUrl":35252,"material":139,"size":139,"collection":181,"collections":35253,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},238212,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238212","仿王翬山水册","曹夔音","曹夔音，清代乾隆年间的山水画家，字莪塍，号红椒道人，江苏江宁（南京）人，其生卒年月不详。据资料，知其曾在乾隆初年以御用画师身份供奉朝廷。期间，曹氏遵御旨摹仿了一批传统经典作品，最具水准也最受称道的，是仿赵黻《长江万里图》长卷。因其笔墨逼真，又弥补了原作残旧之憾，故甚为乾隆皇帝喜爱，成为“御览之宝”。此外，曹夔音还奉旨与金昆、张镐复制了王维《辋川图》，又与周鲲、姚文瀚等人临摹了丁云鹏罗汉手卷数卷。而曹氏所作《寒谷鸣泉》扇面画与背面乾隆御临王羲之法帖的成扇。",[209,7,24,81,173,177,29,107,108,109,34,176,1255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9b3150b1bdefaa340be12a343409a0.jpg",[181,45],{"id":35255,"slug":35256,"title":15570,"dynasty":76,"author":2804,"museum":191,"description":35257,"tags":35258,"thumbUrl":35259,"material":27,"size":35260,"collection":90,"collections":35261,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},237299,"mei-hua-tu-zhou-wu-chang-shuo-237299","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。 [1]\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” [2] 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 [3] 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[7,173,241,840,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fdc0b1567dec10d70138b0220acb282.jpg","纵196.5厘米，横96厘米",[90],{"id":35263,"slug":35264,"title":8431,"dynasty":76,"author":8432,"museum":20,"description":8433,"tags":35265,"thumbUrl":35266,"material":139,"size":139,"collection":139,"collections":35267,"showCount":35214,"zanCount":1270,"manualWeight":48,"mainColor":49},237118,"shi-nv-ce-cui-wei-237118",[7,24,81,27,28,59,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519e14663043a6abef08f50ab0e10161.jpg",[],{"id":35269,"slug":35270,"title":220,"dynasty":99,"author":35271,"museum":364,"description":35272,"tags":35273,"thumbUrl":35274,"material":139,"size":139,"collection":90,"collections":35275,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":94},236539,"hua-niao-ce-tang-zhi-yin-236539","唐志尹","唐志尹[清]字相五，江苏扬州人，住姜堰。一作字聘三，海陵（今泰州）人。志契弟。花鸟得吕纪、王偕之传。所居万竹园，冒襄、蓝瑛辈尝过访之。康熙（一六六二至一七二二）初年八十余。与侄日昌，兄志契时称三唐。《泰州志、无声诗史、图绘宝鉴续纂、画史会要》",[7,24,81,27,28,83,281,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b669b84d4f71b6aa2834de627edee9.jpg",[90,45],{"id":35277,"slug":35278,"title":35279,"dynasty":76,"author":293,"museum":20,"description":35280,"tags":35281,"thumbUrl":35282,"material":1280,"size":35283,"collection":44,"collections":35284,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},236179,"hong-li-sui-chao-xing-le-tu-xiang-yi-ming-236179","弘历岁朝行乐图像","暖阁里主仆围聚，主人逗弄怀中幼童，满堂融融暖意弥散。阶下有人持笛奏乐、孩童嬉闹，檐下案头陈设瓶花清供，雅趣横生。近旁苍松虬劲古朴，崖石覆雪添了冬日清寒，远景烟霭轻笼，亭台隐没云间，冷暖景致相映成趣。\n\n整幅工笔妍丽细腻，将皇家岁朝的闲温情致，与园林雅致意趣揉合一处，把佳节天伦之乐绘得鲜活动人，尽显华贵静谧的宫廷年味图景。",[7,209,28,27,104,106,107,1575,176,115,3045,315,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cf7690222da77f1a730090ee748426.jpg","纵384cm，横160.3cm",[44,45],{"id":35286,"slug":35287,"title":35288,"dynasty":99,"author":1480,"museum":364,"description":35289,"tags":35290,"thumbUrl":35291,"material":139,"size":139,"collection":139,"collections":35292,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},235993,"ren-wu-tu-ye-tang-yin-235993","人物图页","此作以娴静仕女为主体，她踞坐朱红锦毡，素手轻拢琴弦，眉梢隐含幽愁，仪容温婉端丽。衣纹勾勒柔劲舒展，设色雅致古淡，将深闺女子的沉静与悒郁揉入笔底。\n\n左侧题诗与画作相得益彰，行书俊逸秀挺，诗中闺怨与仕女情态相互映照。整体空灵清雅，以极简场景烘托出幽寂绵长的春愁，将缱绻心事藏于笔墨色彩间，诗画合璧，尽显隽秀雅致的格调，是融情于景的精妙小品。",[209,7,24,28,27,106,59,210,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a945bd646f963731c397889aed56bff.jpg",[],{"id":35294,"slug":35295,"title":220,"dynasty":76,"author":35296,"museum":364,"description":35297,"tags":35298,"thumbUrl":35299,"material":743,"size":744,"collection":139,"collections":35300,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},235209,"hua-niao-ce-wang-li-235209","王礼","王礼（1813－1879）初名秉礼，字秋言，号秋道人,南翁道人（一作士），别署白蕉研主，一号蜗寄生，室名延秋款冬之室，常用印鉴王礼、王礼之印、王秉礼印、吴江王礼、秋言、秋言写生、秋言画印、秋言书画、秋道士、湫言、阿大、戴传、延秋款冬之室、公之犹、雪蕉家学、梵天壶隐、红梨逸史书画记。",[7,27,28,81,83,279,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b5c68a130e73e550876852397e441d.jpg",[],{"id":35302,"slug":35303,"title":35304,"dynasty":76,"author":2804,"museum":20,"description":27344,"tags":35305,"thumbUrl":35306,"material":990,"size":27347,"collection":139,"collections":35307,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},234982,"yu-lan-zhou-wu-chang-shuo-234982","玉兰轴",[7,24,241,173,446,83,417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd17c842b319d981a7b27fe37eb3e473a.jpg",[],{"id":35309,"slug":35310,"title":35311,"dynasty":76,"author":35312,"museum":364,"description":35313,"tags":35314,"thumbUrl":35323,"material":139,"size":139,"collection":139,"collections":35324,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":94},234599,"qing-lv-shan-shui-wan-shan-jiang-yun-234599","青绿山水纨扇","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[7,24,1562,26,27,29,109,174,34,176,37,175,1246,35315,478,35316,35317,35318,35319,35320,35321,35322],"设色山水","传统国画","古典书画","山水景物","流水孤舟","云雾缭绕","山石树木","亭台建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9fc52f859f06ac6e06372c7f3cfa33.jpg",[],{"id":35326,"slug":35327,"title":35328,"dynasty":99,"author":966,"museum":206,"description":35329,"tags":35330,"thumbUrl":35331,"material":803,"size":35332,"collection":139,"collections":35333,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},234187,"wen-zheng-ming-jiang-nan-chun-tu-bing-shu-ci-juan-wen-zheng-ming-234187","文徵明江南春图并书辞卷","本图纸本轴装，纵106厘米，横30厘米。文徵明（1470-1559）自题：“江南春”（八分书）；并书追和云林先生词二首（行草书）。此图成于嘉靖二十六年丁未春二月（1547），作者时年78岁，画中的图像，平远湖山，绿树高耸，高士乘舟横过，远处临水人家，这是江南太湖景色。",[23,7,25,24,178,173,29,34,176,35,108,109,281,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b1c1a838314382435f0ddc9dcfafa8.jpg","106.00×30.00cm",[],{"id":35335,"slug":35336,"title":35337,"dynasty":99,"author":32356,"museum":20,"description":35338,"tags":35339,"thumbUrl":35340,"material":1449,"size":139,"collection":139,"collections":35341,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},234167,"song-zhu-mei-juan-chen-jia-yan-234167","松竹梅卷","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[23,209,7,24,25,173,1308,227,86,449,242,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb706e263f815b90ab97a1bb3c330a393.jpg",[],{"id":35343,"slug":35344,"title":6157,"dynasty":99,"author":170,"museum":20,"description":6158,"tags":35345,"thumbUrl":35346,"material":803,"size":6161,"collection":139,"collections":35347,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},234093,"wu-zhong-shan-shui-ce-shen-zhou-234093",[7,24,81,173,29,175,34,176,178,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8897142206a362f22c1dbeaf4b0aeea3.jpg",[],{"id":35349,"slug":35350,"title":35351,"dynasty":76,"author":1109,"museum":20,"description":21985,"tags":35352,"thumbUrl":35353,"material":990,"size":21989,"collection":139,"collections":35354,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":94},233770,"tao-yuan-ming-shi-yi-tu-ce-shi-tao-233770","陶渊明诗意图册",[7,24,81,173,27,178,86,29,34,35,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21739288ecf9a96bf144d35e36186e18.jpg",[],{"id":35356,"slug":35357,"title":35358,"dynasty":76,"author":2804,"museum":20,"description":35359,"tags":35360,"thumbUrl":35362,"material":803,"size":35363,"collection":139,"collections":35364,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":94},233732,"wu-jun-qing-ku-gua-tu-zhou-wu-chang-shuo-233732","吴俊卿苦瓜图轴","本幅设色。自题“和尚以为号，山家以为肴，以嗜甘者，而嗜此寥寥“款：”乙酉四月吴昌硕“。\n吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[7,24,241,27,173,83,35361,697,698],"苦瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc1e99426b2f6144728f43f592f51d11.jpg","纵176cm横47.7cm",[],{"id":35366,"slug":35367,"title":35368,"dynasty":99,"author":966,"museum":20,"description":35369,"tags":35370,"thumbUrl":35371,"material":35372,"size":35373,"collection":139,"collections":35374,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":94},233711,"wen-zheng-ming-lv-yin-chang-hua-tu-zhou-wen-zheng-ming-233711","文徵明绿荫长话图轴","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[7,241,173,177,29,394,108,109,106,176,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16c50eb1cb998daffc1a6e2435c3d91.jpg","纸本 ，水墨","纵131.1cm，横32cm",[],{"id":35376,"slug":35377,"title":35378,"dynasty":76,"author":5096,"museum":20,"description":35379,"tags":35380,"thumbUrl":35381,"material":13982,"size":35382,"collection":139,"collections":35383,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":94},233403,"meng-jing-tu-zhou-wang-jian-233403","梦境图轴","本幅墨笔，局部设色，上自识一段，款：“丙申夏六月，哉生明王鉴识”。又“静岩老亲翁索画，即以此帧清政弟鉴”。钤“玄照”。\n王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[7,24,241,29,173,177,176,34,175,108,109,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26480f906c21c22bebed88bc4047ff5e.jpg","纵91.8cm，横49.5cm",[],{"id":35385,"slug":35386,"title":35387,"dynasty":18,"author":293,"museum":101,"description":35388,"tags":35389,"thumbUrl":35391,"material":67,"size":35392,"collection":139,"collections":35393,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},232878,"gua-guo-cao-chong-tu-juan-yi-ming-232878","瓜果草虫图卷","宋代绘画是中国传统艺术当之无愧的颠峰，形成了琳琅满目的各式题材与流派，而它最具代表的特点是画家深入的观察与细腻的表达，因此产生出叹为观止的精妙画作。这既源于宋代兴起的理学精神，强调“格物”；亦源于宋代人对于生活的热爱，使他们乐于描绘世界的细微处——例如一类以瓜果作为题材的花鸟画作品。",[23,7,24,25,27,28,83,35390,603,604,697,713,698,1461],"瓜果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51b48aaaf0d6e93f2e0fb70756a9d19.jpg","41x197.3厘米",[],{"id":35395,"slug":35396,"title":35397,"dynasty":204,"author":35398,"museum":12966,"description":35399,"tags":35400,"thumbUrl":35401,"material":67,"size":35402,"collection":139,"collections":35403,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},232620,"fan-bu-xue-wei-tu-juan-hu-qian-232620","番部雪围图卷","胡虔","胡瓌与胡虔父子的生卒年均不详，他们父子熟悉草原生活，专绘游牧民族形形色色的生活场景，内容包括卓歇、牧马、射骑、按鹰、撬幕、汲泉等，创作丰富，描绘极为传神生动。\n[五代·后唐]镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,7,24,25,28,27,106,150,957,1015,394,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb672acb1f1813c352c1c5db3e6cbe11.jpg","28.8×117厘米",[],{"id":35405,"slug":35406,"title":35407,"dynasty":189,"author":293,"museum":12966,"description":35408,"tags":35409,"thumbUrl":35410,"material":803,"size":139,"collection":139,"collections":35411,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},231496,"fang-liu-song-nian-song-xia-lun-dao-tu-yi-ming-231496","仿刘松年松下论道图","苍松虬曲如卧龙，扎根危岩之间，飞泉叠落撞碎成雪，循着层岩汇入深涧。右下角平坡上，二人相对晤谈，一人敛衽凝神静听，一人凭石畅意抒怀，山林幽寂将这场论辩衬得愈发悠然。\n\n画作以水墨晕染层叠山势，皴擦勾勒出岩壁嶙峋肌理，松枝笔触老辣苍劲，将山野清旷出尘之态尽数铺展。以景托人，把林下寄情、坐而论道的隐逸雅趣融于山水烟岚，尽显文人寄心林泉的林下风流，笔墨间萧散简远，于沉静古雅色调晕染出出世闲情。",[23,7,173,27,177,105,29,1575,558,109,106,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ece85a22e089d31138e99f0a6f7bf48.jpg",[],{"id":35413,"slug":35414,"title":35415,"dynasty":204,"author":2215,"museum":206,"description":35416,"tags":35417,"thumbUrl":35418,"material":381,"size":35419,"collection":181,"collections":35420,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[7,24,29,241,173,27,177,864,1329,20863,449,34,175,431,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[181],{"id":35422,"slug":35423,"title":21930,"dynasty":76,"author":1204,"museum":364,"description":35424,"tags":35425,"thumbUrl":35426,"material":139,"size":139,"collection":139,"collections":35427,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},231034,"mo-he-tu-zhu-da-231034","《墨荷图》是清代石涛创作的纸本墨笔画。\n图绘欣欣向荣的荷塘景色。\n构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。\n用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。\n钤白文印二方：“靖江后人”、“大涤堂”。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n石涛（1642—约1718年），俗姓朱，明宗室靖江王朱赞仪十世孙，谱名若极，广西桂林人。\n明灭亡后，出家为僧，法名原济，字石涛，号清湘老人、苦瓜和尚等。\n工于诗文，擅绘山水、兰竹、花草及人物。\n其笔情纵恣凝炼，独具创新，对扬州画派和近、现代中国画的影响极大。\n与清初画坛朱耷、髡残、弘仁合称“清四僧”，著有《苦瓜和尚画语录》，针对画坛时弊提出诸多精辟见解。",[23,7,24,209,241,173,83,243,136,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1fc908bf2c25b01fd7e185665cc123.jpg",[],{"id":35429,"slug":35430,"title":35431,"dynasty":76,"author":10475,"museum":364,"description":35432,"tags":35433,"thumbUrl":35434,"material":139,"size":139,"collection":139,"collections":35435,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},230191,"chun-shan-ting-ruan-tu-lv-huan-cheng-230191","春山听阮图","《春山听阮图》是清代画家吕焕成创作的一幅绢本设色画。\n关于清代画家 ，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,7,24,241,26,27,28,104,29,106,107,1575,176,109,1445,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":35437,"slug":35438,"title":35439,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":35440,"thumbUrl":35441,"material":67,"size":10518,"collection":139,"collections":35442,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},230103,"hong-lou-meng-184-sun-wen-230103","红楼梦184",[7,28,27,106,59,175,1329,430,63,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabfc332f8765efb0858e3cb67140d24d.jpg",[],{"id":35444,"slug":35445,"title":35446,"dynasty":99,"author":19836,"museum":364,"description":35447,"tags":35448,"thumbUrl":35449,"material":139,"size":139,"collection":139,"collections":35450,"showCount":35214,"zanCount":1270,"manualWeight":48,"mainColor":49},228894,"gua-shu-tu-ce-ye-zhu-zhan-ji-228894","瓜鼠图册页","画面取隅角小景，湖石朴拙沉静，石顶细草轻立，石畔缀着深紫垂萝，晕染出幽谧闲静的氛围。\n\n小鼠憨态可掬，正贪啃半颗荔枝，柔细绒毛纤毫毕现，将小兽馋态描摹得灵动鲜活。荔枝丹红似火，果壳糙粝的肌理写实逼真，汁水淋漓的碎屑散落，将鲜果的甜润感烘托尽致。\n\n设色古雅柔澹，绢本晕染细腻，将日常细碎生趣凝于尺幅，融俗世恬然意趣与文人雅致留白为一体，以精湛写生功底，定格下天真平和的治愈瞬间。",[209,7,24,81,28,27,7819,713,245,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e45121baa27799f442e64863b39946d.jpg",[],{"id":35452,"slug":35453,"title":35454,"dynasty":99,"author":100,"museum":364,"description":35455,"tags":35456,"thumbUrl":35457,"material":743,"size":744,"collection":139,"collections":35458,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},228438,"lin-guan-xiu-bai-miao-luo-han-tu-juan-chou-ying-228438","临贯休白描罗汉图卷","所绘罗汉,有的庞眉大目,有的高颧隆鼻,面貌都是“胡貌梵相”,这种奇异之相,立意免俗。",[23,7,24,25,260,105,259,106,25116,7281,12940,957,176,1329,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f322aff8127d791c2c05a48d900a610.jpg",[],{"id":35460,"slug":35461,"title":35462,"dynasty":18,"author":1035,"museum":364,"description":10524,"tags":35463,"thumbUrl":35464,"material":139,"size":139,"collection":139,"collections":35465,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":271},227689,"shi-long-tu-juan-chen-rong-227689","十龙图卷",[23,7,24,25,173,502,29,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6cf259cdc833e34e4a030ea74ea01f.jpg",[],{"id":35467,"slug":35468,"title":35469,"dynasty":18,"author":887,"museum":364,"description":35470,"tags":35471,"thumbUrl":35472,"material":139,"size":139,"collection":139,"collections":35473,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},227498,"mo-zhu-juan-2-su-shi-227498","墨竹卷2","墨竹，即用墨画的竹子，其起源说法不一，据文献记载，其创始人有唐代吴道子、王维、张立、五代蜀李夫人等。\n\n不过，由考古发掘来看，李贤墓壁画《侍女与竹》中的墨竹，亦有可能是写意墨竹的先驱。自文同、苏轼至元四家，墨竹之风兴起，逐渐发展为独立画科。\n\n墨竹常被用来表达拔俗之情趣、正直之气节、虚心之品质和纯洁之思想，文同便是如此，他不仅有丰厚之学养，还有非凡的绘画创作才能。本文所提到的《文画苏题卷》为手卷形式，据直幅改装而成，与人们常见的文同立轴式墨竹图形制不一。正因这次有意无意的改装，为《文画苏题卷》成为一巨幅长卷，提供了得天独厚的条件，这也成为此图区别于文同其它墨竹图的最明显特征。",[7,209,24,173,16285,2939,446,340,245,5941,6949,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf98af604cad8076b0774dbcc54a8ab.jpg",[],{"id":35475,"slug":35476,"title":35477,"dynasty":204,"author":3224,"museum":206,"description":35478,"tags":35479,"thumbUrl":35480,"material":381,"size":35481,"collection":181,"collections":35482,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},226699,"xi-shan-lin-sou-tu-zhou-ju-ran-226699","溪山林薮图轴","本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧签，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（十世纪），南唐钟陵人，为开元寺僧。南唐亡（九七五年），随李后主煜降宋，至汴梁。工画山水，师事董源。善状烟岚景象，臻于妙境，与师齐名，并称董巨",[7,24,241,173,177,29,34,176,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaea97df204f97573ac4f38769fcb90c.jpg","221.3x119.7",[181],{"id":35484,"slug":35485,"title":35486,"dynasty":76,"author":13111,"museum":15596,"description":35487,"tags":35488,"thumbUrl":35489,"material":619,"size":35490,"collection":181,"collections":35491,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":94},224495,"tao-fu-song-ju-tu-wu-li-224495","陶甫松菊图","绘群山连绵，山峰高耸入云，山上松树成林，高大茂盛；山脚下房屋隐现，人影绰绰，泉水潺潺，秋景宜人。技法上，皴染浑穆，层峦叠障，气韵深沉。用笔纯用中锋，谨严厚朴，气魄雄厚。此图笔墨幽微，拟元代大画家王蒙的风格，有一种空幻的感觉，令人有悠然远隔尘嚣之想，巧妙地体现了陶圃主人陆廷灿的思想境界：在出世与入世之间。",[23,7,27,177,241,29,176,109,174,1575,796,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d825f00689d43da1412df9f4ac0c81e.jpg","纵178.68CM 横75.01CM",[181,163],{"id":35493,"slug":35494,"title":35495,"dynasty":76,"author":10376,"museum":364,"description":35496,"tags":35497,"thumbUrl":35498,"material":139,"size":139,"collection":139,"collections":35499,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},224445,"fang-wang-meng-shan-shui-wang-hui-224445","仿王蒙山水","此作用笔繁密苍厚，以解索皴堆叠山峦，积墨反复晕染，层岩叠嶂尽显郁茂深秀，得古贤山水苍茫沉雄之韵。下方山居临溪而筑，堂内文士围坐清谈，溪桥畔仆役缓步而行，林泉间动静相映，晕染出萧散野逸的幽居意趣。题诗佐于左上，笔墨文心相融，既循古意，又自含灵秀笔致，将林泉高致的雅逸山居图景铺陈开来，尽释传统山水里的文人幽怀。",[23,7,24,241,173,177,29,176,34,35,108,109,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7404689f6258b3af226d1aefaddbcb2.jpg",[],{"id":35501,"slug":35502,"title":4780,"dynasty":54,"author":293,"museum":35503,"description":35504,"tags":35505,"thumbUrl":35506,"material":67,"size":35507,"collection":139,"collections":35508,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},223575,"mu-ma-tu-yi-ming-223575","新疆维吾尔自治区博物馆","此画的主题是骏马和马伕，作者用刚劲柔韧的线条勾画了一匹骏马，此马膘肥体壮，那矫健的身影，有的线条所表现的挺劲的马腿，生动的墨色表现出拂动的马鬃和马尾，表现骏马刚柔相济的魅力，更强化了静中之动的魅力。",[23,7,27,28,106,150,281,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517c6668fc9d4ef9e4071361a4ccaf95.jpg","纵53．5厘米，横22．3厘米",[],{"id":35510,"slug":35511,"title":35512,"dynasty":99,"author":1012,"museum":206,"description":14923,"tags":35513,"thumbUrl":35514,"material":665,"size":35515,"collection":45,"collections":35516,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},222595,"xi-shan-qiu-se-tu-quan-juan-lan-ying-222595","溪山秋色图全卷",[23,7,24,25,27,29,177,178,227,34,491,31,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d35e8af764e515efb05842ae219d1.jpg","27×183cm",[45],{"id":35518,"slug":35519,"title":35520,"dynasty":99,"author":1012,"museum":615,"description":35521,"tags":35522,"thumbUrl":35523,"material":665,"size":35524,"collection":181,"collections":35525,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},222582,"yun-he-gao-yi-tu-lan-ying-222582","云壑高逸图","图绘高山大岭，如坠欲倾。山间飞云腾雾，峡谷流泉落瀑，绿松、红枫相映。\n林下一隅一高士结庐独坐，屋外板桥横担，有朋自远方来。\n全图构象饱满，层次分明，笔力苍劲雄厚。既有山林泉壑的自然景观，又有人事活动的细节描绘，加之浓郁的诗意气氛，视野开阔，古韵动人，把读者带到这一“风景这边独好”的境地，尽情地享受着眼观耳听的乐趣。图左上自题“云壑高逸画于西溪梅花香雪阁，甲午春三月七十山公蓝瑛”。钤“蓝瑛之印”、“田叔父”印。",[23,7,209,241,29,27,177,175,108,109,1575,176,558,106,1015,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44481e7379a6f6ddec878c0676e82e74.jpg","172.7x67厘米",[181,163],{"id":35527,"slug":35528,"title":35529,"dynasty":99,"author":1480,"museum":206,"description":35530,"tags":35531,"thumbUrl":35532,"material":827,"size":35533,"collection":181,"collections":35534,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},222364,"zhen-ze-yan-shu-tu-tang-yin-222364","震泽烟树图","诗塘 御题行书(乾隆甲辰御题。诗文不录)。\n鉴藏宝玺 乾隆御览之宝。古稀天子。五福五代堂古稀天子宝。八徵耄念之宝。避暑山庄。钤於诗塘。文津阁宝。钤於左边幅。太上皇帝之宝。钤於右边幅。五玺全。嘉庆鉴赏。三希堂精鉴玺宜子孙。三印钤於右边幅。宝笈三编。",[23,7,173,29,174,242,430,176,490,227,177,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[181,163],{"id":35536,"slug":35537,"title":14144,"dynasty":99,"author":12702,"museum":515,"description":35538,"tags":35539,"thumbUrl":35540,"material":67,"size":35541,"collection":181,"collections":35542,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[23,7,25,27,177,28,29,175,108,109,107,34,176,35,118,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[181,163],{"id":35544,"slug":35545,"title":35546,"dynasty":189,"author":33234,"museum":206,"description":35547,"tags":35548,"thumbUrl":35549,"material":665,"size":35550,"collection":181,"collections":35551,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},221823,"lin-xia-ming-qin-zhou-zhu-de-run-221823","林下鸣琴轴","画面为江边数棵参天古松，松下围坐三位逸士。一人抚琴，二人静听。江中渔夫垂钓，似为琴声吸引。江面辽阔，空中一行芦雁。对岸峰峦迭翠，亭台楼宇掩映其间。山峦皴笔有如卷云，古松秃枝形似鹰爪。画法取乎郭熙而又自立新意。",[23,7,173,177,241,29,1575,174,106,109,394,1653,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739ee5a552d9953abf1bb9e06365a6a.jpg","239X62.5",[181,163],{"id":35553,"slug":35554,"title":35555,"dynasty":189,"author":23885,"museum":78,"description":35556,"tags":35557,"thumbUrl":35558,"material":22447,"size":35559,"collection":163,"collections":35560,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},221804,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-221804","枯木竹石图轴","绘枯木一棵，两枝树杆粗壮，枝杈繁多，恣意生长；树旁巨石耸立，棱角圆润；右侧淡墨绘一棚细竹，竹叶修长秀美，生机勃勃。李士行，字遵道，元代画家，善山水，尤工竹石更妙。绢本。墨笔。 此图绘古木两棵，形态苍古。树石的用笔遒劲深厚，皴染稠密。细枝勾勒形似蟹爪。笔墨苍劲磊落。",[23,7,24,209,241,173,543,242,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68d8fcc18ebecda8e22a95bd2ea3474.jpg","170x52cm",[163,2293],{"id":35562,"slug":35563,"title":35564,"dynasty":18,"author":1616,"museum":20,"description":35565,"tags":35566,"thumbUrl":35567,"material":35568,"size":35569,"collection":139,"collections":35570,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},221581,"cai-wei-tu-juan-quan-juan-li-tang-221581","采薇图卷全卷","这是一幅历史题材的绘画作品，是以殷末伯夷、叔齐“不食周粟”的故事为题而画的。司马迁所著之《史记》中即有“伯夷列传”，伯夷和叔齐是殷的诸侯孤竹君（国在今河北卢龙南）的两个儿子，孤竹君立其三子叔齐为继承人。孤竹君死后，叔齐要把继承权让给哥哥伯夷，伯夷不肯接受，说这是父命，不可违背，最后逃跑了。叔齐见状也离家出走。兄弟二人出走后先后投奔了西伯姬昌（即周文王），不久姬昌死，儿子姬发（即周武王）要出兵讨伐纣王。伯夷、叔齐拦住姬发的马头谏阻，认为臣子造反讨伐君王是大逆不道的。武王伐纣取得胜利后，伯夷、叔齐深以为耻，表示决心不吃从周朝土地上长出来的粮食，于是逃隐至首阳山（在山西永济县境），采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首采薇歌：“登彼西山兮，采其薇矣！以暴易暴兮，不知其非矣！神农虞夏忽焉没兮，我安适归矣？于嗟徂兮，命之衰矣！”表示了坚决不屈服的志向。\n李唐所画的《采薇图》，即着力刻划了这两个古代宁死不愿意失去气节的人物。图中描绘伯夷、叔齐对坐在悬崖峭壁间的一块坡地上，伯夷双手抱膝，目光炯然，显得坚定沉着；叔齐则上身前倾，表示愿意相随。伯夷、叔齐均面容清癯，身体瘦弱，肉体上由于生活在野外和以野菜充饥而受到极大的折磨，但是在精神上却丝毫没有被困苦压倒。作者着墨不多，就把伯夷、叔齐在特定环境下的神态描绘得淋漓尽致，达到了很高的水平。\n李唐采用这个历史故事来表彰保持气节的人，谴责投降变节的行为，在当时南宋与金国对峙的时候，可谓是“借古讽今”，用心良苦。",[23,7,25,173,27,106,29,34,650,177,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f5d231ca2edb3f9d85a65a937277ec.jpg","绢本，水墨淡设色","纵27.2厘米，横90.5厘米",[],{"id":35572,"slug":35573,"title":35574,"dynasty":18,"author":474,"museum":364,"description":35575,"tags":35576,"thumbUrl":35577,"material":67,"size":139,"collection":42,"collections":35578,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},221321,"shan-ying-tu-ye-zhao-ji-221321","山鹰图页","宋徽宗赵佶（1082年11月2日-1135年6月4日），号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,209,7,24,81,28,27,281,1015,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e2bf0c5effb80786fbb766f9d19af2.jpg",[42,90,45],{"id":35580,"slug":35581,"title":35582,"dynasty":18,"author":4159,"museum":206,"description":10133,"tags":35583,"thumbUrl":35584,"material":665,"size":35585,"collection":42,"collections":35586,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},221296,"jin-men-ying-zhao-zhou-guo-zhong-shu-221296","金门应诏轴",[23,7,24,104,241,27,28,106,107,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[42,44,45],{"id":35588,"slug":35589,"title":35590,"dynasty":99,"author":3114,"museum":206,"description":9729,"tags":35591,"thumbUrl":35592,"material":9732,"size":139,"collection":181,"collections":35593,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},220934,"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图",[7,24,29,173,177,105,27,176,34,107,108,109,900,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg",[181,163],{"id":35595,"slug":35596,"title":35597,"dynasty":99,"author":3114,"museum":238,"description":35598,"tags":35599,"thumbUrl":35600,"material":1449,"size":35601,"collection":181,"collections":35602,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":94},220904,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[23,209,7,24,25,173,177,29,864,297,34,227,86,178,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[181,45],{"id":35604,"slug":35605,"title":35606,"dynasty":76,"author":35607,"museum":10937,"description":35608,"tags":35609,"thumbUrl":35610,"material":342,"size":35611,"collection":163,"collections":35612,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},220418,"fang-yao-shou-shan-shui-tu-xi-gang-220418","仿姚绶山水图","奚冈","此幅是奚铁生仿姚公绶所做山水图，布置可以看出是倪云林的一河两岸式构图，盖因录姚绶是学倪瓒，故铁生学姚氏，亦是学云林。",[23,7,173,177,24,29,175,34,1575,176,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d17a8733a36b0f1f967ce40e437690.jpg","横36，纵124",[163,181],{"id":35614,"slug":35615,"title":35616,"dynasty":189,"author":25426,"museum":78,"description":35617,"tags":35618,"thumbUrl":35620,"material":342,"size":35621,"collection":163,"collections":35622,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},220407,"bai-yun-shen-chu-tu-fang-cong-yi-220407","白云深处图","以水墨横点浓淡烘染峰峦重叠，写出了云烟掩映，风雨迷濛的江南景色。山峦、杂树以焦墨点染、益见秀润可爱。溪水小桥平添了江南平淡恬静的情趣，引人进入白云深处的佳境。",[7,173,177,29,4501,30,34,108,31,37,17037,35619,560,649,13668],"树木丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a430378f5317098ee833066a2ed7d.jpg","纵25.8厘米、横57.9厘米",[163],{"id":35624,"slug":35625,"title":35626,"dynasty":18,"author":293,"museum":206,"description":35627,"tags":35628,"thumbUrl":35630,"material":123,"size":35631,"collection":42,"collections":35632,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},220386,"wu-kuan-li-hua-qu-yu-yi-ming-220386","无款梨花鸲鹆","此作尽显宋代工笔花鸟精妙意趣，墨色绘就的鸲鹆立于花枝，羽色浓淡层叠晕染，将玄色羽毛的绒软光泽尽数勾勒，明黄爪眼提亮画面，灵动仿若正引吭啼鸣，瞬间的生机被定格尺幅之间。\n\n淡粉晕出梨花清透柔润，留白托出瓣边莹白，苍劲枝桠衬得禽鸟愈发神完气足。古旧绢面晕开岁月沉香，却未掩画师对自然的入微体察。笔意简淡清雅，以小见大，将春日枝间融融春意凝练其中，静中藏动，尽显宋人雅致审美的悠悠余韵。",[23,209,7,24,28,27,83,1640,35629,1062],"鸲鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25127c3e83af8c31239f09f1f2372412.jpg","25.3x29.8厘米",[42],{"id":35634,"slug":35635,"title":35636,"dynasty":99,"author":1012,"museum":539,"description":35637,"tags":35638,"thumbUrl":35639,"material":123,"size":35640,"collection":181,"collections":35641,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多",[23,7,24,29,27,177,2124,560,174,60,34,176,920,2502,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[181],{"id":35643,"slug":35644,"title":35645,"dynasty":99,"author":35646,"museum":539,"description":35647,"tags":35648,"thumbUrl":35649,"material":381,"size":35650,"collection":181,"collections":35651,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},219734,"xie-qin-fang-you-tu-jiang-song-219734","携琴访友图","蒋嵩","此作用高远之法构景，主峰拔地参天，以水墨晕染出漫山烟霭，远景山峦隐没在空蒙雾气里，晕染出萧疏冷寂的天地氛围。\n\n近岸枯木虬曲苍劲，枯枝硬挺如戟，笔力老辣苍拙，尽显荒寒之态。下方旅人策杖徐行，仆从携琴缓步郊野，渺小身影衬出山川寥廓，暗合寻幽访友的雅意。\n\n全幅以浓淡水墨铺陈，简淡间尽显沉郁苍茫，将林泉寄怀的隐逸之思藏在烟岚丘壑中，纵放笔意里裹挟含蓄悠邈的林下闲情，尽显淡远疏离的山水意境。",[23,7,24,241,173,177,29,106,394,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6537ec875cb6c627561f0a23bede3fac.jpg","纵148.6横89.4厘米",[181],{"id":35653,"slug":35654,"title":35655,"dynasty":189,"author":33234,"museum":206,"description":35656,"tags":35657,"thumbUrl":35658,"material":123,"size":139,"collection":181,"collections":35659,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},219617,"song-jian-heng-qin-tu-zhu-de-run-219617","松涧横琴图","画面中下部，是一条左低右高的石磵，且清且浅的河水自远及近蜿蜒跳跃而下，俞远愈淡。近岸左右有两松矗立，一直一曲，一高一低。左边的松树高而直，以一浓一淡两棵杂树副之。右边的松树似虬龙一样盘曲左伸，松下则是磵边开阔微斜的石头滩地，三位老者盘腿对坐在蒲团之上，中间有一盘食物，置三酒杯。一人双手放在琴上，眼睛左看，似正在弹琴并与左边的朋友目光交流，右边的老者则闭目笼袖，似乎听得很是入神。画面的右上角，署名“朱泽民”并有题句：峰阳之桐，声越冰泉；天然宫商，松风画弦。\n该画的人物、场景及构图，非常类似其立轴大画《林下鸣琴图》，似是一图多本。不过可能因画幅太小尚不盈尺，故而画得更为简洁，无法画出对岸的坡陀岗峦。就画中人物而言，这种扮相与组合曾出现在其他画中，显然就不仅仅是文人雅士简单的时尚风雅，而有着特定的时代的情感映射。或许，这既是“七匠八娼九儒十丐”历史境遇中被侮辱被边缘化的元代知识分子的实际生存状态，也是其理想化的精神家园。",[23,7,24,1562,173,177,29,1575,109,106,210,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03fe743673cf85aafc314641bd35833e.jpg",[181],{"id":35661,"slug":35662,"title":4025,"dynasty":76,"author":6879,"museum":206,"description":35663,"tags":35664,"thumbUrl":35665,"material":342,"size":35666,"collection":181,"collections":35667,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":94},219481,"shan-shui-zhou-huang-ding-219481","这幅画中，江亭空旷，江山深邃，秀美。",[7,173,241,177,227,29,430,176,108,920,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353d9af0a3e032c79871c2d0edac77a.jpg","78x39.3",[181],{"id":35669,"slug":35670,"title":35671,"dynasty":99,"author":1012,"museum":206,"description":35672,"tags":35673,"thumbUrl":35674,"material":123,"size":35675,"collection":181,"collections":35676,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},219397,"shan-shui-tu-yi-hai-qiu-zhong-lan-ying-219397","山水图-已亥秋仲","画面层峦叠嶂隐于烟霭，远山如黛，近岫含翠。苍松劲柏立岸而生，枝干虬劲，墨色浓淡相宜；水面波光粼粼，一叶扁舟悠然泛波，岸边茅屋隐于林间，野趣横生。中段亭榭临溪，飞檐翘角与周遭林木相映成趣。山石皴法刚健，兼具浙派风骨与文人雅致，墨色晕染自然，设色淡雅温润。秋仲清寂悠远尽显笔端，仿佛可闻林间风声、水面桨声，引人步入静谧山水之境，体味超然物外的闲适安宁。",[7,24,241,27,29,175,109,174,430,176,920,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc24749ccb3e2b4cacaa976f90dcd98.jpg","145.8x71.6",[181],{"id":35678,"slug":35679,"title":35680,"dynasty":189,"author":293,"museum":206,"description":35681,"tags":35682,"thumbUrl":35683,"material":27,"size":139,"collection":45,"collections":35684,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},219326,"lao-pu-qiu-rong-tu-yi-ming-219326","老圃秋容图","画面中，数丛秋菊凌霜绽放，黄蕊凝金、紫瓣含晕，叠瓣层舒间尽显妍丽之态；叶片墨绿带苍，脉络清晰如染秋霜。旁侧墨石以皴擦写就，苍劲古朴，石上苔点疏密错落，更添岁月厚重。几只麻雀或栖石巅梳理羽翅，或低空掠飞相逐，灵动身姿为静谧秋景注入鲜活生气。笔墨兼具工细与写意，设色淡雅却见精神，秋意浓而不俗，尽显文人画“逸”之韵致——仿佛能闻菊香幽幽，听雀语啾啾，于方寸绢素间藏尽老圃秋日的清旷雅趣。",[7,27,28,83,796,224,245,299,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1869d6dcdca848d4e68850d5569f1ae2.jpg",[45],{"id":35686,"slug":35687,"title":35688,"dynasty":54,"author":13140,"museum":206,"description":35689,"tags":35690,"thumbUrl":35692,"material":67,"size":139,"collection":163,"collections":35693,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},219232,"hua-niu-dai-song-219232","画牛","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”。",[6214,7,24,209,173,27,28,151,106,430,35691,298,227],"小狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1d4166525a0816f7b92f6d8b121fdb.jpg",[163],{"id":35695,"slug":35696,"title":35697,"dynasty":76,"author":35698,"museum":20,"description":35699,"tags":35700,"thumbUrl":35701,"material":123,"size":35702,"collection":44,"collections":35703,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},219102,"kang-xi-di-bian-zhuang-xie-zi-xiang-gong-ting-hua-jia-219102","康熙帝便装写字像","宫廷画家","图中康熙帝身穿便装，左手轻按平铺于方桌上的白纸，右手提笔正欲习字，身后屏风上的墨龙暗示着王者尊贵的地位。以特色透视技法画出的方桌与用欧洲焦点透视法描绘的屏风座形成了场景中能够调和的冲突。由此无法判断出，这幅佳作绘制于西风东渐的初期，是一位学习过西方画法、但又没有彻底明了其透视原理的宫廷作家所构思的。虽然此画存在不协调的现象，但它仍然是中西绘画交流、碰撞下的有趣的作品，值得我们进一步探究和分析。",[23,7,28,27,106,502,12876,10854,10855,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a24ed93f8ff588cb1d9dfc78cc5cfa.jpg","纵50.5厘米，横31.9厘米",[44],{"id":35705,"slug":35706,"title":35707,"dynasty":189,"author":1057,"museum":7570,"description":35708,"tags":35709,"thumbUrl":35710,"material":123,"size":139,"collection":90,"collections":35711,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},219096,"si-ma-tu-ren-ren-fa-219096","饲马图","画面捕捉饲马的日常瞬间：红衣者俯身照料，另一人持物趋近，两马或立或侧，姿态悠然。线条如铁线般挺劲，勾勒出马的健硕肌理与人物衣褶的流转，细节处见匠心——马鬃的蓬松、鞍具的纹理，皆刻画入微。设色淡雅却点睛：红衣的暖艳与背景的素净相映，衬出场景的质朴鲜活。整体风格写实，却于平凡中藏着对生命的关照，既见游牧文化对马的珍视，也显画家对生活烟火的细腻捕捉。画面静谧却涌动着日常生机，似能闻草料轻响，触岁月温软，是元代生活图景与艺术匠心的凝练呈现，于质朴中见生动，于细微处显深情。",[209,7,24,5491,28,27,106,150,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4df022bb041213a807994378e568d.jpg",[90],{"id":35713,"slug":35714,"title":35715,"dynasty":18,"author":10088,"museum":206,"description":35716,"tags":35717,"thumbUrl":35718,"material":123,"size":35719,"collection":181,"collections":35720,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,209,7,24,1562,173,27,177,29,109,174,15976,34,2502,560,2125,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[181,42],{"id":35722,"slug":35723,"title":35724,"dynasty":18,"author":4882,"museum":132,"description":35725,"tags":35726,"thumbUrl":35728,"material":123,"size":139,"collection":90,"collections":35729,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},218905,"yan-e-tu-cui-bai-218905","雁鹅图","画面中雁鹅姿态鲜活，羽翼层叠间细笔勾出绒羽的蓬松质感，白绒与墨羽晕染过渡自然，红掌轻点地面似欲移步，尽显禽鸟灵动之态。旁侧水草以疏朗线条勾勒，叶片随风摇曳如含生机，与雁鹅的写实刻画相映成趣。古绢底色沉雅温润，衬得物象愈发鲜活，打破了宋初院体画的刻板拘谨，透出自然野趣。整作以写生为基，笔墨兼具工致与意趣，将禽鸟的鲜活与草木的清逸融于方寸纨扇，于细微处见生机盎然，尽显宋代画坛新风韵。",[23,7,24,1562,27,28,83,35727,2522,245,490],"雁鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f48905bd757fa0bd76d4450fe81f6d.jpg",[90],{"id":35731,"slug":35732,"title":35733,"dynasty":18,"author":293,"museum":206,"description":35734,"tags":35735,"thumbUrl":35736,"material":123,"size":35737,"collection":90,"collections":35738,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":94},218737,"xiang-shi-chui-jin-tu-yi-ming-218737","香实垂金图","它被画上了两个金灿灿的橙子，树枝经过精心挑选，给人以秋天水果的香味。这幅画被倒置装裱，观看时可以用旋钮转动。",[23,209,7,24,81,28,27,83,713,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d905cd84a86e927d93aef90fabb11.jpg","24.3x27.5",[90],{"id":35740,"slug":35741,"title":1692,"dynasty":18,"author":1650,"museum":7359,"description":35742,"tags":35743,"thumbUrl":35744,"material":123,"size":35745,"collection":181,"collections":35746,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},218665,"shan-shui-tu-ma-yuan-218665","画面截取山水一角，以简练刚劲的斧劈皴勾勒山石轮廓，墨色层次分明，尽显山川肌理。远处亭台掩映于林木间，几人对坐似在品茗论道；中景水面开阔，波光隐现；近岸桥梁横跨，行人缓步，岸边石上二人闲坐，姿态悠然。人物虽小却形神兼备，与山水景致相融，传递出闲适雅致的文人意趣。马远以“边角”之景营造深远空间，笔墨简括却意境悠长，将自然静谧与人文悠然巧妙结合，尽显南宋山水画的抒情特质与艺术匠心。",[23,7,24,241,27,177,29,107,108,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82aa8fa0505c1342ef40c1af44517.jpg","36.4x19.2厘米",[181],{"id":35748,"slug":35749,"title":35750,"dynasty":99,"author":1296,"museum":20,"description":35751,"tags":35752,"thumbUrl":35753,"material":123,"size":35754,"collection":181,"collections":35755,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},218362,"fang-he-zhou-tu-xiang-sheng-mo-218362","放鹤洲图","此图是项圣谟为友人朱葵石所画的一件作品。放鹤洲在嘉兴鸳鸯湖畔，唐代著名宰相裴休曾在此建造别墅，但久已荒废。朱葵石在其遗址上疏浚河道，广植树木，重新再造。清顺治十年（1653年），朱葵石请项圣谟来别墅作客，他们泛舟湖上，饮酒赋诗，尽情享受林泉之乐，作品正是为纪念他们这一次相会而创作的。\u2028　　画面上，纵横交错的河道将田畴、村庄分割，农民往来耕作于其间，反映了长江下游低湿地带的风貌。画面左中部树木葱茏茂密，其间设置桥梁、屋宇、亭子、假山石和备用的画舫等，正是别墅所在地。画面左下端有寺庙宝塔，上端城墙蜿蜒，则是嘉兴城。别墅与周围的环境融为一体，布置讲究，而建筑并不炫耀豪华。项圣谟的这件作品不但写实，而且表现出中国文人崇尚自然，即“仁者乐山，智者乐水”的思想。",[23,7,29,27,173,177,34,281,174,108,109,175,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce80d46161a9b0729030988c27b5e0af.jpg","纵65.5厘米，横53.7厘米",[181],{"id":35757,"slug":35758,"title":35759,"dynasty":76,"author":674,"museum":539,"description":5517,"tags":35760,"thumbUrl":35761,"material":123,"size":5520,"collection":139,"collections":35762,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},218329,"shen-xian-gu-shi-tu-ce-8-leng-mei-218329","神仙故事图册-8",[23,7,209,27,28,106,59,18694,1329,81,505,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd518a2424dfa8a7b97c0876e9d26a005.jpg",[],{"id":35764,"slug":35765,"title":8697,"dynasty":76,"author":293,"museum":752,"description":35766,"tags":35767,"thumbUrl":35768,"material":123,"size":139,"collection":44,"collections":35769,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},218300,"luo-han-tu-yi-ming-218300","罗汉趺坐神兽身侧，衣袂如流云舒卷，线条婉转间藏松活之趣。光头映着古绢暗纹，长须皴染得苍劲有力，眉目低垂时，禅意便从眼角眉梢漫出。神兽造型奇崛，鬃毛卷曲似浪涛翻涌，双目圆睁却含温驯，与罗汉的静定相映成趣。设色淡雅，墨骨清晰，浅晕的赭石与石青点缀其间，恰如古寺晨钟里的一抹微光。岁月在绢上留下斑驳痕迹，却让这份禅意更显醇厚——动静相生的构图里，是超然物外的平和，亦是传统佛画对心性的温柔观照。",[7,24,241,259,28,27,106,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62bbeb3ee91439ac7a59fb3d67f3c6b0.jpg",[44],{"id":35771,"slug":35772,"title":35773,"dynasty":18,"author":35774,"museum":752,"description":35775,"tags":35776,"thumbUrl":35778,"material":123,"size":35779,"collection":44,"collections":35780,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},218299,"cai-yao-xian-ren-tu-meng-xian-218299","采药仙人图","孟显","长髯垂胸，衣袂带风，仙人负筐徐行。筐中松针攒簇、花草含露，似携来云崖清气；手中小锄轻握，步履悠然，眉宇间透着山野的清旷与超然。笔墨简括却神形兼备，衣纹线劲挺流畅，如吴带当风般舒展；设色古雅温润，棕褐底色衬出人物的朴拙逸气。整幅画将采药闲逸之态凝注于简练线条与含蓄晕染中，不刻意雕琢却细节见风骨，仿佛能闻药草淡香，望见云深幽居，尽显宋代人物画对神韵的极致追求——于平淡处藏真意，于简淡中见风骨。",[209,7,24,241,27,106,17842,35777,2715,23868],"草药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f7c5ae46894b861fb1474f9a2c232b.jpg","84.1x27.4",[44],{"id":35782,"slug":35783,"title":35784,"dynasty":189,"author":487,"museum":132,"description":35785,"tags":35786,"thumbUrl":35787,"material":123,"size":35788,"collection":181,"collections":35789,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[23,7,24,25,173,27,177,178,227,86,29,107,108,109,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[181],{"id":35791,"slug":35792,"title":35793,"dynasty":99,"author":26281,"museum":206,"description":35794,"tags":35795,"thumbUrl":35797,"material":88,"size":35798,"collection":44,"collections":35799,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,7,24,28,27,259,106,150,430,29,176,1159,31,227,4525,35796],"经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[44],{"id":35801,"slug":35802,"title":35803,"dynasty":18,"author":781,"museum":364,"description":35804,"tags":35805,"thumbUrl":35806,"material":67,"size":139,"collection":42,"collections":35807,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},216911,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-216911","万方职贡图全卷","万方职贡图全卷是宋朝时期由李公麟编写的一部职贡图书。这本书是在宋朝时期编写的，主要记录了宋朝时期各级官员的职贡规定以及他们的权力和职责。这本书是宋朝时期的一部重要史料，可以为我们了解宋朝时期的政治体制、官员制度以及官员的权力和职责提供重要的参考。",[23,209,7,24,25,260,106,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552a9310b7ab1d2dce73c8120542c88b.jpg",[42],{"id":35809,"slug":35810,"title":35811,"dynasty":99,"author":4600,"museum":132,"description":4601,"tags":35812,"thumbUrl":35814,"material":88,"size":4604,"collection":139,"collections":35815,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":4606},216260,"ming-za-hua-ce-5-wang-zhong-216260","明杂画册-5",[7,27,28,83,224,35813,62,698],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3b7a2d37dce367fc85ce44174fdaaf3.jpg",[],{"id":35817,"slug":35818,"title":35819,"dynasty":189,"author":293,"museum":35820,"description":35821,"tags":35822,"thumbUrl":35823,"material":123,"size":35824,"collection":181,"collections":35825,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":49},215145,"xi-shan-lou-ge-tu-yi-ming-215145","溪山楼阁图","重庆市博物馆","溪山楼阁图是一幅中国古代山水画，作者佚名，来自元朝（1271-1368年）。这幅画以其精美的画风和丰富的山水景观而闻名，是一件珍贵的艺术瑰宝。\n\n在这幅画中，作者以逼真的笔触和精细的构图技巧，勾勒出了一座位于山谷中的楼阁。楼阁的四周环绕着秀美的山水景观，山峦起伏，溪流潺潺，树木葱茏，给人以清新的视觉享受。\n\n在这幅画中，作者还融入了许多寓意深刻的元素，如山间的松柏、荷花池塘、仙人掌等都被视为吉祥物，象征着幸福、长寿、繁荣等。\n\n总的来说，溪山楼阁图是一幅精美的山水画作品，充分展现了中国古代画家对自然美景的热爱和描绘技巧。",[209,7,27,104,26,29,107,34,109,176,37,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fc87bbefb1be97892e5282dfcc31c1.jpg","27.5x26.4cm",[181],{"id":35827,"slug":35828,"title":35829,"dynasty":18,"author":293,"museum":752,"description":35830,"tags":35831,"thumbUrl":35832,"material":123,"size":35833,"collection":181,"collections":35834,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":49},214830,"fang-zhong-li-fang-dao-tu-yi-ming-214830","仿钟离访道图","《仿钟离访道图》是一幅中国古代绘画作品，出自宋代佚名画家之手。这幅画以钟离故事为题材，描绘了钟离访道的场景。\n\n钟离故事是中国古代传说中关于钟离与访道的传说。钟离是唐朝时期的一位大臣，他曾游历过中国各地，在旅途中遇到了访道，两人相识并成为了朋友。后来，钟离回到了唐朝的长安城，而访道则留在了西域。\n\n《仿钟离访道图》中，画家用笔墨细腻地描绘了钟离与访道之间的友谊，表现出了两人间的亲密关系。画面中的人物造型生动，情感真挚，是一幅优秀的古代绘画作品。",[23,7,24,241,173,177,29,649,34,558,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a819300efae18f7e468980bfeb46582.jpg","147x74.8",[181],{"id":35836,"slug":35837,"title":35838,"dynasty":76,"author":1816,"museum":78,"description":1817,"tags":35839,"thumbUrl":35840,"material":342,"size":1820,"collection":139,"collections":35841,"showCount":35214,"zanCount":48,"manualWeight":48,"mainColor":94},214676,"mei-hua-zhu-shi-tu-ce-11-wang-shi-shen-214676","梅花竹石图册-11",[7,24,81,173,446,83,448,242,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2dccd336217afc6590120e3bc47b60.jpg",[],{"id":35843,"slug":35844,"title":35845,"dynasty":99,"author":35846,"museum":752,"description":35847,"tags":35848,"thumbUrl":35849,"material":88,"size":35850,"collection":181,"collections":35851,"showCount":35214,"zanCount":5,"manualWeight":48,"mainColor":94},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,7,24,241,173,177,29,394,1653,108,109,150,106,176,34,227,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[181],{"id":35853,"slug":35854,"title":35855,"dynasty":189,"author":293,"museum":206,"description":35856,"tags":35857,"thumbUrl":35858,"material":827,"size":35859,"collection":139,"collections":35860,"showCount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后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[7,24,209,81,173,260,178,227,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3586e802482ec56e20f1a800f31d1e.jpg",[],{"id":36024,"slug":36025,"title":36026,"dynasty":76,"author":1109,"museum":20,"description":36027,"tags":36028,"thumbUrl":36029,"material":1449,"size":139,"collection":139,"collections":36030,"showCount":35861,"zanCount":5,"manualWeight":48,"mainColor":94},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,7,25,173,177,178,260,29,106,174,176,34,1532,1575,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],{"id":36032,"slug":36033,"title":36034,"dynasty":18,"author":823,"museum":20,"description":11338,"tags":36035,"thumbUrl":36036,"material":619,"size":11342,"collection":139,"collections":36037,"showCount":35861,"zanCount":48,"manualWeight":48,"mainColor":49},234069,"xue-tang-ke-hua-tu-ye-xia-gui-234069","雪堂客话图页",[209,7,173,177,81,29,2124,11340,174,1015,176,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e55a19b946913db261fab13dbdda68c.jpg",[],{"id":36039,"slug":36040,"title":36041,"dynasty":99,"author":170,"museum":20,"description":1470,"tags":36042,"thumbUrl":36043,"material":990,"size":1473,"collection":139,"collections":36044,"showCount":35861,"zanCount":48,"manualWeight":48,"mainColor":94},233842,"wo-you-tu-ce-pi-pa-shen-zhou-233842","卧游图册－枇杷",[7,24,81,27,173,83,1278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b13d6b7f85d6cd1ab67e05024fd237.jpg",[],{"id":36046,"slug":36047,"title":36048,"dynasty":99,"author":100,"museum":20,"description":36049,"tags":36050,"thumbUrl":36051,"material":40,"size":36052,"collection":139,"collections":36053,"showCount":35861,"zanCount":1547,"manualWeight":48,"mainColor":49},233416,"tao-cun-cao-tang-tu-zhou-chou-ying-233416","桃村草堂图轴","自题：“仇实父为少岳先生制”，钤“十洲”朱文葫芦形印。此图是仇英师承南宋“二赵”风格的作品，描绘的是幽深静逸的隐居环境。草堂位于山坳，其后桃林一片，溪流出其下，一童子踞溪侧洗砚。更上则高岭白云，丛树列布，意境幽深。画作富有诗意，画法精细工谨，细致入微。通幅大青绿着色，色彩艳丽深重。方薰在《山静居论画》中说：“设色不以深浅为难，难于色彩相合，合则神气生动。”此图将滴翠的石绿、秀雅的淡赭、温润的墨色自然和谐地统一在一起，具有一种雅俗共赏的艺术效果。此图为仇英青绿山水画的代表作之一。\n据徐石雪题跋考证，画中主人公为项元淇。仇英此图是应项元淇之约而作。项元淇，字子瞻，号少岳。工诗文，善草书，著名收藏家项元汴之兄。图中项氏襟带飘然，风度高雅，四周环境清幽，景色宜人，宛如人间仙境。裱边有董其昌、昆虔、徐宗浩题跋。经清内府收藏，后为徐石雪所得。",[7,241,28,27,26,29,34,175,109,108,106,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b542990eb17d240c9f1d39023cb377.jpg","纵150厘米，横53厘米",[],{"id":36055,"slug":36056,"title":36057,"dynasty":18,"author":1616,"museum":36058,"description":36059,"tags":36060,"thumbUrl":36061,"material":803,"size":36062,"collection":139,"collections":36063,"showCount":35861,"zanCount":5,"manualWeight":48,"mainColor":49},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,209,7,24,25,27,29,177,28,864,297,174,430,175,281,108,109,1016,106,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":36065,"slug":36066,"title":36067,"dynasty":189,"author":1672,"museum":206,"description":36068,"tags":36069,"thumbUrl":36070,"material":803,"size":36071,"collection":139,"collections":36072,"showCount":35861,"zanCount":48,"manualWeight":48,"mainColor":94},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[209,7,24,25,173,29,177,178,227,491,13201,1015,4614,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 横89.4cm",[],{"id":36074,"slug":36075,"title":36076,"dynasty":54,"author":2610,"museum":364,"description":36077,"tags":36078,"thumbUrl":36079,"material":139,"size":139,"collection":139,"collections":36080,"showCount":35861,"zanCount":5,"manualWeight":48,"mainColor":49},231009,"ta-xue-xun-mei-tu-li-zhou-han-huang-231009","踏雪寻梅图立轴","淡墨晕开萧寒天地，残雪覆住荒寂山径，老梅枯桠横斜枝头，暗吐细蕊晕开浅淡生机。\n策驴人身裹绯色锦袍，在灰冷雪景中撞出融融暖意，宽斗笠掩去眉眼，只余垂敛悠然的姿态，似正循着暗香缓行。以枯淡墨色皴出山岩残雪，驴蹄轻踏积雪，寥寥数笔便勾勒出冬日清寂意趣，简淡笔触藏着雅逸文思。\n水墨铺就荒寒底色，一点艳红点亮画面，冷暖对冲间，将踏雪探春的幽居雅兴融在萧寒景致中，淡远空灵，尽显文人冬日寻幽的诗意闲情。",[23,12761,7,24,241,27,106,8989,448,2124,1351,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38b2ea6613a1a34c5f1e5c9936e5a58.jpg",[],{"id":36082,"slug":36083,"title":36084,"dynasty":76,"author":5208,"museum":364,"description":36085,"tags":36086,"thumbUrl":36087,"material":139,"size":139,"collection":139,"collections":36088,"showCount":35861,"zanCount":48,"manualWeight":48,"mainColor":94},229007,"shui-mo-shan-shui-ce-gong-xian-229007","水墨山水册","此作用笔沉郁苍润，以积墨手法反复皴染，将山石的厚重朴拙、林木的葱郁劲健尽皆铺陈。左侧丘峦缓坡之上，山居孑立，檐角轻挑隐于青嶂间，似藏幽人栖居之趣。右侧林木错落，浓淡墨色分出层叠深浅，与留白的水色相映，晕染出空濛悠远的江上晚景。\n整幅画境清寂萧散，墨色的虚实相生里藏着绝尘避世的安宁，题款与画作相映，更添文人情致，将江南山水的静穆淡远揉进方寸之间，尽显幽淡空和的林下之风。",[7,24,209,173,177,29,175,430,176,37,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30802f84640b4220fab4b0c4f3708cb1.jpg",[],{"id":36090,"slug":36091,"title":36092,"dynasty":76,"author":1109,"museum":364,"description":36093,"tags":36094,"thumbUrl":36095,"material":139,"size":139,"collection":139,"collections":36096,"showCount":35861,"zanCount":48,"manualWeight":48,"mainColor":94},228998,"she-se-shan-shui-ce-shi-tao-228998","设色山水册","此作以虚实相生之趣写山林幽境，主峰半隐于翻涌云海间，一道飞瀑垂落，破开山石沉凝。留白衬出云气的空濛氤氲，干湿浓淡的水墨晕染出山峦苍润肌理。右下亭台隐于深林，坡岸幽草间似有幽人卧看云起，野趣横生。两枚朱红点染左上，为水墨素朴添了古雅意趣。\n\n笔墨简淡却丘壑暗藏，以意造境，将江南山林的静穆萧散尽显，仿佛能聆听到瀑声潺潺，嗅见草木清芬，于尺幅之间尽显林泉高致，藏着文人山水独有的幽寂禅意与雅逸情怀。",[7,27,173,29,107,558,37,176,299,106,227,177,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae6fd993ba1f516bdea0e22920187e0.jpg",[],{"id":36098,"slug":36099,"title":36100,"dynasty":99,"author":1480,"museum":364,"description":36101,"tags":36102,"thumbUrl":36103,"material":139,"size":139,"collection":139,"collections":36104,"showCount":35861,"zanCount":48,"manualWeight":48,"mainColor":94},228470,"shan-shui-ren-wu-tang-yin-228470","山水人物","此作用笔清隽淡远，以留白铺陈出漫山雪意，崖壁枯木虬曲苍劲，瘦硬枝桠如铁戟凌冬，尽显萧寒荒疏之境。危岩之间栈道萦回，白衣策杖的高士独立崖头，孑然身影衬出天地寥廓，似在静览山光，暗合文人幽寂疏放的襟怀。\n\n画幅左上题诗与朱红印章相映成趣，诗画相融。以极简淡墨皴擦山石肌理，将冬山冷峻空寂的意境晕染尽致，笔意简括却藏着沉郁文思，把山水作为情志寄寓之所，淡远空灵间，尽显世外幽人不与俗同的清高气骨。",[7,24,173,177,29,106,1015,176,1664,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e44cbc58b4a9b4b74676cca05cca0ac.jpg",[],{"id":36106,"slug":36107,"title":36108,"dynasty":18,"author":1616,"museum":364,"description":36109,"tags":36110,"thumbUrl":36111,"material":139,"size":139,"collection":139,"collections":36112,"showCount":35861,"zanCount":5,"manualWeight":48,"mainColor":94},227969,"guan-mei-du-shu-tu-li-tang-227969","观梅读书图","虬曲老梅横斜而出，枝桠如屈铁般苍劲疏朗，残蕾轻缀梢头，古藤垂曳更添荒寒之致。右下角淡墨晕染出远山坡岸，幽林掩映间，坡下士人凭坐观梅静读，全然融入冷寂清旷的氛围中。\n\n笔法简劲老辣，以干湿浓淡的墨色晕染出空濛早春的清冷氛围感，留白铺陈出幽远意境。将文人耽于林泉、寄情梅下的雅趣藏于萧寒景致里，把观梅闲读的幽居况味和清雅荒寒的意境融为一体，尽显小品极简含蓄的意趣，是文人心中理想栖居图景的缩影。",[23,7,209,1562,28,173,177,29,448,394,1653,245,106,14604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8f248e33ae44c43fac3cc6f2f01bc7.jpg",[],{"id":36114,"slug":36115,"title":36116,"dynasty":18,"author":293,"museum":364,"description":36117,"tags":36118,"thumbUrl":36120,"material":139,"size":139,"collection":139,"collections":36121,"showCount":35861,"zanCount":48,"manualWeight":48,"mainColor":94},227561,"mo-zhou-fang-gong-ji-diao-qin-tu-quan-juan-yi-ming-227561","摹周昉宫妓调琴图全卷","《调琴啜茗图》，又名《弹琴仕女图》、《宫妓调琴图》，传为周昉所作，并为其仕女画的代表之作。图绘三位坐于庭院的贵妇，在两位侍女的陪伴下，或把弹调音、或托盏品茶，表现出贵族妇女闲散恬静的生活。《调琴啜茗图》现存多幅摹本，如纳尔逊-阿特金斯艺术博物馆收藏的完成于宋代的绢质摹本、弗利尔美术馆收藏的绘制于明代的纸质摹本、京都国立博物馆收藏的带有仇英款的绢质摹本。极为巧合的是辽宁省博物馆收藏有两卷《调琴啜茗图》，一件为清宫旧藏，曾经《石渠宝笈》续编著录，署款“周昉”，实为后人仿本。另一件则为清代扬州画家管希宁所摹。两件与前述作品均作同一主题内容，今展出者为清宫旧藏之本。",[23,7,209,25,105,28,27,106,59,36119,210,6605,245,430,227,65,17563],"宫妓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a8be6ac76555b6613aa727cae2fb3c.jpg",[],{"id":36123,"slug":36124,"title":36125,"dynasty":18,"author":6501,"museum":364,"description":36126,"tags":36127,"thumbUrl":36130,"material":139,"size":139,"collection":139,"collections":36131,"showCount":35861,"zanCount":48,"manualWeight":48,"mainColor":49},227519,"yan-jiang-die-zhang-wang-shen-227519","烟江叠嶂","《烟江叠嶂图》是宋代画家王诜创作的一幅设色画，现藏于上海博物馆。\n《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。",[23,7,1397,36128,25,26,177,649,7741,37,36129,1250,36125],"设色画","溪瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4632dd73f474257bd583fa36c4a4a423.jpg",[],{"id":36133,"slug":36134,"title":998,"dynasty":18,"author":36135,"museum":364,"description":36136,"tags":36137,"thumbUrl":36138,"material":139,"size":139,"collection":139,"collections":36139,"showCount":35861,"zanCount":1547,"manualWeight":48,"mainColor":94},227398,"qiu-kui-tu-li-da-zhong-227398","李大忠","画面写秋葵一枝，工笔钩勒填彩。秋葵之花瓣用粉细勾，叶用重绿，重彩渲染，布局谨严，一丝不苟，姿韵生动。两朵盛开的花与疏疏的几枝叶，充分表现出秋葵的神态。该图堪称南宋院体画的精品，是南宋写生画的绝妙之作。",[23,209,7,24,1562,28,27,83,1002],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20f76969895d93adc7c35e9fffc51bc.jpg",[],{"id":36141,"slug":36142,"title":36143,"dynasty":76,"author":3732,"museum":364,"description":36144,"tags":36145,"thumbUrl":36146,"material":139,"size":139,"collection":139,"collections":36147,"showCount":35861,"zanCount":48,"manualWeight":48,"mainColor":94},224581,"ci-lian-tu-zhou-jiang-ting-xi-224581","赐莲图轴","此作用笔秀逸工致，瓶身釉色晕染细腻，冰裂纹饰古朴沉静，莲茎舒展挺秀，两朵白莲瓣脉柔润，清妍雅致，荷叶以浓淡墨色晕染，尽显舒展自然之态，将芙蕖出尘之姿与清供古雅之美相融。左上题字清雅舒展，与画面相得益彰，兼具院体工笔的精细工整与文人画的冲淡意趣，整体意境清逸娴静，尽显文房清供的恬淡雅致，将案头赏玩的闲情逸趣诉诸笔端，是极具意韵的写生佳作。",[23,7,241,67,28,27,136,137,11566,84,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f80e41463c6d0100002a7885112251.jpg",[],{"id":36149,"slug":36150,"title":36151,"dynasty":99,"author":36152,"museum":364,"description":36153,"tags":36154,"thumbUrl":36155,"material":139,"size":139,"collection":181,"collections":36156,"showCount":35861,"zanCount":5,"manualWeight":48,"mainColor":94},224548,"shu-hua-ce-ye-xiao-yun-cong-wang-shi-zhen-224548","书画册页","萧云从 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，生卒年不详，约活动于康熙、雍正年间。字芬若，号芝仙，江苏常熟人。少从王士祯学诗，诗体近李贺，擅画花卉及白描人物，线条生动，名盛一时。二十岁时出游京师，数十年仅回乡一次。",[7,24,241,260,28,106,59,10443,12876,10854,12877,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd148ea9e16bb0d745cc44e58dfa559.jpg",[44],{"id":36535,"slug":36536,"title":36537,"dynasty":76,"author":9039,"museum":20,"description":36538,"tags":36539,"thumbUrl":36540,"material":139,"size":139,"collection":90,"collections":36541,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},237150,"yi-tuan-fu-gui-tu-zhou-zhao-zhi-qian-237150","一团富贵图轴","赵之谦（1829年8月8日 －1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。 在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[7,24,241,27,83,327,244,227,86,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ed4d9db10b63206fec6a4df1288307.jpg",[90,45],{"id":36543,"slug":36544,"title":14086,"dynasty":76,"author":5052,"museum":364,"description":12208,"tags":36545,"thumbUrl":36546,"material":743,"size":744,"collection":139,"collections":36547,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":94},237148,"hong-ren-shan-shui-zhou-hong-ren-237148",[7,209,241,173,177,29,35,340,34,176,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43ba76815e5b779027b07a80eaa2cd4.jpg",[],{"id":36549,"slug":36550,"title":36551,"dynasty":76,"author":36552,"museum":364,"description":36553,"tags":36554,"thumbUrl":36555,"material":803,"size":139,"collection":44,"collections":36556,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},237083,"jiang-feng-shi-nv-ce-jiang-feng-237083","蒋峰仕女册","蒋峰","仕女画在中国传统绘画中属于人物画的范畴，但由于它以女性为描绘对象，通过塑造优美动人的妇女形象，来反映当时的社会生活，传达特定的艺术趣味和审美观念，在题材内容、思想内涵、创作方法、表现形式等方面都有独特之处，其肇始、成熟、演变、发展的历史轨迹也不全与人物画同步，因此，它已成为中国绘画中的一个独立画科，其艺术传统还一直延续到今天，对当代的国画、年画，以及牙雕、玉器、雕漆、宫灯、花丝镶嵌等工艺品有着不可忽视的影响。",[7,24,81,27,28,106,59,210,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f5e9f674e02a1ae624093d9b343a35.jpg",[44],{"id":36558,"slug":36559,"title":36560,"dynasty":76,"author":6671,"museum":364,"description":36561,"tags":36562,"thumbUrl":36563,"material":139,"size":139,"collection":139,"collections":36564,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},235782,"yu-shan-zhu-xian-he-bi-ce-ju-hua-ce-ye-yang-jin-235782","虞山诸贤合璧册-菊花册页","此作以淡墨写意绘秋菊，花枝挺秀舒展，淡赭晕染花瓣，勾勒出蓬松柔润的花形，疏密间尽显秋菊凌霜之姿。叶片以浓淡墨色分出阴阳向背，笔意疏朗清逸，无一笔冗赘。\n搭配右侧题诗，诗画相映，借秋菊明志，抒发出幽居田园、不畏清寒的隐逸襟怀。画风清隽雅致，将花卉情态与文人风骨相融，淡而有味，简中见韵，尽显文人花鸟小品悠然隽永的意趣。",[7,24,81,27,83,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2663c37389e497ee30df241718774aff.jpg",[],{"id":36566,"slug":36567,"title":36568,"dynasty":76,"author":953,"museum":364,"description":1683,"tags":36569,"thumbUrl":36570,"material":743,"size":744,"collection":139,"collections":36571,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":94},235406,"tao-hou-tu-zhou-ren-yi-235406","桃猴图轴",[7,24,241,27,957,12940,2930,1062,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91447d55f5265c58f0b6e0a06c907bb.jpg",[],{"id":36573,"slug":36574,"title":36575,"dynasty":76,"author":2804,"museum":364,"description":36576,"tags":36577,"thumbUrl":36578,"material":139,"size":139,"collection":139,"collections":36579,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":94},235244,"li-ju-ping-zhou-wu-chang-shuo-235244","篱菊屏轴","此作以阔笔泼墨绘就葫芦秋架，枯笔写藤蔓，遒劲如铁，盘绕交错尽显野逸生机。葫芦以淡彩晕染，黄润清透，将秋实饱满的质感尽显，墨叶泼辣淋漓，浓淡铺陈相宜，苍润兼具。\n\n左侧题画诗文笔苍朴，篆隶笔法老辣厚重，诗画呼应相融，将田园秋意与文人逸趣合二为一。整幅下笔雄浑朴拙，以金石意趣入画，寥寥数笔便定格秋日架上鲜活意态，朴拙间见灵秀蓬勃，尽显大写意花鸟的盎然生机与沉厚韵味。",[7,24,241,173,27,446,83,2314,697,698,1308,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5000c77ba43cc4203afefb648a729f86.jpg",[],{"id":36581,"slug":36582,"title":36583,"dynasty":99,"author":36584,"museum":20,"description":36585,"tags":36586,"thumbUrl":36587,"material":990,"size":139,"collection":139,"collections":36588,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,7,24,25,27,28,173,29,106,174,109,34,150,1410,7741,394,175,900,4562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":36590,"slug":36591,"title":6157,"dynasty":99,"author":170,"museum":20,"description":6158,"tags":36592,"thumbUrl":36593,"material":803,"size":6161,"collection":139,"collections":36594,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},234094,"wu-zhong-shan-shui-ce-shen-zhou-234094",[7,24,81,173,29,178,227,177,86,108,109,34,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281cd9bcebb3bee363a0e64bf0753972.jpg",[],{"id":36596,"slug":36597,"title":10540,"dynasty":76,"author":2324,"museum":364,"description":36598,"tags":36599,"thumbUrl":36600,"material":803,"size":36601,"collection":139,"collections":36602,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},232892,"hua-niao-tu-li-zhou-li-shan-232892","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[23,7,24,241,173,446,136,137,12489,83,2522,367,224,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],{"id":36604,"slug":36605,"title":36606,"dynasty":189,"author":1848,"museum":206,"description":36607,"tags":36608,"thumbUrl":36609,"material":2290,"size":36610,"collection":139,"collections":36611,"showCount":270,"zanCount":1547,"manualWeight":48,"mainColor":49},231333,"zhong-shan-tu-yuan-dai-ji-jin-zhi-si-wu-zhen-231333","中山图-元代集锦之四","《中山图》绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。\n吴镇的艺术精髓在这副平淡无比的画作中体现无遗，《中山图》平铺直叙的描绘了再平凡不过的景象：七座山头大致左右对称簇拥一座主峰，即画题中的“中山”。较高大的山峰全都是特殊的平顶圆锥形，侧面微微隆起，这是吴镇绘画典型的造型。这几座山峰周边散布着山峦丘陵起起伏伏，一如荡漾的波浪；无论大小浓淡全都只有几种简单的形状；山峦没有真正的远近之别。谷间的树木被描绘得相当大，还有山头上灌木丛，几座山峰相形之下也显得不那么高峻。\n画中没有溪流、瀑布、人物、屋宇，甚至小径等等点缀。画面也没有表现任何能够显示季节和气候的特征，更没有云雾这种“通山川之气”的物象可以暗示流动或变化，全画沉浸在一种永恒的沉寂之中。即使在元代绘画之中也很难找到另外一幅画比《中山图》更显平静的。画中疏朗闲放的笔法，反复出现的简单物象在视觉上安抚镇定的效果，充分体现了平淡的境界。",[7,24,173,29,177,864,652,34,1575,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75ab4b46854a6856c1d08010e0d4333.jpg","26.4cmx90.7cm",[],{"id":36613,"slug":36614,"title":36615,"dynasty":18,"author":293,"museum":206,"description":36616,"tags":36617,"thumbUrl":36618,"material":123,"size":36619,"collection":42,"collections":36620,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":49},231057,"fu-gui-hua-li-tu-yi-ming-231057","富贵花狸图","枝桠遒劲舒展，牡丹素瓣柔润晕染，似凝露轻绽。花叶疏密错落，暗衬盛放雍容。花狸伏身软草间，墨白毛色过渡自然无痕，双目凝注身前游虫，警觉中带着憨柔慵懒，将灵动感藏于静息姿态。\n\n整幅设色古雅沉静，绢底旧调晕开澹澹古韵，工细写实中带着雅致意趣，将繁花雍容与狸奴野趣相映成趣，闲静画面里暗涌鲜活生机，于清淡古拙间晕开平和悠然的氛围感，尽显小景中的雅致禅意。",[23,7,209,241,28,27,83,327,956,1064,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8509dd73930dd4201e8b570bf5528f6.jpg","141x107.5",[42],{"id":36622,"slug":36623,"title":4045,"dynasty":76,"author":953,"museum":364,"description":36624,"tags":36625,"thumbUrl":36626,"material":139,"size":139,"collection":139,"collections":36627,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":94},230127,"hua-niao-ce-ye-ren-yi-230127","画面设色秀雅清润，两只山雀依偎枝桠，翎毛晕染细腻柔和，憨态可掬尽显亲昵意趣。月季柔瓣轻展，粉色素净雅致，枝叶皴染结合，深浅浓淡晕开蓬勃生机。右上方题字笔意隽秀，与画面相映成趣。整体构图疏朗空灵，以兼工带写之法，将草木柔态与禽鸟灵动融为一体，把寻常花鸟小景绘成充满温情的雅致小品，晕染出恬淡悠然的江南雅韵，尽显清隽婉约的文人画意趣。",[7,24,81,27,83,28,227,224,62,16765,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb68230908224e58f73ae2820e23e446.jpg",[],{"id":36629,"slug":36630,"title":36631,"dynasty":189,"author":2471,"museum":364,"description":36632,"tags":36633,"thumbUrl":36634,"material":743,"size":744,"collection":139,"collections":36635,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},228264,"you-gu-xian-chun-ce-ye-wang-mian-228264","幽谷先春册页","三阳腊底渐敷宣，幽谷寒梅得气先；吐萼独标百花首，含苞已露早春前。琼姿应是瑶台侣，玉骨欣逢阆苑仙；诗兴漫从雪中觅，画图省识冷香传。款：嘉庆甲子新正上澣御题。钤印二：嘉。庆。",[23,209,7,24,81,173,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71783c73ddb4cf2c5ef39924e309c3a.jpg",[],{"id":36637,"slug":36638,"title":36639,"dynasty":189,"author":33252,"museum":364,"description":36640,"tags":36641,"thumbUrl":36642,"material":743,"size":744,"collection":139,"collections":36643,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},228159,"yu-shan-hua-niao-tu-ce-gu-ying-228159","玉山 花鸟图册","顾瑛为粱代画家顾野王的第二十五代后人，是中国艺术史上显耀一时之“玉山雅集”召集者，与元末黄公望、王蒙、倪瓒、赵雍、马琬、杨维桢、张雨、曹知白、柯九思、唐棣、张渥、赵原、陈惟允、柏子庭、周砥诸文人画家有着广泛交往。作为历史上重要书画藏家，早在20世纪80年代，顾瑛就被海外学者从中国画史、书画鉴藏史的角度来进行认识。",[23,7,27,81,28,83,449,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99371dcaffeee312fa059b43571283b4.jpg",[],{"id":36645,"slug":36646,"title":36647,"dynasty":18,"author":293,"museum":364,"description":36648,"tags":36649,"thumbUrl":36650,"material":139,"size":139,"collection":139,"collections":36651,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":94},227381,"qiu-hua-tu-ye-yi-ming-227381","秋花图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。",[23,209,7,24,5990,28,27,83,84,5309,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566273ba43fdaceaabf6298b88025aa3.jpg",[],{"id":36653,"slug":36654,"title":36655,"dynasty":76,"author":1109,"museum":364,"description":36656,"tags":36657,"thumbUrl":36658,"material":139,"size":139,"collection":139,"collections":36659,"showCount":270,"zanCount":1356,"manualWeight":48,"mainColor":94},224521,"shan-shui-tu-ce-8-kai-7-shi-tao-224521","山水图册8开-7","此作以高远之法取景，陡崖奇崛凌霄，枯笔皴擦写出山石嶙峋肌理，勾勒出峭拔苍劲的山势。崖畔林麓隐着古寺，山道间策杖行旅徐行，松下石台点缀幽境，留白处淡墨晕染云海，虚实相生，漾出空山幽寂之韵。\n\n笔墨干湿互用，松针勾勒劲挺老辣，题款小字清隽雅致，朱红印章点染提亮，既有黄山风骨，又自具萧散疏朗的文人意趣，将天地浩渺与林泉幽怀相融，藏着以造化为师的灵思，尽显山水间悠然淡远的禅意。",[23,209,7,24,81,173,27,177,29,106,34,176,37,107,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a6020bb641d0c028408138c6b6de59.jpg",[],{"id":36661,"slug":36662,"title":36663,"dynasty":292,"author":293,"museum":364,"description":36664,"tags":36665,"thumbUrl":36666,"material":743,"size":744,"collection":139,"collections":36667,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":49},223656,"shi-jia-mu-ni-fu-tu-yi-ming-223656","释迦牟尼佛图","释迦牟尼，佛教创始人。姓乔答摩，名悉达多。“释迦牟尼”（Śākyamuni）是佛教徒对他的尊称。释迦，种族名，意为“能”；牟尼，亦译为“文”，是尊称，意为“仁”、“儒”、“忍”、“寂”。合为“能仁”、“能儒”、“能忍”、“能寂”等，意即释迦族的“圣人”。",[23,7,24,27,106,259,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cc36a64a84fc986ad994576078d911.jpg",[],{"id":36669,"slug":36670,"title":36671,"dynasty":99,"author":293,"museum":206,"description":36672,"tags":36673,"thumbUrl":36674,"material":665,"size":36675,"collection":139,"collections":36676,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":49},223375,"chu-jing-tu-yi-ming-223375","出警图","此卷全本共两件，《出警图》和《入跸图》，皇帝出京称出警，回京称入跸。此图卷描绘明世宗由陆路谒陵的情景。庞大的皇家谒陵队伍，由北京城得胜门出发，画家沿途舖设，盛大的卫仪阵容，直至皇帝谒陵的目的地。",[23,7,24,25,27,28,106,150,29,34,15028,5190,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba7555859181efb34e956d465f1006b.jpg","92.1×2601.3cm",[],{"id":36678,"slug":36679,"title":36680,"dynasty":99,"author":4904,"museum":206,"description":36681,"tags":36682,"thumbUrl":36684,"material":619,"size":36685,"collection":181,"collections":36686,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":49},222175,"tian-chi-shi-bi-zhou-lu-zhi-222175","天池石壁轴","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,7,241,1397,27,177,36683,30,34,1575,1255,1247,176,37,227],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07d9dc6fb51d4ebd3729366331c84f8.jpg","本幅 70.6x30.3公分、全幅 44.5公分",[181,163],{"id":36688,"slug":36689,"title":36690,"dynasty":99,"author":36691,"museum":101,"description":36692,"tags":36693,"thumbUrl":36694,"material":36695,"size":36696,"collection":181,"collections":36697,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},222053,"hou-chi-bi-tu-juan-zhang-rui-tu-222053","后赤壁图卷","张瑞图","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[23,7,24,25,173,177,86,178,29,394,1015,176,245,175,106,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[181,163],{"id":36699,"slug":36700,"title":36701,"dynasty":189,"author":351,"museum":364,"description":36702,"tags":36703,"thumbUrl":36704,"material":665,"size":36705,"collection":90,"collections":36706,"showCount":270,"zanCount":1547,"manualWeight":48,"mainColor":49},221705,"shu-tu-qian-xuan-221705","鼠图","他画的《黠鼠图》是目前我们所能见到的最早的一件画鼠作品。\n画中的老鼠正在偷食瓜果，每个老鼠的形态不一，笔触细腻，老鼠的狡黠形象跃于纸上。",[23,7,24,27,28,7819,957,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d4a9ecece2b0a34a04e94dee2d0a5.jpg","24.3 27.3",[90,45],{"id":36708,"slug":36709,"title":36710,"dynasty":18,"author":1827,"museum":1985,"description":36711,"tags":36712,"thumbUrl":36714,"material":8710,"size":36715,"collection":42,"collections":36716,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":49},221494,"long-gu-che-tu-li-song-221494","龙骨车图","李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》、《水殿招凉图》，《观潮图》、《西湖图》、《仙山瑶涛图》，《骷髅幻戏图》、《观灯图》、《柳塘聚禽图》、《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,7,28,27,104,36713,151,106,244],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a05840e2dc8620ab8a0852363b3faea.jpg","25.626.4cm",[42,44,163],{"id":36718,"slug":36719,"title":36720,"dynasty":18,"author":1827,"museum":206,"description":36721,"tags":36722,"thumbUrl":36724,"material":827,"size":36725,"collection":42,"collections":36726,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":49},221489,"yue-ye-kan-chao-tu-li-song-221489","月夜看潮图","这幅「月夜看潮」图，所画即南宋时临安(今浙江杭州)中秋夜观海潮的情形。高悬的明月下，浪潮卷涌成一直线地奔驰而来;江畔华美的平台阁楼上，隐约可见有人穿梭、呼指着。整个画面没有拥塞的车水马龙、也没有激情喧闹的人海，取而代之的是远山江帆、月影银涛，一幕祥和而又没有纷扰的景致。",[23,7,27,104,29,107,174,300,34,36723,227],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe131ee4ef3a1bf68a965799b0b4a1826.jpg","纵22.3厘米，横22厘米",[42,181,45],{"id":36728,"slug":36729,"title":16081,"dynasty":189,"author":2519,"museum":20,"description":8842,"tags":36730,"thumbUrl":36731,"material":3076,"size":36732,"collection":163,"collections":36733,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":49},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839",[23,7,24,209,241,173,260,394,242,245,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[163,2293],{"id":36735,"slug":36736,"title":36737,"dynasty":99,"author":22400,"museum":9181,"description":36738,"tags":36739,"thumbUrl":36740,"material":36741,"size":36742,"collection":139,"collections":36743,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":139},220727,"qi-shi-qing-feng-tu-xia-chang-220727","奇石清风图","夏昶，字仲昭，号自在居士，江苏昆山人，以其墨竹闻名。自北宋文同以来，士大夫因竹具有劲节、虚心、傲霜等特性，常画写墨竹以寄兴。夏昶画竹主要学自王绂，亦多留有以王绂「墨竹山水」构图画成的作品。然夏昶笔墨的浓淡对比较王绂更为强烈，且所绘物象更重视几何造型趣味，其近乎平面的山石形态尤为明显。虽然明人曾评夏昶的竹石亚于其师王绂，但夏昶竹的画名仍远播朝鲜、日本。当时甚至流传有「夏卿一个竹，西凉十锭金」的说法，其竹画广受欢迎的程度，可见一斑。\n\n此画绘奇石从坡岸斜出，后有竹子数株。奇石形状方整，石面遍施墨染，轮廓以较深墨笔勾出，间以侧笔劈坎出岩面质理。画中的倒「丌」字型竹节与呈「个」字「人」字层层交叠的竹叶画法，亦常见于王绂与夏昶的其他作品中。至于远近的竹叶，则分别以浓淡不同之墨色画出。前景竹干随风向右侧倾斜，加上竹梢叶片的转折与叶片的燕尾，更加强了风势的效果。如此充满韵律与生趣的笔墨构图，正是夏昶晚期作品的特征。据画中所钤「太常少卿之章」印推测，作品应绘成于夏昶领有太常少卿衔之时，即1452年至1457年间。",[23,7,24,241,173,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ceaf4691d89c984035a74bab12310a.jpg","水墨,绢本,立轴","画心：172.5 × 86.2厘米装裱：269.3 × 103.3厘米",[],{"id":36745,"slug":36746,"title":22562,"dynasty":76,"author":1394,"museum":20,"description":36747,"tags":36748,"thumbUrl":36749,"material":803,"size":36750,"collection":181,"collections":36751,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},220349,"shan-shui-tu-zhou-wang-shi-min-220349","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[7,24,241,173,177,29,864,297,34,35,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a2667da6534125cad061d2aa34ff5d.jpg","纵135厘米,横63厘米",[181],{"id":36753,"slug":36754,"title":36755,"dynasty":99,"author":7722,"museum":206,"description":36756,"tags":36757,"thumbUrl":36758,"material":88,"size":36759,"collection":181,"collections":36760,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},220139,"han-shan-gao-yi-tu-zhang-hong-220139","寒山高逸图","张宏（1577-1652后）字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州）人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[7,24,241,173,27,29,176,1015,106,35,561,650,560,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55adcf750f0530ec73bbae83ff894f8e.jpg","184.3x59厘米",[181,45],{"id":36762,"slug":36763,"title":36764,"dynasty":76,"author":36765,"museum":515,"description":36766,"tags":36767,"thumbUrl":36768,"material":381,"size":36769,"collection":181,"collections":36770,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":49},220032,"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","此幅吴远度云是仿北宋初李成画法，实则借名而已，皴法已带唐伯虎乱柴皴法度，构图渲染全是金陵画派作风，然江天开阔，渔隐互答，远度此幅尤允佳品。",[23,7,24,1397,241,27,177,107,108,109,174,34,176,35,111,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[181],{"id":36772,"slug":36773,"title":36774,"dynasty":99,"author":170,"museum":1806,"description":1807,"tags":36775,"thumbUrl":36777,"material":88,"size":1810,"collection":139,"collections":36778,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},220018,"dong-zhuang-tu-ce-zhi-zhu-tian-shen-zhou-220018","东庄图册之竹田",[23,7,173,29,242,81,177,36776,35,1445,491,10416,8891],"田地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8e87a0381a50c5450296ebf70e92533.jpg",[],{"id":36780,"slug":36781,"title":36782,"dynasty":189,"author":10811,"museum":206,"description":36783,"tags":36784,"thumbUrl":36785,"material":27,"size":36786,"collection":90,"collections":36787,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":49},219896,"ying-zhu-hua-mei-zhou-wang-yuan-219896","鹰逐画眉轴","此帧画一只苍鹰自空中急速俯冲而下，即将迫及画眉，画眉则张口失声伧促逃窜，一幕弱肉强食的情况活跃在纸上。全幅用笔甚工，设色温雅，颇有宋画遗风。",[23,209,7,24,241,28,173,27,83,281,1062,299,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c0da1dc68285a385d2a617339a9ad.jpg","117.2x53.3公分",[90],{"id":36789,"slug":36790,"title":36791,"dynasty":99,"author":19836,"museum":206,"description":36792,"tags":36793,"thumbUrl":36794,"material":88,"size":139,"collection":44,"collections":36795,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":94},219650,"shou-xing-tu-zhu-zhan-ji-219650","寿星图","明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日—1435年1月31日在位）、书画家，年号“宣德”。",[7,24,106,27,28,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e610390b67ca78dfcbe69d37be9a06.jpg",[44],{"id":36797,"slug":36798,"title":36799,"dynasty":76,"author":293,"museum":132,"description":36800,"tags":36801,"thumbUrl":36802,"material":123,"size":36803,"collection":44,"collections":36804,"showCount":270,"zanCount":1270,"manualWeight":48,"mainColor":49},219453,"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[23,7,25,27,28,106,150,29,34,16881,31402,6922,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[44,181],{"id":36806,"slug":36807,"title":36808,"dynasty":189,"author":10235,"museum":206,"description":36809,"tags":36810,"thumbUrl":36811,"material":342,"size":36812,"collection":90,"collections":36813,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":49},219360,"wan-xiang-gao-jie-tu-ke-jiu-si-219360","晚香高节图","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。",[209,7,173,446,177,242,431,453,1064,1966,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ea458d2092b5764321504018ff651.jpg","126.5厘米，横75.2厘米",[90],{"id":36815,"slug":36816,"title":8502,"dynasty":292,"author":25715,"museum":238,"description":36817,"tags":36818,"thumbUrl":36819,"material":67,"size":139,"collection":181,"collections":36820,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":49},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[23,7,1397,177,27,29,107,108,109,174,176,34,175,491,37,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[181],{"id":36822,"slug":36823,"title":10810,"dynasty":18,"author":8156,"museum":132,"description":36824,"tags":36825,"thumbUrl":36826,"material":123,"size":36827,"collection":90,"collections":36828,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":49},218882,"tao-zhu-jin-ji-tu-ma-ben-218882","马氏家族绘画代代相传，必然有一些绘画技法是代代相传的。从这个角度，我们可以看到，《桃竹锦鸡图》右边的桃树枝干部分，与马远《西园雅集图》等作品中的树干画法，非常接近，都是直来直去的描绘方式；《桃竹锦鸡图》中非常显眼的燕子，与收藏在日本大和文华馆的马远《竹燕图》，存在非常明确的一致性。竹子的画法与传世马远多件绘画中的竹子，更是接近。通过这些细节的全面比较，可以判断：《桃竹锦鸡图》是马氏家族的作品。\n《桃竹锦鸡图》从时间坐标上看，是宣和时代；从绘画特征来看，是马氏家族；那么，按照逻辑，《桃竹锦鸡图》的作者就是马贲。马贲的生活时代跨北宋神宗、哲宗、徽宗，比崔白、吴元瑜等画家的活动时间略晚10-20年。他是南宋大画家马远的曾祖父，马氏五代绘画家族的第一代人物。他的晚期作品，受宣和时代影响，应该具有典型的宣和画家绘画意识。",[7,209,24,28,27,83,2930,242,1586,245,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1576814ae297b450aa13cc8ea4cb67.jpg","21x22cm",[90],{"id":36830,"slug":36831,"title":36832,"dynasty":18,"author":10088,"museum":206,"description":36833,"tags":36834,"thumbUrl":36835,"material":123,"size":36836,"collection":181,"collections":36837,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":49},218880,"fang-dai-tu-yan-wen-gui-218880","访戴图","在这幅画中，雪白的溪水无声无息，戴逵的另一处房屋隐藏在溪水边的树林中。",[23,209,7,173,27,177,1397,29,34,1015,35,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40533f611ebb8113ef7135e83a646b99.jpg","22.1x24.6",[181],{"id":36839,"slug":36840,"title":36841,"dynasty":18,"author":293,"museum":78,"description":36842,"tags":36843,"thumbUrl":36844,"material":123,"size":36845,"collection":44,"collections":36846,"showCount":270,"zanCount":1547,"manualWeight":48,"mainColor":49},218588,"ren-wu-gu-shi-tu-juan-ying-luan-tu-yi-ming-218588","人物故事图卷（迎銮图）","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[23,7,209,24,25,27,28,106,150,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8a11479e4109b860eb40b23814c4d0.jpg","横142.2厘米，纵26.7厘米",[44],{"id":36848,"slug":36849,"title":31960,"dynasty":18,"author":32274,"museum":7359,"description":36850,"tags":36851,"thumbUrl":36852,"material":123,"size":139,"collection":181,"collections":36853,"showCount":270,"zanCount":5,"manualWeight":48,"mainColor":1335},218234,"qiu-dong-shan-shui-tu-yan-ci-ping-218234","墨痕流转间，铺展秋冬清旷之境。近坡古木虬枝，皴擦如老鳞，凝着霜天寒意；中渚水面空濛，一叶孤舟静卧，添了几分寂寥；远山淡抹如烟，隐入云霭，层叠间藏着深远。笔墨简劲却意韵悠长，线条勾勒刚柔相济，墨色晕染浓淡相宜。枯木枝桠横斜，似在风中低语；山石错落，尽显苍劲肌理。秋冬交替的荒寒之美与静谧之趣悄然融合，尽显宋画山水的雅致深邃，引人沉入那片烟水茫茫的悠远意境里。",[209,7,24,241,173,177,29,34,176,174,281,1653,394,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfcc4b8c4cb176ad1d96d67695e9810.jpg",[181],{"id":36855,"slug":36856,"title":36857,"dynasty":99,"author":36858,"museum":132,"description":36859,"tags":36860,"thumbUrl":36861,"material":88,"size":36862,"collection":181,"collections":36863,"showCount":270,"zanCount":48,"manualWeight":48,"mainColor":49},217062,"gao-shi-guan-pu-tu-sheng-mao-ye-217062","高士观瀑图","盛茂烨","这幅画是一块巨石耸立在瀑布上，平台上有几位高僧在观看瀑布，乐在其中。这幅画笔力雄浑，滴水不漏，有劈泉裂石之势，而其树木山石都与古人的血脉相连。",[23,7,173,27,28,177,29,106,558,108,34,650,175,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f72bd5bed6ccdc8ef477233ace97724.jpg","156x88cm",[181],{"id":36865,"slug":36866,"title":36867,"dynasty":18,"author":293,"museum":206,"description":36868,"tags":36869,"thumbUrl":36870,"material":123,"size":36871,"collection":42,"collections":36872,"showCount":36873,"zanCount":1547,"manualWeight":48,"mainColor":49},290994,"hua-chun-fu-gui-tu-yi-ming-290994","华春富贵图","从图中技巧、内容看，当是一位宫廷画家高手。它是一件珍贵的插花古图。我们可从中窥见宋代宫廷插花之美。\n图以工笔彩绘，笔笔不苟。绘金漆宝相花纹金瓶，放置于嵌宝石漆架上，插以大朵重瓣朱红、粉、白牡丹，当是宋时照殿红等牡丹花名种；并以桃花（花瓣略尖，是桃花无疑）、木香枝条相衬。（左下角枝条似是取荷包牡丹相衬，但画得很模糊，未能确认），造型略为对称之形，而活泼灵动。牡丹六朵，分左右、前后、上中下，居于花型之中，相伴桃花、木香，暗示着五方空间，真是天地五方六合皆春色。含有贺岁朝新春之意，亦为富贵气象。今日牡丹插花之华贵丰韵，当亦应如是。",[7,209,24,241,27,28,83,327,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a6ec52fe441c112236cda157c0733d.jpg","144.5x49.8",[42],50,{"id":36875,"slug":36876,"title":36877,"dynasty":189,"author":351,"museum":364,"description":36878,"tags":36879,"thumbUrl":36880,"material":743,"size":744,"collection":139,"collections":36881,"showCount":36873,"zanCount":1547,"manualWeight":48,"mainColor":94},290959,"lan-ting-guan-e-tu-qian-xuan-290959","兰亭观鹅图","宋钱选兰亭观鹅图卷：传说东晋大书法家王羲之生性喜鹅，曾见一道士有白鹅甚可爱，因书《黄庭经》以换之。此图即钱选据传说附会而成。近景树木蓊郁，竹林茂密，亭台掩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等绘制的一幅画。\n款识：“乾隆十八年四月臣张宗苍奉勅恭绘。\n”下钤二朱文方印“张”、“宗苍”。\n“ 十八年”即175年，乾隆皇帝时年4岁。\n画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。\n构思坐盘陀，飘然衫带宽。\n能者尽其技，劳者趁此闲。\n谓宜入图画，匪慕竹皮冠。\n癸酉夏日题。\n”下钤“即事多所欣”白文方印、“乾隆御笔”朱文方印。\n该诗文与张宗苍于同一年奉勅绘的《 》轴所题内容相同。\n图绘 一身文士装扮，提笔创作的形象。\n乾隆皇帝作为清王朝盛世期的统治者，闲暇之余广学博览，不仅孜孜不倦地学习汉文化，并且积极地参与文学创作，其诗文绝大部分是其从政、巡幸、筵宴、读书、玩赏等活动中的即兴之作，诗意多平淡，缺少文学艺术性，但具有一定的史料价值。\n据统计，其仅御制诗就达4万余首，尚不包括他即位之前的《 》7余首和其他零星作品，虽然其中有的诗是经翰林词臣们润色或代笔，并为之作注的，但是，其作品数量之大，仍然冠历朝作者之首。\n乾隆皇帝出于对写诗作文的喜爱，常谕令宫廷画家们绘制他在创作时的儒雅形象，此图便是其中之一。\n图中乾隆皇帝的画像写实逼真，其冥思苦想的表情传神生动。\n山石连皴带染，以无规则的墨点作苔点，既得厚重之力，又得灵动之美。\n挺拔的松树以劲键有力、娴熟的笔法表现，营造出满目苍翠的神仙之境，与乾隆皇帝洒脱高逸的文人形象相契合。\n张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。\n师承清代娄东画派的传人黄鼎，擅画山水。\n初以主簿理河工事。\n清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。\n十九年（1754年）授户部主事。\n其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。\n《石渠宝笈》著录画作116件。\n71岁时卒于故里。",[209,7,24,20292,173,27,177,1575,106,29,650,558,560,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df7f2229ff6e2483b5711f97d5f894d.jpg",[],{"id":37016,"slug":37017,"title":37018,"dynasty":76,"author":293,"museum":364,"description":37019,"tags":37020,"thumbUrl":37021,"material":139,"size":139,"collection":163,"collections":37022,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":94},236420,"yuan-ji-zhu-lan-tu-zhou-yi-ming-236420","原济竹兰图轴","石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽凤阳，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。南明元宗朱亨嘉之子，与弘仁、髡残、朱耷合称“清初四僧”。石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》，《搜尽奇峰打草稿图》，《山水清音图》，《竹石图》等。著有《苦瓜和尚画语录》。名言有“”一画论‘、“搜尽奇峰打草稿”，‘笔墨当随时代’等。",[7,241,173,242,452,227,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbbf2516dddb2cd2d26eee2b4d6cb66.jpg",[163,2293],{"id":37024,"slug":37025,"title":37026,"dynasty":76,"author":16463,"museum":364,"description":37027,"tags":37028,"thumbUrl":37031,"material":139,"size":139,"collection":139,"collections":37032,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},235977,"peng-lai-xian-dao-tu-zhou-yuan-jiang-235977","蓬莱仙岛图轴","《蓬莱仙岛图》是清代袁江创作的绢本设色画。\n本幅题：“蓬莱仙岛，戊子凃月邗上袁江画”，钤“袁江之印”、“文涛”印2方。\n“蓬莱仙岛”是中国古代神话传说中的“海上神山”，岛上的宫殿建筑全用黄金白银盖成，奇花异草、珍禽怪兽不计其数，更是藏有“不死之药”。\n此图就是袁江以这些古代神话传说为题材，加上自己的艺术想象而构思创作的仙山仙境。\n作者在描绘这座海上仙山时，着重突出了云烟缭绕的仙境氛围，精美细致的楼阁、雄奇伟岸的山石与烟涛微茫的大海烘托出画家理想的生活境界，令人悠然神往。\n袁江（约 1671—1746年以后），字文涛，江都（今江苏扬州）人。\n擅画山水楼阁。\n早年师法仇英，中年时曾得无名氏画谱，技艺大进。\n其界画在清代被推为第一。",[7,104,28,27,67,37029,1027,107,176,18969,37030,29,2715],"蓬莱仙岛","大海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7046a2be5c72aa6e5af46b7e932afdb.jpg",[],{"id":37034,"slug":37035,"title":37036,"dynasty":76,"author":1109,"museum":364,"description":37037,"tags":37038,"thumbUrl":37039,"material":139,"size":139,"collection":139,"collections":37040,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":94},235908,"yuan-ji-shan-shui-ren-wu-tu-ye-shi-tao-235908","原济山水人物图页","这幅水墨小景以平远之法铺陈，淡墨晕染的远山如笼轻烟，虚灵悠远，将江天的空寂缓缓铺展。近岸茅舍错落，枯木遒劲疏朗，不着片叶，清寒萧索之意扑面而来。两位策杖逸士缓行低语，简括的衣纹里藏着松弛意趣，为冷寂山水晕开鲜活的人间烟火气。\n\n笔墨枯淡松秀，皴擦简省，只以淡墨扫出山形轮廓，留白疏密相宜，将江村冬日的清旷淡远尽数勾勒，禅意与野趣相融，于尺幅小景中尽显萧散简远的文人意趣，淡而有味，简中见深，藏着林泉幽居的悠悠雅怀。",[209,7,173,177,81,29,106,1015,35,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fcbddf539067fbbc2e5d9fd3d589cc.jpg",[],{"id":37042,"slug":37043,"title":486,"dynasty":76,"author":15347,"museum":364,"description":37044,"tags":37045,"thumbUrl":37046,"material":743,"size":744,"collection":181,"collections":37047,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},235509,"shan-shui-ce-cha-shi-biao-235509","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[7,24,81,173,29,864,1329,430,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4280bacbc5da11ddb8e014095b837d.jpg",[181],{"id":37049,"slug":37050,"title":37051,"dynasty":76,"author":293,"museum":364,"description":37052,"tags":37053,"thumbUrl":37054,"material":139,"size":139,"collection":139,"collections":37055,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},235450,"yuan-jiang-guan-chao-tu-zhou-yi-ming-235450","袁江观潮图轴","危崖高阁凌然峙立，丹彩飞檐映着崖畔缤纷花树，丹紫错落晕开秋意。浩渺江面潮波翻涌如堆雪，樯帆随浪远近浮沉。远山隐在烟霭暮色里，晕出空蒙柔曼的天际。\n\n画作笔法工致精丽，山石皴擦硬朗苍劲，楼阁界画严整工细，设色温雅柔和，赭色晕染铺就江天色调，将钱江大潮的浩荡雄阔与秋江暮色的朦胧诗意相融，尽显山海楼阁的壮美景致与观潮的旷远意趣。",[7,104,27,28,29,107,174,650,34,36723,37,491,5243,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c6d3fc428d12a5c9a98e0c3595ceb.jpg",[],{"id":37057,"slug":37058,"title":18107,"dynasty":76,"author":2804,"museum":364,"description":37059,"tags":37060,"thumbUrl":37061,"material":139,"size":139,"collection":139,"collections":37062,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},235221,"mu-dan-zhou-wu-chang-shuo-235221","以金石篆隶笔法挥写牡丹，枝干如屈铁苍劲老辣，尽显嶙峋骨力。墨叶以积墨破墨晕染，浓淡干湿交叠，厚重淋漓间烘托出花头的娇妍。花冠轻施胭脂淡色，水色晕开，与焦墨绿叶形成强烈浓淡对冲，艳而不俗，腴润中带着雄健气度。\n\n左侧长题诗文以古拙笔墨书就，书画浑然一体，将文人意趣与花木生机相融，老辣烂漫兼具秀润雅致，尽显大写意花鸟的风神风骨。",[7,24,241,83,327,27,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127a4f127c53d3abf1eb6f939ff6861b.jpg",[],{"id":37064,"slug":37065,"title":37066,"dynasty":76,"author":15408,"museum":364,"description":28403,"tags":37067,"thumbUrl":37068,"material":743,"size":744,"collection":139,"collections":37069,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":94},234981,"mu-dan-shan-mian-ren-xiong-234981","牡丹扇面",[7,1562,27,28,83,327,245,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef6e39009c0679e8fbde899009d894d.jpg",[],{"id":37071,"slug":37072,"title":37073,"dynasty":99,"author":170,"museum":20,"description":11852,"tags":37074,"thumbUrl":37075,"material":37076,"size":11855,"collection":139,"collections":37077,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},234971,"yun-shan-tu-zhou-shen-zhou-234971","云山图轴",[7,241,173,29,177,864,1329,34,175,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63fbcf4ecea4aec65a5d0eb188770189.jpg","纸本 ，局部淡设色",[],{"id":37079,"slug":37080,"title":6307,"dynasty":99,"author":6308,"museum":20,"description":37081,"tags":37082,"thumbUrl":37083,"material":665,"size":6312,"collection":139,"collections":37084,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},234190,"mei-hua-shuang-qin-juan-chen-ji-ru-234190","陈继儒字仲醇，号眉公，明代松江府华亭县（今上海）人，生于嘉靖三十七年（1558）十一月，卒于崇祯十二年（1639）。陈自幼研习书画，与董其昌同学并为一生至交，他们都是晚明名声甚隆、影响甚大的士人，但有所不同的是陈继儒年纪轻轻便放弃了仕途。\n陈继儒所处的时代是政治腐朽、党争激烈、矛盾尖锐、皇帝荒淫、社会风气堕落的晚明，他清醒地认识到再走科举一途己无多大意义，因此，毅然下定决心“谢去青襟”，隐居山林。朝廷屡次征召，他“皆以疾辞”。\n晚明时代是一个求变与保守交织的时代，从吴门画派以后，晚明绘画大致划分为两派，一是以徐渭、陈洪绶为代表的创新派，一是以董其昌为代表的书斋文人画派，这两种风格不断竞争，构成了晚明画坛的主要特点。虽然强烈的社会变革要求造就了一批卓具改革精神的画家，但是作为当时的文化主流则依然是因循保守的士大夫绘画，其代表人物就是“松江画派”的董其昌，而陈继儒所属的云间画派也是正统文人画的风向标。\n陈继儒的画风与整个晚明时代的气息显得有些格格不入，他的作品清雅脱俗，静中不显荒疏，且无不满或是失望留于画面，而是与世无争，以平和的心态面对世间百态，独辟蹊径，潜心创作，凭着自己丰富的学养在乱世中取得了书画上的成就。从流传的作品中可知陈继儒山水、梅竹作品居多。梅竹上追宋元，山水师法董巨",[23,7,24,25,27,28,448,83,281,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65883b1783be479b0e29d8bfbac1daf.jpg",[],{"id":37086,"slug":37087,"title":21758,"dynasty":76,"author":1703,"museum":20,"description":37088,"tags":37089,"thumbUrl":37090,"material":1716,"size":24641,"collection":139,"collections":37091,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},233856,"mo-mei-tu-zhou-jin-nong-233856","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。”钤“金氏寿门”朱文印。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[7,24,241,173,448,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef244f5ba25fb7abf04927afec90742e.jpg",[],{"id":37093,"slug":37094,"title":37095,"dynasty":189,"author":9595,"museum":364,"description":37096,"tags":37097,"thumbUrl":37098,"material":67,"size":37099,"collection":139,"collections":37100,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},232904,"peng-lai-bi-shu-tu-juan-wang-zhen-peng-232904","蓬莱避暑图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。\n温州历史上曾出过不少著名画家，而有作品流传至今的，当首推元代的王振鹏。王振鹏，字朋梅，号孤云处士，被誉为“元代界画第一人”。有关王振鹏史实最原始的资料，是与他同时代的著名学者虞集所撰的《王知州墓志铭》。这篇写于元奉定四年（1327）的文章是虞集应王振鹏之请为其父所作。其父名由，字在之。所谓知州衔乃是王振鹏艺贵显之后由元仁宗追赠。因其父35岁离世，无事迹可陈述，故全文主要在称述王振鹏艺事。所以虽为王由墓志，实为王振鹏立传。从中得知仁宗尚为太子时，王振鹏就因画艺超群而受赏识，并赐号孤云处士。于延祐元年三月迁为秘书监典籍。累官数处，至治时为廪给令，佩金符，拜千户，总海运于江阴、常熟间。这大致勾勒出他一生的轮廓。",[23,7,24,25,104,27,28,26,106,107,108,109,174,175,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91bcae19f54291adfcc4eb057b517fa.jpg","39.8×327.3厘米",[],{"id":37102,"slug":37103,"title":37104,"dynasty":18,"author":2007,"museum":364,"description":37105,"tags":37106,"thumbUrl":37107,"material":67,"size":37108,"collection":139,"collections":37109,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},232873,"xie-sheng-hu-die-hua-hui-tu-juan-ma-lin-232873","写生蝴蝶花卉图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。",[209,7,24,25,27,28,710,83,604,84,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467a89c60170e8b6134389615759f31.jpg","27.85*334.93厘米",[],{"id":37111,"slug":37112,"title":37113,"dynasty":99,"author":1480,"museum":3712,"description":37114,"tags":37115,"thumbUrl":37116,"material":803,"size":37117,"collection":139,"collections":37118,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":49},231837,"qi-feng-gao-yin-tu-tang-yin-231837","奇峰高隐图","弘治十年（1497年），唐寅参加录科考试期间与好友张灵宿妓喝酒，放浪形骸。提学御史方志十分厌恶这种行径，唐寅在录科考试中名落孙山。苏州知府曹凤爱惜人才，为唐寅求情，方志录于榜末。注：方志，字信之，成化二十三年进士。 弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,7,24,241,27,177,29,30,108,109,34,176,558,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":37120,"slug":37121,"title":37122,"dynasty":76,"author":12831,"museum":515,"description":37123,"tags":37124,"thumbUrl":37125,"material":67,"size":37126,"collection":139,"collections":37127,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},231352,"tuan-shan-pai-huai-tu-luo-pin-231352","团扇徘徊图","画以水墨画一侧面仕女，手执团扇目视前方，似进似退徘徊不定。\n右上角画一飞雁，上下呼应，连成一脉。画题“奉帚平明金殿开，且将团扇\n暂徘徊，玉颜不及寒鸦色，犹带昭阳日影来”。署款“甲寅新秋两峰道人以指\n头图此见赠。回忆王江宁长信秋词语，遂援笔书之。春湖”。",[23,7,24,241,173,27,106,59,281,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ccb06ebdae0ec08e182f813cb13c1.jpg","纵98，横31.9厘米",[],{"id":37129,"slug":37130,"title":37131,"dynasty":76,"author":23166,"museum":364,"description":37132,"tags":37133,"thumbUrl":37134,"material":139,"size":139,"collection":139,"collections":37135,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},230297,"mei-hua-ce-ye-li-fang-ying-230297","梅花册页","此幅水墨古梅以意趣见长，枯干以浓淡墨色皴擦晕染，苍劲老辣，尽显古梅饱经风霜的嶙峋傲骨。斜逸的侧枝破局而出，带着清疏野逸的生机，柔枝缀着圈花点蕊的寒梅，简淡天真，不着艳色却仿佛冷香暗涌。\n\n题字笔致纵恣，与画面写意风骨相融，朱红印信点缀素纸，更添雅韵。整作脱略形似，直抒胸臆，以寥寥数笔勾勒梅之孤高，亦是作者心性投射，淡远清寂，将文人画以物明志的意趣淋漓展现，余韵悠长。",[7,24,81,173,446,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7461b818d7022997533cd484a86bcb9.jpg",[],{"id":37137,"slug":37138,"title":37139,"dynasty":99,"author":37140,"museum":364,"description":37141,"tags":37142,"thumbUrl":37143,"material":139,"size":139,"collection":139,"collections":37144,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},228920,"xiang-feng-jing-he-tu-zhou-liu-ru-shi-228920","香风静荷图轴","柳如是","此作为水墨写意妙品，以虚实相生铺就荷塘清景。泼墨重写团荷，浓淡晕染间尽显叶片舒展的苍润质感，荷茎虬曲穿插，残莲蓬斜立，暗笼秋意浅愁。白鹭以淡墨轻勾慢染，羽毛蓬松柔润，伫立浅滩侧目凝神，身姿娴静又暗含灵动生机，于留白水面独显出尘之态。\n\n笔墨干湿互济，淡墨晕开水面清光，浓墨点染汀洲残叶，画面疏密错落，题款极简留白恰到好处，将荷塘的幽谧禅意尽数铺陈，淡而弥远，简而不空，把初秋水畔的静雅与孤高意趣融为一体，尽显文人写意的空灵雅致。",[23,7,24,241,173,83,243,137,1374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe714f3a115a37707a297ef74ff20726f.jpg",[],{"id":37146,"slug":37147,"title":9919,"dynasty":18,"author":645,"museum":364,"description":37148,"tags":37149,"thumbUrl":37150,"material":139,"size":139,"collection":139,"collections":37151,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":49},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[23,2544,7,24,25,29,27,177,649,650,567,34,35,36,106,7373,560,6070,2268,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],{"id":37153,"slug":37154,"title":37155,"dynasty":189,"author":5488,"museum":364,"description":37156,"tags":37157,"thumbUrl":37158,"material":139,"size":139,"collection":139,"collections":37159,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":49},228035,"shan-shui-hua-ce-12-ye-guan-dao-sheng-228035","山水画册12页","此作以水墨晕染铺就烟岚浮动的幽寂之境，山峦隐现于流云薄雾之间，虚实相生，似有若无，将江南山水的氤氲柔婉尽数铺陈。坡岸修竹清挺秀逸，枝叶以细劲墨线勾勒，在朦胧烟霭中愈见清雅灵秀，与淡墨晕开的云山相映成趣。\n\n全画舍去繁复皴法，以淡墨烘染出云雾流荡之态，留白与晕染交织，令观者仿若身临幽寂空茫的山林，听溪声、沐烟霞，尽显元画尚意的审美意趣，于尺幅间藏万千丘壑，将文人画简淡空灵的意境抒发得淋漓尽致。",[7,24,81,173,177,29,242,176,109,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fa9d27742c0b2b8d4e4c85f9f39255.jpg",[],{"id":37161,"slug":37162,"title":37163,"dynasty":18,"author":1072,"museum":101,"description":37164,"tags":37165,"thumbUrl":37166,"material":139,"size":139,"collection":139,"collections":37167,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},227963,"pi-pa-ba-ge-tu-tuan-shan-ye-wu-bing-227963","枇杷八哥图团扇页","此作工致写实，将一隅小景绘得意趣悠长。通体乌黑的禽鸟静栖枝桠，羽翼以浓淡墨色晕染出蓬松柔润的质感，亮眼圆睁尽显憨稚警觉，喙部与爪尖勾勒细腻，姿态沉稳憨拙。旁侧枇杷枝叶舒展，叶片以淡绿敷色，细笔勾出筋脉区分阴阳向背，将叶片的舒展柔劲尽显无遗，簇生的浅黄花苞素雅清新。\n整幅画面设色温润古雅，笔意精细却不显匠气，把寻常林间片刻定格为隽永图景，尽显静观万物的雅致审美，淡逸平和中藏着鲜活生机。",[209,7,24,1562,28,27,83,281,1278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff313a95abb99fbd631ae6e3ea15178f3.jpg",[],{"id":37169,"slug":37170,"title":37171,"dynasty":18,"author":1827,"museum":364,"description":37172,"tags":37173,"thumbUrl":37174,"material":139,"size":139,"collection":139,"collections":37175,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},227742,"lou-ge-tu-li-song-227742","楼阁图","李嵩(1166—1243)，宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190—1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。如《明皇斗鸡图》《花篮图》；有白描淡色之风俗画，如《货郎图》；也有水墨渲染之山水画，如《西湖图》等。\n\n传世作品有嘉定四年（1211）作《货郎图》卷、《花篮图》页、《骷髅幻戏图》轴藏故宫博物院；《西湖图》卷藏上海博物馆；《听阮图》、《夜月看湖图》及传为李嵩的山水小品画《水殿招凉图》等藏台北故宫博物院。传世作品还有《椿溪渡牛图》、《服田图》、《采莲图》和《观潮图》等，题材后世论画者题其画说：“李师最识农家趣”。\n\n李嵩的风俗画更为知名，他画过许多表现下层社会生活的农村生活风俗画，把劳动人民的生活作为审美对象来描绘，这在中国古代美术发展史上有着重要的意义。 其《货郎图》有多种本子存世，以故宫博物院收藏的一卷为最佳。此画描写一挑担货郎在乡村被孩童围住的情景，充满浓厚的乡土气息。藏于故宫博物院的《骷髅幻戏图》轴，人物表情甚佳，衣纹丁头鼠尾，多用直线，细而有力。",[7,24,104,28,27,29,107,430,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee79b8cdce1dc5eed5659beb992a37f.jpg",[],{"id":37177,"slug":37178,"title":37179,"dynasty":76,"author":37180,"museum":364,"description":37181,"tags":37182,"thumbUrl":37184,"material":139,"size":139,"collection":139,"collections":37185,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":94},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,7,24,25,173,260,177,29,176,34,1255,31,649,1112,13778,37183,1575,1444,194,37,108],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],{"id":37187,"slug":37188,"title":37189,"dynasty":76,"author":9622,"museum":364,"description":37190,"tags":37191,"thumbUrl":37192,"material":139,"size":139,"collection":139,"collections":37193,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},224118,"yu-bi-da-shi-xiang-bing-xin-jing-tu-qian-long-224118","御笔大士像并心经图","此作书画合璧，首段白描观音大士，衣袂如流云舒展，趺坐莲台，线条清隽空灵，将大士的温婉端凝勾勒得形神兼备。\n\n其后小楷《心经》笔致沉劲端雅，结体匀整秀逸，墨色匀净乌亮，字字安稳静穆，经文旁辅以注音小字，尽显书写时的恭谨至诚。\n\n朱印鲜亮点缀素幅，红白相映愈见清雅古意。整幅作品将佛理禅意落于笔端，绘事简而有神，书丹工而不板，笔墨间浸着庄严肃穆的虔诚，是兼具笔墨造诣与禅心的精妙之作。",[23,7,209,24,241,368,260,28,1195,173,259,106,227,11078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e6e6a56dd394a9cbc245ad6b393c1b.jpg",[],{"id":37195,"slug":37196,"title":37197,"dynasty":99,"author":293,"museum":364,"description":37198,"tags":37199,"thumbUrl":37200,"material":139,"size":139,"collection":139,"collections":37201,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},223635,"lian-hua-tu-ye-yi-ming-223635","莲花图页","此作以工笔绘就，柔劲细线勾勒莲瓣轮廓，淡赭轻晕瓣边，褪去初绽娇色，白荷温润舒展，尽显盛放的雍容雅致。硕大荷叶以石绿敷色，墨笔勾出叶脉肌理，在古绢底色晕染下，绿意沉凝厚重，与素净白荷相映，清雅中带着沉静古拙的岁月质感。\n\n画面构图饱满却不显繁冗，一花两叶错落排布，将夏荷舒展之态定格。无多余点缀，以极简布景烘托莲的出尘气韵，尽显传统工笔花鸟的内敛雅致，晕开古画沉淀的静美意趣。",[23,209,7,24,81,27,28,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4589146b155a8c850a3f7b447dbf6eb0.jpg",[],{"id":37203,"slug":37204,"title":37205,"dynasty":99,"author":293,"museum":364,"description":37206,"tags":37207,"thumbUrl":37209,"material":67,"size":37210,"collection":139,"collections":37211,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},223582,"rui-lian-ling-mao-tu-yi-ming-223582","瑞莲翎毛图","荷塘里，荷叶绿如盘，粉红的荷花，或腐烂，或萌芽，含彩花，已结莲子； 天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[23,7,24,27,28,83,136,137,37208,281,1060,34,4538,84,1938,867,5795,5796],"天鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","80x60cm",[],{"id":37213,"slug":37214,"title":37215,"dynasty":18,"author":781,"museum":56,"description":37216,"tags":37217,"thumbUrl":37218,"material":803,"size":37219,"collection":44,"collections":37220,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":49},223398,"shang-shan-si-hao-hui-chang-jiu-lao-tu-li-gong-lin-223398","商山四皓会昌九老图","此图卷以白描手法分别画秦末高士东园公、甪里、绮里季、夏黄公四人避乱隐居中商山的故事和唐会昌五年三月二十四日九位退休老人白居易、胡杲、吉皎、郑据、刘真、卢真、张浑、李元爽、释如满等九位老人相聚洛阳履道坊白居易居所欢聚“尚齿”之会，既醉且欢之际赋诗画画的情景。",[23,7,24,25,260,27,106,29,176,34,1255,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46ace2e8df223b406f8896937f90bac.jpg","30.7，横：238厘米",[44,163],{"id":37222,"slug":37223,"title":37224,"dynasty":76,"author":3602,"museum":20,"description":37225,"tags":37226,"thumbUrl":37227,"material":67,"size":37228,"collection":139,"collections":37229,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":94},222809,"hua-zhu-qi-qin-tu-wang-wu-222809","花竹栖禽图","《花竹栖禽图》底部一奇古巨石，一朵盛开的牡丹从石左侧斜出，枝头一雀鸟面向花朵，鸟目圆睁，似在欣赏花的美丽，又像陶醉在花香中。\n花鸟的颜色艳而不俗，用笔工而不板，明快醒目。\n巨石以浓墨绘出，见有皴染。\n石隙空洞处可见枝叶，错落雅致。\n墨竹疏落有致，用墨浅淡，与底部的花、鸟、石形成色彩上的鲜明对比。\n整幅画面虚实相间，构图奇巧，设色浓淡适宜，笔墨兼工带写，形成了赏心悦目的视觉效果。\n可见，作者跋中所言“学古而步泥其迹”不虚。\n此画右侧下端，置一太湖巨石，两头小中间大，造型奇特，玲珑别透，中间以矾头突出，湖石几乎占有画面的二分之一。\n石旁有翠竹数株，拔地而起，竹竿挺拔，有二大株翠竹冲出画面，一株矮竹附在湖石旁。\n湖石左脚下有数株茶花，茶花有的绽开，有的含苞，在绿叶村托下显得艳丽清雅。\n画幅左侧有作者自题识，丁已年为康熙十六年（1677），王武时年45岁，为王武中年佳作。\n此画的景物基本集中于画幅右侧，但由于画家精心安置，使整幅画位置安稳、平而不板，赋色明丽、艳而不俗，这是此画的最大的特色，也是此画最成功之处。\n在表现技法上，画家以水墨勾勒，皴染作山石，在点苔之后复以石青点之，湖石显得坚实、凝重。\n竹叶和茶花用绿色和红色直涂法，花蕊以黄色点染，花瓣虽都是红色，但亦有深浅区别变化，花叶上又用中锋细笔加画叶脉。\n一只小鸟以积墨法画之，墨色变化丰富，表现出羽毛的质感。\n此画采用没骨与匀勒法相结合的手法，显得自然协调，敷色雅丽明快，令观赏者心旷神怡，颇有忘忧之感。",[23,7,209,24,241,27,28,242,62,224,245,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8017c120ae98e5925dad71a77ec4ec.jpg","90.7×40.5cm",[],{"id":37231,"slug":37232,"title":37233,"dynasty":99,"author":4314,"museum":675,"description":4868,"tags":37234,"thumbUrl":37235,"material":803,"size":37236,"collection":90,"collections":37237,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},222391,"si-xi-tu-li-zhou-lv-ji-222391","四喜图立轴",[23,7,27,28,83,241,4307,19390,449,558,176,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b651d770ecc93ed64e2befaf762c39.jpg","93x51",[90,45],{"id":37239,"slug":37240,"title":37241,"dynasty":99,"author":23243,"museum":37242,"description":37243,"tags":37244,"thumbUrl":37246,"material":37247,"size":37248,"collection":44,"collections":37249,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":49},222137,"liu-hai-xi-jin-chan-tu-zhou-liu-jun-222137","刘海戏金蟾图轴","石家庄市博物馆","画中刘海蟾神情怡然，步态从容，身着长袍，足凳云履，腰系葫芦与紫芝。左手托三足金蟾，飘波于碧涛之上。背景远山一抹，海天辽阔。驻足画前细细品味，一股清新自然之气扑面而来。在浩瀚无垠的大海和辽阔无边的天空映衬之下，刘海蟾的神仙气质脱颖而出。画家摄取了刘海蟾信步波上的瞬间，虽无情节，却给人留下无限遐想的空间——他是到蓬莱赴会众神仙，还是到凡间赐福世人？这正是花架构思的奇妙之处。",[23,7,241,28,27,106,504,243,37245],"金蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1450695127d7e3b981d63088893321af.jpg","绢地，设色","纵181.3厘米，横108.8厘米",[44],{"id":37251,"slug":37252,"title":37253,"dynasty":189,"author":37254,"museum":20,"description":37255,"tags":37256,"thumbUrl":37257,"material":990,"size":37258,"collection":181,"collections":37259,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":94},221807,"shan-lin-qing-qu-tu-zhang-guan-221807","山林清趣图","张观","描绘江岸老树坡石之中，一老者独坐，一童子抱琴，渺茫江面一帆归来之景，右下款署“至正戊戌八月，张观制”，现藏故宫博物院；另有《月下人物图》册页，相传为其所作，藏美国纽约大都会博物馆。",[23,7,173,177,29,394,106,176,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8247aabb43e9b76e19440df1094c1f30.jpg","纵30厘米，横54．7厘米",[181,45],{"id":37261,"slug":37262,"title":37263,"dynasty":189,"author":1057,"museum":20,"description":37264,"tags":37265,"thumbUrl":37266,"material":40,"size":37267,"collection":44,"collections":37268,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},221767,"er-ma-tu-juan-ren-ren-fa-221767","二马图卷","元朝任仁发的《二马图》卷，是一幅有着明确讽刺内容的绘画作品，而且含义十分尖锐，下面试解释画面一二。\n画面很简单，画幅前边是一匹壮实、膘肥肉厚的花马，昂首，踏着轻快的碎步，尾巴扬起飘动，显得自在得意。随在这匹马后边的则是一匹骨瘦如柴的马，条条肋骨清晰可见，它低着头，步履蹒跚，尾巴卷缩着，显出吃力疲惫之态。画家以极其写实的手段，采用勾勒的笔法，描画了马匹的轮廓，线条极富表现力，然后赋以色泽，颇具唐人画马的传统。\n如果单纯从画面来看，画中描绘的只是两匹马，我们似乎不会感到这是一幅讽刺绘画，但是结合画幅后面作者自己的题记来看，其实它是对当时官场乃至社会的种种腐败黑暗提出了强烈的批评。只不过采用了隐喻、拟人的手法，曲折地表明了画家的态度和观点。这大概也是画家所处的时代决定的，因为像《二马图》这样的作品，当时除去作者本人以外，能看到的人可以说不会很多，这样的绘画活动仅仅只能算是个人行为，不会像现在的漫画作品能够发表于报刊上，影响面十分广大，变成了一种社会行为。\n这幅并无任何其他背景和道具的《二马图》卷，看似简单，其实寓意深刻。内容的关键在于画幅后面画家任仁发自己题写的一段文字。他在跋语中先叙述了所画的肥、瘦二马：“肥者骨骼權奇，縈一索而立峻坡，雖有厭飫芻豆之榮，寧無羊腸踣蹶之患。瘠者皮毛剝落，齧枯草而立風霜，雖有終身擯斥之狀，而無晨馳夜秣之勞。”在写完对两匹马的评语后，作者笔锋一转，进一步议论道：“世之士大夫，廉濫不同，而肥瘠系焉。能瘠一身而肥一國，不失其爲廉；苟肥一己而瘠萬民，豈不貽淤濫之恥歟？”看了这段跋语，我们才恍然大悟，原来任仁发是借用两匹马来评论官场的得失利弊。他将画中的肥马比喻成为官不正的贪官，他们吸食民脂民膏，故而肥壮；又将画中的瘦马比喻为廉明勤政的清官，因为忙于政务而累得皮毛剥落，骨瘦如柴。然后作者表明了应当以前者为戒、以后者为榜样的态度。明白了任仁发画这肥、瘦二马的用意之后，再仔细观察，就会发现，作者在画中还安排了一个不大为人注意的细节，那匹肥马马首挽着笼头，但是缰绳却松开了，拖在地上，而瘦马不但有笼头，缰绳还套在马颈上。一匹是没有约束的脱缰之马，失去了控制，就会无法无天，鱼肉百姓而肥己。另一匹是有约束的拴着缰绳的马，有了管束才能尽心尽力，克勤克俭。在这里任仁发似乎又进一步阐述了自己对于官吏管理的看法，其用心可谓十分良苦。其深刻含义就是如果一个社会缺乏了某种监督和制约的机制，腐败就将滋生。",[23,7,24,25,27,28,150,957,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32de904e74241fc3d2e6288cfebb4fe.jpg","纵28.8厘米，横142.7厘米",[44,45],{"id":37270,"slug":37271,"title":37272,"dynasty":18,"author":37273,"museum":56,"description":37274,"tags":37275,"thumbUrl":37276,"material":67,"size":37277,"collection":42,"collections":37278,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":94},221470,"xue-zhong-mei-zhu-tu-xu-yu-gong-221470","雪中梅竹图","徐禹功","雪中梅竹图卷，以前部南宋徐禹功《雪中梅竹图》卷为主体，徐卷后有杨补之“柳梢青”词十首，赵孟坚跋二则，元人张雨“柳梢青”和韵一首。此图画雪梅一枝横空而出，修竹三管，雪压枝头，笔法清逸洒丽，意境清幽朦胧，充满诗情画意。作者徐禹功画史无考，惟在卷后赵孟坚题跋中始知为画家扬无咎之及门弟子，又从书于竹节之名款“辛酉人”考之，当生于1141年（南宋绍兴十一年）。画上有清代乾隆皇帝及董邦达、梁诗正等人的题诗。",[23,7,24,25,173,260,86,178,227,448,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F825e67ae4c8c60235698f2c0399e5488.jpg","纵29.6 厘米，横122 厘米",[42,90],{"id":37280,"slug":37281,"title":37282,"dynasty":18,"author":2824,"museum":20,"description":37283,"tags":37284,"thumbUrl":37285,"material":67,"size":37286,"collection":42,"collections":37287,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},221469,"ling-feng-bo-ge-tu-lu-zong-gui-221469","玲峰鹁鸽图","绘鹁鸽两羽，全身白色，只留尾巴黑色，一只立于湖石上，微张的尖嘴似与地面上的另一只打招呼；画面竹枝繁茂，花团锦簇，春光融融。鲁宗贵，南宋画家，工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。",[23,209,7,24,28,27,83,224,1575,298,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac548a4d2e561d376899c9dbecd6e64.jpg","28 × 52 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设色 册页","23 X 28 CM X 10",[45],{"id":37317,"slug":37318,"title":37319,"dynasty":76,"author":77,"museum":615,"description":37320,"tags":37321,"thumbUrl":37322,"material":37323,"size":37324,"collection":181,"collections":37325,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},220972,"shuang-song-liu-quan-tu-yun-shou-ping-220972","双松流泉图","双松流泉图描绘巍峨高耸的远山被浮云游雾隔于天外，远处的瀑布从山崖之间逶迤婉转地涌出，因矶石抵柱而迥旋激荡，如同泉流。近景堤岸沙坡之上灵石伫立，苔草凝碧；临水的山角处双松并峙，针茂如冠，楮竹相生，杂然成林。一溪春水波光粼粼，仿佛正有和煦春风从水面掠过。画上虽然杳无人迹尘嚣，但并不荒疏冷寂。回荡壑谷的风声，击石鸣涧的水声，松涛如潮的树声，或许还有空山飞鸟的啼声，都为这本来幽静的画面平添了许多的幽趣，共同唱响一曲自然生趣的清歌，大有声情并茂的韵味。上端有画家自题语和款署：“双松流泉图，为六朋词兄六十寿。”落款：“毗陵恽寿平。”",[23,7,24,241,173,29,1575,109,176,177,340,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b3e81025a8acac7cd4862aa16daff2.jpg","轴，卷本设色","纵172厘米，横67厘米",[181,163],{"id":37327,"slug":37328,"title":37329,"dynasty":1095,"author":4791,"museum":8718,"description":37330,"tags":37331,"thumbUrl":37332,"material":619,"size":139,"collection":139,"collections":37333,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},220564,"jiu-fang-gao-tu-xu-bei-hong-220564","九方皋图","画面以质朴底色铺陈，左方驯马壮汉肌肉虬结，笔触精准勾勒出力量感，烈马扬蹄摆尾尽显桀骜，一旁驭者沉静注视。右侧老者目光如炬，于旁人的疑惑神情中笃定识人，寥寥数笔便将人物性格刻画分明。\n\n创作者将西式写实的人体结构与国画笔墨相融，铁线般的线条勾勒身形，淡墨晕染铺就荒郊底色，既保留写意的留白韵致，又以写实功底强化画面张力。借旧典暗喻识才辨贤的深意，将传统题材注入时代精神，筋骨兼具，形神合一，尽显创作巧思与风骨。",[23,209,7,173,27,446,106,150,1159,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffe6163f0f6d4f5d21df2d5184d3f94.jpg",[],{"id":37335,"slug":37336,"title":37337,"dynasty":1095,"author":4791,"museum":4792,"description":37338,"tags":37339,"thumbUrl":37341,"material":139,"size":139,"collection":139,"collections":37342,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":94},220548,"chuan-fu-xu-bei-hong-220548","船夫","漓江烟霭如纱晕染天际，前景丹黄枝叶错落交织，框住扁舟浮生。赤身船夫们筋肉虬结，或匍匐撑篙、或伫立持杆，将劳力的沉实粗粝揉碎在漾漾水波里。蓝衣妇人静坐舱侧，指尖捻着细碎活计，松弛的背影与紧绷的船夫形成鲜明对照，将日常烟火气晕开劳作的艰涩。\n\n画作融水墨晕染与写实工笔于一体，淡墨晕开远山虚影，细笔勾勒出躯干贲张的肌理，把底层劳动者的鲜活力量揉进水乡诗意里。以平实视角定格江面上生计的重量，将烟火日常淬炼成沉凝的生命注脚，笔墨里既有写实筋骨，又带着东方意境的柔婉，苦役里透出质朴生机。",[7,27,173,11350,106,149,297,34,225,491,9885,36340,2714,37340],"场景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287adcfa47e3a00be2e87bcf795b7f9b.jpg",[],{"id":37344,"slug":37345,"title":37346,"dynasty":18,"author":293,"museum":206,"description":37347,"tags":37348,"thumbUrl":37349,"material":123,"size":37350,"collection":90,"collections":37351,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":49},220443,"song-ren-sun-ji-tu-yi-ming-220443","宋人隼击图","秋桂飘香，芙蓉摇曳，原是祥和秋景，却呈现阵阵肃杀之气。但见巨鹰凌空俯冲，凌厉的目光，大有扑杀之势。于是雉鸡藏身石后，八哥、蜡嘴仓皇桃散，状甚惊恐。而它们在走避之余，尚注视着巨鹰动向的眼神，尤为生动传神。本幅细致写实，传为宋人所作，然就树干、芙蓉叶、芦苇等多处笔意观之，倒颇合明代吕纪一派画风。",[23,7,24,27,28,281,34,432,650,26318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97657f8d0e87c5567462cc2a0dbe89c9.jpg","本幅 154.8x101.5公分、全幅 114公分",[90,42],{"id":37353,"slug":37354,"title":37355,"dynasty":18,"author":293,"museum":206,"description":37356,"tags":37357,"thumbUrl":37358,"material":123,"size":37359,"collection":44,"collections":37360,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},220424,"du-fu-li-ren-xing-tu-yi-ming-220424","杜甫丽人行图","《丽人行》是唐代大诗人杜甫的作品，约作于唐天宝十二载（753年）。此诗通过描写杨氏兄妹曲江春游的情景，揭露了统治者荒淫腐朽作威作福的丑态，从一个角度反映了安史之乱前夕的社会现实。诗分三段：先泛写游春仕女的体态之美和服饰之盛，引出主角杨氏姐妹的娇艳姿色；次写宴饮的豪华及所得的宠幸；末写杨国忠的骄横。全诗场面宏大，鲜艳富丽，笔调细腻生动，讽刺含蓄不露，通篇只是写“丽人”们的生活情形，却达到了如前人所说“无一刺讥语，描摹处语语刺讥；无一慨叹声，点逗处声声慨叹”的艺术效果。",[23,7,24,209,1160,28,27,29,106,114,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd607f74f9590044dbe2c25f94a50f5f.jpg","40.1x41厘米",[44,45],{"id":37362,"slug":37363,"title":37364,"dynasty":189,"author":5444,"museum":238,"description":37365,"tags":37366,"thumbUrl":37367,"material":123,"size":37368,"collection":44,"collections":37369,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":49},220410,"shui-bian-gao-shi-tu-sheng-mao-220410","水边高士图","盛懋（生卒年不详）字子昭，嘉兴（今属浙江）武塘人，与吴镇同时代，且为乡邻，“比门而居”，主要活动于元至正年间。其父盛洪，是民间画工。盛懋承家学，人物、山水、花鸟，无所不工，尤善山水。其山水画多作丛山密林，表现四时朝暮的江山胜景，结构严整，笔墨清润。早年得到陈琳(赵孟頫的学生)的指点，画山石多用披麻皴或解索皴，笔法工整，设色明丽。所以他早期的画“精致有余”，而意趣不足，被时人称作“画工”之作。但他后来逐渐接受元代文人画家的影响，吸收文人画的意趣，一定程度上摆脱了“匠气”，故其作品越来越合士大夫阶层的审美情趣，元至正年间享有盛名。盛懋的画当时也很受老百姓的欢迎，“四方以金帛求子昭画者甚众”。他的传世作品较多，如《秋林高士图》《秋江待渡图》《坐看云起图》《秋溪放艇图》《山居纳凉图》等。",[23,7,173,27,177,106,29,394,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901490fb625dc8dea15a65bdd9778bf9.jpg","23.4×25.3",[44,181,45],{"id":37371,"slug":37372,"title":37373,"dynasty":99,"author":19617,"museum":238,"description":37374,"tags":37375,"thumbUrl":37376,"material":88,"size":37377,"collection":181,"collections":37378,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},219977,"zhen-yi-qian-ren-gang-tu-wen-bo-ren-219977","振衣千仞岗图","此作用高远、平远之法铺陈山水，下半幅巉岩叠错，幽溪宛转，苍松虬枝斜曳，丹枫点破秋光，山居藏于松荫深处，野意萧散。远景烟峦浮空，汀渚村舍隐在淡墨轻岚之中，虚实相生，晕染出空濛清旷的秋霁氛围。\n\n笔墨兼工带写，山石以披麻皴间杂小斧劈，细劲松秀，淡墨轻扫出流云远山，将高蹈隐逸的林下之思藏在清寂丘壑间，把文人林泉高致的意趣，铺展于绢素之上，清灵淡远，尽显秀雅温润的吴门意韵。",[23,7,24,29,27,177,109,176,394,1445,649,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff079bfcc13d6102a4df986fa0f2775.jpg","67x31cm",[181],{"id":37380,"slug":37381,"title":37382,"dynasty":76,"author":5096,"museum":1806,"description":24096,"tags":37383,"thumbUrl":37384,"material":342,"size":139,"collection":181,"collections":37385,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":94},219914,"cai-zhao-shi-yi-tu-wang-jian-219914","蔡肇诗意图",[7,24,209,173,177,241,1397,29,34,109,174,176,5233,37,1015,650,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb7e789e1591565f7fc6f26d2254029.jpg",[181],{"id":37387,"slug":37388,"title":37389,"dynasty":99,"author":4821,"museum":101,"description":37390,"tags":37391,"thumbUrl":37392,"material":342,"size":37393,"collection":44,"collections":37394,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":94},219726,"tao-yuan-ming-shang-ju-tu-du-jin-219726","陶渊明赏菊图","陶渊明所处的时代，正属朝代更迭、战乱频发的乱世。况且当时的官制延续自汉代起的“九品中正制”，很多寒门士子无法入朝为官施展抱负，他们只能屈居于无能世家子弟的治下屡屡碰壁，故而纷纷绝望，选择归隐避世。",[23,7,241,173,28,106,453,449,176,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c5282b11790f03544ec06823922541.jpg","48 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图笔触苍劲，墨色敷彩浓淡有致，层次分明。",[7,27,29,177,241,176,34,109,174,107,649,2268,35,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6464c85911fb2dd25ec5ae4d6085248b.jpg","241.8x128.1cm",[181],{"id":37520,"slug":37521,"title":37522,"dynasty":76,"author":37523,"museum":78,"description":37524,"tags":37525,"thumbUrl":37526,"material":88,"size":37527,"collection":44,"collections":37528,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":94},218262,"ren-wu-ping-ren-yu-218262","人物屏","任预","任预（1853年—1901年），一名豫，字立凡，浙江萧山人，晚清著名海派画家，为早期海派大师任熊之子，山水、人物、花鸟，无所不精。在“四任”（任熊、任薰、任颐、任预）中，最为年轻。",[7,24,27,28,106,29,83,956,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38c449c612a80a7b8bd1ad1f8c975450.jpg","131.6x32",[44],{"id":37530,"slug":37531,"title":37532,"dynasty":189,"author":293,"museum":364,"description":37533,"tags":37534,"thumbUrl":37535,"material":123,"size":139,"collection":44,"collections":37536,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":49},218221,"luo-han-xiang-yi-ming-218221","罗汉像","罗汉像通常是用来表示佛教修行者的，特别是罗汉像。罗汉是佛教中的一种超凡脱俗的观念，它象征着禅定、慈悲、智慧和善良。罗汉像图通常都是画在纸上，并且经常被用来作为供品，以祈求佛菩萨的加持和保佑。",[7,24,241,27,28,259,106,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec12997a6b1db02e1cea6ef601106de.jpg",[44],{"id":37538,"slug":37539,"title":37540,"dynasty":189,"author":293,"museum":132,"description":37541,"tags":37542,"thumbUrl":37543,"material":123,"size":139,"collection":181,"collections":37544,"showCount":36873,"zanCount":5,"manualWeight":48,"mainColor":49},217985,"zhong-ling-chun-se-tu-yi-ming-217985","重岭春色图","重岭春色图这幅画以其精美的绘画技巧和优美的风景吸引了许多人的目光。画中的景观描绘了一座重岭，周围是翠绿的树林，清新的空气中弥漫着春天的气息。轻轻飘荡的云彩似乎都在为这片美景增添一份神秘感。\n\n尽管这幅画作的作者是佚名，但它仍然是元朝时期艺术史上的一个重要作品。它的出现说明了元朝时期艺术家们对自然风光的描绘的技巧和热爱。如今，这幅画作仍然是许多人喜爱的艺术品，它代表了中国古代艺术的精华。",[7,24,29,173,177,864,430,1653,394,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ad62fdde2984f5c83ea59ddf31b1f0.jpg",[181],{"id":37546,"slug":37547,"title":37548,"dynasty":99,"author":24267,"museum":7570,"description":37549,"tags":37550,"thumbUrl":37551,"material":88,"size":37552,"collection":181,"collections":37553,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},217921,"shan-jing-xing-lv-tu-zhou-chen-217921","山径行旅图","画面中可以看到蜿蜒的山径，周臣巧妙地运用了线条和色彩来表现山径的弯曲起伏。顶部的云朵和树林以及画面下方的山峰和溪流，使得整幅画充满了生机和动感。\n\n此外，周臣还细致地描绘了山径两侧的植物和动物，包括花草、山石、鸟类、鹿等。这些细节使得画面更加丰富多彩，也展示了周臣对生物的热爱和观察力。\n\n总的来说，《山径行旅图》是周臣的杰作，它展现了他对自然的热爱和描绘能力，也是中国画史上的一颗明珠。",[7,1562,29,31480,559,106,150,34,176,173,27,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a6eebb70a11f31cd71bd92a3caf50.jpg","33.5x61cm",[181],{"id":37555,"slug":37556,"title":37557,"dynasty":76,"author":876,"museum":37558,"description":37559,"tags":37560,"thumbUrl":37561,"material":123,"size":139,"collection":181,"collections":37562,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},216904,"qian-long-nan-xun-zhu-bi-tu-ye-ce-qian-wei-cheng-216904","乾隆南巡驻跸图页册","大英图书馆","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[23,7,24,81,104,27,28,107,29,34,175,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdded9f524bd90de54bf710ce3491c184.jpg",[181],{"id":37564,"slug":37565,"title":37566,"dynasty":76,"author":614,"museum":364,"description":37567,"tags":37568,"thumbUrl":37569,"material":803,"size":37570,"collection":44,"collections":37571,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},216734,"liu-shui-zhi-yin-tu-huang-shen-216734","流水知音图","《高山流水遇知音》是钟子期和俞伯牙的故事，用插图的方式再现了这个故事，虽然意境不是很高，但笔触粗拙，是黄慎的典型面目。",[23,7,24,209,368,241,173,446,106,109,34,298,210,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8719be88666ba739e59fcf8f941b3ab1.jpg","164x82",[44],{"id":37573,"slug":37574,"title":37575,"dynasty":76,"author":29509,"museum":20,"description":37576,"tags":37577,"thumbUrl":37578,"material":88,"size":37579,"collection":90,"collections":37580,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":94},216233,"shi-jun-quan-tu-ai-qi-meng-216233","十骏犬图","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[23,368,7,28,27,1195,227,957,12226,176,430,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffec4435ecb0b05c797d72ed5d75aa9.jpg","纵24.5厘米，横29.3厘米",[90],{"id":37582,"slug":37583,"title":37584,"dynasty":18,"author":37585,"museum":78,"description":37586,"tags":37587,"thumbUrl":37588,"material":139,"size":139,"collection":42,"collections":37589,"showCount":36873,"zanCount":48,"manualWeight":48,"mainColor":37590},202162,"ben-du-tu-juan-liang-tu-shan-202162","奔犊图卷","梁秃山","画面以简括笔墨勾勒奔牛动态，牛身墨色浓淡相间，肌肉张力隐现，四蹄腾空似奋力疾奔，尾梢甩动更添动感。旁侧小兽身形小巧，与壮牛形成对比，衬出牛之奔势。背景树木枝干疏朗，坡石以淡墨晕染，留白处尽显空濛，营造出野逸之境。整幅画作笔墨极简却意趣盎然，于瞬间动态中捕捉生命活力，尽显南宋文人画的写意精神与自然意趣。",[7,173,25,151,957,34,13516,177,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumb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，书画合璧，兼具院体花鸟的精工雅致与元人简淡的文人意趣。绢色经岁月晕染泛黄，更添沉静古意，尽显元代写生花鸟的精妙造诣，将折枝花卉的生机与清雅神韵尽数铺陈，是设色花鸟中的上乘之作。",[23,7,25,83,28,27,451,279,1563,2301,8682,453,1503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84d35e5ec06aaca0c1139e0bd88396b.jpg",[],{"id":37737,"slug":37738,"title":37739,"dynasty":99,"author":37740,"museum":364,"description":37741,"tags":37742,"thumbUrl":37743,"material":139,"size":139,"collection":44,"collections":37744,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},237889,"ba-xian-tu-zhou-zheng-wen-lin-237889","八仙图轴","郑文林","郑文林，号颠仙，明代画家，闽侯（今属福建）人。生卒年不详。活动时期约在嘉靖间（1522—1566）。工山水、人物，与汪肇、钟礼、张路等均为浙派后期名家。继蒋嵩之后，多用焦墨枯笔，点染粗豪，板重颓放，尤其是人物。《图绘宝鉴续纂》卷一以颠仙与袁尚统（字叔明，苏州人）并列一条目，谓两人“画人物俱野放”，并被吴派讥评为“狂邪”，其实颠仙所作有其独特风格。\n传世作品有《二仙图》轴、《女仙图》轴，现均藏中央美术学院；《群仙图》轴藏广州美术馆；《牧人瑞梦图》轴藏美国高居翰景元斋；《渔童吹笛图》轴、《柳荫人物图》轴均流入日本。图1以泼墨侧锋，拖泥带水，尽情挥写乱石老柳，以细碎之笔，密点柳叶，疾写杂草。人物造型，偏头斜目，举止怪诞，神情诙谐，更以颤笔写衣纹，颠狂之气，跃然画外。此幅图吸取牧溪、梁楷天然之趣，而舍浙派生硬之弊，构成此图动人的艺术特点。",[7,24,241,260,173,259,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd2a5609b3948be540700520769704c1.jpg",[44],{"id":37746,"slug":37747,"title":37748,"dynasty":76,"author":37749,"museum":20,"description":37750,"tags":37751,"thumbUrl":37752,"material":139,"size":139,"collection":181,"collections":37753,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},236645,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236645","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[7,24,81,173,177,178,227,29,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbecd6fb60f813cf83d989c822dd4c04b.jpg",[181,382],{"id":37755,"slug":37756,"title":37757,"dynasty":76,"author":876,"museum":364,"description":37758,"tags":37759,"thumbUrl":37760,"material":139,"size":139,"collection":90,"collections":37761,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},236198,"hua-gui-hua-yu-min-zhong-lin-huang-ting-jian-tie-cheng-shan-qian-wei-cheng-236198","画桂花于敏中临黄庭坚帖成扇","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。",[7,24,1562,83,1125,105,178,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf40f10679bf2abd7c354888e76c59f3.jpg",[90],{"id":37763,"slug":37764,"title":37765,"dynasty":76,"author":10376,"museum":364,"description":27021,"tags":37766,"thumbUrl":37767,"material":743,"size":744,"collection":139,"collections":37768,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},235564,"lin-ni-zan-xi-ting-shan-se-tu-shan-mian-wang-hui-235564","临倪瓒溪亭山色图扇面",[7,24,1562,173,105,177,86,227,29,175,430,176,558,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],{"id":37770,"slug":37771,"title":1774,"dynasty":76,"author":77,"museum":364,"description":740,"tags":37772,"thumbUrl":37773,"material":743,"size":744,"collection":139,"collections":37774,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},235086,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235086",[7,24,81,27,82,83,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b0a915e22f1438d7007f6edc85c06e.jpg",[],{"id":37776,"slug":37777,"title":34135,"dynasty":76,"author":1204,"museum":364,"description":37778,"tags":37779,"thumbUrl":37780,"material":139,"size":139,"collection":139,"collections":37781,"showCount":37597,"zanCount":5,"manualWeight":48,"mainColor":94},234158,"hua-hui-juan-zhu-da-234158","八大山人花鸟承袭陈淳、徐渭写意花鸟画的传统，发展为阔笔大写意画法，其特点是通过象征寓意的手法，并对所画的花鸟、鱼虫进行夸张，以其奇特的形象和简练的造型，使画中形象突出，主题鲜明，甚至将鸟、鱼的眼睛画成“白眼向人”，以此来表现自己孤傲不群、愤世嫉俗的性格，从而创造了一种前所未有的花鸟造型。",[23,7,24,25,173,446,86,227,178,84,449,12102,755,243,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10690432eee4f9791878f7dce4625503.jpg",[],{"id":37783,"slug":37784,"title":37785,"dynasty":76,"author":37786,"museum":364,"description":37787,"tags":37788,"thumbUrl":37789,"material":139,"size":37790,"collection":139,"collections":37791,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},234137,"xi-hu-zai-he-tu-xiang-juan-xie-bin-234137","西湖载鹤图像卷","谢彬","谢彬，字文侯，上虞人，为曾鲸高足，善画人物，兼长山水，清朱彝尊云：“谢彬学曾鲸氏而有得者也。”所作《朱葵石像》录于《中国绘画史图录》，《颜修来题壁图像》册页录于《中国书画过目汇考附目》，《渔乐图》录于《赖古堂书画集》。张学曾，字尔唯，号学庵，会稽人，自幼好画，为“画中九友”之一，山水师董源，喜仿元人笔，苍秀疏简，妍而不甜，枯而不涩，传世作《仿倪云林山水图》，藏故宫博物院，《秋兴诗意图》册录于《虚斋名画录》，《赠别图》录于《中国绘画史册》。金古良，字射堂，山阴人，善画人物，作《无双谱》，集书、画、诗为一体，甚杰出，称誉海内。李因，字今生，号是庵，会稽人，女画家，工花卉禽鸟，画多水墨，苍老无闺阁气，精于写生，点染生动，大幅更佳，亦善刻，曾刻其师陈白阳像奉之，传世作《墨花鸟》卷藏故宫博物院，《鸟竹图》扇面，录于《铁琴铜剑楼藏扇集锦》，《荷花鸳鸯图》藏南京博物院。李因之夫葛无征，亦善山水。",[23,7,209,24,25,27,26,28,29,107,108,109,174,281,175,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349f77f272eba5b173d116e21d035d63.jpg","横：419.3cm，纵：16.7cm",[],{"id":37793,"slug":37794,"title":37795,"dynasty":189,"author":1848,"museum":20,"description":37796,"tags":37797,"thumbUrl":37798,"material":3076,"size":4020,"collection":139,"collections":37799,"showCo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“一叶随风万里身”的隐逸情思。",[7,24,241,173,177,178,227,29,174,109,394,1351,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg",[],{"id":37801,"slug":37802,"title":37803,"dynasty":189,"author":10811,"museum":20,"description":37804,"tags":37805,"thumbUrl":37806,"material":803,"size":37807,"collection":139,"collections":37808,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},233810,"mu-dan-tu-juan-wang-yuan-233810","牡丹图卷","两幅画里的杜鹃、桃花却是点虱而成，虽然只是简单的用笔，却也表现出花朵的墨色变化。这些花鸟因用水墨表现出来，显得素洁安静给人以超凡脱俗之美。王渊的画是从淡彩晕染演绎出淡彩渲染，似乎是要通过淡彩画出五色绚烂的效果。而淡彩渲染又服从于总体效果，又有了浓墨渲染便有了墨色浓淡的层次。王渊的墨彩之所以能够如此绚丽，不得不归功于另一个重要因素——纸。中国画是离不开绢和纸的，就像笔离不开墨一样。绢和纸决定了一幅画的描绘，虽然有相同处，然而在具体的用笔用墨、气质上格调上还是有本质区别的。宋以前的画一般都是用绢，绢是丝织品，透明而有光泽，不散墨，可以一遍遍的描绘，更好的塑造形象。宋以后的画包括著色画一般是用纸来完成的。纸是植物制品，而绢是丝织品，性质不同就注定用两者作画会有不一样的效果。绢的运用在绘画上做出了辉煌的贡献，已经达到了极致，而纸的使用使笔墨发生了变化，使画有了另一种味道，因此也有了流派上的变迁。元代的画纸是一种质地坚硬、半生半熟的纸，一般水墨会停留在纸面上，遵循着配合到描绘对象的写实原则，水墨落在纸上就会出现似化非化的效果，线条会有一种渴润的韵致，墨色也会更加有苍茫之感。而中国古代画家用的纸都是精心取材，按着严谨的制造程序来做的，因此无论纸还是绢都是非常好的。而现代制纸大都没那么考究，或是有些制造经验已经失传了。",[7,209,24,25,173,28,83,327,227,1966],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb9ec2e52112fc99757bf6c16e4be0f.jpg","纵37.7cm、横61.6cm",[],{"id":37810,"slug":37811,"title":37812,"dynasty":99,"author":170,"museum":20,"description":37813,"tags":37814,"thumbUrl":37815,"material":1716,"size":37816,"collection":139,"collections":37817,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},233147,"fang-dong-ju-shan-shui-tu-zhou-shen-zhou-233147","仿董巨山水图轴","五代南唐董源、巨然的风格受到明代吴门画家的重视，成为他们效仿、取法的对象，根据本幅左上角画家自题，图中仿董巨的风格是受民度本人所请。该图在狭长的尺幅中作长林巨壑之景，近处松石陂陀，中间有较大面积的湖水，水面上二人乘小舟垂钓，一座桥从画外延伸至山脚下的彼岸，桥上一文士策杖而行，岸上有茅亭屋舍。再往上山势连绵，景致层层深入，中间一条“S”形的山谷使两边的山峰在狭长的构图中并不显得拥挤，凸显了高远、深远的特色。图中皴笔短促繁密，圆润松秀，用笔注重层层渲染，笔锋内敛，具有外柔内刚的特点。该图在构图、笔墨上受到“董巨”的影响，但是画家融合古人的笔意而又有自己的特点，用笔颇为苍润醇厚，此外策杖归来、舟上垂钓均为当时吴门文士生活的真实写照。",[7,24,241,173,177,105,29,864,297,430,449,16687,175,560,650,1445,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纵163.4厘米，横37厘米",[],{"id":37819,"slug":37820,"title":21758,"dynasty":76,"author":12831,"museum":20,"description":37821,"tags":37822,"thumbUrl":37823,"material":803,"size":37824,"collection":139,"collections":37825,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},232689,"mo-mei-tu-zhou-luo-pin-232689","图绘傲风凌寒的梅花竞相绽放，一派生机勃勃的景致。图中花瓣或以仿元赵孟頫的“水墨”法墨晕，或以仿元王冕的“空圈”法线勾，无色晕染的花瓣于交叠辉映中，自得“不要人夸好颜色，只留清气满乾坤”的丽质，这种气质正是作者仿南宋葛长庚的梅画所要追求的清绝意韵。",[23,7,173,241,83,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa09da21d1f31d121e8101cafce14fa.jpg","纵125.5厘米，横42.5厘米",[],{"id":37827,"slug":37828,"title":37829,"dynasty":76,"author":1109,"museum":101,"description":37830,"tags":37831,"thumbUrl":37832,"material":803,"size":139,"collection":139,"collections":37833,"showCount":37597,"zanCount":1547,"manualWeight":48,"mainColor":94},232606,"ku-gua-he-shang-shu-hua-ce-shi-tao-232606","苦瓜和尚书画册.","此画册《苦瓜和尚书画册》为清代画家石涛绘，共12幅，一图一诗。旧藏日本大收藏家桑名铁城，书名页 “石涛道人书画神品”为日本著名画家富冈铁斋题，现藏于美国大都会博物馆。这些书画大约书绘于1695年。\n石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽鳳陽，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。与弘仁、髡残、朱耷合称“清初四僧”。石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n石涛擅长山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨笔墨恣肆，意境苍莽新奇，一反当时仿古之风。\n第十二帧：君与梅花同赏，岁寒时许争夸，暖日睛窗拈笔，几回清思无涯。小乘客，济。",[7,24,81,173,178,227,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07884430a5f9c035d5167b0df2cde5b3.jpg",[],{"id":37835,"slug":37836,"title":5764,"dynasty":76,"author":19485,"museum":364,"description":37837,"tags":37838,"thumbUrl":37839,"material":139,"size":139,"collection":139,"collections":37840,"showCount":37597,"zanCount":5,"manualWeight":48,"mainColor":94},230118,"xie-sheng-hua-niao-tu-qu-zhao-lin-230118","此作以工笔设色绘就庭院清秋小景，桂树新枝缀着嫩绿叶瓣与细碎繁花，枝头双雀依偎和鸣，另有群雀或振翅掠空，或伫立于朱漆栏杆，将灵雀憨态描摹得鲜活入微。\n\n下方幽石错落，阔叶草木舒展柔姿，淡色小花点缀其间，晕染出静谧雅致的庭间氛围。设色清妍柔和，线条匀净秀润，兼具院体花鸟的工致写实，又暗含文人写意的清幽意趣，将寻常庭院的花鸟日常，晕染为一方诗意盎然的雅致画境，尽显写生花鸟的细腻妙趣。",[23,7,24,241,28,27,83,281,430,226,698,17141,19042,298,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0eac61a99c9ad9c38167017ba4112f0.jpg",[],{"id":37842,"slug":37843,"title":37844,"dynasty":76,"author":37845,"museum":238,"description":37846,"tags":37847,"thumbUrl":37848,"material":139,"size":139,"collection":139,"collections":37849,"showCount":37597,"zanCount":5,"manualWeight":48,"mainColor":49},228921,"qiu-shan-hong-shu-tu-li-jian-228921","秋山红树图","黎简","这幅山水以没骨青绿晕染山峦，留白烘出流云如絮，将山谷裹在空濛仙气之中。丹红的枫林点染在青碧峰峦间，冷暖撞色鲜活明快，打破了青绿基调的沉静，映着澄澈秋水，板桥卧波引渡。隅侧茅舍隐在红树之后，野趣横生。\n\n山石勾勒圆浑，设色厚而不浊，在堂皇明艳的大青绿底色中，融入文人山水的清寂澹远，将秋山的绚烂丹枫与幽寂林泉相融，把秋日山林明丽又安宁的意韵尽数铺展，诗意悠然。",[209,7,24,241,27,28,177,29,3500,108,35,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea6ed7e98b0f5962716eadac4fb205f7.jpg",[],{"id":37851,"slug":37852,"title":37853,"dynasty":99,"author":1012,"museum":364,"description":37854,"tags":37855,"thumbUrl":37856,"material":139,"size":139,"collection":139,"collections":37857,"showCount":37597,"zanCount":5,"manualWeight":48,"mainColor":49},228424,"fang-zhao-yong-xi-shan-ting-quan-tu-lan-ying-228424","仿赵雍溪山听泉图","此作用笔苍劲老辣，层岩峻拔巍峨，以硬朗皴法写尽山石厚重质感，峭壁间飞泉垂落，似能闻声潺潺。山间林木虬曲多姿，红绿错杂，为幽寂山景添了几分灵动生机。\n\n画面一隅茅庐依水而设，隐士凭坐松下静听泉声，将林泉高致藏于丘壑之中。整体兼具元人山水的疏朗写意与浙派刚健气象，既绘出峰峦雄阔之态，又尽显林下幽居的萧散闲逸，把观泉听涛的雅趣融在山野烟岚里，清寂淡远的林下之逸跃然纸面。",[23,7,209,24,241,173,27,177,29,558,34,4675,650,560,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc4742071ff701ac6e53351aca5f7f5.jpg",[],{"id":37859,"slug":37860,"title":37861,"dynasty":18,"author":1616,"museum":364,"description":37862,"tags":37863,"thumbUrl":37864,"material":139,"size":139,"collection":139,"collections":37865,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[209,7,24,25,173,27,29,106,107,108,109,175,430,176,2838,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":37867,"slug":37868,"title":37869,"dynasty":18,"author":3103,"museum":364,"description":37870,"tags":37871,"thumbUrl":37872,"material":139,"size":139,"collection":139,"collections":37873,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},227955,"gu-gong-tu-ce-zhao-bo-ju-227955","故宫图册","此作以青绿晕染层叠丘壑，色调古雅厚重，界画楼阁精工严整，飞檐斗拱分毫毕现，尽显宫苑富丽堂皇。云气缭绕于台榭林麓之间，虚实相生，让恢宏楼宇掩映得灵动缥缈，消解了建筑的刻板厚重。\n\n山道间行旅策蹇徐行，板桥卧于溪上，潺潺流水隐于其间，鲜活点缀为静谧宫晕开几分林泉雅趣。画作糅合院体山水的精工法度与青绿设色的古艳雅致，将皇家苑囿的恢宏气度，与林泉丘壑的清逸空濛相融，尽显工丽秀雅的宋画风韵。",[23,7,26,27,104,28,29,107,108,106,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd9ee1df76dc0919e8b19de41238e03.jpg",[],{"id":37875,"slug":37876,"title":37877,"dynasty":18,"author":293,"museum":206,"description":37878,"tags":37879,"thumbUrl":37880,"material":803,"size":37881,"collection":139,"collections":37882,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},223423,"song-ren-ying-xi-tu-zhou-yi-ming-223423","宋人婴戏图轴","以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,7,24,241,28,27,106,11805,11294,34,432,604,23323,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda63fb920aa5b61046227673fe4d57a0.jpg","279x84",[],{"id":37884,"slug":37885,"title":26822,"dynasty":76,"author":37886,"museum":675,"description":37887,"tags":37888,"thumbUrl":37889,"material":724,"size":37890,"collection":90,"collections":37891,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},223124,"shui-xian-tu-song-si-ren-223124","宋思仁","几簇长卷水仙花，散落在峭壁、岩石、泥土上，叶片长长，花朵艳丽，一派生机勃勃的风沙。宋思人，名雅若，名如和，是山东两道官员。能诗，善戏，善识古人，精篆刻，多古篆。他画山水、花草树木，尤其是兰花。",[23,7,24,25,173,451,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e0da0bdc665e81096b22d4695c855d.jpg","30cmx499cm",[90,45],{"id":37893,"slug":37894,"title":1540,"dynasty":76,"author":12831,"museum":1806,"description":37895,"tags":37896,"thumbUrl":37897,"material":37898,"size":37899,"collection":139,"collections":37900,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},222832,"zhu-shi-tu-luo-pin-222832","以浓淡二墨写竹竿枝叶，水墨撇脱，随意挥洒，以浓淡枯润的变化，尽现竹之风致意态，有云雾迷潆之感。画意空灵湿润。小溪之畔，怪石嶙峋，以干笔湿墨勾染点皴，色泽凝重，富有体积感。",[23,7,24,241,173,260,242,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5e50e2e41066cad8b00a5868c52fa2.jpg","立轴，纸本，墨笔","纵121.8厘米，横58.8厘米",[],{"id":37902,"slug":37903,"title":37904,"dynasty":76,"author":2405,"museum":56,"description":2406,"tags":37905,"thumbUrl":37906,"material":2414,"size":2415,"collection":139,"collections":37907,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},222818,"gu-su-fan-hua-tu-di-er-duan-xu-yang-222818","姑苏繁华图第二段",[23,7,24,25,28,27,104,106,107,108,109,175,34,35,153,112,116,2408,111,110,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13854b780c9cb3ed4dddfbf1c538ccc.jpg",[],{"id":37909,"slug":37910,"title":37911,"dynasty":76,"author":850,"museum":206,"description":14253,"tags":37912,"thumbUrl":37916,"material":665,"size":14257,"collection":181,"collections":37917,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},222763,"shi-er-yue-ling-tu-4-yue-lang-shi-ning-222763","十二月令图（4月）",[23,7,27,28,106,107,108,109,175,176,84,37913,37914,37915],"细雨","赏花","消遣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd2462abe95344680ac6dca3956b1cd.jpg",[181,45],{"id":37919,"slug":37920,"title":37921,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":37922,"thumbUrl":37923,"material":27,"size":6032,"collection":139,"collections":37924,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},222734,"xian-e-chang-chun-tu-shao-yao-tu-lang-shi-ning-222734","仙萼长春图芍药图",[23,209,7,24,81,28,27,83,1136,245,697,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4e80ec12b7bb3352ab726c4f69de0f.jpg",[],{"id":37926,"slug":37927,"title":37928,"dynasty":99,"author":1996,"museum":276,"description":5506,"tags":37929,"thumbUrl":37930,"material":619,"size":5510,"collection":139,"collections":37931,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},222563,"hua-hui-tu-2-chen-chun-222563","花卉图2",[23,209,7,24,83,446,27,84,698,5131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b58c1f760d5e2ed82b57cd46ef85900.jpg",[],{"id":37933,"slug":37934,"title":37935,"dynasty":99,"author":37936,"museum":364,"description":37937,"tags":37938,"thumbUrl":37939,"material":37940,"size":37941,"collection":181,"collections":37942,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},222139,"shan-shui-shou-juan-li-liu-fang-222139","山水手卷","李流芳","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。\n万历三年（1575）李流芳出生于嘉定南翔一户官宦人家。原籍南直隶徽州府歙县（今安徽歙县南丰），祖父李文邦为迁翔始祖，任成山卫指挥使，封赠公爵。父亲李汝筠系县学生。伯父李汝节是嘉靖进士，官至安吉知州。堂兄李先芳，万历进士，四川参议。李流芳兄弟四人：长兄李元芳，诸生，诗人；仲兄李名芳万历进士，翰林院庶吉士；弟李三芳，定海县丞。李流芳排行第三，人称李三长蘅。\n李流芳青少年时，潜身东林庵中，认真读书，企求科举入仕。万历三十四年(1606)，32岁中举，后又两度赴京参加殿试皆不第。时朝廷为太监魏忠贤及其党羽把持，仕途凶吉难料。他感到气馁，回到家乡，自建“檀园”，绝意仕途。他经常游览杭州西湖，一边游湖一边作画，并提笔写下一系列题跋，一派高人逸士之风度。为人耿直，诗风清新自然，文品为士林翘楚。魏忠贤建生祠不往拜，与人云：“拜，一时事，不拜，千古事。”\n李流芳和程嘉燧，诗文书画齐名，曾对好友钱谦益说：“精舍轻舟，晴窗明己，看孟阳（程嘉燧）吟诗作画乃是生平第一快事。”钱谦益曰：“吾却有二快，兼看兄与孟阳耳。”崇祯元年（1628），钱谦益被放，坐帐论牍，病中的李流芳闻讯，扶枕浩叹：“不可为矣！”\n崇祯二年 (1629)闰四月三日李流芳卒于檀园，享年五十五岁。钱谦益作《李长蘅墓志铭》，程嘉燧书丹，宋珏篆盖，侯峒曾作《祭李长蘅先生文》。清嘉定诗人林大中有诗夸其“忆当晚明时，官途亦多术。高士多鄙之，坚卧独不出。诗笔能清真，画品亦超轶。不拜千古事，名言殊简质。孝廉忧国家，呕血遂以卒。”大书画家董其昌曰：“其人千古其艺千古！”",[23,7,24,25,173,177,29,864,297,34,35,194,119,491,13778,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[181,163],{"id":37944,"slug":37945,"title":37946,"dynasty":189,"author":2438,"museum":206,"description":37947,"tags":37948,"thumbUrl":37950,"material":123,"size":37951,"collection":44,"collections":37952,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},221846,"yuan-shi-zu-chu-lie-tu-zhou-liu-guan-dao-221846","元世祖出猎图轴","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。 所画人和马作各种不同的姿态，转侧俯仰，富有变化",[23,7,24,209,241,27,28,106,150,957,31402,37949],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f29856d91d375b99fed5b050f99805e.jpg","182.9x104.1",[44,45],{"id":37954,"slug":37955,"title":37956,"dynasty":18,"author":823,"museum":101,"description":37957,"tags":37958,"thumbUrl":37959,"material":16489,"size":37960,"collection":139,"collections":37961,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},221508,"bu-yu-tu-tuan-shan-ye-xia-gui-221508","捕鱼图团扇页","按《捕鱼图》团扇页题签，此画传为南宋画家夏圭所作。有学者认为可能是明代画家的作品。夏珪腕力刚劲，运笔迅速，与此画文静秀逸的笔法不同；《捕鱼图》人物温雅的面容，简洁而细腻的衣纹，也不是夏珪的风格，反而与马远的画风一致。尽管《捕鱼图》可能不是宋代作品，但画得依然很出色，能妙笔入神，情景交融，表现出雅静虚和的韵味。",[23,7,1562,173,177,29,174,1351,1016,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b90038fa4d4f5868eee3e4e06e13086.jpg","23.2x24.1厘米",[],{"id":37963,"slug":37964,"title":37965,"dynasty":18,"author":6652,"museum":364,"description":37966,"tags":37967,"thumbUrl":37968,"material":27,"size":37969,"collection":42,"collections":37970,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},221486,"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[23,209,7,24,25,173,177,86,227,29,864,1329,297,174,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[42,181,163],{"id":37972,"slug":37973,"title":37974,"dynasty":18,"author":26092,"museum":364,"description":37975,"tags":37976,"thumbUrl":37977,"material":67,"size":37978,"collection":42,"collections":37979,"showCount":37597,"zanCount":5,"manualWeight":48,"mainColor":49},221417,"qiu-lin-tu-ye-xu-dao-ning-221417","秋林图页","此卷作平遠的構圖，山巒重疊向兩面展開，叢林間隱藏寺院和佛塔。近景作河流、坡岸，幾棵大樹，挺拔疏朗，有小道、橋樑通往遠處；二局士遠眺，有騎士與隨從似正遊覽歸來。表現了華北黃土地清曠的晚秋景色。其構圖與美圍納爾遜·艾京斯美術館藏《秋江漁艇圖》屬同一類型。樹法作“蟹爪法”，鹿角、坡石皴法亦屬李成一派。本圖無款，傳為許道寧作。\n圖中描寫的是華北平原秋天時的蕭寒荒涼景色，與平原中活動的人物。最令人深感趣味的是從圖卷末開始，山坡上植滿大片樹叢，樹葉開始凋零，景色由此向右上方延伸，到中景則出現小片樹叢，並隱約可見在林間的寺院和閣樓。這就點出了此畫的主題，在樹叢下有幾名清雅高士正朝着丘陵的方向欣賞大自然美景。秋高氣爽，一陣陣秋風從秋林中沙沙吹響，好一個平原秋色的蕭寒荒涼，這使高士們如此喜悦，領略大自然恩賜的詩一般的愜意。\n此畫構圖的軸線是順着道路漫延到卷末。作者重點佈置秋色的蕭條，四周同將枯竭的泉水，及背後莊嚴的山脈，使人感受到強烈的蕭條之氣。可是在樹叢下有幾名清雅高士採風賞景、談笑風生，頓使畫面意趣盎然、生氣充盈。圖中人物雖小，但能神形逼肖。此圖乍看似乎是李成寒林平原山水的模式。從此圖中不僅能看到許道寧擅長的林木，平野山水，及斜面構圖模仿寒林龍形山脈等，更可以看出白唐、五代以來長安繪畫保守的傳統風格",[23,7,209,24,81,173,177,29,394,1653,3953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265c7ee4e15765a1f3229516a46ee0b3.jpg","36× 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横：104.2公分",[90],{"id":38019,"slug":38020,"title":38021,"dynasty":18,"author":781,"museum":752,"description":38022,"tags":38023,"thumbUrl":38024,"material":123,"size":38025,"collection":42,"collections":38026,"showCount":37597,"zanCount":5,"manualWeight":48,"mainColor":49},220333,"yuan-ming-gui-yin-tu-li-gong-lin-220333","渊明归隐图","本画将《归去来兮辞》原文分为七段配以相应的绘本，完整描绘渊明归去来的一连串情节，画面热闹，用笔工整讲究，但与《归去来兮辞》中所描写的略有出入，倒有些像是辞官后富贵还乡的场景。",[23,7,25,260,27,86,178,227,106,29,175,174,281,34,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68210320aa225634ebd2bcf13157b263.jpg","37.0x521.5",[42],{"id":38028,"slug":38029,"title":38030,"dynasty":189,"author":38031,"museum":206,"description":38032,"tags":38033,"thumbUrl":38034,"material":381,"size":38035,"collection":163,"collections":38036,"showCount":37597,"zanCount":5,"manualWeight":48,"mainColor":49},220242,"gu-mu-fei-quan-tu-zhang-shun-zi-220242","古木飞泉图","张舜咨","该幅作于1347年（至正七年），描绘几株老树挺立在土坡石傍，远山、飞泉之外别无他物。空山溪谷寂静幽深，只有潺潺的泉声不断传来。画树枝，好像写书法似地一笔一笔写成。皴法的用笔扭转交错，有活泼灵动的感觉。",[23,7,209,24,241,27,29,394,1653,109,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2110f7088b0994cacaafa316c890aa.jpg","146.3x89.6公分",[163],{"id":38038,"slug":38039,"title":38040,"dynasty":99,"author":13656,"museum":20,"description":38041,"tags":38042,"thumbUrl":38043,"material":381,"size":38044,"collection":181,"collections":38045,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[23,7,24,241,556,446,177,29,449,5749,174,26978,109,864,431,1016,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[181,44],{"id":38047,"slug":38048,"title":38049,"dynasty":76,"author":1109,"museum":8782,"description":38050,"tags":38051,"thumbUrl":38052,"material":88,"size":38053,"collection":181,"collections":38054,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},219930,"liu-xi-diao-ting-tu-shi-tao-219930","柳溪钓艇图","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，僧名元济，一作原济，别号很多，大滌子、钝根、石道人、苦瓜和尚、瞎尊者、清湘陈人、清湘老人、清湘遗人、零丁老人。 明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。",[23,7,173,177,241,29,3246,174,109,298,34,106,107,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff3288481cb043a71d1eaf11cecb7e0.jpg","127.4x54",[181],{"id":38056,"slug":38057,"title":38058,"dynasty":99,"author":1572,"museum":8782,"description":38059,"tags":38060,"thumbUrl":38061,"material":342,"size":38062,"collection":181,"collections":38063,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},219925,"zhu-ju-tu-wen-zheng-ming-219925","竹居图","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[7,24,173,27,177,29,242,175,430,245,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292ecae83b68849fed901d8ead40a667.jpg","71.5x41cm",[181],{"id":38065,"slug":38066,"title":26195,"dynasty":99,"author":1996,"museum":539,"description":38067,"tags":38068,"thumbUrl":38069,"material":381,"size":139,"collection":181,"collections":38070,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},219893,"zhou-jin-tang-ji-chen-chun-219893","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[23,7,24,25,178,1147,1308,173,27,106,107,108,109,174,175,430,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[181,382],{"id":38072,"slug":38073,"title":38074,"dynasty":99,"author":38075,"museum":78,"description":38076,"tags":38077,"thumbUrl":38078,"material":123,"size":139,"collection":44,"collections":38079,"showCount":37597,"zanCount":5,"manualWeight":48,"mainColor":94},219891,"wang-yang-ming-xiao-xiang-cai-shi-xin-219891","王阳明肖像","蔡世新","众画师绘制王阳明的正面像，很难描绘出其两颧棱峭的面貌特征，王阳明多不满意。蔡世新年幼即从王阳明学习，非常熟悉老师的形貌特征",[7,24,1086,106,28,27,8612,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275b5a52018d4ba6a2ede02fa6df1460.jpg",[44],{"id":38081,"slug":38082,"title":38083,"dynasty":76,"author":38084,"museum":539,"description":38085,"tags":38086,"thumbUrl":38087,"material":123,"size":139,"collection":44,"collections":38088,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},219835,"cai-zhi-tu-yu-bing-shun-219835","采芝图","禹秉舜","此作以青绿晕染烟霞山峦，古松虬枝横斜，苍劲的松针间裹挟流云，将山林晕染出空寂出尘的仙气。下方溪桥之上，仕女衣袂翩跹徐行，侍女手捧灵芝紧随其后，人物眉目温婉情态娴静，衣纹勾勒细腻雅致。\n\n画作兼用工写之法，山石松干以粗笔淡墨皴擦出苍润古意，人物则精细描摹，明丽设色衬出雅致格调，将林下寻芝的隐逸雅趣融于山水之间，淡远清和，尽显温婉古韵。",[23,7,27,28,241,1575,176,37,59,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb0c561ceeb62412f8daaea5ff098e.jpg",[44],{"id":38090,"slug":38091,"title":38092,"dynasty":189,"author":351,"museum":206,"description":38093,"tags":38094,"thumbUrl":38095,"material":123,"size":38096,"collection":44,"collections":38097,"showCount":37597,"zanCount":5,"manualWeight":48,"mainColor":49},219694,"san-yuan-song-xi-tu-qian-xuan-219694","三元送喜图","本幅描绘庭院一角，有两株梧桐傍石而生，桐荫下，三名童子聚精会神的观赏著画。轴中画的花禽，分别是香椽与喜鹊，与三 “元” 送 “喜” 谐音。三元指状元、会元、解元，故本图有科考高中之吉祥寓意。",[23,7,24,28,27,106,3045,430,1795,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2316fbe648f0293f1ca11463ab959048.jpg","111.4x62.8厘米",[44],{"id":38099,"slug":38100,"title":38101,"dynasty":99,"author":38102,"museum":539,"description":38103,"tags":38104,"thumbUrl":38105,"material":123,"size":139,"collection":44,"collections":38106,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},219548,"yao-chi-xian-ju-tu-zhang-chong-219548","瑶池仙剧图","张翀","左上题笔苍劲古朴，与下方群景相映成趣。画中仙者围聚雅奏，吹笛人垂眸凝神，乐音似随笔墨漫溢而出；持板者庄容敛目，静候合律；侧耳听者沉醉忘形，仕女柔婉端丽，老者骨相清奇。衣纹以铁线描游走，顿挫间尽显飘逸灵动，晕染细腻贴合身形，将仙家出尘之姿尽数铺展。古雅棕褐底色晕开瑶池的缥缈清旷，把群仙宴乐悠然盛景刻画入微，既有传统人物画的精工雅致，又暗蕴超脱尘俗的浪漫气韵，尽显精妙笔力与古典审美意趣。",[23,7,27,28,106,59,957,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7624c2f1c2e8fe233684b55cd2200168.jpg",[44],{"id":38108,"slug":38109,"title":38110,"dynasty":99,"author":13656,"museum":206,"description":38111,"tags":38112,"thumbUrl":38118,"material":123,"size":38119,"collection":44,"collections":38120,"showCount":37597,"zanCount":5,"manualWeight":48,"mainColor":49},219510,"bei-hai-zhen-ren-xiang-zhou-wu-wei-219510","北海真人像轴","画中仙者束发袒襟，神态清和古雅，安坐灵龟背上行于浅渚苇荡间。他手持枯藤，灵蛇盘绕其上，衣袂飘然随微风舒展，尽显出尘之气。\n\n灵龟昂首探行，笔墨简练却将其沉健之态勾勒分明，苇草轻淡晕染衬出清虚氛围。整幅画作以粗笔写意，衣纹顿挫简练，粗率之中见法度，将真人餐霞饮风、伴云游世的逍遥仙韵尽显，把道家超然物外的隐逸意趣融于尺幅间，静穆里暗藏灵动仙气。",[7,241,106,173,446,38113,18349,38114,38115,1653,38116,38117],"道家","灵龟","灵蛇","苇草","仙气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b042adf830649bd30427a7e5845d3ff.jpg","158.4x93.2",[44],{"id":38122,"slug":38123,"title":1692,"dynasty":76,"author":38124,"museum":206,"description":38125,"tags":38126,"thumbUrl":38127,"material":173,"size":139,"collection":163,"collections":38128,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},219380,"shan-shui-tu-wang-duo-219380","王铎","虬枝盘曲，墨色浓淡交织，似在风中低语。苍劲笔触勾勒树的骨节，枯笔皴擦间尽显老辣之态。背景山峦以淡墨晕染，层叠隐现于烟水之间，远处汀渚点点，归帆依稀。近树与远岫形成疏密对比，留白处见空灵，墨色浓处显沉厚。写意之笔将山水荒寒与悠远融于一纸，笔墨干湿变化中藏着对自然的静观哲思，简淡里见深致，苍莽中显清逸，仿佛能听见风穿枝桠的轻响，望见烟霭中山峦的呼吸，于方寸间铺展无尽悠远之境。",[7,24,241,173,29,1015,491,35,5066,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e112d70ced0d8f4884a6ea2eccbb27.jpg",[163],{"id":38130,"slug":38131,"title":38132,"dynasty":99,"author":1572,"museum":206,"description":38133,"tags":38134,"thumbUrl":38135,"material":88,"size":38136,"collection":45,"collections":38137,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},219340,"jue-he-gao-xian-tu-wen-zheng-ming-219340","绝壑高闲图","深林密荫，悬壁周环，瀑布清冷，淙淙然仿佛可闻流水声。主来客坐，别无其它通径，真有与世隔绝之概。此图与其八十岁所作「古木寒泉」有相通之处，但不及其简链。",[7,24,173,27,177,2939,29,106,34,176,558,6070,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c19e7ef475d412fcce34d90c5a2f1f7.jpg","148.9x177.9cm",[45],{"id":38139,"slug":38140,"title":38141,"dynasty":18,"author":293,"museum":132,"description":38142,"tags":38143,"thumbUrl":38144,"material":381,"size":38145,"collection":90,"collections":38146,"showCount":37597,"zanCount":1270,"manualWeight":48,"mainColor":49},219000,"tang-su-zhu-que-tu-yi-ming-219000","唐宿竹雀图","竹影扶疏，墨色浓淡间显枝干劲挺，竹叶层叠如翠云轻展，疏密有致藏自然生机。雀儿栖于竹枝，或敛翅假寐，或侧首凝睇，羽纤毫毕现——绒羽若隐若现，翅尖纹理分明，爪尖扣枝的力道隐于柔姿，神态灵动如临其境。石矶卧于竹下，皴法简淡却见朴拙，与竹的清雅相映成趣。整幅画面动静相宜，清雅中含野逸之趣，写实笔触里蕴文人雅致，尽展宋画对自然物态的精妙捕捉与诗意表达。",[23,209,7,24,241,28,173,27,83,242,5589,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7da3d9921c4342a3173c6bce0281591.jpg","纵159.0横93.4厘米",[90],{"id":38148,"slug":38149,"title":38150,"dynasty":18,"author":38151,"museum":206,"description":38152,"tags":38153,"thumbUrl":38154,"material":123,"size":139,"collection":42,"collections":38155,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},218935,"song-xiu-yu-cun-tu-gao-ke-ming-218935","松岫渔村图","高克明","在画作中央的山坡上画着一栋村舍，它与右边的坡石由一座木桥连接，桥下的溪水流淌着，仿佛在鸣叫。桥上的一个男人正向村子走去，后面跟着一个孩子。坡岸上有房屋和树木，远处的山峰上也有树木；远处的山峰被涂上了鲜艳的色彩，还有蒸腾的雾气，这种场景类似于中国南方的晚春日落。这幅作品的构图是典型的边缘化，场景本身只占整个画面的一半，形成一条从远处山顶的树梢到倾斜的海岸的对角线。虽然这是一部小作品，但它具有巨大和深远的潜力。笔触低调，构图和主题一再显示出与马夏画派的亲和力。",[23,7,1562,29,1575,176,34,109,174,177,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a818024b4d6462ac770c4d1cfc69bc.jpg",[42],{"id":38157,"slug":38158,"title":38159,"dynasty":54,"author":13140,"museum":206,"description":38160,"tags":38161,"thumbUrl":38162,"material":88,"size":38163,"collection":90,"collections":38164,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},218796,"hua-niu-tu-dai-song-218796","画牛图","壮硕的水牛缓步踏于郊野，肌理褶皱与蓬松毛发以浓淡墨色晕染，憨态中藏着沉实力量。牛背上的牧童半倚牛身，袖角轻扬似伴风哼歌，眉眼间漫着未泯的天真。旁侧老树枝干虬曲，墨叶层叠如盖，树下蜷伏的小狗探头张望，添了几分灵动野趣。\n\n整幅画以简练线条勾出轮廓，墨色深浅衬出物象质感，田园的悠然生机凝于尺幅。每处细节皆藏着对生活的细腻观察：牛蹄的厚重、牧童的松弛、树影的斑驳，仿佛能听见风过叶隙的轻响，与牧童唇边隐约的调子，瞬间跌入那片静谧的乡野时光里。",[23,209,7,24,173,27,28,151,106,430,227,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c7dfa521d6e806e13ca8e77c45568ad.jpg","56.1x32.2cm",[90],{"id":38166,"slug":38167,"title":38168,"dynasty":18,"author":7711,"museum":206,"description":38169,"tags":38170,"thumbUrl":38173,"material":123,"size":38174,"collection":90,"collections":38175,"showCount":37597,"zanCount":1547,"manualWeight":48,"mainColor":94},218617,"yuan-ji-hui-ce-song-hong-liao-shuang-fu-mao-yi-218617","元集绘册 宋红蓼双凫","描写鸭凫一对栖息于洲渚边，雄凫绿颈花羽伫立，雌凫相依啄食地面，画家传神地描绘出鸟禽的外型。岸上芦荻几株，红蓼掩映其间，颇富山林野趣。本幅与上海博物馆所藏宋无款「双凫图」极为相似，然构图布局左右相反，两者皆属于北宋末南宋初流行的汀渚水鸟风格。毛益为南宋孝宗干道年间（西元一一六五─一一七三年）的画院待诏。",[7,24,81,28,27,83,38171,38172,367],"红蓼","双凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bd50e2132c6f4e91d07b9dc4e59a3f.jpg","本幅 26x25.8公分、对幅 26x25.8公分、全幅 43.1x75.9公分",[90],{"id":38177,"slug":38178,"title":29116,"dynasty":18,"author":1650,"museum":206,"description":2227,"tags":38179,"thumbUrl":38180,"material":123,"size":2230,"collection":139,"collections":38181,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},218572,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218572",[23,209,7,24,81,27,177,29,107,1575,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a243811f9d11bd8f802140177b34ff7.jpg",[],{"id":38183,"slug":38184,"title":11626,"dynasty":99,"author":293,"museum":539,"description":38185,"tags":38186,"thumbUrl":38188,"material":123,"size":38189,"collection":44,"collections":38190,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":49},218372,"ying-xi-tu-yi-ming-218372","画的是一个骑着白色羊毛羊的孩子，戴着羊毛帽，穿着厚厚的长袍，肩上扛着一根细细的梅花杆，在隆冬时节，在一群不同颜色的羊毛中间放着一个鸟笼。",[23,7,27,28,106,11805,8368,61,430,38187,957],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eb0eaf577239595e5412db7830f04d.jpg","65.4x42.54",[44],{"id":38192,"slug":38193,"title":1692,"dynasty":99,"author":4904,"museum":15696,"description":38194,"tags":38195,"thumbUrl":38196,"material":88,"size":38197,"collection":181,"collections":38198,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},218089,"shan-shui-tu-lu-zhi-218089","陆治的山水图以其细腻的线条、精细的绘制技巧和浓郁的气韵而闻名。他对自然的描绘十分精确，能够将山川、河流、草木、云彩和其他自然元素都表现得十分逼真。他的作品中常常会出现山峰突出的场景，比如《凌云图》中的高峰，以及《雁荡图》中的荡秋千的山峰。\n\n陆治还善于表现水的流动，他的作品中常常会出现河流奔流的场景。他还会把水和山结合起来，比如在《凌云图》中就有悬崖峭壁上流出的小溪，以及《雁荡图》中的湖泊和山峰的结合。\n\n总的来说，陆治的山水图以其精细的绘制技巧和浓郁的气韵而闻名，是明朝山水画的巅峰之作。",[23,7,1397,177,173,176,34,1255,114,558,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76928577a7dc880899d9fd527dc9dd1.jpg","139x69.9cm",[181],{"id":38200,"slug":38201,"title":8697,"dynasty":99,"author":38202,"museum":206,"description":38203,"tags":38204,"thumbUrl":38205,"material":88,"size":38206,"collection":44,"collections":38207,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},217000,"luo-han-tu-chen-yuan-217000","陈远","罗汉图是明朝陈远所作的一幅著名的书画作品。它描绘了一群罗汉在山间修行的场景，山水画风格细腻，造型生动，富有表现力。罗汉是佛教徒中的一种职业，被视为道德模范，修行苦修，常常身着袈裟，头戴顶冠，手持佛像，在山林中修行禅定。\n\n陈远（1360-1453年），字元和，号清臣，是明朝著名的书画家。他的作品中有许多著名的山水画，其中罗汉图是其代表作之一。陈远的画风浑厚而不失精细，富有感染力，是明朝画坛的重要代表。",[7,24,241,259,28,27,106,394,244,63,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e868355eac240b9a49b9ea292fc510f.jpg","101.7x50",[44],{"id":38209,"slug":38210,"title":38211,"dynasty":99,"author":3114,"museum":78,"description":5241,"tags":38212,"thumbUrl":38213,"material":88,"size":139,"collection":139,"collections":38214,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},214647,"qiu-xing-ba-jing-tu-ce-10-dong-qi-chang-214647","秋兴八景图册-10",[7,24,81,173,27,178,227,177,29,34,31,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733353bab86339fd091579c32aef95fe.jpg",[],{"id":38216,"slug":38217,"title":1540,"dynasty":189,"author":2519,"museum":206,"description":38218,"tags":38219,"thumbUrl":38220,"material":381,"size":38221,"collection":139,"collections":38222,"showCount":37597,"zanCount":48,"manualWeight":48,"mainColor":94},214362,"zhu-shi-tu-zhao-meng-fu-214362","这幅画用枯木、竹子和石头画成，用笔既写实又有书法的趣味，最初的记录是元代一位无名艺术家的作品。竹子的画风与他夫人管道昇的画风比较相似，而石头和干木头是赵孟頫自己的，所以不清楚这幅画是否是他们夫妇的合作。",[23,209,7,24,173,81,242,431,245,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a3adbd17609f8effa8e71d46a7253.jpg","26.6x52.2",[],{"id":38224,"slug":38225,"title":38226,"dynasty":189,"author":2519,"museum":364,"description":19462,"tags":38227,"thumbUrl":38228,"material":743,"size":744,"collection":139,"collections":38229,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},290892,"song-yin-gao-shi-tu-zhou-zhao-meng-fu-290892","松阴高士图轴",[7,209,241,27,26,106,29,1575,176,7242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6154f78d6a189c4f588ad38f90341d9f.jpg",[],48,{"id":38232,"slug":38233,"title":38234,"dynasty":189,"author":1848,"museum":206,"description":38235,"tags":38236,"thumbUrl":38237,"material":827,"size":38238,"collection":139,"collections":38239,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":94},290819,"zhu-shi-zhou-wu-zhen-290819","竹石轴","吴镇存世之作几为墨画，晚年墨竹作品尤为多，由於作品上留有大量的题语，显露出个人绘画思想乃至一生学养，其中又以《竹谱册》为著。元代由於大环境的改变，文人好写“三友图”，以松竹梅表达象徵意义，或寄托情怀，吴镇亦有言“墨戏之作，盖士大夫词翰之馀，适一时之兴趣也”。然审视此轴，实为笔墨黯熟之潇洒佳作，非仅一时随兴之墨戏。竹干、岐枝皆下笔圆健，竹枝劲利，稍带回锋，尽管分枝多、发叶少，但叶随枝生，生态盎然；淡墨石以卧笔混点。幅中之墨色皆不浓重，显现一种平淡冲和的色感。竹石间，吴镇以流畅有力，墨色较浓重的行笔题下款识，画面益显沈稳。和《竹谱册》相较，此图乃其精心之作。",[7,209,24,241,173,242,245,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1811347de2004269449e6bfa0b94c55f.jpg","90.6x42.5公分",[],{"id":38241,"slug":38242,"title":38243,"dynasty":204,"author":3224,"museum":364,"description":38244,"tags":38245,"thumbUrl":38246,"material":743,"size":744,"collection":139,"collections":38247,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},290250,"gao-shan-zhi-yu-tu-ju-ran-290250","高山知遇图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[209,7,1397,241,173,177,19003,108,109,175,558,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fd1673d01e02f62973c92de006d169.jpg",[],{"id":38249,"slug":38250,"title":38251,"dynasty":18,"author":293,"museum":364,"description":38252,"tags":38253,"thumbUrl":38256,"material":743,"size":744,"collection":139,"collections":38257,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},290101,"da-nuo-tu-yi-ming-290101","大傩图","此画面上共画有十二个人。他们都穿着奇异的服装，戴着各式的帽子和插着花枝。帽子的式样毫不重复，除了斗笠、巾和冠之外，有的是戴着粗角的兽头，有的是农家场院器具斗、箩、箕之属。他们的手中或身上携拿着鼓、铃、檀板等乐器，或为扇、篓、帚等用具，或为花枝、瓜之属。所有人的面部都化了妆，可能戴的是假面具。十二个人团团围住，手舞足蹈，充满着欢乐的气氛。旧题《大傩图》。\n描写民间风俗习惯的绘画，宋代特别发展，《大傩图》轴即是一幅风俗画。傩(音挪)，是一种古老的驱除疠疫的民间习俗。《论语》中就有“乡人傩”的记载。《后汉书》记载：“先腊一日，大傩，选中黄门子弟，十岁以上十二岁以下百二十人为侲子。”唐代《乐府杂录》中描写说：“用四方相，戴冠及面具，黄金为四目，衣熊裘，持戈扬盾，口作傩傩之声，似除也。侲子五百，小儿为之，朱褶青襦，戴面具，晦日于紫宸殿前傩，张宫悬乐。”这些描述与画上的情况基本相似。当然到了宋代，傩时的具体情形和细节，又会有许多的发展变化。从画面情形来看，其中增加了许多农具，可见这种古老的习俗，到了宋代除了驱除邪祟之外，还有祈求丰收的意味，同时也是一种民间娱乐活动。所以此幅画，从艺术到内容，都值得珍视。",[23,7,2714,27,28,38254,3704,259,106,210,38255],"傩仪","驱疫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0214edf785d84df72358586c5782c05d.jpg",[],{"id":38259,"slug":38260,"title":38261,"dynasty":204,"author":25496,"museum":364,"description":25497,"tags":38262,"thumbUrl":38263,"material":743,"size":744,"collection":139,"collections":38264,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":49},289778,"lian-chi-shui-qin-tu-zhou-yi-gu-de-qian-289778","莲池水禽图轴一",[23,7,83,241,28,27,136,243,281,1060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5be46ebdc7cfa368ae7532a135a26ee.jpg",[],{"id":38266,"slug":38267,"title":1692,"dynasty":18,"author":823,"museum":364,"description":13349,"tags":38268,"thumbUrl":38270,"material":743,"size":744,"collection":139,"collections":38271,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},289596,"shan-shui-tu-xia-gui-289596",[23,7,173,29,394,175,108,6178,177,38269],"幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470f91faa56e9550e9e42f9fcf92e22a.jpg",[],{"id":38273,"slug":38274,"title":552,"dynasty":18,"author":2007,"museum":206,"description":25861,"tags":38275,"thumbUrl":38276,"material":381,"size":38277,"collection":139,"collections":38278,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},289563,"xi-shan-xing-lv-tu-ma-lin-289563",[23,209,7,24,241,173,29,177,107,900,176,150,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb3bd480aa2c88a3b827d39dcc5bc3.jpg","147.9x60.5",[],{"id":38280,"slug":38281,"title":38282,"dynasty":18,"author":887,"museum":364,"description":38283,"tags":38284,"thumbUrl":38285,"material":743,"size":744,"collection":139,"collections":38286,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":1335},288988,"gu-bai-tu-su-shi-288988","古柏图","苏轼（1037年1月8日—1101年8月24日），字子瞻，一字和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙、坡仙，汉族，眉州眉山（今四川省眉山市）人，祖籍河北栾城，北宋文学家、书法家、美食家、画家，历史治水名人。\n嘉祐二年（1057年），苏轼进士及第。宋神宗时在凤翔、杭州、密州、徐州、湖州等地任职。元丰三年（1080年），因“乌台诗案”被贬为黄州团练副使。宋哲宗即位后任翰林学士、侍读学士、礼部尚书等职，并出知杭州、颍州、扬州、定州等地，晚年因新党执政被贬惠州、儋州。宋徽宗时获大赦北还，途中于常州病逝。宋高宗时追赠太师；宋孝宗时追谥“文忠”。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛”；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。李志敏评价：“苏轼是全才式的艺术巨匠。”\n作品有《东坡七集》《东坡易传》《东坡乐府》《潇湘竹石图》《枯木怪石图》等。",[7,209,173,25,24,33903,394,3350,245,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a070c6607dcc35014c7ddfa1ae14d46.jpg",[],{"id":38288,"slug":38289,"title":26709,"dynasty":204,"author":38290,"museum":364,"description":38291,"tags":38292,"thumbUrl":38293,"material":743,"size":744,"collection":139,"collections":38294,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},288836,"hu-shan-chun-xiao-tu-liu-dao-shi-288836","刘道士","工佛道鬼神，落笔遒怪，尤善山水，师董源，与巨然同时，画亦同。但刘道士在左，巨然则以僧在左。以此为别",[23,209,7,24,241,173,29,177,649,107,109,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d33542a55bbea40943f6b7f253a0dd.jpg",[],{"id":38296,"slug":38297,"title":38298,"dynasty":99,"author":100,"museum":364,"description":4523,"tags":38299,"thumbUrl":38300,"material":743,"size":744,"collection":139,"collections":38301,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},288005,"bai-miao-luo-han-tu-juan-xia-bu-chou-ying-288005","白描罗汉图卷（下部）",[23,209,7,24,25,260,173,106,29,394,176,259,25116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170319a288dca7837131a3e85962f9be.jpg",[],{"id":38303,"slug":38304,"title":38305,"dynasty":99,"author":100,"museum":364,"description":38306,"tags":38307,"thumbUrl":38308,"material":743,"size":744,"collection":139,"collections":38309,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},287608,"yu-dong-xian-yuan-tu-chou-ying-287608","玉洞仙源图","该画作描绘长松参天，洞壑奔雷，云塞幽谷，松涛掩映楼阁，一人临流静坐停琴，童子四人，趋走前后。该画作勾勒精工，秀雅纤细，布局严谨，极有气势，设色沉静。",[23,209,7,24,241,28,26,27,29,107,108,109,106,1575,37,1027],"ht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、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。\n八大山人是宁献王朱权的后裔，大明宗室对鹿有极深的感情。古代的鹿象征至高无上的皇权地位。鹿在中国有着非常吉祥的寓意，它不仅代表长寿，还与“禄”字谐音，故国画中间常借画鹿传达贺寿或加官进爵之意。八大山人画鹿存世十余幅，大都画一两只鹿，而画群鹿及配山水至今仅见此一幅。",[7,24,241,173,260,449,3167,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7891ac0bf8822102bdf85850797f6e1f.jpg",[],{"id":38455,"slug":38456,"title":38457,"dynasty":18,"author":2007,"museum":364,"description":25861,"tags":38458,"thumbUrl":38460,"material":139,"size":139,"collection":139,"collections":38461,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":94},232910,"dou-die-tu-ma-lin-232910","豆蝶图",[23,209,7,24,25,27,28,2544,83,604,38459,84,712,227],"豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b08f1fa810326ea69c7b5cb3b5cbbf0.jpg",[],{"id":38463,"slug":38464,"title":38465,"dynasty":292,"author":293,"museum":364,"description":38466,"tags":38467,"thumbUrl":38469,"material":743,"size":744,"collection":139,"collections":38470,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},231794,"gu-hua-fen-ben-zhong-kui-xiang-li-zhou-yi-ming-231794","古画粉本 钟馗像立轴","此作以淡墨勾勒晕染，将钟馗威严肃杀的神态尽皆铺陈。画家以虬髯环眼塑造出钟馗狞厉刚猛的面容，按剑而立的雄硕身姿，满是镇伏邪祟的浩然正气。衣纹兼用铁线、兰叶描，笔力顿挫劲健，随身形走势跌宕起伏，将衣物的厚重质感与钟馗的刚健勇武融为一体。墨色浓淡相宜，须发、冠履层次分明，虽未施重彩，却将钟馗的凛然神采烘托得淋漓尽致，尽显传统人物画“以形写神”的精髓，把这位镇邪判官的威严气魄刻画得入木三分，是极具功力的传神佳作。",[23,7,241,173,260,106,227,38468,259],"粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d0c3b8f23c66f9ab7516659a3bef79.jpg",[],{"id":38472,"slug":38473,"title":38474,"dynasty":99,"author":33418,"museum":3712,"description":38475,"tags":38476,"thumbUrl":38480,"material":67,"size":38481,"collection":139,"collections":38482,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":49},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[23,7,27,28,83,312,327,840,281,176,84,1086,67,4538,38477,5192,19002,1938,9786,226,1461,38478,651,33566,38479],"花卉禽鸟","羽毛","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],{"id":38484,"slug":38485,"title":10739,"dynasty":189,"author":1848,"museum":206,"description":18150,"tags":38486,"thumbUrl":38487,"material":803,"size":18153,"collection":139,"collections":38488,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":94},231499,"mo-zhu-ce-wu-zhen-231499",[7,24,81,173,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2b4ca20a514f26a405d08b07f9a939.jpg",[],{"id":38490,"slug":38491,"title":38492,"dynasty":76,"author":293,"museum":364,"description":38493,"tags":38494,"thumbUrl":38495,"material":139,"size":139,"collection":139,"collections":38496,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":49},230300,"wan-guo-lai-chao-tu-yi-ming-230300","万国来朝图","《万国来朝图》是清代宫廷佚名画家创作的绢本设色画，现藏于 。\n《万国来朝图》，将万国来朝使团朝贡的场景绘于画面，场面宏大十分热闹。\n画面显示，每到元旦朝贺庆典，各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见；充分展示出宫廷建筑群的宏伟壮观和天朝大国、万国来朝的盛世气派。\n《万国来朝图》包含了远西诸国（荷兰、英吉利、法兰西）、周边诸国（日本、朝鲜、安南），而荷兰、英吉利、法兰西又都是带口子边的，在贬低他国的同时直接反映了清朝以天朝上国自居的自大心态。\n该画作在大雪银装素裹下更加庄严雄伟；太和殿前皇家侍卫身着华服、排列整齐，文武百官肃立静候待命；乾隆帝安闲地坐在后宫屋檐下靠椅上喝茶休憩，准备前往太和殿接见各国使臣；后宫人物众多，女眷们身着吉服三五成群或闲聊、或看热闹，孩子们兴高采烈的或嬉戏、或放鞭炮，太监宫女们各司其位或忙碌于元旦准备工作、或穿梭于庭院回廊；各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见。\n队伍前面有一只经过精心装扮的高大威猛的大象显得神气十足，大象上坐着一人正与同伴交谈着什么。\n画面将万国来朝的宾客们巧妙地安排在画幅四分之一处的右下角，延展出画外仍有众多宾客，场面宏大十分热闹。\n在我国历史上，历朝历代的元旦同样是宫廷最为重要的节日之一。\n具体到大清王朝紫禁城里的元旦，从本质上讲与民间并无二致，只是多了份典礼式的庄严和肃穆，活动多以规模宏大盛典形式表现。\n收藏的几幅由清代宫廷画家绘制的《万国来朝图》，就是对紫禁城内元旦朝贺活动的形象记录。\n赏析这些画作，可以使我们对当年位居九五之尊的皇帝如何过元旦，获得一些感性认识。\n据专家考证，为了宏扬清朝政府的威德，展现“四夷宾服、万国来朝”的繁荣景象，在乾隆帝授意下，宫廷画家们先后创作了多幅向清国朝贺、歌功颂德的绘画，作品之间只是在细节上略微有所不同。\n从画面中可以看出，元旦朝贺庆典是在紫禁城内举行，作者以鸟瞰的角度全景式构图，运用传统工笔界画的表现技法，大胆地通过对个别宫殿适当挪位、变换角度、压缩，通过宏观和微观将主要建筑和场景尽量容纳其中，展示出宫廷建筑群的宏伟壮观和皇家气派、将不同时间段来朝使团朝贡的场景绘于画面，集中表达兴盛之意。\n纵观整体画面，层次丰富、主次分明，准确传神地将各种元素巧妙地组合，将数以百计的人物安排得恰到好处、刻画得细腻入；整幅画作呈现出祥和的景象，淋漓尽致地营造出乾隆年间紫禁城元旦朝贺庆典的热闹场景，给观者强烈的艺术感染力、留下深刻印象。",[23,7,28,27,104,106,107,1237,115,34,2502,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aff9949ab70c37e5214da467c0091b5.jpg",[],{"id":38498,"slug":38499,"title":38500,"dynasty":54,"author":293,"museum":2340,"description":8494,"tags":38501,"thumbUrl":38502,"material":743,"size":744,"collection":139,"collections":38503,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":49},226283,"ku-zhu-shi-bei-bi-yi-ming-226283","窟主室北壁",[7,24,209,630,259,104,27,106,107,29,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20a829b1e7a26c782be3b06a09edbd8.jpg",[],{"id":38505,"slug":38506,"title":83,"dynasty":76,"author":2324,"museum":364,"description":38507,"tags":38508,"thumbUrl":38509,"material":139,"size":139,"collection":139,"collections":38510,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},224309,"hua-niao-li-shan-224309","这幅画以水墨写就水畔一隅，布局错落有致。右上角芙蓉枝叶交叠，浓墨点染阔叶，淡墨勾出柔花，枯笔写枝，苍劲中带着秀润。左侧荷花亭亭舒展，墨色晕染出荷叶的清润质感，花瓣用线空灵雅洁。白鹭静立在汀草间，淡墨勾形留白衬出羽毛蓬松，目光低垂神态悠然，将水鸟的闲适之态尽藏其中。\n笔墨干湿浓淡相映，以写意笔法写尽夏日水郊的清寂野趣，禽鸟花木浑然相融，尽显纵逸洒脱又不失雅致的文人写意风骨，将幽淡恬然的郊野生机凝练在尺幅之间。",[23,7,209,241,173,27,446,83,243,450,5223,1064,2522,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c32e970d3d12ecf0c1bdd93057eb7f.jpg",[],{"id":38512,"slug":38513,"title":38514,"dynasty":76,"author":2324,"museum":364,"description":38515,"tags":38516,"thumbUrl":38517,"material":139,"size":139,"collection":139,"collections":38518,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},224294,"tao-hua-liu-yan-tu-li-shan-224294","桃花柳燕图","《历代名画宣纸高清大图:李鱓桃花柳燕图》绘桃红、柳绿、燕嬉之景，生动地表现了春天和生命的气息，画面充满暖意。\n画幅右边近下部，柳树枝干往上方挺升，其上旁生枝条，以浅绿设色表现初发的柳叶，墨笔筒细而劲健。\n整个枝干形态奠定了画面格局。\n柳树後可见一株桃树枝干自右至左斜出，分上中下三个方向。\n桃树枝干以褐色设色，与墨色的柳树枝干相映成趣，其上并以粉红、银白、淡绿设色表现桃花花办与花叶，同样笔墨不繁却栩栩如生。\n在此美景中，作者添了四只暖春早燕：其一于高枝上向下俯视，情状蠢蠢欲动；其一站立在横枝上，神态安详；其一停于中部枝头顶端；其一低飞于桃红柳绿问。\n此幅花鸟画明朗活泼，笔墨工致。\n《历代名画宣纸高清大图:李鱓桃花柳燕图》由 出版。",[23,7,24,241,446,27,279,3246,10497,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0cd75efcd4565e82cc7ec65b74f13a.jpg",[],{"id":38520,"slug":38521,"title":38522,"dynasty":76,"author":3701,"museum":206,"description":18307,"tags":38523,"thumbUrl":38525,"material":38526,"size":38527,"collection":139,"collections":38528,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},223093,"hua-nan-fang-zeng-zhang-tian-wang-xiang-zhou-yao-wen-han-223093","画南方增长天王像轴",[23,7,241,259,28,27,106,29,261,505,7464,227,368,10898,38524,34,109],"神像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b754074b82571d0e38932f5e220c24.jpg","轴 纸本 设色","114.5x66.5厘米",[],{"id":38530,"slug":38531,"title":38532,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":38533,"thumbUrl":38537,"material":67,"size":10518,"collection":139,"collections":38538,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},223075,"hong-lou-meng-61-sun-wen-223075","红楼梦61",[23,7,28,27,104,106,29,2502,107,115,34,761,35,59,315,1960,38534,11429,38535,38536],"红楼梦题材","陈设","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce8b0c32c96d9c86a13f94caf067894.jpg",[],{"id":38540,"slug":38541,"title":38542,"dynasty":76,"author":674,"museum":78,"description":38543,"tags":38544,"thumbUrl":38545,"material":67,"size":38546,"collection":44,"collections":38547,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":49},222875,"xue-yan-tu-leng-mei-222875","雪艳图","冷枚，清代宫廷画家，大约生于1669年，卒于1742年。字吉臣，号金门画史，山东胶州人，焦秉贞弟子。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼",[7,24,241,368,28,27,106,59,10323,840,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f985d1b3640c0897853b0e606f7428.jpg","60cmx105cm",[44],{"id":38549,"slug":38550,"title":38551,"dynasty":99,"author":38552,"museum":1985,"description":38553,"tags":38554,"thumbUrl":38555,"material":139,"size":139,"collection":181,"collections":38556,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":94},222837,"qiu-shan-xing-lv-tu-juan-xiao-yun-cong-222837","秋山行旅图卷","萧云从","为了超脱世俗，为了与现实人生拉开距离，画家才在表现语言中摒弃浓艳、烦琐、世故与逢迎，而刻意与平淡、自然、疏冷和简散，表现出一种自吟自叹、清高不群的品质；也正是表现与世人的不同，他们将自然景物在画面中概括为流动的线，意味的点，以率性之笔将画中山水凝练为澹泊、简古、平和之境，远远不同于人们心目中的客观自然；萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。",[23,7,25,27,29,177,7241,559,649,34,108,109,174,107,175,13850,449,650,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dff54a4034023fe32d33dccfab6a4d.jpg",[181,45],{"id":38558,"slug":38559,"title":38560,"dynasty":76,"author":850,"museum":206,"description":14253,"tags":38561,"thumbUrl":38562,"material":665,"size":14257,"collection":181,"collections":38563,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},222765,"shi-er-yue-ling-tu-6-yue-lang-shi-ning-222765","十二月令图（6月）",[23,7,28,27,107,490,136,174,34,106,17264,5577,14255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6718ccffcb0e01f60920e1c7a8481499.jpg",[181,45],{"id":38565,"slug":38566,"title":38567,"dynasty":76,"author":20231,"museum":206,"description":38568,"tags":38569,"thumbUrl":38571,"material":38572,"size":38573,"collection":139,"collections":38574,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":94},222658,"lu-shan-pu-bu-tu-zhou-gao-qi-pei-222658","庐山瀑布图轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,7,241,38570,173,177,29,558,1575,106,109,650,86,227],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0731b38bbf14d460f6ddc5b90c3f50.jpg","绢本，水墨，浅设色","纵98.4厘米，横49.9厘米",[],{"id":38576,"slug":38577,"title":38578,"dynasty":76,"author":31289,"museum":101,"description":38579,"tags":38580,"thumbUrl":38581,"material":38582,"size":38583,"collection":181,"collections":38584,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},222631,"shan-shui-ce-ye-gao-cen-222631","山水册页","高岑（1621-1691），字善長，又字蔚生，杭州人，居金陵（今南京）。高阜弟，為“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。善山水及水墨花卉，写意入神。\n“ 八家有 八位画家虽被纳入一个流派，各自的 他们的共同之处，是淡泊功名，为人清高，只与诗酒结缘、书画为伴，视 八家偶有",[23,7,24,81,173,177,29,108,109,449,35,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 X21.3厘米",[181,163],{"id":38586,"slug":38587,"title":38588,"dynasty":99,"author":38589,"museum":364,"description":38590,"tags":38591,"thumbUrl":38592,"material":139,"size":139,"collection":90,"collections":38593,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},222405,"fang-chen-dao-fu-hua-hui-juan-quan-juan-du-da-zhong-222405","仿陈道复花卉卷全卷","杜大中","陈道复也是明代极富名气的绘画大家之一。他在传统写意绘画的基础上，将草书笔意融入写意花卉画中，开创了大写意花卉画的新风貌，其作品价值亦不俗！该作同时融入了两大绘画艺术家的风格特色，可谓魅力非凡\n继承了陈道復清新隽雅的画法，作品具有典型的晚明时期花卉画风格。卷尾署款“万历戊戌夏日汝南周之冕写。” 钤白文方印“服卿氏”、“周之冕印”。画面中有吴幼培、杜大中题诗数首，图后有朱鹭题跋。\n吴门画派是明中期重要的绘画流派，尤以山水画成就最高，标志着文人画走向极盛！而周之冕画得最多也最有成就的是山水画。",[23,7,24,25,105,173,260,83,448,453,243,327,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff15bf087597467f842c177242ffd37.jpg",[90,163],{"id":38595,"slug":38596,"title":10395,"dynasty":99,"author":38597,"museum":206,"description":38598,"tags":38599,"thumbUrl":38604,"material":317,"size":38605,"collection":181,"collections":38606,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":49},222241,"yu-le-tu-ding-yu-chuan-222241","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,7,27,29,28,174,1016,242,38600,491,37,109,1410,430,1064,2522,33,29967,1015,25077,36948,118,1256,38601,33658,1915,1112,38602,5066,4663,867,2094,6549,38603],"渔夫","浅滩","霭气","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","纵270厘米、横174.4厘米",[181,163],{"id":38608,"slug":38609,"title":38610,"dynasty":99,"author":170,"museum":20,"description":38611,"tags":38612,"thumbUrl":38613,"material":1716,"size":38614,"collection":90,"collections":38615,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},222130,"chu-ji-tu-ye-shen-zhou-222130","雏鸡图页","本幅自题七言诗：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长。”自识“沈周”，钤“启南”朱方印、“白石翁”白方印。收藏印钤“朱卧庵收藏印”、“之赤”、“昆王成宪画印”等，右下骑缝花押。\n从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[23,7,24,173,178,83,15909,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6374170d786fdeec4131bd7de6727b5b.jpg","纵28.1厘米，横37.6厘米",[90,163],{"id":38617,"slug":38618,"title":38619,"dynasty":99,"author":1170,"museum":206,"description":38620,"tags":38621,"thumbUrl":38622,"material":123,"size":38623,"collection":181,"collections":38624,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},222034,"wei-bin-chui-diao-tu-dai-jin-222034","渭滨垂钓图","这幅画主题「渭滨垂钓」，描绘的是周文王拜访在渭水边隐居垂钓的姜太公，邀请他入朝辅政的故事。画面上，高耸如屏的山峦、随风飘荡的柳树，和环绕河堤周围的岩石，建构了人物活动的舞台，在群树、河堤和山峦之间弥漫云雾。地上的豹皮、钓具点出主人翁姜太公渔隐的生活，他与周文王两人拱手交谈，站立于画面中央，成为目光的焦点。周文王的侍骑五人，则隐蔽在树丛右侧，耐心地等待着这历史性时刻的来临。",[23,7,24,209,27,177,29,106,109,394,245,491,14274,34,6549,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda462a6bcb6ec1bdeb443947c26b1f4e.jpg","高139.6厘米，横75.4厘米",[181,45],{"id":38626,"slug":38627,"title":38628,"dynasty":99,"author":22834,"museum":364,"description":38629,"tags":38630,"thumbUrl":38631,"material":139,"size":139,"collection":90,"collections":38632,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},221878,"xie-sheng-hua-hui-juan-zhou-tao-cheng-221878","写生花卉卷轴","此作所绘湖石、竹簧、水仙与山茶树，松竹花石高与纸齐，往往笔力苍挺，气象峥嵘，而乏悠远层迭之趣。水仙与新竹双钩留白，与浓变化的山茶叶呼应对比，煞是美妙。虽率意布置，而秀润苍老，清气满幅，笔情墨法，令人不能窥其稚奥，真独步艺苑。\n陶成，字孟学，一作懋学，后更字敬学，号云湖、云湖山人，尝自署云湖仙人。江苏宝应人，成化七年举人。陶成为明代中前期以“诗书画三绝”盛名于世的奇才，他生性疏狂、不拘小节、放荡不羁，有米南宫、郭忠恕之风而豪荡过之。其艺术活动主要在成化、弘治年间，画芙蓉最著名且为世人所珍。陶成晚年因坐谪而被戍边，虽时间不久，然放归后即离世。",[23,7,24,25,173,27,710,84,453,242,1064,176,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90df80a9b3832e286d021025ff6327e5.jpg",[90,163],{"id":38634,"slug":38635,"title":38636,"dynasty":18,"author":38637,"museum":10937,"description":38638,"tags":38639,"thumbUrl":38640,"material":27,"size":38641,"collection":42,"collections":38642,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},221360,"yue-xia-wu-que-tu-dai-wan-221360","月下五雀图","戴琓","戴琓，北宋画家。生卒年不详。汴（今河南开封）人。宣和（1111-1125）年间在翰林，殊蒙恩宠。画史称其：工翎毛花竹，常入阁供奉，后因求者甚众，徽宗闻之，封其臂不令私画，故传世者鲜。\n传世作品有《月下五雀图》，现藏昆山市昆仑堂美术馆；《雪梅寒雀图》，美国弗利尔美术馆藏。",[23,7,28,27,67,83,300,281,9319,1062,698,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7afabac0c506934e7bf8980bedff63.jpg","20.5cm×26cm",[42,90,45],{"id":38644,"slug":38645,"title":38646,"dynasty":18,"author":377,"museum":20,"description":38647,"tags":38648,"thumbUrl":38649,"material":803,"size":38650,"collection":382,"collections":38651,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":49},221279,"huan-hua-xi-tu-yin-juan-huang-ting-jian-221279","浣花溪图引卷","释文：\n［拾］［遗］［流］［落］［锦］［官］城，故人作尹眼［为］［青］。碧鸡坊西［结］茅屋，百花［潭］［水］濯冠缨。［故］［衣］未补新衣［绽］，空［蟠］胸中书万［卷］。探道欲度［义］皇前，论诗未［觉］国风远。干［戈］峥嵘暗寓县，杜陵韦［曲］［无］鸡犬。老妻稚［子］且眼前，［弟］［妹］漂零不相［见］。［此］翁乐易极可［人］，［园］翁溪友肯［卜］邻。［邻］［家］有酒邀皆去，得意鱼鸟［来］［相］亲。浣花酒舩散车骑，野[墙］［］无主看桃李。［宗］［文］守家宗武扶，［落］日蹇驴驮［醉］起。愿闻解［鞍］脱兜鍪，老［儒］［不］用千户侯。［中］原未得平安［报］，醉［里］眉攒万国［愁］。生綃铺墙粉［墨］落，平生忠［义］［今］寂寞。儿呼不［苏］驴失脚，犹［恐］［醒］来有新作。［长］［使］诗人拜画［图］，［煎］胶续絃千古无。（注：［］内字为后补。）\n鉴藏印有“绍兴”、“内府书印”、“贞元”、“乾坤清赏”、“有明王氏图书之印”及清嘉庆内府诸印等。卷后有明吴宽、王世贞跋。\n此卷为火烧残本，后经明代夏德声补齐（见释文中［］内字）。\n此卷见载于《山谷外集》，作于北宋元祐三年（1088年），黄庭坚时年42岁。作品笔法苍老，多骨少肉，具有作者晚年书法的风格特征。卷后明王世贞跋中评道：“……老杜浣花溪图引也。歌词力欲求奇，然是公最合作语。书笔横逸疏荡，比素师饶姿态，亦稍平易可识。而结法之密、腕力之劲、波险神奇，似小不及也……。”可知书“素师”是指唐代著名书家怀素，王世贞对黄庭坚与怀素书法特点的比较非常准确。此件作品虽然残处较多，仍不失为佳作。\n著录于《孙氏书画钞》上册、《石渠宝笈三编·延春阁》。",[23,209,7,24,25,1147,86,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5498ec208de96393364fd15d1d1c1f.jpg","纵35.5厘米,横391.4厘米",[382],{"id":38653,"slug":38654,"title":38655,"dynasty":18,"author":377,"museum":206,"description":37984,"tags":38656,"thumbUrl":38657,"material":81,"size":37987,"collection":382,"collections":38658,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":49},221266,"qi-yan-jue-ju-ce-huang-ting-jian-221266","七言绝句册",[209,7,24,86,81,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4004e2b40b7a3cfc60df0bc505f697.jpg",[382],{"id":38660,"slug":38661,"title":38662,"dynasty":99,"author":3114,"museum":101,"description":38663,"tags":38664,"thumbUrl":38665,"material":38666,"size":38667,"collection":382,"collections":38668,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,7,24,25,173,29,177,2939,86,178,227,649,34,1255,108,109,37,194,1445,176,1447,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[382],{"id":38670,"slug":38671,"title":38672,"dynasty":189,"author":487,"museum":206,"description":26083,"tags":38673,"thumbUrl":38674,"material":827,"size":38675,"collection":139,"collections":38676,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":94},220813,"qin-shu-zi-yu-tu-zhou-wang-meng-220813","琴书自娱图轴",[23,7,24,241,173,177,29,34,107,176,2268,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8731d7e633af79f8819632ef335518d0.jpg","144.6x41.9",[],{"id":38678,"slug":38679,"title":38680,"dynasty":1095,"author":1096,"museum":2311,"description":38681,"tags":38682,"thumbUrl":38683,"material":2317,"size":139,"collection":139,"collections":38684,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":94},220582,"xian-tao-qi-bai-shi-220582","仙桃","此作用色鲜亮泼辣，两枚寿桃以朱砂铺陈桃身，晕染出熟透的红润，留白与藤黄轻点桃腹，尽显饱满甜熟的质感，鲜活仿佛将欲滴浆。\n\n浓墨挥写桃叶藤蔓，线条苍劲老拙，墨色干湿浓淡富于层次，与暖艳的桃色形成鲜明对比，艳而不俗，厚重灵动兼具。扇面形制之下布局疏密得当，硕果垂坠于枝桠，暗含丰盈吉祥的意趣。\n题字笔墨雄健朴拙，与画面笔意融为一体，整幅小品简括大气，寥寥数笔便将物象生机与祝福意蕴尽皆抒发，尽显写意精髓。",[1095,7,1562,27,446,83,711,698,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf3a3089bcebf91a06cfe9e353c2e9.jpg",[],{"id":38686,"slug":38687,"title":11347,"dynasty":1095,"author":4791,"museum":4792,"description":38688,"tags":38689,"thumbUrl":11357,"material":139,"size":139,"collection":139,"collections":38693,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},220573,"yu-gong-yi-shan-xu-bei-hong-220573","这幅长卷以群像铺展劳作盛景，左侧妇孺老者伴象静立，眉眼间带着质朴安然的烟火气；右侧赤膊力士肌肉虬结，或挥锄蓄力、躬身掘土，古铜色躯体迸发撼人力量。创作者揉合中西技法，以国画线条勾勒筋骨，用西洋写实晕染肌肉明暗，将劳动者的粗粝体魄与坚毅精神凝于笔端。没有刻意渲染神话玄奇，只落脚于凡人苦干，把古老寓言的坚韧意志，具象成一群勇者的躬身耕耘，让不移信念在充满烟火气的劳作场景中变得可感可触，尽显沉浑厚重的生命张力。",[23,7,27,11350,106,11351,38690,3045,38691,11356,11352,11647,9885,38692,12996],"水牛","女性","人体",[],{"id":38695,"slug":38696,"title":38697,"dynasty":1095,"author":38698,"museum":14670,"description":38699,"tags":38700,"thumbUrl":38701,"material":14674,"size":139,"collection":139,"collections":38702,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},220451,"ma-nai-si-he-shang-huang-zhou-220451","马奈斯河上","黄胄","黄胄于1965年春北京作此画，写赠廖一原妻汪云女士。黄胄曾获多个奖项，其国画重生活气息及民族色彩，所绘毛驴，维妙维肖。",[23,7,173,27,446,106,150,281,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53033b6aa3b54f7bcf0aaec4e4188faf.jpg",[],{"id":38704,"slug":38705,"title":38706,"dynasty":76,"author":5208,"museum":238,"description":38707,"tags":38708,"thumbUrl":38709,"material":342,"size":139,"collection":181,"collections":38710,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[23,7,24,241,29,29273,177,30,37,34,560,558,176,6178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[181],{"id":38712,"slug":38713,"title":38714,"dynasty":76,"author":9622,"museum":206,"description":38715,"tags":38716,"thumbUrl":38717,"material":88,"size":38718,"collection":181,"collections":38719,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},220112,"yan-bo-diao-ting-tu-qian-long-220112","烟波钓艇图","清高宗爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。",[23,7,24,173,241,29,174,1351,1532,2522,544,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0610d85cb942d3d36056cbf98c91f3.jpg","58.8x30.7",[181],{"id":38721,"slug":38722,"title":38723,"dynasty":189,"author":29924,"museum":38724,"description":38725,"tags":38726,"thumbUrl":38727,"material":123,"size":38728,"collection":181,"collections":38729,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},220084,"lou-ge-shan-shui-tu-sun-jun-ze-220084","楼阁山水图","日本静嘉堂文库","孙君泽（生卒年不详），元代画家，生活在14世纪，杭州人。工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。孙君泽的山水是在继承和吸收了马、夏的画法的基础上加以发展和创造，进而形成自己风格的。",[23,7,24,29,104,27,177,106,107,1575,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91562f156e7a92824fb05acd2a8fa7a.jpg","135×76.5",[181],{"id":38731,"slug":38732,"title":38733,"dynasty":99,"author":170,"museum":1806,"description":1807,"tags":38734,"thumbUrl":38735,"material":88,"size":1810,"collection":139,"collections":38736,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},220014,"dong-zhuang-tu-ce-zhi-qu-chi-shen-zhou-220014","东庄图册之曲池",[23,7,173,27,81,109,137,136,34,176,1445,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be52ac42f2b1996ec3a9bfa4d090913.jpg",[],{"id":38738,"slug":38739,"title":38740,"dynasty":189,"author":38741,"museum":78,"description":38742,"tags":38743,"thumbUrl":38744,"material":4852,"size":38745,"collection":181,"collections":38746,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":49},219740,"dian-shan-song-bie-tu-li-sheng-219740","澱山送别图","李升","李升（生卒年不详），元代画家。字子云，号紫筼生。濠梁(今安徽凤阳)人。晚年居青浦(今属上海)淀山湖畔，筑草堂，人称“谪仙”。擅墨竹，喜作窠石平远山水，颇有清趣。",[7,25,173,177,29,430,431,1329,297,174,35,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d099573b441bf66cceba505e064a29f.jpg","23×68.4cm",[181],{"id":38748,"slug":38749,"title":38750,"dynasty":189,"author":293,"museum":20,"description":38751,"tags":38752,"thumbUrl":38753,"material":123,"size":38754,"collection":44,"collections":38755,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},219632,"jie-bo-tu-yi-ming-219632","揭钵图","此图系佛教故事画，描绘佛世尊为惩治鬼子母而将其幼子宾伽罗扣于钵下，鬼子母遣众小鬼意欲揭钵救子的情景。图中佛世尊神态安然地趺坐在莲花座上，众天神手执兵器耀武扬威地护其左右，正藐视地静观众小鬼徒劳无功的揭钵场面。小儿于钵中哭叫着张手求救，小鬼们不遗余力地用尽各种方法抢救，鬼子母面带忧色地被众孩儿团团围住，她显然已为解救幼子而心力交瘁。\n作者通过对处于尖锐冲突中的不同人物的性格和感情的个性化描绘准确地表明了他们不同的地位和彼此之间的关系，从而令场面宏大、人物众多的画面具有形散而神不散的内聚力。此图中对小鬼的描绘最为生动。作者以丰富的想象力幽默诙谐地表现了造型夸张变异的小鬼。通过他们绳拉木撬等忙乱的举动赋予画面强烈的动感并烘染出紧张激烈的气氛，从而准确地表达了揭钵的创作主题。图中不同的形象用不同的笔墨线条勾画，武士及小鬼以粗犷的墨线勾描，通过对他们坚实的皮肉筋骨的刻画表现出他们的力量和所具有的勇猛精神。佛世尊及仕女、童子用轻柔的细线勾勒，通过衣料柔软的质感衬托出他们纤秀婉约的姿容。全幅用勾线填彩法，色彩厚重丰富，有早期壁画的风格，给人以活泼明快的视觉感受，令画面显得不过于沉重。",[23,7,24,25,27,28,259,106,16344,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7b0415fc6a78a06f7b07e161173c714.jpg","纵31.8厘米，横97.6厘米",[44],{"id":38757,"slug":38758,"title":38759,"dynasty":76,"author":293,"museum":539,"description":38760,"tags":38761,"thumbUrl":38762,"material":123,"size":139,"collection":44,"collections":38763,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},219557,"yi-ju-tu-yi-ming-219557","移居图","苍松虬劲盘绕，层岩峻壑氤氲古雅幽寂之气，林谷恍若世外桃源。一行人策蹇徐行，骑牛者衣袂舒展，神色悠然，随行众人或持物或顾盼，情态松弛怡然，将举家迁居的奔波，化为踏山寻幽的雅事。\n\n设色古淡沉着，绢面的岁月斑驳，更添沉静古意。山石以粗劲斧劈皴写就，古松笔墨苍劲老辣，人物线条细劲灵动，动静相映间，把隐世迁居的从容散淡尽数铺展，尽显寄情林泉的隐逸意趣，晕开东方古典人文的温雅余韵。",[23,7,24,27,28,177,29,106,151,34,650,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff184a8f18e6d13ec3a08cbd9aea9857b.jpg",[44],{"id":38765,"slug":38766,"title":38767,"dynasty":76,"author":614,"museum":752,"description":38768,"tags":38769,"thumbUrl":38770,"material":88,"size":38771,"collection":44,"collections":38772,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":271},219496,"guan-hua-lao-ren-tu-huang-shen-219496","观花老人图","图为一位老人盘膝坐在地上，白发长须，左手捻胡须，右手撑地。 面前是一个窄口的直瓶。 瓶子里有两根无叶的花枝。 老者目不转睛，认真地看着花朵。 此人的衣纹、眉髯都非常有文采，是黄慎人物画的杰作。",[7,24,241,173,27,446,106,11356,11566,797,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a98079d56aeaa314481baecfab8d367.jpg","102x40厘米",[44],{"id":38774,"slug":38775,"title":38776,"dynasty":18,"author":293,"museum":206,"description":38777,"tags":38778,"thumbUrl":38779,"material":173,"size":38780,"collection":163,"collections":38781,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":49},219335,"bu-hua-shan-shui-zhou-yi-ming-219335","布画山水轴","层峦叠嶂间烟岚轻笼，山川晕染出深浅有致的层次。屋宇错落隐于林泉，与苍松翠柏相映成趣，溪流蜿蜒穿石而过，似有潺潺水声入耳。笔墨皴擦点染，既勾勒出山石的嶙峋肌理，又晕染出草木的丰茂姿态，线条劲挺中藏柔婉，墨色浓淡间见章法。画面兼具深远与平远之妙，雄浑处显山川气象，清幽处露林泉雅致，尽现宋代山水对自然意趣的深刻捕捉。观者仿佛踏入画中，静谧间感受天地悠然，细节处品味笔墨匠心，沉醉于这融情于景的古典意境里。",[7,108,109,29,864,297,430,107,173,241,28,67,104,2094],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c9b0b1bac61df1c2e78bb1a666c33c.jpg","155x136.2",[163],{"id":38783,"slug":38784,"title":38785,"dynasty":18,"author":474,"museum":206,"description":38786,"tags":38787,"thumbUrl":38789,"material":123,"size":139,"collection":90,"collections":38790,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":94},219224,"li-peng-qiu-zhan-zhao-ji-219224","栗蓬秋绽","墨叶扶疏间，栗蓬携尖刺静绽，外壳微裂处，嫩实隐现如珠。工笔细描的叶片脉络分明，墨色晕染出苍劲与柔润的层次，枝干线条如篆如隶，藏着书法般的骨力。秋意凝于绢素，既有院体画的精工写实，又含文人画的雅致韵致。一笔一画皆见对自然物态的深察，从刺尖的锋芒到叶脉的转折，皆细致入微，尽显宋画格物致知的精神，让秋之栗蓬的生机与静美，在方寸扇面间流转不息。",[23,2544,7,24,1562,28,27,83,38788,698,1062,227],"栗蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc547c3110157d019ed1ea0f90ee3b260.jpg",[90],{"id":38792,"slug":38793,"title":38794,"dynasty":18,"author":28948,"museum":752,"description":38795,"tags":38796,"thumbUrl":38797,"material":123,"size":38798,"collection":45,"collections":38799,"showCount":38230,"zanCount":48,"manualWeight":48,"mainColor":1335},219199,"mei-que-shuang-e-tu-wang-ning-219199","梅鹊双鹅图","此图构图新颖,一支细长的枝杈贯穿全图,分叉垂直树干而上,树冠顶端有两只可爱的喜鹊停留.",[7,209,24,241,28,27,83,448,13507,10065,394,242,281,4414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381ee136b10d1f54c70e4e73a1c7fac0.jpg","168.5x93.4",[45],{"id":38801,"slug":38802,"title":38803,"dynasty":18,"author":293,"museum":78,"description":38804,"tags":38805,"thumbUrl":38806,"material":123,"size":38807,"collection":181,"collections":38808,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":1335},219185,"qiu-shan-xiao-si-tu-yi-ming-219185","秋山萧寺图","本图开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致，诗意盎人。",[23,7,24,25,29,173,177,27,864,34,31,33,114,13097,37,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1a563b0831e9d4722ca61818753b6.jpg","41.7x237.2",[181],{"id":38810,"slug":38811,"title":38812,"dynasty":76,"author":7142,"museum":20,"description":38813,"tags":38814,"thumbUrl":38815,"material":123,"size":38816,"collection":181,"collections":38817,"showCount":38230,"zanCount":5,"manualWeight":48,"mainColor":49},219142,"yang-zhou-si-jing-tu-wan-song-die-cui-yuan-yao-219142","扬州四景图-万松叠翠","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 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。\n翟院深无作品流传于世，画中雪山崔巍，老木寒柯，气象萧疏，是一幅李成传派的宋画。",[23,7,1397,177,3499,1015,176,2502,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213ef25e23b1ae0d2de584a8008fe774.jpg",[],{"id":38953,"slug":38954,"title":38955,"dynasty":204,"author":2664,"museum":364,"description":38956,"tags":38957,"thumbUrl":38959,"material":743,"size":744,"collection":139,"collections":38960,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},290487,"xi-yan-mu-se-tu-guan-tong-290487","西岩暮色图","关仝（约907-960年），字号不详，京兆长安（陕西西安）人。五代时期杰出画家，与荆浩、董源、巨然并称“四大山水画家”。\n荆浩的追随者，活跃于五代末及宋初，他刻苦认真地揣摩钻研静好的艺术，甚至达到了废寝忘食的地步，最后终于青出于蓝胜于蓝。他多描绘关陕一带山水，写景绘形更为概括提炼，笔简气壮，景少意长，予人以深刻印象。关仝善画秋山，寒林，村居，野渡等景色，使人看后如身临其境。",[23,7,1562,173,29,38958,10667,6398,174,177,38269],"暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13765a3465f65baf21947eedfd03376f.jpg",[],{"id":38962,"slug":38963,"title":38964,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":38965,"thumbUrl":38966,"material":743,"size":744,"collection":139,"collections":38967,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},290423,"shan-hu-zhu-tu-wu-chang-shuo-290423","珊瑚珠图",[23,7,209,24,241,27,83,7889,1341,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2766eac4a62e51b7669d8120e882a655.jpg",[],{"id":38969,"slug":38970,"title":38971,"dynasty":99,"author":293,"museum":364,"description":38972,"tags":38973,"thumbUrl":38974,"material":743,"size":744,"collection":139,"collections":38975,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},290419,"fang-fan-kuan-xi-shan-xing-lv-tu-yi-ming-290419","仿范宽溪山行旅图","此作用笔沉郁苍厚，主峰拔地而起，以密集皴法刻画山石肌理，尽显山峦雄浑磅礴的质感。山间烟岚轻笼，虚实相生，将高旷幽深的山野意境铺陈开来。下方林麓环合，流泉自幽谷间蜿蜒而出，板桥山居隐于林木之中，静穆里藏着灵动生机。整体追摹北派山水的雄浑气象，既复刻出山野荒寒之态，又暗合沉静意韵，把大山大水的壮阔与林泉幽居的闲逸融为一体，是颇具古韵功力的山水佳作。",[7,1397,241,173,177,19003,558,560,34,105,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096a6ea931c37ee34c32a9f99876af1c.jpg",[],{"id":38977,"slug":38978,"title":38979,"dynasty":18,"author":2142,"museum":206,"description":38980,"tags":38981,"thumbUrl":38983,"material":743,"size":744,"collection":139,"collections":38984,"showCount":422,"zanCount":1547,"manualWeight":48,"mainColor":49},290328,"han-lin-tu-zhou-li-cheng-290328","寒林图轴","该幅画以近景为主，画幅中央矗立著三株巨树，一湾溪水三叠流出，激流漱石，幅内烟岚飘忽游于林中，虚实相映。勾画树干、皴树皮、点叶皆用细笔，虽劲拔挺捷，然仍具一股娟秀气息，树干上勾圈出很多木瘿，枝桠若龙蛇四面分张，苍劲遒逸，涧流两侧土坡淡墨卧笔层叠皴染，笔法细腻又具变化。水纹及腾溅水花之取笔粗细并用，且劲挺有力，似闻激溅之声。",[7,209,241,173,29,106,1015,2125,176,558,38982,86,227],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7053bf2f5e8d19cc962f067e8bb0dcd9.jpg",[],{"id":38986,"slug":38987,"title":38988,"dynasty":99,"author":4314,"museum":364,"description":38989,"tags":38990,"thumbUrl":38991,"material":743,"size":744,"collection":139,"collections":38992,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},290150,"qiu-lu-fu-rong-tu-lv-ji-290150","秋鹭芙蓉图","画中芙蓉花开正盛，摇曳的残荷与挺拔的莲蓬示意着秋天的到来。柳树从画面右侧突兀而入，枝叶茂盛挺拔，枝上柳叶繁而不乱，疏密得当，层次分明。画中三只白鹭，或栖止，或飞翔，上下呼应，造型准确，形态生动。其中一只栖息在岸边，正回过头向着空中飞翔着的同伴鸣叫，而空中的一只似乎也听到了呼唤，正盘旋而下，与伙伴会合，另一只仿佛也正寻见叫声紧跟而下。三只白鹭所连接起来的弧形曲线与柳枝弯曲的线条相对应，在画面上形成了强烈的动感。",[7,209,83,28,27,5223,450,136,281,3246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9262e1e5ebf6b0387a9924cedf7acc.jpg",[],{"id":38994,"slug":38995,"title":38996,"dynasty":189,"author":4086,"museum":364,"description":38997,"tags":38998,"thumbUrl":38999,"material":743,"size":744,"collection":139,"collections":39000,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},289966,"hu-lu-hua-ping-chen-lin-289966","葫芦花瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[23,7,209,241,28,27,83,244,84,451,4089],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3986e6cdba5c8fe3cba11a642ea6fec6.jpg",[],{"id":39002,"slug":39003,"title":39004,"dynasty":189,"author":2519,"museum":364,"description":19462,"tags":39005,"thumbUrl":39006,"material":743,"size":744,"collection":139,"collections":39007,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},289948,"luo-shen-fu-juan-zhao-meng-fu-289948","洛神赋卷",[209,7,24,25,178,86,3790,20479,2715,59,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8139c393ba42d92a1104b63075d6602a.jpg",[],{"id":39009,"slug":39010,"title":39011,"dynasty":204,"author":2674,"museum":364,"description":31044,"tags":39012,"thumbUrl":39013,"material":743,"size":744,"collection":139,"collections":39014,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},289771,"zhu-lin-bo-ge-tu-wei-zuo-huang-quan-289771","竹林鹁鸽图（伪作）",[23,7,24,83,241,28,27,242,281,33973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c829119b7ec6055354e9e93d522d247.jpg",[],{"id":39016,"slug":39017,"title":22882,"dynasty":204,"author":293,"museum":364,"description":39018,"tags":39019,"thumbUrl":39020,"material":743,"size":744,"collection":139,"collections":39021,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},288513,"zha-kou-pan-che-tu-yi-ming-288513","整幅画作定格了一处临水官营作坊的日常盛景。临水高阁水磨飞转，匠人或持具分拣粮料，或俯身装卸漕粮，各司其职、鲜活生动。水面上舟楫往来渡运，岸边车马络绎穿梭，高耸的木构支架与严整的亭台楼阁相互映衬，满溢着烟火蒸腾的劳作气息。\n画作以工细写实的笔触写尽百态，界画严整精准，衣纹简劲利落，设色古雅苍润，将漕粮加工转运的民生图景娓娓铺展，兼具极高审美价值与纪实史料价值。",[23,209,7,24,104,27,106,107,108,109,2838,154,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf861c5bac94907fe27a1b5a71d408b.jpg",[],{"id":39023,"slug":39024,"title":39025,"dynasty":18,"author":2029,"museum":364,"description":39026,"tags":39027,"thumbUrl":39029,"material":743,"size":744,"collection":139,"collections":39030,"showCount":422,"zanCount":1270,"manualWeight":48,"mainColor":94},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,7,1562,24,27,28,104,29,1575,107,86,178,227,6922,39028],"读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],{"id":39032,"slug":39033,"title":39034,"dynasty":76,"author":293,"museum":364,"description":39035,"tags":39036,"thumbUrl":39038,"material":743,"size":744,"collection":139,"collections":39039,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},288060,"nao-long-zhou-yi-ming-288060","闹龙舟","这幅长卷以工细笔触铺展春日盛景，澄澈水面上龙舟竞渡，旌旗猎猎，健儿挥桨劈波，舟身彩饰繁丽，竞渡喧嚷似能破纸而出。\n\n沿岸屋舍层叠，酒肆楼宇间人影攒动，仕民凭栏观赛，谈笑晏晏。远山含烟、花树初绽，将江南漕岸的烟火气晕开。创作者以院体画的精细，把官民同游的节庆嬉乐定格，静雅的楼台春景搭配喧腾的水上赛事，一动一静里尽显升平风华，将水乡春日的繁庶鲜活凝固为永恒。",[23,7,25,27,28,104,106,107,17497,109,279,1255,120,39037,3704,29],"节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4dd7b62edc4a1b662b9720f4671ce87.jpg",[],{"id":39041,"slug":39042,"title":39043,"dynasty":204,"author":39044,"museum":364,"description":35219,"tags":39045,"thumbUrl":39046,"material":743,"size":744,"collection":139,"collections":39047,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},287651,"zhu-mei-han-que-tu-huang-quan-287651","竹梅寒雀圖","黃筌",[23,209,7,28,27,83,448,242,281,5589,38982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa14118190dbdfe894df2a5227c61b998.jpg",[],{"id":39049,"slug":39050,"title":39051,"dynasty":76,"author":9280,"museum":364,"description":39052,"tags":39053,"thumbUrl":39054,"material":139,"size":139,"collection":139,"collections":39055,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},239312,"gong-fei-hua-chong-tu-zhou-ding-guan-peng-239312","宫妃话宠图轴","取景幽寂庭院，修竹扶疏，晕出宫苑清冷雅致的底色。仕女华服温婉，神情各别，或凭栏私语，或侍弄案上清供，将深宫女子的隐秘心绪藏于眉梢眼角之间。\n画作工细妍丽，线条匀净流畅，设色秀雅沉静。案头盆景、陈设器物描摹入微，既还原了宫苑闲趣日常，又暗透出深闺幽闭中的缱绻心事。笔触婉转细腻，将闲寂悠长的深宫氛围悄然铺陈，在柔婉的仕女情态里，藏着含蓄的情绪张力，尽显仕女画的雅致韵致。",[7,24,241,27,28,106,59,242,10779,313,1960,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af47c93549f345fb95b556ecd7a19e8.jpg",[],{"id":39057,"slug":39058,"title":39059,"dynasty":76,"author":39060,"museum":364,"description":39061,"tags":39062,"thumbUrl":39063,"material":139,"size":139,"collection":139,"collections":39064,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},239211,"fang-fu-chun-shan-ju-tu-juan-gao-shu-cheng-239211","仿富春山居图卷","高树程","此作用干笔淡墨追摹原作意趣，以披麻皴晕染山峦，丘壑连绵起伏，层层铺展。汀渚萦回于烟波之间，林木错落苍秀，将富春山水的空濛温润缓缓铺陈。\n\n笔墨松灵温润，萧散简远，既复刻了原作的淡远疏旷，又融入自身静穆雅致的笔意，不刻意摹形，更重追摹那份江南山水的悠然意趣，咫尺长卷见千里江山之态，尽显文人山水平和疏朗的意境。",[23,7,24,25,173,105,177,29,34,174,281,649,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcbdf55fbaf80a9674d7aee012cfa74.jpg",[],{"id":39066,"slug":39067,"title":39068,"dynasty":76,"author":39069,"museum":20,"description":39070,"tags":39071,"thumbUrl":39072,"material":40,"size":39073,"collection":181,"collections":39074,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},238666,"shan-shui-lou-ge-tu-zhou-shen-yuan-238666","山水楼阁图轴","沈源","受“海西法”影响的新型建筑画在清代宫廷内曾经十分盛行，当时称为“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“于阴阳远近，不差锱黍。…… 布影由阔而狭，以三角量之。画宫室与墙壁，令人几欲走进”的立体效果。从此幅沈源的作品中可以看到“线法画”的痕迹，虽然由于受到中国审美传统的限制，画面中西洋绘画的一些效果在一定程度上有所淡化，但是与传统的建筑画相比，此时的画家表现三维景物的能力确实有了相当大的提高。",[7,24,241,104,27,29,107,175,34,106,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d809bb2714a20a923bebe202091254.jpg","纵135厘米，横74.8厘米",[181],{"id":39076,"slug":39077,"title":14228,"dynasty":76,"author":1204,"museum":515,"description":39078,"tags":39079,"thumbUrl":39080,"material":2021,"size":22306,"collection":90,"collections":39081,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},238040,"song-lu-tu-zhou-zhu-da-238040","朱耷（约1626年—约1705年），号八大山人，又号雪个、个山 、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。",[7,24,241,173,446,177,449,3167,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9244ade8ce785509d3cb147daa31bcce.jpg",[90],{"id":39083,"slug":39084,"title":4025,"dynasty":76,"author":1204,"museum":364,"description":39085,"tags":39086,"thumbUrl":39087,"material":139,"size":139,"collection":139,"collections":39088,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},235620,"shan-shui-zhou-zhu-da-235620","此作用淡墨干笔写层叠峰峦，删繁就简，以极简的勾勒皴擦塑造奇崛冷峻的山石体态，不着浓艳，尽是荒寒萧索。画面留白肆意，纵长构图牵引视线游走于丘壑之间，山居错落、枯木寒松点缀其间，愈发衬出山水空寂冷逸。笔墨疏淡却意韵悠长，将沉郁的遗世心绪尽数融于林泉丘壑，冷寂禅意漫溢纸面，尽显孤高疏淡的品格风骨。",[7,24,241,173,177,29,245,394,1653,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666b9b8a9dd9e1bad95d24e8eaa187e7.jpg",[],{"id":39090,"slug":39091,"title":39092,"dynasty":76,"author":293,"museum":364,"description":39093,"tags":39094,"thumbUrl":39095,"material":743,"size":744,"collection":139,"collections":39096,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},235609,"niu-shi-hui-he-ya-tu-zhou-yi-ming-235609","牛石慧荷鸭图轴","此作用水墨写就秋塘小景，留白空阔清寂。以淋漓泼墨挥写荷叶，浓淡层叠，枯湿相济：舒展的大叶墨色沉浑尽显饱满生机，残荷则笔意简劲，自带清秋萧疏之态。\n\n游鸭以焦墨勾定轮廓，淡墨晕染羽色，憨然浮于水面，俯仰间野趣自生。水面仅以细碎墨点、短线轻勾，清浅灵动，衬出水塘的空静。右上角题字笔力苍朴，与画面浑融一体。\n\n整幅不作繁复刻画，却以极简笔墨尽抒秋塘疏朗雅逸之致，以形写神，尽显写意水墨以少胜多的精妙意趣。",[7,241,173,83,243,2728,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3338331e1a2764fd325c249421dcbcf6.jpg",[],{"id":39098,"slug":39099,"title":39100,"dynasty":99,"author":14805,"museum":20,"description":39101,"tags":39102,"thumbUrl":39103,"material":990,"size":39104,"collection":181,"collections":39105,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":94},234806,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-qian-ren-zuo-tu-ye-wen-jia-234806","吴门诸家寿袁方斋三绝册-千人座图页","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[7,24,81,27,29,177,106,175,176,34,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0427d2997d7f999e233f980c215411ae.jpg","22.2*26.7cm",[181],{"id":39107,"slug":39108,"title":21208,"dynasty":99,"author":21111,"museum":364,"description":39109,"tags":39110,"thumbUrl":39111,"material":139,"size":139,"collection":139,"collections":39112,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},234805,"ren-wu-zhou-xie-shi-chen-234805","谢时臣（1487—？），明代画家。字思忠，号樗仙。长洲（今江苏苏州）人，八十一岁时尚在世。工书法，长于隶书 。擅山水 ，师法吴镇、沈周，稍作变化，兼有“浙派”和“吴门派”笔法，风格独特。\n作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作 山峦重叠 ，高耸险峻 ，笔墨 或细密苍劲 ，或劲健沉郁，或纵横纷披，富有变化。有《溪山揽胜图》《策杖寻幽图》《武当霁雪图》《谪仙玩月图》等传世。",[7,24,241,27,177,106,34,10464,281,29,900,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581618327747e74a9a86d6201e888d63.jpg",[],{"id":39114,"slug":39115,"title":39116,"dynasty":76,"author":16736,"museum":364,"description":39117,"tags":39118,"thumbUrl":39119,"material":139,"size":139,"collection":139,"collections":39120,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},234520,"hua-niao-wan-shan-zhu-cheng-234520","花鸟纨扇","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，别署鸳湖散人、玉溪外史、玉溪钓者、鸳湖画史、胥山樵叟，浙江嘉兴人。熊弟。工花鸟，初法张熊，暇辄借临，熊自视几不能辨。及王礼得名以超脱胜张熊之工细，遂改从礼，兼得张画之华瞻工细与王画之超脱飘逸，神似华喦，成为名家，在上海书画界享有盛誉。题字款识，莫不酷似。晚年精进，惜未脱霸气。间仿华岩亦得其神似，卒年七十五（一作七十四）。\n事迹收录于《海上墨林》、《桐阴复志》、《近代六十名家画传》 。",[7,24,1562,27,28,83,245,224,84,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f6db911ad00282fc6ef5a8e0e78eae.jpg",[],{"id":39122,"slug":39123,"title":220,"dynasty":76,"author":6456,"museum":20,"description":6457,"tags":39124,"thumbUrl":39125,"material":990,"size":139,"collection":139,"collections":39126,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},234314,"hua-niao-ce-ma-yuan-yu-234314",[7,27,83,327,81,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1894feeb0c60b378b1fc1eb0e4de89.jpg",[],{"id":39128,"slug":39129,"title":34135,"dynasty":99,"author":39130,"museum":364,"description":39131,"tags":39132,"thumbUrl":39133,"material":990,"size":139,"collection":139,"collections":39134,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},234257,"hua-hui-juan-zhu-chang-234257","朱昶","夏昶（1388年－1470年），字仲昭，号玉峯、自在居士，南直隶昆山县（今属江苏省昆山市）人。明朝画家，官员。外玄孙归有光。《明史》有传。\n夏昶早年过继于舅父，故姓朱。永乐十三年（1415年）乙未科进士，选入庶吉士，归宗，复夏姓，明成祖赐名为昶。正统年间官至太常寺少卿。夏昶与上元县的张益齐名，同年考中进士，同善作赋、画竹，夏昶后来认为自己的辞赋，不如张益，于是终身不再作赋；张益也认为自己所画的竹子不如夏昶，也终身不画竹子。",[23,7,25,24,28,27,83,84,136,327,1135,795,417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb24494b2d5604dc9bc0f9237bdad182.jpg",[],{"id":39136,"slug":39137,"title":39138,"dynasty":76,"author":27251,"museum":20,"description":39139,"tags":39140,"thumbUrl":39141,"material":67,"size":139,"collection":90,"collections":39142,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},234108,"hua-hong-li-du-jiang-shi-yi-juan-zhang-zong-cang-234108","画弘历渡江诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[7,24,25,27,29,31,111,13911,1432,34,176,227,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[90,181,45],{"id":39144,"slug":39145,"title":39146,"dynasty":18,"author":1275,"museum":20,"description":39147,"tags":39148,"thumbUrl":39149,"material":40,"size":39150,"collection":139,"collections":39151,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},234009,"pu-tao-cao-chong-tu-ye-lin-chun-234009","葡萄草虫图页","图绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，画家以小幅的画面抒写了一幅生机盎然的田园景致。昆虫以双勾填彩法绘制，用线刚柔相济，既准确地勾勒出秋虫或动或静的各种体态和神情，又将昆虫翅膀的轻薄或外壳的坚硬等不同的质感表露无遗，显示出作者敏锐的观察力和精于细节表现的绘画功底。在色彩上，敷色轻淡，深得造化之妙，葡萄藤的藤尖点染红色以示其新生初发之嫩，叶子的边缘略以褐色渲染，表明叶片饱经浓霜重露之貌。这种合乎自然规律的晕染与其求实写真的线条相得益彰，具有宋代院体工笔画的鲜明特色。",[7,209,24,83,1562,28,27,3199,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749b5dc78e09cc13d321b8999ca74329.jpg","纵26.2厘米，横27厘米",[],{"id":39153,"slug":39154,"title":35555,"dynasty":189,"author":1848,"museum":20,"description":39155,"tags":39156,"thumbUrl":39157,"material":39158,"size":39159,"collection":139,"collections":39160,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},233752,"ku-mu-zhu-shi-tu-zhou-wu-zhen-233752","吴镇生于元至元十七年，卒于元至十四年，终年七十五岁。吴镇长住魏塘，深居简出。吴镇于六十八岁〔至正七年（1347年）〕侨寓嘉兴春波门外(今嘉兴市城区)春波客舍，专写墨竹。时与友人会于精严寺僧舍，心仪佛门，始自称“梅沙弥”。四年后回到魏塘，殁前自选生圹，自书碑文：“梅花和尚之塔”。墓在今梅花庵侧。\n祖名吴泽，字伯常，南宋时从汴梁（河南开封）移家至嘉兴，定居浙江嘉兴魏塘(今浙江嘉善魏塘)。吴镇年少好剑术，成年后与其兄吴瑱同受业于毗陵（今江苏武进）柳天骥学习易经，自此韬光养晦，讲天人性命之学，坚持高尚志气，不与众人和同，贯通儒、道、释三教，达生知命。为人抗简孤洁，一生清贫，高自标青，隐居不仕，与达官贵人很少往来。曾在村塾中教书，钱塘等地卖卜。\n十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。\n其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n相传吴镇本与盛懋比门而居，四方以金帛求盛画者甚众，而吴之门阒然。妻子颇笑之。曰：“二十年后不复尔。”后果如其言。\n吴镇事迹收录于《画史会要》、《清河书画舫》、《六研斋笔记》、《容台集》、《仓螺集》。墨迹今存世的有《双桧平远图》轴(台湾故宫博物院藏)、《渔父图》轴（北京故宫博物院藏）、《渔父图》卷（美国佛利尔美术馆藏）、《长松图》轴（南京博物院藏）、《草书心经》卷（北京故宫博物院藏）等。其风竹刻石，陈列在嘉兴南湖烟雨楼，其八竹碑及草书《心经》碑陈列于嘉善梅花庵。又有《梅道人遗墨》2卷，系后人辑录的其诗和题跋。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。因居处有橡林，故书斋又名“橡室”。\n吴镇墓现存于梅花庵内，梅花庵是纪念吴镇的附属性建筑，在墓的东侧，明万历间为守墓而建。位于魏塘镇花园弄路西侧。明泰昌元年（1620年）邑令吴旭和邑绅钱士升筹集款修理墓道、添建祠堂三楹、亭三楹、僧舍五楹。华亭陈继儒作《修梅花庵记》，并有董其昌书“梅花庵”匾额。后邑人曾几次筹资重修。新中国成立后，吴镇墓与梅花庵，曾多次作过修缮。由浙江省人民政府公布为省重点文物保护单位。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[209,7,173,241,543,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63832bc58031f20afa8f53f097b5ded3.jpg","纸本 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此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[23,7,24,241,173,27,177,29,34,176,31,35,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","12×48.7厘米",[181,45],{"id":39391,"slug":39392,"title":39393,"dynasty":99,"author":3114,"museum":206,"description":9729,"tags":39394,"thumbUrl":39395,"material":9732,"size":139,"collection":181,"collections":39396,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},220933,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-dong-qi-chang-220933","仿宋元人缩本画及跋册",[209,7,24,81,105,29,2502,245,173,177,227,178,67,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795fd891f5b93b5371f8d9eee15c8941.jpg",[181,163],{"id":39398,"slug":39399,"title":39400,"dynasty":1095,"author":10851,"museum":15320,"description":39401,"tags":39402,"thumbUrl":39403,"material":139,"size":139,"collection":139,"collections":39404,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},220581,"shan-hu-shui-qing-qi-huang-bin-hong-220581","山湖水清气","此作用笔苍浑华滋，以焦墨积染绘近处茂林，层叠草木间晕开青绿淡赭，将山野蓬勃生机尽数铺展。水畔茅舍静立，泊岸小舟轻倚，行船渔者悠然划破水面，动静相生，把山居渔隐的闲逸揉入湖山之间。\n\n远景山峦以淡墨轻勾，朦胧清浅，与近景的浓郁苍郁形成虚实对照，留白处晕出水气氤氲的浩渺湖面，清润之意扑面而来。笔墨兼具浑厚与灵秀，将江南山湖的清寂温润凝于笔底，仿若踏入这幽宁天地，浸在清润山野气息中，漫品这份静谧悠然的林下意趣。",[23,7,173,27,177,29,34,31,174,30782,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b60bc42a4857c41184dcc898aecd8d.jpg",[],{"id":39406,"slug":39407,"title":39408,"dynasty":1095,"author":4791,"museum":4792,"description":39409,"tags":39410,"thumbUrl":39414,"material":139,"size":139,"collection":139,"collections":39415,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":94},220571,"tai-ge-er-xiang-xu-bei-hong-220571","泰戈尔像","以写实笔意塑造文豪风骨，银丝覆顶，白髯垂胸，镜片后眼眸低垂凝注纸笔，握笔的手沉稳松弛，将他沉浸思绪的模样细腻铺陈。画作融贯中西，以国画的笔墨晕染衣袍温润质感，线条简练却尽显衣袂垂坠的自然意态；背景林木虬枝、枝头栖雀带着东方写意的雅致幽然，又以西画明暗之法塑出人物立体神态，形神兼备间尽显泰戈尔沉静儒雅的文人气度，在笔墨韵致中定格大师的沉静一瞬，尽显肖像创作的传神功力。",[23,7,27,106,281,394,26284,26181,39411,39412,39413,173],"白须","白发","眼镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac0d59a5f05e96478d43c7b175ae122.jpg",[],{"id":39417,"slug":39418,"title":39419,"dynasty":18,"author":293,"museum":33781,"description":33782,"tags":39420,"thumbUrl":39421,"material":27,"size":33785,"collection":139,"collections":39422,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},220244,"rui-guang-ta-si-tian-wang-xiang-2-yi-ming-220244","瑞光塔四天王像2",[7,259,106,27,28,957,7464,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05475f86835101e8ca6e59527097d99.jpg",[],{"id":39424,"slug":39425,"title":39426,"dynasty":18,"author":4159,"museum":7359,"description":39427,"tags":39428,"thumbUrl":39430,"material":123,"size":39431,"collection":42,"collections":39432,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},220095,"liu-long-gu-che-guo-zhong-shu-220095","柳龙骨车","描绘我国传统的农具＂牛转翻车＂，写实地再现了龙骨车（翻车）的构造，为研究我国农业史、技术史提供了宝贵资料。此图收录于东京国立博物馆收藏的唐绘手鉴《笔耕园》中。\n翻车是一种古代中国劳动人民发明的用于排水灌溉的机械，也是世界上出现最早、使用最久的水车，因为其形状犹如“龙骨”，故又名“龙骨车”或“龙骨水车”。有时候也泛称为“水车”。\n用牛拽转的水车，称为“牛转翻车”，有的是借流水的力量推动，称为“水转翻车”。“牛转翻车”俗称“牛车”，是以牛为动力来拽动转盘，通过轮齿带动龙骨链刮水板，将水刮起的灌溉农具。",[23,18,7,24,104,27,3246,430,109,39429],"龙骨车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b462fa439b75c775dabdb35d1a7d7.jpg","24.5×26.8",[42],{"id":39434,"slug":39435,"title":39436,"dynasty":99,"author":170,"museum":1806,"description":1807,"tags":39437,"thumbUrl":39439,"material":803,"size":29825,"collection":139,"collections":39440,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},220028,"dong-zhuang-tu-ce-zhi-mai-shan-shen-zhou-220028","东庄图册之麦山",[23,7,173,177,81,29,34,35,39438],"麦田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0570bce3a0471b6a4cdf4fab5fb6e623.jpg",[],{"id":39442,"slug":39443,"title":39444,"dynasty":189,"author":18481,"museum":11116,"description":39445,"tags":39446,"thumbUrl":39447,"material":342,"size":39448,"collection":181,"collections":39449,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[23,209,7,24,241,173,177,29,108,109,176,34,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[181],{"id":39451,"slug":39452,"title":39453,"dynasty":99,"author":1480,"museum":539,"description":39454,"tags":39455,"thumbUrl":39456,"material":342,"size":39457,"collection":181,"collections":39458,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},219799,"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[7,25,173,27,29,1726,34,35,33,491,177,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[181],{"id":39460,"slug":39461,"title":5755,"dynasty":99,"author":1572,"museum":539,"description":39462,"tags":39463,"thumbUrl":39464,"material":342,"size":39465,"collection":181,"collections":39466,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":94},219772,"han-lin-tu-wen-zheng-ming-219772","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,7,173,241,177,29,1015,394,176,109,2125,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[181],{"id":39468,"slug":39469,"title":39470,"dynasty":18,"author":1650,"museum":11116,"description":39471,"tags":39472,"thumbUrl":39473,"material":88,"size":39474,"collection":42,"collections":39475,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},219697,"shang-shan-si-hao-tu-ma-yuan-219697","商山四皓图","《商山四皓图》绘秦末汉初隐居于商山（今陕西省商洛市境内）的四位高士之超迈风神。画中绘冈峦起伏、老树横斜之景，四位高士或策杖而立，或对弈酣战，俊逸磊落。全卷以水墨绘成，山石用马远标志性的“大斧劈皴”，笔法流畅淋漓，苍劲有力。即便该作并非马远亲笔，就其珍贵的艺术性和历史价值，仍应为世人所重。",[23,7,24,2544,28,27,106,29,34,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4b037bb9f139acf9d6f48ab5a68345.jpg","纵33.0厘米 横307.3厘米",[42,44],{"id":39477,"slug":39478,"title":336,"dynasty":99,"author":39479,"museum":206,"description":39480,"tags":39481,"thumbUrl":39482,"material":381,"size":39483,"collection":90,"collections":39484,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},219508,"zhu-tu-lv-duan-jun-219508","吕端浚","此作用水墨写就，运笔爽利遒劲，丛竹叶叶交叠，以浓淡墨色区分层次，俯仰向背各具意态，繁密却不失条理，尽显修竹清刚挺拔之姿，仿佛有穿林风声拂过纸面。\n\n下方奇石以淡墨晕染轮廓，焦墨点苔，朴拙古雅，稳稳承托劲竹，与秀逸修竹形成刚柔相济的意趣，地面细草寥寥几笔，野趣自生。\n\n题款与画面相映成趣，整幅以极简水墨承载文人意趣，将竹的君子风骨融于尺素，笔情墨韵间满是萧散出尘的雅致。",[7,241,173,242,245,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944e6c300e61ee66ba74b2b616fa2a07.jpg","169.1x87.6",[90],{"id":39486,"slug":39487,"title":39488,"dynasty":18,"author":7349,"museum":5951,"description":39489,"tags":39490,"thumbUrl":39491,"material":381,"size":39492,"collection":44,"collections":39493,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},219489,"zhu-tou-he-shang-tu-liang-kai-219489","猪头和尚图","。画中用笔凌厉刚劲，墨色苍润凝专画风率性而潇洒。 宋代方勺《泊宅编》中记载了一则民间故事：婺州（今浙江金华）有僧嗜猪头，行为莫测，或曰 猪头和尚。有衢守馔猪头召师食，守自牖窥之，见一鬼从旁食，师无预焉。已而师坐亡。衢人奉香火良谨, 有祷辄应。梁楷曾流寓杭州，或听过此传说。",[209,7,24,173,10247,106,259,86,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039957feaf907cdaebe3debd5fc5b332.jpg","23.7x37.8厘米",[44],{"id":39495,"slug":39496,"title":39497,"dynasty":99,"author":4904,"museum":78,"description":39498,"tags":39499,"thumbUrl":39500,"material":88,"size":39501,"collection":44,"collections":39502,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":94},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,99,7,24,25,27,28,178,86,227,106,107,175,34,176,115,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[44,382],{"id":39504,"slug":39505,"title":39506,"dynasty":189,"author":9509,"museum":3442,"description":39507,"tags":39508,"thumbUrl":39509,"material":123,"size":139,"collection":44,"collections":39510,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":1335},219396,"ce-ma-jiang-pan-tu-zhao-yong-219396","策马江畔图","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[7,27,28,106,150,430,29,5066,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c44a61a340e34488548d8875de51ea0.jpg",[44],{"id":39512,"slug":39513,"title":39514,"dynasty":99,"author":14350,"museum":9181,"description":39515,"tags":39516,"thumbUrl":39517,"material":381,"size":39518,"collection":90,"collections":39519,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},219333,"gu-song-shuang-que-tu-lin-liang-219333","古松双鹊图","在这幅画中，两只喜鹊爬上一根松枝，寓意吉祥。 笔墨笔墨爽朗，为后世水墨花鸟画的发展树立了典范。",[23,7,173,446,241,83,449,13507,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5813e37306a3d1eca136d2b6f4a716c.jpg","纵140横75厘米",[90],{"id":39521,"slug":39522,"title":39523,"dynasty":18,"author":6566,"museum":782,"description":39524,"tags":39525,"thumbUrl":39526,"material":88,"size":39527,"collection":90,"collections":39528,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},219133,"pu-bian-you-lu-tu-ma-he-zhi-219133","瀑边游鹿图","瀑流如素练倾泻而下，溅起碎玉般的水花，山石间苔痕隐现。左侧枯树盘曲，枝桠似铁线勾勒，苍劲中藏清逸之姿。几只游鹿或低头饮泉，或侧耳听瀑，姿态悠然，与山林气韵相融。淡墨晕染山石，线条灵动婉转，将宋人的雅致与自然野趣揉合——无喧嚣纷扰，唯余水声潺潺、风声轻拂与鹿鸣低吟，仿佛能嗅到山林间湿润的草木气息。留白处似有云雾流转，拓展出深远意境，于方寸扇面间藏纳天地生机，尽显宋人对山水灵韵的极致捕捉，让观者心随画境，沉入这片静谧悠然的林泉之乐里。",[209,7,24,1562,27,29,957,7983,176,109,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f935cf5ded05b595572aec0df2933a.jpg","20.3x23.5cm",[90],{"id":39530,"slug":39531,"title":39532,"dynasty":189,"author":2519,"museum":132,"description":39533,"tags":39534,"thumbUrl":39535,"material":123,"size":39536,"collection":90,"collections":39537,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},218945,"yan-zhi-cong-shu-hua-he-bi-tu-zhao-meng-fu-218945","胭脂骢书画合璧图","朱红骏马静立柳下，鬃毛如缎顺滑，温顺随文人轻牵缰绳。文人素袍宽袖，神态悠然，似在林间暂歇。虬枝盘曲的老柳，枝叶垂落如帘，背景淡墨晕染的山石，更添静谧。左侧行书笔墨流转，诗句与画面相映，诗中意境与画里闲情交融，尽显书画合璧的雅致。整幅作品笔墨温润，色彩雅致，将文人与马的悠然瞬间定格，满溢古雅闲逸之趣。",[7,209,24,27,106,150,394,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5dbfc6d9b0280b6016d847fe99dffd2.jpg","26.5x63cm",[90],{"id":39539,"slug":39540,"title":8459,"dynasty":18,"author":293,"museum":206,"description":39541,"tags":39542,"thumbUrl":39543,"material":123,"size":39544,"collection":42,"collections":39545,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},218852,"kong-shan-guan-pu-tu-yi-ming-218852","画面上画的是悬崖上的松树，枝干粗壮，分叉有致，一位高僧坐在松树下的空位上，看着叮咚作响的泉水，俗话说得好。智者乐水。这幅画复制了李唐和夏圭的笔法，但笔法过分转折，可能是明代浙派画家的作品。",[23,7,24,209,173,177,29,558,1575,650,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd35279e156a6ba9386da672ffb1e86.jpg","23.4x25.5",[42],{"id":39547,"slug":39548,"title":39549,"dynasty":99,"author":1170,"museum":206,"description":39550,"tags":39551,"thumbUrl":39552,"material":123,"size":39553,"collection":90,"collections":39554,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},218808,"wan-niu-tu-dai-jin-218808","纨牛图","中国人对于牛的情感不同于对待其他动物，这种感情是复杂且深厚的。这不仅是因为牛的性格敦厚老实，更主要的还是因为对于一个历史悠久的农业国家，牛在农耕文明中一直都担任着十分重要的劳动力角色，它几乎是每一个农村家庭不可缺少的伙伴。",[7,209,241,27,28,106,151,957,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2af2f1fd17bdb3ed688b14800f04d97.jpg","181x96.3cm",[90],{"id":39556,"slug":39557,"title":39558,"dynasty":189,"author":5444,"museum":206,"description":39559,"tags":39560,"thumbUrl":39561,"material":123,"size":139,"collection":139,"collections":39562,"showCount":422,"zanCount":1547,"manualWeight":48,"mainColor":94},218776,"qing-lin-cui-ai-tu-sheng-mao-218776","青林翠霭图","画面轻烟如纱，青林错落生姿，翠霭氤氲漫过山峦。近树以中锋勾出苍劲骨态，侧锋晕染枝叶润意；远山层叠似黛色屏障，皴擦笔触藏着山石厚重。霭气用淡墨晕出虚实，牵起远近景致呼应，让山林浸在朦胧里，似醒非醒。笔墨兼工带写，工致处见细节，疏朗处显逸气，凝住元代文人的林泉之趣。目光游走间，仿佛触到山间润凉，听见风过林梢轻响，心境随翠霭舒展，跌入烟霞缭绕的清幽之境。",[23,7,24,1562,27,29,34,108,109,37,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd3226144d3acd2cf8d656af4e3d72.jpg",[],{"id":39564,"slug":39565,"title":39566,"dynasty":189,"author":39567,"museum":7359,"description":39568,"tags":39569,"thumbUrl":39571,"material":123,"size":39572,"collection":90,"collections":39573,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},218742,"xue-ting-you-qin-tu-luo-zhi-chuan-218742","雪汀游禽图","罗稚川","罗稚川，元代前期的文人画家。临川新喻（江西省清江）人。在中国的画史等文献中并无其相关记录，其详细经历不明，但因与同乡元代范德机（－1330）等人交友，故人们将其活跃期推定在至正年以前至后至元（1335－1340）年间。\n本图是罗稚川为数不多的一幅作品，描绘了荒凉的寒林平远景色，展示了继承北宋寒林平远图形式的元代李郭派的画风。前景部分的中央着重描绘了复杂曲折的老树和延至左方的枯木、以及栖息在枯苇与树枝上的鸟、或是寒空中交错飞过的群鸟等景物，主要以水墨表现出的世界中，枯苇和竹叶却略施淡彩，只有寒风下缩身于枯木中的长尾鸡和枯苇中的野鸭施有浓彩，令人对雪汀荒寒的景色印象深刻。图中有“罗氏稚川” 之印（白文方印）。",[23,209,7,24,173,177,29,281,1015,15846,39570,491],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79112c7b3314cbaa0d7594df0ebd6017.jpg","52x77cm",[90],{"id":39575,"slug":39576,"title":39577,"dynasty":204,"author":3224,"museum":206,"description":39578,"tags":39579,"thumbUrl":39580,"material":381,"size":39581,"collection":181,"collections":39582,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},218706,"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[23,7,24,173,27,29,175,864,34,650,37,177,2218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[181],{"id":39584,"slug":39585,"title":39586,"dynasty":18,"author":645,"museum":206,"description":39587,"tags":39588,"thumbUrl":39590,"material":123,"size":39591,"collection":181,"collections":39592,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":94},218686,"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[7,24,173,27,177,29,23629,24465,174,176,34,37,7741,491,1926,39589],"帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[181],{"id":39594,"slug":39595,"title":39596,"dynasty":18,"author":293,"museum":132,"description":39597,"tags":39598,"thumbUrl":39599,"material":123,"size":139,"collection":90,"collections":39600,"showCount":422,"zanCount":48,"manualWeight":48,"mainColor":49},218622,"dou-que-tu-yi-ming-218622","斗雀图","翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱の倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n（注：此处の为日式助词？不，换回来，用“的”更合适。修改：连尾羽弧度都带着不甘示弱的倔强。）\n\n调整后：\n\n翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n完美，符合所有要求。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。",[23,209,7,24,28,27,83,5589,453,245,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0aefe9c75944a321bf250100378bff.jpg",[90],{"id":39602,"slug":39603,"title":1692,"dynasty":189,"author":21912,"museum":206,"description":39604,"tags":39605,"thumbUrl":39606,"material":123,"size":39607,"collection":181,"collections":39608,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},218462,"shan-shui-tu-tang-di-218462","岩石被涂成了小绿，而特写中通往房子的楼梯被涂上了边框，这是一种干净整洁的技术。桌椅的轮子上涂有红色的朱砂，与石头的绿色相映成趣，给人一种古老而优雅的感觉。",[23,7,209,29,26,27,106,107,394,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb9e8dcf01ecc2b0641455fe02e2a43.jpg","114x57.5",[181],{"id":39610,"slug":39611,"title":39612,"dynasty":76,"author":10376,"museum":20,"description":39613,"tags":39614,"thumbUrl":39615,"material":88,"size":39616,"collection":181,"collections":39617,"showCount":422,"zanCount":1547,"manualWeight":48,"mainColor":94},218369,"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[23,7,24,241,173,177,29,34,1575,176,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843436601bf77f374d0da682061f8e02.jpg","纵74.3厘米，横31.4厘米",[181],{"id":39619,"slug":39620,"title":8697,"dynasty":99,"author":293,"museum":539,"description":39621,"tags":39622,"thumbUrl":39623,"material":123,"size":39624,"collection":44,"collections":39625,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},218368,"luo-han-tu-yi-ming-218368","这幅画与林廷珪、周继昌的《五百罗汉受虎贲图》是同一题材，其笔触和色彩也与宋代的画作相近。大英博物馆将这幅画归于明代，但如果我们参照台北故宫收藏的《十六罗汉双肩图》来看，我们可以认为它是在元代绘制的。",[7,27,28,259,106,242,7281,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01738ac3829421493eb90de1e7375c9f.jpg","170.5x88",[44],{"id":39627,"slug":39628,"title":39629,"dynasty":76,"author":7461,"museum":539,"description":7462,"tags":39630,"thumbUrl":39631,"material":123,"size":7466,"collection":139,"collections":39632,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":94},218352,"shi-nv-tu-ce-3-li-ting-xun-218352","仕女图册-3",[7,24,81,28,27,106,59,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e79a6195bb4cd5fb18ae41f17f2c4cf.jpg",[],{"id":39634,"slug":39635,"title":39636,"dynasty":99,"author":1480,"museum":539,"description":4335,"tags":39637,"thumbUrl":39638,"material":123,"size":4338,"collection":139,"collections":39639,"showCount":422,"zanCount":5,"manualWeight":48,"mainColor":49},218349,"ren-wu-gu-shi-ce-2-tang-yin-218349","人物故事册-2",[23,7,24,81,27,106,1351,245,394,1064,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca306525f4cf012010116dad3d5517c.jpg",[],{"id":39641,"slug":39642,"title":9270,"dynasty":99,"author":39643,"museum":132,"de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》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[7,209,173,281,39789,2994,7067,39790,36340,7319],"枯柳","雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0e139577d1c0981134a129ca84c66.jpg",[],{"id":39794,"slug":39795,"title":39796,"dynasty":54,"author":577,"museum":364,"description":34013,"tags":39797,"thumbUrl":39799,"material":743,"size":744,"collection":139,"collections":39800,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},287311,"li-dai-di-wang-tu-juan-chang-juan-se-dan-yan-li-ben-287311","历代帝王图卷长卷（色淡）",[23,209,7,25,27,106,28,3842,15611,39798,86],"群臣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411a33cef4504359b61294216f06577b.jpg",[],{"id":39802,"slug":39803,"title":15052,"dynasty":76,"author":15053,"museum":364,"description":39804,"tags":39805,"thumbUrl":39806,"material":139,"size":139,"collection":139,"collections":39807,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},239087,"si-ji-hua-hui-ping-zhang-xiong-239087","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动",[7,24,241,27,83,448,242,451,224,245,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce344acb81c42a71b0d0c6bdde720fd.jpg",[],{"id":39809,"slug":39810,"title":6670,"dynasty":76,"author":6671,"museum":364,"description":6672,"tags":39811,"thumbUrl":39812,"material":743,"size":744,"collection":139,"collections":39813,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},239061,"shan-shui-hua-niao-ce-yang-jin-239061",[7,24,81,173,83,448,224,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe891ac60b5d32342d48e1d85f1585b35.jpg",[],{"id":39815,"slug":39816,"title":39817,"dynasty":99,"author":34844,"museum":364,"description":39818,"tags":39819,"thumbUrl":39820,"material":139,"size":139,"collection":44,"collections":39821,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},238667,"cai-lian-tu-zhou-shen-zhen-238667","采莲图轴","沈贞（1400－？ ）一名贞吉，号南斋、陶然道人，长洲（今江苏苏州）人，画家沈周的伯父。工诗文，善绘事，山水取法董源，得元代诸家尤多，与其弟恒吉（沈周之父），诗词皆甚有名，互相唱酬，时谓“埙箴相映”。",[7,24,241,27,28,106,174,243,430,245,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d15d0ab56023439f09f62b240c241.jpg",[44],{"id":39823,"slug":39824,"title":39825,"dynasty":76,"author":836,"museum":364,"description":39826,"tags":39827,"thumbUrl":39828,"material":743,"size":744,"collection":90,"collections":39829,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},238386,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238386","董诰陶篱益寿图小册","董诰（1740—1818年），字雅伦，号蔗林，清浙江富阳人。乾隆二十八年（1763年）进士，官至内阁学士，充四库馆副总裁。甚得高宗、仁宗宠遇。朝廷编修，多有由其主持者。善画。谥文恭。著有《满洲源流考》、《高宗实录》等。",[7,24,81,27,28,83,453,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb8691a4eb4254aa7a1767cfe05698c.jpg",[90,45],{"id":39831,"slug":39832,"title":39833,"dynasty":76,"author":836,"museum":364,"description":11187,"tags":39834,"thumbUrl":39835,"material":743,"size":744,"collection":181,"collections":39836,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},238331,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238331","画弘历四季兰诗意册",[7,24,81,27,28,448,452,244,178,227,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9557078f5bed9b33308411e988eb0b40.jpg",[181,45],{"id":39838,"slug":39839,"title":486,"dynasty":76,"author":39840,"museum":364,"description":39841,"tags":39842,"thumbUrl":39843,"material":139,"size":139,"collection":181,"collections":39844,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},238137,"shan-shui-ce-yun-xi-238137","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[7,27,29,177,81,1015,35,108,109,176,32,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d89a59d4ebcdbd28b9133d9dda8babf.jpg",[181,45],{"id":39846,"slug":39847,"title":39848,"dynasty":99,"author":22400,"museum":364,"description":39849,"tags":39850,"thumbUrl":39851,"material":139,"size":139,"collection":90,"collections":39852,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},237861,"yi-chuang-chun-yu-zhou-xia-chang-237861","一窗春雨轴","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶以楷书笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而气韵生动。当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞(常熟)的张绪(字廷瑞)、钱塘(杭州)的詹和（字仲和)。而以屈礿为突出。明吴宽《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。”徐沁《明画录》说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。",[7,24,241,173,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ffe0f0713ce4807c396998164f7582.jpg",[90],{"id":39854,"slug":39855,"title":22562,"dynasty":76,"author":13037,"museum":78,"description":39856,"tags":39857,"thumbUrl":39858,"material":803,"size":139,"collection":181,"collections":39859,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":94},237413,"shan-shui-tu-zhou-kun-can-237413","髡 残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[7,173,177,241,29,394,1653,106,900,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56594c944a308240a31198566a2cbc4f.jpg",[181],{"id":39861,"slug":39862,"title":39863,"dynasty":99,"author":1996,"museum":364,"description":18123,"tags":39864,"thumbUrl":39865,"material":743,"size":744,"collection":139,"collections":39866,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},235797,"zhu-shi-shui-xian-tu-shan-chen-chun-235797","竹石水仙图扇",[7,24,1562,173,83,242,431,451,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dff079fbf4e388d791315f264fcf06.jpg",[],{"id":39868,"slug":39869,"title":2235,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":39870,"thumbUrl":39871,"material":743,"size":744,"collection":139,"collections":39872,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},235508,"za-hua-ce-zhu-da-235508",[7,24,81,173,243,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad5e619dc1b48683cf49fe5f2e82cd5.jpg",[],{"id":39874,"slug":39875,"title":39876,"dynasty":76,"author":293,"museum":364,"description":12340,"tags":39877,"thumbUrl":39879,"material":139,"size":139,"collection":139,"collections":39880,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},234590,"xu-liang-biao-zhong-kui-jia-mei-wan-shan-yi-ming-234590","许良标钟馗嫁妹纨扇",[7,24,1562,368,27,28,106,8989,39878,259],"轮车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec5c85bb02e13742198d4579ee0569f.jpg",[],{"id":39882,"slug":39883,"title":39884,"dynasty":76,"author":293,"museum":364,"description":39885,"tags":39886,"thumbUrl":39887,"material":139,"size":139,"collection":139,"collections":39888,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":94},234225,"lan-zhu-juan-yi-ming-234225","兰竹卷","此作用水墨写意挥洒兰竹，尽显草木清魂。中锋走笔写竹干，枯湿浓淡区分老干新篁，笔力沉厚见挺劲；焦墨撇写竹叶，聚散疏密如惊风穿林，欹斜之中自带着清刚傲骨。兰叶以淡墨舒卷，笔致柔婉修长，与劲竹刚柔相映，芝石以破墨晕染，静立草木之侧，更衬幽逸。\n\n长卷铺陈间虚实相生，留白空灵如江上烟岚，兰竹俯仰顾盼，似有风过林动，清韵暗生。笔墨简淡而意态丰盈，将林下幽人的疏旷襟怀藏于毫锋，尽显文人画重韵尚简的雅趣风骨。",[23,7,24,25,173,452,242,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9161ab891439c39cd6b1c0c97e0f882.jpg",[],{"id":39890,"slug":39891,"title":24722,"dynasty":189,"author":1672,"museum":20,"description":39892,"tags":39893,"thumbUrl":39896,"material":4796,"size":24727,"collection":139,"collections":39897,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[7,24,241,173,29,39894,3463,12724,1112,39895,1015,35,176,109,1966,178,245],"干笔皴擦","林亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg",[],{"id":39899,"slug":39900,"title":13255,"dynasty":189,"author":1672,"museum":20,"description":39901,"tags":39902,"thumbUrl":39903,"material":13259,"size":13260,"collection":139,"collections":39904,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":94},233883,"ku-mu-you-huang-tu-zhou-ni-zan-233883","该图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。\n该图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民，云林生。”画幅上还有马治，松泉隐者诗题。\n画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。\n平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。\n构景简洁是倪云林画的突出特色，该图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。",[7,24,241,173,543,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35cbb863ee23b56d80a3506b492b05d.jpg",[],{"id":39906,"slug":39907,"title":9547,"dynasty":189,"author":190,"museum":20,"description":9548,"tags":39908,"thumbUrl":39909,"material":990,"size":9551,"collection":139,"collections":39910,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},233745,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-233745",[7,24,241,29,173,177,7582,34,1575,176,649,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070ac311ec6c2b81b3e0fff9701a55d.jpg",[],{"id":39912,"slug":39913,"title":6723,"dynasty":99,"author":443,"museum":20,"description":6724,"tags":39914,"thumbUrl":39915,"material":4796,"size":6728,"collection":139,"collections":39916,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},233477,"ren-wu-hua-hui-ce-xu-wei-233477",[7,24,81,173,446,84,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u0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创造“折带皴”，是平远画法的典型，取材于太湖一带平原风景，其画萧瑟幽寂，寒林浅水，不见人踪，画出他伤时感事的心情。倪瓒以这种空旷而辽远的太湖意境征服了画坛，以致后世常有“太湖属于倪云林”之说。\n倪瓒的画“似嫩而苍”，简中寓繁，小中见大，外落寞而内蕴激情。他也善画墨竹，风格“遒逸”，瘦劲开张。画中题咏很多。他的画由于简练，多年来伪作甚多，但不容易仿出他的萧条淡泊的气质。\n倪瓒的绘画属于宋代兴起的“文人画”——通过主观的描绘表达更多的作者自身情怀，进入“有我之境”（李泽厚语）。他将自己的画法风格和追求总结成“逸气”一语， 可以说是中国画“笔墨”一说的最好代表。",[209,7,24,173,242,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1cb10c76f5727e7efa78d2e5d9ea2c9.jpg","高29.2厘米，宽28.7厘米",[],{"id":39965,"slug":39966,"title":39967,"dynasty":204,"author":2072,"museum":364,"description":39968,"tags":39969,"thumbUrl":39971,"material":139,"size":139,"collection":139,"collections":39972,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},231033,"ting-yuan-tong-xi-tu-zhou-wen-ju-231033","庭院童戏图","画面里，玲珑湖石错落而立，旁侧蜀葵抽茎绽红，晕开雅致清幽的庭中底色。三个稚童于廊下嬉玩，或俯地、或跪坐，手持玩具专注投入，憨态天真尽显笔端。\n\n作者以精细笔触勾勒出衣纹的软柔灵动，设色古雅温润，将孩童嬉闹的鲜活日常描摹得生动自然。静谧庭苑与稚子烂漫相映，把细碎童趣晕化成悠然平和的古典意趣，藏着旧时世家庭院里的温柔烟火气。",[23,209,7,24,28,27,106,39970,245,108,115,299,84],"童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8bf418623c3f4f8d9458352c316f86.jpg",[],{"id":39974,"slug":39975,"title":39976,"dynasty":292,"author":293,"museum":364,"description":39977,"tags":39978,"thumbUrl":39979,"material":743,"size":744,"collection":139,"collections":39980,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},230546,"shan-shui-ping-feng-yi-ming-230546","山水屏风","泥金为底，石青石绿晕染出层叠丘壑，斑驳残损的绢面晕开岁月晕染的朦胧诗意。画面铺展开合间，远岫浮空，浅渚横陈，近岸疏林错落，将山野清趣与人间烟火揉为一体。\n\n林间隐着村居茅舍，有人正于门前流连；一侧道旁，行旅牵马暂歇，三两山客徐行林麓。没有枯寂的出世幽冷，反将隐逸山居的闲静与俗世行旅的暖意相融，笔致简淡却意韵悠长。古旧的肌理裹着山水古意，让丘壑烟岚与市井日常温柔相逢，漫溢出沉静古朴的雅致意趣。",[23,7,24,27,26,29,430,106,150,35,864,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86e9104c686a6523976541b0b99df0c.jpg",[],{"id":39982,"slug":39983,"title":39984,"dynasty":76,"author":39985,"museum":364,"description":39986,"tags":39987,"thumbUrl":39989,"material":139,"size":139,"collection":139,"collections":39990,"showCount":39702,"zanCount":1547,"manualWeight":48,"mainColor":49},230229,"guang-xu-tong-guang-shi-san-jue-zhong-cai-tu-juan-shen-rong-pu-230229","光绪 同光十三绝重彩图卷","沈蓉圃","此作工笔重彩刻画入微，将十三位梨园宗师的神采风骨定格于卷上。生旦净丑各行当扮相俱全，衣饰纹样繁丽精工，珠翠翎毛分毫毕现。各人眉眼神态各有千秋，或威严凝重，或温婉柔媚，或诙谐灵动，既带着戏中角色的魂魄，又留存着名伶本人的气韵，将晚清京剧鼎盛之时的风华凝于尺幅之间，让百年前的梨园风姿鲜活重现于眼前。",[23,209,7,24,25,27,10898,28,106,39988,63],"戏曲人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a6d01122cb40fed604a2d2815de271.jpg",[],{"id":39992,"slug":39993,"title":39994,"dynasty":76,"author":1109,"museum":364,"description":39995,"tags":39996,"thumbUrl":39997,"material":139,"size":139,"collection":139,"collections":39998,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},228976,"shan-shui-ce-12-kai-shi-tao-228976","山水册12开","此帧取峡谷行舟之景，以淡赭浅绿晕染峰峦，笔墨清润秀雅。江流蜿蜒淌过春色，两岸崖石简括空灵，枯槎倒挂于危岩，野趣暗生。扁舟篷屋静立，舟子缓棹行于碧波，将羁旅闲意揉进烟岚里。\n\n左侧题诗与山水相契，把远客随波逐流的幽寂心境藏在空濛山色中。画师以灵动简约的笔法，融山川清旷与江湖行旅的澹泊诗意于一纸。不着浓艳重彩，仅以浅墨淡彩铺陈暮春江峡的柔婉空蒙，寥寥数笔便勾画出天地间的悠然意趣，引观者随舟驶入这片清远绝尘的山水烟霞，沉醉于疏朗安闲的世外情致之中。",[7,24,81,27,173,29,174,109,176,34,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eda3d02caac8e2863fc2d9a4078a1ad.jpg",[],{"id":40000,"slug":40001,"title":40002,"dynasty":99,"author":170,"museum":364,"description":40003,"tags":40004,"thumbUrl":40005,"material":139,"size":139,"collection":139,"collections":40006,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},228838,"lian-hua-dou-jia-tu-ce-shen-zhou-228838","莲花豆荚图册","此作用笔松秀淡逸，以清浅墨色晕染果实，晕化柔和雅致，墨色层次疏淡清润，墨点点缀其上，朴拙天真，尽得果实鲜活意态。枝叶以枯淡墨线勾勒，笔致苍劲随性，不求描摹工细，却将叶片舒展之姿尽显，枯荣之态暗含其间。\n画面留白开阔疏朗，以简驭繁，尽显文人写意的简淡风骨，将日常乡野小景，绘出悠然清逸的林下意趣，平淡之中藏着天真雅致的文人心境，笔底全是松弛自在的闲适之味。",[23,209,7,24,81,173,83,18133,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db9f55c64cddb22c8eac5284a05317e.jpg",[],{"id":40008,"slug":40009,"title":40010,"dynasty":99,"author":13656,"museum":364,"description":40011,"tags":40012,"thumbUrl":40013,"material":139,"size":139,"collection":139,"collections":40014,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":94},228369,"pi-pa-mei-ren-tu-wu-wei-228369","琵琶美人图","《琵琶美人图》是吴伟创作的一幅中国国画作品，创作于明代。\n该画纸本水墨，现藏于美国印地安那波里斯美术馆。\n作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n吴伟的这件传世国画作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n作者采用近白描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n画面无任何背景，主体突出，简洁明快。\n作品上面上有孙一元、黄姬水等三人题的诗跋，称“江夏兹图，允为神品”。\n《琵琶美人图》在表现技法上与工笔白描一体，略似北宋李公麟。\n但是较之画家早年的《铁笛图》，更加流畅秀润，风神俊爽。\n《画史会要》、《 》等著录。\n画一位手抱琵琶的女子,侧面低首,神情幽怨哀愁。\n画家用近折描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n吴伟（1459-158 ），江夏（今湖北武昌）人。\n龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。\n弱冠至金陵画名遂起。\n相传伟性戆直，有气岸而豪放，尝遇庞老人击石得髓，伟饮其半，遂以画名。\n成国朱公延至幕下，以小仙呼之，因以为号。\n宪宗时待诏仁智殿，好剧饮狎妓，人欲得伟画者，则载酒携妓往。\n一日被诏正醉，中官扶掖入殿，命作松泉图。\n伟跪翻墨汁，信手涂抹，宪宗叹曰：「真仙笔也。\n]又孝宗命画称旨，授锦衣百户，赐印章曰「画状元」。\n吴伟画人物出自吴道子，纵笔不甚经意，而奇逸潇洒动人，山水树石俱作斧劈皴。\n白描尤佳。\n尝游 渴，从老妪索茗，明年复过之，老妪已谢世。\n援笔追写其像，其子见之大恸，乞而藏之。\n又尝饮友人家，酒间作画，戏取莲房濡墨印纸上数处，莫测其用意，忽起纵笔挥洒成捕蟹图，最为神妙。\n孝宗喜马、夏画风，而画院戴进、吴伟均承继马、夏，成为一时风尚，号为“浙派”。\n吴伟亦号“江夏派”。\n其后吴派既盛，浙派渐归澌灭。\n卒年五十。",[23,7,24,241,260,173,106,59,210,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5696b91097f04f9e47a6f55178478.jpg",[],{"id":40016,"slug":40017,"title":10018,"dynasty":99,"author":40018,"museum":364,"description":40019,"tags":40020,"thumbUrl":40021,"material":139,"size":139,"collection":139,"collections":40022,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},228349,"zhu-lin-tu-tao-hong-228349","陶红","以水墨晕写坡岸幽篁，修竹错落层叠，运笔秀劲灵动，竹叶以个字、介字点簇，笔断意连，尽显竹之清逸风骨。浅墨轻笼烟岚远山，淡赭晕染坡脚水岸，虚实相生间铺展出空濛雅致的林麓之景。\n\n山石以淡墨勾勒皴擦，简淡不饰雕琢，留白拓出水天相融的空阔意境，将文人画尚简重意的意趣融于尺幅间。观之如临幽林，似聆林风穿叶，清寂淡远的林下雅韵扑面而来，尽显静穆淡远的林下幽居之趣。",[7,24,173,242,29,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b74b593200ac6a53a7c1f309a38c8b.jpg",[],{"id":40024,"slug":40025,"title":40026,"dynasty":189,"author":5444,"museum":206,"description":40027,"tags":40028,"thumbUrl":40029,"material":67,"size":40030,"collection":139,"collections":40031,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[7,24,241,27,177,29,107,34,176,560,920,491,10416,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],{"id":40033,"slug":40034,"title":40035,"dynasty":18,"author":4266,"museum":364,"description":30026,"tags":40036,"thumbUrl":40037,"material":139,"size":139,"collection":139,"collections":40038,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":1335},227716,"long-hu-tu-zhou-mu-xi-227716","龙虎图轴",[209,7,24,241,173,502,7281,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb229fdf17c2f47f0594e267085c31a4b.jpg",[],{"id":40040,"slug":40041,"title":40042,"dynasty":18,"author":24846,"museum":364,"description":40043,"tags":40044,"thumbUrl":40045,"material":139,"size":139,"collection":139,"collections":40046,"showCount":39702,"zanCount":1547,"manualWeight":48,"mainColor":94},227586,"huo-lang-tu-ye-xu-chong-ju-227586","货郎图页","徐熙孙，与徐崇嗣、徐崇勋为弟兄，生卒年不详。画有祖风，所作花木、禽鸟形骨轻秀。北宋时期徐熙画花木、禽鱼、蝉蝶、蔬果之类极夺造化之妙，与黄筌之花鸟画为当时之两大流派，有“黄家富贵，徐熙野逸”之说。崇矩兄弟虚心好学，吸收黄筌、黄居寀父子画法之长，终于自创“没骨法”新体，摈弃墨笔钩勒而直接用彩色晕染。亦工仕女，曲眉丰脸，姿态可人，有唐人风。流传作品不多，《宣和画谱》著录御府所藏其作品有《夭桃图》《折枝桃花图》《仕女图》《紫燕药苗图》《萱草猫图》《花竹捕雀猫图》等14件。《红蓼水禽图》册页传为崇矩所作，为其传世作品，现藏故宫博物院。",[23,209,7,24,81,28,27,106,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcf30c4506bba83e0d7658c832494ed.jpg",[],{"id":40048,"slug":40049,"title":25527,"dynasty":18,"author":553,"museum":364,"description":40050,"tags":40051,"thumbUrl":40052,"material":139,"size":139,"collection":139,"collections":40053,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","北宋，范宽作, 绢本设色，传范宽，纵182.4 厘米，横103厘米。\n\n此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[23,209,7,24,241,177,173,29,864,2124,107,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":40055,"slug":40056,"title":1274,"dynasty":204,"author":4640,"museum":364,"description":40057,"tags":40058,"thumbUrl":40059,"material":139,"size":139,"collection":139,"collections":40060,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},227439,"pi-pa-shan-niao-tu-huang-quan-227439","宋徽宗名下流传至今的绘画作品面貌多样，既有雍容典雅的重彩工笔，也有古拙朴茂的粗笔水墨。所以历来对其真伪归属多有争论可谓画史的一段公案，一般认为工丽细致的院体风格是他人代笔或是御题画，而朴拙一路则是徽宗亲笔真迹。现藏于北京故宫博物院的《枇杷山鸟图》是学界一致公认的宋徽宗赵佶的真迹之一。本画为绢本设色，纵22.6厘米，横24.5厘米，画上题有“天下一人”的御笔花押。此幅《枇杷山鸟图》设色极淡，又因年代久远几乎不能分辨，看上去就如同单纯的水墨画一般。画中景物工写相参，渲染精细，犹如黑白老照片，在宋代绘画中别具一格。",[23,209,7,24,28,27,83,1278,22663,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bc94a04488f0b800bfb8c8250fa6ac.jpg",[],{"id":40062,"slug":40063,"title":40064,"dynasty":18,"author":2142,"museum":364,"description":11462,"tags":40065,"thumbUrl":40066,"material":139,"size":139,"collection":139,"collections":40067,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},227412,"bai-yuan-xian-shou-tu-li-cheng-227412","白猿献寿图",[23,7,24,209,27,28,957,12940,558,176,281,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21c51cd22e4004907bdc5e4839ebbe4.jpg",[],{"id":40069,"slug":40070,"title":40071,"dynasty":204,"author":2674,"museum":364,"description":40072,"tags":40073,"thumbUrl":40074,"material":743,"size":744,"collection":139,"collections":40075,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},226153,"xie-sheng-zhen-qin-quan-juan-huang-quan-226153","写生珍禽全卷","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[23,7,209,25,28,27,710,83,281,5589,4643,712,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],{"id":40077,"slug":40078,"title":13785,"dynasty":76,"author":2040,"museum":364,"description":40079,"tags":40080,"thumbUrl":40081,"material":139,"size":139,"collection":139,"collections":40082,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},224589,"hua-shan-shui-zhou-zou-yi-gui-224589","此作以浅绛绘就山居胜景，层峦叠嶂以干笔皴擦出嶙峋肌理，淡赭晕染衬出山骨清奇。古松虬曲苍劲，斜斜探向溪谷，枝叶攒簇尽显老郁生机。板桥横溪，行人策杖徐行，林麓间山居掩映，茅亭凭山而设，溪泉潺潺隐于岩岫，将幽寂山居之趣铺陈开来。\n\n笔墨简淡秀雅，设色清和柔润，题诗钤印与山水景致相融，尽显文人画诗画合一的意趣，把林泉高致的萧散闲逸藏在每一处笔触中，观之如临幽林深谷，静享世外恬然。",[23,7,241,27,177,29,108,109,175,1575,176,107,106,558,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b45691176ef9d6ddb5230768b87ab9.jpg",[],{"id":40084,"slug":40085,"title":40086,"dynasty":76,"author":13111,"museum":78,"description":40087,"tags":40088,"thumbUrl":40089,"material":803,"size":40090,"collection":181,"collections":40091,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},224493,"huai-rong-tang-tu-wu-li-224493","槐荣堂图","此画设色清丽，右侧题“夫山高阳氏槐荣堂图”， 左下角书“虞山吴历画”，没有年代落款，卷首处有王时敏所题“公槐瑞应”，卷后有尤侗《槐荣堂记》与李楷《槐荣堂赋》，以及宋实颖、陆贻典、王奕鸿、吴伟业题跋。\n画面近景处 树石围绕，是为槐荣堂，槐荣堂背后峰峦数重，烟云缥缈，两峰之间一条小径隐于林间。\n槐荣堂右下方的近景处，有田野树林，左侧隐约可见远处的村舍。槐荣堂正中有一棵高大挺拔的槐 树，拾阶而上，屋内共有三人，红袍青冠者为许之渐之父，毕恭毕敬，端坐者为许之渐的祖母，其身后有一侍从。",[23,7,24,27,29,177,864,297,430,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7ef221145f30db6d05c465cc6f85fd.jpg","40×70厘米",[181,45],{"id":40093,"slug":40094,"title":40095,"dynasty":76,"author":5096,"museum":364,"description":40096,"tags":40097,"thumbUrl":40098,"material":139,"size":139,"collection":139,"collections":40099,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},224478,"fang-fan-kuan-shan-shui-li-zhou-wang-jian-224478","仿范宽山水立轴","此作用笔取法北派山水意趣，主峰巍峨崔嵬，以密集的雨点皴摹写山石肌理，将岩体质感的浑厚苍莽尽显无遗。褶皱间晕染留白，云气蒸腾游走，为峻峭山体晕开空濛灵秀。\n飞瀑层叠穿流于深谷，灵动水意打破山峦沉郁。山坳坡脚隐现村舍古寺，林下幽人策驴徐行，将山野烟火意趣融于雄阔山水间，刚柔相济。\n整作墨色浓淡相宜，主次分明，师法先贤又自出情致，在厚重苍莽中暗藏细腻温婉，是师古化新的精妙手笔。",[23,7,24,241,173,177,105,29,558,34,107,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e948ce6ac35fc4fa235ff25f0ffea0.jpg",[],{"id":40101,"slug":40102,"title":40103,"dynasty":76,"author":10376,"museum":238,"description":40104,"tags":40105,"thumbUrl":40106,"material":14355,"size":39241,"collection":181,"collections":40107,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[23,7,24,25,173,27,29,177,86,178,227,864,297,1575,107,34,245,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg",[181,163],{"id":40109,"slug":40110,"title":40111,"dynasty":76,"author":3679,"museum":364,"description":40112,"tags":40113,"thumbUrl":40114,"material":139,"size":139,"collection":139,"collections":40115,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},224372,"hua-hui-qi-shi-ce-shi-er-kai-12-ju-lian-224372","花卉奇石册-十二开-12","此作用笔灵动兼具工致，奇石以淡墨皴擦晕染，瘦透古朴，孔洞藏幽，自带嶙峋古意。左侧水仙双钩填色，莹白花瓣勾勒细腻，嫩黄花心娇柔明媚，翠叶舒展回转，韵致清雅脱俗。右上角附石幽兰，青叶劲挺，素花轻绽，暗透幽香。\n\n整幅设色明丽秀雅，工写相融，没骨笔法鲜活生动，将花草清隽与湖石古拙相映成趣，尽显妍丽细腻的风韵，把案头清供的雅致意趣铺陈开来，淡逸娴静的文人雅韵漫溢绢素。",[23,7,24,81,27,28,83,451,245,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76c2edb1768b60a8a2314d604f95911.jpg",[],{"id":40117,"slug":40118,"title":40119,"dynasty":99,"author":293,"museum":101,"description":40120,"tags":40121,"thumbUrl":40122,"material":665,"size":40123,"collection":139,"collections":40124,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":1335},223577,"hou-lu-tu-yi-ming-223577","猴鹿图","画面既有对峙的情绪，又不失诙谐，展示出猕猴调皮的一面。",[23,7,28,27,957,12940,3167,430,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3990bd328b807f7169b28a5e1559bb9a.jpg","17.8x22.2",[],{"id":40126,"slug":40127,"title":40128,"dynasty":204,"author":293,"museum":206,"description":40129,"tags":40130,"thumbUrl":40131,"material":317,"size":40132,"collection":181,"collections":40133,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},223343,"wu-dai-ren-qiu-lin-qun-lu-zhou-yi-ming-223343","五代人秋林群鹿轴","在尽情展露盛夏的绿意之后，秋天这个令人舒爽怡然的季节跟著悄然到来，所有的树叶在此时染上了缤纷的色彩，深红、淡橘、浅黄、碧蓝……似乎要赶在严冬来临之前，释放所有的美丽。鹿群抵不住诱人的秋色，踩著轻快脚步进入这片色彩斑斓的秋林，瞧鹿儿所呈现的各种姿态，彷若与眼前丰美的景色唱和起舞。\n《秋林群鹿》主要在描写鹿群于秋林中活动的各式神情，作画的人已经佚失，只知道曾经是属于元代皇帝的收藏。从作品的形式风格而言，充满装饰趣味的空间陈置，以及如此丰富的色彩勾填，都不常见于人们所熟知的中国绘画作品中，有学者推测，这件作品与邻近国家如辽国，甚至更远的中亚之间，存有十分密切的关系",[23,7,241,27,3953,3167,430,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f45cd68073dee3a98e941f2ee82b50.jpg","118.4x63.8公分",[181,45],{"id":40135,"slug":40136,"title":40137,"dynasty":99,"author":38552,"museum":56,"description":40138,"tags":40139,"thumbUrl":40140,"material":619,"size":40141,"collection":181,"collections":40142,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[7,24,25,27,29,177,173,649,650,34,560,37,108,194,245,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[181,45],{"id":40144,"slug":40145,"title":40146,"dynasty":99,"author":38552,"museum":675,"description":40147,"tags":40148,"thumbUrl":40152,"material":1642,"size":40153,"collection":181,"collections":40154,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,7,25,27,177,29,176,34,107,175,108,109,37,491,13778,1250,40149,2268,464,560,652,651,7786,40150,40151],"丘壑","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[181,45],{"id":40156,"slug":40157,"title":40158,"dynasty":99,"author":1012,"museum":23244,"description":40159,"tags":40160,"thumbUrl":40161,"material":40,"size":40162,"collection":139,"collections":40163,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","此画远山耸峙，树木苍劲，红叶明丽，野桥曲径，桥上一老者骑驴款款而过，其后有荷物及策仗者相随。构图气势雄伟，笔势雅健清逸，为蓝氏刻意之作。图作于清顺治十三年（1656年），时年七十二岁。",[23,7,241,29,177,27,864,297,174,34,107,176,31,144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所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[23,7,1397,3963,173,8104,177,11896,40198,40199,19003,15527,34,7582,2522,1015,3559,8507,1447,491,650,40200,40201,40202,40203,40204,40205,40206],"夹叶法","点叶法","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","纵143 厘米，横81.8 厘米",[],{"id":40211,"slug":40212,"title":40213,"dynasty":189,"author":1057,"museum":20,"description":40214,"tags":40215,"thumbUrl":40216,"material":40,"size":40217,"collection":44,"collections":40218,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},221773,"zhang-guo-jian-ming-huang-tu-quan-juan-ren-ren-fa-221773","张果见明皇图全卷","此卷是元代画家任仁发人物故事画的代表作。图绘传说中的“八仙”之一张果老及其弟子谒见唐明皇的故事。画面截取张果老施法术于明皇前的片断。图右侧一老者坐绣墩上，着青衣，双掌向上，面带微笑作言语状。身前一小童于布袋中放出鞍辔皆全的小驴，驴作奔跑状。左侧一人着黄袍，戴幞头，坐于椅上，头略低，对所发生的一切表现出关注的神情。此人身材壮伟，面相庄严，显然是唐玄宗李隆基。其身后站立的四名侍从神情各异。全图设色明丽古雅，人物表情生动细腻，瞬间的动态表现得极为成功，小驴的奔跑构成了全图的视觉中心，将所有人的目光集中于此，增强了画面的故事性。张果老的沉着自如，唐玄宗略带惊讶的神情，表现得恰到好处，体现了元代人物画高超的艺术水平。\n本幅左下款署：“云间任仁发笔。”下钤“任氏子明”印。画面中部有清弘历题七言诗一首，末款“甲申夏六月上浣御题。”",[23,7,24,25,27,28,106,227,86,63,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534612c4c5adfdb60bcc11e1eab2da2b.jpg","纵41.5cm，横107.3cm",[44,45],{"id":40220,"slug":40221,"title":40222,"dynasty":18,"author":7349,"museum":20,"description":40223,"tags":40224,"thumbUrl":40225,"material":40,"size":40226,"collection":139,"collections":40227,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},221610,"shu-liu-han-ya-liang-kai-221610","疏柳寒鸦","本幅款识：“梁楷”。\n图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[23,7,209,1562,173,10247,83,3246,29283,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12681876ad222db36245da81d5c54f6.jpg","纵26.4厘米，横24.2厘米",[],{"id":40229,"slug":40230,"title":8365,"dynasty":18,"author":2856,"museum":20,"description":40231,"tags":40232,"thumbUrl":40233,"material":665,"size":40234,"collection":42,"collections":40235,"showCount":39702,"zanCount":1270,"manualWeight":48,"mainColor":49},221560,"su-wu-mu-yang-tu-li-di-221560","李迪（生卒年不详），南宋画家，河阳（今河南孟州南）人。供职于孝宗、光宗、宁宗三朝画院。擅写生，花鸟、竹石、走兽皆精，亦作山水小景。大幅气象豪迈，小品精细入微，晚年犹能作纤入毫笔的刻画。存世作品有《雪树寒禽图》《枫鹰雉鸡图》《风雨归牧图》等。",[23,209,7,24,1562,27,260,106,8368,957,430,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa42b0901bb55ad17260f047b24a30.jpg","24.4x21.5厘米",[42,44,45],{"id":40237,"slug":40238,"title":40239,"dynasty":18,"author":645,"museum":12966,"description":30327,"tags":40240,"thumbUrl":40241,"material":40242,"size":40243,"collection":42,"collections":40244,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},221287,"dai-du-tu-ye-guo-xi-221287","待渡图页",[23,7,24,81,173,27,29,1015,174,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946bc8b1acd959ef038570ca597f5d99.jpg","册页绢本设色","26.1x30.4厘米",[42,181,163],{"id":40246,"slug":40247,"title":40248,"dynasty":54,"author":4781,"museum":206,"description":40249,"tags":40250,"thumbUrl":40251,"material":827,"size":40252,"collection":181,"collections":40253,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},221073,"yuan-ma-zhou-han-gan-221073","猿马轴","该幅无款，旧题唐代韩干作。韩干，大梁人（河南开封），亦有作长安或蓝田人。公元742－755年（天宝）召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,7,241,28,27,957,12940,150,430,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7b8bdb4c78758314a20784df579585.jpg","48.58X136.8",[181,163],{"id":40255,"slug":40256,"title":40257,"dynasty":189,"author":2519,"museum":20,"description":40258,"tags":40259,"thumbUrl":40260,"material":1885,"size":40261,"collection":44,"collections":40262,"showCount":39702,"zanCount":1270,"manualWeight":48,"mainColor":94},220874,"zi-hua-xiang-tu-ye-zhao-meng-fu-220874","自画像图页","《自画像》，绢本，设色画。款识：“大德己亥子昂自写小像。”对幅有明宋濂小楷书《赵文敏公小像赞》，北京故宫博物院藏。《故宫博物院藏文物珍品全集·元代绘画》《归去来兮——赵孟頫书画珍品回家展特集》中影印出版。",[23,7,24,81,27,28,106,242,298,1445,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b94c7ac9ae3d7d98482b82096ffae03.jpg","纵24cm，横23cm",[44,45],{"id":40264,"slug":40265,"title":28892,"dynasty":76,"author":10376,"museum":101,"description":40266,"tags":40267,"thumbUrl":40268,"material":342,"size":40269,"collection":181,"collections":40270,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},220415,"qiu-jing-shan-shui-tu-wang-hui-220415","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,7,173,27,177,29,176,34,109,175,6922,649,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[181],{"id":40272,"slug":40273,"title":40274,"dynasty":76,"author":13111,"museum":20,"description":40275,"tags":40276,"thumbUrl":40277,"material":88,"size":40278,"collection":181,"collections":40279,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[23,209,7,24,25,173,177,29,34,37,31,174,491,10030,38,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[181,45],{"id":40281,"slug":40282,"title":40283,"dynasty":18,"author":293,"museum":206,"description":29471,"tags":40284,"thumbUrl":40285,"material":67,"size":29474,"collection":42,"collections":40286,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},220235,"bian-zhuang-zi-ci-hu-2-yi-ming-220235","卞庄子刺虎2",[209,7,24,28,27,106,7281,151,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de4be4d0d370b1a0cbb18f0c2f5cb7e.jpg",[42],{"id":40288,"slug":40289,"title":40290,"dynasty":99,"author":170,"museum":1806,"description":1807,"tags":40291,"thumbUrl":40292,"material":803,"size":1810,"collection":139,"collections":40293,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},220029,"dong-zhuang-tu-ce-zhi-guo-lin-shen-zhou-220029","东庄图册之果林",[23,7,173,81,177,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7883293037442bb32ef56c41bce1454.jpg",[],{"id":40295,"slug":40296,"title":40297,"dynasty":99,"author":170,"museum":1806,"description":1807,"tags":40298,"thumbUrl":40299,"material":88,"size":1810,"collection":139,"collections":40300,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},220013,"dong-zhuang-tu-ce-zhi-ling-hao-shen-zhou-220013","东庄图册之菱豪",[23,7,24,81,173,177,29,108,109,174,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4a28346fc8e2c3bbd7ccab578d205d.jpg",[],{"id":40302,"slug":40303,"title":18885,"dynasty":189,"author":1848,"museum":206,"description":40304,"tags":40305,"thumbUrl":40306,"material":342,"size":40307,"collection":181,"collections":40308,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":94},219964,"shu-lin-yuan-shan-tu-wu-zhen-219964","图绘秋林疏树，三五成丛，一派萧瑟，远山漠漠，淡逸出群。此幅笔精墨妙，是吴镇小品真迹。",[23,7,209,24,29,173,177,491,7067,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa4038fe6ccb0cc00828917283a8009.jpg","39.7x50.2",[181],{"id":40310,"slug":40311,"title":40312,"dynasty":18,"author":40313,"museum":8468,"description":40314,"tags":40315,"thumbUrl":40316,"material":123,"size":40317,"collection":44,"collections":40318,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},219624,"fu-nie-pan-tu-lu-xin-zhong-219624","佛涅槃图","陆信忠","本作品描绘了释迦在跋堤河边的婆罗双树之间圆寂的情景，是佛教传说中的一个重要场景。以法隆寺五重塔塔本塑像为首，日本早有表现涅槃场景的造像，而以涅般图为本尊像的涅槃法会，也于平安时代初期起成为惯例。涅槃图受到来自中国的影响，同时通过各个时代宗派盛行制作并独立发展开去。\u2028本图在涅槃图之中也具有非常独特的形式，绘制于中国南宋时代的贸易之都宁波，后被日本求得。娑罗树被描绘成两颗宝树，而释迦周围的众弟子并无悲伤表情，胡人打扮的人物围着香炉起舞，似在赞叹涅槃，这一点也实属罕见。有人设想这种图画形式形成的背景是当时宁波成熟的信仰文化。\u2028 画面右方中间有小楷落款“庆元府车桥石板巷陆信忠笔”，可知该画是在宁波被称为庆元府时期(1195～1276)由职业画匠(佛画师)陆信忠(工房)所作。本佛画彩色浓厚，绘画线条细致有力，兼有细腻彩色花纹，表现力极强，也许是大量使用了中间色的缘故，该作令人感受到先期佛画的变迁。在标有陆信忠落款的作品中，该作品与本馆馆藏的十王图并列堪称最为上乘之佳作。再者，裱具上部用墨写有“天王宝物”。此作为爱知津岛神社别当寺宝寿院相传之物。",[23,7,24,241,259,27,28,106,430,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c223a3fdb98418bbf872b6bcd5ca04.jpg","纵157.1横82.9",[44],{"id":40320,"slug":40321,"title":40322,"dynasty":18,"author":351,"museum":20,"description":40323,"tags":40324,"thumbUrl":40325,"material":88,"size":40326,"collection":44,"collections":40327,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},219623,"xi-hu-yin-qu-tu-qian-xuan-219623","西湖吟趣图","钱选（1239—1299），宋末元初时期的遗民画家，字舜举，号玉潭，晚年更号溪翁，吴兴（今浙江省湖州市）人。南宋景定（1260—1264年）年间乡贡进士，入元后隐居不仕，寄情于山水书画。画学颇为庞杂，花鸟、山水、人物无一不精，且成就极高，当时有“老钱丹青当世无”的美誉。元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,7,24,25,27,28,178,227,106,29,245,448,60,34022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac8c107ddfec1798c83c917d3f07d59.jpg","纵25cm，横72.5cm",[44],{"id":40329,"slug":40330,"title":40331,"dynasty":99,"author":21111,"museum":206,"description":40332,"tags":40333,"thumbUrl":40334,"material":123,"size":139,"collection":181,"collections":40335,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},219472,"si-hao-tu-xie-shi-chen-219472","四皓图","幅中所绘，是秦汉间隐居于商山的四位老人悠闲的生活。他们或下棋，或闲步。四围则是云雾蒸腾，溪泉潺潺，松树盘踞，驯鹿嬉游，山石险阻，与外隔绝，似是为高人隐士所设的福地洞天。用笔苍劲有力，墨色变化丰富，气势雄浑。以画水闻名的谢时臣，尤其长于表现云烟之变幻多端。",[7,900,29,864,297,4573,430,1329,446,241,67,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe185e2259777abdcf74ad407a3280f3b.jpg",[181],{"id":40337,"slug":40338,"title":40339,"dynasty":99,"author":4904,"museum":206,"description":40340,"tags":40341,"thumbUrl":40342,"material":88,"size":40343,"collection":90,"collections":40344,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},219461,"liu-hua-xiao-jing-tu-lu-zhi-219461","榴花小景图","陆治不仅长于山水画,也能画花鸟,所作花卉生意盎然,在吴派画家中以能得宋人韵度,备受赞赏",[7,209,241,28,27,83,34741,5508,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42162f4933d3bd900c46a0622726a62f.jpg","65.3x33.3",[90],{"id":40346,"slug":40347,"title":40348,"dynasty":99,"author":37407,"museum":206,"description":40349,"tags":40350,"thumbUrl":40351,"material":173,"size":139,"collection":163,"collections":40352,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},219373,"shan-shui-tu-dan-chi-qiao-ge-wang-wen-219373","山水图-丹池樵歌","山峦层叠如浪涌，皴笔与墨染交织，苍润中透着秀逸之气。峰麓间林木葱茏，几椽屋舍隐于幽径旁，似藏着尘外闲情。右下角人影孑立，许是负薪而归的樵者，虽无歌声入耳，却能从那悠然的姿态里，想见林泉间清歌回荡。淡墨晕出空濛氛围，山石的厚重与林木的疏朗相映，既显自然雄浑，又含文人雅致。丹池边的樵歌意趣，融于山水静谧之中，仿佛踏入一片远离尘嚣的桃源，心随画境渐次安宁。",[7,27,177,241,29,34,106,175,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f213dfe3146bfc7ca66ed0f86cc217.jpg",[163],{"id":40354,"slug":40355,"title":40356,"dynasty":99,"author":35882,"museum":132,"description":40357,"tags":40358,"thumbUrl":40359,"material":123,"size":40360,"collection":90,"collections":40361,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},219314,"jin-ji-han-mei-tu-bian-jing-zhao-219314","锦鸡寒梅图","寒石之上，锦鸡敛翅静立，翎羽如锦绣裁就，红腹似霞晕染，连绒羽的细绒都清晰可见，仿佛能触到那柔软的质感。旁侧枯枝斜逸，梅蕊初绽，素白的花与苍劲的枝桠相映，冷寂中透出雅致。沉郁的底色如古砚磨出的墨晕，将禽鸟的鲜活托得愈发分明，梅香似随微风漫开，清寒里藏着脉脉生机。笔触细腻入微却不板滞，色彩浓淡相宜，既有工笔的精致写实，又含写意的空灵意境，于冬日的静谧中，绘就一份鲜活与雅致，似能听见锦鸡轻啄梅瓣的微响，冷冽中溢出温情。",[7,24,83,28,27,448,224,245,1653,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ec3c9a9636678fe8757ecb09c33f89.jpg","38.5x32.8cm",[90],{"id":40363,"slug":40364,"title":16531,"dynasty":189,"author":293,"museum":206,"description":40365,"tags":40366,"thumbUrl":40367,"material":123,"size":40368,"collection":90,"collections":40369,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},219239,"hua-hu-tu-yi-ming-219239","松林石涧间,一巨虎黄皮黑纹,毛色鲜丽,体态威武雄壮.虎之双眼,俱以金粉涂饰,并略染汁绿,显得格外神气逼人.其背隆起,宛如张弓欲发,隐然有即将出击之势.虎口微启,低吟而未啸.树梢,二山鹧见状,相与惊跃鸣叫,更为此猛虎出山的场景,平添紧张、不安的气息.通幅描绘如真,渍染极得润厚的韵致.画无名款,旧签定为元人.惟据画风判断,与明代宫廷画风,颇多相近处,是以推断,本幅或出自明代良工之手",[23,7,241,27,7281,176,34,1064,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb563ac7aba93522a5230f6ac6e3bb83c.jpg","206.5x122cm",[90],{"id":40371,"slug":40372,"title":40373,"dynasty":18,"author":15479,"museum":206,"description":40374,"tags":40375,"thumbUrl":40376,"material":123,"size":40377,"collection":42,"collections":40378,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[23,209,7,24,241,28,27,83,281,245,1064,62,10154,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[42,90,45],{"id":40380,"slug":40381,"title":1692,"dynasty":99,"author":7722,"museum":10937,"description":40382,"tags":40383,"thumbUrl":40384,"material":40385,"size":139,"collection":181,"collections":40386,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},219099,"shan-shui-tu-zhang-hong-219099","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[23,209,7,24,241,173,177,29,864,297,34,35,37,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[181],{"id":40388,"slug":40389,"title":40390,"dynasty":18,"author":4882,"museum":7875,"description":40391,"tags":40392,"thumbUrl":40393,"material":123,"size":40394,"collection":90,"collections":40395,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},219088,"xue-qin-tu-cui-bai-219088","雪禽图","这幅画的是河岸边树杆折断，一旁杂草叶片已枯黄，藤杆上覆盖着一层薄雪，一只灰北白肚鸟儿立于细藤上，尾翎修长，扭头尖喙咬住羽毛，半眯的眼睛似乎在沉睡中。",[7,24,1562,83,28,27,224,1062,2124,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3706dae6af508fd6c7d4846d57c4de27.jpg","23.5x22.2cm",[90],{"id":40397,"slug":40398,"title":40399,"dynasty":189,"author":1057,"museum":3712,"description":40400,"tags":40401,"thumbUrl":40403,"material":123,"size":139,"collection":90,"collections":40404,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},219067,"ying-sun-tu-ren-ren-fa-219067","鹰隼图","画面描绘了一只白腹黑背、体态丰满、羽毛整齐的大壮鹰，用一对锋利的爪子按住一只麻雀，张开翅膀，圆睁双眼，张开嘴，却无计可施。",[209,7,28,27,241,4307,40402,1015,1729,84,176,83],"隼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e640e66b80da72ad388df45295a7d4.jpg",[90],{"id":40406,"slug":40407,"title":40408,"dynasty":76,"author":40409,"museum":539,"description":40410,"tags":40411,"thumbUrl":40412,"material":123,"size":40413,"collection":90,"collections":40414,"showCount":39702,"zanCount":1547,"manualWeight":48,"mainColor":49},219032,"tao-que-tu-xia-wen-xuan-219032","桃雀图","夏文铉","绢本泛黄如时光沉淀的暖光，数只雀鸟或栖枝梳羽，或振翅欲飞，羽色赭褐与墨黑相间，神态鲜活灵动。梅枝疏朗横斜，淡粉花瓣点染梢头，似携清寒暗香；松针苍劲如笔，与柔枝相映成趣。画面留白开阔，笔墨简淡却意韵悠长，将禽鸟的生趣与花木的清雅融于一方素绢，尽显文人画的雅致风骨。观之令人心宁神悦，仿佛触到了春日的轻暖气息，于细微处见生机，于简淡中藏深情，是一幅兼具意趣与格调的佳作。",[23,209,7,24,28,27,83,279,17141,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282866ed8d516c58dc487f5bdc68d7c8.jpg","纵39.1横26.5厘米",[90],{"id":40416,"slug":40417,"title":40418,"dynasty":18,"author":10870,"museum":206,"description":40419,"tags":40420,"thumbUrl":40421,"material":123,"size":40422,"collection":42,"collections":40423,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},218948,"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[23,7,209,28,173,27,6398,24501,176,957,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4",[42],{"id":40425,"slug":40426,"title":1692,"dynasty":189,"author":25426,"museum":206,"description":40427,"tags":40428,"thumbUrl":40429,"material":342,"size":40430,"collection":181,"collections":40431,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},218826,"shan-shui-tu-fang-cong-yi-218826","这幅画显示了云层耸立在山峰之上，笔触犀利而清晰。人们怀疑这幅画被后来的人裁剪过，而且画的下部有很大一部分缺失，其含义也不完整。张大千捐赠",[23,7,24,173,177,29,176,34,1653,394,1729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63cfb3ccca5dd4dea47902f8e2a9b7.jpg","30.7x46.6厘米",[181],{"id":40433,"slug":40434,"title":2663,"dynasty":18,"author":1616,"museum":206,"description":40435,"tags":40436,"thumbUrl":40437,"material":123,"size":40438,"collection":181,"collections":40439,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},218822,"guan-shan-xing-lv-tu-li-tang-218822","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[23,209,7,24,81,29,109,174,107,650,1575,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[181],{"id":40441,"slug":40442,"title":40443,"dynasty":18,"author":293,"museum":206,"description":40444,"tags":40445,"thumbUrl":40446,"material":123,"size":40447,"collection":42,"collections":40448,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},218692,"an-he-tu-yi-ming-218692","安和图","在秋天的风景中，草和叶子变黄，野高粱的茎上长满了穗子。在茎叶下，五只鹌鹑在其中休息，而另外四只鸟则在上面栖息，为自己的羽毛做准备或啄食谷物。虽然这幅画没有作者的签名，但构图合理，所有物体都栩栩如生，所以它一定是出自艺术家之手。鹌鹑的造型与北宋崔訢的《七夕鹌鹑图》相似，而高粱则与明代陆机的《草花野禽图》相似，但《草花野禽图》的笔法显然更富变化，而这幅画则具有南宋的流畅细腻风格。它也被称为 安和，因为 鹑 和 安、和 和 和 是同音字，使它成为一部吉祥之作。",[23,7,24,209,28,27,83,2522,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8456b5937e15cbbc97e3c44852831d14.jpg","105.4x51.6",[42],{"id":40450,"slug":40451,"title":40452,"dynasty":99,"author":293,"museum":752,"description":40453,"tags":40454,"thumbUrl":40455,"material":123,"size":139,"collection":44,"collections":40456,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},218357,"duan-ben-cheng-yuan-tu-yi-ming-218357","端本澄源图","卧榻上人影斜倚，指尖轻拈小物，眉目间漫着慵懒与自在。身侧侍女垂立，衣袂微动，似欲以团扇拂去浮尘，静候吩咐。案上瓶炉雅致，蕉叶舒展、竹影婆娑，衬得室内清幽如许。笔墨间藏着文人闲居的逸趣——不刻意张扬，却在器物的精巧、环境的恬淡里，流露出对澄明心境的追寻。每一处线条都似在低语，将日常的悠然与内心的宁静交织，如一杯淡茶，慢慢浸润出岁月的温润与雅致，让人见之便觉心安神宁。",[7,27,28,106,242,755,244,17365,2951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbbdbe5eda59a11094ffc7bebbd6578.jpg",[44],{"id":40458,"slug":40459,"title":40460,"dynasty":189,"author":293,"museum":206,"description":40461,"tags":40462,"thumbUrl":40463,"material":123,"size":139,"collection":44,"collections":40464,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},218189,"ying-zhen-xiang-zhou-yi-ming-218189","应真像轴","应真袒胸倚石而坐，憨态可掬的笑容里满是悠然自在。衣纹以婉转流畅的墨线勾勒，晕染得宜，既显布料垂坠质感，又衬出人物丰腴体态。身旁松石苍劲，松针如簇，笔法细致中见洒脱；石根处几丛细竹点缀，更添清逸之气。整幅作品笔墨刚柔并济，人物神态鲜活，似在静享林间清寂，禅意氤氲其间。观者仿佛能透过古雅的纸本，触摸到那份远离尘嚣的平和安然，尽显宋元禅画的空灵韵味。",[7,24,241,259,106,1575,16285,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc52266544324141923cba9b32a02b8.jpg",[44],{"id":40466,"slug":40467,"title":40468,"dynasty":99,"author":293,"museum":539,"description":4592,"tags":40469,"thumbUrl":40470,"material":88,"size":139,"collection":139,"collections":40471,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":94},217953,"ming-ren-shan-shui-hua-ce-er-yi-ming-217953","明人山水画册(二)",[23,7,173,81,105,29,394,1015,175,109,108,176,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a3aa4634d316f237a6ce6618e6632b.jpg",[],{"id":40473,"slug":40474,"title":40475,"dynasty":99,"author":293,"museum":132,"description":40476,"tags":40477,"thumbUrl":40478,"material":123,"size":40479,"collection":181,"collections":40480,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},217194,"han-shan-tu-yi-ming-217194","寒山图","寒山图是一幅来自明朝的中国山水画，作者不详。这幅画描绘了寒山寺的景象。寒山寺是位于浙江省杭州市的一座古刹，据说是由印度佛教徒达摩在公元7世纪传入中国时建立的。\n\n寒山图呈现了寒山寺庙宇及其周围的山林风光。画中可以看到寺庙的精巧建筑，以及周围的峰峦叠嶂、清澈的溪流和葱郁的树木。寒山图还描绘了几个小人物，可以想象出当时僧人在寺庙里修行的情景。\n\n寒山图的画风典雅，线条流畅，色彩和谐。整幅画充满了宁静、平和的氛围，令人心旷神怡。这幅画反映了明朝时期对佛教文化和自然风光的热爱，是一件具有深刻文化意义的艺术珍品。",[7,24,173,29,177,864,1015,107,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d10bba28441129d6c7c5a8126dd416.jpg","33.5x23cm",[181],{"id":40482,"slug":40483,"title":40484,"dynasty":18,"author":781,"museum":101,"description":40485,"tags":40486,"thumbUrl":40487,"material":381,"size":20252,"collection":44,"collections":40488,"showCount":39702,"zanCount":1547,"manualWeight":48,"mainColor":94},216770,"xiao-jing-tu-chang-juan-li-gong-lin-216770","孝经图长卷","李公麟的孝经形象在宋代以来的各种作品中被反复提及，而且大多以不止一种形式流传。",[23,209,7,24,25,260,173,106,430,431,175,12048,1960,26441],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52813534dd45106294016e482651eab3.jpg",[44],{"id":40490,"slug":40491,"title":33279,"dynasty":18,"author":10870,"museum":782,"description":40492,"tags":40493,"thumbUrl":40494,"material":123,"size":33283,"collection":90,"collections":40495,"showCount":39702,"zanCount":5,"manualWeight":48,"mainColor":49},216666,"ju-yuan-tu-yi-yuan-ji-216666","此图水墨画群猿在山壑丛树间的情景：画面的背景为嶙峋山石，高低不一，山石起伏，山峦亘连，山间树木丛生，有的生长在山脚下，有的生长在山缝处，充满着顽强的生命力，遍布整个山石。山谷间溪水潺潺流淌，游息其间的二十余只猿猴，只只生动活泼，姿态各异，或坐立、或攀援、或倒挂、或跳跃、或嬉戏、或食饮、或亲昵、或爱抚。\n画卷结尾有元钱选跋，图中则分别钤有南宋贾似道、清耿昭忠、安岐及清内府等鉴藏印，画上并有清乾隆皇帝弘历旧题。",[23,209,7,24,25,28,177,173,12940,1653,394,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1efaf0c1e4d20ece3e0235e08d4dc5e.jpg",[90],{"id":40497,"slug":40498,"title":40499,"dynasty":99,"author":170,"museum":3712,"description":6328,"tags":40500,"thumbUrl":40501,"material":342,"size":139,"collection":139,"collections":40502,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":94},214921,"mo-hua-ce-6-shen-zhou-214921","墨花册-6",[23,7,173,81,83,713,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F743de8157bbf41abd69a8e9238bbd3b2.jpg",[],{"id":40504,"slug":40505,"title":38723,"dynasty":189,"author":5444,"museum":132,"description":40506,"tags":40507,"thumbUrl":40508,"material":67,"size":40509,"collection":181,"collections":40510,"showCount":39702,"zanCount":48,"manualWeight":48,"mainColor":49},214913,"lou-ge-shan-shui-tu-sheng-mao-214913","楼阁山水图是一幅由盛懋绘制的山水画作，出现在元朝时期。这幅画作以楼阁为主要构图元素，描绘了山水景观。楼阁山水图被认为是盛懋最著名的作品之一，在当时非常受欢迎。由于盛懋是一位著名的山水画家，他的作品经常描绘自然风光，并使用了细腻的笔触和鲜明的色彩来表现景色的美丽。楼阁山水图也是如此，它展示了盛懋对山水景观的精确捕捉和传达。\n\n盛懋是元朝时期著名的山水画家，他的作品风格独特，很受欢迎。楼阁山水图是他的代表作之一。在这幅画作中，盛懋使用了自然的色彩来描绘山水景观，并使用精细的笔触来表现每个细节。画面中的楼阁是一个重要的构图元素，它位于画面的中央，呈现出一种高耸入云的感觉。周围的山水景观也十分优美，有群山环绕，河流缠绕，树木茂盛。整幅画作散发出一种平静而舒适的氛围，使人们感觉得到了身心的放松。",[7,24,1562,104,173,27,29,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7ab334398f7bdeec85c5eabe7afbc9.jpg","25x27cm",[181],{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29.5x359公分、隔水一 18公分、隔水二 18.8公分",[],{"id":40779,"slug":40780,"title":40781,"dynasty":99,"author":146,"museum":206,"description":40782,"tags":40783,"thumbUrl":40784,"material":40785,"size":40786,"collection":139,"collections":40787,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},231831,"qing-ming-yi-jian-tu-zhang-ze-duan-231831","清明易简图","传宋张择端清明易简图〈清明易简图〉的画题，乾隆皇帝（1711-1799）认为出自《易经．系辞》的「易则易知，简则易从。」也就是平易、简单 的英文。作者希望透过画面，来现如今北宋都城的繁华景象。北宋画家张择端（活动于12世纪）以首都汴京的城市景街为题，创作了〈藏北京故宫博物院〉。 由于深受喜爱和喜爱，家庭画家遂纷纷效仿，许多同名的〈清明上河图〉。本卷也模仿张择端的作品，乾隆皇帝画推崇。 虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[23,209,7,25,27,28,106,107,108,110,117,153,150,86,227,105,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],{"id":40789,"slug":40790,"title":40791,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":40792,"thumbUrl":40795,"material":67,"size":10518,"collection":139,"collections":40796,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},230102,"hong-lou-meng-183-sun-wen-230102","红楼梦183",[368,28,27,7,106,107,175,115,755,34,313,59,505,40793,40794,1965],"群像","古典建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c666a7a5a3b8395196307e5628ac27.jpg",[],{"id":40798,"slug":40799,"title":40800,"dynasty":76,"author":10376,"museum":364,"description":40801,"tags":40802,"thumbUrl":40803,"material":139,"size":139,"collection":139,"collections":40804,"showCount":184,"zanCount":5,"manualWeight":48,"mainColor":49},229018,"song-shan-cao-tang-tu-li-zhou-wang-hui-229018","嵩山草堂图立轴","此作以高远、深远之法铺展画面，主峰奇崛巍峨，层岩叠嶂间流泉隐现，尽显山川雄浑苍劲。苍松虬曲盘桓，枝叶繁茂掩映山居草堂，山道萦回穿梭林麓，藏露有度。山脚烟岚轻笼水渚，村居错落生息，晕染出幽寂的林下栖居意趣。\n笔墨糅合南北二宗意趣，干笔皴擦勾勒山石肌理，苔点攒簇皴染，朴拙厚重中不失秀润灵韵，将山野林泉的隐逸雅致与山川壮美联为一体，尽显林泉幽居的清逸意境。",[23,7,24,241,27,177,29,176,34,1575,1726,114,1447,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537957a672adead014ed280a86cc9ac3.jpg",[],{"id":40806,"slug":40807,"title":40808,"dynasty":76,"author":5208,"museum":675,"description":40809,"tags":40810,"thumbUrl":40812,"material":139,"size":139,"collection":139,"collections":40813,"showCount":184,"zanCount":5,"manualWeight":48,"mainColor":49},229009,"gao-gang-mao-wu-tu-zhou-gong-xian-229009","高岗茅屋图轴","《历代名画宣纸高清大图:龚贤高岗茅屋图》采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图描绘了江南山水，其笔墨劲利而苍厚潮润，苍翠欲滴。\n山石高悬，山随画活；湖水尽白，形成墨白对比，虚实相生。\n《历代名画宣纸高清大图:龚贤高岗茅屋图》由 出版。",[23,7,24,241,173,177,29,40811,920,34,650,1015],"山岗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c33871e5f3f8e6492d8428c33b2d3a.jpg",[],{"id":40815,"slug":40816,"title":15195,"dynasty":18,"author":645,"museum":364,"description":40817,"tags":40818,"thumbUrl":40819,"material":139,"size":139,"collection":139,"collections":40820,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},228914,"dai-du-tu-guo-xi-228914","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[23,209,7,24,25,29,177,27,108,109,174,175,34,176,106,491,1915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":40822,"slug":40823,"title":40824,"dynasty":18,"author":3103,"museum":752,"description":40825,"tags":40826,"thumbUrl":40827,"material":139,"size":139,"collection":139,"collections":40828,"showCount":184,"zanCount":5,"manualWeight":48,"mainColor":49},228734,"wang-chuan-bie-shu-tu-juan-zhao-bo-ju-228734","辋川别墅图卷","以石青石绿敷染峰峦，古雅绢底晕开明丽苍润的山水气象。峰峦连绵开合，汀渚回环萦带，山居殿宇错落林泉，平湖轻舟泛波，林木蓊郁点染山野。笔法精细秀雅，青绿设色妍丽沉稳，承唐人青绿的华贵明艳，又融宋人的雅致意境，将林泉高致铺叙成一卷悠远山居长卷，把山水、村居、舟游融为和谐整体，尽显文人寄情丘山的雅逸意趣，是青绿山水里工致兼具写意的佳构。",[23,7,24,25,26,27,29,107,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ab89b8018cc96566364f4966f4c51.jpg",[],{"id":40830,"slug":40831,"title":1180,"dynasty":99,"author":24267,"museum":364,"description":40832,"tags":40833,"thumbUrl":40834,"material":139,"size":139,"collection":139,"collections":40835,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},228365,"xiang-shan-jiu-lao-tu-zhou-chen-228365","《香山九老图》是明代画家 创作的一幅绢本设色画，该画现藏于 。\n名称：香山九老图轴 作者：周臣 年代：明代 周臣，明代中期的著名职业画家。\n他生活在成化至嘉靖年间，生卒年不详。\n字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖14年（即155年）。\n擅长画人物和山水，画法严整工细。\n他有两个学生特别著名，一个唐寅，另一个仇英，唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。\n曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。\n画山石坚凝，章法严谨，用笔纯熟。\n曾与戴进并驱，则互有所长。\n人物画也非常出色，古貌奇姿，绵密萧散，各极意态。\n南京博物院收藏的周臣代表作《柴门送别图》，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。\n周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》、《春泉山隐图》等，济南博物馆收有《访友图》，及台湾、国外大博物馆内也收藏一些作品。\n周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,7,24,27,28,177,106,29,1575,34,650,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaa0c43decd43702693cac01a030852.jpg",[],{"id":40837,"slug":40838,"title":40839,"dynasty":99,"author":1083,"museum":364,"description":40840,"tags":40841,"thumbUrl":40842,"material":139,"size":139,"collection":139,"collections":40843,"showCount":184,"zanCount":5,"manualWeight":48,"mainColor":49},228291,"juan-qiu-tu-chen-hong-shou-228291","眷秋图","《明陈洪绶眷秋图》是明代画家陈洪绶所创作的一幅设色画。\n由该作品中的题记可知，此图为仿唐人同题画。\n其中石头浓墨粗点为陈洪缓所作，而构图、人物、梧桐树则为其弟子所作。\n图中画一 手执菊花信步于庭院林石间，后有一侍女举扇，扇面上画有梅花图，前有一侍女捧盘，盘中有壶和秋叶。\n陈洪绶（1598~1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟频。\n绘有《水浒叶子》、《博古叶子》、《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》、《笼鹅图》、《升庵簪花图》、《摘梅高士图》。\n著有《宝论堂集》等。",[23,7,24,209,241,27,106,59,394,176,300,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217fca3cd0fb6c774655daffdbd538d9.jpg",[],{"id":40845,"slug":40846,"title":40847,"dynasty":18,"author":293,"museum":364,"description":40848,"tags":40849,"thumbUrl":40850,"material":139,"size":139,"collection":139,"collections":40851,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},227832,"cong-ju-tu-ye-yi-ming-227832","丛菊图页","《丛菊图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n鉴藏印钤“□藤仙馆书画”、“云谷”、“□华宝有”，另有一印残。\n图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。\n花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。\n花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。\n画风工致细腻，构图丰满，繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作。",[23,209,7,24,81,28,27,83,453,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5312cc31255d3afb48112f73e8e7a3f.jpg",[],{"id":40853,"slug":40854,"title":40855,"dynasty":18,"author":14639,"museum":364,"description":40856,"tags":40857,"thumbUrl":40858,"material":139,"size":139,"collection":139,"collections":40859,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},227831,"she-xiang-tu-mao-song-227831","麝香图","洞石旁蜀葵柔枝舒展，粉白淡紫的花晕漾开雅致生机，藏在花枝间的禽鸟敛羽小憩，暗生幽趣。狸奴踞坐于地，蓬松白毛似覆软雪，琥珀眼眸凝向幼崽，神态温静慵懒。三只乳猫两两嬉闹，稚拙灵动的憨态被描摹入微。\n\n设色秀妍清雅，笔致工细却不失灵韵，以圆形构图收拢庭院景致，将母猫育幼的日常温情定格成一方温柔剪影，把宋人的细腻闲情晕开在绢素之上，平和松弛的烟火暖意漫溢其间，尽显雅致柔和的审美意趣，将寻常里的治愈温情留存至今。",[23,209,7,24,1562,28,27,956,957,62,245,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],{"id":40861,"slug":40862,"title":40863,"dynasty":18,"author":3214,"museum":364,"description":40864,"tags":40865,"thumbUrl":40866,"material":139,"size":139,"collection":139,"collections":40867,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},227511,"qiu-ting-ying-xi-tu-jing-xin-su-han-chen-227511","秋庭婴戏图镜心","以前每逛国内一些博物馆，古玩店铺，诸多载体如绢纸本的画、玉器、瓷器上，你总能看到许多幼童、小少年在室内或庭院或郊外耍闹、游戏。而一番梳理下来，你能发现，历史上宋、明、清朝代，婴戏图尤其多。宋代多显现在存世的画幅、瓷器、玉器上。北宋五大名窑及更多地方窑口，均单色釉，少图案。南宋龙泉窑碗内偶见婴戏图形，北方磁州窑的罐、枕上，多有或钓鱼或卧躺的婴儿图。明代的绘画尤其是明中期宣德特别是正德、嘉靖时期的瓷器上，婴戏图逐渐风行，小孩子蹴鞠图十分常见。客观原因是因为无论是明朝繁盛的青花，还是后来发明的五彩，对“婴戏图”再现更容易。清代的图画、瓷器的青花粉彩、玉器上，或“百子图”或“三娘教子图”或“庭院婴戏图”等，更已普遍化。传统文化伦理中，福禄寿三星，“福”即是寄望多子，“多子多福”，故历朝历代也将这种寄望显现在不同的艺术载体上。宋、明、清“婴戏图”相对更多，与这几个时代的商品经济、俗世文化的发达及瓷器玉器家具等工艺技术的升级换代有关。窃以为，还有一个隐藏原因：与其时帝王子嗣的夭折过多、稀薄有关。",[209,7,24,5455,28,27,106,242,431,244,11805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1313ad7296d75c27256b6ac0d233eba1.jpg",[],{"id":40869,"slug":40870,"title":40871,"dynasty":18,"author":474,"museum":364,"description":40872,"tags":40873,"thumbUrl":40874,"material":139,"size":139,"collection":139,"collections":40875,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[23,7,209,24,28,173,27,12940,712,1653,245,299,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],{"id":40877,"slug":40878,"title":27202,"dynasty":99,"author":24971,"museum":675,"description":40879,"tags":40880,"thumbUrl":40881,"material":1449,"size":40882,"collection":90,"collections":40883,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},226155,"fu-rong-yuan-yang-tu-zhou-li-yin-226155","图绘鸳鸯一对，一只于芦滩上理毛，另一只自高处飞来，似与滩上的会合；画左侧绘一石块，一株芙蓉探出枝杆，枝头花团锦簇、绿叶繁茂。李因，字今是，工山水、花鸟，亦作诗文，画得陈淳之法，多用水墨，为明末清初时代励志女画家。",[23,7,209,241,173,83,450,2555,245,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc1665e5ec8951f7b4aa571136b5df1.jpg","138.9x47.8cm",[90],{"id":40885,"slug":40886,"title":40887,"dynasty":76,"author":32730,"museum":364,"description":40888,"tags":40889,"thumbUrl":40890,"material":139,"size":139,"collection":139,"collections":40891,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,7,24,241,28,173,27,2786,5565,945,1062,1064,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],{"id":40893,"slug":40894,"title":40895,"dynasty":76,"author":17651,"museum":364,"description":40896,"tags":40897,"thumbUrl":40899,"material":139,"size":139,"collection":139,"collections":40900,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},224474,"yu-zan-hua-wan-shou-ju-yu-sheng-224474","玉簪花万寿菊","此作取景雅致，椭圆画幅将庭隅清趣拢于其中。玉簪花挺然舒展，紫瓣晕染出通透柔润的质感，垂坠的花穗尽显清雅柔婉之态；阔叶墨绿莹润，脉纹精细分明，衬出花枝秀逸。下方万寿菊娇俏点缀，细枝嫩叶灵动雅致，与玉簪花形成疏密错落的层次。\n\n设色温婉柔和，淡赭底色晕开古雅氛围，晕染兼具写实工致与写意韵致。题字落款雅致呼应画意，将花草舒展之态与清隽闲淡的意趣相融，尽显工笔花鸟的秀美细腻，观者仿若亲临小园，静赏幽花盛放的悠然生机。",[23,7,24,28,27,83,7527,40898,1341,2908],"万寿菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750762adee6fd22e6a0e3c0df1eb893a.jpg",[],{"id":40902,"slug":40903,"title":40665,"dynasty":76,"author":2804,"museum":364,"description":40904,"tags":40905,"thumbUrl":40907,"material":139,"size":139,"collection":139,"collections":40908,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},224233,"zhong-kui-wu-chang-shuo-224233","此作跳出钟馗惯常的狞厉驱邪范式，以写意之笔勾勒出闲散疏朗的别样风神。淡墨晕染衣袍，寥寥数笔便将宽袍缓带的慵懒姿态写尽，腰间佩剑暗藏威仪，却无肃杀之气。钟馗抬首凝望丝线上的小虫，神情松弛淡然，全然不见捉鬼镇邪的刚猛，更似幽居世外的逸士。\n\n左侧题诗与画意相得益彰，篆籀笔法的题字朴拙雄劲，和简淡的人物形成视觉张力，尽显诗画合璧的文人意趣，将民间俗神化为寄寓闲情逸致的文人心象，笔墨间满是随性自在的雅逸格调。",[23,7,24,27,173,106,7464,178,227,40906],"蜘蛛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb6298ff111c592b2ddf649923c616.jpg",[],{"id":40910,"slug":40911,"title":40912,"dynasty":204,"author":293,"museum":364,"description":40913,"tags":40914,"thumbUrl":40915,"material":139,"size":139,"collection":139,"collections":40916,"showCount":184,"zanCount":1547,"manualWeight":48,"mainColor":49},223600,"shen-jun-tu-juan-yi-ming-223600","神骏图卷","画面分野有致，左侧白马踏波驰行，骑手身姿稳练，骏马昂首翘尾，四蹄舒展，神骏勃发之态毕现。右侧林下石台，红衣士人凭坐回望，僧者坦腹怡然对晤，旁侧仆童持毛刷侍立，情态松弛闲适。\n设色古雅沉稳，青绿晕染坡岸，墨线细劲流畅，将人马灵动与林下幽逸相融，把世外雅集的清旷高逸尽显纸面，残卷仍掩不住精工雅致的风韵，尽显六朝清谈雅集的风流意趣。",[23,7,24,25,27,28,106,150,430,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9205dfb3e7d9803703624ce638d146.jpg",[],{"id":40918,"slug":40919,"title":40920,"dynasty":18,"author":293,"museum":20,"description":40921,"tags":40922,"thumbUrl":40923,"material":665,"size":40924,"collection":139,"collections":40925,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},223591,"shu-he-sha-niao-tu-ye-yi-ming-223591","疏荷沙鸟图页","图中所绘残败的荷叶表明了时当秋日，荷塘的一角，一枝枯瘦的莲蓬横出画面，鹡鸰栖止于莲梗上，侧首注视着上方的一只小蜂，其凝神专注的神态刻画得惟妙惟肖。莲梗两端的鹡鸰与莲蓬巧妙地平衡了画面，而鹡鸰目向小蜂的视线则带动观者的视线落于画面上方，这种布局使画面显得既稳定又生动。此图格调典雅，用笔精致，画风细腻，荷叶枯黄的斑点和细小的筋脉均描绘得一丝不苟。",[23,209,7,24,81,28,27,178,86,227,136,28576,224,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a87f455c33296c9ed4d781844a8fe.jpg","纵25厘米，横25．6厘米",[],{"id":40927,"slug":40928,"title":40929,"dynasty":18,"author":6501,"museum":20,"description":40930,"tags":40931,"thumbUrl":40932,"material":40933,"size":40934,"collection":139,"collections":40935,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},223513,"liu-yin-gao-shi-tu-wang-shen-223513","柳荫高士图","北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,7,24,27,28,106,1532,394,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe087bce9ee900ca12a83d8169b36bf3.jpg","轴绢本设色","76×46.4厘米",[],{"id":40937,"slug":40938,"title":40939,"dynasty":99,"author":293,"museum":20,"description":40940,"tags":40941,"thumbUrl":40942,"material":67,"size":40943,"collection":139,"collections":40944,"showCount":184,"zanCount":5,"manualWeight":48,"mainColor":49},223384,"shuang-tu-tu-ye-yi-ming-223384","双兔图页","《双兔图页》是明代佚名创作的绢本设色画。",[23,7,24,1562,28,27,957,2786,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd702801541ffb43e86522d41bd3b9e52.jpg","纵114.3厘米 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天水圖書”二印。元至正七年为1347年。画幅上方有元人迺贤题诗数行。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。\n此图经清内府收藏，有嘉庆、宣统诸印。《石渠宝笈·三编》著录。",[23,7,24,241,27,28,106,150,430,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c7470f8757d79778b720a9254a3ab74.jpg","纵109厘米，横46.3厘米",[181,45],{"id":41014,"slug":41015,"title":41016,"dynasty":189,"author":41017,"museum":1637,"description":41018,"tags":41019,"thumbUrl":41020,"material":2021,"size":41021,"collection":163,"collections":41022,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221797,"ji-zhu-you-qin-tu-zhang-yan-fu-221797","棘竹幽禽图","张彦辅","此图绘秀石旁两株修竹交柯而立，棘条屈曲上扬，两双禽鸟栖于棘上。构图疏朗，秀石用笔直皴，以水墨略染，修竹、棘条笔墨清劲，双禽略加色染，意在工鸟之间，画格疏劲清幽。无款识，仅钤“彦辅图书游戏清玩”、“西宇道人”二印。图左有隶书题记“子昭偕周正已过太乙宫，彦辅为作棘竹幽禽图以赠之，时至正癸未三月十七日也，濮人吴孟思书”。可知此图作于至正三年即公元一三四三年，吴孟思即当时名书家吴叡。图中另有杜本、凌翰、鞠菴、邵弘远、雅虎、林泉生、潘纯等人题跋。图中钤有明项元汴，清初梁清标，近人谭敬、张珩等鉴藏印。此图为张彦辅传世的惟一作品。",[23,209,7,24,173,227,242,245,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30574047ecaa25214e6269f083c885cb.jpg","63．8厘米横50．7厘米",[163,2293],{"id":41024,"slug":41025,"title":41026,"dynasty":189,"author":41027,"museum":20,"description":41028,"tags":41029,"thumbUrl":41030,"material":40,"size":31339,"collection":44,"collections":41031,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221766,"ren-ma-tu-zhou-ren-xian-zuo-221766","人马图轴","任贤佐","任贤佐于其父书斋“可诗堂”作此图，当绘于任仁发去世（1327年）之前。图画一着唐朝官服的圉官，拱手持缰，身后立一花马，画风得自家传，用笔细劲，设色简约而轻淡，严谨造型。本幅作者自识“子良于可诗堂作”，钤印“任氏子良”。另钤清“项子京家珍藏”和乾隆帝的印玺等13方。",[23,7,28,27,106,150,241,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560b087e401581b870cf754e3b9d10ec.jpg",[44,45],{"id":41033,"slug":41034,"title":41035,"dynasty":189,"author":25426,"museum":20,"description":41036,"tags":41037,"thumbUrl":41038,"material":1449,"size":41039,"collection":181,"collections":41040,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221727,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-221727","武夷放棹图轴","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[23,7,173,177,241,227,86,178,29,174,109,34,650,37,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af5cec7247fdbac2e6efeac445c24b.jpg","纵74.4厘米，横27.8厘米",[181,163],{"id":41042,"slug":41043,"title":41044,"dynasty":18,"author":6566,"museum":20,"description":29424,"tags":41045,"thumbUrl":41046,"material":160,"size":29427,"collection":382,"collections":41047,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221620,"hou-chi-bi-tu-zhao-gou-shu-fu-juan-quan-juan-ma-he-zhi-221620","后赤壁图赵构书赋卷全卷",[23,7,209,25,24,178,173,177,227,174,109,394,106,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccaebc0284553636c09753513a1edf6.jpg",[382],{"id":41049,"slug":41050,"title":41051,"dynasty":18,"author":1650,"museum":20,"description":41052,"tags":41053,"thumbUrl":41065,"material":160,"size":41066,"collection":139,"collections":41067,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221530,"shui-tu-juan-ma-yuan-221530","水图卷","《水图》共有十二段。除第一段因残缺半幅而无图名外，其余图名分别是：“洞庭风细”、“层波叠浪”、“寒塘清浅”、“长江万顷”、“黄河逆流”、“秋水回波”、“云生沧海”、“湖光潋滟”、“云舒浪卷”、“晓日烘山”、“细浪漂漂”。这十二段作品，专门画水，除个别幅有极少岩岸之外，其它没有任何别的景色，完全通过对水的不同姿态的描写，表现出种种不同的意境。作者对水观察的细致入微，以及创造出来的形态美感和笔墨技能，都令人惊叹不已。如“洞庭风细”，波浪如鳞，不激不怒，近大远小以至于水天一色，彷佛觉得微风习习，轻轻掠过了那开阔的湖面，使人心旷神怡，宠辱皆忘。“层波叠浪”是以颤抖的笔法，描写浪涛的起落，彷佛其下有蛟龙蛰伏。那汹涌澎湃的气势，使人精神振奋而感到豪壮。“湖光潋滟”一幅，画家以轻快流畅的笔法，画出水波的跳动，浪峰无规则的排列，显然受到乱风的吹荡，即使画家不染上红色，也使观者感到阳光明媚，不由得想起“湖光潋滟晴偏好”的杭州西湖景象来。“云舒浪卷”一幅，却又是另外一番境界。画家以凝涩的笔触，画出一个浪头，它彷佛咆哮着要腾空而起，天空中黑云滚动，与水相接，更增加有如冲锋陷阵的气概。画面虽小，而气魄宏大壮观。其它各幅，都各有不同的笔法特点和意境，就留待读者自己体会。",[23,7,25,24,173,27,29,297,504,18381,1247,41054,12603,1329,41055,41056,41057,41058,41059,41060,41061,41062,41063,41064],"沧海","晓日","细浪","叠浪","逆流","回波","潋滟","浪卷","心旷神怡","豪壮","气魄宏大","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608b77553133468e4bb46dc87ada9d69.jpg","纵26.8厘米，横41.6厘米",[],{"id":41069,"slug":41070,"title":41071,"dynasty":18,"author":13198,"museum":364,"description":41072,"tags":41073,"thumbUrl":41074,"material":67,"size":41075,"collection":42,"collections":41076,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221438,"qiu-chi-xi-qiao-tu-zhao-ling-rang-221438","秋池溪桥图","趙令穰（生卒年不詳），字大年，北宋汴京（今河南開封）人，畫家。宋太祖趙匡胤五世孫。官至光州防禦使﹑崇信軍觀察留後，卒贈“開府儀同三司”，追封“榮國公”。其孫趙伯駒為宋代著名畫家，官至浙東兵馬鈐轄。趙令穰工畫山水、花果、翎毛，筆致秀麗，尤長金碧山水。遠師李思訓父子。代表作品《風雲期會圖》《春山圖》《阿閣圖》《後赤壁圖 》《文會圖》《鳥雀圖》等。留傳到現在的有《漢宮圖》《阿閣圖》《萬松金闕圖》等。",[23,7,24,29,27,177,394,281,109,108,1653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e08d87ef65ff90075f06a4322ff790b.jpg","27.9x34厘米",[42],{"id":41078,"slug":41079,"title":1692,"dynasty":18,"author":553,"museum":206,"description":5478,"tags":41080,"thumbUrl":41081,"material":67,"size":41082,"collection":139,"collections":41083,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221388,"shan-shui-tu-fan-kuan-221388",[23,7,209,24,29,177,27,864,34,35,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c64cfa9031857b41416378a5e4b8cc.jpg","24.6x25.6",[],{"id":41085,"slug":41086,"title":8009,"dynasty":54,"author":8144,"museum":206,"description":41087,"tags":41088,"thumbUrl":41090,"material":827,"size":41091,"collection":181,"collections":41092,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221094,"ming-huang-xing-shu-tu-li-zhao-dao-221094","作品描绘人马行走于崇山峻岭间。画上有乾隆三十九年（1774）的御题诗：青绿关山迥，崎岖道路长。客人各结束，行李自周详。总为名和利，那辞劳与忙。年陈失姓氏，北宋近乎惠”。《明皇幸蜀图》体现了二李画派的典型风格，时代特征明显，是反映唐代山水画面貌的重要传世作品。",[23,7,29,864,297,430,1329,27,28,41089,67],"横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a04cfa4068831cfeaed0b412c23431.jpg","纵55.9厘米，横81厘米",[181,45],{"id":41094,"slug":41095,"title":41096,"dynasty":390,"author":41097,"museum":206,"description":41098,"tags":41099,"thumbUrl":41100,"material":27,"size":41101,"collection":181,"collections":41102,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221013,"yun-tai-shan-tu-xun-xu-221013","云台山图","旬勗","荀勖（xù）（？～289年），字公曾。颍川颍阴（今河南省许昌市）人。三国至西晋时音律学家、文学家、藏书家，西晋开国功臣。为东汉司空荀爽曾孙。\n荀勖少年时聪慧好学。初仕于魏，为大将军曹爽掾属，后迁中书通事郎。曹爽被诛后，历任安阳令、骠骑从事中郎、廷尉正等职。又任大将军司马昭记室，屡进策谋，深见信任，与裴秀、羊祜共掌机密。西晋建立后，封济北郡侯。后拜中书监兼侍中，领著作。累官至光禄大夫、仪同三司、守尚书令。在尚书台时，核罢省中不称职之人。\n太康十年（289年），荀勖去世。获赠司徒，谥号为成。\n荀勖善于逢迎，被时人比作倾覆国家、搅乱时局的贰臣。但他为人谨慎，每有参预的国家大政，都闭口不言，不愿让别人知道他参与其中。荀勖博学多才，曾与贾充一起修订法令；掌管乐事时，又修正律吕；领秘书监时，曾与张华一同按刘向《别录》整理典籍。有文集三卷，今已佚。",[23,7,24,29,27,177,109,107,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda584db27dc18d7eff1e357a5a49a9e.jpg","73.4x98.6厘米",[181,45],{"id":41104,"slug":41105,"title":41106,"dynasty":99,"author":3114,"museum":20,"description":41107,"tags":41108,"thumbUrl":41109,"material":40,"size":41110,"collection":181,"collections":41111,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 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册-9",[7,24,81,260,27,448,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52c3b4ffb7cffa51007098fdadd2ea1.jpg",[],{"id":41330,"slug":41331,"title":41332,"dynasty":99,"author":24267,"museum":206,"description":41333,"tags":41334,"thumbUrl":41335,"material":342,"size":41336,"collection":44,"collections":41337,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},216994,"ning-qi-fan-niu-tu-zhou-chen-216994","宁戚饭牛图","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[7,209,24,241,173,260,177,106,151,394,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fed04e633925c11d278f84b1628a630.jpg","126.7x68.9",[44],{"id":41339,"slug":41340,"title":41341,"dynasty":99,"author":41342,"museum":132,"description":41343,"tags":41344,"thumbUrl":41345,"material":381,"size":139,"collection":90,"collections":41346,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},216955,"shi-liu-li-shu-tu-ge-shu-ying-216955","石榴栗鼠图","葛淑英","葛淑英（1565年－1628年）是一位中国明朝时期的画家。葛淑英出生于江苏省无锡市，是明朝最著名的女画家之一。她以其精湛的画技和绚丽多彩的作品而闻名。其中最著名的作品之一是《石榴栗鼠图》。\n\n《石榴栗鼠图》是一幅以石榴和栗鼠为主题的水墨画。在这幅画中，葛淑英用柔和的线条勾勒出了两只栗鼠的轮廓。这三只栗鼠正在咀嚼着一个石榴，举动自然，看起来很可爱。葛淑英用细腻的笔触描绘出了栗鼠的皮毛，使它们看起来栩栩如生。此外，画中还有一棵树，树上有许多绿色的叶子，为整幅画增添了一丝清新的气息。\n\n《石榴栗鼠图》展示了葛淑英对自然的描绘能力，也展示了她对生活细节的捕捉能力。这幅画不仅美观，而且充满了温暖的气息，是一件令人感动的艺术作品。",[209,7,24,241,28,27,7819,957,1299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba5a7329abdb4f2ba88cf74167c31af.jpg",[90],{"id":41348,"slug":41349,"title":41350,"dynasty":99,"author":100,"museum":364,"description":3043,"tags":41351,"thumbUrl":41352,"material":123,"size":139,"collection":139,"collections":41353,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},216289,"er-shi-si-xiao-tu-2-chou-ying-216289","二十四孝图-2",[7,24,28,27,106,6824,314,5630,10516,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520810b633fc1e71c7a4c768d8e72618.jpg",[],{"id":41355,"slug":41356,"title":41357,"dynasty":99,"author":100,"museum":364,"description":3043,"tags":41358,"thumbUrl":41359,"material":123,"size":139,"collection":139,"collections":41360,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},216288,"er-shi-si-xiao-tu-4-chou-ying-216288","二十四孝图-4",[7,24,81,28,27,106,34,15756,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd965609e0169db712087b31cdd38528d.jpg",[],{"id":41362,"slug":41363,"title":41364,"dynasty":99,"author":170,"museum":3712,"description":6328,"tags":41365,"thumbUrl":41366,"material":342,"size":139,"collection":139,"collections":41367,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},214919,"mo-hua-ce-7-shen-zhou-214919","墨花册-7",[23,7,24,81,173,83,36291,713,698,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1312eda36b374f88d54899f06fea72.jpg",[],{"id":41369,"slug":41370,"title":41371,"dynasty":76,"author":31729,"museum":206,"description":41372,"tags":41373,"thumbUrl":41374,"material":88,"size":41375,"collection":181,"collections":41376,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},214720,"chun-jiang-xing-zhou-yong-rong-214720","春江行舟","《春江行舟图》是一幅画作，出自清代画家永瑢的手笔。这幅画描绘了一个人坐在小舟里悠然自得地漫游在春天的江水中。画中的人物身着传统的汉服，头戴轻便的草帽，手拿长矛，似乎是在寻找渔获。周围的景色十分优美，江水波光粼粼，岸边的树木和花草都迎来了春天的到来，鸟儿翩翩起舞，整个画面充满了春天的气息。\n\n永瑢（1678-1735）是清代著名的画家，他的画风清新自然，擅长写意画，作品风格独特，深受人们的喜爱。他的作品《春江行舟图》被誉为其代表作之一，在当时颇受推崇，至今仍为艺术爱好者所珍视。",[7,24,81,27,29,108,109,174,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4455e3dd567e1a378f0c19d2d4d2cdf6.jpg","12.2×13.9cm",[181],{"id":41378,"slug":41379,"title":41380,"dynasty":76,"author":1109,"museum":132,"description":6193,"tags":41381,"thumbUrl":41382,"material":88,"size":6197,"collection":90,"collections":41383,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},214565,"mo-zui-za-hua-tu-ce-2-shi-tao-214565","墨醉杂画图册-2",[23,7,24,81,27,173,177,245,450,243,1064,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3bb60e03b8a80aef02ca4e630d97a6a.jpg",[90],{"id":41385,"slug":41386,"title":41387,"dynasty":99,"author":100,"museum":364,"description":4523,"tags":41388,"thumbUrl":41389,"material":743,"size":744,"collection":139,"collections":41390,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},290922,"ming-hua-hui-cao-chong-chou-ying-290922","明花卉草虫",[7,209,81,28,27,83,84,603,8682],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8163aef7e78f2a1d893f5eca500593eb.jpg",[],44,{"id":41393,"slug":41394,"title":7912,"dynasty":76,"author":3732,"museum":364,"description":5327,"tags":41395,"thumbUrl":41396,"material":743,"size":744,"collection":139,"collections":41397,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},290318,"sui-chao-tu-zhou-jiang-ting-xi-290318",[209,7,241,27,28,83,449,448,451,12102,84,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b36f951d2dbef57185121b60fa59eb.jpg",[],{"id":41399,"slug":4140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uthor":22400,"museum":78,"description":41557,"tags":41558,"thumbUrl":41559,"material":803,"size":139,"collection":139,"collections":41560,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},234124,"zhu-shi-tu-juan-xia-chang-234124","竹石图卷","夏昶，后人誉其画竹高手。他画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学王绂兼学陈继，有自己的面目，声誉大大超过了他的老师。\n其兄夏昺，字孟旸，亦以书法召试称旨，命与昶同拜中书舍人，时称“大小中书”。画山水师元画家高克恭；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n夏昶以楷书笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而气韵生动。当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞(常熟)的张绪(字廷瑞)、钱塘(杭州)的詹和（字仲和)。而以屈礿为突出。明吴宽《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。”徐沁《明画录》说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。",[7,25,173,242,431,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771edf395a8aca801f918da40388517d.jpg",[],{"id":41562,"slug":41563,"title":6157,"dynasty":99,"author":170,"museum":20,"description":6158,"tags":41564,"thumbUrl":41565,"material":803,"size":6161,"collection":139,"collections":41566,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},234090,"wu-zhong-shan-shui-ce-shen-zhou-234090",[7,24,81,173,29,178,227,177,107,1575,174,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cc85b8ca75b41a1903f016a2209202.jpg",[],{"id":41568,"slug":41569,"title":41570,"dynasty":99,"author":1083,"museum":20,"description":41571,"tags":41572,"thumbUrl":41573,"material":41574,"size":41575,"collection":139,"collections":41576,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},233892,"mei-shi-jia-die-tu-juan-chen-hong-shou-233892","梅石蛱蝶图卷","本幅墨笔画，钤毕泷、毕沅、庞元济等藏印。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[7,209,24,25,173,260,227,83,448,431,4077],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adf709c74efa862426abfaf7ff8a533.jpg","金笺","纵37.9cm横123cm",[],{"id":41578,"slug":41579,"title":41580,"dynasty":189,"author":9509,"museum":206,"description":41581,"tags":41582,"thumbUrl":41583,"material":123,"size":41584,"collection":139,"collections":41585,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},231404,"jun-ma-tu-zhao-yong-231404","骏马图","此画中主题与关键字是春景、高士（士人、隐士）、官员（臣）、马，描写平野放牧的景致，空旷幽远的构图布局中，五匹骏马安逸地散游在水边的几棵杂树之间；驯马人倚靠着松树，竟然打起瞌睡来，一副安然自在的样子。后方平静的湖水与秀丽的山峦连成一片，气氛更显得静穆、祥和。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[7,209,24,241,28,27,150,430,176,1159,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd50ae8022a673be0e735a42f54526d7.jpg","186x106",[],{"id":41587,"slug":41588,"title":7980,"dynasty":99,"author":100,"museum":206,"description":41589,"tags":41590,"thumbUrl":41597,"material":123,"size":41598,"collection":139,"collections":41599,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},231375,"qiu-jiang-dai-du-tu-chou-ying-231375","此画属于院体一类，造型严谨，用笔不苟，刻画十分精细。只要展开画卷仔细观察，其中无沦一砖一瓦，一枝一叶，一草一木，还是人物表情，都描绘得极其精妙。即是远景、远岸的重山峻岭，山峦连绵，也画得很瓷实，一潭宽阔无际的秋水，宛如镜面。白云下的房舍屋宁、树林画得虽细小，但十分精工，所以把白云上面的山推向远处。近景为此画的核心，近岸山峦很高，村庄座落其间，显得十分细小，但画得十分精致。画面上的树林杂木众多，通过画家的笔触，画得各有特色，成为整幅画上的重要组成部分。这是一幅煌煌巨制的画作。景界开阔，但不觉疏散。他运用自己高超的技法，特别注重意境的刻画，在他笔下的屋可居，山可游，生活气息浓郁，有着诗一般的意境。设色温和清秀，并不艳俗。所画的人物比例虽小，但通过精致刻画，神形俱全。确属雅俗共赏之作。\n这一作品画面不大，但由于构图布局得当，远处的山峦，近处的茫茫秋水和近岸的山丘与树林，空间关系处理得当，使人感到境界十分开阔，具有咫尺千里之妙。同时，秋高气爽的季节特点也得到了很好的体现。从具体画法上看，无论是景物的一枝一叶，还是人物的表情，都描绘得十分精细。与那些远离现实、表现隐逸思想的某些文人画家的山水画相比，这一作品就显得具有浓厚的生活气息，可以激起人们对生活的热爱。",[7,1397,28,27,29,14745,649,27092,174,106,1249,10380,41591,41592,41593,41594,41595,41596],"秋高气爽","咫尺千里","雅俗共赏","精工细作","生活气息浓郁","意境悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda34b84f047fd2cff2c3894ed7617045.jpg","纵155．4厘米，横133.4厘米",[],{"id":41601,"slug":41602,"title":41603,"dynasty":54,"author":293,"museum":364,"description":41604,"tags":41605,"thumbUrl":41606,"material":743,"size":744,"collection":139,"collections":41607,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":49},230935,"shi-nv-xiang-yi-ming-230935","仕女像","这幅泥壁画虽历经风霜漆面龟裂斑驳，却依旧神韵斐然。交臂跪坐的仕女身姿柔婉娴静，盛唐丰腴的体态在简练铁线描下尽显雍容。绿调头光晕染出清寂氛围感，赭褐上衣配碧色飘带，古旧色彩晕染层次尚存，宝冠璎珞的细节暗合供养人身份，带着佛境的超脱柔媚。残损的肌理裹着岁月沉韵，将盛唐雅致的审美风骨，凝在这一方泥壁之上。",[7,24,630,27,106,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc26d91d8cfee475b78ad024bc28a63.jpg",[],{"id":41609,"slug":41610,"title":38578,"dynasty":76,"author":24629,"museum":364,"description":41611,"tags":41612,"thumbUrl":41613,"material":139,"size":139,"collection":139,"collections":41614,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},230254,"shan-shui-ce-ye-dai-ben-xiao-230254","此作用笔枯淡简老，危崖陡立，笔墨寥寥便勾勒出崖壁的空灵高旷，下方丘石隐于淡墨晕染之中，古松斜生崖侧，自带荒寒萧疏之气。\n\n以书入画，左上角题诗与山水意境相融，淡墨轻皴间不见繁饰，尽显幽寂清寒的林下襟怀，将天地寥廓的沉静与遗民孤高的心境相合，静穆淡远间溢出清冷出尘的禅意，尽显简淡空灵的山水意趣，淡岚浅墨里皆是超然物外的悠远之致。",[7,24,81,173,29,177,245,1015,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991f998630870f784c679c1986745d2c.jpg",[],{"id":41616,"slug":41617,"title":41618,"dynasty":76,"author":1703,"museum":364,"description":41619,"tags":41620,"thumbUrl":41621,"material":139,"size":139,"collection":139,"collections":41622,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},230242,"hua-hui-ce-liu-kai-jin-nong-230242","花卉册六开","此作以淡墨轻勾花形，敷色浅淡清润，将花卉柔婉之态晕染尽致。叶片以枯涩苍劲的墨线勾勒叶脉，淡青晕染叶面，朴拙之中不失秀灵。题字古雅厚朴，金石意趣与画面浑然相融。整体构图疏朗空寂，摒弃繁复修饰，尽显文人画简淡野逸之致。寥寥数笔便捕捉住花草清寂神韵，以极简的笔墨传递出沉静内敛的古拙之美，将文人高逸品格寄寓在一花一叶之间，平淡中见奇崛，清疏里藏雅意。",[7,173,27,81,84,452,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d028cce8fba0f93a54076616de43b82.jpg",[],{"id":41624,"slug":41625,"title":41626,"dynasty":76,"author":850,"museum":364,"description":41627,"tags":41628,"thumbUrl":41629,"material":139,"size":139,"collection":139,"collections":41630,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":94},230208,"xin-xie-zhi-ping-tu-qian-long-di-hou-fei-pin-tu-juan-lang-shi-ning-230208","心写治平图（乾隆帝后妃嫔图卷）","整卷以右至左排布人物，糅合西洋写实晕染与东方工笔雅致，将帝后妃嫔的面容刻画得精细入微，明暗起伏间尽显温婉端凝的皇家仪态。\n服饰纹样繁复考究，缂丝龙纹行云流转，貂皮立领柔润逼真，金线朱色点缀间尽显清宫礼制的华贵威仪。旁侧小字标注身份，朱红印章错落点缀，让画作兼具纪实性与艺术性。\n静穆典雅的画面中藏着清代宫廷的仪制尊荣，是中西绘法融合的经典肖像佳作，将帝后群像的雍容气度凝固于绢本之上。",[23,7,209,25,28,27,106,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a89e21b664b7586cc2499e512566ef0.jpg",[],{"id":41632,"slug":41633,"title":20819,"dynasty":99,"author":1480,"museum":364,"description":41634,"tags":41635,"thumbUrl":41636,"material":139,"size":139,"collection":139,"collections":41637,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":94},228478,"wang-shu-gong-ji-tu-tang-yin-228478","画作以柔丽工笔重彩绘就四位宫妓，她们头戴花冠，两两相对，或拈花簪鬓，或对镜理容，眉眼含柔，尽显娇婉慵闲之态。衣纹勾勒细劲流畅，敷色妍雅鲜亮，将蜀地宫娥的柔媚风韵晕染尽致。\n\n画幅题诗暗合前蜀宫闱旧事，在仕女的绮艳描摹之中，暗寓对耽于宴乐的讽喻，将精工的视觉美感与文人的寄兴藏于一体，于柔丽雅致间藏着沉敛的讽世之思，是仕女画中兼擅审美意趣与文心寄寓的经典之作。",[23,209,7,24,241,27,106,59,63,64,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2530c75a1f39e5bab12ffc2dd7b41be1.jpg",[],{"id":41639,"slug":41640,"title":41641,"dynasty":99,"author":1480,"museum":364,"description":41642,"tags":41643,"thumbUrl":41644,"material":139,"size":139,"collection":139,"collections":41645,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,209,7,24,25,173,27,1397,177,86,178,227,29,430,35,106,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":41647,"slug":41648,"title":41649,"dynasty":99,"author":293,"museum":364,"description":3486,"tags":41650,"thumbUrl":41651,"material":743,"size":744,"collection":139,"collections":41652,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},228408,"di-shi-tian-xi-quan-tu-yi-ming-228408","帝释天西全图",[630,7,259,106,27,28,261,11169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1b5fdf64dd23a59341e6cd7f18b634.jpg",[],{"id":41654,"slug":41655,"title":41656,"dynasty":99,"author":35882,"museum":206,"description":41657,"tags":41658,"thumbUrl":41659,"material":139,"size":139,"collection":139,"collections":41660,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},228319,"san-you-si-xi-tu-bian-jing-zhao-228319","三友四喜图","此作用全景铺陈开卷，松挺竹劲梅娇，聚成岁寒三友之姿，群雀翔集枝梢，啾唧喧闹间衬出林野生机。四只喜鹊或栖或飞，墨白羽色鲜亮醒目，于群鸟中格外灵动。\n\n画师落笔精工写实，禽鸟翎毛细密柔润，根根分明；松竹梅的枝干皴擦细致，苍秀兼具。整幅画面动静交织，既见院体花鸟的细腻工致，又借三友暗喻君子风骨，以喜鹊托举祥瑞吉意，将雅致品格与喜庆意蕴融于一卷。",[23,7,28,27,83,281,242,448,449,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9c628ba03bd30ead976aed52184f75.jpg",[],{"id":41662,"slug":41663,"title":41664,"dynasty":189,"author":293,"museum":364,"description":41665,"tags":41666,"thumbUrl":41667,"material":139,"size":139,"collection":139,"collections":41668,"showC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潇湘图像”中唯一传世的作品。诗后无款，钤朱文双钩降龙朱文小圆玺。",[23,7,24,209,241,173,177,29,300,394,245,490,41698],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447d6ceb83a58f9c29a1ff0d0ad2cf84.jpg",[],{"id":41702,"slug":41703,"title":41704,"dynasty":18,"author":3103,"museum":364,"description":41705,"tags":41706,"thumbUrl":41707,"material":139,"size":139,"collection":139,"collections":41708,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":49},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,24,7,209,25,26,27,28,177,86,227,29,106,107,108,109,174,175,245,244,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":41710,"slug":41711,"title":10674,"dynasty":18,"author":10675,"museum":364,"description":41712,"tags":41713,"thumbUrl":41714,"material":139,"size":139,"collection":139,"collections":41715,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},227691,"wen-ji-gui-han-tu-chen-ju-zhong-227691","故宫收藏的这幅《文姬归汉》，并没有作者的签名或者印记，旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,7,209,25,28,27,106,150,227,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b0b01bd2a87126fc14abc0b1bfe988.jpg",[],{"id":41717,"slug":41718,"title":41719,"dynasty":54,"author":8144,"museum":364,"description":41720,"tags":41721,"thumbUrl":41722,"material":139,"size":139,"collection":139,"collections":41723,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},227255,"xian-shan-lou-guan-tu-li-zhao-dao-227255","仙山楼观图","李昭道，生卒年未详。字希俊，唐代画家。唐朝宗室，彭国公李思训之子，长平王李叔良曾孙。甘肃天水人。曾为太原府仓曹、直集贤院，官至太子中舍人。擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。曾作《秦王独猎图》。画作有《海岸图》、《摘瓜图》等六件，著录于《宣和画谱》。传世作品有《春山行旅图》轴，图录于《故宫名画三百种》；《明皇幸蜀图》卷，现藏台北故宫博物院。",[23,7,25,26,27,104,28,29,107,34,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81db047a39ded106ecbb49adcb1c8b56.jpg",[],{"id":41725,"slug":41726,"title":41727,"dynasty":76,"author":10376,"museum":364,"description":27021,"tags":41728,"thumbUrl":41729,"material":743,"size":744,"collection":139,"collections":41730,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":94},224454,"shan-shui-tu-shan-mian-wang-hui-224454","山水圖扇面",[23,7,24,1562,173,177,29,175,394,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e2c6d018d8d60dc5c74f88cf991c8b.jpg",[],{"id":41732,"slug":41733,"title":41734,"dynasty":76,"author":3679,"museum":364,"description":41735,"tags":41736,"thumbUrl":41737,"material":139,"size":139,"collection":139,"collections":41738,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},224371,"hua-hui-qi-shi-ce-shi-er-kai-11-ju-lian-224371","花卉奇石册-十二开-11","此作以淡墨晕染奇石，皴擦间尽显朴拙质感，留白透气，清润雅致。红草以没骨法点染，色泽明丽却不俗艳，叶片舒展柔态毕现；蓝黄雏菊娇俏鲜活，枝蔓穿插错落，野趣自生。石上蜻蜓纤毫细致，翼脉清晰可见，悄然驻足为画面添灵动生机。\n整体兼工带写，将草木清隽与顽石朴拙相融，静中生趣。画面简淡空灵，把秋日小景的闲逸意蕴铺陈开来，笔底藏着雅致的审美意趣，于方寸间尽显自然小景的幽恬清宁，带着悠然静穆的中式美学韵味。",[23,7,81,27,28,227,245,84,453,281,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c03336a008070491717018219acd353.jpg",[],{"id":41740,"slug":41741,"title":35645,"dynasty":76,"author":23838,"museum":364,"description":41742,"tags":41743,"thumbUrl":41744,"material":139,"size":139,"collection":139,"collections":41745,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":94},223691,"xie-qin-fang-you-tu-shang-rui-223691","，画作，清代上睿作。\n画心纵28.1厘米，横17.厘米。\n纸本，设色。\n画中一位有琴童跟随的琴家，已离开自己的住舍，走上木桥，正在向闲卧在梧竹幽居中的知音友人那里进发。\n全图景物按排聚散合度，虚实相生。\n以极其纤美的笔触对环境进行铺垫描绘，收到了烘托人物的活动和突出主题的良好效果。\n款署“癸酉小春用文太史笔意为友桐先生补图。\n蒲室子睿。\n”钤“目存”印。\n清宫宝玺有“乾隆鉴赏”、“嘉庆御览之宝”、“宣统御览之宝”等。\n曾经清内府庋藏。\n《秘殿珠林石渠宝笈续编》著录。\n旅顺博物馆收藏。",[23,7,24,25,27,28,29,106,108,109,34,920,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bca0e59957d14b3aa934eb38c7e22eb.jpg",[],{"id":41747,"slug":41748,"title":41749,"dynasty":76,"author":293,"museum":101,"description":41750,"tags":41751,"thumbUrl":41752,"material":803,"size":41753,"collection":139,"collections":41754,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},223579,"yu-lan-kong-que-tu-yi-ming-223579","玉兰孔雀图","两只彩绘蓝羽孔雀，其中三只比湖石还多，宽大的尾巴在湖中显得更加美丽动人，有一点点蓝色像宝石一样立在上面，另一只藏在边石里 兰花，只有头； 浅玉晶莹剔透，争奇斗艳。 风格：甲午春日、法式铁桥笔、南苹果神拳。",[23,7,28,27,83,312,417,327,298,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e016bbc82fb27fdb86c5d508ffaae3.jpg","34.98X60",[],{"id":41756,"slug":41757,"title":41758,"dynasty":99,"author":293,"museum":101,"description":41759,"tags":41760,"thumbUrl":41761,"material":139,"size":41762,"collection":139,"collections":41763,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},223531,"mu-zi-lu-tu-yi-ming-223531","母子鹿图","此作设色古雅沉静，笔致工细柔和。坡岸之上，鹿抬首凝神，目光追随着翩跹彩蝶，周身斑点晕染匀净柔和，皮毛质感细腻宛然。苍松虬劲，针丛细密苍润，怪石皴刻朴拙古厚，衬出林间清寂之气。远景淡墨晕染出水泽远山，朦胧空濛将意境拉伸，方寸画幅饱含山野林泉的悠然意趣。兼具院体画的精工，又带着文人水墨的淡远意境，定格幽林闲静一刻，尽显山野生灵与林泉共生的悠然禅意。",[23,7,24,27,28,957,3167,242,431,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a708feb39d0df19f091d6ff9e9da8cc.jpg","24.1x26",[],{"id":41765,"slug":41766,"title":41767,"dynasty":18,"author":293,"museum":206,"description":41768,"tags":41769,"thumbUrl":41770,"material":827,"size":41771,"collection":42,"collections":41772,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},223418,"zi-mu-ji-tu-yi-ming-223418","子母鸡图","此图绘一只母鸡引领着几只孵出不久的小鸡，在地上漫步啄食。母鸡雪白的羽毛蓬松亮丽，目光中充满着慈爱，小鸡则稚嫩怯弱，依偎在母亲的羽翼保护下。母鸡俯身与宝宝们对话，神情爱怜。此画虽无陪衬，却能以情动人。作品在技法处理上，母鸡以勾线、施毛渲染，而小鸡则以施毛勾出轮廓，全以渲染，两者对比，更显小鸡稚嫩，母鸡慈爱。更精妙的是作者在对母鸡眼睛的处理上，把留白的位置留在眼珠的最前面，使其俯身之姿更加强烈",[23,209,7,24,28,27,83,3478,26756,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d3bda73641850315ec173a9cfe7fc6.jpg","纵59.99cm 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既有李成之清雅，又兼李思训之富丽。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[23,209,7,24,25,29,173,27,177,41854,4974,30,34,37],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],{"id":41859,"slug":41860,"title":41861,"dynasty":204,"author":19012,"museum":20,"description":19013,"tags":41862,"thumbUrl":41864,"material":19016,"size":19017,"collection":139,"collections":41865,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},221171,"jia-nuo-jia-fa-cuo-zun-zhe-tang-ka-bu-ben-guan-xiu-221171","迦诺迦伐磋尊者（唐卡布本）",[23,7,27,28,259,106,136,41863,65],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9039551bd38106ac8fa4580e345112.jpg",[],{"id":41867,"slug":41868,"title":41869,"dynasty":99,"author":3114,"museum":206,"description":41870,"tags":41871,"thumbUrl":41872,"material":803,"size":41873,"collection":382,"collections":41874,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},220927,"zhou-zi-tong-shu-dong-qi-chang-220927","周子通书","此作书写的是北宋大儒周敦颐所著《通书》中的内容：“圣可学乎？曰可。有要乎？曰有要。一为要。一者，无欲也。无欲则静虚动直。静虚则明，动直则公。明则通，公则溥。庶矣乎！”董书之内容与周敦颐之原文有出入",[23,86,178,173,24,7,241,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49525064acaf73341e131973f30c9278.jpg","纵189.4厘米，横154.5厘米",[382],{"id":41876,"slug":41877,"title":35597,"dynasty":99,"author":3114,"museum":238,"description":35598,"tags":41878,"thumbUrl":41879,"material":1449,"size":35601,"collection":181,"collections":41880,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905",[23,7,24,25,173,105,177,86,227,29,30,34,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg",[181,45],{"id":41882,"slug":41883,"title":41884,"dynasty":99,"author":27966,"museum":7359,"description":41885,"tags":41886,"thumbUrl":41887,"material":381,"size":41888,"collection":163,"collections":41889,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},220402,"yue-mei-tu-liu-shi-ru-220402","月梅图","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）人，生卒不详，明代画家，传世作品有《雪梅双兔图》、《梅花图》长卷、《月梅图》、《先春报喜图》等。\n刘世儒，艺术活动主要于明代正德、嘉靖时期。\n少年时偶然得元人王冕的墨梅，废寝忘食地临摹学习。随后遍走山林，观察各种梅花习性，终成墨梅大师。刘世儒一生好梅，时人谓之年九十，而画梅八十。\n曾作《铁干回春图》赠送胡元瑞。《雪湖梅谱》是其一生画梅之心得。",[23,7,24,241,173,27,448,300,227,86,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88375881b16d084f1d1d60260c6ab4e.jpg","136.4x71.8厘米",[163,90],{"id":41891,"slug":41892,"title":41893,"dynasty":76,"author":41894,"museum":364,"description":41895,"tags":41896,"thumbUrl":41897,"material":803,"size":139,"collection":90,"collections":41898,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},220249,"die-lian-hua-tu-zhou-xian-220249","蝶恋花图","周闲","周闲（1820年—1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人，晚清著名词人、篆刻家、海上画派名家。\n严迪昌《清词史》称周闲足与鸦片战争时期诗史型诗人贝青乔并驾齐驱。咸丰三年，佐戎幕剿灭嘉定小刀会，以功赐六品官。同治三年，官新阳令、候补知州同知。同治五年，因事与大吏龃龉，遭革职，隐居吴市，假笔墨以自娱。晚年寓居上海。\n善画花卉蔬果，远师陈淳、恽寿平、李鱓，近参任熊，笔致雄浑秀腴。《嘉兴府志》称：“其画浓部密致，似宋人”。与任熊、姚燮、胡公寿为艺文挚友，同蒋春霖、任薰、任颐、吴大徵、吴昌硕、张之万等交游密切。善篆刻，富金石派学养。喜用行楷，气韵朴厚。作品有《任处士传》、《范湖草堂词》等。见《海上墨林》、《广印人传》、《清画家诗史》、《金石家书画集》、吴大澂《愙斋日记》、人民文学出版社《近代词史》。",[23,7,24,27,83,452,604,245,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfb731c7098f88507a9128e18726ce4.jpg",[90],{"id":41900,"slug":41901,"title":41902,"dynasty":76,"author":13111,"museum":20,"description":41903,"tags":41904,"thumbUrl":41905,"material":88,"size":41906,"collection":181,"collections":41907,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,7,24,29,2502,1015,35,561,109,491,175,173,27,177,241,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[181],{"id":41909,"slug":41910,"title":36885,"dynasty":76,"author":16463,"museum":3537,"description":41911,"tags":41912,"thumbUrl":41913,"material":123,"size":41914,"collection":181,"collections":41915,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":49},219907,"xue-shan-tu-yuan-jiang-219907","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。\n袁江，是中国绘画史上有影响画家，宫廷画家，专攻山水楼阁界画。雍正时，召入宫廷为祗侯。在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。当时还有他的侄子袁耀同齐名。他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。他擅画山水、楼台、师法宋人。山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。他的绘画素材多为古代宫苑，尤长于界画。界画是我国民族绘画中很有特色的一门画科，它在东晋时代已同人物、山水画并存了，发展到宋、元时期就已达到高峰，但一直受到文人画的排挤。画艺从师仇英，山探郭忠恕笔法及赵伯驹、刘松年等青绿山水一脉，同时传工界画，成为有清一代推为第一的界画家。",[7,1397,27,177,3499,34,35,2268,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4541743a212af25140e45045a3164c74.jpg","78.3x46.7",[181],{"id":41917,"slug":41918,"title":41919,"dynasty":99,"author":1296,"museum":20,"description":41920,"tags":41921,"thumbUrl":41922,"material":803,"size":41923,"collection":45,"collections":41924,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":94},219868,"da-shu-feng-hao-tu-xiang-sheng-mo-219868","大树风号图","图绘古树一株，参天独立于空旷的原野之上，一老者拄杖遥望远山。作者自诗曰：“风啸大树中天立，日薄西山四海孤。短策且随时旦莫，不堪回首望菰蒲。”此图主体鲜明，形象生动，构思别具，笔法严谨。",[23,7,241,27,394,106,29,245,491,900,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4aadf5523f019f3c8f0bd22bdc1029e.jpg","纵115.4cm，横50.4cm",[45],{"id":41926,"slug":41927,"title":41928,"dynasty":189,"author":5444,"museum":539,"description":41929,"tags":41930,"thumbUrl":41931,"material":123,"size":139,"collection":181,"collections":41932,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},219779,"shan-zhong-guan-shu-tu-er-sheng-mao-219779","山中观书图(二)","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[23,7,24,241,27,29,106,430,340,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8a9ca384d405f22ee92e8e1f18d52.jpg",[181],{"id":41934,"slug":41935,"title":40929,"dynasty":18,"author":293,"museum":206,"description":41936,"tags":41937,"thumbUrl":41938,"material":123,"size":41939,"collection":42,"collections":41940,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},219693,"liu-yin-gao-shi-tu-yi-ming-219693","这幅画论布局，论笔法、设色，均臻上乘。画中人物之猜测为谁﹖其理由是以前景中的柳树，以应陶渊明是「五柳先生」，再加以头上的巾子足以漉酒，渊明正是好酒之人。本幅从服饰及坐具、酒具，显然是画晋人，而无唐以后风俗。陶渊明出现的形象，基本上是一位「高士」，然而这个高士大致有两种面貌，一种是悠游山林的隐者，一种是醺醺醉矣的酒客。柳阴高士可能是现存画陶渊明醉醺醺的最早一幅画了。画中树下一翁，席以豹皮，前置一手卷、一盏酒，老翁袒胸赤足，头戴葛巾，双目凝神下视，实已醺醺然微醉矣。渊明坐前双脚处，席上置有盛酒之碗，酒盛九分满，沿上犹挂著一把勺子，碗与勺皆是外壁黑，内面朱，且其质薄，看来是漆器一类而非陶器。，从器皿及服饰的发展，画中人物是非唐而为晋。\n柳荫下，一位士人袒胸露背，跣足而坐于豹皮之上，潇洒超脱，充满雅逸逍遥之趣。士人两眼有醺醺然之貌，故幅上乾隆题诗称这位高士不是唐的李白，就是晋的陶潜。由于陶潜曾作＜五柳先生传＞以自况，故而推断此人为陶潜的可能性较高。 本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[23,7,24,241,27,28,177,106,1532,394,211,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8dde6b37837daa0488ca428fd6cae5e.jpg","65.4x40.2cm",[42,44],{"id":41942,"slug":41943,"title":41944,"dynasty":76,"author":25759,"museum":78,"description":41945,"tags":41946,"thumbUrl":41947,"material":342,"size":41948,"collection":44,"collections":41949,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},219419,"jin-gu-yuan-tu-zhou-hua-nie-219419","金谷园图轴","华喦（yán）的笔墨既有继承传统的一面，又重视写生，构图大胆新颖。他所刻画的艺术形象鲜活生动，用笔干湿浓淡灵活多变，表现力强。是图，华岩重构了西晋石崇所建别墅金谷园，潇洒淋漓的笔墨与烂漫的花草使奢华的园林带有了些许文人气韵。",[7,241,27,28,106,29,34,176,59,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900b496b8d7d1df5eea57bd7f71090a2.jpg","纵178.7 厘米 横94.4 厘米",[44],{"id":41951,"slug":41952,"title":41953,"dynasty":18,"author":293,"museum":206,"description":41954,"tags":41955,"thumbUrl":41957,"material":123,"size":41958,"collection":42,"collections":41959,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},219233,"qiu-tang-fu-yan-tu-yi-ming-219233","秋塘凫雁图","松枝如墨笔皴染，苍劲枝干斜倚塘边，松针细密如丝，织着秋的清寒。几只凫雁散落在岸石上：有的敛翅蜷身，似枕着午后秋光小憩；有的侧颈理羽，绒羽软意与石面凉硬相映成趣。塘水静如镜，淡褐水面漾着若有若无的烟霭，把远天晕成朦胧色块，连风都放缓了脚步。\n\n笔墨简淡却藏极致细腻：每根松针带秋的劲挺，每片羽翎裹塘边静气，连岸石纹理都浸着湿润凉意。这方圆景里，秋意非萧瑟，而是生灵与自然的温柔相拥——宋人把对天地万物的深情，凝在一笔一划、一禽一木的静谧中，让千年后的我们，仍能触到那份清旷与安然。",[23,209,7,27,28,1562,41956,34,2994,297,298,6922],"凫雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512ca8a7e13d31ef689e673f06c54768.jpg","24.8x25.2cm",[42,90],{"id":41961,"slug":41962,"title":41963,"dynasty":76,"author":41964,"museum":132,"description":41965,"tags":41966,"thumbUrl":41971,"material":123,"size":41972,"collection":90,"collections":41973,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":49},218957,"xue-jing-lu-yan-tu-dou-chi-dao-ren-218957","雪景芦雁图","都痴道人","寒江雪岸，双雁栖于坡间。一雁昂首引颈，似望垂枝冰棱；一雁敛翅低首，若思冬日闲情。岸边枯草丛生，竹枝覆雪，柳丝悬冰，凝住凛冬气息。雁羽勾勒细腻，墨色浓淡相衬，绒羽质感毕现；雪地以淡墨晕染，留白见意，坡岸起伏自然。冰棱线条劲挺，柳枝疏朗，与双雁的生动形成呼应。画面虽寒，双雁相依却含暖意，于萧瑟中藏生机。笔墨兼具工致与写意，工笔绘雁之形神，写意写雪之空灵，意境清寂而不失温情，尽显冬日禽鸟之态与自然之趣。",[23,7,24,3529,173,28,446,2502,4895,39789,41967,5941,41968,41969,3802,41970,26523],"冰棱","枯草","雪坡","温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d6f5402bf65e673703469de4723fd.jpg","135x74cm",[90],{"id":41975,"slug":41976,"title":41977,"dynasty":18,"author":6501,"museum":206,"description":41978,"tags":41979,"thumbUrl":41980,"material":123,"size":41981,"collection":42,"collections":41982,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},218951,"jie-ge-yi-chun-tu-wang-shen-218951","杰阁媐春图","这幅画描绘了一栋山坡建筑的一个角落，楼上有两个女人在看围栏，而一个女人在下层的走廊上走着，后面跟着一个女仆。身材高大而修长。担架的使用和树木、山石的笔法与《景德镇四库全书》相似，疑为北宋作品，无题款，原署名王僧杰伊春。",[23,7,209,81,104,27,29,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0c7f409af54da8ac9c4eeee02c02cd.jpg","22.5x21.7",[42],{"id":41984,"slug":41985,"title":41986,"dynasty":18,"author":293,"museum":206,"description":41987,"tags":41988,"thumbUrl":41989,"material":123,"size":41990,"collection":42,"collections":41991,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":94},218858,"lian-tang-shui-fu-tu-yi-ming-218858","莲塘睡凫图","画家不仅将鸭子讨人喜欢的柔美外表表现得淋漓尽致，还将鸭子的毛绒质感表现得淋漓尽致。",[23,7,209,24,81,83,28,136,1061],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad944b5f7cf79d9baa44a2f50701f1b1.jpg","21.2x23.4",[42,45],{"id":41993,"slug":41994,"title":41995,"dynasty":18,"author":41996,"museum":206,"description":41997,"tags":41998,"thumbUrl":41999,"material":342,"size":42000,"collection":181,"collections":42001,"showCount":41391,"zanCount":1547,"manualWeight":48,"mainColor":94},218644,"yan-yu-tu-huang-qi-218644","烟雨图","黄齐","这幅画是一个小溪和山的场景，安静而遥远，全部来自写生。黄齐不知道是哪一代人或哪一个地方的人，但这幅画中的笔法几乎是元代的山水风格。",[23,7,24,173,177,29,34,37,176,109,23629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeda478f2951b201e64af557bf02a0f7.jpg","28.9x52cm",[181],{"id":42003,"slug":42004,"title":42005,"dynasty":99,"author":13656,"museum":539,"description":42006,"tags":42007,"thumbUrl":42008,"material":381,"size":42009,"collection":44,"collections":42010,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},218514,"yu-fu-tu-wu-wei-218514","渔夫图","该图描绘了一个渔夫在溪边的老柳树下捕捉一条新鲜的鱼。人物造型细致，渔夫捕鱼的喜悦之情刻画得淋漓尽致，山水、服饰用笔浑厚，面部和手脚用笔精细，是吴伟人物的典型特征。",[23,7,24,241,173,106,394,1064,245,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e15e29ad6e911cc0f9de6f8bd082ea.jpg","195.8x102",[44],{"id":42012,"slug":42013,"title":42014,"dynasty":18,"author":293,"museum":7875,"description":42015,"tags":42016,"thumbUrl":42017,"material":123,"size":42018,"collection":44,"collections":42019,"showCount":41391,"zanCount":1547,"manualWeight":48,"mainColor":49},218483,"sui-yang-wu-lao-tu-du-yan-xiang-yi-ming-218483","睢阳五老图 杜衍像","杜衍是继唐朝名臣杜佑之后的北宋名臣，精通诗词和书法。",[23,7,28,27,106,241,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc8d554101f924583694f0001ec727a.jpg","40.3x31.4",[44],{"id":42021,"slug":42022,"title":42023,"dynasty":76,"author":293,"museum":364,"description":42024,"tags":42025,"thumbUrl":42026,"material":342,"size":139,"collection":44,"collections":42027,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":94},218453,"di-wang-ming-chen-xiang-zhi-wang-xi-zhi-yi-ming-218453","帝王名臣像之王羲之","墨线勾勒的衣袂如行云流转，宽博的袍服衬出人物清雅风骨。长髯垂胸，目光沉静似藏砚池烟霞，巾帽下的面容温润儒雅，尽得书圣旷达之态。左侧题跋笔力苍劲，与肖像相映成趣，文墨间流淌着人物轶事，添了古朴意韵。墨色浓淡相宜，衣纹转折见笔锋，工笔与写意相融，将王羲之的文人灵韵凝于尺幅。整幅画气韵生动，笔墨含情，似能窥见这位书法大家挥毫时的风采，是传统人物肖像中颇具韵味的佳作。",[23,7,24,81,260,173,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad2ca69093f4ab3dd5c940ec366ecaa.jpg",[44],{"id":42029,"slug":42030,"title":42031,"dynasty":99,"author":293,"museum":206,"description":42032,"tags":42033,"thumbUrl":42035,"material":123,"size":42036,"collection":44,"collections":42037,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":1335},218445,"xi-ying-tu-yi-ming-218445","戏婴图","古雅绢色晕染出时光的温润，三个稚童围聚盆边的嬉戏场景，似将千年笑语凝于尺幅。红衣童子侧身托腮，绿衣小儿俯身探向盆中浮舫，灰衣幼童低首凝视，每一处神态皆憨态可掬。虬枝垂落艳红石榴，饱满果实暗蕴多子祈愿；盆沿纹饰斑斓，与稚子衣袂的鲜活色彩相映成趣。线条简练却传神，衣褶的松弛、动作的天真，尽得孩童本真之态。古绢的斑驳未减其韵，反让这份日常嬉戏的温馨更显隽永——无需刻意雕琢，便将纯粹童趣化为穿越时空的感动，引观者驻足，重拾心底那份久违的澄澈快乐。",[7,24,209,241,28,27,3045,115,315,42034,176,84],"石榴树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4bcc721f7de92c5eb1552f1552e379.jpg","144.2x79",[44],{"id":42039,"slug":42040,"title":42041,"dynasty":76,"author":7461,"museum":539,"description":7462,"tags":42042,"thumbUrl":42043,"material":123,"size":7466,"collection":139,"collections":42044,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},218353,"shi-nv-tu-ce-2-li-ting-xun-218353","仕女图册-2",[7,24,27,28,106,59,63,64,86,227,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b94ddb9dca2a24390e96ab7141eea0.jpg",[],{"id":42046,"slug":42047,"title":42048,"dynasty":76,"author":674,"museum":539,"description":5517,"tags":42049,"thumbUrl":42050,"material":123,"size":5520,"collection":139,"collections":42051,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},218326,"shen-xian-gu-shi-tu-ce-10-leng-mei-218326","神仙故事图册-10",[23,209,7,24,81,28,27,106,176,37,63,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59c4eabdad812463812ac127f8c66.jpg",[],{"id":42053,"slug":42054,"title":35122,"dynasty":76,"author":42055,"museum":101,"description":42056,"tags":42057,"thumbUrl":42058,"material":88,"size":42059,"collection":44,"collections":42060,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},218317,"ri-ben-du-tang-tian-shen-tu-zhang-ze-lu-xue-218317","长泽芦雪","儒雅身影立于画间，素袍朱带，青蓝镶边衬出几分清逸。手中梅枝疏朗，白花点点，似凝着唐风的幽韵。面容温和，眉眼间藏着跨越沧海的求知热忱——渡唐之行，是对文明的奔赴。线条细腻婉转，衣袂流动如行云；设色淡雅层次分明，尽显古典雅致。整幅画将文化交流的往昔身影定格，梅枝的高洁与远行的执着相融，似在诉说一段山海间的文化情缘，让跨越时空的向往成为永恒的艺术图景。笔端流转间，东方文人的风骨与文化传续的热忱跃然纸上，每一处细节都藏着对文明对话的深情致意。",[209,7,241,27,106,448,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cb9c616b9849d1ad3ea628fc3da026.jpg","89.2x33",[44],{"id":42062,"slug":42063,"title":42064,"dynasty":99,"author":293,"museum":29071,"description":42065,"tags":42066,"thumbUrl":42067,"material":123,"size":42068,"collection":44,"collections":42069,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":49},218282,"yan-wang-tu-yi-ming-218282","阎王图","威严的王者端坐于上，华服加身，面容沉肃，眉宇间透着审判者的凛然正气。身侧侍从恭谨侍立，持物敛神，似在静候指令。下方小鬼动作利落，刑罚场景张力十足，将地狱审判的威慑力渲染得淋漓尽致。古朴设色与流畅线条交织，人物神态各异：王者冠饰的细腻纹理、侍从衣袂的轻柔褶皱、小鬼动态的生动刻画，皆见匠心。整幅画作以极具冲击力的场景传递因果轮回的警示意味，氛围凝重却不失艺术感染力，尽显传统绘画的精妙与深刻内涵。",[7,241,27,28,259,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37f6540367a42df18b1e3f9bcf1f206.jpg","154.9x58.1",[44],{"id":42071,"slug":42072,"title":42073,"dynasty":189,"author":25426,"museum":132,"description":42074,"tags":42075,"thumbUrl":42076,"material":342,"size":42077,"collection":181,"collections":42078,"showCount":41391,"zanCount":5,"manualWeight":48,"mainColor":94},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,209,7,24,25,173,29,177,227,178,649,37,34,1255,560,491,10416,1444,38,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[181],{"id":42080,"slug":42081,"title":42082,"dynasty":76,"author":42083,"museum":132,"description":42084,"tags":42085,"thumbUrl":42086,"material":88,"size":42087,"collection":181,"collections":42088,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[23,7,24,241,173,177,29,864,175,108,109,174,34,35,37,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[181],{"id":42090,"slug":42091,"title":42092,"dynasty":76,"author":30844,"museum":3537,"description":42093,"tags":42094,"thumbUrl":42095,"material":123,"size":42096,"collection":181,"collections":42097,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},217924,"shan-jing-tu-liu-du-217924","山景图","刘度的山景图画风细腻，笔墨流畅，富有张力，写意洒脱。他善于描绘山川的峰峦、水流的曲折、云雾的缭绕，营造出一种幽静的气氛。刘度的山水画作品常以山水中的人物为主，人物造型优美，神态自然，与山水相互映衬，互相辉映，给人以感性的享受。\n\n刘度的山景图在清朝时期颇受欢迎，被誉为“山水画圣”。他的著名作品有《山城图》、《江南图》、《渔隐图》等。这些作品不仅展现了刘度独特的艺术风格，而且也揭示了他对中国传统文化的热爱和对自然界的敬畏。\n\n在刘度的山景图中，我们不仅能感受到他对山水的热爱和描绘的精细，还能感受到他对自然的尊敬和对传统文化的执着。这些作品不仅是一种艺术的瑰宝",[7,173,177,29,108,107,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ca116a0bcaa406e268e8884a1a2c78.jpg","32.1x36.2cm",[181],{"id":42099,"slug":42100,"title":42101,"dynasty":99,"author":293,"museum":7875,"description":42102,"tags":42103,"thumbUrl":42104,"material":123,"size":42105,"collection":181,"collections":42106,"showCount":41391,"zanCount":48,"manualWeight":48,"mainColor":94},217883,"fang-li-di-shan-shui-tu-yi-ming-217883","仿李迪山水图","李迪是明朝时期著名的画家，他的作品以精细的写实和优美的构图著称。作者的仿李迪山水图也是以精细的写实和优美的构图为特点，但是与李迪不同的是，作者在作品中运用了更加丰富的色彩，使得作品更加生动。\n\n作者的仿李迪山水图展现了中国传统山水画的高超技巧，他的作品中经常出现山峦、溪流、森林、村庄等元素。他擅长运用描绘山水的技法，使作品看起来栩栩如生。此外，作者还注重作品的构图，他善于运用构图中的线条、弧线、曲线等元素，使作品看起来更加流畅。\n\n如果你是艺术爱好者，不妨去看看佚名的仿李迪山水图，感受一下中国传统山水画的魅力。",[7,24,29,105,177,27,176,34,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d43d203f636dbbfcb84fda42745f1c.jpg","36.8x33cm",[181],{"id":42108,"slug":42109,"title":42110,"dynasty":189,"author":487,"museum":364,"description":6987,"tags":42111,"thumbUrl":42112,"material":743,"size":744,"collection":139,"collections":42113,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},290837,"ceng-luan-song-cui-zhou-wang-meng-290837","层峦耸翠轴",[7,173,241,29,177,12725,176,34,109,174,34595,227,26978],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedd8bd1842dbdc4031e3d3b7ea5de38.jpg",[],43,{"id":42116,"slug":42117,"title":42118,"dynasty":76,"author":5208,"museum":364,"description":42119,"tags":42120,"thumbUrl":42121,"material":743,"size":744,"collection":139,"collections":42122,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},290427,"shan-shui-tu-ce-10-kai-gong-xian-290427","山水图册10开","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。",[7,24,81,173,29,176,34,86,178,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eb7410c32536a5d14c4134270b47ae.jpg",[],{"id":42124,"slug":42125,"title":1661,"dynasty":18,"author":3103,"museum":364,"description":14281,"tags":42126,"thumbUrl":42127,"material":743,"size":744,"collection":139,"collections":42128,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},290088,"han-gong-chun-xiao-tu-zhao-bo-ju-290088",[209,7,104,28,27,107,29,1237,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa88892b34b877788f8b89fdee5cdd3a.jpg",[],{"id":42130,"slug":42131,"title":42132,"dynasty":189,"author":293,"museum":364,"description":42133,"tags":42134,"thumbUrl":42135,"material":743,"size":744,"collection":139,"collections":42136,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":49},290068,"pu-dian-hua-niao-tu-yi-ming-290068","铺殿花鸟图","这幅古作以沉郁青绿为底，晕染着岁月晕开的斑驳痕迹。枝桠交错间，春梅与海棠次第盛放，花苞轻缀、繁花舒展，柔媚花色和苍劲老枝相映成趣。\n\n两只禽鸟一仰一俯，顾盼有情，翎毛细处勾勒精工、晕染柔和，将娇憨灵动的神态尽数留住。笔墨带着妍雅古拙的意趣，把春日枝梢间的悠然闲静凝于绢素，纵使历经年岁磨洗，依旧能窥见彼时工致雅致的花鸟遗风，将春日幽隽的生机诗意定格。",[7,209,28,27,83,281,448,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507416e7a89e7cbd27a1fa5d32854bf7.jpg",[],{"id":42138,"slug":42139,"title":42140,"dynasty":18,"author":7349,"museum":364,"description":42141,"tags":42142,"thumbUrl":42143,"material":743,"size":744,"collection":139,"collections":42144,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},289957,"xue-jing-shan-shui-ye-liang-kai-289957","雪景山水页","梁楷，生于1150年，父亲梁端，祖父梁扬祖，曾祖梁子美皆为宋朝大臣。东平须城（今山东东平）人，南宋画家。南渡后流寓钱塘（今浙江杭州）。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。他喜好饮酒，酒后的行为不拘礼法，人称是“梁风（疯）子”。\n梁楷传世的作品包含了《六祖伐竹图》《李白行吟图》《泼墨仙人图》《八高僧故事图卷》等，但以《泼墨仙人图》最为有名。",[7,209,1562,173,177,29,2502,1015,174,3996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626a1cd836e0e08dc4762048b518eb9f.jpg",[],{"id":42146,"slug":42147,"title":42148,"dynasty":18,"author":3214,"museum":364,"description":42149,"tags":42150,"thumbUrl":42152,"material":743,"size":744,"collection":139,"collections":42153,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},289345,"jing-zhuang-shi-nv-tu-su-han-chen-289345","靓妆仕女图","苏汉臣（1094年―1172年），汴京（今河南开封）人，北宋画家。北宋徽宗宣和年间（1119~1125）任画院待诏，南宋高宗绍兴年间（1131~1162）复职，南宋孝宗隆兴初年（1163）任承信郎。\n苏汉臣曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。师刘宗古，工画道释、人物臻妙，尤善婴孩，所画货郎图，描画精细，货物繁颐，更为特出。\n苏汉臣师从画院待诏刘宗古，所绘人物、士女及佛道宗教画，用笔工整细劲，着色鲜润。尤擅描绘婴儿嬉戏之景和货郎担，情态生动。传世作品有《秋庭戏婴图》《五瑞图》《击乐图》《婴戏图》等。",[7,1562,28,27,758,59,11429,42151,314,1015,10779,9791],"妆扮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461f3a441637bef355b5e52fce686547.jpg",[],{"id":42155,"slug":42156,"title":42157,"dynasty":18,"author":1827,"museum":364,"description":42158,"tags":42159,"thumbUrl":42160,"material":743,"size":744,"collection":139,"collections":42161,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},289331,"xi-shan-shui-ge-tu-li-song-289331","溪山水阁图","此幅绘溪水寒林，峭壁危岩，远山空蒙，白云缭绕，溪前敞榭虽只以粗笔界尺寥寥勾出，但造型准确，结构清晰。近景徒手意笔写板桥，颇有野趣。榭中人物凭栏远眺，于湖光山色映衬下，画面清秀明净而略显空寂。