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花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[23,25,120,29,28,87,57,58,104,59,66,67,7,63,61,121,35,122],"册","石榴","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg","",[71],1280,21,{"id":129,"slug":130,"title":131,"dynasty":48,"author":132,"museum":133,"description":134,"tags":135,"thumbUrl":141,"material":89,"size":142,"collection":143,"collections":144,"showCount":146,"zanCount":147,"manualWeight":11,"mainColor":95},220034,"dong-zhuang-tu-ce-zhi-bei-gang-shen-zhou-220034","东庄图册之北港","沈周","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,24,25,26,120,53,136,137,138,7,139,140],"皴法","山水","树","流水","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce1469f2e7f5176c41428873c3177e.jpg","纵28.6厘米，横33厘米","山水画精选",[143,145],"设色画精选",904,5,{"id":149,"slug":150,"title":151,"dynasty":79,"author":152,"museum":153,"description":154,"tags":155,"thumbUrl":157,"material":37,"size":158,"collection":71,"collections":159,"showCount":160,"zanCount":161,"manualWeight":11,"mainColor":43},218552,"he-hua-tu-yi-ming-218552","荷花图","佚名","上海博物馆","画中的荷叶和菖蒲随风右旋，重叠的花瓣逐渐张开，荷叶花瓣用金笔精巧地勾勒，用红色到粉色的渐变画出。这是南宋时期的生活绘画杰作，其精致丰富的画风源于南宋花鸟画家吴炳。",[25,156,104,28,29,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496db9762ca838af4ae8501a774c94ef.jpg","25.1x25.7cm",[71],765,10,{"id":163,"slug":164,"title":165,"dynasty":48,"author":166,"museum":50,"description":167,"tags":168,"thumbUrl":170,"material":37,"size":171,"collection":71,"collections":172,"showCount":173,"zanCount":147,"manualWeight":11,"mainColor":43},221913,"he-hua-yuan-yang-tu-chen-hong-shou-221913","荷花鸳鸯图","陈洪绶","此图以“出污泥而不染，濯清涟而不妖”的荷花为题，花朵清丽，或含苞，初绽、或怒放，多姿多态；枝叶带露，娉婷舒展，俯仰欹侧；湖石雄奇，锐利坚崚，厚重沉凝。两只彩蝶在空中翩翩起舞，一对鸳鸯在水面戏水悠然，打破了一池碧水的宁静。一只青蛙正隐伏于石后的荷叶上觊觎甲虫，弓身欲动，给画面平添了几许生机与意趣，从中可见画家善于观察的细心与状物精微的匠心。\n作品用笔工致而不显刻板，着色醇厚而不流于俗腻，画风素洁明快，既有应物象形的写生功底，又不乏变幻合宜的适度夸张，画面呈现出一种在繁与简，疏与密、刚与柔的对比变化中的合谐与统一。\n从署款和绘画风格上推断，当是陈洪绶中年的作品。",[23,24,25,26,27,28,29,104,7,169,35],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f77fc76433fcfb9a62c0f14dd26a0c.jpg","纵183厘米，横98.3厘米",[71,145],661,{"id":175,"slug":176,"title":177,"dynasty":178,"author":179,"museum":180,"description":181,"tags":182,"thumbUrl":187,"material":124,"size":124,"collection":124,"collections":188,"showCount":189,"zanCount":190,"manualWeight":11,"mainColor":95},220496,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-gong-yang-pu-sa-xiang-zhang-da-qian-220496","张大千临摹敦煌壁画初唐供养菩萨像","民国","张大千","四川博物院","此作还原初唐造像典雅风骨，菩萨面庞莹润温婉，眉眼低垂自带静穆慈悲。华美发髻缀满宝饰，璎珞飘带线条细劲流畅，晕色承袭敦煌古制，石青、朱砂配色厚重明艳，尽显大唐华贵雍容。菩萨持香具安坐莲台，姿态松弛悠然，舒展的莲瓣层次分明，既有宗教造像的庄严端凝，又带着东方古典的柔润气韵，完美复刻敦煌壁画的堂皇雅致，让千年古韵跃然绢上。",[23,183,184,185,186,29,28,30,7],"临摹","敦煌","壁画","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42ad28d51906c73465cc7295981261.jpg",[],577,3,{"id":192,"slug":193,"title":151,"dynasty":18,"author":152,"museum":194,"description":195,"tags":196,"thumbUrl":200,"material":124,"size":124,"collection":124,"collections":201,"showCount":202,"zanCount":203,"manualWeight":11,"mainColor":95},223629,"he-hua-tu-yi-ming-223629","藏地不详","此作用笔秀润，设色清妍雅致。粉瓣荷花亭亭舒展，晕染出柔媚鲜活的层次，荷叶或苍绿如盖、或半卷含露，墨色浓淡尽显舒展生机。枯瘦莲蓬擎立，自带幽寂禅意。池中游鱼轻摆尾鳍，黑蜂振翅悬于淡赭素色的虚空，静中藏动，将夏日荷塘的鲜活气意晕开。整幅构图疏朗空灵，以浅淡底色晕出水汽氤氲的朦胧，不见满幅堆砌的繁复，将江南莲塘的清润宁和尽数铺陈，尽显文人画的悠然意趣，把溽暑里的荷塘清韵定格在绢素之上。",[23,24,25,26,27,29,28,104,7,106,197,198,199],"莲蓬","鱼","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d474cb4c4b95102723b2afdeb3c667a.jpg",[],572,2,{"id":205,"slug":206,"title":207,"dynasty":18,"author":208,"museum":194,"description":209,"tags":210,"thumbUrl":212,"material":213,"size":214,"collection":124,"collections":215,"showCount":216,"zanCount":203,"manualWeight":11,"mainColor":95},288298,"he-hua-xiao-niao-tu-zhou-zhu-da-288298","荷花小鸟图轴","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,24,25,53,27,104,7,35,211,87],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc703fe503e21b896057d755c0c416262.jpg","未知","Xcm*Xcm",[],519,{"id":218,"slug":219,"title":220,"dynasty":18,"author":221,"museum":222,"description":223,"tags":224,"thumbUrl":227,"material":228,"size":124,"collection":71,"collections":229,"showCount":230,"zanCount":231,"manualWeight":11,"mainColor":95},218128,"qiu-shui-he-ye-tu-shi-tao-218128","秋水荷叶图","石涛","美国弗利尔美术馆","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品。花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。",[23,25,26,24,120,53,29,54,7,106,225,226,87],"莲花","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfdd37fcf60f013839a1cf9ac9c4700.jpg","纸本,设色",[71],451,1,{"id":233,"slug":234,"title":235,"dynasty":18,"author":208,"museum":101,"description":236,"tags":237,"thumbUrl":238,"material":69,"size":124,"collection":71,"collections":239,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":95},218421,"he-tang-tu-zhu-da-218421","荷塘图","泼墨荷叶恣肆铺陈，浓墨处似沉云压顶，淡晕间若轻烟漫散，笔触枯润交错里藏着自然野趣。奇崛湖石以焦墨勾廓、泼墨晕肌理，造型古拙却含灵动之气。瘦劲荷茎斜出，点染水草丛生，留白处似漾开涟漪，又像无尽空寂。整幅画以水墨浓淡干湿，写尽荷塘清寒与孤傲，墨色流转间藏着画家内心幽微与超脱，观之如临秋塘，凉意浸肤，心绪随之沉潜。",[23,25,26,53,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe1cc52c0e7642c48fe19fea003a080.jpg",[71],412,{"id":242,"slug":243,"title":244,"dynasty":18,"author":245,"museum":50,"description":246,"tags":247,"thumbUrl":249,"material":250,"size":251,"collection":71,"collections":252,"showCount":253,"zanCount":254,"manualWeight":11,"mainColor":95},236307,"pu-tang-qiu-yan-zhou-yun-bing-236307","蒲塘秋艳轴","恽冰","荷，是南方最常见的水生植物，以历代文人墨客吟之以诗，形之以画。作者以写实的手法，成功地刻画了蒲塘秋日的丽景：碧水之上萍藻点点，绿荷盈盈。\n荷花在荷叶的衬托下，以含苞、初绽、怒放的三种生命形态展示着自然美。整幅运用仿恽南田笔意的没骨法，萍藻以色彩直接点就，显现出灵秀生动的物性。荷花以粉红色点染花尖，旋即以清水迅速晕开，色阶层次丰富，色调深浅过度自然，真实地展现出花瓣清淡雅丽之美以及荷花“出淤泥而不染，濯清涟而不妖”的内在神韵。\n恽冰，字清於，号浩如，别号兰陵女史，亦署南兰女子；卒年不详，武进（今江苏常州）人。清代乾隆、嘉庆、道光年间深得家传的一位女画家，诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[25,26,27,28,29,104,7,105,106,197,248],"水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9622bb894e71ccc81a2bebb607fb57db.jpg","纸本，设色","纵126.41cm 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明遗民。\n朱耷是明太祖朱元璋第十七子朱权的九世孙，明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，早年书法取法黄庭坚 。花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少。\n八大山人由于他明朝宗室的特殊身世，和所处的时代背景，使他的画作不能像其它画家那样直抒胸臆，而是通过他那晦涩难解的题画诗和那种怪怪奇奇的变形画来表现。例如他所画的鱼和鸟，寥寥数笔，或拉长身子，或紧缩一团，倾是而非。特别是那对眼睛，有时是个椭圆形，都不是我们生活中所看的鱼、鸟的眼睛，生活中鱼、鸟的眼睛都是圆圆的，眼珠子在中央也不会转动。八大山人的鱼、鸟的眼珠子都能转动，有时还会翻白眼瞪人哩。他画的山石也不像平常画家画那个样子，浑浑圆圆，上大下小，头重脚轻，他想搁在哪里就在哪里，也不管它是不是稳当，立不立得住。他画的树，老干枯枝，仅仅几个杈椰，几片树叶，在森林中几万棵树也挑不出这样一颗树来。他画的风景、山、光秃秃的树，东倒西歪，荒荒凉凉，果真有这么个地方，我想谁也不肯到这里来安家落户。\n还有，他画上的题诗、签名和印章，也是怪怪的。例如他自号“八大山人”，解释的人很多，至今学者们还有不同争论。他有一方印章，印文刻作 ，有人说它是由“八大山人”四字组成，有的人则持慎重态度，称之为“屐形印”，因为它的形状像只木屐。至于他画上的题诗，许多句子更是令人难解。\n然而，八大山人明确地告诉我们：“横流乱世杈椰树，留得文林细揣摩”。又说：“想见时人解图画”。他是很希望人们能够理解他的画中之意的。因此许多学者经细心的研究，从他的画意和字里字间，探听出许多真消息。例如他有一个画押写作 ，很长时间人们一直称它为龟形画押，因为其形状特别像一只乌龟。后来才看出，原来是由“三月十九日”几个字变形组成，这恰好是明代最末一个皇帝崇祯自杀的日子，标志着明朝的灭亡。那么这个画押，也就表示对 亡国的纪念。\n康熙二十一年他曾经画了一幅《古梅图》，树的主干已空心，虬根露出，光秃的几枝杈椰，寥寥的点缀几个花朵，像是饱经风霜雷电劫后余生的样子。其上题了三首诗，第一首写道：“分付梅花吴道人，幽幽翟翟莫相亲。南山之南北山北，老得焚鱼扫虏尘。”“梅花吴道人”是指元代画家吴镇，自号“梅花道人”。方框内的字，显然是被当时或稍后的收藏者有意剜去，以避免文字狱灾祸。不难猜测，这个字不是“胡”，即是“虏”。清代统始者以满族入主中原，最忌讳的也是这两字。要在“南山之南北山北”扫除“胡尘”，朱耷非常明确地表达了他的反清复明思想。第二首诗写道：“得本还时末也非，曾无地瘦与天肥。梅花画里思思肖，和尚如何如采薇。”诗中用了两个典故，一是元初遗民画家郑思肖，在南宋灭亡之后隐居吴下，画兰花露根不画坡土，人问何故，他回答说：“土地都被人抢夺去了，你难道不知吗？”二是殷遗民伯夷、叔齐在周灭殷以后，耻不食周粟，隐居首阳山采薇而食，直至饿死。原来八大这幅《古梅图》虬根外露，也不画坡土，是仿照郑思肖画兰之意，暗含着国土被清人所抢夺，他这个明代宗室子孙，之所以成了和尚，正如伯夷、叔齐采薇首阳山那样，不肯臣服于新王朝。国破家亡，复国无望，这使他不能不“苦泪交千点”了。\n八大山人题画诗，是解开他画意的钥匙，然幽涩难解，如迷如雾，许多学者都下过一番功夫进行破释。例如康熙二十三年所作《甲子花鸟册》，其中第七页画一只八哥站在枯枝上，题诗曰：“衿翠鸟唤哥，吭圆哥换了。八哥语三虢，南飞鹧鸪少。”此诗之意，香港中文大学饶宗颐教授经过引经据典考释后结论说：“此诗画是讥‘虢’（指明）亡后，忠臣如鹧鸪之志切怀南，殊不多见。”这就是说，八大的作品，除了一般的国破家亡的情绪表达之外，有时还具体有所指。《瓜月图》亦是件有所指的作品，在题诗之后他记录说：“己巳润八月十五夜画所得”。面对着天上的圆月，和人间家家户户吃月饼，他的心被触动了，那么他“所得”是什么呢？画上题诗曰：“眼光饼子一面，月圆西瓜上时。个个指月饼子，驴年瓜熟为期。”有人根据吃月饼的风俗来源于反清义军传递起事暗号的民间故事，说八大在期盼着这一天到来。然而却要等到何年（驴年）呢？“驴年马月”是俗语，表示遥无定期。果真如此，则八大的心迹，就不只是徒有国亡余痛了。\n八大山人长于水墨写意，为其划时代的人物。 在水墨写意画中，又有专擅山水和专擅花鸟之别，八大山人则两者兼而善之。他的山水画，近师董其昌，远法董源、巨然、郭熙、米芾、黄公望、倪瓒诸家。例如康熙四十一年所作《书画册》（上海博物馆藏）共画了六幅山水小品，就可以看出深受董其昌的影响，其远笔的圆润则有着董、巨和黄公望的遗踪，墨法参照了米氏云山，而某些树石的组合形式，显然取自倪瓒。但是，我们在欣赏这些作品时，却又强烈地感觉到朱耷的个性，上述那些古人的法则，不过是他随手拈来为自己服务的。那些山、石、树、草，以及茅亭、房舍等，逸笔草草，看似漫不经心，随手拾掇，而干湿浓淡、疏密虚实、远近高低，笔笔无出法度之外，意境全在法度之中。这种无法而法的境界，是情感与技巧的高度结合，使艺术创作进入到一个自由王国。\n比起山水画来，八大山人的花鸟画创作，更具有他风格个性的典型性。顺治十六年所作《传綮写生册》（台北故宫博物院藏），和康熙五年作的《墨花卷》（北京故宫博物院藏），是八大早期作品，从中可以看到他的水墨写意花鸟画创作，深受沈周、陈淳、徐渭的影响，其用笔较方硬，题材、布局也未脱离前人窠臼，但是画中所表现出的兀傲之气，以及不拘一格的大胆剪裁，如不求物象的完整性，却已预示着他的未来的发展。\n八大山人花鸟画最突出特点是“少”，用他的话说是“廉”。少，一是描绘的对象少；二是塑造对象时用笔少。如康熙三十一年所作《花果鸟虫册》，其《涉事》一幅，只画一朵花瓣，总共不过七、八笔便成一幅画。在八大那里，每每一条鱼，一只鸟，一只雏鸡，一棵树，一朵花，一个果，甚至一笔不画，只盖一方印章，便都可以构成一幅完整的画面，可以说少到不可再少了的程度。前人所云“惜墨如金”，又说“以少少许胜多多许”，只有八大才真正做到了这点，可谓前无古人，后难继者。\n少，也许能有人作到，但是少而不薄，少而不贫，少而不单调，少而有味，少而有趣，透过少而给读者一个无限的思想空间，这是难有人作到的，八大山人却具备了如上的要求，这里大有文章。首先是他在用笔用墨上的功夫。他的用笔由方硬变圆润，饱和墨汁与运笔的方法相结合，一下笔就给人以浑厚丰富之感。他是第一个充分主动利用生宣纸特性以加强艺术表现力的画家。生宣纸的吸水能力强，容易使墨汁扩散（洇），这本来是缺点，而八大却把它变为优点，不但为水墨写意画开辟了一个广阔的前景，而且也创造了人们对水墨写意画的新观念，其功不朽。\n其次是形象的塑造。八大山人的花鸟造型，不是简单的变形，而是形与趣、与巧、与意的紧密结合，所以我们在欣赏时，就不会感到单薄和寂寞。再次是他的布局，特别讲究少许物象在二维空间中摆放的位置。其诀窍是充分利用空白，即前人所谓“计白当黑”。与此同时，并充分调动题跋、署款、印章在布局中的均衡、对称、疏密、虚实等的作用。他不像一般画家那样，先画好画，然后在恰当的位置题款和押印，而是有总体的规划设想，使每一点都在布局中起到举足轻重的作用，不多，不少，不奢侈，不节约。例如康熙三十三年所作《花鸟山水册》（上海博物馆藏），第一幅仅画一只雏鸡。小鸡置于画面中右偏下，这一位置的重心，将画面分割成四大块空间，每块空间的大小都不一样，平衡而有变化。由于小鸡头部方向朝左，故题诗在右第二大块空间中，使空荡的背景顿时活跃起来，视觉上起到突破平衡和内容丰富的作用。小鸡的刻画生动传神，动态像小孩刚学走路，蹒跚得十分可爱。瞪着大眼警惕着前方，特别是眼后加三撇，像电波一样，好似前方有什么声响传来，使小鸡心惊胆怯。这只小雏鸡我们可以理解为它刚出蛋壳，表示出对这个世界的惊异与警惕；也可以理解为走失了群体，找不到妈妈，感到孤独而害怕，如何理解，任人们驰骋想象的翅膀，所以有时候少画，反而思想的容量更大。\n少，不是目的而是手段，否则越少越好，艺术又会走入另一条邪径。少是相对的，例如康熙四十二年所作的《杨柳浴禽图》（北京故宫博物院藏），相对上述作品来说是“多”了，但比起一般画家处理同类题材的作品来，却少了许多许多。例如他对柳枝的处理，约有十二笔，就占住了整个画面上部的空间，不但表现出杨柳的老干新枝的质，也表现了枝条迎风的势。在春风料峭之中，八哥在洗刷自己的羽毛将振翅欲飞。这一生活小景，表现出无限的生意。康熙十六年所作的《河上花图》（天津艺术博物馆藏），是八大山人一生作品中仅见的长篇巨制，也是他笔墨最多、布局最复杂的一幅，但他仍然体现着少的原则。例如开卷的一丛荷花，总共超不出三十笔，笔减而意繁，一开卷便引人入胜。\n八大山人，前承古人，后启来者。白石老人曾有诗曰：“青藤（徐渭）雪个（八大山人）远凡胎，缶老（吴昌硕）当年别有才。我原九泉为走狗，三家门下转轮来。”其倾倒如此。今天随着东西方文化的交流，欣赏和理解他艺术的人越来越多。",[25,26,27,53,54,105,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afb4ee4d66f987d5bb2edff1946a7e.jpg",[321],214,{"id":354,"slug":355,"title":356,"dynasty":48,"author":166,"museum":357,"description":358,"tags":359,"thumbUrl":360,"material":37,"size":361,"collection":39,"collections":362,"showCount":363,"zanCount":231,"manualWeight":11,"mainColor":364},218407,"yin-cha-tu-chen-hong-shou-218407","饮茶图","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[23,25,26,28,29,30,35,7,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg","86x47",[39],207,"37474F",{"id":366,"slug":367,"title":368,"dynasty":178,"author":369,"museum":180,"description":370,"tags":371,"thumbUrl":375,"material":124,"size":124,"collection":124,"collections":376,"showCount":377,"zanCount":231,"manualWeight":11,"mainColor":95},220488,"zhang-da-qian-yu-fei-yin-wang-xue-tao-he-zuo-he-tang-qing-qu-tu-wang-xue-tao-220488","张大千、于非誾、王雪涛合作荷塘清趣图","王雪涛","此作为三家合璧之妙品，以泼墨晕染荷叶，浓淡交织晕开雨后荷塘的氤氲水气，苍润淋漓间尽显池夏清寂雅致。白荷亭亭玉立，带着初经雨洗的舒展柔润，暗吐幽芳。\n上空红蜓振翅悬停，池边青蛙轻跃欲起，草叶间小蜻蜓静立，将初夏荷塘的鲜活生机悄然铺陈。书画相映成趣，题句点透菡萏初发的诗意。\n写意与工笔相融，泼墨的疏朗大气搭配草虫的工致鲜活，把荷塘的幽趣揉入笔墨，静中生灵韵，雅淡见天然，尽显文人意趣与写生妙谛。",[23,25,26,27,29,53,104,7,105,372,373,106,374,54],"蜻蜓","青蛙","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7972b04f6b3a1e7149a7f2c832b57a2.jpg",[],176,{"id":379,"slug":380,"title":381,"dynasty":18,"author":208,"museum":194,"description":209,"tags":382,"thumbUrl":383,"material":213,"size":214,"collection":71,"collections":384,"showCount":385,"zanCount":11,"manualWeight":11,"mainColor":95},235500,"za-hua-ce-zhu-da-235500","杂画册",[25,26,120,53,7,105,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff29ff50245c3b93043a1ab132f67fec.jpg",[71,321],172,{"id":387,"slug":388,"title":389,"dynasty":18,"author":390,"museum":273,"description":391,"tags":392,"thumbUrl":394,"material":228,"size":124,"collection":124,"collections":395,"showCount":396,"zanCount":11,"manualWeight":11,"mainColor":95},214856,"xie-sheng-ce-8-hua-yan-214856","写生册-8","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[25,26,120,29,28,104,278,197,7,393],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f47f6cc86c0d02af35246389a450d2.jpg",[],159,{"id":398,"slug":399,"title":400,"dynasty":178,"author":179,"museum":194,"description":401,"tags":402,"thumbUrl":404,"material":69,"size":124,"collection":39,"collections":405,"showCount":406,"zanCount":190,"manualWeight":11,"mainColor":95},218177,"da-qian-kuang-tu-ce-zhang-da-qian-218177","大千狂涂册","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[25,26,120,53,403,58,30,7,54],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98a1662c3c897bee9d6dc355c56fbf0.jpg",[39,321],156,{"id":408,"slug":409,"title":410,"dynasty":18,"author":208,"museum":194,"description":411,"tags":412,"thumbUrl":413,"material":124,"size":124,"collection":124,"collections":414,"showCount":415,"zanCount":11,"manualWeight":11,"mainColor":95},230272,"hua-he-ce-zhu-da-230272","画荷册","这幅墨荷以水墨写意铺陈，阔笔泼墨挥写荷叶，浓淡干湿交叠，晕染出叶片俯仰向背的错落姿态，墨色氤氲间尽显苍润厚重。荷花以极简的线条勾勒，舒展清癯，留白衬出花瓣的莹洁，孤高冷逸之态尽显。细劲挺拔的水草与厚重荷叶虚实相映，简淡空灵。\n\n画面以少胜多，寥寥数笔便将荷塘清寂之境铺展，清冷出尘的意趣藏于淡墨之中，以形写神，把幽独超迈的文人风骨融在笔墨间，尽显写意水墨以简驭繁的精妙。",[25,26,53,120,7,105,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470063c37b35045e9c6772f0cfa86f81.jpg",[],153,{"id":417,"slug":418,"title":419,"dynasty":18,"author":420,"museum":50,"description":421,"tags":422,"thumbUrl":423,"material":250,"size":424,"collection":124,"collections":425,"showCount":426,"zanCount":203,"manualWeight":11,"mainColor":95},233735,"he-hua-tu-zhou-wu-chang-shuo-233735","荷花图轴","吴昌硕","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[24,25,53,29,27,54,104,7,105,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18450c962cc4dc8033a867f98dea23ce.jpg","纵163.4厘米，横47.5厘米",[],151,{"id":428,"slug":429,"title":430,"dynasty":18,"author":431,"museum":432,"description":433,"tags":434,"thumbUrl":437,"material":438,"size":439,"collection":124,"collections":440,"showCount":441,"zanCount":231,"manualWeight":11,"mainColor":95},231349,"sui-chao-qing-gong-tu-zhao-zhi-qian-231349","岁朝清供图","赵之谦","荣宝斋","岁朝图是中国传统绘画的重要题材之一。岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的开笔之作。据考证，绘制岁朝图的传统源自于宋代宫廷，从宋徽宗赵佶治下特别流行，主要描绘冬季花卉，如腊梅、松柏、水仙等富有吉祥寓意的花草，一并搭配冬天不易看到的花卉、草木、果实等，意味着春天即将来临，以增加节日的祥和气氛，正如此作题款所云：“富贵昌宜吉祥如意，岁朝清供也。”这其中寄托着古人对于未来一年的美好祝愿。此类岁朝图一般采取细笔写生画法，形象描绘逼真。历代画家多有描绘，在清代宫廷中更为流行，像郎世宁、陈书这样的清宫御用画家都画过类似题材。\n作为文人画家，岁朝清供这样的题材也为赵之谦所爱。此幅《岁朝清供图》即为海派大师赵之谦所作，通幅为长条型构图，描绘的草木花卉皆为案头清玩之物。画面上部描绘一高立的花架，花架上摆有一盆盛放的水仙，盆中亦有秀石与水仙相映成辉。花架下有蒲草、灵芝，寓意吉祥。画面下部绘有一圆型石盆，盆中有怒放的牡丹花。花木、盆架错落有致地安排在画面中。赵之谦将自身深厚的金石书法功底融入绘画，形成了他写意花卉的独特面貌。花架与石盆皆以带有篆籀笔意的用笔写出，廖廖数笔，笔简神完，大气十足，在花卉的描绘上颇重视细节，如牡丹花旁的绿草刚劲有力，细密有如针刺，蒲草则纷披，得其大意，可谓有粗有细、有收有放。用色上注重以色助墨，以墨醒色，花架与花盆以浓墨写出，更映衬出水仙的翠绿与牡丹的嫣红，设色俏丽鲜艳，画面效果虽强烈却不刺激。通篇予人春意融融、满室生香之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[23,25,26,27,29,53,104,61,7,435,35,33,87,436],"柿子","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],148,{"id":443,"slug":444,"title":445,"dynasty":18,"author":446,"museum":194,"description":447,"tags":448,"thumbUrl":451,"material":213,"size":214,"collection":124,"collections":452,"showCount":453,"zanCount":231,"manualWeight":11,"mainColor":95},239439,"hua-niao-ce-yun-shou-ping-239439","花鸟册","恽寿平","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[25,24,120,449,29,104,7,32,450],"没骨","水禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7e30a442cbdb53613fd8222a1bae4f.jpg",[],145,{"id":455,"slug":456,"title":457,"dynasty":458,"author":459,"museum":194,"description":460,"tags":461,"thumbUrl":464,"material":124,"size":124,"collection":124,"collections":465,"showCount":466,"zanCount":231,"manualWeight":11,"mainColor":95},230477,"hua-niao-tu-ping-ge-shi-bei-zhai-230477","花鸟图屏","不详","葛饰北斋","画面以浅褐素底铺陈秋塘底色，白鹭莹洁似雪，身姿挺秀悠然，羽色晕染细腻柔和，抬首静立间自带安然意态。