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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。",[23,24,25,28,27,144,26,30,31,32,33,36,37,35,34,38,145,146,7,44,43,39,147,40],"风俗画","牛","马","商贩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","绢本设色","宽24.8厘米、长528.7厘米","宋画精选",[151,49,51],858,{"id":155,"slug":156,"title":157,"dynasty":18,"author":158,"museum":159,"description":160,"tags":161,"thumbUrl":169,"material":47,"size":170,"collection":49,"collections":171,"showCount":172,"zanCount":173,"manualWeight":11,"mainColor":54},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 长恨歌图卷(下卷)","狩野山雪","藏地不详","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,109,25,27,26,28,30,31,90,34,32,33,162,163,91,164,39,165,166,167,168,114,7],"舟船","亭台","宫殿","人群","松","柏","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[49,51],775,13,{"id":175,"slug":176,"title":177,"dynasty":178,"author":179,"museum":180,"description":181,"tags":182,"thumbUrl":191,"material":192,"size":193,"collection":49,"collections":194,"showCount":195,"zanCount":196,"manualWeight":11,"mainColor":54},222820,"gu-su-fan-hua-tu-xu-yang-222820","姑苏繁华图","清","徐扬","辽宁省博物馆","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,183,24,109,25,27,26,28,30,31,32,33,36,37,35,184,34,44,7,185,40,186,187,188,189,190],"名画","河道","码头","货船","民居","车船","茶馆","酒肆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61ae38c127eaa89b842ad3f8d842d7a.jpg","设色 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。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[23,183,24,109,204,111,27,87,90,32,34,91,33,7,30],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","绢本","45x30厘米",[151,97,51],664,3,{"id":212,"slug":213,"title":214,"dynasty":178,"author":215,"museum":216,"description":217,"tags":218,"thumbUrl":228,"material":206,"size":229,"collection":49,"collections":230,"showCount":231,"zanCount":136,"manualWeight":11,"mainColor":101},222876,"hong-lou-meng-tu-ce-sun-wen-222876","红楼梦图册","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,26,27,30,31,39,63,219,220,221,34,222,7,67,223,224,225,226,227],"廊庑","美人","孤石","古典园林","庭院景观","传统服饰","园林建筑","彩色绘制","精细勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f1fb4911504a20d8c776ac2c7c4877.jpg","纵43.3厘米、横76.5厘米",[49],620,{"id":233,"slug":234,"title":235,"dynasty":18,"author":19,"museum":127,"description":236,"tags":237,"thumbUrl":239,"material":240,"size":241,"collection":97,"collections":242,"showCount":243,"zanCount":244,"manualWeight":11,"mainColor":101},218534,"zhang-xin-gong-ci-tu-chou-ying-218534","长信宫词图","以著名的隋唐宫殿连昌宫为主题的诗画轴，诗塘上都附有所谓文征明书写的宫词二十五首。此幅与院藏《画长信宫词图》的书法与画风相当近似，当属同一组四幅对。当时的作坊，喜欢绘制以仇英画、文征明题诗的合璧之作来吸引买者。重青绿描金的山水，配上楼阁人物，四幅齐挂妆点厅堂时，肯定是相当富丽华贵。此幅诗画轴可能是以仇英绘图、陆师道题诗的〈仙山楼阁〉为模仿对象，连左前方松林与其间宫殿都有相似处，只是少了原作的典雅含蓄，更强调色彩缤纷与繁复细节。活动其间的宫人，或舞蹈，或凭栏，或抚琴，或对坐闲谈，观之令人兴味盎然。",[24,26,27,111,28,90,31,91,34,7,238,163],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纸本,设色","纵 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，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。",[23,183,24,109,25,86,87,90,504,505,506,378,7],"雪山","江河","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627ae19f708849d303e0326ebd7204c5.jpg","纸本","纵31.3厘米，横207.3厘米",[],183,{"id":513,"slug":514,"title":515,"dynasty":81,"author":140,"museum":141,"description":142,"tags":516,"thumbUrl":518,"material":519,"size":520,"collection":306,"collections":521,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":54},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,183,24,109,25,26,28,27,30,31,32,33,517,146,145,392,37,35,285,168,288,42,40,38,7,492],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[],181,{"id":524,"slug":525,"title":526,"dynasty":527,"author":528,"museum":127,"description":529,"tags":530,"thumbUrl":533,"material":240,"size":534,"collection":49,"collections":535,"showCount":522,"zanCount":259,"manualWeight":11,"mainColor":101},220447,"san-gu-cao-lu-tu-dong-zhan-220447","三顾草庐图","隋","董展","本幅绘汉末刘备三顾草庐、邀诸葛孔明出山之故实。画中长松修竹掩翳茅屋，孔明羽扇纶巾、依榻凝思，童仆正应门而出。篱外刘备、关羽、张飞三骑及从者行近，山岭后并见旌旗戈戟微露，人马仍众。画笔轻健秀润，惟上半山岭系后人补笔。幅上无款，依元萨都剌至正甲午之题，定为隋董展所作。然萨都剌之题字与其年款及跋语内容均不合，应为后人作品所伪托。",[23,24,109,27,90,30,146,34,91,7,531,532],"小径","人物活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935336d0a9d6d7dd611cbe1a446059.jpg","全幅 43.8x29.5公分，诗塘 17.8x29.5公分",[49],{"id":537,"slug":538,"title":539,"dynasty":81,"author":140,"museum":127,"description":540,"tags":541,"thumbUrl":545,"material":27,"size":546,"collection":151,"collections":547,"showCount":548,"zanCount":320,"manualWeight":11,"mainColor":54},221319,"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[23,183,24,109,25,26,28,355,27,30,288,36,31,542,37,38,168,34,7,44,543,544],"店铺","民俗","宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 38x673.4公分；隔水一 38x14.5公分；引首一 38x98.5公分；隔水二 38x14.3公分；引首二 38x50.9公分；隔水三 38x14.2 公分；隔水四 38x14.2公分；拖尾一 36x50.8公分；隔水五 14.2公分；拖尾二 28.2x55.2公分；隔水六 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《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[23,24,86,27,87,90,34,253,91,7,93,114,285,773,774,531],"崖壁","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[97,276],94,{"id":780,"slug":781,"title":782,"dynasty":18,"author":19,"museum":783,"description":784,"tags":785,"thumbUrl":786,"material":728,"size":787,"collection":97,"collections":788,"showCount":789,"zanCount":11,"manualWeight":11,"mainColor":54},222207,"liu-yuan-ren-xing-shan-shui-tu-chou-ying-222207","柳园人形山水图","日本京都国立博物馆","柳园里建筑整齐划一，假山和房屋非常考究，屋内三三两两侃侃而谈。