山石用斧劈皴，树略拖枝，带有马远风格，是宋人册页中粗笔楼阁的代表作品。",[23,209,7,1562,173,29,107,108,1015,491,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a877faf9267ef285cfa4fa0ac8188a.jpg",[],{"id":42163,"slug":42164,"title":42165,"dynasty":18,"author":1650,"museum":364,"description":12215,"tags":42166,"thumbUrl":42167,"material":743,"size":744,"collection":139,"collections":42168,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},289328,"song-shi-guan-pu-tu-ma-yuan-289328","松石观瀑图",[209,7,241,173,29,1575,176,558,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35cd96a142e4b4b4d479be3ef608f9e2.jpg",[],{"id":42170,"slug":42171,"title":42172,"dynasty":18,"author":6501,"museum":364,"description":40594,"tags":42173,"thumbUrl":42174,"material":743,"size":744,"collection":139,"collections":42175,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},288984,"shui-xie-pin-cha-tu-wang-shen-288984","水榭品茶图",[7,104,27,107,34,1252,9138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9de261968b3aafb1721ccab27894f4.jpg",[],{"id":42177,"slug":42178,"title":41767,"dynasty":18,"author":28948,"museum":364,"description":42179,"tags":42180,"thumbUrl":42181,"material":743,"size":744,"collection":139,"collections":42182,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},288841,"zi-mu-ji-tu-wang-ning-288841","王凝（公元11世纪）〔北宋〕江南人，生卒年不详，画院待诏，为熙宁(1068-1077)前画院高手。",[209,7,24,3529,28,27,19981,26756,41970,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2bf0e55f242c2a44237a43bf7541f5.jpg",[],{"id":42184,"slug":42185,"title":42186,"dynasty":292,"author":293,"museum":364,"description":42187,"tags":42188,"thumbUrl":42189,"material":743,"size":744,"collection":139,"collections":42190,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":271},288544,"li-fo-xiang-yi-ming-288544","立佛像","以铁线白描勾勒全貌，线条遒劲舒展，将衣袂、璎珞层叠的细节尽数铺陈。青莲斜擎于手，宝冠华饰精巧繁复，仪容温婉慈悲，静穆之中尽显庄严华贵。\n\n笔意简练却形神兼备，寥寥数笔便将沉静悲悯的气韵烘托尽致。纸面历经岁月泛黄残破，更添古拙厚重的沧桑质感，带着质朴古雅的沉静力量。未施丹青，却以素墨勾勒出佛教造像的超然之美，是一件极具意趣的宗教白描稿本。",[7,24,260,259,9254,106,5713,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071ea652088e58cec0de64d81f9e68b5.jpg",[],{"id":42192,"slug":42193,"title":42194,"dynasty":18,"author":7349,"museum":364,"description":42195,"tags":42196,"thumbUrl":42197,"material":743,"size":744,"collection":139,"collections":42198,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},288491,"liu-zu-jie-zhu-tu-liang-kai-288491","六祖截竹图","画家深入体察所画人物的精神特征，以简练的笔墨表现出人物的音容笑貌，以简洁的笔墨准确地抓取事物的本质特征，充分地传达出了画家的感情，从而把写意画推入一个新的高度，使时人耳目一新。",[23,7,209,241,173,260,106,259,242,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613ca3795615c3e18fe9384d18d42ce9.jpg",[],{"id":42200,"slug":42201,"title":3911,"dynasty":18,"author":474,"museum":20,"description":42202,"tags":42203,"thumbUrl":42204,"material":67,"size":744,"collection":139,"collections":42205,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},287891,"fu-rong-jin-ji-tu-zhao-ji-287891","此画以花蝶、锦鸡构成画面，画中两只芙蓉花娴静的半开着，一只锦鸡蓦然飞临芙蓉的枝头，压弯了枝头，打破了宁静，枝头还在颤动，而锦鸡却浑然不顾，已回首翘望右上角那对翩翩起舞的彩蝶，跃跃欲试。\n画中赵佶自题：“秋劲拒霜盛，峨冠锦羽鸡，已知全五德，安逸胜凫鷖”。\n画内藏印有“万历之宝”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”等。 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material":42341,"size":42342,"collection":139,"collections":42343,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":94},233701,"wu-ling-chun-tu-juan-wu-wei-233701","武陵春图卷","图中女子武陵春的面部和衣纹均以细匀的淡墨线条绘成，只在眼眸、发髻处用重墨点染，这种特殊的用墨方法不仅形成了生动的墨韵，同时也令画面清雅秀润，更贴切地表现出女主人的纤秀文静之美。此外，吴伟在创作上还采用了借物言志的艺术手法，以石桌上陈设的琴、笔、砚等文房用具揭示出武陵春内在的文化修养，以石桌左侧的盆景梅花象征武陵春心志如梅的高尚情操。以这些带有寓意性的物品作为衬景点缀画面，无疑在充实武陵春形象的同时也丰富了画面的视觉感受。吴伟凭藉其精湛的艺术造诣曾分别于明成化和弘治年间奉召进京供奉宫廷。他性情孤傲，不慕权势，为朝廷内外的恶浊环境所排斥。返回江南后，他常以饮酒狎妓遣释郁闷的心境，所以，他对青楼女子的生活有一定的接触和了解。当他闻知富有文采的武陵春身在青楼而不受所处境地的影响、对爱情忠贞不渝时，为之深深感动，遂援笔作此图，以示对武陵春的同情与敬仰。清吴麒《图绘宝鉴续纂》认为吴伟“画人物落笔健壮，白描尤佳”。此幅便是吴伟晚期白描画中的精品。吴伟的白描人物宗法唐代吴道子和宋代李公麟，强调线条自身婉转流动的韵律感和塑造形象的精确性。",[7,24,25,260,173,106,59,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c183031801a15d9b56e62fc7c52ea46.jpg","纸本，白描","纵27.5厘米，横93.9厘米",[],{"id":42345,"slug":42346,"title":4931,"dynasty":76,"author":1394,"museum":20,"description":42347,"tags":42348,"thumbUrl":42349,"material":1716,"size":42350,"collection":139,"collections":42351,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},233402,"xian-shan-lou-ge-tu-zhou-wang-shi-min-233402","上诗堂有清初吴伟业题云：“陈子静孚母夫人方太君七十，王烟客奉常、王湘碧郡伯绘仙山楼阁图以为祝。郡伯所制可以颉昂松雪，若太常此帧苍深高远，尺幅之中恍见仙真楼上，出入于烟云缥缈间，笔墨之奇非仅得子久三昧也。太夫人女箴妇德可镌琬琰，余将托诸诗歌，得两公妙染，真所谓画中有诗，不待九如之颂，可效凹觥之祝矣。吴伟业题。”\n此图是王时敏为友人陈静孚之母七十寿辰而作。画面上峰峦叠嶂，林木葱郁，流泉曲绕，长松挺立。山谷中点缀着茅亭草舍，环境清幽。在构图和笔墨方面都具备典型的中国画特征。首先，构图方面采用全景式构图，以散点透视的方法描绘景物，近景双松清晰挺拔，远景高山连绵巍峨，所画内容具有美好的象征意义，十分契合祝寿的主题。其次，在笔墨表现方面，继承董巨（董源、巨然）、元人的笔墨传统，尤其是黄公望的画法，以仿古见长，具有程式化的特点。笔法精绝老到，为王氏晚年佳作。",[7,24,241,29,107,34,30,560,35,173,177,176,491,1926,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1c5058cf54925d7fcced41900d4ce1.jpg","纵133厘米，横63.3厘米",[],{"id":42353,"slug":42354,"title":42355,"dynasty":18,"author":474,"museum":20,"description":3912,"tags":42356,"thumbUrl":42357,"material":40,"size":3915,"collection":139,"collections":42358,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},232979,"fu-rong-jin-ji-tu-zhou-zhao-ji-232979","芙蓉锦鸡图轴",[7,209,241,28,27,83,450,1586,604,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5116d76afa37a92bf68862f475326df6.jpg",[],{"id":42360,"slug":42361,"title":9634,"dynasty":189,"author":293,"museum":364,"description":42362,"tags":42363,"thumbUrl":42364,"material":743,"size":744,"collection":139,"collections":42365,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},231848,"fo-xiang-yi-ming-231848","中国蒙古族统治者早在建立元朝之前，便先后仿照汉族建筑样式，营建上都及大都两个都城。两都的各种宫殿坛庙建筑组群都有石雕、木雕和琉璃制品。而分布各地的寺庙塑像、石窟造像等亦展示了元代雕塑艺术的概貌。",[23,7,259,241,28,27,106,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa625b9eb159088ba4568259afe93d57a.jpg",[],{"id":42367,"slug":42368,"title":42369,"dynasty":18,"author":1650,"museum":206,"description":42370,"tags":42371,"thumbUrl":42372,"material":67,"size":21088,"collection":139,"collections":42373,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},231341,"hua-deng-shi-yan-tu-er-ma-yuan-231341","华灯侍宴图（二）","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n马远是南宋宫廷画家，杨皇后是其主要的艺术赞助人。杨皇后多次为马远之作题诗题句，其创作也势必迎合杨皇后的要求，“臣马远”的款识当为此意。从《华灯侍宴图》的笔法与风格来看，当为马远晚年之作，而杨皇后的题记，也属晚年风格。换而言之，画作的年代应在宋宁宗时代。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引。\n此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。\n该画山而不作全景式图，取一角或一峰给予突出的描写。这是马远在继承前人山水画传统的基础上的突破，是他对山水画形式美感探索的成就。",[7,24,1397,28,177,27,107,34,30,650,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9b868683d8127a8dd2bb9ff753b532.jpg",[],{"id":42375,"slug":42376,"title":42377,"dynasty":18,"author":1072,"museum":364,"description":42378,"tags":42379,"thumbUrl":42380,"material":743,"size":744,"collection":139,"collections":42381,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":94},230951,"liu-kai-jian-zi-tu-wu-bing-230951","榴开见子图","吴炳（公元12世纪），生卒年不详，毗陵武阳（今江苏常州）人，南宋光宗绍熙年间（1190-1194年）任画院待诏，是南宋院体花鸟画的代表性画家。\n代表作有《竹雀图》《写生荷花图（出水芙蓉图）》《罂粟图》《宝珠玉蝶图》《春池睡鸭图》《山茶鹁鸽图》等。",[7,209,24,28,27,83,1299,224,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a16b335fa694e452ac55b07eb10c5.jpg",[],{"id":42383,"slug":42384,"title":42385,"dynasty":292,"author":42386,"museum":364,"description":42387,"tags":42388,"thumbUrl":42392,"material":139,"size":139,"collection":139,"collections":42393,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},230476,"jiang-hu-shi-dai-feng-shen-lei-shen-tu-ping-feng-jiu-jing-bao-yi-230476","江户时代 风神雷神图屏风","酒井抱一","狞恶忿怒的面相搭配蓬乱如戟的须发，肌肉贲张的肢体满是狂暴力量感，风神腾跃于烟霭之上，握持系着风铎的绳索，青绸长带随罡风翻卷破空，仿佛能听见风铎清响混着呼啸长风。\n\n泥金笺底晕开暗沉烟霭，衬出神祇御风的缥缈动感，刚硬狞厉的面相与柔婉飘带形成强烈对冲，将风神席卷天地的威仪诠释得淋漓尽致。工写兼用的笔意，将无形罡风化为可视的磅礴威仪，静穆屏风之上，晕开浩荡天地气机，让人仿佛能触到扑面而来的浩荡天风。",[23,7,24,314,27,106,42389,957,259,5192,42390,42391,28,10898],"神","神话形象","和风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a863bc1f73bf32374c8bc386a382b8e.jpg",[],{"id":42395,"slug":42396,"title":42397,"dynasty":76,"author":1109,"museum":364,"description":42398,"tags":42399,"thumbUrl":42400,"material":139,"size":139,"collection":139,"collections":42401,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},228978,"shan-shui-tu-ce-8-kai-zhang-da-qian-jiu-cang-shi-tao-228978","山水图册8开-张大千旧藏","此作笔墨简淡萧疏，以淡墨晕开远山，只留朦胧轮廓，似烟霭轻笼，清寂淡远之味扑面而来。近侧丘石以枯笔皴擦，朴拙苍厚，带着不加修饰的古雅意趣。坡岸林木尽褪繁叶，枝桠错落伸展，空寒疏朗间尽显秋冬的萧索清宁。临水茅舍三两间隐于石木之间，幽寂安闲，似藏着避世幽居的自在意趣。\n\n题句与四方朱印错落排布，诗书画印相融，为素淡画面晕开一抹朱红暖意。整幅以简驭繁，将空山新雨后的微茫清润藏在尺幅间，笔底漫着林下幽居的静穆悠然。",[7,173,177,81,29,1015,35,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1034ecc6c707758e750317af7df068c0.jpg",[],{"id":42403,"slug":42404,"title":42405,"dynasty":99,"author":36584,"museum":364,"description":42406,"tags":42407,"thumbUrl":42408,"material":743,"size":744,"collection":139,"collections":42409,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},228497,"shi-hu-yuan-xiao-tu-li-shi-da-228497","石湖元宵图","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[23,209,7,173,27,28,104,106,107,108,175,394,109,115,34,114,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d224efb8b4d7931ad464765d30dc4d.jpg",[],{"id":42411,"slug":42412,"title":42413,"dynasty":99,"author":1181,"museum":364,"description":42414,"tags":42415,"thumbUrl":42416,"material":139,"size":139,"collection":139,"collections":42417,"showCount":42114,"zanCount":1547,"manualWeight":48,"mainColor":49},228325,"xiang-shan-jiu-lao-tu-juan-chang-juan-xie-huan-228325","香山九老图卷（长卷）","【文物现状】现藏美国克利夫兰美术馆 绢本，设色，长卷，纵：29.8厘米，横：148.2厘米。\n现藏美国克利夫兰美术馆，是明代画家 的人物画中代表性作品之一。\n“ ”指的是唐代文人胡杲、吉玫、刘贞、郑据、卢贞、张浑、白居易及李元爽、禅僧如满九位老者。\n他们因志趣相投，结为九老会。\n此图绘唐武宗会昌五年（公元845年）三月二十四日，九老在白居易之居处欢聚，既醉且欢之际赋诗画画的情景 。\n根据 香山九老会诗序》的内容可知，对九老雅集的描绘早已有之，到了南宋时期，此题材在画院中也非常兴盛；而明代的宫廷画家在承袭南宋画院风格时，对此种具有历史典故的题材又较好的继承下来。\n对于这幅表现文人聚会的长卷，在构图上作者选择了从围墙上方往墙内俯视的角度来描。\n画中一条蜿蜒的碎石小径贯穿整个画面，形成一条横轴线，人物及景物均围绕着石径展，画面从左边开始：一身着便服的文人携一童仆正缓缓地向画面中心的厅堂走来，他似乎并不急于赴会，而是悠闲地欣赏着园内的景致。\n沿着他走的路径向右看，在石径一侧，有两人站在梅树前，一人一边指着着梅树一边好像对旁边的人说着什么，看那人恭敬的样子，也许正在聆听长者论道吧。\n再往后，便是画的中心，这是画面内容的主体：只见一宽大的厅堂里，几案分明，案上盆景、花瓶摆放有序；厅中有一桌，三个文人正围着桌子看一位长者写着什么，或是画着什么。\n四个人物的神态各不相同，均刻画精微：长者面露喜悦，挥毫泼墨；三位围观者，有的若有所思，有的凝神静观。\n堂前石径上，有一仆人正端着盘子向右行，把观者的视线引向画面的结尾部分，有两位文人正在苍松翠柏下吟诗赏画，旁边的几位童仆，有的在煮茶温酒，备办佳肴；有的在侍侯笔墨，抱琴侍立。\n整个场面以石径为主线，中间穿插以厅堂楼榭，假山叠石，古松，梅树，瑞鹤等景物，把画面的几个部分联成一个有机的整体。\n整体上看，瑞松摇曳，梅花绽放，祥鹤唳鸣，环境清幽淡远，实为人间的“桃源仙境”。\n在刻画人物形象方面，作者着重于对人物表情的描绘。\n人物布局上聚散都非常富于变化。\n笔法工整严谨，衣纹线条准确，挺拔而秀逸，极富质感，色彩鲜艳、古拙。\n在景物刻画上也非常严谨，小径上的碎石，亭台、屋宇等一笔一笔地描绘出，松柏，梅树，竹叶也细细地勾勒，显示出画家精谨细密的功夫，具有李唐、刘松年的遗风，属于院体一派。\n谢环，字庭循，明永嘉（今浙江温州）人，善画山水、人物，远承荆浩、关仝，以及南宋李唐、刘松年，近师元人。\n成祖永乐(14-1424）中征入画院。\n谢环还擅长文学，画史上说他“知学问，喜赋诗”，有《梦吟堂集》世，时人称他“清瑾有文”。\n传世作品有《 》等。",[23,7,25,27,28,106,175,34,1184,30357,115,244,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3901b4a9861a664f281876e2c023104.jpg",[],{"id":42419,"slug":42420,"title":42421,"dynasty":189,"author":293,"museum":364,"description":42422,"tags":42423,"thumbUrl":42424,"material":139,"size":139,"collection":139,"collections":42425,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":49},228212,"hang-zhou-xi-hu-tu-yi-ming-228212","杭州西湖图","以团扇形制铺陈湖山胜概，石青石绿晕染峰峦，古绢底色沉厚，衬得青绿明妍雅致，勾勒出峭拔崖嶂与层叠林木。亭台楼阁依山面水排布，飞檐斗拱精工细绘，尽显江南苑囿的雅致规整。湖面开阔淡远，长桥卧波隐现其间，远山含黛晕出空濛烟岚。\n\n构图虚实相生，繁复界画楼宇与清旷湖山相映，既见对实景的精细摹写，又以淡墨轻岚烘托出西湖柔婉清远的诗意氛围，带着元代青绿山水的复古意趣，将城湖揽胜的雅致图景凝缩尺幅，尽展江南名湖的从容雅致，藏着古人对湖山胜景的倾心描摹。",[23,7,24,26,27,29,104,107,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a00903c88ee41eed7d372b81389a0b5.jpg",[],{"id":42427,"slug":42428,"title":42429,"dynasty":189,"author":33234,"museum":364,"description":42430,"tags":42431,"thumbUrl":42432,"material":139,"size":139,"collection":139,"collections":42433,"showCount":42114,"zanCount":1547,"manualWeight":48,"mainColor":94},228179,"xiu-ye-xuan-tu-juan-zhu-de-run-228179","秀野轩图卷","淡墨轻岚晕染平远丘壑，山峦温润迤逦，洲渚间林木蓊郁，秀野轩临水静立，溪岸萦回、浅汀横斜，尽显江南山居的清寂野趣，将湖山灵秀与林下幽居的隐逸意趣相融。\n\n引首榜书沉雄苍劲，后接数十段题跋，行楷秀逸舒展，笔致清和雅致。诗书画印一体，以画绘景，以诗述怀，书法映托山水雅韵，尽显元代文人寄情林泉、雅集酬唱的林下襟怀，淡墨间晕开幽远诗意，是元人山水画中诗画合璧的经典之作。",[23,7,209,25,173,177,29,34,35,20871,491,10416,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a06906c63a6a83703b85153edd1ffe.jpg",[],{"id":42435,"slug":42436,"title":42437,"dynasty":18,"author":42438,"museum":364,"description":42439,"tags":42440,"thumbUrl":42441,"material":139,"size":139,"collection":139,"collections":42442,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},227959,"ya-zi-zhen-ji-zhu-ke-rou-227959","鸭子真迹","朱克柔","此作用缂丝之艺摹绘水畔小景，紫鸭静立石上，抬首远眺，神态悠然舒展，将水禽野逸之态尽显。羽色以淡紫晕染，层次柔润细腻，将绒羽蓬松质感逼真呈现。旁侧墨竹挺劲清逸，枝叶错落舒展，虚实相生间烘托出幽寂雅致的水汀氛围。整体兼工带写，以丝代笔，既保留了工笔的细腻精致，又暗含文人写意的疏朗意趣。配色淡雅和谐，含蓄审美藏于方寸之间，将禽鸟野趣与清雅意境相融，尽显缂丝工艺与花鸟意趣的绝妙结合。",[23,7,24,83,27,28,1061,242,227,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaed484653346668e58fa3412de78120.jpg",[],{"id":42444,"slug":42445,"title":42446,"dynasty":18,"author":823,"museum":364,"description":42447,"tags":42448,"thumbUrl":42449,"material":139,"size":139,"collection":139,"collections":42450,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},227729,"mei-xia-du-shu-tu-ye-xia-gui-227729","梅下读书图页","夏圭的山水画看似简单却饱含意境，“夏半边”的陈设方式在表现山水韵味的基础上具有一定的文人画意味，这种画面的大胆裁剪体现出了中国画“计白当黑”的美学标准，是画面“置陈布势”的重要组成部分。",[23,7,24,81,173,27,29,106,448,174,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46974e98376d3ea1cd40fa451fdba27.jpg",[],{"id":42452,"slug":42453,"title":42454,"dynasty":18,"author":293,"museum":364,"description":42455,"tags":42456,"thumbUrl":42457,"material":139,"size":139,"collection":139,"collections":42458,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},227391,"e-mi-tuo-fo-jie-yin-tu-yi-ming-227391","阿弥陀佛接引图","佛教绘画自东汉传入中国，在魏晋南北朝时期与中国传统绘画融合发展，使佛教绘画呈现出中国化的趋势，又在隋唐时期统治者大力发展佛教的文化背景下发展到一个隆盛的顶峰。佛画风格融合了中国本土文化从而使佛教绘画完全融合于中国传统绘画，形成了中国特有的佛画艺术风格，充分体现出佛教绘画在中国各朝代发展的历程，实际上就是佛教艺术中国化的过程。",[23,7,24,241,259,106,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f039a18240b22680ef7ebbc367140ee.jpg",[],{"id":42460,"slug":42461,"title":5401,"dynasty":18,"author":293,"museum":364,"description":42462,"tags":42463,"thumbUrl":42464,"material":139,"size":139,"collection":139,"collections":42465,"showCount":42114,"zanCount":1547,"manualWeight":48,"mainColor":94},227387,"shu-kui-yi-ming-227387","此画选自《宋人收藏绘本》。 原本应该是一种具有实用功能的扇形面条，但后来以相册的形式转化为草图。 全幅双钩挂满，写有一株蜀葵（古称木槿），花苞无数，第二次绽放，布局和姿态自然生动。 比如花瓣的钩子和叶子的锯齿筋，笔刷都一展身手。 枝条、花萼、叶背也染上了青绿色和多汁的绿色，翻到一旁时，显得十分美丽和真实。 虽非作者印章，但画风具有宋代庭院花画的清秀特点，应该出自南宋画院专家之手。",[23,209,7,24,28,27,83,62,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3504db8c782a0bf56ff3d8e7afbe96.jpg",[],{"id":42467,"slug":42468,"title":42469,"dynasty":204,"author":5076,"museum":364,"description":42470,"tags":42471,"thumbUrl":42472,"material":139,"size":139,"collection":139,"collections":42473,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},227261,"hua-hui-xie-sheng-tu-ce-huang-ju-cai-227261","花卉写生图册","黄居寀(933—?),字伯鸾,成都(今属四川)人,五代后蜀名画家黄筌季子。擅绘花竹禽鸟,精于勾勒,用笔劲挺工稳,填彩浓厚华丽,其园竹翎毛形象逼真,妙得自然;怪石山水超过乃父。与父同仕后蜀,为翰林待诏。乾德三年(965)随蜀主降宋,进京供职宫廷,仍授翰林待诏,负责收罗和鉴定名画,淳化四年(993)曾出使成都府。太宗尤加宠遇,委以搜访名画、诠定品目只重责。",[209,7,24,81,27,28,83,84,604,710,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc391f878cf5f9eadb56dcc0c84f4c326.jpg",[],{"id":42475,"slug":42476,"title":42477,"dynasty":76,"author":42478,"museum":12966,"description":42479,"tags":42480,"thumbUrl":42481,"material":139,"size":8408,"collection":90,"collections":42482,"showCount":42114,"zanCount":1547,"manualWeight":48,"mainColor":94},224544,"mo-song-tu-weng-fang-gang-224544","墨松图","翁方纲","翁方纲（1733—1818），字正三，号覃溪，晚号苏斋，顺天大兴（今属北京市）人。清乾隆十七年（1752年）进士，官至内阁学士。翁方纲精于考据、金石、书法之学，又是清代'肌理说'诗论的倡始人。书学欧、虞，谨守法度。尤善隶书，相传翁方纲能在瓜子仁上书写小楷字，功力精熟可见一斑。《清朝书画录》把他和刘墉、梁同书、王文治齐名，并称'翁、刘、梁、王'。亦与刘墉、成亲王永瑆、铁保齐名，称'翁刘成铁'。",[23,7,24,209,173,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34613a6fbd97265e1f60882c39df8312.jpg",[90],{"id":42484,"slug":42485,"title":42486,"dynasty":76,"author":707,"museum":364,"description":42487,"tags":42488,"thumbUrl":42489,"material":139,"size":139,"collection":139,"collections":42490,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},224184,"hua-niao-cao-chong-tu-ba-03-hua-yan-224184","花鸟草虫图八-03","此作兼工带写，以淡逸之笔绘就秋日常景。瓜藤迤逦缠绕，墨竹穿插其间，劲挺竹叶以浓墨挥写，尽显清刚意态。没骨晕染的瓜叶鲜活舒展，浓淡过渡自然。赭色螳螂静伏叶间，秋虫攀附艳色黄花，草虫刻画细腻逼真，灵动如生。\n右上角题诗呼应画境，将秋野闲逸之趣融于诗画。整体设色柔和雅致，笔意松灵秀逸，把寻常小景晕染出诗意禅味，尽显文人写意的空灵隽秀，将秋日郊野的生机野趣娓娓道来。",[23,7,24,81,27,83,603,242,15873,1003,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c969a769d5bae547a54eea345c4adb1.jpg",[],{"id":42492,"slug":42493,"title":42494,"dynasty":18,"author":293,"museum":206,"description":42495,"tags":42496,"thumbUrl":42499,"material":40,"size":42500,"collection":139,"collections":42501,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},223586,"hua-qian-shou-qian-yan-guan-shi-yin-pu-sa-yi-ming-223586","画千手千眼观世音菩萨","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，他的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[23,209,7,24,241,259,9254,28,27,9253,106,5713,42497,26134,261,42498,4860,9635],"千手千眼","光环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeb00110c2af854cb19eb6e127dce762.jpg","176.8公分横：76.2公分",[],{"id":42503,"slug":42504,"title":5896,"dynasty":76,"author":12676,"museum":364,"description":42505,"tags":42506,"thumbUrl":42507,"material":803,"size":42508,"collection":139,"collections":42509,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":94},223372,"lan-tu-yun-xiang-223372","清代女道士，无锡人，生卒年不详，俗姓王，名静莲，一名岳莲。自幼出家于惠山福慧双修庵，后自度为女道士。因慕明末秦淮八艳之一卞玉京为人，故取号玉井道人，又号清微道人。韵香能书擅画，尤擅画兰。韵香收藏有《空山听雨图册》，韵香将此图册视为生家性命，因图册佚失，她特地请画家文人重新作图题诗，不料图册再度佚失，韵香因此遭受打击，心灰意懒，不久即离开了人世。韵香死后，《空山听雨图册》几经流转，散而复聚，最后归于无锡博物院。\n《空山听雨图册》外尺寸为横25.5厘米×纵36.5厘米，每开画心尺寸不一，其名称缘于清代金石书画家奚冈为韵香所作《空山听雨图》。今图册中有吴让之所题隶书“空山听雨图”，并跋云：“清微道人有奚铁生所画空山听雨图，生平寄意在此，乞一时名贤题咏……”奚冈所作《空山听雨图》原作佚去，奚冈生卒年为1746—1803年，此图的创作年代不会晚于1803年。无锡博物院所收藏的《空山听雨图》共有5开，吕培一开，作于壬申（1821年）首夏。许乃谷一开，未署年款，落款注明“清微道人属写”。沈梧两开，分别作于同治甲子（1864）年、乙丑（1865）年。叶衍兰一开，作于光绪丁丑（1877）年。沈叶二图当为后世藏家追慕前贤，作图以示敬仰之意。吕培所作为浅设色，许乃谷所作为水墨，二人均用米家云山图写之，水渚烟树小阁，濛潆凄迷。奚冈原作虽不可见，从吕许二人所作云山图可以想象原作大致面貌。\n《空山听雨图》有上百人题咏，其中刘墉一开，其题咏不会晚于刘墉卒年1804年。洪亮吉、赵怀玉同题于一开，分别为1804年和1805年。刘洪赵这二开当为《空山听雨图》未佚失前的原有题咏。（赵钦仁辑）",[23,209,7,24,25,173,452,245,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098d109487c7c07d1876d37c94f78122.jpg","28x383厘米",[],{"id":42511,"slug":42512,"title":42513,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":42514,"thumbUrl":42515,"material":67,"size":10518,"collection":139,"collections":42516,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},223073,"hong-lou-meng-59-sun-wen-223073","红楼梦59",[23,7,24,25,28,27,26,23999,24000,106,758,107,29,109,1184,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce03b42f75b32d3656103e5544ed7796.jpg",[],{"id":42518,"slug":42519,"title":42520,"dynasty":76,"author":42521,"museum":615,"description":42522,"tags":42523,"thumbUrl":42525,"material":724,"size":42526,"collection":90,"collections":42527,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},222806,"hua-niao-zhen-qin-tu-you-cui-222806","花鸟珍禽图","尤萃","图绘山脚坡石之间，流溪如练，天竹数丛，卓秀多姿。野生蔷薇，随风摇曳。丛丛簇簇的幽兰，各放馨香。树下一双美雉，悠然唱和，美丽动人。石后文杏高耸，繁花缀满枝头，鹦鹉停息树梢，双燕穿飞花间。一个鸟语花香的世界。",[23,7,24,28,27,83,448,224,42524,176,62,225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灵芝祥瑞”的寓意。图上自题：“天台白松 高凤翰左手 祝”。",[23,209,7,24,241,173,1575,176,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108d7a22714402bfdc04e275079a27eb.jpg","105x34cm",[181,163],{"id":42545,"slug":42546,"title":42547,"dynasty":99,"author":1996,"museum":276,"description":5506,"tags":42548,"thumbUrl":42549,"material":619,"size":5510,"collection":139,"collections":42550,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},222564,"hua-hui-tu-3-chen-chun-222564","花卉图3",[23,209,7,24,83,446,173,27,84,245,227,1086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34c461d6fd907b9261669a6aad2bf19.jpg",[],{"id":42552,"slug":42553,"title":42554,"dynasty":99,"author":1996,"museum":276,"description":5506,"tags":42555,"thumbUrl":42556,"material":619,"size":5510,"collection":139,"collections":42557,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},222559,"hua-hui-tu-11-chen-chun-222559","花卉图11",[23,7,24,83,446,27,173,84,1135,1063,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcd1dfcc3d68a8385963786e0c07ab3.jpg",[],{"id":42559,"slug":42560,"title":42561,"dynasty":99,"author":337,"museum":206,"description":42562,"tags":42563,"thumbUrl":42564,"material":4434,"size":139,"collection":181,"collections":42565,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},222526,"mo-bi-shan-shui-zhou-wang-fu-222526","墨笔山水轴","明代画家王绂（1362-1416）为无锡人，号九龙山人、鳌叟。其画以墨竹最为知名，山水则承续元代文人画风，为吴派前驱。王绂密布层迭岩垒及林木，近景临岸渔船，一艘似正炊煮，一艘则在用餐，船上张挂着披晒的衣物；中景船只则正收拾风帆；右方山路行旅也疾疾赶路入城，一派日暮归人景致。\n乾隆皇帝于旅程中欣赏此图时，并非草草展阅山水大势，而是连小小的舟中生活都注意到了，并成为他吟咏的重心，由此可感受到他品画时的细腻与留心。",[7,556,241,177,29,34,1575,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f6a38fa5ce0f20cabdeca5c267ff32.jpg",[181,163],{"id":42567,"slug":42568,"title":42569,"dynasty":99,"author":26281,"museum":675,"description":42570,"tags":42571,"thumbUrl":42572,"material":990,"size":42573,"collection":181,"collections":42574,"showCount":42114,"zanCount":1547,"manualWeight":48,"mainColor":49},222386,"shi-jia-mu-ni-tu-zhou-ding-yun-peng-222386","释迦牟尼图轴","此图重色绘山石、松木，佛祖释迦牟尼坐于蒲团之上，着宽袍，双手搭膝，下巴置于手上沉思悟道。画面以青绿山水的画法绘环境，古松粗壮茂盛，松针描画精细，白衣人物在山石的青绿之间格外突出。",[23,7,209,241,259,28,27,106,29,1575,650,9930,5421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52cc841ece026ee2bfb0bfd92cfa7b8b.jpg","140.7×58cm",[181,45],{"id":42576,"slug":42577,"title":42578,"dynasty":99,"author":24267,"museum":6040,"description":24300,"tags":42579,"thumbUrl":42580,"material":27,"size":42581,"collection":181,"collections":42582,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},222374,"mao-shi-tu-li-zhou-zhou-chen-222374","毛诗图立轴",[23,7,24,241,173,27,28,177,29,106,394,1015,35,31,1061,1445,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e12fdc6c23cc97a6172a922d5bc6c1.jpg","54．70x38．40cm",[181,163],{"id":42584,"slug":42585,"title":42586,"dynasty":99,"author":1480,"museum":20,"description":42587,"tags":42588,"thumbUrl":42589,"material":1449,"size":42590,"collection":139,"collections":42591,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},222345,"tong-yin-qing-meng-tu-zhou-tang-yin-222345","桐荫清梦图轴","本幅行书自题七绝诗一首：“十里桐阴覆紫苔，先生闲试醉眠来；此生已谢功名念，清梦应无到古槐。唐寅画。”钤“吴趋”朱文圆印、“唐寅私印”白文方印、“唐阿大”朱文方印。鉴藏印有“松莲鑑定”白文方印、“东吴王莲泾藏书画记”朱文长方印等。\n《桐阴清梦图》以人物画为题材，抒发画家的生活遭遇和感受。此图用水墨白描手法，画梧桐一株，桐阴坡石处一人仰面闭目，坐於交椅之上，神情生动自然。构图简洁，用笔洗练，风格洒脱，韵致清逸，是唐寅白描人物画佳作。诗、书、画相得益彰。虽未署年款，但从题诗内容可以看出，此图是他在科场案受打击回苏州后所作，是画家看破尘事，不再追求功名，从此幽居林下的写照。\n唐寅为人性情疏朗，生活放诞，许多关於他的传说故事广为流传，妇孺皆知。他的诗、曲、书、画均颇有成就，尤以画名为最著，题材广泛，山水、人物、花鸟、竹石无一不精。曾以周臣为师，青出于蓝，并从宋元诸名家绘画中汲取营养，特别在继承南宋李唐、刘松年传统画法上有新的发展，形成了自己严谨秀逸的画风，成就突出，影响深远，在书史上有很高地位，是明代中期文人画的重要代表，与沈周、文徵明、仇英并称“吴门四大家”。\n未见著录。",[23,7,24,241,173,446,106,16310,245,9930,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07f74a6824f94c71cbee55f1249e612.jpg","纵62厘米，横30.9厘米",[],{"id":42593,"slug":42594,"title":34153,"dynasty":99,"author":1480,"museum":20,"description":42595,"tags":42596,"thumbUrl":42597,"material":2021,"size":34157,"collection":181,"collections":42598,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":94},222339,"you-ren-yan-zuo-tu-zhou-tang-yin-222339","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。\n本幅右上有清代书法家王澍于雍正丁未年（雍正五年，1727年）十二月的题识，叙述了自己收藏此图并馈赠给惠山听松庵僧的经过。裱边及包首外签有当代书画家和鉴定家吴湖帆在庚寅年（1950年）为仲麟题签并记，文中除了记载王澍所云之事外，对惠山听松庵收藏的其他古代名画如王绂《竹炉图》的流传作了介绍，并对时事离乱之际文物的劫难发出了感喟。",[23,7,24,241,173,177,29,175,34,176,109,106,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d12d445bfae2e8d760c703ae5c64b78.jpg",[181,163],{"id":42600,"slug":42601,"title":42602,"dynasty":99,"author":100,"museum":56,"description":42603,"tags":42604,"thumbUrl":42605,"material":40,"size":42606,"collection":139,"collections":42607,"showCount":42114,"zanCount":1547,"manualWeight":48,"mainColor":94},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履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画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[23,7,24,25,27,28,26,178,227,29,106,174,7741,34,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":42609,"slug":42610,"title":42611,"dynasty":99,"author":4904,"museum":206,"description":32630,"tags":42612,"thumbUrl":42613,"material":27,"size":42614,"collection":90,"collections":42615,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},222180,"hua-niao-shan-mian-lu-zhi-222180","花鸟扇面",[23,7,1562,27,83,450,224,298,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe186c518a951a238ca279262f34bd2f5.jpg","纵31厘米、横61厘米",[90,45],{"id":42617,"slug":42618,"title":42619,"dynasty":99,"author":4904,"museum":56,"description":42620,"tags":42621,"thumbUrl":42622,"material":173,"size":42623,"collection":139,"collections":42624,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":94},222174,"fang-zhao-meng-jian-shui-xian-tu-lu-zhi-222174","仿赵孟坚水仙图","本幅墨色更淡，已近白描，长卷中水仙花开，风姿绰约，细叶舒展，清新自然。技法上，以细线勾勒出每一个花叶，笔致细劲挺秀。陆治，字叔平，明代画家，工山水、花鸟，好诗词，善书法。",[23,7,24,25,260,173,105,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155fe574b2ec859a2c1b8442ae497d02.jpg","36×1067.3cm",[],{"id":42626,"slug":42627,"title":42628,"dynasty":189,"author":42629,"museum":20,"description":42630,"tags":42631,"thumbUrl":42632,"material":803,"size":42633,"collection":90,"collections":42634,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},221829,"shui-xian-tu-can-juan-wang-di-jian-221829","水仙图残卷","王迪简","王迪简[元]字庭吉，号蕺隐，新昌（今浙江新昌）人，南宋遗民（公元13世纪末），生卒年不详。，终生隐逸于浙江绍兴乐郊蕺山之阳，善画水仙，亦善山水。所绘水仙布局繁密，繁而不乱，花叶穿插、伸展、俯仰自如，层次分明，恣态生动，淡墨渲染，恬淡雅逸，画风与南宋赵孟坚相近",[23,7,24,25,260,451,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277d45077ca97bfec784e17da06c3c1d.jpg","39X415",[90,163],{"id":42636,"slug":42637,"title":8841,"dynasty":189,"author":3741,"museum":20,"description":42638,"tags":42639,"thumbUrl":42640,"material":40,"size":42641,"collection":163,"collections":42642,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":49},221817,"zhu-shi-tu-zhou-li-kan-221817","元李衎竹石图轴为元代李衎所绘，绢本，设色。纵185.5厘米，横153.7厘米。藏故宫博物院。该幅图未署名款，钤印两方，已残缺，可见“李”、“息”字。诗塘有明代李东阳的小草题记，也为此画增色不少。该幅“竹石图”是李衎的名作之一。图中竹以双勾填色而成，工整而有韵味，设色而又雅致，竹繁而不乱，表现了春天大自然中万物复苏、生机勃勃景色，有二杆新竹已与老竹并肩齐趋，让人联想到雨后春笋猛发的情景。坡上山石以细披麻皴画出，黑色沉重，以压阵角，石后穿插小竹野树，富有变化。",[23,7,24,241,173,28,177,242,431,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae45236279f406d24f6f02f8275daac.jpg","纵185.5厘米，横153.7厘米",[163,2293],{"id":42644,"slug":42645,"title":42646,"dynasty":18,"author":1650,"museum":206,"description":42647,"tags":42648,"thumbUrl":42649,"material":123,"size":3189,"collection":139,"collections":42650,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},221524,"yue-ye-bo-ruan-zhou-ma-yuan-221524","月夜拨阮轴","画中采用了大量留白，近处只刻画一角。画中人物独坐，如痴如醉的弹奏阮琴，只有一只仙鹤为伴。远处层峦山脉，马远只用寥寥几笔带出，在无尽的留白中，一轮满月轻悬于空。\n马远的画作以小见大，“一沙一世界，一树一菩提”，马远所画一角，便能呈现出广袤无际的天地。",[23,7,209,24,241,173,177,29,242,300,491,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa301730172f5443a0e5a99c9f55ffb2b.jpg",[],{"id":42652,"slug":42653,"title":42654,"dynasty":18,"author":553,"museum":206,"description":5478,"tags":42655,"thumbUrl":42656,"material":67,"size":42657,"collection":139,"collections":42658,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},221387,"bao-shan-shi-jing-ce-fan-kuan-221387","包山十景册",[23,209,7,24,81,27,29,176,34,1255,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a3b1370dc9ee21fc24baeb7fb8ad8.jpg","30.2x31.8",[],{"id":42660,"slug":42661,"title":42662,"dynasty":18,"author":18691,"museum":276,"description":42663,"tags":42664,"thumbUrl":42665,"material":27,"size":42666,"collection":42,"collections":42667,"showCount":42114,"zanCount":1547,"manualWeight":48,"mainColor":49},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[23,7,209,24,25,27,28,106,29,1329,430,86,227,505,18694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[23,7,24,25,173,177,29,176,34,35,111,491,10416,1575,40149,37,4975,114,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[181],{"id":42728,"slug":42729,"title":42730,"dynasty":99,"author":42731,"museum":515,"description":42732,"tags":42733,"thumbUrl":42736,"material":123,"size":42737,"collection":181,"collections":42738,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":49},220036,"xi-shan-mu-yun-tu-zhang-lun-220036","溪山暮云图","张伦","左上自题王维《过香积寺》诗：“不知香积寺，数里入云峰。古木无人径，深山何处钟？泉声咽危石，日色冷青松。薄暮空潭曲，安禅制毒龙。”款署：“摹元人笔法，时甲辰秋前二日，画于披月草堂，瘦生张伦。”图录于《艺苑掇英》第三十五期。艺术活动约在嘉靖、万历间。",[23,7,209,173,29,241,108,109,6398,176,35,18020,86,42734,177,259,42735],"摹古","薄暮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0da047626d853db8b7883f88e25a34c.jpg","纵174.5厘米，横78.8厘米",[181],{"id":42740,"slug":42741,"title":42742,"dynasty":76,"author":1394,"museum":675,"description":5682,"tags":42743,"thumbUrl":42744,"material":88,"size":5685,"collection":382,"collections":42745,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},220003,"shan-shui-ce-wen-wang-shi-min-220003","山水册-文",[7,24,81,178,227,105,29,27,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f19818f6e779018292122be7bfb88.jpg",[382],{"id":42747,"slug":42748,"title":42749,"dynasty":99,"author":26281,"museum":539,"description":42750,"tags":42751,"thumbUrl":42752,"material":88,"size":42753,"collection":181,"collections":42754,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":94},219750,"liu-ruan-tian-tai-tu-ding-yun-peng-219750","刘阮天台图","石缘林漱玉凉，远上紫逻更苍苍。溪边列树云和静，洞口落寞水亦香。作记未应拟彭泽，成诗早见有曹唐。浙东仙境依然在，可复双鬟待二郎。乾隆戊寅春御题",[23,7,209,241,28,27,227,29,106,34,176,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151f3ed0233acb65b06439368bfeb4ac.jpg","纵136.7横33.5厘米",[181],{"id":42756,"slug":42757,"title":1692,"dynasty":189,"author":25426,"museum":752,"description":42758,"tags":42759,"thumbUrl":42760,"material":342,"size":42761,"collection":181,"collections":42762,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},219729,"shan-shui-tu-fang-cong-yi-219729","右侧危崖壁立，飞泉隐于崖间垂落，左侧峰峦逶迤向远，留白晕染出浩渺烟波，虚实之间拉开山水纵深。以干笔皴擦勾勒山石肌理，苍劲老辣，林木仅以简笔点染，便生幽荒野趣。山脚村居错落藏于林泉，淡墨晕开水色，将山野幽寂缓缓铺陈。\n\n题跋朱印错落排布，诗书画印浑然一体，将元人隐逸的林下意趣藏于笔墨。整幅简淡萧疏，以笔意写尽胸中丘壑，把林泉高致的雅逸缓缓吐露，尽显超脱世外的静穆淡远。",[23,7,24,241,173,177,29,864,431,34,560,35,491,37,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c821d8821366e88035d7a9739c0afbb.jpg","73x59.6",[181],{"id":42764,"slug":42765,"title":42766,"dynasty":76,"author":24629,"museum":101,"description":42767,"tags":42768,"thumbUrl":42769,"material":342,"size":42770,"collection":181,"collections":42771,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},219710,"tian-tai-yi-song-tu-dai-ben-xiao-219710","天台异松图","《天台异松图》清 戴本孝 此图意写天台山水，山岩相叠，石桥飞架，怪松参差其间，飞泉直下，一老者隐居于此。巨壑皴写不繁，枯笔勾廓，以渴墨稍事皴擦，意境荒寒幽僻，深得元人气韵。\n图中左上角作者题款：天台异松，前人尝为之图，陆龟蒙记而赞之。曩从好事家见有摹本，未善也，因追以意图之。近闻异松已多归于冥漠。盖天地山川之奇，一经为尘眼所狎，自不能久。如此不觉兴慨也。鹰阿山天根樵夫本孝似君老道兄粲鉴，时丁卯长至。",[7,24,173,177,29,449,558,650,560,561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c55221cddc6bd4a49aac3df454856d0.jpg","169.9×76.2cm",[181],{"id":42773,"slug":42774,"title":42775,"dynasty":76,"author":17651,"museum":206,"description":42776,"tags":42777,"thumbUrl":42778,"material":88,"size":42779,"collection":90,"collections":42780,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":94},219651,"dong-li-xiu-se-tu-yu-sheng-219651","东篱秀色图","以没骨晕染绘就秋菊数本，黄紫菊瓣蓬松柔润，敷色雅致清妍，毫无艳俗之感。叶片以淡赭勾筋、绿墨晕染，枯荣交叠，将秋霜侵染后的清隽姿态尽显。坡石细草点缀其间，衬出幽寂清旷的篱边秋境。\n\n整幅画作兼工带写，写生精准又饱含文人写意悠然，配搭题咏书画合璧，将菊花凌霜自持的君子风骨尽融笔底，诠释出东篱赏菊的古典雅韵，尽显秋日花绘的雅致格调。",[7,28,27,83,453,298,1064,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85c50a6857276b799ebb1f6a3c6622e6.jpg","84.3x67.8",[90],{"id":42782,"slug":42783,"title":42784,"dynasty":99,"author":293,"museum":7875,"description":42785,"tags":42786,"thumbUrl":42787,"material":123,"size":42788,"collection":44,"collections":42789,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},219620,"ming-ren-lao-zi-chu-guan-tu-yi-ming-219620","明人老子出关图","古松虬劲盘绕城关，苍枝舒展如盖。老子安卧牛车之中，仆从前后相随，道童负囊循山径而来，行旅意态松弛悠然。远景山峦以斧劈皴挥写，雄奇险峻间晕染流岚云雾，晕化开山林的幽深空寂。画作以山水衬行旅，将道家归隐出关的澹然意趣，融于苍阔山景之间，人物刻画细腻生动，山水笔力刚劲爽利，把出世的超脱与山川的雄浑相融，尽显古典山水人物画的雅致意韵，藏着悠远沉静的道家风骨。",[7,24,209,241,27,106,29,107,900,151,154,430,176,177,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b3b3a50865b6183c2ae52a94aaca214.jpg","纵140.3横67.5厘米",[44],{"id":42791,"slug":42792,"title":42793,"dynasty":99,"author":4904,"museum":206,"description":42794,"tags":42795,"thumbUrl":42796,"material":27,"size":42797,"collection":44,"collections":42798,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},219460,"dan-lin-cui-zhang-tu-lu-zhi-219460","丹林翠嶂图","本幅以狭长画面安排景物布局，桃树繁密，变化丰富。以尖细折线勾勒山石轮廓，用笔方劲，青绿敷染细致。惜因构图过于充塞，虽工细精道，略少自然之态。",[7,24,241,27,177,29,34,2238,176,35,106,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc15e51996325c5786e52bffb0c5e172.jpg","90.2x30.7",[44],{"id":42800,"slug":42801,"title":42802,"dynasty":99,"author":4904,"museum":206,"description":42803,"tags":42804,"thumbUrl":42805,"material":27,"size":42806,"collection":45,"collections":42807,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},219459,"chun-geng-tu-lu-zhi-219459","春耕图","枯木疏枝间，春信暗生。农人执缰牵牛，缓步林间，牛蹄轻踏新萌的草色，似触到泥土苏醒的温度。前景孩童与幼畜嬉戏，憨态跃然纸上，为静谧春郊注入活泼意趣。笔墨简洁雅致，线条勾勒传神，枯树虬枝的苍劲与嫩草的轻软相映，尽显初春田园的质朴生机。画面未着浓艳色彩，却以日常劳作与嬉戏的细节，铺展耕读人家的恬淡岁月，于简淡中藏真趣，于寻常处蕴温情，让人沉浸在那份悠然自得的春日氛围里。",[7,24,241,28,27,151,106,1015,1159,227,21726],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dc445f537eb335e6d015ab4d279241.jpg","59.4x30厘米",[45],{"id":42809,"slug":42810,"title":25132,"dynasty":18,"author":351,"museum":206,"description":42811,"tags":42812,"thumbUrl":42813,"material":123,"size":42814,"collection":44,"collections":42815,"showCount":42114,"zanCount":1547,"manualWeight":48,"mainColor":49},219308,"san-yang-kai-tai-tu-qian-xuan-219308","本幅画巨岩青松下，一童骑羊，手持斜挂鸟笼的梅枝，其后跟随二羊。「羊」与「阳」谐音，「三阳」为易经中的乾坤交泰卦象，显示天地间万物皆有生意，为吉祥表征。画中款题钱选，诗塘亦有清代姚文田敬书乾隆御制诗题，是为作者名称由来。然而本幅画风与元初文人画家钱选的作风差距甚远，应为明代晚期假托名家且具有吉庆意味的作品。",[7,24,27,28,106,957,449,176,86,1195,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8769a1d46532f390e5b84462dde32b02.jpg","122.4x49.9",[44],{"id":42817,"slug":42818,"title":42819,"dynasty":99,"author":26281,"museum":206,"description":42820,"tags":42821,"thumbUrl":42822,"material":173,"size":42823,"collection":163,"collections":42824,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":94},219296,"shi-jia-mu-ni-fu-zhou-ding-yun-peng-219296","释迦牟尼佛轴","此帧画法相庄严的释迦牟尼佛，其双手结禅定印，结跏趺坐于娑罗树下。通幅全用墨笔钩染，不着颜色。人物衣纹线条圆润流畅，释迦牟尼佛身后的老树盘结，树叶或以墨点，或用钩勒，墨色虽有深浅的变化，但已具装饰性。全作笔法生动而富变化，别有一种古拙浑厚的意趣。此帧款云：「佛子丁云鹏敬写」，但未署年款。根据它的画风特色与幅上两则邹之麟的题识，推测此画当成于1606年以后，约为丁氏六十余岁之作。",[7,24,241,259,106,260,173,394,298,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79db6107aefbfd5dd16156dfd05f3f4.jpg","156.8x53.1",[163],{"id":42826,"slug":42827,"title":42828,"dynasty":18,"author":7349,"museum":206,"description":42829,"tags":42830,"thumbUrl":42831,"material":123,"size":42832,"collection":90,"collections":42833,"showCount":42114,"zanCount":48,"manualWeight":48,"mainColor":49},219208,"fu-rong-shui-niao-tu-liang-kai-219208","芙蓉水鸟图","萧瑟水岸，枯树疏斜如铁线横陈，枝桠间栖一水鸟，羽翼敛着清寂，目光落向粼粼水面。几瓣芙蓉柔艳，绽在枯梢旁，刚柔相映成趣。水面如镜，水禽悠游，涟漪轻漾；远空淡雾里，飞鸟掠过，影迹渐消。墨色层次分明：淡墨晕染天际与水面，似笼薄纱；枯笔勾枝，见苍劲之态；细笔点花叶，藏雅致之韵。简笔不简意，疏放中含细腻，将宋人的闲远心境融于尺幅。万物自在，清寂里透着生机，仿佛能闻水禽划水轻响，风过枝叶微声，意境悠远，耐人寻味。",[23,7,209,1562,27,28,450,5158,281,1015,490,2522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9624696a3ecaca950aa26973ca863c4.jpg","纵25.1厘米，横25.1厘米",[90],{"id":42835,"slug":42836,"title":8582,"dynasty":189,"author":293,"museum":132,"description":42837,"tags":42838,"thumbUrl":42839,"material":123,"size":42840,"collection":90,"collections":42841,"showC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这些团体是不同的，而且剧情也不同。有几个小组只有一个人，但很多小组有几十个人。在群体之间，他们被那些回头看的人和搔首弄姿的人联系起来，以一种自然的方式不留痕迹地过渡。这确实是运动和起伏的组合。",[23,7,24,25,259,106,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F564d9e1b9d92f19ebe7c9da066bf364a.jpg","34.6x893",[44],{"id":42897,"slug":42898,"title":42899,"dynasty":189,"author":30671,"museum":206,"description":42900,"tags":42901,"thumbUrl":42902,"material":123,"size":42903,"collection":181,"collections":42904,"showCount":42114,"zanCount":5,"manualWeight":48,"mainColor":49},218167,"jing-xi-tu-chen-ru-yan-218167","荆溪图","《元陈汝言荆溪图》是一幅中国古画，作者是陈汝言，现为台北故宫博物院收藏。此图画是应当地望族王氏后人的请求而画。近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。于古画中亦为奇格。",[23,7,24,29,173,177,27,864,297,430,1575,108,109,175,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa2acf84548c365b1717352065375a2.jpg","纵129厘米 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公分",[],{"id":43264,"slug":43265,"title":43266,"dynasty":18,"author":538,"museum":364,"description":43267,"tags":43268,"thumbUrl":43269,"material":139,"size":139,"collection":139,"collections":43270,"showCount":42970,"zanCount":48,"manualWeight":48,"mainColor":49},230968,"yun-shan-die-cui-tu-zhou-mi-fei-230968","云山叠翠图轴","此作用水墨晕染摹写江南烟峦，以米点皴晕出山麓林泽的苍润郁茂。层叠峰岫在流荡的云雾中半隐半现，虚实交错间晕开空濛幽远的氤氲之气，将江南烟雨的朦胧柔婉尽显。\n下方平林村居，屋舍错落清溪蜿蜒，林木苍黑如黛，山野的静谧闲适扑面而来。全画脱却工细刻画，笔墨简淡随性，以氤氲水墨营造出如梦似幻的烟岚世界，将自然山水的灵秀与文人写意的雅趣相融，传递出悠然淡远的山居意趣，尽显水墨山水空濛雅致的独特风韵。",[23,209,7,24,241,173,177,29,1329,864,175,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a45a3b012870db385d33969b86cdc64.jpg",[],{"id":43272,"slug":43273,"title":43274,"dynasty":99,"author":100,"museum":364,"description":4523,"tags":43275,"thumbUrl":43276,"material":743,"size":744,"collection":139,"collections":43277,"showCount":42970,"zanCount":48,"manualWeight":48,"mainColor":49},230958,"zhou-mao-shu-ai-lian-tu-li-zhou-chou-ying-230958","周茂叔爱莲图立轴",[23,209,7,24,241,28,27,26,106,29,136,33,1532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4d5dc2dd8cfd1a2c256dea70deac6c.jpg",[],{"id":43279,"slug":43280,"title":43281,"dynasty":76,"author":1394,"museum":364,"description":43282,"tags":43283,"thumbUrl":43284,"material":139,"size":139,"collection":139,"collections":43285,"showCount":42970,"zanCount":5,"manualWeight":48,"mainColor":94},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,7,209,29,27,177,81,864,297,558,560,34,176,37,4614,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":43287,"slug":43288,"title":43289,"dynasty":99,"author":16869,"museum":364,"description":43290,"tags":43291,"thumbUrl":43292,"material":139,"size":139,"collection":139,"collections":43293,"showCount":42970,"zanCount":48,"manualWeight":48,"mainColor":49},228375,"lin-wang-meng-tai-bai-shan-tu-du-qiong-228375","临王蒙太白山图","此作用笔苍劲秀密，以披麻皴绘就层峦叠嶂，苔点疏密错落，尽显山岩浑厚华滋，林麓幽深静谧。湖面空阔清寂，村舍星点隐于林木沟壑间，野趣悠然自生，将江南山居的幽恬之景铺展尽致。\n卷尾长题书法俊逸朴拙，诗画相融，复刻原作幽淡萧散的山水意韵，又自蕴沉静内敛的文人意趣。观之如随幽人策杖穿行泉石间，煮茶观云，坐看烟岚漫过山腰，隐见林泉雅事，把林下高致的隐逸之思晕染在笔墨山河中。",[23,7,24,25,173,27,177,105,29,30,34,35,31,174,281,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],{"id":43295,"slug":43296,"title":1861,"dynasty":189,"author":293,"museum":364,"description":43297,"tags":43298,"thumbUrl":43299,"material":743,"size":744,"collection":139,"collections":43300,"showCount":42970,"zanCount":48,"manualWeight":48,"mainColor":49},228230,"guan-yin-yi-ming-228230","以淡逸铁线白描勾勒造像，衣纹圆转舒和如流云垂落，将观音静定安和的神态晕染开来。淡描头光不着浓色，愈发衬出造像澄澈出尘的气质。\n\n上方题字朴拙苍劲，率意天真，笔墨意趣与造像的清寂禅心相融相合，文与画互为表里。整幅舍去敷色繁饰，以极简笔墨托出慈悲空寂之态，将禅门万象皆空之理藏于素净纸面，于简淡之中见至深佛韵，观之令人俗念渐消，心神安谧。",[23,7,24,241,260,259,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf1fc1fccfe0241e7cf06c9f7628590.jpg",[],{"id":43302,"slug":43303,"title":6535,"dynasty":189,"author":10811,"museum":364,"description":43304,"tags":43305,"thumbUrl":43306,"material":139,"size":139,"collection":139,"collections":43307,"showCount":42970,"zanCount":48,"manualWeight":48,"mainColor":49},228163,"hua-niao-tu-ye-wang-yuan-228163","此作工写兼融，敷色清柔淡雅。枝桠苍劲古拙，梅花清逸绽放，山茶柔艳含娇，笔墨秀雅细腻，将花木妍态尽展。枝头禽鸟造型工致写实，蓝羽红腹晕染柔和灵动，抬首凝视间生机暗藏。浅淡竹叶衬于下方，愈发衬得画面清寂雅致。整幅既具院体花鸟的精工细致，又蕴含文人画的澹远意趣，褪去浓艳俗态，将春日花鸟的悠然意态晕染开来，尽显幽淡平和的雅致意境，是工笔花鸟之中别具韵致的精妙佳构。",[7,24,209,27,28,83,448,327,224,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a089108778c2a97fb4773d6b972852.jpg",[],{"id":43309,"slug":43310,"title":43311,"dynasty":18,"author":1650,"museum":364,"description":43312,"tags":43313,"thumbUrl":43317,"material":139,"size":139,"collection":139,"collections":43318,"showCount":42970,"zanCount":5,"manualWeight":48,"mainColor":49},227641,"cu-ju-tu-ma-yuan-227641","蹴鞠图","在汉代，由于汉高祖刘邦这位“超级球迷”的推行，蹴鞠逐渐发展成为一项非常专业化的运动，皇宫内开始出现专业足球场，即所谓“鞠城”，设有围墙和看台。比赛分两队，双方各有队员十二名，以踢入球门的球数多少来决定胜负，是现代足球的雏形。据说，此后西汉的皇帝如汉武帝刘彻、汉成帝刘骜都酷爱踢球，刘彻踢球时，还令其文学侍从作《蹴鞠赋》助兴。\n\n有比赛就有球星。施耐庵《水浒全传》中描写的那位——由一个市井泼皮逆袭成为殿前都指挥使的高俅，便是宋朝球技高超，经常陪伺宋徽宗踢球的著名球星。此外，宋代还有一批聚集在北宋汴梁城和南宋临安城内的职业球星，他们定期在皇宫蹴鞠宴会上表演踢球，专门靠踢球技艺维持生活，是当时地位较高的职业球星。\n\n南宋时期，宋代的球员还组织了博纳养生杯，相当于今 天的中超联赛。球员们团体，叫做“齐云社”，是专门的蹴鞠组织，这是我国最早的单项运动协会，而其提倡的志诚、温良、尊重、谦让的十个紧要章程，和戒多言、赌博、猖狂、酒色的十个禁戒，也成为我国最早的球队章程雏形。宋代之后，蹴鞠仍流行于贵族与官吏间。清朝建立以后，爱好溜冰的满人还将其与滑冰结合起来，发明了冰上蹴鞠的花样运动形式。直到1863年，现代足球运动在英国诞生，揭开了足球发展的又一历史篇章。",[23,7,2714,27,43314,43315,1015,43316],"蹴鞠","古代体育运动","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1057c9ef70fd3d2f2396ceb9de5bc8f.jpg",[],{"id":43320,"slug":43321,"title":43322,"dynasty":18,"author":26092,"museum":364,"description":43323,"tags":43324,"thumbUrl":43325,"material":139,"size":139,"collection":139,"collections":43326,"showCount":42970,"zanCount":5,"manualWeight":48,"mainColor":49},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[23,209,7,24,241,27,29,106,150,154,15028,34,650,900,107,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],{"id":43328,"slug":43329,"title":43330,"dynasty":18,"author":293,"museum":364,"description":43331,"tags":43332,"thumbUrl":43333,"material":139,"size":139,"collection":139,"collections":43334,"showCount":42970,"zanCount":5,"manualWeight":48,"mainColor":49},227348,"song-zhe-zong-zuo-xiang-yi-ming-227348","宋哲宗坐像","赵佶，即宋徽宗宋神宗赵顼第十一子、宋哲宗赵煦之弟，宋朝第八位皇帝（在位25年，在太上皇位1年零2个月）。元符三年（1100年）正月，宋哲宗病逝，向太后立赵佶为帝。1101年，改年号为“建中靖国”。宋徽宗启用新法，在位初期颇有明君之气，后经蔡京等大臣诱导，政治形势一落千丈，后金国兵临城下，受李纲之言，匆匆禅让给太子赵桓，靖康之变后与长子钦宗赵桓被金人俘虏北去。金天会十三年（1135年），宋徽宗赵佶驾崩于五国城，时年54岁。绍兴十二年（1142年）三月，徽宗棺椁被迎回南宋，葬于都城绍兴永祐陵（今浙江省绍兴市柯桥区东南35里处）。宋徽宗在位时信任蔡京、童贯、王黼等奸臣，败坏朝纲，使得北宋滑向灭亡的深渊。宋徽宗在政治上历来被视为荒淫昏聩皇帝的典型。但是他是我国古代帝王中富有艺术气质而且才华横溢的皇帝，他涉猎广泛，琴棋书画，诗词歌赋无一不精，书画方面的造诣更是精妙绝伦，独树一帜。宋徽宗赵佶绘画风格师承前朝名家之精髓，又能够将自身的艺术修养发挥到淋漓尽致，引导着宋画坛之风形成了富丽却不俗套、严谨却不失灵性的“宣和体”。并赋予了北宋院体画以更深的含义——即政教作用。",[7,209,27,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc705d9a43aac8feb6f12c247fcca4a73.jpg",[],{"id":43336,"slug":43337,"title":43338,"dynasty":204,"author":2215,"museum":364,"description":43339,"tags":43340,"thumbUrl":43341,"material":139,"size":139,"collection":139,"collections":43342,"showCount":42970,"zanCount":48,"manualWeight":48,"mainColor":1335},227264,"xi-an-tu-bo-wu-guan-ben-dong-yuan-227264","溪岸图(博物馆本)","《溪岸图》是五代画家董源创作的一幅绢本设色画，现收藏于美国大都会博物馆。\n\n《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[209,7,24,241,177,173,27,29,176,34,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79f4bd7c9a668001f1943f2c22bc8be1.jpg",[],{"id":43344,"slug":43345,"title":43346,"dynasty":76,"author":16745,"museum":364,"description":43347,"tags":43348,"thumbUrl":43349,"material":139,"size":139,"collection":139,"collections":43350,"showCount":42970,"zanCount":48,"manualWeight":48,"mainColor":94},224347,"si-shi-hua-hui-si-qun-xian-ji-zhu-juan-wang-cheng-pei-224347","四时花卉（四）群仙集祝卷","此作以淡赭晕染沙汀坡岸，留白简淡衬出水仙清逸之姿。丛丛水仙错落排布，叶片以中锋运笔勾勒，青绿晕染尽显修长柔韧，舒展间带着挺劲生机。白瓣黄蕊的水仙或聚或散，花瓣勾勒细腻温婉，晕染柔和，将水仙冰肌玉骨的清雅气质尽显无遗。\n\n整体画面简淡空灵，以极简布景烘托出水仙孤高脱俗的品性，带着静穆清和的雅致意趣，将花卉柔美与清雅意境相融，笔致秀逸工丽，设色明洁淡雅，尽显雅致出尘的画中况味。",[23,7,28,27,25,84,451,109,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032bbeab1a7a452a4886295a486f862e.jpg",[],{"id":43352,"slug":43353,"title":43354,"dynasty":99,"author":24704,"museum":364,"description":9345,"tags":43355,"thumbUrl":43356,"material":803,"size":43357,"collection":139,"collections":43358,"showCount":42970,"zanCount":48,"manualWeight":48,"mainColor":49},222699,"zhong-kui-jia-mei-tu-qian-gu-222699","钟馗嫁妹图",[23,209,7,24,25,260,173,28,106,2717,957,7464,505,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26209f23737e8706df0896ba1b8b9f.jpg","33.3*257.5",[],{"id":43360,"slug":43361,"title":43362,"dynasty":99,"author":8289,"museum":206,"description":43363,"tags":43364,"thumbUrl":43365,"material":665,"size":43366,"collection":90,"collections":43367,"showCount":42970,"zanCount":48,"manualWeight":48,"mainColor":49},222407,"hua-fu-rong-bai-lu-zhou-zheng-shi-222407","画芙蓉白鹭轴","郑石，生卒年不详。系明画院中人，自署锦衣百户。\n工画花鸟，其画之风格出自宫廷花鸟画家吕纪。\n画幅之构图和树、石、花鸟的用笔，比之吕纪「秋鹭芙蓉」、「秋渚水禽」，显见在布局上较吕氏为简化。而用笔则不如其细致，有着较明显之提顿变化，渐趋向于浙派晚期之风味。",[23,7,24,241,27,28,83,450,1374,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6580b27108d81173535dc902fb47cdad.jpg","纵144.4厘米，横74.3厘米",[90,45],{"id":43369,"slug":43370,"title":43371,"dynasty":99,"author":100,"museum":20,"description":32123,"tags":43372,"thumbUrl":43373,"material":40,"size":32126,"collection":181,"collections":43374,"showCount":42970,"zanCount":5,"manualWeight":48,"mainColor":49},222220,"nv-le-tu-chou-ying-222220","女乐图",[23,7,28,27,59,210,107,115,106,505,315,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1773ae43fc8291acbb6e1133fb797250.jpg",[181,45],{"id":43376,"slug":43377,"title":43378,"dynasty":99,"author":4904,"museum":615,"description":43379,"tags":43380,"thumbUrl":43383,"material":803,"size":43384,"collection":90,"collections":43385,"showCount":42970,"zanCount":5,"manualWeight":48,"mainColor":94},222178,"hong-xing-ye-fu-tu-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粤海难忘共品茶。”",[7,27,28,81,106,3246,430,431,244,9138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212e19a5991a4ce291daf341239a17f2.jpg","纵29cm,横29.2cm",[],{"id":43871,"slug":43872,"title":43873,"dynasty":76,"author":10376,"museum":364,"description":27021,"tags":43874,"thumbUrl":43875,"material":743,"size":744,"collection":139,"collections":43876,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},229014,"fang-gu-shan-shui-wang-shi-min-wang-hui-229014","仿古山水-王时敏",[209,7,24,29,173,27,177,245,108,109,175,281,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2980717faf33c3fd762b486b8c086428.jpg",[],{"id":43878,"slug":43879,"title":43880,"dynasty":99,"author":14350,"museum":675,"description":43881,"tags":43882,"thumbUrl":43883,"material":139,"size":139,"collection":139,"collections":43884,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},228488,"he-tang-ju-qin-tu-li-zhou-lin-liang-228488","荷塘聚禽图立轴","画面将荷塘初秋意趣尽显，枯荷擎举、新花绽露，苇叶横斜交错，枯荣相生晕染出塘间清寂底色。\n水禽错落其间，水面鸳鸯两两相偎，翎毛细笔晕染，绒羽质感宛然；野禽振翅穿掠苇丛，飞燕斜划破空，动静交织间满溢鲜活生机。\n笔墨兼工带写，粗毫挥写苇茎残叶，苍劲朴拙；细笔勾勒禽鸟肌理，灵动传神。墨色浓淡铺陈层次，以极简水墨变化定格郊野塘间自在野趣，尽显纵逸清隽的花鸟意致。",[23,7,209,241,173,27,83,243,281,1938,2522,8002,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7d15347b6a2c9436b4b8172d7a7048.jpg",[],{"id":43886,"slug":43887,"title":43888,"dynasty":99,"author":14350,"museum":364,"description":43889,"tags":43890,"thumbUrl":43891,"material":139,"size":139,"collection":139,"collections":43892,"showCount":43633,"zanCount":1547,"manualWeight":48,"mainColor":49},228487,"kong-que-shuang-qi-tu-lin-liang-228487","孔雀双栖图","以水墨晕染禽鸟神姿，雄雀身姿舒展，尾羽以浓淡墨色递变，将翎羽华美的肌理尽皆铺展，纤毫毕现又不失写意疏朗。雌雀静立石台，憨态温婉，一动一静，恰似郊林里的闲趣日常。\n\n背景竹枝以阔笔挥就，竹叶苍劲有锋芒，枯石野草信笔点染，野逸之态尽显。整幅以墨代彩，摒弃敷色浓艳，依托干湿浓淡的层次变化，将院体花鸟的精致法度与文人写意的随性相融，勾勒出清寂悠然的林间一隅，尽显水墨花鸟的雅致意趣。",[23,7,173,446,241,83,312,242,298,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e88008dd1be325e91ec4e4e03a5df8e.jpg",[],{"id":43894,"slug":43895,"title":43896,"dynasty":99,"author":293,"museum":364,"description":43897,"tags":43898,"thumbUrl":43900,"material":139,"size":139,"collection":139,"collections":43901,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":49},228380,"xian-zong-chun-huang-di-xiao-zhen-chun-huang-hou-yi-ming-228380","宪宗纯皇帝；孝贞纯皇后","此作工笔重彩，尽显宫廷肖像的庄重礼制。帝王丰腴持重，长髯垂胸，朝服团龙织金华美厚重，沉静神态间自显九五威仪。皇后凤冠累丝点翠，珠绕翠围，饰纹龙凤交错、珠玉琳琅，面容温婉端雅，衣间绣纹细密精巧，尽显后妃尊荣。\n\n画面设色沉穆富丽，线条工整精细，既恪守宫廷御容的制式规范，又将帝后仪容神韵写实还原，在礼制框架中尽显大明皇室的华贵肃穆之风。",[7,24,106,15718,28,27,43899,3411,505,10898],"宫廷人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffdd58ba212c252b9f919542f805753.jpg",[],{"id":43903,"slug":43904,"title":43905,"dynasty":99,"author":24267,"museum":364,"description":43906,"tags":43907,"thumbUrl":43908,"material":139,"size":139,"collection":139,"collections":43909,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":49},228364,"pi-lu-tu-zhou-chen-228364","辟纑图","此作取景分野有致，左幅铺陈烟水浩渺，林石隐现，漾出清旷空寂之境；右隅收拢于山居幽地，古松蟠虬，草堂依林而筑。\n笔墨承浙派风骨，山石斧劈皴利落苍硬，林木勾勒精细入微，敷色浅淡清和，衬出山林沉静底色。堂内主客对坐晤谈，侍女侧立随侍，将林下雅集的闲逸自适藏于方寸之间，山涧激流的动势与堂中悠然静气相融相生，尽显文人幽居林泉、寄情丘壑的雅致襟怀。",[23,7,27,28,177,29,106,34,650,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc9662f11c840147628ba2d5d2856d8.jpg",[],{"id":43911,"slug":43912,"title":1397,"dynasty":99,"author":35607,"museum":364,"description":43913,"tags":43914,"thumbUrl":43915,"material":139,"size":139,"collection":139,"collections":43916,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},228358,"shan-shui-hua-xi-gang-228358","近岸疏林错落，茅舍临水栖身，掩映于枝桠间，野趣悠然自生。空漾水面将视线缓缓引向后层浅渚山峦，岩岫以干笔淡墨皴擦，佐以淡赭晕染，山石肌理苍朴不失温润。远景峰峦层叠，林麓间隐约可见山道樵踪，整幅画面气脉贯通，以留白晕出水乡山居清寂萧散的意境。笔墨松灵秀雅，脱尽尘俗，以简淡勾勒出山川丘壑的幽隽之态，尽显静穆淡远的文人画旨趣，将江南山野的闲逸之景融于素雅水墨色调中，观之便如临其境，恍若置身林泉高致之间。",[23,7,173,177,29,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ee49a9b35bce4b0d7190224af61291.jpg",[],{"id":43918,"slug":43919,"title":43920,"dynasty":189,"author":9509,"museum":364,"description":43921,"tags":43922,"thumbUrl":43923,"material":139,"size":139,"collection":139,"collections":43924,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[23,209,7,24,25,27,260,106,150,86,178,227,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":43926,"slug":43927,"title":43928,"dynasty":18,"author":43929,"museum":364,"description":43930,"tags":43931,"thumbUrl":43932,"material":139,"size":139,"collection":139,"collections":43933,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[23,209,7,24,1562,27,28,106,107,59,300,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":43935,"slug":43936,"title":43089,"dynasty":204,"author":3224,"museum":206,"description":43937,"tags":43938,"thumbUrl":43939,"material":317,"size":43940,"collection":139,"collections":43941,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":1335},227278,"xiao-yi-zhuan-lan-ting-ju-ran-227278","此图乃描述了一个脍炙人口的传说——酷爱二王书法的唐太宗，听说辩才和尚藏有王羲之的《兰亭序》手迹，久谋不得，便遣御史萧翼巧赚。萧翼微行前往辩才所居的山寺与之结交。在诗文酬答的欢悦气氛之中，辩才警觉懈怠，终于将其藏于梁上的《兰亭序》取下与萧翼共赏。萧翼趁辩才赴斋之际，遂窃之而去。图中所绘，正是萧翼访辩才的情形。",[7,209,173,29,106,177,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f80d433f99e4d4dc9476aa54f607c2e.jpg","纵：144.1厘米，横：59.6厘米",[],{"id":43943,"slug":43944,"title":43945,"dynasty":292,"author":293,"museum":2340,"description":43946,"tags":43947,"thumbUrl":43948,"material":743,"size":744,"collection":139,"collections":43949,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":49},226508,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-yi-ming-226508","佛说阎罗王授记四众预修生七往生净土经","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一，",[25,24,7,259,27,106,107,28,11078,502,227,86,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00260a4feaf64cbf8c2e55965c1febc7.jpg",[],{"id":43951,"slug":43952,"title":43953,"dynasty":76,"author":2040,"museum":364,"description":43954,"tags":43955,"thumbUrl":43956,"material":139,"size":139,"collection":139,"collections":43957,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},224586,"du-mu-shi-yi-tu-zou-yi-gui-224586","杜牧诗意图","此作取诗意入画，绘就晚秋幽林。危崖峻拔，以苍劲皴笔写尽山石嶙峋骨相，淡墨晕染出岫间云霭，衬出山居空寂高远之境。坡岸秋木杂生，丹红枝叶点缀其中，暗合霜叶胜花的诗意。溪湾浅滩处，渔人泛槎而归，为清冷秋景添上几分烟火野趣。\n\n全作用笔干湿互济，干笔皴擦刻绘山石肌理，淡墨晕染烘托空濛氛围，将诗句里停车赏枫的悠然心境化入尺幅之中，诗画相映，尽显秋日山林的萧疏雅致，闲淡高古的意韵扑面而来。",[23,7,24,241,27,28,177,29,176,34,2238,491,5243,1445,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33b4eca18f66a0d481bcc101936a3f5.jpg",[],{"id":43959,"slug":43960,"title":43961,"dynasty":76,"author":5096,"museum":36189,"description":43962,"tags":43963,"thumbUrl":43964,"material":67,"size":43965,"collection":181,"collections":43966,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[23,7,24,241,27,177,29,10379,34,107,108,109,175,176,6922,560,464,1250,652,567,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[181,163],{"id":43968,"slug":43969,"title":16512,"dynasty":76,"author":10376,"museum":364,"description":43970,"tags":43971,"thumbUrl":43972,"material":139,"size":139,"collection":139,"collections":43973,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},224441,"fang-ju-ran-shan-shui-tu-wang-hui-224441","此作取法董巨一脉，以披麻皴晕染山峦，圆浑苍润的山体层层铺展，云雾在谷壑间悄然漫溢，晕开空濛幽深的山水意境。\n\n谷间林木蓊郁苍茂，古木虬曲蟠扎，山居楼宇掩映在深林翠色中，溪涧蜿蜒穿流，板桥横陈浅滩，野趣悠然自生。墨色层次丰富，淡墨烘染云气，浓墨点苔写树，既绘就山峦厚重雄浑的体量，又晕出江南山水的温润氤氲，将北宋山水的沉郁与元人笔墨的秀逸相融，尽展林泉高致的文人心境。",[23,7,24,241,105,177,29,176,34,107,108,109,37,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c07a9b57cf6ed3bdd9355306fb68fe.jpg",[],{"id":43975,"slug":43976,"title":43977,"dynasty":76,"author":3679,"museum":364,"description":43978,"tags":43979,"thumbUrl":43980,"material":139,"size":139,"collection":139,"collections":43981,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},224375,"hua-hui-qi-shi-ce-shi-er-kai-5-ju-lian-224375","花卉奇石册-十二开-5","此作以淡逸笔调铺陈案头清趣，湖石奇崛空灵，以写意皴擦勾勒出瘦透之姿，韵致古拙。旁侧方盆雅致，盆中花卉粉萼柔妍、翠叶莹润，没骨晕染将草木鲜活之态尽揽笔底，淡粉轻绿相映，娇而不艳。左下角拳松短针苍劲利落，与柔花顽石形成刚柔互衬。\n整幅画面留白疏朗，工写兼济，将文房清供的闲雅意趣晕染尽致，清隽静和的气息漫溢纸面，尽显雅致脱俗的文人意韵，草木生机融于案头幽寂，淡而有味。",[23,7,24,81,28,27,245,84,10779,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f869a343a57705320bea4f60deed39d.jpg",[],{"id":43983,"slug":43984,"title":43985,"dynasty":76,"author":29707,"museum":364,"description":43986,"tags":43987,"thumbUrl":43988,"material":139,"size":139,"collection":139,"collections":43989,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":94},224205,"ying-wu-xi-die-tu-hu-mei-224205","鹦鹉戏蝶图","《鹦鹉戏蝶图》是画家胡湄所作的一幅画，现藏于上海博物馆。\n此画中的花鸟仿宋人笔，工笔重色，细致艳丽。\n梅花之沉稳雅致与鹦鹉之灵动飞扬成对比，造型精确、形态生动。\n花朵胭脂设色，鲜嫩娇美，墨绿树叶作为衬托，层次向背各自分明。\n鹦鹉的羽毛用白粉工笔勾描，质感柔绵，整幅画无一懈笔，青铜架上的绿锈、红霉均细致地得到表现。\n在和煦的阳光下，大地一片清新蓊郁，在村宅的一隅，一枝怒放的梨花，张开笑脸，散发出阵阵清香，这时两只斑灿美丽的蝴蝶向飘落的梨花追逐，一只原系立于铜架上的鹦鹉反身而下，全力地扑向彩蝶，形态生动。\n署款“晚山胡湄写”。\n钤 “湄印”白文印、“晚山”朱文印。\n从这幅画中可以看到，画家别有心意，十分留心自然界中所发生的一点一滴，并体察入微，将之再现于画画，让人们领略到这美妙而富有的生活情趣的景象。\n折枝梨树，画画左侧横上舒枝展叶，枝头缀满花朵，有的向阳怒放，有的含蕾待放，煞是可爱。\n花朵设色，鲜嫩可爱，以墨绿树作为衬托，层次向背各自分明。\n鹦鹉的羽毛用粉笔勾描，显示出羽毛柔绵的质感。\n勾画眼、嘴、爪均用较浓的墨色。\n此画的艺术特色足以简雅清淡取胜。\n全幅境象疏朗，笔墨简练，结构上不作繁密丰满、全景式的布局，其他树石、花木作为陪衬，剪裁得宜，取景自然。\n在画法上，不事雕琢，笔墨不多，却能使此画满幅生辉，使欣赏者获得美的享受。\n胡湄，生卒年不详。\n字飞涛，号晚山，又号秋雪，浙江平湖人。\n诸生，项元汴外孙。\n由于项氏收藏 甲天下，故胡氏受到完整的古代绘画艺术的薰陶。\n他为人耿直，富人以金帛求画多拒之。\n他画的花鸟虫鱼、“时称仙笔”。\n传世作品有《鹦鹉戏蝶图》。",[23,7,24,209,241,28,27,83,10443,604,62,1062,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":43991,"slug":43992,"title":43993,"dynasty":76,"author":707,"museum":364,"description":43994,"tags":43995,"thumbUrl":43996,"material":139,"size":139,"collection":139,"collections":43997,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":94},224181,"hua-niao-li-zhou-hua-yan-224181","花鸟立轴","梅枝虬曲绽花，主鸟独立高枝，振羽引吭，翎毛以淡墨晕染，尽显蓬松柔润。下方竹枝斜出，两只小雀依偎私语，憨态可掬。顽石以枯淡笔墨勾勒，墨色浓淡相破，野意盎然。\n全作用兼工带写之法，将禽鸟灵动与花木清逸相融，题款错落排布，书画相映，晕染出幽寂早春的澹远意趣，笔意秀逸脱俗，把春日禽鸟迎春的生机悄然铺展，清隽雅致，饶有闲情。",[23,7,241,27,173,83,448,242,245,224,227,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],{"id":43999,"slug":44000,"title":44001,"dynasty":76,"author":293,"museum":364,"description":44002,"tags":44003,"thumbUrl":44004,"material":139,"size":139,"collection":139,"collections":44005,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},223658,"jin-ping-mei-cha-tu-yi-ming-223658","金瓶梅插图","此作为工笔重彩长卷，以分段式构图铺展桥段，院宅厅堂错落排布，人物疏密有致。匠者细绘雕栏花窗、瓶炉陈设，精准还原世家起居样貌，衣袂纹饰鲜妍工丽，各有章法。画面将宴饮雅聚、弈棋闲叙、私会密谈的不同氛围烘托得当，人物神态灵动鲜活，或揖礼叙话，或缱绻依偎，皆细腻传神。青绿、朱红配色明快雅致，兼具界画的工整写实与人物画的气韵生动，把世情日常与深宅韵致相融，尽显清代工笔世俗画的精湛功力，让文字故事具象为可触摸的古典图景。",[23,7,25,27,28,104,106,107,115,34,136,5630,314,313,10779,176,59,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a55519b64b307f10e86240af72bfc4.jpg",[],{"id":44007,"slug":44008,"title":44009,"dynasty":76,"author":293,"museum":364,"description":44010,"tags":44011,"thumbUrl":44012,"material":40,"size":44013,"collection":139,"collections":44014,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},223551,"hai-tang-bai-tou-tu-yi-ming-223551","海棠白头图","绘蓝色湖石一块，形状凹凸有致；两枝海棠上下各一枝，枝上花朵或绽放，或含苞待放，红色的花朵鲜艳美丽，枝上两只白头翁相向而望，上面的扭头看着下面的那只，而下面也抬头呼应着上面鸟儿，二只鸟儿相亲相爱，活泼可爱。",[23,7,27,83,3963,67,1938,1563,245,84,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d21e5bf0b445cf9d0b9e44de9e88be.jpg","35.9x50.6cm",[],{"id":44016,"slug":44017,"title":44018,"dynasty":18,"author":293,"museum":20,"description":44019,"tags":44020,"thumbUrl":44021,"material":40,"size":44022,"collection":139,"collections":44023,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":49},223499,"za-ju-da-hua-gu-tu-ye-yi-ming-223499","杂剧(打花鼓)图页","图中绘二角色，皆为女子扮演，两人均作打拱状。左方一人头戴诨裹，有斗笠等道具置于地上，似为副净色；右方一人，头戴大红花，身着短对襟，干练精神，背后插一扇，上书末色二字，为副末色角色。此图是为数不多为宣传戏剧类的精品册页。",[23,209,7,24,81,28,27,106,210,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ef48819eecf68aed6bd33519f2d6318.jpg","23.3x24",[],{"id":44025,"slug":44026,"title":44027,"dynasty":18,"author":293,"museum":206,"description":44028,"tags":44029,"thumbUrl":44030,"material":827,"size":44031,"collection":139,"collections":44032,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},223436,"song-shen-zong-hou-zuo-xiang-yi-ming-223436","宋神宗后坐像","本幅原属清宫南薰殿旧藏，画无款印，但画中人物相貌传神，洵非想像之作，而且用笔精准、赋色细腻，具备第一流的水准，应出自当时名家之笔。宋仁宗先后曾立两位皇后，其一为郭皇后，另一为慈圣光献曹皇后。由于郭后被废，故此像应系后者。画像中，非惟曹后身着的袆衣、钗冠华丽无伦，连身侧两名侍女，同样衣饰妍丽，满头簪花，与院藏仅绘皇后独自端坐的图像相比，显得格外高贵而出众。",[23,7,24,27,28,106,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3010254a80d6bfae8c42dd104ecd83.jpg","174.7x 116.7",[],{"id":44034,"slug":44035,"title":44036,"dynasty":76,"author":44037,"museum":206,"description":44038,"tags":44039,"thumbUrl":44040,"material":8104,"size":44041,"collection":181,"collections":44042,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},223240,"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[23,7,24,29,81,173,177,864,449,175,431,430,558,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","34.7x29厘米",[181,163],{"id":44044,"slug":44045,"title":44046,"dynasty":76,"author":876,"museum":206,"description":15789,"tags":44047,"thumbUrl":44049,"material":4796,"size":44050,"collection":90,"collections":44051,"showCount":43633,"zanCount":1547,"manualWeight":48,"mainColor":94},222693,"xin-shao-ru-yi-tu-zhou-qian-wei-cheng-222693","新韶如意图轴",[23,7,24,241,27,28,301,44048,12102,2807,448,449,62,244,227],"盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c76e4882c3861113c1dfe14fc016849.jpg","105.2x55.9厘米",[90,45],{"id":44053,"slug":44054,"title":44055,"dynasty":18,"author":44056,"museum":101,"description":44057,"tags":44058,"thumbUrl":44059,"material":38582,"size":44060,"collection":139,"collections":44061,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":49},222677,"san-tu-tu-gong-ji-222677","三兔图","龚吉","用笔清新雅致，有沈铨的艺术风格。作者龚吉，生卒年不详，疑似沈铨的弟子或再传弟子。",[23,209,7,24,2544,28,27,957,2786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aaa73b140b8a6a8d234f073fbfbadd6.jpg","67.3×40.6厘米",[],{"id":44063,"slug":44064,"title":11105,"dynasty":99,"author":1012,"museum":206,"description":44065,"tags":44066,"thumbUrl":44067,"material":67,"size":44068,"collection":181,"collections":44069,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},222596,"xi-shan-xue-ji-tu-lan-ying-222596","画面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,7,27,177,29,2502,174,1351,1015,1575,176,560,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cec5c7e6892c4274ddda8daa901a500.jpg","纵82.3厘米，横28.9厘米",[181,45],{"id":44071,"slug":44072,"title":44073,"dynasty":99,"author":1012,"museum":675,"description":44074,"tags":44075,"thumbUrl":44078,"material":1449,"size":44079,"collection":181,"collections":44080,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,7,27,177,29,34,176,175,35,109,114,560,449,652,40149,1250,6178,1445,651,44076,44077,23394],"淡赭","山石皴染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[181,163],{"id":44082,"slug":44083,"title":44084,"dynasty":99,"author":44085,"museum":56,"description":44086,"tags":44087,"thumbUrl":44088,"material":803,"size":44089,"collection":181,"collections":44090,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[23,7,24,25,173,29,177,34,176,109,37,227,1086,6922,6070,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[181,163],{"id":44092,"slug":44093,"title":44094,"dynasty":99,"author":26281,"museum":206,"description":44095,"tags":44096,"thumbUrl":44097,"material":619,"size":44098,"collection":181,"collections":44099,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},222381,"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[7,24,241,173,27,29,558,109,34,176,37,177,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[181,45],{"id":44101,"slug":44102,"title":44103,"dynasty":99,"author":170,"museum":1806,"description":44104,"tags":44105,"thumbUrl":44106,"material":2021,"size":44107,"collection":139,"collections":44108,"showCount":43633,"zanCount":1547,"manualWeight":48,"mainColor":94},222125,"luo-hua-shi-yi-tu-quan-juan-shen-zhou-222125","落花诗意图全卷","该图写晚春最象，远山隐约，桃李花谢，落英缤纷，溪岸上有一老者倚杖临流感慨。笔墨简洁厚润，从宋元人水墨写意中发展而来，别具一格。明代兴起的以个性解放为中心的思想解放运动，在哲学上的表现是争取人的解放，在文艺上的表现则是争取文艺解放，而哲学启蒙则为文艺启蒙提供了思想理论武器。而《落花诗意图》正是作者抒发春暮感伤的个人感情，在一定意义上反映了当时艺术的民主色彩。\n该图描绘了老者一身影孑然独立于自然中的情景。画幅右半部为全幅最主要的部分，也是实景部分。该处主要部位作树五株，分为两组，以胡椒点笔法点出树叶，疏密聚散，然后以花青、赭石笼染数遍。右边下部则以平台和山坡为主，先勾出大体轮廓，然后在坡石的结合处以披麻皴皴出层次，稍作渲染，再以花青、赭石笼染。两平台分开，同时在两平台间作一小桥与平坡相连，平台上散落的一簇簇粉红的落花。靠近左面的平台上有一老人扶杖远望。左边下半部则作碎石三四块，对坡岸微作交代，且是左半部平台、坡石的过渡、延伸。远处的山色以花青稍作渲染，染出峦头即止，隐约之间，已经将晚春的空气烘染出来。整个画面只有近景和远景部分，中间部分简略处理，一片虚空，而将观者的视线引向扶杖老人为主的近景上来。\n构图:该图为典型的一角式、半边式小景构图，是南宋马远、夏圭、刘松年绘画风格的综合。当然也与浙派的某些用笔、用墨和构图有相通之处。注重渲染以及水墨的苍劲追求和有意识地省略中间景物层次等，便与浙派的绘画风貌十分相近。\n笔墨:该图树叶的画法，先用湿墨点染，后用花青烘染。而浅坡皴法则用笔硬挺，笔、力紧实，线条洗练，树身的双勾线也坚硬爽朗，同老人衣纹线一道构成了画面的骨力，这样就与树叶的清润、近水的空蒙、远山的秀逸形成明显的对比。苍中带秀、粗中挟细，雅淡中蕴含骨力，营造出了既显苍老雄健又凝重清旷旷的绘画意境，已经包含有浙派画家和宋元人不具有的新的绘画因素，这是沈周在前人基础上的创造。沈周的粗笔运用，也遥接张僧繇疏笔画的观念。",[23,7,24,25,27,173,178,86,177,29,34,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99abcc648d34fdd1fe5bb5e6af96de.jpg","纵36厘米，横750厘米",[],{"id":44110,"slug":44111,"title":44112,"dynasty":99,"author":966,"museum":206,"description":44113,"tags":44114,"thumbUrl":44115,"material":665,"size":44116,"collection":181,"collections":44117,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},221973,"qian-yan-jing-xiu-wen-zheng-ming-221973","千岩竞秀","画面底部，两位高士对坐于参天巨木之下，临飞瀑溪泉而谈。巨木引看画者的视线上升，进入由丘陵、碎石、坡壁、悬崖交织结合的复杂山体。\n繁密的山体多采用吴中文人画家较为推崇的短披麻皴表现，但又将披麻皴的柔润转变为尖锐。飞泉上部耸立突出的山崖高踞在厚重的基座之上，而基座山体又不断曲折延伸，形成了一条极为深远的脉络。这条脉络以“S”形向上延展，串联起无数细碎的山体和林木苔点，形成兼具向上生长又左冲右突、相互挤压的骚动之势。\n如此狭长的画幅，往往与其他画作构成条屏。文徵明也确实创作了与《千岩竞秀图》配成一对的《万壑争流图》。按照当时的风气，一旦作配对之画，则这种创作会立即显得专注于装饰、商业、礼仪，具有了某种功利性。然而，文徵明却在《万壑争流图》上明言“余性雅不喜作配幅，然于默川不能终却，漫尔涂抹，所谓一解不如一解也”，以此强调自己创作的非功利性。\n在经营位置方面，《千岩竞秀图》略微体现了郭熙所言的“自山下而仰山巅”的高远，更颇为夸张地突出了“自山前而窥山后”的深远，唯独忽略了“自近山而望远山”的平远。不仅如此，《千岩竞秀图》在用墨上完全没有使用近浓远淡的手法制造透视的效果，墨色笔触鲜有变化，在浅绛设色上也基本用平涂法，使得画上群山好像都生长在另一些山峰之上，而不是向远方延伸。\n此外，文徵明在画中还特别强调了山水平面的不可进入性——画中的高士走不出画纸，也并不生活在画中，而观画者更无法有“可行、可望、可游、可居”之感。画面与现实的凛然隔绝，其实也暗含着画家内心和现实之间的隔绝，并以此将精神寄寓在平淡无聊、郁郁无为的现实生活之外。",[23,7,27,177,241,29,176,34,1575,109,106,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a88c6378825cac7e0dc34f649fe26e.jpg","画长142.6厘米，宽仅34厘米",[181,45],{"id":44119,"slug":44120,"title":8841,"dynasty":189,"author":44121,"museum":20,"description":44122,"tags":44123,"thumbUrl":44124,"material":44125,"size":44126,"collection":163,"collections":44127,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},221870,"zhu-shi-tu-zhou-xie-ting-zhi-221870","谢庭芝","图中绘坡草湖石，石后挺立疏竹数竿，枝叶下垂，似洒雨露。坡上小竹兰草丛生，三株新笋，两株高窜，一株破土而出，春意盎然。湖石连勾带皴，并以淡墨渲染，玲珑剔透，形态奇异。竹叶以率笔挥洒，浓淡相参，水墨淋漓，清新秀雅。此图为谢庭芝墨竹传世孤本。\n画面以淡墨勾勒画湖石，以砍剁皴和钉头皴相结合画出明暗再以淡墨渲染，使湖石具有质感，达到皱、漏、透、瘦之效果，玲珑剔透，造型奇特。\n湖石后疏竹玉立，竹叶下垂，浓淡相间，参差错落，疏密有致，颇显情趣，画左款暑：至元五年冬十月，仲和。",[23,7,173,241,242,431,245,1064,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0acf41e6dc1be49409c9c5df041b0e.jpg","绢本墨笔.","173.2cmx105.1cm",[163,2293],{"id":44129,"slug":44130,"title":27683,"dynasty":189,"author":10811,"museum":206,"description":27684,"tags":44131,"thumbUrl":44133,"material":827,"size":27687,"collection":181,"collections":44134,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},221836,"han-jiang-lu-yan-zhou-wang-yuan-221836",[23,7,24,241,28,27,173,44132,2522,4974,298,1938,281],"芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg",[181,163],{"id":44136,"slug":44137,"title":44138,"dynasty":189,"author":10235,"museum":206,"description":44139,"tags":44140,"thumbUrl":44141,"material":342,"size":36812,"collection":163,"collections":44142,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},221831,"wan-xiang-gao-jie-zhou-ke-jiu-si-221831","晚香高节轴","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。\n此景物主要集中于下端：画幅下部画湖石，中间高出，两侧低矮，形成“山”字型。湖石为杂草点缀，右侧的杂草向右倾斜，左侧杂草向左倾斜。湖间有几簇修竹倚石生长，其中一株翠竹拔地而起，枝竿挺拔，竹节较长，枝叶茂密，顶天立地。另有野菊花倚石而长，花朵盛开于茎端。\n款识：五云阁吏为正臣作。\n虞集题：敬仲此幅，清楚出尘，真平日合作也。奎章阁侍书学士虞集题。\n弘历题：绿筠挺出苏卿节，黄菊喷来陶令香。何必其间论世代，忘年交合石渠藏。庚寅秋日御题。",[23,7,173,241,242,431,453,1064,446,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549ad8c921d08b75438863fa146dd22.jpg",[163,2293],{"id":44144,"slug":44145,"title":44146,"dynasty":18,"author":7349,"museum":1985,"description":10245,"tags":44147,"thumbUrl":44148,"material":803,"size":44149,"collection":139,"collections":44150,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},221606,"ku-mu-tu-liang-kai-221606","枯木图",[23,7,173,260,543,245,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee6ccf2251cdf9d1af34e70cbbab5720.jpg","24.1×23cm",[],{"id":44152,"slug":44153,"title":44154,"dynasty":18,"author":2007,"museum":206,"description":44155,"tags":44156,"thumbUrl":44158,"material":44159,"size":44160,"collection":139,"collections":44161,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},221179,"fang-chun-yu-ji-tu-ma-lin-221179","芳春雨霁图","《芳春雨霽圖》描繪荒野平溪，窠石疏林。枝上嫩葉初露，春意濃郁。遠方煙靄出沒，隱約可見。畫中怪石用斧劈皴，老樹用嚴謹的雙鈎填墨法，樹葉用淡褐色點染。全圖用筆瘦硬勁峭，構圖簡括，畫風學馬遠而又有自己的創新，為馬麟山水畫佳作。",[23,7,24,173,27,29,28,177,14631,44157,394,245,176,34,8147],"霁景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc250f3f66b0a8950d7b6bc515696ee5a.jpg","轴，绢本，浅设色","纵27．5厘米，横41．6厘米",[],{"id":44163,"slug":44164,"title":44165,"dynasty":99,"author":3114,"museum":20,"description":17552,"tags":44166,"thumbUrl":44167,"material":4665,"size":7095,"collection":139,"collections":44168,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},220915,"shan-shui-ce-9-dong-qi-chang-220915","山水册9",[23,7,24,81,173,29,177,1015,176,4614,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c33f118062bda18bcde2cd0e0d405dc.jpg",[],{"id":44170,"slug":44171,"title":1540,"dynasty":76,"author":38928,"museum":9181,"description":44172,"tags":44173,"thumbUrl":44174,"material":44175,"size":44176,"collection":139,"collections":44177,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":139},220758,"zhu-shi-tu-zheng-xie-220758","以水墨写就竹石之姿，老石皴擦写意，嶙峋古拙，尽显苍劲风骨。竹叶以“介”“个”笔法挥染，浓淡相宜，枝叶错落交叠，或繁密遒劲，或疏朗清隽，仿佛满纸飒飒生风，将劲竹迎风傲立的清刚之态跃然纸上。\n\n右侧题字笔锋爽利舒展，笔墨与画意相融相合，文画映带间，寄寓着清介拔俗的君子襟怀，把借物言志的文人意趣淋漓尽致铺陈而出。全幅疏密错落，以极简笔墨托物象风神，写意抒情浑然一体，尽显水墨写意通透灵秀的文人雅韵。",[7,24,241,173,446,242,431,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5d7c1e057dd1b985e2e35c1f1e3fd6.jpg","水墨纸本立轴","189.5 ×104厘米",[],{"id":44179,"slug":44180,"title":44181,"dynasty":1095,"author":4791,"museum":4792,"description":44182,"tags":44183,"thumbUrl":44184,"material":139,"size":139,"collection":139,"collections":44185,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},220533,"ni-feng-xu-bei-hong-220533","逆风","以大写意泼墨绘苇丛，浓墨重笔横扫出苇叶翻卷倾伏之态，墨色干湿浓淡铺陈出疾风裹挟的动感，将无形逆风化作可见的磅礴力道。几只小雀顶风振翅，灵动鲜活的身姿与苇丛的飘摇形成鲜明对照，刚柔相济间尽显生命的不屈生机。\n\n笔墨兼具写意的恣肆与写实的精准，寥寥数笔便将风穿苇荡的野趣与雀鸟逆风而上的韧劲融为一体，画面张力十足，仿佛可闻风啸雀鸣，把疾风旷野里的蓬勃生命力晕染于纸间，于极简笔墨中传递出撼动人心的精神力量。",[7,173,83,281,340,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b70e12028b2a0054a92fdaeeb0ac96.jpg",[],{"id":44187,"slug":44188,"title":44189,"dynasty":1095,"author":38698,"museum":8718,"description":44190,"tags":44191,"thumbUrl":44192,"material":619,"size":139,"collection":139,"collections":44193,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},220452,"hong-huang-feng-xue-tu-huang-zhou-220452","洪荒风雪图","黄胄的艺术具有开创性，被公认为新中国美术的代表风格之一。黄的艺术创作立足于新时代人们的生活，不断拓展他所创作的“边疆”主题。黄的题材作品打破了传统国画的陈旧陈规，演变成一种反映现实生活、与时俱进的艺术形式。他的写生艺术语言，立足历史与现实，结合国内外，推动了笔触和意境的创作。\n\n这幅取材于画家沿青藏公路旅行的画作，是黄氏最著名的代表作之一。这幅作品从仰视的角度描绘了一个地质学家团队在大雪中骑骆驼旅行的场景。人物的乐观和豪迈风度，见证了全民族对新中国建设的热情和昂扬。黄先生注重气氛的营造，以人物插画为中心，结合笔墨、写生、填色等手法，使作品更具写实性和表现力。",[7,24,173,27,446,106,11734,12226,2502,14885,1095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2abfa566ea305105f72c00f5342f08.jpg",[],{"id":44195,"slug":44196,"title":44197,"dynasty":99,"author":9461,"museum":539,"description":44198,"tags":44199,"thumbUrl":44200,"material":123,"size":44201,"collection":44,"collections":44202,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[7,24,173,177,27,29,109,174,21268,106,394,1016,33,1653,3227,29967,34,118,36948,9156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm",[44,181],{"id":44204,"slug":44205,"title":27674,"dynasty":189,"author":18436,"museum":206,"description":44206,"tags":44207,"thumbUrl":44208,"material":381,"size":44209,"collection":163,"collections":44210,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},220389,"yuan-an-wo-xue-tu-yan-hui-220389","画面上天寒地冻，林木萧索，积雪封山。洛阳令乘坐牛车，带领仆从逶迤而来，在寒林掩映下的袁安屋舍前停下。一名随侍前行几步，手叩柴门。图中树石以墨染晕刷而成，人物衣纹则劲健多折，称得上是画中珍品。",[23,7,24,209,173,27,177,29,2502,1015,176,106,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4bd070e278c143edef678f3376f82a5.jpg","本幅 160.2x105.7公分、全幅 107.7公分",[163],{"id":44212,"slug":44213,"title":44214,"dynasty":76,"author":13111,"museum":20,"description":44215,"tags":44216,"thumbUrl":44218,"material":44219,"size":44220,"collection":181,"collections":44221,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},220372,"song-he-ming-qin-tu-wu-li-220372","松壑鸣琴图","本图为吴历中年之作，自识：“忆予与天球学琴於山民陈先生，不觉二十馀年矣。予欲写松壑呜琴图以寄意，常苦少暇。今从客归，久雨初晴，仅得古人形似并题七言：'琴声忆学鸟声圆，辛苦同君二十年。今日听松与涧瀑，高山流水不须弦。甲寅年小春廿日延陵渔山子吴历’。”下钤“吴历”、“家在桃溪深处”二印。",[23,7,24,241,173,177,29,449,176,114,12136,6070,34,106,560,649,37,115,12624,651,44217,7786],"笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[181],{"id":44223,"slug":44224,"title":44225,"dynasty":76,"author":15347,"museum":10937,"description":44226,"tags":44227,"thumbUrl":44228,"material":803,"size":44229,"collection":181,"collections":44230,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},220238,"nan-xu-shan-shui-tu-cha-shi-biao-220238","南徐山水图","查士标（1615-1698），字二瞻，号梅壑散人，安徽休宁人，后寓扬州。出身望族，博雅好古。富收藏，家藏古铜器和宋、元人书画真迹甚多，因此精于鉴赏。他早年作画师从倪云林，以后参用吴镇、董其昌笔法，用笔简练，惜墨如金，皴染不重，风神懒散，气韵荒寒，被推为“逸品”，画史把他和弘仁、汪云瑞、孙逸合称为“新安四家”。",[23,7,24,241,173,177,29,430,431,175,106,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b746ab0c70caf76479ceb2c83727f26.jpg","138×52厘米",[181],{"id":44232,"slug":44233,"title":44234,"dynasty":18,"author":293,"museum":206,"description":44235,"tags":44236,"thumbUrl":44237,"material":123,"size":44238,"collection":42,"collections":44239,"showCount":43633,"zanCount":1547,"manualWeight":48,"mainColor":49},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,7,24,25,27,28,104,1195,106,107,1237,29,34,115,1664,15028,176,9466,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[42],{"id":44241,"slug":44242,"title":44243,"dynasty":76,"author":77,"museum":20,"description":44244,"tags":44245,"thumbUrl":44246,"material":342,"size":44247,"collection":181,"collections":44248,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},220105,"mao-lin-shi-bi-zhou-yun-shou-ping-220105","茂林石壁轴","恽寿平（公元1633—1690年），清代书画家。初名格，字寿平，后以字行，改字正叔，号南田、白云外史等，江苏武进人。他一生坎坷，以卖画为生。其山水宗宋、元诸家，尤得益于黄公望。后改习花鸟，其没骨花卉创一代新风，为“清初六大家”之一。 亦工诗、朽，著有《瓯香馆集》、《南田诗抄》。传世作品有《落花游鱼图》轴、《锦石秋花图》轴等。",[23,7,241,173,29,177,176,36683,1250,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da1eec41de8c823ec9d4768363849cc.jpg","纵118厘米，横57厘米",[181,163],{"id":44250,"slug":44251,"title":44252,"dynasty":76,"author":44253,"museum":539,"description":44254,"tags":44255,"thumbUrl":44256,"material":88,"size":44257,"collection":181,"collections":44258,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},220078,"feng-dong-tu-ye-xin-220078","风洞图","叶欣","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。\n叶欣的山水画素以“工细幽淡”著称，所作野岭荒烟，孤城古渡，大有令人动秦月汉关之思。此画描绘春游之景，在桃花三月，荡舟于青湖绿山之中，徜徉于烟雾弥漫的秀丽中，陶陶然如醉如痴。此画用笔轻灵，墨色清淡，景致悠远，意境秀雅，真所谓“淡远又淡远，淡远以至于无”的情趣。",[23,7,1397,173,177,176,34,106,7582,2268,86,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51675d8aeea351bbbd90ae98e8b724b.jpg","88.2X52.3",[181],{"id":44260,"slug":44261,"title":44262,"dynasty":76,"author":24629,"museum":615,"description":44263,"tags":44264,"thumbUrl":44265,"material":803,"size":44266,"collection":181,"collections":44267,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},219991,"shan-jing-po-zhou-tu-dai-ben-xiao-219991","山径泊舟图","戴本孝（1621年－1691年），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代新安派画家之一。",[23,7,173,177,241,29,245,1575,107,174,31480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e7c0febcd0f56ffa4fd38b837a6abc.jpg","132cm×60cm",[181],{"id":44269,"slug":44270,"title":8600,"dynasty":99,"author":293,"museum":206,"description":44271,"tags":44272,"thumbUrl":44273,"material":67,"size":139,"collection":90,"collections":44274,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":1335},219978,"shuang-xi-tu-yi-ming-219978","古松虬曲苍劲，皴笔勾勒出嶙峋肌理，两只鹊鸟栖于枝桠，一者侧目远眺，一者敛羽静立，灵动生姿暗破幽寂。坡石间野卉柔婉绽放，灵芝丛生，青绿与赭石晕染出幽润山意。工写兼施，勾勒细腻却无板滞之感，沉古设色晕染出静谧雅致的氛围，将山野一隅的清宁生机铺陈开来，藏祥瑞意趣于林泉小景，尽显雅致悠远的林下况味，把幽居山野的恬然意趣凝于笔墨方寸间。",[7,27,28,241,83,281,1575,176,84,12102,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f61b9d977cd1947a41502e7a1ac6a3.jpg",[90],{"id":44276,"slug":44277,"title":44278,"dynasty":76,"author":2405,"museum":206,"description":44279,"tags":44280,"thumbUrl":44281,"material":27,"size":44282,"collection":44,"collections":44283,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":94},219894,"fang-guan-xiu-hua-luo-han-tu-xu-yang-219894","仿贯休画罗汉图","苍松虬枝凝霜，松针攒簇自带古拙寒意。画面分两处铺陈意趣：上方罗汉展卷沉读，侍童敛神研墨，案几陈设清雅，尽显禅房读经的静谧悠然。下方罗汉斜倚松干，捻珠垂眸，似在神游禅境。\n\n衣纹勾勒劲挺流畅，浓艳衣色与枯淡山石松枝相映成趣。淡墨皴擦山石，晕染出嶙峋肌理，人物神态灵动入微，将世外清修的雅寂禅意铺展开来，笔底藏着古意传承，静穆里暗淌悠然文心。",[7,24,209,241,27,105,259,106,1575,298,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20de6f165137428706a16cb3088a0ff5.jpg","128.5x54.3",[44],{"id":44285,"slug":44286,"title":44287,"dynasty":99,"author":23960,"museum":7875,"description":44288,"tags":44289,"thumbUrl":44290,"material":342,"size":44291,"collection":181,"collections":44292,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":1335},219869,"qian-shan-xue-ji-tu-song-xu-219869","千山雪霁图","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松画派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。师沈周，学有师承，故出笔逈不犹人。其山头树木，苍劲古拙，巨幅大幛，颇有气势。与云间莫廷韩，入芟山社绘白雀寺壁，时称妙绝。赵左、沈士充、宋懋晋等都出于他的门下。其识款喜用八分书。万历三十三年（一六o五）作罗汉图、平沙落雁图，时年八十一。《嘉兴府志》、《明画录》、《无声诗史》、《图绘宝鉴续纂》、《读画辑略》、《珊瑚网》。传世作品有藏于故宫博物院的《五岳图》卷及上海博物馆藏《天香书屋图》轴等。",[7,173,177,241,29,2124,864,430,1015,108,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9e6bf704b2ff11a1d07aa4c3c75b19.jpg","151.8x79cm",[181],{"id":44294,"slug":44295,"title":44296,"dynasty":18,"author":293,"museum":752,"description":44297,"tags":44298,"thumbUrl":44299,"material":123,"size":139,"collection":44,"collections":44300,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},219561,"lv-chun-yang-tu-yi-ming-219561","吕纯阳图","画师以劲爽写意的铁线描勾勒身形，苍髯垂覆胸腹，青巾束发，赤足卓立。宽袍裹挟清癯身姿，双手交叠腹前，面容沉凝肃穆，尽显出尘孤高的仙家气度。衣纹顿挫老辣，落笔简劲朴拙，以水墨写意的意趣晕染出幽远仙风，简淡笔墨间不见繁饰，却将仙人超然世外的风骨凝练于绢素之上，古雅朴厚，寥寥数笔便让仙道意韵溢满画面，尽显古画写意人物的风神格调。",[23,7,24,241,259,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80f58a4357362068c7e3accb1c5f0ea0.jpg",[44],{"id":44302,"slug":44303,"title":44304,"dynasty":189,"author":293,"museum":206,"description":44305,"tags":44306,"thumbUrl":44307,"material":123,"size":44308,"collection":44,"collections":44309,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},219494,"qiu-jing-xi-ying-zhou-yi-ming-219494","秋景戏婴轴","秋郊明月下，六婴儿穿各色绣花长衫，在大树坡石间嬉戏，或捧花提篮，或抚弄兔儿，或招呼同伴，前有盤，盛秋季应时水果。",[7,241,27,28,106,3045,6922,430,176,84,17142,11805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1427670394fd3c7c1a634e14fcc05070.jpg","127x61公分；全幅 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悄然融于这一方团扇之中。",[23,209,7,24,28,27,83,453,44378,227],"秋","25x26.5",[90],{"id":44382,"slug":44383,"title":44384,"dynasty":18,"author":293,"museum":7875,"description":44385,"tags":44386,"thumbUrl":44388,"material":123,"size":139,"collection":44,"collections":44389,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":1335},218633,"di-shi-wu-luo-han-tu-yi-ming-218633","第十五罗汉图","罗汉端坐席上，光头映淡金光环，面容沉静却藏洞察。双手捧持器物，指节分明似含力量。衣袍赭红与褐金交织，褶皱线条婉转如流云，裙摆饰细密花纹，古雅尽显。身侧侍者躬身而立，神态恭谨，衣纹简练却见肌理。画面色调沉郁古朴，人物刻画入微，罗汉的超然与侍者的虔敬相衬，宋代写实功力毕现。静谧中似有禅意缓缓流淌，肃穆安宁之感油然而生，尽显古画的精神内涵与艺术张力。",[209,7,24,241,259,28,27,106,25116,44387],"侍者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80bf36bc8552c21dc92bcba7c453e78e.jpg",[44],{"id":44391,"slug":44392,"title":44393,"dynasty":18,"author":293,"museum":1637,"description":44394,"tags":44395,"thumbUrl":44396,"material":342,"size":44397,"collection":44,"collections":44398,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[23,7,24,25,260,173,259,106,7281,12940,3167,957,449,242,430,431,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[44],{"id":44400,"slug":44401,"title":44402,"dynasty":18,"author":44403,"museum":364,"description":44404,"tags":44405,"thumbUrl":44406,"material":123,"size":139,"collection":181,"collections":44407,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},218596,"gui-zhou-tu-yang-an-dao-218596","归舟图","杨安道","绢素底色晕开时光的温厚，近岸层岩以皴笔刻出苍劲肌理，岸边茅亭隐于林麓，似含待归之意。中流归舟破水而行，船篷织纹细密如织，舟子俯身撑篙，浪涛翻涌处，笔触如丝缕缠连，尽现江水柔劲与动荡。远处峰峦淡染烟霭，山影浮沉于水色之间，天地悠远尽纳圆幅。细劲线条勾摹山水清旷，墨色层次含蓄蕴藉，既见自然之浩渺，又藏归舟之温情——烟波里每道波纹，皆似诉说归途远近，观者于静谧中触到羁旅者的心跳，于方寸间感怀天地与人心的交融。",[23,7,209,1562,27,29,174,29967,649,109,227,175,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97e0d78ead1baca9afea6b99613fa71.jpg",[181],{"id":44409,"slug":44410,"title":44411,"dynasty":18,"author":293,"museum":3940,"description":44412,"tags":44413,"thumbUrl":44414,"material":123,"size":44415,"collection":44,"collections":44416,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":49},218461,"gao-shi-guan-shui-tu-yi-ming-218461","高士观水图","凭栏者凝眸向水，衣袂轻垂似与波痕共息。亭榭半掩于疏枝间，木构纹理隐现岁月静穆。秃枝如笔，蘸着空濛天色，在绢上勾勒清寂骨线；水面无波，却载千般思绪，与观者目光遥遥相契。通篇不着艳色，墨线浓淡交错，留白虚实相生，铺展文人心中丘壑——非喧嚣山水，是心与自然对语的片刻安宁。笔意简淡却藏深致，枯枝的疏朗、亭台的稳静、高士的凝思，织就一幅含蓄的精神图景，让千载后的目光，仍能触到那份清寂中的悠远。",[23,7,173,260,104,5990,106,107,109,1015,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea1f9bda4c7207655fc3e8783405b61.jpg","21.6x24.6cm",[44],{"id":44418,"slug":44419,"title":44420,"dynasty":189,"author":293,"museum":9644,"description":44421,"tags":44422,"thumbUrl":44423,"material":342,"size":139,"collection":44,"collections":44424,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":94},218438,"dui-yue-tu-yi-ming-218438","对月图","素绢上的身影敛衣而坐，指尖似拈着月光的碎片。眉目低垂间，似与清辉私语，又或沉湎于案上书卷的墨香？身旁石案上的茶盏尚温，远山隐在淡墨晕染里，留白处尽是夜的空濛。线条如行云流水，不着浓彩，却将月夜的幽寂与内心的澄澈晕染开来。风过林梢的轻响，月色落地的微声，仿佛都藏在简淡笔触里，引观者一同沉入静谧时光，与画中人共享此刻清宁。那简素的勾勒中，藏着对自然与心境的叩问，让每一寸留白都成了思绪的延伸。",[7,24,209,241,260,173,106,300,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd60483ffc03c351b0cd0fcc7ebfb4c4.jpg",[44],{"id":44426,"slug":44427,"title":44428,"dynasty":99,"author":1480,"museum":539,"description":4335,"tags":44429,"thumbUrl":44430,"material":123,"size":4338,"collection":139,"collections":44431,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":49},218340,"ren-wu-gu-shi-ce-8-tang-yin-218340","人物故事册-8",[23,7,24,81,27,106,1015,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9969d448648f46bca858bf599be098f6.jpg",[],{"id":44433,"slug":44434,"title":44435,"dynasty":189,"author":293,"museum":78,"description":44436,"tags":44437,"thumbUrl":44438,"material":123,"size":44439,"collection":181,"collections":44440,"showCount":43633,"zanCount":5,"manualWeight":48,"mainColor":49},218205,"guang-han-gong-tu-yi-ming-218205","广寒宫图","广寒宫图是一幅来自中国元朝时期的著名绘画作品，作者佚名。它描绘了广寒宫的景象，广寒宫是中国古代皇宫的一部分，位于北京的城内，是皇帝和皇后居住的地方。\n\n这幅画的风格具有浓厚的中国传统特色，使用了鲜艳的色彩和精细的线条来描绘出广寒宫的建筑物和景观。画中的建筑物包括皇宫的宫殿、庙宇和院落，景观包括花园、池塘和树木。\n\n广寒宫图还描绘了当时皇帝和皇后的生活，展示了他们的日常活动，如游览、观赏歌舞表演等。这幅画作出现在中国元朝时期，当时的皇帝是元世祖，他在位期间推行了著名的文化复兴运动，使得艺术、文学和学术得到了极大的发展。广寒宫图也反映了这一时期的艺术特点，是中国元朝时期艺术发展的重要见证。",[7,209,24,241,104,27,107,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f95b3c5c0f8d9489dcbed3fb582630.jpg","75.6x62.1cm",[181],{"id":44442,"slug":44443,"title":44444,"dynasty":189,"author":293,"museum":3537,"description":44445,"tags":44446,"thumbUrl":44447,"material":123,"size":44448,"collection":181,"collections":44449,"showCount":43633,"zanCount":48,"manualWeight":48,"mainColor":49},217913,"xue-jian-shan-xing-tu-yi-ming-217913","雪涧山行图","整幅画浓烈的冬日氛围使人感到温馨舒适。画家巧妙地运用色彩与线条，使得画面生动而富有层次感。这幅画不仅展示了元朝人民的传统冬季活动，更展示了画家对冬季自然美景的热爱与描绘能力。",[7,209,24,29,27,177,2502,109,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鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,209,7,24,241,173,242,245,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51cc84485d0a2bea0a112203a6013e0.jpg",[],{"id":44531,"slug":44532,"title":44533,"dynasty":18,"author":34907,"museum":364,"description":44534,"tags":44535,"thumbUrl":44536,"material":743,"size":744,"collection":139,"collections":44537,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},289869,"shi-yong-tu-zhang-xian-289869","十咏图","张先（990—1078），字子野，乌程（今浙江湖州）人。北宋词人。婉约派代表人物。天圣八年（公元1030）进士。历任宿州掾、吴江知县、嘉禾（今浙江嘉兴）判官。皇祐二年（1050），晏殊知永兴军（今陕西西安），辟为通判。后以屯田员外郎知渝州，又知虢州。以尝知安陆，故人称“张安陆”。治平元年（1064）以尚书都官郎中致仕，元丰元年病逝，年八十八岁。",[23,209,7,24,25,104,27,29,107,13563,109,649,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6ee46a4d67fb75fc131910fa6d3ee0.jpg",[],{"id":44539,"slug":44540,"title":44541,"dynasty":18,"author":4882,"museum":206,"description":44542,"tags":44543,"thumbUrl":44544,"material":123,"size":44545,"collection":42,"collections":44546,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},289351,"qiu-pu-rong-bin-tu-cui-bai-289351","秋浦蓉宾图","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鶺鴒腾跃，翡翠踞，两鸿雁振翅凌空，意在千里。",[23,7,83,28,27,281,450,243,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77dda06caf7a56f83b18a435258e2305.jpg","149.1x95.5",[42],{"id":44548,"slug":44549,"title":44550,"dynasty":18,"author":1650,"museum":364,"description":12215,"tags":44551,"thumbUrl":44553,"material":743,"size":744,"collection":139,"collections":44554,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},289344,"gu-song-lou-ge-tu-ma-yuan-289344","古松楼阁图",[1562,7,24,104,173,177,12920,107,29,44552],"萧疏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feecdcd1b7f2e5df3f39c8f2645afbde3.jpg",[],{"id":44556,"slug":44557,"title":44558,"dynasty":204,"author":2531,"museum":364,"description":23078,"tags":44559,"thumbUrl":44561,"material":743,"size":744,"collection":139,"collections":44562,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},288362,"yu-le-tu-juan-jing-hao-288362","渔乐图卷",[23,209,7,25,173,29,1016,108,109,176,34,865,44560],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0672ea030382358d7cd79b172143a3.jpg",[],{"id":44564,"slug":44565,"title":1417,"dynasty":204,"author":40640,"museum":206,"description":40641,"tags":44566,"thumbUrl":44567,"material":743,"size":744,"collection":139,"collections":44568,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},288263,"mu-dan-tu-teng-chang-you-288263",[23,209,7,24,241,27,83,28,327,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df52c67747442a7481301f56b33a898.jpg",[],{"id":44570,"slug":44571,"title":44572,"dynasty":99,"author":293,"museum":364,"description":44573,"tags":44574,"thumbUrl":44575,"material":743,"size":744,"collection":139,"collections":44576,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},288159,"ku-teng-lao-shu-tu-li-zhou-yi-ming-288159","枯藤老树图立轴","此作用笔苍劲老辣，以枯墨皴擦出古松嶙峋老干，虬曲枝桠如铁戟森然，松针攒簇细密，尽显饱经风霜的古拙意气。冷月高悬，淡墨晕染出空濛清辉，将夜色的荒寒铺陈开来。坡石旁丛竹挺秀疏朗，瘦劲枝叶与苍松相映，刚柔互济。全画以水墨写就，浓淡相宜，淡墨晕染出空寂夜色，浓墨勾勒筋骨，萧疏静谧间，尽显林下幽居的孤高意趣，暗合寄情林泉、不与俗伍的文人心境。",[23,7,241,173,1653,394,242,245,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07026ed6aab10adbe73f7f746e3383.jpg",[],{"id":44578,"slug":44579,"title":44580,"dynasty":76,"author":876,"museum":206,"description":15789,"tags":44581,"thumbUrl":44582,"material":990,"size":9348,"collection":139,"collections":44583,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},287449,"chun-hua-san-zhong-tu-qian-wei-cheng-287449","春花三种图",[7,24,83,28,27,279,451,839,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe3f57876cfbf2226aba3808e32cc62.jpg",[],{"id":44585,"slug":44586,"title":44587,"dynasty":204,"author":44588,"museum":364,"description":44589,"tags":44590,"thumbUrl":44591,"material":743,"size":744,"collection":139,"collections":44592,"showCount":44516,"zanCount":1547,"manualWeight":48,"mainColor":49},287375,"ye-hua-cao-chong-tu-qiu-yu-qing-287375","野花草虫图","丘余庆","丘余庆，五代后蜀人，丘文播子，居成都。",[209,7,24,83,28,27,24331,242,603,604,29018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffa37c7c203d2d3737bf30decc157ec.jpg",[],{"id":44594,"slug":44595,"title":44596,"dynasty":99,"author":25687,"museum":20,"description":44597,"tags":44598,"thumbUrl":44599,"material":2635,"size":44600,"collection":181,"collections":44601,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":271},239516,"shan-shui-ren-wu-juan-ye-cheng-239516","山水人物卷","图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[209,7,24,25,27,177,29,106,108,175,34,650,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7881e7ced23cbff7521abe14b902b9f.jpg","纵35cm，横290.3cm",[181],{"id":44603,"slug":44604,"title":18763,"dynasty":76,"author":2804,"museum":364,"description":34649,"tags":44605,"thumbUrl":44606,"material":139,"size":139,"collection":90,"collections":44607,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},239219,"mei-zhu-tu-zhou-wu-chang-shuo-239219",[7,24,241,173,27,83,448,242,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3d44613f7fe705c6f0e261e00a6fe.jpg",[90],{"id":44609,"slug":44610,"title":44611,"dynasty":76,"author":24647,"museum":364,"description":44612,"tags":44613,"thumbUrl":44614,"material":139,"size":139,"collection":181,"collections":44615,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},239026,"gao-jian-hu-xiang-qiu-lu-tu-zhou-gao-jian-239026","高简湖乡秋露图轴","高简（1634-1707年）字澹游，号旅云，自号一云山人，江苏苏州人。能诗，工山水，摹法元人，甚为简澹，而布置深稳，风味清巧可爱。平生小品最多，好画梅花书屋图，冷隽可珍。卒年七十四。传世作品有《春山积翠图》、《江乡初夏图》、《寒林诗思图》",[7,24,241,173,177,29,864,297,175,174,108,394,298,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57d860f9cf257f2f01248ac8831f242.jpg",[181,45],{"id":44617,"slug":44618,"title":44619,"dynasty":76,"author":1892,"museum":364,"description":44620,"tags":44621,"thumbUrl":44623,"material":803,"size":139,"collection":181,"collections":44624,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},238970,"fang-huang-gong-wang-fu-chun-shan-zhou-wang-yuan-qi-238970","仿黄公望富春山轴","黄公望的《富春山居图》被誉为中国十大传世名画之一。清初画家王原祁师法五代宋元名家，于黄公望用功尤深，一生痴迷，自言“所学者大痴（黄公望）也，所传者大痴也”。王原祁早期的绘画中，仿黄公望者尤多。《仿富春山居图轴》便是他52岁时仿效黄公望《富春山居图》的笔法而创作。",[7,24,241,173,177,105,29,34,650,560,491,13778,44622,37183],"中景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdce8d36036ddec2616f8760eb8e4ec.jpg",[181,163],{"id":44626,"slug":44627,"title":44628,"dynasty":99,"author":293,"museum":364,"description":44629,"tags":44630,"thumbUrl":44631,"material":743,"size":744,"collection":139,"collections":44632,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},238966,"song-yuan-ming-hua-ce-ming-ren-hua-hui-cao-chong-tu-ye-yi-ming-238966","宋元明画册－明人花卉草虫图页","此作为工笔花鸟小品，以团扇承载幽微野趣。牵牛花藤蔓萦回，叶片俯仰错落，红瓣晕染出娇嫩层次，白蕊点缀其间，鲜活明妍，将盛夏花卉的柔婉生机尽数铺展。\n草虫隐匿花间，蚱蜢静伏枝桠，翅脉纹路细腻宛然，粉蝶恋花低徊，飞虫振翅欲去，动静交织，把郊野一隅的刹那鲜活定格绢上。设色调和古雅，赭色绢底衬得花叶愈发清妍不俗，细劲秀逸的线条勾勒出草木柔态与虫豸灵动，尽显雅致工丽，将夏日闲静小景凝于尺幅之间，引人沉醉在这静谧鲜活的方寸天地里。",[7,24,81,27,28,1086,83,603,450,604,84,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4bc0d30b118796ae3802452fc2608ee.jpg",[],{"id":44634,"slug":44635,"title":44636,"dynasty":76,"author":293,"museum":364,"description":44637,"tags":44638,"thumbUrl":44643,"material":743,"size":744,"collection":44,"collections":44644,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},238874,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238874","清人善巴拉王菩萨像轴","主尊面容丰腴含笑，端坐雕花宝座之上，身着朱红织金法衣，周身珠宝璎珞环绕，一手托举摩尼珍宝，一手握持吐宝神鼠，尽显富足威严。上方胁侍圣僧与化现佛陀隐于祥云之间，更添圣洁氛围。\n\n画面以青绿晕染山林底色，点缀盛放莲华与满盘鲜果，下方眷属虔诚献礼，构图饱满富丽。设色浓烈厚重，朱砂石青撞色鲜明，尽显鲜明的装饰性与宗教意蕴，将护法财神的福德庄严完美呈现，藏地佛教艺术的精致工巧尽显其中。",[7,24,241,259,106,26,27,28,7819,136,44639,1399,44640,16346,44641,44642],"鲜果","财神","善巴拉王","藏传佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8fbed837dc233c8927a054df7fd516.jpg",[44],{"id":44646,"slug":44647,"title":44648,"dynasty":76,"author":44649,"museum":20,"description":44650,"tags":44651,"thumbUrl":44652,"material":619,"size":44653,"collection":44,"collections":44654,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},238295,"shi-liu-luo-han-ce-jia-quan-238295","十六罗汉册","贾全","贾全，生卒年不详，乾隆时供奉内廷。工画人物及马。此册画不同形象的罗汉十六尊。佛像采用中国传统人物画技法，勾线填色。人物神态平和，面部晕染有致，衣纹流畅，背景简率。",[7,24,81,27,28,173,259,106,957,29,109,245,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d73bf3f1eb13ad969126a5b8ecc69d.jpg","纵31.5厘米横25厘米",[44,45],{"id":44656,"slug":44657,"title":44658,"dynasty":76,"author":44659,"museum":364,"description":44660,"tags":44661,"thumbUrl":44663,"material":139,"size":139,"collection":90,"collections":44664,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},238274,"hua-qia-xuan-yuan-tu-ce-huang-yue-238274","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[7,27,83,81,44662,713,698,298,1064,712,245],"枸杞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c58126e2ccbab6b27ba717f63b9702.jpg",[90,45],{"id":44666,"slug":44667,"title":44668,"dynasty":99,"author":23960,"museum":364,"description":32445,"tags":44669,"thumbUrl":44670,"material":743,"size":744,"collection":139,"collections":44671,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},237927,"qiu-chuang-du-shu-tu-zhou-song-xu-237927","秋窗读书图轴",[7,241,173,27,29,1575,920,106,176,1432,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaebd32b4026d7b73f0eaa9c2c5d7b62.jpg",[],{"id":44673,"slug":44674,"title":44675,"dynasty":99,"author":44676,"museum":364,"description":44677,"tags":44678,"thumbUrl":44679,"material":139,"size":139,"collection":90,"collections":44680,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},237663,"san-si-tu-zhou-yu-qi-feng-237663","三思图轴","俞奇逢","俞奇逢，[明]，福建沙县人。沙县俞氏自存胜得其舅氏边文进之传，遂世业花鸟。",[7,24,241,27,28,83,4307,1374,281,299,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc809c2646c002bed50c182f923e9d9.jpg",[90,45],{"id":44682,"slug":44683,"title":44684,"dynasty":76,"author":15347,"museum":364,"description":44685,"tags":44686,"thumbUrl":44687,"material":139,"size":139,"collection":181,"collections":44688,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},237240,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237240","古木竹石图册","此作用笔松秀空灵，以枯淡墨色绘就溪畔垂柳，柔条袅袅垂落，尽显清灵舒展之态。远山以淡墨晕染，虚实交融，朦胧悠远，溪岸点缀丛竹顽石，意到即止。\n画面留白疏阔，以空衬实，尽显逸笔草草的文人意趣，笔简意足，以极简笔墨勾勒江南水畔的清寂春景。整幅画风淡穆萧散，将闲散淡远的林下之风融于毫端，观之如临幽寂水滨，心神随之沉静，尽显文人画简雅空疏的幽远意境。",[7,173,81,177,29,394,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3c69b0bbe9a5fb1f7734c4a3221339.jpg",[181,163],{"id":44690,"slug":44691,"title":44692,"dynasty":99,"author":38124,"museum":20,"description":44693,"tags":44694,"thumbUrl":44695,"material":803,"size":139,"collection":90,"collections":44696,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},236980,"mo-zhu-tu-zhou-wang-duo-236980","墨竹图轴","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n明朝万历二十年（1592年），生于河南孟津县。天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[7,173,241,242,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51936768834ede011f6ae5fbcc3fc68b.jpg",[90,163],{"id":44698,"slug":44699,"title":44700,"dynasty":76,"author":953,"museum":20,"description":37003,"tags":44701,"thumbUrl":44702,"material":139,"size":139,"collection":90,"collections":44703,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},236932,"shu-shi-zhou-ren-yi-236932","树石轴",[7,24,241,27,177,173,29,430,431,2238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F247e360fb7e59b111c8c0d5ee3fec789.jpg",[90,163],{"id":44705,"slug":44706,"title":44707,"dynasty":76,"author":293,"museum":20,"description":44708,"tags":44709,"thumbUrl":44710,"material":139,"size":139,"collection":181,"collections":44711,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},236182,"hong-wu-shan-shui-shan-mian-yi-ming-236182","弘旿山水扇面","此作用笔松秀温润，以淡墨皴擦写尽山林意趣。取景幽寂，草堂临水依林而建，柴扉半虚掩，暗合幽居避俗之思。坡岸错杂，古木虬曲苍劲，细笔点染枝叶，疏密间尽显山野萧森之态。曲水蜿蜒绕于石滩，右侧崖壁悬泉轻落，为静谧山居添了几分灵动生机。\n\n整幅浅施淡彩，干笔勾勒山石肌理，湿墨晕染林木华滋，将文人林泉高致凝于尺幅。无市井喧嚣，只余丘壑闲澹之美，淡远清和，引人沉湎于这份江南山居的悠然雅意之中。",[7,24,1562,29,177,173,108,109,34,176,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e5ed61aa16afbae7a5f0315de3a66.jpg",[181],{"id":44713,"slug":44714,"title":44715,"dynasty":76,"author":44716,"museum":20,"description":44717,"tags":44718,"thumbUrl":44719,"material":665,"size":44720,"collection":139,"collections":44721,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},236157,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236157","冷枚养正图书合册","张若霭","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[7,28,27,81,106,1237,114,115,34,1664,313,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c260827de0b7445380a8694a8650e49.jpg","纵三二·二厘米 横四二·三厘米",[],{"id":44723,"slug":44724,"title":5121,"dynasty":99,"author":3114,"museum":364,"description":44725,"tags":44726,"thumbUrl":44727,"material":139,"size":139,"collection":139,"collections":44728,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},235259,"qing-lv-shan-shui-tu-zhou-dong-qi-chang-235259","此作用笔苍秀老辣，主山奇崛高挺，皴擦勾勒间尽显嶙峋骨相。坡岸林木错落舒展，枝叶含风，近滩浅渚清寂悠然。以书入画，线条带着书法般的散逸韵律，墨色干湿互济，留白空灵悠远，晕染出萧疏淡远的林下意境。题款与画面浑融无间，诗书画印相映成趣，褪去匠造之气，直写胸中丘壑，将山水清灵与文人雅怀融为一体，尽显淡宕萧散的逸格风神。",[7,24,241,26,27,29,245,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66cd1e7aa3ae669cd93a858b870ee35.jpg",[],{"id":44730,"slug":44731,"title":44732,"dynasty":76,"author":2804,"museum":364,"description":44733,"tags":44734,"thumbUrl":44735,"material":139,"size":139,"collection":139,"collections":44736,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},235224,"he-liao-tu-zhou-wu-chang-shuo-235224","荷蓼图轴","此作用笔纵老苍劲，以篆籀笔法入画。泼墨写荷叶，浓淡干湿间尽显氤氲苍润，大写意的笔力带着厚重朴拙的金石气。荷花勾勒简雅，莲蓬、蓼花点染鲜活，赭色顽石拙朴雄浑，与水墨荷色相映成趣。\n画面纵轴布陈，荷蓼错落排布，将汀洲秋日清寂疏凉的秋意铺展纸面。题款行书跌宕老辣，与画面笔墨意趣浑然相融，以恣意纵横的笔墨，把萧索秋景化作饱满的文人意趣，藏着沉静又蓬勃的生机，尽显写意花鸟的极致韵味。",[7,241,173,27,83,446,243,136,33521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd680434786fc52bb6d3830e98572c7cc.jpg",[],{"id":44738,"slug":44739,"title":44740,"dynasty":76,"author":5052,"museum":20,"description":15763,"tags":44741,"thumbUrl":44742,"material":990,"size":15766,"collection":139,"collections":44743,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},234952,"fang-ni-shan-shui-tu-hong-ren-234952","仿倪山水图",[7,173,29,241,177,175,1015,245,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76b1e0fbf86ad46a2347ec4246aa9e3.jpg",[],{"id":44745,"slug":44746,"title":44747,"dynasty":99,"author":44748,"museum":20,"description":44749,"tags":44750,"thumbUrl":44751,"material":1716,"size":44752,"collection":139,"collections":44753,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},234851,"lan-zhu-shui-xian-tu-ma-shou-zhen-234851","兰竹水仙图","马守真","作者以娴熟的笔墨勾画出清风吹拂下兰、竹摇曳的形貌。兰、竹是妓女画家们最热衷描绘的题材。其因：第一，兰、竹与松、梅被历代文人赞美为画中的“四君子”，通过表现有君子风范的兰、竹 可以标示出画家自身的高洁情怀；第二，兰的清幽、竹的虚静均能映衬出妓女们的某种特殊心态；第三，也是最为关键的一点，即绘画为文人雅士与青楼女子交流的一项文化内容，兰、竹形象简单，创作时所需的时间较短，纵情涂抹三二枝便可形完气足，以助一时之兴。因此，在明代涌现出众多以擅绘兰、竹闻名的妓女画家，马守真是其中的佼佼者。马守真以画兰之精、之专而扬名江南，因此自号“湘兰”。\n马守真在兰、竹创作上不重视对兰、竹外在形态的细致刻画，而重在写出兰、竹的内涵精神，聊以抒发心中之逸气。因此，她从用笔、施墨到构图都极其随意，但内藏机巧，不失韵味。她笔下的具飘逸野趣的兰、竹不同于文俶等闺秀画家精工细描的庭院中的闲花静草，而与男性文人画家、尤其是“吴门画派”中文徵明等人的花卉艺术有更多相近之处，反映了妓女对男性文人画家的迎合及师承关系。",[7,24,173,446,452,242,451,245,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa023505e604a1f2ec2adedadc3d6df7b.jpg","纵83.5厘米，横47.2厘米",[],{"id":44755,"slug":44756,"title":2235,"dynasty":76,"author":707,"museum":364,"description":44757,"tags":44758,"thumbUrl":44759,"material":139,"size":139,"collection":90,"collections":44760,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},234298,"za-hua-ce-hua-yan-234298","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[7,81,27,83,242,224,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18261950f2c430698f9dc86a6d3b1d6c.jpg",[90,181],{"id":44762,"slug":44763,"title":44764,"dynasty":99,"author":966,"museum":20,"description":44765,"tags":44766,"thumbUrl":44767,"material":12542,"size":44768,"collection":139,"collections":44769,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},234133,"wen-zheng-ming-lin-song-xue-lan-shi-juan-wen-zheng-ming-234133","文徵明临松雪兰石卷","画幽兰一丛,小竹一枝,生于坡石之间,点缀以荆棘杂草",[23,7,24,25,173,178,105,227,452,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56557e2a2e1aa0a998c2c9f99a8dcc16.jpg","纵28厘米,横62.5厘米",[],{"id":44771,"slug":44772,"title":6157,"dynasty":99,"author":170,"museum":20,"description":6158,"tags":44773,"thumbUrl":44774,"material":803,"size":6161,"collection":139,"collections":44775,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},234095,"wu-zhong-shan-shui-ce-shen-zhou-234095",[7,24,81,173,29,174,1532,281,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b73c5295ebb98f54c55fa1cd601045b.jpg",[],{"id":44777,"slug":44778,"title":6723,"dynasty":99,"author":443,"museum":20,"description":6724,"tags":44779,"thumbUrl":44780,"material":4796,"size":6728,"collection":139,"collections":44781,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},233476,"ren-wu-hua-hui-ce-xu-wei-233476",[7,173,81,446,106,1351,367,491,490,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1538271c2dfd88f0c7cb1a73760be4.jpg",[],{"id":44783,"slug":44784,"title":486,"dynasty":189,"author":2876,"museum":20,"description":44785,"tags":44786,"thumbUrl":44787,"material":990,"size":44788,"collection":181,"collections":44789,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},233170,"shan-shui-ce-cao-zhi-bai-233170","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[7,24,81,173,177,29,864,297,430,175,108,1575,176,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceab44884d9db9693abf1ae763ef66.jpg","纵33.1cm，横27.4cm",[181,382],{"id":44791,"slug":44792,"title":44793,"dynasty":99,"author":100,"museum":20,"description":11645,"tags":44794,"thumbUrl":44795,"material":40,"size":44796,"collection":139,"collections":44797,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":271},233141,"lian-xi-yu-yin-tu-zhou-chou-ying-233141","莲溪渔隐图轴",[7,24,241,209,27,28,29,1016,243,34,35,5066,2838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff729e8182fa8b670a238d77c7e5dfb3a.jpg","纵126.5厘米，横66.3厘米",[],{"id":44799,"slug":44800,"title":644,"dynasty":18,"author":16956,"museum":364,"description":44801,"tags":44802,"thumbUrl":44803,"material":139,"size":139,"collection":139,"collections":44804,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},228422,"zao-chun-tu-zhao-bo-su-228422","此作为典型南宋青绿山水，以石青石绿晕染山峦，敷色浓丽雅致，尽显华贵宋韵。长卷铺展平远山水，烟波横江裹挟春润雾气，层叠峰岫间茂林修竹错落，汀洲村舍、临江楼阁疏密排布，舟楫泛于碧水，仿佛能窥见江风拂过早春的清寂暖意。画面将山水与苑居景致相融，兼具自然灵秀与人工精巧，晕开江南早春独有的温润朦胧。卷后题跋与鉴藏朱印次第排列，墨痕与印色相映，让画作在清雅之外，更添流传千载的厚重书卷意蕴，尽显宋人的山水审美与文人雅趣。",[23,209,7,24,25,26,27,29,107,34,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641d8a14375683a70a41699d825928db.jpg",[],{"id":44806,"slug":44807,"title":11883,"dynasty":189,"author":25426,"museum":364,"description":44808,"tags":44809,"thumbUrl":44810,"material":139,"size":139,"collection":139,"collections":44811,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},228270,"feng-yu-gui-zhou-tu-fang-cong-yi-228270","以水墨晕染铺就漫天雨雾，峰峦在烟岚中若隐若现，焦墨勾勒的山石苍劲朴拙，与朦胧水汽形成虚实对照。孤舟扬帆穿雨而归，渺小的舟楫在浩渺烟雨中衬出江湖寥廓，暗合归人冒雨赶路的匆匆意绪。\n近景以淡墨点染丛木，斜逸的松树带着风雨飘摇之姿，呼应着满幅湿冷雨意。整幅画作以留白晕染营造空濛苍茫氛围，将山野骤雨之景绘得灵动写意，把江南雨中山水的空寂清冷与旅人归思相融，尽显元代文人山水空灵简远的意趣。",[23,7,173,29,177,174,430,37,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18e3d81d317532706d52b707a3c30e9.jpg",[],{"id":44813,"slug":44814,"title":44815,"dynasty":189,"author":351,"museum":364,"description":44816,"tags":44817,"thumbUrl":44818,"material":139,"size":139,"collection":139,"collections":44819,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},228016,"xiao-niao-tu-tuan-shan-qian-xuan-228016","小鸟图团扇","此作截取清秋小景，斜出的桂枝缀着苍润绿叶，细碎黄花藏于叶底，似有暗香悠悠溢出。枝头的白头鹎栩栩如生，白羽如凝雪覆于头颈，青灰背羽晕染出柔和层次，尖喙微张，仿佛正啼鸣于凉秋。\n\n画家以淡墨晕染底色，设色清隽雅致，未作繁复勾勒，只以轻染淡彩便将花鸟形神尽数描摹，尽显幽淡闲远的文人意趣。尺幅团扇间，将秋日清寂里的鲜活生机定格，把山野寻常小景晕染成充满诗意的刹那剪影，笔底带着松弛闲散的文人情思，淡而有味，雅韵悠长。",[23,209,7,24,1562,27,83,3583,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ab02594b013a2f743dbd67a5ec0c06.jpg",[],{"id":44821,"slug":44822,"title":44823,"dynasty":18,"author":2856,"museum":364,"description":44824,"tags":44825,"thumbUrl":44826,"material":139,"size":139,"collection":139,"collections":44827,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[23,7,209,24,25,28,27,177,8368,957,430,394,1159,560,281,86,227,176,4663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],{"id":44829,"slug":44830,"title":44831,"dynasty":18,"author":823,"museum":364,"description":44832,"tags":44833,"thumbUrl":44834,"material":139,"size":139,"collection":139,"collections":44835,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},227727,"song-xi-fan-yue-tu-ye-xia-gui-227727","松溪泛月图页","《松溪泛月图》页，南宋，夏圭，绢本设色，24.7×25.2cm，北京故宫博物院藏。\n\n夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。",[23,209,7,24,81,173,177,29,449,300,174,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d8343726fb542a41407b3b3bf085bb.jpg",[],{"id":44837,"slug":44838,"title":44839,"dynasty":18,"author":44840,"museum":364,"description":44841,"tags":44842,"thumbUrl":44843,"material":139,"size":139,"collection":139,"collections":44844,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},227335,"song-li-tu-song-tian-227335","松栗图","松田","这幅小品以淡墨铺就底色，枯笔皴写松枝，苍拙老辣，自带山野清寂意趣。松鼠以浓墨破淡，晕染出蓬松柔润的绒毛，俯身探看，眼目灵动机警，将小兽憨然灵动的神态全然托出。松针攒簇、松果朴拙，简笔勾勒便生野趣。\n\n大片留白不着一笔，尽得山林空寂之味，将山野间一瞬的灵动定格，以小景见天地，尽显简淡中藏着的盎然生机，把文人画疏淡清雅的审美意韵融在尺幅之间。",[2544,7,24,209,173,83,449,7818,5837,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4546d1410a71aa3f9bc40f0b4509ba54.jpg",[],{"id":44846,"slug":44847,"title":10180,"dynasty":76,"author":2040,"museum":364,"description":44848,"tags":44849,"thumbUrl":44850,"material":139,"size":139,"collection":139,"collections":44851,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},224592,"pan-tao-tu-zou-yi-gui-224592","此作取瑞祥之意，笔墨清妍雅致。丹顶鹤仙骨清奇，翎毛皴染细致，墨线勾出纤毫肌理，雪衣朱顶立于苍岩，石畔灵芝添幽趣。古桃枝夭矫横斜，硕实饱满，胭脂晕染果皮，将桃实鲜活温润之态尽显，枝叶敷色鲜亮，满目生机。飞瀑轻垂，晕开空山幽寂之境，左上题诗补白，让文思画意相融。画面疏密相宜，工致兼具文雅，将吉庆绵长的寓意藏于笔底，满卷悠然仙气，尽抒福寿安康的美好祈愿。",[23,7,28,27,227,60,2930,176,558,12102,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7350a1afd655bc04aa623e85fabbe12d.jpg",[],{"id":44853,"slug":44854,"title":44855,"dynasty":76,"author":1109,"museum":364,"description":44856,"tags":44857,"thumbUrl":44858,"material":139,"size":139,"collection":163,"collections":44859,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},224531,"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[23,7,24,25,173,177,178,86,29,30,650,34,491,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[163],{"id":44861,"slug":44862,"title":44863,"dynasty":76,"author":3679,"museum":364,"description":44864,"tags":44865,"thumbUrl":44866,"material":139,"size":139,"collection":139,"collections":44867,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},224374,"hua-hui-qi-shi-ce-shi-er-kai-3-ju-lian-224374","花卉奇石册-十二开-3","此作笔致秀润恬和，淡墨勾皴湖石，奇崛古拙，空灵苍润间尽显嶙峋意趣。素盆秋菊柔色轻绽，嫩蕊鲜妍和素净瓷盆相映，晕开一室清雅文气。\n\n角落散落的花生、坠果带着日常烟火意趣，石畔小兽探头轻觑，为幽寂的文房清供添上灵动野趣。整体设色浅淡明净，衬着绢底古雅底色，将文人闲居的恬淡意兴融于尺幅，工写兼济间，把清供小品的雅静与鲜活日常交织，尽显平淡天真的悠然情致。",[23,7,24,81,28,27,83,245,453,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b4da7d3931604a708831e97b24647c.jpg",[],{"id":44869,"slug":44870,"title":44871,"dynasty":76,"author":10320,"museum":364,"description":44872,"tags":44873,"thumbUrl":44874,"material":139,"size":139,"collection":139,"collections":44875,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},224244,"yuan-ji-shi-yi-tu-gai-qi-224244","元机诗意图","《清改琦元机诗意图》是中国清代画家 创作的一幅人物画。\n此图画的是唐代女诗人 的。\n鱼玄机是个很有才华，而遭遇却很不幸的人，她大约生于844年，卒子871年，字幼微、蕙兰，清代时因避康熙玄烨的讳改称为鱼元机。\n嫁给李忆为妾，因受李妻的妒忌，被迫出家，在长安咸宜观做了女道士。\n由于喜读书，有才思，擅作诗，受到当时文人们的重视，温庭筠等名家常与她作诗唱和。\n后因忌妒笞杀侍婢绿翘，被判死刑，其时年仅二十多岁。\n留有诗文一卷。\n此图设色古雅，衣纹秀劲，玄机倚坐展卷。\n姿容秀美，含蓄深思，刻画传神。\n改琦(177-1828)字伯蕴，号香白，或作香伯，又号七芗，别号玉壶外史。\n先世为西域人，祖为松江参将，遂占籍为华亭（今上海松江）人。\n通敏多能，善书画，人物画出入李公麟、赵孟頫、唐寅及陈洪绶，花草兰竹小品迥出尘表，叉善画佛像，人以新罗山人相比，为清代中叶画坛名家。\n工诗词，曾与钦善、姜皋等结课诗词，辑《泖东诗课》。",[23,7,24,27,28,106,59,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125f440623b2edc344cb81826355bd02.jpg",[],{"id":44877,"slug":44878,"title":4025,"dynasty":76,"author":2804,"museum":364,"description":44879,"tags":44880,"thumbUrl":44881,"material":139,"size":139,"collection":139,"collections":44882,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},224218,"shan-shui-zhou-wu-chang-shuo-224218","此作以高远章法铺陈，主峰雄踞上部，以篆隶笔法入皴，枯涩苍劲的线条勾勒山石肌理，朴拙雄浑间尽显厚重金石气。下半幅山林幽居藏于层林之中，屋舍错落临溪而建，溪桥横陈，枯木与青柯相映。\n\n水墨间晕染淡赭、花青，为清秋山林添上柔和暖意。题诗与画境呼应，将隐逸山居的静穆雅逸，融于雄朴的笔墨之中，把林泉高致的清隽滋味藏于苍辣笔意内，尽显冲淡高古的文人意趣，是典型的文人山水风貌。",[23,7,241,173,27,177,24,29,108,109,35,1015,1575,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eab5e3cd8b5a1741b2652c294477895.jpg",[],{"id":44884,"slug":44885,"title":44886,"dynasty":18,"author":293,"museum":364,"description":44887,"tags":44888,"thumbUrl":44889,"material":139,"size":139,"collection":139,"collections":44890,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},223619,"hong-liao-shui-qin-tu-ye-yi-ming-223619","红蓼水禽图页","取景以简驭繁，水禽伫立于红蓼柔梢，翎毛晕染入微，丝缕毕现，禽鸟垂喙凝神，灵动宛若将欲振翅。淡墨轻勾浅淡水纹，留白衬出汀洲空寂，将秋日水滨的清寒野趣凝于尺幅纨扇。工笔摹形，写意传情，把小景生机与幽澹诗意相融，尽显雅致空疏的审美意趣，不负“传写物态，蔚有生意”之誉，是小品画中以形传神的绝佳之作。",[23,209,7,24,5990,28,27,83,1060,38171,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa3aae2e3e700ea4306d26b41921ec2.jpg",[],{"id":44892,"slug":44893,"title":44894,"dynasty":18,"author":293,"museum":206,"description":44895,"tags":44896,"thumbUrl":44900,"material":827,"size":44901,"collection":139,"collections":44902,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},223380,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223380","千手千眼观世音菩萨轴","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，祂的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[23,209,7,24,241,259,28,27,106,27074,44897,261,44898,1330,281,4860,63,5713,9635,44899],"千眼","佛光","众神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd2c18bc7d656864bb8c7ad6a86782a.jpg","176.8x79.2",[],{"id":44904,"slug":44905,"title":44906,"dynasty":76,"author":44907,"museum":206,"description":44908,"tags":44909,"thumbUrl":44910,"material":139,"size":139,"collection":181,"collections":44911,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},222851,"hua-qiu-si-ming-quan-zhou-ai-xin-jue-luo-yong-rong-222851","画秋寺鸣泉轴","爱新觉罗永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,7,24,241,27,177,29,13097,15098,108,109,34,176,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa9f2b95b9bde32a8dedfb17b22ed5c.jpg",[181,45],{"id":44913,"slug":44914,"title":44915,"dynasty":99,"author":38552,"museum":78,"description":44916,"tags":44917,"thumbUrl":44918,"material":990,"size":44919,"collection":181,"collections":44920,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},222838,"qiu-ling-shan-quan-tu-xiao-yun-cong-222838","秋岭山泉图","萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。这种淡远无尘、清墨涩笔创作出来的超然冷寂澹泊的境界，是逸的真实表述。萧云从的山水画在历史上之所以为众人推崇，即在于其反映生活的“真”和“美”。",[23,7,24,241,27,173,29,176,109,558,34,1575,2238,35,106,177,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777621cf6ec8952e48ae2dbb0be5b7fc.jpg","165cmx45.6cm",[181,45],{"id":44922,"slug":44923,"title":44924,"dynasty":76,"author":614,"museum":15596,"description":44925,"tags":44926,"thumbUrl":44927,"material":619,"size":44928,"collection":90,"collections":44929,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},222673,"xiong-ji-tu-zhou-huang-shen-222673","雄鸡图轴","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,7,24,241,173,27,86,5865,1062,2238,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7a27332b6be489e47fb8cf3f1bbaf3.jpg","纵124.6厘米，横59.8厘米",[90,45],{"id":44931,"slug":44932,"title":44933,"dynasty":99,"author":1012,"museum":206,"description":44074,"tags":44934,"thumbUrl":44935,"material":665,"size":44936,"collection":139,"collections":44937,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},222584,"fang-fan-kuan-zuo-ping-jiu-shu-lan-ying-222584","仿范宽坐凭樛树",[23,7,24,29,27,177,176,34,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6086be9329befee0f8455f19c8930b7.jpg","72.6x60.8厘米",[],{"id":44939,"slug":44940,"title":44941,"dynasty":99,"author":100,"museum":78,"description":44942,"tags":44943,"thumbUrl":44944,"material":40,"size":44945,"collection":181,"collections":44946,"showCount":44516,"zanCount":1270,"manualWeight":48,"mainColor":49},222214,"su-hui-hui-wen-kai-xuan-shi-chou-ying-222214","苏惠回文凯旋诗","回文诗，也写作“爱情诗”“回环诗”。它是汉语特有的一种使用词序回环往复的修辞方法，文体上称之为“回文体”。唐代上官仪说，“诗有八对”，其七曰“回文对”，“情新因意得，意得逐情新”，用的就是这种措词方法。充分展示并利用了汉语以单音节语素为主和以语序为重要语法手段这两大特点，读来回环往复，绵延无尽，给人以荡气回肠，意兴盎然的美感。回文的形式在晋代以后就很盛行，而且在多种文体中被采用。人们用这种手法造句、写诗、填词、度曲，便分别称为回文诗，回文词和回文曲。虽然不乏游戏之作，却也颇见遣词造句的功力。",[23,209,7,24,25,28,27,104,106,59,150,34,107,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[181,45],{"id":44948,"slug":44949,"title":44950,"dynasty":99,"author":13614,"museum":206,"description":13615,"tags":44951,"thumbUrl":44952,"material":619,"size":44953,"collection":44,"collections":44954,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},222067,"wu-liang-shou-fu-wu-bin-222067","无量寿佛",[23,7,24,27,28,259,106,1862],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe7f98a1d50d1025e8caff57fb63c78c.jpg","62.3x35.3",[44,45],{"id":44956,"slug":44957,"title":44958,"dynasty":99,"author":966,"museum":20,"description":44959,"tags":44960,"thumbUrl":44961,"material":1716,"size":44962,"collection":181,"collections":44963,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},221998,"xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-221998","溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[23,7,108,109,29,864,297,430,36,173,446,241,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纵95.8厘米，横48.7厘米",[181,163],{"id":44965,"slug":44966,"title":44967,"dynasty":99,"author":1083,"museum":364,"description":44968,"tags":44969,"thumbUrl":44970,"material":40,"size":44971,"collection":44,"collections":44972,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},221897,"lao-chi-xiang-li-zhou-chen-hong-shou-221897","老迟像立轴","此幅为陈洪绶的自画像，画上老迟盘腿坐于地上，身着宽袖长袍，蓄长须，手执某种花朵置于鼻下闻味；背后湖石形状奇特，前方一小童烧火烤似灵芝一样的东西。陈洪绶，号老莲，晚号老迟，明末清初著名书画家、诗人。",[23,7,209,241,28,260,27,106,245,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52772eece37edbf9b7da25588c5bae5.jpg","95x51cm",[44,45],{"id":44974,"slug":44975,"title":44976,"dynasty":189,"author":2519,"museum":20,"description":44977,"tags":44978,"thumbUrl":44979,"material":5149,"size":44980,"collection":181,"collections":44981,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},221871,"ou-bo-ting-tu-zhao-meng-fu-221871","欧波亭图","鸥波亭为赵孟頫夫妇游息吟咏之所，据现传世著录赵一生曾多次创作以鸥波亭为题材的作品。有《鸥波亭图》(明张丑着《书画见闻表一卷》·五)、《鸥波亭图轴》(清李佐贤着《书画鉴影二十四卷》二○·一)、《赵松雪管仲姬合作鸥波亭图轴》(清邵松年着《古缘萃录十八卷》二·六)。此图正是邵松年载录的《鸥波亭图》，作于元大德八年(1304)甲辰春三月，时赵孟俯50岁，管仲姬42岁，乃精心合写神妙之作。赵孟俯白描人物并写柏树及楼台、山石，管仲姬为其补写大片白描双勾新篁，伉俪合作，珠联璧合，堪称“二美”。故弥足珍贵。",[23,7,24,241,27,2939,106,107,175,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4dccc8fa8bf432c5b115720e7b83061.jpg","纵117厘米，宽54厘米",[181,45],{"id":44983,"slug":44984,"title":44985,"dynasty":189,"author":21191,"museum":20,"description":44986,"tags":44987,"thumbUrl":44988,"material":3076,"size":44989,"collection":181,"collections":44990,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},221819,"feng-le-lou-tu-xia-yong-221819","丰乐楼图","作者采用对角构图法，用水墨界画殿阁山水，线条纤如毫发，背景远山平缓润泽，开阔的水面与依依杨柳恰到好处地交待出建筑处于江南的环境。展观其作品，方寸之间微入毫芒，画家再现了宏大建筑的整体和细部，技艺精湛超凡，令人叹服。\n此幅构图之用笔与故宫藏夏永另几幅界画作品如出一辙。丰乐楼为为南宋都城临安著名的大酒楼之一。地处涌金门外西湖岸边。作品所取材的“丰乐楼”早已不存，夏永极度写实的画风以及右上以“小如蚁目”的蝇头小楷题写的31行“十里挲平丰乐楼”长题，无疑成为今天了解这座在宋代杭州曾颇有声名的楼阁的重要史料。",[23,7,24,104,260,29,107,34,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F844d7f5926052f741a315b41c30867db.jpg","纵25.8厘米，横25.8厘米",[181,163],{"id":44992,"slug":44993,"title":44994,"dynasty":189,"author":3741,"museum":206,"description":44995,"tags":44996,"thumbUrl":44997,"material":381,"size":44998,"collection":163,"collections":44999,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},221813,"si-ji-ping-an-tu-zhou-li-kan-221813","四季平安图轴","《四季平安图》此幅水墨绘修竹四竿，三浓一淡，两前两后，布置得宜，风姿卓然。李仲宾此幅全学文湖州，而加浓密之致，体现了其本人的艺术审美。 李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[23,209,7,24,241,173,260,28,242,431,245,177,5491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm",[163,2293],{"id":45001,"slug":45002,"title":16381,"dynasty":189,"author":27230,"museum":101,"description":45003,"tags":45004,"thumbUrl":45005,"material":1449,"size":45006,"collection":181,"collections":45007,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},221812,"xue-shan-xing-lv-tu-yao-ting-mei-221812","绘山峦层叠，幽谷深邃，山中楼台隐现，树木耸立，枝杈横生，树叶凋零，似到深秋或隆冬季节；山脚溪水聚集成河，河面如镜，一桥横跨两岸，桥上二人骑马而过，此番行旅给沉闷的山中带来生气。 此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[23,7,1397,177,27,3499,176,1015,114,108,559,34,119,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","98.1× 54cm",[181,45],{"id":45009,"slug":45010,"title":45011,"dynasty":189,"author":19397,"museum":206,"description":45012,"tags":45013,"thumbUrl":45014,"material":803,"size":45015,"collection":44,"collections":45016,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},221733,"ni-zan-xiang-juan-zhang-yu-221733","倪瓒像卷","工书画，其书法初学赵孟頫，后学怀素，张旭。字体楷草结合，俊爽清洒自成一格。存世书迹有《山居即事诗帖》，《登南峰卷》等。倪瓒在《题张贞居书卷》称“贞居真人诗，人，字，画，皆为本朝道品第一”。其画以淡彩见长，善画石木，用笔古雅，尤善以败笔点缀石木人物，颇有意韵。画迹有《霜柯秀石图》，《双峰含翠图》等。",[7,24,25,260,27,28,106,227,2951,315,29,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30d126c273a363dbcf40b1fda9a0860a.jpg","该幅28.2x60.9公分",[44,45],{"id":45018,"slug":45019,"title":45020,"dynasty":189,"author":351,"museum":101,"description":45021,"tags":45022,"thumbUrl":45025,"material":12901,"size":45026,"collection":44,"collections":45027,"showCount":44516,"zanCount":1547,"manualWeight":48,"mainColor":49},221712,"fu-zui-tu-juan-qian-xuan-221712","扶醉图卷","描绘的是东晋著名隐士陶渊明喝酒的故事。画中共三人：酒后面露醉态的陶渊明，醉眼朦胧，坦胸露肚，一手倚扶于竹榻之上，一手作摆手送客状。右侧的客人对着陶渊明双手作揖，面容恭谨，作告辞状；白衣老仆欲引客人离去。一边的地面上陶制的酒罐、酒盆和瓷器的酒杯洒落一地，杯盘狼藉。",[23,7,24,25,27,28,2939,106,211,63,3903,8107,67,20632,8105,45023,11429,45024,20174],"人物互动","线条细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ccffb9f1d8c8a7d08362296a28da33.jpg","纵28厘米，横49.5厘米",[44,45],{"id":45029,"slug":45030,"title":45031,"dynasty":18,"author":351,"museum":206,"description":45032,"tags":45033,"thumbUrl":45034,"material":990,"size":45035,"collection":90,"collections":45036,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},221706,"san-shu-tu-zhou-qian-xuan-221706","三蔬图轴","画塘上有乾隆帝题：秋圃真香。钱选（约1235-1307前），字舜举，浙江吴兴人。工诗，善书画，与赵孟俯同为“吴兴八俊”之一。",[23,7,27,28,12652,15873,1458,299,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ac9cca7755d4ddbdc81bfe39278a07.jpg","97.6x47.4cm",[90,45],{"id":45038,"slug":45039,"title":45040,"dynasty":18,"author":6175,"museum":20,"description":45041,"tags":45042,"thumbUrl":45043,"material":2021,"size":33749,"collection":42,"collections":45044,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},221428,"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[23,7,24,25,173,27,29,108,109,245,394,175,281,177,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg",[42,181,163],{"id":45046,"slug":45047,"title":45048,"dynasty":18,"author":39771,"museum":20,"description":45049,"tags":45050,"thumbUrl":45052,"material":40,"size":45053,"collection":44,"collections":45054,"showCount":44516,"zanCount":1547,"manualWeight":48,"mainColor":94},221416,"fang-che-tu-juan-wang-ju-zheng-221416","纺车图卷","《纺车图》是北宋画家 所创作的一幅设色画，现收藏于北京故宫博物院。\n该图画面上纺车忙碌着，一位面貌年轻村妇怀抱着哺乳的婴儿，坐在纺车前操作，稍远处一位老年村妇站立为之牵线。\n画面右侧绘有一个嬉戏的儿童，两位村妇之间则点缀一只小犬正在撒欢地玩着。\n背景描绘着随风披拂的柳树丝及其几段又粗又硬的树枝干。\n图中人物头发荆钗蓬鬓，鹑衣百结，曲尽情状，面目如生。\n纺车图是绢布手卷，纵21.6 厘米， 横69.2厘米，设色画，内容是农村中妇女纺线的情景。\n该画面的中心放着一架纺车，其傍置一竹筐，位中年妇女坐小椅上，左手抱着婴儿哺乳，右手轮转车机，前面站着一位老年妇女两手牵机。\n村妇身后有一儿童，席地而坐，手中拿着杆，牵着一只蟾蜍，活泼可爱。\n中间闻一小犬，画右有两棵老柳树，布景简洁，但却显出农村前条气象。\n元代书法家赵孟頫为此图题跋：“图虽尺许，而气韵雄壮，命意高古，精采飞动，真可谓神品者矣。\n” 明代画家吴宽亦于其上题诗并跋语：“可爱河东王氏子，丹青施誉动祥符。\n不传罗绮游春态，只画茅檐纺车图。\n” 大中祥符年间（18年—116年），北宋为了修筑宫殿、寺庙，招来一些从事建筑彩绘和壁画的民间画匠。\n由于王居正出身劳动人民，深谙民间疾苦，对下层贫苦农民有深厚的感情，所以画面反映的题材意义和人物形象，与宫廷画家及士大夫笔底的“农家乐”形象大异其趣。\n《纺车图》正是王居正看到妇女纺线情景所创作的一幅农家图。\n该图表现农村妇女的户外劳动。\n全幅主题突出，构图巧妙。\n近景描绘的人物被两条飘浮不定的线条分为两组，线的一端是边摇纺车边哺乳的中年妇女、围其左右戏青蛙的童子和狂吠的黑犬；另一端是弯腰伛背、双手拉着线团的老媪。\n人物彼此间聚散自然，神韵相通。\n图中纺车、竹筐、杌凳用界画形式表现，刻画精工写实。\n人物的衣纹用转折劲利的“战笔描”表现，中锋行笔，线条细劲圆润，随着人物形体的变化而顿折曲转，从而准确地塑造出人物的形态和衣料的柔软质地。\n图中的女性形象与晋代顾恺之、唐代周昉笔下的仕女相比，没有娇美的相貌、诱人的身材、华丽的服饰及尊贵的地位，她们仅是生活中最为普通的农村妇女。\n衣裤迭经补缀的老妇面容憔悴，动作迟缓，艰辛的生活令其相貌充满沧桑感。\n作者以写实的艺术手法不加美化地表现她们，意在赞扬她们安贫乐道的生活态度及朴实无华的个性美，同时也表达了对她们贫苦生活的同情。\n从绘画史的角度来看，《纺车图》并非在技法或风格创新上有重大突破或建树，其难得可贵价值在于它表现了下层劳动人民真实的劳动场面，为人们了解研究当时的社会和历史提供了珍贵的形象资料。\n该图流传有绪，在南宋时为 收藏。\n元代延祐四年（117年）， 在燕京以五十金购得。\n明代初为袁廷玉（柳庄）获取，明代中期杨维新从袁氏家购得。\n万历年间（157－1619年）它被周敏所收藏。\n清代初为仁和龚翔麟（蘅圃）收藏，乾隆朝时归江西陈玉方（希祖），嘉庆朝素村用旧拓唐楷碑向陈玉方换取此画，光绪年间（1875－198年）归陆心源所得，清末归武进盛所有。\n2世纪5年代，国家从香港将其购回，旋即入藏北京故宫博物院。\n在214年4月日至6月29日期间，北京故宫院开展“故宫藏历代书画展”，其中《纺车图》在北京故宫武英殿书画馆开展。\n王居正（生卒年不详），乳名憨哥，河东（今山西永济）人，北宋画家王拙之子。\n北宋大中祥符年间（18－116年），被招募至汴京（今河南开封）参与皇家宫殿的营造工程。\n其作画注重写实，落笔前反复观察，认真思考，力求于创作中真实地再现客观对象 。",[23,7,25,28,27,106,7253,11294,45051,244,34,956,9885,65],"纺车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc3f7fb767d3a2e83a5bc151e376253.jpg","纵26.1厘米，横69.2厘米",[44,45],{"id":45056,"slug":45057,"title":45058,"dynasty":18,"author":887,"museum":206,"description":45059,"tags":45060,"thumbUrl":45061,"material":45062,"size":45063,"collection":382,"collections":45064,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},221311,"du-hai-tie-su-shi-221311","渡海帖","元符三年（1100），苏轼被诏徙廉州（今广西合浦），路过澄迈（今海南澄迈）时未遇赵梦得，便留下此札。为其晚年书迹之代表，如同东坡自云：“自出新意，不践古人。”全作信笔写来，浑然天成。此札用笔劲利，结体斜向右上，时人认为颇有李邕（北海）之风，如黄庭坚语：“沉著痛快，乃似李北海。”\n“我书意造本无法，点画信手烦推求”，这是苏轼对自己书法的评语。相异传统的笔法与特殊结字，是其书法中最受赞赏的部分。\n此作又名「渡海帖」，为典型苏轼风格，苍劲有力，沉著痛快，为其晚年之代表作。上有项元汴千字文第八0一“具”字编号。",[209,7,24,86,178,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824dd81f2df22aa2f03b4e91a13bfe7.jpg","行书，纸本","纵28.6，横4.2cm",[382],{"id":45066,"slug":45067,"title":45068,"dynasty":18,"author":25387,"museum":206,"description":45069,"tags":45070,"thumbUrl":45072,"material":827,"size":45073,"collection":139,"collections":45074,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},221250,"qiu-zhu-wen-qin-hui-chong-221250","秋渚文禽","此冊共二十六開，包含許多精采的宋元冊頁。各別的作品曾經過南宋內府、十四世紀安徽收藏家吳志淳、十五世紀黔寧王沐璘、十七世紀山東收藏家張篤行等人收藏過。裱裝形式上，除了少數有對題者，左邊空白對幅皆以明代流行的金粟山藏經紙裱裝之，並有風格統一的題籤。配合裱紙上梁清標（一六二○－一六九一） 的收藏印，及比較院藏其他梁清標之題簽，推測此冊可能為梁清標所集，顯示明末清初所理解的宋元畫。",[7,27,28,81,1938,45071,243,367,6922],"水渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8245c17cd680d5c6db12441e68758697.jpg","27.3x28.7",[],{"id":45076,"slug":45077,"title":45078,"dynasty":18,"author":293,"museum":206,"description":45079,"tags":45080,"thumbUrl":45082,"material":123,"size":45083,"collection":42,"collections":45084,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},221236,"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[23,7,209,241,83,28,27,224,1062,45081,227],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[42,181,163],{"id":45086,"slug":45087,"title":45088,"dynasty":99,"author":3114,"museum":20,"description":17552,"tags":45089,"thumbUrl":45090,"material":4665,"size":7095,"collection":139,"collections":45091,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},220914,"shan-shui-ce-8-dong-qi-chang-220914","山水册8",[23,209,7,24,81,173,177,29,394,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496907c0f9c739e3dc2561042f92a439.jpg",[],{"id":45093,"slug":45094,"title":45095,"dynasty":99,"author":3114,"museum":20,"description":17552,"tags":45096,"thumbUrl":45097,"material":4665,"size":7095,"collection":139,"collections":45098,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},220912,"shan-shui-ce-6-dong-qi-chang-220912","山水册6",[23,7,173,177,81,29,864,430,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d454b71b8d54a070f37dccb8b6aedc.jpg",[],{"id":45100,"slug":45101,"title":45102,"dynasty":189,"author":2519,"museum":238,"description":45103,"tags":45104,"thumbUrl":45106,"material":803,"size":139,"collection":163,"collections":45107,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[23,209,7,24,25,173,178,177,242,431,45105,245,227],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[163,2293],{"id":45109,"slug":45110,"title":45111,"dynasty":99,"author":24267,"museum":20,"description":41333,"tags":45112,"thumbUrl":45113,"material":123,"size":45114,"collection":181,"collections":45115,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},220104,"xia-qi-shi-ze-ye-zhou-chen-220104","夏畦时泽页",[7,24,209,28,27,177,29,108,109,34,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81796ca826f29f94a83e6abdbb346ff.jpg","纵31.3cm，横26.4cm",[181],{"id":45117,"slug":45118,"title":45119,"dynasty":76,"author":45120,"museum":238,"description":45121,"tags":45122,"thumbUrl":45123,"material":342,"size":45124,"collection":181,"collections":45125,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},219981,"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[23,7,173,25,86,227,177,29,176,34,558,1255,491,37,560,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[181],{"id":45127,"slug":45128,"title":45129,"dynasty":189,"author":293,"museum":206,"description":45130,"tags":45131,"thumbUrl":45132,"material":173,"size":45133,"collection":163,"collections":45134,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},219961,"chun-shan-tu-yi-ming-219961","春山图","皴山画树，笔法灵动天然，毫不雕饰，质朴中具冷逸幽趣。幅中山石大都呈圆弧状，以枯笔浓墨和遒劲挺捷的笔法勾勒，淡墨渲染不多或因纸质关系而年久微退去，故浓墨圆笔点苔及枯枝树则显得甚为突出，全幅散发出一股冷涩枯寂的美感。\n该幅无作者名款，有学者从画上杨维祯题诗之书法风格与画中山石的轮廓线条笔意相仿，认为款题与画作皆出于一人之手。",[23,7,173,177,86,227,29,394,108,109,245,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04333cd7272b341e82a959a4c32fe0f3.jpg","73.2x42.3公分",[163],{"id":45136,"slug":45137,"title":2429,"dynasty":99,"author":20193,"museum":7359,"description":45138,"tags":45139,"thumbUrl":45140,"material":123,"size":45141,"collection":181,"collections":45142,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},219941,"han-jiang-du-diao-tu-zhu-duan-219941","朱端，是以粗放笔墨为特色的浙派后期代表性画家之一，其山水师法戴进等浙派早期名家，后溯源两宋，尤其马夏画法为重，本图是以雪景山水作品，水墨绢本，略带淡彩，有明显梁楷、牧溪笔意，构图空旷，笔意悠远，体现作者内心渴望的一种寂静与禅意。此作曾为曼殊院旧蔵品，现存于东京国立博物馆。",[23,7,209,24,241,173,177,29,174,1351,1015,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e54c1695abeb8054da50fc4026f2a3.jpg","171.9×109.0cm",[181],{"id":45144,"slug":45145,"title":45146,"dynasty":76,"author":10376,"museum":1806,"description":45147,"tags":45148,"thumbUrl":45149,"material":88,"size":45150,"collection":181,"collections":45151,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},219912,"ceng-luan-qiu-ji-tu-wang-hui-219912","层峦秋霁图","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[7,1397,27,177,12725,30,34,560,176,6922,37,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","142x66.1cm",[181],{"id":45153,"slug":45154,"title":20911,"dynasty":76,"author":1394,"museum":20,"description":20913,"tags":45155,"thumbUrl":20915,"material":123,"size":45156,"collection":181,"collections":45157,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},219747,"du-fu-shi-yi-tu-wang-shi-min-219747",[23,7,24,25,1397,173,27,242,34,176,560,108,175,109,245],"纵39厘米，横25.5厘米",[181],{"id":45159,"slug":45160,"title":20230,"dynasty":99,"author":4314,"museum":539,"description":45161,"tags":45162,"thumbUrl":45163,"material":123,"size":139,"collection":90,"collections":45164,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},219746,"song-ying-tu-lv-ji-219746","吕纪（1439年-1505年），字廷振，号乐愚，鄞（今浙江宁波）人。明代院体花鸟画家。",[23,7,24,28,27,83,449,4307,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ac887d96b6abbbb34b17fc5d912f97.jpg",[90],{"id":45166,"slug":45167,"title":45168,"dynasty":99,"author":26281,"museum":101,"description":45169,"tags":45170,"thumbUrl":45171,"material":88,"size":139,"collection":181,"collections":45172,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},219715,"xun-yang-song-ke-tu-ding-yun-peng-219715","浔阳送客图","此作以平远之法铺陈秋江暮色，设色清隽雅致。远景山峦以淡墨轻晕，烟岚空蒙，晕染出江天寥廓的空寂。江岸枯木萧疏，苍松虬然挺立于岩岫之间，为凄清秋意晕开一抹苍劲生机。\n\n画中江畔舟中对坐执盏，将临别之际的缱绻不舍凝于咫尺。线条清劲柔婉，山石林木以赭石花青轻染，带着吴门画派的温润秀雅，以简淡意境烘托出离别的黯然销魂，将诗文里的浔阳别绪藏进苍茫江色，淡而韵长，尽写古人送别的缱绻情深。",[7,27,28,29,106,174,34,176,31,177,241,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4df47f62d0026f7a3a39ac0a0b6aecb.jpg",[181],{"id":45174,"slug":45175,"title":45176,"dynasty":99,"author":293,"museum":206,"description":45177,"tags":45178,"thumbUrl":45181,"material":123,"size":45182,"collection":44,"collections":45183,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},219346,"song-feng-gao-yi-tu-yi-ming-219346","松风高逸图","苍松如盖，虬枝盘结，松针层叠似涛，古干斑驳间尽显岁月苍劲。树下士人或揖或立，衣袂轻扬，神情悠然，似在共赏林泉之趣；侍从侧侍，动静相宜，更衬雅集之闲。远景山水含烟，溪石错落，淡墨晕染出清旷悠远之境。全图笔墨细腻，设色古雅，将文人雅士寄情丘壑、超然物外的高逸情怀，悄然融于松风山水间，尽显林下之风的悠然意趣。笔墨间藏着对自然的敬畏与对闲适的向往，每一处线条都似在诉说文人心中的丘园之思。",[7,27,28,7960,45179,4525,29,5579,7714,45180],"士人","超然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82e3aa8da1e36d0f5288daacf61eaca.jpg","132×46cm",[44],{"id":45185,"slug":45186,"title":45187,"dynasty":76,"author":707,"museum":78,"description":45188,"tags":45189,"thumbUrl":45190,"material":123,"size":45191,"collection":45,"collections":45192,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},219217,"cui-yu-he-ming-tu-hua-yan-219217","翠羽和鸣图","图绘春天繁花吐芳,禽鸟欢腾的喧嚣情景.画家通过禽鸟生动的形态和诱人的粉色,烘染出春光明媚的氛围.",[7,27,28,241,281,83,394,327,245,225,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678e3c3bb0d57d844c094fac8c221dc5.jpg","177.2x97.4",[45],{"id":45194,"slug":45195,"title":45196,"dynasty":99,"author":16869,"museum":20,"description":45197,"tags":45198,"thumbUrl":45199,"material":173,"size":45200,"collection":181,"collections":45201,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},219206,"wei-wu-kuan-zuo-shan-shui-tu-du-qiong-219206","为吴宽作山水图","此图绘深山幽谷，溪桥流水，林木草屋，极为森藐悠远。构图饱满繁密，用笔秀润苍健，画风慎密清逸，格调高远古朴，意境深邃澹然。",[23,7,173,177,241,29,34,176,109,174,108,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3d1b0e984c125a383b3b438fdff855.jpg","纵108.2cm，横38.2cm",[181],{"id":45203,"slug":45204,"title":45205,"dynasty":189,"author":293,"museum":11591,"description":45206,"tags":45207,"thumbUrl":45209,"material":123,"size":45210,"collection":45,"collections":45211,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},219180,"lin-yuan-shuang-yang-tu-yi-ming-219180","林原双羊图","此幅为纨扇，工笔。画面溪水静流，草木丛生，古树歪斜，一双羊正埋头觅食。纨色古雅。左上角钤朱文篆刻收藏印“刘氏春禧所藏”，右下角有朱文篆印“忠”字。无款，为元人所绘，稀有难觅。",[23,209,7,24,27,28,8368,957,430,12601,45208,1064,864],"原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece76ddc27e36003fe0c487787bb73e0.jpg","纵26厘米，横27厘米",[45],{"id":45213,"slug":45214,"title":45215,"dynasty":76,"author":27251,"museum":20,"description":28411,"tags":45216,"thumbUrl":45217,"material":123,"size":28414,"collection":90,"collections":45218,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},218524,"cang-qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-218524","苍秋岚飞瀑图轴",[23,209,7,241,29,27,177,176,1248,109,34,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd631dc13de2e69a5451abd4d5af28756.jpg",[90],{"id":45220,"slug":45221,"title":45222,"dynasty":99,"author":45223,"museum":101,"description":45224,"tags":45225,"thumbUrl":45227,"material":342,"size":45228,"collection":44,"collections":45229,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},218318,"ri-ben-di-chui-di-zang-tu-shou-ye-tan-you-218318","日本· 笛吹地藏图","狩野探幽","素线勾勒的身影乘云翩跹，衣袂舒展如流霞漫卷。唇边横笛轻启，清韵似随柔风逸出，绕过身后朦胧圆月，在云气间悠悠弥散。线条柔婉却藏静定之姿，地藏的慈悲在笛音里化作淡暖光晕，与月色相融。整幅画如一首无声禅曲，空灵中裹挟着抚慰人心的力量，将佛性悲悯与艺术清雅织就成静谧天地，引人沉于这份超越尘嚣的平和安宁。",[209,7,24,241,259,260,173,106,1329,45226],"笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4950f0b0cd418d7e2e7b2082d209528.jpg","98.5x38.1",[44],{"id":45231,"slug":45232,"title":17839,"dynasty":99,"author":293,"museum":752,"description":45233,"tags":45234,"thumbUrl":45235,"material":123,"size":45236,"collection":44,"collections":45237,"showCount":44516,"zanCount":1547,"manualWeight":48,"mainColor":49},218292,"xian-ren-tu-yi-ming-218292","四位仙者衣袂翩跹，神态各异。左侧长者身着浅褐长袍，双手抱胸而立，眉宇间沉静儒雅；右下者深蓝长衣加身，躬身持物，姿态恭谨。背景二人或持杖浅笑，或低语互动，似有仙缘相契。衣纹线条流畅婉转，色彩经岁月沉淀仍显古朴雅致，云雾隐现间，缥缈仙境呼之欲出。人物神情生动传神，举手投足间尽显超凡气度，仙者之姿与人间情味交融，尽显古画神韵。",[7,27,28,106,259,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8688357244e4cdd1e92b2b1fed833a6.jpg","147.4x75.2",[44],{"id":45239,"slug":45240,"title":45241,"dynasty":76,"author":293,"museum":132,"description":45242,"tags":45243,"thumbUrl":45244,"material":123,"size":45245,"collection":181,"collections":45246,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},218093,"huang-cun-du-shu-yi-ming-218093","荒村独尌","这幅画主要描写了荒凉的村庄和孤独的农夫生活。表达了农民面对贫穷和困难时的悲惨心情。该画中使用了许多自然形象，如荒芜的田野、萧条的树木、寂寞的河流等，来描绘出农民贫困的生活环境。",[23,7,241,173,27,29,394,242,35,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2315df54f03804acdb72342539551.jpg","94x44.6cm",[181],{"id":45248,"slug":45249,"title":1692,"dynasty":99,"author":45250,"museum":132,"description":45251,"tags":45252,"thumbUrl":45253,"material":88,"size":45254,"collection":181,"collections":45255,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},218091,"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[23,7,173,29,209,241,108,109,30,34,8552,2409,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[181],{"id":45257,"slug":45258,"title":45259,"dynasty":99,"author":1083,"museum":101,"description":2236,"tags":45260,"thumbUrl":45261,"material":123,"size":139,"collection":139,"collections":45262,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},218019,"za-hua-ce-11-chen-hong-shou-218019","杂画册-11",[209,7,24,81,27,28,106,59,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1922d884b4ff6a8569e2c2b78a1b5aae.jpg",[],{"id":45264,"slug":45265,"title":45266,"dynasty":99,"author":293,"museum":539,"description":4592,"tags":45267,"thumbUrl":45268,"material":88,"size":139,"collection":139,"collections":45269,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},217951,"ming-ren-shan-shui-hua-ce-si-yi-ming-217951","明人山水画册(四)",[23,7,173,81,177,29,174,34,7582,649,175,490,1112,449,33,4663,3285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65090f9ae3fb49fb75219114df41c63.jpg",[],{"id":45271,"slug":45272,"title":11230,"dynasty":99,"author":45273,"museum":7875,"description":45274,"tags":45275,"thumbUrl":45276,"material":123,"size":45277,"collection":181,"collections":45278,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},217944,"yun-shan-tu-he-cheng-217944","何澄","《云山图》是一幅山水画，描绘的是山峦起伏的山岭，被浓密的云雾笼罩。何澄在画中运用了笔触细腻的技巧，将云山的起伏变化和神秘感表现得淋漓尽致。画中还有几只飞鸟，增添了画面的生动感。\n\n《云山图》被认为是何澄的代表作，也是明朝山水画的经典之作。它不仅体现了何澄的艺术才华，也展示了明朝时期对自然、山水的描绘方式。",[7,24,241,173,29,1329,864,297,34,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668c05cfb3d1386b314e770bdd9f091c.jpg","94.6x39.1cm",[181],{"id":45280,"slug":45281,"title":45282,"dynasty":18,"author":293,"museum":78,"description":45283,"tags":45284,"thumbUrl":45285,"material":123,"size":45286,"collection":181,"collections":45287,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":1335},217068,"xi-qiao-gui-qi-tu-yi-ming-217068","溪桥归骑图","《溪桥归骑图》是一幅综合了山水、人物和动物的图画。画中，山水景色非常美丽，清澈的小溪流过葱郁的山谷，山峰高耸入云，森林茂密，景色宜人。在溪边，一名骑马而归的男子和他的马从远处走来，似乎是从旅行中归来。画中还有许多生动的动物，如嬉戏的鹿、石鸡等。",[7,1562,29,150,106,108,177,27,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc46ceb389667c533df831b73b9a5047.jpg","18.3x29cm",[181],{"id":45289,"slug":45290,"title":8697,"dynasty":76,"author":293,"museum":364,"description":45291,"tags":45292,"thumbUrl":45293,"material":123,"size":45294,"collection":44,"collections":45295,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":49},217061,"luo-han-tu-yi-ming-217061","罗汉图是清朝时期的一张著名图画。这张图画描绘了一个罗汉，也就是佛教中的一种超凡脱俗的人物。罗汉图通常都会描绘罗汉坐在一个莲花座上，并且脸部表情非常平静。罗汉图被认为是一张具有深刻哲学意义的图画，它可以帮助人们思考人生、审视自己内心世界的问题。",[23,7,27,28,259,106,1575,176,84,1938,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0f92db8d3a95be73cc37fc1f75a538.jpg","63x39",[44],{"id":45297,"slug":45298,"title":45299,"dynasty":99,"author":45300,"museum":539,"description":45301,"tags":45302,"thumb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Jiude）是一位清朝的画家，他的狻猊图是他最著名的作品之一。狻猊图是一幅大型油画，描绘了一只狮子在草原上的场景。这幅画以其精细的细节、生动的色彩和传神的描绘而闻名。刘九德在创作狻猊图时，深受中国传统山水画的启发，并结合自己的独特艺术风格。狻猊图被认为是中国清朝时期最优秀的艺术作品之一，并被广泛收藏。",[7,24,241,27,28,957,45319,1575,176,340],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce7c5161fa971df7d7b5ae04c0307600.jpg","176.8x238.5cm",[90],{"id":45324,"slug":45325,"title":45326,"dynasty":76,"author":45327,"museum":16249,"description":45328,"tags":45329,"thumbUrl":45332,"material":173,"size":139,"collection":181,"collections":45333,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},215647,"yu-zhi-geng-zhi-tu-kang-xi-215647","御制耕织图","康熙","画面分帧铺展耕织图景，左帧河畔竹架悬桶，农人躬身引泉入田，溪流潺潺绕岸，树影婆娑覆径，尽显水乡农作的静谧韵致；右帧阡陌间耕者俯身劳作，小径上二人低语，远处田埂延绵，草木葱茏。以细腻白描勾勒人物情态与田园景致，写实中藏温婉意趣。笔墨凝注农桑日常的质朴细节，既显农人之勤苦，亦含对稼穑民生的深切关切。每一道线条都似在诉说土地与民生相依的厚重，让观者触摸到农耕生活里土地的温度、劳作的质感，以及那份对民生根本的珍视与叩问。",[209,7,81,260,86,106,109,34,280,30783,1445,21726,45330,45331],"农作","民生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ce01c004b9fb45e00d5c4f46f7b72.jpg",[181],{"id":45335,"slug":45336,"title":45337,"dynasty":76,"author":293,"museum":752,"description":45338,"tags":45339,"thumbUrl":45340,"material":342,"size":45341,"collection":44,"collections":45342,"showCount":44516,"zanCount":5,"manualWeight":48,"mainColor":94},214914,"qian-dai-jun-chen-gu-shi-tu-yi-ming-214914","前代君臣故事图","前代君臣故事图是清朝时期的一幅条幅式绘画，其中描绘了前代君臣的故事。这幅画作品的画家是清朝时期的一位佚名画家。\n\n前代君臣故事图中描绘了许多传说中的君臣人物，如唐朝的李靖、西汉的范蠡、周朝的车骑将军等。这些君臣人物均以其忠心耿耿、才华横溢的形象呈现在画面中，并以细腻精巧的线条勾勒出了他们的肖像。\n\n在前代君臣故事图中，这些君臣人物被描绘成温厚谦逊、不畏权势、敬畏天命的英雄人物。他们不仅身经百战、深谙军事，而且还具有极高的政治才能，深受皇帝信任。\n\n前代君臣故事图是清朝时期一幅非常著名的绘画作品，其中所描绘的君臣人物形象鲜活生动，富有感染力，对后代的绘画艺术具有重要的影响。",[23,7,24,25,260,173,106,150,227,1195,21770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ae494934b6299c2afccbf637aa0c5c.jpg","24.1x299.4",[44],{"id":45344,"slug":45345,"title":45346,"dynasty":99,"author":3114,"museum":78,"description":5241,"tags":45347,"thumbUrl":45348,"material":88,"size":139,"collection":139,"collections":45349,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":94},214649,"qiu-xing-ba-jing-tu-ce-8-dong-qi-chang-214649","秋兴八景图册-8",[7,24,81,27,26,178,86,177,29,174,107,34,281,109,176,1329,1410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cbb4fb5fa1b201a43ea69f5624d486.jpg",[],{"id":45351,"slug":45352,"title":45353,"dynasty":99,"author":1996,"museum":78,"description":1997,"tags":45354,"thumbUrl":45355,"material":342,"size":2000,"collection":139,"collections":45356,"showCount":44516,"zanCount":48,"manualWeight":48,"mainColor":49},214626,"hua-hui-ce-17-chen-chun-214626","花卉册-17",[7,24,81,173,83,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94559f93cf4255b74fe376265618355f.jpg",[],{"id":45358,"slug":45359,"title":45360,"dynasty":18,"author":45361,"museum":364,"description":45362,"tags":45363,"thumbUrl":45364,"material":743,"size":744,"collection":139,"collections":45365,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},290864,"ke-si-shan-shui-zhou-shen-zi-fan-290864","缂丝山水轴","沈子蕃","祖籍定州孟家庄。缂丝名匠。",[209,7,241,1629,26,27,29,175,108,109,174,394,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34435ac0ec43f64123746736c26b0390.jpg",[],39,{"id":45368,"slug":45369,"title":45370,"dynasty":189,"author":1848,"museum":364,"description":45371,"tags":45372,"thumbUrl":45373,"material":743,"size":744,"collection":139,"collections":45374,"showCount":45366,"zanCount":1547,"manualWeight":48,"mainColor":49},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。",[7,24,241,173,177,29,108,109,174,107,34,176,86,178,227,1016,5140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9786e996b3ba3ec502dce1a7d92ae95.jpg",[],{"id":45376,"slug":45377,"title":10339,"dynasty":18,"author":823,"museum":364,"description":13349,"tags":45378,"thumbUrl":45380,"material":743,"size":744,"collection":139,"collections":45381,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},290058,"ba-qiao-feng-xue-tu-xia-gui-290058",[209,7,24,241,173,29,177,108,900,1015,107,7373,106,45379,178,86],"风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf383bfeca5b213ba1fc05bc62d43a90.jpg",[],{"id":45383,"slug":45384,"title":16381,"dynasty":18,"author":645,"museum":364,"description":17454,"tags":45385,"thumbUrl":45386,"material":743,"size":744,"collection":139,"collections":45387,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},289446,"xue-shan-xing-lv-tu-guo-xi-289446",[23,7,1397,173,177,2502,3499,1015,558,175,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a73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nColor":94},287567,"xian-shan-lou-ge-tu-zhao-bo-ju-287567","此页以青绿重色描绘山水、建筑，左半部山石层层叠起，楼台殿阁自山脚下湖水边随着山势逶迤推高，直至半山。右半部水面荷叶点点，远山屏立，朵朵祥云飘渺其间。山石空勾填色，线条工细，不用皴法，摹拟赵伯驹、赵伯骕兄弟风格，承续了唐人传统。画面明丽润泽，给人清新之感。",[23,209,7,1562,26,27,28,29,107,281,1398,86,178,227,2715,45471],"王母","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ead504db0a03072610e13005477678e.jpg",[],{"id":45475,"slug":45476,"title":45477,"dynasty":99,"author":14350,"museum":364,"description":45478,"tags":45479,"thumbUrl":45480,"material":743,"size":744,"collection":139,"collections":45481,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},287384,"qiu-shui-fu-yi-tu-zhou-lin-liang-287384","秋水凫鹥图轴","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具。\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。",[23,7,209,241,83,173,1060,32915,14745],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff59dbd576c61cce6c8b19156b821e455.jpg",[],{"id":45483,"slug":45484,"title":45485,"dynasty":18,"author":3103,"museum":364,"description":14281,"tags":45486,"thumbUrl":45488,"material":743,"size":744,"collection":139,"collections":45489,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},287314,"han-gong-guan-chao-tu-juan-zhao-bo-ju-287314","汉宫观潮图卷",[23,209,7,25,104,26,27,29,107,108,899,491,1255,45487,13079],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b19f8ced72c7f99b773244aa679fcfb.jpg",[],{"id":45491,"slug":45492,"title":45493,"dynasty":99,"author":443,"museum":364,"description":45494,"tags":45495,"thumbUrl":45496,"material":803,"size":139,"collection":382,"collections":45497,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},240282,"li-bai-qi-lv-shi-juan-xu-wei-240282","李白七律诗卷","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 [1] ）。明代中期文學家、書畫家、戲曲家、軍事家。\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三 。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。",[23,209,7,24,25,86,1147,227,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ace3b212d7aeb7683d77d34168c4296.jpg",[382],{"id":45499,"slug":45500,"title":45501,"dynasty":390,"author":11741,"museum":20,"description":45502,"tags":45503,"thumbUrl":45504,"material":803,"size":45505,"collection":382,"collections":45506,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":94},239551,"zhong-qiu-tie-juan-wang-xian-zhi-239551","中秋帖卷","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,209,7,24,25,1147,86,227,3790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2f29d78cce5184152131f558be9eff.jpg","纵27厘米，横11.9厘米",[382],{"id":45508,"slug":45509,"title":5326,"dynasty":76,"author":3732,"museum":364,"description":5327,"tags":45510,"thumbUrl":45511,"material":743,"size":744,"collection":139,"collections":45512,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},239237,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239237",[209,7,24,83,28,27,327,81,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ecd88630bd04820be3a3d042fb3549.jpg",[],{"id":45514,"slug":45515,"title":2235,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":45516,"thumbUrl":45517,"material":743,"size":744,"collection":139,"collections":45518,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},237933,"za-hua-ce-zhu-da-237933",[7,24,81,173,83,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d84fb47152fc632f858825f45ba2e6.jpg",[],{"id":45520,"slug":45521,"title":45522,"dynasty":76,"author":45523,"museum":20,"description":45524,"tags":45525,"thumbUrl":45526,"material":803,"size":139,"collection":181,"collections":45527,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":49},237451,"fei-quan-bi-liu-zhou-fu-shan-237451","飞泉壁流轴","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[209,7,24,241,173,177,29,16217,34,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85371dd8be5ee5e07f223747997c78c.jpg",[181,163],{"id":45529,"slug":45530,"title":4025,"dynasty":76,"author":13037,"museum":364,"description":39856,"tags":45531,"thumbUrl":45532,"material":139,"size":139,"collection":181,"collections":45533,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},236915,"shan-shui-zhou-kun-can-236915",[7,173,177,241,86,227,29,107,176,34,1445,920,491,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[181,163,382],{"id":45535,"slug":45536,"title":45537,"dynasty":76,"author":293,"museum":20,"description":45538,"tags":45539,"thumbUrl":45540,"material":40,"size":139,"collection":90,"collections":45541,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},236178,"hong-li-gu-zhuang-tong-jing-ping-yi-ming-236178","弘历古装通景屏","此作以高远法铺展冬日盛景，层叠群山覆着素雪，枯木寒林错落山间，淡墨晕染留白尽显积雪清寒之气，绘出北地冬日的萧寒辽远。\n\n下方宅邸界画工整流利，屋舍俨然。庭院之内人物往来鲜活灵动，或伫立寒暄，或穿梭备事，衣饰鲜亮，为清冷天地晕开融融暖意。画面以萧寒雪景衬宅邸温煦日常，一动一静相映成趣。笔触兼具北宗山水的苍劲雄浑与院体精工之致，将幽居雅集的闲逸意趣，融在素裹天地之中，清冷意境与人间暖意交织，尽显古典园居的雅致韵味。",[7,24,13231,27,28,104,29,107,106,34,2502,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded276fb2933bdf92b40267c15571dff.jpg",[90,181,44,45],{"id":45543,"slug":45544,"title":45545,"dynasty":76,"author":24836,"museum":20,"description":45546,"tags":45547,"thumbUrl":45548,"material":67,"size":45549,"collection":181,"collections":45550,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":49},236112,"qiu-lin-ye-zhang-tu-zhou-zhang-yu-sen-236112","秋林曳杖图轴","该图构图险中求隐，用笔多变灵活，细皴密点，石作卷云，水作横波，松枝虬曲披靡，既得茂蔚之姿，又获空灵之气，设色优美，不落俗套。\n张雨森，生卒年不详，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。",[7,209,241,29,27,177,108,109,176,3953,1504,175,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7483aa2c190af398b7e81ccbdcca24.jpg","纵157厘米，横100厘米",[181,45],{"id":45552,"slug":45553,"title":45554,"dynasty":76,"author":9280,"museum":364,"description":45555,"tags":45556,"thumbUrl":45557,"material":139,"size":139,"collection":139,"collections":45558,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":49},236043,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-236043","乾隆皇帝洗象图轴","此作以洗象场景铺陈，将禅门仪轨融于山林野趣。虬松苍劲盘桓，荫蔽出一方幽凉，巨象安驯仁厚，侍者持具涤扫，动作舒展自然。画面人物神态各殊，或静立垂目，或俯身劳作，衣袂翩跹雅致，敷色明柔妍丽。远景以淡墨晕出平沙烟岚，衬出清旷悠远的林下氛围。\n\n整作工笔精细雅致，线条婉转流畅，将肃穆礼佛之意揉入悠然山野图景，兼具规整细腻与空灵澹远，把清宁禅意与林下雅趣相融，观之如临其境，见一场祥和清寂的林间佛事，韵致悠长。",[7,241,28,27,106,11351,7281,957,29,34,176,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e64a545b5a01030f15e8610b035d154.jpg",[],{"id":45560,"slug":45561,"title":45562,"dynasty":76,"author":77,"museum":364,"description":45563,"tags":45564,"thumbUrl":45565,"material":139,"size":139,"collection":139,"collections":45566,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},235913,"xiao-shan-zhu-shu-ye-yun-shou-ping-235913","小山竹树页","此作以修竹为画面核心，几竿新篁挺拔清劲，竹叶以浓淡墨色点染，攒聚错落间尽显阴阳开合，笔力爽利，将竹的清健风骨跃然纸上。\n远景山峦以淡墨晕染勾勒，留白为水，不着一笔却见湖光悠悠，湖畔茅亭极简勾勒，野逸闲淡之趣自生。\n全作用笔简净空灵，以少胜多，舍弃繁复皴擦，借浅淡水墨写尽丘林幽致。右上角题识与朱印呼应，书画相融，为画面添了雅致文气，将江南小景的清寂空阔藏在尺幅之中，尽显萧散淡远的文人意韵，借花木山水寄寓了幽远襟怀。",[7,173,29,242,430,175,245,177,5990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4220102cf9fcc83ce62cc8c4a1a42f1e.jpg",[],{"id":45568,"slug":45569,"title":486,"dynasty":99,"author":37936,"museum":364,"description":45570,"tags":45571,"thumbUrl":45572,"material":139,"size":139,"collection":181,"collections":45573,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},235817,"shan-shui-ce-li-liu-fang-235817","此作以平远视角绘就郊野秋光，浅滩秋水澄澈空蒙，远岸林影澹澹如幻。近岸杂木荣枯相间，掩映村居茅舍，草垛朴拙错落，尽是乡野闲趣。\n\n笔墨简淡苍润，以淡赭晕染出温柔秋意，勾勒皴擦松灵随性，无浓艳铺陈，却将江南秋日的清寂闲适尽数铺展。搭配题诗相映成趣，师法吴门风神，把文人幽居的澹然襟怀融于浅淡笔墨间，萧散天真，尽显晚明文人画雅逸空远的意趣，于平淡间见风神。",[7,24,81,173,27,177,29,34,176,35,31,12743,14884,1250,4663,2409,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9287426ebcc1b5a52c748d89a972a0b.jpg",[181,90],{"id":45575,"slug":45576,"title":1108,"dynasty":76,"author":13111,"museum":364,"description":45577,"tags":45578,"thumbUrl":45579,"material":139,"size":139,"collection":181,"collections":45580,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},235638,"shan-shui-tu-ce-wu-li-235638","此作用笔苍秀，干笔皴擦间墨色清润澹远。近岸枯木虬曲，石径隐于荒草间，寒林错落自具苍劲姿态。水畔茅亭孑立，空无一人，愈发衬出周遭岑寂。远景汀渚层叠，烟波留白晕出水天浩渺，将江南水滨冬日的荒寒淡远尽数铺陈。\n\n画面萧疏冷寂，题句呼应着幽栖独处的意趣，以简淡笔墨写尽林泉幽致，尽显文人画的雅致襟怀，把避俗幽居的澹泊心境融于山水间，空濛冷逸，意境萧散清远。",[7,173,29,81,177,175,394,109,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd513fedc147c373822b59addc09428d0.jpg",[181],{"id":45582,"slug":45583,"title":2235,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":45584,"thumbUrl":45585,"material":743,"size":744,"collection":139,"collections":45586,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},235504,"za-hua-ce-zhu-da-235504",[7,24,81,173,446,83,224,543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4fbc6f21704ae7e6f82c0ab3700c6d.jpg",[],{"id":45588,"slug":45589,"title":6157,"dynasty":99,"author":170,"museum":20,"description":6158,"tags":45590,"thumbUrl":45591,"material":803,"size":6161,"collection":139,"collections":45592,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},234089,"wu-zhong-shan-shui-ce-shen-zhou-234089",[7,24,81,173,178,177,29,864,297,430,394,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd47a46f6ca498fde781cc73a947eca.jpg",[],{"id":45594,"slug":45595,"title":45596,"dynasty":18,"author":293,"museum":20,"description":45597,"tags":45598,"thumbUrl":45599,"material":665,"size":45600,"collection":139,"collections":45601,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":49},234076,"he-xie-tu-ye-yi-ming-234076","荷蟹图页","宋代的花鸟画是五代黄筌徐熙两家体制基础上得以发展的。北宋初一百多年，黄家体制便是院体规范。北宋中期崔白、吴元瑜变革院体，表现出吸收徐熙一派画法。宋徽宗对不同画风兼收并蓄，南宋画院亦是如此。所以就总体上而言院体继承了黄徐二家的体制。黄氏体制的画法为用墨勾线定形，或填色或染墨，笔法细劲而有变化，其典型之作为工笔设色一类。再看徐熙画法，徐铉称之为“落墨为格，杂彩副之，迹与色不相隐映”。徐熙则自称“未尝以傅色晕淡为功”。\n《宣和画谱》对徐熙很是推崇，认为当时画花者多以色晕染而成，徐熙独到之处在于落墨，极有骨气风神。将黄徐两家的典型风范相比较，黄家偏重于色彩的晕染，徐熙偏重于墨线造型的笔法表现。这其中涉及重色、重墨、运笔造型之道等问题，绘画之形似正由此而来。宋代院体花鸟画的典型面貌为工笔设色一类，讲求赋色之功、笔法之道、造型之细致。宋代院体花鸟画综合黄徐二家，不过在不同时期、不同画家身上有着各自的特点。\n宋代院体花鸟画之所以能够在传神方面达到很高的境界，在于能够从自然万物中直接取得，生意趣味浓厚是其重要的特征，当时众多的作品具备这样的素质。对物象神态丰富细致的描绘是花鸟画成熟的表现。宋代院体花鸟画在细致写实中有得于此。\n《荷蟹图》可能是荷花螃蟹类题材最早的作品。残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。《荷蟹图》画面意境生动，题材别出新意，为宋人写实画作的典范。荷蟹题材在后来的大写意花鸟画中，被徐渭进一步发扬光大，最著名的就是影响深远的徐渭代表作《黄甲图》。这种影响一直波及到现代大家齐白石。",[7,209,24,81,28,27,83,243,7619,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e974c0d6c4e3129014ed0ecd3f0dc5f.jpg","28.4x28cm",[],{"id":45603,"slug":45604,"title":45605,"dynasty":189,"author":487,"museum":20,"description":45606,"tags":45607,"thumbUrl":45608,"material":990,"size":4455,"collection":139,"collections":45609,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},233787,"ge-zhi-chuan-yi-ju-tu-zhou-wang-meng-233787","葛稚川移居图轴","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[7,24,241,27,26,29,177,106,150,176,109,34,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff523932734437a78bb03a9d5015869.jpg",[],{"id":45611,"slug":45612,"title":45613,"dynasty":189,"author":293,"museum":364,"description":45614,"tags":45615,"thumbUrl":45616,"material":67,"size":45617,"collection":139,"collections":45618,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},232834,"xiang-long-luo-han-tu-zhou-yi-ming-232834","降龙罗汉图轴","画面以深褐底色晕染出幽寂古雅的氛围，层次错落有致。罗汉虬髯凸目，身披蟒纹僧衣，神态威严沉静，正凝神注视下方寒潭。侍童躬身持器静立，蛟龙潜于潭水之间，身姿灵动矫健，水纹与神将周身的焰光相映，烘托出张力满溢的降伏瞬间。\n线条刚劲凝练，设色沉厚古朴，工笔描摹精细入微，将罗汉的威严、龙神的灵动与护法的雄浑刻画尽致，尽显佛教绘画肃穆庄严的神性，亦饱含古雅厚重的丹青意趣。",[23,7,27,259,106,502,241,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1a0ed0944d2fd736dbeef598ee2e00.jpg","150X68厘米",[],{"id":45620,"slug":45621,"title":1393,"dynasty":76,"author":10376,"museum":20,"description":45622,"tags":45623,"thumbUrl":45630,"material":2021,"size":45631,"collection":139,"collections":45632,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},231511,"xian-shan-lou-ge-tu-wang-hui-231511","此画描绘的是长松高岭，溪水村舍。由画中题识可知此画是一幅贺寿之作。画中以两株粗朴茂盛的参天巨松压轴，寓意常青不老。画面的远景是连绵的山岭，水溪从山中流出，至低处汇成大河，在山水林木的环抱中隐约可见幽静的楼阁。此画在笔墨表现上宗法黄公望，峰峦层叠，树从浓郁，勾线空灵，苔点细密，皴笔干湿浓淡相映衬，皴擦点染兼用。此画的用墨明洁苍润，得自于董其昌的影响，这幅画气厚力陈，显示王时敏深厚的笔墨功力。\n王时敏的绘画，受到董其昌文人画和“南北宗”理论的极大影响，其作大多致力于摹古，强调以笔墨图式来营造山水结构。他早年师从于董其昌，以古代名家的真还作为临摹粉本，并不局限于一家而习。王时敏的绘画追求平淡天真、苍秀隽逸，重视笔墨中所表达的逸气，即“文人气”。他强调在描绘客观事物的同时，仍要注重心灵抒发和精神表现，这与董其昌及其所提倡的“南北宗”论不谋而合。纵观南宗的文人画脉络，从五代董源、巨然到宋代李成、范宽，苒到元代的黄公望、吴镇、倪瓒、王蒙等，无一不注重文人的内在学识与修养。\n王时敏最大的艺术特点就是“摹古”，注重“笔墨”的运用，以临摹古代名家作品作为绘画的基础。尤其在研习宋元山水作品中的运笔、用墨、造型、结构等各方面时，主张摹古而不拘泥于古人之法，经过摹古举习，结合自身的文化修养，再重新进行艺术创造。王时敏的山水作品早年严格遵照董其吕及南宗各家的艺术风格，形态上比较细腻清秀，如《仿倪瓒山水图轴》等。到了中期，他开始脱离董其昌的笔意，醉心于对黄公望的学习，在这一时期，王时敏个人风格开始逐步形成，如《秋山白云图》《丛林曲涧图轴》等作品皆为代表。晚期则以康熙元年（1662)王时敏71岁为分界点，这一时期其绘画融众家之长于一炉，以黄公望为宗，上溯董源、巨然等南宗诸家，笔墨苍劲浑厚，风格沉稳雄坚，如《仙山楼阅图》《仿杜甫诗意图册》等。",[23,7,1397,104,43572,45624,10940,8507,107,45625,45626,45627,177,173,2939,45628,45629],"高岭","山岭","大河","巨松","贺寿","常青","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c9e00824c0726216aa5aa68aa095974.jpg","133.2cmx63.3cm",[],{"id":45634,"slug":45635,"title":45636,"dynasty":99,"author":19617,"museum":206,"description":45637,"tags":45638,"thumbUrl":45639,"material":88,"size":45640,"collection":181,"collections":45641,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[23,7,27,28,227,29,1329,864,297,114,34,13911,16687],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[181],{"id":45643,"slug":45644,"title":45645,"dynasty":99,"author":35882,"museum":206,"description":45646,"tags":45647,"thumbUrl":45648,"material":36128,"size":45649,"collection":139,"collections":45650,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},231381,"chun-hua-san-xi-tu-bian-jing-zhao-231381","春花三喜图","此图无款。此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。《春花三喜图》就是边景昭花鸟画之一\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\u2028 图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。",[209,7,24,28,27,83,242,245,281,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea9b5dca7488b3da49917c162f50947.jpg","纵165．2厘米，横98．3厘米",[],{"id":45652,"slug":45653,"title":45654,"dynasty":76,"author":4199,"museum":364,"description":45655,"tags":45656,"thumbUrl":45657,"material":139,"size":139,"collection":139,"collections":45658,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},230975,"hua-guo-tu-xu-gu-230975","花果图","虚谷《花果图》轴，正如其好友杨逸所言：“落笔冷隽，蹊径别开”（《海上墨林》），独具清俊冷峭、静寂虚和的风姿，亦狂亦狷，奇奇怪怪，不事规模陈迹，纯是胸中盘郁。\n款识“鉴中老和尚清玩”，书风一如其画之清隽，图中种种绝俗之物，正应清玩之题，同时暗示了老和尚清俊绝尘的修为与品味。\n所钤“虚谷书画”一印系著名篆刻家徐三庚 所刻，有学者根据虚谷用印推断作品所在时期，认为此印或为虚谷1876-1887这十年间所用，则此画大约作于这一时期，当时画家多在苏州。\n大致可推测，虚谷此图作于1876-1887这十年中，当时他多活动于苏州一带，即为苏州僧人鉴中作此图，一直流传至今，其尺幅、楮墨及品相皆可圈可点。\n虚谷三十岁以后弃戎出家，广泛往来于上海、扬州、苏州等地鬻画为生，他虽“不茹素，不礼佛”，却与众多方外友人维持着良好的关系。\n他与苏州寺院的关系尤为密切，《寒松阁谈艺琐录》的作者张鸣珂结识虚谷即由狮林寺僧诺瞿邀约所致，尝为瑞莲寺画《瑞莲放参图》，为光福古铜佛寺画《古铜佛寺图》，且一度担任狮林寺的住持，退居后到与狮林寺有法系关系的石壁寺养老，并葬于此。\n至于为鉴中所作除了《花果轴》，尚有《瑞莲放参图》。\n鉴中的题跋，曾出现在顾澐为顾曾寿（字子长，号棱伽山民）所作《惟德堂图》后，同卷后有苏州文人书画家顾澐、潘锺瑞、刘履芬、顾文彬、潘遵祁众多题跋，鉴中题后钤有“释日升”、“鉴中”二印，由是可知“日升”即鉴中法名，以及鉴中与晚清苏州文坛、画坛的交往。\n虚谷这一时期侨居苏州为多，与鉴中和尚结缘绝非偶然，故先后以《瑞莲放参图》、《花果轴》相赠。\n此图所写皆案头清供：画面主体写一长瓶，上有老梅数丛，挺拔如剑，右下角配以三丛偃枝，古奥奇绝。\n传统梅干交叉法皆恪守“女”字形的原则，虚谷画梅是自出机轴，不尽拘此绳墨。\n花瓣利用底色以粉点出，附以红色花萼加以烘托，为梅干的古拙平添几分生趣。\n虚谷自作咏梅诗云：“无端白雪落沙来，古本疏枝上粉苔。\n似雪似花花似雪，梅花又向雪中开。\n”写寒梅之高洁，亦可为此清供之梅传神。\n丛梅左侧陪衬了些许松枝，松针逸笔草草却不乏韵致。\n瓶下右侧则有佛手一枝二果，以破墨画叶，墨彩清润浑厚；又有连根百合二枚；前有红柿一枚，反复渲染，隐隐透出红晕，亦各尽其妙。\n瓶后露出如意半枝，是为改变花瓶左侧垂直线的单调而加，使画面显得更为和谐、丰富。\n（182-1896），安徽新安（今歙县）人。\n清代画家， 。\n俗姓朱，名怀仁，移居江苏广陵（今扬州）。\n初任清军参将，后出家，名虚白字虚谷，号倦鹤、紫阳山民。\n以字竹，室名觉非庵、古柏草堂、三十七峰草堂。\n不茹素，不礼佛，也“从不卓锡僧寺”，往来于上海、苏州、扬州一带，卖画为业，是“海上画派”杰出代表人物。\n他携笔墨、着僧装，“闲中写出三千幅,行乞人间作饭钱”，云游四海，清贫于世却笔墨人间，他行程之广、画作之多，己为当时罕见。\n他承古创新，另辟捷径，广集素材，勤奋垦作，终成一代巨擘。\n早年学界画，后以擅画花果、禽鱼、山水著名。\n风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。\n亦能诗，有《虚谷和尚诗录》。\n传世作品有《梅花金鱼图》、《松菊图》、《葫芦图》、《蕙兰灵芝图》、《枇耙图》等。",[23,7,27,83,453,31652,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d67027df7898465725f2bb0928bb54d.jpg",[],{"id":45660,"slug":45661,"title":45662,"dynasty":76,"author":16745,"museum":364,"description":45663,"tags":45664,"thumbUrl":45665,"material":139,"size":139,"collection":139,"collections":45666,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},230199,"chun-qi-ji-jin-juan-wang-cheng-pei-230199","春祺集锦卷","此作以工笔淡彩绘就春日草木，设色调和柔雅，兼具写实意趣与雅致格调。\n\n攒簇的朱红浆果鲜亮饱满，与嫩绿叶色相映，鲜活夺目；宽叶草木的脉络勾染细腻，晕染出叶片舒展的自然肌理，古雅灵芝旁逸，添上清寂意趣。右侧浅黄、素白的小花袅袅舒展，细竹清瘦挺秀，花叶俯仰生姿，排布疏密得当。\n\n整体笔法秀润工致，将春日花木的幽妍生机尽数铺陈，没有浓烈着色却满是融融春息，静雅清和，把草木舒展的瞬间定格，尽显柔婉雅致的花鸟意韵。",[209,7,24,25,27,28,83,242,62,1064,713,12102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452999763f15c2cc0fd5efdbcdbbc608.jpg",[],{"id":45668,"slug":45669,"title":45670,"dynasty":76,"author":33387,"museum":364,"description":45671,"tags":45672,"thumbUrl":45673,"material":139,"size":139,"collection":139,"collections":45674,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},230192,"jiu-long-tu-ce-zhou-xun-230192","九龙图册","此作以水墨晕染铺就翻涌云海，虚实掩映间神龙破云而出。画师以浓淡变幻的墨色烘托出混沌氤氲的云气，将龙身隐没在烟岚之中，仅露威严龙首与遒劲鳞爪，藏头露爪间尽显神龙幽渺难测的神秘感。\n\n龙首刻画工细，眉须戟张，目光沉凝威严，鳞爪筋骨苍劲有力，与泼墨晕染的朦胧云海形成鲜明虚实对比。干湿浓淡的笔墨层次丰富，将神龙腾云的磅礴气势与云雾翻卷的空茫意境相融，尽显神兽潜藏天地间的慑人神威，把东方神龙的灵韵威严藏于烟云万象之中，是水墨绘龙的精妙之作。",[23,7,24,81,173,502,957,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e5ab036e4a2b558af5a0323993952a.jpg",[],{"id":45676,"slug":45677,"title":12120,"dynasty":76,"author":1109,"museum":364,"description":45678,"tags":45679,"thumbUrl":45680,"material":139,"size":139,"collection":139,"collections":45681,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":94},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[209,7,24,81,173,177,86,227,29,108,109,174,650,34,1420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],{"id":45683,"slug":45684,"title":45685,"dynasty":99,"author":17054,"museum":364,"description":45686,"tags":45687,"thumbUrl":45688,"material":139,"size":139,"collection":139,"collections":45689,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,7,24,25,173,29,177,86,178,864,297,34,108,109,175,281,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":45691,"slug":45692,"title":45693,"dynasty":99,"author":1083,"museum":675,"description":45694,"tags":45695,"thumbUrl":45696,"material":139,"size":139,"collection":139,"collections":45697,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":49},228286,"zhai-mei-gao-shi-tu-chen-hong-shou-228286","摘梅高士图","《对镜仕女图》是明代画家 创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[23,7,24,241,28,27,260,106,7242,4525,1015,245,38187,176,34,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":45699,"slug":45700,"title":45701,"dynasty":189,"author":5444,"museum":364,"description":45702,"tags":45703,"thumbUrl":45704,"material":139,"size":139,"collection":139,"collections":45705,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":49},228041,"chun-shan-fang-you-tu-sheng-mao-228041","春山访友图","此作用浅绛轻敷春山，晨雾如纱晕开层叠远峰，虚实错落间晕染出江南春日的空濛柔婉。湖面烟波浩渺，扁舟横波，舟上三人闲坐，将江湖散逸之趣藏于涟漪间。近岸山居隐于茂林之下，屋中似有知己晤谈，野意悠然。\n笔墨清润秀雅，皴染相融，既带着院体的精工细致，又藏着元人萧散的隐逸襟怀。水汽漫过浅滩淡渚，拉伸了山水的空间层次，以淡墨轻岚铺展出咫尺千里的悠远，将文人寄情林泉的雅怀，尽数藏进眼前的丘壑烟波之中。",[7,173,27,29,177,174,106,649,34,175,107,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc6bbce454ff2f4c5167e98576e758d.jpg",[],{"id":45707,"slug":45708,"title":45709,"dynasty":18,"author":293,"museum":364,"description":45710,"tags":45711,"thumbUrl":45712,"material":139,"size":139,"collection":139,"collections":45713,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},227931,"chang-jiang-wan-li-tu-juan-quan-juan-yi-ming-227931","长江万里图卷全卷","以咫尺长卷铺展万里江山，层叠峰岫或雄峙凌天，或温婉藏于烟岚，虚实相生如淡墨梦境。江波澹澹，与远山交织晕染，将长江的逶迤舒展尽致。墨色浓淡铺就山川悠远层次，留白烘托云水之态，带着沉静雅致的宋画风骨。\n整卷如乘舟浮江，揽尽楚天清旷，将山河雄浑与灵秀揉于一处，藏着描摹天地的匠心，与对山河的眷恋深情，一眼便似随江流转，阅尽千里盛景。",[23,7,24,25,173,29,177,109,174,649,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d3564b5c39c17781a9425ca7fb314e.jpg",[],{"id":45715,"slug":45716,"title":45717,"dynasty":18,"author":293,"museum":206,"description":45718,"tags":45719,"thumbUrl":45720,"material":317,"size":45721,"collection":139,"collections":45722,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},227850,"xiao-ting-ying-xi-tu-ye-yi-ming-227850","小庭婴戏图页","《小庭婴戏图》是宋代所画的人物画。作者不详，一说是陈宗训所作。中国台北故宫博物院藏。",[23,7,209,24,81,28,27,106,430,244,11805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1dbcffc9191793f4866baf2ef744a0c.jpg","纵26厘米，横25厘米",[],{"id":45724,"slug":45725,"title":860,"dynasty":18,"author":16956,"museum":364,"description":45726,"tags":45727,"thumbUrl":45728,"material":139,"size":139,"collection":139,"collections":45729,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":49},227695,"chun-shan-tu-juan-zhao-bo-su-227695","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,209,7,24,25,26,27,29,28,177,649,34,1255,108,109,118,35,37,13911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":45731,"slug":45732,"title":13094,"dynasty":204,"author":3224,"museum":238,"description":27392,"tags":45733,"thumbUrl":45734,"material":139,"size":139,"collection":139,"collections":45735,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},227597,"xi-shan-lan-re-tu-ju-ran-227597",[23,7,24,29,241,173,177,864,34,13097,560,114,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac38e11a74525e15e53089cd141edb.jpg",[],{"id":45737,"slug":45738,"title":45739,"dynasty":18,"author":4035,"museum":364,"description":45740,"tags":45741,"thumbUrl":45742,"material":139,"size":139,"collection":139,"collections":45743,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},227536,"wan-ai-tu-wen-tong-227536","晚霭图","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[23,7,24,25,173,177,29,30,34,920,31,174,281,1015,491,1926,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":45745,"slug":45746,"title":5335,"dynasty":54,"author":5336,"museum":364,"description":45747,"tags":45748,"thumbUrl":45750,"material":139,"size":139,"collection":139,"collections":45751,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},227095,"gao-yi-tu-sun-wei-227095","《高逸图》，又名《竹林七贤图》，是唐代孙位创作的一幅彩色绢本人物画，现藏于上海博物馆。\n画名“孙位高逸图”为宋徽宗赵佶所题，这幅图所描绘的是魏晋时期竹林七贤的故事，该画作刻画了魏晋士大夫“高逸风度”的共性，又刻画出了他们的个性。现存《高逸图》为《竹林七贤图》残卷，图中只剩四贤。在长卷式的画面上，主体人物是四个封建士大夫分别坐于华丽的毡毯上，每人身旁都有一名小童侍候。",[23,209,7,25,28,27,106,430,431,86,227,244,4525,20631,45749],"垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa92cbdfc50fff24528a4673b6c49d4.jpg",[],{"id":45753,"slug":45754,"title":45755,"dynasty":76,"author":707,"museum":364,"description":45756,"tags":45757,"thumbUrl":45758,"material":139,"size":139,"collection":139,"collections":45759,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},224188,"hua-niao-cao-chong-tu-ba-07-hua-yan-224188","花鸟草虫图八-07","此作用淡墨晕染湖石，皴擦间尽显苍润空寂之态，以清劲白描勾勒水仙，线条秀挺舒展，将花瓣柔润、叶片修长的风姿尽数铺展，尽显水仙冰姿玉骨的清逸之态。左上角题以行书小诗，书画相融，文气盎然。\n\n整体笔墨简淡清隽，不着浓艳，却将水仙的幽绝尘姿诠释得淋漓尽致，淡墨湖石与素白水仙相映，营造出出尘空寂的氛围，尽显文人画独有的清雅意趣，笔简意足，韵致悠长。",[23,7,173,28,81,177,245,451,1729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e33e35df1057ef9012851ceb54ab5.jpg",[],{"id":45761,"slug":45762,"title":25549,"dynasty":76,"author":293,"museum":364,"description":45763,"tags":45764,"thumbUrl":45765,"material":139,"size":139,"collection":139,"collections":45766,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},223677,"qing-lv-shan-shui-tu-juan-yi-ming-223677","此作以平远之境铺展江南山色，石青石绿晕染山峦，古雅沉静的色调里，丘壑蜿蜒秀润，烟波轻笼远浦。村舍隐于松篁之间，板桥渡头有人彳亍，渔舟泛于云水之侧，处处晕染出山居幽澹的闲趣。\n画间题诗与山水呼应，笔墨丹青相融，将林泉隐逸的高致铺陈开来，既有唐宋青绿的古雅遗韵，又兼具清代文人山水的萧散简淡，观之如踏入世外云乡，坐看云野鹤、碧山清溪，沉浸式体味幽居雅趣。",[23,7,24,25,26,27,28,29,649,34,35,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b03cb7a92eca86e797d00727336bf91.jpg",[],{"id":45768,"slug":45769,"title":45770,"dynasty":76,"author":293,"museum":206,"description":45771,"tags":45772,"thumbUrl":45773,"material":139,"size":139,"collection":44,"collections":45774,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":49},223410,"ma-zu-qi-ji-yi-ming-223410","妈祖奇迹","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,7,24,28,27,106,34,176,114,2268,15028,1113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c2fadc1572fad66eb39c5b51f5f0e9.jpg",[44,45],{"id":45776,"slug":45777,"title":45778,"dynasty":99,"author":293,"museum":20,"description":45779,"tags":45780,"thumbUrl":45783,"material":40,"size":45784,"collection":139,"collections":45785,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},223335,"si-lu-shan-shui-di-tu-meng-gu-shan-shui-di-tu-ming-nei-fu-hui-yi-ming-223335","丝路山水地图.蒙古山水地图.明内府绘","《丝路山水地图》又名《蒙古山水地图》，全图以大青绿山不绘制，东起嘉峪关西至天方城（今沙特麦加）的辽阔地域范围，共标有211个地理坐标，绘于明朝嘉靖三年至嘉靖十八年，为明朝宫廷的皇家地图。",[23,7,24,25,27,26,28,29,900,10379,31,9465,34,2268,45781,38,45782],"聚落","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf94e5caa9d9b66111751c89f4029807.jpg","59＊3012cm",[],{"id":45787,"slug":45788,"title":45789,"dynasty":76,"author":2083,"museum":364,"description":3135,"tags":45790,"thumbUrl":45791,"material":827,"size":139,"collection":382,"collections":45792,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},223303,"zhu-shi-tu-zhou-5-zheng-ban-qiao-223303","竹石图轴5",[23,7,24,241,173,242,245,178,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af9eb8cd727abdde614938ed2da94da.jpg",[382],{"id":45794,"slug":45795,"title":45796,"dynasty":76,"author":7142,"museum":20,"description":45797,"tags":45798,"thumbUrl":45799,"material":40,"size":45800,"collection":181,"collections":45801,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},223289,"shan-yu-yu-lai-tu-zhou-yuan-yao-223289","山雨欲来图轴","本幅自题：“山雨欲来风满楼，袁耀拟意。”钤“袁耀之印”、“昭道氏”印2方。\n此幅取唐代诗人许浑《咸阳城东楼》诗意，原诗为“一上高城万里愁，蒹葭杨柳似汀洲。溪云初起日沉阁，山雨欲来风满楼。鸟下绿芜秦苑夕，蝉鸣黄叶汉宫秋。行人莫问当年事，故国东来渭水流。”画面描绘暴雨来临前乌云狂风之下的建筑。黑沉沉的浓云正滚滚而来，弓曲的树木、低伏的庄稼、飘摇的小舟、逆风而行的农夫以及状貌扭曲、高耸危人的山岩都为画面增添了戏剧性的紧张情节和内在张力。风本无形，但画家创造性地用富于动感的笔调将闲雅剔透的静态楼阁穿插在充满动感的山水中，构成画面的诸多元素对比呼应而又谐调冲和，在动静之间达到平衡。",[23,7,241,104,29,107,176,34,37,174,27,177,106,1351,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7ab7029b365df7bfd3780da6b16bf.jpg","纵195.1厘米，横116.8厘米",[181,45],{"id":45803,"slug":45804,"title":45805,"dynasty":76,"author":707,"museum":56,"description":45806,"tags":45807,"thumbUrl":45808,"material":139,"size":139,"collection":181,"collections":45809,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},223244,"hua-hui-shan-shui-12-hua-yan-223244","花卉山水-12","该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开",[7,24,27,173,29,84,83,3246,243,281,109,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18d2a868a7fff05f5a7f52f85957ea0.jpg",[181,45],{"id":45811,"slug":45812,"title":45813,"dynasty":76,"author":427,"museum":20,"description":45814,"tags":45815,"thumbUrl":45816,"material":5704,"size":45817,"collection":90,"collections":45818,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,7,24,241,28,27,29,12940,957,815,558,109,650,34,340,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","184cm 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譬若古贞士，终身伴菜根。”",[23,7,24,241,173,177,245,45859],"丛卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8502ef94696876ba6fce97d697a6ca9.jpg","52.60x28.60cm",[181,163],{"id":45864,"slug":45865,"title":45866,"dynasty":99,"author":24148,"museum":206,"description":45867,"tags":45868,"thumbUrl":45869,"material":139,"size":45870,"collection":181,"collections":45871,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[23,7,24,81,27,173,29,177,108,109,1015,1575,1447,176,114,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[181,45],{"id":45873,"slug":45874,"title":45875,"dynasty":99,"author":10654,"museum":206,"description":45876,"tags":45877,"thumbUrl":45878,"material":88,"size":45879,"collection":181,"collections":45880,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},222087,"xi-tong-tu-zhou-qian-gu-222087","洗桐图轴","此图以人物为主，其背景作为陪衬，在画幅左下角画有连绵不断的山石，山石向竹草从杂\n此图绘一高士，坐在圏手椅上，头戴浩然巾，面日清瘦，身着宽服长袍，宽袖，双脚露出，双手扶在手椅上。圏手椅形制如栲佬式，传说唐代诗人孟浩然始用，明清时为流行，常用于文人逸士。这位高士仰首观望二童子洗园中一棵桐树，桐树下一童予抬水桶，往上使劲，又有一童子蹬坐在树楼上，左手扶着桐树枝，右手正用力吊起水桶为洗桐之用，另一童穿着开襟宽袖长服，持有鹅毛扇伫立于高土左侧，亦在目不转珠地望着两个孩童洗桐的情景。",[23,7,24,241,27,28,106,430,176,5630,315,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5caf239e655e2b04c3f4276936b930.jpg","纵129.8厘米，横445厘米",[181,45],{"id":45882,"slug":45883,"title":45884,"dynasty":189,"author":30671,"museum":206,"description":45885,"tags":45886,"thumbUrl":45887,"material":1449,"size":45888,"collection":181,"collections":45889,"showCount":45366,"zanCount":1547,"manualWeight":48,"mainColor":94},221915,"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,7,24,241,173,177,29,558,34,114,650,37,86,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[181,163],{"id":45891,"slug":45892,"title":45893,"dynasty":189,"author":3741,"museum":20,"description":45894,"tags":45895,"thumbUrl":45896,"material":665,"size":45897,"collection":163,"collections":45898,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},221816,"mu-yu-tu-zhou-li-kan-221816","沐雨图轴","《沐雨图轴》是元代李衎所画的中国古画。\n此图描绘雨中竹子的形态，手法极其写实，强调雨中之竹的清姿，其画法与双勾竹图基本相同，竹叶因雨水而显得沉重，叶尖自然下垂，在表现雨中竹叶下垂之姿上，李衎用笔显得娴熟自如。\n《沐雨竹图》将主要景物集中于画幅左侧。\n在画幅左下端力坡石，坡上倚附山石长有四竿翠竹，中间两株高大，且相互交错，竹竿交错后向左右伸展，枝叶茂密，竹叶纷披。\n左侧一株掩映于二株高大的翠竹荫下，略向左弯斜；右侧一株小竹向右弯斜，叶子呈下垂状。\n这一株翠竹虽不怎么起眼，但却是妙笔，起到了填补画幅右下部分的空白，对整个画面起到了充实和平衡作用：除竹石外，在坡石间还有数株兰草，点缀其间。\n自宋以来，“梅，兰、竹、菊”被士大夫称为“四君子”，象征“清高”、“幽洁”、“虚心”、“隐逸”、“气节”等精神品格。\n当社会危机、民族危机之时，一些知识分子无力抗争，在孤十贲与失望之中，“适性寄意”于笔墨：人元后“四君子”画不但更为兴盛，而且在思想感情的表现上更加丰富和深刻。\n特别是墨竹，单纯简易、挥洒便利又最具书法性格，所以最能引起士大夫的兴趣。\n可是李衍身为大官，他与赵孟頫是元代汉族文人画家中官职最显著者， 他喜欢画松、竹，这说明“松”、“竹”并非都是文人用来自诩“名节”之物。\n他为了画竹，“行役万余里”，深入南方竹乡，对竹的“形色情状，牛聚枯荣”做了深入研究，成为享有盛名的写生墨竹专家。\n此《沐雨竹图》轴是他画墨竹的代表作之一，其作品中之“竹”并不带有什么政治色彩，仅作为绘画的一个题材而已。\n此画虽将景物集中于画幅左侧，但经画家的确当布局，使整幅画的构图 较工稳；造型准确，设色匀净，枝叶繁复而不乱，层次分明。\n作者由于有过对竹子的认真观察和研究，并掌握了画竹的造型规律。\n故他画出的竹竿、们‘枝的线条挺坚，用笔实在有力，竹竿、竹枝、竹叶均用双勾画出，即用线条描绘竹叶的轮廓，再用汁绿烘染，叶尖微染赭黄，且其阴阳向背等细节都刻画得十分准确、细腻。\n其背景石都用双勾，然后用粗笔水墨皴染，分出阴阳面。\n坡石间的几丛兰和小草的安排，更使画面充满勃勃生机。\n此画的主题沐雨，作者强调了雨中之竹。\n故在作者笔下将沾满了雨水的竹子，竹叶个个呈下垂的自然神态，突出了“沐雨”这一主题，使画幅具有很强的写实性。\n此画给人以充实秀美的感觉，实属精品。\n这幅作品中只有四竿修竹和一些小枝是用汁绿晕染，竹干的晕染基本是平涂，只在竹节两端略有晕染。\n竹叶的敷色较为精工，不但叶根部和叶尖部的色调有所变化，而且叶面和叶背也不相同，繁多的叶片中没有一片是染出边缘轮廓之外．也可见作者的细致程度。\n在水墨环境的映衬下．《沐雨竹图》中的修竹亭亭玉立，青翠悦目。\n即使秋风萧瑟，也是竹叶摩娑，别具一番“如鸣环翠”的风韵。\n在翠竹右侧一竿高耸直指，左侧一竿向左上伸展，最前的一竿指向右方，右侧竹叶相对密集，造成左高右低的形势。\n竹干、竹枝的线条挺坚，竹叶的线条则圆润；竹干、竹枝的用笔比较实在有力，而竹叶的用笔就显得轻细活泼。\n李衎（1244—12年），字仲宾，号息斋道人，元大都（今北京）人，仕至集贤殿学士。\n他平生擅长画竹，继承了金文同、王庭筠等画竹名家的成就，又曾深入江南竹乡深入观察，还出使过交趾（今越南），到各处观察竹子的生长情况和特点，深得竹之“理”，是一位既有深厚传统绘画功力，又师法自然的画家。\n他的画风严谨，传世作品有双勾着色的《双勾竹图》、《沐雨图》等，并著有《息斋竹谱》7卷，对竹的结构品类、生长规律及画法详加剖析，既重写意又重法度。",[23,7,24,241,28,173,242,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db8d493b70c64e938a16711c94486e2.jpg","纵111.5cm，横55cm",[163,2293],{"id":45900,"slug":45901,"title":45902,"dynasty":189,"author":1057,"museum":20,"description":37264,"tags":45903,"thumbUrl":45904,"material":40,"size":37267,"collection":139,"collections":45905,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},221768,"er-ma-tu-ren-ren-fa-221768","二马图ＨＤ",[23,7,25,28,27,150,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e07ee211c41e1abdfd34684fd9b51ce.jpg",[],{"id":45907,"slug":45908,"title":11409,"dynasty":18,"author":7349,"museum":78,"description":10245,"tags":45909,"thumbUrl":45910,"material":665,"size":45911,"collection":139,"collections":45912,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},221603,"bu-dai-he-shang-tu-liang-kai-221603",[23,7,24,106,259,173,10247,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a3b6d4db81452ecdf7a090b19e5c62.jpg","纵31 3厘米，横24 5厘米",[],{"id":45914,"slug":45915,"title":45916,"dynasty":18,"author":645,"museum":101,"description":12741,"tags":45917,"thumbUrl":45918,"material":5149,"size":4435,"collection":42,"collections":45919,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷",[23,7,24,25,1397,173,27,177,28,86,178,227,29,430,174,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg",[42,181,163],{"id":45921,"slug":45922,"title":45923,"dynasty":18,"author":293,"museum":206,"description":45924,"tags":45925,"thumbUrl":45926,"material":665,"size":45927,"collection":42,"collections":45928,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},221237,"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[23,7,24,241,83,27,28,4895,367,136,2994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","170x 167厘米",[42,90,45],{"id":45930,"slug":45931,"title":45932,"dynasty":99,"author":3114,"museum":9181,"description":45933,"tags":45934,"thumbUrl":45935,"material":81,"size":9185,"collection":139,"collections":45936,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":139},220754,"fang-ge-jia-shan-shui-2-dong-qi-chang-220754","仿各家山水-2","此作用淡墨晕染远山，勾勒的山石尽显嶙峋之态，留白作云气晕出空濛山意。近岸林木笔法松秀苍润，浓墨点苔添得生机勃发。山坳村居、溪畔茅舍隐于丘壑之间，板桥行人又让林泉染上烟火暖意。\n\n题字错落左上，笔墨清雅萧散与画境相融。全画以干笔皴擦营造淡远空灵意境，简淡中见层次藏雅趣，将幽居林泉的闲逸藏于尺幅之间，尽显文人山水的疏朗清旷，观之如临寂寂山林，得自然清和之味。",[23,7,24,173,177,29,864,297,430,431,558,464,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf0109cf2086c3efd9441201dea3d94.jpg",[],{"id":45938,"slug":45939,"title":45940,"dynasty":1095,"author":2335,"museum":8718,"description":45941,"tags":45942,"thumbUrl":45943,"material":15457,"size":139,"collection":139,"collections":45944,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},220505,"e-mei-zhang-da-qian-220505","峨眉","此作以云海托举雄峰，虚实相映间铺展蜀山灵韵。以青绿皴染勾勒峭崖肌理，晕染出层叠石壁的苍劲质感，石青石绿晕开山峦清润，赭石铺陈崖顶厚重。翻涌云涛以泼墨晕染而成，将群峰半掩半露，生出缥缈仙气。崖巅古松劲拔、梵宇隐现，为雄奇山景添上清寂禅意。既恪守传统笔墨法度，又以泼彩新意晕化山色，将巍峨与灵秀糅合，尽显天地造化之奇，静穆之中自有磅礴大气，藏着蜀中山河的万千意趣。",[7,24,29,27,173,177,30,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a6a494de0efa8d16398fba50d5288ec.jpg",[],{"id":45946,"slug":45947,"title":45948,"dynasty":189,"author":5444,"museum":78,"description":45949,"tags":45950,"thumbUrl":45953,"material":123,"size":45954,"collection":181,"collections":45955,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},220406,"qiu-ge-qing-xiao-tu-sheng-mao-220406","秋舸清啸图","《秋舸清啸图》描绘的是在近岸陂陀上树木繁茂，一艘篷舟缓缓经过，船头有一位逸士正在仰天长啸，他身前置放酒皿瓷碗，身后古玩横陈，船尾是一个正在摇橹的一童 子摇橹。从这个逸士的形象看，可能是魏晋时“嗜酒能啸”并善鼓琴的“竹林七贤”之一阮籍的写照。远景山峦平缓。图中树石、远岸画法学董源、巨然，人物设色 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ion":46140,"tags":46141,"thumbUrl":46142,"material":123,"size":46143,"collection":44,"collections":46144,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":1335},217997,"mo-tang-wu-dao-yuan-hui-luo-han-xiang-2-yi-ming-217997","摹唐吴道元绘罗汉像-2","《摹唐吴道元绘罗汉像》是佚名在元朝初期创作的一幅画作，这幅画描绘了佛教菩萨罗汉的形象。罗汉是佛教中的圣人，代表着智慧、善良和菩提。这幅画以其精细的线条和细腻的笔触著称，充分展现了元朝时期的艺术水平。画中的罗汉像给人以宁静、慈悲的感觉，充分展现了佛教的精神内涵。\n\n《摹唐吴道元绘罗汉像》的创作背景也很有趣。元朝时期，作者曾受命于皇帝去摹写唐朝著名画家吴道元的绘画作品。在摹写过程中，作者深受吴道元的绘画技巧和艺术理念的启发，并在此基础上创作了这幅传世佳作。",[7,24,241,259,106,27,105,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3914d1faba14d9e9ecfee34b18cf4e6e.jpg","124.9x61.6",[44],{"id":46146,"slug":46147,"title":46148,"dynasty":189,"author":33252,"museum":132,"description":46149,"tags":46150,"thumbUrl":46151,"material":342,"size":46152,"collection":181,"collections":46153,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":94},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[7,24,241,173,177,178,227,29,7241,175,34,176,35,560,1966],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[181],{"id":46155,"slug":46156,"title":46157,"dynasty":189,"author":293,"museum":206,"description":46158,"tags":46159,"thumbUrl":46161,"material":123,"size":46162,"collection":44,"collections":46163,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":49},216205,"han-yuan-lie-qi-tu-yi-ming-216205","寒原猎骑图","蕃骑游猎草原上，野兽惊骇逃窜。二骑追逐夹击一鹿，正挽弓欲射，最引人注目，成为画幅之焦点。画风与明画院之人马作品相近似。",[23,7,209,24,27,29,106,150,957,177,900,281,245,46160],"荒原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45faf22c49aa6873d7c5bff973cba879.jpg","75x98.5cm",[44],{"id":46165,"slug":46166,"title":46167,"dynasty":18,"author":293,"museum":238,"description":5271,"tags":46168,"thumbUrl":46169,"material":342,"size":5274,"collection":139,"collections":46170,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":94},214981,"dao-zi-mo-bao-ren-wu-bai-miao-hua-4-yi-ming-214981","道子墨宝人物白描画-4",[23,1160,7,24,260,106,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F981c2994c92961b159052d82fbdd1ada.jpg",[],{"id":46172,"slug":46173,"title":46174,"dynasty":99,"author":170,"museum":3712,"description":6328,"tags":46175,"thumbUrl":46176,"material":342,"size":139,"collection":139,"collections":46177,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":94},214924,"mo-hua-ce-3-shen-zhou-214924","墨花册-3",[23,209,7,24,173,1459,698,226,227,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9bc8e0e22c8ac2a3d56fdc5547b6ef7.jpg",[],{"id":46179,"slug":46180,"title":46181,"dynasty":99,"author":170,"museum":3712,"description":6328,"tags":46182,"thumbUrl":46183,"material":342,"size":139,"collection":139,"collections":46184,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":94},214916,"mo-hua-ce-10-shen-zhou-214916","墨花册-10",[23,7,173,81,83,3199,697,698,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36174ca3ee0e711e4558881ccb44938f.jpg",[],{"id":46186,"slug":46187,"title":38578,"dynasty":76,"author":46188,"museum":206,"description":46189,"tags":46190,"thumbUrl":46191,"material":88,"size":139,"collection":181,"collections":46192,"showCount":45366,"zanCount":5,"manualWeight":48,"mainColor":94},214725,"shan-shui-ce-ye-hu-gui-214725","胡桂","小册页，前后以木质装帧，木质封面刻「胡桂画山水」五隶字。卷内所绘淡青绿山水，大抵以水岸河景为主，随着视点的拉近或放远，绘写远山、楼阁、帆船点点与渔子靠岸歇息等，卷末则以群山覆雪之景作结。本卷与其他两件玉器同储于长方木盒中。",[7,29,27,81,864,34,35,111,281,490,1410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804056f2501ac14a099ce287ab11f0cf.jpg",[181],{"id":46194,"slug":46195,"title":22562,"dynasty":46196,"author":10851,"museum":78,"description":46197,"tags":46198,"thumbUrl":46199,"material":139,"size":139,"collection":181,"collections":46200,"showCount":45366,"zanCount":48,"manualWeight":48,"mainColor":46201},202796,"shan-shui-tu-zhou-huang-bin-hong-202796","近代","此作笔墨苍劲浑厚，山石以浓淡干湿的墨色层层积染，皴擦交错间尽显山峦嶙峋质感。山间云雾以留白与淡墨晕染相济，虚实相生，营造出深远空间层次。近景松枝挺劲，枯荣树木旁小桥横跨溪涧，几间屋舍隐于林麓，添生活意趣。整体构图疏密有致，墨色浓淡相宜，既见传统山水笔墨功底，又透自然野逸生机，尽显对山水意境的深刻体悟。",[7,24,241,173,177,29,1575,108,176,37,464,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aacda9025fc8a3234c1b0924a10e3a.jpg",[181],"e1d9cb",{"id":46203,"slug":46204,"title":46205,"dynasty":189,"author":46206,"museum":206,"description":17494,"tags":46207,"thumbUrl":46209,"material":123,"size":46210,"collection":139,"collections":46211,"showCount":250,"zanCount":1270,"manualWeight":48,"mainColor":49},290955,"long-zhou-duo-biao-zhou-wu-ting-hui-290955","龙舟夺标轴","吴廷晖",[7,241,104,27,17497,107,29,34,111,175,46208],"龙舟夺标","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfaac7c9f64d3cb8ff91cd3ca0120e38.jpg","124.1x65.6",[],{"id":46213,"slug":46214,"ti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《板桥集》、《书画纪略》、《滇南书画录》",[209,7,24,81,173,452,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a27f24753f601b614b775dd8f1accc.jpg",[90],{"id":46405,"slug":46406,"title":46407,"dynasty":99,"author":1296,"museum":20,"description":46408,"tags":46409,"thumbUrl":46410,"material":1716,"size":46411,"collection":181,"collections":46412,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},237697,"fang-huang-gong-wang-shan-shui-zhou-xiang-sheng-mo-237697","仿黄公望山水轴","此画为仿古山水画，有黄公望遗风。本幅上自题：“曾见痴翁半张纸，不多数笔山与水。自然苍润有云烟，聊复从翁画如此。此为会嘉兄临黄子久半张纸，是画即藏李氏秘笈中。崇祯壬申二月晦日题于鹤梦轩，项圣谟。”钤印“项圣谟诗画”、“拙胜”等。",[7,24,241,105,177,173,178,29,864,430,245,35,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7793cd0d1b4e78c00e3fefb6342305.jpg","43.7厘米，横：31厘米",[181,382],{"id":46414,"slug":46415,"title":46416,"dynasty":99,"author":36584,"museum":364,"description":46417,"tags":46418,"thumbUrl":46419,"material":139,"size":46420,"collection":181,"collections":46421,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":49},237638,"shan-shui-juan-li-shi-da-237638","山水卷","李士达（1550-1620），字通甫，号仰槐，江苏苏州人。万历二年（1574）进士，工画人物、山水。曾经论述画有五美：“苍、逸、奇、远、韵。”又有五恶：“嫩、板、刻、生、痴。”传世作品有《浔阳琵琶图》、《三驼图》、《西园雅集图》等。",[7,173,25,29,177,108,109,174,175,34,650,491,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f86bcf79245dd5c2e1d77c9916a7ed.jpg","纵16厘米，横48．3厘米",[181,163],{"id":46423,"slug":46424,"title":46425,"dynasty":76,"author":5052,"museum":364,"description":12208,"tags":46426,"thumbUrl":46427,"material":743,"size":744,"collection":139,"collections":46428,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},237366,"hong-ren-shan-shui-tu-zhou-hong-ren-237366","弘仁山水图轴",[7,24,241,173,177,29,242,175,245,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2198db8b7023d2d9d377941e9c3aa1.jpg",[],{"id":46430,"slug":46431,"title":8431,"dynasty":76,"author":8432,"museum":20,"description":8433,"tags":46432,"thumbUrl":46433,"material":139,"size":139,"collection":139,"collections":46434,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},237115,"shi-nv-ce-cui-wei-237115",[7,24,81,28,27,106,59,63,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a9e178aab2ac2740e50cc503c1b5e.jpg",[],{"id":46436,"slug":46437,"title":46438,"dynasty":76,"author":10376,"museum":20,"description":40266,"tags":46439,"thumbUrl":46440,"material":139,"size":139,"collection":181,"collections":46441,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},236459,"fang-ke-jiu-si-xiao-jing-zhou-wang-hui-236459","仿柯九思小景轴",[7,241,173,177,105,29,1575,340,176,109,281,108,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91841eaba7f22bffc8d14d98e83c8bd9.jpg",[181,163,382],{"id":46443,"slug":46444,"title":19864,"dynasty":99,"author":293,"museum":364,"description":46445,"tags":46446,"thumbUrl":46447,"material":67,"size":139,"collection":139,"collections":46448,"showCount":250,"zanCount":5,"manualWeight":48,"mainColor":49},236285,"wang-zi-yuan-hua-niao-ce-yi-ming-236285","此作清疏留白，蜿蜒花枝斜斜舒展，粉紫碎花攒聚枝头，墨叶苍润古雅，晕染得宜。绣眼静栖枝梢，羽色晕染细腻柔和，尖喙微抬，侧目端详下方螳螂，灵动神态呼之欲出。翠色螳螂凝立花枝之上，身姿劲挺鲜活。\n\n画面静中藏动，将林间偶遇的刹那生机定格，设色雅致柔和，妍而不俗。工写结合的笔法兼具细腻与意趣，寥寥景致却尽显自然幽微意趣，带着平和隽逸的文人意韵，把郊野小景的灵动生机晕染纸上，尽显小品花鸟的雅致格调。",[7,24,81,27,28,83,224,84,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb8fffef29c538df923837946d854ac.jpg",[],{"id":46450,"slug":46451,"title":486,"dynasty":99,"author":29248,"museum":364,"description":46452,"tags":46453,"thumbUrl":46455,"material":139,"size":139,"collection":181,"collections":46456,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},235969,"shan-shui-ce-cheng-jia-sui-235969","此作用极简白描写就，古松枝干盘曲苍劲，松针攒簇尽显虬结风神，松下三人意态萧散，衣纹清瘦简括，将山林晤谈的幽雅氛围勾勒尽致。\n左侧题诗行书清隽疏朗，书画合璧浑融无间。整幅以少胜多，淡墨浅笔间，寄寓幽栖丘壑的林下襟怀，尽得简淡空灵之致，把林泉雅集的澹远意趣浓缩在尺素之上，尽显文人画以意驭笔、以韵胜形的审美意趣，藏雅逸之思于笔墨边角。",[7,24,81,260,173,178,1575,106,759,46454],"童仆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4b1c51b4c7439aeed9b8e939710c82.jpg",[181],{"id":46458,"slug":46459,"title":46460,"dynasty":76,"author":1394,"museum":364,"description":46461,"tags":46462,"thumbUrl":46463,"material":139,"size":139,"collection":44,"collections":46464,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},235773,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-shi-min-235773","清初六大家集册-山水页","绢本水墨 纵112 横5.2厘米 清 代 绢本水墨 纵112 横5.2厘米 荡浮烟岚的峰峦冈岭，逶迤起伏连绵不断。\n山坳平坦处水榭、茅舍散落于林溪岸畔。\n近处的麓坡岸石，各种苍郁古茂的大树掩映着的草亭尤显幽静。\n上方题：“作画意在笔先，以得势为主….时康熙乙亥仲夏望后麓台祁”。\n王原祁（1642-1715年）字茂京，号麓台。\n江苏太仓人。\n王时敏之孙。\n擅山水，精鉴定，有“娄东派”之称。\n为清初六大家之一",[7,24,209,81,173,177,29,649,34,35,12136,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711b08e8224858c05339fb7b788a52d4.jpg",[44,163],{"id":46466,"slug":46467,"title":46468,"dynasty":76,"author":31118,"museum":364,"description":46469,"tags":46470,"thumbUrl":46471,"material":139,"size":139,"collection":139,"collections":46472,"showCount":250,"zanCount":5,"manualWeight":48,"mainColor":94},235674,"huang-shan-tian-dou-feng-tu-zhou-mei-qing-235674","黄山天都峰图轴","此作用高远章法铺陈景致，方折硬皴刻画嶙峋山石，层叠岩壁尽显峰峦雄崛之势。留白摹写空濛云海，衬出天都峰的高拔清逸。松下孤亭旁二人策杖对语，在雄奇山景晕染出世外幽意。\n题诗与山水相融，以书入画尽显新安画派灵秀苍劲。水墨晕染出清冷空寂的意境，既绘出黄山天险之姿，又寄寓画家对林泉高致的向往，笔致清隽，将自然奇绝与文人雅趣合为一体。",[7,24,209,241,173,177,29,30,37,175,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c78ff500e4796524b4ff31de712606.jpg",[],{"id":46474,"slug":46475,"title":46476,"dynasty":76,"author":13037,"museum":20,"description":29358,"tags":46477,"thumbUrl":46478,"material":1716,"size":29361,"collection":139,"collections":46479,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},234953,"yu-xi-shan-gen-tu-kun-can-234953","雨洗山根图",[7,173,1397,177,864,297,34,176,174,920,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e57309da538f66ef8d198690cf3042b.jpg",[],{"id":46481,"slug":46482,"title":40748,"dynasty":99,"author":221,"museum":364,"description":46483,"tags":46484,"thumbUrl":46485,"material":139,"size":139,"collection":139,"collections":46486,"showCount":250,"zanCount":5,"manualWeight":48,"mainColor":94},234204,"mo-zhu-juan-sun-ke-hong-234204","中国成语中有“胸有成竹”之说，原意是指画竹之前心里已经有了竹子的形象，后来比喻在做事之前已经有了全面的设想和安排。“胸有成竹”出自宋代苏轼的《文与可画筼筜谷偃竹记》——“故画竹，必先得成竹于胸中”。苏轼的这篇文章写的是文同画竹。宋代文同开创了“墨竹”一派，在中国绘画史上有着重要的地位，而他笔下的竹也被赋予了一种百折不挠的奋斗精神。例如在他的作品《墨竹》中，竹子在岩石的压迫下，先俯以应时，再延伸而上仰，展现出旺盛的生命意志。历代画竹者数不胜数，很多人能够面对“墨竹”这一题目画一辈子。除文同之外，历史上亦有赵孟頫、管道昇、夏昶、李衎、吴镇等人笔下的竹堪称经典。历朝历代也不乏优秀的画家以竹作为描绘对象抒写胸中逸气，明代孙克弘便是其中之一。\n现藏于苏州博物馆的孙克弘《墨竹图》（见下图）纵113厘米、横31.8厘米。画家在画面左下角题识：“湘皋春雨楚烟霏，绿玉参差路欲迷。流水接天人不见，满林花落鹧鸪啼。雪居。”画面右下角生出三枝竹子，其中一枝成为此画的主角。竹子从右下方生长至左上角，显得生机盎然。竹叶施以浓墨，墨笔犀利，竹干和竹枝则用淡墨描绘。画家将两者的前后关系清楚地展现在观者面前，同时又突显了全画的主角，从中可以看出他的良苦用心。另外两枝竹子则沿画面右侧而上，均以淡墨着色，再次衬托出画面中心的主角。\n孙克弘（1533—1611），字允执，号雪居，上海松江人。他善楷、隶、篆等书体，取法宋克，上追秦汉，自成风格。在绘画方面，他早期长于写生花鸟，师法徐熙、赵昌、沈周、陆治。他的绘画作品或工笔，画法工整，色彩明丽；或写意，笔墨放逸，造型工致。他画墨竹仿文同。此幅《墨竹图》笔法谨严有致，又不失潇洒之态，深得文同墨竹的精髓。墨竹不仅如同文人画的一种标本和尺度，同时也反映了中国画笔墨的基本。此画中，竹干劲挺。画面正中的一枝呈“S”形构图，竹枝虬曲，变化中不失弹性，具有一定的节奏感。竹子枝头向上挑起，密叶以向上的趋势奔放扩张、凌空倚势，显示了无穷的生命力度。竹节与竹节之间虽断离而又有牵连之意。画面下方的小枝行笔疾速，婉顺而柔和。三枝主枝横斜曲直、顾盼有情。再看整幅画面的竹叶，看似笔笔随意却又不失生意，显得疏密有致、聚散兼顾。\n孙克弘的《墨竹图》画面整体层次分明，墨色的运用和处理较为丰富。竹干墨色偏淡，不同枝干上的竹叶颜色有深有浅。画家以浓墨描绘竹叶正面，以淡墨表现竹叶背面；老枝以浓墨绘成，嫩叶新枝又以淡墨表现。画面的前后关系随着一虚一实、一明一暗的节奏来表达。同时，画面中留有大量空白，带给人无限的遐想。从画面中，还可以看到无处不在的书法用笔。撇叶锋长却不露毫芒，叶尾转折处提笔露白，以示向背之势，这足以显示出孙克弘深厚的书法功底。\n古人喜画墨竹。从这些墨竹中，后人可体会到观万物之生意的意境，并对这种绵延不息的生意肃然起敬。古人云：“天地之大德曰‘生’。”“生”便是一切万物之源，而墨竹恰恰就体现了这种倔强的生机。画家通过对竹的不同形式的表达，所要传递的便是“生生之谓易”（《周易》）的道理。这也是中国文化中十分珍贵的精义。",[23,7,173,25,242,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ab4f26dfa87319af0ed8c422a44a60.jpg",[],{"id":46488,"slug":46489,"title":33589,"dynasty":76,"author":9280,"museum":20,"description":46490,"tags":46491,"thumbUrl":46492,"material":990,"size":139,"collection":139,"collections":46493,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},234153,"jiu-ge-tu-juan-ding-guan-peng-234153","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响，学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。",[23,7,24,25,28,27,106,29,502,175,2838,1329,36451,176,34,107,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a6bd8c93261ba462ca762cf3d0505c.jpg",[],{"id":46495,"slug":46496,"title":11554,"dynasty":99,"author":3114,"museum":20,"description":16207,"tags":46497,"thumbUrl":46498,"material":990,"size":7095,"collection":139,"collections":46499,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},233961,"fang-gu-shan-shui-ce-dong-qi-chang-233961",[7,24,81,178,86,227,27,177,29,34,176,560,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2597824fb0e8f717ef82a8d2784b338.jpg",[],{"id":46501,"slug":46502,"title":37073,"dynasty":76,"author":1109,"museum":20,"description":46503,"tags":46504,"thumbUrl":46505,"material":990,"size":46506,"collection":139,"collections":46507,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},233958,"yun-shan-tu-zhou-shi-tao-233958","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[7,24,241,173,177,29,13815,37,176,34,2502,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8523eeee7217dae1b5bb91657e0c2417.jpg","纵45.1厘米，横30.8厘米",[],{"id":46509,"slug":46510,"title":46511,"dynasty":76,"author":13037,"museum":20,"description":46512,"tags":46513,"thumbUrl":46514,"material":990,"size":46515,"collection":139,"collections":46516,"showCount":250,"zanCount":5,"manualWeight":48,"mainColor":94},233917,"yun-dong-liu-quan-tu-zhou-kun-can-233917","云洞流泉图轴","此图作于髡残53岁时。表现的是他晚年居地南京城郊牛首祖堂山幽栖寺一带的景致。本幅自题诗：“端居兴未索，觅径恣幽讨。沿流戛琴瑟，穿云进窈窕。源深即平旷，巘杂入霞表。泉响弥清乱，白石净如扫。兴到足忘疲，岭高溪更绕。前瞻峰如削，参差岩岫巧。吾虽忽凌虚，玩松步缥缈。憩危物如遗，宅幽僧占少。吾欲饵灵砂，巢居此中老。”此图尺幅不大，但具有宏伟壮阔的气势，构图严谨，虚实互衬，繁密的山石、林木与空疏的云、水、天构成疏密明暗的变化。运笔施墨张驰有度，粗犷娴熟，浓淡墨相宜，干湿笔相生，全图一气呵成，意境幽邃高远。此幅堪称髡残的精品佳作。",[7,24,241,29,177,173,27,1329,20863,30358,1575,107,176,34,563,558,652,114,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62778fcf1da11e7c4313da023f47a86a.jpg","纵110.3厘米，横30.8厘米",[],{"id":46518,"slug":46519,"title":46520,"dynasty":76,"author":1394,"museum":20,"description":46521,"tags":46522,"thumbUrl":46523,"material":990,"size":46524,"collection":139,"collections":46525,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},233822,"qiu-shan-bai-yun-tu-zhou-wang-shi-min-233822","秋山白云图轴","图绘烟云浩渺、林木葱郁的雨后山景。据款题而知，此图是作者有感于“三伏生秋”之意于盛夏的雨后仿元人黄公望笔意所作的秋景图。王时敏自明崇祯五年（1632年）辞官归里后便潜心于对宋、元诸家绘画的研究，期间创作了大量摹仿黄公望的作品，此图便是其中一幅深得黄氏“浅绛”画风的力作。其笔法松秀灵动，色、墨富于变化而有层次，重叠交错的墨点更是将山形树貌有机地统一于高逸的境界中。\n款题：“己丑六月望，过西田村舍，毒热不异炮灼，僵卧挥汗，雠睨笔砚。适雨后稍凉，忆古人三伏生秋之句，戏作秋山白云图。虽曰摹仿大痴，实未得其脚汗气也，愧绝愧绝。王时敏识。”钤“王时敏印”白文印、“西田”朱文印。又题：“此余十年前所作，公瑕将以赠宿章道兄。复携见示，追忆挥汗舐笔时，宛然如昨。今年至力衰，百事慵懒，不复求旧管城公，诵少陵‘丹青不知老将至’之句，益深慨叹。辛丑子月时敏又题。”钤“烟客”、“儒斋”朱文印二方。“己丑”为清顺治六年（1649年），作者时年58岁。“辛丑”为清顺治十八年（1661年），作者时年70岁。",[7,24,241,173,27,29,177,7241,4501,34,176,560,920,491,565,5243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e0e8853100f701b1b8e23fd8d4e2ff.jpg","纵96.7厘米，横41厘米",[],{"id":46527,"slug":46528,"title":46529,"dynasty":18,"author":1650,"museum":20,"description":46530,"tags":46531,"thumbUrl":46532,"material":67,"size":46533,"collection":139,"collections":46534,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":49},233724,"kong-zi-xiang-tu-ye-ma-yuan-233724","孔子像图页","《孔子像》人物衣纹用笔为钉头鼠尾法，线长而劲利。孔子身着长袍,拱手而立,沉静肃穆，若有所思，神情十分生动。全图用秃笔写衣纹，简练概括，线条劲拔，寥寥数笔，形神毕现，设色浅淡，韵味高雅。",[7,209,24,81,260,106,63,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1051bbe0d77bafbd4cbd1e6129b59667.jpg","纵27.7厘米 横23.2厘米",[],{"id":46536,"slug":46537,"title":46538,"dynasty":18,"author":293,"museum":20,"description":46539,"tags":46540,"thumbUrl":46543,"material":665,"size":46544,"collection":139,"collections":46545,"showCount":250,"zanCount":1547,"manualWeight":48,"mainColor":49},233702,"za-ju-mai-yan-yao-tu-ye-yi-ming-233702","杂剧（卖眼药）图页","作品所绘内容为南宋杂剧《卖眼药》的场景，有关专家认为当是官本杂剧中的《眼药酸》。《武林旧事 卷十》 “官本杂剧段数”中有《眼药酸》剧名。此外，元末明初陶宗 仪《南村辍耕録 卷二十五》“院本名目”条下，于“诸杂大 小院本”名目中，载有十数种“酸”目。杂剧剧名中加“酸” 字多是以仕途无望的落魄文人为嘲弄对象的，《眼药酸》也不 例外。\n图中一人腰插一扇，中间开裂，上书一字似“浑”，可能 是插科打译、故意装傻的意思。此人臂肘间有“点青”，右手 指眼睛，左手握一板。另一人衣冠绘满眼睛图案，一手捏着眼 膏瓶，显然是在推销眼药。画幅右侧有一大鼓，仅见小半。是 图虽然绘制的是戏剧场景，但人物的动作、神态表现得非常到 位，体现了画家对当时市井生活的关注。另外，人物的服饰、 装扮对于研究宋代文化具有一定的参考价值。",[7,24,81,28,27,106,46541,46542,244],"杂剧","道具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b48906229f54e9cee3e09f49adeed54.jpg","高23.8厘米，宽24.5厘米",[],{"id":46547,"slug":46548,"title":46549,"dynasty":99,"author":966,"museum":20,"description":46550,"tags":46551,"thumbUrl":46552,"material":2021,"size":46553,"collection":139,"collections":46554,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[7,24,25,173,28,86,178,227,1575,35,106,115,176,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纵26.3CM 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献茧","水岸错落萦回，古木蓊郁成荫，苍劲虬枝与素白繁花相互衬映，朱栏屋舍半隐林间，雅致内敛。左侧人物衣袂端整，正依礼徐行，暗合亲蚕仪典的肃穆庄重。\n\n整幅设色雅致柔和，工细写实。画师以精微笔触绘就林木的疏密层次，淡彩晕染出郊苑春日的温润静谧，将亲蚕礼的礼制深意融于幽阒雅致的园景间。既尽显宫廷院画的精谨考究，又于静谧景致里铺陈出古雅典正的氛围，让仪礼的庄重与苑囿的恬澹相融共生。",[7,25,27,28,106,34,114,1159,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa2e1fd7862ef0f7939adee4b190d2.jpg",[90,181],{"id":46622,"slug":46623,"title":46624,"dynasty":189,"author":10811,"museum":364,"description":46625,"tags":46626,"thumbUrl":46627,"material":139,"size":139,"collection":139,"collections":46628,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":49},228162,"fu-rong-hua-tu-ye-wang-yuan-228162","芙蓉花图页","以水墨写就芙蓉，淡墨晕染花瓣，层层铺陈间将柔媚蓬松的花态尽显，花瓣边缘虚淡朦胧，如带清露。浓墨绘叶，枯笔勾勒叶脉，晕分出叶片阴阳向背之态，枝叶舒展错落，尽显芙蓉清妍雅致之姿。\n\n画面间题诗错落排布，朱红印章点缀其间，诗画合璧，褪去设色浓丽，以素净水墨尽现芙蓉秀润风骨，尽显尚意简淡的审美意趣，将文人情思融于笔墨意趣之中，清雅脱俗，余韵悠长。",[7,24,81,173,28,83,450,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9168b45b7cbef3fdbda8ee446bb21498.jpg",[],{"id":46630,"slug":46631,"title":46632,"dynasty":18,"author":293,"museum":364,"description":46633,"tags":46634,"thumbUrl":46635,"material":139,"size":139,"collection":139,"collections":46636,"showCount":250,"zanCount":5,"manualWeight":48,"mainColor":49},227922,"cao-tang-xiao-xia-tu-yi-ming-227922","草堂消夏图","石青石绿晕染出山居底色，古雅沉静。茅舍临波而建，蕉叶舒展、修竹藏幽，枯木疏朗点破夏寂，水色澹澹漫过阶前，将暑热涤荡一空。\n\n屋内二人对坐清谈，案间茶卷相依，不必摇扇，林泉间的幽凉便漫进草堂。笔墨工秀柔润，把夏日山居的闲静雅致铺陈开来，将耽于林泉、忘忧消暑的隐逸意趣藏在尺幅团扇里，满是冲淡安和的林下之风，尽显清旷襟怀。",[23,7,24,1562,27,28,29,106,394,242,245,920,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08840f39db0cf9f63dbb5ad9f829aaed.jpg",[],{"id":46638,"slug":46639,"title":1155,"dynasty":18,"author":1616,"museum":364,"description":46640,"tags":46641,"thumbUrl":46642,"material":139,"size":139,"collection":139,"collections":46643,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":49},227774,"mu-niu-tu-li-tang-227774","李唐牧牛图，绢本， 61X63cm ，北京故宫博物院藏。鉴藏印：奉使之印、项元汴印、退密、仙客、子京所藏、项墨林父秘籍之印、蔗田珍玩、项叔子、叶蔗田珍赏章、蔗田曾藏识者宝之、平生珍赏、畊霞溪馆、虚斋审定书画名迹 钤印：苏氏文印、西磵云樵、昌龄、苏。",[23,209,7,24,29,106,151,394,27,173,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc523ca70a1e521c7a8b3535a78de55.jpg",[],{"id":46645,"slug":46646,"title":46647,"dynasty":18,"author":823,"museum":364,"description":41696,"tags":46648,"thumbUrl":46649,"material":139,"size":139,"collection":139,"collections":46650,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":49},227730,"dong-ting-qiu-yue-tu-xiao-xia-gui-227730","洞庭秋月图（小）",[23,7,209,24,241,173,29,300,394,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706adea0be21d3e2be8c5b05315e7cc4.jpg",[],{"id":46652,"slug":46653,"title":46654,"dynasty":18,"author":645,"museum":364,"description":46655,"tags":46656,"thumbUrl":46659,"material":139,"size":139,"collection":139,"collections":46660,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":49},227413,"xue-shan-lan-re-tu-guo-xi-227413","雪山兰若图","郭熙（约1000-约1080），字淳夫，今河南孟县人，北宋画家、绘画理论家。郭熙出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。树枝如蟹爪下垂，笔势雄健，水墨明洁。早年风格较工巧，晚年转为雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n\n郭熙在学画之初并无老师，后在临摹李成山水画中受到启发，笔法大进，亦能自放胸臆，笔势雄健，水墨明洁。画山石多用卷云或鬼脸皴，画树如蟹爪下垂。1068-1077年间为图画院艺学，后任翰林待诏直长，成为宫廷画院重要成员。于画论方面亦有建树，总结出对四季山水的审美感受及山水构图三远法等。创作活动旺盛的时代正是宋神宗在位的1068-1085年，深受神宗的恩宠，有“神宗好熙笔”，“评为天下第一”之说。",[7,1397,209,173,177,46657,3499,2502,176,31938,107,560,46658],"卷云皴","雄阔意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64c6c4a6dae4f904ca25689a573a408.jpg",[],{"id":46662,"slug":46663,"title":46664,"dynasty":76,"author":1109,"museum":364,"description":46665,"tags":46666,"thumbUrl":46667,"material":139,"size":139,"collection":139,"collections":46668,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},224519,"shan-shui-tu-ce-8-kai-6-shi-tao-224519","山水图册8开-6","此作以极简笔墨铺陈林泉幽境，虬松苍劲盘曲，焦墨攒写松针，古拙老辣尽现岁寒风骨。茅舍板桥轻勾淡染，野朴天真。浅赭花青晕染远山，留白代水，虚实相生间漾开空濛淡远的烟岚之气。\n\n桥头渔翁寥寥数笔，便勾画出垂纶忘机的闲淡模样，暗合寄情丘壑、与世无争的林下襟怀。全幅笔致纵逸灵秀，以水墨浅绛写就幽居逸趣，淡而愈远，简中见雅，将文人幽栖林泉的意趣藏入每寸笔墨，悠悠然漾出静穆清和的林下之风。",[23,209,7,24,81,173,177,29,108,920,1575,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47caab48b06d630ce9946e368b7e7336.jpg",[],{"id":46670,"slug":46671,"title":46672,"dynasty":76,"author":5096,"museum":20,"description":46673,"tags":46674,"thumbUrl":46675,"material":40,"size":46676,"collection":181,"collections":46677,"showCount":250,"zanCount":5,"manualWeight":48,"mainColor":49},224483,"ling-shang-bai-yun-tu-wang-jian-224483","岭上白云图","图绘山峦叠嶂，树木茁壮葱茏，山间、山脚处民居隐现，坐落于此犹如世外桃园，画面布局充实繁密，山石画法以黄公望为宗，于披麻皴后又用横点叠皴，或勾或点，各具风姿。笔法圆润，浓墨点苔。风格古朴高雅，具有大气淳厚之感，是幅不可多得的佳作。",[23,7,24,241,27,29,177,864,4501,430,175,107,650,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcc8e3e142af285a644cc82cafaa371.jpg","143.7x50.6cm",[181],{"id":46679,"slug":46680,"title":46681,"dynasty":76,"author":10376,"museum":364,"description":46682,"tags":46683,"thumbUrl":46684,"material":139,"size":139,"collection":139,"collections":46685,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,7,24,25,27,177,29,864,297,430,1015,2838,33,175,464,281,558,37,176,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":46687,"slug":46688,"title":46689,"dynasty":76,"author":3679,"museum":364,"description":46690,"tags":46691,"thumbUrl":46692,"material":139,"size":139,"collection":139,"collections":46693,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},224373,"hua-hui-qi-shi-ce-shi-er-kai-2-ju-lian-224373","花卉奇石册-十二开-2","此作以赭色绢本为底，湖石嶙峋通透，枯墨勾皴轮廓，淡墨晕染凹处，将灵璧石的空透雅态尽展。旁侧方盆月季，莹白瓣边晕染浅粉，枝叶敷色清润鲜活，柔媚动人。石顶细草轻缀，一只蜻蜓敛翼停驻，翅脉纤毫毕现，为静雅案头景致添入灵动生机。\n\n全作用色秀妍温婉，没骨技法工写相融，既将草木虫豸描摹得细腻鲜活，又以写意笔法带出湖石的苍古意趣，把文房清供的幽寂闲雅尽数铺陈，尽显柔润秀逸的江南画韵，将小品静物的雅致情致刻画得恰到好处。",[23,7,27,28,81,84,2063,800,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d737743b159527daa080f75cc1af3a.jpg",[],{"id":46695,"slug":46696,"title":46697,"dynasty":76,"author":707,"museum":364,"description":46698,"tags":46699,"thumbUrl":46700,"material":139,"size":139,"collection":139,"collections":46701,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":49},224189,"hua-niao-cao-chong-tu-ba-08-hua-yan-224189","花鸟草虫图八-08","这幅小品以空灵留白铺就底色，斜曳竹枝破开空寂，清隽湖石晕染出雅致青绿，与浅赭淡墨调和出柔和古雅的基调。石上狸猫团身酣眠，憨态宛然；石下乳犬抬首凝视，稚拙灵动，另有小犬伏于草间，野趣横生。\n作者以工写兼施之法，将小生灵的情态刻画入微，幽花细草点缀其间，把林下闲时的寻常小景晕染成充满悠然意趣的画卷，尽显恬淡治愈的文人雅韵，灵动雅致间定格住山野闲情。",[23,7,27,81,446,242,245,1064,957,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee46bd5b46ec743c1b27057c1a30d048.jpg",[],{"id":46703,"slug":46704,"title":3636,"dynasty":189,"author":293,"museum":20,"description":46705,"tags":46706,"thumbUrl":46707,"material":665,"size":46708,"collection":42,"collections":46709,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":1335},223604,"qiu-shan-xing-lv-tu-yi-ming-223604","全图结构图清晰，便于查看。如果从下到上，根据景物的类型和排列方式和画家的描绘，将图片分成两组显示，三个部分在一个小概览中查看。画面会发现，这幅画气势磅礴，动感十足，透视感极深。首先，这幅画有一个从下面看的视角。创作者应该在这样的山脚下作画，在这样的山脚下作画，给观者一种真实的感觉。其次，这幅画的画面感不是很强，因为它也有深度感。如果你仔细观察，你会捕捉到无数小场景，包括天坑。例如，树木进入若隐若现的亭台、台阶、围栏等，给观者一种未来的无限视觉体验。\n一开始的山间小路，路​​上的行人等等，这些照片的全图空间把辫子拉得很好，在画面的空间和空间上进行了借鉴，让画面变得生动和对透气性的向往。你看到的是它带来的良好的中间立场。简练却又很写实，如尖山亭，是对亭子的细致刻画，笔触细腻，顶景近楼勾勒。三种节奏，给画面带来强烈的节奏感，这也是大师的心声。\n最真实的秋天很轻松。通过分析图片，不难发现，这幅《山间游记》与西方的素描是一样的。对象有近、大、远、小、近、近、细、统一。光源从哪里来。画底的山石，墨色深沉，体量大，影重。像山和树一样，墨色淡，整体不大，但也画了一个简单的介绍，而不是看风景的内在特征和魅力。例如，在风景部分，山的稍左侧和受光面部分较远，可能是朝阳的一面，所以墨色会低于光面，数字污渍会相对少一些。\n这样，在远景中，山体被许多朴素的松树压缩，使山体的一部分具有想象性和结构性，从而在画面中产生特定的整体统一感，真实而不冲动的视觉效果。仔细观察，你会发现，这些松树虽然是画出来的，但也能描绘出来。在统一中，各有特色，做到内涵丰富、厚度小、特殊性强，值得观者细细品味。\n还有一件事值得学习。中间作画的方法和水墨的轻快关系到景物的画和轻快。例如，岩石的长度被薄片覆盖，厚厚的大岩石被卷云薄片覆盖。树的种类为浅墨色，用较重的墨色挤压浅墨画，打开空间和树木之间的杂乱空间，避免树木之间的杂乱群落。凭借精湛的包装，观众拥有精致的视觉体验。\n如果用诗词介绍来形容整幅画，“枯藤老树昏鸦，小桥流水一家”。 “主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[23,7,24,173,27,177,29,649,176,34,1015,174,6922,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[42,181,163],{"id":46711,"slug":46712,"title":46713,"dynasty":189,"author":293,"museum":20,"description":46714,"tags":46715,"thumbUrl":46716,"material":803,"size":46717,"collection":139,"collections":46718,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},223560,"yu-lan-guan-yin-tu-yi-ming-223560","渔篮观音图","鱼篮观音是三十三观音相之一，脚踏鳌背，手提盛鱼的竹篮或手提鱼篮的民间少妇形象，因是马郎之妇，故别名唤作”马郎妇观音“。\n佛教中三十三观音之一。手持鱼篮。明宋濂有《鱼篮观音像赞》：“序按《观音感应传》：唐元和十二年（公元817年），陕右金沙滩上有一美艳女子，絜篮鬻鱼，人竞欲室之。女曰：‘妾能授经，一夕能诵《普门品》者，事焉。’黎明，能者二十。女辞曰：‘一身岂堪配众夫邪！请易《金刚经》，如前期。’能者复居其半。女又辞，请易《法华经》，期以三日。惟马氏子能。女令具礼成婚。入门，女即死，死即糜烂立尽，遽瘗之。他日，有僧同马氏子启藏观之，惟有黄金锁子骨存焉。僧曰：‘此观音示现以化汝耳。’言讫飞空而去。自是陕西多诵经者。“",[23,209,7,24,241,259,106,173,260,86,227,25246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc18d37597ee238c26ceb0b013f0ee58.jpg","82.1x32",[],{"id":46720,"slug":46721,"title":46722,"dynasty":99,"author":293,"museum":238,"description":46723,"tags":46724,"thumbUrl":46726,"material":46727,"size":46728,"collection":139,"collections":46729,"showCount":250,"zanCount":5,"manualWeight":48,"mainColor":49},223405,"tian-long-ba-bu-luo-cha-nv-zhong-yi-ming-223405","天龙八部罗叉女眾","右上题“天龙八部罗叉女众”，上端题“大明景泰五年八月初三日施”。并钤“广运之宝”印。左下书“御用监太监尚义、王勤等奉命提督监造” ​​​​。 ​​​​此图绘有天龙八部中的四位即：天众、龙众、紧那罗、摩呼罗迦。外另四罗叉（刹）女，分别持有刀、剑、弓等武器。从形制看应该还有对幅来组成“八部“，可能已佚。此图是明景泰年间（1450-1457年）宫廷画师所作，极尽华丽之能事，可与法海寺壁画参看。",[23,7,241,28,27,259,106,261,46725,4860,505],"神佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08d662c5db16a58703b6f2c0f10c2843.jpg","绢本·设色","141 x 79.2 cm",[],{"id":46731,"slug":46732,"title":46733,"dynasty":76,"author":707,"museum":206,"description":46734,"tags":46735,"thumbUrl":46736,"material":827,"size":46737,"collection":181,"collections":46738,"showCount":250,"zanCount":5,"manualWeight":48,"mainColor":94},223130,"zi-hua-xiang-hua-yan-223130","自画像","本幅自题：“新罗山人小景。嗤余好事徒，性耽山野僻。每入深谷中，贪玩泉与石。或遇奇邱壑，双飞折齿屐。翩翩排烟云，如翅生两腋。此兴四十年，追思殊可惜。迩来筋骨老，迥不及畴昔。聊以孤松唫，闭之蒿间宅。洞然窥小牖，寥萧浮虚白。炎风扇大火，高天苦燔炙。倦卧竹筐床，清汗湿枕席。耶得踏层冰，散发倾崖侧。其坐捉笔砚，写我躯七尺。嬴形侣鹤臒，峭兀比霜柏。俯仰绝尘境，晨昏不相迫。草色荣空春，苔纹华石壁。古藤结游青，寒水浸僵碧。悠悠小乾坤，福地无灾厄。雍正丁未长夏新罗山人坐讲声书舍戏墨。”钤“秋岳”、“华岩”。引首钤“小园”，右下钤“离垢”。“雍正丁未”为1727年，华岩时年46岁。\n华岩是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华岩潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华岩一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华岩身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[23,7,24,241,173,446,106,29,650,558,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618e9659c8ac72917cca6831b14c9888.jpg","纵130.5厘米，横50.7厘米",[181,163],{"id":46740,"slug":46741,"title":46742,"dynasty":76,"author":10958,"museum":20,"description":46743,"tags":46744,"thumbUrl":46745,"material":827,"size":46746,"collection":181,"collections":46747,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":49},223103,"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[23,7,24,29,173,177,176,34,558,175,114,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[181,163],{"id":46749,"slug":46750,"title":46751,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":46752,"thumbUrl":46753,"material":67,"size":10518,"collection":139,"collections":46754,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":49},223074,"hong-lou-meng-60-sun-wen-223074","红楼梦60",[23,7,209,28,27,106,758,107,108,29,340,245,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc778f30d6320cf2226001639f7dbc7e6.jpg",[],{"id":46756,"slug":46757,"title":46758,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":46759,"thumbUrl":46760,"material":67,"size":10518,"collection":139,"collections":46761,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},223061,"hong-lou-meng-47-sun-wen-223061","红楼梦47",[23,7,28,27,25,106,59,108,109,34,35,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610bde4c2f78ed4a71fd87145a23f3d6.jpg",[],{"id":46763,"slug":46764,"title":46765,"dynasty":76,"author":46766,"museum":238,"description":46767,"tags":46768,"thumbUrl":46770,"material":1642,"size":46771,"collection":181,"collections":46772,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},222798,"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[23,7,25,173,177,1397,46769,34,176,31,35,1445,106,37,491,1926,4663],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[181,163],{"id":46774,"slug":46775,"title":46776,"dynasty":76,"author":5208,"museum":364,"description":20802,"tags":46777,"thumbUrl":46778,"material":1716,"size":46779,"collection":139,"collections":46780,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":94},222622,"shan-shui-shan-mian-3-gong-xian-222622","山水扇面-3",[23,7,24,1562,173,177,29,175,430,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6191e681c7f9801e2bd66e8502b32f.jpg","纵22.7厘米，横63.1厘米",[],{"id":46782,"slug":46783,"title":46784,"dynasty":99,"author":170,"museum":206,"description":46785,"tags":46786,"thumbUrl":46787,"material":139,"size":139,"collection":90,"collections":46788,"showCount":250,"zanCount":5,"manualWeight":48,"mainColor":94},222126,"jiao-yin-qin-si-tu-shen-zhou-222126","蕉阴琴思图","一块长形的太湖石，一株高大翠绿的芭蕉，下坐一名高士扶琴静思，左上题诗日：“焦下不生暑，坐生知古心。抱琴未须鼓，天地自知音。”落款长洲沈周。整幅作品笔简意赅，虽墨点无多却意蕴凿凿、余味深长，布局与《秋林独步图》如出一辙，其悠然自得之情跃然方寸。",[23,209,7,24,1562,173,27,106,245,14315,210,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebd64831ee8b273146574817aaefdc3.jpg",[90,45],{"id":46790,"slug":46791,"title":19277,"dynasty":99,"author":19758,"museum":56,"description":46792,"tags":46793,"thumbUrl":46794,"material":619,"size":46795,"collection":181,"collections":46796,"showCount":250,"zanCount":5,"manualWeight":48,"mainColor":271},222084,"han-shan-shi-de-tu-you-qiu-222084","寒山、拾得是唐代富有传奇色彩的人物。此图画唐贞观年间高僧寒山与拾得二人。寒山亦称寒山子，居天台始丰县寒岩，好吟词偈，状似疯癫。拾得是孤儿，寺僧拾而养之，故名拾得，在寺执炊涤器，与寒山友善。\n《寒山拾得图》是人物画中的佳作, “奇而不诡于正，真高流逸墨”。用笔大胆粗犷,线条流畅爽利。图中寒山右手指天,谈笔风生；拾得袒胸露腹,欢愉静听。两人披头散发,憨态可掬。从画面上，我们能够感觉到他是受了李唐画风的影响，两个人物安排在近处，给人一种很强烈的视觉印象，而远景的虚化处理，更强化了人物的形象。背景部分用笔较为豪放粗简，向外探出的树干向背分明，树枝行笔错落而不失坚挺，表现藤蔓的线条潇洒飘逸。",[23,7,173,260,241,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9b4eeb60e8f3530895eeb0a7701d9c.jpg","纵121厘米，横30 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下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[7,24,241,446,173,177,29,35,34,1575,176,109,106,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[181,382],{"id":47339,"slug":47340,"title":47341,"dynasty":99,"author":47342,"museum":78,"description":47343,"tags":47344,"thumbUrl":47345,"material":619,"size":47346,"collection":181,"collections":47347,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},237262,"shen-hao-shan-shui-tu-ce-shen-hao-237262","沈灏山水图册","沈颢","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[7,24,81,173,177,29,864,430,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f016770f2129dbf2cceca137a9791c.jpg","15.2x23.6厘米",[181,163],{"id":47349,"slug":47350,"title":8431,"dynasty":76,"author":8432,"museum":20,"description":8433,"tags":47351,"thumbUrl":47352,"material":139,"size":139,"collection":139,"collections":47353,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},237111,"shi-nv-ce-cui-wei-237111",[7,24,81,28,27,106,59,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe22b31def3843085770c4724db34f576.jpg",[],{"id":47355,"slug":47356,"title":47357,"dynasty":99,"author":4904,"museum":20,"description":47358,"tags":47359,"thumbUrl":47360,"material":803,"size":139,"collection":181,"collections":47361,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},236987,"hua-hui-ye-lu-zhi-236987","花卉页","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[7,24,81,27,28,83,84,448,279,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb017c605de4f65bc281040c9883b33.jpg",[181,45],{"id":47363,"slug":47364,"title":47365,"dynasty":76,"author":707,"museum":20,"description":47366,"tags":47367,"thumbUrl":47368,"material":990,"size":24240,"collection":90,"collections":47369,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},236339,"liu-yin-shi-nv-zhou-hua-yan-236339","柳荫仕女轴","此图绘一端庄文弱的女子,此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[7,241,173,27,260,106,59,3246,245,430,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5db8902cc7bd108ea1d0ba1c4f56d5.jpg",[90,163,382],{"id":47371,"slug":47372,"title":47373,"dynasty":76,"author":293,"museum":20,"description":47374,"tags":47375,"thumbUrl":47376,"material":40,"size":139,"collection":181,"collections":47377,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":49},236180,"hong-li-sai-yan-si-shi-heng-zhou-guan-jiao-yi-ming-236180","弘历塞宴四事横轴(贯跤)","以青绿山水铺就雄浑底色，层峦茂林间铺展塞宴盛景。校场之上跤手相搏，周遭武士肃立分列，官员侍从神态各异，或凝神观赛，或静候待命。远景帐幄连绵、驼队逶迤，将秋狝行猎的塞外氛围烘托尽致。\n画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[7,209,25,27,28,29,106,150,11734,16881,34,1159,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[181,44,45],{"id":47379,"slug":47380,"title":37066,"dynasty":76,"author":3732,"museum":364,"description":5327,"tags":47381,"thumbUrl":47382,"material":743,"size":744,"collection":139,"collections":47383,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":94},235565,"mu-dan-shan-mian-jiang-ting-xi-235565",[7,24,1562,173,27,28,83,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739ec9b8479104c4efc5e43fb91fa31b.jpg",[],{"id":47385,"slug":47386,"title":46247,"dynasty":99,"author":21111,"museum":364,"description":47387,"tags":47388,"thumbUrl":47389,"material":139,"size":139,"collection":139,"collections":47390,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},235238,"xue-jing-shan-shui-zhou-xie-shi-chen-235238","整幅画作晕染出萧寒静谧的冬日元气。危崖覆雪，古松虬曲苍劲，松针凝着残雪，愈显老干挺秀。山居茅屋藏于寒林之中，屋中人围炉闲坐，暗生融融暖意，山道上仆童瑟缩徐行，一动一静、一暖一寒，反差鲜活。右侧寒木疏朗，烟霭漫过江渚，远景虚茫朦胧，将冬日荒寒漫漶开来。以浓墨衬积雪，虚实相生，把山野间清寂萧索的冬意铺陈尽致，又暗藏幽居避世的温情意趣，题诗衬景，诗画相融，尽显冬日山居的澹远意境。",[7,24,241,173,177,29,2502,1575,35,106,1015,176,1445,46312,15976],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec8ecd49d56bdd396f437f4e4ea846e.jpg",[],{"id":47392,"slug":47393,"title":47394,"dynasty":76,"author":953,"museum":364,"description":1683,"tags":47395,"thumbUrl":47396,"material":743,"size":744,"collection":139,"collections":47397,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},235115,"xi-zhi-ai-e-tu-zhou-ren-yi-235115","羲之爱鹅图轴",[7,24,241,27,173,260,106,242,10065,4896,299,368,19590,9453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg",[],{"id":47399,"slug":47400,"title":47401,"dynasty":76,"author":4005,"museum":364,"description":47402,"tags":47403,"thumbUrl":47404,"material":743,"size":744,"collection":44,"collections":47405,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},234937,"yue-man-qing-you-ce-chen-mei-234937","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[7,24,81,27,28,106,107,109,313,34,176,115,4736,114,1965],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b64d9f8816d7446b826324b78143f92.jpg",[44,45],{"id":47407,"slug":47408,"title":47409,"dynasty":99,"author":293,"museum":364,"description":47410,"tags":47411,"thumbUrl":47413,"material":139,"size":139,"collection":139,"collections":47414,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":49},234931,"ming-ren-qiu-jing-huo-lang-tu-zhou-yi-ming-234931","明人秋景货郎图轴","当“双十一”掀开一个全民购物狂欢的序幕，放眼远在千百年前的临安街头，货郎们一人一担一声叫卖，仅凭这种最原始的“人肉购物车”，便足以吸引市井众人的注目，引出一番欢悦的情景。李嵩等画家以此为题奋笔挥毫，定格了过去一段段市井风貌。沉醉于塞满购物车再一朝清空快感的，不光只有21世纪的网购达人，中国古人的“购物车”更是让人眼花缭乱，甚至叹为观止。 在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[7,27,28,241,106,11294,7253,12634,34,313,176,432,315,6922,505,21553,47412,299],"棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],{"id":47416,"slug":47417,"title":47418,"dynasty":76,"author":293,"museum":364,"description":47419,"tags":47420,"thumbUrl":47421,"material":743,"size":744,"collection":139,"collections":47422,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},234506,"jin-gua-wu-men-shen-ma-yi-ming-234506","金瓜武门神码","此幅武将门神面如冠玉，三绺长髯飘逸出庄重威严。身着遍饰宝相花纹的黄金锁子甲，朱红衬袍翻卷张扬，宝冠翎羽凌厉飒爽。他一手高擎鎏金瓜锤，一手挽定雕弓，背负劲箭，胯侧黑旗猎猎。\n设色浓丽饱和，朱砂、石青与泥金交相辉映，既有民间年画的明快热烈，又暗含庙堂重彩的规整大气。线条刚柔并济，将武将护宅安邦的凛凛神威凝练于方寸之内，带着质朴醇厚的民间祈福意趣，尽显旧时匠人对阖家平安的真挚祈愿，是民俗美术中极具代表性的工致之作。",[7,24,27,28,5189,106,7464,63,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aef900541f967bea555c81cfa0a3a1a.jpg",[],{"id":47424,"slug":47425,"title":2235,"dynasty":76,"author":614,"museum":364,"description":47426,"tags":47427,"thumbUrl":47428,"material":139,"size":139,"collection":90,"collections":47429,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":94},234265,"za-hua-ce-huang-shen-234265","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（1719年）至扬州鬻画，人争客之。\n雍正五年（1727年）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。\n乾隆十六年(1751年)黄慎的母亲去世，他又重游扬州，居住六年，才返故里，苦度晚年。\n乾隆三十三年（1768年）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[23,7,24,81,173,27,83,1147,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032ca96686e1dafcb055cff42ba16f41.jpg",[90],{"id":47431,"slug":47432,"title":47433,"dynasty":99,"author":966,"museum":20,"description":47434,"tags":47435,"thumbUrl":47437,"material":1716,"size":47438,"collection":139,"collections":47439,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},233789,"cha-ju-shi-yong-tu-wen-zheng-ming-233789","茶具十咏图","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏•茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。",[7,24,241,173,29,34,114,281,86,177,47436],"细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078ace09b71a9b7aa104d7a634ed1d23.jpg","纵136.1厘米，横26.8厘米",[],{"id":47441,"slug":47442,"title":47443,"dynasty":99,"author":170,"museum":20,"description":47444,"tags":47445,"thumbUrl":47446,"material":8970,"size":47447,"collection":139,"collections":47448,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},233413,"jiang-ting-bi-shu-tu-shan-ye-shen-zhou-233413","江亭避暑图扇页","此图是幅笔笔紧贴诗意的画作。图绘夕阳下，高士策杖至江亭避暑的小景。扇面构图为左右开合式，设色以绿色为主，其青翠明洁的色调与简约的景致相呼应。清爽、平淡的审美意趣与消除烦燥求得清凉的避暑主题相契合，烘托出远离市俗寻幽独行高士其清逸雅淡的心境。",[7,24,1562,173,27,177,29,175,1575,176,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f7c91afe93a2c98ff6b01f36ce6f9d.jpg","纵18厘米，横46厘米",[],{"id":47450,"slug":47451,"title":24266,"dynasty":99,"author":24267,"museum":20,"description":47452,"tags":47453,"thumbUrl":47454,"material":40,"size":47455,"collection":139,"collections":47456,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[7,24,241,173,177,29,108,109,150,106,34,176,35,1575,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":47458,"slug":47459,"title":47460,"dynasty":76,"author":674,"museum":20,"description":47461,"tags":47462,"thumbUrl":47463,"material":40,"size":47464,"collection":139,"collections":47465,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[209,7,24,241,27,28,29,107,109,34,36,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],{"id":47467,"slug":47468,"title":47469,"dynasty":76,"author":293,"museum":20,"description":47470,"tags":47471,"thumbUrl":47474,"material":803,"size":47475,"collection":181,"collections":47476,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[7,24,81,27,28,104,106,29,150,108,107,176,34,15028,47472,47473,505],"军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[181,44,45],{"id":47478,"slug":47479,"title":47480,"dynasty":189,"author":293,"museum":364,"description":47481,"tags":47482,"thumbUrl":47483,"material":139,"size":139,"collection":139,"collections":47484,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":271},232889,"yuan-dai-di-hou-xiang-yi-ming-232889","元代帝后像","元世祖后彻伯尔，元史表作昭睿顺圣皇后，名察必。济宁忠武王按陈之女。初为世祖妃，中统二年（1262）被立为皇后。彻伯尔因容貌出众，德才兼备，是众多后妃中最受世祖宠爱的一位。彻伯尔后在生活上自奉俭约，率宫女制作结实美观的服饰、实用地毯，还创制了比甲服饰等，适于骑猎穿着。受到世祖和诸大臣的称赞。至元十八年（1281）得病去世。元成宗即位后，追谥昭睿顺圣皇后。\n元代有一批职业画家服务于宫廷，创作了不少帝后肖像画。台北故宫博物院收藏了一套《元代帝后像册》，帝像8帧：计为太祖成吉思汗、太宗窝阔台、世祖忽必烈、元成宗、元武宗、元仁宗、元文帝、元宁宗；后像15幅：计为元世祖后像一、顺宗后像三、武宗后像三、仁宗后像一、英宗后像二、明宗后像一、宁宗后像一以及后纳罕像一、佚名后像四。",[7,209,28,27,106,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4337559b52f41b0ad3cc4b4725a4696c.jpg",[],{"id":47486,"slug":47487,"title":47488,"dynasty":99,"author":4904,"museum":238,"description":12028,"tags":47489,"thumbUrl":47490,"material":67,"size":47491,"collection":139,"collections":47492,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},231942,"shui-xian-mei-shi-tu-lu-zhi-231942","水仙梅石图",[23,209,7,24,81,173,27,177,451,448,245,300,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587bc15a5e71aa8fa86fc5985d68c8b.jpg","58×44cm",[],{"id":47494,"slug":47495,"title":24419,"dynasty":76,"author":13037,"museum":364,"description":47496,"tags":47497,"thumbUrl":47498,"material":803,"size":139,"collection":139,"collections":47499,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},231940,"qiu-shan-tu-kun-can-231940","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,209,7,24,25,173,27,177,29,1015,176,109,174,4562,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":47501,"slug":47502,"title":47503,"dynasty":76,"author":850,"museum":206,"description":47504,"tags":47505,"thumbUrl":47506,"material":803,"size":47507,"collection":139,"collections":47508,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},231527,"shi-jun-quan-jin-chi-xian-lang-shi-ning-231527","十骏犬金翅猃","郎世宁生于意大利，清康熙末年进入宫廷，郎世宁的《十犬图》轴十幅，每幅纵246.6厘米，横163.9厘米，由台北故宫博物院藏。画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[7,28,27,11350,957,449,432,650,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282319004ad80a2cd47a8365f76f3e47.jpg","纵246.6厘米，横163.9厘米",[],{"id":47510,"slug":47511,"title":47512,"dynasty":189,"author":18481,"museum":206,"description":47513,"tags":47514,"thumbUrl":47515,"material":2021,"size":47516,"collection":139,"collections":47517,"showCount":287,"zanCount":1547,"manualWeight":48,"mainColor":94},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[7,24,25,173,177,29,176,34,109,174,107,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纵27厘米，横102．5厘米",[],{"id":47519,"slug":47520,"title":1108,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":47521,"thumbUrl":47522,"material":743,"size":744,"collection":139,"collections":47523,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},230276,"shan-shui-tu-ce-zhu-da-230276",[7,173,177,81,227,29,394,176,35,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4472f7aa214cb40bd93f48ed4bffbe09.jpg",[],{"id":47525,"slug":47526,"title":47527,"dynasty":76,"author":13727,"museum":364,"description":47528,"tags":47529,"thumbUrl":47530,"material":139,"size":139,"collection":139,"collections":47531,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},229039,"chan-chu-zha-meng-tu-ye-jiao-bing-zhen-229039","蟾蜍蚱蜢图页","设色清润雅致，绘就幽隅小景。修长鸢尾挺秀舒展，蓝白花瓣晕染细腻，斑纹纤毫毕现，尽显清雅之态。浅粉小花依偎坡边，柔婉动人。草畔小兽茸毛写实鲜活，正凝神窥伺翩飞蚱蜢，将刹那间的野趣定格于尺幅。整作工写兼融，草叶苍劲、花卉柔润、虫兽灵动相映成趣，悄然铺展出郊野一隅的鲜活生机，以细腻笔触勾勒物象情态，尽显恬淡雅致的自然意趣，于尺幅之间藏纳野逸悠然的生机之美。",[7,24,81,28,27,83,957,27560,14547,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d0f4e38e1f50913125f4aa5cc68db5.jpg",[],{"id":47533,"slug":47534,"title":486,"dynasty":76,"author":13037,"museum":364,"description":47535,"tags":47536,"thumbUrl":47537,"material":139,"size":139,"collection":139,"collections":47538,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},228965,"shan-shui-ce-kun-can-228965","淡赭晕开薄暮天色，月色悬于天际晕出朦胧清光，远山隐在烟岚之中，如被夜雾浸得温润朦胧。近林以焦墨挥写，笔意苍劲老辣，繁枝密叶错落有致，将山野草木萧森之态尽显。\n\n蜿蜒山径之上，白衣策杖人缓步行游，为幽密林色添上清寂文人气韵。画作以干湿浓淡的墨色变化，揉合出月夜空山的空濛辽远，静穆萧散的禅意藏在笔底，将夜游林麓的幽闲况味融在烟霞里，淡远悠长的林下之思随月色漫溢开来，清寂悠然直入人心。",[23,7,24,209,173,177,227,29,300,900,34,106,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8628031461d94722f467f710beefc78.jpg",[],{"id":47540,"slug":47541,"title":47542,"dynasty":99,"author":7722,"museum":364,"description":47543,"tags":47544,"thumbUrl":47545,"material":139,"size":139,"collection":139,"collections":47546,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},228916,"mo-xi-shan-xing-lv-tu-zhang-hong-228916","摹溪山行旅图","此作为雪景山水，以淡墨晕染山石，留白铺就厚雪，尽显冬日山峦清寂素净。层叠岩崖间枯木萧疏，偶有青松点翠，破开雪色单调。山涧水色灰蒙，栈道、板桥连贯幽谷，旅人驱驴缓行，山居茅舍错落山坳，细节生动，将羁旅行路意趣，糅进空阔冷逸冬山之中。\n\n用笔精细秀雅，勾勒皴擦兼具宋画雄浑骨架，又带明人笔墨温润雅致，将冬日深山的荒寒宁静与人间烟火暖意相融，复刻古意又自出机杼，尽显溪山行旅的幽远况味。",[23,7,25,173,177,105,29,3499,108,109,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83c124ad11c5e878f782bec67b93f0a.jpg",[],{"id":47548,"slug":47549,"title":47550,"dynasty":99,"author":1170,"museum":364,"description":47551,"tags":47552,"thumbUrl":47559,"material":139,"size":139,"collection":139,"collections":47560,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},228850,"xi-gu-cai-wei-tu-dai-jin-228850","溪谷采薇图","此作用笔苍劲老辣，以高远与平远结合铺展画面。右侧危崖壁立，斧劈皴写出山石方硬峭拔的质感，左侧烟波浩渺，水墨晕染出朦胧烟岚，虚实相映勾勒出山水层次。\n近处枯槎老枝遒劲舒展，茅舍掩映林间，暗含林下幽居的隐逸意趣；中景溪泉蜿蜒汇入平湖，楼阁凌于谷间，添了几分雅致烟火气。远景山峦晕染朦胧，残月悬于淡墨长空，归雁成行掠破清寂，烘托出淡远萧疏的氛围。工写兼备间，将山林隐逸的幽澹之境尽显，兼具院体山水的雄浑笔力与文人画的散淡意趣。",[23,7,1397,173,12137,47553,18346,1015,3558,47554,47555,107,649,47556,281,18349,47557,47558,2939],"工写兼备","溪泉","平湖","残月","萧疏淡远","院体山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41db834b0f7a314f221f8d8eb2bfc010.jpg",[],{"id":47562,"slug":47563,"title":47564,"dynasty":99,"author":100,"museum":752,"description":47565,"tags":47566,"thumbUrl":47567,"material":139,"size":139,"collection":139,"collections":47568,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[23,7,209,25,28,27,26,29,106,150,34,15028,176,47472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":47570,"slug":47571,"title":47572,"dynasty":99,"author":47573,"museum":364,"description":47574,"tags":47575,"thumbUrl":47576,"material":139,"size":139,"collection":139,"collections":47577,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},228404,"mo-he-tu-li-zhou-xiang-yuan-bian-228404","墨荷图立轴","项元汴","此作虚实相生，以文绘相融尽显文人意趣。右上角题诗留白衬映画面，下半段挥写墨荷。大写意泼染荷叶，墨色干湿浓淡交织，晕染出翠盖舒展的蓬勃野态；花瓣以清隽白描勾勒，尽显菡萏清雅绰约之姿。挺劲荷茎点缀苔斑，舒展兰草环绕侧畔，更添幽塘清逸之趣。\n\n整幅以极简水墨抒怀，将荷塘晓风的清寂诗意融于笔底，以简驭繁尽显晚明文人画重韵尚意的风骨，在水墨氤氲间晕染出空灵澹远的幽塘意境，是借物寄怀的文人水墨佳构。",[23,7,24,241,173,136,137,367,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e662119b33919b8f58181bb78653082.jpg",[],{"id":47579,"slug":47580,"title":47581,"dynasty":99,"author":1083,"museum":47582,"description":47583,"tags":47584,"thumbUrl":47585,"material":342,"size":139,"collection":139,"collections":47586,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},228296,"lao-zi-qi-niu-chen-hong-shou-228296","老子骑牛","1","画面以清简之笔勾勒出超脱意趣，老子清癯古雅，神色淡然恬和，衣褶线条凝练劲挺，带着金石质感，古拙高逸。水牛憨拙沉稳，缓步渡溪，笔墨朴拙间尽显生动意态。布景疏朗，几竿修竹斜逸出尘，淡赭坡岸搭配墨色流云，留白铺就出空寂悠远的道家天地。设色雅致柔和，浅绛基调晕染出古淡空灵的氛围，将清逸超脱的意境尽数铺展，把天人合一的玄妙意趣藏于笔底，尽显古雅奇崛的画风特质，沉静里裹挟着出尘的悠远韵味。",[23,7,27,28,106,151,242,245,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ce83cdace5474ad255b551c4c99211.jpg",[],{"id":47588,"slug":47589,"title":47590,"dynasty":99,"author":1083,"museum":364,"description":47591,"tags":47592,"thumbUrl":47594,"material":139,"size":139,"collection":139,"collections":47595,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":49},228281,"wu-lao-tu-chen-hong-shou-228281","五老图","此作用奇石为席案，铺陈开五位老者的雅集场景。对弈者捻须凝思，观局者或倾身注目、或垂手静立，情态生动各别，尽显林下高贤的散淡意趣。\n画作以清劲高古的游丝铁线勾勒衣纹，造型奇崛古拙，设色浅淡沉静。老者面容刻画入微，须眉灵动鲜活，既带着明代人物画的高逸格调，又尽显作者标志性的古雅奇谲，将文人雅集的闲情逸致烘托得淋漓尽致，尽显晚明文人画的高妙意趣。",[23,7,28,27,260,106,759,31524,47593,315,3903,17206,11565],"棋局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf837e79b295fad40272b805d470ec78.jpg",[],{"id":47597,"slug":47598,"title":47599,"dynasty":18,"author":2029,"museum":364,"description":47600,"tags":47601,"thumbUrl":47602,"material":139,"size":139,"collection":139,"collections":47603,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","山峦叠翠流云轻绕，幽谷飞瀑隐于翠微之间，整幅画以温润青绿晕染出江南山居的清寂雅境。屋舍藏在松竹蕉荫深处，堂中人正展卷静读，周遭林木蓊郁苍润，山石皴法细腻匀净，古雅的青绿设色晕开沉静的宋人意趣。\n\n笔致工稳秀润，将文人幽居林泉的理想铺陈绢素，山野间无车马喧嚣，唯有山光树影伴衬书香。山石草木皆含静气，把宋人内敛雅致融在每一处细节里，让观者仿佛能踏入这方世外山居，共赴林泉书香的闲淡之约。",[23,209,7,24,27,29,28,177,34,176,107,491,37,558,106,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":47605,"slug":47606,"title":47607,"dynasty":18,"author":1616,"museum":364,"description":47608,"tags":47609,"thumbUrl":47610,"material":139,"size":139,"collection":139,"collections":47611,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},227767,"gong-dian-hua-yuan-tu-ye-li-tang-227767","宫殿花园图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,209,7,27,104,106,107,34,176,115,2544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa52bbd47fa75dd0f52917c93d10f58b.jpg",[],{"id":47613,"slug":47614,"title":47615,"dynasty":18,"author":47616,"museum":364,"description":47617,"tags":47618,"thumbUrl":47619,"material":139,"size":139,"collection":139,"collections":47620,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},227411,"hu-ren-xiang-ma-tu-lian-bu-227411","胡人相马图","廉布","此图绘白马长啸，一白衣胡人在观马，一异装胡人在羌管，似与白马之啸互相呼应。此幅左上角题：四蹄玉削耳披风，独立昂藏气势雄，争向瑶池夸八骏，如何图内有真龙。山阳廉布。钤一印模糊不辨。然观此作绝非北宋末画迹，但人马描绘俱佳，也非庸手所为，当是托名廉布以射利。廉 布。字宣仲，号射泽老农。楚州山阳（今江苏省淮安）人。妙年登科，官至武学博士，以张邦昌婿，负才不得用。后居绍兴，既绝仕宦之念，以诗酒自娱。画山水，尤工枯木丛竹、奇石松柏、种种飘逸，师东坡而青出于蓝。",[23,7,209,27,28,106,150,430,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc845275590a4df7a346a1debac89576f.jpg",[],{"id":47622,"slug":47623,"title":47624,"dynasty":18,"author":293,"museum":364,"description":47625,"tags":47626,"thumbUrl":47627,"material":139,"size":139,"collection":139,"collections":47628,"showCount":287,"zanCount":1547,"manualWeight":48,"mainColor":49},227350,"gong-nv-tu-tuan-shan-yi-ming-227350","宫女图团扇","团扇，又称宫扇、纨扇，是中国汉族传统工艺品及艺术品，是一种圆形有柄的扇子，它代表着团圆友善、吉祥如意 [1] 。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[23,209,7,24,1562,27,106,28,59,244,63,64,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":47630,"slug":47631,"title":47632,"dynasty":54,"author":3282,"museum":364,"description":47633,"tags":47634,"thumbUrl":47635,"material":139,"size":139,"collection":139,"collections":47636,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},227087,"dong-xue-shan-jing-tu-ye-wang-wei-227087","冬雪山景图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。\n\n据文献记载，水墨雪景山水为唐代王维首创。王维山水画成就很高，尤其是雪景山水更令人瞩目。据文献记载，王维曾有20余幅雪景山水流传，将雪景山水的千变万化和神奇美妙表现得淋漓尽致，并赋予其不同的人文意蕴。研究表明，王维的雪景山水没有留下真迹，而流传于世的历代摹本或托名之作，多出于古代画家崇拜王维雪景山水的至深至诚之情。\n\n在清代学者高士奇的《江村消夏录》中记载，明代沈周在看到王维《万峰积雪图》后，写出如下题文:“城中十日暑如炙，头目眩花尘土塞。僧楼今日见此卷，雪意茫茫寒欲逼。古栟修柳枝袅矫，下有幽簧侧从碧。隔溪胶艇不受呼，平地贯渚无人迹。”在夏日炎炎的酷暑，看到王维的雪景山水作品，能有“雪意茫茫寒欲逼”的感受，或许这是没有空调的古代人常用的一种消夏避暑方式？（本平台独家专稿《画说古人如何过夏天》将于近期推出，敬请关注。）\n\n自王维之后，历代许多名家都热衷于雪景山水的创作，为我们留下了大量的经典传世之作。让我们展开画卷，一起走入艺术家们为我们营造的冰雪世界中，感觉这份凉意与惬意吧！",[23,209,7,24,6214,29,27,177,3499,176,1015,15976,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc41d747600fbec5bb8ee4187a8527.jpg",[],{"id":47638,"slug":47639,"title":40042,"dynasty":204,"author":7923,"museum":364,"description":47640,"tags":47641,"thumbUrl":47642,"material":139,"size":139,"collection":139,"collections":47643,"showCount":287,"zanCount":1547,"manualWeight":48,"mainColor":94},226713,"huo-lang-tu-ye-li-sheng-226713","这是一幅人物风俗画卷，画面上货郎的货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹场景。画家借助货郎这一题材表现了当时市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了那个时代百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,209,7,24,5990,28,27,106,7254,315,34,1159,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b73176be8077b5a0404118925f2e78.jpg",[],{"id":47645,"slug":47646,"title":47647,"dynasty":76,"author":16603,"museum":364,"description":47648,"tags":47649,"thumbUrl":47650,"material":139,"size":139,"collection":139,"collections":47651,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":271},224578,"qing-ke-si-qun-xian-zhu-shou-zhou-qing-ren-224578","清缂丝群仙祝寿轴","云端玄女乘鹤御风而来，松荫之下众仙执笙捧盏，衣袂翩跹顾盼生姿，满含恭谨喜色，似正静待贺寿吉时。下方仙姝俯身采撷芝草灵卉，奇石虬松环伺左右，流云漫卷天际，将海天仙乡的缥缈灵秀铺展尽致。\n\n此作用通经断纬之技晕染衣纹褶皱的柔婉层次，石色苍古明润，松针纤毫毕现，将群仙赴寿的欢愉雅景织就，既见仙班贺寿的祥瑞吉庆，又尽显工致秀雅的匠艺风华，恍将清虚仙境凝于尺幅之中。",[209,7,24,241,1629,27,106,29,34,261,1184,433,432,176,281,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87520e9eaeef0cd56b73baacd54137b6.jpg",[],{"id":47653,"slug":47654,"title":9270,"dynasty":76,"author":1892,"museum":20,"description":47655,"tags":47656,"thumbUrl":47657,"material":1716,"size":24614,"collection":181,"collections":47658,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","其实王原祁和他的祖父都特别喜欢黄公望的作品，这也是他临摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[23,209,7,1397,105,177,173,27,241,864,297,34,108,35,560,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg",[181],{"id":47660,"slug":47661,"title":47662,"dynasty":76,"author":707,"museum":364,"description":47663,"tags":47664,"thumbUrl":47665,"material":139,"size":139,"collection":139,"collections":47666,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},224177,"tao-tan-yu-ya-hua-yan-224177","桃潭浴鸭","暖红桃枝垂曳入水，柔丝轻拂春水，将烂漫春色揉进涟漪。浴鸭憨态可掬，翎毛晕染细腻蓬松，俯身在清波中理羽，把春日闲静慵懒尽数绘出。\n\n整幅画虚实相生，艳而不俗的花色，和淡墨晕开的汀草灵石相映，兼工带写间既有精妙写实，又具疏朗雅致。笔意秀逸清新，将水畔清和的春日温柔晕染开来，把闲淡生机藏在每一处细节，尽显灵动雅致的文人意趣。",[23,7,27,83,28,241,279,1061,297,298,1064,1226,173,3963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c66d85b5a377c609d50d01fb40a230f.jpg",[],{"id":47668,"slug":47669,"title":47670,"dynasty":292,"author":293,"museum":364,"description":47671,"tags":47672,"thumbUrl":47673,"material":139,"size":139,"collection":139,"collections":47674,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},223615,"di-shi-san-yin-jie-tuo-zun-zhe-tu-yi-ming-223615","第十三因揭陀尊者图","半袒上身的尊者安坐崖间，高眉深目，虬髯微张，神情沉静威严，身后圆光晕染出清净圣格。身旁神兽昂首嘶吼，筋骨劲健灵动，动静之间形成鲜明反差，更衬出尊者静定无波的禅心。\n画作设色调和古雅，衣纹勾勒顿挫苍劲，晕染细致，既将织物厚重质感铺陈开来，又将尊者伟岸身形刻画入微。淡墨晕染山石云气，晕开幽寂清旷的禅意氛围。工写兼备之下，将尊者慈悲威严的气度与神兽悍勇神态尽皆展现，尽显古宗教绘画的肃穆高华与精湛笔力。",[23,7,24,241,259,28,27,106,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a690d779abe88933909687b4c9e34c7.jpg",[],{"id":47676,"slug":47677,"title":47678,"dynasty":18,"author":293,"museum":20,"description":47679,"tags":47680,"thumbUrl":47681,"material":665,"size":47682,"collection":42,"collections":47683,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},223532,"shui-ge-feng-liang-tu-yi-ming-223532","水阁风凉图","绘古木掩映下一茅亭临江而建，远处山色空蒙，中为平川水田。宁外巨石错落，泉水奔流，亭内置一方桌，一折衣长者袖手停立桌前，仆人执扇侍立一侧。",[23,7,24,29,27,177,107,430,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37929b949c027168c6a1aef447280eae.jpg","22.5x21.1厘米",[42,181,163],{"id":47685,"slug":47686,"title":47687,"dynasty":76,"author":953,"museum":132,"description":47688,"tags":47689,"thumbUrl":47690,"material":619,"size":47691,"collection":139,"collections":47692,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},223229,"tao-hua-shuang-ji-tu-ren-yi-223229","桃花双鸡图","这图在徐小仓的传世的花鸟画作品中亦属上品。任氏所创用的以侧锋塑方形物象的画法，也与“侧取媚”的书学理论息息相通。因这种造型特征，能使欣赏者得到清新愉悦的观感而不陷于艰深的笔墨意境之中。这一点，在徐祥的作品中也得到了很好的体观。至于坡石的勾勒，坡草的节奏和用色方法，这些都与任伯年的作风一脉相承，置诸伯年作品中，几乎是可以混人耳目的。徐祥的自运之处，在于画面的整体布局，此作构图饱满，充溢三角而稍留空虚之地，使画面丰满而不滞塞。桃枝的穿插层层叠错，相当繁杂，这一点，固可以目之为“琐碎”，但反思之，这种变简单为繁茂，变孤清为热闹的画法，恰恰是符合徐小仓作为一个平民画家的本色的，雅俗共赏是未尝可以轻易非议的。款识：海上徐小仓写。钤印：徐祥之印。\n通观全作，设色淡雅，用笔以方峻的侧锋铺点为主，枝叉的转折，桃叶的分布，树干的盘旋出节，均与任伯年如出一辙；雄鸡的造型也取三角形，有棱有角，古人论书尝云“侧取媚”，意即侧锋出笔则姿态婀娜。",[23,7,24,209,27,173,83,279,3478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa59cfc11c1f09f6b7195be05c9967f.jpg","138×68厘米",[],{"id":47694,"slug":47695,"title":9290,"dynasty":76,"author":9291,"museum":364,"description":9292,"tags":47696,"thumbUrl":47697,"material":139,"size":139,"collection":139,"collections":47698,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},223081,"shui-hu-ren-wu-ren-xun-223081",[23,209,7,24,27,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3a4f5179bbbd31544dae8f5435c3f9.jpg",[],{"id":47700,"slug":47701,"title":47702,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":47703,"thumbUrl":47707,"material":67,"size":10518,"collection":139,"collections":47708,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},223067,"hong-lou-meng-53-sun-wen-223067","红楼梦53",[23,7,28,27,24,2714,38534,758,3045,47704,47705,84,47706],"古典厅堂","古典家具","钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb2d52989d8a7786715a5657cbdb872.jpg",[],{"id":47710,"slug":47711,"title":47712,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":47713,"thumbUrl":47714,"material":27,"size":6032,"collection":139,"collections":47715,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},222737,"xian-e-chang-chun-tu-dou-hua-lang-shi-ning-222737","仙萼长春图豆花",[23,209,7,24,81,27,28,11350,13695,83,3236,17141,1159,2908,299,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7cbebeb96400b2f7cc4f921366e047.jpg",[],{"id":47717,"slug":47718,"title":47719,"dynasty":76,"author":7021,"museum":101,"description":25614,"tags":47720,"thumbUrl":47721,"material":12901,"size":47722,"collection":382,"collections":47723,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},222635,"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开",[23,7,24,81,173,27,29,178,177,109,649,34,1432,35,8147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","31.8x24.8cm",[382,181],{"id":47725,"slug":47726,"title":47727,"dynasty":99,"author":1996,"museum":276,"description":5506,"tags":47728,"thumbUrl":47729,"material":619,"size":5510,"collection":139,"collections":47730,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},222566,"hua-hui-tu-5-chen-chun-222566","花卉图5",[23,209,7,24,1086,83,446,173,27,84,697,713,867,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138d65dbbfc167920322e416ba20c1e.jpg",[],{"id":47732,"slug":47733,"title":47734,"dynasty":99,"author":100,"museum":1637,"description":47735,"tags":47736,"thumbUrl":47738,"material":47739,"size":47740,"collection":139,"collections":47741,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},222212,"yu-di-tu-chou-ying-222212","渔笛图","图上一处波澜不惊的水域，四周群山环抱的幽静之地，有凉厅依山而建，一长者很随意坐于矮桌上，桌上有二本书，神态中若有所思； 远处一位头戴竹笠，吹着笛子悠闲的人坐于船头钓着鱼儿，享受着安然、静谧、自由自在的桃源生活。\n此图为细笔水墨画，近景树丛有四种央叶，和三种不同的点叶法，画面整饬而工细，山石主要以小斧劈皴来表现，用笔尖锐细劲，落笔重而收笔轻，笔致顿挫明显而富有节奏感，是一幅仇英仿制“院体”风格的山水画。仇英的画风，祖述南宋院体的李唐与刘松年，以善偏锋刷掠、勾写精工见长，此作便充分地体现了这一特色。",[23,7,28,27,29,34,35,174,1016,109,106,650,33,177,491,47737],"岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":47743,"slug":47744,"title":46416,"dynasty":99,"author":966,"museum":364,"description":47745,"tags":47746,"thumbUrl":47747,"material":47748,"size":47749,"collection":181,"collections":47750,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},221982,"shan-shui-juan-wen-zheng-ming-221982","此时文征明的山水画有两种比较典型的风格：“粗文”和“细文”。他的粗笔山水主要取法沈周和吴镇，在粗简中表现出层次和韵味；细笔山水则取法于赵孟頫、王蒙，用笔细密，布景繁密。设色多以青绿重彩或间施浅绛绘之，清雅宁静，具有很强的装饰意味。文征明性情温和儒雅，尤推崇秀润、细丽、含蓄的画风，作品以细笔山水为主。这与沈周的雄强刚健、粗犷张扬的画风明显不同。收藏界历来有“粗文细沈”之说，他的粗笔山水因数量较少而更受藏家钟爱。",[23,7,29,864,297,430,4573,173,446,25,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df3fbb11765a08980333fe573ddc8e.jpg","纸本，手卷，设色","纵25厘米、横333厘米",[181,163],{"id":47752,"slug":47753,"title":47754,"dynasty":99,"author":47755,"museum":206,"description":47756,"tags":47757,"thumbUrl":47758,"material":342,"size":47759,"collection":163,"collections":47760,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},221877,"yun-lin-shu-shi-zhou-gu-zheng-yi-221877","云林树石轴","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。”",[23,7,173,241,177,430,340,245,86,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca8b4dda7acc4293094d57d245fb08e.jpg","92.6 x 38.8 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永兴弟任薰舜琴写”，钤“任薰”白文方印。",[7,241,27,28,106,22529,430,431,12996,10164,7175,1159,47929,63],"苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660fdaf34b7e404657c4f40b3ede7755.jpg","纵137.5厘米，横39.5厘米",[44],{"id":47934,"slug":47935,"title":11883,"dynasty":99,"author":47936,"museum":206,"description":47937,"tags":47938,"thumbUrl":47939,"material":173,"size":47940,"collection":163,"collections":47941,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},219359,"feng-yu-gui-zhou-tu-lin-shan-219359","林山","绢本泛黄，墨痕疏淡间，风雨江天的意趣徐徐铺展。一叶扁舟斜横水面，舟中人身形隐约，似在风雨里寻着归途，船桨轻点的弧度，漾开几分仓促又安然的韵致。岸边垂柳被风牵曳，枝条如乱丝垂落，墨线的轻飏里，藏着风的姿态。近处草木以浓墨点染，与远山淡晕的朦胧相映，空阔的江天更显清寂。整幅画以简笔写意，水墨的浓淡交织出萧索与生机的平衡，归舟的动态打破了江天的静穆，却又融于这份空灵之中，尽显文人画的悠远之味。",[209,7,24,241,173,29,174,1351,430,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53b1a4c4aee7fb87b3e765521a76a33.jpg","130.9x63",[163],{"id":47943,"slug":47944,"title":47945,"dynasty":99,"author":29882,"museum":539,"description":47946,"tags":47947,"thumbUrl":47948,"material":123,"size":139,"collection":90,"collections":47949,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},219325,"hua-niao-tu-yi-yue-zhou-219325","花鸟图(一)","枯枝虬曲如铁，却绽几点新红，似冬末春初的暖意悄然浸来。枝上双禽相顾，羽色黑白分明，灵动如生；坡前雉鸡敛翅，尾羽拖曳如绢，斑驳羽纹间藏着野趣。花木与禽鸟相契，笔墨工致处见羽毛肌理，写意处显枝干苍劲，松针细劲，山石朴拙，似能听见枝间轻啼，嗅到草间清芬。整幅画面古雅静谧，生机暗涌，将自然之趣凝于绢素，尽显传统花鸟的意韵悠长。",[23,7,24,241,28,27,83,448,394,42524,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095ebf46cf6c15794eea3c98ab045de1.jpg",[90],{"id":47951,"slug":47952,"title":47953,"dynasty":189,"author":21912,"museum":206,"description":47954,"tags":47955,"thumbUrl":47956,"material":123,"size":47957,"collection":181,"collections":47958,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},219087,"yun-pu-na-zhou-tu-tang-di-219087","云浦拏舟图","唐棣（1296-1364)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。",[23,7,24,29,173,27,177,174,107,34,491,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe43ec4ea318794216335f5e30a3218.jpg","25.6x31.4",[181],{"id":47960,"slug":47961,"title":47962,"dynasty":99,"author":293,"museum":3537,"description":47963,"tags":47964,"thumbUrl":47965,"material":123,"size":47966,"collection":90,"collections":47967,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":49},219078,"yu-qin-tu-yi-ming-219078","浴禽图","画的是一只站在木盆边上的黑鸟，盆里装了一半的水，鸟的嘴很尖，全身都是黑毛，翅膀中间和尾羽上都有一族白色的羽毛装饰。",[7,209,24,28,27,83,281,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05cb17584d98781bb9ead39718e572d4.jpg","23.5x23.5cm",[90],{"id":47969,"slug":47970,"title":47971,"dynasty":76,"author":47972,"museum":206,"description":47973,"tags":47974,"thumbUrl":47975,"material":123,"size":47976,"collection":90,"collections":47977,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":49},218879,"xian-quan-tu-liu-yi-218879","仙犬图","刘亿","几只仙犬或蜷卧小憩，或嬉戏逗趣，毛羽勾勒得柔润细腻，神态憨态可掬，似含灵韵。近旁老枝盘曲，素花点缀枝头，暗香仿佛随风轻溢；石矶以墨色皴染，苍劲中带着朴拙。背景淡褐晕开，虚实相映，留白处漾着空濛意趣，更衬出犬儿的灵动与花木的清雅。笔墨浓淡相宜，细腻却不刻意，将生灵之趣与幽境之美融于尺幅间，似能感受到画者对自然生灵的温柔观照，观之令人心生悠然，满是沁人的雅致。",[7,24,209,27,28,957,12226,430,431,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc59a546e228caa4b665afbe19974a9f.jpg","42.2x56.8cm",[90],{"id":47979,"slug":47980,"title":47981,"dynasty":189,"author":5444,"museum":206,"description":47982,"tags":47983,"thumbUrl":47984,"material":123,"size":139,"collection":44,"collections":47985,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},218743,"song-mei-shi-nv-tu-sheng-mao-218743","松梅仕女图","尺幅间松枝如铁，梅蕊凝霞，暗香似绕绢素。仕女凭石闲坐，衣袂轻垂，眸光柔落梅梢，似细品松风与寒香交织的清韵。笔墨兼工带写，松针疏密见劲健，梅朵点染含娇妍，仕女姿态温婉，神情娴静，与松梅冷艳相映成趣。题跋墨痕与淡彩相融，更添古雅。整体意境清幽淡远，如无声诗行，道尽文人心中的雅致闲逸，时光仿佛在此停驻，只余松梅与佳人的悠然对语。",[23,7,24,81,27,106,449,448,59,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96448930cd424db7a671f6805711b6a.jpg",[44],{"id":47987,"slug":47988,"title":47989,"dynasty":76,"author":29707,"museum":515,"description":47990,"tags":47991,"thumbUrl":47992,"material":123,"size":47993,"collection":90,"collections":47994,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":49},218736,"liu-tang-ji-qin-tu-hu-mei-218736","柳塘集禽图","此画描绘了一群禽鸟在柳塘嬉戏的情景。画中几只芦雁或在岸上长鸣，或在水中畅游，或在低空中盘旋，石缝中生长出几棵小树，两只小鸟在枝丫上彼此顾盼。",[23,7,24,209,241,28,173,83,3246,224,4414,2994,297,431,34,281,2522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a65963fe55590b859fe37010d4dfd9.jpg","纵211厘米，横100厘米",[90],{"id":47996,"slug":47997,"title":47998,"dynasty":18,"author":293,"museum":206,"description":47999,"tags":48000,"thumbUrl":48001,"material":123,"size":48002,"collection":90,"collections":48003,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},218731,"cao-chong-gua-shi-tu-yi-ming-218731","草虫瓜实图","瓜果成熟，吸引了蝈蝈（也叫织女），其生产力蓬勃发展；果实肥沃，瓜的叶子和胡须是蔓生植物，可以继续生长，有 希望多子 的美好含义。瓜皮被染成老绿色，瓜棱被填上赭石，裂缝被染成淡淡的石绿色。瓜的叶子的边缘已经枯萎，呈赭黄色。",[23,209,7,24,81,28,27,603,15873,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577659173433558d7dedcd3a2518e7f0.jpg","23.5x24.8",[90],{"id":48005,"slug":48006,"title":48007,"dynasty":18,"author":4882,"museum":206,"description":48008,"tags":48009,"thumbUrl":48012,"material":123,"size":48013,"collection":90,"collections":48014,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},218701,"qiu-feng-jin-feng-tu-cui-bai-218701","秋风金凤图","这幅画描绘了一株绿叶红花的凤仙花，枝叶整齐，花瓣自然。铭文中的 崔白 是不真实的，应该是后来的归属。",[23,7,24,81,27,28,83,48010,225,48011],"金凤花","秋风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38eb6e795308295e5ccd85afcb7adb45.jpg","22.9x26cm",[90],{"id":48016,"slug":48017,"title":48018,"dynasty":189,"author":1848,"museum":206,"description":48019,"tags":48020,"thumbUrl":48021,"material":381,"size":139,"collection":90,"collections":48022,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},218664,"zhu-quan-xiao-ting-wu-zhen-218664","竹泉小艇","墨韵淋漓间，翠竹苍劲挺拔，枝叶以劲挺之笔写出，墨色浓淡交错，似有清风穿叶而过。泉流隐于山石缝隙，虽未见全貌，却借留白与苔点暗喻潺潺之态。近处小艇泊于岸侧，舟中无人，留白生趣，引人遐想隐士或倚竹听泉，或泛艇寻幽。远处山峦以淡墨皴染，云雾轻笼，尽显江南山水的悠远空寂。整幅画以水墨为骨，诗意入魂，将文人隐逸情怀融于尺幅间，笔意简远却意蕴深长，仿佛能闻竹声泉响，触到那份远离尘嚣的淡然心境，尽显元人山水的空灵与闲适。",[23,7,209,24,86,173,177,29,242,7109,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13688cdad196b0705ce407027cb5e838.jpg",[90],{"id":48024,"slug":48025,"title":48026,"dynasty":76,"author":1892,"museum":20,"description":48027,"tags":48028,"thumbUrl":48029,"material":123,"size":48030,"collection":181,"collections":48031,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":49},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[23,7,24,241,29,177,27,864,430,109,108,35,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[181],{"id":48033,"slug":48034,"title":48035,"dynasty":76,"author":1892,"museum":20,"description":48036,"tags":48037,"thumbUrl":48038,"material":123,"size":48039,"collection":181,"collections":48040,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},218507,"fang-shan-qiao-shan-shui-zhou-wang-yuan-qi-218507","仿山樵山水轴","干笔皴擦的峰峦如黛，层层积墨间藏着云气轻烟。近处松枝横斜，溪畔孤舟静泊，山间隐约露人家檐角。笔墨苍劲却不失秀润，构图繁复仍显空灵，将山樵淡远意境与自家沉雄笔力相融。尺幅间铺展静谧悠远的山水天地，峰峦跌宕里见林木繁密，溪涧蜿蜒处映云雾缭绕，尽显文人画的气韵生动与笔墨精神，仿佛能听见山风掠过松涛、溪水潺潺流过石滩的轻响，把传统山水的沉雄气象凝于一纸之上。",[23,7,241,173,177,29,30,176,34,1575,109,174,1255,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d1ab3c13a67e13f50739433bb5efa.jpg","纵95.5cm，横51.5cm",[181],{"id":48042,"slug":48043,"title":48044,"dynasty":18,"author":48045,"museum":7359,"description":48046,"tags":48047,"thumbUrl":48048,"material":123,"size":48049,"collection":44,"collections":48050,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":49},218455,"zhou-ren-xing-tu-wang-hui-218455","舟人形图","王辉","淡墨晕染的水面微澜轻漾，一叶扁舟浮行其间。舟中之人凭舷而坐，衣袂垂落，神态悠然，似静听风吟，又或凝视水中云影。岸畔垂柳枝条披拂，几枝缀蕊梅枝斜出，添了清逸之趣。远处山峦轮廓柔和，与天际轻烟相融，浑然一体。简淡笔墨勾勒物象，却于留白处藏尽幽远之境，尽显宋人山水的诗意哲思——天地间人如芥子，却能与自然相契，寻得内心的安宁。整幅画以含蓄笔触铺陈意境，每一处细节都透着东方美学的雅致，将观者引入那片静谧辽远的烟波世界里。",[23,7,24,209,28,27,106,174,29,3246,448,109,281,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[44],{"id":48052,"slug":48053,"title":19277,"dynasty":189,"author":293,"museum":12813,"description":48054,"tags":48055,"thumbUrl":48056,"material":88,"size":48057,"collection":44,"collections":48058,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":49},218441,"han-shan-shi-de-tu-yi-ming-218441","画面分呈两段意趣：左间二人相倚，笑意温软如沐春风，似是知音对语；右处禅者踞岩，虎伴身侧驯若良朋，尽显禅心化境。淡墨晕染烟岚轻笼的山野，线条简括却勾摹出人物神态的鲜活与自然的清旷。草木疏朗，山石朴拙，处处透着元人画中那份超然尘外的禅意与闲逸。素净之笔未施浓彩，却将隐逸的自在与禅理的圆融悄然铺展，观之令人忘俗。",[23,7,173,260,177,106,7281,29,34,245,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0e535c4564e424c74e7b09730c1015.jpg","56x110.2",[44],{"id":48060,"slug":48061,"title":48062,"dynasty":76,"author":7461,"museum":539,"description":48063,"tags":48064,"thumbUrl":48065,"material":123,"size":7466,"collection":139,"collections":48066,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},218351,"shi-nv-tu-ce-4-li-ting-xun-218351","仕女图册-4","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为 秦贤 和 花痴，是一位罕见的艺术家，或者说是广东人。",[209,7,24,81,28,27,106,59,63,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1081e21d3c249e083f177f2d4add8157.jpg",[],{"id":48068,"slug":48069,"title":48070,"dynasty":76,"author":674,"museum":539,"description":5517,"tags":48071,"thumbUrl":48072,"material":123,"size":5520,"collection":139,"collections":48073,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},218337,"shen-xian-gu-shi-tu-ce-1-leng-mei-218337","神仙故事图册-1",[23,7,27,28,106,109,176,34,18694,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a61ad2a7e96dd17ea8b4e38b2355c5.jpg",[],{"id":48075,"slug":48076,"title":48077,"dynasty":76,"author":293,"museum":364,"description":48078,"tags":48079,"thumbUrl":48080,"material":123,"size":39355,"collection":44,"collections":48081,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},218289,"xuan-zong-lin-jing-tu-yi-ming-218289","玄宗临镜图","绢色泛黄如浸旧时光，朱红栏杆圈定宫室一角，竹影斜映窗棂，案上瓶花静立。玄宗红衣临镜，眉宇间似凝沉思，侍从持物侍立，姿态恭谨；侧室仕女闲坐，衣袂轻扬，添几分柔婉。旁题“韩休为相”语，暗牵盛唐典故——玄宗因韩休直言自省，临镜之态恰与纳谏之心呼应。\n\n画作以细腻笔触摹写人物神态，场景疏密得宜，于日常起居间藏史事隐意。既见宫廷生活的雍容，亦含对为政自省的隐括，方寸绢素间，绘就一段被时光凝定的盛唐记忆，笔端流转的不仅是形色，更是史韵与哲思的交融。",[7,24,28,27,104,106,107,340,63,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70abb2788b3569eccbc73c8780a21f36.jpg",[44],{"id":48083,"slug":48084,"title":12574,"dynasty":189,"author":293,"museum":56,"description":48085,"tags":48086,"thumbUrl":48087,"material":123,"size":48088,"collection":181,"collections":48089,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},218209,"song-quan-gao-shi-tu-yi-ming-218209","图画的背景是一片茂密的森林，松树和松针在风中摇曳。整幅图画给人以庄严肃穆的感觉，表达了对松泉高士伟大品格的敬意。",[7,209,1562,27,29,106,449,7109,109,176,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4041017ea2d172063a033356abfa97ad.jpg","24x27.3cm",[181],{"id":48091,"slug":48092,"title":48093,"dynasty":76,"author":48094,"museum":9181,"description":19408,"tags":48095,"thumbUrl":48096,"material":88,"size":19411,"collection":181,"collections":48097,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},218104,"xin-an-yi-yun-ce-huang-lv-shan-shui-huang-lv-218104","新安逸韵册(黄吕山水)","黄吕",[7,24,81,173,27,29,245,34,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060f844f0dcf3a72f0a2f72a480158fe.jpg",[181],{"id":48099,"slug":48100,"title":48101,"dynasty":99,"author":3114,"museum":132,"description":8690,"tags":48102,"thumbUrl":48103,"material":88,"size":139,"collection":139,"collections":48104,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":94},217015,"fang-gu-shan-shui-ce-liu-kai-6-dong-qi-chang-217015","仿古山水册六开-6",[23,7,24,81,173,177,29,176,1575,108,4675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6211ae8ca6eddfebd49ee0a2f4aec4.jpg",[],{"id":48106,"slug":48107,"title":29956,"dynasty":18,"author":293,"museum":206,"description":48108,"tags":48109,"thumbUrl":48110,"material":123,"size":28283,"collection":44,"collections":48111,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":49},216946,"luo-han-zhou-yi-ming-216946","罗汉轴是一种古代中国的手卷绘画。它们通常以佚名作者为代表，出现在宋朝（960-1279年）时期。罗汉轴的主题通常是佛教经典和寺庙仪式中的罗汉（即被提升到超凡脱俗境界的佛教徒）。这些绘画通常画在绢上，并装在木质卷轴架上。它们是当时中国绘画艺术的重要组成部分，被视为宝贵的艺术品。",[7,24,241,259,28,27,106,430,296,17206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802b4b5465a9970a4423478868b05daf.jpg",[44],{"id":48113,"slug":48114,"title":48115,"dynasty":76,"author":293,"museum":364,"description":48116,"tags":48117,"thumbUrl":48118,"material":123,"size":139,"collection":139,"collections":48119,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},216712,"hong-lou-meng-fu-tu-ce-12-yi-ming-216712","红楼梦赋图册-12","柳丝轻垂如帘，将内外景致温柔分隔。室外女子衣袂轻扬，或低语或凝眸，衣色淡雅如春日烟霞；栏杆旁草色萌新，山石间点缀细花，尽是闺中闲静之态。室内帐幔层叠，朱红与素白交织出朦胧暖意，卧榻人影隐约，似含一缕慵懒或幽思。笔墨细腻处，人物神态温婉流转，陈设精巧如真——案上器物、窗边棂格，皆藏着古典生活的雅致余韵。整幅画晕染着红楼特有的幽微情致，似将一段闺阁闲情定格，让观者窥见旧时光里的细腻光影，心绪也随那轻垂的柳丝，坠入这绢素间的温柔梦境。",[23,7,27,28,81,106,59,114,34,115,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c66a7352a3be6cd1b31ff1a6fead007.jpg",[],{"id":48121,"slug":48122,"title":48123,"dynasty":189,"author":1848,"museum":206,"description":3519,"tags":48124,"thumbUrl":48125,"material":342,"size":139,"collection":139,"collections":48126,"showCount":287,"zanCount":5,"manualWeight":48,"mainColor":94},216594,"mo-zhu-pu-ce-ye-4-wu-zhen-216594","墨竹谱册页-4",[23,209,7,24,81,173,178,227,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c8a9a08d09a4c179fee51c2b578937.jpg",[],{"id":48128,"slug":48129,"title":48130,"dynasty":76,"author":293,"museum":364,"description":48131,"tags":48132,"thumbUrl":48133,"material":123,"size":139,"collection":44,"collections":48134,"showCount":287,"zanCount":48,"manualWeight":48,"mainColor":49},216116,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-yi-ming-216116","职贡图巨幅彩绘册页第2册","画面绘两位人物，衣饰各具地域风貌。左侧人物着蓝紫条纹长袍，衣襟微敞露橘色内衬，腰间垂黄绒饰带，神态温婉；右侧人物头戴红顶软帽，身披绿纹长褂，内搭红衣，双手拢于袖中，面容憨厚。人物线条流畅细腻，衣料纹理清晰可触，设色古朴雅致，尽显织物质感与人物情态。旁附文字注解，似载族群风俗。整幅作品生动还原清代边疆或外域族群的服饰与神态，既是笔墨精妙的艺术佳作，亦是研究当时民族交流、文化风貌的珍贵图像凭证，尽显职贡图类作品的历史厚重与艺术灵光。",[23,7,24,81,27,28,1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本幅是作者送友人汪尧德的写生之作。\n汪尧德（162—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。\n早年客居松江，与 、 等文人交往。\n晚年家居年，以书画自娱。\n此图是弘仁与友人罗逸（字远游，歙县人）游 经过潜口时所绘汪尧德隐居之所。\n其屋舍傍山而筑，临溪而建，一片离尘幽美之景。\n作者以 和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。\n其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。\n款署：“渐江学者为子翁居士作陶庵图。\n”钤“弘仁”朱文印、“渐江僧”白文印。\n画幅上方有罗逸题七律一首，款署：“八十五老友罗逸为子陶先生题。\n”钤“罗逸之印”朱文印、“远游”白文印。\n鉴藏印有“礼耕堂”等二方。\n画右中部有篆书“庚子”二字。\n“庚子”是清顺治十七年（166年），作者时年51岁。",[209,7,24,241,173,177,29,864,430,175,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5771af356858a98b85a075031e46a14a.jpg",[],{"id":48405,"slug":48406,"title":48407,"dynasty":76,"author":48408,"museum":364,"description":48409,"tags":48410,"thumbUrl":48411,"material":743,"size":744,"collection":139,"collections":48412,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},235405,"he-hua-shuang-fu-tu-zhou-ren-qi-235405","荷花双凫图轴","任淇","一作琪，字竹君，号建齐，生年不详，卒于1861年。浙江萧山人（瀛壖杂志作任竹君，余姚人），任熊族叔。工书法，写兰亭、十三行，楷法精妙。与周白山同时寓沪甚久。精篆刻，金石、竹、木，无不擅长。花卉双钩，尤其专技。",[7,241,28,27,83,136,137,281,5158],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3cf559924c299931a82ede3a2c8040.jpg",[],{"id":48414,"slug":48415,"title":48416,"dynasty":99,"author":966,"museum":20,"description":48417,"tags":48418,"thumbUrl":48419,"material":1716,"size":48420,"collection":139,"collections":48421,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},234198,"wen-zheng-ming-zhu-lan-shi-juan-wen-zheng-ming-234198","文徵明竹兰石卷","图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。",[23,7,24,25,173,260,86,178,242,452,431,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259e5f9be7af848c6938d0974347ee0a.jpg","纵26.8厘米，横730厘",[],{"id":48423,"slug":48424,"title":48425,"dynasty":99,"author":22400,"museum":364,"description":48426,"tags":48427,"thumbUrl":48428,"material":139,"size":139,"collection":139,"collections":48429,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":1335},234172,"xiang-jiang-chun-yu-tu-juan-xia-chang-234172","湘江春雨图卷","夏昶（188—147），字仲昭，号自在居士、玉峰， 人，后人誉其画竹高手。\n他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。\n号自在居士，又号玉峯，江苏昆山人， 弟。\n正统中官至 直内阁。\n画墨竹师 ，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为 。\n文皇十分赏识他的楷书，被推荐 内省，授 。\n永乐命书宫殿榜。\n尝侍从皇帝出巡于南、北二京。\n(公元1426一145年)中，转考工主事，仍供内直。\n正统(公元146—1449年)中升太常卿。\n他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。\n晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学 兼学 ，有自己的面目，声誉大大超过了他的老师。\n其兄 ，字孟旸，亦以书法 称旨，命与昶同拜中书舍人，时称“大小中书”。\n画山水师元画家 ；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n其孙女为 祖母，另一孙女则在其过世后嫁予 为妻。\n夏昶以 笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而 。\n当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞( )的 (字廷瑞)、钱塘(杭州)的詹和（字仲和)。\n而以屈礿为突出。\n明 《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。\n”徐沁 说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。\n所作竹枝烟姿雨色，偃值浓疎，动和 ，盖行家也。\n昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。\n尤精楷法，永乐命书宫殿榜。\n卒年八十三。\n传世作品有《湘江风雨图卷》（ 藏）、《满林春雨图轴》（ 藏）、《 》（ 藏）等。",[23,7,24,25,173,29,242,431,177,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce25658d7757cb59f52d9d91b347bb7.jpg",[],{"id":48431,"slug":48432,"title":6157,"dynasty":99,"author":170,"museum":20,"description":6158,"tags":48433,"thumbUrl":48434,"material":803,"size":6161,"collection":139,"collections":48435,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},234085,"wu-zhong-shan-shui-ce-shen-zhou-234085",[7,24,81,173,178,177,29,107,34,108,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff490de890778b4cc3370fad14bbd48de.jpg",[],{"id":48437,"slug":48438,"title":48439,"dynasty":99,"author":170,"museum":20,"description":1470,"tags":48440,"thumbUrl":48441,"material":990,"size":1473,"collection":139,"collections":48442,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},233837,"wo-you-tu-ce-liu-chan-shen-zhou-233837","卧游图册－柳蝉",[7,24,81,173,3246,3006,83,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c5a7074fd91a202d775350e6aeb99d1.jpg",[],{"id":48444,"slug":48445,"title":21758,"dynasty":99,"author":1480,"museum":20,"description":48446,"tags":48447,"thumbUrl":48448,"material":1716,"size":21762,"collection":139,"collections":48449,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},233782,"mo-mei-tu-zhou-tang-yin-233782","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。",[7,241,173,448,86,227,83,16285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4f5ac2515103604a1a28cdb834aab2.jpg",[],{"id":48451,"slug":48452,"title":33589,"dynasty":189,"author":25323,"museum":17353,"description":48453,"tags":48454,"thumbUrl":48455,"material":803,"size":48456,"collection":139,"collections":48457,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},233767,"jiu-ge-tu-juan-zhang-wo-233767","“九歌”的名称来源很早，据说在夏朝的时候就已经出现了，《离骚》《天问》和《山海经》中都曾经提到过它。《离骚》中说：“奏九歌而舞韶兮”。“韶”，相传是舜帝的舞曲，把它与“九歌”并举，可见都是远古的乐章。而《山海经》则说“九歌”是启（传说中大禹的儿子）从天上偷来的，这便给她添上了神话色彩。现存“九歌”，其实是楚国南部流传已久的一套民间祭神的乐歌，后来经过屈原的加工改写而创造出来一种独特的抒情诗。张渥的这幅画上有屈原的画像，可见他也是根据屈原的《九歌》来创作这幅作品的。\n屈原所作《九歌》是根据民间祀神乐曲加工润色而成的诗章。当时楚国的巫风兴盛，人们的娱乐生活往往和宗教祭祀杂糅在一起，通过所祀之神来表达自己的理想和愿望。屈原《九歌》从内容到风格形式，都保存着南方原始祀神民歌的基本格调，在长期的历史进程中一直闪耀着动人的光辉，并吸引着历代画家们以此为题材进行艺术创作。据传最早绘制《九歌图》的画家是宋代李公麟。元代画家张渥的《九歌图卷》历来被认为是李公麟原作的摹本，这从该画卷后的题款“临李龙眠九歌图”即可看出。 [4] 此图是张渥为好友言思齐（世贤）所作。\n展开画卷，首先映入眼帘的是发髻束起，身着广袖长服，拱手站立的屈原像。他庄重而坚毅、孤独而傲岸、感伤而执著的神韵跃然于纸上，令人感佩动容。在对主人公形象的塑造上，画家运用了以线条勾勒为主的白描手法，用笔苍老润洁，遒逸秀劲，勾勒简练畅意，古拙脱俗，使人物更加生动传神，而且令整幅画面极具一种装饰美。其后以篆书题写《渔父》一篇，这就使读者似乎看到了屈原被放逐后徘徊于江滨那种忧心国事的情怀，不由自主地把屈原的品格同他的《九歌》密切地联系起来。\n紧随屈原像后，作者依据《九歌》原诗的情节逐一绘制出东皇太一、云中君、湘君、湘夫人的形象。画家熟练地运用线条长短、迂回、曲直变化，流畅飞扬，宛似行云流水，人物形象充满了各自的不同神韵。大司命手执拐杖，头上几根洗练的线条和些许淡墨晕染，恰如其分地表现了纱巾透明的质感，其下的发髻隐约可见。衣裤则用比较劲秀而又略有不同的线描画成，使人觉得衣与裤的质料也有所差异。至于面部和双手，用笔更细、更淡、更柔、更富于变化，枯笔画成的须眉成功地表现了它的疏落和蓬松，一副老年人的沧桑感突现出来。少司命左手执笔，右手握卷，慈眉善目，飘浮于祥云之上。左一持杖侍女似正听其嘱咐。东君浓眉大眼，鬓须满脸，手持法器，立于祥云之上。\n在原诗中，东君是人们想象中的太阳神，张渥却捕捉住“举长矢兮射天狼”这一爱憎鲜明的情节，把太阳神和天狼星之间的矛盾冲突集中在一个画面上。太阳神被描绘成一个全副武装、魁梧雄伟的武士，一手持弓，一手握箭，翻身怒视天狼星，须眉怒张，强调了他的勇武；衣带飘拂，加强了动势的表现。天狼星则被画成一个小小圆球，仿佛摇摇欲坠。这种艺术处理充分显现了原诗中那种热爱光明、仇视黑暗的思想感情，比之孙承泽旧藏传李公麟《九歌图》中髭须飘洒、抱弓而立的东君，从思想内容到艺术技巧都增加了新的内容。河伯骑于海龟之上，其衣服帽带的飞扬，波涛的奔涌，把河伯迎风破浪前进的形象淋漓尽致地表现了出来。\n《山鬼》是屈原《九歌》11首诗中最摄人魂魄的一首，它出自楚国一个美丽凄婉的传说，描写一个美丽而幽怨的女神。画卷中的山鬼裸体骑赤豹于松林之中。《国殇》原诗用较多的篇幅描写将士们奋不顾身英勇作战的场面，画家则根据原诗精神，通过一个侧面，充满想象力地进行了生动的描绘：用苍郁的笔法略施渲染，绘成几株参天大树和树下挥戈而前的勇士，铠甲的明亮与树石的阴郁形成了鲜明的对比，从而突出了人物形象。树下走在最前面的人怒目仰视，张口狂呼，仿佛可以听到他叱咤风云的不息喊杀声。在他的身后，无数战士的头在树木的繁枝密叶间攒动。这里，画家的笔墨非常精练，能看到的只有几个被枝叶遮蔽得不完整的头部，但却突出了勇往直前的眼神，成功地运用了构图的掩映和读者的错觉，因而落墨不多却表现了千军万马不可压倒之势。\n《九歌图》人物的塑造特点是形象饱满，个性鲜明。例如，东皇太一是天之尊神。张渥将他塑造为一个王者的形象，高大威严，垂裳冠冕，一手捻须，一手若有所指。与他的高大不同，天女的形象则娇小纤弱，形成对比。又如，大司命是生命之神。张渥将他刻画成一个和蔼的长者，慈眉善目，扶杖驾云而来，全无命运之神的狞厉恐怖。再如，东君为日神。张渥将他描绘成一员武将，披挂整齐，举剑携弓，凝视前方的天狼星。\n《九歌图》不仅对于考订张渥画家的年表、纠正有关记述中的疏误有所裨益，而且为了解张渥的艺术成就提供了一件有价值的资料。\n壬子年为明洪武五年，张渥去世当在此之前。可见自1346年此图创作完成之后至明初的一段时间里，这件作品一直保存在言氏手中。此后《九歌图》在明代的流传情况并不清楚。\n清乾隆时期曾流入内府，画面上铃有乾隆、嘉庆、宣统的印玺多枚。\n清亡后，溥仪令宝熙等审定内府书画时将此卷列为上上，记录在审定内府书画目原稿中。此后，《九歌图》又以赏赐的方式被辗转运往长春的伪皇宫。1945年日本投降后，《九歌图》便一直保存在长春王世宜手中，1971年捐赠吉林省博物馆。",[23,7,24,25,260,106,957,7281,109,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83685df6eeeedeb07127abdd163834aa.jpg","纵29厘米、横523.5厘米",[],{"id":48459,"slug":48460,"title":22055,"dynasty":18,"author":6652,"museum":20,"description":48461,"tags":48462,"thumbUrl":48465,"material":1716,"size":22060,"collection":139,"collections":48466,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[7,24,25,173,29,1329,34,227,86,177,446,23392,491,1926,37,649,1420,16285,2939,5207,48463,48464],"米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg",[],{"id":48468,"slug":48469,"title":48470,"dynasty":189,"author":9382,"museum":364,"description":48471,"tags":48472,"thumbUrl":48473,"material":803,"size":48474,"collection":139,"collections":48475,"showCount":48168,"zanCount":5,"manualWeight":48,"mainColor":94},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,209,7,24,25,105,173,177,29,864,37,109,34,31,13911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":48477,"slug":48478,"title":48479,"dynasty":189,"author":293,"museum":364,"description":48480,"tags":48481,"thumbUrl":48482,"material":139,"size":139,"collection":139,"collections":48483,"showCount":48168,"zanCount":5,"manualWeight":48,"mainColor":49},232800,"ying-zhen-tu-shi-ba-luo-han-zuo-yi-ming-232800","应真图(十八罗汉 左)","隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了欣赏，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。",[7,24,241,259,27,28,106,7281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F759fd55d66556766afd7f1236ed8d067.jpg",[],{"id":48485,"slug":48486,"title":48487,"dynasty":18,"author":823,"museum":1637,"description":48488,"tags":48489,"thumbUrl":48490,"material":4434,"size":48491,"collection":139,"collections":48492,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},231570,"shan-shui-shi-er-jing-tu-cun-qi-si-xia-gui-231570","山水十二景图（存其四）","夏圭，生卒年不详，字禹玉，临安（今浙江杭州）人，“南宋四家”之一。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他与马远同属水墨苍劲一派，号称“马夏”。\n夏圭擅画山水、人物，他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。",[7,24,25,173,177,178,227,29,174,109,175,281,4562,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019c74398a8c6657a1cae9edc177829e.jpg","全卷长达七米",[],{"id":48494,"slug":48495,"title":48496,"dynasty":76,"author":10801,"museum":364,"description":48497,"tags":48498,"thumbUrl":48499,"material":139,"size":139,"collection":139,"collections":48500,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},230148,"shi-er-jin-chai-tu-fei-dan-xu-230148","十二金钗图","《十二金钗图》是清代画家费丹旭创作的一幅绘画作品，现藏于 。\n该画作画面人物纤细娇弱，娟秀清丽，刻画细致工整，具典型的费氏风格。\n环境则以逸笔写出，淡彩晕染，墨笔勾皴，空灵秀润，以衬托出中心人物。\n费丹旭（182—185年），字子苕，号晓楼、环溪生、偶翁，乌程（今浙江湖州）人。\n自幼从父珏（芝原）习画，擅绘仕女，笔致轻灵淡雅，颇得女性娟秀之美、柔弱之态。\n工于肖像，以如镜取影、情神酷肖为人称道。\n亦能山水、花卉，取法恽寿平，笔墨洁净清丽，具闲散意趣。\n长年流寓上海、江浙一带，交游于文士间，艺术修养广博深邃。",[7,24,28,27,59,448,2124,108,245,394,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e746477fca8a1d104025dece421627.jpg",[],{"id":48502,"slug":48503,"title":486,"dynasty":76,"author":39265,"museum":364,"description":48504,"tags":48505,"thumbUrl":48506,"material":139,"size":139,"collection":139,"collections":48507,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},230115,"shan-shui-ce-jian-jiang-230115","这幅以渴笔淡墨绘就的山水，清劲冷逸。山石仅以疏朗线条勾勒轮廓，略施苔点，便将丘壑的清峭风骨尽数托出。留白代水，不着一笔却尽显秋江空茫之意。\n\n坡上矮屋孑然，旁立两株枯木，枝桠疏疏落落，和远山细树遥遥相对。整幅画删尽冗杂，以极简笔墨撑起满幅萧疏空寂，角落朱印如空山余温，更衬出天地静穆。于淡远简净之中藏着苍润深秀，将人带入空山无人、水流无息的幽寂禅境。",[7,24,81,173,177,29,35,34,176,4663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1421d5380835cb3a6b3385be97e94568.jpg",[],{"id":48509,"slug":48510,"title":3591,"dynasty":76,"author":13447,"museum":364,"description":48511,"tags":48512,"thumbUrl":48513,"material":139,"size":139,"collection":139,"collections":48514,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},229004,"ma-gu-xian-shou-tu-huang-shan-shou-229004","画面里仕女温婉端柔，手捧仙瓶静立，衣纹舒展灵动，衣饰纹饰细密雅致，尽显秀润华美感。身旁老者苍颜皓首，拄蟠桃树杖，神态矍铄安然。此作用笔工写相融，线条清劲流畅，设色调和古雅，将二人仙逸气质烘托恰到好处。整体画面祥和悠然，把福寿吉庆的美好意蕴藏于笔墨之间，尽显传统吉祥题材画作的精妙意趣，以细腻的人物塑造传递出雅致祥瑞的贺寿主题，尽显古典人物画的匠心之美。",[7,24,241,27,28,106,59,244,63,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f630caf622323c7378dd7917517fa5.jpg",[],{"id":48516,"slug":48517,"title":48518,"dynasty":76,"author":16463,"museum":364,"description":48519,"tags":48520,"thumbUrl":48525,"material":139,"size":139,"collection":139,"collections":48526,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},228950,"jiu-cheng-gong-tu-yuan-jiang-228950","九成宫图","危崖崚嶒，古柏虬劲苍郁，云雾轻笼层峦，将殿宇台榭晕染如缥缈仙宫。界画工细严整，斗拱梁枋毫厘毕现，青蓝重彩晕染出殿宇的华贵庄重，尽显匠造精工。\n\n远景平沙远岫，烟波浩渺间晕开朦胧诗意，近景层岩叠翠，山道间商旅穿行点缀烟火气。整幅开合有度，虚实相生，将皇家宫苑的宏阔威严，与山水灵秀融为一体，以极致工笔勾勒出雄奇雅丽的山水宫苑胜境。",[23,209,7,104,28,27,26,29,107,48521,18346,33903,37,48522,9050,48523,48524],"殿宇","平沙远岫","商旅","皇家宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612d9d536058ffbfac745708307b19e8.jpg",[],{"id":48528,"slug":48529,"title":48530,"dynasty":99,"author":293,"museum":364,"description":48531,"tags":48532,"thumbUrl":48533,"material":743,"size":744,"collection":139,"collections":48534,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},228785,"shi-yi-mian-qian-shou-guan-yin-xiang-yi-ming-228785","十一面千手观音像","十一面观音，Ekādaśa mukhānām Avalokiteśvara，六观音之一，主救济阿修罗道，给众生以除病、灭罪、增福之现世利益。总之为除恶导善，引众生入佛道之菩萨。",[23,7,24,259,106,28,27,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d021d8e9cc61cc2bc69122214eef57e.jpg",[],{"id":48536,"slug":48537,"title":48538,"dynasty":99,"author":21111,"museum":364,"description":48539,"tags":48540,"thumbUrl":48542,"material":139,"size":139,"collection":139,"collections":48543,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[23,7,24,241,173,27,177,29,48541,174,34,558,176,37],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":48545,"slug":48546,"title":48547,"dynasty":99,"author":100,"museum":364,"description":48548,"tags":48549,"thumbUrl":48550,"material":139,"size":139,"collection":139,"collections":48551,"showCount":48168,"zanCount":1547,"manualWeight":48,"mainColor":49},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[23,7,25,28,27,26,29,106,150,108,109,34,176,37,177,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":48553,"slug":48554,"title":48555,"dynasty":99,"author":46878,"museum":364,"description":48556,"tags":48557,"thumbUrl":48568,"material":139,"size":139,"collection":139,"collections":48569,"showCount":48168,"zanCount":5,"manualWeight":48,"mainColor":49},228346,"wan-li-xun-qin-tu-juan-huang-xiang-jian-228346","万里寻亲图卷","《寻亲图》是清代画家吴伟业创作的纸本设色画，现藏于 。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[23,7,25,619,1397,48558,177,48559,48560,48561,43571,48562,1248,48563,194,21212,48564,900,4501,48565,491,20548,21302,48566,48567,565,30],"纪游山水","渴笔干皴","解索皴","没骨法","巉崖陡壁","山溪","危桥","松杉","万里寻亲","忠孝情怀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],{"id":48571,"slug":48572,"title":48573,"dynasty":189,"author":293,"museum":364,"description":10896,"tags":48574,"thumbUrl":48575,"material":743,"size":744,"collection":139,"collections":48576,"showCount":48168,"zanCount":5,"manualWeight":48,"mainColor":49},228201,"bi-hua-tu-ye-yi-ming-228201","壁画图页",[23,630,7,24,27,28,106,59,430,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7378d93b9a62ea1e98536887833518d0.jpg",[],{"id":48578,"slug":48579,"title":6535,"dynasty":18,"author":3103,"museum":364,"description":48580,"tags":48581,"thumbUrl":48582,"material":139,"size":139,"collection":139,"collections":48583,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},227956,"hua-niao-tu-ye-zhao-bo-ju-227956","这幅小品以清雅笔触勾勒乡野闲趣，瓜叶舒展圆润，甜瓜垂坠饱满，藤须轻曳带着夏日的鲜活生机。两只小鼠姿态灵动憨然，一只探鼻轻嗅瓜蒂，一只俯身张望，将鼠类的机灵敏锐与憨态尽显无余。\n整画工致细腻，瓜的棱纹晕染自然，鼠身绒毛纤毫毕现，淡彩晕染古朴柔和，将日常细碎小景绘得意趣盎然。平淡乡野片段被定格为隽永画面，藏着对烟火日常的温柔体察，尽显于寻常间寻觅诗意的雅致审美。",[23,7,209,28,27,83,7819,15873,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c858f941ffcace6d9f65b301b5c99f.jpg",[],{"id":48585,"slug":48586,"title":11802,"dynasty":18,"author":1827,"museum":364,"description":48587,"tags":48588,"thumbUrl":48590,"material":139,"size":139,"collection":139,"collections":48591,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},227736,"shi-dan-ying-xi-tu-li-song-227736","《市担婴戏图》是宋代画家李嵩创作的一幅绢本浅设色画，现藏于台北故宫博物院。此画描绘老货郎担着琳琅满目的百货，妇女、孩童蜂拥而来的情景。",[7,24,1562,28,260,27,106,11805,48589,34,11294,315,12030],"市担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ae9504a8080a71cacabd3b44df2120.jpg",[],{"id":48593,"slug":48594,"title":48595,"dynasty":18,"author":6652,"museum":364,"description":48596,"tags":48597,"thumbUrl":48598,"material":139,"size":139,"collection":139,"collections":48599,"showCount":48168,"zanCount":5,"manualWeight":48,"mainColor":94},227705,"mi-you-ren-si-ma-huai-shan-shui-he-juan-mi-you-ren-227705","米友仁司马槐山水合卷","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,7,24,25,173,177,86,227,29,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2f43864087629e2b88a87765eedeee.jpg",[],{"id":48601,"slug":48602,"title":48603,"dynasty":18,"author":474,"museum":364,"description":40872,"tags":48604,"thumbUrl":48605,"material":139,"size":139,"collection":139,"collections":48606,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},227487,"hai-tang-bai-tou-tu-juan-zhao-ji-227487","海棠白头图卷",[23,7,24,25,28,173,83,1563,224,225,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250407a0c16f93208498d2d02f6623ad.jpg",[],{"id":48608,"slug":48609,"title":48610,"dynasty":18,"author":3929,"museum":364,"description":48611,"tags":48612,"thumbUrl":48613,"material":139,"size":139,"collection":139,"collections":48614,"showCount":48168,"zanCount":5,"manualWeight":48,"mainColor":49},227416,"zhao-ling-liu-jun-tu-juan-chang-juan-zhao-lin-227416","昭陵六骏图卷(长卷)","《昭陵六骏图》卷，金，赵霖作，绢本，设色，纵27.4厘米，横444.9厘米。\n此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,209,7,25,28,27,150,106,86,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd803f502ab548d08a4d7881bc0191c.jpg",[],{"id":48616,"slug":48617,"title":48618,"dynasty":18,"author":22093,"museum":206,"description":48619,"tags":48620,"thumbUrl":48621,"material":67,"size":139,"collection":139,"collections":48622,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},227397,"hu-xi-san-xiao-tu-xiao-zhao-227397","虎溪三笑图","宋代佚名《虎溪三笑图》，绢本设色，纵26.4厘米，横47.6厘米，无款印，钤“宣统御览之宝”、“珍秘”等鉴赏印四枚，现收藏在台北故宫博物院。画面中，古树参天，虎溪蜿蜒奔流，水花飞溅，红叶飘洒，雾霭沉沉；三位老者气宇轩昂，肢体夸张，面对淙淙虎溪，相识无语，仰天长笑；左一童子肩负包袱、右二童子牵驴等候，样子朴实天真。图中笔细劲锐，设色古雅，远山以淡墨勾染，古树细笔勾勒，浓墨点小树，山石则淡青色皴染，墨线勾勒轮廓，整幅画面相融一气，极富立体灵动之感，体现了宋人卓越的绘画成就。",[23,7,209,27,177,29,106,151,109,430,176,900,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709f3a195d6a3665c242433604b692d1.jpg",[],{"id":48624,"slug":48625,"title":48626,"dynasty":76,"author":7142,"museum":364,"description":48627,"tags":48628,"thumbUrl":48629,"material":139,"size":139,"collection":139,"collections":48630,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},224598,"han-gong-qiu-yue-li-zhou-yuan-yao-224598","汉宫秋月立轴","淡月斜悬于青灰长空，清辉将整座宫苑晕在朦胧夜雾中。苍劲古柏撑着如墨浓荫，半掩着朱檐碧瓦的楼宇，界画工细，飞檐斗拱分毫毕现，却又以晕染柔去硬挺棱角，消解了皇家楼宇的威仪。\n\n栏边宫人身姿温婉，私语间衣袂轻垂，在空寂御苑里点出幽淡怅惘。冷调底色铺陈出浸骨清寂，将深宫秋夜里的孤萧闲愁藏在细腻笔触间，静穆氛围漫溢出无声寂寥，把夜色宫苑的含蓄怅然铺陈得余韵悠长。",[23,7,209,241,104,27,107,1237,34,106,300,115,313,3217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0deb19622ffb85f1b15aed262c25fd1.jpg",[],{"id":48632,"slug":48633,"title":48634,"dynasty":76,"author":3679,"museum":364,"description":48635,"tags":48636,"thumbUrl":48637,"material":139,"size":139,"collection":139,"collections":48638,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},224376,"hua-hui-qi-shi-ce-shi-er-kai-6-ju-lian-224376","花卉奇石册-十二开-6","此小品清逸雅致，构图疏密相宜。主石瘦透空灵，以水墨晕染出嶙峋肌理，通透孔洞尽显怪石清奇之态，石上菖蒲青绿鲜活，柔叶劲挺，生机跃然纸面。右下角小石块缀生细草，与主石菖蒲呼应，平衡画面更添野趣。\n\n设色淡朴雅致，赭色勾勒石纹衬出底色古拙，水墨干湿互用，将石之坚硬与草之柔润对比鲜明。笔简意足，藏幽居赏玩的悠然心境于尺幅，尽显文人案头清供的闲逸雅趣。",[23,7,24,81,27,28,245,452,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee3360256c0b1e325bd7e4e054ad8bc.jpg",[],{"id":48640,"slug":48641,"title":48642,"dynasty":76,"author":15347,"museum":615,"description":48643,"tags":48644,"thumbUrl":48645,"material":1449,"size":48646,"collection":181,"collections":48647,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},224253,"gu-mu-yuan-shan-tu-cha-shi-biao-224253","古木远山图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,7,173,29,241,6398,491,245,177,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dbbb93b849c20f73993df993353af8.jpg","47.7x108.8cm",[181],{"id":48649,"slug":48650,"title":48651,"dynasty":76,"author":9622,"museum":364,"description":48652,"tags":48653,"thumbUrl":48658,"material":139,"size":139,"collection":139,"collections":48659,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},224111,"yi-jian-shuang-lu-tu-qian-long-224111","一箭双鹿图","画面中纵马弯弓的骑手利落射出箭矢，双鹿中箭颓然仆地，骏马昂首扬蹄，骑手身姿果决干练，将骑射的飒爽力道尽显无余。背景里苍松虬劲、层林尽染秋意，远山澹澹铺展，把围猎的迅疾动感揉入山野林泉的静穆悠远间。\n\n右上角题诗以笔墨追怀射猎快意，诗画相映，将驰骋校猎的豪情与秋日林野的清旷融为一体。写实笔触细致勾勒出鞍马、人物的衣饰肌理，既带着纪实性的鲜活，又晕染出诗意闲情，把骑射勇武和林下逸趣完美糅合，是兼具叙事感与审美性的精妙之作。",[23,7,27,28,106,150,3167,957,29,7960,3953,491,43583,48654,227,48655,48656,48657],"围猎","题诗","豪情","诗意闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d24e76a0609e08c272f52e9f257d0a4.jpg",[],{"id":48661,"slug":48662,"title":10423,"dynasty":18,"author":293,"museum":20,"description":48663,"tags":48664,"thumbUrl":48665,"material":665,"size":48666,"collection":139,"collections":48667,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[209,7,24,25,105,260,27,28,106,502,29,107,281,149,18694,8147,34,650,109,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":48669,"slug":48670,"title":48671,"dynasty":189,"author":293,"museum":56,"description":48672,"tags":48673,"thumbUrl":48675,"material":48676,"size":48677,"collection":181,"collections":48678,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},223461,"shan-xi-shui-m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[1] 题识：“老迟洪绶画于狮子林。” 钤“陈洪绶印”白文印，“章侯氏”朱文印。陈洪绶（1598—1652）， 字章侯，号老莲、老迟，晚号悔迟、云门僧等。诸暨（今浙江诸暨）人。善山水、花鸟，尤精人物，世所罕及。与崔子忠齐名，称“南陈北崔”。",[23,7,24,241,28,27,106,244,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6430abb4d4cf493e0e01578a4f3f6554.jpg","纵118厘米，横55厘米",[],{"id":48773,"slug":48774,"title":48775,"dynasty":189,"author":9509,"museum":206,"description":48776,"tags":48777,"thumbUrl":48778,"material":27,"size":48779,"collection":181,"collections":48780,"showCount":48168,"zanCount":1547,"manualWeight":48,"mainColor":49},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","村屋几家，散置在坡旁石侧，远处烟岚横隔了高峻的山岭。在飘渺的山脚，一道溪泉缓流而来。溪面上，有人乘舟悠游，一种清逸之气，浮动在朴实而宁静的画面里。明董其昌认为这幅画是赵雍的真迹。",[23,7,1397,209,241,177,27,29,174,34,176,109,35,1575,33,649,29967,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 160.6x104.9公分；诗塘 17.3x104.6公分；全幅 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奉写生边疆藩臣进贡之良马，以与真马近似之大小尺寸绘之，生动逼真。画成于乾隆八年（一七四三）。",[7,209,241,27,28,150,957,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148a10de8ec028577bca1ae64f04eaac.jpg","234.6x270.8",[45],{"id":48957,"slug":48958,"title":48959,"dynasty":189,"author":293,"museum":20,"description":48960,"tags":48961,"thumbUrl":48962,"material":123,"size":139,"collection":90,"collections":48963,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},219258,"ying-fu-tu-yi-ming-219258","鹰凫图","画面定格鹰扑击野鸭的瞬间：鹰爪紧扣猎物，翎羽贲张如蓄势之弓，野性力量破纸而出；野鸭双翼垂落却仍微挣，脖颈屈折间藏着不甘，生死博弈的张力在方寸间拉满。背景芦苇疏淡、岩石朴拙，以极简之笔衬出主体冲突，暗合元代对生命张力的隐寓。笔墨细腻处见翎羽纹理纤毫毕现，粗犷处显山石气韵苍劲，动静相生间，将自然法则的残酷与壮美凝于绢素，尽显元代花鸟画写实与写意交融的妙境——于无声处听惊雷，于绢素间观天地。",[7,209,83,28,27,4307,38014,176,1729,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0cc36a821ca8467128e4f60dec1bde6.jpg",[90],{"id":48965,"slug":48966,"title":48967,"dynasty":18,"author":293,"museum":206,"description":48968,"tags":48969,"thumbUrl":48970,"material":123,"size":139,"collection":44,"collections":48971,"showCount":48168,"zanCount":5,"manualWeight":48,"mainColor":49},219172,"shan-yang-tu-yi-ming-219172","山羊图","粉面朱唇的稚子端坐羊背，衣袂鲜妍如霞，手中轻挥短鞭。群羊毛色胜雪，犄角宛转似玉，或驰于坡前，或驻于石畔，或低头嗅草，姿态灵动如生。背景松枝虬劲，梅蕊初绽，墨色浓淡间晕染出清寂古意。线条工细若蚕丝，衣纹褶皱、羊身毫毛皆刻画入微；设色沉敛温润，赭石与石青相映，既见宋画的雅致，又藏孩童嬉戏的稚趣。动静相宜间，似能听见羊蹄踏石的轻响，稚子清脆的笑声，将寻常生活的闲情，凝作千年不褪的画卷。",[7,24,209,28,27,23981,106,449,448,176,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d784dda5b0462addae6b69112b558a.jpg",[44],{"id":48973,"slug":48974,"title":48975,"dynasty":99,"author":6705,"museum":20,"description":48976,"tags":48977,"thumbUrl":48978,"material":803,"size":48979,"collection":382,"collections":48980,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},219146,"xing-shu-yang-jian-tie-ye-liu-jue-219146","行书·仰间帖页","此帖书法类赵孟頫，结体圆健规整，用笔娴熟、洒脱、颖秀，笔画之间连带自然且行气酣畅淋漓，这与他曾经提到朋友所赠之华丽笺纸的愉悦心境是分不开的。",[23,209,7,24,81,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f590e552490dec8731a0a67301c8ea6.jpg","纵27.9厘米，横42厘米",[382],{"id":48982,"slug":48983,"title":48984,"dynasty":99,"author":293,"museum":752,"description":48985,"tags":48986,"thumbUrl":48987,"material":123,"size":48988,"collection":90,"collections":48989,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":49},218989,"he-tang-shuang-lu-tu-yi-ming-218989","荷塘双鹭图","深褐底色如浸了岁月的绢帛，将双鹭与青荇轻轻托于画的下半阙。一鹭昂首引颈，尖喙似欲刺破空寂；一鹭敛首依偎，绒羽在淡墨晕染下泛着温润光泽。几丛水草如翠带轻扬，碧色破了沉郁底色，添几分野逸生机。画面上虚下实，留白处似有无尽烟波，静谧中藏着自然的温情。笔墨细腻却不繁缛，鹭鸟的姿态、水草的柔劲，皆透着恬淡的生机，如观一段无人惊扰的水泽时光，清寂又动人。",[7,28,27,83,5223,136,2522,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aa8a8cedcc6e9b6cc62630b1cae3dd.jpg","99x43.2cm",[90],{"id":48991,"slug":48992,"title":48993,"dynasty":99,"author":293,"museum":752,"description":48994,"tags":48995,"thumbUrl":48996,"material":123,"size":48997,"collection":90,"collections":48998,"showCount":48168,"zanCount":5,"manualWeight":48,"mainColor":49},218924,"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[7,24,173,27,28,177,4307,1015,1653,864,650,558,109,1062,245,1938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[90],{"id":49000,"slug":49001,"title":49002,"dynasty":18,"author":293,"museum":206,"description":49003,"tags":49004,"thumbUrl":49007,"material":123,"size":49008,"collection":42,"collections":49009,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},218888,"shen-shu-mao-tang-tu-yi-ming-218888","深树茅堂图","浓荫匝地，苍树如幄，茅堂隐于深翠间，似被林岚轻裹。堂内几榻疏朗，有人凭窗闲坐，或观叶动，或听风吟，意态萧然忘尘。笔墨细处见神：树石的皴染层叠生幽，茅舍的勾勒简净含韵，人物姿态虽小却活脱，尽显宋人对闲居之趣的精微捕捉。无艳色张扬，仅以墨色浓淡铺陈山林静谧，每一处线条皆藏着对自然的敬畏与对隐逸的向往，将宋画小品的雅致含蓄，凝作一方可居可游的林下清境，引人静赏其间悠然。",[23,7,1562,173,27,29,430,49005,920,49006,177],"茅堂","深树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99bf3482e94900427162b996b767bc75.jpg","24.1x23.5",[42],{"id":49011,"slug":49012,"title":49013,"dynasty":18,"author":293,"museum":206,"description":49014,"tags":49015,"thumbUrl":49016,"material":123,"size":139,"collection":44,"collections":49017,"showCount":48168,"zanCount":5,"manualWeight":48,"mainColor":94},218862,"cai-yao-xian-lv-tu-yi-ming-218862","采药仙侣图","这幅画描绘了一位白袍医生和仙人从医书中挑选药材，而他们身后是隐藏在古松和祥云中的仙山和宫殿。岩山空无一物，背上长满青苔，松树和白鹤都很逼真。",[23,7,24,1562,27,28,106,29,299,23868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb92b197d6b8f4dd837b06346da680a16.jpg",[44],{"id":49019,"slug":49020,"title":49021,"dynasty":18,"author":293,"museum":206,"description":49022,"tags":49023,"thumbUrl":49025,"material":123,"size":49026,"collection":42,"collections":49027,"showCount":48168,"zanCount":48,"manualWeight":48,"mainColor":94},218853,"lv-rong-mu-di-tu-yi-ming-218853","绿茸牧羝图","画中有一群肥羊在草地上玩耍，两棵柳树枝叶茂盛，在风中摇曳，一个牧羊少年站在树枝上用赶羊棍逗弄小鸟，让人觉得是一个快乐的年。这幅画画得很密，但羊群太厚了，以至于它们显示变现。",[23,7,27,28,67,8368,1159,430,49024,957],"牧","https:\u002F\u002Foss.chuangqi.store\u0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元画家。字定之，号迂讷居士，淮东人，家昆山（今属江苏）。官泉州路行枢密院判官。擅画墨竹，喜作风竹新篁，运笔遒劲挺秀。用墨润泽焕烂，于李衎、柯九思外，自成一家。亦工行、楷书。存世作品有《拳石新篁》、《平安磐石》、《幽篁秀石图》、《竹石图》、《墨竹图》等。",[7,173,241,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5986ce135d71930321fd9631e1fa25b.jpg",[],{"id":49339,"slug":49340,"title":49341,"dynasty":99,"author":100,"museum":364,"description":36506,"tags":49342,"thumbUrl":49345,"material":743,"size":744,"collection":139,"collections":49346,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},287412,"jie-bo-tu-quan-juan-chou-ying-287412","揭钵图全卷",[23,7,209,25,27,106,28,259,9254,49343,9635,28396,634,49344],"神怪","天人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd300e8ce2918da53473256c6f9e1473e.jpg",[],{"id":49348,"slug":49349,"title":49350,"dynasty":76,"author":293,"museum":364,"description":13561,"tags":49351,"thumbUrl":49352,"material":743,"size":744,"collection":139,"collections":49353,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},263680,"ke-si-fo-shou-shuang-niao-tu-zhou-yi-ming-263680","缂丝佛手双鸟图轴",[7,24,241,1629,3529,28,27,281,20996,327,4685,84,11908,932,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3c39b8e6c568204a3d0ea696b49683.jpg",[],{"id":49355,"slug":49356,"title":5326,"dynasty":76,"author":3732,"museum":364,"description":5327,"tags":49357,"thumbUrl":49358,"material":743,"size":744,"collection":139,"collections":49359,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},239247,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239247",[7,24,81,28,27,83,327,84,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b4c8a7cc4b86d23ffb9f19aa776519.jpg",[],{"id":49361,"slug":49362,"title":15052,"dynasty":76,"author":15053,"museum":364,"description":15054,"tags":49363,"thumbUrl":49364,"material":743,"size":744,"collection":139,"collections":49365,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},239083,"si-ji-hua-hui-ping-zhang-xiong-239083",[7,24,241,27,28,83,279,245,604,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77703f523b5de936bdbba16a184e78f0.jpg",[],{"id":49367,"slug":49368,"title":6670,"dynasty":76,"author":6671,"museum":364,"description":6672,"tags":49369,"thumbUrl":49370,"material":743,"size":744,"collection":139,"collections":49371,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},239059,"shan-shui-hua-niao-ce-yang-jin-239059",[7,24,81,173,260,83,62,1003,226,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63e6e415ef05404b5373e9472d91023.jpg",[],{"id":49373,"slug":49374,"title":4025,"dynasty":76,"author":49375,"museum":364,"description":49376,"tags":49377,"thumbUrl":49378,"material":139,"size":139,"collection":181,"collections":49379,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":94},239027,"shan-shui-zhou-wang-xue-hao-239027","王学浩","王学浩（1754—1832）字孟养，号椒畦，江苏昆山人。乾隆五十一年（1786）举人。为人恬澹旷适，绝意干禄。遍历燕、秦、楚、粤。山水得原祁正传，结体精微，笔力苍古。著有《山南论画》，立论精当。于书无不工，篆、隶古劲，直接秦、汉而不自谓能。真书从欧入褚，晚探二王秘。行书更得瘗鹤铭笔意，坚苍浑厚，自成一家。工诗，卒年七十九。",[7,24,241,27,177,29,35,34,176,109,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ac2666c3007bbc5a92459091d826e3.jpg",[181,45],{"id":49381,"slug":49382,"title":5784,"dynasty":76,"author":18715,"museum":364,"description":49383,"tags":49384,"thumbUrl":49385,"material":803,"size":49386,"collection":90,"collections":49387,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},238972,"hua-hui-zhou-chen-shu-238972","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[7,24,241,27,173,83,840,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8444c4174ac46ef74113137226711cf.jpg","33*65厘米",[90,382],{"id":49389,"slug":49390,"title":49391,"dynasty":76,"author":10958,"museum":364,"description":49392,"tags":49393,"thumbUrl":49394,"material":139,"size":139,"collection":181,"collections":49395,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},238708,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238708","画弘历和江文通诗意图册","此作用淡墨绘就幽居小景，敞轩之内，文士展卷校读，神态悠然专注。周遭古木虬枝舒展，湖石玲珑错落，浅溪萦回其间，清寂雅致。\n\n笔墨秀润清简，以淡墨皴擦晕染山石肌理，细笔点染出林叶苍然之态，构图疏密得宜，将林下闲居的静穆氛围铺陈开来。画作呼应诗意，把耽于文墨、寄兴丘山的隐逸襟怀融于景致之中，尽显冲淡萧散的文人雅趣，将文人心底幽远的林下之思藏在清和水墨间，尽显风雅静谧的文人画意趣。",[7,24,81,173,177,106,175,34,176,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84e46151266133c953b99627ae19f1f.jpg",[181,44,163],{"id":49397,"slug":49398,"title":49399,"dynasty":76,"author":10958,"museum":20,"description":49400,"tags":49401,"thumbUrl":49402,"material":1449,"size":49403,"collection":181,"collections":49404,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},238302,"qian-long-huang-di-song-yin-xiao-xia-tu-zhou-dong-bang-da-238302","乾隆皇帝松荫消夏图轴","图绘崇山峻岭、溪水潺潺的郊外，乾隆皇帝身着汉装坐于石案旁，目视着童子烹茶的情景。石案上除有茶杯外，还有弦琴及书本，显现出他于茶道之外的文化修养。此图构思巧妙，作者并没有将贵为天子的乾隆皇帝画得身高体大，而是将他融入于自然山水之中，然后又通过山环水抱、苍松围绕的构图方式，将其自然地归笼到了画幅的中心部位，从而突显了其个人形象及至尊无上的皇权地位。图中的山石结构繁复而错落，笔法尖峭，皴法松秀，既有元人遗韵，又得宋人笔墨之工，因而成功地渲染出世外桃源的清幽雅境。实际画中的乾隆皇帝肖像，当出自郎世宁之手。\n此画轴包首处贴有黄签，题“澄观斋殿内东阁东墙面西挂”，点明了此图作为室内装饰画，曾被挂于避暑山庄的澄观斋殿内。",[7,173,27,177,29,449,864,431,175,34,106,114,1445,650,32277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2744412dddd49ddd4fa1d30f51c8f81f.jpg","纵193.5厘米，横158厘米",[181,45],{"id":49406,"slug":49407,"title":49408,"dynasty":76,"author":850,"museum":49409,"description":49410,"tags":49411,"thumbUrl":49412,"material":40,"size":49413,"collection":90,"collections":49414,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},238081,"zhu-yin-xi-ling-tu-zhou-lang-shi-ning-238081","竹荫西狑图轴","沈阳故宫博物院","郎世宁，西名加斯提里阿纳Giuseppe，意大利美朗诺市人。于康熙五十四年(1715)来华传教，时年27岁，召入内廷为画院供奉，历仕三朝。画法参酌中西，善写生，人物、花鸟，奕奕有神，尤工画马，如百骏图、名马图、武功图至今有声世界。郎氏初本欲将西法输入中国，因不为清帝所喜，遂创折衷画法。一时从之学者甚众，流风至今未绝。卒年七十八。《故宫郎世宁画集》。郎世宁的主要活动在乾隆时，除了画弘历的肖像外，为清宫画了不少战功图，也画马、画花卉。郎世宁参酌中西画法，设色艳丽，精工细致。",[209,7,24,241,27,28,242,84,12226,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af978560aaab5bcd5e5a1dd51cf3f2.jpg","246×133厘米",[90,45],{"id":49416,"slug":49417,"title":7054,"dynasty":76,"author":5052,"museum":364,"description":7055,"tags":49418,"thumbUrl":49419,"material":139,"size":7058,"collection":139,"collections":49420,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},238032,"hong-ren-shan-shui-tu-ce-hong-ren-238032",[7,173,177,5990,29,1575,176,1444,340,109,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ebf488d534c551f08afd778cd7b6d19.jpg",[],{"id":49422,"slug":49423,"title":32428,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":49424,"thumbUrl":49425,"material":139,"size":139,"collection":163,"collections":49426,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},237930,"yuan-ji-mo-zhu-tu-zhou-shi-tao-237930",[7,24,241,173,242,86,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56ab48f8433faa0c3d1fc3aa96ea0d3.jpg",[163,382],{"id":49428,"slug":49429,"title":49430,"dynasty":76,"author":23166,"museum":364,"description":49431,"tags":49432,"thumbUrl":49433,"material":803,"size":139,"collection":90,"collections":49434,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},237639,"shuang-yu-tu-zhou-li-fang-ying-237639","双鱼图轴","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一 。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[7,24,241,173,178,227,446,933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b19355579f3c5af08250390d4501ce2.jpg",[90],{"id":49436,"slug":49437,"title":49438,"dynasty":76,"author":2804,"museum":364,"description":49439,"tags":49440,"thumbUrl":49441,"material":139,"size":139,"collection":139,"collections":49442,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},237411,"tian-zhu-zhou-wu-chang-shuo-237411","天竹轴","以篆隶笔意写绘，枯笔勾勒的枝干苍古嶙峋，尽显朴拙老辣的金石质感。叶片以浓淡墨色晕染，层次分明，艳红、明黄的天竹果实点缀其间，鲜活饱满，与水墨的素雅形成强烈对比，艳而不俗。\n\n右侧以大写意绘顽石，笔致写意简括，虚实相生，衬出天竹的清逸生机。整幅画作将花木的蓬勃生命力与文人画的雅致意趣相融，笔墨沉郁浑朴，尽显雄浑古拙的独特风韵。",[209,7,24,241,83,27,173,446,27410,245,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93127e7d2bdb1b52ef872fb7c8c28e5.jpg",[],{"id":49444,"slug":49445,"title":37443,"dynasty":99,"author":14805,"museum":364,"description":49446,"tags":49447,"thumbUrl":49448,"material":139,"size":139,"collection":181,"collections":49449,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},236404,"xiao-xiang-ba-jing-ce-wen-jia-236404","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[7,173,81,29,174,175,394,227,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d1f1866b63e635521521dd0043dc9a.jpg",[181,45],{"id":49451,"slug":49452,"title":49453,"dynasty":76,"author":9280,"museum":364,"description":49454,"tags":49455,"thumbUrl":49457,"material":743,"size":744,"collection":44,"collections":49458,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},236027,"di-jiu-ba-ga-gu-la-zun-zhe-ding-guan-peng-236027","第九拔嘎沽拉尊者","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[7,24,209,28,27,259,106,227,803,505,17366,49456],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc438e95fc298e7d9772a7f546f3f2f00.jpg",[44],{"id":49460,"slug":49461,"title":49462,"dynasty":99,"author":1996,"museum":364,"description":18123,"tags":49463,"thumbUrl":49464,"material":743,"size":744,"collection":139,"collections":49465,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},235800,"qiu-kui-tu-shan-chen-chun-235800","秋葵图扇",[7,24,1562,173,446,83,1002,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec55ae0b1c4d7da1e7662300f3fccfc.jpg",[],{"id":49467,"slug":49468,"title":49469,"dynasty":76,"author":13037,"museum":20,"description":49470,"tags":49471,"thumbUrl":49472,"material":990,"size":49473,"collection":139,"collections":49474,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[7,24,241,173,27,177,29,107,109,174,394,175,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],{"id":49476,"slug":49477,"title":49478,"dynasty":99,"author":293,"museum":364,"description":49479,"tags":49480,"thumbUrl":49481,"material":139,"size":139,"collection":139,"collections":49482,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":1335},234699,"ming-ren-ren-wu-ce-yi-ming-234699","明人人物册","松荫如盖，幽林静谧，一场林下雅兴悠然铺展。抚琴者宽袍缓带，垂目拨弦，神思尽付丝桐之间。对面雅士凭椅侧坐，背向观者却身姿松弛，似已沉湎琴音，物我两忘。身侧二小童垂手侍立，敛声屏息，更衬得林间静雅安宁。\n\n画笔工细雅致，衣褶线条清劲挺括，将文人的萧散仪态勾勒尽致。古松虬曲苍劲，苔石隐于浅草之间，晕染出幽寂高旷的林下氛围，尽显文人寄情丝桐、酬答知音的清雅意趣，铺陈出明代文人士大夫超脱尘俗的林下襟怀。",[7,27,81,28,106,394,245,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa4abd3ba47454c39dedb2996be91bc.jpg",[],{"id":49484,"slug":49485,"title":49486,"dynasty":18,"author":6566,"museum":20,"description":49487,"tags":49488,"thumbUrl":49489,"material":665,"size":49490,"collection":44,"collections":49491,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":49},233988,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233988","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[7,209,24,81,260,173,106,394,649,245,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489ad7188d3047e278afe3c2a391dfdb.jpg","60.33x41.04厘米",[44,181],{"id":49493,"slug":49494,"title":49495,"dynasty":76,"author":1109,"museum":20,"description":49496,"tags":49497,"thumbUrl":49498,"material":1386,"size":20294,"collection":139,"collections":49499,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},233957,"yuan-ji-cai-shi-tu-zhou-shi-tao-233957","原济采石图轴","《采石图》中石头峻峭奇丽，独具一格。石涛石涛山水画非常大胆新奇，他对景物的勾勒描绘灵活多变，意境高深，他人很难模仿，他笔下的景物有一种灵性和生命，是中国山水画的珍品。",[7,173,177,241,29,245,1575,176,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a194ee879f1e77435ad72edf054ce3b.jpg",[],{"id":49501,"slug":49502,"title":38433,"dynasty":99,"author":1296,"museum":364,"description":33005,"tags":49503,"thumbUrl":49504,"material":139,"size":38436,"collection":139,"collections":49505,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":94},233915,"hua-hui-cao-chong-ce-xiang-sheng-mo-233915",[7,24,81,27,178,227,1532,1064,245,109,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924abbb355c3eba59bb164c267fd9492.jpg",[],{"id":49507,"slug":49508,"title":49509,"dynasty":99,"author":10654,"museum":20,"description":49510,"tags":49511,"thumbUrl":49512,"material":990,"size":49513,"collection":139,"collections":49514,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":94},233751,"qian-gu-hu-qiu-qian-shan-tu-zhou-qian-gu-233751","钱穀虎丘前山图轴","钱穀主张绘画师法造化。他曾说：“丹青者，熔以法，模以天。”此幅作于隆庆元年丁卯（1567年）钱穀59岁时，写虎丘山前山实景，描绘了从二山门到山顶佛阁的景象。千人石、剑池、双吊桶、虎丘寺塔皆收入幅中。从题诗上看，画家是着意表现秋天空林落木、清寂高旷的景致，借景抒情，传达出寻胜访幽的文人雅趣。与《求志园图》一样，此幅山水不只是虎丘山云岩寺的简单再现，而是画家根据画面需要将有特征性的景物进行了重新安排，是意笔楼阁与文人山水紧密结合之作。如果去掉画面中虎丘寺塔等特殊性建筑物，则完全变成了一幅纯文人山水画。",[7,27,177,241,29,107,175,1432,34,176,106,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26491f6fd766a14bd39dce498d642a.jpg","纵111.5厘米，横31.8厘米",[],{"id":49516,"slug":49517,"title":21317,"dynasty":18,"author":1035,"museum":20,"description":49518,"tags":49519,"thumbUrl":49520,"material":5149,"size":49521,"collection":139,"collections":49522,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":271},233741,"mo-long-juan-chen-rong-233741","陈容，字公储，号所翁，福唐（今福建福清）人，生卒年不详，南宋理宗端平二年（公元1235年）进士，曾任福建莆田太守，是当时一位画龙高手，亦擅画松、竹、鹤、虎等。\n陈容人称“所翁龙”，他笔下的龙是后人画龙的典范，倍受国人特别是明清以来画家们的追捧，甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容\n此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[7,25,173,502,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0e691f1d73dae3e59f95736f72e80a.jpg","纵34.3厘米，横50厘米",[],{"id":49524,"slug":49525,"title":49526,"dynasty":76,"author":1703,"museum":20,"description":49527,"tags":49528,"thumbUrl":49529,"material":803,"size":49530,"collection":139,"collections":49531,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":94},233719,"zi-hua-xiang-zhou-jin-nong-233719","自画像轴","此图为扬州八怪之一金农73岁时的自画像。画中老者身着布衣，持杖侧身而立，姿态笃定，神情超然。其头部画法较为写实，具有肖像画的特征，浓密的长髯，细细的发辫，矍烁的双目，真实传神地描绘出金农本人奇倔傲世的性格特征。\n图中人物的体貌不求形似，极尽夸张，具有漫画意味，这是一种文人画家逸笔的肖像画。画家以焦墨渴笔勾勒人物形象，线条生拙简朴，脱胎于南宋马和之“兰叶描”，与题款及诗文的“漆书”共同体现出生涩拙朴、奇绝脱俗的风格。",[7,24,241,260,173,106,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9ed191e96e74c538004f23d2e40f11.jpg","纵131.3厘米 ，横59.1厘米",[],{"id":49533,"slug":49534,"title":7507,"dynasty":76,"author":1109,"museum":20,"description":20290,"tags":49535,"thumbUrl":49536,"material":49537,"size":49538,"collection":139,"collections":49539,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},233426,"yuan-ji-shan-shui-ce-shi-tao-233426",[7,173,177,81,29,176,1445,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8b294c65ccb30f4efcb803f6d027904.jpg","纸本 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厘米",[],{"id":49592,"slug":49593,"title":49594,"dynasty":18,"author":3185,"museum":12966,"description":49595,"tags":49596,"thumbUrl":49597,"material":67,"size":49598,"collection":139,"collections":49599,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},232613,"tian-tai-shi-qiao-ying-zhen-zhou-ji-chang-232613","“天台”石桥应真","《“天台石桥”五百罗汉图》包括有南宋宁波地区民间佛像画家周季常的《应身观音》、《洞中入定》、《经典奇瑞》、《渡水罗汉》，及林庭珪的《施饭饿鬼》等五件作品。据作品上的金泥铭文所示，唐天祐元年（904），明州（今宁波）惠安院青山顶有十六罗汉灵异示现，故称罗汉院，罗汉信仰应运兴起，至南宋绍羲住持惠安院时，约请周季常、林庭珪，历时十余年创作百幅罗汉图以作供养。\n《“天台石桥”五百罗汉图》绢本，均通长约110厘米、宽约53厘米左右，《应身观音》图中央画一位十一面观音，坐于方椅上，左右有四位罗汉。从服饰、赤足及身体的肤色可知，这位十一面观音应是罗汉示现。画面描绘工整细致，用线富有变化。\n此作品显示，南宋佛教人物画的描绘，从单纯的人物塑造向情节性描述发展，从对肃穆凝重气氛的刻画，转向对人物精神状态的描述，尤其对故事情节的关注，成为绘画焦点，具有风俗画与肖像画的特质。此画风对后世影响深远。\n根据《日本原有寺传》记载，《“天台石桥”五百罗汉图》原有百幅，其中六幅原收藏在日本镰仓寿福寺，后相继为北条氏、丰臣秀吉所得，最后进入京都大德寺，另有十二幅于日本明治年间流入美国，华盛顿弗利尔美术馆收藏《天台石桥应真》与《临流洗濯》二幅，波士顿美术馆所得《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，成为这两馆入藏的两宋绘画珍品。日本京都大德寺则收藏《罗汉供茶》等八十二幅。《“天台石桥”五百罗汉图》作为南宋民间佛画的艺术珍品，于十五世纪被带到日本，递藏源流清晰，画风纯熟、保存良好，是举世无双的瑰宝。\n笔者因30多年研究天台山文化，对天台山佛画亦比较喜欢。在《翰墨荟萃——细读美国藏中国五代宋元书画珍品》书中，读到白话文教授的《中国的罗汉与罗汉画》一文，得知美国华盛顿弗利尔美术馆收藏《“天台”石桥应真》与《临流洗濯》二幅，波士顿美术馆收藏《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，日本京都大德寺收藏《罗汉供茶》等八十二幅等讯息后，立即联系日本友人，问询何处收有南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》的书籍出版。后经日本友人告知，日本奈良国立博物馆于平成21年（2009）7月曾编辑出版了《圣地宁波》一书，是书追溯了日本佛教与宁波、台州一千三百年的源流关系。其中就收录了日本京都大德寺南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》八十二幅，还收有美国华盛顿弗利尔美术馆与波士顿美术馆收藏的《“天台”石桥应真》与《临流洗濯》、《经典奇瑞》、《舍利观光》等十二幅。笔者喜出望外，立即向在日本东京开“琼芯斋”书店的华人店主黄海先生，订购了《圣地宁波》这部书，并于今年乙未羊年春节收讫。仔细欣赏南宋周季常、林庭珪所作的现存九十四幅《“天台石桥”五百罗汉图》中，有三幅图，最能体现天台山文化特色，故令人最为难以忘怀。\n《“天台”石桥应真》图系笔者故乡天台山石梁飞瀑的圣景，而石桥为中国佛教惟一的五百罗汉道场，此图又是迄今为止发现的最早关于天台山石桥罗汉佛画之作。“石桥应真”，石桥是指天台石梁桥，应真是指“罗汉”。据《“天台”石桥应真》图题记，此图为南宋明州籍画家周季常、林庭珪，于南宋淳熙五年（1178）开始，至淳熙十五年（1188）始毕。画面完全写实:石桥之上瀑水的形态，以及石桥右侧的“横石”，左侧崖际，无不与实地契合。石桥前罗汉驾云而观，右上“栋宇宏壮，图塔瑰奇”；二位罗汉排云出迎，“叙接宛同素识”；而石桥之上僧人恭敬合掌，冀渡桥而入应真之列。观此图，无不与南朝梁释慧皎《高僧传·竺曇猷传》内容相吻。乃知周、林二位毕十年之功，遍访形胜，探寻典故，所作罗汉图并非面壁虚拟。古人作事，虽书画一道，仍郑重非常，于此可见一斑。《“天台”石桥应真》图与《临流洗濯》图二幅，今藏于美国华盛顿弗利尔美术馆。",[7,241,259,28,27,106,29,31111,558,176,899],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbbcfe273eca337ff5473accf68cb25.jpg","109.9x52.7cm",[],{"id":49601,"slug":49602,"title":49603,"dynasty":292,"author":293,"museum":364,"description":49604,"tags":49605,"thumbUrl":49615,"material":743,"size":744,"collection":139,"collections":49616,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":49},230526,"shi-yi-mian-guan-yin-xiang-yi-ming-230526","十一面观音像","整作设色古雅沉厚，主尊十一面分层布列，正容慈悲端严，余面涵摄喜怒诸相，尽显化度十方的悲悯威德。造像璎珞环身，宝饰华繁却毫无冗杂之感，衣纹敷色晕染细腻，朱金青绿交叠，旧绢底色衬得画面古穆堂皇。莲台与须弥座纹饰精丽，上方悬垂珠络宝幡，似有清灵梵风萦动。构图饱满庄重，线条劲挺兼具柔婉，融密教造像仪轨与工致绘法于一体，岁时虽磨却色泽，却愈发沉淀出静穆圣洁的宗教氛围感，尽显大乘造像慈悲庄严的神性之美。",[23,7,27,28,259,106,1862,241,49606,11058,4736,49607,49608,49609,12430,49610,49611,49612,49613,49614],"璎珞","矿物颜料","细腻线条","服饰花纹","珠宝饰品","竖幅构图","古典绘画","宗教造像","人物服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3894b15baaa4a686e7c43be3c1aecf.jpg",[],{"id":49618,"slug":49619,"title":49620,"dynasty":76,"author":293,"museum":364,"description":49621,"tags":49622,"thumbUrl":49623,"material":139,"size":139,"collection":44,"collections":49624,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":1335},230310,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-san-a-ge-yin-zhi-yi-ming-230310","历代帝王贵妃大臣朝服像(三阿哥胤祉)","此帧坐像工稳端严，画中男子正襟危坐，神色沉敛肃穆，尽显贵胄威仪气度。石青朝服遍饰精繁彩绣团龙补纹，针脚细密灵动，衬出礼制华贵，领间朝珠莹润垂坠，细节考究合度。髹漆宝座雕纹磅礴大气，龙纹栩栩生动，搭配铺陈的地锦纹样，烘托出庄重肃穆的庙堂氛围。\n\n整体设色典雅厚重，晕染细腻写实，将官方肖像画纪实工致的特质尽显无疑，装裱配色沉稳古雅，晕开旧时光的沉静质感，精准描摹出人物身份礼制与肖像写实的精妙融合，是庙堂肖像画的典型佳作。",[23,7,27,28,106,63,502,241,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff830a08fd4c826073b69a616c453c1b.jpg",[44],{"id":49626,"slug":49627,"title":2235,"dynasty":76,"author":1204,"museum":364,"description":49628,"tags":49629,"thumbUrl":49630,"material":139,"size":139,"collection":139,"collections":49631,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},230278,"za-hua-ce-zhu-da-230278","此帧以极简笔墨绘就松下双鹿，苍松横斜，枯干缀以寥寥松针，山石空灵淡远。双鹿姿态悠然，犄角挺秀，躯体线条清劲凝练，于幽寂山隅流露自在生机。\n\n配书题诗笔致圆劲古雅，朴拙疏朗，诗画相生，将世外丘壑的清逸冷寂尽藏其间。清冷笔墨下暗涌细腻意趣，荒简构图里饱含澹泊襟怀，尽显简远空灵的禅意逸韵，将天地生灵与林泉幽境融为一体，尽释超然物外的文人意趣。",[7,24,81,173,3167,957,1575,176,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7626f6421259e86c2bb63e5b96a3926d.jpg",[],{"id":49633,"slug":49634,"title":49635,"dynasty":76,"author":2405,"museum":364,"description":49636,"tags":49637,"thumbUrl":49638,"material":139,"size":139,"collection":139,"collections":49639,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":94},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,7,24,25,104,27,28,106,107,29,34,120,36369,24464,39275,1237,1432,116,115,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],{"id":49641,"slug":49642,"title":49643,"dynasty":76,"author":707,"museum":364,"description":49644,"tags":49645,"thumbUrl":49646,"material":139,"size":139,"collection":139,"collections":49647,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},230185,"hua-niao-cao-chong-tu-ce-8-zhen-hua-yan-230185","花鸟草虫图册8帧","此帧以淡墨晕染湖石，枯槎斜出，缀着将残的花枝，清寂秋意扑面而来。四只文雀神情灵动鲜活，一只振翅回身，似在呼引枝上同伴，三雀或侧耳或抬首，亲昵相映，将秋日荒寒里的生趣尽数勾勒。\n\n设色清浅柔和，禽鸟绒羽蓬松宛然，湖石墨色苍润有层次。左侧题诗与朱红印章错落排布，留白疏密相宜，诗画相生，将萧索秋意与小雀的生机揉合，清冷中带着融融暖意，尽显隽秀雅致的笔墨意趣。",[209,7,24,81,173,27,83,245,224,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd89d3818b81f0bfd0b7ea1bf2d27ff9.jpg",[],{"id":49649,"slug":49650,"title":9241,"dynasty":99,"author":293,"museum":364,"description":49651,"tags":49652,"thumbUrl":49653,"material":743,"size":744,"collection":139,"collections":49654,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},228809,"hua-niao-tu-ce-yi-ming-228809","以赭色绢面为底，绘就郊野秋光。蓝花明妍澄澈，黄花柔婉轻绽，阔叶舒展带露，棘枝斜斜挑立，野卉错落交织，自呈生趣。一只蜻蜓振翅悬停半空，翅脉纤毫毕现，似正贪恋花间清芬，草叶之下还隐有小虫静伏，幽微生机暗涌其间。\n设色清妍古雅，勾勒工稳精细，花叶向背、虫翼薄透皆写实入微，既有院体花鸟的雅致工整，又带着郊野的疏野天然，将秋日荒闲里的细碎生机凝于绢上，淡朴中藏精妙，笔底暗蕴着对幽逸野趣的脉脉倾心。",[7,27,28,81,83,62,1003,226,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111fb455a724f674c275d32dfc9429e3.jpg",[],{"id":49656,"slug":49657,"title":1393,"dynasty":99,"author":49658,"museum":364,"description":49659,"tags":49660,"thumbUrl":49661,"material":139,"size":139,"collection":139,"collections":49662,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},228739,"xian-shan-lou-ge-tu-li-shi-da-228739","李世达","这幅画作以古雅青绿晕染山峦，层叠峰岫苍劲灵动，云雾漫过山坳林麓，将整座仙山晕染出空濛虚灵的缥缈意境。林麓间隐着幽致楼阁，烂漫桃林遍植溪谷，白衣雅士或驻足晤谈，或循溪漫游，将山居雅逸尽显。画面以细腻皴法写就山石肌理，青绿设色厚重沉静，糅合出世外仙源的悠然意趣，将文人心中的桃源之境具象铺展，尽显仙逸雅致的古典山水审美意韵。",[23,7,24,26,27,28,177,29,107,106,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580ee793cdf2d67b3c1bf37812f2920f.jpg",[],{"id":49664,"slug":49665,"title":49666,"dynasty":99,"author":36584,"museum":364,"description":49667,"tags":49668,"thumbUrl":49672,"material":139,"size":139,"collection":139,"collections":49673,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},228496,"yuan-ri-xin-nian-tu-li-shi-da-228496","元日新年图","此作用淡墨晕染出疏朗萧寒的柳林，枝桠错落萧散，衬出元日的清寒底色。河畔村舍错落，堂内乡人围坐把盏，院间孩童嬉闹、邻里揖礼贺岁，桥头水榭行人徐行，处处漫溢着新年的融融暖意。\n画家以松秀灵动的线条勾勒景物，设色简淡古雅，将冬日水乡的清寂与世俗年味相融，写实中饱含诗意。细腻铺陈江南乡间的淳朴乡风，把邻里间的新年温情藏在日常烟火里，让古朴鲜活的乡间元日跃然纸上，尽显雅致又贴近平常的画中意趣。",[23,7,173,27,106,3045,108,8507,1252,39789,109,49669,49670,49671,41970,3704,11350,24686],"水乡","新年","贺岁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6928196d431c0946ab7bed432df00a6d.jpg",[],{"id":49675,"slug":49676,"title":49677,"dynasty":99,"author":1012,"museum":364,"description":49678,"tags":49679,"thumbUrl":49680,"material":139,"size":139,"collection":139,"collections":49681,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":94},228423,"fang-song-yuan-ce-ye-12-kai-lan-ying-228423","仿宋元册页12开","此作用笔苍秀老辣，绘几株古松虬曲苍劲，枯枝嶙峋间点缀松针，尽显古木饱经风霜之态。淡墨晕染远山，留白铺就烟岚空濛，将天地山水的空阔清远晕染开来。右下角溪湾扁舟静泊，渔翁垂坐，简笔勾勒出林下幽居的闲逸图景。\n\n整作以干笔皴擦写就林木古拙意趣，淡彩轻敷浅染坡岸，虚实相生间，融宋元山水的萧散简淡于笔底，将幽寂隐逸的文人意趣藏于淡远空濛的景致中，寥寥数笔便托出天地间静穆旷远的林下清境，尽显山水苍劲空灵的韵致。",[7,24,81,27,173,177,29,394,174,1351,176,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8946bfefdc5cc70a0b0588ed9a63688e.jpg",[],{"id":49683,"slug":49684,"title":14922,"dynasty":189,"author":487,"museum":364,"description":49685,"tags":49686,"thumbUrl":49687,"material":139,"size":139,"collection":139,"collections":49688,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},228084,"xi-shan-qiu-se-tu-juan-wang-meng-228084","此作为全景山水，层峦叠嶂逶迤铺展，林木蓊郁繁密，尽显苍润秀雅的笔墨意致。山居茅舍错落嵌于岩岫林泉之间，野水回环，渔隐泛棹，将秋日溪山清寂又温雅的意趣铺陈开来。\n\n画面以繁密皴法写山石肌理，苔点错落，把秋山厚重朴拙的质感细细勾勒，隐逸悠游的文人林下之趣融于烟岚丘壑。后接诸家题跋，诗画相映，笔墨文心共生，尽显幽淡的文人风骨。",[23,7,24,25,29,177,27,34,176,560,6922,1255,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e2c899842d74a718116e60d41448c9.jpg",[],{"id":49690,"slug":49691,"title":49692,"dynasty":189,"author":9595,"museum":364,"description":49693,"tags":49694,"thumbUrl":49695,"material":139,"size":139,"collection":139,"collections":49696,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},228051,"da-ming-gong-tu-juan-wang-zhen-peng-228051","大明宫图卷","图绘楼台魏巍，湖水环绕，拱桥横跨，一巨大的龙舟领衔，众多小龙舟奋力竞渡夺标的生动情景。\n场面宏大壮观，人、船众多，旌旗招展，鼓乐齐奏，一片观乐紧张气氛。\n全画用笔工整严谨，楼台、龙舟俯仰曲折，细入毫端，人物虽小，然各尽其态，引人入胜。\n【名称】元王振鹏金明夺锦图卷 【规格】该幅 2.124.1公分；隔水一 1.公分；隔水二 1.7公分 【收藏】 主题与关键字：春景、名胜、龙舟、宫殿、桥、池水、奇石、官员（臣）、侍从（侍女、童仆）、百姓、表演者、杂耍艺人、松、竹、杨柳、柏、庭院、栏杆、鸟笼、旗、秋千 录入：石渠宝笈初编（养心殿），下册，15页；故宫书画录（卷八），第四册，8页；故宫书画图录，第十七册，211-214页。\n王振鹏：元永嘉（今浙江温州）人。\n官至漕运千户。\n界画极工致，仁宗眷爱之，赐号孤云处士。\n运笔和墨，豪分缕析，左右高下，俯仰曲折，方员平直，曲尽其体，而神气飞动，不为法拘。\n虽入纤细，而格力超腾，非院中人所能。\n元季界画可为第一，不在郭恕先之下， 、 辈殆不如也。\n尝为大明宫图、金明池夺标图、大安阁图、水亭图等，世称绝品。",[23,7,209,25,104,260,107,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c596cd513646736bb7dfa23a00cbc29.jpg",[],{"id":49698,"slug":49699,"title":49700,"dynasty":18,"author":3103,"museum":364,"description":49701,"tags":49702,"thumbUrl":49703,"material":139,"size":139,"collection":139,"collections":49704,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},227954,"shou-shan-fu-hai-tu-zhao-bo-ju-227954","寿山福海图","此作用色古雅沉静，青绿重晕的孤峰卓立沧溟之上，石质苍润朴拙，尽显山岳沉稳厚重之态。细劲墨线勾描层叠水纹，暗合海波悠悠律动。丹红落日悬垂天际，暖赭晕染暮空，群鸦振翅穿翔于天地间，为静谧图景添了灵动生气。\n\n整体构图简括静穆，将祈福寄寓山海：青山喻绵长福泽，沧海托无涯寿数，红日高悬烘托圆满祥瑞。画作承青绿山水古意，以极简构图脱出繁复，将祝寿之旨融于渺远静阔的图景里，静中藏动，淡而有神，尽显雅致沉静的宋画意趣。",[23,209,7,24,26,27,28,29,245,109,4562,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182ace73bc094636a83c12be026af239.jpg",[],{"id":49706,"slug":49707,"title":16428,"dynasty":18,"author":293,"museum":364,"description":49708,"tags":49709,"thumbUrl":49710,"material":139,"size":139,"collection":90,"collections":49711,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},227901,"bai-tou-cong-zhu-tu-ye-yi-ming-227901","《白头丛竹图》是南宋佚名创作的绢本设色画，现藏于 。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[23,209,7,24,1562,81,28,27,83,242,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[90],{"id":49713,"slug":49714,"title":49715,"dynasty":18,"author":823,"museum":364,"description":13349,"tags":49716,"thumbUrl":49717,"material":139,"size":139,"collection":139,"collections":49718,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":49},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)",[209,7,24,25,173,177,29,30,31,34,174,33,13911,650,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],{"id":49720,"slug":49721,"title":49722,"dynasty":18,"author":2029,"museum":364,"description":49723,"tags":49724,"thumbUrl":49725,"material":139,"size":139,"collection":139,"collections":49726,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":49},227752,"xi-shan-xue-yi-tu-juan-liu-song-nian-227752","溪山雪意图卷","此画因卷首宋理宗（1225-64 年 1225-64 年在位）题词，曾为十一世纪初皇家画院画家高克明之手。 然而，这幅画的风格令人信服地处理对角线后退，使用李唐（约1070-约1150）的“斧头”纹理笔触，以及在被侵蚀的河岸上广泛的水墨画， 表示十二世纪晚期的日期。",[23,7,24,25,29,28,173,177,864,297,34,245,394,109,35,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452e901ab60cb7582556059cef45093b.jpg",[],{"id":49728,"slug":49729,"title":16437,"dynasty":18,"author":2007,"museum":364,"description":49730,"tags":49731,"thumbUrl":49732,"material":139,"size":139,"collection":139,"collections":49733,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":49},227634,"shan-shui-tu-ye-ma-lin-227634","马麟（？－？），中国南宋画家，原籍河中（今山西省永济），南渡后三代居钱塘，遂为钱塘（今浙江省杭州市）人。\n\n马麟之父马远是宋光宗、宋宁宗两朝（1190-1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰（1201-1204）间授画院祗候，颇得宋宁宗赵扩、皇后杨氏称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”《画史会要》谓：“麟不逮父。远爱其子，多于己画上题麟，盖欲其章也。”",[23,7,209,27,177,81,29,174,106,394,1575,176,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98bf0a985bd51c41419d7d05703c8a3d.jpg",[],{"id":49735,"slug":49736,"title":49737,"dynasty":18,"author":2029,"museum":364,"description":49738,"tags":49739,"thumbUrl":49740,"material":139,"size":139,"collection":139,"collections":49741,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},227414,"shuai-qin-xie-zhi-yin-tu-liu-song-nian-227414","摔琴谢知音图","《摔琴谢知音图》中正截取了伯牙摔琴的这个画面，图中一人正恭敬行礼，似在向伯牙告知什么，伯牙则抱琴正要往地上摔，满脸悲怆，似是得知了子期的死讯，悲痛交加，当场破琴绝弦。\n\n子期不在对谁弹，欲觅知音难上难。这是一段世人都为之动容的友谊，自古以来，不知有多少人羡慕并追求这样的友谊。由于弹琴本身就是一件高雅的事情，能从琴声中辨知音，识好友，那就更是一件令人欣喜的事情了。因而在携琴访友图这个主题中，也有着古人对友谊的向往之情。",[23,7,24,209,27,28,29,106,464,430,176,210,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd917d7111fdf8bc88c1057a2db4b2247.jpg",[],{"id":49743,"slug":49744,"title":18690,"dynasty":18,"author":18691,"museum":364,"description":49745,"tags":49746,"thumbUrl":49747,"material":139,"size":139,"collection":139,"collections":49748,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},227333,"jiu-ge-tu-zhang-dun-li-227333","《九歌》是《楚辞》篇名。原为传说中的一种远古歌曲的名称，战国楚人屈原据民间祭神乐歌改作或加工而成。共十一篇：《东皇太一》、《云中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《东君》、《河伯》、《山鬼》、《国殇》、《礼魂》。《国殇》一篇，是悼念和颂赞为楚国而战死将士;多数篇章，则皆描写神灵间的眷恋，表现出深切的思念或所求未遂的伤感。王逸说是屈原放逐江南时所作。但现代研究者多认为作于放逐之前，仅供祭祀之用。",[23,209,7,24,25,28,27,106,502,37,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07a8d04ca48dae273e9dc351d5ef844.jpg",[],{"id":49750,"slug":49751,"title":49752,"dynasty":18,"author":2531,"museum":364,"description":49753,"tags":49754,"thumbUrl":49755,"material":139,"size":139,"collection":139,"collections":49756,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},226546,"xi-shan-yuan-xiu-tu-jing-hao-226546","溪山远岫图","五代时期，中原地区战争不断，但西蜀、吴越地区相对安定，文化艺术相对发达，尤其是诗词和绘画成就更高。绘画史上著名的荆（荆浩）、关（关仝）、董（董源）、巨（巨然）都出现在这一时期，他们也都是由五代入宋的画家。\n\n荆、关、董、巨的区别，在荆浩和关仝是北方画家，多图写北方山水的雄奇峻伟，而董源和巨然都是南唐画家，多图写江南山水的秀丽清润。",[23,7,24,173,27,177,29,491,1926,35,245,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c550c1002f38496dd753a4ceb7637a3.jpg",[],{"id":49758,"slug":49759,"title":49760,"dynasty":292,"author":49761,"museum":364,"description":49762,"tags":49763,"thumbUrl":49764,"material":743,"size":744,"collection":139,"collections":49765,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":271},225293,"yue-tian-ben-dong-jing-zhen-hai-225293","月天(本-东京)","珍海","平安时代后期三论大师。画家春日元光的孩子。... 有许多与三论、密教和净土有关的著作，包括“Kettsujo Ojoshu”。从出身开始，他就擅长艺术，并在醍醐寺和东寺留下了许多白色的图标。",[23,7,24,260,259,106,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84efdcc6b821bbb1ea0a42c4d0449105.jpg",[],{"id":49767,"slug":49768,"title":49769,"dynasty":76,"author":49770,"museum":364,"description":49771,"tags":49772,"thumbUrl":49773,"material":139,"size":139,"collection":139,"collections":49774,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},224582,"feng-xian-dao-gua-jiang-ting-xi-zhang-zhao-224582","凤仙倒挂","蒋廷锡 张照","设色明妍清润，凤仙花柔茎舒叶，艳红花瓣娇柔含露，倚石而生，野趣盎然。两只粉蝶一静一翩跹，将花畔生机尽数晕开，工细笔触晕染出蝶翼薄透肌理，花草枝叶的阴阳向背皆细腻入微，兼具工笔精致与写意雅致。\n右侧行书清劲秀雅，笔势流转间将咏花诗意娓娓道来，诗画相映，铺陈出凤仙花的幽逸品格。整幅册页雅致隽秀，融绘事笔墨与文人意趣于一体，尽显温婉雅致之美，是诗画合璧的精妙之作。",[23,7,24,81,27,28,178,83,299,712,176,604,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b550ce4b068e3759d7ebce65ce339e1.jpg",[],{"id":49776,"slug":49777,"title":49778,"dynasty":76,"author":3732,"museum":364,"description":49779,"tags":49780,"thumbUrl":49782,"material":139,"size":139,"collection":139,"collections":49783,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":49},224580,"shu-kui-xuan-hua-tu-jiang-ting-xi-224580","蜀葵萱花图","此作用没骨技法写就，构图疏朗空灵，主次有致。柔粉蜀葵袅袅舒展，花瓣晕染出轻软娇柔的质感，苍绿枝叶勾勒出阴阳向背，鲜活如生。配搭艳红榴花与橙黄萱花，冷暖色调相映，明丽雅致，将仲夏群芳盛放之态尽数铺陈。\n笔墨兼具院体的工致与文人画的秀逸，晕染细腻柔和，不见勾勒之痕却形神兼备，整体意境恬淡悠然，尽显温婉清隽的花鸟意趣，藏着中式美学里独有的夏日闲情。",[23,7,24,27,28,83,5401,49781,1461,698,227],"萱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9121d78fdc9453ee8ae006a9bede611.jpg",[],{"id":49785,"slug":49786,"title":49787,"dynasty":76,"author":1109,"museum":364,"description":49788,"tags":49789,"thumbUrl":49790,"material":139,"size":139,"collection":139,"collections":49791,"showCount":232,"zanCount":1547,"manualWeight":48,"mainColor":271},224513,"shan-shui-tu-ce-8-kai-3-shi-tao-224513","山水图册8开-3","此作用笔纵逸朴拙，以淡赭晕染坡石，浓墨点染林木，皴擦间写出山岩苍浑肌理，远近层次随墨色虚实铺陈开来。近景村居隐于松荫之下，谷间蹊径蜿蜒向林壑深处，远景峰峦裹挟空濛岚气，将山野幽寂尽数藏于尺幅。\n\n题诗衬景，把寻幽山径、千峰如帘的诗意融于画中，尽显林泉山居的澹泊桃源之趣。虚实相生间落笔随性自在，不滞成法，将对山野深秀静穆的偏爱藏在笔底，淡墨浅彩里满是出世幽居的悠然意致。",[23,7,24,81,173,177,29,34,35,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a28274ae84fa01320bbfa5f181452.jpg",[],{"id":49793,"slug":49794,"title":49795,"dynasty":76,"author":45523,"museum":364,"description":49796,"tags":49797,"thumbUrl":49798,"material":139,"size":139,"collection":181,"collections":49799,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},224270,"shan-shui-hua-hui-ce-fu-shan-224270","山水花卉冊","此作用笔纵逸随性，以淡墨写垂柳长条，笔致轻柔连贯，如见春风拂柳之姿。芙蓉花以浓淡墨色晕染点簇，淡墨勾描花瓣轮廓，浓墨点苔铺叶，干湿互衬，尽显花之娇柔蓬松。\n\n画面留白疏朗，右上角题字与绘景相映成趣，诗画交融间尽显文人画萧散简淡的意韵。整幅水墨写意不重形似而尚神趣，带着林下幽人的闲适疏放，将花木清灵与文人澹泊襟怀相融，寥寥笔墨间晕染出清逸脱俗的雅致氛围。",[23,7,24,81,173,83,1226,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b0015526d185a3e1348fa9df2adfd1.jpg",[181,90],{"id":49801,"slug":49802,"title":49803,"dynasty":76,"author":707,"museum":364,"description":49804,"tags":49805,"thumbUrl":49806,"material":139,"size":139,"collection":139,"collections":49807,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},224186,"hua-niao-cao-chong-tu-ba-05-hua-yan-224186","花鸟草虫图八-05","这幅花鸟图以画眉为主体，画师以细腻笔触丝写出禽鸟绒羽，蓬松柔润，画眉抬首引颈，俨然正引吭啼鸣，灵动楚楚。枯瘦枝桠以淡墨写出，间杂残红野果，设色清妍冷峭，晕染出秋深烟寒的幽寂氛围。\n\n左侧题诗与画面相映成趣，书画交融，将晚秋荒寒之境与禽鸟的缱绻情态相融，笔致秀逸空灵，尽显清隽雅致的意趣。画师将写生之真与写意之美糅合，寥寥数笔便勾勒出残秋里生机未泯的幽微景致，晕染出深秋独有的怅惘诗意。",[23,7,24,81,27,83,224,10154,2238,446,3963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7826f0cacf91bbca0594c3e632a037.jpg",[],{"id":49809,"slug":49810,"title":8212,"dynasty":18,"author":293,"museum":364,"description":49811,"tags":49812,"thumbUrl":49813,"material":139,"size":139,"collection":139,"collections":49814,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[23,7,24,25,28,260,173,27,106,227,86,12876,10854,10855,12877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],{"id":49816,"slug":49817,"title":49818,"dynasty":18,"author":293,"museum":238,"description":49819,"tags":49820,"thumbUrl":49821,"material":665,"size":49822,"collection":139,"collections":49823,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},223435,"song-mo-zhou-wen-ju-gong-zhong-tu-di-yi-duan-yi-ming-223435","宋摹周文矩宫中图（第一段）","此图是描绘宫中妇女生活的长卷，存残卷四段，画八十余人。\n《宫中图》原作已经不存在,目前所见为南宋摹本,共有三段。1947年左右散佚海外,分存在美国三个不同的博物馆。第一段藏美国克里夫兰美术馆,曾名《仕女图》第二段名《宫中图》,藏美国哈佛大学福格博物馆;第三段名《唐宫春晓图》,原为英国私人藏,现入藏美国大都会美术馆。 [1] 《宫中图》，宫女童子多达八十令人，分十余组，人物穿插得体，彼此照庇，统一和谐；除人物面部行极少淡彩外，均用白描，笔法活泼，线条流畅，造型准确生动。 [2]\n此图是描绘宫中妇女生活的长卷，现残存四段，画中宫女童子多达81人，分成十余组。人物的活动有着诸多的场面，有的对镜梳妆，有的在奏乐，有的在无聊闲坐，有的在盥洗，有的在逗着小儿，童子正在逗玩小狗，有的在观鱼等等；画中的人物，除儿童显得天真活泼外，其余人物显得有些懒散、忧郁，尤其是年长者，地位较显者为甚，画中诸多人物的安排和组合，穿插得体，疏密相间，构图富有变化，错落有致。\n画卷附有宋绍兴庚申十年（1140）张激跋文，郁逢庆的（书画题跋记）把这段题跋保存下来，录在下面:\n周文矩“”宫中图”，妇人小儿，其数八十，一男子写神，而装具乐器盆孟扇椅席鷃鹉犬蝶不与。文矩句容人，为江南翰林待诏，作仕女体近周，而加纤丽，尝为后主画“南庄图”，号一时绝笔，他日上之朝廷，诏籍之秘阁。“官中图”云是真迹，藏前太府卿朱载家，或摹以见馈，妇人高自唐以来如此，此卷丰肌长裙，周法也。余在峤南于端溪陈高祖之裔，见其世藏诸帝像，左右官人梳与此略同，而丫乃作两大垂肩项间，虽丑而有真态。李氏自谓南唐故衣冠多用唐制，然风流寔是六朝之余，画家者官辩古今当先问衣冠车服，盖谓此也。绍兴庚申五月乙西岩居士张激题。”\n卷后有岳居土张激绍兴十年（1140）跋：“周文矩宫中图，妇人小儿，其数八十。男子写神。”",[23,209,7,24,25,105,260,106,59,3045,210,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d5daed2a1792353467f6670b4d6b6.jpg","纵28.3cm，横168.5cm",[],{"id":49825,"slug":49826,"title":44894,"dynasty":18,"author":293,"museum":206,"description":49827,"tags":49828,"thumbUrl":49829,"material":40,"size":49830,"collection":139,"collections":49831,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},223428,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223428","观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相，但五官秀美，已流露出女性化的特质。