旁侧枯荷舒展残叶、垂坠莲蓬，笔意简淡尽显清秋萧疏之致。整体构图留白松弛，淡彩晕染出温润雅致的侘寂意趣，将秋塘的清寂禅意藏于笔墨之间，物景相融相生，晕开东方独有的静谧诗意，寥寥勾勒便绘就幽淡闲雅的秋日荷塘意韵，尽显空灵雅致的东方美学意境。",[23,25,26,462,28,29,104,7,463,197,106],"屏","白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c00298726ea46a856b6cbf562896d1.jpg",[],138,{"id":468,"slug":469,"title":470,"dynasty":79,"author":152,"museum":194,"description":471,"tags":472,"thumbUrl":474,"material":37,"size":124,"collection":109,"collections":475,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":43},218401,"e-xi-tu-yi-ming-218401","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[23,25,24,156,28,29,473,7,87],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[109],117,{"id":478,"slug":479,"title":480,"dynasty":48,"author":49,"museum":194,"description":481,"tags":482,"thumbUrl":484,"material":124,"size":124,"collection":124,"collections":485,"showCount":486,"zanCount":231,"manualWeight":11,"mainColor":95},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,25,26,56,53,54,87,58,59,66,32,67,7,61,64,62,483,35,104],"月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":488,"slug":489,"title":490,"dynasty":48,"author":491,"museum":194,"description":492,"tags":493,"thumbUrl":494,"material":213,"size":214,"collection":124,"collections":495,"showCount":496,"zanCount":203,"manualWeight":11,"mainColor":95},287867,"qun-ying-tu-xiu-tu-juan-quan-juan-zhou-zhi-mian-287867","群英吐秀图卷全卷","周之冕","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,24,25,56,29,28,104,59,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9376170452f4611e36c408f82f4d059d.jpg",[],113,{"id":498,"slug":499,"title":500,"dynasty":18,"author":501,"museum":194,"description":502,"tags":503,"thumbUrl":505,"material":124,"size":124,"collection":124,"collections":506,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":95},230120,"ping-lan-shang-he-tu-ren-yi-230120","凭栏赏荷图","任颐","《任伯年绘画作品图录》是 27年5月1日出版的图书，由任伯年编著。\n出版社: ; 第1版 (27年5月1日) ISBN: 755441 条形码: 尺寸: 22.2 7.5 cm 重量: .9 Kg 《任伯年绘画作品图录(套装上下卷)》内容简介：任伯年的艺术像海派诸家一样，以个性鲜明的艺术风貌反映了怫郁昂藏而又充满生机的时代气息，一变晚清文人画家笔下的雅人高致、陈陈相因与不食人间烟火，作品立意由出世而入世，艺术趣味由雅转“俗”，艺术形式由千篇一律而化为多姿多彩。\n他的艺术风格生动雅丽，明快清新，既不同于赵之谦的朴茂道艳，虚谷的冷隽超逸，也有别于吴昌硕的苍浑醇厚，加以多能兼善，题材广泛，意趣盎然，技艺超妙，诗情洋溢，某些人物画更是寄托深远，所以生前身后，声誉极高，一直被认为是海派的重要代表之一。\n《任伯年绘画作品图录(套装上下卷)(上卷)》目录： 1865年 乙丑 1.仕女图 1866年 丙寅 2.小浃江话别图 .悔花仕女图 1867年 丁卯 4.松下问道图 5.孔雀牡丹图 6. 7.范湖居士六十八岁小像 8.授书图 9.四李人物屏之一 1.四季人物屏之二 11.四季人物屏之三 12.四季人物屏之四 1868年 戊辰 1.斗梅图 14.沙馥三十九岁小像 15.佩秋夫人小像(合作) 16.横云山民行乞图 17.陈允升像 18.榴生像 19.任阜长像 2.水草金鱼图 21. 22.悟生出尘图 2.梅柏白鹏图 1869年 己巳 24.任淞云像(合作) 187年 庚午 25.新秋鹅浴图 26.松鹤图 27.吹箫引凤图 28.访友图 29.人物图 1871年 辛未 .孔雀芭蕉图 1872年 壬申 1.钟馗图 2.凤凰牡丹图 .献瑞图 4.钟馗图 5.礼佛图 6.花蝶图 7.南瓜三鸡图 8.水仙飞禽图 9.芭蕉燕子图 4.夜荷栖鸭图 41.蕉花母鸡图 42.牡丹猫石图 4.山雨欲来风满楼 44.花鸟册(合作) 45.游艇吟箫图 46.凭栏赏荷图 187年 癸酉 47.爱莲图 48.葵花双鸡图 49.残荷鹭鸶图 5.茂叔爱莲图 51.葛仲华二十七岁小像 52.松鹤寿柏图 5.三思图 54.牵牛菖蒲图 1874年 甲戌 55.钟馗图 56.二老并坐图 57.苏武牧羊图 58.女仙图 59.红薇飞禽图 6.苏武牧羊图 61.富贵长寿 62.三羊开泰 6.芍药幽禽图 64.花鸟扇 1875年 乙亥 65.牡丹图 …… 《任伯年绘画作品图录(套装上下卷)(下卷)》目录： 1886年 丙戌 76.三仙图 77.东坡玩砚图 78.东坡玩砚图 79.桃花八哥 8.深山观泉图 81.牧羊图 82.仙鹤 8.听溪图 84.承天夜游图 85. 86.芦鸭图 87.幽鸟鸣春图 88.隔帘规梅图 89.松鹤竹石图 9.桃石群鸟图 91.桃源问津图 92.苍松紫藤图 9.枇杷栖禽图 94.临八人山人八哥图 95.仿高克恭云山图 96.山水阁页 97.玉兰四禽图 98.花鸟册 99.桃花小鸟图 4.仿石田山水图 41.银河秋浅图 1887年 丁亥 42.村居立锄图 4.钟馗图 44.高邕之像 45.松下论诗图 46.童子斗蟋蟀图 47.寒林高士 48.苏长公石钟辨讹图 49.策马图 41.牧羊图 411.岁朝图 412.松鸠图 41.桃鹅图 414.花鸟册 415.封侯图 416.萍花八哥图 417.江上秋痕图 418.天竹白猫图 419.焦叶题书图 42.秋江渔父图 421.紫微鸳鸯图 422.桃石图 1888年 戊子 42. 424.女娲炼石图 425.归牧图 426. 427.寒林牧马图 428.玉局参禅图 429.金谷园图 4.芭蕉狸猫图 41.苏武牧羊图 42.羲之爱鹅图 4.仕女图册之一 44.仕女图册之二 45.仕女图册之三 46.仕女图册之四 47.仕女图册之五 48.仕女图册之六 49.仕女图册之七 44.仕女图册之八 441.仕女图册之九 442.仕女图册之十 44.仕女图册之十一 444.仕女图册之十二 445.午瑞图 446.白猫双雀图 447.岁朝清供图 448.雀声藤影 449.猫鸟图 45.柳塘清趣图 451.红松仙鹤图 ……",[23,24,25,26,27,29,28,30,7,105,504,34],"栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66ee07d43326e2168f004fc64dd0a95.jpg",[],104,{"id":509,"slug":510,"title":511,"dynasty":79,"author":512,"museum":194,"description":513,"tags":514,"thumbUrl":518,"material":37,"size":124,"collection":145,"collections":519,"showCount":520,"zanCount":231,"manualWeight":11,"mainColor":43},218660,"he-ting-na-liang-tu-zhao-ling-rang-218660","荷亭纳凉图","赵令穰","亭畔柳丝轻垂如帘，半掩着凭栏闲坐的身影。池中荷叶片片叠翠，粉白的花影在微风里轻晃，似与远处烟霭中的山峦遥遥对语。远山以淡墨晕染，隐在薄云与江雾间，江天浩渺处，几只水鸟掠过，更添空寂。近景的石径、矮墙与草木，笔墨细腻却不繁冗，色彩温润如旧时光里的浅茶。整幅画没有燥热的夏意，只有风过荷塘的清凉与文人的从容——仿佛能听见荷叶上的露水滴落，也能看见那人眼中的江天辽阔。宋人的雅致与诗意，就这样凝在这一方圆幅里，淡而悠长，静而生动。",[23,24,25,26,29,28,137,30,515,7,105,516,211,517],"亭","树木","湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79a4b33df725714b75d1cedff8520f.jpg",[145],102,{"id":522,"slug":523,"title":524,"dynasty":525,"author":526,"museum":273,"description":527,"tags":528,"thumbUrl":530,"material":37,"size":531,"collection":71,"collections":532,"showCount":533,"zanCount":11,"manualWeight":11,"mainColor":43},218703,"ji-he-tu-xu-xi-218703","芰荷图","五代十国","徐熙","徐熙出生于江宁（今南京），也有记载认为他出生于锺陵（今江西南昌进贤县），一生从没有担任官职，只是专心绘画，他的绘画风格质朴简练，他创作了水墨淡彩的绘画方法，运用墨的浓淡变化，勾点兼施，画出花卉的枝叶萼蕊，略施淡彩，使色不碍墨不掩笔迹而生气动人。善于描绘汀花野竹、水鸟渊鱼、凫雁、鹭鸶、蒲藻、虾鱼、丛艳、折枝、园蔬药苗等。",[23,25,26,27,104,53,29,28,7,105,106,529],"蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2cbafe8b7c62d5722cbe40085ab683.jpg","97.6x46.2cm",[71],100,{"id":535,"slug":536,"title":537,"dynasty":48,"author":538,"museum":153,"description":539,"tags":540,"thumbUrl":541,"material":69,"size":542,"collection":124,"collections":543,"showCount":544,"zanCount":11,"manualWeight":11,"mainColor":95},214636,"hua-hui-ce-8-chen-chun-214636","花卉册-8","陈淳","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[25,26,120,53,104,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da666316e5f79ec4f2838877e43329f.jpg","纵28 厘米 横37.9 厘米",[],97,{"id":546,"slug":547,"title":548,"dynasty":18,"author":221,"museum":50,"description":549,"tags":550,"thumbUrl":551,"material":264,"size":552,"collection":124,"collections":553,"showCount":554,"zanCount":231,"manualWeight":11,"mainColor":95},233405,"mo-he-tu-zhou-shi-tao-233405","墨荷图轴","图绘欣欣向荣的荷塘景色。构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。钤白文印二方：“靖江后人”、“大涤堂”。",[25,26,27,53,58,7,106,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fe017aa56845f71e72ee664ba076f8.jpg","纵90.2厘米，横50.4厘米",[],96,{"id":556,"slug":557,"title":558,"dynasty":48,"author":538,"museum":153,"description":539,"tags":559,"thumbUrl":560,"material":69,"size":542,"collection":124,"collections":561,"showCount":562,"zanCount":11,"manualWeight":11,"mainColor":95},214620,"hua-hui-ce-21-chen-chun-214620","花卉册-21",[25,53,54,120,26,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610ad50195f120bc2cf0a96d0f254470.jpg",[],94,{"id":564,"slug":565,"title":566,"dynasty":18,"author":420,"museum":194,"description":567,"tags":568,"thumbUrl":570,"material":213,"size":214,"collection":124,"collections":571,"showCount":572,"zanCount":231,"manualWeight":11,"mainColor":95},235635,"bai-lian-tu-zhou-wu-chang-shuo-235635","白莲图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[25,26,27,53,29,104,7,106,569,54],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c0df205ec2ce42c42492c16896f1a8.jpg",[],91,{"id":574,"slug":575,"title":576,"dynasty":48,"author":49,"museum":50,"description":577,"tags":578,"thumbUrl":580,"material":89,"size":581,"collection":124,"collections":582,"showCount":572,"zanCount":231,"manualWeight":11,"mainColor":95},233727,"mo-hua-juan-xu-wei-233727","墨花卷","本幅水墨花卉十六段，其顺序是：牡丹、梅花、竹石、玉簪、绣球、萱草、荷花、石榴、芙蓉、秋海棠、菊花、秋葵、双勾竹、水仙、茶花、梅花每段自题七绝一首。末端自题诗。款：“万历五年重九为从子十郎君戏作于木瓜桥之花园馆，金晶山人”印“文长”“两溟渔鸣”白方。引首自书“识得东风”后幅吴俊卿题记。",[25,26,56,53,54,57,58,87,59,66,32,67,7,65,579],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],{"id":584,"slug":585,"title":347,"dynasty":18,"author":420,"museum":194,"description":421,"tags":586,"thumbUrl":587,"material":124,"size":124,"collection":71,"collections":588,"showCount":589,"zanCount":231,"manualWeight":11,"mainColor":95},236709,"mo-he-zhou-wu-chang-shuo-236709",[25,26,27,53,54,7,105,57,58,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fa54def8562aff21aef714166c0d1f.jpg",[71,91],90,{"id":591,"slug":592,"title":593,"dynasty":48,"author":152,"museum":101,"description":594,"tags":595,"thumbUrl":596,"material":69,"size":597,"collection":71,"collections":598,"showCount":599,"zanCount":11,"manualWeight":11,"mainColor":95},216671,"mo-he-tu-yi-ming-216671","墨荷图","墨荷图是明朝时期的一幅水墨画作品，作者是佚名。这幅画的主题是人与自然的和谐关系，描绘了一片森林中的景色。",[25,26,53,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7c76365ae85c084aaded251b4cdbcc.jpg","29x35cm",[71],88,{"id":601,"slug":602,"title":603,"dynasty":525,"author":604,"museum":605,"description":606,"tags":607,"thumbUrl":609,"material":89,"size":610,"collection":124,"collections":611,"showCount":612,"zanCount":231,"manualWeight":11,"mainColor":95},231849,"he-hua-ya-zi-tu-huang-ju-cai-231849","荷花鸭子图","黄居寀","美国弗瑞尔美术馆","这是一幅以渲染为主的没骨法作品。画上两朵白色莲花，一片荷叶，一只机灵的鸭子，构图不可谓不简洁。鸭子的画法极尽写实之能事，以极工细的手法细心渲染出每一个细节。虽然荷叶和荷花的画法是没骨法，但近景的坡石和小草却是写意画法，或许正是这微小的细节，把这幅画扔到了元代。不过构图的仰视和几乎无延伸的局部感觉，也是和宋代画家拉开距离的显著特点。",[25,24,28,29,104,7,608],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e9d5a6b846c9f5cabd99ac03c39dab.jpg","87x55.7cm",[],83,{"id":614,"slug":615,"title":616,"dynasty":48,"author":49,"museum":222,"description":617,"tags":618,"thumbUrl":619,"material":69,"size":620,"collection":124,"collections":621,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":95},220100,"shi-er-mo-hua-tu-juan-3-xu-wei-220100","十二墨花图卷-3","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,24,25,26,56,53,104,32,7,122,57,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e70c5fdddd68d2662d99287215d9176.jpg","全卷32.8cm×544cm",[],81,{"id":624,"slug":625,"title":626,"dynasty":79,"author":627,"museum":194,"description":628,"tags":629,"thumbUrl":637,"material":638,"size":639,"collection":109,"collections":640,"showCount":641,"zanCount":231,"manualWeight":11,"mainColor":43},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","赵昌","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[23,25,24,56,28,29,104,630,32,7,278,631,632,316,633,634,635,636],"鹌鹑","溪流","花草","坡地","浆果","野花","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","绢本设色","横301.5cm纵32.5cm",[109,71,145],79,{"id":643,"slug":644,"title":645,"dynasty":48,"author":646,"museum":194,"description":647,"tags":648,"thumbUrl":649,"material":124,"size":124,"collection":71,"collections":650,"showCount":651,"zanCount":231,"manualWeight":11,"mainColor":43},237497,"mo-he-yuan-yang-tu-zhou-li-yin-237497","墨荷鸳鸯图轴","李因","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。 [1]\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[25,26,27,53,104,7,169,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557524c45070d0779dcb0b92bcfbebf5.jpg",[71],77,{"id":653,"slug":654,"title":655,"dynasty":48,"author":656,"museum":50,"description":657,"tags":658,"thumbUrl":662,"material":663,"size":664,"collection":71,"collections":665,"showCount":666,"zanCount":11,"manualWeight":11,"mainColor":43},222400,"can-he-ying-lu-tu-lv-ji-222400","残荷鹰鹭图","吕纪","画面描绘了秋日荷塘中惊心动魄的一幕，苍鹰俯冲搏击白鹭，白鹭冲进苇丛深处，希图逃脱。众鸟或纷纷躲避，或受惊鸣叫。劲风吹动芦苇残荷，更添肃杀之气。作者把握住禽鸟的自然特征，赋予了戏剧化的情节表现，使画面具有扣人心弦的感染力。画家用写意的笔法画出枯败的荷叶，效果逼真，体现出高超的水墨控制能力。",[23,25,26,27,104,28,29,53,7,659,660,661],"鹰","鹭","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae54932f80827cb6ce0d4337c4bf1.jpg","绢本，水墨","纵190厘米，横105.2厘米",[71,321],76,{"id":668,"slug":669,"title":670,"dynasty":525,"author":671,"museum":194,"description":672,"tags":673,"thumbUrl":676,"material":213,"size":214,"collection":124,"collections":677,"showCount":678,"zanCount":11,"manualWeight":11,"mainColor":43},289777,"lian-chi-shui-qin-tu-zhou-er-gu-de-qian-289777","莲池水禽图轴二","顾德谦","顾德谦，五代南唐画家。建康(江苏)人，专喜好画道教神像画，又善画动植物。深受李后主厚爱。他画的人物，神韵清劲，笔力雄健。传世作品有《太上像》、《太上度关图》、《太上图》、《太上采芝像》、《四子太上像》、《采芝图》、《仙迹图》、《洞庭灵烟图》等20余件，见《宣和画谱》。",[23,25,27,674,29,28,105,450,675,7],"花鸟画","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb96d9cd6b47e7470bafecaed08c207.jpg",[],75,{"id":680,"slug":681,"title":682,"dynasty":18,"author":683,"museum":684,"description":685,"tags":686,"thumbUrl":687,"material":89,"size":688,"collection":143,"collections":689,"showCount":678,"zanCount":11,"manualWeight":11,"mainColor":95},222634,"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰","安徽省博物馆","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,24,25,26,56,29,53,104,58,403,87,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[143,321],{"id":691,"slug":692,"title":693,"dynasty":79,"author":152,"museum":194,"description":694,"tags":695,"thumbUrl":700,"material":124,"size":124,"collection":124,"collections":701,"showCount":702,"zanCount":11,"manualWeight":11,"mainColor":43},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,25,24,26,27,28,29,32,696,697,7,104,698,122,699],"雀","兔","兽","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],73,{"id":704,"slug":705,"title":706,"dynasty":18,"author":707,"museum":133,"description":708,"tags":709,"thumbUrl":710,"material":29,"size":711,"collection":71,"collections":712,"showCount":713,"zanCount":231,"manualWeight":11,"mainColor":95},220143,"leng-yan-you-xiang-tu-li-shan-220143","冷艳幽香图","李鱓","李鱓（1686—1762），清代画家，江苏兴化人。字宗扬，号复堂、懊道人。康熙五十四年（1715年）举人，官滕县、临淄知县。擅花鸟、山水。绘画师法沈周、林良、陈淳、徐渭、恽寿平、石涛、高其佩、蒋廷锡等人。李鱓比较重视生活感受与传统技法的结合，熟练使用自己领悟到的笔墨，善于发挥水的特性，“水墨融成奇趣”，大胆发挥鲜艳色彩和白粉的特性，将粗笔画法与工细画法结合，形成“纵横驰骋，不拘绳墨而独得天趣”“随意布置，另有别趣”的写意花鸟画风，笔墨雄健劲拔，设色淡雅。他的绘画对吴熙载、赵之谦、吴昌硕等人产生了深远影响。李鱓亦擅书法，用笔古朴豪宕、洒脱自然。从南京博物院藏《冷艳幽香图》中的题跋可见李鱓书法的一些审美意趣和风格特色。",[23,25,26,56,29,53,54,104,59,66,7,67,278,317,87,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776535ffcb2a3e1e219ec108c1aebfe7.jpg","纵34.5厘米、横362厘米",[71],71,{"id":715,"slug":716,"title":717,"dynasty":48,"author":538,"museum":194,"description":718,"tags":719,"thumbUrl":722,"material":124,"size":124,"collection":124,"collections":723,"showCount":724,"zanCount":231,"manualWeight":11,"mainColor":95},231011,"qiu-tang-hua-ya-tu-chen-chun-231011","秋塘花鸭图","此作用淡墨轻铺底色，墨色晕染出花鸭绒羽蓬松柔润，青灰头羽、赭黄喙部鲜亮醒目，鸭身浮沉秋水，憨态悠然，尽显野趣生机。残荷枯黄老叶以赭石、花青晕染，莲蓬挺秀，败菊缀于右上角，淡彩点染出秋意阑珊。汀草、蓼花细笔勾勒，干湿浓淡的墨色交织，衬出水波澹澹。\n\n画作兼工带写，水墨为主略施淡彩，笔意纵逸又不失秀雅，将深秋塘间清寂又鲜活的意趣尽数铺展，笔情墨趣间尽显文人写意的雅致随性，揉合秋日池溏的萧疏与生机，淡远空灵的意境扑面而来。",[24,25,26,27,54,53,29,104,7,720,197,374,721,87],"鸭","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13db65695720260f6c24cc85f7896486.jpg",[],70,{"id":726,"slug":727,"title":470,"dynasty":79,"author":152,"museum":101,"description":471,"tags":728,"thumbUrl":474,"material":37,"size":124,"collection":109,"collections":730,"showCount":724,"zanCount":203,"manualWeight":11,"mainColor":43},218537,"e-xi-tu-yi-ming-218537",[23,25,26,156,29,28,473,7,138,729,87],"水",[109,71],{"id":732,"slug":733,"title":734,"dynasty":735,"author":152,"museum":736,"description":737,"tags":738,"thumbUrl":739,"material":37,"size":740,"collection":39,"collections":741,"showCount":724,"zanCount":231,"manualWeight":11,"mainColor":364},218310,"luo-han-tu-yi-ming-218310","罗汉图","元","美国大都会艺术博物馆","丰腴袒胸的罗汉立于绢素之上，光头浓髯，眉目间透着沉静的威严。朱红披帛斜搭肩头，随体态垂落自然褶皱；橙黄下裳宽松覆足，赤脚踝间系着细饰，添了几分随性。右手托莲碗，碗中清莲绽放，花瓣层叠，似携着佛国的净气。\n\n线条劲挺却不失柔润，勾勒出肌肤的丰腴与衣物的质感；设色古朴雅致，朱红与橙黄的暖调衬着绢本的古旧底色，更显沉静。