运用点缀法，在灌木上点上白色，以示花开。仇英，明代画家，与唐寅、文征明、沈周并称“明四家”。",[23,24,26,27,28,90,31,30,445,392,7,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b13a4847e9f398ceeef59dd35da828.jpg","21.5*21cm",[97,51],91,{"id":791,"slug":792,"title":793,"dynasty":178,"author":794,"museum":141,"description":795,"tags":796,"thumbUrl":797,"material":95,"size":798,"collection":97,"collections":799,"showCount":800,"zanCount":259,"manualWeight":11,"mainColor":101},218520,"yan-qi-gao-shi-tu-wang-hui-218520","岩栖高士图","王翚","此图是王翚盛年山水画代表作。该图以高远式构图，画高岩幽壑，长松平湖，岩崖间古木盘虬，杂草丛生，山径盘陀，叠叠山泉涌出峡谷，流入湖中。峡谷间山馆水榭或半隐于崖畔，或横架于流泉之上。近岸平坡松荫下一人仰坐，似在欣赏幽雅的湖光山色。此画结构严谨，意境清幽。据记载明代唐寅曾有之，画家虽未言仿唐寅画法，然所画山石用元人干笔皴擦，参用宋人斧劈皴法，苍劲秀润，用墨干湿相济，变化多端，极富逸趣与韵味，似应是画家早期精研唐寅画法后的变化所得，体现了画家这一时期山水画的典型风貌。\n图中王翚自识虽未署年款，但笪重光题跋书于壬子年，即清康熙十一年（1672年），王石谷时年41岁，此图应作于当时或稍前。本幅上方王翚自题七言诗：“高士岩栖趣自幽，白云天半读书楼。银河落向千峰裹，长和松涛万壑秋。”又笪重光、恽寿平题和。从三人题诗中得知，此图作于毗陵（今江苏武进）舟次，时三人聚会于此，研讨绘画达40余日，以诗书画互赠，堪称“艺林盛事”。此图乃王翚画赠笪氏之作。",[23,24,109,110,86,87,90,30,253,92,91,7,33,445,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2e386c670104c6002b4b8f716d6d0a.jpg","纵122.7厘米，横31.5厘米",[97],90,{"id":802,"slug":803,"title":804,"dynasty":178,"author":805,"museum":127,"description":806,"tags":807,"thumbUrl":811,"material":95,"size":306,"collection":49,"collections":812,"showCount":813,"zanCount":259,"manualWeight":11,"mainColor":101},217923,"tang-ming-huang-ji-ju-tu-ding-guan-peng-217923","唐明皇击鞠图","丁观鹏","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[183,24,109,26,355,27,28,30,146,7,89,808,809,810],"衣帽","古代人物","马球场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3def1caee6bc241053a237d8871f10.jpg",[49],89,{"id":815,"slug":816,"title":817,"dynasty":178,"author":818,"museum":127,"description":819,"tags":820,"thumbUrl":822,"material":149,"size":823,"collection":97,"collections":824,"showCount":825,"zanCount":259,"manualWeight":11,"mainColor":54},222769,"shi-er-yue-ling-tu-zheng-yue-lang-shi-ning-222769","十二月令图（正月）","郎世宁","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,27,26,28,30,31,39,91,34,7,821],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7578701c0511c7e8d219ace0c798cee0.jpg","188.2*102.2cm",[97,51],88,{"id":827,"slug":828,"title":829,"dynasty":18,"author":440,"museum":141,"description":830,"tags":831,"thumbUrl":833,"material":240,"size":834,"collection":97,"collections":835,"showCount":825,"zanCount":320,"manualWeight":11,"mainColor":101},219721,"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明（1470—1559年），原名壁，字徵明，后以字行，改字徵仲，长洲（今江苏省苏州）人。家世武弁，自祖父起始以文显，父文林曾任温州永嘉知县。他幼习经籍诗文，喜爱书画，文师吴宽，书法学李应祯，绘画宗沈周。少时即享才名，与祝允明、唐寅、徐祯卿并称“吴中四才子”。然在科举道路上却很坎坷，从弘治乙卯（1495年）26岁到嘉靖壬午（1522年）53岁，十次应举均落第，直至54岁才受荐以贡生进京，待诏翰林院。四年中目睹官场腐败，一再乞归，57岁回归故里，潜心诗文书画。他通晓各科绘画之艺，擅长各种细粗之法，其目力和控笔能力极佳，80多岁时还能十分流利地书写蝇头小楷竟日不倦。绘画上与沈周共创“吴派”，又与沈周、唐寅、仇英并称“吴门四家”。书法上与祝允明、王宠并誉为“吴中三家”。 文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[23,24,109,25,90,270,34,91,27,707,7,832],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[97,836],"书法精选",{"id":838,"slug":839,"title":840,"dynasty":178,"author":841,"museum":127,"description":842,"tags":843,"thumbUrl":845,"material":240,"size":846,"collection":51,"collections":847,"showCount":825,"zanCount":11,"manualWeight":11,"mainColor":101},219437,"yao-chi-xian-shou-zhou-jin-ting-biao-219437","瑶池献寿轴","金廷标","画面以轻烟似的云气铺展仙境，两位仙子衣袂翩跹：一位手捧寿桃，红晕欲滴，似凝天地灵韵；另一位侧身相伴，眉宇间藏温婉笑意。衣纹线条流畅如行云，蓝白裙摆与淡墨云气交融，虚实相生。下方古木虬枝掩映朱红殿宇一角，与上方缥缈云境呼应，既显仙境高远，又隐人间烟火。笔墨细腻处，衣袂褶皱似有风动，寿桃艳色点染暖意；设色清雅间，云气淡墨晕染出空灵，古木深绿衬出沉静。整幅画将献寿的祥瑞与仙袂的灵动相融，工笔线条的雅致与水墨晕染的缥缈交织，尽显古典画韵里的温婉与高远，仿佛能闻云间仙乐，见寿意流转。",[24,26,27,30,220,725,392,7,844],"寿桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d071f0e819e2c29432b9dc8116c7df3.jpg","90.7x56.5",[51],{"id":849,"slug":850,"title":851,"dynasty":426,"author":852,"museum":20,"description":853,"tags":854,"thumbUrl":856,"material":206,"size":857,"collection":306,"collections":858,"showCount":859,"zanCount":11,"manualWeight":11,"mainColor":54},232624,"hai-tian-xu-ri-tu-juan-li-zhao-dao-232624","海天旭日图卷","李昭道","此卷以青绿为主调，山峰勾以全绿，所画人物细小如豆，亭台楼阁、海浪舟桥，无不形象生动，尤其画幅中上方有一金龙，腾云驾雾，整个局面宏伟壮阔、气势不凡。",[23,24,111,27,25,26,90,725,114,7,112,855,34,285,115],"岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc0164cbe171565b2c95e35e12fa8cf.jpg","47.1 x 197.4厘米",[],86,{"id":861,"slug":862,"title":863,"dynasty":249,"author":864,"museum":428,"description":865,"tags":866,"thumbUrl":869,"material":47,"size":870,"collection":97,"collections":871,"showCount":859,"zanCount":11,"manualWeight":11,"mainColor":54},217866,"chun-shan-you-qi-tu-sheng-mao-217866","春山游骑图","盛懋","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[24,90,27,87,30,146,32,31,270,34,91,238,271,272,7,867,868,93],"游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[97],{"id":873,"slug":874,"title":875,"dynasty":178,"author":818,"museum":159,"description":876,"tags":877,"thumbUrl":884,"material":306,"size":306,"collection":306,"collections":885,"showCount":886,"zanCount":210,"manualWeight":11,"mainColor":101},230206,"yuan-ming-yuan-tong-ban-hua-lang-shi-ning-230206","圆明园铜版画","《圆明园铜版画》是清代郎世宁于1724年创作的纸本画，共2开。