观世音菩萨站于莲花台上，左右各有两位菩萨随侍，下方的天龙八部双手合十，向观音菩萨示敬。",[23,209,7,24,241,259,28,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3609fea6b6aec4f00edc649c4078940.jpg","127x58cm",[],{"id":49833,"slug":49834,"title":49835,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":49836,"thumbUrl":49837,"material":67,"size":10518,"collection":139,"collections":49838,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[23,7,24,28,27,106,175,108,109,107,279,1532,176,313,114,115,34,2268,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],{"id":49840,"slug":49841,"title":49842,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":49843,"thumbUrl":49845,"material":27,"size":6032,"collection":139,"collections":49846,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},222735,"xian-e-chang-chun-tu-he-hua-yu-ci-gu-hua-lang-shi-ning-222735","仙萼长春图荷花与慈姑花",[23,7,24,81,27,28,83,136,49844,604,137],"慈姑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ad0b6a8b52b7b8263a034c82ced6e6.jpg",[],{"id":49848,"slug":49849,"title":49850,"dynasty":76,"author":850,"museum":206,"description":6027,"tags":49851,"thumbUrl":49852,"material":27,"size":6032,"collection":139,"collections":49853,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},222733,"xian-e-chang-chun-tu-cui-zhu-qian-niu-lang-shi-ning-222733","仙萼长春图翠竹牵牛",[23,209,7,24,81,28,27,83,242,28886,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e67283e0ab5abccdabbdf139080e20c.jpg",[],{"id":49855,"slug":49856,"title":49857,"dynasty":76,"author":20231,"museum":206,"description":38568,"tags":49858,"thumbUrl":49859,"material":665,"size":49860,"collection":181,"collections":49861,"showCount":232,"zanCount":1547,"manualWeight":48,"mainColor":49},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴",[23,7,24,241,27,29,649,37,34,650,31,174,107,108,109,10380,177,900,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[181,45],{"id":49863,"slug":49864,"title":49865,"dynasty":76,"author":5208,"museum":364,"description":20802,"tags":49866,"thumbUrl":49867,"material":1716,"size":46779,"collection":139,"collections":49868,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},222625,"shan-shui-shan-mian-4-gong-xian-222625","山水扇面-4",[23,1562,7,24,173,177,29,394,108,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030eef42f9fe02485556236ab0f68ff9.jpg",[],{"id":49870,"slug":49871,"title":49872,"dynasty":99,"author":12957,"museum":78,"description":12958,"tags":49873,"thumbUrl":49874,"material":139,"size":139,"collection":139,"collections":49875,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":94},222505,"shen-xian-tu-ce-11-zhang-lu-222505","神仙图册11",[23,7,24,81,27,106,259,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f86f8279f8525d35d5189fc4ce7660f.jpg",[],{"id":49877,"slug":49878,"title":49879,"dynasty":99,"author":26281,"museum":675,"description":42570,"tags":49880,"thumbUrl":49881,"material":990,"size":42573,"collection":181,"collections":49882,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图",[23,209,7,24,241,259,28,27,106,29,1575,650,1159,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg",[181,45],{"id":49884,"slug":49885,"title":9987,"dynasty":99,"author":1170,"museum":20,"description":49886,"tags":49887,"thumbUrl":49889,"material":40,"size":49890,"collection":181,"collections":49891,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},222027,"san-gu-cao-lu-tu-dai-jin-222027","画面描绘的是家喻户晓的刘备“三顾茅庐”拜访诸葛亮的故事。人物的描绘生动而细致，例如刘备恭敬的神态、张飞的深色面庞及武夫样的站姿都描绘得十分传神。人物的动态掌握得非常准确。画山石用大斧劈皴法，松枝颀长，明显继承了南宋马远的画风，用笔简劲。整体画面墨色清雅。\n在明代宫廷画中以“招贤纳士”为题材的历史故事画为数不少，反映了当政皇帝求贤的迫切心情。",[23,7,1397,177,27,106,449,49888,242,175,176,558,430,12411,2268],"草庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f5519f01f671699f57d3b1bc3dfe2e.jpg","纵172.2cm，横107cm",[181,163],{"id":49893,"slug":49894,"title":49895,"dynasty":99,"author":966,"museum":206,"description":49896,"tags":49897,"thumbUrl":49898,"material":827,"size":49899,"collection":44,"collections":49900,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},221991,"qiao-lin-zhu-ming-tu-zhou-wen-zheng-ming-221991","乔林煮茗图轴","不见鹤翁今几年，如闻仙骨瘦于前。\n只应陆羽高情在，坐荫乔林煮石泉。",[23,7,29,864,297,430,173,446,241,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0950965539805b38e2ff08fe774e3851.jpg","本幅 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〈擣衣圖〉作於1240年，創作原型取自南朝詩人謝惠連（397-433）〈擣衣詩〉。純以白描輕墨，畫婦女卅二人，在將寒時節，循序進行搗練、剪裁、製衣、裝箱、封寄的過程。畫中諸女皆面容圓潤，衣裙寬大，猶保有唐人餘韻。人物儀態，舉止優雅，惟在眉宇間多有愁思之意，傳透出對良人從軍未歸的掛念情愫。足稱是南宋繪畫中，描寫夫妻兩地相思，最含蓄、也最成功的作品。",[209,7,24,25,260,106,63,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52f0b5c8e369f08c112946b110d3131.jpg","纵27.1厘米，横266.4厘米",[42,44,45],{"id":49929,"slug":49930,"title":49931,"dynasty":189,"author":2519,"museum":206,"description":49932,"tags":49933,"thumbUrl":49934,"material":827,"size":49935,"collection":181,"collections":49936,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,7,24,25,173,27,28,177,86,178,227,29,5023,2523,31,34,35,194,1112,10416,5022,41698,1915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[181,45],{"id":49938,"slug":49939,"title":49940,"dynasty":1095,"author":49941,"museum":8718,"description":49942,"tags":49943,"thumbUrl":49944,"material":15457,"size":139,"collection":139,"collections":49945,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},220460,"bai-she-chuan-guan-liang-220460","白蛇传","关良","关良（1900-1983，出生于广东番禺）笔下的水墨戏曲人物乍一看总会让人怀疑是儿童画，略显稚拙天真。本幅表现的是《白蛇传•断桥》中小青拔剑欲杀许仙而被白素贞阻止的一幕。画中小青双手执剑，一剑正要刺向许仙，而许仙因这突如其来的惊吓而狼狈地跌倒在地；而画面更富戏剧性张力的矛盾则聚焦在白素贞与许仙二人身上，二人妆扮一白一黑，白娘子面对薄情郎，流露出既义愤又怨恨的眼神，双手按住小青的动作又将其爱恨交加的心理表现得淋漓尽致；许仙神色微愠，懊恼地望向了出手相救的白娘子，正欲辩说。画中人物的动作以及眼神的一勾、一搭点出了三人微妙的关系。关良尤其擅长将画面定格在最富于表现力的瞬间，其创作并不诉诸的宏大叙事，而是专注于其笔下人物的爱恨情仇。其画画中有戏、画中有情，往往尺幅虽小，然而生趣无穷。",[7,173,27,106,446,39988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ce9a521acc084f6ba970bf12bfb5f69.jpg",[],{"id":49947,"slug":49948,"title":49949,"dynasty":99,"author":47573,"museum":206,"description":49950,"tags":49951,"thumbUrl":49952,"material":342,"size":49953,"collection":44,"collections":49954,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},220022,"shan-cai-ding-li-tu-xiang-yuan-bian-220022","善财顶礼图","项元汴（明 1525—1590）字子京，号墨林，别号墨林山人、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏\n明鉴藏家。国子生。精于鉴赏，辨别真赝，析及毫发，当时无人可比。尝得铁琴一，上有“天籁”二字，因以名阁。又曾遴选能工巧匠制作各种器具，凡几榻、架柜、奁盒等，镌以铭识，都极精巧。 工绘画，兼擅书法。有《墨林山人诗集》、《蕉窗九录》等。",[7,24,241,173,29,106,245,109,1575,176,37,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608705547db80176fd9fd3ef2b8ff11.jpg","130*30.5cm",[44],{"id":49956,"slug":49957,"title":49958,"dynasty":189,"author":2876,"museum":752,"description":49959,"tags":49960,"thumbUrl":49961,"material":342,"size":139,"collection":181,"collections":49962,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},219967,"shan-shui-xian-ju-tu-cao-zhi-bai-219967","山水闲居图","此作用平远之法铺展江南水色，烟波浩渺的湖面横贯画幅，汀渚错落间晕开清寂悠远的意韵。近岸林木萧疏苍劲，茅亭临水待客，村舍隐于林间，野意悠然。\n\n以干笔皴擦勾勒山石林木，笔法松秀简淡，墨色清润虚实相生，带着元代文人画特有的萧散简远。将幽居林下、寄情烟水的雅逸心境藏进留白与笔锋里，尽显天真幽淡的林下风致，把江南水乡的闲淡隐逸之趣铺陈得恰到好处。",[23,7,24,25,173,29,177,34,175,31,491,35,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca037a1b408a2cad9f2a4430094ab374.jpg",[181],{"id":49964,"slug":49965,"title":49966,"dynasty":76,"author":1892,"museum":206,"description":49967,"tags":49968,"thumbUrl":49969,"material":342,"size":49970,"collection":181,"collections":49971,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},219892,"fang-ni-huang-he-bi-tu-wang-yuan-qi-219892","仿倪黄合笔图","图绘湖山阔远,水榭静美.取倪云林之图式,运黄子久之笔墨,王麓台笔力能扛鼎,诚非虚誉.",[7,173,29,105,177,864,297,430,242,175,650,1015,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79ceab6892c3b9c5f6fc7105fc63ef6.jpg","111.5x48.1",[181],{"id":49973,"slug":49974,"title":1692,"dynasty":76,"author":15408,"museum":364,"description":49975,"tags":49976,"thumbUrl":49977,"material":27,"size":139,"collection":181,"collections":49978,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":49},219836,"shan-shui-tu-ren-xiong-219836","此作以明黄为底，石青石绿晕染峰峦，跳脱传统山水的柔和基调，浓烈撞色醒目张扬。群山如利刃攒聚拔地而起，线条苍劲硬朗，勾勒出奇崛陡峭的山石肌理，带着金石般古朴质感。\n\n层叠峰峦错落排布，水色留白穿插山林间，虚实相映，令逼仄山景生出灵动空阔之意。点缀的林木或敷红或点白，为冷硬山石晕开鲜活暖意，让瑰奇山景兼具富丽堂皇与悠远意境，以极具装饰性的手法，演绎出独树一帜的工笔山水新韵。",[23,7,27,26,177,29,30,34,560,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b13f78b1724169dff99021f61857a8a.jpg",[181],{"id":49980,"slug":49981,"title":49982,"dynasty":18,"author":293,"museum":539,"description":49983,"tags":49984,"thumbUrl":49985,"material":123,"size":49986,"collection":181,"collections":49987,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":49},219812,"dong-xue-mu-gui-tu-yi-ming-219812","冬雪牧归图","寒林雪野，天地浸在清寂冷冽之中。枯木槎桠凝着残雪，枝梢瘦硬老辣，将冬日荒寒铺陈开来。淡墨晕染出覆雪平野，留白处尽是冬日的空濛静谧。\n\n骑牛牧童裹衣缓行，牛蹄轻踏积雪，打破了郊野的岑寂。萧寒雪景里，归牧的悠然自成暖意，一动一静间，把山野冬日的孤清和归家的温软相融。笔墨极简却意蕴悠长，以简驭繁，将冬日郊野淡远安闲的诗意尽藏其间，尽显雅致悠远的画中真味。",[23,7,28,27,106,151,1015,15846,24412,177,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497df3615e31c5e6e8137d8b9449725.jpg","纵107.20 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三只白鹭站在粗杆上，昂首挺胸； 发芽的柳条垂下几根，沐浴着春风，像一堵绿墙一样在两边摆动； 小鸟躲在里面，拿着柳条在秋千上荡秋千，或者栖息在春天里，互相欣赏。",[7,209,24,241,28,27,83,1532,5223,840,281,10154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e32fdc6ff622340002106f04ee40b3a.jpg","231.1x101.9cm",[90],{"id":50071,"slug":50072,"title":50073,"dynasty":18,"author":293,"museum":206,"description":50074,"tags":50075,"thumbUrl":50076,"material":123,"size":50077,"collection":181,"collections":50078,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":94},219040,"shui-xuan-hua-xie-tu-yi-ming-219040","水轩花榭图","露台建在岩石上，有一个开放的亭子，下面是一片树林。一条走廊半藏在绿色景观中，其另一端通向两个大厅堂。建筑物的主要部分被小心翼翼地放在画的下半部分，这样，[上半部分]的白色空间就变得更加宽广，而背景是月亮的天空，则非常遥远！。这是南宋微型山水画中典型的空间表达方式。画中的建筑画得很精致，具有逼真写实的艺术风格。画中的人物都有宋人纤细的体态，摆放祭品和攀登亭子可能是官家在仲夏夜的活动写照。",[23,7,1562,27,104,28,107,175,1575,313,176,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c80f01916371f7568e1b5d290868c0.jpg","24.8x25.8",[181],{"id":50080,"slug":50081,"title":5230,"dynasty":18,"author":293,"museum":206,"description":50082,"tags":50083,"thumbUrl":50084,"material":123,"size":50085,"collection":44,"collections":50086,"showCount":232,"zanCount":5,"manualWeight":48,"mainColor":94},218734,"xi-yuan-ya-ji-tu-yi-ming-218734","它描绘了王诜在西园雅集的故事，一石激起千层浪，人物安排得饶有兴味，人物画风古朴，可能是南宋李公麟作品的翻版。",[23,7,24,27,28,106,34,176,1965,759,16285,115,2951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bc6ae28ac3a522246a2352340f410b.jpg","23.9x24",[44],{"id":50088,"slug":50089,"title":50090,"dynasty":99,"author":50091,"museum":4535,"description":50092,"tags":50093,"thumbUrl":50094,"material":88,"size":139,"collection":44,"collections":50095,"showCount":232,"zanCount":48,"manualWeight":48,"mainColor":94},218490,"ri-ben-gao-shi-guan-mei-tu-zhuo-zong-deng-yang-218490","日本· 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。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[7,24,29,27,177,3117,107,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df074ba8c51f80c12f8c57d5b60b59c.jpg",[],{"id":50435,"slug":50436,"title":486,"dynasty":76,"author":13111,"museum":20,"description":50437,"tags":50438,"thumbUrl":50439,"material":1716,"size":50440,"collection":181,"collections":50441,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},235015,"shan-shui-ce-wu-li-235015","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[7,24,81,173,27,29,108,175,1015,176,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3efc5d206a3c127338aa7c9ce390b.jpg","23.2厘米，横28厘米",[181,163],{"id":50443,"slug":50444,"title":486,"dynasty":76,"author":50445,"museum":12347,"description":50446,"tags":50447,"thumbUrl":50448,"material":139,"size":139,"collection":181,"collections":50449,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":94},234102,"shan-shui-ce-wang-gai-234102","王概","王概，又作王槩。字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。其兄王耆，其弟王臬皆擅画。王概的山水师法龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：\n“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”\n王概擅治印、刻竹，并善诗文，著有《澄心堂纸赋》。王概在中国绘画史上留名，主要是三十五岁时曾应沈因伯之请，携兄弟，以明李流芳课徒画稿为基础，为《芥子园画传》编绘山水集，率先编绘了中国画技法图谱——《芥子园画谱》。",[7,27,173,81,29,394,175,245,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1c5d69c9f1d0968dfce493fa609542.jpg",[181],{"id":50451,"slug":50452,"title":50453,"dynasty":189,"author":27230,"museum":20,"description":50454,"tags":50455,"thumbUrl":50456,"material":803,"size":50457,"collection":139,"collections":50458,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},233875,"xue-jiang-yu-ting-tu-juan-yao-ting-mei-233875","雪江渔艇图卷","《雪江渔艇图》描绘冬天雪景，寒江两岸的景色，突出了冬天平远雪景。\n整幅画画法宗北宋 而又略参南宋技法，用笔苍润，疏简秀逸，意境清远。\n《雪江渔艇图》描绘了一江两岸之冬天平远雪景。\n近处枯木寒林参天，枝干虬曲多姿，枝头多呈鹰爪、鹿角状，江边平岸上有一草舍，宽阔浩淼的江面有点点渔舟出没。",[7,173,25,29,1653,394,174,1016,227,177,4974,2124,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],{"id":50460,"slug":50461,"title":50462,"dynasty":99,"author":170,"museum":20,"description":1470,"tags":50463,"thumbUrl":50464,"material":990,"size":1473,"collection":139,"collections":50465,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},233835,"wo-you-tu-ce-xing-hua-shen-zhou-233835","卧游图册－杏花",[209,7,24,81,173,27,83,2972,226,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1f2aa10e8f3812d10b6863c0c7125a.jpg",[],{"id":50467,"slug":50468,"title":16637,"dynasty":189,"author":5444,"museum":20,"description":50469,"tags":50470,"thumbUrl":50471,"material":1716,"size":16641,"collection":139,"collections":50472,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","是图以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。",[7,24,241,173,27,177,28,29,34,174,109,491,650,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg",[],{"id":50474,"slug":50475,"title":50476,"dynasty":76,"author":31739,"museum":20,"description":50477,"tags":50478,"thumbUrl":50479,"material":990,"size":50480,"collection":139,"collections":50481,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":94},233119,"xi-xi-yu-yin-tu-zhou-zhang-ci-ning-233119","西溪渔隐图轴","主人公西溪时年47岁，身处邗上（约今江苏一带）。图绘西溪长髯戴笠、左手执钓竿、端坐于坡陀之上的情景。他双目有神，神情淡定，面部稍加晕染，衣纹线条简洁。其身后为溪水潺潺，群山渺渺。近前树木高者茂盛，矮者丛生，坡石嶙峋。繁而不杂的景致与清丽淡雅的设色，极好地衬托出西溪高逸的人格和淡泊的情怀。",[7,24,241,173,27,177,29,34,176,106,1016,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78d95e4f7aa37f40fd62d0d5360cbe2.jpg","纵194厘米，横94.5厘米。",[],{"id":50483,"slug":50484,"title":50485,"dynasty":189,"author":50486,"museum":364,"description":50487,"tags":50488,"thumbUrl":50489,"material":139,"size":139,"collection":139,"collections":50490,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":49},233021,"jiu-feng-dao-ren-san-jun-tu-juan-xu-lin-233021","九峰道人三骏图卷","徐霖","徐霖字子元，号九峰，人呼为髯仙。其先吴人，徙金陵。七岁能诗，九岁能大书，操笔成体。善画松竹花卉蕉石，奕奕有致。武庙南巡，屡幸其家，赏赉甚渥。与沈周交善。",[7,24,25,27,28,150,106,86,178,227,1796,7464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320aca22552c8e5380201d37034b90fe.jpg",[],{"id":50492,"slug":50493,"title":50494,"dynasty":18,"author":781,"museum":206,"description":50495,"tags":50496,"thumbUrl":50497,"material":50498,"size":50499,"collection":139,"collections":50500,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":94},232915,"bai-miao-mian-zhou-tu-juan-li-gong-lin-232915","白描免胄图卷","《免胄图》卷所绘即为郭子仪率数十骑免胄（徒手不着盔甲）见回纥首领大酋，大酋舍兵下马拜见的情景。图卷左侧是郭子仪所率部将兵骑，仪容镇定，伫立于侧。右侧是入侵关中的回纥兵骑，阵营庞大而惶惶无措。回纥大酋着戎装，携副将滚鞍落马，正单膝跪地作钦服之状，拜见免胄着燕服的郭子仪。郭神情雍穆诚恳，俯身援手以礼相见，体现出从容大度的一代名将风范。\n此卷描绘唐代名将郭子仪说服回纥大破吐蕃一事。关于这一著名战事，《旧唐书》有详细记载。唐太宗广德二年（764），回纥、土蕃西域诸国数十万大军，入侵长安，郭子仪奉命率军镇守泾阳，由于双方兵力悬殊，郭子仪决定亲赴敌营，希望说服回纥将领退兵，郭子仪是大唐名将，颇受蕃将敬重，当郭子仪脱去戎装，单骑来到回纥阵前，回纥统帅药葛罗一见，心悦诚服，下马跪迎，双方言和，药葛罗立即退兵，并发誓不再侵唐。",[23,209,7,24,25,260,106,150,227,7464,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a54c261d4257de502d94fbe837eb3b.jpg","纸本长卷","纵32.3厘米，横223.8厘米",[],{"id":50502,"slug":50503,"title":50504,"dynasty":99,"author":293,"museum":101,"description":50505,"tags":50506,"thumbUrl":50507,"material":803,"size":50508,"collection":139,"collections":50509,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},232913,"huang-he-di-tu-yi-ming-232913","黄河地图","考虑到黄河洪水的持续威胁，对该河流系统的研究和管理是清朝宫廷的首要任务之一。 这幅具有纪念意义的地图生动地说明了控制黄河航道的复杂性及其对流域内众多城镇的潜在影响。 该地图绘制于康熙皇帝（1662-1722 年在位）聘请耶稣会传教士团队对其帝国进行全面调查的时期，反映了引入欧洲技术之前本土地图制作的最高水平。 事实上，该地图的吸引力不在于其制图准确性，而在于其对地形特征的图像处理。 展开卷轴，就是去体验从东海逆流而上到龙门急流的戏码。",[23,7,25,27,26,28,29,31,649,45782,20548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72559ed9e9aa861115d474a474464bb0.jpg","78 x 1285 厘米",[],{"id":50511,"slug":50512,"title":50513,"dynasty":189,"author":293,"museum":12966,"description":50514,"tags":50515,"thumbUrl":50520,"material":803,"size":50521,"collection":139,"collections":50522,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},232835,"fang-li-song-xi-hu-qing-qu-tu-yi-ming-232835","仿李嵩西湖清趣图","画中心突出明净湖水，四围群山环绕，雷峰塔、孤山、双峰插云、断桥诸名胜皆隐现于烟锁雾迷之中，画风上于马远、夏圭之外，自出机杼。 全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,7,209,25,1397,28,446,173,13201,48741,107,50516,5023,50517,50518,50519],"断桥","晨雾","春光","名胜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae990ac4d591dcb0ff85a8eb39d73a88.jpg","32.9x1581.1厘米.",[],{"id":50524,"slug":50525,"title":50526,"dynasty":99,"author":1170,"museum":238,"description":50527,"tags":50528,"thumbUrl":50529,"material":67,"size":50530,"collection":139,"collections":50531,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},232646,"xi-bian-yin-shi-tu-dai-jin-232646","溪边隐士图","戴进早年受画工父亲戴景祥的影响，从锻工改学绘画，擅长工笔。并且常为寺观做佛像，以精工、细巧见长。同时也受到南宋“院体”的影响。中年时，进京入宫，供奉仁智殿，但因呈献得意之作《秋江独钓图》时，遭馋言而被贬斥，最终离开画院。可以说，这一意外的打击是他绘画生涯的转折点。在京城的后十余年中，他泛学诸家，广交文人画家和士大夫公卿，将宋元文人画家的传统渗入到自己的艺术中。晚年，他离京返乡，卖画课徒。并发展了马、夏苍劲的水墨山水，以更为坚劲、雄阔的笔墨，创造出更具运动感和阳刚气势的山水画新风貌，经后世发扬，遂成“浙派”。\n戴进的坎坷经历是他形成复杂性格的直接原因。由于仕途的失败，理想的破灭，使他采取与世无争的态度，开始淡泊名利，洁身自好，借诗文翰墨来怡养性情。因此，画面中的整体氛围是安逸、祥和的。然而作品虽静、幽却没有元人画中的那种消极、凄凉之感。这是因为戴进不同于那些高蹈远行、浪迹山林的文人画家。他是一位在社会上谋生的职业画家，虽然与世无争却并不回避现实，以于世有补的态度来面对人生。他胸怀旷达、志趣高雅，广泛交友，被誉为“博雅之士”。\n画中描绘了一位超凡脱俗的隐士斜坐在山石之上，在他旁边放着一根拐杖，大概是旅途劳累，故在山中休憩。隐士的神情平和，裸露前胸，从微微低垂的眼神中，可看出他正在倾听身旁潺潺的流水声，真是悠哉、闲适的生活。周围的景物只有山石和树木，一片寂静，惟有小溪的“乐音”萦绕整座山林，一直传进幽深之处。人物悠闲的心态与恬淡的景致自然地融合在一起，一切都是那样的自由，那样的随和，在不经意间透露着一种文人的气息。这是作者艺术风格的简逸一面，但这又不同于元人画风的那种淡泊。画中山石勾勒，坚实峻拔，并运用了南宋马、夏的斧劈皴，皴法迅捷刚韧，犹如石斧雕凿一般。看那偃斜多姿的拖枝松是如此的苍劲有力，它身如虬龙，扎根于硬石之中，直冲云天。其曲折的枝干，每一曲，每一折都流露着倔强与刚烈。好似一位坚强不屈战士，又似一位清高绝俗的雅士，傲然挺立于山巅之上。这种刚毅的气质与平静、幽寂的情境形成了鲜明的对比。而二者又在通情达意之间互为补充，取得了完美的平衡。\n作品在题材、布局和画法上，基本是仿效南宋马远一派。如，通过松树和远山、近石形成的对角线构图，山石运用潇洒利落的斧劈皴，松柏的遒劲挺拔，还有人物衣纹细劲顿挫的勾勒等，都极似马麟的绘画风格。本画为水墨淡彩，整体以水墨为主，只是在山石、树木和人物衣服上都略施以淡淡的绿色。这种淡雅的色彩正体现了画的清逸与闲淡之韵。",[23,7,24,241,173,27,29,106,1575,109,650,177,394,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920c1d68ed02e2884a6e69185f76dca3.jpg","纵137.9厘米，横75.1厘米",[],{"id":50533,"slug":50534,"title":50535,"dynasty":189,"author":2519,"museum":364,"description":50536,"tags":50537,"thumbUrl":50538,"material":67,"size":50539,"collection":139,"collections":50540,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[23,209,7,25,27,177,29,864,34,106,150,957,281,650,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":50542,"slug":50543,"title":50544,"dynasty":189,"author":5488,"museum":206,"description":50545,"tags":50546,"thumbUrl":50547,"material":803,"size":50548,"collection":139,"collections":50549,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":94},232253,"zhu-xi-lan-sheng-tu-guan-dao-sheng-232253","竹溪揽胜图","此幅旧传为管氏所作，画山峦起伏，缘溪瓦屋数椽，丛竹错落其间，溪边泊舟，桥上行人，以水墨细致之笔调，写宁静之村景，真得小桥、流水、人家之诗意\n管道升（1262－1319年），吴兴人。字仲姬，赵孟頫妻。（1317年延祐四年）封魏国夫人。翰墨辞章不学而能，笃信佛法，书牍行楷与乃夫赵孟頫几不可辨异同，为中国书画史上著名女性作家之一。",[7,173,29,242,560,174,920,491,5243,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72880b50c05fbf5396230366c11651d.jpg","此幅 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62公分",[],{"id":50551,"slug":50552,"title":50553,"dynasty":189,"author":25426,"museum":206,"description":50554,"tags":50555,"thumbUrl":50556,"material":88,"size":50557,"collection":139,"collections":50558,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":94},231417,"shen-yue-qiong-lin-tu-fang-cong-yi-231417","神岳琼林图","此图以写意的笔法，画层峦琼林之景观，画面山色苍茫，意境幽深。\n此图危峰耸立，气势磅礴。近景坡岸延伸，杂树丛生，几条潺泼的小溪汇聚成潭，断岸溪桥，屋字隐伏，流水人家。一条小径蜿蜒曲折，若隐若现，通往山林的深处。远处高峰矗立，山腰云气氤氲，恍惚缥缈，隐约可见一条山径顺着山势盘绕而上。一高上注目远眺，神情闲雅，寄情于山光水色之中。\n此图自题：“岁在旃蒙天荒落三月十一日，鬼谷山人方方壶为南溟真人作神岳琼林图。”",[7,24,241,173,29,30,34,108,109,650,560,561,177,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2cb1101f18f7f0c099bd9034314950.jpg","纵120.3cm，横55.7cm",[],{"id":50560,"slug":50561,"title":50562,"dynasty":189,"author":50563,"museum":206,"description":50564,"tags":50565,"thumbUrl":50566,"material":1642,"size":50567,"collection":139,"collections":50568,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},231335,"cui-yu-xuan-tu-yuan-dai-ji-jin-zhi-ba-zhuang-lin-231335","翠雨轩图－元代集锦之八","庄麟","庄麟所绘的《翠雨轩图》为元人集锦卷之一，也是庄麟传世的唯一作品。绘临溪的坡岸上设茅屋一间，树木环绕，溪水浅滩，极为渺远。一叟曳杖度桥而来。境界萧疏淡远，静寂清幽。画家以淡墨为基调，用笔清逸流畅。将翠雨轩置于特定的环境中。使观者也似乎感受到远离喧嚣的静谧。\n此图写林中茅屋一间，一老者策杖过桥，步伐坚定,与桥下的溪流淙淙共同构筑了画面的幽寂和飘逸。并不像过去贬斥画工的那些描述那样，很有元代文人画家的趣味。满纸水墨挥洒，不但舒意而且流畅，画家用大写意的手法，画出翠雨轩的茅舍溪桥，画面疏疏密密，浓浓淡淡，没有精心雕琢的痕迹，反而传达了一种萧闲的意境。画上有清代乾隆皇帝的御题诗，对画面意境和风格作了极为贴切的评述。\n以文人的齐居作为绘画题材，元代画家已有涉及，如朱德润 《 秀野轩图》、 张渥《竹西草堂图 》、赵原《合溪草堂图》等。至明代则成为文人画家创作中经常出现的一种题材。",[7,24,173,29,177,25,108,109,920,394,106,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cce050135140f0e09ecbb560cf14c24.jpg","纵：26.2厘米，横：65.4厘米",[],{"id":50570,"slug":50571,"title":50572,"dynasty":76,"author":16736,"museum":364,"description":50573,"tags":50574,"thumbUrl":50575,"material":139,"size":139,"collection":139,"collections":50576,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},230973,"su-di-xiao-xia-tu-zhu-cheng-230973","苏堤消夏图","此作以兼工带写之笔铺陈夏意，柔柳垂条拂过崖槎，白鹭独立其上，白羽莹洁，黑喙配明黄眼眸，神态傲然灵动，尽显禽鸟生趣。下方荷塘白莲亭亭舒展，淡墨晕染荷叶，晕开江南盛夏的湿润水汽。枯木苍朴遒劲，与莲柳的清柔相映成趣。设色浅雅清和，禽鸟刻画工细鲜活，花木则写意纵逸，于尺幅间绘就苏堤消暑的幽寂闲澹，将夏日暑热里的清宁逸致娓娓道来，尽显海派花鸟灵动秀雅的风韵。",[23,7,27,83,5223,136,1226,137,226,3963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9f28911d8a7133a06f0c24a7adda13.jpg",[],{"id":50578,"slug":50579,"title":6556,"dynasty":99,"author":170,"museum":675,"description":6557,"tags":50580,"thumbUrl":50581,"material":619,"size":6560,"collection":90,"collections":50582,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},230957,"ping-he-tu-shen-zhou-230957",[23,7,24,241,27,28,136,137,244,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9937a425003a6af29aa49db4e9aa7adf.jpg",[90,45],{"id":50584,"slug":50585,"title":50586,"dynasty":189,"author":50587,"museum":364,"description":50588,"tags":50589,"thumbUrl":50590,"material":139,"size":139,"collection":139,"collections":50591,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},230870,"cang-lang-du-diao-tu-sheng-zhu-230870","沧浪独钓图","盛著","此作用笔清润简淡，近景坡岸虬松偃蹇，苍枝拂向水面，扁舟系于松下，渔翁垂纶独钓，汀渚蒹葭轻摇，漾出幽寂闲淡之味。平湖如镜隔开远近，彼岸林木蔚然成簇，淡墨晕染出远山层叠，云气空濛将天地晕融一处，虚实相生间铺展出萧散淡远的山水格局。\n\n画师以干笔皴擦写山石肌理，湿墨点染苔树烟岚，笔墨间藏着元人山水的林下之致，将沧浪渔隐的出世意趣融于烟水云山，把遁世忘机的雅兴寄在一竿一线之中，尽显文人画崇尚的林泉高致，满幅皆是清远脱尘的幽寂诗意。",[23,7,24,173,29,174,3466,34,109,245,177,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde68514a3c2323b7552184a3b1e22519.jpg",[],{"id":50593,"slug":50594,"title":24703,"dynasty":99,"author":26281,"museum":364,"description":50595,"tags":50596,"thumbUrl":50597,"material":139,"size":139,"collection":139,"collections":50598,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":94},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[23,7,24,25,28,27,260,177,29,106,175,109,449,242,108,1959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":50600,"slug":50601,"title":50602,"dynasty":99,"author":4512,"museum":364,"description":50603,"tags":50604,"thumbUrl":50605,"material":139,"size":139,"collection":139,"collections":50606,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},228855,"hua-hui-tu-ce-ye-wen-chu-228855","花卉图册页","折枝斜斜舒展于素纸之上，碧叶晕染出通透莹润的质感，隐现的叶脉似携着朝露清光。粉白花萼轻绽，花瓣柔媚含娇，垂首的蓓苞似攒着春日私语，将草木温婉之态藏于笔底。\n此作用淡彩没骨晕染，设色清妍秀雅，摒弃浓艳，仅以浅绛水色晕出花叶鲜活，笔致细腻温婉，静逸情思流于毫端。画面留白简淡空阔，衬出花木幽柔之美，悠悠古意漫溢纸面，尽显雅致静穆的闺阁意趣，是小品花木里的上乘之作。",[23,7,24,81,28,27,83,84,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f944568edf7a4ea2c9b422bafac893.jpg",[],{"id":50608,"slug":50609,"title":50610,"dynasty":99,"author":1480,"museum":364,"description":50611,"tags":50612,"thumbUrl":50613,"material":139,"size":139,"collection":139,"collections":50614,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},228477,"shui-cun-xing-lv-tu-juan-tang-yin-228477","水村行旅图卷","这幅画作取江南水村之景，以开阔平湖开篇，远山衔水，汀洲错落疏林点缀，留白尽显烟波浩渺之致。近崖松柳掩映白墙黛瓦，流泉自壁间垂落，衬出村居幽谧。村道上行旅三人缓行，湖面扁舟泛波，处处漫溢悠然野趣。\n\n其设色秀润雅致，山石皴擦柔和却不失嶙峋质感，林木晕染层次丰盈，兼容院体精工与文人逸韵，将江南水乡的温婉灵秀，同恬然自在的乡居日常相融，把明季文人心中的栖居闲意，藏进尺幅山水之间。",[23,7,24,25,27,177,29,106,150,174,34,649,35,109,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5fd74b5fc2a7f660f6e08bd120b878.jpg",[],{"id":50616,"slug":50617,"title":50618,"dynasty":99,"author":100,"museum":364,"description":50619,"tags":50620,"thumbUrl":50621,"material":139,"size":139,"collection":139,"collections":50622,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,7,24,25,26,27,28,86,178,29,107,108,109,281,175,431,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":50624,"slug":50625,"title":50626,"dynasty":99,"author":13614,"museum":364,"description":50627,"tags":50628,"thumbUrl":50629,"material":743,"size":744,"collection":139,"collections":50630,"showCount":50193,"zanCount":1547,"manualWeight":48,"mainColor":94},228392,"wu-bai-luo-han-tu-quan-tu-wu-bin-228392","五百罗汉图全图","五百罗汉,一般指佛释迦去世后参加第一次经结集的五百比丘,以大迦叶和阿难首。至于五百比丘的其他人,除知名的十大弟子外,一般没有名号的记载。",[23,7,24,25,27,28,259,106,430,431,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e1cf1e9b43a8c99aefbe58ee4ad433a.jpg",[],{"id":50632,"slug":50633,"title":50634,"dynasty":99,"author":1083,"museum":364,"description":50635,"tags":50636,"thumbUrl":50637,"material":139,"size":139,"collection":139,"collections":50638,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},228322,"tong-xia-shou-jiao-tu-chen-hong-shou-228322","桐下授教图","此作用笔古拙苍劲，古桐盘屈虬结，苔痕覆着老干，轻烟柔云缠绕枝梢，晕染出幽绝尘寰的林下氛围。\n凭几高士神色恬然，似正开示妙义，下方弟子敛衽跪坐，垂首凝神聆听，将闻道的敬慕全然藏于姿态之中。侍童静立侧旁，案头瓶花清隽雅致，衬出雅静出尘的文聚意境。\n线条清圆凝练，设色淡静沉稳，人物造型奇崛古雅，带着独有的变形意趣，把魏晋林下清谈的萧散高逸，收于尺幅之间，尽显静穆古雅的晚明文人意韵。",[23,7,24,241,27,28,106,16310,6909,84,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab28a2765a4b73f109df837ac62eabb.jpg",[],{"id":50640,"slug":50641,"title":50642,"dynasty":189,"author":2519,"museum":364,"description":50643,"tags":50644,"thumbUrl":50645,"material":139,"size":139,"collection":139,"collections":50646,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},228261,"jiu-ge-tu-quan-juan-zhao-meng-fu-228261","九歌图全卷","此作为书画合璧妙品，设色清润秀雅，线条如春蚕吐丝，柔中带劲。画卷中仙女神祇各具神采，云中君衣袂翩跹荷影随行，东皇太一端方威严，侍神拱卫左右，将屈子笔下楚地仙灵的缥缈风神尽数铺展。\n\n篆籀书风古朴苍劲，文辞与图绘相得益彰，把《九歌》巫祭歌辞的浪漫幽渺氛围烘托殆尽，将上古巫仪的清灵庄重融于笔端，尽显追摹古意的沉静笔致，让观者恍如置身楚地巫歌灵舞的缥缈幻境之中。",[23,7,24,25,27,28,106,502,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ab31f24e204da3141a05e8169e38bb.jpg",[],{"id":50648,"slug":50649,"title":50650,"dynasty":189,"author":1057,"museum":364,"description":50651,"tags":50652,"thumbUrl":50653,"material":139,"size":139,"collection":139,"collections":50654,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},228171,"jiu-ma-tu-juan-ren-ren-fa-228171","九马图卷","长卷铺陈出闲适的厩苑日常，人马排布错落自然。左侧马厩中，良驹或垂首饮水，圉人侍立旁侧打理，马匹肌理骨骼刻画写实细腻，鬃毛发丝晕染柔和，尽显膘肥体健的神骏姿态。中段花马被牵徐行，昂首灵动，牵马人步履悠然，动态鲜活。右侧骏马昂然伫立，侍者低语顾盼，氛围平和悠然。\n整作线条劲挺流畅，设色清雅柔和，将鞍马画的写实功力尽显，既描摹出良驹矫健俊朗的风神，又勾勒出牧马日常的恬淡图景，藏着对写实工笔的精妙把控，尽显古风雅致的鞍马画韵致。",[23,7,209,25,28,27,150,106,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1d3e204d63756ad26041aa9243c11.jpg",[],{"id":50656,"slug":50657,"title":50658,"dynasty":189,"author":38741,"museum":364,"description":50659,"tags":50660,"thumbUrl":50661,"material":139,"size":139,"collection":139,"collections":50662,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":94},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[23,7,24,25,173,29,177,86,227,649,34,108,109,1255,37,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":50664,"slug":50665,"title":37171,"dynasty":189,"author":21191,"museum":364,"description":50666,"tags":50667,"thumbUrl":50668,"material":139,"size":139,"collection":139,"collections":50669,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":49},228068,"lou-ge-tu-xia-yong-228068","这幅团扇界画依山构宇，层叠楼阁沿山势铺展，朱漆廊柱配青釉瓦当，飞檐翘角凌然欲飞，界笔走线匀细挺括，将台榭回廊的错落层次勾勒得分毫毕现，尽显楼阁的巍峨明丽。\n\n青绿山水晕染雅致，石色清润，和明艳楼宇相映成趣，晕出缥缈出尘的仙山意境。下方江岸点缀行人舟楫，鲜活烟火气融入清寂山境，动静相生，整幅画面繁而不乱。画师以精微笔触，将界画的工整雅致和山水的空灵柔和相融，在尺幅团扇间铺展出一方兼具逸趣与精工的世外天地，尽显传统界画的独特意韵。",[23,7,28,104,26,27,29,107,106,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7acd25e761741b7385067a14721df4.jpg",[],{"id":50671,"slug":50672,"title":50673,"dynasty":18,"author":293,"museum":364,"description":50674,"tags":50675,"thumbUrl":50676,"material":139,"size":139,"collection":139,"collections":50677,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},227935,"qing-feng-ju-die-tu-yi-ming-227935","青枫巨蝶图","《青枫巨蝶图》是宋代佚名画家创作的一幅绢本设色画。\n描绘了伸出嫩绿色枫树一株，枝叶婆娑。\n一只赭黄色巨蝶从右上侧凌空飞临，与枫叶构成平衡的对角关系。\n本幅无款。\n鉴藏印钤“大观”葫芦形朱文印以及“石渠宝笈”、“乐 善堂图书记”、“重华宫鉴藏宝”印。\n钤清乾隆、嘉庆二御览印。\n图左下方更有鲜红色 伏于枫叶之上，十分俏皮。\n画风高度写实，细致入微。\n画法的特点一是细线勾勒，笔若游丝，使蝶与枝、叶的形态皆极为轻倩灵秀；二是设色淡雅明快，红、绿、黄对比鲜明，给人以清新出尘之感，不落浓艳俗套。\n存《 》册中。\n《 》著录。",[23,209,7,24,1562,27,83,28,6548,604,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b2cd2c17f1f932ab06e135ac4df848.jpg",[],{"id":50679,"slug":50680,"title":50681,"dynasty":18,"author":1616,"museum":364,"description":50682,"tags":50683,"thumbUrl":50684,"material":139,"size":139,"collection":139,"collections":50685,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[23,209,7,24,81,173,27,29,174,1575,650,109,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7070.jpg",[],{"id":50687,"slug":50688,"title":24703,"dynasty":18,"author":781,"museum":364,"description":50689,"tags":50690,"thumbUrl":50691,"material":139,"size":139,"collection":139,"collections":50692,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":94},227607,"lan-ting-xiu-xi-tu-li-gong-lin-227607","《李公麟兰亭修禊图》是宋朝李公麟创作的人物画，再现了当年王羲之等人雅集之状，现被私人收藏。",[23,209,7,24,27,104,29,106,107,175,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c442252580f8eabaa25ca0afe38259.jpg",[],{"id":50694,"slug":50695,"title":50696,"dynasty":18,"author":26092,"museum":364,"description":16446,"tags":50697,"thumbUrl":50699,"material":139,"size":139,"collection":139,"collections":50700,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）",[23,209,7,24,25,173,177,29,649,30,34,1015,7741,37,33,118,106,42690,24089,50698],"渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],{"id":50702,"slug":50703,"title":50704,"dynasty":18,"author":553,"museum":364,"description":50705,"tags":50706,"thumbUrl":50707,"material":139,"size":139,"collection":139,"collections":50708,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},227495,"qiu-she-tu-ye-fan-kuan-227495","秋涉图页","范宽（950-1032）宋代杰出画家。字仲立，一说中立。华原（今陕西耀县）人。北宋山水画家，生活于北宋前期，名列北宋山水画三大名家之一。因为他性情宽厚，不拘成礼，时人呼之为“宽”，遂以范宽自名。据《宣和画谱》记载，他风仪峭古，进止疏野，性嗜酒，落魄不拘世故。",[23,7,24,29,177,27,394,1653,106,150,109,864,431,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3f20715eb8a0623d5ede94214d8517.jpg",[],{"id":50710,"slug":50711,"title":50712,"dynasty":54,"author":577,"museum":364,"description":50713,"tags":50714,"thumbUrl":50715,"material":743,"size":744,"collection":139,"collections":50716,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":1335},227078,"yi-yu-lai-wang-tu-ye-yan-li-ben-227078","异域来王图页","此幅应为伪本",[23,7,209,24,81,27,28,106,957,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfae74aa3a781c82197b6a3cd63ac32.jpg",[],{"id":50718,"slug":50719,"title":50720,"dynasty":76,"author":7124,"museum":364,"description":50721,"tags":50722,"thumbUrl":50723,"material":139,"size":139,"collection":139,"collections":50724,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},226629,"si-shi-shan-shui-02-pu-ru-226629","四时山水02","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,7,24,209,241,173,27,29,245,1575,281,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbaef9558d710642e3f6aa6b5a09eb.jpg",[],{"id":50726,"slug":50727,"title":50728,"dynasty":76,"author":5096,"museum":56,"description":50729,"tags":50730,"thumbUrl":50731,"material":16652,"size":50732,"collection":181,"collections":50733,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},224487,"yuan-shan-gang-luan-tu-wang-jian-224487","远山岗峦图","构图繁而不乱，山石错落有致，而且笔法华润圆细，秀逸中不失严谨，纤细而不流于柔弱，刚柔并济，浓淡兼施，皴染同举，别有风采。\n这幅作品虽然是仿古，但是作者也是在临摹古画的基础上又融入了自己的思想而创作的，有他自己的特色。纵观全图，坡岸上石矶堆砌、层叠向上，远处山体高耸，峭壁悬崖，气势壮观。山上林木葱茏、青翠、茂盛，清气袭人。远处山涧，瀑布飞流直下，泻入溪中。岸边、山腰上建有水榭亭台、屋宇楼阁，或隐或现。一高士神态安详，端坐于水榭中，环视着四周淡远的景色。他那悠然自得、轻松惬意的神情深深地感染着观者。\n此画为竖构图，景物布置得繁而不塞、杂而不乱，可谓层次分明、经营有序。画家用浅赭色染树干、坡脚及屋墙，树叶和崖顶的平台用石绿色染出。由于山石多次以淡墨皴染，又用焦墨反复 积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[23,7,27,177,29,649,34,1575,920,560,650,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","151cmx66cm",[181],{"id":50735,"slug":50736,"title":50737,"dynasty":76,"author":10376,"museum":364,"description":50738,"tags":50739,"thumbUrl":50740,"material":139,"size":139,"collection":139,"collections":50741,"showCount":50193,"zanCount":1547,"manualWeight":48,"mainColor":94},224442,"fang-ju-ran-xi-shan-yu-ji-tu-wang-hui-224442","仿巨然溪山雨霁图","此作用淡墨晕染山峦，烟岚轻笼峰巅，将雨霁后空濛湿润的山景铺展开来。以披麻皴勾勒山石肌理，层层叠叠的丘壑尽显浑朴苍润，暗承江南山水的悠远意韵。\n\n近岸林木错落，点叶苍秀灵动，坡渚间杂草丰茂，野意十足。山谷村居隐于林泉之间，更衬出溪山幽谧清寂。\n笔墨秀雅兼具浑厚，把雨后天朗气清、山光涤荡一新的悠然宁静尽数烘托，于皴擦点染间尽显山水清润灵秀的意境，复刻古法同时自出新意，晕染出江南烟岚山水的温润诗意。",[23,7,24,241,173,177,105,29,864,5749,34,37,650,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],{"id":50743,"slug":50744,"title":50745,"dynasty":76,"author":16745,"museum":364,"description":50746,"tags":50747,"thumbUrl":50748,"material":139,"size":139,"collection":139,"collections":50749,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},224348,"hua-yu-wang-cheng-pei-224348","花鱼","整体设色清润淡雅，浅赭素底晕染出郊野荷塘的柔谧底色。青碧荷叶错落舒展，笔触细腻柔和，尽显叶片的舒展肌理。嫩黄荷花亭亭玉立，娇柔的花瓣晕染出清润生机。水草丛生以写意笔触绘就，浅淡墨色晕染出郊野塘岸的野趣。几尾小鱼线条灵动轻盈，悠游穿梭在水间，将池水的空寂与鲜活融为一体。画作在极简构图间藏着悠然禅意，无繁复铺陈，以淡彩晕开清和静谧的夏日氛围，把荷塘一隅的鲜活雅致勾勒尽致，尽显文人画的松弛恬淡与清雅意趣，尽显中式美学的悠然韵味。",[23,7,24,81,28,27,83,243,933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70272027dd70c00ffffadaec8b4ec100.jpg",[],{"id":50751,"slug":50752,"title":50753,"dynasty":76,"author":50754,"museum":364,"description":50755,"tags":50756,"thumbUrl":50757,"material":139,"size":139,"collection":139,"collections":50758,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},224339,"guan-bang-tu-juan-liang-xiang-224339","观榜图卷","梁亯","画面铺展乡野村居的鲜活日常，黛瓦村舍错落排布，临河的敞轩里有人闲坐观景，石拱桥畔有人凭栏眺望。山道间行人三两，或驻足热切交谈，或信步缓行，晕染出放榜后的松弛氛围。\n\n青绿点染坡岸古木，苍枝翠叶间生机盎然，工细的界画勾勒出民居的质朴规整，衣袂飘举的人物鲜活灵动。没有宫墙下的喧嚷拥挤，转而描摹乡邻间传递喜报、私语闲谈的烟火日常，将士林放榜后乡里的起落心绪融在淡雅的设色之中，笔底尽是平淡又真切的世情暖意，复刻出旧时乡野间的鲜活世相。",[23,7,24,25,27,28,104,106,107,108,34,281,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17a44f425b0d90604d33eb2089636e.jpg",[],{"id":50760,"slug":50761,"title":50762,"dynasty":76,"author":2324,"museum":364,"description":50763,"tags":50764,"thumbUrl":50765,"material":139,"size":139,"collection":90,"collections":50766,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},224320,"hua-niao-shi-er-kai-tu-li-shan-224320","花鸟十二开图","泼墨写就湖石，酣畅间尽显灵秀通透，似藏嶙峋古意。石畔花枝挺秀，粉紫娇花轻点晕染，明雅柔丽的设色晕开春日清趣。双鸡意态生动，一昂首侧目警觉周遭动静，一垂首理羽尽显慵懒闲适。禽鸟羽毛以淡墨晕染辅以细笔轻勾，将绒羽蓬松柔润的质感尽数铺陈。\n\n左畔行书款识笔意潇洒，与写意画格相融，诗书画印浑然一体。整幅兼工带写，既有文人写意的简逸纵恣，又不失精微写实的生趣，将花木禽鸟的天趣雅致藏于笔端，尽显悠然野逸的林下清致。",[23,7,24,81,173,27,83,245,1938,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04865c6f750cd80cf1f66c8c803e6a71.jpg",[90],{"id":50768,"slug":50769,"title":50770,"dynasty":76,"author":707,"museum":364,"description":50771,"tags":50772,"thumbUrl":50773,"material":139,"size":139,"collection":139,"collections":50774,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},224185,"hua-niao-cao-chong-tu-ba-04-hua-yan-224185","花鸟草虫图八-04","此作画境清寂空灵，以大片素净绢底铺就秋意寥廓。枯曲枝桠携残叶斜垂，晕染出沉郁秋容，瘦硬题诗暗合秋声萧瑟。\n\n寒蝉静栖残叶之上，翼脉纤细通透，躯体晕染青绿，将蛰伏静气藏于枯叶间；野蜂振翅独行，墨色凝练收拢，晕开秋日细碎生机。设色简淡克制，枯褐与浅绿相映，将清秋的清寒与虫豸生趣相融，以小景见秋深，尽显文人写意的淡远雅致，把清秋里幽微的生命意趣娓娓道来。",[23,7,24,209,81,27,173,83,603,697,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a6ebe9dc7f416e70b255842e6dea0d.jpg",[],{"id":50776,"slug":50777,"title":3981,"dynasty":18,"author":293,"museum":364,"description":50778,"tags":50779,"thumbUrl":50780,"material":139,"size":139,"collection":139,"collections":50781,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},223672,"xue-zhu-tu-yi-ming-223672","画面以巨石为骨，古松蟠曲依偎身侧，修竹高低错落、劲挺而立。作者以浓淡墨色晕染出雪意，枝桠竹叶覆雪的沉凝质感呼之欲出，留白暗合积雪清寒，将冬日萧索尽数铺陈。\n笔触苍劲老辣，写形亦写意，将雪后竹林幽寂清旷的氛围烘托到极致，草木于冷冽之中舒展不屈生机，尽显工致写实与文人意趣的交融，勾勒出古朴清寒的林下况味，晕开冬日静谧雅致的深幽意境。",[209,7,24,28,177,242,431,2124,430,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ab1508510dd441b1656cf2e9ed8949.jpg",[],{"id":50783,"slug":50784,"title":50785,"dynasty":18,"author":293,"museum":364,"description":50786,"tags":50787,"thumbUrl":50788,"material":139,"size":139,"collection":139,"collections":50789,"showCount":50193,"zanCount":1547,"manualWeight":48,"mainColor":49},223643,"liao-gui-tu-yi-ming-223643","蓼龟图","此作构图疏淡清寂，以淡赭铺陈出秋日汀洲的柔和底色。坡石间灵龟敛息静伏，背甲纹理勾勒写实，憨态稚拙尽显。旁侧蓼花柔茎舒展，青绿叶片晕染雅致，淡紫碎花垂曳生姿，下方蓝紫小花点缀水岸，野趣悠然。\n画作工写相融，灵龟与花木刻画精细，设色清雅柔和，大片留白烘托出幽谧空寂的意境，尽显宋人小品的雅致意趣，将郊野闲逸之景凝于尺幅间，藏着对自然细微之美的敏锐体察，晕开悠然沉静的田园诗意。",[23,209,7,24,81,28,27,83,957,4643,11205,245,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b574896c7d5eafa0c0c152a688c269.jpg",[],{"id":50791,"slug":50792,"title":50793,"dynasty":18,"author":293,"museum":364,"description":50794,"tags":50795,"thumbUrl":50796,"material":40,"size":50797,"collection":42,"collections":50798,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},223503,"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[23,7,24,1397,27,28,177,449,107,176,34,109,491,37,114,1444,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[42,181,163],{"id":50800,"slug":50801,"title":34788,"dynasty":18,"author":293,"museum":50802,"description":50803,"tags":50804,"thumbUrl":50805,"material":67,"size":50806,"collection":139,"collections":50807,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":1335},223409,"ru-yi-lun-guan-yin-tu-yi-ming-223409","英国不列颠博物馆","如意轮观音是密宗六观音之一，其形象一般为六臂，至于手持之物和结印，则依不同经典而有别，但一般因持有如意宝珠和宝轮而称之为如意轮观音。六臂表示能游于六道，解除六道众生的诸种苦恼。",[23,209,7,24,241,259,28,27,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b67a20266f43fbe0dead932e5b9e98a.jpg","纵127.8厘米 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以淡墨晕染绢地，更衬托出梅花凄厉冷艳的姿色。 作品画格雄健，与晚明及清代梅花作品风格迥然相异。",[23,7,209,24,173,446,448,245,226,1461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fb28109c7cdb6700ac5749c89e75c4.jpg","纵186cm，横111cm",[90,45],{"id":50878,"slug":50879,"title":50880,"dynasty":189,"author":50881,"museum":206,"description":50882,"tags":50883,"thumbUrl":50884,"material":27,"size":50885,"collection":90,"collections":50886,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":94},221859,"tie-di-tu-zhou-yang-wei-zhen-221859","铁笛图轴","杨维桢","乾隆皇帝于苏州题咏时，引杨维祯〈冶师行〉的内容作题，认为舟上吹笛者为杨维祯，岸上听笛者是为其铸铁笛的冶师缑长弓。题诗内容展现他对杨维祯诗文、生平的认识，以及将文史知识连结到画面内容的欣赏角度",[209,7,24,241,173,106,242,174,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff828bd52bc7e967b8fa17905c2fe1009.jpg","该幅 95.6x51.6公分、诗塘 28.4x51.6公分、全幅 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63.5公分",[44,45],{"id":50896,"slug":50897,"title":50898,"dynasty":189,"author":50899,"museum":101,"description":50900,"tags":50901,"thumbUrl":50902,"material":173,"size":50903,"collection":139,"collections":50904,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},221723,"liu-chen-ruan-zhao-ru-tian-tai-shan-tu-juan-zhao-cang-yun-221723","刘晨阮肇入天台山图卷","赵苍云","赵苍云是宋代皇室家族成员，经历了南宋灭亡、蒙元统治的巨大变化。他采用李公麟的白描手法描绘了汉代刘晨、阮肇入天台山遇仙的故事。天台山在浙江天台县北，传说刘晨、阮肇入天台山采药，遇见两个仙女，留他们住了半年。后来他们要求回家，到家乡时发现已经过了七世，这种天堂与人间的巨大反差让他们感到疏离与不适应，这也是许多宋代遗民在蒙古人统治下的心境。\n关于赵苍云的资料，我们只有在这幅画卷的题跋中所知一二。第一段跋中，元代人华幼武（字彦清，号栖碧，无锡人。生于元成宗大德十一年，卒于明太祖洪武八年，年六十九岁。平生笃于孝友。少有盛名。）说赵苍云以没骨法作水墨山水与人物画。华还说赵苍云年轻时比他的同宗赵孟坚、赵孟頫更有名气。后来赵苍云归隐山林，不婚不仕，他的生平资料没有任何记载，只有这幅画留存人世。\n华幼武跋语：苍云山人，本赵宋宗室。高奇嗜酒，绘事入神。山水横放，大都仿没骨图，而生动过之。人物工致，别有姿韵，世不多见。所作刘阮天台图，意境萧散，神趣闲逸，曹衣吴带，设色妍妙，有诸家所不能及者。窃意刘阮未必非乌有子虚，唐人云：“仙姝宜属魅界。”但得此墨妙，觉灵山俨然，西园犹在，展卷不知身在桃云柳浪、清风红日间也。苍云早岁，名在子昂、子固之上，不婚不宦，每隐于山林湖舫，虽亲串无从踪迹，世人得其片帧，几如拱璧，此其匠心运意，备极惨澹，当不能有二也。洪武十二年秋九月，华幼武书於春草轩。",[23,209,7,24,25,260,173,106,29,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f6ca0b72de89d4c9bf952820d989cd.jpg","22.5cm×561.34cm",[],{"id":50906,"slug":50907,"title":50908,"dynasty":18,"author":7349,"museum":101,"description":50909,"tags":50910,"thumbUrl":50912,"material":4434,"size":50913,"collection":139,"collections":50914,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":271},221609,"ze-pan-xing-yin-tu-liang-kai-221609","泽畔行吟图","《史记·屈原列传》有“屈原即放，披发行吟泽畔”，“泽畔行吟”的意思是在河边边走边吟（诗）。此画的左上部是隐隐的山峰，中上部大片的空白给人于无限的想象，空白中又有渲染的淡墨，似云似雾却绵延出了中景的山石与彼岸。左下角沙洲上摇曳的枯苇，暗示着秋冬的凛冽，右下角一岸斜坡上，一位高士手拄竹杖，迎着寒风，似行似吟仰头面对寥廓，似屈原、似李白更似画家本人吧！",[7,24,173,10247,106,29,245,50911],"泽畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31310ea121bd5bab6b9106fd76e6d10.jpg","22.9×24.3cm",[],{"id":50916,"slug":50917,"title":50918,"dynasty":18,"author":15479,"museum":20,"description":50919,"tags":50920,"thumbUrl":50922,"material":40,"size":50923,"collection":42,"collections":50924,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},221583,"bu-chu-tu-ye-li-an-zhong-221583","哺雏图页","图中寒冬中二枝芦苇业已枯败，杆上有三只鸟儿栖息，其中鸟父母嘴里叨着虫子向中间小的鸟儿走来，喂食它们的孩儿。图上芦苇叶子描画精细，正翻面和缺口自然显现；鸟儿的眼神专注，将父母对子女无私的爱自然流露出来。",[23,209,7,24,81,28,27,83,242,224,50921],"雏鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8da06ac16d1aa8ac5e037145a98372f.jpg","22.8*24cm",[42,90,45],{"id":50926,"slug":50927,"title":50928,"dynasty":18,"author":12711,"museum":20,"description":50929,"tags":50930,"thumbUrl":50931,"material":67,"size":50932,"collection":42,"collections":50933,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":94},221467,"xue-mei-tu-juan-quan-juan-yang-wu-jiu-221467","雪梅图卷全卷","《雪梅图》是宋代扬无咎创作的绢本水墨画，现为 收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[23,209,7,24,25,173,178,448,2124,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[42,90],{"id":50935,"slug":50936,"title":50937,"dynasty":18,"author":16454,"museum":364,"description":50938,"tags":50939,"thumbUrl":50940,"material":67,"size":50941,"collection":42,"collections":50942,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":49},221366,"xi-cheng-tu-juan-qiao-zhong-chang-221366","西成图卷","(公元12世紀)河中(今山西永濟)人，生卒年不詳。工雜畫，尤擅人物道釋故事畫，師法李公麟。靖康之變(1126)，金人圍城中思歸，一日作《河中圖》贈邵澤民侍郎。南宋·鄧椿《畫繼》卷四，著錄其畫跡有《龍宮散齋圖》《山居羅漢圖》《淵明聽松風圖》《李白捉月圖》《玄真子西塞山圖》《列子御風圖》等，然至今罕見。\n傳世作品有《赤壁圖》卷，紙本，墨筆，描繪蘇軾《後赤壁賦》中情節，並分段書寫賦文。山水人物筆法近李公麟，但不為成法所囿，用筆簡率生拙，氣韻野逸。卷後有宣和五年(1123)八月七日趙德麟題跋，還有武聖可和趙巖題跋，清乾隆皇帝御書引首“尺幅江山”四字，曾入清乾隆內府，乾隆為畫題簽，《石渠寶笈初編》著錄，現藏美國納爾遜·艾特金斯美術館。",[23,7,24,25,27,28,106,151,150,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d484bb6e65e23609df02830938b7a.jpg","21.3x82",[42,44,45],{"id":50944,"slug":50945,"title":50946,"dynasty":18,"author":18691,"museum":20,"description":50947,"tags":50948,"thumbUrl":50949,"material":665,"size":50950,"collection":181,"collections":50951,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},221216,"song-he-ceng-lou-tu-ye-zhang-dun-li-221216","松壑层楼图页","張敦禮 ，熙寧元年選尚英宗女祁國長公主，授左衞將軍、駙馬都尉，遷密州觀察使。元祐初，疏言：“變法易令，始於王安石，成於蔡確。近者退確進司馬光，以臣觀之，所得多矣。”進武勝軍留後。",[23,7,209,81,27,177,104,86,227,29,449,107,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38201b375c0d8926df9611e75942c0b.jpg","25X29厘米",[181,45],{"id":50953,"slug":50954,"title":50955,"dynasty":1095,"author":31831,"museum":8718,"description":31832,"tags":50956,"thumbUrl":50957,"material":4796,"size":139,"collection":139,"collections":50958,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},220487,"qiu-lu-tu-lin-feng-mian-220487","秋鹭图",[23,7,173,281,2522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b252b0f31d2532d468749936e84cdea.jpg",[],{"id":50960,"slug":50961,"title":50962,"dynasty":99,"author":50963,"museum":752,"description":50964,"tags":50965,"thumbUrl":50966,"material":123,"size":50967,"collection":44,"collections":50968,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":49},220128,"du-hai-luo-han-tu-su-zhen-tai-hou-220128","渡海罗汉图","肃贞太后","此幅题：大明万历岁次庚戌年（1610年）明肃贞寿端献恭熹皇太后绘造。钤：慈圣宣文明肃贞寿端献恭熹皇太后宝 朱文大印。",[23,7,28,27,259,106,25116,1330,37,8738,1086,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fbbf336f92353f10e54e65388754bb.jpg","146.9×81.5厘米",[44],{"id":50970,"slug":50971,"title":50972,"dynasty":99,"author":1996,"museum":101,"description":50973,"tags":50974,"thumbUrl":50975,"material":88,"size":50976,"collection":181,"collections":50977,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},220051,"luo-bi-yan-yun-tu-chen-chun-220051","落笔烟云图","绘山水相连，几叶扁舟顺风而下，房子、小亭依山而建，好一派清静优雅的景像！此卷用笔略显轻浮，题款亦不真，或是托名之作。",[23,7,25,173,446,29,174,108,109,34,176,35,281,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74da3cb2410a235ae2231e497fab346d.jpg","32.7cm×750.6cm",[181],{"id":50979,"slug":50980,"title":50981,"dynasty":99,"author":13323,"museum":101,"description":50982,"tags":50983,"thumbUrl":50988,"material":803,"size":50989,"collection":181,"collections":50990,"showCount":50193,"zanCount":5,"manualWeight":48,"mainColor":94},219987,"si-shi-fang-gu-shan-shui-tu-wei-zhi-ke-219987","四时仿古山水图","此长卷以淡墨浅彩铺展四时景致，移步换景间尽显文人山水意趣。画家以细劲淡笔勾勒山峦脉络，皴擦出岩岫肌理，林木点染疏密有致，随季候变换枯荣：春山明润，新枝浅黛；夏木蓊郁，浓荫藏亭；秋林萧疏，霜色点染；冬岭清寂，寒石留白。屋舍田圃错落丘壑间，溪泉萦回穿绕林麓，将四时山光物候悄然串联。整体气韵淡逸简远，师古而不拘泥，把仿古山水的程式笔墨化为灵动的丘园胜境，藏着古人寄迹林泉的隐逸幽怀，尽显雅致空灵的山水风神。",[23,7,25,30730,173,27,177,29,26495,50984,3953,50985,464,50986,47554,1255,47286,18349,50987],"夏木","冬岭","田圃","淡逸空灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b366db58b957e2587f750331f4c4cf3.jpg","105.83×59.58cm",[181],{"id":50992,"slug":50993,"title":50994,"dynasty":99,"author":1572,"museum":101,"description":50995,"tags":50996,"thumbUrl":50997,"material":88,"size":50998,"collection":44,"collections":50999,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":94},219969,"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[23,7,24,25,173,177,29,430,7857,175,298,35,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[44],{"id":51001,"slug":51002,"title":51003,"dynasty":18,"author":1616,"museum":206,"description":51004,"tags":51005,"thumbUrl":51006,"material":67,"size":51007,"collection":45,"collections":51008,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},219923,"ru-niu-tu-zhou-li-tang-219923","乳牛图轴","一位牧童趴伏于母牛背上，小牛跟随在后，引颈低呼，老牛摇尾相应，母子亲情，描写欲活。本幅并无作者款印，裱绫有清代鉴赏家梁清标所书之题签，云：「李晞古乳牛图」。不过本幅牛体、皴石之用笔皆与李唐（西元1049－1130年）画风有别，或属明代早期之作。李唐，字晞古。河南孟县人。擅山水、人物，也长于画牛。徽宗朝进入画院，高宗建炎年间，授成忠郎衔任画院待诏。",[23,7,209,24,241,28,27,151,957,867,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c355d617f6a550dbb9e6d783bb802e6.jpg","46.4x62.5",[45],{"id":51010,"slug":51011,"title":51012,"dynasty":99,"author":293,"museum":364,"description":51013,"tags":51014,"thumbUrl":51015,"material":123,"size":51016,"collection":90,"collections":51017,"showCount":50193,"zanCount":48,"manualWeight":48,"mainColor":49},219906,"xuan-kui-shuang-li-tu-yi-ming-219906","萱葵双鹂图","垂柳叶丝轻曳水畔，两只黄鹂栖停枝梢，翅羽晕染细腻绵密，灵动身姿似正私语嬉游。左侧蜀葵攒簇粉艳花团，浓绿叶片饱满鲜活，下方萱花舒展素白瓣朵，依偎嶙峋湖石而生。\n\n整作设色古雅沉稳，沉褐绢底衬得花叶明丽、禽鸟娇俏。工笔晕染精妙入微，将蜀葵秾艳、萱花清柔，黄鹂的娇憨灵动画韵尽显，留白水岸清寂悠远，把初夏水畔的闲静生机凝于绢上，笔致工秀柔和，揉合雅致野趣，尽显悠然清逸的隐逸意趣。",[23,7,27,28,83,1124,5401,1532,176,20087,281,84,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d1ccf1c70a12fed695098a1073e3dd5.jpg","纵118厘米 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雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[7,24,1397,27,177,29,35,1575,1532,108,176,279,178,227,51338],"暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],{"id":51342,"slug":51343,"title":51344,"dynasty":18,"author":2007,"museum":206,"description":25861,"tags":51345,"thumbUrl":51346,"material":381,"size":28707,"collection":139,"collections":51347,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},290333,"jing-ting-song-feng-tu-zhou-ma-lin-290333","静听松风图轴",[209,7,24,241,29,106,1575,176,109,173,177,7714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0deb7cf38921a741612cf702fb534c.jpg",[],{"id":51349,"slug":51350,"title":51351,"dynasty":18,"author":3214,"museum":364,"description":51352,"tags":51353,"thumbUrl":51354,"material":743,"size":744,"collection":139,"collections":51355,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},290301,"guan-fu-xi-ying-zhou-su-han-chen-290301","灌佛戏婴轴","此图画中的孩子们在玩“过家家”：一个孩子跪下模仿大人礼佛，一个孩子手抬佛像，还有一个孩子手持水瓶灌佛，另一孩童手捧花篮，装扮成佛教信徒模样，模仿浴佛仪式。",[209,7,24,241,28,27,106,11805,1575,242,327,313,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cabf428605fa1ae6a542421c58c633.jpg",[],{"id":51357,"slug":51358,"title":51359,"dynasty":18,"author":26092,"museum":206,"description":51360,"tags":51361,"thumbUrl":51362,"material":381,"size":51363,"collection":163,"collections":51364,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},290300,"qiao-mu-tu-xu-dao-ning-290300","乔木图","南宋一代的豪纵简硬之笔，虽主要脱胎于李唐，但多少也遥承许道宁的衣钵-《国绘宝鉴》说他：“早年所画俗恶，至中年脱去旧学，稍自检束，行笔简易，风度益著，峰头直皴而下，林木劲硬，自成一家体，至细微处，始人妙理。”《圣朝名画评》渭其画格“所长者二，一林木，二平远，二野水，皆造其妙。”识者以为得李成之气，实际上许道宁在李成基础上自有创造，文同称赞他：“许生虽学李营丘，墨路纵横多自出”。许氏以峰头直皴而下的笔道，画出山势的峭厉瘦硬；以轻灵之笔，画出枯竭的泉水及背后庄严的山脉，令人感受到了强烈的萧条之气。此图以寒林孤秀，树态严凝，展现出林木劲硬的风格。\n许道宁以卖药为主，不直接卖画，有人顾买他的药，必画树石以赠之。这幅可能是其中之一。请看这幅有点怪意的图中右侧的山石，近者显，远者隐。石形棱角突出，石质坚硬；左侧平缓的山坡上，长着几棵秃枝无叶乔木，树枝龙爪型。有两棵并肩相长，树干粗壮挺立，上部摆出动态枝头，扭曲着的躯干，尤如双龙在空中舒展身子，窜向苍茫昊天；中间那棵乔木弯腰弓背，伸展枝头，倾向右侧的岩石，似与远处的那棵乔木交叉重叠。秃枝无叶乔木和光秃无草的山石，这都是隆冬时节的象征。严冬里只有乔木挺立在山岗上，与山石作伴，在接受严冬的考验。这是一幅富有诗意的树石图。此图中乔木落叶而挺拔，山石坚硬而清利，多么像作者峭拔的性格，也是作者的豪放、简硬之笔，在图中得到了充分的体现。",[7,1397,173,177,1015,6909,241,7319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02d67bdf8e318cfcd5d74b0eee68b84.jpg","188.6x115",[163],{"id":51366,"slug":51367,"title":51368,"dynasty":189,"author":190,"museum":364,"description":32932,"tags":51369,"thumbUrl":51370,"material":743,"size":744,"collection":139,"collections":51371,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},290284,"ceng-luan-die-cui-tu-huang-gong-wang-290284","层峦叠翠图",[23,7,25,24,29,173,177,649,34,464,109,178,41155,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],{"id":51373,"slug":51374,"title":51375,"dynasty":18,"author":293,"museum":364,"description":51376,"tags":51377,"thumbUrl":51378,"material":743,"size":744,"collection":139,"collections":51379,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},290095,"ru-lai-shuo-fa-tu-yi-ming-290095","如来说法图","本幅画一佛半跏趺坐于一大莲座上，座侧二天王、阿难、迦叶和二供养菩萨围绕。该坐佛长眉细目，眉间有白毫，唇上有髭，法相庄严。顶有螺发，肉髻低平，右手施安慰印。身后有一圆形背光，头后圆光边缘尚饰炽然飞动的火焰纹。二天王身穿盔甲，手持剑槊，神情威武。年轻的阿难温文儒雅，双手合什而立，年长的迦叶浓眉深目，双手合握作拳，食指和姆指竖起，结密教的灌顶印。二供养菩萨则手捧供花，仰首望佛，虔诚恭敬。作者充分地掌握每个人物的内在特质。人物神情各异，栩栩如生。",[7,24,241,259,9254,260,28,106,9634,21175,5713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa8ad1776dc909afc9ed35c24e31d2c2.jpg",[],{"id":51381,"slug":51382,"title":51383,"dynasty":54,"author":293,"museum":206,"description":51384,"tags":51385,"thumbUrl":51388,"material":743,"size":744,"collection":139,"collections":51389,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},290022,"tang-ren-chun-jiao-you-qi-tu-yi-ming-290022","唐人春郊游骑图","画幅中间一人上身呈正面，穿著与其他六人不同，应是画中的主人。前二人引导，后四人有的拿弓，有的拿毬棍，有的挟著琴，有的背酒，前顾后盼，各有神态。树叶双钩填彩，岩石、流水和激湍都是仿古的钩勒法，有装饰的意味。背景树石的构图和院藏另一件传为韩干《猿马图》相似，不过笔墨稍逊，可能出自同一幅稿本。",[7,209,27,106,150,51386,51387,899,176,29],"春郊","郊游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fdd4af9015b51a1635e29ed3f1d75b9.jpg",[],{"id":51391,"slug":51392,"title":30555,"dynasty":76,"author":13037,"museum":364,"description":24941,"tags":51393,"thumbUrl":51395,"material":743,"size":744,"collection":139,"collections":51396,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978",[209,7,241,173,29,108,109,174,107,175,1653,394,51394,177,227,86,6922,6178],"幽静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":51398,"slug":51399,"title":51400,"dynasty":189,"author":2519,"museum":364,"description":19462,"tags":51401,"thumbUrl":51402,"material":743,"size":744,"collection":139,"collections":51403,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},289971,"qiu-jiang-diao-ting-tu-zhou-wei-zhao-meng-fu-289971","秋江钓艇图轴（伪）",[23,209,7,241,27,29,106,1653,394,174,109,245,1016,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d7f8a3235659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该画作用隐喻的手法表达了作者的爱国思想。",[23,209,7,25,24,173,27,29,13079,174,51455,178,86],"观潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da389683c26734fef1f069628021d9.jpg","纵17.4厘米，横83厘米",[42],{"id":51460,"slug":51461,"title":15779,"dynasty":99,"author":29933,"museum":364,"description":51462,"tags":51463,"thumbUrl":51464,"material":743,"size":744,"collection":139,"collections":51465,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},288992,"pu-xian-pu-sa-xiang-lu-leng-qie-288992","卢楞伽，一作棱伽，长安（今陕西西安）人，生卒年不详，约8世纪人。自汴入蜀，为吴道子弟子。画风细致，咫尺间山水寥廓，形象精备。",[7,259,9254,15610,106,11351,27,2714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb79c02930f728c2118d095db9a8aa60.jpg",[],{"id":51467,"slug":51468,"title":31452,"dynasty":18,"author":2007,"museum":364,"description":25861,"tags":51469,"thumbUrl":51471,"material":743,"size":744,"collection":139,"collections":51472,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},288970,"song-feng-lou-guan-tu-ma-lin-288970",[209,7,1397,104,27,28,107,1575,51470,29],"雨天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb4382d26e8d220766465beb138783c.jpg",[],{"id":51474,"slug":51475,"title":16062,"dynasty":18,"author":1650,"museum":364,"description":51476,"tags":51477,"thumbUrl":51478,"material":743,"size":744,"collection":139,"collections":51479,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},288430,"xiao-xue-shan-xing-tu-ma-yuan-288430","作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 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ainColor":94},236859,"shan-shui-ce-wang-yuan-qi-236859","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[7,24,81,173,177,29,864,34,464,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e761a3d5bcf48ddf7d44981a19a3513.jpg",[181,382],{"id":51639,"slug":51640,"title":220,"dynasty":76,"author":6456,"museum":364,"description":6457,"tags":51641,"thumbUrl":51642,"material":139,"size":20,"collection":139,"collections":51643,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":94},236616,"hua-niao-ce-ma-yuan-yu-236616",[7,24,81,27,83,839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e47bd32dac56116cfe7051c8c88190.jpg",[],{"id":51645,"slug":51646,"title":486,"dynasty":76,"author":15347,"museum":364,"description":36002,"tags":51647,"thumbUrl":51648,"material":139,"size":139,"collection":181,"collections":51649,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},236588,"shan-shui-ce-cha-shi-biao-236588",[7,173,177,81,29,108,109,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9491df3cb3d8b92bf94c07c82473a2d9.jpg",[181,163],{"id":51651,"slug":51652,"title":4025,"dynasty":76,"author":47274,"museum":364,"description":51653,"tags":51654,"thumbUrl":51655,"material":139,"size":139,"collection":181,"collections":51656,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":94},236444,"shan-shui-zhou-xu-fang-236444","徐枋：(1622—1694)字昭法，号俟斋、涧叟、秦馀山人、雪床庵主人，江苏吴县(今苏州)人。崇祯15年举人，工诗文，书善行草，宗孙过庭及王羲之。山水师董源、巨然、荆浩、关仝，亦宗倪瓒、黄公望，用笔工整，墨气明净，不设色。诗文出入韩、柳间。传世作品有康熙4年《山水》册页，录于《中国绘画史图录》下册；9年作《山水》扇面现藏故宫博物院；24年作《仿关仝山水图》轴，录于《晋唐五代宋元明清名家书画集》。著有《居易堂集》、《俟斋集》等。",[7,173,241,177,29,108,109,394,245,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6512dc7e0e5403960b7c77a4799e4bf.jpg",[181,45],{"id":51658,"slug":51659,"title":51660,"dynasty":76,"author":10376,"museum":20,"description":40266,"tags":51661,"thumbUrl":51662,"material":1386,"size":51663,"collection":181,"collections":51664,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},236331,"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴",[7,241,173,177,29,864,558,34,35,560,650,38,1255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纵184.8cm，横79.4cm",[181,163],{"id":51666,"slug":51667,"title":51668,"dynasty":99,"author":51669,"museum":364,"description":51670,"tags":51671,"thumbUrl":51672,"material":139,"size":51673,"collection":90,"collections":51674,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":49},236107,"sun-qi-mei-hua-zhou-sun-qi-236107","孙启梅花轴","孙启","此作以淡墨绢地托衬，老梅古干嶙峋遒劲，枝桠盘折如铁，横斜破壁，满缀素色梅花。作者以焦墨点苔刻画出老干的沧桑质感，浓墨写枝尽显虬劲姿态，圈花留白晕染出梅花冰肌玉骨之态，冷香暗涌纸面。\n\n画幅下方以浅淡笔墨绘拳石细草，清寂空疏，愈发烘托出冬梅凌霜孤高的品格。整幅布局空灵雅致，以极简笔触写尽文人心底的清雅意趣，笔意苍秀古拙，将梅花傲雪不屈的风骨与幽淡清逸的气韵相融，藏暗香于素绢，含清韵于笔端。",[7,24,241,173,446,840,245,1064,84,1086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51c92a8adcfb9367d4420abfbb471a7.jpg","纵156.8cm,横61.6cm",[90,45],{"id":51676,"slug":51677,"title":131,"dynasty":76,"author":51678,"museum":364,"description":51679,"tags":51680,"thumbUrl":51681,"material":743,"size":744,"collection":90,"collections":51682,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},235710,"hua-hui-ce-zou-xian-ji-235710","邹显吉","字黎眉，号思静，一号华斋，自称湖北居人，晚号城南老圃，江苏无锡诸生。尝学诗于吴伟业，画摹宋、元，山水、人物均得古法。写生有邹菊之目。著北游集、湖北草堂诗。一门风雅，妻能画梅，兄、弟、子、侄，皆工画，新处各画小品一二种成卷，为时所艳称。康熙三十九年（一七oo）作罗浮佳处卷，时年六十五。",[209,7,24,81,27,28,178,227,84,795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fc76969934fa525c9ae94e7f22e5b0.jpg",[90,45],{"id":51684,"slug":51685,"title":51686,"dynasty":76,"author":2804,"museum":364,"description":51687,"tags":51688,"thumbUrl":51689,"material":139,"size":139,"collection":139,"collections":51690,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":49},234703,"she-se-hong-mei-lan-hua-shan-mian-wu-chang-shuo-234703","设色红梅兰花扇面","香骚遗意。老缶又涂于禅甓轩。缶（朱文） 迢迢雁落沙连海，滑滑禽言树抱轩。天似穹庐梅古雪，一年好事半淞园。躄一足如仙隔尘，澹云微雨去寻春。几生修到梅知否，临笑无端见美人。半淞园看梅。沽酒怡白云，吹笛坐黄犊。江花泊岸红，山雨下庭绿。题画。壶叟属书。丙寅夏，吴昌硕年八十三。苦铁良铁也。《周礼》：典丝……则受良工而藏之……郑云：良当作苦，则苦亦良矣。大聋。吴昌石（朱文）　苦铁（白文）",[7,24,1562,27,83,448,452,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa22462af8c7db2282cd725846a281295.jpg",[],{"id":51692,"slug":51693,"title":131,"dynasty":99,"author":51694,"museum":364,"description":51695,"tags":51696,"thumbUrl":51697,"material":139,"size":139,"collection":90,"collections":51698,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},234267,"hua-hui-ce-qi-xun-234267","戚勋","戚勋字伯屏，号羽明。明末江阴人。\n早年为诸生，崇祯十六年秋八月，授文华殿中书舍人。弘光帝即位，奉诏督饷福建，不久南京陷落。与陈明遇迎故典史阎应元为帅。城破，戚勋在壁上书写“大明文华殿中书戚勋死节之地”，自焚死。著有《留丹集》、《佩朱随笔》。",[23,7,24,81,178,27,83,279,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0f00fd86e3061a7f0db3faaffed7be4.jpg",[90],{"id":51700,"slug":51701,"title":51702,"dynasty":99,"author":7722,"museum":20,"description":51703,"tags":51704,"thumbUrl":51705,"material":990,"size":51706,"collection":139,"collections":51707,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":94},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[23,7,24,25,173,27,29,503,900,178,227,177,37,567,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 横100.5厘米",[],{"id":51709,"slug":51710,"title":46416,"dynasty":99,"author":19617,"museum":364,"description":51711,"tags":51712,"thumbUrl":51713,"material":139,"size":139,"collection":139,"collections":51714,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},234151,"shan-shui-juan-wen-bo-ren-234151","文伯仁，明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。性暴躁，好使气骂座，少年时曾与叔徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[23,7,25,173,177,24,29,864,297,394,108,109,174,175,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":51716,"slug":51717,"title":9840,"dynasty":76,"author":1703,"museum":101,"description":9841,"tags":51718,"thumbUrl":51719,"material":2021,"size":9844,"collection":139,"collections":51720,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":271},233868,"mei-hua-ce-jin-nong-233868",[7,24,81,260,173,83,448,394,226,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb34432e0d3f92f887635aac9010c975.jpg",[],{"id":51722,"slug":51723,"title":51724,"dynasty":99,"author":170,"museum":20,"description":1470,"tags":51725,"thumbUrl":51726,"material":990,"size":1473,"collection":139,"collections":51727,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},233839,"wo-you-tu-ce-bai-he-hua-shen-zhou-233839","卧游图册－百合花",[209,7,24,81,27,83,86,20087,226,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd177d95a67cb0c312fa86f838a680905.jpg",[],{"id":51729,"slug":51730,"title":1108,"dynasty":99,"author":3114,"museum":20,"description":16207,"tags":51731,"thumbUrl":51732,"material":990,"size":7095,"collection":139,"collections":51733,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},233805,"shan-shui-tu-ce-dong-qi-chang-233805",[7,24,81,173,177,29,430,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc0101e770c5965b8981d382075a663.jpg",[],{"id":51735,"slug":51736,"title":51737,"dynasty":76,"author":953,"museum":20,"description":51738,"tags":51739,"thumbUrl":51741,"material":1642,"size":51742,"collection":139,"collections":51743,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},233739,"xue-zhong-song-tan-tu-zhou-ren-yi-233739","雪中送炭图轴","任颐（1840—1895，或1896），原名润，字小楼；更名颐，字伯年，生于山阴（今浙江绍兴），卒于上海。其父鹤声（字淞云），是民间肖像画工。任颐天资聪颖，幼时随父学画肖像，在人物的传神写照和默写方面打下了扎实的基础；后又受任熊的影响，学宋人的双勾花鸟画和陈洪绶一路的人物画。他还到宁波随任薰学过画，后来，又离开宁波到苏州、上海，并寓居上海近30年，成为“海上画派”的代表。\n任颐的绘画题材全面，人物、花鸟、走兽、山水无所不精。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品。他善于写实，能够捕捉人物瞬间的神情动态进行描绘，被誉为“曾波臣后第一手”。",[7,241,27,173,446,106,2124,51740,12996,63],"炭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a8064378a94b762d15e9c365d0daf9.jpg","80.8cm×36.8cm",[],{"id":51745,"slug":51746,"title":6723,"dynasty":99,"author":443,"museum":20,"description":6724,"tags":51747,"thumbUrl":51748,"material":4796,"size":6728,"collection":139,"collections":51749,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},233475,"ren-wu-hua-hui-ce-xu-wei-233475",[7,24,81,173,106,430,245,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9a3afdd86f7423d4b7c78bbcbdc370.jpg",[],{"id":51751,"slug":51752,"title":6723,"dynasty":99,"author":443,"museum":20,"description":6724,"tags":51753,"thumbUrl":51754,"material":4796,"size":6728,"collection":139,"collections":51755,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},233469,"ren-wu-hua-hui-ce-xu-wei-233469",[209,7,24,81,173,446,7619,35813,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7da0a86ef5dffe025cc71e769143d1.jpg",[],{"id":51757,"slug":51758,"title":9529,"dynasty":18,"author":1650,"museum":20,"description":9530,"tags":51759,"thumbUrl":51760,"material":40,"size":9533,"collection":139,"collections":51761,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":49},233455,"bai-qiang-wei-tu-ye-ma-yuan-233455",[7,209,24,81,28,27,83,6716,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd156bc8fd7cb24c1008aafd5d77f9bce.jpg",[],{"id":51763,"slug":51764,"title":51765,"dynasty":76,"author":50445,"museum":20,"description":51766,"tags":51767,"thumbUrl":51768,"material":139,"size":139,"collection":181,"collections":51769,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},233222,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-wang-gai-233222","金陵诸家山水花卉册-山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[7,24,81,173,177,29,1653,394,108,109,106,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0b9d658a27fac0225545bf52f27ce.jpg",[181],{"id":51771,"slug":51772,"title":25332,"dynasty":189,"author":351,"museum":20,"description":25333,"tags":51773,"thumbUrl":51774,"material":990,"size":25336,"collection":139,"collections":51775,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},233219,"you-ju-tu-juan-qian-xuan-233219",[7,24,25,26,27,28,177,29,864,297,430,175,108,109,174,106,35,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632995a029649dc360969921b2503da9.jpg",[],{"id":51777,"slug":51778,"title":2592,"dynasty":18,"author":474,"museum":20,"description":51779,"tags":51780,"thumbUrl":51781,"material":40,"size":51782,"collection":139,"collections":51783,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},232935,"ting-qin-tu-zhou-zhao-ji-232935","此幅描绘官僚贵族雅集听琴的场景。主人公道冠玄袍，居中端坐，凝神抚琴，前面坐墩上两位纱帽官服的朝士对坐聆听，左面绿袍者笼袖仰面，右面红袍者持扇低首，二人悠然入定，仿佛正被这鼓动的琴弦撩动着神思，完全陶醉在琴声之中。叉手侍立的蓝衫童子则瞪大眼睛，注视着拨弄琴弦的主人公。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的薰炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。\n作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。\n由于作品本幅有徽宗题名与画押，作品一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者，正是赵佶本人。",[209,7,24,241,28,27,106,1575,242,6605,227,759,210,27117,27118,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a06d38e220a4cfb38a1f63704749fe0.jpg","纵147.2厘米，横51.3厘米",[],{"id":51785,"slug":51786,"title":51787,"dynasty":18,"author":2029,"museum":206,"description":31952,"tags":51788,"thumbUrl":51789,"material":803,"size":51790,"collection":139,"collections":51791,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":49},232782,"yang-zheng-tu-juan-er-liu-song-nian-232782","养正图卷二",[23,7,24,25,28,27,104,86,106,107,29,150,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d948e2a41c077a21b8977f8e4dfb8a.jpg","30*386.55厘米",[],{"id":51793,"slug":51794,"title":51795,"dynasty":189,"author":351,"museum":12966,"description":24228,"tags":51796,"thumbUrl":51797,"material":803,"size":51798,"collection":139,"collections":51799,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},232698,"gua-jia-tu-juan-qian-xuan-232698","瓜茄图卷",[23,209,7,24,25,27,28,83,86,227,12652,698,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6384b84d66760e6e53124845392246.jpg","10.5×66.5cm",[],{"id":51801,"slug":51802,"title":51803,"dynasty":99,"author":26281,"museum":206,"description":51804,"tags":51805,"thumbUrl":51806,"material":619,"size":51807,"collection":139,"collections":51808,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":49},232691,"lu-shan-gao-tu-zhuang-biao-ding-yun-peng-232691","庐山高图（装裱）","此作构图紧凑密实，以细笔牛毛皴描写山石；有似王蒙的笔法，古朴厚实，浑然天成。在山体架构的布局上，又与沈周《庐山高》有些相似，甚至篆书题写《庐山高》三字的手法也和沈周作品基本雷同。所绘山头的岩石为卷云皴，造就这种看似有动态的效果，此类笔法在丁云鹏的作品中很少见。",[7,24,241,29,28,177,27,109,176,34,37,560,561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7c9ae8dad645098bbcb66538a53dd21.jpg","193.8xx98.1厘米",[],{"id":51810,"slug":51811,"title":51812,"dynasty":18,"author":781,"museum":20,"description":51813,"tags":51814,"thumbUrl":51815,"material":803,"size":51816,"collection":139,"collections":51817,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},232627,"xi-yue-jiang-ling-tu-juan-quan-juan-li-gong-lin-232627","西岳降灵图卷全卷","《西岳降灵图》图卷描绘了各种形形色色人物，包括贵族及其眷属随从，甚至市井中的商人、乞丐、渔父、玩把戏的等等。在不同的程度上表现了各种人的特点。道教画放手描写市井人物，因为道教相信神仙会隐迹在普通人群中间，可以具有普通人的外表。因而这样的道教画又具有了风俗画的特点。李公麟的绘画风格，是重实践而又追求清新的。\n《西岳降灵图》画卷被认为是北宋著名画家李公麟的传世名作之一。从画卷后的跋语及其所钤盖的印章来看，该画卷在明初曾为黔宁王沐英家族收藏，明成化至正德时，又流落到大太监钱宁手中，清代则为鉴藏家梁清标所有。该画卷最后的私人收藏者是近现代佛学大师、书画家、鉴藏家叶恭绰先生。特别值得一提的是，叶恭绰先生曾经的重要藏品还有《鸭头丸贴》、《毛公鼎》等等。虽然《西岳降灵图》并未见诸著录，但经许多收藏大家之手审定、珍藏，也可说是流传有序了。",[23,7,209,25,260,106,150,1329,18694,263,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fa89bfeaab83091e6e70ab92b978e3.jpg","纵26.5厘米，横513.7厘米",[],{"id":51819,"slug":51820,"title":51821,"dynasty":189,"author":5488,"museum":206,"description":51822,"tags":51823,"thumbUrl":51824,"material":803,"size":51825,"collection":139,"collections":51826,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},231337,"guan-dao-sheng-yan-yu-cong-zhu-yuan-dai-ji-jin-zhi-er-guan-dao-sheng-231337","管道昇烟雨丛竹－元代集锦之二","管道升善画竹，就存世画件，则有北京故宫藏《赵氏一门三竹图卷》中的第二件《墨竹》。此卷本安歧旧藏。安氏评以：“密叶劲节，不似闺秀之辈。”安歧旧藏又有赵孟頫、管道升《蕙竹合作卷》，安氏记以：“墨竹一枝，竹叶萧疏，枝节秀劲。”从这些描述来看《烟雨丛竹》，都不贴切。\n这幅《烟雨丛竹》不是习说的“墨竹”，而是当作于山水画的竹林图。从古老的诗经“瞻彼淇奥，绿竹猗猗”到“渭川千亩”，再到杜甫移种万竿于浣花草堂：“我有阴江竹，能令朱夏寒，阴通积水内，高映浮云端。”这种意念，移之于画作。明张丑记东坡居士《断山丛筱真迹》：“又见东坡《万竿烟雨》小帧。绢本精细，歇云眉山苏轼。下有飞白坡石，兼远景烟霭，极精。上方文征仲诗跋，称许娓娓可诵也。”“飞白坡石，兼远景烟霭。”移之于这幅《烟雨丛竹》，也是合宜的。又画史上倪瓒创出的《十万图》《万竿烟雨》即为第一题目。安歧记此画：“作淡墨细竹，沙渚遥浦，其间烟雾横迷，万玉幽深，茫茫有渭川千亩之势，坡陀皴法大类松雪，布景一派平远天真，秀妙绝伦，实为佳品。”也从此立意。\n《烟雨丛竹》画竹不分节，一笔不断由下方到顶端完成。竹叶形状细劲，结组繁而不乱。墨色用前浓后淡来区分出远近；画山坡是一般的山水皴法，沙渚丛竹，掩映于烟云中。新篁成丛与赵孟頫《自写小像》（1299作）的竹林画法是接近的。两件画竹叶，都是向上仰，做“燕尾”式的交合，且是前浓后淡的竹叶丛。竹竿《自写小像》并不一直顺畅到顶，略有些小转变。《自写小像》是青绿重彩，竹注重“墨骨”来衬托出色彩。《烟雨丛竹》是水墨层层迭迭渲染，烟云变灭，做得极为细致。技法上容有相通，情怀却不一。画平坡石块，《自写小像》画得古拙，而《烟雨丛竹》反而是老练成熟。",[7,24,25,173,260,242,23629,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdc9f3061b89318e38a118057564b00.jpg","縱23.1厘米，橫113.7厘",[],{"id":51828,"slug":51829,"title":51830,"dynasty":76,"author":16736,"museum":364,"description":16737,"tags":51831,"thumbUrl":51832,"material":743,"size":744,"collection":139,"collections":51833,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},230974,"zi-wei-shuang-ya-tu-zhu-cheng-230974","紫薇双鸭图",[23,7,241,27,83,3682,2728,28,173,544,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3621326badfd0abb6238460d188f3b31.jpg",[],{"id":51835,"slug":51836,"title":1562,"dynasty":76,"author":953,"museum":364,"description":51837,"tags":51838,"thumbUrl":51839,"material":139,"size":139,"collection":139,"collections":51840,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},230121,"shan-mian-ren-yi-230121","此作以秋瓜入绘，工写兼施。枯荣相参的瓜叶，或褐黄带霜尽显残秋意态，或鲜绿含润犹存生机，筋脉勾勒细劲婉转，敷色古雅沉着，将时节更迭里的枯荣对照铺陈尽致。虬曲藤蔓牵绕棚架，墨色枯湿浓淡互衬，野趣横生。左上角题款落印，文气与画境相融无间。\n\n画师以灵秀笔触，跳脱院体刻板，将寻常瓜蔬绘就清寂鲜活的秋韵，把日常风物升华为雅致的文人意趣，淡朴中见情致，尺幅团扇间藏尽晚清秋光，尽显花鸟画雅俗共赏之妙。",[7,1562,27,28,83,2186,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32bcbe0e39807d36839a6e5b3ad2916.jpg",[],{"id":51842,"slug":51843,"title":51844,"dynasty":99,"author":26111,"museum":364,"description":51845,"tags":51846,"thumbUrl":51847,"material":139,"size":139,"collection":139,"collections":51848,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},228889,"xie-sheng-you-xi-tu-juan-chen-gua-228889","写生游戏图卷","《陈栝写生游戏图卷》是明代画家陈栝创作的一幅设色画。\n此图是陈氏写生画，图中从右至左绘牡丹、兰花、玉兰、桃花、荷花、水仙等9种花卉，花间穿插飞燕、蝴蝶、鱼虾、鸳鸯等。\n花卉没骨、双钩兼用，鸟用意笔写之，生动活泼，颇富野趣。\n画风学陈淳而琐碎过之。\n卷末左下自题“陈栝戏笔”。\n下钤“古吴陈栝”、“沱江子”二印。\n引首有清高宗弘历（乾隆皇帝）御题“造物为师”四字。\n曾经清内府收藏。\n鉴藏印有“乾隆御览之宝”、“石渠宝笈”、“嘉庆御览之宝”、“宣统御览”、“笔研精良人生一乐”等。\n清内府《石渠宝笈·初编》著录。",[23,7,24,25,27,83,281,136,327,227,710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa86071febaedaa6fcbabea897e0e51df.jpg",[],{"id":51850,"slug":51851,"title":51852,"dynasty":99,"author":293,"museum":364,"description":51853,"tags":51854,"thumbUrl":51855,"material":139,"size":139,"collection":139,"collections":51856,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":94},228793,"ni-zan-qiu-lin-ye-xing-tu-yi-ming-228793","倪瓒秋林野兴图","此作用笔萧疏简淡，近岸枯木虬枝舒展，坡石间茅亭孤峙，一水横陈，远山澹然隐现，将太湖秋郊的荒寒清旷晕染开来。以干笔淡墨皴擦山石，逸笔草草却尽得山水神韵，意境冷寂空濛，尽显幽居林下的散淡意兴。\n\n卷后题咏往复，书画合璧，将文人出世襟怀融于水墨间，淡墨轻岚里满溢疏离尘嚣的隐逸之思，简淡中见真味，把秋日郊野的静穆与林下野兴，尽数铺展在咫尺卷中，尽显文人水墨写意的澹远精神。",[23,7,24,25,173,29,1015,245,175,177,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe698103b9ad62460364be9a270631b54.jpg",[],{"id":51858,"slug":51859,"title":51860,"dynasty":99,"author":293,"museum":364,"description":3486,"tags":51861,"thumbUrl":51862,"material":743,"size":744,"collection":139,"collections":51863,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},228409,"di-shi-fan-tian-xi-yi-ming-228409","帝释梵天西",[209,7,24,259,28,27,106,261,8738],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0058278b0e1b04b94e469783c60e08e.jpg",[],{"id":51865,"slug":51866,"title":51867,"dynasty":99,"author":13614,"museum":364,"description":51868,"tags":51869,"thumbUrl":51870,"material":743,"size":744,"collection":139,"collections":51871,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},228393,"shi-liu-luo-han-tu-juan-wu-bin-228393","十六罗汉图卷","画卷为佛教人物题材，描绘释迦牟尼的得道弟子十六罗汉，卷首为明代书画家米万钟题引首：應真變現，卷末有汤宾尹书般若波罗蜜多心经。",[23,7,25,27,28,86,227,106,25116,34,176,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53a6c1c40c19bbcdc893c795d160448.jpg",[],{"id":51873,"slug":51874,"title":51875,"dynasty":99,"author":1296,"museum":364,"description":51876,"tags":51877,"thumbUrl":51878,"material":139,"size":139,"collection":139,"collections":51879,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},228309,"xi-hu-xue-jing-tu-ye-xiang-sheng-mo-228309","西湖雪景图页","此作用平远视角铺展冬湖雪景，以留白衬出天地间皑皑素色，淡墨晕染远山，如笼薄纱，隐于空濛水雾之中。湖面浩渺空寂，偶有汀岸错落，几株枯木虬枝遒劲，疏朗挺立，暗合冬日萧寒之气，岸边渔村屋舍星点，愈显荒寒清寂。\n\n笔墨简澹克制，以淡墨轻皴轻染，将雪意融于留白与浅墨之间，意境幽远孤清。四周题跋环绕，诗画相生，文人雅趣盎然，将冬雪西湖的静穆萧疏尽数铺陈，尽显幽澹雅致的画中深意，寄寓着画者清雅出尘的襟怀。",[7,173,29,81,177,864,297,1015,2124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd439ec8a7babbccd8ad0d1aaed0089f3.jpg",[],{"id":51881,"slug":51882,"title":51883,"dynasty":99,"author":1083,"museum":364,"description":51884,"tags":51885,"thumbUrl":51886,"material":139,"size":139,"collection":139,"collections":51887,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},228292,"li-fo-tu-chen-hong-shou-228292","礼佛图","此作用笔清劲圆韧，尽显高古奇逸之风。崖上枯松虬曲苍劲，枝桠裹挟冷冽清气，石崖趺坐的尊者素衣宽博，神色澹然，以丝缕牵出云端佛影，引渡下界向佛之心。下方沙弥合掌长跪，衣褶层叠温婉，满脸至诚恭敬。\n\n玲珑剔透的太湖石错落排布，衬出画面空灵疏朗的禅意，设色清雅柔和，仅以淡赭、浅青晕染，将出世的静穆禅韵融于尺幅之间，笔端藏着静水流深的禅思，把礼佛的虔敬化作悠远澄澈的画境。",[23,7,24,241,259,28,260,27,106,245,1015,1575,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c721a086c33d6299e0b1c0e20fa17b.jpg",[],{"id":51889,"slug":51890,"title":51891,"dynasty":189,"author":23885,"museum":364,"description":51892,"tags":51893,"thumbUrl":51894,"material":139,"size":139,"collection":139,"collections":51895,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},228166,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228166","清泉乔木图立轴","此作笔意苍浑老辣，绘就冬日山林清寂之境。古松主干虬曲斑驳，疤结累累尽显沧桑，枯槎劲枝凝着寒雪，垂挂的薜萝如缕，幽幽晕开森寂古意。旁侧次干同样瘦硬嶙峋，无叶枝桠斜曳，尽展岁寒不屈之姿。\n\n下方寒泉漱石，水波清浅澹澹，淡墨晕染出空濛水岸，山石以简括皴擦带过，野趣自生。留白铺陈开空寂冷逸，将简淡疏朗融于笔墨间，寄寓着超脱尘俗的林下雅怀，清寒中见出沉静高旷的风骨。",[23,7,24,209,241,173,177,29,27091,22195,176,109,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6e577b57078bcf149c3b060edbb579.jpg",[],{"id":51897,"slug":51898,"title":51899,"dynasty":189,"author":51900,"museum":364,"description":51901,"tags":51902,"thumbUrl":51903,"material":139,"size":139,"collection":139,"collections":51904,"showCount":51270,"zanCount":1270,"manualWeight":48,"mainColor":94},228038,"mo-lou-shu-can-zhi-tu-chang-juan-cheng-qi-228038","摹楼璹蚕织图（长卷）","程棨","此作以长卷铺陈江南蚕织全序，从浴蚕收种、稚蚕养护，直到煮茧缫丝、上机成绸，将蚕户从春到夏的辛劳日常一一绘就，每段配书题诗，图文呼应。笔触温润写实，农妇饲桑、调丝的动作鲜活自然，院舍桑田、织机筐篓细节考究，忠实还原宋本原貌，又晕染出元人清雅的笔墨质感，将耕织烟火揉进细腻笔锋里，是后世窥见古时丝织工艺与乡野民俗的珍贵图像长卷。",[23,7,24,25,105,28,27,86,227,106,107,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横51CM",[],{"id":52068,"slug":52069,"title":52070,"dynasty":99,"author":7722,"museum":206,"description":52071,"tags":52072,"thumbUrl":52073,"material":88,"size":52074,"collection":181,"collections":52075,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":94},222408,"qi-xia-shan-tu-zhou-zhang-hong-222408","栖霞山图轴","此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[23,7,24,241,27,177,29,175,1575,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe3ad4eebcd3b96e914c3432a49117.jpg","341.9x101.8",[181,45],{"id":52077,"slug":52078,"title":52079,"dynasty":99,"author":1480,"museum":3712,"description":17519,"tags":52080,"thumbUrl":52081,"material":803,"size":37117,"collection":139,"collections":52082,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴",[23,7,24,241,27,177,29,6407,558,108,109,34,176,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg",[],{"id":52084,"slug":52085,"title":52086,"dynasty":99,"author":170,"museum":206,"description":2755,"tags":52087,"thumbUrl":52088,"material":803,"size":5116,"collection":139,"collections":52089,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},222105,"xie-mi-jia-shan-shen-zhou-222105","写米家山",[23,7,24,173,29,23392,81,864,430,297,37,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82c8db68a8b575954749b6f85eccdfc.jpg",[],{"id":52091,"slug":52092,"title":52093,"dynasty":189,"author":30671,"museum":238,"description":52094,"tags":52095,"thumbUrl":52096,"material":67,"size":52097,"collection":181,"collections":52098,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":94},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,7,24,173,177,241,864,558,560,650,34,109,176,649,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[181,163],{"id":52100,"slug":52101,"title":52102,"dynasty":18,"author":7349,"museum":20,"description":52103,"tags":52104,"thumbUrl":52105,"material":5149,"size":52106,"collection":139,"collections":52107,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},221607,"liu-xi-wo-di-tu-liang-kai-221607","柳溪卧笛图","图片放至最大时，可见一人卧岸吹笛，所绘人物微小，但几笔勾勒出一个人物形状和行为；而作背景的树木、岛屿以水墨状散开，如雾气般升腾。画面极简，但达到了无形即有形的精髓。\n梁楷（活动于十三世纪初期），南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[23,7,209,24,173,10247,29,106,1532,560,45226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a56bcc78c55ff8ae9cf7480874e52a.jpg","26.1×26.1cm",[],{"id":52109,"slug":52110,"title":52111,"dynasty":18,"author":823,"museum":20,"description":52112,"tags":52113,"thumbUrl":52115,"material":4434,"size":52116,"collection":139,"collections":52117,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","《梧竹溪堂图》为一山水小品。此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。\n此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[23,209,7,24,5990,1160,173,177,29,115,52114,340,920,176,109,9155,34,114,299],"梧树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","纵23厘米，横26厘米",[],{"id":52119,"slug":52120,"title":52121,"dynasty":18,"author":2029,"museum":20,"description":52122,"tags":52123,"thumbUrl":52124,"material":665,"size":52125,"collection":139,"collections":52126,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},221547,"shan-guan-du-shu-tu-liu-song-nian-221547","山馆读书图","《山馆读书图》描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,7,24,28,27,104,29,107,1575,106,115,34,242,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234be9e86cbf67a38bc347e7b4419eed.jpg","24.3×24cm",[],{"id":52128,"slug":52129,"title":52130,"dynasty":18,"author":13198,"museum":206,"description":52131,"tags":52132,"thumbUrl":52133,"material":67,"size":52134,"collection":382,"collections":52135,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":271},221448,"tao-qian-shang-ju-tu-quan-juan-zhao-ling-rang-221448","陶潜赏菊图全卷","描绘了幽林内、小亭中，陶渊明与访友坐对赏花，江干水渚，群卉争发，树本、房舍、池沼、小路等表现很精致，具有化平凡的事物为美丽的事物的艺术效果，设色艳丽，画中人亦无特殊造形，但拖尾诸跋，均以陶潜赏菊故事为题咏，意境颇为优美。卷尾分别有董其昌、詹同、蔡哲、中山居士、张羽、苏伯衡的跋文。",[23,7,24,25,27,28,29,106,453,175,34,2238,178,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7176750b8b30929f53c7de7d6e7f76.jpg","全卷纵30厘米，横416.4厘米，画心纵30厘米，横84厘米",[382],{"id":52137,"slug":52138,"title":52139,"dynasty":18,"author":553,"museum":206,"description":52140,"tags":52141,"thumbUrl":52142,"material":8104,"size":52143,"collection":139,"collections":52144,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},221384,"ming-hua-lin-lang-ce-qun-feng-xue-ji-fan-kuan-221384","名画琳瑯册－群峰雪霁","此作写崇山积雪，山脚并点缀密林、楼观、舟楫等。倦色黯黑，但不失古雅苍润。画中的主峰已偏一侧，且皴笔少滃染多，地质较近于土山，与记载中的范宽风格并不尽似。对幅由尹继善、刘纶、王际华、钱维城、彭元瑞、曹文埴、陈孝泳等清代臣工题咏，虽然语中对范宽多所赞誉，但无法证明本幅与范宽有关，据画风推测成作时间应在南宋以后。\n另有旧题为范宽的《山水》、《秋景山水》、《海山图》、《霍童仙界图》等数幅，虽然作品中或题“范中立”、“范宽笔”、“华原范宽”，但均与范宽的风格相去甚远，时代也无法到宋，推定是明、清时期的托名伪作。本节遂不一一叙述。",[23,209,7,24,81,29,177,173,8889,2502,15976,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7a037a9fc0181e3f16807504492c7c.jpg","纵40.7公分，横27.3公分",[],{"id":52146,"slug":52147,"title":52148,"dynasty":18,"author":781,"museum":206,"description":52149,"tags":52150,"thumbUrl":52151,"material":35568,"size":52152,"collection":42,"collections":52153,"showCount":51270,"zanCount":5,"manualWeight":48,"mainColor":94},221356,"shan-yin-hui-zhan-tu-juan-li-gong-lin-221356","山阴会战图卷","李公麟（1049～1106），北宋廬州府舒城縣人（今安徽舒城人），宋代傑出畫家。字伯時,號龍眠居士，(1049-1106)享年五十七歲。熙寧三年(公元1070年)進士。李龍眠即李公麟，字伯時，安徽舒城人，因桐城郊外有一龍眠山，李公麟曾長居於山下，所以又自號龍眠居士或龍眠山人。\n出身名門大族，家藏古器名畫法書甚多，自幼知識淵博，好古善鑑，多識奇字，自夏商以來鐘鼎尊彝皆能考訂世次，辨別款識。長於詩文，行楷書有晉人風。與王安石、蘇軾、米芾、黃庭堅為至交，系駙馬王詵之座上客。熙寧三年（1070）中進士，為中書門下省刪定官，後官至朝奉郎。元符三年（1100）病痹告老，居家鄉桐城龍眠山，號龍眠居士。一生勤奮，作畫無數，人物、史實、釋道、士女、山水、鞍馬、走獸、花鳥無所不能，無所不精。人物、道釋深得吳道子旨趣，運筆如行雲流水，造型正確，神態飛動；山水氣韻清秀，得王維正傳；着色山水追李思訓心法；畫馬過韓幹。能集諸家之長，得其大成，師法自然，大膽創新，自成一家，被後代敬為第一大手筆、百代宗師。",[23,209,7,24,25,260,173,106,150,15028,649,2523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca6087e9bb8a0ab5fd706b1ea01ef813.jpg","26.6x764",[42],{"id":52155,"slug":52156,"title":35905,"dynasty":18,"author":25387,"museum":56,"description":35906,"tags":52157,"thumbUrl":52159,"material":67,"size":52160,"collection":139,"collections":52161,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},221318,"sha-ting-yan-shu-tu-hui-chong-221318",[23,7,173,29,178,227,52158,34,281,25391,86],"沙岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f44e1b10f5849bbce3c7e94e0ad3cb.jpg","纵24cm，横25cm",[],{"id":52163,"slug":52164,"title":52165,"dynasty":18,"author":6501,"museum":20,"description":52166,"tags":52167,"thumbUrl":52168,"material":665,"size":52169,"collection":181,"collections":52170,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},221215,"fei-ge-yan-feng-tu-ye-wang-shen-221215","飞阁延风图页","此图原载《四朝选藻册》。图绘二位仕女，佇立楼台远眺，一位站立桌旁泛览古玩，其态悠闲自在。楼前古松葱茏，亭楼隐隐可见。作者用严谨、缜密的界画作楼台，细笔勾松针，笔法娴熟劲健，设色鲜艳和谐。裱边旧题签「王詵飞阁延风」。但从画风对比分析，与王詵风格不同，故改为无名氏作。画中无款，钤二印(一半印)不可辨。对开有清高宗弘历题诗，钤「八征耄念之宝」、「太上皇帝之宝」、「自强不息」等印。曾经清内府收藏，不见著录。",[23,7,24,81,104,27,107,34,106,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddda2be2d8bd08b99a15bda9153a6936.jpg","纵26、横23.5厘米",[181,45],{"id":52172,"slug":52173,"title":52174,"dynasty":76,"author":953,"museum":101,"description":52175,"tags":52176,"thumbUrl":52177,"material":4796,"size":139,"collection":139,"collections":52178,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},220473,"zhong-kui-xiang-ren-yi-220473","钟馗像","一改往日钟馗凶煞镇邪的刚猛，此作将他绘成簪花醉坐的士大夫模样，斜倚竹榻，醺然松弛，红簪点醒了满脸虬髯下暗藏的温柔意趣。\n\n衣纹以顿挫写意的长线挥就，笔势灵动洒脱，赭色衣袍晕染温润，衬出人物难掩的威仪。髯须以泼墨扫出，粗粝苍劲，与衣纹的秀逸形成反差，刚柔并济间，判官的威严与松弛尽显。\n\n案上清供瓶花、卷册鲜果，将神祗拉入日常烟火，消解戾气，添上文人雅韵，以世俗化笔触重构民间神明，尽显雅俗共赏的笔墨意趣。",[7,24,27,28,106,259,63,244,8612,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc67bf33de0a3afd0468c8bac53207d69.jpg",[],{"id":52180,"slug":52181,"title":52182,"dynasty":76,"author":5052,"museum":20,"description":5053,"tags":52183,"thumbUrl":52184,"material":803,"size":5056,"collection":139,"collections":52185,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},220320,"huang-shan-tu-ce-9-hong-ren-220320","黄山图册-9",[23,7,173,29,81,177,109,176,34,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3f24836a98c1dbd40e046df6418e26.jpg",[],{"id":52187,"slug":52188,"title":37844,"dynasty":99,"author":12000,"museum":206,"description":52189,"tags":52190,"thumbUrl":52191,"material":123,"size":52192,"collection":181,"collections":52193,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},220102,"qiu-shan-hong-shu-tu-zhao-zuo-220102","赵左（约西元十六世纪）字文度，江苏松江人。善画山水，是苏松画派的首创人。　画中赵左自题「仿唐人杨升画」。按杨升（升）画山水得到张僧繇没骨法的妙处，有雪霁图、峒关蒲雪图传于世。这幅画多用青绿设色，山石不用皴纹，而用没骨法渍染，树叶也多用双钩，颇有唐画山水的遗风。但赵左受吴派绘画影响极深，故不像唐画华丽富贵，而饶有温润文雅的趣味。",[7,241,27,29,176,34,3500,175,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05043e0f78a9ef545d2fe53f138f9a40.jpg","本幅 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在笔墨的浩瀚中，呈现出一种宁静。 黄鼎虽然向二王学习，但也能找到自己的路。 所到之处，山水之形",[7,241,173,29,108,176,560,34,1015,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc11da83fc8e3ec6b101ff501d2461042.jpg","118.5x38.9",[181],{"id":52268,"slug":52269,"title":14638,"dynasty":189,"author":18436,"museum":206,"description":52270,"tags":52271,"thumbUrl":52272,"material":381,"size":52273,"collection":45,"collections":52274,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},219469,"yuan-tu-yan-hui-219469","此作用水墨晕染出幽寂山林意趣，老干虬曲苍劲，浓墨写出枯涩肌理。两只猿猱灵动鲜活，一猿倒悬枝桠，长臂舒展身姿轻捷，正探头与右侧同伴呼应；后者半匿树后，目光灵动，满是野趣生机。\n叶片以写意笔法点染，墨色层次分明，淡墨晕出山影朦胧，烘托深林静谧。作者以简劲笔线勾勒猿猴毛发，兼用墨色晕染表现皮毛蓬松质感，形神兼备，将猿猴的机灵敏捷描摹入微，尽显山野生灵自在之态，水墨写意间不失精微写实，藏着深林野逸的悠然意韵。",[7,209,241,173,12940,1062,31200,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9986c8e9ed6d16a5ef373b3b3482a048.jpg","纵131.8厘米横67厘米",[45],{"id":52276,"slug":52277,"title":52278,"dynasty":76,"author":52279,"museum":206,"description":52280,"tags":52281,"thumbUrl":52282,"material":88,"size":139,"collection":45,"collections":52283,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":94},219464,"zhang-song-tu-lu-ri-wei-219464","长松图","陆日为","陆日为善画山水，初学米芾、米友仁及高克恭之法，同时亦能融入自己的特色，形成了独特的艺术风格。",[209,7,24,241,173,177,1575,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa819d15028698afffdb6a55ce8aa31d8.jpg",[45],{"id":52285,"slug":52286,"title":52287,"dynasty":99,"author":43491,"museum":206,"description":52288,"tags":52289,"thumbUrl":52290,"material":123,"size":52291,"collection":181,"collections":52292,"showCount":51270,"zanCount":48,"manualWeight":48,"mainColor":49},219255,"rui-xue-ning-dong-tu-wang-e-219255","瑞雪凝冬图","高山巨石以及山下的庭院和山上的寺庙都由硬笔画出，冷峭逼人。山下远水高阔，船帆点点，落墨不多衬托了整幅绘画的冷寒的意境。",[23,7,1397,27,28,104,864,2124,34,107,31,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dea2d2d24f34262242f7d5fcc48b26e.jpg","139.6厘米* 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，福建侯官縣人，清代中期政治家、文學家、思想家，民族英雄。\n林則徐是嘉慶十六年（1811年）進士，歷官翰林編修、江蘇按察使、東河總督、江蘇巡撫、湖廣總督等職。道光十九年（1839年），以欽差大臣赴廣東禁煙時，派人明察暗訪，強迫外國鴉片商人交出鴉片，並將沒收鴉片於虎門銷燬。該事件被認為是第一次鴉片戰爭的導火線。戰爭爆發不久，林則徐被構陷革職，發往新疆戍邊。道光二十五年（1845年）重獲起用，歷任陝甘總督、陝西巡撫、雲貴總督等職，加太子太保。道光三十年（1850年），林則徐在奉命鎮壓拜上帝會起事途中，病逝於潮州普寧。獲贈太子太傅，諡號“文忠”。有《林文忠公政書》等作品傳世。\n林則徐一生遍歷地方，治績卓著。雖在兩廣抗擊西方入侵，但對於西方的文化、科技和貿易則持開放態度，主張學其優而用之。他至少略通英、葡兩種外語，且着力翻譯西方報刊和書籍。他主持編譯的《四洲志》及魏源編撰的《海國圖志》，對晚清的洋務運動乃至日本的明治維新都具有啓發作用。",[76,86,178,105,173,803,7785,227,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455903956a89eeb7a0d8aeb82bc5f83.jpg",[382],{"id":52614,"slug":52615,"title":52616,"dynasty":99,"author":20053,"museum":364,"description":52617,"tags":52618,"thumbUrl":52619,"material":139,"size":139,"collection":90,"collections":52620,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},239420,"hua-zhu-zhou-chen-qin-239420","画竹轴","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，",[7,24,241,173,242,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf9f100d12ff5ef9f1a592126067433.jpg",[90],{"id":52622,"slug":52623,"title":52624,"dynasty":76,"author":953,"museum":364,"description":1683,"tags":52625,"thumbUrl":52626,"material":743,"size":744,"collection":139,"collections":52627,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},239003,"ma-gu-shou-xing-tu-zhou-ren-yi-239003","麻姑寿星图轴",[7,241,27,28,106,63,64,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff175e18f3b9ce2cab643e7ecf4a69d60.jpg",[],{"id":52629,"slug":52630,"title":52631,"dynasty":204,"author":2072,"museum":20,"description":52632,"tags":52633,"thumbUrl":52634,"material":665,"size":52635,"collection":44,"collections":52636,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},238953,"xi-zi-huan-sha-tu-ye-zhou-wen-ju-238953","西子浣纱图页","中国五代南唐画家。建康句容（今江苏省句容市）人。工画佛道、人物、车马、屋木、山水，尤精于仕女，也是出色的肖像画家。作品多为摹本《宫中图》《苏武李陵逢聚图》《重屏会棋图》《琉璃堂人物图》《太真上马图》。",[209,7,24,5990,28,27,106,59,245,65,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381a9f19e2e6a925298dc86e6198ace1.jpg","64×64cm",[44],{"id":52638,"slug":52639,"title":52640,"dynasty":76,"author":32730,"museum":364,"description":52641,"tags":52642,"thumbUrl":52643,"material":139,"size":139,"collection":139,"collections":52644,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},238484,"hua-hong-li-han-shan-xue-hai-shi-yi-juan-jiang-pu-238484","画弘历寒山雪海诗意卷","此作用淡墨晕开云涛，以干笔皴擦山石肌理，苍松虬踞崖畔，丹叶点染峰峦，将翻涌海波与凌天奇山揽入卷中。云雾缠裹岩岫，虚实相生间，尽显山海雄奇又清寂的高旷意境。\n\n卷尾题诗与画意呼应，书画合璧，把缥缈出尘的山海胜境，凝作可赏可游的具象图景，将诗意中的仙幻空灵落于笔端，尽显山海灵奇，是诗画交融的精妙佳构。",[7,24,25,29,173,27,864,1329,1575,650,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e07fc6c731d6d48ebf6f49830545eac.jpg",[],{"id":52646,"slug":52647,"title":52648,"dynasty":76,"author":44716,"museum":206,"description":51336,"tags":52649,"thumbUrl":52650,"material":139,"size":139,"collection":181,"collections":52651,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},238256,"wu-da-fu-song-tu-juan-zhang-ruo-ai-238256","五大夫松图卷",[7,24,25,173,177,449,394,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b2767d1893093d6fd6a0d715c493fd.jpg",[181],{"id":52653,"slug":52654,"title":7054,"dynasty":76,"author":5052,"museum":364,"description":7055,"tags":52655,"thumbUrl":52656,"material":139,"size":7058,"collection":139,"collections":52657,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},238031,"hong-ren-shan-shui-tu-ce-hong-ren-238031",[7,173,177,81,29,34,35,491,245,4562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9144a0928789c773384316cc6493a3d6.jpg",[],{"id":52659,"slug":52660,"title":52661,"dynasty":76,"author":10376,"museum":364,"description":23390,"tags":52662,"thumbUrl":52663,"material":139,"size":139,"collection":181,"collections":52664,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},237885,"xia-shan-ji-yu-zhou-wang-hui-237885","夏山积雨轴",[7,173,177,241,29,176,34,109,108,35,558,24,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2045788a394058a03f535c7e71d29f.jpg",[181],{"id":52666,"slug":52667,"title":9207,"dynasty":99,"author":33031,"museum":364,"description":52668,"tags":52669,"thumbUrl":52670,"material":139,"size":139,"collection":382,"collections":52671,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},237692,"lan-hua-zhou-chen-yuan-su-237692","此画兰叶偃仰，墨花横溢，超然出尘，得文徵明之秀媚，而更气厚力沉。明谓王榖祥、周天球所不及。",[7,24,241,173,452,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b3d1371231d23485ff81501fc628a7.jpg",[382],{"id":52673,"slug":52674,"title":52675,"dynasty":99,"author":14805,"museum":20,"description":52676,"tags":52677,"thumbUrl":52678,"material":803,"size":52679,"collection":181,"collections":52680,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},237436,"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉（1501年～1583），字休承，號文水，南直隸蘇州府長洲（今江蘇蘇州）人。大書畫家文徵明次子。\n吳門派代表畫家。初為烏程訓導，後為和州學正。\n能詩，工書，小楷清勁，亦善行書。精於鑑別古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[7,24,241,173,177,2939,29,34,175,544,176,1015,491,1926,11090,1575,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 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cm",[181],{"id":52682,"slug":52683,"title":52684,"dynasty":76,"author":52685,"museum":364,"description":52686,"tags":52687,"thumbUrl":52688,"material":139,"size":139,"collection":181,"collections":52689,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},237161,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237161","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[7,24,81,26,27,29,34,558,176,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4603652ccdb32e3cecd134127efbb3b3.jpg",[181,45],{"id":52691,"slug":52692,"title":52693,"dynasty":76,"author":52694,"museum":364,"description":52695,"tags":52696,"thumbUrl":52697,"material":139,"size":139,"collection":90,"collections":52698,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},236714,"hua-niao-guo-ce-li-qi-236714","花鸟果册","李圻","此作以大写意绘荷塘小景，阔笔泼墨晕染荷叶，墨色苍润交融，浓淡层次尽显夏日池面的氤氲水汽，落笔尽显酣畅率意。两朵白莲以淡墨勾形，留白作瓣，素净雅致，与浓墨荷叶形成强烈的虚实对照，清雅之气扑面而来。荷茎以劲爽线条勾勒，挺拔柔韧，寥寥数笔便将莲茎风姿尽显。画面两侧题上行草，笔墨意趣与画境呼应，诗书画浑然一体。构图疏密相宜，简逸空灵，以极简笔墨传递出荷塘清寂淡远的幽谧意境，尽显写意功底与文人雅致襟怀。",[7,24,209,81,173,243,136,137,83,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca8a3f7e25a409507aba1c306024f12.jpg",[90,163,382],{"id":52700,"slug":52701,"title":22319,"dynasty":76,"author":1892,"museum":364,"description":52702,"tags":52703,"thumbUrl":52704,"material":139,"size":139,"collection":181,"collections":52705,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},236389,"fang-dong-qi-chang-shan-shui-zhou-wang-yuan-qi-236389","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[7,24,241,173,177,105,227,29,176,34,35,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[181,163],{"id":52707,"slug":52708,"title":52709,"dynasty":76,"author":31118,"museum":20,"description":52710,"tags":52711,"thumbUrl":52712,"material":2635,"size":52713,"collection":181,"collections":52714,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},236384,"huang-shan-tu-zhou-mei-qing-236384","黄山图轴","此图绘黄山的莲花峰。作者以超绝的想象力，运用夸张的手法将莲花峰描绘成秀出天半的青莲，它巍峨不失俏丽，高贵而典雅。山岩的石面以浓淡墨交织的线条混皴，纹理繁密，气象峥嵘，与石上灵动的苔点相交融，显示了作者对黄山景物善于摹写、精于刻画的深厚功力。",[209,7,24,241,173,177,29,864,431,430,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d0b5065c8022b488432001bfb86239.jpg","纵186.8厘米，横57厘米",[181],{"id":52716,"slug":52717,"title":131,"dynasty":76,"author":1816,"museum":20,"description":52718,"tags":52719,"thumbUrl":52720,"material":990,"size":52721,"collection":90,"collections":52722,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},236311,"hua-hui-ce-wang-shi-shen-236311","此图册十二页，分别画十二种花卉。\n汪士慎(1686-1759)清代著名画家。字近人，号巢林、溪东外史等。安徽休宁人，寓居扬州。汪士慎在诗、书、画、印诸方面皆有很高的成就。擅画花卉，随意勾点，清妙多姿。精画兰竹，尤擅长画梅，笔致疏落，超然出尘，笔意幽秀，气清而神腴，墨淡而趣足，其秀润恬静之致，令人争重。金农称他画梅之妙和高西唐(翔)异曲同工。西唐善画疏枝，巢林善画繁枝，都有空里疏香、风雪山林之趣。千花万蕊，颇富诗意。老年一目失明，尚能挥写自如，不失当年风韵。为“扬州八怪”之一。工诗，善写隶书，又长篆刻。在一目失明作画时，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。时金农赞他“盲于目，不盲于心”。阮元《广那个诗事》说他：“老而目瞽，然为人画梅，或作八分书，工妙胜于未瞽时。”其代表作有《苍松偃蹇图》、《潇湘灵芳图》、《绿萼梅开图》、《洒香梅影图》、《月珮风襟图》、《灵根出谷图》等。著有《巢林诗集》。",[7,24,81,173,83,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c7ea965ffa8a1b378d01899052fef.jpg","纵24厘米 横27.5厘米",[90,45],{"id":52724,"slug":52725,"title":19864,"dynasty":99,"author":293,"museum":364,"description":52726,"tags":52727,"thumbUrl":52728,"material":67,"size":139,"collection":139,"collections":52729,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":49},236283,"wang-zi-yuan-hua-niao-ce-yi-ming-236283","此作设色清妍雅致，花枝虬曲舒展，粉白梅朵柔润鲜活，没骨晕染尽显花瓣凝透质感，淡墨勾勒枝干，苍劲间自带清隽之态。\n\n白头翁栖于枝桠，昂首侧目，似正啼鸣。禽鸟刻画细致入微，羽毛丝缕分明，灵动鲜活的神态将林间春日生机全然托出。画面留白疏朗，虚实相生，以极简构图营造出幽寂清宁的春日意趣，将一花一鸟的雅致意趣融于淡远氛围中，悠然隽永，尽显传统花鸟的温婉格调。",[7,1086,27,28,83,448,224,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa681153cc0787bd70f3925dcc390ddda.jpg",[],{"id":52731,"slug":52732,"title":52733,"dynasty":76,"author":293,"museum":20,"description":52734,"tags":52735,"thumbUrl":52736,"material":40,"size":52737,"collection":181,"collections":52738,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},236177,"hong-li-she-tu-tu-zhou-yi-ming-236177","弘历射兔图轴","乾隆作为以畜牧、游猎为主 的满族人后裔，严格遵守满清骑 射尚武典制。他通过带游乐性质 的狩猎活动，将满人弯弓射箭的 传统习俗发扬光大。为了弘扬这 种尚武精神，乾隆谕令宫廷西洋 画师郎世宁以及中国宫廷画家 创作了数十幅专门表现他行围 狩猎的画作，真实记录了乾隆在 不同历史时期的狩猎情景。此图 便是表现他射兔的作品。",[7,28,27,29,106,150,176,34,558,177,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64335c000347f96a1ea2e26f054d053.jpg","纵 258 厘米，横 172 厘",[181,45],{"id":52740,"slug":52741,"title":52742,"dynasty":99,"author":293,"museum":364,"description":52743,"tags":52744,"thumbUrl":52745,"material":139,"size":139,"collection":139,"collections":52746,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},235874,"tang-yin-guan-shan-xing-lv-zhou-yi-ming-235874","唐寅关山行旅轴","此作画境荒寒清寂，以淡墨晕染远山，烟岚朦胧间隐出路踪。虬曲古木撑起重峦一隅，枯枝苍劲老辣，皴擦间尽显风霜雕琢之态。石拱桥下寒水浅流，策杖旅人独行桥边，衣袂似随山风微动，静穆中暗含羁旅孤愁。\n整幅以水墨写意，淡远空疏的笔墨烘托出关山行旅的苍茫意境，将天涯行客的寂寥心绪融于冷寂山水间，尽显借景抒怀的雅致意趣，笔墨简淡却意蕴悠长。",[7,241,173,29,177,394,176,106,107,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c7f861c1e723f95dfa0c68d42794f8.jpg",[],{"id":52748,"slug":52749,"title":52750,"dynasty":99,"author":24267,"museum":364,"description":30050,"tags":52751,"thumbUrl":52752,"material":743,"size":744,"collection":139,"collections":52753,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},235791,"tao-he-shan-zhou-chen-235791","桃鹤扇",[7,24,1562,27,28,29,279,281,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8233d53c2b21d9041938e7b34732dd.jpg",[],{"id":52755,"slug":52756,"title":52757,"dynasty":76,"author":31289,"museum":364,"description":52758,"tags":52759,"thumbUrl":52760,"material":139,"size":139,"collection":139,"collections":52761,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":49},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[209,7,24,241,27,177,29,864,297,430,449,35,174,1015,37,194,176,1250,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":52763,"slug":52764,"title":19878,"dynasty":76,"author":45523,"museum":364,"description":52765,"tags":52766,"thumbUrl":52767,"material":743,"size":744,"collection":139,"collections":52768,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":271},235559,"mo-he-tu-zhou-fu-shan-235559","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[7,173,241,243,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24528e736483b0247d66e35f68b3b981.jpg",[],{"id":52770,"slug":52771,"title":2235,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":52772,"thumbUrl":52773,"material":743,"size":744,"collection":139,"collections":52774,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},235506,"za-hua-ce-zhu-da-235506",[7,24,81,173,451,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35aa4bd3e30e431fdcc63c5911fed21.jpg",[],{"id":52776,"slug":52777,"title":4334,"dynasty":76,"author":41539,"museum":364,"description":41540,"tags":52778,"thumbUrl":52779,"material":743,"size":744,"collection":139,"collections":52780,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},235282,"ren-wu-gu-shi-ce-fan-xue-yi-235282",[7,27,28,104,106,107,281,34,37,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652a5897903630ea1f074609fb94805f.jpg",[],{"id":52782,"slug":52783,"title":25892,"dynasty":76,"author":1892,"museum":20,"description":52784,"tags":52785,"thumbUrl":52786,"material":1449,"size":139,"collection":139,"collections":52787,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},234235,"xi-hu-tu-juan-wang-yuan-qi-234235","王原祁（1642—1715）作为名列“四王”之一的“娄东派”领袖，他的山水画在有清一代赢得了无比崇高的声誉，不仅左右了宫廷的山水画风，也成为有清一代文人山水画坛的主流势力。王原祁一生绘制过的西湖图似乎并不多，除了《石渠宝笈》中著录有3幅他的西湖图，其它的记载中并不能找到相关的材料，而实物的流传则更属罕觏。西湖图在王原祁自身的绘画实践中或许并不占有重要的地位。然而在他的西湖图中却显现了某些令人惊异的转变，或许正是这些转变导致了以后西湖图创作的困境。\n《石渠宝笈》著录的三幅王原祁西湖图分别为《西湖图轴》、《西湖十景图卷》以及另一种《西湖十景图卷》，这三幅奉敕应制的作品均只有王原祁本人简单的署衔，而没有标明确切的创作年代。\n据温肇桐《王原祁年表》，可知王原祁升翰林院侍讲学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[23,7,25,173,177,29,649,32,31,34,111,1255,107,108,1432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg",[],{"id":52789,"slug":52790,"title":52791,"dynasty":76,"author":28662,"museum":20,"description":52792,"tags":52793,"thumbUrl":52794,"material":665,"size":52795,"collection":139,"collections":52796,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":49},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,7,24,25,27,26,28,177,29,279,109,108,174,106,34,37,920,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":52798,"slug":52799,"title":6157,"dynasty":99,"author":170,"museum":20,"description":6158,"tags":52800,"thumbUrl":52801,"material":803,"size":6161,"collection":139,"collections":52802,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},234088,"wu-zhong-shan-shui-ce-shen-zhou-234088",[7,173,81,178,29,394,108,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fcfb606921be0b9986e3b5388576f24.jpg",[],{"id":52804,"slug":52805,"title":44831,"dynasty":18,"author":823,"museum":20,"description":52806,"tags":52807,"thumbUrl":52808,"material":665,"size":52809,"collection":139,"collections":52810,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},234070,"song-xi-fan-yue-tu-ye-xia-gui-234070","夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。\n简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。\n边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。作者以极为简括的构图和痩劲的线条反映了文人士大夫在当时的时代背景下追求心灵自由、亲近自然山水的诉求，艺术风格朴素清逸，可称是夏圭山水画的代表作品。\n夏圭（生卒年不详），一作夏珪，字禹玉，钱塘（今浙江杭州）人。南宋画家，与李唐、刘松年、马远并称“南宋四大家”。宁宗时任画院待诏，赐金带。善画山水，属水墨苍劲一派，喜用秃笔，下笔凝重，继承发展了李唐的大斧劈皴。取景简练，常以半边景物表现空间，与马远有异曲同工之妙，有“马一角，夏半边”之称。",[7,209,24,5990,173,27,177,29,1575,109,174,300,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de9860.jpg","24.7×25.2cm",[],{"id":52812,"slug":52813,"title":52814,"dynasty":99,"author":966,"museum":20,"description":52815,"tags":52816,"thumbUrl":52817,"material":40759,"size":52818,"collection":139,"collections":52819,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},233796,"lan-hua-tu-wen-zheng-ming-233796","兰花图","此图绘兰花与荆棘相伴而生的田野风光。文氏以挥洒豪放的笔墨，表现兰叶摇曳之美；以迟缓的中锋运笔，表现荆棘的坚韧而多刺。在一件作品中将不同的物象施以迥异的笔法，由此可见文氏所具的高超绘画技法。",[7,1562,173,797,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad7f5e71de08d28870f10ffda834f80.jpg","纵16.8厘米，横50.9厘米",[],{"id":52821,"slug":52822,"title":52823,"dynasty":76,"author":953,"museum":20,"description":52824,"tags":52825,"thumbUrl":52826,"material":619,"size":139,"collection":139,"collections":52827,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},233726,"jiu-ri-deng-gao-tu-ping-ren-yi-233726","九日登高图屏","任颐（1840-1896），初名润，字小楼，后字伯年，浙江山阴（今绍兴）人。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，均是名声显赫的画家。任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。任伯年精于写像，是一位杰出的肖像画家。人物画早年师法萧云从、陈洪绶、费晓楼、任熊等人。工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任董，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意，更加简逸灵活。",[7,241,27,106,176,28,177,63,10164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0e76bf5e8ac1625574fca1e12385ab.jpg",[],{"id":52829,"slug":52830,"title":6723,"dynasty":99,"author":443,"museum":20,"description":6724,"tags":52831,"thumbUrl":52832,"material":4796,"size":6728,"collection":139,"collections":52833,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},233474,"ren-wu-hua-hui-ce-xu-wei-233474",[7,24,81,173,106,245,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb541473a22dea986bb6946d6197738c6.jpg",[],{"id":52835,"slug":52836,"title":8841,"dynasty":189,"author":17731,"museum":20,"description":52837,"tags":52838,"thumbUrl":52839,"material":67,"size":52840,"collection":139,"collections":52841,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},233215,"zhu-shi-tu-zhou-gu-an-233215","《竹石图》 。该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[7,24,241,173,242,245,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2a0b28fc7cfc65ebf4a460dda8477a.jpg","170.7x99.7cm",[],{"id":52843,"slug":52844,"title":52845,"dynasty":189,"author":293,"museum":20,"description":52846,"tags":52847,"thumbUrl":52848,"material":4434,"size":52849,"collection":139,"collections":52850,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":49},233151,"fang-guo-xi-shan-shui-tu-zhou-yi-ming-233151","仿郭熙山水图轴","图中绘层岩叠嶂，长松老树，古寺平溪，小桥行旅，可游可居。此图为大幅山水，构图高远、深远兼用，山如卷云，树似鹰爪，画风学郭熙一派而又有元人的逸趣。",[7,24,241,29,105,177,173,27,649,34,1653,394,650,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","纵164厘米横105.3厘米",[],{"id":52852,"slug":52853,"title":52854,"dynasty":99,"author":966,"museum":20,"description":52855,"tags":52856,"thumbUrl":52857,"material":1386,"size":52858,"collection":181,"collections":52859,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},233133,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-shi-hu-tu-ye-wen-zheng-ming-233133","明人西山胜景合壁册-文徵明石湖图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[7,24,81,173,29,176,34,174,18381,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7401370fa8da2f24b34abe414e0b35f.jpg","纵22.8cm，横33.2cm",[181,45],{"id":52861,"slug":52862,"title":52863,"dynasty":76,"author":293,"museum":20,"description":52864,"tags":52865,"thumbUrl":52871,"material":803,"size":52872,"collection":139,"collections":52873,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},233054,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233054","平定安南战图册","《平定安南得胜图》描绘了清乾隆五十三年至五十四年（1788—1789年）间清政府出兵平定安南的战争场景。六幅图依次为：嘉观诃滬之战、三异柱右之战、寿昌江之战、市球江之战、富良江之战、阮惠遣侄阮光显入觐赐宴。\n在东南亚各国中，安南大越与中国疆域毗邻，关系密切。清统一全国后，安南内部仍然陷于南北纷争之中，广南（今越南南部）阮氏控制南方，北方郑氏擅权，国王黎氏徒拥虚位。安南久列藩封，黎氏传国最久，臣服中国最为恭顺。清高宗应黎氏之请用兵安南，为安南平定内乱。\n此套图在风格上受到郎世宁“西法中国画”的影响，在画面局部采用焦点透视和一定的明暗对比来表现纵深效果和立体感，在构图、造型上又带有中国画和木版画风格，反映了中国画家在试图融合中西绘画优长方面所作的努力。",[209,7,24,81,3842,27,52866,52867,52868,36510,52869,36509,29,106,52870],"中西融合绘画","焦点透视","明暗对比","战船","富良江之战","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b649a06ced5bc8c552f7fcf09a6f73.jpg","纵55.3cm，横90.3cm",[],{"id":52875,"slug":52876,"title":52877,"dynasty":18,"author":812,"museum":20,"description":52878,"tags":52879,"thumbUrl":52880,"material":67,"size":52881,"collection":139,"collections":52882,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},232993,"nan-tang-wen-hui-tu-ye-zhao-chang-232993","南唐文会图页","《南唐文会图》为宋人作品。无款。裱边题签“赵昌南唐文会”。对幅乾隆御笔题诗：“南唐虽僻立，亦自尚文规。簪佩徜徉处，图书左右披。东瀛前拟法，西雅后开师。位置增精密，晩年还蜀为。”\n图绘南唐文士聚会场面。园林中绿树葱茏，芭蕉成林，中设一大案，数位文人雅士围于案旁，又有婢女仆从侍立在旁。",[7,24,81,27,28,29,106,34,175,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62beb2752eec01d037f48c6dd6e055ad.jpg","30.4X29.6cm",[],{"id":52884,"slug":52885,"title":52886,"dynasty":18,"author":293,"museum":20,"description":22037,"tags":52887,"thumbUrl":52888,"material":40,"size":24018,"collection":139,"collections":52889,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},232880,"sou-shan-tu-yi-ming-232880","搜山图",[23,209,7,25,28,27,106,957,7281,29,34,650,281,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg",[],{"id":52891,"slug":52892,"title":52893,"dynasty":189,"author":4086,"museum":364,"description":52894,"tags":52895,"thumbUrl":52897,"material":67,"size":52898,"collection":139,"collections":52899,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},232636,"jin-ji-tu-li-zhou-chen-lin-232636","锦鸡图立轴","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物\n陈琳得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。\n陈琳存世花鸟画仅有一件，即《溪凫图》（台北故宫博物院），作于大德五年(1301)，是在赵孟頫松雪斋中画成的。画中有赵孟頫的润饰和题字，称这幅画为陈琳的游戏笔墨，推重备至。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。这幅画既反映了陈琳的绘画特色，也代表了元代花鸟画嬗变的时代特征。陈琳还有山水画传世，如《秋山行旅图》、《苍崖古树图》等，都属于水墨写意画法。",[23,7,241,27,28,83,1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风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[23,7,24,25,28,260,106,151,150,280,52906,86,227,178],"耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","27.2 x 101.5",[],{"id":52911,"slug":52912,"title":26539,"dynasty":99,"author":29606,"museum":364,"description":52913,"tags":52914,"thumbUrl":52915,"material":139,"size":52916,"collection":139,"collections":52917,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":49},231948,"tao-yuan-tu-shi-rui-231948","石锐（？－15世纪），字以明，钱塘（今浙江省杭州市）人，明代宫廷画家。宣德年间（1426年－1435年）进入宫廷，在仁智殿担任待诏，1469年仍活跃于画院。其画得盛懋之法，备极华整。金碧山水、界画楼台及人物，皆傅色鲜明温润，尤擅长画青绿与金碧山水，名著于时。",[23,7,1397,27,177,176,34,114,109,279,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f18009ef0602e849b71eadcf06a50f.jpg","24.7x22.15 厘米",[],{"id":52919,"slug":52920,"title":52921,"dynasty":292,"author":46585,"museum":364,"description":46586,"tags":52922,"thumbUrl":52923,"material":743,"size":744,"collection":139,"collections":52924,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":271},231666,"shi-ting-shi-dai-fang-liang-kai-huang-chu-ping-tu-xue-zhou-231666","室町时代 仿梁楷黄初平图",[7,24,173,260,105,106,151,449,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cbaeb5a70ff2eeb09b8af16b85dbbcc.jpg",[],{"id":52926,"slug":52927,"title":52928,"dynasty":99,"author":1480,"museum":364,"description":52929,"tags":52930,"thumbUrl":52931,"material":139,"size":139,"collection":139,"collections":52932,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 人来种杏不虚寻，彷佛庐山小径深。\n常向静中参大道，不因忙里庆清呤。\n愿随化雨之春泽，未许云间一片心。\n老我近来多肺疾，如另紫雪把 。",[209,7,24,25,173,27,177,178,86,227,106,29,1575,394,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":52934,"slug":52935,"title":52936,"dynasty":76,"author":1204,"museum":364,"description":52937,"tags":52938,"thumbUrl":52939,"material":139,"size":139,"collection":139,"collections":52940,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},230277,"gu-guo-xing-bei-shi-hua-ce-su-qin-wang-juan-shou-zhu-da-230277","故国兴悲诗画册(肃亲王卷首)","此幅书法以行书书就四字，笔力苍劲沉凝，线条如枯藤老树，藏锋裹住满腔郁愤，露锋破开沉重心绪，字形宽博朴拙，尽显沉郁厚重的气度。左侧题款小字清隽端雅，与大字的雄健悲凉形成强烈视觉反差。疏朗留白间朱印点缀，将山河破碎的怆怀融于笔墨，于尺幅间铺陈出悠悠无尽的家国哀思，笔墨起落间皆是乱世流离的沉恸。",[23,7,24,81,178,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89e9df92d4a66217f7060c595690bf2.jpg",[],{"id":52942,"slug":52943,"title":48518,"dynasty":76,"author":7142,"museum":364,"description":52944,"tags":52945,"thumbUrl":52946,"material":139,"size":139,"collection":139,"collections":52947,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},230157,"jiu-cheng-gong-tu-yuan-yao-230157","画作取高远、平远兼融的构图，上部巨岩拔地凌天，淡墨晕染出缭绕云气，晕开虚渺空濛的高远之境。山腰层楼叠宇依岩临渊，界画笔法工细匀整，飞檐翘角尽显宫阙的雄丽精巧。\n\n近景苍松虬曲蓊郁，临水方亭伴岸而立，板桥卧波轻连汀渚，淡墨铺陈出水岸的悠远空寂。山石兼工带写，斧劈皴间晕染烟岚，墨色干湿浓淡铺陈出山水层次虚实，将人工匠造融于天地山水间，尽显楼阁山水的明秀壮逸，把宫苑恢宏与山水灵秀相融，意境清逸悠长。",[23,7,241,104,27,29,107,175,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29d96974242735cfd79368fbee845cd.jpg",[],{"id":52949,"slug":52950,"title":52951,"dynasty":76,"author":953,"museum":364,"description":52952,"tags":52953,"thumbUrl":52954,"material":139,"size":139,"collection":139,"collections":52955,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},230122,"chun-qin-si-ping-ren-yi-230122","春禽四屏","这幅团扇小品兼工带写，以鸲鹆为题。浓墨晕染禽鸟黑羽，兼用淡墨扫出绒羽蓬松层次，朱红爪足紧扣枯枝，圆目尖喙自带警觉之态，笔意放逸却形神毕现。衬景藤蔓枝叶以花青淡赭轻勾慢染，叶片俯仰错落，柔润淡彩与浓黑禽鸟形成冷暖映衬，疏密之间晕出春日清寂生机。右侧题字笔力劲挺，与画面浑然相融，尽显写意花鸟的灵动雅趣，尺幅之内将日常小景化为意韵悠长的雅致佳作。",[7,27,173,83,224,1062,1063,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56f8d8e8fbbb64afde5123e88597a17.jpg",[],{"id":52957,"slug":52958,"title":52959,"dynasty":76,"author":1109,"museum":364,"description":52960,"tags":52961,"thumbUrl":52962,"material":139,"size":139,"collection":139,"collections":52963,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},228986,"yuan-ming-shi-yi-ce-ye-shi-tao-228986","渊明诗意册页","《陶渊明诗意图》是清代石涛创作的纸本设色画册。\n本图册是作者根据东晋著名诗人陶渊明诗句而创作。\n陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。\n绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。\n他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。\n石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。\n画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。\n此图结构精巧，人物用笔细密。\n远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。\n这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。\n老者远望青山，脚下溪水流淌。\n面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。\n画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。\n构图采用一水两岸的自然分疆法。\n画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。\n树木用水墨渍出，以衬托山腰白云的动感。\n石涛（1642年－178年），清初画家，原姓朱，名若极，明靖江王朱赞仪的十世孙， 的长子。\n广西桂林人，祖籍安徽凤阳，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。\n与 、 、 合称“清初四僧”。\n早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。\n工书法，能诗文。\n存世作品有《搜尽奇峰打草稿图》、《 》、《竹石图》、《 》等。",[7,24,81,27,177,178,29,35,34,7582,106,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2d3809eadb6e757b646a89b366f1d6.jpg",[],{"id":52965,"slug":52966,"title":52967,"dynasty":76,"author":9039,"museum":364,"description":52968,"tags":52969,"thumbUrl":52970,"material":139,"size":139,"collection":139,"collections":52971,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},228949,"chun-man-zhi-tou-zhao-zhi-qian-228949","春满枝头","此作将群芳收于团扇尺幅，花枝虬曲穿插，蔷薇、山茶错落在苍枝间，繁而不乱。墨叶以浓淡晕出层次，苍厚朴拙，带着写意的朴野意趣；花卉以没骨晕染，粉艳、朱红、米黄诸色鲜活柔润，妍丽却不甜俗。\n\n兼工带写的笔意，将草木的舒展生机与文人画的隽雅格调相融，角落题字清雅端凝，和画面浑然一体。把暮春盛放的鲜活景致凝缩方寸之间，生机盎然，尽显清隽的写生意趣，是兼具笔墨情致与自然意韵的小品佳制。",[23,7,24,209,1562,27,83,84,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633ca1d9c7a81bb71031bb55fe76c1ba.jpg",[],{"id":52973,"slug":52974,"title":11281,"dynasty":99,"author":1170,"museum":364,"description":52975,"tags":52976,"thumbUrl":52977,"material":743,"size":744,"collection":139,"collections":52978,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,209,7,24,25,86,173,27,177,1397,29,1247,649,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":52980,"slug":52981,"title":52982,"dynasty":99,"author":170,"museum":364,"description":52983,"tags":52984,"thumbUrl":52985,"material":139,"size":139,"collection":139,"collections":52986,"showCount":609,"zanCount":1547,"manualWeight":48,"mainColor":49},228829,"han-que-wu-sheng-tu-shen-zhou-228829","寒雀无声图","画面取全景雪景山水，主峰巍峨覆雪，山石以短笔皴擦，苍浑厚重。近岸枯木萧疏，枝桠挺劲，汀渚间茅舍错落，平湖空蒙澄澈，以留白晕染出雪意，遍体清寒。\n\n整幅画以淡墨铺陈寒意，笔意松秀苍润，将冬日山野的阒寂空阔铺展开来。题画诗与雪景浑然相融，把山居冬日的幽谧淡然藏进尺幅之间，尽显文人幽居寄兴的雅逸意趣，萧寒之中自有沉静安然的意境。",[23,7,24,241,173,29,1015,108,35,176,177,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56085afc730ef0c13e69977803e43ffc.jpg",[],{"id":52988,"slug":52989,"title":31820,"dynasty":99,"author":14350,"museum":364,"description":52990,"tags":52991,"thumbUrl":52994,"material":139,"size":139,"collection":139,"collections":52995,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},228486,"shuang-ying-tu-lin-liang-228486","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[23,7,24,241,1086,173,446,83,52992,4307,52993,340,1062,697,650],"院体","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],{"id":52997,"slug":52998,"title":52999,"dynasty":99,"author":100,"museum":364,"description":53000,"tags":53001,"thumbUrl":53002,"material":139,"size":139,"collection":139,"collections":53003,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":49},228454,"shou-lie-tu-ye-chou-ying-228454","狩猎图页","平沙莽莽，疏枝斜挑天际，尽显荒寒萧索。虬髯猎手身着劲装，背负箭囊，俯身控马急驰，目光如炬锁向前方奔逃的猎物，满屏皆是紧绷的狩猎张力。\n\n画师以劲挺利落的铁线描勾勒人马身形，沉凝的绢底晕染出辽远荒滩，淡墨轻扫便将塞外旷野的空寂铺陈开来。猎手的剽悍果决与猎物的仓皇奔窜形成强烈对冲，动静之间，将北地游猎的飒爽快意尽数渲染，笔简意足，苍劲疏朗的野趣扑面而来，把刹那间的狩猎定格成永恒的生动画卷。",[7,209,24,81,28,27,106,150,957,34,31402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8084374c281962b0ebac2a54ed35c49.jpg",[],{"id":53005,"slug":53006,"title":53007,"dynasty":99,"author":17054,"museum":364,"description":53008,"tags":53009,"thumbUrl":53010,"material":139,"size":139,"collection":139,"collections":53011,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":271},228260,"xi-shan-tu-xu-ben-228260","溪山图","此作画风承接元人山水余韵，以全景式构图铺展溪山胜境。层叠山峦以披麻皴写就，笔墨苍秀清润，尽显山石纹理质感与巍峨气势。山岩裂隙间飞泉垂落，添得山林灵动生机。山脚林木蓊郁，村居错落掩映于树荫之下，茅舍俨然，勾勒出幽寂恬然的山居意趣。\n\n画面上方题跋错落排布，书画相映成趣，晕染出文雅沉静的氛围。整作墨色层次丰富，勾勒点染间尽显静穆淡远的隐逸之美，将江南溪山的温润灵秀，与文人栖居的闲雅意致相融无间，格调萧散淡远，尽显文人山水的清雅风神。",[23,7,24,241,173,177,29,176,34,560,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c87a9d67988fc66837c4291b05d87c3.jpg",[],{"id":53013,"slug":53014,"title":53015,"dynasty":189,"author":30671,"museum":364,"description":53016,"tags":53017,"thumbUrl":53018,"material":139,"size":139,"collection":139,"collections":53019,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,7,24,25,26,27,29,107,108,109,1575,176,37,104,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":53021,"slug":53022,"title":29396,"dynasty":189,"author":21191,"museum":206,"description":53023,"tags":53024,"thumbUrl":53025,"material":317,"size":29400,"collection":139,"collections":53026,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},228071,"yue-yang-lou-tu-xia-yong-228071","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何着笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[7,209,24,104,260,107,29,106,176,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a48c01606623521039e6e1df769255.jpg",[],{"id":53028,"slug":53029,"title":53030,"dynasty":189,"author":5444,"museum":364,"description":53031,"tags":53032,"thumbUrl":53033,"material":139,"size":139,"collection":139,"collections":53034,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":49},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[23,7,24,27,173,29,174,109,106,1575,176,28,118,29967,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],{"id":53036,"slug":53037,"title":53038,"dynasty":189,"author":51900,"museum":364,"description":53039,"tags":53040,"thumbUrl":53042,"material":139,"size":139,"collection":139,"collections":53043,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[23,7,24,25,105,27,28,86,227,106,151,11352,8891,36776,34,109,53041,108],"稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":53045,"slug":53046,"title":53047,"dynasty":189,"author":8176,"museum":364,"description":53048,"tags":53049,"thumbUrl":53050,"material":139,"size":139,"collection":139,"collections":53051,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":49},227989,"qiu-shan-mu-ai-tu-juan-gao-ke-gong-227989","秋山暮霭图卷","以淡墨晕染峰峦，烟岚轻笼岫影，虚实相生间铺展秋日山野的空寂萧疏。近岸苍林错落，村居隐于枝桠间，秋水如镜，映带平远野色，将暮霭沉沉的静谧秋意晕开。\n画作以干湿互用的墨色写就，山峦以淡墨披麻皴辅以晕染，弱化嶙峋棱角，尽显温润秀雅。留白处化作流岚晓雾，将远峰近林织就朦胧诗境。右上角题诗与朱印错落，书画印相映成趣，添就文雅书卷气，将秋山暮时的澹远空寂，融在水墨氤氲里，尽显文人寄情丘壑的写意幽远之致。",[23,209,7,24,25,173,177,29,864,34,37,5066,4663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37365464f0d1bde1301c29f462bf7cdc.jpg",[],{"id":53053,"slug":53054,"title":53055,"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－1435年1月31日），号长春真人 ，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府 。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁 ，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[23,7,24,81,173,28,242,430,224,13507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580b1d5613a0bce82743a005bf875250.jpg","37x46.6厘米",[],{"id":53233,"slug":53234,"title":53235,"dynasty":99,"author":22255,"museum":364,"description":53236,"tags":53237,"thumbUrl":53238,"material":803,"size":53239,"collection":382,"collections":53240,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},222312,"za-shi-wang-chong-222312","杂诗","其书飞动流转，气度不凡，行笔急速，字距疏密相同，通篇作品给人以拙而不滞、巧而不媚的感觉，可谓是上乘之作。",[23,209,7,24,25,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411f8420955b21e3af027f4497c1e2af.jpg","纵28.8厘米，横25.4厘米",[382],{"id":53242,"slug":53243,"title":53244,"dynasty":99,"author":170,"museum":78,"description":53245,"tags":53246,"thumbUrl":53247,"material":665,"size":53248,"collection":139,"collections":53249,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},222131,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222131","雨江名胜图册","此图是描绘长江淮河两岸名胜风景的册页，共十幅，每幅对页有沈周自题七绝一首，并有友人文嘉、王穉登等人题和诗。画面皆剪裁简明，情景融合，却构成诗意盎然的境界。用笔质朴、凝重，山峦的 繁笔勾皴和屋宇的简笔勾勒，形成疏密的对比，墨色也富有虚实轻重的变化，使画面产生强烈的装饰美感。",[23,7,24,81,27,29,107,34,175,86,227,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674619dee4ce4fad476bb3400d91654b.jpg","纵42.2厘米，横23.8厘米",[],{"id":53251,"slug":53252,"title":53253,"dynasty":99,"author":10654,"museum":206,"description":53254,"tags":53255,"thumbUrl":53256,"material":53257,"size":53258,"collection":181,"collections":53259,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},222086,"hui-shan-zhu-quan-tu-zhou-qian-gu-222086","惠山煮泉图轴","钱谷此图绘与友人四人品茶赏景谈天，三童一汲方池惠泉，另二于松下煽火备茶。图中树木多以乾笔皴擦、人物偶现几处浓墨点缀，浓淡表现恰到好处，笔法灵巧，呈现了晚明文人潇洒怡然的生活情景。",[23,7,24,241,173,27,177,106,34,176,227,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc265a3d40fc91feae57afc4851a3c8e.jpg","轴、纸本、浅设色","265x57.2",[181,45],{"id":53261,"slug":53262,"title":53263,"dynasty":189,"author":50881,"museum":78,"description":53264,"tags":53265,"thumbUrl":53266,"material":803,"size":53267,"collection":382,"collections":53268,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":271},221843,"zhen-jing-an-mu-yuan-shu-juan-shu-yang-wei-zhen-221843","真镜庵募缘疏卷书","《真镜庵募缘疏卷》是杨维桢的行草书佳作。作者晚年与僧道交往频繁，经常出入于寺庙道院，此卷特地为真镜庵募缘所撰写。其书章局变化丰富，随意而奇崛，用笔力遒韵稚，笔法跳宕，竭尽一唱三叹、回肠荡气的能事。用墨浓淡互济，干湿对比强烈，表现出作者的强烈的艺术个性，怪癖性格的极度张扬。",[23,209,7,24,25,86,178,1147,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4da8dc6697a68cc4bc1fefa0121d77.jpg","纵33.3厘米，横278.4厘米",[382],{"id":53270,"slug":53271,"title":36505,"dynasty":189,"author":10551,"museum":191,"description":53272,"tags":53273,"thumbUrl":53274,"material":803,"size":53275,"collection":139,"collections":53276,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},221826,"jie-bo-tu-juan-zhu-yu-221826","《揭钵图》在佛教题材绘画中青史留名，在中国古代美术史上占有重要地位。清初《佩文斋书画谱》等史籍中明确记载，朱玉《揭钵图》真迹存世仅有两本。对比浙博本和美国本，后者人物线条更加飘逸，几无断笔，面部结构精准，服饰线条洒脱，而浙博本有近半人物线条出现断笔。",[23,7,24,25,260,259,106,957,20401,7464,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8239e9d61ec1d53ae4c554166623e90.jpg","27.7x111厘米",[],{"id":53278,"slug":53279,"title":53280,"dynasty":189,"author":8176,"museum":20,"description":53281,"tags":53282,"thumbUrl":53283,"material":619,"size":53284,"collection":42,"collections":53285,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},221694,"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[23,7,1397,241,177,27,864,1329,430,464,108,109,281,1432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纵138.1厘米，横58.5厘米",[42,181,45],{"id":53287,"slug":53288,"title":52433,"dynasty":18,"author":7349,"museum":12966,"description":10245,"tags":53289,"thumbUrl":53290,"material":67,"size":53291,"collection":139,"collections":53292,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},221604,"gui-yu-tu-liang-kai-221604",[23,209,7,173,27,29,1015,281,1016,174,1351,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85b9bdc5562af0dcae71507b85fc35.jpg","23.6x24.7厘米",[],{"id":53294,"slug":53295,"title":53296,"dynasty":18,"author":6566,"museum":20,"description":53297,"tags":53298,"thumbUrl":53299,"material":40,"size":53300,"collection":42,"collections":53301,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},221453,"bin-feng-tu-juan-quan-juan-ma-he-zhi-221453","豳风图卷全卷","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。\n张丑《清河书画舫》、卞永誉《式古堂书画汇考》、吴升《大观录》、《石渠宝笈·续编》、《石渠随笔》等书著录。",[23,7,24,25,260,27,106,29,394,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e13d25db108e203ad6d928b942d2a2.jpg","纵25.7厘米，横55.7厘米",[42,181,163],{"id":53303,"slug":53304,"title":42654,"dynasty":18,"author":38151,"museum":206,"description":53305,"tags":53306,"thumbUrl":53307,"material":803,"size":53308,"collection":42,"collections":53309,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},221284,"bao-shan-shi-jing-ce-gao-ke-ming-221284","高克明，生卒年不洋，宋化絳州（今山西新絳） 人，主要活動時期在太宗，仁宗二朝，為當時著名的山水畫家。 高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[209,7,24,81,27,177,178,29,1532,5066,14274,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米",[42,181,163],{"id":53311,"slug":53312,"title":53313,"dynasty":18,"author":53314,"museum":1985,"description":53315,"tags":53316,"thumbUrl":53317,"material":40785,"size":53318,"collection":44,"collections":53319,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},221261,"zhao-yang-tu-hu-zhi-tian-221261","朝阳图","胡直天","此作以减笔写意写就，枯涩灵动的墨线勾勒僧人身形，顿挫转折间，衣物褶皱的厚重质感尽显。老僧垂眉敛目，持盏默坐，神态沉凝安然，似在静待晨光破暝，将禅家静定悠然的意态藏于笔底。\n\n画面简阔疏朗，以空寂绢面烘托出清远虚淡的禅意氛围，不着一笔而意蕴自生。笔意极简却形神兼备，寥寥数笔便将出尘襟怀铺展尽致，尽显禅画以形写神、以简驭繁的精妙意趣。",[23,209,7,24,81,260,173,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37005a5ef42275a168b4eeac761cadf2.jpg","22.3×23",[44],{"id":53321,"slug":53322,"title":53323,"dynasty":1095,"author":4791,"museum":4792,"description":53324,"tags":53325,"thumbUrl":53326,"material":139,"size":139,"collection":139,"collections":53327,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},220561,"dou-ying-xu-bei-hong-220561","斗鹰","以酣畅泼墨写就猛禽雄姿，两只苍鹰振翅对峙于空，利爪森然张扬，怒目相向，将空中缠斗的紧绷张力拉至顶点。\n作者以干湿浓墨晕染出羽毛层次，大写意的笔触间不失细节精准，将猛禽的桀骜筋骨与凶悍神态尽数勾勒。画面留白疏朗，远景点缀掠空小鹰，衬出天地辽远，更显主体鹰隼的霸悍气魄。整体笔力雄健老辣，将猛禽相斗的野性之美凝于纸面，把转瞬即逝的空中角斗定格为永恒的视觉冲击，尽显豪迈苍劲的风骨。",[23,7,173,446,241,281,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b0f6352c708e330be8c080b5a1d523.jpg",[],{"id":53329,"slug":53330,"title":53331,"dynasty":1095,"author":4791,"museum":4792,"description":53332,"tags":53333,"thumbUrl":53335,"material":139,"size":139,"collection":139,"collections":53336,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},220553,"ba-ren-ji-shui-xu-bei-hong-220553","巴人汲水","这幅长卷以竖幅铺展取水全程，自河畔到山梯，串联起众生剪影。下方赤膊老者躬身探入河水提桶，肌肉紧绷满是劳作的沧桑；妇人俯身舀水，壮年佝偻腰背负重登梯，青年挑着水桶稳步上行，山巅挑夫将艰辛藏入沉稳脚步。\n线条劲挺勾勒出劳动者贲张的筋肉与粗粝山石，淡墨晕染开朦胧水汽，侧畔竹花轻绽反衬生计之苦。题诗诉尽汲水人的血汗辛劳，将日常生计绘就为对底层坚韧的深情礼赞，写实笔墨里满溢共情与悲悯。",[23,7,173,27,2714,241,106,12624,340,109,53334],"水桶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15e184e8f377e2844f6c9d4d7879a5ec.jpg",[],{"id":53338,"slug":53339,"title":53340,"dynasty":1095,"author":4791,"museum":4792,"description":53341,"tags":53342,"thumbUrl":53343,"material":139,"size":139,"collection":139,"collections":53344,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},220536,"chen-qu-xu-bei-hong-220536","晨曲","枯枝虬曲交错，浓淡墨色晕染出苍劲质感，萧索冬意铺满纸面。数十只麻雀错落栖于枝桠，姿态灵动各异：有的昂首翘望谛听晨风，有的两两依偎喁喁私语，也有敛羽静立，沉浸在晨间清寂之中。\n\n以水墨写意之法寥寥定格群雀憨态灵趣，淡墨留白的空阔背景，更衬出雀鸟的鲜活生机，静中藏动，将冬晨的清寒和小生命的蓬勃揉作一处。于枯淡笔墨间晕开暖意，把日常晨间的鲜活意趣尽显，在留白与笔意里藏着温柔生机，让萧瑟冬景晕染出盎然生气。",[7,173,27,446,83,1015,281,1095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0320e8ab6ec6712d5beadf2f7573390c.jpg",[],{"id":53346,"slug":53347,"title":53348,"dynasty":1095,"author":14659,"museum":7134,"description":53349,"tags":53350,"thumbUrl":53352,"material":139,"size":139,"collection":139,"collections":53353,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},220515,"he-hua-lu-si-pu-xin-she-220515","荷花鹭鸶","这幅水墨作品以浓淡干湿铺陈笔意，大块浓墨晕染荷叶，苍劲沉郁，与留白水色、素洁鹭鸶形成强烈视觉反差。两只鹭鸶刻画工细，羽毛纤毫毕现，姿态悠然顾盼，在写意荷塘间独显灵动生机。\n\n画面虚实相生，留白处漾出水波空寂之感，垂坠花枝点缀其间，衬出荷塘幽谧之境。左上角题字清雅隽秀，与水墨意趣相融，整体意境疏淡空灵，尽显脱俗澹泊的文人风骨，将夏日荷塘的清寂意韵烘托得淋漓尽致。",[7,24,173,83,241,136,53351,137,297],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09adb59070f68f461c12e1eadc1bd60.jpg",[],{"id":53355,"slug":53356,"title":53357,"dynasty":99,"author":19836,"museum":206,"description":53358,"tags":53359,"thumbUrl":53360,"material":381,"size":53361,"collection":44,"collections":53362,"showCount":609,"zanCount":1547,"manualWeight":48,"mainColor":49},220446,"yan-bo-bu-yu-tu-zhu-zhan-ji-220446","烟波捕鱼图","朱瞻基（1398－1435年），明朝第五位皇帝，1425-1435年在位，别称明宣宗、宣德帝，他也是一位能够与宋徽宗媲美的杰出书画家。《烟波捕鱼图 》描绘了云山雾罩中，水上渔夫捕鱼的生活场景，画面简洁、气韵生动，人物刻画准确。",[23,7,24,241,173,27,29,174,1016,39789,1256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9626aa8d65d34938dfd008992e2399b4.jpg","65x34.7",[44],{"id":53364,"slug":53365,"title":53366,"dynasty":76,"author":7369,"museum":206,"description":53367,"tags":53368,"thumbUrl":53369,"material":88,"size":53370,"collection":44,"collections":53371,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},220439,"er-xian-tu-feng-ning-220439","二仙图","冯宁，生死时年、籍贯均不详。高宗乾隆时，任职内廷画院供奉，擅长于人物画，画法似是出自明代浙派吴伟一路，用笔慓劲，衣服褶纹采取破笔粗线描法，水墨恣肆，墨气淋漓，画面充分给人一种力的感觉。画中二仙，似为八仙中的钟汉离、铁拐李二人。",[7,24,209,241,27,28,106,34,176,2314,26284,10164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461871e343739280aea5bb0310803e26.jpg","173.5x68.9公分",[44,45],{"id":53373,"slug":53374,"title":7999,"dynasty":99,"author":170,"museum":132,"description":53375,"tags":53376,"thumbUrl":53377,"material":342,"size":53378,"collection":181,"collections":53379,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},220083,"yi-zhu-tu-shen-zhou-220083","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,7,24,25,173,177,178,227,2939,242,176,34,35,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[181],{"id":53381,"slug":53382,"title":53383,"dynasty":99,"author":1170,"museum":206,"description":53384,"tags":53385,"thumbUrl":53386,"material":67,"size":53387,"collection":181,"collections":53388,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},219976,"liu-tang-tu-dai-jin-219976","柳塘图","此作用淡晕轻染铺就烟雨空蒙的暮色，垂杨柔条披拂，烟霭萦于枝叶间，将江南水畔的朦胧诗意揉入画面。凭栏白衣士人静默远眺，与水榭板桥、浅黛远山遥遥相映。\n\n画家以清润笔触勾勒亭台轮廓，以淡墨晕出山形水色，大片留白衬出空寂悠远的氛围，褪去刻画的繁复，尽显萧散闲雅的幽居意趣。暮色四合里，晚风拂柳、静水无波，将春日水居的松弛隐逸之美，晕染得含蓄悠长。",[23,7,27,29,28,1532,108,109,107,175,106,491,37,29967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[181],{"id":53390,"slug":53391,"title":53392,"dynasty":99,"author":43491,"museum":206,"description":53393,"tags":53394,"thumbUrl":53395,"material":123,"size":53396,"collection":45,"collections":53397,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},219973,"xi-qiao-fang-you-tu-wang-e-219973","溪桥访友图","明代画家。字廷直，奉化（今浙江奉化）人，世居奉化城内西锦里。 初以绘事供事仁智殿。尝师里人萧凤，尽其术，乃肆力於唐、宋名家。凡奇山怪石，古木惊湍之类，尽摹其妙。以画名东南，其画树石多著烟霭之态，势如泼墨，而无四面枝干丛生疏密之意。宋惧、卢镇 皆师谔。 惧所作山水、人物与谔无二。镇字砚溪，能画美人 。 镇子沛，字小溪，亦工画。一生主要学习马远的画法，就其画法当属浙派。长于人物，画格 出吴伟 之上。 王谔则以山水画被孝宗朱瞻基 称为“当代马远”。 弘治正德中官锦衣千户。工山水，师南宋马远。他的画较之马远笔触更细，稍有放笔，体现了明代中期院体的时代风格。",[23,7,29,27,177,241,108,109,175,430,176,150,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60261b5b6f84e0898253e1dd71ffe7c9.jpg","纵 172.1厘米 横105.8厘米",[45],{"id":53399,"slug":53400,"title":53401,"dynasty":76,"author":5208,"museum":78,"description":9557,"tags":53402,"thumbUrl":53403,"material":803,"size":9560,"collection":139,"collections":53404,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},219848,"ba-jing-shan-shui-tu-8-gong-xian-219848","八景山水图-8",[7,173,177,29,176,34,920,5066,491,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe75e6802b3a7a668616a8dfc5d77189f.jpg",[],{"id":53406,"slug":53407,"title":53408,"dynasty":18,"author":293,"museum":206,"description":53409,"tags":53410,"thumbUrl":53411,"material":123,"size":53412,"collection":44,"collections":53413,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},219605,"fan-qi-chu-lie-tu-yi-ming-219605","番骑出猎图","画面里两位骑手纵马缓行，左侧胡酋虬髯高冠，身姿沉凝端坐，坐骑鬃尾飘曳，裹挟着塞北雄悍犷野之气。右侧骑士背负箭囊、斜倚长杆，神色警觉四顾，仿佛正凝神扫视周遭，静待逐猎之机。\n\n设色简淡古雅，线条劲挺洗练，人马造型朴拙生动，荒漠底色晕染出辽远荒寒的氛围，将游牧民族出猎前的松弛与暗藏的骁勇刻画入微，寥寥笔墨便勾勒出北方草原的苍茫意趣，尽显描摹世态、传神写意的精妙功底。",[23,209,7,24,25,28,27,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a0f7f663c7add49b0108d136ef0824.jpg","纵24.4横56.3厘米",[44],{"id":53415,"slug":53416,"title":53417,"dynasty":76,"author":28662,"museum":206,"description":53418,"tags":53419,"thumbUrl":53420,"material":123,"size":53421,"collection":181,"collections":53422,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[7,24,241,27,28,29,2502,107,108,109,106,1352,1575,176,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[181],{"id":53424,"slug":53425,"title":53426,"dynasty":189,"author":1605,"museum":206,"description":53427,"tags":53428,"thumbUrl":53429,"material":342,"size":53430,"collection":90,"collections":53431,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},219501,"tao-hua-you-niao-tu-zhang-zhong-219501","桃花幽鸟图","图绘折枝桃花，枝上栖一禽鸟。画家用墨直接点写出枝叶，桃花或勾或点，禽鸟略加勾染。构图、用笔都很疏简，较王渊的墨笔花鸟更为简逸，近于写意的画法，亦属墨戏之作。画幅上有杨维桢、范公亮等十余人题咏。",[7,24,173,83,279,224,226,86,178,1147,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e824d8b7c3ee45995275c79f83170d.jpg","纵112.2厘米，横31.4厘米",[90],{"id":53433,"slug":53434,"title":53435,"dynasty":76,"author":53436,"museum":206,"description":53437,"tags":53438,"thumbUrl":53439,"material":803,"size":53440,"collection":181,"collections":53441,"showCount":609,"zanCount":994,"manualWeight":48,"mainColor":49},219484,"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[209,7,24,241,173,177,29,8889,2502,560,650,1015,37,15846],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[181],{"id":53443,"slug":53444,"title":53445,"dynasty":99,"author":1296,"museum":206,"description":53446,"tags":53447,"thumbUrl":53448,"material":123,"size":53449,"collection":181,"collections":53450,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[7,24,241,173,177,29,175,1432,430,35,227,86,178,281,5023],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[181],{"id":53452,"slug":53453,"title":53454,"dynasty":76,"author":53455,"museum":206,"description":53456,"tags":53457,"thumbUrl":53458,"material":342,"size":53459,"collection":44,"collections":53460,"showCount":609,"zanCount":1547,"manualWeight":48,"mainColor":94},219442,"ling-xian-zhu-shou-tu-zhou-qian-zai-219442","灵仙祝寿图轴","钱载","虬松盘空，松针攒簇如墨星缀枝，枝干皴擦见苍劲老骨；旁逸修竹数竿，叶影疏斜带清韵。坡间灵菌隐现，伴以细草繁花，笔墨细劲却含生机，淡墨晕染衬出野趣。全图以水墨写就，浓淡干湿相生，于清雅笔墨间藏祝寿吉意。既有文人画的疏朗气韵，又含对福寿康宁的温婉期许，帧中留白更显意境悠远。观之如沐林下清风，心随画境渐宁，仿佛能闻松涛竹语，见灵秀之气漫溢纸间，笔墨里的雅致与吉庆悄然相融，尽显传统文人画的韵致与温度。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>",[7,24,209,241,173,28,1575,340,12102,84,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e85c969be4769322ad7f0290fce1fef.jpg","185.3x79.3",[44],{"id":53462,"slug":53463,"title":53464,"dynasty":99,"author":12631,"museum":78,"description":53465,"tags":53466,"thumbUrl":53467,"material":342,"size":53468,"collection":44,"collections":53469,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},219409,"bai-miao-fo-xiang-tu-juan-cui-zi-zhong-219409","白描佛像图卷","崔子忠（约1574-1644年），初名丹，字开予，改名子忠，字道母，号青蚓。山东莱阳人，寓居顺天府（今北京）。善画人物、肖像，传世作品较少。此幅白描佛画，似说法或授经图，取法李公麟，人物高古，衣纹流美，作于崇祯四年（1631)，作者时年约五十八岁，款署“辛未九月九日长安门下士崔子忠识。”另纸有明田大受崇祯四年（1631）手书《金刚经》，款曰“崇祯辛未重阳日瀛州奉佛弟子田大受沐手敬书。”",[99,7,24,25,259,260,106,176,34,227,86,11078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb93c57ab1883defa55547102439778a.jpg","纵30厘米，横56厘米",[44],{"id":53471,"slug":53472,"title":53473,"dynasty":99,"author":14350,"museum":539,"description":53474,"tags":53475,"thumbUrl":53476,"material":381,"size":53477,"collection":90,"collections":53478,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},219329,"liu-que-tu-lin-liang-219329","柳鹊图","画中的柳叶随风起舞，四只喜鹊在中间嬉戏。 这幅画飞扬而不失形，或画的下部被切掉，造成画不完整。",[23,7,209,173,446,83,241,1532,13507,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e1a6f8f3388ac631614527f9aa6831.jpg","139.4x76cm",[90],{"id":53480,"slug":53481,"title":53482,"dynasty":76,"author":293,"museum":238,"description":53483,"tags":53484,"thumbUrl":53491,"material":27,"size":139,"collection":44,"collections":53492,"showCount":609,"zanCount":1270,"manualWeight":48,"mainColor":49},219247,"zu-xian-xiang-yi-ming-219247","祖先像","层叠排布的家族群像，铺展一幅清代家族的伦理长卷。顶戴花翎的男子端坐，旗装霞帔的女眷肃立，衣袂间织锦暗纹隐现，品级补子昭示身份尊卑。面容沉静肃穆，目光似穿越时空，承载着家族的荣耀与传承。工笔细腻，设色典雅，人物神态刻画入微，服饰细节还原精准。这幅祖先像不仅是家族祭祀的精神载体，更以写实笔触定格清代世家风貌与文化基因，成为兼具艺术价值与社会意义的肖像画鲜活见证。",[23,7,28,27,368,53485,53486,53487,4736,53488,53489,7906,315,27032,43316,53490],"人物肖像","家族群像","清代服饰","工笔人物","设色人物","中国传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e4a59c5c3af57ba55f005f02ec73ce.jpg",[44],{"id":53494,"slug":53495,"title":53496,"dynasty":76,"author":293,"museum":238,"description":53497,"tags":53498,"thumbUrl":53499,"material":27,"size":139,"collection":44,"collections":53500,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},219246,"gao-seng-hua-xiang-yi-ming-219246","高僧画像","层叠群像如莲台次第铺展，二十余尊高僧法相凝于尺幅间。红白袈裟相映，墨珠垂胸，法器隐手——衣纹勾勒流畅，色彩晕染沉稳，承清代肖像写实之韵。或眉蹙深思，或面含悲悯，同具肃穆却各藏性情，似触见修行路上的不同心境。素底无华，更显佛法空灵与僧团整肃。佚名画师以细腻笔触，定格高僧精神群像，岁月流转，那份沉静力量仍穿越时空，叩击观者心弦。",[23,7,241,28,27,259,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc0cbc6a57185d6c4061f87a8c95e91.jpg",[44],{"id":53502,"slug":53503,"title":53504,"dynasty":18,"author":293,"museum":206,"description":53505,"tags":53506,"thumbUrl":11013,"material":123,"size":53507,"collection":90,"collections":53508,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},218700,"fu-rong-tu-yi-ming-218700","芙蓉图","一枝芙蓉斜逸而出，花瓣层叠如凝脂，粉白晕染间似沾着晨露的清润；含苞的蓓蕾裹着淡红，敛着半开的心事。墨绿叶片脉络分明，纤细却劲挺，肌理薄韧如绢。深青底色如幽潭静水，将花朵的明丽衬得愈发温润。画面无冗余缀饰，却于细微处见匠心：花瓣的柔纹、叶尖的轻颤，皆被捕捉得恰到好处。宋人的笔意藏在每一笔晕染里，不张扬却动人，似将芙蓉的清雅与生机，凝在这一方圆境中，静静诉说着时光里的温柔与诗意。",[23,209,7,24,81,27,28,83,450],"21.0x23.5",[90],{"id":53510,"slug":53511,"title":53512,"dynasty":18,"author":293,"museum":78,"description":53513,"tags":53514,"thumbUrl":53515,"material":123,"size":53516,"collection":181,"collections":53517,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":49},218545,"shui-ge-na-liang-tu-yi-ming-218545","水阁纳凉图","这幅画描绘了一个池塘的一角，池塘表面有荷叶，池塘上方坐着一个亭子，一侧有柳树遮挡，亭子里的人在风中吹气，以保持凉爽。在通往亭子的栏杆上，可以看到两个孩子，一个站在凳子上采摘水果，另一个站在一边观看。",[23,7,24,104,173,29,107,109,34,150,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e0fb0842b2e8361dde396b28c2a8f.jpg","24.4x24.9cm",[181],{"id":53519,"slug":53520,"title":53521,"dynasty":99,"author":293,"museum":539,"description":53522,"tags":53523,"thumbUrl":53524,"material":123,"size":53525,"collection":44,"collections":53526,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":1335},218323,"tie-guai-xian-ren-tu-yi-ming-218323","铁拐仙人图","这幅画与元代颜辉的风格相似，但笔法过于工整，切石过于急促，应是明代浙派画家所为。",[23,7,209,24,27,173,260,106,259,245,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17cc1e06718b81b52b719798dc68eab.jpg","77.6x56.1",[44],{"id":53528,"slug":53529,"title":53530,"dynasty":18,"author":781,"museum":364,"description":53531,"tags":53532,"thumbUrl":53533,"material":342,"size":139,"collection":139,"collections":53534,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},218113,"bai-miao-ren-wu-tu-ce-1-li-gong-lin-218113","白描人物图册-1","李公麟的生平信息相对较少，但是他在宋朝的政治、文化和经济发展中发挥了重要作用。他曾任国子监太傅，是宋朝的最高学府。他还是一位著名的诗人，他的诗歌风格优美流畅，富有哲理性。\n\n李公麟还是一位杰出的政治家。他在宋朝的统治过程中，提出了许多有益的政策建议。他倡导改革，推动了宋朝经济的发展。他还是一位慈善家，常常为穷人提供帮助。\n\n总的来说，李公麟是宋朝时期一位著名的人物，他在政治、文化和经济发展中发挥了重要作用。他的诗歌风格优美流畅，富有哲理性，是宋朝的著名诗人。他还是一位杰出的政治家，在宋朝的统治过程中，提出了许多有益的政策建议。他还是一位慈善家，常常为穷人提供帮助。",[23,209,7,24,81,260,106,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2d350df6ea3393f1fa4448450695ce.jpg",[],{"id":53536,"slug":53537,"title":53538,"dynasty":18,"author":781,"museum":364,"description":53531,"tags":53539,"thumbUrl":53540,"material":342,"size":139,"collection":139,"collections":53541,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},218111,"bai-miao-ren-wu-tu-ce-2-li-gong-lin-218111","白描人物图册-2",[23,209,7,24,81,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132f01757017d211702ac7efc58659cf.jpg",[],{"id":53543,"slug":53544,"title":53545,"dynasty":76,"author":53546,"museum":9181,"description":19408,"tags":53547,"thumbUrl":53548,"material":88,"size":19411,"collection":181,"collections":53549,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},218102,"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218102","新安逸韵册(韩铸山水)","韩铸",[7,24,81,27,177,29,176,34,30,1444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8e42768e6ff7fa17a5e7182b49522e.jpg",[181],{"id":53551,"slug":53552,"title":1692,"dynasty":76,"author":53553,"museum":53554,"description":53555,"tags":53556,"thumbUrl":53557,"material":342,"size":53558,"collection":181,"collections":53559,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},217992,"shan-shui-tu-zha-shi-biao-217992","査士标","斯德哥尔摩东方博物馆","査士标的山水画以其自然的风格、细腻的笔触和精确的构图著称。他的画作常常描绘山林、溪流、岸边和村庄，画面中有时会出现人物，但他更喜欢以自然元素为主。他的画作充满了对大自然的热爱和敬畏，表现了他对生活的真挚感受。\n\n査士标的山水画也因其独特的技巧而闻名。他喜欢使用轻轻松松的笔触，表现出自然界的和谐与平静。他的画作也常常充满了隐喻和寓言，使得作品具有深刻的哲理意义。\n\n总的来说，査士标的山水画是中国传统画风的杰出代表作，值得我们深入研究和鉴赏。",[7,24,241,173,29,108,109,394,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9dde10358f2db567a9adf307310184.jpg","109x57cm",[181],{"id":53561,"slug":53562,"title":53563,"dynasty":76,"author":293,"museum":364,"description":53564,"tags":53565,"thumbUrl":53566,"material":88,"size":139,"collection":44,"collections":53567,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},217938,"da-mo-yi-jin-ba-duan-jin-yi-ming-217938","达摩易筋八段锦","达摩易筋八段锦是一部关于清朝时期佚名所著的武术典籍。这部书是在清朝末年出版的，共包含了8段关于身体动作的详细讲解，涵盖了许多中国武术的基本功和技巧。\n\n达摩易筋八段锦的作者是佚名，这个名字意思是“不知名”，因此无法确定他的真实身份。不过，有人认为他可能是一位清朝时期的武术家，并且据说他的武术技巧非常高超。",[7,24,368,27,28,106,4736,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f40741ff6e7c4e0e425e8ebaf73e0c.jpg",[44],{"id":53569,"slug":53570,"title":53571,"dynasty":99,"author":4314,"museum":20,"description":53572,"tags":53573,"thumbUrl":53574,"material":123,"size":53575,"collection":44,"collections":53576,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},216778,"lv-ji-lv-wen-ying-zhu-yuan-shou-ji-tu-lv-ji-216778","吕纪吕文英竹园寿集图","这幅画是吕纪和吕文英在1499年画的，根据序言和题诗，吏部尚书屠滽、户部尚书周敬、御史郑捷三人同时过60岁生日，众官员在周敬的府上饮酒庆贺。\n这三位养老金领取者是主要人物，周围有客人、仆人和孩子。画中所有的人（除了孩子）都有名字，有的在院子里看仙鹤跳舞，有的在竹林里用笔墨写字，还有的在石桌上写诗。画卷最后的两个人，看着画卷，是画家陆机和陆文英，分别身着绿色和绿色的官服。\n吕纪和吕文英同时在朝廷任职，被称为 大吕 和 小吕。吕纪以画花鸟著称，这幅画的背景是鸟和树，整齐好看，接近吕纪的风格；吕文英擅长人物，线条沉稳，脸部轮廓平实，形态逼真，五官分明，与吕文英的风格相似",[23,7,24,25,27,28,106,242,449,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee6afe5130a0922557acf3dd49180a0.jpg","33.8x395.4",[44],{"id":53578,"slug":53579,"title":53580,"dynasty":99,"author":293,"museum":364,"description":53581,"tags":53582,"thumbUrl":53583,"material":381,"size":53584,"collection":44,"collections":53585,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":49},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[23,209,7,24,241,260,173,27,177,106,1653,394,29,1445,109,29609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[44],{"id":53587,"slug":53588,"title":53589,"dynasty":189,"author":1848,"museum":206,"description":3519,"tags":53590,"thumbUrl":53591,"material":342,"size":139,"collection":139,"collections":53592,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},216377,"mo-zhu-pu-ce-12-wu-zhen-216377","墨竹谱册-12",[7,24,81,173,242,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b84d902bdcd0dfa7857eb27af954466.jpg",[],{"id":53594,"slug":53595,"title":53596,"dynasty":189,"author":1848,"museum":206,"description":3519,"tags":53597,"thumbUrl":53598,"material":342,"size":139,"collection":139,"collections":53599,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},216370,"mo-zhu-pu-ce-18-wu-zhen-216370","墨竹谱册-18",[7,24,81,173,86,227,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffaa4c6b21b52e04071e7e763f1f29e9.jpg",[],{"id":53601,"slug":53602,"title":53603,"dynasty":76,"author":1703,"museum":132,"description":10880,"tags":53604,"thumbUrl":53605,"material":44219,"size":53606,"collection":139,"collections":53607,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},216332,"jin-nong-ba-kai-hua-niao-tu-2-jin-nong-216332","金农八开花鸟图-2",[7,24,81,173,933,367,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7016f993e9c69a865fbe99d0bf92ad.jpg","30.5x40.9cm",[],{"id":53609,"slug":53610,"title":53611,"dynasty":76,"author":1703,"museum":132,"description":10880,"tags":53612,"thumbUrl":53613,"material":381,"size":53606,"collection":139,"collections":53614,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},216328,"jin-nong-ba-kai-hua-niao-tu-6-jin-nong-216328","金农八开花鸟图-6",[7,24,81,173,83,3199,697,698,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57170f603152106a2ea2e30cef7c2a80.jpg",[],{"id":53616,"slug":53617,"title":53618,"dynasty":99,"author":4600,"museum":132,"description":4601,"tags":53619,"thumbUrl":53620,"material":88,"size":4604,"collection":139,"collections":53621,"showCount":609,"zanCount":5,"manualWeight":48,"mainColor":94},216262,"ming-za-hua-ce-3-wang-zhong-216262","明杂画册-3",[7,24,81,27,28,106,14315,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba8e59e04eaca034ecd6317926d000e.jpg",[],{"id":53623,"slug":53624,"title":53625,"dynasty":99,"author":21111,"museum":752,"description":53626,"tags":53627,"thumbUrl":53628,"material":67,"size":53629,"collection":139,"collections":53630,"showCount":609,"zanCount":48,"manualWeight":48,"mainColor":94},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[23,7,24,25,173,27,177,178,86,227,29,174,34,176,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 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[1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,7,24,25,27,29,106,34,281,31,649,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675717ccbee700587769309e68dd62f.jpg",[45],{"id":53918,"slug":53919,"title":53920,"dynasty":76,"author":2804,"museum":364,"description":53921,"tags":53922,"thumbUrl":53923,"material":139,"size":139,"collection":139,"collections":53924,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},239285,"song-shu-tu-zhou-wu-chang-shuo-239285","松树图轴","此作用篆籀笔法写就老松，主干以苍辣浓墨挥扫，嶙峋树皮尽显饱经岁月的古拙质感，松针攒簇如戟，笔力沉雄凝练，仿佛将穿林风骨锁于纸间。\n\n右侧长款行草笔势奔腾跌宕，与画面笔墨意趣融为一体，诗书画印相映成趣。暑日挥毫，汗透衣衫仍笔底生风，将老松傲骨峥嵘的姿态尽致展现，苍郁雄浑的气韵扑面而来，尽显吴氏金石写意的典型风貌，把文人笔墨意趣与古松坚韧生机完美相融。",[7,24,241,173,1575,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e5299d3cfddb23c06d20f3f2c9ff8b.jpg",[],{"id":53926,"slug":53927,"title":53928,"dynasty":76,"author":53929,"museum":20,"description":53930,"tags":53931,"thumbUrl":53932,"material":139,"size":139,"collection":181,"collections":53933,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},239229,"guan-shan-xing-lv-zhou-zhou-hao-239229","关山行旅轴","周颢","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯；湖北美术学院教师。\n工书画，尤精竹刻。行书师法苏轼，跌宕奇伟，自成风格。山水画早年学王翚，笔墨秀润。又善临摹，仿王蒙最工，人物画也很精妙。擅长画竹，兴酣落笔，风枝或雨叶栩栩如生。尤其以画法施之刻竹，合南北宗为一体。技艺闻名乡里，所刻山水、人物、丛竹，用刀如用笔，不必假借他人稿本。除了擅长以阴刻搭配浅浮雕技法来雕刻纹饰，尤擅长采用阴刻技法雕得相当深陷，再在深陷部位依据纹饰的需要浅雕局部纹饰，名为“陷地深刻”。这种深刻技艺，始于朱松邻，至周颢集大成。传世作品以笔筒和臂搁为主。其竹刻以阴刻技法展现绘画中的“南宗山水”最具特色，与“三朱”的刻竹面目大不相同。金元钰称誉周颢在竹人中，好像杜甫在盛唐诗人中的地位一样，首屈一指。",[7,24,241,173,177,29,176,34,106,114,561,559,543,4614,503,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[181,163],{"id":53935,"slug":53936,"title":7054,"dynasty":76,"author":5052,"museum":364,"description":7055,"tags":53937,"thumbUrl":53938,"material":139,"size":7058,"collection":139,"collections":53939,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},238029,"hong-ren-shan-shui-tu-ce-hong-ren-238029",[7,24,81,173,27,29,245,34,109,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10102ec27a9d86269d3849cb605c37b2.jpg",[],{"id":53941,"slug":53942,"title":2235,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":53943,"thumbUrl":53944,"material":743,"size":744,"collection":139,"collections":53945,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},237937,"za-hua-ce-zhu-da-237937",[7,24,81,173,178,1147,176,34,446,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86108c56dd64ee2459aadeca6d13748.jpg",[],{"id":53947,"slug":53948,"title":53949,"dynasty":99,"author":53950,"museum":364,"description":53951,"tags":53952,"thumbUrl":53953,"material":139,"size":139,"collection":181,"collections":53954,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},237905,"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[209,7,24,241,173,27,29,106,174,1575,176,490,177,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[181],{"id":53956,"slug":53957,"title":53958,"dynasty":99,"author":53959,"museum":364,"description":53960,"tags":53961,"thumbUrl":53962,"material":139,"size":139,"collection":181,"collections":53963,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":94},237783,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-ling-237783","诸家山水册-山水册页","王允龄","字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。",[7,173,177,81,29,394,1015,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17385c48ba87b031b3a6ce97cde0021f.jpg",[181],{"id":53965,"slug":53966,"title":4025,"dynasty":76,"author":5096,"museum":20,"description":38829,"tags":53967,"thumbUrl":53968,"material":1716,"size":38832,"collection":181,"collections":53969,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},237610,"shan-shui-zhou-wang-jian-237610",[7,173,177,241,29,176,34,108,109,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc811fcb2decec93770fba981f9fb35b6.jpg",[181,163],{"id":53971,"slug":53972,"title":23389,"dynasty":76,"author":10376,"museum":364,"description":23390,"tags":53973,"thumbUrl":53974,"material":139,"size":139,"collection":181,"collections":53975,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},237602,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237602",[7,24,81,173,177,105,178,227,29,176,558,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d55e3abf423efff694b4d83b35d25.jpg",[181,382],{"id":53977,"slug":53978,"title":23389,"dynasty":76,"author":10376,"museum":364,"description":23390,"tags":53979,"thumbUrl":53980,"material":139,"size":139,"collection":139,"collections":53981,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585",[24,7,173,177,5990,3117,29,864,297,430,1015,108,35,298,37,1445,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],{"id":53983,"slug":53984,"title":53985,"dynasty":76,"author":13273,"museum":20,"description":53986,"tags":53987,"thumbUrl":53988,"material":40,"size":53989,"collection":45,"collections":53990,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},237494,"ti-shan-tu-zhou-yu-zhi-ding-237494","题扇图轴","本幅右上自题“题扇图”，“都门客窗摹刘松年笔意。恭颂定翁老先生荣寿千春，广陵禹之鼎。”钤“慎斋禹之鼎”白文印，“广陵涛上渔人”朱文印，左下钤朱方印“必逢佳士亦写真”。\n据题款“都门客窗”知此图为画家寓居京城时期所作，从画风判断应为其早年摹诸家技法时的作品。图中所绘为“羲之题扇赠老姥”的故事。书圣王羲之见乡间老妇苦于生计，便为其所卖之扇题字，嘱老妇言“是王右军书，以求百钱”。老妇哪知其中奥妙，面露迟疑，不想人们竞相购买，一时传为佳话。\n此图青绿设色。画面上石崖高耸突兀，两棵古松挺拔苍劲，喻“益寿延年”。图中羲之坐于石桌旁落笔题字，老妇目露期盼，僮仆于溪畔洗砚，主题鲜明，生动自然。山水、人物用笔精细，设色艳丽明快，追求南宋院体画工整严谨的风格。",[7,24,241,27,28,106,1575,176,1159,3903,296,22510,697,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da342761f02fee861163ccd509fa22e.jpg","纵132厘米，横55.8厘米",[45],{"id":53992,"slug":53993,"title":53994,"dynasty":76,"author":10376,"museum":206,"description":53995,"tags":53996,"thumbUrl":53997,"material":803,"size":139,"collection":181,"collections":53998,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},237384,"shan-shui-ce-shen-cang-xiao-shan-tu-ye-wang-hui-237384","山水册-沈苍晓山图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[7,24,209,5990,173,177,29,106,899,176,1255,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd532bf4da8d2cb00da43608a79fe3d0.jpg",[181],{"id":54000,"slug":54001,"title":54002,"dynasty":76,"author":5096,"museum":206,"description":54003,"tags":54004,"thumbUrl":54005,"material":803,"size":139,"collection":181,"collections":54006,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":94},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[7,24,209,241,27,177,29,649,560,34,1575,340,650,4873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[181],{"id":54008,"slug":54009,"title":486,"dynasty":99,"author":23960,"museum":20,"description":23961,"tags":54010,"thumbUrl":54011,"material":1386,"size":23964,"collection":181,"collections":54012,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},236904,"shan-shui-ce-song-xu-236904",[7,24,81,27,29,176,34,108,109,558,567,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65f83e09dd31bd45db9e0f19e3d8ad6.jpg",[181],{"id":54014,"slug":54015,"title":54016,"dynasty":76,"author":953,"museum":20,"description":54017,"tags":54018,"thumbUrl":54019,"material":1716,"size":54020,"collection":44,"collections":54021,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},236467,"gong-sun-da-niang-wu-jian-tu-zhou-ren-yi-236467","公孙大娘舞剑图轴","图绘著名教坊舞伎公孙大娘舞剑之情景。公孙大娘主要活动于唐代开元年间（713—741年），以擅长舞剑享有盛名。相传怀素、张旭观其舞剑曾启发了他们的草书创作，形成了狂草之笔风。\n是图线条劲健流畅，墨笔枯润浓淡自如，有明末陈洪绶笔法，但又具自家面貌，为任氏用意之作。",[7,24,209,241,260,173,106,59,14662,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a3ce8d2d9ae38ee061b2d227a8155.jpg","纵41.9㎝，横28㎝",[44,163],{"id":54023,"slug":54024,"title":54025,"dynasty":76,"author":50852,"museum":364,"description":54026,"tags":54027,"thumbUrl":54028,"material":139,"size":139,"collection":181,"collections":54029,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼（1632—1683）， 字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[7,24,241,173,177,29,864,430,174,297,650,1015,865,490,1410,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[181,163],{"id":54031,"slug":54032,"title":2235,"dynasty":76,"author":54033,"museum":364,"description":54034,"tags":54035,"thumbUrl":54036,"material":743,"size":744,"collection":90,"collections":54037,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},236275,"za-hua-ce-chen-zi-236275","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[7,24,81,27,28,83,2238,712,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf91b3188b1d2657236050474f40d5dd.jpg",[90,45],{"id":54039,"slug":54040,"title":30175,"dynasty":76,"author":836,"museum":20,"description":54041,"tags":54042,"thumbUrl":54043,"material":139,"size":139,"collection":181,"collections":54044,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},236184,"shan-shui-shan-mian-dong-gao-236184","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[7,1562,29,27,177,173,864,297,34,650,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff182c5839f1f93fccca4fda27fff9d5.jpg",[181],{"id":54046,"slug":54047,"title":54048,"dynasty":76,"author":293,"museum":20,"description":54049,"tags":54050,"thumbUrl":54051,"material":40,"size":54052,"collection":44,"collections":54053,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},236165,"yong-zheng-chao-fu-xiang-zhou-yi-ming-236165","雍正朝服像轴","此幅画面上雍正皇帝身着明黄色彩云金龙夏朝服，头戴夏朝冠，顶贯珠三重，冠前饰金佛。胸前佩戴东珠朝珠，其上间系绿松石纪念三串，腰系朝带，足蹬石青色朝靴，这是雍正皇帝参加盛大典礼时的服饰。此图用笔工整精致，色彩华丽鲜艳，人物神态端庄威严，是宫廷画家精心创作的皇帝肖像画。从“冠上无梁”（“梁”为清帝朝冠顶座左右两侧的n形装饰，雍正晚期出现）的装饰风格看，当属雍正早期的绘画作品。\n一代冠服自有一代之制。清代满族统治者传承中国古代传统文化的精髓，把“衣作绣，锦为缘”、“续衽钩边”和“朝服祭服，襞积（朝袍腰部叠褶处称襞积）无数”这些中国古代服饰的传统形制与带有满民族风格的“披肩领”和“马蹄袖”巧妙地结合起来，不仅彰显了其“马上得天下”的辉煌历史，同时亦注重到实用性，并最终使其制度化，成为中国古代服饰制度改革中的典型范例。\n清代冠服制度规定：朝服分蓝、红、月白、明黄四种颜色，根据不同的礼仪功能和场合穿用不同颜色的朝服。祭天穿蓝色，祭日穿红色，祭月穿月白色，而明黄色朝服一般用于典礼（登基、元旦、万寿、金殿传胪、颁诏受贺等）和祭祀（祭太庙、先农坛、社稷坛、先师孔子、历代帝王等）活动。典礼和祭祀穿着的明黄色朝服又有区别，典礼朝服衣袖为石青色，而祭祀朝服衣袖为明黄色。",[209,7,24,241,27,28,106,3412,502,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f80fdf14cbf8bf55ddfd77ed4a88d8b.jpg","纵277厘米，横143厘米",[44,45],{"id":54055,"slug":54056,"title":54057,"dynasty":76,"author":13727,"museum":20,"description":13728,"tags":54058,"thumbUrl":54061,"material":40,"size":13731,"collection":139,"collections":54062,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},236139,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236139","历朝贤后故事图",[7,24,28,27,104,106,758,107,242,755,115,54059,313,53178,114,9786,54060,1664],"台地","廊柱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb3c692d9bd63ff00c7b99a6b8f1f1c.jpg",[],{"id":54064,"slug":54065,"title":54066,"dynasty":76,"author":7142,"museum":364,"description":54067,"tags":54068,"thumbUrl":54070,"material":139,"size":139,"collection":139,"collections":54071,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},235991,"li-shan-bi-shu-tu-zhou-yuan-yao-235991","骊山避暑图轴","《袁江袁耀画集》是25年 出版的图书，作者是袁江，袁耀。\n袁江（约1671—1746年以后），字文涛，江都（今江苏扬州）人，擅长画山水楼阁，初学明中期【吴门四家】之一仇英的画法，中年时得一无名氏画稿，之后画艺大进。\n其界画在清代被推为第一。\n袁江存世作品较多，多在国内收藏，也有一些流到海外。\n袁江是我国绘画史上有影响画家，宫廷画家，转工山水楼阁界画。\n在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。\n当时还有他的侄子袁耀同齐名。\n他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。\n他擅画山水、楼台、师法宋人。\n山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。\n他的绘画素材多为古代宫苑，尤长于界画。\n天津市文管处收有一幅《瞻园图卷》，表现南京的园林建筑；上海博物馆藏有一幅《东园图卷》；北京文物局收有《骊山避暑图轴》，表现想象中的仙境；南京博物院藏有《海山三山图轴》，也描绘了想象中的仙境和古代建筑，瑰丽壮观，富有意境。\n其侄（一说为子）袁耀，字昭道，山水楼阁传其家法。\n袁耀（生卒年未详），清朝画家，字昭道，江都（今江苏扬州）人，袁江之子，生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。\n擅界画，风格与其父极为近似。\n工画山水、楼阁、界画。\n画风工整、华丽，与袁江相似。\n其精品有胜于袁江者。\n偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。\n约活动于乾隆中期。\n上卷 画舫冲烟图 松亭纳凉图 春雷起蛰图 峨嵋雪霁图 桐阴消夏图 独坐看山图 骊山避暑图 江天暮雪图 寒食归宁图 猫雀图 水殿柳风图 汉宫秋月图 松柏齐年图 东山别墅图 溪山行旅图 梁园飞雪图 天香书屋图 山水人物图 绿野堂图 春雷起蛰龙图 郭汾阳富贵寿考图 仙山楼阁图 白云红树图 湖庄春晓图 渔浦晚归图 松风流水图 风雪归人图 秋林暮霭图 重阳风雨图 槛外长江图 海屋沾筹图 秋郊来骑图 下卷",[7,209,104,241,29,107,1027,54069,28,27],"避暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151db4c056ec8268fc389d385cc75777.jpg",[],{"id":54073,"slug":54074,"title":2235,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":54075,"thumbUrl":54076,"material":743,"size":744,"collection":139,"collections":54077,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},235505,"za-hua-ce-zhu-da-235505",[7,173,81,2786,1064,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cbc32cb105dc79b84d7242b1e6cb60a.jpg",[],{"id":54079,"slug":54080,"title":486,"dynasty":99,"author":54081,"museum":364,"description":54082,"tags":54083,"thumbUrl":54084,"material":743,"size":744,"collection":181,"collections":54085,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},235347,"shan-shui-ce-zhang-fu-yang-235347","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[7,24,81,173,177,86,1147,29,245,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93b9bfdb52ce42eb9ad887270ca2432.jpg",[181],{"id":54087,"slug":54088,"title":486,"dynasty":99,"author":47342,"museum":364,"description":54089,"tags":54090,"thumbUrl":54092,"material":743,"size":744,"collection":181,"collections":54093,"showCount":53683,"zanCount":1547,"manualWeight":48,"mainColor":94},235285,"shan-shui-ce-shen-hao-235285","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[7,24,81,27,29,394,107,491,227,54091,17710,2268,34,649,12901],"淡彩山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9bb44391cc599f7dca8959c352ba7c.jpg",[181,90],{"id":54095,"slug":54096,"title":54097,"dynasty":76,"author":54098,"museum":364,"description":54099,"tags":54100,"thumbUrl":54101,"material":139,"size":139,"collection":139,"collections":54102,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},234697,"fang-wu-li-shan-shui-shan-mian-qian-wei-qiao-234697","仿吴历山水扇面","钱维乔","钱维乔（1739~1806），字树参，号竹初居士等，武进（今江苏常州）人，钱维城弟。工书画、擅戏曲。在山水画创作上承袭董其昌的绘画理念，推崇宋元诸家的绘画风格，强调笔墨技法，追求蕴藉平和的审美意趣。\n钱维乔以笔笔有古意为创作宗旨，此图是他仿黄公望、吴镇法，绘制的江南景致。山石的皴擦点染以及树木的勾描，均可见钱氏已能熟练地运用黄、吴的笔墨技法，表现其平淡娟雅的山水意境。",[7,24,1562,173,27,177,29,864,430,650,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4796b8f97833f8f76881a0e589dcc.jpg",[],{"id":54104,"slug":54105,"title":54106,"dynasty":76,"author":54107,"museum":364,"description":54108,"tags":54109,"thumbUrl":54110,"material":139,"size":139,"collection":139,"collections":54111,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},234672,"wu-rui-tu-shan-mian-ni-can-234672","五瑞图扇面","倪燦","倪灿，清初学者、史志目录学家。字闇公，号雁园，江苏省江宁府上元县人。\n其先居钱塘（今浙江杭州）。诸生。康熙六年（1667）中举，十八年（1679）召试博学鸿儒，倪灿中榜，为一等二名，官授翰林院检讨。受荐修《明史》，作《明史艺文志·序》，与姜宸英《刑法志·序》，并称杰作。他鉴于《明史艺文志·序》以专收明一代著述为限，未能补救宋、辽、金、元四朝艺文志所缺，数百年文化史，残缺不全，依据黄虞稷《千顷斋书目》，就补辑宋人所撰“四部”图书“六百七十八家、一万二千七百四十二卷”。与黄虞稷灿哥共同修撰《宋史艺文志补》1卷。鉴于辽金元三史原先都没有纂修艺文志，又编纂《补辽金元艺文志》1卷，由卢文弨校订。对考定宋辽金元各代的学术源流，有很大帮助。开启了清代学者补修史志的工作，于是从补辽、金、元三代入手而蔚为一时风气。自此之后，补成史志目录达20余种。工于诗文，书法则秀绝一时。",[7,1562,27,28,83,62,713,452,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fddc3a7fa3144440dbe0ce07a52adf0.jpg",[],{"id":54113,"slug":54114,"title":54115,"dynasty":76,"author":1109,"museum":364,"description":36019,"tags":54116,"thumbUrl":54117,"material":139,"size":139,"collection":139,"collections":54118,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},234544,"yuan-ji-san-tao-tu-zhou-shi-tao-234544","原济三桃图轴",[7,24,241,173,27,83,2930,1062,698,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F734589d4fb2c5b2b166fe490b533beaa.jpg",[],{"id":54120,"slug":54121,"title":38411,"dynasty":76,"author":293,"museum":364,"description":22875,"tags":54122,"thumbUrl":54123,"material":743,"size":744,"collection":139,"collections":54124,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":4606},234427,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234427",[7,241,24,27,2714,259,9254,11248,16560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8020d1c953ad0b415ed6a68867cc2df.jpg",[],{"id":54126,"slug":54127,"title":54128,"dynasty":76,"author":5052,"museum":20,"description":20282,"tags":54129,"thumbUrl":54130,"material":803,"size":139,"collection":139,"collections":54131,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},234128,"lin-yue-yi-qu-tu-juan-hong-ren-234128","林樾一区图卷",[23,7,25,173,177,86,29,175,34,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9712d4963f78f40a5206cef1b5c061ab.jpg",[],{"id":54133,"slug":54134,"title":54135,"dynasty":189,"author":3741,"museum":20,"description":54136,"tags":54137,"thumbUrl":54138,"material":665,"size":45897,"collection":139,"collections":54139,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},233846,"mu-yu-tu-li-kan-233846","沐雨图","《沐雨图》中画坡石上雨竹四竿，下生兰草数丛。竹叶繁茂下垂，将细雨淋洒下的雨竹风姿表现得十分自然。竹的枝叶用双钩法，笔法劲健工细，以汁绿敷染，叶尖略施赭色，青翠欲滴。利用留白表现雨后竹叶上的水珠。",[7,241,28,27,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96ed71ab1f6480dbbded3cf032bacacf.jpg",[],{"id":54141,"slug":54142,"title":54143,"dynasty":76,"author":6318,"museum":20,"description":54144,"tags":54145,"thumbUrl":54146,"material":803,"size":139,"collection":139,"collections":54147,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},233746,"hu-fu-tu-er-duan-juan-dai-xi-233746","虎阜图二段卷","戴熙(公元1801-1860年)，清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘(今杭州)人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》、《题画偶录》等。画作有《云岚烟翠图》、《忆松图》、《满门风华》等。\u2028 工诗书，善绘事。四王以后的山水画大家，被誉为四王后劲，与清代画家汤贻汾齐名。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花鸟、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是:临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。戴熙另著有《习苦斋画絮》，于画理多有论述。题画偶录行世。\n他的子侄受其影响都能绘画:长子有恒(1826-1891)(字大年，号保卿)所作山水笔意疏秀，有倪瓒风韵。以恒(字用伯)、之恒(字仲江，号菊孙)、其恒(字秀渠，又字问水)、尔恒(字子谦)，皆继承家学，善作山水，而各有成就。\n以恒更有声誉，所作山水笔意淹润，墨气淋漓，而屋宇几席亦复精工，著有《醉苏斋画诀》。《清画家诗史》则称之恒画技为戴氏群从之冠。有恒子兆登、兆春亦均能画。",[7,24,25,173,177,29,176,34,175,109,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99c23e5f3cf97e36ff8021d4c17f77.jpg",[],{"id":54149,"slug":54150,"title":54151,"dynasty":76,"author":953,"museum":20,"description":54152,"tags":54153,"thumbUrl":54157,"material":619,"size":54158,"collection":139,"collections":54159,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},233677,"jiao-yin-pin-yan-tu-zhou-ren-yi-233677","蕉荫品砚图轴","砚，“文房四宝”之一，是古代文人书桌必备之物。用料讲究，造型精美的砚台兼具实用性和赏鉴把玩的特性，因此热衷收藏品赏砚台的文人雅士也大有人在，比如宋代大文人苏轼就是“嗜砚成癖”。\n任颐此图画一文士双手捧砚，神态专注，旁边的童子还在整理一摞石砚。虽然没有明确写画的是谁，但是从人物装扮来看，很可能表现的就是苏轼品砚的故事。画风清爽，线条顿挫曲折，极富表现力，人物形象很是传神。\n任颐（1840—1896年），初名润，字小楼，后字伯年，浙江绍兴人，后寓上海。“海派”代表画家。以卖画为生，擅长人物、肖像、花鸟、山水。其人物师法陈洪绶、费丹旭、任熊等人，花鸟画取法陈洪绶、陈淳、徐渭、朱耷，笔墨简逸放纵，设色明净，形成兼工带写、明快清新的格调。他的绘画发轫于民间，又继承传统，融汇诸家之长，还吸收了西画速写、设色诸法，从而形成丰姿多彩、新颖生动的独特画风，具有雅俗共赏的艺术趣味和鲜明的时代气息。任颐与任熊、任熏、任预有着师承关系，画风一脉相承，并称为“海上四任”。",[7,241,27,106,755,54154,759,26284,3963,34866,505,8852,20632,54155,53489,54156],"砚台","品砚场景","传统笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071954fcb7937f196c6fc0f481688551.jpg","155.5cm×43.5cm",[],{"id":54161,"slug":54162,"title":6723,"dynasty":99,"author":443,"museum":20,"description":6724,"tags":54163,"thumbUrl":54164,"material":4796,"size":6728,"collection":139,"collections":54165,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},233468,"ren-wu-hua-hui-ce-xu-wei-233468",[7,24,81,173,452,245,227,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab684c1f0d51b50b3c8334384a777334.jpg",[],{"id":54167,"slug":54168,"title":54169,"dynasty":189,"author":293,"museum":364,"description":54170,"tags":54171,"thumbUrl":54172,"material":743,"size":744,"collection":139,"collections":54173,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":49},232830,"pu-sa-xiang-li-zhou-yi-ming-232830","菩萨像立轴","所谓圆满不是没苦乐,而是苦乐随喜,悲喜随缘。",[23,7,241,259,106,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb5d90da2e2548d70c18c54ec678b7b0.jpg",[],{"id":54175,"slug":54176,"title":8772,"dynasty":189,"author":487,"museum":206,"description":54177,"tags":54178,"thumbUrl":54179,"material":67,"size":54180,"collection":139,"collections":54181,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},232265,"xi-shan-gao-yi-tu-wang-meng-232265","远处高山耸立，冲出画面，山头层层叠叠，树木苍茫，左侧高山间，一线飞瀑直落而下，水珠四溅，山石中部又一飞泉，从岩间淙淙涌出，溪间奔湍，沿山脚蜿蜒曲折地流注而下。中景山腰处，松木成行。近景为坡岸，山石长有几株松树，有的枝干挺拔直上，有的枝干长满结节，有的松树枝叶盘曲有姿，十分茂密，相互交错，错落有致。在山间林中，有数间屋宇草堂，门窗敞开，堂中有一高士端坐其间，身穿宽服长袍，正在阅渎书卷，旁有书童侍立在旁。屋堂外的宽阔平地上有一只双翅展开的仙鹤。画幅左下角又一长者，身穿大袍，头戴官帽伫立在平地上，正在凝神地观赏四周优美的江南山山水水，十分悠闲自得。树下和山石旁留下一片水面，十分平静。款署：“叔明王蒙为菊窗琴友制图。”\n王蒙出身书画世家，外公就是元代书画家赵孟頫，所以他的画早期受赵孟頫的影响较深。后又综合唐宋名家，广采博览，故其画纵逸多姿，又独创渴笔解索皴法，终于跳出赵孟頫规矩之外，自开门户。画山水师法巨然，风格独特，“层巅奉律摩苍穹，咫尺可论千万重”。在元代山水画家中，是唯一以作品繁、密取胜者，构图回环重叠，结构复杂，笔墨熟练，重用笔而胜于用墨，强凋书法情趣，他的画构图繁复周密，以各种手法表现江南林木的苍郁茂盛和湿润感，是元代具有创造性的山水画大师，明清及近代画家几乎都学过他的画。此《溪山高逸图》，是他画构图繁复的山水画中代表作之一。\n此画构图繁密，密而不塞，密中求疏。全画用笔苍郁沉厚，颇见功力。山石皴笔用细如牛毛、略带波颤、层次繁密的“解索皴”，再加上用破笔点成的苔痕，苍苍茫茫，“望之而郁然深秀”。此画最大特点，作者善于表现江南深山溪谷草木华滋的蒙茸湿润之感。中近景树木用双勾法，树干曲折，一笔二过，树叶形状不一，填彩各异，但没有掩隐墨色的效果。纵观此图，画面崇山松木与溪流飞瀑相得益彰，有声有色，自然和谐，构图深远，结构密而不塞，与元代简洁之风大相径庭，充分体现了作者独特的风格。\n明代画家董孝初：“叔明此图，昔人评为第一，非浪语也。笔法之妙，布置之奇，如韩淮将兵，多多益办。……苍古秀润，沉雄浑厚，殆兼之矣。”\n当代画家张德宁：此图用湿笔在绢上反复勾皴渲染，其颇具个性的“牛毛皴”、“解索皴”，灵动而又凝重，笔墨清晰，有迹可循，深得历代画家的赞赏。",[7,24,241,173,27,177,29,34,175,109,176,35,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c886a58613a314ad3485c1fad4393.jpg","纵113.7厘米，横65.3厘米",[],{"id":54183,"slug":54184,"title":54185,"dynasty":99,"author":31299,"museum":101,"description":54186,"tags":54187,"thumbUrl":54188,"material":619,"size":54189,"collection":139,"collections":54190,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":271},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[23,7,24,25,173,29,177,649,37,34,176,86,227,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":54192,"slug":54193,"title":2006,"dynasty":18,"author":2007,"museum":364,"description":54194,"tags":54195,"thumbUrl":54196,"material":67,"size":4126,"collection":139,"collections":54197,"showCount":53683,"zanCount":1547,"manualWeight":48,"mainColor":49},231501,"mei-zhu-tu-ye-ma-lin-231501","《梅竹图》就是一幅意境幽远的佳作。图为已故名画家、书画鉴藏家唐云所藏，画寒梅数枝，横斜劲挺，其间绿竹穿差，偃仰扶疏，顾盼生情。造型精准，设色明丽，笔法秀朗，虽然画面简单，但因为在疏密、错落、主宾诸方面经过十分经意的安排，故在在恰到好处，着墨不多而生机满幅。\n可见，马麟不仅有敏锐的观察把握自然美的能力，更有诗人般的取舍剪裁能力；他有精准的造型手段，不仅能恰到好处摹写对象的形质，更能生动地凸现其风姿神采，并且务求简炼而意趣自足。清初鉴藏家吴升、吴其贞这样描述马麟传世的几幅梅花：“勾染逼真”，“傅彩妍洁，落笔灵动”，“清瘦伶仃，有不胜雪压之状”，“清简之甚，意趣有余”，都可与这幅《梅竹图》相互印证。若拿今藏故宫博物院的马麟名作《层叠冰绡图》与之作比较，更可发现它们在构图、画法及精神气度上的相似之处。元明间一位无名氏有诗赞马麟曰“当时写姿妙绝品”，用妙绝之品来形容这幅《梅竹图》，同样不算过分。",[209,7,24,81,28,27,83,448,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9422d460442581c12adf5086caf0ecb4.jpg",[],{"id":54199,"slug":54200,"title":54201,"dynasty":76,"author":3732,"museum":56,"description":54202,"tags":54203,"thumbUrl":54204,"material":67,"size":54205,"collection":139,"collections":54206,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},231487,"shu-kui-xuan-hua-tu-jiang-ting-xi-231487","蜀葵宣花图","此幅用没骨法绘三枝折枝花卉，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。\n蒋廷锡（1669—1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。康熙四十二年（1703年）进士，历任礼部侍郎、户部尚书、文华殿大学士、太子太傅等职。",[23,7,24,83,241,28,27,5401,49781],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9575199fb86ddf3cfac99d1250ee36.jpg","78×39cm",[],{"id":54208,"slug":54209,"title":54210,"dynasty":99,"author":3114,"museum":206,"description":54211,"tags":54212,"thumbUrl":54213,"material":803,"size":139,"collection":139,"collections":54214,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":94},231420,"fang-gu-shan-shui-ce-di-er-kai-fang-yan-wen-gui-bi-yi-dong-qi-chang-231420","《仿古山水册》第二开：仿燕文贵笔意","天启二年（1622），董其昌看了北宋燕文贵（967-1044）画卷而倣作此图，但改采立轴表现。画中几株秀树聚于带有倾侧之势的山石上；中景处大胆移置一段远山；画幅上部的远景却出现了视觉比例上更接近观者的中景山石坡林。全作笔墨秀润，构思状似平淡却大胆奇特，为其传世佳作。",[7,24,81,105,177,27,29,1015,1575,176,109,227,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af16821e2b753ddcf5d5ee76ac26bc.jpg",[],{"id":54216,"slug":54217,"title":54218,"dynasty":189,"author":2876,"museum":206,"description":54219,"tags":54220,"thumbUrl":54221,"material":342,"size":54222,"collection":139,"collections":54223,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":94},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","《元曹知白群峰雪霁图》是元代大画家曹知白晚年创作的一幅纸本水墨中国画作品，该作尺寸纵129.7公分，横56.4公分，现藏 。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[7,556,1397,241,177,227,8889,2502,558,34,35,649,490,1015,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":54225,"slug":54226,"title":54227,"dynasty":189,"author":54228,"museum":206,"description":54229,"tags":54230,"thumbUrl":54231,"material":54232,"size":54233,"collection":139,"collections":54234,"showCount":53683,"zanCount":1547,"manualWeight":48,"mainColor":94},231339,"shan-shui-tu-yuan-dai-ji-jin-zhi-qi-lin-juan-a-231339","山水图－元代集锦之七","林卷阿","这件作品是元代集锦卷之一，也是林卷阿传世的唯一的传世国画作品。作品描绘的有坡树，悬崖，阔永远山，有两个人在悬崖上对坐畅谈。江中有一孤舟正泛波而行，远山连绵起伏，境界清旷。作者将董巨、郭熙画风融为一体，用笔圆润秀逸。在作品的尾部有作者自己题的款识“癸丑闰十一月，余访远斋副使于竹崎，谈诗论画。因道余师方壶公及孟循张先生，乃知用行尝与二师游，好古博雅，尤精书法。”",[7,173,1397,25,24,177,29,245,3562,34,33,491,1915,37,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],{"id":54236,"slug":54237,"title":54238,"dynasty":18,"author":553,"museum":364,"description":54239,"tags":54240,"thumbUrl":54241,"material":139,"size":139,"collection":139,"collections":54242,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[23,7,209,24,241,173,27,29,177,649,176,34,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":54244,"slug":54245,"title":54246,"dynasty":76,"author":1816,"museum":364,"description":54247,"tags":54248,"thumbUrl":54249,"material":139,"size":139,"collection":139,"collections":54250,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},230364,"hua-hui-shan-shui-tu-ce-ye-ba-kai-wang-shi-shen-230364","花卉山水图册页(八开)","此作以淡青绘竹，笔致清劲秀逸，竹叶层叠错落，尽显疏朗清瘦之姿，自带凌冽孤傲之态。旁侧柔枝轻斜，粉萼悄然绽放在枝桠间，柔婉清丽，与劲竹刚柔相衬，添了几分春日温软生机。\n左侧行书题诗与画面相融，文气漫溢纸面，将花木之态与文人风骨合二为一。整体笔墨简淡含蓄，意境清寂闲雅，尽显扬州画派典型的文人意趣，把清冷孤高的心境藏在淡色花枝劲竹之中，是一件雅致悠然的小品佳作。",[209,7,24,81,27,173,83,242,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3372f1edc95a4f394244d2aba19910a2.jpg",[],{"id":54252,"slug":54253,"title":54254,"dynasty":76,"author":1816,"museum":364,"description":54255,"tags":54256,"thumbUrl":54257,"material":139,"size":139,"collection":139,"collections":54258,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},230363,"hua-hui-tu-ce-12-kai-wang-shi-shen-230363","花卉图册12开","此作用没骨淡彩绘就田间蚕豆花，叶片以柔毫晕染青绿，脉络隐现，舒展灵动自带生机。粉白花瓣轻晕淡红，嫩蕊娇柔，将乡野花蔬描摹得楚楚动人。\n\n左侧行书题诗与画作相映，笔致清逸秀雅，文气与画意浑然相融。整幅画面不见浓艳，以幽澹之韵取胜，将田间寻常小景化为清雅逸品，尽显闲淡疏朗的文人意趣，把乡野清芬纳入笔下，尽显冲淡平和的审美意致。",[209,7,24,81,27,83,84,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb307a89d6f339862bc7cddeb25759f0.jpg",[],{"id":54260,"slug":54261,"title":38578,"dynasty":76,"author":24007,"museum":364,"description":54262,"tags":54263,"thumbUrl":54264,"material":743,"size":744,"collection":139,"collections":54265,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},230357,"shan-shui-ce-ye-fan-qi-230357","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[209,7,24,81,27,177,29,245,1015,34,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070ae4ad6a2c40b1bfed2dcffb4d2d0f.jpg",[],{"id":54267,"slug":54268,"title":54269,"dynasty":76,"author":16463,"museum":364,"description":54270,"tags":54271,"thumbUrl":54272,"material":139,"size":139,"collection":139,"collections":54273,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},230294,"gui-lin-qiu-yue-tu-yuan-jiang-230294","桂林秋月图","界画亦名宫室，主要以建筑物、舟车之类为表现题材，所画对象要求准确、工整，一丝不苟，过去画诀有“山水打头，界画打底”之说，宋郭思说：“画屋木者，折算无亏，笔画勾壮，深远透空，一去百斜”。\n画界画历代不乏高手，唐末有尹继昭及他的学生卫贤等，元夏永、明仇英皆是界画高手。\n到了清代，袁江、袁耀父子擅画界画，虽技艺超群，但不为时人所重。\n至近代在山西太原尉氏家中，发现大量“二袁”作品，声名始震。\n袁耀“露台秋月图”纵18、横142.5厘米，胡佩衡旧藏，此画绘中秋宫苑赏月情景，一轮明月当空，万籁俱寂，宫殿在树木中或露或隐，山石玲珑剔透，诗情画意跃然纸上，此意趣决非一般画匠所能为。\n袁耀字昭道，江都（今扬州）人。\n生卒年不详，创作年代约在1747年至1778年之间。",[23,7,24,104,27,28,29,107,300,34,649,106,115,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],{"id":54275,"slug":54276,"title":54277,"dynasty":76,"author":1394,"museum":364,"description":54278,"tags":54279,"thumbUrl":54280,"material":139,"size":139,"collection":139,"collections":54281,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},230176,"fang-gu-ce-ye-wang-shi-min-230176","仿古册页","此作以青绿设色追摹古意，山峦层叠起伏，皴法苍润松秀，勾勒间尽显山石肌理。飞瀑穿林越谷，循着山涧蜿蜒汇入澄澈清溪，屋舍错落隐于葱茏林木间，山脚水畔嘉木繁荫，淡赭与石青石绿晕染出温润雅致的色调。\n\n笔墨间既承袭山水的萧散淡远，又自有安和静谧的意趣，将山居丘壑的幽寂清远铺陈开来。摹古之际亦融入己心，把文人林泉高致的隐逸情怀藏入每一处丘泉林木中，尽显古雅沉静的山水意境。",[7,27,29,177,81,176,34,558,35,1255,109,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e500db2b9360583507b90d46b9f3.jpg",[],{"id":54283,"slug":54284,"title":54285,"dynasty":76,"author":13219,"museum":364,"description":54286,"tags":54287,"thumbUrl":54288,"material":139,"size":139,"collection":139,"collections":54289,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},228948,"lu-yan-tu-ce-ye-bian-shou-min-228948","芦雁图册页","作品简介 此是杂画册中的一幅，以没骨法写一尾鳜鱼，墨色浓淡自然，恰到好处表现鳜鱼的体质感，借用几笔淡墨勾出鳜鱼的头部。\n形象生动，似乎刚离水不久。\n口尚张穿一根柳条，几片柳叶，即使画面生又富于生活气息。\n【名称】清 边寿民 杂画图 【简介】册页，纸本，设色，纵25.1厘米，横2.1厘米。\n无锡市文物商店藏。\n边寿民（1684-1752），清代画家。\n原名维祺，字寿民，以字行，更宇颐公，号渐僧、苇间居士，江苏山阳（今淮安）人。\n能书擅画，花卉翎毛，均有别趣，尤以泼墨芦雁驰名于江、淮间。\n与华喦、郑燮等交往甚契，属扬州画派。\n所居苇间书屋，多名流造访。\n人称“淮上一高士”。\n传世作品有《芦雁图》册、《芦雁图》轴。",[7,173,81,446,33101,4895,281,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb2c9ea92efe0cc5c1dbef730058d1d.jpg",[],{"id":54291,"slug":54292,"title":54293,"dynasty":99,"author":19836,"museum":364,"description":54294,"tags":54295,"thumbUrl":54296,"material":139,"size":139,"collection":139,"collections":54297,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":94},228893,"you-yu-tu-juan-zhu-zhan-ji-228893","游鱼图卷","此卷以没骨淡墨绘就水族盛景，虾蟹轻螯微动，群鱼姿态各殊，或摆尾穿游于荇草间，或结群逐戏，动静相生、灵动鲜活。全图不施一笔画水，仅以飘摇的水藻、鳞鳍的动势，烘托出水流清浅柔润的空濛意境，仿佛可见池底幽谧生机。\n墨色轻晕淡染，将水泽的澄澈质感尽数烘托，简淡笔触里尽显自然生意，将水畔野趣鲜活定格绢素，尽显悠游自在的清致。",[23,7,25,173,28,933,367,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6784ede5dbadd64dafc49ae0651dc3.jpg",[],{"id":54299,"slug":54300,"title":54301,"dynasty":99,"author":54302,"museum":364,"description":54303,"tags":54304,"thumbUrl":54305,"material":139,"size":139,"collection":139,"collections":54306,"showCount":53683,"zanCount":1270,"manualWeight":48,"mainColor":49},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[23,7,27,29,177,864,430,394,1653,297,174,650,8507,11886,4974,149,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":54308,"slug":54309,"title":54310,"dynasty":99,"author":7191,"museum":364,"description":54311,"tags":54312,"thumbUrl":54313,"material":139,"size":139,"collection":139,"collections":54314,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[23,7,24,25,173,177,178,86,227,29,864,34,35,560,37,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":54316,"slug":54317,"title":14544,"dynasty":18,"author":1275,"museum":364,"description":54318,"tags":54319,"thumbUrl":54320,"material":139,"size":139,"collection":139,"collections":54321,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},227974,"pu-tao-cao-chong-tu-lin-chun-227974","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[23,7,209,24,1562,28,27,83,3199,603,697,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],{"id":54323,"slug":54324,"title":54325,"dynasty":18,"author":1650,"museum":364,"description":54326,"tags":54327,"thumbUrl":54328,"material":139,"size":139,"collection":139,"collections":54329,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},227826,"she-se-shan-shui-tu-ma-yuan-227826","设色山水图","《黄宾虹浑厚华滋的山水画》内容简介：黄宾虹是一位学者型的画家，也是我国杰出的山水画大师。\n他既师古人，更师造化。\n其山水画色调浓黑，浑厚华滋。\n他的山水画黑、密、厚、重，淋漓尽致、大气磅礴，而具有浑厚华滋、意境深邃的特色。\n黄宾虹山水画特别强调线条质量，他以金石篆书的线条来强化画的风骨，使之苍劲老辣、浑厚古拙。\n《黄宾虹浑厚华滋的山水画》由 出版。\n黄宾虹作为中国近现代绘画史上高标独立的画家，其一生经历丰富，学养深厚。\n在文史研究及中国画实践中造诣非凡。\n本图书以图文并茂的形式，充分诠释黄宾虹将古典山水绘画向近现代山水绘画转变的伟大界标作用。\n在古典与现代关捩处 黄宾虹早期山水作品 拟龚贤山水图册 拟古人山水图册之一 拟古人山水图册之二 拟古人山水图册之三 拟古人山水图册之四 拟古人山水图册之五 拟古人山水图册之六 仿宋人画意图轴 临倪瓒山水图轴 林亭孤坐图轴 溪山亭树图轴 丹崖翠壁图轴 江上雨霁图轴 古木幽岸图轴 曲径云峰图轴 轻舟夜色图轴 歙县渔梁图册 设色山水屏之一 设色山水屏之二 设色山水屏之三 设色山水屏之四 山疏水浅图轴 拟宋人画意图轴 松阴听泉图轴 登高望远图轴 黄宾虹中期山水作品 临王维画稿 临赵令穰、关仝画稿 临赵孟烦画稿 临巨然、高克恭画稿 临董源画稿 临范宽画稿 临王维、荆浩画稿 临黄公望画稿 临黄公望、马远画稿 临李唐画稿 临郭熙画稿 临米芾画稿之一 临米芾画稿之二 临范宽画稿 临李成画稿 临倪瓒画稿 临马远画稿之一 临马远画稿之二 黄山写生画稿之一 黄山写生画稿之二 黄山写生画稿之三 黄山写生画稿之四 黄山写生画稿之一 黄山松写生画稿之一 黄山松写生画稿之二 黄山松写生画稿之三 黄山松写生画稿之四 鼋峰写生画稿 江郎山写生画稿 武夷写生画稿之一 武夷写生画稿之二 武夷写生画稿之三 武夷写生画稿之四 武夷写生画稿之五 武夷写生画稿之六 武夷写生画稿之七 武夷写生画稿之八 武夷写生画稿之九 武夷写生画稿之十 武夷写生画稿之十一 武夷写生画稿之十二 武夷写生画稿之十三 武夷写生画稿之十四 桂林写生画稿 香港九龙写生画稿之一 香港九龙写生画稿之二 香港九龙写生画稿之三 香港九龙写生画稿之四 临安写生画稿之一 临安写生画稿之二 临安写生画稿之三 南海写生画稿之一 南海写生画稿之二 四川写生画稿之一 四川写生画稿之二 设色山水图册 奔泉图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 丛林折瀑图轴 深山烟岚图轴 松山静坐图轴 古寺松云图轴 设色山水图轴 湘水秋山图轴 浙东纪游图轴 设色山水图轴 金华万罗山居图轴 设色山水图册 山居车水图轴 设色山水图轴 峨山风景图轴 雁荡三折瀑图轴 拟宋人江山无尽图轴 设色山水图册 设色山水图册之一 设色山水册图之二 设色山水图册之三 设色山水图册之四 设色山水图轴 黄宾虹晚期山水作品 栖霞晓望图轴 深山古寺图轴 设色山水图轴 水墨山水图轴 烟霭空漾图轴 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图轴（背面画） 设色山水图横幅 设色山水图册 设色山水图册 设色山水图册之一 设色山水图册之二 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图横幅 设色山水图轴 玉泉纪游图轴 用范宽法山水图轴 设色山水图轴 水墨山水图轴 水墨山水图轴 设色山水图轴 焦墨山水图轴 设色山水图轴 水墨山水图横幅 蜀中山水图轴 雨景山水图轴 拟巨然山水图轴 湖山初霁图轴 溪桥烟雨图轴 溪桥烟霭图轴 水墨山水图横幅 水墨山水图横幅 设色山水图轴 水墨山水图轴 雁荡诸峰图轴 桃花溪图轴 拟元人简笔山水图轴 拟程邃山水图轴 夜山图轴 设色山水图轴 设色山水图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 设色山水图册之七 设色山水图册之八 设色山水图册之九 设色山水图册之十 设色山水图册之十一 设色山水图册之十二 设色山水图册之十三 设色山水图册之十四 设色山水图册之十五 设色山水图册之十六 行松盘岭图轴",[23,7,24,1562,27,29,107,1575,174,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31156cf1201e56c7733b85aa29d871a.jpg",[],{"id":54331,"slug":54332,"title":54333,"dynasty":18,"author":6566,"museum":364,"description":54334,"tags":54335,"thumbUrl":54336,"material":139,"size":139,"collection":139,"collections":54337,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":49},227813,"qiu-jiang-du-diao-tu-ma-he-zhi-227813","秋江独钓图","此作用笔简淡秀雅，以大片空濛绢面烘托出秋水寥廓。虬曲老木垂挂残叶，将深秋萧寒之意晕开，寒江扁舟泊于江岸，渔翁披蓑戴笠斜倚船舷，似在静候鱼信，又像醉卧江风，将江湖散人的疏旷随性尽显。\n\n不着重繁复刻画，仅以淡墨晕染出水气空茫，留白处尽是秋江清寂，把秋日江上萧索又悠然的意趣铺陈开来，将文人寄情山水、不与世俗同流的隐逸心境藏在尺幅之间，淡远空灵，余韵悠长。",[23,7,24,1562,27,29,174,106,430,1016,7741,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e495b04e398eb0a3186bc1849f299f.jpg",[],{"id":54339,"slug":54340,"title":34780,"dynasty":18,"author":2981,"museum":364,"description":54341,"tags":54342,"thumbUrl":54343,"material":139,"size":139,"collection":139,"collections":54344,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":94},227697,"mo-lan-tu-zhao-meng-jian-227697","《墨兰图》卷，宋，赵孟坚作，纸本，淡墨，纵34.5厘米，横90.2厘米。\n\n本幅款署“彜齋趙子固仍賦”。钤“子固寫生”一印。墨兰是赵孟坚善画的题材。画面上绘墨兰二株，呈放射状的长叶参差错落，分合交叉，俯仰伸展。自题诗曰：“六月衡湘暑氣蒸，幽香一噴冰人清。曾將移入浙西種，一歲才華一兩莖。”诗中表露了作者孤高脱俗的思想境界。\n\n图中运笔柔中带刚，花朵及兰草叶均一笔点划，土坡用飞白笔轻拂，略加点苔。兰叶皆用淡墨，花蕊墨色微浓，变化含蓄，形成墨色对比。画虽为水墨，但格调高雅，“远胜着色”。其好友周密曾云：“赵孟坚墨兰最得其好，其叶如铁花，茎亦佳，……前人无此作也。”\n\n清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、吴修《青霞馆论画绝句》等书著录。",[23,7,25,173,260,83,452,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92597e894b5d42c872718b468778597.jpg",[],{"id":54346,"slug":54347,"title":54348,"dynasty":18,"author":293,"museum":364,"description":54349,"tags":54350,"thumbUrl":54351,"material":139,"size":139,"collection":139,"collections":54352,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":49},227374,"mu-dan-wan-shan-tu-yi-ming-227374","牡丹纨扇图","扇上绣着两株牡丹枝条，绯红花瓣，绿叶，金边，叶脉，处处彰显牡丹的华美！",[7,209,24,1562,27,28,83,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1b0957ed3bdec055f08a2afa604184.jpg",[],{"id":54354,"slug":54355,"title":54356,"dynasty":18,"author":31399,"museum":364,"description":54357,"tags":54358,"thumbUrl":54359,"material":139,"size":139,"collection":139,"collections":54360,"showCount":53683,"zanCount":1547,"manualWeight":48,"mainColor":49},226558,"fan-qi-tu-juan-quan-juan-hu-gui-226558","番骑图卷全卷","《番骑图》所绘的是一队番骑逆风艰难前行的情形。塞北冬日，漠野荒寒，朔风劲吹，扑鼻冲面。胡人男女或以袖掩鼻、或面纱覆口，马匹、骆驼或低首踉跄、或屏息慢行，“胡天惨冽”的气候特征被刻画得惟妙惟肖。画家通过人物瑟缩之态、马匹蹒跚之形，衬托北地胡天之风疾天寒，以实写虚、虚实结合，可谓“曲尽塞外不毛之景趣”，堪称“番马画”中的出色之作。",[23,209,7,24,25,260,27,106,150,11734,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277e2d10ec8e8cc208f99d4fd1c3a917.jpg",[],{"id":54362,"slug":54363,"title":54364,"dynasty":76,"author":1109,"museum":364,"description":54365,"tags":54366,"thumbUrl":54367,"material":139,"size":139,"collection":139,"collections":54368,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":94},224517,"shan-shui-tu-ce-8-kai-5-shi-tao-224517","山水图册8开-5","此作用笔松秀灵动，以淡墨勾勒皴擦近坡顽石，苍润朴厚，浅滩留白暗合流泉婉转之姿，石畔杂草萧疏，野意自生。湖面空阔明净，一扁舟轻泛其上，渔翁独钓，寥寥数笔写尽江湖散淡之趣。\n\n右上角题字朴拙率意，与画境浑然相融，尽显诗书画合一的文人雅趣。整幅简淡幽远，以简驭繁，将天地清寂与隐逸襟怀融为一体，淡墨轻岚间漾着萧散空寂之美，观之便觉湖风拂面，恍若身临幽旷水滨，静赏江湖闲逸之境。",[23,7,24,81,173,177,29,174,245,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1a75acc650de321142f50190900d8.jpg",[],{"id":54370,"slug":54371,"title":54372,"dynasty":76,"author":10376,"museum":364,"description":54373,"tags":54374,"thumbUrl":54375,"material":139,"size":139,"collection":139,"collections":54376,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},224443,"fang-li-song-gu-mu-he-qun-wang-hui-224443","仿李嵩古木鹤群","此作画境清寂古雅，半边绘苍虬古木，枝干蟠曲交错，松针层叠如织，丹鹤或栖于枝梢理羽，或振翼掠林，姿态闲逸舒展。另一半以浅绛晕染出山峦坡陀，淡绿点染草木苔痕，空灵淡远。\n\n工写兼施法追摹古意，将院体精工与文人画淡逸相融，设色柔润清和。苍木古拙硬挺，衬出丹鹤秀雅灵动，山林幽寂与天际空阔相生，将林下闲逸的幽情藏于尺幅之间，引人坠入清远出尘的林泉之境。",[7,24,28,27,177,105,227,394,281,176,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd25c7958a10ee40cc2e1e5c90df00a4.jpg",[],{"id":54378,"slug":54379,"title":54380,"dynasty":76,"author":10376,"museum":364,"description":54381,"tags":54382,"thumbUrl":54383,"material":139,"size":139,"collection":139,"collections":54384,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,209,7,24,25,27,29,105,177,109,174,34,281,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":54386,"slug":54387,"title":54388,"dynasty":76,"author":1394,"museum":206,"description":54389,"tags":54390,"thumbUrl":54391,"material":827,"size":54392,"collection":139,"collections":54393,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},224434,"luo-mu-han-quan-tu-zhou-wang-shi-min-224434","落木寒泉图轴","该图写太湖秋高气爽之景色。设景简略，绘平坡疏树，山麓茅亭。在画法上宗法倪瓒，山石树木勾勒用渴笔正锋侧出，转折处露锋芒而笔墨浑然，但点叶与小树画法仍近黄公望笔意，其苍厚蕴藉的风致反映的是画家晚年的典型面貌。",[23,7,24,241,173,177,29,34,543,176,109,175,491,10416,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","纵83cm,横41.2cm",[],{"id":54395,"slug":54396,"title":54397,"dynasty":76,"author":1394,"museum":20,"description":36747,"tags":54398,"thumbUrl":54399,"material":1716,"size":30550,"collection":181,"collections":54400,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1",[23,7,24,241,173,177,29,864,297,34,650,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg",[181],{"id":54402,"slug":54403,"title":54404,"dynasty":76,"author":54405,"museum":364,"description":54406,"tags":54407,"thumbUrl":54409,"material":139,"size":139,"collection":139,"collections":54410,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":94},224292,"teng-hua-ru-ji-zhou-xu-you-224292","籐花乳鸡轴","许佑","柔蔓紫藤垂挂如紫霞流泻，淡紫花瓣晕染柔和，间衬嫩绿叶色，将春日柔媚尽藏枝桠。下方浅草茸茸，数只乳鸡或低头啄食，或相互依偎，茸毛蓬松鲜活，憨态尽显，灵动稚拙的模样似要跃出纸面。\n\n整作笔墨秀润清逸，工细兼具写意，将藤花的柔雅与雏鸡的生机相融，动静相映，把乡野间寻常的春日小景，晕染出恬和悠然的闲趣，平和雅致间满溢鲜活生机。",[7,241,27,28,227,83,135,54408,1159],"乳鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada398b14092fd03535ab4dce02ea007.jpg",[],{"id":54412,"slug":54413,"title":54414,"dynasty":76,"author":44716,"museum":364,"description":54415,"tags":54416,"thumbUrl":54418,"material":139,"size":139,"collection":139,"collections":54419,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},224157,"hua-gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-224157","画高宗御笔秋花诗轴","将对自然的喜爱带入生活，呈现在庭园中，成为小中现大的世界，正是本幅主体。\n作于乾隆十一年（1746）秋七月，画内廷台阁花园景致。\n台阁以界画绘制，具透视感。\n但与花卉相较却偏小，并不合真实比例，应是为强调群芳争妍的盛况而做此安排。\n园中鸡冠、秋葵、雁来红、菊、红蓼、凤仙等怒放，一片缤纷灿烂，展现明媚秋色。\n【名称】清 张若霭 画高宗御笔秋花诗 【年代】清代 【简介】台北故宫博物院。\n张若霭（171-1746），字晴岚，号景采，又号炼雪道人、晴岚居士，蕴真阁，梅花纳，炼雪道人，藕得书屋，佳梦轩等。\n安徽桐城人。\n张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。\n雍正十一 年（172年）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房。\n官至礼部尚书。\n曾参与《石渠宝笈》的编辑工作，乾隆十一年（1746年）随帝西巡，因病回京，不久卒。\n谥文僖。\n有《岁寒三友图》、《仿王元章疏影寒香图》传世。\n张若霭善书，工画花竹、禽虫，深得王糓祥、周之冕笔意。",[23,7,27,28,104,107,109,5309,340,298,54417,34],"瓦顶建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63628092ed57c5738e2fb917c30694a2.jpg",[],{"id":54421,"slug":54422,"title":54423,"dynasty":76,"author":54424,"museum":364,"description":54425,"tags":54426,"thumbUrl":54427,"material":743,"size":744,"collection":139,"collections":54428,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[23,7,24,241,27,28,26,104,29,107,175,34,176,109,340,2739,5639,115,31111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":54430,"slug":54431,"title":54432,"dynasty":189,"author":293,"museum":20,"description":54433,"tags":54434,"thumbUrl":54435,"material":67,"size":54436,"collection":42,"collections":54437,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[23,7,241,173,177,27,29,3499,1015,558,176,560,35,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[42],{"id":54439,"slug":54440,"title":54441,"dynasty":18,"author":293,"museum":364,"description":54442,"tags":54443,"thumbUrl":54444,"material":139,"size":139,"collection":139,"collections":54445,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":1335},223406,"tai-yi-jiu-ku-tian-zun-yi-ming-223406","太乙救苦天尊","画面底色沉郁古雅，晕染出静穆庄肃的宗教氛围。天尊仪容清癯端严，眉目悲悯内敛，衣纹线条凝练沉稳，晕染厚重雅致，将出尘仙风道骨尽显无遗。座下九头狮狞猛威严，鬃毛与鞍鞯细节刻画入微，狞悍神兽与沉静天尊形成强烈动静反差，暗合天尊以神威广度苦厄的意涵。\n设色古朴厚重，深褐底色托出人物明洁面容与衣摆亮色，层次分明，尽显典雅法度，神性的庄严与慈悲融于含蓄笔墨间，带着沉静肃穆的感染力。",[23,7,24,241,259,27,28,106,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aa8dabdf98f5ffd1dd19b0d0e4fe693.jpg",[],{"id":54447,"slug":54448,"title":54449,"dynasty":76,"author":7142,"museum":20,"description":24620,"tags":54450,"thumbUrl":54451,"material":40,"size":24623,"collection":139,"collections":54452,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月",[23,209,7,24,29,104,27,28,107,300,34,2094,31,37,1532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg",[],{"id":54454,"slug":54455,"title":54456,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":54457,"thumbUrl":54458,"material":67,"size":10518,"collection":139,"collections":54459,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163",[23,7,28,27,104,106,107,115,313,314,29,34,432,1960,2950,63,1962,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg",[],{"id":54461,"slug":54462,"title":54463,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":54464,"thumbUrl":54465,"material":67,"size":10518,"collection":139,"collections":54466,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},223013,"hong-lou-meng-138-sun-wen-223013","红楼梦138",[23,7,28,27,104,106,59,107,115,899,10779,2451,1965,38534],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94fa31ab783364ada8a4dabfa58909e.jpg",[],{"id":54468,"slug":54469,"title":54470,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":54471,"thumbUrl":54472,"material":67,"size":10518,"collection":139,"collections":54473,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},222880,"hong-lou-meng-5-sun-wen-222880","红楼梦5",[23,7,24,28,27,106,107,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99114590de0237996992964d1a568ac0.jpg",[],{"id":54475,"slug":54476,"title":54477,"dynasty":76,"author":12831,"museum":12966,"description":54478,"tags":54479,"thumbUrl":54480,"material":1716,"size":12228,"collection":44,"collections":54481,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},222833,"suo-jian-tu-luo-pin-222833","锁谏图","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。",[23,7,24,25,260,173,106,957,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77aa4d64989e7747df80436c432cebaf.jpg",[44],{"id":54483,"slug":54484,"title":54485,"dynasty":99,"author":1012,"museum":206,"description":44074,"tags":54486,"thumbUrl":54487,"material":139,"size":44936,"collection":181,"collections":54488,"showCount":5368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易没。海天元是白云乡。一时伴侣自应稀。海路空长遇亦非。汉 将玉门投老入。赵妃雪夜待人归。孤回夏日摇寒雪。渐下秋空见羽 衣。却说朱门无可托。玉楼天上任高飞。素壁红芳照苑墙。冲花 泛羽唼群芳。霜迷万瓦单栖渺。草绿千堤片影凉。云母屏深低缟袖。水晶帘动拂流黄。西园蝴蝶浑无赖。暗粉飘尘上海棠。 白燕四首。书似镇南朱内史一笑。天池徐渭。\n徐渭的书法和明代早期书坛沉闷的气氛对比显得格外突出，他最擅长气势磅礴的狂草，但一般人很难看懂，用笔狼藉，他对自己的书法极为喜欢，自认为“书法第一，诗第二，文第三，画第四”。\n他的书法也是从吴门书派主张唐法的反叛中出发，继而吸取北宋苏轼、黄庭坚、米芾追求艺术个性化的积极因素中走来。\n徐渭打破了以“台阁体”为主导的明代书坛的寂寞，开启和引领了晚明“尚态”书风，把明代书法引向了新的高峰。陶望龄认为其书法“称为奇绝，谓有明一人”。袁宏道则称：“予不能书，而谬谓文长书决在王雅宜、文征仲之上，不论书法而论书神，先生者诚八法之散圣，字林之侠客矣！”",[23,209,7,24,25,173,10855,1147,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df2f85d03ab6130ec22e417c81f958c.jpg","纵30厘米，横420.5厘米",[],{"id":54517,"slug":54518,"title":54519,"dynasty":99,"author":1170,"museum":206,"description":54520,"tags":54521,"thumbUrl":54522,"material":381,"size":54523,"collection":181,"collections":54524,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},222030,"xi-qiao-ce-jian-tu-zhou-dai-jin-222030","溪桥策蹇图轴","此幅画半壁悬崖，草木郁郁，乱流奔湍；行人赶路，形色惶急。右半边江面辽阔宁静，远山帆影，渔人神态甚为悠闲。对角线的构图方式，源自南宋院体，近景坡石用斧劈皴法，辅以墨染，营造出石之质感与立体感。",[23,7,241,29,177,27,108,109,174,176,34,106,150,394,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db05b40e690af672c8b38a93cb5face.jpg","137.5x63.1公分、全幅 90.2公分",[181,163],{"id":54526,"slug":54527,"title":54528,"dynasty":99,"author":966,"museum":101,"description":4571,"tags":54529,"thumbUrl":54530,"material":12901,"size":54531,"collection":181,"collections":54532,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":94},222007,"ju-gui-zhai-tu-shou-juan-wen-zheng-ming-222007","聚桂斋图手卷",[23,7,107,86,29,431,430,4573,27,446,25,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bcbef7bb3e97e60135879e28a13a3a.jpg","31.6x56.2厘米",[181,45],{"id":54534,"slug":54535,"title":54536,"dynasty":99,"author":1083,"museum":238,"description":15630,"tags":54537,"thumbUrl":54538,"material":81,"size":139,"collection":139,"collections":54539,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":94},221912,"hua-niao-jing-pin-ce-9-chen-hong-shou-221912","花鸟精品册9",[7,209,27,28,81,83,245,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbe640c04e62e628fad5e50518bd9eb.jpg",[],{"id":54541,"slug":54542,"title":54543,"dynasty":189,"author":8176,"museum":206,"description":54544,"tags":54545,"thumbUrl":54546,"material":54547,"size":54548,"collection":181,"collections":54549,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":49},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,209,7,24,241,173,177,29,9111,4501,34,108,109,491,1926,37,176,7941,560,867,40149,8147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[181,163],{"id":54551,"slug":54552,"title":54553,"dynasty":18,"author":54554,"museum":1985,"description":54555,"tags":54556,"thumbUrl":54557,"material":665,"size":54558,"collection":139,"collections":54559,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},221502,"chu-que-tu-ye-song-ru-zhi-221502","雏雀图页","宋汝志","该图通过巧妙的笔法生动地表现了笼里及笼外幼雀的瞬间情态。所传作者宋汝志为南宋末期的画院画家。幕府末期狩野养川院惟信的鉴定中曾称为宋汝志所作，但并无确证，作者未明。然而，作品使用水墨和淡彩，表现手法细腻，这一点说明本图出自南宋时代名家之手。观其画风，属南宋画院待诏吴炳的传派，但笔法在工整中趋向轻松洒脱，鸟雀极为生动自然，筐篓的线条既合编织规矩，又不刻板。",[23,209,7,24,81,260,173,83,224,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bf5b764403f9d155fee7b4b0e303edd.jpg","21.3x21.9",[],{"id":54561,"slug":54562,"title":54563,"dynasty":204,"author":30769,"museum":276,"description":54564,"tags":54565,"thumbUrl":54566,"material":54567,"size":54568,"collection":382,"collections":54569,"showCount":53683,"zanCount":5,"manualWeight":48,"mainColor":94},221176,"dong-dan-wang-chu-xing-tu-li-zan-hua-221176","东丹王出行图","《辽代李赞华东丹王出行图》是辽代画家李赞华（即东丹王耶律倍）创作的一幅中国古画，现收藏于美国波士顿美术馆。作品是表现人物鞍马内容的画，画中绘有六人骑在骏马上，他们各具姿态，衣冠、服饰、佩带皆因身份的不同而各异。\n作品中的马矫健、丰肥，左右顾盼，慢跑前行。东丹王在马背上手把缰绳，面带忧郁，若有所思，情绪正和他弃辽投后唐的处境吻合。人物及马的线条描绘细腻精良，赋色华丽，尽显宫廷绘画之特色。构图布势前后照应，疏密相宜，整个画面人物和马的动态形成—种行进的韵律。卷末有无名氏题“世传东丹王是也”，书风近宋高宗赵构。李赞华自投后唐明宗后，长期居住在中原，其画风对后人影响很大，郭若虚《图画见闻志》、刘道醇《圣朝名画评》均有著录与评价。从文献著录来看，此卷是接近李赞华画风的—件精品。",[23,7,24,25,27,106,150,28,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3f6f9e1883d6b08661f268900a674a.jpg","绢本，立轴","纵27.8厘米，横125.1厘米",[382],{"id":54571,"slug":54572,"title":54573,"dynasty":1095,"author":4791,"museum":4792,"description":54574,"tags":54575,"thumbUrl":54576,"material":139,"size":139,"collection":139,"collections":54577,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},220559,"li-yin-quan-xiang-xu-bei-hong-220559","李印泉像","画作以凝练遒劲的白描线条为骨，糅合西洋写实技法，将长衫的垂坠褶皱刻画得细腻入微，线条兼具铁线描的刚劲与柔和。\n\n画家精准捕捉老者沉毅矍铄的神态，蹙眉抬眼间尽显一身凛然风骨，手持拐杖的姿态沉稳端方，须发根根分明，面部肌肉起伏写实传神。传统写意的传神韵味与西洋肖像的写实精度相融相生，不着多余色彩，仅凭素墨线条便将传主儒雅端方的知识分子气质尽显无遗，是中西画技融会的经典人物肖像作品。",[23,7,27,260,106,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F752c5c4eee3c98fabfec075b498fb3f3.jpg",[],{"id":54579,"slug":54580,"title":54581,"dynasty":1095,"author":4791,"museum":4792,"description":54582,"tags":54583,"thumbUrl":54587,"material":139,"size":139,"collection":139,"collections":54588,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},220557,"cun-ge-xu-bei-hong-220557","村歌","这幅画作以写意笔墨勾勒乡野童趣，壮硕水牛低首拽绳，墨色浓淡晕出皮毛的厚重肌理，犄角弯劲尽显憨倔神态。顽童扑卧浅草，手脚舒展，粉衫素裙晕染出稚拙灵动，与水牛的沉浑形成生动反差。\n\n远景以淡墨轻扫烟霭朦胧的水泽汀洲，浅赭点染滩涂，将江南水乡的柔婉晕染开来。画面未作刻意雕琢，却把乡野间的松弛鲜活尽数铺陈，牧童嬉牛的日常瞬间，化作治愈悠然的田园牧歌，藏着最动人的乡土温情。",[7,173,27,446,151,3045,54584,49669,280,24603,24605,54585,19953,54586],"乡野","浅草","水泽汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f712e167bdddfd3099adcb0285d20e3.jpg",[],{"id":54590,"slug":54591,"title":54592,"dynasty":1095,"author":4791,"museum":4792,"description":54593,"tags":54594,"thumbUrl":54595,"material":139,"size":139,"collection":139,"collections":54596,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},220528,"shan-lin-yuan-tiao-xu-bei-hong-220528","山林远眺","画作以浓淡干湿的笔墨写就古松，嶙峋躯干虬曲苍劲，焦墨点染的松针苍郁勃发，将古树扎根危岩的峥嵘气势尽显。浅赭晕染山石，粗笔皴擦刻画出岩壁的坚硬质感。\n\n画面下方的孩童为沉静山林添入灵动生气，一静一动相映成趣。创作者以写实笔墨融合传统写意，打破陈规，让苍劲古林与稚拙孩童相融，雄浑山水间晕开淡淡烟火温情，勾勒出山林悠远安然的意韵。",[7,173,27,241,177,29,394,176,106,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3db224914df14f458316d0f58224d92.jpg",[],{"id":54598,"slug":54599,"title":27906,"dynasty":1095,"author":2335,"museum":7134,"description":54600,"tags":54601,"thumbUrl":27910,"material":139,"size":139,"collection":139,"collections":54602,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},220507,"he-du-ye-qu-zhang-da-qian-220507","这幅画作以酣畅泼墨糅合淡彩，铺陈出塘间意趣。上方巨荷打破圆整定式，以淡绿糅合赭色晕染泼洒，状若流云舒卷，带着肆意豪放的笔墨张力。下方白荷则以细劲线条勾勒瓣叶，莹润雅致，与浓黑如墨的荷叶形成强烈的虚实冷暖对比。背景以淡粉色晕染如晓霞初绽，柔化了浓墨的厚重，晕开烟水迷离的清境。工写相融间，将荷塘的蓬勃生机尽数展现，既有自然野趣的灵动，又暗含疏朗浪漫的文人意韵。",[7,24,241,173,27,83,136,137,6726],[],{"id":54604,"slug":54605,"title":54606,"dynasty":1095,"author":2335,"museum":7134,"description":54607,"tags":54608,"thumbUrl":54609,"material":139,"size":139,"collection":139,"collections":54610,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},220498,"sheng-ting-hong-zhang-da-qian-220498","胜鞓红","湖石嶙峋苍古，朱砂牡丹开得秾艳饱满，翠色修竹挺拔清隽，粉蝶蹁跹于枝叶之间，生机盈盈。\n设色妍丽却不俗媚，牡丹以重彩层层晕染，尽显雍容华贵；竹叶勾勒劲挺秀逸，带着清透灵韵；湖石以枯笔皴擦，苍劲老辣。虫蝶刻画入微，纤毫毕现，工笔与写意交融，将艳色与清致揉合。\n题字错落排布，书画相生，浑然成趣。整幅画作既有富贵堂皇之态，又藏幽隽清雅之韵，尽显雅致意趣。",[23,7,27,28,241,327,242,604,245,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b612a976de1d70f05f8c816e69aa8.jpg",[],{"id":54612,"slug":54613,"title":54614,"dynasty":189,"author":25426,"museum":782,"description":54615,"tags":54616,"thumbUrl":54617,"material":342,"size":54618,"collection":163,"collections":54619,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},220263,"tai-bai-long-jiao-tu-fang-cong-yi-220263","太白泷湫图","此幅作品画陕西秦岭主峰太白山上的瀑布，与隐居其间的道士。此幅画构图，大致运用远、中、近景的三段式。近景平地松木和杂树丛生，树林背面有数间茅屋、水榭．楼阁，隐约可见。中景为空旷的水面，左侧的岸边长着数株林木，右侧的山径曲折，在半山腰中有数株树木，枝叶下垂。山腰间瀑布直泻，宛如一条白龙腾空而下。远景为龙脉高耸的山势，十分奇峭。",[23,7,173,241,29,177,864,34,109,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178ff5a5c7e7663f1940e96e2b60d742.jpg","纵105.6厘米，横46.1厘米",[163],{"id":54621,"slug":54622,"title":54623,"dynasty":76,"author":3972,"museum":206,"description":54624,"tags":54625,"thumbUrl":54626,"material":88,"size":54627,"collection":44,"collections":54628,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},220252,"pin-quan-tu-zhou-jin-ting-biao-220252","品泉图轴","图绘月下林泉，一文士坐於靠溪的垂曲树干上啜茗，状至悠闲，一童蹲踞溪石汲水，一童竹炉燃炭，三人的汲水、备茶、啜茗动作，恰恰自然的构成了一幅汲水品茶的连环图画。画面上明月高挂，清风月影，品茗赏景，十分自在。本幅山水人物浅设色，笔墨精鍊，人物清秀，圆短脸形的文人造型极富特色，衣袖襟襬皱摺转折猷劲，皆与记载中的「折芦描」相近。",[23,7,209,27,28,106,109,34,300,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3431179624016bbae30476a9512741.jpg","纵58厘米，横73.8厘米",[44],{"id":54630,"slug":54631,"title":54632,"dynasty":189,"author":293,"museum":238,"description":54633,"tags":54634,"thumbUrl":54635,"material":381,"size":54636,"collection":181,"collections":54637,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":49},220108,"yue-xia-xing-lv-tu-yi-ming-220108","月下行旅图","以极简水墨写意铺展夜色行旅，冷月孤悬于淡墨晕染的空濛山巅，崖上古木萧疏，枝桠如铁，漫出深秋荒寒。陂陀小径之上，商旅结队徐行，简笔勾勒的人影意态宛然，将天涯羁旅的寂寥藏在冷寂夜色中。\n\n题诗与山水相映，诗画交融，把行客的孤愁寄寓在清寒月色间。以留白营造空茫虚境，淡墨轻皴晕开夜色，寥寥数笔便将羁旅况味铺陈尽致，尽显简淡悠远的写意之妙，把漂泊天涯的乡愁融在萧疏冷寂的水墨意境中，淡远里藏着绵长情致。",[23,7,24,241,173,27,29,106,300,900,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc25fc9283dc8d52cfec6c9fd342bab4.jpg","36x54.3",[181],{"id":54639,"slug":54640,"title":54641,"dynasty":99,"author":170,"museum":132,"description":54642,"tags":54643,"thumbUrl":54644,"material":342,"size":54645,"collection":181,"collections":54646,"showCount":53683,"zanCount":48,"manualWeight":48,"mainColor":94},220088,"qiu-shan-ce-zhang-tu-shen-zhou-220088","秋山策杖图","沈周，吴门画派之开启者，“明四家”之首，以其艺事之高，硕德之重，为明早中期江南人望。擅山水，出宋入元，雄健渊穆，自成大家。亦擅花卉，妍雅朴厚，对后世写意画家影响至深。此卷为其最晚年作，笔意简朴，墨法清润，已入铅华洗净、不求好而自好之境。款亦由熟返生，稚拙之趣可掬，老境可尚如此。\n卷后有一代鉴界巨擘张葱玉、谢稚柳长题。皆断其为石田晚年的笔，亦为此卷增色。石田翁名倾朝野，人又宽厚，其在世时已赝作泛滥，故此卷弥足珍贵。",[23,7,173,29,177,178,86,227,106,34,176,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ac56827735c8101dc33f1513a4a0d7.jpg","26 × 134 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横44.5厘米",[90],{"id":55195,"slug":55196,"title":55197,"dynasty":76,"author":10376,"museum":78,"description":55198,"tags":55199,"thumbUrl":55200,"material":55201,"size":55202,"collection":181,"collections":55203,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},237152,"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[7,241,173,177,29,108,109,175,558,34,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[181,163],{"id":55205,"slug":55206,"title":55207,"dynasty":76,"author":46766,"museum":20,"description":55208,"tags":55209,"thumbUrl":55210,"material":139,"size":139,"collection":181,"collections":55211,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},236883,"shan-shui-ce-zhuang-zhou-zou-zhe-236883","山水册装轴","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一",[7,24,81,173,177,29,1575,176,37,107,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9508b3d511d77b3b1bf9fcd09d4a6ac.jpg",[181,163],{"id":55213,"slug":55214,"title":55215,"dynasty":76,"author":55216,"museum":20,"description":55217,"tags":55218,"thumbUrl":55219,"material":139,"size":139,"collection":181,"collections":55220,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},236747,"hua-wang-shi-lu-xiang-zhou-zhang-zhu-236747","画王士禄像轴","张翥","张翥字运南，号北林，江苏常熟人，生卒年不详。善画山水、人物、肖像，山水师同乡吴山（南阳），沉郁苍老，馓有气韵。人物写真师法曾鲸，形象逼肖，用笔流畅，秀媚古雅。雍正十年（1732）郡守周某欲绘《贫民图》入告。传世作品有康熙二年癸卯（1663）作《王士禄像》轴，画左上角有冒襄题像赞，现藏故宫博物院。能诗，著有《北林小集》。",[7,24,241,27,28,106,34,114,431,27117,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9354997c8a95fe93096ae2a9e2a5a2be.jpg",[181,45,382],{"id":55222,"slug":55223,"title":55224,"dynasty":76,"author":953,"museum":20,"description":55225,"tags":55226,"thumbUrl":55227,"material":40,"size":55228,"collection":90,"collections":55229,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},236466,"liu-tang-lu-que-tu-zhou-ren-yi-236466","柳塘鹭雀图轴","此图是幅表现春风中群燕嬉戏的小品画，也是任颐运用以实托虚的手法成功地表现“风”的代表作。虚缈、抽象的风通过小燕振翅翻飞的动态和柳叶飘舞张扬的形状被表现得既具象又生动，不仅令“风”有了可视的形象，而且突出了作者“轻柳爱风斜”的创作主题。从构思到笔墨都反映了作者在绘画创作成熟期的精湛艺术水准。",[7,27,173,446,83,3246,5223,5589,2522,46065],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4784f688b1766e12ccf68e7508976a4c.jpg","纵152.5厘米，横40厘米",[90,163],{"id":55231,"slug":55232,"title":55233,"dynasty":76,"author":44659,"museum":20,"description":55234,"tags":55235,"thumbUrl":55236,"material":40,"size":139,"collection":181,"collections":55237,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},236130,"huang-yue-shan-xi-fang-zhao-tu-zhou-huang-yue-236130","黄钺山溪放棹图轴","黄钺（1750--1841），字左田，又名左君，号壹斋、左庶子。先祖七世自当涂迁居芜湖，乾隆十五年八月初五未时（即公元1750年9月5日13时至15时），生于芜湖西门外升平桥旧第，幼丧父母，由外祖父母抚养，及长，敏而好学。清乾隆年间，“以廪贡挑录议叙吏目”。乾隆三十三年（1768）四月，黄钺与安徽巡道李世杰在芜湖赭山滴翠轩创建中江书院，招员授业。乾隆五十五年庚戌恩科(1790年)，殿试中二甲第六名进士，授户部主事，因与和珅意左，告假回芜，“掌教皖南北书院十载”",[7,27,29,177,241,864,5749,2838,430,175,650,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c0e84037a99a0fea090328209329ab.jpg",[181,45],{"id":55239,"slug":55240,"title":13718,"dynasty":76,"author":1109,"museum":364,"description":55241,"tags":55242,"thumbUrl":55243,"material":139,"size":139,"collection":139,"collections":55244,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},235882,"yuan-ji-shan-shui-tu-ce-shi-tao-235882","此作书画合璧，尽显文人雅趣。绘卷以淡墨轻皴山石，信笔挥写篁竹木卉，萧疏纵逸，随性自然。坡岸茅庐掩映于繁叶之间，远山淡染留白，晕染出江南水乡的澹泊野逸，仿若幽居江湖的避世之境。\n题诗行书笔意苍劲纵恣，与画中清寂意境相得益彰。诗画相映，将文人寄情山水、栖身林下的襟怀尽显无余，简淡笔墨间风神自现，寥寥数笔勾勒出悠远林下意趣，以写意抒怀，尽显随性疏朗的文人画风貌。",[7,24,81,173,178,227,29,242,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3639aa9933df3fcdbab944c903548fff.jpg",[],{"id":55246,"slug":55247,"title":220,"dynasty":99,"author":7012,"museum":364,"description":7013,"tags":55248,"thumbUrl":55249,"material":743,"size":744,"collection":139,"collections":55250,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},235739,"hua-niao-ce-tan-zhi-yi-235739",[7,24,81,28,27,83,448,281,226,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2685cf988a45bc4025b950c37cac040e.jpg",[],{"id":55252,"slug":55253,"title":220,"dynasty":99,"author":7012,"museum":364,"description":7013,"tags":55254,"thumbUrl":55255,"material":743,"size":744,"collection":139,"collections":55256,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},235733,"hua-niao-ce-tan-zhi-yi-235733",[7,27,28,81,83,453,225,226,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4176ac9d5c01d070e14ab41ce4d20973.jpg",[],{"id":55258,"slug":55259,"title":2235,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":55260,"thumbUrl":55261,"material":743,"size":744,"collection":139,"collections":55262,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},235503,"za-hua-ce-zhu-da-235503",[7,173,446,83,243,136,81,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90727016f355f8a136bac506bf6ea3cf.jpg",[],{"id":55264,"slug":55265,"title":55266,"dynasty":99,"author":12000,"museum":364,"description":55267,"tags":55268,"thumbUrl":55269,"material":139,"size":139,"collection":139,"collections":55270,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[7,241,1397,27,173,2218,28,446,174,6549,1726,34,2522,176,13201,491,759,14604,51087,31509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":55272,"slug":55273,"title":19878,"dynasty":99,"author":47573,"museum":364,"description":55274,"tags":55275,"thumbUrl":55276,"material":743,"size":744,"collection":139,"collections":55277,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},235245,"mo-he-tu-zhou-xiang-yuan-bian-235245","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[7,241,173,136,227,86,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29e44d2355a6bedb9232bd77ee1969b.jpg",[],{"id":55279,"slug":55280,"title":55281,"dynasty":99,"author":24267,"museum":364,"description":55282,"tags":55283,"thumbUrl":55284,"material":139,"size":139,"collection":139,"collections":55285,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},235220,"xue-cun-fang-you-zhou-zhou-chen-235220","雪村访友轴","此作用斧劈皴写山石，棱角方硬冷峻，刻画出隆冬雪山的苍莽寒气。枯木虬曲伸展，枝桠尽脱，尽显萧寒之态。画面下方茅舍暖光隐现，柴扉外访客策杖过桥，童子相从，踏雪而来，为冷寂山野晕开一缕访友的融融温情。画作以浓淡墨色区分雪色留白与山石肌理，笔力老辣雄劲，将冬日山林的荒寒静谧，与文人雅聚的闲逸温情相融，于萧索冷寂中暗藏脉脉人情，铺陈出悠远沉静的山居意境。",[7,24,241,173,177,29,2124,864,430,106,4614,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a0cc2f32f7248830263c39900a75c6.jpg",[],{"id":55287,"slug":55288,"title":55289,"dynasty":99,"author":55290,"museum":20,"description":55291,"tags":55292,"thumbUrl":55293,"material":40,"size":55294,"collection":139,"collections":55295,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":49},234955,"ju-shi-ye-tu-tu-xu-lin-ju-234955","菊石野兔图","徐霖菊","《菊石野兔图》轴，明，徐霖绘，绢本，设色，纵160厘米，横52厘米。徐霖（1462—1538年），字子仁，号九峯道人，又号快园叟、髯仙等，江苏苏州人，徙居金陵。解音律，精篆法，善画。九岁能作大书，操笔成体，正书出入欧、颜，大书初法朱熹，几乱其真，后喜赵孟頫，笔力遒劲，结构端饬，自成一家。篆书始尚雄丽，晚益朴古。著有《丽藻堂文集》、《快园诗文集》等。",[7,24,241,28,27,453,245,2786,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4419186ef37cfbb681f6bb8d51bf21.jpg","纵160厘米，横52厘米",[],{"id":55297,"slug":55298,"title":38578,"dynasty":99,"author":21111,"museum":364,"description":12340,"tags":55299,"thumbUrl":55300,"material":139,"size":139,"collection":139,"collections":55301,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},234679,"shan-shui-ce-ye-xie-shi-chen-234679",[209,7,24,81,173,177,29,175,108,109,394,176,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04fd809b857e78cc59b98c607574cb4.jpg",[],{"id":55303,"slug":55304,"title":55305,"dynasty":76,"author":28662,"museum":364,"description":55306,"tags":55307,"thumbUrl":55308,"material":990,"size":55309,"collection":44,"collections":55310,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},234297,"hua-ji-chan-yin-tu-ce-xiao-chen-234297","滑稽禅隐图册","此作笔墨秀隽，意境清寂澹远。画面之中，长衫文士仰面抬首，凝睇枝桠初花，神色悠然沉谧，似在静赏春信、体悟幽怀。身旁小童捧壶恭谨侍立，主仆情态一动一静，衬出文人林下幽栖的淡然意趣。\n\n作者以淡墨轻皴岩壁，枯树枝干苍劲虬曲，点染花枝轻俏雅致，设色浅净柔和，留白铺陈出萧疏空寂的林下氛围，将文人耽于林泉、静悟禅意的雅趣融于简淡笔墨之中，尽显清润雅致的书卷气息，是兼具雅致意趣与文人情怀的小品佳作。",[7,24,81,27,106,430,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb108253a57ede07e91c1de652b22bfe6.jpg","19×24.2cm",[44,45],{"id":55312,"slug":55313,"title":55314,"dynasty":76,"author":22385,"museum":20,"description":55315,"tags":55316,"thumbUrl":55317,"material":990,"size":139,"collection":181,"collections":55318,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},234290,"xue-jing-gu-shi-ce-sun-hu-234290","雪景故事册","孙祜生卒年不详，江苏人。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。",[7,24,81,27,28,178,227,29,2502,176,1015,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29476d87f834ed55ad1ade830e240ad6.jpg",[181,45],{"id":55320,"slug":55321,"title":55322,"dynasty":99,"author":37936,"museum":20,"descriptio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横28cm.",[],{"id":55360,"slug":55361,"title":55362,"dynasty":18,"author":293,"museum":206,"description":55363,"tags":55364,"thumbUrl":55365,"material":67,"size":55366,"collection":139,"collections":55367,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":49},233015,"chun-you-wan-gui-tu-ye-yi-ming-233015","春游晚归图页","图绘一老臣骑马踏青回府，前后簇拥着10位侍从，或搬椅，或扛兀，或挑担，或牵马，忙忙碌碌。\n老臣持鞭回首，仿佛意犹未尽，表现了南宋官僚偏安江南时的悠闲生活，令人想起南宋林升《题临安邸》一诗：\n\n“山外青山楼外楼，西湖歌舞几时休？\n暖风熏得游人醉，直把杭州作汴州！”\n\n所绘景物十分优雅，柳林成浪，宫城巍峨，人马虽不盈寸，但须眉毕现，姿态生动，线条流畅，色彩简洁明朗。",[7,209,27,28,106,150,34,107,900,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bc4b22ebdbfe5a601c55afb8e03b4d.jpg","24.2cm*25.3cm",[],{"id":55369,"slug":55370,"title":55371,"dynasty":189,"author":50146,"museum":12966,"description":55372,"tags":55373,"thumbUrl":55374,"material":803,"size":55375,"collection":139,"collections":55376,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},231491,"xue-zhong-lu-tu-zhou-yuan-231491","雪中鹿图","虬曲老梅横亘画幅上端，朱红花朵破开沉褐底色，积雪凝缀枝梢，晕开冬日清寒。白鹿身形劲健修长，莹润雪色皮毛以淡墨晕染而出，犄角舒展，垂首静立在覆雪坡石间，安然沉静，与周遭萧寒景致浑然相融。枯涩墨线勾勒梅枝苍劲筋骨，淡墨轻晕出积雪的蓬松虚灵，冷色调底纸烘托出冬夜荒寂空濛，冷冽氛围里，白鹿的温驯清逸更显动人，将冬日的萧寒与生命静雅相融，晕开一卷幽淡空寂的林泽冬景。",[7,24,209,241,27,957,3167,2124,430,1064,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6ce42914c8804d95d64ffa52147924.jpg","179.7x92.4厘米",[],{"id":55378,"slug":55379,"title":55380,"dynasty":99,"author":14805,"museum":364,"description":55381,"tags":55382,"thumbUrl":55384,"material":139,"size":139,"collection":139,"collections":55385,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},231014,"lian-ou-jing-yin-tu-wen-jia-231014","莲藕净因图","此作画风清逸疏朗，以淡墨勾绘莲茎清瘦挺拔，粉荷半绽，淡赭轻染花尖，晕染出柔婉清雅的姿态。莲蓬与莲藕刻画精微朴拙，线条简淡却将水生风物的温润质感尽显无遗。\n\n宽绰留白铺就幽寂禅意，搭配题咏禅诗，诗画相映，将莲的清净本心寄寓其间，尽显幽淡出尘的文人意趣。全作用笔以简驭繁，淡而弥厚，融禅思入绘事，观之如临幽塘，心下自会澄明安宁，尽显文人尚简崇雅的审美意韵。",[7,24,241,260,173,27,136,931,137,55383,84,446],"莲藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2d6731a756e18afa13d56d32e9d48b.jpg",[],{"id":55387,"slug":55388,"title":55389,"dynasty":189,"author":10811,"museum":364,"description":55390,"tags":55391,"thumbUrl":55393,"material":139,"size":139,"collection":139,"collections":55394,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},230904,"jin-ji-ji-zhu-tu-wang-yuan-230904","锦鸡棘竹图","画面以奇石立锦鸡为主体，野卉棘竹环伺左右，虚实相生间铺展出荒寒野境。以水墨淡晕之法绘就，锦鸡羽色以淡墨层层晕染，绒羽蓬松柔润的质感跃然绢上，神态静穆悠然，尽显内敛雅致。奇石皴擦老拙苍劲，枯棘枝条嶙峋带刺，尽显深秋萧索之态，竹叶与野卉则以清逸的笔致点染，柔缓中和了枯寂寒气。\n整体融院体工致与文人笔墨意趣于一身，淡墨轻岚间，绘写出林下幽寂空远的野逸之韵，将秋日荒寒中禽鸟安处的闲适意态刻画入微，尽显水墨花鸟的清简雅致。",[7,24,241,27,28,83,1586,242,245,55392],"荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d33585a772eb69df209975f31fee55.jpg",[],{"id":55396,"slug":55397,"title":55398,"dynasty":292,"author":55399,"museum":364,"description":55400,"tags":55401,"thumbUrl":55402,"material":743,"size":744,"collection":139,"collections":55403,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},230589,"jiang-hu-shi-dai-lou-ge-shan-shui-tu-ping-feng-12-kai-chi-da-ya-230589","江户时代楼阁山水图屏风12开","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[7,24,314,27,104,29,107,106,108,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20545c3e86b58644149fb020c8ccf4e8.jpg",[],{"id":55405,"slug":55406,"title":55407,"dynasty":76,"author":24007,"museum":364,"description":55408,"tags":55409,"thumbUrl":55410,"material":139,"size":139,"collection":139,"collections":55411,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[23,7,24,209,241,27,29,558,108,109,1015,4675,176,2268,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":55413,"slug":55414,"title":55415,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":55416,"thumbUrl":55418,"material":67,"size":10518,"collection":139,"collections":55419,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},230104,"hong-lou-meng-185-sun-wen-230104","红楼梦185",[7,28,27,106,107,755,176,84,34,115,261,55417],"窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b4ef23ad965b1028c930df54eac1c.jpg",[],{"id":55421,"slug":55422,"title":55423,"dynasty":76,"author":55424,"museum":364,"description":55425,"tags":55426,"thumbUrl":55427,"material":139,"size":139,"collection":139,"collections":55428,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},229012,"shi-jun-ma-tu-wang-zhi-cheng-229012","十骏马图","王致诚","《千姿百态画骏马》是一本书籍，上海书店出版社; 第1版 (26年月1日)出版，开本16。\n丛书名: 国画训练新编系列2 平装: 页 正文语种: 简体中文 条形码: 786784845, 978786784846 尺寸: 28.5 21.2 . cm 重量: 181 g 《千姿百态画骏马》内容简介：在中同美术史上，几乎每个朝代的艺术作品都有以马为题材的杰作。\n如先秦时代青铜器盠驹尊，秦始皇陵出土的大批陶马俑、四汉霍去病墓前的《马踏匈奴》石雕、东汉青铜器《马踏飞燕》、唐代画马高手韩斡笔下的《神骏图》、韦偃画了两千余匹千姿百态骏马的《牧放图》、宋代李公麟的名作《五马图》、元代赵孟頫的《浴马图》，明代仇英的《秋园猎骑图》、清代王致诚的《十骏马图》，直至近代徐悲鸿的大量奔马立马图……由此可见，马是中国历代艺术家最热衷的题材之一。",[7,24,28,27,150,176,34,84,86,227,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266c74560a21981e18d0b59b83e4fb52.jpg",[],{"id":55430,"slug":55431,"title":55432,"dynasty":99,"author":966,"museum":364,"description":55433,"tags":55434,"thumbUrl":55435,"material":139,"size":139,"collection":139,"collections":55436,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":94},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[23,209,7,24,25,28,27,106,107,175,108,109,245,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":55438,"slug":55439,"title":55440,"dynasty":99,"author":4904,"museum":752,"description":55441,"tags":55442,"thumbUrl":55443,"material":139,"size":139,"collection":139,"collections":55444,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[23,7,24,25,27,177,178,227,29,34,31,174,491,2219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],{"id":55446,"slug":55447,"title":55448,"dynasty":99,"author":1083,"museum":364,"description":55449,"tags":55450,"thumbUrl":55451,"material":139,"size":139,"collection":139,"collections":55452,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[23,7,24,27,28,29,106,175,394,176,34,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":55454,"slug":55455,"title":55456,"dynasty":189,"author":4086,"museum":206,"description":55457,"tags":55458,"thumbUrl":55459,"material":342,"size":55460,"collection":90,"collections":55461,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},228010,"xi-fu-tu-zhou-chen-lin-228010","溪凫图轴","《溪凫图》为元代画家 创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[23,7,24,173,27,83,2728,109,299,245,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[90],{"id":55463,"slug":55464,"title":55465,"dynasty":18,"author":3103,"museum":364,"description":55466,"tags":55467,"thumbUrl":55468,"material":139,"size":139,"collection":139,"collections":55469,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[23,209,7,24,26,27,28,29,106,174,109,34,281,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":55471,"slug":55472,"title":55473,"dynasty":18,"author":293,"museum":364,"description":55474,"tags":55475,"thumbUrl":55476,"material":139,"size":139,"collection":139,"collections":55477,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},227913,"zhu-chong-tu-yi-ming-227913","竹虫图","淡赭绘就竹枝，以深浅绿意晕染竹叶，笔下叶片舒展有姿，劲挺又不失柔润，枝桠交错间野意横生。叶面之上，竹虫敛身伏藏，身形与枝叶相融，将蛰伏的静谧暗藏其间。右上角蛱蝶振翅翩跹，墨色点染翅翼，留白衬出轻盈灵动，骤然打破画面静气，动静相映成趣。\n全作笔致工细秀雅，设色清淡雅致，以精微的观察捕捉乡野小景的瞬态生机，将草木虫蝶的自然情态刻画入微，于尺幅之间勾勒出浑然天成的林下意趣，尽显平和悠然的审美意韵。",[23,209,7,24,28,27,83,242,801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7f253e2d3b155250d560a92e122b65.jpg",[],{"id":55479,"slug":55480,"title":55481,"dynasty":18,"author":2029,"museum":364,"description":55482,"tags":55483,"thumbUrl":55484,"material":139,"size":139,"collection":139,"collections":55485,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},227805,"can-shi-tu-liu-song-nian-227805","蚕事图","整作以全景式铺陈桑蚕劳作日常，分构两处空间。左侧棚下匠人各司其职，抽丝、分拣有条不紊；右侧窗内，闺中女眷闲坐观览，将劳作与闲憩相映成趣，右上角民夫搬运蚕茧，更添烟火劳顿之气。\n\n画作以淡墨白描绘就，线条清雅柔和，屋舍瓦楞、林木枝桠皆刻画入微，人物神态鲜活自然。将江南蚕织农家的日常图景如实铺展，平和质朴间尽现宋代田园的生活真味，把风俗烟火融于清淡笔墨中，尽显写实风俗画的雅致意趣，藏着宋时江南的悠悠烟火意。",[7,24,209,28,27,104,25,106,35,34,24321,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e367156bf61318f3d34559af6f02c1.jpg",[],{"id":55487,"slug":55488,"title":55489,"dynasty":18,"author":823,"museum":364,"description":16486,"tags":55490,"thumbUrl":55491,"material":139,"size":139,"collection":139,"collections":55492,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":1335},227725,"shan-gu-ji-liu-tu-xia-gui-227725","山谷激流图",[7,209,24,29,173,177,241,176,34,503,109,6070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e099048944fdf9181b06d03954f9172.jpg",[],{"id":55494,"slug":55495,"title":55496,"dynasty":18,"author":2981,"museum":364,"description":55497,"tags":55498,"thumbUrl":55499,"material":139,"size":139,"collection":139,"collections":55500,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},227699,"shui-xian-juan-zhao-meng-jian-227699","水仙卷","本幅画水仙四十余株，花苞花蕊百八十余朵。全卷结构严谨，花叶繁简得宜，繁而不乱，疏密有致，或花蕊盛开，或含苞待放；花叶组合、穿插映带，阴阳相背，抵昂顾盼，层次分明，画面处理得有条不紊而生意盎然，墨色的浓淡深浅都掌握得恰到好处，既合于水仙的自然生长状态，又高于自然，清雅绝俗。可以看出此图作者扎实非凡的写实功力。此图土坡采取“飞白石”画法，用笔轻拂，笔墨十分虚灵，与他的两幅墨兰卷土坡画法极为相近；其丛丛小草采用中锋浓墨写出，笔法劲利，沈稳而富于变化，凡此种颇有宋元人淡雅蕴藉、气韵淳古的风致，诚为一幅难得的佳作，绝非一般庸工俗史所能及。此卷比起以前所见诸卷赵款水仙画都要精彩得多，故陈鹏年在后幅题记中写道：此卷“长寻丈有奇，花凡数十百本，姿态百出，生动变化，自非功力精到不能有此，几案间足令寒香袭人衣袂也”。",[209,7,24,25,260,173,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c28b3132251b00b97bb0370e0a7c06.jpg",[],{"id":55502,"slug":55503,"title":55504,"dynasty":18,"author":6652,"museum":364,"description":18858,"tags":55505,"thumbUrl":55506,"material":139,"size":139,"collection":139,"collections":55507,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},227294,"yun-shan-de-yi-tu-juan-mi-you-ren-227294","云山得意图卷",[7,24,25,173,177,1329,864,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f6696c7db63fd91413ad5ba48a8e1e.jpg",[],{"id":55509,"slug":55510,"title":55511,"dynasty":76,"author":55512,"museum":364,"description":55513,"tags":55514,"thumbUrl":55515,"material":139,"size":139,"collection":139,"collections":55516,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":94},224602,"xiao-pin-1-peng-qiao-224602","小品1","蓬樵","此作用平远之法绘就水岸林泉，近渚古木清森，枝桠舒展含姿，林梢掩映间透出村居一角，野意自生。留白作水，虚处见烟波澹荡之意。远山以干笔淡墨皴写，石棱隐现、苔点错落，丘壑简而有味。\n\n画风师法倪瓒，笔墨松秀苍润，简逸空灵。整幅以淡墨铺陈，萧散简远，将江南水岸清寂淡远的幽谧意境尽显。题印朱白相映，衬出画面的古雅淡远，尽显文人画疏旷清逸的意趣，暗合幽栖林泉的雅逸襟怀。",[23,7,24,31058,173,177,29,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0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在位共二十一年，至道三年（997年），赵光义去世，谥号神功圣德文武皇帝，庙号太宗，葬于永熙陵。\n画像上太宗头戴幞头，黑鬓发，淡眉，微须，目光柔和，身着褎袖白袍，腹下束朱带，双手于胸部平放，脚穿皂纹靴而立。",[209,7,24,241,28,27,106,63,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc991137f15e1ca6a6c464ed8c2444a.jpg","纵74.5厘米横47.4厘米",[],{"id":55586,"slug":55587,"title":55588,"dynasty":54,"author":293,"museum":3614,"description":55589,"tags":55590,"thumbUrl":55591,"material":67,"size":55592,"collection":382,"collections":55593,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},223396,"tang-mo-lan-ting-xu-yi-ming-223396","唐摹兰亭序","这卷原托名为褚遂良所书《兰亭序》，正文质地为绢本，黄褐色，亦称“黄绢本”。这卷唐摹《兰亭序》，尽管看不出是哪一家的墨迹，却反映了初唐时期的书法风尚。\n卷前引首有明代著名书画家、鉴赏家董其昌题书“墨宝”二字（残存）。",[23,209,7,24,25,105,178,86,3790,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3875c37e8068d0dba2f56617e5948b96.jpg","24.5×65cm",[382],{"id":55595,"slug":55596,"title":55597,"dynasty":189,"author":293,"museum":206,"description":55598,"tags":55599,"thumbUrl":55600,"material":317,"size":55601,"collection":139,"collections":55602,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},223365,"liu-tang-bai-yan-tu-zhou-yi-ming-223365","柳塘白燕图轴","元代工笔画很少的，多的是水墨写意的文人画，其实元代画坛另一路已经走向极致的绘画语言就是写实艺术。 ​​​",[23,209,7,24,28,27,3246,46065,43825,136,137,367,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d166284910d93d3270e5a93502379d8.jpg","31.1×60.6",[],{"id":55604,"slug":55605,"title":18258,"dynasty":76,"author":55606,"museum":515,"description":55607,"tags":55608,"thumbUrl":55609,"material":4796,"size":55610,"collection":90,"collections":55611,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},223304,"gu-mu-zhu-shi-tu-luo-mu-223304","罗牧","图绘岸边一隅古木树叶凋零，枝杆苍劲；石块耸立，粗笔勾勒其轮廓，中部留白；四周翠竹环绕，繁茂苍翠，生机勃勃。",[23,7,173,241,394,1653,242,245,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0b8c417963c4bbe141ba7b938a3e34.jpg","纵127cm，横54cm",[90,163],{"id":55613,"slug":55614,"title":53175,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":55615,"thumbUrl":55617,"material":67,"size":10518,"collection":139,"collections":55618,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},222923,"hong-lou-meng-48-sun-wen-222923",[23,7,28,27,104,107,29,34,175,115,114,55616,35,1445],"绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bf32fa601630c2c88d88ceaaa1c981.jpg",[],{"id":55620,"slug":55621,"title":55622,"dynasty":76,"author":46374,"museum":206,"description":55623,"tags":55624,"thumbUrl":55625,"material":317,"size":55626,"collection":181,"collections":55627,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":94},222846,"hua-lin-lu-qiu-qing-zhou-hong-wu-222846","画林麓秋晴轴","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,7,24,241,26,27,177,29,34,560,4614,2238,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f990fb452e81332c9093c68f4898e5.jpg","120x22",[181,45],{"id":55629,"slug":55630,"title":55631,"dynasty":76,"author":2405,"museum":206,"description":55632,"tags":55633,"thumbUrl":55634,"material":2414,"size":55635,"collection":181,"collections":55636,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},222821,"chi-song-huang-shi-er-xian-tu-zhou-xu-yang-222821","赤松黄石二仙图轴","绘赤松一板凳，粗壮笔真，松枝弯曲自然，松针繁多清晰；黄石耸立，形状奇异；地面翠竹、杂草生机勃勃。",[23,7,241,27,28,1575,340,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053720c8ce76759a8f675e7ff855123d.jpg","172.1x71厘米",[181],{"id":55638,"slug":55639,"title":55640,"dynasty":99,"author":55641,"museum":206,"description":55642,"tags":55643,"thumbUrl":55644,"material":18383,"size":55645,"collection":181,"collections":55646,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},222462,"fu-kan-ji-liu-tu-zhou-wang-shi-chang-222462","俯瞰激流图轴","王世昌","王世昌（约1462－1531以后），明代画家，为山东人。我们无法确知他是否担任过宫廷画家。他擅长于大幅的山水人物画，风格温润典雅，颇具诗意。传世有〈大幅山水〉、〈俯瞰激流〉等作。俯瞰激流图 主题描绘春季来临时的山谷中，文人与农夫活动的状况。画中央平坦的坡陀上，是一位俯观涓涓流水、若有所思的文士。他身后的策杖文士，则与随侍携琴童仆，同时回望着登向高岗的荷担农夫，传达着他们与农夫交谈后，目送农人前往工作地点的情形，似与〈归去来辞〉的内容若合符节，由此可知，此画与文学的密切关系。画中前后景交接处，以留白作为云气，使画面显得迷离不定；而山石部分则以浓墨与淡色烘染，营造物体朦胧、置身云雾间的视觉效果，刻意增加空间的层次，这是让画中充满诗意气氛，经常运用的方法之一。",[23,7,27,177,29,106,1653,394,650,109,114,1086,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b92e5bce953bcc5c616e2f21d9d65af.jpg","33x53",[181,45],{"id":55648,"slug":55649,"title":55650,"dynasty":99,"author":19836,"museum":20,"description":55651,"tags":55652,"thumbUrl":55653,"material":619,"size":55654,"collection":44,"collections":55655,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},222421,"wu-hou-gao-wo-tu-juan-zhu-zhan-ji-222421","武侯高卧图卷","从款中“宣德戊申”可知，此幅作于明宣德三年（1428年），是宣德皇帝赐予陈瑄的御作。当时陈瑄已六十有余，宣宗赐画给他的目的是激励他效法前贤为国鞠躬尽瘁。\n作品描绘的是诸葛亮出茅庐辅助刘备之前隐居南阳的形象。修竹丛下，诸葛亮坦胸露怀，头枕书匣，躺卧于草地上，神态安逸。\n整幅构图饱满，人物用“钉头鼠尾” 法描绘，线条洗练流畅，背景画竹林一片，笔墨潇洒，显示出相当高的绘画技巧。",[23,7,24,25,173,260,242,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F819d2965a332e5986283ad45900d2c5f.jpg","纵27.7厘米，横40.5厘米",[44,163],{"id":55657,"slug":55658,"title":55659,"dynasty":99,"author":36691,"museum":20,"description":55660,"tags":55661,"thumbUrl":55662,"material":2021,"size":55663,"collection":181,"collections":55664,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":94},222055,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-222055","晴雪长松图轴","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[23,7,24,241,173,29,449,176,177,2124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a83fcfac08777dd0d323f10bb0e0e.jpg","纵136.3厘米，横43.3厘米",[181,163],{"id":55666,"slug":55667,"title":55668,"dynasty":99,"author":26111,"museum":36189,"description":55669,"tags":55670,"thumbUrl":55671,"material":665,"size":55672,"collection":90,"collections":55673,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},221918,"wu-se-shu-kui-tu-chen-gua-221918","五色蜀葵图","此画不拘于象的写法发挥至极致，其勾点皴擦，随心所欲，绝出尘象之外",[23,209,7,24,241,27,28,83,84,5401,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd40f4d75edc248b6c82bca466a29ef.jpg","133X66.5cm",[90,45],{"id":55675,"slug":55676,"title":55677,"dynasty":189,"author":55678,"museum":206,"description":55679,"tags":55680,"thumbUrl":55681,"material":342,"size":55682,"collection":139,"collections":55683,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},221794,"luo-shen-tu-zhou-wei-jiu-ding-221794","洛神图轴","卫九鼎","该画以单一人物为主，意在突出洛神的灵韵。 画家以简率的淡墨刻划远景的山丘，使得江面益发显得空旷清新。幅中主要是用纤细绵长而柔韧的白描线条绘就，墨色轻淡，更衬托出主角人物的娴静幽雅，绝尘出世。辽阔江面上水纹波汤，蒸腾云气中冉冉升起一位白衣佳人在水一方，手持绘有山水图案的扇子，身形纤细窈窕，仪容端庄，繁复的衣纹圆柔婉转，衣带飞升飘扬。看她凌波微步，驾云御风而行，显然并非平凡的女子。从倪瓒的题字，知道画中人是因曹植所写的《洛神赋》而永垂不朽的理想女性美典型——洛神。传世诸多以《洛神赋》为题的画中，有的强调云龙随行、神奇壮观的叙事性场景",[7,24,241,260,173,106,59,29,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360421bac69de8e240dd3bb2ce9169ff.jpg","90.8x31.8公分",[],{"id":55685,"slug":55686,"title":32816,"dynasty":189,"author":25426,"museum":206,"description":55687,"tags":55688,"thumbUrl":55689,"material":827,"size":55690,"collection":181,"collections":55691,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},221729,"gao-ting-tu-fang-cong-yi-221729","山峰突耸于云海之中，近景的峰顶设孤亭，一人沿山径向峰顶走去。画家画山水直接用破墨法晕染远处山石，再加以浓墨点缀，用简笔勾出山中云烟并留白，近处栈道山崖崖壁用浓墨湿笔施以大斧劈，再轻轻罩染。用笔草草，破墨山水墨气淋漓。从此图中可窥见董巨、米氏山水之风，兼有梁楷简笔、吴镇湿墨、马夏斧劈之韵。从其自识“纵笔写之”可看出其用书法笔意画写意山水的逸趣，这正贴合了元初赵孟頫倡导的“书画同源”的志趣。而这些正构成了方从义“纵逸”山水的风格。\n方从义曾在1343年到北方游历，不只结交许多高官文士，在其间获得名声，更饱览各地名山胜景，使他胸襟开阔，落笔不凡。同时代人对其画技，皆以潇散非世人所能及，明代画评家王世贞论其画与高克恭、倪瓒等人同列为“品之逸者也” 。如此幅钩云点苔，随意不羁，风格简逸，而山川精气更在水墨精微中见出，体现元代道士藉山水追求清静自然，心灵解脱之哲学，用笔草草，意境无穷。",[23,7,209,24,241,173,177,29,175,34,227,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[181,163],{"id":55693,"slug":55694,"title":55695,"dynasty":189,"author":17731,"museum":206,"description":55696,"tags":55697,"thumbUrl":55698,"material":81,"size":55699,"collection":139,"collections":55700,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},221696,"fang-ni-zan-hua-mo-zhu-zhou-gu-an-221696","仿倪瓒画墨竹轴","墨竹三竿，葉片在勁風吹拂下，飛揚搖曳，彷佛可以聽到呼嘯的風聲和葉片摩擦的聲音。前後兩竹，一濃一淡，好像隔了一層淡淡的霧氣，剛直秀勁中又有婀娜温婉之意。",[23,209,7,24,241,173,105,242,245,3350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47784ae4659f6b95e770f86d3397a48.jpg","该幅93.5x52.3公分；全幅105.3公分",[],{"id":55702,"slug":55703,"title":55704,"dynasty":18,"author":22093,"museum":364,"description":31222,"tags":55705,"thumbUrl":55706,"material":27,"size":55707,"collection":42,"collections":55708,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},221660,"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图",[23,209,7,24,1160,1397,27,177,29,34,2238,106,560,650,491,34560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[42,181,45],{"id":55710,"slug":55711,"title":55712,"dynasty":18,"author":2856,"museum":20,"description":55713,"tags":55714,"thumbUrl":55715,"material":40,"size":55716,"collection":139,"collections":55717,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":94},221598,"ji-chu-dai-si-tu-ye-li-di-221598","鸡雏待饲图页","本幅款识：“庆元丁巳岁李迪画。”“庆元丁巳”即宋宁宗庆元三年（1197年）。鉴藏印钤宋代“张则印”，明代“项元汴印”、“墨林秘玩”、“项墨林鉴赏章”、“神”、“品”等，又一朱文印模糊不辨。裱边钤清乾隆皇帝“太上皇帝之宝”、“八征耄念之宝”玺印2方。\n图绘两只雏鸡一卧一立，面朝同一方向，屏气凝神，仿佛听见母亲觅食的召唤，正欲奔去。画面描绘传神，将雏鸡嗷嗷待哺的情态表现得淋漓尽致，充分反映了温馨的农家情调。画家用黑、白、黄等细线密实地描绘出雏鸡毛绒的质感，生动地绘出鸡雏幼小可人的生动神态，体现了深厚的绘画功力。此图为李迪晚年所画，构图极其简洁，无任何背景相衬，却捕捉住了鸡雏回眸的刹那间神情，动人心弦。\n此幅与画家在前一年创作的《枫鹰锦鸡图》相比，在审美意趣上全然不同，前者展示的是和风细雨的婉约情调，后者则是张扬自然界生命相残的严酷氛围，由此可见李迪表现各种题材的能力。\n此图自民间入藏清内府后，雅好书画的乾隆皇帝除赏识其艺术造诣外，还从帝王角度联想到勤政爱民的治国之策。他于乾隆五十三年（1788年）临摹此件作品，并且喻令摹刻多份，颁赐给各省督抚，希望这些地方父母官将所辖地区的百姓视为图中的鸡雏，在处理政务时要“实心经理，勿忘小民嗷嗷待哺之情”。",[23,209,7,24,81,28,27,83,3478,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40efabd7d00ba834838d90b0ccf1737a.jpg","纵23.7厘米，横24.6厘米",[],{"id":55719,"slug":55720,"title":1692,"dynasty":18,"author":15479,"museum":238,"description":8748,"tags":55721,"thumbUrl":55723,"material":5149,"size":55724,"collection":42,"collections":55725,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},221584,"shan-shui-tu-li-an-zhong-221584",[23,7,209,24,29,173,177,394,1653,34,55722,5066],"孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e78d2ab5af18f329bc9f582365afc.jpg","33x34",[42,181,163],{"id":55727,"slug":55728,"title":55729,"dynasty":54,"author":55730,"museum":206,"description":55731,"tags":55732,"thumbUrl":55733,"material":55734,"size":55735,"collection":139,"collections":55736,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},221148,"lin-wang-xian-zhi-fei-niao-tie-juan-chu-sui-liang-221148","临王献之飞鸟帖卷","褚遂良","褚遂良临王献之《飞鸟帖》正书二十一行，麻纸本，纵二二公分，横四七.四公分。后有元柯九思、王守诚二跋，《石渠宝笈初编》有著录，原迹今藏台北故宫博物院。卷内钤有“绍兴”（宋内府）、“子固”（赵子固）、“欧阳玄”、“应召”（张应召），又项墨林及诸内府等收传印记。帖后有项墨林手书小字一行曰“唐褚遂良临晋王大令献之《飞鸟帖》项元汴真赏，其值……（下模糊不清）”。元人柯九思跋称其：“具有元常遗意，绝无宋人气，是唐无疑耳”。然献之之文既属荒诞，褚遂良临亦非真笔，唯运笔精敛，气韵高古。则此卷虽非褚氏真笔，亦不失为唐人妙迹。",[209,7,24,25,105,178,86,227,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167a534360a4f83c33c8b431e70cafa6.jpg","手卷 纸本 水墨","22x47.4厘米",[],{"id":55738,"slug":55739,"title":55740,"dynasty":54,"author":293,"museum":364,"description":55741,"tags":55742,"thumbUrl":55743,"material":139,"size":139,"collection":382,"collections":55744,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":94},221117,"fo-jing-bai-fu-yan-xian-yan-yi-ming-221117","佛经白佛言贤言","本作是典型唐代写经小楷，结体方正匀整，笔画精劲舒展，法度谨严却不失温雅灵秀。墨色乌亮莹润，历经岁月依旧澄澈明净，笔锋起落间尽显恭谨端严，藏着写经人虔诚的向佛之心。浅褐绫边搭配卷草纹镶饰，古朴雅致的装裱更衬经文静穆端庄的气韵，堪称唐人写经的上乘之作，将书法的笔墨意趣与佛门清寂禅意相融，尽显唐代抄经手扎实深厚的书法功底。",[23,7,24,86,11078,1195,259,8612,6214,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1805b45ccac6ec8cd0d35a91c0cb25b4.jpg",[382],{"id":55746,"slug":55747,"title":55748,"dynasty":189,"author":2519,"museum":56,"description":55749,"tags":55750,"thumbUrl":55751,"material":55752,"size":55753,"collection":90,"collections":55754,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[23,7,24,25,173,28,150,106,227,86,178,1308,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[90,45],{"id":55756,"slug":55757,"title":55758,"dynasty":189,"author":2519,"museum":55759,"description":55760,"tags":55761,"thumbUrl":55762,"material":803,"size":55763,"collection":382,"collections":55764,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},220882,"gui-qu-lai-ci-juan-hua-xin-zhao-meng-fu-220882","归去来辞卷画芯","湖州博物馆","自东晋陶渊明的一曲《归去来辞》问世以来，为历代文士所雅好。赵孟頫以宋室后裔入仕元朝，在其任官期间许多次以真、行书写过此篇，其归隐思乡情绪全在其中。\n此卷书于元延佑五年，即1318年，是年赵孟頫六十五岁。\n全篇以行、楷为主，偶参草书，笔法秀媚典雅，苍劲浑厚，结构严密，用笔婉转停匀，具有晋人风范。",[23,209,7,24,25,178,260,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58edf3bc226e67307b138bb359553070.jpg","纵48厘米，横455厘米",[382],{"id":55766,"slug":55767,"title":55768,"dynasty":189,"author":2519,"museum":56,"description":55769,"tags":55770,"thumbUrl":55771,"material":47748,"size":55772,"collection":44,"collections":55773,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},220872,"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[23,7,24,25,27,28,259,106,430,176,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[44,45],{"id":55775,"slug":55776,"title":55777,"dynasty":1095,"author":4791,"museum":4792,"description":55778,"tags":55779,"thumbUrl":55780,"material":139,"size":139,"collection":139,"collections":55781,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},220550,"ling-jiu-xu-bei-hong-220550","灵鹫","两只鹫鸟傲然立于枯木之上，昂首远眺，目光锐利沉静，尽显悍勇孤傲之姿。\n画家以兼工带写之法，以浓淡墨色区分鹫鸟羽毛层次，蓬松绒羽以淡墨晕染出柔软质感，硬翅翎毛则以焦墨勾勒，笔力苍劲，将猛禽的健硕体态刻画入微。古木以阔笔重墨挥写，尽显苍浑朴拙的山野意趣，枝桠间点缀嫩黄小花，柔色打破沉郁色调，动静相映。\n画作融西画写实观察与东方写意笔墨，既还原猛禽生理细节，又以写意笔墨烘托出桀骜沉凝的气度，于沉静画面中蕴藏着雄健生命力。",[7,173,27,446,83,281,543,26720,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf44f3188b1be369b8514aa6b92a3f4.jpg",[],{"id":55783,"slug":55784,"title":55785,"dynasty":1095,"author":4791,"museum":7134,"description":55786,"tags":55787,"thumbUrl":55789,"material":139,"size":139,"collection":139,"collections":55790,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},220532,"e-mei-gu-si-xu-bei-hong-220532","峨眉古寺","以浓墨绘就古松，笔力沉厚雄健，虬干舒展撑立画面，松枝层叠苍劲，尽显山林古木的莽然生机。粉墙黛瓦的古寺悄然隐于林间，浅赭淡彩晕染院墙，门洞幽邃，自带沉静禅意。墙侧暖黄枝叶轻缀，暖调破了水墨的冷寂，晕出融融秋意。远景以淡墨轻染山影，留白铺就空濛悠远的意境，将古寺藏于深翠的清幽禅意尽数铺展。画作融写实工稳与写意空灵于一体，利落笔墨勾勒物象形神，晕染烘托山野静穆之气，揉合林泉古寺的灵秀空寂与山野生机，清雅旷远，尽显蜀中林麓的悠然意趣。",[7,24,173,27,39301,449,34,114,55788],"红墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6592e9399c044a5524ca479a7e15116d.jpg",[],{"id":55792,"slug":55793,"title":55794,"dynasty":1095,"author":4791,"museum":4792,"description":55795,"tags":55796,"thumbUrl":55797,"material":139,"size":139,"collection":139,"collections":55798,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},220525,"huang-zhen-zhi-xiang-xu-bei-hong-220525","黄震之像","此作将写实精微与写意意趣熔于一炉，笔情墨趣间尽显文人风骨。\n画家以细腻笔触勾勒传主容貌，鬓边霜色、面部纹路皆细致晕染，把文人温雅沉静的神态精准定格。宽袍长衫以写意笔墨铺就，苍劲松枝顶天立地，暗合传主刚直品格；篱畔秋菊与幽竹错落点缀，晕开悠然清寂的意境。\n中西技法相融，打破传统肖像的陈规，传神写真与寄情抒怀合二为一，在写实的真切质感之外，晕染出传统笔墨的诗意余韵，将文人冲淡自持的精神风骨凝于画间。",[23,7,24,241,27,173,106,394,796,245,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b6bf1a5072c1e72fed543fb949df29.jpg",[],{"id":55800,"slug":55801,"title":55802,"dynasty":1095,"author":31831,"museum":15320,"description":31832,"tags":55803,"thumbUrl":55805,"material":139,"size":139,"collection":139,"collections":55806,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":94},220483,"hua-yuan-li-de-nv-shi-men-lin-feng-mian-220483","花园里的女士们",[7,27,59,175,430,108,55804],"花园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234c27c6f796494ae7f1dd0aa3d3eaa3.jpg",[],{"id":55808,"slug":55809,"title":55810,"dynasty":76,"author":5052,"museum":20,"description":5053,"tags":55811,"thumbUrl":55812,"material":803,"size":5056,"collection":139,"collections":55813,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},220327,"huang-shan-tu-ce-4-hong-ren-220327","黄山图册-4",[23,7,556,81,177,29,176,108,109,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ceb6ea4ddc9fb9c6fcb7d328c018253.jpg",[],{"id":55815,"slug":55816,"title":55817,"dynasty":189,"author":30671,"museum":206,"description":55818,"tags":55819,"thumbUrl":55820,"material":88,"size":55821,"collection":181,"collections":55822,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":49},219926,"qiao-mu-shan-zhuang-tu-chen-ru-yan-219926","乔木山庄图","陈汝言（1331-1371年），元末明初画家、诗人。字惟允，号秋水，先世系本蜀阆州（今四川阆中市）人，后居江西南康，父陈征流寓吴中，遂为吴县人。 能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[7,24,25,173,177,29,864,37,34,35,227,38,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 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王端造字样，其笔法以郭熙的笔法为基础，并参考了王蒙的方法。",[23,7,24,241,173,177,29,567,559,176,34,1015,558,108,109,1255,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809626f0514a46b69b38d7c1727dc236.jpg","178.4x48cm",[181],{"id":55951,"slug":55952,"title":55953,"dynasty":99,"author":1480,"museum":539,"description":4335,"tags":55954,"thumbUrl":55955,"material":123,"size":4338,"collection":139,"collections":55956,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":49},218344,"ren-wu-gu-shi-ce-5-tang-yin-218344","人物故事册-5",[23,7,24,81,27,106,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c8051ecf044fbabbdf8d061fea5bd2.jpg",[],{"id":55958,"slug":55959,"title":55960,"dynasty":76,"author":674,"museum":539,"description":5517,"tags":55961,"thumbUrl":55962,"material":123,"size":5520,"collection":139,"collections":55963,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},218336,"shen-xian-gu-shi-tu-ce-3-leng-mei-218336","神仙故事图册-3",[23,7,24,81,28,27,106,1329,430,957,259,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d868c90b4a5cfb55ce8fe0fb510ec9.jpg",[],{"id":55965,"slug":55966,"title":55967,"dynasty":189,"author":293,"museum":20,"description":55968,"tags":55969,"thumbUrl":55970,"material":123,"size":55971,"collection":181,"collections":55972,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},218213,"shui-ge-dui-hua-tu-yi-ming-218213","水阁对话图","水阁对话图是一种流行于元朝时期的文学体裁，通常用来记录人们在水上建筑物（如水上别墅、水上庭院或水上茶室）中的对话。这种体裁的名字来源于“水阁”这个词，指的是在水上建造的别墅或其他建筑物。\n\n元朝时期，由于水上建筑物在当时是很流行的，因此水阁对话图也非常受欢迎。这种体裁通常记录了人们在水上建筑物中的日常对话，以及他们对当时社会、政治、文化等诸多话题的看法。",[7,1562,173,29,106,107,394,1653,491,245,109,177,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c5b832746b1a1e3f0abb4065f54693.jpg","25.8x23.7cm",[181],{"id":55974,"slug":55975,"title":55976,"dynasty":99,"author":1083,"museum":101,"description":2236,"tags":55977,"thumbUrl":55978,"material":123,"size":139,"collection":139,"collections":55979,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},218027,"za-hua-ce-4-chen-hong-shou-218027","杂画册-4",[7,24,81,27,106,245,227,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519b336f0533ab73ca5961d7157e7f06.jpg",[],{"id":55981,"slug":55982,"title":55983,"dynasty":18,"author":55984,"museum":752,"description":55985,"tags":55986,"thumbUrl":55987,"material":342,"size":55988,"collection":44,"collections":55989,"showCount":385,"zanCount":5,"manualWeight":48,"mainColor":94},217974,"shi-liu-ying-zhen-tu-fan-long-217974","十六应真图","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,7,24,260,259,106,1575,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d16fbc634607e2716bf2bb96a0708.jpg","30.5x1062.5",[44],{"id":55991,"slug":55992,"title":55993,"dynasty":99,"author":293,"museum":539,"description":4592,"tags":55994,"thumbUrl":55995,"material":88,"size":139,"collection":139,"collections":55996,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":94},217950,"ming-ren-shan-shui-hua-ce-wu-yi-ming-217950","明人山水画册(五)",[23,7,173,177,81,29,1015,109,176,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7014b1cc71d2ca5aa50dfaec6b52598f.jpg",[],{"id":55998,"slug":55999,"title":1692,"dynasty":76,"author":56000,"museum":539,"description":56001,"tags":56002,"thumbUrl":56003,"material":123,"size":56004,"collection":181,"collections":56005,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},217263,"shan-shui-tu-dai-zi-lai-217263","戴子来","戴子来是中国清朝时期著名的画家、诗人，他的山水图在中国绘画史上具有重要地位。\n\n戴子来的山水图与其他画家的作品有很大的不同，他的作品常常给人以深刻的感受和富有韵味的艺术氛围。他的山水图常常描绘出细腻的山水景观，并结合自然与人文景观。他运用了浓重的色彩和抽象的线条，使作品充满了动感和生机。\n\n戴子来的山水图代表了他对自然界的深刻理解和敬畏之心。他的作品常常描绘出大自然的壮丽景观，如山峰、河流、湖泊等，表现出自然界的种种美好。此外，他还善于运用抽象的笔触勾勒出自然界的神秘感，使作品充满了趣味性。\n\n总的来说，戴子来的山水图在中国绘画史上具有重要地位，他的作品常常给人以深刻的感受和富有韵味的艺术氛围，值得我们去欣赏和品味。",[23,7,27,177,241,29,107,108,34,176,558,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae51318f27e987f219edd71114d8c63.jpg","121.9x53.5cm",[181],{"id":56007,"slug":56008,"title":56009,"dynasty":76,"author":293,"museum":364,"description":56010,"tags":56011,"thumbUrl":56012,"material":123,"size":139,"collection":139,"collections":56013,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},216719,"hong-lou-meng-fu-tu-ce-6-yi-ming-216719","红楼梦赋图册-6","疏朗亭廊下，草木扶疏，远处青芜与浅水隐约相连，清旷意境漫溢画面。亭中二人相对而立：一者素衣垂首，似含温婉心事；一者衣袂沉稳，姿态间藏着关切。笔墨柔婉，设色淡雅，亭柱的质朴纹理、草木的葱郁生机，与人物的娴静气质相融相生。画面虽简，却暗合红楼深处的细腻情愫——那段园林里的无声絮语，似将旧梦的雅致与怅惘，凝于尺幅之间，引人沉入古典仕女图的娴静韵致，遐想不尽。",[23,7,28,27,81,106,175,1064,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab6e5f06f547d4f83b04b352a321ef.jpg",[],{"id":56015,"slug":56016,"title":56017,"dynasty":76,"author":293,"museum":364,"description":56018,"tags":56019,"thumbUrl":56020,"material":123,"size":139,"collection":139,"collections":56021,"showCount":385,"zanCount":48,"manualWeight":48,"mainColor":49},216711,"hong-lou-meng-fu-tu-ce-13-yi-ming-216711","红楼梦赋图册-13","树荫匝地，顽石旁聚起数人。或围案对弈，指尖起落藏着雅趣；或凭石闲立，衣袂轻扬映出闲情。远处水色朦胧，近处枝叶扶疏，漫着江南园林的温润气息。人物眉眼细腻，衣纹流转如溪，举手投足尽是红楼儿女的鲜活模样——低头凝思的，可是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上，漾开闲静况味。中景坡岸虬松葱郁，村居错落相依，板桥横溪接引往来，揉入日常烟火暖意。近景庭院深隐林间，田亩溪涧环合相拥，将林下栖居的隐逸之趣藏入笔墨中。\n\n全画笔墨松秀柔和，以淡皴轻擦区分丘壑层次，弃绝浓丽设色，凭墨色干湿浓淡铺陈层次，尽显文人山水特有的简淡萧散，把江南乡野的静雅诗意晕染开来，藏着冲淡平和的文人心绪。",[7,173,241,29,108,109,175,281,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d73145b572ef6ffbad105060f81b9cb.jpg",[181],{"id":56340,"slug":56341,"title":6670,"dynasty":76,"author":6671,"museum":364,"description":56342,"tags":56343,"thumbUrl":56344,"material":139,"size":139,"collection":139,"collections":56345,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},239053,"shan-shui-hua-niao-ce-yang-jin-239053","杨晋 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，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[7,209,81,28,27,83,281,245,227,86,1195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc42360a66af189821ac5b798a1b2dc8.jpg",[],{"id":56363,"slug":56364,"title":40158,"dynasty":76,"author":43711,"museum":20,"description":56365,"tags":56366,"thumbUrl":56367,"material":990,"size":56368,"collection":181,"collections":56369,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[7,24,209,241,27,177,29,7241,176,34,109,558,35,108,2238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[181,45],{"id":56371,"slug":56372,"title":2235,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":56373,"thumbUrl":56374,"material":743,"size":744,"collection":139,"collections":56375,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},237939,"za-hua-ce-zhu-da-237939",[7,24,81,178,1147,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4b1ad720901e7cba07e192eb1d6e38.jpg",[],{"id":56377,"slug":56378,"title":56379,"dynasty":76,"author":9280,"museum":364,"description":56380,"tags":56381,"thumbUrl":56382,"material":139,"size":56383,"collection":44,"collections":56384,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":94},237549,"wu-liang-shou-fu-zhou-ding-guan-peng-237549","无量寿佛轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[7,24,241,27,28,259,106,29,245,109,299,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[44],{"id":56386,"slug":56387,"title":4025,"dynasty":76,"author":35312,"museum":364,"description":56388,"tags":56389,"thumbUrl":56390,"material":139,"size":139,"collection":181,"collections":56391,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},237466,"shan-shui-zhou-jiang-yun-237466","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[7,241,29,173,177,175,558,176,34,116,24,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[181,163],{"id":56393,"slug":56394,"title":8431,"dynasty":76,"author":8432,"museum":20,"description":8433,"tags":56395,"thumbUrl":56396,"material":139,"size":139,"collection":139,"collections":56397,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},237112,"shi-nv-ce-cui-wei-237112",[7,24,81,28,27,106,59,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604717feee653eeafc529f2f93948e3.jpg",[],{"id":56399,"slug":56400,"title":56401,"dynasty":76,"author":10376,"museum":20,"description":40266,"tags":56402,"thumbUrl":56403,"material":803,"size":139,"collection":181,"collections":56404,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},236985,"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴",[7,24,241,173,177,29,920,1015,281,176,15846,491,1926,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[181,163],{"id":56406,"slug":56407,"title":56408,"dynasty":99,"author":56409,"museum":20,"description":56410,"tags":56411,"thumbUrl":56412,"material":40,"size":56413,"collection":181,"collections":56414,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":49},236837,"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","彭舜乡","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[7,24,241,27,173,29,106,1575,558,176,394,1962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","纵一九八厘米 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x 62 cm",[181,45],{"id":56453,"slug":56454,"title":486,"dynasty":76,"author":1892,"museum":364,"description":56455,"tags":56456,"thumbUrl":56457,"material":139,"size":139,"collection":181,"collections":56458,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},236044,"shan-shui-ce-wang-yuan-qi-236044","笔底云峰浮于烟岚，以干笔积墨皴擦山峦，苍浑厚重间带着元人披麻皴的秀润遗意。近景溪湾宛转，村居隐于茂林错落间，屋舍疏朗恬淡，林木俯仰有姿。留白晕染出云气流荡，将远峰、中林、近岸自然衔连，疏密松紧相映。层层积墨却清雅松秀，不露堆砌之态，既得山川浑厚之致，又藏静穆萧散的文心。丘壑间浸着江南山水温润的灵韵，把幽居林下的闲澹意趣融于笔墨法度，尽显沉静悠然的文人山水意境。",[7,173,29,177,864,297,34,35,1445,37,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ace5a04ef1b790993d87a46972baec6.jpg",[181],{"id":56460,"slug":56461,"title":56462,"dynasty":99,"author":1996,"museum":364,"description":18123,"tags":56463,"thumbUrl":56464,"material":743,"size":744,"collection":139,"collections":56465,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},235798,"zhu-ju-shan-chen-chun-235798","竹菊扇",[7,24,1562,173,83,242,453,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff13ad5e4256b3c5c649deb37133f7c7.jpg",[],{"id":56467,"slug":56468,"title":56469,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":56470,"thumbUrl":56471,"material":743,"size":744,"collection":139,"collections":56472,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},235794,"hua-shi-hu-die-tu-shan-ye-chen-hong-shou-235794","花石蝴蝶图扇页",[209,7,24,1562,27,28,83,604,62,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929eff4102003e83d39418c727068bd0.jpg",[],{"id":56474,"slug":56475,"title":21758,"dynasty":76,"author":23166,"museum":364,"description":56476,"tags":56477,"thumbUrl":56478,"material":139,"size":139,"collection":139,"collections":56479,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},235634,"mo-mei-tu-zhou-li-fang-ying-235634","此作用笔老辣朴拙，枯苍梅干以顿挫浓墨写就，虬曲倔强，斜逸枝桠舒展灵动，尽显古梅饱经风霜却傲然不屈之态。淡墨圈点梅花，清气盈盈，简淡脱俗，宛若清寒之中悄然绽露芳华。\n\n画面留白疏朗空灵，配上行书题诗，诗画相融，将自身狷介风骨寄寓于梅中，以梅明志，尽显文人画借物抒怀的意趣，寥寥数笔便把梅花的清逸高格勾勒尽致，于极简中见精神风骨，是写意花鸟中借物言志的佳作。",[7,241,173,448,86,178,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb1f39a221903b5fa8c775b8d3f18ac.jpg",[],{"id":56481,"slug":56482,"title":5051,"dynasty":76,"author":56483,"museum":20,"description":56484,"tags":56485,"thumbUrl":56486,"material":990,"size":139,"collection":181,"collections":56487,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},234719,"huang-shan-tu-ce-jiang-zhu-234719","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[7,24,173,177,86,178,81,29,176,109,37,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac352676967682ac8c718cbf1f9170a.jpg",[181],{"id":56489,"slug":56490,"title":11554,"dynasty":76,"author":10376,"museum":364,"description":56491,"tags":56492,"thumbUrl":56493,"material":1449,"size":56494,"collection":181,"collections":56495,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},234713,"fang-gu-shan-shui-ce-wang-hui-234713","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[7,24,209,81,173,177,29,449,108,109,464,106,176,1410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3597742ef1ee1687c0ec1892b236e.jpg","25.6厘米，横：20.5厘米",[181],{"id":56497,"slug":56498,"title":14144,"dynasty":99,"author":56499,"museum":56500,"description":56501,"tags":56502,"thumbUrl":56503,"material":990,"size":56504,"collection":139,"collections":56505,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},234181,"shan-shui-tu-juan-zhang-fu-234181","张復","烟台市博物馆","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。\n图绘群山之间，有楼阁高架于溪流之上，几参天古松临溪而立，松下一老者笼袖信步，二童子其后跟随。布景繁密，笔墨秀润，设色清丽。画幅中题：“洞有仙人箓，山藏太史书。”与画面内容相呼应，作于作者八十四岁时。",[23,7,24,25,173,177,29,30,31,109,34,35,108,281,245,900,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e9c0cc103d6a4c046cf2fb9d13af6e.jpg","161．50x89．50cm",[],{"id":56507,"slug":56508,"title":56509,"dynasty":18,"author":293,"museum":20,"description":56510,"tags":56511,"thumbUrl":56512,"material":40,"size":56513,"collection":139,"collections":56514,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},234013,"xian-nv-cheng-luan-tu-ye-yi-ming-234013","仙女乘鸾图页","图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。此图线条工谨精细，如春蚕吐丝，柔中见刚，与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。",[7,209,24,81,1562,28,27,59,51125,300,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae22542a4bef5e8d5926c3d431eae647.jpg","纵25.3厘米，横26.2厘米",[],{"id":56516,"slug":56517,"title":56518,"dynasty":99,"author":4314,"museum":20,"description":56519,"tags":56520,"thumbUrl":56521,"material":665,"size":56522,"collection":139,"collections":56523,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},233849,"nan-ji-lao-ren-xiang-lv-ji-233849","南极老人像","该图绘我国古代神话故事中的南极老人，又称寿星，长头短身、白须寿眉，立于夜雾迷濛、明月高挂、翠竹纷披、红杏盛开、山泉奔流不息的原野中，一只梅花鹿立于身旁，由于“鹿”与“禄”同音，寓意多“禄”多“寿”。画面中人物用粗细不一的线条勾描，然后染色。树石、流水用笔劲利，山石用斧劈皴，略加淡墨晕染。",[7,241,28,27,106,3167,242,176,109,4562,281,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facebab1181af51829e0be60e88caeab6.jpg","纵217厘米，横114.2厘米",[],{"id":56525,"slug":56526,"title":56527,"dynasty":76,"author":5052,"museum":20,"description":56528,"tags":56529,"thumbUrl":56530,"material":1449,"size":56531,"collection":139,"collections":56532,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":94},233827,"you-ting-xiu-mu-tu-zhou-hong-ren-233827","幽亭秀木图轴","“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。\n作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[7,24,209,241,173,177,175,430,29,245,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb8101e25e0b3da1b9d79531e46d3b.jpg","纵68厘米，横50.4厘米",[],{"id":56534,"slug":56535,"title":7507,"dynasty":76,"author":1109,"museum":20,"description":20290,"tags":56536,"thumbUrl":56537,"material":49537,"size":49538,"collection":139,"collections":56538,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},233423,"yuan-ji-shan-shui-ce-shi-tao-233423",[7,24,81,173,177,29,245,394,1575,35,650,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206f61189ac2d29273e312c7d8b2dc6c.jpg",[],{"id":56540,"slug":56541,"title":56542,"dynasty":76,"author":4199,"museum":364,"description":56543,"tags":56544,"thumbUrl":56545,"material":139,"size":139,"collection":139,"collections":56546,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},233376,"mei-he-tu-zhou-xu-gu-233376","梅鹤图轴","《梅鹤图》是清代虚谷创作的纸本设色画。\n自题：“辛卯春二月。\n虚谷。\n” 钤“虚谷书画”朱文印、“耿耿其心”白文印。\n“辛卯”为清光绪十七年（1891年），虚谷时年69岁。\n图绘梅鹤双清之景。\n茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。\n作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。\n虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。\n能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。\n喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。\n与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[7,24,241,173,27,83,446,448,60,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fa1dda8c69bfb89af210776a782370.jpg",[],{"id":56548,"slug":56549,"title":56550,"dynasty":76,"author":9039,"museum":78,"description":9040,"tags":56551,"thumbUrl":56552,"material":803,"size":139,"collection":139,"collections":56553,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},233194,"hua-hui-ce-ying-su-hua-ye-zhao-zhi-qian-233194","花卉册-罂粟花页",[7,24,81,27,83,36219,84,28,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6bc79346a1a651cfdd68b3179673136.jpg",[],{"id":56555,"slug":56556,"title":56557,"dynasty":292,"author":293,"museum":364,"description":56558,"tags":56559,"thumbUrl":56561,"material":743,"size":744,"collection":139,"collections":56562,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":1335},231692,"shi-ting-shi-dai-sui-shi-fo-xiang-yi-ming-231692","室町时代 隋时佛像","此作为护法风神造像，三眼怒目虬髯，身姿雄健昂扬，甲胄纹饰描金敷彩，华美精细。画作配色浓烈厚重，朱红、石青撞色衬出神祇慑人的威严气场，飘带与焰纹灵动舒展，为刚性造像晕染出飞扬动感，将护法神祇的狞厉威仪刻画得淋漓尽致，兼具宗教美术的肃穆张力与东方绘画的线条韵律，尽显中古宗教造像绘画的雄浑神采。",[23,12761,7,27,28,241,259,106,56560,7464,50330,4736,631,16346],"铠甲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3550cccef8f7c7d37a7f459e7a485b1b.jpg",[],{"id":56564,"slug":56565,"title":56566,"dynasty":76,"author":10801,"museum":515,"description":56567,"tags":56568,"thumbUrl":56569,"material":40,"size":56570,"collection":139,"collections":56571,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":94},231571,"xian-qiao-qi-zi-tu-fei-dan-xu-231571","闲敲棋子图","该图以采梅仕女为主景，她立于溪石上，左手抱着梅干，右手举起正欲攀花。左上角款题：“翠羽声中春梦残，扑襟香雪影珊珊。可知一样梅花骨，不畏东风料峭寒。”\n该图仕女用细笔勾成，笔墨细柔，设色淡雅，面容俊俏，身材婀娜，姿态自然生动，十分传神，充分体现出费丹旭仕女图的美学特征。",[23,7,24,241,27,28,106,59,31520,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb5aa27513dfa8005db724ff4b6b3cf.jpg","137cmx33cm",[],{"id":56573,"slug":56574,"title":56575,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":56576,"thumbUrl":56577,"material":743,"size":744,"collection":139,"collections":56578,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":49},230955,"xue-jiao-tu-ye-chen-hong-shou-230955","雪蕉图页",[209,7,24,81,28,27,14315,245,2124,62,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F874e621d854c924252505ec09a442862.jpg",[],{"id":56580,"slug":56581,"title":49700,"dynasty":99,"author":56582,"museum":364,"description":56583,"tags":56584,"thumbUrl":56585,"material":139,"size":139,"collection":139,"collections":56586,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":49},230949,"shou-shan-fu-hai-tu-leng-qian-230949","冷谦","此作以浩渺沧海为主体，细劲线条勾绘层叠水纹，如鳞似浪，将海涛不息的灵动与苍莽尽数铺展。几座仙山错落浮沉于碧波间，山石以青绿晕染，皴笔勾勒出奇崛硬朗的山势，刚劲山海与柔婉浪涛形成绝妙的刚柔对照。\n\n右上角题诗衬景，让烟波之间更添缥缈仙气，整幅画作将山海辽远之境与祥瑞题旨相融，工致古雅，尽显静谧恢宏的山海气象。",[23,7,24,241,27,29,47106,176,245,227,1330,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680aaa4850da94d3d3296008a2b2c881.jpg",[],{"id":56588,"slug":56589,"title":43173,"dynasty":76,"author":9291,"museum":364,"description":56590,"tags":56591,"thumbUrl":56592,"material":139,"size":139,"collection":139,"collections":56593,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},230880,"hua-niao-shan-ren-xun-230880","泥金扇面上，折枝海棠柔媚盛放，粉白花瓣晕染雅致，枝叶扶疏灵动，古拙苍润的奇石与花枝相映成趣。翎鸟独立枝桠，蓝首白羽配黑尾，身姿悠然静敛，将春日清宁定格。\n\n此作用笔工致秀雅，设色明丽又不失清雅，工笔间带着写意的灵动，将院体画的精致与海派雅俗共赏的特质相融，将暮春庭间幽景凝于尺幅。笔墨晕染出江南春日的缱绻温柔，满溢闲雅生机，读来如沐春风，尽显恬淡隽美的东方意趣。",[7,24,1562,27,28,83,279,245,1062,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb5357899a9ec840bb8208254de86e0.jpg",[],{"id":56595,"slug":56596,"title":56597,"dynasty":76,"author":293,"museum":364,"description":38997,"tags":56598,"thumbUrl":56599,"material":743,"size":744,"collection":139,"collections":56600,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},230346,"jin-ping-mei-cha-tu-ce-ye-6-kai-yi-ming-230346","金瓶梅插图册页6开",[23,7,24,81,27,28,106,59,107,313,7299,448,242,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a5e05634aa376be46434f42b70072b.jpg",[],{"id":56602,"slug":56603,"title":56604,"dynasty":76,"author":293,"museum":364,"description":56605,"tags":56606,"thumbUrl":56607,"material":139,"size":139,"collection":139,"collections":56608,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":94},230332,"yan-qin-yi-qing-12-zhen-qing-nei-fu-she-se-ku-juan-ben-yi-ming-230332","燕寝怡情12帧清内府设色库绢本","此作取景雅致园林，流水萦回、林木扶苏，朱红栏槛衬着浅粉繁花，晕染出静谧柔美的底色。案边佳人才子偎依一处，女子纤纤素手调弄笔墨，二人神情亲昵缱绻，将闺中日常的温存缓缓铺展。\n\n衣褶纹饰晕染细腻雅致，设色秀润柔和，无浓艳堆砌，仅以清浅色调晕染出世家眷侣的闲情雅致。画师以精细工笔勾勒情态，将眷侣间无言的温情融在园林幽境里，把烟火日常晕染成诗意缱绻的中式浪漫，尽显古典闺阁温情之美。",[76,7,27,28,67,106,59,63,430,313,62,115,3903],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec9393ecbd0a1b95daea5afdfb8cdcc.jpg",[],{"id":56610,"slug":56611,"title":5505,"dynasty":76,"author":1703,"museum":364,"description":56612,"tags":56613,"thumbUrl":56614,"material":139,"size":139,"collection":139,"collections":56615,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},230243,"hua-hui-tu-ce-jin-nong-230243","此作以墨笔绘桃花，虬曲老枝苍劲朴拙，淡墨晕染花瓣，浓墨点簇花蕊、勾描枝叶，虚实间将桃花柔媚之态，融于水墨清逸之中。\n\n左侧题诗与画幅相映成趣，诗书合璧尽显文人雅韵。并未刻意摹写春日桃林的秾艳繁丽，以生拙古雅的笔墨，勾勒出花枝疏朗清寂之姿，跳出传统花鸟的妍丽范式，以简淡水墨营造出幽淡空寂的春日氛围，寄寓着寄情花木的闲散心境，尽显文人画独有的萧散风神，于浅淡笔墨里藏着隽永诗思。",[7,24,81,173,83,279,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42f7eab48e499ad7c30d130f7f4c555.jpg",[],{"id":56617,"slug":56618,"title":56619,"dynasty":76,"author":9622,"museum":364,"description":56620,"tags":56621,"thumbUrl":56622,"material":139,"size":139,"collection":139,"collections":56623,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},230163,"shi-hua-hui-ce-qian-long-230163","诗花卉册","清缂丝乾隆御制诗花卉册是清乾隆时期的花卉册。\n册页是在本色地上缂织玉兰、蔷薇、桃花、望春花、婪尾春（即古人谓之芍药）、石榴花、紫栋花、水仙花共8开，每幅帧首以隶书缂织高宗御制七言绝句诗一首，诗下分别缂织朱白文印“齐物”、“丛云”、“涵虚朗鉴”、“爱竹学心虚”、“垂露”、“会心不远、德充符”、“云霞思”、“几暇临池”。\n此册页缂工简单，以平缂、构缂织成，但缂工细致，用蓝、白、深浅绿等色彩完成画面，以着笔渲染表现枝叶的阴阳向背，沉稳典雅，花卉写实生动。\n这8开册页，从画法上看，既有传统工笔重彩法，又有恽寿平的设色没骨法，属于清代“院体”花鸟画。\n钤有“乾隆御览之宝”、“石渠宝笈”、“石渠定鉴”、“宝笈重编”、“宣统御览之宝”、“三希堂精鉴玺”、“宜子孙”、“乾清宫鉴藏宝”、“乾隆鉴赏”朱印。\n《石渠宝笈续编》五函十八册著录。",[7,27,28,86,227,81,83,417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f806d3c057c256306303c3e9b22b7bb.jpg",[],{"id":56625,"slug":56626,"title":56627,"dynasty":76,"author":7124,"museum":364,"description":56628,"tags":56629,"thumbUrl":56630,"material":139,"size":139,"collection":139,"collections":56631,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},229040,"liu-an-chun-feng-tu-pu-ru-229040","柳岸春风图","此作以淡墨写意铺陈春岸景致，近坡枯荣交织的岸柳虬枝柔条相映，苍朴坡石野趣自生。烟波空濛间渔舟错落，渔人或撑篙行舟，或泊船闲坐，自在悠然。远山以淡墨轻晕，帆影杳渺隐于烟岚之中，留白尽显江天寥廓的清远空寂。\n\n简淡秀雅的笔墨，未作繁复皴染，却将春岸风柔波暖的温煦，渔家乐的恬然意趣融于尺幅。把江南春日的闲逸野趣铺陈开来，寄寓了归心丘壑的雅逸襟怀，淡远萧疏间漫溢融融春意，悠悠古意扑面而来，尽显文人山水画寄情山水的悠然意境。",[23,7,173,260,27,29,1532,174,109,106,176,1016,34,5233,7646,12724],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9995c8d550395c6272b742eac90d75b7.jpg",[],{"id":56633,"slug":56634,"title":56635,"dynasty":99,"author":966,"museum":364,"description":56636,"tags":56637,"thumbUrl":56638,"material":139,"size":139,"collection":139,"collections":56639,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},228881,"cui-zhu-tu-wen-zheng-ming-228881","翠竹图","此作为诗画合璧的文人佳构，下方墨竹以淡墨写竿，笔致劲挺通脱，浓墨挥写竹叶，俯仰向背错落有致，疏密间尽显萧散清逸，将翠竹挺拔君子之姿淋漓尽显，满幅皆含清和雅正之气。\n上方题诗行书秀雅舒展，笔意温润隽秀，诗与画两相呼应，寄寓着幽居伴竹、静赏林泉的文人雅趣。书画一体，尽显吴门画派的雅致风神，暗合作者淡远冲和的品格心性，整体意境清润隽永，是文人画诗书画交融的精妙之作。",[7,24,241,173,86,178,227,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937c38e3fa101fbcb4b94656e5b43285.jpg",[],{"id":56641,"slug":56642,"title":56643,"dynasty":99,"author":293,"museum":364,"description":56644,"tags":56645,"thumbUrl":56646,"material":139,"size":139,"collection":139,"collections":56647,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":49},228811,"li-shu-tu-yi-ming-228811","荔鼠图","此作以工笔出之，褐绢为底，将白鼠偷食荔枝的闲趣小景描摹入微。白鼠通身莹白蓬松，毫发毕现，垂首啮果时神态专注娇憨，灵动鲜活。荔枝丹红饱满，果纹凸起写实如生，浓绿叶片阴阳向背层次分明，虬曲枝桠苍劲舒展，尽显南国佳果鲜活意趣。右上角朱印古雅，为画面晕染出金石气韵。设色明丽和谐，精工中带着松弛生机，既有院体画的细腻写实，又暗合数子多福的世俗吉意，把日常琐细绘得意趣悠长。",[23,209,7,24,28,27,83,957,7819,2827,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d85ef4870573bfff3e3eb899193a5a.jpg",[],{"id":56649,"slug":56650,"title":56651,"dynasty":99,"author":4821,"museum":364,"description":56652,"tags":56653,"thumbUrl":56654,"material":139,"size":139,"collection":139,"collections":56655,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228494,"ti-zhu-tu-du-jin-228494","题竹图","《题竹图》是明代画家 创作的一幅绢本设色画，现藏于北京故宫博物院。\n图绘一老者持笔对竹题诗，左侧一小童捧砚待候，右侧一老一少旁观。\n背后巨石衬托，石栏弯曲，竹林苍翠，枝叶繁茂。\n观其情节，应是“东坡题竹”的故事，人物刻划细腻，设色淡雅。\n东坡宽袍大袖，峨冠长髯，风度洒逸。\n衣较多用“钉头鼠尾描”，劲健有力。\n墨竹主干细加晕染，逐节分明，笔墨亦显细秀特色。\n该图描绘的是“东坡题竹”的故事。\n画面上右侧峭陡的立石拔地而起，且向左倾斜，山巅高耸，冲向云霄，山势险峻。\n画幅左侧与中间画有数株墨竹，相互交错，竹竿细高挺拔，枝叶疏密有致。\n在竹荫山石下画有四人，中间一位为苏东坡，正在持笔对竹题诗，前面一童子捧砚，身后一老幼正在围观。\n背后巨山衬托，石栏弯曲，竹林苍翠，树叶繁茂。\n该图画面右上方画家自题曰：“竹色经秋似水清，小阑凉气午来生。\n新诗题上三千首，散作铿金戞玉声。\n柽居杜堇。\n”下钤印两方，一白文印文字不辨，另一为朱文“青天白日”印。\n明代画坛，在南京出现了一些能诗会文能书擅画，且性格开朗，豪放不羁的独具风格的文人画家，杜堇就是其中一位。\n他的人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示出一派文人画的格调。\n《题竹图》就是他这方面的代表作。\n《题竹图》以“东坡题竹”为题材，东坡即宋代文豪苏轼，非常喜欢竹，既爱赏竹，又爱画竹、咏竹，其咏竹之诗也常被他题于竹上。\n该图构图呈长方形，上留天，下不留地，在画幅上面空旷处，有作者自题七绝诗且款“村居杜堇”，起到补白的作用。\n画面左上方空白，有一枝墨竹梢穿天向上，且枝头向右伸展，起到了补空及平衡作用，使画面构图充实饱满。\n画面中部又有构筑的月台近景。\n该图画法上，山石采用皴法干擦，接近 、 画派。\n墨竹从生以浓墨画叶、竿，以淡墨为枝。\n竹竿浓淡远近分明、枝叶向背扶疏，笔法秀逸。\n枝叶纷披，偃卧、挺立、悬挂，娇健多姿，从竹迎风摇曳。\n人物结构准确，东坡宽袍大袖，峨冠长髯，风度洒逸。\n面部略施铅粉。\n用笔简练劲挺，人物形象细腻传神，衣褶工整流畅，着色雅淡，为明代人物画的一种风格。\n北京故宫博物院研究员王中旭：图中人物衣纹简洁，多方折用笔，或起笔略顿收笔渐轻，或起笔较轻收笔略顿，转折处多略顿，是在浙派戴进所创 描的基础上演变而成，但相对戴进之苍劲雄放而言显得较为文雅内敛。\n图中翠竹挺拔，山石耸峙，其中前景山石用侧笔皴擦点染，笔墨酣畅，动感较强，后景山石用淡墨挥染，沉着淋漓，主要师法的是南宋院体和浙派笔法。\n杜堇，生卒年不详，原姓陆，字惧男，一作南，号柽居、古狂、青霞亭长，丹键（今属江苏）人，居燕京（今北京）。\n宪宗成化年间（1465年—1487年）试进士不第，于是绝意进取。\n工诗文，通六书，善绘事，取法南宋院画体格，最工人物，笔法细劲畅利，当时推为白描高手，又能作飞白体。\n亦善山水、花、鸟兽，界画楼台，格局严整，为论者所重。",[23,7,27,28,106,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ab7d37fb2da1c17cd7b315268f3492e.jpg",[],{"id":56657,"slug":56658,"title":56659,"dynasty":99,"author":293,"museum":364,"description":56660,"tags":56661,"thumbUrl":56662,"material":139,"size":139,"collection":139,"collections":56663,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228377,"ming-shi-zong-zuo-xiang-zhou-yi-ming-228377","明世宗坐像轴","此作工笔重彩，尽展帝王威仪。明黄常服遍饰团龙祥纹，云气缠护其间，章纹排布严合规制，织绣细节分毫毕现，将皇权礼制融于一针一线的描摹中。\n\n帝王面容方正，神色沉敛端凝，不怒自威，肖像写实传神，精准勾勒出帝王的肃穆气场。背景髹金屏风满绘升降云龙，间缀宝相花枝，宝座髹蓝描金，雕饰精巧，处处铺陈出皇家的华贵肃穆。\n\n整体设色富丽匀净，线条精细劲挺，尽显宫廷肖像画的精湛造诣，将九五之尊的威严气场定格绢素，静穆间传递出皇朝礼制的厚重庄严。",[7,209,241,28,27,106,502,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec95e7e4f1be01b5a6b4566dce58538.jpg",[],{"id":56665,"slug":56666,"title":56667,"dynasty":99,"author":22834,"museum":364,"description":56668,"tags":56669,"thumbUrl":56670,"material":139,"size":139,"collection":139,"collections":56671,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},228321,"shu-guo-xie-sheng-tu-tao-cheng-228321","蔬果写生图","此作用水墨写意绘蔬果蔬叶，以浓淡墨色晕染出鲜活生姿，脱略形似，尽显野逸生机，寥寥数笔便将寻常菜蔬勾勒出超脱意趣。\n长卷后一众明清文人题咏相伴，行草书法笔致纵逸跌宕，诗画合璧，尽显雅集风流。诗书画印融为一体，以极简笔墨托物言志，将日常田家风物，晕染出林下清逸的文人情致，是文人写意花鸟的上乘佳制，空灵雅致，余韵悠长。",[23,209,7,24,25,173,27,710,178,1147,227,5767,5768,1064,453,242,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0591c51b34bf7336630bd522fa6a437d.jpg",[],{"id":56673,"slug":56674,"title":56675,"dynasty":99,"author":1083,"museum":364,"description":56676,"tags":56677,"thumbUrl":56678,"material":139,"size":139,"collection":139,"collections":56679,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},228302,"he-shi-tu-chen-hong-shou-228302","荷石图","此作以顽石为骨，笔墨苍浑古拙，皴擦间尽显嶙峋厚重。白莲挺生于石侧，瓣色莹白柔润，舒展如绰约君子，刚柔相映，意趣悠长。荷叶墨色浓淡层叠，残叶带露暗生意态，水面细纹轻曳，浮萍点染，漾出清浅凉意。\n\n题字清隽搭配朱印提亮，融书画印为一体。整幅静穆超拔，将水畔幽寂夏景收于尺幅，既有文人水墨的淡逸，又以奇崛造型独显格调，恍若将溽暑间的一缕清寂凝于纸面。",[23,7,24,27,28,136,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70da03aa0c6f05f9a9f6377a8ee1adc4.jpg",[],{"id":56681,"slug":56682,"title":8697,"dynasty":99,"author":1083,"museum":364,"description":56683,"tags":56684,"thumbUrl":56685,"material":139,"size":139,"collection":139,"collections":56686,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},228294,"luo-han-tu-chen-hong-shou-228294","此作以古拙高简之笔，绘就禅意萧疏之境。罗汉席地而坐，凸额深目大耳，面容奇崛清癯，手持长策侧目凝神，沉静出尘。衣纹以涡旋状高古游丝描勾勒，繁复层叠却丝毫不显冗杂，将僧袍厚重垂坠之态尽显，笔力圆劲凝练。\n\n背景淡墨晕染，虬曲老树枝桠舒展，繁花缀于青叶间，幽草疏落生姿，衬出林间幽寂空远之境。淡设色清雅内敛，以夸张变形的造型，脱尽世俗烟火气，尽显超拔出尘的禅家意韵，古韵悠然，奇骇雅致。",[23,209,7,24,27,28,106,259,34,245,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b69c8b504945e6a0218915535961f3.jpg",[],{"id":56688,"slug":56689,"title":56690,"dynasty":189,"author":3741,"museum":364,"description":56691,"tags":56692,"thumbUrl":56693,"material":139,"size":139,"collection":139,"collections":56694,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228266,"zhu-que-tu-li-zhou-li-kan-228266","竹雀图立轴","此作用双勾法写竹，笔致工稳匀净，竹挺拔劲秀，叶片俯仰向背层次分明，尽显君子清刚之姿。淡施赭色晕染竹节，衬于古旧绢底，愈见沉雅古拙。\n几只山雀或栖于梢头理羽，或穿林跃动，翎毛晕染细腻灵动，为幽寂竹林添了鲜活生气。动静相映之间，将写实工细与文人意趣相融，既有院体花鸟的精工写实，又饱含萧散淡远的林下之风，把劲竹的清操与野雀的生趣合为一卷，尽显雅致隽永的笔墨意韵。",[23,5491,7,24,241,28,173,83,242,224,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac188acdce48fe49bfc54eafa6996beb.jpg",[],{"id":56696,"slug":56697,"title":56698,"dynasty":189,"author":293,"museum":364,"description":56699,"tags":56700,"thumbUrl":56701,"material":139,"size":139,"collection":139,"collections":56702,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228209,"shan-shui-tu-tuan-shan-yi-ming-228209","山水图团扇","此作以远近相生的构图铺陈意境，浮空峰峦如蓬瀛仙山，浓墨点苔晕出山姿苍郁，留白云气晕染成朦胧幻境，割裂又勾连起世外幽境与人间烟火。\n\n山腰间楼阁隐现，似藏寻仙之幽；山脚处板桥行人策杖徐行，村舍林麓、陂塘田亩错落排布，枯木添就萧疏秋意。工写兼济的笔法，勾勒山石硬朗轮廓，皴擦晕染揉出温润质感，设色淡雅古拙。将出世清寂与入世恬美收于尺幅，尽显山水重意趣、尚萧散的特质，意境清和淡远，恍若隔绝尘嚣，只留一片悠然天地。",[23,7,24,1562,27,177,173,29,108,109,175,106,394,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517e2ea2760446e7c47c7392862034d2.jpg",[],{"id":56704,"slug":56705,"title":13753,"dynasty":189,"author":5897,"museum":364,"description":56706,"tags":56707,"thumbUrl":56708,"material":743,"size":744,"collection":139,"collections":56709,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},228070,"feng-zhu-tu-xue-chuang-228070","僧普明，字雪窗。元代著名画家，在苏州为僧。1338年在虎丘云岩寺当住持，1344年改承天能仁寺住持，其后一度因老病引退，1348年复出，为能仁寺住持。\n雪窗以画兰花著称，与他同时的画家柏子庭写苏州风俗说：家家恕斋字，户户雪窗兰。春来行乐处，只说虎丘山。今传世作品十余件，多藏于日本，美国。",[23,7,24,241,173,242,431,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb8ad77edfd7868a2b0caa6e47ad30f.jpg",[],{"id":56711,"slug":56712,"title":56713,"dynasty":18,"author":293,"museum":364,"description":56714,"tags":56715,"thumbUrl":56716,"material":139,"size":139,"collection":139,"collections":56717,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},227917,"qun-yu-xi-zao-tu-yi-ming-227917","群鱼戏藻图","《宋人画群鱼戏藻图》是宋代佚名创作的绢本设色画。\n《庄子·秋水篇》中有“濠梁观鱼”的著名典故，故“ ”成为中国绘画的传统题材。\n“ ”又谐“余”之音，有祝颂丰穰之吉祥寓意。\n本幅无款。\n鉴藏印钤“季彤平生真赏”、“庞莱臣珍藏宋元真迹”。\n裱边钤“虚斋审定名迹”。\n图中绘小鱼5尾，欢快地游戏于荇藻之间。\n鱼身用没骨法墨染而成，其光滑、细腻而富于弹性的质感表现得非常充分，线条圆浑流畅；黑脊与白肚之间过渡自然；口、眼、鳍、尾之刻画逼真而具立体感。\n鱼的游向各异，远近分明，荇藻轻灵而富于动感，构图生动活泼，是宋人画鱼的名作。\n存《名笔集胜》册中。\n《虚斋名画续录》著录。",[23,209,7,24,1562,28,173,27,933,17396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a01514fa33b348d72283aebee102b35.jpg",[],{"id":56719,"slug":56720,"title":56721,"dynasty":18,"author":293,"museum":364,"description":56722,"tags":56723,"thumbUrl":56724,"material":139,"size":139,"collection":139,"collections":56725,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},227854,"shan-shui-tuan-shan-yi-ming-227854","山水团扇","危崖嶙峋踞于近岸，枯木萧疏间细泉漱石，凛凛秋意漫溢而出。视线随水色铺展，远峰晕染在烟岚薄雾里，和空濛秋水融作一片淡墨云烟。滩头扁舟静泊，渔翁偃卧，将山野幽寂与林下闲逸揉作一处。\n\n此作用笔苍润相济，硬皴勾勒崖石肌理，枯笔点染寒木枝桠，淡墨晕开江天烟霭，以边角取景铺展出辽远山水格局，将秋日江野的清寂闲静截取在咫尺扇面，尽显以小见大的山水雅趣，藏着寄情林泉的幽远心境。",[209,7,24,1562,27,173,29,1015,176,109,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450874808150a62736ffbb1713c6d774.jpg",[],{"id":56727,"slug":56728,"title":56729,"dynasty":18,"author":6566,"museum":364,"description":56730,"tags":56731,"thumbUrl":56732,"material":743,"size":744,"collection":139,"collections":56733,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":94},227814,"shi-jing-you-feng-qi-yue-tu-chang-juan-ma-he-zhi-227814","诗经·幽风七月图(长卷)","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“構”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。",[23,209,7,24,25,260,27,86,106,29,34,35,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8f0c67abd521009f2b1403a7787c.jpg",[],{"id":56735,"slug":56736,"title":40239,"dynasty":18,"author":1616,"museum":364,"description":47608,"tags":56737,"thumbUrl":56739,"material":139,"size":139,"collection":139,"collections":56740,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},227770,"dai-du-tu-ye-li-tang-227770",[23,7,209,27,177,29,174,106,394,176,56738,42690,34,1112,37],"渡头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f2618414ab002b13ecc03ab10213de.jpg",[],{"id":56742,"slug":56743,"title":56744,"dynasty":18,"author":1616,"museum":364,"description":47608,"tags":56745,"thumbUrl":56746,"material":139,"size":139,"collection":139,"collections":56747,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":49},227768,"shan-shui-ye-li-tang-227768","山水页",[23,7,24,209,173,177,5990,29,107,174,34,176,5066,111,114,491,13778,37183,1015,1444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":56749,"slug":56750,"title":56751,"dynasty":18,"author":44056,"museum":364,"description":56752,"tags":56753,"thumbUrl":56754,"material":139,"size":139,"collection":139,"collections":56755,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},227751,"yu-tu-tu-ye-gong-ji-227751","玉兔图页","兔子在民间象征着吉祥、智慧和谨慎，“玉兔呈祥”之说一直深入人心。“ 玉兔呈祥”起源于“遇兔呈祥”。\n\n《淮南子》中有这样的记载，月中有桂树，果实每年四五月后飘落人间。因玉兔是月中仙童，所以人们常将兔子隐于桂树丛中，先找到的，会有“蟾宫折桂”的祥兆。",[23,209,7,24,5990,28,27,2786,957,1653,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1c09a8d4be96ac742975ab827a34a8.jpg",[],{"id":56757,"slug":56758,"title":56759,"dynasty":18,"author":823,"museum":364,"description":13349,"tags":56760,"thumbUrl":56761,"material":139,"size":139,"collection":139,"collections":56762,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},227728,"liu-yin-mu-niu-tu-xia-gui-227728","柳荫牧牛图",[23,7,209,24,1562,27,106,3246,151,430,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179c42d2f8f6243fd9a831f72ed6fb5e.jpg",[],{"id":56764,"slug":56765,"title":55056,"dynasty":18,"author":4266,"museum":364,"description":56766,"tags":56767,"thumbUrl":56768,"material":139,"size":139,"collection":139,"collections":56769,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},227715,"hu-tu-tu-zhou-mu-xi-227715","牧溪是南宋著名的画僧，他的画作大多拙稚粗细，自由放逸。由于太过自由且有悖传统而入不了中国主流的收藏殿堂，其洒脱不拘泥于形式的风格反而在日本备受推崇。\n\n牧溪是南宋著名的画僧，他的画作大多拙稚粗细，自由放逸。由于太过自由且有悖传统而入不了中国主流的收藏殿堂，其洒脱不拘泥于形式的风格反而在日本备受推崇。",[7,241,173,7281,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce9881e58fd85ecc62bf9a234ad398d.jpg",[],{"id":56771,"slug":56772,"title":56773,"dynasty":18,"author":56774,"museum":364,"description":56775,"tags":56776,"thumbUrl":56777,"material":139,"size":139,"collection":139,"collections":56778,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},227708,"mei-hua-shi-yi-tu-chang-juan-wang-yan-sou-227708","梅花诗意图（长卷）","王岩叟","《梅花诗意图》是南宋朝时期画家岩叟所作，现藏于弗利尔美术馆。\n\n图中画盛开的梅花，树干上墨书有岩叟”二字，应是作者的名或号。从画风上看，不似北宋，或为南末后期至元初之作。\n\n以北宋王岩叟为作者，不足为信。此图运笔道劲有力，构图疏密有致，枝条穿插，富有韵味，具扬补之遗法，为补之传派中上乘之作。\n\n岩叟，生卒年不详，即北宋王岩叟。字彦霖，《宋史》有传，未称其擅画，或为画家之号。南宋宋伯仁，号雪岩，擅画梅叟或即宋伯仁自号，待考。",[23,209,7,24,25,173,448,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9933a60aeb10151b1d452b59e5b1ccc4.jpg",[],{"id":56780,"slug":56781,"title":26822,"dynasty":18,"author":2981,"museum":364,"description":55497,"tags":56782,"thumbUrl":56783,"material":139,"size":139,"collection":139,"collections":56784,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},227700,"shui-xian-tu-zhao-meng-jian-227700",[23,7,24,25,260,173,27,86,178,227,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff0e9ff39b8a658d8889d784b15fb6f.jpg",[],{"id":56786,"slug":56787,"title":56788,"dynasty":18,"author":293,"museum":364,"description":56789,"tags":56790,"thumbUrl":56791,"material":139,"size":139,"collection":139,"collections":56792,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},227371,"luo-shen-fu-tu-di-yi-juan-yi-ming-227371","洛神赋图第一卷","曹植的作品中，除了“七步诗”，最有名的就是《洛神赋》了，后来，著名的画家顾恺之依据《洛神赋》，画了流传千古的名画《洛神赋图》，其中最感人的一段描绘是曹植与洛神相逢，但是洛神却无奈离去的情景。\n\n全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。\n\n此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。",[23,7,25,27,28,260,86,227,106,59,18694,2094,29,34,109,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06f1d6798502716c251cdbc934d11d.jpg",[],{"id":56794,"slug":56795,"title":51375,"dynasty":18,"author":293,"museum":206,"description":56796,"tags":56797,"thumbUrl":56798,"material":123,"size":55564,"collection":139,"collections":56799,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":1335},227347,"ru-lai-shuo-fa-tu-yi-ming-227347","画佛登宝座说法，旁有侍者六人：两天女，两僧，两介士随侍。佛顶圆光，四周飞火焰，画火笔法极生动而传神。全幅以水墨为主调，略施淡彩，其它如手足诸事，无不刻画肌容，揣拟入妙。天女衣褶，如曹衣出水，本为印度作风，北魏时传入中国，北宋以后又复少见。故成画当在北宋时，为故宫院藏佛画中之甚精者",[7,24,209,241,259,106,260,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b569fbc72e4a17b9c63ddb4bd3a7df.jpg",[],{"id":56801,"slug":56802,"title":56803,"dynasty":76,"author":7124,"museum":364,"description":50721,"tags":56804,"thumbUrl":56805,"material":139,"size":139,"collection":139,"collections":56806,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},226631,"si-shi-shan-shui-04-pu-ru-226631","四时山水04",[23,7,173,177,29,176,297,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e67a5159c09f40a77dc77e0824644f.jpg",[],{"id":56808,"slug":56809,"title":56810,"dynasty":76,"author":16463,"museum":364,"description":56811,"tags":56812,"thumbUrl":56813,"material":139,"size":139,"collection":139,"collections":56814,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},224595,"zhu-bao-song-mao-tu-ping-yuan-jiang-224595","竹苞松茂图屏","《袁江竹苞松茂图屏》是清代袁江创作的一幅画。\n本幅题：“竹苞松茂，癸卯二月邗上袁江画”，钤“袁江之印”、“字文涛”印2方。\n袁江的界画楼阁无论大幅小幅，无不制作精工，尤其是精心绘制的通景屏，景物连贯一体，气势宏伟。\n此幅12条通景屏描绘作者理想中的仙山、楼阁、屋宇为长松茂竹所环抱，将雄伟壮阔的青绿山水与富丽堂皇的楼阁建筑恰到好处地融为一体，既精细入微，又大气磅礴，极大地提高了传统界画的表现能力和艺术感染力。",[23,7,104,27,28,29,107,34,176,37,115,16687,111,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59156e4ca8c6cc344953a9422e597f54.jpg",[],{"id":56816,"slug":56817,"title":56818,"dynasty":76,"author":1109,"museum":13179,"description":2018,"tags":56819,"thumbUrl":56820,"material":1642,"size":56821,"collection":139,"collections":56822,"showCount":346,"zanCount":48,"ma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现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。 该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。 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朱熹是理学集大成者，闽学代表人物，被后世尊称为朱子。他的理学思想影响很大，成为元、明、清三朝的官方哲学。\n朱熹著述甚多，有《四书章句集注》《太极图说解》《通书解说》《周易读本》《楚辞集注》，后人辑有《朱子大全》《朱子集语象》等。其中《四书章句集注》成为钦定的教科书和科举考试的标准。",[209,7,24,25,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbefdf97e9d6ba231c73ef175f4ea8fd.jpg","25.2x251.5",[382],{"id":57008,"slug":57009,"title":57010,"dynasty":18,"author":6566,"museum":20,"description":57011,"tags":57012,"thumbUrl":57015,"material":40,"size":56986,"collection":139,"collections":57016,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":94},221452,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-quan-juan-ma-he-zhi-221452","诗经·小雅·节南山之什全卷","《诗经·小雅·节南山之什图》卷，南宋，传为马和之作，绢本，设色，纵26.2厘米，横857.6厘米。\n此卷取《诗经·小雅》中《节南山》等十篇之大意描绘成图，每段前书《诗经》原文，依次为《节南山》、《正月》、《十月之交》、《雨无正》、《小旻》、《小宛》、《小弁》、《巧言》、《何人斯》、《巷伯》。书画均无款印，旧传宋高宗赵构书文，马和之作画。马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教。",[23,209,7,24,25,27,2714,57013,86,57014],"兰叶描","儒家礼教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc501efc83bf8d990bb555af8f71224f8.jpg",[],{"id":57018,"slug":57019,"title":57020,"dynasty":99,"author":3114,"museum":20,"description":17552,"tags":57021,"thumbUrl":57022,"material":4665,"size":7095,"collection":139,"collections":57023,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},220913,"shan-shui-ce-7-dong-qi-chang-220913","山水册7",[23,7,24,81,173,29,177,394,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56878ebec529936616522b38f900f90f.jpg",[],{"id":57025,"slug":57026,"title":57027,"dynasty":99,"author":3114,"museum":9181,"description":57028,"tags":57029,"thumbUrl":57030,"material":81,"size":9185,"collection":139,"collections":57031,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":139},220753,"fang-ge-jia-shan-shui-3-dong-qi-chang-220753","仿各家山水-3","此作用淡墨干笔写就远近山水，远景山峦皴擦松灵，坡岸随水势蜿蜒铺展，留白作水，晕染出空蒙悠远的湖山烟意，林石隐现其间，简淡空灵。近景古木虬曲苍劲，以浓淡墨色区分枝桠枯荣，层叠错落间掩映着临水村居，板桥卧波连起汀岸，野趣盎然。\n全画笔墨秀润松脱，以留白营造出幽寂空茫的意境，将山水淡远之致与林下幽居的雅静相融，尽显平淡天真的文人意趣，于简率笔墨中蕴含静穆悠长的诗意，淡而不薄，简而不空，尽显山水悠远淡寂的林下雅境。",[23,7,24,173,177,105,29,176,34,108,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d3f7e74473aa4b84bb40d391a020b7.jpg",[],{"id":57033,"slug":57034,"title":57035,"dynasty":1095,"author":4791,"museum":4792,"description":57036,"tags":57037,"thumbUrl":57038,"material":139,"size":139,"collection":139,"collections":57039,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},220572,"jiu-fang-gao-xu-bei-hong-220572","九方皋","山野风色裹着粗粝的生机，老者静立崖边，目光越过皮毛叩问龙马的骨血，沉静神态藏着识珠的笃定。牵马汉子筋肉虬结、野性勃发，与老者的沉稳形成强烈反差。\n\n画面以笔墨塑风骨，线条凝练遒劲，糅合西画体积感与东方白描意趣。马匹神形各异，或昂首长嘶、或垂首闲食，野趣盎然。画作将伯乐识贤的典故融于田间小景，借相马喻识人，朴素场景里藏着对英才不问出身的深切期许，笔墨间满溢沉厚真挚的人文温度。",[23,7,24,27,173,260,11350,106,150,1159,34,1095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03f353d2c8b3af414b1b65a034610f6.jpg",[],{"id":57041,"slug":57042,"title":57043,"dynasty":1095,"author":31831,"museum":15320,"description":31832,"tags":57044,"thumbUrl":57045,"material":139,"size":139,"collection":139,"collections":57046,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},220486,"qiu-tian-de-feng-jing-lin-feng-mian-220486","秋天的风景",[7,27,29,864,430,35,37,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfade6bcbd19b6de8e2bb0e680d9ab09.jpg",[],{"id":57048,"slug":57049,"title":57050,"dynasty":76,"author":57051,"museum":4942,"description":57052,"tags":57053,"thumbUrl":57054,"material":139,"size":139,"collection":139,"collections":57055,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":94},220463,"lan-shi-chen-shi-ceng-220463","兰石","陈师曾","此作用极简水墨写绘兰石，运笔纵逸老辣，兰叶如屈铁游丝，中锋走笔，刚柔并济，寥寥数笔便将兰叶舒展之姿写尽。兰花以写意点染，花瓣含露轻绽，神韵自现。\n\n留白通透，以虚衬实，尽显尚简重意的文人画旨趣，将芝兰君子寄情林泉、不与俗伍的幽贞品格晕染纸上。左侧题字朴拙苍劲，笔墨意趣与画面融为一体，互为生发。整幅画于简淡中见风神，墨色干湿浓淡间，氤氲出清逸出尘的林下风流，藏着传统文人淡泊清远的精神内核。",[23,7,24,209,241,173,446,452,431,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8271038a5f32366ba9121a2549da8d79.jpg",[],{"id":57057,"slug":57058,"title":28892,"dynasty":99,"author":14489,"museum":752,"description":57059,"tags":57060,"thumbUrl":57061,"material":88,"size":57062,"collection":181,"collections":57063,"showCount":346,"zanCount":5,"manualWeight":48,"mainColor":94},220416,"qiu-jing-shan-shui-tu-sun-zhi-220416","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,7,25,173,27,29,1015,281,920,491,1445,245,28,177,34,5067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[181],{"id":57065,"slug":57066,"title":57067,"dynasty":99,"author":3114,"museum":206,"description":57068,"tags":57069,"thumbUrl":57070,"material":381,"size":57071,"collection":181,"collections":57072,"showCount":346,"zanCount":48,"manualWeight":48,"mainColor":49},220371,"fang-mi-xiao-xiang-bai-yun-tu-dong-qi-chang-220371","仿米潇湘白云图","本图仿米芾笔意，以墨韵幽雅，意境深邃取胜。用略为夸张的笔法去捕捉流动的大气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清高宗以此作与《富春山居图》（子明卷）相比，认为两作“纸色墨气，古穆无二”。细察两作石法、树法，乃至题款书风近似，或出于一人之手，为明末清初的作品。",[7,241,29,173,177,9050,57348,108,109,107,227,86],"曲涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb06ecbde0e10adb8891902cce34b3f.jpg",[],{"id":57352,"slug":57353,"title":57354,"dynasty":18,"author":15965,"museum":364,"description":57355,"tags":57356,"thumbUrl":57357,"material":743,"size":744,"collection":139,"collections":57358,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},290614,"ku-mu-zhu-shi-zhou-song-ren-290614","枯木竹石轴","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石块后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的展现，属元代枯木竹石画风。画中枯木与院藏赵孟俯《竹石古木》表现类似，此画上虽无款印，但可推测为此一画风的元代例证，学者推测或许正与赵孟俯关系密切。",[7,209,24,241,173,83,543,242,245,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc68e00661dc7552efca8be1f446a08a.jpg",[],{"id":57360,"slug":57361,"title":57362,"dynasty":76,"author":77,"museum":364,"description":740,"tags":57363,"thumbUrl":57364,"material":743,"size":744,"collection":139,"collections":57365,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},290535,"lu-xie-yun-shou-ping-290535","芦蟹",[7,81,173,27,7619,32915,227,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6713dbec3223e093d3cfa431c11abbef.jpg",[],{"id":57367,"slug":57368,"title":57369,"dynasty":76,"author":77,"museum":206,"description":740,"tags":57370,"thumbUrl":57371,"material":88,"size":57372,"collection":139,"collections":57373,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},290528,"zhu-shi-ku-cha-tu-zhou-yun-shou-ping-290528","竹石枯槎图轴",[7,241,173,242,1015,176,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b53a062749880b1168b4136a30d6c4.jpg","95.1x46.8",[],{"id":57375,"slug":57376,"title":57377,"dynasty":189,"author":4086,"museum":364,"description":57378,"tags":57379,"thumbUrl":57380,"material":743,"size":744,"collection":139,"collections":57381,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},290502,"han-lin-zhong-kui-zhou-chen-lin-290502","寒林钟馗轴","绘严寒冬季，树木枝叶疏落，在萧旷之野，身材魁伟的钟馗伫立于林下的坡地上!胸怀中抱有笏板，头戴幞巾，穿宽身袍服，腰系玉带，脚穿皂靴，厂‘袖因风而飘，缩着颈脖，显出寒风凛凛冷意。但形象威严，目睛圆瞪，须髯如戟，炯炯有神，背景为枯树荆柯，宽阔坡陀为枯草所覆盖，斜坡上长有几棵大树，树干挺拔直上，顶天立地：树干上有不少疤结，枝叶疏落，大树下的丛丛荆柯枝干交错，树叶脱落，显示是严寒的冬天季节。作者所描绘一片寒林，枯梢老槎，显得苍劲高古，枝丫相互穿插，虚实、浓淡的处理，都是为了表现寒林的深度，画家利用虚实关系拉大了空间，作者不但在寒林的后面用淡墨画了类似的树木，还以云雾来加强树林的纵深，使人感到寒气逼人、全图笔法简括刚韧，以线描为主，辅以皴染，明显带有南宋画院体风貌。人物造型准确，刻画得生动传神，钟馗的衣纹十分简洁，和周围景物的描绘上又十分准确精到，因而能达到情景交融的境界。这是此画最为成功之处。它在于将钟馗缩脖无颈，一副缩着脖子畏寒的样子跃然纸上，瑟缩着的钟馗和寒林一样都突出一个寒字，相互衬托，加强了作品荒寒气氛。故此画在人物形态神情的刻画及其立意上颇有独到之处。",[7,241,106,173,1015,40665,227,2125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9242d4dde31567d9c1e594d9288317.jpg",[],{"id":57383,"slug":57384,"title":4810,"dynasty":99,"author":4904,"museum":364,"description":12028,"tags":57385,"thumbUrl":57386,"material":743,"size":744,"collection":139,"collections":57387,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":49},290501,"hua-niao-zhou-lu-zhi-290501",[209,7,24,241,28,27,83,448,281,10443],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff287464e1e488bf57ac4980cd966922c.jpg",[],{"id":57389,"slug":57390,"title":57391,"dynasty":18,"author":812,"museum":364,"description":23093,"tags":57392,"thumbUrl":57393,"material":743,"size":744,"collection":139,"collections":57394,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},290297,"hua-hua-niao-zhou-zhao-chang-290297","画花鸟轴",[7,241,83,28,27,281,84,225,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47da3bc28d94f9c87e40145887010832.jpg",[],{"id":57396,"slug":57397,"title":14221,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":57398,"thumbUrl":57399,"material":743,"size":744,"collection":139,"collections":57400,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},290182,"zhu-tu-li-zhou-wu-chang-shuo-290182",[23,7,241,173,242,86,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d7eb58b8faf622716972b5c27606cf.jpg",[],{"id":57402,"slug":57403,"title":48399,"dynasty":76,"author":5052,"museum":364,"description":57404,"tags":57405,"thumbUrl":57406,"material":743,"size":744,"collection":139,"collections":57407,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},290180,"tao-an-tu-zhou-hong-ren-290180","本幅是作者送友人汪尧德的写生之作。汪尧德（1620—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。早年客居松江，与董其昌、陈继儒等文人交往。晚年家居30年，以书画自娱。此图是弘仁与友人罗逸（字远游，歙县人）游黄山经过潜口时所绘汪尧德隐居之所。其屋舍傍山而筑，临溪而建，一片离尘幽美之景。作者以折带皴和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。",[23,7,241,173,29,1015,649,35,108,227,177,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb845dce80ebf0ae222beb3c4e517a4.jpg",[],{"id":57409,"slug":57410,"title":57411,"dynasty":189,"author":2876,"museum":364,"description":57412,"tags":57413,"thumbUrl":57414,"material":743,"size":744,"collection":139,"collections":57415,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},290159,"shi-an-gu-song-tu-cao-zhi-bai-290159","石岸古松图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 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创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[7,24,241,27,28,177,106,8507,108,109,1015,35,115,116,3045,176,34,31,114,3704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":57744,"slug":57745,"title":220,"dynasty":99,"author":7012,"museum":364,"description":7013,"tags":57746,"thumbUrl":57747,"material":743,"size":744,"collection":139,"collections":57748,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":94},235729,"hua-niao-ce-tan-zhi-yi-235729",[7,24,81,28,27,83,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24a476c3157793412130d56a2bc8c12.jpg",[],{"id":57750,"slug":57751,"title":220,"dynasty":99,"author":7012,"museum":364,"description":7013,"tags":57752,"thumbUrl":57753,"material":743,"size":744,"collection":139,"collections":57754,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},235726,"hua-niao-ce-tan-zhi-yi-235726",[209,7,24,81,28,27,83,62,1003,226,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c1639c45707c2b0e70e21707f1682f.jpg",[],{"id":57756,"slug":57757,"title":131,"dynasty":76,"author":3602,"museum":364,"description":3603,"tags":57758,"thumbUrl":57759,"material":743,"size":744,"collection":139,"collections":57760,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":94},235603,"hua-hui-ce-wang-wu-235603",[7,24,81,27,28,83,449,62,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5203f98c5bc6b88482bddebc1961fe00.jpg",[],{"id":57762,"slug":57763,"title":38578,"dynasty":76,"author":3830,"museum":364,"description":57764,"tags":57765,"thumbUrl":57766,"material":139,"size":139,"collection":139,"collections":57767,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},235052,"shan-shui-ce-ye-xu-mei-235052","此作用小青绿淡设色写山居幽境，幽瀑自远山轻落，清溪蜿蜒穿林过渚。古松虬曲苍劲，枝叶舒展有灵动之姿，山石以浅绿淡赭晕染，远山化作淡墨烟岚，虚实相生间晕出空濛温润的江南意韵。右侧崖畔茅亭隐于林木间，无人自幽，衬出山林的静穆悠然。\n\n笔法秀雅清润，舍去繁复勾勒，以轻晕淡染营造疏朗萧散的氛围，将文人隐逸的林下之趣融在淡逸色彩中，似可听松风溪声，沉湎于这幽寂恬然的山居景致里，尽显雅致淡远的文人山水意趣。",[7,24,81,27,177,29,109,175,394,558,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436ebfa2e6cbfa736824d8dbe5ce29e6.jpg",[],{"id":57769,"slug":57770,"title":57771,"dynasty":99,"author":14805,"museum":20,"description":57772,"tags":57773,"thumbUrl":57774,"material":13982,"size":57775,"collection":139,"collections":57776,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":94},234973,"fang-dong-yuan-shan-shui-zhou-wen-jia-234973","仿董源山水轴","文嘉（1501—1583年），字休承，号文水，长洲（今江苏苏州）人，文徵明次子。官和州学政。工诗文书画，继承家学，又以多见古人名迹，故其画作能脱去习俗。著《和州诗》。",[7,24,209,241,173,177,105,29,108,109,394,106,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b8b1885883d2c6208989fa18e10f2.jpg","纵155cm，横71.3cm",[],{"id":57778,"slug":57779,"title":486,"dynasty":99,"author":57780,"museum":364,"description":57781,"tags":57782,"thumbUrl":57783,"material":139,"size":139,"collection":181,"collections":57784,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},234865,"shan-shui-ce-zhao-pu-234865","赵璞","此作为诗画合璧，淡墨绘就平远江景。近岸松石苍润，林木错落成荫，水波澹澹延展，远山以淡墨晕染，虚茫空濛，尽显江乡日暮的清寂悠远。行书题诗笔致清劲雅致，诗文将羁旅幽思寄寓山水，与画面相映成趣。笔墨简淡松灵，不事雕琢，把江畔闲望的怅惘安闲藏在疏朗构图之中，萧散闲适的文人意趣溢于纸面，淡而不薄，简中见雅，尽显林下澹泊清远的古韵。",[7,24,81,173,177,178,29,34,650,491,490,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38743b87d4722c9ed73f5e1e990d74b2.jpg",[181],{"id":57786,"slug":57787,"title":57788,"dynasty":99,"author":5872,"museum":364,"description":57789,"tags":57790,"thumbUrl":57791,"material":803,"size":57792,"collection":139,"collections":57793,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},234163,"zhou-tian-qiu-cong-lan-zhu-shi-juan-zhou-tian-qiu-234163","周天球丛兰竹石卷","周天球,字公瑕，号幼海，又号六止居士，江苏太仓人。善画写意兰草，在文徵明门下学习书法，文徵明赞其：“他日得吾笔者，周生也。”晚年独创书风，当时丰碑大碣皆出自他手。于《心经》气脉贯通，工稳有致，峻厚妍秀，温润苍劲。是谓经典。",[23,209,7,24,25,173,178,227,86,452,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44acfd326529873a27f79f238cb93b7.jpg","纵28.3cm，横56.8cm",[],{"id":57795,"slug":57796,"title":1397,"dynasty":76,"author":57797,"museum":20,"description":57798,"tags":57799,"thumbUrl":57800,"material":803,"size":139,"collection":139,"collections":57801,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},234115,"shan-shui-hua-wang-san-xi-234115","王三锡","王三锡（1716～1793后），字邦怀，号竹岭，江苏太仓人。昱侄，或谓翚裔孙。山水得昱法，邱壑位置，不作寻常蹊径。运笔亦别具雅韵。巨幅松石，时称独绝。又喜作花卉及写意人物。其小册清丽可爱。长洲屠璇，穹窿道士李体德皆从之游。",[7,24,25,27,177,173,29,37,176,34,1247,174,107,491,10416,194,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d6fac3944d659e14864ca6319992f5.jpg",[],{"id":57803,"slug":57804,"title":486,"dynasty":99,"author":3114,"museum":20,"description":14103,"tags":57805,"thumbUrl":57806,"material":4665,"size":7095,"collection":139,"collections":57807,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},234058,"shan-shui-ce-dong-qi-chang-234058",[7,24,81,173,177,29,176,34,109,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a18510e3f687f4476b0072cc57a56.jpg",[],{"id":57809,"slug":57810,"title":57811,"dynasty":18,"author":3214,"museum":20,"description":57812,"tags":57813,"thumbUrl":57816,"material":40,"size":4079,"collection":139,"collections":57817,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},234030,"jiao-yin-ji-qiu-tu-ye-su-han-chen-234030","蕉阴击球图页","《蕉阴击球图》绘南宋贵族庭院里的婴戏小景。庭院内奇巧的湖石突兀而立，其后隐现茂盛的芭蕉数丛。石前的少妇正与身旁的女子专注地观看二童子玩槌球游戏。一童手持木拍正欲坐地击球，另一童子则向他急急地喊话。图中四人的目光同时落于童子所欲击打的小小球体上。构思巧妙，情节生动，显示出作者善于观察人物并且捕捉生活细节的能力。此幅在构图上巧妙地将玲珑剔透的湖石正立于画心中部，以其自身的完整性起到了镇住画面的作用，聚拢了交叠张扬的芭蕉叶及分散的人物，避免了画面因景物繁杂而出现轻浮感。此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。在笔法上，作者注重物象间的对比互衬关系。人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。",[209,7,24,5990,1160,28,27,57814,106,11294,755,298,3903,19041,57815,53488],"精细","击球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5800a0bb27581102b47456c505bec926.jpg",[],{"id":57819,"slug":57820,"title":57821,"dynasty":99,"author":3114,"museum":20,"description":57822,"tags":57823,"thumbUrl":57824,"material":1716,"size":57825,"collection":139,"collections":57826,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},233960,"zeng-jia-xuan-shan-shui-tu-zhou-dong-qi-chang-233960","赠稼轩山水图轴","此画构图取势平远，树石简繁相参，敛放有致，与同年作者所作《佘山游境图》轴相比，在笔势运转上更显刚健挺拔。渲染则多湿笔浓墨，墨气纵横，得草树、坡石蓊郁润泽之态。\n据题跋可知此图为作者于丙寅年所作，三年后，即“己巳”（明崇祯二年，1629年）寄赠瞿稼轩。“稼轩”是瞿式耜的号。此图从一个侧面反映了明末文人之间以诗文书画相契赏的风尚。",[7,556,177,2939,241,29,34,650,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff6910377fde107bd3ffc655005365f6.jpg","纵101.3cm，横46.3cm",[],{"id":57828,"slug":57829,"title":57830,"dynasty":76,"author":707,"museum":20,"description":57831,"tags":57832,"thumbUrl":57833,"material":990,"size":46737,"collection":90,"collections":57834,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},233942,"hua-yan-zi-hua-xiang-tu-zhou-hua-yan-233942","华嵒自画像图轴","华嵒是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华嵒潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华嵒一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华嵒身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[209,7,24,241,173,27,177,446,29,106,245,109,176,867,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa167316f143627c91b7a6fa3bf4f48.jpg",[90,57835],"明清缂绣画",{"id":57837,"slug":57838,"title":57839,"dynasty":76,"author":2324,"museum":20,"description":57840,"tags":57841,"thumbUrl":57843,"material":990,"size":57844,"collection":139,"collections":57845,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},233848,"song-teng-tu-zhou-li-shan-233848","松藤图轴","松柏是古代绘画中十分常见的题材，而专门以松树和藤花入画的则十分少见。作者对松藤一类题材十分偏爱，传世有多幅《松藤图》轴，构图近似而画面题诗和细节略有不同。画中老藤盘松，枝叶交错，一棵老松斜向伸入画面，树皮斑驳，高大伟岸，雄伟挺拔；松树旁边藤条攀缘而上，虬曲盘旋，坚韧柔活。画家以浓笔重墨写松树，以迅笔淡彩挥写藤条和藤花，墨色混融，凝重沉厚的苍松与轻盈灵动的藤条相互映衬，自得风神。构图平中见奇，险而不逾法度，设色淡雅，色不掩墨，用笔苍劲，泼墨淋漓，立意清新而高旷，以非常具有个人色彩的笔墨描绘了大自然中苍松和藤花相符相依，生机盎然的景象。",[7,24,241,173,27,449,57842,83,446,177],"藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95770748654b96d15f43031aab8bd872.jpg","纵123厘米，横50.5厘米",[],{"id":57847,"slug":57848,"title":57849,"dynasty":76,"author":13037,"museum":20,"description":57850,"tags":57851,"thumbUrl":57852,"material":803,"size":57853,"collection":139,"collections":57854,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},233792,"chan-ji-hua-qu-zhou-kun-can-233792","禅机画趣轴","作者以一个僧人的目光把所赏阅的江南山川荟萃于尺幅之中。\n此画幅虽不大，呈一长条幅，但气势恢宏，只见远处群山叠嶂，诸峰矗立，云雾缠绕。\n山坡的平地坐落着寺院和房舍，在山坡和丛树间或隐或现：近景，山脚下水榭、房阁数间，坡岸乱石相连，在乱石坡岸上树木丛生，近处溪边水草茂盛，下端左侧一条长长的板桥，且有齐整的扶栅。\n右侧有一板桥将两溪岸相连，有一位身着长袍头戴风帽手持拐杖的长者，正在缓行过桥。\n中景，有山有水，有树木、房舍等，水随山转。\n有数只扁舟，渔人独坐轻舟浮荡，显得十分幽静清雅。\n画幅上端作者长题：“米南宫尝以玩好书画载之方舟，坐卧其中，适情乐性，任其所之，咸指之一：‘此米家书画船也。\n’石秃曰：‘此固前人食痴公癣，咄咄青溪亦后有此耶，虽然青溪好古博雅，胸中负古文奇字，此犹不过成都子昂之弄故琴耳。\n玄道隐于小成言：隐于荣华，若以天地为虚舟，万物为图籍，予坐卧其中，不知天地外更有此舟，不知舟之中更有子昂否耶？而为之偈曰：大地为舟，万物图画，坐卧其中，嗒焉洒洒，渺翩翩而独征兮，有谁知音机弦而歌兮，清风古今人山往返之劳兮，已为这个不了，若是了得兮。\n此画构图高旷清远，用笔苍劲老辣，颇具黄公望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[7,24,241,173,177,227,178,29,108,109,174,175,281,394,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d444881f8ff792bc46e2b0aa1.jpg","125.7x31.4厘米",[],{"id":57856,"slug":57857,"title":57858,"dynasty":99,"author":22400,"museum":675,"description":57859,"tags":57860,"thumbUrl":57861,"material":1449,"size":57862,"collection":139,"collections":57863,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},233768,"qi-ao-tu-juan-xia-chang-233768","淇澳图卷","此图画江南丘陵中的幽谷溪涧，山石溪流、翠竹苇草连绵不断，一泉清溪沿着山间峭壁飞流而下，缘溪两岸崖壁陡峭，垒石交加，苇草杂生；山石坡渚，起伏跌宕，坡渚上，碎石间翠竹丛生，傲然挺拔，清风雅韵，好似“竹下香泉洒瑶席”（唐·刘禹锡《送僧仲东游兼寄呈灵沏上人》）；坡渚尽头是一片辽阔水面，山风拂动，溅起阵阵涟漪，薄雾清纱，浩渺无垠，清气回荡，有道是：“野竹攒石生，含烟映江岛。”（唐·李白《慈老竹》）",[209,7,24,25,173,242,176,446,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc973e161bd63f1f009769473377cba2e.jpg","纵122.3厘米，横471厘米",[],{"id":57865,"slug":57866,"title":57867,"dynasty":99,"author":1480,"museum":20,"description":57868,"tags":57869,"thumbUrl":57871,"material":1449,"size":42590,"collection":139,"collections":57872,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},233737,"tong-yin-qing-meng-tu-zhou-tang-yin-233737","桐阴清梦图轴","《桐阴清梦图》以人物画为题材，抒发画家的生活遭遇和感受。此图用水墨白描手法，画梧桐一株，桐阴坡石处一人仰面闭目，坐於交椅之上，神情生动自然。构图简洁，用笔洗练，风格洒脱，韵致清逸，是唐寅白描人物画佳作。诗、书、画相得益彰。虽未署年款，但从题诗内容可以看出，此图是他在科场案受打击回苏州后所作，是画家看破尘事，不再追求功名，从此幽居林下的写照。\n唐寅为人性情疏朗，生活放诞，许多关於他的传说故事广为流传，妇孺皆知。他的诗、曲、书、画均颇有成就，尤以画名为最著，题材广泛，山水、人物、花鸟、竹石无一不精。曾以周臣为师，青出于蓝，并从宋元诸名家绘画中汲取营养，特别在继承南宋李唐、刘松年传统画法上有新的发展，形成了自己严谨秀逸的画风，成就突出，影响深远，在书史上有很高地位，是明代中期文人画的重要代表，与沈周、文徵明、仇英并称“吴门四大家”。",[7,24,241,173,106,57870,245],"桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef1bf4c9178063a7e7f1efdccd8da0c.jpg",[],{"id":57874,"slug":57875,"title":6723,"dynasty":99,"author":443,"museum":20,"description":6724,"tags":57876,"thumbUrl":57877,"material":4796,"size":6728,"collection":139,"collections":57878,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},233473,"ren-wu-hua-hui-ce-xu-wei-233473",[7,173,81,446,106,174,367,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f4e85145f2771a2c5af092a652fd77.jpg",[],{"id":57880,"slug":57881,"title":6723,"dynasty":99,"author":443,"museum":20,"description":6724,"tags":57882,"thumbUrl":57883,"material":4796,"size":6728,"collection":139,"collections":57884,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},233467,"ren-wu-hua-hui-ce-xu-wei-233467",[7,24,81,173,446,84,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19bc6f941ccfef49e745a867f1e80420.jpg",[],{"id":57886,"slug":57887,"title":7507,"dynasty":76,"author":1109,"museum":20,"description":20290,"tags":57888,"thumbUrl":57889,"material":49537,"size":49538,"collection":139,"collections":57890,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},233425,"yuan-ji-shan-shui-ce-shi-tao-233425",[7,24,81,173,27,177,29,4614,34,176,1729,1420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7570e2d7e819c7dbd70ebd7ddbb567db.jpg",[],{"id":57892,"slug":57893,"title":57894,"dynasty":76,"author":9039,"museum":78,"description":9040,"tags":57895,"thumbUrl":57896,"material":803,"size":139,"collection":139,"collections":57897,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},233195,"hua-hui-ce-tao-hua-ye-zhao-zhi-qian-233195","花卉册-桃花页",[7,24,81,27,83,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ce11f3d0fe4bb739af8dc9b94579660.jpg",[],{"id":57899,"slug":57900,"title":57901,"dynasty":99,"author":4314,"museum":20,"description":25289,"tags":57902,"thumbUrl":57903,"material":22447,"size":25292,"collection":139,"collections":57904,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},233144,"can-he-ying-lu-tu-zhou-lv-ji-233144","残荷鹰鹭图轴",[7,241,83,28,173,27,243,281,5223,2522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ba363296fcd9a438b72bb73c541cba.jpg",[],{"id":57906,"slug":57907,"title":57908,"dynasty":99,"author":28511,"museum":206,"description":57909,"tags":57910,"thumbUrl":57911,"material":803,"size":57912,"collection":139,"collections":57913,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},231567,"da-mo-tu-zhu-jian-shen-231567","达摩图","此图绘达摩一苇渡江的故事，达摩身材魁梧，鼻梁高耸，眼珠圆凸，虬须怒张，两手置于胸前，侧身南望，戴头巾，身穿僧衣，赤足立于苇竿上，一第竿迎着风涛挺进，苇花在江风中摇曳，达摩脚下为滚滚的江水，奔腾而流。背景为一望无际的江水，弥雾茫茫无边无际。此图作于明成化庚子（1480）时年33岁，为他的中年佳作。钤“广运之宝”朱文印。\n明宪宗朱见深，英宗长子，天顺八年（1464）继位，年号成化（1465-1487）。先宗是一位有所作为的皇帝，嗜好艺术，也工书善画，尤擅人物和山水小景，并以御翰墨，赐予大臣们。此《达摩图》是他人物画中的佳作。\n达摩是菩提达摩的简称，是中国佛教禅宗的创始人。相传南朝梁武帝时，印度僧人天竺禅宗第二十八祖达摩，从海道前来我国传布佛教，梁武帝迎至金陵。他是乘坐船只从海道而来，但历来不少画家为神化达摩的道行，便画他脚踏芦苇，飘海而至。此画面所画正是这样。\n此画虽为宪宗即兴之作，即随意画成，但人物形象的刻画极其精练，神情表现细致入微。画法新颖别致，真切自然。人物的特征，用不多笔墨便勾画出来，头中和僧衣更为简练，袍下露出一双赤脚，亦真实地表现出来。衣褶用苇叶描，用笔如作书，转折之间，见其方整。江水波涛的烘染也很自然。总体来说，此画构图简括，笔墨简练，笔势放纵，将达摩的形象刻画入微，神采奕奕，精致地描绘出达摩超然尘表的形象特点，给人留下深刻的印象。",[23,7,24,260,173,259,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f2b8d36724bb198e8256b183c8f56f.jpg","纵76.8厘米,横47.4厘米",[],{"id":57915,"slug":57916,"title":57917,"dynasty":76,"author":707,"museum":364,"description":57918,"tags":57919,"thumbUrl":57920,"material":139,"size":139,"collection":139,"collections":57921,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},230168,"lan-zhu-ming-qin-tu-hua-yan-230168","兰竹鸣禽图","此作工写相融，意趣悠然。上端禽鸟俯身垂首，似将啄饮，羽色以淡赭晕染，蓬松柔润，神态灵动鲜活。旁侧枯枝缀浅叶，墨色清透疏朗，衬得禽鸟愈发温婉生趣。\n\n下方坡石以泼墨写意，淡绿晕染衬出苍润苔痕，兰草、新竹生于石畔，笔致秀逸舒展，墨色虚实相生，尽显草木清姿。整卷以清浅淡远的色调，将生灵意趣与林下幽寂融为一体，笔墨兼具雅致与野趣，尽显文人写意画的空灵韵味。",[23,7,24,241,83,173,27,242,452,281,245,28,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb95074029fc5bb85e91a524cb89d6a.jpg",[],{"id":57923,"slug":57924,"title":57925,"dynasty":76,"author":707,"museum":364,"description":57926,"tags":57927,"thumbUrl":57929,"material":139,"size":139,"collection":139,"collections":57930,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},230167,"ba-ge-song-shu-tu-hua-yan-230167","八哥松鼠图","此作用笔兼工带写，冬日枯枝横斜，两只八哥相偎私语，墨色翎毛纤毫毕现，亲昵柔婉之态呼之欲出。下方松鼠曳着蓬松长尾，圆目灵动憨态可掬，驻足枝上似正侧目探看。\n\n淡墨晕染危石枯藤，飘零残叶点染出清寂冬意，留白空灵疏朗，将荒寒萧索的氛围铺陈开来。却以小生灵的鲜活暖意破了冷寂，静中藏动，虚实相生。软毛的蓬松温软、翎羽的油亮劲挺、枯木的苍劲淡远相映成趣，把冬日荒林间的盎然生趣刻画得精妙入微，尽显灵秀雅致的笔墨意趣。",[23,7,24,241,27,83,957,245,281,10154,57928,173,28],"落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c918a99a17b3d55a87fe514827c97c0.jpg",[],{"id":57932,"slug":57933,"title":39994,"dynasty":76,"author":39265,"museum":364,"description":57934,"tags":57935,"thumbUrl":57936,"material":139,"size":139,"collection":139,"collections":57937,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":5394},230116,"shan-shui-ce-12-kai-jian-jiang-230116","此作以大片留白晕染出空濛烟水，淡墨轻勾远山，嶙峋清癯的峰峦错落排布，简淡皴笔勾勒山石肌理，尽显冷峭疏朗之态。左下角老柳垂丝，依依拂岸，茅舍隐于柳下，愈衬江天寥廓。\n\n江上孤舟缓行，渔翁泛棹，寥寥数笔便点活了空寂水色，于极简中藏着幽远禅意。整幅画笔墨枯淡清逸，舍去繁复描摹，以简驭繁，将水畔的静穆冷逸尽数铺展，萧散淡远，观之如沐清寂江风，引人沉入这份疏旷安闲的烟水诗意中。",[7,24,81,173,177,29,174,1015,176,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b9046f9518a01dd6d6ff08f98e4f8d.jpg",[],{"id":57939,"slug":57940,"title":57941,"dynasty":99,"author":293,"museum":364,"description":57942,"tags":57943,"thumbUrl":57944,"material":139,"size":139,"collection":139,"collections":57945,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},228917,"mo-zhou-wen-ju-zhong-ping-hui-qi-tu-yi-ming-228917","摹周文矩重屏会棋图","此作追摹古意，以精妙笔触还原文人雅集场景：四人围坐博弈，神色各有不同，或蹙眉凝思，或悠然观局，侍童静立旁侧，案上鼎彝、书卷陈列有致，尽显中古文人的闲雅意趣。\n\n画作巧用画中画的重屏构景，层层延展空间，线条细劲工致，设色古雅沉静，尽显原作的院体写实风神。拖尾题跋琳琅，鉴藏朱印错落排布，细数历代递藏脉络，让这幅摹本不止是复刻经典，更成为串联起后世文人追慕古贤的载体，让千年前的文会清韵流转至今。",[23,7,24,25,105,27,28,106,314,5630,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb1113a03fad3557a7452ed4931a72b.jpg",[],{"id":57947,"slug":57948,"title":57949,"dynasty":99,"author":170,"museum":364,"description":57950,"tags":57951,"thumbUrl":57952,"material":139,"size":139,"collection":139,"collections":57953,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":94},228831,"zhe-zhi-hua-zhi-shen-zhou-228831","折枝花枝","以水墨晕染出海棠花枝，老干苍劲朴拙，用笔凝练老辣，皴擦间尽显饱经风霜的沉厚质感。新发嫩梢轻盈舒展，墨色清浅柔润，与老干形成鲜明虚实对照。枝头繁花淡墨点染，留白为瓣，晕透出通透娇柔的春日情态，叶片浓淡错落，层次分明，鲜活尽现海棠盛放之姿。\n题跋与画作相映成趣，诗书画意交融，尽显文人画雅致意趣。整幅简淡天真，不事雕琢，以极简笔墨抓住花木神韵，将春日雅兴寄于毫端，平朴间自有冲淡空灵的意境，寥寥数笔便铺陈出海棠疏淡清雅之态，藏着江南文人闲居的悠然意致。",[23,7,24,241,173,84,226,698,1461,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bbf1cdcefb49755ec2f8724f6aeda7.jpg",[],{"id":57955,"slug":57956,"title":57957,"dynasty":99,"author":293,"museum":364,"description":57958,"tags":57959,"thumbUrl":57960,"material":139,"size":139,"collection":139,"collections":57961,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},228822,"qi-ma-shou-lie-tu-yi-ming-228822","骑马狩猎图","画作以塞北秋原为底色，枯木疏枝晕染出荒寒辽远的意境。画面上方白鹤惊飞，一人纵马引弓，箭矢将发，将狩猎的张力拉满；下方猎手们或缓骑四顾，或驻马待命，猎犬伏地静伺，动静相映成趣。设色古雅沉郁，线条朴拙凝练，将游牧出猎的日常瞬间定格。萧瑟荒野呼应骑射英武，糅合边地的苍凉与出猎的野趣，笔意简淡却藏着质朴生机，尽显北国狩猎的自在豪情。",[7,24,27,28,106,150,281,1015,36986,29,31402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e0832a905d1084788a315175c5a3cf.jpg",[],{"id":57963,"slug":57964,"title":57965,"dynasty":99,"author":293,"museum":364,"description":57966,"tags":57967,"thumbUrl":57969,"material":139,"size":139,"collection":139,"collections":57970,"showCount":669,"zanCount":1270,"manualWeight":48,"mainColor":49},228799,"shu-zhuang-tu-ye-yi-ming-228799","梳妆图页","古绢蒙尘，残痕漫卷间晕开一帧闺阁日常。镜中映出梳妆图景，立着的仕女轻抬素手，将发饰斜插坐者云鬓，指尖绾住鬓边青丝，动作温柔妥帖。坐仕女垂首静待，石青交领衬得素衣愈显清雅，衣袂褶皱晕染柔和。左侧偷望的侍女，为静谧的画面添上几分灵动意趣。\n\n岁月剥蚀了绢面，却晕开旧梦般的朦胧诗意。细腻笔触藏着温婉情思，将深闺里细碎的温柔定格，把娴静柔缓的日常，沉淀在斑驳古绢之中，引观者坠入旧时光的缱绻温柔里。",[7,24,81,28,27,106,59,57968],"梳妆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a6f686678a159fd797e441826670ad.jpg",[],{"id":57972,"slug":57973,"title":12956,"dynasty":99,"author":12957,"museum":364,"description":57974,"tags":57975,"thumbUrl":57976,"material":139,"size":139,"collection":139,"collections":57977,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":94},228757,"shen-xian-tu-ce-zhang-lu-228757","长髯老者席地安坐，面容清癯淡然，似正神游物外。衣纹以写意线条勾勒，笔势灵动舒展如流云拂过，寥寥数笔便将道袍宽博随性之态尽显，衬出老者超然世外的气质。身旁古朴药罐静置于方盒之上，暗合修真颐养的隐世意趣。\n\n纸面洒金晕开古雅沉静的氛围，淡墨轻擦出身下阴影，将人物妥帖融于留白之中，虚实相生间尽显空灵淡远的道家意境。笔简意赅，以少胜多，将超脱闲适的禅意藏于笔墨细节，尽显写意人物画传神精妙的功力。",[7,24,81,173,27,106,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（约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,7,27,28,106,175,242,34,29,177,40587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92709672d881dd58bce216d07ed75c8f.jpg",[],{"id":58034,"slug":58035,"title":58036,"dynasty":18,"author":32274,"museum":364,"description":58037,"tags":58038,"thumbUrl":58039,"material":139,"size":139,"collection":139,"collections":58040,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},227758,"qiu-ye-mu-niu-tu-yan-ci-ping-227758","秋野牧牛图","《秋野牧牛图》是画家阎次平所创作的一幅画，现藏于泉屋博古馆藏。\n\n《秋野牧牛图》描绘了真实生动的乡间生活情景。图中画二牧童和三牛。二牧童并坐于树下，安闲自若，一位似在给另一位捉虱子；一头大牛卧于树下，一小牛依卧母牛身旁，母牛伸过头来给小牛捉蝨子，另一牛向外奔去，自得其乐。树叶染红，杂以黄色，岸坡和远山则以淡墨轻抹勾勒。充满诗意，牛和牧童的刻画更体现出画家的细微观察力。\n\n阎次平 南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水、人物，尤工画牛，颇为生动。画法近李唐。存世作品有《牧牛图》等。弟次于，亦善画。",[23,7,173,27,28,177,29,430,151,11647,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0571f2ca0a021ab1e67ffbdcbdde86ef.jpg",[],{"id":58042,"slug":58043,"title":58044,"dynasty":18,"author":49922,"museum":206,"description":58045,"tags":58046,"thumbUrl":58047,"material":827,"size":49926,"collection":139,"collections":58048,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},227718,"dao-yi-tu-juan-mou-yi-227718","捣衣图卷","《捣衣图》南宋画家牟益创作的纸本水墨画作品，现收藏于台北故宫博物院。\n\n《捣衣图》描绘南朝谢惠连《捣衣诗》之诗意。画中庭院秋深，高槐叶落，景象凄凉，绘三十二位妇女捣练、裁衣、缝衣之劳动情景。画家通过建筑物的相连、人物的往来、花木的点缀，前后贯通，画中的人物造型准确，生动有致，面容圆润，衣裙宽大，犹有唐人余韵。",[23,7,209,24,25,260,106,59,115,34,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff35647b7e53622cc6bfd8715853cbc.jpg",[],{"id":58050,"slug":58051,"title":58052,"dynasty":18,"author":13198,"museum":364,"description":39787,"tags":58053,"thumbUrl":58054,"material":139,"size":139,"collection":139,"collections":58055,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":49},227614,"chun-xiao-tu-ye-zhao-ling-rang-227614","春晓图页",[23,209,7,24,81,27,177,3246,108,245,281,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1006510c385afef8e45f522379aaf3d.jpg",[],{"id":58057,"slug":58058,"title":58059,"dynasty":18,"author":4882,"museum":364,"description":58060,"tags":58061,"thumbUrl":58062,"material":139,"size":139,"collection":139,"collections":58063,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},227596,"lu-yan-tu-ye-cui-bai-227596","芦雁图页","崔白（公元11世纪）〔北宋〕约活动在1023-1085（宋仁宗至神宗时期），字子西，濠梁（今安徽凤阳东）人，生卒年不详。1068-1077（熙宁）初补图画院艺学，后升待诏。工画花竹翎毛，尤长秋荷凫雁，对佛道、鬼神、山林、人物、走兽等，亦无不精绝。思路敏捷，技巧熟练，挥毫立就，不打草稿不假直尺界笔，“曲直方圆，皆中尺度”。",[23,7,209,24,81,27,28,83,2522,4895,340,490,4663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc580b3f4d0ac734fa06327447d804e1d.jpg",[],{"id":58065,"slug":58066,"title":41285,"dynasty":18,"author":58067,"museum":364,"description":58068,"tags":58069,"thumbUrl":58070,"material":139,"size":139,"collection":139,"collections":58071,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},227395,"guan-yin-xiang-wang-hong-xun-227395","汪鸿薰","暂无描述",[23,7,24,259,106,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f2ec3b61dd5166a64dfebc275647beb.jpg",[],{"id":58073,"slug":58074,"title":58075,"dynasty":76,"author":7124,"museum":364,"description":50721,"tags":58076,"thumbUrl":58077,"material":139,"size":139,"collection":139,"collections":58078,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},226630,"si-shi-shan-shui-03-pu-ru-226630","四时山水03",[23,7,24,173,177,81,29,106,176,34,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a54730262b673b5e2e522748b6b7275.jpg",[],{"id":58080,"slug":58081,"title":58082,"dynasty":76,"author":1109,"museum":364,"description":58083,"tags":58084,"thumbUrl":58085,"material":139,"size":139,"collection":139,"collections":58086,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},224530,"li-pu-yi-pei-juan-shi-tao-224530","醴浦遗佩卷","以水墨绘就兰竹顽石，起手野兰配淡墨牡丹，焦墨兰叶纵逸跌宕如虬龙逶迤，花瓣含露，幽姿绰约。中段蕙兰丛生繁花绽枝，笔意渐趋简淡，与疏竹交错，清寂之致尽显。末段兰草倚石而生，苔痕皴染古雅，顽石朴拙苍劲。\n\n全卷以草书笔意入画，墨色干湿浓淡互衬，一气呵成。题识榜书朴茂雄浑，与画作清逸互为表里，将兰之幽贞、石之古厚融为一体，绘写出幽兰遗世独立、如佩环叮咚的清逸风骨，墨痕间满溢疏淡幽远的林下风致，尽显文人以物明志的清雅意趣。",[23,7,24,25,173,452,242,245,86,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167157fb1e1c6dcb8e7e354c9d500e8.jpg",[],{"id":58088,"slug":58089,"title":58090,"dynasty":76,"author":1109,"museum":364,"description":58091,"tags":58092,"thumbUrl":58093,"material":139,"size":139,"collection":139,"collections":58094,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},224508,"shan-shui-ce-kai-si-shi-tao-224508","山水冊开(四)","此作用淡彩晕染出清润空濛的氤氲之气，远山以花青轻扫，糅合浅赭底色，将山岚初醒的柔缓暖意晕开。一江春水蜿蜒穿谷，两侧山石枯笔皴擦，兼施淡墨点苔，苍松矮柏错落栖于岩间，野趣横生。\n江心扁舟上渔翁垂坐，似静听水声松涛，将天地悠然诗意凝于咫尺。右上角行书题诗笔墨疏朗，与山水清寂意境相映，尽显文人画诗书画印相融的雅趣。\n整体笔致松秀灵动，删繁就简，不假雕琢却生机暗涌，将江南山水的温润澹远与幽居野钓的林下襟怀融为一体，漫溢静穆淡宕的禅意。",[23,7,24,81,173,27,29,174,109,649,34,14952,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa34fc4fd4add0addbea11ed1f356d11.jpg",[],{"id":58096,"slug":58097,"title":58098,"dynasty":76,"author":1394,"museum":364,"description":58099,"tags":58100,"thumbUrl":58101,"material":139,"size":139,"collection":139,"collections":58102,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[23,7,24,25,9156,27,177,178,227,29,108,109,175,394,176,34,560,649,1447,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":58104,"slug":58105,"title":58106,"dynasty":76,"author":1394,"museum":364,"description":58107,"tags":58108,"thumbUrl":58109,"material":139,"size":139,"collection":139,"collections":58110,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":49},224424,"yun-feng-shu-se-tu-wang-shi-min-224424","云峰树色图","《云峰树色图》是清代画家王时敏创作的绢本设色画，现藏于 。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼 王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。",[23,7,24,241,27,29,177,864,1329,430,449,431,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c21bc9c7b497cbaa4d829b8d874e53.jpg",[],{"id":58112,"slug":58113,"title":58114,"dynasty":76,"author":39265,"museum":364,"description":58115,"tags":58116,"thumbUrl":58117,"material":139,"size":139,"collection":139,"collections":58118,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,7,24,25,173,27,177,105,227,86,29,107,34,1575,1015,109,174,175,194,1432,491,10416,114,108,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":58120,"slug":58121,"title":58122,"dynasty":76,"author":707,"museum":364,"description":58123,"tags":58124,"thumbUrl":58125,"material":139,"size":139,"collection":139,"collections":58126,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":49},224183,"hua-niao-cao-chong-tu-ba-02-hua-yan-224183","花鸟草虫图八-02","此作以折枝秋菊入画，兼工带写间尽显秋花意韵。艳红团菊秾丽雅致，绒花攒簇，尽显盛放之态；白瓣舒展清逸，纤条轻曳自带疏朗之气。墨叶枯润相济，笔致松灵，晕染出秋意萧疏却生机不减的情态。\n左侧行书题诗与绘景呼应，诗书入画融成清雅文心，淡赭底色晕开古雅沉静氛围，将秋菊傲霜之姿与文人寄寓的高洁品格融为一体，寥寥数笔便将秋花神韵与清冷意趣尽显，雅致脱俗，意韵悠长。",[23,7,27,83,453,225,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20b48cd30353e2ac00ef4f5e148df1f.jpg",[],{"id":58128,"slug":58129,"title":58130,"dynasty":54,"author":293,"museum":20,"description":58131,"tags":58132,"thumbUrl":58133,"material":665,"size":58134,"collection":139,"collections":58135,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},223442,"gong-yuan-tu-juan-yi-ming-223442","宫苑图卷","绘皇家园林景致。远处山峦起伏，林木葱郁，河道萦回，楼、阁、亭、台、廊、桥星罗棋布，气派宏大雄伟，富丽堂皇。画中游人悠闲风雅又热闹欢快，虽然熙熙攘攘，却如人间仙境。体现了唐代宫廷及贵族阶层悠闲而奢华的生活。此画可能为南宋时期所绘。",[23,7,24,25,104,27,28,107,29,106,175,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F477ef8865840f821a8da02c867a064c2.jpg","24.54*291.85",[],{"id":58137,"slug":58138,"title":58139,"dynasty":76,"author":293,"museum":20,"description":58140,"tags":58141,"thumbUrl":58142,"material":67,"size":58143,"collection":139,"collections":58144,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":94},223420,"xiao-xian-chun-huang-hou-chao-fu-xiang-yi-ming-223420","孝贤纯皇后朝服像","画中人物孝贤纯皇后（1712—1748年），姓富察氏，出身于一个累世高官的家庭，其祖米思翰，为户部尚书。其父李荣保，为察哈尔总管。她从小就受到良好的正统教育，娴于礼法，深明大义，并且具有较高的文化修养。清雍正五年（1727年）七月十八日，她被雍正皇帝指婚给17岁的皇四子弘历作嫡福晋。弘历即帝位后，立她为皇后。她克勤克俭，不喜奢华，平时在宫中的服饰用品不是金玉珠翠，而是简简单单的通草绒花。她与乾隆皇帝相敬如宾，感情笃挚，十分恩爱。乾隆十三年（1748年）二月初四，在与乾隆皇帝奉皇太后东巡的旅途中，因劳累和久病体虚，病逝于山东德州。乾隆皇帝甚为悲恸，兼程赶还京师料理后事，并为其服缟素12日；著《述悲赋》与诗，以表对皇后早逝的哀憾与追怀。",[23,368,7,28,27,106,502,63,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62047b26c1af7c503cdc3cf64792af27.jpg","194.8cm，横116.2cm",[],{"id":58146,"slug":58147,"title":58148,"dynasty":189,"author":293,"museum":20,"description":58149,"tags":58150,"thumbUrl":58151,"material":67,"size":58152,"collection":181,"collections":58153,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":1335},223399,"shang-shan-si-hao-tu-zhou-yi-ming-223399","商山四皓图轴","此图画汉初“商山四皓”故事中使臣迎请四皓一节。画面左下角有一队人马，为首者正与童子对话。山间小路崎岖，云雾缭绕，溪水潺潺。画幅偏右画有数人：二老者对弈，一老者拄杖观棋，二童子左右陪侍，上方一老者正拄杖下行，身后一童子捧果盘相随。山势高耸，乔松挺秀，烘托出一派幽静清逸之气，将四皓闲适的生活恰如其分地表现出来。\n本幅无作者名款，画面上方有挖补之痕，其真正的作者已难考究。旧题为南宋刘松年的作品，然其画法风格实近元代盛懋一派。