整幅画将罗汉的庄重与生活化细节相融，既见佛法的肃穆，又含人间温情——似在无声传递禅意的悠远，让观者于古雅笔墨中，触到佛性与人性交织的温度。\n\n笔墨间藏着元代人物画的凝练，每一处褶皱、每片莲瓣都透着匠人的用心，把罗汉的神性与烟火气揉得恰到好处，似一幅流动的禅语，静静诉说着时光里的禅意绵长。",[25,26,27,29,30,186,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e1ecce8051f6de779a1b198f6fa590.jpg","112.4x49.1",[39],{"id":743,"slug":744,"title":745,"dynasty":79,"author":746,"museum":747,"description":748,"tags":749,"thumbUrl":751,"material":37,"size":752,"collection":71,"collections":753,"showCount":754,"zanCount":11,"manualWeight":11,"mainColor":95},219084,"can-he-yuan-yang-tu-ma-lin-219084","残荷鸳鸯图","马麟","耶鲁大学艺术博物馆","图为荷塘岸边枯萎的荷花，两朵荷花干枯，细杆上隐约可见一层薄薄的雪花，似弯折折断； 一对鸳鸯站在岸边，羽毛鲜艳，身体匀称，一副低头的样子，似乎在寻找食物。",[24,25,26,156,29,28,7,750,169,278,104,35,87],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8148e5c307f646b726f878e7dad3e86.jpg","25.4x24.4cm",[71],67,{"id":756,"slug":757,"title":758,"dynasty":79,"author":152,"museum":194,"description":759,"tags":760,"thumbUrl":762,"material":124,"size":124,"collection":124,"collections":763,"showCount":764,"zanCount":231,"manualWeight":11,"mainColor":43},223632,"lian-chi-shui-qin-tu-zhou-dui-zhou-er-yi-ming-223632","莲池水禽图轴对轴二","以没骨晕染写就盛夏荷塘生机，粉荷或粲然盛放，或含苞待绽，淡粉水色晕出花瓣柔润层次，娇妍动人。石绿敷色的荷叶，渍染出卷舒枯荣，苍润兼具，尽显池上蓊勃夏意。\n\n两只水禽优游波间，翎羽细勾淡染，姿态闲舒缓和，破开繁花叶影的静谧，添了灵动生趣。\n\n古雅的旧绢底色晕染出宋韵古澹，构图疏密错落，将荷塘幽谧生机融于尺幅，藏着宋人格物观照的雅致意趣，虽经岁时磨损，依旧能窥见院体花鸟工致温婉的审美品格。",[23,24,25,26,27,28,29,7,105,106,450,761],"池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad2f0b5b63fb5100d6e2037573719a0.jpg",[],63,{"id":766,"slug":767,"title":768,"dynasty":79,"author":152,"museum":273,"description":769,"tags":770,"thumbUrl":774,"material":37,"size":775,"collection":109,"collections":776,"showCount":777,"zanCount":231,"manualWeight":11,"mainColor":95},218855,"he-ting-ting-yu-tu-yi-ming-218855","荷亭听雨图","这幅画描绘了一个荷花亭，主人躺在沙发上看荷花、听雨声，而一个童仆拿着小提琴在桥头的花下姗姗来迟，抱头鼠窜，而一只受惊的鸟儿则飞上了天空。这幅画与刘松年的风格相似，笔触厚实而坚定，画感引人入胜。",[23,24,25,29,771,28,515,7,516,772,773],"界画","楼阁","雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4871b40e4780da845cf4f472108e38a.jpg","23.2x24.4",[109,39],62,{"id":779,"slug":780,"title":781,"dynasty":79,"author":152,"museum":194,"description":782,"tags":783,"thumbUrl":785,"material":124,"size":124,"collection":124,"collections":786,"showCount":787,"zanCount":147,"manualWeight":11,"mainColor":43},223630,"he-xie-tu-yi-ming-223630","荷蟹图","《宋人画荷蟹图》是宋代佚名创作是一幅中国画。\n图中残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。\n潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。\n画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。\n此图画面意境生动，题材别出新意，为宋人写实画作的典范。\n【简介】 本幅无款。\n钤印一方，印文模糊不辨。",[23,24,25,26,29,28,7,784,106,374,104],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180dab128ffc6da8aaed986bccf8201c.jpg",[],61,{"id":789,"slug":790,"title":791,"dynasty":79,"author":792,"museum":101,"description":793,"tags":794,"thumbUrl":796,"material":37,"size":797,"collection":124,"collections":798,"showCount":787,"zanCount":11,"manualWeight":11,"mainColor":95},218051,"song-di-ming-ti-ce-qi-ma-yuan-218051","宋帝命题册(七)","马远","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,25,120,29,137,515,138,795,7,136],"远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8981171a12069285c26c5b92cd367aa4.jpg","纵28厘米、横27厘米",[],{"id":800,"slug":801,"title":802,"dynasty":18,"author":420,"museum":194,"description":803,"tags":804,"thumbUrl":805,"material":124,"size":124,"collection":124,"collections":806,"showCount":807,"zanCount":11,"manualWeight":11,"mainColor":808},224214,"pin-mei-tu-wu-chang-shuo-224214","品梅图","此作为典型文人清供小景，红梅老枝苍劲朴拙，胭脂点染花苞艳而不妖，尽显虬枝凌寒盛放的生机。茶炉以淡墨晕染，焦墨点出炽红炭火，留白暗喻水汽蒸腾，古雅茶壶静置炉上，角落油伞添了几分俗世烟火意趣，将围炉品茗赏梅的幽居闲逸铺陈开来。\n\n作者以金石笔法入画，笔力雄健老辣，苍劲题诗与疏朗画面浑然一体，诗书画印相融相合，将文人雅致闲情寄寓寻常清景中，寥寥数笔便勾勒出冬日小聚的清寂快意，把日常小景升华为超然雅致的文人意境。",[23,25,26,27,29,53,59,7,33,57,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20264ba227d2d6600d508cc9d63b4ae.jpg",[],60,"F48FB1",{"id":810,"slug":811,"title":812,"dynasty":48,"author":813,"museum":273,"description":814,"tags":815,"thumbUrl":817,"material":818,"size":124,"collection":124,"collections":819,"showCount":820,"zanCount":11,"manualWeight":11,"mainColor":95},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[23,25,26,156,28,29,137,32,7,516,816,317],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg","绢本",[],58,{"id":822,"slug":823,"title":824,"dynasty":18,"author":825,"museum":50,"description":826,"tags":827,"thumbUrl":829,"material":264,"size":830,"collection":71,"collections":831,"showCount":832,"zanCount":231,"manualWeight":11,"mainColor":95},236383,"he-lu-tu-zhou-huang-shen-236383","荷鹭图轴","黄慎","黄慎的花鸟画更多地继承了明代徐渭的泼墨大写意花鸟画风。此图描绘雨后双鹭于荷塘憩戏觅食的情景。画上荷花数茎，枝叶劲挺，花瓣娇媚，似有暗香浮动。两只白鹭翩翩而下，谨慎地着入水面，画家通过这一细节巧妙地表现出“水满池”的情景，“用笔极简，意趣自足”，由此可见一斑。对于荷叶的用笔恣肆狂放，墨色浓重，显示出荷花枝叶肥厚、“风飘不动”的旺盛生命力。在硕壮浓郁的荷叶的衬托下，以淡而轻的笔法描绘出白鹭的轻盈稚嫩，惹人怜爱。此外，画家在简洁的构图中力求营造空间感：图中荷花高低错落，荷叶相互掩映，俯仰向背，姿态各异，有着明显的纵深前后关系。两只白鹭停息在荷杆之后，尤其那只迎面飞来的白鹭起到了扩展画面空间的作用。在文人画中，很容易因注重笔墨形式而忽略景物的空间感，职业画家出身的黄慎在吸收文人笔墨情趣的同时，恰当地将写实与写意相结合，从而形成自己独特的风格。",[25,26,27,53,54,57,104,7,105,828],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ddc7422f4a85b05d360154cb4bbb54.jpg","纵130.2 厘米，横71.2厘米",[71,321],56,{"id":834,"slug":835,"title":836,"dynasty":18,"author":420,"museum":194,"description":837,"tags":838,"thumbUrl":840,"material":124,"size":124,"collection":124,"collections":841,"showCount":832,"zanCount":11,"manualWeight":11,"mainColor":95},235232,"liao-hong-he-bai-tu-zhou-wu-chang-shuo-235232","蓼红荷白图轴","以大写意之笔铺陈秋塘意趣，上方荷叶泼墨挥就，浓淡干湿交织，尽显苍浑朴拙之态，留白花瓣莹洁雅致，与墨色荷叶相映成趣。下方蓼花茎干细劲，朱红点染花序，鲜活灵动如沐秋风。\n\n左上题字错落排布，书意与画意相融相生。全作用笔兼具篆籀古意，看似率意挥洒，实则疏密得宜，红蓼墨荷冷暖相衬，将清秋疏朗野逸的意趣藏于笔底，寥寥数笔便勾勒出秋光满塘的鲜活生机，尽显文人写意画的雅逸朴厚。",[25,26,27,53,29,104,7,839],"蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed59055e1f284cd3c40ef5375f4a0596.jpg",[],{"id":843,"slug":844,"title":845,"dynasty":18,"author":846,"museum":194,"description":847,"tags":848,"thumbUrl":854,"material":250,"size":855,"collection":124,"collections":856,"showCount":857,"zanCount":231,"manualWeight":11,"mainColor":95},222700,"qiu-feng-mo-zao-tu-juan-shou-juan-qian-yu-ling-222700","秋风墨藻图卷手卷","钱与龄","画中的蓝藻、紫绿红蓼、游鱼蟹、泥鳅蛙、蜻蜓翠鸟、白鹭飞虫，游或游或荷花或偷窥，首当其冲的就是充满活力的秋天。 年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,24,25,26,56,29,28,7,198,278,374,372,661,849,197,463,850,248,851,852,65,729,853,211],"水藻","红鱼","莲叶","草丛","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],54,{"id":859,"slug":860,"title":593,"dynasty":18,"author":208,"museum":194,"description":861,"tags":862,"thumbUrl":863,"material":124,"size":124,"collection":124,"collections":864,"showCount":865,"zanCount":11,"manualWeight":11,"mainColor":43},231034,"mo-he-tu-zhu-da-231034","《墨荷图》是清代石涛创作的纸本墨笔画。\n图绘欣欣向荣的荷塘景色。\n构图疏密交错，通过荷叶、茨菰、莲蓬、蒲草间的相互掩映构筑出变化丰富的空间层次。\n用墨淋漓尽致，浓淡、枯润相生，显现出作者较强的笔墨把控能力。\n本幅自题七言诗一首，款署：“大涤子邗上秋日写”。\n钤白文印二方：“靖江后人”、“大涤堂”。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n石涛（1642—约1718年），俗姓朱，明宗室靖江王朱赞仪十世孙，谱名若极，广西桂林人。\n明灭亡后，出家为僧，法名原济，字石涛，号清湘老人、苦瓜和尚等。\n工于诗文，擅绘山水、兰竹、花草及人物。\n其笔情纵恣凝炼，独具创新，对扬州画派和近、现代中国画的影响极大。\n与清初画坛朱耷、髡残、弘仁合称“清四僧”，著有《苦瓜和尚画语录》，针对画坛时弊提出诸多精辟见解。",[23,25,26,24,27,53,104,7,105,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1fc908bf2c25b01fd7e185665cc123.jpg",[],53,{"id":867,"slug":868,"title":869,"dynasty":79,"author":152,"museum":194,"description":870,"tags":871,"thumbUrl":872,"material":213,"size":214,"collection":124,"collections":873,"showCount":874,"zanCount":231,"manualWeight":11,"mainColor":364},288261,"hua-lan-tu-yi-ming-288261","花篮图","竹编花篮分层编织纹理清晰，造型圆融雅致，衬着沉暗古绢底色更显质朴静穆。篮中夏花俯仰错落，硕大菡萏柔瓣舒展，莹白间晕染淡赭，尽显盛放娇柔，幽兰修长舒展、萱花缀着朱砂艳色，野逸生机暗藏其间。\n\n设色克制沉静，以淡墨晕出花叶层次，浅赭点染花梢，将夏花清妍之态悄然铺展。画作没有繁复铺陈，却以极简笔触将日常花艺升为清赏雅景，藏着以小见大的审美哲思，把寻常案头清供绘成隽永的雅致风物，尽显宋人对日常闲雅意趣的极致追寻。",[23,24,25,104,28,29,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32db9f97a3f2b79ae1b045d01879e2b.jpg",[],50,{"id":876,"slug":877,"title":878,"dynasty":48,"author":879,"museum":194,"description":880,"tags":881,"thumbUrl":882,"material":124,"size":124,"collection":124,"collections":883,"showCount":874,"zanCount":11,"manualWeight":11,"mainColor":95},228920,"xiang-feng-jing-he-tu-zhou-liu-ru-shi-228920","香风静荷图轴","柳如是","此作为水墨写意妙品，以虚实相生铺就荷塘清景。泼墨重写团荷，浓淡晕染间尽显叶片舒展的苍润质感，荷茎虬曲穿插，残莲蓬斜立，暗笼秋意浅愁。白鹭以淡墨轻勾慢染，羽毛蓬松柔润，伫立浅滩侧目凝神，身姿娴静又暗含灵动生机，于留白水面独显出尘之态。\n\n笔墨干湿互济，淡墨晕开水面清光，浓墨点染汀洲残叶，画面疏密错落，题款极简留白恰到好处，将荷塘的幽谧禅意尽数铺陈，淡而弥远，简而不空，把初秋水畔的静雅与孤高意趣融为一体，尽显文人写意的空灵雅致。",[23,25,26,27,53,104,7,106,463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe714f3a115a37707a297ef74ff20726f.jpg",[],{"id":885,"slug":886,"title":887,"dynasty":48,"author":888,"museum":889,"description":890,"tags":891,"thumbUrl":894,"material":895,"size":896,"collection":39,"collections":897,"showCount":874,"zanCount":231,"manualWeight":11,"mainColor":43},222137,"liu-hai-xi-jin-chan-tu-zhou-liu-jun-222137","刘海戏金蟾图轴","刘俊","石家庄市博物馆","画中刘海蟾神情怡然，步态从容，身着长袍，足凳云履，腰系葫芦与紫芝。左手托三足金蟾，飘波于碧涛之上。背景远山一抹，海天辽阔。驻足画前细细品味，一股清新自然之气扑面而来。在浩瀚无垠的大海和辽阔无边的天空映衬之下，刘海蟾的神仙气质脱颖而出。画家摄取了刘海蟾信步波上的瞬间，虽无情节，却给人留下无限遐想的空间——他是到蓬莱赴会众神仙，还是到凡间赐福世人？这正是花架构思的奇妙之处。",[23,25,27,28,29,30,892,7,893],"波浪","金蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1450695127d7e3b981d63088893321af.jpg","绢地，设色","纵181.3厘米，横108.8厘米",[39],{"id":899,"slug":900,"title":901,"dynasty":735,"author":152,"museum":194,"description":902,"tags":903,"thumbUrl":904,"material":37,"size":124,"collection":39,"collections":905,"showCount":874,"zanCount":231,"manualWeight":11,"mainColor":43},218221,"luo-han-xiang-yi-ming-218221","罗汉像","罗汉像通常是用来表示佛教修行者的，特别是罗汉像。罗汉是佛教中的一种超凡脱俗的观念，它象征着禅定、慈悲、智慧和善良。罗汉像图通常都是画在纸上，并且经常被用来作为供品，以祈求佛菩萨的加持和保佑。",[25,26,27,29,28,186,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec12997a6b1db02e1cea6ef601106de.jpg",[39],{"id":907,"slug":908,"title":909,"dynasty":18,"author":208,"museum":194,"description":910,"tags":911,"thumbUrl":914,"material":124,"size":124,"collection":124,"collections":915,"showCount":916,"zanCount":231,"manualWeight":11,"mainColor":95},234158,"hua-hui-juan-zhu-da-234158","花卉卷","八大山人花鸟承袭陈淳、徐渭写意花鸟画的传统，发展为阔笔大写意画法，其特点是通过象征寓意的手法，并对所画的花鸟、鱼虫进行夸张，以其奇特的形象和简练的造型，使画中形象突出，主题鲜明，甚至将鸟、鱼的眼睛画成“白眼向人”，以此来表现自己孤傲不群、愤世嫉俗的性格，从而创造了一种前所未有的花鸟造型。",[23,25,26,56,53,54,57,87,58,65,60,912,913,7,104],"灵芝","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10690432eee4f9791878f7dce4625503.jpg",[],49,{"id":918,"slug":919,"title":920,"dynasty":48,"author":656,"museum":273,"description":921,"tags":922,"thumbUrl":924,"material":37,"size":925,"collection":71,"collections":926,"showCount":916,"zanCount":11,"manualWeight":11,"mainColor":43},220400,"he-zhu-shui-fu-tu-lv-ji-220400","荷渚睡凫图","月夜时分，岚雾凄迷，芦苇、荷叶隐现其间，洲渚上栖息大雁四只。构图上只有近、中景，远景则多省略不绘。本幅虽有吕纪名款，然有存疑之处，且通幅之笔力较为薄弱，当非吕氏之原迹。但其景物布置与气氛营造与另一张本院收藏吕纪「秋渚水禽」颇为接近，故此应为一相当忠实于吕氏风格之仿作，可从此画中一窥吕纪写意风格的面貌。\n吕纪（活动于公元1439－1505年间），浙江宁波人。字廷振，号乐愚，亦作乐渔。吕纪为明代中叶著名的宫廷花鸟画家，孝宗弘治（公元1488－1505年）间值仁智殿，官至锦衣卫指挥。花鸟初学边文进（活动于1403－1428），后摹仿唐宋诸名家，结合工笔、写意法，呈现出多种面貌，颇具个人特色。",[23,25,26,24,29,28,104,7,923,211,35,374],"凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ee5454cc9863896919696108f94b6c.jpg","纵：174.5公分 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的收藏印，及比較院藏其他梁清標之題簽，推測此冊可能為梁清標所集，顯示明末清初所理解的宋元畫。",[25,29,28,120,1068,1121,7,374,721],"水渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8245c17cd680d5c6db12441e68758697.jpg","白纸本","27.3x28.7",[],{"id":1127,"slug":1128,"title":1129,"dynasty":79,"author":152,"museum":50,"description":1130,"tags":1131,"thumbUrl":1133,"material":638,"size":1134,"collection":124,"collections":1135,"showCount":1136,"zanCount":231,"manualWeight":11,"mainColor":43},234076,"he-xie-tu-ye-yi-ming-234076","荷蟹图页","宋代的花鸟画是五代黄筌徐熙两家体制基础上得以发展的。北宋初一百多年，黄家体制便是院体规范。北宋中期崔白、吴元瑜变革院体，表现出吸收徐熙一派画法。宋徽宗对不同画风兼收并蓄，南宋画院亦是如此。所以就总体上而言院体继承了黄徐二家的体制。黄氏体制的画法为用墨勾线定形，或填色或染墨，笔法细劲而有变化，其典型之作为工笔设色一类。再看徐熙画法，徐铉称之为“落墨为格，杂彩副之，迹与色不相隐映”。徐熙则自称“未尝以傅色晕淡为功”。\n《宣和画谱》对徐熙很是推崇，认为当时画花者多以色晕染而成，徐熙独到之处在于落墨，极有骨气风神。将黄徐两家的典型风范相比较，黄家偏重于色彩的晕染，徐熙偏重于墨线造型的笔法表现。这其中涉及重色、重墨、运笔造型之道等问题，绘画之形似正由此而来。宋代院体花鸟画的典型面貌为工笔设色一类，讲求赋色之功、笔法之道、造型之细致。宋代院体花鸟画综合黄徐二家，不过在不同时期、不同画家身上有着各自的特点。\n宋代院体花鸟画之所以能够在传神方面达到很高的境界，在于能够从自然万物中直接取得，生意趣味浓厚是其重要的特征，当时众多的作品具备这样的素质。对物象神态丰富细致的描绘是花鸟画成熟的表现。宋代院体花鸟画在细致写实中有得于此。\n《荷蟹图》可能是荷花螃蟹类题材最早的作品。残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。《荷蟹图》画面意境生动，题材别出新意，为宋人写实画作的典范。荷蟹题材在后来的大写意花鸟画中，被徐渭进一步发扬光大，最著名的就是影响深远的徐渭代表作《黄甲图》。这种影响一直波及到现代大家齐白石。",[25,24,26,120,28,29,104,7,1132,374],"蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e974c0d6c4e3129014ed0ecd3f0dc5f.jpg","28.4x28cm",[],39,{"id":1138,"slug":1139,"title":1140,"dynasty":18,"author":390,"museum":1141,"description":1142,"tags":1143,"thumbUrl":1144,"material":124,"size":124,"collection":143,"collections":1145,"showCount":1136,"zanCount":11,"manualWeight":11,"mainColor":95},223244,"hua-hui-shan-shui-12-hua-yan-223244","花卉山水-12","辽宁省博物馆","该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开",[25,26,29,53,137,65,104,1033,7,211,139,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18d2a868a7fff05f5a7f52f85957ea0.jpg",[143,145],{"id":1147,"slug":1148,"title":1149,"dynasty":79,"author":1150,"museum":273,"description":1151,"tags":1152,"thumbUrl":1153,"material":29,"size":124,"collection":143,"collections":1154,"showCount":1136,"zanCount":11,"manualWeight":11,"mainColor":95},219950,"he-ting-xiao-shu-tu-zhao-shi-lei-219950","荷亭消暑图","赵士雷","水岸铺陈开清寂夏景，临水亭台错落相衔，飞檐回廊隐在垂柳荫翳间，柔条拂过静波，将暑意揉碎在漾漾水色中。远景轻笼烟霭，把天地晕成淡润的墨色，消解了溽热烦躁。\n亭畔静立侍者，等候凭栏观水的主人，晕染出幽居消暑的松弛意趣。全图笔法秀润温婉，布景虚实相映，古雅绢色衬出一片临水纳凉的闲雅天地，将耽于林泉、静享幽夏的隐逸襟怀晕染尽致。",[23,24,25,26,120,28,29,771,515,7,516,317,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa754d1f34c6e3092b4d0c8dc675fbfe9.jpg",[143],{"id":1156,"slug":1157,"title":1158,"dynasty":18,"author":1159,"museum":101,"description":1160,"tags":1161,"thumbUrl":1163,"material":69,"size":1164,"collection":143,"collections":1165,"showCount":1136,"zanCount":11,"manualWeight":11,"mainColor":95},219355,"han-tang-xi-chi-tu-wang-hui-219355","寒塘鸂鶒图","王翚","《寒塘鸂鶒图》描绘的是江南随处可见的池塘一角，有稀疏的草木、零散的荷叶苇草，以及在当中玩耍的水鸟。近景向中远景延伸，墨色渐渐转淡，隐隐约约可以看见一些景物，相当朦胧虚幻，彷彿隔着一片薄雾，富有诗意。",[23,25,26,53,136,1162,7,261,262,35,374],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4dce38db866812034183e07f13c1b6.jpg","73 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公分",[143,71],{"id":1167,"slug":1168,"title":1169,"dynasty":79,"author":627,"museum":194,"description":1170,"tags":1171,"thumbUrl":1172,"material":213,"size":214,"collection":124,"collections":1173,"showCount":1174,"zanCount":11,"manualWeight":11,"mainColor":43},288983,"yuan-yang-tu-zhou-zhao-chang-288983","鸳鸯图轴","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[25,27,674,29,28,169,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F317e1556d2628dfda3b8fe3bb5cdff28.jpg",[],35,{"id":1176,"slug":1177,"title":1178,"dynasty":48,"author":132,"museum":1179,"description":1180,"tags":1181,"thumbUrl":1182,"material":69,"size":124,"collection":124,"collections":1183,"showCount":1174,"zanCount":11,"manualWeight":11,"mainColor":95},214923,"mo-hua-ce-4-shen-zhou-214923","墨花册-4","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[23,24,25,53,120,104,7,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f58c031f57e26b25b272c4262ab92a.jpg",[],{"id":1185,"slug":1186,"title":1187,"dynasty":458,"author":152,"museum":194,"description":1188,"tags":1189,"thumbUrl":1194,"material":213,"size":214,"collection":124,"collections":1195,"showCount":1196,"zanCount":231,"manualWeight":11,"mainColor":43},281572,"juan-ben-cai-hui-fo-xiang-zhou-yi-ming-281572","绢本彩绘佛像轴","这尊造像仪容端丽慈悲，宝冠高束、璎珞垂身，衣袂轻扬自带灵动之气。