\n本幅无款印。\n清雍正二年（1724年）， 皇帝决定扩建康熙年间即已开始兴建的 。\n在雍正、乾隆两朝持续不断的大规模扩建中，通晓西洋建筑学的 曾与法国传教士 、 等一起参与园内著名的“西洋楼”的设计和工程督造，并有机会在较长的时间里住在这座东方名园内，为装饰殿堂画了多幅作品，其中既有欧洲风格的油画，也有以欧洲 在平面上表现深远效果的“线法画”。\n虽然郎世宁在圆明园的这些创作由于兵燹的劫难早已湮没无存，但从此册铜版组画中，我们仍然可以看到郎世宁等西洋宫廷画家在宫廷建筑绘画上的高超造诣与成就。\n这组完全西式的铜版组画也成为清代宫廷建筑绘画全新技法的代表作。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[878,26,28,879,31,880,459,34,91,881,7,39,882,63,883],"铜版画","中西合璧","喷泉","水池","雕塑","对称布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f65b9eb8fabb63e8ae379edc225897.jpg",[],84,{"id":888,"slug":889,"title":890,"dynasty":553,"author":891,"museum":159,"description":892,"tags":893,"thumbUrl":906,"material":566,"size":567,"collection":568,"collections":907,"showCount":886,"zanCount":11,"manualWeight":11,"mainColor":54},225728,"cafe-terrace-at-night-fan-gao-225728","Cafe Terrace at Night","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[183,558,894,27,895,896,897,898,40,7,899,900,901,34,902,903,904,30,692,905,287],"后印象派","夜晚","咖啡馆","露台","桌椅","星空","鹅卵石街道","灯光","遮阳篷","窗户","门","星星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc99b9b8fa41b5faffd98b459fbff668a.jpg",[568],{"id":909,"slug":910,"title":911,"dynasty":18,"author":912,"museum":127,"description":913,"tags":914,"thumbUrl":915,"material":255,"size":916,"collection":97,"collections":917,"showCount":886,"zanCount":320,"manualWeight":11,"mainColor":54},222525,"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","王绂","此图是王绂的代表作，写文人雅士于山亭聚会的情景。该图立意古逸，构图严谨。图中笔墨浑厚华滋，在继承元代文人画的基础上融合进了自己的笔意。山石先以枯淡墨皴写，按结构层层叠加，最后以浓重墨勾勒点苔，使整幅画面有苍润之感。\n此画立意古逸，构图严谨，山上小溪、泉水流淌有声，山下河中可泛舟，山林间亭台楼阁隐现，这是一处可游可居的幽雅胜境。近景古朴山亭中已有几个文人在那里论诗作画，山下还有文人或乘舟、或步行赶来应约赴会。此图山水胜境为文人雅集提供了优美环境，文人雅集又为山水胜境增添了诗情画意。\n此画笔墨深厚滋润，结构繁密，但密而不塞。画法上颇富于变化，是在王蒙的章法上加以变化而来。山石皴法点苔，似从王蒙法度中来，然后用笔粗犷，又有新意。有的山石以枯笔作解索皴，兼用乱柴皴、小斧劈皴，笔线富于动感。然后层层迭染，最后以浓墨勾皴打点，积墨层层，显得凝重厚实。树木和茅亭的画法在王蒙、倪瓒之间，笔力雄劲，墨气沉厚。即使山顶的小树，也一一画出树干，各具形态，而不是元画中常见的以点为树的处理。整个画面具有既苍茫湿润又清灵爽利的特殊效果。",[24,109,110,86,87,90,270,30,34,91,33,112,531,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[97,276],{"id":919,"slug":920,"title":921,"dynasty":81,"author":140,"museum":159,"description":922,"tags":923,"thumbUrl":925,"material":306,"size":306,"collection":306,"collections":926,"showCount":927,"zanCount":11,"manualWeight":11,"mainColor":54},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池争标图","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[23,183,24,109,28,26,27,31,288,36,30,562,34,7,164,924],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],83,{"id":929,"slug":930,"title":931,"dynasty":81,"author":932,"museum":159,"description":933,"tags":934,"thumbUrl":935,"material":306,"size":306,"collection":306,"collections":936,"showCount":937,"zanCount":11,"manualWeight":11,"mainColor":54},227513,"ming-huang-bi-shu-gong-tu-zhou-guo-zhong-shu-227513","明皇避暑宫图轴","郭忠恕","《明皇避暑宫图》是北宋画家郭忠恕所创作的一幅墨笔画 ，现藏于大阪市立美术馆。\n《明皇避暑宫图》描绘唐明皇的避暑宫，背山面水，宏伟壮观。从图下的宫门向内，亭台楼阁、水榭宫室、长廊庭院，层层深入。单是屋脊斗拱，就不下十几座，无不刻画工细精确，结构严谨华丽。虽然楼阁密集，但有巨石、古树点缀其间，故而前后的层次清晰，加上左边的水色，与后山的空朦相映衬，却也疏密有致，雍容大度。\n《明皇避暑宫图》，勾线劲挺，虽说有界尺相助，但是众多的曲线，依然得徒手勾勒。",[23,24,109,110,28,26,27,90,31,7,34,91,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc3db0ed91249e6e8c0490e405536b5.jpg",[],82,{"id":939,"slug":940,"title":941,"dynasty":18,"author":656,"museum":127,"description":942,"tags":943,"thumbUrl":944,"material":945,"size":946,"collection":97,"collections":947,"showCount":937,"zanCount":259,"manualWeight":11,"mainColor":101},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[23,24,109,110,86,90,87,32,33,34,91,7,89,88,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纸本水墨","纵80厘米,横29.8厘米",[97,276],{"id":949,"slug":950,"title":951,"dynasty":178,"author":646,"museum":159,"description":952,"tags":953,"thumbUrl":956,"material":306,"size":306,"collection":306,"collections":957,"showCount":958,"zanCount":320,"manualWeight":11,"mainColor":54},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[23,183,24,109,110,26,27,28,30,31,32,33,90,34,954,270,955,63,315,7,39,821],"花卉","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],81,{"id":960,"slug":961,"title":962,"dynasty":178,"author":963,"museum":59,"description":964,"tags":965,"thumbUrl":966,"material":508,"size":967,"collection":306,"collections":968,"showCount":969,"zanCount":259,"manualWeight":11,"mainColor":54},214357,"san-jue-shan-shui-ce-3-hua-yan-214357","三绝山水册-3","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,109,204,86,27,90,7,43,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbbe74ad51b2f834a84bc920cbd5367.jpg","23.4x15.8",[],80,{"id":971,"slug":972,"title":973,"dynasty":178,"author":179,"museum":20,"description":974,"tags":975,"thumbUrl":980,"material":47,"size":981,"collection":97,"collections":982,"showCount":983,"zanCount":11,"manualWeight":11,"mainColor":101},218708,"qian-long-nan-xun-tu-yue-shi-huang-huai-he-gong-xu-yang-218708","乾隆南巡图-阅视黄淮河工","本卷以“御制恭依皇祖揽黄淮诗韵”为文,描绘乾隆皇帝渡过黄河后,当日和次日视察黄河、淮河、运河和洪泽湖四大水系汇合处险要工程的场景.