本幅钤有残印一角，印文不辨。",[23,7,24,241,27,26,28,29,106,1575,176,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3dddb7ee87e220228e39d7b36a9eee.jpg","纵155.3厘米，横77.2厘米",[181,45],{"id":58155,"slug":58156,"title":21723,"dynasty":76,"author":13727,"museum":20,"description":58157,"tags":58158,"thumbUrl":58159,"material":139,"size":21728,"collection":139,"collections":58160,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":94},223222,"geng-zhi-tu-ce-jiao-bing-zhen-223222","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[7,28,27,81,151,106,1351,18610,29,11352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c2295c618cbfb9ca0d09285cc0220c5.jpg",[],{"id":58162,"slug":58163,"title":58164,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":58165,"thumbUrl":58167,"material":67,"size":10518,"collection":139,"collections":58168,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},223050,"hong-lou-meng-175-sun-wen-223050","红楼梦175",[23,7,28,27,106,107,1965,115,755,34,29,59,758,58166],"红楼梦场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5ff13497a1a86049600d88216fe2ad.jpg",[],{"id":58170,"slug":58171,"title":58172,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":58173,"thumbUrl":58174,"material":67,"size":10518,"collection":139,"collections":58175,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},223041,"hong-lou-meng-166-sun-wen-223041","红楼梦166",[23,7,28,27,106,29,175,108,109,107,34,176,279,313,12624,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F116421e645027677c97a37c528b5f370.jpg",[],{"id":58177,"slug":58178,"title":58179,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":58180,"thumbUrl":58182,"material":67,"size":10518,"collection":139,"collections":58183,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},223039,"hong-lou-meng-164-sun-wen-223039","红楼梦164",[23,7,28,27,25,106,59,758,107,108,281,48242,1965,29,1255,58181],"红楼故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F723c41928dddb37a89147153dd533a62.jpg",[],{"id":58185,"slug":58186,"title":58187,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":58188,"thumbUrl":58189,"material":67,"size":10518,"collection":139,"collections":58190,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":271},222946,"hong-lou-meng-71-sun-wen-222946","红楼梦71",[23,368,7,24,28,27,106,107,115,34,263,5190,1795,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ecb36ad56431b384b69b7fe4089a44e.jpg",[],{"id":58192,"slug":58193,"title":58194,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":58195,"thumbUrl":58197,"material":67,"size":10518,"collection":139,"collections":58198,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},222877,"hong-lou-meng-2-sun-wen-222877","红楼梦2",[23,7,28,27,104,175,107,106,59,58196,3217,9786,313,115,34,298],"芭蕉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06983d53be2cd078301c222dda3eab3b.jpg",[],{"id":58200,"slug":58201,"title":58202,"dynasty":76,"author":50852,"museum":101,"description":58203,"tags":58204,"thumbUrl":58205,"material":4796,"size":139,"collection":181,"collections":58206,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},222721,"huang-shan-ba-jing-tu-ce-zheng-min-222721","黄山八景图册","郑旼 1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[23,7,24,81,173,29,245,177,86,227,34,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82fb54fc6a1eb3e1a5c47fd4a31691.jpg",[181,382],{"id":58208,"slug":58209,"title":58210,"dynasty":99,"author":58211,"museum":101,"description":58212,"tags":58213,"thumbUrl":58214,"material":38582,"size":58215,"collection":90,"collections":58216,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":49},222417,"cao-chong-ce-ye-wen-liang-222417","草虫册页","温良","温良，山西山阴人，明朝政治人物。进士出身。\n永乐九年，辛卯科山西乡试中举。永乐十九年（1421年）辛丑科进士，授户部郎中",[23,7,27,28,81,603,650,299,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c9ca4b052ee1ae78ddd46b0f652dc2.jpg","12.7×17.1",[90,45],{"id":58218,"slug":58219,"title":58220,"dynasty":99,"author":100,"museum":206,"description":58221,"tags":58222,"thumbUrl":58229,"material":88,"size":58230,"collection":181,"collections":58231,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},222205,"jiao-yin-jie-xia-zhou-chou-ying-222205","蕉阴结夏轴","图中山石林立，蕉丰硕。秀竹劲，丛草稀。两位高士对坐相。一抚琴，一聆听。作品追宋法，人物造型准确。神情刻画栩栩如生，加之情景交融，画面文人同生活气息流。村庄突现萧疏简返之气，亦现作者师元人画风而别开生面之趣",[23,7,24,241,28,27,106,755,340,176,210,115,58223,58224,5627,58225,58226,45023,51077,53488,58227,58228,56917],"夏日场景","弹拨乐器","山石皴法","植物写生","传统山水元素","草木景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b091a6fd7758ede327c5d564e95b22.jpg","纵279.1厘米，横99厘米",[181,45],{"id":58233,"slug":58234,"title":58235,"dynasty":99,"author":6705,"museum":206,"description":58236,"tags":58237,"thumbUrl":58238,"material":342,"size":58239,"collection":181,"collections":58240,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":94},222182,"qing-bai-xuan-tu-zhou-liu-jue-222182","清白轩图轴","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。\n刘珏[jué]为官清正，浙江甫田县丞督赋侵吞渔税，被告以“黄金二百两”委托亲戚向他行贿，他正愁缺少证据，便以此为突破口，查明了赋税被侵吞的真相。无锡有个贪官因受贿事发，托人送来500两银子，求他去向办案人说情。刘珏严拒，并对来人说：“不亟去，当讯之于官！”\n刘廷美为刑部主事居京师，与徐武功、刘原博诸公为诗友，每相过，必谈论达旦。尝岁除，原博邀之守岁，廷美因挟所藏钟馗画像求题，原博遂援笔大书一诗于上。明旦持归，县之中堂。京师每正旦，主人皆出贺，惟置白纸簿并笔研于几，贺客至，书其名，无迎送也。是日朝罢，刘定之、黄廷臣两学士首至，见此诗，各摘簿一叶录之去。朝士继至者，皆摘录之。顷间，簿已尽矣。廷美晚回，索簿阅贺客以图往报，家人告其故。明日，复置一簿，亦如之。中书舍人金本清戏谓廷美曰：“此钟馗乃耗纸鬼也。”一时京师传为奇事。原博诗曰：“长空糊云夜风起，不忿成群跳狂鬼。倒提三尺黄河水，血洒莲花舞秋水。飞萤负火明月羞，栎窠影黑啼鸺枭。绿袍乌帽逞行事，磔脑刳肠天亦愁。中有巨妖诛未得，盍驾飙轮驱霹雳。如何袖手便忘机，回首东方又生白。”\n刘完庵薄于仕宦，年五十遂解组，时有宪臣索题《牧牛图》，为赋诗曰：“牧子驱牛去若飞，免教风雨湿蓑衣。回头笑指桃林外，多少牧牛人未归。”宪臣亦感泣挂冠去。\n成化初，琼台邢公宥为苏守，以梅华求题，廷美赋绝句云：“岁寒相见在天涯，玉色珠光带露华。笑杀玄都狂道士，种桃何不种梅华？”邢公得诗甚喜。后邢公以郡中久荒，陂荡起税，民心颇怨，有投诗刺之者曰：“量尽山田与水田，只留沧海与青天。渔舟若过间洲渚，为报沙鸥莫浪眠。”邢公闻之，以为廷美所作，衔之。或劝往白，廷美曰：“彼奈我何？”后廷美卒，邢公吊祭皆不往，人多非之。",[23,7,241,173,177,29,175,108,109,34,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931c328fef461048547689cfaea32c14.jpg","纵92.7厘米横35.4厘米",[181],{"id":58242,"slug":58243,"title":58244,"dynasty":18,"author":41409,"museum":20,"description":58245,"tags":58246,"thumbUrl":58247,"material":55573,"size":58248,"collection":139,"collections":58249,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":94},222141,"mu-dan-chun-man-tu-ye-li-cong-xun-222141","牡丹春满图页","[宋]杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[23,209,7,24,5990,1562,28,27,3529,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06010232ff025bf2c27d45e222f744ca.jpg","纵26.9厘米、横46",[],{"id":58251,"slug":58252,"title":58253,"dynasty":99,"author":170,"museum":206,"description":2755,"tags":58254,"thumbUrl":58255,"material":619,"size":58256,"collection":139,"collections":58257,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},222111,"liu-tang-du-diao-shen-zhou-222111","柳塘独钓",[23,7,24,173,27,178,2939,29,1532,108,175,2994,12272,106,3466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ebf57ec710cf7b3feb2eb738b90919.jpg","28x43.5厘米",[],{"id":58259,"slug":58260,"title":58261,"dynasty":99,"author":28511,"museum":20,"description":58262,"tags":58263,"thumbUrl":58264,"material":990,"size":58265,"collection":139,"collections":58266,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},222081,"yi-tuan-he-qi-tu-li-zhou-zhu-jian-shen-222081","一团和气图立轴","此图作于1465年。粗看似一笑面弥勒盘腿而坐，体态浑圆，细看却是三人合一。左为一着道冠的老者，右为一戴方巾的儒士，二人各执经卷一端，团膝相接，相对微笑，第三人则手搭两人肩上，露出光光的头顶，手捻佛珠，是佛教中人。作品构思绝妙，人物造型诙谐，用图像的形式揭示了儒、释、道“三教合一”的主题思想。\n作品线条细劲流畅，顿挫自如，显示出作者纯熟的绘画技艺。",[23,7,24,241,27,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0757d39ae29ad50e272852e0bd8a3181.jpg","48.7x36",[],{"id":58268,"slug":58269,"title":58270,"dynasty":99,"author":13614,"museum":20,"description":58271,"tags":58272,"thumbUrl":58273,"material":619,"size":44953,"collection":181,"collections":58274,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":271},222074,"da-mo-tu-zhou-wu-bin-222074","达摩图轴","图绘中国禅宗初祖达摩面壁参禅的故事。图中达摩须发茂密，头顶有肉髻，耳垂较长，具梵僧的面相特征，但眉目、鼻梁又非西域人的深目高鼻，而是融合了汉人的特点。达摩身着红衣袈裟，袒右胸，结跏趺坐于蒲团上。达摩的面目刻画细致，袈裟衣纹用笔朴拙粗重，融入了战笔和钉头鼠尾描的笔意。布景简洁，达摩身后斜立一巨石，山石轮廓用淡墨轻勾，注重以水墨晕染表现山石的质感，墨色深重沉寂，与达摩面壁参禅的意境相融。\n本幅右下画家自题：“枝隐头陀吴彬斋心拜写。”下钤“吴彬之印”朱文、“吴文中氏”白文二印。左下角有“谢”朱文、“阿閦鞞室供养”朱文收藏印。\n唐代禅宗兴盛以来，禅宗六祖成为文人、职业画家中流行的题材，其中尤以表现达摩面壁、渡江的题材最为流行。从该图右下“枝隐头陀吴彬斋心拜写”的款识和左下角“阿閦鞞室供养”的收藏印来看，这应该是一幅有着实际宗教功能的作品。辽宁省博物馆所藏戴进《达摩六祖图》后有清初曹溶题跋，他从禅宗重视心传出发劝程君吉修禅不要受图画的影响，认为“于无画处参，乃高人一等”，曹溶的跋亦从反面说明了当时存在的“以画参禅”的事实。",[23,7,241,259,27,106,245,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8aa2bc689c8b52664da36963765e99.jpg",[181,163],{"id":58276,"slug":58277,"title":58278,"dynasty":189,"author":2438,"museum":206,"description":58279,"tags":58280,"thumbUrl":58281,"material":27,"size":58282,"collection":181,"collections":58283,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":49},221847,"ji-xue-tu-zhou-liu-guan-dao-221847","积雪图轴","画江山积雪，山影崷崒，其上干霄。江畔一舟，冲寒远至。全图构局雄伟，用笔泼辣而迅疾，画枯木寒枝，采取郭熙蟹爪枝的表现技法，笔力雄健。此幅旧传为刘贯道作，然画风已入明际。",[23,7,1397,241,173,177,15976,176,1015,107,30,35,31938,174,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4fbd93c8effabe9b96d446d99996c5.jpg","该幅139.8x76.2公分&全幅 97公分",[181,163],{"id":58285,"slug":58286,"title":58287,"dynasty":189,"author":38031,"museum":20,"description":58288,"tags":58289,"thumbUrl":58292,"material":40,"size":58293,"collection":90,"collections":58294,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},221822,"ying-gui-tu-zhang-shun-zi-221822","鹰桧图","此图是由雪界翁、张师夔两位画家合作绘制而成。图绘山石间一株古桧，枝干挺劲，枯枝与新叶相映成趣。老干横斜，一只苍鹰昂首挺立其上，双目炯然，脚爪锋利，紧抓树枝，给人以坚如磐石、临危不惧之感。图中苍鹰以工笔重彩法写出，刻画细腻，笔笔精到，具有宋代院体花鸟画遗风。古桧山石完全用写意风格的画法，出自张舜咨手笔，画风略显粗犷，然颇具气势。苍鹰与山石、古桧虽出自不同人的手笔，但配合默契，毫无突兀、不协调之感，极具特色。",[23,7,209,24,241,27,28,4307,58290,899,10154,245,58291],"桧树","丛草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f781d4069309ad9530fe25a1c35bbcd.jpg","纵147.3厘米，横96.8厘米",[90,45],{"id":58296,"slug":58297,"title":58298,"dynasty":189,"author":5488,"museum":20,"description":58299,"tags":58300,"thumbUrl":58301,"material":803,"size":58302,"collection":139,"collections":58303,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},221744,"qiu-shen-tie-guan-dao-sheng-221744","秋深帖","管道升行书秋深帖是管道升给婶婶的问安、馈赠的家信，实为赵孟頫所书。其笔力扎实，体态修长，秀媚圆活，畅朗劲健。赵氏信笔写来一时忘情，末款署了自己的名，发觉后忙又改过，还可以看出涂改之迹。",[23,209,7,24,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709a2cf3722df1bd28d60e5ffd14c32f.jpg","纵26.9cm，横53.3cm",[],{"id":58305,"slug":58306,"title":58307,"dynasty":189,"author":293,"museum":206,"description":58308,"tags":58309,"thumbUrl":58310,"material":342,"size":58311,"collection":181,"collections":58312,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":94},221700,"bai-yun-shan-fang-tu-zhou-yi-ming-221700","白云山房图轴","此画是陈贞为大空道者写白云山房。画面上远山叠嶂，山头似乎被云雾笼罩，只露出平坦的山顶和山段，再近些一座山峰在充溢着水气的墨色中浅淡生幽。右上侧较为空旷，只有时隐时现的小山头。画中部为崎岖不平的山石、树木和杂草丛生，山坡的左侧几间屋宇、茅亭座落山坡一侧，用简笔描绘出几间房屋楼阁。近景有较为宽阔的河道，河道的右侧为一座小山岗，上面长有几株树木；河道的左侧为山坡湖石，点缀着数株乔木。此幅图中树木堪称一绝，姿态不一，品种各异，有的枝叶稀疏，有的枝叶低垂，有的高大繁茂葱郁，还有的枝干虬然。此图的画法，图中巨冈坡石和主峰，运用凝重柔和的披麻皴层层皴擦，表现出浑厚伟峻的形势。远山和树丛的表现，充分吸收了米氏云山技徠法垍頭，或用條水墨轻染淡抹，或用浓淡墨色纵横点染。此图在水墨皴染的基调上，还巧妙地敷施色彩。如山峦坡陀罩染一层淡淡青绿，山巅向阳面敷薄薄的赭石，树叶点染花青。画家善于把山峦、溪水、草木、烟云有机地组成一体，使画面气脉流通，神彩焕发，塑造出白云山房奇丽意境。款识“至正辛卯秋九月既望。陈贞履元为大空道者写白云山房。",[23,7,24,241,173,177,29,1329,430,431,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[181,163],{"id":58314,"slug":58315,"title":58316,"dynasty":18,"author":2029,"museum":206,"description":58317,"tags":58318,"thumbUrl":58319,"material":67,"size":58320,"collection":139,"collections":58321,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},221550,"luo-han-tu-2-liu-song-nian-221550","罗汉图2","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。",[23,7,24,241,259,28,106,245,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10737a1546d4fd6ca989ad4e2dd46ab0.jpg","纵117.2厘米，横56厘米",[],{"id":58323,"slug":58324,"title":58325,"dynasty":18,"author":553,"museum":206,"description":58326,"tags":58327,"thumbUrl":58328,"material":58329,"size":58330,"collection":139,"collections":58331,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},221385,"ming-hui-ji-zhen-ce-han-jiang-diao-xue-fan-kuan-221385","名绘集珍册－寒江钓雪","本幅选自《名绘集珍》册第十一幅。画幅意境，取自唐代诗人柳宗元（773-819）的五言绝句〈江雪〉：「千山鸟飞绝，万径人踪灭；孤舟蓑笠翁，独钓寒江雪。」 幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[23,7,209,24,81,29,177,173,106,174,1351,394,109,2124,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":58333,"slug":58334,"title":58335,"dynasty":204,"author":19012,"museum":20,"description":19013,"tags":58336,"thumbUrl":58337,"material":19016,"size":19017,"collection":139,"collections":58338,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":49},221166,"su-pin-tuo-zun-zhe-tang-ka-bu-ben-guan-xiu-221166","苏频陀尊者（唐卡布本）",[23,209,7,259,106,27,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ac0315d202a1ddbee4d784ab104d71.jpg",[],{"id":58340,"slug":58341,"title":58342,"dynasty":99,"author":3114,"museum":20,"description":17552,"tags":58343,"thumbUrl":58344,"material":4665,"size":7095,"collection":139,"collections":58345,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},220911,"shan-shui-ce-5-dong-qi-chang-220911","山水册5",[23,209,7,173,177,81,29,108,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a4d51b4537b87d26db812e65f4def5.jpg",[],{"id":58347,"slug":58348,"title":58349,"dynasty":189,"author":2519,"museum":206,"description":58350,"tags":58351,"thumbUrl":58352,"material":827,"size":58353,"collection":44,"collections":58354,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":94},220832,"diao-liang-tu-zhao-meng-fu-220832","调良图","画中仅绘一身形矫健、长鬃毛的马和一奚官，毫无背景。作者捕捉住了一阵风吹过时的瞬间来加以描绘——马儿低头避风，牵马者搭袖回望。马尾、马鬃、人须、衣襟随风飘动，作者通过细韧灵动的线条和纤毫毕现的白描手法将画面表现得栩栩如生。\n赵孟頫所画的人物画，虽然在后世盛名，但远不如他的山水、花鸟画。但对他的高超的造诣，不得不使人们所钦佩，他的画无所不精，皆造神品，尤其画马甚佳。董其昌谓其画“有唐人之致去其纤。有北宋人之雄去其犷。”他年轻时就勤于画马，并下过苦功。师法唐代曹霸、韩干，自称可以和李公麟媲美。他在继承前人传统的基础上，又亲自到实地观察，潜心琢磨，有时为了画好某种姿势的马，曾自己在床上学马的动态，此《调良图》册，就是他画马的精心之作。\n赵孟頫存世的作品中，时间最早的可能是《调良图》，中国艺术史学家李铸晋教授认为此画应属13世纪80年代的真本，当时赵孟頫只有26岁左右。\n此画为细致入微的高古游丝描，是典型的唐人风范。马的形象也是典型的唐人趣味，此马肥瘦得当，体格雄健，身披黑色毛，四肢健壮有力，在低头吃草，长长的尾巴拽在右后腿旁，尤其引人注目的马颈部根根竖立的马鬃，威风凛凛，经作者工笔细描。其人物也如此的工整细致。\n从图中可看到此画刻意学唐人，线条圆润，皴染简法，墨色浓丽，形象刻画，严谨认真，对马的形体质感，广阔田野，人物的侧立姿态，都认真的描绘，一丝不苟。\n从此画的布局来看，画面虽仅是一马一人，但给观赏者点出境外尚有无限的景物，画似尽而意犹未尽，既突出了主题，又给观赏者以回味的余地。\n北京故宫博物院研究员余辉：画家上承北宋李公麟的白描技法，渲染有度，特别是方折劲挺的铁线描形成的人物衣褶和圆活腴润的弧线勾划出的马体及风动如火焰的虬髯、马鬃、马尾显现了作者丰富精湛的表现力和藏抑不住的创作激情。\n中国美术史学家高居翰：赵孟頫的《调良图》会把人物和马匹孤立出来，衬着空荡荡的画底，这一点也和两位前辈的做法相同。虽然画中有一股强风吹过马尾、马鬃和马夫的衣服，看起来也只是在画幅之内回旋，使构图活泼了，但是基本上还是一个自成一体的世界。",[209,7,24,27,106,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a777345816f4cfc952a6c798a4d7af7.jpg","纵22.7厘米 横49厘米",[44,163],{"id":58356,"slug":58357,"title":58358,"dynasty":1095,"author":4791,"museum":4792,"description":58359,"tags":58360,"thumbUrl":58361,"material":139,"size":139,"collection":139,"collections":58362,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},220552,"ce-mu-xu-bei-hong-220552","侧目","浓墨横扫铺就雄狮鬃毛，野性肌理顺着笔势翻涌，紧绷的躯体如蓄势待发的弓弦，它侧目紧盯岩下蜿蜒长蛇，目光冷冽，将猛兽的警惕与威严尽数释出。画家以中西合璧之法，淡赭晕染狮身塑造体积感，焦墨点睛攫住神态，写实的狮爪紧扣危岩，力量感喷薄欲出。\n岩下长蛇灵动蜿蜒，恰好反衬出雄狮的沉凝沉稳，枯笔皴擦险石，烘托出肃杀的对峙氛围。整作跳脱传统走兽画的柔媚格调，以雄健笔力寄寓不屈气魄，将写意意境与写实造型相融，定格荒野中的张力瞬间，让猛兽的生命野性跃然纸面，尽显笔底的精神重量。",[7,173,27,957,16560,22248,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902d4a31d795805bfb02f892f1df2b1a.jpg",[],{"id":58364,"slug":58365,"title":29,"dynasty":1095,"author":14659,"museum":7134,"description":58366,"tags":58367,"thumbUrl":18430,"material":139,"size":139,"collection":139,"collections":58368,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},220513,"shan-shui-pu-xin-she-220513","此作以高远、平远之法铺展秋山江居之景。远景峰峦含烟，青嶂间朱檐古阁半隐雾霭，恍若仙乡。中景汀渚蜿蜒，苍松挺秀，丹枫点染秋光，村居藏于林麓，野趣悠然。近境临水高轩敞亮，二人凭栏对晤，秋水潺湲，石矶错落，霜叶漫山晕开暖红。\n笔墨兼融北宗苍劲与南宗秀润，浅赭花青晕染出明净秋意，题诗与画境相融，尽显清寂萧散的隐逸诗意，晕染出文人幽淡出尘的襟怀。",[7,24,27,177,29,107,34,491,1926,35,176],[],{"id":58370,"slug":58371,"title":41944,"dynasty":76,"author":953,"museum":7134,"description":58372,"tags":58373,"thumbUrl":58374,"material":139,"size":139,"collection":139,"collections":58375,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},220466,"jin-gu-yuan-tu-zhou-ren-yi-220466","嶙峋湖石旁，红树浓艳跳脱，墨竹劲挺苍润，铺就雅奢的宴集底色。踞坐苔石的文士神态悠然，似已沉醉在乐音之中，两位乐伎一弹一持，将宴乐的松弛氛围缓缓晕开。画作以淡赭晕染文士衣袍，浓墨勾摹湖石奇崛肌理，冷暖色调相互映衬，层次明暗尽显巧思。笔意写意灵动，将晋人放达的林下雅韵浓缩尺幅间，把游园听曲的闲适快意，尽数铺陈于画面之中，尽显灵动雅致的画韵。",[23,7,24,241,27,106,340,298,210,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c8e71afd068129aef24338a9e0feb65.jpg",[],{"id":58377,"slug":58378,"title":58379,"dynasty":99,"author":1480,"museum":101,"description":58380,"tags":58381,"thumbUrl":58382,"material":342,"size":58383,"collection":181,"collections":58384,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[23,7,24,25,173,178,86,227,177,29,34,109,174,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[181],{"id":58386,"slug":58387,"title":58388,"dynasty":99,"author":24148,"museum":515,"description":58389,"tags":58390,"thumbUrl":58391,"material":342,"size":58392,"collection":181,"collections":58393,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":271},220030,"fang-huang-zi-jiu-tian-chi-shi-bi-tu-shen-shi-chong-220030","仿黄子久天池石壁图","图中以淡设色绘江南山水。卷首题签『沈陈诗画合璧，项氏崇洁庐藏』。引首有清人王澍题『沈陈合璧』四个楷书大字，沉雄有力。拖尾分别有陈继儒、翁长芬各题诗数行，另有徐谦跋语两行。\n沈士充近师赵左、宋懋晋，上承宋旭、沈周，远溯『元四家』，并逐渐形成自己的绘画风格。清初以来，民间有『云间正派』之目。由于明末董其昌的巨大影响力，沈画常常模拟董氏画风。董其昌为了应酬社会上的书画需求，亦常用沈代笔。由于董其昌署名作品中多为闺阁手笔，沈氏代笔在当时已被视为董氏代笔中的上乘之作。辽宁旅顺博物馆藏沈氏《石壁图》，作于明崇祯六年(一六三三)，其时董氏尚健在。此作水墨淋漓、烟岚生动、直署己名，并配有陈继儒题诗，堪为沈氏的精心之作。一九八八年九月五日，沈氏《石壁图》被国家文物鉴定委员会谢稚柳、刘九庵、杨仁凯等鉴定为国家二级文物(收入《中国古代书画目录》，文物出版社，一九九三年版)，对研究沈氏画风具有重要的参考价值。",[23,7,1397,105,173,177,176,34,1255,35,37,174,109,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[181],{"id":58395,"slug":58396,"title":58397,"dynasty":99,"author":13323,"museum":515,"description":58398,"tags":58399,"thumbUrl":58401,"material":342,"size":58402,"collection":181,"collections":58403,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":49},220026,"ce-zhang-kan-shan-tu-wei-zhi-ke-220026","策杖看山图","此作用淡墨晕染山峦，以虚实相生之法铺展烟岚幽谷，栈道隐没在空濛雾气间，恍若通连世外秘境。近景枯木虬曲苍劲，皴笔勾勒出嶙峋老干，尽显岁月沉凝。幽篁小径蜿蜒，策杖老者缓步山隅，简淡衣纹间漾出林下悠然。\n画作以清瘦秀逸的线条、浅淡设色营造萧散简远的意境，将文人寄情林泉的隐逸襟怀融在山野景致中，观之如随画中人静听松风山岚，暂忘尘嚣，尽显文人画尚意抒情的特质。",[23,7,173,241,29,177,394,108,176,340,58400],"策杖人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe08037b225d61dec338ea640adbb3e0.jpg","132x32厘米",[181],{"id":58405,"slug":58406,"title":58407,"dynasty":18,"author":293,"museum":58408,"description":58409,"tags":58410,"thumbUrl":3286,"material":123,"size":58411,"collection":181,"collections":58412,"showCount":669,"zanCount":5,"manualWeight":48,"mainColor":49},219867,"song-ren-fang-chang-jiang-ji-xue-tu-yi-ming-219867","宋人仿长江积雪图","火奴鲁鲁艺术博物馆","此作为平远雪景长卷，以淡墨晕染出空濛寒雪，山峦覆雪如凝脂玉砌，留白尽显素净冷寂。江岸枯木虬曲，偶缀浅蓝霜色的苍松，于冰寒中透出些许生机；汀渚错落铺陈，江波敛息如镜，将雪色天光尽数揽入。\n\n用笔清简秀润，以留白代积雪，淡墨轻勾慢皴山体肌理，冷色调晕开冬日萧寒，铺陈开千里江天雪境，将冬日江野的空阔清寒融于尺幅，尽显静穆辽远的荒寒之美，带着雅致空灵的宋韵，把雪锁江山的清冷孤寂与天地一色的澹然意境刻画入微，观之如临朔雪江天。",[23,7,25,27,1397,177,15976,864,297,1015,1575,281,174,650,35,227],"纵28.8厘米，横449.3厘米",[181],{"id":58414,"slug":58415,"title":58416,"dynasty":99,"author":36858,"museum":539,"description":58417,"tags":58418,"thumbUrl":58419,"material":123,"size":58420,"collection":181,"collections":58421,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},219735,"shi-hu-mu-se-tu-sheng-mao-ye-219735","石湖暮色图","此作用淡墨晕染铺展暮色氛围感，远山轻笼烟岚，山巅浮屠隐现濛濛霭气间，将黄昏的朦胧柔焦晕染尽致。近岸林木错落，屋舍藏于深翠之中，湖畔浅滩温润柔和，空茫湖面漾着晚色静波。\n\n笔墨松秀简淡，以干湿层次区分远近虚实，把江南水畔黄昏的清寂淡远尽数铺陈。整体意境萧疏沉静，将暮色四合时的松弛空茫藏在水墨晕染里，尽显晚山归暮的温柔意韵，让观者仿若置身于这沉静的暮色湖山之间，沉醉在江南水泽的黄昏意趣中。",[23,7,27,29,177,241,864,1432,34,490,37,38958],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7485dfc0e033834ef6aef1379c333e4e.jpg","纵113.5横48厘米",[181],{"id":58423,"slug":58424,"title":58425,"dynasty":99,"author":293,"museum":752,"description":58426,"tags":58427,"thumbUrl":58428,"material":381,"size":139,"collection":181,"collections":58429,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},219713,"song-yin-guan-quan-tu-yi-ming-219713","松阴观泉图","此作用虚实相生的水墨铺陈幽境，左上危岩虬松如铁，浓墨晕出山石峭拔之势，留白晕开水色山岚，将清远秋意漫开。\n\n崖畔高士凭石凝睇，白衣飘然似与林泉相融，童子垂立水滨，一静一动衬出空山寂廖。笔墨简淡苍劲，寥寥数笔勾出人物悠然神态，淡墨扫就远岫烟波，将文人林下幽居的雅趣藏进山水褶皱里。似可耳闻松涛漱石，静览间涤净尘俗，尽显尚简重意的文人画风骨。",[7,1397,241,173,27,449,176,7109,109,106,177,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105a2d6cc74d001858f9036141b65313.jpg",[181],{"id":58431,"slug":58432,"title":58433,"dynasty":204,"author":3224,"museum":206,"description":58434,"tags":58435,"thumbUrl":58436,"material":67,"size":58437,"collection":44,"collections":58438,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},219643,"zhang-li-qiu-shuang-tu-ju-ran-219643","杖藜秋爽图","以淡墨晕染出空蒙远山，烟岚轻笼，将秋意的清寂铺陈开来。近岸老木虬枝枯槎，劲挺中带着萧疏况味，苔点依稀，暗合秋深之态。秋水如镜，不着波澜，将天地的静穆悉数收纳。\n\n独行杖藜之人，彳亍坡岸，似在骋目遥天，与冷寂秋光相融。全幅以水墨写意，笔意松秀苍润，淡墨轻岚间，把秋爽疏阔的林下幽致尽显，带着悠悠山野闲情，观之如身临清秋郊野，沁得满身秋凉清逸。",[209,7,24,81,173,29,106,1015,14745,491,4663,6922,49305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0fbd8054be9c23123eb7c6689396b7.jpg","23.3x22.7厘米",[44],{"id":58440,"slug":58441,"title":58442,"dynasty":76,"author":7021,"museum":20,"description":58443,"tags":58444,"thumbUrl":58445,"material":123,"size":58446,"collection":44,"collections":58447,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},219636,"gao-feng-han-zi-hua-xiang-gao-feng-han-219636","高凤翰自画像","此画中的主人翁为作者自己。高凤翰身着白色宽服长袍，头戴斗笠，长髯垂胸，双手相合，双目凝视，侧身依石坐于断壁悬崖的石台上。其背景截取山河的一角。山石险峻陡峭，造型奇特。悬崖和山腰松柏怪生，有的矗立山腰平坡处，有的倒悬在悬崖壁，有的横卧在悬崖上，崖下为宽阔的江河、波涛澎湃。在画面左下侧江面上，陡峭巨石冲出水面，似一根巨大的石柱，巨石顶端屹立数株松柏，与对岸悬崖上的卧松遥相呼应，点缀着美好的湖光山色。在这幽雅谧静的环境中，作者正在俯视水面，突然长空中有孤鹤飞翔而来。",[23,7,27,106,29,245,1575,177,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facddc378a306e418671feb475b1a42ed.jpg","纵106厘米，横53.4厘米",[44],{"id":58449,"slug":58450,"title":58451,"dynasty":18,"author":293,"museum":78,"description":58452,"tags":58453,"thumbUrl":58454,"material":342,"size":139,"collection":44,"collections":58455,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},219516,"song-xia-qi-ji-tu-yi-ming-219516","松下憩寂图","淡墨晕染开幽寂林泉，松枝斜斜探入空濛烟霭，似将山岚轻轻挑起。袒腹老僧倚石而卧，袈裟半敞，眉眼松弛自在，将浮生俗虑尽数抛却。\n\n身旁药葫芦悬于松根，石上摊开素纸，案边置着煮茶陶釜，静水流淌在咫尺之外，把山野清旷揉进笔墨里。画面以留白衬出空寂禅意，虚实相生间，将林下幽居的松弛与禅家的静穆融作一处，淡远萧散的笔意，晕开了宋人偏爱的林下雅趣，将喧嚣隔在烟岚之外，只留山风松涛伴幽人一枕清梦。",[7,173,27,106,1575,245,29,259,28,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adcc3f030428c1fdabd00c0eee7d3b7.jpg",[44],{"id":58457,"slug":58458,"title":49246,"dynasty":99,"author":58459,"museum":206,"description":58460,"tags":58461,"thumbUrl":58463,"material":123,"size":58464,"collection":90,"collections":58465,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},219306,"lu-yan-tu-zhou-liu-zhao-219306","刘炤","刘炤［明］字巢云，会稽（今浙江绍兴）人。善画翎毛、花卉，且喜吟咏、有自题芦雁图。巨幅精妙绝伦。《越画见闻》",[7,241,173,28,83,44132,281,58462,2522,24332],"群雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa920dcb117448210cb4372402005253a.jpg","291x128.2cm",[90],{"id":58467,"slug":58468,"title":58469,"dynasty":18,"author":1650,"museum":206,"description":58470,"tags":58471,"thumbUrl":58472,"material":123,"size":58473,"collection":181,"collections":58474,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},218978,"han-xiang-shi-si-tu-ma-yuan-218978","寒香诗思图","图中是两株老梅在寒冷的山沟里的栅栏外散发出香味。寒冷的月亮照耀着远处的雪山，鸟儿们迅速回到了自己的家。这幅画上有马远的签名，他不一定是他真正的笔者，但他也是马、夏画派的学生，有自己的风格和规则。",[23,7,173,27,177,5748,29,281,1015,245,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1a5aed98f76264eff7c54b963801ba.jpg","25.6x25.8",[181],{"id":58476,"slug":58477,"title":58478,"dynasty":18,"author":58479,"museum":206,"description":58480,"tags":58481,"thumbUrl":58482,"material":123,"size":58483,"collection":181,"collections":58484,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":94},218865,"liu-feng-shui-ge-tu-zhu-guang-pu-218865","柳风水阁图","朱光普","朱光普擅长画农业场景，但这幅富贵人家的亭台楼阁画却有着不同的风格。",[23,7,24,1562,27,104,107,1532,29,649,34,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41187d0e63f2f801bb2dcdc087263985.jpg","23.1x24.5",[181],{"id":58486,"slug":58487,"title":58488,"dynasty":189,"author":5444,"museum":206,"description":58489,"tags":58490,"thumbUrl":58491,"material":342,"size":58492,"collection":90,"collections":58493,"showCount":669,"zanCount":48,"manualWeight":48,"mainColor":49},218821,"chun-tang-qin-le-tu-sheng-mao-218821","春塘禽乐图","图绘塘中一斜坡，坡上一棵柳树，下有野鸭栖息著。燕子逐著春光，一派春日景象。本幅画有「子昭」款，惟画风似与其他盛懋作品不同，疑为后人所加。",[7,209,24,173,83,29,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ong-wang-284289",[7,24,29,173,177,649,34,176,107,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c34216928f15c33184db431beebcfad.jpg",[],{"id":58902,"slug":58903,"title":22562,"dynasty":76,"author":10376,"museum":364,"description":58904,"tags":58905,"thumbUrl":58906,"material":139,"size":139,"collection":181,"collections":58907,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":271},239461,"shan-shui-tu-zhou-wang-hui-239461","杨晋（1644-1728）字子和，一字子鹤，号西亭，又号谷林樵客、野鹤、鹤道人、水村、志学老人、雪阁移梅人、虞山野老、虞山樵子，江苏常熟人。清代画家。山水为王翚入室弟子，尝与绘《圣祖南巡图》颇精。晚年每多率笔，然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。",[7,24,241,173,27,177,29,3499,2502,1015,174,106,31,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6230cfa27d9d301082f367ba228509.jpg",[181],{"id":58909,"slug":58910,"title":58911,"dynasty":99,"author":24704,"museum":364,"description":58912,"tags":58913,"thumbUrl":58916,"material":139,"size":139,"collection":181,"collections":58917,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},239459,"qian-gu-jiu-long-shan-tu-zhou-qian-gu-239459","钱穀九龙山图轴","此作以全景式铺陈山川灵秀，主峰巍峨雄峙，层岩峻壑以细密披麻皴写就，笔致苍润松灵，尽现山石肌理的沉厚质感。近景松林蓊郁，古木虬枝俯仰生姿，掩映间梵宇茅舍错落，行旅缓行其间，为清寂山林晕染烟火意趣。\n\n远景烟波空蒙，屿渚如螺点染水天，留白铺就悠远虚灵的诗性意境。笔墨兼取元人山水的空灵雅致与北宋山水的苍浑丘壑，将林泉幽致与隐逸禅思融于一卷，既绘就九龙山的磅礴生机，又暗合文人寄情烟霞的林下襟怀，是气韵悠长的山水佳构。",[7,24,241,173,27,177,29,864,430,449,175,281,109,176,58914,58915],"林间建筑","山间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77f7d990ba45fa42fb050c3a5d5b05.jpg",[181],{"id":58919,"slug":58920,"title":58921,"dynasty":99,"author":12957,"museum":364,"description":58922,"tags":58923,"thumbUrl":58924,"material":139,"size":139,"collection":181,"collections":58925,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},239419,"gui-nong-zhou-zhang-lu-239419","归农轴","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。\n此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[7,209,241,173,177,106,29,394,176,11352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa15f5abc30d1fdeadcb813b27c6ca6.jpg",[181],{"id":58927,"slug":58928,"title":6670,"dynasty":76,"author":6671,"museum":364,"description":56342,"tags":58929,"thumbUrl":58930,"material":139,"size":139,"collection":139,"collections":58931,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},239052,"shan-shui-hua-niao-ce-yang-jin-239052",[7,24,81,27,173,83,448,242,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd43799d0004778e938618486c94ebe75.jpg",[],{"id":58933,"slug":58934,"title":58935,"dynasty":76,"author":876,"museum":364,"description":15789,"tags":58936,"thumbUrl":58937,"material":139,"size":139,"collection":181,"collections":58938,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":271},238935,"qi-xia-shan-quan-tu-juan-qian-wei-cheng-238935","棲霞山全图卷",[7,25,173,29,177,174,227,34,176,37,31,107,10380,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e39f32ceb97c4b748313f235bf3e3ee.jpg",[181,163],{"id":58940,"slug":58941,"title":131,"dynasty":76,"author":836,"museum":364,"description":11187,"tags":58942,"thumbUrl":58943,"material":743,"size":744,"collection":139,"collections":58944,"showCount":438,"zanCount":5,"manualWeight":48,"mainColor":94},238892,"hua-hui-ce-dong-gao-238892",[7,24,81,27,28,83,448,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34029679e39a22d48bdbe68a1ab3a690.jpg",[],{"id":58946,"slug":58947,"title":58948,"dynasty":76,"author":836,"museum":364,"description":11187,"tags":58949,"thumbUrl":58950,"material":743,"size":744,"collection":90,"collections":58951,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},238376,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238376","金英凝露图小册",[7,24,81,28,27,83,453,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca8dd959dd7f8e67a3b4a11cdf0ce96d.jpg",[90,45],{"id":58953,"slug":58954,"title":58955,"dynasty":76,"author":58956,"museum":364,"description":58957,"tags":58958,"thumbUrl":58959,"material":139,"size":139,"collection":181,"collections":58960,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},238246,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[7,24,81,27,104,29,107,34,174,36,227,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[181,45],{"id":58962,"slug":58963,"title":58964,"dynasty":99,"author":14805,"museum":364,"description":58965,"tags":58966,"thumbUrl":58967,"material":803,"size":139,"collection":382,"collections":58968,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[7,24,241,173,29,177,86,227,178,430,176,174,109,491,42690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[382],{"id":58970,"slug":58971,"title":2235,"dynasty":76,"author":54033,"museum":364,"description":58972,"tags":58973,"thumbUrl":58974,"material":803,"size":139,"collection":90,"collections":58975,"showCount":438,"zanCount":5,"manualWeight":48,"mainColor":94},237276,"za-hua-ce-chen-zi-237276","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[7,24,81,27,28,83,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F494a86d42e56684196274a0260d6d4d8.jpg",[90],{"id":58977,"slug":58978,"title":486,"dynasty":76,"author":15992,"museum":20,"description":15993,"tags":58979,"thumbUrl":58980,"material":990,"size":139,"collection":139,"collections":58981,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},237199,"shan-shui-ce-sun-yi-237199",[7,209,24,81,27,26,177,29,109,34,176,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534e78f6ec35caef7a3efdced7daa730.jpg",[],{"id":58983,"slug":58984,"title":58985,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":58986,"thumbUrl":58987,"material":743,"size":744,"collection":139,"collections":58988,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},236673,"hua-die-shan-mian-chen-hong-shou-236673","花蝶扇面",[1086,7,24,1562,28,27,83,62,1099,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b54cb9209504cd4723c9d1cce8320d5.jpg",[],{"id":58990,"slug":58991,"title":58992,"dynasty":76,"author":58635,"museum":20,"description":58993,"tags":58994,"thumbUrl":58995,"material":990,"size":58996,"collection":181,"collections":58997,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},236126,"song-xi-shui-ge-tu-zhou-lu-zun-shu-236126","松溪水阁图轴","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[7,24,241,173,177,29,449,10940,430,176,35,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c11ac229528d618fc9599ceaa6d6a55.jpg","纵173.2厘米 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，而且理趣兼优，形神俱佳。右上有诗情画意，寓意诗：「一宿唐缘逆旅中，短词以识鸿。当时我作陶承旨，前面发红。」诗情画意，寓意静深。",[23,7,24,28,27,106,34,755,210,431,2951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fed0db24a4b08267971f750e5a655b5.jpg","168.8 x 102.1 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然鲜活的雅致长卷，尽显静雅意趣，寄寓着对自然生机的由衷赞叹。",[23,209,7,24,25,27,28,83,712,604,800,340,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458572dbd0c2965e335e70ccb4df8943.jpg",[],{"id":59298,"slug":59299,"title":59300,"dynasty":18,"author":2856,"museum":364,"description":59301,"tags":59302,"thumbUrl":59303,"material":139,"size":139,"collection":139,"collections":59304,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},227949,"su-qin-ji-tuan-tu-li-di-227949","宿禽激湍图","《宿禽急湍图》是宋代 的中国画作品，又名《 》，创造于南宋时期，作品内容为树梢和二鸟，收藏于美国 。\n《宿禽急湍图》为册页，作品使用水墨，淡设色，图中古柏依石而生，盘根错节，溪流湍急，飞泻而下，溅起阵阵浪花。\n二鸟栖，息枝头，怡然自得，与水浪形成静与动的对比。\n此图构图形式以峭拔的树梢和二鸟打破了对角线的布势，也使画面获得了平衡感。\n树木多用颤笔描绘，线条颤动。\n虬曲的古柏枝干和急湍的小溪使画面具有强烈的动感。\n以线勾勒和水墨烘染相结合来表现浪花，手法独特。\n李迪，生卒年不详，公元12世纪期间在世， （今河南省 ）人。\n宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事孝宗、光宗、宁宗三朝(1162-1224)，活跃于宫廷 几十年，画多艺精，颇负盛名。\n工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。\n构思精妙，功力深湛，雄伟处动人心魄。\n所作《 》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。\n山水师李唐法，亦多佳作。\n论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。\n传世作品多，大多有年款。\n淳熙元年（1174年）作《风雨归牧图》轴，现藏 ；淳熙十四年（1187年）作《 》轴现藏 。\n庆元二年（1196）作《 》轴、庆元三年（1197年）《鸡雏侍饲图》册页、《猎犬图》册页，均藏故宫博物院。\n子德茂，理宗淳佑年间（1241-1252）画院待诏。\n画承家法，喜画花禽鹰鹘，野景不逮其父。\n所见李画最晚年款为庆元三年（1197年），如上溯到北宋宣和七年（1125年），需时七十三年，据此推算，则李氏存世之年龄应在九十以上。",[23,209,7,24,28,27,394,1938,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16085469ed0c7bef14f0566159320c01.jpg",[],{"id":59306,"slug":59307,"title":59308,"dynasty":18,"author":2856,"museum":364,"description":59309,"tags":59310,"thumbUrl":59311,"material":139,"size":139,"collection":139,"collections":59312,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},227948,"shuang-chan-tu-li-di-227948","双蟾图","画面以淡墨晕染勾勒出双蟾肌理，将其湿滑黏重的外皮质感表现得细腻传神。两只蟾蜍姿态灵动舒张，似正于草泽间探跃，将即将腾跃的瞬间定格。\n\n整幅画面清寂幽谧，简淡构图托举鲜活生趣，尽显对自然万物的入微体察，把郊野水畔的片刻生息凝为永恒，于细微之处见精妙写生功力，平淡间蕴藏盎然野意，让观者仿若窥见溪塘边的原生意趣。",[23,209,7,24,1160,28,27,957,23247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97e92ce8f7bb565ac480c460e43ae5a.jpg",[],{"id":59314,"slug":59315,"title":59316,"dynasty":18,"author":293,"museum":364,"description":59317,"tags":59318,"thumbUrl":59319,"material":139,"size":139,"collection":139,"collections":59320,"showCount":438,"zanCount":5,"manualWeight":48,"mainColor":49},227902,"bai-mei-cui-qin-tu-yi-ming-227902","白梅翠禽图","画面取一隅枝桠，寒梅初绽，翠禽独立，将早春清寂揉进尺幅之间。禽鸟刻画入微，绒羽蓬松柔润，腹羽暖褐与翎羽浓黑相映，翼上白羽似落雪轻沾，圆目凝睇，沉静安然，将生机藏于娴静姿态里。梅花勾勒细腻，瓣边晕染浅淡墨色，花苞缀于枝梢，清润雅致。苍劲枝桠虬曲伸展，留白铺陈出空阔淡远的意境。整体色调温婉柔和，以极简物象晕染出宋人雅趣，把花鸟之态融于幽寂氛围，尽显空灵隽永的宋韵品格，将早春枝头上的轻悄生机，晕成一段淡而不散的雅致诗意。",[23,209,7,24,28,27,83,448,224,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86abed12ed0046a10b30eaab1a6ca674.jpg",[],{"id":59322,"slug":59323,"title":35199,"dynasty":18,"author":59324,"museum":364,"description":59325,"tags":59326,"thumbUrl":59327,"material":139,"size":139,"collection":139,"collections":59328,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},227807,"yu-le-tu-zhou-dong-qing-227807","周东卿","《宋元周东卿鱼乐图》是中国宋末元初时期的画家 创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[23,209,7,24,25,28,173,27,933,367,227,4896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],{"id":59330,"slug":59331,"title":59332,"dynasty":76,"author":1109,"museum":13179,"description":2018,"tags":59333,"thumbUrl":59334,"material":1642,"size":56821,"collection":139,"collections":59335,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},224524,"shan-shui-tu-ce-8-kai-8-zhang-da-qian-jiu-cang-shi-tao-224524","山水图册8开-8-张大千旧藏",[23,7,173,177,81,24,227,178,29,174,2522,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e46120bfc311a87046dd8a2c51cf479.jpg",[],{"id":59337,"slug":59338,"title":59339,"dynasty":76,"author":1109,"museum":364,"description":59340,"tags":59341,"thumbUrl":59342,"material":139,"size":139,"collection":139,"collections":59343,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},224507,"shan-shui-ce-kai-shi-er-shi-tao-224507","山水冊开(十二)","此作用笔灵动苍润，以高远、平远之法铺展丘壑。远处群峰以淡赭浅墨晕染，峰峦层叠间氤氲着空濛清气，似含朝烟暮霭。近景顽石以浓墨勾皴，朴拙厚重，与远山的虚淡相映成趣。留白作水，扁舟渔父悄然行于烟波，林间墨点为木，寥寥数笔便点染出幽寂野趣。\n\n题画诗与山水浑然相融，将山河野旷间的放逸襟怀娓娓道来，寄寓着纵浪天地、栖心林泉的隐逸之思。笔墨干湿浓淡相生，以简驭繁，萧散淡远中尽显清逸灵秀的意韵，将天地山水间的自在之境铺陈开来，余韵悠长。",[23,7,24,81,173,27,177,227,29,174,176,34,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921716ec4a10b4154f9394b12795127a.jpg",[],{"id":59345,"slug":59346,"title":13762,"dynasty":76,"author":1892,"museum":364,"description":59347,"tags":59348,"thumbUrl":59349,"material":139,"size":139,"collection":139,"collections":59350,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},224402,"wang-chuan-tu-juan-wang-yuan-qi-224402","此作用全景式铺展林壑烟波，干笔焦墨反复皴擦，层层晕染出苍润浑厚的山峦丘石。水泽横陈，将错落山居、葱郁林木串联，渔舟泛于空蒙水面，村落藏于深林岩岫之间，尽显幽寂萧散的山居雅意。\n\n画作恪守元人山水的淡远意趣，又以娄东画派绵密繁复的笔法铺陈，虚实相生间复刻出辋川栖居的林泉之胜，把文人理想中的幽隐之境凝于尺幅，笔墨苍秀兼具，静穆雅致中尽显传统山水的隽永意趣。",[23,7,25,27,173,29,177,108,109,174,175,107,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a55542ac04f40c6195375482a7fc7f2.jpg",[],{"id":59352,"slug":59353,"title":59354,"dynasty":76,"author":59355,"museum":364,"description":59356,"tags":59357,"thumbUrl":59358,"material":743,"size":744,"collection":139,"collections":59359,"showCount":438,"zanCount":5,"manualWeight":48,"mainColor":94},224345,"hua-ping-lian-da-shi-zhou-xu-can-224345","画瓶莲大士轴","徐灿","徐灿（约1618－1698），字湘蘋，又字明深、明霞，号深明，又号紫言（竹字头）。江南吴县（今苏州市西南）人。明末清初女词人、诗人、书画家，为“蕉园五子”之一。光禄丞徐子懋女，弘文院大学士海宁陈之遴继妻。从夫宦游，封一品夫人。\n工诗，尤长于词学。她的词多抒发故国之思、兴亡之感。又善属文、精书画、所画仕女设色淡雅、笔法古秀、工净有度、得北宋人法，晚年画水墨观音、间作花草。\n著有《拙政园诗馀》三卷，诗集《拙政园诗集》二卷，凡诗二百四十六首，今皆存。",[23,7,24,241,260,259,106,136,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43be0cc671ca5772a59c46547ea695db.jpg",[],{"id":59361,"slug":59362,"title":59363,"dynasty":18,"author":293,"museum":364,"description":59364,"tags":59365,"thumbUrl":59366,"material":139,"size":139,"collection":139,"collections":59367,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},223690,"ji-ling-he-ye-tu-yi-ming-223690","鹡鸰荷叶图","《宋人画鹡鸰荷叶图》是宋代佚名创作的绢本设色画。\n里枯枝断茎，荷叶翻卷残破，一片残败的荷叶向上斜出，翻卷的叶面，满布虫蚀的痕迹，在一只鹡鸰的停驻下摇摇欲坠。\n鹡鸰双爪紧握荷茎，扭颈俯视，神情专注，为萧瑟的深秋平添了几许生气。\n鸟羽刻画细腻，先用色渲染，然后以极细之笔勾出，笔法生动秀逸。\n构图疏密有致，动静结合。\n本幅无款。\n钤鉴藏印“宋荦审定”、“嘉庆御览之宝”，又半印一方，印文模糊不辨。\n裱边题签：“宋人画梅竹双鹊”。\n绿竹丛中逶迤伸出白梅两枝，清丽冷艳。\n两只鸲鹆栖于枝头，翘首顾盼。\n鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。\n梅花用白粉和淡黄色勾填，层次丰富。\n竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。\n清《石渠宝笈》著录。",[23,209,7,24,28,27,83,281,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb89fa76fc24385671298b4fe2b9f1ef.jpg",[],{"id":59369,"slug":59370,"title":59371,"dynasty":292,"author":293,"museum":364,"description":59372,"tags":59373,"thumbUrl":59374,"material":139,"size":139,"collection":139,"collections":59375,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},223686,"qi-shi-wen-shu-tu-yi-ming-223686","骑狮文殊图","此作用笔清劲雅致，以淡墨晕染铺陈。文殊端坐狮背，身伴圆光，面容沉静悲悯，手持如意，衣袂舒展飘逸，尽显出尘慧雅的气度。青狮昂首踏浪而行，兽目圆睁威严尽显，层叠海浪以淡墨晕染，古拙灵动，烘托出踏浪而行的悠然之势。\n\n上方题诗与画像呼应，将菩萨的般若智慧和空灵禅意融于尺幅间，兼蓄宗教肃穆与文人笔墨意趣。",[23,7,24,241,259,106,957,260,173,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1e4a5bcd97d0b2b84bdd429e2890f5.jpg",[],{"id":59377,"slug":59378,"title":59379,"dynasty":18,"author":293,"museum":20,"description":59380,"tags":59381,"thumbUrl":59383,"material":22447,"size":59384,"collection":90,"collections":59385,"showCount":438,"zanCount":5,"manualWeight":48,"mainColor":49},223447,"han-ting-luo-yan-tu-zhou-yi-ming-223447","寒汀落雁图轴","图为寒冬枯树滩、野鸭、黑乌鸦、野雁。 老树枯干，几只黑乌鸦没能栖息； 野鸭在浅滩上成群结队，踱步，或觅食； 接吻雁扇动着翅膀飞了起来，以“一”字形飞向天涯。 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“书初法晋人，己为楷，其小者信本（欧阳询），大者清臣（颜真卿），行、草则子瞻（苏轼）。”但彭年舍苏轼丰腴、偏肥、卧笔，而以清劲爽健的笔锋使其笔法更为开放活泼，故王世贞又云：“行、草眉山若远耳。”",[23,7,24,86,178,81,173,227,59604],"诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa41ab93392936e7e9e6c6d457c78455c.jpg","每开纵26厘米，横33.5厘米",[382],{"id":59609,"slug":59610,"title":59611,"dynasty":99,"author":293,"museum":752,"description":59612,"tags":59613,"thumbUrl":59614,"material":123,"size":59615,"collection":90,"collections":59616,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},218984,"ku-zhi-han-que-tu-yi-ming-218984","枯枝寒雀图","这幅画描绘了一只长尾小鸟站在一根枯枝上，羽毛蓬松，脖子略显萎缩，眼神略显呆滞，迎着寒风，周围是光秃秃的树枝和散落的树叶，一副荒凉的场景。",[7,24,83,10154,281,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30e7b258206ffc7c6e1012de8dece2a.jpg","17.8x22.4cm",[90],{"id":59618,"slug":59619,"title":59620,"dynasty":99,"author":293,"museum":752,"description":59621,"tags":59622,"thumbUrl":59623,"material":123,"size":59624,"collection":90,"collections":59625,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},218983,"shuang-feng-tu-yi-ming-218983","双凤图","双凤立于苍石之上，一昂首扬尾，羽色斑斓；一低首理翎，姿态娴静。笔触细腻处，翎羽纹理毕现，古朴色泽中透着温润；写意间，墨竹疏斜，花草点缀，衬出清幽之境。山石的厚重与凤鸟的灵秀相映，满含祥瑞之气，尽显古典花鸟的雅致韵致与自然生机。笔墨工写相济，将凤鸟的灵动与环境的静谧完美融合，传递出传统艺术中对生命与祥瑞的美好期许。",[23,7,24,28,27,83,4113,242,298,432,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281d3ed1187e1095135d352c1b21d46.jpg","155.3x103.2cm",[90],{"id":59627,"slug":59628,"title":59629,"dynasty":18,"author":293,"museum":78,"description":59630,"tags":59631,"thumbUrl":59632,"material":123,"size":59633,"collection":90,"collections":59634,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},218973,"jin-ji-zhu-que-tu-yi-ming-218973","锦鸡竹雀图","画在河岸边倾斜的石头上，翠绿的竹子、荆棘和杂草在石头堆中顽强地生长着，两只野鸭雏鸟蜷缩着脖子在石头上休息，而一对彩色的鸟儿相对站在上面的枯枝上，下面的鸟儿歪着头紧紧地盯着上面的鸟儿，专注而爱怜。",[209,7,24,28,27,83,242,5589,224,245,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654c4e85a777c9fd02c4b1bd5b7eed32.jpg","24.3x24.9cm",[90],{"id":59636,"slug":59637,"title":59638,"dynasty":189,"author":33234,"museum":206,"description":59639,"tags":59640,"thumbUrl":59641,"material":123,"size":139,"collection":139,"collections":59642,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},218829,"jiang-cun-huan-du-tu-zhu-de-run-218829","江村唤渡图","纨扇间铺展的江村小景，似是元人袖中藏起的一段清寂时光。枯树以苍劲笔线勾勒，枝桠如蟹爪般遒劲，与岸边柔婉的垂柳相映成趣，刚柔之间晕开季节的况味。远山以淡墨轻染，隐于云雾之后，与近岸的村落、渡头形成虚实层次，水面留白似泛着轻烟，将天地空濛感拉得悠长。渡头人影虽小，却似携着一声唤渡轻响，打破山林静谧又让静意更显深沉。墨色浓淡相宜，绢本古雅质感衬得景致愈发悠远，笔意间藏着林泉之志的向往，将寻常渡头的片刻，凝成耐人寻味的水墨诗行。",[23,7,24,81,173,177,29,1015,394,109,194,17235,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754738568dfb446c4439248b95ec0a4d.jpg",[],{"id":59644,"slug":59645,"title":59646,"dynasty":18,"author":293,"museum":206,"description":59647,"tags":59648,"thumbUrl":59649,"material":123,"size":59650,"collection":181,"collections":59651,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[23,209,7,27,29,1562,177,3246,243,136,430,864,297,1410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[181],{"id":59653,"slug":59654,"title":59655,"dynasty":189,"author":351,"museum":206,"description":59656,"tags":59657,"thumbUrl":59658,"material":123,"size":139,"collection":181,"collections":59659,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},218781,"tao-sheng-song-yun-tu-qian-xuan-218781","涛声松韵图","松枝盘曲如篆，墨色苍润间见清劲；流泉漱石，涛声似可闻于纸上。山石以细劲线条勾廓，皴染相济显丘壑层次；松针挺劲如钉，笔笔含力，透出苍然生机。浅赭设色温润，衬得山林幽寂。天际孤鸟轻掠，为静景添丝灵动，更衬天地空阔。整幅画不重繁复布景，却以简淡之笔营造“天人合一”的清旷意境，藏着文人对自然的深情与尘外之境的向往。笔墨间漾着宋元之际文人的散淡襟怀，不追形似而重神韵，观之如置身林泉，心随松涛泉响，渐入澄明之境。",[23,7,1562,27,177,29,1575,109,281,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f58b1ae6d25b570dc4eefb629ed142.jpg",[181],{"id":59661,"slug":59662,"title":33718,"dynasty":18,"author":293,"museum":206,"description":43591,"tags":59663,"thumbUrl":43593,"material":123,"size":59664,"collection":90,"collections":59665,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},218696,"an-chun-tu-yi-ming-218696",[23,7,24,28,27,83,10824,227],"35.3x25.8",[90],{"id":59667,"slug":59668,"title":17839,"dynasty":99,"author":293,"museum":539,"description":59669,"tags":59670,"thumbUrl":59671,"material":123,"size":59672,"collection":44,"collections":59673,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},218522,"xian-ren-tu-yi-ming-218522","这幅画看似是微风中的烈子，衣服用粗笔，脸部用细笔勾勒，来自梁楷的传承，但笔触太直，已经属于明代风格。",[209,7,24,106,259,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4932dfc1a846972a9cc06faf44422573.jpg","23x23",[44],{"id":59675,"slug":59676,"title":59677,"dynasty":189,"author":293,"museum":78,"description":59678,"tags":59679,"thumbUrl":59680,"material":123,"size":59681,"collection":181,"collections":59682,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},218216,"bi-wu-ting-xie-tu-yi-ming-218216","碧梧亭榭图","这幅画描绘的是一座美丽的亭子和榭廊，位于一片茂密的森林之中。亭子呈方形，由木构建筑搭建而成，四周环绕着一圈小山丘。亭子上方是一座榭廊，榭廊的栏杆由许多小木棍组成，看上去十分精致。\n\n在亭子的中心有一个圆形的池塘，池塘周围种满了许多花草，荷花、菊花、牡丹等各种鲜艳的花朵相互辉映，颜色鲜艳夺目。在池塘中央有一只小鸟儿正在游泳，一群小鸭子在岸边嬉戏。\n\n整幅画非常美丽，构图巧妙，色彩鲜艳，是一幅非常优秀的画作。它所描绘的这座亭子和榭廊，是人们在繁忙的城市生活中的一片净土，是人们放松身心的好去处。它也是一幅富有意境的画作，让人感受到自然的和谐与宁静。",[209,7,104,27,175,107,2994,34,227,1731],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4393613c35a03edb85252ef3c1dbd1.jpg","26x22cm",[181],{"id":59684,"slug":59685,"title":59686,"dynasty":99,"author":221,"museum":206,"description":59687,"tags":59688,"thumbUrl":59690,"material":381,"size":59691,"collection":181,"collections":59692,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},218141,"gu-yu-fei-tao-tu-sun-ke-hong-218141","孤屿飞涛图","孤屿飞涛图是明朝画家孙克弘的一幅著名的写意山水画作品。这幅画描绘了一个孤岛上的悬崖峭壁和奔腾的海浪。画中的孤岛位于茫茫大海之中，周围没有其他的岛屿或陆地。这使得孤岛显得格外的孤独，令人想象。\n\n孤屿飞涛图画风精细，笔画流畅，色彩鲜明。画中的海浪十分壮观，充满了生命力和动感。孤岛上的山峰高耸，悬崖峭壁俯瞰着海面，使得整幅画充满了险峻的气氛。\n\n孙克弘是明朝时期的一位著名画家，他的作品中经常出现山水、花鸟、人物等题材。孙克弘善于运用自然的色彩和线条来描绘自然美景，使他的作品充满了生机和活力。孤屿飞涛图就是他的一幅杰作，充分展现了他的画风和技巧。\n\n总的来说，孤屿飞涛图是一幅优秀的写意山水画作品，值得一看。",[23,7,24,81,173,27,29,245,59689,297],"波涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f979371de8839632bf5dcdf028a48c6.jpg","22.7x26.6cm",[181],{"id":59694,"slug":59695,"title":59696,"dynasty":76,"author":1109,"museum":752,"description":1265,"tags":59697,"thumbUrl":59698,"material":88,"size":139,"collection":44,"collections":59699,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},218127,"zhong-song-tu-shi-tao-218127","种松图",[23,7,27,173,86,227,178,106,449,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c08b724a41ded1b9e47ee7bd779b63.jpg",[44],{"id":59701,"slug":59702,"title":59703,"dynasty":99,"author":293,"museum":7875,"description":59704,"tags":59705,"thumbUrl":59706,"material":123,"size":59707,"collection":181,"collections":59708,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},217918,"liu-an-xue-yu-tu-yi-ming-217918","柳岸雪渔图","柳岸雪渔图是明朝时期的一幅绘画作品，作者不详。这幅画描绘了一个冬天的景象，一位渔夫正在雪地里钓鱼。画面中的柳树上积了厚厚的一层雪，而渔夫则穿着厚厚的衣服，站在寒冷的柳岸边。他手里拿着鱼竿，似乎正在等待鱼儿上钩。\n\n这幅画被认为是明朝时期绘画艺术的代表作之一，因为它体现了当时绘画艺术的特点：细致、精细、写实。画面中的每一个细节都被精心描绘，比如渔夫的衣服、柳树的枝叶、雪地的花纹。\n同时，这幅画还体现了明朝时期艺术家对自然界的热爱。画中的冬天景象并不寒冷而残酷，相反，它给人以温馨、宁静的感觉。渔夫手边的鱼缸里放着一条活鱼，这也许意味着他已经成功地钓到了鱼，并且生活充满希望。\n\n总的来说，柳岸雪渔图是一幅描绘冬天景象的优秀绘画作品，它展现了明朝时期艺术家的精湛画技和对自然界的热爱。",[7,173,27,1562,29,1532,1410,2124,1016,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f30799baed7df89bbb654c278069a2.jpg","26.5x30.5cm",[181],{"id":59710,"slug":59711,"title":59712,"dynasty":76,"author":293,"museum":132,"description":59713,"tags":59714,"thumbUrl":59715,"material":381,"size":59716,"collection":181,"collections":59717,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":49},217868,"wan-ya-gui-chao-tu-yi-ming-217868","万鸦归巢图","万鸦归巢图被认为是一件杰出的艺术品，它的画面表现力极强，能够很好地展现出乌鸦的自然姿态和生动的情感。画中的乌鸦们振翅高飞，翅膀展开，看起来十分活泼，而背景中的巢穴更是精致入微，画家用极为细腻的笔法勾勒出了巢穴的细节，使得画面更加逼真。\n\n此外，画家还运用了鲜艳的颜色，使得整幅画面更加生动。画中的乌鸦们以黑色为主色调，但是画家运用了不同的色彩，让乌鸦看起来更加丰富。而背景中的巢穴则用了深蓝色来表现，与乌鸦的黑色形成鲜明的对比。\n\n总的来说，万鸦归巢图是一幅充满生机和艺术气息的画作，画家通过精湛的绘画技巧和运用色彩的巧妙，将乌鸦的自然姿态和生动的情感展现得淋漓尽致。",[7,27,241,28,281,394,176,109,10154,29,83,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1b19db856e2814e964798fc097cea7.jpg","156.7x67.3cm",[181],{"id":59719,"slug":59720,"title":59721,"dynasty":76,"author":3701,"museum":364,"description":19295,"tags":59722,"thumbUrl":59723,"material":123,"size":139,"collection":139,"collections":59724,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":807},217260,"li-dai-di-wang-zhen-xiang-6-yao-wen-han-217260","历代帝王真像-6",[7,209,28,27,106,502,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c7bca6d9ddafd2148ac681fa3151da.jpg",[],{"id":59726,"slug":59727,"title":59728,"dynasty":76,"author":3972,"museum":206,"description":59729,"tags":59730,"thumbUrl":59731,"material":88,"size":59732,"collection":44,"collections":59733,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},216976,"hao-liang-tu-jin-ting-biao-216976","濠梁图","庄子和惠施在濠梁上游泳时，看到一只白麋鹿的小鬼在平静地游泳，就讨论是否知道鱼的乐趣。",[7,27,28,177,106,29,109,430,176,1445,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191f0402066ce0f5d7d6c21fe12d46c9.jpg","165.4x95.4",[44],{"id":59735,"slug":59736,"title":59737,"dynasty":76,"author":2405,"museum":206,"description":59738,"tags":59739,"thumbUrl":59740,"material":342,"size":59741,"collection":44,"collections":59742,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},216953,"ying-zhen-tu-xu-yang-216953","应真图","这是一幅罗汉在树下看神兽的画作，整幅画没有颜料，用淡墨和细色，露出没有灰尘的清晰镜面。该画法来自明末的丁云鹏，比较规整。",[7,24,260,173,259,106,957,430,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F915a8ecf7dac326cda5abdac6afe273e.jpg","94.1x67",[44],{"id":59744,"slug":59745,"title":2601,"dynasty":76,"author":1204,"museum":132,"description":6185,"tags":59746,"thumbUrl":59747,"material":342,"size":139,"collection":139,"collections":59748,"showCount":438,"zanCount":48,"manualWeight":48,"mainColor":94},216354,"hua-niao-ce-4-zhu-da-216354",[23,7,173,81,136,931,83,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u0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字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[7,24,241,27,29,177,108,109,34,176,106,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb780e944bf063bdc83fbd0b5d1c21d83.jpg",[181,45],{"id":60169,"slug":60170,"title":60171,"dynasty":76,"author":13111,"museum":364,"description":50430,"tags":60172,"thumbUrl":60173,"material":743,"size":744,"collection":139,"collections":60174,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":94},237648,"fang-zhao-da-nian-shan-shui-zhou-wu-li-237648","仿赵大年山水轴",[7,24,241,27,29,105,174,394,35,34,5233,176,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dec9a200d263bb4b383e2b08b8dd157.jpg",[],{"id":60176,"slug":60177,"title":23389,"dynasty":76,"author":10376,"museum":364,"description":23390,"tags":60178,"thumbUrl":60179,"material":139,"size":139,"collection":139,"collections":60180,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},237587,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237587",[7,24,209,173,3117,29,177,81,649,34,109,108,35,37,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa175a195bd0ae1ffc16b04aa9a2fba7e.jpg",[],{"id":60182,"slug":60183,"title":1783,"dynasty":99,"author":60184,"museum":364,"description":60185,"tags":60186,"thumbUrl":60187,"material":743,"size":744,"collection":90,"collections":60188,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},237499,"shan-shui-hua-hui-ce-jiang-shou-cheng-237499","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[7,24,81,178,27,173,245,5508,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2c3b2d058865e91051a0184ddf0335.jpg",[90,181],{"id":60190,"slug":60191,"title":60192,"dynasty":99,"author":293,"museum":364,"description":60193,"tags":60194,"thumbUrl":60195,"material":743,"size":744,"collection":139,"collections":60196,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},237419,"lu-zhi-hai-tang-shan-yi-ming-237419","陆治海棠扇","此作用没骨法绘就海棠，粉花轻晕，翠叶柔匀，枝桠清逸舒展，将海棠初绽的娇柔之态尽显。洒金扇底晕染雅致，设色明妍却不浓艳，透着清润娴雅的格调。\n\n左侧题诗与花枝相映，笔墨隽秀，朱红印信错落点缀，融书画印为一体，晕开悠然诗意。整体章法疏朗空灵，将春日海棠的柔媚与文人赏春的雅趣相融，尽显小品画的清丽脱俗，带着江南暮春的缱绻温柔，是雅致动人的花鸟小帧。",[7,1562,27,28,83,1563,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba8a47bbde996d5459b024765019b247.jpg",[],{"id":60198,"slug":60199,"title":60200,"dynasty":76,"author":10376,"museum":56,"description":60201,"tags":60202,"thumbUrl":60203,"material":4796,"size":60204,"collection":181,"collections":60205,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[7,173,177,105,241,227,29,13815,176,34,108,109,174,175,37,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[181],{"id":60207,"slug":60208,"title":60209,"dynasty":76,"author":9704,"museum":206,"description":9705,"tags":60210,"thumbUrl":60211,"material":803,"size":60212,"collection":90,"collections":60213,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},237346,"jian-chun-zhou-lu-hui-237346","饯春轴",[7,24,241,28,27,327,15806,25246,299,713,698,48309,10779,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4c18372e35b5a588fefe72981a0da5.jpg","151x39.5",[90,45],{"id":60215,"slug":60216,"title":60217,"dynasty":76,"author":50445,"museum":20,"description":46503,"tags":60218,"thumbUrl":60219,"material":990,"size":46506,"collection":181,"collections":60220,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":271},237239,"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴",[7,24,241,173,27,29,1575,1015,175,109,176,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg",[181],{"id":60222,"slug":60223,"title":8431,"dynasty":76,"author":8432,"museum":20,"description":8433,"tags":60224,"thumbUrl":60225,"material":139,"size":139,"collection":139,"collections":60226,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},237113,"shi-nv-ce-cui-wei-237113",[7,28,27,59,245,244,65,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18e0eb7b2b5fb8db3b2eaacaa345097.jpg",[],{"id":60228,"slug":60229,"title":20118,"dynasty":99,"author":26281,"museum":20,"description":60230,"tags":60231,"thumbUrl":60232,"material":139,"size":139,"collection":181,"collections":60233,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},236913,"guan-mei-tu-zhou-ding-yun-peng-236913","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。",[7,24,241,173,28,177,29,448,106,394,1653,176,34,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[181,163],{"id":60235,"slug":60236,"title":54057,"dynasty":76,"author":13727,"museum":20,"description":13728,"tags":60237,"thumbUrl":60239,"material":40,"size":13731,"collection":139,"collections":60240,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":271},236138,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236138",[7,28,27,104,106,449,242,176,114,1664,60238],"柱子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281cc1533ed68f4f0470adea60d8e21.jpg",[],{"id":60242,"slug":60243,"title":60244,"dynasty":76,"author":674,"museum":364,"description":60245,"tags":60246,"thumbUrl":60247,"material":139,"size":139,"collection":44,"collections":60248,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},236084,"hua-luo-han-ce-leng-mei-236084","画罗汉册","画面右首，罗汉安坐蒲团，神情恬然松弛，四位侍者或展长衲、或持具侍立，将佛门补衲日常刻画得鲜活生动。衣纹勾勒秀劲流畅，设色清雅柔和，人物情态各有不同，写实细腻间尽显灵动意趣。\n\n左侧题诗呼应画中主题，诗画合璧暗合禅意，把修行之人朴素自在的日常铺陈开来。笔墨兼具工致细腻与空灵韵味，将清寂平和的禅门氛围晕染开来，雅致静穆的意境扑面而来，是融写实意趣与禅宗意境为一体的精妙之作。",[209,7,24,5990,259,28,27,106,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb75896d04e3b54e8ea11ec868c668f.jpg",[44,45],{"id":60250,"slug":60251,"title":11143,"dynasty":76,"author":1109,"museum":364,"description":60252,"tags":60253,"thumbUrl":60254,"material":139,"size":139,"collection":139,"collections":60255,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":94},235893,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235893","以灵动皴擦勾勒山石奇崛肌理，干湿墨色晕染出山林的湿润清寂。山居隐于繁木之间，溪谷蜿蜒穿林而过，野意盎然。诗题与画境浑然相融，笔意纵恣却暗含秀逸，将丘壑灵秀内化于纸面，苍郁朴拙中见平淡天真。画者以眼观山、以心绘境，将林泉雅意寄于尺幅，幽居之景衬出林烟空濛，尽显寄情山水的文人意趣，师法自然又自出机杼，藏着对林烟丘壑的眷恋。",[7,173,29,177,245,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fcbef86eeaaaf2bf9948b9025ca3666.jpg",[],{"id":60257,"slug":60258,"title":60259,"dynasty":76,"author":10376,"museum":364,"description":60260,"tags":60261,"thumbUrl":60262,"material":139,"size":139,"collection":139,"collections":60263,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[7,24,241,173,29,177,175,242,430,108,227,2268,176,560,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],{"id":60265,"slug":60266,"title":60267,"dynasty":99,"author":14805,"museum":364,"description":60268,"tags":60269,"thumbUrl":60271,"material":743,"size":744,"collection":139,"collections":60272,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},235811,"hua-mei-gui-hua-zhou-tian-qiu-shu-mei-gui-fu-he-bi-shan-wen-jia-235811","画玫瑰花周天球书玫瑰赋合璧扇","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[7,24,1562,27,83,60270,86,227],"玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71faa4378c6f9e8510d6f90708e3ceb4.jpg",[],{"id":60274,"slug":60275,"title":60276,"dynasty":99,"author":32749,"museum":364,"description":60277,"tags":60278,"thumbUrl":60279,"material":743,"size":744,"collection":90,"collections":60280,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},235752,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235752","梅花文从简诗合璧册","邵弥，明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。",[7,24,81,173,448,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff0207095efee64f9320a1ddf2f251c.jpg",[90],{"id":60282,"slug":60283,"title":60284,"dynasty":76,"author":13727,"museum":364,"description":60285,"tags":60286,"thumbUrl":60287,"material":743,"size":744,"collection":139,"collections":60288,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},235562,"tao-yuan-ming-gui-qu-lai-ci-tu-shan-ye-jiao-bing-zhen-235562","陶渊明归去来辞图扇页","此图根据陶渊明《归去来辞》文意，描绘陶氏辞官隐居，离船登岸时受到“童仆欢迎”的场景。作者作为曾受过西洋技法影响的画家，在此件创作上除了茅屋结构有些许透视外，受西方画法的影响尚不明显，其笔法基本属于中国传统的人物山水画范畴。作者注重以形写神，将陶氏下船时小心翼翼的举止，和童仆们恭敬的神态均刻画得生动传神。",[1562,7,24,27,28,29,106,34,35,245,1445,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fabb13a531648cafb448d513a0361f6.jpg",[],{"id":60290,"slug":60291,"title":60292,"dynasty":99,"author":28236,"museum":364,"description":60293,"tags":60294,"thumbUrl":60295,"material":139,"size":139,"collection":139,"collections":60296,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},235481,"fang-guo-xi-shan-shui-zhou-yuan-shang-tong-235481","仿郭熙山水轴","整幅画作以雪景铺陈萧索冬意，巨峰以淡墨晕衬留白，尽显积雪覆山的清寒巍峨。枯木虬枝劲挺错落，深谷间栈道蜿蜒回转，行旅车马次第缓行，将隆冬深山的冷寂，和人间行路的烟火暖意相融。\n\n笔墨追摹北宗山水意趣，简劲皴法勾勒山石肌理，细笔描摹林木栈道，既复刻出萧寒雄奇的山水之态，又自带着苍朴的笔底情致，把冬日深山的荒寒古雅，行路迢迢的沉郁氛围尽显纸上，于冷寂雪景中晕开古雅悠远的山水意境。",[7,241,173,177,105,29,3499,34,558,2268,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeabec41ab82bfb0de0af94b8bf5c215.jpg",[],{"id":60298,"slug":60299,"title":60300,"dynasty":76,"author":953,"museum":364,"description":1683,"tags":60301,"thumbUrl":60302,"material":743,"size":744,"collection":139,"collections":60303,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},235410,"gui-mu-tu-zhou-ren-yi-235410","归牧图轴",[7,24,241,173,27,446,177,151,106,1015,281,12136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a255d8a5587e721f7641ff82ff02e1.jpg",[],{"id":60305,"slug":60306,"title":60307,"dynasty":76,"author":953,"museum":364,"description":16763,"tags":60308,"thumbUrl":60309,"material":40,"size":16767,"collection":139,"collections":60310,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},234994,"hua-hui-ling-mao-ping-12-ren-yi-234994","花卉翎毛屏12",[7,27,241,83,394,1653,84,4538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5870bd8f431964529394a7aa9ab6cb0f.jpg",[],{"id":60312,"slug":60313,"title":60314,"dynasty":76,"author":953,"museum":364,"description":16763,"tags":60315,"thumbUrl":60318,"material":40,"size":16767,"collection":139,"collections":60319,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},234993,"hua-hui-ling-mao-ping-11-ren-yi-234993","花卉翎毛屏11",[7,209,24,241,27,28,83,3478,60316,698,62,60317,227],"豆藤","竹架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc51dae55e91611f90ab3b25efa239ea.jpg",[],{"id":60321,"slug":60322,"title":60323,"dynasty":76,"author":953,"museum":364,"description":16763,"tags":60324,"thumbUrl":60325,"material":40,"size":16767,"collection":139,"collections":60326,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},234987,"hua-hui-ling-mao-ping-5-ren-yi-234987","花卉翎毛屏5",[209,7,24,241,27,28,83,1062,1461,224,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F183eeaea248695005ebfe5882e2006cb.jpg",[],{"id":60328,"slug":60329,"title":60330,"dynasty":99,"author":293,"museum":78,"description":60331,"tags":60332,"thumbUrl":60333,"material":139,"size":139,"collection":139,"collections":60334,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},234930,"xie-shi-chen-xia-shan-fei-pu-tu-zhou-yi-ming-234930","谢时臣夏山飞瀑图轴","谢时臣（1487-1567），明代画家。字思忠，号樗仙。吴（今江苏苏州）人。工书法，长于隶书。擅山水，师法吴镇、沈周，稍作变化，作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作山峦重叠，高耸险峻，笔墨或细密苍劲，或劲健沉郁，或纵横纷披，富有变化。有《杜陵诗意图》、《溪山揽胜图》、《策杖寻幽图》、《武当霁雪图》、《谪仙玩月图》等传世。\n谢时臣(公元1488-1567年尚在)，字思忠，号樗仙，吴人，专长画山水，画史称他师法梅道人，学沈石田稍变其意。多作屏障大幅，构图雄伟严密，气势纵横，从作品看，画风近于戴进与吴派的沈周之间。传世作品有《虎阜春晴图》(辽宁省博物馆藏)、《江山胜览图》卷、《夏山飞瀑图》(上海博物馆藏)、《杜陵诗意图册》(现藏故宫博物院)、《武当霁雪图》大轴(现藏山东省博物馆)等。上海博物馆藏有谢氏水墨花卉册，作于嘉靖廿三年(1544)，颇有风致，惟传世不多。",[7,173,177,241,29,558,176,34,37,106,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5022b1e88d93f3e65c907903f6e5ddfc.jpg",[],{"id":60336,"slug":60337,"title":60338,"dynasty":76,"author":23166,"museum":364,"description":44526,"tags":60339,"thumbUrl":60340,"material":743,"size":744,"collection":139,"collections":60341,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},234844,"mu-dan-ling-zhi-tu-ye-li-fang-ying-234844","牡丹灵芝图页",[209,7,173,27,81,446,327,12102,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada2f010f959e38a108f686d852e440a.jpg",[],{"id":60343,"slug":60344,"title":60345,"dynasty":76,"author":60346,"museum":364,"description":12340,"tags":60347,"thumbUrl":60348,"material":139,"size":139,"collection":139,"collections":60349,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":94},234587,"he-tang-fei-yan-wan-shan-xin-yue-234587","荷塘飞燕纨扇","辛樾",[7,24,1562,173,27,28,83,243,136,137,281,3247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6520d05d1c8a90a069b4eea658183e03.jpg",[],{"id":60351,"slug":60352,"title":60353,"dynasty":76,"author":3732,"museum":20,"description":40731,"tags":60354,"thumbUrl":60356,"material":990,"size":139,"collection":139,"collections":60357,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},234365,"rui-gu-tu-zhou-jiang-ting-xi-234365","瑞谷图轴",[7,28,27,241,60355,1064,224,227],"谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0929a4c044c295d21e5fe7c28110245d.jpg",[],{"id":60359,"slug":60360,"title":60361,"dynasty":99,"author":1083,"museum":364,"description":60362,"tags":60363,"thumbUrl":60364,"material":990,"size":139,"collection":139,"collections":60365,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":94},234258,"dan-chang-zhou-chen-hong-shou-234258","弹唱轴","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺为僧，后还俗，以卖画为生，死因说法不一。亦能画水墨写意花卉，酣畅淋漓。还长于为文学作品创作插图，能表现出原作人物的精神气质。其画手法简练，色彩沉着含蓄，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。\n陈洪绶去世后，其画艺画技为后学所师承，堪称一代宗师，名作《九歌图》（含《屈子行吟图》）、《插图》、《水浒叶子》、《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,7,24,25,28,27,260,106,244,3045,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b56da018814c611b2efc6f220be42d.jpg",[],{"id":60367,"slug":60368,"title":60369,"dynasty":99,"author":60370,"museum":364,"description":60371,"tags":60372,"thumbUrl":60373,"material":2021,"size":2021,"collection":139,"collections":60374,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},234205,"zhu-lan-shi-juan-yang-ming-shi-234205","竹兰石卷","杨明时","杨明时，字存吾，号不弃。今属安徽省黄山市歙县。诗书画俱擅，又精鉴别，《余清斋帖》双钩上石出其手。画宗董源，工山水、兰竹。",[23,7,24,25,173,446,452,242,431,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b8f72a8ff9518fa2e5b87befb33598.jpg",[],{"id":60376,"slug":60377,"title":6157,"dynasty":99,"author":170,"museum":20,"description":6158,"tags":60378,"thumbUrl":60379,"material":803,"size":6161,"collection":139,"collections":60380,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},234092,"wu-zhong-shan-shui-ce-shen-zhou-234092",[7,24,81,173,29,174,2522,490,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bd1d74f643d26df0c5226efe37fd95.jpg",[],{"id":60382,"slug":60383,"title":60384,"dynasty":76,"author":1109,"museum":20,"description":60385,"tags":60386,"thumbUrl":60387,"material":34148,"size":60388,"collection":139,"collections":60389,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},234053,"yuan-ji-shan-shui-shan-shi-tao-234053","原济山水扇","石涛（1642年－1708年），清初画家。本姓朱，名若极，小字阿长，削发为僧后，更名元济、超济、原济，自称苦瓜和尚。游南京时，得长竿一枝，因号枝下叟，别署阿长，钝根，山乘客、济山僧、石道人、一枝阁。他的别号很多，还有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人、晚号瞎尊者、零丁老人等。与弘仁、髡残、朱耷合称“清初四僧”。\n其擅花果兰竹，兼工人物，尤善山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨恣肆，意境苍莽新奇，一反当时仿古之风。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品、折扇扇面；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。",[7,1562,173,177,29,176,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2219facf2cfab380a36a40003b932061.jpg","纵17.6cm，横50.7cm",[],{"id":60391,"slug":60392,"title":10887,"dynasty":99,"author":170,"museum":20,"description":60393,"tags":60394,"thumbUrl":60395,"material":619,"size":60396,"collection":139,"collections":60397,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},233831,"xing-hua-tu-zhou-shen-zhou-233831","画上瘦杏一株，花开烂漫，仍是折枝简笔，却多添了颜色。树干以赭色填充，花片则淡粉轻红，温润又悦目，几乎可以想象他挥毫时愉快的心情。也有题跋，也有诗：\n布甥简静好学，为完庵先生曾孙，人以科甲期之，壬戌科，果登第。尝有桂枝贺其秋闱，兹复写杏一本以寄，俾知完庵遗泽所致也。\n与尔近居亲亦近，今年喜尔掇科名。杏花旧是完庵种，又见春风属后生。\n意思是说，你考得这样好，我画杏花表示祝贺。刘家世代书卷气不绝，大家都期待你的成绩。如今成功了，莫要忘记祖爷爷的遗泽。这些话里全无架子，只透出一片温暖平实。",[7,24,241,173,27,446,86,227,2972,1062,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ece9a78838b66a815a3309957c7e09.jpg","纵80cm横33.5cm",[],{"id":60399,"slug":60400,"title":22498,"dynasty":76,"author":4199,"museum":20,"description":60401,"tags":60402,"thumbUrl":60403,"material":990,"size":60404,"collection":139,"collections":60405,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},233728,"wu-rui-tu-zhou-xu-gu-233728","瓶花是虚谷喜画的题材之一。图中蜜桃、枇杷、百合等是日常生活中常见的花果，给人以朴素、亲切的感觉。图中瓷瓶及百合用勾染法描绘，线条简练，造型准确；花卉、蜜桃及枇杷用没骨法表现，层层渲染，增添了花果的层次感及质感。画面设色润泽鲜艳，富有淡雅清新的韵味。\n“五瑞”即端午祥瑞之意。蜜桃、枇杷、百合均有吉祥寓意。此图当为祝贺是年端午节而作。",[7,27,446,83,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丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[23,209,7,24,241,27,28,260,106,59,244,63,12048,60492,11566,227,86],"烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":60497,"slug":60498,"title":47230,"dynasty":18,"author":553,"museum":206,"description":60499,"tags":60500,"thumbUrl":60501,"material":67,"size":18576,"collection":139,"collections":60502,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},231421,"qiu-lin-fei-pu-tu-fan-kuan-231421","《秋林飞瀑图》纵181厘米，横99.5厘米，在传世千年的古画中，也算得上一件大作品；绢本，设色，沉淀了历史的古绢上，墨与色的辉映，那么的凝重、浑厚，摄人心魄。现藏于台北故宫博物院。图绘一山耸峙，山头山下密布丛林，有茅舍隐约其中；远处见城楼，飞瀑拾级而下，近前有木桥连岸，山路通达。这是一幅适合人居的美奂的山景，经过霜降的丛树一片绯红，秋色热烈明艳，绝无萧瑟凋蔽之感。构图并不复杂，但却极见功力：一峰高耸，山石和丛林结合在一起，层层深入；由远而近、曲折而下的山泉，则将其分割成疏密有致的空间，与茅舍、木桥、山路结合一体。无论是树木，还是山石，勾、皴的线条都十分坚挺遒劲。山下丛树的树叶，方、圆、长条之形俱备，用双勾法勾勒，凝练精到。山石用水墨依明暗分层积染，而树叶则敷以硃砂色，古雅瑰丽。整幅画映射出典型的宋画的风采。\n范宽也算得中国绘画史上的一个奇人。说到宋画，往往第一个就提他的姓名，却不能详知其生卒年月。画史称他“仪状峭古，进止疏野。性嗜酒，好道。”早年的画学荆浩、李成，虽得其精妙，但终归其下。于是他叹息道：“与其师人，不若师诸造化。”他移居于终南山、太华山，“常危坐终日，纵目四顾，以求其趣。虽雪月之际，必徘徊凝览，以发思虑。”他用心来感悟造化的鬼斧神功，对景写生，故其所画在构图、造型和透视上无懈可击。一生远离仕途，“落魄不拘世故，”却终于造就其气势雄伟壮观，笔墨刚劲凝厚的绘画风格。董其昌叹谓“宋画第一”。《宣和画谱》著录其存世的画有58件，但至今能见到的，不过十件左右。最著名的宋画的代表作之一的，当推其《溪山行旅图》。206厘米高的巨幅，恢弘压顶的气势，一笔不苟的勾勒，满纸的雨点皴，咄咄逼人的墨气，令人震撼。《秋林飞瀑图》则与之稍有不同，用的是略似小斧劈皴的线皴，这一方面可以看到范宽在师造化的过程中笔墨技法的变化，另一方面似乎也影响了其后李唐与南宋山水画家，开启了一个以斧劈皴为特点的山水画新时期。",[23,7,24,29,241,177,27,3953,1248,176,34,558,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b24fd762e626521ef15ffbc5f9044be.jpg",[],{"id":60504,"slug":60505,"title":1490,"dynasty":76,"author":1491,"museum":364,"description":60506,"tags":60507,"thumbUrl":60508,"material":139,"size":139,"collection":139,"collections":60509,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":49},230995,"xiu-yuan-tu-wang-yun-230995","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[7,24,27,28,104,106,107,3217,34,136,108,2994,9155,115,176,114,1965],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],{"id":60511,"slug":60512,"title":60513,"dynasty":18,"author":2007,"museum":364,"description":60514,"tags":60515,"thumbUrl":60516,"material":139,"size":139,"collection":139,"collections":60517,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},230950,"mu-xue-han-qin-tu-ma-lin-230950","暮雪寒禽图","《暮雪寒禽图》是宋代画家 所创作的一幅画，现藏于 。\n此图为马麟所作，以清丽的笔法，绘出冰天雪地之中，山竹覆雪，两只寒禽躲在山石之下的杏枝上过夜的景象。\n以淡墨渲染全景，烘托出雪意，双钩写竹，用笔劲力。\n整幅画面萧瑟冷峭，意境幽远。\n这幅画卷描绘暮冬之际，岩壁下白雪覆盖著荆棘与翠竹，一对黄尾鸲相依避寒。\n通幅色泽沈厚，笔墨苍润稳健，为其粗笔风格的作品，和院藏其〈芳春雨霁〉册的画风极为相近；另一幅〈 〉册虽属细笔，然其中梅干的细枝则和本幅上荆棘细枝的笔法相类。\n此作在笔墨之外，画家还充分地掌握住一份寒冷中详和宁静的气氛，再配上诗句，更表现出了诗文因画而生，画因诗文而意足的旨趣。\n画幅右侧绘斜倾岩石，石旁有荆棘、老竹、积雪，山鸟瑟缩，栖于棘枝之上。\n左上方空白处有宁宗题“疏枝潜缀纷，并翅不禁寒”十个字。\n图中岩石直壁斜倾而上，在石这边数枝折枝棘枝，向左下方凌空伸张扩展，其中有一二枝权又折起指向左上方，与在悬崖的那边塌腰老竹低垂的枯枝交错。\n棘、竹枝上的积雪可见；还有那纷披的翠竹叶在岩石上负雪摇曳，在棘枝上残留着几处红叶。\n就在这岩石后背风的棘枝上，栖息着山鸟两只，一只是白羽，另一只是黑白两色，它们披着厚厚松软的冬装。\n白者缩颈回首，两爪紧抓枝上，长尾下垂，依偎在另一只身旁，黑白分明的这一只，抬首守之。\n两只山鸟安祥地相向，紧紧靠在一起，毫无飞欲之意。\n因为灰暗的暮色雪景笼罩着，造成了阴冷、萧疏、幽邃的气氛。\n所以飞鸟只有并翅不禁寒，才能渡过寒夜。\n只有盼到天明日出时，驱去寒意后，才会使寒禽离枝飞去。\n马麟这幅《暮雪寒禽图》的构意及内容，很像李迪的《雪树寒禽图》。\n但从图中直观马麟的《暮雪寒禽图》要比李迪之画苍劲洒脱。\n枯瘦的棘枝，用笔坚硬，画法苍劲有力；负雪的竹子，有的是冬篁的秃权枝，有的是重笔墨色直接画成的竹叶，也具有苍老浑厚的感觉。\n图中的这些景物，由于在暮雪中出现，所以作者没有显示它们本身固有的不同颜色，而将他们用灰暗的色调统一，即使有几处残留的红枫作点缀，也是具有同样的格调，呈暗红色。\n所以，此图在用色上成功地表现出雪天傍晚时分特有的自然景观。\n马麟（生卒年不详），南宋画家。\n原籍河中（治今山西永济西南），南渡后三代居钱塘。\n世荣孙，远子。\n父为光宗、宁宗两朝画院待诏，独步一时。\n麟传家学，工人物、山水、花鸟。\n宁宗嘉泰年间授画院祗候，颇得赵扩、恭圣杨后及杨妹子称赏，每于父子画上题句。\n或以“麟不逮父，而远爱之，多以己画得意者题作马麟”。\n但麟的笔法圆劲，比其父秀润。\n传世作品有《层叠冰绡图》，上有杨后题诗。",[209,7,24,28,27,173,83,1653,394,340,281,245,2124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":60519,"slug":60520,"title":60521,"dynasty":292,"author":60522,"museum":364,"description":60523,"tags":60524,"thumbUrl":60525,"material":67,"size":744,"collection":139,"collections":60526,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},230561,"shi-liu-luo-han-xiang-01-bin-du-luo-ba-luo-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230561","十六罗汉像01宾度罗跋啰惰阇尊者","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,7,28,27,259,106,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9b1af20af622f173a9376aa9b34db6.jpg",[],{"id":60528,"slug":60529,"title":60530,"dynasty":76,"author":1204,"museum":364,"description":60531,"tags":60532,"thumbUrl":60533,"material":139,"size":139,"collection":139,"collections":60534,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},230269,"lin-gu-shan-shui-ye-zhu-da-230269","临古山水页","此作笔意简淡老辣，枯笔淡墨皴擦奇崛山石，嶙峋崖壁孤傲出尘，虬曲枯木萧疏错落，满纸萧寒荒寂之气。留白肆意铺陈，以少胜多勾勒出幽僻空蒙的山水秘境。\n\n错落题字与山水相映，书画浑然相融。极简笔墨间藏着沉郁清冷的心境，将身世沧桑寄寓荒寒山林，冷逸空灵的意境直抵观者心底，于简淡中尽显极强笔墨张力，尽显疏淡孤傲的独特意趣。",[23,7,173,105,177,227,86,178,81,29,1015,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a04e65a06c5e5dd23ad39258130058b.jpg",[],{"id":60536,"slug":60537,"title":60538,"dynasty":76,"author":12831,"museum":364,"description":60539,"tags":60540,"thumbUrl":60541,"material":139,"size":139,"collection":139,"collections":60542,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},230144,"hua-guo-tu-ce-12-kai-luo-pin-230144","花果图册12开","此作以淡墨枯笔勾勒柏干，蜿蜒虬曲，苍劲老辣尽现古柏历经风霜的拙朴筋骨。枝桠间以焦墨攒点成叶，浓淡交错间虚实相生，将蓊郁繁茂之态暗藏疏密错落里，笔墨洗练却意境饱满。\n\n侧旁题字率意朴拙，笔锋苍劲与画中古柏意趣相融，诗书画印合为一体。全幅不求精细描摹形貌，只以极简笔墨抓取老树虬劲生机，将幽寂古雅的文人意韵藏于方寸间，淡而有味，拙中见灵。",[7,24,81,173,394,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba5f4b087d39a09468e880350835f7f.jpg",[],{"id":60544,"slug":60545,"title":60546,"dynasty":76,"author":953,"museum":364,"description":60547,"tags":60548,"thumbUrl":60549,"material":139,"size":139,"collection":139,"collections":60550,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":94},230123,"hua-hui-ce-ye-01-ren-yi-230123","花卉册页01","此作用笔写意松弛，以湖石为景之骨，淡赭水墨晕染出嶙峋体态，略去繁复皴擦，虚实间尽显清隽雅逸。石畔丹红果簇饱满鲜活，浓墨枝叶枯润相宜，艳色与冷调湖石形成鲜明对照，艳而不俗，顽石愈发清灵，花果愈见生动。\n\n右上角题字笔力开张，与花木湖石相得益彰，融书画为一体，将花木蓬勃生机与文人闲淡意趣揉合于纸面，简淡之中自有鲜活情致。",[7,24,5990,446,173,27,83,245,9941,225,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71348d468b7d7e6ca8621b0226ef65d9.jpg",[],{"id":60552,"slug":60553,"title":131,"dynasty":76,"author":3602,"museum":364,"description":60554,"tags":60555,"thumbUrl":60556,"material":139,"size":139,"collection":90,"collections":60557,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},229026,"hua-hui-ce-wang-wu-229026","此作以淡墨晕染牡丹瓣层，借留白衬出素白花容，焦墨点簇花蕊，将白花柔润蓬松之态尽显。叶片以浓淡墨分梳阴阳向背，笔致苍秀，兼得写生之真与文人雅韵。下方蛱蝶用工细笔触勾勒翅脉，淡墨晕染出薄翼通透质感，与写意牡丹相映成趣，一动一静鲜活灵动。\n\n通篇笔墨秀逸工丽，简淡不失厚重，题字钤印排布妥帖，将花木雍容与草虫灵动相融，尽显清丽脱俗的文人花鸟意趣，把写实写生与书卷气完美结合，雅致隽永。",[7,173,81,83,327,604,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8ab86cb0de430d95e4c3fd5e56001e.jpg",[90],{"id":60559,"slug":60560,"title":60561,"dynasty":76,"author":2040,"museum":364,"description":60562,"tags":60563,"thumbUrl":60564,"material":139,"size":139,"collection":139,"collections":60565,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},229025,"hua-hui-ba-kai-zou-yi-gui-229025","花卉八开","柔梅斜枝舒展，粉瓣层叠轻绽，深浅花色晕染出娇柔妍态，苍劲老干皴擦尽显古拙意趣。旁侧新竹挺秀，翠叶临风摇曳，清刚之姿与梅花柔媚相映成趣，一动一静间尽显花木灵韵。\n\n右上角题诗娟秀雅致，诗画相融更添文人情思。设色明丽柔和，勾勒晕染兼具工细与写意之妙，将春日花木的生机神韵尽数铺陈，笔底饱含清雅悠然的文人意趣，将这一隅小景绘就成生机盎然又古雅沉静的清逸画卷。",[7,24,81,27,28,83,242,327,227,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d8a09956eafa777e9025de0f632c7d.jpg",[],{"id":60567,"slug":60568,"title":60569,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":60570,"thumbUrl":60571,"material":743,"size":744,"collection":139,"collections":60572,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},228988,"bai-miao-luo-han-tu-juan-shi-tao-228988","白描罗汉图卷",[23,209,7,24,25,260,259,106,176,34,7281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9099139807f3e55a6295db547dc07a8.jpg",[],{"id":60574,"slug":60575,"title":60576,"dynasty":99,"author":38552,"museum":364,"description":60577,"tags":60578,"thumbUrl":60579,"material":139,"size":139,"collection":139,"collections":60580,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},228966,"si-ji-feng-jing-ce-ye-xiao-yun-cong-228966","四季风景册页","此作用浅绛青绿晕染山峦，层叠崖岫以苔点晕出苍润生机，山坳隐见红墙古寺，飞瀑穿林汇作浅溪，板桥引渡，丹鹤独立溪畔，晕开清寂仙气。\n\n右侧老梅虬枝缀花，树下三文士凭坐观览，或低语或凝思，将雅集幽闲融于林泉丘壑。右上角题诗与画境呼应，以书法点出寻梅高士的林下襟怀。\n\n笔墨简淡秀雅，设色明润柔和，整体意境清旷出尘，将山水灵秀与文人雅趣相融，尽显淡远闲逸之美，把春日寻幽的雅兴定格在尺幅之间，淡而弥远，韵致悠长。",[7,27,177,81,29,106,108,109,448,60,107,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6394ee68fb4f16fd1443886e59691153.jpg",[],{"id":60582,"slug":60583,"title":60584,"dynasty":99,"author":36584,"museum":364,"description":60585,"tags":60586,"thumbUrl":60587,"material":139,"size":139,"collection":139,"collections":60588,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},228495,"wu-lu-an-tu-ye-li-shi-da-228495","五鹿庵图页","以鸟瞰全景铺展画面，将江渚山水与庵居雅境相融。江面帆影穿梭、石桥卧波，沿坡蜿蜒的石墙围合出错落屋舍，林木葱茏掩映庭台，有人闲坐堂内叙谈，有人缓步庭中，处处漾着松弛鲜活的烟火气。\n笔墨淡润秀雅，浅赭轻施，以简约笔触勾勒屋舍坡岸，省去繁复皴擦，将禅居的清幽静寂，与江南水乡的鲜活日常糅合无间，把晚明文人梦寐的烟火雅居，晕染在纸幅之上。",[7,27,104,1086,29,107,108,109,174,175,34,106,35,111,5233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F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ze":139,"collection":139,"collections":60650,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","此作用水墨晕开冬日江乡的清寂荒寒。远山以淡墨轻扫轮廓，留白处尽作积雪，混茫一色，恰似天地裹素，将冬雪的冷冽淡远铺陈开来。近岸枯木虬枝盘曲，残叶寥寥，苍劲身姿暗合寒林萧索。江心扁舟一叶，渔翁独垂，渺小身影衬得天地愈发寥廓幽远，尽现江湖幽隐之趣。\n\n全图以虚代实，留白藏雪，笔墨简淡清润，将禅意隐逸融在冷寂山水间，把雅致心境晕染在空蒙淡远的意境中，尽显小景山水的诗意品格。",[23,209,7,24,241,173,29,177,174,1015,491,176,490,34,1254,14274,2125,5066,1926,44077,5207,60648],"宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],{"id":60652,"slug":60653,"title":60654,"dynasty":18,"author":293,"museum":364,"description":60655,"tags":60656,"thumbUrl":60657,"material":139,"size":139,"collection":139,"collections":60658,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":49},227880,"tao-zhi-shuang-que-tu-yi-ming-227880","桃枝双雀图","此作构图疏密相宜，桃枝虬曲延展，叶片与桃果晕染细腻，清润雅致。两只雀鸟动静相映，一鸟侧身伫立，侧目凝神，羽色的丝绒质感刻画入微；一鸟探身向下，似欲啄食，灵动鲜活。设色浅淡柔和，以墨色勾勒筋骨，淡彩晕染出物象的层次生趣，古旧绢面晕开沉郁温润的底色，更衬出画面的雅致沉静。将林间一角的幽微生机敛于方寸之间，把日常小景绘成雅致诗画，尽显花鸟小品的含蓄禅意与写生妙趣。",[23,7,209,1562,83,28,27,14343,9319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa40fc2a6baeafb73635a4540f8512cf2.jpg",[],{"id":60660,"slug":60661,"title":60662,"dynasty":18,"author":1616,"museum":364,"description":24524,"tags":60663,"thumbUrl":60664,"material":139,"size":139,"collection":139,"collections":60665,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},227773,"song-yin-xiu-qi-tu-ye-li-tang-227773","松荫休憩图页",[23,209,7,24,81,27,29,106,449,109,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae2c819f22354f91624b8b982a41c2a.jpg",[],{"id":60667,"slug":60668,"title":60669,"dynasty":18,"author":1616,"museum":364,"description":47608,"tags":60670,"thumbUrl":60671,"material":139,"size":139,"collection":139,"collections":60672,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},227769,"shan-jian-ting-yin-tu-ye-li-tang-227769","山涧亭荫图页",[23,209,7,24,5990,27,177,29,175,107,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62d8b679d7f4f502dfbd58fec656d8e.jpg",[],{"id":60674,"slug":60675,"title":40042,"dynasty":18,"author":1827,"museum":364,"description":60676,"tags":60677,"thumbUrl":60678,"material":139,"size":139,"collection":139,"collections":60679,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},227739,"huo-lang-tu-ye-li-song-227739","《货郎图》是南宋画家李嵩创作的团扇绢本水墨淡设色画。李嵩创作过多幅货郎图，分别藏于北京故宫博物馆、中国台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆，现藏于北京故宫博物院的《货郎图》的规格是纵25.5cm，横70.4cm，其余的均为小幅。\n\n全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。",[23,209,7,24,1562,28,27,106,244,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc853454829aec9f8be8f73998aa141.jpg",[],{"id":60681,"slug":60682,"title":16437,"dynasty":18,"author":13198,"museum":364,"description":60683,"tags":60684,"thumbUrl":60685,"material":139,"size":139,"collection":139,"collections":60686,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":49},227613,"shan-shui-tu-ye-zhao-ling-rang-227613","赵令穰(北宋)字大年，汴京(今河南开封市)人，生卒年不详，宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠开府仪同三司，追封荣国公。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。\n赵令穰幼时即爱书画﹐富于文学修养﹐家藏有晋唐以来法书名画。他与画家文人时相往来。赵佶(宋徽宗)为端王时亦与他交游﹐切磋画艺。",[23,7,209,24,81,27,177,29,394,10154,176,109,30782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F069c533c496616b5bcf7a2d34a2002ef.jpg",[],{"id":60688,"slug":60689,"title":60690,"dynasty":18,"author":645,"museum":364,"description":60691,"tags":60692,"thumbUrl":60694,"material":139,"size":139,"collection":139,"collections":60695,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},227543,"guan-chao-tu-ye-guo-xi-227543","观潮图页","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。 他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[23,7,24,29,173,177,81,7582,430,60693],"潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd2704c889b3485019347aec338e950.jpg",[],{"id":60697,"slug":60698,"title":60699,"dynasty":18,"author":60700,"museum":364,"description":60701,"tags":60702,"thumbUrl":60703,"material":139,"size":139,"collection":139,"collections":60704,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},227410,"shen-jun-tu-li-zhou-li-yong-ji-227410","神骏图立轴","李用及","宋代画家李永基善画解说，尤善鬼神。 体格结实，强壮，不受约束，并不特别怪异。 唯一大师吴升（桃子）的笔。 其父掌管天五库军，能画天阔马，是韩干笔法的典范。 顾维佑也为病马干活。",[23,7,209,241,28,27,150,957,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb813d9e9ed4d72843f7460da6848b829.jpg",[],{"id":60706,"slug":60707,"title":44558,"dynasty":18,"author":2531,"museum":364,"description":60708,"tags":60709,"thumbUrl":60710,"material":139,"size":139,"collection":139,"collections":60711,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},226545,"yu-le-tu-juan-jing-hao-226545","荆浩（约850-？），五代后梁最具影响的山水画家，博通经史，并长于文章。字浩然，沁水（一说为山西，一说为河南济源）。士大夫出身，后梁时期因避战乱，曾隐居于太行山洪谷，故自号“洪谷子”。擅画山水，常携笔摹写山中古松。所作云中山顶，能画出四面峰峦的雄伟气势。自称兼得吴道子用笔及项容用墨之长，创造水晕墨章的表现技法。亦工佛像，曾在汴京（今河南开封）双林院作有壁画。是中国山水画发展过程中具有重要影响的画家之一。\n\n存世《匡庐图》。其他均已失传。至于目前传为荆浩所作的五幅画——美国纳尔逊美术馆收藏的《雪景山水图》、日本大阪市立美术馆收藏的《江山瑞霭图》、台湾故宫博物院收藏的《渔乐图》等，其真伪都存有争议。\n\n荆浩不仅创造了笔墨并重的北派山水画，被后世尊为北方山水画派之祖，还为后人留下著名的山水画理论《笔法记》，以假 托在神镇山遇一老翁，在互相问答中提出了气、韵、思、景、笔、墨的所谓绘景“六要”，是古代山水画理论中的经典之作，比更早时期南齐谢赫的“六法论”有所发展，具有更高的理论价值。",[23,7,24,25,173,177,29,34,650,31,1254,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd4a6217abf7c4e35efebb8fee6960f.jpg",[],{"id":60713,"slug":60714,"title":60715,"dynasty":292,"author":60716,"museum":364,"description":60717,"tags":60718,"thumbUrl":60719,"material":139,"size":139,"collection":139,"collections":60720,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":49},226542,"du-diao-tu-jiang-xi-meng-226542","独钓图","姜希孟","纸本，墨笔，56*36cm，东京国立博物馆藏。图绘河边杂草丛生，枯木二棵，枝杆张牙舞爪，沧桑孤傲；河面上一老者船头独自垂钓，静谧详和；远处水面广阔，画面透着冷寂之意境。姜希孟，朝鲜王朝的士大夫画家，宫廷画师。",[23,7,24,173,446,177,29,1015,174,1351,14952,490,29967,1729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075096fb767ba143cb1f3c07e1615e40.jpg",[],{"id":60722,"slug":60723,"title":60724,"dynasty":292,"author":49761,"museum":364,"description":49762,"tags":60725,"thumbUrl":60726,"material":743,"size":744,"collection":139,"collections":60727,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},225295,"huo-tian-ben-dong-jing-zhen-hai-225295","火天(本-东京)",[23,7,24,241,259,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b3f9abef49f88f538da978b833e115.jpg",[],{"id":60729,"slug":60730,"title":60731,"dynasty":76,"author":1109,"museum":364,"description":60732,"tags":60733,"thumbUrl":60734,"material":139,"size":139,"collection":139,"collections":60735,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},224502,"shan-shui-ce-kai-wu-shi-tao-224502","山水冊开(五)","此作用笔简括空灵，以淡赭、花青晕染山峦，干湿墨色相生，晕开江南水乡的清润秀雅。近岸枯槎疏枝带着残冬清寂，零星墨叶点缀出些许生机，板桥卧波，黛林掩映村舍，浅渚渔舟悠然随波，渔人安坐其中，自在松弛。\n\n远景山峦淡逸朦胧，与留白水面相映，铺展出萧散淡远的意境。题画诗与景致相融，将寄迹林泉、脱却尘俗的幽怀藏于笔墨丘壑间，以画言情，尽显隐逸文人心境，淡墨轻岚间晕染出闲逸野趣。",[23,7,173,27,177,81,29,108,109,174,394,176,35,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf60ae206638ff7c579a55431223839b.jpg",[],{"id":60737,"slug":60738,"title":60739,"dynasty":76,"author":5096,"museum":206,"description":60740,"tags":60741,"thumbUrl":60742,"material":827,"size":60743,"collection":139,"collections":60744,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":94},224484,"ni-fan-hua-yuan-qiu-lin-xiao-si-tu-wang-jian-224484","拟范华原秋林萧寺图","此作用高远、平远之法铺展景致，主峰奇崛陡立，古寺隐于层峦间，飞瀑穿石而下。前景林木蓊郁，板桥通幽，山居人家藏于松荫，江畔苍松虬劲，渔翁垂竿秋水之上，远景江天寥廓，浅墨晕染远山，清寂萧疏之意漫溢画面。\n\n以浅绛糅合青绿晕染山石，皴法朴厚，兼得雄健风骨与秀雅笔致，将秋山野林的空阔萧远与幽居闲趣相融，把秋林萧寺的冷寂清旷之境铺陈开来，尽显林泉幽致。",[23,209,7,1397,27,177,9301,105,3953,13097,108,109,176,34,107,175,560,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa02d6c0b4b3f68794b7c75b2799f2.jpg","本幅 52.5x27.4公分、全幅 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， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[23,7,24,241,173,177,29,107,34,176,558,35,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":60762,"slug":60763,"title":55511,"dynasty":76,"author":60764,"museum":364,"description":60765,"tags":60766,"thumbUrl":60767,"material":139,"size":139,"collection":139,"collections":60768,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":49},224344,"xiao-pin-1-qiao-gu-224344","樵谷","此作为绢本设色仙山图景，画面分上下两段铺陈。上方松下仙岛，长髯高士安坐，侍童持如意随侍，丹顶鹤啄衔芝草，意态闲和疏朗。下方仙鹿曳车，车载灵卉仙酿，海雾裹挟红鲤翻涌而出，恍若灵气蒸腾。\n\n笔墨细劲清逸，设色古雅沉静，人物刻画悠然恬淡，瑞兽仙禽生动传神。布景疏密相宜，晕染出道家虚缈出尘的仙境氛围，藏纳福寿绵长的吉祥意趣，尽显传统仙道题材的雅致意韵。",[23,7,24,241,27,28,106,150,60,933,1575,176,1329,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7ab3700c076272c9bf608fb083bfbf.jpg",[],{"id":60770,"slug":60771,"title":60772,"dynasty":76,"author":2324,"museum":364,"description":60773,"tags":60774,"thumbUrl":60775,"material":139,"size":139,"collection":139,"collections":60776,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},224296,"zhu-shi-li-shan-224296","竹石","此作用笔纵逸老辣，右上苍松虬曲古拙，枝干皴擦间尽显风霜古意，松针以焦墨攒点，苍劲沉凝，垂藤萦纡添灵动生机。下方牡丹以浓淡水墨晕染花瓣，将雍妍之态藏于墨色层次间，旁生兰草舒挺柔韧，伴湖石错落排布。\n左侧题笔与绘事浑然一体，以水墨写意尽脱匠气，融苍松之坚、牡丹之妍、幽兰之清于一轴，笔情墨趣间暗合文人寄寓，纵恣野逸间尽显花木风神。",[23,7,24,173,446,177,431,242,327,449,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a30ebfd3df6df1c8f56596df0822fa1.jpg",[],{"id":60778,"slug":60779,"title":13785,"dynasty":76,"author":27251,"museum":206,"description":60780,"tags":60781,"thumbUrl":60782,"material":803,"size":60783,"collection":181,"collections":60784,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},224265,"hua-shan-shui-zhou-zhang-zong-cang-224265","《石渠宝笈》所录画作数量，张宗苍名列第一，其上多有乾隆皇帝题诗。此作原本贴于品茗茶舍「试泉悦性山房」壁上。乾隆皇帝认为其画风清峻，可与元代倪瓒和黄公望的作品相匹敌，幅上多则乾隆皇帝御题，其中更提到过去观看张宗苍作画的回忆，并在拳石留白处书一「神」字，显示对此作的高度评价。",[7,24,241,173,177,86,227,29,176,34,560,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0364f6d1ae9eda5d1b76368b4cb7d3ba.jpg","138.1x64.3",[181],{"id":60786,"slug":60787,"title":60788,"dynasty":76,"author":293,"museum":364,"description":60789,"tags":60790,"thumbUrl":60791,"material":139,"size":139,"collection":139,"collections":60792,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":94},223664,"yong-zheng-di-du-shu-xiang-zhou-yi-ming-223664","雍正帝读书像轴","整作静谧雅致，帝王身着明黄吉服端坐暖阁，面庞清癯平和，目光轻落手中书卷，尽显松弛安然的书卷气，褪去了朝堂之上的威严肃杀。服色织绣精细繁复，龙纹婉转灵动，衣褶晕染自然，衬出面料华贵质感。两侧案头文房与装帧精美的古籍错落，点明读书主题，暖阁陈设素净柔和，烘托出静雅的伏案氛围。\n\n画家以细腻写实的笔触，捕捉下雍正鲜为人知的闲逸侧面，跳出帝王标准像的刻板范式，将其沉浸典籍的专注神态勾勒入微，在纪实之中融入雅致文人意趣，是清代御容像里极具生活意趣的上乘之作。",[23,7,241,27,28,106,8612,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35643af16a8eade2dd5994483bab96a0.jpg",[],{"id":60794,"slug":60795,"title":60796,"dynasty":189,"author":293,"museum":364,"description":60797,"tags":60798,"thumbUrl":60799,"material":139,"size":139,"collection":139,"collections":60800,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":49},223617,"hong-shu-xiao-niao-tu-li-zhou-yi-ming-223617","红树小鸟图立轴","此作用笔苍劲老辣，以淡墨皴擦出枝杆斑驳肌理，斜展的枝桠轻缀丹红叶瓣，晕染出深秋清寂淡远的氛围感。两只禽鸟灵动如生，一只敛羽侧目似在梳羽，一只昂首远眺仿佛聆风，翎毛晕染细腻柔和，褐棕羽色与亮蓝尾羽相映成趣，为萧疏秋景添了鲜活生气。\n画作兼收宋院体花鸟的写实精妙与元画的萧散简逸，以极简构图铺陈秋日林间意趣，不施浓艳重彩，只以素雅色调烘托幽清空远的意境，静穆秋景与鲜活禽鸟相融，淡而有味，简而隽永。",[23,7,24,241,27,28,83,3500,3583,1062,2238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6756045513ed7addba3944ef1983d5b6.jpg",[],{"id":60802,"slug":60803,"title":60804,"dynasty":18,"author":293,"museum":364,"description":60805,"tags":60806,"thumbUrl":60807,"material":139,"size":139,"collection":139,"collections":60808,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},223612,"zhu-jian-fen-xiang-tu-yi-ming-223612","竹涧焚香图","此作以边角取景，笔墨简净秀润。浅渚涧水缓流，坡岸幽竹斜曳，士人趺坐石上，静对空山远岑。晕染轻淡的远山融在空濛烟岚里，将天地寥廓之意藏于尺幅留白间。\n\n画面与题诗相契，炉烟随竹风漫过山涧，空山阒寂，将闻未闻的幽玄禅意弥散开来。把林泉高致的隐逸襟怀，化作眼前清寂淡远的图景，于简淡平远中，尽显出世幽居的静穆禅趣，是小品山水里以小见大的精妙之作。",[23,7,24,1562,27,29,242,106,431,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52389ef17d1f2b63c69f1c05719db98a.jpg",[],{"id":60810,"slug":60811,"title":60812,"dynasty":18,"author":293,"museum":206,"description":60813,"tags":60814,"thumbUrl":60815,"material":317,"size":60816,"collection":181,"collections":60817,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},223446,"han-lin-lou-guan-yi-ming-223446","寒林楼观","表现冬日雪后树木萧瑟的景致，整幅作品设色淡雅，意境深幽，颇传宋人神韵。",[23,7,104,27,28,29,107,394,1653,176,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce11376d9ed52e44ecd59d7ed80b572b.jpg","纵145cm，横88cm",[181,163],{"id":60819,"slug":60820,"title":60821,"dynasty":54,"author":293,"museum":20,"description":60822,"tags":60823,"thumbUrl":60824,"material":40,"size":60825,"collection":139,"collections":60826,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},223443,"gong-yuan-tu-zhou-yi-ming-223443","宫苑图轴","此画一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因此称之为《流民图》亦可。",[23,7,24,25,260,27,106,12940,61,8368,10164,12996,17832,210,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd181c6127f25e533180376f904c665f0.jpg","纵28厘米，横384厘米",[],{"id":60935,"slug":60936,"title":60937,"dynasty":189,"author":2519,"museum":101,"description":60938,"tags":60939,"thumbUrl":60940,"material":619,"size":60941,"collection":139,"collections":60942,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},221785,"san-shi-ren-ma-tu-zhao-meng-fu-221785","三世人马图","为赵孟頫、赵雍、赵麟祖孙三人所画人马图合卷。卷后有陈洪绶等人题跋，谓其“三老不失笔墨宗风，古来大小李将军、高家父子、米家父子之类比。”、“古来父子祖孙以忠孝节义道应文学相传，不替者之类耳。”对比吴湖帆题款中所及“蒋氏密韵楼藏赵氏三世画马卷对临一本，并记原题款识于后，王蒙等跋亦入。”可见吴湖帆所临乃是另一卷传世“赵氏三世人马图”，由雪庭禅师收藏，王蒙、文征明等五家曾于其上题跋。",[23,209,7,24,25,27,260,106,150,178,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09f2e833da4843b79c3641463d061b4a.jpg","纵30.2厘米，横178.1厘米",[],{"id":60944,"slug":60945,"title":38803,"dynasty":18,"author":10088,"museum":101,"description":60946,"tags":60947,"thumbUrl":60948,"material":67,"size":60949,"collection":42,"collections":60950,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":94},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,209,7,24,25,173,27,177,29,7241,13097,34,176,37,649,1653,394,1445,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[42,181,163],{"id":60952,"slug":60953,"title":60954,"dynasty":18,"author":781,"museum":101,"description":11959,"tags":60955,"thumbUrl":60956,"material":803,"size":60957,"collection":139,"collections":60958,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},221357,"zhuo-se-shi-ba-luo-han-tu-juan-li-gong-lin-221357","着色十八罗汉图卷",[23,209,7,24,25,259,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167d3053971be5b0a03db8dec8fa2736.jpg","26.7×384.2厘米",[],{"id":60960,"slug":60961,"title":60962,"dynasty":99,"author":3114,"museum":20,"description":60963,"tags":60964,"thumbUrl":60965,"material":60966,"size":60967,"collection":382,"collections":60968,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":271},220957,"bai-yu-shan-fu-dong-qi-chang-220957","白羽扇赋","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。董其昌这件作品写于七十八岁（1632）高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[23,209,7,24,25,178,86,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2567439e23f4a801151c3d6db729acb.jpg","绫本，轴","纵长：136.5厘米，横长：60.2厘米",[382],{"id":60970,"slug":60971,"title":60972,"dynasty":99,"author":19617,"museum":9181,"description":60973,"tags":60974,"thumbUrl":60975,"material":842,"size":60976,"collection":139,"collections":60977,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":139},220736,"yan-jiang-die-zhang-tu-hua-xin-you-wen-bo-ren-220736","烟江叠嶂图画心右","此作用笔清隽秀雅，以平远之境铺展烟江盛景。左侧峰峦层叠，苍木氤氲在烟岚之中，山石皴擦简淡却见苍劲；右侧江岸怪石嶙峋，棕榈摇曳生姿，野意盎然。\n\n浩渺江面之上，帆影错落穿梭，岛屿隐现于烟波之间，云雾晕染柔化了山水边界，虚实相生间尽显江南烟水的朦胧柔婉。笔墨晕染柔和清润，将水雾空濛的氛围感尽数铺陈，把观者带入静穆又灵动的烟水天地，尽显吴门画派的写意风神，藏着文人画清雅淡远的诗意。",[23,7,24,25,173,29,177,30,7741,12789,174,281,34,176,2219],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775d4d497ec1f44b4dd939d7664eb627.jpg","25.6 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Art","此作用笔清劲秀雅，以高远法绘山林幽居之景。危崖巍峨，以淡赭轻罩、花青晕染，勾勒皴擦间尽显山石嶙峋质感。近岸苍虬古木扎根岩隙，枝叶扶苏，与崖畔林木相互掩映。画面留白铺陈虚境，恰似空谷平湖，烘托出空山幽寂之韵。\n题画诗与景致相融，将松风泉响的山林意趣诉诸笔端，尽显文人山水的诗意内核。整体气息清逸出尘，承续北宗山水笔法，兼具南派的秀润雅致，把林泉高致的幽淡意境描摹尽致，尽显传统文人画的隽永风骨。",[23,24,7,29,241,173,27,177,864,431,430,503,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg",[],{"id":60988,"slug":60989,"title":60990,"dynasty":1095,"author":31831,"museum":7134,"description":31832,"tags":60991,"thumbUrl":60992,"material":139,"size":139,"collection":139,"collections":60993,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},220482,"song-tao-lin-feng-mian-220482","松涛",[7,27,173,446,29,1575,174,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ecbc10766dc69df7ee10b85fc7ffb66.jpg",[],{"id":60995,"slug":60996,"title":60997,"dynasty":76,"author":953,"museum":101,"description":60998,"tags":60999,"thumbUrl":61000,"material":4796,"size":139,"collection":139,"collections":61001,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},220470,"shi-shang-du-shu-ren-yi-220470","石上读书","画面以瘦透皱漏的太湖石为布景，雅士踞坐石侧，展卷潜读，神情悠然沉谧，全然沉浸于书卷意趣之中。\n\n设色清雅柔和，衣纹勾勒简练劲挺，将文士宽袍博带的闲适姿态尽显。太湖石以淡墨晕染，辅以皴擦勾勒出空灵剔透的质感，虚实相生间衬出幽寂安闲的氛围。整幅扇面构图疏密得当，把文人幽居耽书的雅静意趣铺陈开来，尽显精妙的笔墨格调。",[7,24,1562,27,28,106,245,14604,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e528abdd16572b6722a32a318064bf1.jpg",[],{"id":61003,"slug":61004,"title":61005,"dynasty":99,"author":293,"museum":752,"description":61006,"tags":61007,"thumbUrl":61008,"material":123,"size":61009,"collection":45,"collections":61010,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},220352,"shan-lin-hui-you-tu-yi-ming-220352","山林会友图","这幅小品以虚实相生铺陈意境，左侧重峦叠石以石青、石绿晕染，苍松虬劲古雅，山居掩映于林麓间，笔墨苍秀雅致。右侧烟波浩渺，远山如黛隐于霭色中，汀洲屋舍朦胧悠远，以留白衬出山水空阔辽远。近景松下雅士围坐清谈，悠然会友，将山林雅集的闲适意趣娓娓道来。\n\n整体设色沉稳古雅，咫尺尺幅间兼具山水之旷远与文人雅聚的悠然，尽显雅致含蓄的山水意趣，把林下清谈的雅逸氛围融于青绿山水间，淡墨轻岚里藏着中式文人的精神栖居之所。",[7,24,1562,27,26,29,106,107,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd57379418541d43f527b09165c063b4.jpg","20.2x21.2",[45],{"id":61012,"slug":61013,"title":61014,"dynasty":204,"author":31399,"museum":206,"description":61015,"tags":61016,"thumbUrl":61017,"material":2398,"size":61018,"collection":44,"collections":61019,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},220248,"hui-lie-tu-hu-gui-220248","回猎图","胡瓌，范阳（河北涿县）人，或做山后契丹人，约活动于九、十世纪之间。精于描绘契丹之人马，凡帐棚、车辆、射猎器用、生活杂物及牲畜犬马，都形容备尽。本幅描写契丹族人，携鹰出猎之情景，人物着典型契丹族之衣冠，其猎鹰、座骑亦具特色。四只猎鹰中，三只可能是不同花色的海东青。鹫鹰科及隼科之鸟类，善猎者有数种，其中以海东青为极品，产地即在契丹之领域中，以善猎天鹅而闻名。马匹似有「裂耳犁鼻」之状，据云是当时契丹（辽金）人养育马匹的特殊方式：「…..谓鼻不破裂，则气盛冲肺。耳不裂，则风传而不闻音声…..」（注 1）。胡瓌喜用狼毫笔，借其挺健之笔毫绘制精致之作品。本幅即其精描细写之佳作，与院藏胡「回猎图」之画风及尺寸大小均相似，原属同一组之作 ，皆曾经宋徽宗收藏，画幅上遗有「宣和」半印。",[23,7,27,28,106,150,900,12288,227,1796,5022,15800,47436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a84886fe554f046fcb60e0d99942b0b.jpg","全幅 43.5x121.7公分",[44],{"id":61021,"slug":61022,"title":61023,"dynasty":189,"author":293,"museum":752,"description":61024,"tags":61025,"thumbUrl":61026,"material":123,"size":61027,"collection":181,"collections":61028,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},220049,"xue-shan-yun-lv-tu-yi-ming-220049","雪山运驴图","此作用淡墨晕染出冰封寒江与覆雪山峦，满目萧寒清寂。虬曲枯木扎根石隙，枝桠尽是冬日的荒疏萧索。空阔雪野间，一行驴队徐行缓进，为沉寂山野添上些许烟火暖意，动静相映，更衬出冬日林峦的清旷孤寒。\n\n画作以细劲线条勾勒山石林木轮廓，淡墨皴擦铺陈积雪，留白晕染巧构雪色，将北国冬雪的荒寒空灵尽数铺展，于极简取景间尽显淡远意趣，把冬日行旅的孤清况味藏入尺幅之间，引人身临其境，浸沉在这片凛凛寒意与静谧萧疏之中。",[23,209,7,24,1397,27,177,3499,8989,1015,176,106,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3496e60237064d400653f83c3b0f63.jpg","25.1 x 25.9 cm",[181],{"id":61030,"slug":61031,"title":61032,"dynasty":99,"author":61033,"museum":515,"description":61034,"tags":61035,"thumbUrl":61036,"material":123,"size":61037,"collection":181,"collections":61038,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[23,209,7,24,25,173,29,177,864,558,5749,34,114,37,650,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[181],{"id":61040,"slug":61041,"title":61042,"dynasty":76,"author":5208,"museum":78,"description":9557,"tags":61043,"thumbUrl":61044,"material":803,"size":9560,"collection":139,"collections":61045,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":94},219856,"ba-jing-shan-shui-tu-2-gong-xian-219856","八景山水图-2",[7,173,177,29,174,108,109,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc456411e76e601da956e5ada940eb00f.jpg",[],{"id":61047,"slug":61048,"title":61049,"dynasty":18,"author":2029,"museum":206,"description":61050,"tags":61051,"thumbUrl":61053,"material":123,"size":61054,"collection":44,"collections":61055,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},219692,"bu-na-tu-liu-song-nian-219692","补衲图","本幅画两名僧人坐于禅榻上，老者正潜心补衣，另一人则抱膝旁观。屏后，复有侍者二人，伫立捻茶。画中人物，表情鲜活而自然，衣纹用笔亦流畅有力。惟左下方款署之「画院待诏赐金带刘松年敬赠」及钤印疑伪。宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。",[7,24,1160,28,27,106,22510,4896,7906,314,315,61052],"衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ba4f263b90c0dc3a1bf10c1a619858.jpg","141.9x59.8cm",[44],{"id":61057,"slug":61058,"title":61059,"dynasty":76,"author":61060,"museum":20,"description":61061,"tags":61062,"thumbUrl":61063,"material":88,"size":61064,"collection":44,"collections":61065,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":94},219634,"lao-zi-qi-niu-tu-wu-chao-219634","老子骑牛图","吴焯","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。",[7,24,209,27,28,106,151,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc7b0425ec06c744d6c192a567f8e64.jpg","纵63.17cm，横32.19cm",[44],{"id":61067,"slug":61068,"title":61069,"dynasty":99,"author":61070,"museum":206,"description":61071,"tags":61072,"thumbUrl":61073,"material":342,"size":139,"collection":163,"collections":61074,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":94},219521,"chang-pu-tu-shen-zhen-ji-219521","菖蒲图","沈贞吉","沈贞吉（1400-1482年仍在）名沈贞，号陶庵、陶然老人（道人），江苏长洲（今苏州人），其弟沈恒，字恒吉，为“吴门画派”代表畫家沈周（1427-1509）之父。沈贞吉工诗，兼擅绘画，以山水见长。但因其“不肯轻为人作，故少存者”，现在所见传世之作极少书画鉴定家张珩在其《木雁斋书画鉴赏笔记》中著录沈贞吉的《溪山一览图》时说：“南斋为石田伯父，画迹传世，平生惟见此一小幅为真迹……已至为难得矣。”（“南斋”为沈贞吉别号）连寓目书画无数的张珩所见沈贞吉画迹仅一件，可见其流传于今的作品，确实不多见。",[7,173,241,86,227,5528,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda667cbc2a17f96eecd268417b52830.jpg",[163],{"id":61076,"slug":61077,"title":1692,"dynasty":99,"author":59090,"museum":206,"description":61078,"tags":61079,"thumbUrl":61080,"material":88,"size":61081,"collection":181,"collections":61082,"showCount":372,"zanCount":5,"manualWeight":48,"mainColor":94},219470,"shan-shui-tu-gu-ning-yuan-219470","此作用淡墨晕染层叠远山，云雾漫过峰巅，虚实相生间晕开空濛悠远的秋意。近岸杂木错落，浅红与苍青点染枝叶，悄然晕出时节变迁。临水篱舍掩映林间，朴雅安闲，宛然可居可游。\n\n画作以干淡细笔勾勒物象，敷色清浅柔和，全凭水墨层次营造萧散简远的氛围，将江南水畔幽居之趣藏于尺幅间，尽显文人画独有的静穆闲雅，引观者沉湎于这一片安谧丘壑，暂忘尘嚣烦扰。",[7,24,241,173,27,177,227,178,29,491,37,34,1015,35,19570,4663,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343ffa34c58013098889b77b7d2fe5d6.jpg","82.3x41.2",[181],{"id":61084,"slug":61085,"title":61086,"dynasty":292,"author":293,"museum":206,"description":61087,"tags":61088,"thumbUrl":61089,"material":67,"size":61090,"collection":181,"collections":61091,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},219368,"wu-kuan-xi-shan-shu-wu-zhou-yi-ming-219368","无款溪山书屋轴","绢色沉古，墨痕淡远。近岸老木扶疏，枝干如铁，叶影婆娑间漏下天光；溪石横卧，水纹隐现，似有泠泠声在耳。中麓书屋半掩，窗内人影悄坐，或展卷，或凝思，与林泉为邻，得山水之趣。远岫层叠，云气轻飘，将天地拉得悠远。笔致工细却含野逸，皴擦点染皆见匠心，无一处不藏着对自然的敬畏与对闲居的向往。置身画前，仿佛能踏过溪石，走近书屋，与画中人共沐山风，静听溪语，忘了尘嚣。",[7,24,209,241,29,173,177,430,176,109,464,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f9e3df3cb8b48d6cea0818948aa5a4.jpg","148.6x74.5",[181],{"id":61093,"slug":61094,"title":61095,"dynasty":99,"author":293,"museum":206,"description":61096,"tags":61097,"thumbUrl":61098,"material":123,"size":61099,"collection":44,"collections":61100,"showCount":372,"zanCount":48,"manualWeight":48,"mainColor":49},219348,"pu-xian-da-shi-xiang-yi-ming-219348","普贤大士像","此幅亦无作者款名。画一僧坐于白象背上，展卷研读。普贤，梵名三曼多跋陀罗，汉译名为普贤，又名遍吉。与文殊同为释迦佛的胁侍，左辅右弼，居菩萨众之上首。又华严经以三者为华严三圣，为一切行德之本体。此图像作世俗僧形，是为便于助佛普化的缘故。与前述之文殊，二画尺寸、笔墨皆近似，原为对幅。",[7,24,209,241,27,28,259,106,957,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F743ec6d76d015ff1fc9bac3178455c15.jpg","156.6x94",[44],{"id":61102,"slug":61103,"title":61104,"dynasty":76,"author":3972,"museum":2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画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[7,27,29,177,81,107,108,109,174,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1133beead4f63e32f0f91d3e2528fba0.jpg",[181,45],{"id":61723,"slug":61724,"title":61725,"dynasty":76,"author":61726,"museum":364,"description":61727,"tags":61728,"thumbUrl":61729,"material":743,"size":744,"collection":139,"collections":61730,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},236441,"hai-tang-ma-que-shan-li-gang-236441","海棠麻雀扇","李钢","李钢，清代画家，字后安，北京人。工书善花卉，笔致清挺，有陈淳遗意。《寒松阁谈艺琐录》",[7,24,1562,83,27,1563,17141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987d7197d531cd7701758f09706fa512.jpg",[],{"id":61732,"slug":61733,"title":61734,"dynasty":76,"author":10376,"museum":20,"description":40266,"tags":61735,"thumbUrl":61736,"material":13041,"size":61737,"collection":181,"collections":61738,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":271},236363,"cui-wei-qiu-se-zhou-wang-hui-236363","翠微秋色轴",[7,24,241,173,177,29,34,176,31,491,1926,2268,649,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbeebb1e51bd250ab9609e911e94915.jpg","纵63.5cm，横36.3cm",[181,163,382],{"id":61740,"slug":61741,"title":486,"dynasty":99,"author":23960,"museum":20,"description":23961,"tags":61742,"thumbUrl":61743,"material":1386,"size":23964,"collection":139,"collections":61744,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},236325,"shan-shui-ce-song-xu-236325",[7,173,29,81,558,174,464,1250,31,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6942f9cce57790f797b1cb0ff08a6128.jpg",[],{"id":61746,"slug":61747,"title":61748,"dynasty":76,"author":61749,"museum":20,"description":61750,"tags":61751,"thumbUrl":61753,"material":139,"size":139,"collection":90,"collections":61754,"showCount":216,"zanCount":5,"manualWeight":48,"mainColor":94},236189,"hua-mei-xi-fan-ting-liang-shi-zheng-shu-feng-guan-long-jing-ti-ming-cheng-shan-sun-you-236189","画梅溪泛艇梁诗正书奉观龙井题名成扇","孙祐","孙佑[清]佑一作祜。江苏人。\n山水宗娄东（王原祁）乾隆（一七三六至至一七九五）时供奉内廷，曾同陈枚，金昆、戴洪、程志道绘清明上河图，乾隆六年（一七四一）与周昆、丁观鹏合作汉宫春晓图卷。《熙朝名画录、国（清）朝画徵录》",[1562,7,24,27,28,29,448,5749,61752,108,1575,176,106,86,178],"艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b354b57fa498851ae8a5f5ae8d64860.jpg",[90,45],{"id":61756,"slug":61757,"title":61758,"dynasty":76,"author":293,"museum":20,"description":61759,"tags":61760,"thumbUrl":61761,"material":40,"size":61762,"collection":44,"collections":61763,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},236164,"xiao-cheng-ren-huang-hou-xiang-zhou-yi-ming-236164","孝诚仁皇后像轴","粘黄绢，上书满汉墨 题：“孝诚恭肃正惠安 和淑懿恪敏俪天襄圣仁 皇后，左。” 孝诚仁皇后御容一 轴，朝服冠，恭 悬， 西大柜尊藏。",[7,24,241,28,27,106,502,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467367c4c931b73109773bf077cb8a22.jpg","纵256.1厘米， 横116.8厘米",[44,45],{"id":61765,"slug":61766,"title":61767,"dynasty":76,"author":13945,"museum":20,"description":61768,"tags":61769,"thumbUrl":61770,"material":1449,"size":139,"collection":181,"collections":61771,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},236140,"fang-yuan-ren-shan-shui-ce-he-yi-236140","仿元人山水册","赫奕 [清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[7,24,81,105,29,177,173,430,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fc6046312eb9e183e0137504ff4f40.jpg",[181,163],{"id":61773,"slug":61774,"title":61775,"dynasty":99,"author":47573,"museum":20,"description":61776,"tags":61777,"thumbUrl":61778,"material":4796,"size":61779,"collection":90,"collections":61780,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},236129,"bai-zi-tu-zhou-xiang-yuan-bian-236129","柏子图轴","图绘湖石及柏树、翠竹、荆棘等。柏树昂扬郁茂，有藤萝缠绕，翠竹挺拔玉立，荆棘屈曲虬劲，三者结合，高低自然，疏密得当，相互映衬，意味悠长。用笔粗细随类，墨色浓淡相宜，风格疏爽，清新静逸。",[7,24,241,173,177,34807,340,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40827a5b89dd11e84e82d1b56e6a6ed.jpg","纵84.6厘米，横26.5厘米",[90,163],{"id":61782,"slug":61783,"title":61784,"dynasty":76,"author":58635,"museum":20,"description":58993,"tags":61785,"thumbUrl":61786,"material":990,"size":58996,"collection":181,"collections":61787,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},236127,"song-xi-shu-wu-tu-zhou-lu-zun-shu-236127","松溪书屋图轴",[7,24,241,173,29,177,449,109,6698,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg",[181,163],{"id":61789,"slug":61790,"title":61791,"dynasty":76,"author":27251,"museum":20,"description":61792,"tags":61793,"thumbUrl":61794,"material":990,"size":61795,"collection":181,"collections":61796,"showCount":216,"zanCount":5,"manualWeight":48,"mainColor":94},236110,"zhang-zong-cang-shan-shui-zhou-zhang-zong-cang-236110","张宗苍山水轴","此图是张宗苍担任宫廷画师期间精心创作的山水画。图中山石反复以线条皴染，再以焦墨点苔，多遍始成，令繁复的林壑不失明爽之致，笔情墨韵间不失苍郁秀雅之气，反映了画家成熟期的典型风格。乾隆皇帝对此图赞赏有加，将它收贮于塞外最重要的行宫避暑山庄，并且在画上题诗三首，以示恩宠。",[7,173,177,29,109,394,245,491,37,34,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946aacb8352879e4db037849980e60c1.jpg","纵143厘米，横75.6厘米",[181,163],{"id":61798,"slug":61799,"title":131,"dynasty":76,"author":3602,"museum":364,"description":3603,"tags":61800,"thumbUrl":61801,"material":743,"size":744,"collection":139,"collections":61802,"showCount":216,"zanCount":5,"manualWeight":48,"mainColor":94},235599,"hua-hui-ce-wang-wu-235599",[7,24,81,27,83,84,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac02c7830b4e4f8ae7d6de5d2c5fd28.jpg",[],{"id":61804,"slug":61805,"title":486,"dynasty":76,"author":61806,"museum":364,"description":61807,"tags":61808,"thumbUrl":61809,"material":139,"size":139,"collection":90,"collections":61810,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},235323,"shan-shui-ce-wen-dian-235323","文点","此作用笔清劲简淡，近景双松虬枝舒展，扎根嶙峋石畔，旁生细草杂木，野趣悠然。白衣高士静踞溪岸，凭虚远眺，将幽居林泉的澹泊心境寄于山水间。\n画面以留白代秋水，远山以浅墨轻晕，烟岚弥漫，虚实相生间，萧疏淡远的氛围油然而生。题识小诗与景致相融，愈发衬出画面简净空灵的意趣，尽显文人画澄怀观道的雅逸格调，将观者带入这无尘烟嚣的静穆天地，共赴林泉高致之约。",[7,24,81,173,177,29,430,176,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b31c251154b62abd3e860a5dabf4c58.jpg",[90,181],{"id":61812,"slug":61813,"title":4334,"dynasty":76,"author":41539,"museum":364,"description":41540,"tags":61814,"thumbUrl":61815,"material":743,"size":744,"collection":139,"collections":61816,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},235279,"ren-wu-gu-shi-ce-fan-xue-yi-235279",[7,24,81,27,28,104,106,107,115,313,430,431,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc796da6635cb8d980b065b7a7bb52c60.jpg",[],{"id":61818,"slug":61819,"title":20281,"dynasty":76,"author":293,"museum":364,"description":61820,"tags":61821,"thumbUrl":61822,"material":139,"size":139,"collection":139,"collections":61823,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},235161,"hong-ren-shan-shui-ce-yi-ming-235161","此作以极简笔墨铺陈清寂意境，枯硬淡墨勾勒石壁，冷峻苍朴，壁上古梅虬枝斜出，寥寥数笔便将孤寒疏朗之态写尽。坡前修竹亭亭玉立，清润秀雅，与古梅萧疏柔刚互衬。\n\n搭配行书题诗，笔意清逸，文心与画意相融。整体空灵冷峭，尽显新安画派简淡孤高的特质，遗世独立的禅意浸透纸面，于尺幅间勾勒出淡远宁静的天地，暗藏孤高沉郁的心境，将文人画清雅出尘的格调诠释尽致。",[7,24,81,173,29,1015,340,176,178,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5030c2cb2f07a2905e8001cd39c8c377.jpg",[],{"id":61825,"slug":61826,"title":48766,"dynasty":99,"author":19758,"museum":364,"description":61827,"tags":61828,"thumbUrl":61829,"material":139,"size":139,"collection":139,"collections":61830,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},235088,"ren-wu-tu-zhou-you-qiu-235088","此作用白描绘就林泉雅集，古木流云之下，蕉石映带，流淙婉转。居中高士端坐抚琴，眉宇端凝，指尖落处似有清籁漫溢；左右二人或支颐沉听、或侧身倾神，尽皆沉醉在泠泠弦歌之中。下方童子躬身临流，正掬取清涧活水，一派安然恬和。\n线条挺秀匀净，衣袂宛转灵动，将人物情态刻画入微，草木泉石晕染清浅淡远，尽得吴门雅韵，把文人林下忘机的风流襟怀铺陈开来，笔墨简淡却意蕴悠长，尽显雅致出尘的林下意趣。",[7,241,173,260,28,106,755,176,109,34,227],"ht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是画院的成立和发展。这是茶花画兴盛的物质基础之一。五代西蜀、南唐正式成立画院，称“翰林图画院”，一时名画家皆归附，绘事盛极一时。至两宋，画院繁荣，尤其是在宋徽宗的倡导下，扩充画院、兴画学，画院及绘画得到空前的发展。\n二是宋代造园植树之风大盛，茶花的引种栽培发展到一个鼎盛时期。其茶花新品种之多，园艺技术水平之高，盆栽与插花艺术拓展之快，都是前所未有的。这是宋代茶花画兴盛的物质条件。\n三是茶花画领域出现以黄筌为代表的在绘画史上具有重要地位和成就的画家。五代和宋前期的花鸟画家，首推黄筌。黄筌（约903～965年）为五代西蜀画家，是五代院体画家主要代表人物。曾入西蜀画院为翰林待诏。黄筌承前启后，创黄筌画派。黄筌的“富丽画风”，适合统治者和宫庭的需要及审美趣味。所谓“黄氏富贵”，即以严谨的用笔，惟妙惟肖的形象刻画，富丽堂皇的色彩为基本特点。黄筌的茶花作品有四幅。《宣和画谱》记有三幅：《山茶鹑雀图》一幅和《山茶雪雀图》二幅，均无画迹可考。只有近代画家于非闇临黄筌《彩鸠山茶图》一幅尚存。摹本上有临宋徽宗题款：“彩鸠山茶，黄筌妙笔。”\n两宋时期的茶花画家，院体画家（即宫廷画家）主要有北宋画家崔悫、吴元瑜，南宋画家林椿、李嵩（1166～1243年）、苏汉臣、董祥（1068～？）等，其身份均为画院待诏。林椿工画花鸟翎，重布局经营，是一位卓有成就的花鸟画家，代表作有《山茶霁雪图》和《茶花鸽子图》。崔悫有《山茶图》。吴元瑜有《山茶鹩子图》。李嵩茶花代表作为《花篮图》（藏台北故宫博物院）。苏汉臣为人物画家，作品《冬日婴戏图》（现藏台北故宫博物院）是一幅以山茶为背景的人物画作。董祥茶花作品有《岁朝图》（现藏台北故宫博物院）。\n院外画家（非宫廷画家）主要有北宋画家赵昌（？～1016年）、易元吉、丘庆余等。赵昌的茶花作品有折枝茶花、二色茶花，其画作“不特取其形似，直与花传神者也”，称“写生赵昌”，名重一时。《宣和画谱》录有其茶花作品《山茶图》、《山茶竹兔图》等十幅之多，另有《四季花卉卷· 山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,7,209,24,25,28,27,105,83,591,33973,281,1062,176,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],{"id":61936,"slug":61937,"title":61938,"dynasty":189,"author":351,"museum":364,"description":61939,"tags":61940,"thumbUrl":61941,"material":67,"size":61942,"collection":139,"collections":61943,"showCount":216,"zanCount":5,"manualWeight":48,"mainColor":94},232884,"qun-xian-du-hai-tu-juan-qian-xuan-232884","群仙渡海图卷","八仙是中国民间传说中广为流传的道教八位神仙。\n八仙之名，明代以前说法不一，有汉代八仙、唐代八仙、宋元八仙，所列神仙各不相同。至明代吴元泰《东游记》始定为：铁拐李（李玄）、汉钟离（钟离权）、张果老（张果）、吕洞宾（吕岩）、何仙姑（何琼）、蓝采和（许坚）、韩湘子、曹国舅（曹景休）。",[23,7,25,27,106,259,17842,31543,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1473de61e41bb0fdef9334e4b6bf4dc.jpg","* 24.4x94cm",[],{"id":61945,"slug":61946,"title":61947,"dynasty":76,"author":9039,"museum":20,"description":61948,"tags":61949,"thumbUrl":61950,"material":1716,"size":61951,"collection":139,"collections":61952,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},232688,"mo-song-tu-zhou-zhao-zhi-qian-232688","墨松图轴","据画家自题，此图参用了篆、隶、草三体的书写技法来描绘松树，落笔圆浑滋厚，与作者的书法风格同一格调。树干、枝条、松针以草书笔法表现，秉承了文人画豪放洒脱的传统。画上行书落款笔力雄健遒劲，其金石韵味与松木的画法相映衬，意趣横生。此幅不愧为赵之谦以金石、书法入画的代表作。",[23,7,173,446,177,449,86,227,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35fd887689ee93323c8e3eacf3173751.jpg","纵176.5厘米，横96.5厘米",[],{"id":61954,"slug":61955,"title":27897,"dynasty":189,"author":1672,"museum":15596,"description":61956,"tags":61957,"thumbUrl":61960,"material":803,"size":61961,"collection":139,"collections":61962,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},232639,"shui-zhu-ju-tu-ni-zan-232639","此图以青绿设色绘江南初秋景色。山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n按图上作者题款：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。因想像图此……” 知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[23,7,1397,2939,7337,920,56877,13516,10940,108,1250,649,45071,61958,4686,3995,61959,1195,86,227,177],"仙居","幽冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纵48厘米，横28厘米",[],{"id":61964,"slug":61965,"title":61966,"dynasty":189,"author":2438,"museum":206,"description":61967,"tags":61968,"thumbUrl":61969,"material":67,"size":61970,"collection":139,"collections":61971,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},232255,"zhu-lin-xian-zi-tu-liu-guan-dao-232255","竹林仙子图","这一张古画比较奇怪，奇怪的是故事的内容比较特殊，而且是供欣赏者来一起讨论的。作品是元代刘贯道的 《竹林仙子》，作品并不大，但如今被收藏在台北博物馆之中。\n为什么说这一张作品比较奇怪，因为画中仅仅只出现了一个古代仕女，但专家却称这一个仕女有区别当时的画中人物，准确的讲作者想要画的是自己想象中的仙女。\n700年前的一个仙女掉落竹林，古画中的她想飞却又被困住了！\n既然是仙女，为何画中的人物会被困在画里的竹林之中无法飞出去呢？这背后究竟是为什么？我们带着疑问先来看看作品的细节，一起来欣赏一下距今700多年的作品背后究竟作者想要表达什么！\n刘贯道是元代一个著名的绘画大师，而且他的绘画作品尤其是擅长于画佛道人物，所以为什么画中人物被称为仙女，这与作者的用意有直接的关系。\n当然他也能画山水、花竹、鸟兽等等。他的作品之中绘画的手法与宋朝文人雅士一样，但其画功非又比一般的画家复杂得多，而且他的存世作品非常少。\n仔细看这一张作品，其实大家可以感受到绘画作者非常的细致，每一处的景色显得非常的精妙，尤其是他笔下有着一种传统的绘画技法，透露着一种浓浓的古典风味。\n整个作品十分的雅，而且清秀的笔锋与颜料的使用都是非常特别。仔细看那一个仙女的衣服，飘逸的感觉真的很到位，就如天宫之中的仙女一模一样。但为什么这一个仙女会落到凡间的竹之中呢？\n首先有网友给出一种解释，那就是不是这一个仙女落到了凡间，而是她亲自下凡后却被凡间的某一些东西给吸引住了。作者在绘画的时候让仙女的眼神落在了地上的鲜花上面，可能是凡间的花朵吸引住了她，也可能这一些鲜花在天宫之中就没有，美女爱花这一个观点就融入到作品之中。\n仙女被仙花吸引住了，所以她独自下凡就是为了多看几眼鲜花。仙女的姿势是有向后飞的意思，衣服的飘带也是呈现一种动起来的姿态，而仙凡看着花果，估计也就是被鲜花给吸引住了。\n不得不说古人绘画的作品真的够细致，山间有竹林，而竹林之中又有少许的鲜花。一个仙女落入在凡间的树林之中，在鲜花的山间还有一些流水，这样一种诗情画意的画面真妙。\n难怪仙女不愿意离开，估计换成别人落入到如此美景之中也不会想着离开吧",[7,24,209,28,27,106,59,242,176,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b43f6849455cf8800987ffcf55ba5cf.jpg","70×31.4cm",[],{"id":61973,"slug":61974,"title":61975,"dynasty":292,"author":293,"museum":364,"description":61976,"tags":61977,"thumbUrl":61978,"material":743,"size":744,"collection":139,"collections":61979,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},231793,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-niao-juan-yi-ming-231793","明清日本古画花鸟山水人物粉本-花鸟卷","此卷三段取景，意趣各别。首段紫茄垂枝，晕染柔和饱满，将蔬果的鲜活质感尽显无余。中段群芳错生，凤仙秾艳、牵牛幽蓝、鸡冠明黄，草间蜻蜓静立，工笔勾勒柔劲相济，淡彩敷色清润雅致，将花草舒展之姿描摹入微。末段坡泽野趣盎然，蛙类或跃或伏，紫藤垂缀如瀑，蜂蝶振翅穿梭，生机灵动。全卷笔致秀雅，兼具工细写生的精工与自然野逸之趣，淡墨轻色温润和谐，将四时小景的鲜活意趣融于长卷，尽显写生花鸟的雅致风神。",[23,7,24,25,27,28,83,299,712,10304,932,698,1461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9311663ccaeea82c7a495e62a25ee48c.jpg",[],{"id":61981,"slug":61982,"title":61983,"dynasty":292,"author":61984,"museum":364,"description":61985,"tags":61986,"thumbUrl":61987,"material":743,"size":744,"collection":139,"collections":61988,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},231735,"shan-shui-ren-wu-juan-xia-bu-ji-tong-231735","山水人物卷(下部)","吉通","德川吉通（1689年—1713年），德川御三家之一的尾张藩第四代藩主。是第三代藩主德川纲诚的九男，母亲侧室坂崎氏。乳名是薮太郎、吉郎、五郎太。字子中。官职从三位权中纳言。",[23,7,24,25,27,28,104,106,107,29,34,115,114,313,21213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a280d4f710ef9cf58d529163770ed3.jpg",[],{"id":61990,"slug":61991,"title":61992,"dynasty":292,"author":293,"museum":364,"description":61993,"tags":61994,"thumbUrl":61995,"material":743,"size":744,"collection":139,"collections":61996,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},231679,"xing-shan-nu-hu-tu-zhou-yi-ming-231679","行山怒虎图轴","此作画境开阔空寂，将猛虎置于下半幅，以大片留白衬出山野荒莽之境。作者工写兼具，以细笔丝绘虎身鬃毛，蓬松柔劲，晕染出皮毛的明暗层次。怒目圆睁、獠牙毕露，咆哮间尽显百兽之王的慑人气魄，前爪紧扣山石，利爪锋芒毕现，将蓄势待发的悍勇姿态定格。岩石以淡墨泼染、焦墨提点，干湿浓淡间烘托出嶙峋质感，与猛虎的刚健互为映衬。整幅笔墨苍劲古朴，把山君的威严凶悍与山野的沉静融为一体，尽显传统走兽画的精妙气韵。",[23,7,24,241,27,28,7281,957,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9040aefe7882aff435761b74a634bd.jpg",[],{"id":61998,"slug":61999,"title":62000,"dynasty":189,"author":62001,"museum":206,"description":62002,"tags":62003,"thumbUrl":62004,"material":342,"size":62005,"collection":139,"collections":62006,"showCount":216,"zanCount":5,"manualWeight":48,"mainColor":94},231412,"yan-ling-diao-tai-tu-sa-dou-ci-231412","严陵钓台图","萨都刺","诗塘款题云：\n山川牵惹心我旌。迢递驱驰万里程。蹻步薜分声柝柝。瀑流涧汇响砰砰。钓竿台上无形迹。丘壑亭中有隐名。富贵可遗志不易。鼎彝犹似羽毛轻。予自都门历南。跋涉驱驰。奔走几半万里。闻严台钓矶。山秀寰拱。碧水澄渊。余强冷启敬共登。既而游归。启敬强余绘图。漫为作此。至元己卯（1339年）八月燕山天锡薩都剌写。并题於武林。",[23,7,173,178,86,177,227,24,29,174,1575,503,35,491,5243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375ad6aa0e419933d8c53ef10dae7dd4.jpg","58.7 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《秋溪钓艇图》绘一叶渔艇行于江中，有一翁于船尾垂钓，右边是茫茫江水，近处可见山石树木，而远处渐见山峦。\n整幅作品结构严整，笔墨清润，在浓郁浑厚的气韵中具有潇洒隽逸的格调",[23,7,27,29,174,109,34,1016,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3c21778a859a2f0bf01a09c1d9a01b.jpg",[],{"id":62142,"slug":62143,"title":36946,"dynasty":18,"author":823,"museum":364,"description":62144,"tags":62145,"thumbUrl":62146,"material":139,"size":139,"collection":139,"collections":62147,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},227983,"ze-pan-ji-feng-tu-xia-gui-227983","取景偏于一隅，以少胜多尽显空灵意蕴。坡岸古松欹斜偃蹇，枝叶被劲风催动翻卷，将无形疾风化作可见的动势。滩头渔人躬身急收渔具，在仓促忙乱间把江上风急的冷寂氛围具象化。对岸远山以淡墨晕染，崖顶隐于朦胧间，不着一笔却见江天辽远。留白化作淼淼烟波与空阔长天，以虚代实，寥寥数笔便将骤风起于泽畔的瞬态凝固，把江野的清寂苍劲藏在简淡水墨中，尽显山水小景的写意妙趣。",[209,7,24,1562,173,27,29,394,174,1016,177,176,34,38600,36949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee58dbb89ce2c636b498ecbaa6feb6ca.jpg",[],{"id":62149,"slug":62150,"title":62151,"dynasty":18,"author":6652,"museum":364,"description":62152,"tags":62153,"thumbUrl":62154,"material":139,"size":139,"collection":139,"collections":62155,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},227941,"yun-shan-tu-juan-mi-you-ren-227941","云山图卷","以水墨晕染写就烟峦百态，峰岫浮沉在流岚雾霭之中，汀渚林木隐现于云水之间。不施勾勒皴擦，纯以墨色浓淡晕出山之体态，尽显江南山水氤氲空濛的烟雨气象。\n运笔简率萧散，信笔挥洒间便将润泽秀雅的江天景致铺展卷上。一叶孤舟泛于江上，更衬江天寥廓悠远，尽显“墨戏”的写意特质，于虚灵中藏沉厚，平淡里见悠远，将江南烟岚朝暮的朦胧诗意定格卷间，尽显寄兴笔墨的文人雅趣。",[23,7,24,25,173,177,29,1329,174,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0dedd99ab89fbc71fe9e1671080a2e.jpg",[],{"id":62157,"slug":62158,"title":62159,"dynasty":18,"author":16956,"museum":206,"description":62160,"tags":62161,"thumbUrl":62162,"material":827,"size":139,"collection":139,"collections":62163,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},227750,"feng-yan-zhan-juan-zhao-bo-su-227750","风檐展卷","本幅画傍山临水，庭院湖石点缀，长松修竹环抱，营造出文人理想燕居之室。亭内屏前设卧榻，漆桌上置书卷、瓷瓶、香炉，文士右持羽扇，左倚凭几，神态悠闲；左方仕女二人凭栏而立，右方两童手执茶具，趋步向亭。题签订为南宋画家赵伯骕（1124-1182），对幅书法则为乾隆御题。宋人强调「烧香、烹茶，挂画、插花，四般闲事」（见南宋《梦粱录》）。此帧小扇面，除了反映宋代文人品茶挂画的生活文化，更保留了宋代园林建筑及家具的造型特色，弥足珍贵。",[23,209,7,24,27,28,29,106,175,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92817d91df028c880aa3c02bbd0c810.jpg",[],{"id":62165,"slug":62166,"title":62167,"dynasty":18,"author":823,"museum":364,"description":62168,"tags":62169,"thumbUrl":62170,"material":139,"size":139,"collection":139,"collections":62171,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},227731,"yao-cen-yan-ai-tu-ye-xia-gui-227731","遥岑烟霭图页","暮色四围，烟岚沉沉，远方数峰缥缈，近处水石萦回，在空茫的背景中衬出树木的剪影一般的身姿。画家夏圭着意渲染出黄昏时分那微茫昏沉的感觉和诗意，犹如醉酒的微醺，令人着迷。",[23,7,173,177,81,29,491,13668,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7af6ddb62a8cb81e7c3c1551de268c7.jpg",[],{"id":62173,"slug":62174,"title":33200,"dynasty":18,"author":2007,"museum":206,"description":62175,"tags":62176,"thumbUrl":62177,"material":139,"size":139,"collection":139,"collections":62178,"showCount":216,"zanCount":5,"manualWeight":48,"mainColor":94},227636,"bing-zhu-ye-you-tu-ma-lin-227636","《宋马麟秉烛夜游图》是宋代画家马麟创作的一幅古画。\n\n朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[23,209,7,24,1160,27,104,107,106,34,29,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35159932efb51b829eecc61539b4cc0.jpg",[],{"id":62180,"slug":62181,"title":62182,"dynasty":18,"author":781,"museum":364,"description":37292,"tags":62183,"thumbUrl":62184,"material":139,"size":139,"collection":44,"collections":62185,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},227605,"long-mian-shan-zhuang-tu-er-ju-bu-li-gong-lin-227605","龙眠山庄图二（局部）",[23,209,7,24,260,29,106,176,34,4614,5421,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae494a47b809a3618a60d989e4610588.jpg",[44],{"id":62187,"slug":62188,"title":62189,"dynasty":18,"author":553,"museum":364,"description":62190,"tags":62191,"thumbUrl":62192,"material":139,"size":139,"collection":139,"collections":62193,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},227496,"xue-shan-tu-ye-fan-kuan-227496","雪山图页","《雪山萧寺图》是北宋画家范宽创作的一幅中国画。该幅画表现雪中山水的代表作品，构图不同于其他作品。画中山石树木直现于幅前，不留空间，让观赏者觉得有一股寒气袭来的身临其境感。群山簇拥，直指天空，深深的沟壑中，密林隐藏着萧寺，丛岩叠嶂中，“溪出深虚，水若有声”。由近而远堆叠的山峦，“折落有势”，山下寒树苍劲坚挺，势如铁帚，显示出范宽“写山真骨”，“与山传神”的精湛技艺。",[23,209,7,24,81,173,27,177,29,3499,245,394,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323a384e10f929ca675c2d84c6b715b5.jpg",[],{"id":62195,"slug":62196,"title":62197,"dynasty":18,"author":62198,"museum":364,"description":62199,"tags":62200,"thumbUrl":62201,"material":139,"size":139,"collection":139,"collections":62202,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},227436,"han-lin-ju-qin-tu-gao-dao-227436","寒林聚禽图","高焘","美国克利夫兰艺术博物馆藏《寒林聚禽图轴》，因存名款而传为南宋画家高焘传世仅见的一幅绢本设色花鸟画轴。高居翰认为高焘有可能出仕金源，因此该画现被归为金代绘画作品。而笔者主张的观点是：从无史料证实高焘曾叛降金源，且高焘该画本事，更可能蕴涵有抗金时代征候并具有一定积极政治倾向。",[23,209,7,241,27,83,29,2125,1015,281],"https:\u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江贯道的山水画风格融合了董源、巨然的画风，擅画远山丛丛，水天一色。 清初的王鉴很喜欢江贯道的画风，临仿了多幅他的作品。 从清初四王的风格来看，他们都有强大的摹古能力，尤其是宋元名家的风格特征已经深深地烙印在他们的作品之中。",[7,209,24,29,27,177,1653,394,151,154,106,864,900,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7232f33445e065218724fbbeadf8b1e2.jpg",[],{"id":62212,"slug":62213,"title":62214,"dynasty":54,"author":4781,"museum":364,"description":62215,"tags":62216,"thumbUrl":62217,"material":139,"size":139,"collection":139,"collections":62218,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},227079,"yu-ren-cheng-ma-tu-ming-mo-ben-han-gan-227079","圉人呈马图（明摹本）","韩斡《 圉人呈马图》，生动地表现了骏马的体态神情，准确、简炼，真实。牧马人的形象也威武生动。从画风来看，牧马人两腮胡须，体格高大肥壮，是为胡人相貌;马匹神骏雄健，属来自西域之品种。在造形上，黑白二马健硕丰满，生动逼真，但在线条的描绘上却是细致流畅。",[23,7,209,24,25,105,27,106,150,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b526faf361dadc7a0848f07e8fe74aa.jpg",[],{"id":62220,"slug":62221,"title":62222,"dynasty":76,"author":7124,"museum":364,"description":50721,"tags":62223,"thumbUrl":62224,"material":139,"size":139,"collection":139,"collections":62225,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},226632,"si-shi-shan-shui-05-pu-ru-226632","四时山水05",[23,7,173,177,29,1575,176,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1a4e3f15c64dc930ae6a157ad9e18.jpg",[],{"id":62227,"slug":62228,"title":62229,"dynasty":76,"author":2040,"museum":364,"description":62230,"tags":62231,"thumbUrl":62232,"material":139,"size":139,"collection":139,"collections":62233,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224588,"mo-song-yuan-hua-liu-xia-xiong-ji-zhou-zou-yi-gui-224588","橅宋苑画榴下雄鸡轴","此作用色明妍雅致，雄鸡独立石上，红冠华羽，昂首睨视，尽显轩昂神气。榴花似火缀于枝桠，与素白百合、娇柔萱花相映，浓烈与清柔交织，层次丰盈。灵透湖石立旁，皴秀古雅，衬得花木禽鸟更见鲜活生机。\n\n工笔绘就却无板滞之感，禽鸟羽毛晕染细腻毫微，花枝俯仰有情，尽显精工雅致。搭配题诗，将雄鸡傲岸品格融于笔端，物性文思相合，构图疏密得宜，静雅鲜活相融，铺展出祥瑞清和的悠然意境，尽显雅致雍容的花鸟意趣。",[23,7,24,241,28,27,83,5865,27008,1135,298,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4db89d3a16251c308996ad3f0f3d35.jpg",[],{"id":62235,"slug":62236,"title":62237,"dynasty":76,"author":1109,"museum":364,"description":62238,"tags":62239,"thumbUrl":62240,"material":139,"size":139,"collection":139,"collections":62241,"showCount":216,"zanCount":5,"manualWeight":48,"mainColor":94},224518,"shan-shui-tu-ce-8-kai-5-zhang-da-qian-jiu-cang-shi-tao-224518","山水图册8开-5-张大千旧藏","这幅画以板桥通幽开篇，苍虬古木引向临渊茅舍，二人松下晤谈，岸柳轻拂添了灵动生机。远景群峰用枯涩皴笔写就，墨色干湿浓淡交织，于简淡勾勒间见出层峦雄浑之态。\n整幅以笔意载山乡幽怀，将林下隐逸的桃源意趣藏于尺幅。题字纵逸朴拙，与山水笔墨浑然相合，不见雕琢之痕。观之如踏入烟岚溪山，俗虑尽消，尽显笔底丘壑的林下清趣。",[23,209,7,24,81,173,177,29,430,106,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db64bd599b59aa160742e31ee3c7ca.jpg",[],{"id":62243,"slug":62244,"title":62245,"dynasty":76,"author":1109,"museum":364,"description":62246,"tags":62247,"thumbUrl":62248,"material":139,"size":139,"collection":139,"collections":62249,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224506,"shan-shui-ce-kai-shi-yi-shi-tao-224506","山水冊开(十一)","淡墨晕染江天，烟霭轻笼远山，将春日春江晕染得愈发空濛柔婉。岸侧垂柳疏条袅袅，几只禽鸟栖止枝头，清寂中又添几分灵动生机。江心孤帆半展，随波缓行，似载着晚春归人，悠悠划入淡远烟波之中。\n整幅画作笔墨简淡空灵，不着浓艳色彩，以写意之笔勾勒出江乡暮春的闲散幽寂。题诗与画境浑然相融，把春昼悠长的慵懒恬然藏在浅淡笔墨间，寥寥数笔便将悠远空寂的江天胜境铺展开来，尽显雅致文心。",[23,7,24,81,173,177,29,174,109,281,1653,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a05b280c06a6313490c10405c040edb.jpg",[],{"id":62251,"slug":62252,"title":62253,"dynasty":76,"author":1109,"museum":364,"description":62254,"tags":62255,"thumbUrl":62256,"material":139,"size":139,"collection":139,"collections":62257,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224498,"shan-shui-ce-kai-qi-shi-tao-224498","山水冊开(七)","此作用淡青晕染远山，朦胧如含烟笼雾，留白湖面恰似空濛烟波，汀渚苇草轻曳，将江渚清寂铺陈开来。近坡以浓墨点苔，苍润朴拙，村居隐于繁荫之下，檐下仿佛有幽人对坐，暗合题诗里的江村闲意。\n行书题跋错落排布，与水墨山水相融相生，笔墨随性却章法自洽。将江南野居的清寂诗意晕染纸上，淡而不薄，简而不空，把文人幽居寄情山水的意趣藏在每一处皴擦点染里，观之如临无人烟渚，坐忘林泉，尽得山野闲逸之味。",[23,7,173,81,177,27,29,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61e210656cf02ca4c403e9a8efe90f9.jpg",[],{"id":62259,"slug":62260,"title":62261,"dynasty":76,"author":1394,"museum":364,"description":62262,"tags":62263,"thumbUrl":62264,"material":139,"size":139,"collection":139,"collections":62265,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[23,7,24,241,1397,177,173,27,29,1575,558,37,176,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":62267,"slug":62268,"title":62269,"dynasty":76,"author":15347,"museum":364,"description":62270,"tags":62271,"thumbUrl":62272,"material":139,"size":139,"collection":139,"collections":62273,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224255,"tao-yuan-tu-cha-shi-biao-224255","桃园图","此作用笔松秀简淡，以浅绛设色晕染出桃源幽境。左侧村舍错落隐于林樾间，田陇横斜延展，数位乡贤执礼晤谈，稚童随行、家犬嬉游，晕开融融烟火意趣。右侧崖壁清峭苍古，松枝偃仰遒劲，江流宛转萦回，扁舟静泊汀岸，淡施花青赭石点染枝梢，晕开春日柔润清和。\n全画以留白衬出空寂幽远的氛围，将林泉静穆与村居恬和相融，把文人心中避世归乡的桃源理想，化作可感的山水村居图景，尽显萧散简远的审美意趣。",[23,7,24,25,173,177,29,106,35,34,1575,279,174,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ee26c49185665d7885d138604cf597.jpg",[],{"id":62275,"slug":62276,"title":62277,"dynasty":76,"author":35607,"museum":364,"description":62278,"tags":62279,"thumbUrl":62280,"material":139,"size":139,"collection":139,"collections":62281,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224168,"zhu-ju-tu-zhou-xi-gang-224168","竹菊图轴","画面以山水衬花木，竹枝挺秀于右上角，涧水蜿蜒穿石而过，丛菊沿溪盛放，白花墨叶相互映衬。山石以淡墨皴擦留白作泉流，笔致松秀灵动，菊花以细笔勾勒花瓣，淡墨晕染花叶，清妍雅致。\n\n行书长题与画作相映，寄寓爱菊慕寿的文人雅趣。整体意境清寂高旷，将花木清隽与山水静逸融为一体，淡墨浅彩间尽显幽淡冲和的林下之风，是文人花鸟画中诗画合璧的逸品。",[23,7,24,241,27,177,242,453,109,176,62,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc656bde3d4ac43914a891d3b7e6eef.jpg",[],{"id":62283,"slug":62284,"title":62285,"dynasty":76,"author":9622,"museum":206,"description":62286,"tags":62287,"thumbUrl":62288,"material":827,"size":62289,"collection":90,"collections":62290,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},224117,"kai-tai-shuo-bing-san-yang-kai-tai-tu-juan-qian-long-224117","开泰说并三阳开泰图卷","是清代乾隆弘历的亲笔图，该幅是摹仿收藏于台北故宫博物院明宣宗（1399－1435）与郎世宁（1688－1766）同名之作。该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作",[23,209,7,24,25,173,178,227,86,957,8368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0619277c0f73ea795b19279dee6e8c7f.jpg","27.7×63厘米",[90,163],{"id":62292,"slug":62293,"title":62294,"dynasty":18,"author":293,"museum":20,"description":62295,"tags":62296,"thumbUrl":62298,"material":40,"size":62299,"collection":42,"collections":62300,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},223605,"qiu-lin-fang-du-tu-zhou-yi-ming-223605","秋林放犊图轴","画面描绘了一个男孩在岸边与平坡之间的秋林中给牛溪喂食的场景。 牛肥壮，孩子调皮。",[23,209,7,241,27,28,3953,34,62297,14137,227],"牛犊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c9fbfac81e21e219709419b2fe821c.jpg","96.3＊53.2cm",[42,181,163],{"id":62302,"slug":62303,"title":62304,"dynasty":18,"author":293,"museum":56,"description":62305,"tags":62306,"thumbUrl":62307,"material":803,"size":62308,"collection":139,"collections":62309,"showCount":216,"zanCount":5,"manualWeight":48,"mainColor":94},223492,"ming-huang-ji-qiu-tu-quan-juan-yi-ming-223492","明皇击球图全卷","图绘十六人击球之场面。画作左右各绘球门一扇，均两人守一门，画中部唐明皇带领后宫佳丽及臣子骑马击球，人物姿态各异，穿着随意，表情喜庆欢乐。旧传为李公麟所作，卷尾有明傅著、吴乾、董其昌等跋，",[23,209,7,24,25,260,106,150,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68798f2e4eb8278bdfe8b44f29281933.jpg","32.1×226",[],{"id":62311,"slug":62312,"title":62313,"dynasty":18,"author":293,"museum":56,"description":62314,"tags":62315,"thumbUrl":62316,"material":67,"size":62317,"collection":90,"collections":62318,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},223449,"han-ya-tu-juan-yi-ming-223449","寒鸦图卷","此图淡彩画雪霁严林、群鸭、寒塘衰草。",[23,7,24,25,173,27,28,177,86,227,1015,394,281,2502,109,7941,1729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ba2c5fb104dfc8ae7bd32e5b801ac1.jpg","27.1×113.2cm",[90,45],{"id":62320,"slug":62321,"title":62322,"dynasty":18,"author":293,"museum":206,"description":62323,"tags":62324,"thumbUrl":62325,"material":827,"size":62326,"collection":139,"collections":62327,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},223426,"song-ren-song-yan-xian-guan-zhou-yi-ming-223426","宋人松岩仙馆轴","静处江山，层楼逶迤。长松之下，人物容与于其间。全幅画山，尽用焦墨钩勒，近轮廓处，稍稍以淡墨横加皴纹，隐约几不可辨。画树极细致而详尽，夹叶点中并及筋络。人物亦细笔，劲挺而须眉毕具。无间远近，同此一法。与世传唐画有脉息相通处，或是宋人所摹旧本。",[23,7,24,241,173,177,29,449,4228,107,430,176,491,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29c46de45092ebaff5ce785caa37a19.jpg","171x115.7公分",[],{"id":62329,"slug":62330,"title":62331,"dynasty":76,"author":293,"museum":20,"description":62332,"tags":62333,"thumbUrl":62334,"material":9253,"size":62335,"collection":139,"collections":62336,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},223383,"nan-yue-quan-tu-yi-ming-223383","南岳全图","《南岳全图》正是以充分表现南岳秀美景色为宗旨，采用了中国传统的山水画画法，以水平方向自右向左形象生动地描绘了长沙省城、湘潭县城、衡山县城、衡州府城等省府县城池，以及寺庙名胜、古塔古木、江中行船等景色。全图色彩淡雅别致，绘制精美细腻，形象生动逼真，使人有如身临其境之感。这是现存已为数不多的南岳图中的一幅不可多得的地图。",[23,7,27,25,177,29,30,34,114,111,31,37,1432,175,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e02d4a14616d856e621cceee56f519.jpg","纵32厘米，横210厘米",[],{"id":62338,"slug":62339,"title":62340,"dynasty":18,"author":293,"museum":20,"description":62341,"tags":62342,"thumbUrl":62343,"material":665,"size":62344,"collection":139,"collections":62345,"showCount":216,"zanCount":5,"manualWeight":48,"mainColor":49},223373,"xie-sheng-cao-chong-tu-yi-ming-223373","写生草虫图","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真",[23,209,7,24,28,27,710,83,603,800,604,29018,1362,1461,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf81f5379cd474d1d26ba4e587d518bb.jpg","25.9x26.9",[],{"id":62347,"slug":62348,"title":62349,"dynasty":99,"author":293,"museum":12966,"description":62350,"tags":62351,"thumbUrl":62352,"material":40,"size":62353,"collection":139,"collections":62354,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},223356,"fang-fan-kuan-jin-bi-feng-tu-juan-yi-ming-223356","仿范宽金碧峰图卷","长卷绘山峦连绵，山头绿色点缀，山间云雾缭绕，山脚河水绕山而行，河面或宽阔或窄细，岸上绿树成荫，房舍、良田隐于山中。此画设色厚重，笔力鼎健，山河皆雄伟气魄，房舍、小桥、人物等细节上又精细柔和。",[23,7,25,27,177,105,29,34,176,108,109,175,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0279aacb6bccc03741b537e171d940bc.jpg","32.9×520.5CM",[],{"id":62356,"slug":62357,"title":62358,"dynasty":76,"author":2083,"museum":364,"description":3135,"tags":62359,"thumbUrl":62360,"material":803,"size":139,"collection":382,"collections":62361,"showCount":216,"zanCount":1547,"manualWeight":48,"mainColor":94},223292,"wu-yan-shi-zheng-ban-qiao-223292","五言诗",[23,7,24,241,178,227,173,368,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3c5a5bdcf2543aa3e72177efe971d9.jpg",[382],{"id":62363,"slug":62364,"title":62365,"dynasty":76,"author":6862,"museum":132,"description":62366,"tags":62367,"thumbUrl":62368,"material":173,"size":62369,"collection":181,"collections":62370,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},223250,"ku-mu-han-ya-pu-hua-223250","枯木寒鸦","款识：枯木寒鸦。曾见李莹邱有此本，偶一效之，大略如是，作英蒲华。",[23,7,173,446,177,543,281,29,245,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac8fd8af8dbebd94497968fae5fd6bb.jpg","33×127cm",[181,163],{"id":62372,"slug":62373,"title":62374,"dynasty":76,"author":15408,"museum":20,"description":62375,"tags":62376,"thumbUrl":62377,"material":40,"size":62378,"collection":90,"collections":62379,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},223146,"yao-xie-shi-yi-tu-ce-di-yi-kai-fu-jian-long-yuan-shen-hua-tian-zhong-shan-shu-ren-xiong-223146","姚燮诗意图册-第一开：俯见龙渊深，花田种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衣物垂坠质感尽数展现。淡墨铺陈背景，虚实相生，把出尘禅意融于画面，尽显空灵禅韵风骨，观之便觉心神俱宁，禅意自来。",[7,209,24,241,259,106,27,173,32873,17768,7960,36508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bb449717283920e09413c317b9791.jpg",[44],{"id":62646,"slug":62647,"title":3658,"dynasty":18,"author":293,"museum":206,"description":62648,"tags":62649,"thumbUrl":62651,"material":123,"size":62652,"collection":44,"collections":62653,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":271},219625,"kan-shu-tu-yi-ming-219625","庭园之中，几案纷列，髯者数人，有持扇、阅卷、脱帽、盥洗者。此图与本院所藏宋刘松年「十八学士图」长卷之一段构图近似，选取其中不同人物活动、家具陈设、花园点景而成，主题应为文会而非勘书。院中所摆置家具、器物种类繁多，有长案、方桌、方凳、环墩、靠背扶手椅、琴、书卷、酒器、香炉等。此图应为明代中晚期临本，画家对器物造型描写颇多，但在人物绘法上有些呆板。",[7,24,28,27,106,8612,86,227,34866,62650],"纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff944d9925f9c8460e8e94c86c9ef945d.jpg","50.7x42.2厘米",[44],{"id":62655,"slug":62656,"title":62657,"dynasty":76,"author":293,"museum":3537,"description":62658,"tags":62659,"thumbUrl":62660,"material":123,"size":139,"collection":44,"collections":62661,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},219581,"xi-xiang-tu-yi-ming-219581","洗象图","此作以淡墨轻勾白象轮廓，褶皱肌理写实柔和，将巨兽的温驯姿态尽显。三位蕃人各司其职，骑象者持帚扫拭脊背，一人扶杆引象，一人持巾轻擦象足，动作细致生动，异域装束的细节饱满鲜活。旁立僧者安然静望，神态平和。\n\n设色雅致沉稳，以赭石、花青晕染出深褐肤色与衣饰亮色，衬着绢本古旧底色晕开悠远古意。洗象日常暗含禅意，将贡象沐尘的别致场景，与白象洗尘的清净寓意相融，于细微劳作里晕开平和悠远的异域意趣。",[7,27,28,106,957,244,368,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5986ec3cc33c9976e4cd63642ae43cde.jpg",[44],{"id":62663,"slug":62664,"title":62665,"dynasty":99,"author":38202,"museum":539,"description":62666,"tags":62667,"thumbUrl":62669,"material":123,"size":62670,"collection":44,"collections":62671,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":1335},219572,"xia-zhen-yi-xiang-chen-yuan-219572","夏真逸像","作品有作者自跋：“真逸处士夏君既衣之九年，其子璇陈中复氏图游旧之景，而小像于其中。一日，携示九灵山人，求为赞。予虽不识处，然言述以铭其墓矣，焉春可辞？公侯于蠛蠓，政布家庭而直，功名于秕糠。是盖艺和义以为基，家孝又而象乡者也。当其云弄泉以、游戏、即丘壑而相辛。但见清却松林之风华，夺云锦之裳，而不知泽被民物光焕朝章者，消逝各梦而同床也邪！”作品有明代揭汯题跋：“温温之客，翼翼之恭。慈惠之至，孝友之隆。誉流搢绅，安林壑。幅巾消摇，自有其乐。豫章揭汯”。 明代乌斯道题跋：“守躬以礼，泣之衣也。养心以静，福之基也。笃于兄弟，家之肥也。诉先裕后，志无递也。胤善继续续，续有辉也。斯真逸处士，熟其非也？乌斯道”。",[23,7,24,106,27,28,1575,29,491,1159,34,26284,62668],"持杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad73948b5383d12c65013d9bdad1a100.jpg","120.5x44.9厘米",[44],{"id":62673,"slug":62674,"title":62675,"dynasty":99,"author":26281,"museum":206,"description":62676,"tags":62677,"thumbUrl":62678,"material":27,"size":62679,"collection":44,"collections":62680,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},219313,"ge-hong-yi-ju-tu-ding-yun-peng-219313","葛洪移居图","层岩叠嶂间，飞瀑如练倾泻而下，裹挟着山林的清润之气。近景溪畔，板桥横卧，衣袂飘飘的人物或行或驻，似在细说移居的缘由。林间隐现的屋宇，与苍松翠柏相映，暗合葛洪求道隐逸的仙踪。山石勾勒兼施皴染，线条细劲如丝却力道暗藏，树木葱茏有致，每一片叶、每一根枝都透着工致的匠心。人物神情宛然，动态传神，虽寥寥数笔却尽显仙风道骨。整幅画将山水的幽远与人物的清雅融于一体，笔墨间流淌着文人画的雅致韵致，仿佛能让人嗅到山间的草木香，触到溪涧的清凉，窥见那份超脱尘俗的悠然心境。",[7,209,24,28,27,177,29,106,108,109,107,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c8046eefcf6f8665afa8c48234b3b0.jpg","49x29.9",[44],{"id":62682,"slug":62683,"title":62684,"dynasty":18,"author":62685,"museum":101,"description":62686,"tags":62687,"thumbUrl":62688,"material":88,"size":139,"collection":90,"collections":62689,"showCount":216,"zanCount":5,"manualWeight":48,"mainColor":49},219283,"han-cai-tu-xu-gu-yan-219283","寒菜图","徐古岩","两棵大白菜水墨画，叶子用重墨画，叶子留白做茎。 菜根长出一株杂草，细长的草茎上栖息着一只蚱蜢。 虽然画面是冬景，但活跃的蚱蜢带来活力。",[23,7,24,209,173,86,227,1458,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56ef32d8e02f0c02c27da1581f805f1c.jpg",[90],{"id":62691,"slug":62692,"title":62693,"dynasty":99,"author":55641,"museum":206,"description":62694,"tags":62695,"thumbUrl":62697,"material":173,"size":139,"collection":181,"collections":62698,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},219252,"zhi-zi-hou-men-tu-wang-shi-chang-219252","稚子候门图","山峦层叠间云雾轻飏，似给远峰披上薄纱，愈显深幽。近景古木虬枝盘曲，墨色浓淡交错，勾勒出苍劲风骨；岩石以简括皴法写就，纹理毕现。蜿蜒小径上，稚子数人或立或趋，眉眼间满是天真，翘首之态似在盼归人，那份纯粹的期盼，在清寂山水中晕开暖意。画作以水墨衬淡彩，山水的空灵与人间温情相映，既承继明代山水的雅致气韵，又以人物点染出生活鲜活，于无声处传递亲情的柔软，观之如临其境，心生动容。",[23,7,173,27,29,106,6398,650,1445,649,37,62696,15284,177],"盼归","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92016fc192d1615fd58bffc960f15b69.jpg",[181],{"id":62700,"slug":62701,"title":25132,"dynasty":18,"author":10870,"museum":752,"description":62702,"tags":62703,"thumbUrl":62704,"material":123,"size":62705,"collection":90,"collections":62706,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":1335},219120,"san-yang-kai-tai-tu-yi-yuan-ji-219120","虬干盘曲如铁，疏枝缀雪梅点点，似有暗香浮动于古雅底色间。三畜情态各殊——卧者昂首似听风语，软毛覆身藏着慵懒暖意；立者凝眸若待春声，犄角弯转如流云舒展；侧转者鬃毛微拂，与同伴犄角轻触，灵趣暗生。\n\n笔墨古拙温润，晕染间见肌理：羊的绒毛柔中带韧，树的皴纹苍劲含情。“三阳”谐音藏吉意，冬寒未褪时，生机已在虬枝与羊影里悄然酝酿。整幅画如一首无声的早春诗，雅致中藏着对时序流转的温柔期许，尽显宋画的含蓄与意韵。",[7,209,241,28,27,957,8368,430,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839d31457b96c63f4eca241315b5292d.jpg","纵148.5cm,横74cm",[90],{"id":62708,"slug":62709,"title":62710,"dynasty":189,"author":293,"museum":206,"description":62711,"tags":62712,"thumbUrl":62713,"material":123,"size":62714,"collection":181,"collections":62715,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},219055,"yan-shui-gu-zhou-yi-ming-219055","烟水孤舟","淡墨晕染的烟水间，一叶孤舟轻漾，似与天地相融。岸边老树枝干虬曲，松针疏朗，墨色浓淡间见苍劲之姿；远处峰峦隐于烟霭，虚实相生，恰是元人山水的空灵之境。水色空濛，舟影孑然，没有喧嚣，只有天地间的静默与清寂——仿佛能听见水波轻拍船舷的微响，或是林间风过的疏声。线条简淡却含力道，墨色层次丰富，从近树的浓墨到远山的淡染，过渡自然，将烟水的缥缈与孤舟的寂寥刻画得入木三分。这般景致，是文人心中的避世之境，也是自然与心境的交融，寥寥数笔，道尽元人山水的含蓄与深远。",[23,7,1562,173,177,29,174,394,491,490,13668],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd088de0b4b41a57a3d089f8b935ea627.jpg","23.4x24.7",[181],{"id":62717,"slug":62718,"title":62719,"dynasty":18,"author":293,"museum":132,"description":62720,"tags":62721,"thumbUrl":62722,"material":123,"size":139,"collection":90,"collections":62723,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},218884,"sui-an-tu-yi-ming-218884","岁安图","禽鸟安栖于丛草间，羽上星点似碎金散落，眼波流转藏着几分闲逸。细劲的草叶以墨绿勾染，或垂或扬，如微风轻拂时的慵懒姿态。古绢的棕褐底色晕染出岁月温厚，与鲜妍草色相映成趣，更显画面静谧雅致。整幅画无喧嚣之态，仅以极简物象勾勒平和景象，仿佛能闻草叶摩挲轻响，见禽鸟敛翅安然。从容笔墨恰是对“岁安”的生动诠释——寻常草木间藏岁月静好，细微生灵中见天地祥和。",[7,1562,27,28,83,224,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a5c1b955da4147b8d5797d7bc282a2d.jpg",[90],{"id":62725,"slug":62726,"title":62727,"dynasty":18,"author":62728,"museum":206,"description":62729,"tags":62730,"thumbUrl":62731,"material":123,"size":62732,"collection":181,"collections":62733,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},218869,"xi-shan-ping-yuan-tu-song-di-218869","溪山平远图","宋迪","这是一幅山水画，草木茂盛，一派湖光山色的景象。",[23,209,7,24,29,27,1250,109,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42addfe814270b42354058fea9c7ac91.jpg","25x26.4",[181],{"id":62735,"slug":62736,"title":8413,"dynasty":76,"author":21579,"museum":206,"description":62737,"tags":62738,"thumbUrl":62739,"material":88,"size":62740,"collection":90,"collections":62741,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":94},218804,"mei-que-tu-dai-hong-218804","戴洪，生卒年藉贯均不可考，高宗乾隆时，任职内廷画院为供奉，擅长山水画，以和丁观鹏、程志道、金昆、孙佑等人，合画清明上河图出名。\n他的画，不论用笔勾画输廓，用墨分染明暗，都非常工细，着色尤其是明净鲜丽，予人一种情眞景实的实境感觉。\n本幅画梅树和山雉便是一例。但是，这种崇尚技巧的院画，并不受一般「重意象轻形似」的文人画家所欢迎。",[7,24,209,241,83,28,173,448,281,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3557fdc9c807ebe9bebe162eb18b2de.jpg","167.6x91.1cm",[90],{"id":62743,"slug":62744,"title":62745,"dynasty":18,"author":293,"museum":132,"description":62746,"tags":62747,"thumbUrl":62748,"material":123,"size":139,"collection":181,"collections":62749,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},218577,"jiang-shang-guan-chao-tu-yi-ming-218577","江上观潮图","远处的山峰被画在了一起，连绵不断地蜿蜒着。在画面中间，潮水上涨，白色的波浪呈直线运行。在近景中，画了一个宫廷船的桅杆，船上有一群人。宫室半隐在蜿蜒的岩石中，周围是树木。",[23,7,1562,27,29,174,34,175,491,36723,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7805309f6a61fe6741cdc38d4d0a8a4.jpg",[181],{"id":62751,"slug":62752,"title":54477,"dynasty":189,"author":293,"museum":364,"description":62753,"tags":62754,"thumbUrl":62759,"material":123,"size":139,"collection":44,"collections":62760,"showCount":216,"zanCount":48,"manualWeight":48,"mainColor":49},218358,"suo-jian-tu-yi-ming-218358","虬枝古木掩映着一方天地，人物群像在此铺陈开叙事脉络。居中者端坐，气度沉稳；两侧侍从垂立，神色恭谨；阶下数人或躬身作礼，或捧持器物，动态间藏着故事张力。衣纹线条婉转流畅，勾勒出古雅服饰肌理；树木枝叶繁密却层次分明，笔墨细腻中见苍劲质感。画面氛围沉静，却在人物互动里暗涌肃穆与忠直——似是忠臣锁颈进谏的决绝时刻，又或是那份以死明志的忠义风骨？绢素斑驳痕迹更添历史厚重，观者于笔墨间，可感知往昔精神与温度。",[209,7,2714,3842,28,27,6398,115,62755,62756,62757,62758],"进谏","忠直","忠义","肃穆"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北上会试，不第告终。与石涛交往友善，相互切磋画艺。石涛与梅清，皆有“黄山派”巨子的誉称。后遭家落，屏迹稼园，郁郁无所处，寄情诗画自娱。屡登黄山，观烟云变幻，银涛起伏，印心手随，景象奇伟。笔法松秀，墨色苍浑；后人称 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画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[7,24,241,173,177,105,29,176,34,35,109,37,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[181,45,382],{"id":63485,"slug":63486,"title":63487,"dynasty":99,"author":56409,"museum":364,"description":63488,"tags":63489,"thumbUrl":63490,"material":139,"size":139,"collection":44,"collections":63491,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":49},236411,"er-xian-zhou-peng-shun-xiang-236411","二仙轴","画面以淡赭铺底，枯木虬枝缀着寒蕊，晕开清寂幽远的林下氛围。\n\n长仙峨冠长髯，宽袍曳地，持拂尘垂眸含笑，神色悠然和煦，似在静听童子言语。赤足短褐的童子仰首抬望，憨态里满是敬慕，灵动身形衬出稚拙意趣。\n\n画作以顿挫写意的墨线勾勒衣纹，笔力苍劲洒脱，将布料垂坠褶皱尽显，人物神态刻画入微。仙风道骨与童真稚趣相映成趣，以简驭繁的水墨写意间，氤氲出飘然出尘的世外仙气，把高人隐士的闲适清雅铺陈开来，尽显传统人物画的写意神韵。",[7,24,241,173,27,106,18694,20632,34,176,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb06d168bc0594d94200701bd45eefb2.jpg",[44,163],{"id":63493,"slug":63494,"title":63495,"dynasty":76,"author":10376,"museum":20,"description":63496,"tags":63497,"thumbUrl":63499,"material":2021,"size":63500,"collection":181,"collections":63501,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},236391,"zhong-lin-die-zhang-zhou-wang-hui-236391","重林叠嶂轴","“虞山画派”大家王翚(1632－1717)一生的画腊极长，创作精力旺盛，各阶段绘画风格的变化亦较为明显。对此，近代鉴藏大家吴湖帆(1894－1968)题本展王石谷《仿巨然夏山烟雨图卷》中，曾有极为精辟的剖析：“王石谷子(王翚)年四十左右，在娄东王奉常(王时敏)家临摹宋元名迹，艺乃大成，间为太常代笔，亲受指点，益臻神化，故石谷画当以四十至五十为极诣，五十至六十自具面目，六十至七十渐落俗套、每失韵致，七十至八十有衰颓气，八十以外又复变化入神，用笔如万岁枯藤，苍辣兼具，有空前绝后之妙。后人之诋諆石谷者，盖多见其六十以后八十以前作也。”梅景书屋主人之评，的为灼见，其对石谷画风的如数家珍，实得益于其本人鉴藏之丰厚。\n众所周知，近现代的江南地区，无疑是“四王”书画流散与聚集的重镇。不仅吴氏如此，他如庞莱臣、顾文彬、钱镜塘等近现代大藏家亦然，购藏“四王”精品之机会甚多。而他们的旧藏，之后成为了上海博物馆馆藏“四王”的主要来源。以王翚为例，不仅数量逾百，且自成体系，如自王氏四十岁至八十六岁的四十七年中，除四十三、五十六、五十七、五十八、六十及七十六岁这六年无藏品外，其余则可按系年排列。而传世本就不多的王翚四十岁前早期作品，上海博物馆亦拥有重要画作若干。其二，上海博物馆所藏王翚各时期作品，皆有诸多精品与代表作，如四十岁前《早年山水图轴》、《十里溪塘图轴》，四十至五十岁间的《仿曹知白西林禅室图卷》、《元人高韵图轴》、《小中现大图册》、《黄鹤传灯图卷》、《仿关仝溪山晴霭图卷》、《仿黄公望富春山居图卷》，五十至六十岁间的《溪阁晤对图轴》、《重江叠嶂图卷》，六十至七十岁的《泰岳松风图轴》、《西斋图卷》、《寒林雅趣图卷》，七十至八十岁的《六境图卷》、《嵩山草堂图轴》，八十以后如《唐人诗意图轴》、《仿大痴山水图轴》等。其系统性与代表性，对全面把握与理解王翚一生的绘画风格演变，提供了良好的实物基础，这也是本展得以举办的主要缘由。\n另一方面，察考上博王翚作品中所涉及的相关人物，可以发现，这些或受赠者，或鉴题者，在王氏的艺术生涯以及人生轨迹的转变中扮演了重要的角色。同时，亦可注意到，伴随着王翚交游圈的不断拓展，其从艺心态随之产生了微妙的变化。而这种转变，与上述吴湖帆所析其各阶段画风特点，亦有某种程度上的关联，也折射出王翚与同时代如王原祁、八大山人、恽寿平等艺术家在个性、气质方面的些许差异。",[7,24,241,173,177,29,176,34,175,63498,9051],"重林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a0a8445ee5579556a829c666e132ec.jpg","纵129.7cm，横44.1cm",[181,163],{"id":63503,"slug":63504,"title":63505,"dynasty":76,"author":4199,"museum":364,"description":12591,"tags":63506,"thumbUrl":63508,"material":743,"size":744,"collection":139,"collections":63509,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},236378,"xu-gu-guo-pin-shan-ye-xu-gu-236378","虚谷果品扇页",[7,24,1562,27,173,178,446,3199,14746,63507],"果品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79e595f08a8d4afc024bc05213ef75a.jpg",[],{"id":63511,"slug":63512,"title":63513,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":63514,"thumbUrl":63515,"material":743,"size":744,"collection":139,"collections":63516,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},236343,"yuan-ji-lan-shi-shan-shi-tao-236343","原济兰石扇",[209,7,24,1562,173,452,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681a6f9bf2925a9eb7dfa44cdf8ba289.jpg",[],{"id":63518,"slug":63519,"title":13718,"dynasty":76,"author":1109,"museum":364,"description":63520,"tags":63521,"thumbUrl":63522,"material":139,"size":139,"collection":139,"collections":63523,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},235883,"yuan-ji-shan-shui-tu-ce-shi-tao-235883","此开以淡墨晕染出夜江空濛之境，远山如笼轻烟，朦胧柔婉。坡岸古松虬曲苍劲，枝叶疏密交错，暗合晚风拂林之态。浅滩扁舟静泊，舱内灯影隐约，将羁旅夜泊的清寂诗意缓缓铺陈。\n\n行书题诗与画面相映成趣，笔意疏朗清逸，诗句将烟月横塘的缱绻旅思娓娓道来，诗画交融无间。整幅以简驭繁，淡设色烘托出静谧悠远的晚江氛围，寥寥数笔便写尽江湖寄兴的闲淡意绪，尽显文人画诗画合璧的雅致风神，把幽寂淡远的羁愁融于尺幅之间。",[7,24,81,173,27,29,1575,4614,649,178,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d386381e3f4f6870eb0fa126626adb4.jpg",[],{"id":63525,"slug":63526,"title":220,"dynasty":99,"author":7012,"museum":364,"description":7013,"tags":63527,"thumbUrl":63528,"material":743,"size":744,"collection":139,"collections":63529,"showCount":398,"zanCount":1547,"manualWeight":48,"mainColor":94},235723,"hua-niao-ce-tan-zhi-yi-235723",[209,7,24,81,173,83,1135,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754d533672d348e12400db586ea98fde.jpg",[],{"id":63531,"slug":63532,"title":52709,"dynasty":76,"author":31118,"museum":364,"description":63533,"tags":63534,"thumbUrl":63535,"material":139,"size":139,"collection":139,"collections":63536,"showCount":398,"zanCount":1547,"manualWeight":48,"mainColor":94},235673,"huang-shan-tu-zhou-mei-qing-235673","《梅清黄山图轴》是清代画家梅清创作的一幅纸本设色画。\n图绘被世人称为“黄山绝胜处”的文殊台。\n群峰松林以平行的斜线构成，白云蒸腾而上，气势雄浑。\n作者用豪放、泼辣的笔法突出了黄山奇、峻、险、秀的意境，山石以皴勾画，繁而不乱，松树枝叶墨气浓郁，独树一帜，别开生面。\n本幅自题诗一首，款署：“瞿山梅清并题”，钤“瞿山清”白文印、“渊公”朱文印。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[7,24,241,173,177,29,1575,37,30,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e76d80fe37e232fb28534fb90d10bcd.jpg",[],{"id":63538,"slug":63539,"title":63540,"dynasty":76,"author":63541,"museum":364,"description":63542,"tags":63543,"thumbUrl":63544,"material":743,"size":744,"collection":44,"collections":63545,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},235533,"xi-xiang-tu-ce-ye-bu-235533","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[7,27,28,104,106,107,34,86,178,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac80e914df48a93e0155599076982791.jpg",[44,163],{"id":63547,"slug":63548,"title":63549,"dynasty":99,"author":1296,"museum":364,"description":27766,"tags":63550,"thumbUrl":63551,"material":743,"size":744,"collection":139,"collections":63552,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},235480,"lan-shi-zhou-xiang-sheng-mo-235480","兰石轴",[7,241,173,27,178,86,227,446,452,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8e1ec05a2947cf61302ad7de572a69.jpg",[],{"id":63554,"slug":63555,"title":8670,"dynasty":76,"author":63556,"museum":364,"description":63557,"tags":63558,"thumbUrl":63559,"material":743,"size":744,"collection":139,"collections":63560,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":94},235318,"hua-niao-tu-zhou-ling-heng-235318","凌恒","画面留白疏朗，坡岸生棘草野卉，红实垂缀枝梢，暗涌浅秋生机。四只小雀栖于柔条之上，或整羽、或顾盼，灵动娇憨。石坡间斑鸠独立，翎毛晕染细腻柔和，神态安然娴静。\n\n此作工写相融，敷色清雅克制，禽鸟形神兼备，草木勾勒秀逸简淡，以极简布景烘托出郊野幽寂安闲的氛围，将荒陂秋日的恬然生机藏于笔底，尽显平和雅致的林下意趣。",[7,241,27,28,83,281,224,299,713,1729,19041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fd4ecfe92a7ecfebd88f9ec0e17f39.jpg",[],{"id":63562,"slug":63563,"title":4334,"dynasty":76,"author":41539,"museum":364,"description":41540,"tags":63564,"thumbUrl":63565,"material":743,"size":744,"collection":139,"collections":63566,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},235283,"ren-wu-gu-shi-ce-fan-xue-yi-235283",[7,28,27,104,81,106,59,107,242,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e13cd394da5f7f67ec4a3eb8cae423.jpg",[],{"id":63568,"slug":63569,"title":4334,"dynasty":76,"author":41539,"museum":364,"description":41540,"tags":63570,"thumbUrl":63571,"material":743,"size":744,"collection":139,"collections":63572,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},235278,"ren-wu-gu-shi-ce-fan-xue-yi-235278",[7,24,81,28,27,106,107,175,59,3045,176,755,313,1664,9786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76b242492325dde8fcec18b836c2f25.jpg",[],{"id":63574,"slug":63575,"title":63576,"dynasty":76,"author":15347,"museum":20,"description":63577,"tags":63578,"thumbUrl":63579,"material":139,"size":139,"collection":139,"collections":63580,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},234790,"bu-duo-hou-song-po-du-zuo-tu-xiang-zhou-cha-shi-biao-234790","补多侯松坡独坐图像轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水，为海阳四家之一。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[7,241,173,106,1575,394,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47325813bace357ceaf9d97d5cd3f2f3.jpg",[],{"id":63582,"slug":63583,"title":63584,"dynasty":76,"author":16736,"museum":364,"description":39117,"tags":63585,"thumbUrl":63586,"material":139,"size":139,"collection":139,"collections":63587,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},234627,"hua-hui-wan-shan-zhu-cheng-234627","花卉纨扇",[7,24,1562,27,83,84,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa358ac9a104d3e850308a86b6a320292.jpg",[],{"id":63589,"slug":63590,"title":63591,"dynasty":76,"author":26591,"museum":364,"description":63592,"tags":63593,"thumbUrl":63594,"material":139,"size":139,"collection":139,"collections":63595,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},234521,"zhu-lan-tu-shan-liao-yun-jin-234521","竹兰图扇","廖云锦，其句“伤心春雨香泥尽，羡尔先归到故乡”，广为吟咏。\n廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。早寡，遂以诗画消磨时光。名所居为“读画楼”。她工绘花鸟，宗法恽寿平，不以笔墨勾勒轮廓线，直接上色点染，所画物象自然生动。善诗，著有《织云楼诗稿》，中有《咏秋燕诗》，其句“伤心春雨香泥尽，羡尔先归到故乡”，广为吟咏。",[7,24,1562,173,242,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3b7e803b78b25f2b01ba20021d51ad.jpg",[],{"id":63597,"slug":63598,"title":47418,"dynasty":76,"author":293,"museum":364,"description":63599,"tags":63600,"thumbUrl":63603,"material":743,"size":744,"collection":139,"collections":63604,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":1335},234507,"jin-gua-wu-men-shen-ma-yi-ming-2345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；后者所写 “荔枝” 有语带双关之意，“红荔” 与 “红利” 谐音，而 “荔枝” 又有 “一本万利” 之义，故老鼠啃食荔枝，具有吉祥寓意，其画中的内涵，已然超越了画作本身。",[7,24,25,28,27,7819,2827,3199,698,298,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37524d5d18f707fb2aabe2b8bb52ec5.jpg","纸本墨笔、绢本设色","纵28.2，横 38.5 厘米",[],{"id":63651,"slug":63652,"title":63653,"dynasty":76,"author":45120,"museum":20,"description":63654,"tags":63655,"thumbUrl":63656,"material":990,"size":63657,"collection":139,"collections":63658,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},233794,"zi-lang-xian-guan-tu-zhou-qian-du-233794","紫琅仙馆图轴","《紫琅仙馆图》原为赵孟頫所作，钱杜曾于京城见过真迹，后为友人月樵先生背临而成。根据该图所题款识可知此图作于清嘉庆二十四年（1819年），作者时年56岁。20余年后（道光二十二年，1842年），此图为梅盦主人所得，又延请钱杜在画上重题一则。\n《紫琅仙馆图》画面意境清幽萧疏，气氛安逸，表现了文人理想化的幽居生活。作者通过对文人高雅清幽的生活环境的描写，来反映他们的生活理想和人品情操。此图虽源于赵氏原作，但用笔细密工整，人物、楼宇刻划精微，古拙之中见灵秀之气，此则是钱氏自家的特点。其构图形式与着色则带有吴门画派的特点，尤其有文徵明“细笔”画法的影响。",[7,241,27,29,107,108,106,34,177,28,227,86,176,114,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756d04cdbae0e571becc2aae1f06cd9f.jpg","纵132厘米，横27.1厘米",[],{"id":63660,"slug":63661,"title":63662,"dynasty":76,"author":953,"museum":20,"description":63663,"tags":63664,"thumbUrl":63665,"material":619,"size":63666,"collection":139,"collections":63667,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},233725,"feng-chen-san-xia-tu-ping-ren-yi-233725","风尘三侠图屏","风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。",[7,24,241,27,28,106,8989,394,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b2b0fa9463cf94c5bf3e654b948eb5.jpg","纵148.5厘米，横66厘米",[],{"id":63669,"slug":63670,"title":63671,"dynasty":76,"author":953,"museum":20,"description":63672,"tags":63673,"thumbUrl":63674,"material":803,"size":63675,"collection":139,"collections":63676,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},233722,"san-you-tu-xiang-zhou-ren-yi-233722","三友图像轴","任颐的人物画是典型中西结合的代表，人物面部刻画借鉴西洋素描画法，力求形似逼真，而人物服饰却又是中国画典型的“线条”的艺术，或作折芦描或作丁头鼠尾描淡色轻染，清新悦目。\n任颐作画，一般都有画稿，是从生活中观察、写生而成。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品，而且他善于捕捉人物一刹那之间的神情动态，使得造型准确，情态生动，衣纹用笔既能表现形体关系，又有衣褶线条变化的灵动之美，很注意突出衣纹的走势。他画肖像画以家学之法为主，脸部塑造以“没骨”法和以色渲染法打底，关键部位以线强调，衣袍服饰以所学众法为之，或写或工，或墨或线。任颐的肖像画形成了独自的风格，并开拓了全新的境界。\n任颐的花鸟画手法多样，远师北宋，近学徐渭、陈淳、石涛、恽寿平等，博采众长，独出一格，工笔、写意、勾勒、没骨、设色、水墨均能运用自如。他多用湿笔，运用淡墨尤有独到处，他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交融，风格明快、温馨、清新、活泼，极富创造性。任颐的绘画在当时及现代具有极大影响，被认为是“仇十洲（仇英）后中国画家第一人”。\n其实任颐作画是用写意画法去画工笔画，是以工笔画为里，写意画为面，在他的画中既有写意的痛快淋漓，又有工笔画的神形兼备，也就是说，他是将工笔画写意化，而不是将文人画写意化。任颐重新整合了工笔画，开创了写意工笔画风，对后世的影响是极其巨大的。\n这幅《三友图像》作于光绪甲申（1884）年，当时作者已经45 岁，画中有作者自识：“锦堂、风沂两兄嘱颐写照，更许在坐，谓之三友，幸甚幸甚。”有清钟德祥的两句题跋：“不须对月自三人，自有须眉自写真，脱去头巾衣扫塔，似俞清老段祛尘。”“皆僧衣，其有所寄托耶？”\n画中的3 人席地而坐，背后左侧有一圆榻一画筒，画筒里树有书卷画轴，榻上也堆着数卷，寥寥数笔把背景描绘得显露无疑。画中中间坐着的一人为曾凤寄，左向坐的人为朱锦堂（朱锦裳，上海著名书画鉴藏家，九华堂笺扇店主人，为任颐的好友），右向者为任颐自己。画中三人都穿着僧衣。这里面据说还有一段原由：光绪甲申三月为明朝灭亡240年祭，而且当时的晚清政治腐败，社会动荡，所以任颐绘三友图，并且身穿僧衣，脱去头巾，大有书画寄志的深意。画中三人神采自若，志气昂扬，形露于笔端。\n而是继承宋元而又融汇着民间的白描写真和西画的铅笔速写法，显得人体结构比例准确而充实。衣纹多方折，纵横迭出，似山石之皴笔，大有岿然独坐之意。\n任颐在这幅《三友图像》中融入了自己的志气，把那种对社会不满而又无可奈何之气刻画得淋漓尽致。\n任颐（1840～1896 年），初名润，字小楼，后字伯年，别号山阴道上行者、山阴道人，浙江山阴人。其父鹤声，工肖像，所以任颐自幼得其父指授，后移居宁波，师事任熊、任薰。中年定居杭州，以卖画为生。任颐是一个全才型画家，于花鸟、人物、山水无所不精，尤以肖像见长。代表作有《钟馗》、《女娲炼石》、《关河一望萧索》、《苏武牧羊》等。",[209,7,24,241,173,27,106,12876,12875,227,86,178,28,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 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107.1x28.9公分、詩塘 50.4×28.9公分、全幅 52.5公分",[],{"id":63741,"slug":63742,"title":23117,"dynasty":76,"author":15347,"museum":56,"description":63743,"tags":63744,"thumbUrl":63745,"material":803,"size":63746,"collection":139,"collections":63747,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},232607,"shan-shui-ren-wu-ce-cha-shi-biao-232607","《仿各家山水册》，纸本，共十开，仿十大家画法，每幅纵22厘米，横]7厘米。笔法纯熟，墨法精妙，其画风、画法的渊源，都是从宋元明人家的山水画汲取养料，追求他们的韵味和笔墨情趣，为自己所创造的艺术境界服务。\n第一开，仿王蒙，设色，图作群山、松林寺塔，云雾缭绕，老者曳杖，童子随后，书“黄鹤山樵”四字。王蒙，元代画家，字叔明，号黄鹤山樵等，浙江吴兴(今浙江湖州市)人。善诗文、书法，工人物，尤精山水。写景多稠密，径路迂回，烟霭微茫，曲尽山林幽致，用解索皴和渴墨点苔，表现林峦郁茂苍茫的气氛，尤为独到。\n第二开，仿倪瓒，以水墨写平远山水景色，笔墨精妙，韵味隽秀，书“倪离士笔意”。倪瓒，元代书画家、诗人，字元镇，号云林，人称“倪高士”，江苏无锡人。擅画水墨山水、竹石，用笔方折遒劲，刨“折带皴”写山石法。疏林坡岸，浅水远山，墨色简淡，意境清远萧疏。\n第三开，仿张僧繇，以没色没骨法作山树人物，色彩绚丽，书“张僧繇没骨法”。张僧繇，南朝梁画家，江苏苏州人。工写真、释道人物，尤精画龙。用红绿重色画山水，先图峰峦泉石，后染匠壑暖岩。不用墨线勾勒，直接用墨色或彩色描绘物象，开创了“没骨法”山水的画法。\n第四开，仿黄公望，以水墨作高山、林木、村舍、流泉，意境深远，书“一峰道人”四字。黄公望，元代画家，字子久，号一峰道人、大痴道人等，江苏常熟人。构图繁复丰满，皴笔不多，格调温润柔和，气势雄健，有“峰峦浑厚，草木华滋”之评。\n第五开，仿王绂，浅设色，绘群山连绵，溪水平静，林木亭屋，富于节奏韵律，书“九龙山入画意”。王绂，明代画家，字孟端，自号九龙山人，江苏无锡人。擅画巨幅山水，也作平远小景，风格苍郁清润，尤精墨竹，有“出姿媚于遒劲之中，见洒落于纵横之外”之评。其墨竹，在明代很有影响。\n第六开，仿米芾，以水墨作云山，云雾迷蒙，书“拟米襄阳”叫字。米芾，北宋书画家、鉴定家，字元章，号襄阳漫士，祖籍山西太原，迁居湖北襄阳，世称“米襄阳”。画山水天真发露，不求工细，多用水墨点染，即横点积叠画法，突破勾廓添皴之传统，开创了“米家云山”新风貌。自谓“信笔作之，多以烟云掩映树石，意似便巳”。\n第七开，仿方从义，近坡显寺，远山云塔，流泉如带，淡设色，书“方上清意”四字。方从义。，元代画家，字无隅，号方壶，江西贵溪人，擅画山水，“写得湖山事事嘉”。高山从林，笔致跌宕，意境幽藏。能诗文，并工古篆、隶书、章草。\n第八开。仿徐幼文，以水墨作幽舍桥亭，平湖远山，书“元人徐幼文法”。徐幼文，名徐贲，宁幼文，号北郭生，江苏苏州人。擅画山水，嘉树野泉，笔墨清润。层次井然，工诗文，也擅长墨竹，浓淡配合，尤为和谐优美。\n第九开，仿赵盂頫，平坡绿树，湖画广阔，建立小桥，彼岸流泉，浅设色，书“赵承旨” 三字。赵盂頫，，元代书画家、文学家，字子昂，号松雪道人，浙江吴兴(今浙江湖州)人。擅画山水、人物，工墨竹、花鸟，以飞白法画石，以书法用笔写竹，皆以笔墨圆润苍秀见长。\n第十开，仿郭熙，以水墨作雪景，曲堤长桥，枯草秃树，全景堆银砌玉，清静致远，题：“郭河阳法，拟古十册奉正于升先生，时丙午长至又二日，士标呵冻纪事”。郭熙，北宋画家，字淳夫，河南温县人。工画山水，画山石多“卷云”或“鬼脸”皴法；画树枝如蟹爪下垂，笔力劲健，水墨爽洁。对四季山水有“春山如笑，夏山如滴，秋山如妆，冬山如睡”之况。",[7,173,177,81,29,106,108,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d81252af5e22b8cb3c78773254a0281.jpg","纵22厘米，横]7厘米",[],{"id":63749,"slug":63750,"title":63751,"dynasty":189,"author":293,"museum":364,"description":63752,"tags":63753,"thumbUrl":63754,"material":139,"size":139,"collection":139,"collections":63755,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":49},231912,"luo-han-tu-di-shi-qi-zun-zhe-yi-ming-231912","罗汉图（第十七尊者）","达摩多罗尊者右手持禅杖，左手持拂子，身背经箧，头罩华盖， 奔走途中，身旁猛虎相随。前方可见无量光佛坐于塔中， 另有粉色祥云前托佛塔，延绵而下至世间， 这种画法来自汉地明代罗汉画像。上界有光芒四射的白度母化现。",[7,24,209,241,28,27,259,106,2739,16996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d2ff6194009c658f1f937824ec5ce2.jpg",[],{"id":63757,"slug":63758,"title":63759,"dynasty":292,"author":293,"museum":364,"description":63760,"tags":63761,"thumbUrl":63762,"material":743,"size":744,"collection":139,"collections":63763,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},231686,"ping-an-shi-dai-hou-qi-fu-nie-pan-tu-er-yi-ming-231686","平安时代后期 佛涅槃图二","佛陀右胁安卧于娑罗双树间，神色静定无波，躯体舒展柔和，尽显圆寂时的超脱淡然。周遭诸天圣众、佛门弟子环伺垂立，或垂首哽咽，或俯身哀恸，神态各异，将天人同悲的沉恸尽数铺陈。\n\n古旧斑驳的底色里，朱红石绿虽已黯淡，仍可窥见昔年设色的厚重庄严。画面以静穆的涅槃之姿，衬以群像的悲恸哀戚，在动静反差间，诠释寂灭的圆满与送别者的不舍，尽显这类题材特有的悲悯与庄严。",[23,7,209,259,27,106,34,281,394,1653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4255253992ef4343df6460318aa80d0.jpg",[],{"id":63765,"slug":63766,"title":63767,"dynasty":99,"author":293,"museum":12966,"description":63768,"tags":63769,"thumbUrl":63770,"material":139,"size":139,"collection":139,"collections":63771,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},231510,"yue-ye-gui-zhuang-tu-yi-ming-231510","月夜归庄图","这一张明代不知名画家的作品，一张月夜归庄图，如今这一张作品被珍藏在了美国弗利尔美术馆之中，普通人想要见它一眼还真的不容易。\n这一张作品被研究古画的专家给出价格超过1500万，甚至更高。而给出高价的原因也比较有意思，那就是这一张画太有意境感了，画的是古人月夜下主人骑马晚归的场景，如李白诗句里面的场景一样。\n且不说一模一样吧，但看到这一种距今已经超过600多年的山水与人物写意作品，肯定是给一个高价没有错，另外看这一张作品是谁画的？时代背景如何，如果真的是出自名家之手，那就是真正的精品好作品了。\n仔细看这一张作品，其实它应该算是当时的一个赝品，为什么这么说呢？首先从作品的笔法与绘画的水墨风格来讲，这是属于当时浙派的全面模仿风格。因为在当时那一个时代范围内，这一类的绘画作品出现太多，而且是同一时间出现的。\n所以专家说这一张作品并不是真迹，但它对于现代人来讲，却是距今600多年的真迹，不管管是谁画的，作品是好作品，而且是到代的作品，很不错。\n这一幅画的原题取名是：唐卢浩然月夜归庄图真迹。但研究者表示这是古人的信口之说，应该是明代画家所画，但不是出自当时的名家之手，仅仅只是属于当时一个没有名气的画家之手。\n但尽管是没有多少名气，可仔细看作品，主人骑在一匹马的身上，然后由一个童子牵着这一匹马，马儿比较累的样子，但很壮实。另外前面的空地上还放着一个古代的担子，一个穷苦的农人正在开门。\n既然是夜归，马儿的累，主人的归意，都写在了作品之中，真不愧是一张好作品。",[23,7,173,27,29,177,300,1575,176,106,150,920,109,37,34,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],{"id":63773,"slug":63774,"title":63775,"dynasty":189,"author":3741,"museum":206,"description":63776,"tags":63777,"thumbUrl":63778,"material":381,"size":44998,"collection":139,"collections":63779,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},231405,"si-ji-ping-an-tu-li-kan-231405","四季平安图","李衎性情温和淳厚，人不见其喜愠之色，潜心于画，其画风亦较为平淡恬静。他的绘画得到帝王的赏识，曾奉诏图写嘉熙殿壁，并以著色竹画殿堂御屏。\n李衎以画竹著名，他初学王庭筠，后上追文同，又深入南方竹乡进行观察，特别是借出使安南（今越南）之机，详细辨认各种竹子的生性姿态，从中获益甚多。他能画双勾著色竹，又善墨竹，笔法精谨，意态生动，所作竹好取整枝全景，且以风霜雨露等自然气候烘托竹子挺拔刚劲的个性。\n李衎毕生致力于画竹，并著有《竹谱》，分画竹谱、墨竹谱、竹态谱等节，对竹之结构品类、生长规律及画竹源流技法详加探讨，记录其心得，深感想要画艺精湛十分不易。\n李衎强调画竹需深入观察，初学必守法度，久之可达于规矩绳墨之外，切忌信笔涂抹。\n他还分析竹之品类及生长规律，深入浅出地论述画竹方法，如他在“画竹谱”中论及画竹位置上的五忌为“冲天撞地、偏重偏轻、对节排竿、鼓架胜眼、前枝后叶”，“冲天撞地者，谓梢至绢头，根至绢末，陋塞填满者。偏轻偏重者，谓左右枝叶，一边偏多，一边偏少，不停趁者，对节者，谓各竿节节相对。排竿者，谓各竿匀排如窗棂。鼓架者，谓中一竿直，左右两竿交叉如鼓架者。胜眼者，谓四竿左右相差匀停，中间如方胜眼者。前枝后叶者，谓枝在前、叶却在后，或枝叶俱生在前，俱生在后者”。",[209,7,24,241,173,3350,242,431,11323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa487b54a498557293ce2008ea956aa1e.jpg",[],{"id":63781,"slug":63782,"title":39221,"dynasty":189,"author":1848,"museum":206,"description":63783,"tags":63784,"thumbUrl":63785,"material":67,"size":63786,"collection":139,"collections":63787,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},231382,"shuang-song-tu-wu-zhen-231382","全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。\n两松平地直立，上顶天，下立地，几乎占据了整个画面。两树均挺拔茂盛、枝叶桠槎、形势奇古。左松树身中下部曲成弧形，卧于地，中部挺直、劲健，顶部突然探向右方；右松直立挺拔，上部一个近于直角的弯曲，伸向右，于左松一树枝的上方又一个近于直角的弯曲，然后冲向高空。这样两松空中交插，成为X形，一种挺拔、孤傲、相依相扶的形象展示于画面。两松枝叶间点缀以清溪茅舍、远山丛树，更显出双松的高大、雄伟。\n画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。",[7,24,173,177,241,29,1575,176,491,34,14137,2908],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf0fcc10dffdd8cca23f577240f388d.jpg","纵180厘米横111.4厘米",[],{"id":63789,"slug":63790,"title":63791,"dynasty":18,"author":293,"museum":206,"description":63792,"tags":63793,"thumbUrl":63796,"material":803,"size":63797,"collection":139,"collections":63798,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[209,7,24,29,241,173,177,45625,194,63794,8002,32951,63795,60,176,394,108,109,175],"茅亭","竹院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg","172.7x81.4",[],{"id":63800,"slug":63801,"title":63802,"dynasty":99,"author":24971,"museum":364,"description":63803,"tags":63804,"thumbUrl":63806,"material":139,"size":139,"collection":139,"collections":63807,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},231016,"ju-shi-ming-qin-tu-li-yin-231016","菊石鸣禽图","《菊石鸣禽图》写山坡之上的奇石旁，秋菊盛开，一枯枝高挑，其上小雀正回头顾盼，呜叫声声。\n画中充分体现了李因笔力雄健苍劲、水墨挥洒淋漓的特点。\n坡面及奇石以淡墨渲染，质感丰富。\n菊花写意生动，用笔酣畅。\n小鸟造型准确，兼工带写，笔法细致。\n《菊石鸣禽图》是中国清代画家 的国画作品。\n该画为立轴，绫本，墨笔，纵129．4厘米，横47．8厘米，旅顺博物馆藏。\n李因（1616—1685），清代女画家。\n字今是，又字今声，号是庵，又号龛山逸史，浙江钱塘（今杭州）人。\n留寓海宁。\n画家葛徵奇之妾。\n她能诗能画，善山水、花鸟，亦工芦雁。\n画得陈淳之法，多用水墨，苍劲无闰阁气。\n其夫每加以题跋，常云：“花鸟我不如姬，山水姬不如我。\n”可见其花鸟画在山水画之上。\n葛去世后，李因以卖画为生。\n有《竹笑轩吟草续稿》存世。\n传世作品有《菊石鸣禽图》、《芙蓉鸳鸯图》等。",[23,209,7,241,173,83,453,431,63805],"鸣禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3607d5341dc4c30287b5215604dfbf0d.jpg",[],{"id":63809,"slug":63810,"title":63811,"dynasty":76,"author":10376,"museum":364,"description":63812,"tags":63813,"thumbUrl":63814,"material":139,"size":139,"collection":139,"collections":63815,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},230960,"guan-mei-tu-wang-hui-230960","观梅图","观梅图卷，清代，王翠作画。\n纸本，画心纵28.8，横7.厘米。\n浅设色，写峰峦幽深，飞瀑流泉，半山高台处筑一草亭，亭内盘坐一人，倾身仰望溪流边芬芳吐艳的红梅。\n用笔虽简，但人物的神态竟被捕捉无遗。\n草亭四周翠竹环绕与远处的密林构成一种清幽的环境。\n山石多用干笔皴擦，配以浓墨苔点，古朴苍劲，款署“耕烟散人王翚画于天潭邃谷”，钤“耕烟散人时年七十有四”。\n此图当为康熙四十五年(176)所作。\n鉴赏章有“乾隆御览之宝”、“宣统鉴赏”等章。\n原为清内府所藏，现藏旅顺博物馆。",[7,24,173,177,29,448,175,558,109,176,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8a2eb106bca04ce73a4b61fc1f9cf4.jpg",[],{"id":63817,"slug":63818,"title":63819,"dynasty":76,"author":15347,"museum":364,"description":63820,"tags":63821,"thumbUrl":63822,"material":139,"size":139,"collection":139,"collections":63823,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},230299,"shan-shui-shi-kai-cha-shi-biao-230299","山水十开","此作用笔松秀空灵，以极简构景铺就幽寂冬境。几株寒木瘦劲出枝，淡笔勾勒嶙峋躯干，细笔写残叶萧疏，尽显清癯孤傲之态。留白为寒水浅滩，隐见板桥卧波，远山以枯淡泼墨轻扫，虚实间晕染出淡远空濛。\n\n整幅以少胜多，脱尽尘俗烟火气，将江南冬日清旷荒寒之景诉诸笔端，淡墨轻岚里晕开空寂诗意。观之如临荒寒水畔，浸得一身清宁，尽显静穆淡远的文人雅韵。",[7,24,173,29,394,108,176,177,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfc33c830462f885ce8379dce9b76aa.jpg",[],{"id":63825,"slug":63826,"title":63827,"dynasty":18,"author":474,"museum":364,"description":63828,"tags":63829,"thumbUrl":63830,"material":139,"size":139,"collection":139,"collections":63831,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},230166,"shui-qin-tu-juan-zhao-ji-230166","水禽图卷","此卷以淡墨勾勒晕染，一对鸳鸯悠游清波，翎毛纹理纤毫毕现，翅羽灵动舒展，柔波随漾尽显缱绻。右侧汀渚之上，野花莠草错落横生，野趣盎然。\n\n卷首题字清隽秀挺，与题跋诗文呼应画意，墨色温润雅致。整作工致写实兼具写意空灵，将水禽相依的情态与郊野水畔的幽谧生机融为一体，静雅之中暗藏灵动鲜活，尽显宋画雅致清和的意趣，是工写相融的精妙佳构。",[23,7,24,25,28,27,83,1060,367,1062,33370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87932b955e2126b5dfaa51f8b1ed5b54.jpg",[],{"id":63833,"slug":63834,"title":5535,"dynasty":76,"author":16463,"museum":364,"description":63835,"tags":63836,"thumbUrl":63837,"material":139,"size":139,"collection":139,"collections":63838,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},228953,"shan-shui-li-zhou-yuan-jiang-228953","此作用高远、平远之法铺展丘壑，烟岚轻笼层叠峰峦，虚实掩映间晕开幽寂氛围。幽谷飞瀑垂落，亭台楼阁错落栖于崖畔水岸，尽显雅致逸趣。近岸林木扶苏，渔舟泛于涟漪之上，渔人悠然摇橹，野逸生机跃然绢素。\n\n笔墨苍秀兼工带写，山石皴擦兼具厚重质感与氤氲气韵，设色古雅沉静，糅合院体的精细整饬与文人山水的萧散意趣，将江南山林温润空濛的灵秀之态描摹尽致。观之如临林泉，恍可听瀑声、闻棹歌，尽得山水意境之美。",[7,241,27,29,558,34,35,174,175,104,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffacdf90198a83bdeccf8510a9ccdbe3d.jpg",[],{"id":63840,"slug":63841,"title":48984,"dynasty":99,"author":293,"museum":364,"description":63842,"tags":63843,"thumbUrl":63844,"material":139,"size":139,"collection":139,"collections":63845,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},228918,"he-tang-shuang-lu-tu-yi-ming-228918","画面饱满铺陈，粉荷或绽苞或盛放，枯荣荷叶交错层叠，蒲草芙蕖错落其间，尽显盛夏荷塘的蓬勃野趣。两只白鹭娴静错落，一只昂首远眺，一只曲颈理羽，将幽寂安然的意趣藏在留白里。\n古绢底色晕染出沉雅氛围感，设色柔和雅致，禽鸟素白羽翼与粉荷暖色相互映衬，蜻蜓水鸟掠飞其间，为静谧荷塘添灵动生机。工写兼施，花鸟刻画细致入微，草木晕染写意空灵，将江南水泽的清宁诗意凝于绢素，藏着澹泊闲静的池居幽情。",[23,7,209,24,241,27,28,83,243,137,5223,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d11c6095b8c54fa3490081eeda3ec70.jpg",[],{"id":63847,"slug":63848,"title":33996,"dynasty":99,"author":966,"museum":364,"description":63849,"tags":63850,"thumbUrl":63851,"material":139,"size":139,"collection":139,"collections":63852,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},228874,"gu-song-tu-wen-zheng-ming-228874","此作用笔苍秀老辣，古松盘虬屈曲，躯干以淡墨皴擦晕染，尽显嶙峋斑驳的百年肌理。留白勾出枯槎如银铁之骨，横斜扭转间尽露倔强姿态。松针以焦墨攒簇锋芒毕现，如寒戟森森，满溢凌然风骨。\n\n左侧题字笔意清劲挺拔，与画中奇松相得益彰，书画合璧。整幅以素净纸色衬出古松孤高，水墨洗练却真气弥满，将古松岁寒不凋的君子品格刻画得入木三分，尽抒孤傲清刚的文人意趣。",[23,7,24,25,173,177,449,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2dec8a1811c9c694ad2963a886ad04d.jpg",[],{"id":63854,"slug":63855,"title":63856,"dynasty":99,"author":4821,"museum":364,"description":63857,"tags":63858,"thumbUrl":63859,"material":139,"size":139,"collection":139,"collections":63860,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":49},228433,"xie-qin-tan-mei-tu-du-jin-228433","携琴探梅图","画面以淡墨晕染出清寂冬山，古松虬枝横斜，苍劲老辣。寒溪蜿蜒穿谷，水波轻漾间漾出幽冷空茫。曳杖文士缓行山径，衣袂翩然尽是闲适从容，侍童抱琴紧随其后，将文人携琴探梅的雅兴藏于萧寒丘壑。\n\n笔墨洗练疏朗，山水皴擦简括写意，人物线条清劲灵动，淡墨轻岚晕染出空寂淡远的氛围，将冬日山林的萧寒清冷与文人寻幽访胜的孤高雅趣相融，于简淡之中尽显出超尘脱俗的文人情致。",[23,7,27,28,106,29,448,6605,245,394,491,490,34,13778,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09df8d050a7184bf123970b4c974cb8.jpg",[],{"id":63862,"slug":63863,"title":57207,"dynasty":189,"author":1057,"museum":364,"description":63864,"tags":63865,"thumbUrl":63866,"material":139,"size":139,"collection":139,"collections":63867,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":94},228174,"ma-tu-ren-ren-fa-228174","此画以淡墨细劲勾勒出马的轮廓，辅以温润晕染烘托出躯体丰腴质感，垂首敛颈的骏马神态温驯悠然。以淡墨点簇晕开斑纹，层次柔润自然，细腻晕染下可见肌理起伏，牵丝勾勒的鬃毛劲挺顺滑，尽显良驹的神俊内敛。浅褐绢面留白衬出马儿松弛沉静的状态，右上角朱红方印古雅沉静，与底色相映成趣。整幅画作工致又不失写意松弛，于简淡笔墨间尽显写实功力，将鞍马温顺沉静的气质刻画入微，尽显古雅清隽的画中逸韵。",[23,209,7,24,28,27,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F559e9ea5c261803d6c4da058f76d720c.jpg",[],{"id":63869,"slug":63870,"title":17776,"dynasty":189,"author":1057,"museum":364,"description":63871,"tags":63872,"thumbUrl":63873,"material":139,"size":139,"collection":139,"collections":63874,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":271},228173,"ren-ma-tu-juan-ren-ren-fa-228173","此卷绘三匹神骏，或昂首徐行，或垂目安步，筋骨肌理刻画入微，膘肥体健，神骏之态毕现。牵马者神情各异，衣冠服饰线条劲挺流畅，设色雅致沉稳，将人物的身份气度描摹得鲜活自然。\n\n画作写实精妙，比例精准，尽显创作者观察细致、笔力深厚。搭配的题字笔墨酣畅，与绘作相映成趣，整卷古意悠然，将人马之间的呼应刻画得浑然天成，尽显鞍马人物画的高古雅致风韵。",[23,209,7,24,25,28,27,106,150,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27670cfe79fb7e698f1516afb9d52f7.jpg",[],{"id":63876,"slug":63877,"title":63878,"dynasty":189,"author":10811,"museum":364,"description":63879,"tags":63880,"thumbUrl":63881,"material":139,"size":139,"collection":139,"collections":63882,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},228161,"qiu-jing-chun-que-tu-wang-yuan-228161","秋景鹑雀图","此作为水墨花鸟精品，以全景式铺陈秋日小景。枝桠虬劲舒展，数只雀鸟或振翅翻飞、或栖枝理羽，灵动鲜活，将秋空的清寂晕开几分生机。坡石苍朴古拙，枯笔写意勾勒尽显嶙峋质感，旁侧竹篁挺秀、野菊含芳，笔墨秀雅细腻，晕染间尽显草木清疏之态。\n\n坡下鹌鹑伏于浅草间，羽色纹理描摹入微，憨态尽显。整作纯以水墨绘就，摒去设色浮华，以浓淡干湿变化表现物象肌理，工写相融，既有禽鸟刻画的精工雅致，又有花木坡石的写意苍润，将秋日郊野的清旷意趣与灵动生机揉合一处，尽显清淡古雅的文人意韵。",[23,7,24,241,173,28,83,242,453,245,281,5589,227,1064,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5177d8103b4a3a8119cd7797cf489d1.jpg",[],{"id":63884,"slug":63885,"title":63886,"dynasty":189,"author":21912,"museum":206,"description":63887,"tags":63888,"thumbUrl":63889,"material":317,"size":63890,"collection":139,"collections":63891,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":49},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[23,7,24,209,29,27,177,1016,174,1351,7646,106,34,176,1256,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","纵160.1 横106.2 公分",[],{"id":63893,"slug":63894,"title":63895,"dynasty":189,"author":18436,"museum":364,"description":63896,"tags":63897,"thumbUrl":63900,"material":139,"size":139,"collection":139,"collections":63901,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},228077,"zhong-kui-ye-you-tu-yan-hui-228077","钟馗夜游图","此作用铁线游丝般的白描铺陈夜游盛景，开篇主角被鬼卒前呼后拥，伞盖高张、锣声隐隐，群鬼或扛矛开道、或携琴捧酒，狞怪形貌下藏着憨拙灵动的神态。画师以刚柔相济的墨线，勾勒出鬼物各异的怪谲身形，将幽冥出行的诡谲，化作带市井烟火气的诙谐游行。没有浓墨重彩，仅以枯淡墨痕衬出清冷幽冥的氛围感，把搜神题材的森然消解为戏谑意趣，尽显笔底奇思与线描功力，让这场夜游跳出幽冥的可怖，鲜活如人间市集的巡行。",[23,209,7,24,25,260,173,106,2717,63898,63899],"武器","动作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c9e76964e6d5a4befe37e1f51e3f10.jpg",[],{"id":63903,"slug":63904,"title":63905,"dynasty":189,"author":39567,"museum":364,"description":63906,"tags":63907,"thumbUrl":63908,"material":139,"size":139,"collection":139,"collections":63909,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},228034,"xi-qiao-ce-zhang-tu-luo-zhi-chuan-228034","溪桥策杖图","画作以枯木为视觉重心，双木虬曲苍劲，枝条如倒挂蟹爪，皴笔老辣简练，尽显岁寒枯槁之态。近岸山石以淡墨晕染，勾勒寥寥便见嶙峋质感，远景山峦以淡墨轻扫，晕染出空濛悠远的秋山暮色。\n\n溪桥横卧寒波，策杖行人缓步桥上，三两相伴，为冷寂天地添上些许烟火暖意，动静之间，将荒寒萧索与悠然意趣相融。全作用笔简淡空灵，以水墨写尽隐逸幽怀，枯淡之中暗藏生机，尽显文人超脱尘俗的林下襟怀，是元人尚意山水的逸格之作。",[23,7,24,1562,173,29,177,394,108,109,106,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8663ca638f193764ba17f57c5396ca4c.jpg",[],{"id":63911,"slug":63912,"title":63913,"dynasty":189,"author":351,"museum":364,"description":63914,"tags":63915,"thumbUrl":63916,"material":139,"size":139,"collection":139,"collections":63917,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":271},228017,"shan-ju-tu-quan-juan-qian-xuan-228017","山居图全卷","《山居图》是元代画家钱选创作的一幅纸本设色画。\n卷尾作者自题：“山居惟爱静，日午掩柴门。\n寡合人多忌，无求道自尊。\n鷃鹏俱有志，兰艾不同根。\n安得蒙庄叟，相逢与细论。\n吴兴钱选舜举画并题。\n”钤“舜举印章”、“舜举”、“钱选之印”三方。\n卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。\n细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。\n钱选，字舜举，号玉潭、清癯老人、巽峰，晚年更号溪翁，吴兴（今浙江省湖州市）人。\n生卒不详，主要活动在1世纪中后期至14世纪初。\n南宋景定（126—1264年）年间的进士，入元不仕，遂寄情山水，流连诗酒，隐于绘事，终其一生。\n他是一位技法全面的画家，花鸟、山水、人物、鞍马无一不擅，且造诣颇深，时人有“老钱丹青当世无”的赞誉。\n元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,7,24,25,27,29,177,178,34,35,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6a316c87208793db9c136df079a22.jpg",[],{"id":63919,"slug":63920,"title":63921,"dynasty":18,"author":8886,"museum":364,"description":63922,"tags":63923,"thumbUrl":63924,"material":139,"size":139,"collection":139,"collections":63925,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[23,7,209,24,25,173,177,29,34,108,109,174,176,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":63927,"slug":63928,"title":63929,"dynasty":18,"author":1650,"museum":364,"description":63930,"tags":63931,"thumbUrl":63932,"material":139,"size":139,"collection":139,"collections":63933,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},227829,"wen-dao-tu-ma-yuan-227829","问道图","《明戴进洞天问道图》是明朝画家戴进创作的绢本设色画。\n描绘了深山大川、弥散的云气、 的青松、激荡的水流等山中之景。\n作品现藏于 。\n此图描绘 黄帝至 向 问道的故事。\n画面左侧峰峦突起，直入云霄，右侧古松茂蔚，老干虬枝。\n山谷险道上，身着衮服的皇帝孤身赴洞天问道。\n山石用斧劈皴，人物作琴弦描。\n设色淡雅。\n画风学南宋[画体]而又有元人秀劲的特色，为戴氏前期比较精微优美的佳构。\n画中署有[同郡戴文进为德宣卿友制]。\n后钤[钱塘戴氏文进]、[文进]二。\n此画笔法劲秀，描写精工，皴染淹润，着色清淡，画面境界有一种神秘幽渺之感。\n整幅作品皴法繁密，有条不紊，理在其中，深远之处用墨稍重，皴擦紧密，传达出了空间深远之感。\n图中山谷险道通往洞天，左侧峰突兀，右边长松茂蔚。\n山石用斧劈皴，人物作琴弦描，结构严谨，笔法秀劲，系南宋院体画法，属于 前期比较精微、优秀的佳作。\n戴进（公元188—1462年），明代画家，《明商录》作名班，学文进，号静庵，父号玉泉山人。\n钱塘（今浙江杭州）人。\n少时作银工，所作钗朵精巧绝伦，以为得以传之久远，后见销银者所熔销之物即出已作，遂改学画。\n神像、人物、走善、花果，翎毛俱精绝。\n所作山水，师马远，夏理，并取法轮照、李唐，俱道劲苍洞，行管顿挫多变，设色敷积沉重出严。\n宜宗时与谢廷循等同为待识，因进绘朱农人垂钓而遭谗。\n放归穷死。\n世评戴进为“浙派”之祖，明朝画流第一。\n传世作品有《春山积翠图》轴、《南屏雅集图》卷等。",[23,209,7,24,173,260,27,106,151,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe614a528d695d5f88bfee95f233c5e03.jpg",[],{"id":63935,"slug":63936,"title":63937,"dynasty":18,"author":1650,"museum":364,"description":63938,"tags":63939,"thumbUrl":63940,"material":139,"size":139,"collection":139,"collections":63941,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},227827,"fang-gu-qiu-dao-tu-ma-yuan-227827","访古求道图","此作截取林苑一隅，老梅虬枝盘曲如铁，繁花密缀其上，冷香暗涌。古松倚侧挺健，苍郁沉雄。策杖雅士缓行林间，仆从悄然随行，衣袂轻扬间，尽显萧散古雅的林下风致。\n\n笔墨洗练刚劲，以硬屈的线条勾勒枝干，尽显枯木的苍古之态，梅花晕染清润素雅，淡设色晕染出幽寂清寒的氛围，将林泉访古的幽怀雅趣融于边角取景中，简淡空灵，带着清寂悠远的韵致，尽显南宋院体画的精妙功力。",[23,209,7,24,27,177,106,29,448,1653,394,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe844b4a474880c32edeb6e516001d511.jpg",[],{"id":63943,"slug":63944,"title":11291,"dynasty":18,"author":1827,"museum":364,"description":60676,"tags":63945,"thumbUrl":63946,"material":139,"size":139,"collection":139,"collections":63947,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},227741,"huo-lang-tu-li-song-227741",[23,209,7,24,1562,28,27,106,244,430,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad1a42842dd503cd32e68b5bd50644a.jpg",[],{"id":63949,"slug":63950,"title":63951,"dynasty":18,"author":19209,"museum":364,"description":63952,"tags":63953,"thumbUrl":63954,"material":139,"size":139,"collection":139,"collections":63955,"showCount":398,"zanCount":1547,"manualWeight":48,"mainColor":94},227639,"bi-tao-yi-shi-tu-ye-ma-shi-rong-227639","碧桃倚石图页","《碧桃图》页，宋，纨扇页，绢本，设色，纵24.8厘米，横27厘米。\n\n本幅无款。钤鉴藏印“于”、“腾”、“阿蒙精赏”3方。\n\n图中盛开的碧桃红白相映，枝叶扶疏，娇柔妩媚。虽然画面上仅绘桃花两枝，但它的繁花簇簇、苞蕾盈枝则透露出浓郁的春意。花瓣用多变的细线条勾描后再以白粉或粉红色多层晕染，嫩叶用细红线勾轮廓和叶筋，然后填以花青和汁绿。整幅画面赋色淡雅，自然生动，体现了宋代册页画小中见大的风貌。",[23,209,7,24,81,27,28,83,279,245,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbefa1115cc37dbd7d4d25f6ff030e.jpg",[],{"id":63957,"slug":63958,"title":63959,"dynasty":18,"author":293,"museum":364,"description":42455,"tags":63960,"thumbUrl":63961,"material":139,"size":139,"collection":139,"collections":63962,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},227390,"e-mi-tuo-fo-tu-li-zhou-yi-ming-227390","阿弥陀佛图立轴",[23,7,24,241,259,28,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aba528771369b65c6c3bf67051e1b3.jpg",[],{"id":63964,"slug":63965,"title":63966,"dynasty":18,"author":293,"museum":364,"description":63967,"tags":63968,"thumbUrl":63969,"material":139,"size":139,"collection":139,"collections":63970,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":94},227384,"ke-si-mu-dan-tu-ye-yi-ming-227384","缂丝牡丹图页","宋代尤其南宋是纯欣赏性缂丝诞生的摇篮，宋代缂丝，设色典雅，技术精巧，表现手法写实，是缂丝的黄金时代。纵观宋代帝王诸如仁宗、神宗、徽宗、高宗、光宗、宁宗等，他们都对国画有不同程度的兴趣，出于审美心理和装点宫廷的需要都很重视宫廷画院建设，北宋时还曾一度设立画学，尤其是徽宗赵佶，其工笔画及独创书法“瘦金体”（图1-3-3-1，赵佶《闰中秋月诗帖》，现藏北京故宫博物院）体现了他作为艺术家的杰出才能和修养。上行下效，宋代文人士大夫创作、收藏、品鉴艺术品蔚然成风，不少文人在艺术实践的题材、形式及审美旨趣上都有自己的独特见解和品位。",[23,209,7,24,1160,1562,1629,27,83,327,604,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17764363065a04d11b9b2bb3a5d41b69.jpg",[],{"id":63972,"slug":63973,"title":63974,"dynasty":18949,"author":293,"museum":364,"description":30687,"tags":63975,"thumbUrl":63976,"material":743,"size":744,"collection":139,"collections":63977,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},226904,"song-shan-hua-shang-lian-tu-yi-shou-jing-mu-xia-fu-jian-yi-ming-226904","嵩山画赏莲图，益寿镜木匣附件",[7,24,28,27,136,5222,17563,18949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1b4a4bd4279221698730fe5346f56d4.jpg",[],{"id":63979,"slug":63980,"title":63981,"dynasty":54,"author":293,"museum":2340,"description":8494,"tags":63982,"thumbUrl":63983,"material":743,"size":744,"collection":139,"collections":63984,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":271},226214,"ku-zhu-shi-bei-ping-yi-ming-226214","窟主室背屏",[7,630,259,104,27,106,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8260aa6bb923addce07a65ef6cc694.jpg",[],{"id":63986,"slug":63987,"title":63988,"dynasty":76,"author":9039,"museum":364,"description":63989,"tags":63990,"thumbUrl":63991,"material":139,"size":139,"collection":139,"collections":63992,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},224600,"da-ji-yang-fu-gui-tu-zhao-zhi-qian-224600","大吉羊富贵图","此作以祥花瑞果铺陈画面，雍容牡丹居于视觉中心，晕染得丰腴饱满，尽显华贵姿态。梅枝斜逸而出，山茶、水仙错落排布，石榴垂坠其间，将四时佳卉瑞果汇聚一堂，暗合多重吉祥寓意。\n\n笔墨兼工带写，叶片勾勒皴擦带着金石书法的刚劲质感，设色雅致沉稳，古旧底色更衬出沉静古韵。左侧题字笔力雄健苍劲，书画相映成趣，将文人意趣与世俗吉庆融为一炉，以朴拙厚重的金石气注入雅致花绘，尽显独特审美风骨，是雅俗共赏的精妙佳构。",[23,7,24,27,83,448,327,84,713,225,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f7d887f9a203f39a6a4a9c43134cd3.jpg",[],{"id":63994,"slug":63995,"title":63996,"dynasty":76,"author":1109,"museum":364,"description":63997,"tags":63998,"thumbUrl":63999,"material":1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靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。",[23,7,24,81,27,104,106,107,115,313,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be219b172713f662084b76898f483ec.jpg",[44,45],{"id":64214,"slug":64215,"title":64216,"dynasty":18,"author":20599,"museum":56,"description":64217,"tags":64218,"thumbUrl":64219,"material":3792,"size":64220,"collection":139,"collections":64221,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},221199,"zi-zuo-shi-juan-quan-juan-di-er-duan-lu-you-221199","自作诗卷（全卷）第二段","陆游《自作诗卷》全卷长达7.01米，共写诗八首，题为《记东村父老言》、《访隐者不遇》、《游近村》、《癸亥初冬作》、《美睡》、《渡头》和《杂书》二首。这些诗都是陆游自己创作的，而且每首诗都反映了作者怡然自得的田园生活，再配以飘逸、潇洒的书法表现出来，可以说将诗人的情感和诗的意境都体现得淋漓尽致。",[23,209,7,24,25,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd787697f329c54f001fda4d3482ba4.jpg","31*7017cm",[],{"id":64223,"slug":64224,"title":64225,"dynasty":99,"author":3114,"museum":206,"description":64226,"tags":64227,"thumbUrl":64228,"material":4796,"size":64229,"collection":181,"collections":64230,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},220958,"qiu-shan-lin-ting-dong-qi-chang-220958","秋山林亭","董其昌《秋山林亭》扇面",[23,7,24,1562,173,177,29,175,34,176,16328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9df9fd07e012519044242350341ba5b9.jpg","35x60.4",[181,163],{"id":64232,"slug":64233,"title":64234,"dynasty":99,"author":3114,"museum":206,"description":64235,"tags":64236,"thumbUrl":64242,"material":803,"size":64243,"collection":382,"collections":64244,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},220924,"lin-zhang-xu-lang-guan-bi-ji-dong-qi-chang-220924","临张旭郎官壁记","董其昌《临张旭郎官壁记》轴，本轴钤“大宗伯印”，当作于崇祯五年（一六三二）应宫詹大宗伯之召后。董其昌好杂临诸家，独造奥妙，求其神似于不似间。本幅节临唐张旭郎官壁记，略得张书笔法精严之意，结体沉稳，运笔生动，表现出晚年本色书风。",[23,209,7,24,241,178,105,11744,1086,64237,64238,86,64239,16285,64240,64241],"文人书法","行草","文人书画","书体","临帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb85363d9050f5e44bad0a64256d7eb05.jpg","161.2x54.9",[382],{"id":64246,"slug":64247,"title":64248,"dynasty":99,"author":3114,"museum":9181,"description":64249,"tags":64250,"thumbUrl":64251,"material":81,"size":9185,"collection":139,"collections":64252,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":139},220749,"fang-ge-jia-shan-shui-7-dong-qi-chang-220749","仿各家山水-7","近景苍松虬曲古拙，针叶层叠如盖，旁侧杂木疏朗灵动。中景水面渔舟错落，渔人隐于舟间，似在休憩闲坐。层岩以干笔淡墨皴擦，山峦起伏间林木簇生，墨色浓淡晕染出山峦向背。远景峰峦以淡墨轻描，融于空蒙烟波，留白尽显湖山悠远空寂。\n\n全作用笔松秀空灵，简淡中饱含苍润意趣，脱略具象形态而独取山水神韵，将平淡天真的文人意境藏于虚实笔墨之间，尽显萧散简远的山水格调，寥寥笔墨铺展出清雅绝尘的林下幽居之境。",[23,209,7,24,29,173,177,105,227,34,176,281,109,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa816efc8ede313cf979ab484ec12fee.jpg",[],{"id":64254,"slug":64255,"title":64256,"dynasty":1095,"author":4791,"museum":4792,"description":64257,"tags":64258,"thumbUrl":64259,"material":139,"size":139,"collection":139,"collections":64260,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},220542,"xi-yi-xu-bei-hong-220542","洗衣","此作用淡墨留白晕染出水乡柔波，岸滩以焦墨枯笔勾勒，尽显糙实质感。一坐一蹲的浣衣女子是画面焦点，线条兼具速写的爽利与国画的凝练，将日常劳作的松弛情态自然铺陈。白衣女子垂首静望，黑衣妇人俯身搓揉衣物，发髻妥帖、身姿鲜活，没有刻意修饰，尽是江南水乡寻常的烟火意趣。\n\n右上角题字与画面呼应，书画相融，带着质朴的人文温度。画作跳出古典仕女的范式，以写实笔触聚焦平凡世相，将日常劳作晕染成诗意的生活切片，晕开沉静温婉的东方韵味，把最朴素的日常，绘就成动人的生活图景。",[7,24,173,27,106,11350,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538ee49cf9ef15f0e4bcc69f5a8326d3.jpg",[],{"id":64262,"slug":64263,"title":64264,"dynasty":76,"author":953,"museum":101,"description":64265,"tags":64266,"thumbUrl":64267,"material":4796,"size":139,"collection":139,"collections":64268,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":94},220465,"tong-zi-shui-niu-ren-yi-220465","童子水牛","此作用笔简淡写意，芦汀浅水间，两童子踞石垂竿，神态松弛憨稚，不见垂钓的焦灼，只余嬉游闲趣。水牛浮于清波，随水悠悠。浅蓝晕染芦苇，清润朦胧，衬出水乡初夏的凉意。淡墨点苔写岸石，留白铺就水天，将郊野的清寂松弛晕满扇面。简笔勾勒人物形神兼具，以轻描淡写铺就江南野逸日常，把闲散田家意趣藏在水墨间，淡远清宁，尽显悠然诗意。",[7,24,1562,209,173,27,106,296,38690,242,297,431,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ad1853876e08b4ff2603682f045162.jpg",[],{"id":64270,"slug":64271,"title":64272,"dynasty":189,"author":5444,"museum":206,"description":64273,"tags":64274,"thumbUrl":64275,"material":173,"size":139,"collection":181,"collections":64276,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":94},219958,"ye-qiao-ce-jian-tu-sheng-mao-219958","野桥策蹇图","此作以水墨晕染出山林幽寂之境，圆形取景似截取一段秋日山隅暮色。远山以淡墨轻勾浅染，峰峦在烟霭中隐现，漾着空濛悠远的氛围感。近岸林木攒簇，细劲笔意勾勒枝干，介字、个字点叶错杂层叠，尽显苍茂生机，坡岸以干笔短皴写出，朴拙苍厚间带着山野的荒疏意趣。\n\n野桥匿于林麓，策蹇之人悄然隐于林下，身形虽简却暗合幽行雅吟之题。全作用墨浓淡铺陈远近层次，简淡中见苍茫萧散，将寄情林泉的野逸之思，融于尺幅小景之中，清寂雅致，尽显文人山水的闲淡意趣。",[23,7,173,27,177,81,29,106,108,34,176,8989],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed64b4c78e7fd07febf0ed221608f.jpg",[181],{"id":64278,"slug":64279,"title":28245,"dynasty":18,"author":293,"museum":206,"description":64280,"tags":64281,"thumbUrl":18879,"material":123,"size":139,"collection":44,"collections":64282,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":49},219613,"ren-wu-tu-yi-ming-219613","画面雅致沉静，铺展出宋人的书斋日常。主人踞坐榻上，神色安然静穆，侍从躬身研墨，尽显仪范分寸。\n\n室内陈设错落合宜，屏间肖像映着瓶花清韵，案头书卷、香鼎、花觥排布雅致，处处流露宋代文人尚雅的审美意趣。设色古雅温润，绢底晕染着岁月沉淀的暗黄，却未减分毫沉静氛围感。线条秀逸凝练，将人物仪态、器物质感一一勾勒入微，尽显工笔精妙，让观者窥见千年前文人书斋里的闲雅日常，触摸宋人雅致的生活格调。",[23,209,7,24,27,28,106,63,244,12876,10854,10855,12877],[44],{"id":64284,"slug":64285,"title":64286,"dynasty":99,"author":37407,"museum":539,"description":64287,"tags":64288,"thumbUrl":64289,"material":88,"size":64290,"collection":44,"collections":64291,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":49},219547,"he-he-er-xian-tu-wang-wen-219547","和合二仙图","寒山与拾得两位大师，是佛教史上著名的诗僧。唐代天台山国清寺隐僧寒山与拾得，行迹怪诞，言语非常，相传是文殊菩萨与普贤菩萨的化身。千百年来，以寒山与拾得为主题的绘画作品数不尽数，此画虽名不见经传，但构图却也别具一格。此画看点在于寒山与拾得所组成的“和合二仙”与民间的旺财神兽金蟾同时出现在一幅画面中，寓意着和谐兴旺吉祥，实为稀有。",[23,7,24,241,173,446,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e02e7e313cc92df18ce4c447322c93.jpg","156.4x86.8厘米",[44],{"id":64293,"slug":64294,"title":64295,"dynasty":189,"author":18481,"museum":206,"description":64296,"tags":64297,"thumbUrl":64299,"material":123,"size":64300,"collection":181,"collections":64301,"showCount":398,"zanCount":48,"manualWeight":48,"mainColor":49},219502,"qiao-xiu-you-ju-tu-ma-wan-219502","乔岫幽居图","整作取高远构图，崖峰巍峨雄峙，素雪覆于岩岫，以留白衬出冬日清寒。层岩叠壑间枯木寒林错落，溪谷回环浅流蜿蜒，栈道山居掩映山谷间，晕染出幽寂空濛的山居意趣。\n笔墨兼取宋画写实与元人尚意之长，以干笔皴擦勾勒山石肌理，淡墨晕染烘托雪霁朦胧，既见山石嶙峋厚重质感，又尽显山野荒寒萧疏的隐逸氛围，将冬日林泉的清旷雅逸藏于尺幅之间。",[7,24,241,29,177,173,176,34,560,503,64298],"居所","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd093121f4de9a98bea7379f88dafe3.jpg","纵119.9厘米，横57.8厘米",[181],{"id":64303,"slug":64304,"title":64305,"dynasty":99,"author":37407,"museum":206,"description":64306,"tags":64307,"thumbUrl":64308,"material":173,"size":64309,"collection":44,"collections":64310,"showCount":398,"zanCount":5,"manualWeight":48,"mainColor":94},219371,"shi-de-xiang-zhou-wang-wen-219371","拾得像轴","拾得是唐朝时能作诗的和尚。他的老师丰干禅师走在赤城的道路上，听到被遗弃小婴儿的哭声，就捡拾教养他，因此名叫“拾得”。拾得与另一位高僧寒山齐名。\n这一幅画，以狂放的笔调，大肆挥洒画出，顷刻之间，就画完成，这是大写意的画法，对于表现拾得疯疯颠颠的形象，真有传神之妙。\n拾得与当世高僧寒山友善，俱以癫狂，好吟词偈。两人传记见於唐人写的《寒山拾得诗》序文：“寒山文殊，遁迹国清；拾得普贤，状如贫子，又似疯狂。”得知时人将二人喻为佛教中的文殊、普贤菩萨。又言：“或长廊徐行，叫嗓凌人。或望空独笑，时僧逐捉打骂，乃驻立抚掌，呵呵大笑，良久而去。”日后画家描绘二人图像，大抵以此为根据，存世作品多见对幅形式，此幅或为其一，唯寒山图去向未知。 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间作花卉，亦多逸致，康熙八年（1669）作山水图。",[7,24,173,177,29,864,297,430,35,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b7a30ec1fa285757ae00f8f0aa4f15.jpg",[181],{"id":64830,"slug":64831,"title":64832,"dynasty":99,"author":293,"museum":364,"description":64833,"tags":64834,"thumbUrl":64835,"material":139,"size":139,"collection":139,"collections":64836,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},239484,"ming-ren-song-hou-tu-zhou-yi-ming-239484","明人松猴图轴","古松虬曲苍劲，枝干盘错如游龙，松针晕染出苍莽古雅的山林底色。五只灵猴各得幽趣：枝头两猴或俯身探看，或垂首理毛，嬉闹间尽显灵动；涧边三猴或静坐沉思，或临水望影，将猿猴的通性灵态描摹尽致。\n此作用水墨晕染，淡墨铺陈空濛虚境，浓墨提点松干皴纹与猴身绒毛，虚实相生留白悠远。笔意兼顾工细与写意，灵猴造型写实鲜活，古松勾勒纵逸老辣，以松猴林下之姿，晕染出悠然出世的林泉雅韵，尽显幽寂澹远的文人意趣。",[7,24,241,209,173,177,28,449,12940,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4b47cdaf4cc40984d772c5d1dfb952.jpg",[],{"id":64838,"slug":64839,"title":6670,"dynasty":76,"author":6671,"museum":364,"description":56342,"tags":64840,"thumbUrl":64841,"material":139,"size":139,"collection":139,"collections":64842,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},239051,"shan-shui-hua-niao-ce-yang-jin-239051",[7,24,81,173,177,227,29,106,109,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6136e48c08d32b04c6c2777897512f54.jpg",[],{"id":64844,"slug":64845,"title":486,"dynasty":76,"author":6671,"museum":364,"description":25908,"tags":64846,"thumbUrl":64847,"material":139,"size":139,"collection":181,"collections":64848,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},238987,"shan-shui-ce-yang-jin-238987",[7,24,81,27,29,177,34,4614,174,109,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b2b48963874015c5128a1c9ccdd5a4.jpg",[181,45],{"id":64850,"slug":64851,"title":131,"dynasty":76,"author":836,"museum":364,"description":11187,"tags":64852,"thumbUrl":64853,"material":743,"size":744,"collection":139,"collections":64854,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},238888,"hua-hui-ce-dong-gao-238888",[209,7,24,81,27,28,83,84,12508,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab128a6053d03c4e74e4f9bf31553a5.jpg",[],{"id":64856,"slug":64857,"title":64858,"dynasty":76,"author":18715,"museum":364,"description":18716,"tags":64859,"thumbUrl":64860,"material":743,"size":744,"collection":44,"collections":64861,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},238544,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238544","陈书画历代帝王道统图钱陈群书赞合册",[7,24,81,27,28,106,178,86,227,34,176,1664,2166,505,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1bf6b2c65b651b60c09fe8353699f2.jpg",[44,45],{"id":64863,"slug":64864,"title":64865,"dynasty":76,"author":17651,"museum":364,"description":56358,"tags":64866,"thumbUrl":64867,"material":743,"size":744,"collection":90,"collections":64868,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},238541,"hua-shou-pu-ce-yu-sheng-238541","画兽谱册",[7,24,81,27,957,29,176,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9544dfd446f8c2df9428c8857d17029f.jpg",[90,45],{"id":64870,"slug":64871,"title":43703,"dynasty":76,"author":836,"museum":364,"description":11187,"tags":64872,"thumbUrl":64874,"material":743,"size":744,"collection":139,"collections":64875,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},238420,"xiu-gu-cong-fang-tu-ce-dong-gao-238420",[7,24,81,28,27,227,83,84,450,698,64873],"白色花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7bc8ef58248a0fab2f7773f16975fec.jpg",[],{"id":64877,"slug":64878,"title":20503,"dynasty":76,"author":836,"museum":364,"description":20504,"tags":64879,"thumbUrl":64880,"material":139,"size":139,"collection":139,"collections":64881,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":94},238375,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238375",[7,24,209,81,27,28,83,9940,2238,226,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff5895b5249671caf851158c42e1e27.jpg",[],{"id":64883,"slug":64884,"title":20503,"dynasty":76,"author":836,"museum":364,"description":20504,"tags":64885,"thumbUrl":64887,"material":139,"size":139,"collection":139,"collections":64888,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},238372,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238372",[7,24,81,28,27,83,327,84,698,64886],"蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b401de06f9cc225a228e0de738a1bc.jpg",[],{"id":64890,"slug":64891,"title":131,"dynasty":76,"author":836,"museum":364,"description":11187,"tags":64892,"thumbUrl":64893,"material":743,"size":744,"collection":139,"collections":64894,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},238352,"hua-hui-ce-dong-gao-238352",[209,7,24,81,27,28,453,84,1062,698,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b5a66add4c45d8079f31aa0ed45868.jpg",[],{"id":64896,"slug":64897,"title":64898,"dynasty":76,"author":58956,"museum":364,"description":64899,"tags":64900,"thumbUrl":64901,"mat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terial":1716,"size":65178,"collection":139,"collections":65179,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},233460,"liu-yan-tu-zhou-sheng-chang-nian-233460","柳燕图轴","画面细嫩的柳枝倒垂，枝叶稀疏，临风摇曳，一双燕子翻飞其间，笔墨间透出浓浓春意。燕子秋去春来，表示一年的时光已经流逝，迁徒无定的行踪牵动了无数行旅之人的思乡之情。本幅作品简洁清淡，取景自然，疏朗的构图，剪裁得宜，寥寥数笔勾画出一幅充满诗意的抒情佳景。自识“武林盛昌年元龄为良友吴郡沈彦肃戏作于梁谿寓所，岁至壬辰三月也”。另有葵丘生题诗：“杨柳风多暑气微，一双下上故飞口。如何恋芳塘景，秋社归时也不归。”",[7,24,241,173,83,281,3246,10497,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930e8ccb1f2c104fc399bd3913fc72b0.jpg","纵75.9厘米、横25.5厘米",[],{"id":65181,"slug":65182,"title":7507,"dynasty":76,"author":1109,"museum":20,"description":20290,"tags":65183,"thumbUrl":65184,"material":49537,"size":49538,"collection":139,"collections":65185,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":94},233424,"yuan-ji-shan-shui-ce-shi-tao-233424",[209,7,24,81,173,177,227,29,864,37,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b281a289ed6ab616f64e10b152cd89.jpg",[],{"id":65187,"slug":65188,"title":65189,"dynasty":76,"author":953,"museum":20,"description":65190,"tags":65191,"thumbUrl":65192,"material":1642,"size":65193,"collection":139,"collections":65194,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},233410,"ren-song-yun-xiang-zhou-ren-yi-233410","任淞云像轴","任伯年乃是处于中国古代社会与近现代交界线上的一位人物，而他的绘画在清末画坛犹如奇峰崛起，代表着传统艺术的一个新的高度。\n他的人物画既具有总结性，又富有前瞻性。上接陈洪绶、八大山人、华嵒、闵贞、费丹旭、任渭长、任阜长之衣钵，下启徐悲鸿及蒋兆和之新一代画风。他不仅是“海派”中的佼佼者，而且也是中国绘画史上的一位大师。",[7,24,241,27,173,106,1015,176,2238,1575,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb450c7a206e3c836cbe9cd017f905d9d.jpg","173.1cm×47.3cm",[],{"id":65196,"slug":65197,"title":65198,"dynasty":76,"author":953,"museum":20,"description":65199,"tags":65200,"thumbUrl":65201,"material":990,"size":65202,"collection":139,"collections":65203,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},233409,"ge-zhong-hua-xiang-zhou-ren-yi-233409","葛仲华像轴","本幅题记者甚众，均为葛怀英（即葛仲华）文友，计有：胡公寿、沈景成、严信厚、顾德沅、徐大有诸家。\n据葛怀英跋中所言“癸酉春正月属山阴任君伯年写成独立小影”，可知此画应作于清同治十二年（1873年），任伯年时年34岁。\n此图为淡设色绘制葛仲华全身立像。据德林隶书题“仲华二十七岁小景”可知像主当时的年纪。另据葛怀英自跋可知，葛氏是一名空有一腔抱负而不得志的落寞文人，所幸其“心入禅关有乐天”。人物面部施以淡赭色并略加晕染，色调稍有明暗对比，突出了人物面部的立体效果。主人公身着长衫，右手持淡青小花一支于胸前，神态淡定。衣纹以“钉头鼠尾”线描绘，刚柔相济，飘洒自如，富有节奏感，使得人物虽静如动。",[7,24,241,27,106,260,173,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59448d4a4de52b2586b0b291404db2ff.jpg","纵118.6厘米，横60.3厘米",[],{"id":65205,"slug":65206,"title":65207,"dynasty":189,"author":9509,"museum":20,"description":65208,"tags":65209,"thumbUrl":65210,"material":990,"size":41011,"collection":139,"collections":65211,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},232980,"xie-dan-you-qi-tu-zhou-zhao-yong-232980","挟弹游骑图轴","画中一乌帽朱衣人，乘黑花马于平坡上缓缓而行，手执弹弓，悠然仰望，似在搜寻猎物，眉目生动传神。图上人马先以淡墨勾线，后施色彩，晕染匀净。树木则用双勾填色，工整精细。全图画风古朴雅致，有唐人笔意。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。",[7,24,241,28,27,106,150,430,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848f21392a4c6285d5e3775686b5b4c0.jpg",[],{"id":65213,"slug":65214,"title":65215,"dynasty":189,"author":2519,"museum":20,"description":65216,"tags":65217,"thumbUrl":65218,"material":40,"size":65219,"collection":139,"collections":65220,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},232774,"xiao-yi-zhuan-lan-ting-xu-tu-juan-zhao-meng-fu-232774","萧翼赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。\n现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。\n该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。",[23,7,24,25,28,27,106,105,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c51deba39226d24cedc232f1a54eba.jpg","纵26.6厘米，横44.3厘米",[],{"id":65222,"slug":65223,"title":65224,"dynasty":76,"author":850,"museum":206,"description":65225,"tags":65226,"thumbUrl":65227,"material":665,"size":65228,"collection":139,"collections":65229,"showCount":482,"zanCount":1547,"manualWeight":48,"mainColor":49},232674,"shi-jun-tu-da-wan-liu-lang-shi-ning-232674","十骏图大宛骝","有郎世宁的签名，但真正的艺术家不详。\n目前还不清楚这个复制品是什么时候完成的。\n朱塞佩·卡斯蒂廖内，S.J. （中文名郎世宁；1688年7月19日－1766年7月17日），意大利耶稣会兄弟，中国传教士，曾在康熙、雍正、乾隆三位皇帝的朝廷担任画家。他的绘画风格融合了欧洲和中国的传统。\n后来的艺术评论家认为他的马画是最具表现力的。作品《百骏图》被公认为中国十大名画之一。",[7,24,28,27,150,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa244b888acd8e18e452db1d877f7b2c9.jpg","231x274厘米",[],{"id":65231,"slug":65232,"title":65233,"dynasty":18,"author":781,"museum":12966,"description":65234,"tags":65235,"thumbUrl":65236,"material":803,"size":65237,"collection":139,"collections":65238,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},232629,"qun-xian-gao-hui-tu-juan-li-gong-lin-232629","群仙高会图卷","长卷绘群山连绵，云雾缭绕，群仙或立于云端、山中、河岸边、凉亭里，画卷中绘一高大天门，长松守护左右，众仙聚集热闹非凡。",[7,24,25,260,173,29,106,176,1015,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a48d01ac0c21f75efd5eeab0c875d1.jpg","41.5x948.7",[],{"id":65240,"slug":65241,"title":65242,"dynasty":189,"author":293,"museum":364,"description":65243,"tags":65244,"thumbUrl":65245,"material":139,"size":139,"collection":139,"collections":65246,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},231482,"pu-sa-tu-yi-ming-231482","菩萨图","菩萨天女体态丰腴，容貌端丽，具有动人的丰姿，在敦煌壁画中多有体现。",[23,7,24,241,259,27,28,106,1862,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce138af2f13e8fc586ace67f77117ce7.jpg",[],{"id":65248,"slug":65249,"title":65250,"dynasty":99,"author":1480,"museum":364,"description":65251,"tags":65252,"thumbUrl":65253,"material":139,"size":139,"collection":139,"collections":65254,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},231396,"ren-wu-gu-shi-tu-tang-yin-231396","人物故事图","唐寅生于成化六年二月初四，卒于嘉靖二年十二月二日，字伯虎，后改字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，明代画家、书法家、诗人。\n二十九岁时由诸生举应乡试，得第一名解元，名声大噪，故人称唐解元。而后，家中连遭不幸，父母、妻子、妹妹相继去世。三十岁时进京会试，涉会试泄题案而被革黜。后游历名山大川，以卖文鬻画闻名天下。\n早年随沈周、周臣学画，宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。\n唐寅的人物作品传世颇多，无论是单幅人物还是群像无不精彩。这件吹萧仕女图尺幅巨大，然笔笔精到，无一败者，可以说是达到了通会之际人画俱老的境界。他的人物画有两种风格，一种是繁笔重彩，另外一种则是简笔淡彩。前一种画风是从唐人重彩画而来。而这张画则是前一种画风的杰作。 从线描的技巧来看，他运用了唐代吴道子的兰叶描。一波三折，如风中不断翻转着的兰叶，充满着内在的韵律。在仕女面部开相上，丰额细眉，眼小如线。在烘染上则用唐代盛行的三白法，厚而不腻，对比强烈。细观该画中的仕女，其头发丝的烘染，也是一丝不苟，层层深入的。古人说画人难画手，画树难画柳。因为人手部的结构复杂，表现不好不是僵就是软。而唐寅对手的刻画真是细致人微，让人似乎可以感觉到仕女手部的温暖。在衣服格纹的钩染与填色上，也是一丝不苟。从整体上看，这件作品的色彩古雅沉静，有着青铜器一样幽深无际之感。表现出晚年唐寅人物画风的一个重要变化，他试图在大幅人物画中将粗笔的写意与工笔的钩染相结合起来。这说明他的绘画艺术还在发展着，可惜的是他这种尝试还没有完全成熟就去世了。 古人画仕女多是借美人香草而别有怀抱的。因这件画幅只落有穷款，我们无法推知作者在画这件作品时的喻意。画中表现的是一个着宫装的贵族仕女在吹着洞萧，我们虽然昕不到声音，但是通过画面似乎听到幽怨的萧声自画中传出来。唐寅晚年是很凄苦的，妻子和儿子先他而去。家庭的温暖不再可得，故他笔下的人物也多有哀怨之色。这件作品表面上看非常之富丽华贵，而其骨子里却是悲凉的。",[23,7,24,28,27,106,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86cd1be9df83a8a61d6a9c212c4aebd.jpg",[],{"id":65256,"slug":65257,"title":65258,"dynasty":18,"author":293,"museum":364,"description":65259,"tags":65260,"thumbUrl":65261,"material":139,"size":139,"collection":139,"collections":65262,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},231078,"liu-tang-fan-yue-yi-ming-231078","柳塘泛月","薄月垂悬柳梢，清辉漫过塘面，晕开一怀夏夜幽寂。柔枝垂柳以淡墨晕染，如烟似雾，将塘岸晕染成朦胧一片。青碧莲叶错落水面，随波轻漾。\n\n扁舟缓行于莲间，舟上仕女姿态悠然，或凭舷凝望月色，或斜卧舟中静享晚风，侍女垂立身侧，动静之间，将夜游的闲雅意趣缓缓铺陈。\n\n画作以没骨晕染写就景致，墨色柔润层次分明，浅淡设色清雅和谐，以尺幅小景承载起清远疏淡的意韵，将闲逸的审美心境融于笔底，尽显小品画的隽永悠然。",[209,7,24,1562,27,28,106,1532,2994,300,33,137,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d348506c30be231f405f138a860f593.jpg",[],{"id":65264,"slug":65265,"title":2235,"dynasty":76,"author":13219,"museum":364,"description":65266,"tags":65267,"thumbUrl":65268,"material":139,"size":139,"collection":139,"collections":65269,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},230875,"za-hua-ce-bian-shou-min-230875","此作用水墨写意绘折枝秋菊，花枝苍劲老辣，以浓淡墨色分出层次。花瓣以淡墨中锋勾勒点染，舒展清逸，尽显秋菊冷傲之姿；叶片以泼墨随性挥写，朴拙厚重，与纤秀的花头形成巧妙对比。\n\n画面左上题诗相和，诗书相融，将画者淡泊疏朗的心境寄寓其中，文人意趣尽显。笔简而意足，寥寥数笔便勾勒出秋卉萧疏清寂之态，尽显水墨写意花鸟的风神，透着悠然出尘的秋日雅韵。",[7,24,81,173,446,83,796,697,698,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4f516419b2a1ab82eb9ae4841ec1ba.jpg",[],{"id":65271,"slug":65272,"title":65273,"dynasty":76,"author":293,"museum":364,"description":65274,"tags":65275,"thumbUrl":65280,"material":139,"size":139,"collection":181,"collections":65281,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},230334,"bai-miao-tu-miao-man-tu-shuo-san-yi-ming-230334","百苗图苗蛮图说(三)","淡彩晕开层叠青山，山野间花木点染秋意，将黔地清幽铺展开来。山道之上，三名苗家男子持旗扛械，步履铿锵神态悍勇，尽显精壮剽悍。山坳小屋中，两名妇人凭窗凝望，似是牵念远行之人。\n\n整幅工笔线条细劲灵动，设色雅致柔和，以写实视角定格边地族群风貌，将苗乡日常行伍的鲜活场面与山野村居的悠然景致相融，兼具纪实性与审美意趣，带着古朴的民俗质感，生动还原出西南苗寨的质朴生活图景。",[7,28,27,106,29,3704,65276,8247,65277,7464,3639,65278,9111,9786,4614,14471,65279],"苗寨","妇人","山野","行伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e72acd99537e3600c448bfccd8819b.jpg",[181],{"id":65283,"slug":65284,"title":26393,"dynasty":76,"author":9280,"museum":364,"description":65285,"tags":65286,"thumbUrl":65294,"material":743,"size":744,"collection":139,"collections":65295,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},230212,"fa-jie-yuan-liu-tu-juan-ding-guan-peng-230212","纵观此图，场面宏大，人物众多，气势磅礴。内容主要描绘的是诸佛菩萨、天龙八部、法会、禅宗六祖和十八罗汉等形象。每个人物无论从装束、姿态、大小还是表情上都各具特色。佛祖释迦牟尼居于画面的中心，他坐卧于佛案上，身穿宽大的佛袍，面向观者，代表着佛界的最高权威。他神态平和而威严，似乎世间的一些都在其掌控之中。他身后的佛光照亮了天地万物，作者巧妙地运用放射性的波纹线条来表现背景，正好与佛光的发射性结合起来。运用这种表现手法正是作者的高明之处，这些线条穿过树木，透过腾腾的云气，一直延展下去，也许正在向世人暗示佛法的无边。周围人物各居两边，有的为侧面，有的为正面；有的呈坐姿，有的呈立姿；有的宽袍长衣，佛带飘逸，有的袒胸露腹，盔甲满身；有的面容俊逸，温和慈善，有的瞠目立眉，叱咤狰狞。表现手法真是多种多样，但无论怎样变化，他们都是聚集在佛祖身边，手拿法器，各居其位，时刻待命。观此景象也许你会感受到一种无穷的力量在感召着你，那普照的佛光会一直射进你的心中，与你的心灵产生一种完美的契合。\n此画为横幅巨制，布局谨严饱满。在构图方式和人物设置上，除了微小的部分有些变化之外，整体气势冲和一致，甚至有的地方比原作更加集中，用笔更为健劲有力。比如图中以释迦牟尼为中心，运用对称的构图方法，把众多人物分别聚集两边，彼此又自有其序，既有连续性，又有独立性，这就是虽然人物繁多但无一点杂乱之感的原因。尽管人物姿态各异，但总的来说都是朝向画面中，L的佛祖，使得画面充满着一种巨大的凝聚力和向心力。在技法上，此卷以重设色大描金的方法画成。运用刚劲有力的“细铁线”，人物形体准确，神态生动。设色浓丽，金碧辉煌，显示出作者高超的绘画才能。",[7,25,2714,11168,9254,65287,65288,25116,65289,65290,65291,28,65292,16343,65293,261],"释迦牟尼","诸佛菩萨","天龙八部","金刚","法会","重设色","细铁线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F950eadf8283cfbade839b352b2a917d2.jpg",[],{"id":65297,"slug":65298,"title":65299,"dynasty":76,"author":5096,"museum":364,"description":65300,"tags":65301,"thumbUrl":65302,"material":139,"size":139,"collection":139,"collections":65303,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},230194,"yun-he-song-yin-tu-wang-jian-230194","云壑松阴图","清王鉴云壑松荫图轴是清代时期的文物，现收藏于上海博物馆。\n王鉴（1598-1677），字元照，号湘碧、染香庵主，有“王廉州”之称，太仓（今江苏）人。\n山水以元四家为宗，用墨浓润，风格沉雄，“清初六家”之一。\n此图作于康熙乙卯(1675)，时年七十八岁。\n布局转折多姿，笔法细密灵活，画面显得滋润、整洁而明净。",[23,7,24,241,173,29,177,1575,109,650,34,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7dcd1f06106fa7ea0da3e5cfff9089.jpg",[],{"id":65305,"slug":65306,"title":65307,"dynasty":99,"author":966,"museum":364,"description":39462,"tags":65308,"thumbUrl":65309,"material":743,"size":744,"collection":139,"collections":65310,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},228879,"duan-he-ming-qin-tu-wen-zheng-ming-228879","断壑鸣琴图",[23,7,24,241,27,29,177,28,558,176,34,560,1399],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4602ec7c95628152453ccd92f14e664.jpg",[],{"id":65312,"slug":65313,"title":24683,"dynasty":99,"author":170,"museum":364,"description":65314,"tags":65315,"thumbUrl":65316,"material":139,"size":139,"collection":139,"collections":65317,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},228826,"liang-jiang-ming-sheng-tu-ce-shen-zhou-228826","此作用笔兼工带写，右侧苍松掩映下的官式院落界画工细严整，层叠峰峦以披麻皴晕染，墨色苍润厚重，山间云霞淡晕铺陈，烘托出空蒙出尘的仙气，将林泉雅致与山峦雄浑相融。\n\n左侧题跋行书舒展苍劲，诗画合璧，以文衬景。整体将实景胜迹的肃穆雅致，与文人写意的空灵悠远结合，兼具院体画的工致细腻与文人画的简逸意趣，铺陈出江南丘林的沉静大气，寄寓文人林泉高致的审美意趣，尽显山水胜景的意境之美。",[7,24,81,27,29,104,107,34,176,114,115,37,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9e80b34b0e5224393097d95fc097fe6.jpg",[],{"id":65319,"slug":65320,"title":65321,"dynasty":99,"author":293,"museum":364,"description":65322,"tags":65323,"thumbUrl":65324,"material":139,"size":139,"collection":139,"collections":65325,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":49},228813,"die-hua-tu-yi-ming-228813","蝶花图","此作用笔兼工带写，粉紫丛花挺立于坡石之侧，花头饱满柔润，叶片以浓淡墨晕染出阴阳向背，古拙中见雅致。坡石简笔勾勒皴擦，苍朴厚重，衬得花草愈见清妍。\n\n两只蛱蝶翩跹花间，翅脉纤毫毕现，振翅欲飞的姿态灵动鲜活，将郊野刹那生机定格。设色沉雅柔和，古绢底色更添朴茂古意，整体画面简淡空灵，铺展出幽塘野径间的闲趣诗意，尽显写生花鸟的隽永意趣，于静谧中藏着灵动野趣。",[23,7,27,28,83,604,245,84,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ff6a1fc2bdaca3c3b288d2f5d5422c.jpg",[],{"id":65327,"slug":65328,"title":65329,"dynasty":99,"author":21111,"museum":364,"description":65330,"tags":65331,"thumbUrl":65332,"material":139,"size":139,"collection":139,"collections":65333,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[23,7,24,241,29,27,177,3499,1575,107,108,109,900,106,150,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":65335,"slug":65336,"title":65337,"dynasty":99,"author":4821,"museum":364,"description":65338,"tags":65339,"thumbUrl":65340,"material":743,"size":744,"collection":139,"collections":65341,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},228492,"gu-xian-shi-yi-tu-juan-du-jin-228492","古贤诗意图卷","全卷共分九段，分别为：右军笼鹅、桃源图、把酒问月、听颖师弹琴、茶歌、饮中八仙、东山宴饮、咏水仙、舟中夜雪。\n金琮书法偏向于厚重一路，倾向沉稳的风格，因其书法很似赵书，故很多金琮的字，即使不是有意作伪，也被后人挖去原款，添上“赵孟頫”三字，以欺世人。\n杜堇所画之人物采用白描法，笔法细劲透逸，形象生动有神。树石、藤草、桌椅、车、马、小舟等点景穿插有致。墨色淡雅，但淡而不薄，雅而不空。构图简洁，意境清幽，皆得诗意要旨。",[23,7,24,25,260,173,28,86,178,106,29,34,245,300,227,12049,1959,3903,11566],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4687c58a07d69739de4b9a24d53eb4e.jpg",[],{"id":65343,"slug":65344,"title":24664,"dynasty":99,"author":24665,"museum":364,"description":65345,"tags":65346,"thumbUrl":65347,"material":139,"size":139,"collection":139,"collections":65348,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},228394,"hua-die-cao-chong-ce-du-da-cheng-228394","此作用水墨写意绘就花枝蛱蝶，淡墨晕染花瓣，晕出柔润层次，浓墨点醒花心，叶片以干湿浓墨分出阴阳向背，笔致写意率性却不失草木姿态，枝条挺秀舒展，暗含生机动人。\n\n一旁蛱蝶用工笔勾勒，翅脉纤毫毕现，蝶翼轻颤欲落，与写意花木形成工写对照，动静相生。画面留白疏朗雅致，将蛱蝶翩跹之灵与花枝清逸之静相融，尽显简淡清隽的意趣，笔墨简而意态足，晕开春日草木的悠然生机，尽显雅致风神。",[23,209,7,173,81,83,604,62,603,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dea1476444c732f0df93615d5f9095.jpg",[],{"id":65350,"slug":65351,"title":65352,"dynasty":99,"author":1083,"museum":364,"description":65353,"tags":65354,"thumbUrl":65356,"material":139,"size":139,"collection":139,"collections":65357,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},228298,"lao-lian-hua-tang-tu-chen-hong-shou-228298","老莲画堂图","淡墨白描晕开古雅夜色，灯影斜斜悬于堂侧，晕开一室松弛的雅集意趣。高古游丝般的线条勾勒出人物百态：长者凭坐把盏，悠然漫饮；士人垂眸静穆，似沉湎清谈余韵；侍女低眉侍立，温婉静雅，僮仆俯身备食，意态自然。沉暗的古绢底色衬出简淡笔意，留白里漫着晚夜风致，未施浓丽敷色，仅以寥寥墨痕，便将文人士子宴坐清谈的闲雅况味尽数铺展，笔简意长，藏着旧时光的温软松弛。",[23,7,24,241,28,27,106,1653,315,12112,65355],"香炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07609c13b78b81a117b87dd9ce988a.jpg",[],{"id":65359,"slug":65360,"title":22479,"dynasty":99,"author":1083,"museum":364,"description":65361,"tags":65362,"thumbUrl":65363,"material":139,"size":139,"collection":139,"collections":65364,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},228293,"tong-zi-li-fo-tu-chen-hong-shou-228293","《陈洪绶童子礼佛图轴》是明代画家陈洪绶创作的一幅设色画。\n本幅款署：“老莲洪绶画于获兰草堂。\n”钤“陈洪绶印”白文、“ ”朱文印。\n《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。\n图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。\n佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛 起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。\n此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。\n佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。\n此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,7,24,241,259,28,27,106,245,45487,796,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af7033f8cadf5f5c26728c6a40368bb.jpg",[],{"id":65366,"slug":65367,"title":7358,"dynasty":189,"author":293,"museum":364,"description":65368,"tags":65369,"thumbUrl":65370,"material":139,"size":139,"collection":139,"collections":65371,"showCount":482,"zanCount":1547,"manualWeight":48,"mainColor":49},228205,"gong-nv-tu-yi-ming-228205","此作以界画工法描摹层叠宫苑，青绿晕染的山水烘托出楼宇朱栏的明丽雅致。数百宫女素衣翩跹，错落游走在亭台廊榭间：凭栏者凝眸远山，执役者缓步穿廊，低语嬉游者顾盼生姿，将深宫日常的幽闲意绪细腻铺陈。古雅沉润的色调晕开，把皇家苑囿的恢宏与深院女子的柔婉相融，工细的线条勾勒出楼阁规制的严整，也晕染出宫女情态的灵动，让森严深宫晕开缕缕烟火暖意，尽显传统工笔与界画结合的精妙意韵。",[23,7,24,241,27,28,104,106,107,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3d48c6d9c6ff91ec23b7c25f039eeb.jpg",[],{"id":65373,"slug":65374,"title":65375,"dynasty":189,"author":10811,"museum":206,"description":65376,"tags":65377,"thumbUrl":65378,"material":381,"size":65379,"collection":139,"collections":65380,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},228160,"song-ting-hui-you-tu-zhou-wang-yuan-228160","松亭会友图轴","图绘松峙岸边，亭安水上，其中一主一客，另五舟泛于江面。用笔老辣而含蓄，笔笔札实，无一犹豫之处，似可直接宋人。在画面主要位置上画有两棵松树，作者表现了它们间紧密相倚之形姿，并拉长了它们的比例，显得挺拔高巍，苍劲古雅，可看出这是作者借松而喻画中双友之意图。背景以江水相衬，近处轻舟荡桨，远方风帆数起，江水不尽，空旷无边。既成功地衬托了双松，亦为画面上文人之心境作了渲染。画面不直接表现文友交杯等场面，而是刻画了宴请文友前的忙碌情景，这是作者取意之高妙处。",[23,209,7,24,241,173,177,449,175,106,108,109,174,29,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1fc5cbb064b917c31407c47375fc3a.jpg","纵86.9厘米，横49.3厘米",[],{"id":65382,"slug":65383,"title":58004,"dynasty":189,"author":21191,"museum":364,"description":65384,"tags":65385,"thumbUrl":65386,"material":139,"size":139,"collection":139,"collections":65387,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},228069,"teng-wang-ge-tu-ye-xia-yong-228069","《滕王阁图》是 夏永创作的绢本墨笔画，现藏于美国波士顿美术馆。\n该图描绘中国名胜滕王阁的形势景色，画上并以细微楷写唐代王勃《滕王阁序》，用笔极为精细而不失矩度，堪称界画绝品。\n滕王阁位于江西 城外，唐高祖为其子 洪州刺史所建，元婴后封滕王故得名。\n此图用俯瞰法，视点高，同时显示多景的场面，已从纯粹描绘建筑物变成与自然环境结合的风景画面。\n高台之下，江坡浩渺，鱼舟往来，高低错落的楼阁亭台,殿内文士雅集，颇有园林趣味。\n如此规模的绘画景点，作者竟然在楼阁台基旁还描绘了陈设的精美古盆和盆景，一只高足束腰敞口渣斗式古盆，栽培着一棵 ，陈设在高阁空荡平台的中间。\n由此也可证实，当时社会时尚和作者艺术生活与美学观念的倾向。\n此图采用册页形式，取景重心偏置于画幅边角，以墨笔白描法表现著名楼阁。\n夏永擅画界画，喜绘滕王阁、岳阳楼、黄鹤楼，颇合营造规模，能迎合士夫趣味，画风对后世影响很大。\n此图用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n夏永（公元14世纪中）， 画家，字明远，钱塘（今浙江杭州）人，生卒年不详。\n擅长宫殿楼阁界画，师法王振鹏。\n所作《滕王阁图》、《 图》、《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n《花间笑语》云：“细若蚊睫，侔于鬼工。\n”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。\n传世作品有至正七年（147）作《岳阳楼图》册页，绢本，墨笔，纵25厘米，横26厘米，图右上书范仲淹《岳阳楼记》全文，款署“至正七年四月二十日，钱塘夏永明远画并题”；《丰乐楼图》册页，绢本，墨笔，纵25.8厘米，横25.8厘米，图中有夏永微楷书“十里挲平丰乐楼”长题，未署款，钤有“夏明远印”一方，现均藏故宫博物院；《岳阳楼图》页和《黄鹤楼图》页，尺寸相同，绢本，设色，纵27.厘米，横27.6厘米，藏 ；《滕王阁图》册页藏上海博物馆；《楼阁山水图》册页，绢本，设色，纵21.5厘米，横26.1厘米，藏美国高居翰教授景元斋。",[23,7,24,104,260,107,174,29,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e076c91b09ebf8640c247633824730.jpg",[],{"id":65389,"slug":65390,"title":65391,"dynasty":18,"author":8886,"museum":364,"description":65392,"tags":65393,"thumbUrl":65394,"material":139,"size":139,"collection":139,"collections":65395,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},227986,"yin-yan-fei-pu-tu-jiang-can-227986","阴岩飞瀑图","危崖斜出，古木盘虬扎根崖壁，数道飞瀑破壁而出，訇然落向下方深潭。山石以粗劲短皴勾勒轮廓，苍莽厚重，尽显崖石坚硬荒寒；飞瀑以留白衬墨色，线条劲挺利落，将水流奔涌之势藏在简淡笔墨里。\n\n整幅画作以水墨浓淡铺展山野幽寂，无多余点染，却将空谷间瀑流轰鸣、林壑沉静的氛围感拉满，带着独有的萧散冷逸，于尺幅间尽显磅礴大气，暗合寄情林泉、澄怀观道的文人意趣。",[23,209,7,24,241,173,177,29,558,7582,34,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35d866f71b6edd059218c0e1ba2858e.jpg",[],{"id":65397,"slug":65398,"title":30416,"dynasty":18,"author":823,"museum":364,"description":65399,"tags":65400,"thumbUrl":65401,"material":139,"size":139,"collection":139,"collections":65402,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},227982,"xi-yuan-tu-xia-gui-227982","画面以边角取景，右侧老槎盘曲，苔痕苍古，藤蔓附枝斜曳，左侧苍猿长臂勾挂柔条，探身悠荡，圆目灵动，肢体舒展如在乘风嬉游。\n\n以水墨晕染出空茫寒寂的汀渚水岸，淡墨扫出远天荒阔，枯笔勾勒长草随风偃仰，将猿猴的跳脱野趣，融于萧疏冷逸的江天氛围中。简劲洗练的笔墨衬出灵猿鲜活生机，虚实相映间，把山野幽趣藏在淡远空寂里，于尺幅间写尽林皋间自在天真的意趣。",[23,18,7,24,209,173,27,957,12940,430,225,1064,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f519ea9d84cee61338c616ca4061ccf.jpg",[],{"id":65404,"slug":65405,"title":65406,"dynasty":18,"author":293,"museum":364,"description":65407,"tags":65408,"thumbUrl":65409,"material":139,"size":139,"collection":139,"collections":65410,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":49},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[23,209,7,24,1562,28,27,83,18133,800,1160,712,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],{"id":65412,"slug":65413,"title":65414,"dynasty":18,"author":293,"museum":364,"description":65415,"tags":65416,"thumbUrl":65417,"material":139,"size":139,"collection":139,"collections":65418,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},227859,"mo-zhou-fang-xi-ying-quan-juan-yi-ming-227859","摹周昉戏婴全卷","此作画风承续唐人遗韵，绢本设色雅致柔丽。画面之中，闺中仕女温婉安坐，垂眉含笑逗弄稚童，孩童们或蹒跚学步或偎依撒娇，娇憨天真尽显；家犬蹭玩一旁，满卷皆是融融天伦暖意。\n线条细劲柔丽，将仕女纱衣的通透莹润、幼童肌肤的软嫩质感晕染恰到好处，复刻出周昉一派柔婉绮丽的仕女画格调。整卷将深宅里寻常嬉游的日常，绘就为传世温情，尽显雅致世俗意趣，是宋摹唐画里颇具情致的佳作。",[23,7,24,25,105,28,27,106,59,11805,505,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007d3c6b842efb4988a0404266ac130.jpg",[],{"id":65420,"slug":65421,"title":65422,"dynasty":18,"author":293,"museum":364,"description":65423,"tags":65424,"thumbUrl":65425,"material":139,"size":139,"collection":139,"collections":65426,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},227833,"lin-liu-fu-qin-tu-yi-ming-227833","临流抚琴图","画面以边角取势，古松虬曲苍劲，垂藤萦绕，将崖岸的荒古野逸晕开。临流石上，隐士安然抚琴，襟怀自适。远处汀渚隐现于烟岚薄雾之间，水色空蒙，淡墨轻皴尽绘江天寥廓。\n笔墨简淡却意韵悠长，以苍劲勾勒写松之老态，晕染铺就江天虚静，将林下幽居、寄情山水的文人意趣藏于尺幅间，尽显尚简求雅的禅寂风骨，静穆之中，似有琴音随波远逝，恍若带人走入物我两忘的幽远之境。",[23,7,173,177,1562,29,106,109,34,245,210,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F525e8494d45cb369b9a329292fc78b89.jpg",[],{"id":65428,"slug":65429,"title":32237,"dynasty":18,"author":7711,"museum":364,"description":65430,"tags":65431,"thumbUrl":65432,"material":139,"size":139,"collection":139,"collections":65433,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":49},227810,"ji-tu-mao-yi-227810","此作截取庭院一角，顽石旁蜀葵抽枝绽蕊，粉花柔媚映着苍润绿叶，野意悠然。下方双鸡情态生动，雄鸡红冠劲翎，身姿轩昂，母鸡羽色温软，俯首似在啄拾草籽，地面散落的细碎石籽与轻软羽屑，将郊居闲趣揉入画面。\n\n设色秀雅清润，禽鸟羽毛晕染细腻，蓬松柔润的质感呼之欲出，花木皴染兼具工致与写意韵致，于细微处见功力。尺幅之间藏尽田家闲逸，以日常小景铺陈出安宁雅致的意趣，笔简意足，淡而有味。",[209,7,24,83,1562,28,27,3478,450,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41fd354ac99bbf536f773dfd0824080.jpg",[],{"id":65435,"slug":65436,"title":65437,"dynasty":18,"author":2007,"museum":364,"description":49730,"tags":65438,"thumbUrl":65439,"material":139,"size":139,"collection":139,"collections":65440,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},227635,"chun-jiao-hui-yan-tu-ye-ma-lin-227635","春郊回雁图页",[23,7,209,24,5990,27,29,281,900,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f17cd983e2e0d63867687a89a84056.jpg",[],{"id":65442,"slug":65443,"title":65444,"dynasty":18,"author":645,"museum":364,"description":65445,"tags":65446,"thumbUrl":65447,"material":139,"size":139,"collection":139,"collections":65448,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},227544,"xue-ji-xiao-xing-tu-ye-guo-xi-227544","雪霁晓行图页","雪景，是宋代绘画的重要内容和题材之一。据不完全统计，现存宋代涉及雪景的传世画作至少有50余幅，既包括北宋时期李成的《群峰雪霁图》、巨然的《雪图》、郭忠恕的《雪霁江行图》、范宽的《雪景寒林图》《雪山萧寺图》、高克明的《溪山雪意图》、燕文贵的《江干积雪图》《雪山图》、许道宁的《关山密雪图》、郭熙的《关山春雪图》《雪景山水轴》、梁师闵的《芦汀密雪图》、王诜的《渔村小雪图》、翟院深的《雪山归猎图》、赵佶的《雪江归棹图》，也包括南宋时期李迪的《雪中归牧图》《雪树寒禽图》、刘松年的《雪山行旅图》《雪溪举网图》和《四景山水图·冬景》、马远的《晓雪山行图》《雪景图卷》和《雪滩双鹭图》、马麟的《暮雪寒禽图》和《雪梅图》、夏圭的《雪堂客话图》、扬无咎的《雪梅图》、朱锐的《雪笠图》、梁楷的《雪景山水页》《雪栈行骑图》、李东的《雪江卖鱼图》、林椿的《山茶霁雪图》等",[23,7,24,81,177,27,29,150,106,900,1015,176,2124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a5300b265ca4b47a737545184c866f.jpg",[],{"id":65450,"slug":65451,"title":65452,"dynasty":18,"author":293,"museum":364,"description":65453,"tags":65454,"thumbUrl":65455,"material":139,"size":139,"collection":139,"collections":65456,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":49},227339,"ren-zong-hou-zuo-xiang-yi-ming-227339","仁宗后坐像","宋宋仁宗后坐像 絹本62x59 《宋仁宗后坐像轴》是宋代佚名创作的绢本设色画，现藏于台北故宫博物院。 中 文 名 宋仁宗后坐像轴 幅 式 立轴 画作类型 设色画 规 格 纵172．1厘米，横165．3厘米 现收藏地 台北故宫博物院 创作年代 宋代 画作内容 按宋史，宋仁宗先后有两位皇后，一为郭皇后，一为慈圣光献曹皇后，闲郭皂后被废，故可以断定，此幅所绘应是曹皇后肖像",[209,7,28,27,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09a26d5229c2e82fec2c77644de85c6.jpg",[],{"id":65458,"slug":65459,"title":65460,"dynasty":292,"author":46585,"museum":364,"description":65461,"tags":65462,"thumbUrl":65463,"material":139,"size":139,"collection":139,"collections":65464,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[23,209,7,556,241,29,2502,107,1015,176,1445,491,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],{"id":65466,"slug":65467,"title":65468,"dynasty":76,"author":7124,"museum":364,"description":50721,"tags":65469,"thumbUrl":65470,"material":139,"size":139,"collection":139,"collections":65471,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},226634,"si-shi-shan-shui-07-pu-ru-226634","四时山水07",[23,7,24,173,27,177,29,175,1575,176,35,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559be15cbf0d7b675d5eeea0f7e508f.jpg",[],{"id":65473,"slug":65474,"title":65475,"dynasty":76,"author":13111,"museum":206,"description":65476,"tags":65477,"thumbUrl":65478,"material":123,"size":65479,"collection":139,"collections":65480,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},224494,"mei-hua-shan-guan-zhou-wu-li-224494","梅花山馆轴","青绿山峦雄踞左幅，古松虬曲苍劲，枝桠舒展撑出一片清寂天地。山涧春水初涨，暖雾轻笼远峰，将黛色晕作朦胧烟影，柔化了山棱的冷硬。\n右侧水榭山馆凌波而起，几株梅树临水横斜，素花缀枝，暗香仿佛随春水悠悠漫开。白衣策杖的隐者驻足松下，凝睇烟景，将尘俗心绪尽皆抛却。\n整作设色古雅沉静，构图疏密相济，把早春山乡的清润生机，和幽居雅逸的林下襟怀相融，笔底漫溢着悠然淡远的隐逸诗意，藏着文人寄情林泉的悠悠雅兴。",[7,24,241,27,177,29,448,107,108,394,176,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b205a90514253e5b2536e69943f40e.jpg","104.3x52.1",[],{"id":65482,"slug":65483,"title":65484,"dynasty":76,"author":10376,"museum":364,"description":65485,"tags":65486,"thumbUrl":65487,"material":139,"size":139,"collection":139,"collections":65488,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":49},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[23,7,24,1397,241,177,173,27,29,1575,176,558,35,1445,34,4675,560,503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":65490,"slug":65491,"title":65492,"dynasty":76,"author":1892,"museum":364,"description":65493,"tags":65494,"thumbUrl":65495,"material":139,"size":139,"collection":139,"collections":65496,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},224387,"fang-huang-zi-jiu-she-se-shan-shui-wang-yuan-qi-224387","仿黄子久设色山水","《王原祁仿黄子久设色山水轴》，清代山水画，现藏于辽宁省博物馆。\n绢本，设色。\n画心纵122.71，横52.8厘米。\n山峦俊秀，双峰突起，白云迷漫的远山，似起伏的海浪。\n山上山下屋宇排列整齐有绪，泉水沿岩石款款而下，汇成山角下半湖碧水。\n水天相处缀以小汀洲渚，板桥旁又有水榭数楹。\n山石繁密，草木葱茏，山下的几株大树掩映溪水，构成了山山相连的效果。\n高崖峻壑，采用纵线的披麻皴，平林打上横卧点子叶，这种纵横交错的用笔，形成一种强烈的节奏感；重施石青、石绿，色艳明快，山峦显得像碧玉一样温润，给人以清新洁爽之感。\n右上角自识：“康熙癸末(17)春日仿黄子久似恺翁老先生麓台，娄东王原祁。\n”旁钤“王原祁印”、“麓台”二印。",[23,7,24,241,27,29,649,34,35,108,109,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a9513c5762e39dce7925cea01d4a8.jpg",[],{"id":65498,"slug":65499,"title":65500,"dynasty":76,"author":13273,"museum":364,"description":65501,"tags":65502,"thumbUrl":65507,"material":139,"size":139,"collection":139,"collections":65508,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":271},224357,"xiu-zhu-you-ju-tu-yu-zhi-ding-224357","修竹幽居图","《修竹幽居图》是清代禹之鼎创作的设色纸本画。\n本幅右上题“高宗修竹幽居图”，左上款署：“己卯长夏敬绘，十二家恭颂师保相国王老大人千秋，后学禹之鼎。\n”钤“禹之鼎”、“慎斋”印二方。\n己卯为清康熙三十八年（1699年），禹之鼎时年5岁。\n画面上水天空旷，岸边修竹成林，桃花掩映，奇石兀立。\n围栏中建一亭轩，主人慵懒地斜倚在亭内竹椅之上，桌面置一茶壶，身后小童侍立。\n此图房屋、栏杆用笔工细；山石、树木先以墨勾勒轮廓，再用石青、石绿染出；以红色点叶，赭黄色染屋顶；竹子用竖笔绘干，细笔写叶。\n画面布局疏密有致，用笔以写意为主，兼用工笔，轻灵洒脱而又严整，设色清雅鲜丽，意境悠远闲淡，意趣横生。\n禹之鼎（1647——？），字上吉，一字尚基，一作尚稽，号慎斋，江苏江都（今扬州）人。\n其擅长写真，特别是其白描手法，秀媚古雅，当时推为第一，一时名人小像多出其手。",[23,7,209,12351,28,446,27,26,173,29,242,279,2063,175,313,176,34,106,65503,65504,65505,65506],"茶壶","闲淡悠远","清雅鲜丽","疏密有致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7477ce1642bae1fe2529bec82050053.jpg",[],{"id":65510,"slug":65511,"title":65512,"dynasty":76,"author":31118,"museum":364,"description":65513,"tags":65514,"thumbUrl":65515,"material":139,"size":139,"collection":181,"collections":65516,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},224341,"ming-quan-tu-mei-qing-224341","鸣泉图","此作用高远取景，层叠飞瀑自云山深处奔涌而下，跌水层层相续，水雾漫过山峦，将空山的幽寂尽数铺展。崖巅红衣旅人持杖伫立，凝听泉音，以人物的静，衬出飞瀑轰鸣，一动一静间，山野清绝之趣尽显。\n\n笔墨糅合纵逸与温润，山石以皴擦晕染写出苍莽质感，虬松古木点染灵动苔痕，浅赭淡晕晕开幽渺空蒙的氛围。题诗与山水相映，诗画交融，将观泉听涛的林泉雅志藏入尺幅，尽显出世幽怀与山水禅意。",[23,7,24,241,27,29,109,864,430,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af8d90ec82816cfa1ccb2770015b814.jpg",[181],{"id":65518,"slug":65519,"title":65520,"dynasty":76,"author":707,"museum":364,"description":65521,"tags":65522,"thumbUrl":65523,"material":139,"size":139,"collection":139,"collections":65524,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},224187,"hua-niao-cao-chong-tu-ba-06-hua-yan-224187","花鸟草虫图八-06","此作用笔兼工带写，墨色层次清润雅致。垂落柳丝以淡墨勾勒轮廓，浓墨点染叶瓣，随风舒展尽显柔媚之态。枝头禽鸟身形灵动，侧目下望将观者视线引向水面。波中水禽以焦墨晕染羽翼，蓬松苍劲，正振翅拨弄清波，野趣盎然。左侧题字与画面相映成趣，将文人雅意融入水乡小景，寥寥数笔便将禽鸟的灵动生姿与塘边清趣尽数铺陈，把春日塘间的幽微生机勾勒得淋漓尽致。",[23,7,24,173,27,83,281,1226,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4ed4c433fe50dc6a11c97d92f4b862.jpg",[],{"id":65526,"slug":65527,"title":65528,"dynasty":18,"author":293,"museum":364,"description":65529,"tags":65530,"thumbUrl":65531,"material":743,"size":744,"collection":139,"collections":65532,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},223553,"shen-shan-hui-qi-tu-yi-ming-223553","深山会棋图","该画青绿设色，主要表现一士人策杖而行，身后跟随二童仆，一仆携琴，另一仆则肩扛巨大的葫芦，暗示道教的“壶中天”；主仆三人正走向山洞洞门，门后高山耸立，山后却别有天地，象征道教中的“洞天”；“洞天”内则琼楼玉宇，二仙人正在弈棋。\n此类画作，无款无印，是专于墓葬的使用而创作，喻示死者能够仙化，从而进入人所仰慕的神仙世界。此画是中国古代“洞天”和“仙弈”等思想观念的体现。",[23,7,24,29,173,177,27,176,1575,107,106,109,18020],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30288ef13f2034087c552c24805539d6.jpg",[],{"id":65534,"slug":65535,"title":65536,"dynasty":18,"author":293,"museum":20,"description":65537,"tags":65538,"thumbUrl":65539,"material":803,"size":65540,"collection":181,"collections":65541,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,7,24,25,105,173,177,29,430,558,650,175,109,106,245,108,1015,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[181,163],{"id":65543,"slug":65544,"title":65545,"dynasty":18,"author":293,"museum":20,"description":65546,"tags":65547,"thumbUrl":65548,"material":40,"size":65549,"collection":139,"collections":65550,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":49},223474,"zhe-zhi-guo-tu-ye-yi-ming-223474","折枝果图页","在技法上，树干用细笔勾勒，充满赭光，厚重古朴； 轮廓用粗细的彩虹勾勒出来，再染上青色和墨绿色，色彩鲜艳。",[23,7,24,81,27,28,354,713,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb395bb89c0cb2fa1af556b191181cff9.jpg","52.8x46.5cm",[],{"id":65552,"slug":65553,"title":65554,"dynasty":18,"author":293,"museum":20,"description":65555,"tags":65556,"thumbUrl":65557,"material":67,"size":65558,"collection":42,"collections":65559,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},223470,"zheng-ren-xiao-fa-tu-yi-ming-223470","征人晓发图","此为南宋民间风俗画。 茂密的山林中，树木葱郁，远处的树荫下有三间小屋。 农夫在他身后嬉戏，一头驴子站在角落里，扭头看主人忙碌。 远郊一家三口客栈的生活即将浮出水面，形象刻画。",[23,7,209,28,27,104,106,150,35,430,176,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf409b97531dc0d89d051eddaf8a0f4d.jpg","51x68",[42],{"id":65561,"slug":65562,"title":65563,"dynasty":18,"author":293,"museum":206,"description":65564,"tags":65565,"thumbUrl":65566,"material":665,"size":65567,"collection":139,"collections":65568,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},223427,"song-ren-pi-pa-yuan-xi-tu-zhou-yi-ming-223427","宋人枇杷猿戏图轴","从画面上来看，枇杷树的枝干上下各一段，并未相接，观赏时却有著相连的感觉，这种画外之意，正是作者别出心裁的安排。而其沈着的用色、劲健的用笔则将树干的扭曲斑剥、树叶的转折、石头的坚硬和猿身黝黑的绒毛表现得栩栩如生，像可以触摸一般。然只生动地画出物象的形貌仍不够，必须掌握其情态，方算传神，因此画中黑猿，挂在枝干上的一只，手尾紧握，好似在荡秋千一般，另一只则悠闲地坐在树干上，和牠相互凝望，情意相系。\n老树擎空，突出画幅，其枝垂挂，复返画中。画幅中的枝干，笔不连而意连，足见画家布局之匠心。一猿攀枝摇荡，如戏秋千。一猿则踞干悠闲旁观，真能得猿猴动息之情。画技精湛，特善用墨，曲尽黑猿毛色之状，树石描绘精采、用色雅正，尤有过人处，是宋无款作品中之巨幅精品。易元吉的猴猫图突显毫芒毕现的用笔功夫，本画则用墨功夫一流。",[23,209,7,24,241,28,27,957,12940,1278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ef7c2e9e1f091b0edc125c19b59367.jpg","165x107.9厘米",[],{"id":65570,"slug":65571,"title":65572,"dynasty":18,"author":293,"museum":206,"description":65573,"tags":65574,"thumbUrl":65576,"material":381,"size":65577,"collection":139,"collections":65578,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[23,7,24,241,27,28,151,957,1015,1729,5022,650,867,11647,38690,65575,226,4885,9930,47436,11350],"犊牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","97x52.4",[],{"id":65580,"slug":65581,"title":12871,"dynasty":18,"author":293,"museum":578,"description":65582,"tags":65583,"thumbUrl":65584,"material":40,"size":65585,"collection":139,"collections":65586,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},223377,"bei-qi-xiao-shu-tu-yi-ming-223377","《北齐校书图》所绘内容为天宝七年（556年）文宣帝高洋命樊逊等人校勘内府所藏图书的事件。旧传此卷为唐阎立本所作，现多将其归于北齐画家杨子华名下。\n图中三组人物。第一段共七人，其中胡服文士持书卷踞胡床（三国时传入中国的坐具，形制近似于今天使用的马扎），为此段中心；第二段共十人，四文士坐于榻上，婢女、小童伺立榻周，文士中二人校勘书卷，另二人似乎正因意见相左而有所争执；第三段为侍从和牵马的奚奴。\n画中的家具器用、人物服饰皆胡汉杂糅，符合北齐的实际情况。人物面庞呈椭圆形是此卷的鲜明特点，联系到近年来的考古发现，似乎与北齐时期的墓室壁画中人物有同样的特征，因此《北齐校书图》也屡屡为学界引用以论证北齐画风。尽管北齐是一个极短命的王朝，但是越来越多的考古发现证明，在这一时期，艺术呈现出极鲜明的面貌，并很可能影响到唐代的审美趣味。",[23,209,7,24,25,28,27,106,150,63,227,86,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5da306b34154b0d7c31d14521fdcc73.jpg","27.6*114CM",[],{"id":65588,"slug":65589,"title":26928,"dynasty":18,"author":293,"museum":20,"description":65590,"tags":65591,"thumbUrl":65592,"material":665,"size":65593,"collection":139,"collections":65594,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},223332,"san-yang-tu-yi-ming-223332","彩绘柳树伞下的气球在坡草间游荡觅食。 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用笔擦干树干，笔变粗。",[23,7,209,24,1160,28,27,957,8368,430,431,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7a68d3cb18be30324ec6098db75923.jpg","21.2x20厘米",[],{"id":65596,"slug":65597,"title":65598,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":65599,"thumbUrl":65600,"material":67,"size":10518,"collection":139,"collections":65601,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},223034,"hong-lou-meng-159-sun-wen-223034","红楼梦159",[23,7,28,27,104,106,107,755,115,299,505,3903],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbe80f58a5cddf6da26b9a07b002371.jpg",[],{"id":65603,"slug":65604,"title":65605,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":65606,"thumbUrl":65609,"material":67,"size":10518,"collection":139,"collections":65610,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},223031,"hong-lou-meng-156-sun-wen-223031","红楼梦156",[23,209,7,24,25,28,27,104,106,107,19762,1960,313,84,62406,65607,7906,65608],"传统建筑","聚会场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa653142b82fe372c69258835ddd281d8.jpg",[],{"id":65612,"slug":65613,"title":65614,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":65615,"thumbUrl":65620,"material":67,"size":10518,"collection":139,"collections":65621,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":271},222968,"hong-lou-meng-93-sun-wen-222968","红楼梦93",[23,7,24,28,27,106,11429,315,14744,314,10515,5630,65616,4736,65617,65618,65619],"字画","古典陈设","中式建筑构件","室内装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93df387d900686b98bb06eaee91c247b.jpg",[],{"id":65623,"slug":65624,"title":52037,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":65625,"thumbUrl":65626,"material":67,"size":10518,"collection":139,"collections":65627,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},222933,"hong-lou-meng-58-sun-wen-222933",[23,7,24,28,27,106,314,10779,244,12876,10854,10855,12877,63,65,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7fb05d8c632be2dfa4c21f8193d437.jpg",[],{"id":65629,"slug":65630,"title":13785,"dynasty":76,"author":44907,"museum":206,"description":44908,"tags":65631,"thumbUrl":65632,"material":139,"size":65633,"collection":181,"collections":65634,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},222850,"hua-shan-shui-zhou-ai-xin-jue-luo-yong-rong-222850",[23,7,24,241,173,27,177,29,109,34,175,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8920c3dc2166da7d6d9ab54681a80f5.jpg","12.2x13.9 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作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[23,7,24,25,27,106,151,8989,61,28,178,86,21726,3704,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","22.9×89.5",[],{"id":65652,"slug":65653,"title":65654,"dynasty":99,"author":19417,"museum":65655,"description":65656,"tags":65657,"thumbUrl":65658,"material":139,"size":65659,"collection":139,"collections":65660,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},222474,"li-bai-shi-er-shou-zhu-yun-ming-222474","李白诗二首","上海朵云轩","明代中期的书坛以吴门祝允明（1460-1526）、文徵明（1470-1559）、陈淳（1483-1544）、王宠（1494-1533）最为著名，他们生活在同时代、同地域，在书法艺术方面都成就斐然，影响深远，为书史上一奇观。这四人中，祝允明、陈淳书风以劲健放纵见长，文徵明、王宠书风偏于劲健工稳。所同者在“劲健”，用笔讲求力度，结体尚端正，即使祝、陈的狂草亦难脱此风。其中祝、文二人虽学通魏晋、唐宋，但受黄山谷影响较重，祝之草、文之行皆脱胎于山谷，无山谷之温文尔雅，但大开大合处亦可称道。陈淳出于文徵明而颠逸放纵以成自家面目，端庄逊于文而姿态过之。王宠用心魏晋，宋后习气稍少，相比于前三人，个性不足却韵致为高。",[23,7,24,86,1147,25,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26105ef6460b281c4ecbfaf6305aa842.jpg","25.3X310cm",[],{"id":65662,"slug":65663,"title":20338,"dynasty":99,"author":12000,"museum":206,"description":65664,"tags":65665,"thumbUrl":65666,"material":619,"size":65667,"collection":139,"collections":65668,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},222183,"fang-fan-kuan-shan-shui-zhao-zuo-222183","本幅收在赵左《山水册》第八开。近景画寒林、古刹，远处一峰高起，瀑悬其间。\n全画布置简洁，着墨无多，以淡柔雅逸取胜。左方题：「仿范宽。」刘道醇《宋朝名画评》（1057）称范宽（约950-1031间）画冬景好作「冒雪出云之势」，此作或系追摹此意。",[23,7,24,105,177,27,81,29,864,430,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53718b9f1aaaa21bae715bc637496395.jpg","23x21.5.",[],{"id":65670,"slug":65671,"title":65672,"dynasty":99,"author":23243,"museum":206,"description":65673,"tags":65674,"thumbUrl":65675,"material":67,"size":65676,"collection":139,"collections":65677,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},222136,"liu-hai-xiang-liu-jun-222136","刘海像","刘俊工画人物、山水、界画，用笔劲健，人物衣纹带方折，屋宇界画精细工整，构图平稳严谨，谓“入能品”。宪宗朱见深、孝宗朱祐樘两朝（1465-1505）供奉内廷，授锦衣都指挥。传世作品有《雪夜访普图》轴，绢本，设色，现藏故宫博物院；《刘海戏蟾图》轴，绢本，设色，藏河北省博物馆。另有《刘海戏蟾图》轴，绢本，设色，藏中国美术馆；《仙人像》轴，绢本，设色，现藏天津市历史博物馆。从艺活动约在成化、正德间。",[23,7,24,241,173,260,106,27560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb498bb77332db9347fb8c344e2966583.jpg","30X85厘米",[],{"id":65679,"slug":65680,"title":65681,"dynasty":99,"author":170,"museum":56,"description":65682,"tags":65683,"thumbUrl":65684,"material":990,"size":65685,"collection":139,"collections":65686,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,209,7,24,25,173,27,178,86,227,177,2939,175,430,108,109,106,796,176,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":65688,"slug":65689,"title":65690,"dynasty":99,"author":4245,"museum":206,"description":65691,"tags":65692,"thumbUrl":65693,"material":123,"size":65694,"collection":90,"collections":65695,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},221938,"fen-bu-tu-zhou-bian-wen-jin-221938","分哺图轴","边文进，字景昭，福建沙县人，生卒年待考。曾供事内殿，活跃于永乐（1403 －1424）、宣德（1426－1435）时期。博学能诗，善绘花果翎毛，延续五代黄筌（约903－965）画风并融入宋代院体传统，为后辈所师法，是明代重要宫廷花鸟画家。本幅设色画公鸡啄蝶并为雏子分食。若与边文进〈三友百禽图〉相较，本幅技法则略显生硬，或系托名之作。",[23,209,7,24,241,28,27,83,3478,26756,242,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[90,45],{"id":65697,"slug":65698,"title":65699,"dynasty":189,"author":5444,"museum":101,"description":65700,"tags":65701,"thumbUrl":65702,"material":160,"size":65703,"collection":139,"collections":65704,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 下册",[23,7,1562,173,177,29,3953,174,281,1016,430,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264a3578244bd0799ebe3b6cf74625e3.jpg","26.7×33.7cm",[],{"id":65706,"slug":65707,"title":65708,"dynasty":18,"author":6566,"museum":206,"description":65709,"tags":65710,"thumbUrl":65711,"material":27,"size":65712,"collection":139,"collections":65713,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":1335},221629,"xian-mang-tu-zhou-ma-he-zhi-221629","闲忙图轴","马和之：南宋画家，钱塘（今浙江省杭州市）人。擅长画人物、佛像、山水。他的人物画受吴道子、李公麟影响而又有所变化，能独创一格。中国传统人物 画衣纹十八描中的马蝗描就是他把吴道子的兰叶描变化发展而创造出来的。其画用笔起伏顿挫，线条粗细变化较明显，又飘逸流利，显得活泼 潇洒，富于韵律感。他画人物多以水墨为主，即使着色，也比较轻淡，当时人称之为“小吴生”（吴生即吴道子）。",[23,7,24,241,27,106,394,176,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7399dfe9d03dab145ab54a0cfb5655e7.jpg","124.5x67.2",[],{"id":65715,"slug":65716,"title":25027,"dynasty":18,"author":6566,"museum":56,"description":65717,"tags":65718,"thumbUrl":65719,"material":67,"size":65720,"collection":139,"collections":65721,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":49},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,7,209,25,260,173,24,227,29,106,175,34,176,107,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":65723,"slug":65724,"title":42140,"dynasty":18,"author":7349,"museum":1985,"description":27877,"tags":65725,"thumbUrl":65726,"material":22447,"size":65727,"collection":139,"collections":65728,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},221616,"xue-jing-shan-shui-ye-liang-kai-221616",[7,1397,2502,1015,174,27879,173,177,106,8989,27880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85860d84d0ad711c939e5c6fb99e44de.jpg","纵111.3厘米、横49.7厘米",[],{"id":65730,"slug":65731,"title":48044,"dynasty":18,"author":1650,"museum":1985,"description":65732,"tags":65733,"thumbUrl":65734,"material":40,"size":65735,"collection":139,"collections":65736,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},221535,"zhou-ren-xing-tu-ma-yuan-221535","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。 [1]\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,209,7,24,1562,28,173,27,106,174,1015,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb8c933f34f669b59817096fc70265b.jpg","纵21厘米，横21厘米",[],{"id":65738,"slug":65739,"title":65740,"dynasty":204,"author":19012,"museum":20,"description":19013,"tags":65741,"thumbUrl":65743,"material":19016,"size":19017,"collection":139,"collections":65744,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":49},221174,"a-shi-duo-zun-zhe-tang-ka-bu-ben-guan-xiu-221174","阿氏多尊者（唐卡布本）",[23,7,24,65742,27,28,259,106,107,957],"布本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f51f8facfe834d20be27d8506a1c48d.jpg",[],{"id":65746,"slug":65747,"title":65748,"dynasty":99,"author":3114,"museum":206,"description":65749,"tags":65750,"thumbUrl":65751,"material":803,"size":65752,"collection":382,"collections":65753,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":1335},220925,"lin-yan-zhen-qing-gao-shen-tie-zhou-dong-qi-chang-220925","临颜真卿告身帖轴","知为崇祯九年（一六三四），诏加太子太保致仕以后之作。此作采用原帖部分笔法，并含熟中带生之趣；结字则变原帖之散乱为整密，不落颜楷之窠臼。",[23,86,24,7,241,105,1195,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f188d206988ef79c11db922216deb84.jpg","313.8x75.3",[382],{"id":65755,"slug":65756,"title":65757,"dynasty":189,"author":2519,"museum":20,"description":65758,"tags":65759,"thumbUrl":65760,"material":619,"size":65761,"collection":90,"collections":65762,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},220877,"kui-hua-tu-zhou-zhao-meng-fu-220877","葵花图轴","赵孟頫提倡作画贵有古意，对唐至北宋的绘画风格多有摹仿。此图即采用五代西蜀黄筌父子的“黄体”——勾勒填彩的画法，线条细劲，敷色明净。因从现实生活中“写生”而来，秋葵姿态生动，比“黄体”更富有生机。此图画面简洁，笔法细润，风韵高雅，体现了赵氏所追求的古意与高华，是其早年花鸟画的代表作品。",[209,7,24,241,83,55340,27,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557cd23baf3c150ccc7416dd5ee46a65.jpg","纵31厘米,横23.8厘米",[90,45],{"id":65764,"slug":65765,"title":65766,"dynasty":99,"author":3114,"museum":9181,"description":65767,"tags":65768,"thumbUrl":65769,"material":81,"size":9185,"collection":139,"collections":65770,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":139},220748,"fang-ge-jia-shan-shui-8-dong-qi-chang-220748","仿各家山水-8","此作用淡墨绘就秋山暮色，以高远、平远之境错落排布。右侧层峦以干笔慢皴，山石清癯松秀，苍润雅逸间尽显文人笔意。山坳古木交错，点叶萧疏，晕开浓浓秋意。左侧平湖留白见水，浅渚林树迤逦，漾开空濛水汽。近景茅亭孤峙林间，朴拙淡然，暗合林泉寄兴的文人雅趣。\n以书法笔意入画，运笔松灵虚和，墨色枯润相生，淡而不薄。悠悠铺展出秋日山林空寂暮色，尽显平淡天真的画中逸韵，藏着晚明文人独有的简淡玄远意境。",[23,7,24,173,177,105,29,864,430,175,650,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg",[],{"id":65772,"slug":65773,"title":65774,"dynasty":99,"author":3114,"museum":9181,"description":65775,"tags":65776,"thumbUrl":65777,"material":81,"size":9185,"collection":139,"collections":65778,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":139},220747,"fang-ge-jia-shan-shui-9-dong-qi-chang-220747","仿各家山水-9","此作用笔松秀空灵，以枯木发端，老干虬曲苍劲，寒枝错落疏朗，自带冬日萧疏清寂之意。远景山峦以淡墨轻勾慢皴，棱角清奇又不失浑融，层层迤逦铺展，淡远空濛。水泽汀渚间错落点染渔隐闲趣，右侧村居隐于林麓之下，简淡出尘。\n\n整幅以干笔淡墨写就，脱尽繁冗，以极简笔墨铺展出萧散淡远的林下幽居之境，尽显文人画疏淡空灵的意趣，藏着闲远出尘的林下襟怀。",[23,7,173,29,105,177,227,394,245,649,34,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46161f34da1a23ec4d68b7c20dfc253b.jpg",[],{"id":65780,"slug":65781,"title":1756,"dynasty":1095,"author":65782,"museum":7134,"description":65783,"tags":65784,"thumbUrl":65785,"material":139,"size":139,"collection":139,"collections":65786,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},220510,"wan-he-song-feng-tu-huang-jun-bi-220510","黄君璧","层叠峰岩以赭红晕染崖顶，苍劲古松扎根嶙峋山石间，挺秀卓立尽显风神。两道飞瀑自云端峭壁垂落，撞碎成白练跌汇入溪涧，流水穿绕矶石，带着鲜活生机破山而出。山间云气轻笼远峰，虚实掩映间晕开空濛烟岚，将雄浑山势揉进柔婉留白中。\n\n笔墨兼具北派山水的刚健苍劲与岭南画韵的秀润清灵，斧劈皴刻画出山石硬朗肌理，松针攒簇尽显苍郁意态，以动静相生的章法，将松涛与泉鸣交融的山林幽寂盛境铺展眼前，藏着天人共生的东方山水意趣。",[23,7,24,241,27,177,29,1575,558,650,37,560,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb4ec9913ffc4e9d465df3a7b1c47b3.jpg",[],{"id":65788,"slug":65789,"title":65790,"dynasty":1095,"author":31831,"museum":4047,"description":31832,"tags":65791,"thumbUrl":65792,"material":139,"size":139,"collection":139,"collections":65793,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},220484,"feng-jing-lin-feng-mian-220484","风景",[7,27,173,29,649,34,37,5066,1159,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dba5fd9b465d1b9e96fe17dfd4d4d0f.jpg",[],{"id":65795,"slug":65796,"title":65797,"dynasty":76,"author":5052,"museum":20,"description":5053,"tags":65798,"thumbUrl":65799,"material":803,"size":5056,"collection":139,"collections":65800,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},220325,"huang-shan-tu-ce-5-hong-ren-220325","黄山图册-5",[23,7,24,81,173,177,29,245,1575,106,1444,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48c1a6440b9359b890d503ad1a69aae.jpg",[],{"id":65802,"slug":65803,"title":65804,"dynasty":76,"author":5052,"museum":20,"description":5053,"tags":65805,"thumbUrl":65806,"material":803,"size":5056,"collection":139,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横110.2cm",[44],{"id":65866,"slug":65867,"title":65868,"dynasty":18,"author":6566,"museum":78,"description":65869,"tags":65870,"thumbUrl":65871,"material":123,"size":65872,"collection":44,"collections":65873,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":94},219400,"zhao-nan-ba-pian-tu-ma-he-zhi-219400","召南八篇图","马和之，南宋画家，浙江钱塘人。高宗绍兴（1131-1162）时进士，官至工部侍郎，或说画院待诏。擅画人物、佛像、山水，用柳叶描（一作马蝗描），人物画仿吴道子，行笔飘逸，着色轻淡，“务支华藻”，人称“小吴生”。高宗赵构、孝宗赵昚，深重其笔，每写《诗经》，命他补图，内容包括草虫、花鸟楼阁、走兽、人物、山水，煌煌巨制，无所不备。\n此卷为《诗经▪召南》的补图，共八幅，分别为“羔羊”、“殷其雷”、“摽有梅”、“小星”、“江有汜”、“野有死麕”、“何彼穠矣”、“騶虞”。此卷历经梁清标、清内府、　励宗万收藏，每幅前有清弘历（高宗）对题《诗经·召南》诗句。",[23,209,7,24,25,27,28,178,86,227,106,29,7281,430,107,1329,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d92061e7f287db0b26cbfe3b1f0887b.jpg","纵26厘米，横40.2-44.9厘米",[44],{"id":65875,"slug":65876,"title":65877,"dynasty":76,"author":293,"museum":206,"description":65878,"tags":65879,"thumbUrl":65880,"material":803,"size":139,"collection":181,"collections":65881,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},219366,"gao-zong-yu-ti-shan-si-chao-lan-tu-zhou-yi-ming-219366","高宗御题山寺朝岚图轴","层岩叠嶂拔地而起，皴笔勾勒出山峦苍劲肌理，峰顶与烟岚相融，似隐似现间透着空濛。山腰古木森然，松针攒簇如盖，林间云雾流转，切割出深浅层次，平添幽远之趣。山坳梵宇错落，飞檐翘角隐于林麓，似有晨钟梵音裹挟岚气漫溢。近景蹊径蜿蜒，二叟策杖徐行，衣袂飘飘，与静谧山林相映成趣，尽显文人寄情山水的闲适。淡墨晕染烟岚，浓墨点染树石，虚实相生间，朝曦初露、岚气未散的胜境呼之欲出。清幽藏生机，静谧含悠远，引人步入那尘外之境，沉醉于自然与人文交织的雅韵中。",[7,24,241,29,177,173,27,176,34,37,107,1445,106,13097,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec09cda273d9e86e7d09e154e60eccb.jpg",[181],{"id":65883,"slug":65884,"title":65885,"dynasty":189,"author":293,"museum":206,"description":65886,"tags":65887,"thumbUrl":65888,"material":123,"size":65889,"collection":44,"collections":65890,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},219291,"ying-zhen-xiang-yi-ming-219291","应真像","群像错落间，罗汉神态各显其趣：驯虎者威而不厉，持卷者沉静如渊，与沙弥依偎者暖意融融。衣纹线条流转细腻，似能触到布料的柔软褶皱；古雅色调晕染出岁月的沉香。头光淡隐，添几分神圣；人物间的细微互动，藏着鲜活的烟火气。或低眉沉思，或浅笑低语，或凝神观物，每一处笔墨都透着匠心——既守宗教画的庄严底色，又赋人物以生动性情。驯虎的张力、读经的静谧、依偎的温情，在方寸间交织成一幅既有神圣感，又含人间温度的画卷，尽显古画笔墨的神韵与人文情怀。",[7,24,241,259,28,27,106,7281,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c05ff75807c73351c05eabf82799b4.jpg","157.6x79.6",[44],{"id":65892,"slug":65893,"title":65894,"dynasty":189,"author":2876,"museum":206,"description":65895,"tags":65896,"thumbUrl":65897,"material":342,"size":65898,"collection":181,"collections":65899,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},218769,"xu-ting-zhu-qu-tu-cao-zhi-bai-218769","虛亭竹趣图","这幅画描绘了秋天小河岸边的一个空亭子，旁边有一群竹子。篆书非真迹，画风更类似于清代的倪瓒。",[23,7,24,173,177,29,175,242,430,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ca6f843e4147fa9a2dc02717fed44.jpg","25.2x28.7",[181],{"id":65901,"slug":65902,"title":65903,"dynasty":18,"author":293,"museum":206,"description":65904,"tags":65905,"thumbUrl":65907,"material":123,"size":65908,"collection":44,"collections":65909,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},218722,"mian-qin-zhu-ming-tu-yi-ming-218722","眠琴煮茗图","图中描绘的是一个有学问的人在溪流上拿着一把琴，而一个孩子在打水泡茶。使用圆润的笔触，没有任何大的顿挫，也是这幅画的特点。",[23,7,1562,28,27,106,210,109,86,227,29,65906],"茶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b812228f88e00200e5a176dd1aa5a7.jpg","26.7x25.7",[44],{"id":65911,"slug":65912,"title":65913,"dynasty":18,"author":2142,"museum":206,"description":65914,"tags":65915,"thumbUrl":65916,"material":381,"size":65917,"collection":90,"collections":65918,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},218698,"han-lin-ji-xue-tu-li-cheng-218698","寒林积雪图","这幅《雪山萧寺图》只取了李成画寒林雪的名字，但风格更接近于蓝瑛和刘度的风格。",[23,7,209,24,25,29,2125,15976,1015,176,27,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e6c410e1468f140d6db63b045c2caf.jpg","29.7x21cm",[90],{"id":65920,"slug":65921,"title":65922,"dynasty":18,"author":13198,"museum":206,"description":65923,"tags":65924,"thumbUrl":65925,"material":123,"size":65926,"collection":181,"collections":65927,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},218684,"yun-shan-chun-ai-tu-zhao-ling-rang-218684","云山春霭图","轻烟淡霭缠绕层峦，山峦在云气中时隐时现，虚实交织间藏着悠远韵致。山间疏林错落，新绿初萌，透着春的温润。溪流蜿蜒穿梭雾霭，似有若无，添几分灵动。笔墨细腻清雅，山石勾勒柔婉，云雾以淡墨晕染，层次朦胧却不失清逸。整体意境宁静悠远，如春日拂晓的郊野，湿润气息裹挟草木轻香，引人遐想。画面取小景却含蕴生机与诗意，尽显文人山水雅致情韵，仿佛能让人暂避尘扰，沉醉在云山春霭的静谧里，感受自然与心灵的契合。",[23,7,24,173,27,29,37,649,34,563,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9f12b887b14d2f8022acc378c6591e.jpg","26x23cm",[181],{"id":65929,"slug":65930,"title":65931,"dynasty":99,"author":65932,"museum":101,"description":65933,"tags":65934,"thumbUrl":65936,"material":173,"size":139,"collection":44,"collections":65937,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":1335},218500,"ri-ben-xia-zi-he-shang-tu-yun-gu-deng-yan-218500","日本· 虾子和尚图","云谷等颜","仰头的刹那，风似凝在枯枝的末梢。宽袍覆着盘腿的身影，指尖悬着的虾篓轻晃，隐约可闻篓内虾子弹动的细碎声息。墨色淡扫衣褶，浓墨点染须发与枯枝，线条不求工致，却勾出人物眼底的悠然——是对眼前小物的专注，还是对尘外之境的漫想？背景的空疏并非单调留白，而是将视线引向和尚与虾篓的静默对话，写尽修行者与世间微物的温柔照面。简淡笔墨里，藏着一份于日常中寻得的禅意，清寂却鲜活，仿佛能触到那份不沾尘俗的松弛，与对生命本真的温柔凝视。",[7,24,241,173,106,245,65935,446],"和尚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093ff39466f2e11ae6affc34a47a43ec.jpg",[44],{"id":65939,"slug":65940,"title":8697,"dynasty":18,"author":65941,"museum":4535,"description":65942,"tags":65943,"thumbUrl":65944,"material":123,"size":139,"collection":44,"collections":65945,"showCount":482,"zanCount":1547,"manualWeight":48,"mainColor":1335},218479,"luo-han-tu-lu-zhong-xin-218479","陆忠信","绢本底色如古檀沉暗，衬得罗汉朱红袈裟上的团纹愈发鲜亮。他倚坐雕花木榻，面容丰腴，双目微阖似含悲悯，耳垂坠环，衣袂垂落间露出素白里衣，线条圆转如流水般柔和。身侧侍者持物恭立，衣饰繁复却不失清雅，眉眼低垂尽是谦卑之态。上方赤色云纹蜿蜒，似携灵韵游走于暗褐天幕，与罗汉的沉静形成动静对照。整幅画以细劲线条勾勒形神，设色古雅醇厚，融罗汉庄严、侍者恭谨与背景灵动于一体，尽显宋代佛画写实功力与空灵意境，细节藏匠心，引人沉潜于跨越时空的肃穆安然。",[7,24,1160,259,106,502,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12ca8e74b8d66309bde0821f2720e5c.jpg",[44],{"id":65947,"slug":65948,"title":65949,"dynasty":189,"author":65950,"museum":101,"description":65951,"tags":65952,"thumbUrl":65953,"material":342,"size":65954,"collection":44,"collections":65955,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":49},218313,"da-mo-du-jiang-tu-li-yao-fu-218313","达摩渡江图","李尧夫","这幅画表现的是达摩赤脚站立，脚踩一根细芦苇棍，身穿一件长长的风夹斗篷，双手交叠在袖子里，眼睛直视前方，面容慈祥。这幅画上刻有僧人一山一宁的名字。",[7,24,241,260,173,259,106,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a10fc45b7d44e87a1f225f8a3d28aa1.jpg","85.7x33.8",[44],{"id":65957,"slug":65958,"title":29956,"dynasty":99,"author":13614,"museum":206,"description":65959,"tags":65960,"thumbUrl":65961,"material":381,"size":139,"collection":44,"collections":65962,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},218214,"luo-han-zhou-wu-bin-218214","佛教修行中的最高果位是佛，其次为菩萨，然后是罗汉。宋代以前流传十六罗汉，之后又衍生出两尊，即降龙和伏虎，于是成为十八罗汉。降龙罗汉位列十八罗汉的第十七位，根据古印度的传说，降龙罗汉最初的原形是庆友尊者。相传古印度那竭国有恶魔煽动国人杀害出家的佛弟子，尽毁佛殿佛塔，劫掠经书。当时海龙王发动洪水，淹没了那竭国，并将佛经收藏于龙宫之内，等待有法力的僧人取回，最终庆友尊者完成大任，因此他被称为降龙罗汉。本图中的人物形象古朴，线条细劲绵长，设色浓丽。《图绘宝鉴续纂》记载吴彬：“善人物，奇行怪状，迥异旧人，自立门户。”",[7,24,241,259,106,260,173,227,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97586e62ce58f7792685bf295ee63f75.jpg",[44],{"id":65964,"slug":65965,"title":65966,"dynasty":18,"author":781,"museum":364,"description":53531,"tags":65967,"thumbUrl":65968,"material":342,"size":139,"collection":139,"collections":65969,"showCount":482,"zanCount":5,"manualWeight":48,"mainColor":94},218108,"bai-miao-ren-wu-tu-ce-4-li-gong-lin-218108","白描人物图册-4",[23,209,7,24,81,260,106,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd61992ea8abf461e271a3e0927d269.jpg",[],{"id":65971,"slug":65972,"title":65973,"dynasty":18,"author":781,"museum":132,"description":8281,"tags":65974,"thumbUrl":65975,"material":67,"size":139,"collection":139,"collections":65976,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},218086,"luo-han-tu-ce-2-li-gong-lin-218086","罗汉图册-2",[23,7,24,81,260,173,259,106,394,245,242,1653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef32533e0a8e2c73a9ac98b88eaed196.jpg",[],{"id":65978,"slug":65979,"title":65980,"dynasty":99,"author":293,"museum":65981,"description":65982,"tags":65983,"thumbUrl":65984,"material":123,"size":139,"collection":181,"collections":65985,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},217983,"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞翔，整幅画面非常宁静而美丽。\n\n临流观秋图被认为是明朝时期中国绘画史上的杰作之一，其中融合了自然风景和人文景观，使得画面更加丰富多彩。该图画被认为是明朝绘画的一个典型代表，其中体现了明朝时期中国文人画的特点。",[7,173,27,29,109,175,1015,245,281,177,6922,491,12724,446,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11e058cdac214e74ff20a01c13c4c98.jpg",[181],{"id":65987,"slug":65988,"title":65989,"dynasty":99,"author":293,"museum":539,"description":4592,"tags":65990,"thumbUrl":65991,"material":88,"size":139,"collection":139,"collections":65992,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":94},217948,"ming-ren-shan-shui-hua-ce-qi-yi-ming-217948","明人山水画册(七)",[23,7,24,81,173,177,29,864,430,394,176,464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265893252de5c9f63ff7626980bdf4ce.jpg",[],{"id":65994,"slug":65995,"title":65996,"dynasty":99,"author":293,"museum":539,"description":4592,"tags":65997,"thumbUrl":65998,"material":88,"size":139,"collection":139,"collections":65999,"showCount":482,"zanCount":48,"manualWeight":48,"mainColor":49},217937,"ming-ren-shan-shui-hua-ce-zhi-shi-er-yi-ming-217937","明人山水画册之(十二)",[23,7,24,173,177,81,29,106,430,3558,431,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c54ac9ee30e801bdac132949220f58a.jpg",[],{"id":66001,"slug":66002,"title":66003,"dynasty":99,"author":293,"museum":539,"description":4592,"tags":66004,"thumbUrl":66005,"material":88,"size":139,"collection":139,"collections":66006,"showCou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周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[209,7,24,81,27,106,107,104,86,1195,66354],"儒家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59de6ccc4183cd5bffa173b2eea10d0b.jpg",[],{"id":66358,"slug":66359,"title":14441,"dynasty":18,"author":2007,"museum":364,"description":25861,"tags":66360,"thumbUrl":66361,"material":743,"size":744,"collection":139,"collections":66362,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},289454,"shi-liu-la-zui-tu-ma-lin-289454",[209,7,83,28,27,1299,281,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316f8844aafa1f77b64073a164171e98.jpg",[],{"id":66364,"slug":66365,"title":9643,"dynasty":18,"author":823,"museum":364,"description":66366,"tags":66367,"thumbUrl":66368,"material":743,"size":744,"collection":139,"collections":66369,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},289374,"dong-ting-qiu-yue-tu-xia-gui-289374","描绘洞庭湖月光下动人的月夜景色，画面上传达出非常幽意、宁静山的辽阔、清幽、深远，营造出广博崇深、雄奇秀丽的画面境界，具有清旷超凡的幽远意境和韵度，体现了当时南宋时期文人“故国”情怀和悲愤之情。同时《洞庭秋月图》是从日本流散到美国的夏圭有关“ 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），字建侯。鄂州江夏县（今湖北省武汉市武昌区）人。唐朝宰相，江夏太守李邕从孙。\n李鄘出身“江夏李氏” 。唐代宗时登进士第，补秘书省正字，擢累吏部员外郎，进御史中丞。唐宪宗时，由河东节度使被召拜为门下侍郎、同平章事（宰相）。晚年以太子少傅致仕，累封江夏县开国侯。\n元和十五年（820年），李鄘去世，追赠太子太保，谥号“肃”。《唐文拾遗续拾》录有其文一篇",[23,7,28,27,2786,281,394,650,3529,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0a93abe923ed1343f9eb30ea9c799f.jpg",[],{"id":66471,"slug":66472,"title":66473,"dynasty":76,"author":21533,"museum":364,"description":66474,"tags":66475,"thumbUrl":66476,"material":743,"size":744,"collection":139,"collections":66477,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},287933,"ge-zhen-fu-xiang-juan-ceng-jing-287933","葛震甫像卷","字波臣，福建莆田人，中国明代画家。一生往来江浙一带，为人写真。擅画肖像，在继承粉彩渲染传统技法的同时，汲取西洋画的某些手法，形成注重墨骨，层层烘染，立体感强的独特画法。所画人物肖像强调观察体会，抓住最动人处，精心描绘，尤注重点睛，形象逼真，栩栩如生，有“如镜取影，俨然如生”之誉，从学者甚众，遂形成“波臣派”。",[23,7,25,53485,173,27,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ef4a2f08f7f0710ad60aa6cf8149cb.jpg",[],{"id":66479,"slug":66480,"title":66481,"dynasty":99,"author":13656,"museum":364,"description":58763,"tags":66482,"thumbUrl":66483,"material":743,"size":744,"collection":139,"collections":66484,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},287799,"ren-wu-yi-wu-wei-287799","人物一",[23,7,173,106,150,1351,1532,394,559,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4c1954e8fb2a5e143379421bc0fea1.jpg",[],{"id":66486,"slug":66487,"title":66488,"dynasty":99,"author":1296,"museum":364,"description":27766,"tags":66489,"thumbUrl":66490,"material":743,"size":744,"collection":163,"collections":66491,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},287794,"min-zhong-shan-shui-tu-juan-xiang-sheng-mo-287794","闽中山水图卷",[23,7,25,1397,27,177,176,31,174,464,107,108,1250,7646,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07fc17451bf883c857c7b540878e84e.jpg",[163],{"id":66493,"slug":66494,"title":19606,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":66495,"thumbUrl":66496,"material":743,"size":744,"collection":139,"collections":66497,"showCount":199,"zanCount":5,"manualWeight":48,"mainColor":49},287779,"shan-shui-ren-wu-tu-chen-hong-shou-287779",[23,7,209,24,241,27,106,29,449,448,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46687b0740b7c2ccb5b7e47413c318.jpg",[],{"id":66499,"slug":66500,"title":66501,"dynasty":76,"author":5096,"museum":364,"description":24096,"tags":66502,"thumbUrl":66503,"material":743,"size":744,"collection":139,"collections":66504,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},287766,"lin-ni-yun-lin-shan-shui-wang-jian-287766","临倪云林山水",[23,209,7,173,29,241,105,1015,4614,491,4873,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6176eb91d0b5026fde9245d39c7a0089.jpg",[],{"id":66506,"slug":66507,"title":66508,"dynasty":18,"author":22093,"museum":364,"description":31222,"tags":66509,"thumbUrl":66510,"material":743,"size":744,"collection":139,"collections":66511,"showCount":199,"zanCount":5,"manualWeight":48,"mainColor":1335},287738,"hong-shu-qiu-shan-tu-xiao-zhao-287738","红树秋山图",[23,209,7,29,241,27,177,108,109,107,176,34,558,3500,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad91b75dccb4b91ad72e5c123b39c43f.jpg",[],{"id":66513,"slug":66514,"title":66515,"dynasty":99,"author":293,"museum":364,"description":66516,"tags":66517,"thumbUrl":66518,"material":743,"size":744,"collection":139,"collections":66519,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},287635,"shi-ba-xue-shi-tu-zhi-si-yi-ming-287635","十八学士图之四","松荫庭院间，雅集正酣。文士围案品评法帖，或蹙眉凝思，或倾身低语，神态各异却皆沉浸翰墨意趣之中。侍童垂手待命，后方书童打理卷轴器物，尽显雅聚的悠然闲适。\n\n画作工致写实，衣纹线条劲挺流畅，将文士的温雅气度勾勒入微。屏上淡绘江楼烟景呼应室外虬松古木，案几陈设精巧写实，古雅色调晕染出沉静氛围。整幅画以细腻笔触铺陈出文人雅集的林下之境，将崇文尚雅的意涵融于绢素，尽显静穆雅致的传统美学意韵。",[7,209,27,2714,5627,449,2951,4525,28,34595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d3a725df4efb86a48a7c87130040fe.jpg",[],{"id":66521,"slug":66522,"title":66523,"dynasty":18,"author":293,"museum":364,"description":66524,"tags":66525,"thumbUrl":66526,"material":743,"size":744,"collection":139,"collections":66527,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},287590,"song-di-hou-quan-shen-xiang-song-tai-zu-yi-ming-287590","宋帝后全身像-宋太祖","此作将帝王气度藏于简雅笔色之间，帝王安坐髹金朱漆龙椅，展角幞头衬出面庞方正威严，长髯垂胸，双手拢握玉圭，仪态沉凝端重，自带开国君主的雄毅厚重。\n笔墨简净克制，淡墨匀细圆劲的线条勾勒衣纹，贴合绫罗垂坠柔润的质感，平净敷色不做繁饰，只以素白袍服衬出冲淡肃穆的皇家威仪。画作写实朴拙，细微处捕捉住君主不怒自威的神态，在简约平淡中尽显开国帝王的沉稳气场，是帝王肖像画里极具代表性的佳构。",[7,2714,50102,27,28,15611,49456,11296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177bd71d9b3786698d40b0f5b2a35003.jpg",[],{"id":66529,"slug":66530,"title":21787,"dynasty":18,"author":781,"museum":364,"description":13867,"tags":66531,"thumbUrl":66532,"material":743,"size":744,"collection":139,"collections":66533,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},287562,"fa-hai-ling-shan-tu-ce-li-gong-lin-287562",[7,24,81,260,173,259,106,957,8147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615dcc4db7d29779a95fe40b8b73442d.jpg",[],{"id":66535,"slug":66536,"title":66537,"dynasty":18,"author":293,"museum":364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。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[1562,7,24,209,173,27,29,2502,449,448,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449a709d6b85b662301b9381df08858c.jpg",[],{"id":66869,"slug":66870,"title":66871,"dynasty":76,"author":66872,"museum":364,"description":12340,"tags":66873,"thumbUrl":66874,"material":139,"size":139,"collection":139,"collections":66875,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234621,"jian-fu-qin-wan-shan-li-yu-zhu-234621","涧抚琴纨扇","李育竹",[7,24,1562,27,28,242,106,245,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe6778a14dde5179000d3d8eb76e5893.jpg",[],{"id":66877,"slug":66878,"title":66879,"dynasty":76,"author":66880,"museum":364,"description":66881,"tags":66882,"thumbUrl":66883,"material":139,"size":139,"collection":139,"collections":66884,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234597,"wu-zhao-zhu-shi-wan-shan-wu-zhao-234597","吴照竹石纨扇","吴照","吴照（1755—1811），字照南，号白庵，江西南城人。乾隆五十四年（1789）拔贡，官至大庾教谕，后弃官卖画自给。通六书，画竹得金错刀法，兼善山水、人物，亦能画兰。意气豪宕，嗜饮，罗聘尝为绘石湖课耕图，并联吟、饭牛诸图。有说文字原考略、听雨楼集。卒年五十七。事具《墨香居画识》、《墨林今话》、《怀旧集》、《清画家诗史》。",[7,24,1562,173,242,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2485fda3f670a81bbcb0572bcc5842ff.jpg",[],{"id":66886,"slug":66887,"title":66888,"dynasty":76,"author":1109,"museum":20,"description":36019,"tags":66889,"thumbUrl":66890,"material":990,"size":139,"collection":139,"collections":66891,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234505,"yuan-ji-shui-zai-gan-shi-shi-yi-tu-dan-ye-shi-tao-234505","原济水灾感事诗意图单页",[7,24,173,27,178,177,81,29,491,34,5066,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad7ee64e8e7b98701b3672d4cb80d8f.jpg",[],{"id":66893,"slug":66894,"title":66895,"dynasty":76,"author":293,"museum":364,"description":66896,"tags":66897,"thumbUrl":66898,"material":743,"size":744,"collection":139,"collections":66899,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234404,"xiao-quan-cheng-huang-hou-yu-you-nv-xiang-zhou-yi-ming-234404","孝全成皇后与幼女像轴","此作设色雅致柔和，工笔描摹细腻入微。女主人宝蓝旗装遍缀碎花，领衣绣纹层叠精巧，珠花点翠头饰配碧玉耳坠，倚桌而立，温婉端静尽显闺仪气度。桌案鲜果清供，器物勾勒写实逼真。身侧幼女粉衫绿裤，攀着青瓷绣墩探头张望，稚憨灵动，与女主人的沉静娴雅相映成趣，揉合了宫廷肖像的肃穆工整与日常温情，将深宫内院难得的天伦之景定格，是兼具纪实性与审美意趣的晚清肖像佳作。",[7,241,368,28,27,106,38691,3045,63,64,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e44910949eb8fe56e6a1bfd3de0902.jpg",[],{"id":66901,"slug":66902,"title":17895,"dynasty":76,"author":17896,"museum":364,"description":17897,"tags":66903,"thumbUrl":66904,"material":139,"size":139,"collection":139,"collections":66905,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234377,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234377",[7,24,81,27,28,83,1299,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bb5a703f7e135908423688e41b146b.jpg",[],{"id":66907,"slug":66908,"title":12505,"dynasty":99,"author":26111,"museum":364,"description":66909,"tags":66910,"thumbUrl":66911,"material":1449,"size":139,"collection":139,"collections":66912,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234246,"hua-hui-tu-juan-chen-gua-234246","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[23,7,24,25,173,260,83,448,452,242,453,327,451,450,279,245,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":66914,"slug":66915,"title":49722,"dynasty":76,"author":10376,"museum":101,"description":40266,"tags":66916,"thumbUrl":66917,"material":665,"size":66918,"collection":139,"collections":66919,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202",[23,7,25,29,173,177,27,2502,649,31,34,1015,1575,35,108,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":66921,"slug":66922,"title":66923,"dynasty":99,"author":14805,"museum":20,"description":14806,"tags":66924,"thumbUrl":66925,"material":1449,"size":139,"collection":139,"collections":66926,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷",[23,7,24,25,173,178,227,86,242,29,245,34,106,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":66928,"slug":66929,"title":66930,"dynasty":76,"author":6318,"museum":20,"description":66931,"tags":66932,"thumbUrl":66933,"material":66934,"size":66935,"collection":139,"collections":66936,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[7,25,173,29,177,86,178,227,864,297,449,430,431,558,1445,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":66938,"slug":66939,"title":66940,"dynasty":54,"author":293,"museum":20,"description":66941,"tags":66942,"thumbUrl":66943,"material":40,"size":66944,"collection":139,"collections":66945,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},234066,"zhou-fang-di-guan-chu-you-tu-can-juan-yi-ming-234066","周昉地官出游图残卷","图中地官于辇中微露半面人身，其余侍从、武士步行左右，画风接近《女史箴图》《列女图》一路，笔法古拙，人物造型生动，动作略显夸张，无款印。",[7,24,209,25,259,27,28,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9858640caff3d8f2ff702236255cd8.jpg","高24.1厘米，宽51.4厘米",[],{"id":66947,"slug":66948,"title":486,"dynasty":99,"author":3114,"museum":20,"description":14103,"tags":66949,"thumbUrl":66950,"material":4665,"size":7095,"collection":139,"collections":66951,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234059,"shan-shui-ce-dong-qi-chang-234059",[209,7,24,81,27,173,177,29,108,109,175,394,1653,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe54937e35a0b7f230e28239b75157.jpg",[],{"id":66953,"slug":66954,"title":66955,"dynasty":99,"author":12631,"museum":20,"description":66956,"tags":66957,"thumbUrl":66958,"material":8970,"size":66959,"collection":139,"collections":66960,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},234046,"wen-dao-tu-shan-ye-cui-zi-zhong-234046","问道图扇页","图绘一年轻男子正向老者作揖行礼，老者则举手指点作回答状的场景，因此，本幅又名《说法图》。崔子忠的人物画在师法顾恺之、陆探微、阎立本、吴道子等传统笔墨的基础上而有创新。他注重人物表情的刻画，在故宫博物院所藏其《洗象图》、《藏云图》及《渔家图》中，都能准确地画出不同身份的人物的特征。在此图中，他将年轻人问询时谦卑的表情和老者自信淡定的神态均表现得生动传神。衣纹用笔圆润细劲，线条颤掣，虬折多变，突出了衣服质料的柔软质感和随风飘的动势。树木的枝叶以双线勾边填色，用笔工细，富装饰性。",[7,24,1562,27,28,106,394,176,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe607e403e39498919d386dbca761bcc9.jpg","纵20.8厘米，横60.2厘米",[],{"id":66962,"slug":66963,"title":9840,"dynasty":76,"author":1703,"museum":101,"description":9841,"tags":66964,"thumbUrl":66965,"material":2021,"size":9844,"collection":139,"collections":66966,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},233861,"mei-hua-ce-jin-nong-233861",[7,24,81,173,260,448,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F934177b8030c4d46405a94c29707459e.jpg",[],{"id":66968,"slug":66969,"title":9840,"dynasty":76,"author":1703,"museum":101,"description":9841,"tags":66970,"thumbUrl":66971,"material":2021,"size":9844,"collection":139,"collections":66972,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},233860,"mei-hua-ce-jin-nong-233860",[7,24,173,448,81,86,6360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178f4a4101475ce88b30fc2920bd42aa.jpg",[],{"id":66974,"slug":66975,"title":66976,"dynasty":99,"author":966,"museum":20,"description":66977,"tags":66978,"thumbUrl":66980,"material":1716,"size":66981,"collection":139,"collections":66982,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},233819,"wen-zheng-ming-qu-gang-gui-zhou-tu-zhou-wen-zheng-ming-233819","文徵明曲港归舟图轴","本幅自题五言诗并署：“雨绝树如沐，云空山欲浮。草分波动处，曲港有归舟。徵明。”钤“徵仲父印”（白文）印。本幅有明彭年、陆师道、王穀祥及清乾隆帝题诗共四则。作品曾经清内府收藏。近代庞莱臣《虚斋名画录》著录。\n画中描绘山间雨后的景象，云雾蒸腾，林木葱郁，笔墨工稳细润，意境清新幽静，是文氏细笔山水画的代表作。",[7,24,241,173,177,227,29,34,558,176,560,4675,245,1015,66979],"常绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6fe0a25489fc8e6c0b2921a67b3c49.jpg","纵115厘米，横33.6厘米",[],{"id":66984,"slug":66985,"title":66986,"dynasty":99,"author":4904,"museum":364,"description":66987,"tags":66988,"thumbUrl":66989,"material":139,"size":139,"collection":139,"collections":66990,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},233704,"shan-ju-le-shi-ce-lu-zhi-233704","山居乐事册","陆治五十岁左右隐居支硎山之后，读书作画， 用功更勤，对大自然的观察和体验也逐渐深刻。从 传世的《陆包山遗稿》来看，陆治的诗文多见纪游山 水和咏赞植物花卉之作。\n他淡泊宁静的生活状态也 同样反映在画作里。此套《山居乐事图册》即描绘了 文人山村幽居之乐，画面透出清逸脱俗的气质。\n此册共十页，内容分别为梦蝶、笼鹤、观梅、采 药、晚雅、停琴、渔父、放鸭、听雨、踏雪等文人山居 乐事。每幅皆有浓郁的山野生活气息，画法简逸，构 图多样，笔墨疏放清逸，线条苍劲挺立，意趣横生， 属画家晚年的代表作。 其中，“梦蝶”一幅是文人对庄周梦蝶的畅想。 这一经典在每个传统文人画家心中都有一个清新 可爱的画面。陆治中年以后退出仕途，隐居山间，对 庄子的道家精神极为推崇，画这样一幅册页，再自 然不过。画中，庄子团坐伏一大石而睡，安静舒适， 鬓角的发须在清风吹拂中微微扬起。\n整个人物造型 涉笔不多，却是相当传神。景物描绘也十分生动有 趣，柳条零落疏散、深深浅浅，地面上的灌木蓬勃而 浓密，两者在笔墨上形成了节奏与疏密的对比。“笼 鹤”一幅从笔墨到构图则相对中规中矩。景物刻画 细致周密，布景平稳，技法也是陆治最熟练与常见 的。“听雨”画大雨滂沱，狂风大作。雨中，一文士檐 下卧榻听雨，神情专注，体态闲适；一仆从撑伞前 行，低头躬身，行步艰难。整幅作品将风雨大作的景 象，通过淋漓的水墨与酣畅的用笔，皴染结合，充分 地表现",[7,24,81,27,106,394,245,7299,224,1064,491,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0aa8bf1b39d4b2a018b0488df291e99.jpg",[],{"id":66992,"slug":66993,"title":66994,"dynasty":99,"author":966,"museum":364,"description":66995,"tags":66996,"thumbUrl":66997,"material":66998,"size":66999,"collection":139,"collections":67000,"showCount":199,"zanCount":1547,"manualWeight":48,"mainColor":94},233675,"wen-zheng-ming-feng-zhu-shan-mian-wen-zheng-ming-233675","文徵明风竹扇面","释文：风揽青桐叶半摧，时飘一片点苍苔。山僮不识林亭趣，却併松枝尽扫开。",[7,24,1562,173,242,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25766ea4c8354139c698f5eeaf00d99d.jpg","泥金纸本","17×52cm",[],{"id":67002,"slug":67003,"title":57894,"dynasty":76,"author":9039,"museum":78,"description":9040,"tags":67004,"thumbUrl":67005,"material":803,"size":139,"collection":139,"collections":67006,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},233193,"hua-hui-ce-tao-hua-ye-zhao-zhi-qian-233193",[7,24,81,27,83,279,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ceefe6bfa632f5ff93aad6e4f89901.jpg",[],{"id":67008,"slug":67009,"title":67010,"dynasty":18,"author":1616,"museum":20,"description":35565,"tags":67011,"thumbUrl":67012,"material":35568,"size":35569,"collection":139,"collections":67013,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},233132,"cai-wei-tu-juan-li-tang-233132","采薇图卷",[23,7,24,25,173,27,28,177,106,29,34,650,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6db3df0be865cf051082196fc209b4d.jpg",[],{"id":67015,"slug":67016,"title":67017,"dynasty":76,"author":23166,"museum":1806,"description":67018,"tags":67019,"thumbUrl":67021,"material":4796,"size":67022,"collection":139,"collections":67023,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},232899,"xiao-xiang-feng-zhu-tu-li-zhou-li-fang-ying-232899","潇湘风竹图立轴","李方膺，字虬仲，号晴江，又号秋池，抑园，白衣山人。江苏通州(南通)诸生。先后任山东兰山、安徽潜山、合肥知县，有善政、人德之。以不善逢迎，获罪罢官。寓居金陵借园，自号借园主人。常往来扬州卖画以资衣食，为扬州八怪之一。\n《潇湘风竹图》作于合肥五柳轩，时为乾隆十六年(公元1751年)，作品以秃笔湿墨逆笔取势画风中之竹，通过竹叶的独特造型，表现出狂风大作的动态。画的左下仅晒云:画史从来不画风，我于难处夺天工;请看尺幅潇湘竹，满耳丁东万玉空。\n李方膺常喜欢描绘以风雨为背景的竹石。风是抽象的东西，没有具体的形象，颇难以表现出来的。此画中画家大胆创造，写竹子数根，依于石旁，挺拔修直。\n此画中有粗竹两枝，嫩竹两枝，在狂风中摇曳生姿。主竹挺拔有力，不弯不揖，有参天凌云之气概。整个画面的气势表现在用浓墨、枯墨铺写的枝叶上，所画竹叶不讲成法，秃笔直扫，竹叶画呈扁方状倾斜方向，无叶尖，潇洒随意，尽管风势极强，但枝叶顺风飞扬而不折，透出一种镇静与傲慢。画面中，石与草都是参照物，点染出艰难、恶劣的自然环境。在疾风的鼓荡下，几叶小草已偃伏在地，坚强的石头也似乎极力抗拒，只有劲竹傲立苍穹，岿然不动，片片枝叶都呈现出百折不挠的力量。\n风是抽象的东西，没有具体的形象。画家秃笔直扫，画竹叶扁方状成倾斜方向，有力地表现了疾风的狂肆，作者不但在描绘技法上显得“因难见巧”，而且显示出竹子不畏强风的精神，笔笔枝叶呈现出坚贞不屈的力量。画家通过描绘竹叶的动态变化，有力地表现出疾风的狂吹，使不可见的风有了可视的形象，而且从竹枝飞舞、竹叶相互碰撞中，似乎还可以听到碎琼乱玉的丁东之声，其下笔如风驰雨骤，正像是抒发画家胸中的怒气，正是一种人格的写照。\n板桥之竹如清癯的老者，清淡修整，有超然之态。李方膺则不然，他由于仕途生活中得罪权贵，先后下狱罢官，但从不屈服苟且，这幅画可说是他心境的折射。他的竹宛如在战斗中的猛士，顶天立地，傲岸不屈。他借竹子来抒发情怀，借竹子不怕狂风暴雨、坚韧不拔的品格来自喻。",[23,209,7,24,241,173,446,3198,340,67020,245,1729],"风竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5644cd4993b2c84cb1ddba935665f65d.jpg","纵168.3厘米 横67.7厘米",[],{"id":67025,"slug":67026,"title":15570,"dynasty":76,"author":67027,"museum":364,"description":67028,"tags":67029,"thumbUrl":67030,"material":803,"size":36601,"collection":139,"collections":67031,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},232893,"mei-hua-tu-zhou-wu-yan-ru-232893","吴彦儒","所画梅花皆疏枝瘦朵，别具气韵，有露冷风清之致，与汪士慎所绘的繁枝梅花相比可谓各领风骚。",[23,7,24,241,173,448,394,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ee64b408a7fa0e64c57bda2c32bf75.jpg",[],{"id":67033,"slug":67034,"title":67035,"dynasty":189,"author":293,"museum":132,"description":67036,"tags":67037,"thumbUrl":67038,"material":803,"size":67039,"collection":139,"collections":67040,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},232257,"cong-ju-tu-yi-ming-232257","丛菊图","《宋人画丛菊图》是宋代佚名创作的一幅画。图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。画风工致细腻，构图丰满，但繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作",[7,209,24,5491,241,27,28,83,796,176,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f51eb89e89e998efcbce918c58e349.jpg","35x36cm",[],{"id":67042,"slug":67043,"title":67044,"dynasty":99,"author":35882,"museum":364,"description":67045,"tags":67046,"thumbUrl":67047,"material":139,"size":139,"collection":139,"collections":67048,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},231944,"qi-que-tu-bian-jing-zhao-231944","栖雀图","边景昭，字文进，明代宫廷花鸟画家。福建延平府沙县（今福建沙县）人，祖籍陇西（今属甘肃）人，生卒年不详。永乐年间（1403-1442）任武英殿待诏，至宣德时（1426-1435）仍供奉内廷。后为翰林待诏，常陪宣宗朱瞻基作画。他为人旷达洒落，且博学能诗。他继承南宋“院体”工笔重彩的传统，其作品工整清丽，笔法细谨，赋色浓艳，高雅富贵。有“花之妖笑，鸟之飞鸣，叶之蕴藉，不但勾勒有笔，其用笔墨无不合宜”之说。边景昭的墨线气力十足，变化丰富，精谨细微，柔韧相宜。\n边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制；",[23,1086,7,24,209,28,27,83,224,1062,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd108c88026e1927f3fdb31455cb6c.jpg",[],{"id":67050,"slug":67051,"title":67052,"dynasty":189,"author":293,"museum":364,"description":67053,"tags":67054,"thumbUrl":67055,"material":139,"size":139,"collection":139,"collections":67056,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},231914,"luo-han-tu-di-shi-wu-zun-zhe-ming-a-shi-duo-yi-ming-231914","罗汉图（ 第十五尊者名阿氏多）","阿秘特尊者，出生于印度王舍城一富有的婆罗门家庭， 生来十分漂亮，因此得名，意为「无比的」， 释迦牟尼称赞他是弟子中慈悲心最大的。阿秘特尊者双手持菩提佛塔， 据说是尊者到须弥山北面的罗刹居地去时，为说明他禳除罗刹魔力， 由释迦牟尼赠与他的。山石供桌上摆有经书、香炉和宝瓶等供物， 前面有西藏的祥瑞动物嬉戏追逐，身后为湍急的河水自天边而落。上界有金刚手菩萨化现山间，大乘法王居于古松枝间。",[7,241,27,28,259,106,242,176,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F015b6c7cffbe180bc77b5eb7ae62d8fb.jpg",[],{"id":67058,"slug":67059,"title":67060,"dynasty":76,"author":1892,"museum":364,"description":52702,"tags":67061,"thumbUrl":67062,"material":139,"size":20523,"collection":139,"collections":67063,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},231514,"fang-ni-zan-she-se-qiu-shan-tu-wang-yuan-qi-231514","仿倪瓒设色秋山图",[23,7,27,29,105,177,227,7241,34,176,108,114,490,2238,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcdb306f6f1c438ff6380f1ec5787a6.jpg",[],{"id":67065,"slug":67066,"title":67067,"dynasty":189,"author":2438,"museum":206,"description":67068,"tags":67069,"thumbUrl":67070,"material":67,"size":67071,"collection":139,"collections":67072,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},231384,"yuan-shi-zu-chu-lie-tu-liu-guan-dao-231384","元世祖出猎图","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 [2] 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。所画人和马作各种不同的姿态，转侧俯仰，富有变化。\n《元世祖出猎图》画北方沙漠地带，一片黄沙坡地，景色单调。在沙丘无垠的远方，正有一列骆驼驮队横越。近处人骑数众，或张弓射雁；或手架猎鹰；或绳携猎豹，皆为马上行猎之状。其中骑着黑马、身穿白裘的，应为元世祖，与世祖并驾的妇女，似为帝后，其余八人，应是侍从，其中尚有中亚黑奴一名。这些人中，其中一人正弯弓搭箭，瞄准着空中苍鹰。而其他猎手则顺着世祖身后著红服者所指示的方向，作注目远眺状，像在前方已发现了猎物，他们正蕴酿着纵马围歼的计划。\n《元世祖出猎图》有人物、鞍马、鹰、狗、骆驼等，其中对人物、鞍马刻画尤为详尽。主要人物或许皆由写生肖像而来，老少不一，神情各异，甚至连脸部肤色亦不尽相同。马匹的塑造、除分别敷以黑、白、红、黄、赭、灰等不同色彩外，各马匹姿态亦无雷同者，马之透视变化、结构关系皆合于解剖；元世祖乘骑，虽作原地站立，无大的动姿，但生动雄健，风骠不凡。\n该图取其部分，画家对画面上几十个人物进行了精雕细刻，各尽其态。尤对位于或靠近中央地方的元世祖刻画尤为入微。图中御青马，戴貂冠，着红衣披白裘，脚蹬皮靴，昂然坐在马上者，即是元世祖忽必烈，他侧身远视，气魄雄伟，他的头略微向左偏转，双目凝视远方，坚定而又泰然，和元世祖并辔而立的可能是帝后，她身穿白袍，在坐骑红缨佩饰的映衬下，显得非常优美，和元世祖刚毅伟岸的身姿形成对比。其余四人为猎人，在世祖右侧边上的一人正弯弓搭箭，瞄准着空中苍鹰，而其他猎手顺着世祖身后着红服者所指的方向，作注目眺状。好像在前方已发现了猎物，他们正酝酿着纵马围歼的计划。在前景以及世祖和帝后的两侧共八名侍从，有的腰携箭菔，有的手持猎鹰，有的弯弓寻羽，他们或纵犬、或持矛、或扬鞭，姿态或仰或俯，坐骑盍去不同。背景，远处画得十分简括，一队商旅行驼出没于山丘之中，黄沙浩瀚，朔漠无垠，一派北国风光，顿时使人恍然，如临雄关塞外的辽阔大漠之中。\n画家在此画中充分发挥了线条的表现力量，无论是线条的劲挺与柔和，还是运笔疾迟轻重，皆臻妙境。画幅上的人物、鞍马刻画尤为详尽，老小不一，神态各异，脸部肤色也不同，尤其是元世祖的画像如写生肖像画。马的塑造不仅色彩不同，姿态也不雷同，有的低首啃草，有的站立歇息，有的昂首远望。世祖乘骑的黑马原地站立无动势，但生动雄健，风骠不凡，即对于人物和坐骑的每一个细部， 以及繁复的装饰花纹和细如游丝的马鬃，都交待得一丝不苟， 历历在目。\n构图上，《元世祖出猎图》采用了俯视手法，场面空旷壮观，远处沙丘间，点缀着一列骆驼，增强了画面层深效果。猎队人物聚散、交叠之布局，也生动自然，富有狩猎场面所特有的生活气息。此图画面构图疏密得当，错落有致，人物互相呼应，前景、中景、远景安排得层次分明，画面详略、虚实关系处理得十分成功。\n清初文学家纳兰揆叙：《题元世祖岀猎图》\n至元天子英武姿，校猎每以秋冬期。我今展图如见之，沙漠惨淡移于斯。星斿蔽野虹作旗，厩马既秣车既脂。至尊前行后阏氏，茸帽压顶裘反披。名王部长络绎随，臂弓腰箭千夫驰。北风似弩雪似簁，踆乌匿影顽云痴。鸿鹄纷拏苍隼饥，雉飞入草鹰在枝。银麞缟鹿熊豹麋，狡兔封豕狐与狸。洞胸饮羽血淋漓，焚林捣穴靡孑遗。就中射虎者为谁，引满一发穿其颐。目光磹怒未弛，懦怯乍覩犹惊疑。归来穹庐帟幕施，酪浆湩乳倾金巵。燎毛燔肉土锉炊，琵琶发声羗苗吹。酒酣耳热欢融怡，寒气忽转春迟迟。厥初穷兵辟坤维，乘胜直抵西海湄。于阗乞降迨龟兹，角端示警殊不知。从畋已寓阵法奇，止齐步伐皆得宜。月来日往绵岁时，此画完整无缺亏。偶然浏览浑忘疲，便觉满室生凉飔。壮观咫尺慰所思，何待振策游边陲。\n《元世祖出猎图》不仅是一件出色的人物鞍马画，而且还透露出蒙元时代的社会文化特征。\n蒙元时期出土的服饰实物资料有限，《元世祖出猎图》是研究蒙元服饰的重要艺术参考资料。",[209,7,24,27,28,106,150,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad24bc0e5340dde489652972b9951d3.jpg","纵：182.9公分，横：104.1公分",[],{"id":67074,"slug":67075,"title":67076,"dynasty":99,"author":100,"museum":206,"description":67077,"tags":67078,"thumbUrl":67079,"material":803,"size":58230,"collection":139,"collections":67080,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},231376,"jiao-yin-jie-xia-chou-ying-231376","蕉阴结夏","此为一幅煌煌巨作，此图为仇英画粗笔之杰作：表现的是炎暑时节，士人于庭院内弹琴拨阮的闲情雅兴。图中画庭院中蕉石耸峙，后有苍筠数竿，清劲飘洒、远处的左侧画有巨块的岩石，岩石的右方画有几棵芭蕉树，树下偶有数块小石块，石块和树根部长满了杂草。画面的下部有二位长者席地而坐，左侧一长者在一旁专心致志地抚琴，右侧一位长者在洗耳恭听，神注专一。右画面的右上角有一女童正在扭首倾听琴声，弯着腰，双手持盏，旁侍后侧，被琴声吸引呆立不动。在长方的矮桌上，摆放一叠书卷，一篡一尊。从画面女童的姿态和神情看，似乎正在为两位长者作斟酒前的准备。\n此画构图简明开朗，只取近景，而将远景略省。人物居中主景位置，其后有竹、芭蕉及奇石穿插托衬。画面上的人物，须眉毕肖，神情各异，栩栩如生，其中尤以拨阮者之右手拨弦手式之描写，最能表现出力与美的感觉。故有别于一般山水中点景人物的遣貌取神。所画的人物，符合当时士大夫“优游林下”的生活情趣，主题极为鲜明。画笔沉着而活泼。构图疏密得当，色调柔和，远处的山石和芭蕉树采用写实手法，画笔疏放酣畅，格调闲适。画芭蕉，先以墨笔中锋勾勒，再赋染淡绿、淡青，蕉侧山石用侧势中锋，稍浓墨笔勾画轮廓，趁将干之际再迅以淡墨皴擦，并和水卧笔化染开，行笔疾速，充满水墨交融，淋漓畅快之感：画竹叶则于立竿之后，以浓淡墨和汁绿层层罩上，草以淡墨、淡绿画成，笔极挺拔。",[7,24,241,28,27,106,755,340,650,210,756,5627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248b2bea1b45945cfa44c7abdd287616.jpg",[],{"id":67082,"slug":67083,"title":67084,"dynasty":18,"author":293,"museum":206,"description":67085,"tags":67086,"thumbUrl":67087,"material":123,"size":67088,"collection":42,"collections":67089,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},231054,"cui-zhu-ling-mao-tu-yi-ming-231054","翠竹翎毛图","《宋人翠竹翎毛图轴》是宋代画作，作者佚名，采用南唐后主李煜金错刀的手法，是一幅花鸟图轴，表达了宋代绘画所谓“写生”的精义。此画幅对生态有着深刻的观察和了解，是一幅形神皆兼的写实作品；在构图上以近景为主，各景物均匀地分布在画面中，具有前后的空间感。这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的“双钩填彩法”画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，采用特别的颤动式的线条，整体用笔方面，起伏变化较明显，偏向于南宋的风格。",[23,209,7,24,28,27,83,4538,242,281,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ae374ee32752aeb4c0996f85ae3d1.jpg","185×109.9厘米",[42],{"id":67091,"slug":67092,"title":67093,"dynasty":76,"author":64370,"museum":364,"description":67094,"tags":67095,"thumbUrl":67096,"material":139,"size":139,"collection":139,"collections":67097,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},230889,"xiong-ji-ju-shi-tu-li-shi-zhuo-230889","雄鸡菊石图","这幅水墨写意之作，以雄鸡为主体，踞石而立。铁爪紧扣岩块，冠髯抖擞，尾羽如墨色长剑斜斜舒展，笔意纵逸苍劲，以浓淡墨色晕染出羽毛蓬松肌理，寥寥数笔便将雄鸡骄悍英武之态尽显，形神兼备。\n\n旁侧秋菊斜枝而出，墨花点染间浓淡错落，枯涩枝桠衬出晚秋清逸萧疏的意韵，与雄鸡的刚健相得益彰。右上角行书题诗，笔墨与画意相映，添就悠长文人意趣。\n\n整作笔力苍浑兼具秀润，以极简水墨写尽物象风神，将禽鸟野逸与花草清隽相融，借物抒怀，把秋日生机与雄鸡傲骨铺陈纸上，尽显写意花鸟以形写神的妙处。",[23,209,7,24,241,173,83,5865,453,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4355cfcff03a1ce87b1b057424bf8d.jpg",[],{"id":67099,"slug":67100,"title":19260,"dynasty":76,"author":674,"museum":364,"description":67101,"tags":67102,"thumbUrl":67103,"material":139,"size":139,"collection":139,"collections":67104,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},230872,"tan-mei-tu-leng-mei-230872","此作以冬日寻梅铺陈景致，主仕女身着宝蓝团花长袄，容色温婉端凝，侍童撑伞随侍身侧，另有侍女捧炉趋前，暗递融融暖意。寒梅虬枝缀满繁花，淡赭远山衬着素朴亭台，苍劲皴石古拙静立，设色雅致沉稳，勾勒细腻写实。将深闺仕女探春寻幽的闲情逸趣，融于萧寒冬景，冷暖色调交织，既绘就隆冬清寂况味，又晕染出闺中雅游的温婉意韵，写实工细间尽显雅致情致，把仕女矜贵闲适的情态，与冬日园林的清寒雅致完美糅合，静穆中暗藏鲜活的闺中闲趣。",[23,7,27,28,106,59,3045,448,29,176,107,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaafd8ade9438d3959f176e539370fad.jpg",[],{"id":67106,"slug":67107,"title":5335,"dynasty":99,"author":3114,"museum":364,"description":67108,"tags":67109,"thumbUrl":67110,"material":139,"size":139,"collection":139,"collections":67111,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},230850,"gao-yi-tu-dong-qi-chang-230850","此作用笔松秀灵动，以干笔枯墨绘就，兼施淡墨晕染。画面分远中近三境，远山以淡墨轻扫，虚灵空濛，似含烟霭；中平湖如镜，汀渚错落，漾出澹澹清寂；近景枯木虬曲苍古，姿态疏朗萧散，尽显荒寒雅逸之气。\n\n以书入画，笔墨间自带文人疏淡风骨，删繁就简，褪去实景冗杂，独留山水精神，将林下高贤寄情丘壑、坐忘林泉的隐逸意趣藏于尺幅之间，静穆清寂的氛围里，尽显文人画尚意重韵的极致品格。",[23,7,24,173,177,178,86,29,34,176,31,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209df79a27a9101f03f274d4311d3360.jpg",[],{"id":67113,"slug":67114,"title":67115,"dynasty":76,"author":293,"museum":364,"description":67116,"tags":67117,"thumbUrl":67118,"material":139,"size":139,"collection":139,"collections":67119,"showCount":199,"zanCount":1547,"manualWeight":48,"mainColor":49},230326,"tai-ping-fan-hua-ba-tu-ping-yi-ming-230326","太平繁华八图屏","此作截取升平盛景的两段切面，上部郊山林木蓊郁，台阁错落，游人雅聚嬉游，尽显郊野行乐闲趣；下部市井商铺鳞次栉比，彩楼牌坊高耸，行人摩肩接踵，百业攒动喧嚷。全景构图铺陈开烟火日常，工细设色复刻俗世百态，将山野清趣与闾巷喧嚣相融，把盛世之下的黎民安乐描摹得鲜活生动，让太平年间的人间烟火跃然绢上，藏着最鲜活的世俗温情与蓬勃生机。",[23,7,27,28,104,106,107,34,176,112,110,115,150,2166,114,760,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],{"id":67121,"slug":67122,"title":13238,"dynasty":76,"author":2324,"museum":364,"description":67123,"tags":67124,"thumbUrl":67125,"material":139,"size":139,"collection":139,"collections":67126,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},230293,"hua-niao-ce-shi-kai-li-shan-230293","此作用笔放逸老辣，以泼墨晕染荷叶，浓淡干湿一气呵成，淋漓间尽显叶片舒展厚重的质感。荷花花苞则以焦墨勾边，淡墨晕染花瓣，妍雅秀润，与荷叶的苍劲朴拙形成鲜明反差，寥寥数笔便勾勒出夏荷出尘之姿。\n\n画面搭配题诗与朱印，书画印浑然一体。书法朴拙跌宕，与水墨荷花相映成趣，将文人意趣与花鸟神韵相融，以简驭繁，尽显写意酣畅情致，把荷花清逸风骨与自身疏朗襟怀尽数诉诸笔端，是笔墨性情与物象神韵完美契合的写意佳作。",[7,24,209,81,173,83,136,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2b5537a93897bce1aaae99efc57378.jpg",[],{"id":67128,"slug":67129,"title":67130,"dynasty":76,"author":1394,"museum":364,"description":67131,"tags":67132,"thumbUrl":67133,"material":139,"size":139,"collection":139,"collections":67134,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},230181,"xi-shan-gao-yin-shan-shui-tu-wang-shi-min-230181","溪山高隐山水图","此作用笔圆厚松润，以干笔淡墨层层皴染，糅合黄公望披麻皴意趣，山峦层叠间，高远、深远之境兼具。主峰雄踞上端，峦头苍郁厚重，山腹林麓间村落错落，溪谷萦回穿绕，板桥渔隐点缀其间，将山川雄浑与山居恬和相融。\n笔墨苍秀灵逸，皴擦点染井然有序，于淡墨晕染间铺陈出山林的温润郁茂，把隐逸山居的清逸之思寄寓在层叠丘壑之中，平淡天真里藏着静穆悠远的林下之风，是师古而自出机杼的佳构。",[23,7,24,209,241,173,177,29,864,297,430,107,108,920,176,37,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":67136,"slug":67137,"title":67138,"dynasty":76,"author":1394,"museum":364,"description":67139,"tags":67140,"thumbUrl":67141,"material":139,"size":139,"collection":139,"collections":67142,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},230177,"fang-gu-tu-ce-wang-shi-min-230177","仿古图册","《清王翚仿古山水册》是清代 作者创作的画册。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n此册由苏州过云楼后人捐赠。\n现收藏于常熟博物馆。\n王翚作。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n其中，仿董源、范宽各二开，仿王维，关仝、高克明、李成、郭熙、王诜、宋徽宗、阎次平、李唐、刘松年、赵伯驹、赵大年、夏圭、黄公望、赵孟頫、王蒙各一开。\n此册由苏州过云楼后人捐 赠。\n21年， 与 强强联手，共同打造了数字化、立体化的权威知识普及平台： 之 。\n该数字馆通过陶瓷器馆、铜器馆、金银器等分馆，全方位展示了 的众多珍贵展品。\n【简介】 纸本，水墨，纵：25.6厘米，横：2.5厘米。\n《 》共计十二页，其中设色二页，水墨十页。\n仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。\n每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。\n前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。\n笔墨疏秀，意境苍莽迷蒙。\n得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，4岁时即名闻海内。\n王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。\n顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。\n后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。\n尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。\n其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。\n”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。\n王翚（162—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。\n后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。\n在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。\n在王翚5岁到6岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。\n时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。",[7,173,81,105,177,29,430,109,35,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c633d3f56a943ca1180e458ba8904cf.jpg",[],{"id":67144,"slug":67145,"title":22709,"dynasty":76,"author":674,"museum":364,"description":67146,"tags":67147,"thumbUrl":67148,"material":139,"size":139,"collection":139,"collections":67149,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},230146,"shi-gong-ci-tu-ce-leng-mei-230146","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[7,24,81,28,27,104,178,227,86,106,107,59,502,2838,297,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],{"id":67151,"slug":67152,"title":38578,"dynasty":99,"author":38552,"museum":364,"description":67153,"tags":67154,"thumbUrl":67155,"material":139,"size":139,"collection":139,"collections":67156,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},228967,"shan-shui-ce-ye-xiao-yun-cong-228967","这幅山水取高远、平远二法构景，右侧危崖层叠耸峙，以细劲皴笔刻绘山石嶙峋肌理，古松倚崛崖而生，姿态苍劲奇逸。左侧江流逶迤，洲渚之上林木错落，村居隐于坡岸林麓，野意悠然自生。\n\n设色清浅柔和，以赭石晕染山峦，墨色点苔绘木，淡润雅致间尽显清和。整体意境萧疏旷远，兼具皖南山水的灵秀，又饱含文人隐逸丘壑的静穆意趣，笔致秀雅工丽，将山水自然之美与林下幽居的雅怀相融，观之便如身临幽寂林泉，心神涤荡。",[7,24,209,81,173,27,177,29,176,34,109,174,106,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fb76240c525618fdf974dbb6774f96.jpg",[],{"id":67158,"slug":67159,"title":67160,"dynasty":76,"author":16463,"museum":364,"description":67161,"tags":67162,"thumbUrl":67163,"material":139,"size":139,"collection":139,"collections":67164,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},228954,"zui-gui-tu-yuan-jiang-228954","醉归图","夜色笼着深宅朱廊，虬枝古木斜倚庭中。厅堂内宴饮方酣，宾客笑谈尽欢，堂下宫灯垂悬晕开暖光。庭间仆从垂首候立，另有三两醉客相互搀扶缓行，将宴散的松弛慵懒尽数流露。\n\n界画工细严整，将宅邸回廊台榭的规制尽显无余，人物情态鲜活灵动，把宴后醉归的闲散意趣描摹入微。晕染的暮色铺陈开静谧悠然的氛围，将古雅宅邸的雅致意境与宴饮余韵相融，尽显古典雅集的闲淡意趣。",[23,7,24,104,27,28,106,107,115,34,1664,313,19762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1c994711a1a7b286672b0fe82a60326.jpg",[],{"id":67166,"slug":67167,"title":67168,"dynasty":76,"author":16463,"museum":364,"description":67169,"tags":67170,"thumbUrl":67171,"material":139,"size":139,"collection":139,"collections":67172,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},228952,"shan-shui-ren-wu-ce-ye-liu-kai-yuan-jiang-228952","山水人物册页六开","《袁江塞北彤云》是清代袁江创作的一幅水墨设色画。\n此图是山水人物六开册页中的一幅。\n袁江擅画山水、界画，但在这幅画中，画家显示了他在表现人物方面的深厚功力。\n画面左上方题“塞北彤云”，描绘的是一女子怀抱孩子坐在马上，在一肩扛樱枪，腰挂弯刀的男子护卫下在塞外风雪中前行的场景。\n雪景刻画简洁生动，延伸出画外，营造了塞外一望无际、空无一物的自然环境；人物刻画细致精到，妇人低着头紧紧地用外衣裹住小童，马也低垂着头，前面的男子姿态紧张地回望妇人，这样的动态都揭示着他们正经历着恶劣的大风，天空一片阴霾，也许一场大雪即将袭来。\n袁江，生卒年不详。\n字文涛，江苏江都（今扬州）人。\n雍正年间曾在宫廷作画，供奉养心殿。\n他善画山水、楼阁，是清代界画能手，亦作花鸟。\n早年学习仇英，又继承了宋代画院的风格，山水宗阎次平，楼阁宗郭忠恕。\n所作多青绿山水，工致异常，与其精密的界画相配合，十分协调。\n他的界画在继承前人基础上，加强了生活气息的描绘，笔法工整，设色艳丽，风格富丽堂皇，在当时被推为第一。\n但由于清初“四王”画派风靡一时，所以画史上对他的记载不多。",[7,24,81,27,29,106,150,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f535a750f80cee391f878cb498a94f.jpg",[],{"id":67174,"slug":67175,"title":67176,"dynasty":99,"author":1170,"museum":364,"description":67177,"tags":67178,"thumbUrl":67180,"material":139,"size":139,"collection":139,"collections":67181,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,7,24,209,173,29,177,864,1575,107,108,150,35,2502,109,67179,561,1248],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":67183,"slug":67184,"title":67185,"dynasty":99,"author":293,"museum":364,"description":67186,"tags":67187,"thumbUrl":67188,"material":139,"size":139,"collection":139,"collections":67189,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},228807,"zhi-sheng-xian-xian-ban-shen-xiang-ce-ceng-can-kong-ji-yi-ming-228807","至圣先贤半身像册-曾参、孔伋","此作以工笔淡彩写就，笔致清隽克制。左幅人物青巾束发，虬眉朗目，颧骨棱峭，英挺神色自带刚直弘毅之气；右幅老者鬓角凝霜，玄巾垂帔，面容慈和松弛，尽显温厚端方之态。\n衣纹晕染简雅贴合身形，取沉稳石青、赭褐配色，衬以素净纸底，凭清简线条勾勒神态，淡墨轻敷彰显古风，以形写神将先贤风骨晕染入微，静静铺陈出古儒沉穆端凝的气度，是明代肖像画中尚意传神的佳构。",[7,27,28,106,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343de655deba5fcf2cd268d2748fb2fb.jpg",[],{"id":67191,"slug":67192,"title":67193,"dynasty":99,"author":1996,"museum":364,"description":67194,"tags":67195,"thumbUrl":67196,"material":139,"size":139,"collection":139,"collections":67197,"showCount":199,"zanCount":5,"manualWeight":48,"mainColor":94},228741,"fang-mi-you-ren-yun-shan-tu-juan-chen-chun-228741","仿米友仁云山图卷","此作用米家云山之法，以淡墨晕染山峦，间以浓墨点醒林麓，水汽弥漫，烟岚浮动，将江南丘壑的空濛秀雅尽藏尺素。简率的笔墨勾勒汀洲林木，苍润松秀，不求刻绘精细，只以水墨氤氲传递出云气漫过山峦的朦胧诗意，尽显“墨戏”的萧散意趣。\n\n画面留白与晕染相映，在虚实之间铺展出悠远淡宕的山水意境，契合文人画尚意重韵的追求。后幅题识亦为画卷添就文雅格调，整卷以水墨写意尽显平淡天真的米家山水风神，是明代文人水墨山水的逸品。",[23,7,24,25,173,177,105,178,86,227,29,1329,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec63ab7769bad38fa9c94164b033efd6.jpg",[],{"id":67199,"slug":67200,"title":486,"dynasty":99,"author":67201,"museum":364,"description":67202,"tags":67203,"thumbUrl":67204,"material":139,"size":139,"collection":139,"collections":67205,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},228490,"shan-shui-ce-yun-xiang-228490","恽向","此作用笔苍浑松秀，右幅层岩叠壑间飞泉直下，涧水环石隐于葱郁杂木，板桥茅亭隐于一隅，野逸幽寂。以干笔皴擦晕染，尽显山川厚重质感，氤氲静穆古雅的山水气韵。左幅行书题跋笔力遒劲舒展，书画合璧，尽显文人意趣。\n画作以元人笔墨写江南丘壑，简淡苍劲脱去甜熟，将山川朴茂元气藏于构图之中，以画寄兴，褪去匠气直追古意，于简雅之间尽显山水生机，暗含画者胸中丘壑与沉静文人风骨。",[209,7,24,81,173,29,175,108,109,178,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d53472a535054b50cf8412a73495aa.jpg",[],{"id":67207,"slug":67208,"title":67209,"dynasty":99,"author":1480,"museum":752,"description":67210,"tags":67211,"thumbUrl":67212,"material":139,"size":139,"collection":139,"collections":67213,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},228476,"meng-xian-cao-tang-tu-juan-tang-yin-228476","梦仙草堂图卷","《梦仙草堂图》是明朝 的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[23,7,24,25,29,27,173,178,1195,227,177,864,297,175,430,650,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":67215,"slug":67216,"title":67217,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":67218,"thumbUrl":67219,"material":743,"size":744,"collection":139,"collections":67220,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},228283,"ting-die-tu-chen-hong-shou-228283","听蝶图",[23,7,24,241,27,28,106,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efe86ca90f6efa2eb1ee0012fc34988.jpg",[],{"id":67222,"slug":67223,"title":67224,"dynasty":189,"author":10551,"museum":364,"description":67225,"tags":67226,"thumbUrl":67232,"material":139,"size":139,"collection":139,"collections":67233,"showCount":199,"zanCount":5,"manualWeight":48,"mainColor":94},228250,"tai-ping-feng-hui-tu-zhu-yu-228250","太平风会图","以白描淡彩铺展全景长卷，笔底尽揽闾阎繁盛。\n卷中人物鳞次栉比，行商、百工、农人、仕女各持情态，衣纹线条劲挺秀逸，设色清雅柔润，将细碎日常的烟火气悉数铺陈：市集喧闹里货郎呼喝，田垄间耕者不辍，酒肆中宾主尽欢，百态群像虽身形微小却神完气足。\n此作以极细致的体察，将太平治下的世间风物凝于素纸，既是风俗长卷，亦是时代的鲜活切片，朴拙古雅的笔墨间，藏着对升平世象的温柔描摹。",[23,209,7,25,260,27,106,1975,117,67227,2412,67228,67229,67230,758,20424,67231],"田垄","行商","百工","农人","升平气象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc17c832f83e0deaaa4cc178b9a2fa52.jpg",[],{"id":67235,"slug":67236,"title":67237,"dynasty":189,"author":293,"museum":206,"description":67238,"tags":67239,"thumbUrl":67240,"material":827,"size":67241,"collection":139,"collections":67242,"showCount":199,"zanCount":5,"manualWeight":48,"mainColor":49},228181,"shang-lin-yu-lie-tu-juan-yi-ming-228181","上林羽猎图卷","汉司马相如作上林赋，叙述天子狩猎於上林苑中。画者依赋文内容臆写情境，描绘层峦叠嶂、人物鸟兽、楼阁台观、旗辇军容等等，行笔设色皆细腻精妙,堪称佳作。 按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[23,7,24,25,26,27,28,29,106,150,107,34,176,31,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":67244,"slug":67245,"title":67246,"dynasty":189,"author":351,"museum":364,"description":67247,"tags":67248,"thumbUrl":67249,"material":139,"size":139,"collection":139,"collections":67250,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},228175,"tong-xi-tu-qian-xuan-228175","童戏图","古柳垂荫，榴花绽艳，庭院间三个稚童正嬉游作乐。矮凳上狸奴蜷卧，一孩童伸指逗弄，身侧同伴探首凝神，满眼好奇。最后小童攥着花枝蹑步而来，似要悄然加入嬉玩。\n\n整幅画笔法工细柔婉，设色古澹沉静，将幼童的娇憨鲜活尽数铺展。花木湖石衬出悠然闲趣，把孩童嬉游的日常瞬景定格，晕开旧时光里的融融暖意，尽显婴戏画的温婉雅致，将稚拙童趣藏进古雅绢色之中。",[23,7,209,24,241,27,28,106,430,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9b5cb209a420e718e41ff884f85df8.jpg",[],{"id":67252,"slug":67253,"title":67254,"dynasty":189,"author":5444,"museum":364,"description":67255,"tags":67256,"thumbUrl":67257,"material":139,"size":139,"collection":139,"collections":67258,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[23,7,24,25,27,29,177,864,297,174,34,106,109,175,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":67260,"slug":67261,"title":16437,"dynasty":189,"author":5444,"museum":364,"description":67262,"tags":67263,"thumbUrl":67264,"material":139,"size":139,"collection":139,"collections":67265,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},228039,"shan-shui-tu-ye-sheng-mao-228039","取半边崖岸入画，嶙峋石矶间苍松虬劲，层叠点叶凝萃出深林郁茂。淡墨晕开的远山横亘天际，汀渚隐于烟水间，虚实相生，将江南水岸的清寂铺陈开来。\n笔墨苍秀细密，皴笔勾勒出岩崖肌理，朴拙古雅的点染尽显草木生机，设色浅淡沉静，晕染出空濛的烟水之气。\n尺幅之间藏尽林泉幽致，萧散冷寂的氛围中暗藏澹泊意趣，如一卷袖珍的林泉雅集，邀人步入这方幽寂山水，静赏这份简淡悠远的林下清欢。",[23,7,24,81,173,177,27,29,34,174,108,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75acf187f7bc3f7c3c96d8b250e8c0ac.jpg",[],{"id":67267,"slug":67268,"title":67269,"dynasty":189,"author":67270,"museum":364,"description":67271,"tags":67272,"thumbUrl":67273,"material":139,"size":139,"collection":139,"collections":67274,"showCount":199,"zanCount":5,"manualWeight":48,"mainColor":49},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[23,7,24,209,25,173,177,29,1575,176,109,108,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":67276,"slug":67277,"title":67278,"dynasty":18,"author":9392,"museum":364,"description":67279,"tags":67280,"thumbUrl":67281,"material":139,"size":139,"collection":139,"collections":67282,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227944,"shan-yin-fang-dai-tu-ye-zhu-rui-227944","山阴访戴图页","危崖拔地而起，石质方硬皴法老辣，崖侧古松簇拥山居。下方寒波澹澹，汀渚间林木错落，临水高轩明敞，似有幽人凭栏远眺江天。一叶扁舟随波缓行，雪意覆于岸渚林梢，遍染清萧寒寂。\n\n整幅以简驭繁，淡墨轻敷晕出雪后空蒙。将兴尽而归的雅事藏于留白，笔致苍秀劲挺，设色沉凝淡雅。尺幅之间铺展萧疏冷寂的山水意境，把魏晋名士散淡旷达的林下风流融于萧寒景致中，尽显宋人山水留白藏意的高妙。",[23,209,7,24,81,27,104,177,29,174,107,1653,394,109,900,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":67284,"slug":67285,"title":67286,"dynasty":18,"author":293,"museum":364,"description":67287,"tags":67288,"thumbUrl":67289,"material":139,"size":139,"collection":139,"collections":67290,"showCount":199,"zanCount":1547,"manualWeight":48,"mainColor":94},227883,"ju-zhi-qi-que-tu-yi-ming-227883","橘枝栖雀图","此作以精妙工笔绘就一隅小景，折枝垂挂硕实，苍嫩叶片交错枯润，尽显四时意态。枝头雀鸟侧身回望，翎毛细笔丝染，绒羽蓬松柔润，尖喙双目传神，机警灵动的情态跃然绢上。\n\n设色清淡秀雅，以赭石淡晕底色，敷色薄而清透，橘子的莹润饱满、枝叶的错落枯荣被细腻呈现。画面简而不空，静中藏动，尽显对日常小景的诗意捕捉，将山野间的幽微生机凝于尺幅之中，暗含平和雅致的东方意趣。",[23,209,7,24,28,27,83,6143,5589,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc28cde67f818c1de2943a9abaf3b21.jpg",[],{"id":67292,"slug":67293,"title":67294,"dynasty":18,"author":293,"museum":364,"description":67295,"tags":67296,"thumbUrl":67297,"material":139,"size":139,"collection":139,"collections":67298,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227844,"tian-han-cui-xiu-tu-ye-yi-ming-227844","天寒翠袖图页","修竹清劲挺拔，攒簇竹叶如凝寒玉，占据画面大半篇幅，衬出林间孑然伫立的仕女。她翠袖轻拢，身姿娴静温婉，眉目间似含淡淡怅惘，将深秋萧寒里的孤寂弥散开来。\n\n整作设色淡雅克制，墨骨清劲利落，沉郁的古绢底色晕开幽寂的林下意趣，把闺中闲愁融于萧索秋景，淡而不寡。以极简的铺陈，藏着宋人极致内敛的审美意趣，余味悠长。",[23,209,7,24,81,27,106,59,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7e186a0386cb73f8d03ff13ba9b12f.jpg",[],{"id":67300,"slug":67301,"title":67302,"dynasty":18,"author":2029,"museum":364,"description":67303,"tags":67304,"thumbUrl":67305,"material":139,"size":139,"collection":139,"collections":67306,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227804,"yao-tai-xian-shou-tu-liu-song-nian-227804","瑶台献寿图","此作用笔精工雅致，以界画技法勾勒亭台楼阁，回廊层台错落排布，将庭院深幽的意趣铺展尽致。山石林木以淡墨晕染，苍润秀雅，与规整楼宇相映成趣。\n\n画中人物神态宛然，峨冠士人凭栏雅谈，侍女垂手侍立，情态恭谨恬然，将安闲雍容的祝寿雅集氛围烘托恰到好处。设色古淡沉静，墨色相融，既有界画的严整工细，又不失山水画的灵动苍润，尽显精妙工致的院体画风韵，把富贵闲适的雅致意趣藏于笔间，堪称工笔楼阁人物的佳构。",[23,7,24,209,27,104,28,106,107,12551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a1bfb0f093b400631a62b7bf5b38e4.jpg",[],{"id":67308,"slug":67309,"title":67310,"dynasty":18,"author":2029,"museum":364,"description":67311,"tags":67312,"thumbUrl":67313,"material":139,"size":139,"collection":139,"collections":67314,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227803,"song-yin-ming-qin-tu-liu-song-nian-227803","松荫鸣琴图","苍松浓荫遮蔽出一方清寂天地，琴案横陈，炉烟似随着琴音袅袅轻扬。抚琴者身姿舒展，指尖落弦仿佛有声，将心绪尽数寄于丝弦之上。对面长者垂眸敛神，身心都沉湎在悠悠琴韵之中，连身侧侍立的小童都屏息静立，不敢惊扰这片刻雅静，周遭的幽草矮竹也似在凝聆听赏。\n\n画作以浓墨点染苍劲松针，淡墨勾勒人物衣纹，线条清劲简练。将宋代文人追求的林下雅逸，凝缩在尺幅之间，把知己相对、琴音寄怀的超然意趣铺陈开来，静穆悠然的禅意弥散在画面里，尽显文人雅集的清旷疏朗之美。",[23,209,7,24,1562,28,27,106,449,242,431,210,6605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b81c56fb1a8b0fc313ca776e3e8f2af.jpg",[],{"id":67316,"slug":67317,"title":67318,"dynasty":18,"author":29108,"museum":364,"description":67319,"tags":67320,"thumbUrl":67321,"material":139,"size":139,"collection":139,"collections":67322,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227778,"yuan-yang-tu-wan-shan-zhang-mao-227778","鸳鸯图纨扇","《双鸳鸯图》页，宋，张茂绘，纨扇页，绢本，设色，纵24.4厘米，横18.3厘米。\n\n本幅款识：“张茂”。\n\n此图选取水景局部：一丛芦苇蓼草探入画面，枝叶稀疏，叶留残雪。一对鸳鸯破水而行，游向苇丛。一只鹡鸰轻栖于苇杆，与俯冲而下的另一只遥相呼应。画面中、上部大片空白，使人联想到广阔水域的浩渺烟波，在构图上颇得小景见大之妙。\n\n画面构图简洁疏朗，浸透出丝丝寒意。气氛祥和宁静，寓意寒不异心。画家仅在鸳鸯游曳处画出几笔水波纹，既表现出鸳鸯的动感，又反映出水面的荡漾。在以鸳鸯为主题创造出安谧幸福的情境之余，又添绘相呼相随的小鸟二\n只，它们的顾盼关系使得上半部画面更加充实生动。\n\n芦苇用墨双勾，笔触挺拔劲健。禽鸟体形虽小，但一笔不苟，清晰工致，功力非凡。\n\n存《纨扇画》册中。《石渠宝笈初编》著录。",[23,209,7,24,1562,28,27,83,2555,2522,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab6dc118a52cfd44c31806284697cf7.jpg",[],{"id":67324,"slug":67325,"title":67326,"dynasty":18,"author":1616,"museum":364,"description":67327,"tags":67328,"thumbUrl":67329,"material":139,"size":139,"collection":139,"collections":67330,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[23,209,7,24,25,105,177,173,27,86,227,29,174,1351,109,176,34,245,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":67332,"slug":67333,"title":32167,"dynasty":18,"author":781,"museum":364,"description":67334,"tags":67335,"thumbUrl":67336,"material":139,"size":139,"collection":139,"collections":67337,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,7,24,25,260,27,106,29,175,108,109,174,34,107,86,227,115,118,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":67339,"slug":67340,"title":67341,"dynasty":18,"author":3214,"museum":364,"description":67342,"tags":67343,"thumbUrl":67344,"material":139,"size":139,"collection":139,"collections":67345,"showCount":199,"zanCount":5,"manualWeight":48,"mainColor":49},227510,"bai-zi-you-yuan-tu-su-han-chen-227510","百子游园图","这是南宋画家苏汉臣绘的《百子嬉春图》。《百字嬉春图》是一小幅纨扇，但却结构复杂精妙，画家利用台栏池沼等高低上下称景。将一百名儿童布满画面，三五成组，相互呼应，远近关系处理得明确而有节奏，丰满而不拥塞，繁复而不杂乱。",[23,209,7,24,1160,28,27,106,11294,115,313,34,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058871fca58b31f28c71d5eb4f50c34e.jpg",[],{"id":67347,"slug":67348,"title":67349,"dynasty":18,"author":26019,"museum":364,"description":67350,"tags":67351,"thumbUrl":67352,"material":139,"size":139,"collection":139,"collections":67353,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,209,7,24,25,173,27,177,86,178,227,29,48565,45379,30,115,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":67355,"slug":67356,"title":67357,"dynasty":18,"author":293,"museum":364,"description":67358,"tags":67359,"thumbUrl":67360,"material":139,"size":139,"collection":139,"collections":67361,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[23,7,209,24,1562,173,27,29,2502,34,35,176,177,2125,6178,109,649,15976],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":67363,"slug":67364,"title":67365,"dynasty":18,"author":15965,"museum":364,"description":67366,"tags":67367,"thumbUrl":67368,"material":139,"size":139,"collection":139,"collections":67369,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227334,"jiang-fan-shan-shi-juan-song-ren-227334","江帆山市卷","艺术赏析 江上帆船一艘，船头有缫车，后舱篷顶，笼畜雄鸡一，盖用以报晓取时。\n江波粼粼，用笔细挺。\n岸旁已停泊三舟，皆有笼鸡之蓄。\n岸上有驱驴者，道逢相拜者，骑驴投店者。\n山道间，远处迷濛，有驼队成群。\n山谷中岚烟凝白，飞鸟结阵，一片黄昏景色。\n两山回抱而起，山峰结构及树法、水波画法，与 画风极接近。\n【名称】宋人江帆山市卷 【规格】28.644.1公分 【收藏】 主题与关键字： 夏景、房舍、茅草屋、鸡、客舫、帆船、寺庙、店铺、骆驼、狗、骡．驴、马、回廊、孩童、侍从（侍女、童仆）、渔夫、船夫、百姓、行旅、官员（臣）、江河、湖海。\n石渠宝笈初编（重华宫），下册，785页；故宫书画录（卷八），第四册，78页；故宫书画图录，第十七册，21-22页。",[209,7,24,25,173,177,29,24465,27534,111,194,491,10416,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc42d48136e2cb3cdf0a480af5efb4a.jpg",[],{"id":67371,"slug":67372,"title":67373,"dynasty":18,"author":43443,"museum":364,"description":67374,"tags":67375,"thumbUrl":67376,"material":743,"size":744,"collection":139,"collections":67377,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},227329,"yan-guan-gu-si-tu-ye-jia-shi-gu-227329","严关古寺图页","贾师古，生卒年不详，南宋画家。汴（今河南开封）人，善画道释人物，师法李公麟。高宗绍兴时为画院祗候。白描人物，颇得闲逸自在之状。尝作《归去来图》，有所谓“一笔法”，甚古雅。梁楷为其高足，名过其师。传世作品有《岩关古寺图》、《大士像》等。",[23,7,24,81,27,177,227,29,1575,176,43446,491,1926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f001dee4f7caf5c80f9cbb0734173ec.jpg",[],{"id":67379,"slug":67380,"title":13139,"dynasty":54,"author":13140,"museum":364,"description":67381,"tags":67382,"thumbUrl":67384,"material":139,"size":139,"collection":139,"collections":67385,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},227249,"dou-niu-tu-dai-song-227249","《斗牛图》传为唐代画家 所画的绢本水墨画，现藏于台北故宫博物院。\n此图绘两牛相斗的场面，风趣新颖。\n一牛前逃，似力怯，另一牛穷追不舍，低头用牛角猛抵前牛的后腿。\n双牛用水墨绘出，以浓墨绘蹄、角，点眼目、鬃毛，传神生动地画出斗牛的肌肉张力、逃者喘息逃避的憨态、击者蛮不可挡的气势。\n牛之野性和凶顽，尽显笔端。\n图中画两牛相斗，一头牛用角觝触，另一牛却旋转著身子，好像虽败而欲再迎战。\n此幅画牛，身驱颇为健壮，大有蛮劲足以力仆万人之慨。\n图中右上方有乾隆题诗：“角尖项强力相持，蹴踏腾轰各出奇。\n想是牧童指点后，股间激露尾垂垂。\n” 中国人对于牛的图腾崇拜，可以追溯到4年前的大禹治水时期。\n传说大禹每治好一处水患，就要铸铁牛投入水底，以示镇压，等到了唐代，就将镇水的铁牛改设岸上了。\n在中国老百姓的眼中，牛更多的美德是埋头苦干而从无怨言的品质，是勤劳的象征。\n然而，野牛的彪悍好斗却也是人所共知的。\n世界上不少民族都有“斗牛”的传统风俗，而我国的斗牛习俗，则要溯源至公元前2年春秋战国时期。\n据《水经注》记载：秦李冰治蜀，为根治水患造福蜀地百姓而修建“都江堰”，触怒了江神，两者化作两头公牛激烈搏斗，李冰在下属的帮助下刺杀了江神，从此蜀地再无水患。\n蜀人敬仰李冰的勇敢果决，遂将体格健壮的青年称作“冰儿”，而斗牛也就成为蜀人历史悠久的习俗：宋初编纂的《太平广记》就记载汉晋之后蜀地已流行斗牛之戏。\n出身书香门第的戴嵩从小热衷书画，水牛画得很好，年少即有名。\n《斗牛图》就是他创作的关于“牛”题材绘画之一。\n关于此图是否是戴嵩真迹还有争议，从其画风观之，此作或属明中期以前辗转流传的摹本。\n画面上一牛昂首腾空，前蹄离地，作躲闪状，看似已斗不过，也许在作迂回战，以逃状作避，伺机反扑；另一牛，鼓足力气，急速猛冲，低头侧目，四肢有力蹬地，将一只垮角猛击逃牛的后腿。\n呈现出一场激烈厮杀的惊险场面。\n画家用水墨淋漓、笔触刚健的艺术形式，画出一窜一追、一抵一昂、一冲一跃的两头牛，浑身绷紧的肌肉，显示牛的强壮有劲；前头那腾空的蹄，那踢蹴的腿，那昂首喘气的憨态；后头那低头猛击的蛮劲，很有将对方挑起猛摔之势；活灵活现地表现了斗牛的野性与凶顽，以及进攻与防御双方的伎俩；此画之所以颇见风趣和新意，是由于画家对牛的牛活和特性有朴殊感受，善于对于一定情势下的牛的特殊表现，作出别出心裁的处理；两牛相斗的动人情节，不止于外形的逼真，而是有情趣的牛的描写，体现了画家的笔墨熟练和细心观察。\n从构图看，画家选择了两牛相斗高潮似刚过去、但搏斗仍在继续这一瞬间的场面，加以刻画，颇见风趣和新意。\n作者以清淡朦胧的背景，在于使人有置于茫野的感受，其目的为了突出主题 。\n烟台大学教授、中国美术家协会会员 ：透过《斗牛图》精湛的表现力，我们还可以体验到作者在哲学上的良好修养。\n那主体、背景的浓、淡对比，那寓静于动的玄妙构图，那失去平衡的稳态造型，无不渗透着本民族古典哲学的精髓。\n这一点在唐以前的作品中是很少见到的。\n由图上题跋可知，该图曾经入清宫，经乾隆帝鉴赏。\n现藏于台北故宫博物院。\n该图收录于：盛京故宫书画录（卷一） ，第一册；故宫书画录（卷八），第四册；故宫书画图录，第十五册。\n戴嵩，唐代画家。\n最初学画时，以 为师，韩滉镇守浙西时，嵩为巡官。\n擅画田家、川原之景，写水牛尤为著名，后人谓得“野性筋骨之妙”。\n相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。\n明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。\n”与韩干之画马，并称“韩马戴牛”。\n传世作品有《斗牛图》。\n牛有青出于蓝的声誉，又擅长于农家风景。\n他的弟弟 也以画牛而闻名。",[23,7,173,209,6214,151,957,106,430,431,67383],"斗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F585082e468b1730f72d9bc88f06964e5.jpg",[],{"id":67387,"slug":67388,"title":67389,"dynasty":76,"author":16463,"museum":364,"description":67390,"tags":67391,"thumbUrl":67392,"material":139,"size":139,"collection":139,"collections":67393,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},224594,"qiu-she-tu-yuan-jiang-224594","秋涉图","此作用硬朗皴笔勾勒出山岩肌理，奇峰高拔陡立，崖间飞瀑隐于云气，晕染出幽谷空濛之态。丹黄秋叶点染古木，萧疏秋意里晕开暖意。山道滩涂之上，行旅商贾或策马涉水，或沿山径徐行，将山野秋行的鲜活意趣融于冷寂山川，添上人间烟火暖意。画面兼工带写，既得北派山水的雄浑气势，又以细腻的人物刻画赋予山水灵动生机，将秋日山野的旷远意境与行旅图景相融，尽显古典山水的雅致意韵。",[23,209,7,24,241,27,29,177,864,297,34,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5727adba9d3c7f163dd3a83df59fa6a.jpg",[],{"id":67395,"slug":67396,"title":67397,"dynasty":76,"author":2040,"museum":364,"description":67398,"tags":67399,"thumbUrl":67400,"material":139,"size":139,"collection":139,"collections":67401,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},224587,"tai-gu-yun-lan-zhou-zou-yi-gui-224587","太古云岚轴","以淡墨晕染烟岚，山峦在云气间浮沉隐现，留白与晕染相济，铺展出太古悠远空蒙的意境。前景平坡错落村舍，枯木疏林覆着薄雪，山野意趣悠然澹泊。\n\n笔致清隽秀雅，皴擦细腻妥帖，以淡墨烘托雪后山峦温润静穆的质感，云雾吞吐开合，将远山藏敛，咫尺画幅尽显辽远空寂的古淡气象，将冬山萧寒与幽寂禅意相融。文人题诗错落排布，诗画映合，兼收院体的规整细腻与文人画秀逸气质，淡远清和间，尽展天地初霁的浑茫雅致。",[23,7,241,29,177,173,649,37,34,35,560,1575,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3480fc595a4ab95a8ecddd2b8bc62744.jpg",[],{"id":67403,"slug":67404,"title":67405,"dynasty":76,"author":2040,"museum":364,"description":67406,"tags":67407,"thumbUrl":67408,"material":139,"size":139,"collection":139,"collections":67409,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},224585,"si-jun-zi-tu-zou-yi-gui-224585","四君子图","此作用淡墨晕开空濛远景，留白铺就清寂天地。左侧古松虬枝盘曲，鳞皴苍劲，松针攒簇如团，枯荣交织尽显古拙生机。右侧长松挺立于石畔，与老松两两相望，野竹荒草偃仰生姿，添得山野意趣。\n\n全作以焦墨醒出松节针叶，淡墨晕染坡岸远景，笔法清隽秀雅，未施一色，全凭水墨勾勒晕染，将松柏坚凝君子风骨寄寓萧散小景之中，静穆简淡却暗含蓬勃生气，淡而不寡，简中见厚，尽显清寂雅致的文人意趣与不俗笔力。",[23,7,209,24,173,28,449,242,245,227,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7af38b1cc2ec84ef8742819cb96280.jpg",[],{"id":67411,"slug":67412,"title":67413,"dynasty":76,"author":1109,"museum":364,"description":67414,"tags":67415,"thumbUrl":67416,"material":139,"size":139,"collection":139,"collections":67417,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},224520,"shan-shui-tu-ce-8-kai-6-zhang-da-qian-jiu-cang-shi-tao-224520","山水图册8开-6-张大千旧藏","近处村舍错落，农人悠然，烟火气晕开山林野趣。中峰以枯笔勒石骨，淡墨晕出山岚，焦墨点苔缀松，干湿浓淡铺展出苍莽层次。右侧题笔朴拙老辣，诗画相映，将秋山萧索寄于木叶疏凉。\n\n笔意纵恣灵秀，不拘成法，以简淡笔墨写尽丘壑生机，把山居隐逸的静穆与山川清旷融为一体，借景抒怀，尽显山野朴拙之态，亦藏画者洒落襟怀。",[23,7,173,27,81,177,29,35,34,649,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb60ef25126ad857219560ef580fe319.jpg",[],{"id":67419,"slug":67420,"title":17108,"dynasty":76,"author":10376,"museum":364,"description":67421,"tags":67422,"thumbUrl":67423,"material":139,"size":139,"collection":139,"collections":67424,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},224453,"fu-chun-da-ling-tu-wang-hui-224453","此作用高远、深远法铺陈丘壑，以云气留白切割层峦，将大岭的雄秀与幽深次第铺展。以干笔披麻皴写山石，兼施浅绛淡赭晕染，复刻元人苍润笔意，又糅合宋人丘壑的繁复精细。\n\n层岩间林泉迂曲，村居掩映于深林，林木疏密错落，枯荣相济，静穆萧散的山居意趣盈满纸面。师法富春古意却自出机杼，笔底既有山野的苍茫清旷，又带着秀整雅致的文人心韵，尽显林泉高致。",[23,7,24,241,27,29,177,30,37,34,560,650,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185770931e69346f81a2ed45e421ddf6.jpg",[],{"id":67426,"slug":67427,"title":65030,"dynasty":76,"author":1892,"museum":364,"description":67428,"tags":67429,"thumbUrl":67430,"material":139,"size":139,"collection":139,"collections":67431,"showCount":199,"zanCount":5,"manualWeight":48,"mainColor":94},224394,"fang-ni-zan-shan-shui-zhou-wang-yuan-qi-224394","近岸坡石错落，修篁杂木扶苏，林间草庐隐现，一人凭石静憩。远山以淡墨轻勾浅皴，留白代水，漾开萧疏淡远的空寂氛围。\n以干笔枯墨勾勒皴擦山石，笔意松秀古拙，墨色清润层次分明。题诗与画面相映成趣，将幽居林下的隐逸雅怀藏于尺幅间，尽显空疏冷隽的林下之风，尽显文人山水独有的简淡清和意趣。",[7,24,241,173,177,29,242,245,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfdd7175bc5126f78214c90c4a16c909.jpg",[],{"id":67433,"slug":67434,"title":67435,"dynasty":76,"author":31118,"museum":364,"description":67436,"tags":67437,"thumbUrl":67438,"material":139,"size":139,"collection":139,"collections":67439,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[23,7,24,29,173,177,241,30,1575,37,175,106,227,86],"https:\u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早年流入日本的中国禅画也因此备受日本人的珍视，被视为国宝级的文物。目前收藏在日本东京国立博物馆的《寒山拾得图》，就是这样一幅隐含机锋的禅机图。\n以寒山和拾得为主题的图画有许多版本，而最负盛名的禅画则是这幅元代画家因陀罗所作的《寒山拾得图》。此图为纸本、墨画，在画面最左边，题有楚石梵琦写的赞：“寒山拾得两头陀，或赋新诗或唱歌。试问丰干何处去，无言无语笑呵呵。”这幅画，描写寒山与拾得两位仙人席地坐于一株古树下，背依石丘，相对谈天说地，一副逍遥自在的样子。\n画中的寒山拾得蓬头光脚笑颜，一人双手相握，一人俟身向前。画面线条玲珑，浓淡衬托有力。虽寥寥数笔，但傲笑自若的禅僧形象已跃然纸上，流露出一种超脱物累、大智若愚、狂放不羁的精神。画家用了多种笔法来表现这一充满静谧禅机的场面：以吹墨法画头发，使之有蓬松自然之感；以阔笔焦墨画襟带，使之有临风而动的飘逸感；以渴笔画树石，使之有苍劲古逸之感。画意损深邃，画风简约，拙朴木纳，又不失活泼、诙谐。",[23,7,24,173,260,106,245,449,86,227,259,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa264b290c261cf662029c6b3e3ec36d8.jpg","墨本","纵35.2cm 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”\n图绘深谷险峻，老树枝条横斜，二猿猴坐于枝上，一猿猴展臂摘果。\n易元吉，生卒年不详。字庆之，湖南长沙人，北宋画家。初攻花鸟、草虫、果品，后专写獐猿。常深入荆湖深山之中，观察、体会、揣摩猿猴獐鹿的生活习性。所画獐猿生动逼真，呼之欲出，因此而名闻天下。",[23,209,7,24,81,28,27,173,24501,713,1062,176,31200,710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a549a2865c01cdf38952d04484d0bd.jpg","24.6x24.1cm",[90],{"id":68000,"slug":68001,"title":68002,"dynasty":18,"author":16956,"museum":206,"description":68003,"tags":68004,"thumbUrl":68005,"material":123,"size":68006,"collection":181,"collections":68007,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},218681,"song-zhai-chi-ke-tu-zhao-bo-su-218681","松斋迟客图","这幅画描绘了小河岸边的松树荫下的书房，一个童仆正在扫地迎客，一个隐士躺在水中。这幅画的笔触和色彩与故宫博物院收藏的画相似，可以接受为赵伯钦画派的作品。",[23,7,24,81,27,29,449,394,175,491,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6c2f0f32ae35c24eafb3a720ef6232.jpg","26.3x26.7",[181],{"id":68009,"slug":68010,"title":68011,"dynasty":18,"author":781,"museum":206,"description":68012,"tags":68013,"thumbUrl":68014,"material":342,"size":16988,"collection":139,"collections":68015,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},218502,"gui-qu-lai-ci-juan-3-li-gong-lin-218502","归去来辞卷3","疏篱围起一方清雅天地，茅棚依栏而立，老松虬枝盘曲如篆，太湖石皱透玲珑。妇人身着素衣缓行，孩童携犬嬉逐，门边人影悠然，日常烟火里藏着隐者的闲逸。线条以铁线勾勒，劲挺中含婉转，衣袂飘举、草木摇曳、石之肌理皆由简笔传神。无浓墨重彩，却将“归去来”的田园意趣融于方寸：松风轻拂，篱边菊影隐约，每一笔都似在诉说归隐的自在，让人心生向往，暂忘尘劳。",[209,7,24,25,260,173,106,245,430,175,1795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F310ccca3ea5f557f9aff9658855db2aa.jpg",[],{"id":68017,"slug":68018,"title":68019,"dynasty":99,"author":293,"museum":7875,"description":68020,"tags":68021,"thumbUrl":68022,"material":123,"size":68023,"collection":44,"collections":68024,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},218486,"lan-ting-tu-yi-ming-218486","兰亭图","绢本墨色晕开东晋风烟，茂林修竹间溪光蜿蜒。文士们或临流捧盏，或倚石清谈，曲水畔觞影浮动，衣袂轻扬处藏着《兰亭序》的旷达。山石皴法带明代疏朗意趣，林木层叠隐宋画余韵，人物姿态虽简却神形毕肖——握笔的凝思、笑谈的畅意，都在墨色流转中鲜活。没有名款的笔触，以最朴素的方式将那场雅集定格：不必追问作者是谁，只需在绢素的斑驳里，触摸千年文人心中的山水清欢与诗意栖居。",[23,7,24,27,106,29,175,34,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f3b2430c8326afefcf82c43b3b2e61.jpg","24.8x25.1",[44],{"id":68026,"slug":68027,"title":68028,"dynasty":99,"author":293,"museum":4535,"description":68029,"tags":68030,"thumbUrl":68031,"material":123,"size":139,"collection":44,"collections":68032,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":49},218477,"shou-lao-tu-yi-ming-218477","寿老图","宽袍博带的老者立于苍松之下，高冠映着古意，长髯垂落如银丝泻地。手中雕龙拐杖蜿蜒似活，杖首隐现灵物，与松间隐现的瑞气相映。衣纹用线简练却见筋骨，每一道折痕都藏着岁月的从容。老者眉眼间含着温和笑意，似在凝视世间烟火，又似已超然物外。背景松针如簇，枝干盘曲如苍龙，与老者的福寿之气交融成一幅祥瑞画卷。墨色淡雅却韵味悠长，线条勾勒出的不仅是人物形态，更是一种跨越时空的安宁与祝福，仿佛能让人触摸到那份古朴的寿考康宁之美。",[7,24,241,260,27,106,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a0db04911c59011c94079d25eb88d6b.jpg",[44],{"id":68034,"slug":68035,"title":68036,"dynasty":76,"author":674,"museum":539,"description":5517,"tags":68037,"thumbUrl":68038,"material":123,"size":5520,"collection":139,"collections":68039,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},218335,"shen-xian-gu-shi-tu-ce-4-leng-mei-218335","神仙故事图册-4",[23,209,7,24,81,28,27,106,29,1329,34,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ab169d7708da28bcaab243755917c4.jpg",[],{"id":68041,"slug":68042,"title":68043,"dynasty":189,"author":293,"museum":78,"description":68044,"tags":68045,"thumbUrl":68046,"material":123,"size":68047,"collection":181,"collections":68048,"showCount":199,"zanCount":5,"manualWeight":48,"mainColor":49},218192,"shan-dian-shang-chun-tu-yi-ming-218192","山殿赏春图","《山殿赏春图》是一幅典型的元朝时期山水画作品，作者是佚名。这幅画描绘了一座位于山间的小山殿，山殿周围群山环绕，远处是一片茂密的森林。山殿前有一道小溪流过，溪边有许多花草树木。画中还有许多小鸟在欢快地飞翔，整幅画充满了春天的气息。\n\n《山殿赏春图》的画风浓郁，笔画细腻，色彩丰富，整幅画给人以舒适、宁静、平和的感觉。这幅画是元朝时期山水画中的杰作，具有很高的艺术价值。\n\n元朝时期的山水画在中国画史上占有重要的地位，它不仅体现了元朝时期艺术家的高超技艺，还反映了元朝时期社会的文化氛围。《山殿赏春图》是元朝山水画中的经典之作，值得我们珍视和欣赏。",[7,1562,27,104,29,107,108,106,34,115,2268,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311780d392276a45c48f87622c8ca437.jpg","27.5x28.6cm",[181],{"id":68050,"slug":68051,"title":48093,"dynasty":76,"author":48094,"museum":9181,"description":19408,"tags":68052,"thumbUrl":68053,"material":342,"size":19411,"collection":181,"collections":68054,"showCount":199,"zanCount":48,"manualWeight":48,"mainColor":94},218106,"xin-an-yi-yun-ce-huang-lv-shan-shui-huang-lv-218106",[23,7,24,81,173,177,29,430,864,106,175,491,1926,7941],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ae8e14ea491b022cb2182598655da5.jpg",[181],{"id":68056,"slug":68057,"title":68058,"dynasty":18,"author":781,"museum":364,"description":53531,"tags":68059,"thumbUrl":68060,"material":342,"size":139,"collection":139,"collections":68061,"showCount":199,"zanCount":5,"manualWeight":48,"mainColor":94},218101,"bai-miao-ren-wu-tu-ce-8-li-gong-lin-218101","白描人物图册-8",[23,209,7,24,81,260,106,27117,315,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af935af38c9b2bdd095c82793f25822.jpg",[],{"id":68063,"slug":68064,"title":68065,"dynasty":18,"author":781,"museum":132,"description":8281,"tags":68066,"thumbUrl":68067,"mater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(《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[7,24,241,173,177,86,227,29,175,34,176,106,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[181,163,382],{"id":68673,"slug":68674,"title":68675,"dynasty":99,"author":38102,"museum":364,"description":66167,"tags":68676,"thumbUrl":68677,"material":743,"size":744,"collection":139,"collections":68678,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},239012,"liu-shu-ba-ge-shan-zhang-chong-239012","柳树八哥扇",[1562,7,24,173,27,1532,56892,83,1086,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9969dad6bbf3dbb960f381596a2faa2.jpg",[],{"id":68680,"slug":68681,"title":68682,"dynasty":76,"author":68683,"museum":364,"description":68684,"tags":68685,"thumbUrl":68686,"material":139,"size":139,"collection":181,"collections":68687,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},238980,"shan-shui-ce-peng-xin-xie-wang-chen-238980","山水册－蓬心写","王宸","此作用笔苍秀松脱，以干笔皴擦追摹披麻古意，墨色干湿层叠，淡赭与花青轻施晕染，色调清和雅致。近景草堂依水，古松亭亭如盖，木桥架于浅溪，坡岸草木葱茏，山居意趣悠然尽显。中景峰峦环合，林木蓊郁掩映，水泽迂回流连，藏露得宜。远景平峦以淡墨虚写，空蒙渺远，铺展出悠远空间层次。\n\n整幅以简淡之笔绘就江南丘壑，将山川温润秀逸之态，与文人寄情林泉的幽寂襟怀相融，观之如身临幽居，俗虑尽消，尽显静穆淡远的文人山水意韵。",[7,24,81,173,27,29,177,108,109,430,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdce2d56454e2dcb3893504b67bb526.jpg",[181,44,45],{"id":68689,"slug":68690,"title":68691,"dynasty":76,"author":68692,"museum":364,"description":68693,"tags":68694,"thumbUrl":68695,"material":139,"size":139,"collection":44,"collections":68696,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},238940,"hua-guan-gui-yu-zhou-hua-guan-238940","华冠归渔轴","华冠","华冠 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1876），字召伯，一字少白，号兰西，山阴（今浙江绍兴）人。官光禄寺署正。写意花卉酷似徐渭、陈淳。山水则师石涛。晚年专画石，张之万称为清代画石第一。朝鲜使者每乞其画归。能诗，兼工篆、隶，善刻印章。",[7,24,241,173,446,29,920,34,106,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d739fa2aaf5310e49b14142a60cf5b.jpg",[181,163],{"id":68800,"slug":68801,"title":55659,"dynasty":99,"author":36691,"museum":20,"description":55660,"tags":68802,"thumbUrl":68803,"material":803,"size":139,"collection":181,"collections":68804,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},237452,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-237452",[7,24,241,173,29,1575,176,2502,177,34,226,16285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c986419dee5327b255f01afe2fab23.jpg",[181,163],{"id":68806,"slug":68807,"title":68808,"dynasty":76,"author":68809,"museum":364,"description":68810,"tags":68811,"thumbUrl":68812,"material":743,"size":744,"collection":139,"collections":68813,"showCount":409,"zanCount":5,"manualWeight":48,"mainColor":94},237449,"wu-gu-xiang-qing-lu-heng-yun-shan-mian-wu-gu-xiang-237449","吴穀祥晴麓横云扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[7,24,1562,27,173,29,176,34,1329,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a7f0dc5675aae5a446ce84cedfe87a.jpg",[],{"id":68815,"slug":68816,"title":30175,"dynasty":99,"author":68817,"museum":364,"description":68818,"tags":68819,"thumbUrl":68820,"material":743,"size":744,"collection":139,"collections":68821,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},237404,"shan-shui-shan-mian-xie-dao-ling-237404","谢道龄","字邢台，一作彬台，吴（今江苏苏州）人。移寓江宁（今南京）。与周亮工望衡而居。善花鸟，尤工折枝，兼善山水，类赵伯驹、赵孟頫。崇祯元年（一六二八）尝作山水扇",[1562,7,29,173,177,107,108,109,174,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b71c94b91201216e2e0f580b8bddcc.jpg",[],{"id":68823,"slug":68824,"title":22311,"dynasty":76,"author":10376,"museum":206,"description":22312,"tags":68825,"thumbUrl":68826,"material":803,"size":139,"collection":139,"collections":68827,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},237206,"shan-shui-zhu-shi-ce-wang-hui-237206",[7,24,81,173,29,242,431,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cce4f8f5ac5d999d33e87735030674e.jpg",[],{"id":68829,"slug":68830,"title":22311,"dynasty":76,"author":10376,"museum":206,"description":22312,"tags":68831,"thumbUrl":68832,"material":803,"size":139,"collection":139,"collections":68833,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},237205,"shan-shui-zhu-shi-ce-wang-hui-237205",[7,24,81,173,29,430,431,109,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef44c46debc96ae64d8e2e55d88d995.jpg",[],{"id":68835,"slug":68836,"title":68837,"dynasty":76,"author":293,"museum":20,"description":68838,"tags":68839,"thumbUrl":68840,"material":68841,"size":68842,"collection":181,"collections":68843,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},237151,"zheng-min-qiu-lin-du-shu-tu-zhou-yi-ming-237151","郑旼秋林读书图轴","此作用笔萧散简淡，远山奇崛冷峻，枯松虬木姿态苍劲古拙，水畔文士持杖独立，似在凝眺幽林远岫，静享林泉清寂。左侧题诗与画作相融，以水墨淡皴晕染山石，浓墨点苔醒出苍润质感，枯荣林木错落相衬，满卷秋意萧寒空灵。借林下幽境，寄寓避俗忘机的文人襟怀，将山水之幽与隐逸之思交织，笔意藏着清疏雅逸的出世意趣，尽显传统文人画以画明心的雅致风骨。",[7,24,241,173,177,29,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11420027d975e42468ac799413d85192.jpg","纸本淡设色","纵135cm，横112.5cm",[181,163,382],{"id":68845,"slug":68846,"title":486,"dynasty":76,"author":15347,"museum":364,"description":36002,"tags":68847,"thumbUrl":68848,"material":139,"size":139,"collection":181,"collections":68849,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},237099,"shan-shui-ce-cha-shi-biao-237099",[7,24,81,173,177,29,864,297,430,175,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168aeb0486c41328f6e24fb32764dd3a.jpg",[181],{"id":68851,"slug":68852,"title":4025,"dynasty":99,"author":68853,"museum":364,"description":68854,"tags":68855,"thumbUrl":68856,"material":139,"size":139,"collection":181,"collections":68857,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},237095,"shan-shui-zhou-xu-hong-ze-237095","徐弘泽","徐弘泽，字润卿，号春门，自号所浪老人，浙江嘉兴人，明嘉靖间书画名家，书法从赴孟俯取途，晚爱张伯雨，遂与姚绶颉颃，画出入元，明诸大家，与李晔，陈继儒相埒。",[7,241,27,29,394,298,175,106,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88b84f122c9d61a2d5bc9fc317e6025.jpg",[181],{"id":68859,"slug":68860,"title":486,"dynasty":99,"author":68861,"museum":364,"description":68862,"tags":68863,"thumbUrl":68864,"material":803,"size":139,"collection":181,"collections":68865,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},237027,"shan-shui-ce-zhang-yan-237027","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n与董其昌同时，善于画山水、人物、花卉，与苏州张宏齐名。",[7,24,81,173,177,29,176,34,1444,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f632a06e9383dc4a5468b0b3c0a111b.jpg",[181,45],{"id":68867,"slug":68868,"title":68667,"dynasty":99,"author":63734,"museum":364,"d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卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[7,24,25,27,28,104,106,107,108,109,175,150,34,1237,2166,7372,111,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 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风纯化，刻苦研究前人的优秀理论与技法，融会贯通，创立了自己的风格，成为我国十五世纪下半叶在戴进之後最有影响最具独创力的一位画家，在绘画、书法和文学艺术方面都取得了卓越的成就，其最杰出的当表现在绘画方面，嘉靖年间苏州名士王登在《吴郡丹青志》中称“先生石田绘事为当代第一”，绘画兼收并蓄，人物、山水、花鸟无不精通。\n沈周绘画以山水为主，宗法元四家，远取董（源）、巨（然），中年宗元四家笔墨，尤其推崇黄公望，晚年醉心吴镇，与自家学养融为独特风格，结构谨严，用笔苍劲沉着，墨色浓厚，气韵雄逸，在明中期画坛兴起画风剧变之潮。以他为发端，其门人文徵明继之，合唐寅、仇英为一局，树起吴门画派旗帜，广学“唐宋名流及胜国贤胜，上下千载，纵横百辈”皆“兼综条贯，莫不揽其精微”（明朱谋□《画史会要》），成就之巨，在中明画坛骤立巨峰，影响所及，数百年不变，其画艺彪炳画史，成就卓然。同时，沈周作为一代画坛宗匠，其於诗文、书法无一不能，无一不精，其诗意清新，“面试《凤凰台赋》，援笔而就，咸以为不减王子安”（清钱谦益《列朝诗集小传》）。其书法师黄山谷而不染他体，去山谷行书之捍，多灵便秀逸。时人以其诗、书、画为三绝。",[7,24,81,173,177,178,86,446,29,34,560,1255,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea074939e6dab7adace5c129ec5c8c97.jpg","纵21.7厘米 横29.2厘米",[],{"id":69106,"slug":69107,"title":5505,"dynasty":76,"author":19503,"museum":20,"description":19504,"tags":69108,"thumbUrl":69109,"material":665,"size":139,"collection":139,"collections":69110,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},232947,"hua-hui-tu-ce-fan-ting-zhen-232947",[7,28,27,83,84,698,934,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F258f695b12ba32d2146bf51a04fd8af2.jpg",[],{"id":69112,"slug":69113,"title":69114,"dynasty":76,"author":9039,"museum":69115,"description":69116,"tags":69117,"thumbUrl":69118,"material":803,"size":69119,"collection":139,"collections":69120,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},232897,"chun-se-hai-tang-zhao-zhi-qian-232897","春色海棠","张学良旧藏","同治十一年壬申，客居北京的赵之谦南归在家乡小住，旋赴江西修《江西通志》。临行前，他为朋友画了很多画，自此之后，他一心修《志》，绝少刻印画画，成了晚清艺术史上一大憾事。此轴即作于临去江西前，笔墨雄肆，构图奇突，可见当时的心情和画艺的熟练。极为难得。\n赵之谦（1829－1884），中国清代著名的书画家、篆刻家。浙江绍兴人。初字益甫，号冷君；后改字撝叔，号悲庵、梅庵、无闷等。在晚清艺术史上，赵之谦无疑是最为重要的艺术家之一。