左手托举青莲，花萼承托嵌含金乌的日轮，尽显殊胜庄严。\n画作以古褐绢本为底，朱砂、石青等矿料敷色历久弥新，头光环饰烈焰纹，衬得造像愈发神圣出尘。线条匀细流转，将衣褶褶皱的层次勾勒分明，既具装饰美感，又精准烘托出菩萨温婉沉静的神态，尽显工笔佛绘的精湛造诣，观之便觉清净祥和的气韵扑面而来。",[25,27,818,29,1190,30,186,1191,7,1192,1193],"彩绘","佛像","日","火焰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b230227f22d1ba797e565497c9a037.jpg",[],34,{"id":1198,"slug":1199,"title":1200,"dynasty":18,"author":1201,"museum":194,"description":1202,"tags":1203,"thumbUrl":1204,"material":124,"size":124,"collection":124,"collections":1205,"showCount":1196,"zanCount":11,"manualWeight":11,"mainColor":95},224348,"hua-yu-wang-cheng-pei-224348","花鱼","汪承霈","整体设色清润淡雅，浅赭素底晕染出郊野荷塘的柔谧底色。青碧荷叶错落舒展，笔触细腻柔和，尽显叶片的舒展肌理。嫩黄荷花亭亭玉立，娇柔的花瓣晕染出清润生机。水草丛生以写意笔触绘就，浅淡墨色晕染出郊野塘岸的野趣。几尾小鱼线条灵动轻盈，悠游穿梭在水间，将池水的空寂与鲜活融为一体。画作在极简构图间藏着悠然禅意，无繁复铺陈，以淡彩晕开清和静谧的夏日氛围，把荷塘一隅的鲜活雅致勾勒尽致，尽显文人画的松弛恬淡与清雅意趣，尽显中式美学的悠然韵味。",[23,25,26,120,28,29,104,7,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70272027dd70c00ffffadaec8b4ec100.jpg",[],{"id":1207,"slug":1208,"title":156,"dynasty":18,"author":501,"museum":194,"description":1209,"tags":1210,"thumbUrl":1212,"material":124,"size":124,"collection":124,"collections":1213,"showCount":1214,"zanCount":11,"manualWeight":11,"mainColor":95},230121,"shan-mian-ren-yi-230121","此作以秋瓜入绘，工写兼施。枯荣相参的瓜叶，或褐黄带霜尽显残秋意态，或鲜绿含润犹存生机，筋脉勾勒细劲婉转，敷色古雅沉着，将时节更迭里的枯荣对照铺陈尽致。虬曲藤蔓牵绕棚架，墨色枯湿浓淡互衬，野趣横生。左上角题款落印，文气与画境相融无间。\n\n画师以灵秀笔触，跳脱院体刻板，将寻常瓜蔬绘就清寂鲜活的秋韵，把日常风物升华为雅致的文人意趣，淡朴中见情致，尺幅团扇间藏尽晚清秋光，尽显花鸟画雅俗共赏之妙。",[25,156,29,28,104,1211,7],"虾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32bcbe0e39807d36839a6e5b3ad2916.jpg",[],33,{"id":1216,"slug":1217,"title":1218,"dynasty":18,"author":1219,"museum":194,"description":1220,"tags":1221,"thumbUrl":1222,"material":124,"size":124,"collection":71,"collections":1223,"showCount":1224,"zanCount":11,"manualWeight":11,"mainColor":43},236714,"hua-niao-guo-ce-li-qi-236714","花鸟果册","李圻","此作以大写意绘荷塘小景，阔笔泼墨晕染荷叶，墨色苍润交融，浓淡层次尽显夏日池面的氤氲水汽，落笔尽显酣畅率意。两朵白莲以淡墨勾形，留白作瓣，素净雅致，与浓墨荷叶形成强烈的虚实对照，清雅之气扑面而来。荷茎以劲爽线条勾勒，挺拔柔韧，寥寥数笔便将莲茎风姿尽显。画面两侧题上行草，笔墨意趣与画境呼应，诗书画浑然一体。构图疏密相宜，简逸空灵，以极简笔墨传递出荷塘清寂淡远的幽谧意境，尽显写意功底与文人雅致襟怀。",[25,26,24,120,53,7,105,106,104,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca8a3f7e25a409507aba1c306024f12.jpg",[71,321,91],32,{"id":1226,"slug":1227,"title":548,"dynasty":18,"author":1228,"museum":194,"description":1229,"tags":1230,"thumbUrl":1231,"material":213,"size":214,"collection":124,"collections":1232,"showCount":1224,"zanCount":11,"manualWeight":11,"mainColor":808},235559,"mo-he-tu-zhou-fu-shan-235559","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[25,53,27,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24528e736483b0247d66e35f68b3b981.jpg",[],{"id":1234,"slug":1235,"title":1236,"dynasty":18,"author":152,"museum":194,"description":1237,"tags":1238,"thumbUrl":1243,"material":213,"size":214,"collection":124,"collections":1244,"showCount":1245,"zanCount":231,"manualWeight":11,"mainColor":95},272898,"zi-tan-mu-bian-mi-se-chou-di-xiu-hua-niao-tu-wei-ping-yi-ming-272898","紫檀木边米色绸地绣花鸟图围屏","紫檀木框架沉稳雅致，衬得绣面愈显清丽脱俗。十二扇屏各自成景又浑然相融，绣线晕染出松石苍润古拙，花枝柔婉舒展，或绽露芳华，或含苞轻垂。禽鸟姿态灵动悠然，或伫立观荷，或栖于枝梢梳羽，游凫嬉于清波，野趣横生。\n\n米绸底色温婉柔和，蓝白绣线层次细腻，凭借精巧针法晕染出明暗虚实，将草木花鸟的生机尽数勾勒。针线起落间藏着细腻匠心，把雅致娴静的意趣融于方寸绣面，是绣艺与木器工艺相融的佳制，尽显中式栖居的清雅韵致。",[1239,1240,1241,1242,104,29,28,7,59,61,211,1038,720],"围屏","木质","布料","刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5c6afedc51bc5f657d99375938e2b1.jpg",[],31,{"id":1247,"slug":1248,"title":1249,"dynasty":48,"author":1250,"museum":273,"description":1251,"tags":1252,"thumbUrl":1253,"material":124,"size":1254,"collection":143,"collections":1255,"showCount":1245,"zanCount":11,"manualWeight":11,"mainColor":43},222585,"fang-zhao-ling-rang-he-xiang-qing-xia-lan-ying-222585","仿赵令穰荷乡清夏","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,25,26,120,29,137,183,136,1034,138,729,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c941eb7e0ba93f6e83eaf6dcf7cf0a3.jpg","72.6x60.8厘米",[143,321],{"id":1257,"slug":1258,"title":1259,"dynasty":18,"author":152,"museum":194,"description":1260,"tags":1261,"thumbUrl":1263,"material":37,"size":124,"collection":124,"collections":1264,"showCount":1245,"zanCount":11,"manualWeight":11,"mainColor":43},216717,"hong-lou-meng-fu-tu-ce-10-yi-ming-216717","红楼梦赋图册-10","庭院深深，雕花窗棂映着回廊青瓦，藤蔓牵衣。近处方巾女子红绫轻扬，裙摆旋作蝶影，似将笑语掷向风里；窗畔二人凭栏，目光如丝，缠在院中嬉戏的身影上。石边草色漫阶，闲鹤驮云而过，池畔红荷倚石，晕开一抹温柔。淡彩晕染出雅致，细笔勾就灵动，将红楼闺阁的闲趣与园林的幽婉揉成画卷。每一处线条藏着旧时光的温婉，每一抹色彩漾着古典的诗意，仿佛能听见画里女子的轻语，漫过岁月的窗棂。",[23,25,29,28,120,30,31,772,211,35,7,1262],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b613db4e103bdc77c619a70a23f3249.jpg",[],{"id":1266,"slug":1267,"title":1268,"dynasty":48,"author":152,"museum":194,"description":1269,"tags":1270,"thumbUrl":1271,"material":213,"size":214,"collection":124,"collections":1272,"showCount":1273,"zanCount":231,"manualWeight":11,"mainColor":43},238961,"he-tang-shuang-e-tu-ye-yi-ming-238961","荷塘双鹅图页","此作用笔秀润雅致，以深秋荷塘为景，残荷欹斜，枯卷的莲蓬与半萎的荷叶自带清冷萧疏之韵，坡岸旁荻草随风轻曳，灵动舒展。\n\n画面里白鹅仰首似在唳鸣，羽毛以淡墨晕染出蓬松柔润的质感，憨态灵动，尽显水禽野逸之态。整体设色淡雅柔和，以留白烘托出水滨空寂的秋意，将深秋荷塘的清寂与生机相融，寥寥数笔便勾勒出幽闲野逸的秋日水居意趣，尽显小品画的雅致隽秀之美。",[25,29,28,104,7,106,473,374,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965428578e8b8005d6e4495e488de86d.jpg",[],30,{"id":1275,"slug":1276,"title":381,"dynasty":18,"author":208,"museum":194,"description":209,"tags":1277,"thumbUrl":1278,"material":213,"size":214,"collection":124,"collections":1279,"showCount":1273,"zanCount":11,"manualWeight":11,"mainColor":95},235503,"za-hua-ce-zhu-da-235503",[25,53,54,104,7,105,120,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90727016f355f8a136bac506bf6ea3cf.jpg",[],{"id":1281,"slug":1282,"title":1283,"dynasty":18,"author":1284,"museum":50,"description":1285,"tags":1286,"thumbUrl":1287,"material":294,"size":1288,"collection":124,"collections":1289,"showCount":1273,"zanCount":11,"manualWeight":11,"mainColor":95},233809,"ma-gu-xian-shou-tu-ren-xiong-233809","麻姑献寿图","任熊","“麻姑献寿”是中国流传很广的神话传说。相传麻姑是位朴实而美丽的民间女子，她死后成为仙女，住在蓬莱仙岛。每年德高望重的西王母过生日时，麻姑都要用灵芝草酿成仙酒献给西王母做寿礼，麻姑也由此被西王母封为“女寿仙”，因此民间为妇女祝寿时常常绘《麻姑献寿》的图画相赠以示祝福。\n图绘身着红披风的麻姑，古朴静穆、仪态端庄，一变清中叶以来费丹旭、改琦等人所绘身姿纤媚、弱不禁风的“病态”仕女形象，健康清新，令人瞩目。图中设色艳丽华贵，富有装饰性，线条顿挫刚劲,富有表现力，与所绘人物相得益彰，为任熊仕女画佳作。",[25,26,27,28,29,30,31,7,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9031d01c205657060d0fb9f243c9a47.jpg","纵162.3厘米，横86.2厘米",[],{"id":1291,"slug":1292,"title":1293,"dynasty":48,"author":656,"museum":50,"description":657,"tags":1294,"thumbUrl":1295,"material":663,"size":664,"collection":124,"collections":1296,"showCount":1297,"zanCount":11,"manualWeight":11,"mainColor":43},233144,"can-he-ying-lu-tu-zhou-lv-ji-233144","残荷鹰鹭图轴",[25,27,104,28,53,29,7,211,660,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ba363296fcd9a438b72bb73c541cba.jpg",[],28,{"id":1299,"slug":1300,"title":1301,"dynasty":48,"author":1302,"museum":50,"description":1303,"tags":1304,"thumbUrl":1315,"material":1316,"size":1317,"collection":91,"collections":1318,"showCount":1297,"zanCount":11,"manualWeight":11,"mainColor":95},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","唐寅","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,1305,57,58,56,53,87,226,1306,137,978,1307,139,515,211,1308,262,59,66,32,67,7,61,63,64,198,1309,773,1035,1032,1192,1310,1311,1312,1313,1314],"明代","夕阳","小桥","枯藤","风","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[91],{"id":1320,"slug":1321,"title":1322,"dynasty":48,"author":132,"museum":194,"description":1323,"tags":1324,"thumbUrl":1325,"material":213,"size":214,"collection":124,"collections":1326,"showCount":1327,"zanCount":11,"manualWeight":11,"mainColor":95},290881,"yu-lan-shen-zhou-290881","玉兰","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[24,25,53,104,7,373,87,57,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5cc9ce4db5f1644e40e59c01e040a9.jpg",[],27,{"id":1329,"slug":1330,"title":1331,"dynasty":79,"author":272,"museum":194,"description":1332,"tags":1333,"thumbUrl":1334,"material":213,"size":214,"collection":124,"collections":1335,"showCount":1327,"zanCount":11,"manualWeight":11,"mainColor":95},288368,"shui-mo-xie-sheng-tu-mu-xi-288368","水墨写生图","二图卷绘果蔬、花木禽鸟、鱼蟹果蔬有石榴、桃、梨、枇杷、萝卜、茄子；禽鸟有燕子、喜鹊、鹊鸽、赤麻鸭；水族有鱼、虾、蟹等全卷川水墨勾染，不施颜色，在南宋画坛极其罕见，为写意花鸟开创了新路。",[23,24,25,56,53,276,104,1211,198,1132,211,7,277,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4421a4fc00d03c3c87c5ed2ebd989b87.jpg",[],{"id":1337,"slug":1338,"title":1339,"dynasty":79,"author":152,"museum":194,"description":1340,"tags":1341,"thumbUrl":1342,"material":124,"size":124,"collection":124,"collections":1343,"showCount":1327,"zanCount":11,"manualWeight":11,"mainColor":43},223690,"ji-ling-he-ye-tu-yi-ming-223690","鹡鸰荷叶图","《宋人画鹡鸰荷叶图》是宋代佚名创作的绢本设色画。\n里枯枝断茎，荷叶翻卷残破，一片残败的荷叶向上斜出，翻卷的叶面，满布虫蚀的痕迹，在一只鹡鸰的停驻下摇摇欲坠。\n鹡鸰双爪紧握荷茎，扭颈俯视，神情专注，为萧瑟的深秋平添了几许生气。\n鸟羽刻画细腻，先用色渲染，然后以极细之笔勾出，笔法生动秀逸。\n构图疏密有致，动静结合。\n本幅无款。\n钤鉴藏印“宋荦审定”、“嘉庆御览之宝”，又半印一方，印文模糊不辨。\n裱边题签：“宋人画梅竹双鹊”。\n绿竹丛中逶迤伸出白梅两枝，清丽冷艳。\n两只鸲鹆栖于枝头，翘首顾盼。\n鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。\n梅花用白粉和淡黄色勾填，层次丰富。\n竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。\n清《石渠宝笈》著录。",[23,24,25,26,28,29,104,211,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb89fa76fc24385671298b4fe2b9f1ef.jpg",[],{"id":1345,"slug":1346,"title":1347,"dynasty":79,"author":152,"museum":273,"description":1348,"tags":1349,"thumbUrl":1351,"material":37,"size":1352,"collection":143,"collections":1353,"showCount":1327,"zanCount":11,"manualWeight":11,"mainColor":95},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[23,24,25,29,137,156,136,1033,7,105,138,1034,729,1350],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[143],{"id":1355,"slug":1356,"title":1357,"dynasty":18,"author":1358,"museum":194,"description":1359,"tags":1360,"thumbUrl":1362,"material":124,"size":124,"collection":124,"collections":1363,"showCount":1364,"zanCount":231,"manualWeight":11,"mainColor":95},234587,"he-tang-fei-yan-wan-shan-xin-yue-234587","荷塘飞燕纨扇","辛樾","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[25,26,156,53,29,28,104,7,105,106,211,1361],"燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6520d05d1c8a90a069b4eea658183e03.jpg",[],26,{"id":1366,"slug":1367,"title":1368,"dynasty":18,"author":1369,"museum":50,"description":1370,"tags":1371,"thumbUrl":1373,"material":638,"size":124,"collection":124,"collections":1374,"showCount":1364,"zanCount":203,"manualWeight":11,"mainColor":95},232945,"hua-hui-tu-ce-fan-ting-zhen-232945","花卉图册","范廷镇","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[25,26,120,28,29,104,7,105,106,1372],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04a76310a5243e9fcb581b22ba12471.jpg",[],{"id":1376,"slug":1377,"title":1378,"dynasty":79,"author":1086,"museum":273,"description":1379,"tags":1380,"thumbUrl":1381,"material":37,"size":1090,"collection":124,"collections":1382,"showCount":1383,"zanCount":11,"manualWeight":11,"mainColor":43},290331,"qiu-pu-rong-bin-zhou-cui-bai-290331","秋浦蓉宾轴","此图绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠踞，两鸿雁振翅凌空，意在千里。无画家款印。",[25,24,104,27,28,29,211,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59dfd4ed59160522d19f139d1cff84c2.jpg",[],25,{"id":1385,"slug":1386,"title":1387,"dynasty":48,"author":1388,"museum":194,"description":1389,"tags":1390,"thumbUrl":1391,"material":213,"size":214,"collection":124,"collections":1392,"showCount":1383,"zanCount":231,"manualWeight":11,"mainColor":43},289755,"zao-yu-tu-mou-fu-289755","藻鱼图","缪辅","《藻鱼图》中，鱼几乎占据了画面的全部空间，它似乎刚刚突然掉转身来面对观者，嘴巴大张，目光犀利。作者用细线精心描绘了片片鱼鳞，通过晕染来显示质感和立体感。以淡墨写水草，并通过鱼尾的摆动和水草的摇晃增加了画面的动感。",[23,24,25,26,104,28,29,198,7,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe3184dfc0e37064caa8e09617e24c8.jpg",[],{"id":1394,"slug":1395,"title":1396,"dynasty":18,"author":501,"museum":194,"description":1397,"tags":1398,"thumbUrl":1400,"material":294,"size":1401,"collection":124,"collections":1402,"showCount":1383,"zanCount":11,"manualWeight":11,"mainColor":95},234992,"hua-hui-ling-mao-ping-10-ren-yi-234992","花卉翎毛屏10","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[25,26,27,29,28,104,7,105,106,278,1399,65],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf9f397c8059cf090d6b2cb507af50a.jpg","149 x 61 cm",[],{"id":1404,"slug":1405,"title":1406,"dynasty":18,"author":152,"museum":194,"description":1407,"tags":1408,"thumbUrl":1409,"material":37,"size":124,"collection":124,"collections":1410,"showCount":1383,"zanCount":11,"manualWeight":11,"mainColor":43},216707,"hong-lou-meng-fu-tu-ce-17-yi-ming-216707","红楼梦赋图册-17","亭榭临池，绿柳垂荫，棕榈倚石，江南园林的清婉漫溢纸面。池面莲叶田田，粉荷点缀如星，水珠滚在叶上似碎玉流转。亭中女子衣袂轻扬，或凭栏低语，或执扇凝眸，温婉神情藏着闺阁的静美。左侧圆窗内，青衫男子伫立遥望，眉眼间漾着几分幽微情愫，似与亭中光景暗通款曲。画面设色淡雅，线条细腻如丝，将红楼情境里的雅致日常与隐约怅惘悄然铺展，如同一阙浸了墨香的旧词，在笔墨晕染间，把古典诗意与含蓄心事揉成了眼前的生动图景。",[23,25,29,28,120,30,31,772,7,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5146995cdeeb400585041e4c1cc9e43e.jpg",[],{"id":1412,"slug":1413,"title":1414,"dynasty":18,"author":1415,"museum":153,"description":1416,"tags":1417,"thumbUrl":1418,"material":124,"size":124,"collection":71,"collections":1419,"showCount":1383,"zanCount":11,"manualWeight":11,"mainColor":1420},201819,"he-hua-lu-si-tu-zhou-le-ming-201819","荷花鹭鸶图轴","了明","简淡笔墨勾勒荷鹭景致，墨色浓淡交织间，荷花舒展有致，荷叶泼洒自如，兼施淡赭晕染添古雅韵致。鹭鸶身姿灵动，细长喙与流线形骸尽显悠然之态，立于水畔与荷茎相映成趣。背景留白营造空濛清寂意境，疏朗笔触却藏饱满逸趣，于素净纸间漾开写意花鸟的雅致风神。",[25,53,29,104,7,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3b7c3d69c02c29db1c5510f639a82f.jpg",[71],"b19d83",{"id":1422,"slug":1423,"title":1424,"dynasty":79,"author":152,"museum":194,"description":1425,"tags":1426,"thumbUrl":1427,"material":213,"size":214,"collection":124,"collections":1428,"showCount":1429,"zanCount":11,"manualWeight":11,"mainColor":43},289935,"he-tang-shuang-e-tu-yi-ming-289935","荷塘双鹅图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[23,156,25,24,28,29,104,7,473,661,1069],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0bc03df74eb2c161e86d8b4cda793a.jpg",[],24,{"id":1431,"slug":1432,"title":1433,"dynasty":18,"author":152,"museum":194,"description":1434,"tags":1435,"thumbUrl":1439,"material":213,"size":214,"collection":124,"collections":1440,"showCount":1429,"zanCount":231,"manualWeight":11,"mainColor":43},249333,"qia-si-fa-lang-lian-hua-wen-yu-gang-yi-ming-249333","掐丝珐琅莲花纹鱼缸","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[1436,1437,105,1438,33,7],"掐丝珐琅","琺瑯器","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fbf9d5db777b349159164637ec91efc.jpg",[],{"id":1442,"slug":1443,"title":381,"dynasty":18,"author":208,"museum":194,"description":1444,"tags":1445,"thumbUrl":1446,"material":89,"size":124,"collection":124,"collections":1447,"showCount":1429,"zanCount":11,"manualWeight":11,"mainColor":95},237623,"za-hua-ce-zhu-da-237623","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[25,53,54,104,120,278,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2e7d89a315d4450c5939afbbf6e3ae3.jpg",[],{"id":1449,"slug":1450,"title":1451,"dynasty":18,"author":1452,"museum":194,"description":1453,"tags":1454,"thumbUrl":1455,"material":213,"size":214,"collection":124,"collections":1456,"showCount":1429,"zanCount":11,"manualWeight":11,"mainColor":95},235283,"ren-wu-gu-shi-ce-fan-xue-yi-235283","人物故事册","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[25,28,29,771,120,30,31,772,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e13cd394da5f7f67ec4a3eb8cae423.jpg",[],{"id":1458,"slug":1459,"title":1460,"dynasty":48,"author":152,"museum":194,"description":1461,"tags":1462,"thumbUrl":1463,"material":124,"size":124,"collection":124,"collections":1464,"showCount":1429,"zanCount":11,"manualWeight":11,"mainColor":43},228918,"he-tang-shuang-lu-tu-yi-ming-228918","荷塘双鹭图","画面饱满铺陈，粉荷或绽苞或盛放，枯荣荷叶交错层叠，蒲草芙蕖错落其间，尽显盛夏荷塘的蓬勃野趣。