本幅开卷的宽阔江面,全以细笔勾勒水波,缜密而不失丰富层次,其中江水因含沙量不同,一清一浑、泾渭分明,足称奇观.堤坝之上,皇帝立于华盖之下,心系社稷黎民；\n沿途群臣下跪翘首,感激皇威浩荡.卷前有词臣于敏中题诗：御碑亭畔汇清黄，仰溯涂山疏瀹方。端拱九重遑自逸，酬咨万姓切如伤。惟斯继述诚应勖，亦曰流连慎戒荒，高堰重蒙皇考建，千秋淮郡倚金汤。御制恭依皇祖览淮黄诗韵。臣于敏中奉敕敬书。",[23,24,109,25,26,27,28,168,976,114,562,7,30,36,34,163,977,165,978,979],"堤坝","旗帜","岸滩","水利工程","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bc9f5a94b12c79923f595bc701a8c2.jpg","68.8x1096.17cm",[97],79,{"id":985,"slug":986,"title":987,"dynasty":178,"author":988,"museum":704,"description":989,"tags":990,"thumbUrl":992,"material":47,"size":993,"collection":97,"collections":994,"showCount":995,"zanCount":259,"manualWeight":11,"mainColor":54},218264,"du-fu-shi-yi-tu-wang-yuan-qi-218264","杜甫诗意图","王原祁","层峦叠嶂间，干笔皴擦的远山如黛，云雾缭绕中透出苍劲之姿。山腰亭台隐于松竹深处，林木葱茏间藏文人栖居的意趣。近景山石以浓墨勾勒，皴染结合尽显厚重质感；虬松枝干盘曲，松针如簇，笔力遒劲。整幅画笔墨苍润，构图深远，将山水之清幽与诗意之境相融，尽显沉雄古逸的娄东派山水韵味，仿佛可闻林泉间的文人雅韵，观之如入静谧悠远的诗意山水世界。",[23,24,109,27,87,90,270,91,112,34,7,991],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e15a2b69c75609ee0d8554e5cc662c.jpg","321x92cm",[97],77,{"id":997,"slug":998,"title":999,"dynasty":178,"author":1000,"museum":704,"description":1001,"tags":1002,"thumbUrl":1005,"material":508,"size":1006,"collection":306,"collections":1007,"showCount":1008,"zanCount":259,"manualWeight":11,"mainColor":101},231483,"jiu-xi-feng-he-tu-hong-ren-231483","九谿峰壑图","弘仁","弘仁（1610-1664），俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后出家为僧，字无智，号渐江，又号梅花古衲。安徽歙县人。山水学宋元笔意，直追元代的倪瓒，多写黄山松石，为清初“四画僧”之一。\n\n所画山水有强烈的写实性，山石形状多取自他熟悉的黄山和武夷山，坚硬峭拔，石面干净。用笔多方折，墨色干而单，构图简洁，形成一种空旷冷郁的境界。",[24,109,90,355,86,87,1003,1004,506,91,7,89],"山峰","壑谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394a8eac2513dc3a8eac76d6356b43f.jpg","纵110.6厘米，横58.9厘米",[],73,{"id":1010,"slug":1011,"title":1012,"dynasty":81,"author":1013,"museum":127,"description":1014,"tags":1015,"thumbUrl":1016,"material":1017,"size":1018,"collection":151,"collections":1019,"showCount":1008,"zanCount":11,"manualWeight":11,"mainColor":54},221515,"hua-deng-shi-yan-tu-zhuang-biao-ma-yuan-221515","华灯侍宴图（装裱）","马远","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[23,24,109,26,27,90,31,34,30,28,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345c3f34a1ad94ec43a66b9c6788247.jpg","设色 墨本","111.9公分 横：53.5公分",[151,49,51],{"id":1021,"slug":1022,"title":1023,"dynasty":178,"author":1024,"museum":141,"description":1025,"tags":1026,"thumbUrl":1028,"material":240,"size":1029,"collection":49,"collections":1030,"showCount":1031,"zanCount":320,"manualWeight":11,"mainColor":101},216933,"bing-xi-tu-zhang-wei-bang-216933","冰嬉图","张为邦","这幅图像描绘了 龙射天球。在画的右侧，在人群的包围下，是皇帝的华丽冰床。在冰面上，旗手和弓箭手间隔排列，在冰面上绕圈滑行，游行队伍蜿蜒成龙的形状。冰面上有一道门，上面挂着一个球，叫做天球。当队伍走到这一步时，他们转过身来，向球射箭，射中者会得到奖励。游行过程中还包括杂技表演，如倒立、舞剑、腾空、中国旗帜和鹰心。",[23,26,27,25,30,1027,31,34,977,7,492,32],"冰面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b093624e4bb931e68fd779aaf95d99.jpg","36.5x563",[49],72,{"id":1033,"slug":1034,"title":1035,"dynasty":264,"author":415,"museum":1036,"description":1037,"tags":1038,"thumbUrl":1039,"material":306,"size":306,"collection":306,"collections":1040,"showCount":1041,"zanCount":11,"manualWeight":11,"mainColor":54},227598,"xi-shan-lan-re-tu-ju-ran-227598","溪山兰若图","美国克利夫兰艺术博物馆","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[23,24,86,90,110,87,390,391,392,7,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284d1d8ee4ace39214acee2790ee85be.jpg",[],70,{"id":1043,"slug":1044,"title":1045,"dynasty":18,"author":1046,"museum":127,"description":1047,"tags":1048,"thumbUrl":1051,"material":47,"size":1052,"collection":49,"collections":1053,"showCount":1041,"zanCount":259,"manualWeight":11,"mainColor":54},218528,"shan-ting-na-liang-tu-zhou-chen-218528","山亭纳凉图","周臣","图中显示，一块奇怪的石头直立着，被几株香蕉植物保护着。亭子里，一个有学问的人左手坐着，右手拿着一把羽扇，旁边放着一个卷轴、一本小册子和一个特瓦。他坐在地上，享受着寒冷的感觉。在亭子外面，孩子们伸出手臂为花瓶采摘棉花糖花，营造出一种轻松平静的气氛。