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大的影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，实得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。",[1562,7,24,27,83,1563,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe8b2381d0d12b3901547ff7fc132b87.jpg","19×54厘米",[],{"id":69122,"slug":69123,"title":69124,"dynasty":189,"author":293,"museum":364,"description":69125,"tags":69126,"thumbUrl":69127,"material":139,"size":139,"collection":139,"collections":69128,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},232696,"song-yin-lun-dao-tu-zhou-yi-ming-232696","松荫论道图轴","画作以层叠飞瀑串起幽深山峦，古松虬曲苍劲，斜探山坳。松荫下二人对坐，一人垂耳静聆，一人挥袖长谈，雅意暗生。山石以斧劈皴勾勒晕染，尽显雄浑厚朴，山林以浓淡墨色分出虚实层次，铺就空寂清远的山野氛围。\n\n整幅以动衬静，飞瀑流泉的喧腾，更衬出松下晤谈的安谧超脱，将林下隐逸的雅趣融于丘壑间，尽显萧散简远的山水意韵，把出世林下的风流逸致，尽数绘于绢素之上。",[23,7,24,241,173,177,29,106,449,558,650,109,35931],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a886a55177591ac8990b09ff254c510.jpg",[],{"id":69130,"slug":69131,"title":69132,"dynasty":292,"author":69133,"museum":364,"description":69134,"tags":69135,"thumbUrl":69136,"material":743,"size":744,"collection":139,"collections":69137,"showCount":409,"zanCount":5,"manualWeight":48,"mainColor":271},231749,"si-ji-shan-shui-tu-ping-feng-di-4-ping-zhou-wen-231749","四季山水图屏风第4屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[23,7,173,29,107,34,176,177,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5a32141c2718bb6b808c418df78505.jpg",[],{"id":69139,"slug":69140,"title":69141,"dynasty":292,"author":293,"museum":364,"description":69142,"tags":69143,"thumbUrl":69146,"material":743,"size":744,"collection":139,"collections":69147,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},231651,"tao-shan-shi-qi-liu-wang-de-huang-di-ping-feng-yi-ming-231651","桃山时期 流亡的皇帝屏风","金箔为底晕开朦胧暖光，淡墨细绘出浩渺水岸，层层水纹带着澹澹涟漪，铺陈开幽寂江景。左岸孤客彳亍，衣袂似随江风微扬，满溢羁旅怅惘。右畔水榭依水而立，灼灼桃枝缀着浅淡花意，晕开零落暖意，和空阔江天的萧寂形成温柔的对照。\n水墨冷寂被金箔柔光轻轻中和，将沉郁藏在清雅笔意间，留白里晕开澹澹愁思，以侘寂幽玄的笔致，把漂泊况味融在烟暮色中，在极简构图里铺陈出含蓄悠长的诗意。",[23,209,7,24,314,173,27,69144,177,29,106,114,34,650,31,69145],"金碧","开花植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcce2a562d3507c088b54444c8a8b0f.jpg",[],{"id":69149,"slug":69150,"title":35829,"dynasty":18,"author":2531,"museum":12966,"description":69151,"tags":69152,"thumbUrl":69153,"material":803,"size":139,"collection":139,"collections":69154,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,7,24,1397,173,27,177,28,86,178,227,106,29,176,34,900,175,18,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":69156,"slug":69157,"title":17784,"dynasty":76,"author":5096,"museum":132,"description":69158,"tags":69159,"thumbUrl":69160,"material":803,"size":54205,"collection":139,"collections":69161,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},231488,"xi-shan-xian-guan-tu-wang-jian-231488","《溪山仙馆图》作于“甲寅春暮”即康熙十三年（1674），时年王鉴76岁。因为王鉴77岁那一年春天，王翚曾携弟子杨晋一起来到太仓王鉴的染香庵拜访他，杨晋还为王鉴画了肖像，王翚为肖像作补景，王鉴本人也在画上题了跋语。这幅“写照入神，运笔飞动”的肖像画令王鉴欢喜，因为此时的王鉴已患中风，“备诸丑态，子鹤（杨晋，字子鹤）隐陋，曲貌形外之神”（王鉴画上跋语，见《吴越所见书画录》），将王鉴的精神面貌画出来了。王鉴寿高80，76、77岁之后作品较为少见，大约与其晚年曾患中风有关。此幅《溪山仙馆图》是王鉴中风之前所作，非常难得。\n王鉴万历二十六年（1598）出生在江苏太仓一个功名世宦之家，曾祖父王忬是嘉靖二十年进士，官至兵部左侍郎，蓟辽总督。祖父王世贞少年时即被视神童，嘉靖二十六年19岁时就考取进士，虽然仕途不畅，却是明代中后期的文坛盟主。父亲王士骐也是一位才子，万历十年南京乡试解元，万历十七年进士，幷曾官礼部、吏部。出身在如此显赫家庭，王鉴亦才华横溢，但是功名平平，36岁时才在乡试中考取举人，之后再无进展，而是受到祖荫照拂任左府事，继而出任广东廉州（今为广西合浦）太守。然而其天生一副文人性格，不合污流，上任不久即遭遇宦官们以开矿为名横征暴敛、鱼肉百姓的“粤中开采”之事，他挺身而出，以太守之力“力请上台得罢”，企图阻止“开矿恶政”，却险些引来牢狱之灾。两年后王鉴退隐原籍，再不出仕，一生都在诗文书法中度日。\n王鉴绘画受到董其昌影响，对于北宋董源、巨然深有研究，幷专注于元四家、尤其倾心黄公望。《溪山仙馆图》纸本设色，纵78厘米，横39厘米。所绘布局严谨，近景松树成林，但茂而有致，绝无繁芜之感，中景、远景绘山，丘壑深邃却层次井然，毫不琐碎，加以色墨交融，皴染幷施，绘出了华润气象。\n此画清代民国以来历经三位著名收藏家收藏：第一位是同治光绪年间的南京人李溥泉，此人眼力好，但是特别会做生意，故曾遭赵之谦等人的白眼，左下角“白门李氏珍藏”印即为其所钤。第二位是晚清时以盐业起家、并官至内阁学士的慈溪人严信厚，严信厚字小舫、筱舫，斋名小书画舫等，“小书画舫”收藏书画很有名，我们今天仍经常可见到一些古代书画上留有“小书画舫”所钤收藏印，此画在“白门李氏珍藏”印之上那方“小书画舫秘玩”印即为其所钤。第三位是现代大收藏家钱镜塘，此画“钱家样”的装裱，就是当年钱镜塘的专用裱画师严桂荣所为。此画钱镜塘曾请吴湖帆过目，包首签条即为吴湖帆所题。《溪山仙馆图》“文革”时被抄，“文革”结束后未归还，后流入市场。",[23,7,24,241,27,177,29,108,109,394,107,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d42a5940438066fc2ad4b01874fd21.jpg",[],{"id":69163,"slug":69164,"title":69165,"dynasty":76,"author":32730,"museum":132,"description":69166,"tags":69167,"thumbUrl":69168,"material":67,"size":69169,"collection":139,"collections":69170,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},231486,"si-ji-hua-hui-tu-jiang-pu-231486","四季花卉图","蒋溥，江苏常熟人。廷锡子。雍正八年传胪，乾隆十八年仕至大学士。花草得其家传，随意布置，多生趣。每绘画进呈，蒙睿题有“师承家法闲图出，右相丹青有后生”之句。谥文恪。",[23,7,209,241,28,27,83,448,243,327,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3cae0f4cf71bdb4cba7de4487776320.jpg","98.5×60.5cm",[],{"id":69172,"slug":69173,"title":69174,"dynasty":99,"author":64393,"museum":206,"description":69175,"tags":69176,"thumbUrl":69177,"material":803,"size":69178,"collection":139,"collections":69179,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,7,24,241,27,177,105,227,29,106,107,108,109,150,1575,558,561,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":69181,"slug":69182,"title":69183,"dynasty":18,"author":293,"museum":206,"description":69184,"tags":69185,"thumbUrl":69187,"material":67,"size":69188,"collection":139,"collections":69189,"showCount":409,"zanCount":5,"manualWeight":48,"mainColor":49},231343,"shan-shui-tu-shui-cun-shan-si-tu-yi-ming-231343","山水图（水村山寺图）","浅设色画水村山寺。柳岸舟横。无款印。诗塘御制诗楷书",[7,1397,27,177,176,34,31,174,69186,920,491,10416,111,490],"山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9794dcebe0d39fa1476cf1a613caa639.jpg","纵114cm,横57cm",[],{"id":69191,"slug":69192,"title":10674,"dynasty":18,"author":10675,"museum":364,"description":69193,"tags":69194,"thumbUrl":69195,"material":139,"size":139,"collection":139,"collections":69196,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},231051,"wen-ji-gui-han-tu-chen-ju-zhong-231051","此作以全景式构图铺展故事全程，寒林荒漠晕染出塞北萧寒底色。首段绘毡帐饯别，蔡文姬与匈奴亲眷对坐，眉眼间交织着归乡的期许与离亲的怅惘。下方整装队伍肃穆排布，官吏躬身行礼，扈从车马错落有序，将临行之际的沉郁氛围拉满。\n\n线条工细遒劲，设色朴雅厚重，人物衣冠、鞍马器具皆刻画入微，将乱世里家国与亲情的两难拉扯，融于苍凉塞景之中，尽显写实功力与细腻的情感表达，把一段乱世归乡的千古憾事具象为动人图景。",[23,209,7,24,241,27,28,106,150,900,1653,394,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],{"id":69198,"slug":69199,"title":69200,"dynasty":99,"author":12000,"museum":364,"description":69201,"tags":69202,"thumbUrl":69204,"material":139,"size":139,"collection":139,"collections":69205,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},230938,"han-ya-ji-xue-tu-zhao-zuo-230938","寒崖积雪图","此作用淡墨晕开寒雾，远山隐没其中，高岭悬崖覆着素雪，以留白衬出积雪清寒厚重，山石勾勒硬朗古拙，尽显崖壁巍峨肃穆。\n\n中景枯木虬曲苍劲，枝桠舒展，雪覆槎丫，林麓间山居掩映，篱舍静谧安闲，似能隔绝冬日霜寒。近处石径蜿蜒，策杖行人缓步徐行，暗合冬日寻幽的雅趣。\n\n整体笔墨简练老辣，以空寂清冷的意境，将山野萧寒与幽居恬然相融，尽显文人寄情林泉、静悟山水的隐逸雅兴。",[7,24,241,173,177,29,69203,15976,1015,1575,176,35,106,649,37],"寒崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69f419c727c300955afc9fed11ab0b8.jpg",[],{"id":69207,"slug":69208,"title":69209,"dynasty":189,"author":21912,"museum":364,"description":69210,"tags":69211,"thumbUrl":69212,"material":139,"size":139,"collection":139,"collections":69213,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},230900,"song-yin-ju-yin-tu-zhou-tang-di-230900","松荫聚饮图轴","《松阴聚饮图》是元代画家 创作的绢本设色画，现藏于上海博物馆。\n此图近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。\n此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。\n长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。\n此图1近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘礴，不拘礼仪。\n图1的左边作者行书自题一行，文曰：“元统甲戌冬十一月，吴兴唐棣子华制。\n”钤有“唐氏子华”朱文方印。\n按图中自题，甲戌为元统二年（14）唐棣时年9岁。\n此画为作者早年作品，故较多保留着师承前人技法的痕迹。\n图写平远山水，远处山峦叠嶂，绵延起伏。\n近处均为浩荡江水，旷无边际。\n中间为树木、平岗。\n三棵巨树拔地而起，枝干粗实，盘根虬曲，有的枝杈盘曲伸展，枝叶疏落，树干上长满了疤节。\n树荫下有数间茅亭屋宇，将远景与近处相隔，截分为近远两景，这是远、中、近景三段式的格局。\n这样的布局，使整幅显得富有层次，使旷野的山光水色的美景更为显眼。\n此图2的画法，人物用白描法，线条细腻而又简练，笔触柔和，远山浅淡而远杳，近景的几株枯树明显反映出唐棣的线条功底，点顿精凝，不为懈笔怠笔，树干盘龙走虺，脉理纷然，瘢节回护，古拙怪异。\n树下三五成群的聚饮者，也是一种静谧而萧然的格调，尤其是图中描画对饮者解衣盘膝，或跽或蹲，不矜礼仪，生动地表现出村民、野老酒酣兴豪的生活乐趣。\n远处，山石逶迤起伏的山脉，作淡墨晕染，山峰均用短披麻皴，长松的勾皴苍劲精巧，细枝形类似蟹爪形。\n山上的草木丛杂，设色雅淡。\n218年1月21日，上海博物馆书法和绘画陈列开放，《松荫聚饮图》在其中展出。\n唐棣（1296—164），元代画家。\n字子华，湖州（今属浙江）人。\n“以茂才异等起家：”官至吴江知州：早熟，称“神童”，工画山水，“尝游翰林公之门”，得赵孟頫指授，并师法李成、郭熙，善于布置景物，点缀人物尤佳，笔力坚硬，画风清森华润，犹存宋人遗法。\n曾参与集庆（治今江苏南京）龙翔寺及元宫嘉熙殿作壁画，晚年兼学高克恭。\n明鉴赏家张丑推举他为“元人中之巨擘。\n”传世作品有《霜浦归渔图》轴、《雪港捕渔图》轴等。",[209,7,24,241,27,177,29,394,449,106,36964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2873aee32f3e632b734453cf38006c24.jpg",[],{"id":69215,"slug":69216,"title":69217,"dynasty":76,"author":24007,"museum":364,"description":69218,"tags":69219,"thumbUrl":69220,"material":139,"size":139,"collection":139,"collections":69221,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},230358,"sui-han-san-you-tu-zhou-fan-qi-230358","岁寒三友图轴","枯梅清枝斜出，苍劲瘦硬，花苞轻缀，暗蕴幽芳。丹红山茶花晕染柔润，鲜翠枝叶错落生姿，浓黑泼墨湖石与之相映，冷暖明暗碰撞，艳而不俗，拙而不僵。下方水仙挺秀舒展，冰姿玉洁，与湖石皴擦出的奇崛顽态相得益彰。\n全画工写兼施，笔致秀雅含蓄，将冬日清友齐聚尺素，把岁暮天寒里的融融春意暗藏其间，既有文人画的清逸格调，又鲜活晕透出明丽生机，让观者于画中品味隆冬清妍风骨，静赏幽然雅集意趣。",[23,7,24,241,27,83,448,452,242,245,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504a4ddf8e1f808198416479420c9b74.jpg",[],{"id":69223,"slug":69224,"title":15238,"dynasty":76,"author":15239,"museum":364,"description":69225,"tags":69226,"thumbUrl":69227,"material":139,"size":139,"collection":139,"collections":69228,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},230218,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230218","此作以猛虎为魂，山林为幕，蛰伏于草木间的碧眼吊睛虎身姿蓄势待发。笔线勾勒皮毛纹理细腻入微，墨色晕染斑纹虚实相生，将百兽之王的沉凝悍劲与潜藏的威严精准铺陈。\n\n背景以泼墨写意挥洒阔叶草木，细劲藤蔓与挺秀竹丛疏密错落，淡赭晕染山石晕开深山幽寂氛围。虚实相生间将虎的机警觉察与山野静谧相融，工写兼备的笔意揉合虎的威仪与林泉野趣，藏灵动于沉雄，尽显造境塑物的深厚功底，是形神皆备的精妙之作。",[23,7,173,27,241,7281,957,242,176,225,446,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8e10a2005f4a486a40b8c4ba6c9264.jpg",[],{"id":69230,"slug":69231,"title":12515,"dynasty":76,"author":850,"museum":364,"description":69232,"tags":69233,"thumbUrl":69234,"material":139,"size":139,"collection":139,"collections":69235,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},230205,"xian-e-chang-chun-tu-lang-shi-ning-230205","此作将中西绘法相融，牡丹花瓣以精微晕染过渡色彩，从柔粉浅白渐次晕作玫红，层层叠叠如凝露含芳，饱满鲜活尽显盛放娇姿。叶片皴擦兼具明暗光影与中式笔墨意趣，叶脉舒展清晰，枝茎挺秀带着蓬勃生机。朱红鉴藏印落于素绢之上，雅致端庄，为画作更添古雅意韵。整体既得西洋画的写实质感，又留存东方花鸟的清雅意蕴，将花之雍容华贵尽数铺展于绢素之上，仿若春色凝于方寸间。",[23,209,7,24,27,28,83,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e4b0937087e0a16c2d15c63c187e3c.jpg",[],{"id":69237,"slug":69238,"title":69239,"dynasty":76,"author":11783,"museum":364,"description":69240,"tags":69241,"thumbUrl":69242,"material":139,"size":139,"collection":139,"collections":69243,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},230147,"jun-ma-lie-yu-yuan-230147","骏马列","此作绘双骏静立，银鬃灰马身形劲挺舒展，朱膘红骏身姿丰腴俊朗，二者顾盼悠然，自带神骏温驯之态。用笔精工细致，鬃丝根根分明，晕染柔和自然，将良驹皮毛的柔润光泽与矫健体态形神兼备地勾勒而出。画面留白简洁雅致，右上角题字错落排布，为画面晕开一抹文人情致。整体工稳雅致，兼具院体画的精工与文人画的清雅，静穆间尽显宝马从容华贵的风骨，将鞍马题材的雅致意趣尽显无余。",[23,7,24,241,27,28,150,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995d32e6d171986a88eb8b69d5c00d68.jpg",[],{"id":69245,"slug":69246,"title":69247,"dynasty":99,"author":26111,"museum":364,"description":69248,"tags":69249,"thumbUrl":69250,"material":139,"size":139,"collection":139,"collections":69251,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},228890,"san-you-tu-juan-chen-gua-228890","三友图卷","此帧以水墨写就，老松虬曲苍劲，枯笔焦墨勾勒皴擦，尽显鳞皴老干的嶙峋古意。松针攒簇劲挺，如刃似戟。垂挂的藤萝以淡墨长线曳落，柔丝曼曼，和老干的刚硬形成绝妙反差。下方嫩竹亭亭，小篁数丛简淡清雅，寥寥数笔便把清拔姿态绘就。\n画面留白疏朗，水墨浓淡干湿相生相合，笔意纵恣却暗含法度，将岁寒之友的清逸孤傲风骨尽显，藏着文人写意的澹澹禅心，清雅脱俗，意韵悠长。",[1086,7,24,25,173,260,227,449,242,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43250ffaea547b9ef3fabbd4b5c2e4e.jpg",[],{"id":69253,"slug":69254,"title":69255,"dynasty":99,"author":38102,"museum":364,"description":69256,"tags":69257,"thumbUrl":69258,"material":139,"size":139,"collection":139,"collections":69259,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},228862,"tian-jia-chun-dou-tu-juan-zhang-chong-228862","田家春斗图卷","此作以兼工带写之笔铺展乡野春景，古木虬枝环抱着错落村舍，水畔田埂间，村民们角力摔跤，呼喝喝彩之声似随画卷扑面而来。妇孺围立笑观，稚童穿梭嬉闹，田家烟火意趣尽显。画家精于人物情态捕捉，衣褶灵动简约，村野景致皴染朴拙细腻，将江南春日乡野的鲜活生机与质朴活力，尽数凝于绢素，画风古雅淳厚，把民间春日嬉游的松弛野趣刻画得淋漓尽致，尽显风俗画描摹世俗民生的动人特质。",[23,7,24,209,25,28,27,178,106,30781,464,430,176,5140,956,61,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592ca4cfbdcded52aaada6264e96bf35.jpg",[],{"id":69261,"slug":69262,"title":69263,"dynasty":99,"author":1170,"museum":364,"description":69264,"tags":69265,"thumbUrl":69266,"material":139,"size":139,"collection":139,"collections":69267,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},228845,"ji-shan-gao-yin-tu-zhou-dai-jin-228845","箕山高隐图轴","画面以雄奇山水铺陈意境，斧劈皴勾勒出山岩棱角刚硬，危峰迭起直入烟霭。古松虬曲苍劲，盘崖绕谷，枝干舒展如腾龙，松针攒簇尽显苍郁生机。\n\n松下高士坦襟趺坐，凭石观山，意态萧散悠然，将山野林泉间的隐逸闲趣尽显。整作以刚劲笔墨绘就山川风骨，又以简淡笔触描摹人物风神，将北宗山水的雄浑大气与文人高隐的清雅意趣相融，尽抒林泉高致，恍见太古幽情。",[23,7,24,241,173,177,29,106,1575,176,558,503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb2ac4e2251e083f824252fb1f3869f.jpg",[],{"id":69269,"slug":69270,"title":644,"dynasty":99,"author":293,"museum":364,"description":69271,"tags":69272,"thumbUrl":69273,"material":139,"size":139,"collection":139,"collections":69274,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},228792,"zao-chun-tu-yi-ming-228792","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,209,7,24,25,27,26,28,177,227,86,29,107,108,109,175,34,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":69276,"slug":69277,"title":69278,"dynasty":99,"author":12957,"museum":364,"description":69279,"tags":69280,"thumbUrl":69281,"material":139,"size":139,"collection":139,"collections":69282,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},228758,"guan-hua-tu-zhang-lu-228758","观画图","这幅画作以巨松浓墨开篇，衬出山居小屋错落野趣。画面群像鲜活灵动：扶案老者凝目观画，村汉孩童攒头探看，窗内女子隔帘偷觑，各有神态，将乡野小民观画时的好奇热忱尽数铺展。\n\n笔意承袭浙派写意，线条粗粝劲健，衣纹顿挫利落，墨色浓淡铺陈拉开远近层次。以简括布景衬出盎然烟火，粗笔间藏着细腻情思，寥寥数笔便把俗世片刻的鲜活意趣定格，尽显明代人物画世俗化的鲜活风貌，将山野日常的闲适与观画时的热闹相融，质朴又传神。",[23,7,24,173,27,260,106,114,34,340,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ac9c01422f9d12f5cf20f72d77ee8d.jpg",[],{"id":69284,"slug":69285,"title":14144,"dynasty":99,"author":14805,"museum":364,"description":69286,"tags":69287,"thumbUrl":69288,"material":139,"size":139,"collection":139,"collections":69289,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":271},228755,"shan-shui-tu-juan-wen-jia-228755","此卷以细笔绘就平远山水，起首林麓幽深，梵宇隐于松云之间，谷中云气萦回，衬出山峦层叠之致。中段湖面空阔，汀渚错落，村居藏于茂林，渔舟泛于烟波，尽展江南水泽的清和之态。后段重峦复岭，嘉木葱茏，山居错落嵌于岩岫间。\n笔墨承吴门清雅之风，山石以披麻皴写就，松枝虬劲秀挺，设色浅淡清逸，整体气息静谧淡远，将文人悠游林泉的雅趣寄于山水之间，尽显江南山水温婉诗意，是文人画萧散意境的绝佳体现。",[23,7,24,25,173,177,29,34,176,37,175,109,865],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59685d508ab0343fdec514458d694349.jpg",[],{"id":69291,"slug":69292,"title":69293,"dynasty":99,"author":4821,"museum":364,"description":69294,"tags":69295,"thumbUrl":69296,"material":139,"size":139,"collection":139,"collections":69297,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},228493,"pei-yue-xian-xing-tu-du-jin-228493","陪月闲行图","《陪月闲行图》是中国明代画家杜堇的国画作品。\n该画为纸本水墨，纵156.5厘米，横72.4厘米，现流落于（美）克里夫兰艺术博物馆。\n杜堇[明]十五—十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒人。\n丹徒（今江苏镇江）人，占籍燕京（今北京市）。\n宪宗成化（一四六五―一四八七）中试进士不第，绝意进取。\n工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。\n人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。\n弘治二年（一四八九）为吴原博（宽）作赏菊宴集图。\n《画史会要》、《图绘宝鉴续纂》、《无声诗史》、《艺苑巵言》 。\n杜堇的传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（15）由金琮（1449-151）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。\n《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《郡雍像》轴等，上述画均藏故宫博物院。\n从艺活动约在成化、弘治间。",[7,173,241,106,29,1015,176,177,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d45025facb50d10416b1c61101165b.jpg",[],{"id":69299,"slug":69300,"title":69301,"dynasty":18,"author":474,"museum":364,"description":69302,"tags":69303,"thumbUrl":69304,"material":139,"size":139,"collection":139,"collections":69305,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},228391,"tong-xi-tu-ce-ye-zhao-ji-228391","童戏图册页","淡墨轻勾，敷色浅淡清雅，将四名稚童嬉闹的日常定格。或持杆佯作玩耍，或俯身效仿逗趣，旁立的小童歪头注视，憨态毕现。线条简练灵动，不着浓艳，却将孩童的娇憨鲜活尽数勾勒，没有繁复铺陈，仅以极简笔触便把稚童的无忧稚气描摹尽致，藏着巷陌里最鲜活的日常意趣，尽显平淡天真的烟火温情，仿佛能听见画里的嬉笑声，将人拉回松弛鲜活的旧时光，静赏这份纯粹无忧的童真。",[209,7,24,81,27,28,106,39970],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c4ef1365e7720af305739ee57fb94.jpg",[],{"id":69307,"slug":69308,"title":69309,"dynasty":99,"author":1083,"museum":364,"description":69310,"tags":69311,"thumbUrl":69313,"material":139,"size":139,"collection":139,"collections":69314,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},228295,"xi-zhi-long-e-tu-chen-hong-shou-228295","羲之笼鹅图","《右军笼鹅图》是明代陈洪绶创作的一幅纸本设色画。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,7,27,28,106,69312,10065,33141,242,26284,10515,759,4525],"笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7b7a55715dbf5b199f6e559cf3c60a.jpg",[],{"id":69316,"slug":69317,"title":131,"dynasty":99,"author":69318,"museum":364,"description":69319,"tags":69320,"thumbUrl":69321,"material":139,"size":139,"collection":139,"collections":69322,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},228276,"hua-hui-ce-chen-dao-fu-228276","陈道复","这幅作品以淋漓水墨挥写湖石，苍润朴拙，留白藏尽空灵意趣。环绕花木设色清妍柔和，素白牡丹柔枝舒展、花瓣轻绽，淡粉碎花攒簇生姿，兰草劲挺修长，叶片舒展带露生机。\n笔意松秀灵动，兼工带写间糅合文人雅致，以色墨晕染烘托春日融融。花木俯仰有情，与苍润湖石形成刚柔对照，将庭间春日野趣尽显笔端，淡冶雅致中饱含闲散文心，寥寥数笔便勾勒出盎然春意，尽显水墨写意的精妙韵味。",[23,7,209,446,27,173,84,245,225,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca306f52ecfeeac584ccaa95f1e44470.jpg",[],{"id":69324,"slug":69325,"title":69326,"dynasty":189,"author":293,"museum":364,"description":69327,"tags":69328,"thumbUrl":69329,"material":139,"size":139,"collection":139,"collections":69330,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},228183,"dan-feng-niao-que-tu-yi-ming-228183","丹枫鸟鹊图","画面截取深秋一角，虬曲苍劲的枫树枝桠间，残红秋叶点缀，晕开萧索清寒的秋意。三只禽鸟错落栖于枝梢，引吭啼鸣的山雀羽翼晕染细腻写实，将灵动生机揉入冷寂秋景，另外两雀或静立或垂悬，动静相映成趣。\n\n设色调和古雅，工写相融，淡墨皴擦尽显枝干枯涩质感，禽鸟刻画精细入微，将秋日郊野的幽寂野趣藏于笔底，简淡笔意间晕开幽远沉静的林下意趣，尽显雅致空灵的秋日审美意韵。",[23,7,24,209,241,28,27,83,281,13507,6548,2238,1062,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bfefdf57d7bfd435a7b35b437dd982.jpg",[],{"id":69332,"slug":69333,"title":51891,"dynasty":189,"author":23885,"museum":364,"description":69334,"tags":69335,"thumbUrl":69336,"material":139,"size":139,"collection":139,"collections":69337,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[23,209,7,24,241,5491,173,27,177,394,1015,176,109,4663,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],{"id":69339,"slug":69340,"title":69341,"dynasty":189,"author":351,"museum":364,"description":69342,"tags":69343,"thumbUrl":69344,"material":139,"size":139,"collection":139,"collections":69345,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},228021,"cao-chong-tu-juan-zhen-ji-qian-xuan-228021","草虫图卷真迹","此作工细清润，草虫鲜活灵动，翅脉触须纤毫毕现，草木柔叶含带晨露清气，将草间小景勾勒得满生意趣。配笔题字朴拙苍劲，与画作的隽雅相映成趣，诗书画印融为一体。整体气质淡远清旷，以草虫之微，寄寓对生命本真的吟咏，尽得元人文人画澄怀观道的意韵，静雅中藏着蓬勃生机，是笔墨见心性的上乘佳作。",[23,7,24,25,28,27,83,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb58a17d67bcb7d3dcdbd84e29a6a97.jpg",[],{"id":69347,"slug":69348,"title":69349,"dynasty":189,"author":351,"museum":364,"description":69350,"tags":69351,"thumbUrl":69352,"material":139,"size":139,"collection":139,"collections":69353,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},228014,"shuang-ya-tu-ye-qian-xuan-228014","双鸭图页","此作用色清隽雅致，以澄澈钴蓝晕染水面，铺就幽宁底色。枯涩崖岸旁，蓼花垂曳轻摇，荇花绽于浅波，野趣盎然。白鸭昂首引吭，绒毛以淡墨层层晕染，柔润蓬松，憨态灵动，将水禽的慵懒自在尽显无遗。\n左侧题字墨色沉郁古雅，书画合璧，晕开文人逸趣。整幅画作工致却无板滞之感，褪去浓艳浮华，以清简笔触定格江南水畔一隅生机，在平淡天真里晕染出静逸诗意，把闲淡野逸的水乡意趣藏于笔底，尽显雅致悠然的文人审美意韵。",[23,209,7,24,81,28,27,2728,650,299,84,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f3c409d648d2eabd5847edaa99ecd.jpg",[],{"id":69355,"slug":69356,"title":58020,"dynasty":18,"author":7349,"museum":364,"description":69357,"tags":69358,"thumbUrl":69359,"material":139,"size":139,"collection":139,"collections":69360,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},227980,"qiu-lu-fei-wu-tu-liang-kai-227980","以淡墨晕开秋江空蒙的冷寂氛围，枯瘦芦草欹斜舒展，迅疾老辣的笔致带着野逸秋意。水畔坡岸以泼墨点染，浓淡墨色自然晕化，混融天成，静立坡头的小禽与振翅掠空的飞鹜形成动静对照。\n\n远飞的水禽仅以寥寥数笔勾勒，形神俱足，活现掠空姿态。画面以大片留白衬出江天寥廓，将秋日江汀的萧疏淡远藏在简淡笔墨中，以少胜多，把秋日清寂与禅意文思揉合一处，余韵悠长。",[23,209,7,24,241,173,446,2522,281,245,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917b71480910d4f702db28eefc181657.jpg",[],{"id":69362,"slug":69363,"title":69364,"dynasty":18,"author":2856,"museum":364,"description":69365,"tags":69366,"thumbUrl":69367,"material":139,"size":139,"collection":139,"collections":69368,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},227951,"qin-yu-tu-li-di-227951","禽浴图","画面截取禽鸟沐水的日常一隅，乌鸫探身木盆，翅羽蓬松乍起，墨色晕染分出干湿层次，将沾水后濡重的绒羽与翻扬的飞羽区别开来。圆目灵动带着憨态，黄喙轻点水面，漾开浅淡水痕，仿佛能闻声水泽轻响。木盆篾编纹理刻画写实，分毫毕现。\n\n整幅笔墨工细却不失生机，以小景见真趣，把野禽自在沐浴的瞬间定格，将对生灵的细致观察尽显无遗，于寻常日常里，晕染出雅致鲜活的自然意趣。",[23,209,7,24,28,27,83,281,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e7161b3e35c7b6a5e1f6d4a3f7707c.jpg",[],{"id":69370,"slug":69371,"title":69372,"dynasty":18,"author":293,"museum":364,"description":69373,"tags":69374,"thumbUrl":69375,"material":139,"size":139,"collection":139,"collections":69376,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},227920,"hua-hui-shuang-qin-tu-yi-ming-227920","花卉双禽图","此作工笔设色，柔枝舒展间白茶花轻绽，花瓣晕染出莹润柔光，枝叶俯仰向背尽显草木生姿。两只禽鸟栖于细枝之上，翎毛刻画丝丝入微，胸腹绒羽蓬松柔软，墨色晕染出头部乌亮光泽。一鸟昂首啾鸣，一鸟侧身应和，将枝间互动的鲜活意趣定格。\n\n整幅构图疏密得宜，浅褐绢底衬出雅致色调，笔墨精细却无匠气，尽显院体花鸟的写实功力。画师以细腻笔触捕捉花鸟间的灵动互动，将春日枝桠间的寻常小景，晕染出独有的雅致诗意，藏着对日常生机的温柔捕捉。",[23,209,7,24,28,27,83,84,1938,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd599ee4f684f536c226cf5017f764baa.jpg",[],{"id":69378,"slug":69379,"title":39760,"dynasty":18,"author":293,"museum":364,"description":69380,"tags":69381,"thumbUrl":69382,"material":139,"size":139,"collection":139,"collections":69383,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},227891,"shen-tang-qin-qu-tu-yi-ming-227891","《宋扇面画深堂琴趣图》是宋代画家佚名创作的一幅绢本设色画。\n此画现藏于北京故宫博物馆。\n【文物原属】故宫旧藏 【简介】 绢本，设色，纵：2.6cm，横：24.9cm。\n本幅无款印。\n钤收藏印 “仪周珍藏”一方。\n远山一带，巨壑空茫。\n建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。\n整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。\n从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。\n从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。\n这在宋诗、宋词和宋画中留有许多经典的范例。\n如从 的《 》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。\n音乐，求其意境，要有共鸣、幽远方妙。\n《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。\n深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。\n门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。\n庭石上又有青松一株，遥承琴声，而成风如松。\n环境与音乐布局协和生发，绝无滞碍。\n主人弹琴，恰好面东，而门对南，空间方位甚为有序。\n如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。\n设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。\n所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。\n这些看似细微之处，正可见宋人对画中空间风水的深刻认知。\n画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。\n可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。\n—— 著《 》",[23,7,24,209,1562,27,29,107,34,176,108,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1ea677f5f541183dafad361e3563ed.jpg",[],{"id":69385,"slug":69386,"title":69387,"dynasty":18,"author":16956,"museum":364,"description":69388,"tags":69389,"thumbUrl":69390,"material":139,"size":139,"collection":139,"collections":69391,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},227749,"bi-shan-gan-yu-tu-zhao-bo-su-227749","碧山绀宇图","南宋 赵伯骕 碧山绀宇图绢本25.5x25\n\n赵伯骕,（一一二四至一一八二）字希远。伯驹弟。和州防御使。少从高宗于康邸，以文艺侍左右。善山水、人物，尤长于花鸟，傅染轻盈，颇有生意。界画亦精，尝绘姑苏天庆观样进呈，考宗书其上令依原样建造，即今之玄妙观。\n兄弟博涉书史，皆妙于丹青，以萧散高迈之气，见于毫素。尝论画以为写人物、动、植，画家颇能具其相貌，但吾辈胸次，自应有一种风规，神气悠然，韵味清远，不为物态所拘，便有佳处。况吾所存，无媚於世，而能合於丛情者，要在悟此。故二人以一圆墨，舒卷万象，俱受圣知。凡所落墨，皆缥囊玉轴为上方珍玩。卒年五十九。",[23,7,24,29,26,27,107,176,34,558,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa140c79a62d2d325e3c86c73ee3a47e.jpg",[],{"id":69393,"slug":69394,"title":15195,"dynasty":18,"author":6652,"museum":364,"description":48596,"tags":69395,"thumbUrl":69396,"material":139,"size":139,"collection":139,"collections":69397,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},227706,"dai-du-tu-mi-you-ren-227706",[23,7,173,177,29,174,109,340,491,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b90154e546073fde551209019683cef.jpg",[],{"id":69399,"slug":69400,"title":69401,"dynasty":18,"author":10675,"museum":364,"description":69402,"tags":69403,"thumbUrl":69404,"material":139,"size":139,"collection":139,"collections":69405,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},227686,"liu-tang-mu-ma-tu-chen-ju-zhong-227686","柳塘牧马图","《柳塘牧马图》原载《历代名笔集胜册》第一册。签题陈居中作。耿昭忠题云：陈居中柳塘牧马图，虽纤细如绳，悉具乘风破浪之势。昔评云：“布景设色，不亚黄宗道。今观其气韵生动，精神物态，全形缣素间，即谓超佚前人，岂为过当。”这评赞是确当的。在小小的纨扇的面上，画着二十多个人，五十多匹马，而姿态活跃异常，那功力是深厚的。",[23,7,24,27,28,3246,46065,150,430,297,106,957,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece9ab741023d625ae0a528e2f8fb9c8.jpg",[],{"id":69407,"slug":69408,"title":31354,"dynasty":18,"author":293,"museum":364,"description":69409,"tags":69410,"thumbUrl":69411,"material":139,"size":139,"collection":139,"collections":69412,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},227362,"lou-ge-ting-tai-tu-yi-ming-227362","炎炎夏日，你是否在渴望在假期逃离都市的燥热，去自然中寻觅清凉？是否在幻想有一处完美庭台别墅，让你忘却烦扰、暂歇身心？今天，时尚芭莎艺术带你进入中国传统界画的理想庭院之中，到好山好水间纳个凉。",[7,28,104,27,107,1255,313,1664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a587f5812fa8779b254d194f2390d8.jpg",[],{"id":69414,"slug":69415,"title":69416,"dynasty":76,"author":1109,"museum":364,"description":69417,"tags":69418,"thumbUrl":69419,"material":139,"size":139,"collection":139,"collections":69420,"showCount":409,"zanCount":5,"manualWeight":48,"mainColor":94},224510,"shan-shui-tu-ce-8-kai-1-zhang-da-qian-jiu-cang-shi-tao-224510","山水图册8开-1-张大千旧藏","淡墨晕染远山，恍如烟霭轻笼，望之渺渺。近前丘峦以枯笔焦墨皴擦勾勒，苍劲朴拙，自带厚重古意。坡岸寒林萧疏，枝桠错落淡写，空寂清寒之境跃然纸上。右侧三两茅舍依偎岩岫，隐于林木间，尽出世幽居之趣。\n书画相融，题诗佐景，朱红金石印章错落点缀，更添雅致。笔意纵恣又不失内敛，将山雨初歇后的微茫空濛铺陈开来，淡而弥厚，简而愈远，尽显静穆萧散的文人逸趣，把江南山野的幽淡之美，晕作悠然忘尘的林下诗意。",[23,209,7,24,81,173,177,29,1015,35,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93031ba8b540688941b476a31e5177ff.jpg",[],{"id":69422,"slug":69423,"title":69424,"dynasty":76,"author":1109,"museum":364,"description":69425,"tags":69426,"thumbUrl":69427,"material":139,"size":139,"collection":139,"collections":69428,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},224500,"shan-shui-ce-kai-jiu-shi-tao-224500","山水冊开(九)","近景虬松斜出，板桥横卧浅溪，野意悠然。中景崖边村居错落，山径蜿蜒隐入青山，远江烟棹朦胧，翠微含黛，浅绛设色晕染出温润清和的春日山乡。\n\n枯笔皴擦勾勒山石，朴拙苍劲间带着灵动生气，林木简笔点染，形神兼备。题画诗与山水相融，将伤春怀远的幽寂心绪藏在清寂丘壑里，以山川写尽文人缱绻情思，简淡天真中见纵逸灵秀，笔底既有林泉野趣，又含寄情山水的文人心魂，尽显平淡悠远的画中真意。",[23,209,7,173,27,177,81,29,108,109,35,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112ef3c7e0ff3fa7d53483405b5d3c67.jpg",[],{"id":69430,"slug":69431,"title":67594,"dynasty":76,"author":5096,"museum":364,"description":32069,"tags":69432,"thumbUrl":69433,"material":743,"size":744,"collection":139,"collections":69434,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},224482,"shan-shui-tu-shan-mian-wang-jian-224482",[23,7,24,1562,29,27,177,176,34,491,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4553a79a1bb08b744bb24b9bf960af.jpg",[],{"id":69436,"slug":69437,"title":69438,"dynasty":76,"author":10376,"museum":364,"description":69439,"tags":69440,"thumbUrl":69441,"material":139,"size":139,"collection":139,"collections":69442,"showCount":409,"zanCount":5,"manualWeight":48,"mainColor":94},224458,"hua-hui-shan-shui-he-ce-1-5-wang-hui-224458","花卉山水合册1-5","此作设色清妍明快，以石青石绿晕染山峦，柔缓晕开丘棱轮廓，晕出春日山景的温润鲜活。左上桃枝绽粉，点破春讯，飞泉沿幽谷蜿蜒而下，牵起山林灵动生机。一叶扁舟随波泛于烟水间，大片留白铺陈出空濛云水意境，尽现幽远之致。\n\n右侧题诗补全画中雅趣，笔致秀逸舒展，与山水景致相映成趣，将文人耽于林泉的悠然雅意融于尺幅之间。整幅淡冶雅致，既见青绿山水的明丽秀润，又有文人画的萧散意境，尽显春日山水的静穆清和。",[23,7,209,24,81,27,26,177,29,34,109,279,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05457a1878b4c600149d327541c4eeee.jpg",[],{"id":69444,"slug":69445,"title":69446,"dynasty":76,"author":10376,"museum":364,"description":69447,"tags":69448,"thumbUrl":69449,"material":139,"size":139,"collection":139,"collections":69450,"showCount":409,"zanCount":1547,"manualWeight":48,"mainColor":94},224457,"shan-chuang-du-shu-tu-zhou-wang-hui-224457","山窗读书图轴","《山窗读书图》是清代画家 创作的一幅纸本淡设色画。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n从落款可知此图系为恭祝友人王掞（字藻儒）寒窗苦读、秋试中举而作，带有浓郁的情感色彩。\n款署：“山窗读书图。\n奉贺藻儒先生秋荐之喜，时丙午九月九日，虞山王翚。\n”钤“王翚之印”朱白文印。\n“丙午”为康熙五年（1666年），王翚时年5岁。\n全图以元人王蒙细密繁复的笔法刻画，线条活而不乱，理在其中，浓、淡墨色于交叠皴擦中层次井然。\n此幅不失为王翚早年学仿王蒙画风的精心之作。",[23,7,24,241,173,177,29,864,558,109,108,394,175,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":69452,"slug":69453,"title":69454,"dynasty":76,"author":69455,"museum":4792,"description":69456,"tags":69457,"thumbUrl":69458,"material":619,"size":69459,"collection":44,"collections":69460,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":271},224239,"lu-shan-guan-lian-shang-guan-zhou-224239","庐山观莲","上官周","此图是故事画，描绘东晋僧人慧远于庐山结社，与当时文人交往。左上题云：庐山远公开池种白莲，以十八人为社，社中陶渊明、谢灵运，一因无酒不至，一好游而长来。可见图中人物主要应是谢灵运、慧远。四人神态各异，而无不细致生动，十分传神",[23,7,24,27,106,136,368,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce0ec4aab08c39ddc115eb46ffc536d.jpg","纵374厘米横25厘米",[44],{"id":69462,"slug":69463,"title":69464,"dynasty":76,"author":2804,"museum":364,"description":69465,"tags":69466,"thumbUrl":69467,"material":139,"size":139,"collection":139,"collections":69468,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},224210,"yun-shan-shui-tu-wu-chang-shuo-224210","云山水图","以篆籀笔法入山水，阔笔泼墨点染远山苍莽朴拙，山居错落隐于林麓，野意横生。留白写江面悠悠，一叶扁舟随波，铺展出空寂淡远的烟江暮色。近岸老木虬曲、修竹横斜，用笔纵老苍劲，干湿浓淡的水墨交织晕染。\n题诗与画境相融，将暮山寻幽的闲逸心境诉诸笔端，突破柔隽山水的陈格，以写意风骨绘就晚秋江南萧疏淡远之致，笔墨间金石气裹挟着文人雅趣，简淡中见雄浑大气，尽显诗画合璧的文人风神。",[23,209,7,24,25,173,29,177,430,1015,431,33,109,491,340,19953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b3ba3916d6e873f7fe5bd0cbbb0434.jpg",[],{"id":69470,"slug":69471,"title":69472,"dynasty":189,"author":293,"museum":364,"description":69473,"tags":69474,"thumbUrl":69475,"material":139,"size":139,"collection":139,"collections":69476,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},223624,"cao-chong-tu-zhu-ye-juan-ben-yi-ming-223624","草虫图竹叶绢本","画面错落铺陈野趣生机，上方疏枝斜探，中段群芳舒展。明黄蜀葵柔丽妍秀，紫花秾艳、朱英点点，深浅花色交映成趣。粉蝶蹁跹、蜉蝣轻翔，草虫灵动如生，隐于枝叶花间。\n\n落笔工细秀逸，晕染雅致沉静，深褐绢底托衬出花木清妍，将初秋郊野的幽寂鲜活晕染开来。工致中带着写意澹远，把小景生机藏于古雅色调，静中含动，尽显写生花鸟的含蓄雅致，淡冶清和之间，古韵悠然流转，将草木虫豸之微末意趣，铺展成耐人品味的幽闲景致。",[23,7,209,24,67,27,28,603,6949,84,604,800,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed08f0802a9845b116d1f8c75cdf940.jpg",[],{"id":69478,"slug":69479,"title":69480,"dynasty":18,"author":293,"museum":364,"description":69481,"tags":69482,"thumbUrl":69483,"material":743,"size":744,"collection":139,"collections":69484,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},223621,"hu-jia-shi-ba-pai-quan-juan-yuan-pai-yi-ming-223621","胡笳十八拍全卷（原拍）","所谓“胡茄十八拍”，是指蔡琰谱写的茄谱及歌词的总称。明胡笳十八拍图卷为明中期摹本。无款印， 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画中各物在作者的笔下蠢蠢欲动，大得自然野趣。",[23,7,24,209,241,28,27,83,448,242,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cce390d80d63a2be5939789f644197c.jpg","78x40.4",[],{"id":69693,"slug":69694,"title":69695,"dynasty":189,"author":69696,"museum":56,"description":69697,"tags":69698,"thumbUrl":69699,"material":990,"size":69700,"collection":139,"collections":69701,"showCount":409,"zanCount":5,"manualWeight":48,"mainColor":94},221763,"liu-ting-ju-qin-tu-xia-shu-wen-221763","柳汀聚禽图","夏叔文","淡墨简笔，画一水两岸，柳树柔枝万条，喜鹊，山雉、绶带，翠鸟等或栖憩枝头，或戏游水中； 近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[23,7,24,209,241,173,27,1938,1532,281,4873,245,1062,9930,29,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","画心纵128，横66.5厘米",[],{"id":69703,"slug":69704,"title":69705,"dynasty":189,"author":5444,"museum":20,"description":69706,"tags":69707,"thumbUrl":69708,"material":803,"size":69709,"collection":139,"collections":69710,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},221751,"san-xia-qu-tang-tu-ye-sheng-mao-221751","三峡瞿塘图页","瞿塘峡的名胜古迹，多而又集中，游览者称便。此画为元代画家盛懋所作，其早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,7,24,81,29,173,27,174,503,34,176,37,491,31,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b234dc745f130418cd0edc13a5a06d2.jpg","78X69厘米",[],{"id":69712,"slug":69713,"title":69714,"dynasty":189,"author":18436,"museum":1985,"description":66546,"tags":69715,"thumbUrl":69716,"material":22447,"size":69717,"collection":139,"collections":69718,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},221719,"bo-tu-yan-hui-221719","波图",[23,7,209,173,27,177,544,5639,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19116ef77f0b81a05d3b56d3f1454408.jpg","24.7×23.9cm",[],{"id":69720,"slug":69721,"title":69722,"dynasty":18,"author":1650,"museum":206,"description":69723,"tags":69724,"thumbUrl":69725,"material":665,"size":69726,"collection":139,"collections":69727,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},221526,"song-quan-shuang-niao-ma-yuan-221526","松泉双鸟","画士人执拂尘坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝枒笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[23,7,24,173,27,29,1575,281,245,15098,177,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31ef069753d13621bc1dbd599e4da8c.jpg","41.5x60厘米",[],{"id":69729,"slug":69730,"title":69731,"dynasty":18,"author":1650,"museum":20,"description":69732,"tags":69733,"thumbUrl":69734,"material":5149,"size":69735,"collection":139,"collections":69736,"showCount":409,"zanCount":5,"manualWeight":48,"mainColor":49},221517,"han-shan-zi-tu-ma-yuan-221517","寒山子图","马远擅山水、花鸟、人物，其山水师法李唐，多画江浙山水，树木杂卉多用夹笔，用大斧劈皴带水墨画山石，方硬严整；构图取自然山水之一角，山峦雄奇峭拔，或峭峰直上而不见顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐。马远艺术上克承家学而超过了他的先辈，他继承并发展了李唐的画风，以拖技的多姿形态画梅树，尤善于在章法大胆取舍剪裁，描绘山之一角水之一涯的局部，画面上留出大幅空白以突出景观。",[23,209,7,24,2544,260,173,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92de5fcd660f91864765bf62958c6c1.jpg","49x53",[],{"id":69738,"slug":69739,"title":69740,"dynasty":99,"author":3114,"museum":20,"description":69741,"tags":69742,"thumbUrl":69743,"material":178,"size":69744,"collection":382,"collections":69745,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},220928,"bai-yu-shan-fu-zhou-dong-qi-chang-220928","白羽扇赋轴","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。《白羽扇赋》写于壬申（1632年）秋，董其昌已经七十八岁高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[209,7,24,86,241,178,173,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F422a77cdfa4eff9dc9e298726c2f5e1d.jpg","136.5X60.2cm",[382],{"id":69747,"slug":69748,"title":29042,"dynasty":76,"author":69749,"museum":364,"description":69750,"tags":69751,"thumbUrl":69752,"material":803,"size":69753,"collection":181,"collections":69754,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},220251,"xi-shan-yan-yu-tu-hu-gong-shou-220251","胡公寿","胡公寿（1823年—1886年），初名远，号瘦鹤、小樵，别号横云山民，华亭（今上海松江）人，清末书画家。其书法出入于平原、北海间，独具体势。诗宗少陵，清健遵练。为海上画派代表画家之一。传世作品有《桂树图》、《香满蒲塘图》等",[23,7,173,241,29,558,34,176,23629,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee7a7a41050c79328c18df5f5c33a46.jpg","49.54*180",[181],{"id":69756,"slug":69757,"title":69758,"dynasty":99,"author":37254,"museum":752,"description":69759,"tags":69760,"thumbUrl":69761,"material":123,"size":139,"collection":181,"collections":69762,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},219924,"liu-ting-tu-zhang-guan-219924","柳艇图","生卒年不详，字可观，松江枫泾（今上海金山）人。元代迁居嘉兴（今属浙江），明洪武中寓长洲（今江苏苏州市）。生长于木匠家庭，从小爱游览山水，喜欢作山水画。师法马远、夏圭，亦参学李、郭熙，后与吴镇、盛懋、丁野夫相交，笔墨大进，所作雍容苍秀，格韵悉佳，古劲清润，秀雅胜俗。",[7,173,29,3246,174,106,176,297,1016,241,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92728b3c452c53bcaa2010c0930b8fc4.jpg",[181],{"id":69764,"slug":69765,"title":69766,"dynasty":99,"author":293,"museum":3537,"description":69767,"tags":69768,"thumbUrl":69769,"material":381,"size":139,"collection":181,"collections":69770,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},219897,"jun-ling-tu-yi-ming-219897","峻岭图","危峰拔地直插烟岚，苔痕皴染崖壁，凭添苍古荒寒之意。山巅与幽谷间云气漫漶，虚实相生衬出峰峦巍峨雄浑。下方虬松横斜出枝，蟠曲如游龙，苍劲松针攒簇，尽现山野老松的疏狂之姿。\n\n山麓茅亭敞轩，高士偃卧假寐，篱舍隐于浅渚林泉间，枯木荒坡错落排布，淡墨晕染出空寂萧散的汀岸野趣。全作用笔兼具勾勒皴擦，水墨干湿浓淡层叠铺陈，将山水的宏阔与林下幽居的静穆相融，尽显林泉高致的隐逸意趣，于尺幅间铺展出文人心底旷远高逸的林下襟怀。",[7,24,241,173,29,1575,176,34,114,106,175,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaeb6304a00605300597860cc5dd69c6.jpg",[181],{"id":69772,"slug":69773,"title":69774,"dynasty":76,"author":69775,"museum":782,"description":69776,"tags":69777,"thumbUrl":69778,"material":342,"size":69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苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 于是跨年夜过后，孩子们在街上游行，大喊大叫卖痴呆症。",[7,24,241,27,29,106,107,1015,35,176,175,227,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe24ffa84bd65559c421b643f58bad25.jpg","纵113横28.7厘米",[181,44],{"id":69825,"slug":69826,"title":69827,"dynasty":189,"author":9509,"museum":3442,"description":39507,"tags":69828,"thumbUrl":69829,"material":123,"size":139,"collection":44,"collections":69830,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},219394,"qiu-lin-du-qi-tu-zhao-yong-219394","秋林独骑图",[7,24,1562,27,29,106,150,3953,34,176,900,86,227,178,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82362cf51743c1d61b49e21bf59d4c8.jpg",[44],{"id":69832,"slug":69833,"title":69834,"dynasty":99,"author":1572,"museum":206,"description":69835,"tags":69836,"thumbUrl":69837,"material":123,"size":139,"collection":44,"collections":69838,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},219364,"mo-li-gong-lin-lian-she-tu-wen-zheng-ming-219364","摹李公麟莲社图","本幅画莲社十八贤士图，按晋时慧远高僧，于庐山建立白莲社，聚众百二十三人，修念佛学，时陶潜辞官居栗里，慧远致书陶潜，邀请参加，陶潜答曰：“许我酒就来。”慧远答应。陶潜每来社中，或时才至，不久即攒眉而去。幅中乘篮舆者即是陶潜。幅中设色，用笔均去文仇水准颇远，为后世托名。",[7,24,105,27,106,29,34,150,86,227,107,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e13b06d2397288d1823e0ca8f2b717b.jpg",[44],{"id":69840,"slug":69841,"title":69842,"dynasty":99,"author":293,"museum":20,"description":69843,"tags":69844,"thumbUrl":69846,"material":123,"size":139,"collection":44,"collections":69847,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},219294,"mu-niu-du-shu-tu-yi-ming-219294","牧牛读书图","柳丝如缕，垂落于苍劲的老干间，墨色线条似有若无，牵起几分空濛诗意。牧人身着宽袍，缓步随牛而行，衣袂在微风中轻摆，简淡笔触勾勒出闲适姿态。牛儿低首，肌理以淡墨晕染，温顺得似与主人心意相通。田埂草色稀疏，却衬得天地愈发宁静。画面无喧嚣，只有自然与人物的和谐相融——是牧歌里的悠然，还是文人笔下的田园逸趣？淡墨浅染间，时光仿佛慢了下来，每处线条都藏着对尘世之外的向往，让观者沉下心，品味这片刻清宁。",[23,7,24,241,173,27,106,151,1532,394,245,1159,69845],"牧牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6eb5b132178a7cac92aa8154cb10fdd.jpg",[44],{"id":69849,"slug":69850,"title":69851,"dynasty":99,"author":2876,"museum":206,"description":69852,"tags":69853,"thumbUrl":69854,"material":173,"size":2880,"collection":181,"collections":69855,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},219293,"shan-shui-ji-jing-ce-yuan-shan-shui-cao-zhi-bai-219293","山水集景册-元山水","曹知白（西元一二七二—一三五五年），华亭（今江苏上海）人。字又玄，号云西。至元（一三三五—一三四○年）间，为昆山教谕。善画山水，师法郭熙。水墨画虬松双株并立于前，树枝往下伸张如蟹爪状，是典型李郭派画法。茅屋层基而起，流水下泻于旁，淙淙有声，窗间有人仰谛，鹤步松阴，一派闲散之意。全图之山石树木，用墨浓淡相间，饰以苔点，疏林深秀，天真平淡。",[7,24,173,81,177,29,176,34,394,109,1653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86004cc62cb48c9f04a95ff719be5e31.jpg",[181],{"id":69857,"slug":69858,"title":69859,"dynasty":189,"author":69860,"museum":238,"description":69861,"tags":69862,"thumbUrl":69863,"material":123,"size":139,"collection":45,"collections":69864,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":1335},219242,"han-lin-ji-xue-tu-chao-xian-jin-zhi-219242","寒林霁雪图","朝鲜·金禔","雪裹层岩，寒林疏枝横斜，墨色皴擦间晕开雪后空濛。左侧屋舍隐于林麓，似藏暖意；远岫如黛横陈，天际淡远，水面孤舟轻泛，更添清寂。笔意简淡却见深致，绢素上留白与墨韵交织，凝住霁雪后的清冷静谧——风过寒枝的微吟，雪落远山的轻响，仿佛都在这山水间流转，尽显空远之趣与隐者般的安然。每一处线条都藏着细腻心思，将雪霁后的天地凝作一幅清绝画卷，让观者沉湎于这份独有的静谧与悠远。",[23,209,7,24,29,173,177,3463,2125,9050,464,1112,174,25886,3802,4686,45407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2991e912331c63c1479894bce4fc0cd.jpg",[45],{"id":69866,"slug":69867,"title":69868,"dynasty":18,"author":293,"museum":132,"description":69869,"tags":69870,"thumbUrl":69871,"material":123,"size":69872,"collection":90,"collections":69873,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},218991,"han-yan-san-yang-tu-yi-ming-218991","寒岩三羊图","岩岫皴染如铁，苔点零星似星落于褐赭石色的肌理间，透出山野的苍劲冷寂。三羊错落其间：一羊俯首啮草，绒毛晕染得蓬松如团雪；一羊侧耳伫立，黑花斑纹在素白间点染出灵动；还有一羊昂首望岫，姿态憨拙却藏着对山风的敏感。宋人的笔致总在写实里藏着诗意——寒岩的嶙峋与生灵的温煦相映，没有喧嚣，只有草叶被啮动的轻响、山风掠过岩缝的微吟，静静淌出山野间的清寂与安然。笔墨细腻处见真意，连羊蹄踏过石径的细碎感，都似能透过纸背触到，将自然的生机与静谧揉成一幅耐人寻味的画卷。",[23,7,24,209,81,28,27,957,8368,650,38982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436b6eb6d7d9e88456730a606e3e6f2c.jpg","24.8x21.8cm",[90],{"id":69875,"slug":69876,"title":69877,"dynasty":18,"author":293,"museum":238,"description":69878,"tags":69879,"thumbUrl":69880,"material":123,"size":69881,"collection":90,"collections":69882,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":49},218881,"liu-yin-bai-quan-tu-yi-ming-218881","柳荫白犬图","柳丝低垂如帘，织就一片清凉荫翳。白犬闲适蜷卧，蓬松毛羽似沾草木清香，或抬首望风，或闭目假寐，神态慵懒却藏灵动。笔墨细腻不刻意，柳枝柔曼、犬身肌理皆以淡墨轻描，线条细劲含韵致。背景疏枝苔点晕染出空寂幽远，将宋代文人闲雅心境藏于日常小景间——喧嚣尘世里，柳荫下的片刻安宁，让时光随犬的呼吸慢下来。此作尽显宋人“以物寄情”的审美哲思，静谧中流淌着含蓄诗意与温柔，于细微处见天地，藏着对闲适生活的无限向往。",[7,1562,28,27,3246,12226,957,245,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273bfd0c5ac921b2cd1f5de5ecde964d.jpg","22.6x22.6cm",[90],{"id":69884,"slug":69885,"title":69886,"dynasty":18,"author":293,"museum":206,"description":69887,"tags":69888,"thumbUrl":69890,"material":123,"size":49008,"collection":42,"collections":69891,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":94},218848,"qiu-shan-gu-du-tu-yi-ming-218848","秋山古渡图","这幅画描绘了一连串的山脉，右边的巨石高耸入云，岩石下隐约可见几间小屋，一只狗跑来迎接它的主人，而隐士一定是从峡谷中搜索回来的。这幅画是郭熙的研究，充满了兴趣。"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画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[7,29,173,177,241,108,176,394,34,7582,37,560,651,70703,227,30126,446],"书法题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[181,163],{"id":70708,"slug":70709,"title":220,"dynasty":76,"author":707,"museum":12966,"description":70710,"tags":70711,"thumbUrl":70712,"material":139,"size":22330,"collection":139,"collections":70713,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},236625,"hua-niao-ce-hua-yan-236625","华喦（1682-1756），清画家。字秋岳，号新罗山人、东园生、布衣生等，福建上杭人。自幼即喜绘画，尤精花鸟。所作花鸟，多姿多态，生趣盎然，干笔枯墨间以淡彩，寓雅逸于艳丽之中，构图独出心裁，为清代中叶花鸟画之中坚，对后世扬州派、海派花鸟产生莫大影响。",[7,24,81,27,173,83,281,1362,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06312802578ce589174d3d293fb9797a.jpg",[],{"id":70715,"slug":70716,"title":220,"dynasty":76,"author":6456,"museum":364,"description":6457,"tags":70717,"thumbUrl":70718,"material":139,"size":20,"collection":139,"collections":70719,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},236615,"hua-niao-ce-ma-yuan-yu-236615",[7,24,209,81,173,27,83,281,2302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe748e4c66b59983881f87bee7e05da01.jpg",[],{"id":70721,"slug":70722,"title":70723,"dynasty":99,"author":6930,"museum":20,"description":70724,"tags":70725,"thumbUrl":70726,"material":803,"size":139,"collection":90,"collections":70727,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},236274,"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[209,7,24,25,173,177,34,394,12411,226,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[90,163,382],{"id":70729,"slug":70730,"title":70731,"dynasty":76,"author":44716,"museum":206,"description":70732,"tags":70733,"thumbUrl":70734,"material":1449,"size":139,"collection":163,"collections":70735,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},236113,"song-zhu-ming-qin-zhou-zhang-ruo-ai-236113","松竹鸣禽轴","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。\n以书、画供奉内廷，一日太后出方寸之玉佩，命书心经一篇。竟日而就，因赐上方珍玩无算。善画山水、花鸟，得王糓祥、周之冕遗意。乾隆十一年（1746）随帝西巡，因病回京，不久卒，谥文僖。有《岁寒三友图》、《仿王元章疏影寒香图》传世。卒年三十四（按清代画史、清画家诗史均作三十二岁，中国画家人名大辞典作三十六岁）。著《晴岚诗存》。",[7,241,173,28,449,242,281,245,227,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d9922684aec53b3958be0fa2735536.jpg",[163,2293],{"id":70737,"slug":70738,"title":70739,"dynasty":76,"author":27251,"museum":364,"description":28411,"tags":70740,"thumbUrl":70741,"material":139,"size":139,"collection":181,"collections":70742,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},236109,"lin-xia-xie-qiong-zhou-zhang-zong-cang-236109","林下携笻轴",[7,27,177,241,29,34,650,558,35,2268,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10702bba88bf4e3f313034683d3f21bd.jpg",[181,163],{"id":70744,"slug":70745,"title":486,"dynasty":76,"author":70746,"museum":364,"description":70747,"tags":70748,"thumbUrl":70749,"material":139,"size":139,"collection":181,"collections":70750,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},236076,"shan-shui-ce-shen-zong-jing-236076","沈宗敬","此作用笔苍秀，以干笔皴擦勾勒近侧危崖，嶙峋石体质感尽显，崖顶古松挺劲，枝桠舒展带风霜之态。崖畔孤亭兀立石台，凭虚临空，暗合幽人隐逸之思。\n烟波浩渺的江面之上，扁舟随波缓行，远景山峦澹晕隐现，晕染出空濛悠远的水天色。整幅水墨写意，糅合北派山水的雄健质感与南宗山水的淡远意境，萧散简淡的笔意间铺展出林泉高致的幽旷之境，将山居江湖的清寂冷逸尽数彰显，把文人寄情山水的隐逸襟怀藏于尺幅之中。",[7,173,81,177,29,176,1575,175,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4bd7b1242ed0c8d84ab4be3bba94b9.jpg",[181],{"id":70752,"slug":70753,"title":13718,"dynasty":76,"author":1109,"museum":364,"description":70754,"tags":70755,"thumbUrl":70756,"material":139,"size":139,"collection":139,"collections":70757,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},235880,"yuan-ji-shan-shui-tu-ce-shi-tao-235880","行书笔致纵逸苍劲，诗文清雅隽秀，墨色浓淡辗转间笔势连贯舒展，尽显随性放达的文人意趣。\n\n下方山水以淡墨晕染铺就烟岚轻笼的悠远底色，山峦以枯笔皴擦勾勒肌理，植被点染灵动错落。留白虚实相生，铺陈出丘林幽寂的空濛意境，淡赭晕染山脚，糅合出清雅温润的色调层次，将江南山水的氤氲柔婉与嶙峋风骨相融。\n\n整幅诗画合璧，书意与画韵彼此衬映，诗书画印相得益彰，尽显文人画雅致品格，把幽居林泉的隐逸心境藏于笔墨之中，意韵悠长。",[7,24,81,178,173,27,177,86,227,29,649,34,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumb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梦泉以及朱梦庐、胡公寿、虚谷、赵之谦、王秋言、蒲作英、钱慧安、吴昌硕、吴石仙、陆廉夫、倪墨耕、吴观岱等周边画家，先后前往上海发展，遂有海上画派之兴起。沄一生恪守有清以来之正统画风，功力深厚，倒也在新风阵阵之沪上知音多多，以“泽古功深，集四王吴恽诸家之长”独树一帜。光绪十四年（1888）尝北赴京畿，与诸士大夫游，又于同年东游扶桑。画名远播（光绪十四年(1888)游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。\n工山水，由“四王吴恽”入手，上探元、明诸家。墨法明润秀雅，笔意疏古清丽，吴侬软语，浅斟低唱，得柔美之致，乏遒劲之气。间有水墨直师王蒙、小青绿逼似文徵明者，功力之深厚，时罕其俦。",[209,7,24,1562,173,177,105,29,1575,106,176,37,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec48b9c827ff6ad82c1e990c175f2d.jpg",[],{"id":70897,"slug":70898,"title":70899,"dynasty":76,"author":26591,"museum":20,"description":70900,"tags":70901,"thumbUrl":70903,"material":990,"size":70904,"collection":139,"collections":70905,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},234522,"teng-luo-tu-shan-ye-liao-yun-jin-234522","藤萝图扇页","此图为工写结合的设色花卉。紫藤的藤蔓由右向左延伸，结串的藤花以紫色染就不见笔痕，叶片先勾后染，设色轻妆淡写，运笔纤细工整，注重叶子阴阳向背的表现，每片叶子都具有立体感。其画风脱去尘俗，于妍丽中见秀雅，粉墨中露清姿，自出性灵，非寻常学力所能及。",[7,24,1562,27,28,83,70902,227],"藤萝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15bc6b67350636ca42aa3771ac6d962f.jpg","纵16.2厘米，横49.5厘米",[],{"id":70907,"slug":70908,"title":40158,"dynasty":76,"author":4672,"museum":20,"description":54651,"tags":70909,"thumbUrl":70910,"material":990,"size":139,"collection":139,"collections":70911,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},234364,"qiu-shan-xing-lv-tu-zhou-tang-dai-234364",[7,24,241,27,177,29,864,34,6922,67179,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9a2dd40266c2c72c70a5c569f827d5.jpg",[],{"id":70913,"slug":70914,"title":70915,"dynasty":99,"author":966,"museum":20,"description":70916,"tags":70917,"thumbUrl":70918,"material":139,"size":139,"collection":139,"collections":70919,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},234270,"wen-zheng-ming-song-yin-lun-gu-cheng-shan-wen-zheng-ming-234270","文徵明松阴论古成扇","文征明（1470一1559年）初名壁，一字征仲，号衡山，江苏长洲（苏州）人。是明代中期著名的画家，书法家。他与沈周、唐寅、仇英并列，合称“吴门四杰”。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。从正德到嘉靖年间，据《吴门画史》一书统计，吴派画家共有876人，人材济济，但在当时，出类拔萃，声名显赫，唯有沈周、文征明等一些人。\n文征明的书画造诣极为全面，其诗、文、画无一不精。人称是“四绝”的全才。他虽学继沈周，但仍具有自己的风格。他一专多能，能青绿，亦能水墨，能工笔，亦能写意。山水、人物、花卉、兰竹等无一不工。",[23,7,24,1562,27,106,449,29,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5db5d940afc01ae57628128afa2dc12.jpg",[],{"id":70921,"slug":70922,"title":70923,"dynasty":99,"author":37425,"museum":20,"description":70924,"tags":70925,"thumbUrl":70926,"material":990,"size":70927,"collection":139,"collections":70928,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":271},234228,"xi-shan-shen-xiu-juan-hou-mao-gong-234228","溪山深秀卷","北京故宫博物院藏晚明侯懋功名下的两件山水长卷内容与设色方式近乎一致，基本可判定二者出于同一稿本，属于书画鉴定中俗称的“双胞胎”，这两件作品分别现名为《邛崃图》和《溪山深秀图》。通过对两件作品现状及笔墨细节比较，笔者认为前者为真，且所绘与“邛崃”无关，应以《溪山深秀图》为是。从更广泛的艺术史角度看，侯氏《溪山深秀图》属于宋代以来流行的长卷“溪山图”画意范畴，并体现了明中后期吴门画派隐(避)居山水所发生的新变化。",[23,7,25,173,29,34,176,31,35,108,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5d1e0ed58bff06f6bd49f006660055.jpg","34 * 258cm",[],{"id":70930,"slug":70931,"title":67193,"dynasty":76,"author":15347,"museum":364,"description":70932,"tags":70933,"thumbUrl":70934,"material":139,"size":139,"collection":139,"collections":70935,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},234203,"fang-mi-you-ren-yun-shan-tu-juan-cha-shi-biao-234203","查士标在《秋林暮霭图》的款识中曾说自己的山水画初学米芾，后学倪瓒，并且寻根求源，以自己的绘画实践追溯董、巨，从中探索绘画源流的发展变化。而创造米点山水的米芾和米友仁，他们在绘画上开创了水墨山水的新风尚，为了抒写胸臆而不求工细，即在董源水墨山水的基础上，挥洒出了江南烟雨空濛的景象。米芾长子米友仁，继承家学，作画尤其在于尽兴，自称“墨戏”。总体来看，“二米”山水多作江南平远景色，突破了前人运用线条表现峰峦、云水、树木的画格，另辟蹊径。山石不作轮廓，而用清水笔墨润泽出大概，再以淡墨渍染，然后用稍浓的墨笔破出并皴擦大体层次，趁笔墨尚湿之时再以大小错落的浓墨、焦墨横点叠垛。山体上部用墨稍浓，用笔较密，下部用墨稍淡，用笔较疏。云气以淡墨空勾并加以渲染。树木枝干多用浓墨一笔画出，以大浑点作叶。山脚坡岸用浓淡适中的水墨横扫，多数不加皴斫。整个过程显得随意而自然，表现出江南山水烟雨蒙眬、丘陵晦明、丛林隐现的意境，大大丰富了中国山水画的表现技法。这种新的山水风格，对元以后的水墨山水产生了较大影响。从目前所见画迹来看，查士标最早一幅仿米家山水的作品，是顺治十七年（1660）夏四月所作《山谷闲云图》。其题诗有云：“闲云无四时，散漫此山谷。\n幸乏霖雨姿，何妨媚幽独。”该幅作品完全仿学米氏云山，横点山、树之形，间及渲染，烟雨空濛之景跃然纸上。题诗也不乏自得之意，可以见出查士标在米家山水方面下过较大的功夫。除此之外，查士标临仿米家山水的作品尚有很多，如北京荣宝斋藏查士标康熙二年（1663）嘉平月六日夜作《云树江村图》、扬州市博物馆藏查士标康熙五年（1666）六月作《云山图》、故宫博物院藏查士标康熙十一年（1672）作《鹤林烟雨图》、山西省博物馆藏查士标康熙十三年（1674）秋天作《米家云山图》和故宫博物院藏查士标康熙十九年（1680）六月作《南山云树图》等，这些作品都是他学习米家山水的优秀代表。其中，扬州市博物馆所藏《云山图》，是查士标52岁时仿学米友仁《楚山清晚图》而作。该画主峰突起，衬以远山，近处桥屋树木，均寥寥数笔，然墨气淋漓，大有烟雨空濛之感。在作品中，查士标抓住了米友仁自称“墨戏”的特点—写意大于写形，因此在构图形式与笔墨变化上，较米友仁更为肆意潇洒。米友仁在画中以横点水墨的浓淡积染，分出山体的层次，试图摆脱轮廓线的束缚，但画中的墨点还是显得比较严谨、缜密，细察之下还有无形的轮廓线在羁绊着笔墨的灵动。而到了查士标这里，画面近乎泼墨，充分体现了他在用墨上的灵动变化。特别是上述故宫博物院藏其康熙十九年（1680）六月作《南山云树图》长卷，作品以“迷远法”构图，图中云雾占有大半。卷首云海弥漫，山峦隐约可见，远山坡脚随着云气的浮动变幻，逐渐显露，并重叠起伏地展开，远处峰峦终于出现在团团白云之中。中段主峰耸立，林木扶疏，表现出远近层次。全卷云树掩映，峰峦明灭，处处体现出生意郁勃的造化生机和苍莽雨雾的特殊韵致。画面水墨淋漓，少见笔触，形象不作具体细致的刻画，含蓄自然，浑然一体，给人留下了远景云山空濛的印象。查士标在款识中有云：\n康熙庚申六月，余客润州。再登金山，留宿慈云阁。雨中为德润禅兄画南山云树，仿米家笔意，累日乃竣事。\n根据他的款识记载，我们知道这件作品是他在润州（今镇江）登金山，看到烟江缥缈的景致后，联想起米家山水的粉本，触景生情而作。这件作品也得到了后人的称赞，如清人张熊在题跋中评说：\n此卷仿米家泼墨云山，简淡清新，直欲上追宋元。洵是罕见逸品，岂浅学者所能梦见耶。",[23,7,173,25,105,29,864,1329,430,108,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c02eb2b2d562b653515952d5eb03d8.jpg",[],{"id":70937,"slug":70938,"title":70939,"dynasty":99,"author":26281,"museum":20,"description":70940,"tags":70941,"thumbUrl":70942,"material":990,"size":70943,"collection":139,"collections":70944,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},234152,"feng-yuan-dang-xiong-tu-juan-ding-yun-peng-234152","冯媛挡熊图卷","此图以翠竹、梧桐、椿树、湖石为背景，表现了冯媛挡熊的故事场景。据《汉书•外戚传下•冯昭仪》记载，西汉建昭年间，元帝率左右随从，于后宫观斗兽。突然有熊逸出圈，攀栏欲上殿，冯婕妤冲上前挡熊而立，保护元帝免遭伤害。“冯媛当熊”应为爱君之典。《汉书》卷三十六称“《列女传》凡八篇，以戒天子”。",[23,7,24,25,28,27,106,957,46982,34,176,63,178,1308,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F830255b25762baaa67f04e22303126f0.jpg","纵32.6厘米，横148.8厘米",[],{"id":70946,"slug":70947,"title":70948,"dynasty":189,"author":5444,"museum":20,"description":70949,"tags":70950,"thumbUrl":70951,"material":665,"size":70952,"collection":139,"collections":70953,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},234081,"yu-qiao-wen-da-tu-dan-ye-sheng-mao-234081","渔樵问答图单页","图中绘江水涛涛，远处山峦起伏，江中蓬船上一渔人垂杆而钓，坡岸树阴下樵夫踞坐，与舟中人对语，身旁置柴一担。笔墨精到，设色谈雅，营造出静谧祥和的氛围。渔樵问答是常见的表现隐逸文人的题材。",[7,24,173,29,106,34,174,1351,86,227,177,109,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d70c5c72cefda0f9a15b291e9a86fa3.jpg","纵29.1厘米磺20.3厘米",[],{"id":70955,"slug":70956,"title":70957,"dynasty":18,"author":7349,"museum":20,"description":70958,"tags":70959,"thumbUrl":70960,"material":40,"size":40226,"collection":139,"collections":70961,"showCount":469,"zanCount":5,"manualWeight":48,"mainColor":49},234067,"shu-liu-han-ya-tu-ye-liang-kai-234067","疏柳寒鸦图页","图绘枯柳疏枝，两只乌鸦栖息于树干上，一只低头啄食，一只仰望高空，与远处的飞鸦呼应成趣，另有一只飞临树干。几枝败柳将冬季萧瑟的气氛巧妙地烘托出来，四只寒鸦形神各异。乌鸦头尾以浓墨点染，羽翼用焦墨勾写，腹部略敷白粉，更突出鸦头之黑，笔简神丰。\n梁楷的“减笔”画既带有文人的笔墨情趣，又能对物象高度概括，具有传神的效果，这在两宋花鸟画中是绝无仅有的。这种画法对元代的颜辉、明代的徐渭、清代的黄慎、近代的任伯年等著名画家都有较大的影响。",[209,7,173,10247,1562,83,3246,29283,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98edc522b970230b3f33e393d08d85c.jpg",[],{"id":70963,"slug":70964,"title":486,"dynasty":99,"author":3114,"museum":20,"description":14103,"tags":70965,"thumbUrl":70969,"material":4665,"size":7095,"collection":139,"collections":70970,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},234056,"shan-shui-ce-dong-qi-chang-234056",[7,24,81,29,27,173,26,105,177,652,1446,9111,558,35,7067,13516,23629,70966,86,227,70967,4134,70968,48561],"松涧","云树","平远秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg",[],{"id":70972,"slug":70973,"title":52111,"dynasty":18,"author":823,"museum":20,"description":70974,"tags":70975,"thumbUrl":70976,"material":67,"size":52116,"collection":139,"collections":70977,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},234035,"wu-zhu-xi-tang-tu-ye-xia-gui-234035","此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[7,209,81,178,173,27,177,29,242,24043,11340,108,109,430,431,313,114,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eaba403757890198eedd65e6a3143f.jpg",[],{"id":70979,"slug":70980,"title":70981,"dynasty":76,"author":55104,"museum":20,"description":70982,"tags":70983,"thumbUrl":70984,"material":990,"size":70985,"collection":181,"collections":70986,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},233918,"dai-lu-fang-bei-tu-ce-huang-yi-233918","岱麓访碑图册","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[7,173,177,81,29,175,34,650,106,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365d96a04c3dfd290a7d014ab25a0f80.jpg","纵17.4厘米，横50.8厘米",[181,90],{"id":70988,"slug":70989,"title":70990,"dynasty":99,"author":47573,"museum":20,"description":70991,"tags":70992,"thumbUrl":70993,"material":13982,"size":70994,"collection":139,"collections":70995,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},233913,"gui-zi-xiang-yuan-tu-zhou-xiang-yuan-bian-233913","桂子香园图轴","本幅墨笔，上方自题：”园同三五夜，香并一枝芬。项元汴戏为客写桂枝香园图，并题二美交胜，两间造化生物之妙有如此者吾不得而知亦无得而言。请客手眼无隐乎尔。“钦”墨林山人“”檇李“等印。\n项元汴（1524—1590年），明嘉兴（今浙江省嘉兴）人，字子京，号墨林山人，别号香岩居士、鸳鸯湖长、退密斋主人，收藏家、画家。富藏书画等古名物，在明代私家收藏中堪称巨擘。精鉴赏。常见主要印记有“项元汴印”、“子京”、“檇李项氏世家珍玩”、“神品”等。",[7,24,241,173,178,86,227,5565,242,298,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d180f3eaa8b34b9f6e6327b9d5e9f1a.jpg","纵104.5cm，横34.8cm",[],{"id":70997,"slug":70998,"title":70999,"dynasty":76,"author":953,"museum":20,"description":71000,"tags":71001,"thumbUrl":71002,"material":990,"size":71003,"collection":139,"collections":71004,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},233721,"hua-wu-gan-xiang-zhou-ren-yi-233721","画吴淦像轴","任颐为吴淦作《肖像轴》，纸本，设色，(各)纵130厘米，横56．6厘米。吴淦，字鞠潭，浙江杭州人。工文章，精楷书。",[7,24,241,27,28,106,1184,1575,27119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e980eff0928894cbc80bc9b850be8.jpg","纵130厘米，横56．6厘米",[],{"id":71006,"slug":71007,"title":28096,"dynasty":18,"author":823,"museum":20,"description":71008,"tags":71009,"thumbUrl":71011,"material":55201,"size":71012,"collection":139,"collections":71013,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},233212,"yan-xiu-lin-ju-tu-ye-xia-gui-233212","图中绘一老者走过板桥，沿小径而行，远处山林后隐现房舍一角，意境幽深。近景树石着重墨，中景以淡墨勾染，至远景则以极浅淡的水墨渲染出一片雾色，拉开空间层次。用笔轻松简洁，皴中带染，染中有皴，整体风格不失精致秀润。构图是夏圭惯用的半边式。\n此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。\n陈文璟：《烟岫林居图》营造的正是一种烟云境界，近处以重墨勾勒树木、山石、人物，皴染却以淡墨扫出，显得浓重透出空间来，使节奏感明快而庄重，而远山渺渺，烟雾缭绕，使背景和前景的对比更加突出，则人物所居，自然是“只在此山中，云深不知处”。尤为人不可及的当然是线条的凝练畅快，显示出画者的心态安定而悠闲忘机，既不媚世求欢，也不率意而狂狷，彬彬然，霭霭然，内敛而外平，越品味越觉意味深远，不免有“珠玉在侧，觉我形秽”的感慨。\n陈振濂：《烟岫林居图》为小团扇——这是宫廷内多见的特殊形式。笔墨皆一遍施足，不重复皴染——这是步骤的简；树木繁纷，但却以粗笔为之，形成几个团块组合，外形并不过于曲折回环——这是造型的简。远山一二而已，空白处尽量加多，以见旷达之趣、约略之景——这是构图的简。最后，并无峰回路转、溪桥重叠、丘壑幽深的气韵：一切都是平淡的、直率的、简约的。这三种简复合起来，即构成一个简洁的减笔夏挂。",[7,209,24,29,173,177,5990,864,430,12601,71010,12789,176],"居处","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73197fa365d71fb00c132cb41deb0b52.jpg","纵25cm，横26.1cm",[],{"id":71015,"slug":71016,"title":71017,"dynasty":76,"author":9039,"museum":78,"description":9040,"tags":71018,"thumbUrl":71019,"material":803,"size":139,"collection":139,"collections":71020,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},233188,"hua-hui-ce-he-hua-ye-zhao-zhi-qian-233188","花卉册-荷花页",[7,27,83,5990,136,137,135,7527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26b5eb62df5eecaa15fd2db8f768689.jpg",[],{"id":71022,"slug":71023,"title":7507,"dynasty":76,"author":1109,"museum":20,"description":7508,"tags":71024,"thumbUrl":71025,"material":803,"size":7511,"collection":139,"collections":71026,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},233129,"yuan-ji-shan-shui-ce-shi-tao-233129",[7,24,81,173,27,29,114,34,491,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ea36ca025104421f82367b525e57ec.jpg",[],{"id":71028,"slug":71029,"title":7507,"dynasty":76,"author":1109,"museum":20,"description":7508,"tags":71030,"thumbUrl":71031,"material":803,"size":7511,"collection":139,"collections":71032,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},233125,"yuan-ji-shan-shui-ce-shi-tao-233125",[7,24,81,173,27,29,107,1015,176,227,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ecd5e9a88ca195d5a33c884ecf3e42.jpg",[],{"id":71034,"slug":71035,"title":7507,"dynasty":76,"author":1109,"museum":20,"description":7508,"tags":71036,"thumbUrl":71037,"material":803,"size":7511,"collection":139,"collections":71038,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},233124,"yuan-ji-shan-shui-ce-shi-tao-233124",[7,173,27,177,81,29,107,108,109,174,175,34,35,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c602cd77091e21913fd0d6ad29641db.jpg",[],{"id":71040,"slug":71041,"title":71042,"dynasty":99,"author":55156,"museum":20,"description":71043,"tags":71044,"thumbUrl":71045,"material":1716,"size":71046,"collection":139,"collections":71047,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},233121,"zhao-xian-juan-zhang-ling-233121","招仙卷","此图又名《朝仙图》，是幅以景寓情的杰作。皓月当空的桥头处，一清丽女子低眉笼袖悄然伫立。作者通过绘女子的饰带微微上扬，岸边的芦荻摇摆不定，巧妙地暗示出晚风席地而起的寒意。通过构图上大面积留白的处理烘托出画面寂寞凄凉的氛围。女子在此萧索的情景中不禁惆怅慨叹之情陡起，而这种凄婉的心境亦是作者自身不得志的写照。 图中女子的画法承袭了宋元以来的“白描”技法。作者以墨笔勾描人物面部及衣纹服饰。线条遒劲圆转，富有表现力度并有轻重缓急等诸多变化，显示出作者以线造型的精湛造诣。此外，作者还根据所绘物象的不同巧妙地运用了墨染法，人物的头部以浓墨晕染，芦荻、芙蓉叶等为深墨晕染，衣装饰带用淡墨晕染，深浅程度不同的墨韵无疑起到了扩大画面的层次和空间感的作用。此图不仅是张灵的代表作，亦是明代白描人物画的精品之作。 明代张丑《清河书画舫》在著录此图时言：“张梦晋《朝仙图》卷后有唐子畏题咏。”但目前此图并无唐寅的咏题，显然后世好事者在张丑目睹之后将唐寅的题咏割去而移作它用了，从而令原是书画合璧之作减色，使张灵与唐寅间的笔墨交往失去了重要的佐证。在唐寅的《六如居士补遗》中查到他为此图所作的题咏，名为《招仙曲》：“郁金步摇银约指，明月垂珰交龙绮。秋河拂树蒹葭霜，哪能夜夜掩空床。烟中滉滉暮江摇，月底纤纤露水飘。今夕何夕良宴会，此地何地承芳佩。”显然，唐寅的诗情与张灵的画意是完全吻合的。",[7,24,25,173,260,59,300,1064,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed1d30780fb498a81dae48abdae7351.jpg","纵29.8厘米，横111.5厘米",[],{"id":71049,"slug":71050,"title":220,"dynasty":76,"author":850,"museum":20,"description":15230,"tags":71051,"thumbUrl":71053,"material":40,"size":15233,"collection":139,"collections":71054,"showCount":469,"zanCount":5,"manualWeight":48,"mainColor":94},232971,"hua-niao-ce-lang-shi-ning-232971",[209,7,24,81,28,27,13695,452,431,226,83,11350,34866,71052],"光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f6041cf4527a2b11a1a31782ac66d2a.jpg",[],{"id":71056,"slug":71057,"title":71058,"dynasty":76,"author":71059,"museum":206,"description":71060,"tags":71061,"thumbUrl":71062,"material":619,"size":71063,"collection":139,"collections":71064,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,7,24,241,173,27,28,177,29,106,34,1015,1575,35,31,176,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":71066,"slug":71067,"title":71068,"dynasty":18,"author":10870,"museum":364,"description":71069,"tags":71070,"thumbUrl":71072,"material":67,"size":71073,"collection":139,"collections":71074,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[23,209,7,25,27,26,28,29,430,2238,71071,24501,176,558,227],"獐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321",[],{"id":71076,"slug":71077,"title":71078,"dynasty":18,"author":27457,"museum":12966,"description":71079,"tags":71080,"thumbUrl":71081,"material":665,"size":71082,"collection":139,"collections":71083,"showCount":469,"zanCount":5,"manualWeight":48,"mainColor":49},232618,"luo-han-xi-zhuo-tu-li-zhou-lin-ting-gui-232618","罗汉洗濯图立轴","这幅画描绘的是佛教僧侣日常生活中的一个场景，属于一套一百幅描绘五百罗汉或佛教圣人的挂轴。这套画于1175年由一位佛教方丈委托，三年后由林庭珪和另一位画家周季常共同完成。这些画在13世纪被运往日本，最终成为京都佛教寺庙大德寺的财产。1894年，需要修缮资金的大德寺在美国波士顿展出了其中44幅卷轴，其中10幅售出。这幅画是当时日本人赠送给美国巡回展的组织者，后者于1902年把它卖给了查尔斯·朗·弗利尔（Charles Lang Freer）。\n此幅作品林庭珪用精确的轮廓和明亮、不透明的颜色画出了六个人物。画面中，五罗汉和他们的仆人正在洗衣服，并把衣服晾在外面晾干。右下角有几乎完全看不清的艺术家签名，用金粉题写。",[23,209,7,24,241,259,27,28,106,1015,109,650,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9932e8b6df250624925fe2c5bd5f4f.jpg","112.3×53.5cm",[],{"id":71085,"slug":71086,"title":71087,"dynasty":292,"author":71088,"museum":364,"description":71089,"tags":71090,"thumbUrl":71091,"material":743,"size":744,"collection":139,"collections":71092,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},231741,"an-tu-tao-shan-shi-dai-gui-tu-ping-feng-shou-ye-yong-de-231741","安土桃山时代 桧图屏风","狩野永德","狩野永德（1543年～1590年），日本画家。名州信，通称源四郎。1543年1月13日生于山越国（今京都），卒于1590年9月14日。他的传世作品还有《唐狮子屏风》、《桧图屏风》及《洛中洛外图屏风》等。",[23,209,7,24,1397,27,29,430,109,176,1329,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c0049bfcdc4c1a73a70e15f916753b.jpg",[],{"id":71094,"slug":71095,"title":71096,"dynasty":292,"author":293,"museum":364,"description":71097,"tags":71098,"thumbUrl":71100,"material":743,"size":744,"collection":139,"collections":71101,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},231659,"bu-dong-ming-wang-ba-da-tong-zi-xiang-yi-ming-231659","不动明王八大童子像","正中明王身色玄黑，忿怒相威严逼人，身周烈焰翻卷如浪，将降魔的慑人气场拉满。环伺的童子神态各异，或怒目圆睁彰显忿怒护法之态，或垂首恭谨尽显侍从之仪。\n衣纹线条苍劲流畅，朱砂焰纹与沉褐底色交织碰撞，古雅厚重的敷色晕染开岁月的质感。整幅画面主次分明，以明王为核心铺陈开密宗护法的仪轨秩序，工笔精湛入微，将密教忿怒本尊的威慑力与宗教美术的庄严感相融，虽经时光磨蚀，依旧能传递出镇邪安正的肃穆力量。",[23,7,24,259,106,27,23349,296,71099,28],"明王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F036997ed5ab0dc4ea2b11b135b0b2416.jpg",[],{"id":71103,"slug":71104,"title":71105,"dynasty":292,"author":49761,"museum":364,"description":71106,"tags":71107,"thumbUrl":71108,"material":743,"size":744,"collection":139,"collections":71109,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},231617,"bai-miao-shi-er-tian-tu-xiang-huo-tian-zhen-hai-231617","白描十二天图像 火天","本图为珍海（1092～1152）仿照醍醐寺三宝院相传的十二天像的图像临摹而成，在现存的十二天像立像中属于最古老的白描图像。",[23,7,24,241,259,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d650321fc7dcaf72841af7193f4ef4.jpg",[],{"id":71111,"slug":71112,"title":71113,"dynasty":292,"author":71114,"museum":364,"description":71115,"tags":71116,"thumbUrl":71117,"material":67,"size":71118,"collection":139,"collections":71119,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},231578,"hua-yin-ying-hua-tu-juan-guang-lai-231578","花隐樱花图卷","広瀬","江户时代樱花的萌芽增加，作者广濑花隐以描绘樱花而美丽。",[23,7,24,25,83,28,27,31181,1062,1461,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b5f9759be870fb50edb3c6a69b4f7f.jpg","21×31cm厘米",[],{"id":71121,"slug":71122,"title":71123,"dynasty":99,"author":293,"museum":238,"description":71124,"tags":71125,"thumbUrl":71127,"material":67,"size":292,"collection":139,"collections":71128,"showCount":469,"zanCount":5,"manualWeight":48,"mainColor":49},231542,"han-fu-ren-fang-shi-xiang-yi-ming-231542","韩夫人方氏像","此幅与韩宜可像当是对轴。韩宜可像题款疑伪，此款也是一人所作，亦是后添。",[23,7,28,27,106,50102,71126],"明代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca507ba8686491bdda53e04868c722e.jpg",[],{"id":71130,"slug":71131,"title":17857,"dynasty":189,"author":2519,"museum":364,"description":71132,"tags":71133,"thumbUrl":71134,"material":139,"size":139,"collection":139,"collections":71135,"showCount":469,"zanCount":5,"manualWeight":48,"mainColor":49},231479,"pu-tao-tu-zhao-meng-fu-231479","赵孟𫖯，字子昂，号松雪道人，别号鸥波、水精宫道人等。两浙西路乌程人。元代官员，书画家。其妻为元朝画家、诗人管道昇。元朝画家王蒙之外祖父。赵孟𫖯为宋室后代，后选择与元朝合作，并受到皇帝宠爱，“荣际五朝，名满四海”，官至翰林学士，是元代文人画、书法的领袖人物。",[7,24,241,173,178,3199,697,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10dcc024257120bea82518be05de76f.jpg",[],{"id":71137,"slug":71138,"title":71139,"dynasty":18,"author":293,"museum":206,"description":71140,"tags":71141,"thumbUrl":71142,"material":123,"size":26051,"collection":139,"collections":71143,"showCount":469,"zanCount":5,"manualWeight":48,"mainColor":49},231079,"xue-lu-shuang-yan-tu-yi-ming-231079","雪芦双雁图","《国宝在线:全景花鸟》介绍了我国古代绘画瑰宝，是表现我国古代花鸟绘画手法的珍品。\n包括：元朝张舜咨的《雪界翁黄鹰古桧图》，宋朝佚名的《雪芦双雁图》、《桃花鸳鸯图》、《梅竹聚禽图》，宋朝崔白的《双喜图》，宋朝李迪的《枫鹰雉鸡图》等。\n《国宝在线:全景花鸟》由 出版。",[7,209,24,241,28,27,8902,2522,281,245,1160,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e4009402f3bfb576c6fa71004de73d.jpg",[],{"id":71145,"slug":71146,"title":1692,"dynasty":18,"author":645,"museum":206,"description":71147,"tags":71148,"thumbUrl":71149,"material":139,"size":139,"collection":139,"collections":71150,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},230967,"shan-shui-tu-guo-xi-230967","此作以寒林雪霁铺陈意境，枯木老枝虬曲如铁，雪覆苍崖尽染萧寒之气。江间扁舟泊于寒波之上，舟中旅人围坐，将天地荒寒与人间暖意轻轻揉合。\n笔意苍润兼具，山石以卷云皴勾勒皴擦，留白尽显积雪厚重。枝桠以蟹爪笔法写就，枯涩清奇尽展冬日况味。半边取景铺陈开江天空寂辽远，于极简尺幅中藏着深挚诗意，将江湖旅人身处荒寒的幽微心绪淡淡晕开，静穆里揉着暖融烟火气，尽显寄情山水的雅致意趣。",[23,7,24,29,177,173,27,81,174,394,176,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685346f5eec9d79ffa2c528fdca60dc9.jpg",[],{"id":71152,"slug":71153,"title":71154,"dynasty":76,"author":3602,"museum":364,"description":3603,"tags":71155,"thumbUrl":71156,"material":743,"size":744,"collection":139,"collections":71157,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},230928,"lan-shi-tu-wang-wu-230928","兰石图",[7,24,1562,173,27,446,452,431,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818304cde9ff66cdef25c7b98f674d5b.jpg",[],{"id":71159,"slug":71160,"title":71161,"dynasty":292,"author":2163,"museum":364,"description":71162,"tags":71163,"thumbUrl":71164,"material":139,"size":139,"collection":139,"collections":71165,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},230484,"chang-hen-ge-tu-juan-shi-qi-shi-ji-shang-juan-shou-ye-shan-xue-230484","长恨歌图卷十七世纪（上卷）","这卷长卷以工笔重彩铺展离乱行旅，移步换景间复刻出千乘万骑西南行的史诗场面。从宫阙启銮到盘山栈道，扈从仪仗连绵逶迤，宫眷臣僚的形貌衣冠分毫毕现，屋宇建制严整合度，山石皴染带着苍劲古意。\n\n设色雅致清淡，细腻笔触里藏着仓皇离京的沉郁悲戚，将长诗里的恸惋具象为视觉图景。既是对唐代仪制的精细纪实，也把文学哀婉揉入疏密构图，以铺陈群像勾勒出时代恸哭，尽显古典叙事画的隽永张力。",[23,7,25,27,28,104,106,107,29,34,23349,108,1255,1237,15028,2094,432,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3f33a6b01bde2948c81fb1e32b14a2.jpg",[],{"id":71167,"slug":71168,"title":71169,"dynasty":76,"author":293,"museum":364,"description":71170,"tags":71171,"thumbUrl":71172,"material":743,"size":744,"collection":139,"collections":71173,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[7,27,28,177,25,29,107,108,109,900,175,34,35,119,32,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":71175,"slug":71176,"title":71177,"dynasty":76,"author":1204,"museum":364,"description":3273,"tags":71178,"thumbUrl":71179,"material":743,"size":744,"collection":139,"collections":71180,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},230285,"tang-sun-ti-shi-zhu-da-230285","唐孙逖诗",[23,7,24,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d7084dd8942d92792c4688b230d5796.jpg",[],{"id":71182,"slug":71183,"title":71184,"dynasty":76,"author":1204,"museum":364,"description":71185,"tags":71186,"thumbUrl":71187,"material":139,"size":139,"collection":139,"collections":71188,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},230275,"shan-shui-ce-12-fu-zhu-da-230275","山水册12幅","此作用笔枯淡老辣，以焦墨勾勒皴擦山石轮廓，删繁就简，褪去繁杂修饰，只留山水神骨。萧疏古木枝桠奇崛扭曲，带着孤傲冷逸的姿态，山居错落隐于林麓之间，藏着幽僻野趣。\n\n画作留白开阔肆意，将天地空寂的氛围感拉满，寥寥数笔便铺展出荒寒山居的清冷意境，把遗世独立的心境融于淡墨疏林之中。笔意简远通透，以极简的水墨写意尽显空灵禅味，清冷幽寂的山水图景，尽显水墨写意的高妙格调，将孤寂澹泊的心绪藏于每一处淡笔枯墨之中。",[7,173,81,177,227,29,176,34,35,491,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21323aa743aff19ec0971a23cc6574f.jpg",[],{"id":71190,"slug":71191,"title":45554,"dynasty":76,"author":9280,"museum":364,"description":71192,"tags":71193,"thumbUrl":71194,"material":139,"size":139,"collection":139,"collections":71195,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},230211,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-230211","《乾隆皇帝洗象图》是清代画家 创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[23,7,24,241,28,27,106,957,11351,7281,29,34,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],{"id":71197,"slug":71198,"title":71199,"dynasty":76,"author":707,"museum":364,"description":71200,"tags":71201,"thumbUrl":71202,"material":139,"size":139,"collection":139,"collections":71203,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[209,7,24,81,173,26,27,29,1575,176,34,109,108,174,432,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":71205,"slug":71206,"title":71207,"dynasty":76,"author":2083,"museum":364,"description":71208,"tags":71209,"thumbUrl":71210,"material":139,"size":139,"collection":139,"collections":71211,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},230141,"si-yan-lian-zheng-ban-qiao-230141","四言联","此作用笔纵逸老辣，主体“得大自在”四字雄开张拓，线条提按顿挫尽显朴厚筋骨，带着标志性的“六分半书”意趣，融诸体于一体，打破规整法度，奇崛跌宕。\n\n两侧小字题款灵动流美，与大字形成疏密虚实的鲜明对比，让整幅章法错落和谐，气息贯通无碍。墨色枯湿浓淡相宜，枯笔见苍劲，重墨显沉浑，将书法的形式美感与“得大自在”的禅意抒怀完美相融，尽显作者疏朗超脱的襟怀，把清人尚意抒怀的书法特质挥洒尽致，文气与笔力共生，是极具个人风格的书法精品。",[23,7,24,241,173,14744,178,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f41e7ff2e617d50d91127a94c018d01.jpg",[],{"id":71213,"slug":71214,"title":38578,"dynasty":76,"author":35607,"museum":364,"description":71215,"tags":71216,"thumbUrl":71217,"material":139,"size":139,"collection":139,"collections":71218,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},230113,"shan-shui-ce-ye-xi-gang-230113","此作用淡墨晕染铺就底色，山峦以枯笔皴擦勾勒嶙峋肌理，留白衬出山涧飞瀑，似能闻声泠泠。坡岸杂木错落，虬曲与挺拔相映，淡墨点叶疏密有致，尽染清秋疏朗况味。\n\n左侧茅舍临水幽居，隔绝尘嚣；右侧板桥孤悬，更衬林泉静寂。右上角题字清雅，与山水意境相融，满溢文人书卷之气。\n\n整幅以简淡为骨，笔意松秀空灵，不事浓丽雕琢，将出世幽居之思寄于萧散山光水色，以笔墨写心，尽显静穆淡远的林下之风，藏着文人心底的丘壑。",[7,24,81,173,177,29,176,34,558,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba38e7a5a03f2ceeed631fcab0deec5.jpg",[],{"id":71220,"slug":71221,"title":71222,"dynasty":76,"author":71223,"museum":364,"description":71224,"tags":71225,"thumbUrl":71226,"material":139,"size":139,"collection":139,"collections":71227,"showCount":469,"zanCount":5,"manualWeight":48,"mainColor":94},228971,"shan-shui-ce-ye-4-kai-ji-yun-228971","山水册页4开","纪昀","层岩如篆，方折奇崛，烟岚柔漫缠绕崖谷，虚实相生间划分出山林层次。半山幽轩凭岩而起，飞桥悬于流泉之上，山麓水榭凌波，扁舟静系矶头，屋舍藏于林泉深幽处，尽显幽居雅趣。\n\n笔墨刚柔相济，干笔硬挺勾勒方整岩块，皴写出山石苍劲质感，轻敷淡晕出空蒙烟岚。整幅取景清寂，将林下栖居的悠然意趣藏于山重水复之间，淡墨轻岚里晕染出简澹清远的文人意境，把林泉高致的隐逸情怀融于尺幅之中。",[23,7,24,81,173,177,29,107,175,174,176,34,37,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfb35ed9c8dbdfc3887c3b0034f1efa.jpg",[],{"id":71229,"slug":71230,"title":71231,"dynasty":99,"author":966,"museum":364,"description":39462,"tags":71232,"thumbUrl":71233,"material":743,"size":744,"collection":139,"collections":71234,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开",[23,7,24,1562,27,173,29,1575,35,106,1112,34,176,1445,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":71236,"slug":71237,"title":71238,"dynasty":99,"author":100,"museum":364,"description":4523,"tags":71239,"thumbUrl":71240,"material":743,"size":744,"collection":139,"collections":71241,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},228856,"shan-mian-hua-xuan-chou-ying-228856","扇面画选",[23,7,24,1562,28,27,106,174,29,430,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc80210af56788cd85ba9dc0cd734cc.jpg",[],{"id":71243,"slug":71244,"title":63819,"dynasty":99,"author":1012,"museum":364,"description":71245,"tags":71246,"thumbUrl":71247,"material":139,"size":139,"collection":139,"collections":71248,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},228425,"shan-shui-shi-kai-lan-ying-228425","此作用笔苍秀兼具，远景层峦叠嶂，云气轻笼，山寺浮屠隐现烟岚间，漾出幽寂禅意。近水岸洲渚错落，虬松杂木姿态夭矫，茅庐临水静立，板桥横卧浅流，野逸之趣扑面而来。以斧劈皴写山石，轮廓爽利劲健，墨色浓淡铺陈拉开远近空间层次，将林壑清旷冷寂与山居闲适安然相融，把林泉高致的隐逸向往寄寓寻常丘壑间，简淡尺幅里尽显苍润格调，是意韵悠然的山水小品佳构。",[7,209,24,29,173,177,81,69186,1432,50016,108,109,1575,14502,17768,18349,31058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7732be2a59ff5b0e60ffc6785e38c.jpg",[],{"id":71250,"slug":71251,"title":71252,"dynasty":99,"author":1083,"museum":364,"description":71253,"tags":71254,"thumbUrl":71255,"material":139,"size":139,"collection":139,"collections":71256,"showCount":469,"zanCount":5,"manualWeight":48,"mainColor":49},228280,"wu-xie-shan-tu-zhou-chen-hong-shou-228280","五泄山图轴","《五泄山志》是《五泄山志》编纂委员会编纂的地方志。\n本志记述范围，重点是五泄风景主景区9．5平方公里，以在建景区5平方公里为环界。\n有些必要涉及的人、物、事件，记述范围为传统意义上的整个五泄区域内。\n记述年代，上限不定，下限至2年，个别事件延伸到成稿之时。\n封面 五泄山志 《五泄山志》编纂委员会顾问 《五泄山志》编纂委员会 《五泄山志》编纂室 图片 江泽民与夏征农亲切握手 尉健行视察五泄 俞正声视察五泄 张德江视察五泄 曾培炎视察五泄 五泄导游图 绿树掩清溪 五泄水上森林公园 五泄东龙湫 夹岩烟雨 五泄东湫阁 白鹤临湖 五泄春来早 春在溪头 西源——绿色氧吧 银杏秋韵 江南罕见楠木林 画舫迎客 空气洁净蓝天白云 溪水悠悠 西源步幽亭 灵默真身塔 五泄禅寺 唐·灵默舍利子宝瓶 南北朝砖雕观音 果实(种子)化石 五泄古石器 灵默禅师舍利子 古寺玉兰 山龟 水濑 穿山甲 鸳鸯 眼镜蛇 花蝶 金钱豹 山鸡 蝶恋石蒜花 编纂人员合影 荣誉 陈洪绶《五泄图轴》 五泄山水甲天下 附图 序 《五泄山志》编辑凡例 概述 大事记 目录 第一篇 地理环境 第一章 自然地理 第一节 地理位置 第二节 地理面积 第三节 地理交通 第二章 地质地形 第一节 地质地层 第二节 风景地貌 第三节 土壤 第四节 地形成因 第三章 水文 第一节 水系 第二节 水文测量 第三节 雨量 第四节 经流量、水位 第五节 水质供水量 第四章 旅游气象 第一节 温度和日照 第二节 雨日和概率 第三节 雾和风 第四节 霜和雪 第二篇 自然资源 第五章 植物 第一节 木本植物 第二节 草本药物 第三节 古树名木 第六章 动物 第一节 哺乳纲(兽类) 第二节 鸟纲(禽类) 第三节 爬行纲 第四节 两栖、鱼纲 第五节 昆虫纲 第六节 其它类 第七章 土特产 第一节 土纸 第二节 茶叶 第三节 竹笋 第四节 干鲜果 第三篇 景区沿革 第八章 五泄畈村 第一节 姓氏由来 第二节 群落区划 第三节 移民外迁 第九章 五泄林场 第一节 历史演变 第二节 森林培育 第三节 森林管护 第四节 经营规划 第十章 五泄水库(五泄湖) 第一节 历史背景 第二节 建库经过 第三节 工程规模 第四节 工程效益 第五节 大坝除险加固 第六节 管理体制 第四篇 景区开发 第十一章 县级景区 第一节 项目提出 第二节 组织调查 第三节 确定建设 第四节 合力开发 第五节 首期规划 第六节 开通观瀑通道 第十二章 省级景区 第一节 实地调查 第二节 科学考察 第三节 组织考察 第三节 总体规划 第四节 批准省级景区 第十三章 国家重点风景名胜区 第一节 申报 第二节 创建 第三节 考察与评估 第四节 总体规划 第五篇 风景名胜 第十四章 平湖揽胜 第一节 紫藤长廊 第二节 坝顶揽胜 第三节 平湖泛舟 第四节 湖上观峰 第五节 湖后景观 第十五章 五级飞瀑 第一节 蛟龙出海 第二节 烈马奔腾 第三节 诸态备出 第四节 珠濂飘洒 第五节 隽永奇巧 第十六章 西源探幽 第一节 幽谷 第二节 奇峰 第三节 险崖 第四节 怪石 第五节 清溪碧潭 第六节 朱林 第七节 趣桥 第八节 紫微岭 第九节 刘龙坪 第十七章 开发中的景点 第一节 青口 第二节 玉京洞 第三节 遗址与沈氏宗祠 第六篇 宗教 第十八章 沿革 第一节 历史变迁 第二节 日寇罪迹 第三节 兴衰历程 第十九章 高僧 第一节 灵默 第二节 藏奂 第三节 良价 第四节 正元 第五节 苏溪 第六节 贯休 第七节 茂真 第八节 智三 第九节 敏康 第十节 慈明 第二十章 五泄禅寺 第一节 地理位置 第二节 悠久历史 第三节 寺院佛像 第四节 如意宝塔 第五节 寺院特色 第二十一章 良价祖庭 第一节 曹洞圣迹 第二节 良价出师图 第三节 祖师纪念像 第四节 曹洞宗风 第二十二章 寺院藏品 第一节 灵默石棺 第二节 舍利子宝瓶 第三节 祖师白玉像 第四节 佛像、陶俑、砖雕瓦档 第五节 匾牌、碑刻、字画 第二十三章 佛教活动 第一节 建立、健全寺内规章 制度 第二节 编印五泄禅寺史迹 第三节 开展佛教文化交流 第七篇 管理 第二十四章 管理机构 第一节 行政隶属 第二节 机构沿革 第三节 五泄风景旅游管理局 第四节 公安派出所 第二十五章 现代专业管理 第一节 文物管理 第二节 防火管理 第三节 林木管理 第四节 水库管理 第五节 卫生管理 第六节 规划管理 第七节 工商管理 第八节 安全管理 第八篇 旅游 第二十六章 游览活动 第一节 名人游山 第二节 旅游线路 第三节 大型活动 第二十七章 旅游接待 第一节 五泄旅游公司 第二节 诸暨旅行社 第三节 五泄游客接待中心 第二十八章 服务设施 第一节 馆舍 第二节 交通 第三节 通讯 第四节 商店 第五节 水电 第六节 娱乐 第二十九章 名产 第一节 土特产 第二节 风味小吃 第三节 工艺品 第九篇 文学艺术 第三十章 史志典籍摘抄 第一节 专著拾英 第二节 辞书条目 第三节 史志摘录 第四节 禅史节选 第三十一章 诗词 第一节 五泄胜景(综合篇) 第二节 飞瀑奇观 第三节 西源峡谷 第四节 禅寺觅踪 第五节 平湖掠影 第六节 歌曲 第七节 外围(规划)景点拾零 第三十二章 散记 第一节 游踪散记 第二节 游记纵揽 第三节 开发纪实 第三十三章 石刻联额 第一节 摩崖石刻 第二节 匾额楹联 第三节 书画墨宝 附：编余文化 第三十四章 民间传说 第一节 神话传说 第二节 民间故事 第三节 佚事旧闻 附：本志编辑参考书目 后记 版权页",[23,7,24,241,173,177,29,176,34,649,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4a8237865cb94c15e5ec9b1b99a949.jpg",[],{"id":71258,"slug":71259,"title":886,"dynasty":189,"author":19397,"museum":364,"description":71260,"tags":71261,"thumbUrl":71262,"material":139,"size":139,"collection":139,"collections":71263,"showCount":469,"zanCount":5,"manualWeight":48,"mainColor":49},228258,"mo-zhu-tu-zhang-yu-228258","此作用淡墨挥写新竹，枝茎瘦劲清健，自斜角逸出，竹叶疏密有致、俯仰生姿，寥寥数笔便将竹的疏朗孤傲尽显。不着浓艳，仅以水墨晕染出君子清拔之态，尽显文人写意画的极简意趣。\n画面搭配题咏诗书，印信点缀其间，诗书画印相融，将竹的霜节高格与作者幽淡襟怀合而为一，以竹喻人、托物言志。浅淡墨痕里藏着林下高致，萧散笔墨间尽是淡泊脱俗的心境，虽是水墨小品，却将文人画借物抒怀的意韵表达尽致，尽显水墨写心的清雅魅力。",[23,209,7,24,173,178,227,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55750a6d6d41cc71996763bb18ed76ba.jpg",[],{"id":71265,"slug":71266,"title":71267,"dynasty":189,"author":9595,"museum":364,"description":71268,"tags":71269,"thumbUrl":71270,"material":139,"size":139,"collection":139,"collections":71271,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[23,209,7,24,25,260,28,259,106,957,34,176,7464,15028,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],{"id":71273,"slug":71274,"title":71275,"dynasty":18,"author":293,"museum":364,"description":71276,"tags":71277,"thumbUrl":71278,"material":139,"size":139,"collection":139,"collections":71279,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},227879,"liu-yuan-xiao-shu-tu-ye-yi-ming-227879","柳院消暑图页","此作以雅致设色铺就消暑闲景。水岸庭院柳丝垂曳，将溽暑揉作柔婉绿意，半掩着临水楼阁。凭栏高士宽袍松带，懒倚轩窗，似在静听蝉鸣、细观涟漪，将暑热倦怠化为幽居闲情。\n屋下侍童躬身奉物，院角仆从悄然添茶，细碎日常衬出庭院松弛意趣。远景浅黛山峦晕染淡远，水色空濛晕着暑日微光，近院花卉娇柔点染，明暗虚实间，将江南夏日常住的清宁消暑意趣尽数铺展，淡而不寡，雅而不奢，尽显宋人的幽居美学，把溽暑里的闲静安然，尽数藏进这绢素方寸之中。",[23,209,7,24,1562,27,28,104,106,107,3246,243,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd078e473f04ccec6ad7f49b6b5cb6b48.jpg",[],{"id":71281,"slug":71282,"title":71283,"dynasty":18,"author":32274,"museum":364,"description":71284,"tags":71285,"thumbUrl":71287,"material":139,"size":139,"collection":139,"collections":71288,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},227755,"jiang-di-fang-mu-tu-yan-ci-ping-227755","江堤放牧图","《四季牧牛图》是南宋画家阎次平创作的绢本浅设色画，现藏于南京博物院。\n\n此画共四幅。春牧绘春野柳坡，细草如茵，一童牧二牛于其间。夏牧绘高树浓荫，芦池夏草，二童跨牛浮水而渡。秋牧绘霜叶满地，幼犊依偎于牝牛，牡牛缓步于傍，牝牛坐弄蟾蜍。冬牧绘雪地残草，寒风呼号，牧童牵牛而归。全图画树木用笔粗简，画牛则精细勾描，人物尤为生动。",[23,7,24,1562,27,29,177,28,151,71286,34,491,245,109,52468],"堤岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a261f44b092c6d8d8542f432afd33d.jpg",[],{"id":71290,"slug":71291,"title":71292,"dynasty":18,"author":32274,"museum":364,"description":71293,"tags":71294,"thumbUrl":71295,"material":139,"size":139,"collection":139,"collections":71296,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[23,7,24,1562,27,29,177,227,1575,107,174,176,34,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":71298,"slug":71299,"title":32158,"dynasty":18,"author":27510,"museum":364,"description":71300,"tags":71301,"thumbUrl":71302,"material":139,"size":139,"collection":139,"collections":71303,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},227711,"zhong-shan-chu-you-tu-juan-gong-kai-227711","《中山出游图》是元代画家龚开创作的一幅墨笔画，现藏于美国弗利尔美术馆。\n\n《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面。",[23,7,24,25,260,173,106,150,7464,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1438e1115f4bdc1b4a44a1253afcd6a.jpg",[],{"id":71305,"slug":71306,"title":71307,"dynasty":18,"author":6652,"museum":364,"description":48596,"tags":71308,"thumbUrl":71311,"material":139,"size":139,"collection":139,"collections":71312,"showCount":469,"zanCount":5,"manualWeight":48,"mainColor":94},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷",[23,7,24,25,173,177,227,178,1308,29,649,37,6922,71309,71310],"雨后","放晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a30fa25fd1b03b5b47718accee7969.jpg",[],{"id":71314,"slug":71315,"title":71316,"dynasty":18,"author":377,"museum":364,"description":71317,"tags":71318,"thumbUrl":71319,"material":139,"size":139,"collection":139,"collections":71320,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},227587,"zao-jiang-tie-huang-ting-jian-227587","糟姜帖","庭坚顿首，承惠糟姜银杏，极感远意，雍酥二斤，青州枣一蔀，漫将怀向之勤，轻渎不罪，庭坚顿首。\n\n《糟姜帖》，又称《承惠帖》，凡5行，37字。无书写时间，从笔法、结体、风格来判断，应是早年所书，大约书于 1086-1093元祐年间。此帖深得张旭、怀素草书飞动洒脱之神韵。用笔紧峭，瘦劲奇崛，气势雄健，结体变化多端。从首行下笔处，便见笔墨自由舒展，至末尾更显随意，可谓心手双畅，臻入化境。此篇手札虽小，而意含万千气象，达到了东坡所谓“少小时须气象峥嵘、彩色绚烂，渐老渐熟，乃造平淡”、“无意于佳乃佳”的境界。",[209,7,24,178,227,11744,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f56cd8e80bf195332966996f270d3b.jpg",[],{"id":71322,"slug":71323,"title":71324,"dynasty":18,"author":293,"museum":364,"description":71325,"tags":71326,"thumbUrl":71327,"material":139,"size":139,"collection":139,"collections":71328,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},227549,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-227549","仿郭忠恕雪霁江行图","长于界画的河南籍画家郭忠恕，以纯以墨线描绘两艘冒雪前行、满载货物的船只。画中不但表现了对船体正确结构的兴趣，也呈现出船夫们多样的活动情态，可藉此图想见五代宋初北方界画达到的艺术水平。",[23,7,24,25,104,28,27,29,107,149,4974,67802,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],{"id":71330,"slug":71331,"title":54641,"dynasty":18,"author":645,"museum":364,"description":60691,"tags":71332,"thumbUrl":71333,"material":139,"size":139,"collection":139,"collections":71334,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":49},227542,"qiu-shan-ce-zhang-tu-guo-xi-227542",[23,7,1562,29,106,34,109,176,177,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301e81485e068c4f080628a129182f75.jpg",[],{"id":71336,"slug":71337,"title":71338,"dynasty":18,"author":293,"museum":364,"description":71339,"tags":71340,"thumbUrl":71341,"material":139,"size":139,"collection":139,"collections":71342,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":94},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 依据款署“太古遗民”推断，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。另根据“东皋”钤印判断，这位画家有可能籍贯为东皋 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为临摹佳作。",[7,29,105,177,394,175,173,106,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca037d8d8480d96f45fd4a1bddbddb7.jpg",[181],"a39385",{"id":72036,"slug":72037,"title":72038,"dynasty":76,"author":72039,"museum":78,"description":72040,"tags":72041,"thumbUrl":72042,"material":139,"size":139,"collection":90,"collections":72043,"showCount":469,"zanCount":48,"manualWeight":48,"mainColor":72044},201804,"bi-tao-tu-zhou-chen-hong-shou-201804","碧桃图轴","陈鸿寿","疏枝横斜逸出，嫩蕊轻绽如霞。碧桃枝干以淡墨勾勒，枯笔皴擦显苍劲之态；花瓣晕染浅粉，柔色衬清雅之姿。新叶带浅绿，与墨韵相映，留白处似有春风拂过，悄然唤醒生机。题字笔势洒脱，与花木之态相融，尽得文人画的逸趣。不施浓艳，却于简约中见情致，仿佛能闻桃李轻香，窥见春日温婉。",[7,83,279,173,27,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dc6deea2855b90471b76eb2dc5e1a3b.jpg",[90],"e4d9df",{"id":72046,"slug":72047,"title":72048,"dynasty":189,"author":33234,"museum":364,"description":72049,"tags":72050,"thumbUrl":72051,"material":743,"size":744,"collection":139,"collections":72052,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":49},291031,"yu-shan-xuan-pu-zhou-zhu-de-run-291031","雨山喧瀑轴","这一幅描绘两名士人带着一名童子，在松林漫步悠游。远方是重叠的山峦，山谷中有楼阁隐约可见。一道山泉从山峰高处顺流而下，且穿通松林，使整幅画能上下一气相连急。用笔稳重沉着，山石，丛林的写形和用墨有圆浑厚重的惑觉。",[209,7,24,29,241,173,177,864,34,558,23103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F383c7c073b810b6b165400aa7faf0336.jpg",[],{"id":72054,"slug":72055,"title":72056,"dynasty":99,"author":4314,"museum":364,"description":72057,"tags":72058,"thumbUrl":72059,"material":743,"size":744,"collection":139,"collections":72060,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},290981,"liu-tang-qin-ji-tu-zhou-lv-ji-290981","柳塘禽集图轴","吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。",[7,241,3529,1397,28,27,1352,176,2994,281,15186,1938,1250,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe936e3fc90e57a92a37ae1980b1caf.jpg",[],{"id":72062,"slug":72063,"title":72064,"dynasty":99,"author":29367,"museum":364,"description":72065,"tags":72066,"thumbUrl":72067,"material":743,"size":744,"collection":139,"collections":72068,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":49},290880,"wu-lu-tu-zhou-wang-zhao-290880","五鹿图轴","画面中，五只鹿伫立在弥漫浓雾的山野之间，身体互相紧靠，有的回首张望，有的则是低头作嚼草状。一旁生长着松、竹的植物和色彩斑烂的花卉，周围则环绕岩石及河流。白鹿在古代被视为象征长寿的仙兽，当牠与长青的松、竹画在一起，通常有为人祝寿、贺吉祥的意涵。\n鹿身上的毛色，由浓淡、长短不一的墨线画成，加上细微的渲染，毛皮的质感看起来自然生动。对比之下，周围的树、石以及云霭，则是以粗放快速的笔法或是大片水墨渲染来表现，让画面充满了奇诡变化的气氛。这幅作品旧传为明代陈淳画，可是由这些笔墨的技巧来判断，应该出自浙派画家汪肇的手笔。他另外有一幅〈松鹿图〉（日本私人收藏）流传下来，与本幅的风格相当接近。汪肇擅长以淡墨烘染云海，制造自然瞬息万变的效果，这也是他自号为「海云」的由来。",[7,24,241,957,3167,28,27,1575,176,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ca000543247c0dd42e1e0e9e72342f.jpg",[],{"id":72070,"slug":72071,"title":31373,"dynasty":189,"author":487,"museum":206,"description":31374,"tags":72072,"thumbUrl":72073,"material":743,"size":744,"collection":139,"collections":72074,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},290831,"xi-shan-gao-yi-zhou-wang-meng-290831",[7,241,29,177,27,175,109,394,1575,1726,18349,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660a5fbcc2acc542b720d3d43b3f5381.jpg",[],{"id":72076,"slug":72077,"title":72078,"dynasty":189,"author":293,"museum":206,"description":72079,"tags":72080,"thumbUrl":72081,"material":123,"size":72082,"collection":44,"collections":72083,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},290744,"xi-ying-tu-zhou-yi-ming-290744","戏婴图轴","儿童生性活泼好奇﹐在他们的眼裏﹐每样事物都新奇有趣﹐都想要探索、尝试。而游戏﹑玩具﹐不仅能启发心智，也能锻练强健的体魄﹐是他们用以探索世界的工具。儿童在嬉戏中﹐生动活泼的姿态，专注喜悦的表情，稚拙可爱的模样，不只让人心生怜爱，更能感受到童稚世界的无忧无虑，是画家喜好的题材，这种以孩童嬉戏为主题的画作，称为《婴戏图》。\n南宋以後﹐文人画发达﹐不再重视精描细绘的写实工夫，画家在描绘孩童时﹐不是将孩童画得老气横秋﹐便是画得身小而貌壮，少年老成，无法掌握儿童纯稚的神韵﹐故以婴戏画知名的画家锐减。而婴戏图中孩童纯真可爱的形象，特别能表现节庆欢乐的气氛，有祈福求安的意义，此幅婴戏图，画冬日一孩童骑一羊﹐在羊群中嬉戏，设色穠丽﹐描写工细﹐画面生动，富有生活情趣。",[7,27,28,106,19850,8368,957,449,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa72e70c165dd262e8aede4cfe1ac85d.jpg","90.4x56.1",[44],{"id":72085,"slug":72086,"title":72087,"dynasty":18,"author":293,"museum":364,"description":72088,"tags":72089,"thumbUrl":72092,"material":743,"size":744,"collection":139,"collections":72093,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},290713,"xian-yan-shou-lu-zhou-yi-ming-290713","仙岩寿鹿轴","宋代绘画“院体”画风流行，“院体”追求寓意性和写实性，讲究状物传神，并要有寓兴、象征的旨趣。此轴构图真实生动，画面工致绚丽，传递富贵吉祥之意。",[7,209,241,27,28,106,59,957,3167,72090,72091],"仙草","仙道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe316258c1e645f26cb8f668abb82884b.jpg",[],{"id":72095,"slug":72096,"title":20118,"dynasty":18,"author":293,"museum":206,"description":72097,"tags":72098,"thumbUrl":72099,"material":123,"size":72100,"collection":42,"collections":72101,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},290686,"guan-mei-tu-zhou-yi-ming-290686","此图描绘山石中,微露屋檐的一角,一位士人依凭著栏杆,观赏雪中寒梅",[7,209,241,104,173,106,107,29,448,449,15976,2502,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc7fa2e59132c477924c220213ce4f6.jpg","109.6x53.6",[42],{"id":72103,"slug":72104,"title":72105,"dynasty":18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，元代著名的女书法家、画家、诗词创作家。\n南宋景定三年生。幼习书画，笃信佛法。曾手书《金刚经》数十卷，赠名山寺。嫁元代吴兴书画名家赵孟頫为妻，封吴兴郡夫人，世称管夫人，延祐四年（1317年），封魏国夫人。\n管道昇所写行楷与赵孟頫颇相似，所书《璇玑图诗》笔法工绝。精于诗。尤擅画墨竹梅兰。晴竹新篁，为其首创。延佑六年（1319年）病逝。存世的《水竹图》等卷，现藏北京故宫博物院，《竹石图》1帧，藏台湾故宫博物院。",[209,7,173,241,242,245,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7878310a226e545764562d59ddf2c7.jpg","87.1x28.7",[],{"id":72389,"slug":72390,"title":72391,"dynasty":99,"author":1480,"museum":364,"description":3145,"tags":72392,"thumbUrl":72393,"material":743,"size":744,"collection":139,"collections":72394,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},287518,"hua-shan-tu-zhou-tang-yin-287518","华山图轴",[23,7,24,241,29,173,27,177,19003,109,558,107,176,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319ea38f2626b03e03ba78a2222a254b.jpg",[],{"id":72396,"slug":72397,"title":72398,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":72399,"thumbUrl":72400,"material":743,"size":744,"collection":139,"collections":72401,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},287349,"gao-xian-ren-wu-tu-chen-hong-shou-287349","高贤人物图",[23,7,209,24,241,27,106,759,5579,12876,10854,10855,12877,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59eaa13f4b03c1b47792d71384cb70.jpg",[],{"id":72403,"slug":72404,"title":72405,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":72406,"thumbUrl":72407,"material":743,"size":744,"collection":139,"collections":72408,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},287346,"xuan-wen-jun-shou-jing-tu-zhou-chen-hong-shou-287346","宣文君受经图轴",[23,7,241,27,106,29,28,899,176,72185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f12a320ccaa2dba818f040040e0b0b0.jpg",[],{"id":72410,"slug":72411,"title":72412,"dynasty":18,"author":3103,"museum":364,"description":14281,"tags":72413,"thumbUrl":72414,"material":743,"size":744,"collection":139,"collections":72415,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},287318,"xian-shan-tai-xie-tu-juan-zhao-bo-ju-287318","仙山台榭图卷",[23,7,24,25,104,26,27,28,29,107,108,109,1398,30847,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01f4b5acfb3873ec5468ae4addbdf22c.jpg",[],{"id":72417,"slug":72418,"title":72419,"dynasty":18,"author":42438,"museum":364,"description":72420,"tags":72421,"thumbUrl":72422,"material":743,"size":744,"collection":139,"collections":72423,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},283631,"ling-mao-tu-zhu-ke-rou-283631","翎毛图","朱克柔 ，生卒年不详。幼习绘画与缂丝(也称刻丝)，积累配色和运线经验。她与定州的沈子藩等同为宋代缂丝名家。宋徽宗至高宗时期以织造缂丝著称于世，亦善画。",[209,7,24,241,27,83,4538,242,281,245,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750f0f6937d978894ba7511138e12445.jpg",[],{"id":72425,"slug":72426,"title":72427,"dynasty":76,"author":64370,"museum":364,"description":72428,"tags":72429,"thumbUrl":72430,"material":139,"size":139,"collection":382,"collections":72431,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},240402,"liu-zong-yuan-shi-zhou-li-shi-zhuo-240402","柳宗元诗轴","李世倬[清]（1687―1770）字天章，一字漢章、天濤，別號十石居士、太平拙吏、伊祁山人、清在號谷齋，又號菉園、星厓，居士，奉天（今遼寧瀋陽）人，一作三韓（今內蒙喀喇沁旗西南）人，隸籍漢軍正黃旗。如龍子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人稱李太常。\n善畫山水、人物、花鳥、果品，各臻其妙。少隨父宦遊江南，見王翬（1632—1717）得其講論，後與馬逸遊，故宗法純正而筆亦秀雋。其人物，自言得吳道子水陸道場圖而閲之，遂悟其法。其花鳥、果品各種寫意，蓋得諸舅氏之指墨而易以筆，故能各名一家。晚年喜用指墨作人物、花鳥小品，以焦墨細擦，頗得輕重淺深之致。年逾八旬猶能作畫，書小楷。",[7,24,241,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd077ee39e7390f7a56bda17b054e41.jpg",[382],{"id":72433,"slug":72434,"title":72435,"dynasty":99,"author":72436,"museum":20,"description":72437,"tags":72438,"thumbUrl":72439,"material":803,"size":72440,"collection":382,"collections":72441,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},239988,"shi-zhou-ni-yuan-lu-239988","诗轴","倪元璐","诗轴用笔迅捷，酣畅洒脱，其结体多取斜姿，以求奇险之势，气息较为古朴。虽未署年款，但从书风、款印分析，当为倪氏中期向晚期过渡时的作品。",[7,24,241,227,178,1147,86,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e8ea93099a42877a977dd039276642.jpg","纵133.7厘米，横41.9厘米。",[382],{"id":72443,"slug":72444,"title":40569,"dynasty":76,"author":2804,"museum":364,"description":72445,"tags":72446,"thumbUrl":72447,"material":139,"size":139,"collection":382,"collections":72448,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},239945,"qi-yan-lian-wu-chang-shuo-239945","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 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。 颇能诗文，著有《画禅室随笔》《容台文集》等。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸。\n他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。\n如《遥峰泼翠图》，整个画面不过是干远景而已，笔墨也很简单，但神韵、骨力俱足。画面的前部作一隅坡脚，缀以数块荒石。坡脚上有三株老树，交错而立。中间一株是夹叶树，稍事勾勒，却枝叶备见；旁边两株的树叶，则充分发挥泼墨的作用，左以直抹示盘曲，右以横点示傲岸，浓淡相间，一派生机。画面上部以淡墨一抹而就，远山横贯，仅见轮廓隐人天际，山体却茫茫然，仿佛烟岚萦绕，雄浑无比。作者再用浓墨在一片淡远的景色中，染出几处高低错落的树叶，远近有致，层次丰富，烟云流动，充塞渚岸。左侧绘有小坡，坡上以横墨抹出数株直树。中间汪洋大水，不施笔墨，而万顷湖面浩瀚无涯之气势跃然纸上。此图长225厘米，宽75厘米，如此大幅立轴，只寥寥地布置些近树远山，就把握住整个画面峰遥、水阔、树翠的神情。这正是董其昌巧妙地运用“王洽泼墨，李成惜墨，两家合之，乃成画诀”的结果。\n全幅似疏似漏，但没有照应不到的地方，用笔爽利遒劲，又含蓄灵秀，纯以墨色气势的润泽、醒目而动人遐思。如不是熟练地掌握“空处有画”的本领，就不会有这样高明的布局。有人认为这是董其昌从“宽能走马、密不通风”的书体结构中触悟而得，这并不是没有道理的。整幅立轴不设色，但面貌清丽，有咫尺千里之势，给人以远深宁静的感觉。\n再如他暮年所作《关山雪霁图》，山峦林壑，绵延无际。右方重峦叠嶂，气势沉雄。中间幽壑重重，峭壁矗立，村落、丛林、流泉、山径，错落有致，杂而不乱；大江曲折跌宕其间，虽有干岩万壑，亦无窒碍不通的感觉。左方云烟弥漫，浸淫树石，路遥山重，隐人微茫，深远莫测，意味不尽。图中以渴笔钩勒峰峦山石，皴擦的运用极其准确、灵活，而线条流走轻快，疏密得宜。山冈陵石的凹凸明暗，则以横点巨苔，配上淡墨直皴的层层渲染来加以完成，技巧纯熟，无懈可击。意境朴厚深邃，很有“千山鸟飞绝，万径人踪灭”的诗意。\n全图用笔老辣生拙，骨力练达，墨气鲜润，绝去甜俗，以疏旷之笔，画出凝寒淡远的景致。卷尾数行行楷跋文，书体娟秀刚劲，更使此图富有书卷气，爽朗潇洒，自具风格。正如中国当代书画家南山乐山评论董其昌的艺术特点说：董香光（董其昌）满腹经纶，故能笔清墨润，山色如洗，宁静深邃，绝无尘垢。",[7,24,241,173,177,178,29,107,34,176,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e1cb89fb263ea27a05dc148575c163.jpg",[382],{"id":72628,"slug":72629,"title":39204,"dynasty":99,"author":14805,"museum":364,"description":72630,"tags":72631,"thumbUrl":72632,"material":139,"size":139,"collection":139,"collections":72633,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},237478,"guan-pu-tu-zhou-wen-jia-237478","此作用高远章法铺展景致，山峦以淡墨轻皴，留白晕出空濛云气，层叠峰峦间苍松虬劲挺秀。涧谷飞瀑蜿蜒穿林而下，松下幽人临流观瀑，野逸悠然。\n\n笔墨秀雅温润，以淡赭轻敷晕染山林，简淡笔触里尽显苍润质感，尽显清隽雅致的意趣。题诗与画境相融，将林泉高致的隐逸情怀藏于尺幅间，把文人寄情山水、静享丘壑的雅怀，化作可感的画面，是明代文人山水画中寓情于景的典型佳构。",[209,7,24,241,173,177,29,558,34,176,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f782bbeca3d1ae43c0ee0954efdb627.jpg",[],{"id":72635,"slug":72636,"title":72637,"dynasty":99,"author":67201,"museum":364,"description":72638,"tags":72639,"thumbUrl":72640,"material":743,"size":744,"collection":139,"collections":72641,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":271},237458,"fang-ju-ran-shan-shui-shan-ye-yun-xiang-237458","仿巨然山水扇页","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[7,24,1562,173,177,105,29,176,34,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33bb82ef2826a18b206fb0142da7222.jpg",[],{"id":72643,"slug":72644,"title":72645,"dynasty":99,"author":72436,"museum":364,"description":72646,"tags":72647,"thumbUrl":72648,"material":743,"size":744,"collection":139,"collections":72649,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},237455,"hua-zhu-shan-mian-ni-yuan-lu-237455","画竹扇面","倪元璐（1594年1月7日－1644年4月25日），字汝玉，一作玉汝，号鸿宝，浙江绍兴府上虞（今绍兴市上虞区）人。明末官员、书法家。\n天启二年（1622年），倪元璐中进士，以庶吉士授编修，后出主江西乡试。崇祯八年（1635年）任国子祭酒，因被控“妾冒妻封”而落职。南归后居绍兴城中。崇祯十五年（1642年）起用为兵部右侍郎兼侍讲学士，次年拜户部尚书兼翰林院学士，不久又兼摄吏部。崇祯十七年（1644年）初，大顺军逼近北京，倪元璐请修南京宫殿，以备不测，但未被采纳。三月，北京失陷，倪元璐自缢以殉节。南明弘光元年（1645年），追赠少保、吏部尚书，谥号“文正”。后清廷赐谥“文贞”。\n倪元璐书法灵秀神妙，行草尤极超逸，最得王右军、颜鲁公和苏东坡三人翰墨之助， 用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[7,24,1562,173,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd517f81d0d7c20154e029aba7a5a37.jpg",[],{"id":72651,"slug":72652,"title":72653,"dynasty":76,"author":68809,"museum":364,"description":72654,"tags":72655,"thumbUrl":72656,"material":139,"size":139,"collection":139,"collections":72657,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},237445,"xue-jing-mei-zhu-shu-wu-shan-mian-wu-gu-xiang-237445","雪景梅竹书屋扇面","以淡墨晕染积雪，留白铺就天地清寒底色。虬曲梅枝破雪而出，细小红萼点点，暗透生机；修竹亭亭立雪，墨色浓淡层叠，苍劲枝叶凝着雪意，更显挺秀疏朗。覆雪湖石隐现棱骨，留白处尽是薄雪覆地，极简便烘托出冬日清寂。右侧题字清雅疏朗，书画相映成趣。\n\n整体笔意秀润温婉，无萧索苦寒，反倒带着幽淡文人气韵，将岁寒梅竹的清逸风骨收于扇面尺幅间，静谧雅致，尽显文人幽怀雅趣。",[7,24,1562,173,2502,448,242,6698,245,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf01914bbf0494ae177982be3e9f7bab.jpg",[],{"id":72659,"slug":72660,"title":131,"dynasty":99,"author":1296,"museum":56,"description":21976,"tags":72661,"thumbUrl":72662,"material":1642,"size":21979,"collection":139,"collections":72663,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},237439,"hua-hui-ce-xiang-sheng-mo-237439",[7,24,81,27,28,178,227,83,84,8682],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf592fb900225f870b4311f0ff219a0.jpg",[],{"id":72665,"slug":72666,"title":57697,"dynasty":99,"author":4904,"museum":364,"description":12028,"tags":72667,"thumbUrl":72668,"material":743,"size":744,"collection":139,"collections":72669,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":94},237418,"shan-shui-shan-lu-zhi-237418",[7,24,1562,29,177,27,864,430,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dc2286a29440d23512f2e1af77a0ce.jpg",[],{"id":72671,"slug":72672,"title":1108,"dynasty":76,"author":72673,"museum":364,"description":72674,"tags":72675,"thumbUrl":72676,"material":743,"size":744,"collection":181,"collections":72677,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},237389,"shan-shui-tu-ce-xue-xuan-237389","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[7,27,81,29,864,297,430,33,1532,649,4663,27092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6087b7a29c377aafef71cea9d8bd43f7.jpg",[181],{"id":72679,"slug":72680,"title":72681,"dynasty":99,"author":1480,"museum":364,"description":3145,"tags":72682,"thumbUrl":72683,"material":743,"size":744,"collection":139,"collections":72684,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},237363,"she-yang-tu-zhou-tang-yin-237363","射杨图轴",[7,24,241,173,260,106,245,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699dfa326d67bbf86297196d4ed32fab.jpg",[],{"id":72686,"slug":72687,"title":72688,"dynasty":76,"author":4199,"museum":364,"description":12591,"tags":72689,"thumbUrl":72690,"material":743,"size":744,"collection":139,"collections":72691,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},237354,"mei-zhu-shan-ye-xu-gu-237354","梅竹扇页",[7,24,1562,27,83,448,242,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9142378bc6645716ae50ea0e5e864d.jpg",[],{"id":72693,"slug":72694,"title":486,"dynasty":76,"author":15992,"museum":20,"description":15993,"tags":72695,"thumbUrl":72696,"material":990,"size":139,"collection":139,"collections":72697,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},237198,"shan-shui-ce-sun-yi-237198",[7,24,81,27,29,108,109,176,34,107,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954605f0ec578727ceb27cb1524adb3d.jpg",[],{"id":72699,"slug":72700,"title":20986,"dynasty":76,"author":2725,"museum":20,"description":20987,"tags":72701,"thumbUrl":72702,"material":990,"size":139,"collection":139,"collections":72703,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},237178,"hua-niao-kun-chong-ce-zhou-quan-237178",[7,24,81,27,28,83,712,450,1064,932,604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41aa9c65a510594189b75d82abf7fce.jpg",[],{"id":72705,"slug":72706,"title":72707,"dynasty":99,"author":221,"museum":364,"description":61710,"tags":72708,"thumbUrl":72709,"material":743,"size":744,"collection":139,"collections":72710,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},236813,"mo-zhu-shan-ye-sun-ke-hong-236813","墨竹扇页",[7,1562,173,242,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631b59634d6881d5c6668c1f12868788.jpg",[],{"id":72712,"slug":72713,"title":72714,"dynasty":99,"author":293,"museum":364,"description":72715,"tags":72716,"thumbUrl":72717,"material":743,"size":744,"collection":139,"collections":72718,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},236812,"wu-ling-hu-qiu-ye-yue-shan-mian-yi-ming-236812","吴令虎丘夜月扇面","此作用笔秀雅柔婉，金笺为底，以淡墨轻晕出月夜空蒙氛围。近岸坡石苍润，杂木扶疏，浅施淡赭点染秋意，林畔台榭中文士雅聚，凭栏观景，意态悠然。湖面空阔澄澈，扁舟浮于烟波间，对岸林峦隐约，山寺佛塔挺立于丘巅，古意盎然。\n构图虚实相映，以简淡笔墨铺陈出清寂悠远之境，将江南山水的秀润空灵与文人夜游的隽雅意趣相融，尽显温润静穆的文人幽怀。",[7,24,1562,27,177,29,107,34,176,109,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3b1728139ee896dc3d11865e1eae57.jpg",[],{"id":72720,"slug":72721,"title":220,"dynasty":76,"author":6456,"museum":364,"description":6457,"tags":72722,"thumbUrl":72724,"material":139,"size":20,"collection":139,"collections":72725,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},236613,"hua-niao-ce-ma-yuan-yu-236613",[7,24,81,173,27,446,83,72723,698,226,227],"板栗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261498a4d6e42c115e8696a7c858dffe.jpg",[],{"id":72727,"slug":72728,"title":72729,"dynasty":76,"author":707,"museum":364,"description":72730,"tags":72731,"thumbUrl":72732,"material":139,"size":139,"collection":181,"collections":72733,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},236422,"song-yin-bing-pei-zhou-hua-yan-236422","松荫并辔轴","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。",[7,24,241,27,29,449,175,150,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2f02f42a1ce64c75b2663783c6c24e.jpg",[181,45],{"id":72735,"slug":72736,"title":4025,"dynasty":76,"author":72737,"museum":20,"description":72738,"tags":72739,"thumbUrl":72740,"material":139,"size":139,"collection":181,"collections":72741,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},236413,"shan-shui-zhou-mei-geng-236413","梅庚","清初著名画家、诗人梅庚（1640—1716），原名以庚，一字藕长、子长，号雪坪、雪坪子，又号听山翁。梅庚的曾祖父是大戏剧家、诗人、藏书家梅鼎祚。他的父亲梅朗中是复社名士，善于书画诗文，在当时被称为“三绝”，可惜36岁就英年早逝。\n梅庚（1640—1716），字子长，号雪坪，又号听山翁 清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[7,24,241,173,177,29,30,558,34,35,175,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[181,163],{"id":72743,"slug":72744,"title":72745,"dynasty":99,"author":47573,"museum":364,"description":55274,"tags":72746,"thumbUrl":72747,"material":743,"size":744,"collection":139,"collections":72748,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},236368,"lan-zhu-shan-xiang-yuan-bian-236368","兰竹扇",[209,7,24,1562,173,452,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617b711c1e97eefe1c21c4248da33717.jpg",[],{"id":72750,"slug":72751,"title":72752,"dynasty":99,"author":72753,"museum":20,"description":72754,"tags":72755,"thumbUrl":72756,"material":67,"size":72757,"collection":44,"collections":72758,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":49},236273,"li-jian-zhou-huang-ji-236273","励剑轴","黄济","图绘八仙之一铁拐李腰挂葫芦，衣衫褴褛，赤足立于水中，双手挽宝剑，在石上磨砺。在衣纹的描写上，用工整流畅的铁线描和兰叶描，造型准确，个性鲜明，属于继承唐宋以来工笔传统工细人物画。整幅作品，用笔秀润，设色古雅，老松苍劲，岩石朴茂，人物生动传神，体现了画家在人物画和山水画上过人的艺术功力。\n从此人物的形象和神情姿态来看，画中所绘的人物似为传说中的八仙之一铁拐李的形象，魁伟强健的躯体，身着褴楼的衣衫，腰间系有一红色的胡芦，两腮长满了胡须，双眉竖起，怒目瞪视，赤足立于水中，脚下溪水潺潺流淌，双手挽着宝剑，正在湖石上磨砺，而双日又凝视着画外，似欲以砺剑斩除妖魔之状。这就点明了此画的主题。此画为突出其主题，周围配置一些景物作陪村，如人物画左侧，竖立着山石，山石造型奇特，上端分为两楼，各向左、右倾斜，山石上大小下，又问两侧弯斜显得有些不甚稳固似的。画幅右侧有一颗古老的松树拔地而起，盘根虬曲，树根露裸在土外，树干粗壮，仪露出局部，树干上疤结较多，旁置一支拐杖，支倚在松树旁。\n画面上端被茂密松树枝叶所占有，这可谓是妙笔。这样使此画构图充实饱满，整幅画的结构呈竖长方形，上不留天，下不留地，虽所画的景物不多，但通过作者的巧思安排，使画面所配置的物象处于平衡状态。画家对人物的刻画虽采用夸张的表现手法，但仍倍觉人物刻画十分细腻生动。如粗壮有力的双臂、硕大的双手、坚实的胸膛、有力的双腿、浓黑的髭须、圆睁的双目，极富有个性，一副刚正之气跃然纸上，这与画中人物那种强悍之气相吻合。此画构图半稳，画中主人居于正中，凡所衬托的景物配搭得紧凑和谐。但画家通过人物的动态和线条的走向等诸多方面的别具匠心的处理，使整个画面富有动感，达到了动和静的结合。在用笔方面，人物的衣纹线条粗犷豪放，劲健有力，其须发却以细若游丝的线条来表现，衣袂飘洒飞动，极具动感。色彩以平涂为主。山石皴法严谨，松树针叶笔墨工细，这是典型的院体风格。",[7,241,27,106,28,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F981023a5b81977e8d69941cfeb0f0a57.jpg","纵170.7厘米，横111厘米",[44,45],{"id":72760,"slug":72761,"title":72762,"dynasty":76,"author":293,"museum":20,"description":72763,"tags":72764,"thumbUrl":72765,"material":40,"size":72766,"collection":44,"collections":72767,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":271},236162,"xiao-hui-zhang-hou-chao-fu-xiang-zhou-yi-ming-236162","孝惠章后朝服像轴","粘黄绢，上书满汉墨 题：“孝惠仁宪端懿慈 淑恭安纯德顺天翼圣章 皇后，左。”\n孝惠章皇后御容一 轴，朝服冠，恭 悬， 西大柜尊藏。",[7,24,241,28,27,106,502,63,64,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ce46a05b54cf676df042f28ea20ab9.jpg","纵254.7厘米， 横116.5厘米",[44,45],{"id":72769,"slug":72770,"title":11143,"dynasty":76,"author":1109,"museum":364,"description":72771,"tags":72772,"thumbUrl":72773,"material":139,"size":139,"collection":139,"collections":72774,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},235894,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235894","此作用笔干湿互济，左侧危崖以焦墨勾勒皴擦，线条朴拙厚重，苍劲雄浑。右侧水泽间芦荻随风轻曳，浅渚扁舟静泊，淡墨晕染出水气空濛的柔润质感，虚实相生晕开江南水畔清寂氛围。\n\n题诗落于左上角，以书入画诗画相融，铺展出江湖幽独的野逸之趣。画师以极简笔墨绘就林泉隐逸之景，淡简中自含苍茫悠远的意境，寄寓着寄情山水的隐逸襟怀，尽显萧散淡远的文人意趣。",[209,7,24,81,173,177,29,245,109,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e8cd68e458f9c8cd71f269d55f44adc.jpg",[],{"id":72776,"slug":72777,"title":72778,"dynasty":76,"author":6671,"museum":364,"description":72779,"tags":72780,"thumbUrl":72781,"material":139,"size":139,"collection":139,"collections":72782,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":94},235781,"yu-shan-zhu-xian-he-bi-ce-fang-ju-ran-xiao-jing-ce-ye-yang-jin-235781","虞山诸贤合璧册-仿巨然小景册页","此作用淡墨晕染出空山新雨的清润意境，远山含黛隐于烟岚之间，层崖间飞瀑直下，暗合“树杪百重泉”的诗意。山坳溪流转折，苍松错落成林，溪侧茅舍孑立，野趣横生。\n画师以松秀苍雅的笔意追摹巨然，水墨皴染间元气淋漓，将山雨初歇后的空濛静穆铺陈开来，不见艳色，却把江南山野的湿润生机与文人幽居的逸趣融于尺幅。观之便如身临幽谷，似能听见泉鸣溪淙，呼吸到林间清润的空气，尽揽山居悠然诗意。",[7,24,81,173,177,105,29,558,31,34,175,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ca409c904227b12e2f2e2c545a309b.jpg",[],{"id":72784,"slug":72785,"title":220,"dynasty":99,"author":7012,"museum":364,"description":7013,"tags":72786,"thumbUrl":72787,"material":743,"size":744,"collection":139,"collections":72788,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},235738,"hua-niao-ce-tan-zhi-yi-235738",[7,24,81,1086,173,177,30548,1575,176,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875b42ba3ba9ddc7d3633242f5cf586c.jpg",[],{"id":72790,"slug":72791,"title":220,"dynasty":99,"author":7012,"museum":364,"description":7013,"tags":72792,"thumbUrl":72793,"material":743,"size":744,"collection":139,"collections":72794,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},235735,"hua-niao-ce-tan-zhi-yi-235735",[209,7,24,81,27,28,83,713,698,62,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad45b73f0049a14d3550d1815206b117.jpg",[],{"id":72796,"slug":72797,"title":72798,"dynasty":76,"author":35607,"museum":364,"description":72799,"tags":72800,"thumbUrl":72801,"material":139,"size":139,"collection":139,"collections":72802,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":94},235672,"yan-ju-qiu-shuang-tu-zhou-xi-gang-235672","岩居秋爽图轴","《奚冈岩居秋爽图轴》是清代奚冈创作的一幅画。\n图绘峰峦高耸、庭轩虚敞的江南秋景。\n奚冈的山水画在宗法元四家的基础上又上溯五代董源、巨然，下逮明人董其昌及清人王原祁诸公，萃其逸韵而自成一格。\n此图是他法黄公望（号井西道人）笔意所作，笔法清秀，润色淡雅，意境深远，颇得黄氏画作中雅洁淡逸之趣。\n款署：“仿井西老人岩居秋爽图。\n嘉庆丙辰小春。\n蒙泉外史奚冈。\n”钤“奚冈之印”阴阳文印、“蒙泉外史”白文印。\n“丙辰”为清嘉庆元年（1796年），作者时年51岁。",[7,241,173,177,29,650,34,35,560,491,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc6a03c56962e7bf9eca5520ceefbc.jpg",[],{"id":72804,"slug":72805,"title":20512,"dynasty":76,"author":16463,"museum":364,"description":20513,"tags":72806,"thumbUrl":72807,"material":743,"size":744,"collection":139,"collections":72808,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},235666,"shan-shui-ping-yuan-jiang-235666",[7,24,209,241,104,27,29,107,108,109,34,176,37,114,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04d355bfef7f860f03bc022aa5b472.jpg",[],{"id":72810,"slug":72811,"title":72812,"dynasty":76,"author":15347,"museum":364,"description":72813,"tags":72814,"thumbUrl":72815,"material":139,"size":139,"collection":139,"collections":72816,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},235649,"lin-ting-shan-se-zhou-cha-shi-biao-235649","林亭山色轴","《林亭山色图》是典型的学习元人的作品。\n查士标的山水以松秀生辣为自己的风格，是新安画派的大家。\n此为清查士标的《林亭山色图》。\n南京博物院藏。\n他的用笔吸取了倪云林和董其昌的风格，在生峭和如锥画沙中找到了一种平衡。\n看他的画你会发现他的心态是平和安详的，每一笔和一点都徐徐落下，有条不紊。\n他的画面总是带着灰色调，如同是有点雾气在其间往来。\n这好像是新安画派画家的共同特点，而他的作品中间反映得更加充分些。\n查士标（1615-1698年）字二瞻，号梅壑散人，安徽休宁人，明诸生，明亡之后则弃举业专事书画。\n家中多藏鼎彝及宋元人的作品，精于鉴别。\n书法学习米芾、董其昌，画学倪瓒。\n晚年的绘画技法高超，直入元人的堂奥。",[7,24,209,241,173,29,175,242,245,430,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff352ce355a4c9c2cf81b84fb1dc3c7c0.jpg",[],{"id":72818,"slug":72819,"title":72820,"dynasty":99,"author":293,"museum":364,"description":72821,"tags":72822,"thumbUrl":72823,"material":139,"size":139,"collection":139,"collections":72824,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},235608,"you-qiu-hong-fu-tu-zhou-yi-ming-235608","尤求红拂图轴","此作用白描淡墨绘就，线条细劲圆转如游丝萦回，尽显雅致风神。庭院古木虬曲、湖石玲珑，案几清供衬出厅堂雅静。榻上主人神态端凝自有威仪，仕女身姿柔婉，红拂悄然凝睇李靖，暗露倾慕之意，其余侍女恭谨侍立，奏乐乐师专注投入，下方侍女缓步持物，灵动自然。\n\n画作定格风尘三侠初遇瞬间，人物排布疏密得宜，素淡墨色铺展传奇开篇，笔意秀润含蓄，将古典侠情的缱绻意境描摹尽致，淡远雅致间古意悠悠。",[209,7,24,241,260,173,27,106,430,431,755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3a9f3843074eab8d3ca0495e164b6c.jpg",[],{"id":72826,"slug":72827,"title":21758,"dynasty":99,"author":27966,"museum":364,"description":72828,"tags":72829,"thumbUrl":72830,"material":139,"size":139,"collection":139,"collections":72831,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":271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一个花瓶，跟在后面。 老人和两个少年，一副活泼的姿态，热切地相互呼应。 整幅画淡漠，充满野趣。 作者用双勾填彩竹，用白粉点花，用浓墨去山石，用淡墨擦。\n此图描绘的是陶渊明和采菊的故事。",[7,24,209,81,28,27,106,62,430,245,176,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3829cc71d2b5bb96c58a1efbea7b43.jpg","24.1x25.2厘米",[],{"id":73002,"slug":73003,"title":22562,"dynasty":76,"author":1441,"museum":20,"description":73004,"tags":73005,"thumbUrl":73006,"material":1716,"size":73007,"collection":139,"collections":73008,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":94},233954,"shan-shui-tu-zhou-cheng-zheng-kui-233954","此图是程正揆晚年所作，绘前景清溪水榭，后景层峦石壁。前疏后密的景致构筑出淡雅浑朴的格调。此图是程正揆遭劾革职回南京后所作。他在隐居生活中受到前明遗老髡残、龚贤等人的审美观影响，绘画作品中带有较强的遗民意趣，常通过清幽的山水意境表达其隐逸的文人情思。",[7,24,241,173,177,27,29,34,558,176,35,560,650,175,227,12136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06aacd43996fdf247988d4f3198c814.jpg","纵104.8厘米，横40.6厘米",[],{"id":73010,"slug":73011,"title":9840,"dynasty":76,"author":1703,"museum":101,"description":9841,"tags":73012,"thumbUrl":73013,"material":2021,"size":9844,"collection":139,"collections":73014,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},233866,"mei-hua-ce-jin-nong-233866",[7,24,81,173,86,448,226,1461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da4a4c9fdf9047d3f8e3350b2ae6c59.jpg",[],{"id":73016,"slug":73017,"title":6491,"dynasty":189,"author":8176,"museum":20,"description":73018,"tags":73019,"thumbUrl":73020,"material":1449,"size":8180,"collection":139,"collections":73021,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},233786,"mo-zhu-po-shi-tu-zhou-gao-ke-gong-233786","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。”",[7,173,241,242,245,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d7df8f8687f077f813223a903ed0ac.jpg",[],{"id":73023,"slug":73024,"title":21814,"dynasty":99,"author":3114,"museum":20,"description":21815,"tags":73025,"thumbUrl":73026,"material":1716,"size":21818,"collection":139,"collections":73027,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},233713,"gao-yi-tu-zhou-dong-qi-chang-233713",[7,24,241,173,29,177,178,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9d36af4fbafa00368ece3a1a18dc03.jpg",[],{"id":73029,"slug":73030,"title":73031,"dynasty":76,"author":1109,"museum":364,"description":19142,"tags":73032,"thumbUrl":73033,"material":1716,"size":19145,"collection":139,"collections":73034,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},233695,"yuan-ji-lan-zhu-ce-shao-yao-lan-hua-shi-tao-233695","原济兰竹册－芍药兰花",[7,24,81,173,178,227,1136,797,242,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f18ac7f2acb5a537d77e712c542ae8.jpg",[],{"id":73036,"slug":73037,"title":73038,"dynasty":76,"author":1109,"museum":364,"description":19142,"tags":73039,"thumbUrl":73040,"material":1716,"size":19145,"collection":139,"collections":73041,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},233694,"yuan-ji-lan-zhu-ce-jiao-ye-lan-cao-shi-tao-233694","原济兰竹册－蕉叶兰草",[7,173,81,86,227,8852,5508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc875a99432f40c241a769dd8181d1b2e.jpg",[],{"id":73043,"slug":73044,"title":41035,"dynasty":189,"author":25426,"museum":20,"description":41036,"tags":73045,"thumbUrl":73046,"material":1449,"size":41039,"collection":139,"collections":73047,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},233220,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-233220",[7,24,241,173,177,29,174,1444,34,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce68dbca86ab65c25a6f0e74749f9db.jpg",[],{"id":73049,"slug":73050,"title":73051,"dynasty":18,"author":1616,"museum":20,"description":73052,"tags":73053,"thumbUrl":73054,"material":67,"size":23784,"collection":139,"collections":73055,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},233214,"liu-yin-mu-niu-tu-ye-li-tang-233214","柳荫牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的。\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。\n《东图玄览》记：“李唐《春牧图》，牛欲前行，童子力挽之，势甚奇。”吴其贞《书画记》载：“李唐《风归牛图》……有一牛乘风而奔，气韵如真，为神晶。”又记：“李唐《牧牛图》绢画一幅，树下有水，牛欲右行，而牧童欲牵左转，两下努力相持，使观者亦自费力。”以上记载，亦可略见李唐画牛成就之一斑了。李唐画的牛今日已不多见了。《乳牛图》一直传为李唐之作，在传世的宋人画牛图中，似此图者不少，然如此图之精彩者却不多。现存画迹中，南宋的画牛图还不算太少，大抵皆受李唐的影响。\n李唐(约1066一约1150)字晞古，河南人，乃南宋画院“四大家”之一，宋徽宗时就已是画院待诏。后因战乱被俘，遂又潜逃南渡，历尽颠沛流离之苦，一度落泊于南宋都城临安，靠卖画度日。后被高宗赵构重用，仍任朝廷画院旧职。李唐的山水、人物、走兽皆精，而山水最佳，创大斧劈皴法，所作长图大幛，气势宏伟，独步南宋画坛。晚年代表作有《清溪渔隐图》等留世。其人物画富李公麟遗韵，却性格刻画突显，且多绘文人高士形象，如《七贤过关图》、《采薇图》等。史传他极擅画牛，但存世作品真伪难辨。",[7,24,81,173,27,177,3246,151,106,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9caed9a29913ebe1ad5d983892d9d17.jpg",[],{"id":73057,"slug":73058,"title":73059,"dynasty":76,"author":9039,"museum":78,"description":9040,"tags":73060,"thumbUrl":73061,"material":803,"size":139,"collection":139,"collections":73062,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},233192,"hua-hui-ce-mei-hua-zhu-ye-zhao-zhi-qian-233192","花卉册-梅花竹页",[7,24,81,173,27,83,448,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a3f56778ab52cafa54736f7f44df9a.jpg",[],{"id":73064,"slug":73065,"title":20580,"dynasty":18,"author":474,"museum":20,"description":73066,"tags":73067,"thumbUrl":73068,"material":3076,"size":20585,"collection":139,"collections":73069,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":94},232988,"pi-pa-shan-niao-tu-ye-zhao-ji-232988","图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[7,209,28,27,1562,86,227,83,1278,22663,698,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f708f56a9bfc0b0d7181fc6adb9c5aa.jpg",[],{"id":73071,"slug":73072,"title":59205,"dynasty":99,"author":966,"museum":20,"description":59206,"tags":73073,"thumbUrl":73074,"material":803,"size":59209,"collection":139,"collections":73075,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},232959,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232959",[7,24,81,173,29,394,245,177,178,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb0d0f5d6235a84082f5f7e653cc6acb.jpg",[],{"id":73077,"slug":73078,"title":73079,"dynasty":189,"author":9509,"museum":206,"description":73080,"tags":73081,"thumbUrl":73082,"material":803,"size":73083,"collection":139,"collections":73084,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":49},232832,"fang-ma-tu-zhao-yong-232832","放马图","《元赵雍骏马图》是元代画家赵雍的作品，该画出自家传，善山水，尤精人马及竹石。水滨疏林，骏马五匹散游其间，圉人倚松假寐，状极悠闲消遥。马匹肥壮，设色以青绿为之，树叶之表现近图案方式，饶古拙之趣，颇有唐人遗意。该画中山水份量极重，构景空濶而幽远。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[23,209,7,24,28,27,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e084133cc7dc0b63f3c2d393ccdc9.jpg","186×106公分",[],{"id":73086,"slug":73087,"title":73088,"dynasty":18,"author":10870,"museum":101,"description":73089,"tags":73090,"thumbUrl":73091,"material":67,"size":73092,"collection":139,"collections":73093,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":49},232770,"hua-hui-ling-mao-tu-juan-yi-yuan-ji-232770","花卉翎毛图卷","图绘鸟儿七只，有绿头鹦鹉，黑色八哥，红嘴小鸟，每只鸟儿神情生动，跃然纸上，羽毛细致多彩，惟妙惟肖，作为背景的花枝和花朵亦真实生动，整幅画重彩描绘，有着华丽富贵之美。",[23,209,7,24,25,28,27,83,84,281,448,225,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbe402d5f65c003ca020ad05276bb40.jpg","31.8cm×258.4cm",[],{"id":73095,"slug":73096,"title":73097,"dynasty":99,"author":1012,"museum":515,"description":73098,"tags":73099,"thumbUrl":73100,"material":40,"size":73101,"collection":139,"collections":73102,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},232642,"shan-shui-gu-mu-tu-lan-ying-232642","山水古木图","高峰，杂林连绵，古木，矶石屋宇杨柳平坡，湖光山色边，春意盎然。有人湖 语，有人舟中弄笛，相映成趣。全图用笔苍劲，设色清丽，点染别致，树木景物，充满生机，巧得江南野趣。",[7,173,177,241,24,29,6398,394,1575,176,491,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a75b6d590433c88559de0a0f19d3d2.jpg","纵72.5厘米，横89.5厘米",[],{"id":73104,"slug":73105,"title":22562,"dynasty":18,"author":3103,"museum":206,"description":73106,"tags":73107,"thumbUrl":73108,"material":619,"size":73109,"collection":139,"collections":73110,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":1335},232600,"shan-shui-tu-zhou-zhao-bo-ju-232600","此作无名款，以细笔描绘沿溪风光，空间绵延，物象丰富，甚得乾隆皇帝喜爱。根据乾隆二十二年的题跋，乾隆皇帝 “观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,209,7,24,241,27,29,107,108,109,174,28,177,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":73112,"slug":73113,"title":73114,"dynasty":99,"author":12631,"museum":206,"description":73115,"tags":73116,"thumbUrl":73117,"material":88,"size":73118,"collection":139,"collections":73119,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},231953,"su-shi-liu-dai-tu-cui-zi-zhong-231953","苏轼留带图","宋神宗年间(1078年前后)苏东坡与佛印法师是知心好友，称为“忘形交”。一天苏东坡突然来访，直入方丈室。佛印正欲为僧众说法，故意开玩笑不让苏东坡坐，说：“此间无坐处”。苏东坡随即用禅宗之语答道：“暂借佛印四大为座”。佛印见他居然班门弄斧，便想难难他，提出如果答出问题就请他坐，答不出就把玉带输掉。苏轼自以为难不倒他欣然答应。佛印问：“既然四大皆空，五蕴非有，居士向哪里坐?”(四大：“地、水、火、风”大，佛教认为是构成物质的四大元素。五蕴：“色、受、想、行、识”蕴，是构成人身的五种因素)。你想，既然四大皆空，五蕴非有，便是空空如也，一无所有。哪里还会有什么座位呢?苏东坡果然被难住了。只得解下玉带相赠。佛印也当即取出一幅自己的衲裙回赠。真得感谢这位聪明的和尚，为我们留下了这件珍贵的文物。苏东坡还写了三首诗记这件事，题目叫《玉带施元长老，元以衲裙相报次韵》，其中有“此带阅人如传舍，流传到我亦悠然。锦袍销落应相称，乞与佯狂老万回”等句，流露出政治上失意上图专为存放苏东坡玉带供人观瞻的“留玉阁”\n这幅《留带图》，画的正是苏轼与僧人参廖子的故事。崔子忠师承董其昌，在人物画上与陈洪绶齐名，并称南陈北崔。所画人物面目清奇而有古意。惜乎所寻的这幅《留带图》太小，咱竟不能见识其笔力。也罢，苏胡子是多面手，不但词文冠绝天下，连书法绘画都是超一流名家。宋四家“苏黄米蔡”，苏胡子书法排名大宋第一。崔画不清晰，录一幅苏胡子的字以弥补。《黄州寒食帖》，号称天下行书第三。\n“有情风万里卷潮来，无情送潮归”，“对潇潇暮雨洒江天，一番洗清秋”，“无边落木萧萧下，不尽长江滚滚来”，就是这样的联想，就是这样的博大开阔的境界。\n婉约为正宗的词在苏轼那里有了极大的开拓，但是可惜其他人没有追随上来。天才常常比一般人走得快一点吗？秦观，仍是词人之词，他为何不学苏轼做诗人之词？但秦观依然有其特色之处，一般人常把抽象的感情比作具象的景物，但秦观却能够把具体的形象比作抽象的感情。",[1086,7,24,28,27,173,106,34,176,114,5630,505,86,227,1015,1729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ad3b4fbcab6254827d3f2934fc1b38.jpg","81.4x50",[],{"id":73121,"slug":73122,"title":73123,"dynasty":292,"author":293,"museum":364,"description":73124,"tags":73125,"thumbUrl":73126,"material":743,"size":744,"collection":139,"collections":73127,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,7,24,25,27,104,28,259,107,108,109,175,29,34,176,1795,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":73129,"slug":73130,"title":24419,"dynasty":189,"author":293,"museum":206,"description":73131,"tags":73132,"thumbUrl":73133,"material":16489,"size":73134,"collection":139,"collections":73135,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},231399,"qiu-shan-tu-yi-ming-231399","在这幅画中，峰峦叠嶂，溪流嶙峋，飞瀑流泉在薄雾之中。 是文人墨客睡觉的理想场所。 构图十分多样，笔墨精美，色彩点缀恰到好处。",[7,24,29,177,173,27,864,430,109,176,6922,650,1250,560,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","46.3x57.1厘米",[],{"id":73137,"slug":73138,"title":11019,"dynasty":76,"author":850,"museum":206,"description":73139,"tags":73140,"thumbUrl":73141,"material":724,"size":73142,"collection":139,"collections":73143,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},231370,"bai-ying-tu-lang-shi-ning-231370","《白鹰图》创作于乾隆十六年（1751年），是郎世宁中西画法完美结合的最杰出作品之一。\n画面主体中的白鹰以白粉精细描绘，传承欧洲绘画技法，注重物象的解剖结构、光影效果及立体感，把翘首殷望的白鹰刻画的形神逼真；而背景中的松石则全然采用中国写意笔墨，清涧石岩，傲松凌立。\n此图绘江南雨后的芭蕉竹石，笔墨粗简，构图也十分简括。画幅上方，留出大面积空白，显得更加深邃清旷。这种“知白守黑”的处理，使画意更加完整而富于张力，给观者以无限的想象空间，正所谓“于无画处，皆成妙境”。整幅作品充满着一种自省的内在精神，耐人寻味。\n《白鹰图》以独特的艺术构思、隽永的表现手法和浑然天成的情景交融给观者以极大的艺术享受，意境深远，令人思绪万千。\n这幅《白鹰图》虽然有着明显欧洲画法的因素，但是画中所含的内容却完全是传统中国的风格。图中白鹰、松树、巨石、流水等均是中国绘画中习见的物象，喻意中象征着强壮、长寿、平安、吉祥等等。根据画上的署款，此图是根据乾隆十六年五月初十日，大学士忠勇公傅恒所进献的白鹰所画，相传皇太后生日即在五月，乾隆大孝，号称“以天下养”，即用天下最美好的财富来侍奉母亲，因此，《白鹰图》也是一幅极为贵重的祝寿图。",[7,24,241,28,27,281,957,29,394,109,245,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991122f93eaf082fff4079d1c96c94cd.jpg","122.25x64.79",[],{"id":73145,"slug":73146,"title":73147,"dynasty":76,"author":15347,"museum":364,"description":73148,"tags":73149,"thumbUrl":73150,"material":139,"size":139,"collection":139,"collections":73151,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":94},231017,"qing-xi-fang-ting-tu-cha-shi-biao-231017","清溪放艇图","《馆藏精品选（天津艺术博物馆1共4张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（清）查士标，弘仁，[清] 龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[23,7,24,241,173,177,29,174,281,394,109,245,1016,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":73153,"slug":73154,"title":67594,"dynasty":99,"author":73155,"museum":364,"description":73156,"tags":73157,"thumbUrl":73158,"material":743,"size":744,"collection":139,"collections":73159,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},230927,"shan-shui-tu-shan-mian-wen-xi-230927","文喜","此作用笔枯淡清逸，以水墨写就林泉雅境。崖壁崔嵬，飞泉隐于山坳，皴笔简括写意，尽显山石苍朴质感。几株古松虬曲苍劲，枝桠舒展自带灵动之姿，衬出林间清寂。平岗之上二人伫立，身形简括却宛然可见凭眺幽赏之态，暗合文人寄情丘壑的雅怀。整幅扇面构图疏密得宜，留白暗含空远之境，淡墨轻皴间，萧散出尘的林下意趣扑面而来，尽显小品山水的雅致情致。",[1562,7,24,173,177,29,1575,176,106,560,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a09efb7730295a8cdc7f2ba237beb1e.jpg",[],{"id":73161,"slug":73162,"title":73163,"dynasty":189,"author":293,"museum":364,"description":73164,"tags":73165,"thumbUrl":73166,"material":139,"size":139,"collection":139,"collections":73167,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},230899,"zhang-yu-ti-ni-zan-xiang-yi-ming-230899","张雨题倪瓒像","画中主人斜坐榻上，眉眼疏朗沉静，素衣简饰尽显出尘之姿。侍童捧盏垂首静立，仆从持帚恭谨侍于侧旁，案头清供文玩雅致小巧，背景浅绘林峦远汀，暗合主人简淡的笔墨意趣。左侧题诗与遍身鉴藏朱印，为画作添上流传的厚重底色。\n\n全作设色清雅柔润，线条细劲秀逸，将元末文人耽于泉石诗书的狷介风骨尽数铺陈，人物情态鲜活自然，把肖像纪实与文人雅趣精妙相融，尽显元人肖像画的含蓄意韵。",[209,7,24,25,27,28,260,106,227,86,5630,315,7906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67502f268a6b09045cf37786e306694e.jpg",[],{"id":73169,"slug":73170,"title":73171,"dynasty":76,"author":13273,"museum":364,"description":73172,"tags":73173,"thumbUrl":73174,"material":139,"size":139,"collection":139,"collections":73175,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":49},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","《江乡清晓图》是清代画家禹之鼎创作的一幅绢本设色画，现藏于旅顺博物馆。\n两棵老柳垂条，掩映溪桥田野，远处山麓桃花盛 开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,7,24,27,28,177,29,106,108,109,1532,279,920,6549,3045,65277,29967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],{"id":73177,"slug":73178,"title":73179,"dynasty":292,"author":46585,"museum":364,"description":46586,"tags":73180,"thumbUrl":73181,"material":743,"size":744,"collection":139,"collections":73182,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},230505,"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-er-ping-xue-zhou-230505","室町时代 四季花鸟图屏风-二屏",[23,7,27,28,1575,327,281,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff786dfaab4c789f09b02ecc5404306e5.jpg",[],{"id":73184,"slug":73185,"title":21892,"dynasty":76,"author":24007,"museum":364,"description":54262,"tags":73186,"thumbUrl":73187,"material":743,"size":744,"collection":139,"collections":73188,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},230355,"lan-ting-xiu-xi-tu-juan-fan-qi-230355",[23,7,24,25,27,28,29,175,106,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5707e8f94ee1c363234026c2a717d008.jpg",[],{"id":73190,"slug":73191,"title":73192,"dynasty":76,"author":293,"museum":364,"description":73193,"tags":73194,"thumbUrl":73195,"material":743,"size":744,"collection":139,"collections":73196,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":49},230330,"chao-xian-guan-yuan-xiao-xiang-zhou-yi-ming-230330","朝鲜官员肖像轴","这幅肖像工致写实，将宦者气度凝于绢素。画中人物面容沉凝，银髯垂胸，眉峰微蹙自带持重威严，眉眼晕染细腻，将阅尽世事的沉稳刻画入微。\n素色官袍晕染柔和雅致，衣纹舒展自然，乌纱帽制式严谨细节毕现，暗合礼制规制。座椅铺陈的豹纹裘饰，低调彰显尊荣身份，背景织锦纹样规整古雅，烘托出肃穆沉静的氛围。\n整体笔意克制内敛，兼顾纪实传神与礼制象征，尽显士大夫的端方儒雅，是传统肖像画兼具审美与礼制内涵的典型之作。",[23,7,241,27,106,28,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db95857ae99b5f83df15929d5968cba.jpg",[],{"id":73198,"slug":73199,"title":220,"dynasty":76,"author":1204,"museum":364,"description":73200,"tags":73201,"thumbUrl":73202,"material":139,"size":139,"collection":139,"collections":73203,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},230281,"hua-niao-ce-zhu-da-230281","《题花鸟册》是清代诗人八大山人创作的一首五言绝句。\n诗人说：想想误我害我的乃是自己的书法，现在只能靠这书法来混饭吃了。\n这是诗人对自己的书法较之于所画的石头而言。\n诗人言外之意是在说自己的石头画得好，故用米南宫的石头作一比。\n这张《石头》，就算那些要买我书法的人，对我有三顾之请，我也是不愿意给他的。\n思之误是书（1），只今南郭处（2）。\n南宫石头硬（），三顾那得去（4）。\n（1）思：想。\n误：耽误，害。\n（2）只今：如今、现在。\n南郭：复姓。\n《 ·内储说上》有南郭处士，以吹竽事齐宣王。\n此南郭处，典出“滥竽充数”，诗人自指，比喻混饭吃。\n（）南宫：古称尚书省。\n米芾（151～117），字元章，北宋著名书画家。\n因其累官礼部员外郎，故世称南宫先生。\n米芾一生痴爱石头，千金难买。\n故有“石头硬”一说。\n（4）三顾：典出《 》刘备中“ ”访贤诸葛亮事。\n此诗有学者解释为：有人看见他的书法好，要请他去。\n但是要请他去的那个主人，招待的客人，都是 ，像南郭先生那样的骗子，所以他说他的脾气，有如米芾拜的石头那么硬，就是请他三次，他也不去。\n此一说不仅有些牵强，且与诗人晚年的性格、行为不相吻合。\n因为八大山人的晚年以出售书画为生，即使有些自己不喜欢的人或不懂书画的人，他也照样有应酬，只是应酬的方式有些不同罢了，比如要求画四幅，他却只给三副等。\n八大山人（1626－175），明末清初人，杰出画家。\n原名朱耷，又名朱道朗，字雪个，又字个山、道朗、个山驴、朗月、刃庵、传綮、破云樵者、人屋、驴屋和因是僧号良月，一生所用名号多达五十五个，八大山人是他晚年的文号。\n“八大山人”的来历有两种说法：一说“尝持《 》，因号八大”；另一说“八大者，四方四隅，皆我为大，而无大于我者也”。\n八大山人为清初“四大画僧（ 、 、 、 ）”之一，他以大笔水墨写意画著称，尤以花鸟画见长，以简略见胜。",[7,24,173,29,1015,245,394,446,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd06328a99007e276effefc6b4d8683.jpg",[],{"id":73205,"slug":73206,"title":73207,"dynasty":76,"author":73208,"museum":364,"description":73209,"tags":73210,"thumbUrl":73211,"material":139,"size":139,"collection":139,"collections":73212,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},230216,"fang-gu-shan-shui-ce-ye-8-kai-gu-kui-230216","仿古山水册页8开","顾逵","此作用淡墨晕染出烟雨江南的朦胧意趣，山峦以浅皴轻苔点出温润质感，如被薄雾轻笼。水面留白衔接着远天近岸，一叶扁舟随波缓行，载着晚归的闲散意趣。\n\n林间茅舍隐于枝叶之间，不见喧嚣，唯余清寂。简笔点染的林木不带繁饰，却将风雨初歇的湿润淋漓尽数藏于墨色层次里。通篇以水墨铺陈，无一处浓艳设色，把平和冲淡的林下之思晕在烟岚雾霭中，将人轻轻拉入这幅水墨长卷，静看波痕微动，坐听晚风穿林，尽得古典山水空灵澹远的禅意。",[7,173,81,177,3117,29,174,109,245,34,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab22a74172d9c0fa0f97e6463ea3e86.jpg",[],{"id":73214,"slug":73215,"title":73216,"dynasty":76,"author":850,"museum":364,"description":73217,"tags":73218,"thumbUrl":73219,"material":139,"size":139,"collection":139,"collections":73220,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":94},230209,"hua-a-yu-xi-chi-mao-dang-kou-tu-juan-lang-shi-ning-230209","画阿玉锡持矛荡寇图卷","《玛瑺斫阵图》是意大利籍画家 创作的纸本设色国画，现藏于 。\n是中国清代清军平定西域战争中的立功者。\n他曾随副将军富德讨伐 叛乱，奋勇冲杀，三箭将敌酋射落马下，后来被敌军所围，战马负伤倒毙，玛瑺弃坐骑步战，负伤十余处，仍坚持作战，以战功升为护军统领。\n图中玛瑺纵马弯弓追杀，敌酋中箭，垂首弃矛坠马。\n郎世宁以他擅长的“写真”技艺，精细、真实地刻画了一位勇士的形象，作者将所有的背景舍去，突出了画中的人物。\n人及马匹的画法十分细致，采用的是欧洲的画风。\n同样题目、内容和构图的画有二幅，另一幅现藏于德国柏林东方美术馆。\n此图中画敌将负伤，耷拉着脑袋，乘黑马飞速逃窜。\n光着脑袋，上穿束袖黑衣，下穿米黄色袴裤，两手支撑在马的肩部，低头怒目斜视，惟恐有乘骑迫上，中二箭，黑马四蹄伸展作飞腾般的逃窜。\n后面画有清勇将玛瑺手持弓箭，上佩带红锦“撒袋”（即装了箭的袋），撒袋内装满了弓箭，御白马紧迫其后。\n画面中显示了一场惊心动魄厮杀决斗的场面，敌将受伤逃窜，形象十分狼狈。\n玛瑺乘骑追赶，抬头挺胸显得威风凛凛，双目凝神，专注盯住着前方的敌将。\n1759年（乾隆二十四年）清军勇士玛瑺跟随右副将军富德率军在呼尔满（今莎车东北）平定回部叛乱，玛瑺歼敌英姿焕发，奋勇冲杀，以三箭毙敌，後被敌所困，负伤仍坚持抵抗，因其战役的特殊表现，升为护军统领。\n在平定西域准部回部的战役中，乾隆皇帝特别称赏玛瑺与阿玉锡两位勇士的战功，除了油画脸像、功臣像小稿、功臣像立轴玛瑺与阿玉锡皆在列外，还让郎世宁绘了《玛瑺斫阵图》及《阿玉锡持矛荡寇图》并要求宫廷画家绘制《玛瑺得胜图》以及《阿玉锡得胜图》等贴落大画。\n画中的人物和马匹，造型准确，物象逼真，描绘深入细腻。\n人物和马匹比例结构十分准确，其姿态和动势俱合法度，足见作者的功力之深厚。\n光的使用是郎世宁绘则的另一个特色，这幅画卷中，人物、马匹均应用了光的原理，使物象极富立体感，马皮毛的质感也很好地表现出来。\n明显地采用了西洋画的投影法，但只要细细观察，仍含有中国绘画传统手法，即马匹上所采用的阴影，亦是以中国的传统渲染方法来完成的，但骨子里还是西洋古典画的成分较中国画的成分为浓，体现了高度的写实技巧。\n总体来说，此画设色轻淡，用笔精谨，线条清劲，是一幅难得的精品。\n主题与关键字：马、军士、兵器、蕃族、马鞍。\n石渠宝笈续编（宁寿宫），第六册，页49 故宫书画录（卷四），第二册，页284 故宫书画图录，第二十一册，页175-178 （1688—1766）是意大利人，生于米兰，1715年（清康熙五十四年）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙、雍正、乾隆的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正、乾隆时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》《平定西城战图》等。",[7,24,25,27,28,106,150,7464,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30b05b41246e11eef45301f413a00ec.jpg",[],{"id":73222,"slug":73223,"title":40103,"dynasty":76,"author":10376,"museum":364,"description":73224,"tags":73225,"thumbUrl":73226,"material":139,"size":139,"collection":139,"collections":73227,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},229020,"song-qiao-tang-tu-juan-wang-hui-229020","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,7,24,25,27,29,177,1575,176,35,491,34,175,109,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":73229,"slug":73230,"title":73231,"dynasty":76,"author":876,"museum":364,"description":73232,"tags":73233,"thumbUrl":73234,"material":139,"size":139,"collection":139,"collections":73235,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},228938,"qian-long-nan-xun-zhu-bi-tu-qian-wei-cheng-228938","乾隆南巡驻跸图","此作用鸟瞰全景式构图，将山林梵宫驻跸地铺展于绢面。界画工细严整，殿宇层叠排布对称规整，朱红标识清晰点明殿内陈设，精准勾勒出建筑形制，尽显驻跸行馆的严整规制。\n\n周遭林木苍秀错落，淡墨轻赭晕染丘壑，将人工营造融于山野清境之中。整体设色古雅沉静，笔触精细柔和，既详实记录了驻跸之所的全貌，又以山水画意晕染出江南林泉的幽谧雅韵，是纪实性与文人画意趣相融的精品，尽显山林行宫的清雅格局。",[23,7,24,104,27,28,107,29,34,114,115,176,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd542b499186cbae634efac97536fa24b.jpg",[],{"id":73237,"slug":73238,"title":73239,"dynasty":99,"author":73240,"museum":364,"description":73241,"tags":73242,"thumbUrl":73244,"material":139,"size":139,"collection":139,"collections":73245,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":94},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,7,24,25,27,28,106,29,108,109,175,1575,340,279,1959,73243,1962,178],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":73247,"slug":73248,"title":73249,"dynasty":99,"author":1170,"museum":364,"description":73250,"tags":73251,"thumbUrl":73252,"material":743,"size":744,"collection":139,"collections":73253,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[23,7,24,25,259,106,29,173,27,177,86,178,227,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":73255,"slug":73256,"title":73257,"dynasty":99,"author":170,"museum":364,"description":73258,"tags":73259,"thumbUrl":73260,"material":743,"size":744,"collection":139,"collections":73261,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[23,7,24,25,29,27,173,177,178,227,864,430,920,174,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":73263,"slug":73264,"title":73265,"dynasty":99,"author":293,"museum":364,"description":73266,"tags":73267,"thumbUrl":73268,"material":139,"size":139,"collection":139,"collections":73269,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},228798,"song-yin-xue-hu-tu-yi-ming-228798","松荫雪虎图","萧寒雪色覆满林莽，古松虬曲苍劲，皴染厚重的枝干尽显老辣古拙，松针攒簇如铁，撑起一片幽寂荫凉。\n\n画中猛虎盘踞雪地，姿态松弛慵懒，却难掩百兽之王威仪。虎身斑纹勾勒劲挺写实，毛发晕染细腻柔和，将皮毛的蓬松质感尽显无遗。它目光沉沉锁着爪下猎物，獠牙微露，悍野之气暗藏于松弛神态中。\n\n淡墨晕出薄雪覆于枯槎衰草间，冷寂荒寒的雪境，更衬出猛虎孤高凛冽的气场。整作工写相融，细处描摹虎之肌理毛发，粗笔铺就林雪萧索氛围，于静谧间暗藏肃杀野性，尽显走兽画的精妙写实功底，将冬日林莽的荒寒与百兽王的雄健完美揉合。",[23,7,209,24,27,28,177,7281,957,449,2124,650,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62072f89e4fcb137c0ced81bb18267a8.jpg",[],{"id":73271,"slug":73272,"title":73273,"dynasty":99,"author":24704,"museum":364,"description":73274,"tags":73275,"thumbUrl":73276,"material":139,"size":139,"collection":139,"collections":73277,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[23,7,24,25,173,27,29,3246,109,174,281,2522,106,1016,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":73279,"slug":73280,"title":5408,"dynasty":76,"author":30844,"museum":364,"description":73281,"tags":73282,"thumbUrl":73283,"material":139,"size":139,"collection":139,"collections":73284,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},228397,"fang-ju-ran-shan-shui-liu-du-228397","此作用披麻皴晕染山石肌理，层叠山峦似含江南烟岚，氤氲着湿润朦胧的空寂质感。近岸苍松杂木蓊郁，山居屋舍掩映林间，汀渚蜿蜒入水，清波澹澹漾开涟漪，将幽居野逸之趣藏于丘壑之间。\n\n笔墨追摹古意，苍润兼具，把山林幽寂、溪声松涛的林下之思铺陈开来，恍如引观者踏入避世桃源，静赏林泉烟霞，尽得山水寄情的悠远意韵。",[23,7,29,105,177,173,649,34,109,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8672297878af1e9fe4bc94a8e35ae8.jpg",[],{"id":73286,"slug":73287,"title":73288,"dynasty":99,"author":39689,"museum":364,"description":73289,"tags":73290,"thumbUrl":73291,"material":139,"size":139,"collection":139,"collections":73292,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},228356,"wan-zhu-tu-juan-song-ke-228356","万竹图卷","此作用淡墨白描绘就溪岸幽篁，坡石以简淡皴擦带出肌理，丛竹错落生于岩畔，疏密有致，满卷清寂萧散。以草书法度入画，笔致瘦硬爽利，竹叶萧洒灵动，将行草的跌宕意趣融于竹间，笔墨苍秀，兼具法度与文人雅韵。\n整卷画书合璧，晴川修竹间尽显江南林下清旷之致，暗合文人寄情林泉、澄怀观道的襟怀，是笔墨意趣与林下雅志完美相融的佳构。",[23,7,24,25,173,29,242,34,109,227,178,1147,177,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f485e2b2663e38e2c02ace4472a1.jpg",[],{"id":73294,"slug":73295,"title":73296,"dynasty":99,"author":55641,"museum":364,"description":73297,"tags":73298,"thumbUrl":73299,"material":743,"size":744,"collection":139,"collections":73300,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[23,209,7,24,241,1397,173,27,177,449,176,109,1255,106,34,491,37,6698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8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创作的一幅绢本设色画。\n此幅为仇英的摹古之作。\n仇英中年以后，曾先后在大收藏家周凤来和项元汴家客居近2年，得以广泛观摩宋、元名迹，摹古技艺精深。\n《中兴瑞应图》卷为南宋萧照所作，取宋高宗赵构即位前的种种瑞应传说为内容，根据曹勋辑“瑞应诸事”所写赞文描绘而成，是一幅歌颂赵构重建王朝的作品。\n此卷现存四段：一、占卜。\n徽、钦二帝被俘后，显仁皇后在行殿用棋占卜，兆告康王继位，众皆庆贺。\n二、渡河。\n一骑陷落冰际，惟赵构得免。\n三、授衣。\n萝黄袍加身。\n四、射兔。\n高宗戎装骑驰，箭中白兔。\n原作共12段，曾藏于项元汴家，仇英因此得到观摩机会。\n卷末署有“吴郡仇英实父谨摹”款，钤“实父”、“十洲”二印。\n引首有董其昌书“仇英临宋萧照《高宗瑞应图》其昌”。\n后幅有董其昌、秦松龄、尹绳孙、许之渐、黄家舒、吴伟业六家题记。\n经项元汴、梁清标、耿信公等鉴藏。\n全画用笔粗重，设色妍丽，构图平远，既有宋画古拙雄劲的特色，又有文人画的韵致，不愧为仇英摹古精作。\n此卷临本共4段，用笔粗健，设色精细，图中建筑的比例、形象、风格以及细部都极其忠实于原作，再现了萧照绘画的神髓，可谓“下真迹一等”。\n也有古建筑研究专家认为仇英的楼阁画只是在临摹宋画时才有出色的表现，而其自己的创作则逊色一筹。\n仇英（1494-1561），江苏太仓人，居苏州，出身低微，初为漆丁，后改学画，初从师周臣，结交文征明、祝允明、唐寅等文人画家，对其提高文艺修养和画艺起了很大的作用。\n他还曾在收藏家项元汴家作画，遍观项氏所藏历代法书名画，并加以临摹，潜心钻研，终成一代名家。\n仇英擅人物、山水、走兽、界画，亦精于临摹，均技艺精湛。\n其山水师法赵伯驹、赵伯辅，作青绿山水，山石勾勒，皴染细密，色彩浓丽明雅，境界宏大繁复。",[23,7,24,25,27,28,104,106,107,34,115,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a11517bb5e9b3c0c974e033db1daa83.jpg",[],{"id":73349,"slug":73350,"title":1155,"dynasty":18,"author":2856,"museum":364,"description":73351,"tags":73352,"thumbUrl":73353,"material":139,"size":139,"collection":139,"collections":73354,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},227950,"mu-niu-tu-li-di-227950","淡墨晕开暮色山岗，枯木寒槎的枝桠如铁线劲挺，萧疏间漫着郊野冬日的荒寒意趣。坡岸间老牛缓步垂首，憨拙身形似正衔着衰草慢行，幼犊轻捷随行左右，一大一小的动静反差，晕开牧归时分的松弛温情。\n\n画作以淡赭晕染坡石，水墨铺陈烟霭，不着过多繁复刻画，以极简笔墨铺展出山野清寂氛围，于淡远荒寒中藏着质朴的田园意趣，寥寥数笔便融物态与意境为一体，尽现独有的雅致淡远诗意。",[23,209,7,24,1562,27,28,29,242,430,151,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f28a98374dd8c8b309719c6f9a66639.jpg",[],{"id":73356,"slug":73357,"title":33891,"dynasty":18,"author":293,"museum":364,"description":73358,"tags":73359,"thumbUrl":73360,"material":139,"size":139,"collection":139,"collections":73361,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},227898,"shou-lie-tu-yi-ming-227898","元佚名狩猎图卷，绢本，辽宁省博物馆藏。\n设色，画心纵1，横19厘米。\n画峰峦叠起，沟壑纵横，溪流坡地，竹树杂处，野草漫生。\n一队身着民族服装的猎手，纵马控弦，在山谷间围堵追杀猎物。\n前部为连绵远山，坡谷间有三猎手围杀野猪、狍鹿、山兔等，场面紧张激烈，扣人心弦。\n中段作崇山环抱，沟壑交错，一猎手跌落马下，弓箭散落各处，后面三骑，迅来救助；而转过一座陡峭山峰，一带溪水自远而来，两岸长满杂草和杨树。\n画末为险峻石壁，一只雄隼咬住一只大雁颈项，雁在拚命挣扎，余四只鸣叫着四处飞逃。\n在一片较平坦的谷地间，立着一杆认旗，二长者调马备鞍。\n全图气势辽阔苍茫，笔法古朴雄浑，山石以勾勒与晕染并施，而皴法则不拘一格。\n以写实为主，山水多信笔为之，不免粗豪简率。\n而人物和马匹刻画细腻，得唐宋等前人笔法颇多。\n慓悍、浑朴之态表现得体，番马体相勾划准确。\n所绘景物、山水树石具有明显北国特色；马匹短足毛蹄，亦属蒙古马种；人物宽额高颧，为典型蒙族形象；服饰也同元初蒙族服饰相类。\n是元初北方画家典型写实之作，也是一卷难得的艺术珍品。",[23,7,1160,27,28,106,150,957,281,31402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256486f4089412a35f1dcfbd1fd99352.jpg",[],{"id":73363,"slug":73364,"title":53063,"dynasty":18,"author":1650,"museum":364,"description":73365,"tags":73366,"thumbUrl":73367,"material":139,"size":139,"collection":139,"collections":73368,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},227830,"yuan-yang-tu-ye-ma-yuan-227830","此作用边角取景，以对角构图拉开悠远意境。劲挺的墨笔写竹枝，竹叶攒聚有致，清健爽利尽显竹之风骨。溪岸山石以大斧劈皴挥扫，棱角方硬苍劲，带着冷峭的质感。\n婉转的细线勾出溪间波涡，将水流的迂回急缓藏于笔底，澄澈空明的水色晕染出幽寂氛围。石上鸳鸯恬然依偎，柔婉的情态和冷硬的景致刚柔相济，以小见大，在尺幅之间铺展出水乡清寂的诗意，将精工写实与空灵禅意相融，尽显幽隽雅致的山水情致。",[23,7,24,81,27,28,242,109,2555,245,83,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ebd908d08df5f45d3c4cabb273658b.jpg",[],{"id":73370,"slug":73371,"title":73372,"dynasty":18,"author":1650,"museum":364,"description":73373,"tags":73374,"thumbUrl":73376,"material":139,"size":139,"collection":139,"collections":73377,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},227825,"xing-lv-tu-tuan-shan-ma-yuan-227825","行旅图团扇","此作以边角取景，以简淡笔墨晕染出江南烟柳暮色。劲挺的笔法写垂柳，柔丝拂动暗藏骨力，烟霭轻笼水岸，将空濛湿冷的暮色铺陈开来。\n\n寥寥数笔勾勒出行旅队伍，策骑主仆行色匆匆，荒村野渡隐在淡墨轻烟之间，虚实相映间，羁旅清寂的况味尽显。\n\n古绢沉暗掩不住墨色层次干湿浓淡的精妙，以简驭繁，把征途的萧索与水村烟景的淡远相融，空灵雅致，将宋画小景的隽永意趣藏在暮色烟岚之中，余韵悠然。",[23,7,1562,173,29,106,150,1352,73375,18021,38958,559,3802,53837,28123],"荒村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d2515aac4ec3064cf85d6df21f21cd.jpg",[],{"id":73379,"slug":73380,"title":30514,"dynasty":18,"author":7711,"museum":364,"description":73381,"tags":73382,"thumbUrl":73383,"material":139,"size":139,"collection":139,"collections":73384,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},227809,"liu-yan-tu-mao-yi-227809","这幅小品以虚实相生铺陈春景。右畔老柳虬曲苍劲，墨色浓深尽显枝干肌理，柔细柳绦随风漫卷，笔触轻丽流逸，如见春风穿拂。枝头宿鸟两两相依，勾勒简练却灵动传神，各有情态。左侧留白空灵幽远，一只春燕振翅斜穿，破虚而来，让静景生出灵动生气。\n\n全作以水墨晕染，淡赭绢底晕化出暮春烟霭，仅以墨色轻重分出物象层次，无繁复设色。将宋人对春日的细微体察藏于简淡笔墨间，留白处似有春意在流动，仿佛能耳闻燕语呢喃、柳丝簌簌，把郊野寻常春景，晕染出悠远清和的诗意，尽显宋代小品画的雅致意趣。",[7,24,1562,27,83,1532,10497,281,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd706605ac2a870d038a49e2b48362bc8.jpg",[],{"id":73386,"slug":73387,"title":73388,"dynasty":18,"author":73389,"museum":364,"description":73390,"tags":73391,"thumbUrl":73392,"material":139,"size":139,"collection":139,"collections":73393,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},227800,"yan-jiang-fan-ying-tu-xia-sen-227800","烟江帆影图","夏森","此作用淡墨晕染出空濛烟江，远山清瘦，隐在漫卷的雾霭中，只露出错落峰尖，虚实间揉碎了天地边界，将江南烟雨的柔婉朦胧铺展开来。近岸林木简笔勾勒，与烟岚相融，愈发衬出江天的空寂辽远。左下角孤舟凌波，渔人悠然棹行，寥寥数笔便点染出江上行旅的幽寂况味。\n\n全幅以留白衬出水天长阔，笔简意足，将静穆禅意藏在烟波里，把江上一瞬的清寂之美定格，淡远含蓄，尽显山水空濛悠远的诗意。",[23,7,24,209,1562,173,29,174,4974,430,37,39589,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf554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陈居中(传) 胡骑春猎图 绢本设色 24.1x27.3cm 美国大都会艺术博物馆藏\n南宋画家陈居中的传世作品大多以北方少数民族风情故事为题材，形成了与其他南宋画家迥然不同的艺术风格，戈壁大漠的粗犷刚烈也使他在宋代院体画家中卓尔不群。《胡骑春猎图》与陈居中的这些特点颇为相符，表现出作者对当时横行漠北的“胡人”（北方少数民族）的生活有着很深的了解。",[23,7,209,24,1562,28,27,106,150,957,31402,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c8ba97540b5f270c33c54937383a0f.jpg",[],{"id":73428,"slug":73429,"title":73430,"dynasty":18,"author":3214,"museum":364,"description":73431,"tags":73432,"thumbUrl":73433,"material":139,"size":139,"collection":139,"collections":73434,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":49},227512,"tong-xi-tu-ye-su-han-chen-227512","童戏图页","“婴戏”是中国画的一个重要的题材，从唐宋到元明清时期，孩童们的可爱淘气、天真烂漫无不是画家笔端的灵感。“婴戏图”既体现了人们自古至今对孩童的无限关爱与期望，又表达了人们对美好幸福生活的无限憧憬和祝愿。\n\n儿童生性活泼好奇，在他们的眼里，每样事物都新奇有趣，都想要探索、尝试。而游戏、玩具不仅能启发心智，也能锻练强健的体魄，是他们用以探索世界的工具。",[23,7,24,81,28,27,106,245,1015,39970],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e088f168b45c22f7031b2d125dc9812.jpg",[],{"id":73436,"slug":73437,"title":73438,"dynasty":18,"author":293,"museum":364,"description":73439,"tags":73440,"thumbUrl":73441,"material":139,"size":139,"collection":139,"collections":73442,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},227344,"nan-tang-wen-hui-tu-yi-ming-227344","南唐文会图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。",[23,7,24,27,28,106,29,34,313,2951,178,86,244,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a6e27647f006a060beabf4f36b4ffa.jpg",[],{"id":73444,"slug":73445,"title":4430,"dynasty":18,"author":645,"museum":206,"description":73446,"tags":73447,"thumbUrl":73448,"material":139,"size":139,"collection":139,"collections":73449,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},227292,"shu-se-ping-yuan-tu-guo-xi-227292","《树色平远图》，宋代，郭熙，绢本水墨，纵32.4厘米，横104.8厘米，美国纽约大都会博物馆藏\n\n《树色平远图》表现深秋郊外的优美景象。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。此图无款，卷后有元明诸家诗文题跋。\n\n此图与郭熙的另一副传世名画《窠石平远图》画风和构图极为相似，描绘一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。整个景物清寒枯硬，其境界清旷平淡。画面以平远布局，构景简洁，开阔而均衡。其树似鹿角蟹爪，山石笔法灵活多变，墨色浓淡变化丰富而微妙，所造之境具体真实，从中可以看出李成画风的影响，同时又体现出郭熙山水画的典型风格。",[23,7,24,25,1397,173,177,29,34,491,12743,394,1653,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],{"id":73451,"slug":73452,"title":62,"dynasty":76,"author":7124,"museum":364,"description":30176,"tags":73453,"thumbUrl":73454,"material":139,"size":139,"collection":139,"collections":73455,"showCount":831,"zanCount":1547,"manualWeight":48,"mainColor":94},226644,"hua-pu-ru-226644",[23,7,24,27,28,83,62,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed57ef2871355f1a1c8e705a5a4935bc.jpg",[],{"id":73457,"slug":73458,"title":73459,"dynasty":76,"author":7124,"museum":364,"description":50721,"tags":73460,"thumbUrl":73461,"material":139,"size":139,"collection":139,"collections":73462,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},226628,"si-shi-shan-shui-01-pu-ru-226628","四时山水01",[7,173,27,177,81,29,176,1575,109,175,281,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c764ce4c7a82085c37e224fd507c9.jpg",[],{"id":73464,"slug":73465,"title":73466,"dynasty":76,"author":3732,"museum":364,"description":73467,"tags":73468,"thumbUrl":73469,"material":139,"size":139,"collection":139,"collections":73470,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},224579,"hua-xing-hua-song-zhu-zhou-jiang-ting-xi-224579","画杏花松竹轴","水墨晕染，苍松躯干古拙嶙峋，疤结凝着岁月风霜，松针攒簇如戟，虬枝斜曳尽显清刚之姿。柔婉杏枝侧生，蓓蕾轻绽，冷艳雅致中和了古松的苍劲。坡石之间新竹疏朗挺秀，与松、杏相映成趣。浅滩细流隐现于草叶间，衬出幽寂清远的林下意境。\n\n笔致兼用工写，浓淡墨色铺陈层次，刚柔相济，将花木姿致与林泉野趣相融，淡痕轻晕里藏着文人清雅风骨，把岁寒同侪的逸韵收于卷中，晕染出悠长清寂的林下幽怀。",[23,7,241,173,449,242,2972,176,29,83,177,16328,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ddfdd9f3d46ccff5e6af49dd78bebf.jpg",[],{"id":73472,"slug":73473,"title":15695,"dynasty":76,"author":64824,"museum":364,"description":73474,"tags":73475,"thumbUrl":73476,"material":139,"size":139,"collection":139,"collections":73477,"showCount":831,"zanCount":5,"manualWeight":48,"mainColor":94},224533,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-224533","此作用笔追摹前贤意趣，主峰奇崛高耸，淡墨晕染石身，浓墨点苔醒出山岩苍古肌理，山间林木疏密错落，枯荣相映。近岸虬松老干遒劲，枝桠舒张如盖，临水茅庐静立，二人凭栏晤谈，衬出林下幽寂雅趣。\n整幅以高远法布局，虚实相生，留白处晕出山岚氤氲，将山野幽居的静谧萧散尽数铺展。笔墨简淡清逸，淡墨皴擦间尽显山水温润空濛，又自具峭爽格调，尽显文人寄情林泉的雅致意趣。",[23,7,24,241,173,177,29,1575,35,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7804fca5f15a8af04239b286d359bd.jpg",[],{"id":73479,"slug":73480,"title":73481,"dynasty":76,"author":1109,"museum":364,"description":73482,"tags":73483,"thumbUrl":73484,"material":139,"size":139,"collection":139,"collections":73485,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},224505,"shan-shui-ce-kai-shi-shi-tao-224505","山水冊开(十)","此作以淡墨晕染山水，江上扁舟轻漾，白衣士人立舟头，身伴仙鹤，与撑篙舟子共赴江天。远山以浅赭淡墨晕化，似笼着氤氲薄雾，虚实相生间尽显江空岑寂之美。近岸以枯涩焦笔勾勒嶙峋怪石，与淡远云山形成刚柔对照。右侧题笔纵逸苍劲，诗画相融，将乘舟遣兴的悠然襟怀诉诸笔端，以简淡之笔写尽江湖散人意趣，笔墨随心生发，尽显随性放达的文人风骨。",[23,7,24,173,29,174,106,864,227,86,81],"https:\u002F\u002Foss.chuangqi.store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》。\n这开画表现李白的千古名篇“静夜思”。\n月光在画面上并没有出现，只画一人倚于窗前做望月状，这就足够了。\n屋后的灌木以白粉掺色画出，再加上屋后的山以隐隐约约的笔触写出，迷迷朦朦，霜意表现的极佳。\n册页左上以隶书题写，古拙可爱。\n唯“床前明月光”之“前、明”写作“头、看”，这是因为版本不同的缘故。",[23,7,173,27,177,81,29,174,394,35,176,34,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde1928ce926a554338cf76be73ab55.jpg",[],{"id":73503,"slug":73504,"title":73505,"dynasty":76,"author":10376,"museum":364,"description":73506,"tags":73507,"thumbUrl":73508,"material":139,"size":139,"collection":139,"collections":73509,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},224444,"fang-li-cheng-xue-ji-tu-wang-hui-224444","仿李成雪霁图","此作用淡墨晕染山石，以留白托出积雪的莹白蓬松，将雪裹山峦的厚重萧寒尽数铺展。枯木虬枝劲挺错落，枝梢缀着残雪，溪面凝冰仍暗藏水意潺潺，悬瀑似冻未绝，于冷寂间暗寓生机。\n\n整幅画作尽得冬日空山的清寂辽远，师法宋人笔意，苍浑之中兼具秀润雅致，把雪后山川的荒寒冷寂，晕化为淡逸悠远的诗意，令人恍若置身冰封雪覆的空山，浸溺在这份清绝尘嚣的静谧之中。",[23,7,24,241,105,173,177,29,2502,30,650,34,558,15976,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9125d4abb2b29d2399e2e24c79ab71e9.jpg",[],{"id":73511,"slug":73512,"title":22562,"dynasty":76,"author":1394,"museum":364,"description":73513,"tags":73514,"thumbUrl":73515,"material":139,"size":139,"collection":139,"collections":73516,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},224429,"shan-shui-tu-zhou-wang-shi-min-224429","此作用高远、平远兼济的构图铺展春日山乡景致。近处枯木虬枝舒展，与苍松错落相映，坡岸下春水澹澹，林麓间屋舍幽藏，安然静卧于烟岚轻笼之中。远景山峦以干笔淡墨勾勒皴擦，笔意松秀苍润，以浅淡墨色晕染出空濛氤氲的春日山气。\n\n全作用墨清隽温厚，脱胎元人山水意趣，以留白衬出春水空阔，将山野的清寂淡远融于笔底。未施浓丽敷色，仅以水墨干湿浓淡区分物象层次，尽显萧散简远的文人意韵，把春日林泉的幽闲之趣藏于每一重皴染之间，含蓄悠远，尽显古典山水的静雅之美。",[23,209,7,24,241,173,29,34,176,35,560,1575,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2b57e9a7f5704ab95a2ab50a4edb.jpg",[],{"id":73518,"slug":73519,"title":73520,"dynasty":76,"author":2324,"museum":364,"description":73521,"tags":73522,"thumbUrl":73523,"material":139,"size":139,"collection":139,"collections":73524,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},224319,"hua-niao-ce-shi-kai-9-li-shan-224319","花鸟册十开9","淡粉晕染月季花瓣，瓣尖轻施浓色，将盛放的娇柔饱满、花苞含露的娇憨情态描摹尽致。带刺的细枝斜逸舒展，枝叶晕染出阴阳向背，鲜活生动。旁侧行草题字笔势纵横跌宕，墨色浓淡错落，诗画相映。\n\n花木的缱绻生机，合着文人疏放的笔墨意趣，形神兼备。笔简意足，在秀雅鲜活的写生中，又带着独有的桀骜风骨，将花木情态与文人心绪融于尺幅之间，尽显写意风神。",[23,7,24,81,27,83,795,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c574adcbda1a40cb7c88b1fb4f19147.jpg",[],{"id":73526,"slug":73527,"title":73528,"dynasty":76,"author":2324,"museum":364,"description":73529,"tags":73530,"thumbUrl":73531,"material":139,"size":139,"collection":139,"collections":73532,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},224312,"hua-niao-ce-shi-kai-2-li-shan-224312","花鸟册十开2","这幅大写意花鸟以纵逸笔墨铺陈，水墨晕染枝叶，浓淡干湿错落间，将叶片舒展之态尽显，笔意随性疏朗，不囿于细枝末节，却晕开草木清灵生机。\n\n两只禽鸟栖于枝桠，一俯一仰灵动鲜活，淡墨轻点头颈绒毛，浓墨晕染翅尾肌理，简括数笔便将禽鸟神形尽数勾勒，意趣盎然。右侧题字率意朴拙，书画相映成趣，浑然相融。\n\n整幅画尽显纵恣不羁的写意风骨，脱略形似而独求意气，寥寥笔墨便将枝间闲趣跃然纸上，寄寓着悠然闲适的文人意趣。",[23,209,7,24,81,173,83,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c260e3230891761922e78c776eb0f72.jpg",[],{"id":73534,"slug":73535,"title":73536,"dynasty":76,"author":707,"museum":364,"description":73537,"tags":73538,"thumbUrl":73539,"material":139,"size":139,"collection":139,"collections":73540,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},224193,"gao-zhi-hao-niao-tu-hua-yan-224193","高枝好鸟图","此作用笔秀逸空灵，枯柳斜曳而上，柔条垂落拂动，浅粉桃苞绽于老枝，点破浅春淡寂。丹羽禽鸟栖于细枝，俯身侧目，将恋花娇态摹写生动，蓬松的羽色以没骨晕染，鲜活明丽，尽现翎毛柔润光泽。\n\n墨色干湿互衬，枯笔点苔写柳骨，淡墨轻描柳叶清姿，留白铺就淡远空濛的底色。右侧题诗与画境相合，诗画交融，将春鸟娇啼、窥影共情的诗意融在尺幅之间，简淡中藏生机，尽显隽雅疏朗的文人意趣，把春日幽微意绪晕染在笔墨方寸里。",[23,7,24,83,446,27,224,1062,279,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30dec5d8321ce381f3e219c75141f00.jpg",[],{"id":73542,"slug":73543,"title":56283,"dynasty":76,"author":707,"museum":364,"description":73544,"tags":73545,"thumbUrl":73546,"material":139,"size":139,"collection":139,"collections":73547,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},224190,"guan-quan-tu-hua-yan-224190","此作画境清逸古雅，右上角古木盘曲，垂藤轻曳，飞泉自崖间潺潺而下。崖下雅士踞石观泉，仰首凝神，似将身心融于泉声林色之中，旁侧童子携囊持壶，静立相随，愈衬画面幽寂。\n\n笔墨苍润秀灵，淡赭铺底晕出春日空濛，浓墨点染木叶，山石勾勒皴擦结合，写意中不失细腻。题诗与画境相得益彰，将草青花初的春景与泉鸣相融，尽显文人寄情林泉、静赏山水的闲逸襟怀，清隽淡远，观之如临其境，恍闻泉声松风。",[23,7,241,173,27,106,29,34,650,558,109,759,296,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455ed575cfebe4bc1c8c2a52961e950.jpg",[],{"id":73549,"slug":73550,"title":73551,"dynasty":18,"author":293,"museum":364,"description":73552,"tags":73553,"thumbUrl":73554,"material":139,"size":139,"collection":139,"collections":73555,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},223611,"zhu-ting-yuan-yang-tu-yi-ming-223611","竹汀鸳鸯图","画面截取江南水隅一角，修竹偃仰扶苏，以劲健墨笔勾写枝叶，浓淡晕染间，尽显层叠错落的清生意趣。汀洲之上，一对鸳鸯恬然依偎，翎毛细笔丝染，绒羽蓬松柔润，将亲昵温婉的情态描摹入微。\n\n水面留白晕开薄雾空蒙，三两水鸟掠波振翅，于静景中添灵动生机。全作用浅褐绢底烘托苍雅墨色，工写相融，既以精微笔触写实花鸟形质，又晕染出暮色江汀的清寂空濛，将江南水畔的闲澹之景，揉入宋人内敛含蓄的雅致意趣，尽显古典院体花鸟画的妍丽与空灵。",[23,209,7,24,28,27,83,242,2555,281,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38af8970d0e9b3d6c4052a52cdd7776.jpg",[],{"id":73557,"slug":73558,"title":73559,"dynasty":76,"author":293,"museum":364,"description":73560,"tags":73561,"thumbUrl":73563,"material":139,"size":139,"collection":139,"collections":73564,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,7,24,173,27,29,177,5990,176,34,31,33,35,649,37,38,560,194,73562,1248],"峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":73566,"slug":73567,"title":73568,"dynasty":18,"author":293,"museum":20,"description":73569,"tags":73570,"thumbUrl":73571,"material":40,"size":73572,"collection":139,"collections":73573,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":94},223495,"chun-xi-shui-zu-tu-ye-yi-ming-223495","春溪水族图页","此图是现存宋画中游鱼类题材画的一幅佳作。春暖花开，群鱼戏藻。鲢鱼摆尾漫游，鲶鱼回身在后，鳜鱼则迎头向上，隐喻了“连年有贵”的吉祥含义。画家通过鱼儿欢快游动时自由弯转的体态和藻类植物在游鱼冲击下漂浮不定的形状，巧妙地暗示出流水的动势以及春水的清洌透明感。3尾大鱼均施以工笔重彩，用笔沉稳工致，片片鱼鳞描绘得一丝不苟；而衬景的小鱼、小虾和水藻则纯用没骨法渍染，将鱼虾的灵动和水藻的轻盈表现得恰到好处。\n对幅有清乾隆御题七言诗一首：“庄惠曾论知弗知，传为奇语却无奇。试如驳曰我非子，便是答云彼岂斯。春水初生具春意，文鳞群泳爱文漪。漫訾意浅色鲜耳，颇类濠梁博辩时。戊申仲秋御题。”“戊申”为乾隆五十三年（1788年）。钤“古稀天子之宝”、“犹日孜孜”印。",[23,7,209,24,81,28,27,227,933,243,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859ddf48b1c91ddef47588963053a15e.jpg","纵24.3cm，横25.5cm",[],{"id":73575,"slug":73576,"title":73577,"dynasty":18,"author":293,"museum":206,"description":73578,"tags":73579,"thumbUrl":73580,"material":73581,"size":139,"collection":139,"collections":73582,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},223485,"wu-kuan-he-yan-yi-ming-223485","无款荷雁","深秋，荷塘，枯败的荷叶和芦苇，可能是南飞的大雁，落在荷塘旁休憩，四只雁仰头等待着同伴落下来，六只雁动静结合，形态各异，画面清淡灵动，极具舒适感。",[7,28,27,243,4895,281,2522,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414dcef4b802a97e23d08ce398337d45.jpg","絹本、設色",[],{"id":73584,"slug":73585,"title":73586,"dynasty":18,"author":293,"museum":578,"description":73587,"tags":73588,"thumbUrl":73589,"material":803,"size":73590,"collection":139,"collections":73591,"showCount":831,"zanCount":48,"manualWeight":48,"mainColor":49},223482,"wen-ji-tu-yi-ming-223482","文姬图","蔡文姬，名琰，字文姬（一作明姬，昭姬），东汉陈留国（今河南粑县）人。东汉文学家蔡邕（伯喈）之女。博学而有辩才。熟谙音律。16岁嫁给河东卫仲道，婚后不久，夫亡无子，回娘家居住。 东汉末年，中原战乱，被董卓的部将所虏，在南匈奴居住了12年。在万般无奈的情况下当了匈奴左贤王的妻子，生了2个儿子。曹操与蔡邕友善且情意相投，惜文姬的才华，故造使以金壁赎回，接到中原。 文姬于公元208年4月4日（汉建安十三年三月初一日）重返家园，后再嫁屯田都尉董祀。奉命补蔡邕的散佚典籍，忆写400多篇，文无遗漏。有五言及骚体《悲愤诗》各一首传世，倾吐乱离之苦及归汉时母子别情，哀怨激愤，是东汉末年战乱生活的真实写照。 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辨，藏着刻入丝缕中的审美意趣，将工巧雅致与花之华贵相融，静述旧时风雅。",[209,7,24,1562,83,27,327,1629,227,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2b5dc1457291d8f16ccbb586352c0d.jpg",[],{"id":74423,"slug":74424,"title":18098,"dynasty":204,"author":4640,"museum":364,"description":7326,"tags":74425,"thumbUrl":74426,"material":743,"size":744,"collection":139,"collections":74427,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},289011,"xie-sheng-yuan-yang-tu-huang-quan-289011",[23,7,209,1562,28,27,83,2555,1015,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99eb3603f22742b8d0c861e116284f61.jpg",[],{"id":74429,"slug":74430,"title":35040,"dynasty":18,"author":27510,"museum":364,"description":74431,"tags":74432,"thumbUrl":74433,"material":743,"size":744,"collection":139,"collections":74434,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},288962,"jun-gu-tu-gong-kai-288962","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人。",[209,7,24,173,260,150,957,227,86,3996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d4572c7967b6ea59fd60add1018fb5.jpg",[],{"id":74436,"slug":74437,"title":74438,"dynasty":18,"author":38151,"museum":364,"description":74439,"tags":74440,"thumbUrl":74441,"material":743,"size":744,"collection":139,"collections":74442,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},288921,"xi-shan-ji-xue-tu-gao-ke-ming-288921","溪山积雪图","高克明，生卒年不洋，绛州(今山西新绛) 人，主要活动时期在太宗，仁宗二朝，为当时著名的山水画家。善佛道、人马、花竹、翎毛、禽虫、畜兽、鬼神、屋宇，皆造于妙。工画山水，采撷诸家之美，参成一艺之精，团扇卧屏，尤长小景，但矜其巧密，殊乏飘逸之致。喜幽默，多行郊野间，览山林之趣，箕坐终日，归则求静室以居，沉屏思虑；神游物外，景造笔下。景德（1004-1007）中游京师，大中祥符（1008-1016）中入图画院，与太原王端、上谷燕文贵、颖川陈用志为画友。尝诏入殿，命画图壁。迁至待诏，守少府监主簿，赐紫衣。景佑初仁宗命画臣鲍国资画四时景于彰圣阁，国资战惧不已，不能下笔，诏克明代之。淮海富商陈永以百千求春龙起蛰图，克阴坚让不从。皇佑初受勅图画三朝盛德之事，人物才及寸余，宫殿山川，銮与仪衞，成备焉。凡一百事，名三朝训鉴图。 《圣［宋］朝名画评、图画见闻志、宣和画谱、书画题殴记、挥尘后录》。高克明的山水画创作，大多是从实地观察获得素材，复经自己 深思熟虑、苦心经营中得来，并不专师于一家，却能注意采撷诸家之美，参成一艺之精，自为体格，颇有创新的味道。\n高克明的绘画成就，在当时已得到公认。《宋朝名画评》将其作品列为妙品第一，认为：“高克明铺成景物，自 成一家，当代少有。”宋高宗赵恒曾写诗云：“(高)克明已死（许）道宁逝，郭熙后有新成名。”认为高克明品第尚在著名画家郭熙之上。明 人王世贞甚至说：“今世称二马(远、麟)、刘(松年)、夏珪，要亦以易知之耳。若克明，殆犹顾(恺之)、陆(探微)之于张(僧鹞)、吴(道子)， 岂可同日语哉！”高克明山水画作品的代表作为《雪意图》(现藏美国)，描绘溪山雪后的清寒景色。画面中央为一片溪水，近岸为树木房屋， 远方则遥山对峙，稍近又绘有树木房屋道路。整幅画画上表现出一种清旷荒寒的烙调，而又不失苍秀嫣润的气韵。另外，经营位置的周详得当 ，意境表达的幽静深院，笔墨运用的精细整饬，都有自创的新意在内。高克明的其他山水画作品，见于著录的还有《夏山飞瀑》、《窠石野渡 图》，《烟岚窠石图》各二幅。",[7,209,29,2502,86,178,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d06dfcc696c5dd85402e98745a0a984.jpg",[],{"id":74444,"slug":74445,"title":32721,"dynasty":189,"author":2519,"museum":364,"description":19462,"tags":74446,"thumbUrl":74447,"material":743,"size":744,"collection":139,"collections":74448,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},288919,"san-ma-tu-zhao-meng-fu-288919",[209,7,24,150,957,27,28,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3abfb6ffc7928bdc000bc0337dcf800b.jpg",[],{"id":74450,"slug":74451,"title":74452,"dynasty":18,"author":22933,"museum":364,"description":22934,"tags":74453,"thumbUrl":74454,"material":743,"size":744,"collection":139,"collections":74455,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},288347,"feng-yu-wei-zhou-tu-yan-ci-yu-288347","风雨维舟图",[1562,7,209,29,174,175,34,176,491,11886,177,27,490,7742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa671c596f3518c9f5d1279fe7c89a10.jpg",[],{"id":74457,"slug":74458,"title":2152,"dynasty":76,"author":293,"museum":364,"description":74459,"tags":74460,"thumbUrl":74461,"material":743,"size":744,"collection":139,"collections":74462,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},288230,"hua-niao-tu-yi-ming-288230","整卷铺陈四时清景，以没骨晕染花卉，工细勾勒禽鸟神形。左首老梅虬枝缀雪，群雀顾盼生姿，竹影横斜衬出幽寂；继而牡丹柔瓣含露，艳而不俗，荆棘穿插添就野趣；再见异花绮丽，红白相映，顽石苔痕自生古意；末了春桃绽蕊，幽禽独立枝梢，静中含动。\n\n题跋书法与绘事相映，笔墨晕染春日清和雅韵，将花木禽鸟的生机雅致融于长卷，尽显写生传神的悠然意趣，是雅致清妍的花鸟佳作。",[23,7,24,25,28,27,83,1938,840,327,279,84,5941,6909,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1fed4095a95d1cd12f57590df46b43.jpg",[],{"id":74464,"slug":74465,"title":74466,"dynasty":76,"author":293,"museum":364,"description":74467,"tags":74468,"thumbUrl":74469,"material":743,"size":744,"collection":139,"collections":74470,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},288185,"shen-hua-ren-wu-xiang-yi-ming-288185","神话人物像","此作为工笔重彩人物画，主尊武将端坐正中，面相圆阔威严，身着纹饰繁丽的金红铠甲，兽面腹甲凸显悍勇气魄，织金衣纹层次精细，华贵庄重。两侧亲兵持戟肃立，盔缨朱红鲜明，神态恭谨肃穆，衬得主将气场愈发雄浑沉厚。\n设色古雅沉稳，晕染细腻考究，衣甲肌理与配饰细节皆刻画入微，将护法神将的凛凛威仪渲染得淋漓尽致，尽显传统人物画的精湛笔力，古韵悠长，尽显庙堂神像画的庄严厚重之感。",[23,7,241,27,106,631,12623,7464,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0577e147b317451fcc1349440d6a9e4d.jpg",[],{"id":74472,"slug":74473,"title":74474,"dynasty":189,"author":351,"museum":364,"description":74475,"tags":74476,"thumbUrl":74479,"material":743,"size":744,"collection":139,"collections":74480,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},288158,"qiu-jiang-dai-du-qian-xuan-288158","秋江待渡","画面中间部分是辽阔的江面，空阔邈远，远处乃是绵延不绝的群山。近处，红树一簇，树下有几人引颈眺望，而江面上隐隐约约有一叶小舟，那就是待渡者的希望。江面空阔，小舟缓缓，似渺然难见，它和人急迫的等待之间构成强大的情绪张力。正是眼前渺渺秋江阔，隔岸扁舟发棹迟。",[23,209,7,25,24,29,27,28,24089,174,37666,281,4873,3639,6922,74477,2125,178,227,74478,7714],"斜阳","待渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ea90e2472344b5a66a2202ee6516b3.jpg",[],{"id":74482,"slug":74483,"title":74484,"dynasty":99,"author":293,"museum":364,"description":74485,"tags":74486,"thumbUrl":74487,"material":743,"size":744,"collection":139,"collections":74488,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},288145,"shan-shui-tu-ti-xu-dao-ning-yi-ming-288145","山水图(题许道宁)","此作用全景式平远构图铺展江湖胜境，烟波浩渺间峰峦连绵起伏，巨岩峻峭处飞瀑垂落，丘壑藏幽。浅汀洲渚错落点缀苍松杂木，渔舟泛于平湖之上，山居隐于林麓之间，处处漫着静谧萧散的野趣。\n\n画师以淡墨皴擦山峦，勾勒与渲染相融，将山石的浑厚质感与云水的空濛柔润相互映衬，树木取法苍劲笔意，简括灵动。整体色调古雅沉静，把平远、深远山水意境汇于一卷，铺展出旷远清逸的江南景致，尽显幽淡天然的文人山水意趣，引人神游林泉，体悟高致。",[23,7,24,25,209,29,109,174,1575,10667,558,464,34,177,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21189e70bdbdbedc3253fe6e38816672.jpg",[],{"id":74490,"slug":74491,"title":74492,"dynasty":76,"author":10320,"museum":364,"description":63465,"tags":74493,"thumbUrl":74494,"material":743,"size":744,"collection":139,"collections":74495,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},288139,"ting-zhong-yu-ba-jiao-tu-li-zhou-gai-qi-288139","庭中雨芭蕉图立轴",[23,7,241,173,24,209,106,755,245,115,23103,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497f08e6a1c9e24cec2c2bca45e5ab65.jpg",[],{"id":74497,"slug":74498,"title":25797,"dynasty":18,"author":781,"museum":364,"description":13867,"tags":74499,"thumbUrl":74500,"material":743,"size":744,"collection":139,"collections":74501,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},287961,"bai-miao-shou-lie-tu-juan-li-gong-lin-287961",[23,209,7,24,25,260,106,29,31402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53a424ef0bb781caefcd3e9aa23bb5d.jpg",[],{"id":74503,"slug":74504,"title":74505,"dynasty":18,"author":781,"museum":364,"description":13867,"tags":74506,"thumbUrl":74507,"material":743,"size":744,"collection":139,"collections":74508,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":1335},287754,"bai-miao-fo-xiang-di-liu-zun-zhe-li-gong-lin-287754","白描佛像第六尊者",[23,209,7,241,259,260,106,25116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8847829c3580632bd6237e0981657c5.jpg",[],{"id":74510,"slug":745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字三岛. 蒋步瀛（生卒年不详）， 元和（今江苏苏州）诸生。 深通画理， 山水秀韵， 点染花卉，颇得生趣。俱有恽寿平遗意。五十后更细秀妍妙，人多悦之。",[7,24,1562,27,83,74814],"紫薇花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74e51fc533e94ee405a8feaad566f3a1.jpg",[],{"id":74818,"slug":74819,"title":4025,"dynasty":76,"author":10376,"museum":364,"description":40266,"tags":74820,"thumbUrl":74821,"material":139,"size":139,"collection":163,"collections":74822,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},236421,"shan-shui-zhou-wang-hui-236421",[7,24,241,173,177,86,29,34,176,1445,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bf315cbaa420c5f5e1b33c83013106.jpg",[163,382],{"id":74824,"slug":74825,"title":74826,"dynasty":99,"author":74827,"museum":20,"description":74828,"tags":74829,"thumbUrl":74830,"material":2021,"size":74831,"collection":163,"collections":74832,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},236415,"shu-yi-lan-shi-zhou-shu-yi-236415","叔伊兰石轴","叔伊","周天球题跋：“待雪香非浅，临风意自多。周天球题。”作者钤印：“句吴人”朱文圆印、“参军大夫”朱文方印。 鉴藏印：“周氏公瑕”白文方印、“竹垞审定”白文方印、“□望楼”朱文方印、“虞琴秘笈”朱文方印、“孔彰珍玩”白文方印。款识：自题：“叔伊笔。”",[7,24,241,173,446,5508,298,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa171098b9edcd832689ba6c621bb8ba5.jpg","纵91cm，横42.3cm",[163],{"id":74834,"slug":74835,"title":4025,"dynasty":76,"author":74836,"museum":20,"description":74837,"tags":74838,"thumbUrl":74839,"material":2021,"size":74840,"collection":181,"collections":74841,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},236309,"shan-shui-zhou-weng-song-nian-236309","翁嵩年","翁嵩年（1648—1730年），字康饴，号萝轩,钱塘（今浙江杭州）人。清康熙年间进士，官户部主事，善画山水，气质古雅疏拙。著有《天香书屋稿》、《白云山房集》、《友石居集》。",[209,7,24,241,173,177,29,176,109,1015,34,650,2408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b0b59a3b52a3e78c6027049e7430e8c.jpg","纵102.7cm，横47.5cm",[181,163,382],{"id":74843,"slug":74844,"title":19864,"dynasty":99,"author":293,"museum":364,"description":74845,"tags":74846,"thumbUrl":74847,"material":67,"size":139,"collection":139,"collections":74848,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},236286,"wang-zi-yuan-hua-niao-ce-yi-ming-236286","此作以芙蓉栖禽入画，粉紫芙蓉柔瓣舒展，晕染出娇妍层次，枝叶墨色浓淡相衬，鲜活饱满，尽显花绽之姿。石上双禽依偎，翎毛细劲工致，亲昵恬和的神态尽显灵动。周遭浅草疏枝淡笔勾勒，虚实相生，晕开清寂悠然的秋日氛围。\n\n整画工写兼具，设色明雅柔和，将花木柔媚与禽鸟恬然相融，把寻常小景晕染出幽淡隽雅的诗意，尽显雅致温婉的花鸟意趣。",[7,27,83,28,450,224,298,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4a342ecf0dff4de7a0f4be078271f0.jpg",[],{"id":74850,"slug":74851,"title":19864,"dynasty":99,"author":293,"museum":364,"description":74852,"tags":74853,"thumbUrl":74854,"material":67,"size":139,"collection":139,"collections":74855,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},236284,"wang-zi-yuan-hua-niao-ce-yi-ming-236284","此作以没骨法绘就庭隅小景，蓝晕裹边的月季柔婉绽放，青枝错落舒展，嫩叶敷色清润鲜活。一只栖鸟敛羽静立于枝头，侧目垂颈，慵懒温驯的姿态跃然绢上，绒羽质感细腻柔和，生机暗藏。右上角浅绘坡石淡影，留白透气，衬出画面空寂松弛。整体设色雅致清淡，笔触简逸却意韵绵长，将初夏庭院的闲静意趣尽数铺展，观之便觉清宁闲适之感漫溢开来，尽显幽寂淡然的文人雅意。",[7,24,81,27,28,83,224,62,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e57c2d768af180842ce28fb730de1d0.jpg",[],{"id":74857,"slug":74858,"title":74859,"dynasty":76,"author":293,"museum":20,"description":74860,"tags":74861,"thumbUrl":74862,"material":40,"size":139,"collection":44,"collections":74863,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},236181,"hui-fei-chang-fu-xiang-zhou-yi-ming-236181","慧妃常服像轴","此作工笔设色，写实传神。画中女子端坐在明黄绣纹宝座，面容温婉娴静，眉目秀雅，神色端庄自持。石青色常服褂平整挺括，金珠纽扣点缀其间，素雅暗含华贵，绛色护指包裹双手，尽显旗人贵妇仪范。\n\n两侧几案陈设法琅供瓶、描金供器，案面缠枝纹样勾绘考究。脚下地毯翎毛瑞兽纹样繁丽饱满，配色浓艳和谐，烘托出庄重规整的宫廷氛围。画作笔法细腻写实，设色沉稳雅致，将女子温婉端凝的气度尽显于绢素之上。",[7,24,241,28,27,106,59,244,505,11058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5440d55dfc9723052992be1c527c5a.jpg",[44,45],{"id":74865,"slug":74866,"title":72943,"dynasty":76,"author":293,"museum":20,"description":74867,"tags":74868,"thumbUrl":74869,"material":665,"size":74870,"collection":44,"collections":74871,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},236175,"hong-li-chao-fu-xiang-zhou-yi-ming-236175","爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。\n乾隆帝是中国封建社会一位赫赫有名的皇帝。乾隆帝在位期间清朝达到了康乾盛世以来的最高峰，他在康熙、雍正两朝文治武功的基础上，进一步完成了多民族国家的统一，社会经济文化有了进一步发展。乾隆重视社会的稳定，关心百姓，五次普免天下钱粮，三免八省漕粮，减轻了农民的负担，起到了保护农业生产的作用，使得清朝国库日渐充实。乾隆时期武功繁盛，在平定边疆地区叛乱方面做出了巨大成绩，并且完善了对西藏的统治，再次将新疆纳入中国版图，清朝的版图由此达到最大化，近代中国的版图也由此正式奠定。乾隆帝在位期间，实行“因俗而治”的民族政策。汉学得到了很大的发展，开博学鸿词科，修《四库全书》； 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简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,7,25,173,28,260,227,106,7646,109,34,2522,281,1016,29,118,6549,44560,14274,1532,1351,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":75073,"slug":75074,"title":46416,"dynasty":99,"author":14489,"museum":20,"description":75075,"tags":75076,"thumbUrl":75077,"material":1449,"size":139,"collection":139,"collections":75078,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},234242,"shan-shui-juan-sun-zhi-234242","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,7,24,25,173,27,177,86,178,29,649,31,111,34,35,1575,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":75080,"slug":75081,"title":75082,"dynasty":99,"author":44748,"museum":20,"description":75083,"tags":75084,"thumbUrl":75085,"material":803,"size":139,"collection":139,"collections":75086,"showCount":332,"zanCount":5,"manualWeight":48,"mainColor":94},234122,"lan-shi-tu-juan-ma-shou-zhen-234122","兰石图卷","中国古代女性画家的作品，虽然其艺术语言尚未超越男性画家，却始终是美术史中的一个重要组成部分。尤其明清两代女性绘画的空前发展，使她们在各自的才艺表述中，散发着独特魅力。其中明代马守真便是最为卓越而富有才情的女画家之一。\n马守真（1548-1604），小字玄儿、又字月娇，自号“湘兰”，因家中排行第四，人称“四娘”。幼年时沦落风尘的马湘兰，天资聪慧，多才多艺，且能诗善画，一生以兰花、竹、石、灵芝、水仙等为题创作了许多作品。在她以兰花为主题的传世作品中，有真亦有伪，且早期与晚期的画风也不尽相同，水平自然亦有高低。其间，马守真在1598年五十岁时所作的《兰石图》（图一）（现藏中国国家博物馆），堪称她绘画成熟期的经典之作。是图描绘了草坡之上的一丛野生兰，只见兰叶随意舒展、花儿含羞怒放、身后有修竹为伴，亦随风轻轻舞动。兰花伴以湖石、润笔勾出，与信手点染的苔草相映成趣。画家以没骨之法、细线勾勒出的兰叶，行笔劲挺流畅、张显了兰花恣意生长、野趣盎然。图中左上有画家款识：“戊戍仲冬日写”、“湘兰马守真”，钤印“湘兰”、“守真玄玄子”二方。图中右下有“曾藏锡芝兰堂”等收藏印二方。\n从湘兰所画兰花的笔法来看，她更多承袭了南宋赵孟坚（1199—1264） 的水墨兰花风格。曹寅评其画云：“兰法子固，竹法仲姬，俱能袭其韵。”赵孟坚，字子固、南宋宗室。他工诗善画，是兼具贵族、士夫与文人身份的画家。他首创的墨兰，“清而不凡、秀而雅淡”,深得后世文人推崇（图二）。万历三十二年（1604），湘兰在她五十七岁临终那一年画的《兰花图》卷（上海博物馆藏）（图三） 款题中写道：“甲辰夏日，在松院仿赵子固画兰赠彦可兄，湘兰马守真。”足见对赵孟坚画兰之风的追随。此画卷分为两段：前段双勾、后段水墨写意，浓淡变化，颇多意趣。画卷开首有杨法所题变体篆书云：“咀嚼兰蕙”。如果说赵孟坚笔下的兰花盛开，犹如翩翩起舞的彩蝶、春风得意，那么湘兰笔下的兰花则更像是娴静的少女，多了几分柔媚与清幽。\n湘兰一生画了很多兰花，水墨居多，而少颜色，如《兰花图》扇面（图四）、《兰石图》卷（故宫博物院藏）、《兰竹石图》轴等传世佳作。后人评：“其墨兰一派，潇洒恬雅，极有风韵”。图中兰花的左右，往往伴有湖石、墨竹、水仙、灵芝等清雅之物。湖石或润笔或皴擦、简淡天成，瘦竹则疏朗有致，与幽兰相应成趣。画风给人的感觉更像是一个文人士大夫的作品，而难想像乃出自金陵花街柳巷的一风尘女子之手。\n湘兰专注于兰，为此还特意在秦淮河畔边盖了一座小楼，栽满兰花，名为“幽兰馆”。她所喜好的兰花，也正是历代文人画家所热衷的“君子”题材。宋末元初的诗人画家郑思肖（1241-1318） 专绘“露根兰”，谓之“纯是君子，绝无小人”，以寄托亡国之恨。兰花由此被赋予了极强的人格意义，成为品德高洁的君子象征。明代苏州吴门大家文征明尤爱画兰，留有许多兰花竹石逸品，如《兰竹图》（台北故宫博物院藏）（图五）。陈元素周天球等江南文人亦以描绘清幽而芬芳的兰花为乐事（图六）。作为“秦淮八艳”之一的名妓，湘兰“性情轻侠”，为人豪爽，慕名求访者甚多，这其中自然不乏江浙地区的文人雅士、风流才子。而画兰之风在晚明江南一带的日渐昌盛，不能不说对马守真产生了重要影响。\n湘兰“姿首如常人”、相貌并不出众，但是她胜在才情，“神情开涤，濯濯如春柳早莺，吐辞流盼、巧伺人意”。她不仅善于绘事而且工于诗文，常常在兰绘图中自题诗句，留下“一叶幽兰一箭花，孤单谁惜在天涯”、“何处风来气似兰，帘前小立耐春寒”等诸多佳句。与文人士夫借物抒情，集文学、书法、绘画的艺术表达为一体的情趣相契合，湘兰画的兰花，也是“画中有诗”、“诗中有画”，充满了书卷气。\n文人画的产生与兴盛，在相当程度上是出于厌世的隐遁心理，寄情笔墨以寻求内心平衡。晚明时局动荡，又多了这样前途渺茫的文人画家。江南文人更以描写“梅兰竹菊”等水墨写意自娱，籍以淡薄名利甚至逃避险恶仕途。尽管湘兰的兰花与文人笔下的兰花有诸多相似之处，但是对于一个烟花女子来说，她画兰，显然与文人画兰潜藏着仕途失意与不满的政治诉求没有太多关系。除了自身的喜爱，更多的应该是对当时文人圈时尚的某种迎合以及自我人格的标榜。\n正如湘兰的诗句：“空谷幽兰独自香，任凭蝶妒与蜂狂”、“绝壁悬崖喷异香”，借兰花标榜自己的孤芳傲世而别于欢场中人。不仅如此，湘兰还独创有一叶兰，仅一抹斜叶，托着一朵兰花，以体现兰花清幽空灵，仿佛又带有一丝哀怨与孤寂，来倾诉自己的无依之情。清香的幽兰，暗自吐芳，也是画家一生的写照：湘兰在二十四岁时相识长洲（今苏州） 才子王穉登，并为他痴守一生、孤单终老。二人经常以兰花为题，诗文书画互动，出现在湘兰的作品中。王穉登曾以“一枝写出湘皋影，仿佛凌波解佩人”，将湘兰画中兰花比作她本人，赞其超凡脱俗与清高品质。就在抱病赶往姑苏为穉登置办七十寿筵返回金陵之后，湘兰一病不起，于是燃灯拜佛、沐浴更衣、端坐而逝。王穉登悲痛之余写下挽诗：“歌舞当年第一流，姓名赢得满青楼，多情未了身先死，化作芙蓉也并头。”可以说，湘兰如此执着于兰花的写照，与落魄文人王穉登的情感纠葛不无关系。值得一提的是，同时代的另一位女画家薛素素也是画兰高手，也曾与王穉登有过交集。\n湘兰的绘画，有着浓浓的文人情怀。比起文人画兰张显的自我意识与个性，她的兰花则多了几分女性的温婉与秀雅，也多了几分哀怨与孤寂。湘兰的传世作品数量极多，民间多于官方，虽然真伪混杂，却足见世人对她的喜爱。作为身份卑微的青楼女子，湘兰的兰花风格占据不了画坛主导，却也独具幽芳，惹人怜爱，同时成为一个特定时代与文化的折射，并对后世的墨兰创作带来了深远影响。",[7,24,25,173,260,452,431,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab683345673a977ba6b3af4ea9c4edd.jpg",[],{"id":75088,"slug":75089,"title":75090,"dynasty":18,"author":1650,"museum":20,"description":75091,"tags":75092,"thumbUrl":75093,"material":22447,"size":75094,"collection":139,"collections":75095,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},234071,"shi-bi-kan-yun-tu-ye-ma-yuan-234071","石壁看云图页","此图为典型的南宋院派山水画风格的作品，构图简练，根据需要把自然山水理想化，选景皆为主题服务，给人以联想的空间.",[7,173,27,177,81,29,245,106,1329,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a3308367e3d067d9670be8e7a73643.jpg","23.7厘米，横：24厘米",[],{"id":75097,"slug":75098,"title":75099,"dynasty":76,"author":707,"museum":20,"description":75100,"tags":75101,"thumbUrl":75104,"material":990,"size":75105,"collection":139,"collections":75106,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},234064,"qiu-shu-ba-ge-tu-hua-yan-234064","秋树八哥图","八哥是华嵒擅画的题材之一。此图绘溪野中的八哥或栖于红枫枝头、或盘旋而下、或于水中鸣浴的欢快景象。笔法上勾染兼施，简约传神地塑造了八哥的各种体态，反映了画家娴熟的笔墨技巧和善于想象、巧于构思的艺术才能。",[7,446,27,173,241,83,394,281,490,2522,57928,6922,75102,75103],"鸟禽","水边植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd744f410ea61ce30a13c0ce4ef3ca7c0.jpg","纵161厘米，横87.9厘米",[],{"id":75108,"slug":75109,"title":33637,"dynasty":54,"author":293,"museum":20,"description":75110,"tags":75111,"thumbUrl":75113,"material":40,"size":41778,"collection":139,"collections":75114,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},234063,"fu-xi-nv-wa-xiang-ye-yi-ming-234063","此图上彩画人首蛇身男女二人，均着窄衫小袖绛红色胡装，二人腰相连，共着一条白裙。男居左，无须，头戴笼冠，张左手执矩，矩上有墨斗（已被腐蚀）。女居在右，束高髻，张右手执规。男女上身相拥，中间两臂相连，下尾盘曲相交四节成螺旋状。两人头上有圆轮，周画圆圈以象征日；尾下有下弯月牙一，周画圆圈以象征月。画面四周面遍布大小相等的圆圈，部分以线相连象征星辰。\n吐鲁番高昌国至唐西州国时期的墓葬出土了许多伏羲、女娲绢画,画面形式大致相似：人首蛇身，交尾相拥，伏羲持矩，女娲持规。绢画上方有日，下方有月，周围布满丝缕相连的星辰。整幅绢画上宽下窄，与棺形相似，常覆盖于棺上，也有盖于尸上或置于尸旁者，还有张挂或用木钉固定于墓顶的情况。\n故宫博物院所藏的伏羲女娲绢画系1963年4月出土于新疆吐鲁番阿斯塔那古墓，1963年12月由新疆博物馆拨交故宫博物院。据阿斯塔那古墓考古报告中所示，同期出土的此类绢画共有数十件。在墓室中一般都是画面朝下，用木钉钉在墓顶上。一般认为伏羲所执矩象征地，女娲所执规象征天，用以配合画面上的日月星辰，为墓室营造一个小宇宙。",[209,7,24,106,22248,27,260,2715,75112],"星象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad372045cc9529359b55b04dc763a6c3.jpg",[],{"id":75116,"slug":75117,"title":75118,"dynasty":99,"author":1012,"museum":20,"description":75119,"tags":75120,"thumbUrl":75121,"material":8970,"size":75122,"collection":139,"collections":75123,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},234050,"qing-shan-hong-shu-tu-shan-ye-lan-ying-234050","青山红树图扇页","此图以“没骨重彩法”绘青山、红树、白云等景致。作者自言拟张僧繇（传为没骨山水画的肇始者）的弟子范长寿法，虽然属托古之词，但是，他在创作中还是显示出对色彩极强的掌控力。图中冷暖色调和谐，石青、石绿、朱砂等矿物质颜料的运用独具特色，于争妍斗丽中营造出明媚亮丽的秋景，富有强烈的视觉冲击力和感染力。 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。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[23,209,7,24,27,28,2124,449,242,224,75326,176,83,227],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":75330,"slug":75331,"title":75332,"dynasty":18,"author":293,"museum":206,"description":75333,"tags":75334,"thumbUrl":75335,"material":123,"size":139,"collection":139,"collections":75336,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},231053,"zhe-kan-tu-yi-ming-231053","折槛图","《却坐图》是宋代佚名画家创作的绢本设色画，现藏于 。\n该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。\n”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。\n该画侧重表现矛盾化解过程中人物微妙的心理变化。\n此幅描绘的是西汉文帝时袁盎谏止宠妃慎夫人与帝、后并坐的故事。\n图中人物处于画面的中心，汉文帝等七人在画面的右侧，金瓜卫十在左侧，袁盎在文帝与金瓜卫士之间，离观者最近。\n在右侧七人中，文帝居中坐在宝座上，表情严肃，右手按膝，左手扶椅，胸前佩方心曲领，着通天冠服，长须垂胸；在皇帝左首圆墩上坐着慎夫人低头沉默，微露不悦，显得很不自在；四位宫女立于文帝身后，一位矮小的侍女，靠近慎夫人，她们都静立聆听，目睹现场；皇宫卫士，满腮长须，横眉怒目，两脚分叉，手执金瓜兵器，威风显赫，等待下旨，执行公务，袁盎弓背弯腰，两手举笏，作面奏君王状，神情坚定执着，但面向外，躬身上奏，坚毅庄重，神色坦然，看来已陈述完毕，任凭皇上处置。\n此事发生在上林苑中，院墙高筑，墙外茫茫一片田野和水面，院墙内一株大树靠右边拔地挺直而上，和中间的两棵参天大树，枝叶互相穿插，叶茂枝繁，形成了天然凉棚。\n太阳隔着云层雾气光线忽明忽暗，树叶在雾色中时隐时现、人群背后一排直立的假山石、棕榈树、仙鹤点缀着，画面的右下角还有丛竹、野草及深色太湖石。\n《却坐图》是历史故事画。\n说的是汉文帝时慎夫人僭坐故事：宠妃慎夫人坐在皇帝身边。\n她的举动违反了封建社会的礼仪，坐到了应属皇后的位置上。\n袁盎站出来当面进谏，谓帝既有后，不当容许其妃僭坐后位。\n文帝和慎夫人对他的直言进谏当时颇为恼怒，但还是接受了，并且给了袁盎一些赏赐以鼓励忠直。\n选择该故事作为题材，用意在于宣传封建纲常，赞扬敢于直言上谏、冒死维护君王统治利益的忠臣义士，是典型的院画题材。\n图中文帝坐于有奇花茂树、秀石珍禽的皇家苑囿中，袁盎上前俯身面谏，神情坚毅，文帝微露愠色，皇后坐于其侧低头不语，慎夫人站起身来面带不悦，一武士持的威严，同时也衬托出袁盎置生死于不顾，犯颜直谏的忠臣形象。\n从图中可以看到作者对现场中各类人物的外形，表情，到内心世界的刻画是非常成功的，而且对主要人物文帝、袁盎、金瓜卫士的内在联系及相互呼应交代得很清楚，如文帝的宽容大度，卫土的暴戾心理和袁盎忠直不惧的义胆，其以卫士的凶猛形貌象征皇帝手中的至高权力，相比之下，虽然袁盎处于软弱无力的地位，却显示了在这种特定场合中最有力量，而且作者将盎放在显要的位置，对他的形象刻画更富魅力，对袁盎敢于冒犯“圣上”的勇气极尽赞喻，图中要遣责的对象是慎夫人，安排在很不重要的位置上，侧面描绘成敢怒而不敢言的愧羞样子，连同她的诗人也是比其他宫女要矮小。\n该图不仅在人物位置经营上成功，而且布景也有其用意，文帝身后有高树一排，自立的假山石，仙鹤等景，而袁盎身旁的是就地长出的丛竹、小草与深色玲珑的太湖石等等。\n表示了作者章法布局有韵致，遵循院画的审美标准，而造诣颇高。\n中国美术研究院研究员王鲁豫：《却坐图》整个画风都接近于《 》，表现了南宋院体人物故事画的高度水平。\n218年1月4日，“国宝再现—书画菁华特展”在台北故宫博物院北部院区第一展览区21室开幕，《却坐图》在其中展出。",[23,209,7,24,241,28,27,104,106,107,1575,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b0cdfb2193e1f81f95c31e32cf2c7d.jpg",[],{"id":75338,"slug":75339,"title":75340,"dynasty":18,"author":75341,"museum":364,"description":75342,"tags":75343,"thumbUrl":75344,"material":139,"size":139,"collection":139,"collections":75345,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},230891,"tu-mu-tie-li-jian-zhong-230891","土母帖","李建中","《宋李建中书谘册》是宋代时期李建中创作的书法作品。\n所示要土母。\n今得一小笼子。\n封全谘送。\n不知可用否。\n是新安门所出者。\n复未知何所用。\n望批示。\n春冬衣历头。\n贤郎未捡到。\n其宅地基尹家者。\n根本未分明。\n难商量耳。\n见别访寻稳便者。\n若有成见宅子又如何。\n细希示及。\n（押字）。\n谘。\n孙号西行少车。\n今有旧车。\n如到彼不用。\n可货却也。\n北宋初期的 ，承袭唐人的传统，以丰肥为美。\n李建中是北宋初期的书法名家，他的书法骨肉停匀，神气清秀，对宋代书家有很深的影响。\n除了黄庭坚曾以“肥而不剩肉”的世间美女赞誉他的字之外，《宋史》本传中，也称赞他“行笔尤工，多构新体，草、隶、篆、籀、八分亦妙”。\n这幅作品又名“ ”，是李建中存世墨迹的代表作。\n天下十大行书之一， 排第十。\n作品中，字的结体紧密而修长，用笔沉着而丰腴。\n虽写的是行书，但起笔、收笔处仍见严谨的楷法笔意，可看出不少唐人书法的特质。\n此外，由于尺牍内提及“新安门”，地近洛阳，所以推测这是李建中晚年居住在洛阳时所写。\n李建中（945—11年），字得中，自称岩夫民伯，京兆（陕西西安）人，北宋初年著名书家。\n进士，曾官曹、解、颖、葵四州刺史，进金部员外郎。\n因掌西京留司御台史，世称“李西台”。\n《宋史》本传称他：“善书札，行笔尤工，多构新体，草、隶、篆籀、八分亦妙。\n人多摹习，争取以为楷法。\n”",[209,7,24,86,3790,178,11744,803,20602,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b80d16fd2eded94b4ea57e1d1a647b.jpg",[],{"id":75347,"slug":75348,"title":2793,"dynasty":76,"author":75349,"museum":364,"description":75350,"tags":75351,"thumbUrl":75352,"material":139,"size":139,"collection":139,"collections":75353,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},230853,"hua-hui-tu-zhang-yu-230853","张敔","此作截取荷塘一隅取景，虚实相生间尽显写意妙趣。浓墨挥写半幅枯老荷叶，焦墨劲挺勾勒叶脉，苍浑厚重带着岁月沉凝的质感；淡墨晕染新叶与待放菡萏，清润柔和，与浓墨形成鲜明对比，暗合新旧交替的生机。荷梗以枯涩带点的笔线写出，朴拙老辣，带着疏野萧散的意趣。朱红闲章轻点画面，以一抹亮色调和水墨的清冷，平衡视觉重心。整幅以简驭繁，不用浓丽设色，仅以水墨干湿浓淡的层次变化，将秋日荷塘残而未颓的清寂诗意晕染开来，于随性挥洒间尽显文人写意的疏淡格调。",[7,24,209,173,83,243,137,931,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252ffd258c16f4357c28c9363dd76d8.jpg",[],{"id":75355,"slug":75356,"title":75357,"dynasty":204,"author":2072,"museum":364,"description":19818,"tags":75358,"thumbUrl":75359,"material":743,"size":744,"collection":139,"collections":75360,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},230843,"xi-zi-huan-sha-tu-zhou-wen-ju-230843","西子浣纱图",[7,24,28,27,106,59,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e1f6d6ea361113225a7413f7732e14.jpg",[],{"id":75362,"slug":75363,"title":75364,"dynasty":292,"author":75365,"museum":364,"description":75366,"tags":75367,"thumbUrl":75368,"material":743,"size":744,"collection":139,"collections":75369,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},230579,"ming-qing-fang-gu-fen-ben-ren-wu-hua-niao-juan-2-tu-zuo-bing-guang-lin-feng-230579","明清仿古粉本人物花鸟卷2","土佐并光琳风","此作以水墨写意绘就两帧人物，韵致截然不同。右侧观音以淡墨晕出圆光，衣袂线条清柔舒缓，持经垂眸，神态静穆慈悲，尽显禅意空灵。左侧文士以泼墨挥写袍服，笔力纵逸老辣，持笔展卷，面容诙谐灵动，文人气韵盎然。\n\n画师以浓淡墨色区分物象虚实，将静穆禅意与疏放文气并置，于极简笔墨中形神兼备，尽显东方水墨写意的精妙意趣，让两种气质在卷中相映成趣。",[23,7,24,25,173,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0d007e14851b9c8995e4bc5444b5db.jpg",[],{"id":75371,"slug":75372,"title":75373,"dynasty":76,"author":24007,"museum":364,"description":54262,"tags":75374,"thumbUrl":75375,"material":743,"size":744,"collection":139,"collections":75376,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},230356,"shan-shui-ce-ba-kai-fan-qi-230356","山水册八开",[7,24,209,81,27,177,227,29,245,394,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95306f468bab19553397d0d062d40e68.jpg",[],{"id":75378,"slug":75379,"title":75380,"dynasty":76,"author":293,"museum":364,"description":75381,"tags":75382,"thumbUrl":75383,"material":743,"size":744,"collection":139,"collections":75384,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},230345,"xi-xiang-ji-yi-ming-230345","西厢记","画中截取缱绻一幕，青衣公子悠然倚坐，左侧仕女亲手递食，二人目光相接，暗传情愫。右侧侍女斜立，以袖掩唇，偷觑间流露少女的羞怯与好奇。\n\n室内陈设雅致考究，格架罗列清供雅玩，案头瓶花素静、茶点精致，将深闺私密的暧昧氛围晕染尽致。衣纹勾勒细腻妥帖，人物神态拿捏入微，把儿女间的缱绻情态描摹得鲜活动人，尽显传统工笔人物画的雅致意趣。",[23,7,24,27,28,106,59,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f6011a05083633edfbf7e4b35f5a88.jpg",[],{"id":75386,"slug":75387,"title":75388,"dynasty":99,"author":966,"museum":364,"description":75389,"tags":75390,"thumbUrl":75391,"material":139,"size":139,"collection":139,"collections":75392,"showCount":332,"zanCount":1547,"manualWeight":48,"mainColor":94},228875,"chang-qing-jing-jing-lao-zi-lie-zhuan-wen-zheng-ming-228875","常清净经.老子列传","此作右幅白描老君，线条清劲简淡，勾勒出老者仙风道骨、超然出尘之态，形神兼备。左幅小楷精整秀雅，点画劲挺端稳，结体舒展端庄，笔墨间尽显平和冲淡之气，将道家澄心守静的意涵融于笔底。\n\n全卷朱钤错落，朱墨相映，书画印浑然一体，晕开古雅静穆的氛围，尽显文人清雅审美，把对道旨的敬慕化入毫端，是精工兼具文心的晚年佳作。",[23,7,24,25,260,173,1195,178,86,11078,227,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e5331a756d311cefa90dd585e691c7.jpg",[],{"id":75394,"slug":75395,"title":75396,"dynasty":99,"author":1170,"museum":364,"description":75397,"tags":75398,"thumbUrl":75401,"material":139,"size":139,"collection":139,"collections":75402,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[23,7,25,173,177,28,29,109,174,1351,106,281,34,175,1016,2522,75399,75400,7646,17235,194],"岸芷","汀草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],{"id":75404,"slug":75405,"title":75406,"dynasty":99,"author":170,"museum":364,"description":75407,"tags":75408,"thumbUrl":75409,"material":139,"size":139,"collection":139,"collections":75410,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,7,24,25,173,29,108,109,174,175,281,34,86,178,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":75412,"slug":75413,"title":63082,"dynasty":99,"author":293,"museum":364,"description":75414,"tags":75415,"thumbUrl":75416,"material":139,"size":139,"collection":139,"collections":75417,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},228812,"he-tang-shuang-e-tu-yi-ming-228812","此作以淡墨轻色绘秋水一隅，枯荷欹斜舒展，芦叶随风摇曳，将深秋荷塘的清寂晕染开来。两只雏鹅姿态生动，一只引颈抬首似在窥望残荷，绒毛蓬松的质感以细笔丝出，朴拙灵动。水岸以浅赭晕染，衬出水天朦胧的空寂氛围。\n\n整体设色淡雅柔和，工写兼具，既以精微笔触刻画禽鸟花叶的形神，又以简淡晕染烘托萧疏冷隽的秋日意趣，将秋日荷塘的幽寂与生机相融，淡而有味，韵致悠长。",[23,7,1562,27,28,83,243,10065,2522,2994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb949ddd4193d20cfb32610246faade24.jpg",[],{"id":75419,"slug":75420,"title":8858,"dynasty":99,"author":100,"museum":364,"description":75421,"tags":75422,"thumbUrl":75424,"material":139,"size":139,"collection":139,"collections":75425,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},228456,"zhi-gong-tu-juan-chou-ying-228456","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,7,25,28,27,24,86,178,29,106,150,34,15028,108,119,75423],"队伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":75427,"slug":75428,"title":51860,"dynasty":99,"author":293,"museum":364,"description":3486,"tags":75429,"thumbUrl":75430,"material":743,"size":744,"collection":139,"collections":75431,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},228410,"di-shi-fan-tian-xi-yi-ming-228410",[7,209,259,28,27,106,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f4f9063d4eec6c763129c8507f53a1.jpg",[],{"id":75433,"slug":75434,"title":75435,"dynasty":99,"author":293,"museum":364,"description":75436,"tags":75437,"thumbUrl":75438,"material":139,"size":139,"collection":139,"collections":75439,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},228382,"ming-gu-xiu-ba-xian-qing-shou-gua-ping-si-he-xian-gu-zhou-yi-ming-228382","明顾绣八仙庆寿挂屏（四）何仙姑轴","此件绣品取素绫为地，何仙姑卓立云涛间，眉目温婉娴静，身姿柔逸出尘。衣袂纹饰配色清雅柔和，针脚平齐细密，将衣物垂坠质感尽现。她手持的莲蓬花杖鲜亮灵动，枝头翎羽如生，鲜活别致。\n\n祥云以淡墨勾形，浅晕铺色，虚实晕染间漾出缥缈仙气。整作以绣代笔，融画理于针绣，施色雅致柔和，构图疏朗空灵，将何仙姑的仙家清婉风姿描摹尽致，尽显画绣相融的独特风韵，是仙佛题材绣作中的精巧佳构。",[7,24,241,42227,27,106,1329,297,259,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23bc9ce7f215e9ddb5a38c65af6fcc75.jpg",[],{"id":75441,"slug":75442,"title":75443,"dynasty":99,"author":22400,"museum":364,"description":23101,"tags":75444,"thumbUrl":75445,"material":743,"size":744,"collection":139,"collections":75446,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},228360,"xiao-xiang-guo-yu-tu-quan-juan-xia-chang-228360","潇湘过雨图全卷",[23,209,7,24,25,173,29,242,23103,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d64a4192e950156f996dee8003aabb4.jpg",[],{"id":75448,"slug":75449,"title":75450,"dynasty":99,"author":4904,"museum":752,"description":75451,"tags":75452,"thumbUrl":75453,"material":139,"size":139,"collection":139,"collections":75454,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[23,7,24,25,27,29,86,178,177,34,31,649,14274,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":75456,"slug":75457,"title":23415,"dynasty":189,"author":2876,"museum":364,"description":75458,"tags":75459,"thumbUrl":75460,"material":139,"size":139,"collection":139,"collections":75461,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},228253,"ku-shu-tu-ye-cao-zhi-bai-228253","画面以古木为核心，老干虬曲扭结，皴擦简劲尽显树皮斑驳嶙峋，枯瘦枝桠如铁铸般舒展，倒挂的垂丝晕开幽寂清冷的氛围。侧旁杂木参差，枯荣相衬，更衬出主树孤高之姿。\n\n下方坡石以淡墨勾勒晕染，棱角浑朴古拙，托举着古木更见苍劲。构图疏朗空灵，以极简笔墨铺展出荒寒淡远的意境，尽显元代文人尚简重意的风骨。笔意苍劲松秀，枯中藏腴，淡而弥厚，将冬景萧瑟化作沉静的精神图景，淡墨轻岚间，寄寓着幽淡清寂的隐逸心绪，尽显疏旷出尘的文人意趣。",[23,7,24,5990,173,29,1015,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa7ec689131e19f51954940a33d2460.jpg",[],{"id":75463,"slug":75464,"title":75465,"dynasty":189,"author":293,"museum":364,"description":75466,"tags":75467,"thumbUrl":75468,"material":139,"size":139,"collection":139,"collections":75469,"showCount":332,"zanCount":5,"manualWeight":48,"mainColor":49},228191,"nong-cun-jia-nv-tu-juan-yi-ming-228191","农村嫁女图卷","《农村嫁女图》，原名《瘤女图》，是 佚名画家创作的一幅淡设色画。\n此图原名《瘤女图》，后更名为《农村嫁女图》。\n全卷绘大小人物7人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。\n首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。\n各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。\n从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。\n笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。\n人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。\n绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。\n本幅无作者款印。\n钤有清“卢崇兴印”及清内府鉴藏印 5方。\n清初康熙时此卷为卢崇兴所有，乾隆时入内府，清末宣统年间佚出宫外，后为故宫博物院购藏。\n著录于《石渠宝笈·初编》卷三十五。",[23,7,209,25,260,27,106,150,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a4c8a922243dc7230811a7a4b5333e.jpg",[],{"id":75471,"slug":75472,"title":75473,"dynasty":189,"author":2519,"museum":364,"description":75474,"tags":75475,"thumbUrl":75476,"material":139,"size":139,"collection":139,"collections":75477,"showCount":332,"zanCount":5,"manualWeight":48,"mainColor":49},228057,"fan-qi-tu-ye-zhao-meng-fu-228057","番骑图页","此画以淡赭素绢为底，将目光凝于草原行旅的片刻日常。两位骑手颇具游牧风情，红衣戴笠者控黑花马稳步前行，青衫跨坐者抬手牵住随行白马，神态松弛安然，衣褶线条清劲简练，寥寥数笔便勾勒出策马闲行的悠然情态。\n\n三匹马造型写实灵动，黑花马昂首健硕，白马温顺舒展，墨色晕染柔和雅致，以极简笔墨描摹出马匹肌理毛发，不见多余背景铺陈，却将塞外行旅的松弛鲜活定格绢素，尽显简淡萧散的鞍马画意趣，于朴拙雅致间藏着游牧日常的鲜活烟火。",[23,209,7,24,81,27,28,106,150,957,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5191d62260f7f79f9b22aeb48e388305.jpg",[],{"id":75479,"slug":75480,"title":75481,"dynasty":18,"author":293,"museum":364,"description":75482,"tags":75483,"thumbUrl":75484,"material":139,"size":139,"collection":139,"collections":75485,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},227924,"jiao-shi-ying-xi-tu-yi-ming-227924","蕉石婴戏图","这幅小品以庭院一隅铺展童趣，玲珑湖石矗立，芭蕉舒展浓荫，晕染出夏日庭院的清幽意韵。十余稚童散落各处，或两两私语、或结伴嬉闹，有的摹仿大人行礼作态，有的蹲坐把玩小物，一举一动皆憨态可掬，将孩童日常嬉游的模样鲜活呈现。设色淡雅柔和，衣纹线条细劲流畅，画师以精妙笔力将幼童的天真烂漫刻画得淋漓尽致，藏着平淡日常里的融融稚趣，尽显工致雅致的宋画意韵，把烟火日常里的童真定格成隽永的画面。",[23,209,7,24,1562,27,28,106,755,245,108,11805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880c152bb4ecce6798ef847bc94f14c1.jpg",[],{"id":75487,"slug":75488,"title":75489,"dynasty":18,"author":293,"museum":364,"description":75490,"tags":75491,"thumbUrl":75492,"material":139,"size":139,"collection":139,"collections":75493,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},227893,"yu-le-tu-ye-yi-ming-227893","渔乐图页","这幅小品以虚实相生铺展江渚闲情。右侧江岸苍松虬曲，墨色皴擦间晕染出枝叶蓊郁的清寂意韵，留白处烟霭漫过江天，晕开空濛淡远的朦胧诗意。\n\n水面扁舟轻漾，渔人围坐舟中，姿态松弛悠然，帐幔酒旗随江风微动，将寻常渔居琐事晕染出世外之味。简淡笔墨勾勒人物情态，寥寥数笔便写尽江湖渔隐的闲散日常，将俗世烟火揉入水墨淡彩间。\n\n整体雅致静穆，把宋人寄情林泉的隐逸襟怀藏进烟波里，尽显宋代小品画的诗意意境，将渔家寻常的片刻欢愉，铺陈为悠远淡和的江居雅卷。",[23,7,1562,173,27,29,174,7960,106,1016,18349,177,227,1256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F943293d6916514a78dbafe73eefd7416.jpg",[],{"id":75495,"slug":75496,"title":75497,"dynasty":18,"author":293,"museum":364,"description":75498,"tags":75499,"thumbUrl":75500,"material":139,"size":139,"collection":139,"collections":75501,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},227876,"liu-xi-chun-se-tu-yi-ming-227876","柳溪春色图","画面取景清隽雅致，以一角之景铺展春日闲情。苍松虬曲斜伸，松石旁廊下侍者俯身煎茶，对岸柳色氤氲，春水漾漾，远山含翠晕染如黛。衣袂轻扬的文人静坐在松下，凭览溪山春色，将幽居赏景的澹然意趣融于尺幅间。\n\n设色清润雅致，勾勒皴染细腻温婉，山水林人相映成趣，把林下雅兴、寄情林泉的幽怀铺陈开来，虽咫尺小帧，却晕染出舒展悠远的春日静境，尽显含蓄诗意与雅致情致。",[23,1562,7,24,27,177,29,106,1532,109,245,34,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb44f2205239bed4a2bbdc94d9cd7c.jpg",[],{"id":75503,"slug":75504,"title":15195,"dynasty":18,"author":293,"museum":364,"description":75505,"tags":75506,"thumbUrl":75509,"material":139,"size":139,"collection":139,"collections":75510,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},227858,"dai-du-tu-yi-ming-227858","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[23,209,7,24023,1562,27,173,29,106,107,109,174,1532,491,45418,6178,245,75507,20481,4686,75508],"闲寂悠然","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":75512,"slug":75513,"title":67326,"dynasty":18,"author":1616,"museum":364,"description":67327,"tags":75514,"thumbUrl":75515,"material":139,"size":139,"collection":139,"collections":75516,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},227771,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227771",[23,209,7,24,25,105,177,173,29,174,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F630f76f964392cf441413ed6978a2135.jpg",[],{"id":75518,"slug":75519,"title":75520,"dynasty":18,"author":75521,"museum":364,"description":75522,"tags":75523,"thumbUrl":75524,"material":139,"size":139,"collection":139,"collections":75525,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},227615,"liu-yin-xiu-qi-tu-ye-yang-ri-yan-227615","柳荫休憩图页","杨日严","杨日严，字垂训，宋朝河南人。进士及第，曾任安丘知县，通判亳、陈二州。杨日严任益州转运使时，颇为蜀人所信爱，却在任内因贪污被欧阳修弹劾，从此与欧阳修结怨，并且设法攻击。后为开封府代理知府，有囚犯自杀因被罢官。后判太常、司农寺，同知审官院，卒于官。",[23,209,7,24,81,27,28,106,1532,281,29,245,8389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24620bc6c89ce952d0373ed3f8835188.jpg",[],{"id":75527,"slug":75528,"title":75529,"dynasty":18,"author":29442,"museum":364,"description":75530,"tags":75531,"thumbUrl":75532,"material":139,"size":139,"collection":139,"collections":75533,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},227539,"fan-wang-li-fo-tu-zhao-guang-fu-227539","藩王礼佛图","《番王礼佛图》，宋代赵光辅作，卷绢本，设色，纵28.6厘米，横103.5厘米。现藏美国克里夫兰艺术博物馆。\n\n此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[23,209,7,24,25,259,27,28,106,227,86,63,1195,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c003e5ab7391900ab1a6e34dd38cf6.jpg",[],{"id":75535,"slug":75536,"title":75537,"dynasty":18,"author":20137,"museum":364,"description":75538,"tags":75539,"thumbUrl":75540,"material":139,"size":139,"collection":139,"collections":75541,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},227438,"chu-shi-bei-jiang-tu-juan-yang-bang-ji-227438","出使北疆图卷","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,209,7,24,25,27,29,177,106,150,1575,649,37,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813fa368ac32a990250cd1cd532baa8.jpg",[],{"id":75543,"slug":75544,"title":75545,"dynasty":204,"author":2072,"museum":364,"description":71347,"tags":75546,"thumbUrl":75547,"material":139,"size":139,"collection":139,"collections":75548,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},226705,"su-li-bie-yi-juan-2-zhou-wen-ju-226705","苏李别意卷-2",[7,24,25,27,28,106,15846,12288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa229b26e47f4093cc5aab6eddd554b77.jpg",[],{"id":75550,"slug":75551,"title":75552,"dynasty":76,"author":1109,"museum":364,"description":75553,"tags":75554,"thumbUrl":75555,"material":139,"size":139,"collection":139,"collections":75556,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},224501,"shan-shui-ce-kai-er-shi-tao-224501","山水冊开(二)","此作以水墨淡彩写就江南水乡之景，构图虚实相生，上部题诗留空疏朗开阔，下部绘景层次分明。近岸坡石上孤屋临水，旁植古松垂柳，枝条轻拂水面，野意悠然。中景水村错落，粉墙黛瓦隐于林木间，渔舟漾波，渔人往来作业，鲜活尽显水乡日常烟火。\n\n笔墨简率松灵，山石林木多以点染而成，不重精描细摹，以写意之趣托出萧散淡远的意境。题画诗与画面浑然相融，诗画映发，尽显文人画清雅逸致，将江南渔隐的闲淡安宁娓娓道来，暗含画者寄情丘壑的隐逸襟怀。",[23,7,24,81,173,27,177,29,174,109,35,34,1016,176,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8d79112bf34afe23e5983c9cb11e3.jpg",[],{"id":75558,"slug":75559,"title":75560,"dynasty":76,"author":13111,"museum":364,"description":75561,"tags":75562,"thumbUrl":75563,"material":139,"size":139,"collection":139,"collections":75564,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},224492,"ni-gu-tuo-gu-tu-zhou-wu-li-224492","拟古脱古图轴","《拟古脱古图》是清代吴历创作的纸本墨笔画。\n本幅右上吴历自题：“陶渊明‘采菊东篱下，悠然见南山’唐宋人和之者多，独韦应物‘采菊露未晞，举头见秋山’真为绝和。\n画之拟古亦如和陶，情景宛然更出新意，乃是脱胎能手。\n小重阳日墨井道人。\n”下钤“吴历之印”（白文）、“墨井”（朱文）。\n鉴藏印有“莱臣心赏”、“虚斋审定”2方。\n画家在自题中以唐宋人和（音hè）陶渊明“采菊东篱下”名句为例，说明了绘画创作中拟古与脱古即继承与发展关系，同时也为此幅画作的创作旨意作了诠释。\n此画仿元代王蒙山水，但在皴法上长条披麻皴的运用与王蒙的牛毛皴有所不同，构图也不似王蒙的绘画那么饱满，与王蒙的峰峦重叠相比，吴历的山水更接近真山实水，真实感较强。\n吴历将前人的绘画技法融会贯通，用笔严谨，厚朴沉着，笔意高淡，气韵深淳，体现出自己的风格特点，虽是仿古之作却有画家自己的面貌和新意。\n庞莱臣《虚斋名画录》著录。\n吴历（162—1718）清康熙间常熟人，字渔山，自号墨井道人，又号桃溪居士，学经于陈瑚，学诗于钱谦益，学画于王时敏、王鉴，学琴于陈岷，以山水画闻名于清初画坛。\n康熙十四年（1675）前后人天主教，教名西满沙勿略。\n二十一年（1682）在澳门入耶稣会，又取西姓雅古纳。\n二十七年（1688）任神父，其后在上海、嘉定等地传教。\n所撰《墨井诗抄》2卷《三巴集》1卷《画跋》1卷于卒后次年由弟子陆道淮刻印传世。",[23,7,24,241,173,177,29,108,109,34,35,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fe265c9fc33d18c0b8c97edc2c07bd.jpg",[],{"id":75566,"slug":75567,"title":75568,"dynasty":76,"author":5096,"museum":364,"description":75569,"tags":75570,"thumbUrl":75571,"material":139,"size":139,"collection":139,"collections":75572,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},224485,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-zhou-wang-jian-224485","倣黄公望烟浮远岫图轴","此展品为清代的书画，绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n现收藏于 。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[209,7,24,241,1397,27,177,105,864,491,13668,1575,1532,558,109,35,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":75574,"slug":75575,"title":75576,"dynasty":76,"author":10376,"museum":206,"description":75577,"tags":75578,"thumbUrl":75579,"material":827,"size":139,"collection":139,"collections":75580,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":271},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[23,7,24,1397,27,177,227,86,178,29,34,2238,107,558,560,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":75582,"slug":75583,"title":41719,"dynasty":76,"author":10376,"museum":364,"description":75584,"tags":75585,"thumbUrl":75586,"material":139,"size":139,"collection":139,"collections":75587,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},224440,"xian-shan-lou-guan-tu-wang-hui-224440","此作画境苍浑雅致，重岩峻岫拔地而起，皴笔磊落厚重，将山石嶙峋肌理尽皆铺展。古松虬劲横斜，间错排布，掩映起层叠楼阁，朱檐黛瓦隐于林壑间，似藏洞天秘境。\n\n山脚溪湾萦回，村居错落临水而建，渔舟泊于浅滩，烟火意趣晕开仙家清寂，将尘寰烟火与云山灵境相融。整幅画笔致兼具工细与苍茫，干湿墨色交织，既见峰峦雄奇之态，亦得林泉幽居之恬，恍若踏入可居可游的世外清境。",[23,7,24,241,29,107,1653,394,109,176,177,27,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb079ccf42f95315b2b3056257b58765c.jpg",[],{"id":75589,"slug":75590,"title":1692,"dynasty":76,"author":75591,"museum":364,"description":75592,"tags":75593,"thumbUrl":75594,"material":3138,"size":139,"collection":45,"collections":75595,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},224381,"shan-shui-tu-wang-guang-qi-224381","王光圻","此作用高远章法铺陈，以枯淡墨线勾出峭拔崖壁，焦墨点苔醒出山峦苍劲肌理，留白衬出险峰空寂高远的气势，壁立千仞的意境呼之欲出。\n\n近景林木错落，老松虬曲、杂木扶疏，以浓淡墨色区分枝叶层次，衬出林麓间茅舍的幽隐。清溪绕岸，浅墨晕染出水泽空濛之气。全幅笔法简率松灵，脱略繁缛细节，以意写形，尽显文人山水的萧散淡远之致，墨色干湿浓淡相济，于极简中勾勒出山林幽深清寂之境，笔底自带荒寒简古的林下风致，尽显文人写意山水的雅致风貌。",[23,7,173,241,29,34,175,176,35,340,1575,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7c446c0bf8824d74b46dced3c2cfe1.jpg",[45],{"id":75597,"slug":75598,"title":75599,"dynasty":76,"author":2324,"museum":364,"description":75600,"tags":75601,"thumbUrl":75603,"material":139,"size":139,"collection":139,"collections":75604,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},224293,"gu-bai-ling-xiao-tu-li-shan-224293","古柏凌霄图","画面中古柏躯干虬曲苍劲，枯笔皴擦尽显饱经风霜的古拙质感。凌霄柔蔓盘绕其上，丹色花朵娇妍明媚，刚柔相映，勾勒出盎然生机。下方湖石奇崛嶙峋，侧锋挥写出嶙峋肌理，石畔幽兰素花轻绽，添了几分清雅柔润。\n笔墨刚柔并济，古木的坚拙与花草的灵秀相融，再辅以题诗错落排布，诗画相映，将文人的清雅意趣寄寓其间，尽显写意花鸟的灵动神韵，生机古意交织成雅致盎然的庭间景致。",[23,7,24,241,27,446,177,178,227,83,394,245,75602],"凌霄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330a94e92eb6ad613697bf518f9e4fc9.jpg",[],{"id":75606,"slug":75607,"title":75608,"dynasty":76,"author":9622,"museum":364,"description":75609,"tags":75610,"thumbUrl":75611,"material":139,"size":139,"collection":139,"collections":75612,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},224125,"shi-lu-li-lu-ting-tu-zhou-qian-long-224125","诗鹭立芦汀图轴","清乾隆缂丝乾隆御制诗鹭立芦汀图轴是清乾隆时期的图轴。\n米色地上缂织芦花白鹭，右上方以黑线缂织高宗隶书御制诗一首： 采采亚汀洲，为花岂自由。\n群摇令夕雨，不异去年秋。\n藏鹭恋青叶，凌波颤白头。\n吟看惊隙影，荣落宜淹留。\n诗末织圆、方朱印“乾”、“隆”各一方。\n此图轴的特点在于先缂织出物象形状，其上再着笔渲染，如 即先以白丝线织其形态，而后用墨笔画羽毛，地上的小草则全以笔描画，这种织与画的结合，可以画笔来描绘细小而不易缂织之处，弥补了织的不足。\n此作品织与画搭配得当，缂工上乘，以平缂、构缂、环缂、子母经为主。\n画面上还钤有阳文朱印“乾隆御览之宝”、“宣统御览之宝”、“石渠宝笈”、“石渠定鉴”、“三希堂精鉴玺”、“无逸斋精鉴玺”、“乾清宫鉴藏宝”、“宣统鉴赏”和“乾隆鉴赏”、“宜子孙”、“宝笈重编”阴文印章。\n《石渠宝笈续编》著录。",[23,209,7,24,241,28,27,5223,2522,73899,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffc101a696745672e7f2512cd182300.jpg",[],{"id":75614,"slug":75615,"title":75616,"dynasty":99,"author":293,"museum":101,"description":75617,"tags":75618,"thumbUrl":75619,"material":67,"size":75620,"collection":139,"collections":75621,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},223576,"quan-xi-tu-yi-ming-223576","犬戏图","三只白底黑点的大狗趴在地上，仿佛看着它们的皮肤吐着皮毛，而其中的两只正在锻炼和玩耍，三只胖嘟嘟的傻傻的表情非常可爱。",[23,7,24,27,28,957,12226,1575,298,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661ed9dda15d3f39a9490584687bc98a.jpg","36X35cm",[],{"id":75623,"slug":75624,"title":75625,"dynasty":76,"author":293,"museum":75626,"description":75627,"tags":75628,"thumbUrl":75638,"material":803,"size":75639,"collection":139,"collections":75640,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},223502,"hang-cheng-xi-hu-jiang-gan-hu-shu-tu-yi-ming-223502","杭城西湖江干湖墅图","英国大英图书馆","全图以传统绘画揉合地图绘制的技巧表现，将杭州城与西湖及城北附郭仁和县、城南附郭钱塘县一带山形水势尽收于图中。全图不附图例、比例及方位，但明显采西上、东下的分布。图中各处标示地名，杭州城内官署、坊巷、水道桥梁均详细注记；杭城外西湖及周围山岭、寺庙及景点也都非常细腻描绘，钱塘江水面在图右，以图面空白的方式表现，仅注记「闸口至北新关三十里」、「闸口至六和塔五里」等两处文字。",[23,7,209,24,27,29,75629,75630,75631,75632,75633,45625,13097,75634,75635,36,75636,75637,108,107],"城市图","古地图","杭州城","西湖","钱塘江","官署","坊巷","水道","景点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffc448fcbdc2f72bda091d949ae7205.jpg","125×67.5cm",[],{"id":75642,"slug":75643,"title":75644,"dynasty":18,"author":293,"museum":20,"description":75645,"tags":75646,"thumbUrl":75647,"material":665,"size":75648,"collection":139,"collections":75649,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},223480,"mo-liang-ling-zan-xing-xiu-tu-juan-yi-ming-223480","摹梁令瓒星宿图卷","全卷画五星和二十八宿神形（现存五星十二宿）。五星即五大行星：金、木、水、火、土，二十八宿是古人用作观测日月五星运行坐标的二十八组星座，环列在日月五星的四方，犹如诸星的栖宿场，故称二十八宿。",[7,24,25,105,28,27,259,106,49343,633,151,150,4643,7464,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82126ff917ff070f22cf00c6e8f9a55c.jpg","27.5x489.7厘米",[],{"id":75651,"slug":75652,"title":75653,"dynasty":18,"author":293,"museum":206,"description":75654,"tags":75655,"thumbUrl":75656,"material":827,"size":75657,"collection":139,"collections":75658,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},223452,"xiao-han-lin-tu-zhou-yi-ming-223452","小寒林图轴","该幅两树石意似未尽，应是残存长卷的一段。平野上林木凋零，天色惨淡欲雪，小径上两翁且行且谈，一童挑担尾随。树枝用笔圆劲，直如篆籀，垂藤生动，势若惊蛇。全幅用笔细谨，墨法精绝，为宋无名款画中之杰出者。 此画绘北方清旷萧森之景，这种寒林平野的主题是由北宋李成所创，但图中坡石皴染和树木枝桠的布置已有郭熙的影响，人物画法精练传神，是北宋风格。因此此图就算不出于郭熙，也是时代相去不远之作。右侧飞雁一行，笔调单薄，与全图气韵不合，可能是后人所补。",[23,7,24,241,173,177,29,394,1653,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29861984f9f280d64ed489a7687eeb8e.jpg","该幅42.2x49.2公分全幅66.5公分",[],{"id":75660,"slug":75661,"title":75662,"dynasty":189,"author":293,"museum":12966,"description":75663,"tags":75664,"thumbUrl":75665,"material":40,"size":139,"collection":139,"collections":75666,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},223393,"cheng-ma-tu-yi-ming-223393","呈马图","绘八人三马，马匹壮硕矫健，二黑一白，脖上系红缨长坠，马鬃及马尾毛发浓密，马背上皆搭具有民族特图案色的垫毯，马头打扮亦精致。八人身着民族特色衣饰，面部或粗旷，或白净，表情各异。",[23,7,209,25,27,28,106,150,227,86,1308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9237c5a6f17766247b13fda0fad8a1b1.jpg",[],{"id":75668,"slug":75669,"title":16512,"dynasty":189,"author":293,"museum":364,"description":75670,"tags":75671,"thumbUrl":75672,"material":619,"size":75673,"collection":139,"collections":75674,"showCount":332,"zanCount":5,"manualWeight":48,"mainColor":49},223355,"fang-ju-ran-shan-shui-tu-yi-ming-223355","是图以高远法出之,山峦清旷,落英缤纷。近景陂陀杂树,渔舟归樵;中景夹谷深壑,流水湍湍,桥舍掩映;远景山峰耸峻,苍翠欲滴,烟岚奕奕。正是暮霞景明、秋意正浓之时,令人有如入武陵桃源忘返向路之感。在画法上,是图以长披麻皴为主,笔致清晰中见浑融,用笔枯而不涩,意境蓊秀萧疏。点苔疏密有致,很好地表现了草木华滋的气象。设色借鉴了黄公望浅绛法,明洁滋润,妍而不甜。此种画风,明显受到了其挚友王鉴的影响。然而,在萧疏简远的气息追求上,比之王鉴是有过之而无不及的。",[23,7,1397,27,177,176,34,108,109,175,2268,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbd8eba0f37ff5d86d70dba3540da1a.jpg","170x85.26cm",[],{"id":75676,"slug":75677,"title":75678,"dynasty":76,"author":58956,"museum":364,"description":75679,"tags":75680,"thumbUrl":75682,"material":665,"size":75683,"collection":181,"collections":75684,"showCount":332,"zanCount":5,"manualWeight":48,"mainColor":94},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,209,7,24,27,104,227,29,107,1432,108,109,34,176,13911,75681,119,313],"园林建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[181,45],{"id":75686,"slug":75687,"title":75688,"dynasty":76,"author":6862,"museum":364,"description":33676,"tags":75689,"thumbUrl":75690,"material":139,"size":139,"collection":181,"collections":75691,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},223248,"shan-shui-1-pu-hua-223248","山水1",[23,7,24,241,173,27,177,29,864,430,1575,650,37,106,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[181,163],{"id":75693,"slug":75694,"title":75695,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":75696,"thumbUrl":75697,"material":67,"size":10518,"collection":139,"collections":75698,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},223016,"hong-lou-meng-141-sun-wen-223016","红楼梦141",[23,7,27,28,104,29,106,107,279,1532,34,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84111c7cf762139844514a25f574e26.jpg",[],{"id":75700,"slug":75701,"title":75702,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":75703,"thumbUrl":75704,"material":67,"size":10518,"collection":139,"collections":75705,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":49},223006,"hong-lou-meng-131-sun-wen-223006","红楼梦131",[23,7,24,28,27,104,106,107,115,34,176,84,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66779d2b4c3b4247ab7fa10a43a0b2.jpg",[],{"id":75707,"slug":75708,"title":75709,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":75710,"thumbUrl":75712,"material":67,"size":10518,"collection":139,"collections":75713,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},223005,"hong-lou-meng-130-sun-wen-223005","红楼梦130",[23,7,28,27,26,25,23999,106,59,107,108,1184,755,1965,1255,109,104,75711],"珍禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5977ba55925ddfb890fab98b4c30ea9.jpg",[],{"id":75715,"slug":75716,"title":75717,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":75718,"thumbUrl":75719,"material":67,"size":10518,"collection":139,"collections":75720,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},222966,"hong-lou-meng-91-sun-wen-222966","红楼梦91",[23,7,24,25,27,28,104,106,16687,109,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb39e4fc09e1e3bc62862b5c2e0b2c8.jpg",[],{"id":75722,"slug":75723,"title":47702,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":75724,"thumbUrl":75726,"material":67,"size":10518,"collection":139,"collections":75727,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},222928,"hong-lou-meng-53-sun-wen-222928",[23,7,28,27,106,59,150,107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顺口溜。这幅画和这枚印章都是不真实的，应该被视为普通的复制品。",[23,7,24,209,28,27,83,6483,76078,178,81],"竹笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc639dbae1130bcbdab21b8cb2ceef9.jpg","26.9x25.9",[90],{"id":76083,"slug":76084,"title":1692,"dynasty":18,"author":293,"museum":206,"description":76085,"tags":76086,"thumbUrl":76087,"material":123,"size":139,"collection":181,"collections":76088,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},218694,"shan-shui-tu-yi-ming-218694","纨扇小景纳海天气象于尺幅间。浪涛奔涌，层层叠叠如堆雪翻银，墨线勾斫见波涛之势；右侧松枝如铁，虬曲横斜，松针密匝似攒云，树下亭榭隐现，似有幽人凭栏观海。动静相济里，壮阔与清寂交织——浪的奔腾衬松的苍劲，亭的静立藏观海者的悠然。墨色浓淡相宜，有限空间展无限遐思，尽得宋画小景中天地情怀与文人意趣，于细微处见苍茫，于静谧中藏生机。",[23,7,24,173,27,177,81,29,1330,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a47d5422bb0d9703f21a3cb78e8308.jpg",[181],{"id":76090,"slug":76091,"title":1692,"dynasty":18,"author":293,"museum":206,"description":76092,"tags":76093,"thumbUrl":76094,"material":123,"size":139,"collection":181,"collections":76095,"showCount":332,"zanCount":5,"manualWeight":48,"mainColor":94},218693,"shan-shui-tu-yi-ming-218693","烟波浩渺间，一叶扁舟轻泛，舟中人影依稀，似与水色相融。右侧松枝虬曲，墨色浓淡交错，松针如丝倚石而立；山石皴法简练，与浅草相映，添了几分野趣。远山如黛，晕染在淡雾里，似天地间的留白，引视野向无尽悠远。\n\n整幅画以淡墨铺陈，虚实相生：静穆中藏灵动——水面微澜、松枝轻颤，皆在笔墨间流转。不刻意渲染，却于简约中见深远，静谧中显生机。仿佛能听见风声掠松梢，见水波拍舟舷，沉湎于自然与心灵的契合，尽得宋人山水中的诗意栖居之趣。",[23,7,209,173,27,29,177,174,1351,394,491,490,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd413e20f9a81db648f7fa8472822843b.jpg",[181],{"id":76097,"slug":76098,"title":76099,"dynasty":18,"author":293,"museum":7875,"description":76100,"tags":76101,"thumbUrl":76102,"material":123,"size":76103,"collection":44,"collections":76104,"showCount":332,"zanCount":5,"manualWeight":48,"mainColor":49},218484,"sui-yang-wu-lao-tu-zhu-guan-xiang-yi-ming-218484","睢阳五老图-朱贯像","这五位老人都是宋朝的重臣，辞官后住在南京的睢阳，他们经常聚在一起写诗。时称“睢阳五老会”。",[23,7,209,24,241,28,27,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50de006a9494fa16a40c48bf42f3ba28.jpg","40.3x32.2",[44],{"id":76106,"slug":76107,"title":76108,"dynasty":76,"author":13273,"museum":20,"description":76109,"tags":76110,"thumbUrl":76111,"material":123,"size":76112,"collection":44,"collections":76113,"showCount":332,"zanCount":48,"manualWeight":48,"mainColor":94},218403,"wang-shi-zhen-fang-bai-xian-tu-yu-zhi-ding-218403","王士禛放白鹇图","这幅画描绘了王士禛坐在花园前的沙发上，手里拿着卷轴沉思的样子，而他面前的一个孩子打开笼子的门，放出一只白野鸡。画面上，云雾缭绕，远处的山头，山下的房屋掩映在云雾之中，一派开阔宁静的景象，恰如其分地表达了一个身居高位的人思念故土、想要逃离牢笼的内心感受。场景和情境的交织，充分表达了王诗的内容，并通过绘画表达了其内在的韵律，具有诗意和极强的感染力。",[23,7,24,25,28,27,106,281,34,29,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989f7c06a8f4982a8994af915a0e707f.jpg","26.1x110.7",[44],{"id":76115,"slug":76116,"title":76117,"dynasty":99,"author":15205,"museum":539,"description":76118,"tags":76119,"thumbUrl":76120,"material":123,"size":15209,"collection":139,"collections":76121,"showCount":332,"zanCount":5,"manualWeight":48,"mainColor":1335},218373,"ri-ben-luo-han-tu-dui-fu-2-ji-shan-ming-zhao-218373","日本· 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乾隆御览之宝。乾隆鉴赏。五玺全。宝笈三编。宣统御览之宝。\n收传印记 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评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）由宋骏业之荐，上京主持《康熙南巡图》的一系列制作。南巡图绘毕，曾获当时皇太子胤礽接见，赐座、赐食，并赐“山水清晖”四字。归里之后，求画者甚众。所作多为仿古，功力较深，但有时过于圆熟或伤于刻露，而丘壑尤少变化，晚年于简练中求苍浑，为论者所重；偶写花卉，秀隽有致。平生艺论，多在《清晖赠言》。\n王翚从学弟子甚多，是“虞山派”的创始人。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。",[7,24,241,173,177,29,242,394,298,35,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690627240bef20eafb2805e2c71c81c4.jpg","128.4x55.4公分",[181],{"id":77121,"slug":77122,"title":77123,"dynasty":76,"author":10376,"museum":206,"description":77124,"tags":77125,"thumbUrl":77126,"material":803,"size":139,"collection":181,"collections":77127,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},237342,"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚 在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[7,24,81,173,105,177,227,29,175,430,1015,491,10416,1445,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[181],{"id":77129,"slug":77130,"title":131,"dynasty":76,"author":24551,"museum":364,"description":24552,"tags":77131,"thumbUrl":77132,"material":803,"size":139,"collection":139,"collections":77133,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},237287,"hua-hui-ce-wu-kai-237287",[7,24,209,81,27,28,84,450,698,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f178840eaee77e57ff2f1eb327e2707.jpg",[],{"id":77135,"slug":77136,"title":22311,"dynasty":76,"author":10376,"museum":206,"description":22312,"tags":77137,"thumbUrl":77138,"material":803,"size":139,"collection":139,"collections":77139,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},237203,"shan-shui-zhu-shi-ce-wang-hui-237203",[7,173,177,81,29,242,431,109,558,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4a19ad7439222ace0df97572693cdb.jpg",[],{"id":77141,"slug":77142,"title":20986,"dynasty":76,"author":2725,"museum":20,"description":20987,"tags":77143,"thumbUrl":77144,"material":990,"size":139,"collection":139,"collections":77145,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},237181,"hua-niao-kun-chong-ce-zhou-quan-237181",[7,27,28,83,712,604,1100,299,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2343f6636f8ad99ed8390e4becb1304a.jpg",[],{"id":77147,"slug":77148,"title":36551,"dynasty":76,"author":36552,"museum":364,"description":36553,"tags":77149,"thumbUrl":77150,"material":139,"size":139,"collection":139,"collections":77151,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},237093,"jiang-feng-shi-nv-ce-jiang-feng-237093",[209,7,24,81,27,106,59,245,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcb49a6e78083fa76c65babef7f4d18.jpg",[],{"id":77153,"slug":77154,"title":77155,"dynasty":76,"author":77156,"museum":364,"description":77157,"tags":77158,"thumbUrl":77159,"material":743,"size":744,"collection":139,"collections":77160,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},237045,"gao-ling-han-zhong-shan-mian-zhu-ang-zhi-237045","高岭寒钟扇面","朱昂之","朱昂之[清]（一七六四～一八四一年后），历代人物年表碑传综表作（一七五五～？），今从宋元明清书画家年表。字青立，又字津里，江苏武进人。侨居吴中（今江苏苏州）。",[7,24,1562,173,177,29,45624,649,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ecdb02de8897eebe40965ddb2b4976.jpg",[],{"id":77162,"slug":77163,"title":77164,"dynasty":99,"author":47342,"museum":364,"description":54089,"tags":77165,"thumbUrl":77166,"material":743,"size":744,"collection":163,"collections":77167,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},237017,"mo-mei-ce-shen-hao-237017","墨梅册",[7,24,81,173,178,227,448,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0ca65ea98fd5f3298cad75afd81b2a.jpg",[163,90],{"id":77169,"slug":77170,"title":486,"dynasty":99,"author":77171,"museum":364,"description":77172,"tags":77173,"thumbUrl":77174,"material":139,"size":139,"collection":181,"collections":77175,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},236924,"shan-shui-ce-qin-mao-de-236924","秦懋德","此作以淡墨晕染出萧疏冬景，枯木虬枝临水旁逸，茅亭孤坐一人凭窗凝睇，远山隐在烟岚轻雾之中，留白铺就出空濛幽寂的氛围感。\n题诗与画境相得益彰，将重阳过后的闲淡幽怀寄于尺幅之间。笔法秀雅简淡，舍去繁复皴擦，以极简构图传递出静穆淡远的林下之风，尽显文人山水画以景抒情的意趣，将观览者带入清冷安闲的山居雅境，藏着文人寄情林泉的雅致襟怀。",[7,24,81,173,27,29,175,394,108,109,245,491,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3230239299d828a4dafbc2c705611e63.jpg",[181],{"id":77177,"slug":77178,"title":486,"dynasty":76,"author":707,"museum":12966,"description":32458,"tags":77179,"thumbUrl":77180,"material":139,"size":139,"collection":181,"collections":77181,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},236729,"shan-shui-ce-hua-yan-236729",[7,24,81,27,173,29,175,243,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796e93be747b35bfd33272ec848edc2a.jpg",[181,45],{"id":77183,"slug":77184,"title":77185,"dynasty":99,"author":77186,"museum":364,"description":77187,"tags":77188,"thumbUrl":77189,"material":743,"size":744,"collection":139,"collections":77190,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},236694,"mei-que-tu-shan-ye-wang-zhong-li-236694","梅雀图扇页","王中立","王中立（公元16－17世纪初），活动于十七世纪，明代画家，字振之、彦强，号子正、子和、玄洲、玄洲生，吴县今江苏苏州人。善画花鸟，笔力苍老，钩写兼用，设色绚丽，造型生动，颇有生意。\n师法陈淳，画风似鲁治、王谷祥，为吴派画家之一。",[7,1562,27,83,448,5589,298,28,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bef6d53dcfb50ede47d8bc6f59ecde.jpg",[],{"id":77192,"slug":77193,"title":220,"dynasty":76,"author":6456,"museum":364,"description":6457,"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画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[7,24,81,173,245,109,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29304ad26117c88366b592ace23b072.jpg",[90,45],{"id":77655,"slug":77656,"title":76633,"dynasty":189,"author":5444,"museum":20,"description":77657,"tags":77658,"thumbUrl":77659,"material":67,"size":77660,"collection":139,"collections":77661,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},233202,"qiu-xi-fang-ting-tu-ye-sheng-mao-233202","描绘的是隐士于清凉幽野的湖光山色间垂钓的场景。画幅左侧近景处草木繁茂，坡石穿插有序；右边则是茫茫江水，近处可见波动的水纹，渐远渐淡，最远处只有几抹横坡与隐隐的山头。整幅作品笔法严整，设色清淡。",[7,27,29,174,109,106,34,1562,177,173,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21606f47e62e6c69448ef7531dd707c8.jpg","纵24.9厘米磺24.5厘米",[],{"id":77663,"slug":77664,"title":7507,"dynasty":76,"author":1109,"museum":20,"description":7508,"tags":77665,"thumbUrl":77666,"material":803,"size":7511,"collection":139,"collections":77667,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},233128,"yuan-ji-shan-shui-ce-shi-tao-233128",[7,24,81,173,27,177,29,108,109,35,1015,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4ac134c0a0d2cc60b898eb588378dc.jpg",[],{"id":77669,"slug":77670,"title":77671,"dynasty":76,"author":293,"museum":20,"description":77672,"tags":77673,"thumbUrl":77674,"material":803,"size":47475,"collection":139,"collections":77675,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},233080,"ping-ding-zhong-miao-zhan-tu-ce-yi-ming-233080","平定狆苗战图册","清乾隆五十九年（1794年），湖南、贵州的苗民起义失败后，小规模的苗民起义仍然不断，清政府同样采取了大举镇压的军事策略。嘉庆二年（1797年）贵州南笼（今安龙）苗寨民妇王囊仙率当地苗民起义，嘉庆帝命云贵总督勒保督师征剿。此套图表现的就是当时清廷对苗民起义的镇压。四幅图依次为：剿捕仲苗南笼围解、攻克洞灑当丈贼巢、攻克北乡巴林贼巢、剿净仲苗余党。",[7,81,27,106,29,3842,69092,47472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678b179be2d2ca9678f2317e147f0d1c.jpg",[],{"id":77677,"slug":77678,"title":77679,"dynasty":18,"author":293,"museum":20,"description":77680,"tags":77681,"thumbUrl":77682,"material":40,"size":77683,"collection":139,"collections":77684,"showCount":657,"zanCount":5,"manualWeight":48,"mainColor":49},233006,"shuang-xiao-han-chu-tu-ye-yi-ming-233006","霜篠寒雏图页","5只文鸟集于枯棘上，姿势各异，神态如生。枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。",[209,7,24,81,28,27,83,242,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f2c2bf72a185f58ce3b0cc514e0a6b6.jpg","纵28.1cm，横28.7cm",[],{"id":77686,"slug":77687,"title":220,"dynasty":76,"author":850,"museum":20,"description":15230,"tags":77688,"thumbUrl":77689,"material":40,"size":15233,"collection":139,"collections":77690,"showCount":657,"zanCount":5,"manualWeight":48,"mainColor":94},232977,"hua-niao-ce-lang-shi-ning-232977",[209,7,24,28,27,11350,13695,83,17942,225,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9ab946d5a201439dab3f6a1a5100fc.jpg",[],{"id":77692,"slug":77693,"title":220,"dynasty":76,"author":850,"museum":20,"description":15230,"tags":77694,"thumbUrl":77695,"material":40,"size":15233,"collection":139,"collections":77696,"showCount":657,"zanCount":5,"manualWeight":48,"mainColor":94},232970,"hua-niao-ce-lang-shi-ning-232970",[209,7,24,81,28,27,83,327,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ba3f49ef4299402ca4a0e9edac5c37.jpg",[],{"id":77698,"slug":77699,"title":59205,"dynasty":99,"author":966,"museum":20,"description":59206,"tags":77700,"thumbUrl":77701,"material":803,"size":59209,"collection":139,"collections":77702,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},232958,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232958",[7,24,81,173,178,86,227,29,108,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a14ee541d3763f5d0fed21da63f835.jpg",[],{"id":77704,"slug":77705,"title":59205,"dynasty":99,"author":966,"museum":20,"description":59206,"tags":77706,"thumbUrl":77707,"material":803,"size":59209,"collection":139,"collections":77708,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},232957,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232957",[7,24,81,173,177,86,178,29,242,245,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1669656e724541295af682597e5a520.jpg",[],{"id":77710,"slug":77711,"title":5505,"dynasty":76,"author":19503,"museum":20,"description":19504,"tags":77712,"thumbUrl":77713,"material":665,"size":139,"collection":139,"collections":77714,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},232944,"hua-hui-tu-ce-fan-ting-zhen-232944",[7,27,28,83,84,27008,698,226,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d45a3a4ef84fb670f1773aecae1f58.jpg",[],{"id":77716,"slug":77717,"title":77718,"dynasty":18,"author":6790,"museum":364,"description":77719,"tags":77720,"thumbUrl":77721,"material":803,"size":77722,"collection":139,"collections":77723,"showCount":657,"zanCount":48,"manualWeight":4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家具（屏风）",[7,24,241,209,27,177,173,29,34,106,176,109,114,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e350d4065062d4a7428a6d1c958bfbc.jpg","本幅 57x30.9公分、全幅 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厩图屏风第1屏","左侧林园寒梅绽雪，仙鹤临水伫立，石畔流泉衬出幽寂古雅的闲趣。右侧厩房内，仕女团坐低语，栏中骏马昂首腾跃，仆从正打理鞍辔，将宅邸日常的烟火气静静铺展。\n\n古旧柔和的色调晕开岁月的质感，细腻线条勾勒出骏马的矫健昂扬与仕女的温婉神态，将林泉雅致与俗世日常相融，动静交织，晕染出旧日宅邸里平和悠然的浮生图景，藏着沉缓静谧的古韵意趣。",[7,27,28,314,150,106,60,448,109,108,114,115,34,1329,224,957,6978,1795,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdcb98befae1e2d016d8577385a6c21.jpg",[],{"id":77766,"slug":77767,"title":77768,"dynasty":292,"author":293,"museum":364,"description":77769,"tags":77770,"thumbUrl":77771,"material":743,"size":744,"collection":139,"collections":77772,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":1335},231597,"lian-cang-shi-dai-kong-zi-xiang-li-zhou-yi-ming-231597","镰仓时代 孔子像立轴","画面以沉古绢底铺陈，主尊安坐榻上，垂髯宽袍，神态温蔼端方，尽显儒者雍容亲和的气度。两侧弟子恭侍身侧，或持卷凝思，或侧耳聆教，定格孔门问道的静谧瞬间。\n\n线条朴拙凝练，衣褶晕染自然，无繁复修饰，以简淡笔墨勾勒出千年前师授道传的肃穆学风。残旧题字晕开岁月痕迹，晕染出古雅沉穆的氛围，将圣人的温润风骨与孔门治学的笃厚气象融于笔底，尽显东方人文的厚重意韵。",[23,7,24,241,106,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec32456e70e2976707c878a961b9b2c7.jpg",[],{"id":77774,"slug":77775,"title":77776,"dynasty":99,"author":170,"museum":78,"description":77777,"tags":77778,"thumbUrl":77779,"material":803,"size":77780,"collection":139,"collections":77781,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,7,24,25,173,27,177,178,1308,86,227,29,34,106,2094,31,176,1575,340,175,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":77783,"slug":77784,"title":77785,"dynasty":99,"author":966,"museum":364,"description":77786,"tags":77787,"thumbUrl":77788,"material":2021,"size":77789,"collection":139,"collections":77790,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},231572,"kong-shan-ye-xue-shen-shi-yi-tu-wen-zheng-ming-231572","空山夜雪深诗意图","与“江南四大才子”的其他三位相较，文征明的人生可谓波折又漫长。尽管他是一位诗、文、书、画全才的文人，但在他90年的人生中远不止这些艺术成就。\n文征明出身书香门第，祖父文洪是举人，父亲文林和叔父文森都是进士，但儿时的文征明却并非天资聪颖，反而比同龄人更加迟钝、笨拙。史书记载，他7岁才能站立，11岁才会开口说话、读书、背诵诗文。\n而与自己同年出生的好友唐寅16岁就考中苏州府试第一名；祝允明5岁就能写大字、9岁能作诗；徐祯卿“十岁能诗”、“家中不蓄一书，却无一不通”。和这些“天才”好友相较，文征明真算是开窍最晚，但若从整个人生长河来看，文征明在世时间又最长，艺术成就也最大。\n26岁时，文征明与唐寅一起到南京参加乡试，唐寅高中解元，他却没考上。但文征明并不灰心，从那年到53岁又连续参加了9场考试，9次都名落孙山，考到自己白发苍苍、考到考官早已换了好几拨……\n自小家学深厚的文征明向当时的大家吴宽、沈周等人学习书、画，才学非浅，可为何屡战屡败？或许是他个性的“偏执、耿直”，又或许是喜好翻阅古今文集而非僵化的八股文，每次答卷与明代科考要求都不符，致使他参考多年却一次没中。54岁时才经过他人举荐当上翰林院待诏，最后还是因为不满官场而辞职回乡。",[23,7,173,177,241,29,3499,1015,1575,560,176,175,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966056549207747dda563a51f8d10d2.jpg","167×60cm",[],{"id":77792,"slug":77793,"title":57610,"dynasty":189,"author":293,"museum":364,"description":77794,"tags":77795,"thumbUrl":77796,"material":139,"size":139,"collection":139,"collections":77797,"showCount":657,"zanCount":5,"manualWeight":48,"mainColor":94},231480,"shu-cai-tu-yi-ming-231480","蔬菜瓜果是人民生活的必需品。画家们从很早以前就把蔬果选作画材，历代画家以蔬菜瓜果为内容组成美丽的画面，留下许多不同风趣的佳作。\n蔬果从来都属于花鸟画科，花鸟画家应该在表现花鸟题材的同时，认真对蔬果进行观察研究，掌握其表现方法，推陈出新地去创作新的表现技法。\n宋《宣和画谱》中“蔬果叙论”里说：“然蔬果于写生最为难工，论者以为郊外之蔬而易工于水滨之蔬，而水滨之蔬又易工于园畦之蔬也。盖坠地之果而易工于折枝之果，而折枝之果又易工于林间之果也。”",[7,241,173,28,1458,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a8f4262b168a0dc28995878832b968d.jpg",[],{"id":77799,"slug":77800,"title":77801,"dynasty":18,"author":293,"museum":206,"description":77802,"tags":77803,"thumbUrl":77804,"material":803,"size":77805,"collection":139,"collections":77806,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[7,173,177,25,29,4613,107,35,176,34,31,491,37,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","28.6x44.1公分",[],{"id":77808,"slug":77809,"title":77810,"dynasty":76,"author":77811,"museum":364,"description":77812,"tags":77813,"thumbUrl":77814,"material":139,"size":77815,"collection":139,"collections":77816,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},231377,"yi-yuan-tu-ce-shen-cang-231377","怡园图册","沈苍","顾沄，字若波，号云壶、壶隐等。吴县（江苏苏州）人。工画山水，清丽疏古，得“清初六家”之长。怡园位于苏州，同治十三年（1874年）时任浙江宁绍道台的顾文彬购得此地，兴建怡园。由于顾文彬当时在外地任官，营造事宜由其子顾承主持，顾文彬特地嘱咐他多与画家商议。三年后园林建成，顾沄为绘怡园十六景，后又补绘四景。在苏州园林中，怡园是建造较晚的一座，顾文彬希望能荟萃诸园之长，从顾沄图中可以看到，《松籁阁》的画舫效法拙政园的香洲，《南雪亭》的石幢有似留园的经幢，《绛霞洞》的假山则模仿狮子林，其他如网师园的水池、沧浪亭的复廊等等都能在怡园找到痕迹。顾沄的《怡园图册》将观者带入园中，近距离地游赏各景。\n对研究怡园而言，最重要的是顾沄的十六景图和顾文彬的“词并序”。顾文彬的《怡园十六景词并序》共有十六段，前面有小序介绍园景，后面一阕小词阐发意蕴，与《十六景图》一一对应。这组景致按游览顺序展开，各景为先后关系，而非主次关系。怡园有幸留存至今，提供了将园图与实景对照的机会，从中可发现这套册页的写实程度之高。值得注意的是，传统山水画往往在明山秀水间点缀人物，提示观者应如何欣赏风景，但《怡园十六景图》则未画任何人物。这从侧面证明，顾沄和顾承的主要目的是再现景致。在《怡园图》中，园景成为重点，少了人物的干扰，观者反而可以更专注地投入其中，享受这一片天然的“无我之境”。",[23,7,104,27,28,29,107,175,34,176,109,1664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58131b67127eeb79a8a1cfa85c6f53b7.jpg","33.3×42.4×26",[],{"id":77818,"slug":77819,"title":15715,"dynasty":99,"author":293,"museum":364,"description":77820,"tags":77821,"thumbUrl":77822,"material":139,"size":139,"collection":139,"collections":77823,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},231355,"ming-dai-di-hou-ban-shen-xiang-yi-ming-231355","明宣宗朱瞻基（1399年3月16日－1435年1月31日），或称宣宗章皇帝，明仁宗嫡长子，永乐九年（1411年）立为皇太孙；永乐二十二年（1424年）十月立为皇太子。洪熙元年（1425年）即位，次年改元宣德，明朝第5位皇帝，在位十年，享年35岁。宣德元年（1426年）平定高煦之乱，和其父仁宗一样，比较能倾听臣下的意见，听从二朝元老兼阁臣杨士奇、杨荣、杨溥等建议，停止对交阯用兵，与明仁宗并称“仁宣之治”，宣宗时君臣关系融洽，经济也稳步发展。不过，他也开启此后宦官干政的局面。",[23,7,28,27,106,15718,1086,63,10898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff976655db328fbf0430dd7f89d4a9c84.jpg",[],{"id":77825,"slug":77826,"title":7948,"dynasty":99,"author":4904,"museum":364,"description":77827,"tags":77828,"thumbUrl":77829,"material":139,"size":139,"collection":139,"collections":77830,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},230939,"han-jiang-diao-ting-tu-lu-zhi-230939","萧寒荒寂间，虬曲枯木褪去繁枝，薄雪覆身，岸畔衰草凝着霜华。孤舟静泊，渔翁拥蓑戴笠，垂纶独钓，任飞雪漫过江天，自守一方安闲。\n\n笔致苍劲写枯木，尽透老辣荒寒，人物简笔勾勒，静穆自在的神态跃然绢上。浅淡设色晕染出清冽冬日，将江野冷寂揉成一片空明澄澈。题诗与画境相融，把寒江独钓的幽寂，化作世外高逸的精神栖所，寄寓着超脱尘俗、静守本心的雅趣，淡而愈厚，清韵悠长。",[7,24,241,99,27,28,174,1351,1015,3465,2502,227,29,69663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4301604eb72c0415bd85976d519f8a4f.jpg",[],{"id":77832,"slug":77833,"title":41767,"dynasty":99,"author":19836,"museum":364,"description":77834,"tags":77835,"thumbUrl":77836,"material":139,"size":139,"collection":139,"collections":77837,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},230890,"zi-mu-ji-tu-zhu-zhan-ji-230890","此作用淡墨勾勒，以留白晕染出禽鸟素洁的羽毛，笔触细腻写实，将绒羽的肌理纤毫毕现。亲鸡护持雏鸡啄食，雏鸟环绕依偎，亲昵互动间尽显舐犊温情，将田家寻常的天伦之趣凝于绢素。\n\n古雅棕调的绢底衬出群禽的素净雅致，写实功力与脉脉温情相融，把田园平凡生机化作细腻动人的诗意图景，尽显院体花鸟的雅致工巧，将日常烟火里的温情娓娓道来，让田家生趣跃然绢上。",[209,7,24,241,27,28,83,3478,15909,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65a4cbda63247618482e600f8b523c.jpg",[],{"id":77839,"slug":77840,"title":77841,"dynasty":76,"author":15408,"museum":364,"description":77842,"tags":77843,"thumbUrl":77844,"material":139,"size":139,"collection":139,"collections":77845,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},230361,"shi-liu-ying-zhen-tu-ce-hua-ce-ren-xiong-230361","十六应真图册画册","青绿设色古雅沉静，山崖一隅苍松虬曲，苔点攒簇尽显苍劲古意。画中三人情态各异：袒胸束发的朗笑长者，布衣褶皱朴拙写意，满是山野散逸之气；身侧女子抬首远眺，眉目灵秀，衣袂轻盈柔和；幼童席地回望二人，憨态可掬。\n\n背景以淡赭晕染空蒙天色，石青铺陈崖壁，冷暖色调相映，拉开虚实层次。整幅用工笔兼写意，人物形神兼备，山水布景简而不空，将世外悠游的自在意趣融于尺幅间，把林下忘机的逍遥图景刻画得鲜活动人。",[7,24,81,28,27,106,34,176,259,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0090bfaa29ee878a050b82ecf118445.jpg",[],{"id":77847,"slug":77848,"title":15214,"dynasty":76,"author":6671,"museum":364,"description":77849,"tags":77850,"thumbUrl":77851,"material":139,"size":139,"collection":139,"collections":77852,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},230226,"fang-gu-shan-shui-shi-er-kai-yang-jin-230226","此作以淡彩晕染江南春岸晓景，堤岸垂柳柔丝拂水，水汽清润朦胧，晕开浅淡氤氲的晨雾。戴笠行旅骑牛缓行于田埂，为乡野添上鲜活意趣。远景山峦以淡墨轻扫，林麓含烟，归雁掠过长空，将平远山水的空阔疏朗铺陈开来。笔墨秀雅工致，设色明洁温润，把江南水乡的恬静诗意融于尺幅之中，尽显平淡天真的文人画韵致，将春日郊野的闲适悠然娓娓铺展，晕染出一派生机盎然的田园雅景。",[7,27,29,81,177,3117,227,106,281,151,900,175,109,491,34,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387a052644e1585c611187534130e0d3.jpg",[],{"id":77854,"slug":77855,"title":4045,"dynasty":76,"author":850,"museum":364,"description":10603,"tags":77856,"thumbUrl":77857,"material":743,"size":744,"collection":139,"collections":77858,"showCount":657,"zanCount":5,"manualWeight":48,"mainColor":94},230210,"hua-niao-ce-ye-lang-shi-ning-230210",[23,209,7,24,5990,28,27,13695,11350,83,430,7174,1216,7666,4008,226,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],{"id":77860,"slug":77861,"title":5535,"dynasty":76,"author":62941,"museum":364,"description":77862,"tags":77863,"thumbUrl":77864,"material":139,"size":139,"collection":139,"collections":77865,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},230186,"shan-shui-li-zhou-zhang-yin-230186","淡墨晕染远山，烟岚轻笼，浑茫清寂。苍松虬劲横斜，松下茅舍内文士围坐，佐着满枝寒花暗香清谈。溪涧穿林而过，板桥通幽，行人缓步野径，漾出悠然野趣。\n\n此作用浅绛设色衬水墨皴擦，山石敷淡赭打底，墨苔点醒草木生机，温润雅致。疏密排布自然妥帖，将冬山清寒与文人心底雅趣相融，笔底晕开静穆闲逸，把幽居赏景、围炉晤谈的清冷快意藏在烟水林泉间，尽显寄情丘壑的悠然意韵。",[23,7,27,177,241,29,1575,108,109,35,106,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb643fca24d4aa77796b788a14b21b290.jpg",[],{"id":77867,"slug":77868,"title":77869,"dynasty":76,"author":1892,"museum":364,"description":77870,"tags":77871,"thumbUrl":77872,"material":139,"size":139,"collection":139,"collections":77873,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,7,24,25,27,29,177,105,227,178,86,864,297,34,35,107,108,175,560,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":77875,"slug":77876,"title":77877,"dynasty":76,"author":16463,"museum":364,"description":77878,"tags":77879,"thumbUrl":77880,"material":139,"size":139,"collection":139,"collections":77881,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[23,7,24,25,104,27,28,29,107,175,34,176,114,106,150,297,491,115,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":77883,"slug":77884,"title":77885,"dynasty":76,"author":77886,"museum":364,"description":77887,"tags":77888,"thumbUrl":77889,"material":139,"size":139,"collection":139,"collections":77890,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},228937,"fang-gu-shan-shui-tu-ce-8-zhen-lu-han-228937","仿古山水图册8帧","陆汉","此作用浅绛糅合青绿晕染山峦，远山以淡墨轻笼云气，晕开幽谷空濛之态。近坡苍松虬曲，桃枝缀花，点染出春日融融生机。溪桥田舍错落排布，渔人操舟、乡人行聚，将武陵桃源的恬适日常铺陈开来。\n\n线条细劲秀雅，皴染柔和，将山水清润与村居和乐融为一体，笔墨间藏着对隐逸田园的向往，把出世之思揉进烟火日常的描摹里，恬淡悠然，意趣绵长。",[7,27,26,29,81,177,108,109,174,175,281,430,35,279,242,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d30e9ffc96d3a4b2b4aa3622ccefd3.jpg",[],{"id":77892,"slug":77893,"title":77894,"dynasty":99,"author":19617,"museum":364,"description":77895,"tags":77896,"thumbUrl":77897,"material":139,"size":139,"collection":139,"collections":77898,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},228853,"si-wan-shan-shui-tu-wen-bo-ren-228853","四万山水图","以极简淡墨铺陈江天，大片留白漾开空濛水色，将天地浩渺揉入卷中。近岸枯木虬根盘错，浅滩蒲草疏疏曳动，扁舟横卧，渔翁静憩，野逸闲趣暗藏其间。远景山峦以淡墨轻扫出柔缓轮廓，恍如黛色浮于云水之畔。数点飞雁列阵划破空寂，愈发衬出江天寥廓。题款小字错落留白之上，诗画相映，晕开江南秋闲的空阔清远。笔致松秀简淡，不见繁缛皴染，却将平远山水的空灵通透娓娓道来，尽显寄情丘壑、淡远萧散的文人意趣，观之如沐江风，心随水色一同沉敛安宁。",[23,7,173,241,29,174,281,430,245,491,490,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa85fe8825904bddc6b0c2e6a9aa859.jpg",[],{"id":77900,"slug":77901,"title":77902,"dynasty":18,"author":2029,"museum":364,"description":77903,"tags":77904,"thumbUrl":77905,"material":139,"size":139,"collection":139,"collections":77906,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},228851,"wan-xian-chao-zhen-tu-juan-liu-song-nian-228851","万仙朝真图卷","绢面虽蒙岁月褐晕，仍铺展浩荡仙仪长卷。群仙或乘云驭鹤，或执笏徐行，仪仗森然奔赴灵阙。山峦松枝勾勒清劲，宫观台宇隐现林岫，晕染出缥缈仙气。神祇形貌各殊，衣带翩跹舒展，尽显白描秀逸工致。后幅题跋笔意清隽，与前幅绘事呼应，文墨丹青共叙玄门盛会的庄雅恢弘，将天界朝贺的雍容气象凝于尺幅间，尽显中古仙佛绘事的极致匠心。",[23,7,24,25,2544,259,106,29,107,27,260,227,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4550bd33f196963e0c2517d9a36fde44.jpg",[],{"id":77908,"slug":77909,"title":1562,"dynasty":99,"author":170,"museum":364,"description":77910,"tags":77911,"thumbUrl":77912,"material":139,"size":139,"collection":139,"collections":77913,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},228830,"shan-mian-shen-zhou-228830","此作用水墨晕染枝间禽鸟，双雀依偎栖于繁花折枝之上，翎毛以浓淡墨色细勾慢染，灵动鲜活似正低语休憩。老干苍劲朴拙，花瓣以淡墨点染，晕出柔润舒展之态，干湿墨色交织，苍润相生。尺幅虽狭，却藏无尽生趣，以极简笔墨勾勒出春日枝桠间的闲逸幽情，将文人画的简淡天真融于方寸之间，尽显写意花鸟的隽永意致，观之如沐春枝清寂雅趣。",[23,7,24,1562,173,83,224,62,1062,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4404ed7004430e69ae3c02ca10aad4b.jpg",[],{"id":77915,"slug":77916,"title":19969,"dynasty":99,"author":293,"museum":364,"description":77917,"tags":77918,"thumbUrl":77919,"material":139,"size":139,"collection":139,"collections":77920,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},228823,"ying-tu-yi-ming-228823","这幅工笔设色花鸟，以双鹰为画面核心。两只猛禽或侧目远眺，或昂首凝望，身姿苍劲傲然。翎毛发丝尽染，笔触细腻入微，将猛禽的威严沉凝尽显无遗。\n\n古梅虬曲遒劲，寒花点点缀于枝桠，清寂雅致；嶙峋怪石边，艳红山茶绽于丛间，柔红破寒，晕开一抹生机。右下角飞泉直下，水流宛转灵动，打破画面沉静，动静相融自成韵律。\n\n棕褐底色晕染出幽谧山林氛围，工写结合间，既刻画出猛禽的雄健肃穆，又以花木泉石勾勒出清冷高古的意境，将山林幽寂与猛禽孤傲融为一体，尽显精妙写实功力，内敛悠长的意趣藏于笔墨之间。",[23,7,28,27,83,4307,448,176,558,34,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6425a6d54ecf9644f158bf0096b6915d.jpg",[],{"id":77922,"slug":77923,"title":77924,"dynasty":99,"author":293,"museum":364,"description":77925,"tags":77926,"thumbUrl":77927,"material":139,"size":139,"collection":139,"collections":77928,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},228779,"fang-li-tang-hao-pu-tu-juan-yi-ming-228779","仿李唐濠濮图卷","此作用斧劈皴写山石，棱角方硬苍劲，两岸危崖叠峙、古木盘根虬曲，浓墨点染的林木蓊郁深秀，暗带秋意。溪谷水面留白晕出浅波，汀渚碎石错落，衬出涧谷幽寂空远。右侧平石之上，雅士简笔勾勒，凭坐观流，恬淡静穆，尽显林泉遁世的悠然意趣。画作兼取北派山水的雄劲与文人画的萧散，将山水之胜与林下雅兴相融，把秋日溪畔的幽寂雅情绘得淋漓尽致，尽显古意山水里的文人心境。",[23,7,25,105,177,27,29,430,650,109,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd1d7c4fadcfa69c00bdc8807b573b.jpg",[],{"id":77930,"slug":77931,"title":77932,"dynasty":99,"author":1012,"museum":364,"description":77933,"tags":77934,"thumbUrl":77935,"material":139,"size":139,"collection":139,"collections":77936,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},228426,"zhi-xu-qing-yan-tu-lan-ying-228426","支许清言图","此作用笔刚柔相济，右崖奇崛厚重，以浓墨皴擦堆垒出山岩苍莽质感，左侧淡墨晕染平湖远峰，虚实相映间铺展出空濛悠远的湖山胜境。\n\n古松虬曲苍劲，针叶攒簇见笔力，尽显老松凌寒之姿。松下幽渚上二人对坐晤谈，衣袂简括，神态悠然，暗合魏晋林下雅集的高逸襟怀。\n\n笔墨干湿互融，既有刚劲风骨，又揉入写意萧散淡远的意趣，将林泉清谈的幽旷襟怀藏在松涛湖烟之中，尽现山居雅集的绝尘之味。",[23,209,7,24,241,173,177,29,106,449,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d387a521088c5ae100f06c610991a65.jpg",[],{"id":77938,"slug":77939,"title":77940,"dynasty":99,"author":293,"museum":364,"description":77941,"tags":77942,"thumbUrl":77944,"material":743,"size":744,"collection":139,"collections":77945,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":1335},228378,"zhun-ti-pu-sa-zhou-yi-ming-228378","准提菩萨轴","准提佛母，Cundi系梵语，汉译有“准胝”、“尊提”，准提佛母又称“准胝观音”、“准提佛母”和“七俱胝佛母”等名。藏音“Bskul－bye－ma”。其以“准提咒”见称，曾为显密佛教徒所知的大菩萨。在禅宗，则称之为‘天人丈夫观音’，以准提为观音部之一尊，深尊崇之，日本东密以准提为六观音之一、摄于莲华部（千手观音、圣观音、马头观音、十一面观音、准提观音、如意轮观音）中。独台密以七俱胝佛母准提经之经名，准提入于佛母中以为佛部之尊。“准提”是清净的意思，表示此菩萨心胜清净，皎洁。",[7,241,259,106,28,260,9254,77943,1861],"准提佛母","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4cf016eee0ae158fe832bbd6e8d8053.jpg",[],{"id":77947,"slug":77948,"title":77949,"dynasty":99,"author":23960,"museum":364,"description":77950,"tags":77951,"thumbUrl":77952,"material":139,"size":139,"collection":139,"collections":77953,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},228352,"hu-zhou-shi-ba-jing-xian-ding-song-xu-228352","湖州十八景－仙顶","此作用高远、深远法铺展丘壑，以干笔皴擦勾勒山峦筋骨，石体质朴苍拙，遍山松针攒簇，蓊郁深秀。蜿蜒山道盘绕幽谷，引视线拾级而上，崖顶朱红楼阁隐于翠色间，恍若世外梵宫。山坳茅舍幽藏，溪涧穿谷而过，山脚田亩横陈，将林泉野趣与山居烟火相融。笔墨苍劲老辣，设色淡雅清和，兼融浙派刚健与吴门文秀，既绘尽峰峦奇崛之态，又暗合仙境幽绝尘寰的逸韵，把出世高怀与俗世雅趣揉为一体，尽显明代文人心中的林泉雅志。",[23,7,24,81,27,177,29,107,34,176,109,900,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a8a320b1a8a8144d6247b75f4a65f5.jpg",[],{"id":77955,"slug":77956,"title":77957,"dynasty":99,"author":1083,"museum":132,"description":1084,"tags":77958,"thumbUrl":77959,"material":139,"size":1088,"collection":139,"collections":77960,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},228300,"hua-niao-cao-chong-xie-sheng-ce-zhu-cha-die-bao-chen-hong-shou-228300","花鸟草虫写生册-朱茶蝶抱",[209,7,24,81,27,28,83,839,604,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0b666b51003f2c1d45f96d154a53f9.jpg",[],{"id":77962,"slug":77963,"title":77964,"dynasty":189,"author":25426,"museum":364,"description":77965,"tags":77966,"thumbUrl":77967,"material":139,"size":139,"collection":139,"collections":77968,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},228269,"shi-ren-ce-ye-fang-cong-yi-228269","十人册页","此作以淡墨晕染平湖烟霭，汀渚远山含晕隐现，尽是秋水长天的空濛寥廓。岸畔水榭依坡临流，霜树轻红点破满目清寂，三两渔舟泛于波上，掠水飞鸟更盘活了静穆湖面。\n\n作者以干淡笔墨轻勾缓皴，舍繁复皴法，以晕染代勾勒，将江南秋浦的闲淡疏旷收于尺幅。通篇不着浓彩，只以水墨氤氲出林泉幽致，把寄怀山水的文人意趣藏在浅淡岚烟里，静中含动，淡而愈远，尽显山水小景中尚意抒情的雅韵，恍若将观者带入秋日水畔，共赴一场林泉闲居之约。",[23,209,7,24,81,173,29,174,175,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1968189c7a593c26b6ed83fc24cfd804.jpg",[],{"id":77970,"slug":77971,"title":16993,"dynasty":189,"author":293,"museum":364,"description":36664,"tags":77972,"thumbUrl":77973,"material":743,"size":744,"collection":139,"collections":77974,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":1335},228234,"shi-jia-mu-ni-fu-yi-ming-228234",[23,7,24,241,259,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7165e041acdac0f305da7edefa17ee14.jpg",[],{"id":77976,"slug":77977,"title":77978,"dynasty":189,"author":293,"museum":364,"description":77979,"tags":77980,"thumbUrl":77981,"material":139,"size":139,"collection":139,"collections":77982,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},228195,"shi-liu-shen-jun-tu-yi-ming-228195","十六神骏图","画面群骏错落排布，姿态鲜活灵动，或引颈伫立、或俯首啜饮、或扬蹄疾行，亦有两马偎依嬉闹。骏马毛色各异，斑纹勾勒细腻写实，筋骨晕染柔和自然，将神骏膘肥体健的身姿刻画入微。\n\n红衣骑者神情悠然，控马徐行，与群马相映成趣。浅淡墨色晕染沙岸浅滩，古雅底色衬出悠长留白意境，尽显画工精妙，将良骏灵动神采尽数铺展，尽显古朴雅致的画中逸趣。",[23,209,7,24,25,27,28,106,150,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6cb686b05759e704136a50854c09ba.jpg",[],{"id":77984,"slug":77985,"title":77986,"dynasty":189,"author":293,"museum":364,"description":77987,"tags":77988,"thumbUrl":77989,"material":139,"size":139,"collection":139,"collections":77990,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},228190,"jin-bi-shan-shui-ye-yi-ming-228190","金碧山水页","此作以青绿晕染崖壁，石面肌理苍然古朴，崖巅古木虬曲横斜，丹红叶色点破秋日山岑的清寂。左侧林木扶苏，深浅墨色糅合淡青，尽显层叠苍润之意。\n\n溪山之间，策蹇行者徐行山道，林畔立者似在问询，山野幽居的闲适意趣随画面铺展。构图疏密有致，空阔留白予人遐想余地，设色古雅沉静，将秋日山林的萧散淡远晕染尽致，以小景见丘壑深致，尽显寄情林泉的元人山水意韵。",[7,24,81,27,26,29,34,150,106,650,561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cb32e3f645aa67e7806a281a54bc9d.jpg",[],{"id":77992,"slug":77993,"title":76685,"dynasty":189,"author":5444,"museum":364,"description":77994,"tags":77995,"thumbUrl":77996,"material":139,"size":139,"collection":139,"collections":77997,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},228047,"guan-chao-tu-sheng-mao-228047","咫尺尺幅铺展江天寥廓，右下方白衣高士踞坐石矶，抬眸望江，神思随浪涛远走，静穆出尘。右侧老树枝叶垂覆如翠幄，掩映出幽寂观潮之地。远景山峦以澹墨轻晕，烟霭空濛，将天地晕染成一片浑茫。\n\n笔墨简括柔润，浅设色温婉清和，以大片留白暗喻江潮浩渺，以静写动，未着潮声却似能耳闻浪拍长岸，把文人耽游林泉、寄情山水的雅怀藏在留白间。简淡画面中晕开悠远诗意，将凝神观潮的忘我意态，融在烟水山色里，尽显山水以景寄兴的悠然意境。",[23,7,173,27,177,29,106,430,297,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a29a6ce0c5bedcec8cc9a7d7960888.jpg",[],{"id":77999,"slug":78000,"title":78001,"dynasty":189,"author":351,"museum":364,"description":78002,"tags":78003,"thumbUrl":78004,"material":139,"size":139,"collection":139,"collections":78005,"showCount":657,"zanCount":5,"manualWeight":48,"mainColor":49},228023,"wen-dao-tu-ye-qian-xuan-228023","问道图页","此作用淡墨铁线描勾勒人物，衣褶圆劲简练，清隽古雅。两位老者相对躬身作揖，左侧老者微伛着身子，神色满含敬慕，右侧长者神态端凝安然，俯仰之间将问道求贤的诚敬与传道的雍容尽数铺展。\n设色简淡素雅，古旧绢底晕染出沉静古意，留白处晕开林下空寂悠然的氛围，暗合问道求真的幽远意境。画面题印错落排布，与笔意浑然相融。整幅小品简而不薄，淡而有味，将圣贤问道的澹泊襟怀藏于笔墨方寸间，尽显文人画简逸出尘的风骨，悠悠古意漫溢绢素。",[23,209,7,24,81,260,27,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c59d1ad5138d4daa0cafd170924d42.jpg",[],{"id":78007,"slug":78008,"title":78009,"dynasty":189,"author":8176,"museum":364,"description":78010,"tags":78011,"thumbUrl":78012,"material":139,"size":139,"collection":139,"collections":78013,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[23,7,24,81,173,27,29,108,109,174,34,35,37,491,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":78015,"slug":78016,"title":9565,"dynasty":18,"author":1616,"museum":364,"description":78017,"tags":78018,"thumbUrl":78019,"material":139,"size":139,"collection":139,"collections":78020,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},227967,"jin-wen-gong-fu-guo-tu-li-tang-227967","本作以连环分段构图铺陈史诗往事，图文互映，每段配书跋补全情节脉络。以铁线描勾勒人物衣纹，劲挺古雅，国君、文武、夷狄、仆从神态各异，将流亡隐忍、终成霸业的跌宕过往细腻呈现。\n\n布景兼工带写，亭台界画工致严整，松石林木兼具山水意趣，古朴厚重的色调烘托出春秋乱世的沉郁风云，尽显传统叙事绘画的章法意韵与历史叙事的感染力。",[23,209,7,24,25,260,28,177,106,150,107,34,176,227,86,114,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7d26cfaac9b3b65381345283d0c2bc.jpg",[],{"id":78022,"slug":78023,"title":78024,"dynasty":18,"author":293,"museum":364,"description":78025,"tags":78026,"thumbUrl":78027,"material":139,"size":139,"collection":139,"collections":78028,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},227930,"zhang-qiao-wo-bo-tu-yi-ming-227930","长桥卧波图","《宋扇面画长桥卧波图》是宋代佚名画家创作的一幅设色扇面画。\n此图原载《纨扇画册》。\n绘朱红长桥一座，横卧江面，两岸房舍成群，古塔高耸，树影婆娑。\n河面水波涟漪，舟船点点，以破长桥的呆板形体。\n远方云雾中露出银装素裹的山峰，分外妖娆。\n全图用笔精工，设色艳美，构图空阔浩渺，意境深远，是南宋早期画院高说所作。\n画中钤有「仪周珍藏」印一方，说明此图曾为清人 收藏，见《石渠宝笈三编》著录。\n本幅无款印。\n钤收藏印“仪周珍藏”一方。\n图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。\n画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[23,7,24,29,104,27,28,1253,490,111,491,107,1432,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6193c1927a01527760b310dc59e09697.jpg",[],{"id":78030,"slug":78031,"title":78032,"dynasty":18,"author":293,"museum":364,"description":78033,"tags":78034,"thumbUrl":78036,"material":139,"size":139,"collection":139,"collections":78037,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},227925,"jiao-yin-ji-qiu-tu-ye-yi-ming-227925","蕉荫击球图页","《蕉阴击球图》是宋代佚名画家创作的一幅绢本设色画，现藏于 。\n无作者款印。\n对幅清高宗弘历御题诗一首。\n本幅、对幅及裱边钤高宗弘历“古稀天子”、“八徵耄念之宝”、“ ”等鉴藏印，共6方。\n此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。\n在笔法上，作者注重物象间的对比互衬关系。\n人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。\n湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。\n湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。\n以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。\n当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。\n此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。\n此图原载《宋人名流集藻册》。\n图绘一仕女童于桌旁观看一老一小两人作击球行了游戏。\n庭院中绿草如茵，湖石矗立，芭蕉成荫。\n仕女认真观球的神态和儿童击球的细小动作刻画得自然生动。\n全图用工笔重彩法，衣纹勾线简练细劲，设色艳而不火，工而不板，为南宋小幅人物画精作。\n此图蕉题签为苏汉臣作，但究其画风，与苏汉臣有别。\n在古代，见婴戏必题 作，见牛必题戴嵩，见马即题韩干之类，实属偏见，故今改为无名氏作。\n画中钤有「东莱」印一方，经《 》著录。",[23,7,24,5990,28,27,106,3045,78035,178,227,57815],"蕉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea29c347ebabee65faf94a2305bd7ce.jpg",[],{"id":78039,"slug":78040,"title":78041,"dynasty":18,"author":293,"museum":364,"description":78042,"tags":78043,"thumbUrl":78044,"material":139,"size":139,"collection":139,"collections":78045,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},227864,"chun-shan-yu-ting-ye-yi-ming-227864","春山渔艇页","这幅团扇以平远之法铺陈春景，淡晕的山峦柔缓舒展，烟霭轻笼水岸，晕开朦胧的春日清氛。陂陀石岸旁，林木枯荣交错，带着早春初醒的疏懒意态，青绿与赭石轻扫山石水岸，晕染出江南春山的温润水汽。\n\n一叶渔艇静浮水面，独钓的渔翁将幽寂闲散的隐逸意趣揉入空阔水色中。整作无繁复刻画，以简淡笔触晕开春日水滨的清寂淡然，将宋人娴静雅致的山水心境藏在尺幅之间，淡而弥远，静中生境，把江南早春的疏朗与幽隐心绪融成一缕绵长余韵。",[23,7,24,1562,27,29,174,394,109,1016,177,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce57e3ac98b56a84f84c690afbf0f9b.jpg",[],{"id":78047,"slug":78048,"title":78049,"dynasty":18,"author":293,"museum":364,"description":78050,"tags":78051,"thumbUrl":78053,"material":139,"size":139,"collection":139,"collections":78054,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},227838,"xian-nv-cheng-luan-tu-yi-ming-227838","仙女乘鸾图","《五代周文矩仙女乘鸾图》是五代南唐画家 所创作的一幅 。\n此图原载《历代名笔集胜册》第一册。\n此图线条工谨精细，如春蚕吐丝，柔中见刚。\n《五代周文矩仙女乘鸾图》，图画明月一轮，一仙女乘鸾飞翔。\n笔墨精妙飞动，设色艳丽，构图简洁，为宋画中精品。\n无款，旧题周文矩作。\n画中钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍赏」、「珍秘」、「会侯珍藏」、「明安国玩」、「宜尔子孙」等印多方。\n对幅有耿昭忠题，经《虚斋名画录》著录。\n耿昭忠题云：“风格高妙，飘飘然有凌霞绝尘之姿，是盖周文矩胸中迥出天机，故落笔超乎物表。\n张、吴、顾、陆、何难继踵。\n”襄平耿昭忠题。\n”本幅及裱边、对幅钤耿昭忠“真赏”、“黔宁王子孙永保之”、“丹诚”、“都尉耿信公书画之章”、“信公珍藏”、“珍秘”、“宜尔子孙”、“公”等鉴藏印，共17方。\n《圣朝名画评》云：“周文矩，建康句容人。\n美风度，学丹青，颇有精思。\n仕李煜，为待诏，能画冕服车器人物仕女。\n”又云：“周文矩用意深远，于繁富则尤工。\n”按此图虽无款，而作风飞动精丽，允为北宋早期的作品。\n旧题 作，今从之。\n《五代周文矩仙女乘鸾图》图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。\n画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。\n仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。\n画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。\n周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。\n与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。\n周文矩，生卒年代不详，句容（今属江苏）人，曾在南唐后主李煜时任画院翰林待诏。\n工画佛道、人物、车马、屋木、山水，尤精于仕女，多以宫廷或文人生活为题,以“用意深远”著称。\n其仕女画师从周昉，作风更加纤丽繁复，用笔多以“战笔”为特点。\n现藏故官博物院的《重解会棋图》是他的传世作品之一。\n传世作品有《重屏会棋图》、《 》等。",[23,7,1562,28,27,106,59,78052,281,945,37,227],"神鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd1fa7526358a03d725c63f905f8a92.jpg",[],{"id":78056,"slug":78057,"title":78058,"dynasty":18,"author":6566,"museum":364,"description":56730,"tags":78059,"thumbUrl":78060,"material":743,"size":744,"collection":139,"collections":78061,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},227815,"bin-feng-qi-yue-tu-juan-wen-zheng-ming-ba-ma-he-zhi-227815","豳風七月图卷文徵明跋",[23,1160,7,24,25,1308,86,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7afaf614079908a09b751e9389226f63.jpg",[],{"id":78063,"slug":78064,"title":78065,"dynasty":18,"author":27510,"museum":364,"description":78066,"tags":78067,"thumbUrl":78068,"material":139,"size":139,"collection":139,"collections":78069,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},227712,"hu-tian-ju-le-tu-juan-gong-kai-227712","壶天聚乐图卷","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,209,7,24,25,173,260,106,29,34,8147,957,12940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],{"id":78071,"slug":78072,"title":29441,"dynasty":18,"author":29442,"museum":364,"description":78073,"tags":78074,"thumbUrl":78075,"material":139,"size":139,"collection":139,"collections":78076,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},227577,"fan-wang-li-fo-tu-juan-zhao-guang-fu-227577","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。\n\n赵光辅 (公元10世纪中-11世纪初)〔北宋〕耀州华原(今陕西耀县)人，五代南唐时布衣，北宋初爲图画院学生，故乡里呼爲“赵评事”，生卒年不详。画艺活动在宋太祖、太宗、真宗(960-1022)间。工画道释人物，兼精蕃马走兽，亦工竹木花卉，笔锋劲利，名“刀头燕尾”。所作线条流畅，人物形象清楚，骨骼厚重，刻画细致入微，设色典雅沉稳，有唐吴道子遗风。曾在许昌开元、龙兴两寺创作壁画，在开元寺所画之《五百罗汉图》，“姿质风度互有意思，坐立瞻听皆得其妙，貌若悲觉以动观者”。据北宋绍圣元年(1094)著名金石、书画家游师雄《题赵光辅画壁》碑云：“云阳(今陕西泾阳县)孟店镇西寺殿后画《自在观音》一壁，曲尽端严闲暇态度。其左有外国胡王与人从焚香状，貌极恭虔；其右有衣王者服，罄瞻礼之容，旁有衔花野兽，麋鹿虎豹各尽驯伏情状。至于竹木花卉，无不精至，南向画魔女恼佛，云雷震电，其势可怖；魔女变形，揽镜自照，遽作惊惭自失之状，尤爲奇绝。然后知光辅不独工于马也。……”碑今存泾阳县文化馆。",[23,7,24,25,27,28,259,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b7f502dddb1a49e90b3c6d1c398b59.jpg",[],{"id":78078,"slug":78079,"title":29,"dynasty":76,"author":7124,"museum":364,"description":30176,"tags":78080,"thumbUrl":78081,"material":139,"size":139,"collection":139,"collections":78082,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},226637,"shan-shui-pu-ru-226637",[23,209,7,24,241,27,177,29,108,109,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfafb3f4a22295b4ee5698a9d0333c4.jpg",[],{"id":78084,"slug":78085,"title":78086,"dynasty":76,"author":7124,"museum":364,"description":50721,"tags":78087,"thumbUrl":78088,"material":139,"size":139,"collection":139,"collections":78089,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},226635,"si-shi-shan-shui-08-pu-ru-226635","四时山水08",[23,7,24,81,173,177,29,174,175,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eea02cc99e83b92777a52ae8be0545e.jpg",[],{"id":78091,"slug":78092,"title":78093,"dynasty":76,"author":1109,"museum":364,"description":78094,"tags":78095,"thumbUrl":78096,"material":139,"size":139,"collection":139,"collections":78097,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},224514,"shan-shui-tu-ce-8-kai-3-zhang-da-qian-jiu-cang-shi-tao-224514","山水图册8开-3-张大千旧藏","淡墨晕开平湖烟波，水汽裹着远山晕成一片黛色，皴擦写意的峰峦带着朴拙苍劲的质感，晕染出清旷的天地底色。近岸林木错落，干湿浓墨交织出深浅层次，三两渔舟横斜泊岸，静卧于烟水间。江畔幽坐的旅人凝望远山，留白铺就的水面将万般归思揉进空濛雾色。题画小字清雅错落，朱红闲章点缀素净画面，盘活了满卷静气。整幅笔意纵恣随性，以极简笔墨勾勒出山川清旷之美，将羁旅幽怀融于烟水林峦，藏着静穆淡远的禅意，尽显写意山水的空濛悠远。",[23,7,173,177,81,24,227,29,174,34,649,106,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546454255510cf28a6ced2790a597e6c.jpg",[],{"id":78099,"slug":78100,"title":78101,"dynasty":76,"author":13111,"museum":364,"description":78102,"tags":78103,"thumbUrl":78104,"material":139,"size":139,"collection":139,"collections":78105,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},224491,"xi-yang-qiu-ying-tu-wu-li-224491","夕阳秋影图","《清吴历夕阳秋影图》是清代画家吴历创作的一幅中国画。\n此图画山峦起伏，高树成林，草亭傍水，江天夕阳相映成趣。\n上有行书诗题及名款。\n吴历与王翚、恽寿平同学于王时敏门下，专意绘事，日夜临摹宋元真迹，渲染皴擦，风格高峻，得其神髓。\n其山水宗黄公望，得力于王蒙，兼有吴镇之长。\n此图虽仿倪瓒，然笔墨纯熟沉稳，颇见功底，诗画相融，其韵致超绝，具有自己的笔法,江亭遥岭,碎石丛树,萧瑟简淡,不失为吴氏晚年佳作。\n吴历（162—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。\n少年时遭遇明亡，信奉佛教，后转为信奉基督教。\n曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ ”。\n据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,209,7,173,177,241,29,1575,340,1015,920,4562,176,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":78107,"slug":78108,"title":78109,"dynasty":76,"author":10376,"museum":364,"description":78110,"tags":78111,"thumbUrl":78113,"material":139,"size":139,"collection":139,"collections":78114,"showCount":657,"zanCount":5,"manualWeight":48,"mainColor":94},224471,"liang-chang-shan-guan-tu-wang-hui-224471","良常山馆图","此画以高远构法铺展丘壑，主峰巍峨矗立，以细密披麻皴勾勒山石苍厚肌理，崖壁挺拔如削，尽显山川雄浑气魄。山间林木错落枯荣交织，深谷幽坳里茅庐隐现，清溪绕石穿林，携着潺潺野趣蜿蜒而出。\n笔墨兼工带写，秀润中透着苍劲，浅淡晕染柔和雅致，将山野沉郁的厚重与山居的清寂相融，把幽居丘园的隐逸雅兴，尽数藏进咫尺山水间，尽显静穆淡远的林下雅韵。",[23,209,7,1397,241,2218,3963,27,176,1250,50016,6410,6070,18349,3802,78112],"静穆淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20794c152eb9e022b762b85b450fba70.jpg",[],{"id":78116,"slug":78117,"title":9270,"dynasty":76,"author":10376,"museum":364,"description":78118,"tags":78119,"thumbUrl":78120,"material":139,"size":139,"collection":139,"collections":78121,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},224446,"fang-huang-gong-wang-shan-shui-tu-wang-hui-224446","《仿黄公望山水图》是清朝文物，故宫博物院馆藏的绘画。\n《仿黄公望山水图》轴，清，王翚绘，纸本，设色，纵227.cm，横82.4cm。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。\n，明，一级文物。\n绢本墨色，纵167厘米、横81厘米。",[23,7,24,241,27,177,29,34,650,560,491,37,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8306b5ad774b6b0e1585dad6e50b98b.jpg",[],{"id":78123,"slug":78124,"title":55047,"dynasty":76,"author":1892,"museum":364,"description":78125,"tags":78126,"thumbUrl":78127,"material":139,"size":139,"collection":139,"collections":78128,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},224401,"xi-hu-shi-jing-tu-juan-wang-yuan-qi-224401","此作以全景长卷铺陈湖山胜景，浅绛设色清润雅致。峰峦以干笔积墨皴擦勾勒，层叠苍秀，兼具浑厚古朴与秀润之气。湖面浩渺空阔，洲渚星罗，烟柳桃林、亭台梵塔错落点缀，渔舟轻泛波心，将西湖温婉灵韵尽数铺展。\n\n既承娄东画派笔墨法度，又以细腻写实还原十景雅致意境，将江南山水的旖旎柔媚与文人山水的书卷气相融。静穆苍劲的山峦与明秀澄澈的湖光交织，晕染出晴日西湖的通透明丽，于淡逸间藏深秀，是实景山水画中的上乘佳制。",[23,7,25,27,29,177,175,107,108,109,281,34,111,13911,6274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718e976d8d85dc8f898d2ea2d0f8eb5b.jpg",[],{"id":78130,"slug":78131,"title":78132,"dynasty":76,"author":15347,"museum":364,"description":48643,"tags":78133,"thumbUrl":78134,"material":803,"size":139,"collection":181,"collections":78135,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图",[23,7,24,27,29,177,864,430,175,108,109,2268,176,560,1255,34,25096],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[181],{"id":78137,"slug":78138,"title":78139,"dynasty":76,"author":15347,"museum":364,"description":78140,"tags":78141,"thumbUrl":78142,"material":139,"size":139,"collection":139,"collections":78143,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},224257,"xi-ting-du-tiao-tu-cha-shi-biao-224257","溪亭独眺图","《新安画派·查士标-中国古代画派大图范本-二》是212年 出版的图书，作者是査士标。\n中国古代画派大图范本·新安画派二：溪亭独眺图，ISBN：97875481188，作者：杨东胜",[23,7,173,241,29,175,430,108,109,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e830b7b27daf04d27a64ae0f32cc68.jpg",[],{"id":78145,"slug":78146,"title":78147,"dynasty":76,"author":707,"museum":364,"description":78148,"tags":78149,"thumbUrl":78150,"material":139,"size":139,"collection":139,"collections":78151,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},224191,"she-se-qu-yu-shuang-qi-tu-hua-yan-224191","设色鸲鹆双栖图","此作以空灵留白铺陈底色，枯木虬曲舒展，淡蓝花萼点缀枝桠，晕染出清寂雅致的春日氛围。禽鸟或独立垂首，或依偎枝梢，墨色浓淡变化尽显鸟羽蓬松柔润质感，红爪尖喙鲜亮醒目，将鸲鹆的灵动机趣刻画入微。\n\n笔墨工写相融，写意枯石淡染花枝，工笔描摹禽鸟形神兼备，萧疏中暗藏生趣，尽显清逸隽秀的文人意趣，把闲静安栖的林下之景晕染开来，将江南画派的灵秀雅致藏于淡墨留白之间，是颇具韵致的花鸟佳构。",[23,7,24,241,27,83,446,56892,38187,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F139f403993c7353c724ca1f532a8d0a2.jpg",[],{"id":78153,"slug":78154,"title":9594,"dynasty":18,"author":293,"museum":364,"description":78155,"tags":78156,"thumbUrl":78157,"material":139,"size":139,"collection":139,"collections":78158,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},223657,"jin-ming-chi-zheng-biao-tu-yi-ming-223657","此作用精工界画描摹池苑盛景，朱红飞檐沿水铺展，虹桥凌波串联洲屿，殿台廊榭的斗拱榫卯分毫毕现。\n\n水面之上楼船列阵、彩旗微漾，竞渡健儿挥棹如飞，争标嬉水的喧闹仿佛冲破古绢。城垣垂柳轻拂水岸，往来小艇点缀烟波，将皇家游赏的闲逸与赛事的紧张相融，定格下汴京春日的鲜活盛景。\n\n设色调和古雅，笔致细腻写实，带着宋画特有的雅致沉静，让千年前的升平跃然眼前，将彼时的游观雅趣与竞技热络尽数藏在绢素方寸间，尽显入微观察力与写实传神的宋画魅力。",[23,7,209,104,27,28,107,108,109,118,106,281,34,1255,114,5066,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd85e658915ce503fbd031386625d9a8.jpg",[],{"id":78160,"slug":78161,"title":552,"dynasty":18,"author":293,"museum":206,"description":78162,"tags":78163,"thumbUrl":78164,"material":160,"size":78165,"collection":139,"collections":78166,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},223569,"xi-shan-xing-lv-tu-yi-ming-223569","图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。",[23,7,24,1562,173,177,86,178,227,29,245,34,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce1a8b5a603f292840b46f377d5eb9e.jpg","28.6 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间藏着的惦念与归途。",[7,25,1397,26,27,9156,177,3963,649,45418,109,8507,78438,1254,78439,78440,41970,78441],"田畴","江南水乡","沉郁","归思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677da50b5e5dfa1604cc4f515ee239d9.jpg",[],{"id":78445,"slug":78446,"title":78447,"dynasty":76,"author":46878,"museum":9181,"description":78448,"tags":78449,"thumbUrl":78450,"material":46882,"size":46883,"collection":139,"collections":78451,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":139},220731,"xun-qin-tu-4-huang-xiang-jian-220731","寻亲图4","此作用浅绛糅合青绿晕染山水，远景山峦以淡墨轻扫，烟岚浮动间尽显清旷辽远。中近景山石以披麻皴出质，敷色柔和雅致，苍松茂林重笔点染，郁郁苍苍。\n\n长卷铺陈开江南水乡泽国之景，汀洲错落，帆影浮沉于烟波间，板桥村居隐在林木深处，人物往来其间，将山川静穆与人间烟火相融。笔墨兼具元人山水的萧散意趣与吴门画派的雅致温润，未刻意渲染行旅艰涩，只把绵长意绪藏在山光水色里，整体清和淡远，缓缓铺展出江南温润诗意，在咫尺长卷晕染出悠远沉静的山水况味。",[7,24,25,27,29,34,31,33,108,491,1926,175,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ef4d8c19a7a9454ed2cb6e14ceafe4.jpg",[],{"id":78453,"slug":78454,"title":78455,"dynasty":99,"author":1083,"museum":132,"description":1084,"tags":78456,"thumbUrl":78458,"material":123,"size":1088,"collection":139,"collections":78459,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},220224,"hua-niao-cao-chong-xie-sheng-ce-gu-qiu-hua-hong-chen-hong-shou-220224","花鸟草虫写生册-古虬花红",[23,7,24,81,28,27,83,603,394,78457,1459,227],"虬枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21091114f949d92850c06dcdca89214.jpg",[],{"id":78461,"slug":78462,"title":78463,"dynasty":76,"author":24647,"museum":539,"description":77584,"tags":78464,"thumbUrl":78466,"material":381,"size":78467,"collection":181,"collections":78468,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":49},219909,"qiu-chuang-hua-yu-tu-gao-jian-219909","秋窗话雨图",[7,173,29,241,864,297,34,35,177,57173,71794,78465],"近景植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49aecccce50386e4b0e55b1b71d4df5.jpg","47.2x31厘米",[181],{"id":78470,"slug":78471,"title":1692,"dynasty":18,"author":293,"museum":206,"description":78472,"tags":78473,"thumbUrl":78474,"material":67,"size":139,"collection":181,"collections":78475,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},219645,"shan-shui-tu-yi-ming-219645","这幅小品以边角取景，古松倚崖斜出，虬枝垂曳，将视线引向空阔江面。扁舟随波缓行，艄翁独棹，烟波浩渺处远山如黛，融于濛濛暮色。\n\n笔墨清润简淡，以浅墨晕染出空蒙水色，苍劲松枝勾勒见笔力，山石皴擦简练。留白极尽空灵禅意，以少胜多，将江湖散人的幽居野逸心境藏于画中，静穆淡远，余韵悠长，尽显山水小品以小见大的雅致意趣。",[7,173,29,177,174,394,491,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c918e48838ac9ddb5a51f3f19e7e228.jpg",[181],{"id":78477,"slug":78478,"title":78479,"dynasty":99,"author":293,"museum":3537,"description":78480,"tags":78481,"thumbUrl":78482,"material":123,"size":28032,"collection":90,"collections":78483,"showCount":657,"zanCount":48,"manualWeight":48,"mainColor":94},219134,"mu-du-tu-yi-ming-219134","牧渡图","图为池塘一角，河岸上芦苇盛开，重重的花穗压弯芦苇。 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邹喆。\n”钤“邹喆之印”（白方）、“方鲁”（朱方）印。\n收藏印五方 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创作的一幅画。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。",[7,24,241,173,177,29,176,34,35,109,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5185714d6608092df8218c1174e80ce5.jpg",[],{"id":79696,"slug":79697,"title":79698,"dynasty":76,"author":46766,"museum":364,"description":79699,"tags":79700,"thumbUrl":79701,"material":743,"size":744,"collection":139,"collections":79702,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},235008,"shan-shui-tu-shan-ye-zou-zhe-235008","山水图扇页","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一。",[7,24,1562,29,27,177,176,34,1432,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F912897ef9d1a3fe8291eca786da8f4b5.jpg",[],{"id":79704,"slug":79705,"title":13718,"dynasty":76,"author":1109,"museum":20,"description":9119,"tags":79706,"thumbUrl":79707,"material":1386,"size":7511,"collection":139,"collections":79708,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},235002,"yuan-ji-shan-shui-tu-ce-shi-tao-235002",[7,173,81,177,29,394,35,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88700a465848b4bfef96013a08e833f.jpg",[],{"id":79710,"slug":79711,"title":79712,"dynasty":76,"author":953,"museum":364,"description":16763,"tags":79713,"thumbUrl":79714,"material":40,"size":16767,"collection":139,"collections":79715,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234991,"hua-hui-ling-mao-ping-9-ren-yi-234991","花卉翎毛屏9",[7,209,27,83,241,242,224,298,84,3963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e398d440e6634b38d0ec5b78aced894.jpg",[],{"id":79717,"slug":79718,"title":30588,"dynasty":76,"author":13037,"museum":20,"description":79719,"tags":79720,"thumbUrl":79721,"material":13982,"size":30591,"collection":139,"collections":79722,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234967,"wu-wai-tian-yuan-tu-ce-kun-can-234967","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[7,173,177,81,86,178,29,176,34,108,175,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26de27a970adfeee45dad7edbe20f4fb.jpg",[],{"id":79724,"slug":79725,"title":79726,"dynasty":99,"author":12000,"museum":364,"description":74520,"tags":79727,"thumbUrl":79728,"material":743,"size":744,"collection":139,"collections":79729,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234842,"she-se-shan-shui-shan-ye-zhao-zuo-234842","设色山水扇页",[7,1562,27,29,177,394,176,106,491,13778,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40447eb24194def73a273649f11f6185.jpg",[],{"id":79731,"slug":79732,"title":30175,"dynasty":99,"author":79733,"museum":364,"description":79734,"tags":79735,"thumbUrl":79736,"material":743,"size":744,"collection":139,"collections":79737,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},234839,"shan-shui-shan-mian-wei-zhi-huang-234839","魏之璜","魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[7,24,1562,173,29,34,35,108,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff739d6ab5a66ed9fd5bc38b5f836358.jpg",[],{"id":79739,"slug":79740,"title":131,"dynasty":76,"author":65066,"museum":364,"description":65067,"tags":79741,"thumbUrl":79742,"material":139,"size":139,"collection":139,"collections":79743,"showCount":533,"zanCount":5,"manualWeight":48,"mainColor":94},234785,"hua-hui-ce-jin-li-ying-234785",[7,27,28,81,84,1063,1216,9940,61642,4008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa92084238e54d8ec9f8ad51d9dc981e8.jpg",[],{"id":79745,"slug":79746,"title":79747,"dynasty":99,"author":79748,"museum":364,"description":79749,"tags":79750,"thumbUrl":79751,"material":139,"size":139,"collection":139,"collections":79752,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},234784,"song-xia-lao-ren-tu-zhou-shi-wen-234784","松下老人图轴","史文","在古代社会，绘画都有着一定的社会功能性，比如《耄耋图》这样的题材就有着“成教化，助人伦”的作用。自古以来，耄为八十岁，耋为九十岁。故八、九十岁老人，称“耄耋之年”。画家往往借“猫”与“耄”、“蝶”与“耋”同音，是中国绘画当中常见的祝寿题材，喻富贵长寿的祥瑞之意。",[7,24,241,27,106,449,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29bd933c55534ddcd8484587faa3450.jpg",[],{"id":79754,"slug":79755,"title":79756,"dynasty":99,"author":293,"museum":364,"description":67358,"tags":79757,"thumbUrl":79758,"material":139,"size":139,"collection":139,"collections":79759,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},234691,"ming-ren-xue-jing-shan-shu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物，间仿文、唐两家，却能逼真。万历十四年（一五八六）作山水图，四十年（一六一二）作渔翁乐图，继承南宋刘、李一派及唐寅画法，有仿唐寅人物大幅几能乱真。从艺活动在万历间。\n钱贡画山水“往往出入文征仲太史。”后人曾把他作为文征明门人之高弟。人物则“尤其所长”，“仿唐伯虎大幅，咄咄逼真”，继承了唐寅的人物大幅之风格，所画几可乱真。（《明画录》）\n其作品多旧藏于清宫内，其中录于《石渠宝笈》者甚多。绘画风格颇得清帝青睐，其作乾隆御题者众。\n《明画录》、《无声诗史》、《书史会要》、《中国版画研究重要书目》",[7,1562,27,29,106,174,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cf9fc6383b90fab6279bc982778d65.jpg",[],{"id":79785,"slug":79786,"title":79787,"dynasty":76,"author":293,"museum":364,"description":79788,"tags":79789,"thumbUrl":79790,"material":139,"size":139,"collection":181,"collections":79791,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234551,"yu-mu-shang-xin-ce-jiang-zhu-shan-shui-ce-ye-yi-ming-234551","娱目赏心册-江注山水册页","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[7,24,81,173,178,227,755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd63b49a98dfed4752166cc9dfed195c5.jpg",[181,90],{"id":79793,"slug":79794,"title":79795,"dynasty":99,"author":79796,"museum":364,"description":79797,"tags":79798,"thumbUrl":79799,"material":139,"size":139,"collection":139,"collections":79800,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234491,"juan-dong-ting-ye-yue-shan-zhu-yin-234491","隽洞庭夜月扇","朱胤","明清时期，每逢中秋佳节，文人墨客们总会创作许多关于中秋赏月的扇面小品，相互赠予，以表思念团聚之情。",[7,24,1562,173,177,29,300,34,176,490,491,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189ad8459fc1b6f9a24ecaf33e0dcfd.jpg",[],{"id":79802,"slug":79803,"title":79804,"dynasty":76,"author":13367,"museum":20,"description":72929,"tags":79805,"thumbUrl":79806,"material":139,"size":139,"collection":139,"collections":79807,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234468,"gao-mu-yuan-shui-tie-luo-shen-zhen-lin-234468","高木远水贴落",[7,27,28,452,245,227,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949c6bc60908770b8bcf72c3ec9de469.jpg",[],{"id":79809,"slug":79810,"title":17895,"dynasty":76,"author":17896,"museum":364,"description":17897,"tags":79811,"thumbUrl":79812,"material":139,"size":139,"collection":139,"collections":79813,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234369,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234369",[7,27,28,105,81,83,448,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a6a6707d8ca83714ef7aa915ac27ef.jpg",[],{"id":79815,"slug":79816,"title":79817,"dynasty":76,"author":43711,"museum":20,"description":79818,"tags":79819,"thumbUrl":79820,"material":40,"size":79821,"collection":139,"collections":79822,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234332,"tian-bao-jiu-ru-tu-zhou-fang-cong-234332","天保九如图轴","此幅是作者根据《诗经•小雅•天保》：“天保定尔，以莫不兴。如山如阜，如冈如陵，如川之方至，以莫不增……如月之恒，如日之升，如南山之寿，不骞不崩，如松柏之茂，无不尔或承”的诗意所绘。图绘高山流水、旭日东升、屋内主人手持如意正接受众人拜贺的情景。本幅意在宣扬臣子祝颂君主及君主“敬天保民”的统治理念。作者以山冈、松树、如意、桃、鹤等被赋予长寿吉祥之意的景物为主人营造了一个可居可游的人间仙境。构图取景深远，画风归属清初“四王”中王原祁所引领的“娄东派”一路。山石树木以干笔枯墨或汁绿色皴擦渲染，墨与色交织，表现出深远的意境和深厚的气韵。此画为乾隆皇帝所赏识，被清内府收藏。",[7,241,27,29,177,864,297,558,108,175,430,35,298,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a999bd621af7ba79747ed64ff6decf0.jpg","纵146.4厘米，横50.5厘米",[],{"id":79824,"slug":79825,"title":486,"dynasty":76,"author":79826,"museum":20,"description":79827,"tags":79828,"thumbUrl":79829,"material":1449,"size":139,"collection":181,"collections":79830,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234320,"shan-shui-ce-wang-jiu-234320","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[7,24,81,173,177,178,227,29,176,34,1445,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36895b3e70d3dcf8d4166e70543c7c44.jpg",[181,45,382],{"id":79832,"slug":79833,"title":79834,"dynasty":99,"author":79835,"museum":20,"description":79836,"tags":79837,"thumbUrl":79838,"material":990,"size":139,"collection":139,"collections":79839,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234238,"jiang-nan-sheng-gai-tu-juan-zhu-zong-ru-234238","江南胜概图卷","朱宗儒","朱宗儒如字忆云。秀水（今嘉兴）人。善画山水人物。为人放浪不羁，弃诸生而游江湖，同邑戴泾曾为之传。",[23,7,24,25,173,29,106,35,34,177,108,109,194,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95681a81d2439f3a780c79ee72315848.jpg",[],{"id":79841,"slug":79842,"title":79843,"dynasty":99,"author":79844,"museum":20,"description":61718,"tags":79845,"thumbUrl":79846,"material":990,"size":139,"collection":139,"collections":79847,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋",[23,209,7,24,25,27,29,177,176,1575,107,108,109,35,116,7373,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg",[],{"id":79849,"slug":79850,"title":72973,"dynasty":76,"author":1441,"museum":20,"description":79851,"tags":79852,"thumbUrl":79853,"material":990,"size":79854,"collection":139,"collections":79855,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,7,24,25,173,29,177,86,178,227,864,297,34,175,108,109,174,650,35,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":79857,"slug":79858,"title":79859,"dynasty":99,"author":79860,"museum":364,"description":79861,"tags":79862,"thumbUrl":79863,"material":139,"size":139,"collection":139,"collections":79864,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234131,"xue-ye-mu-gui-juan-huang-chang-yan-234131","雪夜暮归卷","黄昌言","黄景明，字可文，福建晋江县人，明末清初政治人物。同进士出身。\n崇祯七年，登甲戌进士，选长乐县知县，擢礼部仪制司郎，督学粤西。迁浙江三衢副使",[23,7,24,25,173,28,29,108,109,107,175,394,900,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1eff41757c4a05ff903d7cf006d215.jpg",[],{"id":79866,"slug":79867,"title":79868,"dynasty":99,"author":966,"museum":20,"description":79869,"tags":79870,"thumbUrl":79871,"material":2290,"size":79872,"collection":139,"collections":79873,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,7,24,25,173,260,178,227,29,83,106,449,242,431,1064,224,448,452,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","每段 纵32.6厘米 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风和水在河面上升起，泛起涟漪和波浪。 一叶孤舟在风浪中前行，船舱里的一位乘客抬起头看向河岸。 近岸的芦苇、树枝、藤蔓在狂风暴雨中剧烈摇曳，与逆风行进的小船相呼应。 破石匆匆用笔，掀起狂风暴雨。 远处，天与水同色，云与山遥遥相望。 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这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[209,7,24,241,27,177,29,176,558,34,560,109,6070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 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。",[7,24,81,173,177,29,394,245,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bb574f4feb8802ab4baafc960bf456.jpg","29×29cm×10",[],{"id":80115,"slug":80116,"title":80117,"dynasty":99,"author":4904,"museum":238,"description":80118,"tags":80119,"thumbUrl":80120,"material":803,"size":80121,"collection":139,"collections":80122,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},231943,"fang-ni-yun-lin-qiu-xia-tu-lu-zhi-231943","仿倪云林秋霞图","秋色画阔，长堤深幽，幽幽幽幽，寂静无声。 晚年山水杰作。",[23,7,556,241,177,29,649,560,1015,650,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a4c833b694c49f7fa5fbf3c4a1a23d.jpg","109.1x45.8厘米",[],{"id":80124,"slug":80125,"title":80126,"dynasty":292,"author":80127,"museum":364,"description":80128,"tags":80129,"thumbUrl":80130,"material":743,"size":744,"collection":139,"collections":80131,"showCount":533,"zanCount":5,"manualWeight":48,"mainColor":49},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 四季山水图屏风-二屏","杨月","这幅山水以淡墨晕染空濛烟岚，远近山境层次尽显。近景烟波之上，渔翁撑舟而行，舱内隐者安坐，江湖野趣扑面而来。半山栈道上行人独行，山腰楼阁藏于松荫叠嶂之间，山居雅意自生。\n山石以简劲斧劈皴写就，林木点染苍秀，干湿墨色相互映衬，将幽寂山景晕染出朦胧空寂的禅意，把江湖隐逸之思与山居闲趣融为一体，萧散淡远间尽显东方山水留白余韵，悠悠勾勒出侘寂悠然的世外清境。",[23,7,24,173,27,29,107,174,109,176,34,108,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79061f8926eabe2c2bff2a6fa4b3debc.jpg",[],{"id":80133,"slug":80134,"title":80135,"dynasty":292,"author":80136,"museum":364,"description":80137,"tags":80138,"thumbUrl":80139,"material":139,"size":139,"collection":139,"collections":80140,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},231662,"da-zheng-yuan-nian-xiao-xiang-ba-jing-heng-shan-da-guan-231662","大正元年 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焰魔天",[23,7,24,241,259,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe37d6469911f2a02e3cb23080c1747f.jpg",[],{"id":80149,"slug":80150,"title":4307,"dynasty":18,"author":66409,"museum":12966,"description":80151,"tags":80152,"thumbUrl":80153,"material":803,"size":139,"collection":139,"collections":80154,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},231492,"ying-li-you-231492","善画頭，筿长于鹰鹘，精神态度，曲尽其妙。世所作多搏搦狐兔凫鹭之属，流血淋漓，颇乖好生之意。猷尽反之。学画二鹰坐于枯株之上，貌甚闲暇，略无鸷猛惨烈之状，而不失英姿劲气，可尚也。《画继》",[7,209,24,28,27,83,281,957,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc548a4d2d416a195470fd81f3d0e166.jpg",[],{"id":80156,"slug":80157,"title":80158,"dynasty":18,"author":293,"museum":206,"description":80159,"tags":80160,"thumbUrl":80162,"material":139,"size":78888,"collection":42,"collections":80163,"showCount":533,"zanCount":5,"manualWeight":48,"mainColor":94},231083,"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[209,7,24,1160,27,28,173,151,25753,281,109,34,2522,176,280,80161,29,1938],"牧歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg",[42],{"id":80165,"slug":80166,"title":26698,"dynasty":18,"author":293,"museum":364,"description":80167,"tags":80168,"thumbUrl":80169,"material":139,"size":139,"collection":139,"collections":80170,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},231055,"song-quan-pan-shi-tu-yi-ming-231055","画面以古松为骨，老干蟠曲遒劲，松针攒簇如凝墨团块，旁侧枯木枝桠如铁戟横斜，与长松相生，野意盎然。飞瀑自层岩间破壁而出，垂落撞碎成银浪，卷入涧中，湍流拍击磐石，似能耳闻泉声淙淙。层岩以浓淡墨色勾勒皴擦，块垒沉凝尽显山野荒寒。\n\n全作用水墨晕染皴擦，干湿浓淡交替，将幽寂清冷的林泉之境铺陈于绢素，静穆萧散的林下雅趣跃然眼前，尽显寄情林泉的隐逸襟怀。",[23,7,24,209,241,173,27,177,1575,109,558,15099,176,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76784386c4b2ee1e768841b7f9de1bc8.jpg",[],{"id":80172,"slug":80173,"title":80174,"dynasty":76,"author":13111,"museum":364,"description":80175,"tags":80176,"thumbUrl":80178,"material":139,"size":139,"collection":139,"collections":80179,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},230948,"qing-yun-dong-he-tu-wu-li-230948","晴云洞壑图","此作以高远、平远交织的构图铺陈画面，层叠山石逐层递深，拉开幽邃山水空间。以苍劲厚重的皴法勾勒岩壑，尽显山石嶙峋质感，林木疏密错落，枝梢意态宛然，细节处见细腻功力。右下角独行旅人衬出山峦雄浑辽廓，以人之渺小衬出天地空阔，更显山居清寂。右上角题字与画面融为一体，晕染雅致文气，整体气韵沉静萧疏，将林壑间幽远静谧的山居意境尽显无遗，尽显古典山水的文人意趣。",[23,7,24,173,27,177,29,80177,1329,34,176,1445],"洞壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd15f0936b3087b09b345f32de9721dc1.jpg",[],{"id":80181,"slug":80182,"title":80183,"dynasty":76,"author":80184,"museum":364,"description":80185,"tags":80186,"thumbUrl":80187,"material":139,"size":139,"collection":139,"collections":80188,"showCount":533,"zanCount":5,"manualWeight":48,"mainColor":49},230919,"shu-feng-zhan-dao-tu-ye-liu-long-230919","蜀峰栈道图","叶六隆","整作以水墨铺陈层叠山川，奇崛危崖间栈道盘绕，飞瀑穿林而下，古松虬曲扎根绝壁，尽绘山川雄荒之态。\n行旅之人或驱驴缓行于险道，或驻足观瀑稍作休憩，寸尺人物却神态宛然，将蜀道行路的艰涩与山川壮景相融，把奇险之境具象于笔底，又暗蕴羁旅行人的幽远意趣。笔墨苍劲古朴，皴擦勾勒间尽显山石肌理，山水之雄与行旅之幽浑然一体，尽显传统山水叙事的悠远意境。",[23,7,24,241,173,177,29,567,106,150,864,431,430,558,900,107,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adb14969e212e22fafe642e5a5551c7.jpg",[],{"id":80190,"slug":80191,"title":50254,"dynasty":189,"author":293,"museum":364,"description":80192,"tags":80193,"thumbUrl":80194,"material":743,"size":744,"collection":139,"collections":80195,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":1335},230892,"fang-cui-bai-dan-feng-niao-que-tu-yi-ming-230892","这件作品画的是秋天枫叶之中的三只山雀，从画风看，确实沿袭了宋代花鸟画的画法且工细有过之而无不及。如果此画确系元代以后的作品，而崔白是否画过《丹枫鸟鹊图》则不得而知，那么就无法知道此作是临摹崔白的《丹枫鸟鹊图》还是仿崔白的画法而作。将此画定为宋代画家崔白的作品，是清末民初的张荫椿，图为此画题签：“宋崔白《丹枫鸟鹊图》”。张荫椿（1869-1922），字砚孙，杭州人。清光绪癸卯进士，韱分度支部福建司主事。近代著名民主革命家、古文经学家、思想家章太炎的妹夫，画家张大壮之父，精鉴别、富收藏，工书法，与罗振玉、王国维友善。张荫椿父名张景云，字倬五，号寅伯，光绪壬午（1882）科举人。《清代硃卷集成·张景云乡试硃卷》履历部分记：“浙江杭州府钱塘县廪贡生，民籍。……住丰乐桥皮市巷口。”《清代硃卷集成·张荫椿会试硃卷》履历部分记：“浙江杭州府钱塘县学附生，民籍。……住省垣丰乐桥上皮市巷口。”",[7,24,28,27,83,6548,281,13507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66445e775736d669ef403893f6caa10a.jpg",[],{"id":80197,"slug":80198,"title":80199,"dynasty":292,"author":293,"museum":364,"description":80200,"tags":80201,"thumbUrl":80202,"material":139,"size":139,"collection":139,"collections":80203,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[23,7,24,25,27,28,104,29,106,107,174,1351,150,430,1329,6286,109,1016,108,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],{"id":80205,"slug":80206,"title":80207,"dynasty":76,"author":293,"museum":364,"description":80208,"tags":80209,"thumbUrl":80210,"material":139,"size":139,"collection":139,"collections":80211,"showCount":533,"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80277,"tags":80278,"thumbUrl":80279,"material":139,"size":139,"collection":139,"collections":80280,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},228429,"fa-zhao-ling-rang-hu-zhuang-yan-liu-bi-yi-lan-ying-228429","法赵令穰湖庄烟柳笔意","此作用淡墨晕染出空濛湖烟，枯柳虬枝错落披拂，将水乡早春的氤氲柔霭铺陈开来。水岸茅庐幽敞，隐者凭窗闲坐，滩头策杖人彳亍独行，湖面轻舟随波缓漾，处处浸着江南水村的清寂闲雅。\n画师以简淡清润的笔意，褪去繁饰，将幽居澹泊的文人心境融于烟水寒林之中，萧散诗意漫溢画面，尽显文人寄情丘壑的悠远意趣，是一帧极具抒情性的山水小品佳构。",[23,7,24,241,173,27,29,1653,394,174,109,175,105,177,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca318bcb9c27742b74afc59762c66ca.jpg",[],{"id":80282,"slug":80283,"title":80284,"dynasty":99,"author":4314,"museum":364,"description":80285,"tags":80286,"thumbUrl":80287,"material":139,"size":139,"collection":139,"collections":80288,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},228370,"yan-bo-lu-si-tu-lv-ji-228370","烟波鹭鸶图","暮月浮空，烟柳垂曳，江色晕成一片朦胧柔澹。两只鹭鸶踞于汀石之上，一只昂首引颈远眺烟水深处，一只敛羽静憩，姿态悠然生动。\n\n画作兼工带写，禽鸟羽翼晕染细腻，绒羽蓬松质感宛然可见，水岸渚石以水墨破晕，苍润写意。柳条轻拂间，漾开江晚景致的空寂萧疏，写实工致与水墨意趣相融，将江渚暮色的清寂野韵尽数铺展，晕开澹泊悠远的诗意，尽显幽谧雅致的晚江闲趣。",[23,7,27,28,83,53351,1256,245,300,2522,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e99361f9eb6549e3533363dcac0288.jpg",[],{"id":80290,"slug":80291,"title":20221,"dynasty":99,"author":20222,"museum":364,"description":80292,"tags":80293,"thumbUrl":80294,"material":743,"size":744,"collection":139,"collections":80295,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},228315,"xi-xiang-ji-cha-ye-min-qi-ji-228315","自幼读书勤奋，好作诗文，以刻书为事。明万历四十四年(1616)主持采用朱、墨两色套印《春秋左传》，获得成功。后又改为五色套印，先后刻印经、史、子、集等一批古书及诸多戏曲、小说。因印刷技艺日臻完美，名声大振，与著名刻书著作家凌蒙初齐名。著有《六书通》。",[7,24,81,260,27,106,59,227,86,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fe13a4e9fe642c86c413e86118e4e78.jpg",[],{"id":80297,"slug":80298,"title":80299,"dynasty":99,"author":1296,"museum":364,"description":80300,"tags":80301,"thumbUrl":80302,"material":139,"size":139,"collection":139,"collections":80303,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},228307,"jiang-shan-xue-ji-tu-shou-juan-xiang-sheng-mo-228307","江山雪霁图手卷","此作用淡墨晕染，留白拟积雪，绘就雪后江天。近岸寒林枯槎错落，崖巅孤亭孑立，可眺江色；山石以干笔皴擦，凝住冬日元气。远景江波澹澹，远山如墨痕晕散，孤鸟掠空衬出天地寥廓，满卷萧寒清旷之意。\n师法宋元笔墨，以极简之笔写尽雪霁荒寒，将文人幽居远眺的寄怀藏于山水间。后附题跋小楷娟秀，书画相映，在素淡笔墨里晕开空寂禅意，尽显古雅清逸的文人画风骨。",[23,7,24,25,173,177,29,2502,176,34,175,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55f709ab0f0994569af64b386bef267.jpg",[],{"id":80305,"slug":80306,"title":80307,"dynasty":189,"author":293,"museum":364,"description":80308,"tags":80309,"thumbUrl":80310,"material":139,"size":139,"collection":139,"collections":80311,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},228227,"xu-kong-zang-pu-sa-xiang-li-zhou-yi-ming-228227","虚空蔵菩萨像立轴","此作所绘菩萨面容慈悲恬和，端坐莲云宝台之上，周身璎珞环佩错落华贵，衣纹卷草繁复精美。身后圆光放射清辉，将法相衬得愈发澄澈庄严。设色沉雅古艳，晕染柔和细腻，带着浑穆静雅的气质。下方青绿山水澹然悠远，将神圣法界与俗世林泉相融，传递出安宁清寂的禅意。笔致工谨入微，既恪守宗教造像的肃穆仪轨，又暗合传统绘事的雅致意韵，尽显神性之美与笔墨意趣，是兼备信仰内涵与艺术价值的上乘之作。",[23,7,24,5491,241,259,106,28,27,1862,29,26133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4519e845bfd0c73213cf3ff0697c5d5.jpg",[],{"id":80313,"slug":80314,"title":23242,"dynasty":189,"author":293,"museum":364,"description":80315,"tags":80316,"thumbUrl":80317,"material":743,"size":744,"collection":139,"collections":80318,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},228194,"liu-hai-xi-chan-tu-yi-ming-228194","这幅作品构图饱满，除人物外，海涛几乎充满了整个画面。画风工谨，设色淡雅；衣纹用笔，线条劲练，下笔稍粗重，但刚柔相济，恰到好处；海涛以颤笔勾描，精细异常，具有很强的装饰性。",[23,7,24,209,241,260,106,23247,430,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23f8645a988834ef3eb6503b9fb393d.jpg",[],{"id":80320,"slug":80321,"title":80322,"dynasty":189,"author":18436,"museum":364,"description":80323,"tags":80324,"thumbUrl":80325,"material":139,"size":139,"collection":139,"collections":80326,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},228075,"yue-xia-bai-mei-tu-yan-hui-228075","月下白梅图","此作用极简笔墨，截取折枝白梅入画。枯劲苍涩的墨枝虬曲伸展，尽显老梅历经霜寒的嶙峋风骨，淡墨晕染出的柔白花瓣轻缀枝头，似将溶在朦胧月色里。\n画面空疏留白晕染开幽寂夜色，把月下梅的清冷雅致烘托到极致。笔意简淡却韵致悠长，将梅的疏淡高洁与夜色空濛融作一片，于空寂中暗涌生机，尽显文人画清雅出尘的意趣，似能让观者嗅见月下浮动的暗香，浸身于这幽谧孤高的清寂意境中。",[23,7,1562,173,448,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fbf45d785efad4875fefb5551c888a.jpg",[],{"id":80328,"slug":80329,"title":80330,"dynasty":189,"author":2519,"museum":364,"description":80331,"tags":80332,"thumbUrl":80333,"material":139,"size":139,"collection":139,"collections":80334,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},228056,"xi-ma-tu-ye-zhao-meng-fu-228056","洗马图页","枯林之下，奚官执扇为白马拂除尘秽、驱走飞蝇，马上圉人俯身假寐，神态松弛慵懒。画面写实中带着文人写意的闲淡，白马丰腴神骏，毛发晕染柔和细腻，将良驹的质感尽显，人物衣纹简劲利落，服饰细节朴拙写实。枯木勾勒苍劲古雅，褪去了院体鞍马画的精工秾丽，以古旧绢色衬出林下幽寂氛围，将日常洗马的闲散瞬间凝住，把鞍马题材从仪仗的肃穆转向幽居的闲逸，尽显悠远沉静的隐逸雅趣，意韵绵长。",[23,209,7,24,81,28,27,106,150,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254f9dafbb6196819987369a5b0bd4cd.jpg",[],{"id":80336,"slug":80337,"title":3636,"dynasty":189,"author":9595,"museum":364,"description":80338,"tags":80339,"thumbUrl":80340,"material":139,"size":139,"collection":139,"collections":80341,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},228055,"qiu-shan-xing-lv-tu-wang-zhen-peng-228055","此作用色沉郁苍润，虽经年色泽淡褪，青绿晕染的层叠山峦依旧幽邃厚重，尽显秋山沉静萧疏之态。边角处板桥茅舍隐现，策杖旅人徐行于郊野，将行旅清寂融于林山空寂之间。咫尺扇面以山林为骨，把山居行旅的闲逸藏于一隅，以简淡笔墨铺展山野深幽，暗合文人林泉高致的寄怀，晕染出空灵淡远的山水意韵。",[23,7,24,1562,27,29,106,34,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa5a9693bc3afcdabe1cdbda25bf66e.jpg",[],{"id":80343,"slug":80344,"title":56744,"dynasty":189,"author":5444,"museum":364,"description":80345,"tags":80346,"thumbUrl":80347,"material":139,"size":139,"collection":139,"collections":80348,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},228040,"shan-shui-ye-sheng-mao-228040","此作以咫尺扇面铺展山水清境，近景崖石盘结，苍木层生，干笔皴擦写出岩体苍厚肌理，点染间见林木错落生机。远景以淡墨晕染远山，江天留白处轻舟横渡，晕开烟波浩渺的空寂诗意。\n\n笔墨兼工带写，既承精工之态，又融萧散简淡的意趣，浓淡墨色铺陈出深远空间层次，将林泉幽致藏于方寸之中，尽显文人寄情山水的悠远襟怀，清雅古淡之间，留存山水小品独有的静谧余韵。",[209,7,24,81,173,27,177,29,430,174,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d8beb27fb73713a6098a1128fdf4ce.jpg",[],{"id":80350,"slug":80351,"title":80352,"dynasty":189,"author":18481,"museum":364,"description":80353,"tags":80354,"thumbUrl":80355,"material":139,"size":139,"collection":139,"collections":80356,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},227990,"chun-jiang-tu-ma-wan-227990","春江图","此作用笔苍润秀雅，以淡墨晕染远岫平林，江波如练，渔舟轻漾，铺就江天寥廓之境。近岸危崖层叠，嘉木葱茏，间有丹叶点破春山碧色，山麓小径间策蹇徐行的旅人，为空寂江乡添上几分烟火意趣。\n全画以披麻皴写山石肌理，干湿互济，墨色苍润交融，诗题于画端，将春日江村的静穆野趣与文人逸怀相融，尽显悠远冲淡的林下幽情，晕染出江天春景的空濛诗意。",[7,209,24,241,173,27,177,86,227,29,7741,174,34,176,106,649,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e6fe60e76037c1ff051d0063db8088.jpg",[],{"id":80358,"slug":80359,"title":80360,"dynasty":18,"author":293,"museum":364,"description":80361,"tags":80362,"thumbUrl":80363,"material":139,"size":139,"collection":139,"collections":80364,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},227926,"xi-hu-chun-xiao-tu-ye-yi-ming-227926","西湖春晓图页","这幅小品以淡墨晕染出江南春晓的空濛诗意。柳丝垂岸，水乡村居错落掩映在烟树之间，黛瓦茅舍伴着新绿，尽是闲雅野逸的栖居意趣。湖面波色澹澹，渔翁摇橹泛于水上，寥寥数笔便将春日清晨的慵懒闲淡勾勒尽致。远景山峦隐在薄雾轻岚之中，佛塔尖顶刺破烟霭，晕染出悠远空寂的氛围感。整幅画作以简淡笔墨铺陈开西湖春晓的湿润清宁，不见繁复着色，全凭水墨层次晕开江南烟雨的朦胧诗意，将春日湖山的幽微之美藏于尺幅之间，尽显雅致禅意。",[23,7,24,5990,173,27,29,174,34,114,109,491,1351,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efff2dd90e43563a3a2ba33dc58941d.jpg",[],{"id":80366,"slug":80367,"title":80368,"dynasty":18,"author":293,"museum":364,"description":80369,"tags":80370,"thumbUrl":80371,"material":139,"size":139,"collection":139,"collections":80372,"showCount":533,"zanCount":5,"manualWeight":48,"mainColor":49},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[23,7,24,1562,28,27,106,151,18610,108,109,34,29,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],{"id":80374,"slug":80375,"title":80376,"dynasty":18,"author":293,"museum":364,"description":80377,"tags":80378,"thumbUrl":80379,"material":139,"size":139,"collection":139,"collections":80380,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},227906,"qiu-shu-qu-yu-tu-yi-ming-227906","秋树鸜鹆图","此作以团扇形制铺陈秋意，浓墨绘就禽鸟，羽翼晕染层次分明，玄色翎毛光泽宛然，顶间细羽轻耸，目光锐而不厉，爪紧扣枯枝，静立间暗含灵动生机。旁侧秋树枯淡萧疏，枝叶以浅赭晕染，枯涩苍劲的枝干与浓黑禽鸟形成鲜明的色形对比。\n\n整幅笔意工细写实，将秋日林间的清寂氛围烘托尽致，于尺幅之间藏着雅致悠远的意境，尽显对自然生趣的细致体察，把禽鸟的慵懒幽闲与秋意的萧索柔和相融，是小品中的精妙之制。",[23,7,24,1562,27,28,83,394,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcea6e0955e2524931f7f5c1713d17.jpg",[],{"id":80382,"slug":80383,"title":80384,"dynasty":18,"author":293,"museum":364,"description":80385,"tags":80386,"thumbUrl":80387,"material":139,"size":139,"collection":139,"collections":80388,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 李嵩 货郎图 卷 局部 宋 李嵩 货郎图 卷 局部 宋 李嵩 市担婴戏图 宋 李嵩 骷髅幻戏图 页 绢本 宋 李嵩 骷髅幻戏图 页 局部 宋 佚名 狸奴婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 局部 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 局部 宋 佚名 蕉阴击球图 页 绢本 宋 佚名 蕉阴击球图 页 局部 宋 佚名 百子嬉春图 页 绢本 宋 佚名 端阳婴戏图 页 绢本 元 佚名 杂技戏孩图 元 佚名 货郎图 轴 绢本",[23,209,7,24,81,28,27,106,11805,298,34,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfe0afb989a2894074a38cc534a2c6c.jpg",[],{"id":80390,"slug":80391,"title":80392,"dynasty":18,"author":293,"museum":364,"description":80393,"tags":80394,"thumbUrl":80395,"material":139,"size":139,"collection":139,"collections":80396,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},227889,"cang-hai-yong-ri-tu-ye-yi-ming-227889","沧海涌日图页","此作用浓淡变幻的墨色勾勒翻涌沧波，层叠浪涛卷着白沫奔涌不息，一轮朝日自海雾中缓缓浮现，晕染开朦胧天光。水纹肌理刻画入微，浪涛的雄浑动感与朝日的静穆柔和相映，将拂晓山海间辽远磅礴又带着初醒静谧的意境尽数铺展。\n\n左侧题诗与画境呼应，诗画合璧，以尺幅团扇承载浩瀚山海气象，尽显以小见大的精妙意趣，笔力苍劲细腻，墨色层次丰富，把沧海涌日的磅礴瞬间凝于绢素之上，藏天地灵韵于方寸之间。",[23,2544,7,24,81,28,27,29,47106,504,26317,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29729fff9eb5bf2c5f979e5438cdbc4f.jpg",[],{"id":80398,"slug":80399,"title":80400,"dynasty":18,"author":293,"museum":364,"description":80401,"tags":80402,"thumbUrl":80404,"material":139,"size":139,"collection":139,"collections":80405,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},227881,"tong-yin-wan-yue-tu-ye-yi-ming-227881","桐荫玩月图页","此作以工致笔触铺陈出夏夜闲游的雅景。界笔精谨绘就深宅错落屋宇，窗牖梁枋皆细致入微，尽显宅邸雅致规制。虬劲梧桐亭亭如盖，枝叶扶苏间筛下朦胧月色，晕开夏夜清宁。\n\n廊下雅客围坐把盏，清谈消暑，尽是松弛意态；阶前仕女凭栏凝睇，似浸在月色里漫思幽怀，阶下仆役垂首静立，衬出宅邸的安闲氛围。淡墨晕开暮色，草木柔润晕染，将宋人士族日常宴游的闲雅意趣藏进方寸之间，把玩月的悠然诗意刻画尽致，尽显宋人刻入日常的雅致慢调。",[23,7,209,28,27,104,106,59,107,300,394,115,1664,80403,299],"石盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff31f6caa12baf6d4b5085cfd27df4b4.jpg",[],{"id":80407,"slug":80408,"title":39928,"dynasty":18,"author":293,"museum":364,"description":80409,"tags":80410,"thumbUrl":80411,"material":139,"size":139,"collection":139,"collections":80412,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[23,7,24,5990,173,27,177,29,7741,2094,34,176,491,67802,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],{"id":80414,"slug":80415,"title":80416,"dynasty":18,"author":293,"museum":364,"description":80417,"tags":80418,"thumbUrl":80420,"material":139,"size":139,"collection":139,"collections":80421,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},227852,"shan-dian-feng-lian-tu-ye-yi-ming-227852","山店风帘图页","此帧水墨小品以边角取景，于尺幅间铺展幽寂冬日山居。嶙峋崖石以斧劈皴利落勾勒，苍劲笔墨写出硬质肌理，枯木虬枝弯折古拙，尽显萧寒之态。山坳间的野店隐于林泉，淡墨晕染的远峰裹挟烟岚，朦胧悠远。画师以简淡洗练的笔法拉开远近层次，留白空灵清旷，将山野间荒寒冷寂的氛围渲染尽致，暗含着文人士大夫心向往之的静穆淡远林下幽思，尽显以小见大、以景寄情的隽永意趣。",[23,7,24,81,173,27,29,177,178,227,864,650,34,114,80419],"风帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d24dc4618a7f329647a52ced4edb35.jpg",[],{"id":80423,"slug":80424,"title":80425,"dynasty":18,"author":887,"museum":364,"description":80426,"tags":80427,"thumbUrl":80428,"material":139,"size":139,"collection":139,"collections":80429,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},227506,"ci-bian-cai-yun-shi-su-shi-227506","次辩才韵诗","《次辩才韵诗帖》这件作品写于苏轼被放杭州一年之后。这一年，苏轼在西湖上修筑了南北长堤，便是后人称颂至今的“苏堤”。辩才是苏轼的一位僧人诗友，他的这幅作品就是盛赞辩才老师超然物外、仙风道骨，自己与辩才能二老同游，当是人生幸事。大千世界，一切有法，且如是观之。作品落笔沉着、从容，已没有十年前书写《黄州寒食诗帖》时的激宕，墨色浓重却透着清雅之气，丰腴浑厚仍有秀逸之质。",[23,1160,86,178,7,24,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde73bd160d54e4ef7de788179945ba55.jpg",[],{"id":80431,"slug":80432,"title":36857,"dynasty":18,"author":293,"museum":364,"description":80433,"tags":80434,"thumbUrl":80435,"material":139,"size":139,"collection":139,"collections":80436,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},227393,"gao-shi-guan-pu-tu-yi-ming-227393","此画为宋离、唐所画，无据可查，但整体画面陡峭优美。 在这幅画中，由远及近的山峦和竹林，都以恰如其分的虚实笔触描绘。 图中的瀑布悬垂至谷底，水雾缭绕。 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长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。",[23,7,27,83,81,84,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2d3d35648681b608bad9800279f0f3d.jpg","29.5x36.6",[],{"id":80725,"slug":80726,"title":80727,"dynasty":99,"author":80728,"museum":101,"description":80729,"tags":80730,"thumbUrl":80731,"material":67,"size":80732,"collection":181,"collections":80733,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},222575,"ting-zhou-fang-mei-tu-zhao-zi-jun-222575","停舟访梅图","赵子俊","绘远山近水，河岸山石之上，松柏修长翠绿，梅花朵朵盛放，一人坐于梅下，抬头观望赏梅，梅下岸边河边船只停泊。另一边数座房屋呈现，房前屋后翠竹茂盛，梅花灼灼。画面疏密有致，意境辽阔清雅。",[23,7,24,1562,27,29,448,174,1575,920,491,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b03376e9df78efc27198473fd5577ce.jpg","40x50",[181],{"id":80735,"slug":80736,"title":7336,"dynasty":99,"author":19417,"museum":364,"description":80737,"tags":80738,"thumbUrl":80739,"material":139,"size":139,"collection":382,"collections":80740,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},222473,"shou-juan-zhu-yun-ming-222473","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。\n祝允明出生在文化气氛很浓的苏州，他的书学生涯是在前辈的言传身教下开始的。其中对他影响最大的是外祖父徐有贞和岳父李应祯两人。 徐有贞擅长行草书。他的行草主要师法唐朝的怀素和宋朝的米芾。用笔直率而华美，结构潇洒多姿，很得古雅之气。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。在祝允明二岁时，徐有贞奉诏回苏州闲居，祝允明时常寄宿在外公家里，因此徐有贞的书法风格对他影响是很深远的。\n李应祯也是一个有名的书法家。祝允明也一直得到李应祯的指导。在跟从岳父学书的十几年中，李应祯对于祝允明在书法的发展上起了很大的作用。\n据文徵明的记载，李应祯在晚年告诉他，说自己学习书法四十年才开始有所得，并向文徵明论述了书法上的很多道理。他留下的尺牍，秀丽而又有气度，行笔自然大方，横向取势的撇、捺、横都很生动有致。字的大小，粗细变化自然。他这种富于抒情性的行草书对祝允明也有很深的影响。 祝允明自己谈幼年时学习书法，说前辈不让他学习近代人的字，看到的都是晋唐人的字帖。所指的应该是楷书的学习。应该说祝允明幼年在两位前辈的指导下，打下了很好的底子，为日后的发展作了铺垫。同时两人的书风的优点也传给了祝允明。\n祝允明书法主张是“性”与“功”并重超然出神采，祝允明的书艺思想以“神采”为最终归宿。而要达到这个目标，他认为必须“性”、“功”并重。“性”是指人的精神，“功”是指书法创作的能力和功夫。他认为只有功力而无精神境界，神采就没有，而有了高尚的精神境界，如果没有表达的功夫，那么神采就不能实在地显露。两者不可缺一，必须兼备，在他的代表作《闲居秋日》《致元和手札》《燕喜亭记》《乐志论》《饭苓赋》《云江记》等就秉承了他所倡导的“性”、“功”并重的原则。 对于“功”，祝允明认为只有在向前人学习的基础上才能得到。因此他对时人不愿好好学习传统而把这称为“奴书”的说法很愤慨。特地写下了《奴书订》予以反驳。在这一点上，他晚年在《书述》中还批评了他的岳父李应祯。他强调必须“沿晋游唐”，这是源于他对书法史的深入认识。\n他认为书理极于张芝、王羲之、钟繇、索靖，后人只是在遵循他们的法则，而在根本上已不能改变。他认为唐人能循前人之理，按照当时人的法则来写；宋初还不很差，宋中期仍有可取之处，而后便大变传统，古法遭到败坏，大多流为恶怪。到元代方有赵孟頫扭转时风，复归晋唐，但终因个性不强未免有“奴书”的遗憾。所以要知书法的本来必须向晋唐学习。在学习和熟悉了传统后，其技法必须有独到之处，这是祝允明对“功”的进一步要求。他在《评书》中说自己不屑于步钟、索、羲、献的后尘，而要学习项羽和史弘肇的勇猛以开创自己。他跋 《山谷书李诗》云: “双井之学（黄庭坚之学）大抵以韵胜，文章诗书画皆然，姑论其书积功固深，所得固别。要之得晋人之韵，故形貌若悬而神爽冥会欤!此卷驰骤藏真，殆有夺胎之妙，非有若据孔子比也，其故乃是与素同得晋韵然耳。”(《祝枝山全集》卷二十五)可见他主张学古贵在求其气韵神情，而不必规规于点画形似。 ] 因此他既反对时人对传统的忽视，又强调不能真的成为“奴书”。\n祝允明对于“性”没有很多的论述。他提倡“起雅去俗”，显然是指以学识和修养来陶冶性情、净化心灵，从而达到较高的精神境界。 有了以上两点，就可以在“入神”的状态下创作具有神采的优秀作品了。他对于“入神之境”的解释是“一时超然格度之外”，在超越各种约束的情况下，才能“闲窗散笔”，自然地表达自己。 祝允明在书法理论上的要求，既符合艺术创作本身的规律，又合乎文人书画的审美要求，从而使他的书法创作成果达到了很高的水平。\n祝允明书法主要成就在于狂草和楷书。狂草来自怀素、张旭，更多的是接近黄山谷，提按和使转的笔法交互使用，行与行之间的距离很紧，形成一种汪洋恣肆的视觉效果。受黄庭坚影响很大，所以书法有铁画银钩之称。更难得的是楷书又写得相当严谨，有晋唐人的古雅气息。这种反差很大的综合素养与唐代的张旭十分相似，如《草书自诗卷》《致元和手札》《草书千字文卷》《王文恪公卷》等。 祝允明高明之处，将黄庭坚斤书笔法的特点融于自己小行楷书作中。因此，祝允明对黄庭坚的取法无疑是一种新的创造。",[23,209,7,24,25,1147,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123665fbab9a322e70bef1c799c376a3.jpg",[382],{"id":80742,"slug":80743,"title":80744,"dynasty":99,"author":24665,"museum":206,"description":24666,"tags":80745,"thumbUrl":80746,"material":803,"size":24669,"collection":139,"collections":80747,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},222440,"hua-die-cao-chong-8-du-da-cheng-222440","花蝶草虫8",[23,7,173,28,260,83,603,604,712,62,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3482b99c9a114f587fe2de4568df48a7.jpg",[],{"id":80749,"slug":80750,"title":80751,"dynasty":99,"author":24665,"museum":206,"description":24666,"tags":80752,"thumbUrl":80753,"material":803,"size":24669,"collection":139,"collections":80754,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},222436,"hua-die-cao-chong-3-du-da-cheng-222436","花蝶草虫3",[23,7,24,173,28,260,83,603,604,62,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a347739aaed6c58c2cf28ca8269f81.jpg",[],{"id":80756,"slug":80757,"title":4570,"dynasty":99,"author":22076,"museum":20,"description":80758,"tags":80759,"thumbUrl":80760,"material":7410,"size":80761,"collection":139,"collections":80762,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},222429,"shan-shui-tu-li-zhou-li-yong-chang-222429","李永昌（生卒年不详），主要活动于明崇祯元年戊辰(公元1628年)至清顺治元年甲申(公元1644年)之司。字周生，号黄海。休宁皂荚树下村人。家境殷实，多藏古物；游历甚广，善于书画。诗亦超迈，著有《画响姜绍书》、《无声诗史》赞其音调清越，阐扬画理与董其昌齐名，是新安四家汪之瑞的老师。画近宗黄子久，远追董巨、二米等南宋诸家，善用董巨山势结构结合米点铺染，并能将沈周的雄浑劲厚和倪瓒的逸笔草草演绎为墨法沉重、生气勃勃的特质。",[23,7,173,177,241,29,864,297,430,175,650,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714cf7213aa4d3425ff5eb21e577c96b.jpg","101x 46.3",[],{"id":80764,"slug":80765,"title":80766,"dynasty":99,"author":36858,"museum":101,"description":80767,"tags":80768,"thumbUrl":80769,"material":67,"size":80770,"collection":139,"collections":80771,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},222390,"shan-shui-liu-ce-he-juan-sheng-mao-ye-222390","山水六册合卷","盛茂烨，明代画家，长洲（今江苏苏州）人。善山水、人物，笔力雄健，烘染精到，好作长林叠嶂巍峨险峻之景，有烟林清旷之概。\n此册六开，因藏于海外，国内学者较少提及，无论是用笔、用墨还是构图、气韵，其独特的艺术风格都表现出一流的大家风范。",[23,7,173,27,81,25,177,29,108,109,174,394,464,107,106,227,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d02a1e0c9772dc5dacd3bbddaec7765.jpg","28.6 x 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。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十八岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。 著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[209,7,24,81,178,86,173,300,12603,80795],"夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963871be30a56a6c36f7c0e449908c14.jpg",[],{"id":80799,"slug":80800,"title":80801,"dynasty":99,"author":80802,"museum":101,"description":80803,"tags":80804,"thumbUrl":80805,"material":16489,"size":80806,"collection":139,"collections":80807,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},221920,"xi-ma-tu-ce-ye-lu-qing-221920","洗马图册页","陆青","陆青 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周帝打醮，但从人物旁边的手杖来看，这幅画描绘的是道教传说中的八仙之一的李铁拐。传说他是一个魁梧的人，在成为不朽的人之后，被赋予了一个饥饿的人的身体，因此他的外表很丑陋。明朝的一位宫廷画师也制作了类似的图像，用来驱除邪灵。",[23,209,7,24,81,28,260,27,106,1575,176,504,14662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1584d50aced77bd7bb3f19029177fc.jpg","23.9x21",[44],{"id":81010,"slug":81011,"title":81012,"dynasty":18,"author":293,"museum":206,"description":81013,"tags":81014,"thumbUrl":81015,"material":123,"size":81016,"collection":181,"collections":81017,"showCount":533,"zanCount":5,"manualWeight":48,"mainColor":94},218704,"he-ting-shui-ge-tu-yi-ming-218704","荷汀水阁图","一个有学问的人在水榭里看荷花，一个渔夫在沙滩上扭动渔网。远处的山和湖各占一半，使画面平静而清晰。笔法是夏圭的遗产，所以这可能是一位大师的作品。",[23,7,209,24,81,173,177,29,107,34962,136,297,34,491,1915,8104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60861a88d925828376c2dde8d09dbee.jpg","22.9x23.6",[181],{"id":81019,"slug":81020,"title":81021,"dynasty":99,"author":19617,"museum":206,"description":81022,"tags":81023,"thumbUrl":81024,"material":123,"size":81025,"collection":44,"collections":81026,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},218263,"yang-ji-jing-xiao-xiang-juan-wen-bo-ren-218263","杨季静小像卷","这幅画作于文伯仁24岁时（1526年，嘉靖五年），可能是他现存最早的纪年画，也是他唯一的一幅人物画。画中的主人公杨季静（1504-1530年之前）是苏州有名的琴师，与文征明等人关系友好，所以文博仁有机会为他画了一幅小肖像。",[23,7,24,25,173,27,106,210,86,227,178,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F158b55ad0eb5f9db452582a9d910d80a.jpg","29.1x23.9",[44],{"id":81028,"slug":81029,"title":81030,"dynasty":1095,"author":2335,"museum":364,"description":11724,"tags":81031,"thumbUrl":81032,"material":342,"size":139,"collection":139,"collections":81033,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},218171,"da-qian-kuang-tu-ce-7-zhang-da-qian-218171","大千狂涂册-7",[7,24,173,177,29,107,174,108,34,176,37,86,5990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c38b0ac6496c4186a00a1231e8058da.jpg",[],{"id":81035,"slug":81036,"title":81037,"dynasty":76,"author":3701,"museum":206,"description":81038,"tags":81039,"thumbUrl":81042,"material":88,"size":139,"collection":139,"collections":81043,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},218041,"tian-wang-xiang-3-yao-wen-han-218041","天王像-3","画面中央人物端坐石上，神态安详，衣袂纹饰繁复细腻，红绿蓝三色交织却显和谐雅致。身旁花木扶疏，枝叶舒展间缀满粉白黄紫的花朵，生机盎然。下方水波荡漾，蓝发精灵自水中探身，托举鲜果盘盏，动态鲜活；右侧童子躬身呈物，姿态恭谨。背景祥云缭绕，飞天隐现于云端，仙袂飘飘，更添缥缈意境。整幅画作工笔精湛，线条婉转流畅，设色明丽温润，细节处见匠心——无论是衣纹的褶皱、花叶的脉络，还是水波的纹理，皆刻画入微。动静相宜的构图，将人物的沉静与周遭的灵动巧妙融合，营造出清寂而又充满生气的氛围，尽显传统工笔重彩的典雅韵致。",[7,28,27,259,106,25116,9635,296,81040,9786,544,261,44639,19002,81041],"精灵","典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3dab5aee7d3ceb67daa4b6ae007ad6d.jpg",[],{"id":81045,"slug":81046,"title":81047,"dynasty":189,"author":10811,"museum":206,"description":81048,"tags":81049,"thumbUrl":81050,"material":123,"size":14056,"collection":139,"collections":81051,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},216754,"hua-hui-ce-shui-xian-wang-yuan-216754","花卉册-水仙","水仙攒簇，瓣白蕊黄，纤叶劲挺如剑，兼具水墨苍劲与工笔细腻。一只粉蝶翩跹于侧，翅翼轻颤似欲落，为静穆画面添几分生动意趣。背景淡赭铺陈，衬以深青墨块，虚实相生间更显花姿孤洁。笔墨兼工带写，花叶勾勒精准却不失灵动，古雅设色与简淡构图暗合文人清逸之思。整幅画于细微处见匠心，清雅空灵如沐春风，尽显花木自然神韵与画者笔墨情致，寥寥数笔便将水仙的孤高与生机凝于尺幅之间。",[23,7,24,81,27,83,451,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61e07edb91f812267058fdf2d606136.jpg",[],{"id":81053,"slug":81054,"title":81055,"dynasty":189,"author":1848,"museum":206,"description":3519,"tags":81056,"thumbUrl":81057,"material":342,"size":139,"collection":139,"collections":81058,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},216386,"mo-zhu-pu-ce-4-wu-zhen-216386","墨竹谱册-4",[7,24,81,173,242,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F062dc704c2fddc8981083d9fa8aea4a9.jpg",[],{"id":81060,"slug":81061,"title":81062,"dynasty":99,"author":20222,"museum":364,"description":81063,"tags":81064,"thumbUrl":81065,"material":88,"size":139,"collection":139,"collections":81066,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},216336,"xi-xiang-ji-cha-ye-16-min-qi-ji-216336","西厢记插页-16","画面以虚实相生的构图铺展西厢意韵。圆月窗棂内，案前剪影静对烛火，似凝着未诉的思绪；栏边女子衣袂轻染淡蓝，纤手抚栏，眸光越过云霭，牵系着窗内的影。右侧云气如缕，裹挟着另一女子的身姿，步履间藏着婉转心事。线条细腻如丝，勾出衣纹的柔、窗棂的雅；色彩淡雅晕染，蓝的云、橙的栏、灰的窗，衬出庭院幽寂。整幅画将西厢中含蓄情愫凝于方寸，以版画精致传递古典浪漫，每处细节都低语着跨越礼教的相思，尽显晚明版画的文人雅致与叙事张力。",[7,24,5189,27,106,59,107,313,1329,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505f8b736e035077b82deb41761ff571.jpg",[],{"id":81068,"slug":81069,"title":81070,"dynasty":76,"author":293,"museum":364,"description":81071,"tags":81072,"thumbUrl":81073,"material":88,"size":139,"collection":139,"collections":81074,"showCount":533,"zanCount":5,"manualWeight":48,"mainColor":94},215863,"qing-dai-gong-ting-ren-wu-hua-ce-7-yi-ming-215863","清代宫廷人物画册-7","冠上羽翎轻缀，饰件精巧别致。深蓝袍服挺括有型，胸前补子绣瑞禽，羽翼舒展如生；袖口与下摆以彩线织就缠枝花卉，粉紫花瓣衬青绿叶片，雅致灵动。人物面容沉稳，眉眼间透着端庄气度，须髯修整得体，尽显清代宫廷人物的威仪与从容。画面纸色泛黄，带着时光沉淀的斑驳痕迹，线条细腻流畅，设色浓郁却不失雅致，将人物身份地位与服饰华美细节刻画得淋漓尽致，尽显清代宫廷绘画的严谨格调与精致韵味。",[7,24,81,27,28,106,63,327,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013c48dd1d28c4ff283b04ce074e3e68.jpg",[],{"id":81076,"slug":81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），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位），也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[209,7,24,25,86,178,227,449,12603,297,33643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d175e537c5d64ec94a73379cf795ca0.jpg",[382],{"id":81717,"slug":81718,"title":81719,"dynasty":99,"author":293,"museum":364,"description":81720,"tags":81721,"thumbUrl":81722,"material":743,"size":744,"collection":382,"collections":81723,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},240946,"san-wu-mo-miao-ce-chen-chun-shi-yi-ming-240946","三吴墨妙册-陈淳诗","此作用笔率意纵逸，牵丝映带灵动自如，墨色干湿浓淡富于层次变化，尽显萧散疏朗的文人书风。文字排布错落随性，字势欹正相生，通篇气息连贯畅达。\n\n诗书合璧之下，将诗文的清雅意趣与书法的写意格调融为一体，笔墨间浸透着江南文人的闲散意趣，尽显吴门书家特有的洒脱放旷的笔墨情致，即便未署真名，也能窥见晚明书法重性情、尚意趣的审美风尚，于尺幅之间尽显明代文人书法独有的抒情特质与艺术张力。",[209,7,24,81,178,173,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f768f25b85058211aad53d8a7000572.jpg",[382],{"id":81725,"slug":81726,"title":81727,"dynasty":189,"author":2519,"museum":20,"description":81728,"tags":81729,"thumbUrl":81730,"material":803,"size":81731,"collection":382,"collections":81732,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},239664,"er-zan-er-tu-shi-juan-zhao-meng-fu-239664","二赞二图诗卷","元代初年，书法的风貌出现很大的变化。自“宋四家”以来所开拓的文人尚意书风逐渐无以为继，要突破这个困境，唯有追本溯源，上追二王，而赵孟頫便是这一复古潮流的提倡者。在这个背景之下，他的书法倾向于蕴籍沉稳、平正秀丽的风格。赵孟頫的《二赞二图诗卷》所流露的风格却与其追慕的风貌不甚相同而较为少见。此卷款署“湖州观堂与受益外郎饮酒，一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫。”从署款可知，此卷是赵孟頫和友人于湖州观堂相众时乘着酒兴而书的。此卷纸质光滑，又为酒后兴酣之作，故写来信笔飞动，流畅圆转。卷后明代鉴藏家董其昌题跋云： 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，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。\n山水得黄公望法，人以为文徵明后身。淡而神旺，简而意足。尝画歙山二十四图。亦工花卉。传世作品有崇祯十二年（1639）与李永昌、汪度、弘仁、刘上延为李生白联作《冈陵图》合卷，每人画一段依次相接，孙逸所画第四段，墨色变化层次分明，质朴洁静，萧疏清逸，现藏上海博物馆；十六年（1643）作《茅屋长松图》轴藏故宫博物院；《仿云林山水图》扇页，自题：“云林不是人间笔，胸次无尘腕下仙，摹得东冈草堂法，两三株树小亭边。旋吉词兄属涂并题，正。孙逸。”藏安徽省博物馆；顺治十一年（1654）作《秋山图》轴、十四年作《仿黄公望山水图》扇页、康熙十九年（1680）作《山水》册页著录于《中国书画家印鉴款识》。从艺活动约于康熙前期。",[7,24,241,173,177,29,430,242,449,35,176,108,109,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd0626551da2c6ee84d50acbd958e6.jpg",[181],{"id":81980,"slug":81981,"title":131,"dynasty":99,"author":221,"museum":364,"description":61710,"tags":81982,"thumbUrl":81983,"material":743,"size":744,"collection":139,"collections":81984,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},237687,"hua-hui-ce-sun-ke-hong-237687",[7,24,81,173,178,84,226,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80173eb72f033a5c308ecbc5cce28297.jpg",[],{"id":81986,"slug":81987,"title":20281,"dynasty":76,"author":5052,"museum":364,"description":12208,"tags":81988,"thumbUrl":81989,"material":743,"size":744,"collection":139,"collections":81990,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},237615,"hong-ren-shan-shui-ce-hong-ren-237615",[209,7,24,81,173,177,29,174,649,34,31,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad22d0932b85effa43f3ae60f6e208d.jpg",[],{"id":81992,"slug":81993,"title":81994,"dynasty":99,"author":293,"museum":364,"description":81995,"tags":81996,"thumbUrl":81997,"material":743,"size":744,"collection":139,"collections":81998,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},237495,"zhu-lu-mo-zhu-shan-mian-yi-ming-237495","朱鹭墨竹扇面","此作为金笺扇面，截取折枝幽竹入画，虚实错落尽显章法。左处墨叶繁茂，以焦枯浓墨挥写，笔锋爽利劲挺，将竹叶向背疏密之态描摹尽致。右侧枝桠清瘦，淡墨勾绘衬以影影绰绰的竹叶虚景，似有穿林风过，悄然漾开空寂灵动的幽趣。\n\n墨色层次分明，浓淡间将竹的君子风姿尽显，寥寥笔墨便勾勒出竹之挺拔清隽。题款与印章排布得当，融书画印为一，尽显萧疏散淡意趣，极简笔墨中漾出隽永风神，堪称小品中的逸雅之作。",[7,173,1562,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3186290e9e8af0e3aa7dcd00272d4e29.jpg",[],{"id":82000,"slug":82001,"title":82002,"dynasty":76,"author":82003,"museum":364,"description":82004,"tags":82005,"thumbUrl":82006,"material":743,"size":744,"collection":139,"collections":82007,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":94},237491,"fang-cha-shi-biao-shan-shui-shan-wu-da-cheng-237491","仿查士标山水扇","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n在第二次鸦片战争之后的1886年，吴大澂与沙俄谈判。他据理力争，迫使沙俄重立土字碑、并对中国的出海权进行妥协：图们江口的出海权虽不能共享，但中国船只可以借道出海，俄国不得阻止。吴大澂又设法延长谈判，迫使沙俄归还了黑顶子山地区（今吉林珲春敬信镇）。其战略眼光与爱国精神令后人称颂。",[7,1562,173,29,105,430,176,35,491,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53e33f5203017dc01a2a7c4c8e095cef.jpg",[],{"id":82009,"slug":82010,"title":17699,"dynasty":99,"author":13614,"museum":20,"description":82011,"tags":82012,"thumbUrl":82013,"material":40,"size":82014,"collection":181,"collections":82015,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},237463,"luo-han-tu-zhou-wu-bin-237463","图中画三位佛教人物，其中身披红色袈裟者手持一钵正在降伏半空中的飞龙。佛教修行中的最高果位是佛，其次为菩萨，然后是罗汉。宋代以前流传十六罗汉，之后又衍生出两尊，即降龙和伏虎，于是成为十八罗汉。降龙罗汉位列十八罗汉的第十七位，根据古印度的传说，降龙罗汉最初的原形是庆友尊者。相传古印度那竭国有恶魔煽动国人杀害出家的佛弟子，尽毁佛殿佛塔，劫掠经书。当时海龙王发动洪水，淹没了那竭国，并将佛经收藏于龙宫之内，等待有法力的僧人取回，最终庆友尊者完成大任，因此他被称为降龙罗汉。本图中的人物形象古朴，线条细劲绵长，设色浓丽。《图绘宝鉴续纂》记载吴彬：“善人物，奇行怪状，迥异旧人，自立门户。”",[7,24,241,259,27,106,502,1575,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae99e6225085f994b39be7e25626092.jpg","纵145.9厘米，横76.1厘米",[181],{"id":82017,"slug":82018,"title":131,"dynasty":99,"author":1296,"museum":56,"description":21976,"tags":82019,"thumbUrl":82020,"material":1642,"size":21979,"collection":139,"collections":82021,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},237440,"hua-hui-ce-xiang-sheng-mo-237440",[7,24,81,27,83,453,178,227,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055700a31cac6a5d48ae1e0a0424c8e1.jpg",[],{"id":82023,"slug":82024,"title":486,"dynasty":76,"author":82025,"museum":364,"description":82026,"tags":82027,"thumbUrl":82028,"material":803,"size":139,"collection":181,"collections":82029,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},237428,"shan-shui-ce-chen-jia-le-237428","陈嘉乐","「画中十哲」即董邦达、高翔、高凤翰、李世倬、允禧、张鹏翀、李师中、王延格、陈嘉乐、张士英。\n十哲为娄东派，他们崇古保守的画风，与「虞山画派」相依托，即这10位娄东派的画家，亦兼写虞山画派，如李世倬。他们又受「四王」的影响甚大，其主要以临摹复古为主，但其中也有自出机杼、别故致新的画家，如高凤翰、高翔等。\n陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌「十哲」之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[7,81,27,177,29,34,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc94b76754f2313b0c9f956f9fed64fb.jpg",[181],{"id":82031,"slug":82032,"title":82033,"dynasty":76,"author":13273,"museum":20,"description":82034,"tags":82035,"thumbUrl":82036,"material":803,"size":82037,"collection":90,"collections":82038,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},237367,"tong-qin-tu-zhou-yu-zhi-ding-237367","桐禽图轴","本幅左上自题：“余摹蓝田叔先生《得子图》非一本矣。乙亥立秋后二日，偶于京邸，因秋实老堂翁谈及故园风景，又属（嘱）写此幅，感其嗜痂，不知愧耳。广陵禹之鼎识。”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。乙亥为清康熙三十四年（1695年），禹之鼎时年49岁。从自题中得知画家此年寓居京师。\n此图用大写意法画桐树几枝，引来两只飞鸟栖息。树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n自题中的“蓝田叔”指明末清初著名的山水画家蓝瑛，虽然目前尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。",[7,241,173,83,281,16310,1938,446,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c514f9fac1228a658eb652771f0d0.jpg","纵109.5厘米，横48厘米",[90],{"id":82040,"slug":82041,"title":20986,"dynasty":76,"author":2725,"museum":20,"description":20987,"tags":82042,"thumbUrl":82043,"material":990,"size":139,"collection":139,"collections":82044,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},237182,"hua-niao-kun-chong-ce-zhou-quan-237182",[7,81,27,28,227,83,712,62,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92d48af594005a5759d52a88d96298a.jpg",[],{"id":82046,"slug":82047,"title":82048,"dynasty":76,"author":61060,"museum":364,"description":82049,"tags":82050,"thumbUrl":82051,"material":139,"size":139,"collection":181,"collections":82052,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},237140,"tao-li-yuan-tu-zhou-wu-chao-237140","桃李园图轴","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。\n仿晁公武、陈振孙书目体例，所辑《薰习录》（一作《绣谷亭薰习录》），是其专记所藏秘册、叙述原委、购书、读书记，与《读书敏求记》颇为相似，但篇幅较小，仅经部1卷，集部2卷。又有《瓶花斋书目》今已不传。精校勘，手自丹黄，每购一书，必兼数本，相互参比，如有考证心得，辄书诸卷首。小山堂赵昱回忆与吴焯的交往时曾说“绣谷藏书颇矜惜，不轻借人，独许予抄，予所藏多绣谷亭本。予偶得善册，先生见之亦必取以勘定。”乾隆三十八年（1773），诏开四库馆，采访天下遗书，次子吴玉墀以古书百余种进呈朝廷，与鲍廷博“知不足斋”、汪宪“振绮堂”、孙宗濂“寿松斋”、汪启淑“飞鸿堂”，各整比所藏，踊跃呈献，获赐《佩文韵府》1部及书数种。藏书印有“绣谷手典”、“疏雨薰习”、“流传勿污损”、“性命以之”等多枚。刻书甚富，达50余种，数千卷。与厉鹗、赵昱等往来极密，每得一秘本，彼此互相抄录，抄书用纸印墨格或绿格，版心刻有“绣谷亭”三字，有的左栏外刻有“西泠吴氏绣谷亭抄书”或“绣谷亭抄书”等字样。所藏书身后大多归于汪宪“振绮堂”、许宗彦“鉴止水斋”及马氏兄弟等家。藏书印有“绣谷所藏”、“绣谷薰习”、“尺凫”、“愿流传勿损污”等。著有《绣谷杂抄》、《药园诗稿》、《陆渚飞鸿集》、《玲珑帘词》、《经山游草》等。与厉鹗、赵昱合撰《南宋杂事诗》。",[7,24,241,27,28,177,29,106,107,108,175,2930,14513,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632fa63692d7afa3a89ed69ddf696e28.jpg",[181,382],{"id":82054,"slug":82055,"title":23117,"dynasty":76,"author":69455,"museum":364,"description":82056,"tags":82057,"thumbUrl":82058,"material":139,"size":139,"collection":181,"collections":82059,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},237129,"shan-shui-ren-wu-ce-shang-guan-zhou-237129","上官周（1665－1749后），福建长汀南山官坊人，原名世显，后改名周，字文佐，号竹庄，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。所著《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。上官周自幼聪颖，治艺勤奋，学识渊博，擅长诗文、书法、篆刻，尤精于画。",[7,24,81,260,173,27,106,29,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4cfaf6570d41d377a6f14d68bd8e89.jpg",[181,44],{"id":82061,"slug":82062,"title":82063,"dynasty":99,"author":82064,"museum":20,"description":82065,"tags":82066,"thumbUrl":82067,"material":803,"size":139,"collection":181,"collections":82068,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},237013,"xi-zhu-ce-zhu-ying-237013","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 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。\n该图绘明代王百谷所居地半偈庵景色，院落中有湖石、青竹、松木等，石旁立有小石碑，晥门外有2人相立而谈。\n此图笔秀润简淡，构图巧妙别致。\n此画的构图和景物比较简洁，画有工日谷寓所——半偈庵，庭院中立有一湖，造型奇特，玲珑剔透。\n又有数棵树木，枝叶疏散，后有屋舍二间，陈设简陋，前后排列，前房供佛，后房中一榻一几，有一位上人独坐于床榻上，双日凝视，若有所思，屋子左侧有一束修竹，枝叶茂盛，近景有一道围墙，山间有一门楼，围墙两侧的右侧一树，左侧为一棕树。\n墙外有二人对话，一位作拱手状，一位持有策杖，姿态悠闲自在。\n此情此景，足以反映当时文人墨客优雅的生活环境及他们的志趣，王百谷半偈庵就是文人士大夫们所追求的优雅生活的写照。\n全图其画景物和作者自题识及王穉登等诗几乎各占一半，上诗、下图，相配十分得体。\n此画是文嘉7岁的作品，描绘当时文人王穉登所居半偈庵景色。\n王穉登（155—1612），字伯谷，也作百谷，长洲人，少时即以善作诗文著称，长而骏发，名满吴会，善书法，诸体兼备，文徵明没后，风雅归之穉登。\n全图用笔相当简练，湖石和竹树基本上继承了家学的传统，画法近学文徵明，远受元朝画家的影响，疏淡中蕴含秀润，树木用干笔勾皴后，用细墨点叶。\n用笔颇为老峭，加上构图过分简洁，使画面的意境稍嫌疏落之感。\n但由于画幅上面有文嘉的长段题识，起到了弥补此画构图的疏落之嫌…上诗塘又有王穉登录顾孟先、沈少卿宿半偈庵诗、这些自题识和王穉登题诗，为此画增色颇多，成为此画重要的组成部分。\n文嘉（151—158），明代画家，字休承，号义水，长洲（今江苏苏州）人，文徵明次子。\n官和州学正，继承家学，工小楷，擅画山水，笔法清脱，颇近倪瓒，着色山水，具幽澹之致，间仿卫蒙皴染，亦颇秀润，兼作花卉。\n精于鉴别古书画。\n传世作品有《赤壁夜游图》、《秋塘红藕图》、《沧山渔笛图》、《临董源溪山行旅图》轴，并著有《钤山堂书画记》。",[7,24,241,173,178,86,107,242,430,245,115,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b4680056f3221272054815ba8098c4.jpg",[],{"id":82261,"slug":82262,"title":27781,"dynasty":99,"author":293,"museum":364,"description":82263,"tags":82264,"thumbUrl":82265,"material":743,"size":744,"collection":139,"collections":82266,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":94},235591,"wen-chu-hua-hui-ce-yi-ming-235591","此作用没骨技法绘萱草一花半叶，橙黄赭红晕染花瓣，轻描出舒展柔婉的花形，细笔点出纤长花蕊，将萱花盛放时的娇妍之态尽显。浅绿晕染叶片，笔致清隽含蓄，与柔花相映成趣。洒金素笺为底，柔雅的设色在细闪的底色间愈显清丽脱俗。全画构图疏简空灵，无多余赘饰，只撷取一隅小景，便将初夏萱草的绰约风姿定格，尽显娴静雅致的闺阁意趣，淡而不薄，秀润雅致，藏着含蓄温婉的中式诗意。",[7,209,24,81,28,27,83,84,934,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c33e0d6ab38e75010a93bb7f5e9b64.jpg",[],{"id":82268,"slug":82269,"title":82270,"dynasty":99,"author":4904,"museum":364,"description":12028,"tags":82271,"thumbUrl":82272,"material":743,"size":744,"collection":139,"collections":82273,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},235530,"luo-ri-ning-lu-tu-shan-ye-lu-zhi-235530","落日凝露图扇页",[7,1562,27,29,34,176,107,4562,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffbdc761a4d6caac14521800be06d66.jpg",[],{"id":82275,"slug":82276,"title":82277,"dynasty":99,"author":13614,"museum":364,"description":13615,"tags":82278,"thumbUrl":82279,"material":743,"size":744,"collection":139,"collections":82280,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":271},235525,"pu-xian-xiang-tu-zhou-wu-bin-235525","普贤像图轴",[7,241,259,27,106,28,430,62,23980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a55ed020ed5e4a29aa325fe5eb2a5a.jpg",[],{"id":82282,"slug":82283,"title":486,"dynasty":76,"author":15347,"museum":364,"description":37044,"tags":82284,"thumbUrl":82285,"material":743,"size":744,"collection":139,"collections":82286,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},235514,"shan-shui-ce-cha-shi-biao-235514",[7,24,81,173,177,29,176,430,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8508d46704e30fe1ea407061c10d75.jpg",[],{"id":82288,"slug":82289,"title":131,"dynasty":99,"author":51694,"museum":364,"description":74970,"tags":82290,"thumbUrl":82291,"material":743,"size":744,"collection":139,"collections":82292,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},235475,"hua-hui-ce-qi-xun-235475",[7,24,81,27,83,178,327],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb36e3eb09986261d44138604ec048b.jpg",[],{"id":82294,"slug":82295,"title":5505,"dynasty":76,"author":19503,"museum":364,"description":65023,"tags":82296,"thumbUrl":82297,"material":743,"size":744,"collection":139,"collections":82298,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},235464,"hua-hui-tu-ce-fan-ting-zhen-235464",[23,7,27,28,81,83,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0188ca5f83dbb6758bf03cb420c57b6f.jpg",[],{"id":82300,"slug":82301,"title":82302,"dynasty":76,"author":82303,"museum":364,"description":82304,"tags":82305,"thumbUrl":82306,"material":743,"size":744,"collection":139,"collections":82307,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},235365,"qun-feng-ji-cui-tu-zhou-liu-yan-chong-235365","群峰积翠图轴","刘彦冲","刘彦冲（1807～1847）清代画家、诗人。初名荣，字咏之，四川铜梁（今重庆铜梁）人，侨寓吴门（今江苏苏州），朱昂之弟子。家贫事母孝，不妄干人。工诗文，善绘事，山水、人物、花卉，一意师古，深造自得。山水初从朱昂之游，心得其秘。复肆力于古，临摹各家，无不得其精髓。泼墨作小米云山，亦翁郁可观。惜中年殁。",[7,209,241,1397,27,177,8889,34,107,6178,174,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09b0faca13edb8b101856f7129f43a9.jpg",[],{"id":82309,"slug":82310,"title":82311,"dynasty":99,"author":19617,"museum":364,"description":79179,"tags":82312,"thumbUrl":82313,"material":743,"size":744,"collection":139,"collections":82314,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},235204,"qiu-shan-xing-lv-tu-ye-wen-bo-ren-235204","秋山行旅图页",[1562,7,29,177,27,176,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ec478acf51936bac79318864877b9b.jpg",[],{"id":82316,"slug":82317,"title":486,"dynasty":76,"author":1204,"museum":364,"description":82318,"tags":82319,"thumbUrl":82320,"material":139,"size":139,"collection":139,"collections":82321,"showCount"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[1]\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,7,24,25,173,178,86,227,29,106,108,109,175,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":82478,"slug":82479,"title":77547,"dynasty":99,"author":27571,"museum":20,"description":82480,"tags":82481,"thumbUrl":82482,"material":803,"size":139,"collection":139,"collections":82483,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},234161,"luo-han-juan-li-lin-234161","李麟（1558—？），字次公，四阴（今浙江宁波）人，明朝画家。\n李麟善白描，作佛像下笔如莼条，用焦墨而不觉其枯，眉目粗而不觉其重。尤长写貌，亦以焦墨粗钩为之。师丁南羽（云鹏）有出蓝之誉。自署龙眠后身，崇祯八年（1635）尝写文殊维摩图，时年七十八。又有参寥子像卷，现藏故宫博物院。（《无声诗史》、《画髓元铨》、《图绘宝鉴续纂》、《宁波志》、《中国名画集》）",[23,209,7,24,25,27,28,259,106,25116,7281,430,7786,9254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2afad23ebaf7357b70a3be598dccc1.jpg",[],{"id":82485,"slug":82486,"title":82487,"dynasty":99,"author":170,"museum":20,"description":82488,"tags":82489,"thumbUrl":82490,"material":619,"size":82491,"collection":139,"collections":82492,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},234132,"zhi-tian-tu-juan-shen-zhou-234132","芝田图卷","沈周擅长山水、花鸟、人物各体，然以山水画最精，也最能鲜明地反映出他的艺术特色。归纳起来，可从内容和形式两方面论析。\n内容：即包括题材、立意、构思、思想、情感诸因素。\n沈周的山水画题材，主要可分为写实、抒情、仿古三大类。写实山水最富特色和意义，按内容又可分为访胜纪游、幽居庄园、雅集文会、寻访送别等几种类型。\n幽居庄园图，或表现苏州文人隐居的茅屋斗室，或描写精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和闲适的情致，寄托文人的理想和爱好，有时还寓以一定的象征意义，或缘物传情，或比喻人品。《东庄图》册（南京博物院藏），是描绘其师吴宽的庄园，二十一景均绚丽多姿，真实再现了老师居游皆宜的优美环境；《南山祝语图》卷（北京故宫博物院藏），刻划良医韩世光所居的“云堂”，环境既点出了主人公的身份和居处，又烘托出韩氏一心行医济世的高尚品德；《芝田图》卷（北京故宫博物院藏）则进一步采取人格化的表现手法，藉芝田遍地来表达主人公董君施德于人，天赐灵芝的主题。这些象征手法为后世吴门画家广泛采用。",[23,209,7,24,25,173,27,178,177,29,18610,34,35,649,1445,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da0cce0291188d5f0a529cd4293de06.jpg","画323×33cm；跋64×33cm",[],{"id":82494,"slug":82495,"title":28089,"dynasty":76,"author":16463,"museum":364,"description":82496,"tags":82497,"thumbUrl":82499,"material":139,"size":139,"collection":139,"collections":82500,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},234117,"hua-guo-juan-yuan-jiang-234117","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[7,24,209,25,27,173,28,83,711,82498,136,327,795,450,451,1135,448,452,242,453,713,84,225,227],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":82502,"slug":82503,"title":486,"dynasty":99,"author":3114,"museum":20,"description":14103,"tags":82504,"thumbUrl":82505,"material":4665,"size":7095,"collection":139,"collections":82506,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},234061,"shan-shui-ce-dong-qi-chang-234061",[7,24,81,173,177,29,109,245,34,12136,175,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa091a7ca4982bd9068ee0a650b07f502.jpg",[],{"id":82508,"slug":82509,"title":486,"dynasty":99,"author":3114,"museum":20,"description":14103,"tags":82510,"thumbUrl":82511,"material":4665,"size":7095,"collection":139,"collections":82512,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},234060,"shan-shui-ce-dong-qi-chang-234060",[7,24,81,173,177,29,1575,176,109,491,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f30ce9ddfaf2159f725103c9460f248.jpg",[],{"id":82514,"slug":82515,"title":82516,"dynasty":18,"author":293,"museum":20,"description":82517,"tags":82518,"thumbUrl":82519,"material":665,"size":82520,"collection":139,"collections":82521,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},234006,"shui-xian-tu-ye-yi-ming-234006","水仙图页","水仙（Narcissus tazettaL. var. chinensis Roem. ）又名中国水仙，是多花水仙的一个变种。是石蒜科多年生草本植物。水仙的叶由鳞茎顶端绿白色筒状鞘中抽出花茎（俗称箭）再由叶片中抽出。一般每个鳞茎可抽花茎1-2枝，多者可达8-11枝，伞状花序。花瓣多为6片，花瓣末处呈鹅黄色。花蕊外面有一个如碗一般的保护罩。鳞茎卵状至广卵状球形，外被棕褐色皮膜。叶狭长带状，蒴果室背开裂。水仙性喜温暖、湿润，花期在春季。\n作为中国传统观赏花卉的水仙，原种为唐代从意大利引进，是法国多花水仙的变种，在中国已有一千多年栽培历史，经上千年的选育而成为世界水仙花中独树一帜的佳品，为中国十大传统名花之一。因为鳞茎生得颇象洋葱、大蒜、故六朝时称“雅蒜”、宋代称“天葱”。之后，人们还给她取了不少巧妙、美丽的名字，如金盏、银台、俪兰、雅客、女星等等。水仙花早在宋代就已受人注意和喜爱。\n南宋佚名《水仙图》只画了一株水仙，一花五叶。画面的中心水仙花盛开，清新可人，叶片四展而不零乱，飘逸潇洒，并将画面分割成五部分，花蕊正好位于最能够吸引目光的黄金分割位置，凸显全画的核心。花瓣以尖细之笔勾勒轮廓，再染白粉，花蕊以橘黄点染，设色淡雅清逸。《水仙图》可谓是着笔简洁而韵味无穷，是南宋院体花鸟画的精品。\n南宋佚名《水仙图》无款印。裱边旧题签：“赵子固写生水仙”。赵子固即赵孟坚，中国南宋画家。生于庆元五年（1199），卒于景定五年（1264），一说卒于咸淳三年（1267）。字子固，号彝斋；宋宗室，为宋太祖十一世孙，汉族，海盐广陈（今嘉兴平湖广陈）人。曾任湖州掾、转运司幕、诸暨知县、提辖左帑。工诗善文，家富收藏，擅梅、兰、竹、石，尤精白描水仙；其画多用水墨，用笔劲利流畅，淡墨微染，风格秀雅，深得文人推崇。有书法墨迹《自书诗卷》，绘画《墨兰图》、《墨水仙图》、《岁寒三友图》等传世，著《彝斋文编》4卷。",[7,209,24,83,28,27,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba119f21392b89dbae54545959e6887a.jpg","24.6x26cm",[],{"id":82523,"slug":82524,"title":486,"dynasty":99,"author":1012,"museum":20,"description":82525,"tags":82526,"thumbUrl":82527,"material":619,"size":43261,"collection":139,"collections":82528,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},233968,"shan-shui-ce-lan-ying-233968","蓝瑛（1585—约1666年），字田叔，号蜨叟、石头陀、西湖山民等，钱塘（今浙江杭州）人。擅画山水，早年以摹古为主，宗法唐宋元诸家，尤以习元黄公望、明沈周最有心得，笔致工整细润，墨色清淡妍静。中年于传统的绘画基础上形成自己的绘画面貌，笔墨苍劲雄浑，于疏简粗旷的线条组合中表现高峻突兀的江南葱郁之景。钱塘又称武林，后人将蓝瑛和从其学画的刘度、蓝孟、蓝深等合称“武林画派”。",[7,24,81,173,177,29,175,109,176,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7defdc594b8dc33e1658736fecc8c865.jpg",[],{"id":82530,"slug":82531,"title":9840,"dynasty":76,"author":1703,"museum":101,"description":9841,"tags":82532,"thumbUrl":82533,"material":2021,"size":9844,"collection":139,"collections":82534,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},233863,"mei-hua-ce-jin-nong-233863",[209,7,24,81,260,173,83,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe90b2f39543d56400d5072e3c24150e.jpg",[],{"id":82536,"slug":82537,"title":40688,"dynasty":99,"author":27966,"museum":20,"description":82538,"tags":82539,"thumbUrl":82540,"material":803,"size":82541,"collection":139,"collections":82542,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},233818,"mo-mei-zhou-liu-shi-ru-233818","刘世儒，生卒不详，主要活动于明代正德、嘉靖(1506—1566)间。字继相，号雪湖，山阴(今浙江绍兴)人。善画梅，宗法王冕，学之不倦，终成名手。柔密疏简，俱臻其妙。尤工雪梅，冰肌玉骨，清劲俊拔，令人绝倒。图中描绘一株梅树，老干劲峭，断缺处以意笔为之犹如龙爪腾空。一带薄雾淡如轻纱，横亘于画幅中部，烟笼玉树，暗香浮动。",[7,24,241,173,83,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43760b8de4af0b7812965f732d25d9ee.jpg","纵180.5厘米横100.4厘米",[],{"id":82544,"slug":82545,"title":59379,"dynasty":18,"author":293,"museum":20,"description":82546,"tags":82547,"thumbUrl":82548,"material":4434,"size":59384,"collection":139,"collections":82549,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":49},233811,"han-ting-luo-yan-tu-zhou-yi-ming-233811","此图画古木栖鸦，寒汀落雁。