两只白鹭娴静错落，一只昂首远眺，一只曲颈理羽，将幽寂安然的意趣藏在留白里。\n古绢底色晕染出沉雅氛围感，设色柔和雅致，禽鸟素白羽翼与粉荷暖色相互映衬，蜻蜓水鸟掠飞其间，为静谧荷塘添灵动生机。工写兼施，花鸟刻画细致入微，草木晕染写意空灵，将江南水泽的清宁诗意凝于绢素，藏着澹泊闲静的池居幽情。",[23,25,24,26,27,29,28,104,7,106,660,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d11c6095b8c54fa3490081eeda3ec70.jpg",[],{"id":1466,"slug":1467,"title":1468,"dynasty":48,"author":49,"museum":153,"description":1469,"tags":1470,"thumbUrl":1471,"material":124,"size":124,"collection":71,"collections":1472,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":1473},201810,"mo-hua-tu-juan-xu-wei-201810","墨花图卷","这幅长卷以水墨为魂，诗书画印浑然一体。笔墨如狂涛倾泻，肆意挥洒间，梅枝虬曲似铁，墨花冷艳含傲骨；兰叶飘逸若带，寥寥数笔尽得清逸；竹影横斜，笔力劲健欲生风；菊瓣泼墨而成，浓淡交织藏秋意；荷叶片片如盖，墨色淋漓见清雅；牡丹雍容却脱媚俗，狂放中显生机。每一处笔触皆随性生发，无拘无束，将花卉神韵与画家孤愤心性相融，墨气蒸腾处，尽显生命的郁勃与孤傲。诗题与朱印错落其间，更添古朴雅韵，是文人写意画的经典之作。",[25,56,53,104,59,66,32,67,7,61,57,58,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce09cb9b2025503b1df0db08b59dd0d4.jpg",[71],"c8bcb0",{"id":1475,"slug":1476,"title":1477,"dynasty":79,"author":152,"museum":273,"description":1478,"tags":1479,"thumbUrl":1481,"material":37,"size":1482,"collection":109,"collections":1483,"showCount":1484,"zanCount":11,"manualWeight":11,"mainColor":43},290373,"qiu-he-ye-fu-tu-zhou-yi-ming-290373","秋荷野凫图轴","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[25,674,27,28,29,7,750,1480,450],"野凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74672854a98fdeedde87db4a9976ebd.jpg","79.4x46.4",[109],22,{"id":1486,"slug":1487,"title":1488,"dynasty":18,"author":221,"museum":101,"description":992,"tags":1489,"thumbUrl":1490,"material":228,"size":996,"collection":71,"collections":1491,"showCount":1484,"zanCount":231,"manualWeight":11,"mainColor":95},214558,"mo-zui-za-hua-tu-ce-9-shi-tao-214558","墨醉杂画图册-9",[23,25,26,120,53,7,57,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cdf81f64770e9e9b552ef55ba85f192.jpg",[71],{"id":1493,"slug":1494,"title":1368,"dynasty":48,"author":538,"museum":153,"description":1495,"tags":1496,"thumbUrl":1497,"material":124,"size":124,"collection":71,"collections":1498,"showCount":1484,"zanCount":11,"manualWeight":11,"mainColor":1499},203142,"hua-hui-tu-ce-chen-chun-203142","水墨淋漓间，花卉姿态宛然如生。大块墨色晕染叶片，浓淡交错显层次感；劲挺线条勾勒枝茎，虚实相生藏野趣。留白处见空灵，简笔中传神韵，尽显文人写意的洒脱与笔墨功底，将自然生机凝于尺幅之间。",[25,26,120,53,104,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4155eb1fd6a019f544ae32cff3094f0f.jpg",[71],"c7beb8",{"id":1501,"slug":1502,"title":1503,"dynasty":18,"author":1504,"museum":101,"description":1505,"tags":1506,"thumbUrl":1507,"material":818,"size":1508,"collection":124,"collections":1509,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":43},231486,"si-ji-hua-hui-tu-jiang-pu-231486","四季花卉图","蒋溥","蒋溥，江苏常熟人。廷锡子。雍正八年传胪，乾隆十八年仕至大学士。花草得其家传，随意布置，多生趣。每绘画进呈，蒙睿题有“师承家法闲图出，右相丹青有后生”之句。谥文恪。",[23,25,24,27,28,29,104,59,7,61,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3cae0f4cf71bdb4cba7de4487776320.jpg","98.5×60.5cm",[],{"id":1511,"slug":1512,"title":1513,"dynasty":48,"author":1064,"museum":1065,"description":1514,"tags":1515,"thumbUrl":1517,"material":1518,"size":1519,"collection":124,"collections":1520,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor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5cm",[],{"id":1522,"slug":1523,"title":1524,"dynasty":48,"author":166,"museum":20,"description":1525,"tags":1526,"thumbUrl":1527,"material":120,"size":124,"collection":124,"collections":1528,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":95},221909,"hua-niao-jing-pin-ce-6-chen-hong-shou-221909","花鸟精品册6","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[25,26,120,28,29,104,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc66146c1045f625aec5f5945b35a13a8.jpg",[],{"id":1530,"slug":1531,"title":1532,"dynasty":79,"author":152,"museum":273,"description":1533,"tags":1534,"thumbUrl":1537,"material":213,"size":1538,"collection":109,"collections":1539,"showCount":1540,"zanCount":11,"manualWeight":11,"mainColor":43},287646,"gong-zhao-na-liang-tu-yi-ming-287646","宫沼纳凉图","此作晕染着深宫夏景的松弛意趣，仕女斜坐朱漆榻上，执扇闲憩，眉目温婉静和。随侍侍女撑着素面团扇，一旁案头冰盆镇暑，悄藏消夏的精巧心思。背景垂柳轻遮，池间粉白芙蕖亭亭绽露，朱红栏干衬着古雅褐底，把纳凉的幽谧日常铺陈开来。笔触工细柔丽，设色沉静雅致，将慢度暑时的安然闲淡藏进每处细节，尽显写实雅致的隽永韵味。",[24,25,26,27,29,30,31,7,28,1535,1536],"宫苑","纳凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d902d357ef15261ebcdcd371757b5.jpg","82.4x44.3",[109],20,{"id":1542,"slug":1543,"title":1544,"dynasty":79,"author":152,"museum":194,"description":1545,"tags":1546,"thumbUrl":1547,"material":124,"size":124,"collection":124,"collections":1548,"showCount":1540,"zanCount":11,"manualWeight":11,"mainColor":43},227879,"liu-yuan-xiao-shu-tu-ye-yi-ming-227879","柳院消暑图页","此作以雅致设色铺就消暑闲景。水岸庭院柳丝垂曳，将溽暑揉作柔婉绿意，半掩着临水楼阁。凭栏高士宽袍松带，懒倚轩窗，似在静听蝉鸣、细观涟漪，将暑热倦怠化为幽居闲情。\n屋下侍童躬身奉物，院角仆从悄然添茶，细碎日常衬出庭院松弛意趣。远景浅黛山峦晕染淡远，水色空濛晕着暑日微光，近院花卉娇柔点染，明暗虚实间，将江南夏日常住的清宁消暑意趣尽数铺展，淡而不寡，雅而不奢，尽显宋人的幽居美学，把溽暑里的闲静安然，尽数藏进这绢素方寸之中。",[23,24,25,26,156,29,28,771,30,772,1033,7,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd078e473f04ccec6ad7f49b6b5cb6b48.jpg",[],{"id":1550,"slug":1551,"title":1552,"dynasty":79,"author":152,"museum":50,"description":1553,"tags":1554,"thumbUrl":1555,"material":294,"size":1556,"collection":124,"collections":1557,"showCount":1558,"zanCount":11,"manualWeight":11,"mainColor":95},223495,"chun-xi-shui-zu-tu-ye-yi-ming-223495","春溪水族图页","此图是现存宋画中游鱼类题材画的一幅佳作。春暖花开，群鱼戏藻。鲢鱼摆尾漫游，鲶鱼回身在后，鳜鱼则迎头向上，隐喻了“连年有贵”的吉祥含义。画家通过鱼儿欢快游动时自由弯转的体态和藻类植物在游鱼冲击下漂浮不定的形状，巧妙地暗示出流水的动势以及春水的清洌透明感。3尾大鱼均施以工笔重彩，用笔沉稳工致，片片鱼鳞描绘得一丝不苟；而衬景的小鱼、小虾和水藻则纯用没骨法渍染，将鱼虾的灵动和水藻的轻盈表现得恰到好处。\n对幅有清乾隆御题七言诗一首：“庄惠曾论知弗知，传为奇语却无奇。试如驳曰我非子，便是答云彼岂斯。春水初生具春意，文鳞群泳爱文漪。漫訾意浅色鲜耳，颇类濠梁博辩时。戊申仲秋御题。”“戊申”为乾隆五十三年（1788年）。钤“古稀天子之宝”、“犹日孜孜”印。",[23,25,24,26,120,28,29,87,198,7,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859ddf48b1c91ddef47588963053a15e.jpg","纵24.3cm，横25.5cm",[],19,{"id":1560,"slug":1561,"title":1562,"dynasty":79,"author":152,"museum":273,"description":1563,"tags":1564,"thumbUrl":1566,"material":1567,"size":124,"collection":124,"collections":1568,"showCount":1558,"zanCount":11,"manualWeight":11,"mainColor":43},223485,"wu-kuan-he-yan-yi-ming-223485","无款荷雁","深秋，荷塘，枯败的荷叶和芦苇，可能是南飞的大雁，落在荷塘旁休憩，四只雁仰头等待着同伴落下来，六只雁动静结合，形态各异，画面清淡灵动，极具舒适感。",[25,28,29,7,1565,211,661,104],"雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414dcef4b802a97e23d08ce398337d45.jpg","絹本、設色",[],{"id":1570,"slug":1571,"title":1572,"dynasty":18,"author":1573,"museum":194,"description":1574,"tags":1575,"thumbUrl":1576,"material":124,"size":124,"collection":124,"collections":1577,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":43},230853,"hua-hui-tu-zhang-yu-230853","花卉图","张敔","此作截取荷塘一隅取景，虚实相生间尽显写意妙趣。浓墨挥写半幅枯老荷叶，焦墨劲挺勾勒叶脉，苍浑厚重带着岁月沉凝的质感；淡墨晕染新叶与待放菡萏，清润柔和，与浓墨形成鲜明对比，暗合新旧交替的生机。荷梗以枯涩带点的笔线写出，朴拙老辣，带着疏野萧散的意趣。朱红闲章轻点画面，以一抹亮色调和水墨的清冷，平衡视觉重心。整幅以简驭繁，不用浓丽设色，仅以水墨干湿浓淡的层次变化，将秋日荷塘残而未颓的清寂诗意晕染开来，于随性挥洒间尽显文人写意的疏淡格调。",[25,26,24,53,104,7,106,197,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252ffd258c16f4357c28c9363dd76d8.jpg",[],{"id":1579,"slug":1580,"title":1424,"dynasty":48,"author":152,"museum":194,"description":1581,"tags":1582,"thumbUrl":1583,"material":124,"size":124,"collection":124,"collections":1584,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":43},228812,"he-tang-shuang-e-tu-yi-ming-228812","此作以淡墨轻色绘秋水一隅，枯荷欹斜舒展，芦叶随风摇曳，将深秋荷塘的清寂晕染开来。两只雏鹅姿态生动，一只引颈抬首似在窥望残荷，绒毛蓬松的质感以细笔丝出，朴拙灵动。水岸以浅赭晕染，衬出水天朦胧的空寂氛围。\n\n整体设色淡雅柔和，工写兼具，既以精微笔触刻画禽鸟花叶的形神，又以简淡晕染烘托萧疏冷隽的秋日意趣，将秋日荷塘的幽寂与生机相融，淡而有味，韵致悠长。",[23,25,156,29,28,104,7,473,661,675],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb949ddd4193d20cfb32610246faade24.jpg",[],{"id":1586,"slug":1587,"title":1588,"dynasty":18,"author":390,"museum":605,"description":1589,"tags":1590,"thumbUrl":1591,"material":124,"size":124,"collection":143,"collections":1592,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":95},236729,"shan-shui-ce-hua-yan-236729","山水册","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[25,26,120,29,53,137,515,7,35,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796e93be747b35bfd33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。\n康熙五十年（1711）尝作《草虫图轴》。“没骨”，是中国传统绘画中的一种技法，它不用墨线勾勒，直接以彩色涂画物象。\n金陵天渡楼藏有其康熙己亥（1719）作《花卉草虫册》十二开。",[23,25,53,449,674,27,7,828,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda87507bf5208022f8d038afe868d9f7.jpg",[],{"id":1613,"slug":1614,"title":1615,"dynasty":18,"author":1607,"museum":194,"description":1616,"tags":1617,"thumbUrl":1618,"material":213,"size":214,"collection":124,"collections":1619,"showCount":1620,"zanCount":11,"manualWeight":11,"mainColor":95},290001,"he-li-tu-li-zhou-li-xiao-290001","鹤立图立轴","李孝，字敦庸，号桐园，活动于康熙年间，系安徽无为人，父李亨（李仲仁）。善山水、花鸟、草虫，以“没骨画”著称，师法明代孙隆。",[25,26,27,53,104,7,661,261,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86823fba7dc574733c21eae050176d10.jpg",[],16,{"id":1622,"slug":1623,"title":1624,"dynasty":18,"author":152,"museum":194,"description":1625,"tags":1626,"thumbUrl":1628,"material":124,"size":124,"collection":124,"collections":1629,"showCount":1620,"zanCount":203,"manualWeight":11,"mainColor":95},238187,"wang-cheng-pei-ji-hui-ming-he-juan-yi-ming-238187","汪承霈集卉鸣和卷","此卷开篇绘幽竹亭亭，鸣虫静栖竹间，溪畔蓝花簇生，野趣盎然。清溪蜿蜒穿流过浅渚，渐入群芳盛放之景：粉菊、蓝花、红卉与素白琼英交织错落，枝叶柔曼舒展。蜻蜓振翅掠水，蛱蝶穿花翩跹，蜂虫流连芳丛，诸般小生灵衬得满卷生机浮动。全作用笔纤柔细腻，工笔淡彩晕染雅致明秀，将郊野春景的清灵意趣缓缓铺展，把花间小景的娴静生机描摹尽致，宛如将融融春日的一隅闲趣，凝于素绢之上。",[23,25,26,56,28,29,104,32,699,529,372,1627,139,317,122,199,7,61,62,483],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946dcdc9d843fe6490645d4ecbbb0d23.jpg",[],{"id":1631,"slug":1632,"title":1633,"dynasty":18,"author":431,"museum":153,"description":1634,"tags":1635,"thumbUrl":1637,"material":89,"size":124,"collection":124,"collections":1638,"showCount":1620,"zanCount":11,"manualWeight":11,"mainColor":95},233185,"hua-hui-ce-jin-si-tao-ye-zhao-zhi-qian-233185","花卉册-金丝桃页","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[25,26,104,120,29,28,65,1636,7,529],"金丝桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167f99e8ad1f1ec22c3cff05765160c8.jpg",[],{"id":1640,"slug":1641,"title":1642,"dynasty":18,"author":1284,"museum":153,"description":1643,"tags":1644,"thumbUrl":1645,"material":124,"size":124,"collection":39,"collections":1646,"showCount":1620,"zanCount":11,"manualWeight":11,"mainColor":1647},201759,"luo-shen-xiang-zhou-ren-xiong-201759","洛神像轴","画面中洛神衣袂翩跹，身姿婉约灵动，衣纹线条劲挺流畅，兼具工笔的细腻与写意的传神。裙裾间花卉点缀，与身下的花叶相映成趣，设色雅致温润，既显古典韵味，又透出灵动生气。画家以精湛笔法勾勒出洛神的温婉神韵，衣饰的繁复细节与背景的清雅花草形成对比，将神话人物的仙气与人间的柔美融为一体，尽显传统人物画的独特魅力。",[25,28,30,31,29,27,7,61,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0533598dc97bfa194c9c193298ada039.jpg",[39],"b69564",{"id":1649,"slug":1650,"title":1651,"dynasty":79,"author":152,"museum":194,"description":1652,"tags":1653,"thumbUrl":1654,"material":213,"size":214,"collection":124,"collections":1655,"showCount":1656,"zanCount":11,"manualWeight":11,"mainColor":95},290777,"huai-shu-wo-lu-yi-ming-290777","槐树卧鹿","此作以绣线为笔，晕染出盛夏池畔清趣。青蟹踞于波心，甲胄纹路丝丝毕现，螯足张合间野趣盎然。菡萏或绽或含，柔瓣舒展如凝露，水草与红蓼随波轻曳，将幽潭一隅的生机缓缓铺陈。\n\n绣法灵动多变，以针代墨追摹物象肌理，蟹甲的糙粝、莲瓣的润柔被细细勾勒，设色古雅清淡，带着宋人独有的沉静雅致，将自然小景的鲜活诗意定格于丝帛之上，尽显宋代丝绣工艺的绝妙造诣，藏着旧时匠人对天地生机的细腻体察。",[120,104,7,1132,28,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706c70e022114843efaebc16fa835b55.jpg",[],15,{"id":1658,"slug":1659,"title":1660,"dynasty":18,"author":1661,"museum":194,"description":1359,"tags":1662,"thumbUrl":1663,"material":124,"size":124,"collection":124,"collections":1664,"showCount":1656,"zanCount":11,"manualWeight":11,"mainColor":95},234663,"liu-he-guan-yan-shan-mian-xie-dan-234663","柳荷观雁扇面","谢丹",[25,26,156,29,53,1033,7,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b4adaea0cdaeb6bf2b8ad4ce1f96cc.jpg",[],{"id":1666,"slug":1667,"title":1668,"dynasty":48,"author":1669,"museum":194,"description":1670,"tags":1671,"thumbUrl":1672,"material":124,"size":124,"collection":124,"collections":1673,"showCount":1656,"zanCount":11,"manualWeight":11,"mainColor":95},234214,"zhang-yan-mo-hua-juan-zhang-yan-234214","张彦墨花卷","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n万历四十一年（1631年）作《山水图》，著录于《退庵题跋》\n崇祯二年（1629年）作《寒林钟馗图》，著录于《爱日吟庐书画录》\n传世作品有《山径携琴图》轴，现藏南京博物院\n崇祯十年作《松溪放舟图》轴图录于《中国名画宝鉴》\n崇祯十二年（1639）作《设色山水图》卷著录于《中国书画家印鉴款识》；同年作《雪景梅花图》轴，纸本，设色，现藏苏州市博物馆",[23,25,26,56,53,949,104,59,66,32,67,7,61,62,483,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41ab333b99a0d13328d654b652e75f6.jpg",[],{"id":1675,"slug":1676,"title":1677,"dynasty":79,"author":152,"museum":194,"description":1678,"tags":1679,"thumbUrl":1680,"material":124,"size":124,"collection":124,"collections":1681,"showCount":1682,"zanCount":11,"manualWeight":11,"mainColor":43},223634,"lian-zhou-xian-du-tu-yi-ming-223634","莲舟仙渡图","烟波浩渺间，仙人卧于莲舟，悠然展卷观览，似将云水清光尽数揽入卷中。右下角巉岩隐现，灵蛇蜿蜒而出，衬得水面愈发幽寂空灵。\n\n整幅以淡墨轻敷，留白晕染出氤氲水雾，将虚无仙境融于简淡笔意，摒弃浓艳设色，全凭清润色调烘托世外幽居的静穆氛围。仙人姿态萧散自在，不见凡尘烟火气，莲舟如扁槎一叶，载着出尘之思浮游烟涛，把道家归返自然、寄迹云山的隐逸意趣藏在水色晕染里，淡而弥远，清而有味，尽显小品画的雅致空灵。",[23,24,25,26,29,28,136,30,978,137,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885e41a3f8ad783f659bb4ddce0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几只野灵飘散散落，河岸上的两只野鸭在秋荷塘畔，悠闲地享受着秋日的阳光。",[25,26,156,28,29,104,720,7,729,1913,87],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2ab1fd7d2ce25074ac44af4540be96.jpg",[],11,{"id":1918,"slug":1919,"title":1588,"dynasty":18,"author":1920,"museum":194,"description":1921,"tags":1922,"thumbUrl":1923,"material":124,"size":124,"collection":124,"collections":1924,"showCount":1916,"zanCount":11,"manualWeight":11,"mainColor":95},224597,"shan-shui-ce-yuan-ying-224597","袁瑛","此作铺陈出一卷悠然水乡山居图。远景山峦以淡墨晕染，轻烟笼岫，漾着空濛悠远的澹宕诗意。中景青绿重峦上，丹枫翠柏蓊郁成荫，山居院落沿溪错落排布，黛瓦飞檐掩映在枝叶间，将雅致烟火揉进山野清趣里。\n浅滩碎石漱着清流，近水扁舟随波徐行，渔翁垂竿独钓，把闲逸静穆揉进涟漪里。设色妍雅柔和，皴笔细腻勾勒山石肌理，淡墨晕染出烟岚轻笼的朦胧质感，将江南水乡温润灵秀的意趣尽数铺展，把幽居闲隐的雅韵凝在尺幅之中，观之如踏入这静美悠然的世外山居。",[23,25,29,136,120,137,1307,139,978,772,516,317,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde5044ef41523288de68520c6e9bca9.jpg",[],{"id":1926,"slug":1927,"title":1815,"dynasty":18,"author":208,"museum":153,"description":1928,"tags":1929,"thumbUrl":1930,"material":124,"size":124,"collection":124,"collections":1931,"showCount":1916,"zanCount":11,"manualWeight":11,"mainColor":1932},202495,"he-ya-tu-zhou-zhu-da-202495","水墨晕染间，阔荷泼墨而成，浓淡交织显生机；荷梗瘦劲挺拔，线条凝练。两只水鸭踞于孤石，一俯一啄，姿态朴拙，鸭眼以冷逸之态绘就，藏倔强孤傲。孤石枯笔皴擦，质感厚重。画面构图疏宕，笔意纵逸，极简物象蕴藉深沉情愫，清冷孤寂却暗涌生命张力，尽显简笔写意之妙。",[53,104,35,7,136,1874,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d2c21f4f417e6d8f94c77bc20d00a3.jpg",[],"928b78",{"id":1934,"slug":1935,"title":1936,"dynasty":48,"author":538,"museum":153,"description":1937,"tags":1938,"thumbUrl":1939,"material":124,"size":124,"collection":71,"collections":1940,"showCount":1916,"zanCount":11,"manualWeight":11,"mainColor":1941},201795,"hua-hui-tu-juan-chen-chun-201795","花卉图卷","这幅花卉图卷以水墨写意入笔，笔墨纵横恣肆，气韵生动。枝蔓花卉以浓淡干湿的墨色变化铺陈，线条洒脱不拘，如梅枝苍劲、兰叶飘逸、荷叶舒展，皆在寥寥数笔间尽显神韵。