签名：周晨。",[23,24,109,110,27,26,30,270,91,62,32,63,1049,7,1050],"植物","纳凉场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79d2558d621c11890f2a8f08fc3817e.jpg","95.9x58.9",[49],{"id":1055,"slug":1056,"title":1057,"dynasty":553,"author":1058,"museum":159,"description":1059,"tags":1060,"thumbUrl":1065,"material":566,"size":567,"collection":568,"collections":1066,"showCount":1067,"zanCount":259,"manualWeight":11,"mainColor":1068},225660,"rembrandt-harmensz-van-rijn-070-lun-bo-lang-225660","Rembrandt Harmensz.van Rijn - 070","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[558,1061,1062,1063,30,146,168,34,1064,710,7,692,562],"写实","明暗对比","光影","马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae5e59524e7feb1d6ef620dba60f43f.jpg",[568],69,"37474F",{"id":1070,"slug":1071,"title":1072,"dynasty":18,"author":599,"museum":441,"description":1073,"tags":1074,"thumbUrl":1075,"material":240,"size":1076,"collection":306,"collections":1077,"showCount":1067,"zanCount":259,"manualWeight":11,"mainColor":101},220019,"dong-zhuang-tu-ce-zhi-zhe-gui-qiao-shen-zhou-220019","东庄图册之折桂桥","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。",[23,24,86,27,204,90,32,33,131,445,7,30,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e6c408cd67552c039d8fa8da7af631.jpg","纵28.6厘米，横33厘米",[],{"id":1079,"slug":1080,"title":1081,"dynasty":249,"author":1082,"museum":428,"description":1083,"tags":1084,"thumbUrl":1085,"material":95,"size":1086,"collection":97,"collections":1087,"showCount":1067,"zanCount":259,"manualWeight":11,"mainColor":101},217264,"dan-tai-chun-xiao-tu-lu-guang-217264","丹台春晓图","陆广","陆广是元朝时期的一位著名的画家，他的作品《丹台春晓图》是他最著名的一幅画。这幅画描绘了丹台山的景色，山上有云雾缭绕，树木葱茏，小溪流动，鸟儿在枝头鸣叫。这幅画的色彩鲜艳，线条流畅，构图巧妙，深受人们喜爱。\n\n陆广在这幅画中运用了自然写生的技巧，使画面栩栩如生，栩栩如生。他还运用了虚实对比的手法，使画面更加丰富多彩。此外，他还运用了一些中国传统的画法，如重彩和写意画法，使这幅画更加独特。\n\n陆广的《丹台春晓图》不仅是他最著名的作品，也是元朝时期著名的艺术杰作之一。它不仅体现了陆广的才华，也反映了元朝时期艺术的发展。现在，这幅画被广泛收藏和展览，并且被认为是中国传统艺术的杰出代表作之一。",[24,109,110,86,87,90,91,34,32,33,7,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6a463b9955bf3520ee003ff8feb0ec.jpg","61.6x26cm",[97],{"id":1089,"slug":1090,"title":1091,"dynasty":178,"author":988,"museum":180,"description":1092,"tags":1093,"thumbUrl":1095,"material":255,"size":1096,"collection":97,"collections":1097,"showCount":1098,"zanCount":259,"manualWeight":11,"mainColor":101},224388,"shan-zhong-zao-chun-tu-wang-yuan-qi-224388","山中早春图","此画写重山复岭，纵向逶迤，松溪水榭，亭桥山居，错落其间，层次深远。构图平中带险，笔法秀劲，气韵苍润，色调沉着凝重，不失为晚年之佳作。",[23,24,472,27,87,390,391,34,253,269,7,93,271,1094],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb20b6bf1f9e17cdf68c0ce52a990f7.jpg","纵100cm，横44.7cm",[97],68,{"id":1100,"slug":1101,"title":1102,"dynasty":553,"author":1103,"museum":159,"description":1104,"tags":1105,"thumbUrl":1113,"material":566,"size":567,"collection":568,"collections":1114,"showCount":1115,"zanCount":11,"manualWeight":11,"mainColor":54},225700,"sha-mo-zhong-de-sheng-fang-ji-ge-qiao-fan-ni-bei-li-ni-225700","沙漠中的圣方济各","乔凡尼·贝利尼","乔凡尼·贝利尼，（Giovanni Bellini， 1430—1516）意大利威尼斯画派画家。代表作品有《在花园里苦恼》，《小树与圣母像》，《诸神之宴》等。",[558,1106,1061,27,30,269,34,7,145,692,1107,709,710,271,1108,1109,1110,1111,1112],"宗教","洞穴","峭壁","枯木","绿植","村庄","城堡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cc60d2e59375840eec3fddb295d915.jpg",[568],67,{"id":1117,"slug":1118,"title":1119,"dynasty":178,"author":1120,"museum":159,"description":1121,"tags":1122,"thumbUrl":1126,"material":306,"size":306,"collection":97,"collections":1127,"showCount":1128,"zanCount":11,"manualWeight":11,"mainColor":54},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,25,27,90,87,378,32,33,1123,270,91,92,34,1124,1125,7],"孤舟","鹤","鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[97,51],66,{"id":1130,"slug":1131,"title":1132,"dynasty":178,"author":1133,"museum":127,"description":1134,"tags":1135,"thumbUrl":1136,"material":1137,"size":1138,"collection":97,"collections":1139,"showCount":1128,"zanCount":320,"manualWeight":11,"mainColor":54},224488,"yun-bai-shan-qing-tu-juan-wu-li-224488","云白山青图卷","吴历","此幅山水画作於1668年（三十七岁），临摹古画功力极深，於青绿著色者尤有独到之处，气息颇近似宋元人作品，通卷皆用青绿红白重色，而能不觉躁浊，於清虚灵动中妙造自然。",[23,24,25,111,27,90,390,725,392,378,7,531,92,91,955,285,113,564,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f1f40e927b107f59c209c6dfc46117.jpg","白纸本","该幅25.9x117.2公分；隔水一14.6公分；隔水二 14.6公分",[97],{"id":1141,"slug":1142,"title":1143,"dynasty":249,"author":864,"museum":20,"description":1144,"tags":1145,"thumbUrl":1147,"material":1148,"size":1149,"collection":97,"collections":1150,"showCount":1128,"zanCount":11,"manualWeight":11,"mainColor":54},221757,"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","画中群山连绵，一片苍茫。近处山水相连，绿树仓翠，岸边草房几间，人影绰绰。盛懋，字子昭，元代画家，善画人物、山水、花鸟等，其画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,24,183,25,86,87,90,32,33,1123,34,7,1146,378,517],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","绢本水墨","30.8x475.3cm",[97,276],{"id":1152,"slug":1153,"title":1154,"dynasty":18,"author":599,"museum":441,"description":1073,"tags":1155,"thumbUrl":1157,"material":240,"size":1076,"collection":306,"collections":1158,"showCount":1128,"zanCount":11,"manualWeight":11,"mainColor":101},220027,"dong-zhuang-tu-ce-ting-zi-ping-shen-zhou-220027","东庄图册-艇子洴",[23,24,86,204,87,90,445,7,562,1156,832],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083fb5e331396661ac55295f09115283.jpg",[],{"id":1160,"slug":1161,"title":1162,"dynasty":178,"author":364,"museum":141,"description":1163,"tags":1164,"thumbUrl":1166,"material":47,"size":1167,"collection":97,"collections":1168,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":54},218383,"han-jiang-sheng-lan-tu-yuan-yao-218383","邗江胜览图","这是一幅纪实性的作品，属袁耀早期作品。