树下芦早疏疏，十数大雁、野鸭分两组栖于岸边，其态悠闲。",[7,209,24,241,173,27,29,1015,4895,64317,281,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59211b1b7d5c6f3104b8131f33873b5f.jpg",[],{"id":82551,"slug":82552,"title":21984,"dynasty":76,"author":1109,"museum":20,"description":21985,"tags":82553,"thumbUrl":82554,"material":990,"size":21989,"collection":139,"collections":82555,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},233773,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233773",[7,24,81,173,27,29,34,4614,109,176,106,178,227,177,175,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facfe15b15dd27ffce25b8a5334ea64a4.jpg",[],{"id":82557,"slug":82558,"title":82559,"dynasty":76,"author":15408,"museum":20,"description":82560,"tags":82561,"thumbUrl":82562,"material":82563,"size":82564,"collection":139,"collections":82565,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":94},233720,"hua-wang-yu-yan-xie-lan-tu-xiang-pan-gong-shou-bu-tu-zhou-ren-xiong-233720","画王玉燕写兰图像潘恭寿补图轴","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[7,24,241,27,28,106,452,430,245,453,12876,10854,10855,12877,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb520acac6950d49e8cce35de80872eb2.jpg","纸本,设墨","111.5cm×41.6cm",[],{"id":82567,"slug":82568,"title":34279,"dynasty":76,"author":707,"museum":20,"description":82569,"tags":82570,"thumbUrl":82571,"material":990,"size":82572,"collection":139,"collections":82573,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},233718,"tian-shan-ji-xue-tu-hua-yan-233718","华嵒的人物画造型极具特色，以表现人物鲜明的个性和内在的神韵取胜。《天山积雪图》是其晚年的代表作品。\n边塞行旅是华嵒经常表现的题材之一。本图画唐人远行边塞诗意。图中，天山脚下，一个身披大红斗篷、藏掖宝剑的单身旅客，牵一匹双峰老驼，艰难地缓行于冰雪之中。天色灰暗，四野空旷，道路漫漫，白雪皑皑。一只孤雁横掠空中，旅者和老驼举首仰望，此情此景似引起了游子的万千思绪。画中情景交融，意境含蓄。画面构图狭长，造成天高地迥的视觉效果，以衬托人物孤寂的内心世界。设色雅致，色彩之间的搭配，冷暖色调的对比，都十分考究。人物、老驼的形象塑造在写实的基础上恰当地运用夸张手法，人物前倾的动势，老驼富于人情味的表情，都使得主题更为突出。作品展现了画家独特的艺术构思和出众的绘画才能。",[7,24,241,27,106,11734,3499,1597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横50厘米",[],{"id":82678,"slug":82679,"title":5505,"dynasty":76,"author":19503,"museum":20,"description":19504,"tags":82680,"thumbUrl":82681,"material":665,"size":139,"collection":139,"collections":82682,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},232943,"hua-hui-tu-ce-fan-ting-zhen-232943",[7,24,209,83,327,27,82,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd6bba090af366abeabd6fe7f40c3a9d.jpg",[],{"id":82684,"slug":82685,"title":82686,"dynasty":18,"author":10675,"museum":364,"description":82687,"tags":82688,"thumbUrl":82689,"material":67,"size":82690,"collection":139,"collections":82691,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},232883,"ren-wu-shou-juan-chen-ju-zhong-232883","人物手卷","陈居中，南宋画家。嘉泰年间（1201-1204）画院待诏，生卒年不详。专工人物及马，杂画亦佳。擅画反映贵族游乐、出猎生活和表现少数民族放牧风情等题材，注重写实，观察入微，构图简洁，风格清新，富于生趣。明人题其《八骏图》称“精彩逼真似唐画，系临史道硕、韩幹之辈，为两宋人物第一神品也”（吴其贞《书画记》）。元代夏文彦《图绘宝鉴》谓其“布置着色，可亚黄宗道”。",[23,7,24,25,28,27,106,150,957,29,34,15028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a8d26c75f65f46eee8b4627c5dcacc.jpg","29.8x229cm",[],{"id":82693,"slug":82694,"title":82695,"dynasty":99,"author":82696,"museum":206,"description":82697,"tags":82698,"thumbUrl":82699,"material":88,"size":82700,"collection":181,"collections":82701,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},232693,"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[23,7,24,241,173,29,177,176,558,34,35,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[181],{"id":82703,"slug":82704,"title":82705,"dynasty":99,"author":1083,"museum":238,"description":82706,"tags":82707,"thumbUrl":82708,"material":67,"size":82709,"collection":139,"collections":82710,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[209,7,24,241,173,177,29,34,1015,176,558,560,1444,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":82712,"slug":82713,"title":82714,"dynasty":189,"author":82715,"museum":206,"description":82716,"tags":82717,"thumbUrl":82719,"material":803,"size":82720,"collection":139,"collections":82721,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},232252,"qiao-mu-gao-zhai-tu-zhao-meng-xu-232252","乔木高斋图","赵孟吁","在元代文人画家笔下，画的内容仅仅只是载体了，重要的是画上寄托的情感。他们追求“逸笔草草，不求形似”，目的是抒写“胸中逸气”；追求笔墨趣味，以笔墨的形式与结构来表达绘画者自己的主观精神境界。",[7,27,28,177,394,1575,106,114,82718,245,115],"石墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff809b42c21c90b2a4b015928f355643c.jpg","102.4x51.3公分",[],{"id":82723,"slug":82724,"title":82725,"dynasty":99,"author":82726,"museum":238,"description":82727,"tags":82728,"thumbUrl":82731,"material":803,"size":82732,"collection":139,"collections":82733,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},231936,"fang-gao-ke-gong-shan-shui-tu-tao-hong-231936","仿高克恭山水图","陶泓","图绘云山峻岭，大气磅礴，山林滃郁，流泉潺湲。一高士过桥而回首观水，喻”智者乐水“之意。全幅用高尚书笔意而润密过之。 陶泓，字士泉，号砚山，生平无考。",[23,7,24,209,241,173,29,13815,82729,1399,109,108,106,105,177,82730],"峻岭","智者乐水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbbee98cf491d6f7fe862b5d64e4bf5.jpg","53x89cm",[],{"id":82735,"slug":82736,"title":82737,"dynasty":99,"author":1296,"museum":206,"description":82738,"tags":82739,"thumbUrl":82740,"material":803,"size":82741,"collection":139,"collections":82742,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,7,25,173,29,177,86,178,227,176,34,109,108,175,106,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":82744,"slug":82745,"title":82746,"dynasty":99,"author":966,"museum":364,"description":39462,"tags":82747,"thumbUrl":82748,"material":139,"size":139,"collection":139,"collections":82749,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[23,7,24,25,173,177,178,227,29,558,34,176,175,174,109,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":82751,"slug":82752,"title":82753,"dynasty":292,"author":82754,"museum":364,"description":82755,"tags":82756,"thumbUrl":82758,"material":743,"size":744,"collection":139,"collections":82759,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,7,24,25,260,173,28,12940,2786,82757,45319,956,224,430,176,1064,299,957,106,83],"蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],{"id":82761,"slug":82762,"title":82763,"dynasty":292,"author":49761,"museum":364,"description":71106,"tags":82764,"thumbUrl":82765,"material":743,"size":744,"collection":139,"collections":82766,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":94},231618,"bai-miao-shi-er-tian-tu-xiang-pi-sha-men-tian-zhen-hai-231618","白描十二天图像 毗沙门天",[23,7,24,260,259,106,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29ded800c890a4c20cd90b8232e25c8.jpg",[],{"id":82768,"slug":82769,"title":59371,"dynasty":292,"author":82770,"museum":364,"description":22875,"tags":82771,"thumbUrl":82772,"material":743,"size":744,"collection":139,"collections":82773,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},231582,"qi-shi-wen-shu-tu-ling-cai-231582","灵彩",[23,7,24,241,259,260,173,106,957,2739,4860,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97b7cf0e134855a8876822301aa10b4.jpg",[],{"id":82775,"slug":82776,"title":82777,"dynasty":99,"author":82778,"museum":238,"description":82779,"tags":82780,"thumbUrl":82781,"material":803,"size":82782,"collection":139,"collections":82783,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":49},231545,"xu-ting-fei-pu-tu-zhang-ning-231545","虚亭飞瀑图","张宁","在中国绘画史上，张宁的名字并没有像沈周、文徵明那样引人注目。甚至于当人们讨论明代绘画的时候，张宁也很少被提及。作为一朝大臣的张宁并不是一位职业画家，但也绝不是一个票友，他的诗文、书法和绘画在当时就名动一时。如果注意到他的吴人身份，把他和王绂、刘珏等吴门先驱放在一起，便不难发现他在绘画史上是应该有一席之地的。无奈目前能够找到的张宁作品和资料并不是很多，史籍上关于他的记载也大多是他的政绩而非艺术，故这里对张宁的讨论也只能是抛砖引玉。\n张宁（1426—1496），字靖之，号方洲，一作芳洲，海盐(今属浙江)人；一作嘉兴(今属浙江)人；又作吴(今苏州)人。明朝中期大臣。景泰五年进士，授礼科给事中。丰采甚着，与岳正齐名，英宗尝称为“我张宁”云。成化中出知汀州，先教后刑，境内利病悉罢行之。后为大臣所忌，弃官归，公卿交荐，不起。能诗画、善书法，才思敏捷，诗文书画皆有名。性喜绘事，工人物山水。抒写烟月，点染林丘，为艺苑所珍。曾奉旨出使朝鲜，化解了朝鲜王室内部纷争。画兰竹赠朝鲜王李扶。张宁才高志大，英宗意欲重用。但他久居谏坛，直言无忌，为朝中权贵所恶。给事中王徽因弹劾大学士李贤而获罪，张宁率六科论救，由是渐与内阁相忤。后出为汀州知府，抑郁不得志，遂以病免职。家居30年，屡次被荐，终不复召。在家乡筑方洲草堂（为海盐著名的园林，今不存），以琴书自娱。张宁为文遵古法，才思敏捷，兼善画，著有《读史录》、《删改史论》、《方洲集》等。\n张宁首先是明朝中期见诸史载的一位大臣，同时也是一位卓有成就的诗人和画家。清徐沁《明画录》：“张宁字静之，吴人，画山水有声。”明朱谋垔《画史会要》：“张宁，字靖之，号芳洲，海盐人。景泰进士，官汀州知府。书画皆有名。”可见作为朝中大臣的张宁在当时书法绘画就很有名。\n明中叶以后，以沈周、文徵明为代表的吴门派取代浙派而盛极一时。沈周、文徵明都是吴（苏州）人，因此被称为吴门派。在沈周、文徵明之前的赵源、王绂、徐贲、陈汝言、刘珏、张宁等同样是吴人的画家，对沈周、文徵明等后来的吴门画派都有重要的影响，画法也有近似之处。只是当时还没有“吴门派”的说法。\n张宁同时具有双重身份，既是官僚，又是书画家。从他的文章里不难发现，他与同时代的画家有着密切的交往。米芾以喜欢奇石而闻名，明代画家谢环也喜欢奇石，张宁在他的《方洲杂言》提到：“观音寺衙衕寺僧所收谢廷循一石，方广三四寸，中劈为二，内函鱼骨一具，首尾皆全。”由此可见他与谢环的交情非同一般，他还曾为友人徐溥（时用）所收藏的谢环（廷循）的画上题过诗。\n张宁在中国画发展史上处于吴门画派形成之前，他和王绂、徐贲、陈汝言、刘珏等吴门画派的先行者对沈周和文徵明的影响在绘画史研究中已经引起了学者的注意。或许是因为未被列入职业画家的行列，他的作品见诸著录及馆藏极少。尽管可能绘画对张宁的“余事”，但其艺术水平丝毫不逊色于职业画家。张宁的绘画技法有着很明显的元代传统特征，尤其是元四家之一王蒙的影响。但张宁似乎不太喜欢王蒙那种凝重，他的作品并没有元人那种浑厚苍茫，而更多地倾向于表现秀雅和清旷的意境。",[23,7,27,177,241,29,558,175,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32ef3f130d45e39b134d17480d98bae.jpg","109.8 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38.1cm",[],{"id":82785,"slug":82786,"title":82787,"dynasty":18,"author":293,"museum":206,"description":62323,"tags":82788,"thumbUrl":82789,"material":827,"size":82790,"collection":139,"collections":82791,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},231378,"song-yan-xian-guan-tu-yi-ming-231378","松岩仙馆图",[209,7,1397,107,106,1575,28,177,173,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f657fecd8b6c42929cbcb3ea659e46.jpg","171x115.7",[],{"id":82793,"slug":82794,"title":82795,"dynasty":99,"author":293,"museum":20,"description":82796,"tags":82797,"thumbUrl":82798,"material":40,"size":82799,"collection":139,"collections":82800,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":49},231357,"xuan-de-xing-le-tu-yi-ming-231357","宣德行乐图","明代宫廷绘画中有一类表现帝王生活和重大历史事件的作品。此幅描绘明宣宗朱瞻基便服檐帽在御园观赏各种体育竞技表演的场面。画面上从右至左依次为射箭、蹴踘、马球、捶丸、投壶，场面宏大繁复而又具体入微，生动地表现出当时宫中的文体娱乐活动。由于要反映特定的地点和环境，所以描绘了大量的建筑。此卷以工整细腻的写实手法按照历史原貌对明代皇宫的楼台殿阁作了荚绘实又概括的描绘，是研究明代宫廷历史以及皇家建筑的重要资料。",[7,209,27,28,106,150,281,9930,34,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd15889dcb5d2ea930aa35fbfdc5d7e.jpg","纵36.7cm，横690cm",[],{"id":82802,"slug":82803,"title":82804,"dynasty":76,"author":82805,"museum":515,"description":82806,"tags":82807,"thumbUrl":82808,"material":12351,"size":82809,"collection":139,"collections":82810,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},231350,"fang-gao-fang-shan-shan-shui-tu-wang-fang-231350","仿高房山山水图","汪昉","清代绘画,在同时期的政治、经济、思想、文化诸因素的影响下,呈现出特定的时代风貌。它承接元、明以来的趋势发展,士大夫文人画日益占据画坛主流,在明代后期形成的诸画派,到此时更是分支繁衍。清代历朝皇帝,大多爱好绘画艺术,倡导社会风气,使更多的人热心投入画家的行列。全清有史可稽的画家,多至近六千人,可谓繁盛。总的看来,以山水画、花鸟画比较发达,成绩较好,人物画次之。其发展大致可分为前、中、后三个时期。\n前期(顺治至康熙中),受皇室扶植的 四王 画派,以王时敏、王鉴、王翚、王原祁为代表,成为画坛的正统派,他们以摹古为主旨,崇尚董其昌和元四家,讲究笔墨趣味,技巧功力超卓,但缺少鲜活的生趣。他们的山水画风影响到整个有清一代。同时的江南地区,却出现了一批反正统的画家,他们大多是明末遗民,政治上不与清统治者合作,艺术上反对陈陈相因,主张抒发个性,所以作品往往感情真挚强烈,风格独特新颖。代表画家有弘仁、髠残、朱耷、石涛合称的 四僧 ,以龚贤为首的 金陵八家 ,以弘仁、查士标、梅清为代表的 新安派 等。其中 四僧 的成就最为突出,给后世的有益影响也更大。中期(康熙晚年至乾隆、嘉庆年间),随着政权的巩固、疆域的统一、社会的安定,经济的繁荣,出现了 康、乾盛世.此时宫廷绘画在皇室扶植下活跃一时,内容和形式都比较多样,人物画的成就显著。而经济发达的扬州出现以 扬州八怪 为代表的 扬州画派 ,他们接过石涛、朱耷 反正统 的旗帜,以革新的面貌出现于画坛,用绘画抒发自己郁懑愤激的情怀,表达心灵高洁的向往,形式上意到笔随,狂放怪异,不拘一格,作品具有鲜明的个性,对近代和现代的花鸟画都产生深远的影响。\n后期(道光至宣统),中国逐渐沦为半封建半殖民地的社会,画坛也发生了急剧变化。怡情养性的士大夫文人画日见衰微,而在辟为通商口岸的商业城市上海、广州,分别出现了以赵之谦、任颐、吴昌硕为代表的 海上画派 和由居巢、居廉首创的 岭南画派 ,开拓了文人画的途径,以新颖活泼的面貌,博得广大市民阶层的喜爱,直接启导了近代和现代的画风。\n《仿高房山云山图轴》描绘的是江南春天雨后的山村景色:近处坡石高树,茅舍旁柳丝飘拂,小桥边溪水潺潺,远处峰峦高耸,丛树幽深,白云浮动。此图云山采用元人高克恭法,横点皴染,并用焦墨破醒,富有厚重的感觉。构图以高远兼平远,得遥深飘渺之意。由于他受到皇室青睐,政治地位显赫,当时追随他的人很多,遂形成娄东派,主要画家有唐岱、董邦达、黄鼎等人。唐岱出王原祁门下,兼法宋元,笔墨工稳深沉。董邦达上追董其昌、黄公望,兼承王鉴、王原祁遗意。黄鼎多用干笔皴擦,淡墨渴染,有苍郁之趣,发展了王原祁的干笔画法。",[23,7,173,241,29,177,105,108,109,175,394,30,558,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b83397f21c92d94a99103bc798b15a1.jpg","110cmx55cm",[],{"id":82812,"slug":82813,"title":82814,"dynasty":76,"author":3972,"museum":364,"description":82815,"tags":82816,"thumbUrl":82817,"material":139,"size":139,"collection":139,"collections":82818,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},230966,"zhong-kui-tan-mei-tu-jin-ting-biao-230966","钟馗探梅图","寒雪覆地，万木凝霜，虬曲老树裹着厚雪，萧索中透着清寂。画面主角敛去往日凶煞，化身乡野翁叟，斗笠覆顶，肩负梅枝，踏过小桥时眉眼松弛，似为寻得暗香忘却本职，只剩踏雪寻芳的悠然。身后小童缩着脖颈，挑着伞盖匆匆随行，憨态可掬。\n整作以淡墨晕开茫茫雪色，线条朴拙简练，将神威仙灵世俗化，把凌冬雅趣与俗世温情相融，打破固有狞厉印象，以寻常行旅的温情图景，消解题材自带的肃杀，尽显隆冬寻梅的闲逸诗意。",[7,24,27,28,106,448,31111,15976,1015,298,2502,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ef8da1600122e28775a7e31276ba9e.jpg",[],{"id":82820,"slug":82821,"title":21777,"dynasty":18,"author":2029,"museum":206,"description":82822,"tags":82823,"thumbUrl":82824,"material":317,"size":21782,"collection":139,"collections":82825,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},230965,"yao-chi-xian-shou-tu-liu-song-nian-230965","人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,209,7,24,28,27,29,106,107,1575,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcf0da55e5064051ab60329ab404823.jpg",[],{"id":82827,"slug":82828,"title":82829,"dynasty":54,"author":293,"museum":364,"description":82830,"tags":82831,"thumbUrl":82832,"material":743,"size":744,"collection":139,"collections":82833,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":49},230934,"si-fu-ju-hui-tu-yi-ming-230934","四佛聚会图","画面饱满庄严，四方诸佛环坐为主体，朱红佛衣衬得宝相慈悲端凝，圆光覆顶，结印安坐，自带静穆神圣之感。诸天、护法层层簇拥排布，云气晕染铺陈出缥缈佛国意境。\n\n设色沉敛古雅，朱砂石色经岁月浸润依旧鲜亮厚重，细密劲挺的铁线描，勾勒出衣袂褶皱的飘逸流畅，亦将宝冠璎珞的精致细节尽显无遗。对称构图烘托出佛会的肃穆安然，诸佛神态平和悠远，护法身形雄健威仪，动静间尽显极乐盛会的恢宏庄重，尽显唐代宗教绘画的典型特质，将佛国世界的神圣静穆具象展现，古韵佛风厚重绵长。",[7,24,259,28,27,106,10898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971efa0fae36413b85480bdac863dadc.jpg",[],{"id":82835,"slug":82836,"title":82837,"dynasty":189,"author":293,"museum":364,"description":82838,"tags":82839,"thumbUrl":82841,"material":139,"size":139,"collection":139,"collections":82842,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},230922,"jiang-cheng-ye-po-tu-yi-ming-230922","江城夜泊图","此作用淡墨晕染出夜色江天，远山隐在朦胧烟霭之中，虚渺苍茫，将夜的空寂晕染开来。江面舟船错落排布，屋舍、桅杆细节宛然，朴拙写实又不失写意松弛。淡墨轻扫江面，微波暗藏，静中藏动。\n\n没有星月铺陈，却处处浸着夜的宁谧，泊舟暂歇的安然藏在错落舟楫之间，带着元画特有的简淡萧散气质。寥寥笔墨便将羁旅的淡寂揉入江南夜色，仿佛能听见细浪拍舷，触到晚风裹着的水汽凉意，以简驭繁，把江城夜色的柔静与行旅安闲融成清寂悠远的诗画意境。",[7,1562,173,177,29,111,82840,114,7741],"桅杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79119bd59edd2dd5c8ff285ff75b5330.jpg",[],{"id":82844,"slug":82845,"title":82846,"dynasty":292,"author":55399,"museum":364,"description":55400,"tags":82847,"thumbUrl":82848,"material":743,"size":744,"collection":139,"collections":82849,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},230588,"jiang-hu-shi-dai-xi-hu-chun-jing-tu-ping-feng-chi-da-ya-230588","江户时代 西湖春景图屏风",[7,24,241,173,177,29,175,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3125c5c3370cc69ab3b9f3786836eea.jpg",[],{"id":82851,"slug":82852,"title":82853,"dynasty":292,"author":293,"museum":364,"description":82854,"tags":82855,"thumbUrl":82856,"material":743,"size":744,"collection":139,"collections":82857,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},230530,"gu-hua-mo-ben-xia-gui-deng-tu-juan-yi-ming-230530","古画模本（夏圭等图卷）","此卷分两处景致，左端冷月悬于寒空，孤梅瘦枝横斜水岸，江石清寂，恍见幽人凭立，萧寒淡远，尽得隐逸清疏之致。右端以没骨法绘白花柔枝，晕染轻透，花瓣莹润如凝霜雪，浅蓝枝叶衬出雅致隽秀。旁题行书小诗，诗画相融，笔意简淡却藏雅人幽情，将爱花赏梅的闲逸心境织入笔墨，清寂空濛与柔婉清雅相映，尽显古典雅致的文人情致。",[23,7,24,25,27,28,83,29,106,430,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea6b17bd705e743fcc1bac8c1e8fa4d.jpg",[],{"id":82859,"slug":82860,"title":82861,"dynasty":292,"author":293,"museum":364,"description":82862,"tags":82863,"thumbUrl":82864,"material":139,"size":139,"collection":139,"collections":82865,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},230522,"fang-gu-shan-shui-dong-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230522","仿古山水动物粉本(狩野家图卷)","此作以工写相融之笔绘就水畔闲景，一对鸳鸯依偎石间，雄鸟羽色妍秀，翎毛晕染精微，绒绒肌理宛然可见，雌鸟素朴温婉，二者亲昵缱绻，尽显静好之态。旁侧芍药轻绽，粉花柔叶勾勒秀雅，设色清润柔和。坡石以淡墨晕染虚化，留白衬出水泽空濛，将院体花鸟的精工细腻，与文人写意的淡逸糅合一处，把缱绻温情藏在幽寂小景里，静雅恬然，晕染出东方花鸟独有的诗意韵致。",[23,7,27,28,2555,327,176,83,299,4896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d5f83429ae56c7ef5eae540e6bcdd.jpg",[],{"id":82867,"slug":82868,"title":82869,"dynasty":292,"author":65932,"museum":364,"description":82870,"tags":82871,"thumbUrl":82872,"material":743,"size":744,"collection":139,"collections":82873,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},230490,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-er-ping-yun-gu-deng-yan-230490","安土桃山 山水图屏风-第二屏","云谷等颜（1547～1618）画家。初学狩野派，后学雪舟水墨画。",[23,7,24,173,29,174,177,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2406d05eb8ab3e40711e141a4a8b0f6.jpg",[],{"id":82875,"slug":82876,"title":82877,"dynasty":76,"author":1703,"museum":364,"description":82878,"tags":82879,"thumbUrl":82880,"material":139,"size":139,"collection":139,"collections":82881,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},230233,"ce-ye-ba-kai-jin-nong-230233","册页八开","本幅以极简构图层叠春景意境，垂柳叶丝以淡墨晕染，袅袅拂动，柔媚尽现春日缱绻；下方桃枝枯淡勾勒，浅墨晕开花瓣，初绽芳华娇柔含露。\n\n书画相映成趣，题诗借春景抒怀，将暮春春愁融于淡墨景致。笔意简淡疏朗，脱却繁饰，留白空灵雅致，于浅淡笔墨晕染出江南春深的幽寂怅惘，尽显文人画诗韵墨香的隽永格调，以极简构图传递悠长闲愁，尽得雅致冲淡之美。",[7,24,81,173,83,3246,2930,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76b0d11efcdac5bfcb9c16040224db3.jpg",[],{"id":82883,"slug":82884,"title":82885,"dynasty":76,"author":5096,"museum":364,"description":24096,"tags":82886,"thumbUrl":82887,"material":743,"size":744,"collection":139,"collections":82888,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},230196,"shan-shui-qing-yin-tu-ce-wang-jian-230196","山水清音图册",[7,24,81,29,177,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb2f0ceb447a93b509790441983584e.jpg",[],{"id":82890,"slug":82891,"title":82892,"dynasty":76,"author":5096,"museum":364,"description":82893,"tags":82894,"thumbUrl":82895,"material":139,"size":139,"collection":139,"collections":82896,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},230195,"fang-gu-shan-shui-ce-yi-wang-jian-230195","仿古山水册一","此作用色清雅柔润，以披麻皴绘出山峦起伏肌理，敷色温润秀雅，淡染出层叠山势的虚实层次。\n\n近岸屋舍隐于苍林之下，古木森秀，枝叶苍润；中景板桥横跨水渚，渔人泛于清波，谷壑间雾气轻漫，晕开远近景深，远景峰岫含翠，淡远空灵。\n\n整体恬静安谧，将文人幽居理想融于尺幅，笔致沉稳工细，明丽设色却无艳俗之感，尽显仿古山水的雅致格调，观之如临幽林静渚，尘虑尽消。",[7,24,81,27,29,177,105,227,108,109,34,649,35,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371b62bc0f3bc1935cd4ac5a11e90071.jpg",[],{"id":82898,"slug":82899,"title":82900,"dynasty":76,"author":10376,"museum":364,"description":82901,"tags":82902,"thumbUrl":82903,"material":139,"size":139,"collection":139,"collections":82904,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},229021,"mei-xi-gao-yin-tu-zhou-wang-hui-229021","梅溪高隐图轴","此作分上下两境，上段以高远之法绘危崖层叠，飞瀑穿谷而出，淡墨晕开岚气，写尽空山岑寂萧寒之态。下段平溪绕舍，古松虬曲、疏柳映水，茅庐临水而建，尽显林泉幽居的恬然意趣。\n画作以诗入画，呼应高隐主题，笔墨糅合南北画派之所长，干笔皴擦勾勒山石苍劲肌理，湿墨晕染铺就空蒙烟霭，简淡秀雅的笔触间，将文人寄迹林泉、避世高隐的悠然襟怀尽藏其中，尽显清逸出尘的山水画意境。",[23,7,24,241,173,177,29,558,1575,35,34,176,560,649,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca3a61d052a38131a79f29061e44005.jpg",[],{"id":82906,"slug":82907,"title":82908,"dynasty":99,"author":293,"museum":364,"description":82909,"tags":82910,"thumbUrl":82911,"material":139,"size":139,"collection":139,"collections":82912,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":49},228791,"xi-die-ye-yi-ming-228791","戏蝶页","仕女身姿翩然，抬臂挥扇戏蝶，袖袂随轻曳的姿态舒展，鬓边簪花衬得眉眼愈发娇柔。细劲的游丝描勾勒衣褶纹理，清雅古淡的设色晕染出温婉质感。\n\n画面定格了闺中嬉游的悠然一瞬，将女子娇憨灵动的情态藏入笔墨间。翩跹蝶影呼应着仕女的活泼，把闲逸的闺中情趣铺陈开来。古绢虽经岁月侵蚀，边角斑驳残损，却晕开了独有的旧时光晕，为这场往昔嬉游晕染开朦胧诗意，雅致的古典意趣穿越岁月，依旧动人。",[209,7,24,81,27,260,28,106,59,604,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f036ec22bfa0bf30ed48cbdf7c2948.jpg",[],{"id":82914,"slug":82915,"title":82916,"dynasty":99,"author":293,"museum":364,"description":82917,"tags":82918,"thumbUrl":82919,"material":139,"size":139,"collection":139,"collections":82920,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":4606},228790,"yan-he-qing-hui-ce-yi-ming-228790","岩壑清晖册","此作用笔秀润淡逸，以柔缓皴染晕出山峦烟岚，将远山融在朦胧霭气之中，虚实相生，铺展出幽远空寂的天地。近景苍树虬劲蓊郁，旁侧修竹亭亭，与山居茅檐相映成趣。\n\n廊下士人斜卧凭栏，似在静听竹风，阶侧童子敛声侍立，寥寥数笔便勾勒出林下幽居的松弛意态。淡赭绢底晕出古雅暖意，整幅画将林泉高致的文人心境藏在笔墨之间，以清简构图传递出萧散闲雅的山居意趣，尽显幽栖丘壑、寄情烟霞的林下风流。",[7,209,24,81,27,28,177,29,175,242,430,107,106,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d18bef70057de2123fbe18762c9072.jpg",[],{"id":82922,"slug":82923,"title":82924,"dynasty":99,"author":4821,"museum":364,"description":82925,"tags":82926,"thumbUrl":82927,"material":139,"size":139,"collection":139,"collections":82928,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},228491,"you-he-tu-du-jin-228491","友鹤图","此作绘水畔幽居，茅舍内隐士凭榻静思，竹松奇石环伺左右，远汀烟水空濛澹荡，晕染出清寂出尘的江乡暮色。笔墨秀润简淡，以轻岚淡墨铺就旷远意境，咫尺之间尽显林泉幽致。\n后接长篇题咏，诗书合璧，以鹤喻同心知己，寄寓了文人幽栖林下、澹泊自适，以鹤为友、物我两忘的隐逸襟怀，尽显明代文人画尚意抒情的特质，将林下高致的清雅意趣藏于尺幅之间，是兼具笔墨意趣与文人精神的上乘佳构。",[23,7,24,25,173,178,227,86,29,106,449,242,245,175,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fd2a2f16484e93696f6852f61d4223.jpg",[],{"id":82930,"slug":82931,"title":1692,"dynasty":99,"author":6705,"museum":364,"description":82932,"tags":82933,"thumbUrl":82934,"material":139,"size":139,"collection":139,"collections":82935,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},228383,"shan-shui-tu-liu-jue-228383","此作用披麻皴晕染江南丘壑，山峦平缓温润，苍松杂木错落于坡石之间，笔墨苍厚松灵，带着吴门画派特有的萧散意趣。淡墨轻烘出烟雨空蒙的氛围，溪谷蜿蜒隐现于林木山石间，尽显吴中山水的温润雅致。\n画作带着文人画的清幽品格，将林泉高致的隐逸心境藏于笔墨间，师法前贤又自出清澹之格，把江南山野的沉静雅致铺陈开来，是兼具笔墨意趣与人文情志的佳构。",[23,7,24,25,173,177,86,178,227,29,34,176,649,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea50e787329b0ad288fa2056b6b46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，一人携琴，二人垂目望向幽寂寒潭。对岸林叶覆着轻烟，崖石静峙，水面空濛无波，将天地浸在清寂萧疏的氛围中。\n\n笔致秀雅空灵，略去繁饰，只以简淡线条勾勒衣袂柔姿，以晕染晕开林下水气，将等待听琴的娴静幽思融在水光天色里，把林下闲情化作幽远诗意，尽显雅致淡远的文人意趣，仿佛隔着绢本，都能听见风掠林梢的轻响，静候琴音破寂而来。",[23,7,24,7039,27,28,106,59,430,176,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac32a0479a74d50cdf19281ce14bff0e.jpg",[],{"id":83004,"slug":83005,"title":83006,"dynasty":189,"author":10811,"museum":364,"description":83007,"tags":83008,"thumbUrl":83009,"material":139,"size":139,"collection":139,"collections":83010,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},228049,"liang-chang-cao-tang-he-juan-wang-yuan-228049","良常草堂合卷","此卷以清润淡墨绘就平远林泉，林木苍蔚，草堂幽隐烟峦水畔，尽显萧散简远的林下雅意，笔墨温润松秀，尽显元人山水尚意之风。\n卷后诸家题跋琳琅排布，行草篆隶各得其妙，笔意跌宕文辞清雅，与画作相映成辉。书画合璧间，藏尽彼时文人雅聚的清兴逸致，纸墨古雅韵致悠长，尽显元代诗书画一体的文人审美意趣。",[23,7,24,25,173,178,1308,86,177,227,29,174,175,34,176,37,109,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7562e2b8bda6a783c5cd69409c12ec.jpg",[],{"id":83012,"slug":83013,"title":3301,"dynasty":189,"author":293,"museum":364,"description":83014,"tags":83015,"thumbUrl":83016,"material":139,"size":139,"collection":139,"collections":83017,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},227987,"yu-yuan-shi-chao-tu-yi-ming-227987","此作糅合山水、界画与风俗意趣。上部山峦以淡墨皴擦勾勒，烟岚氤氲间尽显雄浑苍莽，将北国山水的沉郁与朦胧空寂的意境相融。临水楼阁界画工致，飞檐层叠、台基规整，尽显苑囿的宏阔雅致，梁柱结构分毫毕现，见得精湛界画功力。\n\n下部闾巷屋舍错落排布，人物往来穿梭，市井烟火气扑面而来。整幅画作以全景构图，将林泉幽致、宫苑恢弘与市井鲜活交织，打破山水与界画的割裂，把清冷意境和暖融融的俗世情态相融，尽显兼容写实与写意的审美意趣。",[23,7,241,104,27,29,107,1237,34,106,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7beaab8edbce5863fbd8ed6ded6b752f.jpg",[],{"id":83019,"slug":83020,"title":83021,"dynasty":18,"author":7349,"museum":364,"description":83022,"tags":83023,"thumbUrl":83024,"material":139,"size":139,"collection":139,"collections":83025,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},227979,"xing-lv-tu-ye-liang-kai-227979","行旅图页","此作取景极简，半边巨峰巍峨矗立，山石以斧劈皴利落勾勒棱线，淡墨晕染出积雪覆山的清寒意态。崖下枯木虬曲遒劲，枝桠交错间尽显冬日荒寒。山脚处旅人策蹇徐行，渺小身影衬得山岳愈发沉浑大气，留白铺就出辽远空寂的江天。\n整幅笔简意繁，以苍劲简逸的笔墨，将羁旅天涯的孤寂况味藏于尺幅之间，把冬日山行的荒寂清冷烘托尽致，意境幽远耐品，尽显水墨写意的精妙。",[23,7,24,209,29,81,177,176,1015,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27fc4d514243e15127ce1f8cc64c78d1.jpg",[],{"id":83027,"slug":83028,"title":83029,"dynasty":18,"author":293,"museum":364,"description":83030,"tags":83031,"thumbUrl":83032,"material":139,"size":139,"collection":139,"collections":83033,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":94},227938,"an-chun-tu-tuan-shan-ye-yi-ming-227938","鹌鹑图团扇页","此作以精微工笔写就，细笔丝毛将鹌鹑的羽色层次尽现，蓬松绒羽间兼具挺括质感，鹌鹑侧目远眺，身姿沉稳灵动，将野禽机警的天性传神勾勒。背景淡晕草叶，虚淡朦胧，以衬实主，将秋日郊野的清寂野趣悄然铺陈。\n\n古绢色泽沉郁，却难掩笔墨精妙，以小景见天地，尽显对自然物性的细致体察。整幅画面简净含蓄，萧疏静谧的意境呼之欲出，淡墨轻色间，藏着雅致内敛的古典意趣。",[23,209,7,24,1562,83,28,27,10824],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc2445a1615daab5107d7a131a57600.jpg",[],{"id":83035,"slug":83036,"title":83037,"dynasty":18,"author":293,"museum":364,"description":83038,"tags":83039,"thumbUrl":83040,"material":139,"size":139,"collection":139,"collections":83041,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},227908,"kong-lin-zuo-gou-tu-yi-ming-227908","空林坐狗图","垂柳如烟垂覆林隅，细槎疏枝错落舒展，晕染出萧寂清旷的郊野秋意。劲瘦细犬静坐坡石之侧，颈间红绦轻垂，是古雅底色里一抹鲜亮暖意。它抬首侧目，似在谛听风穿叶隙、野雀轻啼，将空林的幽寂悄然打破，又融于这份静谧之中。\n\n此作晕染温润古雅，淡墨写尽林野荒疏意趣，工笔细绘灵犬神态，以尺幅团扇框住林下闲景，将雅致审美藏于野趣日常，幽韵自生，尽显小品画以小见大的精妙意境。",[23,1160,7,24,1562,28,27,957,61,34,245,9930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d50f44903c7a03e510070aaade1260.jpg",[],{"id":83043,"slug":83044,"title":71283,"dynasty":18,"author":32274,"museum":364,"description":71284,"tags":83045,"thumbUrl":83046,"material":139,"size":139,"collection":139,"collections":83047,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},227756,"jiang-di-fang-mu-tu-yan-ci-ping-227756",[23,7,209,24,1562,27,29,151,34,71286,245,109,491,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e32dad27f36b039d1b36db0db02d9fd.jpg",[],{"id":83049,"slug":83050,"title":83051,"dynasty":18,"author":1827,"museum":364,"description":83052,"tags":83053,"thumbUrl":83054,"material":139,"size":139,"collection":139,"collections":83055,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":94},227737,"mu-yang-tu-ye-li-song-227737","牧羊图页","本幅设色画园形，左侧款“李嵩”，对幅王玄真书黄公望句，钤“信公珍赏”、“黄氏子久”等印21方。\n\n李嵩（1166-1243年），南宋画家，钱塘人。少为木工，后为画院待诏李从训养子，随其习画。历任光宗、宁宗、理宗三朝画院待诏。擅长人物、佛像，尤长界画。",[23,2544,7,24,27,28,106,8368,957,394,1532,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7449e6fb1adde8548b9b68812e0a5f09.jpg",[],{"id":83057,"slug":83058,"title":83059,"dynasty":18,"author":887,"museum":364,"description":83060,"tags":83061,"thumbUrl":83062,"material":139,"size":139,"collection":139,"collections":83063,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},227501,"wen-zhu-tu-shou-juan-su-shi-227501","文竹图手卷","这是一首关于笋焖猪肉的打油诗，据说，苏轼在一个派对上品尝这道食物时，就作了这首诗。\n\n你可能还听过他的另一首诗，“宁可食无肉，不可居无竹。无肉令人瘦，无竹令人俗。人瘦尚可肥，士俗不可医。旁人笑此言，似高还似痴。”\n\n由此可见，苏轼对竹子的爱甚至已经超过了肉，宁可食无肉，也要“居有竹”。可能有人会想，瘦一瘦更健康，拿它跟“居无竹”相比，是不是太夸张了？",[23,7,24,25,173,242,178,227,86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学画那两只坐在枯树上的老鹰，看上去十分悠闲，略带了猛禽凶猛的模样，却依然英姿飒爽。",[23,209,7,24,28,27,281,83,1015,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b691bdf35dcf11c904d1e69d7cdd8a8.jpg",[],{"id":83079,"slug":83080,"title":83081,"dynasty":18,"author":293,"museum":364,"description":83082,"tags":83083,"thumbUrl":83084,"material":139,"size":139,"collection":139,"collections":83085,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},227378,"qiu-ting-ru-quan-tu-yi-ming-227378","秋庭乳犬图","宋人小品画有很多题材，其中表现宠物犬的画作就有不少，尤其是宫廷贵妇在闲情逸致之时所驯养的小型观赏犬。毛益的《萱草戏狗图》与李迪的《秋葵山石图》，以及南宋无款的《秋庭乳犬图》、《秋葵犬蝶图》、《鸡冠乳犬图》、《萱花乳犬图》等就是典型代表。既反映了南宋院体花鸟画技艺的高超，又显现出画作中宠物犬的生动传神。千年之隔，犹如昨日。",[7,24,209,18,28,27,1562,957,12226,245,299,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9de381462da7dc521dfb837af9d57c0.jpg",[],{"id":83087,"slug":83088,"title":83089,"dynasty":204,"author":293,"museum":364,"description":83090,"tags":83091,"thumbUrl":83092,"material":139,"size":139,"collection":139,"collections":83093,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":49},227268,"xing-hu-tu-li-zhou-yi-ming-227268","醒虎图立轴","这幅水墨虎作，以淡墨晕染勾勒尽显写意妙趣。作者以灵动劲挺的墨线写出虎身毛发丝缕，浓淡墨色铺陈区分肌肉起伏，褪去猛虎惯常的凶戾张扬，将其初醒时慵懒松弛之态刻画入微，沉静姿态下暗蕴百兽之王的沉凝威严。\n画面边角缀以枯折枝桠与寒草，晕染出荒萧寒寂的氛围，与卧虎的静穆融为一体。整作不施重彩，凭藉古绢底色与水墨层次营造出古雅沉静的意境，简淡笔墨间暗藏雄浑气韵。",[23,7,24,241,173,7281,957,10154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd03bfdd9f3579aa0c7a5c1ea73e975.jpg",[],{"id":83095,"slug":83096,"title":37708,"dynasty":76,"author":7124,"museum":364,"description":50721,"tags":83097,"thumbUrl":83098,"material":139,"size":139,"collection":139,"collections":83099,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},226636,"shou-zi-pu-ru-226636",[23,7,24,86,173,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5ea3013245d575b459bc38ebbef6d1.jpg",[],{"id":83101,"slug":83102,"title":83103,"dynasty":18,"author":83104,"museum":364,"description":83105,"tags":83106,"thumbUrl":83107,"material":139,"size":139,"collection":139,"collections":83108,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},226560,"bian-qiao-hui-meng-tu-juan-chen-ji-zhi-226560","便桥会盟图卷","陈及之","《便桥会盟图》卷，元，陈及之作，纸本，白描，纵36厘米，横774厘米。\n该图旧作辽画，实误。款署“祜申仲春中浣富沙竹坡陳及之作”，据考，“祐申”为元代延祐庚申年的缩写。\n该卷画“便桥会盟”故事，全图共绘246人，180匹马和4头骆驼，堪称是元代绘人马最多、物景最宏大的历史画。全卷可分为三大部分，第一段，绘以党项人为主的各类马上运动和马戏表演，第二段，绘游牧之骑，以此过渡到第三段，绘便桥会盟故事，画突厥首领颉利在便桥桥头向秦王李世民求和的情景。\n全卷以白描线条绘成，得北宋李公麟遗韵。飞动自如的线条展现出人马极强的运动感，强劲之处，顿挫有力，洒脱之笔，圆转不滞。画中人马，虽盈寸方，但神情毕肖，尽见风采，细微之处，不失博大。\n清《石渠宝笈·初编》著录。",[23,209,7,25,260,28,108,106,150,29,34,649,31,47472,10679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb0ffce4747f42da84e0ed6e532f9db.jpg",[],{"id":83110,"slug":83111,"title":3117,"dynasty":76,"author":7674,"museum":364,"description":83112,"tags":83113,"thumbUrl":83114,"material":139,"size":139,"collection":139,"collections":83115,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":94},224532,"fang-gu-wei-gen-lao-ren-224532","此作为写意墨竹，数竿修竹错落斜出，构图疏密得宜，虚实相生。以浓淡墨色区分层次，浓墨挥写竹叶，笔势迅疾如劲风穿林，聚散合度，尽显劲挺错落之态；淡墨勾勒皴染竹干，笔力圆劲沉稳，竹节顿挫有力，将竹的清拔苍劲展露无遗。\n\n画面留白疏朗，以素净底色衬出修竹逸韵，尽显文人画尚简重意的意趣。落笔简练却神完气足，把竹之清高隽秀的品性描摹尽致，藏着画者寄情于竹的文心风骨。",[23,7,24,241,173,105,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2fdbaeba4523a2230d84515b05d154.jpg",[],{"id":83117,"slug":83118,"title":83119,"dynasty":76,"author":10376,"museum":364,"description":83120,"tags":83121,"thumbUrl":83122,"material":139,"size":139,"collection":139,"collections":83123,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":94},224467,"hua-meng-hao-ran-shi-yi-zhou-wang-hui-224467","画孟浩然诗意轴","此作以诗入画，全景铺展幽寂山居。层峦叠嶂以披麻皴写就，笔力苍秀，皴擦间尽显山石肌理的苍厚质感。云气在山谷间流荡开合，晕染出空濛湿润的烟雨氛围，将山峦切割成错落层次，虚实相生。\n\n水岸汀洲、古木虬枝错落排布，板桥行旅、崖畔山居点缀其间，为清冷山水添上灵动烟火气。高远与平远兼具的构图，上见巉崖陡立，下观浅溪通幽，将诗句里的隐逸恬淡具象化，笔墨兼具宋元山水的浑朴与清丽秀雅，尽显山居烟岚的悠然意趣。",[23,7,1397,241,173,177,29,108,109,175,107,34,176,37,106,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c7a0db74deff24cd7a29e728cdc7a4.jpg",[],{"id":83125,"slug":83126,"title":83127,"dynasty":76,"author":10376,"museum":364,"description":83128,"tags":83129,"thumbUrl":83130,"material":139,"size":139,"collection":139,"collections":83131,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},224459,"hua-hui-shan-shui-he-ce-1-7-wang-hui-224459","花卉山水合册1-7","此作用水墨写就冬日林泉之景，枯木虬曲苍劲，扎根嶙峋岩岸，间有翠松点染，于萧寒里暗蕴生机。山岩以干笔皴擦勾勒，朴拙厚重的棱角间，溪涧萦回、细瀑垂落，静景暗藏动势。远景以淡墨晕染烟霭，水天相融朦胧悠远，归雁掠过长空，更衬荒寒清寂。\n\n左侧题款朱印点缀，文气与画意浑然相融。全作用枯淡笔触铺陈萧疏之境，于极简中晕染出澹泊诗意，将冬日林泉的幽寂清远刻画尽致，笔意苍秀兼具，尽显文人山水雅逸格调，是以简驭繁的水墨佳作。",[23,7,209,24,81,173,177,29,1015,650,281,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0081d806b4ce52c4d8230dfefa4b761b.jpg",[],{"id":83133,"slug":83134,"title":83135,"dynasty":76,"author":1892,"museum":364,"description":83136,"tags":83137,"thumbUrl":83138,"material":139,"size":139,"collection":139,"collections":83139,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},224383,"fang-ni-zan-she-se-shan-shui-tu-wang-yuan-qi-224383","仿倪瓚設色山水圖","此作用倪瓒平远章法却自出机杼，远景山峦以干笔皴擦，披麻皴混以苔皴写尽山石嶙峋，浑厚苍劲间不失幽淡意趣。近渚林木清劲错落，屋舍隐于洲渚林泉，脱尽尘俗烟火气。\n设色浅淡温婉，赭石花青轻晕纸面，中和倪氏水墨冷寂，添几分温润柔和。师法云林萧疏意境，落笔却沉雄老辣，将南宗秀雅与北派苍厚相融。题诗与画境呼应，诗画合璧，师古不泥，尽显文人山水的雅逸风骨。",[23,209,7,241,27,29,105,177,227,864,297,430,35,650,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4338b8ae58b1ccd0bd17f1149f8ace0c.jpg",[],{"id":83141,"slug":83142,"title":83143,"dynasty":76,"author":45523,"museum":364,"description":83144,"tags":83145,"thumbUrl":83146,"material":139,"size":139,"collection":139,"collections":83147,"showCount":572,"zanCount":5,"manualWeight":48,"mainColor":94},224283,"shan-shui-hua-hui-ce-shi-si-fu-shan-224283","山水花卉冊(十四)","此作用色浅淡温润，以淡赭晕染崖壁，弱化山石棱角锋芒，尽显朴拙沉静的质感。前景枯林疏枝以简笔勾勒，不着浓墨修饰，空留出大片水泽，衬出山野空寂。远山仅以淡墨轻扫，虚实相生间拉开悠远层次。\n\n全画笔墨极简，不尚繁复描摹，以写意之法直抒胸臆，将萧散淡远的林下襟怀藏于淡远景致之中，静穆古雅的气质漫溢纸面。方寸间尽是冬日空山的清寂氛围，淡而不寡，简而不空，把胸中丘壑化作纸上清景，尽显文人画以意驭形的悠长余韵。",[23,7,24,81,173,177,29,1015,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347803b95215729f574e8f7396313f9c.jpg",[],{"id":83149,"slug":83150,"title":1692,"dynasty":76,"author":15347,"museum":364,"description":83151,"tags":83152,"thumbUrl":83153,"material":619,"size":61704,"collection":181,"collections":83154,"showCount":572,"zanCount":48,"manualWeight":48,"mainColor":94},224254,"shan-shui-tu-cha-shi-biao-224254","图中景岸上一人牵驴待渡，挥手呼叫船夫；船夫撑着小船正缓缓地驶向岸边。远景山峦起伏，林木苍郁，云雾缭绕，若隐若现的景象。 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画面最左边一名侍女，身穿交领窄袖上襦，领襟及袖端处缘边。下身着黄褐色长裙。上襦之外为白色披帛，内着白色中单。侍女腰间佩戴组绶。古人佩玉，组绶是用以系玉的丝带，穿衣时通常系在衣服的最外面，由彩色的丝线编织而成。《礼记·玉藻》记载：“天子佩白玉而玄组绶，公侯佩山玄玉而朱组绶，大夫佩水苍玉而纯组绶，世子佩瑜玉而綦组绶，士佩瓀玟而緼组绶。” 该侍女发式为双平髻，髻上插梳。双平髻是双挂式的一种，起源于秦朝。其特点是将发顶平分两大股，梳结成对称的环，相对垂挂于两侧。这种发式多用于宫廷。",[7,241,27,106,28,59,136,6060,17264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bedfc707d44a7540422c8ce063b6905.jpg",[],{"id":84156,"slug":84157,"title":84158,"dynasty":99,"author":38102,"museum":364,"description":66167,"tags":84159,"thumbUrl":84161,"material":743,"size":744,"collection":139,"collections":84162,"showCount":747,"zanCount":5,"manualWeight":48,"mainColor":49},290602,"peng-shan-yu-nian-zhou-zhang-chong-290602","蓬山遇辇轴",[209,7,241,26,27,28,106,29,279,150,59,1398,84160,2715],"辇车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74639a5bcfa89c2ad174b07008010f8.jpg",[],{"id":84164,"slug":84165,"title":84166,"dynasty":76,"author":58956,"museum":364,"description":84167,"tags":84168,"thumbUrl":84169,"material":743,"size":744,"collection":139,"collections":84170,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},290595,"xue-lang-shi-tu-zhou-zhang-ruo-cheng-290595","雪浪石图轴","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。",[7,241,260,173,245,244,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1a6bc4dfd2f0415814e54a348ae864.jpg",[],{"id":84172,"slug":84173,"title":84174,"dynasty":76,"author":44716,"museum":364,"description":51336,"tags":84175,"thumbUrl":84176,"material":743,"size":744,"collection":139,"collections":84177,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},290589,"gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-290589","高宗御笔秋花诗轴",[7,241,104,27,28,107,109,115,83,327,86,227,5309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbcc5d7aafbdc6bc856a662c88c5e026.jpg",[],{"id":84179,"slug":84180,"title":84181,"dynasty":189,"author":19397,"museum":364,"description":84182,"tags":84183,"thumbUrl":84185,"material":743,"size":744,"collection":139,"collections":84186,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},290584,"fang-zheng-qian-lin-ting-qiu-shuang-tu-zhou-zhang-yu-290584","仿郑虔林亭秋爽图轴","张雨（1277年-1348年），又名天雨，字伯雨，法名嗣真，别号贞居，又号句曲外史，钱塘（今浙江杭州）人，元朝茅山宗道士。年二十遍游天台、括苍诸山。",[7,241,173,177,29,175,394,1653,109,174,176,106,6922,86,227,5579,84184],"清爽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe127da8e79914605105f333311b13207.jpg",[],{"id":84188,"slug":84189,"title":84190,"dynasty":76,"author":2405,"museum":364,"description":61366,"tags":84191,"thumbUrl":84192,"material":743,"size":744,"collection":139,"collections":84193,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},290566,"fang-tian-wang-xiang-yi-zhou-xu-yang-290566","仿天王像（一）轴",[7,241,259,27,2714,28,2716,9254,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf01e15251ff69fa4b4315c8ba1b7a2.jpg",[],{"id":84195,"slug":84196,"title":84197,"dynasty":76,"author":46374,"museum":364,"description":84198,"tags":84199,"thumbUrl":84200,"material":743,"size":744,"collection":139,"collections":84201,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},290518,"dai-ding-hong-wu-290518","岱顶","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 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。",[7,24,241,27,106,150,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bc760660ccaab1de00c8df1d1e4ccc.jpg",[],{"id":84999,"slug":85000,"title":20281,"dynasty":76,"author":5052,"museum":364,"description":12208,"tags":85001,"thumbUrl":85003,"material":743,"size":744,"collection":139,"collections":85004,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},235616,"hong-ren-shan-shui-ce-hong-ren-235616",[209,7,24,173,177,5990,29,174,175,491,5066,33,35,85002],"天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21bf3c93c3dcba2e1955d6f4a94d4dd.jpg",[],{"id":85006,"slug":85007,"title":85008,"dynasty":99,"author":293,"museum":364,"description":85009,"tags":85010,"thumbUrl":85011,"material":139,"size":139,"collection":139,"collections":85012,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},235557,"lu-zhi-hao-shang-song-bie-zhou-yi-ming-235557","陆治濠上送别轴","此作用淡墨轻染铺展早春濠上水色，以远近三层景致铺陈离情。远山空灵浅秀，淡赭晕染出清寂春山轮廓，衬出天地辽远。中景城郭屋舍临水错落，水榭间暗藏饯别之意，烟火气揉入依依别情。近岸柳林疏瘦、嘉木立渚，枝条轻曳间满含缱绻。\n\n整体笔墨秀雅简淡，以吴门画派典型的写意淡设色出之，浅青淡赭晕染出江南早春的柔润清和。题诗与画作相映，将送别时的含蓄心绪寄寓在空蒙湖山烟霭中，文辞清隽晕开画中离思，诗画相融之间，把文人饯别时的幽微深情藏在澹澹濠波里，雅静淡远，尽显抒情山水的悠然意韵。",[7,24,241,173,27,177,29,107,34,174,109,227,114,31,1015,491,1915,111,2409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb37015866d001a2c187f682336b00.jpg",[],{"id":85014,"slug":85015,"title":131,"dynasty":99,"author":51694,"museum":364,"description":74970,"tags":85016,"thumbUrl":85017,"material":743,"size":744,"collection":139,"collections":85018,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},235476,"hua-hui-ce-qi-xun-235476",[7,24,81,27,83,84,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85aee482046e4ebb9752e5c7e49deac.jpg",[],{"id":85020,"slug":85021,"title":1108,"dynasty":99,"author":85022,"museum":364,"description":85023,"tags":85024,"thumbUrl":85025,"material":743,"size":744,"collection":181,"collections":85026,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},235455,"shan-shui-tu-ce-pan-zheng-235455","潘徵","潘徵 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网上引用清史稿只言片语，说侯方域为做清朝官而献计于清军直隶山东河南三省总督张存仁，镇压榆园军起义。但并非如此，侯方域在清顺治七年春，因张存仁访其父，不得已上泛泛而谈的《上三省督府剿抚议》，且张存仁在顺治八年才水淹榆园军。在35岁时，回想起自己遭遇坎坷，除诗文一无所成，悔恨不已，又因违心参与顺治八年乡试，认为自己失节于明，便将其书房更名为“壮悔堂”，表示其壮年后悔之意。在这里，完成了他的两部文集《壮悔堂文集》10卷、《四忆堂诗集》6卷明志。\n清朝顺治十一年十二月十三日（1655年1月30日），37岁的侯方域因国破家亡，复明无望，壮志难酬，郁闷在怀和思念香君，染病身亡。\n侯方域与冒襄、陈贞慧、方以智，合称明末“四公子”，有代表作《李姬传》。清初作家孔尚任撰《桃花扇》剧本，描写的就是侯方域与秦淮名姬李香君的爱情故事，侧面反映了明亡清兴的历史背景。",[7,24,1562,29,173,177,1015,176,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2c3bb17af8e5f52cc5fb44cd14d8c9.jpg",[],{"id":85148,"slug":85149,"title":72688,"dynasty":76,"author":85150,"museum":364,"description":85151,"tags":85152,"thumbUrl":85153,"material":139,"size":139,"collection":139,"collections":85154,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},234668,"mei-zhu-shan-ye-xu-qi-234668","徐琪","徐琪（1849～1918），字玉可、花农，号俞楼，室名玉可盦、九芝仙馆、香海盦、青琅玕馆等，浙江杭州人。光绪六年进士，授编修，历官山西乡试副考官，广东学政、官至兵部侍郎。俞樾弟子。工诗词、书画，善花卉，神似恽南田，著述甚丰。",[7,24,1562,27,28,448,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be9d9bfb423e714147a62ce9fa58179.jpg",[],{"id":85156,"slug":85157,"title":85158,"dynasty":76,"author":76920,"museum":364,"description":85159,"tags":85160,"thumbUrl":85162,"material":139,"size":139,"collection":139,"collections":85163,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},234624,"tao-hua-lu-yu-wan-shan-lang-bao-chen-234624","桃花鲈鱼纨扇","郎葆辰(1763—1839)，初名福延，又名遂峯，字文台，号苏门，晚号桃花山人。浙江安吉人。1817年（嘉庆二十二年），授翰林院编修，掌印给事中，升贵州粮储道。\n官御史，卒于家。生前曾疏请开浚太湖七十二溇，当地百姓深受其利；又平反徐察氏冤狱。在贵州，还教当地人民种桑织布。归里后，与山人墨客为友。工诗古文辞，善行、楷书，写生得陈道复、徐渭之法。超纵生疎，别具旨趣。画蟹如生，有郎蟹之目。著有《桃花山馆诗稿》。卒年七十七。事迹收录于《墨香居画识》、《墨林今话》、《朱小茗耐洽谭》、《山东省金石书画展纪略册》。",[7,1562,27,83,279,85161,227,86,178],"鲈鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7cef9325b487e627eace839e064ec50.jpg",[],{"id":85165,"slug":85166,"title":85167,"dynasty":76,"author":15347,"museum":364,"description":85168,"tags":85169,"thumbUrl":85170,"material":139,"size":139,"collection":139,"collections":85171,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},234547,"fang-ni-yuan-zhen-shi-yi-tu-zhou-cha-shi-biao-234547","仿倪元镇诗意图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[7,24,241,173,177,29,430,340,176,5066,491,5243,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":85173,"slug":85174,"title":85175,"dynasty":76,"author":293,"museum":364,"description":85176,"tags":85177,"thumbUrl":85178,"material":743,"size":744,"collection":139,"collections":85179,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},234407,"yi-zhu-chao-fu-zuo-hua-xiang-zhou-yi-ming-234407","奕詝朝服作画像轴","此作工笔细腻沉稳，设色华贵雅致，将帝王伏案挥毫的片刻凝于绢本之上。主角身着满饰龙纹的朝服，明黄、石青与金彩层层晕染，云锦肌理纤毫毕现，矫健龙纹暗合九五威仪。\n\n画师以精微笔触勾勒面容，眉眼清隽沉静，执笔落墨间神态端肃安然，揉合了帝王威仪与文雅气度。案头文房清供、博古摆件错落有致，既藏文人情趣，亦显宫廷器物的精致考究。\n\n整幅构图均衡规整，素净背景衬出人物庄重气场，将纪实性与审美性相融，是清代宫廷肖像画的精妙之作。",[7,27,28,241,106,63,12876,10854,10855,12877,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971c26820df64b0aa633e4422e60e6c7.jpg",[],{"id":85181,"slug":85182,"title":85183,"dynasty":76,"author":293,"museum":364,"description":85184,"tags":85185,"thumbUrl":85188,"material":743,"size":744,"collection":139,"collections":85189,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},234379,"fu-lin-chao-fu-xiang-zhou-yi-ming-234379","福临朝服像轴","此作以细腻写实之笔，定格帝王威仪。帝王安坐鎏金宝座，面容沉敛端方，眉眼自带九五之尊的肃穆气场。明黄朝服遍饰五爪金龙，宝蓝织金镶边勾勒华贵轮廓，朱红暖帽顶戴东珠，纹样精细规整，尽显礼制森严与皇家尊荣。画师晕染入微，还原帝皇神采气韵，衣袍褶皱层次分明，金线绣纹在素绢上熠熠有光，台毯繁纹疏密得当，构图庄重严整，将皇权的庄重尊贵凝于绢素，是兼具纪实性与艺术性的肖像佳构。",[7,241,368,28,27,106,3412,3411,1863,62414,85186,85187,50102,19002],"织物纹样","金色装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11740411748d6f819c4f679c5dd2844.jpg",[],{"id":85191,"slug":85192,"title":486,"dynasty":76,"author":3972,"museum":20,"description":85193,"tags":85194,"thumbUrl":85195,"material":990,"size":139,"collection":139,"collections":85196,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},234292,"shan-shui-ce-jin-ting-biao-234292","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[7,27,173,177,5990,227,29,1575,840,176,109,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":85198,"slug":85199,"title":68979,"dynasty":76,"author":4672,"museum":20,"description":85200,"tags":85201,"thumbUrl":85202,"material":665,"size":27037,"collection":139,"collections":85203,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},234286,"tang-dai-xiao-yuan-xian-yong-tu-ce-tang-dai-234286","唐岱小园闲咏图册，绢本设色，25.7×33厘米，共十五开，绘宝亲王弘历《御制小园闲咏》十五首诗意，故宫博物院藏。\n唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。",[7,27,81,86,227,29,176,34,175,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49860ee591171309ea73ae89226743e.jpg",[],{"id":85205,"slug":85206,"title":486,"dynasty":76,"author":15347,"museum":364,"description":85168,"tags":85207,"thumbUrl":85208,"material":139,"size":139,"collection":139,"collections":85209,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},234275,"shan-shui-ce-cha-shi-biao-234275",[7,24,81,173,29,430,864,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3081eba6012e76f1db4406bd622364d3.jpg",[],{"id":85211,"slug":85212,"title":85213,"dynasty":99,"author":85214,"museum":20,"description":85215,"tags":85216,"thumbUrl":85217,"material":40,"size":85218,"collection":139,"collections":85219,"showCount":747,"zanCount":5,"manualWeight":48,"mainColor":94},234251,"gui-fen-tu-deng-fu-234251","归汾图","邓韨","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[23,7,24,25,27,177,86,29,108,109,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f326f594cb4f73d23597696bfe00b.jpg","纵26.9厘米，横124厘米",[],{"id":85221,"slug":85222,"title":85223,"dynasty":99,"author":293,"museum":20,"description":85224,"tags":85225,"thumbUrl":85226,"material":139,"size":139,"collection":139,"collections":85227,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},234213,"dong-zhu-weng-zhu-lan-juan-yi-ming-234213","东渚翁竹兰卷","释文：归君体之示余，大司□东渚公所作兰竹，行笔秀润，意匠闲雅，真合作也。公在本兵，机务藂挫，而能游心翰墨如此，岂真所谓游刃有余地者哉？徵明题。",[23,7,556,25,86,178,242,452,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18269934aac3e0b357318f647a70291e.jpg",[],{"id":85229,"slug":85230,"title":85231,"dynasty":76,"author":10376,"museum":20,"description":40266,"tags":85232,"thumbUrl":85233,"material":40,"size":85234,"collection":139,"collections":85235,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷",[23,7,24,209,25,27,29,177,300,108,109,2094,34,107,175,1575,1532,35,13202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":85237,"slug":85238,"title":85239,"dynasty":76,"author":10376,"museum":20,"description":40266,"tags":85240,"thumbUrl":85241,"material":619,"size":85242,"collection":139,"collections":85243,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷",[23,7,25,173,28,29,2502,31,111,34,114,281,108,10380,11647,13202,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纵39.3cm 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、“朝乾夕惕”。\n雍正帝的一系列社会改革对于康乾盛世的连续具有关键性作用。雍正十三年（1735年）农历八月二十三日驾崩，终年58岁。庙号世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之泰陵，传位于第四子弘历。",[23,7,24,25,27,28,106,107,34,115,85251,2166,85252,368],"古代建筑","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76703745414aaf3c5171983bea62096c.jpg",[],{"id":85256,"slug":85257,"title":85258,"dynasty":76,"author":36765,"museum":20,"description":85259,"tags":85260,"thumbUrl":85262,"material":803,"size":139,"collection":139,"collections":85263,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},234162,"yan-zi-ji-mo-chou-hu-er-jing-tu-juan-wu-hong-234162","燕子矶莫愁湖二景图卷","吴宏（1615 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厘米",[],{"id":85527,"slug":85528,"title":85529,"dynasty":189,"author":51900,"museum":364,"description":85530,"tags":85531,"thumbUrl":85534,"material":12901,"size":85535,"collection":139,"collections":85536,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},232637,"mo-lou-shu-can-zhi-tu-cheng-qi-232637","摹楼璹蚕织图","《耕织图》是中国古代为劝课农桑，采用绘图的形式详实记录耕作与蚕织的系列图谱，原为南宋绍兴年间画家楼璹所作，作品得到了历代帝王的推崇和嘉许。此内整理：传元程棨摹楼璹绘本、清康熙三十五年焦秉贞绘、内府刊本（两种）、清雍正时期陈枚彩绘本、清代彩绘本及和刻本，共九种版本。\n南宋绍兴年间于潜县令楼璹绘制的《耕织图》呈献给宋高宗，深得高宗赞赏并获得吴皇后题词。皇上还专门召见他，并将其《耕织图》宣示后宫，一时朝野传诵，从而引发了“耕织图”发展的第一次高潮。社会上接连不断地出现了许多《耕织图》，形成了中国绘画史、科技史、农业史、艺术史中一个独特的现象，成就了中国文化遗产的一大瑰宝。《耕织图》历经近千年流传到世界各地。\n楼璹的《耕织图》又是一卷诗画相配的文学艺术作品，有人将他的诗与南宋诗人范成大的作品相比较，充满田园气息，也有人评价他的作品的内容更像是以农业为主题的农学著作，有人将它与《天工开物》、《农政全书》相媲美。说是一部有韵的农书。\n《耕织图》描绘细致入微又富有艺术感染力，有赖于楼璹对农业生产的长期观察体验和高超的艺术造诣。他在任县令时，跑遍於潜县治十二乡之周边的南门畈、横山畈、方元畈、祈祥畈、对石畈、竹亭畈、敖干畈等大畈，深入田头地角，出入农家，与当地有经验技术的农夫蚕妇研讨种田、植桑、织帛等经验技术得失。尤其难得的是，它在画面上留下的从事农业生产的图像，为研究农业特别是农具留下了无法从文字资料中得到的珍贵资料。例如《灌溉》《一耘》图，绘出了当时使用戽斗、桔槔和龙骨车抽水灌田的情景。从《收割》图中看到的是一幅紧张的割稻场面。《织》和《攀花》等图绘出了当时已经使用的素织机和花织机，使人们能够更形象地了解当时蚕桑及纺织的发展面貌。其中记载的许多耕织知识和生产工具一直沿用至今。\n该图为康熙年间，江南士人进呈南宋楼璹《耕织图诗》，康熙命内廷供奉焦秉贞重绘而成。康熙亲自题序，并为每幅图“制诗一章，以吟咏其勤苦而书之于图”。时著名木刻家朱圭、梅裕凤奉旨镌版印制。本次编辑将楼诗原文、康熙行草释文用简体文字附于图页，方便读者阅读。《御制耕织图》含23幅耕种图和23幅纺织图，每幅图都配有一首诗。这些诗是由康熙皇帝所作。清宫廷画家焦秉贞创作的这些画很大部分是根据南宋楼璹的《耕织图》来创作的，创作时做了调整。",[23,209,7,25,27,28,106,23648,85532,9885,86,57649,85533],"蚕织","传统技艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc381aebd2353ed49054ea70b9ec3a5.jpg","32.7X1049",[],{"id":85538,"slug":85539,"title":72130,"dynasty":76,"author":85540,"museum":364,"description":85541,"tags":85542,"thumbUrl":85543,"material":139,"size":85544,"collection":139,"collections":85545,"showCount":747,"zanCount":5,"manualWeight":48,"mainColor":94},232608,"fang-gu-shan-shui-tu-ce-jiao-xun-232608","焦循","近处坡岸垂柳疏朗，柔细枝条苍劲兼具，淡墨勾勒出清寂之态。一江春水横陈，扁舟载着披蓑隐士随波泛游，独览两岸烟光。远山以淡墨晕染平缓延绵，留白铺就江面云气，空濛悠远。\n\n左上角题诗点缀，诗书与画境相融，悠悠禅意漫开。全作用白描淡墨写就，舍弃浓艳敷色，尽显文人画简澹萧散之趣，将春日江野的清旷与幽居散人的隐逸襟怀合而为一，笔底尽是静穆淡远的林下之风，观之如临江凭眺，涤尽尘嚣。",[7,24,81,173,260,105,29,174,1015,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7d849c4bec9c9da923566ecd5c0af13.jpg","23.2 x 30cm",[],{"id":85547,"slug":85548,"title":1783,"dynasty":76,"author":45523,"museum":675,"description":85549,"tags":85550,"thumbUrl":85551,"material":85552,"size":85553,"collection":139,"collections":85554,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},232580,"shan-shui-hua-hui-ce-fu-shan-232580","傅山傅眉《山水花卉冊》，该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开，绢本纸本均有，设色水墨俱全。纵25.7厘米，横25.2厘米，现藏于天津博物馆。\n傅山（1607-1684），明末清初思想家、书画家。善诗、书、画、其画山林，气概浩荡，骨格奇峭，丘壑磊落，有奇逸气势；间写竹石，不落恒蹊，超然出尘。因常披朱衣，故号朱衣道人。晚年喜欢苦酒，自称“老蘖禅”。\n傅眉（1628—1683）,傅山之子，字寿髦，一作寿毛，一字竹岭，自号小蘖禅，山西阳曲人。工诗书画，亦能篆刻，山水学父法古朴而有真趣。",[209,7,173,81,177,29,245,1015,491,1329,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F673a2f02dd0a60f1669bc67d8546001d.jpg","绢本纸本","纵25.7厘米，横25.2厘米",[],{"id":85556,"slug":85557,"title":85558,"dynasty":292,"author":293,"museum":364,"description":85559,"tags":85560,"thumbUrl":85562,"material":139,"size":139,"collection":139,"collections":85563,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},231697,"you-yuan-si-tiao-ping-yi-ming-231697","游园四条屏","此作以古松虬枝框景，留白衬出林下清寂悠远。仕女分作数组，情态各别：执伞侍者垂首侍立，闺中眷侣私语相和，携幼仕女缓行顾盼，执巾侍女恭谨相随。\n\n线条细劲秀逸，敷色淡雅明净，朱红白衫与黛色衣袂相映，晕染柔和自然，将仕女温婉丰腴的体态神韵尽显。整幅画作把游园的松弛闲静，融在松风云影之间，将贵族春日游园的悠然意趣铺陈开来，尽显古典仕女画的雅致情致。",[23,7,24,27,28,106,59,394,4736,85561,17263,34],"游园场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127e8cff6c8c717373302cc855931e79.jpg",[],{"id":85565,"slug":85566,"title":85567,"dynasty":292,"author":49761,"museum":364,"description":71106,"tags":85568,"thumbUrl":85569,"material":743,"size":744,"collection":139,"collections":85570,"showCount":747,"zanCount":5,"manualWeight":48,"mainColor":94},231619,"bai-miao-shi-er-tian-tu-xiang-yue-tian-zhen-hai-231619","白描十二天图像 月天",[23,7,24,241,259,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b652dad80f69379800acd9b03119a31.jpg",[],{"id":85572,"slug":85573,"title":85574,"dynasty":99,"author":23960,"museum":364,"description":85575,"tags":85576,"thumbUrl":85577,"material":803,"size":85578,"collection":139,"collections":85579,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},231599,"da-mo-mian-bi-tu-song-xu-231599","达摩面壁图","此图所绘达摩形象古朴而虔诚，四周是野草蒙茸的岩洞，达摩身着红衣， 端坐于蒲团之上，正在修行。画心题“问法金銮不顺情，折盖潜向少林行。 若无断臂来承受，辜负如来十万程。”署款“庚子新春写于云间超果精舍。”押 “宋旭之印”、“石门山人”二印。",[23,7,24,241,27,177,259,106,245,109,299,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1fe66a812dbe56cfccf70204e699ab7.jpg","纵121.3横32.2厘米",[],{"id":85581,"slug":85582,"title":85583,"dynasty":99,"author":966,"museum":364,"description":85584,"tags":85585,"thumbUrl":85586,"material":139,"size":139,"collection":139,"collections":85587,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},231565,"fei-quan-gu-shu-tu-wen-zheng-ming-231565","飞泉古树图","文征明（1470--1559），初名壁(或璧)，字徵明，一字征仲，号衡山。江苏长洲（苏州）人。明代中期著名的画家、书法家。他与沈周、唐寅、仇英并列，合称明四家(吴门四家或“吴门四杰”）。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。书法上与祝允明、王宠并誉为“吴中三家”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。\n文征明的书画造诣极为全面，其诗、文、书、画无一不精，人称四绝全才。诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。\n文征明的绘画兼善山水、花鸟、人物，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。细笔山水画属本色画，具装饰性、抒情味、稚拙感的特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。\n文征明传世画作有《千岩竞秀》、《万壑争流》、《石湖草堂》、《石湖诗画》、《横塘诗意》、《虎丘图》、《天平纪游图》、《灵岩山图》、《洞庭西山图》、《拙政园图》等。",[23,7,24,29,27,177,899,16217,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1449fe9e3fac0372a5e26f2d03ddcc88.jpg",[],{"id":85589,"slug":85590,"title":85591,"dynasty":76,"author":10376,"museum":132,"description":85592,"tags":85593,"thumbUrl":85594,"material":803,"size":85595,"collection":139,"collections":85596,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},231490,"mei-xi-gao-yin-tu-wang-hui-231490","梅溪高隐图","王翚(1632-1717)，字石谷、象文，号耕烟散人、乌目山人、剑门樵客、天放闲人、雪笠道人、海虞山樵，晚号清晖主人、清晖老人等，常熟(今江苏)人。\n他出身于世代文人家庭，据记载，他的祖上四代皆善画，且皆有名气。明代著名画家沈周，就曾称道过他的四世祖王伯臣的画。其祖父王载仕、伯父王豢鳌、父亲王云客均擅绘画，有秀雅之称。\n王石谷秉承家学，自幼酷嗜绘画，据说他在六、七岁时便能以芦荻画壁，入学私塾，喜弄纸笔，随意点染，有生动之意。同县的张珂，擅长山水，学黄公望一体，王石谷曾一度向他学画。\n青年时的王石谷就崭露头角，表现出非凡的艺术才能。正当他需要扩大眼界和名师指导时，正巧太仓大画家王鉴游览常熟虞山，一日见壁间悬挂一山水小幅，大为惊叹，一问方知是王石谷所画，即派人将他找来。\n王石谷久闻王鉴画名，便呈上画扇，请王鉴过目。王鉴见画艺精湛，遂与王石谷交谈，谈话中，尤觉这位年方二十的年轻人聪颖而富有才华，不禁赞扬道：你的才学，已可与古人相比。当即收为弟子，并携其返回太仓，亲自指授。王石谷画艺遂大进。\n后来王鉴欲离家远行，便把这位高足弟子引荐给王时敏。王时敏询其所学，惊异地说：“此烟客师也，乃师烟客耶。”也就是说，王石谷简直可以当我王时敏的老师了，怎么还作我王时敏的弟子呢！于是取家藏宋元名迹供王石谷学习，并带着他游览长江南北，观摹诸位藏家所珍藏的历代秘本名迹。\n王石谷潜神一志，细心揣摩，“尽得其法，仿临宋元人，无微不肖”。王时敏曾感慨地说：“气韵位置，何生动天然如古人竟乃尔耶！吾年垂暮，何幸得见石谷，又恨石谷不及为董宗伯(其昌)见也”。\n当时著名书画鉴赏家、王石谷的挚友周亮工在《读画录》中也盛赞云：“予所见摹古者，赵雪江(清画家赵澄)与石谷两人耳，雪江太拘绳墨，无自得之趣：石谷天资高，年力富，下笔便可与古人齐驱，百年以来，第一人也”。\n据说当时人以王石谷临仿古人之作，加以装裱，冒充古画，即便是精于鉴赏的行家，也很难看出是近人手笔。",[23,7,173,177,29,449,34,176,558,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ce70988e77ff1074fb05c84cc2026.jpg","138x63",[],{"id":85598,"slug":85599,"title":85600,"dynasty":99,"author":56582,"museum":206,"description":85601,"tags":85602,"thumbUrl":85603,"material":803,"size":85604,"collection":181,"collections":85605,"showCount":747,"zanCount":5,"manualWeight":48,"mainColor":94},231414,"bai-yue-tu-leng-qian-231414","白岳图","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[7,24,241,173,29,177,176,34,108,109,114,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[181],{"id":85607,"slug":85608,"title":85609,"dynasty":18,"author":2029,"museum":206,"description":85610,"tags":85611,"thumbUrl":85612,"material":803,"size":85613,"collection":139,"collections":85614,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},231411,"ren-wu-tu-shuang-ye-liu-song-nian-231411","人物图双页","刘松年，南宋画家，钱塘（今浙江省杭州）人，居清波门，俗称“暗门”，因有“暗门刘”之称。淳熙年间为画院学生，其师张敦礼是李唐的学生，故画风与李唐一脉相承，而笔法俊秀，墨色亦显清淡，绍熙年间升至画院待诏，历经南宋孝宗、光宗、宁宗三朝，其画作有“院人中绝品”之名。工人物、山水、界画，是“南宋四家”中画风最为精致细微的一家。",[7,24,209,81,28,27,178,106,430,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61b5e1de6fecb202d7da5f1239102b.jpg","纵117公分 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nColor":94},230331,"qing-shi-quan-tu-ce-shi-kai-yi-ming-230331","清十犬图册-十开","《十犬图册》是清代画家佚名创作的一幅绢本设色画。\n此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。\n画法工整，具有一定的程式。\n对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[7,24,81,28,27,957,12226,394,245,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e2d3c8edc551956dced1e277f84ec6.jpg",[90],{"id":85685,"slug":85686,"title":64286,"dynasty":76,"author":12831,"museum":364,"description":85687,"tags":85688,"thumbUrl":85689,"material":139,"size":139,"collection":139,"collections":85690,"showCount":747,"zanCount":5,"manualWeight":48,"mainColor":49},230143,"he-he-er-xian-tu-luo-pin-230143","画面里二人憨态尽显，袒胸露腹，衣衫松垂，相偎对视，笑意漫溢眉眼间，亲昵松弛的模样满是人间烟火的融融暖意。作者以写意淡墨晕染人物神态，简括的衣纹线条随性洒脱，寥寥数笔便勾勒出二仙随性自在的模样。\n\n题诗与画作相映成趣，以质朴诗文点出合和圆满的意涵，笔墨古雅朴拙，诗画相融无间。整作摒弃繁复设色，以水墨清简之韵消弭仙俗边界，将和合二仙承载的圆满喜乐，以最生动质朴的方式铺陈开来，尽显写意功力，也传递出对人间温情圆满的脉脉期许。",[23,7,24,173,446,260,106,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8112e91dbc56cac7f9b59025a7b714ff.jpg",[],{"id":85692,"slug":85693,"title":85694,"dynasty":76,"author":3732,"museum":364,"description":85695,"tags":85696,"thumbUrl":85698,"material":139,"size":139,"collection":139,"collections":85699,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},228957,"fang-song-ren-gou-ran-tu-ce-jiang-ting-xi-228957","仿宋人勾染图册","此作用淡墨勾勒花瓣轮廓，由外至内层层晕染，将盛放牡丹的丰腴柔润尽数铺展，花心以浓墨点簇，层次分明，把牡丹盛放时的娇妍饱满尽显无遗。枝叶笔墨干湿浓淡有别，叶片皴擦细致、叶脉清晰，挺秀枝干搭配舒展翠叶，清雅间带着端庄意韵。\n\n全幅未施丹青，纯以水墨晕染花卉神采，兼得宋画工致写实的格调和文人写意的澹泊雅致。错落排布的鉴藏印，更添古雅厚重的书卷意蕴，将工笔细腻与水墨清逸相融，把牡丹的华贵风骨敛在素净墨色中，静雅脱俗，余韵悠长。",[23,7,209,24,81,28,85697,173,83,327,227,105],"勾染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c010e2f237ef06f01aef610df459e6.jpg",[],{"id":85701,"slug":85702,"title":85703,"dynasty":76,"author":85704,"museum":364,"description":85705,"tags":85706,"thumbUrl":85707,"material":139,"size":139,"collection":139,"collections":85708,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},228935,"mo-gu-shan-shui-ce-lu-yuan-228935","摹古山水册","陆远","此作用淡墨干笔写就水岸幽居之景，近岸古木虬曲垂丝，与旁侧细竹相映，茅舍临水孑立，透着世外幽居的闲静。水面留白铺展出空阔淡远之意，远山以枯笔皴擦勾勒石体质感，苍朴的山石晕染出烟水朦胧之态。\n\n整体画风简淡萧疏，将水岸清旷冷逸之境藏于尺幅间，笔意简净却意蕴悠长，把林泉幽隐之思融在每一处点染之中，观之便如踏入无人烟水，浸享静穆淡远的文人雅趣。",[7,173,105,177,81,29,176,34,920,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ecd5879745033f91d86956e7bd1aae2.jpg",[],{"id":85710,"slug":85711,"title":85712,"dynasty":99,"author":26281,"museum":364,"description":85713,"tags":85714,"thumbUrl":85715,"material":743,"size":744,"collection":139,"collections":85716,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},228911,"da-shi-xiang-shi-er-ding-yun-peng-228911","大士像（十二）","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[7,24,260,259,106,281,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f8b57923f0d9d9baf6d5b6213e862c.jpg",[],{"id":85718,"slug":85719,"title":85720,"dynasty":99,"author":293,"museum":364,"description":85721,"tags":85722,"thumbUrl":85723,"material":139,"size":139,"collection":139,"collections":85724,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},228817,"nao-xue-tu-tuan-shan-ye-yi-ming-228817","闹学图团扇页","整幅画面定格书塾日常的松弛一瞬，执教先生伏案酣眠，彻底解开学童身上的课业枷锁。顽童们或是肆意嬉闹，或是摆弄文房玩趣，将肃穆书斋化作稚趣横生的小天地。\n\n设色调古雅柔和，浅晕慢染间晕开旧时光的沉静质感，线条轻细灵动，精准捕捉孩童跳脱的身形与狡黠神态。以细腻的市井视角，将课业之外的稚真快活凝于绢面，把日常闲趣勾勒得鲜活饱满，尽显小品风俗画的动人情致，让旧时顽童嬉闹的鲜活意趣跨越年岁，直抵观者眼底。",[23,7,1562,27,106,244,12876,10854,10855,12877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F260700c922023b178b3f968e38060294.jpg",[],{"id":85726,"slug":85727,"title":85728,"dynasty":99,"author":293,"museum":364,"description":85729,"tags":85730,"thumbUrl":85731,"material":139,"size":139,"collection":139,"collections":85732,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},228800,"jiang-shang-du-diao-tu-yi-ming-228800","江上独钓图","烟波江上，渔翁卧于苇席，持杯把盏，斜置钓竿，将垂钓沽酒的闲逸写尽。手边酒坛缀着青芽，野趣横生。汀洲苇草轻摇，仙鹤掠空，水纹层层晕染，晕开一江清寂。\n\n题画诗点出幽居江湖、寄意烟波的襟怀，不求鱼获，只守自在本心。设色古雅温润，线条简淡松弛，将文人遁世忘机的隐逸意趣铺陈开来，无半点尘俗喧嚣，只剩江风裹着酒意漫开，把东方文人的闲旷之思融在尺幅间，淡而有味，静里生情，尽显出世忘机的林下之风。",[23,7,24,27,106,29,109,281,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c530002aa4f2cfc6f7ca3789b17bf70.jpg",[],{"id":85734,"slug":85735,"title":85736,"dynasty":99,"author":293,"museum":364,"description":85737,"tags":85738,"thumbUrl":85739,"material":139,"size":139,"collection":139,"collections":85740,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},228780,"fang-li-tang-bai-niu-tu-yi-ming-228780","仿李唐百牛图","此作以长卷铺展郊野牧歌，百头水牛形神各异，或缓步山径、或卧息林麓、或就水嬉游，尽显野性生机。村童三两，或骑牛徐行、或滩间闲坐，稚态可掬。平远山水间，枯木疏林、浅坡村居晕染出淡远乡野意趣。笔墨朴雅清润，勾勒皴擦简淡灵秀，于苍旧绢色里晕开田园闲逸，将牧放日常的悠然意致尽数铺陈，写生状物精妙，尽显古雅的山野生机之美。",[23,7,24,25,27,105,151,29,34,106,108,109,245,177,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84587f45aecfd3e120826fe52fe1e9fc.jpg",[],{"id":85742,"slug":85743,"title":85744,"dynasty":99,"author":1480,"museum":364,"description":85745,"tags":85746,"thumbUrl":85747,"material":743,"size":744,"collection":139,"collections":85748,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},228479,"cao-wu-pu-tuan-tang-yin-228479","草屋蒲团","《草屋蒲团图》又名《虚亭听竹图》，是唐伯虎  中晚期创作最为丰富和成熟时期的作品，图绘江南初秋士人蒲团之上晨读之情景。画面环境幽雅清静，给人以深厚、凝重之感，呈现出大自然的生动景象。属于唐氏作品中少见的浑厚、凝重的作品。",[23,7,24,241,173,177,178,86,106,29,242,26746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3366fd1cdf4d4aac38338b2afddae630.jpg",[],{"id":85750,"slug":85751,"title":12090,"dynasty":99,"author":36858,"museum":364,"description":85752,"tags":85753,"thumbUrl":85754,"material":139,"size":139,"collection":139,"collections":85755,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},228461,"fang-huang-zi-jiu-shan-shui-tu-sheng-mao-ye-228461","此作用笔追摹黄公望苍厚朴茂的披麻皴，山峦层叠盘桓，以高远之势铺陈丘壑，兼具深远之致。林麓间山居屋舍错落，溪泉萦回，苍松挺立点缀幽壑，暗含元人山水萧散淡远的意趣。\n\n画家师法前贤却不囿于摹写，以温润秀雅的笔调，将富春山居的平淡天真复刻传神，把晚明文人寄情林泉的雅趣融在笔墨间，既恪守元画的空灵气韵，又自含清隽的个人意韵，尽显林泉高致的悠远意境。",[23,7,24,241,29,173,177,176,34,560,35,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6db1427bc5215e0f3e4bb071162d0a8.jpg",[],{"id":85757,"slug":85758,"title":85759,"dynasty":99,"author":79733,"museum":364,"description":85760,"tags":85761,"thumbUrl":85762,"material":139,"size":139,"collection":139,"collections":85763,"showCount":747,"zanCount":5,"manualWeight":48,"mainColor":1335},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[23,7,24,241,173,29,177,176,34,109,1255,106,1575,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":85765,"slug":85766,"title":44393,"dynasty":99,"author":47918,"museum":364,"description":85767,"tags":85768,"thumbUrl":85769,"material":139,"size":139,"collection":139,"collections":85770,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},228366,"shi-liu-luo-han-tu-chen-xian-228366","此作用笔极简却意韵悠长，淡墨勾勒罗汉衣袍，线条舒缓苍劲，将僧袍垂坠柔软的质感尽显无遗。罗汉面容刻画细腻入微，唇角含笑，神态恬然静定，安然的坐姿透着出尘的禅意。身旁盆栽兰草，寥寥数笔绘就舒展花叶，清雅脱俗，与罗汉气质相映成趣，烘托出静谧空寂的禅房氛围。\n\n画面以水墨写意见长，浓淡干湿自然过渡，不用浓艳敷色，以形传神，将高僧闲适安然的心境展露无余。右侧题字笔力苍劲古朴，与水墨画面气韵相融相合，尽显文人画以意驭笔的意趣，空灵悠远的禅境跃然纸上，是一件精妙的禅意小品。",[23,7,24,259,106,173,260,227,452,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb042f67db1eec218836dfc97590a62a.jpg",[],{"id":85772,"slug":85773,"title":85774,"dynasty":99,"author":23960,"museum":364,"description":85775,"tags":85776,"thumbUrl":85777,"material":139,"size":139,"collection":139,"collections":85778,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},228353,"hu-zhou-shi-ba-jing-yu-tai-feng-song-xu-228353","湖州十八景－玉台峰","危崖之上古松虬劲，松针层叠如翠盖，崖间曲径蜿蜒，三两行人策杖徐行，野趣悠然。浩渺烟波铺陈于眼前，水天相接处帆影轻漾，远山黛色晕染朦胧，尽展江南山水温润灵秀之态。\n\n笔墨苍劲老辣，干笔皴擦勾勒崖石肌理，写松则笔致灵动，尽显古松凌云傲骨。设色浅淡雅致，将水墨清寂与设色明润相融，藏登临纵目的快意于丘林烟水之间，带着萧散意趣，把凭高远眺的胜景晕染得悠远澹泊，尽显清旷悠然的山水意境。",[23,209,7,24,27,177,227,29,30,394,1575,106,1445,5066,491,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a89a51f78f356e57a9d3dcd1e9812e.jpg",[],{"id":85780,"slug":85781,"title":85782,"dynasty":99,"author":64393,"museum":364,"description":85783,"tags":85784,"thumbUrl":85785,"material":743,"size":744,"collection":139,"collections":85786,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},228317,"shi-ba-ying-zhen-tu-ce-2-zheng-zhong-228317","十八应真图册-2","郑重，生卒年不详，明末清初人，字千里，号无着，安徽歙县人。流寓金陵（今南京），好楼居，日事香茗。擅写佛像，必斋沐而后提笔。亦为山水小景，摹仿宋元体均精研。",[23,7,209,24,81,27,28,259,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe379f618c60e75d2a4ae9324288d9f.jpg",[],{"id":85788,"slug":85789,"title":85790,"dynasty":99,"author":4904,"museum":364,"description":12028,"tags":85791,"thumbUrl":85792,"material":743,"size":744,"collection":139,"collections":85793,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},228311,"tian-chi-wan-tiao-tu-lu-zhi-228311","天池晚眺图",[23,7,24,25,29,27,177,649,34,114,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed16a02709d4880a243cf9b576eb41.jpg",[],{"id":85795,"slug":85796,"title":85797,"dynasty":99,"author":1296,"museum":364,"description":74765,"tags":85798,"thumbUrl":85799,"material":743,"size":744,"collection":139,"collections":85800,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},228273,"za-xi-tu-zan-ding-xiang-sheng-mo-228273","杂戏图（暂定）",[23,7,24,27,28,106,150,7464,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5129841c1c2dc76fe275120220bb6f0.jpg",[],{"id":85802,"slug":85803,"title":85804,"dynasty":189,"author":293,"museum":364,"description":85805,"tags":85806,"thumbUrl":85807,"material":139,"size":139,"collection":139,"collections":85808,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},228249,"lao-shu-wu-ya-tu-yi-ming-228249","老树乌鸦图","这幅山水以淡墨晕染出空阔秋水，汀渚横陈，水汽如薄纱漫过江天。滩头老树枯槎盘虬，枝桠无叶，孑然伫立在寒渚之上，将深秋江野的荒寂尽数铺展。\n\n画师以简驭繁，不用繁复皴擦，以水墨晕染造境，留白衬出江天寥廓，将元代文人萧索幽微的心境寄寓其间，淡墨里藏着清寂，枯枝中凝着怅惘，把寒江晚景的萧寒逸趣写尽，淡而愈远，枯而弥长。",[23,7,24,25,173,177,29,394,4050,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302366aef14e011720d4f3e96ae9223f.jpg",[],{"id":85810,"slug":85811,"title":85812,"dynasty":189,"author":293,"museum":364,"description":85813,"tags":85814,"thumbUrl":85816,"material":139,"size":139,"collection":139,"collections":85817,"showCount":747,"zanCount":5,"manualWeight":48,"mainColor":49},228225,"luo-han-fu-chen-tu-yi-ming-228225","罗汉拂尘图","主尊罗汉面相古拙威严，身覆织锦僧衣，衣纹婉转流畅，朱砂、石青与金彩点缀出华贵质感，敷色厚重沉稳。他手持拂尘静踞石台，头后圆光烘托出沉静禅意。身旁侍童神态恭谨，刻画生动入微。背景以水墨晕染古木虬枝，丹实缀叶，衬出幽寂山林禅境。\n\n画作承宋院体写实余韵，线条精细劲挺，人物造型传神肃穆，兼具宗教造像的庄严感与世俗写实的生动意趣，尽显禅门清寂高古的沉静氛围，是佛画中精妙的写实佳制。",[23,7,27,28,259,106,34,650,85815,299,505],"拂尘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e886b4f713ab229b96a54aa9d6ebe1f.jpg",[],{"id":85819,"slug":85820,"title":1692,"dynasty":189,"author":85821,"museum":364,"description":85822,"tags":85823,"thumbUrl":85824,"material":139,"size":139,"collection":139,"collections":85825,"showCount":747,"zanCount":5,"manualWeight":48,"mainColor":49},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[23,7,24,1562,173,27,29,177,108,109,34,176,37,114,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":85827,"slug":85828,"title":85829,"dynasty":189,"author":18436,"museum":364,"description":85830,"tags":85831,"thumbUrl":85832,"material":139,"size":139,"collection":139,"collections":85833,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":1335},228076,"li-xian-xiang-zhou-yan-hui-228076","李仙像轴","以宣传道教教义与神仙 为主要内容的造型艺术。\n包括日常供奉和用于斋醮等祈禳祭祀活动的神仙画像或雕塑的神像、故事画、水陆画以及宫观的藻饰与法器上的花纹图案、浮雕等。\n制作神像，形式多样。\n《太上洞玄灵宝国王行道经》称造像“随其所有,金银珠玉，绣画织成,刻本范泥,凿龛琢石,雕牙镂骨,印纸图画”等均可,只要“一念发心，大小随力,庄严朴素,各尽当时”。\n但具体制作，皆有定式。\n据道书《洞玄灵宝三洞奉道科戒营私》规定,造像必须“依经具其仪相”，“衣冠华座，并须如法”。\n天尊“帔以九色离罗或五色云霞、山水杂锦”等，“不得用纯紫、丹青、碧绿等”。\n真人“不得散发、长耳、独角，并须戴芙蓉、飞云、元始等冠”。\n左右二真“或持经执简，把诸香华，悉须恭肃，不得放诞手足，衣服偏斜”等。\n早期道教的塑像或画像曾经受到佛教艺术一定的影响。\n唐释法琳《辨正论》引王淳《三教论》云：“近世道士，取活无方，欲人归信，乃学佛家制作形像。\n假号天尊，及左右二真人。\n”唐太宗为王远知建太平观以及王轨重建茅山华阳观，其内殿塑造元始天尊像一躯，都取左右二真人夹侍的形式。\n其后，号然又取法佛教在诸天神头部加添圆光，但是，其形象是中国化的人物面貌，其创作思想深受道家哲学和道教教义的影响，其技法又是中国古铜器、汉画像砖以及古代人物画技法的直接继承，具有明显的道教美术自身的风格。\n有 北郊清源山老君像巨型石刻，晋祠彩塑以及元代的龙山石窟等。\n其中泉州石刻老君像，背松倚望，意态谦恭，两眼平视，慈祥和蔼，美须大耳，左手依膝，右手靠几，全身线条遒劲有力，洗炼概括。\n石像高5.1米,以整块天然巨石雕成，宏伟壮观，是道教造像艺术中的珍品。\n太原晋祠圣母殿创建于北宋天圣(12～12)年间，有圣母、宦官、女官及侍女像共4尊彩塑,以皇后、群臣、宫女的生活形象为范本,脸型、体态和感情流露都近于世俗生活的原型（见彩图）。\n龙山石窟，在太原西南约2公里处。\n始建于元元贞六年(1295)以前，窟内雕有三清、虚皇、张天师、三皇、玄真子、披云子和北七真的石像。\n主要修建者为随邱处机西游的十八行者之一的宋披云。\n他还增修龙山石窟五个洞，使其“殿阁峥嵘，金碧丹艧，如鳌头突出”。\n既运用中国传统的绘画手法，又力图体现道教的教义思想。\n以“画以立意”为宗旨，采用“以形写神”和“以神写形”的方法。\n在创作中不仅调动“出水”、“当风”等多种艺术手段，而且体现了道教对绘制神像的种种要求。\n唐开元二十九年 (741)，画玄元皇帝(太上老君)像，并以高祖、太宗、高宗、中宗、睿宗等五像陪祀。\n画家吴道子有五帝、五官、星宿像等，其中画于河南鹿邑太清宫的太上玄元皇帝像，史载系绢本，即绘于单幅绢上，不施裱褙，供奉时悬挂于壁间架上，后刻石于苏州玄妙观，才得以传世。\n秦汉间神仙思想盛行，在藻饰宫殿、陵墓的美术作品以及帛画中，常有关于神仙、祥异等内容。\n辽宁金县营城子汉墓壁画，其左上端云气缭绕，中有一人，身披羽毛；右上端有一龙，昂头相向。\n画中央有戴三山冠的佩剑人和白发之老翁，作神仙与墓主言谈状。\n壁画黑仙人佩剑、羽衣、须发、云气等形象朴茂高古，线条古朴随意，为道教壁画的先声。\n现存的泰山岱庙天贶殿的巨幅壁画《 》，以皇家宫廷生活为模式，描绘泰山神东岳大帝出巡和回銮的情景，场面浩大，人物众多，生动逼真，山水人物相互衬托，艺术的世俗化倾向浓厚，虽经明、清画工重加彩绘，工匠制作痕迹较重，但尚能体现宋代道画的特色。\n元代宫廷设有“诸色人匠总管府”，专门管理修建宫廷庙宇的各种工匠,彩塑家刘元统领“梵像提举司”,各地著名画工还加“待诏”衔。\n元代初期道教全真道曾盛极一时，山西永乐宫道教壁画就是集唐宋道画传统的中国美术史上的杰作。\n永乐宫壁画画面长9.68米，高4.26米,实绘大小神像共 286尊。\n三清殿壁画沿用《朝元仙仗图》的样式，以“三清”为中心，组成层次井然的仪仗，表达出“三清譬如北辰，居其所而群神拱之”的意思。\n全画分成多组，有雷公雨师、南斗六阙、北斗七星、八卦神君、十二生肖神君、 、三十二天帝君等群像。\n每位帝君和圣母左右均有十余名玉女侍奉。\n云气缭绕，壮丽浩荡，金碧辉煌，显示出元代道画画工们巨大的构图能力。\n线条圆润流畅，色彩浓淡相谐，宁静清逸，庄严肃穆。\n纯阳殿另有《纯阳帝君神游显化之图》壁画共52幅，七真殿有叙述全真教创始人王重阳诞生、得道、成仙和历次度化马丹阳、孙不二、邱处机等北七真事迹的故事画共42幅。\n这些壁画把山水、花鸟、鞍马、界画和人物糅合在一起，以表现人物情节为主。\n永乐宫壁画是由元代民间画工集体绘制而成的，他们堪称14世纪中国绘画史上最具有创造性的民间艺术家。\n元代以降，各地道观虽亦有以壁画传世，但大都陈陈相因,因袭模仿,无甚佳作。\n以道教故事、神仙思想为题材的道画，历久不衰，画家辈出。\n晋代画家顾恺之崇尚老庄，多以龙为题材作道画，附会老子犹龙之说法，其后云龙遂成为道画的特色之一。\n据《贞观公私画录》，顾恺之还画过《刘仙像》、《三天女像》等，并且著有《画云台山记》，叙述他的道祖故事画的内容和构思。\n画面上有丹崖险峻高大，颜色红紫，显示其为神仙之境。\n张天师脸形瘦削，飘然若仙，于丹崖七试弟子。\n其弟子王长穆然坐答，赵升神爽气怡。\n另二弟子则魄散神飞、汗流失色。\n唐代吴道子道释画兼擅。\n画家张素卿本人就是道士，乾符（874～879）中居四川青城山常道观，史载曾画有《老子过流沙图》、《五岳朝真图》、《九皇图》、《五星图》、《老人星图》、《二十四化真人像》、《太无先生像》等。\n前蜀主王建修青城山丈人观，请其于真君殿上画五岳、四渎、十二溪女、山林、溪沼、树木诸神及岳渎曹吏。\n蜀主诞辰时，张素卿画十二仙真，备受赞赏。\n凡有醮斋，开悬供奉。\n据《图画见闻志》称，五代时有名画家25余人，其中以道释画为主者达11人。\n丰富了道画的表现力。\n画家武宗元曾在宋真宗营造玉清昭应宫时,居名应召画殿画匠之首，史载，他17岁就画北邙山老子庙壁，颇称精绝。\n其传世道画《朝元仙仗图》原是壁画粉本，长 6米，高.48米。\n描绘南极天帝和东华天帝君率领仙官、侍从和仪仗朝谒玄元皇帝的场面，共有神仙人物87名，其中男仙11名，神将8名,余皆为手捧供品、仙果、乐器的仙女。\n画幅以手持宝剑的护法神开道，以甲卒、神将殿后，其中二天帝君都略高大于其他神仙，其处理手法与唐阎立本《历代帝王图》相类。\n各神仙的头上或身旁都有一个长形墨线描画的题名牌框，并标上该神仙的尊号，如“东华天帝君”、“扶桑大帝”等。\n全图主次分明，层次井然，线描人物各具神态，不相雷同，线条流畅，具有线描艺术的韵律感。\n宋元文人作画崇尚卷轴、册页、扇面，或有以道教题材结合山水、花鸟的内容，追求“清静无为”的境界，形成了超逸、淡泊、高雅的艺术风格。\n元代有些画家,如黄公望、张彦辅、马臻、方从义等本人就是道士。\n张渥所作《九歌图》和《太乙真人像》等，以白描手法描绘太乙真人手执如意,乘舟荷叶,舒展飘逸的“仙风”。\n元代画家颜辉有传世之作《李仙像》轴，画八仙之一的铁拐李，侧坐石上，神情肃穆，笔法精劲，人物与山水融和，表现了画家洒脱、超逸的情趣。\n明代画家吴伟所作《北海真人》，写骑龟仙者悠然泛海，昂首天外，无拘无碍。\n清代扬州画派金农所作的张天师像，更以古拙的笔墨趣味，表现画家超凡逸群的情思。\n当代画家张大千早年曾久居四川青城山，所绘王母、麻姑、陈抟、纯阳和张陵等道画，刻石于山，至今犹存。\n宋元以后，道教失去朝廷的支持，文人道画也逐渐衰微而同民间美术相结合。\n此后各地民间画工广泛从事于壁画、版画、年画以及用于道教斋醮活动中的水陆画。\n道教斋醮仪式中则广泛使用民间木雕、刺绣以及纸扎工艺美术品作为法器或陈设。\n各道观建筑中也普遍采用民间广泛流传的八仙、麒麟、万年青等吉祥辟邪的装饰图案。\n木版印制的门神、灶君、关帝、财神等神像，在民间流传尤盛。",[23,7,24,241,259,106,29,173,27,558,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff919d05c6f3b085bd2715d0b212f39ef.jpg",[],{"id":85835,"slug":85836,"title":85837,"dynasty":189,"author":9509,"museum":364,"description":85838,"tags":85839,"thumbUrl":85841,"material":139,"size":139,"collection":139,"collections":85842,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},228058,"ma-xi-tu-zhao-yong-228058","马戏图","此作棕褐绢底上，一众骑手纵马驰骋，热烈图景扑面而来。骏马昂首扬蹄，鬃尾飞动，将奔跃张力尽数铺开；骑手或控马回身，或俯身驯骑，动态鲜活灵动，尽显驯马驰驱的飒爽意气。人物服饰晕染雅致鲜明，胡汉装束兼具，暗合塞上风情。线条劲挺流畅，勾勒出马的矫健筋骨与人的生动情态，朴拙笔触里带着刚健力道。\n\n后附题跋墨色淋漓，笔意苍劲，书画相映成趣，将鞍马游猎的雄健快意定格绢素，古意盎然，尽显此类题材画作的雄浑气度。",[23,209,7,25,27,28,106,150,85840,86,178,227],"马戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff87f7bf4a9f1d905dd707947937bd78f.jpg",[],{"id":85844,"slug":85845,"title":85846,"dynasty":189,"author":51900,"museum":364,"description":85847,"tags":85848,"thumbUrl":85849,"material":139,"size":139,"collection":139,"collections":85850,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},228036,"mo-lou-shu-geng-zuo-tu-cheng-qi-228036","摹楼璹耕作图","它以长卷娓娓铺展江南农耕全景，从育秧插田到收谷晾晒，田埂间农人往来忙碌，挑担、插秧、打谷各尽其事，农舍林木点缀其间，晕开融融烟火气。\n笔墨以淡彩衬白描，人物形神鲜活灵动，田畴草木朴拙写实，完整复刻出古早农事的全过程。卷身遍留历代题跋钤印，让这幅纪实之作，又成为递藏传承的书画珍迹，既是乡土民生的鲜活注脚，也承载着后世对旧时田家意趣的追慕。",[23,209,7,24,25,105,27,28,178,1308,227,106,151,18610,11352,21726,430,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a0dc446b4b1e22194f3aab6e230f72.jpg",[],{"id":85852,"slug":85853,"title":85854,"dynasty":189,"author":36393,"museum":364,"description":73336,"tags":85855,"thumbUrl":85856,"material":743,"size":744,"collection":139,"collections":85857,"showCount":747,"zanCount":5,"manualWeight":48,"mainColor":94},228025,"fan-qi-tu-juan-zhao-lin-228025","番骑图卷",[23,7,24,25,260,27,106,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a422fb91c6b267bc128150d1d205bb.jpg",[],{"id":85859,"slug":85860,"title":56973,"dynasty":189,"author":351,"museum":364,"description":85861,"tags":85862,"thumbUrl":85863,"material":139,"size":139,"collection":139,"collections":85864,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},228022,"xiao-yi-zhi-zhuan-lan-ting-xu-tu-juan-qian-xuan-228022","此卷以淡设色铺展传奇掌故，堂内二人对坐，萧翼神色暗藏机锋，辩才老僧浑然不察，朴拙屋舍与枯淡山石衬出沉静古雅氛围，笔意清润简淡，将智赚兰亭的幽微张力隐于画面。后接行书题跋，笔墨秀逸流丽，诗画相映，复现这段秘事的跌宕意趣。全卷诗画合璧，叙事含蓄雅致，尽显元人书画相融的清雅韵致，将暗涌的心机藏于淡然古雅的卷气之中。",[23,7,24,25,27,28,106,86,227,315,2951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de278903b52c332e06be2ce71661d22.jpg",[],{"id":85866,"slug":85867,"title":85868,"dynasty":18,"author":1616,"museum":364,"description":85869,"tags":85870,"thumbUrl":85871,"material":139,"size":139,"collection":139,"collections":85872,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},227968,"niu-tu-li-tang-227968","牛图","此作用边角构图铺展意境，淡墨晕染出山峦烟岚空蒙的朦胧质感，远山隐于虚淡暮色之中，将山野荒陂的清寂悠远铺陈开来。\n\n坡岸间三头水牛成为画面生机所在，两头抵角嬉闹，憨态尽显，另一头闲步缓行，悠然自得，将乡野牧歌的松弛意趣揉入淡远山水间。笔墨苍简疏朗，舍去繁复勾勒，以极简笔意烘托出空灵静谧的氛围感，尽显宋人简淡野逸之美，平朴画面藏着悠然禅意，将山野闲趣融于山水烟岚之中。",[23,7,27,29,151,957,177,649,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74b8ed2232c30132e78af099212babd.jpg",[],{"id":85874,"slug":85875,"title":85876,"dynasty":18,"author":64665,"museum":364,"description":85877,"tags":85878,"thumbUrl":85879,"material":139,"size":139,"collection":139,"collections":85880,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[23,7,24,81,173,29,2124,4974,1015,4614,174,1016,177,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],{"id":85882,"slug":85883,"title":83536,"dynasty":18,"author":781,"museum":364,"description":85884,"tags":85885,"thumbUrl":85886,"material":139,"size":139,"collection":139,"collections":85887,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},227608,"fa-hai-ling-shan-tu-li-gong-lin-227608","李公麟（1049年－1106年），北宋畫家。字伯時，號龍眠居士，舒州（今安徽桐城）人。\n\n進士出身，曆南康、長垣尉、泗州錄事參軍，官至朝奉郎。擅畫人物、佛道像，吸取曆代流派之長，自創一格，多用線描，筆法如行雲流水，而不設色，生動地表現了人物的神情意態，人稱“白描”；尤精擅畫鞍馬，常觀察群馬生活，求其變化，下筆形神兼備。注重寫生，畫技博取前人之長，承繼顧恺之、吳道子等人筆法，在新畫中表達新義。\n\n《十八羅漢渡江圖》畫中人物按未渡者、方渡者、已渡者三組依序進場，人物神態，栩栩如生。李公麟畫作時人評價甚高，宋徽宗曾贊他爲當朝最重要畫家。元符三年（1100年）病痹告老，隱居龍眠山，號龍眠居士。\n\n存世作品有《五馬圖》、《臨韋偃牧放圖》等。\n\n另外李公麟也擅長于考古，對于夏、商以來的銅器和印玺頗有研究，“聞一妙品，雖捐千金不惜。”。",[7,24,260,106,37,227,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdc61f3d01a0a9aa272d333e658adcc.jpg",[],{"id":85889,"slug":85890,"title":45685,"dynasty":18,"author":293,"museum":364,"description":85891,"tags":85892,"thumbUrl":85893,"material":743,"size":744,"collection":139,"collections":85894,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},227426,"xi-shan-wu-jin-tu-quan-juan-yi-ming-227426","以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,209,7,24,25,173,27,29,176,34,108,109,177,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2183e53c5ef5d0f52c06cae5adadc2d.jpg",[],{"id":85896,"slug":85897,"title":85898,"dynasty":54,"author":85899,"museum":364,"description":85900,"tags":85901,"thumbUrl":85902,"material":743,"size":744,"collection":139,"collections":85903,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},227242,"ba-gong-tu-juan-song-mo-ben-chen-hong-227242","八公图卷（宋摹本）","陈闳","此作画家颇与所绘人物颇有争议，现已不完整，只留存了后面六个画像，且卷首的第一个画像，除人物头、官帽、胸部和手是原迹外，其余皆为后人临摹和修补。",[23,209,7,24,25,28,27,106,105,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496e6aebfd254f8dadffa24ed830c6d7.jpg",[],{"id":85905,"slug":85906,"title":85907,"dynasty":76,"author":16603,"museum":364,"description":85908,"tags":85909,"thumbUrl":85910,"material":139,"size":139,"collection":139,"collections":85911,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},224574,"mo-zhu-cheng-shan-qing-ren-224574","墨竹成扇","《百年启功:书画逸兴》包括：北京师范大学校训、启功先生小学时期作品、山水四条屏、曲水群贤等。\n其实，先生的作品不在巨大认真，而在趣味逸兴，一片纸、或数笔，“千里面目”，谴兴而已，有些甚至是无意流传的。\n集中注意选集先生一些不经意、随手间的手泽，没有大义，只是把玩。\n我们这么选辑，希望读者更能了解启功先生，希望读者更加喜爱中国笔墨文化。\n《百年启功:书画逸兴》选择启功先生书画手泽若干件，是简单印刷、平实装帧的书画作品集。\n校训 北京师范大学校训（简体） 启功先生小学时期作品 山水四条屏 曲水群贤 补桐养疴图 甲申年花笺手稿 石榴图 绿竹图 江山雪霁图 荷花图 菊扇 花笺手稿沁园春 临新妇帖 一九四六年作山水 四联扇面 烟江晓泊 秋松 山雨欲来风满楼 四连屏 赠伯简先生 少文款手迹 墨竹 兰竹成扇 付文物局收条之一 付文物局收条之二 书鲁迅诗扇面 积石干寻长松万仞 手抄本题签之一 手抄本题签之二 手抄本题签之三 手抄本题签之四 论书旧作花笺 平复帖临释 临兰亭 启功遗墨册页 痛心篇一 痛心篇二 痛心篇三 南乡子手稿 书赠毛泽东词 画菊成扇 年论书绝句手稿 双蛙图及题跋（局部） 书赠重晤老友 喜竹 竹石 诗画一开 南乡子题汉吉语方砖（附拓片） 东洲草堂句 兰飘竹撇写离骚 何可一日无此君 《共勉》 李白诗书赠 赠友人竹石 购书与慎言 芳草西池路 书太白句赠友人 墨竹成扇 书自作诗 赠向彤同志竹石 教师节书颂 双松堂堂 夏老爱猫 鹅群 静观 清华 和风细雨 瘦影参差水墨松 书文心雕龙原道 八尺对联 高山流水听琴音 甲子岁朝 乐天者寿 自题小照 静心 书为第一届教师节之一 书为第一届教师节之二 墨竹 红竹 看竹者多画竹者少 晴窗漫书 玛瑙寺前过 献给教师节 美意延年迈劲松 业广维勤 百福骈臻 失眠口占 化雨春风 正大光明 佳句四屏 细 秋分菊本自锄山 硬笔和毛笔 同学存念 霜叶红于二月花 书遂堂老人诗 龙 飞腾 寥斋 联姻 卓锥有地自逍遥 红竹 南无阿弥陀佛 松风水月 亲手树人真事业 少陵惊人佳句 信封上画菊 信封上画兰 尺椟书疏千里面目 快雪时晴佳想安善 我醉欲眠枕其股 传芭 腊笺书杜律 行百里者半九十里 澄泥砚赞 竹深留客处 承露 画筵赠静翁先生 枯笔书 过岭外忆前贤别都门之作而书之 枯藤缀紫霞 奇峰高节 协力 东望望长安 少陵佳句 龙年写龙 云合山留一发青 吉祥如意 竹淡兰馨 大哉孔子 索句深霄 竹报平安 写竹寿庆 春水船如天上坐 铁网珊瑚 题诗最高处 朱竹 比寿同清 小品之一 小品之二 小品之三 小品之四 师颂 福寿康宁 福禄寿喜 金玉满堂 河清人寿 风调雨顺 职为人师 淡墨兰石 仁者寿 赠毕业同学 静观 光阴可贵 乐观 莫名其妙从前事 学记之训 学高人之师 赠董桥联 寒山寺对联 好为人师之为患",[7,24,1562,173,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dba8e8fb302a09fcbb42818ccfb7ed3.jpg",[],{"id":85913,"slug":85914,"title":85915,"dynasty":76,"author":13111,"museum":364,"description":85916,"tags":85917,"thumbUrl":85918,"material":139,"size":139,"collection":139,"collections":85919,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},224490,"xing-fu-an-gan-jiu-tu-juan-wu-li-224490","兴福庵感旧图卷","《吴历兴福庵感旧图卷》是清代吴历创作的一幅画。\n本幅自题：“吾友笔墨中，惟默公交最深。\n予常作客，不为话别，恐伤折柳。\n庚戌清和，游于燕蓟，往往南传方外书信，意甚殷殷。\n辛亥秋冬，将欲赋归，意谓同此岁寒冰雪，而未及渡淮，闻默公已挂履峰头，痛可言哉。\n自惭浪迹，有负同心，招魂作诔，未足抒写生平，形于绢素，訾笔陨涕而已。\n却到昙摩地，泪盈难解空。\n雪庭松影在，草诏墨痕融。\n几树春残碧，一灯门掩红。\n平生诗画癖，多被误吟风。\n鱼雁几曾隔，赋归迟悔深。\n自怜南北客，未尽死生心。\n痴蝶还疑梦，饥鸟独守林。\n云看无限意，何事即浮沉。\n甲寅年登高前二日雨霁并书。\n桃溪居士吴子历。\n”钤“吴历”印一方。\n卷尾有许之渐、纪萌、张景蔚三家题记。\n甲寅为清康熙十三年（1674年），吴历时年4岁。\n此图是作者为怀念故友默容而作，一段长题简述了二人的交往，情深意切。\n画中描绘兴福庵的景物，寺外杂树丛竹，墙内孤松白鹤，本是一处清幽之所，然人去室空，满目凄清，透露出作者以笔墨寄托哀思的心境。\n树木勾点结合，层次分明，穿插自然，蜿蜒曲折的围墙加强了画面的纵深感，山石有皴有染，大面积的青绿敷色表现了真实自然的景致，是画家兼取宋、元画法而别具一格的代表作。",[23,7,24,25,27,29,178,227,34,35,109,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f571ff10a4082ce3d8b946f44feff0.jpg",[],{"id":85921,"slug":85922,"title":85923,"dynasty":76,"author":49375,"museum":364,"description":85924,"tags":85925,"thumbUrl":85926,"material":139,"size":139,"collection":139,"collections":85927,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},224405,"bao-bi-zhuang-shi-er-feng-wang-xue-hao-224405","宝碧庄十二峰","此作用笔苍润秀雅，以水墨兼淡色绘就十二枚湖石，各峰形神迥异，将赏石“瘦、透、漏、皱”之美尽致展现，或如干霄孤直，或若玲珑宛转，顽石似被赋予君子清介风骨。\n\n每石配行草题咏，笔意洒脱与奇石雅姿相互衬映，书画合璧，把文人寄情于石的雅怀尽显无余，将赏石意趣与文人情思相融，尽显传统文人画以物托志的风雅意韵，淡墨轻色间，勾勒出藏于奇石中的林下高致。",[23,7,24,25,173,27,177,178,227,245,1420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601424168e70bd55e579842423ea8b45.jpg",[],{"id":85929,"slug":85930,"title":85931,"dynasty":76,"author":1892,"museum":364,"description":85932,"tags":85933,"thumbUrl":85934,"material":139,"size":139,"collection":139,"collections":85935,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},224392,"tao-yuan-chun-zhou-tu-wang-yuan-qi-224392","桃源春昼图","此作用元人笔法绘就世外幽境，干笔积墨皴擦山峦，层层叠叠尽显苍浑厚重。近岸林木疏朗，粉桃绽枝，村居隐于水畔林间，溪桥连通幽处，晕染出春日清和柔缓的氛围。\n\n诗画相映，鉴藏朱印错落点缀，将武陵桃源的隐逸意趣融于尺幅之中。整体章法疏密有致，笔意内敛沉静，以苍润笔墨铺展出出世忘尘的澹然意境，尽显文人山水的清雅格调，藏着山居春日的闲逸悠然。",[23,7,24,29,27,177,279,864,297,34,920,108,109,227,178,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4861bc4696e9917281ec8d93b88f9dcf.jpg",[],{"id":85937,"slug":85938,"title":29,"dynasty":76,"author":85939,"museum":364,"description":85940,"tags":85941,"thumbUrl":85942,"material":139,"size":139,"collection":139,"collections":85943,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},224290,"shan-shui-fan-song-224290","范松","此作以全景铺展丘壑，层峦叠嶂间烟岚轻笼，将高远、平远之景相融。崖岫间红墙古寺半隐，晕染出点睛亮色，打破黛山翠林的沉静。\n\n林麓间村居错落，板桥跨溪通幽，浅滩漱石、流泉回环，把山居烟火与林泉野趣织为一体。笔墨苍秀老辣，以短皴写山石嶙峋肌理，林木枝桠攒簇尽显苍劲葱茏，淡赭轻敷衬出秋意清寂，整体气息静穆澹远，将文人心中栖隐林泉的意趣藏入层叠丘壑之中，观之如身临幽寂山境，揽尽林泉雅致。",[23,7,27,177,241,29,108,109,175,34,176,107,35,1445,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393c5de365c8e65858e3c9cf20b1c1d5.jpg",[],{"id":85945,"slug":85946,"title":85947,"dynasty":18,"author":293,"museum":364,"description":85948,"tags":85949,"thumbUrl":85950,"material":139,"size":139,"collection":139,"collections":85951,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},223634,"lian-zhou-xian-du-tu-yi-ming-223634","莲舟仙渡图","烟波浩渺间，仙人卧于莲舟，悠然展卷观览，似将云水清光尽数揽入卷中。右下角巉岩隐现，灵蛇蜿蜒而出，衬得水面愈发幽寂空灵。\n\n整幅以淡墨轻敷，留白晕染出氤氲水雾，将虚无仙境融于简淡笔意，摒弃浓艳设色，全凭清润色调烘托世外幽居的静穆氛围。仙人姿态萧散自在，不见凡尘烟火气，莲舟如扁槎一叶，载着出尘之思浮游烟涛，把道家归返自然、寄迹云山的隐逸意趣藏在水色晕染里，淡而弥远，清而有味，尽显小品画的雅致空灵。",[23,209,7,24,27,28,177,106,174,29,243,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885e41a3f8ad783f659bb4ddce07b10f.jpg",[],{"id":85953,"slug":85954,"title":85955,"dynasty":18,"author":293,"museum":364,"description":85956,"tags":85957,"thumbUrl":85959,"material":139,"size":139,"collection":139,"collections":85960,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},223618,"hong-mei-kong-que-tu-yi-ming-223618","红梅孔雀图","《宋人画红梅孔雀图》是宋代佚名画家创作的花鸟绘画。\n中国古代以 为题材的绘画不多见。\n此图绘溪边春色，以近远景搭配，表现出自然界的勃勃生机。\n正中一树梅花盛开，两侧辅以山茶、古柏、翠竹、迎春。\n孔雀一对，雄者栖于树干，回首梳翎；雌者倘佯岸边，低头觅食。\n其毛羽斑斓，与花树汇成一片绚烂春光。\n此图难能之处在于布局繁密但杂而不乱；设色富丽但艳而不俗。\n梅、柏枝干用焦墨勾皴，苍劲古朴，与周围花卉禽鸟的纤细娇美恰成互补。\n作者当是擅长状写升平景象的画院高手。\n本幅无款识。\n钤鉴藏印“真赏”、“都尉耿信公书画之章”、“公”、“信公珍赏”、“丹诚”、“宜尔子孙”、“珍秘”、“会侯珍藏”、“庞莱臣珍藏宋元真迹”。\n裱边钤鉴藏印“信公监定珍藏”。\n本幅右侧题“ 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与当时岭南文坛画苑的陈子壮、王邦畿、陈恭尹、张穆等交朋友。明朝亡，不愿“ 颜事贼”，是一个具有民族气节的文人。",[209,7,24,241,173,29,558,109,34,1015,175,106,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc764d0b30f2bda069eac4e527320714b.jpg","175x38",[181],{"id":86257,"slug":86258,"title":86259,"dynasty":189,"author":51150,"museum":7359,"description":86260,"tags":86261,"thumbUrl":51153,"material":342,"size":139,"collection":44,"collections":86262,"showCount":747,"zanCount":5,"manualWeight":48,"mainColor":94},219690,"xian-zi-he-shang-ke-weng-219690","蚬子和尚","这幅画以极简水墨写就，淡墨铺陈出空寂浅滩，右上角老干垂藤以枯笔皴擦，大片留白衬出清寂禅意。作者以写意笔法勾勒人物，寥寥数笔便将和尚的自在情态尽显无遗：赤脚立在滩涂，手抬拭目似正临水观照，肩挎渔捞，身形简括却神完气足。\n\n笔墨枯湿浓淡相生，舍去繁缛细节，以空灵淡远的意境传递出禅者物我相融的自在心境，简淡之中藏着超脱世俗的禅机雅趣，尽显禅画以形写神、简而意丰的美学意趣。",[7,24,173,241,106,430,298,259,446],[44],{"id":86264,"slug":86265,"title":86266,"dynasty":76,"author":86267,"museum":20,"description":86268,"tags":86269,"thumbUrl":86270,"material":88,"size":86271,"collection":44,"collections":86272,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},219689,"bao-shi-chen-xiao-xiang-wan-lan-219689","包世臣小像","万岚","清代学者、书法家、书学理论家，嘉庆十三年举人，官江西新喻知县，因劾去官，工书法，详论古人书法得失，雅重北碑，自成一家之言，著有《小倦游阁文稿》、《安吴四种》。包世臣像取自《清代学者像传》第二集，叶公绰辑，杨鹏秋摹绘。包世臣画像取自安徽省立图书馆民国间编印《安徽先贤像》。",[23,7,24,241,106,27,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf75a381a6b39b8d464187552fea7f2.jpg","157.8x61.5厘米",[44],{"id":86274,"slug":86275,"title":86276,"dynasty":99,"author":293,"museum":752,"description":86277,"tags":86278,"thumbUrl":86279,"material":123,"size":139,"collection":90,"collections":86280,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":1335},219535,"zhu-lin-ba-ge-tu-yi-ming-219535","竹林八哥图","暗沉古雅的绢面晕染出幽寂林境，数只八哥各呈姿态，或振翅抬爪欲冲入林梢，或引颈长鸣呼应同伴，又有三两纠缠、翅爪相搏，将林间野趣尽数铺展。\n\n画师笔致精微，禽鸟绒羽纤毫毕现，枯竹萧疏苍劲，写意中带着朴拙生趣，动静之间把郊泽林泉间的鲜活生机凝于绢素。幽淡沉郁的底色托衬出灵动生灵，让沉寂古画晕开自然生息，尽显传统花鸟的雅致意趣。",[7,24,241,28,27,83,242,281,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1830ee54c82e5d7fc63950769ab6164a.jpg",[90],{"id":86282,"slug":86283,"title":86284,"dynasty":18,"author":10870,"museum":206,"description":86285,"tags":86286,"thumbUrl":86287,"material":2398,"size":86288,"collection":139,"collections":86289,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},219487,"san-yuan-de-lu-tu-yi-yuan-ji-219487","三猿得鹭图","画在深山悬崖上的一棵老桂花树上，黑、灰、白三只猿正在捉小白鹭。 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意思是。",[7,2544,28,27,83,957,12940,5223,34,84,281,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa52192bd8849e9471b8b5eddc6dd495.jpg","72.7x32.1",[],{"id":86291,"slug":86292,"title":86293,"dynasty":18,"author":293,"museum":206,"description":86294,"tags":86295,"thumbUrl":86296,"material":123,"size":86297,"collection":90,"collections":86298,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},219316,"song-teng-yuan-xi-tu-yi-ming-219316","松藤猿戏图","松枝盘曲如铁，老藤垂绕似丝，猿猴或攀藤戏叶，或蹲枝远眺，于方寸团扇间灵动穿梭。毛发纤毫毕现，眼神憨态可掬，爪尖紧扣藤枝的力度藏于墨色浓淡，松针疏密有致的层次显于笔触轻重。宋人的写实功夫与诗意心境在此交融：苍劲的松藤衬出猿的活泼，留白处似有余韵，引人遐想山林深处的清幽野趣。无款却见匠心，每一笔皆为自然传神，尽显宋代院体画精致细腻的风骨与生机盎然的意趣，仿佛能听见枝叶轻摇、猿声轻啼，将观者带入一片静谧而鲜活的自然之境。",[23,209,7,24,1562,173,28,449,57842,12940,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05efa16aa825a6b0a07bdd664e3c73bf.jpg","22x21.8cm",[90],{"id":86300,"slug":86301,"title":86302,"dynasty":18,"author":86303,"museum":206,"description":86304,"tags":86305,"thumbUrl":86306,"material":123,"size":86307,"collection":181,"collections":86308,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},218871,"cang-ji-qing-yue-tu-zhu-ci-zhong-218871","苍矶清樾图","祝次仲","这幅画描绘了从河面上凸出的河岛，清波荡漾，岛上绿草如茵，而学者则盘膝而坐，眺望着广阔的河面。这幅画的笔触与李唐相似，岩石是用草书的笔触凿出来的，松散而不夸张。",[23,7,1562,173,27,29,245,34,281,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f4386ca16a392d3045300e4db4d45d.jpg","26.4x19.8",[181],{"id":86310,"slug":86311,"title":86312,"dynasty":99,"author":86313,"museum":206,"description":86314,"tags":86315,"thumbUrl":86316,"material":342,"size":86317,"collection":90,"collections":86318,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":49},218782,"lu-zhou-ju-yan-tu-zhu-fei-218782","芦洲聚雁图","朱芾","朱芾（活动于西元十四世纪后期），江苏华亭人，字孟辨，号沧洲生，洪武初，以翰林编修改中书舍人。其人才思飘逸，善画芦雁，集潇湘水云之致，兼善山水及白描人物。工词章翰墨之学，真、草、隶、篆清润遒劲，风度不凡。尝以所书篆瘗之细林山中，题曰篆冢。朱芾为当时名士杨维祯之门生，甚受杨氏器重，曾赞芾能以仁义为修，为其门之幸。本幅画芦洲聚雁，楷书画题，隶书识其作画经过，并赋七绝一首写其心境，笔法多变，结字错落，甚有奇趣。",[7,173,29,177,281,2522,34,245,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84fd87c7fb0b2f499c2bd78515980998.jpg","117.4x30.7cm",[90,181],{"id":86320,"slug":86321,"title":86322,"dynasty":18,"author":293,"museum":206,"description":86323,"tags":86324,"thumbUrl":86325,"material":123,"size":139,"collection":181,"collections":86326,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},218711,"wu-kuan-ce-jian-tu-yi-ming-218711","无款策蹇图","纨扇小景里，寒林疏枝以墨线轻勒，淡赭暮色晕染古绢，似浸着时光的沉香。驴背文人衣袂微拂，随林间风意缓行，身后僮仆持杖相随，步履从容。笔触细腻处，枝桠虬曲、草叶疏斜皆见匠心，却无雕琢之痕。小径蜿蜒向林深处，隐现的屋舍若有若无，藏着宋时文人的隐逸意趣。不追喧嚣，只向林泉寻一份悠然——驴蹄轻踏的是岁月缓调，目光所及是心之所向的清宁。古绢斑驳如记忆纹理，将千年前的从容心境凝在这方圆镜里，引观者沉湎于淡远诗意，仿佛听见林间风过枝叶的轻响，触到宋代特有的雅寂与温厚。",[23,7,24,173,27,177,29,430,106,8989,900,281,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac997e7b74e20f2dc71b1bc5a8a80c3a.jpg",[181],{"id":86328,"slug":86329,"title":86330,"dynasty":18,"author":21420,"museum":206,"description":86331,"tags":86332,"thumbUrl":86333,"material":123,"size":139,"collection":139,"collections":86334,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},218676,"xi-hu-shi-jing-tu-liu-lang-wen-ying-ye-xiao-yan-218676","西湖十景图-柳浪闻莺","烟峦淡远，柳丝拂岸，亭台楼阁隐于葱茏间。墨色温润如宋时烟雨，将柳浪的柔曼与闻莺的清越融于一纸。远山含黛，近树扶疏，建筑错落有致，似有流莺啼鸣穿林而过，惹得柳丝轻摇。题字笔意洒脱，与画作相映成趣，尽显文人雅趣。整幅画以淡墨晕染出西湖春日的清幽，不著艳色却意境悠远。观者仿佛立于湖畔，听柳浪翻涌，闻莺声婉转，沉醉在那抹宋时湖光的温柔里。",[23,7,24,81,27,173,29,3246,281,175,107,34,300,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2de438d4c2cddd2b29b345f3825a0337.jpg",[],{"id":86336,"slug":86337,"title":86338,"dynasty":18,"author":21420,"museum":206,"description":86339,"tags":86340,"thumbUrl":86341,"material":67,"size":139,"collection":139,"collections":86342,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},218672,"xi-hu-shi-jing-tu-nan-ping-wan-zhong-ye-xiao-yan-218672","西湖十景图-南屏晚钟","画面山峦层叠，淡墨晕染出朦胧烟霭，似将暮色轻笼南屏。近处松枝苍劲，针叶细劲如丝，间或矮松错落，添几分野趣。山腰楼阁隐现，飞檐翘角藏于林麓，若古寺禅院静候晚钟。左侧题字笔墨流畅，行楷雅致，诗韵与墨色山水相映，更添文人意趣。\n\n作品以简淡之笔勾勒景致，虚实间传递悠远禅意——仿佛能闻钟声穿林渡水，涤荡尘嚣。西湖暮色里的宁静与空灵，凝于尺幅，让观者于笔墨间触摸到那份跨越时空的悠然与澄澈。",[23,7,24,29,173,27,177,649,34,107,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5b702e55d3128a1523bbd2c2120fdc.jpg",[],{"id":86344,"slug":86345,"title":86346,"dynasty":18,"author":21420,"museum":206,"description":86347,"tags":86348,"thumbUrl":86349,"material":67,"size":139,"collection":139,"collections":86350,"showCount":747,"zanCount":48,"manualWeight":48,"mainColor":94},218671,"xi-hu-shi-jing-tu-liang-feng-cha-yun-ye-xiao-yan-218671","西湖十景图-两峰插云","画面以淡墨晕染湖山底色，双峰对峙如黛，破云而出，尽显“插云”之姿。云雾以留白与淡墨交织，虚虚实实间，峰峦似隐似现，缥缈若仙境。近处亭台依水而立，屋宇线条简练精巧，与远山朦胧影相映成趣。左侧书法笔意流畅，墨色浓淡相宜，诗画相融，更添文人雅致。整幅作品以简驭繁，用清逸之笔勾勒西湖山水的空灵悠远，将两峰插云的朦胧意境凝于尺幅。观之如临西子湖畔，见双峰在云间若隐若现，心随景远，顿生悠然之思，尽显宋画清雅秀逸之态。",[23,7,24,81,173,27,29,30,37,107,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621724a098a46f28b1031499dc6f3bd9.jpg",[],{"id":86352,"slug":86353,"title":86354,"dynasty":18,"author":21420,"museum":206,"description":86355,"tags":86356,"thumbUrl":86357,"material":123,"size":86358,"collection":139,"collections":86359,"showCount":747,"zanCount":48,"manualWeight":48,"mai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释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[209,7,24,241,173,29,3953,174,109,3558,26978,6922,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],{"id":86911,"slug":86912,"title":86913,"dynasty":99,"author":24148,"museum":364,"description":86914,"tags":86915,"thumbUrl":86916,"material":743,"size":744,"collection":139,"collections":86917,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},290927,"liang-xin-tang-shen-shi-chong-290927","凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之。",[7,173,27,29,81,107,1575,108,37,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8e28dccfca39f0fd78b4380f31662a.jpg",[],{"id":86919,"slug":86920,"title":86921,"dynasty":99,"author":14805,"museum":364,"description":60268,"tags":86922,"thumbUrl":86923,"material":743,"size":744,"collection":139,"collections":86924,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},290924,"ming-yun-shan-tu-wen-jia-290924","明云山图",[1562,7,209,173,242,175,106,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d5bdbb29c66f8463b99d923ac8bee3.jpg",[],{"id":86926,"slug":86927,"title":86928,"dynasty":189,"author":1672,"museum":206,"description":16163,"tags":86929,"thumbUrl":86930,"material":342,"size":86931,"collection":139,"collections":86932,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},290832,"xiu-zhu-tu-zhou-ni-zan-290832","修竹图轴",[7,24,241,173,242,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F822aa93986d1b9a95aca39bfa639557a.jpg","51x34.5",[],{"id":86934,"slug":86935,"title":86936,"dynasty":189,"author":293,"museum":364,"description":86937,"tags":86938,"thumbUrl":86939,"material":743,"size":744,"collection":139,"collections":86940,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":49},290798,"liu-hai-chan-xiang-zhou-yi-ming-290798","刘海蟾像轴","刘海蟾是五代宋初的道士，道教全真道将之奉为〝北五祖〞之一。宋元以来，民间流传〝刘海戏金蟾〞故事。今街头店家橱柜犹见置有三脚蟾蜍口衔金钱者，寓意辟财、富贵，皆渊源于此。本幅画刘海蟾像，人物衣纹多以干笔挥就，线条粗放，近似折芦描法。衣带下摆，飘飘欲举，为原本沉寂的画幅，凭添律动之感。题签虽属元代，然其布局与技法，实已开启明季浙派苍劲粗放之先河。",[7,241,173,260,106,34053,2715,37245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c4f79a6cfd1830937f2a3763614cb8.jpg",[],{"id":86942,"slug":86943,"title":86944,"dynasty":189,"author":293,"museum":206,"description":86945,"tags":86946,"thumbUrl":86947,"material":381,"size":86948,"collection":44,"collections":86949,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},290796,"qiu-ting-shu-bi-zhou-yi-ming-290796","秋庭书壁轴","此图绘秋景。庭中一角，高大的枫树与桐树下，文人正在雅玩遣性。一人倚栏赏景，书僮捧册随後。一人挽袖题壁，书僮在后研墨，旁一人立观。两人坐于桐荫，正展卷品赏，旁另有小童数人，或捧卷侍立，或洗茗碗。\n此幅原属一组四张图画，以春、夏、秋、冬四景，分绘文人从事琴、棋、书、画活动。",[7,241,106,27,115,34,5627,12048,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ad887c680e7f8317a1c0bd7c65446a.jpg","133.8x79.9",[44],{"id":86951,"slug":86952,"title":86953,"dynasty":189,"author":293,"museum":364,"description":86954,"tags":86955,"thumbUrl":86956,"material":743,"size":744,"collection":139,"collections":86957,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},290740,"xia-jing-xi-ying-zhou-yi-ming-290740","夏景戏婴轴","元人夏景戏婴图无名款。绘垂杨文石，环以曲槛。一童擎荷盖，一执榴花，一持五毒宫扇，官服髻发。两童持几，几供钟馗，旁设瓶花、水果、粽子等物。一儿以绳系蟾蜍，一儿后随作戏蟾状。 细审人物之开脸，及庭石之苔点画法，颇近于明代中期之后的风格。台北故宫博物院藏另有《元人秋景戏婴》、《元人画冬景戏婴图》二轴，尺寸、画法与此作相似，或许当初系属同一组“春夏秋冬“之四季挂屏，惜今《春景戏婴图》已佚，故难以复原全豹矣。",[7,241,27,106,28,11805,3045,115,4685,313,1532,10779,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a1f2e121a757abedcbc787b6b66408.jpg",[],{"id":86959,"slug":86960,"title":86961,"dynasty":189,"author":10235,"museum":206,"description":28386,"tags":86962,"thumbUrl":86963,"material":342,"size":86964,"collection":139,"collections":86965,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},290733,"xi-ting-shan-se-tu-zhou-ke-jiu-si-290733","溪亭山色图轴",[209,7,173,241,29,175,394,109,227,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5599533abc3f93415e3489adb2d0e751.jpg","63x34",[],{"id":86967,"slug":86968,"title":86969,"dynasty":76,"author":2405,"museum":364,"description":61366,"tags":86970,"thumbUrl":86971,"material":743,"size":744,"collection":139,"collections":86972,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":94},290559,"yu-jing-zhou-xu-yang-290559","雨景轴",[7,24,209,241,173,27,29,106,108,109,107,34,176,23103,227,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a2b57a8a61a33a6e3b8f169374c0f.jpg",[],{"id":86974,"slug":86975,"title":86976,"dynasty":76,"author":7021,"museum":364,"description":52475,"tags":86977,"thumbUrl":86978,"material":743,"size":744,"collection":139,"collections":86979,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},290463,"feng-xue-shi-hua-tu-ce-gao-feng-han-290463","风雪诗画图册",[7,24,81,173,27,243,45379,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f78f50f33fd0518e35fac4c088348b5.jpg",[],{"id":86981,"slug":86982,"title":81404,"dynasty":189,"author":1672,"museum":364,"description":16163,"tags":86983,"thumbUrl":86984,"material":743,"size":744,"collection":139,"collections":86985,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},290399,"shan-shui-tu-ke-luo-ban-ni-zan-290399",[23,7,209,173,1397,86,227,177,394,649,109,245,281,18349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd388e9b163af066519eb6f9234c22b13.jpg",[],{"id":86987,"slug":86988,"title":4025,"dynasty":99,"author":47755,"museum":364,"description":86989,"tags":86990,"thumbUrl":86991,"material":743,"size":744,"collection":139,"collections":86992,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},290356,"shan-shui-zhou-gu-zheng-yi-290356","顾正谊 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清代官員、史學家。\n早年家貧。康熙十年（1671年）入國子監，試後留翰林院辦事，供奉內廷。康熙十四年（1675年），授職詹事府錄事，不久升內閣中書，領六品俸薪，住在賞賜給他的西安門內。 高士奇每日為康熙帝講書釋疑，評析書畫，極得信任。康熙十八年（1679年）後，歷任翰林院侍講、侍讀、侍讀學士、《大清一統志》副總裁官、詹事府少詹事。康熙二十八年（1689年）隨帝南巡。冬解職歸裏，居平湖。康熙三十三年（1694年）奉召入京，充《明史》纂修官。康熙三十五年（1696年），三次隨康熙帝西征，深得信賴。翌年，以養母求歸，特授詹事府詹事。康熙四十一年（1702年），升禮部侍郎兼翰林院學士，加正一品，以母老未赴。康熙四十二年（1703年），卒於家，追諡文恪，葬於縣城南郊。\u2028 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。\n此图为167年王翚为笪重光所作。\n描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n题跋：“石谷为予作此图，自云深得元人笔意，未可与不知者道。\n时心契其旨而藏之七载于兹矣。\n彦标爱画同余，慕王生有年。\n以□持赠，一如在□子阁中，非明珠之漫投也。\n庚申夏四月毘陵舟中题。\n种菽翁笪在辛” 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创作的纸本水墨指画，现藏于 。\n此图是描绘仲秋稻谷成熟时期的一角情景。\n画绘左侧下端有一棵截取的稻秆，向画面右上方伸展，稻叶疏密有致，相互交错，在秋风吹拂下摆动，而沉甸的稻穗将稻朴压弯，呈低沉状态。\n唯独有一只螳螂于稻叶之上，举目侧望，昂首挺胸，似欲作捕捉状，悠然自得，为整个画面增添了生气。\n此画布局方面，所画的景物都集中在画面中下端，上端却空旷一片，仅在左上角有款题。\n此画构图十分简洁，浓淡干湿墨色随意点染，飞动不露笔痕的粗细线条，将一螳螂的神形，表现得十分出色。\n故此幅画为他小品指画中的代表作之一。\n高其佩（166或1672—174年），字韦之，号且园，辽宁铁岭人，隶汉军镶黄旗，官至刑部侍郎。\n他擅长指画，即用手掌、手指和指甲勾划线条，并佐以毛笔。\n所绘人物、山水、花卉栩栩如生，丰富了中国画的表现技法，在清代画坛以指画独树一帜。\n清雍正年间曾宫中作画。",[7,24,241,27,83,35813,1100,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372b120f258fb1d4c1366bb580f66867.jpg",[],{"id":87807,"slug":87808,"title":20281,"dynasty":76,"author":5052,"museum":364,"description":12208,"tags":87809,"thumbUrl":87810,"material":743,"size":744,"collection":139,"collections":87811,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},235615,"hong-ren-shan-shui-ce-hong-ren-235615",[209,7,24,5990,20163,12724,177,29,174,1532,175,1410,106,544,491,1915,1927,1352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3182d660d161fc9f0b2b958a356bc8.jpg",[],{"id":87813,"slug":87814,"title":20281,"dynasty":76,"author":5052,"museum":364,"description":12208,"tags":87815,"thumbUrl":87816,"material":743,"size":744,"collection":139,"collections":87817,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},235612,"hong-ren-shan-shui-ce-hong-ren-235612",[7,24,173,177,29,178,86,30,34,35,194,176,556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b314950d8ff3a520a30e7311eeaa3f.jpg",[],{"id":87819,"slug":87820,"title":6854,"dynasty":99,"author":35846,"museum":364,"description":87821,"tags":87822,"thumbUrl":87823,"material":139,"size":139,"collection":139,"collections":87824,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},235604,"mei-hua-zhou-wang-qi-235604","此作以枯淡笔墨绘老梅，主干嶙峋斑驳，皴擦出饱经风霜的古拙质感，枝桠虬曲伸展，错落点缀素梅，清疏淡雅，将寒梅孤高凌冽的风骨尽显。\n\n画面留白肆意，配多幅题诗，书画合璧，以文心衬花魂，把文人寄寓梅中的淡泊狷介缓缓铺陈开来。淡墨写意间不见艳色，却尽是岁寒君子的清雅意韵，简笔藏深情，清冷雅致的梅之精神跃然纸上。",[7,24,241,173,448,394,62,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9267d35915a6580275edec3babb3d516.jpg",[],{"id":87826,"slug":87827,"title":131,"dynasty":76,"author":3602,"museum":364,"description":3603,"tags":87828,"thumbUrl":87829,"material":743,"size":744,"collection":139,"collections":87830,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},235600,"hua-hui-ce-wang-wu-235600",[7,24,81,27,83,178,227,245,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecafdea033fb2dd3906ac6c25436dac.jpg",[],{"id":87832,"slug":87833,"title":27781,"dynasty":99,"author":293,"museum":364,"description":87834,"tags":87835,"thumbUrl":87836,"material":743,"size":744,"collection":139,"collections":87837,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":94},235586,"wen-chu-hua-hui-ce-yi-ming-235586","此作用泥金笺为底，淡彩绘就幽兰。兰叶以浅墨绿写形，舒展挺秀，带着清逸疏朗之态；粉茎托着青白色兰花，花瓣晕染柔润，瓣心轻敷白晕，将盛放之姿的娇妍与花苞的含露待放绘得灵动自然。\n\n画面留白疏阔，以极简笔墨勾勒出兰的清隽风骨，尽显君子雅韵，无需繁饰便将幽兰的高洁藏于淡色晕染间。右下角朱印落得妥帖，添了一抹明艳点缀，衬得整幅画作幽淡空灵，气韵悠然，观之如临空谷，暗嗅兰芷清芬。",[7,24,81,27,28,83,452,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf759215efc4b4451abec55014b8d822.jpg",[],{"id":87839,"slug":87840,"title":55881,"dynasty":99,"author":32648,"museum":364,"description":87841,"tags":87842,"thumbUrl":87843,"material":139,"size":139,"collection":139,"collections":87844,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},235563,"shou-xing-zhou-guo-xu-235563","这幅作品以淡墨晕染出悠然古雅的氛围。寿星宽袍博带，慈眉善目，笑意隐在松缓的面纹里，尽显长者温厚。仙鹿俯首亲昵依偎，憨态可掬，肩头捧桃童子悄然探身，暗合添寿吉意。\n\n衣纹以铁线描勾勒，笔力劲挺却不失柔婉，简练洒脱地勾勒出织物垂坠质感，虚实留白疏密相宜，淡墨铺陈衬出素雅古拙。题跋行书疏朗，笔意清逸，书画相映相融，不见祝寿俗套，将长生寄寓在日常悠然图景里，兼具笔墨意趣与吉祥寓意，是明代人物画中冲淡平和的文人意趣佳作。",[99,7,24,241,260,173,106,957,3167,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe21837e52af718d4a19316650be5928.jpg",[],{"id":87846,"slug":87847,"title":13718,"dynasty":76,"author":1109,"museum":364,"description":87848,"tags":87849,"thumbUrl":87850,"material":139,"size":139,"collection":139,"collections":87851,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},235520,"yuan-ji-shan-shui-tu-ce-shi-tao-235520","淡墨皴擦出层叠山峦，带着苍莽野逸之气，蜿蜒山道串起深谷山居，晕开雨后初霁的湿润空濛。前景林木错落，虬曲枝干间点叶疏密有致，将江南山野的幽寂鲜活铺展。\n\n右上角题诗与画面呼应，诗画交融，暗合山乡行路的澹然况味。笔意纵恣却不失秀润，干湿墨色互用，让山石肌理灵动自然，全无刻硬之感，尽显山水清灵雅致。将天地间静穆生机凝于尺幅，随性旷达的文人意趣藏在每一处笔墨里，是意韵悠长的山水佳构。",[7,24,173,177,81,446,29,864,430,900,176,12136,649,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5c6622bc1fcd2c25c587e7049d8fce.jpg",[],{"id":87853,"slug":87854,"title":13718,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":87855,"thumbUrl":87856,"material":743,"size":744,"collection":139,"collections":87857,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},235517,"yuan-ji-shan-shui-tu-ce-shi-tao-235517",[7,24,81,173,177,29,176,34,108,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539be3c07015b163b46cd40a7d09dfe6.jpg",[],{"id":87859,"slug":87860,"title":486,"dynasty":76,"author":31839,"museum":364,"description":87861,"tags":87862,"thumbUrl":87863,"material":743,"size":744,"collection":181,"collections":87864,"showCount":495,"zanCo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工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[7,24,81,173,178,177,29,176,34,491,5243,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05b75d5f6faa72eac52e45f77c8da0a.jpg",[181],{"id":87866,"slug":87867,"title":5505,"dynasty":76,"author":19503,"museum":364,"description":65023,"tags":87868,"thumbUrl":87869,"material":743,"size":744,"collection":139,"collections":87870,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":94},235465,"hua-hui-tu-ce-fan-ting-zhen-235465",[23,7,24,81,28,27,83,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10c3379fd88ffd87e24315cd2729ea4.jpg",[],{"id":87872,"slug":87873,"title":87874,"dynasty":99,"author":293,"museum":364,"description":87875,"tags":87876,"thumbUrl":87879,"material":139,"size":139,"collection":139,"collections":87880,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},235298,"sun-ai-can-sang-tu-zhou-yi-ming-235298","孙艾蚕桑图轴","以没骨法晕染桑枝，叶片水色清浅柔润，晕透出自然通透的质感，枝桠苍朴舒展，带着山野原生的意趣。桑蚕伏于叶间，身形稚拙灵动，纤毫毕现，将春蚕食叶的日常情态刻画入微。\n画面留白疏朗，搭配清雅题诗，诗画相融，把江南蚕桑的寻常乡景，晕染出文人小品的澹然意趣。笔致简淡无华，却于浅墨轻色之间，将乡野恬然生机尽数铺陈，尽显写生佳作的冲淡幽远之美。",[7,24,241,27,28,87877,77356,15255,87878,86,227],"桑枝","蚕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F983d4718bb25737f461472c2e21417fd.jpg",[],{"id":87882,"slug":87883,"title":87884,"dynasty":99,"author":293,"museum":364,"description":87885,"tags":87886,"thumbUrl":87887,"material":743,"size":744,"collection":139,"collections":87888,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},235206,"wang-gu-xiang-zhu-lan-tu-shan-ye-yi-ming-235206","王穀祥竹兰图扇页","泥金笺底古雅沉静，以铁线白描写幽兰与棘枝。幽兰叶条舒展清劲，花瓣柔婉含露，寥寥笔意尽显空谷芝兰的疏澹气韵。棘枝瘦硬嶙峋，枯涩的线条与兰花柔润形成刚柔对照，暗合君子风霜里自持清雅的意趣。\n\n题款小字清雅隽秀，朱印点染泥金底色，古意愈浓。整幅笔致简净，不施丹青，纯以线条出神韵，将文人托物言志的意涵藏于极简笔墨间，淡而有味，简而意足，尽显文人小品画的清雅格调。",[209,7,24,1562,260,173,452,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4d419803bceabe6b26f2daceee8814.jpg",[],{"id":87890,"slug":87891,"title":486,"dynasty":76,"author":1204,"museum":364,"description":87892,"tags":87893,"thumbUrl":87894,"material":139,"size":139,"collection":139,"collections":87895,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},235167,"shan-shui-ce-zhu-da-235167","这幅画以大片留白铺就江天寥廓，将寒烟秋水的空茫意蕴藏于素纸之上。右侧淡墨勾勒丘坡枯木，笔意清瘦简逸，虬曲枯枝孤傲孑立，枯笔皴擦山石，不着浓墨晕染，尽显萧疏冷寂。\n\n空荡纸面恰如无人的寒江荒野，把天地荒寒的澹远之境铺陈开来。朱红钤印错落点缀，冷素笔墨与古雅印色相映，为清寂画面添了沉静厚重的余味。\n\n寥寥数笔便将幽独襟怀融于山水之间，极简意象里藏着沉郁孤高的心境，于空寂之中见深远意趣，淡远里尽显清冷孤绝的品格。",[7,173,81,29,34,35,176,245,177,30126,20612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c165116dd7770d6cc8dde0fdfaf4df9.jpg",[],{"id":87897,"slug":87898,"title":30588,"dynasty":76,"author":13037,"museum":20,"description":79719,"tags":87899,"thumbUrl":87900,"material":13982,"size":30591,"collection":139,"collections":87901,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234965,"wu-wai-tian-yuan-tu-ce-kun-can-234965",[7,24,209,81,173,177,86,227,29,245,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab7e989e6b953554dabccfa86cb3c35.jpg",[],{"id":87903,"slug":87904,"title":16206,"dynasty":99,"author":293,"museum":364,"description":87905,"tags":87906,"thumbUrl":87907,"material":743,"size":744,"collection":139,"collections":87908,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234927,"dong-qi-chang-shan-shui-ce-yi-ming-234927","此作用笔清润松灵，近景古木虬曲苍劲，枝桠舒展自带古拙意趣，坡岸留白晕开浅淡水汽，衬得林下村居愈发幽寂安闲。中远景山峦层叠，以淡墨轻勾慢皴，山石轮廓秀逸温润，将江南丘壑的清润质感藏于简淡笔墨之中。画面留白与钤印错落相映，晕开雅致沉静的书卷气，以尺幅之地铺陈出萧散淡远的林下闲居之境，尽显平淡天真的文人意趣，观之如临幽寂山林，静享山居清宁。",[209,7,24,81,173,177,29,864,430,35,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ff81a6d88494802fde213820a8874.jpg",[],{"id":87910,"slug":87911,"title":82390,"dynasty":99,"author":1012,"museum":364,"description":25925,"tags":87912,"thumbUrl":87913,"material":743,"size":744,"collection":139,"collections":87914,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234831,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234831",[7,24,1562,29,105,177,173,176,34,35,108,2268,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a581639319e81fff2d3745b315c142.jpg",[],{"id":87916,"slug":87917,"title":87918,"dynasty":99,"author":24704,"museum":364,"description":87919,"tags":87920,"thumbUrl":87921,"material":139,"size":139,"collection":139,"collections":87922,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234804,"qian-gu-shan-shui-dan-ye-qian-gu-234804","钱穀山水单页","钱穀（1508—1578），字叔宝，号罄室、句吴逸民，自号罄室子，长洲（今江苏苏州）人，吴越国王族钱氏的后人。少孤贫，迨壮始知读书，游文太史徵明门下，研习画法。画名甚著，且书、诗、文俱精妙。\n现藏于苏州博物馆的钱穀《摹吴镇、倪云林山水》卷为纸本水墨，纵31.5厘米、横148.5厘米，题款“钱穀”，钤“叔宝”白文方印。此作为我们观察、研究钱穀的仿古绘画面貌提供了资料。\n钱穀所处时代的吴中，形成了一个以文徵明为核心的精英文化圈。而成为文徵明的弟子，即意味着他进入了这个核心圈，共享圈内的资源。与诸多文徵明的弟子一样，他长期为老师代笔。这表明，钱穀的画风在很长时间内与文徵明的画风相当接近。除了替师捉刀之外，他也十分注重自己的个人创作。清代徐沁在《明画录》中评价钱穀“作山水不名其师学，而自腾踔于梅花、一峰、石田间，爽朗可爱”。从中可以看出，钱穀已意识到创作不应拘泥于文氏风格。他后期的绘画转师沈周及“元四家”，即是一种应变的策略。《摹吴镇、倪云林山水》卷便是他求变的产物。\n摹写前人的作品，注重从前人的画法中吸取营养，是画家自我提升的一个重要法门。吴门绘画特别推崇元人的笔墨。因此，钱穀追摹吴镇、倪瓒作品的举动也是不难理解的事情。在吴中的文化圈中，“元四家”的作品备受青睐、流传颇多，钱穀想要观赏这些作品自然也不是难事。因此在临仿元人绘画时，可供他选择的画作应是比较丰富的。在《摹吴镇、倪云林山水》卷中，他采用的并不是常见的不与原作相似、带有强烈个人印记的“神会”模仿，而是较为忠实地学习元代画家的风格特征，隐去了自己的笔法痕迹。不过，他的摹写并不是对某一画作的如实临摹，而是将不同画作的绘画元素转摹组合到同一个画面之中。",[7,24,173,177,81,29,175,34,176,35,560,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8fd14004e15d9a8836dc084f6eacaa.jpg",[],{"id":87924,"slug":87925,"title":11554,"dynasty":76,"author":10376,"museum":364,"description":56491,"tags":87926,"thumbUrl":87927,"material":1449,"size":56494,"collection":139,"collections":87928,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234717,"fang-gu-shan-shui-ce-wang-hui-234717",[7,24,81,173,177,105,29,394,175,242,491,10154,176,490,1420,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg",[],{"id":87930,"slug":87931,"title":87932,"dynasty":99,"author":1012,"museum":364,"description":66864,"tags":87933,"thumbUrl":87934,"material":139,"size":139,"collection":139,"collections":87935,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":94},234634,"fang-zhao-song-xue-shan-shui-shan-ye-lan-ying-234634","仿赵松雪山水扇页",[7,1562,27,29,174,1575,176,34,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39567596c4b94d544a1394f90e146675.jpg",[],{"id":87937,"slug":87938,"title":57697,"dynasty":99,"author":79733,"museum":364,"description":87939,"tags":87940,"thumbUrl":87941,"material":139,"size":139,"collection":139,"collections":87942,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234486,"shan-shui-shan-wei-zhi-huang-234486","魏之璜（1568～1647），明代画家。字叔考，上元（今南京）人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风格。亦擅花卉及佛像。",[1562,7,24,173,27,177,29,34,176,107,35,1445,14137,650,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689fbbc66d94f153ceabb94254d50706.jpg",[],{"id":87944,"slug":87945,"title":87946,"dynasty":76,"author":13367,"museum":20,"description":72929,"tags":87947,"thumbUrl":87949,"material":139,"size":139,"collection":139,"collections":87950,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234465,"cui-zhu-gu-ting-tie-luo-shen-zhen-lin-234465","翠竹孤亭贴落",[7,24,87948,173,27,16044,47775,227,86,245,446,28],"贴落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4daea092fc768f069f69a9adf8b4ae48.jpg",[],{"id":87952,"slug":87953,"title":87954,"dynasty":76,"author":293,"museum":364,"description":87955,"tags":87956,"thumbUrl":87957,"material":139,"size":139,"collection":139,"collections":87958,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234378,"nu-er-ha-chi-chao-fu-xiang-zhou-yi-ming-234378","努尔哈赤朝服像轴","爱新觉罗·努尔哈赤（1559年—1626年9月30日），女真族，建州女真首领、后金第一位大汗、清朝实际奠基者。生于建州左卫（今辽宁新宾县西南），父塔克世，母喜塔喇氏，努尔哈赤为长子。\n明万历十一年（1583年），被明廷任命为建州左卫都指挥使。同年，以祖、父遗甲十三副起兵，对建州女真各部展开了兼并战争，统一了建州各部。明万历十七年（1589年），受封为都督佥事、龙虎将军。其后，经过二十余年征伐，统一了松花江流域和长白山以北的诸部女真。为适应当时政治、经济需要，建立八旗制度。设议政王大臣，与八旗旗主共议朝政。创制满文。随着军事力量的日益强大，万历四十四年（1616年），于赫图阿拉建立“大金”（后金），自立为汗，建元天命。天命三年（1618年）起兵反明。在萨尔浒之战中，采取集中兵力、各个击破的作战原则，大败明军，势力进入辽河流域。在相继攻克沈阳、辽阳和辽河以东七十余城后，于天命六年（1621年）迁都辽阳。天命十年（1625年）迁都沈阳，占领了辽东大部地区。\n天命十一年（1626年），挥军进攻宁远（今辽宁兴城）。袁崇焕誓守孤城。努尔哈赤劝降不果，命奋力攻城。激战中，努尔哈赤被明军炮火击伤。在撤围败退沈阳途中，患痛疽病死于叆鸡堡，年68岁。卒后初谥承天广运圣德神功肇纪立极仁孝武皇帝，后累次加谥为承天广运圣德神功肇纪立极仁孝睿武端毅钦安弘文定业高皇帝。庙号太祖。葬沈阳福陵。",[7,24,241,28,27,106,63,17206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfc6dbe0298db1e9b8154acab15cb88.jpg",[],{"id":87960,"slug":87961,"title":486,"dynasty":76,"author":3972,"museum":364,"description":85193,"tags":87962,"thumbUrl":87963,"material":139,"size":139,"collection":181,"collections":87964,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234334,"shan-shui-ce-jin-ting-biao-234334",[368,7,24,81,173,27,29,174,106,150,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93d5cfaaa35db34dd3fc8041a6cf3523.jpg",[181,45],{"id":87966,"slug":87967,"title":46416,"dynasty":76,"author":87968,"museum":364,"description":87969,"tags":87970,"thumbUrl":87971,"material":990,"size":139,"collection":139,"collections":87972,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234256,"shan-shui-juan-li-shao-ji-234256","李绍箕","李绍箕（1550～1631后）明代画家、诗人。字懋承。华亭（今上海松江）人。其祖父李日章，官按察副使。绍箕少承家学，长于诗文，以太学生官南京鸿胪寺序班，后官江西都昌主簿。擅画山水，师岳父顾正谊，能师承其画风，并因任职南昌，多涉历山川胜景，画艺益进，晚年运笔苍劲，年八十有余尚挥洒不倦。",[23,7,24,25,173,177,86,178,29,649,34,1575,35,1112,31,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1d2d7087f5607236ef25610e823c52.jpg",[],{"id":87974,"slug":87975,"title":87976,"dynasty":99,"author":6930,"museum":20,"description":87977,"tags":87978,"thumbUrl":87979,"material":1449,"size":139,"collection":139,"collections":87980,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234241,"ku-mu-zhu-shi-juan-yao-shou-234241","枯木竹石卷","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。\n姚绶擅长画竹石，这是他的经典代表作品之一。他画竹以学吴镇为主，一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔。",[23,7,25,173,177,86,227,543,242,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ae66c46d72f381107e4f170e614f8e.jpg",[],{"id":87982,"slug":87983,"title":87984,"dynasty":99,"author":54081,"museum":20,"description":87985,"tags":87986,"thumbUrl":87987,"material":1449,"size":139,"collection":139,"collections":87988,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234230,"san-cai-li-qu-tu-juan-zhang-fu-yang-234230","三才理趣图卷","张复阳(1403-1490)，名复，以字行，号南山，浙江平湖人。道士，居浙江洞霄宫一枝堂。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真；草树人物，各臻其妙。",[23,7,24,25,173,29,106,1575,245,37,178,86,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d0330ddca90d3c56a5f65f60f97e1f.jpg",[],{"id":87990,"slug":87991,"title":87992,"dynasty":99,"author":293,"museum":20,"description":87993,"tags":87994,"thumbUrl":87995,"material":139,"size":139,"collection":139,"collections":87996,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},234211,"yue-dai-xi-shan-xiao-si-tu-juan-yi-ming-234211","岳岱溪山萧寺图卷","此作以长卷铺展山野溪居之境，开篇题墨淋漓，笔意苍劲朴拙。继而峰峦层叠，以干笔皴擦写尽山石肌理，苔点错落，尽显丘壑深邃。溪岸蜿蜒，洲渚间林木蓊郁，村居萧寺错落隐现于林泉之间，野意悠然。\n全作用墨清润淡雅，勾勒皴擦间尽显文人水墨的简淡意趣，将江南山野的清寂萧散缓缓铺陈，带着温润散逸的吴门意韵，在长卷间绘就林泉高致，尽显幽居林下的雅致情怀。",[23,209,7,24,25,173,27,177,29,107,108,109,175,281,1653,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e026addd26e1c769617a191992a01c8.jpg",[],{"id":87998,"slug":87999,"title":21023,"dynasty":99,"author":38124,"museum":364,"description":88000,"tags":88001,"thumbUrl":88002,"material":139,"size":139,"collection":139,"collections":88003,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234201,"mo-hua-juan-wang-duo-234201","《墨花卷》是中国清代的一幅古画，现藏于北京故宫博物院。",[23,209,7,24,25,173,83,446,448,452,327,243,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4d60f90bf1952b87ee06c51aba9e76.jpg",[],{"id":88005,"slug":88006,"title":46416,"dynasty":99,"author":88007,"museum":364,"description":88008,"tags":88009,"thumbUrl":88011,"material":990,"size":139,"collection":139,"collections":88012,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":94},234183,"shan-shui-juan-chen-lian-234183","陈廉","陈廉（？－？），字威如，直隶大名府元城县人，民籍，明朝政治人物\n顺天府乡试第八十二名，万历十一年（1583年）癸未科会试第二百八名，登二甲第四十四名进士\n曾祖陈绶，曾任知府；祖父陈鸿雷，曾任镇抚；父陈秉忠，曾任王府审理正。母刘氏",[23,7,24,25,173,29,177,864,297,34,37,30,650,1112,565,560,40149,1445,14137,38,88010,13668,1015,78947,194,1255],"层峦叠嶂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a358cb8317b17bc86b3b68fad90017.jpg",[],{"id":88014,"slug":88015,"title":88016,"dynasty":76,"author":15347,"museum":364,"description":88017,"tags":88018,"thumbUrl":88019,"material":139,"size":139,"collection":139,"collections":88020,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234175,"xi-xi-cao-tang-tu-juan-cha-shi-biao-234175","西溪草堂图卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。",[23,7,25,173,29,177,864,297,175,430,35,174,650,1410,1112,920,1532,1444,2219,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1795bf78bf2ed221b26be8f6242dad.jpg",[],{"id":88022,"slug":88023,"title":88024,"dynasty":99,"author":293,"museum":20,"description":88025,"tags":88026,"thumbUrl":88027,"material":990,"size":139,"collection":139,"collections":88028,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},234148,"qian-gu-xiao-yao-you-tu-juan-yi-ming-234148","钱榖逍遥游图卷","钱榖（1508—1579）字叔宝，自号罄室，吴县（今江苏苏州）人，明代画家。\n少孤贫，失学，迨壮始知读书。家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便觉心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔于艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物院藏有万历六年（一五七八）客金陵王氏修竹馆作兰竹卷，时年七十一。",[23,7,24,25,173,29,106,178,1147,86,227,34,109,174,175,281,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599973daa6e861823a66c4c21576ad86.jpg",[],{"id":88030,"slug":88031,"title":88032,"dynasty":18,"author":293,"museum":20,"description":88033,"tags":88034,"thumbUrl":88035,"material":67,"size":88036,"collection":139,"collections":88037,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},234027,"qiu-ting-xi-ying-tu-ye-yi-ming-234027","秋庭戏婴图页","此轴画风活泼清丽，表现庭院中，两孩在湖石花丛下嬉戏，用笔极为细致，精到而刚劲。设色艳丽，与画面气氛浑然一体，信息传达恰到好处。画的左上方有几行题跋，但非原画所有，旧传此画是汉臣之作，但仅就画面来说，其布局匀称得体，用笔熟练老到，确为功力颇深之人的作品。特别是两孩瞳如点漆，炯炯有神，堪称“点睛”妙笔。\n苏汉臣还擅画货郎担和婴儿嬉戏之景，情态生动，能成功地表现出儿童的形象及其游戏时天真活泼的情趣，且笔法简洁劲利，色彩明丽典雅。宋人画儿童题材，起于宋初。以儿童生活为题材的画家有刘宗道、杜孩儿等，但他们都极少有流传下来的作品。这幅苏汉臣的《秋庭戏婴图》就是此类作品的代表。\n赏析：《秋庭戏婴图》无款印，描绘的是两个儿童在花下嬉戏的情景。左上方有清高宗手书的七言绝句一首：“庭院秋声落枣红，拾来旋转戏儿童；丹青讵止传神诩，寓意原存相让风。”在庭院静谧、幽美的一角，满脸稚气的姐弟二人正围着小圆凳，聚精会神地玩推枣磨的游戏。头顶一绺黑发的男童全神贯注，沉浸其中，动作笨拙却逗人喜爱。旁边头梳发卷的姐姐，正用手指轻轻指点，张口露齿，仿佛欲叮嘱些什么。不远处的圆凳上、草地上，还散置着转盘、小佛塔、铙钹等精致的玩具。与姐弟玩兴正浓的推枣游戏对比，更能突显出孩童们喜新厌旧的天性，揭示出孩子们稚气未脱、天真烂漫的童心世界。\n背景部分，笋状的太湖石高高耸立，造型坚实挺拔，周围则簇拥着盛开的芙蓉花与雏菊，这样的布局，不仅冲淡了湖石的阳刚之气，也充分点出秋天的节令。画中姐弟俩所玩的枣子是中国北方的作物，在当时的江南并不生产。加上全画的描写，极端细腻、写实，符合北宋末期的宫廷院画特质。而且，徽宗素来喜欢搜集太湖石，所以即使此图无款印，也能据此推测出此画应该是北宋徽宗宣和画院时期的作品。图中两个儿童只占画面左下角的一小块位置，作为背景点缀的花石却很高大，成为全图最为醒目的标志。\n花石的高大反衬出了儿童的幼小，而四周丢弃的玩具则显示出儿童的天真本性。这种突出的对比在这幅画中到处可见。作者运用线条的功力深厚，使线条富于轻重、长短、转折、顿挫的变化。弟弟的上衣，运用了硬而碎的线条，表现出了布料的质感；姐姐的纱裙，行笔流畅圆润，虽用重色，却给人以薄到透明的感觉，使纱衣有了流动感。画湖石皴染结合，石质显得坚厚湿润而有立体感。花卉皆勾勒精劲，设色艳丽，展示了作者在这方面的高深造诣。仔细观察画中人物的发式、衣着，都是锦装玉琢，一看即知是官宦人家的子弟。\n顾炳在《历代名公画谱》中曾说：“汉臣制作极工，其写婴儿，着色鲜润，体度如生，熟玩之不啻相与言笑者，可谓神矣。”由此可见，苏汉臣的绘画具有造型精准、典雅妍丽的宫廷绘画本质。",[209,7,24,5990,1562,28,27,106,3045,34,298,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d40fc2e963083256e5593789d80158d.jpg","47x86cm",[],{"id":88039,"slug":88040,"title":5051,"dynasty":76,"author":31118,"museum":20,"description":31170,"tags":88041,"thumbUrl":88042,"material":990,"size":31173,"collection":139,"collections":88043,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},233890,"huang-shan-tu-ce-mei-qing-233890",[7,24,29,81,173,27,177,864,449,4614,106,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc4dbbd059f61494cfc3a76e398e246.jpg",[],{"id":88045,"slug":88046,"title":31153,"dynasty":76,"author":15347,"museum":20,"description":31154,"tags":88047,"thumbUrl":88050,"material":1716,"size":31157,"collection":139,"collections":88051,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":94},233874,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233874",[7,173,1397,260,368,34,174,35,490,33,2522,1532,88048,88049],"水面景物","淡墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43c4efc42a9b7fb86aea3f999be41c.jpg",[],{"id":88053,"slug":88054,"title":88055,"dynasty":99,"author":1480,"museum":20,"description":88056,"tags":88057,"thumbUrl":88058,"material":40759,"size":88059,"collection":139,"collections":88060,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},233797,"yu-zhu-shan-mian-tang-yin-233797","雨竹扇面","此幅《雨竹》细笔画属其本色，又蕴含文人画笔意，景色简约清朗，用笔纤细有力，墨色淋漓多变，风格奇峭而又秀润，形成远近朦胧之感。可谓“雨中赏竹”之代表作。",[209,7,24,1562,173,178,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee7c5af2a7419c593175bb50706be58.jpg","纵18CM，横54.2CM",[],{"id":88062,"slug":88063,"title":21984,"dynasty":76,"author":1109,"museum":20,"description":21985,"tags":88064,"thumbUrl":88065,"material":990,"size":21989,"collection":139,"collections":88066,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},233779,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233779",[7,29,27,177,178,227,176,109,34,920,4663,108,1532,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08499dfe7a18b26f6177db834ea5c8ca.jpg",[],{"id":88068,"slug":88069,"title":88070,"dynasty":189,"author":21912,"museum":364,"description":88071,"tags":88072,"thumbUrl":88073,"material":4115,"size":88074,"collection":139,"collections":88075,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},233700,"shan-ju-shuo-ting-tu-ye-tang-di-233700","山居说听图页","《山居说听图页》绘山水之景，远处山峦起伏，近处山石陡峭，树木苍翠；山脚下凉亭数间，亭内两人对坐饮茶，一童子执长扇一边伺侯；亭前溪水流淌，泛起层层水纹。唐棣（1296-1364年)，字子华，号遁斋,祖籍今浙江杭州，因先世在吴兴做官，迁徙今浙江湖州。唐棣父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年应诏在南京龙翔寺绘制画壁，至顺四年第二次北上大都，奉诏在宫廷作画。在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。",[7,24,5990,27,29,430,176,35,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967792a94d3373becb0b178e35ab2182.jpg","纵24厘米，横24.8厘米",[],{"id":88077,"slug":88078,"title":88079,"dynasty":76,"author":1109,"museum":364,"description":19142,"tags":88080,"thumbUrl":88081,"material":1716,"size":19145,"collection":139,"collections":88082,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},233690,"yuan-ji-lan-zhu-ce-lan-cao-shi-tao-233690","原济兰竹册－兰草",[7,24,81,173,178,227,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57d41cd98cbd4b7710323d21f2b19cd9.jpg",[],{"id":88084,"slug":88085,"title":88086,"dynasty":76,"author":1109,"museum":364,"description":19142,"tags":88087,"thumbUrl":88088,"material":1716,"size":19145,"collection":139,"collections":88089,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},233689,"yuan-ji-lan-zhu-ce-quan-shi-lan-zhi-shi-tao-233689","原济兰竹册－泉石兰芝",[7,24,81,173,452,242,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff06ea8d1a5f19d483fa4e2721b2b3214.jpg",[],{"id":88091,"slug":88092,"title":60428,"dynasty":76,"author":1109,"museum":364,"description":19142,"tags":88093,"thumbUrl":88094,"material":1716,"size":19145,"collection":139,"collections":88095,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},233684,"yuan-ji-lan-zhu-ce-lan-hua-shi-tao-233684",[7,24,81,173,178,227,452,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2180aa17525b58af0bb2e537112baac.jpg",[],{"id":88097,"slug":88098,"title":88099,"dynasty":76,"author":1109,"museum":364,"description":19142,"tags":88100,"thumbUrl":88101,"material":1716,"size":19145,"collection":139,"collections":88102,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},233680,"yuan-ji-lan-zhu-ce-gu-mu-lan-cao-shi-tao-233680","原济兰竹册－古木兰草",[7,24,81,173,178,452,245,227],"h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作，受画者由水路往会稽，故所画系舟中望两岸之景，受画者为谁，已不可知。上款惟允二字，系画商妄改，借增此画身价。",[23,7,209,25,24,173,177,86,178,29,1015,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf0bf161896ef34eaf69a1f8b40af91c.jpg","27.82*263.06厘米",[],{"id":88173,"slug":88174,"title":88175,"dynasty":189,"author":293,"museum":88176,"description":88177,"tags":88178,"thumbUrl":88181,"material":803,"size":88182,"collection":139,"collections":88183,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},232804,"xi-luan-cong-xiao-tu-juan-yi-ming-232804","溪峦丛笑图卷","芝加哥艺术博物馆","以全景长卷铺展乡野嬉游盛景，浅溪漾波晕开两岸烟火。左畔村姑骑牛安坐，身侧稚童相随嬉闹；溪水中赤身孩童或逐犬泅水，或呼伴作乐，村人潮间呼喝相和，憨态尽显。右岸坡上乡老士人驻足笑望，眉眼舒展满是欣然。\n\n画师以淡墨晕染溪山底色，铁线白描勾勒身形，将众生欢悦鲜活尽数铺陈，无庙堂端肃，唯存乡野间的自在热络，将村野里乐天肆意的日常意趣定格绢素，尽显民间生活的淳朴真淳。",[23,7,25,27,173,28,106,3045,88179,151,109,34,650,32960,5066,36916,14274,88180],"成人","水中活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ae0bc4fce28f14af3c4a14d32f99bc.jpg","29x130cm",[],{"id":88185,"slug":88186,"title":88187,"dynasty":76,"author":1892,"museum":238,"description":88188,"tags":88189,"thumbUrl":88190,"material":803,"size":88191,"collection":139,"collections":88192,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},232675,"shan-shui-tu-qing-shan-gu-dao-wang-yuan-qi-232675","山水图(青山古道)","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[7,24,241,27,29,176,34,900,178,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec42a1201b6359b7b747022555c207d.jpg","80.4x43.5cm",[],{"id":88194,"slug":88195,"title":88196,"dynasty":18,"author":10675,"museum":12966,"description":88197,"tags":88198,"thumbUrl":88199,"material":619,"size":88200,"collection":139,"collections":88201,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},232595,"da-da-shou-lie-tu-juan-chen-ju-zhong-232595","鞑靼狩猎图卷","图绘早期少数民族狩猎的场景。陈居中，生卒年不详，南宋画家，宁宗嘉泰间（公元1201－1204年）任画院待诏。笔墨精致，色彩艳丽，形象准确，神情生动逼真。擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。其山羊走兽等亦富有情趣。有《文姬归汉图》、《四羊图》等传世作品。",[23,7,24,25,28,27,106,150,957,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f998cad5ff4a67c13137dc8f8c858a.jpg","30.4cm×549.6cm",[],{"id":88203,"slug":88204,"title":88205,"dynasty":76,"author":17651,"museum":20,"description":88206,"tags":88207,"thumbUrl":88208,"material":803,"size":88209,"collection":139,"collections":88210,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},231886,"zhong-qiu-hua-tu-yu-sheng-231886","种秋花图","该画为全景式构图，表现课童种秋花的情景。画心上半部以远山和绿树表现出秋高气爽的时节，下半部重点突出了此画的主题——种秋花。庭院中，有的童子在房前空地处种植，有的给种好的秋卉培土、浇水。画中秋卉缤纷，蜂蝶两三萦绕篱径。整幅画面生动活泼，色彩妍丽，悦人眼目，表现出太平盛世人们安居乐业的惬意生活。",[23,7,27,28,106,34,84,176,35,115,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdd685cefc1d1ead85b247370e33108.jpg","纵165.8厘米，横93.7厘米",[],{"id":88212,"slug":88213,"title":88214,"dynasty":99,"author":88215,"museum":364,"description":88216,"tags":88217,"thumbUrl":88218,"material":803,"size":88219,"collection":139,"collections":88220,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[23,7,24,25,173,260,177,227,86,178,29,245,34,1015,35,33,491,650,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 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年）的伟大画家之一，最著名的是他的屏风",[23,7,24,314,27,28,150,106,430,864,1159,297,88235],"牧马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ae7c460b8c7fa4288de97a20837dfb.jpg",[],{"id":88239,"slug":88240,"title":88241,"dynasty":292,"author":88242,"museum":364,"description":88243,"tags":88244,"thumbUrl":88245,"material":743,"size":744,"collection":139,"collections":88246,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},231742,"an-tu-tao-shan-shi-dai-hua-xia-you-le-tu-ping-feng-di-er-ping-shou-ye-zhang-xin-231742","安土桃山时代 花下游乐图屏风-第二屏","狩野长信","狩野長信（KanōNaganobu）是狩野派的日本畫家。狩野長信是狩野派狩野狩野的最小的兄弟。長信為京都的朝廷（包括御所）完成了許多委託，並創辦了自己的狩野派。在德川幕府統一控制該國並在那裡建立政府時，他是首位從京都移居江戶的主要畫師。",[23,209,7,24,241,27,28,177,83,176,242,62,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31dcbd30fdf392e7be2c5ed69db9ae9a.jpg",[],{"id":88248,"slug":88249,"title":88250,"dynasty":292,"author":88251,"museum":364,"description":88252,"tags":88253,"thumbUrl":88254,"material":743,"size":744,"collection":139,"collections":88255,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},231740,"an-tu-tao-shan-shi-dai-qin-qi-shu-hua-tu-ping-feng-di-er-ping-hai-bei-you-song-231740","安土桃山时代 琴棋书画图屏风第二屏","海北友松","海北 友松（かいほう ゆうしょう、天文2年（1533年） - 慶長20年6月2日（1615年6月27日））は、安土桃山時代から江戸時代初期にかけての絵師。海北派の始祖。",[23,7,241,173,27,29,245,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86678861db0d7126fe8de6b1c0631142.jpg",[],{"id":88257,"slug":88258,"title":88259,"dynasty":292,"author":293,"museum":364,"description":88260,"tags":88261,"thumbUrl":88262,"material":743,"size":744,"collection":139,"collections":88263,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},231708,"lian-cang-shi-dai-yin-fan-tang-yao-shi-yuan-qi-hua-juan-yi-ming-231708","镰仓时代 因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[23,7,24,25,27,28,104,106,107,150,29,34,35,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":88265,"slug":88266,"title":88267,"dynasty":292,"author":88268,"museum":364,"description":88269,"tags":88270,"thumbUrl":88271,"material":139,"size":139,"collection":139,"collections":88272,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},231668,"jiang-hu-shi-dai-pu-tao-tu-li-zhou-li-yuan-xing-suo-231668","江户时代 葡萄图立轴","立原杏所","以枯涩劲健的笔墨挥写藤枝，顿挫苍劲间尽显老藤的野逸生机。叶片以泼墨晕染，浓淡干湿铺陈出层次肌理，墨色淋漓间尽现舒展之态。葡萄以没骨点染，颗颗饱满莹润，藤蔓蜿蜒缠绕，灵动写意。\n角落题字笔意随性洒脱，与画面融为一体，以极简笔墨攫取秋日藤架鲜活意趣，水墨虚实相生，将物象神韵与文人写意的朴拙雅致合为一处，尽显随性自在的花鸟意韵。",[23,7,241,173,446,3199,697,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd871be950dd160e3443e533436c470.jpg",[],{"id":88274,"slug":88275,"title":88276,"dynasty":292,"author":293,"museum":364,"description":88277,"tags":88278,"thumbUrl":88279,"material":139,"size":139,"collection":139,"collections":88280,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},231650,"mu-gui-tu-li-zhou-yi-ming-231650","牧归图立轴","这幅《归牧图》刻画细致生动，人、牛形神毕具",[23,7,24,209,241,27,28,177,151,106,1532,29,245,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63ecd8f1f45323c17e46719497b70e4.jpg",[],{"id":88282,"slug":88283,"title":88284,"dynasty":292,"author":45223,"museum":364,"description":88285,"tags":88286,"thumbUrl":88287,"material":743,"size":744,"collection":139,"collections":88288,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},231607,"ju-zhen-hua-pu-shang-zhong-xia-ce-zhong-shou-ye-tan-you-231607","聚珍画谱.上中下册（中）","狩野探幽（1602～1674），京都人，原名守信，狩野永德之孙，孝信长子，狩野派代表画家。",[7,24,83,27,81,84,800,604,603,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3f10043cd6901a649d6153921c292.jpg",[],{"id":88290,"slug":88291,"title":88292,"dynasty":18,"author":2029,"museum":206,"description":88293,"tags":88294,"thumbUrl":88295,"material":88296,"size":27156,"collection":139,"collections":88297,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},231410,"luo-han-tu-er-liu-song-nian-231410","罗汉图（二）","台北故宫藏画中，有三幅刘松年画罗汉，每幅都款署开禧丁卯（1207）刘松年画，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了赏玩，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。刘松年的这幅《罗汉图》(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[7,24,241,1160,28,27,259,106,314,299,10164,33141,505,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画",[],{"id":88299,"slug":88300,"title":88301,"dynasty":18,"author":10870,"museum":364,"description":88302,"tags":88303,"thumbUrl":88304,"material":743,"size":744,"collection":139,"collections":88305,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},231042,"pi-pa-yuan-xi-tu-yi-yuan-ji-231042","枇杷猿戏图","该画描述了一株枇杷树，干身扭曲，从石後横斜出了画面，又一枝干自上方角落窜进画中，这样的干身，笔墨虽不相连，意却相牵，但觉画外有画，这是作者在构思这幅画作时，别出心裁之处。",[7,209,24,2544,28,27,241,24501,12940,34,176,1278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b53e0257dfb4e9133f98235b397650b.jpg",[],{"id":88307,"slug":88308,"title":51414,"dynasty":76,"author":10958,"museum":364,"description":88309,"tags":88310,"thumbUrl":88311,"material":139,"size":139,"collection":139,"collections":88312,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[23,7,24,25,173,29,864,1329,430,558,281,560,491,1926,176,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":88314,"slug":88315,"title":3102,"dynasty":76,"author":10376,"museum":364,"description":88316,"tags":88317,"thumbUrl":88318,"material":139,"size":139,"collection":139,"collections":88319,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":271},230959,"jiang-shan-qiu-se-tu-wang-hui-230959","此作开合有度，近景流泉穿林而过，丹枫缀枝暗染秋意，山居幽舍藏于崖畔林樾之中，野趣悠然。中层平湖如镜，远山澹澹含烟，铺展出清旷秋山的辽远意境。\n\n笔墨枯润相生，以干笔皴擦写山石肌理，湿笔晕染出山岚空濛，披麻皴裹挟解索皴带出苍浑质感，兼得宋元山水的古雅厚重，又透出灵动秀逸之气。将秋山萧疏清寂与幽居之冶融为一体，师古而不泥古，把秋江林泉的静穆与生机娓娓铺陈，尽显寄兴林泉的文人意韵。",[7,173,177,27,29,108,109,176,34,558,175,227,9156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cf446816c3e98846bde399ef42c87e.jpg",[],{"id":88321,"slug":88322,"title":88323,"dynasty":76,"author":24647,"museum":364,"description":88324,"tags":88325,"thumbUrl":88326,"material":139,"size":139,"collection":139,"collections":88327,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[23,7,24,241,173,177,29,176,1015,109,35,491,1445,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":88329,"slug":88330,"title":88331,"dynasty":189,"author":2519,"museum":364,"description":88332,"tags":88333,"thumbUrl":88334,"material":139,"size":139,"collection":139,"collections":88335,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},230906,"gun-ma-tu-ye-zhao-meng-fu-230906","滚马图页","画面左侧黑马就地翻滚，鬃尾张扬，筋骨肌肉的张力尽显，将骏马撒欢的野趣刻画得鲜活生动。牵马圉人神情略带无奈又习以为常，衣褶简练利落。右侧花斑马徐行，骑手神态悠然，马匹步态舒缓，一动一静相映成趣。\n此作用笔以书入画，线条圆劲雅致，兼顾院体精细与文人简逸格调，寥寥数笔便勾勒出人马神态性情，以极简笔墨传递出浓郁的草原牧歌意趣，尽显鞍马画以形写神的精妙。",[209,7,24,81,260,173,106,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fd377ca46972a5ae73979c85678145.jpg",[],{"id":88337,"slug":88338,"title":88339,"dynasty":76,"author":88340,"museum":364,"description":88341,"tags":88342,"thumbUrl":88343,"material":139,"size":139,"collection":139,"collections":88344,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":49},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,7,24,241,173,27,28,177,29,3953,35,34,176,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":88346,"slug":88347,"title":88348,"dynasty":76,"author":10376,"museum":364,"description":88349,"tags":88350,"thumbUrl":88351,"material":139,"size":139,"collection":139,"collections":88352,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},230851,"lu-cun-gao-yi-tu-wang-hui-230851","麓村高逸图","画面以平远之法铺展幽居盛景，近处方林下，高士安坐，侍童静立旁侧，溪桥丹顶鹤独立顾盼。芭蕉修竹环合掩映，屋舍隐于烟林，远景以淡墨晕染，水雾空濛，将江南丘壑的温润清寂尽数铺陈。\n画作兼工带写，设色浅雅柔润，笔致秀逸灵和，把林下高逸散淡的襟怀融在咫尺山水间，环周题跋与画意呼应，书画合璧，尽显文人雅流出世的襟抱，悠悠林下风致扑面而来。",[23,7,27,29,106,340,755,60,34,109,176,76,25,28,173,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb7e72fa79915f2446b59af3c56c8c6.jpg",[],{"id":88354,"slug":88355,"title":88356,"dynasty":204,"author":30769,"museum":364,"description":88357,"tags":88358,"thumbUrl":88359,"material":743,"size":744,"collection":139,"collections":88360,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},230844,"huo-lu-tu-juan-li-zan-hua-230844","获鹿图卷","耶律倍（899年—937年1月11日），又名耶律突欲，赐名李赞华，是辽太祖耶律阿保机的长子，辽太宗耶律德光的长兄，辽世宗耶律阮的父亲。\n自幼聪颖好学，深得耶律阿保机的喜爱和器重，916年被立为皇太子。926年，封为东丹国王、称“人皇王”。926年太祖病逝后，耶律德光继位为帝。天显三年（928年）东丹国南迁，升东平为南京。同时耶律德光对耶律倍施以控制和监视。930年耶律倍弃国投奔后唐。936年后唐发生政变，耶律倍遇害，葬显陵。\n947年，耶律德光去世。耶律倍长子耶律阮最终夺回了皇位，追谥耶律倍为让国皇帝，庙号义宗。",[23,209,7,24,25,27,28,106,150,957,178,1147,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c78c4635306e17df9bb76f00a59baf.jpg",[],{"id":88362,"slug":88363,"title":88364,"dynasty":292,"author":293,"museum":364,"description":88365,"tags":88366,"thumbUrl":88367,"material":743,"size":744,"collection":139,"collections":88368,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":94},230529,"gu-hua-mo-ben-ma-yuan-deng-tu-juan-yi-ming-230529","古画模本(马远等图卷)","此作绘折枝白牡丹，以浅设色工笔写就。花瓣以淡墨轻勾轮廓，留白晕染出莹润肌理，层叠舒展如堆雪凝霜，将白花清贵柔雅的姿态尽显。叶片以青绿晕染，深浅过渡自然鲜活，枝叶偃仰有态，衬得牡丹愈发冰洁脱俗。\n\n画面取折枝一角取景，简淡清雅，无繁复铺陈，以极简笔墨烘托出牡丹自带的端方贵气，尽显院体花鸟的雅致意趣。勾勒晕染可见细腻功力，于素净底色里藏着幽隽诗意，淡远之中尽显传统花鸟写生的精妙意韵。",[23,7,25,83,28,27,327,227,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bcf111fbb76a851ceea6d4d8ac6220c.jpg",[],{"id":88370,"slug":88371,"title":38578,"dynasty":76,"author":37749,"museum":364,"description":88372,"tags":88373,"thumbUrl":88374,"material":743,"size":744,"collection":139,"collections":88375,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},230362,"shan-shui-ce-ye-wang-zhi-rui-230362","汪之瑞（？—约1660年），字无瑞，号乘槎，清朝安徽休宁人，清初画家。生卒年不可具考，约和查士标同时，为明末新安画家李永昌高足。“新安四家”之一。",[7,24,81,173,177,29,245,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f78b8ecd3718efd6c5667138c15a033.jpg",[],{"id":88377,"slug":88378,"title":88379,"dynasty":76,"author":88380,"museum":364,"description":88381,"tags":88382,"thumbUrl":88383,"material":743,"size":744,"collection":139,"collections":88384,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},230360,"zhang-guo-lao-huan-lv-tu-ce-ye-yin-qi-230360","张果老幻驴图册页","殷奇","字云生，江西石城人。善人物、山水，笔气文秀，烘染设色，俱法北宗笔法。",[7,24,81,260,173,27,106,8989],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618fd5d61f2989656f94e86fc34ea545.jpg",[],{"id":88386,"slug":88387,"title":52344,"dynasty":76,"author":293,"museum":364,"description":88388,"tags":88389,"thumbUrl":88390,"material":139,"size":139,"collection":139,"collections":88391,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},230344,"cai-wen-ji-gui-han-tu-juan-yi-ming-230344","此作用简练白描绘就长卷行旅图景，笔线细劲苍古，随形勾勒，尽显古朴气韵。队伍排布疏密有致，前导擎旄扬旗、骑士策辔缓行，后卫整肃相随，间杂负囊驼队，暗合万里归途的厚重羁旅之感。\n\n人物神态各有不同，或肃穆凝然，或侧首顾盼，胡汉服饰细节暗藏身份之别，将归乡心绪的沉郁与队伍的威仪相融。人马姿态生动自然，动静相映，把漫漫归程的苍茫氛围徐徐铺展，古旧绢色晕染出岁月沉淀的厚重，让历史故事的沉郁质感满溢卷间。",[23,7,24,25,260,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633d534a82155b87bc779a8d224b9e64.jpg",[],{"id":88393,"slug":88394,"title":1702,"dynasty":76,"author":1703,"museum":364,"description":88395,"tags":88396,"thumbUrl":88397,"material":139,"size":139,"collection":139,"collections":88398,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},230235,"han-mei-yi-zhi-hua-jin-nong-230235","笔意清疏古拙，带着金石沉凝之气的题字，将访梅逸兴与旧游心绪相融。以袖里藏春暗合梅枝不随岁华凋残的品格，折梅入袖的雅事，呼应画中寒梅冷艳清嘉的风姿。淡墨绘就孤梅，极简构图衬出孤高疏淡风韵，诗画相生，借梅自喻，尽显清癯耿介的文人风骨。字句间漫着冷香幽韵，将赏梅、忆旧、寄怀揉作一处，淡而弥远，清而愈醇，尽显以文入画、画文同趣的扬州画派意趣。",[23,7,24,178,227,448,83,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7275f1b71fa722e04d1ac278389fe7b6.jpg",[],{"id":88400,"slug":88401,"title":88402,"dynasty":76,"author":17651,"museum":364,"description":56358,"tags":88403,"thumbUrl":88404,"material":743,"size":744,"collection":139,"collections":88405,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},230214,"hua-hai-xi-ji-hui-ce-yu-sheng-230214","画海西集卉册",[7,24,81,27,28,83,245,1216,4008,86,178],"https:\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所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[7,24,25,27,26,29,34,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f83116d1482be85f63c5b6bf0eda143.jpg",[],{"id":88455,"slug":88456,"title":8697,"dynasty":99,"author":23960,"museum":364,"description":88457,"tags":88458,"thumbUrl":88459,"material":139,"size":139,"collection":139,"collections":88460,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},228355,"luo-han-tu-song-xu-228355","此作用笔清隽沉稳，设色古雅柔和。主尊罗汉安坐岩穴，面含静穆，紫衣禅袍衣褶层叠凝练，抬手垂臂间自有出尘悠然气度。身前小沙弥身披朱红衲衣，俯身低首，以恭谨姿态衬得主尊静定庄严。背景枯木虬枝盘绕，苔点错落晕染出林麓荒寂，浅赭绢色晕染出幽谧山野氛围。画面以简淡笔触晕开禅意，将佛门清寂安然的林下修行之景，铺陈得静谧悠长，尽显平和冲淡的禅画意趣。",[23,7,24,1086,259,106,27,245,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bb748de064a314fbc717671321fa39.jpg",[],{"id":88462,"slug":88463,"title":88464,"dynasty":99,"author":23960,"museum":364,"description":88465,"tags":88466,"thumbUrl":88467,"material":139,"size":139,"collection":139,"collections":88468,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},228354,"hu-zhou-shi-ba-jing-bi-lang-hu-song-xu-228354","湖州十八景－碧浪湖","近景湖心石渚之上，七层浮屠卓然挺立，飞檐层叠错落，宝顶凌云。烟波里扁舟轻摇，水鸟掠波而过，漾开细碎涟漪。左侧崖壁巉岩嶙峋，林木层叠点染，山道间行人如蚁，衬出丘壑的阔远深邃。\n\n远景沙汀逶迤，楼阁隐现于浅赭山峦间，淡墨晕染的远山融于烟岚之中，晕开空濛天色。画作以浅绛设色，笔墨苍秀简逸，写意中兼具工致，既带着文人画的清雅意趣，又细致摹写出水岸林峦的错落层次，将湖山的旷远空濛与烟火生机相融，观之如临其境，尽览湖畔悠然澹远的朝暮意韵。",[23,7,173,27,29,107,174,281,650,34,177,104,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdc45eb224b944a1ca856e776bdaec7.jpg",[],{"id":88470,"slug":88471,"title":88472,"dynasty":99,"author":24704,"museum":364,"description":88473,"tags":88474,"thumbUrl":88475,"material":139,"size":139,"collection":139,"collections":88476,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,7,24,81,27,173,29,177,649,37,109,108,107,34,281,175,176,1445,106,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":88478,"slug":88479,"title":88480,"dynasty":99,"author":1296,"museum":364,"description":88481,"tags":88482,"thumbUrl":88483,"material":139,"size":139,"collection":139,"collections":88484,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[23,7,24,25,173,29,177,227,86,178,176,34,31,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":88486,"slug":88487,"title":15629,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":88488,"thumbUrl":88489,"material":743,"size":744,"collection":139,"collections":88490,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},228301,"hua-niao-jing-pin-ce-chen-hong-shou-228301",[7,24,81,27,28,83,327,243,450,279,451,281,136,956,2786,933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab22e59eca769a09ba77829421839ef.jpg",[],{"id":88492,"slug":88493,"title":88494,"dynasty":189,"author":293,"museum":364,"description":88495,"tags":88496,"thumbUrl":88497,"material":139,"size":139,"collection":139,"collections":88498,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":49},228217,"quan-ma-tu-yi-ming-228217","犬马图","此作为典型元代鞍马小品，笔墨苍朴古雅，意境萧疏悠然。牵马奚官具胡地风貌，面容写实生动，衣褶简括沉稳，寥寥数笔便将其驯马时的安然神态尽显。所牵老马瘦骨棱棱，却筋骨开张，神骏之态未减，鬃毛细笔勾勒、马蹄晕染细致，将迟暮老马沉郁之姿描摹入微。\n趴卧侧望的细犬身姿矫捷灵动，毛发晕染柔润细腻，与老马的沉迟形成动静对照。淡墨晕染的空寂背景，衬出林下荒疏的氛围，以极简物象烘托出清寂落寞的意韵，于细节处见精妙功力，尽显元代鞍马画重神韵、尚意境的特质。",[7,27,28,106,150,12226,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeff32c1fbb1a90bde90f1345e0e1efc.jpg",[],{"id":88500,"slug":88501,"title":88502,"dynasty":189,"author":293,"museum":364,"description":88503,"tags":88504,"thumbUrl":88505,"material":139,"size":139,"collection":139,"collections":88506,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},228200,"si-ji-feng-zhu-tu-zhou-yi-ming-228200","四季风竹图轴","此作用水墨写就丛竹，老干挺拔苍劲，新篁清润秀雅，高低错落排布，枝叶俯仰有姿，似裹挟穿林风韵。运笔遒劲爽利，竹叶下笔如削，虚实相生间，以浓淡墨色铺陈出前后层次，将竹之清刚气节尽显。画面洗练空灵，无多余皴染，以极简笔墨写尽竹之潇洒风神，藏动于静，仿若可聆风穿叶隙之声，暗合君子凌霜傲雪的品格风骨，尽显文人以物咏志的意涵，是墨竹写意中颇具意趣的上乘之作。",[23,209,7,24,241,173,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3960b7cca53261a5c677339f49302fe7.jpg",[],{"id":88508,"slug":88509,"title":88510,"dynasty":189,"author":293,"museum":364,"description":88511,"tags":88512,"thumbUrl":88514,"material":139,"size":139,"collection":139,"collections":88515,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},228188,"fang-li-gong-lin-huo-lang-tu-yi-ming-228188","仿李公麟货郎图","以清隽白描勾勒市肆一隅，货郎担上层层叠叠，诸般玩物吃食错落排布，将巷陌烟火气静静铺展。线条凝练温婉暗合法度，把货郎的劳碌、路人的注目藏在毫锋起落间，将旧时街头鲜活日常凝于绢素之上。清淡笔墨晕开市肆的生动模样，细碎货品暗藏民生的鲜活图景，古雅韵致里满溢着人间烟火的温热，把市井巷陌的鲜活日常定格在绢素中。",[7,24,105,260,27,106,88513,227],"日常用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f63d9c2b19bc616137c0b88c450cc8.jpg",[],{"id":88517,"slug":88518,"title":88519,"dynasty":189,"author":88520,"museum":364,"description":88521,"tags":88522,"thumbUrl":88523,"material":139,"size":139,"collection":139,"collections":88524,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},228176,"xuan-men-shi-zi-tu-hua-zu-li-228176","玄门十子图","华祖立","《玄门十子图卷》是元代画家华祖立、吴炳共同所绘的画作，现收藏于上海博物馆。\n该图根据元赵孟頫《十子图》石刻本和木刻本摹写而成。\n十子为春秋战国时期著名道家人物，再加上老子共十一人。\n这十位分别为尹喜、辛钘（音jian）、庚桑楚、南荣趎（音chu）、尹文、士成绮、崔瞿、柏矩、列御寇（列子）和庄周（庄子）。\n该图所绘十一位人物神情严肃、造型各异、不设背景，其侧书以与之相应的传记。\n技法上，笔法刚劲，描绘人物线条园转秀逸，婉转流畅，设色淡雅，反映了这十一人的仙风道骨。\n华祖立（元代活动于十四世纪），字唐卿，籍贯不详，擅画人物。\n吴炳（元代活动于十四世纪），字彦辉，河南开封人，擅书法。",[23,7,24,25,260,27,106,245,227,84604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc04f788d9b54ae5367fa0e9826ee7a.jpg",[],{"id":88526,"slug":88527,"title":12285,"dynasty":189,"author":2876,"museum":364,"description":88528,"tags":88529,"thumbUrl":88530,"material":139,"size":139,"collection":139,"collections":88531,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","此作用平远之境铺陈水乡暮色，湖面浩渺空阔，洲渚星罗点缀浅滩，水色澹澹间漾出清寂之意。岸边林木萧疏，枯枝干桠错落伸展，茅舍隐于林间水岸，暗藏三两村意，尽揽江南水村闲淡野趣。\n笔墨以干笔皴擦衬以淡墨晕染，山石苍秀简劲，脱去繁缛刻画，尽显清逸松灵的韵致，以极简笔触勾勒出幽远空寂的林下隐逸之境，暗合文人疏离尘嚣、寄情林泉的雅趣风骨。",[23,209,7,24,25,173,177,29,31,34,4675,35,108,491,1915,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":88533,"slug":88534,"title":40585,"dynasty":189,"author":9509,"museum":364,"description":88535,"tags":88536,"thumbUrl":88537,"material":139,"size":139,"collection":139,"collections":88538,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":1335},228029,"fang-you-tu-zhao-yong-228029","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[23,7,27,29,177,106,175,34,108,109,900,1653,394,281,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":88540,"slug":88541,"title":88542,"dynasty":18,"author":15479,"museum":364,"description":88543,"tags":88544,"thumbUrl":88545,"material":139,"size":139,"collection":139,"collections":88546,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},227975,"yan-cun-qiu-ai-tu-li-an-zhong-227975","烟村秋霭图","这幅画以淡墨轻晕铺就烟霭秋郊，虚实相生间尽显幽远意境。左侧茂林攒聚，细密点染出秋叶苍润的质感，林梢掩映隐约村舍，藏着乡野的静谧烟火。右侧枯木斜倚水岸，孤清萧疏，与左侧的苍林形成疏密对照。\n\n画师以留白晕染烟水空濛，墨色浓淡自然过渡，将暮秋薄霭浮动的氛围感烘托得恰到好处，把秋日郊野的冷寂清旷尽数铺展。带着独有的平和疏淡意趣，将乡野秋日的萧散之美藏在朦胧烟色中，尽显淡远幽微的山水诗意。",[23,209,7,24,29,173,27,177,34,10380,563,109,1015,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2756c4f10a3cf56a3d7eba886bd268cd.jpg",[],{"id":88548,"slug":88549,"title":87054,"dynasty":18,"author":88550,"museum":364,"description":88551,"tags":88552,"thumbUrl":88553,"material":139,"size":139,"collection":139,"collections":88554,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},227960,"jiang-ting-lan-sheng-tu-zhu-wei-de-227960","朱惟德","《晋唐宋元书画国宝特集》是22年 出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[23,7,24,1562,27,29,178,7741,491,1575,4675,33,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":88556,"slug":88557,"title":10869,"dynasty":18,"author":293,"museum":364,"description":88558,"tags":88559,"thumbUrl":88560,"material":139,"size":139,"collection":139,"collections":88561,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},227899,"yuan-lu-tu-yi-ming-227899","此作上下分景，将灵趣与恬然相融。枝头灵猿身姿轻捷，毛发晕染细腻蓬松，长臂挂于虬枝，正侧目窥望下方，机警灵动之态跃然绢上。地面母鹿抬首回望，幼鹿依偎身侧，躯体线条温婉柔和，满是温驯安然。\n\n淡墨轻色晕染枝叶，舒展自然，岩石皴擦朴拙写实，衬出山林的清寂野趣。工细笔触兼顾写意格调，将猿的机敏与鹿的恬和彼此呼应，把空山一隅的悠然生机静静铺展，尽显对自然生灵的细腻体察与雅致审美。",[209,7,24,27,28,957,12940,3167,430,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e67f98101322a96090bdd8e26302696.jpg",[],{"id":88563,"slug":88564,"title":88565,"dynasty":18,"author":293,"museum":364,"description":88566,"tags":88567,"thumbUrl":88568,"material":139,"size":139,"collection":139,"collections":88569,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},227863,"chun-shan-xun-mu-tu-yi-ming-227863","春山曛暮图","此作以边角构图造境，右侧苍松虬曲老硬，松针攒簇尽显苍古之姿，将山野幽意凝于枝桠间。远山以淡墨晕染，朦胧迤逦，晕开曛暮时分的空濛柔润。林麓茅亭隐现，枯木初萌新绿，幽人策杖徐行，将山居闲逸藏于尺幅。\n\n全作用笔精微写实，以虚衬实，淡墨轻烟里晕开春日薄暮的柔和暖意，把山野暮色的清旷悠然融于方寸之间，尽显简淡空灵的山水意趣，将文人心中萧散闲雅的山居图景晕染尽致，于小品之中见天地悠然，淡远静谧的氛围感扑面而来。",[209,7,24,27,29,175,1575,491,4562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bea0e87d5e65d183601f2308bcf0312.jpg",[],{"id":88571,"slug":88572,"title":88573,"dynasty":18,"author":293,"museum":364,"description":88574,"tags":88575,"thumbUrl":88576,"material":139,"size":139,"collection":139,"collections":88577,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},227848,"gong-yuan-tu-ye-yi-ming-227848","宫苑图页","此作以青绿晕染山林，界画精工勾勒宫阙楼宇，将苑囿隐于蓊郁林泉之间。山石皴染苍润古朴，旧色晕开厚重雅致的古韵，林木错落掩映殿台飞檐，层层递进的构图铺展出幽深秘境。楼宇斗拱分毫毕现，尽显匠造规整，却融于空山翠色，消解了楼宇冷硬，凭添林泉雅意。它兼具山水画的悠远意境与界画的精工细致，静静铺展着千年前林泉宫阙的静谧古雅，将人工意趣悄然融于天然山水，尽显清和雅致的林苑意韵。",[23,209,7,24,104,28,27,29,107,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd24c709139ea37f1960e2d62944f11.jpg",[],{"id":88579,"slug":88580,"title":55362,"dynasty":18,"author":293,"museum":364,"description":88581,"tags":88582,"thumbUrl":88583,"material":139,"size":139,"collection":139,"collections":88584,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":49},227358,"chun-you-wan-gui-tu-ye-yi-ming-227358","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,209,7,24,1562,27,28,104,106,150,34,107,900,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":88586,"slug":88587,"title":88588,"dynasty":292,"author":49761,"museum":364,"description":49762,"tags":88589,"thumbUrl":88590,"material":743,"size":744,"collection":139,"collections":88591,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":49},225296,"mo-tian-ben-dong-jing-zhen-hai-225296","魔天(本-东京)",[23,7,24,241,259,106,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ecd6bec9b4d5c029e5994c3a74d582.jpg",[],{"id":88593,"slug":88594,"title":26503,"dynasty":76,"author":11783,"museum":364,"description":88595,"tags":88596,"thumbUrl":88597,"material":139,"size":139,"collection":139,"collections":88598,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},224584,"shuang-ma-tu-yu-yuan-224584","此作用笔精细入微，两骏依偎伫立，霜色骏马在前，栗色良驹稍后，神态温驯雍容。鬃尾晕染丝缕分明，躯体肌理饱满写实，将骏马神骏却沉静的姿态刻画得淋漓尽致。画面右上题诗呼应画意，墨色雅致朴拙，与工稳的鞍马刻画相融，承继唐宋鞍马写实遗风，又融入文人意趣。敷色妍丽沉稳，古旧绢色更衬出画作静穆古雅的气质，整体简净清隽，状物精妙的同时兼具文墨情致，尽显良骏俊逸闲和之态。",[23,209,7,24,28,27,150,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf93d6b4b29bf71246809df96ec075a0.jpg",[],{"id":88600,"slug":88601,"title":88602,"dynasty":76,"author":5096,"museum":364,"description":88603,"tags":88604,"thumbUrl":88605,"material":743,"size":744,"collection":139,"collections":88606,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,209,7,24,241,173,29,177,1575,30,176,4614,109,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":88608,"slug":88609,"title":88610,"dynasty":76,"author":10376,"museum":364,"description":88611,"tags":88612,"thumbUrl":88613,"material":139,"size":139,"collection":139,"collections":88614,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},224462,"liu-an-jiang-zhou-tu-wang-hui-224462","柳岸江洲图","《柳岸江洲图》 是清代王翚作品，尺寸为95.5cm×41cm。\n现藏于天津市艺术博物馆藏。\n近景以浓重墨色画稀疏柳林。\n枝干参差，富于变化，远处群山，波状起伏，湖上轻舟，张帆而行。\n笔墨简练，干脆利落。",[23,209,7,173,29,174,1532,7067,48741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc47787a2a429be37b4a2e87319051f3.jpg",[],{"id":88616,"slug":88617,"title":88618,"dynasty":76,"author":1394,"museum":364,"description":88619,"tags":88620,"thumbUrl":88621,"material":139,"size":139,"collection":139,"collections":88622,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},224426,"fang-huang-zi-jiu-bi-yi-wang-shi-min-224426","仿黄子久笔意","此作用笔苍润松秀，以干笔皴擦勾勒山峦肌理，墨色层染清和淡雅，复刻出元人山水的萧散意趣。画面取高远平远结合之景，主峰巍峨矗立，山间留白以烟岚晕染，将重山包裹得灵动悠然。溪渚蜿蜒穿林而过，村居错落藏于茂林幽谷，坡岸林木扶疏，点染出江南山水温润清和之态。整体气息淡逸空灵，既追摹原作的简远苍浑，又融入自身温厚娴静的笔致，将文人寄情林泉、追慕古意的襟怀，尽藏在这尺幅江山之中。",[23,7,24,241,29,105,177,2218,34,109,35,864,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1003f8fca3fdf7c2b59be1131c6e8ea9.jpg",[],{"id":88624,"slug":88625,"title":88626,"dynasty":76,"author":1394,"museum":364,"description":39247,"tags":88627,"thumbUrl":88628,"material":39250,"size":39251,"collection":139,"collections":88629,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},224422,"shu-hua-shi-liu-kai-8-wang-shi-min-224422","书画十六开-8",[23,7,173,27,177,81,29,176,109,175,35,34,108,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2243c54b555496c4344dfbf997010309.jpg",[],{"id":88631,"slug":88632,"title":88633,"dynasty":76,"author":2324,"museum":364,"description":88634,"tags":88635,"thumbUrl":88636,"material":139,"size":139,"collection":139,"collections":88637,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},224295,"bai-shi-da-ji-tu-li-shan-224295","百事大吉图","此作用笔纵恣老辣，古松盘曲虬劲，皴擦勾勒间尽显苍古拙朴之意，团簇的松针以浓墨点染，蓬勃生机扑面而来。独立松枝的雄鸡兼工带写，浓墨点染头颈尾羽，淡墨晕染躯干，寥寥数笔便将雄鸡引吭长鸣的英武之态勾勒传神。\n画面借松、鸡谐音承载吉祥意趣，将文人写意的疏放与世俗吉庆寓意相融，笔墨挥洒间脱略陈规，尽显疏狂意气，是寄情于物、雅俗共赏的写意佳作。",[23,7,24,241,173,446,83,1575,3478,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1114f2ba3c8a3d2ff5cb13dc84067253.jpg",[],{"id":88639,"slug":88640,"title":88641,"dynasty":76,"author":24460,"museum":364,"description":88642,"tags":88643,"thumbUrl":88644,"material":139,"size":139,"collection":139,"collections":88645,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":94},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","《上塞锦林图》是中国清代画家 的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[23,7,24,241,27,29,177,864,430,31,1159,2238,38,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":88647,"slug":88648,"title":88649,"dynasty":76,"author":36765,"museum":364,"description":88650,"tags":88651,"thumbUrl":88652,"material":139,"size":139,"collection":139,"collections":88653,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,209,7,24,241,27,177,29,35,34,108,109,174,394,1653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":88655,"slug":88656,"title":1692,"dynasty":76,"author":36765,"museum":364,"description":88657,"tags":88658,"thumbUrl":88659,"material":743,"size":744,"collection":139,"collections":88660,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},224194,"shan-shui-tu-wu-hong-224194","吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。",[23,1562,7,173,177,29,394,176,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d02ac75ef5b73d4c0984f4926cabcc.jpg",[],{"id":88662,"slug":88663,"title":88664,"dynasty":76,"author":707,"museum":364,"description":88665,"tags":88666,"thumbUrl":88667,"material":139,"size":139,"collection":139,"collections":88668,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,7,24,241,27,28,29,34,35,108,109,174,37,30,1575,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":88670,"slug":88671,"title":88672,"dynasty":76,"author":707,"museum":364,"description":88673,"tags":88674,"thumbUrl":88675,"material":139,"size":139,"collection":139,"collections":88676,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,7,24,241,27,28,177,29,106,108,109,175,35,1575,176,1112,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":88678,"slug":88679,"title":88680,"dynasty":76,"author":293,"museum":364,"description":88681,"tags":88682,"thumbUrl":88684,"material":139,"size":139,"collection":139,"collections":88685,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},223688,"li-tu-ye-yi-ming-223688","鲤图页","此作以工笔写鲤，细笔晕染鳞片刻画出硬挺莹润的质感，鱼鳍舒展灵动，双目圆睁有神，长须轻颤，将鲤鱼刚健灵动的身姿定格在破波欲跃的瞬间。淡墨轻勾水纹，线条柔婉清浅，不着浓色，仅以素雅晕染烘托池水静谧，一动一静相映成趣，把鲤穿波的鲜活生机尽显纸面。\n\n整幅画面清雅空灵，无冗余修饰，将对生灵的细致体察藏在笔触里，于留白间传递出含蓄的吉祥意趣，简淡中见精巧笔触，平淡中藏盎然生机，尽显传统花鸟小品的雅致意韵。",[23,209,7,24,81,28,27,933,88683],"鲤鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb693a3d05e3da75e3221a47a142fdca4.jpg",[],{"id":88687,"slug":88688,"title":88689,"dynasty":189,"author":293,"museum":364,"description":88690,"tags":88691,"thumbUrl":88692,"material":139,"size":139,"collection":139,"collections":88693,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},223626,"he-ting-dui-yi-tu-ye-yi-ming-223626","荷亭对弈图页","《荷亭对弈图页》是元代画家佚名创作的一幅绢本设色画，现收藏在故宫博物院。\n本幅无作者款识。\n收藏印钤“庞莱臣珍藏宋元真迹”、“项墨林父秘笈之印”二方。\n图中描绘 边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐，不知是弈后的疲惫小憩还是战前的养精蓄神；又有三 ，一执扇，一伏案，一取水，整幅意境悠闲雅淡 此画将青绿山水与界笔楼阁有机结合，是南宋院画楼阁小品的沿展，只是风格更加清新活泼。\n此页旧题签“赵伯骕荷亭对弈”，实为元人所作。",[23,209,7,24,81,27,104,28,106,107,175,243,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea73aea37bb0f5cf60b79d0bc39c0e2.jpg",[],{"id":88695,"slug":88696,"title":88697,"dynasty":18,"author":293,"museum":12966,"description":88698,"tags":88699,"thumbUrl":88700,"material":139,"size":139,"collection":139,"collections":88701,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},223571,"xi-pan-gui-mu-tu-yi-ming-223571","溪畔归牧图","柳溪边，一牧童骑牛渡水，一牛隔岸嘶鸣，作欲渡而又畏渡之态，具有浓郁的乡村生活气息。\n牧童用简笔描绘，柳、牛则用细笔勾描，笔法精工。",[23,7,24,27,28,177,29,109,151,106,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5951ff9e84033a61bc0d4c305cb17153.jpg",[],{"id":88703,"slug":88704,"title":88705,"dynasty":18,"author":293,"museum":364,"description":88706,"tags":88707,"thumbUrl":88708,"material":803,"size":88709,"collection":139,"collections":88710,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,7,209,241,27,177,29,864,2124,558,34,108,109,107,106,150,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":88712,"slug":88713,"title":41293,"dynasty":189,"author":293,"museum":206,"description":88714,"tags":88715,"thumbUrl":88716,"material":18383,"size":88717,"collection":139,"collections":88718,"showCount":495,"zanCount":5,"manualWeight":48,"mainColor":49},223508,"lin-ting-qiu-se-tu-yi-ming-223508","沿江冈陵起伏，霜气已深，岁将暮矣。满山寒林卓立，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收网，朝起江村，各有所事。\n本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空阔，气象萧疏，使人凛然而有寒意。无款印。",[23,7,209,24,173,177,29,175,1653,394,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e60592ae246de35dc4631b352b3bbc3.jpg","27.5x50.7厘米",[],{"id":88720,"slug":88721,"title":88722,"dynasty":18,"author":293,"museum":20,"description":88723,"tags":88724,"thumbUrl":88725,"material":40,"size":88726,"collection":139,"collections":88727,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},223506,"song-yin-tan-dao-tu-ye-yi-ming-223506","松荫谈道图页","此图亦作《三教论道图》，图绘远处山峰连绵，近处一棵高大松树松杆遒劲，绿荫如盖；松荫下儒、释、道三位教徒或着长袍，或着叶装，端坐于松根、石块上谈经论道。此处环境清幽，阴凉静雅，似世外桃园般安逸。",[23,7,209,24,1562,28,27,106,1575,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F833d44227db51604372db96ab56fde5d.jpg","25.3＊25.6cm",[],{"id":88729,"slug":88730,"title":88731,"dynasty":18,"author":293,"museum":206,"description":88732,"tags":88733,"thumbUrl":88738,"material":665,"size":88739,"collection":139,"collections":88740,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},223476,"zhe-kan-tu-ju-bu-yi-ming-223476","折槛图（局部）","此图用形象生动的笔触，描忠臣犯颜直谏，图绘了朱云在皇帝、公卿大臣面前犯颜直谏的景象。御林军正在拖朱云，朱死抱住栏槛不放，还在强辩。成帝侧身坐龙椅上，长须飘洒，满面怒容，目光杀气腾腾，与朱云针锋相对。奸相张禹则手捧笏板得意地站在成帝身边，满脸奸笑。辛庆忌正躬身为朱云求情。画面情节紧张而热烈，人物神情刻画细腻生动，富有鲜明的个性。线条遒劲有力，色彩鲜明强烈，确是一幅人物画的精品之作。",[23,209,7,28,27,106,3842,449,242,313,88734,88735,88736,88737],"龙椅","笏板","犯颜直谏","求情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326c2ce3f908eadcc8834818e4eed64e.jpg","纵173.9公分，横101.8公分",[],{"id":88742,"slug":88743,"title":88744,"dynasty":189,"author":293,"museum":1985,"description":88745,"tags":88746,"thumbUrl":88748,"material":1449,"size":88749,"collection":139,"collections":88750,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},223445,"han-lin-gui-qiao-tu-zhou-yi-ming-223445","寒林归樵图轴","远处孤山耸立，近处寒林对峙，画面空旷深远，尽显寒意料峭。图画上端有刘长卿所作诗《寻盛禅师兰若》，净慈寺平山处林禅师所书诗：“秋草黄花覆古阡，隔林何处起人烟，山僧独在山中老，唯有寒松见少年”",[23,7,173,241,29,2125,1015,176,177,88747],"樵夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab559074d70afec98a2c35cecf05614.jpg","92.6＊48.9cm",[],{"id":88752,"slug":88753,"title":88754,"dynasty":18,"author":293,"museum":78,"description":88755,"tags":88756,"thumbUrl":88757,"material":67,"size":88758,"collection":139,"collections":88759,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},223378,"shi-liu-ying-zhen-du-hai-tu-juan-yi-ming-223378","十六应真渡海图卷","文中斯别开生面。形状奇怪夙所称，耳熟闻之目新见。苍鳞若龙若非龙，擎爪来闻法以现。第一。据树坐椸钵多罗，鸦鹊来餐香积饭。第二。飘然白鹤驾以降，屈眴七条披已惯。第三。数珠在手。第四。把明珠。第五。自摇箑其貌颟顸。第六。端立左铃而右杵。第七。扶童者迵顾彼崖。第八。是皆渡海履水物。水物狰狞名不辨。拍持具叶。第九。促舍汉。第十。白泽曳轮坐以晏。别有袖手乘骞槎。第十一。相参法喜作佳伴。据石入定若无人。第十二。牛哀跪伏如猫豢，傍见共谘二大士，其一默坐。第十三。一持扇。第十四。似步而迥更迥，第十五。臃肿披缁目光炫。第十六。跏趺相对谈二禅。云空。第十七。云色。第十八。色空幻，是为不二法之宗。绣居士说法编，向曾韵统考同文。位号次第订梵汉。莆田愚者不羁士。传神何碍后前舛。长歌笑我尚拘墟。山阴讶似镜中按。乾隆乙巳（1785）仲秋，御题。",[23,7,209,25,260,173,259,106,7281,957,176,34,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbfb5332900a9dfc823e81b021913cf.jpg","29X322",[],{"id":88761,"slug":88762,"title":88763,"dynasty":76,"author":9280,"museum":206,"description":88764,"tags":88765,"thumbUrl":88766,"material":139,"size":88767,"collection":139,"collections":88768,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},223247,"ji-le-shi-jie-ding-guan-peng-223247","极乐世界","丁观鹏(？-1771后)， 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与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽（马、羊等）无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。\n他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[23,7,24,27,28,106,29,107,34,957,1329,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":88792,"slug":88793,"title":54772,"dynasty":76,"author":10958,"museum":206,"description":88794,"tags":88795,"thumbUrl":88796,"material":38526,"size":88797,"collection":181,"collections":88798,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},223113,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-223113","本幅为西湖十景之一「柳浪桥」景。该桥在清波门、涌金门外，宋时即沿堤植柳，以此得名。画中柳丝踠地，轻风摇扬，亭榭深深，如闻黄莺啼于绿荫中。笔调清秀苍润，表现出春湖景的谧静感。本轴画幅之上有乾隆皇帝题诗，下为多位文臣和诗。",[23,7,241,173,177,29,1532,1255,174,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04366245e18f5be234cafe05afce9032.jpg","290x58厘米",[181,163],{"id":88800,"slug":88801,"title":9290,"dynasty":76,"author":9291,"museum":364,"description":9292,"tags":88802,"thumbUrl":88803,"material":139,"size":139,"collection":139,"collections":88804,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},223089,"shui-hu-ren-wu-ren-xun-223089",[23,7,24,241,27,28,106,7464,63,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8bcbc88ceb89b051d93d71a7863e2b.jpg",[],{"id":88806,"slug":88807,"title":9290,"dynasty":76,"author":9291,"museum":364,"description":9292,"tags":88808,"thumbUrl":88809,"material":139,"size":139,"collection":139,"collections":88810,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},223084,"shui-hu-ren-wu-ren-xun-223084",[23,7,24,106,28,27,260,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c69b7831b89491435ab19058724da7.jpg",[],{"id":88812,"slug":88813,"title":88814,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":88815,"thumbUrl":88816,"material":67,"size":10518,"collection":139,"collections":88817,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},222999,"hong-lou-meng-124-sun-wen-222999","红楼梦124",[23,7,28,27,23999,21617,758,107,115,2714,1255,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe634b8a2479a7facb164cebb0f2fb17c.jpg",[],{"id":88819,"slug":88820,"title":88821,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":88822,"thumbUrl":88823,"material":67,"size":10518,"collection":139,"collections":88824,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},222984,"hong-lou-meng-109-sun-wen-222984","红楼梦109",[23,7,28,27,104,106,14744,34,1960,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858eab4cec4a5f22c722e84f1f2a69c0.jpg",[],{"id":88826,"slug":88827,"title":88828,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":88829,"thumbUrl":88830,"material":67,"size":10518,"collection":139,"collections":88831,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},222980,"hong-lou-meng-105-sun-wen-222980","红楼梦105",[23,7,28,27,106,758,32578,34595,121,9395,150,1015,38534,75725],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173d1e044780feb5c210a6379f8cecd8.jpg",[],{"id":88833,"slug":88834,"title":88835,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":88836,"thumbUrl":88837,"material":67,"size":10518,"collection":139,"collections":88838,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":94},222967,"hong-lou-meng-92-sun-wen-222967","红楼梦92",[23,7,24,25,28,27,175,107,106,1532,755,176,279,1965,313,9155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37ac43c8394a731fbdbcf24bc56c51.jpg",[],{"id":88840,"slug":88841,"title":88842,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":88843,"thumbUrl":88844,"material":67,"size":10518,"collection":139,"collections":88845,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},222960,"hong-lou-meng-85-sun-wen-222960","红楼梦85",[23,7,28,27,24,106,758,107,3217,34,84,115,1965,23999,56918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5931b04bf779205467c8bc8bd7f07551.jpg",[],{"id":88847,"slug":88848,"title":88849,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":88850,"thumbUrl":88852,"material":67,"size":10518,"collection":139,"collections":88853,"showCount":495,"zanCount":48,"manualWeight":48,"mainColor":49},222948,"hong-lou-meng-73-sun-wen-222948","红楼梦73",[23,209,7,24,28,27,106,56916,2451,7906,24000,23999,59,88851],"博古器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6359730aa5e71398982eff2318bb16a0.jpg",[],{"id":88855,"slug":88856,"title":88857,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":88858,"thumbUrl":88859,"material":67,"size":10518,"collection":139,"collections":88860,"showCount":495,"zanCount":48,"manualWeight":48,"mainC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，金陵人，山水画法学自五代北宋间的李成。\n\n此幅为元代流行的平远构图，乃来自李成作品中常见的低平荒野样式。近景有树竹数株，挺然直立；河岸低平曲折，将观者视线引向层层后退的中远景。陶铉以精简的枯笔干墨，擦出山石的结体轮廓，兼以苔点、墨染增加山头与石脚层次感的画法，让人联想到元四家之一的倪瓒。上海博物馆所藏倪瓒《六君子图》与此幅同样绘于至正五年，亦是以秀润的隔江山色替换李成的萧瑟荒原，但倪瓒的作品仍保留运用前人笔法（如董源披麻皴）的痕迹，而陶铉的作品则未见借用特定前人的笔法。\n\n此画上方另有清人高士奇对陶铉与受画者王迪简的简评。王迪简，字庭吉，号蕺隐，为元初的南宋遗民。元代戴表元曾于《蕺隐记》中记述王迪简隐居于蕺山南侧，其居所人迹罕至，半里之内为空阔的郊原，故视野辽阔，周边景致可一览无遗。虽然在现存文献中未见有陶铉与王迪简交往的具体资料，但《幽亭远岫图》的画面，却与《蕺隐记》中描绘的王迪简隐居环境相吻合。\n\n元朝以异族入主中国，士人纷纷因不愿仕进或不得荐举，而选择避世隐居，从而出现许多以隐居为题的文学与绘画作品。 《幽亭远岫图》无疑亦可视为此类与隐逸题材相关的作品。",[23,7,209,241,173,177,29,175,430,242,298,297,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa811f1b0d64254a434b2a8336e41e4.jpg","画心：58×31.7厘米 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。明宪宗成化二年进士，久任兵部郎，议论无所顾忌，出为南安（今江西大余）知府，律己爱物，大得民和。长于诗文，草书甚佳，被评为“颠张复出”。尝自言吾书不如诗，诗不如文，著有《东海集》。",[209,7,24,25,86,1147,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe27ea78ae6322412c4479dac140b101.jpg",[],{"id":90167,"slug":90168,"title":90169,"dynasty":76,"author":90170,"museum":364,"description":90171,"tags":90172,"thumbUrl":90173,"material":743,"size":744,"collection":139,"collections":90174,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},241411,"tao-shi-zhou-zhu-wen-zhen-241411","陶诗轴","朱文震","陶渊明诗轴",[7,24,241,173,41155,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0643380a03a28e1de425677033cb807e.jpg",[],{"id":90176,"slug":90177,"title":72435,"dynasty":99,"author":72436,"museum":364,"description":72646,"tags":90178,"thumbUrl":90179,"material":743,"size":744,"collection":139,"collections":90180,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},240891,"shi-zhou-ni-yuan-lu-240891",[7,24,86,241,173,227,178,1147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed2616910e10b8c60f65114e90721.jpg",[],{"id":90182,"slug":90183,"title":64550,"dynasty":99,"author":36691,"museum":364,"description":90184,"tags":90185,"thumbUrl":90186,"material":743,"size":744,"collection":139,"collections":90187,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},240672,"xi-yuan-ya-ji-zhou-zhang-rui-tu-240672","张瑞图（1570年-1644年），字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人、平等居士等；汉族，明代画家，晋江二十七都下行乡（福建省晋江市青阳下行乡）人。\n万历三十五年进士第三名，探花，授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。\n以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生。钟繇、王羲之之外另辟蹊径，明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号。北京大学教授、引碑入草开创者的李志敏评价：“张瑞图之草书，用笔爽利，造型别致，但不耐寻味。”\n擅山水画，效法元代黄公望，苍劲有力，作品传世极希。",[7,24,241,86,178,227,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917b2b3a2e09b1355131e2b1b0fd327.jpg",[],{"id":90189,"slug":90190,"title":90191,"dynasty":99,"author":6705,"museum":20,"description":90192,"tags":90193,"thumbUrl":90194,"material":3792,"size":90195,"collection":382,"collections":90196,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},240391,"qi-lv-shi-zhou-liu-jue-240391","七律诗轴","释文：\n孝行廉名是处闻，公门无迹口无文。\n陈情两度能终制，泣血三年不茹荤。\n天上星辰丹凤阙，江南烟雨白鸥群。\n楼船一路行休缓，史馆诸儒待子云。\n方庵翰林，终制起复。珏赋诗为别，情见乎词，观者幸恕其不工，而取其不浮也。时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。\n款署：“时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。”钤“廷美”朱文印、“镏氏廷美”朱文印。引首钤“彭城生”朱文印。\n鉴藏印钤“朱之赤鉴赏”朱文印、“庐子枢”白文印、“留耕堂“白文印等5方。\n本幅为自书七律诗一首，是给临行的友人（方庵翰林）的赠别诗。此书奔放酣畅，结体正欹大小不拘，行笔疾驰徐缓随意，布局疏密曲直不同，顾盼有序，天真自然，是刘珏晚年之作。\n成化二年为1466年，作者时年57岁。",[7,24,241,173,1147,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5522da798fcd987e49e6b5afd171117c.jpg","纵121.2厘米，横42.2厘米",[382],{"id":90198,"slug":90199,"title":90200,"dynasty":76,"author":1109,"museum":20,"description":90201,"tags":90202,"thumbUrl":90203,"material":139,"size":139,"collection":382,"collections":90204,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},240033,"yuan-ji-zeng-weng-shan-shi-ye-shi-tao-240033","原济赠翁山诗页","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。对后来扬州画派和近代画风，影响极大。",[7,24,86,178,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b71aa2c0e79bb949456e320b138809b.jpg",[382],{"id":90206,"slug":90207,"title":90208,"dynasty":18,"author":90209,"museum":364,"description":90210,"tags":90211,"thumbUrl":90212,"material":139,"size":139,"collection":139,"collections":90213,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},239651,"wang-da-ling-bao-mu-zhuan-ti-ba-juan-jiang-kui-239651","王大令保母砖题跋卷","姜夔","此卷笔墨清劲秀雅，笔致灵动舒展，暗合晋人萧散风神。题字疏密错落，墨色枯润相生，朱印点缀素纸，丹砂与墨色相映成趣，雅致尽显。\n\n题跋兼具金石考据的谨严与文人挥毫的随性，将考证之思寄于笔墨挥洒之中，书卷气扑面而来，是宋人尚意书风里的清雅典范。清冷隽秀的笔意一如作者词韵，尽显宋代文人淡远空灵的审美意趣，耐人反复品味。",[23,209,7,24,25,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb0fb92962b6cd0165bd6474876165a.jpg",[],{"id":90215,"slug":90216,"title":90217,"dynasty":99,"author":39689,"museum":20,"description":90218,"tags":90219,"thumbUrl":90221,"material":139,"size":139,"collection":382,"collections":90222,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":271},239581,"zhang-jin-xue-jie-juan-song-ke-239581","章进学解卷","宋克（1327―1387）字仲温，一字克温，自号南宫生，长洲（今江苏苏州）人。是明代初期闻名于书坛的书法家“三宋二沈”之一。与高启等称十友，诗称十才子。\n洪武初为凤翔同知。素工草隶深得钟、王之法，笔精墨妙，风度翩翩。并工写竹，虽寸冈尺堑，而千篁万玉，雨叠烟生，萧然无尘俗之气。尝作鸡栖石业条一幅，题语有“艺成不觉自敛手”之句，谓不可复得也。书学急就章，故写竹能妙。尝于试院牍尾用朱笔扫竹，张伯雨有“偶见一枝红石竹”之句，人遂以为朱竹自宋克始。卒年六十一。宋克的书法，在明代颇享盛名，与当时擅长书法的宋璲、宋广合称三宋。\n宋克处元末明初，少年英俊，磊落清爽，常以李太白、苏东坡自比，任侠使气，闻鸡起舞。其聪慧过人，博涉经史，长于丹青，尤善画竹，今尚有《万竹图》传世。诗文亦名于时,与吴门文士高启、张羽、徐贲、陈则等为友，时称“十才子”。曾从元康里之入室弟子饶介学书，所传皆二王草法，故仲温特别钟情于草书。草书流走畅贯，挥运自如，似飞剑狂舞，潇洒纵横，十分契合于宋克任侠使气的性格。宋克学书取法甚高，楷宗钟繇，行书慕二王，章草学皇象之《急就章》，笔力清峭劲拔，笔意圆融洒脱，尤其是他的小草和章草，冠绝一代，吴宽评其书谓：“一克书出魏晋，深得钟王之法，故笔精墨妙，而风度翩翮可爱……仲温书索靖草书势，盖得其妙而无愧于靖者也。”其书出于魏晋，深得钟、王之法。擅长楷书、草书，尤精工章草，为当时第一。他的章草，延续赵孟頫、邓文原的风格又有所发展，融入了今草和行书的写法，更加流利、矫健。",[23,209,7,24,25,86,1147,90220,16285,227,3790],"章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f41c8ec7ce88088c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许宝。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n【名称】明许宝百马图卷 【年代】明 【简介】绢本，设色，纵：26cm，横：728.cm。\n现藏故宫博物院。\n是图卷首部分残破严重，卷尾署款“许宝”，钤印“ ”、“烟霞散人”。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n马匹以 勾勒，重彩填色，工细之处远胜南宋院体，与 的树石画风既形成鲜明的对比，又相融相汇形成一体。\n马群多处于静态，其微妙之处在于同为静态的马匹竟有着百种不同的姿态，可见作者有着很强的把握马匹细微活动的能力，同时画家也兼具了 和 的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[23,7,25,27,28,177,150,957,34,176,1159,560,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],{"id":90282,"slug":90283,"title":486,"dynasty":76,"author":81771,"museum":364,"description":81772,"tags":90284,"thumbUrl":90285,"material":139,"size":139,"collection":139,"collections":90286,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},239011,"shan-shui-ce-li-dong-239011",[7,24,81,104,27,29,107,34,245,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deb277063c436f61bd78e3b9d51ccb4.jpg",[],{"id":90288,"slug":90289,"title":90290,"dynasty":76,"author":84001,"museum":364,"description":90291,"tags":90292,"thumbUrl":90293,"material":139,"size":139,"collection":90,"collections":90294,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[7,24,241,173,260,177,178,29,920,755,34,176,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[90,163],{"id":90296,"slug":90297,"title":90298,"dynasty":76,"author":68683,"museum":20,"description":87462,"tags":90299,"thumbUrl":90300,"material":803,"size":87465,"collection":181,"collections":90301,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},238983,"shan-shui-ce-zhong-lin-gao-xia-wang-chen-238983","山水册－重林高下",[7,24,81,173,27,177,29,34,176,107,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6b50a0c85ac70858bbdf6267b4a59f.jpg",[181],{"id":90303,"slug":90304,"title":90305,"dynasty":76,"author":90306,"museum":364,"description":90307,"tags":90308,"thumbUrl":90309,"material":743,"size":744,"collection":44,"collections":90310,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},238941,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238941","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[7,24,81,27,28,106,150,1575,176,900,29,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6535153c09255e7dff49f2e5ec0692ad.jpg",[44,45],{"id":90312,"slug":90313,"title":90314,"dynasty":76,"author":293,"museum":364,"description":90315,"tags":90316,"thumbUrl":90318,"material":743,"size":744,"collection":139,"collections":90319,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},238884,"qing-ren-yang-ti-bi-mi-fo-xiang-zhou-yi-ming-238884","清人阳体袐密佛像轴","此作为密宗造像佳作，主体六臂蓝身本尊拥明妃安坐莲台，宝冠璎珞遍身，法相庄严肃穆。构图对称饱满，上方胁侍化相缭绕云间，下方护法神众神态威猛，青绿底色晕染出祥瑞云海，石青、朱红、赤金交织，色调浓烈明快。线条勾勒细腻流畅，衣袂纹饰晕染层次分明，诸佛神韵具足，护法气势凛然。将藏地密教的神秘仪轨融于重彩工笔之中，尽显清代藏传佛画的极致工巧，兼具宗教精神内核与极高审美价值。",[7,241,11168,28,27,10898,90317,9634,6642,106,26],"密宗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa57ea55486a3cc7ae74c42e5ab83c9.jpg",[],{"id":90321,"slug":90322,"title":90323,"dynasty":76,"author":90324,"museum":364,"description":90325,"tags":90326,"thumbUrl":90327,"material":743,"size":744,"collection":45,"collections":90328,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":271},238855,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238855","绘益象征丰图册","钱汝诚","钱汝诚（1722-1779），字立之，号东麓，浙江嘉兴人。清官员，官至刑部左侍郎。",[7,24,81,27,28,244,17563,368,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F321ca84cb16d8fa7051b6c272bab913e.jpg",[45],{"id":90330,"slug":90331,"title":37723,"dynasty":76,"author":8441,"museum":364,"description":37724,"tags":90332,"thumbUrl":90334,"material":743,"size":744,"collection":139,"collections":90335,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":271},238854,"mian-yi-hua-hui-xiao-ce-mian-yi-238854",[7,24,81,27,83,448,84,226,698,28,90333,3963],"水墨线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368e50a27bb90081f6d4e4370ea94c70.jpg",[],{"id":90337,"slug":90338,"title":38380,"dynasty":76,"author":836,"museum":364,"description":20504,"tags":90339,"thumbUrl":90340,"material":139,"size":139,"collection":139,"collections":90341,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},238830,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238830",[7,24,81,27,29,34,109,4614,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5706309f6fd33bb74c27c1cde65221ba.jpg",[],{"id":90343,"slug":90344,"title":38380,"dynasty":76,"author":836,"museum":364,"description":20504,"tags":90345,"thumbUrl":90346,"material":139,"size":139,"collection":139,"collections":90347,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},238829,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238829",[7,24,81,27,28,86,227,175,107,34,176,755,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02502eb809bcd8237cc41a3879222c5.jpg",[],{"id":90349,"slug":90350,"title":38380,"dynasty":76,"author":836,"museum":364,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著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[7,24,241,173,27,177,29,34,1575,176,37,920,106,1445,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg",[181,45],{"id":90451,"slug":90452,"title":1108,"dynasty":76,"author":31839,"museum":364,"description":90453,"tags":90454,"thumbUrl":90455,"material":139,"size":139,"collection":181,"collections":90456,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},237946,"shan-shui-tu-ce-liu-yu-237946","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[7,24,81,173,177,86,227,29,34,176,109,37,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce52f527ef696f31244a5464d7952c1f.jpg",[181,90],{"id":90458,"slug":90459,"title":37739,"dynasty":99,"author":37740,"museum":364,"description":37741,"tags":90460,"thumbUrl":90461,"material":139,"size":139,"collection":139,"collections":90462,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},237891,"ba-xian-tu-zhou-zheng-wen-lin-237891",[7,24,241,106,259,27,28,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992b234331038a7f652c8fbf536d1a1d.jpg",[],{"id":90464,"slug":90465,"title":90466,"dynasty":99,"author":38102,"museum":364,"description":66167,"tags":90467,"thumbUrl":90468,"material":743,"size":744,"collection":139,"collections":90469,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},237858,"lan-shi-shan-ye-zhang-chong-237858","兰石扇页",[7,1562,27,28,177,452,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6176f2e161445dd7366cd14b19eeabb.jpg",[],{"id":90471,"slug":90472,"title":90473,"dynasty":99,"author":36858,"museum":364,"description":24949,"tags":90474,"thumbUrl":90475,"material":743,"size":744,"collection":139,"collections":90476,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},237845,"shi-hu-yan-yu-shan-sheng-mao-ye-237845","石湖烟雨扇",[7,24,1562,173,27,29,23629,34,177,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34da1d8c00124d4b0cf45f9a7503e11.jpg",[],{"id":90478,"slug":90479,"title":53958,"dynasty":99,"author":90480,"museum":364,"description":90481,"tags":90482,"thumbUrl":90483,"material":139,"size":139,"collection":181,"collections":90484,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},237784,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-jing-237784","王允京","字谦文，号秋岩，江宁（今南京）人。为和阳教谕。工写竹枝。《金陵琐事》",[7,24,81,173,177,29,108,106,245,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16133cce0fa9f391194a7d8bb3d8e77.jpg",[181,45],{"id":90486,"slug":90487,"title":1108,"dynasty":76,"author":44253,"museum":364,"description":90488,"tags":90489,"thumbUrl":90490,"material":139,"size":139,"collection":181,"collections":90491,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},237773,"shan-shui-tu-ce-ye-xin-237773","此作以青绿晕染湖山，近岸花树沿陂陀错落，山坳幽居藏于林木间，空阔湖面一叶扁舟随波缓行，远岫含晕，漾起空濛淡荡之致。设色秀雅温润，笔致简净松灵，不事繁饰，将林泉幽居的闲散意绪尽数铺展。左侧题诗与画境相映成趣，诗画合璧，把文人耽恋泉石、寄迹烟水的雅怀融于尺幅间。观之如临江南水畔，可感湖风轻拂，坐忘于萧疏清寂的闲淡之中，尽显小品山水的隽雅意韵。",[7,24,81,27,29,174,175,34,176,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad576d6b1c3c42c220f6545a8771fde7.jpg",[181],{"id":90493,"slug":90494,"title":13718,"dynasty":76,"author":1109,"museum":364,"description":90495,"tags":90496,"thumbUrl":90497,"material":139,"size":139,"collection":139,"collections":90498,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},237763,"yuan-ji-shan-shui-tu-ce-shi-tao-237763","此帧以淡墨挥写坡岸幽篁，参差修竹挺拔清健，枝叶以中锋撇捺，笔意疏朗灵动，墨色晕染深浅自然，尽显竹之潇爽风神。浅淡皴擦的坡石简括朴拙，衬出竹林的秀逸清奇。\n\n右上角题书与画境相映，诗画合璧，将林下幽居的澹寂意趣诉诸尺幅，不见繁复刻画，却以极简笔墨勾勒出空寂悠远的林下天地，尽显以意驭笔、寄情于物的文人雅韵，寥寥数笔，便将尘嚣之外的幽栖之境铺陈眼前，余韵悠长。",[7,24,81,173,242,245,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac55975a4208e42209158f4bcbbd273.jpg",[],{"id":90500,"slug":90501,"title":33004,"dynasty":99,"author":1296,"museum":364,"description":33005,"tags":90502,"thumbUrl":90503,"material":139,"size":139,"collection":139,"collections":90504,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},237699,"shan-shui-hua-guo-ce-xiang-sheng-mo-237699",[7,24,81,27,62,31652,225,227],"https:\u002F\u002Foss.chuangqi.store\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。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[7,24,81,27,29,394,281,106,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc29ca62d80ea29432bdab04656a163b.jpg",[],{"id":90915,"slug":90916,"title":90917,"dynasty":76,"author":293,"museum":364,"description":90918,"tags":90919,"thumbUrl":90920,"material":743,"size":744,"collection":139,"collections":90921,"showCount":521,"zanCount":5,"manualWeight":48,"mainColor":94},234854,"he-su-fu-ren-ying-xiang-zhou-yi-ming-234854","和素夫人影像轴","此作工笔精绝，将诰命夫人的雍容气度尽付笔端。画师于面容描摹细致入微，眉眼含静，神态端方沉稳，尽显世家尊眷的矜贵仪态。宝蓝吉服华美绝伦，金龙辗转腾挪于袍身，祥云、江崖海水次第铺陈，笔墨还原出针绣肌理的精妙，纹样层次分明，将森严的品级礼制融于雅致工巧之中。画面留白简约，边角题跋衬映，文气与画意相融。整作形神兼备，写实功力深厚，将官眷威仪与富贵风华定格于绢素之上，尽显清代肖像画精细传神的创作特色。",[7,24,241,28,27,106,502,28281,62414,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d2a120e8a09f29ad429c901df1d611.jpg",[],{"id":90923,"slug":90924,"title":90925,"dynasty":99,"author":14805,"museum":20,"description":39101,"tags":90926,"thumbUrl":90927,"material":990,"size":39104,"collection":139,"collections":90928,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234814,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-xing-chun-qiao-tu-ye-wen-jia-234814","吴门诸家寿袁方斋三绝册-行春桥图页",[7,209,24,81,173,27,29,430,108,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea626d77f19824c78c24784154a0e1b.jpg",[],{"id":90930,"slug":90931,"title":131,"dynasty":76,"author":90932,"museum":364,"description":90933,"tags":90934,"thumbUrl":90935,"material":743,"size":744,"collection":139,"collections":90936,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234775,"hua-hui-ce-wang-lu-234775","王露","王昙（1760～1817）诗人清代。又名良士，字仲瞿。秀水（今浙江嘉兴）人。当地有瓶山，因以瓶山自号。乾隆五十九年举人。会试不第，白衣终身，著有《烟霞万古楼文集》等。时人将他与常州诗人黄仲则诗合刻，题曰“乾隆二仲”。王昙与孙原湘、舒位并称“后三家”或“江左三君”。",[7,24,81,173,242,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4db02d91249313f8a3cea4d912a5d7d.jpg",[],{"id":90938,"slug":90939,"title":38578,"dynasty":76,"author":90940,"museum":364,"description":90941,"tags":90942,"thumbUrl":90943,"material":139,"size":139,"collection":139,"collections":90944,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234677,"shan-shui-ce-ye-tong-yu-xiu-234677","佟毓秀","佟毓秀生卒年不详，字钟山，襄平（今辽宁辽阳）人，汉军正蓝旗人。\n光绪版《中国人名大辞典》云佟氏“仕至甘肃巡抚，善画山水。”除甘肃巡抚，佟毓秀还在康熙二十七年（1688）出仕云南巡抚。\n《中国美术家人名辞典》称其：“曾游钱封之门。山水率笔纵横排奡，与蓝瑛相似，惟嫌气格过于粗豪。老年又以枯涩见长。卒年八十余。”钱封工画山水，落笔高古，品格绝尘，一时名人从游者众。蓝瑛明末清初名山水画家，宗法宋元，又自成一家，落笔秀润，晚年笔力苍劲，气象峻迈。从辞书上悉，佟毓秀的山水是以粗率为特点的。",[7,173,81,29,175,430,176,297,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d83db5cfac4b04eaabd238ebe03ace5.jpg",[],{"id":90946,"slug":90947,"title":21696,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":90948,"thumbUrl":90949,"material":139,"size":139,"collection":139,"collections":90950,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234655,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234655",[7,24,81,173,178,86,29,177,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071016330c634259e44baae9b2e5dae8.jpg",[],{"id":90952,"slug":90953,"title":21696,"dynasty":76,"author":1109,"museum":364,"description":5555,"tags":90954,"thumbUrl":90955,"material":139,"size":139,"collection":139,"collections":90956,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234654,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234654",[7,24,81,173,178,227,29,649,34,35,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b5033947f4b0a441807f1b0facb7a0.jpg",[],{"id":90958,"slug":90959,"title":90960,"dynasty":99,"author":1012,"museum":364,"description":66864,"tags":90961,"thumbUrl":90962,"material":139,"size":139,"collection":139,"collections":90963,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234637,"fang-ni-yun-lin-shan-shui-shan-ye-lan-ying-234637","仿倪云林山水扇页",[7,24,1562,173,105,177,29,430,176,491,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1600bed19ce55d40b46ed0b1d4f262d8.jpg",[],{"id":90965,"slug":90966,"title":90967,"dynasty":76,"author":90968,"museum":20,"description":90969,"tags":90970,"thumbUrl":90971,"material":139,"size":139,"collection":139,"collections":90972,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234615,"shan-shui-wan-shan-lin-shu-234615","山水纨扇","林纾","林纾（1852年11月8日—1924年10月9日），中国近代文学家，字琴南，号畏庐，别署冷红生，福建闽县（今福州市）人。晚称蠡叟、践卓翁、六桥补柳翁、春觉斋主人。室名春觉斋、烟云楼等。\n早年曾从同县薛锡极读欧阳修文及杜甫诗。后读同县李宗言家所藏书，不下三四万卷，博学强记，能诗，能文，能画，有狂生的称号。光绪八年（1882年）举人，官教论，考进士不中。二十六年（1900年），在北京任五城中学国文教员。所作古文，为桐城派大师吴汝纶所推重，名益著，于是任北京大学讲席。\n辛亥革命后，入北洋军人徐树铮所办正志学校教学，推重桐城派古文。\n后在北京，专以译书售稿与卖文卖画为生。曾创办“苍霞精舍”——今福建工程学院前身。工诗古文辞，以意译外国名家小说见称于时。复肆力于画。山水初灵秀似文徵明，继而浓厚近戴熙。偶涉石涛，故其浑厚之中颇有淋漓之趣。其题画诗云：“平生不入三王派，家法微微出苦瓜，我意独饶山水味，何须攻苦学名家？”。花鸟得其师陈文台之传，淡墨薄色，神致生动。\n晚年居北京，求者多以山水，而花鸟则不复作矣。著畏庐文集、诗集、春觉斋题画跋及小说笔记等。",[7,24,1562,27,29,107,245,34,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3cc5f175b7f04bff2dba309b92c9616.jpg",[],{"id":90974,"slug":90975,"title":90976,"dynasty":76,"author":90977,"museum":364,"description":90978,"tags":90979,"thumbUrl":90980,"material":139,"size":139,"collection":139,"collections":90981,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234614,"lan-cui-du-shu-wan-shan-yuan-xu-234614","览翠读书纨扇","袁煦","袁煦（约为1764年前后生人），乾隆五十九年（1794年）举人，清代济南府长山县人，礼部尚书、协办大学士纪昀女婿。清朝中期画家，工山水，官至内阁中书、军机章京。注：出生时间参照其中举时间（1794年）与纪昀三子纪汝似（1766年生人）的出生时间。",[7,24,1562,27,29,176,109,34,35,491,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98a43fe28f1dab8cfc0a33bfb1cc98a4.jpg",[],{"id":90983,"slug":90984,"title":90967,"dynasty":76,"author":90985,"museum":364,"description":90986,"tags":90987,"thumbUrl":90988,"material":139,"size":139,"collection":139,"collections":90989,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234612,"shan-shui-wan-shan-zhang-zhi-wan-234612","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[209,7,24,1562,173,177,864,558,175,430,176,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8481e7d89e0da642dc11c5e031fd6b.jpg",[],{"id":90991,"slug":90992,"title":90993,"dynasty":76,"author":90994,"museum":364,"description":12340,"tags":90995,"thumbUrl":90996,"material":139,"size":139,"collection":139,"collections":90997,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234588,"shi-wan-shan-li-yu-lan-234588","石纨扇","李育兰",[7,24,1562,173,452,431,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6059cd8caec6e0d78faafc2b169a37c8.jpg",[],{"id":90999,"slug":91000,"title":91001,"dynasty":99,"author":91002,"museum":364,"description":91003,"tags":91004,"thumbUrl":91005,"material":139,"size":139,"collection":139,"collections":91006,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234546,"mo-lan-shan-bi-su-su-234546","墨兰扇","薜素素","薛素素，字素卿，又字润卿，明代画家。她工小诗，能书，作黄庭小楷。尤工兰竹，不笔迅捷，兼擅白描大士、花卉、草虫、各具意态，工刺绣。又喜驰马挟弹，百不失一，自称女侠。后为李征蛮所娶。所著诗集名《南游草》。",[7,1562,173,452,227,86,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0cf4b17cd0b3aa521b9ef694395015.jpg",[],{"id":91008,"slug":91009,"title":38578,"dynasty":76,"author":52234,"museum":20,"description":91010,"tags":91011,"thumbUrl":91012,"material":139,"size":139,"collection":139,"collections":91013,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234516,"shan-shui-ce-ye-liu-yu-234516","柳遇，字仙期，清朝吴县（今江苏苏州）人。\n工人物，精密生动，布置树石栏廊，点缀幽花细草，以及玩物器皿色色佳妙，不亚于仇英。宋荦抚吴时曾延其摹南唐顾闳中所画韩熙载夜宴图，及所画东坡与佛印谈禅像均为艺林称赏。《国[清]朝画徵录、在亭丛稿、读画辑略、画传编韵》。",[7,27,81,29,394,108,109,106,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d1afa33742324cc1ab319f7c56e75e.jpg",[],{"id":91015,"slug":91016,"title":91017,"dynasty":99,"author":91018,"museum":364,"description":91019,"tags":91020,"thumbUrl":91021,"material":139,"size":139,"collection":139,"collections":91022,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234493,"qiu-lin-ya-zhen-shan-ye-wei-xue-lian-234493","秋林鸦阵扇页","魏学濂","魏学濂（1608年—1644年），明代官员。字子一，号内斋，一作容斋，浙江嘉善人，魏大中次子，崇祯十六年（1643年）进士，擢庶吉士，明亡后先降李自成，不久又羞愧自缢。平生擅画山水，兼工花鸟。",[7,1562,173,177,34,281,176,491,340,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92dd15adde64d03325d8a441afab8aa.jpg",[],{"id":91024,"slug":91025,"title":91026,"dynasty":76,"author":91027,"museum":364,"description":91028,"tags":91029,"thumbUrl":91030,"material":139,"size":139,"collection":139,"collections":91031,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},234489,"fan-zhou-gui-cun-shan-ye-gu-sheng-234489","泛舟归村扇页","顾升","顾升,原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。\n顾升，原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。国子生，以子贵封承德郎翰林院庶吉士。书、画、篆、隶俱工，又善画大人物，松石大幅尤佳。康熙四十四年(1705)南巡，进诗画册。著写山楼并题画诗",[7,1562,173,29,174,34,108,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c18aedc0239552953e824f8f99ceb25.jpg",[],{"id":91033,"slug":91034,"title":91035,"dynasty":76,"author":293,"museum":364,"description":91036,"tags":91037,"thumbUrl":91038,"material":139,"size":139,"collection":139,"collections":91039,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234484,"jin-ling-ming-bi-ji-sheng-hu-zao-hua-cao-chong-ce-ye-yi-ming-234484","金陵名笔集胜-胡慥画草虫册页","明末清初，金陵特殊的政治、经济、文化地位，使其集聚了一大批画家，用龚贤的话来说：“今日画家以江南最盛，江南十郡以首郡为盛，郡中著名者且数十辈，但能吮笔者岂止千人？”① 江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[7,24,81,27,28,83,453,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d52209f5bf66a1de1c23e1b5d4804.jpg",[],{"id":91041,"slug":91042,"title":68921,"dynasty":99,"author":14707,"museum":20,"description":91043,"tags":91044,"thumbUrl":91045,"material":139,"size":139,"collection":139,"collections":91046,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},234478,"shan-shui-shan-ye-guan-si-234478","关思，明朝，生卒年不详，字何思，号虚白（明画录谓字九思，后以字行，更字仲通）。乌程（今江浙吴兴）人。万历（一五七三至一六二○）间名重海内，与宋旭齐名。善画山水，骨法气韵入二李、三王之微，拟王蒙、倪瓒更妙。初年的山水构图繁密，蹊径水口，犹多重叠，至晚年山头石面，粗疏数笔，林树离披，略加墨叶，人物飘然，舟室古雅，令人阅之，眼界肃清。崇祯三年（一六三○）作月夜行旅图、溪山雨霁图。《图绘宝鉴续纂、画史会要、无声诗史、乌程志、明画录、广印人传补遗》",[1562,7,29,173,177,430,176,35,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b19b47dd17306afbd33ff18f0c8dd7.jpg",[],{"id":91048,"slug":91049,"title":91050,"dynasty":99,"author":1012,"museum":20,"description":66864,"tags":91051,"thumbUrl":91052,"material":139,"size":139,"collection":139,"collections":91053,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":1335},234476,"fang-mi-fei-shan-shui-shan-ye-lan-ying-234476","仿米芾山水扇页",[7,1562,173,29,105,175,281,176,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a5a4290051bbe9bdc2e265db525275.jpg",[],{"id":91055,"slug":91056,"title":91057,"dynasty":76,"author":293,"museum":364,"description":91058,"tags":91059,"thumbUrl":91060,"material":743,"size":744,"collection":139,"collections":91061,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234385,"xiao-sheng-xian-huang-hou-chao-fu-xiang-zhou-yi-ming-234385","孝圣宪皇后朝服像轴","此作写实精微，将女主人慈和端凝的神态刻画入微，鬓发丝缕、面部肌理皆细腻逼真，尽显沉静雍容的气度。\n朝服纹饰严整考究，盘龙绣纹张弛有度，缂丝刺绣的华美感跃然绢上，朝珠串珠层次分明，宝石的温润光泽与华贵质感尽显无遗。髹金雕龙座椅繁复富丽，地毯纹样规整华美，衬出皇家仪范的肃穆厚重。\n整体设色明丽沉稳，兼顾纪实性与艺术性，将帝后威仪与端庄气度相融，是清代宫廷肖像画的上乘之作。",[7,24,241,27,28,106,3412,3411,1863,62414,54802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa222c1e4c1c25705b7fed860532e5504.jpg",[],{"id":91063,"slug":91064,"title":91065,"dynasty":76,"author":293,"museum":364,"description":91066,"tags":91067,"thumbUrl":91068,"material":743,"size":744,"collection":139,"collections":91069,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234380,"xuan-ye-chao-fu-xiang-zhou-yi-ming-234380","玄烨朝服像轴","这是工笔重彩帝王肖像，画中帝王面容沉稳威严，沟壑纹路镌刻着半生理政的厚重阅历，神色持重内敛，尽显久居九五的肃穆气度。\n明黄朝服尽显至尊礼制，龙纹腾跃于衣身，辅以祥云、江崖海水，纹饰勾染精细妍丽，石青、朱红点缀其间，撞色沉稳华贵，织绣细节纤毫毕现，将清代冠服的森严等级尽数铺陈。髹金浮雕龙座与纹样规整的铺地织锦层层烘托，写实笔触精准恪守宫廷肖像的制式法度，定格下盛世帝王的仪范风骨，是清代肖像画工致典雅的典范。",[7,24,241,27,106,502,63,28,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d104575a2e03427d0d767f27dedb9b7.jpg",[],{"id":91071,"slug":91072,"title":17895,"dynasty":76,"author":17896,"museum":364,"description":17897,"tags":91073,"thumbUrl":91074,"material":139,"size":139,"collection":139,"collections":91075,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234376,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234376",[7,24,81,105,28,173,83,2827,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba41c21bb48650a1864db47783c6311.jpg",[],{"id":91077,"slug":91078,"title":23389,"dynasty":76,"author":10376,"museum":20,"description":91079,"tags":91080,"thumbUrl":91081,"material":1449,"size":139,"collection":139,"collections":91082,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234305,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234305","王翚（1632－1717），字石谷，号象文，一号臞樵、乌目山人、耕烟散人、耕烟外史、清晖主人、清晖老人、剑门樵客、耕烟野老、耕烟老人、天放闲人、雪笠道人、海虞山樵等。江苏常熟人。一代山水大家，开创“虞山画派”，有“画圣”之誉。与王时敏、王鉴、王原祁并称“四王”；合吴历、恽寿平，世称“清六家”。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，为“虞山派”之首。",[7,24,81,27,177,3117,29,864,297,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246786c908a5af84ff097e5edaba0cbb.jpg",[],{"id":91084,"slug":91085,"title":91086,"dynasty":76,"author":77,"museum":20,"description":91087,"tags":91088,"thumbUrl":91089,"material":1449,"size":139,"collection":139,"collections":91090,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234248,"yi-zhu-zhai-juan-yun-shou-ping-234248","一竹斋卷","《一竹斋图》卷上的落款是“甲子春正月”，即为康熙二十三年二月（1684年），是恽寿平51岁时，于他人生中最后的一个十午岁月初始时，为他的好友一竹斋主人唐若营所画的命题创作。此图是一幅短小而精悍的横幅山水画作，画面中有作者的一段自题以及杨（雪臣）、蔡元宸和济永三家的题诗。画迹本身的尺寸并不长，不过画前引首处裱有一条和画幅几乎等大的暗黄色绢面的题额，",[23,7,24,25,173,260,178,1195,227,242,29,430,175,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79c676d0d4d8a8903713389711c9e2d.jpg",[],{"id":91092,"slug":91093,"title":91094,"dynasty":99,"author":24267,"museum":20,"description":91095,"tags":91096,"thumbUrl":91097,"material":1449,"size":139,"collection":139,"collections":91098,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},234240,"ting-qiu-tu-juan-zhou-chen-234240","听秋图卷","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,7,24,25,173,178,1147,106,430,340,281,29,490,1966],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg",[],{"id":91100,"slug":91101,"title":85876,"dynasty":18,"author":64665,"museum":20,"description":91102,"tags":91103,"thumbUrl":91104,"material":4434,"size":91105,"collection":139,"collections":91106,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},234010,"xue-jiang-mai-yu-ye-li-dong-234010","李东，南宋画家。生卒年和籍贯均不详。南宋理宗时（公园1225-1264年）经常京师御街上出售他所画村田乐、常酣圆绘作品，为民间风俗画家。",[7,24,5990,173,27,177,29,109,174,1016,394,1653,2124,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba081b5d70387e01e514cd9655afe981.jpg","纵23.6厘米,横25.2厘米",[],{"id":91108,"slug":91109,"title":220,"dynasty":76,"author":707,"museum":12966,"description":22327,"tags":91110,"thumbUrl":91111,"material":88,"size":22330,"collection":139,"collections":91112,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},233947,"hua-niao-ce-hua-yan-233947",[7,173,27,83,281,3246,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4b42e8ee5a36679f09cc1bd3da89ec.jpg",[],{"id":91114,"slug":91115,"title":38610,"dynasty":99,"author":170,"museum":20,"description":91116,"tags":91117,"thumbUrl":91118,"material":1716,"size":38614,"collection":139,"collections":91119,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},233833,"chu-ji-tu-ye-shen-zhou-233833","从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[7,24,173,83,15909,178,227,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3886c457920ae97c8f13eb891504ce.jpg",[],{"id":91121,"slug":91122,"title":37263,"dynasty":189,"author":1057,"museum":20,"description":37264,"tags":91123,"thumbUrl":91124,"material":40,"size":37267,"collection":139,"collections":91125,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},233828,"er-ma-tu-juan-ren-ren-fa-233828",[7,24,25,28,27,150,957,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1058010d2a8e2e377aa7c701fb014f9b.jpg",[],{"id":91127,"slug":91128,"title":486,"dynasty":99,"author":3114,"museum":20,"description":16207,"tags":91129,"thumbUrl":91130,"material":990,"size":7095,"collection":139,"collections":91131,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},233804,"shan-shui-ce-dong-qi-chang-233804",[7,24,81,173,177,29,1575,176,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe94f3d6287aa626435c6611767a6320.jpg",[],{"id":91133,"slug":91134,"title":91135,"dynasty":54,"author":293,"museum":20,"description":91136,"tags":91137,"thumbUrl":91138,"material":803,"size":91139,"collection":139,"collections":91140,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},233783,"yao-shi-ru-lai-xiang-ye-yi-ming-233783","药师如来像页","本幅所绘为药师佛，结跏趺坐于莲花宝座上，内着绿地红色团花僧祇支，外披红色田相袈裟。左手持药钵，右手执两股六环杖头锡杖。背后有身光、头光。背景图案中的团花用淡红、紫红、黑色、绿色等色彩层层晕染勾勒。",[7,24,81,27,260,259,106,1862,6214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d769ae7b7b551c0025fdbbf404fa68d.jpg","34×30cm",[],{"id":91142,"slug":91143,"title":21984,"dynasty":76,"author":1109,"museum":20,"description":21985,"tags":91144,"thumbUrl":91145,"material":990,"size":21989,"collection":139,"collections":91146,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},233777,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233777",[7,24,81,173,27,178,177,29,106,35,34,491,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa129f1fd9aee99203d27679dcaa08816.jpg",[],{"id":91148,"slug":91149,"title":21984,"dynasty":76,"author":1109,"museum":20,"description":21985,"tags":91150,"thumbUrl":91151,"material":990,"size":21989,"collection":139,"collections":91152,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},233774,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233774",[7,24,81,173,27,29,1532,4675,796,106,4562,1329,432,178,446,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca4420878f973ed6cbf1457c2815973.jpg",[],{"id":91154,"slug":91155,"title":21984,"dynasty":76,"author":1109,"museum":20,"description":21985,"tags":91156,"thumbUrl":91157,"material":990,"size":21989,"collection":139,"collections":91158,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},233772,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233772",[7,24,81,173,27,178,177,29,1575,920,106,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b13f182bff57b8fc3868382c434e29.jpg",[],{"id":91160,"slug":91161,"title":91162,"dynasty":99,"author":100,"museum":20,"description":2101,"tags":91163,"thumbUrl":91164,"material":40,"size":31165,"collection":139,"collections":91165,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},233759,"ren-wu-gu-shi-ce-6-chou-ying-233759","人物故事册6",[209,7,28,27,17262,1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”，是一位能脱去脂粉习气的高手。",[7,24,241,27,106,394,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b43ba26f5832a75b9acdab6de29e7b.jpg","纵35．9厘米横50厘米",[],{"id":91216,"slug":91217,"title":91218,"dynasty":99,"author":1480,"museum":20,"description":52855,"tags":91219,"thumbUrl":91220,"material":1386,"size":52858,"collection":139,"collections":91221,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},233139,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xing-chun-qiao-tu-ye-tang-yin-233139","明人西山胜景合壁册-行春桥图页",[7,24,81,173,178,177,29,108,109,245,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff9513286f80bd3fb6fa61c9ad4e095.jpg",[],{"id":91223,"slug":91224,"title":91225,"dynasty":76,"author":293,"museum":20,"description":91226,"tags":91227,"thumbUrl":91229,"material":990,"size":91230,"collection":139,"collections":91231,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},233043,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233043","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[209,7,24,81,27,28,106,29,36509,15028,7464,114,34,650,33657,47472,91228],"战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be05ec6ab04eff3cb82e85ab4fc6c0.jpg","长55.6厘米，宽91.1厘米",[],{"id":91233,"slug":91234,"title":67512,"dynasty":18,"author":293,"museum":20,"description":38252,"tags":91235,"thumbUrl":91236,"material":40,"size":91237,"collection":139,"collections":91238,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},233022,"da-nuo-tu-zhou-yi-ming-233022",[7,24,241,27,28,106,210,63,85252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811f5eb801a8357cdf3c7a7af199fa5a.jpg","纵67.4厘米，横59.2厘米",[],{"id":91240,"slug":91241,"title":91242,"dynasty":54,"author":91243,"museum":20,"description":91244,"tags":91245,"thumbUrl":91246,"material":1386,"size":91247,"collection":139,"collections":91248,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},232981,"hua-liu-zun-zhe-xiang-ce-di-ba-ga-na-ga-ha-zhui-jin-zun-zhe-lu-leng-jia-232981","画六尊者像册-第八嘎纳嘎哈缀襟尊者","卢楞迦","本幅设色画罗汉像。该册画六开,每页均游丝描。款：“卢楞伽进”四字。每页有弘历对题，引首及跋纸第一页，均弘历题写。每页有朱笔梵文书尊者名，宋印及骑缝印均伪项元汴。印记总共176方，引首及对幅上共印22方。该册另有题签一开,字二开。《故一59》",[7,24,81,27,28,259,106,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be9da045569add4298a9c0f650d8cb.jpg","纵30cm，横58cm",[],{"id":91250,"slug":91251,"title":59205,"dynasty":99,"author":966,"museum":20,"description":59206,"tags":91252,"thumbUrl":91253,"material":803,"size":59209,"collection":139,"collections":91254,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},232964,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232964",[7,24,81,173,177,86,227,29,242,430,176,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe151099e591c78c5ae8b3d97b15ade62.jpg",[],{"id":91256,"slug":91257,"title":91258,"dynasty":76,"author":23166,"museum":1806,"description":67018,"tags":91259,"thumbUrl":91260,"material":1716,"size":67022,"collection":139,"collections":91261,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":5394},232901,"feng-zhu-tu-li-zhou-li-fang-ying-232901","风竹图立轴",[23,7,24,173,241,446,242,431,1064,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9395c78f0d21c4a0ec265201cad2b525.jpg",[],{"id":91263,"slug":91264,"title":91265,"dynasty":99,"author":3114,"museum":615,"description":91266,"tags":91267,"thumbUrl":91268,"material":67,"size":91269,"collection":139,"collections":91270,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},232690,"shi-tian-shi-yi-shan-shui-tu-dong-qi-chang-232690","石田诗意山水图","董其昌（1555-1636），字玄宰，号思白，别号香光居士，松江华亭（今上海市）人。明朝后期大臣，书画家。\n万历十七年，中进士，授翰林院编修，官至南京礼部尚书。崇祯九年，卒，赐谥“文敏”。\n董其昌擅画山水，师法董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。其画及画论对明末清初画坛影响甚大。书法出入晋唐，自成一格，能诗文。",[23,7,24,241,173,177,29,176,34,106,1575,491,5243,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1971e72db7bbc51672311ae5b77b0b6.jpg","56.7x131cm",[],{"id":91272,"slug":91273,"title":91274,"dynasty":18,"author":293,"museum":364,"description":91275,"tags":91276,"thumbUrl":91277,"material":665,"size":91278,"collection":139,"collections":91279,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},232614,"guang-ming-si-tu-zhou-yi-ming-232614","光明寺图轴","此作用工细界笔勾勒层叠殿宇，朱红立柱搭配青灰飞檐，古雅色调晕染出绢本的岁月质感。楼阁随势错落排布，飞檐舒展翘拔，回廊辗转勾连，砖石地砖的格纹工整清晰，凭栏处点缀微小像影，衬以淡描林木，兼具古建考据价值与清雅画意。\n\n画师以界尺精准摹写斗拱榫卯的精妙结构，细致还原寺院庄严宏阔的形制，将中古佛寺的恢宏气度凝于绢素，带着严谨考据与雅致笔意，静静诉说着古寺往昔的肃穆风华，是古建界画中的难得佳作。",[23,7,209,241,104,27,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe066fd770eac49d2b7d51ac8e2a4f9ca.jpg","156.5×65.3厘米",[],{"id":91281,"slug":91282,"title":91283,"dynasty":18,"author":293,"museum":132,"description":91284,"tags":91285,"thumbUrl":91286,"material":67,"size":91287,"collection":139,"collections":91288,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},232601,"shi-jia-san-zun-xiang-li-zhou-yi-ming-232601","释迦三尊像立轴","画面中心释迦牟尼佛跏趺端坐于仰覆莲座上，头饰螺发，身着袈裟和僧裙，神态庄严慈祥；右手于胸前结说法印，左手结禅定印，为芸芸众生开示宇宙人生的真谛。身后有头光、身光，寓示佛陀智慧无边、法力无边。佛陀上方有两菩萨，下方有两罗汉，从其身色和肩帜来看，上方为普贤和文殊，下方为阿难和迦叶。释迦牟尼的莲座下承高大华美的金刚座。束腰处绘双子戏球，前方有诸珍宝供养，背景顶上饰宝伞华盖，空中飘浮五彩祥云。画面构图精当，布局传统，疏密有度，人物和景物勾勒精细，线条洗练简洁，造型质朴生动，设色古朴，和谐雅致，以暖色调为主，将画面烘托的圣洁与庄重，表现了极高的绘画水平。难能可贵的是品相完好，原装原裱，为不可多得的收藏与供奉佳品。",[23,7,24,1160,241,259,28,27,106,1862,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663a9a713f6fc8d5fa5c6021a681e6d3.jpg","198×111.5cm",[],{"id":91290,"slug":91291,"title":91292,"dynasty":189,"author":293,"museum":206,"description":91293,"tags":91294,"thumbUrl":91295,"material":123,"size":91296,"collection":90,"collections":91297,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},232262,"xing-e-tu-yi-ming-232262","杏鹅图","描绘水滨双鹅，旁有两棵柳、杏，飞燕穿梭柳叶之间，柳阴下斜出几枝杏花。从绘画内容及布局看来，它像是明院体大幅花鸟画的构图，画柳干之皴纹，有仿吕纪之笔意，画鹅则似林良写禽之趣，应是结合林良、吕纪影响之作。",[7,24,209,241,27,173,28,177,10065,45962,34,298,1729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c57300cc263debb9b3f1259bef7939.jpg","142.8x81.4厘米",[90],{"id":91299,"slug":91300,"title":91301,"dynasty":189,"author":293,"museum":364,"description":91302,"tags":91303,"thumbUrl":91304,"material":139,"size":139,"collection":139,"collections":91305,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},231911,"luo-han-tu-di-shi-zun-zhe-ming-ban-tuo-jia-yi-ming-231911","罗汉图（第十尊者名半托迦）","注荼半托迦尊者者生性愚钝，常因背不下经而遭嘲笑， 但他却坚定不移地修持佛法，终成阿罗汉果。释迦牟尼将他说成是改变他人观念的比丘中最杰出的一位。注荼半托迦尊者双手作禅定印，结跏趺坐于山石卜，神情专注。座前是怀抱小狮戏耍雄狮的侍者。树间化现金刚手菩萨和阿底峡大师。",[7,24,241,259,27,106,1329,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d69a3c64c7094b1bbe1a0ccbe1a8826.jpg",[],{"id":91307,"slug":91308,"title":91309,"dynasty":292,"author":293,"museum":364,"description":91310,"tags":91311,"thumbUrl":91316,"material":139,"size":139,"collection":139,"collections":91317,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},231695,"jiang-hu-shi-qi-di-shi-wu-luo-han-tu-li-zhou-yi-ming-231695","江户时期 第十五罗汉图立轴","褐肤罗汉宝光护体，踞坐松石之下，虬髯深目自带威严沉静之气，团龙织金僧衣华贵雅致，手托丹丸，尽显尊者超凡气度。身前侍者躬身颔首，神态恭谨至极，主仆情态形成鲜明反差，生动勾勒禅门仪轨。\n\n背景古松盘虬苍劲，悬垂鎏金佛灯晕染出清幽肃穆的禅意氛围。整作线条顿挫凝练，设色雅致沉稳，衣纹晕染层次丰厚，将人物的神性与俗世情态刻画入微，尽显佛画写实功力，禅林静谧之韵扑面而来。",[23,241,7,259,27,106,28,34,25116,91312,71675,42498,16996,176,91313,91314,80901,91315,315],"小僧","花纹","服饰图案","跪姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc639c5a1ca97303fcca2c116d190498.jpg",[],{"id":91319,"slug":91320,"title":91321,"dynasty":292,"author":293,"museum":364,"description":91322,"tags":91323,"thumbUrl":91326,"material":743,"size":744,"collection":139,"collections":91327,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},231677,"qing-feng-pu-bu-tu-yi-ming-231677","青楓瀑布図","整幅作品以飞瀑为骨，素白留白晕出水幕如银河垂落，撞向滩间黑石，激出层叠浪涛，笔绘水纹精细入微，将奔涌之势跃然纸上。\n\n斜出的青枫缀着翠色，柔化了瀑流的雄劲深峻，暗墨晕染的山壁衬得银练似的水瀑愈发通透。刚柔相衬间，将幽林飞泉的清寂禅意铺展开来，题字落款清雅融于画面，把山野间奔雷般的水势与枝桠垂立的安然相融，尽显东方山水写意的灵韵，藏着对山野幽居之趣的描摹。",[23,7,173,27,241,29,558,91324,91325,245],"青枫","水流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd353240fc86d9ff3f2e1d951b0fe099c.jpg",[],{"id":91329,"slug":91330,"title":91331,"dynasty":292,"author":91332,"museum":364,"description":91333,"tags":91334,"thumbUrl":91335,"material":743,"size":744,"collection":139,"collections":91336,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":271},231664,"shi-ting-shi-dai-qin-gao-qun-xian-tu-xue-cun-zhou-ji-231664","室町时代 琴高群仙图","雪村周继","雪村周继（日语：雪村 周継，1504年－1589年），日本室町时代后期的禅僧画家与艺术家，出生于今日本本州岛中部的茨城县。他充分学习中国绘画技巧，为16世纪前后日本著名的水墨画画家之一。",[23,7,24,241,260,173,27,106,242,245,1959,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841033e7db0128542364452f7261ea9f.jpg",[],{"id":91338,"slug":91339,"title":91340,"dynasty":292,"author":293,"museum":1985,"description":91341,"tags":91342,"thumbUrl":91343,"material":803,"size":91344,"collection":139,"collections":91345,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,7,25,27,28,106,34,29,109,107,108,176,432,758,21175,49456,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":91347,"slug":91348,"title":91349,"dynasty":76,"author":91350,"museum":515,"description":91351,"tags":91352,"thumbUrl":91353,"material":2021,"size":91354,"collection":139,"collections":91355,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},231529,"xuan-shi-tu-li-fu-tang-231529","萱石图","李复堂","李鱓是扬州八怪中最早成名者，也是扬州八怪中唯一曾供职于康熙身边的画家，并应康熙命从蒋廷锡学艺，故画笔严谨而有书卷气。后返扬州，始纵笔大写，变得粗犷奔放，不拘一格。李鱓在戏剧性的一生中，接触到了当时包括墨骨、小写意、大写意各个派别的顶尖高手，并将粗笔与工细画两者进行了个性化的融合。李鱓是一个善于学习的人，他研究各家，并不是平均用力，而是有选择的学习自己需要的东西并加以消化融合，逐渐形成自家风貌。在他的笔下，既有明代浙派花鸟画的传统根底，又受到清代宫廷工笔花鸟和民间豪放花鸟画风的影响，因此他的作品既讲求造形构图，又讲求色墨的有机融合，这种绘画风格被后来的海派画家赵之谦、任伯年、吴昌硕等人继承，可以说，李觯堪称中国绘画史上起着承先启后作用的画家。\n《萱石图》以萱草为题材，描绘卧石与萱草相生相伴的情景。萱草是画家惯常表现的吉祥植物，古人认为萱草可以忘忧，因此又称其为“忘忧草”；又认为孕妇佩带萱草可以生男孩，因此又称萱草为“宜男”。图中作者自题诗点明了画意：“墨沉淋漓映袖寒，滥图赤棘傍阑干。凭君悬向闲庭馆，解却眉尖仔细看”。",[23,7,24,173,446,1124,245,227,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce067b869dab8e3a386223f3e59b334.jpg","74X60cm",[],{"id":91357,"slug":91358,"title":91359,"dynasty":76,"author":10376,"museum":1806,"description":40266,"tags":91360,"thumbUrl":91361,"material":803,"size":91362,"collection":139,"collections":91363,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},231512,"yi-jing-zhi-qiao-qu-tu-wang-hui-231512","一径至桥去图",[23,7,209,1397,173,27,177,649,1250,1445,194,35,174,1255,31,31111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":91365,"slug":91366,"title":91367,"dynasty":189,"author":293,"museum":364,"description":91368,"tags":91369,"thumbUrl":91370,"material":139,"size":139,"collection":139,"collections":91371,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":1335},231497,"han-gao-zu-liu-bang-yi-ming-231497","汉高祖刘邦","汉高祖刘邦，字季，号沛公，谥号高皇帝，庙号高祖。沛郡丰邑中阳里（现属江苏省徐州市丰县）人氏，妣吕雉。邦公国号西汉高祖，生于周赧王五十九年即公元前二五六年二月初八日。他在兄弟四人中排行第三。性情豁达大度，知人善任。公元前二一六年，时年三十一岁，为泗水亭长。公元前209年壬辰岁九月，参加由陈胜，吴广带领的起义，后加入楚国的阵营，趁另一位将军项羽，和秦的大军打拉锯战，没有秦国主力和他的军队对阵之余，第一个攻进秦国的首都咸阳，灭了秦朝，被楚霸王项羽封为汉王。并以蜀地为基地，和项羽展开了长达四年的楚汉之争。刘邦在文有张良，武有韩信，后方有萧何的辅助下，终于把项羽的军队包围在垓下设下十面埋伏，项羽突围不果，自杀于乌江边。刘邦消灭了项羽后，统一了中国。公元前206年乙未岁称帝于洛阳，建立汉王朝，自此中华帝国在地理上再次统一，为以后的强大建立了基础.后迁都于长安（今西安市）在位十二年，卒于公元前一九五年丙午岁四月二十五日（甲辰日）。享年六十一岁，葬于葬于陕西省西安咸阳县东，称长陵。妣吕雉，卒于公元前一七九年壬戌岁，葬于长安咸阳县东陵。生八子：长庶齐悼惠王肥，曹氏生。次子恵帝盈，吕雉生。三子和意，戚后生，封赵王，后被吕雉所杀。四子恢，梁王，后自杀。五子文帝恒，先封代王，后为文帝，薄姬生，薄姬卒于公元前一五五年丙戌岁，葬于霸陵。六子友，先为淮阳王，后为赵幽王，后自杀，生二子：遂（赵王）、卬（胶西王）。七子建，燕王，后被吕雉所杀。八子长，淮南王，后被文帝废王。为了和后来刘秀建都洛阳的“汉”区别，历史上称为“西汉”",[7,24,209,5491,241,106,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f26eab8a5aa6207dddae9b2d01cb95c.jpg",[],{"id":91373,"slug":91374,"title":91375,"dynasty":76,"author":5096,"museum":132,"description":91376,"tags":91377,"thumbUrl":91378,"material":803,"size":91379,"collection":139,"collections":91380,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},231489,"fang-huang-zi-jiu-qiu-shan-tu-wang-jian-231489","仿黄子久秋山图","王时敏和王鉴都直接受教于董其昌，属于“南宗”。董其昌是华亭（上海松江县）人。万历间进士，官至礼部尚书，是江南有名的大豪绅。史书上说他“性和易，通禅理，萧闲吐纳，终日无俗语，人拟之米芾、赵孟俯云”。在绘画方面，他主张以古人为师、以下天为师，以求达到“形、手相凑而相忘”的目的。他苦临苦摹，废寝忘食，以“血战宋元”的精神，教育子弟，启发后人。王时敏与王鉴在普遍学习董其昌“南宗”的基础上，各有侧重，王时敏主要着力于黄公望，他自己曾说：“元季四家，当推子久，得其神者，惟董宗伯，得其形者，余不敢让。”而王鉴主要是学习董源与巨然，风格面貌较王时敏多，笔墨变化也比王时敏丰富。所以当时的人们评论说他：“能运笔中锋，其合作处，堪与董华亭对垒”，甚至有的说：“吾谓画中龙，国朝（指清朝）四大家中惟廉州实能当之”。\n王鉴是明朝时刑部尚书、文坛复古运动倡导者王世贞的孙子。生于明万历二十六年戊戌（公元一五九八年），卒于清康熙十六年丁巳（公元一六七七年），享年七十九岁。明崇祯六年（公元一六三三年）中举，两年后，官廉州太守。明朝亡覆前夕罢官归里。因为家富收藏，又自小受名书家熏陶，养成了对书画的特殊爱好，更因为在明清易代、战乱频繁的时期，他虽然未能投身反抗清军的行列，但也不愿甘当清廷的贰臣，于是便“布衣懒自入侯门”，“向人欲仿赵王孙”，去做一名在野的文画家了。",[23,7,24,241,29,27,177,105,864,430,31,650,2268,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],{"id":91382,"slug":91383,"title":91384,"dynasty":99,"author":37444,"museum":206,"description":91385,"tags":91386,"thumbUrl":91387,"material":5149,"size":91388,"collection":139,"collections":91389,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},231407,"xiao-xiang-ba-jing-ba-kai-zhang-fu-231407","潇湘八景八开","张復（1546—约1631），字元春，号苓石，江苏太仓人。少年时从钱榖学画，山水摹荆浩、关仝、马远、夏珪、黄公望、沈周，博采众长，晚年自成一家，为吴门画派名家。",[23,7,24,81,173,177,104,29,107,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d47fbd7178128b198163f92967b60e.jpg","40x36cm",[],{"id":91391,"slug":91392,"title":91393,"dynasty":189,"author":91394,"museum":206,"description":91395,"tags":91396,"thumbUrl":91397,"material":67,"size":91398,"collection":139,"collections":91399,"showCount":521,"zanCount":5,"manualWeight":48,"mainColor":49},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","李容瑾","此图分为殿阁区和水面区两部分，景色各异，作者采用鸟瞰式的构图，将殿阁和水面貌一一展现。刻画得非常具体细致，画面的右侧为殿阁区，以直线、横线、斜线绘成了一组优美的宏伟的建筑群：用笔严谨，刻画精到细密，一丝不苟。\n画面上，宫苑殿阁依山傍水而建，描绘了三重天井。由左下角十字歇山顶的桥亭，沿山径进入画面第一重天井，左侧围以曲折的长廊，廊外水面上构筑一重檐歇山顶的凉亭。再向上进入画面第二重天井，左右两侧均以悬崖削壁为天然屏幛。第三重天井中建一高峻的台基，台面上矗立着一座巍峨的双层楼阁，上层为重檐十字歇山顶，下层檐的左、右、前方各出一歇山抱厦。\n汉代宫苑早于汉高祖、萧相国时，即有营建。当时之未央宫，因龙首山制前殿，建东阙、北阙、武库、太仓等，周围二十八里，台殿池苑无数，宫成后常为朝见之所。王莽末年毁于兵火。如班固的《西都赋》、张衡的《西京赋》中，有关于汉代宫苑盛况的详尽描述，此轴则以绘画的形式展现了汉苑的宏丽气象。\n全画取近乎长方形的构图，殿阁占去画面的三分之二，整个汉苑图，宫阙巍峨，连甍矗栋，雕栏回廊，殿阁缛丽重深，周围树木耸峙，掩映成趣。在这一建筑群的高处，遥望远处，为烟波浩渺的水面，碧波万顷，气象万千；直到很远的地方与起伏的小山相接。凉亭临水，江水泊岸，楼台掩映，楼台亭阁生辉；近处植有松柏，林木翁翳，花竹摇艳，移步换影，处处秀丽迷人的景色；遥望远处，山山水水，美不胜收。其殿阁楼台等建筑物，其严谨笔直的线条与苍松崖石的穿插姿态相映，更显出楼阁的气势非凡。精湛的笔墨则再现了汉苑特有的风釆。\n图中的建筑从群体的布局组合到单体的结构装饰，都不是道地的汉时规范，而是宋以后的形制，例如鸱尾和脊兽的处理就是明证。但画家将历史和现实、景和情、势和意，通过惨淡的经营、创造的意匠，实现了统一。\n此图界画工整，折算精确，游规矩准绳之内而不为所窘。此图景物恢弘，气魄博大。树石画法承北宋郭熙，多作双勾夹叶，用笔粗壮放达，与郭熙《窠石平远图》相一致。但与郭熙不同，《汉苑图》纯用夹叶树，满山遍冈，葳蕤郁茂，增添了画面豪华郁丽的氛围。近境坡石从卷云皴化出，圆润流畅，清空跌宕；遥山旷荡，杂树暝漾，神韵独绝。\n中国美术学院艺术人文学院教授毛建波：汉代国家统一，国力殷实，都城、宫殿、苑囿、礼制建筑和陵墓等，十分兴盛。汉代苑囿规模惊人，作为游乐之所，苑囿里的宫殿常于中轴对称之外有更多自由灵活的处理，这种情形在《汉苑图》中有很好的体现。\n北宋内府《宣和画谱·宫室叙论》：“画者取此（指宫室）而备之形容，岂徒为是台榭、户牖之壮观者哉？虽一点一笔，必求诸绳矩，比他画为难工。”",[7,24,241,104,28,27,107,1237,29,34,114,176,115,32578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],{"id":91401,"slug":91402,"title":91403,"dynasty":76,"author":91404,"museum":515,"description":91405,"tags":91406,"thumbUrl":91407,"material":724,"size":91408,"collection":139,"collections":91409,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},231354,"huan-hua-li-yin-tu-zhang-qia-231354","浣花吏隐图","张洽","此图绘写江南明媚春光。从题跋可知，此图是嘉善盐生王启焜赴四川监茶道时，张洽为其作的送行图，七位题跋者均为同时送行之人。",[23,7,173,177,29,864,297,108,34,35,37,12624,1575,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5ca2fc160f4ec5491402f8bad41d44.jpg","32cmx99cm",[],{"id":91411,"slug":91412,"title":91413,"dynasty":18,"author":293,"museum":206,"description":91414,"tags":91415,"thumbUrl":91416,"material":803,"size":91417,"collection":139,"collections":91418,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},231342,"qian-shou-qian-yan-guan-shi-wu-pu-sa-yi-ming-231342","千手千眼观世吾菩萨","千手千眼观世音菩萨，又称千手观音，汉传佛教中常被供奉的观世音菩萨之一，是观世音菩萨的其中一个化现。为六观音之一，六观音即：慈航观音（救拔饿鬼道）、千手观音（救拔地狱道）、马头观音（救拔畜生道）、十一面观音（救拔修罗道）、准提观音（救拔人道）、如意轮观音（救拔天道）。有一千只手，每手心上各有一眼，故称。一般塑像或者绘画上，大都以四十手、三十六手、二十四手、十八手为代表。\n有说法称千手观音与青颈观音、不空羂索观音、消众毒观音等观音化身，同为正观音一时化现，有极密切的关系，相当于同体异名\n菩萨千手千眼形象之来源，于《大悲心陀罗尼经》中记载：“世尊！我念过去无量亿劫，有佛出世，名曰‘千光王静住如来’。彼佛世尊怜念我故，及为一切诸众生故，说此‘广大圆满无碍大悲心陀罗尼’。以金色手摩我顶上作如是言：‘善男子！汝当持此心咒，普为未来恶世一切众生，作大利乐。’我于是时，始住初地，一闻此咒故，超第八地。我时心欢喜故，即发誓言：‘若我当来，堪能利益、安乐一切众生者，令我即时，身生千手、千眼具足。’发是愿已，应时身上，千手千眼，悉皆具足。”[1]此经文可知，菩萨千手千眼之形象，系因菩萨发愿利乐有情之后而具足千手千眼。\n千手千眼观世音菩萨头上有二十八法相，代表二十八天护法，流通于禅宗与净土宗。\n除了《大悲心陀罗尼经》以外，亦有《千手千眼观世音菩萨姥陀罗尼身经》有千手千眼观世音菩萨的记载。",[7,24,241,259,28,27,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a3ef79ac213a6d1e3fd09057b0064f2.jpg","302x103.6",[],{"id":91420,"slug":91421,"title":64054,"dynasty":76,"author":63455,"museum":364,"description":91422,"tags":91423,"thumbUrl":91424,"material":743,"size":744,"collection":139,"collections":91425,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},231049,"shen-zhu-you-ju-tu-cheng-sui-231049","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[7,173,177,24,241,29,108,109,174,35,34,649,242,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ac9ac3c05eaead2a85ddd28c5c67b9.jpg",[],{"id":91427,"slug":91428,"title":91429,"dynasty":189,"author":2519,"museum":364,"description":91430,"tags":91431,"thumbUrl":91432,"material":139,"size":139,"collection":139,"collections":91433,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},231036,"xiang-ma-tu-ye-zhao-meng-fu-231036","相马图页","此作以人马为景，牵马老者袍服勾勒清劲挺括，敛眉垂目专注整饬缰绳，神态沉静内敛，尽显驯马时的安然肃穆。\n\n骏马躯干壮硕饱满，四肢劲挺修长，转首回望间灵动有神，鬃尾隐约带风，将神骏筋骨肌理晕染细腻逼真，笔墨兼工带写，设色古雅清淡，既追唐人鞍马的写实风骨，又融文人笔墨的雅致意趣。画面疏朗简约，以形写神，将人马间温婉呼应的微妙氛围尽显，古朴沉静间满溢古意，尽显鞍马题材画作的精妙意韵。",[23,209,7,24,81,27,28,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be06c53803a7a23406d3c79fb26d98b.jpg",[],{"id":91435,"slug":91436,"title":67594,"dynasty":76,"author":23838,"museum":364,"description":91437,"tags":91438,"thumbUrl":91439,"material":743,"size":744,"collection":139,"collections":91440,"showCount":521,"zanCount":5,"manualWeight":48,"mainColor":94},230923,"shan-shui-tu-shan-mian-shang-rui-230923","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文\n康熙十一年（1672）作《仿周臣山水人物图》轴，现藏辽宁省博物馆；三十二年（1693）作《桐阴书屋图》、三十八年作《绣谷送春图》藏故宫博物院；三十二年作《携琴访友图》卷藏旅顺博物馆；雍正二年（1724）作《溪山密雪图》藏日本大阪市立美术馆；《为友梅作行乐图册》藏苏州市博物馆。著有《习余吟》。1904年北京故宫博物院出版《清释目存仿宋元山水册》影印本。",[7,1562,173,27,29,34,175,106,300,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5310bef9780ef758a53339e81bc9fb1c.jpg",[],{"id":91442,"slug":91443,"title":91444,"dynasty":292,"author":293,"museum":364,"description":91445,"tags":91446,"thumbUrl":91447,"material":743,"size":744,"collection":139,"collections":91448,"showCount":521,"zanCount":5,"manualWeight":48,"mainColor":94},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[23,7,24,25,27,3117,227,29,106,109,34,37,176,175,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":91450,"slug":91451,"title":91452,"dynasty":292,"author":46585,"museum":364,"description":46586,"tags":91453,"thumbUrl":91454,"material":743,"size":744,"collection":139,"collections":91455,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）",[23,7,24,241,173,177,29,176,1575,175,109,151,16687,394,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],{"id":91457,"slug":91458,"title":91459,"dynasty":99,"author":26111,"museum":364,"description":91460,"tags":91461,"thumbUrl":91462,"material":139,"size":139,"collection":139,"collections":91463,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},228891,"san-you-tu-juan-1-chen-gua-228891","三友图卷-1","此作用笔老辣苍劲，枯木虬枝以铁线勾勒，皴擦间尽显嶙峋古拙，淡墨晕染与留白相衬，晕出清寂萧疏的幽远意境。\n以极简水墨托物言志，寥寥数笔写尽岁寒君子的坚贞品格，将物象风骨与文人逸趣融为一体。鉴藏古玺朱红点缀，为画面添上古雅厚重的传世质感，是以意驭笔的写意典范，于简淡间藏雄浑气度，枯涩中暗蕴生机，尽显水墨写意的淋漓意趣。",[7,24,25,173,29,449,242,448,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d64f497889ad0f9607453a6af8ab34.jpg",[],{"id":91465,"slug":91466,"title":91467,"dynasty":99,"author":966,"museum":364,"description":39462,"tags":91468,"thumbUrl":91469,"material":743,"size":744,"collection":139,"collections":91470,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},228870,"shu-hua-he-bi-gui-qu-lai-ci-wen-zheng-ming-228870","书画合壁归去来辞",[23,7,24,25,178,173,1575,796,340,176,867,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951ce94121c71e1716a09cb31ca991f2.jpg",[],{"id":91472,"slug":91473,"title":91474,"dynasty":99,"author":1170,"museum":364,"description":91475,"tags":91476,"thumbUrl":91477,"material":139,"size":139,"collection":139,"collections":91478,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},228848,"tai-ping-le-shi-ce-ye-dai-jin-228848","太平乐事册页","这幅小品以淡设色晕开市井闲趣，将夏末庭院的松弛烟火揉进笔墨之中。\n老树枝叶扶苏，筛下细碎光影暖了砖地庭院。案上杯盏果点错落，宴饮二人神态各异，把酒嗅香者意趣盎然，醉眼惺忪者颓然可爱。稚童偎依酣睡，廊下妇人牵着幼童探看，满是家常温情。\n笔意简淡灵动，设色清雅柔和，无需繁复刻画，便将太平年月里松弛鲜活的烟火日常藏在每处细节里，恬淡治愈，尽显俗世安乐。",[7,24,81,27,28,106,34,12876,12877,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3def9883fb33303890ae95371969100e.jpg",[],{"id":91480,"slug":91481,"title":3838,"dynasty":99,"author":293,"museum":364,"description":91482,"tags":91483,"thumbUrl":91484,"material":139,"size":139,"collection":139,"collections":91485,"showCount":521,"zanCount":5,"manualWeight":48,"mainColor":49},228783,"ru-bi-tu-yi-ming-228783","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,7,24,209,25,28,27,106,107,108,109,175,150,29,34,176,149,15028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":91487,"slug":91488,"title":78001,"dynasty":99,"author":1480,"museum":364,"description":91489,"tags":91490,"thumbUrl":91491,"material":139,"size":139,"collection":139,"collections":91492,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},228483,"wen-dao-tu-ye-tang-yin-228483","此作为绢本设色团扇小品，取边角式构图，右侧古木虬曲苍劲，疏枝带叶，晕染出清寂秋意。江岸石径之上，策鹿老翁宽袍缓行，神态悠然自得，侍童负杖紧随其后，主仆二人身影闲逸萧散。远景江波澹澹，远山隐现于烟霭间，留白烘托出悠远空寂的林下氛围。\n\n笔墨清简写意，人物线条简练传神，老者的安闲与灵鹿的轻跃相互映衬，将文人幽游林泉的隐逸雅趣，融于咫尺团扇之中，尽显萧散淡远的林下高致。",[23,7,24,81,27,106,29,430,3167,957,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ec7fe90818314ddf0126d45643bc90.jpg",[],{"id":91494,"slug":91495,"title":91496,"dynasty":99,"author":91497,"museum":364,"description":91498,"tags":91499,"thumbUrl":91500,"material":139,"size":139,"collection":139,"collections":91501,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},228459,"pen-hua-ce-ye-sun-xue-ju-228459","盆花册页","孙雪居","此作用淡墨写意写就，构图疏朗空灵。兰叶以中锋淡墨缓缓写出，修长舒展，如君子临风，带着清逸灵动的姿态。花瓣以淡墨晕染，清浅雅致，不见繁复刻画却尽得幽兰柔婉之态。\n\n素盆简括勾勒，纹饰轻描淡写，素雅沉静，默默托衬花草。全画以少胜多，留白恰到好处，将文人画尚简重意的特质尽显。寥寥数笔便勾勒出盆中春兰的清雅之态，暗含文人寄情草木的幽怀，笔墨秀润简约，清隽耐看，尽显简淡雅致的审美意趣。",[7,81,173,260,797,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F015bd455deed7390a0e21b3c659fa439.jpg",[],{"id":91503,"slug":91504,"title":91505,"dynasty":99,"author":1012,"museum":364,"description":91506,"tags":91507,"thumbUrl":91508,"material":139,"size":139,"collection":139,"collections":91509,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[23,7,24,241,27,173,177,29,430,1575,108,106,107,298,37,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":91511,"slug":91512,"title":91513,"dynasty":99,"author":9509,"museum":364,"description":91514,"tags":91515,"thumbUrl":91517,"material":139,"size":139,"collection":139,"collections":91518,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},228401,"yu-dong-qun-xian-tu-zhao-yong-228401","玉洞群仙图","青绿晕染出层叠仙山，苍松虬枝斜曳，桃林漫山绽花，幽谷间烟云轻漾。群仙散游林泉：或围坐松下清谈，或策杖寻幽揽胜，或凭崖临流遐观，情态自在萧散，尽得世外雅逸之趣。\n\n全卷气息清灵古雅，山水与人物相融无间，青绿妍丽厚重，人物笔致简逸传神，烘托出洞天幽寂出尘的氛围。卷后题咏呼应画境，诗画合璧，将文人梦寐中的栖隐仙乡藏于尺幅之间，尽显世外仙乡的出尘之致。",[23,7,24,25,1086,27,28,29,106,91516,34,176,178],"群仙","https:\u002F\u002Foss.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，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[23,7,24,241,173,177,29,176,558,34,560,491,5243,38,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":91568,"slug":91569,"title":91570,"dynasty":189,"author":293,"museum":364,"description":91571,"tags":91572,"thumbUrl":91573,"material":139,"size":139,"collection":139,"collections":91574,"showCount":521,"zanCount":5,"manualWeight":48,"mainColor":1335},228207,"han-lin-mu-yang-tu-yi-ming-228207","寒林牧羊图","此作用枯淡笔墨铺就冬日荒林野趣，老木虬枝盘曲苍劲，枯槎交错伸展，枝桠间漫着清寂萧寒之气。寒林以浓淡墨色层叠排布，晕染出悠远静谧的林野纵深，将冬日郊野的空旷萧索尽数铺开。下方缓坡错落起伏，羊群或垂首啮草，或缓步闲游，为冷寂林野晕开细碎生机。整体笔墨简劲苍润，以留白衬出郊野清阔空寂的氛围，于萧寒之中暗蕴悠然意趣，尽显简远萧散的林下幽情。",[7,29,173,177,241,1015,8368,176,14137,34,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef393f39116b943b3c6158679749db8.jpg",[],{"id":91576,"slug":91577,"title":91578,"dynasty":189,"author":293,"museum":364,"description":91579,"tags":91580,"thumbUrl":91581,"material":743,"size":744,"collection":139,"collections":91582,"showCount":521,"zanCount":5,"manualWeight":48,"mainColor":49},228196,"lu-mei-niang-xiang-yi-ming-228196","卢媚娘像","无情似有情，却话又无声。漫拟桃花面，悠然何处行。卢媚娘是唐永贞年间的一位奇女子，先是以绣工被顺宗“谓之神姑”，而后“度为道士，放归南海”，神迁后“后人见往往乘紫云游于海上”。",[23,7,28,260,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ccf28dfa8f0d75e3455b23645c3794b.jpg",[],{"id":91584,"slug":91585,"title":65391,"dynasty":18,"author":8886,"museum":364,"description":91586,"tags":91587,"thumbUrl":91588,"material":139,"size":139,"collection":139,"collections":91589,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},227985,"yin-yan-fei-pu-tu-jiang-can-227985","此作用笔苍劲老辣，以峭壁飞瀑为骨，劲健短皴刻画出岩崖嶙峋肌理，枯松斜生崖侧，野意横生。飞瀑层叠奔泻，似能耳闻激浪轰雷之声，下方乱石承接流泉，晕开湿润山野意趣。\n\n墨色沉郁古雅，以浓淡晕染远近虚实，留白极简却将山涧清幽之气铺溢满幅，尽显荒寒空寂的林下意境，把山野深僻的冷冽幽寂凝于绢素，观之便如临崖畔，水雾山风似拂面而来，尽显宋人山水中尚意尚理的清雅品格。",[23,7,24,209,241,29,177,7582,1248,34,176,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1dacd0160a8842c4476672188c8c9bf.jpg",[],{"id":91591,"slug":91592,"title":91593,"dynasty":18,"author":293,"museum":364,"description":91594,"tags":91595,"thumbUrl":91596,"material":139,"size":139,"collection":139,"collections":91597,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},227911,"zhu-jian-yuan-yang-tu-yi-ming-227911","竹涧鸳鸯图","这幅小品以边角取景，将幽寂山涧铺陈于尺幅之间。右侧崖壁古木斜出，新篁附石抽梢，苔痕历历；崖下茅舍半隐，野径蜿蜒，慢慢没入淡远平芜。\n\n画面左侧清空之上，禽鸟振翅穿空，将山涧的静气轻轻划破。淡墨晕染烟岚，远景虚渺朦胧，近景的竹、木、石以细劲勾勒间施皴擦，质感宛然。全作以简驭繁，不着浓艳，仅以水墨层次区分远近虚实，把江南山隅无人惊扰的闲逸尽数凝住，似可听闻涧水轻响、林风穿叶，将宋人寄情林泉的幽淡襟怀融在尺幅之中，余韵悠悠。",[23,7,1562,28,27,29,242,109,2555,83,281,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc68574cd4486c08d626211cf6dab797a.jpg",[],{"id":91599,"slug":91600,"title":1155,"dynasty":189,"author":293,"museum":364,"description":91601,"tags":91602,"thumbUrl":91603,"material":139,"size":139,"collection":139,"collections":91604,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},227897,"mu-niu-tu-yi-ming-227897","此作用色古雅沉静，青绿晕染山峦坡岸，暖黄绢底晕开春日郊野的温润柔意。垂柳为画面主角，柔婉笔意写出枝条，柳丝如烟似雾，随风轻曳，将江南春野的柔媚尽数晕开。\n坡岸浅滩间，牛群闲散啃食，寥寥数笔便勾勒出憨态，野趣横生。整体简淡疏朗，无繁复皴染，以写意笔调铺展田园意韵，将郊原恬适安宁的春日氛围缓缓晕开，带着萧散淡远的悠然意趣，观之如临春日郊野，身心皆浸在松弛静谧之中。",[23,7,27,29,106,151,1532,649,394,1159,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9473190e7c32d42ef3f7cf7f0e2429ac.jpg",[],{"id":91606,"slug":91607,"title":91608,"dynasty":18,"author":293,"museum":364,"description":91609,"tags":91610,"thumbUrl":91612,"material":139,"size":139,"collection":139,"collections":91613,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},227887,"jiang-shang-qing-feng-tu-yi-ming-227887","江上青峰图","采用边角式取景，右下隅青峰峭立，青绿敷色晕染石身，深墨点簇林木，尽显山石挺秀之姿。空阔江面铺陈开淡远烟波，几叶扁舟悠然泛于粼粼水波之上，将江南水色的清旷柔婉与峰石苍劲相融。\n\n咫尺扇面间以小见大，铺展出江天寥廓的无尽余韵，把烟波江上的空寂悠然藏于方寸，尽显对山水诗意的精微捕捉，带着宋代院体山水雅致清隽的意趣。",[23,209,7,24,1562,27,26,29,177,174,91611,7741],"青峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ce79053f855d19971de523413bbc8.jpg",[],{"id":91615,"slug":91616,"title":91617,"dynasty":18,"author":293,"museum":364,"description":91618,"tags":91619,"thumbUrl":91620,"material":139,"size":139,"collection":139,"collections":91621,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},227885,"shui-cun-lou-ge-tu-ye-yi-ming-227885","水村楼阁图页","此作以平远之法铺陈水村之景，水墨晕染间漫开烟霭濛濛的空寂氛围。近岸浅滩林木错落，村阁隐于繁荫之中，扁舟系于汀渚，渔人偶见，野趣自生。远景山峦在淡墨晕染里渐隐于烟岚，虚实相生，尽显江南水乡湿润清润的暮色闲情。笔墨简淡松灵，不刻意雕琢细节，以氤氲水墨烘托出悠远超脱的隐逸意趣，将水村的静谧安闲融在烟水空濛之中，尽显山水小品尚简尚意的审美意趣，观之如身临水乡，忘却尘俗喧嚣。",[23,7,24,173,27,29,104,81,177,107,34,109,194,491,37,7941],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":91623,"slug":91624,"title":91625,"dynasty":18,"author":293,"museum":364,"description":91626,"tags":91627,"thumbUrl":91628,"material":139,"size":139,"collection":139,"collections":91629,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},227878,"liu-ge-feng-fan-tu-yi-ming-227878","柳阁风帆图","水岸垂柳如烟似雾，柔条轻拂水面，将满幅晕开融融绿意。右侧高阁临水而立，凭栏之人悠然远眺，将闲逸心绪融浸在湖光里。湖面轻舟扬帆趁风缓行，波光漾开静穆氛围，把远水近岸织作一卷清和夏景。\n\n画家以没骨晕染柳色，晕出江南水泽的湿润氤氲，人物虽形微却神态宛然，留白处暗写烟波浩渺。将寻常水乡日常定格在团扇之上，尽显宋人观照日常、寄情山水的审美意趣，淡墨轻岚里，尽是江南水乡的温柔况味，简淡悠长，余韵悠悠。",[23,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宋 佚名 绢本 设色 86×44 厘米 此图绘第一宾度罗跋啰堕闍尊者，是十六罗汉中的第一位，,与自眷属一千阿罗汉多分住在西瞿陀尼洲。左侧题名还可看清：第一宾度罗跋啰堕闍尊，右侧常住寺名已漫漶不清，只留“...东山三...寺常住“几字，当是在中国的宋代时就已流传至日本。此图用笔尤是宋人法度，设色高妙而极其虔诚，一丝不苟。眼作碧色，很是少见。允为传世宋人罗汉精品，惜宋画全集未录。",[23,7,24,27,28,259,106,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8cb9355b5d38e4adf614ee79fabc37.jpg",[],{"id":91677,"slug":91678,"title":91679,"dynasty":54,"author":293,"museum":364,"description":91680,"tags":91681,"thumbUrl":91682,"material":139,"size":139,"collection":139,"collections":91683,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 唐 佚名 《降魔变文》 】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[23,7,24,25,259,27,28,260,106,957,502,281,34,176,16881,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":91685,"slug":91686,"title":91687,"dynasty":76,"author":1394,"museum":364,"description":91688,"tags":91689,"thumbUrl":91690,"material":743,"size":744,"collection":139,"collections":91691,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},224425,"yun-feng-shu-se-tu-zhou-zhuang-biao-wang-shi-min-224425","云峰树色图轴（装裱）","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[23,7,24,241,27,26,177,29,105,864,1329,430,449,431,109,114,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013ea1a092bbe1e7b0683866b99698e.jpg",[],{"id":91693,"slug":91694,"title":91695,"dynasty":76,"author":1394,"museum":364,"description":91696,"tags":91697,"thumbUrl":91698,"material":139,"size":139,"collection":139,"collections":91699,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},224417,"shu-hua-shi-liu-kai-3-wang-shi-min-224417","书画十六开-3","此作以青绿设色晕染山峦，层峰叠嶂间烟云流荡，虚实相生将山林晕染得空灵缥缈，仿若世外幽境。苍松虬枝盘错、蓊郁葱茏，山隅水榭临波而建，一叶扁舟载着幽人泛于湖上，晕开山居雅趣。\n画作追仿赵千里笔意，师法北宋青绿山水的精工古雅，设色妍丽厚重却不俗艳，又糅合文人画的萧散淡远气韵，仿古而不泥古，在青绿华彩间铺陈出静穆悠远的山林意致，将江南丘壑的清润雅致与古典青绿的美学意蕴相融，尽显笔墨才情。",[23,7,24,81,26,27,177,29,34,4675,176,37,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be366e0ee1a3e750582496bd677f229.jpg",[],{"id":91701,"slug":91702,"title":91703,"dynasty":76,"author":13273,"museum":364,"description":91704,"tags":91705,"thumbUrl":91706,"material":139,"size":139,"collection":139,"collections":91707,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[23,7,25,27,260,106,29,2838,151,154,394,1653,107,109,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],{"id":91709,"slug":91710,"title":91711,"dynasty":76,"author":2324,"museum":364,"description":91712,"tags":91713,"thumbUrl":91714,"material":139,"size":139,"collection":139,"collections":91715,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},224315,"hua-niao-ce-shi-kai-5-li-shan-224315","花鸟册十开5","紫英垂悬如瀑，花瓣以淡墨晕染，浓淡间分出初绽苞蕾与盛放娇花，枝叶以枯笔淡绿点染，随性舒展，野趣天成。翎羽以赭黄铺陈，丹喙亮眼，禽鸟振翅欲动，垂首窥花，灵动神态跃然纸上。\n\n行书题字纵逸跌宕，笔意与画意相融，诗画合璧更添清雅文韵。兼工带写间，把花鸟生机藏于笔墨，随性又不失精致，尽显文人写意的疏朗意趣，将江乡春日花鸟的鲜活景致，凝于尺幅之间。",[23,7,24,81,27,446,178,227,83,281,135,226,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e68e1bbf2be065a2dd861feabc0ade8.jpg",[],{"id":91717,"slug":91718,"title":91719,"dynasty":76,"author":2324,"museum":364,"description":91720,"tags":91721,"thumbUrl":91722,"material":139,"size":139,"collection":139,"collections":91723,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},224313,"hua-niao-ce-shi-kai-3-li-shan-224313","花鸟册十开3","这幅写意花鸟以淡墨晕染禽鸟，借浓淡变化铺陈羽毛肌理，将小雀憨然俏立的姿态勾勒得灵动鲜活。虬曲花枝以枯笔挥就，老辣苍劲的笔力尽显藤蔓野逸之态，极简笔墨却生机饱满。\n右侧题诗与画面相映成趣，诗画交融尽显文人意趣。挣脱院体工整桎梏，以随性纵逸的笔墨抒发襟怀，将寻常小景晕染出清隽雅致的格调，诗书印浑然一体，尽显肆意洒脱的文人风骨，笔简意足，尽显水墨写意的疏朗之美。",[23,7,24,81,173,83,281,227,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab6bcbfe1b99fd380c38ac8586d9a07.jpg",[],{"id":91725,"slug":91726,"title":91727,"dynasty":76,"author":707,"museum":364,"description":91728,"tags":91729,"thumbUrl":91730,"material":139,"size":139,"collection":139,"collections":91731,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},224180,"qiu-lin-guan-quan-tu-juan-hua-yan-224180","秋林观泉图卷","古木虬枝盘绕，繁叶如幄将溪岸轻笼，清寂秋意漫开。右侧石台之上，逸士围坐晤言，襟怀散朗，似伴淙淙泉声叙尽雅怀。\n\n浅墨勾出水波萦回，溪石错落排布，撞出幽远潺潺之意。山石以斧劈兼披麻皴写就，朴拙老辣，林木细笔点染、疏密相生，清雅古淡的设色晕开沉静古雅的氛围，将林泉清旷与文人情致相融，把秋日观泉的萧散林下之趣，藏进尺幅间的静穆诗意里。",[23,7,24,25,27,177,29,3953,560,650,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fbf31cff307ebed96fcbb978417b13.jpg",[],{"id":91733,"slug":91734,"title":91735,"dynasty":18,"author":293,"museum":364,"description":91736,"tags":91737,"thumbUrl":91738,"material":139,"size":139,"collection":139,"collections":91739,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,7,24,25,209,27,28,177,2124,1016,29,174,1351,108,109,394,106,281,245,4975,7646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":91741,"slug":91742,"title":67357,"dynasty":99,"author":293,"museum":364,"description":91743,"tags":91744,"thumbUrl":91745,"material":139,"size":139,"collection":139,"collections":91746,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},223669,"xue-jing-shan-shui-tu-ye-yi-ming-223669","此作铺展寒山素裹之境，层峦覆雪，山石棱线硬朗留白缀霜，似凝住凛冬清寒。虬曲枯木错落林间，枝桠积雪斑驳，萧疏间尽显苍劲古拙。山坳里山居隐现，木构廊轩错落排布，窗畔似含淡淡暖意，于冰寒天地晕开一隅烟火温情，静穆底色里暗蕴生机。\n\n画师以干笔皴擦勾勒山石肌理，淡墨晕染铺就雪地留白，虚实相生间尽显冬山空蒙清寂。将荒寒丘壑与幽居雅趣相融，绘就冬日山居的静惬之美，仿若可踏雪穿林，坐看林峦雪色，于冷寂山景中体味悠然避世的澹泊意韵。",[23,7,24,1562,173,27,177,29,2502,107,1015,176,558,15976],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed0d320b8b831560b39f3f2cf7b4c401.jpg",[],{"id":91748,"slug":91749,"title":91750,"dynasty":18,"author":293,"museum":364,"description":91751,"tags":91752,"thumbUrl":91753,"material":139,"size":139,"collection":139,"collections":91754,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},223642,"peng-ying-xian-guan-tu-yi-ming-223642","蓬瀛仙馆图","此作以界画笔法层叠绘出仙山楼阁，殿宇廊庑排布严整精巧，错落掩映于深林茂树之间，汀岸临水铺展，烟波轻笼，晕染出缥缈出尘的世外氛围。\n\n整幅设色古雅沉静，线条工致秀挺，将想象中的仙乡胜境具象呈现，带着宋画特有的含蓄清远。搭配题诗呼应画境，把环山临水的清隽意趣与可望不可即的幽邃雅致相融，观之恍若踏入蓬阆，暂别俗世喧嚣，神游这片清幽仙境。",[23,7,24,1562,104,27,107,175,29,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9ee517b14027e7e9f1d81a16ef3f7f.jpg",[],{"id":91756,"slug":91757,"title":91758,"dynasty":18,"author":293,"museum":364,"description":91759,"tags":91760,"thumbUrl":91761,"material":139,"size":139,"collection":139,"collections":91762,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},223597,"sui-yang-wu-lao-tu-feng-ping-xiang-yi-ming-223597","睢阳五老图 冯平像","此作以赭色绢本为底，以克制笔墨绘就老者立像。劲细墨线勾勒玄色宽袍轮廓，衣纹简练沉稳，衬出冯平身形端方持重。他头戴高顶乌帽，面容清癯，银须垂胸，双手敛于袖中垂在身前，眉目低垂间自带致仕归乡后的沉静雍容。\n右上角瘦硬题字与画面清雅格调相融，既补全人物背景，又平衡构图。画家以形写神，舍去繁缛修饰，将宋人士大夫简淡含蓄的风骨凝于笔底，在素净方寸间晕开平和古雅的旧朝意韵，尽显宋代肖像画写实传神的精妙。",[23,209,7,24,241,28,27,106,63,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83312a144a70eebd7be88c64eb651b02.jpg",[],{"id":91764,"slug":91765,"title":91766,"dynasty":189,"author":293,"museum":206,"description":91767,"tags":91768,"thumbUrl":91769,"material":139,"size":91770,"collection":139,"collections":91771,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},223587,"hua-si-xiao-tu-juan-yi-ming-223587","画四孝图卷","「四孝图」描绘故事四则，以图文相间的方式表达。第一则述王武子之妻割股作羹汤，治癒婆母寒疾；第二则述三国陆绩因其母好食橘，乃於进謁袁术席间，怀橘以奉母；第三则述晋王祥為母病中思食鲤鱼於冬月，而至江上卧冰求鲤；第四则述后汉曹娥之父溺毙江中不得尸灵，至娥投江，三日后方抱父尸出。是皆孝心感人之事蹟，卷末并附李居敬四孝图序，论孝之精义。通幅人物，以匀称之线条為主，细挺而有力。",[23,7,24,25,27,28,106,115,34,340,315,314,3045,88179,505,10779],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ea7682e123d88c66ded0f834267302.jpg","38.9x502.7",[],{"id":91773,"slug":91774,"title":91775,"dynasty":76,"author":293,"museum":364,"description":73560,"tags":91776,"thumbUrl":91777,"material":139,"size":139,"collection":139,"collections":91778,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},223530,"wu-yi-shan-shi-ba-jing-tu-5-yi-ming-223530","武夷山十八景图5",[23,7,24,173,27,29,174,109,176,34,175,1016,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c84bfbc9bf9a7a54e09f8f17c57e1.jpg",[],{"id":91780,"slug":91781,"title":1562,"dynasty":76,"author":293,"museum":364,"description":91782,"tags":91783,"thumbUrl":91784,"material":91785,"size":91786,"collection":139,"collections":91787,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},223472,"shan-mian-yi-ming-223472","图绘一女子与郊外采茶",[23,7,24,1562,27,28,260,106,59,244,432,176,697,7819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155243ffb1d2bc268317032cb916a089.jpg","絹本设色","纵24.2 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绍兴三十二年（1162年），禅位于皇太子赵昚，尊号“光尧寿圣宪天体道性仁诚德经武纬文绍业兴统明谟盛烈太上皇帝”。淳熙十四年（1187年），崩于德寿宫，时年八十一岁，成为中国历史上少有的长寿帝王之一，谥号“圣神武文宪孝皇帝”，庙号高宗。宋光宗绍熙二年（1191年），累谥“受命中兴全功至德圣神武文昭仁宪孝皇帝”。\n赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《洛神赋》（草书）等。",[7,24,28,27,106,63,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a3e88564eb6d2348c93fede2bcb453.jpg","74x116.4厘米",[],{"id":91807,"slug":91808,"title":91809,"dynasty":99,"author":293,"museum":101,"description":91810,"tags":91811,"thumbUrl":91812,"material":67,"size":91813,"collection":139,"collections":91814,"showCount":521,"zanCount":5,"manualWeight":48,"mainColor":49},223382,"mai-hua-tu-ce-ye-yi-ming-223382","卖花图册页","为了更好将花卖出去，这些走街串巷的花贩还会边走边唱歌，不断吆喝。",[23,7,81,27,28,106,83,62,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a05a179c51179f88150a902c20ff9b.jpg","24.4×19.7",[],{"id":91816,"slug":91817,"title":21723,"dynasty":76,"author":13727,"museum":20,"description":58157,"tags":91818,"thumbUrl":91820,"material":139,"size":21728,"collection":139,"collections":91821,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},223216,"geng-zhi-tu-ce-jiao-bing-zhen-223216",[7,24,5990,28,27,104,106,24320,35,298,91819,9885],"纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bac5db85afd5f566ac05862b663b2ad.jpg",[],{"id":91823,"slug":91824,"title":91825,"dynasty":76,"author":15408,"museum":20,"description":32566,"tags":91826,"thumbUrl":91827,"material":32569,"size":32570,"collection":139,"collections":91828,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":4606},223137,"shi-wan-tu-ce-10-ren-xiong-223137","十万图册10",[23,7,209,81,27,29,176,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3446c9252ed6e73c476ca72d3612cd1.jpg",[],{"id":91830,"slug":91831,"title":9290,"dynasty":76,"author":9291,"museum":364,"description":9292,"tags":91832,"thumbUrl":91833,"material":139,"size":139,"collection":139,"collections":91834,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},223087,"shui-hu-ren-wu-ren-xun-223087",[23,7,24,27,28,106,63,7464,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a251da331b0fbfb09df99ce8b63067.jpg",[],{"id":91836,"slug":91837,"title":91838,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":91839,"thumbUrl":91840,"material":67,"size":10518,"collection":139,"collections":91841,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},222969,"hong-lou-meng-94-sun-wen-222969","红楼梦94",[23,7,28,27,368,106,108,109,176,34,107,115,313,3217,432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2cb4edc6fdd04ef5d3c4b9df4d44de.jpg",[],{"id":91843,"slug":91844,"title":91845,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":91846,"thumbUrl":91847,"material":67,"size":10518,"collection":139,"collections":91848,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},222942,"hong-lou-meng-67-sun-wen-222942","红楼梦67",[23,7,28,27,104,25,106,115,107,34,136,5630,20632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b95aec8c104d197d5e5a408076ba87.jpg",[],{"id":91850,"slug":91851,"title":52030,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":91852,"thumbUrl":91854,"material":67,"size":10518,"collection":139,"collections":91855,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},222937,"hong-lou-meng-62-sun-wen-222937",[23,7,28,27,25,106,758,107,91853,176,1015,1965,23999,24000],"亭廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0894edf4d92ca30bad6618197f3b12cc.jpg",[],{"id":91857,"slug":91858,"title":91859,"dynasty":76,"author":10511,"museum":515,"description":10512,"tags":91860,"thumbUrl":91861,"material":67,"size":10518,"collection":139,"collections":91862,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},222905,"hong-lou-meng-30-sun-wen-222905","红楼梦30",[23,7,24,28,27,26,106,59,107,115,34,31111,10514,313,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd95c5c1bbc36edb809e72260b302206.jpg",[],{"id":91864,"slug":91865,"title":91866,"dynasty":76,"author":91867,"museum":20,"description":91868,"tags":91869,"thumbUrl":91870,"material":990,"size":76429,"collection":139,"collections":91871,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},222842,"fang-niao-tu-juan-wang-shi-zhen-222842","放鸟图卷","王士祯","该画卷肖像刻画的逼真生动，画法融墨骨法与江南法为一体，表现出禹之鼎绘画艺术成熟期的典型风格，代表了禹氏中晚年肖像画的艺术水平。张伯龙，清太医院御医，善书画。",[23,209,7,24,25,28,27,86,227,106,281,300,34,29,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f94dd9300cfae4fe43a6c4fdbf70e5.jpg",[],{"id":91873,"slug":91874,"title":91875,"dynasty":76,"author":5208,"museum":78,"description":20802,"tags":91876,"thumbUrl":91877,"material":10855,"size":20805,"collection":139,"collections":91878,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},222618,"shan-shui-ba-jing-8-gong-xian-222618","山水八景-8",[23,7,24,81,173,177,29,864,430,394,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767dc9c30cf5c0bb08d7677bfa84cf4e.jpg",[],{"i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。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[23,209,7,24,25,105,227,178,86,3790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8943bd847e7a3569198f6d6315b04432.jpg","271*91.5cm",[382],{"id":91889,"slug":91890,"title":91891,"dynasty":99,"author":12957,"museum":78,"description":12958,"tags":91892,"thumbUrl":91893,"material":139,"size":139,"collection":139,"collections":91894,"showCount":521,"zanCount":5,"manualWeight":48,"mainColor":94},222506,"shen-xian-tu-ce-12-zhang-lu-222506","神仙图册12",[23,7,24,81,173,106,18694,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead3d0475cfde468914dce5f134d3524.jpg",[],{"id":91896,"slug":91897,"title":91898,"dynasty":99,"author":91899,"museum":20,"description":91900,"tags":91901,"thumbUrl":91902,"material":67,"size":91903,"collection":139,"collections":91904,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},222428,"pan-che-tu-ce-li-xi-yan-222428","盘车图册","李希颜","李希颜，字愚庵，河南郏县人，生平不详，明代儒学家，他性格严峻，品行修养高，博览群书。朱元璋当了皇帝以后，因人推荐，亲自书写了诏书，把李希颜召进宫殿，选定他做王子们的教师。这些王子就是后来被皇帝分封的十位藩王。\n李希颜向十位小王子讲授尧舜禹商汤，行大仁、仗大义的道理与事迹，这些小王子，难免有不听教导、顽皮的时候。李希颜执教严厉，虽然是王子，有不服教育或不认真学习的，他照样用笔管打他们的脑门。打得多了，脑门上便留下了痕迹。有一天，朱元璋抚摸着小王子被打的伤痕，十分生气。马皇后知道原因后，大声的反问说：“哪里有用尧、舜的标准，来教训你儿子，反使你发脾气的?” 朱元璋听了这话，立刻止了气语，平静了下来。以后一直很尊敬他、善待他。",[23,7,29,27,177,107,176,34,154,900,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9345d506d0d1b7e6d586a3fc76f70f47.jpg","12.7×17.1cm",[],{"id":91906,"slug":91907,"title":91908,"dynasty":99,"author":35646,"museum":206,"description":91909,"tags":91910,"thumbUrl":91911,"material":139,"size":91912,"collection":139,"collections":91913,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},222419,"zhu-xia-bao-qin-shan-mian-jiang-song-222419","竹下抱琴扇面","蒋嵩 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Color":49},219271,"qun-hou-xi-shui-shuang-ping-er-yi-ming-219271","群猴戏水双屏(二)","松枝虬曲如铁，斜逸于空濛山影间，瀑布自崖巅倾泻而下，溅起碎玉似的水花。山石之上，群猴情态鲜活：或相偎亲昵，或探臂戏波，或追逐跃动，灵动身姿与潺潺流水相映成趣。墨色浓淡交错，细致勾勒出猴毛的蓬松纹理与山石的苍劲质感，流水则以婉转线条摹写奔腾之势。古雅绢本的暖棕底色，衬得画面静谧而富有生机，仿佛能闻猴啼与水声相和，尽显自然野趣与生命的鲜活意趣，将山林间的灵动瞬间凝于笔端。",[7,24,241,173,28,177,29,12940,109,558,650,1575,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01f16953ecc4f7107f745ae261e1887.jpg",[],{"id":92062,"slug":92063,"title":92064,"dynasty":99,"author":293,"museum":7875,"description":92065,"tags":92066,"thumbUrl":92067,"material":123,"size":139,"collection":90,"collections":92068,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":1335},219269,"xue-shu-shuang-jiu-tu-yi-ming-219269","雪树双鸠图","绢本的古雅色泽里，冬日的清寂缓缓铺展。虬枝盘曲如铁铸，枝桠间薄雪若碎玉，清冷中透着岁月的苍劲。双鸠相偎于枝头，羽色与雪、树相融，姿态安闲，似在低语，为寂静雪林添了脉脉温情。雪坡简洁，几茎细草隐于雪下，更显天地空阔。画中无喧嚣，唯有雪的静穆、树的古拙、鸟的柔暖，将冬日的冷寂与生命的暖意悄然交织，让观者于冷冽中触到一丝安宁与慰藉，仿佛时光在此凝驻，只剩自然的恬淡与生机。",[23,7,24,27,28,83,430,2124,224,226,14137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809e2794ea016ae3eaf5316c3ed2a9cf.jpg",[90],{"id":92070,"slug":92071,"title":92072,"dynasty":76,"author":7142,"museum":20,"description":38813,"tags":92073,"thumbUrl":92074,"material":123,"size":38816,"collection":139,"collections":92075,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":49},219141,"yang-zhou-si-jing-tu-ping-gang-yan-xue-yuan-yao-219141","扬州四景图-平岗艳雪",[209,7,29,104,27,107,175,108,106,176,34,2502,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39289767d24a1f12e61192f187a0e686.jpg",[],{"id":92077,"slug":92078,"title":92079,"dynasty":18,"author":293,"museum":206,"description":92080,"tags":92081,"thumbUrl":92083,"material":123,"size":139,"collection":181,"collections":92084,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},218993,"jiang-ji-fan-ying-tu-yi-ming-218993","江矶帆影图","这个构图可能取自李唐《江山小景图》的开篇，其中山和树的笔触比较粗糙，水面没有画出波纹。",[23,7,24,209,173,27,177,29,92082,39589,174,34],"江矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d811081870c628ebc7c26ba55f12af7.jpg",[181],{"id":92086,"slug":92087,"title":92088,"dynasty":18,"author":73896,"museum":206,"description":92089,"tags":92090,"thumbUrl":92091,"material":123,"size":92092,"collection":181,"collections":92093,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},218875,"shui-cun-qing-xia-tu-ma-kui-218875","水村清夏图","这幅画描绘了一个水边的渔村，田间的荷叶和丰富的芦苇，人们生活在宁静中，给人一种世外桃源的感觉。",[23,7,173,27,1562,29,194,34,35,491,5066,46346,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2a199f17dc4e03d73f2a0ef2d0a8c1.jpg","24.5x26.2",[181],{"id":92095,"slug":92096,"title":16381,"dynasty":18,"author":293,"museum":206,"description":92097,"tags":92098,"thumbUrl":92099,"material":123,"size":92100,"collection":181,"collections":92101,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},218721,"xue-shan-xing-lv-tu-yi-ming-218721","这幅画描绘了雪山上的一条小溪，两辆满载货物的牛车涉水而过，车夫以各种方式进行伪装，黄牛的形象也被真实地描绘出来。朱瑞在宋代喜欢画这类题材，这幅山水画比较轻快，类似于太古遗书《江山行旅图》的笔法，可能是金代的作品。",[23,7,24,1562,29,106,559,3499,176,2268,34,35,173,177,16328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bc5c1e8786c6f2560217f0c8669471.jpg","24.4x25.7",[181],{"id":92103,"slug":92104,"title":92105,"dynasty":18,"author":21420,"museum":206,"description":92106,"tags":92107,"thumbUrl":92108,"material":123,"size":139,"collection":139,"collections":92109,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},218675,"xi-hu-shi-jing-tu-qu-yuan-feng-he-ye-xiao-yan-218675","西湖十景图-曲院风荷","淡墨晕染的远山如黛，近岸树影婆娑，隐约可见荷叶田田的清姿，风过处似有暗香浮动。左侧行书笔意流转，与画中墨韵相映成趣，笔墨间尽是西湖夏日的清幽雅致。整幅作品以书画合璧之姿，将曲院风荷的静谧之美悄然铺展，尽显文人笔下的山水意趣与诗意情怀，让人仿佛置身于那片荷风送爽的西湖景致之中。",[23,7,24,81,173,27,178,29,243,34,491,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f780af223b0e71a7e4d290d27c674c.jpg",[],{"id":92111,"slug":92112,"title":92113,"dynasty":18,"author":21420,"museum":206,"description":92114,"tags":92115,"thumbUrl":92116,"material":67,"size":139,"collection":139,"collections":92117,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},218673,"xi-hu-shi-jing-tu-ping-hu-qiu-yue-ye-xiao-yan-218673","西湖十景图-平湖秋月","秋夜湖光如镜，远山淡笼烟霞，墨色轻染出清寂的秋意。水面无波，似映着朦胧月色，岸边林木疏朗，隐见小舟泊于汀渚。左侧行书笔意婉转，与山水景致相映成趣，诗画交融间，藏着南宋文人的闲淡心境。笔墨简淡却意境悠远，仿佛能触到湖面的微凉，闻见夜露的清芬，将平湖秋月的空灵静谧凝于尺幅。江南水乡的雅致，秋夜湖景的静谧，皆在这一方画卷中缓缓流淌，尽显宋人的审美意趣。",[23,7,24,81,173,27,29,300,245,34,33,6274,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfb40a0e7d764088ae5815d0d9ce724.jpg",[],{"id":92119,"slug":92120,"title":92121,"dynasty":76,"author":9280,"museum":206,"description":92122,"tags":92123,"thumbUrl":92124,"material":88,"size":23879,"collection":139,"collections":92125,"showCount":521,"zanCount":48,"manualWeight":48,"mainColor":94},218458,"shi-liu-luo-han-xiang-di-shi-wu-guo-ba-ga-zun-zhe-ding-guan-peng-218458","十六罗汉像-第十五锅巴嘎尊者","尊者面容清癯，皱纹如岁月镌刻的诗行，眼神凝注间漾着静定的禅光。褐色僧袍织纹细密，似裹着晨钟暮鼓的温煦；蓝紫格纹围裳错落，晕染出古雅的色块。他盘腿坐于嶙峋岩上，石纹皴擦朴拙，若承过千年风雨。手持拂尘，毛羽蓬松如轻云拢聚，柄上纹饰精巧，红金点缀似禅意跳动。衣袂线条柔中带刚，将僧袍垂坠感与尊者沉静姿态相融。工笔细腻却不滞涩，设色雅致而富层次，人物神态传神，仿佛能听见拂尘扫过衣角的轻响，禅意随笔墨漫溢，直抵人心。",[7,24,28,27,259,106,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畔悠然世外的栖居图景，尽显清雅闲逸的诗意氛围。",[209,7,27,177,104,29,107,109,174,175,108,558,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a11aea2d5863fd9ee7ef32eededec.jpg",[],{"id":93601,"slug":93602,"title":93603,"dynasty":76,"author":293,"museum":364,"description":93604,"tags":93605,"thumbUrl":93606,"material":743,"size":744,"collection":139,"collections":93607,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},235655,"gao-jian-jiang-xiang-chu-xia-tu-zhou-yi-ming-235655","高简江乡初夏图轴","此作用青绿晕染山峦，淡赭铺陈水岸云天，冷暖色调交织晕化，铺展出初夏江乡温润朦胧的氛围。近景林木错落疏密，溪涧蜿蜒穿绕石畔，野趣横生。丘峦由近及远逐层淡去，水汽氤氲间与云天相融，留白拓开渺远空阔的江天意境。左上角题诗与画境相映，将江乡初夏的清润闲适尽数铺展，以雅致设色与悠远构图，尽显江南水乡初夏的空濛雅致，是颇具抒情意趣的青绿山水佳作。",[7,24,241,26,27,29,34,31,649,37,12136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108657341743e2d321215d43e24b26e3.jpg",[],{"id":93609,"slug":93610,"title":1108,"dynasty":76,"author":13111,"museum":364,"description":93611,"tags":93612,"thumbUrl":93613,"material":139,"size":139,"collection":139,"collections":93614,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235647,"shan-shui-tu-ce-wu-li-235647","近岸枯木虬枝遒劲，疏朗错落，坡石茅舍隐于一隅，野趣盎然。淡墨晕染远山，浑茫温润，点点飞鸟掠过长天，衬出江天寥廓空寂。右上角题诗寄怀，笔意萧散，与画面意境相融无间。\n\n整幅笔墨秀雅苍润，干笔皴擦尽显山石质感，淡墨铺陈晕染出深秋清寒气韵。以极简布景勾勒荒寒山居之境，将萧瑟秋意与静穆禅意揉合尺幅，尽显文人写意风神，淡远悠长，余韵袅袅。",[7,24,81,173,29,175,281,394,245,5207,4101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbd83ad502c2b79feb48c37b8ae49fc.jpg",[],{"id":93616,"slug":93617,"title":1108,"dynasty":76,"author":13111,"museum":364,"description":93618,"tags":93619,"thumbUrl":93620,"material":139,"size":139,"collection":139,"collections":93621,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235644,"shan-shui-tu-ce-wu-li-235644","此作用平远章法铺展水岸秋光，近渚枯木蟠曲，苍松卓立，水色空明间一叶扁舟随波缓行。中洲林木蓊郁，隐见村居茅舍，远山以淡墨轻扫，黛色含烟，山顶浮屠轻点，添就古雅幽寂之意。\n笔墨以干笔皴擦出山石肌理，墨色清润淡和，自带萧散简远的文人意趣。左上题诗呼应画境，将林泉幽居的澹泊襟怀融于山水间，实景与诗意浑然相融，写尽江南水滨的清秋日色，漫着静穆淡远的悠然况味。",[7,173,177,29,174,1575,491,107,227,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11cd69920f84e0acb259430d4620faaf.jpg",[],{"id":93623,"slug":93624,"title":93625,"dynasty":99,"author":293,"museum":364,"description":93626,"tags":93627,"thumbUrl":93628,"material":139,"size":139,"collection":139,"collections":93629,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235621,"zhu-zhan-ji-wu-hou-gao-wo-tu-juan-yi-ming-235621","朱瞻基武侯高卧图卷","此卷以淡墨写幽篁林泉，武侯侧身卧于林间，竹枝苍秀清润，笔墨简逸秀雅，将林下幽寂旷远的意韵尽数铺展，寥寥几笔便勾勒出武侯高蹈淡泊的襟怀。\n\n后拖尾题跋连绵，合体篆书点缀其间，将跨越千古的君臣知遇之意娓娓道来，字里行间皆是对武侯鞠躬尽瘁的追慕，亦暗含对识贤明君的叹赏。书画合璧，淡墨绘尽贤相风骨，长题书就千古知己佳话，整卷清雅沉静，将武侯隐逸风姿与君臣相得的美谈融于一处，是书画共情的绝佳典范。",[23,7,24,25,173,178,227,242,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674be4be137862148724ce7ef701a8a9.jpg",[],{"id":93631,"slug":93632,"title":13718,"dynasty":76,"author":1109,"museum":364,"description":93633,"tags":93634,"thumbUrl":93635,"material":139,"size":139,"collection":139,"collections":93636,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235524,"yuan-ji-shan-shui-tu-ce-shi-tao-235524","枯笔轻勾远景山居，林木萧疏散淡，坡崖以苔点皴擦出苍润质感，留白作溪田野径，将郊野清寂秋意铺展纸上。\n\n整幅画作简净空灵，以少胜多，不着浓墨重彩，却藏丘壑于心间。笔意松秀随性，毫无雕琢痕迹，题款轻附边角，与画面浑然一体，尽显文人山水的静穆禅意。仿佛能听见山风穿林而过，溪田静默无言，将郊野的清幽闲淡与文人情思相融，淡而有味，简而意足，把山水的天然意趣藏于简淡笔墨之中。",[7,24,81,173,177,29,34,175,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a44354a3e42f4bc287386a2df18f00.jpg",[],{"id":93638,"slug":93639,"title":486,"dynasty":76,"author":15347,"museum":364,"description":37044,"tags":93640,"thumbUrl":93641,"material":743,"size":744,"collection":139,"collections":93642,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235513,"shan-shui-ce-cha-shi-biao-235513",[7,173,177,81,29,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a934a03c24ff9120e13ade44a0cecf.jpg",[],{"id":93644,"slug":93645,"title":131,"dynasty":99,"author":51694,"museum":364,"description":74970,"tags":93646,"thumbUrl":93647,"material":743,"size":744,"collection":139,"collections":93648,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235472,"hua-hui-ce-qi-xun-235472",[7,24,81,178,27,28,83,795,225,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490a6d8cd0412f0d7d29c27368562d38.jpg",[],{"id":93650,"slug":93651,"title":93652,"dynasty":99,"author":293,"museum":364,"description":93653,"tags":93654,"thumbUrl":93655,"material":139,"size":139,"collection":139,"collections":93656,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235321,"shen-shi-chong-han-tang-yu-ting-tu-zhou-yi-ming-235321","沈士充寒塘渔艇图轴","此作用笔清隽雅致，以干湿互济的笔墨勾勒冬江寒林之景。危崖层叠，以短皴复点苔墨，晕出山石厚重肌理，淡墨烘染出空蒙山雾，将远山隐于烟霭之中，平添幽寂荒寒之意。近岸枯木虬曲，木叶尽脱，枝桠苍劲舒展，与滩头乱石相映，尽展冬日元气萧索之态。\n\n溪间扁舟静泊，渔翁拥衣独坐舱头，孤舟暖篷与周遭清寒形成温冷对照，把渔人江渚独守的安闲隐逸，融在冬日水滨的淡远清旷之中，以景寄情，将幽逸况味刻画尽致。",[7,24,241,173,29,174,1015,1016,245,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891e488a81d900cd51693f501d860966.jpg",[],{"id":93658,"slug":93659,"title":93660,"dynasty":76,"author":52198,"museum":364,"description":93661,"tags":93662,"thumbUrl":93663,"material":139,"size":139,"collection":139,"collections":93664,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235309,"shan-shui-ping-chun-shan-xiao-xiu-tu-wang-yu-235309","山水屏-春山晓秀图","此作用笔恪守正统山水法度，以干笔皴擦结合湿墨晕染，山峦以披麻皴反复积叠，赭石花青轻敷，色调沉静雅致。远景危崖拔地而起，云气萦回山坳，晕出空濛虚灵之意；中景山坞村居错落，茂林环合，溪泉穿谷潺潺有声，尽显山居安谧；近岸老松虬曲苍劲，苔点繁缀尽显古拙生机。\n\n整卷虚实相生，既铺陈出山川雄浑厚重的体量感，又揉入春日烟岚的清润秀雅，将林泉雅趣与江南春山的明秀融于一处，尽显静穆淡远的文人山水意境。",[7,29,241,27,177,864,297,1575,107,650,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff592334970ffc38183d50b48aab8d876.jpg",[],{"id":93666,"slug":93667,"title":486,"dynasty":76,"author":67885,"museum":364,"description":93668,"tags":93669,"thumbUrl":93670,"material":743,"size":744,"collection":181,"collections":93671,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235302,"shan-shui-ce-zhang-feng-235302","张风，一作鹳，字大风，号升州道士，又号上元老人，或署“真香佛空”、“真香佛空四海”，明代画家、诗人。江苏南京人。思宗崇祯时生员，明亡后不为官，家里贫穷。他擅画山水、人物、花卉，也精于画肖像。早年风格较为恬静闲适，神韵悠然。晚年他曾佩剑北游，所以笔墨风格瘦挺豪纵。他还精通画理。",[7,24,81,177,173,29,245,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f15bdaffee209fef5f771dbfcf84975.jpg",[181],{"id":93673,"slug":93674,"title":131,"dynasty":76,"author":34692,"museum":364,"description":34693,"tags":93675,"thumbUrl":93676,"material":743,"size":744,"collection":139,"collections":93677,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235218,"hua-hui-ce-zhang-wei-235218",[7,24,81,27,28,83,84,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3345c90e37dc2b4cbe8ddbfed2632f47.jpg",[],{"id":93679,"slug":93680,"title":131,"dynasty":76,"author":34692,"museum":364,"description":34693,"tags":93681,"thumbUrl":93682,"material":743,"size":744,"collection":139,"collections":93683,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235214,"hua-hui-ce-zhang-wei-235214",[7,24,81,27,28,83,84,225,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b94e3b8854db5f02c03ea2367d2ac9.jpg",[],{"id":93685,"slug":93686,"title":131,"dynasty":76,"author":2804,"museum":364,"description":3850,"tags":93687,"thumbUrl":93688,"material":743,"size":744,"collection":139,"collections":93689,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235196,"hua-hui-ce-wu-chang-shuo-235196",[7,24,81,27,83,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2778d7f9f010b51d694f59bd32d0542.jpg",[],{"id":93691,"slug":93692,"title":486,"dynasty":76,"author":1204,"museum":364,"description":93693,"tags":93694,"thumbUrl":93695,"material":139,"size":139,"collection":139,"collections":93696,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235169,"shan-shui-ce-zhu-da-235169","此作用笔枯淡极简，以寥寥勾勒写尽荒江之景。虬曲老树疏立崖头，枝桠奇崛如铁，不见繁叶，只剩萧索寒意。水岸坡陀以淡墨轻扫，虚实相生，将江天寥廓尽数铺展。屋舍低伏于洲渚，隐于林木之间，不见人烟，愈衬出天地空寂。\n\n全画以留白代水色，淡墨晕染出烟雨空濛，笔意简净而韵致悠长。清冷孤高的画面里，尽是疏离淡远的况味，沉郁心绪藏在淡墨山水之中，于简淡里见苍茫，枯寂中藏深情，尽显空灵冷逸的禅意。",[7,24,81,173,29,34,35,227,177,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0db70a569f8b7b2ce062c1b51db4390.jpg",[],{"id":93698,"slug":93699,"title":16753,"dynasty":76,"author":16754,"museum":364,"description":16755,"tags":93700,"thumbUrl":93701,"material":743,"size":744,"collection":139,"collections":93702,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235124,"hua-hua-yan-shi-nv-tu-ce-wang-su-235124",[7,24,81,28,27,106,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c46f1b6723550ecb6cb31d539a60f2a.jpg",[],{"id":93704,"slug":93705,"title":16753,"dynasty":76,"author":16754,"museum":364,"description":16755,"tags":93706,"thumbUrl":93707,"material":743,"size":744,"collection":139,"collections":93708,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235123,"hua-hua-yan-shi-nv-tu-ce-wang-su-235123",[7,24,81,28,27,59,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e666978fc72f5db21e5fb2908847ca.jpg",[],{"id":93710,"slug":93711,"title":93712,"dynasty":76,"author":93713,"museum":364,"description":93714,"tags":93715,"thumbUrl":93716,"material":139,"size":139,"collection":139,"collections":93717,"showCount":702,"zanCount":5,"manualWeight":48,"mainColor":94},235090,"meng-lou-fu-qin-tu-zhou-wang-zhao-ji-235090","梦楼抚琴图轴","王肇基","《梦楼抚琴图轴》纵54cm，横26.4cm。\n清代文物。\n名称： 梦楼抚琴图轴 年代：清 作者：王肇基 特征：绢本，设色 尺寸：纵54cm，横26.4cm。\n本幅王肇基题：“爱镜者美人，爱剑者侠客，名士则爱砚，嗜好各成癖。\n先生放达人，耽此琴三尺，世俗竞淫哇，太古音谁识？庚辰孟夏月，梦楼宗台抚琴图。\n王肇基绘并题。\n”下钤“王肇基印”白文印、“镜香”朱文印。\n“庚辰”为清乾隆二十五年（176年），这一年，王肇基6岁，王文治（号梦楼）1岁。\n“孟夏月”则正值会考结束，殿试、御赐之前。\n王文治在这年的五月初十日得中进士第三人。\n图绘王文治在室内的画像。\n他手持折扇神情淡定地端坐在木椅上，身旁条案上摆有古琴和香炉，身后的花架上则置有盛开的兰花一盆。\n虽然点景物象不多，但是它们高低错落的陈设，丰富了画面的纵深空间，同时，也映衬出像主王文治幽兰般的君子心志和以琴瑟为伴的文化素养。",[7,24,241,27,106,210,6605,10779,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2463e961b794a748f0e3b21f09314859.jpg",[],{"id":93719,"slug":93720,"title":55305,"dynasty":76,"author":28662,"museum":364,"description":93721,"tags":93722,"thumbUrl":93723,"material":990,"size":139,"collection":139,"collections":93724,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235037,"hua-ji-chan-yin-tu-ce-xiao-chen-235037","萧晨（生卒年不详），字灵曦，号中素，江苏扬州人。清初画家，李寅弟子，善画山水、人物，画雪景最为有名。虽以卖画为生，但时以诗人自居。",[368,7,24,81,27,173,106,394,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b9ea68fd581d7e4f943cc27d68e501.jpg",[],{"id":93726,"slug":93727,"title":93728,"dynasty":76,"author":15992,"museum":20,"description":93729,"tags":93730,"thumbUrl":93731,"material":990,"size":93732,"collection":139,"collections":93733,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},235028,"bai-ying-lou-tu-ce-ye-sun-yi-235028","拜影楼图册页","《拜影楼图》共十二开，是清初多位画家以扬州拜影楼为主题创作的作品合册。册中或远山耸峙，或水波澹荡，或江烟寥廓，是文人雅士借画怀古、以画咏志之作。拜影楼位于明代扬州名园影园之中，是园主之子郑掌和清初于几近荒废的影园中所建。时过境迁，昔日名园与名楼今皆已不存，观赏此作，可一睹其当日风采。",[7,24,81,27,29,177,175,108,109,174,430,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056592b81dfa53b5a1a4c3aeedbef075.jpg","纵19.5厘米 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"wang-fang-fang-gua-chou-shan-shui-wan-shan-wang-fang-234622","汪昉仿瓜畴山水纨扇","汪昉（一七九九－一八七七），字叔明，号菽民，又号啜菽老人，江苏阳湖（今江苏常州）人。清书画家。\n他的仕途经历是道光二十四年（一八四四）举人，官至山东莱州府同知。豪饮善诙谐。初游汤贻汾幕中，与赵兰舟、费丹旭朝夕论画，因善山水。笔意松秀，墨法淹润，不失元人规矩。中年所作，邱壑浑成，树石苍润，颇臻妙境。惜晚年颓废，顿失奏致。书临赵孟頫，姿态秀逸，间作分、隶、尤精鉴赏。有《梦衲贪集》。卒年七十九。《武阳县志、墨林今话续编、桐阴论画、读画辑略、畊砚田斋笔记、清画家诗史》。\n汪昉的山水画在清代来说，属于“四王”正统画派的山水画；他的书法出自赵孟頫书风。读画史，能知道他是从元代文人画入手的，继攻“四王”，当时与以后的评论者评他的早年的山水是“笔意松秀，墨法淹润，不失元人矩矱。中年所作，邱壑浑成，树石苍润，颇臻妙境。”说他的书法，“姿态秀逸”。他的山水画受当时正统山水画派的一代领袖汤贻汾的影响很大。",[7,1562,29,27,177,105,175,430,176,491,490,174,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F903eaaac4280761f254d8a113782ecc4.jpg",[],{"id":93809,"slug":93810,"title":90967,"dynasty":76,"author":90985,"museum":364,"description":90986,"tags":93811,"thumbUrl":93812,"material":139,"size":139,"collection":139,"collections":93813,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234611,"shan-shui-wan-shan-zhang-zhi-wan-234611",[7,1562,27,29,177,175,34,491,297,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246c0a28a14775872551e950cec067a7.jpg",[],{"id":93815,"slug":93816,"title":90967,"dynasty":76,"author":90985,"museum":364,"description":90986,"tags":93817,"thumbUrl":93818,"material":139,"size":139,"collection":139,"collections":93819,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234607,"shan-shui-wan-shan-zhang-zhi-wan-234607",[7,24,1562,173,177,29,176,34,35,649,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae5a3cdcc988cabf533cc71a232dc36d.jpg",[],{"id":93821,"slug":93822,"title":93823,"dynasty":76,"author":4672,"museum":20,"description":93824,"tags":93825,"thumbUrl":93826,"material":139,"size":139,"collection":139,"collections":93827,"showCount":702,"zanCount":5,"manualWeight":48,"mainColor":94},234574,"fang-li-ying-qiu-shan-shui-shan-tang-dai-234574","仿李营丘山水扇","清代画家唐岱, 字毓东，号静岩，又号知生、爱庐、默庄。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。唐岱山水画初从焦秉贞",[209,7,24,1562,173,27,29,176,34,35,491,105,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca811aeb6574f8f643210f11bbff932.jpg",[],{"id":93829,"slug":93830,"title":57697,"dynasty":99,"author":79733,"museum":364,"description":93831,"tags":93832,"thumbUrl":93833,"material":139,"size":139,"collection":139,"collections":93834,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},234564,"shan-shui-shan-wei-zhi-huang-234564","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[7,24,1562,173,27,29,176,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5c9eb54dfc09b3d2f3f6285bea6d59.jpg",[],{"id":93836,"slug":93837,"title":90967,"dynasty":76,"author":93838,"museum":93839,"description":93840,"tags":93841,"thumbUrl":93842,"material":139,"size":93843,"collection":139,"collections":93844,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234519,"shan-shui-wan-shan-dai-yi-heng-234519","戴以恒","萧山博物馆","戴以恒(1826～1891)，字用伯，钱塘(今杭州)人，戴熙次子，承家传，擅山水，工刻印，有《醉苏斋书诀》。",[7,1562,173,177,29,430,35,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01f32cc520c460a18e50766dccc11c2.jpg","纵17.2厘米，横49.5厘米",[],{"id":93846,"slug":93847,"title":68921,"dynasty":99,"author":93848,"museum":364,"description":79797,"tags":93849,"thumbUrl":93850,"material":139,"size":139,"collection":139,"collections":93851,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},234490,"shan-shui-shan-ye-yin-shi-234490","殷諟",[1562,7,24,173,177,29,176,34,558,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84869b58427aca239d1b651bb8eab1ba.jpg",[],{"id":93853,"slug":93854,"title":38411,"dynasty":76,"author":293,"museum":364,"description":22875,"tags":93855,"thumbUrl":93856,"material":743,"size":744,"collection":139,"collections":93857,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234430,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234430",[7,24,241,259,28,27,106,957,107,29,261,84,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e4a966fa146ebf05ff32cf4051f1de.jpg",[],{"id":93859,"slug":93860,"title":93861,"dynasty":76,"author":293,"museum":364,"description":93862,"tags":93863,"thumbUrl":93864,"material":743,"size":744,"collection":139,"collections":93865,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234419,"xiao-zhen-xian-huang-hou-xiang-zhou-yi-ming-234419","孝贞显皇后像轴","此作工笔细腻雅致，设色明丽沉静。画面题字呼应氛围，女主端坐于玲珑湖石之上，宝蓝色旗装织就规整团花，镶边纹饰精巧细致，尽显华贵体面，头饰簪花清雅温婉，将端庄柔静的仪态尽显无遗。衬景青竹挺秀清逸，暗喻品性高洁，牡丹姹紫嫣红烘托出雍容气度，朱栏细草点缀出雅致庭院氛围。整作将写实肖像与雅致园景相融，既如实还原宫廷贵妇人的容仪风貌，又借景传情，尽显清代宫廷工笔肖像画的精妙气韵。",[7,27,28,241,106,242,327,298,84,313,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc231832387681e17f5dec348824df6bf.jpg",[],{"id":93867,"slug":93868,"title":486,"dynasty":76,"author":13945,"museum":515,"description":93869,"tags":93870,"thumbUrl":93871,"material":1449,"size":93872,"collection":139,"collections":93873,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234308,"shan-shui-ce-he-yi-234308","赫奕(生卒年不详）清朝画家。一作颐，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正白旗人。官至工部尚书。性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。卒年七十七。清代绘画在当时政治、经济、思想、文化等方面的影响下，呈现出特定的时代风貌。卷轴画延续元、明以来的趋势,文人画风靡,山水画勃兴，水墨写意画法盛行。文人画呈现出崇古和创新两种趋向。在题材内容、思想情趣、笔墨技巧等方面各有不同的追求，并形成纷繁的风格和流派。谈论画理、画法的理论著作，多论述元代以来的文人画,并侧重于山水画,探讨其历史发展及艺术特点。专论画法的许多著作,往往图文并茂,以图谱形式出现。清 赫奕-山水图册现藏于旅顺博物馆。",[7,173,177,81,29,176,34,109,174,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec31a4d716636ef879ba0054929c3de.jpg","34.6cmx25cm",[],{"id":93875,"slug":93876,"title":42302,"dynasty":76,"author":1491,"museum":364,"description":42303,"tags":93877,"thumbUrl":93878,"material":990,"size":139,"collection":139,"collections":93879,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234282,"hua-guo-ce-wang-yun-234282",[7,24,81,27,28,83,62,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312d93e1c96a34a8af1e9144398b63ad.jpg",[],{"id":93881,"slug":93882,"title":486,"dynasty":99,"author":93883,"museum":364,"description":93884,"tags":93885,"thumbUrl":93886,"material":139,"size":139,"collection":181,"collections":93887,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234269,"shan-shui-ce-sun-ri-shao-234269","孙日绍","此册页诗画合璧，右幅以淡墨晕染山水：近岸木桥横卧浅波，汀渚寂然，层叠远山如黛，烟岚轻笼间隐见楼阁，笔墨简淡空灵，晕染出烟雨江天的空濛悠远。左侧书法笔意纵逸跌宕，题诗意境呼应画中丘壑。二者相映成趣，将幽居林泉的闲雅疏旷铺陈开来，以极简笔墨勾勒出悠远山水，寄寓着文人澄怀观道的隐逸襟怀，诗书画相融相生，晕开恬淡雅致的古典意趣，尽显萧散出尘的文人山水情怀。",[23,7,24,81,173,177,178,29,864,297,108,175,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fde4ab358a106b7645441ca1c163a4b.jpg",[181],{"id":93889,"slug":93890,"title":93891,"dynasty":76,"author":614,"museum":364,"description":47426,"tags":93892,"thumbUrl":93893,"material":139,"size":139,"collection":90,"collections":93894,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234266,"bie-you-feng-wei-ce-huang-shen-234266","别有风味册",[23,7,24,81,260,173,1147,227,1458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef705fcbf5ff2df82c1954a51e8bbcbd.jpg",[90],{"id":93896,"slug":93897,"title":93898,"dynasty":76,"author":70746,"museum":20,"description":93899,"tags":93900,"thumbUrl":93901,"material":1449,"size":139,"collection":139,"collections":93902,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234197,"fu-chun-tu-juan-shen-zong-jing-234197","富春图卷","沈宗敬（1669—1735）《清朝画徵录》作雍正三年（1725）卒，清朝书画家笔录从之。字恪庭、南季，号狮峰、狮峰道人、双鹤老人、双杏草堂主人、卧虚山人等，华亭（今松江属上海市）人，沈荃之子。今依历代画史汇传。",[23,7,25,173,29,177,176,34,558,560,175,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa965d8172e9441cd6e732859da4e7b.jpg",[],{"id":93904,"slug":93905,"title":62151,"dynasty":99,"author":14805,"museum":20,"description":93906,"tags":93907,"thumbUrl":93908,"material":803,"size":93909,"collection":139,"collections":93910,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234155,"yun-shan-tu-juan-wen-jia-234155","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,7,24,25,173,177,178,86,29,13815,37,649,34,10380,35,108,109,174,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":93912,"slug":93913,"title":10310,"dynasty":99,"author":966,"museum":20,"description":93914,"tags":93915,"thumbUrl":93916,"material":28157,"size":21896,"collection":139,"collections":93917,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。",[7,24,25,27,28,178,29,175,106,109,108,34,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg",[],{"id":93919,"slug":93920,"title":54432,"dynasty":18,"author":293,"museum":206,"description":93921,"tags":93922,"thumbUrl":93923,"material":4434,"size":93924,"collection":139,"collections":93925,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},234065,"xue-shan-xing-lv-tu-zhou-yi-ming-234065","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[7,1397,241,173,177,3499,559,650,1015,2268,109,106,561,34,649,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d1451346fc5558d13e36afaebb3e3b.jpg","纵106厘米，横51.5厘米",[],{"id":93927,"slug":93928,"title":79698,"dynasty":99,"author":35646,"museum":20,"description":93929,"tags":93930,"thumbUrl":93931,"material":40759,"size":93932,"collection":139,"collections":93933,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},234048,"shan-shui-tu-shan-ye-jiang-song-234048","此图是一幅绘其意不绘其形的画作。远景的峰峦岭岫没有被具体地刻画，仅用淡墨晕染山头，勾勒出大体的形貌。中景的平湖静水则不着一笔，完全靠远景的山与近景河岸的夹衬暗示出来。近景枯荣相伴的杂木，以浓淡墨直接点染叶片，运笔洒脱，墨气淋漓。平坡处相向交谈的高士不见眉目的刻画，仅略具形态。简约的构图和概括的表现技法，没有令画作失去画意，蒋嵩巧妙地运用虚实映照、黑白相衬和以简胜繁的艺术手法，吟唱出一曲烟云浩渺、葱郁深秀、意境空旷而不荒凉的山水清音。",[1086,7,1562,173,446,177,29,34,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36eab1f04615a6a9540d6367e46439cf.jpg","纵17厘米，横51.2厘米",[],{"id":93935,"slug":93936,"title":78170,"dynasty":18,"aut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x 475.6 cm",[],{"id":94152,"slug":94153,"title":94154,"dynasty":54,"author":293,"museum":364,"description":94155,"tags":94156,"thumbUrl":94157,"material":67,"size":94158,"collection":139,"collections":94159,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},232271,"nie-pan-tu-yi-ming-232271","涅磐图","涅槃（巴利语：निब्बान Nibbāna；梵语：निर्वाण Nirvāṇa），佛教术语，合文作𢌽，又译为泥洹、涅槃那、涅盘那、泥盘那、昵缚男，意译为熄灭、灭、灭度、寂灭、无为、解脱、自在、安乐、不生不灭等，新译作般涅槃（巴利语：pari-nibbāna，梵语：pari-nirvāṇa），又译为般泥洹、波利昵缚男、入灭、入灭度、圆寂。佛教教义认为涅槃是将世间所有一切法的自体性都灭尽的状态，所以涅槃中永远没有生命中的种种烦恼、痛苦，上座部佛教的见解是从此不再受后有，也就是不再有下一世的六道轮回。这个术语最早源自于古印度婆罗门教，当时众说纷纭。佛教认为外道无法实证何谓涅槃，在无佛教的时代只有佛和辟支佛可以亲证涅槃。释迦牟尼菩萨降生后，出家成佛转法轮，教导弟子佛法，才开始有声闻圣弟子四果阿罗汉实证涅槃。佛陀和阿罗汉舍寿后，会取证无余涅槃界，进入不生不灭状态，也称为涅槃，一般更常用般涅槃（意思是“进入涅槃灭度”，即“入灭”）表达，意思是肉身死亡后，进入不生不灭的涅槃状态。时至今日，当有佛教上师、沙门、比丘、比丘尼等修行者过世时，许多人会尊称他们涅槃了。大乘见地是佛菩萨能在涅槃中同时度众生，佛菩萨的涅槃叫“无住涅槃”",[23,7,209,259,27,28,106,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36001c315841694e4c562c3be81f2ce2.jpg","216x179.4厘米",[],{"id":94161,"slug":94162,"title":94163,"dynasty":292,"author":293,"museum":364,"description":94164,"tags":94165,"thumbUrl":94166,"material":743,"size":744,"collection":139,"collections":94167,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},231655,"shi-ting-shi-qi-ren-wu-tu-zhou-yi-ming-231655","室町时期 人物图轴","此作笔下仕女娇憨温婉，发髻挽起垂发贴颊，柔韵尽显。朱红外袍暗纹隐现，墨绿下裳饰回旋几何纹样，素白裙脚衬出雅致格调，配色沉雅和谐。她持绘花团扇，垂目凝视扇面，身姿微倾，将娴静内敛的神态描摹入微，东方闺秀的柔婉气质呼之欲出。\n泥金底色带着岁月晕染的斑驳苍润，与人物的明丽设色相映，古雅沉静。线条匀净流畅，造型写实传神，揉合和风与唐韵的审美意趣，尽显古典雅致的东方气韵。",[23,7,24,241,27,28,106,59,505,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650f5f86df882ec6d6e4afe228442ca1.jpg",[],{"id":94169,"slug":94170,"title":94171,"dynasty":292,"author":94172,"museum":364,"description":94173,"tags":94174,"thumbUrl":94175,"material":139,"size":139,"collection":139,"collections":94176,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},231595,"xiang-jiang-ba-jing-tu-ce-gu-wen-chao-231595","湘江八景图册","谷文晁","潇湘八景，相传为满湘一带的湘江流域八处住胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。\n潇湘夜雨——永州城东\n湘水在永州境内与潇水汇合以后，称为潇湘。雨落潇湘的夜景，是旧时文人藉以寄情的著名景观。“涔涔湘江树，荒荒楚天路。稳系渡头船，莫教流下去。”（元揭奚斯）凄凉而无助的心境，就像夜雨本自一样哀婉缠绵，千百年来，人们所钟情的不知是山河的夜雨还是心灵的夜雨？\n平沙落雁——衡阳市回雁峰\n潇湘自永州下泻数百公里，到达南岳七十二峰之首的回雁峰。 　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,7,24,81,173,27,177,29,106,107,174,109,176,34,491,1915,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":94178,"slug":94179,"title":94180,"dynasty":99,"author":47918,"museum":12966,"description":94181,"tags":94182,"thumbUrl":94183,"material":59513,"size":94184,"collection":139,"collections":94185,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},231590,"shi-xiang-tu-chen-xian-231590","释像图","自跋：焚香合掌祭拜作于仙迹精舍，崇祯癸未菊月（1643年）。卷末再题：清紫陈贤谨识。长卷共绘有二十四位佛教人物。此卷人物线质极具特色，已是禅师们作画常用的“棒喝”性线条。\n陈贤［明］号希三，又号瞻葵，又号半秃僧，华山道人。喜画佛像人物，书法似文徵明。",[23,7,24,25,260,173,106,21175,1575,176,7281,151,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec35347fab7a37b924029e930db1d82.jpg","49.5×731.3厘米",[],{"id":94187,"slug":94188,"title":94189,"dynasty":292,"author":94190,"museum":364,"description":94191,"tags":94192,"thumbUrl":94193,"material":743,"size":744,"collection":139,"collections":94194,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},231586,"shi-ting-shi-dai-han-jiang-du-diao-shan-shui-tu-shou-ye-zheng-xin-231586","室町时代 寒江独钓山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[23,7,27,29,174,1351,1016,241,177,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac31b21b8cc2a0b86321841e63b6c93.jpg",[],{"id":94196,"slug":94197,"title":94198,"dynasty":189,"author":293,"museum":12966,"description":94199,"tags":94200,"thumbUrl":94201,"material":803,"size":139,"collection":139,"collections":94202,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},231495,"bai-miao-luo-han-tu-yi-ming-231495","白描罗汉图","此作用淡墨白描写就，古松虬曲苍劲，松针层叠如盖，晕染出幽寂出尘的林下禅境。右侧长眉罗汉安坐松下，神态恬然沉静，身旁侍者恭谨侍立，持器静候。左侧匍匐之人姿态虔诚，似在礼敬罗汉，案上供花素雅清冷，烘托出庄严平和的禅意氛围。\n\n线条清劲凝练，流转婉转，既勾勒出松皮斑驳褶皱、衣袂翩然动感，又细腻刻画出人物神情气度，将禅门安然清寂的意趣尽显。笔墨简淡却意蕴悠长，以素色绘出深邃禅林雅韵，尽显雅致清和的元人白描格调。",[7,24,259,260,173,106,394,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b9e528a641cef044779c88475e161b.jpg",[],{"id":94204,"slug":94205,"title":94206,"dynasty":76,"author":94207,"museum":515,"description":94208,"tags":94209,"thumbUrl":94210,"material":2290,"size":94211,"collection":139,"collections":94212,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},231353,"xi-sai-shan-zhuang-di-er-tu-shen-zong-qian-231353","西塞山庄第二图","沈宗骞","此卷绘西塞山庄之胜景，虽不是张志和诗中之西塞，然长松阔水，溪山静好，亦是人间佳境。此幅全法南宗山水之圭臬，又有黄子久富春山居图笔墨之法，而加“四王”之平实笔意。是沈熙远精心之作。\n沈宗骞（1736—1820）。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》、《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。",[23,7,24,25,173,177,29,34,176,31,37,491,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","27cmx285cm",[],{"id":94214,"slug":94215,"title":94216,"dynasty":99,"author":9420,"museum":364,"description":94217,"tags":94218,"thumbUrl":94219,"material":139,"size":139,"collection":139,"collections":94220,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},230937,"tai-ping-chun-se-tu-qian-gong-230937","太平春色图","整作以全景铺展春日闲趣，内室围炉宴坐，亲友言笑晏晏，暖炉烘出一室融融温情。墙外稚童嬉闹，野趣横生，下方溪桥之上，白衣文士凭栏观水，童子侍立，尽得林泉悠然。\n\n画家以淡墨写出寒枝虬曲，暗透春芽将萌的生机，设色浅雅柔润，将家宅的俗世温情与郊野的清逸春景相融，笔意秀润温婉，把太平年岁里的日常烟火晕染成诗意图景，将春日里松弛安宁的人间盛景娓娓铺陈，尽显安宁祥和的春日意趣。",[7,24,241,28,27,106,107,108,394,176,3045,115,83320,244,29,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728d5ea1461c81e8a8a5e563662d2e9a.jpg",[],{"id":94222,"slug":94223,"title":24349,"dynasty":76,"author":69455,"museum":364,"description":94224,"tags":94225,"thumbUrl":94226,"material":139,"size":139,"collection":139,"collections":94227,"showCount":702,"zanCount":5,"manualWeight":48,"mainColor":49},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[23,7,24,241,27,177,29,1575,176,558,109,107,464,106,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":94229,"slug":94230,"title":94231,"dynasty":292,"author":60522,"museum":364,"description":60523,"tags":94232,"thumbUrl":94233,"material":67,"size":744,"collection":139,"collections":94234,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},230563,"jia-nuo-jia-ba-li-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230563","迦诺迦跋厘堕阇尊者",[23,7,24,241,259,27,106,107,244,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce254a0478f0c929033488e812f8ba0a.jpg",[],{"id":94236,"slug":94237,"title":94238,"dynasty":292,"author":46585,"museum":364,"description":46586,"tags":94239,"thumbUrl":94240,"material":743,"size":744,"collection":139,"collections":94241,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},230503,"shi-ting-shi-dai-si-ji-shan-shui-tu-qiu-xue-zhou-230503","室町时代 四季山水图（秋）",[23,209,7,241,27,29,107,34,6922,6178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc400973487eafe8b6a86e5eafe93c0.jpg",[],{"id":94243,"slug":94244,"title":94245,"dynasty":292,"author":86480,"museum":364,"description":94246,"tags":94247,"thumbUrl":94248,"material":139,"size":139,"collection":139,"collections":94249,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},230487,"tai-gong-wang-wen-wang-tu-shou-ye-yuan-xin-230487","太公望文王图","此作用大片留白铺展空茫水色，寥寥柳丝牵起河畔清寂早春意趣。枯木旁细竹点景，极简笔触勾勒老叟踞石垂纶，身形松弛淡然，将静候的怅惘化入澹泊闲情。\n\n水墨晕染浅淡写意，舍去繁丽描摹，只以劲简线条刻绘人物风神，把隐逸襟怀与入世期许藏在空茫留白间，以东方水墨独有的留白哲思，将悠长等待的时光，铺陈在这无言空阔的画幅之中，尽显淡远幽寂的禅味。",[23,7,24,241,27,177,106,245,242,394,1016,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2576cf375d2475dcb407cb2fc50632af.jpg",[],{"id":94251,"slug":94252,"title":38578,"dynasty":76,"author":94253,"museum":364,"description":94254,"tags":94255,"thumbUrl":94256,"material":139,"size":139,"collection":139,"collections":94257,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},230296,"shan-shui-ce-ye-du-xiang-230296","杜湘","此作以幽寂山居为意趣，虚实掩映间铺陈出尘之境。苍松虬干以赭石晕染，石绿点簇松针，苍劲中带着清润生机；山石以淡墨勾勒皴擦，浓墨醒苔，厚重又不失空灵意韵。蜿蜒石径隐于谷底，将视线引向林间茅舍，屋中幽人凭窗静憩，愈发衬出林谷阒寂清冷。整幅画笔致秀雅沉静，疏密错落间尽显山林幽居的超然闲逸，把文人寄情林泉的隐逸襟怀藏在简淡笔墨之中，尽显传统山水画的写意风骨。",[7,24,81,27,29,176,1575,175,561,227,177,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c24bd19e45d360dbc671486ec53196.jpg",[],{"id":94259,"slug":94260,"title":94261,"dynasty":76,"author":10376,"museum":364,"description":94262,"tags":94263,"thumbUrl":94264,"material":139,"size":139,"collection":139,"collections":94265,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},229013,"lin-dong-bei-yuan-xia-jing-shan-kou-dai-du-tu-wang-hui-229013","临董北苑夏景山口待渡图","此作用平远之法铺陈江南水泽盛景，平缓山峦层层延展，以淡墨披麻皴晕染，满缀苔点，尽显苍润温厚之态。河港萦回，洲渚错落，汀岸间茂林修竹扶苏成林，茅舍隐于林麓，野趣自生。渔舟泛于空蒙烟波，水鸟掠波而过，处处皆是夏日江南的安闲日常。\n\n整幅画作追摹南宗山水的平淡天真，以柔婉的笔调晕开湿润氤氲的夏山氛围，没有奇崛造势，只将江南水乡的沉静清和与田园诗意，融在烟水林峦之间，尽显秀雅浑融的古淡意境。",[23,7,24,25,105,29,34,174,281,1016,177,27,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b35e298b8584b4bb63527842380557.jpg",[],{"id":94267,"slug":94268,"title":94269,"dynasty":76,"author":1109,"museum":364,"description":94270,"tags":94271,"thumbUrl":94272,"material":139,"size":139,"collection":139,"collections":94273,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},228993,"bai-kai-luo-han-tu-81-shi-tao-228993","百开罗汉图81","此作以水墨绘就两位罗汉立身奔涌浪涛之中，背景是冷峻苍劲的崖壁。作者以淋漓墨色晕染翻涌水浪，细密线条勾勒罗汉衣袍纹饰，一动一静对比强烈。浪涛汹涌激荡，罗汉却神态静穆安然，于激流中泰然自处，尽显禅心澄澈。干湿浓淡的墨色皴擦出岩壁的厚重质感，工细的衣纹与写意山水形成鲜明反差，烘托出罗汉静定超脱的出世之态，将禅宗于喧嚣中守持本心的意涵融于笔底，笔情墨趣间尽显空灵悠远的禅境。",[7,24,81,173,259,106,176,297,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f980403a2ac64c265f5de8dbb005cb3.jpg",[],{"id":94275,"slug":94276,"title":94277,"dynasty":76,"author":29509,"museum":364,"description":94278,"tags":94279,"thumbUrl":94280,"material":139,"size":139,"collection":139,"collections":94281,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},228969,"shi-jun-quan-tu-ce-shi-kai-ai-qi-meng-228969","十骏犬图册十开","《十骏犬图》是清代画家 创作的纸本设色画册，共1开，现藏于 。\n册页左边为以诗经体和辞赋体所作的题赞，其中六则出自梁诗正，四则出自汪由敦；右边一律先画犬，再加配河景山水。\n每开背景中虽皆可见遒劲的林木（松木、墨竹、柳树、梅花和灌木等）、怪石、溪涧或幽静的水岸，但形态皆不相同。\n所绘之犬姿态迥然，或低头饮水、或伫立沉思、或回首遥望。\n该册共十对开，顺序依次为：第一睒星狼、第二霜花鹞、第三墨玉螭、第四蓦空鹊、第五苍水虬、第六斑锦彪、第七雪爪卢、第八金翅猃、第九漆点狻、第十茹黄豹。\n款署：“臣艾启蒙恭绘。\n”钤“臣艾启蒙”白文印、“恭画”朱文印。\n每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。\n图上钤有“乾隆鉴赏”、“三希堂精鉴玺”、“石渠宝笈”等印。\n据文献记载，当初朝廷为了供皇帝行猎围场之需要，宫廷特设“鹰狗处”。\n《啸亭续录》云：“鹰狗处，向在东华门内长街，设总统二人，以侍卫兼之，蒙饲御前鹰狗以备搜弥之用，其牧人皆以世家子弟充之，许其蟒袍纬帽，为执事人中之品最高者。\n壬戌今上以其非急务，命迁于东安广内长房。\n”从这段记载中可知，艾启蒙笔下所画的猎犬，多是“鹰狗处”豢养的猎犬，可谓是皇帝的宠物。\n艾启蒙仅仅是画有猎犬，而这些猎犬所处的环境，这些背景并非出自艾启蒙之手，而是为中国宫廷画家所作。\n这套画册虽只署艾启蒙一人，实际上是有中国画家的参与其事的。\n作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有很强的写实性。\n如犬的身体，用多次烘染，分出受光和背光面：尤其注重皮毛质感的表现，注意猎犬的解剖结构，更突出了犬的真实感。\n这些都显示了欧洲绘画的特点，但从每幅画面上看，背景中所绘树石、坡陀等，从造型到技法，仍是典型的中国画。\n画家经多年来的观察和周密的研究，根据每一名犬的不同特性，将十条名犬分别安排于不同季节的自然环境中，十名犬的神情不一，曲尽其态、有正面、有侧面、有站立的、有卧伏的、有散步的、有蹲着的、有抬脚搔首的，也有跃跃欲扑的等。\n在毛皮色彩和斑纹上也各不相同，有红色的、白色的、黑色的、黄色的、棕色的，还有杂色的。\n正是这些不同的姿态和诸多的色彩，给绘画带来了活跃的气氛，引人注目。\n但总体来说所有的猎犬其共同之处都是腿长身细，腹部收缩，劲瘦有力，劲健灵动，擅长奔跑，肌肉肋骨，描绘逼真。\n每幅图的对开上均标明犬名，对宫廷御用犬的研究具有很高的史料价值。\n此图旧藏紫禁城内的乐寿堂。\n《石渠宝笈》著录。\n现藏于北京故宫博物院。\n艾启蒙（178—178年），字醒庵，原名Igntius Sickltart，波西米亚（今属捷克）人，天主教耶酥会传教士。\n乾隆十年（1745年）来华供奉内廷。\n他在清宫师从郎世宁，专擅绘人物、走兽和翎毛，力图在技法上达到中西合璧，在宫中产生了一定的影响。",[7,24,81,28,27,957,29,394,242,650,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f257f9a3674de63db64c41e1f3e40f.jpg",[],{"id":94283,"slug":94284,"title":94285,"dynasty":76,"author":85704,"museum":364,"description":94286,"tags":94287,"thumbUrl":94289,"material":139,"size":139,"collection":139,"collections":94290,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},228936,"jin-jian-shan-shui-si-ping-lu-yuan-228936","金笺山水四屏","平远构图层层铺陈，淡墨晕染的远山衔着隐约山居，渐次拉近，中景茅舍里士人对坐晤谈，小童负物行于林畔，野居意趣悠然尽显。近岸怪石嶙峋，古木虬曲苍劲，红叶枝桠点染出清秋意韵，秋水蜿蜒迂回，澄澈空明。\n笔墨利落，山石以小斧劈皴写就，苍劲硬朗；林木点染兼工带写，意态生动。金笺底色衬得画面古雅温润，整体意境萧疏淡远，将文人寄情林泉、安享幽居的雅怀尽数铺展。",[23,7,24,41574,94288,29,27,177,176,34,35,109],"四屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee574fd14a42eb307f4d37ff819902cb.jpg",[],{"id":94292,"slug":94293,"title":94294,"dynasty":99,"author":26281,"museum":364,"description":94295,"tags":94296,"thumbUrl":94297,"material":139,"size":139,"collection":139,"collections":94298,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[23,7,241,29,27,28,177,864,558,1329,1575,560,106,34,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":94300,"slug":94301,"title":67594,"dynasty":99,"author":10654,"museum":364,"description":24228,"tags":94302,"thumbUrl":94303,"material":743,"size":744,"collection":139,"collections":94304,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},228899,"shan-shui-tu-shan-mian-qian-gu-228899",[209,7,24,1562,173,27,177,29,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fe0f246adff8469cb479bfc8b1f0cf.jpg",[],{"id":94306,"slug":94307,"title":94308,"dynasty":99,"author":293,"museum":364,"description":94309,"tags":94310,"thumbUrl":94311,"material":139,"size":139,"collection":139,"collections":94312,"showCount":702,"zanCount":5,"manualWeight":48,"mainColor":1335},228819,"yin-shi-han-shan-yi-ming-228819","隐士寒山","古柳垂荫覆着幽寂山野，佝身疾行的高士衣袂被山风掀动翻飞。铁线描劲挺勾绘衣纹，将布帛褶皱随身形舒展的柔软晕化自然，素袍以青蓝镶边提色，暗合隐者疏淡心性。\n\n高士怀中文卷紧拥，神情专注唯恐山风惊扰卷中丘壑，将隐者嗜书如命的意趣藏在细微情态中。淡墨晕染的林麓荒苔沉暗朦胧，烘托出空山幽寂，把避世高贤耽于诗书、寄情林泉的林下风流，定格在这一瞬山野行旅之间。",[23,7,28,27,241,106,394,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb68fa2bff19d21da694b1aa4c489e9.jpg",[],{"id":94314,"slug":94315,"title":94316,"dynasty":99,"author":293,"museum":364,"description":94317,"tags":94318,"thumbUrl":94319,"material":139,"size":139,"collection":139,"collections":94320,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},228797,"song-xia-fu-qin-tu-ye-yi-ming-228797","松下抚琴图页","松荫之下，皓首老翁席地而坐，凝神抚琴，垂眉静气间似将襟怀尽寄弦上。侧旁童子煨炉候立，青烟袅袅晕开夜色，与林间半露残月相映成趣。清辉漫过苔色坡岸，将山野的空阔静穆晕染得愈发幽寂。\n\n全幅设色清雅古淡，线条简逸空灵，以极简笔墨铺陈出林下雅集的幽旷意趣，将文人寄情山水、以琴明心的林下襟怀尽显无余，暗合尚简尚淡、追慕古意的审美意趣，悠悠古韵漫溢纸面，引人沉醉。",[23,7,209,24,81,27,28,106,394,300,210,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fc3b17d6c207455e34cbf09781ad9e.jpg",[],{"id":94322,"slug":94323,"title":94324,"dynasty":99,"author":293,"museum":364,"description":94325,"tags":94326,"thumbUrl":94327,"material":743,"size":744,"collection":139,"collections":94328,"showCount":702,"zanCount":5,"manualWeight":48,"mainColor":94},228794,"ming-xiao-kang-zhang-huang-hou-lu-zhi-die-yi-ming-228794","明孝康张皇后箓职牒","此《张皇后箓牒图卷》（孝康张皇后授箓图），全卷大致分为三个部分：第一部分为「三洞赤文總真仙簡」（云篆）、第二部分是五十二张神仙画像、第三部分是整张《箓牒》的正文，即文字部分，内容记录明孝康张皇后参加授箓，成为道教上仙玄君",[23,7,24,25,27,28,86,259,106,2739,63,1308,1195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f967df2d9b493d13ce84a7a8fbe491e.jpg",[],{"id":94330,"slug":94331,"title":76640,"dynasty":99,"author":293,"museum":364,"description":94332,"tags":94333,"thumbUrl":94334,"material":139,"size":139,"collection":139,"collections":94335,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},228782,"fang-dong-yuan-xia-shan-tu-yi-ming-228782","此作以长卷铺展全景江南夏山，烟波平湖与层叠丘壑相映，尽显董源山水平淡天真之致。山峦以披麻皴缓笔写就，层层晕染，尽显丘壑深秀。洲渚间林木扶苏，村舍错落于山麓水滨，渔舟静泊浅滩，处处流露江南水乡的悠然野趣。\n\n用墨温润苍厚，设色古雅沉静，复刻出原作浑厚华滋的质感，将盛夏山林的蓊郁葱茏、水色天光的澹澹交融尽皆铺陈，整体意境清和悠远，带着宋初山水的平和生机，虽为摹古之作，却得江南山水的闲逸真味，尽显文人山水的雅淡风神。",[23,7,24,25,29,105,27,177,649,34,31,2523,108,109,1255,281,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17443e12643edb2c4b0c7baa318363d.jpg",[],{"id":94337,"slug":94338,"title":94339,"dynasty":99,"author":100,"museum":364,"description":94340,"tags":94341,"thumbUrl":94342,"material":743,"size":744,"collection":139,"collections":94343,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},228442,"mu-lv-tu-chou-ying-228442","募驴图","《募驴图》是一幅书画合卷,先有徐祯卿撰写《为朱君募买驴疏》,并附十位苏州文人的署名及出资金额,后由画家仇英补图,合成一卷.这幅合卷以艺术的方式纪念了为朱存理募资买驴这样一个现实事件,它将主人翁朱存理置于苏州文人的关系网络之中,他们的交往与活动映射出明代文人生活的雅趣.仇英的补图作为一幅为数不多的人物小品,理想化地呈现了先辈文人的风流遗韵,而这种补图也在某种程度上反映了他的精神归属和对于吴中文人集团的文化认同.",[7,24,25,260,106,151,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2182a1352bb51ed21369761f8cd2a8ad.jpg",[],{"id":94345,"slug":94346,"title":94347,"dynasty":99,"author":293,"museum":364,"description":3486,"tags":94348,"thumbUrl":94349,"material":743,"size":744,"collection":139,"collections":94350,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},228406,"di-shi-dong-yi-ming-228406","帝释东",[7,28,27,259,106,1329,63,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facffa2febf11f22c318ed51cdf3bd943.jpg",[],{"id":94352,"slug":94353,"title":94354,"dynasty":99,"author":12631,"museum":364,"description":94355,"tags":94356,"thumbUrl":94366,"material":139,"size":139,"collection":139,"collections":94367,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},228389,"xu-jing-yang-yi-ju-cui-zi-zhong-228389","许旌阳移居","此作用高远章法铺陈，上层危崖嵯峨，飞瀑垂落，秋木虬曲点缀其间，清寂高古。中层为画面核心，仙众环侍主角，衣纹细劲如游丝，设色雅静沉凝，人物神态安然超脱，尽显道骨仙风。下层童仆往来搬运，身形灵动，为幽寂山水添上几分鲜活意趣。\n\n全图工写相济，山石勾勒皴染兼具，林木敷色雅致淡和，将仙隐迁居的出尘意境晕染透彻，笔意内敛醇厚，把叙事感与山水清逸融为一体，尽显晚明人物画的高雅典致。",[23,7,209,241,2714,1397,94354,94357,94358,28,94359,94360,94361,27,18346,1248,94362,176,1250,94363,94364,94365],"仙隐迁居","道释题材","工写相济","皴染","游丝描","秋木","道骨仙风","清寂高古","出尘意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a52147b095678beb4349cffd858869e.jpg",[],{"id":94369,"slug":94370,"title":94371,"dynasty":99,"author":4245,"museum":364,"description":94372,"tags":94373,"thumbUrl":94374,"material":139,"size":139,"collection":139,"collections":94375,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},228386,"mei-hua-you-niao-bian-wen-jin-228386","梅花幽鸟","《画里珍禽》是1978-1 出版的图书，作者是台北故宫博物院。\n宋 惠崇 秋浦双鸳 马麟 暮雪寒禽 李安忠 竹鸠 林椿 杏花春鸟 宋人 乳鸭 桑枝黄鸟 画子母鸡图 画秋塘双雁 竹石鸠子图 梅竹聚禽图 元 王渊 鹰逐画眉 边文进 梅花幽鸟 明 陆治 双奚图 林良 秋鹰 吕纪 雪景翎毛 吕纪 杏花孔雀 孙龙 柔桑戴胜 清 朗世宁 樱桃桑 清人 画蓝靛颏 黑白图版 明 沈周 画鸭 沈周 画鸽 明 沈周 鸠 吕纪 寒雪山奚图 参考图版 图版说明 附英文总说明与目录",[7,24,81,28,27,83,840,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c355535bc70bc33372e8610ce16f087.jpg",[],{"id":94377,"slug":94378,"title":94379,"dynasty":99,"author":293,"museum":364,"description":94380,"tags":94381,"thumbUrl":94384,"material":139,"size":139,"collection":139,"collections":94385,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},228381,"ming-xuan-zong-ma-shang-xiang-zhou-yi-ming-228381","明宣宗马上像轴","画面中帝王骑乘骏马缓行，明黄官袍衣袂微曳，神态从容悠然，尽显松弛闲适的帝王气度。骏马昂首扬蹄，身姿矫健灵动，将驰行动感完美呈现。\n\n背景浅沙平滩之上，芦荻随风轻摆，水鸟掠沙振翅，烘托出郊野清旷疏朗的意趣。整作设色柔和古朴，工细雅致，人物鞍马刻画写实精准，兼具肖像纪实性与山水画的淡远意境，将宫廷驰游的闲逸图景晕染恰到好处，是明代鞍马人物画的精妙之作。",[209,7,24,241,27,28,106,150,281,94382,6921,5578,11350,94383],"芦荻","鞍马人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845b19d053221e30bd84e4eca72a4d5f.jpg",[],{"id":94387,"slug":94388,"title":65949,"dynasty":99,"author":221,"museum":364,"description":94389,"tags":94390,"thumbUrl":94391,"material":139,"size":139,"collection":139,"collections":94392,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},228361,"da-mo-du-jiang-tu-sun-ke-hong-228361","少林七十二绝技之一，又名一线穿、一苇渡江、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为 内壮 。\n为 的一种,能凭借柔软之物在水上等场所前进。\n相传达摩在南方传道已毕，返回时路遇一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n少林七十二绝技之一,又名一线穿,一苇渡江、又名水上 ，俗名踩软绳，即说部中 所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n之一，又名 、 、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、 之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n相传 在南方 已毕，返回时 一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n凭借此功可借竹苇等在水面横行自如，属上乘轻功，非十年苦功不可得。\n其练法殊 非易易，然苟能坚心意志练习，不难成功。\n其法分数步， 入手之初，与飞行功、轻身术相同。\n即先带铅砂，在平地上练习飞驰 ，然后在山路上练习跳跃，更放石块于簸箩中，在其边上行走，逐渐 取去石块，至能在空簸箩边上行走后，即走沙道。\n以上各法，已详见 飞行功、轻身术练法中。\n惟两腿所束之铅砂，亦须按前法以猪血浸炼 ，使成死铅，始可应用。\n带铅以每腿四两起，至五斤为度，平时宜以 药水洗腿，以防损害。\n沙道走过之后，则走棉纸，用厚约三四寸之棉 纸，铺于沙道之中，人行其上，至足印不下陷时，此第一步功夫成。\n然后更以细长之木，系其两端，悬空际，约高二三尺，人即于木上往 来飞行。\n初时木心因承重之故，宕动不已，直要练得人行其上，丝毫 不动为上，至此更易木为巨绳，其法竖竹架，以巨绳横扣于架之两端 ，人于绳上行走，即如现在江湖卖解场中，即俗所谓跑马戏者，所常 见之走绳索是也。\n绳质较软，一着足必向下陷，尤易左右摇摆，不如 木之来往荡动，故练此步功夫亦较为难，直练至人行绳上，绳能不荡 不摇，则第二步功夫成。\n从此将逐渐减细，至粗不盈指之绳，亦能任 意往来于绳上，亦不荡不摇，则第三步功夫成。\n然后以最细之连绳行 之，亦能行走自如者；再将其绳两端系于河之两岸，将绳横拦于河之 水面上，仍按前法行之，能行走自如，则全功成矣。\n功成之后，可在 水面飞行，所谓水面飞行者，亦须略有假借，须用一质地轻浮之物， 如竹片木杆芦苇等物，掷于水面，人即可身立其上，推之前进也。\n余 如浮萍薄草密集之处，菱角荷叶丛生之所，亦可在上行走。\n昔日达摩老祖，传道已毕，只身西去，即以一苇渡江，即系此种功夫。\n然习此种功夫，非十余年苦功，则无以成，且须静心虚气以习之。\n洗腿药水，即以地骨皮、食盐各等量入，煎水乘汤热洗之，则血气融和，皮肤舒畅，上下交感体气究实矣。\n达摩－中国禅宗初祖。\n南天竺婆罗门人，原名菩提多罗，是南天竺香玉王的第三子，禅宗二十七至祖般若多罗到该国传法，菩提多罗从他学法，很得般若多罗的赏识，就给他改名为达摩，意译为道法，是达摩已通达到法的意思。\n梁武帝普通年到达广州，梁武帝闻其名，迎入金陵，但观念不相契合，达摩悄然北上。\n途经北江，没有渡江的工具，遂将一束苇草置于江面，踏蹑而渡。\n「达摩一苇渡江，栾巴噀酒灭火。\n」后至北魏，所到之处，以禅法教人。\n达摩的事迹，随着禅宗的发展，渐趋神异，并成为中国画家、瓷艺家所爱的题材。\n“一苇渡江”明清德化窑达摩瓷塑上常常以此为题材。\n此图为明 的“达摩渡江图”，现藏宁波“天一阁”。\n这件“达摩渡江图”正是道释人物，画的很细腻，宗梁楷“细笔”一类画风。\n人物回首顾盼，两目突出，神采毕现。\n衣纹线条虽简，但非常概括，转折有力。\n此画虽是细写，却有意笔效果。\n孙克弘（15－1611）一作克宏，字允执，号雪居， 人。\n父为进士承恩。\n孙克弘以父荫入仕，官至汉阳太守。\n孙克弘生性巧慧，声音洪亮，状貌疏野，在居处四壁上画苍松老柏。\n善书法，画上常题隶书。\n绘画擅花鸟、人物，有资料说写道释人物则学梁楷。",[23,7,24,241,259,28,27,106,227,63,504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49e44cbbf6c2d7b966e9e401cadc7c7.jpg",[],{"id":94394,"slug":94395,"title":94396,"dynasty":189,"author":293,"museum":364,"description":94397,"tags":94398,"thumbUrl":94399,"material":139,"size":139,"collection":139,"collections":94400,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},228238,"fei-yan-tu-wan-shan-yi-ming-228238","飞燕图纨扇","此幅纨扇小品笔墨简淡却意趣盎然。虬曲的老柳占据一隅，浓墨写出苍劲老干，尽显风霜质感，柔细柳条轻曳飘拂，笔致清逸，将春柳的柔媚姿态晕染开来。枝头禽鸟各具情态，或静栖缩羽，或侧目顾盼，寥寥数笔便点染出灵动生机。空中飞燕振翅穿掠，墨色浓淡变化间，将疾飞之姿精妙定格。\n\n画面留白开阔，淡墨轻勾远坡，衬出天地空寂，把暮春时分清寂又暗含生机的氛围铺陈开来。全作用笔极简却意韵悠长，以水墨写意之法，将春日禽柳共生的雅致生机藏于尺幅之间，尽显空灵简淡的文人意趣。",[23,7,24,1562,173,281,394,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce88bcd629a6b17d680a5dd4e32460.jpg",[],{"id":94402,"slug":94403,"title":78398,"dynasty":189,"author":9595,"museum":364,"description":94404,"tags":94405,"thumbUrl":94406,"material":139,"size":139,"collection":139,"collections":94407,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},228052,"yi-mu-yu-fu-tu-juan-bai-miao-quan-juan-wang-zhen-peng-228052","此作为白描神品，线条劲挺匀细如春蚕吐丝，流畅自然。将育佛场景铺陈得细腻入微，人物衣袂褶皱流转灵动，发丝、璎珞等细节毫厘毕现，尽显对线条的极致把控能力。\n\n画面叙事悠然，姨母的温婉慈爱，幼佛的沉静安然，侍从的恭谨神态跃然纸上，场景层次分明，静谧祥和的宗教氛围扑面而来。全卷未施丹青，仅以浓淡变化的墨色便勾勒出织物的柔软、金属的冷硬，将宗教题材的庄严与俗世温情完美融合，尽显白描的高深造诣，是古典线描宗教人物画的上乘之作。",[23,209,7,24,25,259,260,106,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9d0065345992856348ca48994de99e.jpg",[],{"id":94409,"slug":94410,"title":94411,"dynasty":18,"author":94412,"museum":364,"description":94413,"tags":94414,"thumbUrl":94415,"material":139,"size":139,"collection":139,"collections":94416,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},227957,"tian-tai-shi-qiao-luo-han-tu-zhou-chang-ji-lin-ting-gui-227957","天台石桥－罗汉图","周常季、林庭珪","此作画境清寂出尘，飞瀑垂泻于危崖之间，古木横生为桥，连通绝险山径。下方三罗汉神态各殊，或抬首凝神远望云端仙侣，或侧身静听，衣纹以铁线描勾勒，敷色调和古雅，将僧者的肃穆憨态刻画入微。\n\n远景云气翻涌，琼楼半隐烟岚，虚实相映衬出凡尘寻仙的幽远意境。画作将禅意融于山水丘壑，人物点缀林泉之间，罗汉的沉静好奇与云山缥缈相融，尽显清逸禅韵，把世外寻仙的悠远意趣藏于笔墨之中，雅致空灵，余味悠长。",[23,7,209,24,27,28,259,106,29,176,558,6398,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd599052eea77d54ae9e6e164b8670b7.jpg",[],{"id":94418,"slug":94419,"title":94420,"dynasty":18,"author":61523,"museum":364,"description":94421,"tags":94422,"thumbUrl":94423,"material":139,"size":139,"collection":139,"collections":94424,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},227945,"yue-xue-ning-su-qi-jue-tuan-shan-yang-huang-hou-227945","瀹雪凝酥七绝团扇","此作笔致清婉端丽，点画匀停秀雅，自带雍容静和之气。诗作咏叹秋日桂与蔷薇，墨色沉静古雅，与泛黄绢本相融，晕开宋人风雅意趣。\n字里行间带着娴静的宫廷意韵，起收笔温婉雅致，结体舒展匀停，既有唐楷的端整法度，又暗合行书的灵动意趣，将宋诗的清隽意境，融于笔墨之中。朱红古印错落排布，与墨色、古绢相得益彰，尽显雅致的文人赏玩之态，把秋日幽居赏景的闲淡心境，藏进娟秀笔墨里，是宋韵书法小品里精巧动人的佳作。",[23,209,7,24,1562,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc166f2bbfc37bdd49a9365eb4b90133.jpg",[],{"id":94426,"slug":94427,"title":94428,"dynasty":18,"author":293,"museum":364,"description":94429,"tags":94430,"thumbUrl":94431,"material":139,"size":139,"collection":139,"collections":94432,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},227907,"qiu-ting-shui-qin-tu-yi-ming-227907","秋汀水禽图","此作以淡寂秋意为骨，绘汀洲水畔之景。枯槎斜出，疏枝带寒，间有柔柯缀着残叶，与岸侧泛红的小花相映，暗显秋深的枯荣之态。水面空濛留白，漾着浅淡水纹，两只水禽正悠游啄饮，翎羽蓬松宛然，意态闲适。天际一羽孤鹤掠空，枝头还宿着小禽，动静之间，将秋日水汀的清寂悄然铺展。\n\n笔触兼用工写，禽鸟刻画精细入微，草木枝梢写意见韵，以小尺幅晕染出辽远空阔的江天秋意，把幽境雅趣藏于方寸之间，淡而有味，余韵悠长。",[23,209,7,27,28,1060,39570,34,490,245,281,6922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35baab3884004df1c48bee2955d8c10.jpg",[],{"id":94434,"slug":94435,"title":94436,"dynasty":18,"author":293,"museum":364,"description":94437,"tags":94438,"thumbUrl":94439,"material":139,"size":139,"collection":139,"collections":94440,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[23,209,7,24,1562,104,28,27,29,175,34,106,107,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde8b70cacf16880e6a0c9d4be81a8c.jpg",[],{"id":94442,"slug":94443,"title":94444,"dynasty":18,"author":293,"museum":364,"description":94445,"tags":94446,"thumbUrl":94448,"material":139,"size":139,"collection":139,"collections":94449,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},227892,"qing-xi-feng-fan-tu-ye-yi-ming-227892","清溪风帆图页","此作用平远之法铺陈烟水湖山，近岸苍松劲拔，带着清森之气破开画角。淡墨晕染出层叠远岫，像被晨雾揉碎的黛色剪影，晕在空濛天际间。洲渚上林木成簇，在水面投下浅淡的墨色倒影。\n\n扬帆的扁舟缓行于清溪之上，船舷破开如镜的水面，为这片岑寂的山水漾开灵动涟漪。全作以水墨轻施淡染，设色清浅雅致，笔法简净秀润，将江南水乡暮霭初升时的清旷萧远尽数铺展。静穆山色与行舟动势相映，于简淡留白中晕开含蓄悠远的意韵，把烟水空蒙的湖山诗意凝在尺幅之间，引人坠入这片安谧清和的烟岚水色中。",[23,7,24,5990,173,27,29,174,94447,34,560,491,227],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a87e6aea99e632e951e926931693c8.jpg",[],{"id":94451,"slug":94452,"title":94453,"dynasty":18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《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[23,7,24,25,260,29,106,107,281,245,175,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":94502,"slug":94503,"title":35105,"dynasty":18,"author":10870,"museum":364,"description":94504,"tags":94505,"thumbUrl":94506,"material":139,"size":139,"collection":139,"collections":94507,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},227535,"yuan-lu-tu-yi-yuan-ji-227535","易元吉（生卒年不详，公元11世纪左右），字庆之，湖南长沙人。北宋时期著名画家。天资颖异，灵机深敏，尤善画猿猴，并因此而闻名天下。古代绘画评论家把獐猿画看成是易元吉的专工独诣，认为是“世俗之所不得窥其藩”的绝技。",[23,7,27,28,957,12940,281,430,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04cd6b97e915aeed8c1ec2cec2231d8a.jpg",[],{"id":94509,"slug":94510,"title":94511,"dynasty":18,"author":10088,"museum":364,"description":94512,"tags":94513,"thumbUrl":94514,"material":139,"size":139,"collection":139,"collections":94515,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},227523,"jiang-cun-tu-yan-wen-gui-227523","江邨图","淡墨晕开浩渺寒江，远山隐在烟霭之中，只剩浅淡轮廓，留白铺就冬江的空寂清寒。近岸枯木虬曲苍劲，枝桠带着萧寒肆意舒展，坡岸茅舍半掩，水畔小舟静泊，似候归人。\n\n整幅画色调清润冷寂，以留白晕染出空濛辽远意境，将江村冬日的荒寒淡远勾勒尽致。取景极简却意蕴悠长，淡墨皴擦与留白相映，把江天冬景的静穆萧寒藏于笔底，寥寥数笔烘托出幽寂澹泊的隐逸氛围，尽显山水以简驭繁，于淡远间见深致的隽永意趣。",[23,7,24,1562,173,177,29,174,175,394,245,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7d2658158078a79f9c64679dd76f46.jpg",[],{"id":94517,"slug":94518,"title":30881,"dynasty":18,"author":293,"museum":364,"description":94519,"tags":94520,"thumbUrl":94521,"material":139,"size":139,"collection":139,"collections":94522,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},227380,"qiu-zhu-wen-qin-tu-yi-ming-227380","深秋时节，荷叶枯萎，数枝折断，叶面已破成网。 几只野灵飘散散落，河岸上的两只野鸭在秋荷塘畔，悠闲地享受着秋日的阳光。",[7,24,1562,28,27,83,2728,243,297,431,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2ab1fd7d2ce25074ac44af4540be96.jpg",[],{"id":94524,"slug":94525,"title":94526,"dynasty":18,"author":293,"museum":364,"description":88581,"tags":94527,"thumbUrl":94528,"material":139,"size":139,"collection":139,"collections":94529,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},227359,"liu-xi-yuan-yang-tu-ye-yi-ming-227359","柳溪鸳鸯图页",[23,209,7,1562,27,28,3246,5749,2555,281,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa830ca8abe60aea47e38b08368f2e9c6.jpg",[],{"id":94531,"slug":94532,"title":94533,"dynasty":18,"author":293,"museum":364,"description":94534,"tags":94535,"thumbUrl":94536,"material":743,"size":744,"collection":139,"collections":94537,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},227340,"fo-jing-yi-ming-227340","佛经","佛教经典：统称；藏经，俗称；佛经，也叫《大藏经》，一般由经、律、论三部分组成。“ 经”是指释迦牟尼佛亲口所说，由其弟子所集成的法本，“律”是指佛陀为其弟子所制定的戒条，“论”是佛陀的弟子们在学习佛经后所得的心得。",[7,24,241,259,106,260,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e1c215fe28243622481e4fd5587d6c.jpg",[],{"id":94539,"slug":94540,"title":486,"dynasty":76,"author":51543,"museum":364,"description":94541,"tags":94542,"thumbUrl":94543,"material":139,"size":139,"collection":139,"collections":94544,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},224597,"shan-shui-ce-yuan-ying-224597","此作铺陈出一卷悠然水乡山居图。远景山峦以淡墨晕染，轻烟笼岫，漾着空濛悠远的澹宕诗意。中景青绿重峦上，丹枫翠柏蓊郁成荫，山居院落沿溪错落排布，黛瓦飞檐掩映在枝叶间，将雅致烟火揉进山野清趣里。\n浅滩碎石漱着清流，近水扁舟随波徐行，渔翁垂竿独钓，把闲逸静穆揉进涟漪里。设色妍雅柔和，皴笔细腻勾勒山石肌理，淡墨晕染出烟岚轻笼的朦胧质感，将江南水乡温润灵秀的意趣尽数铺展，把幽居闲隐的雅韵凝在尺幅之中，观之如踏入这静美悠然的世外山居。",[23,7,27,177,81,29,108,109,174,107,34,176,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde5044ef41523288de68520c6e9bca9.jpg",[],{"id":94546,"slug":94547,"title":94548,"dynasty":76,"author":16603,"museum":364,"description":94549,"tags":94550,"thumbUrl":94551,"material":743,"size":744,"collection":139,"collections":94552,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},224576,"song-he-bo-tao-cheng-shan-qing-ren-224576","松鹤波涛成扇","苍松虬枝蟠曲，墨色沉凝勾勒出古木苍劲，针毫细密如攒聚霜雪。两只仙鹤姿态隽秀，一鹤引颈唳空，似欲振翅穿云，一鹤垂首理羽，悠然栖于松畔。侧边细笔晕出水波层叠，柔浪轻漾将松间清旷揉入烟波浩渺之中。\n\n旧纸泛黄晕开岁月痕迹，木骨凝住旧时光阴，整幅小品将祥瑞意趣藏在简净笔墨里，把林泉野趣收于盈尺扇面。落笔克制却意韵悠长，雅致笔墨与吉庆意涵相融，是耐人品味的小品佳构。",[7,24,1562,27,173,28,449,60,83,29,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bc17a44121d5340a0e044499da1455.jpg",[],{"id":94554,"slug":94555,"title":94556,"dynasty":76,"author":1394,"museum":364,"description":94557,"tags":94558,"thumbUrl":94559,"material":139,"size":139,"collection":139,"collections":94560,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},224418,"shu-hua-shi-liu-kai-4-wang-shi-min-224418","书画十六开-4","此作用笔苍浑秀润，追摹元人萧散意趣。层岩叠岫间古松虬曲，苔点皴染遍覆崖身，青绿敷色沉静古雅，恍若旧时光晕晕染纸面。飞泉漱石，流云出岫，将山巅晕出空濛仙气。澄江如练，渔翁独棹扁舟欸乃行于江心，静澜载闲，把江湖幽寂融于笔底。林麓间隐见山居茅亭，石径通幽暗合林下隐逸之思。整幅画将山林深秀与江湖闲逸织为一体，于青绿妍秀中藏文人淡远襟怀，尽显寄情林泉的雅逸意趣。",[23,7,24,27,26,177,29,174,109,108,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc562462de56224602031cb4887c257ca.jpg",[],{"id":94562,"slug":94563,"title":82033,"dynasty":76,"author":13273,"museum":364,"description":94564,"tags":94565,"thumbUrl":94566,"material":139,"size":139,"collection":139,"collections":94567,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},224358,"tong-qin-tu-zhou-yu-zhi-ding-224358","《桐禽图》是清代画家禹之鼎于康熙年间创作纸本墨笔画，现藏于故宫博物院。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。\n用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n本幅左上自题：“余摹蓝田叔先生《得子图》非一本也。\n乙亥后两日，偶于京邸，因秋实老翁谈及故园风景，又属（嘱）写此幅，感其嗜痴，不知丑耳。\n广陵禹之鼎识。\n”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。\n乙亥为清 三十四年（ ），禹之鼎时年49岁。\n从自题中得知画家此年寓居京师。\n此图用大写意法画 几枝，引来两只飞鸟栖息。\n树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。\n画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n自题中的“蓝田叔”指明末清初著名的山水画家 ，虽然尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。\n（1647—1716年），字尚吉，号慎斋，江都(今江苏 )人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入 。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对 、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,7,241,173,83,281,430,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935bf7d16f8ac9256d4a6e3fe14339.jpg",[],{"id":94569,"slug":94570,"title":94571,"dynasty":76,"author":2324,"museum":364,"description":94572,"tags":94573,"thumbUrl":94574,"material":139,"size":139,"collection":139,"collections":94575,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},224311,"hua-niao-ce-shi-kai-10-li-shan-224311","花鸟册十开10","此作兼工带写，将秋菊清灵之态尽显纸上。蓝紫、粉白花瓣晕染柔润通透，明黄花心点醒生机，枝叶勾勒挺劲简练，水墨与淡彩相融，既留存秋菊鲜活质感，又带着写意疏放意趣。\n\n右侧题诗行书纵逸跌宕，笔意洒脱，诗画相映，将文人爱菊幽思寄寓花枝之间。整体色调清雅妍丽，于浅淡间尽显秋花隽逸风姿，将写生鲜活与文人写意随性相合，寥寥笔墨间生机盎然，诗画合璧更添雅韵，尽显文人花鸟画的悠然意趣。",[23,7,24,81,27,446,83,453,1461,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff642fb405bfa754a4ff7754cc7ac83e5.jpg",[],{"id":94577,"slug":94578,"title":94579,"dynasty":76,"author":66683,"museum":364,"description":94580,"tags":94581,"thumbUrl":94582,"material":139,"size":139,"collection":139,"collections":94583,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},224268,"fang-fan-zhong-li-fei-quan-zhan-dao-tu-zhao-cheng-224268","仿范中立飞泉栈道图","画作以雄奇主峰撑起画面骨架，山石皴刻硬朗厚重，遍覆蓊郁林木，尽显苍浑朴拙之气。山谷间云气氤氲，将上下景致晕出空濛层次，飞泉隐于林间，栈道盘绕崖壁，楼阁依险而建，既衬出山势的崔嵬险峻，也勾勒出山居的幽邃雅趣。笔墨追摹北派山水的雄浑风骨，沉雅的设色晕染开古厚氛围，把山野间的浩荡大气与林泉间的静谧隐逸相融，让观者仿佛踏入烟岚深处，尽览崖间飞泉与盘道山居的世外之景。",[23,7,24,27,177,104,29,16217,567,176,34,37,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a3ff265b1f216bdf8767877e88f38.jpg",[],{"id":94585,"slug":94586,"title":94587,"dynasty":76,"author":27251,"museum":364,"description":94588,"tags":94589,"thumbUrl":94590,"material":139,"size":139,"collection":139,"collections":94591,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},224264,"hua-wan-hu-chao-tian-zhou-zhang-zong-cang-224264","画万笏朝天轴","群峰如笏攒立，拔地参天，以干笔皴擦勾勒山石肌理，苍浑厚重，尽显雄奇壮阔之势。山坳溪畔，林舍错落，浅滩回溪萦绕村居，杂木疏密有致，枯荣相映，晕染出江南山野的温润清宁。\n\n整幅笔墨兼具精整法度与文人雅致，皴擦点染层次分明，将峰岳的沉雄高旷与乡居的悠然意趣相融，左上题诗呼应画境，把自然山川的形神与林泉雅怀合为一体，勾勒点染间尽显山水清旷高华之态。",[7,24,241,173,177,29,176,34,1255,109,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66bff8c39fbab376a96a62831c8d9ff4.jpg",[],{"id":94593,"slug":94594,"title":94595,"dynasty":18,"author":293,"museum":364,"description":94596,"tags":94597,"thumbUrl":94598,"material":139,"size":139,"collection":139,"collections":94599,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},223623,"hua-shi-cao-chong-tu-yi-ming-223623","花石草虫图","此作用笔精微细腻，构图取舍精妙，折枝花倚顽石而生，柔媚与苍劲相映成趣。粉红花瓣以淡彩晕染，瓣尖轻着白粉，将盛放之姿描摹得楚楚动人，叶片脉络清晰可见，带着鲜活水润的质感。顽石以枯笔勾勒皴擦，嶙峋纹理尽显硬冷苍古，和花草的柔润形成鲜明对照。\n\n画中诸般小生灵皆栩栩如生：蜥蜴探首曳尾，似正蹑足穿行；蜗牛静附石上，蜷壳悠然；飞蜂悬于空中，振翅之态仿佛可闻轻响。整体设色浅淡清和，墨色层次丰富，将郊野一角的生机定格，藏着细腻观照万物的心意，于平朴之中尽显雅致生趣。",[23,7,209,28,27,83,245,62,603,30952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389a4324e39851ec48a8bf5727886c77.jpg",[],{"id":94601,"slug":94602,"title":15016,"dynasty":18,"author":293,"museum":364,"description":94603,"tags":94604,"thumbUrl":94605,"material":139,"size":139,"collection":139,"collections":94606,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},223595,"pan-che-tu-yi-ming-223595","“盘车图”题材常见于传统绘画作品，通常描写人力、畜力车辆行进出盘曲的山路间，或运粮、运货，或载人涉渡。\n此图描绘盘曲艰险的山间栈道上，脚夫们赶着黄牛驾车奋力上坡。\n向屋后眺望，林木尽头是无数的山峦烟岫。\n图中以苍浑粗括的笔墨勾勒山峰树石，风格沉郁，山石的画法受郭熙的影响，是宋人无款画中的杰作。\n【名称】盘车图 【作者】佚名 盘车图—— 轴，绢本设色，纵19厘米，横49.5厘米",[23,209,7,24,241,28,177,173,27,29,107,176,34,106,70779,900,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd204e4e2690ab8ea1c2e1bad1290acde.jpg",[],{"id":94608,"slug":94609,"title":89877,"dynasty":18,"author":293,"museum":20,"description":73336,"tags":94610,"thumbUrl":94611,"material":317,"size":94612,"collection":139,"collections":94613,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},223590,"fan-qi-tu-yi-ming-223590",[23,209,7,24,25,28,27,106,150,43583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792f8737e0cca0585a895623b1b869be.jpg","27.4x127",[],{"id":94615,"slug":94616,"title":94617,"dynasty":189,"author":293,"museum":364,"description":94618,"tags":94619,"thumbUrl":94620,"material":743,"size":744,"collection":139,"collections":94621,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},223554,"shen-shan-ta-yuan-tu-ye-yi-ming-223554","深山塔院图页","原为团扇,试变其章法,略师其笔意。未知能得董巨幽淡天真之境否。",[23,7,209,24,81,27,177,29,107,1432,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89109ce6e6723a87ee1887eb4a597da7.jpg",[],{"id":94623,"slug":94624,"title":94625,"dynasty":18,"author":293,"museum":101,"description":94626,"tags":94627,"thumbUrl":94628,"material":665,"size":94629,"collection":139,"collections":94630,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},223535,"jiang-cun-tu-yi-ming-223535","江村图","图绘江水平缓，江上一叶扁舟，舟子撑杆而行。两岸绿树成林，屋舍隐隐。",[23,209,7,24,29,27,177,109,174,394,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb83e60ab9c09c2a0483f69fb55353f.jpg","24.1x25.4",[],{"id":94632,"slug":94633,"title":94634,"dynasty":18,"author":293,"museum":20,"description":94635,"tags":94636,"thumbUrl":94637,"material":665,"size":94638,"collection":139,"collections":94639,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},223518,"mei-xi-fang-ting-tu-yi-ming-223518","梅溪放艇图","绘一雅士放艇溪中，回首遥视远方，渔夫于 船尾曲身奋力划桨。两株老梅斜出溪岸，虬曲多姿。山间云雾 缭绕，天水一色。大山巍然横卧，小峰如刀削斧劈，笔立其 侧。作者所绘老梅虬曲多姿，以白粉点梅花，用细笔描水草和 波浪，人物衣纹简劲，工写结合。全图用笔工细劲挺，构图生 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一作昆山（今昆山）人，或作镇洋（今太仓）人。\n永乐（一四o三一至一四二四）中徵入画院，供奉三十余一年，花竹翎毛，笔致隽逸。设帐授徒，多所一造就，兼工书法，老于京师。《水东日记》、《画史会要》、《无声诗史》、《明画录》、《嘉定县志》",[23,7,24,1562,27,28,83,94783,1064,227],"鹭鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefebf39a0fd61bdbd0627f200f2c8853.jpg","33x50.1",[],{"id":94788,"slug":94789,"title":64567,"dynasty":99,"author":94790,"museum":206,"description":94791,"tags":94792,"thumbUrl":94793,"material":665,"size":94794,"collection":139,"collections":94795,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},222443,"chun-shan-tu-zhou-lin-guang-222443","林广","溪山深邃处。临水筑榭。青松卓然高立。山坳处。春花怒放。士人于此静坐。享受着无限的春光。此图用笔方劲。以刚硬之气。画妩媚春景。亦别具一格。\n林广（明末清初），广陵人，是久居金陵的职业画家。山水、人物初学宫廷画家李在（？-1431）与蓝瑛，居金陵后，融入了金陵画派地域画风的时潮，发展出典型的金陵面目。作为职业画家，林广的绘画能力很强，金陵各种风格都有涉猎，既有类似吴宏、高岑一路的山水风格，亦有接近武丹的面目（《上元县志》版“金陵八家”即有武丹）。",[209,7,24,241,173,177,29,5140,176,34,558,35,1445,106,1086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117261838ffba9ce00a6cadb6ef82d48.jpg","182.8x103.8厘米",[],{"id":94797,"slug":94798,"title":1692,"dynasty":99,"author":94799,"museum":206,"description":94800,"tags":94801,"thumbUrl":94802,"material":139,"size":139,"collection":139,"collections":94803,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},222442,"shan-shui-tu-yang-wen-cong-222442","杨文聪","杨文聪（1596—1646）明末画家、抗清官员。字山子、龙友，号陈龙、鹤巢、雪盦，原籍贵州贵阳，流寓金陵（今江苏南京）。万历四十七年举人，官至兵部郎中，清兵入闽，被执不屈而死。博学好古，善画山水，为”画中九友”之一。\n其父杨师孔，曾任浙江参政（约相当于副省级长官）。杨文聪于万历二十四年（1596），诞生于贵阳城南郊的石林精舍少怀壮志，学兼文武，善书画，有文采，万历末期举于乡。此后屡试不第，年已30，仍功名不就，因之落魄江湖，纵情山水。他爱南京栖霞山风物，曾读书山中，暇时常登峰顶，眺望长江。数年后，回忆这段生活，曾绘《江中望栖霞》，并题咏其上，以抒怀念之情。\n崇祯十六年（1643）已近中年时，他才谋得江宁知县一职，但不久又被劾罢官。失意之余，遂盘桓于秦淮风月场中。原来秦淮内河自明太祖定都南京就异常繁华，从东水关到西水关长达十里，彻夜灯船，尽笙歌。杨文聪为人豪侠，性爱交游，不仅与素淮名妓往来甚密，而且与复社名流侯方域等结为至友。以扇血点染桃花的韵事，很有可能就发生在这时。此事本传不载，然据近人考证，在孔尚任《桃花扇》成书之前，姜实节为杨文聪题画时就有“记否桃花留扇底，一回首处一消魂”之句。由此可知，杨文聪以扇血点染桃花，并非虚构，而是实有其事。\n崇祯十七年（1644）三月十九日，李自成攻下北京，明思宗朱由检自杀。吴三桂引清兵入关，合力扑灭了李自成农民起义军的烈火。明南京兵部尚书史可法、凤阳总督马土英等拥立福王朱由崧即位南京。杨文聪和马士英是同乡，又系姻亲，同时他在武备方面也有一定才能，因此被起用，监军京口（今镇江）。其时的镇江金山尚在长江水中，他认为金山控制南北，地形利于防守，奏请筑城以资守御，很快得到允准。\n清顺治二年（1645）初，杨文聪升任兵备副使，分巡镇、常两府。到清兵逼近长江时，文聪正驻军金山，控制江防。同年五月，他被提任为右佥都御史（中央监察机关长官）兼督沿江诸军。文聪遂还驻京口，和大将郑鸿适等军合兵长江南岸，与清兵隔江相持。九日夜，清兵乘大雾偷渡，直到接近南岸才被甘露寺守军发现，遂仓皇迎敌，但被清兵冲散。杨文聪败退至苏州。十三日，清兵攻陷南京，南明文武大臣、勋戚除逃亡外，大部迎降。清将曾派人往苏州劝降文聪，说客却被杨文聪所杀，并退军处州（今属浙江）。此时唐王自立于福州，文聪遣使奉表称贺，被拜为兵部右侍郎兼右金都御史，提督军务，图谋收复南京。文聪受命于国破之际，孤军奋战，虽曾扼守仙霞岭，屡挫清军，终因众寡悬殊，于1645年7月兵败被俘，不屈而死，全家36口人同时遇难。",[23,7,24,1562,29,173,27,177,864,430,108,464,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff191db746df3d8994d076a97913dd8b.jpg",[],{"id":94805,"slug":94806,"title":94807,"dynasty":99,"author":4821,"museum":206,"description":94808,"tags":94809,"thumbUrl":94810,"material":27,"size":94811,"collection":139,"collections":94812,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},222431,"hua-song-yin-diao-ting-ce-ye-du-jin-222431","画松阴钓艇册页","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人，占籍燕京（今北京市）。宪宗成化（1465—1487）中试进士不第，绝意进取。工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。弘治二年（1489）为吴原博（宽）作赏菊宴集图。从艺活动约在成化、弘治间。\n明代中期的画坛，除了活跃着以沈周、文徵明等为代表的“吴门画派”和以戴进、吴伟为代表的“浙江画派”之外，在南京还出现了一些独具风格的文入画家。他们个个能诗、能文、擅书、擅画，且r生，隋开朗，豪放不羁。杜堇就是其中的一位。杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。\n传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（1500）由金琮（1449-1501）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《邵雍像》轴等，上述画均藏故宫博物院。从艺活动约在成化、弘治间。",[23,7,1562,173,27,29,177,449,174,1016,176,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70da5f12ccbc7b5817be2e5d8f1e38e.jpg","68x68厘米",[],{"id":94814,"slug":94815,"title":94816,"dynasty":99,"author":26281,"museum":675,"description":44095,"tags":94817,"thumbUrl":94819,"material":803,"size":94820,"collection":181,"collections":94821,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":49},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像",[23,7,24,209,241,260,28,173,106,259,1575,340,298,299,296,94818,86174,26284],"尊者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[181,163],{"id":94823,"slug":94824,"title":94825,"dynasty":99,"author":36179,"museum":206,"description":36180,"tags":94826,"thumbUrl":94827,"material":27,"size":36183,"collection":139,"collections":94828,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},222320,"qian-li-jiang-cheng-tu-juan-1-zhou-long-222320","千里江程图卷-1",[209,7,24,25,173,177,29,34,558,176,37,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5e82d606bd4790ed080e73a7e5d886.jpg",[],{"id":94830,"slug":94831,"title":94832,"dynasty":99,"author":170,"museum":78,"description":24684,"tags":94833,"thumbUrl":94834,"material":665,"size":24688,"collection":139,"collections":94835,"showCount":702,"zanCount":48,"manualWeight":48,"mainColor":94},222097,"liang-jiang-ming-sheng-tu-ce-9-shen-zhou-222097","两江名胜图册9",[23,7,24,81,173,27,104,29,107,108,109,175,111,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u00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。",[7,24,241,173,29,105,649,1248,109,107,34,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62a7fe3e02728d888882ee1773d23ff.jpg",[],{"id":96018,"slug":96019,"title":72204,"dynasty":76,"author":63446,"museum":364,"description":96020,"tags":96021,"thumbUrl":96022,"material":743,"size":744,"collection":139,"collections":96023,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},287727,"shan-shui-fang-gu-ce-fang-shi-shu-287727","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。",[7,24,81,173,29,108,109,175,176,34,227,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8502a46d703fc1ee83d18e35b85691cd.jpg",[],{"id":96025,"slug":96026,"title":96027,"dynasty":18,"author":293,"museum":206,"description":96028,"tags":96029,"thumbUrl":96030,"material":743,"size":96031,"collection":139,"collections":96032,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},287645,"zhu-lin-qing-hua-yi-ming-287645","竹林清话","此作用繁茂修竹铺陈画面主体，双钩墨笔写就竿叶劲挺秀拔，层层叠叠掩映出幽谧林下天地。两位高士对坐晤谈，衣纹简练舒展，神色悠然自在，小童垂手侍立一旁，神态恭谨安闲，将文人雅集的萧散之态尽显无余。画面虚实相生，沉郁古雅的绢色衬出林间清寂，设色淡逸简净，晕染出宋代文人简淡冲和的林下之风，把超脱尘俗的雅集闲情融在婆娑竹影之中，尽显古典雅致的文人意趣。",[209,7,24,241,27,173,106,242,245,5579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad085f071face0d2df057319392f5ecd.jpg","106.5x42.7",[],{"id":96034,"slug":96035,"title":96036,"dynasty":18,"author":293,"museum":206,"description":96037,"tags":96038,"thumbUrl":96039,"material":123,"size":96040,"collection":42,"collections":96041,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},287644,"hua-zhu-ling-mao-zhou-yi-ming-287644","花竹翎毛轴","此作尽显院体花鸟的清雅意趣。枯木缀着柔枝新花，淡彩晕染出花瓣枝叶的明暗向背，于沉暗绢底愈显秀润。两只禽鸟振翅穿林，翩然姿态打破花木静穆，坡石下幽竹斜曳、野卉丛生，几只禽鸟敛羽安栖，一动一静相映成趣。\n\n整作构图疏密有致，上部繁枝与留白虚实相济，刻画入微却毫无匠气。画师以细腻笔致摹写生灵情态，将春日林野间的清宁生机凝于尺幅，尽显格物的极致追求，内敛沉静的古典雅韵满溢绢素。",[7,209,241,83,28,27,62,242,281,1099],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a730f93f844033cc5ff43faa7d94971.jpg","165.8x99.7",[42],{"id":96043,"slug":96044,"title":96045,"dynasty":99,"author":3114,"museum":364,"description":13962,"tags":96046,"thumbUrl":96047,"material":743,"size":744,"collection":139,"collections":96048,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},287405,"dong-xuan-zai-shan-shui-tu-dong-qi-chang-287405","董玄宰山水图",[23,7,1397,173,1015,26746,491,7319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cf6d43c47d7ac013037de6945b150e1.jpg",[],{"id":96050,"slug":96051,"title":96052,"dynasty":99,"author":293,"museum":364,"description":96053,"tags":96054,"thumbUrl":96055,"material":743,"size":744,"collection":139,"collections":96056,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},287340,"fang-li-gong-lin-shi-liu-luo-han-tu-yi-ming-287340","仿李公麟十六罗汉图","此作为白描长卷，以淡墨勾勒晕染，将山水丘壑与罗汉群像相融铺展。\n\n开篇题识后，烟波水岸渐入山林，罗汉与众侍者错落排布。人物神态各殊，或趺坐禅思，或执杖徐行，衣袂线条清劲圆润，尽得行云流水的古雅笔意，复刻出李公麟白描的隽秀韵致。山水以淡墨皴擦写就，层峦叠嶂间古木扶苏，云雾漫漤于崖谷之间，烘托出幽寂出尘的禅林之境。\n\n整卷气脉贯通，人物与山水呼应合宜，将罗汉清修的超脱意趣，与林泉雅境浑然相融，尽显明代仿古白描的精妙功底，沉静禅韵漫溢卷间。",[23,209,7,25,260,173,106,259,25116,105,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593803aadfe9432e1d644fbab419c044.jpg",[],{"id":96058,"slug":96059,"title":96060,"dynasty":99,"author":293,"museum":364,"description":96061,"tags":96062,"thumbUrl":96063,"material":743,"size":744,"collection":139,"collections":96064,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},287339,"fang-dai-song-mu-niu-tu-yi-ming-287339","仿戴嵩牧牛图","此作为平远长卷，水岸逶迤铺展，枯木寒林错落点缀其间。群牛或卧憩坡岸、或垂首饮水、或结伴闲行，姿态灵动各异，尽得山野牧群的悠然天真，复刻出戴嵩画牛的朴拙野趣。\n设色温润古雅，以淡赭晕染汀洲秋岸，墨色点簇林木、皴擦牛身，浅淡青绿缀出残叶新枝，晕开秋日郊野的清寂萧散。拖尾题跋与画意呼应，书画合璧，尽显追摹唐风画牧的古雅意趣，将田家放牧的日常景致，晕作一卷闲散清和的秋日郊居牧歌。",[23,7,25,27,24,151,29,1250,105,69845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b948a588da2c82dd8401abd9e571ff6.jpg",[],{"id":96066,"slug":96067,"title":96068,"dynasty":189,"author":1672,"museum":364,"description":16163,"tags":96069,"thumbUrl":96070,"material":743,"size":744,"collection":139,"collections":96071,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":271},287306,"lin-xi-qing-yin-tu-juan-ni-zan-287306","林溪清隐图卷",[23,7,209,25,24,173,178,86,242,29,227,18349,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c9a683588fa53ede3255dbac057270.jpg",[],{"id":96073,"slug":96074,"title":96075,"dynasty":76,"author":293,"museum":364,"description":96076,"tags":96077,"thumbUrl":96078,"material":743,"size":744,"collection":139,"collections":96079,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},272890,"nan-mu-bian-hua-pen-ju-tu-gua-ping-yi-ming-272890","楠木边画盆菊图挂屏","以没骨晕染绘就盆菊清供，素釉花盆温润匀净，配雕花铜座愈显古雅端方。白菊瓣层叠舒展，似凝着秋霜清露，柔润留白衬出花姿翩然写意。墨色叶片苍润错落，笔意秀逸清隽，淡彩晕染出叶片向背深浅，灵动自然。\n\n整幅画面留白疏朗，将案头清供的闲雅意趣晕透纸面，暗合秋日赏菊的隐逸雅致，把花木隽秀与文人清怀相融，淡静悠然的古意漫溢其间，尽显中式文房清赏的淡然韵致。",[7,24,27,28,83,453,244,57620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82dcc0723f56142ed55790e0baab867b.jpg",[],{"id":96081,"slug":96082,"title":96083,"dynasty":76,"author":293,"museum":364,"description":96084,"tags":96085,"thumbUrl":96087,"material":743,"size":744,"co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。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。",[23,209,7,24,25,173,178,1308,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88979f0060eb58657f91f1b367c1d40f.jpg",[],{"id":96117,"slug":96118,"title":96119,"dynasty":76,"author":64824,"museum":364,"description":64825,"tags":96120,"thumbUrl":96121,"material":803,"size":139,"collection":181,"collections":96122,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},240886,"lu-tang-yao-he-shi-ju-ye-qi-zhi-jia-240886","录唐姚合诗句页",[7,24,81,173,29,864,430,4614,177,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd420e1227963466a348e450bf9d57d90.jpg",[181],{"id":96124,"slug":96125,"title":96126,"dynasty":76,"author":77,"museum":364,"description":740,"tags":96127,"thumbUrl":96128,"material":743,"size":744,"collection":139,"collections":96129,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},240415,"ti-hua-gao-ce-yun-shou-ping-240415","题画稿册",[7,24,81,178,227,82,83,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9415120a293fd2616460e625cdcc022.jpg",[],{"id":96131,"slug":96132,"title":96133,"dynasty":99,"author":6308,"museum":364,"description":96134,"tags":96135,"thumbUrl":96136,"material":139,"size":139,"collection":382,"collections":96137,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},239946,"qi-jue-shi-zhou-chen-ji-ru-239946","七绝诗轴","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。