画面不重形似而尚意趣，一花一叶透着文人清雅风骨，墨色淋漓处见生机，留白间藏余韵，将自然草木情态与画家逸兴融为一体，尽显写意花鸟的灵动疏放之美。",[25,56,53,104,59,66,32,67,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7eb71a5de54d509ffccb7ce7bcbfe4.jpg",[71],"000000",{"id":1943,"slug":1944,"title":1945,"dynasty":18,"author":152,"museum":194,"description":1946,"tags":1947,"thumbUrl":1954,"material":213,"size":214,"collection":124,"collections":1955,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":43},275871,"bai-yu-bo-re-bo-luo-duo-xin-jing-ce-yi-ming-275871","白玉般若波罗多心经册","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[33,1948,1240,1949,1950,1951,7,186,1952,120,57,1953],"漆器","雕刻","描金","龙","写经","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06ec559b4a541a8cd827e4616fb103a2.jpg",[],{"id":1957,"slug":1958,"title":1844,"dynasty":48,"author":1959,"museum":194,"description":1960,"tags":1961,"thumbUrl":1962,"material":213,"size":214,"collection":124,"collections":1963,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":95},237678,"hua-hui-ce-sun-ke-hong-237678","孙克弘","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[25,26,120,53,104,7,58,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d385c8faf6efe6aff712ff7b5f1828c.jpg",[],{"id":1965,"slug":1966,"title":1967,"dynasty":458,"author":1968,"museum":194,"description":1969,"tags":1970,"thumbUrl":1977,"material":818,"size":214,"collection":124,"collections":1978,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":43},230562,"shi-liu-luo-han-xiang-02-jia-nuo-jia-fa-cuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230562","十六罗汉像02迦诺迦伐磋尊者","平安时代 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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,25,26,27,53,104,7,105,2128,58,57,87],"芙蕖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4e789b4b7d47761760dcd23838e8c.jpg",[],7,{"id":2133,"slug":2134,"title":2135,"dynasty":79,"author":152,"museum":194,"description":2136,"tags":2137,"thumbUrl":2141,"material":213,"size":214,"collection":124,"collections":2142,"showCount":2131,"zanCount":11,"manualWeight":11,"mainColor":43},290778,"xi-yin-yu-mu-yi-ming-290778","溪阴浴牧","早秋的江南，依然残留著盛夏最後一丝的酷热。河岸上，近树犹见绿叶繁茂，远处则已是红叶片片。",[25,120,28,29,104,2138,211,2139,2140,7],"大雁","芦草","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea88c8659ed64dbcd22c40c265a57f19.jpg",[],{"id":2144,"slug":2145,"title":2146,"dynasty":79,"author":152,"museum":194,"description":2147,"tags":2148,"thumbUrl":2150,"material":213,"size":214,"collection":124,"collections":2151,"showCount":2131,"zanCount":11,"manualWeight":11,"mainColor":43},289227,"he-tang-yu-fu-tu-yi-ming-289227","荷塘浴凫图","此作以简淡笔墨铺就幽寂水泽之境，大片绢色晕作烟霭漾漾的湖面，似有无尽秋水漫延开去。近岸以浅青绿点染汀石，暗含水畔苍苔幽意，远渚仅以淡墨轻扫，隐在朦胧水雾间，虚虚实实晕出水天辽远。\n\n水面凫鸟两两相逐，翅羽轻掠波心，灵动姿态将寂寥秋水点活，野逸闲趣扑面而来。全作用笔含蓄克制，以虚写实，把江南水泽的清寂空阔尽数铺陈，带着独有的雅致禅意，观之如临其境，仿佛能听闻水禽振羽、水波轻响，将闲淡幽远的诗意藏在浅淡笔墨之中。",[23,25,24,28,29,104,7,2149,994,317],"野鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e832b15a5de9c66a6dced0233e6ec0f.jpg",[],{"id":2153,"slug":2154,"title":2155,"dynasty":18,"author":152,"museum":194,"description":2156,"tags":2157,"thumbUrl":2161,"material":213,"size":214,"collection":124,"collections":2162,"showCount":2131,"zanCount":11,"manualWeight":11,"mainColor":43},261450,"su-san-cai-he-hua-shi-bei-yi-ming-261450","素三彩荷花式杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[2158,2159,1438,33,7,105,2160],"陶瓷","饮酒器","素三彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5df4d3919bfe6f5dd78e774a189b114.jpg",[],{"id":2164,"slug":2165,"title":2166,"dynasty":18,"author":2167,"museum":194,"description":2168,"tags":2169,"thumbUrl":2171,"material":213,"size":214,"collection":124,"collections":2172,"showCount":2131,"zanCount":11,"manualWeight":11,"mainColor":43},240166,"shu-zha-2-tong-lin-ze-xu-240166","书札2通","林则徐","林则徐（1785年8月30日－1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[58,57,2170,949,7,26],"书札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a320a45ec097623aeb1eef4458c530.jpg",[],{"id":2174,"slug":2175,"title":2176,"dynasty":48,"author":2177,"museum":50,"description":2178,"tags":2179,"thumbUrl":2180,"material":250,"size":124,"collection":124,"collections":2181,"showCount":2131,"zanCount":11,"manualWeight":11,"mainColor":95},234147,"xie-sheng-shu-hua-juan-wang-gu-xiang-234147","写生书画卷","王谷祥","王榖祥 （1501-1568），字禄之，号酉室，长洲（今江苏苏州）人。嘉靖八年（一五二九）进士，官吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不坠羲之献之之风，篆籀八体及摹印，并臻妙品。卒年六十八。",[23,25,26,56,53,276,58,87,59,7,61,63,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea5c2be707b2e0f8af30540e90fe00f.jpg",[],{"id":2183,"slug":2184,"title":2185,"dynasty":79,"author":152,"museum":194,"description":2186,"tags":2187,"thumbUrl":2189,"material":124,"size":124,"collection":124,"collections":2190,"showCount":2131,"zanCount":11,"manualWeight":11,"mainColor":43},227874,"liu-tang-xun-ju-tu-yi-ming-227874","柳塘寻句图","画面以淡墨晕开江南水滨的烟霭，近处柳林浓荫偃伏，柔条垂覆浅汀，水面浮着点点菱荇，漾着清寂的闲意。远山以轻毫扫出轮廓，融在空蒙水雾之中，恍若化入淡远烟岚。汀渚一隅隐着渔舟，似有幽人独伫，将寻句的幽谧心境沉在湖光柳色里。\n\n全幅以留白造境，笔墨简淡却意蕴悠长，将林泉雅意收在尺幅之间，尽显小品以小见大的雅致，把文人耽于山水、寄情烟霞的襟怀藏在水墨晕染中，淡而愈真，简而弥远。",[23,25,26,24,29,53,28,137,2188,675,7,795],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744cd083c4a70642706010bdf7ba17b3.jpg",[],{"id":2192,"slug":2193,"title":2194,"dynasty":48,"author":2195,"museum":273,"description":2196,"tags":2197,"thumbUrl":2200,"material":89,"size":2201,"collection":124,"collections":2202,"showCount":2131,"zanCount":11,"manualWeight":11,"mainColor":95},221943,"ci-han-ce-wang-xi-jue-221943","词翰册","王锡爵","王锡爵(1534-1611)，字元驭，号荆石，南直隶苏州府太仓州(今江苏太仓)人。嘉靖四十一年会试名列第一（会元），廷试名列第二（榜眼）。万历二十一年（1593年）为内阁首辅。谥号文肃，著有《王文肃公全集》55卷。在任期间发生日本侵朝事件，力主出兵。子王衡万历二十九年（1601年）进士及第第二名，被时人誉为“父子榜眼”。孙王时敏、玄孙王原祁皆为清初画坛宗师，太仓王氏家族为明清两代著名的簪缨世家。\n王锡爵笔法秀颖，依稀有翡翠兰苕状，著名的书法家董其昌称他深于书。书尤深于唐碑。晚年犹悬碑刻满四壁，特不欲以书名耳。小楷清整秀劲，大可径寸者尤骨重脉和。",[25,26,120,58,53,1033,2198,169,7,226,729,2199],"池","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b219e55a1dfdd43dcd80315f7a707a0.jpg","本幅26.1x14.4公分",[],{"id":2204,"slug":2205,"title":2206,"dynasty":18,"author":2207,"museum":153,"description":2208,"tags":2209,"thumbUrl":2210,"material":124,"size":124,"collection":39,"collections":2211,"showCount":2131,"zanCount":11,"manualWeight":11,"mainColor":2212},202097,"ma-gu-tu-zhou-fang-yue-juan-202097","麻姑图轴","方月娟","画面中麻姑衣袂翩跹，手持仙杖立于浪涛之上，周身花卉环绕，宝瓶静置一旁。工笔线条细腻灵动，勾勒出衣纹的飘逸与海浪的起伏；设色雅致温润，青绿飘带与暖调衣衫相映成趣，尽显仙娥的温婉神韵。整体构图疏朗有致，将神话人物的飘逸与工笔技法的精致完美融合，传递出清逸出尘的艺术氛围。",[28,29,30,31,33,61,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778f693120dbfcb4f7dfadc4f7214e0e.jpg",[39],"ac7f45",{"id":2214,"slug":2215,"title":2216,"dynasty":18,"author":152,"museum":153,"description":2217,"tags":2218,"thumbUrl":2219,"material":124,"size":124,"collection":39,"collections":2220,"showCount":2131,"zanCount":11,"manualWeight":11,"mainColor":2221},201853,"fo-xiang-tu-zhou-yi-ming-201853","佛像图轴","画面中佛像结跏趺坐于莲台之上，神态宁静安详，双目微阖流露慈悲之态。衣饰纹样繁复细腻，设色沉稳中见艳丽，绿、红、金等色彩交织，既显庄重又富层次。莲台硕大洁白，花瓣饱满舒展，下方莲茎挺立，旁生各色荷花与荷叶，笔墨工致生机盎然。整体风格古朴典雅，宗教氛围浓厚，线条流畅细腻，设色协调，尽显传统工笔人物画的精湛技艺与对宗教意境的深刻诠释。",[25,27,186,29,30,7,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e2f5a51c8e49a13d462e62d05f6d9.jpg",[39],"8c7149",{"id":2223,"slug":2224,"title":2225,"dynasty":48,"author":538,"museum":153,"description":2226,"tags":2227,"thumbUrl":2230,"material":124,"size":124,"collection":71,"collections":2231,"showCount":2131,"zanCount":231,"manualWeight":11,"mainColor":2232},201601,"shang-zun-bai-lian-tu-zhou-chen-chun-201601","商尊白莲图轴","古尊插莲，墨韵生香。商尊古朴厚重，纹饰简括见金石气；白莲挺秀，花瓣以淡墨勾染，轻盈若舞；荷叶泼墨晕洒，浓淡交错间显苍劲之姿。水墨写意的笔触纵逸洒脱，荷梗挺劲，与柔婉的花叶形成刚柔相济之美。整幅画清雅脱俗，笔墨间流露文人闲逸之致，既得自然生机，又含古雅意趣，是写意花鸟的经典之作。",[53,104,54,7,33,2228,2229,23],"笔墨","生趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa425f6d26d4964e0551d72c905098f.jpg",[71],"ddd7ce",{"id":2234,"slug":2235,"title":2236,"dynasty":48,"author":2237,"museum":194,"description":2238,"tags":2239,"thumbUrl":2240,"material":213,"size":214,"collection":124,"collections":2241,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":95},287858,"xuan-mu-zhi-xing-tie-wang-chong-287858","玄墓之行帖","王宠","王宠（1494-1533），明代书法家，字履仁、履吉，号雅宜山人，吴县（江苏苏州）人。\n邑诸生，贡入太学。博学多才，工篆刻，善山水、花鸟。诗文声誉很高，尤以书名噪一时，书善小楷，行草尤为精妙。\n著有《雅宜山人集》，传世书迹有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。",[57,403,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9c30d3783697a142a1d732a7da342f.jpg",[],{"id":2243,"slug":2244,"title":2245,"dynasty":18,"author":152,"museum":194,"description":2156,"tags":2246,"thumbUrl":2248,"material":213,"size":214,"collection":124,"collections":2249,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":95},262094,"fen-cai-he-hua-wen-bei-yi-ming-262094","粉彩荷花纹杯",[2158,1438,7,2247,29,28],"粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4e06dca1dd97dea30893217e1279112.jpg",[],{"id":2251,"slug":2252,"title":445,"dynasty":18,"author":2253,"museum":194,"description":2254,"tags":2255,"thumbUrl":2256,"material":89,"size":124,"collection":124,"collections":2257,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":43},237350,"hua-niao-ce-wang-gang-237350","王冈","王冈，清代粜臫人頭，字南樤石，号旅云山人，上海人，工花卉、人物，并善写真，后出己意，写生入妙，亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。\n（一六七七至一七七o）一作（一六九七至一七七o）字南石，号旅云山人，上海人。黄本复弟子。工花卉、人物，并善写真，后出己意，写生入妙。水族草虫，尤觉生动。亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。其得意处，近似倪瓒。卒年九十四，一作七十四。",[25,26,120,53,29,104,198,7,1211],"https:\u002F\u002Foss.c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边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[25,26,120,53,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5b0802811461676ad84f712d0a718b.jpg",[],{"id":2371,"slug":2372,"title":2373,"dynasty":48,"author":2374,"museum":194,"description":2375,"tags":2376,"thumbUrl":2377,"material":89,"size":124,"collection":124,"collections":2378,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":95},237271,"zhi-hua-ce-chen-dao-237271","指画册","陈道","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[25,26,120,2107,53,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c1d24f8f9086b9e116e16fe988155c.jpg",[],{"id":2380,"slug":2381,"title":2382,"dynasty":18,"author":2383,"museum":50,"description":2384,"tags":2385,"thumbUrl":2386,"material":2387,"size":2388,"collection":124,"collections":2389,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":95},234473,"he-ting-fan-ting-shan-wu-da-cheng-234473","荷汀泛艇扇","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n题跋：旧藏宋人集册，有此一帧，不署画款，爱其疏散有致，约略拟此。黼卿大兄大人雅鉴。吴大澂。\u2028 画中的文人坐于船上泛舟荷汀欣赏夏季美景，船上放着一函书，渔夫轻快地划着船，好一个闲适的生活！",[25,26,156,29,53,137,7,978,30,138,661,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e31b3a65d44a24549835378870184a1.jpg","纸本设色","19.5cmx53.7cm",[],{"id":2391,"slug":2392,"title":2393,"dynasty":18,"author":2394,"museum":194,"description":2395,"tags":2396,"thumbUrl":2397,"material":124,"size":124,"collection":124,"collections":2398,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":95},234370,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234370","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[25,26,120,183,949,53,104,7,197,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfcfcd0efb63eeb8e0c3ab93999fc652.jpg",[],{"id":2400,"slug":2401,"title":2402,"dynasty":18,"author":208,"museum":194,"description":209,"tags":2403,"thumbUrl":2404,"material":213,"size":214,"collection":124,"collections":2405,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":95},230282,"hua-niao-shan-shui-ce-ba-kai-zhu-da-230282","花鸟山水册八开",[25,26,120,53,104,137,35,211,198,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73043b7ba44730441ec6f9634ec31f70.jpg",[],{"id":2407,"slug":2408,"title":2409,"dynasty":18,"author":2319,"museum":153,"description":2410,"tags":2411,"thumbUrl":2412,"material":124,"size":124,"collection":71,"collections":2413,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":2414},203052,"she-se-hua-guo-ce-zhou-xian-203052","设色花果册","墨叶泼洒如晕，浓淡交织间层叠有致，白荷瓣似凝脂，简笔勾勒中见舒展之态，朱红蕊心点缀其间，顿生鲜妍生气。嫩茎携新叶斜出，线条灵动，与花叶相映成趣。笔墨写意洒脱，设色清雅不俗，构图疏密得宜，虚实相生，于方寸册页间尽显花果清逸之姿，流露文人画的雅致意趣。",[25,26,120,29,104,7,105,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb92091d3ff06df86a123c130e294ac7.jpg",[71],"ada593",{"id":2416,"slug":2417,"title":2418,"dynasty":1696,"author":2419,"museum":153,"description":2420,"tags":2421,"thumbUrl":2422,"material":124,"size":124,"collection":124,"collections":2423,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":2424},203006,"qiu-tang-xiao-jing-tu-zhou-pu-ru-203006","秋塘小景图轴","溥儒","淡墨轻染秋塘，残荷一枝斜出，粉瓣含露，墨叶泼洒见苍劲；蓝蜓翩跹，翅影轻摇，似逐荷香而来；池底小鱼悠游，浮萍点点，更添生趣。画面留白疏朗，笔墨简逸，尽显文人画的清雅空灵。题字与画境相融，传递出秋晚的静谧悠然，宛如一首无声的秋词。",[25,27,7,105,198,372,53,29,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd20c8ef4fbc1cf6da338f573f0e8c09.jpg",[],"dfcaa2",{"id":2426,"slug":2427,"title":419,"dynasty":18,"author":431,"museum":153,"description":2428,"tags":2429,"thumbUrl":2432,"material":124,"size":124,"collection":124,"collections":2433,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":2434},202470,"he-hua-tu-zhou-zhao-zhi-qian-202470","笔意纵横，以篆隶之劲健入画，花梗挺然如铁线盘屈，墨韵浓淡交错间，荷叶翻卷之态毕现。花瓣勾勒简括却神形兼备，淡彩晕染出清润质感，几点朱红花蕊更显灵动。构图疏宕而气脉连贯，既得荷花清雅出尘之姿，又融金石篆刻的刚健洒脱，是书画印三绝合一的妙品，尽显赵氏独特的艺术风貌。",[25,27,29,104,7,105,2430,2431],"篆隶笔法","金石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d08fd3841ab59a8eae690be2795af0b.jpg",[],"b2a38c",{"id":2436,"slug":2437,"title":419,"dynasty":18,"author":2438,"museum":153,"description":2439,"tags":2440,"thumbUrl":2441,"material":124,"size":124,"collection":71,"collections":2442,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":2443},201584,"he-hua-tu-zhou-zhu-dong-201584","朱栋","这幅荷花图以水墨写意挥洒，荷叶泼墨浓淡交织，苍润厚重；叶脉以简练线条勾勒，如骨贯叶，挺劲有力。荷花或含蕊或半开，墨色层次细腻，花瓣边缘淡墨晕染，清逸脱俗。旁侧水草芦苇以细劲笔触勾写，与厚重荷叶虚实相衬，生机暗涌。构图疏密有致，留白空灵，尽显文人画雅致意趣。笔墨洒脱却不失细节，将荷花清绝之姿与君子气韵融于纸间，流露清代文人画的写意神韵与审美追求。",[25,53,104,7,105,54,1808,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b32fca2e6eccbe1e483d7b89e521b2f.jpg",[71],"d1c2af",{"id":2445,"slug":2446,"title":2447,"dynasty":18,"author":390,"museum":153,"description":2448,"tags":2449,"thumbUrl":2450,"material":124,"size":124,"collection":143,"collections":2451,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":2452},201545,"he-jing-na-liang-tu-zhou-hua-yan-201545","荷静纳凉图轴","盛夏时节，荷塘静谧如镜，亭中雅士凭栏而坐，静待荷风拂面。岸边林木葱郁，枝叶以浓淡墨点染，生机盎然；山石用简淡皴擦，显朴拙之态。小桥横跨浅滩，与亭台相映成趣，整体画面笔墨秀逸，设色清雅，将文人远离尘嚣、纳凉消暑的闲适心境融入山水之间，尽显自然与人文交融的雅致意趣。",[25,137,515,7,1307,136,29,516,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98cc80d01e18800ea96bb2097998f70d.jpg",[143],"8f7657",{"id":2454,"slug":2455,"title":2000,"dynasty":18,"author":208,"museum":153,"description":2456,"tags":2457,"thumbUrl":2458,"material":124,"size":124,"collection":71,"collections":2459,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":2460},201390,"he-hua-cui-niao-tu-zhou-zhu-da-201390","泼墨荷叶阔大沉郁，笔势纵逸间见苍劲，水墨浓淡交错晕染出层叠意韵。两只翠鸟栖于石上，身形简括却神完气足，墨色点染的羽翼与喙爪锐利分明，尤为特别的是那翻白的眼瞳，似含冷眼观世的孤峭，暗合画家遗世独立的心境。山石以寥寥数笔勾勒，留白处更显空寂清冷，整幅构图极简却张力十足。水墨虚实相生间，将荷花的清逸与生命的孤寂凝成一处，尽显“墨点无多泪点多”的深沉况味，于简淡中藏万千丘壑。",[25,53,104,7,35,27,26,105,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe755ee907a1d41e69034194a8ea26a48.jpg",[71],"b5b2ac",{"id":2462,"slug":2463,"title":2464,"dynasty":18,"author":152,"museum":194,"description":2465,"tags":2466,"thumbUrl":2470,"material":213,"size":214,"collection":124,"collections":2471,"showCount":2472,"zanCount":11,"manualWeight":11,"mainColor":364},269525,"xiang-ya-diao-he-he-er-xian-yi-ming-269525","象牙雕和合二仙","此作雕刻灵动传神，上方仙童攀持并蒂莲，笑颜天真憨态尽显，衣袂褶皱流转自然，仿佛携风而动。