在清代中期，扬州作为江南地区的交通枢纽和商业重镇，其繁华发达称冠一时，同时也是当时的文化艺术中心之一。画家采用俯视的角度，将古扬州城北郊的景物尽收眼底。画面中扬州城为群山河流环绕，近景、中景、远景层层展现，气势宏大。袁耀素以描绘富丽堂皇的宫室楼阁著称，在这幅纪实作品中，却表现出了一种朴素的风貌。但用笔技巧绝无松懈，每一处细节都刻画入微，房屋、树木、舟船、桥梁、人物、车马等具体逼真，情趣生动。",[23,24,109,28,27,26,90,31,34,168,7,36,1165],"田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a1efb12e3fe0448aa90a94d80be4ee.jpg","纵165.2厘米，横262.8厘米",[97],65,{"id":1171,"slug":1172,"title":1173,"dynasty":18,"author":1174,"museum":127,"description":1175,"tags":1176,"thumbUrl":1178,"material":27,"size":1179,"collection":97,"collections":1180,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":101},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,109,25,27,87,90,32,31,34,91,271,1177,7,113,114,93],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[97,276],64,{"id":1183,"slug":1184,"title":1185,"dynasty":18,"author":599,"museum":441,"description":1073,"tags":1186,"thumbUrl":1187,"material":508,"size":1188,"collection":306,"collections":1189,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":101},220021,"dong-zhuang-tu-ce-zhi-xu-gu-tang-shen-zhou-220021","东庄图册之续古堂",[23,24,109,204,27,86,87,90,270,131,392,91,7,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23226a9c2a97b03509df6c47524c86ca.jpg","28.6cm×33cm",[],{"id":1191,"slug":1192,"title":1193,"dynasty":18,"author":599,"museum":441,"description":1073,"tags":1194,"thumbUrl":1195,"material":240,"size":1076,"collection":306,"collections":1196,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":101},220015,"dong-zhuang-tu-ce-zhi-quan-zhen-guan-shen-zhou-220015","东庄图册之全真馆",[24,183,109,204,86,87,90,32,33,1123,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa56a8e013ec5b636a42d259b11e4c21.jpg",[],{"id":1198,"slug":1199,"title":1200,"dynasty":81,"author":1201,"museum":1202,"description":1203,"tags":1204,"thumbUrl":1205,"material":47,"size":1206,"collection":49,"collections":1207,"showCount":1181,"zanCount":210,"manualWeight":11,"mainColor":1068},218606,"wu-bai-luo-han-zhi-jing-dian-qi-rui-tu-lin-ting-gui-218606","五百罗汉之经典奇瑞图","林庭珪","波士顿美术馆","画板中央是一座三层的砖塔，其中一部道教经书已被烧成灰烬，而一部佛教经书则完好无损，熠熠生辉。聚集在宝塔周围的四位罗汉（佛教经文）双手紧握以示喜悦，而另一位罗汉则向两位官员解释情况。右下角的三个道士很震惊。所描绘的场景取自《佛祖传》中提到的焚经比道的著名典故：（永平十五年）正月初一，五岳道士朱善心等人摆出桌子，进行比对。...... 当年道士等将真谛五术福智五百零九卷，毛成子等二十七家二百三十五卷，通共七百四十八卷，放在坛上。这本书被放在祭坛上，朱棣和费祎的弟子们烧香放火。诸子道书灰飞烟灭，楚、费二人从之感而死。接下来将是梵文的火书和赫拉克勒斯，作为一个新的展台，更加明亮和纯净。当时，摩腾法师的神奇变身凌空而起，冷不丁的一句话：，狐狸不是大师级的，灯不是太阳和月亮的光。池子不是巨大的海，山不是蝴蝶的山。达摩的云彩笼罩着世界，美好的种子绽放。达摩的显现无处不在，改造着众生。即使是佛法、戒律和其他神力的宣扬，也让许多出家的人感到惊讶。",[23,183,24,109,1106,28,27,30,91,112,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg","111.5x53.1",[49],{"id":1209,"slug":1210,"title":1211,"dynasty":81,"author":1013,"museum":428,"description":1212,"tags":1213,"thumbUrl":1214,"material":47,"size":1215,"collection":306,"collections":1216,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":101},218064,"song-di-ming-ti-ce-si-ma-yuan-218064","宋帝命题册(四)","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。",[23,24,109,204,27,472,390,31,34,112,271,7,89,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ea61e29236947548d533291b9864bb.jpg","纵28厘米、横27厘米",[],{"id":1218,"slug":1219,"title":125,"dynasty":249,"author":646,"museum":127,"description":1220,"tags":1221,"thumbUrl":1222,"material":47,"size":1223,"collection":49,"collections":1224,"showCount":1225,"zanCount":259,"manualWeight":11,"mainColor":54},214667,"sui-chao-tu-yi-ming-214667","这幅画描绘了元旦的热闹场面，村子里人山人海，喜气洋洋，老老少少欢天喜地地迎接春天。从笔触和服装来看，这幅画是由明代仇英画派的画家所作。",[24,27,26,90,30,31,506,39,285,270,378,91,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5571aa43f0fbb8334aac6f762fc1a525.jpg","146.5x45.3",[49],63,{"id":1227,"slug":1228,"title":1229,"dynasty":1230,"author":646,"museum":159,"description":1231,"tags":1232,"thumbUrl":1234,"material":566,"size":567,"collection":306,"collections":1235,"showCount":1236,"zanCount":11,"manualWeight":11,"mainColor":54},223909,"song-shan-hua-shan-shui-tu-yi-shou-jing-mu-tuo-fu-jian-yi-ming-223909","嵩山画山水图，益寿镜木托附件","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[24,109,27,26,90,31,32,33,34,91,7,1233],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],62,{"id":1238,"slug":1239,"title":1240,"dynasty":178,"author":646,"museum":141,"description":1241,"tags":1242,"thumbUrl":1246,"material":728,"size":1247,"collection":306,"collections":1248,"showCount":1249,"zanCount":11,"manualWeight":11,"mainColor":54},236168,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236168","雍正十二月行乐图轴","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,26,27,28,87,90,31,30,131,91,33,378,39,7,34,457,1243,1244,63,285,1245],"石桥","人物活动","竹丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c3e8128a600870ae2951e88c5416b8.jpg","纵188.2厘米，横102.2厘米",[],61,{"id":1251,"slug":1252,"title":1253,"dynasty":553,"author":554,"museum":159,"description":555,"tags":1254,"thumbUrl":1264,"material":566,"size":567,"collection":568,"collections":1265,"showCount":1249,"zanCount":11,"manualWeight":11,"mainColor":54},225898,"argenteuil-late-afternoon-1872-mo-nai-225898","Argenteuil, Late