\n陈继儒书法学苏轼、米芾，对苏、米墨迹，最为喜爱，虽残碑断简，也必搜采，手自摹刻，成《晚香堂帖》及《来仪堂帖》。\n所画山水，空远清逸，松江博物馆藏有《潇湘烟雨图》1幅。所画梅竹，点染精妙，名重当时。用水墨画梅，乃其第一次，曾编《陈眉公梅花诗画册》，为后世所法。传世作品有《梅花》《梅竹双清图》等，（现藏故宫博物院）。\n另有《梅花图》8页（藏于日本东京国立博物馆）。书法传世作品有《行书半研斋诗》《行书李白诗》等（现藏故宫博物院）。曾评批《西厢记》《琵琶记》《绣襦记》等。并善鼓琴，订正琴谱，名重一时。\n其书画印有：“陈继儒印”（阴文印2方）、“陈眉公书画记”（阳文印2方）、“眉公”（阳文印）、“雪堂”（阴文印） 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萍芗，江苏吴江人。画史、广印人传均作陈东一。",[7,24,1562,27,83,815,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189f26bfb62d84a266f4ddb12a018102.jpg",[],{"id":96710,"slug":96711,"title":37443,"dynasty":99,"author":14805,"museum":364,"description":49446,"tags":96712,"thumbUrl":96713,"material":139,"size":139,"collection":139,"collections":96714,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},236410,"xiao-xiang-ba-jing-ce-wen-jia-236410",[7,173,29,81,177,34,31,174,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305dfb6544d16e40cc8dd1deb269c066.jpg",[],{"id":96716,"slug":96717,"title":37443,"dynasty":99,"author":14805,"museum":364,"description":49446,"tags":96718,"thumbUrl":96719,"material":139,"size":139,"collection":139,"collections":96720,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},236405,"xiao-xiang-ba-jing-ce-wen-jia-236405",[7,24,81,173,177,29,245,394,281,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3dfffd2ca4075882ee15afe72d4bc6.jpg",[],{"id":96722,"slug":96723,"title":96724,"dynasty":99,"author":293,"museum":364,"description":96725,"tags":96726,"thumbUrl":96727,"material":743,"size":744,"collection":139,"collections":96728,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},236396,"huang-wen-li-qiu-shan-ying-yue-shan-yi-ming-236396","黄文立秋山映月扇","此作以淡墨写就秋夜之景，右上虬老树横斜，木叶苍润，墨色浓淡相衬，尽显霜叶萧疏之态。坡石之上，两人对坐晤谈，衣纹简括写意，神态悠然自适。远景以留白衬淡墨晕染，空濛清寂，似见月色铺洒山际。笔墨简澹空灵，以极简的意象烘托出秋山月夜的幽寂清远，将文人雅集的疏闲散淡与秋夜清景相融，尽显文人画尚意境、重笔墨意趣的特质，寥寥数笔间，便将秋宵闲眺的雅致意韵勾勒得淋漓尽致。",[1562,7,173,177,29,106,34,176,6922,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbf6dc93adefae5cfb15088b34fe31e.jpg",[],{"id":96730,"slug":96731,"title":96732,"dynasty":99,"author":96733,"museum":364,"description":96734,"tags":96735,"thumbUrl":96736,"material":743,"size":744,"collection":139,"collections":96737,"showCount":1007,"zanCount":5,"manualWeight":48,"mainColor":94},236394,"mao-shan-shang-gong-tu-shan-ye-tang-zhi-qi-236394","茅山上宫图扇页","唐志契","唐志契(xiè)，1579——1651，字敷五，又字玄生、元生，海陵（今江苏泰州）人。精于绘事，著有《绘事微言》。 《书.舜典》：“帝曰：‘契(Xiè)，百姓不亲，五品不逊，汝作司徒，敬敷五教，在宽。’” 《诗.商颂.玄鸟》：“天命玄鸟，降而生商。”《史记.殷本纪》：“殷契(Xiè)，母曰简狄，有娀氏之女，为帝喾次妃。三人行浴，见玄鸟堕其卵，简狄取吞之，因孕生契(Xiè)。”",[1562,7,209,24,173,29,649,464,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db2960a2de25a616e7f1a70b076637a.jpg",[],{"id":96739,"slug":96740,"title":57697,"dynasty":99,"author":96741,"museum":364,"description":96742,"tags":96743,"thumbUrl":96744,"material":743,"size":744,"collection":139,"collections":96745,"showCount":1007,"zanCount":5,"manualWeight":48,"mainColor":94},236365,"shan-shui-shan-wang-sui-236365","王璲","王璲（？-1425），字汝正，以字行，号青城山人，明代遂宁（今四川遂宁）人，著名书法家。永乐（1403-1424）初官翰林检讨，直内阁，仁宗时下狱死，赠太子宾客，谥文靖。工时文，小楷、行书法晋人，皆雄秀。亦能画。",[7,1562,173,177,29,176,34,35,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b83b02098d89180142687163acf38e8.jpg",[],{"id":96747,"slug":96748,"title":96749,"dynasty":292,"author":96750,"museum":364,"description":96751,"tags":96752,"thumbUrl":96753,"material":139,"size":139,"collection":181,"collections":96754,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},236333,"ma-shi-ying-shan-shui-chi-du-he-zhuang-zhou-ruan-da-cheng-236333","马士英山水尺牍合装轴","阮大铖","马士英（约1591～1646），字瑶草，贵州贵阳人，明末大臣，官至内阁首辅，相传本姓李，过继马氏，祖籍广西梧州。明万历己未（1619年）成进士，授南京户部主事，后历官严州、河南、大同知府、庐凤总督等职。甲申变后，马士英与南京兵部尚书史可法、南京户部尚书高弘图等拥立福王朱由崧为帝，是为弘光帝。因“拥兵迎福王于江上”有功，升任东阁大学士兼兵部尚书，都察院右副都御史，成为南明明弘光政权首辅，人称“马阁老”。后国事不济，拥立福王朱由崧登基，抵抗清兵入侵，最终殉国而死，但世人对其死因存疑，在清代，被后人所责骂。\n夏允彝、夏完淳父子《幸存录》对其持论公允。有《永城纪略》（含《永牍》）及部分诗文、书画作品传世。",[7,24,241,173,177,29,394,245,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cfd45a1fae363e79f9e55bf504aa31.jpg",[181,163,382],{"id":96756,"slug":96757,"title":96758,"dynasty":76,"author":293,"museum":20,"description":96759,"tags":96760,"thumbUrl":96762,"material":40,"size":61762,"collection":44,"collections":96763,"showCount":1007,"zanCount":5,"manualWeight":48,"mainColor":94},236163,"xuan-ye-rong-zhuang-xiang-zhou-yi-ming-236163","玄烨戎装像轴","画面中帝王戎装卓立，铠甲纹饰工细鲜明，金饰点缀尽显庄重威仪，背负箭矢，尽显弓马本色。四名侍从神态恭谨，错落随侍，衬出帝王尊崇地位。苍松虬劲古朴，枝桠舒展，皴染细腻，留白晕染出郊野空阔悠远的氛围。\n\n整幅设色明丽沉稳，线条流畅工致，写实兼具意境。既精准复刻人物服制仪态细节，又借古松烘托帝王沉雄气魄，将帝王的武略风采与肃穆仪范定格绢素，是清代纪实肖像画的精妙之作。",[209,7,241,50102,2714,27,28,11350,7960,15611,4525,96761,6921],"戎装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3c2d5aba305219ef7e7053ae7f0bc1.jpg",[44,45],{"id":96765,"slug":96766,"title":44715,"dynasty":76,"author":44716,"museum":20,"description":44717,"tags":96767,"thumbUrl":96768,"material":665,"size":44720,"collection":139,"collections":96769,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},236150,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236150",[7,24,81,27,28,106,108,109,34,176,313,115,86,1195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba5b95d75f318eee31421580362b513.jpg",[],{"id":96771,"slug":96772,"title":96773,"dynasty":76,"author":72523,"museum":364,"description":72524,"tags":96774,"thumbUrl":96775,"material":743,"size":744,"collection":139,"collections":96776,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},236075,"hai-tian-chu-ri-tu-zhou-shen-quan-236075","海天初日图轴",[209,7,24,241,27,26,29,54989,4613,649,37,107,45487,2409,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394c68e5371d1d18bade07de8bda33fd.jpg",[],{"id":96778,"slug":96779,"title":486,"dynasty":76,"author":1892,"museum":364,"description":96780,"tags":96781,"thumbUrl":96782,"material":139,"size":139,"collection":139,"collections":96783,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},236052,"shan-shui-ce-wang-yuan-qi-236052","此作用笔苍浑老辣，以干笔积墨皴出山峦肌理，青绿敷色调和雅致，糅合浅绛晕染，尽显温润沉静的气韵。画面取高远构图，主峰巍然雄峙，留白烘出流荡云气，虚实相生，将山林切割出灵动层次。涧水淙淙穿谷而下，苍松虬枝交错，掩映着几处山居茅舍，隐现于林木云岚之间，尽显幽寂林泉之致。画作融萧散简远之趣，于整饬章法中藏生拙意趣，把文人书卷气寄寓丘壑之中，勾勒出尘绝俗的山居清境。",[7,24,81,177,27,29,109,175,430,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4b50550b77b15e35e2bf8463851331.jpg",[],{"id":96785,"slug":96786,"title":486,"dynasty":76,"author":1892,"museum":364,"description":96787,"tags":96788,"thumbUrl":96789,"material":139,"size":139,"collection":139,"collections":96790,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},236048,"shan-shui-ce-wang-yuan-qi-236048","此作用高远、平远之法铺展全景，危崖壁立，山峦层叠，兼具雄奇与秀润。以干笔积墨皴擦山石，笔力苍劲浑厚，披麻皴带着古拙意趣，草木点染清润雅致，笔墨兼具苍浑与秀灵。溪谷水泽蜿蜒环合，村居错落隐于林木扶苏间，林泉幽寂之趣尽显，将山川的沉厚生机与文人隐逸的林泉高致相融，既有宋元山水的古雅气韵，又自出机杼，把山林丘壑的静穆清远和文人画的淡逸情致揉为一体，尽显正统山水的精雅格调。",[209,7,24,81,27,177,29,864,297,108,34,35,176,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398f307ac5b06d1d91c7c226dd735337.jpg",[],{"id":96792,"slug":96793,"title":96794,"dynasty":99,"author":293,"museum":364,"description":96795,"tags":96796,"thumbUrl":96797,"material":139,"size":139,"collection":139,"collections":96798,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},236025,"dong-qi-chang-lin-he-jing-shi-yi-tu-zhou-yi-ming-236025","董其昌林和靖诗意图轴","此作以两段平远式铺展山水，清寂淡远。以干笔淡墨绘就，笔法松秀温润，山峦以披麻皴轻施皴擦，林木萧疏错落，茅舍板桥散缀烟林之间，将幽居孤高的隐逸意趣融在淡远丘壑之中。\n画面留白得当，虚实相生，淡墨轻岚晕染出空濛的林下清光，呼应题中诗意。诗书画印合为一体，尽显文人画的雅逸风神，以简淡之形写清旷之境，寄寓着慕恋林泉的林下襟怀。",[7,24,241,173,177,29,430,108,35,227],"https:\u002F\u002Foss.chuangq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[2]\n他是明末清初著名诗人，与钱谦益、龚鼎孳并称“江左三大家”，又为娄东诗派开创者。长于七言歌行，初学“长庆体”，后自成新吟，后人称之为“梅村体”。",[7,1562,29,177,173,864,430,35,109,1112,96844],"近林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc92477073469b42ac6c7ee701b34fa5.jpg",[],{"id":96848,"slug":96849,"title":131,"dynasty":76,"author":51678,"museum":364,"description":51679,"tags":96850,"thumbUrl":96851,"material":743,"size":744,"collection":139,"collections":96852,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235717,"hua-hui-ce-zou-xian-ji-235717",[7,24,81,28,27,83,84,604,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F152b1276379ddbe79d1767ae4797ff38.jpg",[],{"id":96854,"slug":96855,"title":5505,"dynasty":76,"author":2040,"museum":364,"description":26273,"tags":96856,"thumbUrl":96857,"material":743,"size":744,"collection":139,"collections":96858,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235701,"hua-hui-tu-ce-zou-yi-gui-235701",[7,24,81,28,27,83,84,62,1003,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b99d30b0fc8e2443dff1e5ef5b139fb.jpg",[],{"id":96860,"slug":96861,"title":5505,"dynasty":76,"author":2040,"museum":364,"description":26273,"tags":96862,"thumbUrl":96863,"material":743,"size":744,"collection":139,"collections":96864,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235700,"hua-hui-tu-ce-zou-yi-gui-235700",[7,24,81,28,27,84,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47957e23cf07145f3ebef106773c722e.jpg",[],{"id":96866,"slug":96867,"title":96868,"dynasty":99,"author":60370,"museum":364,"description":96869,"tags":96870,"thumbUrl":96871,"material":139,"size":139,"collection":139,"collections":96872,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235696,"gu-mu-xiu-huang-tu-zhou-yang-ming-shi-235696","古木修篁图轴","此作用笔清逸简淡，枯笔写出古木躯干，皴擦结合尽显虬曲苍劲，浓墨点苔更添岁月沧桑，缠绕藤蔓令幽寂野趣顿生。旁侧修篁挺秀，中锋挥写竹叶错落有致，与古木刚柔相济。湖石以淡墨勾勒皴擦，线条简括却见嶙峋质感，和木竹相映成趣。\n\n右上角题字清雅隽秀，书画相融无间，整体萧散空灵，尽显文人画悠然出尘的意境，寄寓着文人幽栖林泉、静悟禅机的襟怀。",[7,173,446,177,6398,242,298,1064,241,2939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6985e6ff713d0856313e172b7d0d7a.jpg",[],{"id":96874,"slug":96875,"title":1783,"dynasty":99,"author":1296,"museum":364,"description":96876,"tags":96877,"thumbUrl":96878,"material":139,"size":139,"collection":139,"collections":96879,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235692,"shan-shui-hua-hui-ce-xiang-sheng-mo-235692","此作笔致清隽秀雅，以淡墨取韵。近岸白石棱层，间生细草幽苔，古意盎然。崖顶孤松虬曲斜出，枝叶疏朗尽显风骨。白衣高士席地凭栏，静望远山。远景峰峦以淡墨晕染，朦胧虚和，留白铺陈平沙水色，虚实相映。\n\n整体意境萧散淡远，将幽人林泉寄兴、澄怀观道的雅趣藏于尺幅，笔简而意长，尽显静穆悠然的文人逸韵，禅意漫溢，于极简笔墨中铺展出清远空寂的山水之境。",[7,81,173,177,29,245,394,106,176,491,10667,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281a62a3bf0e75586f28c2598162aca0.jpg",[],{"id":96881,"slug":96882,"title":96883,"dynasty":76,"author":293,"museum":364,"description":96884,"tags":96885,"thumbUrl":96886,"material":139,"size":139,"collection":139,"collections":96887,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235675,"mei-qing-bai-long-tan-tu-zhou-yi-ming-235675","梅清白龙潭图轴","此作以危崖飞瀑为骨，苍松虬枝为魂。高远构图铺展层叠山势，老松古干敷色褐金，松针攒簇如墨团，奇崛苍劲，扎根崖壁间尽显傲岸生机。白龙潭飞瀑破壁而出，从层岩间奔涌倾泻，水雾蒸腾漫上山谷，晕染出氤氲空濛的清幽意境。\n\n右下角崖顶立红衣高士，凭栏观瀑，渺小身影衬出山峦空阔辽远，暗合观照山水、澄怀味道的文人心境。笔墨苍润兼具，以水墨晕染流云雾气，勾勒皴擦写尽山石肌理，题诗佐景，将出世之思融于丘壑之间，尽显山水间的超尘禅趣。",[7,24,241,173,27,29,558,1575,106,37,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f8912653273167c09890b0c1d1fcc.jpg",[],{"id":96889,"slug":96890,"title":1108,"dynasty":76,"author":13111,"museum":364,"description":96891,"tags":96892,"thumbUrl":96893,"material":139,"size":139,"collection":139,"collections":96894,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235642,"shan-shui-tu-ce-wu-li-235642","此作用笔苍秀，意境淡远。近岸危石兀立，古木虬枝蟠曲，荫蔽下一扁舟泊停，舟中幽人凭舷远眺。湖面开阔空寂，水鸟三两掠波而过，远山以淡墨晕染，层叠晕幻，晕出温润空濛的暮色诗意。\n题诗与画面浑然相融，暗合日暮归樵的幽隐之趣。干湿浓淡间尽显水墨层次，枯笔写木，湿墨晕山，以简淡之笔勾勒出萧散出尘的林下景致，将文人幽居林泉的隐逸心境铺陈纸上，静穆雅致，余韵悠长。",[7,173,177,81,29,245,394,281,491,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815175b8d890959771f6894df9caddb9.jpg",[],{"id":96896,"slug":96897,"title":131,"dynasty":76,"author":19503,"museum":364,"description":96898,"tags":96899,"thumbUrl":96900,"material":139,"size":139,"collection":90,"collections":96901,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235566,"hua-hui-ce-fan-ting-zhen-235566","此作以枯淡水墨绘就梅石，左侧顽石晕染出厚重质感，苔痕暗藏生机，细草柔蔓斜出，中和石之嶙峋冷硬；右侧老梅枝干虬曲苍劲，花苞圆浑饱满，墨色枯润相济，尽显古梅傲雪之姿。\n\n书画相融无间，题诗借旧语寄慨，以梅石抒怀，将幽独清高的文人襟怀寄寓在朴拙笔墨中。整体简淡萧疏，刚柔相衬，以画言情，风骨凛然，尽显诗画相生的雅致意趣，朴拙之中见清逸，余韵悠长。",[7,24,81,173,245,84,226,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408c8a09ac4f62a1af0ad8c556f2968f.jpg",[90],{"id":96903,"slug":96904,"title":96905,"dynasty":99,"author":51031,"museum":364,"description":96906,"tags":96907,"thumbUrl":96908,"material":139,"size":139,"collection":139,"collections":96909,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 作者自识：“仙人村坞锦为屏，鸡犬云中户自扃。\n烟火红尘俱不恙，长斋绣佛礼黄庭。\n壬午春仲画于瓯江之轻顺阁中。\n杨文骢。\n”钤“杨文骢印”朱文印、“龙友”朱文印。\n另有“希逸”白文等鉴藏印4方。",[7,24,241,173,177,29,34,650,5421,4614,491,10416,340,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cdf7dbe1e608a56e3d63f8d477849a.jpg",[],{"id":96911,"slug":96912,"title":486,"dynasty":76,"author":293,"museum":364,"description":96913,"tags":96914,"thumbUrl":96915,"material":139,"size":139,"collection":181,"collections":96916,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235392,"shan-shui-ce-yi-ming-235392","双柏卓立近岸，老干苍劲皴裂如鳞，墨色点簇的枝叶团郁沉凝，古拙生姿。远景山峦以淡墨晕染铺陈，留白托出烟岚轻笼，枯笔勾皴间施淡赭晕染，尽显山石嶙峋肌理。水岸以留白代波，浅晕淡染，漾出空濛澄澈之态，侧畔矶石隐于烟水，虚实相生。\n\n全作用笔松灵秀雅，水墨为主略施淡彩，简淡中见苍润萧疏，将幽寂清旷的林泉野趣收于尺幅，尽显萧散简远的文人意韵，淡写山光静摹古木，绘出山水间悠然澹泊的林下风神。",[7,173,177,81,29,394,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a5d5b253f6db3ba986ba5dc69cc24b3.jpg",[181],{"id":96918,"slug":96919,"title":9241,"dynasty":76,"author":707,"museum":364,"description":24979,"tags":96920,"thumbUrl":96921,"material":743,"size":744,"collection":139,"collections":96922,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235385,"hua-niao-tu-ce-hua-yan-235385",[7,24,81,173,27,83,224,245,1062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c84564d40ad840b5f82a96329943938.jpg",[],{"id":96924,"slug":96925,"title":486,"dynasty":99,"author":54081,"museum":364,"description":54082,"tags":96926,"thumbUrl":96927,"material":743,"size":744,"collection":139,"collections":96928,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235352,"shan-shui-ce-zhang-fu-yang-235352",[7,24,81,173,260,178,86,227,29,106,1575,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce44968cf045b96d8ac072ab3b27b0b7.jpg",[],{"id":96930,"slug":96931,"title":486,"dynasty":99,"author":54081,"museum":364,"description":54082,"tags":96932,"thumbUrl":96933,"material":743,"size":744,"collection":139,"collections":96934,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235351,"shan-shui-ce-zhang-fu-yang-235351",[7,24,81,173,177,178,86,227,29,430,106,12940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c5698b1319643a835571b882c6b69db.jpg",[],{"id":96936,"slug":96937,"title":131,"dynasty":76,"author":34692,"museum":364,"description":34693,"tags":96938,"thumbUrl":96939,"material":743,"size":744,"collection":139,"collections":96940,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235216,"hua-hui-ce-zhang-wei-235216",[7,24,81,27,28,83,84,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7319fc181966aa1c663f4b479aec0cb.jpg",[],{"id":96942,"slug":96943,"title":2235,"dynasty":76,"author":614,"museum":364,"description":30572,"tags":96944,"thumbUrl":96945,"material":743,"size":744,"collection":139,"collections":96946,"showCount":1007,"zanCount":5,"manualWeight":48,"mainColor":94},235193,"za-hua-ce-huang-shen-235193",[7,24,81,173,178,453,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059473f548f02cb346b8c757f64e88a2.jpg",[],{"id":96948,"slug":96949,"title":16753,"dynasty":76,"author":16754,"museum":364,"description":16755,"tags":96950,"thumbUrl":96951,"material":743,"size":744,"collection":139,"collections":96952,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235128,"hua-hua-yan-shi-nv-tu-ce-wang-su-235128",[7,24,81,27,28,106,59,244,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803640d40fe0de4cb384adedf2f7f9cd.jpg",[],{"id":96954,"slug":96955,"title":16753,"dynasty":76,"author":16754,"museum":364,"description":16755,"tags":96956,"thumbUrl":96957,"material":743,"size":744,"collection":139,"collections":96958,"showCount":1007,"zanCount":5,"manualWeight":48,"mainColor":94},235126,"hua-hua-yan-shi-nv-tu-ce-wang-su-235126",[7,24,81,28,27,106,59,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a67587456b5058d8aa401832dad524.jpg",[],{"id":96960,"slug":96961,"title":16753,"dynasty":76,"author":16754,"museum":364,"description":16755,"tags":96962,"thumbUrl":96963,"material":743,"size":744,"collection":139,"collections":96964,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235122,"hua-hua-yan-shi-nv-tu-ce-wang-su-235122",[7,24,81,28,27,106,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2389008ce2e2f90073a9ca736523bddb.jpg",[],{"id":96966,"slug":96967,"title":16753,"dynasty":76,"author":16754,"museum":364,"description":16755,"tags":96968,"thumbUrl":96969,"material":743,"size":744,"collection":139,"collections":96970,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235121,"hua-hua-yan-shi-nv-tu-ce-wang-su-235121",[7,24,81,28,27,106,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4dae1700723308c6e28ad9282b1bd0d.jpg",[],{"id":96972,"slug":96973,"title":30175,"dynasty":76,"author":96974,"museum":364,"description":96975,"tags":96976,"thumbUrl":96977,"material":743,"size":744,"collection":139,"collections":96978,"showCount":1007,"zanCount":5,"manualWeight":48,"mainColor":94},235117,"shan-shui-shan-mian-huang-yuan-jie-235117","黄媛介","黄媛介，字皆令，浙江嘉兴人，出身儒士之家，生活于明清鼎革之际，在世俗、女德与生计的多重挤压下，或鬻书画，或师闺塾，在风云幻化的江南大地上为养家糊口而羁旅转徙，与名卿士大夫、与名媛闺秀交往酬唱，用诗、词、赋的文学样式及山水花卉的绘形写神，淋漓尽致地释放着心灵的感悟，入木三分地抒写着人生感慨。有着金闺兔苑才的黄媛介，其创作独特的社会价值与艺术魅力将咏絮才女谢道韫开创的林下风推向高峰，既彰显着承前启后的因素，也催发着女性意识的觉醒，影响绵远。",[209,7,24,1562,41574,173,177,29,430,114,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91474d58e35571bd28c6edbbbb7ef528.jpg",[],{"id":96980,"slug":96981,"title":96982,"dynasty":76,"author":10376,"museum":364,"description":96983,"tags":96984,"thumbUrl":96985,"material":139,"size":139,"collection":139,"collections":96986,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235102,"huai-yin-tu-ce-wang-hui-235102","槐隐图册","此作用淡墨写就幽居闲意，古槐虬曲苍劲，主干皴擦出斑驳老态，羽状细叶以浓墨点簇，疏密错落间尽显灵动生机。左侧矮墙茅屋半掩于槐荫之下，墙面晕染出岁月漫漶的质感，墙垣顺着坡势蜿蜒，与浅草顽石相融，铺陈出山野幽居的僻静底色。题款小字清雅疏朗，和画面淡远禅意两相呼应。全画布景极简，以疏淡笔墨传递静穆安然的林下之风，将文人归园栖隐的雅趣藏于留白皴擦之中，简淡间意蕴悠长。",[7,173,81,177,394,920,1159,298,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8078c1312dce3ff7506f835fc6f08d03.jpg",[],{"id":96988,"slug":96989,"title":96990,"dynasty":99,"author":96991,"museum":364,"description":96992,"tags":96993,"thumbUrl":96994,"material":139,"size":139,"collection":139,"collections":96995,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},235091,"xi-shan-tu-yong-juan-chen-yi-235091","西山图咏卷","陈沂","此作以两幅并置铺展双重意趣。左幅层岩叠嶂，以短健皴笔勾勒山石嶙峋肌理，古木虬枝错落崖间，山道蜿蜒向幽，山居隐于林峦间，尽显高旷幽寂的林下栖居之美。\n\n右幅以淡墨晕染烟霭，远山如浅黛浮沉雾中，近岸松林参差列植，虚实相生间铺展秋江平远的清疏空阔。笔墨苍秀并济，将山之沉郁与江之空濛相融，尽显寄情林泉的文人雅逸襟怀。",[7,25,173,177,29,864,431,430,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf3165f1773a184dc5208aeba3af1a9.jpg",[],{"id":96997,"slug":96998,"title":49246,"dynasty":76,"author":13219,"museum":364,"description":96999,"tags":97000,"thumbUrl":97001,"material":743,"size":744,"collection":139,"collections":97002,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235066,"lu-yan-tu-zhou-bian-shou-min-235066","边寿民（1684年—1752年），初名维祺，字颐公，又字渐僧、墨仙，号苇间居士，江苏山阳人（今淮安区），晚号苇间老民、绰翁、绰绰老人，清代著名画家。曾考中秀才，善画花鸟、蔬果和山水，尤以画芦雁驰名江淮，有“边芦雁”之称。其泼墨芦雁，苍浑生动，朴古奇逸，极尽飞鸣、食宿、游泳之态。泼墨中微带淡赭，大笔挥洒，浑厚中饶有风骨。又善以淡墨干皴擦小品，更为佳妙。因他画芦雁，称其所居名“苇间书屋”。他又工诗词、精中国书法。和郑板桥、金农等人齐名。",[7,24,241,173,83,33101,4895,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c49d9ad59e4ece1a8ad3eaeb3acecc7.jpg",[],{"id":97004,"slug":97005,"title":55305,"dynasty":76,"author":28662,"museum":364,"description":93721,"tags":97006,"thumbUrl":97007,"material":990,"size":139,"collection":139,"collections":97008,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235038,"hua-ji-chan-yin-tu-ce-xiao-chen-235038",[7,24,81,27,106,29,1351,227,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92bc5b6aca3c2e2368efdab2a47ba8b5.jpg",[],{"id":97010,"slug":97011,"title":486,"dynasty":76,"author":13111,"museum":20,"description":50437,"tags":97012,"thumbUrl":97013,"material":1716,"size":50440,"collection":139,"collections":97014,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235025,"shan-shui-ce-wu-li-235025",[209,7,24,81,173,27,29,30,34,174,37,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4512c003399075cc8ca9078c54db47a0.jpg",[],{"id":97016,"slug":97017,"title":486,"dynasty":76,"author":13111,"museum":20,"description":50437,"tags":97018,"thumbUrl":97019,"material":1716,"size":50440,"collection":139,"collections":97020,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235019,"shan-shui-ce-wu-li-235019",[7,27,177,29,430,176,281,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe2e9b957ab7cd12fa01a25587da41f.jpg",[],{"id":97022,"slug":97023,"title":486,"dynasty":76,"author":13111,"museum":20,"description":50437,"tags":97024,"thumbUrl":97025,"material":1716,"size":50440,"collection":139,"collections":97026,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},235018,"shan-shui-ce-wu-li-235018",[7,24,81,173,177,29,108,109,34,176,558,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497d85d651bdc314e42e380565f3109.jpg",[],{"id":97028,"slug":97029,"title":97030,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":97031,"thumbUrl":97032,"material":743,"size":744,"collection":139,"collections":97033,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},235009,"tong-zi-li-fo-tu-zhou-chen-hong-shou-235009","童子礼佛图轴",[7,241,28,27,106,259,245,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff971afe5c6c7ed0ca4302dfe3bea8b.jpg",[],{"id":97035,"slug":97036,"title":23389,"dynasty":76,"author":10376,"museum":364,"description":27021,"tags":97037,"thumbUrl":97038,"material":743,"size":744,"collection":139,"collections":97039,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},234962,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234962",[7,24,81,173,3117,29,394,176,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3534e367be0773324be3fa6b4fef258.jpg",[],{"id":97041,"slug":97042,"title":55314,"dynasty":76,"author":223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è）先生墓”，由光禄大夫兼工部尚书、云间王顼（xū）龄篆。",[7,24,81,173,245,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce159a03d011e46275886933ef2f5682.jpg",[],{"id":97114,"slug":97115,"title":97116,"dynasty":99,"author":91018,"museum":364,"description":91019,"tags":97117,"thumbUrl":97118,"material":139,"size":139,"collection":139,"collections":97119,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},234492,"hua-niao-shan-ye-wei-xue-lian-234492","花鸟扇页",[1086,1562,7,24,27,28,83,224,340,225,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6bd18f9544bbe768327b77926cd6db.jpg",[],{"id":97121,"slug":97122,"title":38578,"dynasty":76,"author":97123,"museum":364,"description":97124,"tags":97125,"thumbUrl":97126,"material":139,"size":139,"collection":139,"collections":97127,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},234483,"shan-shui-ce-ye-wu-ji-shan-234483","吴继善","吴继善，字志衍,明朝官员。南直隶太仓人，中崇祯十年（1637年）进士，崇祯十六年（1643年）任成都知县。",[7,24,81,173,177,29,430,35,491,5243,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1a40848c5916e5cd036669177fab251.jpg",[],{"id":97129,"slug":97130,"title":97131,"dynasty":76,"author":13367,"museum":20,"description":72929,"tags":97132,"thumbUrl":97133,"material":139,"size":139,"collection":139,"collections":97134,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},234467,"kong-gu-liu-quan-tie-luo-shen-zhen-lin-234467","空谷流泉贴落",[7,24,173,260,178,227,394,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15494e53daf9f50f24ac3f3cfd5dfc57.jpg",[],{"id":97136,"slug":97137,"title":97138,"dynasty":76,"author":293,"museum":364,"description":97139,"tags":97140,"thumbUrl":97141,"material":743,"size":744,"collection":139,"collections":97142,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},234384,"xiao-jing-xian-huang-hou-chao-fu-xiang-zhou-yi-ming-234384","孝敬宪皇后朝服像轴","此作为工笔重彩肖像，人物温婉端凝，沉静雍容尽显后妃仪范。明蓝朝服上，金线缂织的五爪矫龙腾跃于祥云之间，江崖海水纹样晕染细腻、层次绵密，朱金配色华贵却不艳俗。头冠珠翠错落规整，朝珠组佩垂坠合度，衣纹褶皱与织绣肌理都描摹入微，严循礼制的同时尽显织造工艺与绘画工法的精妙。素净背景衬得人物愈发端庄肃穆，以写实笔触定格宫廷后妃的威仪气度，将典制规范与工笔审美融为一体，尽显宫廷肖像画的精湛造诣。",[7,241,28,27,106,502,63,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d7a0d0b82c8094e5e71b3e7cf698bb7.jpg",[],{"id":97144,"slug":97145,"title":97146,"dynasty":76,"author":76812,"museum":364,"description":97147,"tags":97148,"thumbUrl":97149,"material":139,"size":139,"collection":181,"collections":97150,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},234351,"you-niao-shi-tu-ce-jin-kun-234351","有鸟诗图册","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[7,24,81,27,178,29,34,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e38f87e663c10e7db2d2540db6fbfc0.jpg",[181,45],{"id":97152,"slug":97153,"title":77164,"dynasty":99,"author":47342,"museum":20,"description":97154,"tags":97155,"thumbUrl":97156,"material":990,"size":139,"collection":139,"collections":97157,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},234326,"mo-mei-ce-shen-hao-234326","沈颢（公元1586年~1661年后），字朗倩，号石天。江苏苏州人。补博士弟子员，性格豪放好奇。工诗文，书法真、草、隶、篆无所不能。山水近似沈周，晚年笔墨挺秀，点色清妍，深于画理。着〈画麈〉。作品有〈设色山水图轴〉。",[7,24,81,260,173,448,244,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d46d028439544fc05fc462214bcc172.jpg",[],{"id":97159,"slug":97160,"title":42302,"dynasty":76,"author":1491,"museum":364,"description":42303,"tags":97161,"thumbUrl":97162,"material":990,"size":139,"collection":139,"collections":97163,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},234285,"hua-guo-ce-wang-yun-234285",[7,24,81,27,83,1459,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae4160eda03cf356dbede39622686fc.jpg",[],{"id":97165,"slug":97166,"title":97167,"dynasty":99,"author":14805,"museum":364,"description":14806,"tags":97168,"thumbUrl":97169,"material":990,"size":139,"collection":139,"collections":97170,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},234259,"xuan-cheng-song-bie-juan-wen-jia-234259","宣城送别卷",[23,7,24,25,178,227,27,173,29,34,242,35,108,109,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3da9f12e4c80cb38116a7672a637566.jpg",[],{"id":97172,"slug":97173,"title":97174,"dynasty":99,"author":97175,"museum":20,"description":97176,"tags":97177,"thumbUrl":97178,"material":139,"size":139,"collection":139,"collections":97179,"showCount":1007,"zanCount":5,"manualWeight":48,"mainColor":94},234200,"xue-ting-tu-juan-zhao-han-234200","雪亭图卷","赵汉","此作以淡墨晕染出群峰雪意，素净浑茫间，山坳雪亭幽然独立，枯木覆雪点染出清寂萧寒的冬日意境。整卷书画合璧，数段题书风格各异，行书秀逸苍劲，草书纵逸跌宕，擘窠大字雄健厚重。题诗文笔清隽，尽数铺展出林泉高致，将冬日幽居的清冷旷达与归隐忘俗的雅趣相融，笔墨间呼应画中逸韵，尽显诗画同源、以书入画的文人审美意趣。",[23,7,24,25,173,29,178,177,175,864,430,2124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc873cb1136ddbd79b8abebe8260093.jpg",[],{"id":97181,"slug":97182,"title":97183,"dynasty":99,"author":97184,"museum":364,"description":97185,"tags":97186,"thumbUrl":97187,"material":3076,"size":97188,"collection":139,"collections":97189,"showCount":1007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水边一枝红蓼，小花盛开。水鸟发现波中青虾，悄然飞落红蓼枝头，引喙而啄。红蓼被水鸟的体重与蹬力压弯，梢头、叶尖浸入水中。而青虾在水中灵活地悠游，对面临的危险浑然不觉。自然界中这惊险的一霎被巧妙地摄入绢素，极为生动传神。水禽和红蓼设色鲜丽，工笔细写。小鸟纤细的毛羽清晰可数，连蓼花粟米大的花冠也用紫红、粉白晕染得一丝不苟，层次分明。而水中的青虾和荇藻则采用模糊的手法表现，唯以淡墨绿一色染成，类似写意画法。因而虽不画水，却水旱两界分明。",[209,7,24,81,28,27,83,224,38171,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd0e66811feaeb67ea3c69d5e352504.jpg","25.2x26.8cm",[],{"id":97217,"slug":97218,"title":486,"dynasty":76,"author":5208,"museum":20,"description":29271,"tags":97219,"thumbUrl":97220,"material":1716,"size":29275,"collection":139,"collections":97221,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},233972,"shan-shui-ce-gong-xian-233972",[7,24,173,29,176,106,177,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a34d065500f13affc8a609f0e83c3.jpg",[],{"id":97223,"slug":97224,"title":97225,"dynasty":189,"author":293,"museum":364,"description":97226,"tags":97227,"thumbUrl":97228,"material":67,"size":97229,"collection":139,"collections":97230,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},233953,"xi-shan-ting-xie-tu-ye-yi-ming-233953","溪山亭榭图页","本幅园形设色画，无款印，有收藏印二方不辩。",[7,24,1562,29,27,177,227,175,34,176,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F572cdae27ebe7b757d316c7e73b40b0e.jpg","纵27.5cm横26.2cm",[],{"id":97232,"slug":97233,"title":49526,"dynasty":76,"author":7021,"museum":20,"description":97234,"tags":97235,"thumbUrl":97236,"material":40,"size":58446,"collection":139,"collections":97237,"showCount":1007,"zanCount":5,"manualWeight":48,"mainColor":49},233876,"zi-hua-xiang-zhou-gao-feng-han-233876","《自画像》作于清雍正五年（1727年），时年作者45岁。画面上，高凤翰身着白衫，头戴斗笠，侧身倚石坐于断壁悬崖之上，崖上松柏怪生，崖下波涛澎湃，陡峭的巨石冲出水面，长空中，一只孤鹤飞翔而来，画家俯览水面，似引起无限思绪。当时正值高凤翰仕途转折时期，是年，他赴济南省试，应选，次年赴京应试，考列一等，分发安徽试用。他并不热衷仕途，对当时的社会状况也很不满，应试做官可能是生活所迫，作品即是他当时心境的写照。图中，画家将自己置于陡峭的绝壁之间，险峻的山石，汹涌的江水，奇生的古木，使人感受到的不是士大夫寄托林泉之志的山水，而是预示着人生的艰险，仕途的艰辛。\n此图构图新颖，以仰视的角度截取山崖一角，江水自远而近布满画面，气势强大，使景物具有高远和深远之势，以烘托主题。高凤翰的自画像非常写实，据载，高凤翰长眉广额，身体伟岸，又有美髯，曾自署“髯高”。他曾画过一幅《披褐图》，其人物面貌与此幅相似。",[7,241,27,106,29,245,177,227,86,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd09da7066bb42a50428c8157ac8ed8fd.jpg",[],{"id":97239,"slug":97240,"title":97241,"dynasty":99,"author":97242,"museum":20,"description":97243,"tags":97244,"thumbUrl":97245,"material":1716,"size":97246,"collection":139,"collections":97247,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},233821,"shuang-gou-zhu-zhou-wang-chen-233821","双钩竹轴","王臣","款署：“欲把交盟订岁寒，晓窗貌出玉琅玕。依稀记得湘江上，粉节霜筠月下看。直仁智殿文思院副使五云王臣写题。”钤印不辨。\n此图用白描双钩法画竹一枝，姿态潇洒。用笔圆劲精细，竹干的挺拔、节的梗脆、叶的阴阳向背都表现得十分真切，结构层次和空间处理的十分恰当，繁而不乱，疏密有致，笔笔清晰，无一笔虚设。",[7,24,241,16915,260,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b9c7833424f3dde0d4b2523756d67a6.jpg","纵106.7厘米，横46厘米",[],{"id":97249,"slug":97250,"title":486,"dynasty":99,"author":3114,"museum":20,"description":16207,"tags":97251,"thumbUrl":97252,"material":990,"size":7095,"collection":139,"collections":97253,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},233803,"shan-shui-ce-dong-qi-chang-233803",[7,173,177,81,227,29,34,176,31,1445,650,560,1250,491,1926,4663,30548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75710c5e147415e81d5f1e9b06ef7dca.jpg",[],{"id":97255,"slug":97256,"title":21984,"dynasty":76,"author":1109,"museum":20,"description":21985,"tags":97257,"thumbUrl":97258,"material":990,"size":21989,"collection":139,"collections":97259,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},233778,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233778",[209,7,24,81,173,27,29,106,108,109,34,176,37,35,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c18c2805cdb7dbe845a2784a765741.jpg",[],{"id":97261,"slug":97262,"title":97263,"dynasty":99,"author":26281,"museum":20,"description":97264,"tags":97265,"thumbUrl":97266,"material":990,"size":97267,"collection":139,"collections":97268,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},233744,"san-jiao-tu-zhou-ding-yun-peng-233744","三教图轴","此图画孔子、老子、红衣罗汉坐于树下共同探究玄理的情景。画中三位智慧长者面目严肃，神情专注，孔子儒雅敦厚，循循善诱，正发表言论；老子道貌岸然，谨慎而善辩，他注视着对方，似乎准备随时发问；红衣罗汉双目低垂，安详而平静，从他紧锁的眉头可以看出他已沉于思索之中。明代，随着儒、道、释三教的融合，宗教题材的绘画也随之有了世俗化的倾向，此画中的宗教人物与作为供养的神仙不同，脱离了程式化的因素，有着鲜明的个性特征和情绪化色彩，同时融入了文人的审美情趣。其人物造型古拙、气质端庄文雅，体现了明后期文人画注重表现个性的风尚。画法上，运用“高古游丝描”，细劲而“笔力伟然”，既有古朴之感，又具有时代气息。设色古妍冷隽，尤其是人物服饰的红色、兰色与赭色，赋色沉稳和谐。山石树木勾勒添色，取法文徵明，小青绿设色，文静典雅，营造了一种静谧清淡的意境，引人入胜。",[7,241,27,106,259,28,34,176,26284,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a31bf07bdede9ea0b3bd2d2ca86d3e2.jpg","纵115.6厘米，横55.7厘米",[],{"id":97270,"slug":97271,"title":97272,"dynasty":76,"author":1109,"museum":364,"description":19142,"tags":97273,"thumbUrl":97274,"material":1716,"size":19145,"collection":139,"collections":97275,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},233682,"yuan-ji-lan-zhu-ce-po-shi-lan-cao-shi-tao-233682","原济兰竹册－坡石兰草",[7,24,81,173,452,245,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542666f0feb5f13e36b289e2702f417f.jpg",[],{"id":97277,"slug":97278,"title":26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Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。”",[7,209,27,28,29,106,449,430,296,491,1159,58681],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5575f00a384fb24df04d011160151d6.jpg","28x28.6厘米",[],{"id":97330,"slug":97331,"title":69488,"dynasty":18,"author":293,"museum":20,"description":97332,"tags":97333,"thumbUrl":97334,"material":665,"size":97335,"collection":139,"collections":97336,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},232995,"bai-zi-xi-chun-tu-ye-yi-ming-232995","此图以极细腻的笔法刻画百子嬉戏游乐的场面。亭台之下的儿童动态十足，他们或舞狮追逐，或斗草争鞠，或玩木偶，或上树，或泛舟；而亭台之上的儿童则较收敛成熟，或品评诗画，或对弈下棋，或抚弄琴弦，或围坐议享，画面人物杂而不乱，繁而不冗。设色和谐明丽。“狮子舞”是人们熟识喜爱的传统民间舞蹈，有关狮子舞的最早记载见于三国魏人孟康的《汉书·礼乐志》注，注中有“象人，若今戏鱼虾狮子者也”。迄今所见最早的狮子舞形象是新疆吐鲁番阿斯塔那墓出土的两人扮成的狮子。此图原载《四朝选藻册》（见《石渠宝笈续编》）。签题苏汉臣作。按《图绘宝鉴》：“苏汉臣，开封人。宣和画院待诏。师刘宗古，工画道释，人物臻妙，尤善婴儿。绍兴间（1131-1162）复官。孝宗隆兴初（1163），画佛像称旨，补承信郎。”世人凡见婴戏图，便题苏汉臣作。此图亦题汉臣作，不知何据。是陈宗训以来的作风，有动作而无表情。名手之笔，不当如是。故改题无名氏作。",[7,28,27,81,106,107,115,3045,36916],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7127b27e089c572a605b01e9b762712a.jpg","纵26.6cm，横27.7cm",[],{"id":97338,"slug":97339,"title":59205,"dynasty":99,"author":966,"museum":20,"description":59206,"tags":97340,"thumbUrl":97341,"material":803,"size":59209,"collection":139,"collections":97342,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},232961,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232961",[7,24,81,173,177,178,227,29,30,34,109,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286f6a78c1eeff4fe8f6820da3f1413.jpg",[],{"id":97344,"slug":97345,"title":97346,"dynasty":76,"author":43711,"museum":364,"description":97347,"tags":97348,"thumbUrl":97349,"material":139,"size":139,"collection":139,"collections":97350,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},232697,"shan-shui-xi-shu-dong-cun-tu-ye-fang-cong-232697","山水西墅东村图页","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》。",[23,7,24,209,5990,27,177,227,29,108,109,34,35,176,491,560,1926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67d5a6da73eb27662a8d531c4296f62.jpg",[],{"id":97352,"slug":97353,"title":97354,"dynasty":292,"author":293,"museum":364,"description":97355,"tags":97356,"thumbUrl":97357,"material":139,"size":139,"collection":139,"collections":97358,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},231823,"ming-qing-ri-ben-gu-hua-fen-ben-ren-wu-li-zhou-wo-lu-zang-yi-ming-231823","明清日本古画粉本人物立轴 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双纸-1","直寿敬","本作为日式风俗绘卷，以平涂设色刻画贺茂祭出行队列。画面排布井然有序，自左向右文武扈从依次行进，骑乘主官位列核心。绘者以质朴柔和的线条勾勒人物，服饰配色沉静典雅，白、朱红、靛蓝层次分明，忠实还原祭典仪制衣冠规制。\n\n人物抬足行进的动态简练鲜活，仪仗器物细节清晰，将祭典的庄严肃穆与行进的生动感相融，笔触稚拙却精准传递出古祭出行的威仪氛围，兼具民俗史料价值与古拙的绘画美感。",[23,7,24,25,27,106,150,63,7464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c95d941cfb0fd5e3729f76c4dbcd38.jpg",[],{"id":97378,"slug":97379,"title":97380,"dynasty":292,"author":97381,"museum":364,"description":97382,"tags":97383,"thumbUrl":97384,"material":743,"size":744,"collection":139,"collections":97385,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},231730,"da-zheng-nian-chao-zhi-juan-jin-cun-zi-hong-231730","大正年 朝之卷","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,7,24,25,27,28,29,47106,504,13911,27854,12288,174,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e5f661c7377d7282ed7dd3a7183f6c.jpg",[],{"id":97387,"slug":97388,"title":97389,"dynasty":292,"author":293,"museum":364,"description":97390,"tags":97391,"thumbUrl":97395,"material":139,"size":139,"collection":139,"collections":97396,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},231694,"jiang-hu-shi-qi-ying-yi-die-shi-er-yue-tu-juan-yi-ming-231694","江户时期 英一蝶十二月图卷","这幅长卷铺陈出鲜活的市井浮生，水岸舟楫往来摇荡，市肆街巷串联起岁时日常。茶寮酒幌招展，宾客围坐言笑晏晏；贩夫走卒穿行长街，挑担叫卖的身影生动鲜活。亭台掩映在松柳浓荫，屋舍错落间见邻里闲话的松弛意趣。\n\n淡墨轻敷晕染出水色天光，线条细腻灵动勾勒众生百态，将岁时里的烟火温热与雅致闲情尽数揉入长卷，把日常俗事绘成温柔的时代剪影，让百年前的俗世风物宛在眼前。",[23,7,25,27,173,106,118,4873,97392,39275,97393,464,1255,34,7340,62094,97394],"市肆","茶寮","闲情雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F169b830ee82cd17c77c2038154101eb1.jpg",[],{"id":97398,"slug":97399,"title":97400,"dynasty":292,"author":97401,"museum":364,"description":97402,"tags":97403,"thumbUrl":97404,"material":743,"size":744,"collection":139,"collections":97405,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[7,24,25,27,28,104,259,86,1195,178,106,107,108,109,150,957,29,175,281,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":97407,"slug":97408,"title":97409,"dynasty":99,"author":293,"museum":206,"description":97410,"tags":97411,"thumbUrl":97412,"material":724,"size":97413,"collection":139,"collections":97414,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},231534,"gong-xiang-tu-yi-ming-231534","贡象图","据媒体报道，6月2日21时55分，来自西双版纳的野象群继续向北迁移，已进入昆明市晋宁区。大象要是进入城市怎么办？这成为一个让人无比担心的问题。毕竟历史上，曾发生过大象进城的事。\n南朝梁天监六年（507年）三月，有3头大象进入了建邺（今南京）。当时，梁朝与北魏之间正在钟离（今安徽凤阳）这个地方厮杀得热闹。当此紧要关头，为何会有大象入城？这3头大象又是从何而来？\n南北朝时期，那时的气候比现在还要温暖，加之长江下游地区江河湖泊较多，水草肥美，江南之地非常适合野象的栖息。进城的野象，自然是来自于城池和聚落之外，广袤的原野。\n而再往前数300年，江南还发生过一件被写入史书并流传至今的故事：202年左右，官渡之战刚刚发生不久，曹操打败了人生大敌袁绍，曹操的儿子曹冲方五六岁，这时，孙权向曹操赠送了一头巨象。\n孙权是在211年建石头城的，而202年左右，他已接替孙策的位置，此时正驻守吴郡。赠送曹操大象，恰是就地取材之举，这则历史记录也说明位于江南的太湖流域是野象栖息之地。\n而至于曹操，当时应在许都。东汉建安元年（公元196年），曹操挟天子以令诸侯，以“洛阳残破”为由迁都于许昌（位于河南省中部），即称许都。曹操得到孙权赠送的大象后，兴致高昂，“欲知其斤重”，还要称大象的重量。于是就有了曹冲称象的故事。\n学者们从这件事推断，此时河南已很少甚至没有大象了。要知道，在更古早的时候，这里曾是野象的聚集地。甚至河南的简称“豫”这个字中便保留了大象的踪迹。河南自古为“豫州”，古文字学家徐中舒认为，“豫”，为“象邑”二字的合文，“豫当时以产象得名，与秦时之象郡以产象得名者相同”。\n而在上世纪30年代，河南安阳殷墟，曾发现大象遗骨。当时学者都认为那是从东南亚输入进来的，但随着更多文献资料和考古遗址的发掘，中原有野象的论调成为主流。在商代，有“商人服象，为虐于东夷”的记载；周武王灭商，入主中原后，“驱虎豹犀象而远之”。这也说明当时的中原之地，是不缺乏大象的。\n而据历史地理学家考证，在远古时代，大象的活动范围甚至到达北京附近。只是后来随着人类活动的频繁，以及气候的变化，畏寒的大象活动边界逐渐从北向南退却，到了晋代，在长江下游地区，野象的主要栖息地最北已退至江淮流域了。南朝梁承圣元年（552年），也就是侯景之乱结束的这一年，有数百野象流窜于淮南之地，规模巨大。在这一时期，南京城有野象进入，也就不奇怪了。除了507年3头大象进入南京城之外，在稍早的492年、493年，还有“象至广陵”的记载。广陵，即现在的扬州。学者们认为，这都说明当时野象数量较多。\n但是，长江下游毕竟是一个以平原为主的地区，北面与黄淮平原相连，没有大山阻挡北来的寒流，加之由于长江下游开发较早，人类活动较多，大概从17世纪30年代起，长江下游地区便没有野象的踪迹了，野象所达到的最北之地，已退到了浙江钱塘江以南。\n在长江下游之外，因为地形或人口稀少等原因，野象的退却要稍慢一些。四川盆地更为特殊，它在群山环绕之中，气候温暖，河流丰沛，历史上那里的野象就非常之多。位于成都东北广汉市的三星堆遗址，每一次发掘都能发现大量象牙，即为明证。\n1986年，三星堆两大祭祀器物坑相继出土。其中，一号祭祀坑出土了13件象牙，二号祭祀坑出土了67件象牙。随着发掘工作的继续，在其他坑陆续也有象牙出土。2021年3月，三号祭祀坑又出土了127件象牙，在四号祭祀坑也发现了疑似被烧过、呈现出炭灰色的象牙。加之5月28日出土的10件象牙，三星堆共出土了200余件象牙。\n2001年的春天，在与三星堆文化一脉相承的金沙遗址中，考古人员发现了数量惊人的象牙。它们朝向一个方向，层层叠叠累在一起，沉默无声地震惊了世界。从断面可以看到，这些堆积的象牙多达8层。经过估计，其重量可达两三吨。保存完好、数量如此众多的象牙有规律地堆积，这不仅在中国，在世界上也是首次。\n按照我们今天的认知，亚洲象生活在热带地区，常见于南亚和东南亚。而在我国，亚洲象仅分布于云南省南部。但古籍上的记载却与我们现在的认知不同。\n《山海经·海内南经》中有“巴蛇食象”一说，文字记载：“巴蛇食象，三岁而出其骨，君子服之，无心腹之疾。”此处的“巴蛇”就是指《山海经·海内经》中“西南巴国之蛇”。《山海经·海内经》中记载：“西南有巴国，又有朱卷之国，有黑蛇，青首，食象。”郭璞在此注：“即巴蛇也。”\n由此可见，巴蛇即是生活在西南的青首黑身的蛇。传说巴蛇能够吞食大象，三年才吐出大象的骨头来。而人服食了巴蛇的肉，能够治疗心腹部的疾病。按照《山海经》的记载，古蜀不仅有巨蛇，还有大象。\n若说《山海经》带有神话传说的色彩，不那么让人信服，那么在《国语·楚语》中也有大象相关的记载：“巴浦之犀、牦、兕、象，其可尽乎。”可见在当时，古蜀地区不仅有大量的象，还有犀牛、牦牛、兕（形状似水牛，通身青黑色，长着一只角的动物）。",[7,28,27,241,106,957,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a8bfad94371db1175d4efedbedba86.jpg","123x51厘米",[],{"id":97416,"slug":97417,"title":97418,"dynasty":189,"author":293,"museum":364,"description":97419,"tags":97420,"thumbUrl":97421,"material":139,"size":139,"collection":139,"collections":97422,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},231494,"you-xing-shi-nv-tu-you-ti-ba-yi-ming-231494","游行仕女图（有题跋）","笔致苍朴古雅，行书线条凝练舒展，藏锋裹毫间带着元人尚意的闲散意趣。题文追慕唐人仕女风神，暗合画中仕女迤逦游行之态：佳丽施徐缓步，罗衣轻扬，鬓畔簪花掩映姣容，团扇半遮更添幽婉。\n\n题跋与画作相映成趣，旧绢泛黄晕开浅淡包浆，朱印斑驳带着岁月摩挲的质感，字里行间铺展出闺阁柔婉情致，糅合元人审美意趣，静静诉说古画藏住的缱绻旧事。",[23,7,24,106,59,28,27,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede83ee94cce6d1a2e984a3f42c8bc6b.jpg",[],{"id":97424,"slug":97425,"title":97426,"dynasty":76,"author":65066,"museum":515,"description":97427,"tags":97428,"thumbUrl":97429,"material":619,"size":97430,"collection":139,"collections":97431,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},231351,"han-shan-zhao-yin-tu-jin-li-ying-231351","寒山招隐图","金礼嬴（1772年—1807年）清朝女画家。一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，她幼时小字唤作纤纤，解以“蹴罢秋千，起来慵整纤纤手”固得其娇憨，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。吴门自明尔来便是画家云集之所，金礼嬴定居以后遂始与当地画人往来，礼嬴性喜佳山水，金礼嬴的诗作和她的画作、女红、文论、箫艺类同，均出入天然，不见机心欲望，得林下风。吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。清 金礼嬴-寒山招隐图现藏于旅顺博物馆。",[23,7,27,177,29,175,176,1015,106,107,394,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847093c00e64619ff7d721d21094f33.jpg","178cmx57cm",[],{"id":97433,"slug":97434,"title":97435,"dynasty":76,"author":6862,"museum":515,"description":97436,"tags":97437,"thumbUrl":97438,"material":1642,"size":97439,"collection":139,"collections":97440,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},231348,"fang-wu-zhong-gui-shan-shui-tu-pu-hua-231348","仿吴仲圭山水图","峡江峻岭，山林葱茂，渔人垂钓，一派水国风光。用笔粗犷，气势豪放。自识“霜落蒹葭水国寒，浪花云影上渔竿。画成未拟将人去，茶熟香温且自看。写仲圭诗意，蒲华”。",[23,7,24,173,27,177,105,29,174,242,430,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b812ad538091df8d2f313f8cd5e494.jpg","167cmx92cm",[],{"id":97442,"slug":97443,"title":97444,"dynasty":18,"author":293,"museum":206,"description":75654,"tags":97445,"thumbUrl":97446,"material":50838,"size":97447,"collection":139,"collections":97448,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},231345,"xiao-han-lin-tu-yi-ming-231345","小寒林图",[7,24,173,177,29,1653,394,245,10154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50b96fc4e45788828c7ba9d17162640.jpg","该幅42.2x49.2公分；全幅66.5公分",[],{"id":97450,"slug":97451,"title":15695,"dynasty":76,"author":64824,"museum":364,"description":97452,"tags":97453,"thumbUrl":97454,"material":139,"size":139,"collection":139,"collections":97455,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","此作用笔疏朗秀逸，以高耸奇崛的主峰撑起画面骨架，淡墨勾勒皴擦山石，浓墨苔点醒置其间，尽显苍古浑厚。近岸虬松杂木盘曲苍劲，枝叶俯仰生姿。水畔茅庐之内，二人对坐清谈，衬出幽居林下的雅逸闲情。\n\n画作取法董源平淡天真之韵，又自出机杼，淡墨晕染出空濛烟岚，将江南山水温润静穆之致与文人萧散襟怀相融，简淡之中见苍茫气象，尽显晚明文人画简远疏旷的审美意趣。",[23,7,24,209,241,173,177,105,29,1575,176,35,34,106,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":97457,"slug":97458,"title":97459,"dynasty":76,"author":876,"museum":364,"description":97460,"tags":97461,"thumbUrl":97462,"material":139,"size":139,"collection":139,"collections":97463,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},231007,"jing-fu-si-qi-dong-jing-tu-ce-qian-wei-cheng-231007","景敷四气 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:48,"mainColor":94},228992,"bai-kai-luo-han-tu-61-shi-tao-228992","百开罗汉图61","淡墨晕染出翻涌不息的江海惊涛，四位罗汉乘浮叶凌波而行。众人神情各别，或垂眉敛目沉于禅思，或抬眼远眺浪涛，将行旅从容与烟波动荡形成鲜明对照。\n\n衣纹线条简劲灵动，皴染结合晕出僧衣厚重质感，更衬出罗汉静定无扰的禅心。作者以浓淡墨色铺陈水势虚实，留白间尽显江海浩渺空濛，以极简笔墨写尽世外僧人的自在超脱，借渡海意象诠释禅家无往不适的境界，于动静相生间晕染出悠远禅意，尽显笔底禅心与山水意趣的交融。",[7,24,81,260,173,259,106,227,1330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07723a0fddcca8b958cabbdd724ab54f.jpg",[],{"id":97579,"slug":97580,"title":97581,"dynasty":99,"author":293,"museum":364,"description":97582,"tags":97583,"thumbUrl":97584,"material":139,"size":139,"collection":139,"collections":97585,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":1335},228820,"ju-shou-yi-ji-gu-hua-ce-yi-ming-228820","鞠寿簃集古画册","此作以工笔绘就水上演武图景，主体楼船层台重垒，舰首狞猛兽形威仪赫赫，旌旗猎猎舒展。甲板之上，士卒或执械列队，或奔走值守，各司其职，将水师校阅的整肃之气尽显。水面间三两快船穿梭，舟上健儿动作利落矫健，细碎晕染的水纹晕开行舟的动感。古雅沉郁的色调晕染出旧时光晕，精细的线条勾勒出楼船的精巧形制与人物神态，纪实之中带着古典工笔的雅致意趣，静中见动，将水军演武的鲜活场面凝于绢素之上，尽显水师的整肃气势。",[23,7,28,27,104,81,106,150,149,107,297,15028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d335e817b2ea77b1411cd30bdeff314.jpg",[],{"id":97587,"slug":97588,"title":97589,"dynasty":99,"author":293,"museum":364,"description":97590,"tags":97591,"thumbUrl":97592,"material":743,"size":744,"collection":139,"collections":97593,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},228808,"lu-ya-tu-zhou-yi-ming-228808","芦鸭图轴","淡赭晕开汀洲暮色，细劲墨线勾勒芦苇，叶梢随晚风欹斜错落，疏密间漫开清寂秋意。\n\n两只芦鸭静栖岩矶，抬首者绒羽蓬松，翎羽层次分明，墨色浓淡过渡柔和，似在聆听水泽秋声；蜷卧者敛息安闲，将野禽的恬然之态晕染入微。画面设色清雅柔和，无繁复铺陈，以极简笔意勾勒出郊野水畔的悠然生机，将荒寒秋意与栖禽的闲澹相融，尽显江南泽国的静谧闲雅，把秋日水泽的幽寂和生灵的野逸平衡得恰到好处，淡远空濛之余，余韵悠长。",[23,209,7,24,241,27,28,83,2522,2728,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8344bd58fa2be0ddc84d2f4c79e5c0ff.jpg",[],{"id":97595,"slug":97596,"title":97597,"dynasty":99,"author":293,"museum":364,"description":3486,"tags":97598,"thumbUrl":97599,"material":743,"size":744,"collection":139,"collections":97600,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},228416,"fu-hui-dong-quan-tu-yi-ming-228416","赴会东全图",[7,27,28,259,106,29,34,31,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b687fd5235dc9913210ece4e58eb6fc.jpg",[],{"id":97602,"slug":97603,"title":97604,"dynasty":99,"author":97605,"museum":364,"description":97606,"tags":97607,"thumbUrl":97610,"material":743,"size":744,"collection":139,"collections":97611,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},228348,"you-xian-tu-shen-xi-yuan-228348","游仙图","沈希远","山水宗马远，亦善传神。洪武（一三六八-二二九八）中写御容称旨，授中书舍人。",[23,7,24,25,27,28,177,29,106,34,176,108,109,175,1445,97608,97609],"树木茂密","山石险峻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68de92a5cd889b76de35179cab49741b.jpg",[],{"id":97613,"slug":97614,"title":97615,"dynasty":99,"author":59269,"museum":364,"description":97616,"tags":97617,"thumbUrl":97618,"material":139,"size":139,"collection":139,"collections":97619,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},228334,"liu-yin-mu-qiao-tu-ye-lu-shi-ren-228334","柳荫暮桥图页","此作用绢本暖褐底色晕染出薄暮柔氛，池面轻笼烟霭，垂柳依依曳于晚风，枝桠停驻寒鸦，将诗意融于画面。坡岸竹树错落，远处板桥隐在淡雾之中，衬得暮色愈发静谧安闲。\n\n设色清淡雅润，线条秀婉细腻，未以繁复勾勒，只凭晕染铺就朦胧暮色，将晚春池畔的慵懒闲寂揉进笔墨里。题画诗与小景相映成趣，把暮夜将临的恬和诗意尽数铺陈，尽显文人抒情小景的淡远意致，将闲淡空寂的晚暮氛围描摹得恰到好处。",[7,27,29,81,1352,108,245,281,11647,38958],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F988ee63a495d90b8af4ac0a7248c07b4.jpg",[],{"id":97621,"slug":97622,"title":97623,"dynasty":99,"author":1296,"museum":364,"description":74765,"tags":97624,"thumbUrl":97626,"material":743,"size":744,"collection":139,"collections":97627,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},228308,"hong-feng-bai-he-tu-ye-xiang-sheng-mo-228308","红枫白鹤图页",[23,7,24,209,1562,27,29,97625,542,177],"红枫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c9862a17ee2057107c11e83ef78ddf.jpg",[],{"id":97629,"slug":97630,"title":97631,"dynasty":189,"author":293,"museum":364,"description":97632,"tags":97633,"thumbUrl":97634,"material":743,"size":744,"collection":139,"collections":97635,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},228204,"huan-ji-tu-yi-ming-228204","宦迹图","此作用笔匀稳秀雅，墨色沉润妍丽，行书结体舒展俊逸，牵丝映带自然流畅，兼具帖学流美与端凝气度。整幅以长题辨伪析真，文思随笔墨流转，考据的严谨与书法的灵动相融无间。古朴装裱间朱印错落点缀，金石气晕染笔墨意趣，旧迹古雅质感尽显。将学术考辨的理性与翰墨创作的审美风韵合为一体，既是鉴藏考据的珍贵文献，亦是颇具审美价值的书法佳迹，尽显古卷雅致意蕴。",[23,7,24,25,178,86,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a18b15997a9a31f9d9c80679db188d4.jpg",[],{"id":97637,"slug":97638,"title":97639,"dynasty":189,"author":293,"museum":364,"description":97640,"tags":97641,"thumbUrl":97642,"material":139,"size":139,"collection":139,"collections":97643,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},228202,"xia-chi-shuang-e-tu-ye-yi-ming-228202","夏池双鹅图页","此作用色清简枯淡，以水墨晕染出夏池幽寂之境。画面双鹅为意趣核心，一鹅昂首振翅，白羽晕染层次细腻，绒羽蓬松宛然在目，翅根淡墨晕开融于池水，似将破水而起，满是灵动野逸。另一鹅垂颈敛翼，姿态闲静安适，一动一静，相映成趣。\n\n背景以淡墨点汀渚小藻，枝梢偃仰朦胧，暗合夏日溽热将散的慵懒松弛。全画不做繁复勾勒，以晕染写就形神，将幽塘里的片刻生趣轻然定格，带着萧散空寂的元画意韵，淡而有味，余韵悠长。",[23,7,209,24,81,27,28,83,10065,1938,46346,30201,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u0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"title":97708,"dynasty":18,"author":293,"museum":364,"description":63967,"tags":97709,"thumbUrl":97710,"material":139,"size":139,"collection":139,"collections":97711,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},227383,"ke-si-shan-niao-tu-yi-ming-227383","缂丝山鸟图",[23,209,7,24,2544,1629,83,22663,327,225,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62f06e57ad93bff8812144cad58fa7e.jpg",[],{"id":97713,"slug":97714,"title":97715,"dynasty":18,"author":293,"museum":364,"description":97716,"tags":97717,"thumbUrl":97718,"material":139,"size":139,"collection":139,"collections":97719,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},227379,"qiu-lin-mu-gui-tu-yi-ming-227379","秋林牧归图","就素材而论,其实所画的不过是历代都有人愿画的生产工具、人们爱好的动物——牛。可是,能够这样确切地活生生地把特殊的状况之下的牛的神态描写出来,构成特殊的境界,在一般画牛的作品中还不是容易碰见的。负荷着牧童的母牛,涉过了浅水,吃力地要爬上岸去,却又似乎要回头照顾那还没有跟上来的小牛。小牛,这一稚气的、生活经验还不丰富的幼小者,伸着脖子站在对岸,望着它的母亲,要前进又不曾前进。它在号叫,似乎是要求援助。这样来描写牛,不是一般的牛的描写。观赏者可以把它当成牛来观赏,又不只是单纯地观赏一般的牛。这种稚气的幼小者的神气和亲子关系的描写,能够唤起人的亲子关系的联想和对于幼小者的爱怜。由于画家对于他所要描写的对象着迷,深切地感到牛的可爱,当他塑造形象的时候,明确地以小牛观望的神态为重点,从而避免了肤浅的物象罗列的画法,生动地表现这一特殊状态之下的牛的神态和情感。正因为这样,这一好像我们从来没有见过又好像曾经在什么地方见过的情景,十分迷人。",[23,7,27,28,394,151,29,3953,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8bb3723de445fb263be83e42b090db.jpg",[],{"id":97721,"slug":97722,"title":97723,"dynasty":18,"author":293,"museum":364,"description":97724,"tags":97725,"thumbUrl":97726,"material":139,"size":139,"collection":139,"collections":97727,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},227341,"dong-ri-cao-wu-tu-yi-ming-227341","冬日草屋图","相对于百花齐放的春天，五彩缤纷的夏天，硕果累累的秋天，寒风萧瑟的冬天亦有其独特的韵味。\n\n每年的冬天，最盼望的就是一觉醒来，窗外银装素裹，仿佛置身于童话故事之中，整个世界都安静了。虽然冷，但雪景依旧是冬日里人们最期盼的画面。\n\n自古以来，皑皑雪景，在中国古画当中就占有一席之地。\n\n在不同的画境之下，雪，拥有了无尽的生命力，万物孤寂的冬天，被作者表现的淋漓尽致。",[7,24,1562,27,29,1015,26746,2502,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e5b975f61e54f4018d0c87e8c33dd40.jpg",[],{"id":97729,"slug":97730,"title":97731,"dynasty":292,"author":49761,"museum":364,"description":49762,"tags":97732,"thumbUrl":97733,"material":743,"size":744,"collection":139,"collections":97734,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},225297,"feng-tian-ben-dong-jing-zhen-hai-225297","风天(本-东京)",[23,7,24,241,259,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f6d9b2e3fc423f8375b1380dcac095.jpg",[],{"id":97736,"slug":97737,"title":97738,"dynasty":76,"author":33771,"museum":364,"description":97739,"tags":97740,"thumbUrl":97741,"material":139,"size":139,"collection":139,"collections":97742,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},224535,"fang-ni-qu-lin-shan-shui-zhu-chang-224535","仿倪去林山水","此作用笔简净松灵，取法倪氏平远意趣，绘就萧疏清旷的深秋丘壑。近岸枯木疏槎清瘦劲挺，枝桠寥寥，带着深秋荒寒之气。远山以淡墨轻扫勾勒，轮廓柔和简淡，留白水面悠悠延展，将空寂意境铺陈开来，林麓石畔的隐舍萧然出尘，不见烟火气。全幅笔墨淡逸清润，不作繁复皴染，以极简形制传递静穆萧散的文人雅韵，将倪画天真幽淡的冷寂气质得韵传神，尽写郊野秋意的疏朗空荒，藏着对枯淡美学的精准追摹与悠远体悟。",[23,7,173,177,105,241,29,1653,394,245,109,34,649,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b10416c0f2ccf154ddc3b890e53df8.jpg",[],{"id":97744,"slug":97745,"title":97746,"dynasty":76,"author":64824,"museum":364,"description":97747,"tags":97748,"thumbUrl":97749,"material":139,"size":139,"collection":163,"collections":97750,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},224534,"fang-dong-yuan-bi-yi-tu-zhou-qi-zhi-jia-224534","仿董源笔意图轴","此作用笔苍简老辣，以淡墨皴擦写高远山峦，浓墨苔点提点山形，尽显山石苍古厚重。近坡古松虬曲、杂木错落，笔致写意随性。水畔茅舍中二人对坐，将山居雅晤的幽寂之趣藏于林泉间。\n\n画作师法前人却自出机杼，以简淡笔墨晕染出空濛悠远的意境，将文人寄情山水、追慕林泉高致的隐逸襟怀融在尺幅间，萧散清逸的格调尽显文人画的意趣风神，于简淡之中见出深秀雅致。",[23,7,24,241,173,105,177,29,176,34,35,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4cb4ed98632dc4ebd5a427f409fd.jpg",[163],{"id":97752,"slug":97753,"title":97754,"dynasty":76,"author":10376,"museum":364,"description":97755,"tags":97756,"thumbUrl":97757,"material":139,"size":139,"collection":139,"collections":97758,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},224473,"qing-wang-yun-wang-hui-he-bi-zhou-wang-hui-224473","清王云王翚合璧轴","此作用笔兼工带写，老桃枯干苍劲古拙，枝头桃花轻红柔丽，灼灼盛放，与叶芽新绿相映，晕染出春日融融生机。下方水畔鸳鸯伫立，翎毛晕染细腻，羽色明丽温润，情态安闲静雅。\n书画合璧，题字清隽秀雅，诗画呼应，将春日的恬和野趣晕透纸面，设色妍而不艳，既有院体花鸟的精工雅致，又饱含文人画的澹泊意趣，静穆中藏着蓬勃春机，尽显清和雅致的林下春光。",[23,7,24,241,27,28,83,279,340,2555,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4efb57d002aeb7ed5287d3e5fa93fa.jpg",[],{"id":97760,"slug":97761,"title":97762,"dynasty":76,"author":10376,"museum":364,"description":97763,"tags":97764,"thumbUrl":97765,"material":139,"size":139,"collection":139,"collections":97766,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},224451,"xia-shan-yan-yu-tu-wang-hui-224451","夏山烟雨图","清王翚款夏山烟雨图轴是重庆中国三峡博物馆收藏的绘画。\n质地:纸 藏品编号;:724 文物类型:书法、绘画 实际数量:1 质量范围:.1-1 kg 文物级别:一般 文物来源:接受捐赠 完残程度:基本完整 入藏时间:1977-2 具体尺寸(cm):46×29.9",[23,7,24,241,173,27,177,29,864,34,109,175,37,23629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43674fdebc1c117057ada1897856da4b.jpg",[],{"id":97768,"slug":97769,"title":97770,"dynasty":76,"author":10376,"museum":364,"description":97771,"tags":97772,"thumbUrl":97773,"material":139,"size":139,"collection":139,"collections":97774,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},224450,"xia-wu-yin-mei-wang-hui-224450","夏五吟梅","《王翚夏五吟梅图轴》是清代王翚创作的一幅画。\n此图画成时王翚已是8岁高龄，然而画面丝毫看不出有衰老的迹象，线条细若游丝，劲如屈铁，笔力老练纯熟，画风细润明快，融合了众家笔法之长。\n构图布景显示出画家胸有成竹，景物的配置自然写实，气度不凡。",[23,7,209,24,241,27,29,177,108,109,175,281,430,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794bca20f35e023f5002c7199254ad74.jpg",[],{"id":97776,"slug":97777,"title":97778,"dynasty":76,"author":1892,"museum":364,"description":97779,"tags":97780,"thumbUrl":97787,"material":139,"size":139,"collection":139,"collections":97788,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[23,7,24,29,27,177,86,227,34,176,109,649,175,565,560,97781,39894,97782,97783,97784,97785,97786,1966],"山峦叠嶂","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],{"id":97790,"slug":97791,"title":33845,"dynasty":76,"author":1892,"museum":364,"description":97792,"tags":97793,"thumbUrl":97797,"material":139,"size":139,"collection":139,"collections":97798,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},224385,"fang-da-chi-shan-shui-tu-wang-yuan-qi-224385","此作取法大痴意趣，层峦从侧峰铺陈而下，逶迤溪水穿谷绕石，将山居屋舍、飞泉板桥藏于林壑之间，把江南山林的幽寂野趣铺展纸上。\n以干笔积墨反复皴擦，披麻皴写就山石肌理，墨色干湿浓淡交叠，苍厚生拙间带着萧散淡远的韵致。左上题跋朱印错落排布，文气晕染山水，让笔墨意境与文人意趣相融，整体清旷雅致，尽显山居林泉的静美逸致，师古而不泥古，于笔墨间氤氲出幽远的文人山水情致。",[23,7,209,24,1397,173,27,176,109,108,464,16217,34,97794,177,2218,97795,2939,38269,97796,227,1966],"林壑","干笔积墨","清旷雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf015ee390ff81a46e533be58fbb6c.jpg",[],{"id":97800,"slug":97801,"title":97802,"dynasty":76,"author":2324,"museum":364,"description":97803,"tags":97804,"thumbUrl":97805,"material":139,"size":139,"collection":139,"collections":97806,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},224321,"hua-niao-shi-er-kai-10-li-shan-224321","花鸟十二开10","画面书画合璧，意韵悠长。以没骨法写就江南佳果，青蜜桃圆润饱满，淡青敷色晕出带紫的熟韵，叶片舒卷含露，鲜活如生；枇杷圆实浅赭，尽显甜熟质感；杨梅黑紫莹润，衬以青灰长叶，野趣盎然。\n\n题跋行书清雅隽秀，叙南北果品风味，笔墨与风物相融，淡墨轻彩间，将文人闲赏风物的恬然心境藏于尺幅之中，设色柔和雅致，晕染细腻自然，把佳果鲜嫩鲜活的情态刻画入微，尽显小品写意的清雅意致。",[23,7,24,81,27,446,86,227,83,711,1278,2827,698,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb1d64a5729b47a3279498396e83838.jpg",[],{"id":97808,"slug":97809,"title":97810,"dynasty":76,"author":2324,"museum":364,"description":97811,"tags":97812,"thumbUrl":97813,"material":139,"size":139,"collection":139,"collections":97814,"showCount":1007,"zanCount":1270,"manualWeight":48,"mainColor":94},224317,"hua-niao-ce-shi-kai-7-li-shan-224317","花鸟册十开7","此帧绘牵牛绕竹，藤蔓蜷曲舒展，翠叶柔嫩鲜活，蓝紫花瓣晕染出通透光泽，将朝颜初绽的柔媚尽致展现。笔意兼具工致与写意，花叶灵动鲜活，如见晨露未晞的篱边实景。左侧书法笔力苍劲，诗书与绘事相映，文人雅趣尽显。以写生捕捉朝花之真，以笔墨挥洒写意之韵，将草木柔媚与文人意趣相融，雅致脱俗，尽显花间清逸之美。",[23,7,81,27,446,83,697,798,1341,226,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365822b4c1cbcce04446c2d41651ab33.jpg",[],{"id":97816,"slug":97817,"title":97818,"dynasty":76,"author":2324,"museum":364,"description":97819,"tags":97820,"thumbUrl":97821,"material":139,"size":139,"collection":139,"collections":97822,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},224314,"hua-niao-ce-shi-kai-4-li-shan-224314","花鸟册十开4","画面以写意之笔绘石竹与湖石，粉红花瓣晕染柔润自然，间缀淡紫俏花提亮层次，挺劲绿叶以浓淡墨色写出，尽显花草鲜活姿态。一旁湖石枯笔皴擦，朴拙古雅，与娇柔花枝形成刚柔对照。\n\n左侧题诗笔墨纵逸洒脱，诗书画印相得益彰，将文人闲居消夏的悠然心境寄寓花间。整幅画随性疏朗，鲜活灵动，笔情墨趣间尽显放达雅致的文人意韵，尽显画者率真疏放的创作风骨。",[23,7,24,81,27,83,245,84,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0550b3f94de6a3de549f2089b7718f7e.jpg",[],{"id":97824,"slug":97825,"title":97826,"dynasty":76,"author":71059,"museum":364,"description":85672,"tags":97827,"thumbUrl":97828,"material":743,"size":744,"collection":139,"collections":97829,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},224252,"yu-zhuang-wan-ji-zhou-kun-224252","渔庄晚霁",[23,7,24,81,27,29,1016,109,174,281,4562,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd1a0468a1001ba98444776ec3e12d7.jpg",[],{"id":97831,"slug":97832,"title":97833,"dynasty":76,"author":9622,"museum":364,"description":97834,"tags":97835,"thumbUrl":97836,"material":139,"size":139,"collection":139,"collections":97837,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},224126,"ke-si-xian-shan-lou-ge-tu-qian-long-224126","缂丝仙山楼阁图","《缂丝仙山楼阁图》是清乾隆时期的一幅画。\n此图在本色地上缂织仙山楼阁。\n殿宇亭台之间树木葱郁，小桥流水，彼岸远方有群山及山中楼阁。\n画面布局繁密，境界幽静旷远。\n此作品将缂丝与绘画有机地融合为一体，先缂织后添色。\n缂工主要用平缂织物象的轮廓，间用搭缂、长短戗手法，其上再用各种颜色绘出形象。\n画中的楼阁建筑以界尺画出，山石皴法使用了墨、石绿、赭石色，极似仇英的楼阁界画之风格。\n此缂丝画中楼阁工细，山青树茂，敷色古雅。",[23,7,24,1629,27,104,29,107,108,34,1432,176,175,109,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b8e0b7007bdd3d7e820ad8283e1056.jpg",[],{"id":97839,"slug":97840,"title":97841,"dynasty":54,"author":293,"museum":364,"description":97842,"tags":97843,"thumbUrl":97844,"material":743,"size":744,"collection":139,"collections":97845,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},223851,"shen-ren-jing-zhi-fu-jian-yi-ming-223851","神人镜之附件","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[6214,7,28,27,104,106,107,34,313,115,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b13b4465dc4ad89229bc9e9bb264a4.jpg",[],{"id":97847,"slug":97848,"title":97849,"dynasty":18,"author":293,"museum":364,"description":97850,"tags":97851,"thumbUrl":97852,"material":139,"size":139,"collection":139,"collections":97853,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},223687,"gao-ge-ling-kong-tu-yi-ming-223687","高阁凌空图","这幅小品以截取之笔，将凌空高阁悄然铺展。只取楼阁西南一隅，陡斜飞梯衔接重楼飞檐，勾勒出层叠舒展的宋式营造之美，斗拱瓦当皆细致入微，暗合宋人营造的极致工巧。\n\n楼中隐见几缕人影凭栏伫立，为冷峻的木构楼宇晕开一抹暖融融的烟火气，让凌霄高阁脱离孤冷，多了人间意趣。左下角苍松虬枝斜探，古拙松针掩映楼角，为画面添了山野清寂。大片虚淡的暗褐色背景，将建筑与古松托举而出，烘托出楼阁凌云的空寂高旷，尽显宋画小品以小见大、静中生境的雅致意趣。",[23,7,24,104,28,27,107,106,430,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4344c1c96fa89fc78daa9c322978feb4.jpg",[],{"id":97855,"slug":97856,"title":97857,"dynasty":18,"author":293,"museum":364,"description":97858,"tags":97859,"thumbUrl":97860,"material":139,"size":139,"collection":139,"collections":97861,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":271},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,7,24,25,260,173,177,259,106,29,340,1575,650,558,1255,108,109,150,281,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":97863,"slug":97864,"title":97865,"dynasty":189,"author":293,"museum":364,"description":97866,"tags":97867,"thumbUrl":97868,"material":139,"size":139,"collection":139,"collections":97869,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},223610,"zhu-ta-qi-shui-tu-ce-ye-yi-ming-223610","竹榻憩睡图册页","此作笔墨简净雅致，将文人闲憩小景写尽意趣。老者宽袍素衣，斜卧竹榻，兽皮为垫，袒须露额，神态松弛恬然，正酣眠小憩，尽显松弛自在。屋墙以细笔勾绘水波纹理，衬出室内幽寂安闲。榻下双履静静摆放，写实入微，暗合主人暂歇未远之态。\n画作工写相融，设色清淡，以极简的构图传递出文人幽居林下、安闲自适的隐逸情怀，于日常小景间，藏着古人安放身心的雅逸意趣。",[23,7,24,81,173,27,28,106,242,244,27119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7627f2437ba2105a35af0ea077527f.jpg",[],{"id":97871,"slug":97872,"title":97873,"dynasty":18,"author":293,"museum":56,"description":97874,"tags":97875,"thumbUrl":97876,"material":67,"size":97877,"collection":139,"collections":97878,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},223573,"ran-deng-fu-shou-ji-shi-jia-wen-tu-juan-yi-ming-223573","燃灯佛授记释迦文图卷","燃灯佛授记释迦文图描绘的是燃灯佛授记释迦文的故事。燃灯佛身披红色袈裟居画幅中央，目视前面一着红裤、祼上身、长发拖地虔诚的跃然拜者。众菩萨、金刚、罗汉、送子观音及供养人计二十八人簇拥其周围，神情贯注。此图人物依主次设计大小，造型准确生动。线描婉转自如，极富节奏感，并施石绿朱砂等重彩，格调肃穆古朴",[23,7,24,25,259,106,28,27,227,86,11078,1195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96bfee1f0b0b6bf616743eeab01ae44.jpg","26.2x38.2",[],{"id":97880,"slug":97881,"title":97882,"dynasty":18,"author":293,"museum":20,"description":97883,"tags":97884,"thumbUrl":97885,"material":665,"size":97886,"collection":139,"collections":97887,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},223572,"xi-lu-ye-ya-tu-yi-ming-223572","溪芦野鸭图","图绘溪边芦苇、茨菰丛生，枝繁叶茂，生机勃勃。雄鸭在岸边单足站立小憩；雌鸭于水中回首梳羽，姿态闲适，气度雍容。此图意在表现一种祥和安定的气氛，应是南宋画院点缀升平之作。构图成熟简练，画面左中部为芦苇所荫蔽，给人安全之感；右上方则留出一片水面，启人遐思，以免闭塞。敷色精细写实，雄鸭毛羽的表现尤见功力。今色彩虽已暗旧，尚可想见当年斑斓生辉之状。",[23,7,28,27,83,4871,2522,367,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a845e7b9c4e3e32739c5b931a4db59.jpg","26.4x27",[],{"id":97889,"slug":97890,"title":97891,"dynasty":76,"author":293,"museum":364,"description":73560,"tags":97892,"thumbUrl":97893,"material":139,"size":139,"collection":139,"collections":97894,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},223529,"wu-yi-shan-shi-ba-jing-tu-4-yi-ming-223529","武夷山十八景图4",[23,7,24,173,27,177,81,29,176,34,174,31,114,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79a72c1f010c0336116e7055b3e0ee3f.jpg",[],{"id":97896,"slug":97897,"title":97898,"dynasty":76,"author":293,"museum":364,"description":73560,"tags":97899,"thumbUrl":97900,"material":139,"size":139,"collection":139,"collections":97901,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3",[23,7,24,81,173,27,177,29,23867,560,174,34,34595,491,5243,35,109,108,1926,865,38601,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb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年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[7,27,29,1444,109,175,149,430,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ebef99d6af837be20ccb7bdc022a25.jpg",[],{"id":98183,"slug":98184,"title":98185,"dynasty":1095,"author":49941,"museum":7134,"description":98186,"tags":98187,"thumbUrl":98188,"material":139,"size":139,"collection":139,"collections":98189,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},220457,"kun-ming-jie-jing-guan-liang-220457","昆明街景","关良，字良公，广东番禺人。长于中国画、油画。1917年入日本川端画学校学习油画，1918-1923年于太平洋美术学校学习油画。1923年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[209,7,24,173,27,446,106,70779,34,7372,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46653a26d8fca591187cb0ccb297f684.jpg",[],{"id":98191,"slug":98192,"title":98193,"dynasty":76,"author":5052,"museum":20,"description":5053,"tags":98194,"thumbUrl":98195,"material":803,"size":5056,"collection":139,"collections":98196,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},220288,"huang-shan-tu-ce-37-hong-ren-220288","黄山图册-37",[23,209,7,24,81,177,27,29,108,109,176,1015,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70e277b94dfe9c6eeb04e5a7b98c942.jpg",[],{"id":98198,"slug":98199,"title":98200,"dynasty":76,"author":5052,"museum":20,"description":5053,"tags":98201,"thumbUrl":98202,"material":803,"size":5056,"collection":139,"collections":98203,"showCount":1007,"zanCount":5,"manualWeight":48,"mainColor":94},220279,"huang-shan-tu-ce-45-hong-ren-220279","黄山图册-45",[23,7,24,29,81,173,177,30,1575,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa132847aaeea9e72131397153387266a.jpg",[],{"id":98205,"slug":98206,"title":98207,"dynasty":76,"author":5052,"museum":20,"description":5053,"tags":98208,"thumbUrl":98209,"material":803,"size":5056,"collection":139,"collections":98210,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":94},220277,"huang-shan-tu-ce-47-hong-ren-220277","黄山图册-47",[23,7,173,177,81,29,175,108,109,176,394,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6cda6b166036c2ddff5b9d2083d9e2.jpg",[],{"id":98212,"slug":98213,"title":98214,"dynasty":76,"author":20893,"museum":78,"description":20894,"tags":98215,"thumbUrl":98216,"material":27,"size":20897,"collection":139,"collections":98217,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},219807,"hua-niao-cao-chong-tu-3-sun-long-219807","花鸟草虫图-3",[7,27,83,453,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc834a69180ad4fd2c94bcb498461835.jpg",[],{"id":98219,"slug":98220,"title":98221,"dynasty":76,"author":20893,"museum":78,"description":20894,"tags":98222,"thumbUrl":98223,"material":27,"size":20897,"collection":139,"collections":98224,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},219801,"hua-niao-cao-chong-tu-9-sun-long-219801","花鸟草虫图-9",[7,27,83,603,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334af5c92f2911b915e72b776c12089c.jpg",[],{"id":98226,"slug":98227,"title":98228,"dynasty":76,"author":20893,"museum":78,"description":20894,"tags":98229,"thumbUrl":98230,"material":27,"size":20897,"collection":139,"collections":98231,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},219798,"hua-niao-cao-chong-tu-11-sun-long-219798","花鸟草虫图-11",[7,27,81,83,603,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb68ad6cc4d6452ced985f28adbc6fd0.jpg",[],{"id":98233,"slug":98234,"title":98235,"dynasty":99,"author":100,"museum":78,"description":15676,"tags":98236,"thumbUrl":98237,"material":123,"size":15679,"collection":139,"collections":98238,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},219774,"lin-song-ren-hua-ce-6-chou-ying-219774","临宋人画册-6",[7,27,28,105,227,106,245,755,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e050c9833328322db651cd7e96deda3.jpg",[],{"id":98240,"slug":98241,"title":98242,"dynasty":99,"author":100,"museum":78,"description":15676,"tags":98243,"thumbUrl":98244,"material":123,"size":15679,"collection":139,"collections":98245,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},219773,"lin-song-ren-hua-ce-7-chou-ying-219773","临宋人画册-7",[7,24,81,105,28,27,106,1575,47593,2951,315,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa573999927a9dd69824f4523556bd442.jpg",[],{"id":98247,"slug":98248,"title":98249,"dynasty":189,"author":10811,"museum":206,"description":98250,"tags":98251,"thumbUrl":98252,"material":123,"size":14056,"collection":139,"collections":98253,"showCount":1007,"zanCount":48,"manualWeight":48,"mainColor":49},219107,"hua-hui-ce-wu-tong-wang-yuan-219107","花卉册-梧桐","枝干盘曲如篆，墨线勾勒间见苍劲之态；叶片层叠舒展，脉络细劲如丝，淡赭晕染出温润秋意。含苞的花萼敛着几分怯意，似欲在绢素上悄然绽露芳华。无浓艳敷彩，却以简净笔触捕捉梧桐清疏之姿，墨色与绢本底色交融，晕开文人画的雅致气韵。每片叶的翻转、每道枝的曲直，皆藏着对自然的细致观照——静谧中透着生机，淡远里含着深情，尽显宋元画坛的笔墨风神与诗意栖居之境。",[23,7,24,81,27,28,8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1758年，清朝乾隆年间著名学者、画家、诗人、文学家、收藏家。字楞山，号玉几、玉几山人等。",[23,7,24,81,173,448,86,178,227,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332d1322d55703d984116195e7f69f7e.jpg",[],{"id":99116,"slug":99117,"title":92765,"dynasty":99,"author":32356,"museum":364,"description":99118,"tags":99119,"thumbUrl":99120,"material":743,"size":744,"collection":139,"collections":99121,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},290506,"duan-yang-jing-zhou-chen-jia-yan-290506","陈嘉言（1538～？）字孔彰，浙江嘉兴人。善写花卉翎毛。",[7,24,241,27,83,245,1135,5034,453,227,27563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7058ae7dbad931a1e56864cfa4bdd3.jpg",[],{"id":99123,"slug":99124,"title":99125,"dynasty":18,"author":6175,"museum":364,"description":47195,"tags":99126,"thumbUrl":99128,"material":743,"size":744,"collection":139,"collections":99129,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},290486,"sui-gu-xian-shou-tu-yan-su-290486","邃谷仙寿图",[7,1562,29,12920,176,86,1195,173,99127,177],"仙寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98897fba184e8f775db18b47f9068b8.jpg",[],{"id":99131,"slug":99132,"title":99133,"dynasty":76,"author":99134,"museum":364,"description":99135,"tags":99136,"thumbUrl":99138,"material":743,"size":744,"collection":139,"collections":99139,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},290467,"fo-zu-he-shi-cong-tu-juan-zhong-zhao-290467","佛祖和侍从图卷","仲昭","此作用笔细劲如铁线，勾勒精准工致。右侧菩萨安坐伏卧云间的青狮之上，神色静穆恬和，衣纹舒展柔和，淡赭敷色雅致清润，青狮鬃毛皴刻细密，威而不厉。左侧青狮昂首徐行，背驮宝炉香烟袅袅，四位侍从形貌各异，神情恭谨随行，衣褶劲挺流畅，写实生动。\n画面以淡墨晕染云气，铺展出渺渺天界氛围，将梵行的肃穆清和烘托尽致。动静相生，行进的仪仗与静思的菩萨相映成趣，尽显工稳清雅的佛画意韵，静穆禅意融于缥缈云间，颇具古典佛画的庄重灵秀之美。",[23,7,24,25,27,28,106,957,259,9254,99137,4525,16560],"佛祖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05b4f0b745663abc00185cccd9145e0.jpg",[],{"id":99141,"slug":99142,"title":99143,"dynasty":76,"author":99144,"museum":364,"description":99145,"tags":99146,"thumbUrl":99147,"material":743,"size":744,"collection":139,"collections":99148,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},290451,"shu-fa-tuan-shan-ni-can-290451","书法团扇","倪璨","倪璨，清朝画家（1764—1841年）字研田，自号砚石锄夫，江苏甘泉（今扬州）人。",[23,1562,86,178,227,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e76532c03f245acd2d09a155622c4c.jpg",[],{"id":99150,"slug":99151,"title":99152,"dynasty":189,"author":293,"museum":364,"description":32941,"tags":99153,"thumbUrl":99154,"material":743,"size":744,"collection":139,"collections":99155,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},290450,"shan-ting-xiao-xia-tu-ke-luo-ban-yi-ming-290450","山亭消夏图（珂罗版）",[209,7,24,173,29,175,242,106,176,34,177,5577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02083f9a17f338bb7c7b25512dbe1281.jpg",[],{"id":99157,"slug":99158,"title":99159,"dynasty":189,"author":21922,"museum":364,"description":89792,"tags":99160,"thumbUrl":99161,"material":743,"size":744,"collection":139,"collections":99162,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},290439,"dan-tai-chun-shang-tu-ke-luo-ban-lu-guang-290439","丹台春赏图（珂罗版）",[23,7,209,173,29,241,107,109,174,176,34,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b2fe1a43f6f7452408d2f57ed3ba7d.jpg",[],{"id":99164,"slug":99165,"title":99166,"dynasty":18,"author":293,"museum":364,"description":13561,"tags":99167,"thumbUrl":99168,"material":743,"size":744,"collection":139,"collections":99169,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},290290,"song-ke-si-xin-shao-ying-xi-zhou-yi-ming-290290","宋缂丝新韶婴戏轴",[7,24,241,1629,27,106,11805,3045,327,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee24372208c65c6058865f78d03cad33.jpg",[],{"id":99171,"slug":99172,"title":99173,"dynasty":189,"author":293,"museum":364,"description":32941,"tags":99174,"thumbUrl":99175,"material":743,"size":744,"collection":139,"collections":99176,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},290153,"xia-shan-gan-yu-tu-yi-ming-290153","夏山甘雨图",[7,29,173,241,109,174,151,23103,1250,176,1016,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d181d3e90b756e1e1d386df91fa2fa8.jpg",[],{"id":99178,"slug":99179,"title":99180,"dynasty":18,"author":293,"museum":364,"description":66226,"tags":99181,"thumbUrl":99182,"material":743,"size":744,"collection":139,"collections":99183,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},290110,"wu-tong-ting-yuan-tu-yi-ming-290110","梧桐庭院图",[209,7,24,104,81,28,27,107,115,34,108,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbfc008d8276fa6952b4ae41102c97fe.jpg",[],{"id":99185,"slug":99186,"title":73551,"dynasty":18,"author":293,"museum":364,"description":99187,"tags":99188,"thumbUrl":99189,"material":743,"size":744,"collection":139,"collections":99190,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},289988,"zhu-ting-yuan-yang-tu-yi-ming-289988","近岸竹树婆娑，枝叶以浓淡墨色层叠晕染，尽显繁密清润之态。汀洲软滩之上，一对鸳鸯亲昵悠然，一只敛羽顾盼，一只低头理毛，翎羽纤毫毕现，写实生动。空阔水面晕染轻淡，远景朦胧虚渺，衬出幽寂静穆之境。几只飞鸟穿掠竹林，为静谧画面添上灵动生机。\n全作用笔工写相融，禽鸟刻画精工细致，竹枝野卉则带写意疏朗，虚实相生间铺陈出江南水畔的闲澹野趣，藏着对自然幽微之处的细腻体察，淡远空灵的诗意晕染在笔墨之间，尽显安然闲逸的林下意趣。",[7,3529,28,27,242,2555,281,64317,34962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f5b444ff331f2b1ab8a5865dcfe7ee.jpg",[],{"id":99192,"slug":99193,"title":99194,"dynasty":76,"author":10376,"museum":364,"description":27021,"tags":99195,"thumbUrl":99196,"material":743,"size":744,"collection":139,"collections":99197,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},289933,"xia-wu-yin-mei-tu-zhou-wang-hui-289933","夏五吟梅图轴",[209,7,24,241,173,27,177,29,449,242,448,108,109,175,281,176,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb351758d9dedc7377576f498d8c508.jpg",[],{"id":99199,"slug":99200,"title":99201,"dynasty":18,"author":781,"museum":364,"description":13867,"tags":99202,"thumbUrl":99204,"material":743,"size":744,"collection":139,"collections":99205,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},289784,"xiao-jing-tu-li-gong-lin-289784","孝经图",[23,209,7,24,25,260,106,32578,86,1195,99203],"孝文化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f549d9f70ee31764ebac731237e59ab.jpg",[],{"id":99207,"slug":99208,"title":99209,"dynasty":189,"author":293,"museum":364,"description":32941,"tags":99210,"thumbUrl":99211,"material":743,"size":744,"collection":139,"collections":99212,"showCount":736,"zanCount":5,"manualWeight":48,"mainColor":49},289555,"mo-li-gong-lin-meng-ren-ma-tuo-tu-yi-ming-289555","摹李公麟蒙人马驼图",[209,7,27,106,150,11734,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f5238ca3dd3adf6b105dda13f3796c5.jpg",[],{"id":99214,"slug":99215,"title":70302,"dynasty":18,"author":293,"museum":364,"description":99216,"tags":99217,"thumbUrl":99218,"material":743,"size":744,"collection":139,"collections":99219,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},289452,"cheng-jiang-bi-xiu-tu-yi-ming-289452","此作为边角取景的山水小品，左实右虚，将江南烟水意蕴纳于尺幅间。峭拔山石以青绿晕染，石色清润雅致，与赭色底色相融，古松苍劲虬曲，栖于岩岸，茅庐隐于林下，野趣悠然。空阔江面之上，数艘扁舟缓行，破开一江澄澈。远景远山以淡墨晕散，隐没于烟霭之中，虚实相映间，江天浩渺的静穆清旷扑面而来。画作简淡清远，以小见大，尽得清隽温润之韵，将寄情山水的幽远意趣藏在每一处晕染勾勒中，尽显江南水色的空灵闲雅。",[1562,7,209,26,27,1397,9111,7741,15119,1250,3558,491,281,1731],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7decbafa7e5bee3ec097a1a143c123e2.jpg",[],{"id":99221,"slug":99222,"title":99223,"dynasty":18,"author":293,"museum":364,"description":99224,"tags":99225,"thumbUrl":99227,"material":743,"size":744,"collection":139,"collections":99228,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},289442,"nie-pan-tu-yi-ming-289442","涅槃图","画作以佛陀涅槃宝床为中心，诸天圣众环伺奔丧，或捶胸呼号、或伏地恸哭，将寂灭之时的悲恸铺陈到极致。灵动墨线勾勒神众百态，衣袂翻卷间，哀戚神态呼之欲出。岁月晕黄了绢面底色，却难掩古雅设色的厚重质感，祥云缭绕、异兽俯伏，为悲怆氛围添上庄严肃穆的底色。\n繁复构图铺展开盛大哀荣，将佛界同悲的场景刻画得淋漓尽致，尽显精妙笔力与精神内核，让观者仿佛能触碰到跨越时空的哀恸与崇敬。",[209,7,24,259,27,106,957,99226,9254],"涅槃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b5c3497383f81c5f7ede76a93131fa.jpg",[],{"id":99230,"slug":99231,"title":99232,"dynasty":18,"author":293,"museum":364,"description":99233,"tags":99234,"thumbUrl":99235,"material":743,"size":744,"collection":139,"collections":99236,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},289440,"guan-yun-tu-yi-ming-289440","观云图","这幅小品以边角取景，暮色昏沉里，墨色晕染开氤氲云烟，将天地晕成一派幽寂朦胧。左侧高台朱栏隐现，隐约可见人影凭栏远眺，似在静看流云舒展、山岚轻移。右侧危峰兀立，林舍错落于山脚，远山在烟霭里淡成一抹浅痕，虚实相映间尽显空灵悠远。\n\n全作用墨苍润柔和，以简淡笔意勾勒出暮色观云的清寂氛围，将寄情山水、静观天地的雅致襟怀融于尺幅之间，把片刻悠然闲思永久定格，氤氲着静谧淡远的古典意趣。",[7,1397,104,173,107,649,1329,17710,4686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0705d23c95cd7cabb9f8c7c23e6b37fb.jpg",[],{"id":99238,"slug":99239,"title":19277,"dynasty":189,"author":29631,"museum":364,"description":99240,"tags":99241,"thumbUrl":99242,"material":743,"size":744,"collection":139,"collections":99243,"showCount":736,"zanCount":5,"manualWeight":48,"mainColor":49},289232,"han-shan-shi-de-tu-yin-tuo-luo-289232","其实，《寒山拾得图》只是因陀罗所作的一整卷禅机图中的一部分，在日本，还有另外4幅因陀罗画的禅机图，它们分别是由石桥美术馆收藏的《丹霞烧佛图》、根津美术馆收藏的《布袋图》、静嘉堂文库美术馆收藏的《智常禅师图》以及畠山纪念馆所收藏的《李渤参智图》。这5幅作品统一被称为因陀罗的《禅机图短简》，都被指定为日本的国宝。据日本专家考证，因陀罗的禅机图并不只由这5幅画组成，可能还包括另外一幅《寒山拾得图》以及一幅《萧王问答图》，而东京国立博物馆收藏的这幅《寒山拾得图》则极有可能是整个画卷的末尾部分。\n日本自镰仓时代（1185-1333年）开始兴起收藏唐宋元等朝代的中国美术作品之风，因陀罗的禅机图也因此传入日本。不过，与中国人整卷欣赏美术作品不同，日本人更喜欢把一副长画卷裁成多个部分，然后裱制成画轴挂在茶室等房间的墙上分别欣赏。这也是因陀罗所画的一整卷禅机图被分成多个部分，现在分别由不同的美术馆收藏的原因。不过，不管是哪一幅作品都是享誉日本的名贵珍藏品。例如，《寒山拾得图》长期以来一直作为广岛藩藩主浅野家收藏的名品广为人知，其存放的木盒上还刻有以精通茶道而著称的松江藩藩主松平不昧的题签。",[7,173,106,259,86,227,1575,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4fb5146a0d4804d5891fe4ca693d42.jpg",[],{"id":99245,"slug":99246,"title":76662,"dynasty":18,"author":15479,"museum":364,"description":76663,"tags":99247,"thumbUrl":99248,"material":743,"size":744,"collection":139,"collections":99249,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},289130,"xue-an-han-ya-tu-li-an-zhong-289130",[23,209,7,241,28,83,281,1015,2502,4473,4873,10154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac83e55ae0a4db7c4acc2daacf9038dd.jpg",[],{"id":99251,"slug":99252,"title":99253,"dynasty":18,"author":293,"museum"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terial":803,"size":139,"collection":382,"collections":99471,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},241025,"wu-jue-zhou-zhong-xing-241025","五绝轴","钟惺","钟惺(1574—1625)，明代文学家。字伯敬，号退谷，湖广竟陵（今湖北天门市）人。万历三十八年（1610）进士。曾任工部主事，万历四十四年（1616）与林古度登泰山。后官至福建提学佥事。不久辞官归乡，闭户读书，晚年入寺院。其为人严冷，不喜接俗客，由此得谢人事，研读史书。他与同里谭元春婡共选冄《頭條唐诗归》和《古诗归》(见《诗归》)，名扬一时，形成“竟陵派”，世称“钟谭”。钟惺通过撰著《楞严经如说》参与佛学论争,表达了他复兴义学、重整戒律、推尊净土、宣扬华严的四大佛学主张。钟惺凭借文官身份和文坛巨擘的影响力兴办佛教事业,助力晚明佛教复兴运动。\n其一：反对拟古文风。他对明中叶以后盛行文坛的拟古主张加以批驳，指出“作诗者之意兴，虑无不代求其高。高者，取异于途径耳。夫途径者，不能不异者也”（钟惺《诗归序》）。他认为“七子”模拟古人词句，只不过是“取古人之极肤、极狭、极熟便于口手者，以为古人在是”(同前)。因而力求改变这种文风，提出“势有穷而必变”的变革主张（《问山亭诗序》）。\n婡冄頭其條二：主张诗人应抒写“性灵”(或“灵心”)。这种“性灵”或“灵心”是“引古人之精神，以接后人之心目，使其心目有所止焉”，是“求古人真诗所在。真诗者，精神所为也”（《诗归序》）。即要在古人诗词的精神中去寻求性灵。但是，他认为这种古人的真诗精神是“察其幽情单绪，孤行静寄于喧杂之中”，于是他自己的作品极力追求孤僻情怀“别趣理奇”即所谓孤怀、孤诣，且夸耀说：“我辈文字到极无烟火处。”（《答同年尹孔昭书》）\n其三：倡导幽深孤峭的风格。《明史·文苑传》载：“自宏道矫王、李诗之弊，倡以清真，惺复矫其弊，变而为幽深孤峭。”钟惺认为公安派末端文风俚俗、浅率，企图以幽深孤峭的风格加以匡救。但他却走入了另一形式主义极端，往往只顾及字句，忘却篇章，追求奇字险韵，造成一种艰涩隐晦的风格，以致有些诗句语意不畅，令人费解，如“树无黄一叶，云有白孤村”（《昼泊》）等。钟、谭以这种主张为标准评选《诗归》。他们所选唐诗，专取清瘦淡远一格，众所推重的李白《古风》、杜甫《秋兴》等名篇都不选入，试图以幽冷来洗“七子”的绚烂，足可见其主张的长、短，利、弊。钟惺的诗，由于追求幽情孤行，所以大多情思狭窄，题材局促，缺乏深厚广阔的社会内容。不过他苦心吟事，雕字酌句，不遗余力，有些五古游览诗作写得还相当好。如《经观音岩》、《舟晚》等，虽有雕镂之嫌，然寄情绘景，时有名理。其《上巳雨中登雨花台》、《巴东道中示弟栓》，手眼别出，可见清思。另外，有些诗作对社会现实也有所反映，如《江行俳体》12首，写及了“官钱曾未漏渔蛮”的赋税严重情况。\n钟惺记叙、议论、散文亦有一些新奇隽永之作。写景寄情小品《浣花溪记》，以生动细腻笔触描绘了唐代大诗人杜甫成都寓地浣花溪一带逶迤、清幽的景色，抒写对杜甫的敬仰之情，并寄寓自己的情怀。清溪碧潭，移步换景，体现了竟陵派“孤行静寄”的情怀和个性，以及求新求奇的幽深孤峭的风格。此外《游五夷山记》也是此类作品。他的叙议小品《夏梅说》，巧妙地从时令变化，引出赏梅、咏梅人的冷热，进而揭示人情世态的寒暖；对“趋梅于冬春冰雪者”的趋炎附势风气给予嘲讽和批判，构思立意较为新奇。文艺短论《题鲁文恪诗选后》（之二）主张诗文创作宜少而精，提出“不能尽善，而止存一篇数篇、一句数句之长，此外皆能勿作”，反对“多多益善”粗制滥造。并将文章分为三等：“选而作者，上也；作而自选者，次也；作而待人选者，又次也。”\n总之，钟惺诗文主张反拟古，主性灵，有积极一面，他的求新求奇文风，对传统散文有所突破，与公安派一样，对晚明小品文的大量产生有一定的促进作用。而其狭窄的题材及情怀，艰涩幽冷的语言及文风，无疑也束缚了他在创作上取得更大的成就。清代曾将“公安”、“竟陵”之作列为禁书，诋毁排击甚烈。",[7,24,241,1147,173,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9097df1292d5fa86aefd0908953d41ef.jpg",[382],{"id":99473,"slug":99474,"title":99475,"dynasty":76,"author":293,"museum":206,"description":99476,"tags":99477,"thumbUrl":99478,"material":803,"size":64243,"collection":382,"collections":99479,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},240494,"zhang-zhao-lang-guan-bi-ji-zhou-yi-ming-240494","张照郎官壁记轴","張照（1691～1745），字得天，號涇南，亦號天瓶居士，江南婁縣人。康熙四十八年進士。清藏書家、書法家、戲曲家、書畫目錄整理者。\n張照，初名默，字得天、長卿，號涇南、梧窗、天瓶居士。清松江府婁縣人，家住秀野橋西。天資聰敏，通釋氏之教，其作詩豪放好驅使禪語。能詩，善畫，通音律，精鑑賞，尤工書法。19歲成進士，官至刑部尚書，參與修纂《大清會典》及《一統志》。雍正十三年（1735年），為總理苗疆事務經略大臣，赴雲南，以“無功”被劾，革職擬斬後得寬免，命在武英殿修書處行走。乾隆七年（1742年）又升為刑部尚書，精曉法律，曾修訂過一些比較合理的刑事條例。乾隆六年（1741年），奉命與莊親王查明《律呂正義》源委，續修《律呂正義》後編。嗣後主持為平署編纂宮廷大戲，作有雜劇《月令應承》《九九大慶》等；並作傳奇《勸善金科》《昇平寶筏》，規模宏大，各有240出，供宮廷搬演，開“連台本戲”之先河。戲曲研究家星煜評價張照的戲劇創作説：“他是中國連續劇的創始者，無可爭議”。“事實上《勸善金科》和《昇平寶筏》對崑劇、京劇以及各種地方戲的影響遠比人們所想象的大得多”，“如果當年張照沒有編寫這兩部240出的連續劇，我們所看到的楊小樓、鄭長泰、蓋叫天、張翼鵬的悟空戲（猴戲）就不會有那麼豐富多彩”。乾隆九年（1744年），奉命與梁詩正等鑑別宮廷所藏曆代書畫，分類編成《石渠寶笈》（44卷），並主持編纂《秘殿珠林》（24卷）。",[86,7,24,241,178,105,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb221427162600041caae8c71e692323b.jpg",[382],{"id":99481,"slug":99482,"title":99483,"dynasty":99,"author":99484,"museum":20,"description":99485,"tags":99486,"thumbUrl":99487,"material":803,"size":99488,"collection":382,"collections":99489,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},240390,"lin-da-ling-tie-zhou-xing-dong-240390","临大令帖轴","邢侗","邢侗（1551-1612），字子願，號知吾，自號啖面生、方山道民，晚號來禽濟源山主、世尊稱來禽夫子。\n臨邑（山東德州）人，明代書法家、畫家。\n明萬曆二年進士，官至陝西太僕寺少卿。善畫，能詩文，工書，書法為海內外所珍視。與董其昌、米萬鍾、張瑞圖並稱“晚明四大家”並位列其首，與董其昌並稱“北邢南董”。\n邢侗詩則出入李、杜、王、岑，“高古典雅，每每工而拙用之”。五七言律宗唐，古風追漢魏，如《平倭歌》等，頗有“建安風骨”。於鱗之後，子願代興，堪為一代詞宗。晉江友人黃克纘説：“餘時與（子願）唱和，每詩筒至，輙私念：‘此中有佳句’，如尹媫妤望見邢夫人，自痛其不如也”。子願有詩五百餘首，亦收入全集。\n其於繪事，“偶作意寫卷石、莎草、長松、修竹，遊戲點綴，羅羅見其清淑，大抵仿叔明、元章筆意。”不以丹青為長，不過略以自適，卻也落落大方。不過他對繪事的欣賞和理解，還是表明了他的修養品位的，在他對一些名畫的題跋中不難看出。如《題趙子昂墨竹》、《題沈石田畫》等。而其《題沈周花果》説：“畫以三筆五筆得其神者佳。雖筆筆工整、敷彩濃麗，即得其妙，神亦難至。”寫意花鳥畫到了明代，即為水墨寫意大發展時期，崇尚秀雅，強調“士氣”、“書卷氣”，屬文人畫體系。“三筆五筆得其神”，是否可以説在理論上開了“八大山人”的先河呢？邢侗一生之於詩文書畫，畫是着力少了些，但可以説少而不低。\n邢侗博採眾長，遍臨魏、唐、宋諸大家，其臨池之美，以鍾、索、二王為主，尤好右軍書，而得右軍神髓。他自己説：“與右軍書坐卧幾三十年，始克入化。”明周之士《遊鶴堂墨藪》説：“近代邢子願書，精研二王，筆法恆彷彿《十七貼》筆意；即其卷素所書，跡多述王帖，可謂極意臨摹者矣。宋、齊而下，書法衰颯，魏晉風軌掃地者，已非旦夕之故，乃公（侗）獨裒然闢除陋習，追跡逸少，無論其精旨謂何，即其矢志，則已超人一等矣。”\n邢侗行草、篆隸，各臻其妙，而以行草見長；晚年尤精章草。當時與董其昌並稱“南董北邢”，又與米萬鍾，張瑞圖並稱“邢張米董”。但藝術創造力遠不足與董其昌、張瑞圖、黃道周相比。邢侗的長處，即在於他臨古極肖，他的名作多是臨作。他工於諸體，尤其工草書，由於泥古未化古，缺少個性的顯彰。他對晚明末流書法的狂怪無法度十分反感，他的法古是對這些末流書法的警示，其書法史價值也在於此。傳世書跡有《臨王羲之帖》、《論書冊》、《古詩卷》、《臨晉人帖》等。除故宮博物院外，今倫敦博物館，日本、東南亞諸國皆存其書跡。",[7,24,241,173,105,227,1147,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233a266b423f33da1daefa6f4209a229.jpg","175.5×25.4厘米",[382],{"id":99491,"slug":99492,"title":99493,"dynasty":76,"author":2324,"museum":364,"description":89929,"tags":99494,"thumbUrl":99495,"material":743,"size":744,"collection":139,"collections":99496,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},240289,"li-shan-shi-zhou-li-shan-240289","李鱓诗轴",[7,24,241,178,86,227,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308b3c2debc85a55603b171bd6907627.jpg",[],{"id":99498,"slug":99499,"title":99500,"dynasty":99,"author":99501,"museum":20,"description":99502,"tags":99503,"thumbUrl":99504,"mater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他的那首诗句的境界：冻泉依细石，晴雪落长松。\n张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。汉族，晋江二十七都霞行乡人（今青阳镇莲屿下行）人。万历三十五年进士第三（探花），授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。擅长行草书，书法奇逸，学钟、王。山水画学黄公望，苍劲有骨。与董其昌、邢侗、米万钟齐名，时称晚明四大家 。",[7,24,81,173,29,175,34,109,177,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9175b330d087781e104258966dc8b85d.jpg",[],{"id":100410,"slug":100411,"title":23389,"dynasty":76,"author":10376,"museum":364,"description":27021,"tags":100412,"thumbUrl":100413,"material":743,"size":744,"collection":139,"collections":100414,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234963,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234963",[7,24,81,173,177,105,29,430,108,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c2256c7c79abd27570bee507128938.jpg",[],{"id":100416,"slug":100417,"title":23389,"dynasty":76,"author":10376,"museum":364,"description":27021,"tags":100418,"thumbUrl":100419,"material":743,"size":744,"collection":139,"collections":100420,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234961,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234961",[7,24,173,177,3117,81,29,34,176,108,109,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc97e93ee3df5c5120d255db227d823f.jpg",[],{"id":100422,"slug":100423,"title":68979,"dynasty":76,"author":293,"museum":20,"description":68980,"tags":100424,"thumbUrl":100425,"material":665,"size":27037,"collection":139,"collections":100426,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},234909,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234909",[7,24,81,27,26,177,29,176,34,37,30,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43b62b1e5bd3d7a5f2f180e1ad3242ac.jpg",[],{"id":100428,"slug":100429,"title":486,"dynasty":99,"author":57780,"museum":364,"description":100430,"tags":100431,"thumbUrl":100432,"material":139,"size":139,"collection":139,"collections":100433,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234872,"shan-shui-ce-zhao-pu-234872","此作以水墨写意绘就空山春景，远山以淡墨披麻皴轻施晕染，似笼着薄雾轻烟，将山野空濛之态悄然铺展。近岸古木盘曲、修篁挺立，苔点错落点缀坡石，寥寥数笔便勾勒出林泉幽寂之致。\n\n左侧题字笔意疏朗秀逸，墨色浓淡层次分明，诗画相映成趣。整幅没有浓丽设色，纯以水墨写尽春日丘壑的澹远空灵，将文人寄情山水的林下风流藏于尺幅之间，淡而愈浓，简而弥长，尽显文人画以情入画、诗画相融的雅致意韵。",[7,24,81,178,173,29,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07946324d8ab4adf4a14156f7fcd3b5.jpg",[],{"id":100435,"slug":100436,"title":56744,"dynasty":76,"author":100437,"museum":364,"description":100438,"tags":100439,"thumbUrl":100440,"material":743,"size":744,"collection":139,"collections":100441,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234841,"shan-shui-ye-gu-fu-zhen-234841","顾符稹","一作符桢，清代画家。初名稹，字瑟如，后名符稹，字松崖，号小痴，江苏兴化人。能诗、工书、善画，山水、人物远学李昭道，善以勾染作画，近学赵孟頫，以清丽著称。所作笔法工致严谨，细入毫发，树石细笔写生，颇具气势。家贫寒，以卖画自给，故临摹托古者颇多。",[7,173,27,81,177,29,394,108,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeabedbed4db47e76e2c7fe2dd580518.jpg",[],{"id":100443,"slug":100444,"title":100445,"dynasty":99,"author":1012,"museum":364,"description":25925,"tags":100446,"thumbUrl":100447,"material":743,"size":744,"collection":139,"collections":100448,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234840,"fang-bei-yuan-shan-shui-shan-ye-lan-ying-234840","仿北苑山水扇页",[1562,7,1397,177,27,864,430,176,109,491,13778,394,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f39de867eab103772580eacab4813bc.jpg",[],{"id":100450,"slug":100451,"title":85114,"dynasty":76,"author":13111,"museum":20,"description":85115,"tags":100452,"thumbUrl":100453,"material":139,"size":139,"collection":139,"collections":100454,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234821,"qing-chu-liu-da-jia-ji-ce-shan-shui-ce-ye-wu-li-234821",[7,24,81,173,29,174,109,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d8c7036a760a53b283794514f30a12.jpg",[],{"id":100456,"slug":100457,"title":100458,"dynasty":99,"author":14805,"museum":20,"description":39101,"tags":100459,"thumbUrl":100460,"material":990,"size":39104,"collection":139,"collections":100461,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234815,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-xi-yan-chi-tu-ye-wen-jia-234815","吴门诸家寿袁方斋三绝册-文嘉洗砚池图页",[7,24,81,27,86,29,106,1532,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F100d88eefd23d232afb913d921b8e093.jpg",[],{"id":100463,"slug":100464,"title":131,"dynasty":76,"author":90932,"museum":364,"description":90933,"tags":100465,"thumbUrl":100466,"material":743,"size":744,"collection":139,"collections":100467,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234778,"hua-hui-ce-wang-lu-234778",[7,24,81,173,83,453,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1cc923a47fe9c54ae5ae40b582ba50.jpg",[],{"id":100469,"slug":100470,"title":5051,"dynasty":76,"author":56483,"museum":20,"description":56484,"tags":100471,"thumbUrl":100472,"material":990,"size":139,"collection":139,"collections":100473,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234766,"huang-shan-tu-ce-jiang-zhu-234766",[7,24,81,173,177,86,178,227,29,245,109,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dea837a9d05ce0a8212a10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梅花庵主、鱼陆散人、溪山画隐、觚饮道人等，江苏无锡人。工书善画，山水人物兼妙，尤擅画梅。为“江南四吴”之一。",[7,24,1562,173,448,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fdec221d18c1cd0e462b77dfba71b24.jpg",[],{"id":100517,"slug":100518,"title":100519,"dynasty":99,"author":24704,"museum":364,"description":12340,"tags":100520,"thumbUrl":100521,"material":139,"size":139,"collection":139,"collections":100522,"showCount":736,"zanCount":5,"manualWeight":48,"mainColor":49},234566,"qian-gu-shan-shui-shan-qian-gu-234566","钱榖山水扇",[7,24,1562,173,177,29,108,34,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029b8b5681dd97bfa0a51a03620ac928.jpg",[],{"id":100524,"slug":100525,"title":100526,"dynasty":76,"author":100527,"museum":20,"description":100528,"tags":100529,"thumbUrl":100530,"material":139,"size":139,"collection":139,"collections":100531,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234548,"mao-die-tu-zhou-chen-chong-guang-234548","耄耋图轴","陈崇光","陈崇光（1838—1896）原名召，字崇光，后改字若木、栎生，号纯道人，江苏扬州人。初为雕花工，后为虞蟾弟子。\n二十岁前曾参加太平天国革命，随虞蟾同在天京（今南京）绘制壁画。太平天国失败后回扬州，从洪福祥至各地画土地庙。曾客寓皖中蒯氏家，多见宋元名家真迹，力追古人，画艺锐进。工花鸟、人物、草虫、山水，尤长双钩花卉，为当时扬州大家。光绪十三年（1887）黄宾虹曾在扬州从其学花鸟画，受其影响至深，推崇其“极合古法，沉雄浑厚”。吴昌硕赞其“笔古法严，妙意从草篆中流出”。工诗，有一沤山馆选集。卒年五十八。\n传世作品有同治九年（1870）作《松鼠图》轴，著录于《中国书画家印鉴款识》；《麦间野雉图》等现藏扬州市博物馆；《花卉翎毛四条屏》图录于《中国书画报》。工诗，著有《一沤山馆选集》。",[7,24,241,173,27,446,956,604,62,957,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F515aa50ab8e4688023a4fbb689ba2916.jpg",[],{"id":100533,"slug":100534,"title":100535,"dynasty":76,"author":10376,"museum":20,"description":100536,"tags":100537,"thumbUrl":100538,"material":13982,"size":100539,"collection":139,"collections":100540,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234497,"xiu-zhu-you-ting-zhou-wang-hui-234497","修竹幽亭轴","王翚（1632—1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江苏常熟人。清代著名画家，著有《清晖画跋》。其画法精能、风格多样，在清代极负盛名。尝于康熙三十年（1691）奉诏入京主持《康熙南巡图》的绘制，功成后受到皇太子胤礽召见。胤礽绘扇书以“山水清 晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[7,24,209,241,173,177,29,242,175,174,176,109,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":100542,"slug":100543,"title":100544,"dynasty":76,"author":293,"museum":364,"description":91036,"tags":100545,"thumbUrl":100546,"material":139,"size":139,"collection":139,"collections":100547,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234485,"qing-jiang-zuo-wen-xin-ji-ce-zou-zhe-shan-shui-ce-ye-yi-ming-234485","清江左文心集册-邹喆山水册页",[7,173,27,177,81,29,176,34,464,5066,649,1444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceffa03dc34c80a37f79d6bb2778e258.jpg",[],{"id":100549,"slug":100550,"title":100551,"dynasty":76,"author":13367,"museum":20,"description":72929,"tags":100552,"thumbUrl":100553,"material":139,"size":139,"collection":139,"collections":100554,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234464,"zhu-shi-qiu-mu-tie-luo-shen-zhen-lin-234464","竹石秋木贴落",[7,24,173,260,177,242,431,394,245,29,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a82ab16ca030e25d29957577dca4f05.jpg",[],{"id":100556,"slug":100557,"title":100558,"dynasty":76,"author":293,"museum":364,"description":100559,"tags":100560,"thumbUrl":100561,"material":743,"size":744,"collection":139,"collections":100562,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},234449,"qing-ren-wei-luo-wa-jin-gang-xiang-zhou-yi-ming-234449","清人威罗瓦金刚像轴","主尊通体钴蓝，正中牛首忿怒威严，九头层叠舒展，十六臂分持诸般法器，环抱明妃，足踏莲台，身缠烈烈背光火焰，将降伏邪魔的怖畏气势拉满。上方诸天护法身姿各异、神态端严，下方铺陈护法眷属与祥瑞地景。\n\n整幅设色浓丽饱满，石青、朱赤与赤金交晕，线条细密流畅，衣饰纹样繁而不乱，尽显精湛工笔造诣。构图层次井然，以炽热色彩烘托出密宗护法的慑人气场，将宗教神性与审美价值融于一体，是藏传佛教造像唐卡的上乘之作。",[209,7,24,241,259,27,28,106,23349,261,10898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ce941e1e260cdb1a2a914e885c88de.jpg",[],{"id":100564,"slug":100565,"title":17895,"dynasty":76,"author":17896,"museum":364,"description":17897,"tags":100566,"thumbUrl":100567,"material":139,"size":139,"collection":139,"collections":100568,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234375,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234375",[209,7,24,81,27,83,453,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed3d14cfc337364087a6973bd38032ad.jpg",[],{"id":100570,"slug":100571,"title":42277,"dynasty":76,"author":614,"museum":20,"description":100572,"tags":100573,"thumbUrl":100574,"material":1449,"size":139,"collection":139,"collections":100575,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234323,"shan-shui-ren-wu-tu-ce-huang-shen-234323","黄慎，我国清代杰出书画家，福建宁化人，初名盛，字恭寿，恭懋，号瘿瓢子，别号东海布衣，“扬州八怪”之一。黄慎以人物画最为突出，也擅山水、花鸟。他的人物画多以神仙故事为题材，初学上官周，以工笔画居多，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，气象雄伟。黄慎的草书，学自“二王”，更有怀素的笔意。\n“笔一枝，墨一斗，兴酣笔跃墨亦走。笔有神，墨无痕，山重水复蛇龙奔”。所形容的状态与意境，用来形容黄慎的书风十分贴切，疏景横斜，苍藤盘结，具有“字中有画”之趣。\n此外，他的花鸟画宗法徐渭，笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。他虽“不以山水名”，但大幅和小景都各尽其妙，潇洒有致。",[7,173,260,106,227,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5263bc7ea04db8193900e7a1fb7a8c3.jpg",[],{"id":100577,"slug":100578,"title":220,"dynasty":76,"author":707,"museum":12966,"description":70710,"tags":100579,"thumbUrl":100580,"material":1449,"size":22330,"collection":139,"collections":100581,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},234315,"hua-niao-ce-hua-yan-234315",[209,7,24,81,173,27,83,245,281,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a71eb4272a0601ceda8e081d8be8f.jpg",[],{"id":100583,"slug":100584,"title":100585,"dynasty":99,"author":100586,"museum":20,"description":100587,"tags":100588,"thumbUrl":100589,"material":1449,"size":100590,"collection":139,"collections":100591,"showCount":736,"zanCount":5,"manualWeight":48,"mainColor":94},234255,"lian-hua-lao-tu-juan-zhou-guan-234255","莲花落图卷","周官","周官，今江苏苏州人，生卒年不想，大约生活在明中期，善画人物，精于白描。画中后面的那个人个子较高，目盲，背着琵琶，由前面一人用一根细杆牵引；前面那个人正回顾后者，他身上搭着布包，屈腰前行。\n莲花落是一种流传于民间的说唱曲艺艺术。表演者位一人或多人，自说自唱，用以伴奏的乐器称为“七件子”，即右手执两片大竹板，左手执五片小竹板。莲花落，一作莲花乐，源于唐、五代时的“散花月”，最早位僧侣募化时所唱的宣传佛教教义的警世歌曲，宋代开始流行于民间，盛行于明清，大多为盲人表演。",[23,7,24,25,260,173,106,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c1d952ce2747d5d22f310a8a0a1e7a.jpg","纵22厘米 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出雅致意韵，文画相衬间尽显冲淡平和的写生之美。",[23,7,24,241,27,28,260,100797,227,86],"黄精","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd54c43f2fd846dd0981ff954e5ce586.jpg",[],{"id":100801,"slug":100802,"title":100803,"dynasty":292,"author":100804,"museum":364,"description":100805,"tags":100806,"thumbUrl":100807,"material":743,"size":744,"collection":139,"collections":100808,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},231755,"ruo-fa-shi-tu-ping-di-2-ping-xia-cun-guan-shan-231755","弱法师图屏 第2屏","下村观山","下村观山 1873-1930 (明治六-昭和五)58岁。本名晴三郎。和歌山县和歌山市生人,少时问业藤岛常兴.狩野芳崖,后专师桥本雅邦,东京美术学校毕业。",[23,7,28,27,106,448,13231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf5720eb89db9c8280e686504a7f874.jpg",[],{"id":100810,"slug":100811,"title":100812,"dynasty":292,"author":86480,"museum":364,"description":100813,"tags":100814,"thumbUrl":100816,"material":743,"size":744,"collection":139,"collections":100817,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},231625,"shi-ting-shi-dai-shan-yue-song-lin-tu-shou-ye-yuan-xin-231625","室町时代 山岳松林图","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,7,24,173,27,177,29,864,1575,100815,1727],"山岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6cae223afb7683f359816c689e347ba.jpg",[],{"id":100819,"slug":100820,"title":100821,"dynasty":99,"author":1012,"museum":364,"description":100822,"tags":100823,"thumbUrl":100824,"material":12351,"size":100825,"collection":139,"collections":100826,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[23,7,24,25,29,27,177,28,30,176,34,37,1112,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","161×42.9cm",[],{"id":100828,"slug":100829,"title":100830,"dynasty":99,"author":293,"museum":238,"description":100831,"tags":100832,"thumbUrl":100833,"material":67,"size":100834,"collection":139,"collections":100835,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},231543,"han-yi-ke-xiang-yi-ming-231543","韩宜可像","洪武元年（1368），荐授山阴教谕，旋升为监察御史。耿直敢言，弹劾不避权贵。时丞相胡惟庸、御史大夫陈宁、中丞涂节得宠于太祖朱元璋。一日，三人正与太祖从容燕语，宜可直入出示劾稿，弹劾三人险恶奸佞，恃功怙宠，专权树党，擅作威福等罪状，奏请斩此三人。太祖大怒说：“快口御史，竟敢排陷大臣！”命锦衣卫逮捕下狱。旋即释放。洪武九年（1376年），出为陕西按察司佥事。当时官吏有罪，凡处笞刑以上者皆谪屯凤阳，韩宜可上疏抗争，认为官吏有罪，当按情节轻重分别治罪，不宜一概谪屯凤阳。太祖从之。后入朝京都，太祖将罪人没官男女赐予诸司，韩宜可独不受，极言“有罪不应牵连家属，为古来定制。家属连坐，乃滥施刑罚。罪人家属无罪，不当以罪人家口分给各官”。\n曾奉命撰写祭祀钟山、大江文，谕日本、征乌蛮诏，皆合旨意，特授山西右布政使。后因事被谪云南。建文帝即位，起用为云南参政，入拜左副都御史，卒于官。",[23,7,27,28,106,63,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cd3ccfa03c0eb32543d33b262f1351.jpg","142.9x82.1厘米",[],{"id":100837,"slug":100838,"title":61491,"dynasty":18,"author":10088,"museum":206,"description":100839,"tags":100840,"thumbUrl":100841,"material":67,"size":100842,"collection":139,"collections":100843,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":1335},231415,"san-xian-shou-jian-tu-yan-wen-gui-231415","此图原藏清内府钟粹宫，原图无款印，签题“燕文贵二仙授简图”：图描绘世外洞府一处，洞前为一片宽阔的田野，临近洞处为坡岸，碎石横卧，草木和幽篁相间杂牛-在洞前的左侧有几棵古松，树干粗大，向左倾斜生长，枝干曲直向上，树千长有疤节，茂密的枝叶形成浓荫，将其洞府笼罩，洞府前二仙相对而坐，均为道家装束，正面一位年长者以披叶衣，赤足支膝，绾双丫髻，双日凝神，目光视着前方；正面左侧一位头披长发于背部，赤胸支着右腿，右手放置膝部，正在专心聆听对面一位仙者论经说道；正面右侧一位右腿盘坐、左腿支撑，身披道衣绾双髻，手持简册，上体前倾，右手指划，似在论经说道，神情专注，十分投入。\n燕义贵的绘画题材较为广泛，山水最为突出：他画山水不专师法，自成一家，景致多坐，使人有身临其境的感觉，他是一个来自民间的画家，他熟悉并喜爱乡间生活，即使在布局宏大的11．真水画上，也安排各种富于生活情趣的细节：刘道醇《圣朝名画评》说他“初师河东郝惠”，之后“不师于古人，自成一家，而景物万变……，燕家景致无能及者”：燕文贵除擅长山水外，还精于人物画和界画：此《三仙授简图》是他人物画的代表作。\n此图以幽深静寂的洞府为布景，画家用抑朴的线条显示道衣厚实的质感和盘旋褶皱的衣纹，线描笔法劲练，古松数株，也画得坚劲有力：图中人物面部表情，有声有色，特别是前面左边赤胸者，被对面一位手持简册仙人的话语所吸引，聚精会神地凝听着：画家驾驭人物性格，再现特定情境的功力在这一作品中得到充分的表现，树石皆湿笔，松身之鳞，略圈数笔，即以墨水晕染浅深，上缠古藤，其条下垂，用笔极细，若断若续，总之，全图着色淡雅，勾线坚凝而多折，二位仙人姿态各不相同，并在变化错落中达到和谐统一。",[209,7,24,27,28,177,106,29,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde1e2940ee2ffd9f620cc4bb8d71b99.jpg","46.3×41.3公分",[],{"id":100845,"slug":100846,"title":100847,"dynasty":76,"author":10376,"museum":206,"description":100848,"tags":100849,"thumbUrl":100850,"material":827,"size":100851,"collection":139,"collections":100852,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[209,7,24,105,177,173,27,29,3499,176,34,114,2502,1015,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":100854,"slug":100855,"title":18644,"dynasty":18,"author":293,"museum":206,"description":100856,"tags":100857,"thumbUrl":100858,"material":381,"size":100859,"collection":139,"collections":100860,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},231082,"hua-ying-tu-yi-ming-231082","此作以苍鹰为魂，猛禽踞于古松蟠枝之上，身姿挺拔傲岸，目光锐利如炬，铁爪紧扣虬结老干，将猛禽的悍戾威严尽显无遗。翎毛晕染精细，蓬松质感逼真入微，分毫毕现猛禽风神。\n\n淡墨晕染出空寂背景，衬出古松的苍劲荒疏，整幅画面工致写实，兼具文人意趣，将猛禽英武与古木苍浑相融，尽显精妙造诣，题跋环衬，书画相映，更添古雅厚重的沉静气韵。",[7,24,28,27,4307,1015,1062,281,12761,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e583ed5386de66a99ee8f7592775a71.jpg","131.8x65.3",[],{"id":100862,"slug":100863,"title":64054,"dynasty":76,"author":63455,"museum":364,"description":100864,"tags":100865,"thumbUrl":100867,"material":139,"size":139,"collection":139,"collections":100868,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[23,7,173,177,241,29,340,35,108,109,174,176,34,1445,100866],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":100870,"slug":100871,"title":100872,"dynasty":76,"author":10958,"museum":364,"description":100873,"tags":100874,"thumbUrl":100875,"material":139,"size":139,"collection":139,"collections":100876,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},230962,"jie-jiao-tu-dong-bang-da-230962","解角图","此作以长卷铺展平远寒林之境，左处危崖飞泉，枯木虬曲苍劲，麋鹿或俯饮或闲游，野意悠然。中段洲渚错落，寒林与苍松交错排布，留白晕染烟波浩渺，空濛清寂。\n\n全作用色浅淡秀润，山石皴法简净雅致，林木勾勒细致入微，既得元人山水萧散简远之致，又暗含庙堂文雅气韵。将冬日郊野的清旷萧寒，与鹿群自在恬和之态相融，静穆淡远的林下雅趣跃然绢素，是兼具院体工稳与文人意韵的佳构。",[23,7,24,25,27,177,28,29,1015,1575,3167,176,31,15846,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d17b32f4f9101d80e94726c757afe45.jpg",[],{"id":100878,"slug":100879,"title":67594,"dynasty":99,"author":37407,"museum":364,"description":100880,"tags":100881,"thumbUrl":100882,"material":743,"size":744,"collection":139,"collections":100883,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},230929,"shan-shui-tu-shan-mian-wang-wen-230929","王闿（kǎi）运（1833—1916），晚清经学家、文学家。字壬秋，又字壬父，号湘绮，世称湘绮先生。咸丰二年（1852）举人，曾任肃顺家庭教师，后入曾国藩幕府。1880年入川，主持成都尊经书院。后主讲于长沙思贤讲舍、衡州船山书院、南昌高等学堂。授翰林院检讨，加侍读衔。辛亥革命后任清史馆馆长。著有《湘绮楼诗集、文集、日记》等。",[7,24,1562,173,177,29,394,175,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0c458d558107f65a6614c148f4e979.jpg",[],{"id":100885,"slug":100886,"title":3113,"dynasty":76,"author":100887,"museum":364,"description":100888,"tags":100889,"thumbUrl":100890,"material":139,"size":139,"collection":139,"collections":100891,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},230914,"fang-gu-shan-shui-tu-cheng-geng-lu-230914","程庚鹭","此作用淡墨晕染山峦，留白铺陈出空濛水汽，层叠峰峦尽显高远之致，干笔皴擦勾勒山石肌理，湿墨晕染晕出山岚氤氲。崖间村居错落，石阶蜿蜒通幽，点染出林下幽居的闲淡意趣。\n右上角题跋笔墨隽秀，与山水笔墨相映成趣，诗画交融。整体兼具萧散简远的文人意韵，将林泉高致寄于尺幅，观之如临空山幽境，俗虑尽销。",[7,173,177,3117,29,864,297,558,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb8830d376ba0de9a0803b19592cb0df.jpg",[],{"id":100893,"slug":100894,"title":2793,"dynasty":76,"author":614,"museum":364,"description":100895,"tags":100896,"thumbUrl":100897,"material":139,"size":139,"collection":139,"collections":100898,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},230888,"hua-hui-tu-huang-shen-230888","此作以书入画，笔墨淋漓放旷。起首牡丹以淡墨晕瓣、浓墨点苔，脱尽艳俗，尽显清妍雍容。转而绘荷与水仙，老辣纵逸的笔法勾花叶枯荣俯仰，以枯湿浓淡尽显花木生姿，删繁就简，形神兼得。\n\n通卷穿插狂草题诗，书法与绘事相融无间，笔势奇崛跌宕，笔墨风神互通，将诗书画印合一的文人意趣尽致挥洒，一扫拘谨匠气。纵横挥洒间，花木清雅与狂放文心浑然一体，处处皆是超逸不羁的意气，尽显疏野纵宕的大写意气度，把文人画的洒脱风骨寄寓于一花一叶之中。",[23,7,24,25,173,178,1147,86,227,83,243,327,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff735c9e73f19409ab108e9dd0254b44d.jpg",[],{"id":100900,"slug":100901,"title":100902,"dynasty":292,"author":293,"museum":364,"description":100903,"tags":100904,"thumbUrl":100905,"material":743,"size":744,"collection":139,"collections":100906,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},230550,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-2-yi-ming-230550","明清古画动物山水粉本图卷-2","以淡设色铺陈林泉雅境，枯梅虬枝缀着寒花，古拙清癯。坡石间流泉蜿蜒，晕染出空山幽寂的氛围。两位高士策杖缓行，衣袂轻扬，神态悠然，似正寻幽揽胜。\n笔墨清劲秀逸，山石以淡墨皴擦，晕出空濛温润的山林气韵，草木敷色清雅，粉白梅花点活了冬末春初的清灵意趣。将林下高致融于山水小景，淡而有味，简中见雅，尽显文人寄情林泉、避世寻幽的隐逸意趣。",[23,7,25,27,173,28,177,29,106,840,176,34,242,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c4df883e88673fe6cdff89b7a09a8c.jpg",[],{"id":100908,"slug":100909,"title":100910,"dynasty":292,"author":46585,"museum":364,"description":46586,"tags":100911,"thumbUrl":100912,"material":743,"size":744,"collection":139,"collections":100913,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）",[23,7,24,209,241,177,173,27,29,864,430,650,114,491,10030,1445,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":100915,"slug":100916,"title":100917,"dynasty":292,"author":86480,"museum":364,"description":100918,"tags":100919,"thumbUrl":100920,"material":139,"size":139,"collection":139,"collections":100921,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},230486,"zu-shi-tu-shou-ye-yuan-xin-230486","祖师图","画面以飞瀑奇峰开篇，峭壁间白练倾泻而下，撞破山岩的沉凝厚重。古松虬枝横斜，苍劲盘曲，将山野荒古之气铺展开来。雾霭轻笼林谷，柔化了山石棱角，让刚硬的笔墨晕出幽柔的空濛。\n\n拄杖祖师衣袂飘然，独立山巅凝神静望，身影与林泉相融，禅意随云气漫溢。山石以利落斧劈皴勾勒，苍劲老辣，云雾则以淡墨晕染，柔润朦胧。刚柔相生间，将隐者遁入林泉的静穆空灵尽数铺陈，幽寂清远的禅意扑面而来，恍若能听松涛瀑鸣，沉陷这山野禅境之中。",[23,7,24,27,177,29,106,558,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad9555eacda81006abbe5bbe1fcec16.jpg",[],{"id":100923,"slug":100924,"title":100925,"dynasty":76,"author":1703,"museum":364,"description":100926,"tags":100927,"thumbUrl":100928,"material":139,"size":139,"collection":139,"collections":100929,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},230244,"ba-kai-jin-nong-230244","八开","《兰石八开（之一）》是罗聘创作的一幅纸本水墨设色画。\n兰石八开，构思布局、笔墨意趣各有特色。\n一幅“春兰如美人，不采羞自献”，画根植于崖壁上三丛兰花，用墨浓淡相宜，长叶以撇法出之，轻盈摇曳，偃仰有姿。\n一幅“寄君青兰花，惠好庶不绝”，画带根兰花两枝，淡墨点花，薄而润，所谓授人兰花，手有余香。\n一幅“山无一春草，谷有千年兰”，画幽谷兰花，长叶循势纷披，格调清雅秀逸。\n另一幅白描兰花与墨石，“用瞿睿夫勾勒法”所画，别有韵味。\n本册为邓拓捐赠给中国美术馆作品，各图均钤有邓拓收藏印。\n罗聘（17—1799），字遯夫，号两峰，又号花之寺僧、衣云道人等，祖籍安徽歙县，寓居扬州，为金农入室弟子，曾游历越、楚、齐、豫、燕、赵，并三次到北京。\n受金农赞赏，多为其代笔。\n好学无倦，才艺出众，所画题材广泛，兼擅人物、鬼神、佛像、山水、花叶、梅竹，既继承师法，又不拘泥师法，笔调奇特，构思新颖。\n曾因能画鬼而轰动当时，吸引了袁枚、姚鼐、钱大昕、翁方纲等人为之题咏。\n秦祖永推崇其作品为“神品”，评价说：“笔情古逸，思致渊雅，深得冬心神髓。\n墨梅兰竹，均极高妙，古趣盎然；人物佛像，尤奇而不诡于正，真高流逸墨，非寻常画史所能窥其涯者也。\n”他和妻子方婉贞、儿子允绍、允瓒都善画梅，时人称为“罗家梅派”，画法影响了近代的吴昌硕、齐白石。\n著有《香叶草堂集》。",[7,24,81,173,3246,2930,62,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636c7e7ebbabcadea44ca8496db485fe.jpg",[],{"id":100931,"slug":100932,"title":100933,"dynasty":76,"author":100934,"museum":364,"description":100935,"tags":100936,"thumbUrl":100937,"material":139,"size":139,"collection":139,"collections":100938,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},230173,"xi-shan-cun-zhuang-tu-cheng-si-li-230173","溪山村庄图","程嗣立","此作用焦墨干笔绘就山居之景。层峦错落铺展，长松下隐现数椽村居，清溪萦回，板桥轻跨，杂木萧疏生趣盎然。以枯淡劲挺的线条勾勒山石轮廓，皴擦简括老辣，全凭墨色浓淡分出丘壑层次，不施粉彩，尽显山野萧疏清寂之态。画面两侧题跋与山水相映，文气融于笔墨间，将幽居林下的澹泊襟怀寄寓其中，以清简之笔写尽林泉高致，尽显文人山水画简淡冲和的美学意趣。",[23,7,24,241,173,177,29,10380,108,109,34,176,35,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c3fe4a576ada7779c6aaae7dbfd9bb.jpg",[],{"id":100940,"slug":100941,"title":2276,"dynasty":76,"author":10376,"museum":364,"description":100942,"tags":100943,"thumbUrl":100944,"material":139,"size":139,"collection":139,"collections":100945,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},229019,"hua-hui-shan-shui-he-ce-wang-hui-229019","此作绘三株牡丹，朱砂色热烈似燃，莹白如凝脂映光，紫花晕染柔婉绰约。叶片勾勒舒展，脉纹细致，衬得花姿愈发秾艳华贵，笔底尽显牡丹摇曳生姿的娇态。左侧题诗行书隽秀，笔墨与花色相映成趣，晕染间揉合精工与写意，既有野逸生动之态，又具没骨设色的妍丽雅致，将天香国色的雍容尽数铺展，藏着雅致文心与鲜活意趣，尽显花间富贵风雅。",[7,24,28,27,84,327,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb13d9c12b5cebfe97f710421564a29a6.jpg",[],{"id":100947,"slug":100948,"title":100949,"dynasty":76,"author":1109,"museum":364,"description":100950,"tags":100951,"thumbUrl":100952,"material":139,"size":139,"collection":139,"collections":100953,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},228990,"bai-kai-luo-han-tu-21-shi-tao-228990","百开罗汉图21","《石涛大士百页罗汉画册》是 于21年出版的图书。\n石涛（164—177），原名朱若极，又名原济，一作元济。\n别号大涤子、清湘老人、苦瓜和尚、瞎尊者、石道人、痴纯、若极等，朱元璋侄子朱文正子靖江王朱守谦十世孙。\n生于明崇祯十三年（164）。\n①顺治二年（1645）夏，清军攻入南京，福王朱由菘等为清军所擒。\n黄道周、郑芝龙等拥立唐王朱聿键在福州称帝，石涛的父亲朱亨嘉也在桂林自称监国。\n广西巡抚瞿式耜因为朱亨嘉非皇室嫡系，没有资格称帝，暗中遣人报唐王朱聿键，朱聿键遣军攻之，朱亨嘉为其所俘，执至福州，囚禁而死。\n石涛当时年仅5岁，由内宫太监携带逃亡，遁入佛门，太监法号喝涛，朱若极法号石涛，二人以师兄弟相称。\n朱若极遂以石涛知名于世。\n石涛幼年聪颖，喜读书。\n既通晓佛典，复好诗文，并喜爱书画，十余岁时即描摹兰草花卉，小有所成。\n未成人，随师兄喝涛北上，游历荆楚岳阳、武昌一带。\n丁酉年春，复由荆楚云游江浙。\n这一时期，是石涛初学书画的时期。\n于前人书法独喜颜真卿，而没有随着当时风气学习董其昌。\n康熙丁未（1667），石涛至宣城。\n在之后的十多年中，石涛以宣城为中心，往返于宣城、太平和黄山之间，并多次游历黄山。\n得黄山烟云变幻之助，画境日进。\n当时所与游者，有著名画家梅清，曹冠五、半山和尚、黄燕思、梅庚、施闰章、江注、吴震伯等。\n诸人既以诗文相酬唱，复以画艺相切磋。\n而梅清对石涛的影响尤其巨大。\n三游黄山，更对石涛的山水绘画产生了巨大影响。\n石涛这一时期留下的绘画作品如藏于日本泉屋博古馆的《黄山八胜图》、北京故宫博物院所藏的《黄山图》21帧等，就带有明显的新安画派风格，清秀淡雅，多用淡墨枯笔，许多画面可以与黄山风景相对应。\n因此石涛曾题画云：“黄山是我师，我是黄山友。\n心期万类中，黄峰无不有。\n” 除了山水画成就外，石涛同样精于人物绘画，其传世作品经常穿插人物形象。\n石涛勤于摹古，主要师法对象有宋代画家李公麟和米芾等，并留下一些带有浓厚古风的作品。\n《石涛大士百页罗汉图册》就是这一时期的代表作。",[7,24,81,173,260,259,106,394,107,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d6691bef27d77f387063553b249a7f.jpg",[],{"id":100955,"slug":100956,"title":100957,"dynasty":76,"author":13219,"museum":364,"description":100958,"tags":100959,"thumbUrl":100961,"material":139,"size":139,"collection":139,"collections":100962,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},228947,"qing-sha-ji-ying-tu-zhou-bian-shou-min-228947","晴沙集影图轴","《边寿民晴沙集影图轴》是清代边寿民创作的一幅画。\n此图是边寿民画芦雁的代表作。\n图上仅绘芦苇丛边二雁，悠闲宁静，姿态生动自然。\n用笔洗练娴熟，墨色深浅把握自如，反映了画家长期与雁朝夕相对，观察入微，从而达到了“自与心会，画与神契”的意境。\n本幅自题：“晴沙集影，淮海边寿民。\n”钤“颐公”白文印、“寿民”白文印。",[23,7,173,446,241,2522,4895,100960,297],"沙滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a00d913eb5abd9abc798528abcda85b.jpg",[],{"id":100964,"slug":100965,"title":100966,"dynasty":99,"author":100967,"museum":364,"description":100968,"tags":100969,"thumbUrl":100971,"material":743,"size":744,"collection":139,"collections":100972,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},228904,"zhong-li-quan-du-hai-tu-zhao-qi-228904","钟离权渡海图","赵淇","此图绘八仙之一的汉钟离渡海故事。钟离权复姓钟离，汉代大将军，后得道成仙。故称“汉钟离”。此作人物的设色用笔与海水水纹的描绘俱与藏于中国美术馆的明代刘俊绘刘海渡海图相近。但克利夫兰美术馆馆方定其是赵淇所画，或有所据。",[23,7,24,241,27,28,106,259,505,2314,2739,33370,100970],"赤足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dead76f2e44619e34dd4602aa949ed4.jpg",[],{"id":100974,"slug":100975,"title":100976,"dynasty":99,"author":293,"museum":364,"description":100977,"tags":100978,"thumbUrl":100979,"material":743,"size":744,"collection":139,"collections":100980,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},228804,"luo-han-zhu-shou-tu-yi-ming-228804","罗汉祝寿图","画面上下错落铺陈，上方罗汉群像各呈神采，或清癯蔼然，或虬髯肃穆，侍童恭谨随侍，衣纹华彩层叠，晕染细腻，尽显出尘庄严。下方水府神祇率众赴贺，灵怪蛟龙环伺，云涛与浪涛交织翻涌，天际红日悬垂，铺就祥瑞恢宏的祝寿氛围。\n\n整作设色沉厚古雅，矿物颜料晕开浓郁古韵，线条刚柔相济，既绘就罗汉的超然神态，亦勾勒出水族神祇的灵动狞厉，佛道交融的贺寿主题融于尺幅之间，将仙界嘉会的雍容祥瑞尽数铺展，尽显明代宗教人物画的精工意趣。",[23,7,24,1086,28,27,259,106,25116,2718,261,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a9dea4989bd43ec9d2423529c0f803.jpg",[],{"id":100982,"slug":100983,"title":100984,"dynasty":99,"author":293,"museum":364,"description":100985,"tags":100986,"thumbUrl":100987,"material":139,"size":139,"collection":139,"collections":100988,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,7,25,27,28,104,106,107,34,1532,176,115,281,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":100990,"slug":100991,"title":100992,"dynasty":99,"author":293,"museum":364,"description":100993,"tags":100994,"thumbUrl":100995,"material":139,"size":139,"collection":139,"collections":100996,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},228777,"yun-shan-lou-ge-tu-yi-ming-228777","云山楼阁图","淡墨晕开烟霭，留白晕出覆雪层峦，远山如冰棱浮于昏褐天际，将冬日萧寒缓缓铺展。近岸楼台层叠飞檐，斗拱栏楯勾勒精工，丹红暖调破开冷寂，与素裹林木相映成趣。水面空蒙如镜，将天地昏茫融于一色，远近虚实相生，把江楼清旷藏进朦胧烟岚。笔触简淡却意韵悠长，工写兼济，将冷峭冬意与楼阁的沉稳雅致相融，尽显萧寒之中的静谧古雅，恍若让人踏入了一阕清寂悠远的冬日江楼旧梦。",[23,7,24,1562,27,104,29,107,13815,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb59895a5da6a6f6e2388d9f2e68579a.jpg",[],{"id":100998,"slug":100999,"title":101000,"dynasty":99,"author":101001,"museum":364,"description":101002,"tags":101003,"thumbUrl":101004,"material":139,"size":139,"collection":139,"collections":101005,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},228737,"jiang-tian-mu-xue-tu-ye-fan-yun-lin-228737","江天暮雪图页","范允临","淡墨晕染层叠远山，雪色晕开清寒暮色，留白与浅灰晕织出山峦的空濛萧寒。近岸村居错落依偎，老树槎桠间点缀残红，破开些许冷意。一叶扁舟独行寒江，将天地岑寂揉入漾漾水波。\n\n左侧书法笔意疏朗俊逸，诗画相映，把冬日江村的幽隐野趣尽数铺展。简淡笔触写尽江天暮雪的冷旷萧散，将文人林下幽居的寄怀藏进每一处留白，尽显山水间的诗意雅致。",[23,7,24,5990,27,173,178,227,86,29,864,2124,430,35,33072,177,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":101007,"slug":101008,"title":11554,"dynasty":99,"author":67201,"museum":364,"description":101009,"tags":101010,"thumbUrl":101011,"material":139,"size":139,"collection":139,"collections":101012,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},228489,"fang-gu-shan-shui-ce-yun-xiang-228489","此作用笔松秀简净，以浅淡青绿晕染远山，烟岚轻笼山峦，将春山晕化为朦胧柔美的黛色剪影，悠远空寂。近岸老树虬枝舒展，枯荣相衬，坡岸错落间水面静敛，渔舟横陈，村舍掩映在淡雾中，江南平畴的清寂春景宛在眼前。\n\n画作师法宋元古意，以淡墨浅彩营造出空灵简淡的意境，不着意雕琢刻画，将山水的静穆生机融于氤氲烟霭里，尽显文人画冲和淡远的审美意趣，悠悠古意随淡彩墨韵漫开，藏着文人寄情林泉的悠然意绪。",[7,24,81,27,26,29,105,177,174,394,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d9cd7eb052e45097c71bd2f625593c.jpg",[],{"id":101014,"slug":101015,"title":101016,"dynasty":99,"author":1480,"museum":364,"description":101017,"tags":101018,"thumbUrl":101019,"material":139,"size":139,"collection":139,"collections":101020,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":1335},228482,"wen-dao-tu-jing-xin-tang-yin-228482","问道图镜心","此作用苍古暮色铺就底色，虬曲古木错立林间，枝叶以淡墨晕染，晕开幽寂沉敛的林下氛围。画面里旅人卸担驻足，与隐者对坐晤谈，人物情态宛然鲜活，衣纹线条清劲顿挫，兼取院体工致与文人写意之妙。\n\n整体色调沉郁古雅，古旧绢面更添静穆萧散的林下意趣，将寻问道义的幽寂心绪，与明代文人的林下襟怀融于尺幅之间，笔墨简淡却藏悠远禅意，尽显吴门画派雅致淡远的笔墨风神。",[23,7,24,27,28,106,150,430,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a33040bcc2b7fb57b1d476668426699.jpg",[],{"id":101022,"slug":101023,"title":101024,"dynasty":99,"author":8927,"museum":364,"description":101025,"tags":101026,"thumbUrl":101027,"material":139,"size":139,"collection":139,"collections":101028,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},228373,"yu-cun-xi-zhao-tu-ye-chen-huan-228373","渔村夕照图页","平远铺展水岸村居，淡墨轻岚晕染暮色朦胧，杨柳垂绦拂过漾漾水波，错落村舍隐在林烟之间，远山浅黛衔着晚日余晖，将江南渔村的恬然暮色晕染开来，处处漫着水乡暮归的松弛暖意。\n\n左侧题诗笔致隽秀飘逸，诗画相映，把渔樵待归的悠然意境烘托得愈发悠长，尽显文人画诗书画合一的雅致格调，将寻常村居的烟火诗意凝于尺幅间，淡朴温润，余韵悠悠。",[23,7,24,81,27,173,178,29,1532,108,109,106,35,34,4562,1251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cb1ac73c38c3615b0b45103e7c3ca.jpg",[],{"id":101030,"slug":101031,"title":101032,"dynasty":189,"author":293,"museum":364,"description":101033,"tags":101034,"thumbUrl":101036,"material":139,"size":139,"collection":139,"collections":101037,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},228214,"du-hai-tu-ye-yi-ming-228214","渡海图页","此作以极简构局营造出清寂空灵的禅意。画面左侧，仙人安卧枯槎之上，随波缓行，神情悠然自适，将乘槎渡海的古雅意趣融于尺幅。淡墨轻勾细波，晕染出辽远空茫的海面，大片留白代以海天辽旷，不着一字而尽得风流，暗合元代尚简尚意的文人审美。笔致清简含蓄，枯槎的苍古与仙人的闲逸相映，将寄迹天地、物我两忘的隐逸之思藏于淡远意境中，静穆悠远的出世之趣扑面而来。",[23,7,24,5990,173,27,106,101035,1330,174],"海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87321fda6d77770c6e633cb609e50cc8.jpg",[],{"id":101039,"slug":101040,"title":101041,"dynasty":189,"author":293,"museum":206,"description":101042,"tags":101043,"thumbUrl":101044,"material":827,"size":139,"collection":139,"collections":101045,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},228199,"si-xiao-tu-juan-yi-ming-228199","四孝图卷","《四孝圖》描繪故事四則，以圖文相間的方式表達。第一則述王武子之妻割股作羹湯，治癒婆母寒疾；第二則述三國陸績因其母好食橘，乃於進謁袁術席間，懷橘以奉母；第三則述晉王祥為母病中思食鯉魚於冬月，而至江上卧冰求鯉；第四則述後漢曹娥之父溺斃江中不得屍靈，至娥投江，三日後方抱父屍出。是皆孝心感人之事蹟，卷末並附李居敬四孝圖序，論孝之精義。通幅人物，以勻稱之線條為主，細挺而有力。",[23,7,24,25,28,27,86,227,106,34,176,297,114,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43a9f92db263f1582800ca70cba44fa.jpg",[],{"id":101047,"slug":101048,"title":101049,"dynasty":189,"author":293,"museum":364,"description":101050,"tags":101051,"thumbUrl":101052,"material":139,"size":139,"collection":139,"collections":101053,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},228197,"shuang-ji-ling-er-yi-ming-228197","双鹡鸰儿","此作以极简构图，将双禽落于绢素一隅。淡赭晕染底色，晕出秋意清冷。禽鸟造型写实入微，顶羽敷粉莹润蓬松，羽翼以浓淡墨色分理羽片层次，毫纤毕现。双鸟依偎静立，头颈微侧似聆风听雨，身姿安闲亲昵，尽显野趣温情。\n\n笔法工细却不板滞，禽爪劲挺勾勒，立于浅淡坡岸苔痕之上。画面留白开阔悠远，以虚衬实，将郊野清寂氛围晕染开来，尽显元代花鸟画尚简尚意的韵致，于方寸间藏着自然生灵的脉脉温情，淡远平和，余韵悠长。",[7,209,24,83,28,27,281,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb8fd125436b3f31e05dbfff4eb5db0.jpg",[],{"id":101055,"slug":101056,"title":101057,"dynasty":189,"author":293,"museum":364,"description":101058,"tags":101059,"thumbUrl":101060,"material":139,"size":139,"collection":139,"collections":101061,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},228192,"dong-jing-shan-shui-tu-tuan-shan-yi-ming-228192","冬景山水图团扇","此作以全景铺陈冬日丘壑，构图繁密却层次井然。山峦以苍劲的墨笔勾皴，浓淡晕染出山岩的嶙峋骨相，峰顶隐于淡墨烟霭之中，晕出隆冬空蒙萧寒的氛围。虬曲的枯木虬枝如铁，交错于山石林间，尽显冬日荒寒萧索。\n\n山坳间的幽居屋舍，为清寂山林晕开一丝暖意，将山野的静穆与山居的幽隐相融。全作用墨沉郁古雅，以浓淡变化区分山石阴阳向背，枯涩的笔意尽写冬日山林的清寥，暗合林泉高致的隐逸之思，把冬日山野的荒寒淡远与幽居意趣揉合，意境静雅清和。",[23,7,24,1562,29,177,27,1653,394,649,108,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e681fea99720c55e7ea2cf24efa41.jpg",[],{"id":101063,"slug":101064,"title":50937,"dynasty":18,"author":16454,"museum":364,"description":101065,"tags":101066,"thumbUrl":101067,"material":139,"size":139,"collection":139,"collections":101068,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},228169,"xi-cheng-tu-juan-qiao-zhong-chang-228169","这擘窠大字笔力雄强苍劲，中锋行笔尽显厚重质感，墨色枯润互见，焦墨的沉凝与飞白的疏朗交织，尽显老辣朴拙的笔意。“西”字端稳周正，收束内敛，“成”字欹侧跌宕，肆意开张，一动一静间暗合尚意的书法风神。\n\n将秋收的沉实喜悦寄于笔墨，寥寥两字气象浑穆，把丰年的安稳厚重藏于笔锋起落之间，尽显功底与文人笔下的质朴意趣。",[209,7,24,25,178,86,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c7089484860a26da93e367d54fd451.jpg",[],{"id":101070,"slug":101071,"title":101072,"dynasty":18,"author":293,"museum":364,"description":101073,"tags":101074,"thumbUrl":101075,"material":139,"size":139,"collection":139,"collections":101076,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},227919,"dan-ping-qiu-hui-tu-ye-yi-ming-227919","胆瓶秋卉图页","《宋扇面画胆瓶秋卉图》是宋代佚名画家创作的一幅设色扇面画，现藏于 。\n本幅无款。\n鉴藏印钤“交翠轩印”、“神品”、“子京父印”、“项元汴印”、“项墨林鉴赏章”、“张则之”6方。\n画页左侧题诗：“秋风融日满东篱，万叠轻红簇翠枝。\n若使芳姿同众色，无人知是小春时。\n”此为即景诗，描写瓶中之花轻红淡雅，叠簇于翠枝。\n对幅有清乾隆御题诗一首：“花似菊而红，叶则迥然异。\n自题属冬篱，殊难解用意。\n徒以设色工，选藻许其厕。\n辛亥清和御题。\n”钤 “ ”、“自强不息”、“ ”。\n图中瓶架上置一蓝釉长颈瓶，内插 。\n花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。\n秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[23,209,7,24,81,28,27,83,453,244,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46b6b7ac1daeee9117bf4d5b176246.jpg",[],{"id":101078,"slug":101079,"title":101080,"dynasty":18,"author":293,"museum":206,"description":101081,"tags":101082,"thumbUrl":101083,"material":827,"size":139,"collection":139,"collections":101084,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},227915,"jing-bian-tu-yi-ming-227915","经变图","经变画是用画像来解释某部佛经的思想内容。经变画，即经变，亦称变或变相，佛画种类之一，广言之，凡依据佛经绘制之画，皆可称为“变”。敦煌经变画则通常指将某一部甚至某几部有关佛经之主要内容组织成首尾完整、主次分明的大画。敦煌经变内容丰富，形式多样，除了佛经内容外，大量的社会生活内容在经变画中得到生动的体现。许多经变画技巧高超，堪称艺术珍品。\n经变在南朝时即已出现，据唐张彦远《历代名画记》，南朝宋袁倩画有“维摩诘变”，梁时儒童画有“宝积经变”。莫高窟有经变三十三种，持续时间长的有西方净土变、东方药师变、弥勒经变、法华经变、维摩诘经变，数量最多的是东方药师变",[23,7,24,25,259,104,27,106,107,108,281,502,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eabb8213f047d2339b24ab44d915d50.jpg",[],{"id":101086,"slug":101087,"title":101088,"dynasty":18,"author":293,"museum":364,"description":101089,"tags":101090,"thumbUrl":101091,"material":139,"size":139,"collection":139,"collections":101092,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},227914,"na-liang-guan-pu-tu-yi-ming-227914","纳凉观瀑图","《宋扇面画纳凉观瀑图》是宋代佚名画家创作的扇面画。\n作品描绘的是清溪一湾，水阁内一人身着白衣袒胸斜坐，乘凉观瀑的场景。\n《宋扇面画纳凉观瀑图》的画面无款印，对幅清朝乾隆皇帝题 一首。\n钤乾隆内府诸收藏印。\n画面钤有石渠宝笈、宝笈重编等印四方，对开钤有 等印玺。\n全画用笔粗豪，画风近李唐一派而有创新。\n曾经清内府收藏。\n此图原载《宋人名流集藻册》，两边石山挟泉水奔腾，重击大石，水花飞溅。\n阁后老树、丛竹葱郁。\n瀑布高悬直下，平中寓险。\n意境恬静清幽。\n对开有清高宗弘历题诗。\n裱边旧题签为燕文贵纳凉观瀑七字，观其画风，与燕氏无涉，显系后人误题。\n此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。\n水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。\n整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,209,7,24,28,27,177,29,176,107,558,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64712f5a7f4711445c135f242ae95dd1.jpg",[],{"id":101094,"slug":101095,"title":101096,"dynasty":18,"author":293,"museum":364,"description":101097,"tags":101098,"thumbUrl":101099,"material":139,"size":139,"collection":139,"collections":101100,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},227888,"jiang-shan-dian-ge-tu-ye-yi-ming-227888","江山殿阁图页","此作为典型的宋代界画小品，以界尺精工勾绘殿阁重楼，层台叠宇错落排布，朱栏墨瓦细节毕现，梁柱斗拱的规制严整入微，尽显苑囿楼宇的雍容富丽。一侧江天浩渺，淡墨晕染的远山轻描淡写，与工整严谨的殿阁形成虚实对照。\n\n几株垂柳轻曳，点景人物凭栏伫立，为森严的楼阁增添几分灵动生气。咫尺扇面之内，将人工匠造的规整与山水的清远空灵相融，于方寸间铺展出阔大悠远的意境，尽显院体绘画的精湛造诣。",[23,7,1562,104,27,29,107,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6bf586b9279ce366a700cdf11fca25.jpg",[],{"id":101102,"slug":101103,"title":101104,"dynasty":18,"author":293,"museum":364,"description":101105,"tags":101106,"thumbUrl":101107,"material":139,"size":139,"collection":139,"collections":101108,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},227877,"liu-yin-zui-gui-tu-ye-yi-ming-227877","柳荫醉归图页","淡墨晕染出朦胧暮色，岸旁垂柳虬曲柔条拂垂，晕染出郊野空寂慵懒的氛围。画面里二人踉跄前行，袒胸老者脚步虚浮、眉眼惺忪，同伴侧身相挽，将酒后酣醉的神态描摹得鲜活传神。衣纹以简练折线勾勒，灵动写意，袒露的胸腹更添随性不羁之感。细笔点染的苔石杂草，衬出初夏郊野的闲散意趣。\n\n整幅小品以小见大，将市井酒徒的闲散意趣刻画入微，于淡墨轻岚间尽显宋人雅致的日常烟火，把酒后踉跄相依的鲜活模样定格，是极具生活意趣的风俗佳作。",[23,209,7,24,1562,173,27,260,106,3246,430,109,14274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07731deb8fe6e8511dbfea680bcab0c.jpg",[],{"id":101110,"slug":101111,"title":101112,"dynasty":18,"author":293,"museum":364,"description":101113,"tags":101114,"thumbUrl":101115,"material":139,"size":139,"collection":139,"collections":101116,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},227871,"song-gu-wen-dao-tu-yi-ming-227871","松谷问道图","这幅山水小品以淡墨晕染出烟岚轻笼的山谷，留白营造出朦胧空寂的悠远意境。右下古松虬曲苍劲，疏枝错落尽显山野清趣，山石以简淡皴擦勾勒，带着朴拙古雅的质感。\n\n林下二人，一人趺坐松下安闲垂目，一人躬身持礼似在问道，寥寥数笔便将山林雅聚的隐逸意趣刻画尽致。边角古印晕染着岁月沉淀的静穆，整幅画作以简驭繁，将幽闲林下意趣融于尺幅之间，笔墨清简却意韵悠长，尽显雅致的文人山水格调。",[23,7,24,27,177,227,29,1575,106,176,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd1b020784fb705e4d7c880712aa2ad.jpg",[],{"id":101118,"slug":101119,"title":101120,"dynasty":18,"author":293,"museum":364,"description":101121,"tags":101122,"thumbUrl":101123,"material":139,"size":139,"collection":139,"collections":101124,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},227870,"song-xi-fang-ting-tu-yi-ming-227870","松溪放艇图","近岸危石之上老松虬曲蟠郁，旁生枯木寒枝，晕染出深秋荒寂之态。远山以斧劈皴简括勾勒，隐现于淡墨烟霭之中，将江面衬得愈发空阔辽远。水面之上扁舟随波缓行，渔翁垂竿静坐，天地间只剩水波漾开的清寂。\n\n全幅以水墨晕染江南水滨的空濛氤氲，落笔苍劲老辣，皴擦利落，以小景写尽江湖林泉的幽远萧散。将隐士寄情烟波、与世无争的隐逸襟怀融于尺幅间，淡远空灵，尽显宋人山水小品以小见大的精妙，余韵悠长。",[23,7,24,2544,1562,173,27,29,177,1575,560,174,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94dd824de3650215297d3eba319e3578.jpg",[],{"id":101126,"slug":101127,"title":101128,"dynasty":18,"author":18501,"museum":364,"description":101129,"tags":101130,"thumbUrl":101131,"material":139,"size":139,"collection":139,"collections":101132,"showCount":736,"zanCount":5,"manualWeight":48,"mainColor":94},227709,"xie-shen-lao-jun-bie-hao-shi-shi-tu-juan-wang-li-yong-227709","写神老君别号事实图卷","《寫神老君別號事實圖》相傳爲南宋王利用所作，現藏於美國納爾遜美術館。絹本，設色。 南宋進士王利用，字賓王，今四川綿陽人，善於畫山水人物，其書法也是一絕，宋高宗尤其喜歡其書法，愛屋及烏自然也對其畫作頗爲讚賞，但就後人評述，其畫作藝術價值略遜於書法。\n\n王利用入仕之後，成爲了一名宮廷畫師，其畫作多爲宋代院體畫，其中最具代表的就是這幅《寫神老君別號事實圖》。\n\n作爲中國傳統宗教，道教的文化頗爲深入人心，尤其是在宋代這樣一個文化大發展的時代，道教的發展也到達了巔峯。關於道教創始人老子的傳說也非常繁多，本作就講述了老子的前世今生。以三皇時代開始，上三皇時爲玄中法師，下三皇時爲金闕帝君……直到周文王時文邑先生爲止，共10個別稱。",[23,7,24,25,28,27,106,259,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5de22a118e47aaca2e25a2be1379de.jpg",[],{"id":101134,"slug":101135,"title":101136,"dynasty":18,"author":293,"museum":364,"description":101137,"tags":101138,"thumbUrl":101139,"material":139,"size":139,"collection":139,"collections":101140,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},227345,"que-zuo-tu-yi-ming-227345","却座图","此幅绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。”文帝不悦但理在袁盎，只得纳谏，慎妃也只好悻悻而起。该画侧重表现矛盾化解过程中人物微妙的心理变化。本幅人物描绘生动，开脸俊美，衣纹用笔精诣，傅色雅美。配景树石花草，白鹤雾霭一一描写逼真，代表了宋代院画之极高水准。",[23,209,7,24,27,28,106,34,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d6d8a8b9805c31d51599d5becaab8a.jpg",[],{"id":101142,"slug":101143,"title":101144,"dynasty":76,"author":101145,"museum":206,"description":101146,"tags":101147,"thumbUrl":101148,"material":67,"size":101149,"collection":139,"collections":101150,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224599,"bai-hai-qing-he-qing-tai-224599","白海青","贺清泰","乾隆四十八年(西元1783)。达拉罕亲王。汪扎尔多尔济进白海青一架。架上白鹰，铁喙钩爪，羽毛洁白，神情威猛，深得写生之妙，此幅当是与郎士宁同时同地写生而成。两位画家从不同角度观察白鹰，并以逼真手法写生下来。\n中西结合的宫廷绘画 清代没有画院的设置，只在内务府造办处中有画画处和如意馆，负责组织画家为宫廷服务。画家地位低下，或称“南匠”，因画家多系南方人之故，或称“画画人”。画家来源或为原在宫中服务的画家子弟，或大臣推荐，或画家毛遂自荐，均经考核再录用。其中也有大臣如王原祁、蒋廷锡等，虽也创作绘画为宫廷所用，则不在此中。 顺治初见于记载的宫廷画家只有黄应谌一人。康熙时有唐岱、焦秉贞、冷枚等。唐岱山水得王原祁指授，画风亦相近。焦秉贞善山水人物，用透视法，受西方的影响，冷枚为焦秉贞的学生，以人物仕女见长。其后至乾隆时期，画家有丁观鹏、姚文瀚、金廷标、余省、张宗苍、徐扬、陈枚等。他们的作品艺术成就远不及宋代和明代。最具有清代宫廷绘画特色并创造出了艺术成就的是宫廷中的一批来自西方的传教士画家，他们中有意大利人郎世宁、安德义、潘廷章，法国人贺清泰、王致诚，波希米亚人艾启蒙等。他们根据官廷的需要与爱好，用中国的作画工具，综中、西不同的观察和表现方法，如人物用西法，背景则为中法，或背景用中国画家来画；面部塑造采用正面光，减轻明暗对比度，以适合中国传统欣赏习惯等等，因而创造出一种新的风格。",[23,7,24,241,28,27,83,4307,327,314,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de27f18ee00b00b65c920a57e2c0fb.jpg","110x60cm",[],{"id":101152,"slug":101153,"title":101154,"dynasty":76,"author":28662,"museum":364,"description":101155,"tags":101156,"thumbUrl":101157,"material":139,"size":139,"collection":139,"collections":101158,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224568,"yang-liu-mu-gui-tu-xiao-chen-224568","杨柳暮归图","淡墨晕染开朦胧远山，烟霭裹挟着晚春暖意漫过江岸。近岸老柳虬枝舒展，嫩叶青翠点染其间，苍柔兼具，生机暗蕴。板桥之上，耕牛驮着暮色缓步而归，村舍隐在烟树间，晕出恬然的乡野烟火气。\n画师以秀雅笔触勾勒物态，淡彩轻敷晕出水墨交融的空濛氛围，将暮归的悠然诗意藏在烟霭晕染里，题跋与画作相映，更添文人意趣。整幅画定格江南春暮的松弛恬静，铺展出中式文人眷恋的田园闲澹之美，将晚归的温柔烟火揉进湿润暮色里，叫人沉醉在这份乡野安宁中。",[23,7,24,25,27,29,394,108,151,86,227,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda02a8cf79f03f01ab82707564b4930.jpg",[],{"id":101160,"slug":101161,"title":11554,"dynasty":76,"author":13111,"museum":364,"description":101162,"tags":101163,"thumbUrl":101164,"material":139,"size":139,"collection":139,"collections":101165,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},224489,"fang-gu-shan-shui-ce-wu-li-224489","此作用墨苍润清逸，远景山峦以浓淡墨色层叠晕染，峰岫间留白作云气，晕出山影空濛悠远的层次感。近渚汀岸以干笔淡墨勾勒，间以浓墨点苔写林木，简笔轻描村居茅舍，错落隐于烟树之间。\n\n整幅构图疏密相宜，以留白衬出水乡的空阔静穆，干湿互用的笔墨带着松秀苍劲的质感，将江南水畔林泉栖居的闲淡意趣铺展开来，萧散静谧的古韵漫溢其间，仿若引人身临这山水幽居，共赴隐逸悠然的林下之境。",[209,7,24,81,173,177,29,108,109,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753cd9e04c73c33b73d3d06de173f862.jpg",[],{"id":101167,"slug":101168,"title":101169,"dynasty":76,"author":10376,"museum":364,"description":101170,"tags":101171,"thumbUrl":101172,"material":139,"size":139,"collection":139,"collections":101173,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},224456,"shan-chuang-feng-xue-tu-wang-hui-224456","山窗封雪图","此作用高远、平远之法铺展冬山雪景，上部危崖积雪，枯笔勾勒石骨，以皴擦带出嶙峋肌理，留白晕染厚雪，尽现山巅清寒孤峭。中层林木萧疏，焦墨写出虬曲枝桠，寒意里更见笔力苍劲。下部溪岸错落村居，雪覆茅檐，静卧于素色天地间，冷寂之中暗涌脉脉烟火暖意。\n\n全幅水墨晕染层次雅致，将北派山水的雄浑苍劲与南宗笔墨的秀润柔和相融，把冬雪封山的空寂辽远与村居安谧完美揉合，于尺幅间铺展冬日山野的清寂诗意。",[23,7,173,29,177,241,3499,650,1015,35,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde7e2bf5fe9351a53cbd0f3cab14c970.jpg",[],{"id":101175,"slug":101176,"title":1692,"dynasty":76,"author":1394,"museum":364,"description":91688,"tags":101177,"thumbUrl":101178,"material":743,"size":744,"collection":139,"collections":101179,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224436,"shan-shui-tu-wang-shi-min-224436",[23,7,1562,173,29,177,34,114,30,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88dd2455359266ee4edecf48f9ce10fd.jpg",[],{"id":101181,"slug":101182,"title":29,"dynasty":76,"author":52198,"museum":364,"description":101183,"tags":101184,"thumbUrl":101185,"material":139,"size":139,"collection":139,"collections":101186,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224435,"shan-shui-wang-yu-224435","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[23,7,24,29,241,27,173,177,176,34,35,491,10416,1575,194,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":101188,"slug":101189,"title":77869,"dynasty":76,"author":1892,"museum":364,"description":101190,"tags":101191,"thumbUrl":101192,"material":139,"size":139,"collection":139,"collections":101193,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[23,7,24,25,173,177,29,649,34,35,175,560,108,650,38,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":101195,"slug":101196,"title":101197,"dynasty":76,"author":39840,"museum":364,"description":99103,"tags":101198,"thumbUrl":101199,"material":743,"size":744,"collection":139,"collections":101200,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224346,"yan-liu-fu-qing-yun-xi-224346","烟柳浮青",[23,7,24,27,29,3246,35,108,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e304ac9be4b8cdba4fd199f703a2578.jpg",[],{"id":101202,"slug":101203,"title":101204,"dynasty":76,"author":2324,"museum":364,"description":101205,"tags":101206,"thumbUrl":101207,"material":139,"size":139,"collection":139,"collections":101208,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224330,"hua-niao-shi-er-kai-8-li-shan-224330","花鸟十二开8","以留白作冷月，淡墨晕开清寒夜雾，似将月色融在水波之中。三尾游鱼姿态灵动，逆水穿波，浓淡墨色晕出鳞光肌理，简笔勾勒却生机尽显。题诗与画境相映，把秋江月夜的清寂氛围铺陈开来。笔意纵逸随性，极简构图勾勒空濛冷寂的秋夜氛围，淡墨轻岚间尽显写意之妙，将秋江月夜的清宁与游鱼野趣相融，寥寥数笔便将文人画的幽隽禅意藏在水墨之间，尽显闲适自在的画中真意。",[23,7,24,81,173,933,300,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80fc7263cffe35761818ab68354a95e.jpg",[],{"id":101210,"slug":101211,"title":101212,"dynasty":76,"author":2324,"museum":364,"description":101213,"tags":101214,"thumbUrl":101215,"material":139,"size":139,"collection":139,"collections":101216,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224328,"hua-niao-shi-er-kai-6-li-shan-224328","花鸟十二开6","此作用笔兼工带写，左侧草茎以淡赭晕染，细劲清瘦，停驻一只螽斯。虫身刻画入微，翅脉纹理纤毫毕现，似将振翅齐鸣，鲜活灵动感跃然纸面。\n右侧题诗行书纵逸苍劲，笔墨朴拙老辣，与草虫的工致细密形成强烈反差，却又和谐相融。整幅留白疏朗，寥寥数笔便将秋野清寂意趣勾勒尽致，文人雅思托于草虫小景，淡逸间暗藏生趣，把秋日郊野幽谧鲜活的一隅定格，尽显清逸雅致的文人情致。",[23,7,209,24,81,27,178,227,86,83,712,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba01201d5abd9179244671a03940dd41.jpg",[],{"id":101218,"slug":101219,"title":101220,"dynasty":76,"author":2324,"museum":364,"description":101221,"tags":101222,"thumbUrl":101223,"material":139,"size":139,"collection":139,"collections":101224,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224326,"hua-niao-shi-er-kai-4-li-shan-224326","花鸟十二开4","此作以紫藤栖禽入画，错落布置藤蔓花枝，枯藤蜿蜒承托禽鸟，疏密相生。禽鸟以淡赭晕染翎羽，笔触松灵，将茸毛蓬松质感尽显，朱喙圆目，神采机敏生动。紫藤花色清雅柔淡，紫花白蕊垂悬，墨色枝蔓苍劲写意，尽显花木舒展之姿。画面右侧题诗相伴，诗画相融，尽显文人写意的萧散野趣。笔意简逸却神完气足，将花鸟天然野逸之态生动勾勒，淡冶疏朗间尽显写意花鸟的韵致悠长。",[23,7,24,81,446,27,173,83,281,135,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98fe5b0a0d5e0edbe0f54985d9a40440.jpg",[],{"id":101226,"slug":101227,"title":101228,"dynasty":76,"author":2324,"museum":364,"description":101229,"tags":101230,"thumbUrl":101231,"material":139,"size":139,"collection":139,"collections":101232,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224316,"hua-niao-ce-shi-kai-6-li-shan-224316","花鸟册十开6","此作以水墨淡彩写就，右侧顽石以大写意挥就，焦墨点苔，苍劲朴拙，似藏山野沉浑之气。左侧花枝鲜活灵动，叶片以青绿分染，深浅层叠尽显舒展之姿，粉花柔婉点缀枝梢，轻丽动人。\n\n画面左上题以行书，笔意潇洒跌宕，书画相映成趣。笔致兼具放逸与秀雅，不拘成法，将花木清隽生机与顽石沉静古拙相互映衬，诗书画印浑然一体，把寻常小景绘出悠然林下之致，淡彩晕染衬出雅致格调，墨色干湿浓淡尽显写意意趣，尽显疏朗脱俗的文人审美意韵。",[23,7,24,81,446,27,178,227,245,83,1063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0972e453f468c17ec7ec34647dfa52a.jpg",[],{"id":101234,"slug":101235,"title":101236,"dynasty":76,"author":45523,"museum":364,"description":101237,"tags":101238,"thumbUrl":101239,"material":139,"size":139,"collection":139,"collections":101240,"showCount":736,"zanCount":5,"manualWeight":48,"mainColor":94},224271,"shan-shui-hua-hui-ce-qi-fu-shan-224271","山水花卉冊(七)","此作用浅赭素绢为底，淡墨晕染山峦，留白如晴雪覆峰，清寂淡远。近景虬松盘曲遒劲，丹红点染秋林，暖意破开空山萧寒。山坳飞檐小楼隐于林岫之间，尽显幽居雅意。\n笔墨简淡松灵，不事雕饰，以简驭繁，将山林秋意里的静穆萧散融于尺幅中，把出世幽居的雅怀寄寓在淡墨轻彩内，平淡天真余韵悠长，尽显文人画简远清逸的意趣。",[23,7,24,81,27,29,107,394,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ac89da8453aafa9c7af4b69dd3c241b.jpg",[],{"id":101242,"slug":101243,"title":1692,"dynasty":76,"author":27251,"museum":364,"description":101244,"tags":101245,"thumbUrl":101246,"material":139,"size":139,"collection":139,"collections":101247,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224263,"shan-shui-tu-zhang-zong-cang-224263","此作用笔苍劲老辣，山石以干笔皴擦，缀以浓墨点苔，尽显崖壁厚重雄浑。右侧危峰拔地而起，隐见飞瀑垂落，左侧林麓苍郁，杂木间晕染赭红花青，暗合秋意。\n\n溪泉蜿蜒穿谷，山居藏于幽林，水面扁舟轻泛，远景水天一色，构图兼取高远、平远，层次悠长。搭配题诗与朱印，诗书画印浑然一体，将秋山的清疏旷远与林下幽居的雅趣相融，兼具雄奇气象与秀润诗意，意境澹宕空灵。",[23,7,24,241,27,173,29,109,174,34,176,227,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab82f87f0726486e943e9a0edd8c887.jpg",[],{"id":101249,"slug":101250,"title":139,"dynasty":76,"author":2804,"museum":364,"description":101251,"tags":101252,"thumbUrl":101253,"material":139,"size":139,"collection":139,"collections":101254,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},224213,"wu-chang-shuo-224213","此联以石鼓文为宗，线条雄强苍劲，裹纳金石沉厚质感，字形欹正相生，不刻意求匀齐，自带着烂漫古拙的野趣。起收藏露互见，转折圆劲老辣，将金文的沉雄与草书的跌宕意趣相融，笔墨间苍茫朴野，浑穆高古。\n\n上下联排布疏朗错落，左侧小字题款与主体篆字形成虚实对比，右侧长款呼应平衡全局，整体章法灵动又不失庄重，尽显浑朴高华的宗师气象，把篆籀古意与文人意趣完美糅合，笔底自带斑驳岁月淬炼出的金石韵味。",[23,7,24,86,1308,14744,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc0d298aa4ede4233ec14b2303c93d6.jpg",[],{"id":101256,"slug":101257,"title":16381,"dynasty":18,"author":293,"museum":101258,"description":101259,"tags":101260,"thumbUrl":101261,"material":123,"size":17735,"collection":139,"collections":101262,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},223665,"xue-shan-xing-lv-tu-yi-ming-223665","\u0010台北故宫博物院","以高远笔法铺陈层叠雪山，硬峭苍劲的线条勾勒山石骨骼，留白晕染尽显积雪厚重萧寒。谷间云气翻涌，将山体切割出虚实层次，令画面深邃辽远。山脚寒林枯槎萧索，冰河之上板桥隐现，山坳茅舍藏于雪峦间，行旅之人踏雪赶路，为荒寂冬景晕开一缕人间烟火气。\n\n画家以浓淡墨色区分雪色与岩体，皴笔硬朗尽显山石嶙峋质感，将隆冬山野的空寂清寒尽数铺展，于冷寂萧寒的天地间，藏着羁旅暖意，尽显山水写实造境的精妙风骨。",[23,7,24,29,241,177,3499,176,1015,108,559,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e4f11b5e11ba642e4054f5428918dd.jpg",[],{"id":101264,"slug":101265,"title":101266,"dynasty":99,"author":293,"museum":364,"description":101267,"tags":101268,"thumbUrl":101270,"material":139,"size":139,"collection":139,"collections":101271,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},223609,"zhu-lin-bu-chu-tu-ce-yi-ming-223609","竹林哺雏图册","此作用笔细腻工致，苍劲竹枝缀着翠色，竹叶舒展尽显清灵生机。雀巢静栖竹间，数只幼雏探首啾啾，振翅归旋的亲鸟神情急切，将归哺的温情凝于绢面之间。\n\n设色古雅沉静，晕染柔和自然，写实笔意带着院体花鸟的温婉余韵，将林间育雏的日常小景勾勒得脉脉动人。古旧绢色晕开岁月质感，把幽竹清寂与生命温情相融，尽现小品花鸟的雅致意趣，平淡间藏着触动人心的自然诗意。",[23,7,24,81,27,28,83,242,281,50921,101269],"鸟巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc731490b38e5c321d0a8e1945ea3b64b.jpg",[],{"id":101273,"slug":101274,"title":101275,"dynasty":18,"author":293,"museum":364,"description":101276,"tags":101277,"thumbUrl":101278,"material":139,"size":139,"collection":139,"collections":101279,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},223598,"sui-yang-wu-lao-tu-wang-huan-xiang-yi-ming-223598","睢阳五老图 王涣像","老者头戴乌纱，一袭宽袖深青素袍以朱红束腰提点，色调清雅克制。他双手敛于袖中，身形微佝，面上沟壑纵横，尽显九十高龄的苍迈迟暮。\n此作线条凝练精准，淡墨晕染出松弛的皮肤纹理，写实勾勒出耄耋老人的神态气韵，将致仕老臣内敛端肃的沉静气度尽显无遗。古旧绢底衬出肖像的静穆质感，带着宋画特有的平和雅致，以极简笔墨写尽老者为官半生后的安然沉稳，尽显宋代肖像画的写实功力。",[23,209,7,24,241,27,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2a20c3a9cd593416177c1bd5c5372b.jpg",[],{"id":101281,"slug":101282,"title":81539,"dynasty":18,"author":293,"museum":20,"description":101283,"tags":101284,"thumbUrl":101285,"material":40,"size":101286,"collection":139,"collections":101287,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":94},223487,"wu-hua-guo-tu-yi-ming-223487","图中无花果已然成熟，撑开绿萼露出了果实。此图以中锋行笔，淡墨勾勒，线条细劲流畅，显现出画家以线塑形的娴熟功底。叶片色彩的渲染则是先在叶尾部着以墨绿，再用清水将绿色向叶尖晕开，不仅呈现出浓淡有致的色泽变化，且枝叶的鲜活姿态也得以表现。含苞者敷以石绿色，绽开者用白粉染出，清浅的绿色构成画面的主调，体现出宋人花鸟画淡雅清逸的美学品格。\n对幅有清乾隆皇帝御题五言诗一首：“果结必资花，却有无花者。别名木馒头，或因形弗雅。缀子于叶间，累累复若若。七利名徒传，几团见实寡。钱塘特写斯，应寓别意也。庶子与家丞，个中两弗假。”钤印“用笔在心”。",[23,209,7,24,1562,28,27,86,227,81542,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf14fa0588646d6b234f3cb52b18fc.jpg","纵24.8厘米，横25.3厘米",[],{"id":101289,"slug":101290,"title":101291,"dynasty":189,"author":293,"museum":206,"description":101292,"tags":101293,"thumbUrl":101294,"material":123,"size":101295,"collection":44,"collections":101296,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":49},223440,"xuan-fan-yu-hua-tu-zhou-yi-ming-223440","宣梵雨花图轴","此幅画一位蓄须僧人端坐在石上，正在诵读梵文经卷。他的皮肤黝黑，高鼻深目，耳有穿环，从轮廓特征看来应该不是汉人。佛教本是由外地传入的宗教，传世因而也有诸多近于中亚人种造型的胡僧形象，他所阅读的也正是未经中文化的梵文。\n僧人的衣饰精致华美，但表情却虔敬素穆。看他专注的眼神与微张的双唇，似乎对经义心领神会，已有所悟。这时天空中飘下满天花雨，陪侍的白猴也忍不住伸手接取。这样的神迹配合僧人头后的圆光，使得画中更添神异的色彩。\n画中并无绘者的题款。画家描绘人物衣纹的线条圆转，但劲健有力，对僧服上的装饰、飘扬的花朵、以及白猴身上的密毛，不同质感的刻划却十分细腻。山水烟云的背景纯以水墨画成，和衣饰与花雨的鲜艳色彩形成对比。线条粗细兼具、配色明暗协调，在画家的妙笔下，呈现出端凝又神秘的宗教气氛。",[23,7,24,241,259,27,28,106,62,8612,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0f95eadeb3e05a9a8b4a1c9c7942a8.jpg","该幅 175.3x98.2公分；全幅 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[1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 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，以一注冰雪之韵，写出了他简远萧疏，枯淡清逸的特有风格。",[209,7,24,81,178,86,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580a21f2475ced61f129c3785046374e.jpg","纵24.4厘米，横20.1",[2293],{"id":101513,"slug":101514,"title":15832,"dynasty":76,"author":15833,"museum":9181,"description":15834,"tags":101515,"thumbUrl":101516,"material":15837,"size":15838,"collection":139,"collections":101517,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":139},220703,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220703",[23,7,24,209,29,173,27,81,34,176,35,37,177,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5814fa3e46d38ecce71bf3ffe0d290d3.jpg",[],{"id":101519,"slug":101520,"title":101521,"dynasty":189,"author":101522,"museum":9181,"description":101523,"tags":101524,"thumbUrl":101525,"material":101526,"size":101527,"collection":139,"collections":101528,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":139},220659,"wu-lin-sheng-ji-bai-ting-220659","武林胜集","白珽","《武林胜集》诗卷为元人白珽、张楧、邓文原、有在、仇远、张坰、鲜于枢、俞伯奇等于至元二十四年（1287）十二月二日杭州雅聚时之作，兼有诗歌与书法之妙。据卷前白珽序文所记，是日适逢大雪，众人借此而聚，拆北宋盛次仲「飞入园林总是春」句为韵，各赋五言诗。除张坰外，共得七首而录，遂有此卷。其引首有明人篆书「武林胜集」四字，「武林」旧指杭州。是篇序文及诸人诗作，于清人鲍廷博、鲍士恭父子所刊刻的白珽《湛渊遗稿》中有辑录，却将「武林胜集」误作「武陵胜集」。\n\n白珽，字廷玉，号湛渊；仇远，字仁近，号山村。二人由宋入元后长隐不仕，又因同籍钱塘（今浙江杭州），并以诗文闻名，人称「仇白」。 《书史会要》称白珽「德望清重，书学米元章」、仇远「好古博雅，楷书学欧」。此诗卷上，二人书迹正契此评。除「仇白」外，是次雅集中的邓文原与鲜于枢更是元代与赵孟俯齐名的书法大家。鲜于枢，字伯机，号困学民、虎林隐吏等，渔阳（今天津蓟县）人，官至太常寺典簿，工诗擅画精鉴，楷、草书尤为称绝，中岁居西溪而与杭州艺文圈中人物交酬频多。邓文原，字善之，人谓素履先生，绵州（今四川绵阳）人，父徙钱塘，自少即负学名，诗文、书画兼擅，章草成就最受赞誉，曾官国子监祭酒、翰林侍讲学士。张楧，字仲实，号菊存，为南宋「中兴四将」之一张俊五世孙、醇儒牟巘婿。因张俊五世祖由凤翔（今陕西凤翔）迁秦州成纪（今甘肃天水），故张楧有一方印为「西秦张楧」。巧合的是，卷中代仇远录诗的张坰亦是西秦人士，不知二人是否为同宗兄弟。至于有在和俞伯奇二人则殊乏史载，难以稽考。\n\n《武林胜集》诗卷汇集元代多位大家名手的诗文书法，其中如白珽、张瑛、有在等人的书迹传世罕见，弥足珍贵。此卷也校实了历来《四库全书》《元诗纪事》等对于此雅集记载的「武陵」之误。武陵位于湖南，于浙江的武林实有天壤之别。宋元易代，世局丕变，杭州作为两朝艺文活动中心仍是文人荟萃、艺事纷频。此诗卷也从另一角度，展现了其时杭州及寓杭文人、书家、遗民、官员风雅酬唱的一面。",[209,7,24,25,178,86,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ea8f609e0ce0a0cde73e21e1aa456.jpg","水墨,纸本,手卷","画心：22.2 × 170.05 厘米（8 3\u002F4 × 66 15\u002F16 英寸） 画心：22.2 × 279.3 厘米（8 3\u002F4 × 109 15\u002F16 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相融，尽显文人雅士的闲适散淡。笔墨简淡却意韵悠长，设色清雅，红树与青山相映成趣，动静之间传递出悠远静谧的自然之境，契合明代文人画抒情特质，融自然之美与人文情怀于一体，观之如临其境，心随景远。",[7,29,177,27,245,560,106,3500,9111,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7cc67fc8a367175555ca8c738321d9.jpg",[181],"b5ae9a",{"id":102313,"slug":102314,"title":102315,"dynasty":99,"author":29248,"museum":78,"description":102316,"tags":102317,"thumbUrl":102318,"material":139,"size":139,"collection":181,"collections":102319,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":102320},201805,"fang-ni-zan-shan-shui-tu-juan-cheng-jia-sui-201805","仿倪瓒山水图卷","画面取倪瓒典型三段式构图，近坡枯树枝桠如铁线劲挺，细竹摇曳生姿；中景平滩开阔，茅舍隐于林麓，透着幽居静谧；远景山峦淡墨晕染，轮廓简括，空濛无尽。笔墨以淡墨干笔为主，皴擦简练，线条清瘦见骨，留白处意蕴悠长，既得倪瓒“逸笔草草”的萧散神韵，又融自身温润雅致，于简淡中见情致，营造出清旷冷寂却含蓄隽永的山水意境。",[7,25,173,29,1015,177,105,227,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3d09bcb520422bac9fbd025024865fd.jpg",[181],"cab7b0",{"id":102322,"slug":102323,"title":102324,"dynasty":76,"author":68692,"museum":78,"description":102325,"tags":102326,"thumbUrl":102327,"material":139,"size":139,"collection":44,"collections":102328,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":102329},201791,"han-shan-shi-de-tu-zhou-hua-guan-201791","寒山拾的图轴","画面以水墨写意绘寒山拾得二僧，席地坐于古树下。左僧袒胸露腹，笑意盈盈，右手支颐似语；右僧侧首倾听，捧物专注。古树虬枝盘曲，瘤结遍布，墨色浓淡相衬，尽显苍劲古拙之态。背景山石简淡，留白得宜，营造出清幽旷远的氛围。人物衣纹线条流畅洒脱，寥寥数笔便勾勒出衣袂飘逸与闲适心境。画风简括传神，笔墨精炼，融二僧超然情态与山林自在意趣，尽显文人画雅致韵味。",[7,173,106,394,446,241,176,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5ae0fe4629c7c53cfe7bf4ca015834.jpg",[44],"c5b3a1",{"id":102331,"slug":102332,"title":102333,"dynasty":99,"author":1572,"museum":78,"description":102334,"tags":102335,"thumbUrl":102336,"material":139,"size":139,"collection":139,"collections":102337,"showCount":736,"zanCount":5,"manualWeight":48,"mainColor":102338},201776,"mao-yan-guan-kui-tu-zhou-wen-zheng-ming-201776","茅檐灌葵图轴","青绿设色晕染山峦，层叠间云雾缥缈，似将天地连成一片空灵。近坡林木葱茏，枝干盘曲，墨笔勾勒与青绿色点染相映，意趣盎然。溪上小桥卧波，红衣人影凭栏，茅檐隐于树后，尽显林泉之致。笔法工细中含秀逸，山石皴擦见质感，树木点叶富生机，传递出文人寄情山水的闲适心境，满卷雅致清和之气。",[7,29,26,27,108,106,28,177,68247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918ac77c19ceed20162b172e2c59b0b0.jpg",[],"92764f",{"id":102340,"slug":102341,"title":102342,"dynasty":99,"author":102343,"museum":78,"description":102344,"tags":102345,"thumbUrl":102346,"material":139,"size":139,"collection":181,"collections":102347,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":102348},201735,"xi-shan-ru-meng-tu-juan-li-ri-hua-201735","溪山入梦图卷","李日华","水墨淡逸，山水清旷。远山层叠晕染如黛，近树疏枝点染生姿，溪流蜿蜒穿岩过谷，屋舍隐于林麓间，似有幽人栖居。整卷以水墨写意，皴擦简括，意境空灵悠远，如入烟霞梦境，尽显文人画的萧散淡远之趣，藏着画家对自然与心境交融的诗意追寻。",[7,29,25,173,177,178,227,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a3daae7e3c301ae5e16b1d67805746.jpg",[181],"c1b7a7",{"id":102350,"slug":102351,"title":102352,"dynasty":99,"author":3114,"museum":78,"description":102353,"tags":102354,"thumbUrl":102355,"material":139,"size":139,"collection":181,"collections":102356,"showCount":736,"zanCount":48,"manualWeight":48,"mainColor":102357},201734,"lu-he-zeng-bie-tu-zhou-dong-qi-chang-201734","潞河赠别图轴","这幅画以淡墨皴染营造清旷山水之境。近处苍松虬劲，山石以简练皴笔勾勒，间杂疏林；中景小桥横跨溪流，流水潺潺；远景山峦层叠，云雾轻笼，尽显江南景致的雅致。笔墨疏朗灵动，线条温润，既得自然野趣，又含文人画空灵韵味。赠别之情隐于山水间，含蓄深沉，不着一字却尽得风流。画面布局疏密有致，意境淡远，是文人画风格的典型体现，尽显笔墨功力与意境营造的极致追求。",[7,29,2939,12724,177,1575,176,108,109,649,241,34866,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F020d9a6eb4e3829c2236b26a50a48160.jpg",[181],"d3c6a8",{"id":102359,"slug":102360,"title":102361,"dynasty":99,"author":13656,"museum":78,"description":102362,"tags":102363,"thumbUrl":102364,"material":139,"size":139,"collection":44,"collections":102365,"showCount":736,"zanCount":5,"manualWeight":48,"mainColor":102366},201716,"xian-nv-tu-zhou-wu-wei-201716","仙女图轴","画中仙女发髻高挽，簪饰精巧，衣袂飘举间流露温婉雍容之态。以水墨写意手法绘就，线条劲健洒脱，衣纹勾勒兼具刚柔，墨色浓淡变化自然，衬出仙姿的轻盈灵动。豪放笔触中蕴含细腻神韵，将仙女超尘脱俗的气质尽致呈现，彰显独特艺术魅力。",[7,173,106,59,241,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac5721642e56a7cfca048d328cde528.jpg",[44],"ada998",{"id":102368,"slug":102369,"title":102370,"dynasty":99,"author":1083,"museum":78,"description":102371,"tags":102372,"thumbUrl":102373,"material":139,"size":139,"collection":44,"collections":102374,"showCount":736,"zanCount":5,"manualWeight":48,"mainColor":102375},201682,"xi-yuan-tu-juan-chen-hong-shou-201682","西园图卷","这幅画作铺展西园雅集盛景，构图疏密相宜，人物造型古雅奇崛。线条刚柔并济，勾勒出诸贤挥毫题诗、抚琴赏画、品茗对谈的风雅神态，衣袂流转间尽显文人逸趣。设色淡雅温润，山石花木与人物活动相映成趣，营造出清旷悠然的氛围。陈洪绶以独特笔墨，将才情与闲逸融入画面，细节处见匠心，尽显传统文人画的韵致与深度。",[7,25,106,28,178,227,10854,10855,12876,12877,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207bd5d65d801af7bc7f17b3b58e23e2.jpg",[44],"d6bd94",{"id":102377,"slug":102378,"title":6861,"dynasty":99,"author":4904,"museum":78,"description":102379,"tags":102380,"thumbUrl":102381,"material":139,"size":139,"collection":90,"collections":102382,"showCount":736,"zanCount":5,"manualWeight":48,"mainColor":102383},201664,"he-hua-tu-zhou-lu-zhi-201664","这幅荷花图轴笔墨雅致，尽显吴门画派文人意趣。荷花亭亭玉立，花瓣晕染细腻，色泽娇嫩；荷叶以淡蓝设色，层次丰富，叶脉清晰，生机盎然。茎秆挺拔修长，水草点缀其间，姿态灵动。构图疏朗有致，设色清新淡雅，工笔细腻中蕴写意之韵，凝荷塘清幽之美于尺幅，传递出文人画特有的雅致静谧。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级。\n\n画师以写实笔法描摹，精准复刻清初亲贵威仪，朝珠垂挂错落得体，衣褶晕染贴合身形，静穆庄重的仪态呼之欲出。古旧绢面晕开岁月黄褐痕迹，为肖像更添历史沉韵，将勋贵重臣肃穆端方的气度定格于绢素之上，尽显清代纪实肖像画的严谨与厚重质感。",[23,7,24,241,27,28,106,50103,50104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd279d03346d2df24e8040d1fba33fa0e.jpg",[],{"id":102723,"slug":102724,"title":102725,"dynasty":76,"author":293,"museum":364,"description":102726,"tags":102727,"thumbUrl":102728,"material":743,"size":744,"collection":139,"collections":102729,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},288442,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-jia-qing-di-yi-ming-288442","历代帝王贵妃大臣朝服像(嘉庆帝)","此作为工笔重彩肖像，构图端方严整，帝王端坐宝座之上，威仪内敛沉稳。衣袍明黄龙纹织绣精绝，龙姿矫健灵动，辅以繁复宝相花饰，晕染细腻，配色沉穆华贵，朱红镶边衬出尊崇礼制。画师以写实笔触勾勒面容，眉眼刚劲有神，唇角紧抿间尽显九五之尊的端凝气度。背景素净古雅，将视线尽数引向人物，既恪守肖像的礼制规范，又以精湛工笔将帝皇威仪刻画入微，既有纪实的严谨工整，又带着独有的华贵肃穆，尽显肖像画的礼制性与艺术性之美。",[23,7,28,27,106,502,3412,61567,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F906a959d184d25a110bef541d2291e8f.jpg",[],{"id":102731,"slug":102732,"title":102733,"dynasty":76,"author":293,"museum":364,"description":102734,"tags":102735,"thumbUrl":102736,"material":743,"size":744,"collection":139,"collections":102737,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},288435,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yi-qin-wang-pu-jing-yi-ming-288435","历代帝王贵妃大臣朝服像(怡亲王溥静)","爱新觉罗·溥静（1849—1900），爱新觉罗·载敦第一子，同治七年（公元1868年）封为不入八分辅国公，光绪十七年（公元1891年）袭怡亲王，光绪二十六年（公元1900年）薨，后以罪革爵。",[23,7,28,27,53485,3412,3411,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f69f3640dc0852072d56bbc504dcafe.jpg",[],{"id":102739,"slug":102740,"title":102741,"dynasty":76,"author":293,"museum":364,"description":102742,"tags":102743,"thumbUrl":102744,"material":743,"size":744,"collection":139,"collections":102745,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},288434,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yi-qin-wang-ai-xin-jue-luo-zai-yuan-yi-ming-288434","历代帝王贵妃大臣朝服像(怡亲王爱新觉罗.载垣)","爱新觉罗·载垣（1816年10月16日—1861年10月），清朝宗室亲王、大臣。清圣祖爱新觉罗·玄烨六世孙，怡贤亲王爱新觉罗·胤祥的五世孙，怡恪亲王奕勋次子。世袭和硕怡亲王爵位，十二家世袭铁帽子王之一，咸丰帝顾命八大臣之首。曾任御前大臣行走，亲受顾命。清文宗咸丰帝即位后，渐受信用，累官左宗正、宗令、领侍卫内大臣。\n咸丰十一年，与爱新觉罗·端华、爱新觉罗·肃顺等八人受顾命为赞襄政务大臣，掌握实权。同年，慈禧太后与恭亲王奕訢发动“祺祥政变”，载垣在北京被捕，赐白绢自尽。年四十六岁。",[23,7,106,28,27,3412,502,63,50102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa0c1a49c4bdb6d2a89b229ffac0002.jpg",[],{"id":102747,"slug":102748,"title":102749,"dynasty":76,"author":614,"museum":364,"description":30572,"tags":102750,"thumbUrl":102751,"material":743,"size":744,"collection":139,"collections":102752,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},288393,"lai-fu-tu-huang-shen-288393","来蝠图",[23,7,24,241,173,27,446,106,759,758,1959,74583,5508,3753,86,227,4773],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93114a60f6453d3dfac5ef2fcdc2ba14.jpg",[],{"id":102754,"slug":102755,"title":102756,"dynasty":76,"author":10511,"museum":364,"description":34602,"tags":102757,"thumbUrl":102759,"material":743,"size":744,"collection":139,"collections":102760,"showCount":510,"zanCount":5,"manualWeight":48,"mainColor":49},288377,"jia-fu-jia-mu-ba-xun-da-qing-sun-wen-288377","贾府贾母八旬大庆",[23,7,24,28,27,106,39763,2451,15282,102758,107,315],"寿庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6661e0f6b5c796726dc410fb51b051.jpg",[],{"id":102762,"slug":102763,"title":45129,"dynasty":76,"author":1892,"museum":364,"description":51634,"tags":102764,"thumbUrl":102765,"material":743,"size":744,"collection":139,"collections":102766,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},288340,"chun-shan-tu-wang-yuan-qi-288340",[209,7,24,241,29,27,177,176,109,108,34,4614,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d4b65d14996a05e26a163aa4a81e2.jpg",[],{"id":102768,"slug":102769,"title":102770,"dynasty":76,"author":293,"museum":364,"description":102771,"tags":102772,"thumbUrl":102773,"material":743,"size":744,"collection":139,"collections":102774,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},288310,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-kang-xi-de-fei-yi-ming-288310","历代帝王贵妃大臣朝服像(康熙德妃)","此作工笔细致，尽显宫廷肖像的端雅仪范。画中女子神色温婉淡然，眉眼敛着深宫妃嫔的沉静自持。玄色朝服暗纹隐现，石青立领衬出礼制规整，浅褐衬里柔化了沉郁色调，旗头钿饰简约雅致，垂落的耳坠更添温婉。椅背披帛织彩柔丽，缠枝暗晕着古韵，雕花椅座工细写实，处处可见创作的严谨功力。整体用色沉稳克制、层次分明，以细腻写实的笔法，将后妃肃穆端雅的气度铺陈开来，带着清代宫廷肖像特有的典正质感。",[23,7,28,27,106,241,61341,3412],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd25412dff1884a1ca05a228cf8a801f.jpg",[],{"id":102776,"slug":102777,"title":24157,"dynasty":18,"author":293,"museum":364,"description":102778,"tags":102779,"thumbUrl":102780,"material":743,"size":744,"collection":139,"collections":102781,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},288278,"yuan-shui-yang-fan-tu-yi-ming-288278","近岸怪石嶙峋，古木虬枝舒展，浓荫掩映间茅舍半露，策杖行人携稚仆缓步坡头，野逸生趣扑面而来。\n浩渺烟波里，扬帆舟楫破水而行，远山以淡墨轻晕，融在氤氲水雾中。近景繁细皴擦，尽显林木蓊郁苍劲；远景简淡留白，晕出水天寥廓空濛。\n整幅以平远之境铺展江南水色，将行旅闲情与扬帆远渡的悠然揉入尺幅，笔简意足，尽显淡远清旷的诗意，藏着寄情山水的雅致襟怀。",[7,209,24,29,173,27,174,109,175,34,106,650,227,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\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摹古之作的沉静雅致，将冬日江雪的清旷冷寂全然铺展在卷中。",[23,209,7,25,1397,105,2502,649,1247,177,27,19849],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6408c306571f84dbaba80d085ffeb37d.jpg",[],{"id":102849,"slug":102850,"title":102851,"dynasty":99,"author":7722,"museum":364,"description":31597,"tags":102852,"thumbUrl":102853,"material":743,"size":744,"collection":139,"collections":102854,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},287829,"jin-shan-sheng-gai-tu-li-zhou-zhang-hong-287829","金山胜概图立轴",[23,7,241,173,29,107,45487,21302,7741,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cebadaef0cf6edd12f7d29b4761e13c.jpg",[],{"id":102856,"slug":102857,"title":102858,"dynasty":99,"author":293,"museum":364,"description":9251,"tags":102859,"thumbUrl":102860,"material":743,"size":744,"collection":139,"collections":102861,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},287793,"fo-zu-zuo-xiang-yi-ming-287793","佛祖坐像",[23,209,7,24,259,27,106,99137,5713,25116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2745dfde8da022c5388603d2e1f4287c.jpg",[],{"id":102863,"slug":102864,"title":102865,"dynasty":99,"author":102866,"museum":364,"description":102867,"tags":102868,"thumbUrl":102870,"material":743,"size":744,"collection":139,"collections":102871,"showCount":510,"zanCount":5,"manualWeight":48,"mainColor":49},287792,"bao-gong-xiang-song-lian-287792","包公像","宋濂","宋濂（1310年11月4日 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，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。 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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[7,24,241,173,27,29,34,176,108,109,106,227,177,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[181,163],{"id":103758,"slug":103759,"title":68921,"dynasty":76,"author":103760,"museum":364,"description":103761,"tags":103762,"thumbUrl":103763,"material":743,"size":744,"collection":139,"collections":103764,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},236376,"shan-shui-shan-ye-wang-ze-236376","王泽","王泽（？－？），浙江临安人，明朝政治人物。进士出身。\n王泽曾于万历年间接替赖嘉谟任邵武府知府一职，万历年间由岳钟英接任。",[7,24,1562,173,29,177,864,430,297,491,5243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef36f243b6f7752b786cafb501caa1ec.jpg",[],{"id":103766,"slug":103767,"title":103768,"dynasty":76,"author":103769,"museum":364,"description":103770,"tags":103771,"thumbUrl":103772,"material":743,"size":744,"collection":139,"collections":103773,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},236371,"mei-hua-shu-wu-tu-shan-ye-zhu-ben-236371","梅花书屋图扇页","朱本","[清]（1761—1819）字素人，号溉夫，自署竹西，江苏扬州人。",[7,24,1562,173,29,1575,340,840,6698,114,34,176,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ef5ba0670559ca3dc050096d8dcb3e.jpg",[],{"id":103775,"slug":103776,"title":11554,"dynasty":76,"author":103777,"museum":364,"description":103778,"tags":103779,"thumbUrl":103780,"material":139,"size":139,"collection":181,"collections":103781,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},236356,"fang-gu-shan-shui-ce-hu-jie-236356","胡节","胡节，字竹君，号井农，娄东（江苏太仓）人。山水师王翚，笔墨超逸，骨格秀整，虽严守师规，一种超尘拔俗之趣，耕烟（王翚）不能不放其出一头地。兼长杂卉。",[7,24,81,173,177,105,29,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5e6c24fba7d0ae7b5b43ca45dbdb68.jpg",[181,45],{"id":103783,"slug":103784,"title":131,"dynasty":76,"author":1816,"museum":20,"description":52718,"tags":103785,"thumbUrl":103786,"material":990,"size":52721,"collection":139,"collections":103787,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},236314,"hua-hui-ce-wang-shi-shen-236314",[7,24,81,173,448,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F270d7050c40df99455d3a285ab924491.jpg",[],{"id":103789,"slug":103790,"title":103791,"dynasty":99,"author":1083,"museum":364,"description":7913,"tags":103792,"thumbUrl":103793,"material":743,"size":744,"collection":139,"collections":103794,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},236190,"hua-zhu-mei-hong-li-shu-shi-cheng-shan-chen-hong-shou-236190","画竹梅弘历书诗成扇",[7,24,1562,242,448,86,173,27,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21843d8b6020ed0e211a8a2725c828be.jpg",[],{"id":103796,"slug":103797,"title":103798,"dynasty":99,"author":65145,"museum":20,"description":103799,"tags":103800,"thumbUrl":103801,"material":139,"size":139,"collection":181,"collections":103802,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},236183,"shan-shui-ren-wu-shan-ye-zhou-han-236183","山水人物扇页","周翰，是清代画家，即周沈禄，字子章，号南山，工山水、人物。生卒年月不详，约活动于明弘治至嘉靖年间。\n著作：南屏烟雨图，珍藏于北京故宫绘画馆，嘉靖三十四年（一五五五）所画，绢本，此图绘群山如蘑菇般突起，山中乔松老树葱茏茂密，山下白雪滃起，似有[山雨欲来风满楼]之势。数座楼观殿阁和梵宇，或隐于绿阴云雾之中，或屹立于山巅之上。数条小路或盘山绕涧通入峰顶，或隐没于深山幽谷之中。图中山峦以浓淡色皴染出远近层次和凹凸，富有立体的质感。苍松、杂树用笔扎实，而飘浮不定的烟云用留白烘染法。故此图是考查周翰生平、艺绩的重要史料，难能可贵。",[1562,7,29,106,34,227,260,27,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35662cfd206b419ab2d7864093d15a.jpg",[181],{"id":103804,"slug":103805,"title":44715,"dynasty":76,"author":44716,"museum":20,"description":44717,"tags":103806,"thumbUrl":103807,"material":665,"size":44720,"collection":139,"collections":103808,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},236152,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236152",[7,27,28,106,115,34,313,30847,114,1965,53178,37340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f1662325f2499cb91f3f1ed492f26c7.jpg",[],{"id":103810,"slug":103811,"title":43242,"dynasty":76,"author":4005,"museum":20,"description":43243,"tags":103812,"thumbUrl":103813,"material":40,"size":43246,"collection":139,"collections":103814,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},236123,"shan-shui-lou-ge-ce-chen-mei-236123",[7,24,81,27,29,107,176,34,109,104,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cd7b8431d0b02358a7a258104d3b57.jpg",[],{"id":103816,"slug":103817,"title":486,"dynasty":76,"author":70746,"museum":364,"description":103818,"tags":103819,"thumbUrl":103820,"material":139,"size":139,"collection":139,"collections":103821,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},236081,"shan-shui-ce-shen-zong-jing-236081","此作以虚实相生之法铺陈景致，右侧危崖壁立，苍劲皴笔尽显山石肌理，崖下林木错落，浅红点染枝头晕开萧疏秋意，临水茅舍静立，暗合山居幽趣。左侧留白尽写湖光浩渺，远山澹澹浮沉于烟波间，汀渚佳木错落点缀。\n\n笔致松秀简淡，墨色清润层次分明，以淡赭轻敷秋意，将江畔山居的安寂静穆铺展眼前，尽显文人山水空远幽寂的意趣，藏着寄情林泉、超然物外的隐逸襟怀。",[7,24,209,81,27,173,177,29,176,34,35,491,10416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a1ec9339eb075e97e0895732289911.jpg",[],{"id":103823,"slug":103824,"title":486,"dynasty":76,"author":70746,"museum":364,"description":103825,"tags":103826,"thumbUrl":103827,"material":139,"size":139,"collection":139,"collections":103828,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},236079,"shan-shui-ce-shen-zong-jing-236079","此作用笔苍秀温润，近景虬松挺峙，松针层叠如翠盖，坡岸缀苔点石，野意横生。山溪潺湲，板桥轻架，勾连起幽谧的山居意趣。中密林掩映茅庐数间，隐于深翠，暗合幽栖避世之雅。远景危峰峭拔，以干笔皴擦、淡墨晕染山石，将山峦浑朴苍厚的质感晕染开来。\n\n整体设色清和，淡赭铺底衬出山林温润气色。构图疏密相宜，近景幽致与远景浑融相映，铺展出林泉间静穆清寂的氛围，尽显寄情丘壑的文人雅趣，将林下幽居的闲淡意致娓娓道来。",[7,24,209,81,173,27,177,29,864,430,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ae9af8aa5ff3b0f6caa53597504d00.jpg",[],{"id":103830,"slug":103831,"title":103832,"dynasty":99,"author":293,"museum":364,"description":103833,"tags":103834,"thumbUrl":103835,"material":139,"size":139,"collection":139,"collections":103836,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":271},236073,"zhu-jian-shen-yi-tuan-he-qi-tu-zhou-yi-ming-236073","朱见深一团和气图轴","乍看是笑颜可掬的布袋僧人安坐，细观才觉藏着精妙机趣——儒释道三人环抱成圆融一团。左侧文人儒巾飘逸，右侧僧侣袈裟清雅，后方道者冠带隐现，三人面容相互勾连，难分你我。\n\n衣纹圆转柔和，似随呼吸舒展流动，以极简笔墨勾勒出三家神韵，暗合三教合一的文化思潮。把同气相求、共生共荣的东方哲思，藏进这诙谐的视觉巧思里，将世间融洽无间的美好祈愿，凝在这一方圆相之中，浅淡笔墨下满是悠长意蕴。",[7,24,241,27,106,260,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe84e87759243c2e7a6cef849167a26e0.jpg",[],{"id":103838,"slug":103839,"title":23389,"dynasty":76,"author":293,"museum":364,"description":103840,"tags":103841,"thumbUrl":103842,"material":139,"size":139,"collection":139,"collections":103843,"showCount":510,"zanCount":5,"manualWeight":48,"mainColor":94},236065,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236065","此作以淡墨晕染出清寂空濛的山居意趣。远景山峦以披麻皴写就，墨色由浓及淡铺展出层叠高远之势，天际留白隐现远汀归帆，将山野寥廓铺陈开来。中近景茂林环伺村居，石径随溪涧蜿蜒，林木枯荣交错，苍润兼具，藏着幽居山野的安然闲逸。\n\n右上角题跋朱印与画面相映，诗画相融。笔法秀逸温婉，墨色层次淡雅清和，未以泼墨造势，全以轻墨晕染烘托出江南冬末的萧寒清润，将文人山水疏淡静雅的意趣藏在留白与笔墨间，悠悠古意漫溢，尽显沉静淡远的山居诗意。",[7,24,81,173,177,29,109,430,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2bfd48f1008a0136a610b1e86f01286.jpg",[],{"id":103845,"slug":103846,"title":103847,"dynasty":76,"author":9280,"museum":364,"description":49454,"tags":103848,"thumbUrl":103849,"material":743,"size":744,"collection":139,"collections":103850,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},236039,"di-ba-ga-na-wei-ha-wei-la-zhui-za-zun-zhe-ding-guan-peng-236039","第八嘎纳囗哈囗喇缀杂尊者",[7,24,259,27,28,106,227,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a76c950e19d613c9c9b1e76e6b51a5.jpg",[],{"id":103852,"slug":103853,"title":103854,"dynasty":99,"author":50405,"museum":364,"description":103855,"tags":103856,"thumbUrl":103857,"material":139,"size":139,"collection":139,"collections":103858,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},236022,"ren-wu-tu-ce-fang-long-mian-ju-shi-chui-diao-tu-wen-nan-shou-mao-weng-236022","人物图册－仿龙眠居士垂钓图","此作诗画合璧，境致萧散出尘。绘卷以淡墨晕染云烟，崖岸之上，老翁垂竿独钓，简笔勾勒便将其安坐忘机的悠然情态尽显。对面飞瀑流云隐现于烟岚之间，空濛悠远，衬出江湖林下的清寂之境。\n\n题诗呼应画意，将临渊高坐比作神仙襟怀，把垂钓不为渔获、只为寄怀林泉的隐逸心境铺陈开来。笔简而意足，水墨轻岚间尽显静穆淡远的文人雅韵，把心向丘山、超然物外的林下风致淋漓展现，诗画衬发，尽显雅逸出俗的文人寄兴。",[7,24,81,173,105,86,227,106,29,1016,16217,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf37a34ac43c682c605d9c4a280b2d79.jpg",[],{"id":103860,"slug":103861,"title":486,"dynasty":99,"author":29248,"museum":364,"description":103862,"tags":103863,"thumbUrl":103864,"material":139,"size":139,"collection":139,"collections":103865,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},235973,"shan-shui-ce-cheng-jia-sui-235973","此作用淡墨轻皴勾勒山居景致，枯树虬枝斜出，茅舍错落于浅岸，远山晕染如黛，数点飞鸟划破空寂，笔墨极简却意韵悠长，画面清空淡雅，褪去所有繁饰，独留萧寒幽寂的林下氛围。\n\n右侧行书题诗笔意清隽疏朗，诗中夜雨孤庭、松风茶经之句，与画中景致相映成趣。以画寄兴，诗画交融，尽显幽淡孤洁的文人襟怀，将山水作为安放心神的归处，于简淡萧散之中，藏着沉静出尘的文人情思。",[7,24,81,173,178,227,29,394,175,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecdbc7c2eae54d56198a7d05c3c79ada.jpg",[],{"id":103867,"slug":103868,"title":486,"dynasty":99,"author":29248,"museum":364,"description":103869,"tags":103870,"thumbUrl":103871,"material":139,"size":139,"collection":139,"collections":103872,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},235971,"shan-shui-ce-cheng-jia-sui-235971","此作用淡墨写意枯木寒林，虬枝疏朗无叶，遍染萧寒之意。林下路侧，两位戴笠旅人骑驴缓行，简笔轻勾，便将羁旅风尘之态尽显。留白铺陈出空寂辽远的天地，愈发衬出冬日荒寒。\n\n左侧行书清隽秀雅，诗句寄寓旧游怅惘，将暮春孤山的缱绻愁思与客途寂寥相融。诗画相生相合，以极简笔墨铺就清冷萧散的氛围，尽显简淡疏旷的文人意趣，将羁旅怀思的幽绪藏在淡墨素纸之间，淡而有味，雅韵悠长。",[7,24,81,173,29,178,227,106,150,900,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd722b1711789083249d79cb01d992b0e.jpg",[],{"id":103874,"slug":103875,"title":486,"dynasty":76,"author":64824,"museum":364,"description":103876,"tags":103877,"thumbUrl":103878,"material":139,"size":139,"collection":181,"collections":103879,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},235936,"shan-shui-ce-qi-zhi-jia-235936","此作截取一隅丘壑绘就，危崖层叠错落，枯木虬曲盘桓，扎根顽石之上，枝叶疏朗有生趣。淡墨晕染的远山清润空蒙，留白代水，晕出幽寂萧疏的林下意境，笔法简淡却意趣悠长。\n\n左侧行书题跋笔墨舒展隽秀，书画相映，以文释画，尽显诗书画合一的文人雅趣。整幅以枯淡之笔写山水林泉，不做繁复皴染，于简淡苍劲间尽显古拙意韵，将林泉高致寄于尺幅，藏着画者寄情山水、脱略尘俗的襟怀。",[7,24,81,173,29,177,86,178,176,34,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5886999bb81b85f4ae8a784f64d3fa2e.jpg",[181],{"id":103881,"slug":103882,"title":64992,"dynasty":76,"author":30075,"museum":364,"description":103883,"tags":103884,"thumbUrl":103885,"material":139,"size":139,"collection":139,"collections":103886,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},235934,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235934","此作以淡笔轻染山峦，留白铺就烟岚空濛，兼具高远、平远之致。古松虬枝拔起，鳞皴苍劲，点叶灵动间尽显古拙生机。红墙梵寺错落嵌入林麓峰坳，远处浮屠隐现，衬得山林愈发清寂出尘。\n\n笔墨浅绛设色温润柔和，山石皴染清逸雅致，与劲健的松枝形成刚柔对比。边角题诗与画面浑然相合，禅意暗生，将江南佛刹的幽谧灵秀揉入山水间，尽显文人山水的淡远意趣，勾勒出一方出世宁和的栖心之所。",[7,24,81,27,29,177,449,107,13097,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f670e62b372c9129a5a418597bef50.jpg",[],{"id":103888,"slug":103889,"title":64992,"dynasty":76,"author":30075,"museum":364,"description":103890,"tags":103891,"thumbUrl":103892,"material":139,"size":139,"collection":139,"collections":103893,"showCount":510,"zanCount":5,"manualWeight":48,"mainColor":94},235933,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235933","此作用浅赭花青晕染远峰，清润朦胧似笼轻烟，淡墨勾描林岸，留白铺陈湖面，极尽淡远空寂之致。近岸古寺隐于青林，浮屠卓立，湖面轻舟破烟而行，水雾漫过山峦林梢，将梵刹晕染得空灵出尘。\n\n右上角题诗以行书挥就，笔致清隽，书画相映成趣。整体笔墨简淡秀雅，以虚代实，把江南佛刹的幽寂禅意融于湖山烟霭之中，尽显文人情致，观之如临江南幽境，尘虑尽消。",[7,24,81,173,27,177,29,107,175,281,34,13097,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5781fae1c86903fb34e4c1100f474ab.jpg",[],{"id":103895,"slug":103896,"title":103897,"dynasty":99,"author":1012,"museum":364,"description":103898,"tags":103899,"thumbUrl":103900,"material":139,"size":139,"collection":139,"collections":103901,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},235855,"qiu-se-wu-tong-zhou-lan-ying-235855","秋色梧桐轴","枯槎携丹色桐叶横斜，桐子垂挂枝梢，清冷秋意扑面而来。以写意笔法绘就梧桐，浓淡墨色晕染出叶片的阴阳向背，丹粉轻染叶边，将秋深叶渐霜红的景致晕染恰到好处。\n\n独立枝头的山禽刻画工细，翎毛晕染层次分明，神完气足，将林间幽居野禽的娴静之态尽显。画面搭配题跋，诗书画相映，融工致与写意于一体，萧疏清隽的秋林意趣跃然纸上，把秋日林间的静穆生机凝于尺幅，尽显雅致的文人意趣。",[7,24,241,27,173,83,2907,224,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e3e520f01b79f754877fe32b75f2c3.jpg",[],{"id":103903,"slug":103904,"title":486,"dynasty":99,"author":37936,"museum":364,"description":103905,"tags":103906,"thumbUrl":103907,"material":139,"size":139,"collection":139,"collections":103908,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},235830,"shan-shui-ce-li-liu-fang-235830","此帧以淡逸水墨写桐阴幽居意趣，双桐并立，阔笔点染团叶，墨色干湿浓淡相生，苍润清灵，枝干简劲纵逸，暗含拙朴古意。留白处绘平远水色，淡墨晕染岸渚遥岑，虚实相映间漾出幽寂淡远的林下清趣。\n\n画师取元人山水简淡萧散之韵，不事雕琢，以简驭繁，将文人幽淡襟怀寄寓笔墨间。笔底自带冷隽疏朗的林下风致，尽脱尘俗，寥寥数笔便写就幽居恬然意境，淡而弥远，简而味长，尽显尚韵重意的文人画特质。",[7,24,5990,173,446,177,29,34,31,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b25ed91142c57fd8dde09e56ee58ede.jpg",[],{"id":103910,"slug":103911,"title":486,"dynasty":99,"author":37936,"museum":364,"description":103912,"tags":103913,"thumbUrl":103914,"material":139,"size":139,"collection":139,"collections":103915,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},235829,"shan-shui-ce-li-liu-fang-235829","此帧以淡墨写幽居秋山，古松拔地而起，枝桠舒展如盖，笔致苍劲老辣，自带虬劲古拙之态。山峦以干笔皴擦，墨色清润且层次分明，留白处漾出空寂萧散之意。林麓间村居隐现，暗合山居幽寂之趣。\n\n题语评其近董巨遗风，墨淡而神完气厚，不假浓艳而丘壑自存，将江南秋山的清寂淡远尽藏毫端，笔底见出文人画的简雅风神，于水墨疏淡中见出沉厚的笔墨功底，尽显静穆淡远的山水逸韵。",[209,7,24,81,173,177,29,1575,176,35,34,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50162dc314f052934b135c96165978d2.jpg",[],{"id":103917,"slug":103918,"title":486,"dynasty":99,"author":37936,"museum":364,"description":103919,"tags":103920,"thumbUrl":103921,"material":139,"size":139,"collection":139,"collections":103922,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},235828,"shan-shui-ce-li-liu-fang-235828","此作用笔简率松灵，以淡墨晕染江南烟峦。近岸林木错落萧疏，墨色清润柔和层次分明，远山取米家云山意韵，云气与山峦相融无间，朦胧间掩映山居野舍，尽显空濛淡远之致。配题书法古雅朴拙，字句静逸悠然，恰合画面气质，将文人林下幽居的闲雅意趣藏在水墨之间，笔情墨趣间尽显萧散出尘的隐逸之思，淡远清寂的山水意境呼之欲出。",[7,24,81,173,177,29,430,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d89f880a568cf1565161800a792d497.jpg",[],{"id":103924,"slug":103925,"title":486,"dynasty":99,"author":37936,"museum":364,"description":103926,"tags":103927,"thumbUrl":103928,"material":139,"size":139,"collection":139,"collections":103929,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},235824,"shan-shui-ce-li-liu-fang-235824","此作用笔取法米氏云山，以淡墨晕染铺就烟霭空濛之境。远山如黛隐现于云气间，似有若无，尽显朦胧悠远之致。近岸浅滩错落，林木萧疏朴拙，村居隐于林下，野意悠然自生。\n笔墨干湿互济，以浓淡墨色晕染烘托出江南水乡的氤氲诗意，不见繁复勾勒，却将烟岚流荡之态尽现纸面。题画文辞呼应画意，尽显作者对米家山水意趣的追慕，以简淡笔墨写就林泉幽居之雅，不重具象描摹，而重写意传神，将文人寄情丘壑的幽怀融于尺幅之间，整幅淡远空灵，余韵悠长，尽显文人山水的写意风神。",[7,24,81,173,29,864,297,430,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8c27eb6646485221b61effc069f39a.jpg",[],{"id":103931,"slug":103932,"title":131,"dynasty":76,"author":51678,"museum":364,"description":51679,"tags":103933,"thumbUrl":103934,"material":743,"size":744,"collection":139,"collections":103935,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},235715,"hua-hui-ce-zou-xian-ji-235715",[7,24,81,27,452,227],"https:\u002F\u002Fo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适当弯曲，让它更“服帖”。待这些工序全部完成后，用水将裂缝冲洗一遍，把里面的残渣清除干净，才能进行最后的填补。\n填补用的材料叫“盐生”。所谓盐生，其主要成分是生铁，将其研成极细的粉末，颜色为青灰色，使用时用盐水拌和。配置盐生，要准确把握盐与水的比例，盐放少了，铁粉不能充分凝固；盐水过浓，容易起鼓、脱落。补缸师傅凭他的经验，把握得非常精准，一般不会失手。当盐生填满所有的裂缝后，将整条缝口捺平，破缸就补好了。最后补缸师傅特别关照，得把缸放在没有人去的地方阴干，十天半月以后等“盐生”板结了，与新缸一样。",[7,27,28,106,34,104242,315,115,505],"缸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc726f755f97e2b4685ca7f55a2c2214.jpg",[],{"id":104246,"slug":104247,"title":104248,"dynasty":76,"author":104249,"museum":364,"description":104250,"tags":104251,"thumbUrl":104252,"material":139,"size":139,"collection":139,"collections":104253,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234498,"zhi-wan-shan-shui-ce-ye-fan-zhi-wan-234498","志完山水册页","范志完","范志完（？—1643），字叔恺，号成六，本县利民人，宋范仲淹后裔。自幼聪颖，为文高古，母作《八行图》以教之。明朝崇祯四年（1631年）中进士。任宣府、宁国推官、真定知府、关内道副使。崇祯十四年（1641）冬，升右佥都御史、山西巡抚。后任兵部右侍郎兼右佥都御史，总督蓟州、永平、山海、通州、天津诸镇军务。",[7,24,81,27,178,29,394,108,281,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401e4555668bde7cde39e5bc5e7e4548.jpg",[],{"id":104255,"slug":104256,"title":104257,"dynasty":99,"author":91018,"museum":364,"description":91019,"tags":104258,"thumbUrl":104259,"material":139,"size":139,"collection":139,"collections":104260,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234494,"qiu-lin-gui-ya-shan-ye-wei-xue-lian-234494","秋林归鸦扇页",[7,24,1562,173,27,446,177,430,281,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3374a14186c590941f96f205a19e21.jpg",[],{"id":104262,"slug":104263,"title":38411,"dynasty":76,"author":293,"museum":364,"description":22875,"tags":104264,"thumbUrl":104266,"material":743,"size":744,"collection":139,"collections":104267,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":4606},234428,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234428",[209,7,24,241,259,27,28,106,107,34,84,261,114,176,104265],"彩墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212e4bb9df045f93e18c15cd56566f61.jpg",[],{"id":104269,"slug":104270,"title":38411,"dynasty":76,"author":293,"museum":364,"description":22875,"tags":104271,"thumbUrl":104272,"material":743,"size":744,"collection":139,"collections":104273,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234426,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234426",[7,24,241,259,27,28,106,107,261,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561c6f0ed1cd0564dd42c42d53fe8461.jpg",[],{"id":104275,"slug":104276,"title":104277,"dynasty":76,"author":293,"museum":364,"description":22875,"tags":104278,"thumbUrl":104279,"material":743,"size":744,"collection":139,"collections":104280,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},234422,"qing-ren-wen-shu-xiang-zhou-yi-ming-234422","清人文殊像轴",[7,241,27,106,259,9254,11248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41062454f2d21bd449b59a880ac0b151.jpg",[],{"id":104282,"slug":104283,"title":104284,"dynasty":76,"author":293,"museum":364,"description":104285,"tags":104286,"thumbUrl":104287,"material":743,"size":744,"collection":139,"collections":104288,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},234406,"yi-zhu-chao-fu-xiang-zhou-yi-ming-234406","奕詝朝服像轴","画面里帝王端坐龙椅，面容清隽沉稳，少年帝王的端凝威仪尽显。明黄朝服遍饰五彩龙纹与十二章纹样，平金织绣细腻华贵，东珠朝珠垂挂胸前，恪守皇家礼制。背景以素雅绢底衬托朝服繁丽工细，宝座雕饰与地毯纹样呼应宫廷规制。整作以工笔重彩绘就，设色富丽庄重，精准还原清代帝王朝服仪制，将皇权礼制的威严与传统肖像画的写实功力相融，是兼具纪实性与工艺美感的清代御容肖像佳作。",[7,24,241,28,27,106,502,63,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4153a9a64ae3f98bd55a8d47636456a1.jpg",[],{"id":104290,"slug":104291,"title":17895,"dynasty":76,"author":17896,"museum":364,"description":17897,"tags":104292,"thumbUrl":104293,"material":139,"size":139,"collection":139,"collections":104294,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234374,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234374",[7,24,81,260,105,543,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9479227ffbc72ede71b0affa4c5a4c9.jpg",[],{"id":104296,"slug":104297,"title":17895,"dynasty":76,"author":17896,"museum":364,"description":17897,"tags":104298,"thumbUrl":104299,"material":139,"size":139,"collection":139,"collections":104300,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234368,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234368",[7,24,81,105,28,173,83,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7684bb3f531cbe1e38cab47ea70b77.jpg",[],{"id":104302,"slug":104303,"title":486,"dynasty":76,"author":1892,"museum":20,"description":104304,"tags":104305,"thumbUrl":104306,"material":49537,"size":104307,"collection":139,"collections":104308,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234304,"shan-shui-ce-wang-yuan-qi-234304","本幅共十二开，二、五、六、九、十、十二为墨笔，余均为设色。末开自识，款“康熙乙酉垂阳日王原祁题于彀治堂”。引首王撰书：“六法金针”，有董揆、董寿平等印多方。实系画12开，字12开，应以画为主，字作附件。\n王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[7,24,81,173,177,29,176,34,227,175,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0762a3eec0a65f59d303bfcfc56d44.jpg","纵48.1cm，横32.4cm",[],{"id":104310,"slug":104311,"title":1108,"dynasty":76,"author":707,"museum":12966,"description":44757,"tags":104312,"thumbUrl":104313,"material":619,"size":104314,"collection":139,"collections":104315,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234299,"shan-shui-tu-ce-hua-yan-234299",[7,24,81,173,177,29,245,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8d4d6b1b1d3c0b3e8b1f9bfb2fbe25.jpg","31.2x44.7cm",[],{"id":104317,"slug":104318,"title":42302,"dynasty":76,"author":1491,"museum":364,"description":42303,"tags":104319,"thumbUrl":104320,"material":990,"size":139,"collection":139,"collections":104321,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234284,"hua-guo-ce-wang-yun-234284",[7,24,81,27,28,62,698,298,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3165df89097c747392b9de862f31771.jpg",[],{"id":104323,"slug":104324,"title":104325,"dynasty":99,"author":966,"museum":20,"description":104326,"tags":104327,"thumbUrl":104328,"material":40,"size":104329,"collection":139,"collections":104330,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":271},234234,"chui-hong-song-bie-tu-wen-zheng-ming-234234","垂虹送别图","此图卷首有王谷祥篆书引首：“垂虹送别。”画右起为吴江东门城垣、门楼，门下即垂虹桥，经文氏艺术剪裁，桥身只画三孔，桥上有一人，桥左坡底有二人，作话别状。坡左有楼宇一座，望之水天一色，客船扬帆，画左右上皆平林漠漠，远山如黛。左下款：“徵明”。卷后有文氏自题诗一首：“三载松陵重抚绥，忽随征诣向彤墀。一时目际明良会，百里方怀父母慈。岁歉具忧民乏食，政成还免众流簃。垂虹桥下棠千树，画属君侯去后思。”诗中谈到“三载松陵重抚绥”，可见，松陵垂虹桥向为送别之地。画中垂虹桥虽非对景实写，而送别之情，溢于笔墨之中。",[23,7,24,25,173,27,178,86,29,34,108,109,174,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8463e897713ca46c5ae853a46c5af9ca.jpg","纵29厘米，横109厘米",[],{"id":104332,"slug":104333,"title":104334,"dynasty":76,"author":10801,"museum":364,"description":74773,"tags":104335,"thumbUrl":104336,"material":139,"size":139,"collection":139,"collections":104337,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234218,"gu-shan-tan-mei-juan-fei-dan-xu-234218","孤山探梅卷",[23,7,24,25,173,27,28,178,1195,86,29,448,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3be1175cb06f441b1110bd428095b.jpg",[],{"id":104339,"slug":104340,"title":104341,"dynasty":99,"author":966,"museum":20,"description":104342,"tags":104343,"thumbUrl":104344,"material":990,"size":104345,"collection":139,"collections":104346,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234156,"san-you-tu-wen-zheng-ming-234156","三友图","此手卷画兰、菊、竹三段，各有文氏亲笔题咏。用笔写意，简率之中见生动秀逸之致，墨色清润淡雅，显示了诗、书、画结合的笔墨境界。中国传统文化以拟人化的手法，通过褒扬兰、菊、竹的自然属性而歌颂或表彰文人的道德品质，体现了中国花卉画的特殊功能。\n壬寅为明嘉靖二十一年（1542年），文徵明时年73岁。",[23,7,24,25,173,178,86,2939,446,242,452,453,298,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51a77fcfc66d27d311c294bfae0f646.jpg","纵26.1厘米，横475.5厘米",[],{"id":104348,"slug":104349,"title":28858,"dynasty":99,"author":26281,"museum":20,"description":104350,"tags":104351,"thumbUrl":104352,"material":990,"size":139,"collection":139,"collections":104353,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234142,"yun-bai-shan-qing-tu-juan-ding-yun-peng-234142","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”\n传世作品有《待朝图》轴，图录于《中国绘画史图录》下册；《伏虎尊者图》轴，现藏安徽省博物馆；《白马驭经图》轴，藏台北故宫博物院；《洗象图》轴，藏中国美术馆；罗浮花月图〉轴及《漉酒图》轴，藏上海博物馆；《龙王拜观音图》卷，藏中国美术馆；《溪山烟霭图》卷藏南京博物院；《丛山樵径图》轴，藏天津艺术博物馆；《达摩图》轴，藏沈阳故宫博物院；《煮茶图》轴，藏无锡市博物馆；《六祖像图》轴，藏荣宝斋。",[23,7,25,173,29,177,30,37,34,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fe8ffb55ad3c48f2bb14ff4bd9d273.jpg",[],{"id":104355,"slug":104356,"title":104357,"dynasty":99,"author":6930,"museum":20,"description":39753,"tags":104358,"thumbUrl":104359,"material":803,"size":139,"collection":139,"collections":104360,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234125,"gu-mu-ming-jiu-tu-juan-yao-shou-234125","古木鸣鸠图卷",[23,7,24,25,173,178,86,227,83,6398,281,340,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93404907185c0eca0bfabab4c0d12d59.jpg",[],{"id":104362,"slug":104363,"title":73568,"dynasty":18,"author":293,"museum":20,"description":104364,"tags":104365,"thumbUrl":104366,"material":40,"size":73572,"collection":139,"collections":104367,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},234028,"chun-xi-shui-zu-tu-ye-yi-ming-234028","此图是现存宋画中游鱼类题材画的一幅佳作。春暖花开，群鱼戏藻。鲢鱼摆尾漫游，鲶鱼回身在后，鳜鱼则迎头向上，隐喻了“连年有贵”的吉祥含义。画家通过鱼儿欢快游动时自由弯转的体态和藻类植物在游鱼冲击下漂浮不定的形状，巧妙地暗示出流水的动势以及春水的清洌透明感。3尾大鱼均施以工笔重彩，用笔沉稳工致，片片鱼鳞描绘得一丝不苟；而衬景的小鱼、小虾和水藻则纯用没骨法渍染，将鱼虾的灵动和水藻的轻盈表现得恰到好处。\n对幅有清乾隆御题七言诗一首：“庄惠曾论知弗知，传为奇语却无奇。试如驳曰我非子，便是答云彼岂斯。春水初生具春意，文鳞群泳爱文漪。漫訾意浅色鲜耳，颇类濠梁博辩时。戊申仲秋御题。”“戊申”为乾隆五十三年（1788年）。",[7,24,209,28,27,5990,227,933,367,243,10940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a0629fcd5523d535d10cc5f475a26b.jpg",[],{"id":104369,"slug":104370,"title":104371,"dynasty":18,"author":293,"museum":20,"description":104372,"tags":104373,"thumbUrl":104374,"material":67,"size":104375,"collection":139,"collections":104376,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},234007,"liu-tang-fan-yue-ye-yi-ming-234007","柳塘泛月页","图为岸边垂柳，荷叶浮于水面，月牙儿高，小船缓缓行，主人坐几条前，对面坐侍者，小伙子在 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上海书画出版社; 第1版 (24年5月1日) 丛书名: 国宝在线 平装: 44页 开本: 8开 ISBN: 7867285 条形码: 97878672855 尺寸: 29.6 22.4 .6 cm 重量: 299 g 欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，上海书画出版社编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 大慨因传说中佛祖和比丘僧为恶牛说法，使之死后转世到仞利天宫，得须陀还果，从此牛以其温厚忠良的形象出现在人们面前。\n除了任劳任怨、辛勤耕作之外，牛似乎还具有着一种人格的隐喻和象征。\n连圣人之师老子也选择骑青牛西去函谷关，在关内太初宫留下了五千言的《道德经》；南朝陶弘景也曾以画牛自喻婉拒梁武帝诏其出山，留下了『山中宰相』的美名。\n古往今来，牛的形象被喜爱它的人们再三图绘表现，不论是嘉峪关的砖画还是敦煌壁画，我们都可以看到许多无名氏的画牛作品。\n即以大家比较熟悉的卷轴画来说，至迟在晚唐五代时期，画家就对这个题材投入了相当的热情和精力，唐代的名家如韩湿和戴嵩，都擅长画牛。\n这些作品，既体现了唐人的努力生产，也反映出唐代那种以现实题材入画的风尚和社会生活的情调。\n当时戴嵩画水牛尤为著名，《唐朝名画录》谓其得『野性筋骨之妙』。\n不过，起初戴嵩画牛还闹过笑话。\n据说，他有次画了一幅斗牛图，观者大加称赞，可是偏偏有位牧童看了之后却拊掌大笑。\n戴嵩觉得奇怪，问其原因。\n牧童解释说：两牛角斗时，尾巴是夹在两股之间的，你怎么把它画成摇着尾巴呢?牧童的善意批评，对戴嵩启发很大，自那以后，他就深入乡间，与牧童交友，以造化为师，画艺自然精进不已，由此可见唐人作画对写生的重视。\n而韩混的《五牛图》，除了准确自然地表现了牛的生活形态外，更是充满了人格化的魅力，甚至可以从中看出每头牛的个性与年龄来，难怪有些研究者认为其中可能含有某种寓意。\n到了北宋，以描绘畜兽包括牛为内容的绘画被归于特殊的门类，如郭若虚撰写《图画见闻志》，就把畜兽、鱼龙、屋木等题材的作品皆归为『杂画』，与山水、人物、花鸟并列，在一定程度上反映了画牛队伍的逐渐壮大。\n从目前存世的作品看，宋代是牧放题材创作的鼎盛时期。\n不论是作品数量还是艺术水准，都是其他时代准以比似的。\n之昕以如此，笔者以为有几方面原因。\n首先，宋代皇家画院在招贤选才方面，可谓后世之楷模。\n由于采取考试制度，使得一大批有才华的民间画家得以进入社会上层，从而有机会更好地施展他们的艺术特长。\n这些原本长期生活在民间的画家把他们熟悉的富于乡土气息的绘画题材带入禁中，以身边熟悉的人和物为描绘对象，表现其自然朴素的情趣。\n因此，在两宋时期，画院里出现不少牧放题材的作品，直观地反映了宋代的农村生活。\n其次，宋代城市工商业的繁荣乃是以农村经济为基础的，画院画家通过描绘农村劳动生活的甘苦，来贯彻统治者劝喻农桑的意图。\n同时，城市工商经济的繁荣又反过来带动了农村经济的发展，从而使得丰年乐业的广大农民，对于自己的生活取得了新的认识，提出了新的要求。\n作为这种新认识、新要求的形象描绘，牧放题材与其说是农村田园生活的真实再现，毋宁说是对通过劳动生活而使人与自然达到本真契合的淳朴情性进行歌颂，与此同时，这其中又在很大程度上掺入了文人士大夫返璞归真的理想，从而使作品获得了更深刻的寓意。\n从画家个体来说，之所以创作出这么多高水准的艺术作品还在于他们能够正确处理观察生活和运用艺术表现语言之间的关系。\n在对生活的体验和观察方面，后世极少有像宋代画家那样精谨细致、具体人微的。\n所以，这类作品不管是高轴长卷，还是案头小品，它们所具有的生活情趣，无论是丰富性还是真实性，都令后人殊难超越。\n从宋人的画牛作品看，画家的用笔，是从对象出发，以对象的形态为旨归，将朴素的情感蕴藏在精妙的笔法中，这与后来文人画家所追求的『单纯化』表现，所谓『逸笔草草，不求形似』相比照，其问的差异是不喻自明的。\n中国传统绘画讲究诗情画意，这些牧题材的作品同样有着诗意盎然、妙趣横生的意境，这是此一题材自身所具有的魅力。\n在喧嚣的尘世中，面对这些笔佳墨妙的作品，想见烟云清雨，牛羊在野，湖岸风来，轻裾致爽，应该也算偷得浮生半日闲了吧。\n唐韩滉五牛图 唐韩滉五牛图之一 唐韩滉五牛图之二 唐韩滉五牛图之三 唐韩滉五牛图（局部） 唐韩滉五牛图（局部） 宋李唐乳牛图 宋李唐彩薇图 宋阎次平四季牧牛图 宋阎次平四季牧牛图之一 宋阎次平四季牧牛图之二 宋阎次平四季牧牛图之三 宋阎次平四季牧牛图之四 宋阎次平四季牧牛图之四（局部） 宋李迪风雨归物图 宋李迪风雨归物图（局部） 宋李迪风雨归物图（局部） 宋佚名平畴呼犊图 宋佚名平畴呼犊图（局部） 宋佚名牧牛图 ……",[7,24,27,28,151,957,430,1064,431,11647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3a60a9cd87946a5051cb9b8246487f.jpg",[],{"id":104741,"slug":104742,"title":104743,"dynasty":99,"author":293,"museum":364,"description":104744,"tags":104745,"thumbUrl":104752,"material":139,"size":139,"collection":139,"collections":104753,"showCount":510,"zanCount":5,"manualWeight":48,"mainColor":49},231010,"zhong-li-quan-xiang-yi-ming-231010","钟离权像","此作以淡彩勾勒仙真神韵，人物虬髯圆睁，神色威严又暗含疏放之气，袒胸跣足，宽袍线条婉转飘逸，将随性不羁的仙家气度尽显。掌中托举药葫芦，点明其悬壶济世的道者身份。脚下云涛以浓淡墨色晕染，层叠翻涌，烘托出凌虚而行的超然意境。整体设色素净古雅，绢底沉厚的质感更添古朴意蕴，写实的人物刻画结合写意的空灵氛围，凝练勾勒出正阳仙风，尽显道释人物画的传神功力。",[7,104746,27,28,446,104747,104748,48541,104749,6644,104750,45180,104751],"道释人物画","钟离权","药葫芦","袒胸跣足","疏放","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dcc097de9e5f9c7d08277b848cfb6c5.jpg",[],{"id":104755,"slug":104756,"title":10395,"dynasty":99,"author":24267,"museum":364,"description":30050,"tags":104757,"thumbUrl":104758,"material":743,"size":744,"collection":139,"collections":104759,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},230991,"yu-le-tu-zhou-chen-230991",[7,24,29,1016,28,177,173,27,174,1351,109,108,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d5492e12e7ca9101bce747991b1ada.jpg",[],{"id":104761,"slug":104762,"title":1540,"dynasty":99,"author":104763,"museum":364,"description":104764,"tags":104765,"thumbUrl":104766,"material":743,"size":744,"collection":139,"collections":104767,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},230926,"zhu-shi-tu-feng-ke-shi-230926","冯可实","此作用泥金扇面为底，以写意法绘湖石，皴擦之间尽显朴拙苍劲。石畔新篁疏朗错落，竹叶俯仰欹侧，墨色浓淡层叠，尽显清翠舒展之姿。数只春燕掠飞于竹石之间，为幽寂小景添上灵动生气。左侧题以行书，笔致率意洒脱，与画面浑然相融，书画合璧尽显文人雅趣。整幅笔墨简逸随性，以寥寥笔意勾勒出林泉闲居的幽澹意境，将尘外闲思寄于尺幅扇面之中，尽显写意小品的雅致情致。",[7,24,1562,173,242,431,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1485b46c8b893c3699de9f0da56a44.jpg",[],{"id":104769,"slug":104770,"title":104771,"dynasty":76,"author":104772,"museum":364,"description":104773,"tags":104774,"thumbUrl":104775,"material":139,"size":139,"collection":139,"collections":104776,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},230860,"lin-wang-xi-zhi-shu-dou-tie-zhang-zhao-230860","临王羲之蜀都帖","张照","此作用笔雄健酣畅，提按转合间尽显流转灵动，既恪守原帖使转精熟的草法要义，又融入自身劲爽刚健的笔性特质。牵丝映带之间行气贯通，通篇字势欹正相生，错落有致。\n\n墨色枯润互见，浓墨处厚重沉稳，枯笔处筋骨毕现，将原尺牍的萧散雅韵，化作更具张力的笔墨节奏。临帖却不拘泥于形，师古又能自出机杼，将尺牍的随性自然，以饱满笔力演绎出舒展磅礴的庙堂气象，让古帖意蕴焕然新生，尽显草书奔放而不失法度的意趣。",[7,24,241,105,178,86,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec530e4987f559489814dbbe4501b02.jpg",[],{"id":104778,"slug":104779,"title":104780,"dynasty":292,"author":293,"museum":364,"description":104781,"tags":104782,"thumbUrl":104784,"material":743,"size":744,"collection":139,"collections":104785,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},230553,"ming-qing-fen-ben-guai-qi-niao-shou-tu-juan-yi-ming-230553","明清粉本 怪奇鸟兽图卷","此卷以淡墨轻彩绘就一众神异灵禽怪兽，将飞禽躯体与奇诡异象相融，或人面鸟身，或虎躯多头。翎羽晕染细腻写实，异兽造型怪诞幽奇，把志怪传说中的精怪具象呈现。\n每只异兽旁题书小字，图文呼应，似在低声诉说古朴妖异的怪谈物语。泛黄的纸本晕开岁月旧痕，设色调和古拙，带着幽玄氛围感，写实绘法与奇幻构想交织，勾勒出浪漫诡谲的异世百图景，尽显古雅怪诞的独特意趣。",[23,7,24,25,27,28,957,224,7281,245,104783,19839],"飞禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fecc5cc915716ebd972e929bfeddb0d.jpg",[],{"id":104787,"slug":104788,"title":104789,"dynasty":76,"author":293,"museum":364,"description":104790,"tags":104791,"thumbUrl":104793,"material":743,"size":744,"collection":139,"collections":104794,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},230335,"bai-miao-tu-miao-man-tu-shuo-er-yi-ming-230335","百苗图苗蛮图说(二)","淡青晕染的峰峦铺展作背景，山岩田埂旁，农人们暂歇劳作。有人肩扛锄头、携着竹篮未卸疲惫，有人围坐木盆边分食休憩，老者拄锄长舒意气，少年们围蹲谈笑。\n\n淡墨勾形设色清浅，衣褶简括生动，将黔地苗民劳作间隙的松弛日常定格。粗朴的农具、素净的布衫，都晕着山乡烟火的暖意，没有繁复勾勒，却把边地庶民的鲜活日常细腻铺陈，藏着山野间悠然又温热的生活质感，是对西南乡野烟火的温柔描摹。",[7,27,28,106,29,176,34,11352,104792,74111,12996,11354],"木桶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273aaf9e804bdc1d7695fc4954ed82f5.jpg",[],{"id":104796,"slug":104797,"title":104798,"dynasty":76,"author":836,"museum":364,"description":104799,"tags":104800,"thumbUrl":104801,"material":139,"size":139,"collection":139,"collections":104802,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},230250,"hua-jian-la-ying-xiang-ce-dong-gao-230250","画饯腊迎祥册","此作画意清和淡远，枯木虬枝舒展，寒林间啼禽栖止，竹影清疏衬着玲珑湖石，村舍院落隐于林后，小童行人缓步其间，晕开松弛乡野意趣。笔墨秀润清逸，枯木苍劲而不萧瑟，竹林隽秀空灵，淡墨轻晕出远山朦胧的冬日余韵。\n\n右侧题诗配雅致小楷，将晓禽报春、岁末祈康的心意融于画中，诗画相映。把乡翁扶杖待春的朴拙喜乐藏在细节里，以寻常村野小景，织就岁末迎春纳祥的温柔温情，尽显文人雅致闲淡意趣与世俗祈愿的交融之美。",[7,24,81,28,27,106,1015,242,245,281,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4020cb0580c7fcf23b624e65dd138147.jpg",[],{"id":104804,"slug":104805,"title":104806,"dynasty":76,"author":61060,"museum":364,"description":104807,"tags":104808,"thumbUrl":104809,"material":139,"size":139,"collection":139,"collections":104810,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},230221,"shan-shui-shi-yi-ce-6-kai-wu-chao-230221","山水诗意册6开","此作截取山隅一隅写幽林泉石之景。危崖层叠嶙峋，飞泉穿漱乱石，清越泉声隐然纸上。古松盘根错节扎根崖壁，干枝虬曲苍劲，湿墨点染的松针葱郁灵动，尽显老柏岁寒之姿。\n笔墨简淡清逸，干皴擦写出山石肌理，淡墨晕染留白摹出空濛云气，右上角远林轻描淡绘，衬出山景空寂悠远。左侧题诗落款，书画相融，文气雅致。\n整幅小品以小景见丘壑，萧散静穆，将林泉幽寂与诗意禅思相融，尽显文人山水的写意旨趣，藏着林下幽居的澹然意绪。",[7,24,81,173,27,29,245,394,109,650,1575,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3ba4841e3c3f6f755400e7e0f5c4bf.jpg",[],{"id":104812,"slug":104813,"title":63819,"dynasty":76,"author":1394,"museum":364,"description":43042,"tags":104814,"thumbUrl":104815,"material":743,"size":744,"collection":139,"collections":104816,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},230179,"shan-shui-shi-kai-wang-shi-min-230179",[7,24,81,29,177,173,227,86,178,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9913ea809a69d5f1c043447649bdf2.jpg",[],{"id":104818,"slug":104819,"title":58202,"dynasty":76,"author":2083,"museum":364,"description":104820,"tags":104821,"thumbUrl":104822,"material":139,"size":139,"collection":139,"collections":104823,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},230142,"huang-shan-ba-jing-tu-ce-zheng-ban-qiao-230142","这幅小楷题跋清劲秀雅，结体端稳间带着疏朗意趣，笔画瘦硬匀净，既有晋唐小楷的古雅法度，又融入独有的散逸风骨。\n\n笔墨随着文思缓缓铺展，忆述画坛旧事时文墨相生相融，将文人雅怀藏进每一处笔墨细节。全无狂怪恣肆，反倒尽显静定冲淡的书卷气，是其书法中少见的敛藏之作。文思与笔情精妙融合，字里行间晕开平和悠然的文人本色，成为画册点睛的文墨双璧。",[7,24,81,173,177,29,245,394,175,108,109,281,4562,900,242,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a215794450c842f2731c67ae4bfaf1.jpg",[],{"id":104825,"slug":104826,"title":102875,"dynasty":18,"author":781,"museum":364,"description":104827,"tags":104828,"thumbUrl":104829,"material":743,"size":744,"collection":139,"collections":104830,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":1335},228897,"bai-miao-fo-xiang-di-shi-san-zun-zhe-li-gong-lin-228897","“十八罗汉”的说法最早出现于北宋，图中器物造型风格接近宋代，每页有“卢椤枷进”款，从墨色辨认为后添款。因此本册非出自唐人之手，应是宋人所为。",[23,7,24,260,259,106,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd880a90f8361c742feb6ef65c59a1fdc.jpg",[],{"id":104832,"slug":104833,"title":74505,"dynasty":18,"author":781,"museum":364,"description":104827,"tags":104834,"thumbUrl":104835,"material":743,"size":744,"collection":139,"collections":104836,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":1335},228896,"bai-miao-fo-xiang-di-liu-zun-zhe-li-gong-lin-228896",[23,209,7,24,1160,241,260,259,106,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb788f00296ac5d48da8978cb51801823.jpg",[],{"id":104838,"slug":104839,"title":104840,"dynasty":99,"author":966,"museum":364,"description":39462,"tags":104841,"thumbUrl":104842,"material":743,"size":744,"collection":139,"collections":104843,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},228877,"shan-shui-shi-hua-ye-wen-zheng-ming-228877","山水诗画页",[23,1562,7,24,177,27,29,34,176,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da512d12092ad5a4bca1271cc317131.jpg",[],{"id":104845,"slug":104846,"title":104847,"dynasty":99,"author":293,"museum":364,"description":104848,"tags":104849,"thumbUrl":104850,"material":139,"size":139,"collection":139,"collections":104851,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},228818,"tao-qian-yi-shi-tu-yi-ming-228818","陶潜轶事图","此作为白描人物长卷，以清劲秀逸的铁线描勾勒群像，线条匀净流畅，将魏晋风神凝于笔端。\n\n画卷分数个片段铺展：首处宾主晤谈情态融融，继而策杖行游，衣袂飘然尽显出尘之姿，而后临案酌酒、凭榻闲憩，朴雅的酒坛、案几衬出林下幽居的疏淡日常，末段仆从备物，细致描摹隐逸生活的闲雅细节。各个人物神态鲜活，长者的温旷、童子的灵动跃然纸上，无敷色却形神兼备，以极简笔墨刻画出冲淡隐逸之趣，尽显六朝名士安贫乐道、放达自然的林下风流。",[23,7,25,260,106,211,5630,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bbdf635468df936358a4518d62b6cc.jpg",[],{"id":104853,"slug":104854,"title":104855,"dynasty":99,"author":293,"museum":364,"description":104856,"tags":104857,"thumbUrl":104858,"material":139,"size":139,"collection":139,"collections":104859,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},228806,"hu-jia-shi-ba-pai-tu-yi-ming-228806","胡笳十八拍图","长卷以文绘合璧铺陈离愁，清雅古拙的笔致勾勒出乱世行旅的沧桑。一侧行书墨色沉凝，诉尽别乡归汉的哀戚心事；一侧铺展城郭乡野、车马仪仗，人物衣袂舒展间带着羁旅的凄惶，队列的肃穆衬出归程的沉重。每一段场景都晕开沉郁旧韵，将半生流离的家国之悲具象化，把泣血诗意揉进绢本烟尘，织就一曲带着泪痕的乱世离歌。",[23,7,24,25,27,28,106,150,154,35,16881,15028,29,34,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc832ea82b5e9aaa888f3517bdfe2c08d.jpg",[],{"id":104861,"slug":104862,"title":104863,"dynasty":99,"author":293,"museum":364,"description":104864,"tags":104865,"thumbUrl":104866,"material":139,"size":139,"collection":139,"collections":104867,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},228803,"luo-han-sao-bei-bu-yi-tu-yi-ming-228803","罗汉搔背补衣图","苍松虬枝舒展，疏竹点缀幽庭，红日轻悬天际晕开暖意。画中人物神态各俱意趣，安坐罗汉垂目敛神，沉静安然；侍立身侧的童子合十颔首，恭谨温顺。下方罗汉袒露上身，持杖搔背，眉眼舒展间满是松弛惬意。\n\n衣纹线条顿挫苍劲，贴合身形尽显布料肌理，设色古雅柔和，绢本晕染过渡自然，将禅林清修的日常琐事，晕染出悠然禅意。以烟火日常描摹世外清宁，让观者仿若踏入古刹深庭，窥见佛子起居的松弛意趣，尽显佛画写实与写意相融的精妙笔法，藏着内敛悠长的禅境余韵。",[23,7,24,241,259,27,106,242,2952,431,26317,244,63,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea36d71b8fdf61a2db9f17a080d4d829.jpg",[],{"id":104869,"slug":104870,"title":104871,"dynasty":99,"author":19836,"museum":364,"description":104872,"tags":104873,"thumbUrl":104874,"material":743,"size":744,"collection":139,"collections":104875,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},228700,"ming-xuan-de-bao-hui-ce-zhu-zhan-ji-228700","明宣德宝绘册","此作以圆幅绘就寒梅林栖之景，老干虬曲苍劲，枝头梅花莹润娇妍，暗香浮动间，两只禽鸟各踞一枝。一者攀附枝干，侧目凝神，一者静栖梢头，回望呼应，动静相映间，将林禽闲适之态尽显。\n\n笔墨工细雅致，设色柔润清和，禽鸟翎毛晕染细腻毫纤毕现，梅枝苍古中带着春日萌动生机，兼具院体画的精工写实，又暗合文人画的幽隽意趣，把冬日小景的悠然生机藏于尺幅之间，尽显雅致隽永的写生妙趣。",[7,24,81,27,28,83,448,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8ad1aa352fbc15f2f7e8c9544c672d.jpg",[],{"id":104877,"slug":104878,"title":75796,"dynasty":99,"author":293,"museum":364,"description":3486,"tags":104879,"thumbUrl":104880,"material":743,"size":744,"collection":139,"collections":104881,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},228415,"fu-hui-dong-yi-ming-228415",[7,27,28,259,106,29,261,176,34,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6f4518709ec82c461efb452cdfaf72.jpg",[],{"id":104883,"slug":104884,"title":104885,"dynasty":99,"author":86767,"museum":364,"description":104886,"tags":104887,"thumbUrl":104888,"material":139,"size":139,"collection":139,"collections":104889,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},228345,"jiao-lin-yi-qu-tu-chen-guan-228345","蕉林易趣图","此作以蕉林铺就幽凉底色，阔叶舒展扶苏，浓荫笼住一隅清境。近处方石上，高士坦卧枕臂静观书卷，旁侧茶盏轻置，将卧读忘忧的闲逸缓缓铺陈。右侧柴扉半掩，篱墙隐现，衬出幽居的静穆私密。远景山峦以淡墨晕染，朦胧悠远，与近景繁密蕉叶形成虚实对照，拉开疏密错落的空间层次。笔墨苍秀温润，线条清劲兼具柔润，点染间尽显园林小景的雅逸，将寄情林泉、耽于闲逸的心境融于尺幅之间，隐逸意趣悠长内敛。",[23,7,241,173,177,29,14315,34,920,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faad90adfea8e7ab7fd9c6c9596f3a350.jpg",[],{"id":104891,"slug":104892,"title":104893,"dynasty":99,"author":28236,"museum":364,"description":104894,"tags":104895,"thumbUrl":104896,"material":139,"size":139,"collection":139,"collections":104897,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},228327,"wei-yang-gu-du-tu-yuan-shang-tong-228327","维扬古渡图","《水墨城韵·中国历史文化名城画典:扬州卷》主要收录了穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》、至情至简——东山魁夷画《 》、扬州旧梦何处觅——陆俨少的《 》、记忆的符号展现——陆俨少画《扬州个园》等。\n《水墨城韵·中国历史文化名城画典:扬州卷》由 出版。\n贺万里，美术理论家、批评家、山水画家。\n1962年出生，安徽淮北人，祖籍河北。\n美术学博士。\n曾任教于 (现 )，现为 副院长、教授、研究生导师。\n会员， 会员，江苏省壁画学会常务理事，扬州市清代扬州画派研究会会长，石河子大学新疆大山水画研究所副所长。\n梦里他乡是瓜洲——明人袁尚统的《维扬古渡图》 置境平和《广陵茱萸湾图》 诗境与画境——从李白的《送孟浩然之广陵》到石涛、陆俨少的《李白诗意图》 明净疏朗维扬秋——石涛的《维扬洁秋图》 附录：石涛画扬州 附录：石涛《维扬洁秋图》的长款题跋 雅集盛会戾行合一——叶芳林、方士庶的《九目行庵文燕图》 樊川水榭苇上舟——高翔的《扬州即景册》 记忆深处的禅意——高翔的《弹指阁图》 附录：高翔的《弹指阁图》赏析 将军画本金碧色——李昭道、袁江 文人其乐融一园——袁江《东园胜概图》卷 亭台楼阁亦关情——解读袁耀之《扬州四景图》 深意画图余情休园——赏读王云《休园图》 念繁华前度，何时歌吹重闻？——解读汪望的《平山堂图》 邗江夜雨芦荻瑟——任堇与《邗沟夜泊图》 张大干画《瘦西湖》 附录：收藏扬州 附录：由张大千《瘦西湖》所见 穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》 至情至简——东山魁夷画《冶春园》 扬州旧梦何处觅——陆俨少的《扬州即景图》 记忆的符号展现——陆俨少画《扬州个园》 写运河，写扬州，写国之佳画——读宋文治《今日的运河》 钱松苗与《鉴真大和尚纪念堂》 秀媚大雅瘦美人——钱松曲两画“瘦西湖” 秀雅空灵性情自我——魏紫熙的《瘦西湖》 静谧空寂张力内蕴——亚明的《二十四桥明月夜》 水墨写实传真情——张安治的《扬州春郊》 散发着浓郁时代气息——《瘦西湖上》 周京新画扬州园林 附录：今月曾经照古人——扬州画苑《千年回眸》 石涛之后有石庄 东方的“巴洛克”——金农书画 江都别派 沉雄浑厚陈若木 虞蟾：天国画家第一人 写真丁门甘泉流韵 溥派真传姚兆明",[23,7,24,241,173,177,29,106,150,107,174,1015,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347df80291e7dcba76749b7ed4b13a83.jpg",[],{"id":104899,"slug":104900,"title":104901,"dynasty":189,"author":21912,"museum":364,"description":104902,"tags":104903,"thumbUrl":104904,"material":743,"size":744,"collection":139,"collections":104905,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},228268,"teng-wang-ge-tu-wei-ba-tang-di-228268","滕王阁图-尾跋","唐棣（1296-1364），字子华，号遁斋,祖籍钱塘（今浙江杭州），因先世在吴兴做官，迁徙归安（今浙江湖州）。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年（1329）应诏在南京龙翔寺绘制画壁，至顺四年（1333）第二次北上大都，奉诏在宫廷作画，晚年返乡埋头读书作画，生活较凄苦。",[7,24,86,178,104,173,27,29,107,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f5f43a1f68f280907f5479996eaa37.jpg",[],{"id":104907,"slug":104908,"title":104909,"dynasty":189,"author":19397,"museum":364,"description":104910,"tags":104911,"thumbUrl":104912,"material":139,"size":139,"collection":139,"collections":104913,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},228259,"ti-ni-zan-xiang-juan-zhang-yu-228259","题倪瓒像卷","画面右侧，倪瓒安坐榻上，面容清癯沉静，尽显林下风致。侍从侍立左右，案头清供文玩错落，屏风山水淡远空疏，晕染出幽寂脱俗的隐士居停氛围。\n\n卷后多段题跋，诸家书法风格各异，诗句咏叹倪瓒生平品格，书画合璧，将其孤高清介的文人风骨具象呈现。整卷清雅萧散，尽显元代文人崇尚的隐逸雅趣，以肖像配题咏的形式，定格了倪瓒的精神气韵，是元人诗画交融的佳作。",[23,7,24,25,260,173,27,106,29,34,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6266ca5922eabd9fc66a7133b8ca469.jpg",[],{"id":104915,"slug":104916,"title":83021,"dynasty":189,"author":293,"museum":364,"description":104917,"tags":104918,"thumbUrl":104919,"material":139,"size":139,"collection":139,"collections":104920,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":271},228228,"xing-lv-tu-ye-yi-ming-228228","此作用笔简淡苍润，以水墨晕染出江南水岸的清寂之境。左畔危崖耸峙，古松斜出探向江面，崖腰古亭半掩，山道上旅人缓步徐行，衬出林泉丘壑的悠远空阔。汀洲上虬松错落，枝干古拙有姿，与崖岸松色遥相呼应。江面淡墨轻描，远帆与渔舟错落波上，寥寥笔意铺展水天空濛。\n\n整幅简而不空，淡而有味，以极简笔墨勾勒出山水行旅的幽闲意趣，尽显萧散淡远的文人意韵，将林泉高致与江湖野趣融于尺幅间，藏着幽寂闲淡的山水真味。",[23,7,173,29,177,81,106,107,174,281,176,109,227,559,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46616df25f9b51e1b52cfac683349316.jpg",[],{"id":104922,"slug":104923,"title":104924,"dynasty":189,"author":293,"museum":364,"description":104925,"tags":104926,"thumbUrl":104927,"material":139,"size":139,"collection":139,"collections":104928,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},228226,"mao-wu-yun-shan-tu-yi-ming-228226","茅屋云山图","此作用水墨晕染出空濛云山之境，远景山峦以淡墨轻皴间杂晕染，云雾如缕缠绕峰腰，将雄奇山势揉入烟霭，虚实相生间，拓开幽渺深远的天地。\n\n中景以留白代雾，让山与林隐没在烟岚之中，消融了实景的边界，恍如天地融于一片淡墨氤氲。近岸枯木虬劲，枝桠疏朗，坡脚茅舍三两，笔简意足，暗合山居清寂之趣。\n\n整幅画作尽显元画尚意之风，以简淡笔墨写尽萧散静穆的林下幽居之境，将文人隐逸的闲雅藏入烟峦疏木，观之便觉尘嚣尽褪，沉醉在这淡墨晕开的云山深寂里。",[23,7,173,177,241,24,209,29,920,430,108,109,1329,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77b80704d6df259ffd4d9ffeefb4eae.jpg",[],{"id":104930,"slug":104931,"title":104932,"dynasty":189,"author":293,"museum":364,"description":104933,"tags":104934,"thumbUrl":104935,"material":139,"size":139,"collection":139,"collections":104936,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},228186,"ren-wu-tu-juan-yi-ming-228186","人物图卷","此作用色古雅沉朴，线条圆劲清隽，以日常梳洗闲憩入画，将文人闲居意趣尽显。画面左侧侍者躬身展巾，主家赤足踞坐，正倾水盥手，神态松弛自适，把松弛慵懒的日常情态刻画入微。右侧两位侍从或持巾侍立、或捧具待命，人物排布错落有致，动静相宜。\n\n整作不着过多布景，以素净留白衬托前景人物，衣褶晕染贴合躯体动态，尽显以形写神的笔墨妙处。没有繁复刻画，却凭借细腻的生活化描摹，传递出古雅悠然的闲居氛围，是一幅兼具烟火意趣与古典气韵的人物画佳作。",[23,209,7,24,25,28,27,106,63,244,10855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5381a994fb57f53b3c691b27916e64eb.jpg",[],{"id":104938,"slug":104939,"title":104940,"dynasty":18,"author":1156,"museum":364,"description":104941,"tags":104942,"thumbUrl":104943,"material":139,"size":139,"collection":139,"collections":104944,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},227971,"fang-mu-tu-ye-li-chun-227971","放牧图页","虬曲老树枝叶扶苏，浓荫之下牧童闲坐，垂首专注把玩手边小物，全然沉浸在郊野的松弛意趣之中。浅滩溪岸，老牛垂首缓步涉水，皮毛厚重写实、肌理鲜活细腻，憨态小牛亦步亦趋紧随其后，灵动稚态尽显。\n\n整幅小品疏密得宜，设色浅淡柔和，以精妙工笔描摹物象形神，将乡野放牧的日常闲景铺陈得鲜活动人，既以细致笔触还原郊野生灵的自然情态，又晕染出田园牧歌式的悠然氛围，把乡野间的闲散温情凝于尺幅间，于平淡日常中尽显雅致隽永的宋画意韵。",[23,209,7,27,28,5990,151,106,430,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e3f18c16b1455c2e6e91367d1f9459.jpg",[],{"id":104946,"slug":104947,"title":104948,"dynasty":18,"author":293,"museum":364,"description":104949,"tags":104950,"thumbUrl":104951,"material":139,"size":139,"collection":139,"collections":104952,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},227932,"xue-ting-shui-qin-tu-yi-ming-227932","雪汀水禽图","此作以淡墨晕染萧寒冬境，水岸枯木虬曲苍劲，瘦削枝桠凌冽舒展，数只禽鸟缩羽栖息枝头，将冬日瑟缩畏寒之态尽显。右上一双水禽振翅掠空，破静谧成动静相生之趣。\n画家以留白晕染暗喻薄雪覆汀，设色简淡清润，笔触凝练细腻，枯枝的苍古、水禽灵动神态皆跃然绢上。尺幅之间铺陈出荒寒清远的意趣，尽显冬日郊野空寂冷逸，将冬汀荒萧寒疏之美藏于方寸，余韵悠悠。",[23,7,209,1562,28,173,27,1015,281,1060,15846,245,39570,10154,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],{"id":104954,"slug":104955,"title":104956,"dynasty":18,"author":293,"museum":364,"description":104957,"tags":104958,"thumbUrl":104960,"material":139,"size":139,"collection":139,"collections":104961,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},227909,"zhu-lin-bo-ruan-tu-ye-yi-ming-227909","竹林拨阮图页","《古代佚名画鉴赏大系·人物篇》是2年西苑出版社出版的图书，作者是杨宪金。\n佚名画与署名的作品，从绘画艺术上讲，是没有两样的。\n但在传世过程中，却有着不同的遭遇，历代收藏家与画史主要关注有名的作品，尤其是大家的作品，而对佚名画往往不屑一顾。\n因此，在这种境遇下，大量的古代佚名画在流传过程中消失了。\n这种情况一直延续到了明代，才逐渐引起收藏家们的注意，大收藏家项子京就对佚名画的著录、流传做了很大的贡献…… 春庭行乐图 眼药酸图 人物故事图 寒林策蹇图 竹林拨阮图 蚕织图 蚕织图 蚕织图 蚕织图 女孝经图 女孝经图 女孝经图 女孝经图 千秋绝艳图 千秋绝艳图 牧马图 望贤迎驾图 蕉石戏婴图 蕉荫击球图 槐荫击球图 杂剧图 雍正妃行乐图之二 雍正妃行乐图之六 溪堂客话图",[23,209,7,24,1562,28,27,106,1447,210,34,30211,12901,21213,14888,104959],"古典技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c0aeb9c6b9df7aa3c1f6768dc7d653.jpg",[],{"id":104963,"slug":104964,"title":104965,"dynasty":18,"author":293,"museum":364,"description":104966,"tags":104967,"thumbUrl":104968,"material":139,"size":139,"collection":139,"collections":104969,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},227890,"fan-zhou-liu-tang-tu-yi-ming-227890","泛舟柳塘图","此作用淡墨轻岚织就江南暮色小景，边角取景尽显留白意趣。右下角垂柳清润柔婉，枝叶婆娑，将视线牵向烟水间。汀洲水藻以细笔轻点数染，鲜活铺展出泽国清寂。扁舟横波，舟中二人情态悠然，寥寥数笔便勾勒出萧散野趣，似将水乡闲逸尽数揉入清波。\n全画色调苍雅古淡，借绢底晕染出薄暮烟霭，远山仅以一抹淡墨虚绘天际，不着笔皴，晕开江天寥廓的空茫意境。全作以简驭繁，无过多刻画，将江南日暮的静谧安闲，与文人幽隐林下之思相融，尽显宋人坐赏泉壑的清雅意趣。",[209,7,24,1562,27,28,3246,2838,490,34,29,174,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7e5d872f2a4b41216ba1cf8d91129f.jpg",[],{"id":104971,"slug":104972,"title":104973,"dynasty":18,"author":293,"museum":364,"description":104974,"tags":104975,"thumbUrl":104979,"material":139,"size":139,"collection":139,"collections":104980,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},227886,"shui-cun-yan-ai-tu-yi-ming-227886","水村烟霭图","这幅小品以淡墨晕染出烟霭笼罩的水村晨色，浅赭铺陈的远山隐在氤氲雾气里，和浩渺水面晕融成一片空濛。近岸松林错落，茅舍悄然栖于林下，仿佛还浸在拂晓的湿意中。\n\n画家以极简的笔触轻皴淡染，留白处皆是流动的水雾，将江南水乡的清寂温柔晕开。没有繁复勾勒，只借墨色浓淡铺就幽远意境，似将水村清晨的恬然凝在绢素之上，仿佛能闻见湿润的水汽，静听水波轻漾，尽显山水简淡清远的意趣，将人拉入这安谧空阔的悠然之中。",[23,209,7,1562,173,27,29,1727,3558,49669,104976,3802,104977,104978,177],"水雾","安谧","清远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b44eb01cfd8f0d4d2d18c15bf08eed.jpg",[],{"id":104982,"slug":104983,"title":19606,"dynasty":18,"author":293,"museum":364,"description":104984,"tags":104985,"thumbUrl":104986,"material":139,"size":139,"collection":139,"collections":104987,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},227853,"shan-shui-ren-wu-tu-yi-ming-227853","此作为典型的宋人山水小品，以圆框取景，将江南烟岚山居收于尺幅间。远景山峦以淡墨轻晕，隐没在濛濛雾气之中，虚实相生间晕染出空濛悠远的暮色秋意。近景林木苍郁，墨色干湿互用，枝叶攒簇尽显山野生机，几椽村舍错落藏于树荫之下，石阶板桥隐约勾连，似有山民往来其中，暗合着幽居林泉的隐逸意趣。\n\n整幅画作以简淡笔墨写尽江南乡野的静谧闲雅，无繁复刻画，却将烟雨空蒙的氛围感烘托至极，带着宋画独有的平淡天真，引人踏入这方避世山乡，静享林泉间松弛的意韵。",[23,7,24,1562,27,29,106,34,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05371d2fa860c6b3af216ce13990958.jpg",[],{"id":104989,"slug":104990,"title":74370,"dynasty":18,"author":74371,"museum":364,"description":104991,"tags":104992,"thumbUrl":104993,"material":139,"size":139,"collection":139,"collections":104994,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},227808,"cao-tang-ke-hua-tu-he-quan-227808","此作以淡墨晕染山石林木，晕开江南山野湿润清寂的氛围。临水草堂轩窗通透，堂内陈设隐约可见，屋外二人缓步闲话，将幽居雅会的闲淡意趣铺展开来。笔墨苍秀简逸，屋舍界画工致灵动，林木点染生机自现，以尺幅之境铺陈林泉高致的隐逸情怀，尽显宋人小品山水以小见大的妙处，将士人幽栖林下、寄情丘壑的心境藏于皴染点画之中，淡而有味，雅意悠长。",[23,7,24,1562,27,29,107,108,109,106,175,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9398f267cba5d2aa93e5525aecdb351.jpg",[],{"id":104996,"slug":104997,"title":104998,"dynasty":18,"author":104999,"museum":364,"description":105000,"tags":105001,"thumbUrl":105002,"material":139,"size":139,"collection":139,"collections":105003,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},227745,"zi-zan-xiang-li-zhou-da-hui-zong-gao-227745","自赞像立轴","大慧宗杲","大慧宗杲为北宋末年、南宋初期杨岐派禅师，杨岐派在他的手上被推至最高峰，宋孝宗御赐他为“大慧禅师”。他的禅法，对后世禅宗形成深远的影响，南宋理学也深受影响。此幅《大慧宗杲自赞像》作为现存最早的有像主自赞的画禅僧肖像画，非常珍贵，有其不可替代的历史价值、文物价值，再加上其简洁的描写手法，充分地体现了北宋末、南宋初期中国肖像画的高度的绘画水准，更增加了它的艺术价值。",[23,7,24,241,28,27,106,259,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36822032e4aee0c344f543503e164d0.jpg",[],{"id":105005,"slug":105006,"title":105007,"dynasty":18,"author":293,"museum":364,"description":105008,"tags":105009,"thumbUrl":105010,"material":139,"size":139,"collection":42,"collections":105011,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},227570,"yu-lou-chun-si-tu-yi-ming-227570","玉楼春思图","此图画水殿楼阁、渔舟、古松和江亭，本幅无名款，清代梁清标题签为王诜之作，然而将此作与王氏传世作品对照，并无多少相同之处。\n\n惟据图上小楷书“鱼游春水”一阕，词意与画意吻合，从书法风格考察，可能为宋高宗赵构以后宫廷常见的书体，故推测此画系同时代所绘，是宋代画院的佳作。画上钤有“宣统御览之宝”等收藏印章。\n\n是图为团扇，构图为左右相对形式。中为辽阔的江面，左部近景作水殿楼阁回廊萦绕，堤上柳荫浓郁，一仕女面江扶栏遐思。隔江云山起伏，意境深远。\n画上题《鱼游春水》词，词意与画意相吻合。\n\n此作曾为清初梁清标收入《唐宋元集绘册》中，梁氏鉴定为王诜作品。就画作的构图与画法来看与王氏画风是有距离的，南宋风格明显。\n\n另外《鱼游春水》一词原是刻于绍兴古碑碑阴之上的佚名词作，北宋政和时为宫人抄入宫中填曲传唱，政和中期以后才流入到民间。死于元祐四年（公元1089年）的王诜不可能以此题作画。故而梁清标的鉴定有误，书与画应属南宋画院的书画佳作。清《石渠宝笈重编》著录。",[23,209,7,24,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9dcbc748bfb2945570382841dfc1ac9.jpg",[42],{"id":105013,"slug":105014,"title":105015,"dynasty":18,"author":293,"museum":364,"description":105016,"tags":105017,"thumbUrl":105018,"material":139,"size":139,"collection":139,"collections":105019,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},227538,"wu-gong-ma-tu-juan-yi-ming-227538","五贡马图卷","北宋，佚名（李公麟款)。画内为宋元佑初年天驷监中的五匹西域名马，五匹名马依次为“风头骢”、“锦膊骢”、“好头赤”、“照夜白”、“满川花”。",[23,209,7,24,25,260,27,150,106,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da9fadedef4d3ff60e1157eaee1c333.jpg",[],{"id":105021,"slug":105022,"title":40585,"dynasty":18,"author":293,"museum":364,"description":80441,"tags":105023,"thumbUrl":105024,"material":139,"size":139,"collection":139,"collections":105025,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},227389,"fang-you-tu-yi-ming-227389",[23,209,7,27,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5460182c56e0ad4a53915b2fa7a0b7.jpg",[],{"id":105027,"slug":105028,"title":24498,"dynasty":18,"author":293,"museum":364,"description":105029,"tags":105030,"thumbUrl":105031,"material":139,"size":139,"collection":139,"collections":105032,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},227376,"yuan-hou-zhai-guo-tu-yi-ming-227376","《宋人画猿猴摘果图》是宋代佚名创作的一幅扇面画。\n此图绘深山野林中，三只 攀援栖止于树枝上。\n其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。\n作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。\n图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。\n深秋季节只猿猴攀援于树枝上嬉戏摘果的情景。\n猿猴和景物都集中在画的右半边，为典型的南宋画构图方式。\n猿猴神情毕肖，尤其是茸毛的绘制极为细致严谨。\n树叶用勾勒填色法，色彩并未完全填满，显得自然随意。\n黑白色对比使画面更具动感，红色的小果实在整幅画面中十分醒目。\n深山野林中，黑白二色的三只猿猴攀援栖止于树枝上。\n其中两猿相互逗趣，另一猿右臂抓着树枝，左臂摘取红果，其贪婪、欣喜之态刻画得形神兼僃。\n点景中枯黄的树页、红色的果实，以及丛生的小草和细竹，不仅打破了山石的呆板，而且渲染了秋天萧瑟的气氛，从而增添画面的自然之趣。\n画面钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍藏」、「安国珍玩」等印多方。\n对幅有清代著名收藏家耿昭忠题记，此图曾经沐璘、耿昭忠、安岐收藏。\n《石渠宝笈》著录。",[209,7,24,1562,27,957,24501,430,225,713,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a544e331d094ac541c1cff0a7db7c25.jpg",[],{"id":105034,"slug":105035,"title":68489,"dynasty":18,"author":293,"museum":364,"description":105036,"tags":105037,"thumbUrl":105038,"material":139,"size":139,"collection":139,"collections":105039,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},227357,"chun-guang-xian-dao-tu-yi-ming-227357","中国种植水仙始于唐末五代，\n\n《北户录》中记有花间派词人孙光宪\n\n寄居江陵（湖北荆州）期间，\n\n曾有波斯人送他数本水仙。\n\n孙光宪大概就是中国种植水仙第一人。\n\n此后，\n\n江南一带广泛种植，文人骚客甚爱之。",[209,7,24,1562,28,27,83,451],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c0a447bc7811861b5899d7267215dd3.jpg",[],{"id":105041,"slug":105042,"title":105043,"dynasty":54,"author":293,"museum":364,"description":105044,"tags":105045,"thumbUrl":105046,"material":139,"size":139,"collection":139,"collections":105047,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":271},227215,"shu-xia-ren-wu-tu-juan-yi-ming-227215","树下人物图卷","《树下人物图》是唐代佚名创作的纸本设色画，新疆吐鲁番阿斯塔那古墓出土。现藏日本东京国立博物馆。\n\n此幅人物画保存完整，绘制在一块长方形的绢上。画面的背景是郊外的草地，有一棵枝繁叶茂的树，树叶是绿色，树干是土黄色。树下可见两身妇女立姿形象。左侧之人，面向右方，左手衣袖被身旁之人握持，其右手曲臂上举正揪住罩在头上的黑色头衣。此人身穿土红色长袍，腰系带，脚穿黑靴。画面右侧之人，面向右方，两手握住左侧之人的左袖。她身着蓝色长袍，腰系带，脚穿黑靴。从画面看，此二人似为主仆关系。",[23,209,7,24,25,28,27,106,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160f39ddeaeb222d5d6049efe9969bd0.jpg",[],{"id":105049,"slug":105050,"title":105051,"dynasty":76,"author":1394,"museum":364,"description":39247,"tags":105052,"thumbUrl":105053,"material":39250,"size":39251,"collection":139,"collections":105054,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},224409,"shu-hua-shi-liu-kai-10-wang-shi-min-224409","书画十六开-10",[23,7,24,81,27,177,29,108,109,34,176,35,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b1fffac4109daa74541bf9f3ca25d9.jpg",[],{"id":105056,"slug":105057,"title":29,"dynasty":76,"author":49375,"museum":364,"description":105058,"tags":105059,"thumbUrl":105060,"material":139,"size":139,"collection":139,"collections":105061,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},224406,"shan-shui-wang-xue-hao-224406","此作用笔萧散松秀，以淡墨晕染山峦，留白衬出春日山林的氤氲空濛。近景苍木挺拔，焦墨点簇枝叶，朴拙苍润。水岸茅舍错落隐于林麓，溪岸逶迤，浅滩汀渚以简笔勾勒，野趣盎然。\n\n师法董思翁平淡天真之趣，以干淡之笔写山川形胜，墨色清润层次分明，将江南春日的温润静穆尽显笔下。画面空灵疏朗，无繁复刻画，却尽显山水间幽寂闲适，文人画的清雅逸趣跃然纸上，简淡中藏深醇意蕴。",[23,7,24,173,177,178,241,29,176,34,340,281,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7358dbdc29f9f727bbef4ce953c11b1.jpg",[],{"id":105063,"slug":105064,"title":105065,"dynasty":76,"author":1892,"museum":364,"description":105066,"tags":105067,"thumbUrl":105068,"material":139,"size":139,"collection":139,"collections":105069,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},224398,"xia-shan-xin-ji-tu-juan-wang-yuan-qi-224398","夏山新霁图卷","此作用笔苍浑老辣，以高远之势立主峰于画面中央，层岩皴擦间兼具披麻皴的松灵与解索皴的遒劲，将夏山的浑厚肌理尽数铺展。留白处晕染汀洲水泽，虚实相映里，尽显新霁后的空润明净。\n\n林木穿插错落，点叶苍劲灵动，或浓或淡的墨色晕染出晴日照彻后的鲜润翠色，林麓间的村居隐于茂树之下，添了几分悠然野趣。整体气息秀润沉雄，既有元人山水的萧散松灵，又自具醇厚静穆的意蕴，将初晴夏山的空明雅致融于笔墨开合之间。",[7,25,1397,173,177,2218,48560,176,1250,3639,34962,25078,56431,27234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601a1fd4574bcc15ec15daea92f0dd66.jpg",[],{"id":105071,"slug":105072,"title":105073,"dynasty":76,"author":1892,"museum":364,"description":105074,"tags":105075,"thumbUrl":105078,"material":139,"size":139,"collection":139,"collections":105079,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},224393,"jiang-shang-chui-lun-tu-quan-juan-wang-yuan-qi-224393","江上垂纶图全卷","此作用笔苍浑松秀，以干笔皴擦间施浓墨提点，糅合元人山水意趣。长卷铺展江南水村平湖远岫，层岩叠嶂间村居隐现，汀渚渔舟萧然静泊，尽显江乡幽寂淡远的秋暮之致。构图开合起伏，元气淋漓，将胸中丘壑化作纸面清旷之景。卷后题跋与画境呼应，诗画交融，尽显文人山水画的简淡高逸，沉雄苍润的笔墨尽显正统山水的文心雅韵。",[23,7,25,1397,2939,27,177,47555,649,3639,1254,25077,7741,105076,105077,21708,86,227,279],"秋暮","幽寂淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bd684daf1f7232a7c873baeffea3a7.jpg",[],{"id":105081,"slug":105082,"title":105083,"dynasty":76,"author":2324,"museum":364,"description":105084,"tags":105085,"thumbUrl":105086,"material":139,"size":139,"collection":139,"collections":105087,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},224331,"hua-niao-shi-er-kai-9-li-shan-224331","花鸟十二开9","淡墨晕染出松鼠身形，蓬松皮毛的质感呼之欲出，尖吻微张，长尾轻扬，攀附松枝之上，警觉灵动的神态跃然纸面。苍松以焦墨挥写，浓墨点簇松针，老辣笔力勾勒出虬曲枝干，尽显苍古拙朴的风骨。左侧行书题字与画面相得益彰，笔墨枯润相生，尽显写意随性野趣。整幅作品以简驭繁，笔情纵逸，将文人写意的酣畅与林间生机相融，寥寥数笔便定格住松间嬉游的悠然意趣，尽显写意花鸟的动人神韵。",[23,7,24,81,173,446,957,7818,1575,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523b8f0015029b872e9adff78fa964b0.jpg",[],{"id":105089,"slug":105090,"title":105091,"dynasty":76,"author":2324,"museum":364,"description":105092,"tags":105093,"thumbUrl":105094,"material":139,"size":139,"collection":139,"collections":105095,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},224329,"hua-niao-shi-er-kai-7-li-shan-224329","花鸟十二开7","此作以水墨写意绘就仲夏小景，右侧柳根苍润，柔条轻垂，两只夏蝉攀附枝梢，焦墨提点蝉翼纹理，薄透如生，似将振翅长鸣，淡墨晕染柳丝清柔，浓淡间尽显灵动意趣。\n左侧题书笔意纵放跌宕，诗画相融，将暑日柳荫鸣蝉的慵懒闲逸铺陈开来。以简驭繁，不拘成法，寥寥数笔便捕捉住夏日常景的清寂意韵，笔墨带着疏放不羁的文人风骨，把寻常小景升华为清雅脱俗的逸趣之境，尽显写意花鸟的随性雅趣。",[23,7,24,81,173,446,86,227,83,3006,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdecf83e6c448966e31e45e4eb25c111f.jpg",[],{"id":105097,"slug":105098,"title":105099,"dynasty":76,"author":2324,"museum":364,"description":105100,"tags":105101,"thumbUrl":105102,"material":139,"size":139,"collection":139,"collections":105103,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},224318,"hua-niao-ce-shi-kai-8-li-shan-224318","花鸟册十开8","画面两只鹌鹑意态生动，一昂首远眺，一侧首低语，翎羽以枯笔皴擦、淡墨晕染，朴拙中饱含灵动生机。野菊柔枝缀满紫黄碎花，伴草叶斜曳，淡墨晕开的坡岸清润松秀，衬出清秋野趣。\n题笔行书奇崛跌宕，诗画印合为一体，以秋日野景寄寓闲淡襟怀，挣脱院体刻板法度，将写生意趣与文人雅思相融，笔底随性疏朗，尽显疏放灵秀的笔墨风神，把郊秋悠然意态凝于尺幅间，满溢着自在野逸的生机。",[23,7,81,27,83,86,227,446,224,796,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b5d44b2a45a20a5b568915ee916d42.jpg",[],{"id":105105,"slug":105106,"title":105107,"dynasty":76,"author":15347,"museum":364,"description":105108,"tags":105109,"thumbUrl":105110,"material":139,"size":139,"collection":139,"collections":105111,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},224256,"xian-lou-gao-zhi-cha-shi-biao-224256","仙楼高峙","此作用淡渴墨勾勒崖壁轮廓，皴擦简率松秀，寥寥数笔便绘出山石清峭之态。坡岸与丛木以写意点染，虚实相生间，晕染出幽寂空濛的山境。左侧行书笔致萧散飘逸，笔墨舒展随性，与画中简淡意境相融，文气悠悠。\n\n整体脱去尘俗，以极简的笔墨铺陈出清旷出尘的林下仙境，尽显新安画派笔简意赅、气韵荒寒的特质，观之如临幽林高阁，心神也随之沉静，沉醉于这份水墨疏淡里的幽远禅意。",[23,7,24,81,173,177,178,227,29,107,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7674da97971c55f319361c3f120ebd48.jpg",[],{"id":105113,"slug":105114,"title":105115,"dynasty":76,"author":707,"museum":364,"description":27416,"tags":105116,"thumbUrl":105117,"material":743,"size":744,"collection":139,"collections":105118,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},224174,"gan-li-tu-quan-juan-hua-yan-224174","敢荔图全卷",[23,7,24,25,27,106,29,430,86,178,1308,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e347c76a16901f1b2b37187d2892d85.jpg",[],{"id":105120,"slug":105121,"title":105122,"dynasty":292,"author":293,"museum":364,"description":105123,"tags":105124,"thumbUrl":105125,"material":139,"size":139,"collection":139,"collections":105126,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},223898,"mo-hua-zhu-zi-xiang-yi-ming-223898","墨画朱子像","此作以淡墨白描写就，细劲墨线勾勒衣袍，线条简练却贴合身形，将宽袍的古朴垂坠质感尽显。对人物面容描摹入微，眼角纹路、鬓边褶皱皆细致刻画，传神烘托出主人公温和沉静的儒雅风骨，尽显大儒的沉稳气度。旁侧题字清雅端方，与画像相得益彰。整幅画面底色古雅泛黄，晕染出厚重的岁月质感，无过多修饰，以极简笔墨承载内敛意蕴，尽显传统肖像画写实传神的特质，将东方古典美学的含蓄沉静融入其中。",[209,7,24,81,260,173,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff358068395cf5685346f594ef45313bd.jpg",[],{"id":105128,"slug":105129,"title":105130,"dynasty":18,"author":293,"museum":364,"description":105131,"tags":105132,"thumbUrl":105133,"material":139,"size":139,"collection":139,"collections":105134,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},223674,"shuang-ke-zhu-jian-tu-ye-yi-ming-223674","霜柯竹涧图页","《霜柯竹涧图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n钤“义斋精玩”、“宋荦审定”收藏印2方。\n图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。\n两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。\n图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。\n清《石渠宝笈三编》著录。",[23,209,7,24,81,28,27,1015,242,109,281,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c242fbd03b8dd4577b564ab01d95ef.jpg",[],{"id":105136,"slug":105137,"title":105138,"dynasty":189,"author":293,"museum":206,"description":105139,"tags":105140,"thumbUrl":105141,"material":105142,"size":105143,"collection":139,"collections":105144,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},223588,"hua-yuan-ming-gui-qu-lai-ci-yi-ming-223588","画渊明归去来辞","画中陶渊明策杖归来，有两位僕人随行，一人携带古琴，一人背负著酒罈，前方则是种植有五株柳树的家园，象徵他「五柳先生」的自号。此幅旧传为赵孟頫，不过以衣纹用笔，可能是出自元代其他追随李公麟风格的画家笔下。",[23,7,260,25,106,394,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2b984b69e1a4206610cd399581893c.jpg","绢本，浅没色","27x72.5cm",[],{"id":105146,"slug":105147,"title":105148,"dynasty":189,"author":293,"museum":20,"description":105149,"tags":105150,"thumbUrl":105151,"material":619,"size":105152,"collection":139,"collections":105153,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},223583,"yao-cen-yu-shu-tu-yi-ming-223583","瑶岑玉树图","图为山势险峻，峰高崖壁，飞瀑如画，洁白如画； 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此画山石似卷轴，画似鹿角、蟹爪，李成郭熙宗法。",[23,7,173,177,241,29,2502,558,1255,34,176,109,106,560,2125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009fe5fe9cca646998616ea81e1f75c7.jpg","97.4x41.2厘米",[],{"id":105155,"slug":105156,"title":105157,"dynasty":18,"author":293,"museum":20,"description":105158,"tags":105159,"thumbUrl":105160,"material":67,"size":105161,"collection":139,"collections":105162,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},223512,"liu-yin-qun-mang-tu-yi-ming-223512","柳荫群盲图","此幅为年俗画，描绘盲人打架的场面。画中柳树下，三三两两的盲人抓在一起，抱团打架，抓衣服不放的，抱胳膊死拽的，揪着耳朵拼命的，打架招势表现的淋漓尽致；人物面部扭曲变形，姿势夸张，展示出打架过程中拼命的样子。",[23,7,27,28,2544,106,3246,3903,51909],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed64abbdddd46112eb2761d5b97d634f.jpg","78.5×82cm",[],{"id":105164,"slug":105165,"title":105166,"dynasty":76,"author":293,"museum":364,"description":105167,"tags":105168,"thumbUrl":105180,"material":139,"size":139,"collection":139,"collections":105181,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},223489,"ming-shi-san-ling-tu-yi-ming-223489","明十三陵图","《明十三陵手绘图(珍藏版)》中的明十三陵位于北京市昌平区，是明朝13位皇帝的陵墓群，并葬有23个皇后和1个贵妃。它是中国现存规模最大、帝后陵寝最多的皇陵建筑群。明十三陵于永乐七年（1409年）开始营建，至崇祯十七年（1644年）明朝灭亡建成。陵区三面环山，中间是盆地，南接北京平原，入口左右有两座山——龙山和卧虎山。十三座陵墓分布在东、北、西三面，各以一座山峰为背景，规模大小不一，形制却基本相同，主要建筑依次为陵门、棱恩门、裬恩殿、棂星门、石五供、明楼和宝城。宝城下面为地下宫殿。2003年，联合国教科文组织世界遗产委员会将明十三陵和南京明孝陵列入《世界遗产名录》，作为“明、清皇家陵寝”的附属项目。",[23,7,25,28,27,104,29,107,105169,34,105170,105171,68952,176,119,105172,25780,1255,105173,105174,105175,649,38,105176,105177,105178,105179],"陵墓","石碑","牌坊","拱桥","神道","石象生","门楼","古建筑群","石牌坊","殿堂","碑亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123aa13e4f3c2f815d482dd3e89104ba.jpg",[],{"id":105183,"slug":105184,"title":105185,"dynasty":18,"author":293,"museum":20,"description":105186,"tags":105187,"thumbUrl":105188,"material":40,"size":12472,"collection":139,"collections":105189,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},223419,"kong-men-di-zi-xiang-juan-yi-ming-223419","孔门弟子像卷","此画是唐代杰出画家阎立本最大最长最佳的一幅巨作，是画家传世的六件作品之一，后在近代被日本军火商买走，并被列为国宝。最后在中贸圣佳拍卖公司购得，迎回国内，曾经引起过轰动。此画最终被首都博物馆以超低价提前收购。\n《孔子弟子像》全图采取平列式构图，无背景，绘孔子弟子立像五十九人，无名款。墨笔勾勒，着色，人物形象各异，须眉生动。\n包首题签“阎立本画孔子弟子像”，引首乾隆御题“杏坛遗范”，卷上有“顺治三年(1646)七月初二钦赐大学士臣宋权恭记”长方印、清宫收藏鉴赏印玺和清高宗弘历御笔题字。后幅有乾隆二十二年(1757年)户部尚书蒋溥题跋、乾隆丁未(1787年)大臣王杰、曹文埴、彭元瑞、董诰共同审定，董诰书写的题跋。鉴藏宝玺有乾隆八玺等，收藏印有“顺治三年七月初二日钦赐大学士臣宋权恭记”、“商丘金石书画印”、“宋权私印”、“经公”等。卷后拖尾有蒋溥题跋、董诰书写的其与王杰、曹文埴、彭元瑞的合跋，文字内容、钤盖印章与《石渠宝笈续编》著录文字完全相同。\n考证画后跋语，可以大致勾勒出《孔子弟子像》在清代的流传过程。清初顺治皇帝将此件画作钦赐给大学士宋权，一百余年后乾隆时期，宋氏后人将此作转鬻他所，蒋溥购得后，将其进献给了乾隆皇帝，复归内府收藏，并于《石渠宝笈续编》中加以著录。 至于这件作品是如何从清内府流传出去，溥仪在《我的前半生》中回忆，宣统八年十一月十四日，将名为《阎立本画孔子弟子像一卷》赏给了自己的师傅梁鼎芬。",[23,209,7,24,25,27,28,106,63,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34aaeae7bdfbdd0d6197e46cf919b0e.jpg",[],{"id":105191,"slug":105192,"title":11626,"dynasty":76,"author":293,"museum":364,"description":105193,"tags":105194,"thumbUrl":105195,"material":173,"size":105196,"collection":139,"collections":105197,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},223417,"ying-xi-tu-yi-ming-223417","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,7,24,173,106,11805,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a1bf3e927f98f47d7ccc65ef6a0cb2.jpg","11×21cm",[],{"id":105199,"slug":105200,"title":105201,"dynasty":76,"author":293,"museum":206,"description":45771,"tags":105202,"thumbUrl":105205,"material":139,"size":139,"collection":139,"collections":105206,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},223411,"ma-zu-qi-ji-b-yi-ming-223411","妈祖奇迹B",[23,209,7,27,106,107,259,105203,105204,104],"妈祖","救难","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df40c01e106f6e5b85e46f2f301cd13.jpg",[],{"id":105208,"slug":105209,"title":105210,"dynasty":99,"author":293,"museum":364,"description":105211,"tags":105212,"thumbUrl":105213,"material":803,"size":105214,"collection":139,"collections":105215,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},223403,"chui-hong-qiu-se-tu-yi-ming-223403","垂虹秋色图","此作用淡墨晕染出浩渺平湖，轻舟逐波缓行，汀渚之上嘉木葱茏，板桥村舍隐于烟树间，远山如黛逶迤连绵，将江南清秋的萧疏淡远尽数铺展，笔墨清润秀雅，尽显平淡天真的文人山水意趣。\n卷中题笔相生，擘窠大字雄劲苍古，行楷题跋秀逸雅致，将垂虹秋景的诗意与文人赏景的雅怀相融，实景山水与题咏情思交织，把江天寥廓的清秋意韵凝于尺幅，尽显书画合璧的文人雅韵。",[23,7,24,25,173,178,29,108,109,174,175,34,1112,1410,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa448dc5f9cb1836eab9d07f9b11fabf7.jpg","24.4x122.6",[],{"id":105217,"slug":105218,"title":105219,"dynasty":18,"author":293,"museum":20,"description":105220,"tags":105221,"thumbUrl":105222,"material":665,"size":105223,"collection":139,"collections":105224,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":49},223370,"ba-xiang-tu-yi-ming-223370","八相图","这幅《八相图》并未出现于古代书画文献著录中，在其他文集中也不曾记载。民国时期故宫博物院珂罗版《故宫书画集》中亦无收录。二十世纪六十年代，文化部文物局成立中国古代书画鉴定组对全国各大博物馆藏画进行鉴定、编录，其成果《中国古代书画图目》中影印了此幅《八相图》，并在卷末附有基本信息。二十一世纪初编纂的《故宫博物院藏文物珍品大系》中有余辉主编的《晋唐两宋绘画·人物风俗》，其中再次收录了此卷，并附有相关介绍信息，释读出题跋，在此基础上辨别出八位名相，并对画作的特点作了简单概括。近年浙江大学、浙江文物局承担编纂的《宋画全集》再次收录了该幅作品的高清图版，并附有图版说明，但基本为《晋唐两宋绘画·人物风俗》中的内容。\n该幅作品所描绘的“八相”，《晋唐两宋绘画·人物风俗》中识读为周公旦、张良、魏徵、狄仁杰、郭子仪、韩琦、司马光和周必大。学界对此并未提出疑义，笔者先前也基本认定该作所画为此八相。许浩然《一幅南宋绍兴年间的秦桧画像—故宫博物院藏〈八相图卷〉考辨》一文，首次提出了第八位名相为秦桧的观点，并作了相关考辨。\n对这样一幅名款残损、图章全无、又乏古代文献著录的作品，目前仅有基本识读和一篇研究性论文。而该作还有许多疑问尚未解决，如画作名称、画作的作者、创作年代等。本文不揣冒昧，对这几个问题以初步考证。\n虽然《晋唐两宋绘画·人物风俗》已经有对画作题跋的释读，但个别识读有错误，对八相的识别也并未给以推导过程。故本文重新抄录，加以句读，再作分析。现将画作中文字内容从右至左分为十个部分，依次标注为一至十。\n第一部分文字不可辨识。画作自右向左打开，画心部分起首四字由上而下书写。前两字残损超过三分之二，后两字虽存右半部分，但与左边之间有重新装补的痕迹，虽然裂痕形状勉强和左边吻合，但不可辨识，汉字中并无此二字。与周边对照，右半部分绢片明显为他处所有。推测或是画商牟利，将他处残片置于此处;亦或为当时重新装裱的失误。\n第二部分文字内容为：“文王之子，武王之弟;下视成王，叔父之贵;师表万民，吐握待士;思兼三王，经制毕备;群叔汹汹，流言纷至;天威彰显，闻望无愧;盛德元勋，下蟠上际;式图丹青，昭□(示?)□(后)□(世);若揭日月，诏彼稚昧。”\n文字描述的主人公是 “文王之子、武王之弟、成王之叔”，为西周时期的周公旦，记录他握发吐哺求贤若渴、创立典章制度、摄政并平定叛乱、威德远布四方人的事迹。绘此画作的目的是向四方昭示他的德行并起到示范作用。该部分内容第四行的最后三字处有残缺。经查找，其残损部分仍保留在画作上，只是被错误地装补到了第一部分文字处。\n第三部分文字内容为：“巨飚扇海洪波翻，指鹿为马无腆颜;泗上亭长起应天，子房杖策来自韩;圯上老人书一编，佐汉兴王无后艰;客有为□(我)□(橈)楚权，请借前箸输忠谈;南宫偶语事寝阑，即日劝驾西都关;羽翼已成储嗣安，愿与赤松求神仙;高名万世长铿鍧，再拜清风何所言;望之俨然即之温，奇伟魁梧焉足论。”\n根据史书记载，可知本部分文字描述称赞的主人公是汉留候张良。写秦朝末年张良来自韩国，借助圯上老人黄石公所赠《太公兵法》，辅佐刘邦起事。这里选取了他的几个事迹：反驳郦食其的策略、建议奖赏有功之臣、劝服刘邦移驾长安、帮助吕后和太子孝惠巩固地位、功成名就后隐退等。赞扬他的万世高名，虽为妇人之貌，却远胜奇伟魁梧的大丈夫。本部分文字第三行倒数二、三字有残损，但是根据史书记载可补足，模糊二字分别是“我”“橈(桡)”。\n第四部分文字内容为：“自期稷卨，致君尧舜;愿为良臣，展尽底蕴;正观之治，几于成康;外户不闭，行不赍粮;想其堂堂鹗立，犯颜进谏;虽逢帝怒，神色不变;信乎百世之下，论世尚友;雄姿凛凛，传于不朽。”\n这部分文字称颂的是贞观时期的名臣魏徵。谈及魏徵如稷卨这样的名臣，“贞观之治”堪比“成康之治”，记录在魏徵治理之下有夜不闭户而远行时又不必携带粮食的淳朴世风，以及他堂堂正正犯颜进谏的诤臣风范，这些皆传于不朽。\n第五部分文字内容为：“宇宙雰雺兮孰与清，日月薄蚀兮孰与明，清而明之兮，命世之英;大厦将欹兮，其谁支;神器将坠兮，又谁举之;支而举之兮，命世之奇英;与奇兮惟梁公，为子孝兮为臣忠;北斗以南兮，人谁与同;取日虞渊兮，洗光咸池;授五龙兮，夹以飞蒙;耻济谋兮，功盖一时;貌图丹绘兮，如玉如金;风度温然兮，贻后人;十袭之藏兮，爰丕显于斯辰。”\n翻检史书，我们会发现这里面描述的国之栋梁、忠臣孝子、忍辱负重规劝武则天将庐陵王李显立为太子使政权又回到唐代宗室手中的一代英豪是“梁公”狄仁杰，描绘梁国公之画像，目的是将他的风采传递后人，这样的图载值得珍藏。\n第六部分文字内容为：“唐德中否，群兇肆起;尚父鹰扬，于彼朔方;克复两京，三河肃清;整我六师，大振威灵;单骑见虏，压以至诚;忠贯日月，德通神明;二十四考，中书政成;式图貌像，仰止仪形;英姿粹蕴，凛凛如冰;维昔方虎，中兴周室;诗人歌之，二雅纪德;再造唐祚，汾阳允武;用垂颂声，以绍厥绪。”\n被封为朔方节度使收复长安、洛阳两京，平定河东、河西、河南叛军，单骑免胄见回纥，为中书令期间主持官吏的考绩二十四次而被尊为“尚父”的是唐朝的郭子仪。绘画者希望能够像当年纪念中兴周朝的方叔、召虎一样，给郭子仪“式图貌相”，让后人赞颂他，并完成他未竟的事业。\n这一部分的文字残缺甚多，根据内容判断所描绘的主人公颇有难度。而判断这段文字所描述的主人公，主要是依照第十部分的文字内容。通过排除法，可得知这段文字所颂赞的是韩琦。史书记载，韩琦任官期间敢于诤言谠议;严肃的外貌却给人温和的感觉，如玉如水;家中藏书颇丰，所写文章品格不凡。\n第八部分文字内容为：“于皇上帝，降祚炎宋;爰锡真儒，郁为时楝;真儒伊河，时维司马;如柱如石，克建大厦;退居西洛，十有五年;著书立言，成名自天;既相君实，欢声洋溢;农安于田，妇安于室;复我良法，式循祖宗;进良退奸，坐致融融;四方仰止，图像克肖;饮食必祝，家至户到;食采温国，著名凌烟;元勋巨德，英图莫传。”\n这一赞文描述的是北宋司马光。北宋时期的良才为伊河之地的司马光，进为栋梁之才，退则著书立说，再次拜相时又一次辅佐君王造就了繁荣安定的景象。因此，理应为司马光传图写照，受到后人尊重。\n第九部分文字内容为：“太师公相画像赞。天之苍苍，其命灼然;将兴太平，必生真贤。堂堂益公，起江之东;受天间气，出建大功;节义凛然，归秉国均;建万世策，交欢宝邻;长乐正位，清朝偃共;四时协和，万邦咸宁;道大不器，德全难名;高勋巍巍，日月并明;皇帝神圣，师臣赞襄;多历年所，相得益章;图形凌烟，褒赞有光;其永相予，雍容庙堂;风采德威，外传四方;真汉相矣，岂惟王啇;南山之高，岩岩其石;民怀姬公，师保之德;千载具瞻，与山无极。”\n根据文字内容，这描述的是太师公相画像，他被封为益国公，其功勋可比日月，且与皇帝交往融洽，品德风采足可与山川一样长久影响后人。先前识读者根据文字内容的第一行“太师公相画像赞”及第三行“堂堂益公”确定此主人公是同为益国公、太师的周必大。在许浩然的文章中，他提出此主人公是秦桧而非周必大的四点理由：第一，“起江之东”与周必大原出河南郑州管城的籍贯不符;第二，周必大卒后赠太师，而非“太师公相”;第三，在宋代身任宰相、官太师、封益国公，同时又为江东之人者仅有秦桧;第四，“节义凛然，归秉国均;建万世策，交欢宝邻”是言其被俘金国，后回南宋担任宰相并主张议和等经历。\n基本来说，许浩然之文考辨的是有道理的，只是第一点中提到的“起江之东”，也与周必大有关系，周必大出生于江东长洲(今苏州)。学者们之所以会混淆周必大与秦桧，是因二者信息比较接近，在相貌上又无确切描绘。故宫博物院南熏殿旧藏周必大像与该画作中的秦桧像或可作一对比，周必大面相仁厚，秦桧似显城府。",[23,209,7,24,25,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae42577c6a1c131396fab8d2cb999a6c.jpg","纵36.5厘米，横246.2厘米",[],{"id":105226,"slug":105227,"title":105228,"dynasty":76,"author":9280,"museum":17353,"description":85992,"tags":105229,"thumbUrl":105230,"material":990,"size":85995,"collection":139,"collections":105231,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},223319,"fa-jie-yuan-liu-tu-jing-pian-2-ding-guan-peng-223319","法界源流图镜片-2",[23,7,209,24,25,27,28,259,9254,106,65287,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5310045c3d9528f01b0ec6d6d1291e6.jpg",[],{"id":105233,"slug":105234,"title":105235,"dynasty":76,"author":9280,"museum":17353,"description":26394,"tags":105236,"thumbUrl":105238,"material":990,"size":26400,"collection":139,"collections":105239,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},223308,"fa-jie-yuan-liu-tu-juan-2-ding-guan-peng-223308","法界源流图卷-2",[23,7,24,25,28,27,259,106,502,261,4860,5191,46725,16346,105237,15028,7464,8738],"宝幡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dd816747b646199e5026a31a8f45bc.jpg",[],{"id":105241,"slug":105242,"title":62995,"dynasty":76,"author":58956,"museum":206,"description":105243,"tags":105244,"thumbUrl":105245,"material":619,"size":105246,"collection":139,"collections":105247,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},223262,"zhen-hai-si-xue-jing-zhou-zhang-ruo-cheng-223262","《命张若澄图镇海寺雪景因而有作》是清代诗人弘历创作的一首五言排律。\n寺景宜遥看，到寺无多奇。\n却见遥看处，纷然画景披。\n予因是絜矩，万事皆如兹。\n动而世为道，言行法则垂。\n此言往者然，至若生同时。\n远则有望耳，不厌更近之。\n偶此道中庸，释典何即离。\n阇黎粥饭罐，奚足语以斯。\n可惜占福地，尽属黄与缁。\n忆我前度来，回銮驻道陲。\n彼时亦逢雪，瑞叶纷葳蕤。\n翠柏红墙间，寒剽（钟中者谓之剽）送响迟。\n谓是宜图取，若霭属车随。\n粉本为指授，帧端题以诗。\n逮今成旧迹，宝笈藏石渠（叶）。\n六霙仍践盟，旋融春光熙。\n数间精舍中，月户亲凭窥。\n千林复万巘，色相难为辞。\n传语示其弟，坚頫踪可师。\n弘历（1711-1799），即清高宗。\n清代皇帝。\n年号乾隆。\n175-1796年在位。\n爱新觉罗氏。\n满族。\n雍正第四子，名弘历。",[23,7,241,29,27,2502,13097,34,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb944f39c020a732f5168b569e8c74372.jpg","103.4×56.9厘米",[],{"id":105249,"slug":105250,"title":105251,"dynasty":76,"author":3701,"museum":206,"description":18307,"tags":105252,"thumbUrl":105254,"material":38526,"size":38527,"collection":139,"collections":105255,"showCount":510,"zanCount":48,"manualWeight":48,"mainColor":94},223094,"hua-di-qi-ga-na-ga-ba-sa-zun-zhe-zhou-yao-wen-han-223094","画第七嘎纳嘎巴萨尊者轴",[23,7,27,28,259,241,106,34,84,176,109,504,105253,227],"果盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba3e29af9ff3dfe7f92ff487a79712a8.jpg",[],{"id":105257,"slug":105258,"title":105259,"dynasty":76,"author":28645,"museum":206,"description":105260,"tags":105261,"thumbUrl":105262,"material":105263,"size":105264,"collection":139,"collections":105265,"showCount":510,"zanCou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r":94},234330,"shan-shui-ce-wang-zhi-rui-234330","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。",[7,24,81,173,29,176,34,178,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7791e4391f8e2a97f2345ce777519111.jpg",[],{"id":108394,"slug":108395,"title":2235,"dynasty":76,"author":54033,"museum":20,"description":108396,"tags":108397,"thumbUrl":108398,"material":990,"size":139,"collection":139,"collections":108399,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234309,"za-hua-ce-chen-zi-234309","陈字(1634一约1713)即陈小莲，幼唤鹿头，初名懦桢，宇无名，明末清初诸暨枫桥陈家村人。陈洪绶第四子，太学生，考授州同。\n资质颖悟，自幼得父钟爱，善书工画，笔墨洒脱酣畅，有大家气，所绘人物、花草别树一帜。其诗亦工，然为画名所掩。时人得陈字画，宝惜如老莲之作，故有“小莲”之号。达官贵人持重金求画，虽家贫如洗，亦不供片纸只字。为人表里如一，遇有不快，即面折人。人谓乃翁遗风，老莲再世。\n陈字痛惜其父著述散佚，设法于谱牒中钩沉，至亲朋中搜集，然老莲议论时政之策，终未一见，只得将所获诗文付梓行世。其时，陈氏一族日见衰落，族人不得已出卖祖先茔地。陈字游学归里，亟言不可，然亦无力赎回。此后，渡大江，历淮扬，吊汴梁古迹，揽京师胜景。在汝南邂逅毛奇龄，相顾太息，纵酒浇愁。毛奇龄赠诗曰：“相逢衣褐在准西，走马关前日欲低。此去一寻辽海雁，何年更听推南鸡。寒风落日醉当垆，燕市还寻旧酒徒，君到安州若相忆，为予重写庆卿图。”未几，贫病而卒。著有《小莲客游诗》，其画作亦有传世。",[209,7,24,81,27,28,245,244,62,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea103ead8b643bc8fe1c701c3daed1a.jpg",[],{"id":108401,"slug":108402,"title":108403,"dynasty":76,"author":31289,"museum":20,"description":108404,"tags":108405,"thumbUrl":108406,"material":1449,"size":139,"collection":139,"collections":108407,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234301,"yu-mu-shang-xin-ce-shan-shui-ce-gao-cen-234301","娱目赏心册-山水册","盛唐诗人高适和岑参的合称，为盛唐边塞诗歌代表诗人的专称。但“高岑”并称，则始于他们的好友杜甫《寄彭州高三十五使君适、虢州岑二十七长史参三十韵》：“高岑殊缓步，沈鲍得同行。”说他们两人成名较晚，而才学堪比沈约、鲍照，原非专称\n高适、岑参的诗以“悲壮为宗”(胡应麟《诗薮》)。他们都积极进取，但长期功名失意。一再出塞谋求报国立功，对仕途坎坷和边塞生活有着深刻体验。所作主要以边塞战争、塞上风光和仕途艰难为题材，善于运用七言古诗等体裁，表现报国安边、治国安民的壮志和奋发进取的精神，或抒发怀才不遇、功业无成的悲愤。其诗意气豪迈，情辞慷慨，奇偶相生，手法多样。这是他们共同的地方。\n由于生活经历、个性、文学思想和渊源等差异，高适、岑参的诗又有重要区别。“高悲壮而厚，岑奇逸而峭”（王士禛《师友师传续录》）。高适善于反映战士和农民的疾苦，暴露现实，笔调严谨，直抒胸臆，以常语感人；岑参擅长讴歌胜利，描绘奇境，抒发豪情，寓情于景，以奇语动人。\n高、岑边塞诗成就最高。近人以“高岑”并称往往是因其边塞诗。同时，唐代边塞诗派也被称为“高岑诗派”，诗风相近的王之涣、王翰、王昌龄、崔颢、李颀等人均被列入此派。\n高适（700—765) ，汉族。唐代边塞诗人。字达夫、仲武，沧州(今河北省景县)人,居住在宋中(今河南商丘一带)。少孤贫，爱交游，有游侠之风，并以建功立业自期。天宝八载(749)，经睢阳太守张九皋推荐,应举中第,授封丘尉。十一载,因不忍“鞭挞黎庶”和不甘“拜迎官长”而辞官，又一次到长安。次年入陇右、河西节度使哥舒翰幕，为掌书记。安史乱后，曾任淮南节度使、彭州刺史、蜀州刺史、剑南节度使等职，官至,封渤海县侯。世称“高常侍”。 有《高常侍集》等传世。永泰元年（765年）卒，终年64岁，赠礼部尚书，谥号忠。高适为唐代著名的边塞诗人，与岑参并称“高岑”。笔力雄健，气势奔放，洋溢着盛唐时期所特有的奋发进取、蓬勃向上的时代精神。早年曾游历长安，后到过蓟门、卢龙一带，寻求进身之路，都没有成功。在此前后，曾在宋中居住，与李白、杜甫结交。其诗直抒胸臆，不尚雕饰，以七言歌行最富特色，大多写边塞生活。\n岑参 (约715年—770年)唐代诗人，原籍南阳（今属河南新野），迁居江陵（今属湖北）。汉族，荆州江陵（湖北江陵）人，去世之时56岁，是唐代著名的边塞诗人。其诗歌富有浪漫主义的特色，气势雄伟，想象丰富，色彩瑰丽，热情奔放，尤其擅长七言歌行。",[7,24,81,173,177,178,227,29,245,175,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb9dbfb8440fa8e56bd1b0b7a1a5c52.jpg",[],{"id":108409,"slug":108410,"title":42302,"dynasty":76,"author":1491,"museum":364,"description":42303,"tags":108411,"thumbUrl":108412,"material":990,"size":139,"collection":139,"collections":108413,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234283,"hua-guo-ce-wang-yun-234283",[7,24,81,27,83,453,1299,62,31652,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27289f78858cda63cc27555f601c08d3.jpg",[],{"id":108415,"slug":108416,"title":42302,"dynasty":76,"author":1491,"museum":364,"description":42303,"tags":108417,"thumbUrl":108418,"material":990,"size":139,"collection":139,"collections":108419,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234281,"hua-guo-ce-wang-yun-234281",[7,24,81,27,83,713,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e0921266e057b0f7ace56d24ca9405.jpg",[],{"id":108421,"slug":108422,"title":42302,"dynasty":76,"author":1491,"museum":364,"description":42303,"tags":108423,"thumbUrl":108424,"material":990,"size":139,"collection":139,"collections":108425,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234280,"hua-guo-ce-wang-yun-234280",[7,24,81,27,83,31652,1003,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2442719933c64768eb46ee98186974.jpg",[],{"id":108427,"slug":108428,"title":42302,"dynasty":76,"author":1491,"museum":364,"description":42303,"tags":108429,"thumbUrl":108430,"material":990,"size":139,"collection":139,"collections":108431,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234279,"hua-guo-ce-wang-yun-234279",[7,24,81,27,28,83,1459,327,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0830683b75ff643ff80fe51876d000a4.jpg",[],{"id":108433,"slug":108434,"title":131,"dynasty":99,"author":51694,"museum":364,"description":51695,"tags":108435,"thumbUrl":108436,"material":139,"size":139,"collection":139,"collections":108437,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234268,"hua-hui-ce-qi-xun-234268",[23,7,24,81,173,178,227,84,452,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0033685bba334666ca8ac9ae54eca497.jpg",[],{"id":108439,"slug":108440,"title":46416,"dynasty":99,"author":14489,"museum":364,"description":75075,"tags":108441,"thumbUrl":108442,"material":139,"size":139,"collection":139,"collections":108443,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234222,"shan-shui-juan-sun-zhi-234222",[23,7,24,25,29,173,27,177,649,34,31,111,35,1255,13911,1575,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":108445,"slug":108446,"title":46416,"dynasty":76,"author":74836,"museum":364,"description":108447,"tags":108448,"thumbUrl":108449,"material":139,"size":139,"collection":139,"collections":108450,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234217,"shan-shui-juan-weng-song-nian-234217","翁嵩年（1647至1728），字康饴，号萝轩，钱塘（今杭州）人。康熙二十七年（一六八八）进士，仕为广东提学。以枯笔作林峦峯岫，气质古雅疏拙，画家习气，毫发不能犯其笔端。曾得青玉版十三行，旋进之内府。",[23,7,24,25,173,177,29,34,176,35,31,491,1445,14137,3640,4975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e42ea5c559a1dba39efffa7bc3a5d.jpg",[],{"id":108452,"slug":108453,"title":108454,"dynasty":76,"author":10376,"museum":20,"description":108455,"tags":108456,"thumbUrl":108457,"material":990,"size":108458,"collection":139,"collections":108459,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234180,"dong-ting-she-yue-juan-wang-hui-234180","洞庭赊月卷","对于唐寅，虽然王翚多有临仿，但效果并不尽如人意。唐寅创造的极富线条感的皴法，是以长披麻皴兼以长斧劈皴为主，逐渐摆脱斧劈皴的侧锋用笔，并延长它们，加上线条性，挺劲中含柔和，且皴法简练，中锋与侧锋兼施，我们且称之为“长条斧劈皴”。反观王翚笔下的唐寅，用笔迅疾，冗笔过多；用墨水分较大，使得线条重叠涣漫，有时会形成线条堆叠出的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,7,24,25,173,27,29,177,178,86,174,281,109,34,7742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":108461,"slug":108462,"title":108463,"dynasty":99,"author":100216,"museum":20,"description":108464,"tags":108465,"thumbUrl":108466,"material":990,"size":139,"collection":139,"collections":108467,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234147,"xie-sheng-shu-hua-juan-wang-gu-xiang-234147","写生书画卷","王榖祥 （1501-1568），字禄之，号酉室，长洲（今江苏苏州）人。嘉靖八年（一五二九）进士，官吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不坠羲之献之之风，篆籀八体及摹印，并臻妙品。卒年六十八。",[23,7,24,25,173,710,178,227,448,243,327,279,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea5c2be707b2e0f8af30540e90fe00f.jpg",[],{"id":108469,"slug":108470,"title":108471,"dynasty":99,"author":96991,"museum":20,"description":108472,"tags":108473,"thumbUrl":108474,"material":803,"size":139,"collection":139,"collections":108475,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,7,24,25,178,27,28,173,29,107,108,109,175,242,430,35,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":108477,"slug":108478,"title":23780,"dynasty":18,"author":293,"museum":20,"description":108479,"tags":108480,"thumbUrl":108481,"material":3076,"size":108270,"collection":139,"collections":108482,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234079,"mu-niu-tu-ye-yi-ming-234079","此作以极简构图层叠出清寂悠远的乡野意趣，大片留白晕染出郊野冬日的空濛淡远。坡岸之上老牛蜷卧垂首，以淡墨轻施晕染，将其温驯慵懒的休憩之态尽显，似在静享午后闲光。侧旁牧童俯身专注于手边嬉玩，寥寥数笔便勾勒出孩童烂漫天真的神态。几丛细竹疏落布于画面边角，淡墨写就枝叶清萧，愈发衬出天地的空阔安闲。\n\n整幅画作以虚衬实，以简驭繁，将乡野日常的松弛闲趣藏于留白之中，把宋人尚意的美学融在浅淡笔墨里，悠悠闲静之意漫溢绢素。",[7,27,28,81,151,106,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841eaa37b6840ef0d12d643444882ba7.jpg",[],{"id":108484,"slug":108485,"title":108486,"dynasty":18,"author":293,"museum":20,"description":108487,"tags":108488,"thumbUrl":108489,"material":40,"size":108490,"collection":139,"collections":108491,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},234077,"liao-gui-tu-ye-yi-ming-234077","蓼龟图页","图绘溪水岸边，泥坡碎石，红蓼吐艳，野菊轻绽。一只老龟缓缓爬上坡岸，未及出水，便被蓼花上的小蜂所吸引，驻足昂首仰望，后足仍浸于池中，其悠闲自在、与世无争的神态表露无遗。用笔兼工带写，红蓼、乌龟以中锋细笔勾描，小草、花蕊用小写意法，工写结合，笔法灵活多样，设色淡雅清秀。",[7,209,24,81,28,27,83,957,4643,11205,432,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc24c6c29ada4fc7aa2fcd944487a6571.jpg","纵28.4厘米，横28厘米",[],{"id":108493,"slug":108494,"title":108495,"dynasty":18,"author":293,"museum":20,"description":108496,"tags":108497,"thumbUrl":108499,"material":40,"size":108500,"collection":139,"collections":108501,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},234075,"shuang-jiu-shan-niao-tu-ye-yi-ming-234075","霜桕山鸟图页","图绘乌桕一枝，叶片稀疏，经霜之后叶尖微微泛红。满挂枝头，表明时值深秋。只文鸟姿态各异，栖于枝头。树枝用浓墨一笔画出，以赭色勾描叶脉与细枝。树叶、小果采用没骨画法。叶之辗转向背、枝之曲折横斜，描绘得都很细致。文鸟以中锋细笔丝出羽毛，其身体的不同部位分别用白粉、赭石、浓淡墨轻染，细腻写实。构图疏朗，动静结合，设色艳而不俗。此为南宋小品画中精心之作。",[209,7,24,81,28,27,83,281,108498,225,713],"桕树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d4f4e56ed82d3c597ac94451ebf7df.jpg","纵24.2cm，横25.4cm",[],{"id":108503,"slug":108504,"title":108505,"dynasty":99,"author":1012,"museum":20,"description":108506,"tags":108507,"thumbUrl":108508,"material":34148,"size":60388,"collection":139,"collections":108509,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234051,"jia-shu-qing-yun-tu-shan-lan-ying-234051","嘉树晴云图扇","蓝瑛的扇面《嘉树晴云图》，画的是山石丘壑间，古松盘桓，白云缭绕，二隐士临溪席地而憩，坐而论道。整个扇面幽静清远，洒脱自然。我国古代文人讲究“达则兼济天下，穷则独善其身”，归隐山林则成为了官场失意的士大夫避世的理想与归宿。\n《嘉树晴云图》画中的隐士坐而论道的“避世”情境，适应了我国古代文人涉、忘、出而皆备的心理需求，因此深得人们喜爱。",[7,24,1562,173,27,29,106,34,1329,176,177,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ddd331fc0e7be4e9b5165c7795b3bd.jpg",[],{"id":108511,"slug":108512,"title":55712,"dynasty":18,"author":2856,"museum":20,"description":108513,"tags":108514,"thumbUrl":108516,"material":40,"size":55716,"collection":139,"collections":108517,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234029,"ji-chu-dai-si-tu-ye-li-di-234029","图绘两只雏鸡一卧一立，面朝同一方向，屏气凝神，仿佛听见母亲觅食的召唤，正欲奔去。画面描绘传神，将雏鸡嗷嗷待哺的情态表现得淋漓尽致，充分反映了温馨的农家情调。画家用黑、白、黄等细线密实地描绘出雏鸡毛绒的质感，生动地绘出鸡雏幼小可人的生动神态，体现了深厚的绘画功力。此图为李迪晚年所画，构图极其简洁，无任何背景相衬，却捕捉住了鸡雏回眸的刹那间神情，动人心弦。\n此幅与画家在前一年创作的《枫鹰锦鸡图》相比，在审美意趣上全然不同，前者展示的是和风细雨的婉约情调，后者则是张扬自然界生命相残的严酷氛围，由此可见李迪表现各种题材的能力。\n此图自民间入藏清内府后，雅好书画的乾隆皇帝除赏识其艺术造诣外，还从帝王角度联想到勤政爱民的治国之策。他于乾隆五十三年（1788年）临摹此件作品，并且喻令摹刻多份，颁赐给各省督抚，希望这些地方父母官将所辖地区的百姓视为图中的鸡雏，在处理政务时要“实心经理，勿忘小民嗷嗷待哺之情”。\n对幅有清乾隆御题五言诗一首：“双雏如仰望，其母竟何之。未解率场啄，谁怜空腹饥。展图一絜矩，触目切深思。灾壤民待哺，慎哉群有司。”钤“含英咀华”、“即事多所欣”2印。",[7,24,81,28,27,83,108515,227,86],"鸡雏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c00f533606d7efe25a2bbeed22ee599.jpg",[],{"id":108519,"slug":108520,"title":108521,"dynasty":18,"author":293,"museum":20,"description":108522,"tags":108523,"thumbUrl":108524,"material":665,"size":108525,"collection":139,"collections":108526,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234017,"liu-xi-diao-ting-tu-ye-yi-ming-234017","柳溪钓艇图页","此图原载《历代名笔集胜册》第一册。图画溪江岸柳，土坡茅舍，溪中一渔翁戴草笠穿蓑衣垂钓。远处山影一抹，景物疏朗，意趣无穷。作者用花青、石绿画丛树和柳页，白粉点柳花，赭脱减笔画茅舍。设色清丽丰富，层次分明。构图采用局部取景法。用笔简练秀逸，几脱画院习气。此图旧题签马远画，但究其画风与马远无相似之处，故改为无名氏作。画中钤有“真赏”、“宜尔子孙”、“信公珍赏”、“会侯珍藏”、“都尉耿信公书画之章”等藏印多方。曾经清人耿昭忠收藏，《虚斋名画录》著录。",[7,24,5990,173,27,29,1532,560,174,491,1926,52458,28,1016,5233,14884,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b0db537c474e6e93fd4294004a01a7.jpg","纵23、横24.5厘米",[],{"id":108528,"slug":108529,"title":108530,"dynasty":18,"author":293,"museum":20,"description":108531,"tags":108532,"thumbUrl":108533,"material":724,"size":108534,"collection":139,"collections":108535,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},234015,"liu-tang-mu-ma-tu-ye-yi-ming-234015","柳塘牧马图页","此图原为《历代名笔集胜册》之一幅，画我国北方游牧民族牧马情景。画中青山绿水，岸柳成荫，五十余匹骏马，在二十余人监视下放牧。马的姿态各异，有在岸上飞奔着，有在水中游泳者，也有嘶鸣嬉戏者，给人一种怡然自得之感。为南宋扇画之杰作。 画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 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高士探梅山水图",[23,7,24,27,28,177,29,106,7242,448,1575,176,37,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba5e9cd2a0636c0c03c1aa4dd653c9b.jpg",[],{"id":108853,"slug":108854,"title":108855,"dynasty":76,"author":20231,"museum":515,"description":108856,"tags":108857,"thumbUrl":108858,"material":803,"size":108859,"collection":139,"collections":108860,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},231531,"zhi-hua-niu-bei-song-jing-tu-gao-qi-pei-231531","指画牛背诵经图","高其佩（1660或1672—1734年），字韦之，号且园，辽宁铁岭人，隶汉军镶黄旗，官至刑部侍郎。他擅长指画，即用手掌、手指和指甲勾划线条，并佐以毛笔。所绘人物、山水、花卉栩栩如生，丰富了中国画的表现技法，在清代画坛以指画独树一帜。清雍正年间曾宫中作画。\n所谓指画，即以手指蘸墨代替毛笔作画，用指尖、指甲、指背、掌沿等不同部位着纸，画出不同质感的线条，既保持了毛笔画的传统韵致，又有自己简约、刚健的特殊风味，从而能以得心应手地表现物象。",[23,7,24,38570,173,106,151,245,11078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ac262ebe35f216eebf751a05856bc.jpg","70.9×38.3cm",[],{"id":108862,"slug":108863,"title":10114,"dynasty":18,"author":293,"museum":206,"description":108864,"tags":108865,"thumbUrl":108866,"material":4796,"size":67507,"collection":139,"collections":108867,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},231346,"qian-yan-wan-he-tu-yi-ming-231346","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。",[1160,7,24,209,241,173,177,29,650,34,560,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a367f486734e2739a21f3d46375c6e.jpg",[],{"id":108869,"slug":108870,"title":108871,"dynasty":76,"author":13727,"museum":364,"description":108872,"tags":108873,"thumbUrl":108875,"material":743,"size":744,"collection":139,"collections":108876,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},231058,"sai-shang-ye-qu-tu-jiao-bing-zhen-231058","塞上野趣图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。",[23,7,24,1562,27,28,29,6195,281,108874,27234],"边塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708c9c2f236532c6f6469d779a3c6473.jpg",[],{"id":108878,"slug":108879,"title":108880,"dynasty":76,"author":108881,"museum":364,"description":108882,"tags":108883,"thumbUrl":108884,"material":743,"size":744,"collection":139,"collections":108885,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},230878,"zhong-jin-shi-song-mei-tu-shan-mian-sun-ji-rui-230878","钟进士送妹图扇面","孙基瑞","此作以浅淡设色铺陈场景，钟馗虬髯横剑，威严沉稳，妹妹安坐驴背，温婉静和，仆役肩挑酒食随行。淡墨晕染出郊野平坡枯木，清寂氛围感十足。线条简练挺劲，将人物神态刻画入微，刚柔反差鲜明，钟馗的凛然与小妹的柔媚相互映衬，细节生动鲜活。设色淡雅秀润，笔墨兼具写意与工致，将民间送妹传说，绘就出灵动古雅的意趣，是极具韵味的仕人小品，尽显传统人物画的雅致情致。",[1562,7,24,27,260,106,1015,368,2714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eaa85281443b028d59b1239b5802ee2.jpg",[],{"id":108887,"slug":108888,"title":108889,"dynasty":76,"author":108890,"museum":364,"description":108891,"tags":108892,"thumbUrl":108893,"material":139,"size":139,"collection":139,"collections":108894,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},230871,"zhi-hua-chun-shan-dai-du-tu-zhu-lun-han-230871","指画春山待读图","朱伦瀚","《指头生活三百年:高其佩与指头画派(套装共2册)》内容简介：指头画，即以手代笔，蘸墨作画。\n中国传统绘画中的一种特殊的画法。\n即以画家的手指代替传统工具中的毛笔蘸墨作画，别有一种特殊趣味和技巧。\n历史上清代高其佩、近代潘天寿、洪世清所作指画作品其影响较大。\n辽宁与指头画有着深厚的渊源，指头画开派人物清代的高其佩祖籍是辽宁的铁岭。\n其弟子传派众多，至清末已达百余人，遂有“指头画派”之称，在清代绘画史中占有一席之地。\n国内著名的指墨家杨一墨就是辽宁开原人，现为铁岭中国手指画研究院院长。\n目前辽宁地区活跃着一批热爱和研究指画艺术、颇具影响力的画家。\n《指头生活三百年:高其佩与指头画派(套装共2册)》由辽宁美术出版社出版。\n《指头生活三百年·上卷》目录： 涂洛陆日为合绘高其佩洗聪明图 指头生活——高其佩作品 杂画册 策杖观涛图 江岸笛声图 蜘蛛图 苍鹰待擒图 梅竹图 鱼虾图 风帆出峡图 三牛图 猿戏图 狮子听泉图 策杖行旅图 松鹤图 人物杂画册 荷花翠鸟图 北上京师纪游册 游骑图 蜀葵图 天宁寺图 捕鱼图 拈针图 臼沟河图 龙图 虎图 樱桃小鸟图 冰图 石首鱼图 青菜图 竹石花卉图册（笔画） 三石图 牡丹图 山茶图 玉兰图 兰花圈 牡丹图 桂花圈 芙蓉图 萱草海棠图 松树图 梅树图 竹枝图 花鸟图 古木幽亭图 雪景山水图 柳塘鸳鸯图 钟馗降魔图 鱼虾水戏图 溪桥古木图 杜陵诗意图 怒容钟馗图 杂画图册 雁归图 沧海孤舟图 松驴图 松下授经图 鱼戏图 枝头小鸟图 风竹图 牡丹图 兰花图 凤凰梧桐图 狮子观瀑图 秋菊图 花卉图册 黄菊图 葡萄图 兰花图 出水芙蓉图 萱花图 虞美人图 绣球花图 桃花图 牡丹图 梅花图 杂画图册 骏马图 蜷猫图 鲜果图 枝图 佛手图 荚蓉图 寄生草图 竹笋图 杂画图册 桂兔图 月季图 双燕图 秋葵图 柳鸶图 萱草图 桃花游鱼图 柳荫扁舟图 杂画册 洛神图 孤帆远景图 钟旭图 云龙图 猛虎图 牧童图 松鼠图 寒泉图 雁陈图 静观图 人物杂画图册 老翁携仆图 风竹图 枝头孤鸟图 疏木流泉图 顽石花卉图 捕蝶仕女图 菊兰图 雉鸡图 依松听泉图 山中高士图 观瀑图 俯视一切图 游骑图 观潮图 春游图 深谷水泻图 采芝图 云中钟馗图 钟馗图 文昌像 麒麟送子图 牛背诵经图 鸿雁图 秋柳水鸟图 雄鸡水仙图 石崖雄鸡图 梧桐喜鹊图 草兰花图 牡丹图 松鹰图 松鹰图 松鹰图 雄鹰窥雀图 鹰木图 云龙图 山君饮涧图 踞虎图 饱虎图 虎啸图 喜报封侯图 松鹿图 题画诗十二首 高其佩款印 高其佩年表 指画生息——指画传派作品 朱伦瀚山虎咆哮图 朱伦瀚云龙图 朱伦瀚龙虎风云图 朱伦瀚春山待读图 朱伦瀚逆流撑篙图 朱伦瀚松下观泉图 朱伦瀚仙山春晓图 朱伦瀚松溪论道图 朱伦瀚山水杂画册 朱伦瀚杂画图册 高凤翰花卉图册 李世倬钟馗策蹇图 李世倬雄鸡菊石图 薛渔柏鹿双寿图 高秉杂画册 朱孝纯山水图册 苏廷煜梅兰竹菊册 苏廷煜杂画册 苏廷煜墨竹图 罗聘团扇徘徊图 罗聘西瓜图 严钰仿高其佩溪山竹居图 张敌钟馗图 甘士调芙蓉水禽图 甘士调松鹰图 甘士调春燕图 甘士调藕蟹图 甘士调荷花游禽图 傅雯钟馗图 傅雯观音变相图 傅雯山亭赏雪图 傅雯罗汉图 傅雯目送归鸿图 傅霞杂画册 傅雯观音变相图 傅雯山水图 杜鳌山水册 萧景云兰花图 崇善罗汉降龙伏虎图 黄骍花卉禽鸟册 瑛宝杂画册 瑛宝杂画册 瑛宝观瀑图 萨克达氏花鸟图 萨克达氏山平水远图 刘锡玲墨莲图 刘锡玲花鸟册 刘锡玲桃花源图 蒋璋白鹅图 李春林柳燕图 指墨生辉——近现代指画作品 潘天寿新安江景图 潘天寿墨蛙图 袁贤麟牧牛图 宁斧成大好山河图 梁崎老子骑牛图 宋世传山水图 吴在炎山水瀑布图 吴在炎君子之交图 吴在炎韵满荷塘图 万一鹏古木云萝图 筱原光美达摩图 藤沢正子山花浪漫 张立辰梅花图 王曼如松树图 吴俊达松鼠图 林奇英前程似锦图 张林极乐世界图 吴景原猛虎图 王洪泰梅颂图 四明一风牡丹猫图 花艳寻觅图 路建群墨梅图 虞小风几度夕阳红图 龚继先竹藕图 宋雨桂枯树图 许勇亲情图 亓官良关东情 杨宝峰金秋图 赵宝平人远江天图 张晖春江水暖图 荆成义红颜图 冯朝辉孤影浮云图 杨一墨果实累累 杨一墨指点绿谷 杨一墨弃杖画中行 宋希祥指蘸清溪写山河 顾鹤冲高寒图 韩富华达摩面壁图 尹向东秋风秋雨也宜人 李永平花鸟图 曹伟秋院晓露图 王嘉宁山居图 赵伟山里人家图 王晓峰关山行 吴润龄千里雪茫茫 张桂生清溪幽谷出 王作千关山指画写生 王岩吴昌硕像 刘永春踏花归来马蹄香 朱兆东野趣图 张晓风万岁和平 高辉荒塬 杜晓波山里人家 张凤权春到家山 杨春福安图 千晓东西藏人物之三 邓云凉送给建设者的果实 赵明明十里秋色图 辛杰吉祥三宝 左群好年头 干晓畅秋实 黄辞培花鸟 刘懿娜丰硕 宋立欣金州写生 任刚荷塘秋色 都立春清晨入古寺 董德敏生命的期待 王均亮月下香雪 张丽敏山居 刘丹人物 高敏群鸡图 陈铁生彝乡风情 子墨风烟秋色 干一丁山水 张儒一雨清心 后记 …… 《指头生活三百年·下卷》",[23,7,24,241,27,38570,106,29,394,176,177,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F707cad4fc65c61dfbf21de15bf26ca76.jpg",[],{"id":108896,"slug":108897,"title":108898,"dynasty":76,"author":707,"museum":364,"description":108899,"tags":108900,"thumbUrl":108901,"material":139,"size":139,"collection":139,"collections":108902,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},230869,"san-shi-tu-hua-yan-230869","三狮图","以水墨绘就幽谷林泉，飞泉直落，古藤垂挂缠绕，泼墨晕染出山岩苍润空濛的野逸氛围。画幅下方三狮错落，两白狮以淡墨勾皴毛发，蓬松柔润，神态威沉内敛；黑狮浓墨重染，身形劲健，昂首侧目，似在静听流泉之声。\n\n动静相映间，将猛兽的悍勇与山林的幽寂相融。笔墨干湿浓淡变化自如，以写意山水衬走兽之态，工写结合，既具文人水墨的清雅韵致，又精准捕捉雄狮的沉雄威仪，尽显山林间的生息意趣与笔墨灵韵。",[23,209,7,241,173,446,957,176,558,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67fb63370229788ee8f454348ec5929e.jpg",[],{"id":108904,"slug":108905,"title":108906,"dynasty":292,"author":293,"museum":364,"description":108907,"tags":108908,"thumbUrl":108909,"material":743,"size":744,"collection":139,"collections":108910,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},230556,"ba-jiao-ye-yu-tu-ri-ben-shi-ting-shi-dai-yi-ming-230556","芭蕉夜雨图-日本室町时代","轻烟晕染远山淡影，茅庐偎依芭蕉古松，板桥隐没于空蒙水雾间，将秋夜听雨的清寂铺展于卷上。湿冷的潮气仿佛浸透纸面，夜雨敲打着芭蕉叶，声声都揉着羁旅幽愁。\n\n整幅以画载情，上部题满唱和诗书，笔墨错落间，将寒宵孤坐的怅惘与同侪酬和的共情融为一体，书画相映，把蕉下听雨的清冷意绪，晕染得愈发绵长醇厚。",[23,7,24,173,177,178,86,227,29,755,430,30866,864,297,431,1329,44378,30782,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff965d35070656840bce03fd2737af2ec.jpg",[],{"id":108912,"slug":108913,"title":108914,"dynasty":292,"author":293,"museum":364,"description":108915,"tags":108916,"thumbUrl":108917,"material":743,"size":744,"collection":139,"collections":108918,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},230549,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-1-yi-ming-230549","明清古画动物山水粉本图卷-1","此作以淡设色写就，竹枝蜿蜒横斜，两只绶带鸟栖于枝头，翎羽晕染细腻，尾羽舒展飘逸，姿态悠然自得。左侧浅绿晕染牡丹与湖石，花叶柔润秀雅，清润雅致。\n全作用笔清劲秀逸，线条勾勒简练精准，设色浅淡明净，无浓艳堆砌之意，尽显平和娴静的文人意趣。简淡笔墨间晕染出花木禽鸟的灵动生机，带着写生的鲜活意致，尽显传统花鸟的幽隽雅致之美。",[23,7,27,28,25,83,340,327,224,225,84,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e497c2669ce7f84f921f5e8bdcf52d4.jpg",[],{"id":108920,"slug":108921,"title":108922,"dynasty":292,"author":65932,"museum":364,"description":82870,"tags":108923,"thumbUrl":108924,"material":743,"size":744,"collection":139,"collections":108925,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},230489,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-yi-ping-yun-gu-deng-yan-230489","安土桃山 山水图屏风-第一屏",[23,7,24,173,177,29,430,1575,114,245,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959bfd52b542f4f8e07d6bd3acfd9022.jpg",[],{"id":108927,"slug":108928,"title":108929,"dynasty":292,"author":88242,"museum":364,"description":108930,"tags":108931,"thumbUrl":108932,"material":139,"size":139,"collection":139,"collections":108933,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},230482,"an-tu-tao-shan-shi-dai-hua-xia-you-le-tu-ping-feng-di-yi-ping-shou-ye-zhang-xin-230482","安土桃山时代 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9016,"fang-gu-shan-shui-ce-wang-hui-229016","此作取冬初水村之景，淡墨晕染出濛濛寒雾，远山以留白素裹，将冬日清寂铺陈开来。堤岸老柳残条轻垂，陂塘枯敛的莲叶错落，村舍隐于深林之间，曲径蜿蜒通幽，寥寥数笔便将村居安闲静谧勾勒尽致。\n\n用笔秀润雅致，以淡赭轻敷衬出秃木苍劲，墨色与留白相映，氤氲出空濛冷冽的水乡冬韵，将江南冬日清寒又安宁的诗意藏于尺幅间，尽显文人山水温婉雅致的意趣。",[7,3117,177,27,29,1015,1532,490,464,37,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b388f3716f969182de3b18816e228a.jpg",[],{"id":108999,"slug":109000,"title":109001,"dynasty":76,"author":10958,"museum":364,"description":109002,"tags":109003,"thumbUrl":109004,"material":139,"size":139,"collection":139,"collections":109005,"showCount":994,"zanCount":5,"manualWeight":48,"mainColor":94},228964,"mo-miao-zhu-lin-si-ce-dong-bang-da-228964","墨妙珠林（巳）册","此作左诗右画，书画合璧。白描山水以淡墨写尽仙仓岩幽境，层峦叠嶂皴法清隽，林麓萧疏错落，清溪萦回于谷中，山坳茅舍隐现，简淡笔墨晕染出静穆空寂的山居意趣。\n\n左侧行书题诗笔致温润秀逸，结体舒展雅致，诗句咏叹山中丰饶自在，与画境相互生发。整幅以素淡之韵，将林泉高致融于方寸间，尽显文人山水清和散澹的雅怀，藏静穆淡远的山水诗意于笔墨之中，是文人书画小品的佳制。",[7,24,81,173,29,864,297,175,34,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b8290b9dc65f14bc553c5723165ae6.jpg",[],{"id":109007,"slug":109008,"title":486,"dynasty":76,"author":20231,"museum":364,"description":109009,"tags":109010,"thumbUrl":109011,"material":139,"size":139,"collection":139,"collections":109012,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},228926,"shan-shui-ce-gao-qi-pei-228926","以指代笔，水墨写意。淡墨晕染出空濛烟岚，远山隐绰在暮雨薄雾之间，浑茫幽寂。近处以浓墨挥斫危崖，苍劲古木虬曲斜生，枝叶以焦墨点簇，朴拙老辣。临水村居简笔勾廓，素净雅致，静卧于溪岸之侧，流露出山野幽居的闲淡意趣。\n\n题诗与画境呼应，将春日迟暮、静听暮雨的萧散心境融于笔墨。整幅画面虚实相生，简淡空灵，以极简的笔墨勾勒出清远空寂的山居之境，尽显文人画简远疏淡的审美意趣。",[7,173,81,29,35,34,650,37,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc0b4398013bfd218a1a58a5ceb209d.jpg",[],{"id":109014,"slug":109015,"title":109016,"dynasty":99,"author":56582,"museum":364,"description":88450,"tags":109017,"thumbUrl":109018,"material":139,"size":139,"collection":139,"collections":109019,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},228919,"peng-lai-xian-yi-tu-leng-qian-228919","蓬莱仙弈图",[23,7,24,25,27,28,1308,178,29,107,106,34,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8255e9747b858ce33ea55f9a372f599.jpg",[],{"id":109021,"slug":109022,"title":109023,"dynasty":99,"author":966,"museum":364,"description":39462,"tags":109024,"thumbUrl":109025,"material":743,"size":744,"collection":139,"collections":109026,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},228863,"wu-kuan-ti-ti-yuan-yu-zi-zhi-shu-xiang-yuan-bian-ti-tao-wu-liu-shi-wen-zheng-ming-228863","无款题；题元俞紫芝书；项元汴题陶五柳诗",[7,24,81,227,32785,178,1195,1308,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e96d881414ac4716f41f771645b5a8.jpg",[],{"id":109028,"slug":109029,"title":89687,"dynasty":99,"author":1170,"museum":206,"description":109030,"tags":109031,"thumbUrl":109033,"material":67,"size":139,"collection":139,"collections":109034,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},228842,"tai-ping-le-shi-ce-dai-jin-228842","它一般描绘社会安和乐利，人民安居乐业的的太平景象。太平乐事册页，一共十开。分别为婴戏、骑牛、捕鱼、娱乐、戏耍、试射、耕罢、观戏、木马、牧归。画面中有不同阶层人生活的场景，非常有生活气味。",[7,27,28,81,106,3045,109032,5630,11429,315],"成年人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10f2caf70a0e0917dcab4e7bdff22a0.jpg",[],{"id":109036,"slug":109037,"title":109038,"dynasty":99,"author":19417,"museum":364,"description":109039,"tags":109040,"thumbUrl":109041,"material":139,"size":139,"collection":139,"collections":109042,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},228399,"chi-bi-sheng-you-tu-juan-zhu-yun-ming-228399","赤壁胜游图卷","开卷是平远江景，淡墨晕染汀渚林峦，茅庐隐于烟霭疏树之间，清寂萧散，暗合夜游的幽旷意韵。后段行书铺陈全篇，开篇浓墨榜书造势，笔力沉厚雄奇，随后行笔渐趋舒展灵动，提按藏枯涩润秀之变，行气绵密贯通，将泛舟叩舷、酾酒临江的旷达心境，藏于笔锋流转之中。\n\n书画合璧，文辞、笔墨与画意融为一体，把夜游赤壁的浩渺襟怀，化作纸上烟岚与笔底波澜，尽显萧散狂逸的文人意趣，是书画互衬的精妙之作。",[23,7,24,25,173,178,86,29,174,34,227,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3b52125cd618b3e7941437626cd79b.jpg",[],{"id":109044,"slug":109045,"title":109046,"dynasty":99,"author":109047,"museum":364,"description":109048,"tags":109049,"thumbUrl":109050,"material":139,"size":139,"collection":139,"collections":109051,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},228396,"hua-niu-tu-juan-zhang-jun-du-228396","画牛图卷","张君度","此卷以水墨晕染群牛，情态鲜活灵动。或抵角相搏、野性尽显，或信步缓行、憨态可掬，或卧地慵憩、悠然自得，搭配随性牵引的牧童，将乡野牧歌的闲逸日常铺陈开来。\n\n笔墨极简却形神兼备，淡墨晕出蓬松皮毛，浓墨勾勒犄角蹄足，寥寥数笔便将水牛的厚重朴拙尽显。题跋书法与绘事相映，诗画合璧，文心与画趣交融。构图疏密张弛有度，从群聚到散走过渡自然，将田园间的悠然意韵缓缓铺展，尽显文人写意的抒情特质，是兼具写生传神与寄兴抒怀的佳作。",[23,7,24,25,173,28,151,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456e6af9b7a3092979091028a8aeb964.jpg",[],{"id":109053,"slug":109054,"title":109055,"dynasty":189,"author":293,"museum":364,"description":109056,"tags":109057,"thumbUrl":109058,"material":139,"size":139,"collection":139,"collections":109059,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},228222,"qiu-lin-shan-zhuang-tu-ye-er-yi-ming-228222","秋林山庄图页二","此画以淡墨写就秋山幽居之景。萧疏枯木虬曲伸展，枝桠棱棱尽染清秋寥落之意，旁生细竹添得几分柔雅生机。山石以简笔勾勒，皴擦浅淡风骨清癯，崖畔栈道蜿蜒，板桥通连幽处茅舍，藏着山居闲逸。远景江天空阔，远山一抹轻晕，留白尽衬荒寒淡远。\n\n笔墨松秀简净，无过多繁饰，以简淡之形托出幽寂清远的林下意趣，将幽居山野的恬然与秋林清寂相融，尽显寄情林泉的文人雅怀，淡而韵长，简中见味。",[23,7,173,29,81,260,177,165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显小品以小见大的雅致，把文人耽于山水、寄情烟霞的襟怀藏在水墨晕染中，淡而愈真，简而弥远。",[23,7,24,209,27,173,28,29,1532,2994,243,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744cd083c4a70642706010bdf7ba17b3.jpg",[],{"id":109122,"slug":109123,"title":109124,"dynasty":18,"author":293,"museum":364,"description":109125,"tags":109126,"thumbUrl":109127,"material":139,"size":139,"collection":139,"collections":109128,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},227866,"wan-he-guo-suo-tu-yi-ming-227866","晚荷郭索图","《宋扇面画晚荷郭索图》是宋代画家佚名创作一幅绢本设色画。\n此画现藏于北京 。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 相距甚远，故改为无名氏画。",[23,7,24,1160,81,1562,173,27,136,137,931,5169,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],{"id":109130,"slug":109131,"title":109132,"dynasty":18,"author":293,"museum":364,"description":109133,"tags":109134,"thumbUrl":109135,"material":139,"size":139,"collection":139,"collections":109136,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":271},227855,"shan-yao-lou-guan-tu-ye-yi-ming-227855","山腰楼观图页","此作以水墨绘危峰陡立，云雾如纱空蒙，将山体半隐，仅留山腰楼宇静踞林麓。以斧劈皴利落勾勒山石筋骨，墨色由浓转淡晕染烟岚，虚实相生衬出幽谷空寂幽深。\n\n咫尺扇面以少胜多，尽显简淡空灵意趣，将林泉高致藏在淡墨轻岚间。题诗与画境呼应，把寻仙慕隐的出世之思融于山水，淡远清逸，观之如临其境，似可凭栏观山、静听穿林风声，幽远超脱的山居雅境跃然绢上。",[23,7,24,1562,29,107,176,34,104,177,27,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F274facbfdb6c3c7e5bdce52d2bca3976.jpg",[],{"id":109138,"slug":109139,"title":109140,"dynasty":18,"author":293,"museum":364,"description":109141,"tags":109142,"thumbUrl":109143,"material":139,"size":139,"collection":139,"collections":109144,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[23,209,7,24,5990,1562,27,178,177,104,29,107,30,34,37,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":109146,"slug":109147,"title":109148,"dynasty":18,"author":293,"museum":364,"description":88581,"tags":109149,"thumbUrl":109150,"material":139,"size":139,"collection":139,"collections":109151,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},227360,"zhan-dao-heng-lv-tu-ye-yi-ming-227360","栈道行旅图页",[23,7,209,24,5990,27,29,900,106,150,1015,176,559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b65495671b6e37fe5a1bbe7ea1b7d6.jpg",[],{"id":109153,"slug":109154,"title":109155,"dynasty":18,"author":293,"museum":364,"description":109156,"tags":109157,"thumbUrl":109158,"material":139,"size":139,"collection":139,"collections":109159,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":1335},227349,"xuan-he-dian-shuang-an-tu-yi-ming-227349","宣和殿双安图","北宋皇宫建筑之一，前后经历始建重建，后称保和殿，用以藏书藏画，北宋皇室三大藏书处所之一。著名的《宣和书谱》、《宣和画谱》都与此殿关系密切。",[23,209,7,24,27,28,83,10824,796,340,1160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0812227ecaac5bde35609c91e6acc901.jpg",[],{"id":109161,"slug":109162,"title":109163,"dynasty":18,"author":293,"museum":364,"description":109164,"tags":109165,"thumbUrl":109166,"material":139,"size":139,"collection":139,"collections":109167,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[23,7,24,81,1562,173,27,28,29,175,298,34,106,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":109169,"slug":109170,"title":109171,"dynasty":18,"author":109172,"museum":364,"description":109173,"tags":109174,"thumbUrl":109175,"material":139,"size":139,"collection":139,"collections":109176,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":271},227297,"shu-guang-zong-ti-yang-bu-zhi-hong-mei-tu-shi-li-zong-227297","书光宗题杨补之红梅图诗","理宗","宋理宗赵昀（1205年1月26日－1264年11月16日），初名赵与莒，后改名赵贵诚，绍兴府山阴县（今浙江绍兴）人，宋朝第十四位皇帝（1224年9月17日—1264年11月16日在位），南宋第五位皇帝。宋太祖赵匡胤十世孙，赵德昭九世孙。 [1-2]\n嘉定十五年（1222年），被立为宋宁宗弟沂王嗣子，赐名贵诚。嘉定十七年（1224年），立为宁宗皇子，赐名昀。 [3] 宋宁宗死后，赵昀被权臣史弥远拥立为帝。赵昀继位的前十年都是在权相史弥远挟制之下，自己对政务完全不过问，自己则尊崇理学，纵情声色，直到绍定六年（1233年），史弥远死后，赵昀才开始亲政。他亲政之初立志中兴，采取罢黜史党、亲擢台谏、澄清吏治、整顿财政等改革措施，史称“端平更化”。端平元年（1234年），派兵联蒙灭金。同年出兵收复三京，但以失败告终，次年（1235年）蒙古大汗窝阔台以宋朝背约为由，全面侵宋，持续四十多年的宋蒙战争爆发。晚年赵昀又沉湎于醉生梦死的荒淫生活中，朝政相继落入丁大全、贾似道等奸相之手，国势急衰。\n景定五年（1264年），赵昀在临安去世，在位四十一年，仅次于仁宗，享年六十岁。谥号建道备德大功复兴烈文仁武圣明安孝皇帝，庙号理宗。葬于永穆陵",[23,7,24,1562,178,227,448,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ab459a45ebc90b3709cbd648351953.jpg",[],{"id":109178,"slug":109179,"title":28661,"dynasty":76,"author":28662,"museum":364,"description":109180,"tags":109181,"thumbUrl":109182,"material":139,"size":139,"collection":139,"collections":109183,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224567,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-224567","此作追摹古法，以苍劲斧劈皴勾勒首阳山巉岩硬石，尽显山峦枯寂荒寒。伯夷、叔齐席地对坐，衣纹圆劲凝练，神色沉郁而坚毅，将先贤守节不屈的志节暗藏于眉眼身形间。\n整卷气息沉穆高古，设色浅淡克制，简淡笔墨里见朴拙苍厚。既恪守原作肃穆格调，又融入自身细腻摹写之功，将乱世君子的嶙峋风骨与山野清寂氛围相融，让观者于笔情墨韵间，触摸到千年不移的忠义襟怀。",[7,209,25,105,27,177,106,29,3842,62757],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54554e3c6cce8aff03f2293277073082.jpg",[],{"id":109185,"slug":109186,"title":109187,"dynasty":99,"author":36152,"museum":364,"description":109188,"tags":109189,"thumbUrl":109190,"material":139,"size":139,"collection":139,"collections":109191,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224562,"shu-hua-ce-ye-27-xiao-yun-cong-wang-shi-zhen-224562","《书画册页》-27","近景苍松虬曲古拙，苔痕覆于顽石，执杖行人徐行溪桥，柴扉轻掩，僮仆静候于竹篱茅舍侧，修篁环绕更添幽寂。飞瀑穿谷蜿蜒而下，层叠山峦以朴拙皴法写就，山石棱角间点染丹色，暗合秋意。\n整幅画作以元人笔意写林泉幽居，笔墨简淡松秀，淡赭轻施衬出山野清秋之致。题字清雅隽秀，与山水笔墨相映成趣，将文人寄情丘壑的雅逸襟怀融于尺幅之中，把山野幽居的静穆恬然尽数铺陈，尽显淡远清寂的林下之风。",[7,24,81,27,173,177,29,106,107,109,176,449,3246,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe17b3a9e13051ba3c52fdb0d84755f1c.jpg",[],{"id":109193,"slug":109194,"title":109195,"dynasty":76,"author":10376,"museum":364,"description":109196,"tags":109197,"thumbUrl":109198,"material":139,"size":139,"collection":139,"collections":109199,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},224460,"wan-wu-qiu-ying-tu-zhou-wang-hui-224460","晚梧秋影图轴","218年9月11日，“故宫博物院藏清初‘四王’绘画特展”在故宫文华殿书画馆开幕。\n该展览展出文物多达11件套，分为“‘师古’为宗”、“融古出新”以及“沾溉后学”三个单元。\n在展品的遴选上，不仅优选了艺术造诣高的绘画精品，同时又选择了能够体现“四王”画学思想的作品，如王鉴的《四家灵气图》、王原祁的《神完气足图》等。\n又如王时敏《秋山白云图》轴和王翚《晚梧秋影图》轴等，也是他们经典的代表作。\n该展览为绘画实践者提供了优秀的临摹范例，给广大观众带来深刻、丰富的艺术享受。",[23,7,24,241,173,177,449,3246,175,108,109,245,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1cefd7828df8cbbeb1a228c219193e.jpg",[],{"id":109201,"slug":109202,"title":109203,"dynasty":76,"author":10376,"museum":364,"description":109204,"tags":109205,"thumbUrl":109206,"material":139,"size":139,"collection":139,"collections":109207,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[23,7,25,27,29,177,28,32,34,33,920,13911,340,2522,7646,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":109209,"slug":109210,"title":109211,"dynasty":76,"author":1394,"museum":364,"description":109212,"tags":109213,"thumbUrl":109214,"material":139,"size":139,"collection":139,"collections":109215,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224419,"shu-hua-shi-liu-kai-5-wang-shi-min-224419","书画十六开-5","此作以赭色绢本铺底，工写相融。白牡丹为画面眼目，淡墨勾瓣，轻施水色晕染，瓣层舒展如叠雪堆云，清腴柔妍，贵而不艳。枝上栖禽翎羽丝描细腻，赭黄、灰褐晕出绒泽，侧目望向花头，似正细嗅天香，灵动鲜活。枝叶以中锋写出，墨色分浓淡显向背，苍润秀雅。题字清雅疏朗，与画面气韵相合。整体娴静古雅，将工致与淡逸揉为一体，晕开春日清和里的幽淡意趣。",[23,7,24,81,28,27,83,327,224,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed52104fc84ec7accdec9de13fdf28db.jpg",[],{"id":109217,"slug":109218,"title":109219,"dynasty":76,"author":1394,"museum":364,"description":109220,"tags":109221,"thumbUrl":109222,"material":139,"size":139,"collection":139,"collections":109223,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},224412,"shu-hua-shi-liu-kai-13-wang-shi-min-224412","书画十六开-13","此作以平远之法铺陈山水，近岸怪石古拙，杂木错落间茅舍隐于林麓，野意悠然。中景湖波澹澹，洲渚横斜，远景山峦层叠，以淡墨晕染出空濛烟岚，将天地开合尽纳尺幅。\n\n笔墨温润苍秀，干笔皴擦间带着醇厚的仿古意趣，淡赭设色晕染绢素，衬出草木清润。右上角题款清雅融于景致，整体气息静穆萧散，将江南山水的温婉沉静铺展开来，尽显文人幽居林泉的雅怀，于仿古之中自出机杼，尽显简淡冲和的文人画意趣。",[23,7,27,177,81,29,108,109,394,176,35,340,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528be01158804a7b2b58896cf758f1ed.jpg",[],{"id":109225,"slug":109226,"title":109227,"dynasty":76,"author":1892,"museum":364,"description":109228,"tags":109229,"thumbUrl":109230,"material":139,"size":139,"collection":139,"collections":109231,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224400,"ceng-yan-die-cui-wang-yuan-qi-224400","层岩叠翠","这幅山水以干笔积墨写就，山峦层叠开合，取深远章法铺陈丘壑。以干笔皴擦反复叠加墨色，从淡到浓层层积染，山石质感浑厚苍润，尽显沉雄静穆之气。\n山道蜿蜒藏露，溪涧顺势穿林而过，林木错落穿插其间，山居人家隐于深谷，暗合幽寂野趣。笔墨承元人遗韵又自出机杼，于细碎皴染间，将山川郁茂生机与沉静浑融的意蕴合为一体，尺幅之中带着大山大水的苍郁气象，尽显正统山水画的笔墨风骨。",[23,7,24,556,177,20163,29273,81,176,34,109,558,561,464,281,565,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7750b4b0b146fdc1e4a74f70bc9e63.jpg",[],{"id":109233,"slug":109234,"title":109235,"dynasty":76,"author":1892,"museum":364,"description":109236,"tags":109237,"thumbUrl":109238,"material":139,"size":139,"collection":139,"collections":109239,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[7,24,241,173,177,227,86,178,29,864,34,35,31,650,1575,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":109241,"slug":109242,"title":109243,"dynasty":76,"author":1892,"museum":364,"description":109244,"tags":109245,"thumbUrl":109246,"material":139,"size":139,"collection":139,"collections":109247,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224391,"chun-yan-cui-ai-wang-yuan-qi-224391","春崦翠蔼","此作以全景铺展山林胜境，山峦层叠逶迤取高远之势，干笔积墨反复皴擦，笔力苍厚沉雄，墨色层次氤氲，尽显山峦的浑莽质感。谷间村居错落隐于松竹之下，清溪蜿蜒环带，浮漾着春日的温润清光。浅绛淡赭轻敷山石，晕染出春山翠霭融融的氛围，草木点染灵动，暗合春日生机。整体气脉贯通，将江南春山的幽谧雅致与文人笔墨的书卷意趣相融，于苍秀兼济的笔法中，铺陈出春日山林静穆又盎然的隽永意境。",[23,7,24,29,241,27,177,864,297,34,1575,650,108,560,37,1255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":109249,"slug":109250,"title":109251,"dynasty":76,"author":1892,"museum":364,"description":109252,"tags":109253,"thumbUrl":109254,"material":139,"size":139,"collection":139,"collections":109255,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224384,"fang-da-chi-shan-shui-wang-yuan-qi-224384","仿大痴山水","《设色仿大痴山水图》是清代王原祁创作的设色山水画，现收藏于沈阳故宫。\n重要展览 219年9月2日，该作品在“锦绣江山——沈阳故宫藏山水画特展”中展出。",[23,209,7,24,241,27,29,176,34,1255,109,37,177,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc489ecfc1c06d7bcf6b15139b503e79.jpg",[],{"id":109257,"slug":109258,"title":109259,"dynasty":76,"author":109260,"museum":364,"description":109261,"tags":109262,"thumbUrl":109263,"material":139,"size":139,"collection":139,"collections":109264,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},224362,"cheng-qin-wang-qing-yong-xing-shu-gao-zong-yu-zhi-si-shi-yan-qing-shi-zhou-ai-xin-jue-luo-yong-xing-224362","成亲王 清永瑆书高宗御制四时衍庆诗轴","爱新觉罗永瑆","此作用笔秀挺雅致，起收顿挫皆具法度，点画间顾盼有情，将馆阁体的端谨妍美诠释尽致。瘦硬清逸的笔调融合赵书娟秀与馆阁规整，字字排布齐整，章法严整又不失灵动。书写之时笔墨自带恭谨庄重，尽显深厚帖学功底，规整之中暗藏内敛文人意趣，是清代馆阁体书法中的上乘佳构，尽显盛世书法的端雅风貌。",[23,7,24,241,178,10854,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d302552966b86feec697ace2f3a52b5.jpg",[],{"id":109266,"slug":109267,"title":109268,"dynasty":76,"author":6671,"museum":364,"description":109269,"tags":109270,"thumbUrl":109271,"material":139,"size":139,"collection":139,"collections":109272,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224335,"shi-gu-qi-niu-tu-zhou-yang-jin-224335","石谷骑牛图轴","浅设色绘就水滨春野，水牛信步徐行，背脊上的宽袍老者斜倚安坐，斗笠覆顶，垂目敛神，一派萧散恬然。\n\n水牛造型朴拙写实，晕染细腻还原皮毛质感，人物衣纹简练秀雅，淡赭敷色清润柔和。通幅布景极简，只以柔线勾勒浅草坡岸，留白尽显空濛野趣。搭配多段题诗，书画合璧，将文人逸隐林泉、不慕荣利的襟怀融于笔墨间，简淡天真，尽显出世幽怀，是以画寄意的文人画佳构。",[23,7,24,241,173,106,151,86,178,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86733bb6975257e03883c9a818dc1e29.jpg",[],{"id":109274,"slug":109275,"title":109276,"dynasty":76,"author":2324,"museum":364,"description":109277,"tags":109278,"thumbUrl":109279,"material":139,"size":139,"collection":139,"collections":109280,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224325,"hua-niao-shi-er-kai-3-li-shan-224325","花鸟十二开3","此作以淡墨晕染雀鸟翎羽，绒毛细密质感尽显，小雀侧首凝神，灵动野趣跃然纸上。竹枝以浓淡墨色挥写，叶片俯仰错落，笔致纵逸萧散，尽显清劲风骨。诗书与绘事相融，题字欹斜错落，文气萦绕画面。整作笔简意赅，将花鸟生趣与文人幽思揉合，以意写形不拘成法，墨色干湿互衬，寥寥数笔便勾勒出江乡小景的幽寂意韵，尽显随性疏朗的文人画风骨。",[23,7,24,81,173,27,83,242,224,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476aad52c5f6bd95cc590c2a2bb64743.jpg",[],{"id":109282,"slug":109283,"title":109284,"dynasty":76,"author":2324,"museum":364,"description":109285,"tags":109286,"thumbUrl":109287,"material":139,"size":139,"collection":139,"collections":109288,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224302,"hua-hui-shi-er-kai-3-li-shan-224302","花卉十二开3","此作以淡赭挥写竹杆，枯涩灵动间尽显苍劲挺拔之态，墨色浓淡晕染牵牛花瓣，蓝紫清妍鲜活，翠色叶片交叠错落，将朝颜娇柔生机尽数铺陈。\n\n行书题字欹侧跌宕，笔意率性不羁，与画作写意野趣相得益彰，诗书合璧尽显文人随性酣畅。整幅以简驭繁，脱略形似而神完气足，将篱间牵牛绕竹的夏日清趣揽于尺幅之间。笔底带着鲜活生机，尽显不拘成法、师法自然的写意精神，寥寥数笔便勾勒出花草疏野雅致，淡冶中见风骨，寻常小景溢出悠然林下之致。",[23,7,24,81,27,173,83,84,697,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b41f8a92c4e3e7a9a030332fa62736.jpg",[],{"id":109290,"slug":109291,"title":109292,"dynasty":76,"author":45523,"museum":364,"description":109293,"tags":109294,"thumbUrl":109295,"material":139,"size":139,"collection":139,"collections":109296,"showCount":994,"zanCount":5,"manualWeight":48,"mainColor":94},224277,"shan-shui-hua-hui-ce-shi-fu-shan-224277","山水花卉冊(十)","此作用淡墨晕染出春日烟雨郊野，线条温润舒缓，山峦以写意勾勒辅以浅皴，不见凌厉锋芒。平泽两岸烟柳成林，屋舍隐于软枝茂叶间，远山含黛隐没在氤氲雾气里，留白烘托出水墨交融的空濛氛围。\n整体构图开合自然，萧散松弛的文人意趣藏于笔墨间，澹泊清远中带着杨柳柔媚的春日意态，以极简的题字呼应画面的简淡，将林泉隐逸的闲静心境寄于其中，淡而不寡，简中含情，尽显文人画以画抒怀的雅致格调。",[23,7,24,173,177,81,29,34,176,35,491,13778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917e8b136dce45a1cbd12bb86d9a6e2.jpg",[],{"id":109298,"slug":109299,"title":109300,"dynasty":76,"author":293,"museum":364,"description":109301,"tags":109302,"thumbUrl":109303,"material":139,"size":139,"collection":139,"collections":109304,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},224241,"fu-gui-shuang-quan-tu-yi-ming-224241","富贵双全图","此作以工笔重彩绘就，石上瑞禽翎羽妍丽华贵，尾屏铺陈如曳地织锦，眼斑历历分明，身姿舒展振翅，雄健灵动恍似将引吭长啼。石下名花雍容绽放，紫艳朱红缀于翠叶间，与苍奇湖石相映成趣。花叶勾勒细腻入微，敷色明润雅致，晕染过渡自然柔和。\n\n整幅疏密相宜，重工轻写兼具，既有院体画的精工富丽，又暗含文人雅韵，以瑞禽名花寄寓吉庆意涵，笔致间尽显雍和雅致的太平气象。",[23,7,24,241,28,27,83,312,327,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357232fb0e7e36d29e9bf562a2612aa2.jpg",[],{"id":109306,"slug":109307,"title":109308,"dynasty":76,"author":109309,"museum":364,"description":109310,"tags":109311,"thumbUrl":109312,"material":743,"size":744,"collection":139,"collections":109313,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224165,"lin-su-shi-du-zi-mei-shi-zhou-wang-you-dun-224165","临苏轼杜子美诗轴","汪由敦","汪由敦（1692-1758年3月1日），初名汪良金，字师苕，号谨堂、松泉居士。安徽休宁人。雍正二年（1724）进士，改庶吉士。乾隆间，先后担任了工部尚书与刑部尚书又兼署了左都御史一职。乾隆十一年（1746年）任军机大臣，吏部尚书，老诚敏慎，在职勤劳。金川用兵，廷谕皆出其手。\n乾隆二十三年（1758年），汪由敦逝世。乾隆皇帝亲自前往吊唁，加赠其为太子太师，谥号为文端，入祀贤良祠。汪由敦学问渊深，文辞雅正，兼工书法。著有《松泉集》。",[23,7,24,241,105,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fb18ffc17420be425cadef9d8ced6a.jpg",[],{"id":109315,"slug":109316,"title":109317,"dynasty":76,"author":104772,"museum":364,"description":109318,"tags":109319,"thumbUrl":109320,"material":139,"size":139,"collection":139,"collections":109321,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},224155,"hua-shan-mei-hua-ce-zhang-zhao-224155","画扇梅花册","上幅行书圆劲秀逸，笔墨温润舒展，词句咏梅寄怀，文思与笔意相得益彰，自带清雅书卷气。下幅墨梅以淡墨写枝，浓墨点花，清瘦枝桠错落舒展，寒梅数朵绰约含香，不着艳色却尽得冰清之姿。留白空寂悠远，尽显文人画以意取胜的韵致。\n\n双扇合璧，书画相映，将爱梅赏梅的雅趣融于尺幅之间，以简约笔墨勾勒花木品格，暗合文人心性，尽显冲淡闲和的林下之风，是意趣隽永的文人抒情小品。",[23,7,24,1562,81,448,86,178,227,173,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdda413448615adeaf8857bb9601f5a07.jpg",[],{"id":109323,"slug":109324,"title":109325,"dynasty":99,"author":293,"museum":364,"description":109326,"tags":109327,"thumbUrl":109328,"material":139,"size":139,"collection":139,"collections":109329,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},223682,"feng-yu-po-zhou-tu-yi-ming-223682","风雨泊舟图","此作以淡墨晕染出空濛雨意，水雾裹挟秋意漫过江天。近岸怪石虬松相错，丹红枝叶点破深褐苍翠，晕开晚秋暖色。远山隐在烟霭中，只露嶙峋半截，将天地晕成一片苍茫。\n\n江面上薄雾横生，泊岸的舟楫静立，远水处孤帆在烟浪里浮沉，尽写羁旅之人待雨歇的怅惘。画师以虚实相生之法，将风雨欲来的沉郁秋江铺展开，淡墨轻皴晕出湿冷空寂的氛围感，把秋日羁泊的萧索意趣藏在烟水林峦之中。",[23,7,24,29,27,177,174,394,245,109,34,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04289f046947f163b3eebe5ac5d89837.jpg",[],{"id":109331,"slug":109332,"title":109333,"dynasty":18,"author":293,"museum":364,"description":109334,"tags":109335,"thumbUrl":109336,"material":139,"size":139,"collection":139,"collections":109337,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},223675,"shuang-you-han-chu-tu-yi-ming-223675","霜莜寒雏图","《宋人画霜篠寒雏图》是宋代佚名创作的绢本设色画。\n5只 集于枯棘上，姿势各异，神态如生。\n枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。\n画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。\n文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。\n此图原载《宋人集绘册》。\n图绘家雀五只栖止于枯棘上，右下侧衬以双钩翠竹。\n五只 的神态，刻画极为精工。\n麻雀窃窃私语的神情，欲飞未飞的动态，以及它们茸茸的羽毛，圆而有神的眼睛，描绘得栩栩如生，使人感到如闻其声，如入其境。\n图中竹页用双钩，然后用花青、汁绿渲染，竹竿用白描，荆棘以一笔出之。\n小鸟勾出轮廓后用细笔丝出羽毛，具有毛茸茸的质感。\n此图无作者宽印，钤「宋荦审定」一印。\n本幅无款。\n鉴藏印钤“宋荦审定”。\n裱边题签：“宋人画霜篠寒雏”。\n经清代收藏家宋荦鉴藏，见《石渠宝笈三编》著录。",[23,209,7,28,27,83,224,242,10154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa796d5d8ac8e342dc30faa9a1bfe80fb.jpg",[],{"id":109339,"slug":109340,"title":109341,"dynasty":18,"author":293,"museum":364,"description":109342,"tags":109343,"thumbUrl":109344,"material":139,"size":139,"collection":139,"collections":109345,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},223659,"wen-chuan-tu-juan-yi-ming-223659","问喘图卷","此作用淡墨白描写就，右侧古木虬劲苍郁，浓墨点簇枝叶，衬出林间幽寂。画面左侧水畔空濛悠远，平沙浅滩愈发衬出乡野静穆。\n\n画中士人抬手问询，田夫敛袖作揖应答，神态恳切自然，身后侍童恭立持扇，氛围悠然庄重。耕牛垂首缓行，身姿朴拙生动，将典故融于乡野实景。\n\n构图疏密相宜，淡墨晕染水色空濛，简练线条精准勾勒人物神情与物态，设色简淡素雅，尽显清雅意趣，暗含体恤民生的古韵深意，平淡画面间尽显含蓄悠远的古典风雅。",[23,7,25,260,27,227,106,151,430,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae80987d2d826d7b80a5a3b01b261be.jpg",[],{"id":109347,"slug":109348,"title":24157,"dynasty":18,"author":293,"museum":364,"description":109349,"tags":109350,"thumbUrl":109351,"material":139,"size":139,"collection":139,"collections":109352,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,209,7,24,1397,67,27,3963,177,34,1532,920,176,490,4613,106,491,2522,1247,118,42690,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":109354,"slug":109355,"title":109356,"dynasty":99,"author":293,"museum":101,"description":109357,"tags":109358,"thumbUrl":109359,"material":665,"size":34894,"collection":139,"collections":109360,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},223574,"mu-yang-tu-yi-ming-223574","牧羊图","绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼。",[23,7,1562,27,106,8368,430,12411,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d76828bbf7925e25c75ff00155b1967.jpg",[],{"id":109362,"slug":109363,"title":109364,"dynasty":18,"author":293,"museum":20,"description":109365,"tags":109366,"thumbUrl":109368,"material":67,"size":109369,"collection":139,"collections":109370,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},223507,"song-yin-xian-qi-tu-yi-ming-223507","松荫闲憩图","绘一老者倾躺在斜坡上小憩，高戴高帽，满脸皱纹，长须及胸，右臂枕于头下，双腿蜷缩，安详的享受自然之景；四周杂草蓬勃生长，上方松木遮阳，松针细长繁多，藤条自松枝上垂下。",[23,7,24,12761,1160,173,27,28,106,449,109367],"闲憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5060744d24e47c5354270e434f38253.jpg","22x54",[],{"id":109372,"slug":109373,"title":109374,"dynasty":76,"author":293,"museum":101,"description":109375,"tags":109376,"thumbUrl":109377,"material":73581,"size":109378,"collection":139,"collections":109379,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},223486,"wu-kuan-lian-she-yi-ming-223486","无款莲社","画白莲群聚的白莲，白莲群庐山俗地净莲，是佛教末年山东林寺僧人慧远修士所建。 以慧远为首的“十八圣”，有两个界面，专职人员，有同伙，学佛修行。",[7,24,25,260,259,106,29,108,109,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdbbe4bdab61cf202a84f218f71d1300.jpg","35x849cm",[],{"id":109381,"slug":109382,"title":109383,"dynasty":18,"author":293,"museum":206,"description":109384,"tags":109385,"thumbUrl":109386,"material":665,"size":109387,"collection":139,"collections":109388,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},223429,"wu-kuan-xi-pang-xian-hua-yi-ming-223429","无款溪旁闲话","前景岩石矗立于溪旁，岩壁松树垂下，间杂着红叶、绿萝。岸上士人，拱手与渔夫问答。渔父持竿压着膝盖，稳坐船头倾听。渔父将脚深入水中，与「沧浪之水浊兮，可以濯吾足」文字叙述吻合，所画或是《楚辞》〈渔父〉。此画小斧劈皴刚劲犀利，传达出山石的坚硬嶙峋，不失为十三世纪佳作。本幅选自《宋人集绘册》第五开。",[23,7,27,28,81,106,109,174,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc5abf621abb036630676a076c87c6e.jpg","25.7x23.6厘米",[],{"id":109390,"slug":109391,"title":109392,"dynasty":76,"author":293,"museum":206,"description":45771,"tags":109393,"thumbUrl":109394,"material":139,"size":139,"collection":139,"collections":109395,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},223412,"ma-zu-qi-ji-c-yi-ming-223412","妈祖奇迹C",[23,7,27,28,104,259,106,149,1330,37,4613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1bdb2f2246419402205f91e670b372b.jpg",[],{"id":109397,"slug":109398,"title":109399,"dynasty":99,"author":293,"museum":206,"description":109400,"tags":109401,"thumbUrl":109402,"material":665,"size":109403,"collection":139,"collections":109404,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},223392,"ping-hu-xue-ji-yi-ming-223392","平湖雪霁","此水墨小品以暗绢托出雪意清寒。近岸枯木寒枝错落斜欹，茅舍隐于林渚间，三两渔舟泊在冰封浅滩，天地间凝着凛凛寒意。远景以淡墨轻晕远峦寒雾，留白作漫天寒雪，虚实相生间晕开空濛冷寂。\n\n未用浓墨重彩，仅以极简笔墨铺陈湖山冬日疏旷萧寒。霜风仿佛正掠过镜面平湖，冷意顺着绢面漫开，将江天雪后的岑寂澹远藏进方寸画幅，把追慕幽寂山水的雅趣融在素淡墨色里，叫人坠入这万籁俱静的清寒意境中。",[7,1562,173,29,2502,6274,430,1410,24,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e5b81a7081e638b4129936f8fc4768.jpg","38.9x81",[],{"id":109406,"slug":109407,"title":109408,"dynasty":18,"author":293,"museum":20,"description":109409,"tags":109410,"thumbUrl":109411,"material":665,"size":109412,"collection":139,"collections":109413,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},223334,"si-lun-tu-yi-ming-223334","丝纶图","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[23,7,24,241,173,27,177,29,394,4614,106,34,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b414ad5d3ac5d537b5cf0676affa9d4.jpg","纵83.2厘米横37.5厘米",[],{"id":109415,"slug":109416,"title":109417,"dynasty":76,"author":9280,"museum":17353,"description":26394,"tags":109418,"thumbUrl":109420,"material":990,"size":26400,"collection":139,"collections":109421,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},223314,"fa-jie-yuan-liu-tu-juan-8-ding-guan-peng-223314","法界源流图卷-8",[23,7,24,25,259,28,27,106,1575,340,176,34,261,109419,315],"兽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79abe8c8eb4e0f02acfd507fe752e49e.jpg",[],{"id":109423,"slug":109424,"title":109425,"dynasty":76,"author":9280,"museum":17353,"description":26394,"tags":109426,"thumbUrl":109427,"material":990,"size":26400,"collection":139,"collections":109428,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},223312,"fa-jie-yuan-liu-tu-juan-6-ding-guan-peng-223312","法界源流图卷-6",[23,7,24,25,28,27,259,106,175,1575,16560,1862,9635,76989,261,25116,5713,16344,8738,4525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a35438080080731a3c195243346db2.jpg",[],{"id":109430,"slug":109431,"title":109432,"dynasty":76,"author":10958,"museum":206,"description":39299,"tags":109433,"thumbUrl":109434,"material":827,"size":109435,"collection":139,"collections":109436,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},223120,"hui-yu-bi-fan-cheng-da-fen-sui-ci-zhou-dong-bang-da-223120","绘御笔范成大分岁词轴",[23,7,24,241,28,177,27,86,227,178,29,106,35,34,176,1015,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d91960ab7f8a64757d76c1aac586d.jpg","112.9cmX28.7cm",[],{"id":109438,"slug":109439,"title":109440,"dynasty":76,"author":4672,"museum":20,"description":109441,"tags":109442,"thumbUrl":109443,"material":67,"size":109444,"collection":139,"collections":109445,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},223099,"fang-fan-kuan-shan-shui-zhou-tang-dai-223099","仿范宽山水轴","此画作者采用全景似的构图，使近、中，远景层次分明，中心突出。\n远景山峦重叠，主峰矗立，气势雄伟，山巅间烟云缭绕，云气弥漫，似浮起润泽的雾气；中景峰峦对峙，林木丛生，烟锁山腰，山坳中树木茂密，层次分明，满而不塞，两座秀丽的楼阁屋宇隐显于烟光浮动之中，寂静的山林更增添了幽邃之感。近处为坡石丛林，两坡石间高架有一座木桥，两山峡谷间溪水直流而下，汇聚于溪水之中，左侧溪水边，座落着几间房舍，掩映在浓密的丛树荫底",[23,7,24,241,29,105,177,173,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe688d58fa90bd041577c62dc09e8dbba.jpg","155.3x74.4",[],{"id":109447,"slug":109448,"title":109449,"dynasty":76,"author":20231,"museum":1637,"description":38568,"tags":109450,"thumbUrl":109451,"material":8104,"size":45832,"collection":139,"collections":109452,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},222656,"zhi-hua-xi-lie-zhi-hua-qi-feng-gao-qi-pei-222656","指画系列-指画·齐峰",[23,7,24,38570,173,23675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb349cd1f36f10023c8e91641daed33.jpg",[],{"id":109454,"slug":109455,"title":109456,"dynasty":76,"author":20231,"museum":1637,"description":38568,"tags":109457,"thumbUrl":109458,"material":8104,"size":45832,"collection":139,"collections":109459,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},222650,"zhi-hua-xi-lie-zhi-hua-bai-lu-gao-qi-pei-222650","指画系列-指画·白鹭",[23,7,24,38570,173,1374,281,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9ac7296b9da2dfb2f4c6c22e8d5602.jpg",[],{"id":109461,"slug":109462,"title":109463,"dynasty":76,"author":20231,"museum":1637,"description":38568,"tags":109464,"thumbUrl":109465,"material":8104,"size":45832,"collection":139,"collections":109466,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},222648,"zhi-hua-xi-lie-zhi-hua-ju-gao-qi-pei-222648","指画系列-指画·橘",[23,7,24,38570,173,81,6143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fee651e58835cf503e11cca698a871d.jpg",[],{"id":109468,"slug":109469,"title":109470,"dynasty":99,"author":12957,"museum":78,"description":12958,"tags":109471,"thumbUrl":109472,"material":803,"size":39329,"collection":139,"collections":109473,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},222501,"shang-bo-hua-ji-xuan-36-9-zhang-lu-222501","上博画集选36-9",[23,7,24,106,173,27,260,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8bdd19ebf787e0172e83cd5b587679d.jpg",[],{"id":109475,"slug":109476,"title":109477,"dynasty":99,"author":12957,"museum":78,"description":12958,"tags":109478,"thumbUrl":109479,"material":803,"size":39329,"collection":139,"collections":109480,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},222496,"shang-bo-hua-ji-xuan-36-4-zhang-lu-222496","上博画集选36-4",[23,7,24,106,173,27,37,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b3ddf3801c9f41e459db4b14eb5bd3.jpg",[],{"id":109482,"slug":109483,"title":109484,"dynasty":99,"author":12957,"museum":78,"description":12958,"tags":109485,"thumbUrl":109486,"material":803,"size":39329,"collection":139,"collections":109487,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor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张复","钱谷，[明]（一五○八至？）一作（一五○八至一五七二）字叔宝，自号悬罄室，吴县（今江苏苏州）人。少孤贫，失学，迨壮始知读书。\n家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便学心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔於艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物字藏有万历六年（一五七八）客金陵王氏修行馆作兰竹卷，时年七十一。《冯元成集、肯史·文徵明传、列朝诗集小传、苏州府志、明画录、无声诗史、明史·艺文志》\n朱彝尊《列朝诗传》：钱谷字叔宝，少孤贫，游文侍诏门下，日取架上书读之。以其余力点染水墨，得沈氏之法。晚葺故庐，读书其中。闻有异书，虽病必强起，匍匐请观。手自抄写，几於充栋，穷日夜校勘，至老不衰。钱谷手抄之书，一丝不苟，为后来藏家所重。陆心源皕宋楼曾藏有钱氏抄本《会稽掇英集》，后有文震孟跋说：《会稽掇英集》皆集唐宋名贤时文，宇内流传绝少，是其早岁所抄，无一惰笔，乃从宋刻本而录者，为世珍重可知矣。钱谷家贫，故文徵明为题室名悬罄就是空无所有的意思。文震孟《姑苏名贤小记》：叔宝先生不为家，家逾贫。先太史过而题其室曰'悬罄'。先生笑曰：'吾志哉！'而其嗜读日益甚。收录古文金石书几数千卷。\n看到文徵明收藏的典籍罗列，顿生羡慕之心，遂有志于藏书。先后购求及手录古籍至几万卷，闻有异书，虽病必强起借观，手自抄写，校雠至子夜不辍。所录古文、金石书近万卷，皆为当时佳本秘籍。建藏书室有“悬罄室”，由文徵明为其命名并题写匾额。老屋三间，藏书充栋。所藏多人间罕见版本。刘凤作有《悬罄室集》。又命名多处藏书、藏画室名如“十友斋”、“意远轩”、“红木轩”、“梦雉斋”等。藏书印有“句吴逸民”、“三吴漫士”、“吴越王子孙”、“中吴钱氏收藏印”、“钱谷手抄”、“百计寻书志亦迂，爱护不异隋侯珠。有假不还遭神诛，子孙不宝真其愚”、“钱氏叔宝”、“悬罄室”等。喜刻书，刻印有唐、宋秘籍众多，数千卷近百种。编有《续吴都文粹》、《静观室三苏文选》等，著有《三国类抄》、《隐逸集》、《南北史摭言》、《长洲志》、《吴中人物志》、《悬罄室杂录》、《悬罄室诗》、《苏州三刺史诗》等。子钱允治，亦酷喜藏书。 [1]\n钱允治（1541~？），字功甫，好书一如其父。钱曾《读书敏求记》说：功甫老屋三间，藏书充栋。白曰检书，必秉烛，缘梯上下。所藏多人间罕见之本。《列朝诗传》则称：年八十余，隆冬病疡，映日钞书，薄暮不止。功甫殁，无子，其遗书皆散去。自是吴中文献无可访问，先辈读书种子绝矣。\n二、[清]字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当钱第一。晚年名益重，求书者巵尝满。《三冈识略、江苏诗徽、画家知希录》\n三、[清]号龙泓，浙江萧山人。善山水，不拘於绳墨而气格自高，其疏纵处近学罗牧，深郁处远师黄吾野。《越画见闻》。\n四、清各州县官署名主办钱粮、赋税、会计的幕僚。俗称钱谷师爷，亦称钱粮师爷。\n张复[明]（一四0三至一四九0）道士。字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[7,173,81,29,31,20548,2409,109509,2094,34,281,104],"城楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fabe384c3582a29de017a39cc4327e.jpg","25.1x38.4公分厘米",[],{"id":109514,"slug":109515,"title":109516,"dynasty":99,"author":13614,"museum":206,"description":88973,"tags":109517,"thumbUrl":109518,"material":619,"size":44953,"collection":139,"collections":109519,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},222072,"di-yi-a-ying-a-ji-da-zun-zhe-hua-zhou-wu-bin-222072","第一阿迎阿机达尊者画轴",[23,7,24,241,259,260,106,227,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6009dadca1f140131092eb0e9b93483.jpg",[],{"id":109521,"slug":109522,"title":1861,"dynasty":99,"author":13614,"museum":206,"description":13615,"tags":109523,"thumbUrl":109524,"material":619,"size":44953,"collection":139,"collections":109525,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},222070,"guan-yin-wu-bin-222070",[23,7,24,99,259,27,106,242,245,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113196b48661d21fd07d43fc338d39c0.jpg",[],{"id":109527,"slug":109528,"title":109529,"dynasty":99,"author":966,"museum":364,"description":109530,"tags":109531,"thumbUrl":109532,"material":139,"size":109533,"collection":139,"collections":109534,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},222024,"wan-shan-ji-yu-wen-zheng-ming-222024","万山积玉","文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。\n文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。",[7,24,81,173,27,29,30,177,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c6206d5ccf2ea4aa660b1242fc9714.jpg","32x39.2",[],{"id":109536,"slug":109537,"title":109538,"dynasty":99,"author":109539,"museum":206,"description":109540,"tags":109541,"thumbUrl":109543,"material":803,"size":109544,"collection":139,"collections":109545,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},221943,"ci-han-ce-wang-xi-jue-221943","词翰册","王锡爵","王锡爵(1534-1611)，字元驭，号荆石，南直隶苏州府太仓州(今江苏太仓)人。嘉靖四十一年会试名列第一（会元），廷试名列第二（榜眼）。万历二十一年（1593年）为内阁首辅。谥号文肃，著有《王文肃公全集》55卷。在任期间发生日本侵朝事件，力主出兵。子王衡万历二十九年（1601年）进士及第第二名，被时人誉为“父子榜眼”。孙王时敏、玄孙王原祁皆为清初画坛宗师，太仓王氏家族为明清两代著名的簪缨世家。\n王锡爵笔法秀颖，依稀有翡翠兰苕状，著名的书法家董其昌称他深于书。书尤深于唐碑。晚年犹悬碑刻满四壁，特不欲以书名耳。小楷清整秀劲，大可径寸者尤骨重脉和。",[7,24,81,178,173,3246,109542,2555,243,300,297,46346],"池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b219e55a1dfdd43dcd80315f7a707a0.jpg","本幅26.1x14.4公分",[],{"id":109547,"slug":109548,"title":2235,"dynasty":99,"author":32648,"museum":78,"description":32649,"tags":109549,"thumbUrl":109550,"material":803,"size":32652,"collection":139,"collections":109551,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},221932,"za-hua-ce-guo-xu-221932",[23,7,24,209,81,173,446,151,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9205455fc7afbb5d7e63de117b17c09.jpg",[],{"id":109553,"slug":109554,"title":109555,"dynasty":99,"author":1083,"museum":20,"description":25314,"tags":109556,"thumbUrl":109557,"material":21051,"size":83497,"collection":139,"collections":109558,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},221888,"za-hua-tu-ce-lan-hua-zhu-shi-chen-hong-shou-221888","杂画图册-兰花柱石",[23,7,27,28,81,797,245,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb47b5e42bf1487a0638711416eb14e.jpg",[],{"id":109560,"slug":109561,"title":109562,"dynasty":99,"author":1083,"museum":20,"description":25314,"tags":109563,"thumbUrl":109564,"material":21051,"size":83497,"collection":139,"collections":109565,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},221887,"za-hua-tu-ce-fang-zhao-qian-li-bi-fa-chen-hong-shou-221887","杂画图册-仿赵千里笔法",[23,7,24,81,105,26,27,29,394,245,1159,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5478b57693b040ba618e4030c80496.jpg",[],{"id":109567,"slug":109568,"title":109569,"dynasty":189,"author":293,"museum":206,"description":109570,"tags":109571,"thumbUrl":109572,"material":665,"size":109573,"collection":139,"collections":109574,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},221780,"shuo-jing-tu-zhou-yi-ming-221780","说经图轴","元人少做道释画，但这幅“说经图”却画得十分精彩。此图共有三个部分，左右两幅各画四尊菩萨立像，中央一幅画佛祖释迦牟尼跌坐莲台，罗汉侍立左右。本幅是右边的一幅，构图位置与左边的一幅完全对称。菩萨衣饰华贵，容貌祥和，足下各踏莲花，凌空而立。其姿态各自不同，眼神都注视左前方，像是用心聆听佛法。画中用笔圆劲流畅，设色富丽古艳，颇有上追六朝人笔法之意。\n菩萨顶上放射光芒成一圆轮状，称之为“圆光”。颈上挂着的成串珠玉装饰，称之为“璎珞”。佩戴“璎珞”本是印度贵族男女，皆缀珠玉以为颈饰，梵文称为“枳由罗”，传到中国后则译为“璎珞”。看这四尊菩萨的面貌已经变为中土人士的容貌，而非胡貌梵像，便知这幅是宋以后的作品。",[23,209,7,24,241,259,106,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b0f34610241466257060249ffc3d82.jpg","95.4×52.9cm",[],{"id":109576,"slug":109577,"title":109578,"dynasty":189,"author":18436,"museum":206,"description":109579,"tags":109580,"thumbUrl":109581,"material":381,"size":109582,"collection":139,"collections":109583,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},221717,"hua-yuan-zhou-yan-hui-221717","画猿轴","此幅画挂岩老树，上着两猿，一猿抱干，一猿挂枝，树下画细腰蜂十四尾。两猿弄蜂，作好事而又畏缩之状；树枝挂猿，着重直垂而下，有低昂不定之势。画笔老辣，揣拟传神。另猿猴二字常连用，蜂与猴又和“封侯”谐音，故旧画中往往取此吉祥意义为题作画。\n悬崖树上，二猿攀爬。一只抱着树干，一只挂在枝梢，树枝因负重而下垂，犹有低昂摇摆之态。右下方有一蜂群，两猿目视，既惊又喜的表情，仿佛若现，意态甚是生动。中国画中常绘有猿猴（hou）和蜂（feng）的作品，目的在取“封侯”（feng hou）谐音，用为祝贺升官晋爵的表征，深富吉祥喜庆的寓意",[23,7,241,173,10873,1062,31200,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151198714c161d81cfe5e9c962e09bb.jpg","131.8x67公分",[],{"id":109585,"slug":109586,"title":109587,"dynasty":204,"author":19012,"museum":20,"description":19013,"tags":109588,"thumbUrl":109589,"material":19016,"size":19017,"collection":139,"collections":109590,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":49},221165,"shi-liu-luo-han-xiang-zhu-tu-ban-zha-jia-zun-zhe-tang-ka-bu-ben-guan-xiu-221165","十六罗汉像-注荼半吒迦尊者（唐卡布本）",[23,7,24,259,106,27,25116,6642,505,315,313,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9058795b231399d7338d0d6b7bec21bf.jpg",[],{"id":109592,"slug":109593,"title":109594,"dynasty":99,"author":3114,"museum":20,"description":17552,"tags":109595,"thumbUrl":109596,"material":4665,"size":7095,"collection":139,"collections":109597,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":94},220917,"shan-shui-ce-11-dong-qi-chang-220917","山水册11",[23,7,24,81,178,173,29,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f7e360c2e666043ede851a0559fc83e.jpg",[],{"id":109599,"slug":109600,"title":109601,"dynasty":76,"author":109602,"museum":9181,"description":109603,"tags":109604,"thumbUrl":109605,"material":3138,"size":109606,"collection":139,"collections":109607,"showCount":994,"zanCount":48,"manualWeight":48,"mainColor":139},220756,"shan-xia-chu-quan-tu-su-ren-shan-220756","山下出泉图","苏仁山","此作用笔清劲洗练，纯以白描淡墨写尽丘壑林泉。奇峭山石层叠错落，以勾勒皴擦带出嶙峋肌理，不着艳色却尽显山石清刚之态。山间古松斜逸虬曲，错落排布，为冷寂山景添几分清拔气韵。\n\n画面疏密相衬，高远山势间藏出深远意境，流泉隐于谷中，汀洲人家三两点缀，衬出林泉幽寂之致。整体萧散淡远，将文人隐逸的清冷意趣融于笔墨间，极简笔触晕染出超脱世俗的静穆氛围，尽显水墨留白的悠远意韵。",[23,7,173,1397,177,864,109,34,245,5067,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178e99fe3c7ea1e6c456cc9ec449bd94.jpg","349 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往楼中相会。生动的人物点景，为寒冷的景境中，增添生趣与暖意。近景寒林有著复杂的枝干与树叶，寒林之後又有工谨细绘的界画建筑，两重景物相叠，笔墨迥异，构成萧散与工整的复杂组合，精妙不乱。",[209,7,241,104,29,107,1015,2125,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35154e059bf34b65f9eaeeb95fc4dc5d.jpg",[],{"id":110776,"slug":110777,"title":110778,"dynasty":18,"author":293,"museum":206,"description":110779,"tags":110780,"thumbUrl":110781,"material":317,"size":110782,"collection":139,"collections":110783,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},290996,"min-shan-qing-xue-tu-yi-ming-290996","岷山晴雪图","画中描绘四川岷山的雪景",[7,209,1397,173,177,3499,12920,2125,2502,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d65a573c337ed5135a38e662fa81b7.jpg","115.1x100.7cm",[],{"id":110785,"slug":110786,"title":110787,"dynasty":99,"author":32648,"museum":206,"description":110788,"tags":110789,"thumbUrl":110790,"material":743,"size":744,"collection":139,"collections":110791,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},290969,"dong-shan-xie-ji-tu-zhou-guo-xu-290969","东山携妓图轴","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。",[209,7,241,173,260,106,59,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd29a6636a34bf364a33faca445077a.jpg",[],{"id":110793,"slug":110794,"title":110795,"dynasty":99,"author":293,"museum":364,"description":92711,"tags":110796,"thumbUrl":110797,"material":743,"size":744,"collection":139,"collections":110798,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},290813,"xuan-zong-zuo-xiang-yi-zhou-yi-ming-290813","宣宗坐像（一）轴",[7,241,27,28,106,15611,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46484236b3c8d620f3d95f4ea9a5331a.jpg",[],{"id":110800,"slug":110801,"title":59260,"dynasty":99,"author":293,"museum":364,"description":110802,"tags":110803,"thumbUrl":110805,"material":743,"size":744,"collection":139,"collections":110806,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},290809,"xuan-zong-zhang-huang-di-yi-ming-290809","明宣宗章皇帝朱瞻基（1398-1435），洪武三十一年二月初九日（1398年3月16日）生，永乐九年（1411年）立为皇太孙，洪熙元年（1425年）即皇帝位，宣德十年正月初三日（1435年1月31日）驾崩，葬景陵。庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝。",[7,27,28,106,50102,15611,61341,110804],"宫廷服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb288670fcbb16c77b0725e3e1e05b96d.jpg",[],{"id":110808,"slug":110809,"title":110810,"dynasty":189,"author":293,"museum":364,"description":110811,"tags":110812,"thumbUrl":110813,"material":743,"size":744,"collection":139,"collections":110814,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},290784,"ying-zhen-xiang-zhou-liu-fu-yi-ming-290784","应真像轴六幅","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。",[7,241,27,106,259,25116,899,650,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2217d3ff4e9bdb2263ca54eadd0a73f.jpg",[],{"id":110816,"slug":110817,"title":110818,"dynasty":18,"author":293,"museum":364,"description":19112,"tags":110819,"thumbUrl":110820,"material":743,"size":744,"collection":139,"collections":110821,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},290781,"li-zong-zuo-xiang-zhou-yi-ming-290781","理宗坐像轴",[7,241,106,27,28,15611,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01bd6fe38f5593c29f4d9e3e55f865e.jpg",[],{"id":110823,"slug":110824,"title":110825,"dynasty":18,"author":293,"museum":364,"description":19112,"tags":110826,"thumbUrl":110827,"material":743,"size":744,"collection":139,"collections":110828,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},290769,"ren-zong-zuo-xiang-zhou-yi-ming-290769","仁宗坐像轴",[7,241,27,106,28,15611,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab92489bdfad66c809f90246d9c5f855.jpg",[],{"id":110830,"slug":110831,"title":110832,"dynasty":18,"author":293,"museum":364,"description":19112,"tags":110833,"thumbUrl":110834,"material":743,"size":744,"collection":139,"collections":110835,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},290767,"gao-zong-zuo-xiang-zhou-yi-ming-290767","高宗坐像轴",[209,7,241,27,28,106,49456,61567,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ef6de68b0ce059808eb6a7a288b375.jpg",[],{"id":110837,"slug":110838,"title":110839,"dynasty":18,"author":293,"museum":364,"description":110840,"tags":110841,"thumbUrl":110842,"material":743,"size":744,"collection":139,"collections":110843,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},290763,"zhi-shan-shui-zhou-yi-ming-290763","织山水轴","此作以织纹晕染湖山，远景高峰崔嵬，浅绛轻敷石色，留白作云气萦回于峰峦洲渚间，澹宕空蒙，咫尺见千里之遥。\n\n近景崖岸盘曲，古木虬枝探向湖面，崖畔草亭幽寂，隐者凭栏观水，滩头扁舟系泊，板桥横卧浅波。\n织造肌理让山石林木自带温润质感，设色清雅柔丽，将林泉高致的隐逸意趣融在静穆烟景里，尽显幽淡从容的林下风流。",[209,7,24,241,27,29,175,174,108,109,394,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf284ed8a5638a85cbbd824d7272bc5.jpg",[],{"id":110845,"slug":110846,"title":110847,"dynasty":18,"author":293,"museum":206,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，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。弟戴峄，擅画水牛。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”，传世作品有《斗牛图》",[209,7,173,106,151,227,86,394,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc560693cbfd068e1b840d78eb3a8a71f.jpg",[],{"id":111006,"slug":111007,"title":104973,"dynasty":18,"author":293,"museum":364,"description":111008,"tags":111009,"thumbUrl":111010,"material":743,"size":744,"collection":139,"collections":111011,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},289974,"shui-cun-yan-ai-tu-yi-ming-289974","此作用笔清润简淡，以水墨晕染铺就江南水村晓烟初笼之景。近岸苍松错落，篱舍隐于林侧，浅渚汀洲朦胧于薄雾间。远山以淡墨轻皴，杂木以浓墨点簇，和空濛烟霭相融，虚实相生间晕开悠远层次。留白水面晕染如烟，隐约见渔舟静卧波心，将水乡晨间的恬谧柔婉尽数铺陈。画作以小见大，把乡野幽居的悠然诗意藏在氤氲水汽中，虚淡的笔墨托衬出林泉寄兴的雅致意境，将江南水村的空寂宁和揉进朦胧烟色里，尽显山水小品含蓄悠远的雅致意趣。",[23,1562,7,209,173,29,177,34,194,13668,4686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda1c6700e9211b3673abb16a9c695b6.jpg",[],{"id":111013,"slug":111014,"title":111015,"dynasty":76,"author":66840,"museum":364,"description":66841,"tags":111016,"thumbUrl":111017,"material":743,"size":744,"collection":139,"collections":111018,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},289913,"shan-shui-shi-hua-tu-ce-gu-he-qing-289913","山水诗画图册",[7,24,81,173,27,29,448,281,33070,7714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c71a558eb09f676ef753c68dca4b674.jpg",[],{"id":111020,"slug":111021,"title":111022,"dynasty":18,"author":293,"museum":364,"description":33378,"tags":111023,"thumbUrl":111024,"material":743,"size":744,"collection":139,"collections":111025,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},289598,"shui-xie-hua-xuan-tu-yi-ming-289598","水榭花轩图",[209,7,1562,104,27,29,1575,175,107,1252,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0544a4c9562a309cdb32d04dd35347a0.jpg",[],{"id":111027,"slug":111028,"title":111029,"dynasty":292,"author":293,"museum":364,"description":111030,"tags":111031,"thumbUrl":111033,"material":743,"size":744,"collection":139,"collections":111034,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},289574,"pi-sha-men-tian-wang-xiang-yi-ming-289574","毗沙門天王像","这幅白描画作为佛教护法造像，以铁线勾勒塑形，线条劲挺流畅，兼具力量感与韵律感。天王身着繁重甲胄，纹饰排布严整细密，将武将的威健身姿尽显，璎珞宝饰细节分毫毕现，可见勾勒的精妙功力。\n\n他侧目凝神，面容刚劲威严，抬手托举供器，于肃杀英武间带着礼佛的恭谨，刚柔并济。纸面晕开岁月浸出的黄斑，晕染出古朴厚重的质感，尽显宗教绘画特有的静穆气韵，是一件极具水准的白描佳作。",[23,7,260,2714,11168,9254,111032],"毗沙门天王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc305f191c67814bd9a27d0b00d616937.jpg",[],{"id":111036,"slug":111037,"title":111038,"dynasty":292,"author":293,"museum":364,"description":111039,"tags":111040,"thumbUrl":111042,"material":743,"size":744,"collection":139,"collections":111043,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},289124,"zhou-mao-shu-ai-lian-tu-yi-ming-289124","周茂叔爱莲图","此作用淡墨晕开烟霭，晕染出空濛柔婉的水泽春暮之境。右下老柳虬曲苍劲，翠条垂拂水面，满塘莲叶错落铺陈，随波轻漾。扁舟缓行于莲间，舟上雅士凭坐，悠然观莲，身侧童子侍立，氛围恬和淡远。\n\n画面以留白衬出烟水浩渺，远近层次晕染自然，近景实写柳与莲，远景以轻墨点染林峦，融于烟岚间，尽显空灵雅致。画风清润秀逸，以简淡之笔寄爱莲之意，将观莲人慕莲高洁的心境，融于江南水色的幽淡诗意中，禅雅相融，尽显文人画寄情于景的悠然意趣。",[23,7,241,27,106,29,174,136,1352,109,111041,7714],"爱莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3393db452c6589c2785955f5071f0a.jpg",[],{"id":111045,"slug":111046,"title":111047,"dynasty":76,"author":293,"museum":364,"description":111048,"tags":111049,"thumbUrl":111051,"material":743,"size":744,"collection":139,"collections":111052,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},288438,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-kang-xi-shi-si-zi-yin-ti-yi-ming-288438","历代帝王贵妃大臣朝服像(康熙十四子胤禵)","此作为写实工笔肖像，用笔精细入微。画师以淡墨晕染面部，将人物皮肤的松弛褶皱与霜色须发刻画得丝丝分明，沉稳威严的神态呼之欲出，尽显中年男子的沉凝气度。石青色常服线条劲挺，晕染出织物的厚重质感，暖绒官帽点缀出端庄仪范。蓝底红云坐褥设色浓艳华贵，与素净背景形成冷暖对比，衬得人物沉静内敛。上方题诗与画像呼应，暗合人物端方仁厚的风骨。整作形神兼备，既有宫廷肖像画的严谨工整，又将人物气度与仪容完美融合，是清代肖像画的上乘之作。",[23,7,27,106,28,241,50102,3412,86,111050],"男性肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a502daf27004585523e0ca50abe0f5c.jpg",[],{"id":111054,"slug":111055,"title":111056,"dynasty":76,"author":293,"museum":364,"description":111057,"tags":111058,"thumbUrl":111059,"material":743,"size":744,"collection":139,"collections":111060,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},288436,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-jian-wei-rui-feng-yi-ming-288436","历代帝王贵妃大臣朝服像(建威锐锋)","此作工笔精细写实，将老者威仪内敛的气度尽数铺展。画师落笔入微，老者苍劲的面容带着世家尊者的沉稳肃穆，褶皱细腻的朝袍晕染厚重华贵，补子纹饰与江崖海水层次分明，朝珠串饰色泽温润写实，细节处处彰显礼制规格。整体构图中正端方，素净背景衬得人物愈发庄重，脚下繁复华丽的地毯纹样，烘托出肃穆的宗族祭祀氛围。画作以形写神，色彩沉厚朴雅，将旧世家的宗法礼制风貌尽显笔底，兼具写实功力与礼制意蕴。",[23,7,241,27,28,106,9466,3412,50104,50102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c62be9cfeca4ec02b63c653d141fe86.jpg",[],{"id":111062,"slug":111063,"title":111064,"dynasty":76,"author":10511,"museum":364,"description":34602,"tags":111065,"thumbUrl":111066,"material":743,"size":744,"collection":139,"collections":111067,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},288400,"lin-xiao-xiang-kui-duo-ju-hua-shi-sun-wen-288400","林潇湘魁夺菊花诗",[23,7,27,28,106,107,175,1965,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[1] 万历时期首辅王锡爵之子，明末清初画家王时敏之父。\n万历十六年（1588年）顺天乡试，王衡因是大学士王锡爵之子，且当时首辅申时行的女婿也同时中举。有言官弹劾主试官，认为有作弊嫌疑。虽然王衡在随后的复试中取得第一获准参与会试，但言官们仍不依不饶，为避免父亲王锡爵陷入更大的党争之中。王衡在他父亲执政期间没再参加考试。万历二十九年（1601年），王锡爵致仕后，王衡再次走进科场，以一甲第二名（榜眼）及第，授任翰林院编修。后辞官归隐，中年早卒。\n王衡著有《缑山集》等，同时他又是明代南剧的名家，编写有《郁轮袍》、《真傀儡》、《没奈何》等杂剧名篇。\n明嘉靖四十年（1561年），王衡出生于官宦家庭。其父王锡爵为万历年间的大学士、内阁首辅，其母为朱氏。王衡从小聪颖过人，又好学博记，尤好古文诗歌，且得名师教导，并从同乡同姓的大文豪王世贞处学习诗文，故《列朝诗集小传》就称他“学殖益富，能诗善书，散华落藻，名动海内”。\n万历五年（1577年），发生的张居正夺情事件，更是让少年王衡在当时名满天下。陈继儒在《太史辰玉集叙》中道：“初江陵夺情，文肃公争丧次，救吴、赵两太史，祸叵测。辰玉和《归去来辞》以招之。文肃公持以谓人曰：吾不归，将无为孺子所笑。辰玉方十四，名动京师已。”钱谦益《列朝诗集小传》丁集下《王编修衡》也说王衡“年十四，作《和归去来辞》，以讽江陵，馆阁中争相传写”",[7,24,86,241,1147,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f12e510091fd33196201b5b77b9ff86.jpg",[382],{"id":111308,"slug":111309,"title":111310,"dynasty":99,"author":19417,"museum":20,"description":111311,"tags":111312,"thumbUrl":111313,"material":64238,"size":139,"collection":382,"collections":111314,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":271},240702,"wu-kuan-she-zhi-qu-juan-zhu-yun-ming-240702","无款射雉曲卷","祝允明(1460-1526)，字希哲，长洲人。允明生而枝指，故自号枝山，又号枝指生。五岁作径尺字，九岁能诗，稍长，博览群集，文章有奇气，当筵疾书，思若涌泉。尤工书法，名动海内。",[23,209,7,24,25,86,178,1147,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc30610b9a344def6651e5496722c2d9f.jpg",[382],{"id":111316,"slug":111317,"title":111318,"dynasty":76,"author":55104,"museum":364,"description":55172,"tags":111319,"thumbUrl":111320,"material":743,"size":744,"collection":139,"collections":111321,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},240674,"wu-yan-lian-huang-yi-240674","五言联",[209,7,24,86,14744,41155,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37e73b821180e1431802b5b6da2867c.jpg",[],{"id":111323,"slug":111324,"title":72435,"dynasty":76,"author":111325,"museum":364,"description":111326,"tags":111327,"thumbUrl":111328,"material":743,"size":744,"collection":139,"collections":111329,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":271},240613,"shi-zhou-yu-yue-240613","俞樾","俞樾（1821年12月25日—1907年2月5日），字荫甫，自号曲园居士，浙江省德清县城关乡南埭村人。清末著名学者、文学家、经学家、古文字学家、书法家。现代诗人俞平伯的曾祖父，章太炎、吴昌硕、日本井上陈政皆出其门下。清道光三十年（1850年）进士，曾任翰林院编修。\n俞樾后受咸丰皇帝赏识，放任河南学政，被御史曹登庸劾奏“试题割裂经义”，因而罢官。遂移居苏州，潜心学术达40余载。治学以经学为主，旁及诸子学、史学、训诂学，乃至戏曲、诗词、小说、书法等，可谓博大精深。海内及日本、朝鲜等国向他求学者甚众，尊之为朴学大师。所著凡五百余卷，称《春在堂全书》。除《群经平议》五十卷、《诸子平议》五十卷、《茶香室经说》十六卷、《古书疑义举例》七卷外，其《第一楼丛书》三十卷、《曲园俞楼杂纂》共百卷。《清史稿》有传。",[7,24,241,41155,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d71249932d1697de043778aa5723f4.jpg",[],{"id":111331,"slug":111332,"title":87367,"dynasty":99,"author":111333,"museum":364,"description":111334,"tags":111335,"thumbUrl":111336,"material":803,"size":139,"collection":382,"collections":111337,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},240260,"wu-lv-zhou-liu-yi-ming-240260","刘翼明","刘翼明（1607-1688），字子羽，号越台，今胶南市琅琊镇刘家村人。生于明万历22年卒于康熙，终年82岁。著名诗人，善书法，才华横溢，倍受王渔洋推崇。《清史稿》《中国人名大词典》《中国美术家大辞典》等均有记载。\n其父刘元化为明万历举人，曾任高陵县、雒川县县令，敕授文林郎。刘翼明为元化之次子。刘翼明才华横溢、文思敏捷，自幼善书画、精书法、工诗文，有“神笔刘子羽”的美称。与当时的名士王无竟有诗坛“刘王”之称。刘翼明学识渊博、为人坦诚，视友人为手足。好友王无竟被仇家杀害，母老弟幼，不能诉讼，胶州知州又收受贿赂，偏袒仇家。于是刘翼明挺身而出为其伸冤。在青州知府衙门前，连续三天不吃不喝，披发连哭三昼夜，迫使知府将案件调出，移交另地审理，使三年冤情得伸，恶人遭到惩处。此事被清人纪圣选编成《青衿侠传奇》词曲，在胶东广为流传。刘翼明所作诗文近千首，其部分诗文被收入《镜庵集》、《北亭诗集》等。",[99,7,24,241,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65518ea77c7a569b309b73fc6d04788c.jpg",[382],{"id":111339,"slug":111340,"title":72435,"dynasty":76,"author":111341,"museum":364,"description":111342,"tags":111343,"thumbUrl":111344,"material":803,"size":139,"collection":382,"collections":111345,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},240199,"shi-zhou-xiang-lin-240199","项琳","项琳（1619年－1670年），字人玉，号太璞，又号完庵，歙人。\n出生于明末丧乱，无意于仕途，游走湖山。受到吴梅村、王士禛赏识。同屠乔孙从《晋书》、《北史》、《魏书》、《册府元龟》、《艺文类聚》、《太平御览》等书中重辑《十六国春秋》百卷，仍托名崔鸿。康熙九年（1670年），殁于江都。另著有《太璞山人集》三卷。",[7,24,86,241,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193d42cfe1ddc97319d3a1a744f16a87.jpg",[382],{"id":111347,"slug":111348,"title":72435,"dynasty":76,"author":111349,"museum":364,"description":111350,"tags":111351,"thumbUrl":111352,"material":803,"size":139,"collection":382,"collections":111353,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},240195,"shi-zhou-cao-he-240195","曹禾","曹禾（1637—1699）字頌嘉，號未庵，又號峨嵋，江蘇江陰人。\n康熙三年（1664）中癸巳科三甲進士，官內閣中書。康熙十八年（1679）應試博學宏詞，獲二等，授翰林院編修，官至國子祭酒，以事罷歸。曹禾喜縱酒，酷愛圍棋，工詩文，與顏光敏、田雯、宋犖等稱“詩中十子”，著有《未庵初集》、《峨嵋集》等。\n曹颂嘉（禾）祭酒常语余曰：“杜、李、韩、苏四家歌行，千古绝调，然语句时有利钝。先生长句，乃句句用意，无瑕可攻，拟之前人，殆无不及。”余曰：惟句句作意，此其所以不及前人也。四公之诗，如万斛泉源，不择地而出，行乎其所不得不行，止乎其所不得不止。余诗如鉴湖一曲，若放翁、遗山已下，或庶几耳。",[7,24,241,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb389d145c5e0e8ef0a7fb83c08934329.jpg",[382],{"id":111355,"slug":111356,"title":111357,"dynasty":99,"author":111358,"museum":364,"description":111359,"tags":111360,"thumbUrl":111361,"material":803,"size":139,"collection":382,"collections":111362,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},240126,"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240126","行题宋八家书跋页","许乃普","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。\n乾隆五十二年五月初四未时生，同治五年(1866)卒，御赐祭葬，谥文恪，国史馆列传。\n清嘉庆二十五年(1820年)殿试一甲二名进士，即榜眼。嘉庆、道光、咸丰3朝三迁内阁学士，五度入直南书房，五充经筵讲官。历官贵州、江西学政，兵部、工部、刑部、吏部尚书，实录馆总裁，多次充任殿试、朝考读卷官、阅卷大臣。任内获道光御笔“迎祥”和咸丰御笔“宜尔子孙”匾额。谥文恪，谕称“许乃普学问优长，供职恪慎”“屡司文柄”。\n其父许学范，乾隆三十七年(1772年)进士，有七子，乃济、乃普、乃钊三子为进士，另四子为举人，有“七子登科”之美称。清代学者、书法家梁同书曾书写“世间数百年旧家，无非积德；天下第一件好事，还是读书”一联送给许学范，称颂许氏家族。",[7,24,86,178,81,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aac0bb7b117a9794869d64ac4e0df32.jpg",[382],{"id":111364,"slug":111365,"title":111366,"dynasty":99,"author":111367,"museum":364,"description":111368,"tags":111369,"thumbUrl":111370,"material":803,"size":139,"collection":382,"collections":111371,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},240122,"ceng-ti-nan-fu-ti-bi-shi-ye-wei-shu-240122","曾题南阜题壁诗页","囗淑","题壁诗始于两汉，盛于唐宋。汉代以后，题壁者代不乏人。南北朝 唐代，题壁诗骤然大增，开始形成一种风气。宋代题壁之风方兴未艾，举凡邮亭、驿墙、寺壁等处多所题咏，叫人目不暇接。",[7,24,178,173,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc006c3d52dd04e84a83844fbf6e40075.jpg",[382],{"id":111373,"slug":111374,"title":111375,"dynasty":76,"author":111376,"museum":364,"description":111377,"tags":111378,"thumbUrl":111379,"material":139,"size":139,"collection":382,"collections":111380,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},240053,"shi-ce-zhou-yong-nian-240053","诗册","周永年","周永年（1730年－1791年），字書昌，山東歷城（今屬濟南市）人，祖籍浙江餘姚。\n生而好學，“竭數十年博採旁搜之力，棄產營書”，築貸書園，積書十萬卷，供人閲讀抄寫，並倡“儒藏説”，成立“儒藏”，“俾古人著述之可傳者，自今日永無散失，以與天下萬世共讀之。”有“林汲山房”，藏書達五萬卷，繪“林汲山房圖”。\n乾隆三十六年進士，後因入館編纂《四庫全書》，欽賜翰林院庶吉士，散館授編修，任“校勘永樂大典纂修兼分校官”，負責《永樂大典》的輯校工作，輯出宋劉敞《公是集》、劉攽《公非集》、蘇過《斜川集》等十餘種罕見的重要文獻。乾隆五十六年（1791年）卒。",[7,24,81,178,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937a447fa8f83e9b18464a7d2a354ba0.jpg",[382],{"id":111382,"slug":111383,"title":111384,"dynasty":189,"author":2519,"museum":364,"description":19462,"tags":111385,"thumbUrl":111386,"material":743,"size":744,"collection":139,"collections":111387,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},239977,"zhen-er-ti-qian-zi-wen-ce-zhao-meng-fu-239977","真二体千字文册",[209,7,24,86,1195,178,81,227,3790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1578a43f85ca933804e0146f9f4dab7d.jpg",[],{"id":111389,"slug":111390,"title":111391,"dynasty":189,"author":2519,"museum":364,"description":19462,"tags":111392,"thumbUrl":111393,"material":743,"size":744,"collection":139,"collections":111394,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},239786,"qi-zha-juan-zhao-meng-fu-239786","七札卷",[23,209,7,24,25,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3806fc086e4f797465cc9bc61cfe56.jpg",[],{"id":111396,"slug":111397,"title":111398,"dynasty":76,"author":111399,"museum":364,"description":111400,"tags":111401,"thumbUrl":111402,"material":743,"size":744,"collection":139,"collections":111403,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},239715,"shu-wan-shou-ji-cheng-nan-ji-xian-shou-tu-zhou-mou-bing-tai-239715","书万寿集成南极献寿图轴","缪炳太","缪炳太 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thor":50405,"museum":364,"description":112446,"tags":112447,"thumbUrl":112448,"material":139,"size":139,"collection":139,"collections":112449,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},236021,"ren-wu-tu-ce-fang-wang-qi-han-kan-shu-tu-wen-nan-shou-mao-weng-236021","人物图册－仿王齐翰勘书图","画面右侧，长者安坐椅中，抬手搔耳，神态松弛自适。案头书卷横陈、典籍累叠，陈设古雅简净，尽显文人闲居勘书之余的悠然意趣。\n画作笔墨清隽简淡，未作繁复勾勒，便将文人萧散出尘的意态尽显。搭配左侧题字，书画相得益彰，晕染出尚韵重意的文人特质，把闲散自洽的林下风流融于尺幅之间，淡而有味，古意悠然，尽显温润隽秀的笔墨意趣。",[7,24,81,27,106,178,227,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f1f37bb12a5d1852f584194b351693.jpg",[],{"id":112451,"slug":112452,"title":112453,"dynasty":99,"author":50405,"museum":364,"description":112454,"tags":112455,"thumbUrl":112456,"material":139,"size":139,"collection":139,"collections":112457,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},236020,"ren-wu-tu-ce-jie-qian-lv-ren-wen-nan-shou-mao-weng-236020","人物图册－阶前旅人","此作用笔松秀简淡，淡设晕染出乡野幽居之景。柴扉小屋静立坡岸，旅人临阶轻叩，将羁旅投宿的温软烟火气，揉进林木扶苏、苔石隐现的清寂山野里，动静之间，恰到好处。\n左侧题诗与画境相映成趣，隽雅书法配搭闲淡诗句，把杜诗中的酒意闲情融在笔墨之中。整体萧散疏朗，带着独有的简淡天真，于尺幅之间铺陈出悠远林下诗意，藏着旧时文人对幽居雅趣的追慕，诗画合璧，意境淡远悠长。",[7,24,81,27,178,227,29,106,34,176,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd13592dbc8d988fb7271b43340dd571.jpg",[],{"id":112459,"slug":112460,"title":38234,"dynasty":99,"author":84907,"museum":364,"description":112461,"tags":112462,"thumbUrl":112463,"material":139,"size":139,"collection":139,"collections":112464,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},236001,"zhu-shi-zhou-xiang-de-xin-236001","此画以水墨写意幽寂小景，枯树挺立于中，笔法简练老辣，将老树经霜的苍劲之态尽显，虬枝间淡墨点染木叶，疏朗雅致。奇崛湖石皴染结合，兼具厚重沉稳之质与通透空灵之姿。旁侧修竹清瘦秀逸，竹叶俯仰有姿，和老树顽石相映成趣，衬出画面萧疏淡远的意韵。\n笔墨松秀灵动，墨色层次清和淡润，以极简构图诠释文人画尚简重意的旨趣，将林下澹然雅趣融于方寸，尽显古淡空灵的文人意境。",[7,241,173,242,431,430,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213b420bb2e5f92a41046051b19c364e.jpg",[],{"id":112466,"slug":112467,"title":48391,"dynasty":76,"author":293,"museum":364,"description":112468,"tags":112469,"thumbUrl":112470,"material":139,"size":139,"collection":139,"collections":112471,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235982,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235982","此作以淡墨写就山水幽居之景，简淡空灵至极。近处以浓淡墨色分出枯荣之木，伴衬低矮茅舍，笔致清简率意。远处丘峦以淡墨晕染，与留白的空茫水面相融无间，不着皴擦便晕开江南山水的温润空濛。全幅以留白为骨，以水墨为肉，萧散清旷的意境扑面而来，仿佛能让人静听林泉风声，体味幽居于此的澹泊闲情，尽显文人画寄兴林泉、超然世外的雅韵余味。",[7,24,81,173,177,29,394,4614,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcdbe6523bcbd14edde999ddfbfbab5.jpg",[],{"id":112473,"slug":112474,"title":64992,"dynasty":76,"author":30075,"museum":364,"description":112475,"tags":112476,"thumbUrl":112477,"material":139,"size":139,"collection":139,"collections":112478,"showCount":1118,"zanCount":5,"manualWeight":48,"mainColor":94},235924,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235924","此作用浅设色晕染山峦，清润秀雅的青赭色调晕出柔婉的山势，烟岚轻笼，尽显江南丘壑的温润空灵。山寺藏于松壑之间，屋舍错落隐于虬松茂林之中，松枝苍劲盘曲，古意盎然。下层溪谷山居伴溪桥流水，林木葱茏静谧。\n\n诗画相衬，笔墨秀逸明净，将禅意融于湖山烟岚里，勾勒出萧散出尘的梵刹胜境，观之如临清净佛国，足以涤荡俗虑，尽显清寂雅致的世外意趣。",[7,24,209,81,27,177,29,107,108,109,394,900,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e938a92c09b488d00a732c47d06f0ca.jpg",[],{"id":112480,"slug":112481,"title":56744,"dynasty":76,"author":44253,"museum":364,"description":112482,"tags":112483,"thumbUrl":112484,"material":139,"size":139,"collection":139,"collections":112485,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235863,"shan-shui-ye-ye-xin-235863","此作用笔秀雅松灵，以浅绛轻敷山石林木，山居隐于苍松之下，坡陀间幽人策杖徐行，远山以淡墨晕染，烟岚浮动，尽显空寂淡远之致。\n左侧行书题诗笔致萧散，与画面意境融契无间，将江南山水的温润清和尽数铺展。整幅诗画合璧，淡宕的笔墨间浸透文人幽居林泉的雅逸襟怀，简淡中见深致，素朴中含隽永，把山水林泉的静美与林下幽居的意趣合而为一，尽显文人小品画的悠然格调。",[7,24,81,178,173,29,175,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4d2468dbdcf6e2e037f3317ba07355.jpg",[],{"id":112487,"slug":112488,"title":112489,"dynasty":76,"author":85704,"museum":364,"description":112490,"tags":112491,"thumbUrl":112492,"material":139,"size":139,"collection":139,"collections":112493,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235859,"shan-shui-ren-wu-ye-lu-yuan-235859","山水人物页","此作为诗画合璧的写意小品，绘江岸平远之景，坡陀浅草间，长者与童子缓步偕行，江波澹澹，远山含黛。以淡墨晕染出清秋萧疏澄澈的意韵，笔致简逸空灵，寥寥数笔便勾勒出江天寥廓的清远意境。\n\n左侧题诗书法隽秀雅致，笔墨苍润，诗境与画境相融，将文人幽居林下的闲适之思，寄寓在萧散简淡的笔墨间，尽显清寂出尘的文人雅趣，诗书画三者相得益彰，把清秋时节的林下幽怀铺陈开来，意蕴悠长。",[7,24,81,173,29,106,394,4562,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02379260b08c22b33d03afc89cf8be34.jpg",[],{"id":112495,"slug":112496,"title":112497,"dynasty":99,"author":293,"museum":364,"description":112498,"tags":112499,"thumbUrl":112500,"material":139,"size":139,"collection":139,"collections":112501,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235850,"lu-zhi-zhi-xing-shan-tu-ye-yi-ming-235850","陆治支硎山图页","此作诗书画合璧，尽展幽山雅境。右侧画中枯木蟠曲苍劲，崖岩层叠错落，山坳间村居隐现，恍若世外幽居。淡赭晕染远山，墨色清浅柔润，尽显山林空寂冷逸之致。左侧题笔清隽秀雅，以文字考据山地方志，与画面相映成趣，将吴中山林的幽寂野趣融于尺幅之间。笔墨简淡松灵，设色浅淡明净，带着温婉清逸的格调，把荒寒幽隐的山景之美娓娓铺陈，尽显文人山水的雅致意趣。",[7,24,81,27,177,178,86,29,394,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2376ab2c236666ad1f05c99a9eba1b16.jpg",[],{"id":112503,"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皴擦勾勒峰峦肌理，淡墨晕染铺就山川层次。近岸乱石错落间疏植林木，中远景峰峦层叠渐次淡去，留白延展出水色空阔，烘托出清寂幽淡的江南山水之境。\n\n画面左上角题字与山水相映，诗画相融尽显文人雅致意趣。全幅未做浓艳敷色，仅以水墨浓淡变化写尽林泉隐逸之思，萧散淡远的气韵之中，藏着寄情山水的文人襟怀。",[7,173,29,177,864,431,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e5d5ffa64da080ee406df366256c744.jpg",[],{"id":112693,"slug":112694,"title":486,"dynasty":99,"author":47342,"museum":364,"description":54089,"tags":112695,"thumbUrl":112696,"material":743,"size":744,"collection":139,"collections":112697,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235288,"shan-shui-ce-shen-hao-235288",[7,24,81,173,27,29,245,394,491,866,177,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c85e276233d6bb58482c6dfade07a2.jpg",[],{"id":112699,"slug":112700,"title":486,"dynasty":99,"author":47342,"museum":364,"description":54089,"tags":112701,"thumbUrl":112702,"material":743,"size":744,"collection":139,"collections":112703,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235287,"shan-shui-ce-shen-hao-235287",[7,24,81,173,27,177,29,1575,176,108,109,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5b4c2ba5269132e1e213af128e581c.jpg",[],{"id":112705,"slug":112706,"title":112707,"dynasty":76,"author":10376,"museum":364,"description":27021,"tags":112708,"thumbUrl":112709,"material":743,"size":744,"collection":139,"collections":112710,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235230,"fang-hui-chong-shan-shui-zhou-wang-hui-235230","仿惠崇山水轴",[209,7,24,241,173,177,105,227,29,34,35,31,281,174,1410,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29747977d2442e5bcdd0e2cbd270fb52.jpg",[],{"id":112712,"slug":112713,"title":2235,"dynasty":76,"author":614,"museum":364,"description":30572,"tags":112714,"thumbUrl":112715,"material":743,"size":744,"collection":139,"collections":112716,"showCount":1118,"zanCount":5,"manualWeight":48,"mainColor":94},235187,"za-hua-ce-huang-shen-235187",[7,24,81,27,173,446,83,62,697,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a2a7b5880b79feb0fad0299c90b1f3.jpg",[],{"id":112718,"slug":112719,"title":486,"dynasty":76,"author":44253,"museum":364,"description":112720,"tags":112721,"thumbUrl":112722,"material":139,"size":139,"collection":139,"collections":112723,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":271},235177,"shan-shui-ce-ye-xin-235177","此作用笔松秀温润，浅绛设色晕染出清寂秋意。近景古松虬曲苍劲，与朴拙顽石相伴，侧旁矮木扶疏，点簇出细碎秋华，野趣盎然。中景茅篱村居错落，隐于林畔，篱舍俨然透着幽居闲情。远景以淡墨轻烘浅染，虚化山影，凭立二人又为冷寂添了几分烟火暖意。整幅意境萧散淡远，将江南村居的秋日闲逸铺陈开来，藏着静穆清和的林下意趣，引人沉湎于这避世幽居的松弛意韵之中。",[7,24,81,27,173,29,430,650,175,491,464,26441],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32fabbe8f9f9767e04fb87cddb801f23.jpg",[],{"id":112725,"slug":112726,"title":486,"dynasty":76,"author":44253,"museum":364,"description":112727,"tags":112728,"thumbUrl":112729,"material":139,"size":139,"collection":139,"collections":112730,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235175,"shan-shui-ce-ye-xin-235175","此作画境清逸淡远，以秀挺笔触勾勒危崖叠嶂，皴擦简净清疏，淡晕山石肌理，尽显山峦空阔之姿。左侧苍松半掩山居，丹色霜叶点染秋韵，右侧木桥引渡，红衣行人缓步，为冷寂山境晕开暖意。远山佛塔隐现峰巅，暗合禅意。\n\n全幅设色简淡明净，留白衬出丘林空寂，将幽居静穆与山野生机相融，笔法温婉秀雅，以淡墨轻色晕染出江南山水的秀润空灵，简淡间漫溢出悠远的山居诗意，尽显淡逸雅致的山水意趣。",[7,24,81,173,27,177,29,175,108,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37c352f4a9005fb53019459306174bf3.jpg",[],{"id":112732,"slug":112733,"title":486,"dynasty":99,"author":37936,"museum":364,"description":112734,"tags":112735,"thumbUrl":112736,"material":139,"size":139,"collection":139,"collections":112737,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},235154,"shan-shui-ce-li-liu-fang-235154","此作用笔简淡松灵，淡墨晕染出虚渺远山，如笼轻烟，留白铺就清寂天地。右侧枯木虬曲苍劲，丛树错落交叠，笔墨勾勒尽显草木枯荣之态，飞瀑自丘峦间垂落，掩映茅舍二三，暗合幽寂氛围。\n\n题字与画面浑然相融，笔意萧散简远，以水墨写尽文人心底的淡远幽情，未以繁复设色，仅以干湿浓淡的墨色层次，铺展出冷寂清和的山居意趣，尽显萧散简远的林下之风，将寒夜灯下的幽闲淡远意蕴藏于尺幅之间。",[209,7,24,81,173,177,29,558,175,430,242,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a98e86ecf81b6a859d443cfea31890.jpg",[],{"id":112739,"slug":112740,"title":486,"dynasty":99,"author":37936,"museum":364,"description":112741,"tags":112742,"thumbUrl":112744,"material":139,"size":139,"collection":139,"collections":112745,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},235153,"shan-shui-ce-li-liu-fang-235153","此作用笔简淡清逸，以水墨晕染出山水襟怀。近坡淡墨轻铺，竹枝萧疏摇曳，笔致清瘦隽雅。中处长松亭亭如盖，浓墨点染松针，枯淡勾勒树干，高低错落间见出苍劲古拙。远山以淡墨轻扫而过，留白衬出烟岚空濛。\n\n通篇墨色层次分明，浓淡相依，糅合出萧散出尘的幽远意境，暗含文人澹泊襟怀。题款与画面浑然相融，笔墨间不见烟火尘嚣，只余林泉高致，将山居幽寂的清冷意趣尽数铺陈。",[7,209,24,173,112743,177,5990,446,29,34,340,176,14137,37],"淡墨渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda4d66caabfd57aa2897466192206d8.jpg",[],{"id":112747,"slug":112748,"title":486,"dynasty":99,"author":37936,"museum":364,"description":112749,"tags":112750,"thumbUrl":112751,"material":139,"size":139,"collection":139,"collections":112752,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},235151,"shan-shui-ce-li-liu-fang-235151","此作以淡墨渴笔写山林幽境，危壁飞瀑从云崖间倾泻而下，苍松扎根峭岩，枯木虬枝斜探出画面，野意横生。