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车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。\n后幅有金张著、明吴宽等13家题记，钤96方印。\n《清河书画舫》、《庚子销夏记》、《式古堂书画记》等书著录。",[72,24,25,113,114,7,115,116,117,118,119,120,121,122,123,124,125,126,127,128,129],"长卷","淡设色","散点透视","汴河","虹桥","郊野","街市","店铺","漕船","车马","牛","骆驼","市井人物","市集","城市生活","行人","商贩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6d5b509133b871c36ef9d9b4df3ba5.jpg",[],116,"795548",{"id":135,"slug":136,"title":137,"dynasty":18,"author":19,"museum":138,"description":139,"tags":140,"thumbUrl":144,"material":145,"size":146,"collection":60,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":44},223235,"mao-ren-yi-223235","猫","天津博物馆","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,27,74,7,137,141,142,143,31],"芭蕉","枝干","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3992e488d1b2dab6e076bb2a4b4a642e.jpg","纸本设色","150cmx40cm",[],115,{"id":150,"slug":151,"title":152,"dynasty":18,"author":19,"museum":110,"description":153,"tags":154,"thumbUrl":166,"material":167,"size":168,"collection":94,"collections":169,"showCount":170,"zanCount":63,"manualWeight":11,"mainColor":44},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[23,24,25,113,27,155,156,77,157,158,159,160,82,161,162,163,164,165,7],"工笔","人物画","仙鹤","祥云","楼阁","荷花","山石","植物","仙人","服饰","祝寿元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","绢本，设色","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[94,41],83,{"id":172,"slug":173,"title":174,"dynasty":18,"author":19,"museum":175,"description":176,"tags":177,"thumbUrl":181,"material":182,"size":60,"collection":60,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":44},220464,"tao-hua-yuan-ren-yi-220464","桃花源","亚瑟·M·赛克勒美术馆","淡墨勾皴层叠岩壁，浅晕青绿晕开山岚清润。老樵负斧驻足，抬首凝望漫山繁花。苍劲虬枝缀满素色花团，如堆雪覆枝，将山野晕染出朦胧柔婉。幽寂山石隐在花影石隙，似藏着无人惊扰的洞天。\n人物衣褶简括灵动，抬首的怔忡神态宛然在目，将误入世外山境的沉醉凝于笔端。淡墨写意晕出空寂悠远的山野氛围，清简笔墨铺展出世外天地的悠然意趣，把隐逸避世的幽韵尽数融在这尺幅之中。",[23,24,26,27,7,54,77,178,161,82,179,180],"梅","流水","拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2b3db8d3cbb318979a7513a7d5b907.jpg","纸本水墨",[],75,{"id":186,"slug":187,"title":188,"dynasty":189,"author":190,"museum":191,"description":192,"tags":193,"thumbUrl":202,"material":203,"size":204,"collection":39,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":207},218962,"xue-jing-shui-qin-tu-lin-liang-218962","雪景水禽图","明","林良","私人收藏","寒林雪意笼于纸面，枯枝以枯笔焦墨写出，如铁骨横斜，墨色浓淡交织间见苍劲之态。几只水禽错落分布：枝头者羽翼覆雪，绒毛细腻处见工致；石上者昂首远眺，身姿灵动似欲振翅。留白隐作积雪，清寂中藏生机。笔墨兼工带写，禽鸟形神毕肖，背景枯枝竹丛则写意挥洒，墨韵淋漓。寒冬萧瑟却未失活力，于荒寒中见生命意趣，尽显对自然的细致观察与笔墨掌控力，是冬日花鸟题材中的妙品。",[24,194,74,7,195,196,197,198,31,199,200,201],"花鸟画","雪景","寒林","枯枝","水禽","竹丛","清寂","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48a378a33ce7744cfbe4f86a39a9d8d6.jpg","绢本,设色","142.5x55.5cm",[39],73,"37474F",{"id":209,"slug":210,"title":211,"dynasty":189,"author":212,"museum":50,"description":213,"tags":214,"thumbUrl":222,"material":203,"size":223,"collection":39,"collections":224,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":133},219319,"qu-ge-jie-shou-tu-zhou-zhi-mian-219319","衢歌介寿图","周之冕","周之冕(1521-?)，明代画家。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。",[215,216,24,25,26,217,27,28,218,219,220,161,221,7],"明代","古画","绢本","花卉","禽鸟","松树","勾花点叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345b4913e090ae3d73841591489baea3.jpg","138.1×56.7cm",[39],59,{"id":227,"slug":228,"title":229,"dynasty":18,"author":19,"museum":110,"description":139,"tags":230,"thumbUrl":232,"material":233,"size":234,"collection":60,"collections":235,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":44},235619,"bi-tao-chun-yan-tu-zhou-ren-yi-235619","碧桃春燕图轴",[24,25,72,26,27,28,231,79,7,31],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ade1c2d8c7677f33096a169e71c32f.jpg","未知","Xcm*Xcm",[],55,{"id":238,"slug":239,"title":240,"dynasty":189,"author":212,"museum":110,"description":241,"tags":242,"thumbUrl":249,"material":60,"size":60,"collection":60,"collections":250,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":44},228402,"liu-shi-shuang-ji-zhou-zhi-mian-228402","榴实双鸡","此作以兼工带写之法绘就，垂落桃枝悬着饱满桃实，石畔榴花烂漫盛放。两只雄鸡意态悠然，一只昂首翘尾似正引吭，一只垂首理羽尽显松弛自在。\n\n禽鸟翎毛晕染细腻写实，将肌理纤毫毕现，坡石花草则写意随性，设色雅致柔和，明淡中带着融融暖意。画面定格庭院一隅的鲜活生趣，兼具院体花鸟的精工雅致，又不失文人水墨的隽逸生机，将日常闲晕染成灵动雅致的画卷，尽显悠然野趣。",[24,194,27,7,243,244,245,246,247,248],"桃","榴花","雄鸡","坡石","花草","悠然野趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4af223222167eb01e3e7d533bf97c5b2.jpg",[],54,{"id":253,"slug":254,"title":255,"dynasty":18,"author":19,"museum":256,"description":139,"tags":257,"thumbUrl":260,"material":217,"size":261,"collection":60,"collections":262,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":44},223232,"mei-que-tu-li-zhou-ren-yi-223232","梅雀图立轴","辽宁省博物馆",[23,26,27,74,7,28,178,258,259,31],"雀","水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2cab43d292040d46a761c14cf915d9.jpg","纵70.7厘米，横35厘米",[],48,{"id":265,"slug":266,"title":267,"dynasty":189,"author":268,"museum":50,"description":269,"ta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× 550.4厘米",[],{"id":462,"slug":463,"title":464,"dynasty":18,"author":19,"museum":110,"description":465,"tags":466,"thumbUrl":467,"material":167,"size":468,"collection":60,"collections":469,"showCount":470,"zanCount":11,"manualWeight":11,"mainColor":44},234991,"hua-hui-ling-mao-ping-9-ren-yi-234991","花卉翎毛屏9","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,72,27,28,26,102,34,35,218,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e398d440e6634b38d0ec5b78aced894.jpg","149 x 61 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