下方仙童怀拥宝盒，眉眼弯弯满是欢喜，二人身形错落呼应。\n\n牙料质地莹润细腻，雕刻走线婉转流畅，衣褶层次分明，底座镂刻祥云缭绕，衬得整体愈发飘逸脱俗。创作者以精妙刀工，将和合二仙的和美意涵具象呈现，把孩童的烂漫天真诠释入微，尽显清代牙雕的雅致工巧，将吉祥圆满的美好祝愿融于寸方牙料之中，是一件意趣盎然的民俗佳品。",[1949,2467,2468,30,7,2469],"象牙","和合二仙","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a454e564973478aae24b7fd5d79bcef.jpg",[],4,{"id":2474,"slug":2475,"title":2476,"dynasty":18,"author":152,"museum":194,"description":2477,"tags":2478,"thumbUrl":2479,"material":213,"size":214,"collection":124,"collections":2480,"showCount":2472,"zanCount":11,"manualWeight":11,"mainColor":95},250879,"qing-yu-he-ye-shuang-kong-hua-cha-yi-ming-250879","青玉荷叶双孔花插","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[1953,1949,7,106,33,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9ae7fd052d497e0fc36c626b84e9eb.jpg",[],{"id":2482,"slug":2483,"title":2484,"dynasty":18,"author":2485,"museum":194,"description":2486,"tags":2487,"thumbUrl":2488,"material":213,"size":214,"collection":124,"collections":2489,"showCount":2472,"zanCount":231,"manualWeight":11,"mainColor":95},235963,"cai-jia-hua-hui-tu-ce-cai-jia-235963","蔡嘉花卉图册","蔡嘉","蔡嘉(1686-1779)，字松原，一字岑州，号雪堂，一号旅亭，又号朱方老民，清朝江苏丹阳人，侨居扬州。所居曰高寒旧馆。与高翔、汪士慎、朱冕为诗画友。",[25,120,29,104,7,35,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dff31be84f9dd472ce61007950f2aba.jpg",[],{"id":2491,"slug":2492,"title":2493,"dynasty":18,"author":152,"museum":194,"description":2494,"tags":2495,"thumbUrl":2496,"material":124,"size":124,"collection":124,"collections":2497,"showCount":2472,"zanCount":11,"manualWeight":11,"mainColor":95},235887,"yuan-ji-hua-hui-tu-ce-yi-ming-235887","原济花卉图册","淡墨轻勾水纹，寥寥数笔便漾起柔缓波光，浓墨点染的汀草苍劲朴拙，与晕染浅淡的游鱼形成鲜明虚实对照。游鱼造型简括灵动，穿荇摇曳间，将水泽生机藏于简淡笔墨里。\n\n题书笔意纵逸浑朴，与画面融为一体，尽显水墨写意的随性野趣。以极简之形托出幽澹江湖之境，将水泽闲雅逸趣凝于尺幅间，淡而不寡，朴中藏灵，以意驭笔、以简胜繁，把清寂又生动的水畔一隅定格，让观者悄然窥见悠游自在的江渚意趣。",[25,26,120,53,54,58,87,7,105,65,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa0089515d0ede2814e1df1bde4747fb.jpg",[],{"id":2499,"slug":2500,"title":2501,"dynasty":458,"author":2502,"museum":194,"description":2503,"tags":2504,"thumbUrl":2505,"material":213,"size":214,"collection":124,"collections":2506,"showCount":2472,"zanCount":11,"manualWeight":11,"mainColor":95},231809,"xiao-xian-he-ge-tu-juan-ku-tian-zheng-heng-231809","消闲和歌图卷","堀田正衡","日本江户时代后期大名，下野国佐野藩2代藩主。初代藩主堀田正敦五子。1796年拜谒将军德川家齐，同年叙任从五位下左京亮，后改任摄津守。1832年父亲去世后继承家督。1834年就任奏者番。1836年就任若年寄。1843年升为从四位下。1854年去世，享年60岁，因长子正修早世，由正修之子正颂继承。",[23,25,26,56,53,29,57,58,403,87,137,32,61,30,515,211,7,66,59,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a4761228232d6ada81f5879defb21.jpg",[],{"id":2508,"slug":2509,"title":2346,"dynasty":79,"author":152,"museum":194,"description":2510,"tags":2511,"thumbUrl":2512,"material":124,"size":124,"collection":124,"collections":2513,"showCount":2472,"zanCount":11,"manualWeight":11,"mainColor":95},223628,"he-tang-xi-lai-tu-yi-ming-223628","《宋人画荷塘鸂鵣图》是宋代佚名创作的绢本设色画。\n烟雾迷蒙，一曲清溪，两岸夹植杨柳，间以红花。\n溪中莲叶点点，鸂鵣戏水，其乐融融。\n一行白鹭破空飞向远方，将观赏者的视线引向画外；蜿蜒的清溪，则将视线推向了画景深处。\n柳叶用攒笔点画，树干用双钩法绘出，鸂鵣以工笔刻画。\n设色柔和淡雅。\n小小的册页画中略用了深远与高远的画法，就使画面意境达到了深远的效果。\n对幅有清乾隆皇帝御题诗一首:“花鸟从来属剑南，水禽夏卉照晴潭。\n鸳鸯无碍称其紫，弟子有时胜彼蓝。\n水宿相呼如觧勅，沙群式度自能谙。\n涨滩落鸟寻常事，何涉西台纪怪谈。\n” 本幅无款印。\n清《石渠宝笈续编》著录。",[23,25,24,26,28,29,104,7,105,278,729,87,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8be29216666561141745ebb74a270e35.jpg",[],{"id":2515,"slug":2516,"title":2517,"dynasty":18,"author":302,"museum":153,"description":2518,"tags":2519,"thumbUrl":2522,"material":124,"size":124,"collection":143,"collections":2523,"showCount":2472,"zanCount":11,"manualWeight":11,"mainColor":2524},203422,"shan-shui-ce-ba-kai-yang-jin-203422","山水册八开","画面笔墨雅致，近景林木葱茏，屋舍隐于其间，一人闲立阶前，意态悠然；中景树影错落，枝叶以细腻皴法勾勒，生机盎然；远景荷塘田田，小舟轻漾，远处城垣隐约，添得几分旷远。设色清淡温润，于工致中见写意之趣，诗跋与印章相映，诗书画印浑然一体，尽显文人画的闲逸韵致。",[137,120,29,136,2520,7,2521,87,58,28,516,23],"屋舍","小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c473c7bf9a4a6cce6e7a4b6889d7227.jpg",[143],"d3c5ae",{"id":2526,"slug":2527,"title":419,"dynasty":1696,"author":2528,"museum":153,"description":2529,"tags":2530,"thumbUrl":2531,"material":124,"size":124,"collection":124,"collections":2532,"showCount":2472,"zanCount":11,"manualWeight":11,"mainColor":2533},203285,"he-hua-tu-zhou-qi-bai-shi-203285","齐白石","墨叶如盖，红花灼灼，齐白石笔下的荷花尽显生机与笔墨意趣。浓墨泼洒的荷叶层次丰富，干湿相间，笔力雄健，翻卷间似有清风拂过；淡墨茎秆挺拔拙朴，穿插有致。胭脂点染的荷花艳而不俗，或含苞或盛放，与墨叶形成强烈对比却和谐统一。枯莲蓬的点缀添几分秋意，质朴古拙。整幅画虚实相生，以少胜多，将写意花鸟神韵发挥极致，尽显“妙在似与不似之间”的艺术主张，是白石老人花鸟精品之作。",[25,53,29,104,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7438e1844d1c16c1b85fb0bfca005075.jpg",[],"ded9c6",{"id":2535,"slug":2536,"title":1726,"dynasty":1696,"author":2528,"museum":153,"description":2537,"tags":2538,"thumbUrl":2540,"material":124,"size":124,"collection":124,"collections":2541,"showCount":2472,"zanCount":11,"manualWeight":11,"mainColor":2542},203237,"he-hua-yuan-yang-tu-zhou-qi-bai-shi-203237","这幅画中，荷叶以泼墨兼淡彩写出，阔笔挥洒间尽显水墨韵味；荷花艳红灼灼，与青碧荷叶相映成趣。水面上鸳鸯嬉戏，色彩明快鲜活，姿态憨然生动，尽显自然意趣。蜻蜓翩跹于荷间，点染出荷塘的鲜活生机。整幅作品笔墨简练，形神兼备，以自然之趣入画，尽显对生活细节的敏锐捕捉与独特艺术表现力，是花鸟题材中的精品。",[25,27,29,104,7,211,2539],"笔墨简练","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60764e2f57ec5efdceba73c8ed83502c.jpg",[],"cac6b9",{"id":2544,"slug":2545,"title":2546,"dynasty":18,"author":2547,"museum":153,"description":2548,"tags":2549,"thumbUrl":2550,"material":124,"size":124,"collection":124,"collections":2551,"showCount":2472,"zanCount":11,"manualWeight":11,"mainColor":2552},202674,"liu-he-yuan-yang-tu-zhou-xu-ji-202674","柳荷鸳鸯图轴","许楫","画面柳枝轻拂，柔条垂曳间栖有飞鸟，荷叶亭亭舒展，粉荷点缀碧波，岸边鸳鸯相倚，姿态亲昵。笔墨工细灵动，柳丝的飘逸、荷花的娇嫩与鸳鸯的憨态皆刻画入微，设色温润雅致，赭黄底色衬出景物的清妍。整体意境清幽静谧，既显自然生机，又含和美之趣，于细节处见匠心，尽显传统花鸟之韵致。",[25,27,104,28,29,7,169,1033,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf697c5c89918eb0bef1ef2a5ae2dd05.jpg",[],"a16b55",{"id":2554,"slug":2555,"title":2556,"dynasty":18,"author":221,"museum":153,"description":2557,"tags":2558,"thumbUrl":2559,"material":124,"size":124,"collection":124,"collections":2560,"showCount":2472,"zanCount":203,"manualWeight":11,"mainColor":2561},201529,"jin-dai-tong-xin-tu-zhou-shi-tao-201529","锦带同心图轴","墨韵淋漓间，瓶荷景致相映成趣。荷叶以泼墨写就，浓淡交织见层次；花瓣勾勒灵动，似含清露。旁侧行书题跋与朱红印章错落，添文人雅趣。笔意纵肆洒脱，尽显写意之妙，寥寥数笔却藏生机，传递出清逸自然的意韵，是融诗书画印于一体的文人画典范。",[25,53,104,7,87,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa052b6fc9493c4b05f10142712cbd3bb.jpg",[],"b2aea6",{"id":2563,"slug":2564,"title":1910,"dynasty":79,"author":152,"museum":194,"description":2565,"tags":2566,"thumbUrl":2568,"material":213,"size":214,"collection":124,"collections":2569,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},289764,"qiu-zhu-wen-qin-tu-yi-ming-289764","秋水汀洲之上，两只文禽依偎相伴。一者抬首侧目，警觉窥望周遭动静，一者垂首理羽，安享清寂时光，翎毛纤毫毕现，写实工细尽显笔力。\n\n四周残荷枯苇疏落生长，写意笔触绘就萧疏秋意，墨色浅淡清润，留白烘托出寒波澹澹、秋空寥廓的荒寒清寂之境。工笔与写意相融，在尺幅间铺展出幽淡秋韵，将秋日水畔的静穆诗意娓娓道来，藏着独有的雅致空灵，淡远幽寂之中，尽是秋日闲澹的禅味。",[25,24,120,156,28,29,104,7,720,2567,87],"秋渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1300b1fd5d9573bc0edfa5212b154a6d.jpg",[],{"id":2571,"slug":2572,"title":2573,"dynasty":18,"author":152,"museum":194,"description":2574,"tags":2575,"thumbUrl":2579,"material":213,"size":214,"collection":124,"collections":2580,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":364},269966,"xiang-ya-diao-song-shu-pu-tao-tu-xi-yi-ming-269966","象牙雕松鼠葡萄图洗","取叶片为形，叶缘宛曲自然，浅刻叶脉舒展流转，衬出牙质温润莹白的底色。器身以浮雕铺陈景致，虬曲葡萄藤蜿蜒盘绕，垂挂的硕果饱满莹润，松鼠灵动穿梭枝桠之间，翘尾探头憨态可掬。牵牛与月季次第绽开，柔蔓卷须缠连萦绕，将乡野意趣凝于文房雅器之上。雕琢圆熟细腻，写实中藏着灵动生趣，既以清隽雅致的造型适配文房清供，又借松鼠葡萄暗含多子绵长的吉祥意韵，尽显工艺的精巧灵秀。",[1949,2467,2576,2577,61,7,33,2578],"松鼠","葡萄","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351a3d3c080edd51f96f618c9fb12057.jpg",[],{"id":2582,"slug":2583,"title":2584,"dynasty":18,"author":152,"museum":194,"description":2585,"tags":2586,"thumbUrl":2589,"material":213,"size":214,"collection":124,"collections":2590,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},263646,"shi-qing-duan-xiu-ba-tuan-hua-hui-nv-jia-gua-yi-ming-263646","石青缎绣八团花卉女夹褂","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[34,1241,1242,65,7,64,61,2587,2588],"团花","女夹褂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141c25cfbd208feaf47f2dc71653546c.jpg",[],{"id":2592,"slug":2593,"title":2594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乾隆初年，历任湖广、直隶总督。乾隆九年（1744年），授文渊阁大学士兼吏部尚书。乾隆二十五年（1755年），他为次子史奕昂担任甘肃布政司写信给巡抚鄂昌，被告发而削职。乾隆二十七年（1757年），入朝拜相。乾隆二十八年（1758年），去世，追赠太保，谥号“文靖”，入祀贤良祠。",[26,27,58,57,7,32,2631,29],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d2bc0f7f5852f8e8fb0b22c26bbddd.jpg",[91],{"id":2635,"slug":2636,"title":2637,"dynasty":18,"author":2638,"museum":194,"description":2639,"tags":2640,"thumbUrl":2644,"material":89,"size":124,"collection":91,"collections":2645,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},240622,"shi-zhou-yang-ju-240622","诗轴","杨桔","此作为行书诗轴，笔墨温润秀雅，承续帖学一脉风雅。笔法灵动婉转，牵丝映带自然妥帖，字间行气贯通舒展，章法疏朗匀净，通篇气息安和恬淡。\n\n点画圆润清劲，粗细提按间尽显细腻变化，转折处或柔或刚，兼具妍雅与疏逸之致。书者以舒展的字形、舒缓的书写节奏，将诗中放舟纳凉、听雨催诗的闲适雅趣和盘托出，笔墨与诗意相融相合，尽显江南文人的审美意趣，是一件文心与笔墨相映成趣的行书佳品。",[27,58,57,87,2641,978,2642,2643,7,1032,729,1035],"落曰","轻风","浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d46d7cb6dbf489b840742d111fee8ab.jpg",[91],{"id":2647,"slug":2648,"title":2649,"dynasty":18,"author":152,"museum":194,"description":2650,"tags":2651,"thumbUrl":2652,"material":124,"size":124,"collection":124,"collections":2653,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},239279,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239279","后祺指画花鸟册","此作为指画写意墨荷，以指代笔，用墨色浓淡晕染出荷花绰约之姿。花瓣枯润对比鲜明，半开菡萏神态舒展慵懒，焦墨勾出花脉，尽显娇柔雅致。荷茎劲挺修长，带着苍劲笔意斜曳而出，下方汀叶以泼墨写出，墨色酣畅淋漓，虚实相生间尽显荷塘萧疏淡远之致。\n\n右侧行书题诗笔意纵逸，与清润墨荷相映成趣，书画合璧尽显文人写意的随性雅致，寥寥数笔便将秋日荷塘的幽澹诗意尽显，简淡脱俗，禅意自生。",[25,26,120,2107,53,104,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca6306dbad47ed0b6255ae282c4733a.jpg",[],{"id":2655,"slug":2656,"title":2657,"dynasty":18,"author":2658,"museum":194,"description":2659,"tags":2660,"thumbUrl":2661,"material":124,"size":124,"collection":124,"collections":2662,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},237862,"shan-shui-tu-ce-jin-xue-jian-237862","山水图册","金学坚","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[25,29,53,120,137,32,515,978,7,1306,1108,516,139,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f8667c5452f1f7ff629c5c42a8fa76.jpg",[],{"id":2664,"slug":2665,"title":2484,"dynasty":18,"author":2485,"museum":194,"description":2486,"tags":2666,"thumbUrl":2667,"material":213,"size":214,"collection":124,"collections":2668,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},235965,"cai-jia-hua-hui-tu-ce-cai-jia-235965",[25,26,120,29,58,87,7,106,65,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed769e7b34e44c147d629ef300972991.jpg",[],{"id":2670,"slug":2671,"title":381,"dynasty":18,"author":390,"museum":194,"description":2672,"tags":2673,"thumbUrl":2674,"material":213,"size":214,"collection":124,"collections":2675,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},235055,"za-hua-ce-hua-yan-235055","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[25,26,120,29,137,515,1307,7,138,2188,994],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406b16a073e476c648ed020abc218f64.jpg",[],{"id":2677,"slug":2678,"title":2679,"dynasty":48,"author":2680,"museum":194,"description":2681,"tags":2682,"thumbUrl":2684,"material":124,"size":124,"collection":124,"collections":2685,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},233330,"shi-zhu-zhai-pu-ce-hu-ri-cong-233330","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,26,120,29,2683,7,197],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92df1793a1e090d8a5818f5678f4a38b.jpg",[],{"id":2687,"slug":2688,"title":2679,"dynasty":48,"author":2680,"museum":194,"description":2681,"tags":2689,"thumbUrl":2690,"material":124,"size":124,"collection":124,"collections":2691,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},233307,"shi-zhu-zhai-pu-ce-hu-ri-cong-233307",[25,120,29,104,7,2683],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753b5ae17d8bcc2d6703348caa89e614.jpg",[],{"id":2693,"slug":2694,"title":2679,"dynasty":48,"author":2680,"museum":194,"description":2681,"tags":2695,"thumbUrl":2696,"material":124,"size":124,"collection":124,"collections":2697,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},233236,"shi-zhu-zhai-pu-ce-hu-ri-cong-233236",[25,26,120,29,53,104,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9197a655b99b3c58170b5c7b92b8ad3a.jpg",[],{"id":2699,"slug":2700,"title":2701,"dynasty":458,"author":152,"museum":194,"description":2702,"tags":2703,"thumbUrl":2706,"material":213,"size":214,"collection":124,"collections":2707,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},225455,"fu-shi-hui-213-yi-ming-225455","浮世绘213","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[2704,29,30,31,2705,7,211],"浮世绘","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c0650aad796711f26886a760ac7e12.jpg",[],{"id":2709,"slug":2710,"title":2711,"dynasty":18,"author":152,"museum":194,"description":2477,"tags":2712,"thumbUrl":2713,"material":213,"size":214,"collection":124,"collections":2714,"showCount":190,"zanCount":231,"manualWeight":11,"mainColor":43},224044,"diao-he-xie-da-bian-qing-yu-shui-cheng-yi-ming-224044","雕荷蟹大扁青玉水丞",[2075,1953,1949,7,1132,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19737e591eae1fbfe09a718de32a597c.jpg",[],{"id":2716,"slug":2717,"title":2718,"dynasty":18,"author":152,"museum":194,"description":2477,"tags":2719,"thumbUrl":2721,"material":213,"size":214,"collection":124,"collections":2722,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},224042,"lou-kong-he-lian-yu-ding-yi-ming-224042","镂空荷莲玉顶",[2075,1953,1949,2720,7,105],"镂空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F197ac95a343b523bedc6f3c3b445c767.jpg",[],{"id":2724,"slug":2725,"title":2726,"dynasty":48,"author":152,"museum":194,"description":2727,"tags":2728,"thumbUrl":2734,"material":124,"size":124,"collection":124,"collections":2735,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},223641,"shi-ying-sheng-hui-tu-quan-juan-yi-ming-223641","蓍英盛会图全卷","此卷以朱丝栏界格小楷书就，用笔秀挺雅致，结体端稳匀净，尽得晋唐小楷遗韵，通篇气息连贯从容，无一笔苟且。\n\n文字详实记述洛中耆英雅集诸位贤达生平、雅集始末，将记事述人与书法精妙融合。既是记录宋代文人群贤雅聚的珍贵文献，亦是极具观赏性的书法佳作。笔墨间尽显沉静内敛的文人意趣，点画精微法度谨严，工整秀雅中藏有灵动意致，书写者深厚功底尽显其间，古雅隽永的书卷风神浸透全卷。",[23,25,26,56,29,28,30,515,772,1307,139,104,57,58,83,87,2301,2302,2729,2730,2731,34,2159,2600,2705,1240,1241,59,66,32,67,7,61,278,198,2732,2733,698],"纸","砚","礼器","牛","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff2ab5fb781f6a9b46ac0a60e31de28.jpg",[],{"id":2737,"slug":2738,"title":2739,"dynasty":18,"author":152,"museum":194,"description":2740,"tags":2741,"thumbUrl":2746,"material":37,"size":124,"collection":124,"collections":2747,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":364},218121,"fu-hua-luo-han-jiu-zhang-lao-xiang-4-yi-ming-218121","佛画·罗汉九长老像-4","佚名的佛画 罗汉九长老像 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 罗汉九长老像 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,25,26,186,29,28,2075,1974,30,2742,2743,1038,60,7,632,317,1976,2744,2745,1262],"童子","猴","佛画风格","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7bb8c794f616214b5d985ba5ca11a8.jpg",[],{"id":2749,"slug":2750,"title":2751,"dynasty":18,"author":1597,"museum":2752,"description":2753,"tags":2754,"thumbUrl":2755,"material":69,"size":2756,"collection":124,"collections":2757,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":95},214928,"zhi-tou-za-hua-ce-10-gao-qi-pei-214928","指头杂画册-10","大英博物馆","清朝时期的高其佩是一位著名的画家，他的指头杂画册是一本收录了他的各种杂画的画册。