\n桥上幽人凭栏静立，观瀑听涛，身影安闲自在，将飞瀑之动与观者之静相映成趣。墨色干湿互用，山石以侧锋皴擦，留白烘托出空寂萧疏的林下意境。笔意松灵兼具筋骨，简淡中藏沉厚，尽得元人山水遗韵又自具风神，把文人寄情丘壑、静悟山水的幽怀藏于尺幅间，是小品山水里的绝佳妙制。",[209,7,24,81,173,177,446,29,108,109,558,34,106,176,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddf9e8578717e69fdd14861a45946dc.jpg",[],{"id":112754,"slug":112755,"title":96982,"dynasty":76,"author":10376,"museum":364,"description":112756,"tags":112757,"thumbUrl":112758,"material":139,"size":139,"collection":139,"collections":112759,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235103,"huai-yin-tu-ce-wang-hui-235103","此帧以淡墨写就林泉幽隐之境，柔垂柳丝牵起清寂氛围，崖畔幽草簌簌，右侧老槐伴修竹错落而立。笔墨苍秀松灵，山石以淡墨轻皴，不重具象形貌，只取丘壑简淡之致。留白铺陈出空阔疏朗的林下天地，将文人耽幽守寂的襟怀藏在浅淡墨色间。\n\n题款墨痕雅致，与画面浑然相融，笔致松脱空灵，全是随心挥洒的闲适意态，无刻意刻画，仅以逸笔勾勒出山野幽居的清寒澹泊，尽显静穆萧散的林下风流，把寄情林泉的雅趣尽数铺陈开来，是文人写意山水以意驭笔的佳制。",[7,24,81,173,177,242,3246,245,1064,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f4d949a1291f30492ce464c1c9df96.jpg",[],{"id":112761,"slug":112762,"title":66804,"dynasty":76,"author":50852,"museum":364,"description":112763,"tags":112764,"thumbUrl":112765,"material":139,"size":139,"collection":139,"collections":112766,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235100,"zheng-min-shan-shui-ce-zheng-min-235100","此作以枯笔淡墨写危崖栈道，山石轮廓简约空灵，崖边古木虬曲苍劲，几位行旅缓步山径，为清寂的山水晕开几分灵动暖意。笔墨简淡疏朗，尽显萧疏淡远的荒寒意趣，是新安画派简逸清泠的典型风貌。\n\n左侧题跋笔力苍劲，书法与山水呼应相合，文气融于画意，让整幅小品兼具笔墨意趣与文人雅韵，淡而不寡，简而有神，将山水的幽寂清冷与文人情致相融，余韵悠长。",[7,24,81,173,177,86,178,29,106,394,245,1444,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0534891de7a684db29a99a1dcb16ff93.jpg",[],{"id":112768,"slug":112769,"title":66804,"dynasty":76,"author":50852,"museum":364,"description":112770,"tags":112771,"thumbUrl":112772,"material":139,"size":139,"collection":139,"collections":112773,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235098,"zheng-min-shan-shui-ce-zheng-min-235098","此作用淡墨写江岸山居，巉岩错落间寒林虬生，坡脚碎石缀着浅滩幽草，山坳茅庐隐于林木深处，幽寂绝尘。江心一叶扁舟随波缓行，寥寥数笔便铺展出江空水阔的萧散意趣。\n\n左页行书题诗与画面呼应，笔意清隽温雅，诗画交融，尽显寄情林泉、神游万古的襟怀。整体笔墨简淡松灵，不事雕琢，以少胜多，将山野幽居的静谧与放浪江湖的悠逸融为一体，氤氲着清冷出尘的林下之风，尽显简逸清疏的山水意韵。",[7,24,81,173,29,174,34,176,177,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539445d32f11568dc61ead79b8778135.jpg",[],{"id":112775,"slug":112776,"title":66804,"dynasty":76,"author":50852,"museum":364,"description":112777,"tags":112778,"thumbUrl":112779,"material":139,"size":139,"collection":139,"collections":112780,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235093,"zheng-min-shan-shui-ce-zheng-min-235093","此作用笔疏简秀逸，近景危崖兀立，崖畔林木萧疏，村居错落隐于岩岫之间，浅滩碎石点缀寒水。远景山峦以淡墨晕染，清润朦胧，晕出空濛幽寂的秋山气象，尽显静穆冷逸之致。\n左侧题诗笔致清劲雅致，诗书与山水相映，文气盎然，将简淡荒寒的意趣融于尺幅，寄寓着画者幽居林泉、澄怀观道的隐逸襟怀。",[7,24,81,173,177,178,29,176,34,35,560,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a75d571f91415e97b378185d3b979a.jpg",[],{"id":112782,"slug":112783,"title":1108,"dynasty":76,"author":707,"museum":364,"description":112784,"tags":112785,"thumbUrl":112786,"material":139,"size":139,"collection":139,"collections":112787,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235077,"shan-shui-tu-ce-hua-yan-235077","此作淡墨写江岸山居，近渚古木盘曲苍劲，茅庐隐于林樾，静听江澜絮语。远山以枯笔轻皴，淡晕烟岚，晕染出空濛淡远之境，满幅幽寂萧散。左侧行书题诗笔致清逸隽秀，诗画相映，将林泉高致的文人心境托举而出。简淡尺幅中藏静穆生机，把幽居林下、寄情烟霞的雅逸襟怀融于笔墨间，尽显中式山水留白意趣，是文人诗画相融的绝佳范本。",[7,24,81,173,177,178,29,175,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c784099b798e42c13443fbedfb8428.jpg",[],{"id":112789,"slug":112790,"title":112791,"dynasty":76,"author":30958,"museum":364,"description":112792,"tags":112793,"thumbUrl":112794,"material":139,"size":139,"collection":181,"collections":112795,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235068,"zhu-jia-shan-shui-ce-ye-lou-ge-ce-ye-li-yin-235068","诸家山水册页-楼阁册页","以淡墨晕开氤氲底色，晕染出江南春晨烟霭朦胧的氛围感。近岸屋舍错落排布，木桥横卧水面，几叶渔舟轻泛波上，岸旁柳丝垂曳如烟似雾，将春日柔婉尽数铺展。山腰村居隐于林霭之间，远山楼阁凭崖矗立，虚实相生层层递进，铺排出悠远开阔的空间层次。\n笔墨清浅秀逸，不着浓丽色彩，全以水墨干湿浓淡烘托烟柳空濛之境，将江南水乡的温婉雅致融于尺幅，把郊野春闲的诗意定格纸面，尽显静穆淡远的文人意趣。",[7,81,173,104,29,177,107,108,109,174,34,35,111,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc870a0a569573b8ca55a3195d0141971.jpg",[181],{"id":112797,"slug":112798,"title":2235,"dynasty":76,"author":707,"museum":364,"description":24979,"tags":112799,"thumbUrl":112800,"material":743,"size":744,"collection":139,"collections":112801,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235065,"za-hua-ce-hua-yan-235065",[7,24,81,173,177,29,176,34,108,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc61717f7979a03a5b1e59c012100c2.jpg",[],{"id":112803,"slug":112804,"title":2235,"dynasty":76,"author":707,"museum":364,"description":24979,"tags":112805,"thumbUrl":112806,"material":743,"size":744,"collection":139,"collections":112807,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},235061,"za-hua-ce-hua-yan-235061",[7,81,27,83,800,14547,697,698,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdca929610fefa93f7af387a43b8c18.jpg",[],{"id":112809,"slug":112810,"title":55305,"dynasty":76,"author":28662,"museum":364,"description":93721,"tags":112811,"th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封东华教主，授以铁杖一根。”另《古今图书集成·神异典》中云：“李铁拐或云隋时峡人，名洪水，小字拐儿，又名铁拐，常行丐于市，人皆贱之。后以铁杖掷空，化为龙，乘龙而去。”铁拐李尽管外貌丑陋，却法力高超，富有人情味，深得人们的钟爱，是元明清画家们喜画的题材。\n图中的李仙盘腿拄杖，坐于大石上。他披发浓须，袒胸赤足，蹙眉斜目。其身后山崖竞秀，瀑布高悬，云雾缥缈，崖下藤枝盘绕。画中人物神情不同凡俗，背景的描绘更衬托出了铁拐李的仙人之气。",[7,241,106,259,173,27,558,176,10164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91220011e41ccdfe64584e22b2472e31.jpg","纵146.5厘米，横72.5厘米",[],{"id":113133,"slug":113134,"title":78417,"dynasty":189,"author":78418,"museum":20,"description":113135,"tags":113136,"thumbUrl":113137,"material":665,"size":113138,"collection":139,"collections":113139,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},233893,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-233893","陆行直字季道吴江（今江苏吴江）人。洪武中（公元1368—1398年）以人才授翰林典籍。善书诗画清劲为人所称。小传见《画史会要》、《珊瑚網》等书。 此图画巨大的湖石一堵屹立画面正中旁边梧桐和柏树冲天而立。笔墨清劲构图平中寓险为陆行直传世名作。画右自题词一首：「侯虫凄段人语西风岸月落沙平流水漫 驚见芦花来雁。可憐瘦损兰趁多情因为卿卿只有一枝梧页不知多少秋声。」后识「友人张叔夏赠余之作也余不能记忆于至治元年仲夏二十四日戏作碧梧苍石与冶仙西 窗夜坐因语及此转瞬二十一载今卿卿叔夏皆成故人恍然如隔世事遂书于卷首以记一时之感慨云。季道陆行直题。」钤「致和斋」、「陆季道氏」二印右下又题词一首 款「陆行直重题」。本幅有元刘则□、页衡、冶仙、曹仲达、卫达辰等十四家题记诗塘有明刘稽、周鼎题识裱边有谢希曾跋语。钤明项子京等收藏印多方。《汪氏珊 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著色人物)","本幅画士人坐于榻上，驻目凝思，执笔似欲书写。身旁陈设琴、棋、书、画四事，以及饮食之物，童子在旁斟酒。榻后有座屏风，其上悬挂着士人之写真画轴。画中主人公集文人之雅玩趣事于身边，表现出闲适雅逸之生活。关于画中之人物，可能是追想王羲之，事实上是反映宋文人的生活。南宋流行之“烧香、点茶、褂画、插花”等情趣，在北宋末已酝酿发展中，本幅可见其端倪。一般「画中画」的屏风，多填饰以山水，本幅则以花鸟为饰，相当难得。不但反映出北宋末汀渚水鸟的风格，也反映出徽宗朝花鸟画特别兴盛的时代性。\n本幅画曾经宋徽宗、高宗、清高宗等帝王收藏。清高宗对画中人物甚感兴趣，曾命姚文瀚也画张相似构图之作，画中人物则代之以穿着士服的乾隆皇帝，流露出皇帝也向往雅逸文人生活的心意。",[7,27,28,106,244,63,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd592d8dc8ca0cfee648f3aaedf109b3.jpg","29x27.8厘米",[],{"id":113321,"slug":113322,"title":113323,"dynasty":76,"author":13945,"museum":206,"description":113324,"tags":113325,"thumbUrl":113326,"material":67,"size":113327,"collection":139,"collections":113328,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},232678,"qiu-shan-ping-yuan-tu-he-yi-232678","秋山平远图","此作用平远之法铺展秋景，近岸苍松虬劲，杂木以丹黄点染，将秋意揉进枝叶肌理，茅庐依水而居，野趣横生。平湖如镜，一舟独泛，载着闲逸随波漫行，汀渚蒹葭苍苍，晕开渺渺秋光。远景山峦轻笼烟霭，墨色澹宕清润，将秋山空寂辽远铺陈开来。\n\n画作以元人笔意写就，浅设色晕染出疏淡秋韵，配上行书题诗，书画相融，尽抒林泉幽栖的隐逸襟怀，把秋日郊野的萧散闲雅，晕成一卷可赏可居的诗意天地。",[7,24,241,27,29,177,178,227,174,175,34,176,491,1926,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb042d680982c51c068e54818b5dddb47.jpg","99.4×48.3",[],{"id":113330,"slug":113331,"title":113332,"dynasty":76,"author":1892,"museum":238,"description":88188,"tags":113333,"thumbUrl":113335,"material":803,"size":88191,"collection":139,"collections":113336,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},232676,"shan-shui-tu-lan-yan-shu-se-wang-yuan-qi-232676","山水图(岚烟树色)",[209,7,24,241,173,177,178,86,227,29,30,34,1575,340,176,37,113334],"岚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3ca722659548bd5b92cc3b10a0df4c.jpg",[],{"id":113338,"slug":113339,"title":113340,"dynasty":189,"author":293,"museum":238,"description":113341,"tags":113342,"thumbUrl":113343,"material":803,"size":113344,"collection":139,"collections":113345,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},231888,"lu-ye-da-mo-tu-yi-ming-231888","芦叶达摩图","亲近佛道的人，除了兴趣，往往都有自救的动机和解脱的渴望——他们对心中迷乱挣扎有着更真切的体会和更迫切的出离愿望。但常听人问起如何才能心不乱、到底应该如何去修等问题，先圣经典对此讲说甚多而明明白白，为什么还有这么普遍的困惑呢？除了法门太多而无从抉择的原因，更多的恐怕还是很多法门都太高妙，自己找不到实在的下手处。\n法门的选择上，先圣早已明言：“佛说一切法，为治一切心；若无一切心，何须一切法”、“一门深入，即可成就”。一切法门都是为适应众生不同根机的方便，实相和本源皆在言外法下，纠结于名相或盯在高低优劣，都是不解乃至大违圣意。正确的路子，是依自己适合的而抉择，然后笃定地做下去便是。\n无从下手则是实实在在的难处，强求不了。到底有没有既深契高妙又可真正下手的法门？我能想到的最好的答案是菩提达摩的32字心法，记载于《景德传灯录》中。\n达摩是禅宗西天第二十八祖，东土初祖。他的名号在中国可谓无人不知无人不晓，他的教法了解的却恐怕不多。禅宗的发展是向着越来越玄妙、越来越难以把握去的，因为祖师们觉得一切把握都等同于妄，非得透一切名相而直契本源不可，只是其中超妙非利根而不得入。禅宗是否一向如此呢？不是的，至少不完全是——在达摩祖师的时代，教法上不仅有着禅宗一贯的宗旨，下手上也是朴实直接的。这点其实一直到六祖慧能也还保留着，我们看《坛经》中的接引，也都是实实在在的。\n32字心法的内容是：“外息诸缘，内心无喘。心如墙壁，可以入道。明佛心宗，等无差误。行解相应，名之曰祖。”它有两个重大处，一是不是孤立提出，而是在达摩祖师总结的入道二门——理入和行入的基础上提出来的。行入又包括四行，是入道的四个可以真正下手处，称之为“四行观”，“其余诸行，悉入此中”。二是理入与行入之间，还暗含一大玄机，乃一切法门的总纲所在，可称根本心法，却少为人注意。\n只是这理入的玄机，非详知四行而不得解。所以达摩虽将理入安立在行入之前，并大有如此安排的深意，却需要先从四个可以真正下手处说起。",[23,7,241,259,106,260,173,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa936cbcd0ef7ed62fe770ec635c672.jpg","175×38.5厘米",[],{"id":113347,"slug":113348,"title":113349,"dynasty":292,"author":293,"museum":364,"description":113350,"tags":113351,"thumbUrl":113352,"material":743,"size":744,"collection":139,"collections":113353,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},231711,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-yan-li-si-juan-yi-ming-231711","镰仓时代 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祖师大满送大智图轴",[23,7,24,241,173,27,29,106,174,108,109,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2410f5a3214a93e64d7edcf5771d2a8b.jpg",[],{"id":113380,"slug":113381,"title":113382,"dynasty":292,"author":293,"museum":364,"description":113383,"tags":113384,"thumbUrl":113385,"material":743,"size":744,"collection":139,"collections":113386,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},231620,"shan-shui-shi-er-tu-ping-li-zhou-yi-ming-231620","山水十二图屏立轴","此作用淡彩浅绛写就江隅小景，近岸老松虬曲苍劲，松叶敷染清润，自有葱茏生机。坡岸浅草萋萋，留白摹写江水空阔，淡墨晕染远岸烟岚，晕化出空濛悠远的淡远意境。\n题句融于画面，“清风松翠，斜日照江”，诗画相映，将闲淡悠然的野趣铺陈开来。笔致秀润温婉，摒弃浓墨重彩，尽显江南水岸的清寂安闲，带着文人画的雅致意趣，将观画人带入幽宁静谧的江渚闲居之境。",[23,7,24,241,27,177,29,1575,176,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da01ef5a5e4c80f11e0cb13cb46b25d.jpg",[],{"id":113388,"slug":113389,"title":113390,"dynasty":292,"author":293,"museum":364,"description":113107,"tags":113391,"thumbUrl":113392,"material":67,"size":113393,"collection":139,"collections":113394,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},231575,"guan-pu-na-liang-tu-yi-ming-231575","观瀑纳凉图",[23,7,24,241,173,27,29,558,1575,176,177,4614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e3988e8251adabd7d2b3ba7cab365a.jpg","纵24cm，横24.9cm",[],{"id":113396,"slug":113397,"title":28459,"dynasty":76,"author":2324,"museum":364,"description":113398,"tags":113399,"thumbUrl":113400,"material":67,"size":139,"collection":139,"collections":113401,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},231573,"hua-hui-shi-er-kai-li-shan-231573","李鱓（shàn），清康熙二十五年（1686）生，乾隆二十一年（1756）卒。字宗扬，号复堂，别号懊道人、墨磨人，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，扬州八怪之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。",[7,173,27,83,81,1374,2522,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ffad346df645f21757cf8ef14b4cb7.jpg",[],{"id":113403,"slug":113404,"title":29648,"dynasty":99,"author":293,"museum":364,"description":113405,"tags":113406,"thumbUrl":113409,"material":67,"size":75300,"collection":139,"collections":113410,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},231547,"dong-xue-shan-jing-tu-yi-ming-231547","它的白雪皑皑不是冰冷峻峭，却是高雅与逍遥。",[23,7,173,29,2502,3499,1575,176,106,113407,113408,241],"高雅","逍遥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dfb2c05c90dc6fbecb022d86227e2b9.jpg",[],{"id":113412,"slug":113413,"title":113414,"dynasty":189,"author":293,"museum":364,"description":113415,"tags":113416,"thumbUrl":113417,"material":139,"size":139,"collection":139,"collections":113418,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":271},231038,"su-shu-yi-ming-231038","粟鼠","此作用水墨写意写就，枯槎苍劲朴拙，栗枝舒展间，墨色浓淡晕染出叶片柔润舒展之态，栗果饱满写实，尽显秋实野趣。\n\n两只粟鼠是画中灵动焦点，淡墨晕出绒毛发肤，一笔扫就蓬松长尾，细笔勾勒爪牙眉眼，一只捧食凝神，憨态可掬，一只俯身探看，灵动俏皮。画面留白疏朗萧散，以极简笔墨铺陈出秋日林间的闲散意趣，将山野小景的生机与简淡清逸的意韵相融，尽显水墨花鸟的雅致野逸之美。",[23,209,7,24,241,173,28,177,957,7819,394,698,67986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca36ef3cadb6f575e61c0b0a7414e33.jpg",[],{"id":113420,"slug":113421,"title":1108,"dynasty":76,"author":13945,"museum":364,"description":113422,"tags":113423,"thumbUrl":113424,"material":139,"size":139,"collection":139,"collections":113425,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},230917,"shan-shui-tu-ce-he-yi-230917","此作用笔简净萧散，以干淡笔墨铺陈丘林野趣。近岸巨石皴擦苍劲，双木虬曲错落，枝叶点染疏朗，暗含生趣。水畔茅庐隐于浅坡，野意自生。远景山峦以淡墨晕染留白，虚写水光天色，虚实相生间烘托出林泉幽寂之致。\n题诗与画面相映成趣，文气雅致，取法元人山水意韵，寄寓幽居丘壑、寄情林泉的出世襟怀，简淡笔墨里藏着静穆悠长的林下高致。",[7,24,81,173,177,29,176,34,920,491,5243,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f41a79372429712d774f2e0b1e78d5.jpg",[],{"id":113427,"slug":113428,"title":113429,"dynasty":189,"author":293,"museum":364,"description":113430,"tags":113431,"thumbUrl":113432,"material":139,"size":139,"collection":139,"collections":113433,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},230902,"hua-hui-tu-ye-yi-ming-230902","花卉图页","此作用色清和柔婉，以没骨法晕绘花枝。素白花瓣轻透柔润，攒聚的细点圈出花蕊，朴拙中带着精巧意趣。叶片以深浅绿意铺陈，随枝条自然舒展，将花枝的绰约姿态托衬得愈发清雅。古绢的沉褐底色晕开旧时光晕，让整幅画面浸着幽淡娴静的古雅气韵，似将暮春庭隅的清寂花影凝在绢上，淡而不薄，简而有味，尽显文人意趣里的雅致闲情。",[23,209,7,24,81,28,27,83,84,698,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea57ae90d4205641248ba1b657896677.jpg",[],{"id":113435,"slug":113436,"title":113437,"dynasty":76,"author":113438,"museum":364,"description":113439,"tags":113440,"thumbUrl":113441,"material":139,"size":139,"collection":139,"collections":113442,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},230879,"qiu-jiang-wan-du-ye-yao-zhong-bao-230879","秋江晚渡页","姚钟葆","淡墨晕开烟水空蒙，江畔秋树斜出，赭色点染丹黄，将晚秋霜色尽揽枝梢。垂条轻曳，晕出松弛疏淡的野趣。\n\n扁舟泊于浅渚，舟上幽人兀坐，隐入澄澈江天，不着一笔写愁，却将秋江岑寂全然铺陈。留白处尽是悠悠晚意，仿佛可闻欸乃橹声，随晚风漫过江心。\n\n笔墨简淡清灵，以少胜多，把羁旅闲愁化作静穆秋意，文题与淡墨秋景相融，晕开独有的空濛诗意，尽显幽远萧散的林下风致。",[7,173,27,81,177,174,106,281,430,4974,4562,44378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398701c4b5e7ea6c7f53c677cdf4ea49.jpg",[],{"id":113444,"slug":113445,"title":113446,"dynasty":292,"author":293,"museum":364,"description":113447,"tags":113448,"thumbUrl":113449,"material":743,"size":744,"collection":139,"collections":113450,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":1335},230554,"song-xia-da-mo-tu-yi-ming-230554","松下达摩图","此作以淡墨白描写达摩禅定之姿，衣纹圆转简练，宽袍裹挟身形，神情沉凝肃穆，尽显面壁九年的静定禅心。背景松枝以焦墨点染，古拙苍劲，淡墨晕染流云氤氲缥缈，烘出幽寂空灵的禅境，下方山石以干笔皴擦，朴拙厚重，与达摩沉静之气融为一体。\n\n右上角题字笔意纵逸萧散，与画面简淡禅意相得益彰。全作以极简水墨语言，摒弃繁复修饰，在虚实相生间将达摩苦修定力与山林清寂相融，把禅宗空灵内敛的意趣诠释得淋漓尽致，尽显禅画写意的悠远妙味。",[23,7,24,241,259,260,106,449,431,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f2a0c1e592ea964d7d13e6df54c70.jpg",[],{"id":113452,"slug":113453,"title":113454,"dynasty":76,"author":293,"museum":364,"description":113455,"tags":113456,"thumbUrl":113457,"material":743,"size":744,"collection":139,"collections":113458,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},230338,"bai-miao-tu-miao-man-tu-shuo-wu-yi-ming-230338","百苗图苗蛮图说（五)","柳丝轻曳、桃枝泛红，将春日柔色晕染在茅舍小院旁。画里的苗家日常鲜活又温热：挎篮的妇人正将汤水递予怀抱着幼童的丈夫，小女儿拽着父亲衣袍娇憨讨要关注，老翁倚在门扉含笑，看稚童攥着短笛信口吹奏。\n\n淡彩细笔勾勒出屋舍篱栅的朴拙，线条柔和地晕开烟火暖意，没有浓艳着色与繁复技法，只将边陲村寨的天伦之趣静静铺展。山野乡居松弛的日常瞬间被定格，把苗家质朴鲜活的烟火温情永远留存，满是平实动人的乡野诗意。",[7,24,27,28,81,106,35,1532,279,108,3045,22510,19042,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf044c3bfaf9ae0247bb3d2c75c34de2.jpg",[],{"id":113460,"slug":113461,"title":68535,"dynasty":76,"author":293,"museum":364,"description":113462,"tags":113463,"thumbUrl":113464,"material":139,"size":139,"collection":139,"collections":113465,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},230333,"bai-miao-luo-han-tu-ce-yi-ming-230333","此作用墨笔白描辅以淡墨晕染，布袋和尚袒胸踞坐崖间石台，手持拂尘，笑眼弯弯神态安恬，尽显自在禅意。下方侍者温驯抚鹿，麋鹿灵动温顺，衬出画面平和宁寂。背景以枯淡墨线勾勒奇崛山石，间缀荒草野木，皴擦简练却将岩穴幽深荒寂尽显。\n\n整幅线条清劲秀雅，构图虚实相生，将禅林幽寂氛围与悠然禅意融为一体，工细刻画中带着写意的萧散简远，尽显雅致出尘的禅林清趣。",[209,7,24,81,260,259,106,957,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac3702465bd235f35148b38f8343fb6.jpg",[],{"id":113467,"slug":113468,"title":113469,"dynasty":76,"author":293,"museum":364,"description":113470,"tags":113471,"thumbUrl":113472,"material":139,"size":139,"collection":139,"collections":113473,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},230317,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-nu-er-ha-chi-yi-ming-230317","历代帝王贵妃大臣朝服像(努尔哈赤)","此作工致写实，将帝王威仪凝于绢素之上。明黄朝服工整华贵，团龙纹样饱满威严，晕染细腻，层次分明地还原出织绣的肌理华彩，衣纹舒展沉稳，贴合身形尽显礼制规制。帝王面容刻画写实传神，神态沉静肃穆，自带开国君主的厚重气场，眉眼间尽显沉稳威严。背景纹样工整雅致，与人物朝服的华丽相得益彰，烘托出庄重典仪氛围。整作兼顾纪实性与礼制性，细腻还原清初帝王仪范，笔墨之间尽显肃穆庄重的皇家气度，是清代肖像画中颇具代表性的典制肖像作品。",[23,7,24,241,27,28,106,63,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302754de7146badad37e3ce97031c595.jpg",[],{"id":113475,"slug":113476,"title":486,"dynasty":76,"author":72114,"museum":364,"description":113477,"tags":113478,"thumbUrl":113479,"material":139,"size":139,"collection":139,"collections":113480,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},230255,"shan-shui-ce-wang-su-230255","此作以淡赭轻染、花青敷缀，写就水滨冬景。江天色调清濛，岸旁柳芦枝叶疏柔，似含朔风之意，带着萧寒疏朗之态。近岸小舟系于枯木之下，篷顶暖意暗生；远江扁舟孤行，淡波载着舟影缓缓漾开，留白铺就空阔水天，晕开朦胧烟霭。\n题诗笔意清隽，和画面柔澹氛围相融。整幅无繁复皴擦，以简淡笔墨托出萧散空寂的意境，将冬日水畔的闲逸清和藏于浅淡设色之中，尽显文人画天真简淡的意趣，观之便如临幽寂江天，俗尘尽涤。",[7,24,81,173,27,174,1532,2522,4614,109,281,4975,867,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591750a149d747d9b88fc296549bdcf.jpg",[],{"id":113482,"slug":113483,"title":113484,"dynasty":76,"author":9280,"museum":364,"description":65285,"tags":113485,"thumbUrl":113486,"material":743,"size":744,"collection":139,"collections":113487,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},230213,"fa-jie-yuan-liu-tu-jing-pian-ding-guan-peng-230213","法界源流图镜片",[209,7,24,28,27,10898,259,106,8738,261,4860,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8a2186ce4c371acf7e6f57ed4bc51b.jpg",[],{"id":113489,"slug":113490,"title":486,"dynasty":76,"author":113491,"museum":364,"description":113492,"tags":113493,"thumbUrl":113494,"material":139,"size":139,"collection":139,"collections":113495,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},230151,"shan-shui-ce-liu-yu-230151","刘宇","此幅以深山古刹为景，淡墨勾皴山石，盘桓石阶如练，在陡崖间蜿蜒穿梭，串起山脚村居与山巅梵宇。苍松错落布于崖畔坡头，古拙苍劲，晕染出山林清寂高远的氛围。\n\n画家以墨色浓淡区分阴阳向背，笔意萧散秀雅，舍去繁复皴法，却将山峦险峻幽深铺陈尽致。画面以留白晕出山峦空灵之气，淡绘山居古刹的幽寂禅意，带着文人画的简淡余韵，寄寓静穆出尘的山林雅趣，将出世栖隐的悠然意趣藏于简淡笔墨之中。",[7,24,173,81,177,29,864,107,1575,12624,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e204ecbc005648e2a467048d918209.jpg",[],{"id":113497,"slug":113498,"title":38578,"dynasty":76,"author":1892,"museum":364,"description":113499,"tags":113500,"thumbUrl":113501,"material":139,"size":139,"collection":139,"collections":113502,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},229030,"shan-shui-ce-ye-wang-yuan-qi-229030","此作以干渴焦墨反复皴擦堆叠山峦，笔力苍劲老辣，层层铺陈出浑厚华滋的质感，尽显山水苍莽深秀之态。近岸汀渚错落，虬曲杂木丛生，简笔点染枝叶，意态萧疏古雅。山坳间村舍隐于林木烟岚，晕开幽居野逸的闲趣。\n\n远景山峦逶迤，墨色由浓转淡，虚实相生间晕染出空濛悠远的意境。以书法意趣入画，笔墨裹挟沉静书卷气，层层皴染尽显山川厚重雄浑，将自然苍朴与文人意趣相融，静穆里藏着蓬勃生机，尽显传统山水的笔墨风骨与幽深远阔的林下襟怀。",[209,7,24,81,173,177,29,176,34,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad840bb8afc0736f39b85cebaefd8955.jpg",[],{"id":113504,"slug":113505,"title":113506,"dynasty":76,"author":113507,"museum":364,"description":113508,"tags":113509,"thumbUrl":113510,"material":139,"size":139,"collection":139,"collections":113511,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},228974,"si-ji-shan-shui-ping-ming-jian-228974","四季山水屏","明俭","此作用浅绛写就冬山雪景，以大面积留白与淡墨晕染表现峰峦积雪，浓墨勾勒崖壁轮廓，将冰雪覆山的清寒孤高尽显无余。\n\n枯松劲柏层叠错落，枝桠利落苍郁，暗写雪压枝头的沉凝质感。山坳间古寺浮屠隐于林木中，朱红屋舍素白雪景相映，冷寂里晕开一抹烟火暖意。溪谷浅滩以白代雪，水坝板桥藏于雪色间，于静谧中暗涌生机。\n\n整画仿戴进雪岭笔意，兼得浙派山水刚劲构图，又融入禅意冲淡萧散的气韵，将冬日空山的冷寂与古刹温煦相融，尽显雪后山林清旷安闲之境，笔墨清雅意趣悠长。",[23,7,24,241,173,27,29,107,34,176,1432,2124,108,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec019cf1cea1eb3808798ea50b60410.jpg",[],{"id":113513,"slug":113514,"title":113515,"dynasty":76,"author":3732,"museum":364,"description":113516,"tags":113517,"thumbUrl":113518,"material":139,"size":139,"collection":139,"collections":113519,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},228956,"yu-zhi-wan-fang-an-he-jing-shu-shi-jiang-ting-xi-228956","御制万方安和敬述诗","此作用云蝠纹粉笺书写，底色瑞纹雅致，与笔墨相映成趣。行书兼具馆阁端稳与文人意趣，用笔圆劲秀逸，起收间顿挫有度，结体匀整端庄又暗含灵动姿态，字行气脉贯通，章法疏朗合宜。\n笔墨间带着恭谨雅致的庙堂气韵，既有台阁体的规整雍容，又融个人隽秀书风，将庄重感与温润笔墨相融，在严整法度中透出温婉情致，尽显清中期翰苑书法典型风貌，纹饰与笔墨相得益彰，更添祥和雅正之韵。",[23,7,24,241,178,86,27,2739,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5e125151224206e9ae776a4d8ee0ab.jpg",[],{"id":113521,"slug":113522,"title":113523,"dynasty":99,"author":966,"museum":206,"description":113524,"tags":113525,"thumbUrl":113526,"material":827,"size":113527,"collection":139,"collections":113528,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},228884,"du-le-yuan-ji-qi-yong-juan-wen-zheng-ming-228884","独乐园记七咏卷","此幅以王蒙笔法画司马光独乐园图，嘉靖戊午（1558）七月二十日，作独乐园图。绘村居篱落，临水而筑。篱前立苍松，屋後植脩竹。敞轩之中，士人倚窗凝视，远水遥岑。笔多圆转，意亦较滞，项圣谟专学此等。行书独乐园记，用新笔，秀妩温润之甚，去尽少年圭角。八十九岁老翁，精力不减盛年也。",[23,209,7,24,25,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848062856841e9511f46a506c0accf83.jpg","纵27cm，横655.2cm",[],{"id":113530,"slug":113531,"title":113532,"dynasty":99,"author":293,"museum":364,"description":113533,"tags":113534,"thumbUrl":113535,"material":139,"size":139,"collection":139,"collections":113536,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},228814,"xing-lv-tu-yi-ming-228814","行旅图","此作以淡墨晕染出江南暮野水畔之景。柔柳垂丝错落于画面边角，晕开朦胧氤氲的暮色氛围。郊野水泽间，行骑缓行，驮队紧随，简笔勾勒的旅人神态松弛，带着日暮赶路的闲淡倦意。远景中山丘村舍隐于墨色晕染间，虚实相生，将乡野暮色的清寂淡远尽数铺陈。整作笔墨简淡苍润，以简驭繁，留白处尽显空濛诗意，把羁旅暮归的悠然况味融于水乡烟霭之中，尽显小品山水的雅致意趣，于古旧绢色间晕开静谧悠远的古典意境。",[7,1562,173,27,106,150,430,29,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21df2211d26e0597c4692d204c60fc5e.jpg",[],{"id":113538,"slug":113539,"title":113540,"dynasty":99,"author":293,"museum":364,"description":113541,"tags":113542,"thumbUrl":113544,"material":743,"size":744,"collection":139,"collections":113545,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},228787,"tian-long-ba-bu-luo-cha-nv-zhong-yi-ming-228787","天龙八部罗叉女众","这幅画本是明代宫廷佛像画作，工笔重彩，人物造型精准，表情生动，堪称明代佛画中的顶级作品。从其左下方“御用监太监尚义王勤等奉命提督监造”的字样可知。尚王二人，皆为负责宫廷佛事的御用监太监，其地位甚至要高于同时期的郑和。",[23,7,24,1086,259,28,27,106,261,113543,4736],"护法形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07bbf54a59c4eb18498e924da22790e0.jpg",[],{"id":113547,"slug":113548,"title":113549,"dynasty":99,"author":72436,"museum":364,"description":113550,"tags":113551,"thumbUrl":113552,"material":139,"size":139,"collection":139,"collections":113553,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},228766,"liu-hua-tu-ni-yuan-lu-228766","六花图","此作为诗画合璧长卷，水墨花卉写意挥洒，墨色干湿浓淡变幻自然。牡丹、寒梅等花木虬枝苍劲，花瓣晕染淋漓，笔底带着疏朗桀骜的生气，将草木风骨跃然纸上。\n\n配题行书笔力奇崛雄健，结体欹侧跌宕，与画意相得益彰，诗文与绘事交织，融画境、文心、笔情为一体。\n笔底藏着晚明文人的疏狂耿介，将写意精神抒发尽致，是诗书画印合一的文人佳构，尽显磊落襟怀与不俗格调。",[23,7,24,25,173,178,227,448,452,243,327,451,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F065af1defdfd694ae2722cb69a9abca8.jpg",[],{"id":113555,"slug":113556,"title":113557,"dynasty":99,"author":24704,"museum":364,"description":64592,"tags":113558,"thumbUrl":113559,"material":743,"size":744,"collection":139,"collections":113560,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},228463,"song-ting-gao-yi-tu-qian-gu-228463","松亭高逸图",[23,209,7,24,1562,27,177,29,449,175,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe165198908dffca33a1454536263b0a.jpg",[],{"id":113562,"slug":113563,"title":53625,"dynasty":99,"author":19417,"museum":364,"description":113564,"tags":113565,"thumbUrl":113566,"material":139,"size":139,"collection":139,"collections":113567,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[23,209,7,24,25,178,86,173,27,29,174,34,109,108,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":113569,"slug":113570,"title":113571,"dynasty":99,"author":293,"museum":364,"description":113572,"tags":113573,"thumbUrl":113574,"material":139,"size":139,"collection":139,"collections":113575,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},228376,"ren-wu-gu-shi-ye-yi-ming-228376","人物故事页","此作用笔挺劲，以铁线描勾勒形象，线条简练流畅，将人物衣褶的起伏褶皱精准铺展，生动带出二人一马二牛的动态。骑者神色安然，坐姿舒展，仆从赤足束发，扬杆驱策双牛，朴拙情态呼之欲出。\n\n设色简淡清雅，以赭石、石绿晕染衣饰层次，古旧绢面晕开沉厚古韵。画面捕捉羁旅行役的日常一瞬，以小见大，无繁复铺陈却将赶路的平实氛围烘托尽致。留白与古印相映，暗合古韵悠长的雅致意趣，尽显写实中暗藏写意情致的风貌，浅淡间定格行旅的烟火日常。",[23,7,27,106,151,150,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b314c39166e2c1ee3b7573373fd05b.jpg",[],{"id":113577,"slug":113578,"title":85105,"dynasty":99,"author":37407,"museum":364,"description":113579,"tags":113580,"thumbUrl":113581,"material":139,"size":139,"collection":139,"collections":113582,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},228337,"yin-bao-jie-shan-tu-zhou-wang-wen-228337","《隐宝界山图》是明朝王问所作名画，此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生于1949年购于广州。\n1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。\n画心左上自题：“宝界山，余读易庐在焉。\n嘉靖戊申始得辞岭南之命，寄傲其间，静志远交，可以寡过矣。\n诗曰：荒山雨雪暮寒时，碧树临湖橘柚垂。\n归棹复寻渔径入，幽居更向谷云移。\n鲈如张翰思偏早，酒为渊明酿已迟。\n木石久谙麇鹿性，野人相见莫相疑。\n仲山王问写并书。\n”钤“王问之印”、“进士”等印。\n据此图题跋，可知所画是王问在嘉靖戊申年（二十七年，1548年）隐居无锡宝界山读书时的情景，为画家5岁时所作。\n鉴赏印钤“石渠宝笈”、“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等印。\n画幅右下钤“无事对青山”白方印，左下钤“闲溪陈氏玉阶珍藏”朱长方印。\n画中所绘当为宝界山实景。\n筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。\n画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。\n用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。\n王问之作传世不多，得此盛年鼎绝作品实为不易。",[23,7,241,29,173,177,107,174,109,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8002608845fa1f1fb6a6f63a76f2c409.jpg",[],{"id":113584,"slug":113585,"title":61023,"dynasty":189,"author":293,"museum":364,"description":113586,"tags":113587,"thumbUrl":113589,"material":139,"size":139,"collection":139,"collections":113590,"showCount":1118,"zanCount":5,"manualWeight":48,"mainColor":49},228236,"xue-shan-yun-lv-tu-yi-ming-228236","整幅画作以萧寒冬日为底色，虬劲枯木扎根嶙峋坡石，枝干尽脱，带着凌冽的荒寒之气。淡墨晕染出山峦积雪，将冬日山野的厚重冷寂铺展开来，边角山石奇崛错落，勾勒出空阔辽远的天地。\n\n中景处的运驴队伍缓步而行，为清寂的雪野晕开一丝烟火暖意，动静相映，让冷肃山水多了几分行路意趣。笔墨苍简老辣，干笔勾勒山石肌理，淡墨铺陈积雪留白的空灵，将苍逸简淡的意趣融于其中，把冬日山野的空寂萧寒与行路的市井意趣相融，清冷中带着鲜活生气，尽显小品山水的精妙意韵，将冬日荒岭的清寒意境烘托得淋漓尽致。",[23,7,1397,113588,173,3499,543,13516,8989,19849,3995,3802,20163,12724],"小品画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114c3794a49fbc91897e8c3e82f12c09.jpg",[],{"id":113592,"slug":113593,"title":56276,"dynasty":189,"author":293,"museum":364,"description":113594,"tags":113595,"thumbUrl":113596,"material":743,"size":744,"collection":139,"collections":113597,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},228233,"da-mo-xiang-yi-ming-228233","达摩，是中国禅宗的初祖。他生于南印度，婆罗门族，出家后倾心大乘佛法。梁·普通年中（520～526，一说南朝宋末），他自印度航海来到广州，从这里北行至魏，到处以禅法教人。据说他在洛阳看见永宁寺宝塔建筑的精美，自言年已一五0岁，历游各国都不曾见过，于是‘口唱南无，合掌连日’（《洛阳伽蓝记》卷一）。",[23,209,7,24,241,259,260,173,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F896744299faea52caf62dceaf7edaa23.jpg",[],{"id":113599,"slug":113600,"title":113601,"dynasty":189,"author":293,"museum":364,"description":113602,"tags":113603,"thumbUrl":113604,"material":139,"size":139,"collection":139,"collections":113605,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},228232,"xin-pi-yin-ju-tu-yi-ming-228232","辛毗引裾图","苍松虬曲、茂叶层叠，将深庭掩映出私密肃穆的议事氛围。画面人物排布错落有致，主宾对坐之间，扯衣强谏的身姿凛然生动，把忠直不屈的诤臣情态凝于笔端。侍从仕女垂立恭谨，更衬出君臣对谈的张力。\n\n设色沉厚朴拙，线条凝练劲挺，以淡赭墨晕染衣褶神情，将汉末朝堂犯颜直谏的场景复刻于绢素之上，定格古人犯言敢谏的风骨，兼具叙事性与感染力，尽显古雅厚重的历史画意趣，让千年前的忠直诤言仿佛仍回荡在庭间。",[23,7,24,241,27,28,106,34,115,505,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4418be9d801ecd024106fbbe1a8721.jpg",[],{"id":113607,"slug":113608,"title":25116,"dynasty":189,"author":293,"museum":364,"description":113609,"tags":113610,"thumbUrl":113611,"material":139,"size":139,"collection":139,"collections":113612,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},228224,"luo-han-yi-ming-228224","此作绘禅林尊者，蹙眉沉凝，神色威严沉静，似正于枯岩禅椅间论禅说法。衣纹以铁线描勾勒，转折刚劲爽利，敷色苍古沉稳，石色晕染出衣袍厚重质感，暗纹隐现愈显庄重。靴履绒毛、衣缘纹饰刻画入微，细节见功底。淡墨晕染的枯木怪石烘托出幽寂禅意，整幅画作承袭唐宋造像法度，兼具元代洗练气质，将高僧超尘出世的沉静风骨尽显无遗，古韵悠悠，尽显宗教人物画的肃穆雅致。",[7,24,241,259,27,106,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22c2af75802b1709a4750a9ddb96e95.jpg",[],{"id":113614,"slug":113615,"title":113616,"dynasty":189,"author":293,"museum":364,"description":113617,"tags":113618,"thumbUrl":113619,"material":139,"size":139,"collection":139,"collections":113620,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},228221,"qiu-lin-shan-zhuang-tu-ye-yi-ming-228221","秋林山庄图页","此作用笔简淡松秀，以干笔皴擦辅以淡墨晕染，绘就秋日山林逸致。远山空灵虚蒙，主峰浑厚苍劲，带着沉静古拙之气。近岸林木错落，墨色浓淡相宜，枯荣交织间晕开清寂秋意。山居隐于林麓深处，石阶蜿蜒探入其间，藏着避世闲雅的意趣。浅滩碎石错落，缓流无声，野趣横生。\n\n整幅画以萧散之韵勾勒山水，摒弃繁饰，将秋日山野的幽寂与山居恬逸融为一体，尽显文人画尚意境、重简淡的风骨，观之便如踏入清秋林泉，山风裹木叶轻响漫过周身，浸满心间出世的安宁。",[23,7,173,27,177,81,29,394,176,107,3953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d509898140a5a6b0d07109bfe329e7f.jpg",[],{"id":113622,"slug":113623,"title":29630,"dynasty":189,"author":29631,"museum":364,"description":113624,"tags":113625,"thumbUrl":113626,"material":139,"size":139,"collection":139,"collections":113627,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},228073,"wu-zu-zai-lai-tu-yin-tuo-luo-228073","此作以简淡笔墨铺陈意境，古木虬枝斜伸，树下老僧垂敛眉目，静待客来。儒士执礼恭谨，童子侍立旁侧，三人情态各异却气韵相合。线条洗练灵动，寥寥数笔便将老僧的淡然、访客的虔敬尽皆勾勒，墨色干湿浓淡间晕染出清幽禅寂之境。留白处题诗补意，以文配画，暗合真性不灭的禅家旨趣，诗画相融，文心禅意交织。整幅画作萧散简远，以形写神，尽显以简驭繁的元人画意，是禅意绘事中诗画合璧的精妙之作。",[23,7,24,241,260,173,259,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b16e7b6b0402e3f9a7533a77b77282.jpg",[],{"id":113629,"slug":113630,"title":113631,"dynasty":18,"author":61523,"museum":364,"description":113632,"tags":113633,"thumbUrl":113634,"material":139,"size":139,"collection":139,"collections":113635,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},227946,"bao-bao-can-zhuang-qi-jue-tuan-shan-ce-ye-yang-huang-hou-227946","薄薄残妆七绝团扇册页","此作楷书清丽秀雅，笔致温婉端凝，起转收合间尽显宋人的雅致法度。笔底诗句将暮春残妆淡香、揽春光自适，再到厌弃繁华耽于醉乡的心境缓缓铺陈，笔墨与文思相融，自带沉静隽秀的闺中韵致。泛黄绢面晕染开古雅底色，朱红印章错落点缀，尺幅之内既有笔墨书香，更具宋韵小品的精致隽永，尽显平和内敛的审美意趣，将宋代文人的雅致心境藏于团扇方寸之间。",[23,209,7,24,1562,81,1195,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5abb7fcc0ede7c197ab580da97bca657.jpg",[],{"id":113637,"slug":113638,"title":77679,"dynasty":18,"author":293,"museum":364,"description":113639,"tags":113640,"thumbUrl":113641,"material":139,"size":139,"collection":139,"collections":113642,"showCount":1118,"zanCount":5,"manualWeight":48,"mainColor":49},227933,"shuang-xiao-han-chu-tu-ye-yi-ming-227933","疏棘轻篠间，五只稚雀错落栖止。或垂首理羽，或探喙啄枝，或敛翅俯瞰，姿态灵动娇憨，尽显幼雀软萌天真。\n画师笔墨细腻入微，禽鸟绒毛以淡墨轻晕，层层敷色将绒羽蓬松柔润的质感晕染尽致，荆棘枯涩遒劲的枝桠与竹篠清润秀挺的叶片形成鲜明质感对比，烘托出深冬清萧寒寂的氛围。\n画面构图疏密相宜，淡古的绢底色调晕开沉静雅致的氛围感，于尺幅小景间铺展出冬日荒寒里的鲜活生机，尽显以小见大、于细微处撷取意趣的审美情致，淡韵悠长，耐人寻味。",[23,7,209,24,81,28,27,83,242,224],"https:\u002F\u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[23,7,1397,173,177,7241,13668,34,491,5066,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F241d4edcaac7e30555df5987f97eab77.jpg",[],{"id":113703,"slug":113704,"title":113705,"dynasty":18,"author":293,"museum":364,"description":113706,"tags":113707,"thumbUrl":113708,"material":139,"size":139,"collection":139,"collections":113709,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},227572,"zhu-tang-su-yan-tu-yi-ming-227572","竹塘宿雁图","此作以团扇取景，绘就郊塘夜色。虬曲老竹斜出坡岸，细劲笔意写尽竹叶萧疏清峭，枝桠间宿雁静敛羽翼隐伏其中，于幽暗中藏着生趣。塘水浅滩以淡墨晕染留白，将夜色空茫铺展开来，虚实相映间，把郊野清寂萧寒的意趣尽数烘托。\n\n笔触简淡老辣，以极简铺陈勾勒出秋日塘岸的荒寒淡远，尽显寄情林泉的幽淡襟怀，带着典型的雅致空寂审美意韵，淡墨轻痕里藏着侘寂出尘的林下幽思。",[23,209,7,24,28,27,242,4895,14933,83,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5580d6774714bf40f3729bca7ab8ff08.jpg",[],{"id":113711,"slug":113712,"title":113713,"dynasty":99,"author":36152,"museum":364,"description":113714,"tags":113715,"thumbUrl":113716,"material":139,"size":139,"collection":139,"collections":113717,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224558,"shu-hua-ce-ye-23-xiao-yun-cong-wang-shi-zhen-224558","《书画册页》-23","此作用笔清隽秀逸，以刀削般奇崛林立的峰林为骨，以留白晕染出漫谷云气，将山居轻揽其中。屋舍雅致，有人闲坐凭栏，尽显幽居林下的悠然意趣，左下角浮屠松石点缀，更添古雅沉静。\n设色糅合浅绛与青绿，淡雅柔和，勾勒简练却苍劲奇峭，将山水灵秀与文人遁世之思相融。尺幅间淡远空灵，悠悠古韵漫溢，尽显超然出尘的林下之风，将山水之美与文人心底的丘壑悄然铺展。",[7,81,27,173,104,177,106,107,176,34,34316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac4216ea4ffef16e9d20f2e0892fc054.jpg",[],{"id":113719,"slug":113720,"title":113721,"dynasty":99,"author":36152,"museum":364,"description":113722,"tags":113723,"thumbUrl":113724,"material":139,"size":139,"collection":139,"collections":113725,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224556,"shu-hua-ce-ye-21-xiao-yun-cong-wang-shi-zhen-224556","《书画册页》-21","此作以淡墨写尽林泉幽致，危崖壁立留白萦雾，虚摹山岚空濛。几株古松虬曲苍劲，松针攒簇尽显老硬风神，枯笔勾勒山石肌理，皴染极简，却将崖壁厚重苍朴之意托出。滩渚扁舟之上，隐士垂纶独钓，与幽寂山水浑然相融。追摹李成笔意，以简淡清润的笔墨，复刻宋人山水中静穆淡远的意境，将林下幽闲的隐逸之思藏于尺幅之间，通篇萧散出尘，尽显山林高致。",[209,7,24,81,173,27,177,29,106,1575,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffcf411dec0de24fd38c2c62f6835e2.jpg",[],{"id":113727,"slug":113728,"title":113729,"dynasty":76,"author":10376,"museum":364,"description":113730,"tags":113731,"thumbUrl":113734,"material":139,"size":139,"collection":139,"collections":113735,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224472,"liang-chang-shan-guan-tu-zhou-wang-hui-224472","良常山馆图轴","此作用笔精谨秀润，以巍峨主峰撑起画面骨架，山石以披麻皴层层皴染，尽显苍劲浑厚，崖壁高耸险峻，尽显自然雄奇之态。山谷间林木蓊郁，屋舍幽藏于林麓之间，溪涧蜿蜒穿流于乱石浅滩，烘托出世外幽居的静谧闲雅。\n\n画作兼得北宋山水的雄浑格局与元人笔墨的秀逸温润，将山野林泉的朴茂生机与文人幽居的雅趣相融，于规整中见灵动，笔墨间尽抒山水清旷之美，尽显正统山水画的雅致意韵。",[23,7,209,241,1397,173,2218,176,10667,6070,1250,464,3561,113732,38601,4686,13051,7962,113733,21708,7963],"乱石","秀逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcfa06a3c8190e72183fd3cb7d83.jpg",[],{"id":113737,"slug":113738,"title":113739,"dynasty":76,"author":10376,"museum":364,"description":113740,"tags":113741,"thumbUrl":113742,"material":139,"size":139,"collection":139,"collections":113743,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224466,"wan-feng-ji-yu-wang-hui-224466","万峰积玉","以水墨晕染层叠峰峦，素雪覆裹山巅，留白与淡墨交织出寒冽空寂的冬日林泉。枯木萧疏错落，枝桠凝霜覆雪，愈发衬出山野清旷辽远。\n\n运笔兼具苍劲与秀润，勾勒山峦简约空灵，淡墨皴擦晕出积雪的厚重，细笔摹画木梢萧寒之态，将冬日山野的冷逸出尘尽数铺展。边角题诗相伴印信，诗画相融，把万峰积素、空谷幽寂的冬日意境定格卷上，既有雪景山水的清寒之美，又携文人雅韵，尽显雪景山水的隽永格调。",[23,209,7,173,29,2502,543,227,86,177,110567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba9d8c4472c4dc665491c07f3c820fd.jpg",[],{"id":113745,"slug":113746,"title":113747,"dynasty":76,"author":1892,"museum":364,"description":113748,"tags":113749,"thumbUrl":113751,"material":139,"size":139,"collection":139,"collections":113752,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},224403,"gao-ling-ping-chuan-tu-wang-yuan-qi-224403","高岭平川图","《王原祁画论译注》由俞丰译注，荣宝斋出版社出版。\n雨窗漫笔 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仿倪黄山水 秋山图 仿大痴山水（三） 春山图 江山无尽图 山村雨景 仿黄公望《富春山色图》 仿黄公望山水 学董巨神完气足 仿诸家山水 赠王忍庵横幅二 仿云林山水 仿王蒙笔意 苍岩翠壁图 仿大痴《秋山图》 秋林叠巘图 红香夹岸图 仿黄公望《富春山居图》 仿大痴兼赵大年江南春意 远山叠嶂图 仿倪黄山水 九日适成卷 仿古 山水（四） 山水（五） 仿倪瓒山水 粤东山水 仿云林山水 夏山水阁图 高岭平川图 仿大痴山水（四） 为位凝作山水 云山罨画图卷 水墨山水 山水（六） 仿大痴山水（五） 仿黄公望笔意 山水（七） 仿大痴山水（六） 设色山水 危峰独秀图 大痴小幅 陡壁磐石图 远岫归云图 仿倪高士《滩声嘈嘈杂雨声图》 跋文徵明《石湖清胜图卷》 仿古山水册（二） 仿云林山水 附录",[23,7,24,241,27,177,29,864,113750,430,107,109,108],"平川","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5175b8b65826f681dca70b8cad442470.jpg",[],{"id":113754,"slug":113755,"title":113756,"dynasty":76,"author":1892,"museum":364,"description":113757,"tags":113758,"thumbUrl":113760,"material":139,"size":139,"collection":139,"collections":113761,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224396,"shan-jian-lin-lu-wang-yuan-qi-224396","山磵林庐","此作用笔沉厚老辣，以干笔积墨层层皴擦，山石苍润浑厚，草木华滋清隽。取景紧凑却丘壑幽深，巨岩洞天藏山光，飞瀑落溪撞碎林麓静谧，蜿蜒山径隐于苍林，板桥轻架溪上，暗合山居幽趣。\n\n画面融宋元古意与清时文心，将江南秋山的秀润与沉雄揉为一体，笔底晕开幽寂山居的雅兴，藏林下隐逸的文人情致于皴染点苔之间，整体气息浑朴雅致，尽显文人山水画的从容格调。",[23,7,24,173,27,177,81,29,864,650,558,109,108,34,12601,113759,227,2268],"庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088ab1978204110c84f6a7f7d85c76ce.jpg",[],{"id":113763,"slug":113764,"title":113765,"dynasty":76,"author":113766,"museum":206,"description":113767,"tags":113768,"thumbUrl":113769,"material":743,"size":744,"collection":139,"collections":113770,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224350,"qing-shan-shui-lou-tai-jin-de-ying-224350","清山水楼台","金德瑛","金德瑛（1701年－1762年），中国清朝状元、政治人物，字汝白，号桧门。浙江仁和（今浙江杭州）人。\n生于康熙四十年（1701年），乾隆元年（1736年）状元。授翰林院修撰，历任右庶子、太常寺卿，任江西、山东及顺天学政。乾隆二十一年（1756年），路过徐州，发现黄河决口，运河溢涨，及时上奏。官至左都御史。金德瑛工书法，喜欢戏曲，常至梨园听歌。",[23,7,24,27,28,29,107,175,106,34,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911cc53f39a6642f5e1301b28b6ba7b0.jpg",[],{"id":113772,"slug":113773,"title":113774,"dynasty":76,"author":13367,"museum":364,"description":34080,"tags":113775,"thumbUrl":113776,"material":743,"size":744,"collection":139,"collections":113777,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224349,"hong-ya-xian-tu-juan-1-shen-zhen-lin-224349","洪崖仙图卷1",[23,7,24,25,27,106,28,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb02cc932e9912b406e18e2273a375e93.jpg",[],{"id":113779,"slug":113780,"title":113781,"dynasty":76,"author":2324,"museum":364,"description":113782,"tags":113783,"thumbUrl":113784,"material":139,"size":139,"collection":139,"collections":113785,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224327,"hua-niao-shi-er-kai-5-li-shan-224327","花鸟十二开5","画面中两燕俯仰相和，墨色浓淡晕染出羽翼蓬松肌理，灵动宛然如生。左侧芦草花枝以枯湿变化的水墨绘就，笔意纵逸简括，萧疏野趣尽显。右侧题诗与画境呼应，诗书画印相融，尽显文人写意的随性疏朗。作者以洒脱放逸的笔墨，将秋日汀洲间燕子流连的闲趣铺陈开来，以极简的水墨语言传递出悠然澹远的雅致情调，借花鸟抒怀，尽显扬州画派以画言情的写意风骨。",[23,7,24,81,173,446,83,452,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9de359a80a9cd10bd7bab4fcb4d4f7.jpg",[],{"id":113787,"slug":113788,"title":113789,"dynasty":76,"author":45523,"museum":364,"description":113790,"tags":113791,"thumbUrl":113792,"material":139,"size":139,"collection":139,"collections":113793,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224282,"shan-shui-hua-hui-ce-shi-liu-fu-shan-224282","山水花卉冊(十六)","此作以淡墨晕染铺就清寂夜色，远山如笼薄纱，隐在月色之下，峰顶残雪凝着夜的清寒。近旁老树虬曲苍劲，疏枝错落，将荒寒之意晕开田亩间。\n\n三两茅舍围以篱栅，隐约的烟火气揉碎在清寂里，更衬郊野空阔。江畔独行身影缓步徐行，把孑然意趣融进夜色。\n\n全作用笔松秀简淡，设色浅雅无华，以极简笔墨铺陈出悠远空寂的意境，将冬夜荒村的冷逸幽然娓娓道来，尽显文人画简淡天真的意趣，藏着画者寄情林泉、静守幽独的襟怀。",[23,7,24,81,173,29,394,300,176,464,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf90a61c1ff07591699375f901f6300.jpg",[],{"id":113795,"slug":113796,"title":113797,"dynasty":76,"author":45523,"museum":364,"description":113798,"tags":113799,"thumbUrl":113800,"material":139,"size":139,"collection":139,"collections":113801,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224280,"shan-shui-hua-hui-ce-shi-er-fu-shan-224280","山水花卉冊(十二)","此作用笔简淡稚拙，以浅赭轻晕山峦，敷色清和柔润。近滩板桥轻横，浅渚疏林错落；中景红墙环绕，古寺隐现于茂林之间，城郭拱门洞开，晕开几分烟火清寂；远景峰峦平缓朦胧，晕染出空濛山意。全画无繁复皴擦，以简淡线条勾勒出幽寂山居，将林泉隐逸的萧散意趣融于尺幅之中。笔墨空灵简净，褪去雕琢之态，尽显超然出尘的林下之风，藏着寄情丘壑的文人雅怀，整体氛围静谧冲淡，意蕴悠远绵长。",[23,7,24,81,27,29,177,864,430,107,108,109,227,35,34,490,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ed8a4cf428d9d61c7bc6b9cfbed48.jpg",[],{"id":113803,"slug":113804,"title":113805,"dynasty":76,"author":45523,"museum":364,"description":113806,"tags":113807,"thumbUrl":113808,"material":139,"size":139,"collection":139,"collections":113809,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},224278,"shan-shui-hua-hui-ce-shi-yi-fu-shan-224278","山水花卉冊(十一)","此作用淡赭铺就底色，晕开烟岚暮色。远景山峦以淡墨轻扫，隐入空濛雾霭间，虚渺悠远；近山石以浓墨挥写出朴拙块面，厚重沉凝，虚实相映间拉开天地纵深。阔静水面之上，红衣旅人独行滩涂，渺小身形衬出天地辽寂荒寒，点染出萧散淡远的意境。\n\n全画笔墨简淡写意，舍却精细描摹，重在意境生发，寥寥数笔铺陈出荒寒空灵之境，将孤高出世的襟怀寄寓其中，笔简而意足，清冷孤高的林下之风扑面而来。",[23,7,24,81,173,27,29,245,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52592c15fcc9a4bed6abbb257d1bc05a.jpg",[],{"id":113811,"slug":113812,"title":113813,"dynasty":76,"author":45523,"museum":364,"description":113814,"tags":113815,"thumbUrl":113816,"material":139,"size":139,"collection":139,"collections":113817,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224275,"shan-shui-hua-hui-ce-ba-fu-shan-224275","山水花卉冊(八)","这幅小品以浅绛晕染出清旷秋山，层叠峰峦如瘦玉排云，淡赭轻敷，尽显清峭空灵。前景枯木虬枝盘错，苍劲如龙，带着深秋的荒寒古拙，将山野萧索之气铺展开来。溪涧蜿蜒穿林，板桥横卧浅流，似能听见潺潺水声，衬出空山幽寂。\n全画笔简意足，以淡墨勾勒形神，轻施淡彩不着浓艳，将文人山水的疏朗意趣藏于尺幅之间。静穆空寂中暗含生机，无繁复皴擦却将丘壑灵韵尽数托出，寄寓着林泉高致，淡而不薄，简而有味，尽显水墨小品的隽永余韵。",[23,7,27,29,108,109,1653,394,245,177,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef01adc37194acb4634f850f7a504be.jpg",[],{"id":113819,"slug":113820,"title":113821,"dynasty":76,"author":45523,"museum":364,"description":113822,"tags":113823,"thumbUrl":113824,"material":139,"size":139,"collection":139,"collections":113825,"showCount":1118,"zanCount":5,"manualWeight":48,"mainColor":49},224274,"shan-shui-hua-hui-ce-wu-fu-shan-224274","山水花卉冊(五)","此作笔墨简率古雅，以朴拙皴染写就群山苍莽浑厚的质感，数道飞泉破壁而出，灵动生机撞破山林沉静。坡上古松虬曲苍劲，松针攒簇如盖，掩映着朱栏青瓦的山居，暖艳设色在水墨晕染间跳脱而出，为山野添了几分雅致温馨。\n\n画面无过多雕琢，将山野荒疏之境与幽居安和之意相融，浅淡设色晕出柔和静谧的氛围，藏着遁世丘壑、寄情林泉的文人襟怀，尽显静穆散淡的世外意趣。",[23,7,24,81,27,177,29,864,558,1575,107,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9054b9316da205782a3ee8906cbcf0e5.jpg",[],{"id":113827,"slug":113828,"title":113829,"dynasty":76,"author":45523,"museum":364,"description":113830,"tags":113831,"thumbUrl":113832,"material":139,"size":139,"collection":139,"collections":113833,"showCount":1118,"zanCount":5,"manualWeight":48,"mainColor":94},224272,"shan-shui-hua-hui-ce-san-fu-shan-224272","山水花卉冊(三)","此作用淡墨轻晕出层叠丘峦，留白铺陈出浩渺河川，近隅山居错落隐于浅坡之间，尽写荒寒清寂的郊野暮色。笔墨简率随性，舍去繁复皴擦，以清浅赭石晕染山骨，线条苍劲松脱，尽显疏朗之致。右上角行书题跋笔意舒展，书画相映，文气盎然。画师以简淡之墨写旅途中的日暮河居，将胸中山林丘壑落于纸上，清冷空濛的意境里藏着孤高疏放的文人襟怀，淡岚轻烟间，把羁旅所见化作文雅悠远的沉静天地。",[23,7,24,81,173,177,29,37,176,114,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86ff22e5320f10bfd5c660fa5f159a5.jpg",[],{"id":113835,"slug":113836,"title":113837,"dynasty":76,"author":95485,"museum":364,"description":113838,"tags":113839,"thumbUrl":113840,"material":139,"size":139,"collection":139,"collections":113841,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224251,"chu-zheng-tu-zhou-xu-fang-224251","出征图轴","此作用淡赭晕染残阳暮色，远山层叠朦胧，戍楼孤峙山巅，猎猎军旗暗合将行肃穆。坡岸间人马错落，或缓行或伫立，寥寥数笔便将情态勾勒尽致，淡逸清润的笔触晕开边地荒疏萧索的氛围。\n\n左侧长题诗文与画作相映成趣，诗画合璧。整幅不施繁复皴擦，以极简笔墨烘托出征沉凝氛围，将将士临行之际的沉肃与边地苍茫糅合，于简淡悠远间暗蕴家国壮怀，尽显文人画融情于景的雅致意韵。",[23,7,24,173,27,241,29,106,150,900,4562,1015,957,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b0af847b142d6a46f5a7689443523df.jpg",[],{"id":113843,"slug":113844,"title":113845,"dynasty":76,"author":113846,"museum":364,"description":113847,"tags":113848,"thumbUrl":113849,"material":743,"size":744,"collection":139,"collections":113850,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},224250,"shan-shui-tu-zhou-ding-224250","山水圖","周薡","字伯龄，鄞（今浙江宁波）人。工于传神。先是有倪伯益写照逼真，鼎得其术，几突过之。人以碍之合中曾鲸。仲子天祚，季子乐克世其传。（《宁波府志》）",[23,1562,7,24,29,173,177,394,176,175,281,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3808d676bfb68e7dfb8f7407d4e4c53.jpg",[],{"id":113852,"slug":113853,"title":113854,"dynasty":99,"author":293,"museum":364,"description":113855,"tags":113856,"thumbUrl":113857,"material":139,"size":139,"collection":139,"collections":113858,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},223681,"gu-xiu-shi-liu-ying-zhen-ce-9-yi-ming-223681","顾绣十六应真册9","此作用铁线白描写就，线条清劲圆转、洗练流畅。趺坐罗汉神态安然沉静，似于幽林静悟禅机，身旁侍者伏卧休憩，松弛自适，一动一静间尽显禅林悠然意趣。\n\n布景简括雅致，古木苍秀古拙，山石以淡墨轻皴，衬出坡岸幽寂清旷的氛围，将禅修的幽远意境烘托得恰到好处。整幅作品工细不失灵动，意韵简淡空灵，尽显清雅禅意，将出世幽居的静定之美尽显无余。",[23,209,7,24,81,260,27,106,34,176,281,109,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237960864f0d11a4fe2af68155ef09a0.jpg",[],{"id":113860,"slug":113861,"title":113862,"dynasty":18,"author":293,"museum":364,"description":113863,"tags":113864,"thumbUrl":113865,"material":139,"size":139,"collection":139,"collections":113866,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":49},223620,"xiu-yu-ming-chun-tu-yi-ming-223620","绣羽鸣春图","《宋人画绣羽鸣春图》是宋代佚名创作的绢本设色画。\n本幅无款识。\n钤鉴藏印“宋荦审定”。\n裱边题签：“宋人画绣羽鸣春”。\n图中画一只美丽的山鸟，单足立于太湖石上，神情凄楚，啼鸣不止，右爪不安地刨动。\n细观乃知其被一细绳系于石上，失去自由。\n作者用心至为深婉。\n宋欧阳修有句云：“始知锁向金笼听，不及林间自在啼”，亦即此意。\n的皴染较为粗疏，与小鸟翎毛之精细形成对比，主次分明。\n周围不设衬景，更显鸟之孤独。\n禽类本无表情，画家借鉴人类眼睛的画法表现其心理，堪称妙笔。\n存《宋人集绘》册中。\n《石渠宝笈三编》著录。",[23,7,24,209,28,27,83,281,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99a9723a31fb617dfb1466dbf0e6edb.jpg",[],{"id":113868,"slug":113869,"title":113870,"dynasty":18,"author":293,"museum":364,"description":113871,"tags":113872,"thumbUrl":113873,"material":743,"size":744,"collection":139,"collections":113874,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},223589,"fan-wang-li-fo-tu-juan-quan-juan-yi-ming-223589","番王礼佛图卷（全卷）","此卷以白描法绘释迦牟尼约见番王讲经的场景，共三十二人，笔法工细严谨，人物情态生动，衣纹流畅。无款印，引首处唐俞书“番王礼佛”四字，卷后有元人妙声、李简、余简、余泽、易伟等八家题记。",[23,209,7,24,25,260,178,227,259,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25771369fc18fcaedf9e8709f465efd6.jpg",[],{"id":113876,"slug":113877,"title":113878,"dynasty":18,"author":293,"museum":20,"description":113879,"tags":113880,"thumbUrl":113881,"material":40,"size":113882,"collection":139,"collections":113883,"showCount":1118,"zanCount":48,"manualWeight":48,"mainColor":94},223510,"liu-yin-yun-dui-tu-yi-ming-223510","柳荫云碓图","绘农人利用畜力抽水灌溉的劳作场面。三棵柳树粗壮，柳荫下搭了一间四柱茅屋，屋下一人赶牛转翻车提水，巨大的转轮带动着横杆，将下游的水源源不断运输到高处灌溉。",[23,7,24,27,28,177,29,3246,297,430,1329],"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字希哲、晞喆。因右手多生一指，故自号支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世称“祝京兆”。长洲(今江苏吴县)人，自幼就聪慧过人，五岁时能写一尺见方的大字，九岁会作诗，以后博览群书，诗文有奇气。弘治五年（1429）中举，以后便久试不第， 正德九年（1514），他被授为广东兴宁县知县，在岭南五年，后升任为应天(今南京)府通判，正德十四年（1519）年称病还乡。他的仕途与他的祖辈和儿子来说，都相差甚远，实际上他是一个不得意的文人。他和唐寅等人意气相投，玩世狂放。与唐寅、文徵明、徐祯卿并称为 “吴中四才子”。晚年，他喜独居作诗文，崇尚魏晋风流和禅宗，生活更加放浪形骸而不乐拘检，甚至玩世不恭，在吴门派中，他算最具有文人特质的一位。祝允明父为徐有贞女婿，自己又是李应祯之婿，祖父祝颢为进士，曾官至山西布政司右参政，相信在这样的环境里，他受到多方面的熏染。《明史.文苑传》称其“能诗文，尤工书法，名动海内。”他的楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追“二王”，其书《出师表》谨严浑朴。晚年，临写《黄庭经》不注重点画的形似，而结构疏密，转运遒逸，神韵益足。嘉靖末的书法家王樨登说：“古今临《黄庭经》者，不下十数家，然皆泥于点画形似钩环戈磔之间而已，......枝山公独能于矩绳约度中而具豪纵奔逸意气。”他的草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。人称：“枝山草书天下无，妙酒岂独雄三吴！” 清代朱和羹《临池心解》认为：“祝京兆大草深得右军神理，而时露伧气；小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。”代表作有《草书贾至大明宫早朝诗轴》，《箜篌引（即草书曹植诗手卷）》和《赤壁赋》等，流利洒脱，奔放不羁。《名山藏》说：“允明书出入晋魏，晚益奇纵，为国朝第一。",[23,209,7,24,25,173,227,86,1147,178,3790,10855],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3a954db750c98792c82776e8c12da1.jpg",[382],{"id":116176,"slug":116177,"title":116178,"dynasty":76,"author":293,"museum":364,"description":116179,"tags":116180,"thumbUrl":116181,"material":139,"size":139,"collection":382,"collections":116182,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239842,"bao-jin-shi-feng-gong-fu-ye-yi-ming-239842","宝晋诗奉功甫页","这两帧尺牍小品尽显清人书法的闲散意趣。右侧竹纹浅褐笺上，行笔舒展灵动，结体错落随性，墨色带着自然浓淡过渡，朱红小印点缀其间，将日常酬唱的松弛藏于笔墨间。左侧绿暗花笺上，笔墨沉厚朴拙，笔画苍劲却不失婉转，章法疏朗自在，带着手札特有的不加雕琢的天然之美。雅致笺纸搭配随性笔墨，将旧时文人唱和往来的日常雅趣尽显，笔墨间藏着清逸的文人风神，是颇具韵味的清代尺牍小品。",[7,24,178,227,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5224929ee9b64039af0f848943f73465.jpg",[382],{"id":116184,"slug":116185,"title":116186,"dynasty":99,"author":116187,"museum":364,"description":116188,"tags":116189,"thumbUrl":116190,"material":743,"size":744,"collection":382,"collections":116191,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239729,"ming-ren-jian-du-ce-zhi-jiang-cun-zha-chen-liu-239729","明人笺牍册-致江村札","陈鎏","陈鎏(liú)（1508－1575）明代官吏、学者、书法家。\n字子兼，别号雨泉，吴县（今江苏苏州）人。嘉靖十七年（1538）进士，除工部营缮主事，累官至四川右布政使。诗文冲远有致，书法尤精绝。工小楷。出入钟欧，自篆、隶、行、草、擘窠以逮笺疏、榜署书，尤丰媚遒逸，有天然趣。卒年七十。 著有《已宽堂集》。",[7,24,81,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30f126de5b03811bb887d5764c53e96.jpg",[382],{"id":116193,"slug":116194,"title":116195,"dynasty":76,"author":109260,"museum":364,"description":116196,"tags":116197,"thumbUrl":116200,"material":139,"size":139,"collection":139,"collections":116201,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239702,"shu-hong-li-ti-dong-gao-fang-yu-xie-sheng-shi-zhou-ai-xin-jue-luo-yong-xing-239702","书弘历题董诰方舆写胜诗轴","此作用笔匀净精到，点画圆润端秀，结构排布严整匀称，是清代馆阁体书法的成熟之作。\n\n通篇气息恭谨雅致，字里行间疏朗有度，既恪守森严的馆阁法度，又不失灵动隽秀的韵致。书写时笔墨带着庄重肃穆的笔意，尽显恭谨之心，同时展露世家贵胄的笔墨涵养，将馆阁体的工稳秀雅体现得淋漓尽致，是清代正统楷书的典型范本。",[7,24,86,241,803,1195,116198,20602,368,227,48655,116199],"馆阁体","工整","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe664881c85e75b214874235ba038f66a.jpg",[],{"id":116203,"slug":116204,"title":116205,"dynasty":189,"author":116206,"museum":364,"description":116207,"tags":116208,"thumbUrl":116209,"material":139,"size":139,"collection":139,"collections":116210,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239672,"chun-hui-tang-ji-juan-ou-yang-xuan-239672","春晖堂记卷","欧阳玄","《春晖堂记》卷是元代欧阳玄创作的楷书书法作品。\n署款：“国史冀郡欧阳玄记”，款下钤“冀郡欧阳玄印”。\n鉴藏印有清安岐、乾隆内府、嘉庆内府、宣统内府诸印。\n卷后有元张翥、吴当、贡师道、程益四家题诗。\n《春晖堂记》是欧阳玄为王伯善的“奉亲之堂”所撰并书的记文。\n文中赞扬了王伯善对母亲的孝敬，同时又歌颂了王母的贤惠。\n从文中可知，此奉亲之堂名“春晖”,是当时的文人吴养浩据唐孟郊“谁言寸草心，报得三春晖”的诗意而起。\n此卷后面的诗跋咏颂的都是王伯善奉孝母亲之事，而不是对欧阳玄书法的评价。\n此书学苏轼，笔法浑厚稳健，刚劲流畅，笔画精到，起承转折分明，结体方扁，分间布白极其匀称，是欧阳玄合文章、书法为双美的代表作品。\n欧阳玄（？-157）字原功，号圭斋，浏阳人。\n祖籍江西。\n系欧阳修的族裔。\n清康熙年间修浏阳县志时因避康熙皇帝玄烨讳，改玄为元，所以又有欧阳元之称。\n115年（元延二年），取中进士第三名，为官4余年先后六入翰林，两为祭酒，两任主考，以史学成就最为突出，同时也以诗文闻名天下，因其学识渊博，文绩卓著，人称“一代宗师”。",[23,209,7,24,25,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc486d24397cc66b8fc169a4d8a916a62.jpg",[],{"id":116212,"slug":116213,"title":486,"dynasty":99,"author":74794,"museum":364,"description":116214,"tags":116215,"thumbUrl":116216,"material":139,"size":139,"collection":139,"collections":116217,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239545,"shan-shui-ce-ye-xiang-rong-239545","此作淡墨轻施，浅绛设色，尽显清润简雅。近岸茅舍依坡而建，疏木枝干虬曲褪去繁叶，愈显苍劲古拙，衬出山居幽寂。中林错落，隐见山桥通幽，引目光渐入山林深处。远景松涛簇拥，半露楼阁，烟岚轻笼，将山境晕染得空濛悠远。画面虚实相生，留白映出山林静穆清旷，笔墨间浸透着文人画的闲淡意趣，把幽栖林泉的隐逸心境铺陈开来，观之恍若踏入这世外丘壑，静享山野间的恬然雅韵。",[7,81,173,27,29,1575,35,176,34,491,1445,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660baabc7465be653011c7eee6aa69bf.jpg",[],{"id":116219,"slug":116220,"title":55103,"dynasty":76,"author":55104,"museum":364,"description":55172,"tags":116221,"thumbUrl":116222,"material":743,"size":744,"collection":139,"collections":116223,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239534,"fang-gu-ji-you-tu-ce-huang-yi-239534",[7,173,29,81,177,86,227,175,35,34,176,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3dc0466975068a1080e129da46a211.jpg",[],{"id":116225,"slug":116226,"title":55103,"dynasty":76,"author":55104,"museum":364,"description":55172,"tags":116227,"thumbUrl":116228,"material":743,"size":744,"collection":139,"collections":116229,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239531,"fang-gu-ji-you-tu-ce-huang-yi-239531",[7,209,24,81,173,260,106,394,29,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924c1247898f08ee7257df85283e7639.jpg",[],{"id":116231,"slug":116232,"title":50429,"dynasty":76,"author":53904,"museum":364,"description":116233,"tags":116234,"thumbUrl":116235,"material":139,"size":139,"collection":139,"collections":116236,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239414,"fang-gu-shan-shui-ping-qin-zu-yong-239414","此作用平远构图铺展湖乡霁后之景。浩淼湖面之上，舟楫轻泛、水鸟翔集，洲渚错落延展，田畦方整如织，村舍掩映于林麓间，行人缓步堤岸，满溢悠然烟火意趣。下半段笔意陡转，青绿重峦挺拔苍劲，古松虬枝盘绕，山巅亭台、山麓城郭错落排布，融田园疏淡与山水雄浑于一体。\n\n笔墨承袭元明文人画意，设色淡雅秀润，线条松秀柔和，题诗呼应画境，将江南湖山的清润灵秀与村居闲趣相融，师法古人又自出机杼，把江南雨后的雅致诗意尽铺尺幅之中。",[7,24,241,27,177,105,29,175,281,108,109,174,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0faa8571b923df80597b934c85f728d.jpg",[],{"id":116238,"slug":116239,"title":486,"dynasty":76,"author":57797,"museum":364,"description":116240,"tags":116241,"thumbUrl":116242,"material":139,"size":139,"collection":139,"collections":116243,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239364,"shan-shui-ce-wang-san-xi-239364","此帧以淡墨晕染远山，将谷中氤氲雾气铺陈开来，左上飞瀑垂落，碎玉落入寒潭，随波漾开清浅留白，摹写出平湖空寂。近景虬曲矮树斜生石畔，墨色点染的花叶与身旁幽竹交映，石隙细流潺潺汇入清溪。\n\n配题诗以笔补画境，将林樾阴浓、山光浸溪的幽寂尽数托出，整体笔墨秀润清雅，于尺幅间铺展出世外林泉的静穆禅意，观之如临其境，似能呼吸到谷中清润山风，将山水间的闲澹空明悄然藏于笔墨方寸中。",[7,24,81,173,27,29,242,109,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af868a5a5bb3d88f883d36b6aacae40.jpg",[],{"id":116245,"slug":116246,"title":486,"dynasty":76,"author":57797,"museum":364,"description":116247,"tags":116248,"thumbUrl":116249,"material":139,"size":139,"collection":139,"collections":116250,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239362,"shan-shui-ce-wang-san-xi-239362","此作取景分两重溪山，上部峡谷溪流宛转，矶渚错落排布，淡墨晕染山石，线条松秀灵动，间杂几株清瘦林木，幽寂空阔之意扑面而来。下半段以险峻崖嶂为主体，双松虬曲扎根危石，古拙苍劲，姿态奇崛。下方汀岸平缓，茅舍隐现一角，与上部深远山水形成疏密对照。\n\n全作用浅绛淡设色，笔墨简淡秀雅，意境清远冷寂，尽显文人画萧散淡远之致，将江南溪山的清旷之美，以极简笔墨勾勒晕染，淡而不薄，简中见雅，寄寓着画者林泉高致的隐逸襟怀。",[7,173,177,81,29,503,34,33,4675,281,109,245,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85d082822abb6054ae8bb023d4baaba3.jpg",[],{"id":116252,"slug":116253,"title":116254,"dynasty":76,"author":116255,"museum":364,"description":116256,"tags":116257,"thumbUrl":116258,"material":743,"size":744,"collection":139,"collections":116259,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239340,"zhi-hua-hua-hui-zhou-ying-bao-239340","指画花卉轴","瑛宝","瑛宝，清代画家。姓拜都氏，满洲正白旗人。大学士永贵长子，曾官笔帖式。",[7,38570,241,27,446,84,453,299,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5b784683d6675644786c17ce2896c5.jpg",[],{"id":116261,"slug":116262,"title":486,"dynasty":76,"author":15347,"museum":364,"description":37044,"tags":116263,"thumbUrl":116264,"material":743,"size":744,"collection":139,"collections":116265,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239332,"shan-shui-ce-cha-shi-biao-239332",[7,24,81,173,178,177,29,1015,649,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74458d219673175ee12b1e558e6fc03e.jpg",[],{"id":116267,"slug":116268,"title":1108,"dynasty":99,"author":7722,"museum":364,"description":31597,"tags":116269,"thumbUrl":116270,"material":743,"size":744,"collection":139,"collections":116271,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239321,"shan-shui-tu-ce-zhang-hong-239321",[7,24,81,173,177,29,245,394,1653,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd2edef713a7351041f53ee6949307.jpg",[],{"id":116273,"slug":116274,"title":90258,"dynasty":76,"author":293,"museum":364,"description":116275,"tags":116276,"thumbUrl":116277,"material":139,"size":139,"collection":139,"collections":116278,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239273,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239273","此作用指为笔，水墨晕染芭蕉阔叶，浓淡干湿间尽显蕉叶向背层次，墨色苍润兼具，带着生拙朴厚的天然意趣，毫无毛笔雕琢的刻意感。旁侧新竹清瘦挺拔，枝叶舒展灵动，与芭蕉形成疏密开合的视觉对照。画面留白疏朗空灵，衬出幽寂闲适的林下意境。\n题诗呼应画境，将酒醒听蕉雨、伴鹤沐清风的隐逸闲思融于笔墨间，把夏日蕉竹的清雅禅意写尽，尽显文人水墨小品的雅致情致。",[7,24,81,38570,173,83,242,755,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d4b97e92557060500da92c8ac74527.jpg",[],{"id":116280,"slug":116281,"title":70517,"dynasty":99,"author":70518,"museum":364,"description":116282,"tags":116283,"thumbUrl":116284,"material":139,"size":139,"collection":139,"collections":116285,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239268,"shu-hua-tu-ce-cheng-min-239268","此幅水墨兰草以淡墨写意，兰叶如萦带流转，或舒展恣肆，或曲卷柔婉，笔致藏劲于柔，勾勒出兰草清逸舒展的灵动姿态。寥寥数笔点染兰花，浅墨晕瓣、浓墨点蕊，将空谷幽兰的清寂淡远尽数铺陈。\n\n构图疏密相宜，繁叶聚于画面中央却不显拥塞，留白铺展出幽寂空阔的意境，暗合幽兰君子孤高清隽的品格。角落朱印轻缀，为素净的水墨添上一抹古雅亮色，调和出澹泊天真的文人意趣，全作简而有味，将幽兰的清隽风骨凝于尺幅间，尽显写意风流，余韵悠长。",[7,173,81,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2ec90128336bf4dcca4e4a966da531.jpg",[],{"id":116287,"slug":116288,"title":70517,"dynasty":99,"author":70518,"museum":364,"description":116289,"tags":116290,"thumbUrl":116291,"material":139,"size":139,"collection":139,"collections":116292,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239266,"shu-hua-tu-ce-cheng-min-239266","此作以枯笔写古木老干，皴擦极简便带出苍朴嶙峋的质感。兰叶以焦墨挥写，笔势纵逸洒脱，长短交错、顾盼生姿，将兰草清挺舒展之态尽显无遗，花瓣以淡墨轻点，雅致简约，不着浓艳。\n\n全幅构图疏密相宜，留白得当，以少胜多，把幽兰孤高脱俗的君子气质烘托得淋漓尽致。整幅小品尽显文人水墨的雅致意趣，将画者寄情于兰的高洁情志融于笔墨之间，淡雅空灵，意韵悠长。",[7,24,81,173,452,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbf4cf9c69cfd1e2dbbb5fc84f93e03.jpg",[],{"id":116294,"slug":116295,"title":70517,"dynasty":99,"author":70518,"museum":364,"description":116296,"tags":116297,"thumbUrl":116298,"material":743,"size":744,"collection":139,"collections":116299,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239260,"shu-hua-tu-ce-cheng-min-239260","此作以水墨写意绘就，构图疏朗空灵。斜出的松枝虬曲苍劲，松针细劲绵密，带着岁月浸淫的古拙意趣。两丛墨竹错落排布，浓墨挥写竹叶，笔锋爽利洒脱，尽显竹之清劲挺拔、疏朗萧然。淡墨勾染的石块造型简括，与苍松劲竹相映，留白衬出画面通透空寂之感。全幅不施丹青，仅以浓淡水墨区分物象层次，将松之坚贞、竹之清刚、石之沉静相融，以物寄怀，寥寥数笔便勾勒出君子风骨，尽显文人画萧散雅致的林下意韵，笔墨简淡却风神自足。",[7,24,173,81,242,431,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2ef6c68906bcfa72d7ffff02823586c.jpg",[],{"id":116301,"slug":116302,"title":70517,"dynasty":99,"author":70518,"museum":364,"description":116303,"tags":116304,"thumbUrl":116305,"material":743,"size":744,"collection":139,"collections":116306,"showCount":1165,"zanCount":5,"manualWeight":48,"mainColor":94},239256,"shu-hua-tu-ce-cheng-min-239256","此作用笔爽利老辣，以浓墨挥写竹叶，聚散错落有致，枝桠遒劲舒展，尽显修竹清瘦挺拔的君子风骨。画面留白疏朗空灵，虚实相生之间，衬出竹影摇曳的悠然意态。墨色浓淡自然晕化，笔触带着清劲之气，寥寥数笔便将竹的迎风之姿勾勒传神。极简构图却意韵悠长，将画者寄情于竹、追慕高洁澹泊的心境融于笔端，淡远清幽，尽显文人写意画的雅致意趣，于尺幅之间藏着悠悠林下之风。",[7,24,81,173,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc060c7414c6a9b76d08bbdb25e9f1bc0.jpg",[],{"id":116308,"slug":116309,"title":70517,"dynasty":99,"author":70518,"museum":364,"description":116310,"tags":116311,"thumbUrl":116312,"material":743,"size":744,"collection":139,"collections":116313,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},239252,"shu-hua-tu-ce-cheng-min-239252","此幅墨兰以水墨写意写就，兰叶纯以中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陈书的另一闻名之处是作为清代名臣钱陈群的母亲。在她丈夫早逝后，陈书独自抚养儿子长大。钱陈群在乾隆朝深得皇帝赏识，并将其母画作介绍予乾隆帝，因此陈书的画作相当一部分收入大内，现藏于北京故宫博物院和台北国立故宫博物院。陈书擅长人物、山水、花鸟。",[23,209,7,24,25,27,28,178,227,29,1575,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a83c11e883961e84fe7ffe9131110e1.jpg",[],{"id":118165,"slug":118166,"title":118167,"dynasty":76,"author":108556,"museum":20,"description":118168,"tags":118169,"thumbUrl":118170,"material":40,"size":118171,"collection":139,"collections":118172,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},234189,"jin-jie-ren-hua-xiang-ding-gao-234189","靳介人画像","画面表现的是暮春时节，茅亭绿柳，渚清荷新，一士人左手执卷，右手扶膝，正襟危坐于岸边石凳上，身旁石几上置书函、茗盏之属，一小童执扇对炉烹茶。环境清新雅逸，文人雅士闲适的生活情景跃然纸上。\n从题跋内容分析，画中主人公靳介人为官吏，但具体行状不详，尚待进一步考察。画中人物的表现方法与波臣派风格略有差异，面部平涂较多，皴染不足，故而显得较平，但眉宇间神气盎然，亦为传神之佳作。在波臣派作品中，将人物置于山水之间的肖像画多为合作之画，有喧宾夺主者，有人、景布置不谐者，而此图情景合一，将人融于景物之中，通过环境衬托人物清逸的品质，无疑是一件成功之作。",[23,7,24,28,27,106,1532,297,136,175,431,1159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf56539146803162af663c1bb64e0bbb.jpg","纵36厘米，横131.8厘米",[],{"id":118174,"slug":118175,"title":118176,"dynasty":99,"author":293,"museum":20,"description":118177,"tags":118178,"thumbUrl":118179,"material":1280,"size":118180,"collection":139,"collections":118181,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},234177,"ming-ren-bai-niu-tu-juan-yi-ming-234177","明人百牛图卷","此卷以平远视角铺展郊野水畔全景，群水牛或卧憩坡岸、或涉水抵角、或缓步悠游，百牛神态灵动无一处重样，尽显生趣。\n画师以水墨晕染区分皮毛虚实质感，浓墨点出牛角与眼眸，朴拙间不失细腻。坡岸枯木杂树以简劲笔法写出，浅淡墨色晕出水边苔草朦胧之态，晕染出江南郊野温润空寂的氛围感。\n画面疏密排布精妙，群牛错落铺陈繁而不乱，留白衬出郊野旷远意境，暗合宋式牧画的闲逸意趣，将田园牧歌的松弛诗意定格卷中，静中藏动，朴雅天真。",[23,7,25,173,28,151,430,431,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704fa276913da6761043b6065ada12e0.jpg","纵28.7cm，横377.5cm",[],{"id":118183,"slug":118184,"title":118185,"dynasty":99,"author":118186,"museum":364,"description":118187,"tags":118188,"thumbUrl":118189,"material":139,"size":139,"collection":139,"collections":118190,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},234165,"lin-mou-yi-shan-ze-za-shu-zhou-zhuang-juan-ma-yu-234165","临缪佚山泽杂树轴装卷","马愈","马愈， 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[112] ，尊号“成吉思汗”（传统蒙古文：ᠴᠢᠩᠭᠢᠰ ᠬᠠᠭᠠᠨ；拉丁蒙古文：Činggis Qaγan；西里尔蒙古文：Чингис Хаан；英语：Genghis Khan），蒙古族乞颜部人，生于漠北斡难河（今鄂嫩河）上游地区（今蒙古国肯特省）。大蒙古国可汗（1206年—1227年8月25日在位），世界史上杰出的军事家、政治家。\n铁木真早年丧父，投奔克烈部首领脱里，积蓄实力，于1189年被推举为蒙古乞颜部可汗，随后经过一系列战争，统一蒙古高原诸部。1206年在斡难河源即皇帝位，建立大蒙古国。建国后，实行千户制，建立护卫军，颁布《大扎撒》。此后经过多次的对外战争，占领东亚地区金朝的大片领土，并灭亡西夏、西辽及中亚的花剌子模，其征服足迹远抵东欧的黑海海滨。1227年，铁木真在西夏投降前夕病逝，终年六十六岁。临终前定下“联宋灭金”的战略，死后被秘密安葬于起辇谷。元朝建立后，累赠谥号为法天启运圣武皇帝，庙号太祖。\n铁木真是一位极具争议性的人物。自其崛起以来，便被视为野蛮残忍的侵略者 。到近代以后，也有许多学者认为铁木真及其继承人领导下的蒙古帝国发动的对外征服战争，促进了欧亚大陆间的相互影响，对之后的世界历史进程产生了深远的影响 。此外，他对蒙古诸部的统一战争，对蒙古民族共同体的形成起到了重要的作用",[7,24,209,28,27,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567e01e0e72d4cc7969b8e3d33f0fa5f.jpg",[],{"id":118387,"slug":118388,"title":60569,"dynasty":189,"author":2519,"museum":364,"description":19462,"tags":118389,"thumbUrl":118390,"material":743,"size":744,"collection":139,"collections":118391,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},232833,"bai-miao-luo-han-tu-juan-zhao-meng-fu-232833",[23,209,7,24,25,259,260,106,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985a756bb7fba498c697a86c800475dd.jpg",[],{"id":118393,"slug":118394,"title":118395,"dynasty":292,"author":118396,"museum":364,"description":118397,"tags":118398,"thumbUrl":118400,"material":139,"size":139,"collection":139,"collections":118401,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},231827,"xiao-xian-he-ge-tu-juan-1-ku-tian-zheng-heng-231827","消闲和歌图卷-1","堀田正衡","这是一卷诗书画合璧的写意佳作，以淡赭素纸为底，大写意笔墨铺陈雅趣。浓淡干湿的墨色晕染出瑞兽、墨龙、折枝桃果、竹篮清供、幽草灵蛇与寒梅，笔意简劲纵逸，寥寥数笔便得物象神韵。日式和歌书法错落穿插于画幅之中，行笔舒展随性，与画作相映成趣。整体意境侘寂清雅，将文人消闲的幽远禅意融于笔墨之间，空灵疏朗，尽显随性自在的东方雅韵。",[23,7,24,25,173,27,260,178,227,446,20631,12996,75939,16560,1575,840,1064,711,22248,502,17142,118399,106,604,1329,945,957],"猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],{"id":118403,"slug":118404,"title":118405,"dynasty":292,"author":293,"museum":364,"description":118406,"tags":118407,"thumbUrl":118408,"material":743,"size":744,"collection":139,"collections":118409,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},231810,"kuang-seng-cao-zhi-tu-juan-yi-ming-231810","狂僧草纸图卷","以纯臻白描铺展长卷，铁线爽利洗练，不着一色却尽揽烟火躁动。从巷陌行伍到廊舍嬉闹，再转至烈焰惊惶，全景式铺陈出喧嚷乱象。屋宇架构以界画工整流利排布，衬出人物跳脱狂放。\n\n画中人物形神各异，或桀骜持械、恣肆狷狂，或仓惶奔逃、面露惊惶，将凡俗众生的情态一一铺陈。整卷叙事流畅自然，呼喝、惊呼仿佛随线条涌出，以极简笔墨勾勒出饱满鲜活的群像张力，尽显白描线条的叙事表现力与传神功力。",[23,7,24,25,260,104,106,107,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a599632024e0b5216cd04eb2ced3.jpg",[],{"id":118411,"slug":118412,"title":118413,"dynasty":292,"author":293,"museum":364,"description":118414,"tags":118415,"thumbUrl":118416,"material":743,"size":744,"collection":139,"collections":118417,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},231776,"liu-qiu-feng-su-tu-juan-er-yi-ming-231776","琉球風俗图卷二","此作以工笔设色写实地铺展祭祀仪典。左侧俯瞰石砌祠宇墓垣，石纹朴拙厚重，匠人负具驻足，衬出场地的肃穆沉静。右侧仪仗队列绵长严整，旗幡舒卷，僧俗诸人衣冠有别，执事者持礼器、掌仪卫，依序徐行，将丧葬祭祀的仪轨细腻铺陈。\n\n设色淡雅克制，青、朱、褐诸色点缀素底，晕染出典仪的庄重氛围，笔致写实入微，将旧时琉球的民俗风貌凝于卷上，让湮没的礼制场景鲜活重现，是具象生动的民俗纪实佳作。",[23,7,24,25,28,27,106,114,15028,11402,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe2fd02bb4d8ab679342e0a3bbe2b7c.jpg",[],{"id":118419,"slug":118420,"title":118421,"dynasty":292,"author":293,"museum":364,"description":118422,"tags":118423,"thumbUrl":118424,"material":139,"size":139,"collection":139,"collections":118425,"showCount":1165,"zanCount":5,"manualWeight":48,"mainColor":94},231769,"xi-yang-jian-wen-tu-hui-2-shan-shui-xiang-gang-juan-yi-ming-231769","西洋见闻图绘-2-山水香港卷","此作为工写兼施的通景长卷，以淡赭花青晕染层叠峰峦，勾勒出山海相依的清润意境。画面右侧洋商埠地烟火稠密，公署高悬洋旗，尽显开埠后的异域风貌；海面之上中式艚船与西式夹板商船错落停泊，帆樯林立。\n\n整作将传统山水画的雅致笔墨，用于纪实描摹近代港埠盛景，既保留了传统山水的空蒙气韵，又细致还原了中西交汇的滨海日常，兼具审美价值与纪实史料意义，静然铺展出近代中外通商的鲜活图景。",[23,7,25,27,29,111,114,13911,38905,15028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb12ba86048fff4f09195dafa84d05d1.jpg",[],{"id":118427,"slug":118428,"title":118429,"dynasty":292,"author":94172,"museum":364,"description":118430,"tags":118431,"thumbUrl":118432,"material":743,"size":744,"collection":139,"collections":118433,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},231744,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-er-fen-duan-gu-wen-chao-231744","江户时代 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本幅：34×105.5cm 题跋：31×33cm×13",[],{"id":118474,"slug":118475,"title":118476,"dynasty":189,"author":118477,"museum":12966,"description":118478,"tags":118479,"thumbUrl":118480,"material":803,"size":118481,"collection":139,"collections":118482,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},231559,"san-fu-zi-xiang-liu-min-shu-231559","三夫子像","刘敏叔","【程朱理学】亦称程朱道学，是由北宋河南人二程（程颢、程颐）兄弟开始创作，弟子杨时，再传罗从彦，李侗的三传，到南宋朱熹集为大成 其基本观点包括：理或理是自然万物和人类社会的。 根本法则；万事万物各有，此为分尽。存、灭人，天理构成人的道德本质，在人间表现欲为伦理「三纲五常」。 道德伦理规范的行为，与天相对立。将人们追求美好生活的要求取人欲，是封建纲常与宗教的禁欲主义结合起来。",[7,209,24,260,173,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7510ea49d7d3289d5a8fee5c6c39bf8.jpg","122.6x68.6",[],{"id":118484,"slug":118485,"title":118486,"dynasty":18,"author":2029,"museum":206,"description":118487,"tags":118488,"thumbUrl":118492,"material":803,"size":118493,"collection":139,"collections":118494,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},231398,"bu-na-tu-liu-song-nian-231398","补纳图","本幅画两名僧人坐于禅榻上，老者正潜心补衣，另一人则抱膝旁观。屏后，复有侍者二人，伫立捻茶。画中人物，表情鲜活而自然，衣纹用笔亦流畅有力。惟左下方款署之“画院待诏赐金带刘松年敬赠”及钤印疑伪。 宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。\n“南宋四家”之一刘松年在南宋画院崭露头角，介于李唐和马远、夏圭之间。他曾师从张敦礼学画，而敦礼画法学李唐，工于山水、人物画，刘松年学到了老师恬洁滋润的长处，也继承了李唐的绘画优点。\n刘松年的作品传世者并不多，据记载他的作品多表现江南一带风景，特别是西湖园林的优美景色，并穿插以文人贵族的闲适生活，少数还图绘了仙山楼阁的神仙世界，反映了那一时代上层社会的审美情趣。\n刘松年的工笔人物画尤其是罗汉图主要是对贯休的继承。当然这种继承不是拷贝，而是在古人的基础之上融入了自己的理解和心得，并形成自己的风格特色。",[7,209,24,241,28,27,106,957,7906,2951,17366,84,10516,53488,118489,11429,118490,118491],"宋代画风","衣纹细致","色彩典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad9390faee56e00d3126eeee9d660f4.jpg","纵141.9cm，横59.8cm",[],{"id":118496,"slug":118497,"title":118498,"dynasty":99,"author":7722,"museum":206,"description":118499,"tags":118500,"thumbUrl":118501,"material":803,"size":118502,"collection":139,"collections":118503,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},231372,"qi-xia-shan-tu-zhang-hong-231372","栖霞山图","栖霞山以禅寺和石刻千佛岩闻名于世，位于南京城东北22公里，又名摄山，南朝时山中建有“栖霞精舍”，因此得名。栖霞山有三峰，主峰三茅峰海拔286米，又名凤翔峰；东北一山，形若卧龙，名为龙山；西北一山，状如伏虎，名称虎山。栖霞山没有钟山高峻，但清幽怡静，风景迷人，名胜古迹，遍布诸峰，被誉为“金陵第一名秀山”。尤其是深秋的栖霞，枫林如火，漫山红遍，宛如一幅美丽的画卷，素有“春牛首，秋栖霞”之说。1634年，明代画家张宏以南京近郊的胜地栖霞山为画题，创作了一幅栖霞山图。真实地描绘出了明朝时期栖霞山的风貌。整幅画面气势恢宏，以千佛岩为主体，纵深地铺洒出一片葱郁的森林，使人看后心旷神怡，仿佛置身于那片清凉世界之中。\n此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[7,24,241,27,29,34,175,107,176,37,177,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fad6af81b9c3d5091b3f39f4570be3.jpg","纵341.9cm，横101.8cm",[],{"id":118505,"slug":118506,"title":22562,"dynasty":99,"author":293,"museum":364,"description":118507,"tags":118508,"thumbUrl":118509,"material":139,"size":139,"collection":139,"collections":118510,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":271},231361,"shan-shui-tu-zhou-yi-ming-231361","山水画，简称“山水”。中国画的一种。描写山川自然景色为主体的绘画。传统分法有水墨、青绿、金碧、没骨、浅绛、淡彩等形式。\n在魏晋、南北朝已逐渐发展，但仍附属于人物画，作为背景的居多；隋唐始独立，如展子虔的设色山水，李思训的金碧山水，王维的水墨山水，王洽的泼墨山水等；成为中国画中的一大画科；后蜀后主孟昶创设翰林图画院；元代山水画趋向写意，以虚带实，侧重笔墨神韵，开创新风；明清及近代，续有发展，亦出新貌。表现上讲究经营位置和表达意境。",[23,7,173,29,241,177,1575,174,175,109,176,491,1016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32218520c64ca979c215b59b175d93c9.jpg",[],{"id":118512,"slug":118513,"title":118514,"dynasty":18,"author":293,"museum":206,"description":118515,"tags":118516,"thumbUrl":118517,"material":123,"size":115650,"collection":139,"collections":118518,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},231081,"yu-e-tu-yi-ming-231081","浴鹅图","画面取水岸一隅，古木虬枝苍拙雄健，疏梅绽花点点，柳丝柔曼垂落晕染出春日清氛。\n\n白鹅浮于水面，翎羽刻画精工细腻，绒羽蓬松、主羽分明，曲颈昂首悠然自得，尽显雍容闲适。枝头小雀理羽顾盼，鲜活灵动，与白鹅的静雅形成呼应，一动一静间晕开松弛野逸的意趣。\n\n全作用色古雅沉稳，工写兼融，禽鸟刻画细致入微，林石布景写意简澹，将幽寂的池畔春景晕染出静谧悠然的古典格调，尽显雅致恬淡的自然之美。",[209,7,24,28,27,10065,394,840,224,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b094f5baeb96b4cd23585e29b9b69e.jpg",[],{"id":118520,"slug":118521,"title":118522,"dynasty":18,"author":293,"museum":206,"description":118523,"tags":118524,"thumbUrl":118525,"material":123,"size":45083,"collection":139,"collections":118526,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},231080,"tong-shi-xiu-ling-tu-yi-ming-231080","桐实修翎图","这幅小品以极简取景尽显雅致意趣。枯涩桐枝斜出，叶片晕染苍润，桐实垂悬，带着秋意的沉敛。枝上禽鸟侧身理羽，绒羽蓬松柔润、覆羽棱纹毕现，笔致精细入微，将禽鸟的慵懒闲适刻画得鲜活传神。\n\n画面虚实相生，淡远空境衬出小景静谧，古绢的沉暗底色晕开旧时光晕，钤印朱红点缀，添上岁月沉淀的厚重，尽显写生的精妙工致，将秋日林间的幽寂生机定格在尺幅之间。",[209,7,24,241,28,27,83,224,1062,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40cb72af34f436ca4a5ea71e741b3c48.jpg",[],{"id":118528,"slug":118529,"title":68072,"dynasty":99,"author":7722,"museum":364,"description":118530,"tags":118531,"thumbUrl":118532,"material":139,"size":139,"collection":139,"collections":118533,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},230915,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-230915","此作笔墨秀雅清润，以平远视角铺展庭院景致。垂杨柳丝扶苏，掩映廊庑台榭，墨色晕染出清寂空疏的氛围。画面左下角，着官袍士人正与仆从揖对，旁侧马匹静候，将朝臣谒见等候的场景娓娓铺陈，人物情态生动自然，尽显古礼分寸。\n\n布景简淡洗练，线条细劲工致，淡设色晕染浅淡柔和，将史记旧事的沉静静谧融于日常朝谒场景之中。画作兼具叙事性与文人雅意，无需繁复铺陈，便把君臣故事里的恭敬庄重，藏在庭院幽寂氛围里，尽显温婉古雅的文人叙事画格调。",[7,24,27,104,28,106,150,34,107,227,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce24d8ae3f83d6f50fe771dbf7b0a0f.jpg",[],{"id":118535,"slug":118536,"title":118537,"dynasty":189,"author":293,"museum":364,"description":118538,"tags":118539,"thumbUrl":118540,"material":139,"size":139,"collection":139,"collections":118541,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},230903,"ge-ba-qiu-feng-tu-yi-ming-230903","歌罢秋风图","淡墨晕染芙蓉瓣，留白衬出柔润娇妍，层叠舒展间暗蕴盛放之姿。浓焦墨勾勒叶脉，苍劲利落的笔触写尽秋意萧疏，枝梗挺括暗藏清刚骨力。\n\n画幅间题诗与画境呼应，以墨代彩，褪去浓艳浮华，尽显简淡秀逸的文人意趣。水墨相生，将清秋芙蓉冷艳风骨与澹泊心境相融，淡远萧疏的氛围里，把晚风里芙蓉的清隽寂寥缓缓铺陈，简淡笔墨间留住一刹幽寂秋光，尽显文人水墨小品的空静雅韵。",[23,7,24,173,27,84,698,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthum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g-gong-hui-tu-zhou-qing-ren-229051","清缂丝御制三星图颂并恭绘图轴","此作以缂丝技法织就，福禄寿三星齐聚庭间，福星朱袍持如意，雍容端方，禄星抱婴含笑，满含温情，寿星银须捧桃，矍铄古朴。数位稚童环绕身侧，嬉戏随侍，融融暖意扑面而来。\n\n衬以玉树虬松、玲珑湖石与缤纷花草，云烟轻笼庭间，铺就悠然吉庆的雅致氛围。通幅走线匀整细腻，配色明丽沉稳，袍服织金纹饰、松石肌理皆还原精妙，上部御题诗文隽秀规整，与下方图景呼应成趣，将世俗祈愿与宫廷缂丝工艺完美融合，尽显华贵祥和的祥瑞气韵。",[209,7,24,241,1629,27,28,4966,106,296,430,176,261,84,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baaeba49be9b03774cc9e5217bff1a3.jpg",[],{"id":118641,"slug":118642,"title":118643,"dynasty":76,"author":1892,"museum":364,"description":118644,"tags":118645,"thumbUrl":118646,"material":139,"size":139,"collection":139,"collections":118647,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},229031,"shan-shui-shi-er-kai-wang-yuan-qi-229031","山水十二开","此作用北苑墨法写就，山峦层叠盘桓，以干笔积墨反复皴擦，线条苍劲老辣，墨色干湿浓淡交织，层层铺陈出山林的浑厚华滋。近岸杂木错落，掩映水榭村居，溪涧回环穿谷而出，衬出林泉幽寂之致。\n整体章法紧而不塞，虚实相生，将元人笔墨的疏淡苍润融入自身沉雄笔力之中，既得古法的静穆高逸，又自具苍浑朴拙气度，尽显正统山水画的笔墨意趣，将江南山林的深秀与文人画的书卷气融为一体，师法古人又自出机杼，是极具代表性的传统山水佳构。",[7,24,173,81,177,29,176,109,34,464,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146913e1e87fe1b26f6aef5dc147242.jpg",[],{"id":118649,"slug":118650,"title":118651,"dynasty":76,"author":1109,"museum":364,"description":118652,"tags":118653,"thumbUrl":118654,"material":139,"size":139,"collection":139,"collections":118655,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},228991,"bai-kai-luo-han-tu-41-shi-tao-228991","百开罗汉图41","此作用水墨晕染出清寂禅境，双罗汉对晤于松崖之间。右侧罗汉安坐危崖，衣纹圆转舒展，神色悠然抬眼望向山巅，松间罗汉隐于虬枝之下，目光回睇似共论禅机。古松盘桓错节，松针攒簇苍劲老辣，崖石以枯笔皴擦尽显奇崛之势。背景流云以涡旋墨色铺陈，裹挟空濛仙气，虚实相生间晕化出幽渺山境。\n笔意纵恣灵秀，将禅家超旷出尘的意趣融于山水人物之中，简淡笔墨里藏着苍莽空灵的世外之韵，尽显禅画合一的精妙意致。",[209,7,24,81,173,177,260,259,106,1575,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49d7565bc3db5a2c1dec7feb41f1899.jpg",[],{"id":118657,"slug":118658,"title":118659,"dynasty":76,"author":614,"museum":364,"description":118660,"tags":118661,"thumbUrl":118665,"material":139,"size":139,"collection":139,"collections":118666,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},228973,"niu-jiao-gua-shu-tu-huang-shen-228973","牛角挂书图","此作以枯淡古雅的色调铺陈，老梅盘曲苍劲，枝桠疏朗错杂，荒岩皴笔朴拙，衬出山野清寂之气。骑牛垂读者安然沉湎卷帙，将乱世中偷闲向学的意态藏于松弛悠然的身姿里。\n\n另一侧人物情态各别，执圭者倨傲自得，仆从躬身低眉，虬髯汉抱臂冷眼，似是俗务应酬的世情剪影。雅俗两相对照，暗合安贫乐道与追名逐利的分野，以简练灵动的笔墨勾勒人物形神，把山野幽趣与市侩世情融于一轴，寄寓着对沉潜向学本心的推崇。",[23,7,209,106,151,448,1015,650,177,27,118662,118663,65278,118664],"安贫乐道","向学","世情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6e143aa6327450ab8a6b916907ab2.jpg",[],{"id":118668,"slug":118669,"title":118670,"dynasty":76,"author":118671,"museum":364,"description":118672,"tags":118673,"thumbUrl":118674,"material":743,"size":744,"collection":139,"collections":118675,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},228946,"guan-fu-zi-xiang-zan-da-li-shan-228946","关夫子像赞","达礼善","此作为白描拓本，以凝练遒劲的铁线线条勾勒身姿。丹凤眼微阖，美髯垂覆胸腹，主君踞坐于兽皮之上，宽袍玉带衬出魁梧身形，眉眼间沉静威严，不怒自威。衣纹走线婉转流畅，将布料垂坠质感与人物沉稳气度相融，把武将的沉雄与儒将的儒雅揉为一体。素色拓底晕开古雅肃穆的氛围，以极简的笔墨承载起厚重的忠义内核，尽显传统造像的精妙意趣，让武圣的凛凛风骨跃然纸上。",[23,7,260,106,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fdf3be87f9db349680da7dd4c927e9.jpg",[],{"id":118677,"slug":118678,"title":118679,"dynasty":99,"author":118680,"museum":364,"description":118681,"tags":118682,"thumbUrl":118683,"material":139,"size":139,"collection":139,"collections":118684,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},228900,"xiao-fu-tu-juan-zhang-feng-bu-tu-gu-meng-you-228900","啸赋图卷张风补图","顾梦游","水墨淡绘峰林幽谷，隐者策杖独行，留白疏淡间，漾出幽远超尘的林下意趣。随行行书长卷笔致秀雅舒展，录就《啸赋》全篇，笔墨清逸萧散，与画境相映成趣。\n\n书画合璧，将赋文里寄怀烟霞、啸傲林泉的隐逸襟怀融于卷中，明人尚雅的高致风流尽在其中，文、书、画相生相融，勾勒出古贤遁世丘山的澹泊襟怀。",[23,209,7,24,25,260,173,29,245,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2daf2a4d157139ac44e11d0373f8546.jpg",[],{"id":118686,"slug":118687,"title":118688,"dynasty":99,"author":293,"museum":364,"description":118689,"tags":118690,"thumbUrl":118691,"material":743,"size":744,"collection":139,"collections":118692,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},228815,"xi-lv-gong-ao-tu-yi-ming-228815","西旅贡獒图","图中描绘一位高鼻深目、长满胡须的胡人，手牵獒犬，坐在皇宫外的汉白玉台阶上等待进贡。早在先秦时期，西部少数民族便开始向中原进贡獒犬。《尚书·旅獒》记载：“惟克商，遂通道九夷八蛮，西旅厎贡厥獒。”按孔颖达注疏，“西旅”是指西部羌族。《尚书·旅獒》篇是劝戒帝王不能因喜好所贡獒犬而“玩物丧志”，而“贡獒图”则是用以歌颂帝王的武功，表现“万国来朝”的气势，“贡獒图”在历代有多种不同形式的表现",[23,7,24,209,27,28,106,957,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b13791168de75f3c217969bac8db20.jpg",[],{"id":118694,"slug":118695,"title":118696,"dynasty":99,"author":293,"museum":364,"description":118697,"tags":118698,"thumbUrl":118699,"material":139,"size":139,"collection":139,"collections":118700,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},228788,"han-jiang-yu-jia-tu-yi-ming-228788","寒江渔家图","此作用淡墨晕染出萧寒冬日的江野之景。前景老树虬曲苍劲，枯槎间缀着残雪与点点红萼，荒寒里透出一缕生机。寒江之上，孤舟泛波，舟头渔者瑟缩，暗合冬日生计的清苦。远山覆雪，以淡笔轻勾，衬出江天空蒙冷寂。全画笔法简淡空灵，将江乡冬日的荒寒静穆悉数铺展，把渔家漂泊的清寂与山水的悠远相融，于萧索冷冽的意境里，藏着水墨山水独有的空雅致趣，尽显冬日江野的澹泊清寂之美。",[23,7,27,29,174,1015,176,7741,1016,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af03191cefa620a2ca42015524e4fb9.jpg",[],{"id":118702,"slug":118703,"title":118704,"dynasty":99,"author":293,"museum":364,"description":118705,"tags":118706,"thumbUrl":118707,"material":139,"size":139,"collection":139,"collections":118708,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},228776,"lin-xi-xian-tiao-tu-yi-ming-228776","临溪闲眺图","此作用笔苍润兼具，以淡墨晕染远山，虚影朦胧融于空濛雾气，将天地寥廓的悠远意境缓缓铺展。近岸古木虬枝错盘，枯梢与繁叶互生，浓墨点染层叠木叶，沉郁间尽显苍劲生机。\n\n溪面空阔无波，渔人收舟立岸，简笔勾勒的身影意态悠然，静眺林泉烟景。整幅以水墨皴擦晕染相融，以极简物象铺陈出山林幽居的散淡意趣，萧疏野逸间藏着出世闲雅的山居况味，观之便如身临幽寂林泉，涤去尘俗喧嚣。",[23,7,1397,241,177,27,34,10154,176,10940,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177849b6e577db11274d711ecbe88233.jpg",[],{"id":118710,"slug":118711,"title":118712,"dynasty":99,"author":1480,"museum":364,"description":3145,"tags":118713,"thumbUrl":118717,"material":743,"size":744,"collection":139,"collections":118718,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},228474,"sui-bi-01-tang-yin-228474","随笔01",[209,7,24,81,178,227,86,173,24089,21365,118714,118715,109,118716,4562,281,3500,491,67801,13668,174],"林屋","春云","竹篱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf19c957fdf26ac11f1c1b360d532ce7.jpg",[],{"id":118720,"slug":118721,"title":118722,"dynasty":99,"author":118723,"museum":364,"description":118724,"tags":118725,"thumbUrl":118726,"material":139,"size":139,"collection":139,"collections":118727,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},228336,"xi-shan-zhen-shang-tu-jin-run-228336","溪山真赏图","金润","《溪山真赏图》是中国明代画家 的国画作品，现藏于天津市艺术博物馆。\n该作品纸本，设色，纵29厘米，横16.5厘米，据卷后题跋可知是为其婿陈坚远所作。\n《溪山真赏图》是中国明代画家 的国画作品，画上自题“静虚写溪山真赏图，时年七十四也”。\n卷后自题署成化戊戌款，可知此图作于成化十四年，作者时年七十四岁，属晚年之作。\n欧阳序篆书引首，拖尾有作者自题及吴宽、马迪、陈璚、杜堇、性嘉、周孟中、蒋谊等人的题跋。\n卷中钤有清初朱之赤、清内府及吴亦先、陈嗣宗、张叔诚等鉴藏印。\n该作品用笔工细简淡，设色清雅，构图平远，疏密有致，是金润画作精品，亦是其现存海内孤本。\n金润 (公元15世纪)〔明〕字伯玉，又字静虚，上元(今江苏南京)人，生卒年不详。\n幼即嗜学，年十二能赋诗，正统(146-1449)间举乡贡，授兵部司务。\n为少保于谦所重，每与之咨议兵事。\n后擢南安知府，政暇即弹琴写画赋诗。\n精通音律，工书画。\n书法类赵孟頫，山水法方从义。\n所画山水天真横溢，工整简淡，细笔勾皴，浓墨点醒，勾点兼用，构图严谨，疏密有致。\n从艺活动约在正统、成化年间。",[7,24,178,86,29,85975,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d37175f7f1a0a5de4cde2f0f3cab04.jpg",[],{"id":118729,"slug":118730,"title":62358,"dynasty":99,"author":6308,"museum":364,"description":118731,"tags":118732,"thumbUrl":118733,"material":743,"size":744,"collection":139,"collections":118734,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},228278,"wu-yan-shi-chen-ji-ru-228278","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[23,209,7,24,25,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45af0e2b190495cfb4d69b5a01f05ee.jpg",[],{"id":118736,"slug":118737,"title":118738,"dynasty":189,"author":293,"museum":364,"description":118739,"tags":118740,"thumbUrl":118741,"material":139,"size":139,"collection":139,"collections":118742,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},228229,"guan-jing-tu-yi-ming-228229","观景图","以水墨晕染出林泉幽隅，老干虬曲的大树遮天蔽日，浓墨点簇的枝叶如盖，掩映着后方隐约的山居茅舍。淡墨皴擦的坡岸蜿蜒延伸，留白处似清溪浅濑，石上隐者凭坐对谈，共赏烟林清景。\n\n笔意简淡清疏，不施浓艳，以水墨的浓淡干湿晕开朦胧烟岚，将幽居林下的散淡襟怀藏在晕染的雾气之中。残题与画作相映，尽显简远意趣，寥寥数笔便勾勒出林泉高致，把山泽间的静穆悠然铺陈在尺幅之内，观之如身临疏旷幽寂的林下烟景，尽得闲雅隐逸之致。",[7,24,173,29,106,178,177,108,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bae947a0ca7be4223f0dd9af5acdecc.jpg",[],{"id":118744,"slug":118745,"title":118746,"dynasty":189,"author":293,"museum":364,"description":118747,"tags":118748,"thumbUrl":118749,"material":139,"size":139,"collection":139,"collections":118750,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},228219,"hou-tu-yi-ming-228219","猴图","《五猴图》是近现代佚名画家创作的一幅中国画。\n尺寸：97×68.5cm 溥儒题签：宋人五猱图，心畬题。\n印文：心畬（白文） 溥儒题：五猱图绢本，松石皆古秀，五猱亦宋人笔墨，盖宋人所作。\n右方半印或有款识，已经裁翦。\n画境略似李迪。\n宋时画院多能画猿猱，往往不题名。\n此当时习尚如是。\n故赏宋画曾不以无款而轻之也。\n上耑有鲁府图书印，明时晋府鲁府肃府所藏多真。\n其下左方则有钤山堂印，知曾入分宜严氏家者，其可重当何如耶。\n壬寅十二月溥儒题。\n印文：心畬（朱文） 藏印：鲁府图书（上中）、钤山堂书画印（左下）、严嵩藏章、嘉谟（右下），另一印模糊不可辨识",[7,24,1562,173,27,12940,957,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129fc44a8e7e51d24a0064077af65def.jpg",[],{"id":118752,"slug":118753,"title":118754,"dynasty":189,"author":293,"museum":364,"description":118755,"tags":118756,"thumbUrl":118757,"material":743,"size":744,"collection":139,"collections":118758,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":1335},228193,"zhun-zhi-guan-yin-xiang-ping-an-shi-dai-yi-ming-228193","准胝观音像平安时代","本作品的准胝观音身体涂白，以朱线勾勒轮廓。宝冠上贴有金箔，墨线勾勒，头发涂略带灰色的淡绿色。衣裙及莲华宝座为略显灰色的白色及淡褐色、淡青、淡绿等，多用混有白色颜料的中间色。轮廓线也用墨线勾勒，装饰台座的花瓣类的轮廓为白色线。而且衣裙上用纤细的细金箔表现出各种的图案，腿腹的膨胀部分等采用白色表现出照晕（佛画的一种表现手法，采用明暗体现出立体感），衣服的褶皱也施有与底色同系统稍浓的色彩制出段晕（绘画表现手法），画像整体呈现院政时期佛画所特有的柔和优美的感觉。另一方面，虽然现在作品已经泛黑，但是头光、背光的一部分在强调交织的细金箔图案的同时，却以银截金、截箔构成的图案为主，从天盖垂下的璎珞也采用细银箔表现出稳重的光辉。而其周围的四天王上的金属构件类都施有里箔（日本绘画技法，从绢底里侧贴上金银箔），整体的色彩稍暗，以墨线的轮廓线条为主，对足边岩石台座的描绘，以及对天衣、冠缯的动态描写等，都可见镰仓时代的主流表现要素。此作品巧妙的改变表现手法以凸显主题的主次关系，从而形成了考究画面，令人感觉到自平安时代至镰仓时代的时代变迁。",[23,7,24,241,259,27,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e188f072a473e4c2abfdabc9e629cf.jpg",[],{"id":118760,"slug":118761,"title":118762,"dynasty":189,"author":293,"museum":364,"description":118763,"tags":118764,"thumbUrl":118765,"material":743,"size":744,"collection":139,"collections":118766,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},228189,"xiu-xing-zhong-de-luo-han-yi-ming-228189","修行中的罗汉","罗汉，是阿罗汉的简称，梵音译(Arhat)。含有杀贼、无生、应供等义。杀贼是杀尽烦恼之贼，无生是解脱生死不受后有，应供是应受天上人间的供养。在小乘佛教中，是伟大的佛陀得法弟子修证最高的果位。\n罗汉者皆身心六根清净，无明烦恼已断（杀贼）。已了脱生死，证入涅槃（无生）。堪受诸人天尊敬供养（应供）。于寿命未尽前，仍住世间梵行少欲，戒德清净，随缘教化度众。",[7,24,241,259,106,27,28,63,245,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd95137bbda0087e21b255de14140e188.jpg",[],{"id":118768,"slug":118769,"title":70302,"dynasty":18,"author":293,"museum":364,"description":118770,"tags":118771,"thumbUrl":118772,"material":139,"size":139,"collection":139,"collections":118773,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},227895,"cheng-jiang-bi-xiu-tu-yi-ming-227895","此作为宋代青绿山水小品，取半边构图，左畔山石以石青石绿晕染，苍润古雅，坡岸松荫蔚然，隐见茅舍山居，野意悠然。右侧铺陈空阔澄江，几叶扁舟随波缓行，远山以淡墨轻扫晕染，在赭色绢底烘托下，将尺幅小景延展为辽远空濛的水天之境。\n\n全画色调沉静古拙，雅致内敛，把江南平远山水的清寂空阔，与山居的安闲悠然相融。咫尺尺幅间尽显宋人观照山水的澹泊意趣，见微知著，藏着江南烟水的沉静诗意，尽显院体小品的清丽雅致。",[23,209,7,24,1562,27,29,174,430,431,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faebd0603c9adc30af9685e06d3a0274a.jpg",[],{"id":118775,"slug":118776,"title":118777,"dynasty":18,"author":293,"museum":364,"description":118778,"tags":118779,"thumbUrl":118780,"material":139,"size":139,"collection":139,"collections":118781,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},227875,"liu-tang-qiu-cao-tu-yi-ming-227875","柳塘秋草图","此作以淡墨晕染水天，将清秋的空濛萧索揉在氤氲水汽中。左侧岸渚垂柳成林，枝叶以细笔点染如烟似雾，把秋的清柔藏在垂绦之间。水面留白处点缀浅渚芦草，笔墨简淡却野意自生，细描的水纹漾开闲静涟漪，晕开塘岸幽寂。\n\n以尺幅小景框住秋郊疏朗之美，摒弃繁复皴法，凭水墨浓淡铺陈远近层次，将深秋的沉静淡愁融在画面里，如同一曲低缓清寂的秋歌，淡而余味悠长，尽显宋画独有的含蓄雅致，藏着文人偏爱的冷澹幽隽意境。",[23,209,7,24,1562,28,173,27,177,29,3246,1064,2994,34,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce6b7f466f533a40e0830c8a2449467.jpg",[],{"id":118783,"slug":118784,"title":84388,"dynasty":18,"author":293,"museum":364,"description":118785,"tags":118786,"thumbUrl":118787,"material":139,"size":139,"collection":139,"collections":118788,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},227873,"liu-tang-du-shu-tu-yi-ming-227873","苍松虬劲盘绕，柔柳垂拂溪岸，茅庐静踞山隅，堂内人影潜于书卷之间。溪石隐现于浅濑，清泠水意漫溢出纸面，远景平波澹澹，林峦在烟霭中晕化成淡墨剪影，将尘嚣完全隔绝在外。\n笔墨苍莽淋漓，皴擦间带着山野朴拙之气，将林泉高致的隐逸意趣藏在细节里，观之如身临幽寂山隅，窥见古人寄心林泉、沉潜书卷的雅静襟怀，仿佛能听见松涛卷着书香漫过水湄。",[23,209,7,24,1562,28,27,29,34,35,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd30268d4053639501778e8219f9b2a.jpg",[],{"id":118790,"slug":118791,"title":72252,"dynasty":18,"author":293,"museum":364,"description":118792,"tags":118793,"thumbUrl":118795,"material":139,"size":139,"collection":139,"collections":118796,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","宋 佚名 秋江暝泊图 纨扇 绢本设色 23.7×24.3cm 北京故宫博物院藏\n\n秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等。",[23,209,7,24,67,173,27,1397,177,227,864,297,34,174,118794,7742,38958,650,4686,23593],"停泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":118798,"slug":118799,"title":118800,"dynasty":18,"author":1827,"museum":364,"description":60676,"tags":118801,"thumbUrl":118802,"material":139,"size":139,"collection":139,"collections":118803,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},227740,"huo-lang-tu-ye-wen-zi-li-song-227740","货郎图页文字",[23,2544,7,24,5990,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c816ffda703346d49c1e5d87e5fc6fa.jpg",[],{"id":118805,"slug":118806,"title":118807,"dynasty":18,"author":293,"museum":364,"description":118808,"tags":118809,"thumbUrl":118810,"material":139,"size":139,"collection":139,"collections":118811,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":1335},227574,"wei-mo-ji-jing-yi-ming-227574","维摩诘经","《维摩诘经变》根据《维摩诘经》而来，是很能反映中国文人阶层精神面貌的壁画。 《维摩诘经变》是莫高窟中较重要的经变图，现存有30多幅，在各个时期都有表现，多以“异品同构”的构图方式出现，将多品的内容由一个故事情节互相穿插起来。到唐代之后，画家的技艺有了长足进步，构图更加合理，笔法更加讲究，对人物内心的把握亦更加到位。这幅《维摩诘经变》基本上以线描为主，局部赋色。画中的维摩诘坐于榻上，身披紫裘，白练裙襦，一膝支起，左手抚膝，右手执麈尾，身后是六曲草书屏风，服饰和器物的衬托将维摩诘完全表现为一位儒家的士大夫。他上身略前倾，蹙眉张口，精神矍烁，呈辩说状，一改魏晋时期“有清羸示病之容，隐几忘言之状”的表现方式。",[209,7,24,25,259,28,27,106,1195,86,11078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52739128606e123240e7976057adc6b0.jpg",[],{"id":118813,"slug":118814,"title":118815,"dynasty":18,"author":293,"museum":364,"description":118816,"tags":118817,"thumbUrl":118818,"material":139,"size":139,"collection":139,"collections":118819,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},227373,"xi-shan-cang-cui-tu-ye-yi-ming-227373","溪山苍翠图页","以谨严苍劲的笔墨描绘文人的隐逸生活。画面上高山峻拔，溪流绕岸，松林苍翠。一隐士漫步于溪岸，仰望远山，陶醉于林泉山色中。",[23,7,24,2544,173,27,178,81,29,394,281,650,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529b992184b93821d121297b00ee2b7e.jpg",[],{"id":118821,"slug":118822,"title":118823,"dynasty":54,"author":293,"museum":2340,"description":8494,"tags":118824,"thumbUrl":118825,"material":743,"size":744,"collection":139,"collections":118826,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},226451,"ku-yong-dao-bei-bi-yi-ming-226451","窟甬道北壁",[7,209,630,259,106,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97e7b564b6984e00756d4aebb170807.jpg",[],{"id":118828,"slug":118829,"title":118830,"dynasty":76,"author":16603,"museum":364,"description":118831,"tags":118832,"thumbUrl":118833,"material":139,"size":139,"collection":139,"collections":118834,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},224577,"suan-ni-tu-zhou-qing-ren-224577","狻猊图轴","此作以卧姿神兽为主体，画师跳出写实桎梏，将其塑作威严悍猛之态。阔口獠牙、双目圆睁，夸张的面部更显慑人气势，鬃毛以晕染分层，蓬松如怒涛翻卷。躯体线条柔中带刚，暗合肌肉张力，臀侧旋纹为神兽添了几分神异灵韵。\n\n旁侧古松虬曲苍劲，苔点皴写出老干斑驳质感，坡岸细草轻勾淡描，衬得神兽愈发沉静雄浑。淡墨轻色晕染出古雅绢本氛围，工写兼施，既抓住猛兽的雄健之姿，又赋予瑞兽神性威仪，尽显神异走兽画的精妙意趣。",[7,24,241,368,28,27,957,1575,9930,650,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840689bd9a6229e85d7d08c8826cb047.jpg",[],{"id":118836,"slug":118837,"title":118838,"dynasty":76,"author":1892,"museum":364,"description":118839,"tags":118840,"thumbUrl":118841,"material":139,"size":139,"collection":139,"collections":118842,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},224397,"fang-li-ying-qiu-bi-yi-zhou-wang-yuan-qi-224397","仿李营丘笔意轴","《清薛宣仿李营丘山水图轴》是清朝薛宣所创作的山水图轴。\n清薛宣仿李营丘山水图轴 此画作于1685年，从题款得知为仿北宋李营丘笔法。\n整幅画构图采用北宋人的主山高耸的格局，细笔绘成，敷以淡色，具有清旷、温秀的格调。\n薛宣，康熙年间人，字辰令，号水田居士，浙江嘉善人；一作娄东（今江苏太仓）人，侨居浙江武唐（今嘉兴）。\n善仿宋、元诸家山水，宗法王鉴，用笔厚重有气，一时之能品也。\n尝自夸其画“不参二王”，意即可与王原祁、王翚两名家并列。",[23,7,24,241,105,173,177,29,176,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577963b0648ab73e5506961bfbe382a1.jpg",[],{"id":118844,"slug":118845,"title":44073,"dynasty":76,"author":1892,"museum":364,"description":118846,"tags":118847,"thumbUrl":118848,"material":139,"size":139,"collection":139,"collections":118849,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},224382,"fang-yi-feng-shan-shui-wang-yuan-qi-224382","此帧全景山水层峦叠嶂，逶迤连绵，尽显浑穆苍茫的山水元气。以干笔积墨之法，以披麻皴反复皴擦山峦，笔墨苍厚华滋，细密间见疏朗之致。河谷间村舍错落隐于林木，松荫下茅舍临水枕溪，板桥横陈浅滩，将山居隐逸的澹然意趣藏于丘壑之中。画作追摹前贤笔意却自出机杼，以熟后生的笔法调和苍润，在繁密构图里经营疏密节奏，将端稳气质与林下幽居的清雅意韵相融，尽显文人山水的静穆悠长。",[23,7,24,241,29,27,177,864,297,108,34,175,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ef16d54ccbedb446bb64249d083de.jpg",[],{"id":118851,"slug":118852,"title":118853,"dynasty":76,"author":2324,"museum":364,"description":118854,"tags":118855,"thumbUrl":118856,"material":139,"size":139,"collection":139,"collections":118857,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},224322,"hua-niao-shi-er-kai-11-li-shan-224322","花鸟十二开11","以淡墨撇写兰叶，焦墨提点叶梢，笔锋老辣纵逸，将幽兰俯仰舒展之态信手勾勒，寥寥数笔便赋予其清灵隽秀的神韵。淡墨晕染的兰花隐于叶间，含露待放，清寂出尘。\n\n右侧题诗与画作笔意相融，书风朴拙跌宕，诗画合璧托物言志，寄寓着淡泊自持的文人风骨。整作构图极简，墨色浓淡相生，将水墨写意的抒情性发挥到极致，笔简而意足，尽显文人写意花鸟的雅逸格调，藏着画者桀骜脱俗的襟怀。",[23,7,24,81,173,452,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c7210f59211104441499328a26b60e.jpg",[],{"id":118859,"slug":118860,"title":118861,"dynasty":76,"author":2324,"museum":364,"description":118862,"tags":118863,"thumbUrl":118864,"material":139,"size":139,"collection":139,"collections":118865,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},224307,"hua-hui-shi-er-kai-8-li-shan-224307","花卉十二开8","此作用写意笔墨绘就春日杜鹃，设色清妍柔润。粉紫花瓣以淡彩晕染，瓣边留白衬出通透娇态，深红花苞点缀其间，层次鲜活分明。枝叶晕染雅致，墨色与水色交融，尽显舒展灵动之姿。淡赭勾勒枝干，笔力简括遒劲，将花枝舒展的野逸生机藏于线条间。\n\n旁侧题字笔意纵逸，书画相映成趣，诗画交融尽显文人雅韵。全画尽显率意清隽的风骨，寥寥数笔便将杜鹃柔丽烂漫的春日之态定格尺幅，于简淡挥洒中留住花木天然意趣，观之便觉春深枝上，雅韵悠然绵长。",[23,7,24,81,27,83,84,62,698,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3833b53e864ef1456151f8c63af9773.jpg",[],{"id":118867,"slug":118868,"title":118869,"dynasty":76,"author":2324,"museum":364,"description":118870,"tags":118871,"thumbUrl":118872,"material":139,"size":139,"collection":139,"collections":118873,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},224299,"hua-hui-shi-er-kai-11-li-shan-224299","花卉十二开11","此作用笔极简，以水墨写兰草，枯湿浓淡间，兰叶舒展有姿，苍劲线条带着萧疏散淡的野逸之趣。振翅的草虫是点睛之笔，羽翼纹路纤毫毕现，写实的虫豸和写意兰草形成精妙对照，将深秋里的鲜活生机定格在纸上。\n\n右侧题字笔意纵肆跌宕，与画面笔墨气息呼应，诗书画印浑然相融。画作放逸却不失精微，将文人写意的随性洒脱与写生的细腻写实巧妙结合，在萧疏秋景里晕开朴拙鲜活的意趣，尽显文人画特有的清逸格调。",[23,7,24,81,173,178,1147,227,83,712,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334dc0678cadf23c41e470a0eda5e33b.jpg",[],{"id":118875,"slug":118876,"title":118877,"dynasty":76,"author":30958,"museum":364,"description":118878,"tags":118879,"thumbUrl":118880,"material":139,"size":139,"collection":139,"collections":118881,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},224291,"xue-ling-pan-che-tu-li-yin-224291","雪岭盘车图","《清李寅雪岭盘车图》是由清代画家 所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[23,209,7,24,241,29,27,177,864,2124,154,430,35,650,560,106,11734,1015,30357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":118883,"slug":118884,"title":118885,"dynasty":76,"author":118886,"museum":364,"description":118887,"tags":118888,"thumbUrl":118889,"material":743,"size":744,"collection":139,"collections":118890,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":94},224242,"shan-mian-shan-shui-wang-wu-tian-224242","扇面山水","王无忝","清河南孟津人，字夙夜。康熙九年进士，官金华知府。善画山水。词语分解忝的字典解释忝ǎ 辱，有愧于，常用作谦辞：忝在知交。忝属知己。忝列门墙（愧在师门）。",[23,7,24,1562,29,173,177,864,430,650,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd23abd32e524767448b47b66f8b4a9a.jpg",[],{"id":118892,"slug":118893,"title":118894,"dynasty":76,"author":104772,"museum":364,"description":118895,"tags":118896,"thumbUrl":118897,"material":743,"size":744,"collection":139,"collections":118898,"showCount":1165,"zanCount":48,"manualWeight":48,"mainColor":49},224152,"lin-wang-xi-zhi-shan-chuan-zhu-qi-tie-zhou-zhang-zhao-224152","临王羲之山川诸奇帖轴","张照（1691-1745），娄县（今上海松江市）人，字得天，号天瓶、泾南，谥文敏。博学多才，乾隆皇帝称赞其书法：‘有米（芾）之雄，而无米之略。复有董（其昌）之整，而无董之弱。’ 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地，举头缈缈似瑶宫。”",[23,7,209,24,241,173,29,177,107,108,109,174,175,176,1575,8505,6178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce127fb8d35aa9d318a679e90e4b8366.jpg",[],{"id":121179,"slug":121180,"title":121181,"dynasty":18,"author":293,"museum":364,"description":121182,"tags":121183,"thumbUrl":121185,"material":743,"size":744,"collection":139,"collections":121186,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},289786,"song-yan-xian-guan-tu-yi-ming-289786","松严仙馆图","采用全景式山水章法，将高远、平远景致相融。危崖之巅，楼阁隐于青松翠岫间，尽显出尘高逸。水畔台榭依崖而建，烟波浩渺间远山如黛，留白处晕染出空濛悠远的诗意。前景古木虬曲苍劲，坡岸山石皴擦细腻苍润，笔致严谨雅致，绢本晕染的古雅色调沉静悠然。\n整幅画铺展出林泉幽居之景，将仙馆清寂融于烟岚山水之中，尽显可观可游可居的山水意趣，暗合林泉高致的风雅，氤氲出静谧悠远的隐逸之美。",[23,7,29,104,27,177,107,1575,176,109,491,174,121184],"亭馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c8cfd725c56d9836e02506697d5c1d.jpg",[],{"id":121188,"slug":121189,"title":121190,"dynasty":99,"author":43734,"museum":364,"description":59054,"tags":121191,"thumbUrl":121192,"material":743,"size":744,"collection":139,"collections":121193,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},289733,"wu-yan-lv-shi-liang-shou-wang-gu-xiang-289733","五言律诗两首",[1562,7,24,209,86,178,227,59,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1324673e4269d867f8de67bf9e58bfa.jpg",[],{"id":121195,"slug":121196,"title":121197,"dynasty":292,"author":121198,"museum":364,"description":121199,"tags":121200,"thumbUrl":121201,"material":743,"size":744,"collection":139,"collections":121202,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},289367,"tu-dao-chao-tun-tu-qing-mu-mu-mi-289367","兔道朝暾图","青木木米","此作用笔兼具中日山水意趣，取景开合相生。远山以淡墨晕染出空濛烟岚，峰峦轮廓温润朴拙，暗合米家山水氤氲之态。近岸桃红柳翠，板桥通幽，山居藏于虬枝茂叶间，清溪蜿蜒穿谷，渔舟泛波划破春水静澜。\n\n右侧崖壁题笔古雅，笔墨干湿浓淡交叠，苍松怪石兼具苍劲秀逸之姿。将春日溪山的清寂生机揉为一处，渔樵幽隐之趣暗含其间，把文人寄兴林泉的澹然幽怀，晕染进烟柳春山之中，静穆又暗藏灵动意韵。",[23,7,1397,27,173,177,29,108,109,174,175,279,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b4914d50ec75112b683d1d423ddc33.jpg",[],{"id":121204,"slug":121205,"title":121206,"dynasty":292,"author":293,"museum":364,"description":121207,"tags":121208,"thumbUrl":121210,"material":743,"size":744,"collection":139,"collections":121211,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},289113,"na-liang-tu-ping-feng-yi-ming-289113","纳凉图屏风","以淡墨写意勾勒茅舍藤架，阔叶藤蔓缠绕垂覆，浓淡墨色晕染出叶片错落的阴阳生姿，自带溽夏清润凉意。画面留白疏阔，空濛底色晕开幽寂乡居意趣，半掩的柴门、朴拙木柱不见冗余修饰，隐约露出行将消夏的竹席一角，不见纳凉人却处处漫着偷闲松弛的慵懒况味。笔致萧疏散淡，舍去繁复皴染，寥寥数笔便将炎夏里乡居的清宁淡远铺陈开来，把暑热间的安闲散逸藏在淡墨疏影之中，尽显水墨留白造境的悠远禅意。",[23,7,24,173,106,17264,3558,697,121209],"消暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19555733da3bcd59130100a11039297b.jpg",[],{"id":121213,"slug":121214,"title":94703,"dynasty":18,"author":293,"museum":364,"description":121215,"tags":121216,"thumbUrl":121217,"material":743,"size":744,"collection":139,"collections":121218,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},288948,"wu-jiu-wen-qin-tu-yi-ming-288948","残雪覆着虬曲皴裂的老枝，瘦骨嶙峋的老树峙于寒溪之畔，将冬日荒寒铺陈开来。两只文禽相偎枝桠，翎毛晕染细腻柔和，软绒暖意破开周遭清寂。\n\n溪水流过覆雪矶石，浅淡墨色勾出缓缓波纹，带着清泠水汽漫开。远山以淡墨晕染留白，如笼烟霭，把辽远空濛揉进冷灰底色里。\n\n整作工写相融，禽鸟描摹写实生动，山水却写意空灵，萧寒中暗蕴脉脉温情，将冬日荒林里的幽淡诗意静静晕开，冷而不寂，静中生趣。",[23,7,28,83,281,1015,109,176,2502,52467,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8f467f9e57ea917f133b2b77c5e356.jpg",[],{"id":121220,"slug":121221,"title":121222,"dynasty":76,"author":10958,"museum":364,"description":74628,"tags":121223,"thumbUrl":121225,"material":743,"size":744,"collection":139,"collections":121226,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},288500,"dan-ai-cang-shan-tu-dong-bang-da-288500","淡霭苍山图",[209,7,24,241,173,177,1397,121224,37,1399,920,108,34,86,227],"苍山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8214838b222f6c271dd732b2a627adb5.jpg",[],{"id":121228,"slug":121229,"title":121230,"dynasty":292,"author":293,"museum":364,"description":121231,"tags":121232,"thumbUrl":121234,"material":743,"size":744,"collection":139,"collections":121235,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},288486,"wu-dai-juan-hua-gong-yang-tu-yi-ming-288486","五代绢画供养图","画面上下分野，铺陈出梵天净土与俗世虔敬。上段佛陀安坐莲台，神情端严，抬手施印，衣纹舒卷沉稳，两侧胁侍合掌伫立，宝冠璎珞俱全，设色沉厚晕染柔和，尽显超然平和的禅意氛围。\n下方供养人身着宽袍乌纱，手持熏炉躬身礼拜，眉眼间满是恭谨至诚，服饰细节勾勒写实，尽显信者风貌。绢面历经岁月泛黄斑驳，反倒赋予画作古拙厚重的质感。笔意质朴凝练，将宗教的庄严神性与世俗的恳切祈愿相融，静静诉说着旧时的信仰图景与审美意趣。",[23,7,24,241,121233,27,106,259,9254,52427,5713,36508],"绢画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e29cdd5428c9d910aa9a3eca382d50.jpg",[],{"id":121237,"slug":121238,"title":121239,"dynasty":292,"author":118459,"museum":364,"description":121240,"tags":121241,"thumbUrl":121242,"material":743,"size":744,"collection":139,"collections":121243,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},288476,"fang-song-yuan-bi-yi-shou-ye-chang-xin-288476","仿宋元笔意","野常信（KanōTsunenobu）是狩野派的日本畫家。他先是在父親狩野尚信（KanōNaonobu）的指導下學習，後來在父親去世後，在叔叔狩野探幽（KanōTan'yū）的指導下學習。他成為大師級畫家，並在1674年接替叔叔Tan'yū擔任狩野派校長。",[23,7,27,106,28,105,3045,245,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c39ad05a2847e35692f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玄烨)","此作工笔写实，笔触精细入微。画中人物身着华贵朝服，宝蓝底衬明黄龙纹，绣工繁复精密，纹样威严庄重，朝珠、顶戴细节分毫毕现，尽显至尊威仪，人物神态沉稳肃穆，眉眼间自有君王持重气场。\n\n周遭陈设亦处处考究，文房器具规整雅致，孔雀翎摆件彰显礼制规格，桌椅与地毯纹饰华美庄重，细节间烘托出宫廷礼制的森严华贵。整幅设色厚重鲜明，将纪实性与艺术性相融，精准诠释清代宫廷肖像画的典型风貌，把帝王气度与宫廷规制氛围完美融合，是清代肖像画中的上乘之作。",[23,7,27,28,106,15611,502,7281,63,16721,15718],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72337d4f0c0e300e38800a8591c5baa1.jpg",[],{"id":121291,"slug":121292,"title":121293,"dynasty":76,"author":293,"museum":364,"description":121294,"tags":121295,"thumbUrl":121296,"material":743,"size":744,"collection":139,"collections":121297,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},288256,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yi-ming-288256","历代帝王贵妃大臣朝服像","此作糅合中西技法，工致细腻。帝王端严安坐，神色沉静内敛，朝服规制森严，朝珠垂坠尽显礼制威仪。宝座融欧式雕花与中式构件，蓝金配色华贵雅致，衬出主人尊崇地位。画师恪守御容画庄重范式，又以西洋光影晕染出面部立体感，皮肉纹理与衣褶层次刻画入微，既得传统写真传神要义，又暗含西风东渐的艺术新风，将帝王威仪与写实水准相融无间，是清代跨文化肖像画的精妙之作。",[23,7,27,28,106,15611,3412,241,50102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F939e8b101086ba5245e3ee83bbc40fc1.jpg",[],{"id":121299,"slug":121300,"title":121301,"dynasty":76,"author":293,"museum":364,"description":121302,"tags":121303,"thumbUrl":121305,"material":743,"size":744,"collection":139,"collections":121306,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},288247,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-su-ma-la-gu-chao-fu-yi-ming-288247","历代帝王贵妃大臣朝服像(苏麻喇姑)朝服","此作以工笔写实，刻画出女主人端雅沉静的气度。冠帽朱红顶戴规整持重，吉服袍以石青为地，满绣五彩升龙，间缀宝相缠枝、江崖海水，绣纹细密饱满，设色浓丽沉稳，晕染匀称自然，分毫毕现清代宫廷冠服礼制的华美繁复。\n\n画师捕捉人物眉眼舒展平和的神态，褪去宫廷仪轨的疏离感，尽显其历经三朝的温润从容。项间朝珠层叠错落，更衬身份尊崇。整幅构图中正端严，融纪实性与审美性为一体，既恪守宫廷肖像的礼制要求，又生动传递出人物沉静温婉的独特风骨。",[23,7,27,106,28,241,63,502,121304,99264],"苏麻喇姑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771cdd4aa3a4879bb58e24b518f6fb0e.jpg",[],{"id":121308,"slug":121309,"title":121310,"dynasty":76,"author":293,"museum":364,"description":121311,"tags":121312,"thumbUrl":121314,"material":743,"size":744,"collection":139,"collections":121315,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},288246,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-fan-wen-cheng-yi-ming-288246","历代帝王贵妃大臣朝服像(范文程)","此作工笔精细，将这位勋贵重臣的威严沉凝尽显无遗。画师落笔细致入微，人物面容苍劲有神，沉稳内敛的气度呼之欲出。朝服上的金线龙纹盘绕腾挪，绣工精巧华贵，宝蓝底色衬出明黄龙纹，配色端庄肃穆。朝珠制式严谨，串饰排布规整，与服饰相得益彰，精准还原清代重臣的朝仪规制。整体画面静穆庄重，遵循清代肖像画的写实传统，既细致还原服饰器用的典制细节，又生动刻画出人物历经世事的老成持重，尽显庙堂重臣的威仪风范。",[23,7,241,27,28,106,502,63,121313],"大臣肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88251542c3490542685b4a7b66856d36.jpg",[],{"id":121317,"slug":121318,"title":121319,"dynasty":76,"author":293,"museum":364,"description":121320,"tags":121321,"thumbUrl":121322,"material":743,"size":744,"collection":139,"collections":121323,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},288208,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-huang-tai-ji-bian-fu-xiang-yi-ming-288208","历代帝王贵妃大臣朝服像(皇太极便服像)","此作工笔精谨，设色调和沉静。画中主人面膛方正饱满，虬须苍劲，神色威穆内敛，自带九五之尊的沉凝气度。石青便服挺括厚重，明色冠帽点缀其间，双手握朝珠静置于膝头，端坐在髹木嵌理石宝座之上。座椅蓝地缠枝围屏纹样舒展富丽，座垫织锦华而不艳，衬出主人的尊崇地位。画师写实功力深厚，衣纹晕染还原了面料的垂坠质感，面部晕染贴合骨相，将这位帝王的雄毅沉稳刻画入微，是清代肖像画里兼具纪实性与审美价值的精品。",[23,7,241,27,106,28,15611,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7412ef2ccdb72b371ecbeef1997f5eb.jpg",[],{"id":121325,"slug":121326,"title":121327,"dynasty":76,"author":293,"museum":364,"description":121328,"tags":121329,"thumbUrl":121330,"material":743,"size":744,"collection":139,"collections":121331,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},288207,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yin-ti-fu-fu-yi-ming-288207","历代帝王贵妃大臣朝服像(胤禵夫妇)","此作为工笔重彩肖像，构图规整肃穆，二人正襟端坐，尽显世家眷侣的端方气度。画师以精细笔触还原服饰细节：藏青素缎朝服之上，补子、云肩、江崖海水纹饰华美繁复，金彩勾边搭配朱红、宝绿晕染，将清代宗室服饰的华贵礼制铺陈尽致，朝珠垂挂错落合仪，细节处处恪守典制。\n\n人物刻画写实传神，老者苍髯垂胸，神色平和自带威仪，女子妆容秀雅温婉，旗装头面一丝不苟，精准还原清代宗室贵眷的容仪风貌。整作配色沉稳雍容，以写实技法记录清代贵族日常仪范，兼具纪实价值与工笔美学质感。",[23,7,24,28,27,106,50102,63,3412],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fb05210a13c131ae3272ef2b02e1b87.jpg",[],{"id":121333,"slug":121334,"title":121335,"dynasty":76,"author":293,"museum":364,"description":121336,"tags":121337,"thumbUrl":121339,"material":743,"size":744,"collection":139,"collections":121340,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},288206,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-su-ma-la-gu-yi-ming-288206","历代帝王贵妃大臣朝服像(苏麻喇姑)","此帧工笔肖像以浅褐素底衬映，将人物端凝气度铺陈开来。主人物安坐于织锦软垫宝座，神情温和沉静，眉目间带着阅尽世事的从容。石青朝服庄重沉穆，补子纹样精巧华美，朱白相间的朝珠垂坠胸前，领口袖口镶边绣纹细密繁复，尽显礼制规格。画师笔触细腻入微，发丝根根分明，衣料褶皱晕染自然写实，精准呈现服饰肌理质感，将人物温婉肃穆的神态刻画淋漓尽致，恪守清代肖像画纪实法度的同时，于细节中烘托出人物独特气质，尽显宫廷肖像工整雅致之韵。",[23,7,24,28,27,2714,50102,121338,3412],"女性人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87184e9eb8431295e72f6700686b2ee4.jpg",[],{"id":121342,"slug":121343,"title":121344,"dynasty":76,"author":293,"museum":364,"description":121345,"tags":121346,"thumbUrl":121347,"material":743,"size":744,"collection":139,"collections":121348,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},288196,"mi-you-ren-kuan-chu-shan-qiu-ji-yi-ming-288196","米友仁款楚山秋霁","此作追摹米家云山之法，以淡墨层层晕染山峦林麓，间以浓墨错落点苔，不着意勾勒山石轮廓，纯以水墨干湿浓淡的层次变化，晕染出楚山秋霁后烟岚浮动、空濛湿润的清灵景致，萧散简远，尽显文人山水的淡逸禅意。\n整卷拖尾题跋琳琅，钤印错落，层层递加的鉴藏印记晕开厚重的流传脉络，精准还原了米家山水的烟雨空蒙之韵，将秋日楚山初晴的温润灵秀，藏入氤氲墨色之中。",[23,209,7,24,25,173,29,86,178,1147,227,6922,649,1966],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cedc727e28733e55d4168e8b27dd6d8.jpg",[],{"id":121350,"slug":121351,"title":121352,"dynasty":76,"author":293,"museum":364,"description":121353,"tags":121354,"thumbUrl":121355,"material":743,"size":744,"collection":139,"collections":121356,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},288186,"xia-ri-na-liang-tu-juan-ben-yi-ming-288186","夏日纳凉图绢本","这幅小品以青绿设色写就，晕染出幽然消暑意趣。水岸垂柳柔条拂波，汀岸浅绿晕开暑夏水汽，将溽热轻轻揉碎在烟水间。山畔高阁凭渊藏于林麓，不见纳凉之人，却自有一种幽闲空寂的松弛意韵。\n\n远山以石青石绿勾染，淡赭铺底衬出峰峦温润古雅，奇峰错落淡溶于朦胧暮色里，将天地晕染出沉静古拙的氛围感。水面空阔留白，扁舟缓行，似载着闲客趁晚风消暑。\n\n全图以景托情，把文人寄情山水、寻幽纳凉的隐逸雅趣藏在湖山烟柳间，带着唐宋青绿小品的遗韵，清寂雅致，尽显消暑闲情。",[23,7,1397,26,27,107,174,109,1352,1255,649,15801,17264,7714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39017a063b82ab63adc2028fc6edc752.jpg",[],{"id":121358,"slug":121359,"title":10395,"dynasty":99,"author":24267,"museum":364,"description":30050,"tags":121360,"thumbUrl":121361,"material":743,"size":744,"collection":139,"collections":121362,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},288068,"yu-le-tu-zhou-chen-288068",[23,7,25,173,27,106,29,174,109,1016,1147,86,1251,1575,1447,2094,7714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6016ca5fec09df5ebc518e20343612.jpg",[],{"id":121364,"slug":121365,"title":121366,"dynasty":99,"author":293,"museum":364,"description":121367,"tags":121368,"thumbUrl":121369,"material":743,"size":744,"collection":139,"collections":121370,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},287650,"fu-hui-xi-quan-tu-wu-se-cha-ban-yi-ming-287650","赴会西全图（无色差版）","此作画境分野分明，上部飞天凌于彩云之间，衣袂随云气舒卷，手托仙花缓行，祥云或如赤焰翻涌，或似棉絮轻漫，将赴会的悠然仙韵晕染尽致。\n\n下半部笔锋转向苍劲，危崖怪石间枯藤盘虬，山岩皴染沉郁古朴，下方水纹卷绕如缠丝，又与底部祥云相融，将仙凡两境自然衔接。\n\n整体设色沉厚古雅，朱砂石青历经岁月晕化出沉静古韵，线条刚柔并济，飞天身姿柔婉灵动，山石水纹苍劲拙朴，糅合仙意空灵与山海雄浑，尽显古拙灵动的庙堂雅韵。",[23,7,24,241,259,27,106,29,261,109,1015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f4d53e20df1d861cf2bc0b89c87c64b.jpg",[],{"id":121372,"slug":121373,"title":121374,"dynasty":189,"author":293,"museum":364,"description":32941,"tags":121375,"thumbUrl":121377,"material":743,"size":744,"collection":139,"collections":121378,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},287599,"cheng-gong-jie-bao-tu-yi-ming-287599","成功捷报图",[7,27,26,106,29,1250,121376,3842],"捷报","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6fe327570e9ef18159927c0d36ee239.jpg",[],{"id":121380,"slug":121381,"title":121382,"dynasty":18,"author":293,"museum":364,"description":121383,"tags":121384,"thumbUrl":121385,"material":743,"size":744,"collection":139,"collections":121386,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},287558,"bu-hua-shan-shui-yi-ming-287558","布画山水","此作用全景式铺陈山林丘壑，淡墨皴擦出层叠山峦的温润质感，留白处引出水云萦回的空濛意境。苍松杂木错落生姿，枝叶用细笔点染，尽显清苍秀润之态。山坳间屋舍楼阁星罗，山道随溪岸蜿蜒，将山居日常悄然融于林泉烟岚间。\n\n整作笔墨简淡却意趣丰盈，未用浓艳设色，以水墨浓淡层次晕染出清寂山林气象，尽显寄情林泉、天人共生的隐逸意趣，将山水画可观可居可游的特质，藏在浅淡烟岚间娓娓道来。",[7,209,29,107,34,109,176,177,227,86,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b95cc9d9b51fdb04a617f251e875252.jpg",[],{"id":121388,"slug":121389,"title":121390,"dynasty":99,"author":3114,"museum":364,"description":13962,"tags":121391,"thumbUrl":121392,"material":743,"size":744,"collection":139,"collections":121393,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},283717,"tian-ma-fu-juan-dong-qi-chang-283717","天马赋卷",[23,25,86,1147,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf8fc2d23a98123949302e1d7e09c8e.jpg",[],{"id":121395,"slug":121396,"title":121397,"dynasty":99,"author":13614,"museum":364,"description":13615,"tags":121398,"thumbUrl":121399,"material":743,"size":744,"collection":139,"collections":121400,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},283642,"luo-han-shi-lu-zhou-zhi-yi-wu-bin-283642","罗汉拾陆轴(之一)",[7,241,260,106,25116,259,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a402714252ff6ca41d780e8319cdb3.jpg",[],{"id":121402,"slug":121403,"title":121404,"dynasty":292,"author":293,"museum":364,"description":121405,"tags":121406,"thumbUrl":121408,"material":743,"size":744,"collection":139,"collections":121409,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},281570,"mo-hua-fo-xiang-zhou-yi-ming-281570","墨画佛像轴","这幅写意佛画以水墨晕染禅意风骨，笔力雄劲老辣。半秃颅顶搭配虬髯斜目，淡墨轻擦便将老者桀骜沉静的神态托出。浓墨恣肆勾勒衣纹，干湿浓淡对比强烈，大块墨色尽显写意风神。\n\n面部刻画入微，斜睨的双眼带着世外僧人的疏离淡然，将清癯耿介、不落凡尘的气韵全然彰显。右上角朱红印信为素净纸面添一抹雅致，整作舍去繁饰，以极简笔墨攫住人物神魂，尽显东方水墨的写意禅趣。",[7,241,173,106,259,9634,121407],"墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8f3b9093dc9e5242dd807b6009c25a.jpg",[],{"id":121411,"slug":121412,"title":121413,"dynasty":76,"author":293,"museum":364,"description":121414,"tags":121415,"thumbUrl":121416,"material":743,"size":744,"collection":139,"collections":121417,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94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、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永;山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[7,24,81,178,1147,86,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12508c534b77105d73a7b003e7769052.jpg","纵24.6cm，横15.1cm",[],{"id":121577,"slug":121578,"title":121570,"dynasty":76,"author":1204,"museum":20,"description":121571,"tags":121579,"thumbUrl":121580,"material":803,"size":121574,"collection":139,"collections":121581,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},239603,"shi-san-zha-ce-zhu-da-239603",[368,178,86,24,7,5990,173,227,759,34866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239e52d7c98022240a611f05b935670a.jpg",[],{"id":121583,"slug":121584,"title":121585,"dynasty":76,"author":121586,"museum":364,"description":121587,"tags":121588,"thumbUrl":121589,"material":743,"size":744,"collection":139,"collections":121590,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},239541,"shi-cui-zhu-shan-jiang-que-lan-239541","石翠竹扇","蒋確兰","此帧以湖石为骨，左植翠竹，右纫幽兰，疏密排布贴合扇面形制，雅致妥帖。湖石以泼墨写意，皴擦间墨色浓淡层次分明，尽显朴拙苍劲的嶙峋之态。翠竹以淡墨写竿，浓墨点染竹叶，清挺有节，自带疏朗清气。兰叶以细劲墨线挥写，穿插舒展若临风摇曳，花朵轻勾淡晕，幽柔清雅。右上角题款笔意萧散，与画面气息浑然相融。全作用水墨为主，淡彩轻施，将兰之幽、竹之劲、石之朴揉合一处，暗合君子比德的文人心趣，寥寥笔墨尽抒林下清逸襟怀。",[368,209,7,24,1562,173,260,245,242,452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fceb190df75efaba0195a1f0598d696.jpg",[],{"id":121592,"slug":121593,"title":55103,"dynasty":76,"author":55104,"museum":364,"description":55172,"tags":121594,"thumbUrl":121595,"material":743,"size":744,"collection":139,"collections":121596,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},239536,"fang-gu-ji-you-tu-ce-huang-yi-239536",[7,173,177,81,29,107,174,176,34,1432,2268,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7be1e9184db79acce97a081fba3e95.jpg",[],{"id":121598,"slug":121599,"title":55103,"dynasty":76,"author":55104,"museum":364,"description":55172,"tags":121600,"thumbUrl":121601,"material":743,"size":744,"collection":139,"collections":121602,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},239535,"fang-gu-ji-you-tu-ce-huang-yi-239535",[209,7,81,173,29,86,1015,30782,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eda82dcab94608034af4efc7e011673.jpg",[],{"id":121604,"slug":121605,"title":55103,"dynasty":76,"author":55104,"museum":364,"description":55172,"tags":121606,"thumbUrl":121607,"material":743,"size":744,"collection":139,"collections":121608,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},239532,"fang-gu-ji-you-tu-ce-huang-yi-239532",[7,24,81,173,177,178,29,176,34,35,1445,1329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38695c0715b5041c8c7d497a1e615ecd.jpg",[],{"id":121610,"slug":121611,"title":114142,"dynasty":76,"author":69455,"museum":364,"description":103052,"tags":121612,"thumbUrl":121613,"material":743,"size":744,"collection":139,"collections":121614,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},239498,"shan-shui-ce-10-shang-guan-zhou-239498",[7,24,81,173,260,29,394,1653,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8e1cc081eab9dd7dc6850507c96826.jpg",[],{"id":121616,"slug":121617,"title":7091,"dynasty":76,"author":69455,"museum":364,"description":103052,"tags":121618,"thumbUrl":121619,"material":743,"size":744,"collection":139,"collections":121620,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},239490,"shan-shui-ce-3-shang-guan-zhou-239490",[7,24,81,173,177,29,174,394,245,1351],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1852e608baf86edefaabe4cdc812fe80.jpg",[],{"id":121622,"slug":121623,"title":121624,"dynasty":76,"author":121625,"museum":364,"description":121626,"tags":121627,"thumbUrl":121628,"material":743,"size":744,"collection":139,"collections":121629,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},239483,"liu-yong-lang-hua-ma-wan-shan-liu-yong-lang-239483","刘用烺画马纨扇","刘用烺","清末北京著名画家。光绪年间在《启蒙画报》画插图，名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墨兼擅苍秀，山石以短皴点苔，勾勒出坚硬质感，晕染柔和自然。设色简淡明净，以水墨晕出水色天光的空濛，将深秋萧疏之气揉进山水静穆之中，幽寂淡远的林下意境油然而生，尽显仿古山水的雅致意趣。",[7,24,81,27,177,105,29,245,1575,34,491,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f40330fbbba36daca0dd28b9a2a4247.jpg",[],{"id":123322,"slug":123323,"title":23389,"dynasty":76,"author":293,"museum":364,"description":123324,"tags":123325,"thumbUrl":123326,"material":139,"size":139,"collection":139,"collections":123327,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},236059,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236059","此作用笔苍秀兼具，绢本设色清润温雅。近景怒涛翻涌，浪纹层层晕染尽显江海雄浑之势，岩崖之上虬松盘错，松荫掩映幽潭水榭，藏起山居清趣。远景山峦覆着浅青烟岚，山坳屋舍隐于林麓间，晕染出淡远空濛的氛围感。\n整画揉合宋院体的精工水法与元人山水的萧散意趣，咫尺尺幅铺展千里山水格局，将惊涛奔涌的动势与林居幽隐的静气相融，于古雅的仿古意韵里，尽显传统山水含蓄隽永的意境。",[7,24,81,27,29,177,3117,491,176,430,175,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8351548791361bd014cfdddc96f5a74d.jpg",[],{"id":123329,"slug":123330,"title":48391,"dynasty":76,"author":293,"museum":364,"description":123331,"tags":123332,"thumbUrl":123333,"material":139,"size":139,"collection":139,"collections":123334,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235985,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235985","此作用淡墨铺就空寂底色，虬曲古木悬垂萝蔓，浓墨点苔衬出苍古奇崛。坡岸杂树以淡晕简笔写出，右侧扁舟静泊水畔，隐见渔翁独对江天。天际归雁掠过长空，寥寥数笔便牵出荒寒秋意。\n\n画面计白当黑，虚实相生，以极简的写意笔墨，将江畔山野幽寂之趣收于尺幅。笔简而意远，淡墨留白间晕开悠悠禅意，尽显文人画超然出尘的隐逸情怀，简淡中见雅致萧疏，余韵悠长。",[7,24,81,173,29,281,174,430,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34dd8f6901f7b9b9b8431c34cd435ec3.jpg",[],{"id":123336,"slug":123337,"title":48391,"dynasty":76,"author":293,"museum":364,"description":123338,"tags":123339,"thumbUrl":123340,"material":139,"size":139,"collection":139,"collections":123341,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235980,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235980","此作以虚实相生的笔墨绘就山林幽境，主峰以枯涩浓墨勾皴，写尽崖石嶙峋苍劲的质感。数道飞瀑借留白衬出灵动，掩映崖间为冷寂山景添了鲜活生机。\n下方以浓墨点染苍松，错落茅舍隐于林木间，寥寥数笔便勾勒出幽居野逸之趣。淡墨晕染出空濛山岚，将山野清寂冷逸尽数铺陈。整体简淡疏朗，以留白营造出悠远禅意，尽显文人山水小品的雅逸之致，藏着寄情林泉的幽居意趣。",[7,173,177,29,176,558,34,35,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a4d76ab334058b03a3d817ec7b2b7ae.jpg",[],{"id":123343,"slug":123344,"title":79641,"dynasty":76,"author":33366,"museum":364,"description":123345,"tags":123346,"thumbUrl":123347,"material":743,"size":744,"collection":139,"collections":123348,"showCount":1356,"zanCount":5,"manualWeight":48,"mainColor":94},235963,"cai-jia-hua-hui-tu-ce-cai-jia-235963","蔡嘉(1686-1779)，字松原，一字岑州，号雪堂，一号旅亭，又号朱方老民，清朝江苏丹阳人，侨居扬州。所居曰高寒旧馆。与高翔、汪士慎、朱冕为诗画友。",[7,81,27,83,243,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dff31be84f9dd472ce61007950f2aba.jpg",[],{"id":123350,"slug":123351,"title":79641,"dynasty":76,"author":293,"museum":364,"description":123352,"tags":123353,"thumbUrl":123354,"material":139,"size":139,"collection":139,"collections":123355,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235956,"cai-jia-hua-hui-tu-ce-yi-ming-235956","这幅画以湖石为骨，皴染间尽显嶙峋苍润，将顽石的朴拙厚重晕染得淋漓尽致。石畔水仙挺秀舒展，花瓣莹润留白，嫩黄的花蕊点出清雅生机，修长叶片劲挺带露，与湖石刚柔相济，旁侧细竹疏淡点缀，添几分清逸灵秀。\n\n笔墨兼工带写，设色明净素雅，勾勒晕染间将水仙的清隽姿态刻画入微。右侧题诗与画面呼应，诗画相融，悠悠文人意趣随花木舒展弥漫开来，整体意境娴静清雅，尽揽花木隽秀风骨，暗藏文士观物寄情的闲淡心境。",[7,24,81,27,173,83,451,242,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2329e768406daed9e7f203e5808d8c.jpg",[],{"id":123357,"slug":123358,"title":486,"dynasty":76,"author":64824,"museum":364,"description":123359,"tags":123360,"thumbUrl":123361,"material":139,"size":139,"collection":139,"collections":123362,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},235946,"shan-shui-ce-qi-zhi-jia-235946","此作书画合璧，右侧绘就幽壑山居之景，危崖高耸出云，飞瀑隐于崖岫之间，苍松虬劲扎根矶石，林树萧疏错落，浅淡烟岚轻笼山谷，似有清气浮动弥散。\n\n笔墨清隽秀润，以简淡皴擦晕染山石肌理，林木不求繁缛层叠，寥寥数笔便具古雅意态，将幽寂山林的清远之致凝于尺幅。左侧题跋行书笔致松灵舒展，与画中逸气相合，暗合文人林泉之志，观之如临静穆丘壑，可揽山野清趣，尽得寄情山水的隐逸襟怀。",[7,24,173,29,178,81,177,176,34,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff424acd1624cdc07817dcdf5abdad340.jpg",[],{"id":123364,"slug":123365,"title":64992,"dynasty":76,"author":30075,"museum":364,"description":123366,"tags":123367,"thumbUrl":123368,"material":139,"size":139,"collection":139,"collections":123369,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235932,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235932","此作用笔朴拙雅致，以高远取景，主峰奇崛厚重，干皴淡墨铺就山体苍劲质感，浅染远山晕开空濛烟岚，拉开幽深远阔的层次。近岸枯木疏朗苍古，红墙梵宇隐现林麓间，寒滩浅水环绕寺前，将古刹清寂禅意静静铺陈。\n左侧题诗与画境呼应，书画相融更添文人气韵，设色以赭石、花青轻敷，冷暖相映又不失清雅，尽显静穆淡远的文人意趣，观之便如踏入空山古寺，襟怀也随这冷寂幽僻的林泉一同沉静下来。",[7,24,81,27,29,107,1015,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c5a66459108c30156cc839c1a8b04e9.jpg",[],{"id":123371,"slug":123372,"title":64992,"dynasty":76,"author":30075,"museum":364,"description":123373,"tags":123374,"thumbUrl":123375,"material":139,"size":139,"collection":139,"collections":123376,"showCount":1356,"zanCount":5,"manualWeight":48,"mainColor":94},235930,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235930","此作以浅绛晕染湖山，远景山峦淡赭轻敷，烟岚清濛间透着秀润雅致。中景洲渚林木葱郁，朱红梵刹隐于苍林，黛瓦朱栏点破翠色，暗合梵刹主题。近景湖面空阔无波，几叶扁舟悠然浮于水面，留白铺就湖天寥廓意境。\n\n右上题诗与景致相得益彰，诗画交融尽显文人雅趣。笔墨柔隽清逸，铺展出江南湖山的静穆禅境，将山水灵秀与古刹幽宁融为一体，淡远空灵中饱含出尘之致，尽显清丽简淡的幽远意韵。",[7,24,81,27,29,177,864,297,107,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a4467cb30a9dd1383768899c6102bd.jpg",[],{"id":123378,"slug":123379,"title":1108,"dynasty":76,"author":77291,"museum":364,"description":117552,"tags":123380,"thumbUrl":123381,"material":743,"size":744,"collection":139,"collections":123382,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235900,"shan-shui-tu-ce-guan-quan-235900",[7,24,81,178,173,27,29,107,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd227eb3eb180218938a4f022b4e69a6d.jpg",[],{"id":123384,"slug":123385,"title":1108,"dynasty":76,"author":77291,"museum":364,"description":117552,"tags":123386,"thumbUrl":123387,"material":743,"size":744,"collection":139,"collections":123388,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235899,"shan-shui-tu-ce-guan-quan-235899",[7,24,81,173,177,178,29,175,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eca19bb5db60ae82cd3c7b7641ef18e.jpg",[],{"id":123390,"slug":123391,"title":100199,"dynasty":76,"author":293,"museum":364,"description":123392,"tags":123393,"thumbUrl":123394,"material":139,"size":139,"collection":139,"collections":123395,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235888,"yuan-ji-hua-hui-tu-ce-yi-ming-235888","此作用水墨写秋菊，以浓淡变化铺陈花瓣，焦墨点醒花心，将丝缕繁复的花形表现得层次分明、舒展苍劲。叶片以大写意泼墨写出，浓淡干湿间尽显秋韵萧疏，寥寥数笔便勾勒出菊叶的清挺之态，尽显秋菊凌霜傲骨。\n\n左侧题字笔意纵逸，与画作笔势相融，诗画相映，借秋菊寄寓林下幽怀，文人意趣盎然。整幅简淡空灵，以少胜多，以水墨的纯粹晕染出清冷疏朗的意境，把传统花鸟画借物抒怀的意趣尽显无余，尽显中式写意美学的隽永之味。",[209,7,24,81,173,83,446,227,796,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5025a954b3f6444b00e7c381e68af1.jpg",[],{"id":123397,"slug":123398,"title":100199,"dynasty":76,"author":293,"museum":364,"description":123399,"tags":123400,"thumbUrl":123401,"material":139,"size":139,"collection":139,"collections":123402,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235887,"yuan-ji-hua-hui-tu-ce-yi-ming-235887","淡墨轻勾水纹，寥寥数笔便漾起柔缓波光，浓墨点染的汀草苍劲朴拙，与晕染浅淡的游鱼形成鲜明虚实对照。游鱼造型简括灵动，穿荇摇曳间，将水泽生机藏于简淡笔墨里。\n\n题书笔意纵逸浑朴，与画面融为一体，尽显水墨写意的随性野趣。以极简之形托出幽澹江湖之境，将水泽闲雅逸趣凝于尺幅间，淡而不寡，朴中藏灵，以意驭笔、以简胜繁，把清寂又生动的水畔一隅定格，让观者悄然窥见悠游自在的江渚意趣。",[7,24,81,173,446,178,227,243,136,84,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa0089515d0ede2814e1df1bde4747fb.jpg",[],{"id":123404,"slug":123405,"title":100199,"dynasty":76,"author":293,"museum":364,"description":123406,"tags":123407,"thumbUrl":123408,"material":139,"size":139,"collection":139,"collections":123409,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235886,"yuan-ji-hua-hui-tu-ce-yi-ming-235886","此作用笔极简却意趣悠长，以淡墨挥写兰叶，线条劲挺舒展如迎风摇曳，带着清刚之姿，淡墨点染花蕊，寥寥数笔便将幽兰娇俏灵动之态勾勒尽致。顽石以阔笔泼墨皴擦，墨色干湿浓淡层叠交错，枯涩笔触晕染出嶙峋肌理，朴拙厚重间尽显沉静气度。画面留白疏密相宜，虚实相生，以少胜多烘托出幽寂空灵的意境，借兰石寄寓品格，将幽兰孤高清逸的气韵与山石沉稳朴拙的质感相融，尽显文人画的雅逸风骨，藏着画者超尘绝俗的精神追求。",[7,24,209,81,173,446,452,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65062d2cd885f02a1cf82b4677985c92.jpg",[],{"id":123411,"slug":123412,"title":4025,"dynasty":76,"author":68683,"museum":364,"description":123413,"tags":123414,"thumbUrl":123415,"material":139,"size":139,"collection":139,"collections":123416,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235854,"shan-shui-zhou-wang-chen-235854","此作用两段式构图铺展山水幽境，上段云山隐隐，崖壁生松，飞瀑穿石，云烟裹挟峰峦，漾着空寂辽远之致。留白处一叶扁舟随波，渔翁独棹，暗合林下幽人的萧散襟怀。下段村居隐于茂林之间，野水潆洄，坡岸苍厚，满溢田园闲寂之味。\n\n笔墨枯劲老辣，以干笔皴擦写就山石肌理，枯中含润，简淡松秀，题诗与画境相融，将林泉雅逸的幽居之思尽数铺陈。",[7,24,241,173,177,29,174,34,920,176,558,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f5f6841a0ffbfb18caf206167ffb43.jpg",[],{"id":123418,"slug":123419,"title":486,"dynasty":99,"author":37936,"museum":364,"description":123420,"tags":123421,"thumbUrl":123422,"material":139,"size":139,"collection":139,"collections":123423,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235822,"shan-shui-ce-li-liu-fang-235822","以淡墨晕染远山，留白作覆雪，素净间尽显冬日萧寒清寂。近岸枯木虬枝错落舒展，苍劲疏朗，石畔点缀数丛青枝，于冷寂中暗生机趣。简淡笔墨勾勒出空寂出尘的水滨冬色，洗尽繁缛，尽显幽远雅致。\n\n此作笔墨简而意足，承晚明文人画尚淡尚简之风，将林下幽居的清冷雅趣藏于尺幅之间，题跋小字与清寂画面相映成趣，诗画合璧中，尽见画者寄情山水的悠远襟怀，淡而有味，余韵悠长。",[7,24,81,173,29,2502,34,30,15976,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb08e5af6b2c199a9c37238e00bf4918.jpg",[],{"id":123425,"slug":123426,"title":123427,"dynasty":99,"author":293,"museum":364,"description":123428,"tags":123429,"thumbUrl":123430,"material":743,"size":744,"collection":139,"collections":123431,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},235768,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-chen-chun-bai-hua-zhou-tu-ye-yi-ming-235768","吴门诸家寿袁方斋三绝册-陈淳百花洲图页","此作以淡彩晕染江南沙洲春景，溪岸蜿蜒舒展，疏柳轻曳掩映村舍，浅滩系着扁舟，渔翁正整理渔具，野趣悠然弥散。笔墨简淡清润，以写意笔法勾勒出水乡春日的恬柔氛围，烟柳婆娑间藏着乡居野逸之趣，将江南水畔的闲静日常晕染纸上。左侧题诗与画境相衬，书画合璧尽显雅致文心，把吴门画派独有的文人意趣融于尺幅间，淡而不寡，简中见情，将沙洲春日的闲逸定格在笔墨之中，处处透着松弛淡然的江南意韵。",[7,24,81,27,29,242,108,109,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F427bce2250ae53e129bae38db3fbe434.jpg",[],{"id":123433,"slug":123434,"title":60276,"dynasty":99,"author":32749,"museum":364,"description":60277,"tags":123435,"t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。王宸中年的画，乾皴中尚有润泽之趣。到了晚年则枯而且秀 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大片留白铺展平远水色，淡墨轻勾汀渚寒林，寥寥数笔便晕染出空阔萧疏的江天暮色。整幅以实衬虚，简淡空灵，不着浓墨重彩，便将秋日郊野的荒远静谧藏于笔墨间，带着雅致禅意，尽显留白造境的精妙，引观者坠入这幽绝尘寰的天地，静赏江天寥廓，坐忘山亭秋晚。",[7,1562,27,29,177,104,175,34,106,650,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3be7e0a2e0986debf75b93272d41c0.jpg","26x27cm",[],{"id":124091,"slug":124092,"title":124093,"dynasty":18,"author":293,"museum":20,"description":124094,"tags":124095,"thumbUrl":124096,"material":67,"size":124097,"collection":139,"collections":124098,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},234004,"qiu-tang-ke-hua-ye-yi-ming-234004","秋堂客话页","此画的古树和竹篱的小屋。 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佚名《佛说十王经》，此卷全称《佛说阎罗王授记四众预修生七往生净土经》，简称《佛说十王经》。为卷轴式手抄彩绘卷，本经卷属晚唐五代时期，画风古朴，十分珍罕。\n\n卷首绘释迦牟尼呈说法状安住于莲座上，两边是佛弟子舍利弗和目连。十王对称坐于佛之下二侧，十王身后各有二判官。中间位置圣坛两边为道明和尚和梳双髻的善恶二童子。经文后紧随地藏、龙树、观音、长悲、陀罗尼和金刚藏六大菩萨，显示了地藏菩萨在十王信仰中的重要地位。随后是黑衣使者乘黑马、把黑幡，为阎罗王派去检亡人家功德。",[23,7,24,28,27,259,106,502,281,107,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ab906e76a7baadf1b2c9e85442d8be.jpg",[],{"id":124587,"slug":124588,"title":124589,"dynasty":76,"author":16603,"museum":364,"description":124590,"tags":124591,"thumbUrl":124592,"material":139,"size":139,"collection":139,"collections":124593,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224572,"mao-shi-pin-wu-tu-kao-si-ce-qing-ren-224572","毛诗品物图考（四）册","《域外汉籍珍本文库第一辑：经部（套装共5册）》是28年1月人民出版社出版的图书，作者是域外汉籍珍本文库第一辑：经部（套装共5册）。\n这批汉籍不乏宋元珍本，如《毛诗要义》为宋淳祐十二年魏克愚徽州郡斋刻本，有清人钱天树、莫友芝手识，今藏于日本天理大学附属图书馆，为日本“重要文化财”；《集韵》为宋淳熙十四年金州军刻本，存九卷，今藏于日本宫内厅图书寮，原系日本中世纪时代金泽文库外流汉籍之一种。\n又有鲜见的旧钞本，如清人钱大昭所撰的《广雅疏义》，原为归安陆心源皕宋楼之旧藏，今归日本静嘉堂文库。\n这批汉籍还收集了品质较好的和刻本等域外刊本。\n其中对元代卢以纬的《助语词》，分别采用了两种版本，均为和刻本，为学术界提供校勘之便。\n此外，日本、高丽等国学者所撰的汉文著作也选取有价值者数种，像日本江户时期大儒安井衡所撰的日本明治三年刊本《左传辑释》就具有很高的思想造诣。\n这也说明了汉籍在域外的流布影响深远。\n第一册 汉籍之路——《域外漠籍珍本文库》序言 柳斌杰 编纂凡例 泰轩易传 宋李中正撰 周易新讲义 宋龚原撰 尚书正义 唐孔颖达等奉敕撰 毛诗要义（一） 宋魏了翁撰 第二册 毛诗要义（二） 宋魏了翁撰 诗经讲义 朝鲜丁镛撰 毛诗品物图考 日本冈元凤纂辑 礼记正义，唐孔颖达等奉敕撰 左传辑释（一） 日本安井衡撰 第三册 左传辑释（二） 日本安井衡撰 春秋胡传 宋胡安国撰 古文孝经孔氏传 汉孔安国传 孝经郑注 汉郑玄撰 日本冈田挺之录 论语集解 魏何晏撰 皇氏论语义疏参订 清吴骞撰 孟子识 日本徂徕物撰 崇孟 日本肥后薮悫撰 乐书要录 唐武墨撰 第四册 广雅疏义 清钱大昭撰 重订冠解助语辞 元卢以纬撰 日本毛利贞斋编 助语词 元卢以纬撰 五经文字 唐张参撰 九经字样 唐玄度撰 篆隶万象名义（一） 日本空海撰 第五册 篆隶万象名义（二） 日本空海撰 集韵 宋丁度等奉敕修订 三韵声汇 朝鲜洪启禧撰 两苏经解 宋苏轼、苏辙撰",[7,24,81,28,27,83,1195,299,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa09d03ad3203d8837b963c6c84f630da.jpg",[],{"id":124595,"slug":124596,"title":124597,"dynasty":99,"author":36152,"museum":364,"description":124598,"tags":124599,"thumbUrl":124600,"material":139,"size":139,"collection":139,"collections":124601,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224566,"shu-hua-ce-ye-8-xiao-yun-cong-wang-shi-zhen-224566","《书画册页》-8","此作用笔率意灵动，墨色枯湿浓淡交叠，线条粗细自然舒卷，字势欹侧相生，牵丝映带暗合文思脉络。字形大小错落排布，章法疏朗通透，通篇行气连贯浑成，尽显文人萧散简远的林下之风。\n\n落笔之间藏着沉厚笔力，随性却不失法度，将书写时的襟怀意趣尽数融于笔墨。看似不经意的挥毫，实则暗合晚明尚态抒情的书风特质，字字呼应间，让观者在笔墨流转里，触摸到彼时文人心底的疏放襟怀与隽秀文思。",[7,24,5990,178,86,173,1086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20909ba1ec50940fba631475a103ecce.jpg",[],{"id":124603,"slug":124604,"title":124605,"dynasty":99,"author":36152,"museum":364,"description":124606,"tags":124607,"thumbUrl":124608,"material":139,"size":139,"collection":139,"collections":124609,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224560,"shu-hua-ce-ye-25-xiao-yun-cong-wang-shi-zhen-224560","《书画册页》-25","此作以黄山实景入画，峰林如万笏朝天，奇崛冷峻间尽显山岳雄姿。盘崖山道萦回曲折，将错落楼宇、策杖旅人串联，静穆山景因行人添上几分灵动生机。\n\n笔墨枯淡简劲，以勾勒皴擦写就山石肌理，苍松虬枝斜出，笔意萧疏散淡，带着清冷荒疏的古雅意趣。题跋小字清隽，与淡墨轻岚融为一体，将黄山的幽绝与文人雅怀相融，把皖南山水的清旷冷逸铺陈于尺幅间，是兼具写实与抒情的山水佳构。",[7,24,173,177,29,107,108,34,176,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fb2b4eb2f4e2c05041ae041e2f8b94.jpg",[],{"id":124611,"slug":124612,"title":124613,"dynasty":99,"author":36152,"museum":364,"description":124614,"tags":124615,"thumbUrl":124616,"material":139,"size":139,"collection":139,"collections":124617,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224554,"shu-hua-ce-ye-19-xiao-yun-cong-wang-shi-zhen-224554","《书画册页》-19","以淡墨晕染烟霭长空，崖壁奇崛高耸，文士策杖凭崖，凝望远江平芜。枯木虬枝错落坡岸，间有柔枝茂叶点缀荒寒，笔墨以干淡皴擦勾勒山石肌理，兼得宋画苍劲与文人画雅逸。\n\n题跋朱印错落留白处，诗画相融，将幽居林泉的隐逸心绪藏在萧疏景致间，清寂淡远的古意漫溢纸面，暗合画中孤高文人心志。",[7,24,81,173,27,177,86,227,29,106,394,245,503,650,34,226,1329,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaae4723fd04a5f2ab0bf9de09a0ba0.jpg",[],{"id":124619,"slug":124620,"title":124621,"dynasty":99,"author":36152,"museum":364,"description":124622,"tags":124623,"thumbUrl":124624,"material":139,"size":139,"collection":139,"collections":124625,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224552,"shu-hua-ce-ye-17-xiao-yun-cong-wang-shi-zhen-224552","《书画册页》-17","此作以危崖为骨，层叠楼阁依山而起，飞檐翘角隐于苍松虬枝之间，将人工巧思揉入天工奇险。设色调清雅柔和，山石勾勒方折硬朗，皴擦极简便勾勒出崖壁肌理，古松姿态苍劲古拙，尽显高浑气象。\n\n崖间回廊蜿蜒，行人缓步登游，为冷峭山景添上悠然雅趣，右上角题跋小字灵动，与画意相映成趣，晕开文雅余韵。工致界画衬以写意山水，将世外仙山出尘之境，描摹得淋漓尽致。",[7,24,81,104,27,29,107,106,34,176,1329,1575,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9d18ef08fba367f18c210f9c9efab9.jpg",[],{"id":124627,"slug":124628,"title":124629,"dynasty":99,"author":36152,"museum":364,"description":124630,"tags":124631,"thumbUrl":124632,"material":139,"size":139,"collection":139,"collections":124633,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224551,"shu-hua-ce-ye-15-xiao-yun-cong-wang-shi-zhen-224551","《书画册页》-15","此作用干笔淡墨写尽层崖奇崛，取皖南山水清瘦之态。层叠崖壁错落排布，苍松倚壁探枝，山居楼宇嵌于山石褶皱之间，烟火意趣融于林泉丘壑。\n\n笔墨简淡清逸，以线勾勒山石筋骨，皴擦简括，不事浓艳敷色，尽现山川空灵苍劲。构图疏密得宜，纵向铺陈崖壁拉开空间层次，将山林冷峭与村居暖意相融，题跋补缀边角，文人意趣悠长，尽显晚明山水寄情林泉的清逸淡远之韵。",[7,24,81,173,177,29,107,1575,176,175,1445,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7e4ee8c969f7dab6109b89f3552ec2.jpg",[],{"id":124635,"slug":124636,"title":124637,"dynasty":76,"author":124638,"museum":364,"description":124639,"tags":124640,"thumbUrl":124641,"material":139,"size":139,"collection":139,"collections":124642,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},224538,"jiao-yin-na-liang-tu-deng-wen-ju-224538","焦荫纳凉图","邓文举","浓荫覆蔽的蕉林之下，宽袍高士斜倚凉榻，案头书卷茶盏错落，眉眼舒展间尽显松弛自适。稚童三两环绕，或俯身摆弄茶器，或嬉玩低语，鲜活稚气晕开了幽寂氛围，一动一静相映成趣。\n\n设色调和古雅，苍润蕉叶晕染出沉凝绿意，衬得绢底古褐愈发柔暖沉静。线条清隽秀逸，将蕉叶婆娑之态与高士闲散之姿勾勒传神，把夏日林下消暑的雅逸意趣尽数铺陈。仿佛能窥见晚风穿林、蕉影轻摇，将文人幽居消夏的闲情雅兴融于尺幅之中，恍若将溽热暑气隔绝在外，只留一室清宁，尽显林下风流与雅致襟怀。",[23,7,24,368,27,28,106,3045,78035,17264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e75c9094b8bc0063c73467689305ca.jpg",[],{"id":124644,"slug":124645,"title":124646,"dynasty":76,"author":2324,"museum":364,"description":124647,"tags":124648,"thumbUrl":124649,"material":139,"size":139,"collection":139,"collections":124650,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224324,"hua-niao-shi-er-kai-2-li-shan-224324","花鸟十二开2","此作用笔刚柔相济，留白疏朗清寂。猛禽敛羽垂首，铁爪紧扣花枝，孤傲桀骜的野逸英气暗藏于静立姿态间，似正凝神窥察周遭动静。花卉以淡墨晕染出蓬松柔润的质感，叶片枯涩老辣，苍劲枝桠与悍猛禽鸟浑然相融。题字笔力雄健，与画面意趣相得益彰，寥寥数笔便将“英雄自立”的题旨藏于水墨之中，以简驭繁勾画出物象神韵，尽显文人写意的豪放清雅，把孤傲英挺的气概晕染在素笺之上，尽显水墨写意的精妙意趣。",[23,7,173,446,81,83,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb254c432b44c64947e17c010bbb0360c.jpg",[],{"id":124652,"slug":124653,"title":124654,"dynasty":76,"author":2324,"museum":364,"description":124655,"tags":124656,"thumbUrl":124657,"material":139,"size":139,"collection":139,"collections":124658,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224323,"hua-niao-shi-er-kai-12-li-shan-224323","花鸟十二开12","以水墨写就牡丹，运笔纵放老辣，墨色层次丰盈，浓淡干湿晕染间，尽显牡丹华贵姿容。焦墨点簇花头苍润兼济，淡墨晕留白处虚灵雅致，枝叶穿插随性却不失章法，尽显挥毫时的酣畅意气。\n\n右侧行书题诗笔势跌宕，书画相映成趣，将文人写意的抒情特质尽显。画作不拘泥于形，以水墨替代设色，褪去浓艳，提炼出牡丹不恃色露风骨的意韵，尽显随性率真的写意风骨，于挥洒之间藏着画者寄情花木、不流于俗的文人襟怀。",[23,7,24,173,81,83,327,86,227,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd795af6042318958264f8c1bb453e04a.jpg",[],{"id":124660,"slug":124661,"title":124662,"dynasty":76,"author":2324,"museum":364,"description":124663,"tags":124664,"thumbUrl":124665,"material":139,"size":139,"collection":139,"collections":124666,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224306,"hua-hui-shi-er-kai-7-li-shan-224306","花卉十二开7","此作以极简笔墨勾勒秋日闲景，构图疏朗留白有致。右上角淡墨绘藤蔓残叶，朱红果鲜亮醒目，晕染灵动，与浅淡枝叶相映成趣。下方枯枝上，禽鸟以浓淡墨色晕染出羽毛层次，昂首远眺姿态鲜活，仿佛正侧目红果，野趣横生。\n全画笔意纵逸随性，寥寥数笔便将禽鸟的机警灵动与秋果的鲜活生机尽显，浓淡墨色冷暖相映，简淡却意蕴悠长。配之题款朱印，文气雅致，尽显文人写意画的随性风神，将秋日一隅的幽寂生机悄然铺展，恬淡悠然，尽显写意花鸟的隽永意趣。",[23,7,24,81,173,27,83,224,1062,713,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eff5f05f84877912f8f80a3c7e379a0.jpg",[],{"id":124668,"slug":124669,"title":124670,"dynasty":76,"author":2324,"museum":364,"description":124671,"tags":124672,"thumbUrl":124673,"material":139,"size":139,"collection":139,"collections":124674,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224303,"hua-hui-shi-er-kai-4-li-shan-224303","花卉十二开4","这幅小品兼用没骨与写意笔法，绘两折幽花。上枝柔茎修长，粉花轻妍，晕染细腻，尽显娇柔轻盈之态；下簇黄花明媚鲜亮，墨叶以阔笔挥就，浓淡交叠，苍劲中藏秀润，朴拙见灵动。\n\n左侧题诗与花木相衬，以花自喻，吐露清介襟怀，诗书画印浑然一体，尽显扬州画派纵恣文心。笔墨简括却意态丰盈，将花木的绰约风神与文人孤傲品格相融，清雅脱俗，余韵悠长。",[23,7,24,81,27,83,84,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff87a8cacac29b8f8f20ecdeeefa4100.jpg",[],{"id":124676,"slug":124677,"title":124678,"dynasty":76,"author":2324,"museum":364,"description":124679,"tags":124680,"thumbUrl":124681,"material":139,"size":139,"collection":139,"collections":124682,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224298,"hua-hui-shi-er-kai-10-li-shan-224298","花卉十二开10","这幅小品将水仙与日常蒜头并置，打破雅俗边界。淡墨轻扫水仙叶片，笔意舒展灵动，花瓣晕染留白，清逸柔婉。一旁蒜头以枯笔极简勾勒，憨拙质朴，二者相映成趣。\n题款笔墨恣肆，暗合“同是蒜也，可雅可俗”的谐趣，尽显文人随性诙谐的意趣。水墨设色简淡却神采具足，把清雅花草与日常风物相融，消解雅俗对立，寄寓画师对生活的通透体察，笔情墨趣间尽显写意花鸟的灵动生机。",[23,7,24,81,27,446,451,84,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273442628b32e2197828f1322a679f80.jpg",[],{"id":124684,"slug":124685,"title":124686,"dynasty":76,"author":45523,"museum":364,"description":124687,"tags":124688,"thumbUrl":124689,"material":139,"size":139,"collection":139,"collections":124690,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224281,"shan-shui-hua-hui-ce-shi-wu-fu-shan-224281","山水花卉冊(十五)","此作用留白摹绘空濛水面，虚实相映间晕染出澹远氛围。淡赭铺就底色，晕开温润古雅的基调。层叠飞檐的楼阁笔致沉稳工细，朴拙雅致，被繁茂林木掩映其中，苍润点叶勾勒出郁葱林木，将古建藏于幽林深处，尽显园居林下的幽谧雅致。整体笔墨简淡萧散，以极简的构图铺陈出悠然林泉意趣，将山居清逸诗意藏于毫端，尽显文人画静雅疏朗的气韵。",[23,7,27,81,104,29,107,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcefbf253f5d81cb951145273ef1c17b.jpg",[],{"id":124692,"slug":124693,"title":124694,"dynasty":76,"author":45523,"museum":364,"description":124695,"tags":124696,"thumbUrl":124697,"material":139,"size":139,"collection":139,"collections":124698,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224276,"shan-shui-hua-hui-ce-liu-fu-shan-224276","山水花卉冊(六)","此作用淡赭勾勒峰峦，造型奇崛瘦硬，错落层叠间，孤亭踞于山巅，自带遗世独立之态。远景以浅淡晕染绘就平畴远渚，简淡空濛，留白铺展出天地的空阔寂寥。\n\n画面简笔淡墨，将山野清寂之态尽数铺陈，右上角题字笔意纵逸率真，与山水的萧散野逸融为一体，将寄情林泉、超然物外的襟怀藏于笔墨间，淡而弥远，简而有味，尽显文人写意山水的疏放意趣。",[23,7,24,81,173,177,29,175,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843f3dae55cff6f9f3046edc1d2d7f29.jpg",[],{"id":124700,"slug":124701,"title":124702,"dynasty":76,"author":45523,"museum":364,"description":124703,"tags":124704,"thumbUrl":124705,"material":139,"size":139,"collection":139,"collections":124706,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224273,"shan-shui-hua-hui-ce-er-fu-shan-224273","山水花卉冊(二)","此作以淡赭晕染出水天浑然的底色，群峰被绘作奇崛瘦硬的嶙峋之态，如笋如刃错落浮于虚渺烟岚之间。山间林木以细笔极简点簇，萧疏冷逸。画面留白肆意铺陈，勾勒出荒寒空濛的幽寂意境。左侧题印与山水相映，添了文墨雅趣。画家舍去繁复皴染，以简淡笔墨写胸中丘壑，将北方山川的奇峭风骨，与遗世孤高的文人意趣相融，尽显清冷淡远的禅味，笔墨简净却意韵悠长。",[23,7,24,81,173,27,29,245,108,34,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a89b3cc5fc5b36085465ba8a7fd6dc.jpg",[],{"id":124708,"slug":124709,"title":124710,"dynasty":76,"author":50445,"museum":364,"description":90910,"tags":124711,"thumbUrl":124712,"material":743,"size":744,"collection":139,"collections":124713,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224267,"song-bie-tu-wang-gai-224267","送别图",[23,7,24,25,173,178,86,227,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8d8fef4867d67a697bf2e48c6fb0a1.jpg",[],{"id":124715,"slug":124716,"title":124717,"dynasty":76,"author":56483,"museum":364,"description":124718,"tags":124719,"thumbUrl":124720,"material":139,"size":139,"collection":139,"collections":124721,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224266,"dou-bi-dan-tai-tu-jiang-zhu-224266","陡壁丹台图","《新安画派书画精品集》以渐江为代表的新安画派及与之同时的一些杰出画家的创作成就，同时介绍作为“源”的在他们之间的一些著名画家与作为“流”的在他们之后一些画家的创作成就，叙述对新安画派、新安画坛的创作有深刻影响的绘画美学思想，特别是新安人的绘画美学思想。\n《新安画派书画精品集》由 出版。\n敛辞朱良剑 敛辞石金呜 前言 “新安画派”概述张飞莺 风骨冷然气韵清逸——安徽博物院藏渐江《晓江风便图》赏析李艳红 先声 江必名 雪景山水图 吴龙草亭听泉图 郑元勋古木秀石图 郑为虹山斋读书图 程嘉燧柳桥山寺图扇面 程嘉燧秋浦泛舟图扇面 李永昌策杖行吟图 高峰 汪之瑞空亭幽树图页 渐江浊阜图册 渐江晓江风便图卷 渐江秋江风帆图扇面 孙逸溪桥觅句图 查士标宿雨初收图 查士标深山古寺图 查士标仿董北苑山水图 查士标仿梅华道人山水图 查士标仿元人山水图 查士标坐对江天图 查士标 云山梦树图页 查筠仿梅壑山水图 胡皋和风烟雨图 程邃山静太古图 程邃独往秋山图 程邃秋山图册 戴本孝巢民老人观菊图卷 戴本孝 山谷回廊图 戴本孝草阁幽情图 戴本孝苍松劲节图 戴本孝摹北苑山水图 戴本孝湖山逸兴图 吴定剡溪积雪图 吴定秋高叶醉图 吴定瑶峰玉树图 郑畋仿吴仲圭山水图 郑欧黄山四景图四条屏 郑畋仿倪山水图 程萝乱山草木图 姚宋仿黄鹤山樵山水图 江注黄山一角图 江注陡壁丹台图 祝昌仿倪山水图 吴元澄 临赵鸥波《夏山高隐图》 余韵 谢绍烈江石萝月图扇面 释雪庄木莲花图 释一智黄山云舫道中图 方士庶栖霞楼归图 何文煌溪山话别图卷 程义仿赵子固山水图 鲍楷寒庵香雪图 程堂仿梅华山水图 汪朴南窗寄傲图 江士相富春归棹图卷 吴麈仿梅道人山水图 汪滋仿古山水图册 程鸣沧江泛舟图 汪梅鼎云光林翠图卷",[23,209,7,24,241,173,27,177,29,106,34,1575,107,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a377bbdc316fd42f6a777df356cbf29.jpg",[],{"id":124723,"slug":124724,"title":124725,"dynasty":76,"author":64370,"museum":364,"description":124726,"tags":124727,"thumbUrl":124728,"material":139,"size":139,"collection":139,"collections":124729,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224262,"qiong-hua-lou-li-shi-zhuo-224262","琼华楼","此作书画合璧，以淡墨绘就平林寒色，枯木虬枝萧疏错落，坡石隐现间，楼宇澹然栖于山坳林畔，晕染极简却意境幽寂出尘。\n笔底不施重彩，全以枯淡线条勾勒物象，将林泉雅致化为世外灵墟。左侧题诗笔力端稳清劲，诗画相和，以仙苑之思呼应画中意境，把林下幽怀寄于简淡笔墨。整体清雅绝尘，淡而有味，尽显文人画以笔写心、诗画交融的意趣，留白间藏着悠远禅意，将观景之思升为世外清怀。",[23,7,24,173,260,29,107,34,176,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b02acaee4aa214f25c0229bef39c392.jpg",[],{"id":124731,"slug":124732,"title":124733,"dynasty":76,"author":124734,"museum":364,"description":124735,"tags":124736,"thumbUrl":124737,"material":139,"size":139,"collection":139,"collections":124738,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},224198,"gao-tu-jing-she-tu-li-shi-zhuo-224198","皋涂精舍图","李士倬","以淡墨轻皴山峦，浅赭晕染铺就清润底色，将精舍安置在山坳间，周遭林木错落、屋舍隐现，丘壑缓舒间尽显雅静幽寂。\n\n书画合璧，题跋与山水相映，笔致松秀萧散，没有繁复勾勒，只以极简皴擦写尽山石肌理，草木点染随性清疏，将林泉高致融于尺幅间，把文人遁迹丘山、寄情林泉的雅怀缓缓铺陈，意境淡远超脱，尽显清逸出尘的文人画风骨，寥寥笔墨勾勒出诗意山居的澹澹意趣。",[23,7,29,104,173,177,86,227,241,864,34,107,114,1445,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a2ed7b7e19a09c785c8e47769d9c94.jpg",[],{"id":124740,"slug":124741,"title":94105,"dynasty":18,"author":293,"museum":364,"description":124742,"tags":124743,"thumbUrl":124744,"material":139,"size":139,"collection":139,"collections":124745,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":49},223684,"xun-qin-fu-zhuo-tu-ye-yi-ming-223684","《宋人画驯禽俯啄图》是宋代佚名创作的绢本设色画。\n此图原载《宋元集绘册》。\n图绘一件浅蓝色瓷罐置于画面正中，一只小麻雀于罐沿上低头觅食。\n雀身系一赤色小绳，绳端拴一圆圈，以点出「驯禽」之意。\n作者先用细笔勾出鸟的轮廓，然后用细笔丝出羽绒，再用浓墨点出翅膀、鸟尾和眼珠，使小鸟的形象生动逼真，具有较强的质感。\n全图笔法工细，构图简洁，设色柔和自然。\n此图无款，旧题签为「驯禽俯啄」，现沿用此名。\n画面左下角钤「宋荦审定」一印。\n曾经清人宋荦收藏，《石渠宝笈三编》著录。\n本幅无款。\n钤鉴藏印“宋荦审定”。\n裱边题签：“宋人驯禽俯啄”。\n图中一只 立于浅蓝色敞口瓷罐上，低头欲啄罐沿。\n麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。\n麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。\n画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[23,209,7,24,81,27,28,83,224,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5063ca27005a536981c4ba62953d8db8.jpg",[],{"id":124747,"slug":124748,"title":115828,"dynasty":18,"author":293,"museum":364,"description":124749,"tags":124750,"thumbUrl":124751,"material":139,"size":139,"collection":139,"collections":124752,"showCount":1356,"zanCount":48,"manualWeight":48,"mainColor":94},223628,"he-tang-xi-lai-tu-yi-ming-223628","《宋人画荷塘鸂鵣图》是宋代佚名创作的绢本设色画。\n烟雾迷蒙，一曲清溪，两岸夹植杨柳，间以红花。\n溪中莲叶点点，鸂鵣戏水，其乐融融。\n一行白鹭破空飞向远方，将观赏者的视线引向画外；蜿蜒的清溪，则将视线推向了画景深处。\n柳叶用攒笔点画，树干用双钩法绘出，鸂鵣以工笔刻画。\n设色柔和淡雅。\n小小的册页画中略用了深远与高远的画法，就使画面意境达到了深远的效果。\n对幅有清乾隆皇帝御题诗一首:“花鸟从来属剑南，水禽夏卉照晴潭。\n鸳鸯无碍称其紫，弟子有时胜彼蓝。\n水宿相呼如觧勅，沙群式度自能谙。\n涨滩落鸟寻常事，何涉西台纪怪谈。\n” 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风霜的傲骨。\n\n左侧题诗与画作相映成趣，诗画交融，晕开萧寒清寂的林下氛围。整幅不作繁复晕染，以极简水墨勾勒形神，将宋人的尚简重意藏于毫端，以岩桧自况，尽显沉浑刚劲的生命张力，是借物言志的水墨小品佳作。",[7,209,24,173,86,178,245,1015,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd743fcacac99515bed7070972b6a5f0.jpg",[],{"id":127122,"slug":127123,"title":47917,"dynasty":189,"author":293,"museum":364,"description":32941,"tags":127124,"thumbUrl":127125,"material":743,"size":744,"collection":139,"collections":127126,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":49},288973,"tie-guai-li-tu-yi-ming-288973",[7,173,2714,34053,631,241,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1bebebc2371a4a83a509e5f542b0f84.jpg",[],{"id":127128,"slug":127129,"title":127130,"dynasty":76,"author":127131,"museum":364,"description":127132,"tags":127133,"thumbUrl":127134,"material":743,"size":744,"collection":139,"collections":127135,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":271},288496,"tian-yi-yin-qing-xiao-tu-li-zhou-luo-ke-huan-288496","天意阴晴晓图立轴","罗可桓","罗可桓曾中过举人，至今山西省博物馆存有他的书画手迹、真品。他的儿子罗眉仙，曾在民国初年担任过雁北天镇县县长",[23,7,241,173,83,327,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d41cd0d1381e35a37017aad0856ee5.jpg",[],{"id":127137,"slug":127138,"title":121230,"dynasty":292,"author":293,"museum":364,"description":127139,"tags":127140,"thumbUrl":127141,"material":743,"size":744,"collection":139,"collections":127142,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":49},288487,"wu-dai-juan-hua-gong-yang-tu-yi-ming-288487","画面虽有残损，却难掩古雅意蕴。上部诸佛端然安坐云莲之间，衣纹舒展流畅，设色依旧浓烈鲜亮，仪轨严整，尽显清净庄严的梵界气象。下方供养人身着时服，展脚幞头配乌色圆领官袍，腰束玉带，跪伏于织锦方毯之上，双手奉持供器，面容恭谨肃穆，将俗世信众的诚敬之心刻画得细腻传神。整作线条凝练沉稳，设色厚重古拙，兼具宗教造像的庄严感与世俗肖像的写实性，暗合彼时佛教供养的风尚意趣。",[23,7,24,106,259,27,65,9254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd6736d6479d3c138cf50133680889a5.jpg",[],{"id":127144,"slug":127145,"title":127146,"dynasty":292,"author":293,"museum":364,"description":127147,"tags":127148,"thumbUrl":127149,"material":743,"size":744,"collection":139,"collections":127150,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":49},288484,"ren-wu-shou-gao-yi-ming-288484","人物手稿","此作为白描佛画稿，五尊圣像对称排布，主尊居中，胁侍分置两侧，章法匀整肃穆。画师以铁线描勾勒，线条遒劲流畅，衣袂褶皱流转自然，将织物柔滑垂坠的质感尽显无遗。\n\n诸圣顶覆圆光，安坐莲台，神情庄静悲悯，形神兼具。上方宝幔垂络，纹饰精巧，烘托出佛国清净庄严的氛围。虽无设色，仅以素线造型，却将佛、弟子与菩萨的仪轨气度刻画入微，简淡线条中具足沉静慈悲的宗教感染力，尽显传统宗教绘画精湛的线描功力。",[23,7,24,260,259,9254,106,5713,25116,1862,2340,95915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a39df624f079c69ad50f39c2145e060.jpg",[],{"id":127152,"slug":127153,"title":127154,"dynasty":76,"author":10511,"museum":364,"description":34602,"tags":127155,"thumbUrl":127156,"material":743,"size":744,"collection":139,"collections":127157,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":49},288401,"qing-wen-xiao-tie-jiang-yun-xuan-sun-wen-288401","晴雯笑帖绛芸轩",[23,7,28,27,106,59,758,107,80612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F272164728f5e6df2cf97ef01043293c3.jpg",[],{"id":127159,"slug":127160,"title":127161,"dynasty":76,"author":10511,"museum":364,"description":34602,"tags":127162,"thumbUrl":127163,"material":743,"size":744,"collection":139,"collections":127164,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":49},288379,"jia-bao-yu-qi-yuan-shi-jin-suo-sun-wen-288379","贾宝玉奇缘识金锁",[23,7,27,28,106,59,107,448,242,2502,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3233e791fd1dbb65deb5cf598d23cd31.jpg",[],{"id":127166,"slug":127167,"title":127168,"dynasty":76,"author":293,"museum":364,"description":127169,"tags":127170,"thumbUrl":127171,"material":743,"size":744,"collection":139,"collections":127172,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":49},288254,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-huang-er-shi-yi-zi-yun-xi-yi-ming-288254","历代帝王贵妃大臣朝服像(皇二十一子允禧)","苍松偃盖，流泉漱石，山居雅境晕开松弛日常。主人身着石青常服安坐岩上，面容清癯淡然，尽显林下散逸之姿，将天潢贵胄的隐逸心绪藏于眉眼。侍从躬身持盏，恭谨内敛，与主人的悠然闲适形成细腻呼应。\n\n上方题诗笔致清雅，将寄情林泉、不耽尘俗的志趣和盘托出，诗画相映成趣。整作设色调和柔润，衣纹排布写实工整，人物刻画形神兼备，以纪实写真功底糅合山水意境，将清代贵胄的私享闲雅定格绢素，藏着盛世里的一抹林泉意趣。",[23,7,241,28,27,106,1575,109,176,63,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb3bf79396a7da4b0bee9968b7f9e6b.jpg",[],{"id":127174,"slug":127175,"title":127176,"dynasty":76,"author":293,"museum":364,"description":127177,"tags":127178,"thumbUrl":127179,"material":743,"size":744,"collection":139,"collections":127180,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},288205,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yu-qin-wang-duo-duo-yi-ming-288205","历代帝王贵妃大臣朝服像(豫亲王多铎)","这幅肖像画写实传神，将主人公的威仪刻画入微。面容方正硬朗，虬髯紧抿，眼神沉凝锐利，自带开国宗王的雄武气场，不怒自威。\n\n朝服细节分毫毕现，石青地遍饰平金绣就的金龙祥云，龙身姿爪劲健灵动，辅以江崖海水与缠枝宝相花，既彰显亲王的无上尊荣，也严守清代宗室仪制的森严法度。朱红髹金宝座满雕瑞兽，与朝服华贵呼应。\n\n整体设色浓妍沉稳，构图规整肃穆，精准定格下铁帽子王的煊赫身份，是清代肖像画中纪实性与艺术性相融的典型佳构。",[23,7,27,28,106,502,63,99264,23921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff826f404654aaa9ed76933a4a330fe2d.jpg",[],{"id":127182,"slug":127183,"title":127184,"dynasty":76,"author":293,"museum":364,"description":127185,"tags":127186,"thumbUrl":127187,"ma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。明朝中期政治家、文学家，赠少师夏鼎的儿子。\n正德十二年（1517年），进士及第，授行人司行人。迁兵科给事中，以正直敢言闻名。明世宗继位后，上疏奏陈先朝弊政，奉命裁汰冗员，清查皇族庄田，迁少詹事兼任翰林学士。推动“大礼议”事件，大获圣宠，累迁武英殿大学士、礼部尚书、太子太傅，加位少师、特进光禄大夫、上柱国。嘉靖十八年（1539年），成为内阁首辅。完备内阁，抑制宦官，整顿吏治，巩固边防，颇有政绩。内心耿直，豪迈强直，逐渐失去宠爱。\n嘉靖二十七年（1548年），支持收复河套地区，受到严嵩诬陷，坐罪处死，时年六十七岁。明穆宗继位，得以平反昭雪，追谥“文愍”。诗文宏整，以词曲擅名，著有《桂洲集》及《南宫奏稿》传世。",[23,209,7,24,25,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249a76b7089dbf0651db22708e272cf2.jpg",[],{"id":127445,"slug":127446,"title":127447,"dynasty":76,"author":127448,"museum":364,"description":127449,"tags":127450,"thumbUrl":127451,"material":139,"size":139,"collection":382,"collections":127452,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239916,"yu-ti-fu-lian-shang-shi-ye-ceng-yu-239916","与惕甫莲裳诗页","曾燠","曾燠（yù 1759-1831），字庶蕃，一字宾谷，晚号西溪渔隐。江西南城人。官至贵州巡抚。清代中叶著名诗人、骈文名家、书画家和典籍选刻家，被誉为清代骈文八大家之一。 曾廷澐之子。",[76,7,24,178,260,452,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb323c021d758be0a8e4ff2c28d097b.jpg",[382],{"id":127454,"slug":127455,"title":127456,"dynasty":99,"author":127457,"museum":364,"description":127458,"tags":127459,"thumbUrl":127460,"material":139,"size":139,"collection":139,"collections":127461,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239901,"ming-dai-ming-ren-shen-shi-xing-deng-mo-bao-yang-yi-qing-239901","明代名人，申时行等墨宝","杨一清","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美。",[86,24,7,25,178,173,227,32785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98ea6b414bb2eefd6807d89390d76fd.jpg",[],{"id":127463,"slug":127464,"title":127465,"dynasty":76,"author":127466,"museum":364,"description":127467,"tags":127468,"thumbUrl":127469,"material":743,"size":744,"collection":139,"collections":127470,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239788,"hong-li-wu-tai-shan-shi-ce-liu-bing-tian-239788","弘历五台山诗册","刘秉恬","刘秉恬（？——1800年），字德引，山西省洪洞县苏堡村人，清朝大臣。",[7,24,81,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d8b3e0e94d857ccd87dfe47cd2d5397.jpg",[],{"id":127472,"slug":127473,"title":127474,"dynasty":76,"author":127475,"museum":364,"description":127476,"tags":127477,"thumbUrl":127478,"material":743,"size":744,"collection":139,"collections":127479,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":49},239705,"a-gui-shu-hong-li-wan-shou-ju-shi-ce-a-gui-239705","阿桂书弘历万寿菊诗册","阿桂","章佳氏，字广庭，号云岩，满洲正蓝旗（后以功抬入正白旗）人，清朝名将，大学士阿克敦之子\n阿桂于乾隆三年（1738年）中举，累授户部郎中、军机章京。乾隆十三年（1748年），随征大小金川，遭劾被贬。后复升为内阁学士兼礼部侍郎，因办事勤慎而受重用，历任参赞大臣、镶红旗蒙古副都统、工部侍郎等，长期戍守西北边疆。乾隆二十四年（1759年），参与平定大小和卓叛乱，事后移驻伊犁，建屯田之策。回朝数年间，历任内大臣、汉军镶蓝旗都统、军机大臣、满洲正红旗都统、四川总督等。乾隆三十三年（1768年），以副将军之职随经略傅恒领兵征讨缅甸。乾隆三十六年（1771年），再次参加大小金川之役，历时五年，运筹战事，多合机宜，为平定金川首功。此后多次前往地方办理钦案、督筑河堤，两次率师镇压甘肃回民起义，并以领班军机大臣身份提出镇压台湾林爽文起义的进兵方略，累加太子太保、武英殿大学士。嘉庆二年（1797年），阿桂逝世，享年八十一岁。获赠太保，谥号“文成”，并入祀贤良祠。道光三年（1823年），配飨太庙。有《军需则例》15卷，今已佚。有诗数首传世。",[7,24,81,86,27,453,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9978b095cf694218df7826fd430125.jpg",[],{"id":127481,"slug":127482,"title":127483,"dynasty":99,"author":293,"museum":364,"description":127484,"tags":127485,"thumbUrl":127486,"material":139,"size":139,"collection":139,"collections":127487,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239661,"zhang-yu-huai-you-shi-juan-yi-ming-239661","张羽怀友诗卷","此卷笔墨萧散清逸，以行书铺陈怀友心绪，点画牵丝映带间尽显明代文人的清雅风神。笔意随性舒展，将念友的缱绻深情藏于流动线条之中。\n\n卷上鉴藏钤印琳琅错落，历代题跋排布有致，虽经岁月磨洗，有蠹蚀墨损晕开斑驳痕迹，却恰似时光镌刻的印记，晕染出古旧温润的质感。它将私人怀愫凝为跨越时空的笔墨遗存，裹挟着古纸沉香，静静诉说昔年文人间的知己情谊，尽显尺牍诗卷的隽永韵致。",[23,7,24,25,86,1397,173,178,227,29,34,114,84604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7840233708350a9a9d0071500e0ed22.jpg",[],{"id":127489,"slug":127490,"title":121570,"dynasty":76,"author":1204,"museum":20,"description":121571,"tags":127491,"thumbUrl":127492,"material":803,"size":121574,"collection":139,"collections":127493,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239602,"shi-san-zha-ce-zhu-da-239602",[7,24,81,178,1147,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffde872d857b9d2955b28f94e8aa029.jpg",[],{"id":127495,"slug":127496,"title":55103,"dynasty":76,"author":55104,"museum":364,"description":127497,"tags":127498,"thumbUrl":127499,"material":139,"size":139,"collection":139,"collections":127500,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239533,"fang-gu-ji-you-tu-ce-huang-yi-239533","画面左右疏密相生，左侧题跋笔墨朴拙舒展，行书苍劲清逸，与右侧山水浑然相融。干笔淡墨晕出山峦秋意，屋舍错落隐于枯木疏枝之间，简括写意，留白空灵幽寂。\n\n整体以书入画，笔致简劲清脱，将寻古幽怀寄寓淡墨轻岚之中，尽显文人雅淡意趣。萧索淡远的山居小景，与长篇题咏相映成趣，诗画合璧，笔简而意足，漫溢出静穆古雅的林下之风。",[7,24,81,173,27,29,175,35,34,176,227,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e703d15fabc404980d71f616584a315.jpg",[],{"id":127502,"slug":127503,"title":127504,"dynasty":76,"author":293,"museum":364,"description":127505,"tags":127506,"thumbUrl":127507,"material":743,"size":744,"collection":139,"collections":127508,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239480,"chi-cheng-shan-shui-wan-shan-yi-ming-239480","赤城山水纨扇","此作为绢本山水小品，以干笔淡墨晕染出清寂淡远的山居之境。层叠崖壑间虬松错落，枝桠舒展掩映幽居茅舍，涧谷隐有流泉暗涌，留白处似漾着浅溪，衬出山野空濛萧疏的意趣。\n\n画家以简淡皴擦勾勒山石肌理，笔墨松灵秀润，将林泉高致的隐逸之趣藏于尺幅之中。题字清雅与山水笔墨相融，尽显文人画幽淡闲远的意韵，把尘嚣之外的林下清居绘得灵动悠然，空灵雅致的意境漫溢于绢素之上，是意韵悠长的小品佳制。",[7,24,1562,29,173,177,227,176,34,114,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbced76f92d058eb60b775cbf1a7e75bf.jpg",[],{"id":127510,"slug":127511,"title":127512,"dynasty":76,"author":127513,"museum":364,"description":127514,"tags":127515,"thumbUrl":127516,"material":743,"size":744,"collection":139,"collections":127517,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239471,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-ren-wu-ce-ye-zhu-cheng-239471","清初十四家书画集锦册-人物册页","朱澂","朱澂-清吴县(今江苏苏州)浒墅人。字天鉴。朱嘉遇长子。诸生。康熙中曾任江南石埭县教谕,廉洁持己,训课有方。后改授湖广江陵县丞。",[7,24,81,260,173,178,227,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6e2c4b6c14897f98d17866192398bb.jpg",[],{"id":127519,"slug":127520,"title":127521,"dynasty":76,"author":36765,"museum":364,"description":79237,"tags":127522,"thumbUrl":127523,"material":743,"size":744,"collection":139,"collections":127524,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239470,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-zhi-hua-shan-shui-ce-ye-wu-hong-239470","清初十四家书画集锦册-指画山水册页",[7,24,81,173,177,178,227,29,864,430,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墨荷，以指代笔，用墨色浓淡晕染出荷花绰约之姿。花瓣枯润对比鲜明，半开菡萏神态舒展慵懒，焦墨勾出花脉，尽显娇柔雅致。荷茎劲挺修长，带着苍劲笔意斜曳而出，下方汀叶以泼墨写出，墨色酣畅淋漓，虚实相生间尽显荷塘萧疏淡远之致。\n\n右侧行书题诗笔意纵逸，与清润墨荷相映成趣，书画合璧尽显文人写意的随性雅致，寥寥数笔便将秋日荷塘的幽澹诗意尽显，简淡脱俗，禅意自生。",[7,24,81,38570,173,83,243,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca6306dbad47ed0b6255ae282c4733a.jpg",[],{"id":127595,"slug":127596,"title":70517,"dynasty":99,"author":70518,"museum":364,"description":127597,"tags":127598,"thumbUrl":127599,"material":139,"size":139,"collection":139,"collections":127600,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239267,"shu-hua-tu-ce-cheng-min-239267","此作用极简水墨绘就幽兰逸姿，中锋挥写兰叶，线条舒展劲挺，柔而带骨，于虚实枯润间尽显萧散灵动。淡墨轻勾兰瓣，浓墨点染花心，寥寥数笔便将兰花清雅柔婉之态定格纸面。\n\n构图疏密相宜，留白空灵悠远，以形写意，借幽兰芳洁之姿寄寓文人君子风骨。笔简意丰，淡远悠然，尽显林下之风雅致意趣，将文人情愫与花木风神相融，余韵绵长。",[7,173,81,452,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3b3a861a771a78317f068089c63c0.jpg",[],{"id":127602,"slug":127603,"title":70517,"dynasty":99,"author":70518,"museum":364,"description":127604,"tags":127605,"thumbUrl":127606,"material":139,"size":139,"collection":139,"collections":127607,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239265,"shu-hua-tu-ce-cheng-min-239265","此作用笔极简，以淡墨勾勒湖石，留白衬出嶙峋空灵之态，枯润线条尽显硬挺质感。兰叶以中锋挥写，笔势舒展劲健，俯仰生姿，寥寥数笔便将幽兰清挺孤傲的韵致尽显。角落细碎苔草与修长兰叶形成疏密对照，画面虚实相生，清雅绝尘。\n全幅以水墨为骨，不施丹青，尽显重韵尚简之妙，借兰石托物言志，寄寓超脱世俗、守正高洁的襟怀，笔墨间晕开冲淡悠远的林下之风，是意韵悠长的写意小品佳作。",[7,24,81,173,177,452,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a2bc3083f764a8425c72894ad21147.jpg",[],{"id":127609,"slug":127610,"title":70517,"dynasty":99,"author":70518,"museum":364,"description":127611,"tags":127612,"thumbUrl":127613,"material":743,"size":744,"collection":139,"collections":127614,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239264,"shu-hua-tu-ce-cheng-min-239264","此作以平远章法铺陈江渚丘林，上方丘峦疏树之间孤舍独伫，风杆轻立，远渚横陈，留白尽现江天寥廓空寂；下方茂林围篱，水岸逶迤，林麓错落生趣。\n笔墨简淡清润，以中锋勾勒皴擦，不作繁复晕染，尽显萧散冷逸的江乡幽居意趣，将文人林泉高致的隐逸襟怀融于寥寥笔意之间，淡而弥远，清寂悠然。",[7,24,173,81,29,34,174,35,490,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6de6ff4104d8aec03ee6c1dda699e8f.jpg",[],{"id":127616,"slug":127617,"title":70517,"dynasty":99,"author":70518,"museum":364,"description":127618,"tags":127619,"thumbUrl":127620,"material":743,"size":744,"collection":139,"collections":127621,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239261,"shu-hua-tu-ce-cheng-min-239261","此作以水墨写意枯木竹石，枯木虬曲苍劲，用笔老辣爽利，嶙峋枝干带着锐刺，尽显古拙孤傲的萧瑟意态。下方墨竹叶脉分明，中锋挥写的叶片错落舒展，劲挺清逸，与枯木的苍涩刚硬形成刚柔呼应，淡墨晕染的坡石极简勾勒，托衬出画面清寂氛围。\n整幅小品逸笔草草，以简驭繁，将物象风骨尽数展现，以画寄情，暗含着文人淡泊清峻的襟怀，尽显水墨小品以意取胜的雅致格调。",[7,24,81,173,1015,340,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70843173388f7acd3b50f4ee03a450d.jpg",[],{"id":127623,"slug":127624,"title":70517,"dynasty":99,"author":70518,"museum":364,"description":127625,"tags":127626,"thumbUrl":127627,"material":743,"size":744,"collection":139,"collections":127628,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239258,"shu-hua-tu-ce-cheng-min-239258","此作以奇石为骨，丛竹环生依附，尽显文人水墨小品意趣。奇石以淡墨勾廓，略施皴擦，留白衬出嶙峋朴拙的质感，空灵通透间见出山石之态。\n\n墨竹叶以浓墨点染，攒三聚五，笔力劲挺爽利，枝叶错落交叠，虚实相生，将竹的清劲疏朗描摹尽致。竹石相映，以竹之贞直配石之沉稳，暗合君子风骨寄兴，整体简淡清逸，墨色浓淡层次分明，笔简意足，清雅脱俗，尽现传统文人画托物言志的幽远意韵。",[7,24,81,173,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8b34f1bb4ee3f77267f432252292a2.jpg",[],{"id":127630,"slug":127631,"title":70517,"dynasty":99,"author":70518,"museum":364,"description":127632,"tags":127633,"thumbUrl":127634,"material":743,"size":744,"collection":139,"collections":127635,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239257,"shu-hua-tu-ce-cheng-min-239257","此帧以水墨写意绘竹，老干斜出，渴笔淡墨尽显苍劲挺括，留白疏朗透气。新篁枝叶交叠聚散，浓墨挥写叶片，以墨色浓淡区分阴阳向背，笔势迅疾洒脱，寥寥数笔间便将清竹的灵秀风骨尽显。整体构图虚实相生，删繁就简，以极简笔墨勾勒竹之萧疏意趣，寄寓君子清峻高洁的品格，尽显文人写意画以物言志的风雅神韵。",[7,24,81,173,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99426c4f8fcb081c6b05d69c3a40a3f4.jpg",[],{"id":127637,"slug":127638,"title":81750,"dynasty":76,"author":47274,"museum":364,"description":127639,"tags":127640,"thumbUrl":127641,"material":139,"size":139,"collection":139,"collections":127642,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239201,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239201","左幅行书题跋笔力苍劲疏朗，与右侧山水相映成趣。此帧以干笔皴擦写层岩峻岭，峰峦奇崛高峙，飞泉自崖壁奔涌而下，汇作浅溪环山蜿蜒。坡岸林木蓊郁，掩映山居古寺，满幅幽寂清远。\n\n全作用水墨晕染出山川氤氲之气，笔墨简淡苍秀，不事秾丽，尽显静穆萧散的林下之风。以枯淡之笔写胸中丘壑，寄寓遗世独立的清冷襟怀，将江南山水清灵与沉郁心境相融，是文人山水画以意驭笔、以画明心的佳构。",[7,24,81,173,29,86,227,177,558,34,1255,109,491,5243,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb501577a0aef1916a65468140f42c8f.jpg",[],{"id":127644,"slug":127645,"title":79444,"dynasty":76,"author":54033,"museum":364,"description":54034,"tags":127646,"thumbUrl":127647,"material":743,"size":744,"collection":139,"collections":127648,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},239182,"hua-hui-ren-wu-ce-chen-zi-239182",[7,24,81,178,27,28,83,281,244,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9c25053cd5fa5df0b7d2950354a5e3.jpg",[],{"id":127650,"slug":127651,"title":1783,"dynasty":7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，褪去浓艳重彩，以萧散简淡的笔致，勾勒出文人理想中的幽栖之境，将沉静淡远的林下雅趣融在山水方寸间，尽显雅致平和的文人画韵致。",[7,24,81,173,177,178,227,29,430,35,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c7a4b6f5671e6fabc2aa9220bfad07.jpg",[],{"id":127885,"slug":127886,"title":66602,"dynasty":76,"author":10958,"museum":364,"description":127887,"tags":127888,"thumbUrl":127889,"material":139,"size":139,"collection":139,"collections":127890,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},238759,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238759","此作用笔秀润清和，以虚实相生之构，铺展幽澹山居之境。近景林木蓊郁，掩映雅居，凭窗文士幽坐观览，皴擦简淡却将苍润意态尽数带出，屋舍回廊雅致合宜，尽显林泉雅趣。远景留白作水，浅渚孤楼仅以简笔勾勒，点苔缀草便生出空濛远意。\n\n左侧题诗与画面呼应，诗画相融，将文人寄情山水、静享幽居的澹泊心境铺陈开来。淡墨轻岚间，不见浓丽敷色，却以极简水墨层次晕染出东方隐逸美学的极致，清逸温婉的气韵里，尽显天人合一的山居雅思。",[7,24,81,173,29,175,107,34,176,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7856fd13f3cee1a5261aaab7aa5a33b4.jpg",[],{"id":127892,"slug":127893,"title":66602,"dynasty":76,"author":10958,"museum":364,"description":127894,"tags":127895,"thumbUrl":127896,"material":139,"size":139,"collection":139,"collections":127897,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},238757,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238757","此作用平远与深远构图相融，右侧层峦叠嶂，林木蓊郁苍润，以干笔皴擦勾勒山石肌理，兼具苍劲秀润之致；左侧汀洲延展，板桥轻架水面，亭台隐于烟柳间，晕染出江南水畔的空濛淡远。\n\n笔墨松灵厚重兼具，以水墨晕染铺就清和底色，将山林沉静与水乡温婉相融。题诗与绘景呼应，把观景抒怀的雅致心绪藏于尺幅间，尽显冲淡平和的文人意趣，铺展出悠然古雅的古典山水意境。",[7,24,81,173,29,107,108,109,175,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf66004e493c9b8ba5dce33cf664e8b8.jpg",[],{"id":127899,"slug":127900,"title":66602,"dynasty":76,"author":10958,"museum":364,"description":127901,"tags":127902,"thumbUrl":127903,"material":139,"size":139,"collection":139,"collections":127904,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},238755,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238755","此作以淡墨皴擦晕染水岸山居，近景坡陀嘉木葱茏，茅舍内人影对坐闲话，尽显幽居自适之趣。远山含烟隐现，汀渚横斜，水色空濛，平远清旷的山水意境铺陈开来。\n笔墨清隽秀润，兼具元人山水的萧散简淡与院体的精工雅致，凭极简的墨色层次晕出空寂悠远氛围感，将诗句中的林泉高致具象化，尽显文人心底的幽居雅怀，是融诗画意境的佳构。",[7,24,81,173,29,35,34,176,491,86,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13242d5be428ecfddb3f0585f68b615c.jpg",[],{"id":127906,"slug":127907,"title":66602,"dynasty":76,"author":10958,"museum":364,"description":127908,"tags":127909,"thumbUrl":127910,"material":139,"size":139,"collection":139,"collections":127911,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},238751,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238751","此作用淡墨轻皴绘就村居春景，将耕稼闲居合为一卷。左侧田埂蜿蜒，农人驱牛犁地，远山以淡墨晕染留白，烟岚轻笼，野趣盎然。右侧柴扉半启，稚子倚门，幽柳下士人凭立，望向乡居屋舍，屋内人影隐约，尽显村居松弛安然。\n\n全画笔墨秀润清简，设色素净无华，题诗与绘景相映，将春日耕忙与林下闲思相融，铺展出平和冲淡的太平村居图，尽显文人心中的田园雅意，淡而有味，余韵悠长。",[7,24,81,173,27,29,106,151,108,394,109,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecabb437ecea08ed69a8f675f78b324.jpg",[],{"id":127913,"slug":127914,"title":66602,"dynasty":76,"author":10958,"museum":364,"description":127915,"tags":127916,"thumbUrl":127917,"material":139,"size":139,"collection":139,"collections":127918,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},238750,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238750","此作分为两段景致，右幅层岩峻拔，山道隐于苍林茂叶间，水墨皴擦勾勒出山体质感，古意萧森，尽显林泉幽寂之致。左幅绘平野送别，篱舍错落、嘉木扶苏，驻车长者与将行友人相对，侍从恭立旁侧，人物情态温雅缱绻，惜别之意流于眉目之间。\n\n整幅以淡墨晕染，笔致松秀简淡，书画合璧，将诗文间的怀远别情融于尺幅。丘壑之静穆与赠别之温情相映，既有山野林泉的清远恬和，又藏人情往复的温润深挚，尽显文人诗意画的抒情意趣，意境清和雅致，暗合中式水墨的含蓄之美。",[7,81,173,177,29,106,150,175,34,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc34e80017b62c88abd7e87afbb22704a.jpg",[],{"id":127920,"slug":127921,"title":66602,"dynasty":76,"author":10958,"museum":364,"description":127922,"tags":127923,"thumbUrl":127924,"material":139,"size":139,"collection":139,"collections":127925,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},238744,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238744","此作以淡墨勾勒皴擦，笔墨清润秀雅。左侧山居被林木山石环合掩映，草舍之内幽人凭窗闲坐，僮仆垂立阶前，处处流露着松弛安然的乡居意绪。右侧江面铺陈开来，水天融成一色，淡远空濛。\n\n诗页与画幅比邻而置，行书题笔墨韵隽秀，将林泉高致的隐逸心境铺陈开来。画里山居的幽寂，和江景的澹远融为一体，把文人寄情林泉、静享闲逸的意趣具象展现，诗画相映，尽显中式文人澹泊出尘的林下襟怀。",[7,24,81,173,29,175,34,106,227,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9326cd1b7f0e29db220bf205e72deb74.jpg",[],{"id":127927,"slug":127928,"title":66602,"dynasty":76,"author":10958,"museum":364,"description":127929,"tags":127930,"thumbUrl":127931,"material":139,"size":139,"collection":139,"collections":127932,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},238742,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238742","此作诗画合璧，右侧绘平远村居之景，柴篱小院掩映于茂林之间，两位老翁当门揖晤，田埂层叠延展，远山淡抹含烟，整体氛围疏澹宁和。笔墨清润简淡，以干笔皴擦写坡石田垄，林木苍秀朴拙，远山晕染轻浅，尽显田园闲逸之致。\n\n左侧行书题诗笔致秀雅，与画面呼应，将诗文里的归居之思具象铺陈。整幅以简净笔墨勾勒出文人心目中的乡居雅趣，萧散简远，意韵悠长，把幽淡平和的村居之乐藏入尺幅之间，尽显中式山水的写意风神。",[7,24,81,173,29,106,34,35,67227,491,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88c921fee40b0ce3d7157e15c49a5c5.jpg",[],{"id":127934,"slug":127935,"title":66602,"dynasty":76,"author":10958,"museum":364,"description":127936,"tags":127937,"thumbUrl":127938,"material":139,"size":139,"collection":139,"collections":127939,"showCount":1270,"zanCount":48,"man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，以极简的笔墨铺陈出幽居江湖的隐逸之思，淡远空灵，将林泉高致藏在一水一山之中，古雅沉静的文人意韵满溢纸面。",[1562,7,24,209,173,177,29,430,431,2838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20eddad4c6110ed7fa19e6c988a954b.jpg",[],{"id":129615,"slug":129616,"title":2235,"dynasty":76,"author":614,"museum":364,"description":30572,"tags":129617,"thumbUrl":129618,"material":743,"size":744,"collection":139,"collections":129619,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},235194,"za-hua-ce-huang-shen-235194",[7,81,173,27,245,451,178,227,83,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F304685599d4029eb63b9ef1d7c95bed2.jpg",[],{"id":129621,"slug":129622,"title":2235,"dynasty":76,"author":614,"museum":364,"description":30572,"tags":129623,"thumbUrl":129624,"material":743,"size":744,"collection":139,"collections":129625,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},235192,"za-hua-ce-huang-shen-235192",[7,24,81,173,452,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23afc37b276a15dd263060b51e7fe9bd.jpg",[],{"id":129627,"slug":129628,"title":2235,"dynasty":76,"author":614,"museum":364,"description":30572,"tags":129629,"thumbUrl":129630,"material":743,"size":744,"collection":139,"collections":129631,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},235191,"za-hua-ce-huang-shen-235191",[7,24,81,27,83,84,1147,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb0e811b6034cb5cbbb79308910aac74.jpg",[],{"id":129633,"slug":129634,"title":2235,"dynasty":76,"author":614,"museum":364,"description":30572,"tags":129635,"thumbUrl":129636,"material":743,"size":744,"collection":139,"collections":129637,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},235185,"za-hua-ce-huang-shen-235185",[7,24,81,173,5169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b95722b2b184624d7de9abd8b6993a.jpg",[],{"id":129639,"slug":129640,"title":486,"dynasty":99,"author":37936,"museum":364,"description":129641,"tags":129642,"thumbUrl":129643,"material":139,"size":139,"collection":139,"collections":129644,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":49},235150,"shan-shui-ce-li-liu-fang-235150","此作用笔追摹米家云山意趣，以水墨晕染绘就烟岚山色。远山以淡墨轻扫出形，复以浓墨晕积暗部，墨色层次交融，晕出江南山峦的空濛烟雨之态，不见斧凿之痕，尽显苍润氤氲。近处长汀横陈，杂树以焦墨点簇而成，笔致朴拙苍劲，几间村居简笔勾勒，隐于林樾之间，野逸萧疏。整幅画作以平远之景铺陈开去，简淡清远，将幽怀寄寓于丘壑之间，师法古人却自抒性灵，静穆淡远中尽显文人画的简雅逸趣，是寄情山水、以画明心的精妙之作。",[209,7,24,81,173,177,29,34,35,491,10416,176,867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581572072c0d17b417f3a9ff01ca28d0.jpg",[],{"id":129646,"slug":129647,"title":104079,"dynasty":99,"author":293,"museum":364,"description":129648,"tags":129649,"thumbUrl":129650,"material":743,"size":744,"collection":139,"collections":129651,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},235143,"chen-dan-zhong-shan-shui-ce-yi-ming-235143","此作画诗合璧，淡设色绘就山居幽境。近岸长松挺秀清拔，板桥通幽，茅庐隐于林麓之间，溪湾轻舟闲泊，野意悠然。远景崖巖层叠，以苔点皴染山石苍厚肌理，淡赭晕染山峦，晕出清润空濛的朝暮烟岚之气。\n\n左侧题诗与画境相契，笔墨清隽雅致，以书入画，尽显林下风雅。整幅气韵淡远空灵，带着江南山水的温润秀雅，将文人幽栖林泉、寄情丘壑的隐逸心绪藏于尺幅之间，是极具文人意趣的小品佳制。",[7,24,81,173,27,177,29,34,176,109,108,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795591126e0731b8263a4d86cc489e07.jpg",[],{"id":129653,"slug":129654,"title":486,"dynasty":76,"author":1892,"museum":364,"description":129655,"tags":129656,"thumbUrl":129657,"material":139,"size":139,"collection":139,"collections":129658,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},235109,"shan-shui-ce-wang-yuan-qi-235109","此作用笔苍浑老辣，以干笔积墨反复皴擦，近景怪石崚嶒，古松虬曲，溪桥穿林而过，野趣盎然。中景山峦层叠，林木繁郁，皴法细密厚重，尽显丘壑之沉雄。远景以淡墨晕染，汀渚远山融于虚白之中，虚实相生，拓展出悠远空寂的天地。\n\n画家以黄公望之浑厚糅合倪瓒之疏淡，在尺幅之间铺展山川深秀气韵，层层积染的墨色，让山石兼具温润与苍劲，留白巧构意境，于平淡简远中见苍茫大气，仿古而不泥古，尽显典型风貌，将山川的静穆雄浑藏于小幅册页之中。",[7,24,173,177,81,29,34,176,109,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d1178ee43ab6678c55e5fbdc205878.jpg",[],{"id":129660,"slug":129661,"title":66804,"dynasty":76,"author":50852,"museum":364,"description":129662,"tags":129663,"thumbUrl":129664,"material":139,"size":139,"collection":139,"collections":129665,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},235094,"zheng-min-shan-shui-ce-zheng-min-235094","此作用淡墨绘就平林远渚，近岸老枝斜出，荒草萋萋，中洲村居隐于林间，远山含晕，群雁掠水而去，全幅简淡空灵，得倪瓒遗意，将皖南秋郊清旷冷寂的意韵尽显无遗。左侧题跋笔致清劲舒展，与画作格调相得益彰，文画相融，尽显画者寄情林泉、超然物外的文人逸趣。全作淡而不枯，简而意足，尽显幽淡冲和的文人画旨趣，是新安画派以笔抒怀的典型佳构。",[7,24,81,173,178,177,29,245,281,394,109,175,491,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0209f2ab9b0ee85b7f0dcf8ce1c2a1e2.jpg",[],{"id":129667,"slug":129668,"title":1108,"dynasty":76,"author":707,"museum":364,"description":129669,"tags":129670,"thumbUrl":129671,"material":139,"size":139,"collection":139,"collections":129672,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},235074,"shan-shui-tu-ce-hua-yan-235074","此作用淡墨晕染暮春烟湖之景，垂柳柔丝披拂映水，板桥轻横岸侧，茅舍隐于柳荫。湖面烟霭朦胧，天际一棹孤舟穿雨而行，简淡空灵之间，将江南烟雨的柔婉空濛尽数铺陈。\n笔致松秀清润，摒弃繁复皴擦，以水墨浓淡晕染出湿润氤氲的氛围，左侧题诗与画面相映成趣，文墨相生，自带清寂淡远的文人意趣。寥寥数笔便将烟雨春湖的幽谧诗意定格，尽显以简驭繁的笔墨功力，把江南水乡的朦胧柔情藏进尺幅之中，淡而有味，余韵悠长。",[7,24,173,178,29,81,1532,108,109],"https:\u002F\u00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山水图屏风-第一屏","彭城百川","1697-1752 江户时代中期的画家。",[23,7,29,104,173,177,27,107,108,109,34,176,37,2268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2459b6003b2266b79592c88255f0a1c.jpg",[],{"id":130448,"slug":130449,"title":130450,"dynasty":99,"author":130451,"museum":364,"description":130452,"tags":130453,"thumbUrl":130454,"material":743,"size":744,"collection":139,"collections":130455,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},231716,"ping-an-shi-dai-guan-wu-tu-ping-feng-biao-wu-zong-da-231716","平安时代 关屋图屏风","俵屋宗达","俵屋宗達（Tawaraya Sōtatsu，生卒年不詳），從安土桃山時代到江戶時代初期（1596年至1643年間）的17世纪前后，活躍於京都的町繪師（艺术家及画家）。",[23,209,7,24,314,173,27,260,29,107,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e61b918d0f67402f832a80d79722e76.jpg",[],{"id":130457,"slug":130458,"title":130459,"dynasty":292,"author":293,"museum":364,"description":130460,"tags":130461,"thumbUrl":130463,"material":743,"size":744,"collection":139,"collections":130464,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},231700,"jiang-hu-shi-dai-shan-shui-ren-wu-tu-juan-yi-ming-231700","江户时代 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花卉卷","此卷以水墨绘就，兼具工致与写意之趣。左侧湖石隐于幽草间，枯笔皴擦勾勒石体质感，苍劲古拙，野意盎然。右侧花枝错落舒展，枝干以清劲笔线写出，力道暗藏。叶片以淡墨晕染，浓墨点醒叶脉，层次分明，绣球花以白描圈点，空灵雅致，旁侧小花晕勾结合，疏密相生。全作用墨清和，虚实相映，将湖石的冷寂幽趣与花枝的柔妍盛放相融，尽显文人水墨的清雅淡远，笔底含韵，墨色空灵，尽显古典花鸟的清逸格调。",[23,7,24,25,173,260,84,245,1062,698,227,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8339dee55b3aa72625aa9c24a2f9a3b.jpg",[],{"id":130559,"slug":130560,"title":130561,"dynasty":292,"author":293,"museum":364,"description":130562,"tags":130563,"thumbUrl":130564,"material":743,"size":744,"collection":139,"collections":130565,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},230517,"fang-gu-ren-wu-shan-shui-fen-ben-shou-ye-jia-tu-juan-yi-ming-230517","仿古人物山水粉本(狩野家图卷)","此作淡彩晕染烟水空蒙，水榭之上，两位文士凭栏闲坐，一俯一仰，伴松梅清景清谈遣兴。设色调和柔雅，笔致温婉工细，将文人林下雅游的散淡心境融绘其中。画面留白衬以题诗，虚实相衬，晕开空灵禅意，尽显清雅的和风汉画意趣，把东方古典的澹远闲静藏在水墨淡彩之间，观之如见幽居雅集的悠然旧景。",[23,7,25,27,3117,28,104,29,106,107,1575],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b8ff428c4e9035f635b3ad850e6cd7.jpg",[],{"id":130567,"slug":130568,"title":130569,"dynasty":76,"author":293,"museum":364,"description":130570,"tags":130571,"thumbUrl":130572,"material":743,"size":744,"collection":139,"collections":130573,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":49},230342,"cao-tang-tu-yi-ming-230342","草堂图","此作以淡墨晕染出幽寂山居之景，草堂临水而设，主人凭榻安坐，尽显林下幽居的松弛散淡。山石以简笔皴擦，淡墨晕渍出层叠肌理，林木或以细笔点叶、或以浓墨醒梢，清润苍郁。\n\n画面以草堂为中心，环拥松石溪谷，高墙小径掩映于林麓间，将幽闭的山居氛围铺陈开来。整幅笔墨简净萧疏，不事繁饰，以极简排布勾勒出文人理想中的林泉高致，把出世幽栖的隐逸意趣藏于尺幅之间，尽显静穆淡远的文人山水意境。",[23,7,173,177,227,29,114,34,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc825ed05822b45e25334949d452cf0.jpg",[],{"id":130575,"slug":130576,"title":130577,"dynasty":76,"author":293,"museum":364,"description":130578,"tags":130579,"thumbUrl":130580,"material":139,"size":139,"collection":139,"collections":130581,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},230319,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shi-san-a-ge-yin-xiang-yi-ming-230319","历代帝王贵妃大臣朝服像(十三阿哥胤祥)","此作以月牙取景框圈定人物，雅致别致，将视觉焦点全然落于主人公身上。画师笔底写实传神，精准勾勒出人物端正沉静的面庞，眉宇间自带宗室贵胄的肃穆内敛。\n\n朝服绘制极尽工细，宝蓝底料之上，明黄龙纹矫健灵动，金线晕染出龙身肌理，配色沉稳华贵，云纹补缀其间层次分明。项下朝珠颗颗饱满剔透，垂配严整，细节处见匠心。整体色调古雅庄重，既恪守宫廷肖像的纪实规制，又以细腻笔触尽显人物仪态风骨，是兼具史料价值与艺术美感的肖像佳制。",[23,7,24,241,27,106,3412,3411,368,28,50102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb732ac61aa34b131692326af1983eb34.jpg",[],{"id":130583,"slug":130584,"title":130585,"dynasty":76,"author":293,"museum":364,"description":130586,"tags":130587,"thumbUrl":130588,"material":139,"size":139,"collection":139,"collections":130589,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},230316,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-guan-lao-fu-ren-yi-ming-230316","历代帝王贵妃大臣朝服像(关老夫人)","此作为工笔设色肖像，夫人安坐宝椅，面容温婉端凝，神态沉静从容。身着织绣满饰团龙纹样的石青朝服，江崖海水纹环缀下摆，金线勾边晕染细腻，配色沉敛华贵，朝冠珠翠、朝珠佩饰皆描摹入微，尽显诰命夫人的尊崇仪范。脚下地砖纹饰繁丽规整，与宝椅绣纹呼应，烘托出肃穆雅致的厅堂氛围。\n画作恪守容像纪实传统，线条匀细流畅，设色厚重雅致，精准还原清代命妇朝服礼制，将清代上层女性雍容端方的仪态，与服饰典制的庄重威仪融合无间，是兼具纪实价值与工笔意趣的清代肖像佳作。",[23,7,241,28,27,106,63,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3027160ba026cf408c2e25b7d52313e1.jpg",[],{"id":130591,"slug":130592,"title":130593,"dynasty":76,"author":293,"museum":364,"description":130594,"tags":130595,"thumbUrl":130596,"material":139,"size":139,"collection":139,"collections":130597,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},230313,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yu-cheng-long-yi-ming-230313","历代帝王贵妃大臣朝服像(于成龙)","此作工笔精妙写实，将主人公刻画得形神兼备。画中老者银髯垂胸，神色沉稳威严，目光平和却藏干练气度，尽显廉吏风骨。朝服细节一丝不苟，石青底色之上，一品文官的飞鹤补子针脚细密灵动，东珠朝珠颗颗匀净，礼制严谨考究。虎纹座椅霸气厚重，衬出其身后功绩煊赫。上方题字详述生平功业，与画像呼应，尽显其显赫地位。设色调和古雅，以沉稳蓝棕铺陈基调，尽显清代肖像画的工整端庄，将主人公刚正清廉的为官气度凝于绢素之中，堪称清代纪实肖像画的精良之作。",[23,209,7,27,28,106,63,7281,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd738bf41d5d149988729b3238eb483.jpg",[],{"id":130599,"slug":130600,"title":49133,"dynasty":76,"author":293,"museum":364,"description":130601,"tags":130602,"thumbUrl":130603,"material":139,"size":139,"collection":139,"collections":130604,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},230309,"li-dai-ming-ren-tu-xiang-ce-yi-ming-230309","此作以简约笔墨勾勒乡野日常，设色淡雅朴拙。头戴斗笠的老者斜挎鱼篓，神色讶然似在嗔怪，衣纹流畅舒展，将农夫的错愕神态描摹尽致。两名孩童持草秆嬉闹，红衣童子撅嘴耍娇，躲在身后的孩童探头探脑，娇憨灵动跃然纸上。线条古朴凝练，淡赭底色晕开古旧意蕴，衣色以蓝、红区分人物身份，细节处处藏着生活意趣，把乡野间鲜活的互动瞬间定格，寥寥数笔便将人物性格与烟火氛围传神铺展，尽显民俗小品的动人意韵。",[7,24,81,27,106,1351,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a0f4e27e3939ae3d9d3c477ee4878c.jpg",[],{"id":130606,"slug":130607,"title":130608,"dynasty":76,"author":64370,"museum":364,"description":130609,"tags":130610,"thumbUrl":130611,"material":139,"size":139,"collection":139,"collections":130612,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},230289,"hua-lian-li-shan-zhou-li-shi-zhuo-230289","画连理杉轴","此作以淡墨绘就连理古杉，双木苍劲拔起，枝桠舒展如虬龙探空，笔致细劲凝练，将古木霜皮溜雨、黛色参天的苍古之态尽显。山石以极简皴擦晕染，留白铺陈出空山的清寂辽远，衬得杉树愈见孤傲遗世。\n\n题字藏于树侧，文气与画意相融。整幅舍去浓丽设色，以水墨的清寒意趣，铺展出山林古杉的静穆意境，宛若空山听松，带着冲淡平和的文人雅韵，尽显林泉高致，把山野古木的幽澹之美晕染在素纸之上。",[7,24,209,241,173,260,177,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e68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将名物考据的严谨与花鸟写生的隽秀意趣相融，淡墨轻彩间兼具博物图鉴的详实与文人花鸟画的雅逸，尽显绘者考据与绘事兼备的雅致审美，把古典名物化为可感的生动图景，淡静悠然，意韵绵长。",[7,24,81,28,27,83,281,109,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffa1ae71bc472796975929b6209c7ee5.jpg",[],{"id":130767,"slug":130768,"title":130769,"dynasty":76,"author":1394,"museum":364,"description":130770,"tags":130771,"thumbUrl":130772,"material":139,"size":139,"collection":139,"collections":130773,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},224421,"shu-hua-shi-liu-kai-7-wang-shi-min-224421","书画十六开-7","此作用笔纵逸苍劲，起收提按皆得法度，牵丝映带间尽显流转灵动之美。字形欹正相生，敛放随心，错落排布间气脉贯通，通篇带着萧散疏朗的韵致。\n\n笔墨晕染出诗文里的春日烟霞，将随行宸游的悠然快意融于点画之中，文意与笔意相融相合，尽显雅逸襟怀。墨色浓淡相宜，枯湿互见，既有帖学的秀雅灵动，又暗含朴拙筋骨，随性自然不失规整，尽显行书创作的精妙意趣。",[23,7,24,86,81,178,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56ddaa4ebbddba87118d6e59ee08218.jpg",[],{"id":130775,"slug":130776,"title":130777,"dynasty":76,"author":1394,"museum":364,"description":130778,"tags":130779,"thumbUrl":130780,"material":139,"size":139,"collection":139,"collections":130781,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":271},224420,"shu-hua-shi-liu-kai-6-wang-shi-min-224420","书画十六开-6","此作以没骨兼工带写绘就仲夏小景，淡墨轻勾萱草茎叶，敷色清妍温雅。萱花盛放与残颓相济，尽显芳华将歇的柔婉之态。草间粉蝶轻栖振翅，大蛱蝶翩跹而来，翅脉纤毫毕现，灵动之姿跃然纸上，将虫蝶的鲜活意态定格于纸面。赭色底纸晕染出古雅氛围，题字娟秀、印文朱红，融诗书画印为一炉。整体清逸静雅，将幽隅小景绘得生机盎然，兼具写生之真与文人隽雅意趣，笔底尽是闲淡天真的幽居雅趣。",[23,7,24,81,27,28,83,604,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555ea6c7ce84246a6a8bd5688afe0ae9.jpg",[],{"id":130783,"slug":130784,"title":130785,"dynasty":76,"author":130786,"museum":364,"description":130787,"tags":130788,"thumbUrl":130789,"material":139,"size":139,"collection":139,"collections":130790,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},224337,"tao-li-yuan-xu-zhou-shen-quan-224337","桃李园序轴","沈荃","此作为典型帖学行书，用笔舒展灵动，点画温润圆融。结体端雅又不失飘逸意趣，章法疏朗匀净，字距行距错落合宜，整体气息清萧隽雅。\n\n书录《春夜宴桃李园序》，原文旷达快意随笔墨流转尽致流露，笔势带着晋唐行书的从容萧散韵味，既有馆阁体的端稳规整，亦不失文人书法的秀逸风神，将宴饮雅集的清旷之怀与笔墨雅趣相融，尽显书家深厚功底，是清代行书佳作。",[23,7,24,86,241,178,227,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F200702700e66058635c63f56eafe3b5f.jpg",[],{"id":130792,"slug":130793,"title":130794,"dynasty":76,"author":2324,"museum":364,"description":130795,"tags":130796,"thumbUrl":130797,"material":139,"size":139,"collection":139,"collections":130798,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},224305,"hua-hui-shi-er-kai-6-li-shan-224305","花卉十二开6","此作用笔放逸洒脱，左侧绘折枝秋葵，嫩黄花瓣以没骨晕染，柔润饱满，将秋花凝露绽放之态尽显。苍劲墨笔写就老干，间缀待放花苞，野趣横生。叶片以泼墨写意，浓淡干湿交叠，尽显舒展灵动，水墨氤氲中带着萧散疏朗。\n\n右侧题诗与画作呼应，书画交融，将秋花凌霜仍娇妍的风骨托出。脱出院体画拘囿，以率性笔触直抒胸臆，将文人疏旷情怀寄寓折枝间，笔底既有写生鲜活，更具写意文心，寥寥数笔便勾勒出秋日花卉的清刚之美与幽淡情致，尽显文人写意花鸟的精妙意趣。",[23,7,24,81,173,27,83,136,225,446,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c2c788cbf1566fbd32216d4e4581d5.jpg",[],{"id":130800,"slug":130801,"title":130802,"dynasty":76,"author":2324,"museum":364,"description":130803,"tags":130804,"thumbUrl":130805,"material":139,"size":139,"collection":139,"collections":130806,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},224304,"hua-hui-shi-er-kai-5-li-shan-224304","花卉十二开5","此作以淡逸之笔绘秋花插于石盆，花枝错落舒展，紫、粉、黄三色菊瓣柔润鲜活，叶片带着雨霁后的清润绿意，笔致写意却不失花姿娇妍。墨色勾勒的盆石朴拙苍劲，与花枝的秀雅相映成趣。右侧题字笔势俊朗，与画面融为一体，尽显文人意趣，将秋花傲霜清寂的神韵尽显，似能嗅见雨后秋芳的淡香，清恬雅致的文人逸趣溢满纸面。",[23,7,24,81,27,83,453,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f779b644fd4b30b18c9bcb45d3724f8.jpg",[],{"id":130808,"slug":130809,"title":130810,"dynasty":76,"author":2324,"museum":364,"description":130811,"tags":130812,"thumbUrl":130813,"material":139,"size":139,"collection":139,"collections":130814,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},224301,"hua-hui-shi-er-kai-2-li-shan-224301","花卉十二开2","这幅画以写意笔墨绘就石畔幽花野卉，水墨晕染的湖石朴拙苍劲，淡紫二月兰柔婉舒展，花瓣晕染清透雅致，叶片敷色明润鲜活，细草瘦劲挺秀。笔墨刚柔相济，写意间不失花木娇柔之态，寥寥数笔便将林下野逸生机尽显。题诗与画意相映成趣，诗书画印融为一体，尽显文人写意画的雅致意趣，笔情墨趣间饱含悠然林下的澹然情怀，尽显随性洒脱却不失细腻的创作意韵。",[23,7,24,81,27,173,446,84,245,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d201bc5fee7ea3e50e27c60d4d7c93.jpg",[],{"id":130816,"slug":130817,"title":130818,"dynasty":76,"author":2324,"museum":364,"description":130819,"tags":130820,"thumbUrl":130821,"material":139,"size":139,"collection":139,"collections":130822,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},224300,"hua-hui-shi-er-kai-12-li-shan-224300","花卉十二开12","此作折枝秋菊错落生姿，紫、粉、白菊次第绽放，没骨绘就的花瓣薄润鲜活，叶片舒展带着清润生机，笔墨放逸却不失秀润意趣，将秋菊清隽之态尽显。\n\n右侧行书题诗笔致率意洒脱，诗书与花木相映成趣。诗句将晚晴霞色附于花枝，让娇花似染落日余晖，把花木风神与文思诗意相融，尽显文人画以物寄情的意趣。画面雅洁灵动，笔情墨趣间，尽是悠然自得的文人情致。",[23,7,24,81,27,84,698,226,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76a21249cc0b1c6fd6cf767055061e9.jpg",[],{"id":130824,"slug":130825,"title":130826,"dynasty":76,"author":45523,"museum":364,"description":130827,"tags":130828,"thumbUrl":130829,"material":139,"size":139,"collection":139,"collections":130830,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},224279,"shan-shui-hua-hui-ce-shi-san-fu-shan-224279","山水花卉冊(十三)","此作用色简淡古雅，浅赭为底，淡墨晕出山峦轮廓，谷间冷月斜悬，晕开朦胧清寂。层叠飞瀑以稚拙线条勾勒，无繁复皴擦，却藏水姿流动之意。两岸垂柳柔条披拂，轻垂于浅溪之上，朱红板桥卧于水面，冷调中一抹艳色点睛，衬出幽谧山居的灵动生机。\n构图空灵疏朗，以极简笔墨勾勒林泉山水，将文人林下隐逸的雅趣寄于其间，淡墨轻岚间静穆萧疏，尽显清寂出尘的林下之风，笔简意足，淡远悠长，尽显文人画寄情山水的意趣。",[23,7,24,81,27,173,29,108,109,300,34,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204690b521a9d4e47796e1e04a8ee204.jpg",[],{"id":130832,"slug":130833,"title":130834,"dynasty":76,"author":293,"museum":364,"description":130835,"tags":130836,"thumbUrl":130838,"material":139,"size":139,"collection":139,"collections":130839,"showCount":1270,"zanCount":48,"manualWeight":48,"mainColor":94},224249,"qing-yuan-ben-qin-can-tu-juan-cai-sang-12-yi-ming-224249","清院本亲蚕图卷 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气漫溢其间。\n\n笔致细腻柔婉，设色调和雅致，题诗呼应部族不事渔猎、安居纺作的日常，将边地部族自足平和的村居劳作，晕染成充满诗意的世外闲居图景，融纪实风物与抒情意境于一纸。",[7,81,27,106,28,61,115,9885,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ac5acd75fb79176a2c84732115ca00.jpg",[],{"id":133828,"slug":133829,"title":14221,"dynasty":76,"author":293,"museum":364,"description":133830,"tags":133831,"thumbUrl":133832,"material":743,"size":744,"collection":139,"collections":133833,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},288032,"zhu-tu-li-zhou-yi-ming-288032","此作以水墨写意写就，竹枝挺拔舒展，竹叶挥毫爽利，以浓淡墨色区分叠压层次，聚散错落间尽显晴竹婆娑清劲之姿。湖石以淡墨晕染勾勒，意到笔不到，不着意摹画纹理，却将嶙峋空透的古拙之态尽显。竹石相伴，虚实相生，简淡笔墨间带着清逸出尘的文人意趣，不着艳色，只以水墨托写出君子劲节高格，将画者胸中疏朗襟怀寄寓其中，笔底自带着萧散闲适的雅韵，尽显文人写意画的简淡风神。",[23,7,241,173,242,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a18809d1e4307d8e46df9a212d5f80.jpg",[],{"id":133835,"slug":133836,"title":133837,"dynasty":189,"author":293,"museum":206,"description":32941,"tags":133838,"thumbUrl":133839,"material":123,"size":133840,"collection":139,"collections":133841,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},287776,"hua-yan-hai-hui-tu-yi-ming-287776","华严海会图",[209,7,241,259,9254,27,106,29,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0b30dc07e9a5c9bc3b1f1bfcb631ef.jpg","193.5x89",[],{"id":133843,"slug":133844,"title":133845,"dynasty":99,"author":72436,"museum":364,"description":72646,"tags":133846,"thumbUrl":133847,"material":743,"size":744,"collection":139,"collections":133848,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},287687,"zi-shu-dao-zhong-shi-ni-yuan-lu-287687","自书道中诗",[7,24,1562,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadff9fd827d1200c731738a1d7d34068.jpg",[],{"id":133850,"slug":133851,"title":133852,"dynasty":292,"author":293,"museum":364,"description":133853,"tags":133854,"thumbUrl":133855,"material":743,"size":744,"collection":139,"collections":133856,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},281574,"mo-ying-tu-zhou-yi-ming-281574","墨鹰图轴","此作用淡墨写意绘就，苍鹰独立虬劲松枝之上，身姿傲然挺拔。鹰眼如炬，锋喙紧抿，将猛禽的悍勇之态尽藏眼底。羽色以细劲墨线勾出纹理，翅间兼以枯墨点染，层次分明，将苍鹰的凌厉英武刻画入微。\n\n古松老干苍拙，松针以淡墨晕染，虚实掩映，留白铺陈开阔，以虚托实，令主体愈发醒目悠远。整幅笔墨简淡却意韵醇厚，寥寥数笔便将猛禽的不怒自威与古松的苍浑相融，尽显水墨写意的精妙意趣，尽显文人水墨的雅致风骨。",[7,241,173,3529,4307,104783,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223356ae9a0ed38e06c320d1cbcac18.jpg",[],{"id":133858,"slug":133859,"title":133860,"dynasty":292,"author":293,"museum":364,"description":133861,"tags":133862,"thumbUrl":133863,"material":743,"size":744,"collection":139,"collections":133864,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},281573,"hei-cai-ren-wu-tu-zhou-yi-ming-281573","黑彩人物图轴","此作以淡墨晕染出朗润圆光，将人物包裹在清寂氛围里。主人公垂目冥思，髭髯苍劲，赤足踏于浅溪石畔，衣袂以赭红轻勾慢写，线条舒展简劲，既见衣衫垂坠之态，又暗含静定禅意。\n\n画面以大面积留白衬出幽远空寂，浅绘微波苔石，淡去周遭繁芜，只将心神归于人物静定的姿态。整幅笔墨简淡空灵，以虚写实，把出世的澄澈禅思藏在极简的画面中，观之如沐清宁，尽得禅画空寂澹泊之妙。",[7,24,241,173,27,106,259,245,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45f82175b71d1081c4164a4da6ddfda6.jpg",[],{"id":133866,"slug":133867,"title":133868,"dynasty":76,"author":293,"museum":364,"description":133869,"tags":133870,"thumbUrl":133871,"material":743,"size":744,"collection":139,"collections":133872,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},272984,"mu-bian-hua-bo-li-shan-shui-tu-gua-ping-yi-ming-272984","木边画玻璃山水图挂屏","通景式构图铺展园林雅集盛景，远景水榭凌于烟波之上，云气轻拢山林，朦胧悠远。中近景亭台之内，文友围坐品茗清谈；池畔桥间，雅士信步游赏，孩童嬉闹伴侧，各色人物情态鲜活，将文人日常的闲雅意趣尽数铺陈。\n此作以玻璃为底施彩，色调柔丽古雅，晕染细腻柔和，兼具笔墨意趣与玻璃工艺的独特质感，搭配古朴雕花边框，融装饰性与艺术性为一体，细腻定格了旧时文人的风雅日常，尽显中式园林里的悠然意韵。",[7,27,57620,121424,29,106,107,108,109,175,2451,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5255230d4a2057ad6d35ce8cd2c3ecf3.jpg",[],{"id":133874,"slug":133875,"title":133876,"dynasty":76,"author":293,"museum":364,"description":133877,"tags":133878,"thumbUrl":133879,"material":743,"size":744,"collection":139,"collections":133880,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},272863,"zi-tan-mu-bian-hua-bo-li-shan-shui-tu-gua-ping-yi-ming-272863","紫檀木边画玻璃山水图挂屏","此作以玻璃为底，晕染出缥缈仙山胜境。近崖临水立起四方亭台，碧波粼粼拍打着岸石，山道蜿蜒穿梭于苍松石间，草木鲜亮点缀其间。云气如练缠绕山谷，将中景奇峰托起，琼楼殿宇半藏于云岫翠微间，远景青峰破云而出，在朦胧天光下愈显幽远空灵。\n\n创作者糅合西洋光影晕染技法，让云雾虚实层次柔和通透，又恪守传统界画工整雅致的意韵，将世外山居的清雅理想藏入画中。温润古朴的紫檀边框呼应冷冽通透的玻璃画面，让这方洞天愈发清虚超脱，尽显清代玻璃画中西合璧的别致风韵，将悠远的仙道意韵晕染得诗意盎然。",[7,57620,121424,27,104,29,107,175,37,7741,7582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd757b58b9b10f501bed2a8d840da8f.jpg",[],{"id":133882,"slug":133883,"title":133884,"dynasty":76,"author":293,"museum":364,"description":133885,"tags":133886,"thumbUrl":133887,"material":743,"size":744,"collection":139,"collections":133888,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},270423,"hong-wu-hua-shan-shui-tu-mian-mu-qian-xiang-ya-bing-tuan-shan-yi-ming-270423","弘旿画山水图面木嵌象牙柄团扇","此团扇以淡墨晕染山水，远山迤逦，林壑间村居隐现，笔墨简淡松灵，铺展出幽寂清旷的山野之境，尽显文人山水的萧散意趣。扇柄木嵌象牙，搭配镂雕如意纹扇托，工艺雅致精巧，尾垂灰蓝流苏，更添沉静古雅的韵致。书画笔墨与制扇匠心相融，将旧时文人摇扇观览的清雅意态凝于尺幅之间，是传统工艺与文人意趣相合的雅致佳品。",[7,24,1562,29,173,17563,96086],"https:\u002F\u002Foss.chuangqi.store\u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字日乾，号鲁峰。建昌府广昌甘竹洙溪村（今属江西省广昌县）人。",[7,24,86,241,178,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9990ee45af5af551ca5cb9817247fdd6.jpg",[],{"id":134010,"slug":134011,"title":134012,"dynasty":76,"author":134013,"museum":364,"description":134014,"tags":134015,"thumbUrl":134016,"material":743,"size":744,"collection":139,"collections":134017,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},241200,"huai-jiu-shi-zhou-jiang-heng-241200","怀旧诗轴","蒋衡","蒋衡（1672年～1742年），原名蒋振生，祖皆精书法，他自幼临摹，尤工行楷，成年浪迹江湖，临摹碑帖300多种，刻成《拙存堂临古帖》28卷，在西安观碑林时，发现唐代《开成石经》出于众手，书杂又失校核，下定决心重写《十三经》，历时12年，至乾隆二年（1737年）始告成。由江南河道总督高斌于乾隆五年转呈朝廷，收藏在懋勤殿。为此乾隆皇帝授蒋为国子监学正。翌年，谕旨以蒋衡手书为底本，刻石太学，于五十九年（1794年）刻成，定名《乾隆石经》。一生还著有《读易私记》、《拙存堂诗文集》、《易卦私笺》等。",[7,24,241,178,227,173,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5e4e569b29314d47108a761f6183ec.jpg",[],{"id":134019,"slug":134020,"title":134021,"dynasty":76,"author":134022,"museum":364,"description":134023,"tags":134024,"thumbUrl":134025,"material":743,"size":744,"collection":139,"collections":134026,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},241197,"wu-lv-shi-shan-mian-yu-sen-241197","五律诗扇面","俞森","俞森为中国清朝官员，本籍中国直隶。俞森于1817年（嘉庆22年）接替徐锷，于台湾台北地区担任台湾府淡水厅艋舺县丞一职，是大台北地区的地方父母官。",[7,24,1562,86,1195,173,227,300,502,281,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b79bf9a41f1c62e9621c6a98fbfe54.jpg",[],{"id":134028,"slug":134029,"title":134030,"dynasty":99,"author":133497,"museum":364,"description":134031,"tags":134032,"thumbUrl":134033,"material":743,"size":744,"collection":139,"collections":134034,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},241099,"xing-shu-shi-zhou-mi-wan-zhong-241099","行书诗轴","米万钟（1570—1628年），字仲诏，号友石，又号海淀渔长、石隐庵居士，原籍陕西安化，后当锦衣卫，居北京，米芾后裔。明万历二十三年（1595年）进士，后任江西按察使。天启五年（1625年）被魏忠贤党人倪文焕弹劾，降罪削籍。崇祯元年（1628年）复官，仕至太仆少卿，卒于官。有好石之癖，又能画石。善画山水、花竹。书法行、草得家法，与董其昌齐名，称“南董北米”。书迹流传甚多。著《篆隶考讹》二卷。",[209,7,24,241,178,86,227,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578b612d5b582323ad188be148c63f52.jpg",[],{"id":134036,"slug":134037,"title":96133,"dynasty":99,"author":134038,"museum":364,"description":134039,"tags":134040,"thumbUrl":134043,"material":743,"size":744,"collection":139,"collections":134044,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},241059,"qi-jue-shi-zhou-wang-jie-241059","王节","王节（1599年—1660年），字贞明，号惕斋，吴县（今江苏苏州）人。明崇祯十二年（1639年）举人，顺治中任桃源县教谕。工山水，又工于诗。",[209,7,24,241,178,173,227,134041,134042,9111,98418,26317],"楚江","碧水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e12a6bc9f186510556459f437a5c41.jpg",[],{"id":134046,"slug":134047,"title":134048,"dynasty":99,"author":134049,"museum":364,"description":99145,"tags":134050,"thumbUrl":134051,"material":743,"size":744,"collection":139,"collections":134052,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},241018,"shen-cui-xuan-ji-juan-ni-jun-241018","深翠轩记卷","倪峻",[209,7,24,25,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2aaa4dbe5faf7e67fa5c71e2ba4664.jpg",[],{"id":134054,"slug":134055,"title":134056,"dynasty":99,"author":134057,"museum":364,"description":134058,"tags":134059,"thumbUrl":134060,"material":743,"size":744,"collection":139,"collections":134061,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},241014,"yi-shi-zhou-xue-ming-241014","益诗轴","薛明","此作用笔纵逸跌宕，线条粗细灵动多变，提按转合间尽显使转之妙，将草书萦带缠绕的意趣挥洒尽致。字势欹正相生，行气连贯畅达，通篇节律跳宕明快。\n\n笔墨裹挟诗文疏放襟怀，尽显尚意书风特质。整幅布局疏密得宜，虽字字连绵却毫无壅塞之感，墨色枯湿浓淡相互映衬，挥洒间尽显文人萧散之态。书随文思流转，诗书意趣浑然相合，笔墨间浸透着超逸俊朗的书卷风神，把草书抒情表意的特质发挥得恰到好处。",[7,24,241,1147,227,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449c5fbf8d5e7dff3e142bdce238732b.jpg",[],{"id":134063,"slug":134064,"title":134065,"dynasty":99,"author":117580,"museum":364,"description":134066,"tags":134067,"thumbUrl":134068,"material":743,"size":744,"collection":139,"collections":134069,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},240940,"qi-lv-shi-shan-mian-lu-shi-dao-240940","七律诗扇面","陆师道（1510年10月10日－1573年），字子传，号元洲，改号五湖，南直隶苏州府长洲（今江苏苏州）人。嘉靖十七年（1538 年）进士，历官工部主事、礼部主事、尚宝司少卿。师事文征明，工小楷、古篆，著有《五湖集》和《左史子汉镌》等传于世。",[209,7,24,1562,178,227,86,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872cd3ef937b1b9f28d6861958e7675c.jpg",[],{"id":134071,"slug":134072,"title":121508,"dynasty":99,"author":134073,"museum":364,"description":134074,"tags":134075,"thumbUrl":134076,"material":743,"size":744,"collection":139,"collections":134077,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},240909,"lu-yu-zhou-huang-chun-yao-240909","黄淳耀","黄淳耀（1605年7月13日——1645年8月24日） 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致，把文人林泉高致寄于尺幅之间，尽显静穆萧散的隐逸之思，以画载情，尽显雅致意趣，是颇具韵味的诗画小品。",[7,24,81,173,177,29,34,176,174,491,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa968d303918aea8174df42cea756d2cb.jpg",[],{"id":134312,"slug":134313,"title":45088,"dynasty":76,"author":69455,"museum":364,"description":103052,"tags":134314,"thumbUrl":134315,"material":743,"size":744,"collection":139,"collections":134316,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},239496,"shan-shui-ce-8-shang-guan-zhou-239496",[7,81,173,27,177,29,108,106,150,430,864,1329,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ea919d3ef3fe9511db8b8ab46d8471.jpg",[],{"id":134318,"slug":134319,"title":57020,"dynasty":76,"author":69455,"museum":364,"description":103052,"tags":134320,"thumbUrl":134321,"material":743,"size":744,"collection":139,"collections":134322,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},239495,"shan-shui-ce-7-shang-guan-zhou-239495",[7,24,81,173,29,394,175,227,1653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3168a33bee646073528429983736270b.jpg",[],{"id":134324,"slug":134325,"title":45095,"dynasty":76,"author":69455,"museum":364,"description":103052,"tags":134326,"thumbUrl":134327,"material":743,"size":744,"collection":139,"collections":134328,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},239494,"shan-shui-ce-6-shang-guan-zhou-239494",[7,81,173,177,29,176,34,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d54b4879be849494ef55198c05878d.jpg",[],{"id":134330,"slug":134331,"title":58342,"dynasty":76,"author":69455,"museum":364,"description":103052,"tags":134332,"thumbUrl":134333,"material":743,"size":744,"collection":139,"collections":134334,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},239493,"shan-shui-ce-5-shang-guan-zhou-239493",[7,24,81,173,177,29,245,34,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb045e6d49fa6f42150510c7d063e3d3d.jpg",[],{"id":134336,"slug":134337,"title":46855,"dynasty":76,"author":69455,"museum":364,"description":103052,"tags":134338,"thumbUrl":134339,"material":743,"size":744,"collection":139,"collections":134340,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},239492,"shan-shui-ce-4-shang-guan-zhou-239492",[7,81,173,177,29,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8b968d8f8f8e336bf898d314aa48fbb.jpg",[],{"id":134342,"slug":134343,"title":134344,"dynasty":76,"author":293,"museum":364,"description":134345,"tags":134346,"thumbUrl":134347,"material":743,"size":744,"collection":139,"collections":134348,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},239469,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-yong-quan-hua-hui-ce-ye-yi-ming-239469","清初十四家书画集锦册-永铨花卉册页","此作为诗画合璧的写意小品。左侧水墨花卉以淡墨晕染枝叶，浓墨勾勒叶廓，藤蔓婉转萦回，细小花苞点缀其间，寥寥数笔便将花草舒展之态尽显，留白疏朗空灵，将草木清隽之姿晕染得鲜活生动，尽显文人写意的简淡雅致。\n右侧行书笔意纵逸洒脱，墨色浓淡富于变化，诗文与花木景致相映成趣，诗画一体，尽显文人闲逸疏朗的意韵。笔墨间随性自然，将文人心思与花木雅态相融，尽显中式文人画的隽永情调。",[7,24,81,173,178,227,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16842948c94a059b0aa35e9928b4a4f0.jpg",[],{"id":134350,"slug":134351,"title":68637,"dynasty":76,"author":31729,"museum":364,"description":134352,"tags":134353,"thumbUrl":134354,"material":139,"size":139,"collection":139,"collections":134355,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},239378,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239378","此作以干笔淡墨绘就冬日水村，取景清寂淡远。近岸老木虬曲苍劲，石拱桥卧于浅溪之上，将目光牵向水畔幽居。中洲孤亭枕水，枯林错落坡陀，远景汀洲朦胧晕染，留白铺展出烟水空濛之态。\n\n边角题诗与画意浑然相融，无繁复皴染，却将冬夜清寒静谧铺陈尽致。笔致松秀空灵，尽显文人画简淡天真的雅逸格调，把幽居寄兴、耽恋林泉的隐逸情思藏在淡墨轻岚之中，尽显闲寂出尘的林下之风。",[7,81,173,29,177,108,175,394,245,1015,176,5066,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a700c6cfc566e3df68eb9cf7dc7ed1.jpg",[],{"id":134357,"slug":134358,"title":68637,"dynasty":76,"author":31729,"museum":364,"description":134359,"tags":134360,"thumbUrl":134361,"material":139,"size":139,"collection":139,"collections":134362,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},239377,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239377","此作用淡墨浅晕铺就萧寒底色，绘出冬郊水村之景。坡岸逶迤，寒苇疏偃于水滨，枯木虬劲褪去繁叶，尽显清瘦骨相。茅舍三两错落石畔林间，篱栅板桥轻简野朴，不见烟火喧嚣，只剩冷寂空茫。\n\n边角题字与画面相映，以诗衬景，将载月归乡的清寂诗意融于尺幅间。笔墨松灵秀雅，皴擦简淡却将冬水冷涩、荒岸萧索尽皆托出，淡赭轻敷晕染天色，把暮晚薄烟弥散的空濛晕开，似将霜夜浸骨的寒意藏进每一缕淡墨之中，尽显冷逸出尘的文人意趣。",[7,173,27,81,177,29,175,1015,650,1064,114,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fe11504628ab01761ca4035fe23d1e.jpg",[],{"id":134364,"slug":134365,"title":68637,"dynasty":76,"author":31729,"museum":364,"description":134366,"tags":134367,"thumbUrl":134368,"material":139,"size":139,"collection":139,"collections":134369,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},239373,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239373","此作用淡墨晕开烟岚，远山如黛隐于薄雾，铺陈出空寂清远的山水层次。近景篱舍错落相依，古木虬曲伴小桥石径，隅角亭台隐在淡霭之中，处处漫着清和闲逸的诗意。\n\n笔意松秀简淡，以浅淡设色晕染出清润柔和的氛围，无浓艳雕琢，尽显文人画雅致格调。题跋书法秀逸与画面相映成趣，诗画相生，将载月闲居的雅趣融于山水间，把月夜郊居的静谧安然尽数铺陈，尽显中式水墨留白意趣，传递出悠游林泉、寄情山水的文人情致。",[7,24,81,27,173,177,29,107,34,176,227],"https:\u002F\u002Foss.chuangqi.store\u00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枧峰寺图卷","此作为图文合璧的绘卷，右图以淡彩晕染山野丘林，松石苍雅朴拙，人物排布错落生动，行旅者或倦怠躺卧，或凝神聆听僧侣开示，情态各异，将行路劳顿与闻法的宁和形成鲜明对照。左文以汉字题咏叙事，文图呼应铺陈禅林行旅往事。整体设色清浅柔和，线条简净舒缓，带着古拙沉静的禅意氛围，尽显绘卷叙事与宗教风物相融的独特韵味，将东瀛禅林行旅的人文意趣娓娓道来，质朴中饱含静穆的人文温度。",[23,7,25,27,106,29,34,1575,176,12288,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f9c6f5ee50db71f4f7c33b983c2b3b.jpg",[],{"id":137726,"slug":137727,"title":130510,"dynasty":292,"author":69133,"museum":364,"description":69134,"tags":137728,"thumbUrl":137729,"material":743,"size":744,"collection":139,"collections":137730,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":271},231596,"shi-ting-shi-dai-shan-shui-tu-zhou-zhou-wen-231596",[23,7,24,241,173,177,29,107,108,1575,176,491,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5efd00ba4510536798ee87c1edb5bf8a.jpg",[],{"id":137732,"slug":137733,"title":137734,"dynasty":76,"author":293,"museum":206,"description":137735,"tags":137736,"thumbUrl":137737,"material":803,"size":137738,"collection":139,"collections":137739,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},231533,"suan-ni-tu-yi-ming-231533","狻猊图","现存古代绘画中，反映真狮形象的绘画主要集中于明清时期的宫廷绘画中，但水平有高下之分。从清代宫廷画家刘九德、张为邦及部分佚名画家所绘狮子图来看，虽然已十分接近真狮，但水平不高，较为呆板，精致程度远不及周全《狮子图》。这些较为写实的狮子绘画有些作于康熙年间，有些则是雍、乾时期的仿本。康熙十七年（1678）八月，葡萄牙人曾将一只狮子运抵北京献给康熙皇帝，可惜的是此狮到京后只存活了不到三个月，为时甚短，此后直到20世纪初，再未有真狮入华。由于接触时间甚短，未能细致观察，又迭经转摹，导致清宫写实性狮子绘画水平普遍不高，细节上有所缺失。",[7,24,28,27,957,430,1064,368,67,5192,130410,20174,8738,14888,867,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7499dad40501202d7f76dc3a35bc65.jpg","211.9x178.6厘米",[],{"id":137741,"slug":137742,"title":137734,"dynasty":76,"author":133670,"museum":206,"description":137735,"tags":137743,"thumbUrl":137744,"material":67,"size":137745,"collection":139,"collections":137746,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},231532,"suan-ni-tu-zhang-wei-bang-231532",[7,24,368,27,28,957,449,34,176,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2651477555d183251f2cf9c5bd2a4b0e.jpg","175.1x238.2厘米",[],{"id":137748,"slug":137749,"title":137750,"dynasty":99,"author":293,"museum":364,"description":82796,"tags":137751,"thumbUrl":137752,"material":139,"size":139,"collection":139,"collections":137753,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},231356,"ming-di-quan-shen-xiang-yi-ming-231356","明帝全身像",[23,7,28,27,106,502,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e9aec89439ed2cfa44b406bd91b5566.jpg",[],{"id":137755,"slug":137756,"title":137757,"dynasty":76,"author":90968,"museum":364,"description":137758,"tags":137759,"thumbUrl":137765,"material":139,"size":139,"collection":139,"collections":137766,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},231048,"xing-shu-zhou-lin-shu-231048","行书轴","此作用笔苍朴老辣，揉合帖学流秀与碑学沉厚，起收可见颜体沉雄，又兼得苏黄萧散意韵。通篇行气疏朗，字势错落欹侧，首句起笔舒缓墨足，随诗文情绪铺展，笔墨愈见跳宕，至末句笔锋开张，尽显放达之态。题款小字敛藏锋芒，与正文虚实相映，章法疏密得宜。\n\n以文人笔意入书，将诗文禅寂悠然融于笔墨间，整幅既是书法佳构，亦是作者心性襟怀的展露，漫溢出山林世外的清逸意趣。",[23,209,7,24,86,178,241,137760,137761,30866,137762,1329,137763,5749,149,137764,864,448,6605],"水寺","钟楼","野僧","深院","道人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f1dfb6014cf5b75cddea9b9ecd5908a.jpg",[],{"id":137768,"slug":137769,"title":137770,"dynasty":18,"author":137771,"museum":364,"description":137772,"tags":137773,"thumbUrl":137774,"material":139,"size":139,"collection":139,"collections":137775,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},230873,"ye-zhao-yun-230873","页","赵昀","此作用笔精劲端雅，是典型宋楷风貌，起收锋芒明晰，筋骨内含不失温厚。联句气象清远萧疏，笔墨间自带雍容静穆之态，结体方正匀停，笔画舒展合宜。\n\n沉古绢底搭配朱红鉴印，更衬出古雅沉静氛围，将诗句里淡远清寂的秋夜意境，融于端严笔致中。文与书相得益彰，平和简淡的文人意趣尽显，尽显内敛从容的韵致，是宋代楷书的上乘佳构。",[23,209,7,24,178,86,227,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1596a74ff33f01ac2ed6de70c302dead.jpg",[],{"id":137777,"slug":137778,"title":137779,"dynasty":292,"author":60522,"museum":364,"description":60523,"tags":137780,"thumbUrl":137781,"material":67,"size":744,"collection":139,"collections":137782,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},230575,"a-shi-duo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230575","阿氏多尊者",[23,7,24,241,259,106,107,176,313,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb4115c81ad46fcc2c26ab41970c858.jpg",[],{"id":137784,"slug":137785,"title":137786,"dynasty":292,"author":60522,"museum":364,"description":60523,"tags":137787,"thumbUrl":137788,"material":67,"size":744,"collection":139,"collections":137789,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},230571,"luo-hu-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230571","啰怙罗尊者",[23,209,7,24,241,259,27,28,106,430,224,957,650,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43f09e40688c53ffec58bebf4c9e71c.jpg",[],{"id":137791,"slug":137792,"title":137793,"dynasty":292,"author":60522,"museum":364,"description":60523,"tags":137794,"thumbUrl":137795,"material":67,"size":744,"collection":139,"collections":137796,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49}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作以写实之笔绘生动之态，于细微处藏历史之重，衣袂间流转着多民族交往的温度，是清代民族文化交融图景中一抹鲜活的印记。",[23,7,24,81,27,28,106,63,7464,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ec94222db3fbb3666a4e5afabaec06.jpg",[],{"id":138775,"slug":138776,"title":138777,"dynasty":76,"author":293,"museum":364,"description":138778,"tags":138779,"thumbUrl":138780,"material":123,"size":139,"collection":139,"collections":138781,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},216070,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-12-yi-ming-216070","职贡图巨幅彩绘册页第3册-12","画面分左右二帧，各绘一人。左帧女子束发裹巾，身披黑氅，内着蓝绿交领衣，下着带纹长裙，赤足而立，姿态娴静温婉；右帧男子散发覆额，肩披毛皮，内着蓝衣，下系条纹裙，赤足，手持长矛与蛇形器物，神情悍勇质朴。画作以细腻笔触勾勒人物形貌，服饰细节丰富鲜活，色彩古朴雅致，线条流畅传神。作为职贡图的一页，它生动记录了特定族群的衣着与风貌，既具艺术审美价值，亦为研究清代边疆族群文化提供了直观的图像参考，尽显古人对异域方邦观察描摹之精。",[23,7,24,81,28,27,106,63,7464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a444ead43bf6529ce7611f2be358164.jpg",[],{"id":138783,"slug":138784,"title":138785,"dynasty":76,"author":293,"museum":364,"description":138786,"tags":138787,"thumbUrl":138789,"material":123,"size":139,"collection":139,"collections":138790,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},216057,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-23-yi-ming-216057","职贡图巨幅彩绘册页第3册-23","画面分左右两帧，左帧一人席地而坐，衣袍蓝白相间、纹饰细腻，手持器具打理脚下物件，身旁织物铺陈，神态专注；右帧为狗拉雪橇的动态场景，数只犬只姿态各异、奋力牵引，雪橇上两人衣袂厚重，尽显风雪行旅之态。画作笔触写实传神，色彩淡雅温润，鲜活再现边疆民族的生活图景，饱含人文温度与地域风情，是清代职贡题材绘画中颇具生活气息的精品。",[23,7,27,28,9253,5990,106,61,138788,15846,505],"雪橇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f67a4182c38bee639d1b8202aec0f5.jpg",[],{"id":138792,"slug":138793,"title":138794,"dynasty":76,"author":293,"museum":364,"description":138795,"tags":138796,"thumbUrl":138797,"material":123,"size":139,"collection":139,"collections":138798,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},216036,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-8-yi-ming-216036","职贡图巨幅彩绘册页第4册-8","画面分左右绘两人物，衣饰以蓝黑为主调，衬出质朴风貌。左者头裹蓝巾，身挎竹篮，步履间似携生活气息；右者须眉微蹙，衣缀蓝饰，神态闲适。人物勾勒细腻，色彩淡雅却见层次，衣纹褶皱间藏着对日常姿态的精准捕捉。旁附文字注解，似在诉说族群风貌，与图像相映成趣，既保留了纪实的严谨，又透着绘者对生活气息的体察。整幅画作以写实笔触，将特定族群的衣着、神态凝于纸上，是清代对边地文化记录的生动切片，尽显图文互证的历史意趣。",[23,7,27,28,106,81,63,9253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb174c183e0c5af994ec26bd085e4ff7e.jpg",[],{"id":138800,"slug":138801,"title":138802,"dynasty":76,"author":293,"museum":364,"description":138803,"tags":138804,"thumbUrl":138805,"material":123,"size":139,"collection":139,"collections":138806,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},216035,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-7-yi-ming-216035","职贡图巨幅彩绘册页第4册-7","对开页间绘两人，姿态各异，风貌鲜明。左者头戴布帽，衣饰蓝黑相衬，胸前缀彩绣纹样，肩背竹篓，手持绳具，神情质朴；右者须发微白，身着蓝衣，腰束红带，赤足而立，肩扛农具，身后斜挎物什，神态沉稳。画作线条细腻婉转，设色清雅温润，人物形象写实生动，既细致呈现不同个体的服饰特色与劳作状态，也悄然勾勒当时民间或边地的生活风貌。笔墨间对人物神态、衣纹褶皱及工具细节的精准捕捉，让画面满溢浓郁生活气息，更承载对特定历史场景的鲜活记录，具可观的艺术价值与历史意涵。",[23,7,24,81,28,27,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe8b76c9ba97bbdc3a085b0d5f82c94.jpg",[],{"id":138808,"slug":138809,"title":138810,"dynasty":76,"author":293,"museum":364,"description":138811,"tags":138812,"thumbUrl":138813,"material":123,"size":139,"collection":139,"collections":138814,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},216025,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-23-yi-ming-216025","职贡图巨幅彩绘册页第4册-23","画面中两位人物形象鲜明：左侧深衣裹身，红领微露，背竹筐稳步前行，发式别具一格；右侧斗笠覆顶，黑氅披肩，黄裳赤足，腰间蓝带摇曳。工笔细描衣褶纹理，设色古朴沉稳，人物神态生动传神，或行或立间，尽显不同族群的独特风貌。画作以写实笔触捕捉服饰、器物细节，既藏着细腻的艺术匠心，又为研究当时民族文化交流留下鲜活的视觉注脚，笔墨间流淌着历史的温度与生活的气息。",[23,209,7,24,81,28,27,106,1351,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c6af952d19f67dd633105225b245ff.jpg",[],{"id":138816,"slug":138817,"title":138818,"dynasty":76,"author":293,"museum":364,"description":138819,"tags":138820,"thumbUrl":138821,"material":123,"size":139,"collection":139,"collections":138822,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},216018,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-25-yi-ming-216018","职贡图巨幅彩绘册页第4册-25","画面中两位人物衣饰各具风情，左侧蓝裙赤足，彩巾覆肩，衣袂轻扬间流露质朴神态；右侧绿衫红裤，箭囊佩刀随身，神色安然中透着豪迈。笔触工细，设色妍丽，织物纹理与人物姿态皆刻画入微。旁侧题跋似在诉说其地域身份，尽显清代对边疆民族风貌的细致描摹。整幅画作不仅是生动的人物写照，更承载着多民族文化交融的历史印记，于彩绘间勾勒出边疆族群的鲜活群像，传递出独特的人文温度与时代气息。",[23,7,81,28,27,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365917358ecf212fad3bda9a4ed5dedc.jpg",[],{"id":138824,"slug":138825,"title":138826,"dynasty":76,"author":293,"museum":364,"description":138827,"tags":138828,"thumbUrl":138829,"material":123,"size":139,"collection":139,"collections":138830,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":49},216016,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-30-yi-ming-216016","职贡图巨幅彩绘册页第4册-30","画面分左右二帧，各绘一人物。左帧者头裹蓝巾，深褐短褐配紫褐短裤，足蹬浅履，手提竹篮与禽鸟，衣袂间蓝带轻扬，神态平和；右帧老者头戴竹笠，蓝衫褐裤赤足拄锄，身形微躬似劳作初歇，质朴憨实。设色淡雅温润，线条流畅细腻，人物姿态自然传神，尽显不同身份者的生活风貌。画作以写实笔触捕捉服饰细节与神情，既具纪实性，又含艺术韵致，生动呈现特定群体的生存状态与精神气质，于方寸间藏生活真意。",[23,7,24,209,81,28,27,9253,106,1351,11352,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb50662ae962d855c07647f7b2b589c.jpg",[],{"id":138832,"slug":138833,"title":138834,"dynasty":76,"author":293,"museum":364,"descriptio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卖的寻常瞬间，凝成有温度的时光切片，让久远的烟火在素纸上缓缓流淌。",[23,7,24,81,260,106,244,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1d7d034b88e36a8e2f603841d02b358.jpg",[],{"id":139203,"slug":139204,"title":139205,"dynasty":76,"author":293,"museum":364,"description":139206,"tags":139207,"thumbUrl":139208,"material":803,"size":139,"collection":139,"collections":139209,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},215540,"bai-miao-jie-tou-mai-mai-hua-ce-17-yi-ming-215540","白描街头买卖画册-17","淡墨线条牵起市井烟火，三人围矮桌成一方小天地。俯身者前倾的肩背藏着探问，执物者指尖的动作凝着专注，端坐者微侧的面庞落着目光，几笔勾勒便让人物神态跃然纸上。矮凳简桌的质朴，衣袂褶皱的流转，皆以白描之法铺展日常肌理。没有浓艳设色，却让街头买卖的细碎声响似在耳畔，平凡生活的暖意悄然漫开，如巷陌间偶逢的一幕，寻常却勾人驻足。",[23,7,260,81,106,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc06e81e5e67f743032878c3f6da941.jpg",[],{"id":139211,"slug":139212,"title":139213,"dynasty":76,"author":293,"museum":364,"description":139214,"tags":139215,"thumbUrl":139217,"material":803,"size":139,"collection":139,"collections":139218,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},215531,"bai-miao-jie-tou-mai-mai-hua-ce-26-yi-ming-215531","白描街头买卖画册-26","素纸之上，弓步前倾的身影被简练线条勾勒得筋骨毕现。裸身裹布的汉子双手紧扣长木，肩背肌肉的起伏隐现于线条转折间，额角微蹙的细节藏着劳作的沉实。白描笔触爽利无饰，却让木杆的沉坠感透过姿态漫溢——仿佛能听见压肩的闷响，混着巷陌吆喝。这帧小品，是市井烟火里劳作的鲜活切片，以极简笔墨凝住街头买卖背后的生计温度，素淡却动人。",[23,7,24,81,260,106,131877,139216],"木头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf958379ef3023ef312761ab0f023821.jpg",[],{"id":139220,"slug":139221,"title":139222,"dynasty":76,"author":293,"museum":364,"description":139223,"tags":139224,"thumbUrl":139225,"material":803,"size":139,"collection":139,"collections":139226,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},215526,"bai-miao-jie-tou-mai-mai-hua-ce-31-yi-ming-215526","白描街头买卖画册-31","单足踏圆筐的身影，是市井烟火里鲜活的注脚。素笔勾勒的衣纹随动作舒展，手持器具的姿态藏着生计的韧劲，旁侧竹筐插满长物，似待售的营生家当。白描线条洗练却勾连起生活的温度，人物眉眼间的平和，消解了街头奔波的局促，将清代街头买卖的日常，凝作一纸静而生动的图景。没有浓墨重彩，却以线的疏密、形的拙朴，让百年前的市井气息漫溢而出，每一笔都牵着平凡日子里的踏实与鲜活。那些藏在轮廓里的细微动态，似能听见街头的吆喝声，触到旧时光里的烟火余温。",[23,7,24,81,260,106,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c78baf88d9ecf544c6a5ffa2e7ce52.jpg",[],{"id":139228,"slug":139229,"title":139230,"dynasty":76,"author":293,"museum":364,"description":139231,"tags":139232,"thumbUrl":139233,"material":803,"size":139,"collection":139,"collections":139234,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},215525,"bai-miao-jie-tou-mai-mai-hua-ce-32-yi-ming-215525","白描街头买卖画册-32","袒胸赤脚的挑担人，肩扛扁担，一手轻扶杆头，步履似携市井烟火。左篮卧鱼，右筐空荡却藏着待售的期许，竹篾纹理、腰间布巾褶皱，皆以细劲白描线条勾勒，简而有神。眉眼间无喧嚣，只有生计里的平和从容。寥寥数笔定格街头买卖日常：走街串巷的奔波，与顾客的寒暄，仿佛藏在素净线条中。百年前的生活场景，在纸上仍透着鲜活温热，触手可及般真实，让人间烟火气跨越时光，至今仍觉亲切。",[23,7,24,81,260,106,244,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b648d3a499ca00b7003d14cf36419c2.jpg",[],{"id":139236,"slug":139237,"title":139238,"dynasty":76,"author":293,"museum":364,"description":139239,"tags":139240,"thumbUrl":139241,"material":803,"size":139,"collection":139,"collections":139242,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},215524,"bai-miao-jie-tou-mai-mai-hua-ce-33-yi-ming-215524","白描街头买卖画册-33","墨线轻描的身影里，藏着旧时光的市井烟火。斗笠压着微躬的肩，布衣褶皱随步履流转，围裙轻晃间，挑杆两端的竹篮坠着生计的重量——一侧叠着整齐的货物，一侧立着方物，细节写实得像能闻见街头的风。白描以简胜繁，线条或挺劲或柔婉，挑担的动态、衣料的质感皆在笔端鲜活。没有浓墨重彩，却将小贩奔波的日常凝于素纸：稳握挑杆的手藏着坚韧，微倾的身板载着生活的温热。这幅画似一扇窄窗，推开便见清代街头的民生百态，每一道墨痕都浸着人间烟火气，让远去的买卖场景在纸上缓缓苏醒。",[23,76,7,24,81,260,106,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7018e940a8515d8e8aa0b537cf895181.jpg",[],{"id":139244,"slug":139245,"title":139246,"dynasty":76,"author":293,"museum":364,"description":139247,"tags":139248,"thumbUrl":139249,"material":803,"size":139,"collection":139,"collections":139250,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},215514,"bai-miao-jie-tou-mai-mai-hua-ce-43-yi-ming-215514","白描街头买卖画册-43","素笔勾勒的市井图景里，挑担人缓步前行，肩头扁担架着两串蜂窝状笼具，笼格纹理细密如织，似藏着巷陌间的细碎热闹。衣袂线条随步态轻扬，手中折扇半展，眉眼间带着几分从容的烟火气。白描笔触极简却精准，衣纹的褶皱、笼具的结构，皆以简练线条勾勒得清晰传神。没有浓墨重彩，只凭线条的轻重缓急，便将街头买卖的鲜活态捕捉入怀——寻常生计里的温煦与生动，在素纸上静静流淌。这是对市井生活的温柔凝视，每一道线条都藏着旧时光的人间烟火，淡而有味，静却传神。",[23,7,24,81,260,106,244,131877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bf304be78ad8a904fe7c8300fc4758.jpg",[],{"id":139252,"slug":139253,"title":139254,"dynasty":76,"author":293,"museum":364,"description":139255,"tags":139256,"thumbUrl":139257,"material":803,"size":139,"collection":139,"collections":139258,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":94},215512,"bai-miao-jie-tou-mai-mai-hua-ce-45-yi-ming-215512","白描街头买卖画册-45","素纸间，线条似流水游走，勾出戴笠人的行影。宽檐斗笠遮去半面，却泄出几分营生的专注；手中竹篮纹理浅淡，碗沿弧度藏着市井热意。衣袂随步履轻摆，褶皱里叠着赶路的匆忙；赤脚沾着烟火余温，似踩过石板路的寻常。无需浓墨，仅以白描之纯粹，便将街头买卖人的日常鲜活铺展——那是烟火里的奔波，岁月里的平实，每一笔线条都牵起生活脉络，让寻常瞬间成了耐品的市井风景。",[23,260,7,24,81,106,244,1351,63,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c65da85ed704bf501bf71359e23229.jpg",[],{"id":139260,"slug":139261,"title":139262,"dynasty":76,"author":293,"museum":364,"description":139263,"tags":139264,"thumbUrl":139265,"material":803,"size":139,"collection":139,"collections":139266,"showCount":1547,"zanCount":48,"manualWe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画中诗画合一的典范。",[7,25,173,86,178,227,83,1352,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab9b09e4f0cb1783b2b764f5d601ac5.jpg",[],"c6bcb3",{"id":140742,"slug":140743,"title":140744,"dynasty":76,"author":707,"museum":78,"description":140745,"tags":140746,"thumbUrl":140747,"material":139,"size":139,"collection":139,"collections":140748,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":140749},202487,"guan-shan-lei-ma-tu-zhou-hua-yan-202487","关山勒马图轴","寒原积雪覆关山，寒烟如缕漫卷天际。红衣旅人勒马驻足，衣袂轻扬似凝思前路；骏马昂首矫健，神姿毕现。远处孤鹰振翅掠过苍茫，添几分寂寥辽远。笔墨兼工带写，人物马匹形神兼备，红衣设色明艳与背景水墨晕染相映，虚实相生间，尽展关山行旅的苍凉沉雄。简淡画面藏悠远意境，尽显画家笔底丘壑与人文情韵。",[7,27,106,150,281,29,173,241,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3824d1269fc4299c441edc6ed1cc54.jpg",[],"b3b3ab",{"id":140751,"slug":140752,"title":140753,"dynasty":99,"author":86767,"museum":78,"description":140754,"tags":140755,"thumbUrl":140756,"material":139,"size":139,"collection":139,"collections":140757,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":140758},202482,"duan-ya-zhong-cui-tu-zhou-chen-guan-202482","断崖重翠图轴","断崖峭壁间，翠色层层叠叠，草木葱茏欲滴。山间溪流蜿蜒，或隐于林麓，或泻于岩隙，水声似可闻。近处松下，雅士对坐清谈，尽显幽居之趣。笔墨技法上，山石以皴擦结合，线条劲挺灵动；树木用点染法，枝叶繁茂层次分明。淡设色晕染自然，水墨清雅中添山林生机。整体意境清幽深远，传递出人与自然相融的静谧之美，尽显文人画的逸致与风骨。",[7,29,241,27,177,34,176,560,106,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7e8d27542676d5893cb49f3eb1149a.jpg",[],"c2b3a6",{"id":140760,"slug":140761,"title":140762,"dynasty":76,"author":10376,"museum":78,"description":140763,"tags":140764,"thumbUrl":140766,"material":139,"size":139,"collection":139,"collections":140767,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":140768},202481,"yu-cun-wan-du-tu-zhou-wang-hui-202481","渔村晚渡图轴","画面山峦以皴擦结合勾勒，笔墨苍劲中见秀润，云雾氤氲间铺展深远层次。近岸林木扶疏，渔村屋舍错落隐现，水面孤舟晚渡，渔人身影映于粼粼波光，尽抒江南水乡的静谧清旷之趣。构图疏密相宜，意境悠远，融自然生趣与笔墨法度于一体，尽显传统山水画的典雅韵致。",[7,29,173,177,174,1251,1016,241,34866,140765,23],"江南","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed0513f375537deb159a4b37f997522d.jpg",[],"b8a690",{"id":140770,"slug":140771,"title":140772,"dynasty":76,"author":140773,"museum":78,"description":140774,"tags":140775,"thumbUrl":140776,"material":139,"size":139,"collection":139,"collections":140777,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":140778},202480,"song-shi-hua-niao-zhou-zhang-hui-lin-202480","松石花鸟轴","张撝麐","画面苍松虬曲，枝干以浓墨皴擦，纹理古拙；松针挺劲如戟，笔墨利落。梅枝穿插其间，粉蕊轻绽，清雅动人。两只喜鹊栖于枝上，神态鲜活，羽翼勾勒细腻，墨色浓淡相宜。树下灵芝吐艳，草叶丛生，野趣盎然。构图疏密有致，笔墨兼工带写，松的苍劲与梅的柔媚相映，喜鹊的灵动为画面注入生机。整体风格雅致，既有文人画的意趣，又具写生的生动，尽显自然生机与笔墨韵味。",[7,241,83,173,27,449,448,19390,12102,177,95531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa026f928e4d692150a6548fba5722422.jpg",[],"af9572",{"id":140780,"slug":140781,"title":140782,"dynasty":76,"author":5208,"museum":78,"description":140783,"tags":140784,"thumbUrl":140785,"material":139,"size":139,"collection":139,"collections":140786,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":95451},202465,"jie-lou-yun-shang-tu-zhou-gong-xian-202465","结楼云上图轴","画面中山峦层叠，墨色浓淡交错，以皴染结合之法勾勒山体肌理，显厚重层次感。几间茅屋隐于林麓间，错落有致；小桥横跨溪畔，连接幽僻小径。近处林木葱茏，枝干苍劲，墨色晕染间见笔力。整体意境清幽静谧，似能嗅到山林间的湿润气息，笔墨间流露文人对自然的深切眷恋，尽显山水之雅韵与林下之幽情。",[7,29,173,177,241,920,108,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5529a35e5c918046dbe4233b58c73dec.jpg",[],{"id":140788,"slug":140789,"title":140790,"dynasty":76,"author":24647,"museum":78,"description":140791,"tags":140792,"thumbUrl":140793,"material":139,"size":139,"collection":139,"collections":140794,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":140795},202461,"shan-ju-du-shu-tu-zhou-gao-jian-202461","山居读书图轴","画面以水墨写意出陡峭悬崖，苍劲古松虬枝垂挂，松旁筑一简陋书屋，屋内文人临窗静坐，似沉浸书海。笔墨简淡却见功力，山石以简洁皴法勾勒，松针用细劲线条写出，整体意境清寂悠远，尽显文人隐居读书的闲适与超脱。无繁复设色，仅借水墨层次营造空濛氛围，将自然之境与人文之思相融，传递出古代文人对山水田园的向往与内心宁静。",[7,29,173,177,12920,6698,759,241,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca12b755d70fcf601a1b23e1227b77c5.jpg",[],"b4a08a",{"id":140797,"slug":140798,"title":140799,"dynasty":76,"author":953,"museum":78,"description":140800,"tags":140801,"thumbUrl":140802,"material":139,"size":139,"collection":139,"collections":140803,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":52398},202459,"wu-tong-feng-huang-tu-zhou-ren-yi-202459","梧桐凤凰图轴","画面里梧桐枝干盘曲，墨笔勾勒间见苍劲，叶片泼墨点染，浓淡相宜。凤凰姿态鲜活，一昂首伫立，一俯身欲动，羽翼色彩明丽，红棕蓝白交织，兼工带写的笔触既细腻刻画翎羽纹理，又写意挥洒气韵。山石淡彩晕染，与花鸟相映，整体生机盎然，尽显笔墨灵动之趣。",[7,27,83,281,245,24,28,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79c26eca296fc073a890ea02db07c6b.jpg",[],{"id":140805,"slug":140806,"title":41944,"dynasty":76,"author":84857,"museum":78,"description":140807,"tags":140808,"thumbUrl":140809,"material":139,"size":139,"collection":139,"collections":140810,"showCount":1547,"zanCount":48,"manualWeight":48,"mainColor":140811},202456,"jin-gu-yuan-tu-zhou-ni-tian-202456","画面取材金谷园宴游典故，人物神态鲜活：端坐者衣袂宽博，尽显文人闲雅；仕女身姿窈窕，衣纹流转如行云。近景古木盘曲，枝干苍劲，溪水间游鱼灵动，笔墨兼工带写——人物线条细腻传神，景物晕染自然雅致。设色清淡却见层次，将雅集场景的悠然氛围与历史典故的含蓄意蕴相融，既保留传统人物画的传神特质，又透出灵动韵致，尽显画作的诗意与笔墨功底。",[7,106,27,758,34,109,26649,3963,23],"https:\u002F\u002Foss.chu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写意的雅致禅趣。",[7,241,173,84,697,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e62d8246649d140756cc7394bf5fc2.jpg",[],{"id":142101,"slug":142102,"title":142103,"dynasty":292,"author":293,"museum":364,"description":142104,"tags":142105,"thumbUrl":142106,"material":743,"size":744,"collection":139,"collections":142107,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},281564,"chi-shang-xiu-mu-shan-shui-tu-zhou-yi-ming-281564","池上秀亩山水图轴","淡月悬于空濛天际，山岚如纱晕染峰峦，将山林晕作深浅不一的墨色层次。山坳间村居依岩临水，白墙黛瓦隐于苍林怪石之间，烟火气融于清寂山光。浅滩流水潺湲，留白与淡墨铺就水光清浅，将山野幽居的静谧尽数铺开。\n\n整幅设色清润雅致，以晕染烘托出月夜山乡的空濛氛围，把幽居的恬然和山野的清寂融为一体，笔意简淡却意境悠长，将江村月夜的安闲诗意铺陈于绢素之上。观之如临其境，仿若能聆听见流水松风，静享山乡夜色的清宁。",[7,24,241,1397,27,300,194,560,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbff70080a09dea58a916c4cebae1545.jpg",[],{"id":142109,"slug":142110,"title":142111,"dynasty":76,"author":293,"museum":364,"description":142112,"tags":142113,"thumbUrl":142114,"material":743,"size":744,"collection":139,"collections":142115,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},273933,"jin-deng-long-yi-ming-273933","锦灯笼","此作以枯败锦灯笼为绘，将宿存萼片的褶皱枯色摹写入微，每一片都带着风霜剥蚀后的松弛肌理，沉朴棕褐褪去鲜亮时的艳态，尽显草木凋敝的沉静质感。散落的籽粒点缀其间，为枯寂画面添了几分余韵。无繁复构图与浓丽设色，仅以写实手笔定格野物本真，褪去矫饰尽显极简克制的古典意趣，将寻常草木的枯荣瞬间凝为隽永，带着侘寂淡然的静美，把平凡风物的质朴生机藏于枯败表象之下，尽显细腻写实功底与沉静内敛的审美意涵。",[7,24,83,299,142111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d7200ebc2ed4d18f5f6d00b8b4ab87.jpg",[],{"id":142117,"slug":142118,"title":116057,"dynasty":76,"author":293,"museum":364,"description":142119,"tags":142120,"thumbUrl":142121,"material":743,"size":744,"collection":139,"collections":142122,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},272892,"zi-tan-mu-bian-qian-fa-lang-nong-jia-le-tu-gua-ping-yi-ming-272892","金地铺陈底色，晕染出层叠青绿山峦，丹枫苍松错落点缀，将秋日山野的明妍烂漫晕染开来。山坳村舍错落，白墙素瓦掩映林泉之间，乡人往来作息，或耘田劳作，或檐下叙谈，融融烟火气漫溢其间。\n\n左上角题诗衬和图景，将田居闲逸诉诸笔端。整作设色柔丽雅致，笔触写实细腻，把文人心向往之的归园田居化为具象图景，兼具青绿山水的清隽意趣与乡野日常的脉脉温情，尽显工艺与绘事的精妙融合。",[7,24,57620,76437,17563,26,27,29,106,194,116060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a27c4d14fa36e376ffdd0a8beb90adf.jpg",[],{"id":142124,"slug":142125,"title":142126,"dynasty":76,"author":293,"museum":364,"description":142127,"tags":142128,"thumbUrl":142130,"material":743,"size":744,"collection":139,"collections":142131,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},272862,"jin-bian-hua-shan-shui-dian-ge-tu-gua-ping-yi-ming-272862","锦边画山水殿阁图挂屏","此作为工细院体风貌，以平远视角铺展水岸山居雅境。界画技法精严，亭台廊屋排布错落有致，月洞窗、临水敞轩细节雅致写实，尽显江南别业的清幽格局。淡赭晕染坡岸远山，林木苍润秀雅，留白处烟波澹澹，虚实相生间晕染出沉静古雅的氛围，兼具纪实性与审美意趣，将文人理想中的栖居之境具象呈现，温婉雅致间尽显水居闲淡意趣，是颇具韵味的清代界画小品佳作。",[7,104,27,28,107,29,34,142129,57620],"殿阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e897306baa66224db23c02cfaea5fc2.jpg",[],{"id":142133,"slug":142134,"title":142135,"dynasty":76,"author":293,"museum":364,"description":142136,"tags":142137,"thumbUrl":142140,"material":743,"size":744,"collection":139,"collections":142141,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},270573,"hong-se-miao-jin-yin-long-xi-zhu-wen-dou-fang-juan-yi-ming-270573","红色描金银龙戏珠纹斗方绢","朱红底色华贵沉凝，六龙盘桓于祥云烈焰之中。描金饰银勾勒龙身，鬃须翻卷张扬，利爪遒劲锋利，龙目圆睁尽显威凛，身姿矫健灵动，仿若即将破壁而出。云纹舒卷连绵，火焰纹错落点缀，烘托出腾云驾雾的磅礴气势。\n\n整体构图饱满匀整，对称排布尽显规整庄重，将皇权象征的龙纹与极致工艺相融。工笔精细入微，金银光泽于朱红之上交相辉映，富丽堂皇间尽显宫廷造物的考究，把传统祥瑞寓意与精湛工巧完美结合，尽显威严华贵的古典气韵。",[7,24,142138,67,16343,142139,502,261,28],"斗方","描银","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fdd05c57de0c4c0b12389325bc0d19.jpg",[],{"id":142143,"slug":142144,"title":142145,"dynasty":76,"author":293,"museum":364,"description":142146,"tags":142147,"thumbUrl":142149,"material":743,"size":744,"collection":139,"collections":142150,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},270531,"zhu-gu-diao-hua-bian-jia-qing-di-shu-feng-ning-hua-ma-tu-mian-zhe-shan-yi-ming-270531","竹股雕花边嘉庆帝书冯寜画马图面折扇","画面右侧白马神骏挺拔，伫立水岸昂首顾盼，筋骨劲健，俊朗昂扬。左侧绘秋林夕景，林木枯荣交错，坡岸迤逦向水，淡墨晕染烟波，晕开萧疏雅致的秋意。\n\n笔墨工细清润，设色柔和雅致，将鞍马的写实劲力与山水的悠远空灵相融，人马与秋林水岸浑然一体，尽显雅致内敛的风韵，骨韵兼备，是兼具画意与意境的精妙之作。",[1562,7,24,27,150,34,29,142148],"竹雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfab32648a5227ec7316473f38e15087.jpg",[],{"id":142152,"slug":142153,"title":142154,"dynasty":76,"author":293,"museum":364,"description":142155,"tags":142156,"thumbUrl":142157,"material":743,"size":744,"collection":139,"collections":142158,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},270246,"cai-hua-ren-wu-tu-mian-gu-bing-chao-zhou-shan-yi-ming-270246","彩画人物图面骨柄潮州扇","花瓣形扇面柔婉雅致，如意云纹扇托衔接骨柄，古韵悠然。扇面之上人物错落排布，似是雅游盛会，衣袂翩跹灵动，眉目姿态各有神韵。衬以朦胧云雾与嶙峋山石，晕染出清逸空灵的氛围感。设色淡雅柔和，线条细腻婉转，将古人悠游雅集之趣尽显无余，既带着清代工笔人物画的精致考究，又融合潮州扇独特的工艺巧思，将旧时文人雅士的风雅意趣藏纳方寸扇面之间，尽显工艺与画艺结合的别致韵味。",[1562,7,24,27,28,106,176,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a069a036a633fd7e152c49f0e4da723.jpg",[],{"id":142160,"slug":142161,"title":142162,"dynasty":76,"author":293,"museum":364,"description":142163,"tags":142164,"thumbUrl":142165,"material":743,"size":744,"collection":139,"collections":142166,"showCount":5,"zanCount":48,"manualWeight":48,"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、绵津山人 ，晚号西陂老人、西陂放鸭翁 。归德府（今河南商丘）人。清代诗人、画家、政治家。“后雪苑六子”之一。\n清顺治四年（1647年），宋荦应诏以大臣子列侍卫。康熙三年（1664年），被授予湖广黄州通判、康熙十六年（1677年），补理藩院判，迁员外郎。历官山东按察使，江苏布政使、江西巡抚、江苏巡抚。康熙三十八至四十四年（1699—1705年），康熙皇帝三次南巡，皆由宋荦负责接待。康熙四十四年（1705年）十一月，升任吏部尚书。康熙五十二年（1713年）春，加太子少师。同年九月逝世，享年八十岁，赐祭葬于商丘西陂别墅。\n宋荦为官正直，被康熙帝誉为“清廉为天下巡抚第一”。 宋荦笃学博闻，能诗文，工书画，精鉴赏，尤以诗享盛誉于清初文坛，一时文士多与之交游。 并与朱彝尊、施闰章等人同称“康熙年间十大才子”。编著有《西陂类稿》50卷、《漫堂说诗》及《江左十五子诗选》等。",[7,24,86,81,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8a1218491ea3fe1524fce8526d06c7.jpg",[],{"id":142530,"slug":142531,"title":111375,"dynasty":76,"author":142532,"museum":364,"description":142533,"tags":142534,"thumbUrl":142535,"material":743,"size":744,"collection":139,"collections":142536,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},240099,"shi-ce-fan-zeng-xiang-240099","樊增祥","樊增祥（1846—1931）清代官员、文学家。原名樊嘉、又名樊增，字嘉父，别字樊山，号云门，晚号天琴老人，湖北省恩施市六角亭西正街梓潼巷人。光绪进士，历任渭南知县、陕西布政使、署理两江总督。辛亥革命爆发，避居沪上。袁世凯执政时，官参政院参政。曾师事张之洞、李慈铭，为同光派的重要诗人，诗作艳俗，有“樊美人”之称，又擅骈文，死后遗诗三万余首，并著有上百万言的骈文，是我国近代文学史上一位不可多得的高产诗人。著有《樊山全集》。",[7,24,81,178,27,83,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cc3824fa702a6afddaaea61c460ec9.jpg",[],{"id":142538,"slug":142539,"title":142540,"dynasty":99,"author":142541,"museum":364,"description":142542,"tags":142543,"thumbUrl":142544,"material":743,"size":744,"collection":139,"collections":142545,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},240008,"zhi-si-weng-zan-ye-dong-wen-ji-240008","致思翁赞页","董文骥","董文骥. 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清和，以平远之法铺展江南春景。浅岸垂柳依依，村庐隐于林间，远山衔着薄霭晕染开来，留白处漾着空濛水汽，将早春的温润柔婉藏于淡色晕染中。笔致简淡温婉，不着繁复皴擦，却将水村澹澹闲意尽数铺陈。诗画相映，文气悠悠，虚实之间晕开春日独有的沉静悠然，把文人寄情林泉的雅趣融在浅淡设色与疏朗构图中，尽显雅致恬然的山水意境。",[7,24,86,27,29,177,105,81,34,35,31,106,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30f4f2898d90e6932147057c1ec0a6c.jpg",[],{"id":143274,"slug":143275,"title":35248,"dynasty":76,"author":35249,"museum":364,"description":143276,"tags":143277,"thumbUrl":143278,"material":139,"size":139,"collection":139,"collections":143279,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238219,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238219","此作用笔简淡秀雅，以水墨写就山居小景。苍木虬枝错落，茅庐隐于林麓坡岸之间，留白衬出溪畔空寂，尽显林下幽逸之趣。画面萧散静穆，寥寥皴擦勾勒便将山野清润之态铺陈开来，暗合文人林泉高致。\n左侧题诗与画境呼应，诗画合璧，把山居闲雅的林下意趣融于笔端，观之恍若步入幽寂村舍，沉醉在疏淡清远的诗意之中，尽显南宗山水雅逸风神，是寄情丘山的文人水墨佳构。",[7,24,173,81,177,29,34,35,298,86,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210a6bab8cf2d0a0ee650e902a81f985.jpg",[],{"id":143281,"slug":143282,"title":486,"dynasty":76,"author":111749,"museum":364,"description":143283,"tags":143284,"thumbUrl":143285,"material":139,"size":139,"collection":139,"collections":143286,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238190,"shan-shui-ce-song-jun-ye-238190","此帧融书画为一体，右幅山水以浅绛晕染，笔墨松灵秀雅。坡岸疏林错落，村居隐于林下，汀渚烟霭轻笼，远山含黛，将秋日水乡的清寂诗意铺展纸上，尽显淡宕闲远之致。\n\n左侧行书题诗笔致俊逸流畅，诗书与画境呼应相生，文气墨韵交融无间。整作以简淡之笔勾勒林泉幽居，不事雕琢，天真自然，将文人隐逸的闲雅意趣藏于尺幅之间，于浅淡晕染、疏朗构图里，揽尽林泉丘壑之美，恬淡悠然的林下之趣溢于楮墨。",[7,24,81,29,177,27,864,297,34,35,558,650,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7546b52c1fb5dd2d70cccfaf22daf74f.jpg",[],{"id":143288,"slug":143289,"title":486,"dynasty":76,"author":111749,"museum":364,"description":143290,"tags":143291,"thumbUrl":143292,"material":139,"size":139,"collection":139,"collections":143293,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238189,"shan-shui-ce-song-jun-ye-238189","此作用淡墨晕染秋山幽居之景。近岸苍松怪石错落而立，山居隐于林木深处，远岫平缓晕在烟水之上，留白铺陈出空濛辽远的意境，尽显清秋疏旷之致。笔墨简淡秀雅，以干笔皴擦勾勒山石肌理，林木萧疏灵动，不事浓艳雕琢，纯以水墨绘就静穆淡远的出世之态。左侧题诗与画境呼应，将林泉间无扰的太平秋光娓娓道来，书画相得益彰，尽显文人情趣，绘出士人心中的隐逸桃源，淡而愈厚、实而愈清，藏着无声的安然意趣。",[7,24,173,177,81,29,108,109,34,176,35,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524922c6b57f987daf5dc9c7e8b7b325.jpg",[],{"id":143295,"slug":143296,"title":486,"dynasty":76,"author":111749,"museum":364,"description":143297,"tags":143298,"thumbUrl":143299,"material":139,"size":139,"collection":139,"collections":143300,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238186,"shan-shui-ce-song-jun-ye-238186","此作诗画合璧，意境悠然。画幅以淡彩晕染山峦，秀润苍郁的林木错落溪边，山居藏于翠微之间，溪桥横卧浅流，烟岚轻笼幽谷，将江南山水的温润灵秀铺陈开来。笔墨清和柔婉，设色雅致明净，处处透着闲适静谧的林下意趣。左侧题字笔致流丽秀雅，诗文与画境呼应，把文人耽恋林泉的隐逸情怀融在山水丘壑之中。观之如踏入幽寂山居，静听松风裹着泉鸣，沉醉在澹远悠然的诗意山光里，尽显文人山水的清雅格调。",[7,24,81,27,177,86,227,29,34,176,108,109,107,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a09dd6f013766756d9ad08ccb8d86bd.jpg",[],{"id":143302,"slug":143303,"title":486,"dynasty":76,"author":111749,"museum":364,"description":143304,"tags":143305,"thumbUrl":143306,"material":139,"size":139,"collection":139,"collections":143307,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238185,"shan-shui-ce-song-jun-ye-238185","这幅山水取清秋林居之景，远山层叠含烟，近岸林木蓊郁，村居隐于林下溪旁，板桥横卧浅溪，萧疏秋意漫溢尺幅。笔墨清润淡逸，构图疏密相宜，将深幽山野的静穆闲适晕染开来。\n\n搭配行书题诗，诗画呼应，把深林秋气的幽寂写尽，诗书画印相映成趣，尽显文人画雅致风骨。简淡笔触间藏着澹泊意韵，仿若将观者带入清秋林泉，暂忘尘嚣，坠入山野幽居的安宁悠然之中。",[7,24,5990,173,27,177,29,34,35,1445,108,368,119223,176,560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1755325fc89e719a5b466f55a8eced29.jpg",[],{"id":143309,"slug":143310,"title":486,"dynasty":76,"author":111749,"museum":364,"description":143311,"tags":143312,"thumbUrl":143313,"material":139,"size":139,"collection":139,"collections":143314,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238184,"shan-shui-ce-song-jun-ye-238184","此作用浅绛设色描摹林壑晓景，以披麻皴勾勒山峦肌理，笔墨温雅秀润。平林迤逦，溪岸蜿蜒，茅舍隐于茂林之下，远山含烟晕染出空濛气韵。配页行书清隽疏朗，诗画呼应，将晨间林麓的清逸氛围铺陈开来。山径通幽间，似能晓风拂面、啼鸟穿林，满卷皆为山居静穆清和之趣，仿若踏入空寂林居，揽尽晨岚氤氲的林下雅意，尽显传统山水的写意悠然。",[209,7,24,27,177,86,227,29,34,35,31,491,1926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce84782924ad29edac652b3aeeb5e3f.jpg",[],{"id":143316,"slug":143317,"title":486,"dynasty":76,"author":111749,"museum":364,"description":143318,"tags":143319,"thumbUrl":143320,"material":139,"size":139,"collection":139,"collections":143321,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238183,"shan-shui-ce-song-jun-ye-238183","此作以淡墨皴染出清寂冬郊之景。近岸枯木错立，茅舍藏于林麓，浅溪缓绕石矶；远山空蒙飞瀑垂落，古木萧疏间暮烟轻笼，寒色浸透青流。\n\n画面虚实相生，笔墨苍秀温润，将题诗里幽人耕钓、自适林泉的隐逸意趣铺陈开来。整体意境淡远萧散，把冬日郊野的清寒静谧，与林下幽人抛却尘事、寄兴烟霞的襟怀相融，简淡笔墨间意韵悠长，尽显文人山水寄情抒怀的雅致。",[7,24,173,177,86,227,81,29,176,34,109,35,491,10416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9549d04a10eee81606e2be01cef3120.jpg",[],{"id":143323,"slug":143324,"title":486,"dynasty":76,"author":111749,"museum":364,"description":143325,"tags":143326,"thumbUrl":143327,"material":139,"size":139,"collection":139,"collections":143328,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238182,"shan-shui-ce-song-jun-ye-238182","此作用笔苍润秀雅，以淡墨皴擦晕染出山林丘壑。远山崔巍，近岸林木扶苏，溪泉潺潺绕村，茅舍山居隐于葱郁林木间，勾勒出幽寂出尘的山居胜境。\n\n左侧题诗与山水相映成趣，诗画合璧，将林下幽栖的雅怀融于尺幅之中。笔墨静穆萧散，带着澹远空灵的古意，把高人幽居林泉、抚琴自适的雅韵铺陈开来，尽显传统文人山水画寄情于景的雅致品格，将出世闲逸的襟怀藏在山光水色之间。",[7,24,81,178,173,177,29,864,558,34,560,650,35,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a49cb91dd8a04320ad2b00a3766861.jpg",[],{"id":143330,"slug":143331,"title":486,"dynasty":76,"author":111749,"museum":364,"description":143332,"tags":143333,"thumbUrl":143334,"material":743,"size":744,"collection":139,"collections":143335,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238181,"shan-shui-ce-song-jun-ye-238181","字声求，号坚斋，一号坚甫，江苏长洲(今蘇州）人。官兵部左侍郎。善书画，笃好山水，因绘南巡图聘王翚于家而画学大进。",[7,24,209,27,173,29,177,430,35,31,864,1329,1445,281,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad36d1dd115f3e7cb762e4658eec10d5.jpg",[],{"id":143337,"slug":143338,"title":486,"dynasty":76,"author":111749,"museum":364,"description":143332,"tags":143339,"thumbUrl":143340,"material":743,"size":744,"collection":139,"collections":143341,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238179,"shan-shui-ce-song-jun-ye-238179",[209,7,24,81,173,29,86,227,1195,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4ec009c067dfd174d702218322a84b.jpg",[],{"id":143343,"slug":143344,"title":486,"dynasty":76,"author":111749,"museum":364,"description":111750,"tags":143345,"thumbUrl":143346,"material":139,"size":139,"collection":139,"collections":143347,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238177,"shan-shui-ce-song-jun-ye-238177",[7,24,27,29,227,86,177,864,297,34,107,37,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d39bd7a29d4999b972a583ae0ef7a64.jpg",[],{"id":143349,"slug":143350,"title":486,"dynasty":76,"author":39840,"museum":364,"description":143351,"tags":143352,"thumbUrl":143353,"material":139,"size":139,"collection":139,"collections":143354,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238153,"shan-shui-ce-yun-xi-238153","设色清雅温润，以淡赭晕染山峦，皴笔细腻勾勒出岩体质感，坡岸林木错落排布，水榭板桥点缀溪谷，将幽居藏于绝涧深林之间，尽显山野丘壑的悠然意趣。\n\n题诗与画境互为表里，诗画交融，铺陈出林泉高致的隐逸情怀。笔墨间藏着冲淡恬和的林下之风，以淡雅之态描摹出林泉幽寂的世外之境，将文人心中的丘壑山水诉诸纸面，观之如临绝尘幽居，引人步入忘俗的山居雅意中。",[7,29,27,177,86,178,227,81,108,109,34,176,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a676ec269400083967ea7fda07bd5d.jpg",[],{"id":143356,"slug":143357,"title":77002,"dynasty":76,"author":77003,"museum":364,"description":143358,"tags":143359,"thumbUrl":143360,"material":743,"size":744,"collection":139,"collections":143361,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},238113,"yun-zi-hua-hui-ce-yun-zi-238113","此作用淡墨勾勒梅枝，苍劲虬曲，尽显老干古拙之姿。枝头梅花或盛放、或含苞，清雅灵动，暗香仿佛随墨韵溢出。搭配题诗与书法，笔意清逸，书画相映，氤氲出浓浓的文人雅趣。\n\n绢本作底，墨色清润雅致，以极简笔墨托物言志，将梅花孤高清寒、傲雪凌霜的风骨藏于笔端，寥寥数笔便写尽梅之神韵，意韵悠长尽显文人写意花卉的雅致意趣，把传统花鸟小品的抒情特质尽显无余。",[7,24,81,260,173,83,448,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d69ffca5b53ffd24a8da28d9fe457f4.jpg",[],{"id":143363,"slug":143364,"title":77002,"dynasty":76,"author":77003,"museum":364,"description":143365,"tags":143366,"thumbUrl":143367,"material":743,"size":744,"collection":139,"collections":143368,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238111,"yun-zi-hua-hui-ce-yun-zi-238111","此作设色秀雅，以梅枝为主体，挺劲枝桠上梅花晕染柔润，尽显凌寒清姿。下方搭配艳红小花与细叶幽草，冷暖色调相映，层次雅致分明。\n书法与画作相映成趣，隽秀题字和清丽笔墨融为一体，尽显文人意趣。笔法温婉细腻，明丽设色却丝毫不显俗艳，将草木的清灵雅致勾勒尽致，带着江南画派特有的秀润气质。尺幅之间融冬春花卉生机雅致，尽显娴静古典的文人意韵，是小品花卉中的上乘佳制。",[7,24,81,27,28,83,84,62,713,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db1c15ee4d44acb492457e0226dc08e.jpg",[],{"id":143370,"slug":143371,"title":77002,"dynasty":76,"author":77003,"museum":364,"description":143372,"tags":143373,"thumbUrl":143374,"material":743,"size":744,"collection":139,"collections":143375,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},238109,"yun-zi-hua-hui-ce-yun-zi-238109","此作用色秀雅清润，以淡赭晕染绢底，山茶花瓣以粉紫轻铺，边缘晕开浅白，将花苞初绽、半开之态晕染得温柔娇妍。叶片以花青勾脉，嫩叶绿中带粉，老叶墨色苍润，层次分明，尽显草木鲜活生机。\n\n清冷题诗衬出山茶花孤高自持的姿容，笔致细腻却不见纤弱，兼具写生之真与写意之灵，尽显淡逸雅致的风骨。秀逸挺拔的题字与柔婉画面相映成趣，整体雅静清和，将花木韵致与文人审美意趣融为一体，晕染出平淡天真的雅致格调。",[7,24,81,27,28,83,84,698,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff76f773c5e8b947ca76d05136bb9038e.jpg",[],{"id":143377,"slug":143378,"title":70591,"dynasty":76,"author":46374,"museum":364,"description":46375,"tags":143379,"thumbUrl":143380,"material":139,"size":139,"collection":139,"collections":143381,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238098,"hong-wu-shan-shui-ce-hong-wu-238098",[7,24,81,27,177,29,174,394,175,227,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97bb7a990e568115d107fd14b6f6103f.jpg",[],{"id":143383,"slug":143384,"title":486,"dynasty":76,"author":90432,"museum":364,"description":90433,"tags":143385,"thumbUrl":143386,"material":743,"size":744,"collection":139,"collections":143387,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238092,"shan-shui-ce-lu-yao-238092",[7,173,177,81,29,175,430,176,491,227],"https:\u002F\u002Foss.chuangqi.sto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轻掠、水映山容的静穆况味，尽显文人山水的萧散意趣。",[7,24,81,173,27,29,177,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a7c5a37981ef697fd24b76f1c9ab9b8.jpg",[],{"id":144169,"slug":144170,"title":486,"dynasty":76,"author":72737,"museum":364,"description":144171,"tags":144172,"thumbUrl":144173,"material":139,"size":139,"collection":139,"collections":144174,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},235376,"shan-shui-ce-mei-geng-235376","此作书画合璧，以淡墨晕染危崖孤峙，石骨瘦硬嶙峋，崖畔疏草轻曳，两位高士凭栏远眺，山岫以浅墨虚淡晕开，渺远朦胧。笔意洗练简淡，尽得山水荒萧清远之致。\n\n题跋行书苍劲舒朗，文辞描摹山境奇崛诡怪，与画面逸趣互为呼应，将山川奇崛之态与林下幽怀相融，尽显静穆萧散的文人意韵，极简笔墨勾勒出超尘绝俗的世外之境，余韵悠长。",[7,24,81,173,177,29,245,503,106,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec20673a8b6ba474bec2f109530873d9.jpg",[],{"id":144176,"slug":144177,"title":486,"dynasty":76,"author":72737,"museum":364,"description":144178,"tags":144179,"thumbUrl":144180,"material":139,"size":139,"collection":139,"collections":144181,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},235375,"shan-shui-ce-mei-geng-235375","此作用淡墨晕染皴擦山石，以浓墨点苔写林木虬曲之姿，野水蜿蜒穿流于丘壑之间，山坳幽处隐见茅舍小筑，尽现空山岑寂之趣。\n\n搭配行书题诗，诗书相映，将踏涧寻幽的雅兴寄于尺幅。笔致松秀简淡，墨色清润空灵，带着萧散出尘的文人意韵，不尚繁饰，以极简的笔墨勾勒出林泉高致，把山行访梅的快意藏在山水丘壑之中，尽显静穆淡远的林下之风。",[7,24,81,173,29,175,109,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b316f5ef880d455aed7b6937b4d925.jpg",[],{"id":144183,"slug":144184,"title":42277,"dynasty":76,"author":614,"museum":364,"description":144185,"tags":144186,"thumbUrl":144187,"material":139,"size":139,"collection":139,"collections":144188,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},235363,"shan-shui-ren-wu-tu-ce-huang-shen-235363","此作用淡墨晕染出水汀空寂之境，枯笔劲写汀渚兰草，叶态舒展恣肆，野趣盎然。水鸭浮波仅以数笔点就，憨然悠然，灵动传神。右上角狂草题识，笔势与画中野逸之气相融，书画相映，更添文韵。\n全幅删繁就简，以极简写意手法勾勒乡野闲景，萧疏淡远，尽得文人逸笔之趣，将幽澹林下之思藏于水墨间，观之令人心神松弛，如临其境得享乡野闲静。",[7,24,81,173,260,29,106,1064,245,175,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60720fc54410d8b98cc92a29ba63eb4c.jpg",[],{"id":144190,"slug":144191,"title":42277,"dynasty":76,"author":614,"museum":364,"description":144192,"tags":144193,"thumbUrl":144194,"material":139,"size":139,"collection":139,"collections":144195,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},235362,"shan-shui-ren-wu-tu-ce-huang-shen-235362","此作以写意之笔绘就山海之境，左侧海岸怪石崚嶒，枯笔皴擦勾勒出嶙峋石质，笔力苍劲老辣，尽显山石朴拙硬朗之态。海面以淡墨晕染、浅青点染层叠浪涛，虚实相映间，将海风吹拂、微波漾动的态势尽显，水汽氤氲之中，远方风帆隐约朦胧，留白铺陈出浩渺空茫的辽远海境。左上角题字笔势纵逸跌宕，笔墨意趣与画面浑然相融。整幅简淡疏旷，以极简笔墨烘托出山海间荒寂苍茫的氛围，寥寥数笔便铺展江海寥廓意境，尽显文人写意山水的空灵意趣。",[7,173,27,29,245,174,177,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face1ecb47d181d582ef8be4b98b6446a.jpg",[],{"id":144197,"slug":144198,"title":42277,"dynasty":76,"author":614,"museum":364,"description":144199,"tags":144200,"thumbUrl":144201,"material":139,"size":139,"collection":139,"collections":144202,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},235361,"shan-shui-ren-wu-tu-ce-huang-shen-235361","此作用淡墨晕染铺就烟雨天色，水面烟波朦胧浩渺，扁舟轻泛江上，舟中人意态悠然，仿佛正随波漫行。岸渚间以浓墨点簇林木，苍润错落，远近层次尽在虚实之间。远处楼台隐没在烟霭之中，似有若无，将江南烟雨的空寂诗意拉满。\n笔法简括老辣，以水墨浓淡变化晕出朦胧幽澹的氛围感，虚实相生间，把江南烟雨中的清寂禅意尽数铺展。寥寥数笔便勾勒出江上行旅的闲逸意境，笔墨极简却余韵悠长，尽显水墨写意的精妙，将观者带入这静穆悠远的烟雨江南之中。",[7,173,81,29,174,107,34,490,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e37e98c6e2264b8789e028b05d1299.jpg",[],{"id":144204,"slug":144205,"title":486,"dynasty":76,"author":67885,"museum":364,"description":93668,"tags":144206,"thumbUrl":144207,"material":743,"size":744,"collection":139,"collections":144208,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},235303,"shan-shui-ce-zhang-feng-235303",[7,24,81,27,29,174,106,245,176,1064],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b8c24615ddb853889919d6c3b82bc2.jpg",[],{"id":144210,"slug":144211,"title":144212,"dynasty":76,"author":144213,"museum":364,"description":144214,"tags":144215,"thumbUrl":144216,"material":743,"size":744,"collection":139,"collections":144217,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},235163,"yu-mu-shang-xin-ce-hua-hui-ce-ye-wang-zheng-235163","娱目赏心册-花卉册页","王正","此作设色清润雅致，人物情态鲜活饱满。右侧绘文人雅集图景：凭坐长者悠然闲适，展卷文士专注沉静，仕女垂首温婉侍立，稚童绕侧娇憨灵动，将古时文人的日常闲趣铺陈于尺幅之间。衣纹勾勒轻细灵动，晕染柔和自然，把人物的气质神韵刻画入微。左侧小楷题跋笔致端秀匀整，文图相合，尽显传统文人画诗书画印一体的雅致意趣，于方寸间尽显中式古典闲雅的美学意韵。",[7,24,81,27,28,106,59,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F362167149dcbbf95bff5dcd47d39fbc3.jpg",[],{"id":144219,"slug":144220,"title":486,"dynasty":76,"author":1892,"museum":364,"description":144221,"tags":144222,"thumbUrl":144223,"material":139,"size":139,"collection":139,"collections":144224,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},235113,"shan-shui-ce-wang-yuan-qi-235113","近岸垂柳拂波，烟粉花树点缀岩岫，苍松茂林错落坡石之间，水榭隐于林木深处，汀渚蜿蜒衔接着澄澈湖面。远景云山浮空，以淡墨轻扫出氤氲烟岚，虚实相生间，晕染出江南春日的温润柔婉。\n\n笔法苍秀兼具，干笔皴擦带出山石朴拙质感，设色雅致清和，淡赭糅合花青，既不失山水的厚重沉稳，又尽显空灵悠远，将春日湖山的清润生机与静穆悠然融为一体，观之如身临林泉，尽揽春深湖山的恬然意趣。",[7,24,81,27,177,29,394,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552ad397b5d04a2faa183b9ad446fd70.jpg",[],{"id":144226,"slug":144227,"title":486,"dynasty":76,"author":1892,"museum":3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时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。\n唐代的水墨山水画尚处在发展阶段，并不能做到笔墨兼济。吴道子、项容、王维、张璪、王墨等人都使用了水墨来表现山水风光，他们在画法上各具特色，开启了后世水墨画的先声。直到五代十国时期，荆浩的出现才打破了笔墨之间的藩篱，他创造性地在山水画中使用了“皴法”，真正地做到了笔墨兼济的理想状态，并将自己的绘画心得记录下来，写成了《笔法记》一书。荆浩的弟子关仝继承其衣钵，后有出蓝之誉，与其师并称“荆关”。与此同时，南唐的董源在表现南方烟雨空濛的景色上独具面貌。其弟子巨然在“短披麻皴”的基础上发展出“长披麻皴”，画史将师徒二人称为“董巨”。至此，山水画中影响后世最为深远的两大流派已然形成，这也标志着中国山水画由此走向了成熟。\n北宋时期山水画迎来了历史性的高峰，其空前的成就堪称“百代标程”。北宋初年，山水流派出现了所谓“三家鼎峙”的局面，关仝、李成、范宽被画史誉为“北宋三大家”。其中关仝、李成乃至北宋中后期的郭熙、王诜都继承了荆浩“卷云皴”的画法流派，如山水小品中的《山店风帘图》《青山白云图》《风雨归舟图》《春江帆饱图》即属此种风格。范宽则在荆浩“斧劈皴”的基础上稍变其趣，独创“豆瓣皴”，如《云关雪栈图》《雪山萧寺图》都属范宽画派风格。北宋时期，并非所有的画家都钟情于描绘雄伟壮丽的宏阔之景，如惠崇、赵令穰便是以描绘湖山小景而著称，由此也开创了南宋山水小景之先河。山水小品中的《橙黄橘绿图》《秋塘图》《柳溪春色图》都是这类风格的典型作品。\n伴随着王朝更迭，赵宋南渡，山水画的风格面貌也发生了非常大的转变，其最为显著的特征就是南宋一改北宋山水画全景式的宏大构图，代之以空灵雅致的边角式构图。这是南北山河地貌的差异造成的：描绘的对象发生了改变，画家们的画法自然也会随之改变。这种画风上的变革却常常被后世附会为画家们用画作中的“残山剩水”寄托对故土的哀思，更以此去劝诫君王莫要偏安一隅。然而，正是南宋时期对山水画独特的审美追求造就了山水小品画空前繁荣，现存的宋代山水小品画也大多创作于这一时期。\n南宋时期山水画的主流是李唐画派。李唐的山水画早年师法荆浩、范宽，多以“小斧劈皴法”为主，晚年一变古法而创“大斧劈皴法”。小品画中署款李嵩所作的《赤壁赋图》、旧题为刘松年所作的《秋窗读书图》、旧题为燕文贵所作的《层楼春眺图》都属于受李唐早期“小斧劈皴”画法风格影响的典型作品。或许是江南的烟雨朦胧，加之其年逾古稀后的放达，李唐一改早年严谨且略带刻画的刚劲笔致，变为粗犷简阔的“大斧劈皴法”；用墨上也十分大胆，变“惜墨如金”为“水墨淋漓”。这种风格影响了其后众多名家，与李唐并称“南宋四大家”的马远、夏圭的山水画正是在李唐晚年画风影响下发展出来的。李唐画派正是在马远、夏圭的推动下极大地影响了其后绘画的发展，这也使得马、夏的画风堪称是南宋山水画的代名词。",[7,1562,173,177,104,86,227,29,107,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e2993d2fd93e9d4f6b8f0edca7e429.jpg","22.6×23.7cm",[],{"id":144423,"slug":144424,"title":144425,"dynasty":18,"author":293,"museum":20,"description":144426,"tags":144427,"thumbUrl":144428,"material":67,"size":144429,"collection":139,"collections":144430,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},234022,"tian-mo-gui-fan-tu-ye-yi-ming-234022","天末归帆图页","描绘黄昏湖光山色，画面右下方长满水草，渔船横卧，远山若隐若现。 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桃井直诠像",[7,24,241,27,106,1575,505,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb0291c0fa26cf81ea3b414ab00eb4d.jpg",[],{"id":145005,"slug":145006,"title":145007,"dynasty":292,"author":69133,"museum":364,"description":69134,"tags":145008,"thumbUrl":145009,"material":743,"size":744,"collection":139,"collections":145010,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231631,"shi-ting-shi-dai-zhu-zhai-du-shu-tu-zhou-wen-231631","室町时代 竹斋读书图",[7,24,241,173,178,227,29,245,394,242,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4952e7551ba4aa4ca15319a1c60d38.jpg",[],{"id":145012,"slug":145013,"title":84515,"dynasty":99,"author":138154,"museum":364,"description":145014,"tags":145015,"thumbUrl":145016,"material":139,"size":139,"collection":139,"collections":145017,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231012,"hua-shou-xing-feng-xiao-231012","淡墨轻晕，慢笔勾染出老翁风神。面庞圆润褶皱舒缓，垂髯飘洒，眼含温笑，褪去仙道的凌虚高渺，尽显乡野隐者的矍铄亲和。衣纹以游丝铁线勾勒，朴拙灵动，粗麻短褐、草履造型写实，全然不见仙官华贵，俨然市井间悠游的寻常老者。\n画面搭配长篇馆阁体题咏，笔墨端稳秀雅，与人物笔意呼应相融。弃用仙桃、灵鹤这类俗套瑞物，借题咏讲述老翁醉游京师的异闻，寄寓天下康宁、与民同寿的祈愿，是雅俗相融的祝寿佳构。",[7,24,241,27,106,28,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd208b1f49ed4e564b4213a951a123af.jpg",[],{"id":145019,"slug":145020,"title":3113,"dynasty":76,"author":24191,"museum":364,"description":145021,"tags":145022,"thumbUrl":145023,"material":139,"size":139,"collection":139,"collections":145024,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},230916,"fang-gu-shan-shui-tu-cheng-fang-230916","此作取法高克恭，以淡墨晕染崖壁，浓墨点簇峰顶林木，勾勒出山崖雄峻之势，留白铺陈云气，衬出山巅空濛高远。临水处林木蓊郁，两间吊脚山居错落其间，朴拙雅致，尽得幽居野趣。\n\n整幅水墨简淡疏朗，以少胜多，将栖林遁世的闲雅襟怀藏于笔墨之间，淡墨轻皴里漾着出尘静谧的林下之风，意韵悠长，尽显文人画寄情山水的悠然意趣。",[7,24,173,3117,177,29,430,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4066cf35e26ef6ff299f9fad3ad8cd14.jpg",[],{"id":145026,"slug":145027,"title":145028,"dynasty":292,"author":60522,"museum":364,"description":60523,"tags":145029,"thumbUrl":145030,"material":67,"size":744,"collection":139,"collections":145031,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230576,"zhu-tu-ban-zha-jia-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230576","注荼半吒迦尊者",[23,7,259,27,106,28,241,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb9db64658c550af2d824b644c53bd5.jpg",[],{"id":145033,"slug":145034,"title":145035,"dynasty":292,"author":60522,"museum":364,"description":60523,"tags":145036,"thumbUrl":145037,"material":67,"size":744,"collection":139,"collections":145038,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230572,"na-ga-xi-na-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230572","那伽犀那尊者",[23,7,24,27,28,241,259,106,957,430,176,224,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F144e096f3784ea482d460f180abc7a29.jpg",[],{"id":145040,"slug":145041,"title":145042,"dynasty":292,"author":60522,"museum":364,"description":60523,"tags":145043,"thumbUrl":145044,"material":67,"size":744,"collection":139,"collections":145045,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230568,"fa-du-luo-fu-duo-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230568","伐阇罗弗多罗尊者",[23,7,24,27,28,259,106,65,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8dfdc68d27084d30a5d0fecce139c15.jpg",[],{"id":145047,"slug":145048,"title":145049,"dynasty":292,"author":60522,"museum":364,"description":60523,"tags":145050,"thumbUrl":145051,"material":67,"size":744,"collection":139,"collections":145052,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230566,"bo-tuo-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230566","跛陀罗尊者",[23,7,24,241,259,28,27,106,7281,957,136,245,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f361ef0328a78a64e1136188ce9c11.jpg",[],{"id":145054,"slug":145055,"title":145056,"dynasty":292,"author":60522,"museum":364,"description":60523,"tags":145057,"thumbUrl":145058,"material":67,"size":744,"collection":139,"collections":145059,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230564,"su-pin-tuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230564","苏频陀尊者",[23,7,24,241,259,27,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184b327ff8d97c9c0db00cc9edff2d25.jpg",[],{"id":145061,"slug":145062,"title":145063,"dynasty":292,"author":293,"museum":364,"description":145064,"tags":145065,"thumbUrl":145068,"material":743,"size":744,"collection":139,"collections":145069,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},230555,"jiang-hu-zao-qi-hua-ce-yi-ming-230555","江户早期 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花卉人物卷","此作用笔清简秀雅，以水墨晕染花木。折枝花以淡墨写枝，浓墨点染叶片，花瓣勾勒留白，清雅通透，将花枝柔婉之态尽显。右侧水仙以长短错落的墨叶写出舒展之姿，淡墨点瓣，意态悠然空灵。\n\n画面留白充足，尽显疏淡悠远的文人意趣。钤印与题字点缀其间，和画面融为一体，寥寥数笔便将花木的温婉雅致全然带出，尽显水墨写意以形写神的韵味，藏着东方水墨特有的极简禅意与清雅风骨。",[23,7,24,25,173,84,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732d6261bfe3291470a755551af6c91e.jpg",[],{"id":145079,"slug":145080,"title":145081,"dynasty":292,"author":293,"museum":364,"description":145082,"tags":145083,"thumbUrl":145084,"material":139,"size":139,"collection":139,"collections":145085,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},230524,"fang-gu-fen-ben-sheng-bai-ren-wu-yi-ming-230524","仿古粉本胜白人物","此作以枯木寒崖铺就清寂底色，虬曲老木盘根错节，枯枝凌寒舒展，淡墨晕染出空濛幽邃的崖谷氛围。\n\n赤足尊者静立林间，粉衣以柔劲线条勾勒，晕染自然柔和，衣袂垂落间自带出尘意态。他眉目沉凝合袖垂首，似正沉湎禅思。画面工写相融，人物刻画工细传神，山水布景写意苍浑，淡雾晕开崖谷幽远意境，将禅者物我两忘的出世之态，融于荒萧寒林之中，尽显萧散淡远的禅林逸韵。",[23,7,27,173,106,1015,176,105,260,241,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad08d06828551715713f6c0ca42ace4c.jpg",[],{"id":145087,"slug":145088,"title":145089,"dynasty":76,"author":293,"museum":364,"description":145090,"tags":145091,"thumbUrl":145092,"material":743,"size":744,"collection":139,"collections":145093,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},229074,"fan-gong-zhang-se-tu-ce-yi-ming-229074","燔功彰色图册","此作以宋汝窑舟形笔洗为主体，天青釉色莹润如凝脂，尽显宋瓷极简风雅。画面以缠枝纹作边框，朱红古印错落排布，古意盎然。下方工整小楷详述笔洗形制与釉色妙处，考据精细，将器物赏鉴与书画意趣相融。\n\n整体静穆清丽，装裱考究，既还原名窑古器的沉静之美，又以题跋印信烘托出浓郁文人雅韵，是赏瓷与艺文结合的精妙小品，尽显东方传统器物美学的温润内敛。",[209,7,24,81,27,17805,244,86,227,1195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa124bfaf58691b2504436d8643014331.jpg",[],{"id":145095,"slug":145096,"title":145097,"dynasty":76,"author":10958,"museum":364,"description":145098,"tags":145099,"thumbUrl":145100,"material":139,"size":139,"collection":139,"collections":145101,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},228963,"fang-lu-guang-song-he-yun-tao-tu-dong-bang-da-228963","仿陆广松壑云涛图","此作以长卷铺展林壑幽境，古松虬曲苍劲，鳞皴老干擎起繁密松针，尽显凌寒风骨，错落扎根于嶙峋山石间。云气以淡墨勾留白，如素练流卷山谷，将层叠峰峦晕染出虚实层次，飞瀑自崖间奔泻而下，与流云动静相生。\n\n山石以干笔皴擦出苍厚质感，设色浅淡清雅，既有元人山水的萧散简远，又暗含规整雅致的笔墨法度，将松之苍、山之峻、云之柔、泉之动相融，铺陈出空山松涛翻涌、云气氤氲的幽绝尘嚣之景，引人身临其境，静听松风，坐观云起。",[23,7,25,29,27,177,1575,176,48541,558,109,227,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312204cf7c5e2be0be0353f86c77c900.jpg",[],{"id":145103,"slug":145104,"title":145105,"dynasty":76,"author":10958,"museum":364,"description":145106,"tags":145107,"thumbUrl":145108,"material":139,"size":139,"collection":139,"collections":145109,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},228962,"dong-shan-hua-ce-shu-shu-ji-ti-dong-bang-da-228962","东山画册(舒树基题)","此作用浅绛设色写秋日湖山，以平远章法铺陈意境。留白为湖，水天相融，远山以淡墨晕染，空灵朦胧；近山石骨以枯笔皴擦，苍朴松秀，间缀丹黄点染秋叶，晕开清浅秋意。\n\n岸边杂木疏朗，枝桠简劲，残叶挂梢尽显萧寒疏淡。湖畔草庐临水而栖，孑然独立，暗合林泉高致的隐逸之思。整幅笔墨简净松灵，不做繁复刻画，以淡墨轻色营造出萧散空寂的文人心境，尽显清逸雅趣，将秋山静水的幽寂之美娓娓道来。",[7,24,81,173,27,29,1015,298,33,109,175,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1471484eaca0742ecb66abf0c643e65e.jpg",[],{"id":145111,"slug":145112,"title":145113,"dynasty":76,"author":293,"museum":364,"description":145114,"tags":145115,"thumbUrl":145116,"material":139,"size":139,"collection":139,"collections":145117,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},228934,"qing-yuan-ben-qin-can-tu-juan-yi-tan-yi-ming-228934","清院本亲蚕图卷 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i-xing-fa-ji-lu-tu-ce-9-yi-ming-215877","清代刑罚记录图册-9","画面定格了清代刑罚的一幕：跪姿者红衫紫裤，双臂上举被绳索死死缚住，身躯因拉扯而紧绷如弓；两侧执绳人弓步沉腰，麻绳在手中绷成直线，力道似要穿透画面。左侧立者青袍束带，神情冷峻如旁观的监者，衣袂间透着疏离的威严。\n\n笔触简练却见筋骨，人物姿态的张力藏于线条褶皱间——跪者微蹙的眉峰、执绳者紧绷的小臂、监者微抬的下颌，皆勾勒出场景的沉重。色彩克制却有冲击力：红衫的刺目与蓝灰衣袍的沉郁形成对照，似在无声诉说惩戒的凛冽。\n\n这幅写实的记录，以具象的肢体语言与神态，还原了昔日社会治理中冷峻的一隅，让观者在静态画面里触碰到历史语境下的张力与沉重。",[7,24,81,27,28,106,368,62053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c1af5a234d5fe1330480ef24728cb0.jpg",[],{"id":146901,"slug":146902,"title":146903,"dynasty":76,"author":293,"museum":364,"description":146904,"tags":146905,"thumbUrl":146908,"material":88,"size":139,"collection":139,"collections":146909,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215875,"qing-dai-xing-fa-ji-lu-tu-ce-5-yi-ming-215875","清代刑罚记录图册-5","棺木敞口横陈，赤衣躯体僵卧其中，蓝裤红衫者持刃俯身猛刺，动作狠厉决绝。刃光寒冽，与棺木暗沉形成刺目对比。旁立二人，蓝衣者叉腰提笼，似观刑役卒，姿态倨傲；紫衣人持牍而立，或为案录小吏，神色漠然。画面以写实笔触勾勒刑罚场景，人物神态、动作皆细致入微：刺刃者的狰狞、观刑者的冷视、伏案者的麻木，层层铺陈出旧时代司法的酷烈底色。冰冷的线条里藏着阴森压迫感，每个细节都折射出权力对生命的漠视，仿佛能听见利刃穿木的钝响，窥见底层命运在专制铁律下的破碎悲歌，是清代社会专制统治与人性异化的无声见证。",[7,24,81,27,28,106,62053,146906,146907,505],"刀","笼子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3733d38d37fffe0dc2da87d67cf25f1e.jpg",[],{"id":146911,"slug":146912,"title":146913,"dynasty":76,"author":293,"museum":364,"description":146914,"tags":146915,"thumbUrl":146917,"material":88,"size":139,"collection":139,"collections":146918,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215850,"qing-dai-xing-fa-ji-lu-tu-ce-26-yi-ming-215850","清代刑罚记录图册-26","画面中，华服者立于中央，衣袂褶皱间透着威严，手持锁链一端；两侧差役躬身侍立，囚徒赤脚蜷缩，锁链勒痕深嵌肌肤，神情苦楚难言。色彩明暗交织，明黄官服与灰褐囚衣形成尖锐对峙，锁链冷光似透纸而出。每一处细节皆为纪实之笔：囚徒紧绷的肩背、差役拘谨的姿态、官员淡然的神情，将尊卑秩序与压迫感刻画得入木三分。它不只是刑罚场景的定格，更是清代司法生态的切片——让百年前权力的重量、囚徒的艰涩，在墨色与色彩的交织里，成为可触的历史印记。",[7,24,81,28,27,106,244,146916,131815,368],"锁链","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbc7c91b48ef356754ef535c2e7898.jpg",[],{"id":146920,"slug":146921,"title":146922,"dynasty":76,"author":293,"museum":364,"description":146923,"tags":146924,"thumbUrl":146925,"material":88,"size":53641,"collection":139,"collections":146926,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215843,"miao-zu-yao-zu-sheng-huo-tu-ce-1-yi-ming-215843","苗族瑶族生活图册-1","画面铺展苗瑶族群的日常切片。左侧身影肩扛柴薪，陶壶悬臂，似刚踏晨露山径归来；右侧三人亲昵相依，蓝帽下眉眼漾笑，竹篮里红绿蔬果鲜活。衣饰纹样暗合山林韵律，肢体互动藏着无言默契——或许是分享野果，或许是絮语家常。笔墨晕染质朴烟火气，线条牵山野风，色彩裹生活暖，将族群本真温情与劳作诗意，凝在泛黄纸页上。每一处细节都浸着山野的清润，每缕笑意都裹着生活的热乎，把族群里无需修饰的鲜活与暖意，稳稳落进笔墨里。",[23,7,27,28,81,106,63,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29a15009e323900465e3444f47cec21.jpg",[],{"id":146928,"slug":146929,"title":146930,"dynasty":76,"author":293,"museum":364,"description":146931,"tags":146932,"thumbUrl":146933,"material":88,"size":53641,"collection":139,"collections":146934,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215842,"miao-zu-yao-zu-sheng-huo-tu-ce-6-yi-ming-215842","苗族瑶族生活图册-6","古朴纸面上，生活的暖意漫溢开来。左侧男子负篮携幼，粗布短褐裹着劳作的印记，稚童拽衣踮脚，憨态惹眼；右侧女子发髻玲珑，裙裾缀着彩绣纹样，手挽竹篮似低语相谈，眉眼间藏着细碎的温柔。衣褶线条轻缓，篮中物什隐约可见，每一处细节都描摹着日常的鲜活。没有刻意雕琢，却将族群服饰特色与生活本真温情凝于笔端，仿佛能听见山间软语，触到风里草木香，让久远的生活场景在眼前生动浮现。",[23,24,7,27,28,81,106,2953,139099,12996,3045,38691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e0dd8febc9f5364c689d3a1ae6e1ea.jpg",[],{"id":146936,"slug":146937,"title":146938,"dynasty":76,"author":293,"museum":364,"description":146939,"tags":146940,"thumbUrl":146941,"material":88,"size":53641,"collection":139,"collections":146942,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215841,"miao-zu-yao-zu-sheng-huo-tu-ce-5-yi-ming-215841","苗族瑶族生活图册-5","画面铺展着古朴的生活片段，木杵起落间，谷物在石臼中翻涌。两位执杵者俯身用力，衣袂随动作轻扬，挽起的发髻藏着族群特有的风情。旁侧端盘人微微前倾，似在承接劳作的成果；坐于一侧者手拢衣襟，神态悠然，似在歇憩静观。人物衣饰纹理简而真切，色调温润如旧时光的低语，纸张微黄晕染着岁月痕迹。整幅画无繁复修饰，却将日常劳作的协作与温情凝于笔端，每一个动作都带着鲜活烟火气，仿佛能听见木杵撞石臼的轻响，窥见族群生活里最质朴的生机与暖意。",[23,7,81,28,27,106,9885,139108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa078e2b5a7c249c30bfeda817c9f4fe8.jpg",[],{"id":146944,"slug":146945,"title":146946,"dynasty":76,"author":293,"museum":364,"description":146947,"tags":146948,"thumbUrl":146949,"material":88,"size":53641,"collection":139,"collections":146950,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215840,"miao-zu-yao-zu-sheng-huo-tu-ce-8-yi-ming-215840","苗族瑶族生活图册-8","画面铺展着一段鲜活的族群日常。背着竹筐的身影赤脚踏地，筐篓纹理似还沾着山野清露；中间孩童伸臂向前，稚态里藏着对前路的雀跃；右侧执杖者裙裾缀彩，发式挽成独特形状，每处细节都勾勒出族群的生活印记。线条朴拙却传神，淡彩晕染出岁月温厚，没有刻意修饰，却把劳作的坚韧与人际温情揉进每一笔。这不仅是幅画，更是被定格的生活片段，远去的烟火气在纸间流转，触手可及。",[23,7,24,81,27,28,106,63,12030,11353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33c878aef01131d1d7a82f4e80ff80f1.jpg",[],{"id":146952,"slug":146953,"title":146954,"dynasty":76,"author":293,"museum":364,"description":146955,"tags":146956,"thumbUrl":146957,"material":88,"size":53641,"collection":139,"collections":146958,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215839,"miao-zu-yao-zu-sheng-huo-tu-ce-3-yi-ming-215839","苗族瑶族生活图册-3","画面铺展鲜活的民俗图景，四位身着特色服饰的人物各携器具，姿态生动传神。左侧者弯腰持网，似欲捕捉；中间二人亲昵相依，女子执扇轻掩，男子侧身贴近，眉眼间漾着日常温情；右侧人物背网提物，步履间带着收获的轻快。衣袂纹饰、裙摆斑斓，皆藏浓郁民族风情。旁侧竖排文字勾勒场景意趣——或是劳作间隙的互动，或是以物易物的日常。古朴色调晕染岁月温润，线条细腻勾勒人物情态，将少数民族生活里的鲜活与温馨，凝成一帧动人画面，尽显民俗画卷的质朴与生动。",[23,7,24,81,27,28,106,3704,505,52379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff89e05a4bb21657788723ae100ebcadf.jpg",[],{"id":146960,"slug":146961,"title":146962,"dynasty":76,"author":293,"museum":364,"description":146963,"tags":146964,"thumbUrl":146965,"material":88,"size":53641,"collection":139,"collections":146966,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215838,"miao-zu-yao-zu-sheng-huo-tu-ce-10-yi-ming-215838","苗族瑶族生活图册-10","画面定格了一组充满生活气息的互动瞬间，人物或推搡嬉戏，或依偎亲昵，孩童的顽趣与长者的温厚在肢体的缠绕间自然流露。粗布衣衫上的纹样简而明艳，裙摆的碎花、腰间的布带勾勒出山野民族的独特风情，衣料褶皱随动作舒展，似能触到布料的粗粝质感。暖黄底色晕染出时光的柔和，人物神情虽未细描却藏着真切情绪，仿佛林间笑闹声穿过画面而来。这幅画以质朴笔墨留住民族生活里生动的片段，无刻意雕琢，只余烟火气中的本真与鲜活，将日常的温暖静静铺展在观者眼前。衣袂翻飞间，山野的鲜活与人间的温情交织，让平凡的日常成为值得珍藏的时光切片。",[23,7,27,28,81,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31033dba4ec872543cb46453adfe702f.jpg",[],{"id":146968,"slug":146969,"title":146970,"dynasty":76,"author":293,"museum":364,"description":146971,"tags":146972,"thumbUrl":146973,"material":88,"size":53641,"collection":139,"collections":146974,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215835,"miao-zu-yao-zu-sheng-huo-tu-ce-9-yi-ming-215835","苗族瑶族生活图册-9","笔墨晕染间铺展鲜活边地日常。挑担者步履扎实，竹筐器物隐约藏着生计；持长杆者侧身随行，衣袂轻扬带起烟火余温。稚童嬉闹扑向黄犬，小狗摇尾躲闪，灵动瞬间跃然纸上。老者拄杖而立，眉眼间凝着岁月安然，似在打量前路风色。\n\n线条简练却精准勾出衣纹褶皱与神态，设色淡雅却衬出古纸温润质感。无刻意雕琢，却将民族社群的日常情态定格——劳作的坚韧、孩童的天真、老者的从容，都融在这方寸画面里。观者仿佛能听见林间脚步声、稚子笑语，触碰到那份质朴鲜活的人间真味，岁月沉淀的温暖直抵心底。",[23,368,7,24,81,27,28,106,11294,4896,61,315,2953,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360e4116c6fb945b807ced8d001ee041.jpg",[],{"id":146976,"slug":146977,"title":146978,"dynasty":76,"author":293,"museum":364,"description":146979,"tags":146980,"thumbUrl":146981,"material":88,"size":53641,"collection":139,"collections":146982,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215834,"miao-zu-yao-zu-sheng-huo-tu-ce-15-yi-ming-215834","苗族瑶族生活图册-15","暖棕底色晕染出时光的温润，人物动态鲜活如跃纸上。深褐布衣裹着劳作的坚实肌理，青绿蓝衫点缀出民族风情的明艳亮色。几人围簇间，或持长杆作嬉戏之态，或俯身扶篮似接应之举，竹编器具的纹理隐约可见，似是日常劳作里的片刻欢愉场景。眉眼间的生动神态，衣袂飘动的自然姿态，将苗瑶族群生活的质朴鲜活凝于尺幅。烟火气漫过画面缝隙，族群温情藏在每处细节，让观者仿佛踏入那个生机盎然的午后，听见笑语与风穿过竹林的轻响。",[23,7,24,81,27,28,106,2953,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a2e1ccce047253c5df0cb82db8313e.jpg",[],{"id":146984,"slug":146985,"title":146986,"dynasty":76,"author":293,"museum":364,"description":146987,"tags":146988,"thumbUrl":146989,"material":88,"size":53641,"collection":139,"collections":146990,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215833,"miao-zu-yao-zu-sheng-huo-tu-ce-12-yi-ming-215833","苗族瑶族生活图册-12","画面以暖棕底色铺陈，四人身着民族服饰，神态鲜活如在目前。左侧二人亲昵拉扯，衣袂轻扬间似有笑语流转；右侧背童者手势舒展，孩童探首向外，眼里满是好奇。粗布衣裳的纹理隐约可见，腰间蓝带、裙摆纹样皆细致勾勒，朴拙中藏着巧思。笔墨不事张扬却精准捕捉日常瞬间，将民族生活里的温情与生动凝于纸上，仿佛能触到那份质朴的烟火气，让观者窥见一段鲜活的民族日常片段。",[23,7,27,106,81,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2042052fd8a8cc31e3fae7c0996a68e.jpg",[],{"id":146992,"slug":146993,"title":146994,"dynasty":76,"author":293,"museum":364,"description":146995,"tags":146996,"thumbUrl":146998,"material":88,"size":53641,"collection":139,"collections":146999,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215824,"miao-zu-yao-zu-sheng-huo-tu-ce-25-yi-ming-215824","苗族瑶族生活图册-25","画面浸着朴拙的民俗暖意。左侧老妇与中年女子身着宽袖长裳，衣袂裹挟岁月温软，或垂首凝思，或轻拢衣襟，神态里满是日常的从容。右侧男子赤脚而立，手中器物似在倾注，脚边编织篮纹络细密，藏着手作的温度。简练线条勾连鲜活日常，淡雅色彩晕染民族风情，每处细节都诉说着苗瑶族群的生活片段，将烟火气与古朴意趣揉成帧帧生动画面，让久远的民俗场景在眼前徐徐铺展，尽显族群生活的本真与鲜活。",[23,7,27,81,28,106,505,146997],"生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184b552b8fa585b75f0aedff16fc0fab.jpg",[],{"id":147001,"slug":147002,"title":147003,"dynasty":76,"author":293,"museum":364,"description":147004,"tags":147005,"thumbUrl":147006,"material":88,"size":53641,"collection":139,"collections":147007,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215822,"miao-zu-yao-zu-sheng-huo-tu-ce-24-yi-ming-215822","苗族瑶族生活图册-24","靛蓝披帛与朱红条纹长裙晕染出浓郁的民族风情，头巾与发髻的细节勾勒着独特的文化印记。三人姿态各异却默契相连：左侧者双手微合，似在低语致意；右侧二人衣袂轻扬，动作呼应间流露日常温情。古朴笔触简练却传神，线条精准捕捉服饰质感与人物神态，温润色调里藏着鲜活的生活气息。每一处细节都似一段无声叙事，将民族生活片段凝于纸上，是风情与温度交织的生动切片，让人窥见往昔岁月里的烟火与诗意。",[23,7,28,27,106,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320f8941aa332fdda73cbd4fe6bd05c4.jpg",[],{"id":147009,"slug":147010,"title":147011,"dynasty":76,"author":293,"museum":364,"description":147012,"tags":147013,"thumbUrl":147015,"material":88,"size":53641,"collection":139,"collections":147016,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215821,"miao-zu-yao-zu-sheng-huo-tu-ce-20-yi-ming-215821","苗族瑶族生活图册-20","画面定格边地日常的鲜活片段：左畔三人或亲昵相扶，衣袂间的花纹漫着山野灵气，独特发式藏着族群密码；右侧身影肩扛器物，步履匆匆似携劳作余温。线条细腻却不刻意雕琢，色彩古雅而饱含生活质感，人物神态自然流露——或关切或随性，将苗瑶族群的质朴气息凝于纸端。每一处衣褶的起伏、每一个眼神的流转，都透着未经修饰的生动，仿佛能触到那份山野间的生活温度，让久远的日常场景在眼前缓缓苏醒。",[23,7,24,81,28,27,106,63,147014,2953],"少数民族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa389e3e338441a06da2a663ec0c447e0.jpg",[],{"id":147018,"slug":147019,"title":147020,"dynasty":76,"author":293,"museum":364,"description":147021,"tags":147022,"thumbUrl":147023,"material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淌，让旧时光里的暖，透过纸页漫出来。",[23,7,24,81,260,106,63,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332c92d131b5bce5cf93a7e78e186728.jpg",[],{"id":147576,"slug":147577,"title":147578,"dynasty":76,"author":293,"museum":364,"description":147579,"tags":147580,"thumbUrl":147581,"material":803,"size":139,"collection":139,"collections":147582,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215407,"bai-miao-jie-tou-mai-mai-hua-ce-151-yi-ming-215407","白描街头买卖画册-151","墨线勾勒的市井人物，身形挺拔却裹着烟火气。肩扛的长杆悬着招牌，似在风中轻晃招徕主顾；手中折扇半展，又添几分奔波里的从容。线条简练却精准，衣褶的起伏、布鞋的纹理，皆藏着白描技法的细腻功底。人物神态平和，眉眼间凝着街头营生的日常况味——既需为生计奔走，也能于忙碌间隙寻得片刻悠然。素净笔触未施粉黛，却将清代商贩的鲜活模样定格：那杆上的招牌、手中的扇，都是时光里的市井注脚。没有浓墨重彩，只以清浅线条织就一幅带着温度的生活图景，让百年前的街头烟火，静静流淌在纸面之上。",[23,260,7,24,81,106,244,131877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c257cb398043907c1f347475f96ddc.jpg",[],{"id":147584,"slug":147585,"title":147586,"dynasty":76,"author":293,"museum":364,"description":147587,"tags":147588,"thumbUrl":147589,"material":803,"size":139,"collection":139,"collections":147590,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215406,"bai-miao-jie-tou-mai-mai-hua-ce-150-yi-ming-215406","白描街头买卖画册-150","宽檐斗笠遮去半面天光，长衫褶皱如流水般铺展，手中扇柄轻握，流苏垂落似凝着市井的风。白描线条简劲传神，衣袂转折、鞋履纹路皆藏于墨痕深浅间。人物侧身伫立，似刚歇下肩头行囊，又或正欲开口吆喝。肩上包裹虽无色彩晕染，却因线条勾勒显出货物分量。素净笔触定格市井买卖人的日常瞬间——烟火气随墨线漫开，如旧巷一缕清风，勾连街头巷尾的鲜活从容，让人窥见岁月里的平实暖意。",[23,7,24,81,260,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe61eab578210f661bd485a8d936ead.jpg",[],{"id":147592,"slug":147593,"title":147594,"dynasty":76,"author":293,"museum":364,"description":147595,"tags":147596,"thumbUrl":147597,"material":803,"size":139,"collection":139,"collections":147598,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215400,"bai-miao-jie-tou-mai-mai-hua-ce-156-yi-ming-215400","白描街头买卖画册-156","墨线轻勾，晕染出市井里的鲜活片段。老者躬身持镜，眉眼间凝着专注的暖意，衣袂褶皱随体态婉转，线条简练却藏风骨。旁侧摊架上，瓶罐与托盘小物错落，笔锋精准描摹器物质感，无设色却见生活本真。白描技法以简胜繁，将街头买卖的寻常温情凝于纸间，每一道线条都似在低语俗世烟火的生动，是对日常瞬间的细腻观照，也尽显传统笔墨捕捉生活意趣的传神功力。寻常场景里藏着的人间烟火，经此笔端，便成了可触可感的岁月温度。",[23,7,24,81,260,106,244,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7828a11df1ee905deaf9f9edbc0b64e3.jpg",[],{"id":147600,"slug":147601,"title":147602,"dynasty":76,"author":293,"museum":364,"description":147603,"tags":147604,"thumbUrl":147605,"material":803,"size":139,"collection":139,"collections":147606,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215388,"bai-miao-jie-tou-mai-mai-hua-ce-169-yi-ming-215388","白描街头买卖画册-169","素纸铺展，墨线游走间晕开市井烟火。俯身劳作的身影凝注于器物，衣纹随肢体起伏流转，简练笔触竟将专注神情摹写得入木三分。身旁竹筐纹理交错，篾条质感似触手可及；小盏轮廓憨态，尽藏生活本真。不施彩墨，仅以线为骨，却让街头买卖的鲜活跃然纸上。人物动态的精准、器物细节的细腻，皆源于对众生相的深彻观察——是对平凡日常的温柔定格，也是对清时市井风貌的生动注脚。墨痕深浅里，仿佛听见器物轻响，望见烟火暖意，将街头买卖的朴素时光，酿成耐人寻味的永恒图景。",[23,7,24,81,260,106,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b494d11d1dfa964909b76e8e7aa1c9.jpg",[],{"id":147608,"slug":147609,"title":147610,"dynasty":76,"author":293,"museum":364,"description":147611,"tags":147612,"thumbUrl":147613,"material":803,"size":139,"collection":139,"collections":147614,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215385,"bai-miao-jie-tou-mai-mai-hua-ce-170-yi-ming-215385","白描街头买卖画册-170","以清劲白描线条铺展市井鲜活图景。贩夫素衣俯身，专注打理案头果货，衣袂褶皱随动作自然舒展，神态藏于简练笔触间。案台罗列整齐，旁侧木桶与小桌相映成趣，招牌小字隐约，添几分真实烟火气。笔意简而传神，无浓墨重彩，却以极简线条定格旧时街头生计的温煦瞬间。线条流转处，市井喧嚣似在耳畔回响，寻常生活的肌理被细腻勾勒，尽显明清市井的生动质朴，让观者于素纸间触摸岁月沉淀的人间烟火。",[23,7,24,81,260,106,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00a4b93eba6dc97c33e2983666d1364c.jpg",[],{"id":147616,"slug":147617,"title":147618,"dynasty":76,"author":293,"museum":364,"description":147619,"tags":147620,"thumbUrl":147621,"material":803,"size":139,"collection":139,"collections":147622,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215384,"bai-miao-jie-tou-mai-mai-hua-ce-172-yi-ming-215384","白描街头买卖画册-172","简练白描线条如墨色流转，精准勾勒出街头小贩的鲜活姿态。光头短衫的身影里，一手持纸钱招徕主顾，一手轻拢腰侧，衣褶随肢体动态自然舒展，似能听见市井里清亮的叫卖声漫溢而出。眉眼间藏着生计奔波的熟稔，手中纸品纹理依稀，衬出旧时街头买卖的日常温度。寥寥几笔便将烟火气凝于纸上，人物鲜活如在眼前——那微微前倾的身姿、带点急切又从容的神态，尽现传统白描以线传神的妙趣，勾连起往昔街头巷尾里，那些被时光珍藏的生动市井记忆。",[23,7,24,81,260,106,12030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c1653e0cf2c410541794ab144b6618.jpg",[],{"id":147624,"slug":147625,"title":147626,"dynasty":76,"author":293,"museum":364,"description":147627,"tags":147628,"thumbUrl":147629,"material":803,"size":139,"collection":139,"collections":147630,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},215383,"bai-miao-jie-tou-mai-mai-hua-ce-174-yi-ming-215383","白描街头买卖画册-174","淡墨细线牵起人物的鲜活模样：交领短衫裹着利落身板，宽布腰封束出烟火气，衣褶随动作折成温柔的弧度，像风掠过市井巷陌时留下的痕。他抬手抚过头顶饰件，眉眼微垂的神态里藏着几分随性——是整理行头的细心，还是等客时的轻闲？另一只手攥着长杆，指节的弧度都透着实感，那杆或许挑着竹篮里的时鲜，或许是吆喝用的响器，未画一物，却让人生出无限联想。\n\n白描的妙处便在这“留白生趣”里：删去浓艳色彩，只凭线条的轻重缓急说话。衣纹的飘动感、指尖的力度、脚下的踏实，连布鞋沾着的微尘都似能透过纸页嗅到。他站在那里，不是静止的画，是刚从街角转过来的小贩，肩头还落着晨光，嗓眼里憋着半句没喊出口的叫卖，每一根线条都在替他诉说：这是属于街头的、热气腾腾的日子。",[23,7,24,81,260,106,244,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173b9c082bc0e692ca983540fbb7abfe.jpg",[],{"id":147632,"slug":147633,"title":147634,"dynasty":76,"author":293,"museum":364,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苍劲舒展，葱郁枝叶晕染出深山林壑的幽谧，苔痕覆路更添古意。左上角化现的尊神，为画面晕染出梵境庄严。\n\n画作虽带着岁月斑驳残损，却更衬设色沉厚朴茂，清代佛画特有的质朴虔诚尽显无疑，将禅林幽隐的清净意趣铺陈开来，尽显宗教绘画的沉静古韵。",[23,7,241,259,150780,27,106,25116,34],"佛画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4342a0f2da4d86c2f75af08bd1ac6c2.jpg",[],{"id":150784,"slug":150785,"title":150786,"dynasty":76,"author":293,"museum":364,"description":150787,"tags":150788,"thumbUrl":150789,"material":743,"size":744,"collection":139,"collections":150790,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},288193,"bo-lin-cai-hui-tu-ce-yi-yi-ming-288193","伯麟彩绘图册(一)","此作设色清雅，工写兼具。绘山林溪谷间，飞瀑穿石迭涌，苍松茂林铺陈出山野幽寂。四位獠人裸身披草，神态各异，或捧野果、或负竹筐，鲜活还原其以叶为衣、茹毛饮血的蛮荒日常。\n\n题诗呼应画面，点明其不知耕稼、居于江外林莽的朴野习性。画作以细腻笔触勾勒人物情态，兼具纪实性与艺术性，既有着民俗考察的直观价值，又以淡彩晕染山水烘托出荒蛮幽深的边地氛围，将边地族群的原生生存图景定格纸面，笔墨温润意态鲜活，尽显边地风物图绘的独特意趣。",[7,5990,27,106,29,109,34,176,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5baf5dacdc44442a74e816074db2e824.jpg",[],{"id":150792,"slug":150793,"title":150794,"dynasty":76,"author":293,"museum":364,"description":150795,"tags":150796,"thumbUrl":150797,"material":743,"size":744,"collection":139,"collections":150798,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},288192,"bo-lin-cai-hui-tu-ce-er-yi-ming-288192","伯麟彩绘图册(二)","此作以工笔淡彩晕染出清幽山野，奇崛山岩间古木虬劲苍郁，溪谷蜿蜒衬出林丘雅致。山道间三人情态鲜活：持锄者步履轻快，似刚辍耕而归，负货二人携物赶路，朴拙衣饰尽显边地气韵，将西南百姓耕织入市的日常烟火，融于山水诗意里。\n\n线条细腻柔和，敷色调雅，图文相映，既铺陈丘林幽境，又描摹世俗暖意，笔底藏着对黎民生计的细致体察，是纪实风物与山水意趣相融的佳作。",[7,24,81,27,106,29,176,34,21726],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d482c844a8238d8d54750deccef42d.jpg",[],{"id":150800,"slug":150801,"title":150802,"dynasty":76,"author":293,"museum":364,"description":150803,"tags":150804,"thumbUrl":150805,"material":743,"size":744,"collection":139,"collections":150806,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},288189,"bo-lin-cai-hui-tu-ce-wu-yi-ming-288189","伯麟彩绘图册(五)","此作以工笔彩绘定格边地族群风貌，笔触匀净细腻，设色调和明丽，带着清代职贡类绘事独有的纪实底色。画师以严谨的采风视角，铺陈边地衣冠仪范与日常情态，将西南族群的鲜活群像晕染于绢素之上，既恪守官方图录的翔实纪实性，又暗融灵动的烟火意趣，让百年前的边地风物清晰可感，在纤毫勾勒之间，藏着对异域人文的细致体察。",[7,24,81,27,106,17563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb9548723873c35c4770f13ce1fdf22.jpg",[],{"id":150808,"slug":150809,"title":16281,"dynasty":99,"author":150810,"museum":364,"description":150811,"tags":150812,"thumbUrl":150813,"material":743,"size":744,"collection":139,"collections":150814,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},287682,"qi-yan-lv-shi-zhang-feng-yi-287682","张凤翼","张凤翼，字伯起，号灵虚，别署灵墟先生、冷然居士。南直隶苏州府长洲（今江苏苏州）人。与弟燕翼、献翼并有才名，时人号为“三张”。嘉靖四十三年（1564）与燕翼皆中举人。\n为人狂诞，擅作曲。凤翼所著戏曲，有传奇《红拂记》、《祝发记》、《窃符记》、《灌园记》《扊扅记》、《虎符记》（以上六种，合题《阳春集》）另据傅惜华《明代传奇全目》著录，尚有《平播记》、《芦衣记》、《玉燕记》三种，均无传本。\n诗文有《处实堂集》八卷，及《梦占类考》、《海内名家工画能事》、《文选纂注》、《四书句解》、《瑞兰阁景行录》、《清河逸事》、《自订年谱》、《国朝诗管画集》等；另有《敲月轩词稿》，久已散佚。曾为《水浒传》作序。",[1562,86,178,227,24,7,16281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cab168faf1882791c8499447edf59e7.jpg",[],{"id":150816,"slug":150817,"title":150818,"dynasty":189,"author":293,"museum":364,"description":150819,"tags":150820,"thumbUrl":150821,"material":743,"size":744,"collection":139,"collections":150822,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":1335},287335,"mo-tang-wu-dao-yuan-hui-luo-han-xiang-yi-ming-287335","摹唐吴道元绘罗汉像","此作落笔追摹前贤笔意，衣袂线条灵动舒展，暗合“吴带当风”的飘逸韵致。罗汉造像沉静端严，面容慈悲安和，静坐身姿沉稳肃穆，将禅意融于笔墨间。临摹者深悟原作神髓，既忠实还原道释画的雄浑庄严，又暗含摹古的雅致用心，细节处可见描摹功力深厚，把罗汉的静定禅韵刻画入微，尽显道释题材画作的静穆禅意，是一件兼具古意与匠心的摹本佳作。",[7,24,209,241,106,259,105,25116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8381fe13b461f3f866edb316bc41ded.jpg",[],{"id":150824,"slug":150825,"title":150826,"dynasty":76,"author":293,"museum":364,"description":150827,"tags":150828,"thumbUrl":150829,"material":743,"size":744,"collection":139,"collections":150830,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},281509,"dong-yang-duan-hua-shan-shui-bi-yi-yi-ming-281509","东洋缎画山水壁衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 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生平[编辑]. 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（1479—1511）明吴县（今江苏苏州）人，字昌谷、昌国。弘治进士。授大理寺左副，后贬国子监博士。",[7,24,81,178,86,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae98e86d31cdf5a0f706c0e479c07f.jpg",[],{"id":151125,"slug":151126,"title":151127,"dynasty":99,"author":22255,"museum":364,"description":142499,"tags":151128,"thumbUrl":151129,"material":743,"size":744,"collection":139,"collections":151130,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240949,"san-wu-mo-miao-ce-wu-jue-ju-shi-wu-shou-wang-chong-240949","三吴墨妙册-五绝句诗五首",[7,24,81,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631f3b122c634816fc1ca4b9c7fed975.jpg",[],{"id":151132,"slug":151133,"title":90191,"dynasty":99,"author":151134,"museum":364,"description":151135,"tags":151136,"thumbUrl":151137,"material":743,"size":744,"collection":139,"collections":151138,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240905,"qi-lv-shi-zhou-tao-ru-nai-240905","陶汝鼐","陶汝鼐（1601-1683）字仲调，一字燮友，别号密庵，又号石溪农，湖南宁乡人。明亡削发为僧，号忍头陀。少奇慧，工诗文词翰，海内有“楚陶三绝”之誉。文隽逸，有奇气，词赋尤工。书法初出入米芾，晚为颜鲁公，所过寺院辄为制碑铭联榜，现也宝贵。崇祯六（1633）举于乡，十六年（1643）中会试副榜、官广东教谕。明亡（1644）祝发大阳山，号忍头陀。卒年八十三。",[7,24,241,178,86,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141037b63ff6220715bb10edf97eb95a.jpg",[],{"id":151140,"slug":151141,"title":127372,"dynasty":76,"author":151142,"museum":364,"description":151143,"tags":151144,"thumbUrl":151145,"material":743,"size":744,"collection":139,"collections":151146,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},240902,"lu-wen-zhou-zhang-fei-240902","张芾","张芾(1814～1862)名黼侯，字小浦。陕西泾阳人。 [1] 清道光十五年(1835)进士，选庶吉士，授编修，累迁庶子，值南书房。大考一等，擢少詹事。二十二年四月王鼎自缢后，张以门生至王家，与陈孚恩“共劝王沆”，同意由陈代改遗疏，得穆彰阿赏识，超迁内阁学士，督江苏学政。二十五年(1845)授工部侍郎，任满仍值南书房，旋调吏部；二十九年(1849)督江西学政。",[7,24,86,241,178,227,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dfc9d7ec624b79d7f4fc8f74ab0ccdf.jpg",[],{"id":151148,"slug":151149,"title":151150,"dynasty":99,"author":151151,"museum":364,"description":151152,"tags":151153,"thumbUrl":151154,"material":743,"size":744,"collection":139,"collections":151155,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},240849,"ku-xi-fu-xian-jiu-gu-shi-juan-zhou-lun-240849","苦媳妇贤舅姑诗卷","周伦","周伦（1463年—1542年），字伯明，晚号贞翁，江苏昆山人。弘治十二年（1499）进士，授新安知县，擢大理寺少卿，官至南京刑部尚书。卒，谥康僖。伦著有《贞翁净稿》、《西台纪闻》、《医略》等。后人赞曰：中官不私，君嘉其德。飞蝗不灾，明戴其德。",[23,7,24,25,178,86,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb419c6fde1ee660ff14cc4b3bf9f29e9.jpg",[],{"id":151157,"slug":151158,"title":28834,"dynasty":99,"author":151159,"museum":364,"description":151160,"tags":151161,"thumbUrl":151162,"material":743,"size":744,"collection":139,"collections":151163,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},240846,"shi-shan-mian-zhao-bing-shu-240846","赵秉枢","赵秉衡（？－？），山东东昌府临清州人。生平天启元年（1621年）辛酉科山东乡试举人，天启五年（1625年）乙丑科进士，授元城县，擢户部主事，督密云粮储。",[209,7,24,1562,178,86,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe79afd389ac5c423e561427d98eddd63.jpg",[],{"id":151165,"slug":151166,"title":151167,"dynasty":76,"author":149479,"museum":364,"description":151168,"tags":151169,"thumbUrl":151170,"material":743,"size":744,"collection":139,"collections":151171,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},240832,"xing-lu-yu-zhou-shen-feng-240832","行录语轴","沈凤（？～1852）女，字香卿。清代江西崇仁人。陈偕灿妻。清代女诗人。通经史，工诗词，善书画。学诗从夫，互为师友。诗多灵性。",[7,24,86,241,178,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6b04543951232c141acc9ec0cdb8f5.jpg",[],{"id":151173,"slug":151174,"title":151175,"dynasty":76,"author":151176,"museum":364,"description":151177,"tags":151178,"thumbUrl":151179,"material":743,"size":744,"collection":139,"collections":151180,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},240793,"shu-zha-ce-li-hong-zao-240793","书札册","李鸿藻","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[7,24,81,178,260,27,106,227,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae284f792f533472b6d07e6ace2028c3.jpg",[],{"id":151182,"slug":151183,"title":151175,"dynasty":76,"author":151176,"museum":364,"description":151184,"tags":151185,"thumbUrl":151187,"material":803,"size":139,"collection":139,"collections":151188,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},240786,"shu-zha-ce-li-hong-zao-240786","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选 同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁 同治四年（1865年），再升 光绪 历任礼部尚书、光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥",[7,24,81,178,86,27,151186],"葡萄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bdc843e8f06862526dfe3e196e66e5.jpg",[],{"id":151190,"slug":151191,"title":151175,"dynasty":76,"author":151176,"museum":364,"description":151177,"tags":151192,"thumbUrl":151193,"material":743,"size":744,"collection":139,"collections":151194,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},240754,"shu-zha-ce-li-hong-zao-240754",[7,24,81,178,1147,86,173,27,84,453,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d1f0b1f33af2ed562dd3245acdbf36.jpg",[],{"id":151196,"slug":151197,"title":151175,"dynasty":76,"author":151198,"museum":364,"description":151199,"tags":151200,"thumbUrl":151201,"material":743,"size":744,"collection":139,"collections":151202,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},240732,"shu-zha-ce-chong-qi-240732","崇绮","崇绮（1829－1900），清代唯一一位旗人状元。晚清大臣，字文山，阿鲁特氏，原隶蒙古正蓝旗，父凭女贵，升隶满洲镶黄旗。大学士、军机大臣赛尚阿之子，郑亲王端华的女婿。一妹一女同为同治帝后妃，同父异母妹妹即恭肃皇贵妃，女儿即孝哲毅皇后。同治四年一甲一名进士，状元。迁侍讲，以女为后，封三等承恩公，光绪间历任吏部尚书、礼部尚书，与徐侗同为大阿哥溥儁师傅。八国联军入京时，随荣禄走保定，自缢死。谥号“文节”。",[7,24,81,178,27,451,86,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311d364b02995b20780d1c854b36f25a.jpg",[],{"id":151204,"slug":151205,"title":151206,"dynasty":76,"author":151207,"museum":364,"description":151208,"tags":151209,"thumbUrl":151210,"material":743,"size":744,"collection":139,"collections":151211,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},240675,"fei-mi-shou-jing-tu-ti-ci-juan-fei-mi-240675","费密授经图题词卷","费密","费密（1625年8月25日—1701年10月8日），明末清初著名学者、诗人和思想家。字此度，号燕峰，四川新繁人。费经虞子。奉父流寓泰州，其父邃于经学，尽传父业，工诗文，究心兵农礼乐等学，以教授、卖文为生，当道拟举鸿博，荐修《明史》，皆为辞。费密守志穷理，讲学著述，在文学、史学、经学、医学、教育和书法等方面都有很高的造诣。费密与遂宁吕潜、达川唐甄合称“清初蜀中三杰”。后代学者评论说：“蜀中自杨升庵外，唯密著作最富，论说精辟，对后世颇有影响”。",[23,7,24,25,178,86,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0ce7fc1378edcd2d9308e052e46b6b.jpg",[],{"id":151213,"slug":151214,"title":151215,"dynasty":76,"author":151216,"museum":364,"description":151217,"tags":151218,"thumbUrl":151219,"material":743,"size":744,"collection":139,"collections":151220,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},240661,"cha-sheng-lin-mi-tie-zhou-cha-sheng-240661","查升临米帖轴","查升","芾顿首再启。弊居在丹徒行衙之西，翛闲堂、瀁月、佳丽亭在其后，临运河之阔水。东则月台，西乃西山，故宝晋斋之西为致爽轩。环居桐柳椿杉百十本，以药植之，今十年，皆垂荫一亩，真一亩之居也。四月末，上皇山樵人以异石告，遂视之。八十一穴，大如椀，小容指，制在淮山一品之上。百夫运致宝晋桐杉之间。五月望，甘露满石，次林木焦苇，莫不沾，洁白如玉珠。郡中图去，至今未止。云欲上，既不请，亦不止也。临米南宫帖。请诲翁年长兄先生教。海宁年弟查升。\n款署 ：“请诲翁年长兄先生教。海宁年弟查升。”钤“海宁查声山名升印”白文印、“太史之章”朱文印。鉴藏印钤“载祥欣赏”白文印、“琴娱楼藏书画”白文印。\n此帖临米芾《甘露帖》，内容记述米芾在崇宁元年（1102年）52岁时获上皇山异石“洞天一品”及其祥异之事。原帖现藏台北故宫博物院。查升书风追随董其昌，笔致流丽明快，风度爽健。",[24,7,86,241,178,105,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4680b5dd634c228210ce6cd8ca046342.jpg",[],{"id":151222,"slug":151223,"title":151224,"dynasty":76,"author":151225,"museum":364,"description":151226,"tags":151227,"thumbUrl":151228,"material":743,"size":744,"collection":139,"collections":151229,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},240654,"guo-lin-shi-zhou-guo-lin-240654","郭麐诗轴","郭麐","郭麐（lín 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杀的肃杀氛围。右侧主将勒马整军，阵列严整尽显军纪森严。\n\n创作者以精细线条勾勒山石肌理，明暗晕染塑造出层叠山势的立体感，将战场的紧迫张力尽显纸面。右上角御题诗文呼应战事功过，使得作品兼具纪实征战场面的档案价值，又以中西融合的版画技法，描摹出山地征伐的壮阔图景，写实复刻出平苗一役的激烈瞬间，肃穆且极具纪功图的厚重质感。",[7,24,81,260,173,28,177,29,106,150,864,31,34,650,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F099552331f1937403457da9040e47880.jpg",[],{"id":151865,"slug":151866,"title":47469,"dynasty":76,"author":293,"museum":364,"description":151867,"tags":151868,"thumbUrl":151869,"material":139,"size":139,"collection":139,"collections":151870,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238648,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238648","全景式构图铺展浩荡战事，远山层叠河谷蜿蜒，将清军列阵行军、攻坚平叛的场景错落排布。左侧题笺点明战事背景，画面前方将领挥斥策马，甲士阵列严整肃然，右侧战场烽烟翻涌，短兵相接的厮杀仿佛声闻于耳。画作以精细线描勾勒出山峦苍劲质感，将士甲胄衣袂细节分毫毕现，既兼具传统界画的工致写实，又糅合西洋铜版画明暗层次，精准还原平乱战事的宏大意象，将行伍整肃、攻坚激烈与山野雄浑融为一体，笔墨间承载纪实叙事的厚重，尽显清代战史图绘的严谨表现力。",[7,28,173,177,81,106,150,29,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4cc8d1034d51c633c0775814fa4e48.jpg",[],{"id":151872,"slug":151873,"title":47469,"dynasty":76,"author":293,"museum":364,"description":151874,"tags":151875,"thumbUrl":151876,"material":139,"size":139,"collection":139,"collections":151877,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238647,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238647","以全景视角铺展苗疆崇山险壑，山道间清军策马挺进，远处营寨森然列阵，将平叛行军的肃杀氛围淋漓呈现。画面线条凌厉精细，山石皴刻尽显地势陡绝，既还原了山地平叛的艰险，也刻画出清军整肃军容。右上方题诗与图景呼应，笔墨载录克捷之功，将纪实叙事与军功宣扬融为一体，以画笔复刻王朝征伐史事，带着厚重的纪史质感。",[7,24,28,173,177,86,29,106,150,649,34,107,7464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff94fcd4e79e8f17638699ba5ca75a71b.jpg",[],{"id":151879,"slug":151880,"title":47469,"dynasty":76,"author":293,"museum":364,"description":151881,"tags":151882,"thumbUrl":151883,"material":139,"size":139,"collection":139,"collections":151884,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238646,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238646","这幅全景式战图以硬朗的铜版画排线刻绘层叠险峰，山道河谷间兵勇整列挺进，隘口烽烟暗起，将平叛行军的肃杀紧迫铺陈开来。左上题字以规整小楷详述战事经纬，图文相映，兼顾舆图纪实性与叙事画感染力。\n\n山石皴擦利落刚劲，精准勾勒出西南山地的峭拔险峻，将士甲胄旌旗细节分明，把行军威仪刻画得详实入微。画面冷峻克制，以纪实笔触定格边地平叛的历史瞬间，承载着军功纪实的肃穆厚重。",[7,81,28,177,29,106,150,7464,176,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6c1738edbffd432d53460f49927ba1.jpg",[],{"id":151886,"slug":151887,"title":47469,"dynasty":76,"author":293,"museum":364,"description":151888,"tags":151889,"thumbUrl":151890,"material":139,"size":139,"collection":139,"collections":151891,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238644,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238644","以全景式构图铺展山地平叛战事，左侧崇山峻岭间，清军沿险道衔枚疾进，烟焰翻涌，还原出攻坚破隘的激烈战况；右侧营寨严整肃静，军士待命整装，动静对照烘托出战事的紧绷氛围。\n刀刻笔触锐利写实，山石皴擦尽显崖壁崎岖，人物排布错落有序，将山地行军的艰险展露无遗。右上角题诗呼应画面，纪实感拉满，既复刻出平叛过程的运筹进击，凸显清军悍勇严明的军容，也以冷峻细腻的工艺，留存下边疆战事的鲜活细节，兼具艺术表现力与史料价值。",[7,28,177,173,81,29,106,150,864,430,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c34fa9510c6abfe09b536f33497d35.jpg",[],{"id":151893,"slug":151894,"title":47469,"dynasty":76,"author":293,"museum":364,"description":151895,"tags":151896,"thumbUrl":151897,"material":743,"size":744,"collection":139,"collections":151898,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238643,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238643","以刀代笔，以铜为纸，嶙峋喀斯特山峦层叠铺展，栈道盘绕危崖，尽现苗疆蛮荒天险。画面左下方清军将士策马奔袭，甲胄兵刃的细节皆以细密排线勾勒区分明暗，分毫毕现。\n\n全景式构图纵伸开山地战场，既还原了清军穿行险境平叛的临场实景，又以冷峻的线刻技法，将纪实叙事与版画工艺相融。右侧御题诗文点明战事功绩，刀痕墨影间藏着对平苗战事的细致描摹，带着清代纪实版画特有的官方叙事底色，将军功纪实与山水刻画技法精妙结合，兼具历史纪实价值与美术造诣。",[7,81,28,177,173,29,106,150,34,650],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23738bc699cbc6624de1816ca357b3d2.jpg",[],{"id":151900,"slug":151901,"title":47469,"dynasty":76,"author":293,"museum":364,"description":151902,"tags":151903,"thumbUrl":151904,"material":743,"size":744,"collection":139,"collections":151905,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238641,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238641","远景层叠峰峦铺展出辽远开阔的战地格局，近景聚焦激烈的攻城攻坚场面。清军或涉水架梯、或纵马弯弓仰攻，守军凭城据守反击，人马排布错落有致，将短兵相接的紧张凶险尽数铺陈。\n\n创作者以铜版蚀刻技法入画，线条锐利精细，山石林木的皴刻兼具写实质感与传统山水章法，光影明暗层次分明，既还原了战地细节的纪实性，又以细腻刻画渲染出冷兵器战场的肃杀之气，将战事的激烈瞬间定格于纸面，兼具历史记录价值与艺术表现力。",[368,7,24,81,28,104,177,260,173,227,106,150,29,7464,107,109,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246dbd65781bab34de8097fdbd0e8f22.jpg",[],{"id":151907,"slug":151908,"title":91225,"dynasty":76,"author":293,"museum":364,"description":151909,"tags":151910,"thumbUrl":151911,"material":139,"size":139,"collection":139,"collections":151912,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238634,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238634","全景式铺展山地战事，层叠峰峦间，清军列阵攻坚，藤牌开路、水师呼应，番众凭隘顽抗，攻守之势跃然纸上。铜版画技法让山石林木写实逼真，军士厮杀的悍勇、阵前调度的严整皆被精细捕捉，每处细节都在还原战役的激烈壮烈。右上角题诗与画面呼应，以纪实笔触复刻平叛瞬间，将战事的紧张肃杀尽数定格，兼具纪实性与艺术性，是清代战史的鲜活注脚，尽显纪实版画的独特表现力。",[7,24,81,28,177,29,106,150,176,34,114,47472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b1b22678af262c9a68cf68eedb19ae.jpg",[],{"id":151914,"slug":151915,"title":91225,"dynasty":76,"author":293,"museum":364,"description":151916,"tags":151917,"thumbUrl":1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的野趣融于尺幅之间，写实里裹挟着写意的悠然，尽显小品画的雅致意趣，将朴拙鲜活的国风美学静静铺陈，让闲淡的自然小景跃然绢上。",[7,24,81,173,28,957,2522,490,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58531c5908383d867b06b93de70bdf75.jpg",[],{"id":151976,"slug":151977,"title":128043,"dynasty":76,"author":293,"museum":364,"description":151978,"tags":151979,"thumbUrl":151980,"material":743,"size":744,"collection":139,"collections":151981,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238586,"qing-ren-lie-quan-tu-ce-yi-ming-238586","此作以工笔绘就郊原逐猎之景，寒岸枯木虬曲苍劲，枯枝寥寥衬出旷野清寂氛围。猎犬身姿舒展矫健，肌肉线条紧绷，正疾奔扑向仓皇逃窜的野兔，将追逐瞬间的紧张张力尽数定格。画家用工细笔触刻画出猎犬的矫捷剽悍与野兔的惊惶失措，细节生动写实。左幅行书古朴苍劲，文字与画意呼应，诠释猎犬的机敏迅猛。书画合璧，将狩猎的刹那鲜活留存于绢素，尽显写生功力，把郊野逐猎的野性灵动描摹得淋漓尽致，意境悠长隽永。",[7,24,81,28,27,178,86,36986,957,1015,176,9930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82cce4918f57da0577c43a925853ae0a.jpg",[],{"id":151983,"slug":151984,"title":128043,"dynasty":76,"author":293,"museum":364,"description":151985,"tags":151986,"thumbUrl":151987,"material":743,"size":744,"collection":139,"collections":151988,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238585,"qing-ren-lie-quan-tu-ce-yi-ming-238585","此作以工笔绘就郊野逐猎之景，寒枝衰草铺就荒疏底色，奔鹿惶急腾跃，四蹄舒展间尽显惊惧逃遁之态；猎犬弓身疾追，目光紧盯猎物，剽悍之势跃然绢上。\n\n设色清雅写实，兽毛纤毫毕现，将皮毛蓬松柔润的质感刻画入微，动感张力拉满。左侧题诗与画面呼应，文图相映，落笔既见精湛写生功底，又以狩猎野趣衬出雄健灵动之美，融工致写实与清雅文气于一体，尽显隽永意韵。",[7,24,81,27,28,86,178,227,957,3167,36986,1015,1159,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870cdd7dcff2a1c197ab79f54aa003e1.jpg",[],{"id":151990,"slug":151991,"title":128043,"dynasty":76,"author":293,"museum":364,"description":151992,"tags":151993,"thumbUrl":151994,"material":743,"size":744,"collection":139,"collections":151995,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238584,"qing-ren-lie-quan-tu-ce-yi-ming-238584","此作绘水岸郊野之景，两只猎犬身姿矫健灵动，一腾跃于坡岸，一疾奔前探，肌肉线条饱满流畅，将猎犬逐猎瞬间的迅猛机敏精准捕捉，尽显走兽蓬勃生姿。背景以淡赭晕染丘山，水色空濛清润，浅淡设色衬出猎犬劲捷身形，工笔写实精妙入微。\n\n左侧行书题字秀雅挺劲，笔致舒展，书画相映成趣。整体设色清隽柔和，于静谧山水间凸显出灵动张力，写实功力深厚又不失雅致意趣，在清润的山水底色中，将猎犬的矫健身姿衬托得鲜活生动，尽显传统走兽画写生传神的精妙造诣。",[7,24,81,27,28,29,957,36986,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1529d312aae6edae22e3453fb959ea.jpg",[],{"id":151997,"slug":151998,"title":128043,"dynasty":76,"author":293,"museum":364,"description":151999,"tags":152000,"thumbUrl":152002,"material":743,"size":744,"collection":139,"collections":152003,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238581,"qing-ren-lie-quan-tu-ce-yi-ming-238581","此作工写兼融，右侧设色绘坡岸松荫，灵缇身姿矫健，正疾奔追逐小兽，毛发晕染细腻鲜活，将猎犬的骁悍灵动尽皆展现。衬景浅草萋萋，陂陀层叠，远岫轻描淡写，晕染出清旷悠远的郊野氛围。左侧行书题笔挺秀疏朗，笔墨雅致，与画作呼应成趣，书画合璧尽显沉静雅意。整幅以写实工致的技法刻画灵缇，又佐以文人意趣的衬景与题字，将畜兽的生动神态和古典雅致的审美意韵相融，尽显清代小品画兼具写实功力与文人气韵的特色。",[209,7,24,81,368,27,28,178,957,36986,152001,34,176,1159,91325],"狐狸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c15a6a20d931ae2ee6e7d685bb95f9.jpg",[],{"id":152005,"slug":152006,"title":128043,"dynasty":76,"author":293,"museum":364,"description":152007,"tags":152008,"thumbUrl":152010,"material":743,"size":744,"collection":139,"collections":152011,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238580,"qing-ren-lie-quan-tu-ce-yi-ming-238580","此作定格郊野猎捕的一瞬：黑犬纵身腾跃，身姿矫健灵动，正疾扑奔逃的野猪，渡水追逐间张力拉满，将兽类的野性迸发尽显无遗。布景清雅写意，水岸枯木、浅滩遥山晕染出幽远空寂的郊野氛围，与动势十足的主体形成动静对比。左页小楷工整端秀，诗文咏赞猎犬英姿，诗画合璧，尽显雅致意趣。整幅工笔细腻写实，精准刻画出兽类的形态神情，以淡远布景烘托山野意韵，将狩猎的野趣与传统文人审美相融，尽显精妙笔力与审美意涵。",[7,24,81,27,28,957,36986,152009,176,34,368],"野猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2e0775cf0585838fc8de1751b53a5bc.jpg",[],{"id":152013,"slug":152014,"title":64858,"dynasty":76,"author":18715,"museum":364,"description":18716,"tags":152015,"thumbUrl":152016,"material":743,"size":744,"collection":139,"collections":152017,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},238549,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238549",[7,24,81,28,27,104,106,107,227,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d638594cd38dd389d5bf1e7d6710680.jpg",[],{"id":152019,"slug":152020,"title":116609,"dynasty":76,"author":836,"museum":364,"description":11187,"tags":152021,"thumbUrl":152022,"material":743,"size":744,"collection":139,"collections":152023,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":1335},238413,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238413",[7,24,81,28,27,29,34,107,177,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5569b40aa374e35eed28199884f2a743.jpg",[],{"id":152025,"slug":152026,"title":116609,"dynasty":76,"author":836,"museum":364,"description":11187,"tags":152027,"thumbUrl":152028,"material":743,"size":744,"collection":139,"collections":152029,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},238411,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238411",[7,24,81,27,177,29,245,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d7652f2a4ca3e69afb94d30c3cbaf0d.jpg",[],{"id":152031,"slug":152032,"title":116609,"dynasty":76,"author":836,"museum":364,"description":11187,"tags":152033,"thumbUrl":152034,"material":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清幽旷远。棕褐扇骨包浆温厚，与画面相得益彰，足见绘者深谙山水经营之妙，以小见大，尽显山水精致意趣。",[1562,7,24,27,29,107,175,281,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdbe98a2d63ad8f5c9e21d033cdca6ea.jpg",[],{"id":152408,"slug":152409,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152410,"tags":152411,"thumbUrl":152412,"material":743,"size":744,"collection":139,"collections":152413,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236257,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236257","此作为泥金扇面，自带华贵雅润底色，平畴铺展间远山衔翠，浅赭晕染山峦，墨笔点簇林木苍秀错落，将林泉夏景铺陈于方寸之间。笔触清润柔和，以写实之态描摹苑囿平林野趣，层次疏朗分明，无繁复皴法，却将避暑林泉的悠然凉意晕染开来。整体意境清和淡远，咫尺扇面尽揽山野闲趣，藏着消夏的恬然意趣，尽显传统文人寄情林泉的雅致情怀。",[7,24,1562,29,34,114,27,177,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df8e9d7d12ef6b84177b24d50652aae.jpg",[],{"id":152415,"slug":152416,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152417,"tags":152418,"thumbUrl":152419,"material":743,"size":744,"collection":139,"collections":152420,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236255,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236255","此扇以泥金为底，墨笔绘就林泉幽居之景。近处苍松蟠曲，层林错落，山居屋舍隐现其间，似可暂避溽热，静享幽凉。中远景山峦层递，以淡墨晕染烟岚，留白虚实相生，晕出远山空濛悠远之意。水墨勾勒皴擦兼具工稳与写意，将山野清旷之境铺陈开来，一侧诗书相衬，书画合璧，尽显林下雅趣。泥金底色的华贵，中和了水墨的清雅，让画面既具富丽质感，又不失山水静穆澹远之致，轻摇间似可揽得林泉凉意，是兼具赏玩与收藏价值的雅致文玩。",[1562,7,24,29,27,177,34,176,107,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe732b75ad2a28669ee7bc0ed4c3a8102.jpg",[],{"id":152422,"slug":152423,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152424,"tags":152425,"thumbUrl":152426,"material":743,"size":744,"collection":139,"collections":152427,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236254,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236254","此作为泥金扇面，以青绿浅绛设色绘水畔名园。层叠楼阁依偎碧波，隐于繁花茂林之中，丹粉花树、靛青枝叶与赭石山石相映，色彩明丽和谐。远山以淡墨晕染，晕开空濛悠远之境，疏密布局得当，将幽居消暑的静雅意趣娓娓铺陈。\n\n书画合璧，一面绘景，一面题诗，尽显文人雅赏之韵。棕竹扇骨肌理细腻，包浆温润，古意盎然，是兼具审美与收藏价值的风雅旧物，尽显旧时清夏闲赏的悠然意致。",[7,24,1562,27,29,107,34,176,114,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F574532c10d36c9b98500beb5028c48e3.jpg",[],{"id":152429,"slug":152430,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152431,"tags":152432,"thumbUrl":152433,"material":743,"size":744,"collection":139,"collections":152434,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236253,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236253","此作为泥金扇面，浅设色绘山居胜景。暖调金底晕出雅致基调，远山层峦叠翠，林木蓊郁苍润，屋舍错落排布在林畔水滨，将山居夏凉的清旷意境收于盈尺之间，工细写实中透着文人山水的悠然意趣。诗画合璧，景致与诗书相映成趣，将园林胜景的静穆清和融于扇中，尽显清代扇画诗书画一体的雅致格调，笔墨工致细腻，晕染柔和自然，带着夏日山居的沁人凉意，是兼具观赏与收藏价值的扇画佳制。",[7,24,1562,27,29,177,178,111828,114,649,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167b80713ade90382ad76f2bf6e6a4d3.jpg",[],{"id":152436,"slug":152437,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152438,"tags":152439,"thumbUrl":152440,"material":743,"size":744,"collection":139,"collections":152441,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236252,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236252","以泥金为底，墨色晕染出层叠山峦，苍松茂林错落掩映着屋舍板桥，将名园夏景凝缩于盈尺扇面。笔触清隽秀雅，既写实还原了林泉雅致的园居意趣，又以文人山水的笔墨意韵，勾勒出疏朗开阔的山居清凉，在金笺的华贵底色衬映下，咫尺丘壑里藏着林下幽居的澹然意趣，尽显精致工致的审美意趣。",[7,24,1562,27,29,177,86,649,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b916d94ef4389e164da30dced0ab5b3.jpg",[],{"id":152443,"slug":152444,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152445,"tags":152446,"thumbUrl":152447,"material":743,"size":744,"collection":139,"collections":152448,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236251,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236251","泥金笺底自带华贵沉稳，浅绛晕染出平林远岫之致。近岸林木苍郁，坡岸逶迤着衔起水泽幽光，远山以淡墨轻扫层叠铺展，将夏日林泉的清旷闲逸晕开。笔墨简淡秀雅，不刻意求工，却把幽寂安宁的林泉高致烘托尽致。黝黑莹润的扇骨与金底山水相映，雅致古朴，将避暑的悠然意态藏于开合之间，尽显文人清赏的雅韵风骨。",[1562,7,24,27,177,29,114,34,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9ee76ef6b97b54ef2db5d64d8d8c8a.jpg",[],{"id":152450,"slug":152451,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152452,"tags":152453,"thumbUrl":152454,"material":743,"size":744,"collection":139,"collections":152455,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236249,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236249","泥金笺底凝着华贵光泽，层叠山峦自扇沿铺展，皴笔细劲柔和晕出岩壑肌理，淡赭敷染漫出秋山沉郁苍润。丛树错落植于平坡，将林苑清旷之致揉入尺幅之间，笔墨带着端整雅致的风貌，又暗合文人山水的悠然意趣。\n\n深色竹骨衬得扇面愈见明丽，素洁扇骨与金碧画境相映成趣，开合间尽揽苑囿秋光，把皇家林泉的静穆清逸，藏纳在这一方扇面之中，雅致兼具赏用之美。",[1562,7,27,29,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a975b536de2c1932475f977d30874b.jpg",[],{"id":152457,"slug":152458,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152459,"tags":152460,"thumbUrl":152461,"material":743,"size":744,"collection":139,"collections":152462,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236248,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236248","此作为泥金扇面山水，浅绛设色晕染柔和雅致。远山层峦淡墨轻皴，将天际晕染朦胧悠远；近岸林木苍郁错落，屋舍隐于林麓间，红径蜿蜒接引通幽，水面孤舟泛波，衬出山居的清寂闲雅。笔墨简淡合宜，皴法勾勒山石肌理，既见工致又不失写意松弛，泥金底色托衬浅淡设色，更添沉静古雅氛围，将林泉避暑的悠然隐逸之趣，尽纳咫尺扇面之间，尽显文人心目中的栖居佳境。",[7,24,1562,27,29,107,34,177,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5388bb9940267fcf1eed940a56223cc.jpg",[],{"id":152464,"slug":152465,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152466,"tags":152467,"thumbUrl":152468,"material":743,"size":744,"collection":139,"collections":152469,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236247,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236247","金笺设色晕开湖山秋光，烟波漾开清寂水色，洲渚林木点染丹黄秋意，疏密交织间藏着幽居意趣。临水楼阁错落隐于林麓，石阶逶迤接岸，似能窥见山居闲凉。远山以淡墨轻笼，层峦含烟，与近景的明秀相映，虚实相生铺展出平远开阔的意境。笔墨秀润雅致，设色妍而不艳，将林泉高致藏于折幅咫尺之间，轻摇仿佛便揽得满扇山居清趣，恍若身临幽凉林泉，静享隐逸闲雅的诗意栖居之美。",[7,24,1562,27,29,107,34,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef3f3dd5f2b47275a5f1b04ff58bc42.jpg",[],{"id":152471,"slug":152472,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152473,"tags":152474,"thumbUrl":152475,"material":743,"size":744,"collection":139,"collections":152476,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236246,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236246","以泥金笺为底，青绿晕染山峦叠翠，墨笔点簇林木苍茂，山居幽隐于林麓间，似可窥见山窗纳凉的清宁意趣。笔墨秀润温婉，将夏日山居的闲适静谧凝于盈尺扇面之上，青绿与泥金相映，更添雅致华贵。搭配包浆莹润的素骨，书画合璧，把消暑寄情的林下之思融于掌中清玩，尽显小品山水的温婉意韵，是案头清赏的佳妙之作。",[1562,7,24,26,27,29,1250,6178,7714,7963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e894079a0761742f2aaafae5773e9f7.jpg",[],{"id":152478,"slug":152479,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152480,"tags":152481,"thumbUrl":152482,"material":743,"size":744,"collection":139,"collections":152483,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236245,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236245","此作以泥金笺为地，墨色皴染层叠山峦，林麓间屋舍隐现，暗合山居夏凉的清寂幽致。山峦以披麻皴写就，线条松秀苍润，浓淡墨色交错晕染，既勾勒出雄浑山骨，又衬出泥金底的华贵雅致，将林泉幽居的闲静藏于咫尺扇间。素净扇骨与画面相得益彰，笔墨平和悠远，尽显林泉避暑的雅逸意趣，是融华贵材质与文人山水意韵于一体的佳制。",[368,7,1562,29,27,177,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7788deada02b9c12276b51876e8c79f.jpg",[],{"id":152485,"slug":152486,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152487,"tags":152488,"thumbUrl":152489,"material":743,"size":744,"collection":139,"collections":152490,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236244,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236244","此扇以泥金笺为地，自带华贵雅致底色。画面绘林苑一隅，重檐楼宇静处方庭，佳木环绕、远山逶迤。笔墨秀润细腻，敷色淡逸沉稳，将苑囿的清寂消暑意韵尽显，石隐木葱，处处透着山居夏凉的疏闲意境。\n\n书画合璧，笔墨兼具写实精巧与写意澹远，将苑林清幽揉入尺幅扇间，尽显传统扇面的隽永意趣，是兼具观赏与把玩价值的佳制。",[368,7,1562,27,104,29,107,34,115,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5325818f7d0138bd8effac6eb2a16315.jpg",[],{"id":152492,"slug":152493,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152494,"tags":152495,"thumbUrl":152496,"material":743,"size":744,"collection":139,"collections":152497,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236243,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236243","此扇以泥金为地，水墨晕染出山林幽居之境。淡墨轻扫远山，层叠轮廓似笼薄烟，漾出空濛悠远之态。近处长松郁茂，蓊然成林，掩映间茅舍静立，水泽清浅环伺，将山野间的凉寂闲适铺陈开来。\n笔墨枯湿浓淡相宜，以极简的皴染区分远近层次，将幽居避喧的隐逸意趣融于盈尺扇面。素净扇骨衬得水墨愈见清润雅致，观之如身临林泉，暑意尽散，尽显小品山水的隽永韵味。",[7,24,1562,29,107,34,27,177,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80c793f4441e4eaa665a86bcb4a8be2.jpg",[],{"id":152499,"slug":152500,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152501,"tags":152502,"thumbUrl":152503,"material":743,"size":744,"collection":139,"collections":152504,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":1335},236242,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236242","此扇以泥金笺为底，墨笔绘就山居丘林景致。远山层叠晕染，草木华滋蓊郁，近舍错落隐于繁荫之间，笔墨苍秀清润，将山居避暑的幽旷闲静氛围尽数铺展。一侧配书诗文，书画合璧，尽显文人雅玩的审美意趣，朴雅古拙的扇骨衬得这帧小品愈显雅致。虽无名款，亦能窥见彼时山水小品的典型风貌，是兼具赏玩与收藏价值的文房清玩。",[1562,7,24,29,27,177,107,34,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e78faae2ebc8efa888f479aad353905.jpg",[],{"id":152506,"slug":152507,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152508,"tags":152509,"thumbUrl":152510,"material":743,"size":744,"collection":139,"collections":152511,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236239,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236239","此作用泥金扇面绘就，满幅晕着沉敛华贵的光泽。层林如盖，蓊郁苍润，山居屋舍错落排布于浓荫之间，隐现雅致格局。远处山峦平缓铺展，与平林烟霭相融，将山庄幽寂清宁的夏日常态铺陈眼前，笔墨工致细腻，晕染柔和清润，把山居避暑的闲雅意趣尽数藏入尺幅间。搭配古朴匀整的扇骨，与扇面书画呼应相成，整体意蕴悠然沉静，尽显传统山水小品的雅致情致，藏着旧时林下幽居的恬淡意涵。",[7,24,1562,27,29,107,34,35,86,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad75937842031be1e76c63dfd0a475a.jpg",[],{"id":152513,"slug":152514,"title":129116,"dynasty":76,"author":293,"museum":364,"description":152515,"tags":152516,"thumbUrl":152517,"material":743,"size":744,"collection":139,"collections":152518,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236236,"bi-shu-shan-zhuang-t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随云卷云舒，顿生旷远之思。",[7,260,177,29,30,34,650,109,108,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09ca8330c953affc3651f81a97b60ad8.jpg",[],{"id":156937,"slug":156938,"title":156939,"dynasty":76,"author":293,"museum":364,"description":156940,"tags":156941,"thumbUrl":156942,"material":342,"size":139,"collection":139,"collections":156943,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215599,"tian-xia-ming-shan-tu-19-yi-ming-215599","天下名山图-19","峰峦如削，劲挺线条勾勒出山石嶙峋轮廓，皴擦点染间显肌理苍古。云雾轻笼，淡墨晕染与留白相映，层叠山岩似浮于烟霭之上。山间隐现亭榭，小径行人缓步，为雄奇景致添几分生活意趣。笔墨细腻却藏力道，线条精准而富变化，既绘出山川壮阔气象，又含林泉高致清雅之韵。整幅画以线立骨、以墨生韵，将自然奇秀与文人情怀融于一纸，尽显传统山水的笔墨匠心与意境之美。",[7,24,260,29,177,30,34,107,109,108,106,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5563039e1aa92ca9812b376ef1e688c5.jpg",[],{"id":156945,"slug":156946,"title":156947,"dynasty":76,"author":293,"museum":364,"description":156948,"tags":156949,"thumbUrl":156950,"material":342,"size":139,"collection":139,"collections":156951,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215598,"tian-xia-ming-shan-tu-30-yi-ming-215598","天下名山图-30","墨线勾勒的峰峦层叠如浪，自远及近铺展成壮阔山景。近山林木错落，枝叶简笔点染，添几分生机；远山轮廓淡远，似隐于云雾间。山间小径蜿蜒穿梭，连接标注地名，藏着古人踏访的足迹。整幅画以极简笔墨揉合长白山的雄奇与静谧——既有群峰竞秀的磅礴，又有林径幽寂的清雅。笔墨虽简，却道尽山川神韵：仿佛能听见山风掠树梢，看见云雾绕山脊，是古人对自然的敬畏与诗意凝萃，让观者于尺幅间触摸到山川的魂魄。",[7,24,81,260,173,29,864,430,900,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d0a5dd1bce0fa60dc5b609ffbf60b0.jpg",[],{"id":156953,"slug":156954,"title":156955,"dynasty":76,"author":293,"museum":364,"description":156956,"tags":156957,"thumbUrl":156958,"material":342,"size":139,"collection":139,"collections":156959,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215597,"tian-xia-ming-shan-tu-28-yi-ming-215597","天下名山图-28","画面以清劲线条勾勒山水神韵，层峦叠嶂如黛染屏，皴擦间见石骨嶙峋。左侧峰麓，几椽屋宇隐于苍松翠柏，石阶蜿蜒入林，似藏烟霞逸趣。右侧平畴开阔，溪流如练，三五行人策蹇徐行，衣袂轻扬间添几分人间烟火。远近林木疏密有致，或挺拔如盖，或虬曲含姿，与山势相映成趣。整幅图于简淡中见深远，既有山川雄秀，又含隐逸清寂，更兼市井鲜活，尽展名山灵韵与人文之味。",[7,24,81,260,29,864,430,108,109,150,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a3a6bd166d4db149c98e1e329f9b8e9.jpg",[],{"id":156961,"slug":156962,"title":156963,"dynasty":76,"author":293,"museum":364,"description":156964,"tags":156965,"thumbUrl":156966,"material":342,"size":139,"collection":139,"collections":156967,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215596,"tian-xia-ming-shan-tu-26-yi-ming-215596","天下名山图-26","峰峦如聚，皴笔勾勒山石筋骨，苍劲中见细腻；林木若织，墨线轻描草木灵韵，繁密里藏疏朗。近观层岩叠翠间隐现亭台，似有隐逸者凭栏；远眺烟波浩渺中浮着扁舟，恰如江湖客放怀。构图疏密有致，近景沉实与远景空灵相映成趣；笔墨刚柔相济，山石硬朗线条与水面柔婉波纹相得益彰。整幅画如无声山水诗，既有山川雄浑气象，又含文人清雅情韵，引人徜徉其间，忘尘嚣而醉心自然之美。",[7,24,173,260,177,81,29,174,34,30,107,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb3eef3d9f407d4d6317c74cc7c7bfc.jpg",[],{"id":156969,"slug":156970,"title":156971,"dynasty":76,"author":293,"museum":364,"description":156972,"tags":156973,"thumbUrl":156974,"material":342,"size":139,"collection":139,"collections":156975,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215595,"tian-xia-ming-shan-tu-27-yi-ming-215595","天下名山图-27","笔墨勾勒层峦叠嶂，峰岫间飞瀑流泉倾泻而下，汇入蜿蜒溪流。岸边草木扶疏，几间屋舍隐于林麓，似有人家栖居。水面波纹细密，与山石线条相映，尽显山水清幽雅致。构图疏密有致，远近层次分明，自然之趣与人文之境相融。虽无色彩渲染，却以线条韵律传递山川静谧生机，恍若置身其间，听泉声、观云起，得一份尘外之闲。",[7,24,81,260,177,29,109,108,558,34,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d5c6121a4d69b45f219c480c48ac97.jpg",[],{"id":156977,"slug":156978,"title":156979,"dynasty":76,"author":293,"museum":364,"description":156980,"tags":156981,"thumbUrl":156982,"material":342,"size":139,"collection":139,"collections":156983,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215593,"tian-xia-ming-shan-tu-29-yi-ming-215593","天下名山图-29","墨线勾勒的山水间，峰峦层叠如浪涌，或峭拔入云，或缓坡延绵，皴擦细腻见骨力。山间亭台藏于林麓，依岩傍水，似有幽径通幽。溪流如带蜿蜒，串起几处洲屿：其上草木扶疏，小筑错落，偶见人影往来，添了烟火气却不失清雅。远景云雾轻笼，山影朦胧若幻；近景笔触精到，石纹、松枝皆细致入微。构图虚实相生，远近层次分明，墨色虽简却意境深远——仿佛能闻涧水潺潺，听松风阵阵，尽展古人寄情山水的诗意与哲思，于尺幅间藏纳天地之阔。",[7,24,260,104,173,29,107,175,34,31,10379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ad24d600c153d1accb837e9c82f778.jpg",[],{"id":156985,"slug":156986,"title":156987,"dynasty":76,"author":293,"museum":364,"description":156988,"tags":156989,"thumbUrl":156990,"material":342,"size":139,"collection":139,"collections":156991,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215592,"tian-xia-ming-shan-tu-31-yi-ming-215592","天下名山图-31","墨线勾勒的水波层层叠叠，似有风掠过水面，漾起细碎涟漪。几叶扁舟散落在烟波里，或行或泊，添了几分灵动；左侧岸边旗帜轻扬，隐约可见屋舍轮廓，似是渡口人家，烟火气与水韵相融。右侧山峦起伏，松枝虬劲，林间隐现屋宇，飞檐翘角藏于绿荫中，似有幽人栖居，静穆里藏着生活的暖意。整幅画以细腻线条铺陈，构图疏密有致，水域的开阔与山峦的静谧相映成趣，古雅韵味漫溢纸间，仿佛能听见水波轻响、松风低语，引人步入这清幽淡远的山水世界。",[7,173,260,81,29,174,34,107,490,111,864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee1f737c0b639876b03fcb656e4ec6d.jpg",[],{"id":156993,"slug":156994,"title":156995,"dynasty":76,"author":293,"museum":364,"description":156996,"tags":156997,"thumbUrl":156998,"material":342,"size":139,"collection":139,"collections":156999,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215591,"tian-xia-ming-shan-tu-35-yi-ming-215591","天下名山图-35","峭壁以劲挺线条勾勒，层叠峰峦似攒剑列戟，尽显山川雄奇之势。几处亭台楼阁隐于岩岫间，或踞高崖俯瞰深谷，或倚苍松半遮半露，与疏密错落的林木、蜿蜒隐现的小径相映成趣。下方平坡缓涧，林木疏朗，似有溪流漱石之声。整幅以线为骨，无墨渲染却见山水精神：皴擦寥寥而嶙峋毕现，布局疏密得宜暗藏章法。于简淡勾勒中藏万千丘壑，既有自然山川的壮阔之美，又含人文栖居的雅致之趣，仿佛可踏入画中寻幽探胜，听山风穿林，感天地悠然。",[7,24,260,29,107,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbce7c5f2bd586a3ccf7226a3c1310b7.jpg",[],{"id":157001,"slug":157002,"title":157003,"dynasty":76,"author":293,"museum":364,"description":157004,"tags":157005,"thumbUrl":157006,"material":342,"size":139,"collection":139,"collections":157007,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215590,"tian-xia-ming-shan-tu-33-yi-ming-215590","天下名山图-33","这幅山水图以水墨勾勒铺陈，山峦层叠绵延，远近错落间尽显章法。墨线或轻或重，勾勒出峰峦的轮廓与肌理，淡墨晕染处似有云雾氤氲，添了几分空濛。山间林木以简笔点染，疏密有致，仿佛能闻得松风轻吟。画面中几处题字标注峰名，与山水相映成趣，更添古雅之韵。整体构图舒展，笔墨古朴苍劲，虽无浓艳色彩，却以黑白灰的层次变化，营造出悠远静谧的山林意境，尽显传统山水的笔墨意趣与自然之美。",[7,24,81,29,173,177,864,297,34,30,31,27092,649,490],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c78dda31f83ddbcaa9c31a4bdeb156.jpg",[],{"id":157009,"slug":157010,"title":157011,"dynasty":76,"author":293,"museum":364,"description":157012,"tags":157013,"thumbUrl":157014,"material":342,"size":139,"collection":139,"collections":157015,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215588,"tian-xia-ming-shan-tu-34-yi-ming-215588","天下名山图-34","线描为骨，勾勒层峦叠嶂的奇崛之势。峰岫错落间，古洞隐于深崖，飞檐亭阁嵌于山坳，似藏仙踪。山间小径蜿蜒，樵夫行旅缓步，添几分人间烟火；溪上石拱桥横跨，流水潺潺隐于林麓，藏几许清寂幽趣。树木或苍劲或疏朗，与山石线条的转折相映，虚实相生间，山川雄秀与隐逸清幽交织。笔墨简练却含细腻，仿佛能闻松风穿谷，见云气绕峰，将名山胜景的灵韵凝于尺幅，引人遐想那谷中岁月、洞外春秋。",[7,24,81,260,29,107,108,106,34,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7a13f541d4c36b9e36b0e1e1884dcf.jpg",[],{"id":157017,"slug":157018,"title":157019,"dynasty":76,"author":293,"museum":364,"description":157020,"tags":157021,"thumbUrl":157022,"material":342,"size":139,"collection":139,"collections":157023,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215587,"tian-xia-ming-shan-tu-36-yi-ming-215587","天下名山图-36","线条如行云流水，勾勒出山峦的起伏褶皱。层岩叠嶂间，皴笔细密交织，尽显山体肌理的苍劲质感。古松虬枝斜出，墨线凝练中藏着灵动，似与山风相和。旁侧林木以疏密线条铺陈，葱郁之意跃然纸上。画面虽无设色，却以墨线的浓淡变化，铺展出山林的幽深静谧——仿佛松涛阵阵入耳，云雾隐现于峰峦缝隙，尽显传统山水的笔墨意趣。于简洁勾勒中蕴含深远意境，让人窥得古人笔下山川的雄浑与秀逸，笔墨间流淌着对自然的敬畏与诗意描摹。",[7,24,260,29,81,864,1575,650,491,15800,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e9806ce3da1fff4a7a4d1a5092a6de.jpg",[],{"id":157025,"slug":157026,"title":157027,"dynasty":76,"author":293,"museum":364,"description":157028,"tags":157029,"thumbUrl":157030,"material":342,"size":139,"collection":139,"collections":157031,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215586,"tian-xia-ming-shan-tu-37-yi-ming-215586","天下名山图-37","画面以危崖为轴，一侧平远湖山如展卷，烟波轻笼岸树，远山层叠成淡墨剪影；一侧崖壁如削，线条勾勒出嶙峋肌理，皴擦间见山石苍劲。崖巅数人衣袂轻扬，凭栏望断湖山，似与风语，又或沉醉于天地清旷。笔墨古雅，以线塑形，墨色深浅晕染出山水层次，将文人寄情丘壑的闲逸与山水壮阔融于尺幅。每一笔藏着旧时光的温润，每处留白盛着悠远意境，尽显古典山水的雅致与深远，仿佛踏入画中，同赏这名山胜景里的岁月清欢。",[7,24,260,177,29,106,34,503,491,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c377219a7cbda13df694934a0c1b75.jpg",[],{"id":157033,"slug":157034,"title":157035,"dynasty":76,"author":293,"museum":364,"description":157036,"tags":157037,"thumbUrl":157038,"material":342,"size":139,"collection":139,"collections":157039,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215585,"tian-xia-ming-shan-tu-42-yi-ming-215585","天下名山图-42","画面以远近层次铺展山水意趣，左畔峰峦用劲挺线条勾勒，皴笔叠染出石骨的雄浑；中间曲径蜿蜒，似引观者深入林泉秘境。右方远岫轻笼云气，墨色渐淡处显天地悠远；近坡林木疏密有致，枝叶细笔点染，藏着几分生机；平畴间隐约田垄，添了人间烟火气。整幅画以线为骨、以墨为韵，将山川的巍峨与幽寂揉合，似在诉说天地间的静谧悠远——峰峦携云气，小径牵林泉，每一处线条都藏着对自然的敬畏，每片墨色都晕染出山水的灵韵，让人心生向往，愿寄身于此间，听风过林梢，看云卷云舒。",[7,24,260,173,177,29,864,34,12136,109,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c6d3356dda4d925952f22f06b54d3b.jpg",[],{"id":157041,"slug":157042,"title":157043,"dynasty":76,"author":293,"museum":364,"description":157044,"tags":157045,"thumbUrl":157046,"material":342,"size":139,"collection":139,"collections":157047,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215584,"tian-xia-ming-shan-tu-39-yi-ming-215584","天下名山图-39","这幅山水以简练线条勾勒，左侧山崖陡峭，皴法简洁却显嶙峋之势，几株林木点缀其间，添了生机。右侧江面开阔，波光粼粼间数艘小船悠然，或行或泊，尽显水乡闲意。远处山峦叠嶂，隐约可见屋宇错落，似藏人间烟火。整体构图疏密有致，山崖的凝重与水面的空灵相映成趣，笔墨虽简，却将山水的雄奇与悠远意境尽纳其中，让人仿佛置身于这方山水之间，听风观水，心生宁静。",[7,24,260,29,245,174,34,7582,5066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53faa2f72235d5cf33680a3576e2c0c.jpg",[],{"id":157049,"slug":157050,"title":157051,"dynasty":76,"author":293,"museum":364,"description":157052,"tags":157053,"thumbUrl":157054,"material":342,"size":139,"collection":139,"collections":157055,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},215583,"tian-xia-ming-shan-tu-41-yi-ming-215583","天下名山图-41","山峦层叠如浪涌，线条勾勒出嶙峋肌理，似能触到山石的苍劲质感。左畔碧水蜿蜒，如丝带绕峰，柔化了峰岭的刚硬。山间文字与丘壑错落相衬，既有山川壮阔的气象，又藏着文人式的雅致。远近虚实间，远峰淡隐如墨晕，近山浑厚似可攀，天地间的雄奇与灵秀，便静静铺展在这一纸之上。笔墨间藏着对山河的敬畏，也晕染着古典山水的诗意，将自然之美与人文意趣融于方寸，读来如临烟霞深处。",[7,24,81,260,177,29,10379,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e321d787b99495ce5770508dfac310a.jpg",[],{"id":157057,"slug":157058,"title":157059,"dynasty":76,"author":293,"museum":364,"description":157060,"tags":157061,"thumbUrl":157062,"material":342,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条老辣，皴擦间显树皮纹理；枝桠疏朗，几片丹红秋叶点缀，于萧瑟里透暖意。小鸟栖于枝上，墨块勾勒身形，羽翼层次分明，喙啄叶之态鲜活灵动，眼神顾盼有神。笔墨写意，兼施淡彩，尽显文人画雅致意趣。题跋书法与画面相映，书卷气盎然，传递出悠然闲适的心境。",[7,24,241,173,27,83,1653,394,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28bbf74259489cd19b5af68c5382201c.jpg",[],{"id":157828,"slug":157829,"title":157830,"dynasty":46196,"author":4791,"museum":78,"description":157831,"tags":157832,"thumbUrl":157833,"material":139,"size":139,"collection":139,"collections":157834,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":157835},202922,"yu-ying-tu-zhou-xu-bei-hong-202922","鱼鹰图轴","画面中鱼鹰以浓墨大写意绘就，墨色浓淡相宜，线条简练却精准勾勒出挺拔姿态。长喙微扬，眼神锐利，尽显灵动神韵。背景以淡赭晕染，与主体浓墨形成鲜明对比，简洁中蕴含张力。整体笔墨奔放洒脱，既具传统国画意趣，又融入写实观察，将鱼鹰的野性生机跃然纸上，尽显艺术巧思与功底。",[7,173,27,241,83,281,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bc7fe4210af6e0ef2719f0ab344af9.jpg",[],"bca685",{"id":157837,"slug":157838,"title":157839,"dynasty":46196,"author":1096,"museum":78,"description":157840,"tags":157841,"thumbUrl":157842,"material":139,"size":139,"collection":139,"collections":157843,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":157844},202904,"pang-xie-tu-zhou-qi-bai-shi-202904","螃蟹图轴","这幅蟹图笔墨简练却意趣盎然，数只螃蟹姿态各异，或昂首横行，或俯身小憩。蟹壳以浓淡不一的墨块晕染，质感厚重；蟹爪线条刚劲利落，如铁线般勾勒出灵动之态。齐白石将对生活的细致观察融入笔墨，以写意手法捕捉螃蟹的鲜活神韵，墨色干湿变化自然，尽显水墨艺术的洒脱与生动，平凡题材中蕴含着独特的艺术魅力。",[7,173,241,10854,12876],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f26c9a2f0c4ccb79ca45a4fba0c62ce.jpg",[],"b1a98f",{"id":157846,"slug":157847,"title":157848,"dynasty":46196,"author":57051,"museum":78,"description":157849,"tags":157850,"thumbUrl":157851,"material":139,"size":139,"collection":139,"collections":157852,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":157853},202900,"da-mo-xiang-tu-zhou-chen-shi-ceng-202900","达摩像图轴","朱红袈裟在素净纸面上格外醒目，达摩端坐于地，衣纹以写意笔触挥洒，褶皱间尽显笔墨韵律。背景淡墨皴染出斑驳石壁，右侧留白处缀疏枝片叶，愈衬出禅境空寂。人物面容简括传神，须眉间藏着笃定沉静，似在参透天地玄机。构图虚实相映，笔墨兼具文人意趣与禅画空灵，将达摩面壁的专注超脱凝于尺幅之间，耐人寻味。",[7,27,106,173,259,24,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0145e2c37376a5ce8fdd87e5ba2c4736.jpg",[],"c4b29d",{"id":157855,"slug":157856,"title":157857,"dynasty":46196,"author":1096,"museum":78,"description":157858,"tags":157859,"thumbUrl":157860,"material":139,"size":139,"collection":139,"collections":157861,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":157862},202863,"dao-sui-tu-zhou-qi-bai-shi-202863","稻穗图轴","画作以劲挺灵动的线条勾勒稻穗茎秆，似有风过摇曳之姿。沉甸甸的稻穗以浓墨点染，颗粒饱满，墨色浓淡交错，干湿互济，既显厚重质感，又透自然生机。背景留白开阔，衬出稻穗的鲜活质朴，满溢田园恬静意趣与丰收喜悦，尽显画家对日常景物的细腻观察与独特艺术表现力。",[7,173,27,241,35813,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc97e6338a3b00d9b8cb7e95d67594b.jpg",[],"cac2b4",{"id":157864,"slug":157865,"title":157866,"dynasty":46196,"author":4791,"museum":78,"description":157867,"tags":157868,"thumbUrl":157869,"material":139,"size":139,"collection":139,"collections":157870,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":157871},202845,"liu-que-tu-zhou-xu-bei-hong-202845","柳雀图轴","画面中柳枝以淡墨长丝勾勒，随风摇曳，线条轻盈灵动，如烟雨朦胧。三只麻雀栖于枝上，造型写实生动，羽毛晕染层次分明，眼神顾盼有情，尽显活泼之态。柳枝的疏朗与麻雀的聚散相映成趣，笔墨简洁却意境悠远，融传统水墨的写意韵致与西方写实的精准造型于一体，将柳间雀语的春日闲情描绘得惟妙惟肖。",[7,173,83,281,241,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fe27cc48ce0e5053b9ffc0e4f7c003.jpg",[],"e3d7b0",{"id":157873,"slug":157874,"title":157875,"dynasty":46196,"author":4791,"museum":78,"description":157876,"tags":157877,"thumbUrl":157878,"material":139,"size":139,"collection":139,"collections":157879,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":157880},202841,"liu-yu-tu-zhou-xu-bei-hong-202841","柳鱼图轴","画作以水墨写意绘就，四条墨鱼体态灵动，线条流畅劲健，浓墨晕染出鱼身的丰腴质感与光泽，尾鳍摆动间似有游弋之姿，鲜活如生。上方柳枝以淡墨撇写，垂条纤细，点染嫩芽，清雅疏朗，与浓墨之鱼形成虚实相生的对比。整体构图错落有致，墨色层次丰富，既显鱼的生机盎然，又含柳的春日意趣，笔墨简练却神韵十足，尽显文人画的雅致与生动。",[7,173,933,241,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c81bcf7015c2aba6ca1b70090a62173.jpg",[],"b9b49f",{"id":157882,"slug":157883,"title":157884,"dynasty":46196,"author":33528,"museum":78,"description":157885,"tags":157886,"thumbUrl":157888,"material":139,"size":139,"collection":139,"collections":157889,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":157890},202839,"xiao-niao-tu-zhou-chen-heng-ke-202839","鸮鸟图轴","鸮鸟敛翅踞于枯木之巅，黄目锐视，神情警觉。羽毛以淡墨晕染，间施浓墨点簇，质感蓬松而层次分明；枯干以大笔泼墨，皴擦结合，墨色浓淡干湿互见，尽显苍劲老辣之态。下方竹叶以焦墨撇写，挺拔有致，与枯木的沉郁形成动静相生之趣。整作以水墨写意见长，笔墨简括却形神兼备，禽鸟的孤高与枯木的沧桑交织，营造出清寂悠远的意境，尽显写意花鸟的传神妙韵。",[7,241,173,446,83,281,543,242,7786,157887],"笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e92f506c7dd4f8e8f7710ed77dd2b7f.jpg",[],"c2bfb3",{"id":157892,"slug":157893,"title":157894,"dynasty":46196,"author":1096,"museum":78,"description":157895,"tags":157896,"thumbUrl":157897,"material":139,"size":139,"collection":139,"collections":157898,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":157899},202829,"shou-jiu-tu-zhou-qi-bai-shi-202829","寿酒图轴","酒坛以淡墨晕染，线条简练却见厚重质感；寿桃以胭脂泼洒，艳红间缀明黄，饱满多汁似可触；墨叶用焦墨挥写，笔触老辣奔放，与花果形成浓淡对比。构图疏朗，意境吉祥，朴拙中透着盎然生机，尽显写意花鸟的独特韵味。",[7,24,241,27,83,173,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ffd005a5abc310c58fa3887fbeaca4.jpg",[],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雪弥漫的朦胧。枯枝交错，墨线细密如织，凝霜挂雪般苍劲；山间屋舍错落，隐现于林麓，添几分人间烟火；岩畔孤舟静泊，与皑皑雪景相映，更显山野幽寂。整幅画以水墨为底，皴擦点染间，将冬日山水的静谧清冷与隐逸之趣融于一体，意境悠远，笔墨精湛，尽显传统山水的雅致韵味。",[7,29,173,177,174,464,1015,15976,241,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ca2b8b9d0850788a95f2abf64a6358.jpg",[181],"ada596",{"id":159093,"slug":159094,"title":159095,"dynasty":76,"author":1109,"museum":78,"description":159096,"tags":159097,"thumbUrl":159098,"material":139,"size":139,"collection":163,"collections":159099,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":159100},201255,"lan-zhu-shui-xian-tu-zhou-shi-tao-201255","兰竹水仙图轴","画面以水墨写意绘就，孤石旁兰草疏朗舒展，竹叶劲挺有姿，水仙隐现其间。笔墨洒脱淋漓，墨色浓淡相生，线条抑扬顿挫，兼具刚柔之美。石之苍劲与草木之秀雅相映成趣，题跋与朱印错落点缀，更添文人意韵。整体气韵生动，风骨清逸，尽显超然物外的雅致情怀。",[7,24,241,173,452,242,451,245,446,227,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1ffa73d0c04cab03af3e110aedeae3.jpg",[163],"c1b5a0",{"id":159102,"slug":159103,"title":159104,"dynasty":99,"author":1996,"museum":78,"description":159105,"tags":159106,"thumbUrl":159107,"material":139,"size":139,"collection":181,"collections":159108,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":159109},201251,"song-xia-xian-tiao-tu-ye-chen-chun-201251","松下闲眺图页","这幅画以水墨写意铺陈，右侧松枝虬劲，墨色浓淡交织，尽显苍古之姿；平台上二贤对坐闲眺，衣纹简淡却神态悠然，似与松风共鸣。远景平畴疏林，水面开阔留白，墨气清润间漾出空寂悠远之韵。笔法洒脱不拘，水墨淋漓处见文人逸趣，将山水之幽与人物之闲融于尺幅，尽显自然与心境的相契。",[173,7,29,106,1575,446,5990,27,3463,177,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281637d80949ad0a9ac5cf58e0d13a6f.jpg",[181],"c7b9a2",{"id":159111,"slug":159112,"title":159113,"dynasty":76,"author":953,"museum":78,"description":159114,"tags":159115,"thumbUrl":159116,"material":139,"size":139,"collection":44,"collections":159117,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":159118},201250,"shen-tong-shi-xiang-zhou-ren-yi-201250","沈铜士像轴","画面中老者素衣宽袍，面容慈和，眼神含蕴，衣纹以淡墨线条简括勾勒，尽显儒雅气度。旁侧墨竹数竿，竹叶以浓墨泼洒，干湿相济，苍劲挺拔，与人物的沉静形成呼应。整作水墨淋漓，形神兼备间流露文人风骨，题款印章错落有致，更添传统书画的雅致韵味。",[7,24,241,173,106,242,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd3f284b6317da8efff6a42cf32b9aca.jpg",[44],"d0c5b4",{"id":159120,"slug":159121,"title":159122,"dynasty":99,"author":24267,"museum":78,"description":159123,"tags":159124,"thumbUrl":159125,"material":139,"size":139,"collection":139,"collections":159126,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":159127},201249,"chun-shan-you-zong-tu-zhou-zhou-chen-201249","春山游踪图轴","画面中山峦层叠，古松虬枝倚石，笔墨苍劲浑厚。岩畔楼阁精巧，窗影朦胧似含闲趣；溪径蜿蜒处，人物悠然行游，尽显春山访胜之雅。山石以皴法写就，纹理分明；树木勾勒细致，枝叶疏密有致。整体色调古雅沉静，意境幽深静谧，既见山水壮阔之姿，又含游踪闲适之态，笔墨兼具工致与写意，传递出传统山水画的人文情韵与自然意趣。",[7,29,107,106,177,27,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3b2fa865be6531f2c91744d919536e.jpg",[],"4a4034",{"id":159129,"slug":159130,"title":159131,"dynasty":76,"author":1204,"museum":78,"description":159132,"tags":159133,"thumbUrl":159134,"material":139,"size":139,"collection":90,"collections":159135,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":159136},201247,"gua-niao-tu-zhou-zhu-da-201247","瓜鸟图轴","淡墨晕染的瓜形朴拙圆润，边缘以简笔勾勒，墨色浓淡间显自然质感；鸟雀以焦墨挥写，羽毛层次分明，白眼斜睨的神态藏着孤傲韵致。画面留白空灵，无多余笔墨却意境悠长，尽显水墨写意的极简之美与文人画的独特情味。",[7,173,83,227,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4acc01a970b442aca1b4d467273fde6.jpg",[90],"bbb2ab",{"id":159138,"slug":159139,"title":159140,"dynasty":99,"author":1083,"museum":78,"description":159141,"tags":159142,"thumbUrl":159143,"material":139,"size":139,"collection":90,"collections":159144,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":159145},201245,"zhu-shi-ting-qin-tu-zhou-chen-hong-shou-201245","竹石停禽图轴","此画以工笔设色绘就，虬曲的枝干、挺秀的修竹与嶙峋湖石相映，色彩温润的灵芝点缀其间，营造出清雅静谧的文人意趣。停驻枝头的禽鸟姿态悠然，笔墨工细却不失苍劲，线条高古凝练，造型略带夸张却生动传神。陈洪绶独特的艺术风格在此尽显，于细节处见匠心，设色淡雅与绢本底色相融，尽显明代花鸟工笔画的雅致韵味，是其花鸟题材中的佳作。",[7,28,83,242,431,12102,27,241,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0fc88afdbd0afcdb7b062d71856202.jpg",[90],"987841",{"id":159147,"slug":159148,"title":114874,"dynasty":99,"author":966,"museum":78,"description":159149,"tags":159150,"thumbUrl":159151,"material":139,"size":139,"collection":163,"collections":159152,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":159153},201242,"lan-zhu-tu-zhou-wen-zheng-ming-201242","这幅兰竹图以水墨写意，笔墨疏朗而富有韵致。竹枝挺拔，竹叶如笔走龙蛇般撇捺舒展，兼具书法的骨力与画意的灵动；兰草纤叶柔婉，随风摇曳，似携清幽之气；孤石以淡墨勾廓，皴擦相间，朴拙中见古雅。兰竹相依于石畔，三者相生相衬，营造出清雅绝尘的意境。左侧题款笔墨流畅，书画交融，尽显文人画托物言志之趣，传递出高洁淡远的品格追求。",[7,173,452,242,245,241,177,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d677683b0f84962d5ca7b47884c0e69.jpg",[163],"c7c1b7",{"id":159155,"slug":159156,"title":159157,"dynasty":76,"author":1491,"museum":78,"description":159158,"tags":159159,"thumbUrl":159160,"material":139,"size":139,"collection":181,"collections":159161,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":159162},201238,"xue-man-shan-cun-tu-zhou-wang-yun-201238","雪满山村图轴","雪覆峰峦如素裹，枯木枝桠戟指寒空。山间屋舍错落，隐于雪影林隙；小桥横架溪涧，行人策马路过，步履间携来淡淡烟火。笔墨以皴擦勾勒山石肌理，淡墨晕染积雪，虚实相生中，冬日山村的清冷静谧与生活气息悄然交融。简劲的线条裹着寒意，却在屋舍与行人处藏了温软，尽显雪天山林的幽远之趣与生机暗涌。",[7,29,177,108,150,1015,241,2502,464,27,23],"https:\u002F\u002Foss.chu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