Afternoon, 1872",[557,558,1063,1255,1256,168,1257,34,7,1258,1259,1260,692,710,562,36,1261,1262,1263],"色彩明快","笔触松散","帆船","烟囱","倒影","傍晚","工厂建筑","河岸","余晖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc7885977dc6034e2c69f48a941935d.jpg",[568],{"id":1267,"slug":1268,"title":1269,"dynasty":178,"author":1270,"museum":159,"description":1271,"tags":1272,"thumbUrl":1277,"material":306,"size":306,"collection":306,"collections":1278,"showCount":1249,"zanCount":11,"manualWeight":11,"mainColor":101},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","袁江","《梁园飞雪图》是清代画家 创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,183,24,109,28,26,27,90,31,635,676,34,7,39,91,1273,1274,1275,1276,163,459],"长廊","古建","积雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":1280,"slug":1281,"title":1282,"dynasty":178,"author":818,"museum":127,"description":819,"tags":1283,"thumbUrl":1286,"material":149,"size":823,"collection":97,"collections":1287,"showCount":1249,"zanCount":11,"manualWeight":11,"mainColor":54},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[23,183,24,26,27,28,879,30,31,90,637,34,39,285,1284,63,91,1285,7,1244],"台阶","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[97,51],{"id":1289,"slug":1290,"title":1291,"dynasty":178,"author":387,"museum":106,"description":388,"tags":1292,"thumbUrl":1293,"material":240,"size":395,"collection":97,"collections":1294,"showCount":1249,"zanCount":11,"manualWeight":11,"mainColor":101},220001,"shan-shui-hua-fang-mi-you-ren-wang-shi-min-220001","山水画-仿米友仁",[24,109,86,29,90,390,391,34,112,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6726d39f7aa7017108d87a88825bc186.jpg",[97],{"id":1296,"slug":1297,"title":1298,"dynasty":264,"author":646,"museum":127,"description":1299,"tags":1300,"thumbUrl":1306,"material":47,"size":1307,"collection":49,"collections":1308,"showCount":1309,"zanCount":259,"manualWeight":11,"mainColor":54},216986,"xian-xiu-san-xing-tu-yi-ming-216986","线绣·三星图","画上绣有十九个人，场景从上到下分为四层，第一层从左到右分别是禄、福、寿三颗星。身穿绿色斗篷的 若 星挥舞着羽毛扇，一只鹿跪在他身边，嘴里叼着一朵花，鹿 与 若 谐音，代表着职业道路。中间站着的幸运星，身穿宽大的蓝袍，带着玉柄和带流苏的葫芦形皇冠，象征着运气的延续。右边是微笑着的慈祥老人--长寿星，手持绣有 福禄寿 字样的玉盘，前面是一只手持 寿 字的仙鹤，象征着长寿。",[1301,27,1106,30,253,32,1125,1302,1303,1304,1305,7],"线绣","鸟","祥云","兽","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea885cec07fde0e2c751ced9d734b95.jpg","194.3x111.2",[49],60,{"id":1311,"slug":1312,"title":1313,"dynasty":178,"author":1314,"museum":141,"description":1315,"tags":1316,"thumbUrl":1319,"material":728,"size":1320,"collection":51,"collections":1321,"showCount":1322,"zanCount":11,"manualWeight":11,"mainColor":101},238228,"hong-li-xing-le-tu-zhou-zhang-ting-yan-238228","弘历行乐图轴","张廷彦","此画描绘了乾隆皇帝在园囿中休闲自娱的场面。深秋的庭院，林木依旧繁茂，色彩十分丰富。中年的皇帝闲坐于廊下观赏庭中景致，若有所思，桌案上已经铺设了纸砚，一童子侍立，手执拂尘，一童子正捧书册而至。画中楼阁桥梁以直尺界笔描绘，融明代仇英的传统建筑画技法与海西透视法于一体，工致而不呆板。",[24,109,110,27,26,28,1317,30,31,34,39,1318,7,1244],"清代","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238dc91c650fc7be74daa9b715d2f6b8.jpg","纵119.1厘米，横213厘米",[51],59,{"id":1324,"slug":1325,"title":1326,"dynasty":81,"author":646,"museum":159,"description":1327,"tags":1328,"thumbUrl":1329,"material":47,"size":1330,"collection":49,"collections":1331,"showCount":1322,"zanCount":320,"manualWeight":11,"mainColor":54},218449,"rui-ying-tu-yi-ming-218449","瑞应图","服饰、服装、建筑和家具都是典型的宋代制度。画风古朴，以绿色为背景，以树木和流云为组合，大量镀金和重彩绘制，都是五代初期和北宋时期的风格。",[24,183,27,28,26,30,31,32,34,91,7,1303,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cd80077892a3a20c59217572e0e60d9.jpg","35x56.5",[49],{"id":1333,"slug":1334,"title":1335,"dynasty":178,"author":646,"museum":141,"description":1336,"tags":1337,"thumbUrl":1340,"material":306,"size":1341,"collection":306,"collections":1342,"showCount":1343,"zanCount":11,"manualWeight":11,"mainColor":101},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","瑞雪轻覆朱宫翠檐，琼枝素裹，将御苑晕作琉璃天地。整幅画笔致工细入微，殿宇雕梁画栋分毫毕现，人物衣袂鲜活灵动。岁朝佳节间，众人或围聚展玩古玩，或信步笑谈，稚童嬉闹于阶前，暖阁中老者安坐闲话，融融暖意漫过银装素裹的苑囿，将年节的雍容闲适与团圆意趣铺陈得鲜活生动，清冷雪景晕染下，更衬出岁朝的温情缱绻，尽显雅致年味。",[24,27,26,28,110,90,30,31,270,34,635,39,955,63,91,7,1275,1338,1339],"行乐","宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],58,{"id":1345,"slug":1346,"title":1347,"dynasty":18,"author":1348,"museum":180,"description":1349,"tags":1350,"thumbUrl":1351,"material":728,"size":1352,"collection":97,"collections":1353,"showCount":1343,"zanCount":11,"manualWeight":11,"mainColor":54},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","戴进","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,183,24,109,110,86,27,87,90,270,32,33,34,92,30,91,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[97,276],{"id":1355,"slug":1356,"title":1357,"dynasty":178,"author":364,"museum":141,"description":1358,"tags":1359,"thumbUrl":1360,"material":728,"size":1361,"collection":97,"collections":1362,"showCount":1363,"zanCount":11,"manualWeight":11,"mainColor":101},236719,"shan-shui-lou-ge-zhou-yuan-yao-236719","山水楼阁轴","此图是袁耀中年时期创作的大幅画作。