这本画册是高其佩的代表作之一，其中包含了他的许多经典作品。高其佩的指头杂画册被广泛认为是清朝时期最优秀的画册之一，其中的画作展现了高其佩高超的画技和对自然的深刻理解。\n\n高其佩的指头杂画册中的画作涵盖了许多不同的题材，包括自然风景、人物、动物、花卉等。他的画作细腻生动，富有表现力，深受观众的喜爱。高其佩还经常在他的画作中加入许多寓意深刻的元素，使得他的画作不仅具有观赏性，而且富有哲理性。\n\n高其佩的指头杂画册是他一生的杰作，也是中国传统绘画的瑰宝。现在，这本画册被广泛收藏，并被认为是中国文化遗产的重要组成部分。",[23,25,53,1600,7,104,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7e2f0e4d81c5cd3356251725531b8d.jpg","36.7x33.1cm",[],{"id":2759,"slug":2760,"title":419,"dynasty":1696,"author":1991,"museum":153,"description":2761,"tags":2762,"thumbUrl":2763,"material":124,"size":124,"collection":71,"collections":2764,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":2765},203085,"he-hua-tu-zhou-chen-shi-ceng-203085","这幅荷花图以水墨写意手法绘就，荷叶泼墨挥洒，墨色浓淡层叠，干湿笔触交错，苍劲中透着灵动；荷花淡墨勾瓣，简洁传神，与厚重荷叶形成虚实相生之趣。枝干以劲挺线条穿插，气韵连贯。画面配书法题跋与朱印，诗书画印融为一体，尽显文人画的清雅意韵，笔墨间流露出自然洒脱的文人风骨，于简淡中见真趣。",[25,53,104,7,54,57,87,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0446d458d0206f871de5611e19d8a66f.jpg",[71],"bcb4a4",{"id":2767,"slug":2768,"title":419,"dynasty":1696,"author":2528,"museum":153,"description":2769,"tags":2770,"thumbUrl":2771,"material":124,"size":124,"collection":124,"collections":2772,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":2533},203034,"he-hua-tu-zhou-qi-bai-shi-203034","泼墨荷叶如墨云翻卷，浓淡干湿间尽显苍劲豪放；胭脂点染的荷花，瓣瓣娇嫩却含风骨，与墨叶形成鲜明对照。枯笔勾勒的荷梗挺拔，莲蓬拙朴有致，寥寥数笔便生意盎然。整幅画作于豪放中见细腻，墨色淋漓间透出清逸之气，将荷花“出淤泥而不染”的气质凝于笔端，观之如沐池畔清风，心臆俱畅。",[25,26,27,53,29,104,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9c7ce921fbb9bd688f0f3ca63e4a4b.jpg",[],{"id":2774,"slug":2775,"title":2776,"dynasty":18,"author":2777,"museum":153,"description":2778,"tags":2779,"thumbUrl":2783,"material":124,"size":124,"collection":124,"collections":2784,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":2785},202569,"xiao-xia-tu-zhou-zhang-xiong-202569","消夏图轴","张熊","画面铺展清寂夏日意趣：粗陶瓶插荷数枝，荷叶以淡蓝绿晕染，叶脉疏朗，花瓣留白显清润；瓶侧瓜实饱满，墨绿与浅青交织，藤蔓缠绕自然；几点桃实点缀，添鲜活生机。陶罐用淡墨皴擦出朴拙质感，花叶线条灵动，设色清雅脱俗。画风兼工带写，融文人意趣与生活气息，海派花鸟的温婉雅致尽显，消夏之悠然闲适扑面而来。",[25,104,29,7,33,2780,2781,28,2782],"桃","青绿","立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0447b4cda797ff4200cbf07e89c1a1f2.jpg",[],"cbc1b1",{"id":2787,"slug":2788,"title":1936,"dynasty":18,"author":2789,"museum":153,"description":2790,"tags":2791,"thumbUrl":2792,"material":124,"size":124,"collection":124,"collections":2793,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":1941},202360,"hua-hui-tu-juan-yuan-jiang-202360","袁江","画面铺展四时花卉，松针挺劲如铁线，墨荷泼洒见淋漓，牡丹雍容含露，梅枝疏影横斜，菊瓣纤巧带霜，诸般花叶错落有致，生机流转。笔墨兼用工写，线条灵动处勾勒花姿叶态，晕染浓淡间尽显层次韵致，设色清丽雅致，既存文人画的洒脱意趣，又具工笔花鸟的细腻生动，整体气息温婉而富有生趣，似将四季芳华凝于一卷之中。",[25,56,104,29,28,54,60,7,61,59,67,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b36e6a28924535cbc7fa759987c68d.jpg",[],{"id":2795,"slug":2796,"title":419,"dynasty":18,"author":420,"museum":153,"description":2797,"tags":2798,"thumbUrl":2800,"material":124,"size":124,"collection":124,"collections":2801,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":2802},202343,"he-hua-tu-zhou-wu-chang-shuo-202343","墨韵流转间，荷叶以泼墨写就，浓墨沉厚如铁，淡墨轻逸如烟，干湿交错中尽显丰腴舒展之态。叶脉以篆隶笔法勾勒，骨力苍劲；荷花简笔点染，瓣瓣清灵，与墨叶相映成趣。枝茎挺拔裹挟金石之气，题款行书流畅，印章朱红点缀。整幅画以书入画，笔力雄健，将荷花的雍容与风骨相融，水墨大写意的奔放与雅致尽现，生机盎然中透着古拙之美。",[53,7,105,104,87,58,436,25,2799],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8aa8db2d3132f0cf16ab45f5c35c50.jpg",[],"cbc7b7",{"id":2804,"slug":2805,"title":2806,"dynasty":18,"author":1825,"museum":153,"description":2807,"tags":2808,"thumbUrl":2809,"material":124,"size":124,"collection":124,"collections":2810,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":2811},202322,"chu-jiang-qiu-jing-tu-zhou-jiang-jie-202322","楚江秋景图轴","画面以清雅之笔勾勒楚江秋塘景致。两朵白莲绽于塘间，花瓣莹白如绢，花心浅晕暖黄，尽显幽洁。田田荷叶或舒或卷，墨绿晕染中带浅碧，叶脉疏朗见笔痕。旁侧秋草纤劲，茎秆如丝，间缀粉紫小花，添得秋意清寂。设色淡逸，水墨与浅彩交融，笔触兼具工细与写意之韵，将秋日荷塘的疏旷幽美悄然铺陈，尽显文人画雅致情致。",[25,105,29,28,54,7,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de93448ddf51eac8baf0119dfd65571.jpg",[],"d0bd9e",{"id":2813,"slug":2814,"title":419,"dynasty":18,"author":2815,"museum":153,"description":2816,"tags":2817,"thumbUrl":2818,"material":124,"size":124,"collection":71,"collections":2819,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":2820},201982,"he-hua-tu-zhou-wang-dong-201982","王东","这幅荷花图以水墨写意笔法绘就，荷叶泼墨挥洒，浓淡晕染间尽显蓬勃生机，墨色层次丰富，干湿对比鲜明；荷花形态简约传神，花瓣勾勒灵动自然，与苍劲婉转的枝干相映成趣。线条融入书法笔意，顿挫转折间见笔墨风骨，整体构图疏朗有致，清雅脱俗，尽显文人画的笔墨情趣与诗意境界，于简约中蕴含无限韵致，传递出对荷花高洁品性的咏叹。",[25,53,27,104,7,105,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"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[2158,2159,33,7,2873],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab0e184cf99dd6c4eb800c9e5c6eecb1.jpg","瓷器精选",[2875],{"id":2878,"slug":2879,"title":2880,"dynasty":48,"author":152,"museum":194,"description":2881,"tags":2882,"thumbUrl":2884,"material":213,"size":214,"collection":124,"collections":2885,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":43},256399,"cheng-hua-kuan-qing-hua-shui-cao-lian-hua-wen-wan-yi-ming-256399","成化款青花水草莲花纹碗","青花瓷（blue and white 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。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[2158,2598,3145,7,720,2600],"青白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1692d78ccc2e85d33e964b2b852653f2.jpg",[],{"id":3149,"slug":3150,"title":3151,"dynasty":18,"author":152,"museum":194,"description":2881,"tags":3152,"thumbUrl":3154,"material":213,"size":214,"collection":124,"collections":3155,"showCount":231,"zanCount":11,"manualWeight":11,"mainColor":95},261053,"qing-hua-yuan-yang-lian-wen-wan-yi-ming-261053","青花鸳鸯莲纹碗",[2158,2883,3153,7,169,104,1438],"碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d89910ac2ea188e342de7d1d77e58e1.jpg",[],{"id":3157,"slug":3158,"title":3159,"dynasty":48,"author":152,"museum":194,"description":2881,"tags":3160,"thumbUrl":3162,"material":213,"size":214,"collection":124,"collections":3163,"showCount":231,"zanCount":11,"manualWeight":11,"mainColor":43},260465,"qing-hua-chan-zhi-lian-wen-pie-kou-wan-yi-ming-260465","青花缠枝莲纹撇口碗",[2158,2883,3161,3153,7,1438],"缠枝莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2f64b52c9f6433a3f04818257820027.jpg",[],{"id":3165,"slug":3166,"title":3167,"dynasty":48,"author":152,"museum":194,"description":3168,"tags":3169,"thumbUrl":3173,"material":213,"size":214,"collection":124,"collections":3174,"showCount":231,"zanCount":11,"manualWeight":11,"mainColor":43},254310,"tong-liu-jin-fu-zuo-xiang-yi-ming-254310","铜鎏金佛坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[48,3170,3171,1949,186,30,7,3172],"铜制","鎏金","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f8727714d98ce2ac92b8a177524fde8.jpg",[],{"id":3176,"slug":3177,"title":3178,"dynasty":48,"author":152,"museum":194,"description":2477,"tags":3179,"thumbUrl":3180,"material":213,"size":214,"collection":124,"collections":3181,"showCount":231,"zanCount":11,"manualWeight":11,"mainColor":364},252122,"qing-yu-he-niao-wen-dai-kou-yi-ming-252122","青玉荷鸟纹带扣",[1305,1953,1949,7,211,104,2469],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8103e2df31977fdcfef04690a186a389.jpg",[],{"id":3183,"slug":3184,"title":3185,"dynasty":18,"author":152,"museum":194,"description":1434,"tags":3186,"thumbUrl":3188,"material":213,"size":214,"collection":124,"collections":3189,"showCount":231,"zanCount":11,"manualWeight":11,"mainColor":43},249465,"qia-si-fa-lang-qi-zhen-mo-ni-bao-yi-ming-249465","掐丝珐琅七珍-摩尼宝",[18,1436,186,3187,33,7],"珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5c8beb3ebe0523c1197387a415379a.jpg",[],{"id":3191,"slug":3192,"title":3193,"dynasty":79,"author":152,"museum":194,"description":3194,"tags":3195,"thumbUrl":3197,"material":213,"size":214,"collection":124,"collections":3198,"showCount":231,"zanCount":231,"manualWeight":11,"mainColor":364},243962,"lian-hua-yu-wen-jing-yi-ming-243962","莲花鱼纹镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[3196,3170,1949,7,198,33],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f635b29fb7abb3d0f7d7eca25e9f61.jpg",[],{"id":3200,"slug":3201,"title":3202,"dynasty":48,"author":3203,"museum":194,"description":3204,"tags":3205,"thumbUrl":3211,"material":213,"size":214,"collection":124,"collections":3212,"showCount":231,"zanCount":11,"manualWeight":11,"mainColor":95},240983,"wu-lv-shi-zhou-zhu-yan-xi-240983","五律诗轴","朱延禧","朱延禧（？～？） 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玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[87,1025,1953,1949,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132a824b6244dc937f45f01c12a3efdb.jpg",[],{"id":3342,"slug":3343,"title":3344,"dynasty":18,"author":152,"museum":194,"description":3345,"tags":3346,"thumbUrl":3347,"material":213,"size":214,"collection":124,"collections":3348,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":364},275808,"qing-yu-yu-zhi-zai-yue-ba-shou-ce-yi-ming-275808","青玉御制载月八首册","此作以木为胎，巧用异色嵌雕，周身刀工细腻圆熟。立面花鸟错落，湖石点景，翎雀穿梭花枝间，灵动鲜活；盖面山水层叠，人物隐于林泉间，章法疏密有致。深浅木色相映，明暗勾勒出雅致层次，将闲居雅趣凝于方盒之上。包浆温润莹泽，带着时光摩挲的质感，把中式文人的寄情山水之意藏于寸匣之间，尽显手作工艺的匠心，静穆雅致里藏着旧时光的温度。",[1240,1949,33,104,7,61,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6c02de6eddcb3b51151936ccf34104.jpg",[],{"id":3350,"slug":3351,"title":3352,"dynasty":18,"author":152,"museum":194,"description":3353,"tags":3354,"thumbUrl":3356,"material":213,"size":214,"collection":124,"collections":3357,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274877,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274877","银胎嵌珐琅供养","莲台祥云底座錾刻古雅细腻，沉稳端庄托起主件。嵌珐琅面板为视觉焦点，湖蓝底色清透鲜亮，宝鼓纹饰缠枝环绕，绶带飘曳灵动，填色匀净明丽，珐琅莹润光泽与银胎冷冽质感相映成趣。藏式吉祥纹样暗含祈福之意，将宗教静穆的供养内核与装饰美学相融，是金属细作与珐琅工艺结合的精巧手笔，尽显工细雅致的清代造办风格，方寸之间尽显匠心巧思，承载着古朴虔诚的信仰之美。",[3355,1437,186,1949,33,7],"银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07ee3621cd46cdbebb503e8a67a1e35b.jpg",[],{"id":3359,"slug":3360,"title":3352,"dynasty":18,"author":152,"museum":194,"description":3361,"tags":3362,"thumbUrl":3363,"material":213,"size":214,"collection":124,"collections":3364,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":364},274867,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274867","整体宝相端凝，莲台承托主体，卷云缠枝底座灵动古雅，柔化了银胎的冷硬质感。嵌饰的珐琅澄澈明净，中央莲花法纹晕开朱红、湖蓝、石绿层次，晕色饱满柔和，与哑光银胎形成鲜明的冷暖反差。\n\n银胎錾刻细腻古拙，莲萼脉络清晰如含露待放，卷涡云纹盘旋流转，浸着清净禅意。珐琅填色匀净鲜亮，将宗教纹饰的神圣感烘托得恰到好处，是金属细工与珐琅工艺的精妙结合，静静流露着供养器具的沉静美感与虔诚心意。",[3355,1437,186,2731,1949,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa96a7009ec7cd73ba4ff7f9eb99db40.jpg",[],{"id":3366,"slug":3367,"title":3352,"dynasty":18,"author":152,"museum":194,"description":3368,"tags":3369,"thumbUrl":3371,"material":213,"size":214,"collection":124,"collections":3372,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":364},274866,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274866","银质胎身凝着岁月晕染的温润包浆，分层錾刻的莲台与卷草底座，将婉转灵动的线条藏于肃穆形制之中。宝龛内嵌珐琅彩釉，青釉为底晕开柔和底色，亭台精巧雅致，瑞兽环伺左右，鲜亮釉色与冷冽银质相映成趣。\n\n整体形制清隽端庄，佛前供养的沉静虔诚融于方寸细节，手工细作的精巧藏在每一处纹路转角，信仰与匠心在此相融，静穆又鲜活，尽显雅致肃穆的供养之美。",[3355,1437,772,7,186,1949,3370],"供养器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c60eabe014d0e208c0acde2f0b3a74.jpg",[],{"id":3374,"slug":3375,"title":3352,"dynasty":18,"author":152,"museum":194,"description":3376,"tags":3377,"thumbUrl":3381,"material":213,"size":214,"collection":124,"collections":3382,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},274861,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274861","这一件供养器物融两种材质之美，珐琅面板上的空行母身姿翩跹，朱砂色衣袂随风舒展，宝冠璎珞细节毕现，釉面莹润亮泽，与银胎的冷冽金属感相映成趣。\n\n银质台座层层递进，莲台承托造像，束腰处卷草缠枝婉转连绵，底足浮雕云纹层叠，线条细腻柔婉。藏地的宗教审美与珐琅工艺、錾刻银工相融，把神圣的供养意涵凝于寸方之间，重工精丽又不失灵动宗教气韵，尽显手工匠人的精湛造诣。",[1437,3355,3378,186,3379,7,3380],"供器","佛教人物","镶嵌工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58a46d3eccf4a89d56206c161a19dbc.jpg",[],{"id":3384,"slug":3385,"title":3352,"dynasty":18,"author":152,"museum":194,"description":3386,"tags":3387,"thumbUrl":3388,"material":213,"size":214,"collection":124,"collections":3389,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":364},274853,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274853","整器以银为胎，莲台云纹底座沉稳雅致，托起仿佛龛形制的嵌珐琅牌位。珐琅面板之上，护法尊神乘马驱车，宝衣纹饰明丽华贵，朱红、鎏金与天青底色相映，色彩鲜亮饱和，尽显珐琅工艺的精细入微。银胎拱顶錾刻繁复纹饰，勾勒出庄重肃穆的宗教氛围。\n\n它融錾银与珐琅工艺于一体，肃穆中带着灵动装饰美感，将信仰的庄严与匠心工艺完美结合，静静承载着旧时礼佛的虔诚之心。",[3355,1437,186,30,2733,7,1949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275be5fb959191f712687bba3b9f90d9.jpg",[],{"id":3391,"slug":3392,"title":3393,"dynasty":18,"author":152,"museum":194,"description":3394,"tags":3395,"thumbUrl":3402,"material":213,"size":214,"collection":124,"collections":3403,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":364},274398,"tong-du-jin-guang-fa-lang-shui-fa-kai-hua-xian-ren-zhong-yi-ming-274398","铜镀金广珐琅水法开花仙人钟","最早的钟原本是指古代汉族 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[2158,2160,3967,7,105,2600,33],"攒盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9732170ad55db3abb98aebb10f46696d.jpg",[],{"id":3971,"slug":3972,"title":3973,"dynasty":18,"author":152,"museum":194,"description":2607,"tags":3974,"thumbUrl":3976,"material":213,"size":214,"collection":124,"collections":3977,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},261985,"wu-cai-jia-fen-cai-hua-hui-wen-da-wan-yi-ming-261985","五彩加粉彩花卉纹大碗",[2158,1438,3975,2247,65,7,211],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa320070e24339031387156e81949c8a4.jpg",[],{"id":3979,"slug":3980,"title":2870,"dynasty":48,"author":152,"museum":194,"description":2871,"tags":3981,"thumbUrl":3982,"material":213,"size":214,"collection":2875,"collections":3983,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},261776,"de-hua-yao-bai-you-he-ye-shi-bei-yi-ming-261776",[2158,2873,7,2159,1438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F251f74d743a5fe5e591cbc405ec4885a.jpg",[2875],{"id":3985,"slug":3986,"title":3987,"dynasty":18,"author":152,"museum":194,"description":2871,"tags":3988,"thumbUrl":3989,"material":213,"size":214,"collection":2875,"collections":3990,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},261671,"de-hua-yao-bai-you-he-ye-bei-yi-ming-261671","德化窑白釉荷叶杯",[2158,2159,1438,7,2873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ac9b563f0ab60773f3bb6e5505e7e3.jpg",[2875],{"id":3992,"slug":3993,"title":3994,"dynasty":18,"author":152,"museum":194,"description":2871,"tags":3995,"thumbUrl":3996,"material":213,"size":214,"collection":2875,"collections":3997,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":364},261460,"de-hua-yao-bai-you-he-ye-shi-shui-zhu-yi-ming-261460","德化窑白釉荷叶式水注",[2158,33,1438,7,2873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F252e2698cccf737bd30bcf8474bf4f96.jpg",[2875],{"id":3999,"slug":4000,"title":4001,"dynasty":18,"author":152,"museum":194,"description":4002,"tags":4003,"thumbUrl":4006,"material":213,"size":214,"collection":124,"collections":4007,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":364},261155,"fen-cai-lou-kong-si-ji-hua-hui-wen-fang-bi-tong-yi-ming-261155","粉彩镂空四季花卉纹方笔筒","笔筒： 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