绘高山峻岭，山石陡峭，树木葱郁，楼阁华丽壮观，境界幽美。图中用笔严谨精到，山水以工笔画出，墨色富于浓淡变化，明净雅致，意境恬淡，别有一番韵致。",[24,28,27,26,87,90,31,91,34,168,1123,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2cab51c3f5a3bcd636d980beb75aed.jpg","纵202.3厘米，横118.5厘米",[97,51],57,{"id":1365,"slug":1366,"title":1367,"dynasty":178,"author":1368,"museum":159,"description":1369,"tags":1370,"thumbUrl":1371,"material":306,"size":306,"collection":306,"collections":1372,"showCount":1363,"zanCount":259,"manualWeight":11,"mainColor":101},229034,"shan-shui-lou-ge-tu-ce-chen-mei-229034","山水楼阁图册","陈枚","朱楹黄瓦的殿宇层叠错落，界笔勾勒工整流丽，台磴之上的小人三两，为深庭晕开细碎烟火。中景平湖如镜，枯木疏朗映于水面，板桥衔起村郭，行人缓步，将皇家苑囿的华贵揉进乡野清趣。\n\n远景山峦晕染如烟，似被流云轻裹，墨色由浓转淡，与天际融作一处。工笔重彩糅合浅绛晕染，明雅清润的设色下，殿宇的富丽与林泉的清逸相映成趣，将楼阁的精巧与山水的悠远调和得恰到好处，尽展清妍秀逸的幽隽意境。",[24,28,27,26,204,89,90,31,32,34,91,7,39,112,271,506,955,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":1374,"slug":1375,"title":1376,"dynasty":81,"author":1377,"museum":159,"description":1378,"tags":1379,"thumbUrl":1381,"material":27,"size":1382,"collection":151,"collections":1383,"showCount":1384,"zanCount":11,"manualWeight":11,"mainColor":54},221424,"shan-shui-tu-ye-yan-wen-gui-221424","山水图页","燕文贵","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,183,24,109,204,27,87,90,34,7,36,271,1380,269],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[151,97,276],56,{"id":1386,"slug":1387,"title":1388,"dynasty":178,"author":1389,"museum":141,"description":1390,"tags":1391,"thumbUrl":1393,"material":728,"size":1394,"collection":306,"collections":1395,"showCount":1396,"zanCount":11,"manualWeight":11,"mainColor":54},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","姚文瀚","此图卷描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同的享乐生活。布局巧妙，境界幽曲，将人物、山水、楼台亭阁、春夏秋冬的不同树木花卉及其景色容于一卷。精心刻划，形象生动，笔墨工细，赋彩随类，颇为自然。人物虽小，然曲尽各种姿态，形神俱备，景物虽繁，然疏密有度，为烘托人物的各种游乐活动而恰到好处。确是精心经营的佳作。\n姚文瀚，号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画，《石渠宝笈》著录其曾作《仿清明上河图》卷，文瀚于群工角艺之时，胸具别裁，画成缩本，乾隆喜而题诗并注：“此卷较择端原本尺幅纵横倍减，而临摹毕肖，人物益小，尤见精能。”尝画《梧阴清暇图》轴、《春朝婴戏图》轴、《岁朝欢喜图》轴、《观音像》轴、《文殊像》轴等。乾隆十七年（1752）尝作《仿宋人文会图》卷，二十六年（1761）作《紫光阁锡宴图》卷。\n传世作品有《四序图》卷，绢本，设色，描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同之悠闲生活、构思巧妙，意境幽曲，刻画细腻，形象生动，笔墨工整，设色典雅。此作人物虽小，然曲尽姿态，形神兼备，现藏故宫博物院。",[23,24,25,27,26,28,30,31,90,34,672,42,39,91,163,671,238,7,459,832,1392],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],55,{"id":1398,"slug":1399,"title":1400,"dynasty":426,"author":646,"museum":1401,"description":1402,"tags":1403,"thumbUrl":1408,"material":566,"size":567,"collection":306,"collections":1409,"showCount":1396,"zanCount":320,"manualWeight":11,"mainColor":54},226346,"ku-zhu-shi-dong-pi-yi-ming-226346","窟主室东披","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[1404,1106,27,26,30,1405,1406,7,1407,378,1304],"壁画","飞天","神兽","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869fcb1f31f310d321bb9bdc58817750.jpg",[],{"id":1411,"slug":1412,"title":1413,"dynasty":426,"author":1414,"museum":141,"description":1415,"tags":1416,"thumbUrl":1417,"material":206,"size":1418,"collection":97,"collections":1419,"showCount":1396,"zanCount":11,"manualWeight":11,"mainColor":101},221100,"jiu-cheng-bi-shu-tu-ye-li-si-xun-221100","九成避暑图页","李思训","本幅无款识，右裱边项子京题：“唐云麾将军李思训画京畿瑞雪图，宋宣和御府藏物也，定为神品第一。\n古胥山樵项圣谟获于梅花和尚塔前，得秘玩焉，百金亦勿与易。\n” 扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。\n这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。\n正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。\n在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。\n有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[23,24,111,27,90,28,31,114,34,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2acc632af78cc169721bcff835e47cd6.jpg","纵28.5厘米，横31.6厘米",[97,51],{"id":1421,"slug":1422,"title":1423,"dynasty":18,"author":1424,"museum":1425,"description":1426,"tags":1427,"thumbUrl":1428,"material":240,"size":1429,"collection":97,"collections":1430,"showCount":1431,"zanCount":11,"manualWeight":11,"mainColor":101},219929,"fang-wang-meng-shan-shui-tu-lu-zhi-219929","仿王蒙山水图","陆治","香港艺术馆","陆治，生于明弘治九年（1496）。先世河南开封人。高祖父陆定，遁眷来吴门，宅于包山。父陆铭，字汝新，号有竹。受《易》于文洪，学养冠于郡诸生。纯孝笃义，综博工文，弟子黄省等多为名士。陆治居家为长子，家学渊源，又为祝允明、文徵明弟子，以诸生为名士。倜傥嗜义，以孝友著称。少喜游历，晚年隐居，种菊于文硎山。万历四年（1576年）卒。",[24,109,110,27,87,90,390,391,92,34,91,270,30,749,7,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4a5d49c35fa8d620e4d5c40c0a0ba0.jpg","122.5x35.5",[97],52,{"id":1433,"slug":1434,"title":1435,"dynasty":81,"author":646,"museum":127,"description":1436,"tags":1437,"thumbUrl":1438,"material":47,"size":1439,"collection":49,"collections":1440,"showCount":1441,"zanCount":11,"manualWeight":11,"mainColor":54},220424,"du-fu-li-ren-xing-tu-yi-ming-220424","杜甫丽人行图","《丽人行》是唐代大诗人杜甫的作品，约作于唐天宝十二载（753年）。此诗通过描写杨氏兄妹曲江春游的情景，揭露了统治者荒淫腐朽作威作福的丑态，从一个角度反映了安史之乱前夕的社会现实。诗分三段：先泛写游春仕女的体态之美和服饰之盛，引出主角杨氏姐妹的娇艳姿色；次写宴饮的豪华及所得的宠幸；末写杨国忠的骄横。全诗场面宏大，鲜艳富丽，笔调细腻生动，讽刺含蓄不露，通篇只是写“丽人”们的生活情形，却达到了如前人所说“无一刺讥语，描摹处语语刺讥；无一慨叹声，点逗处声声慨叹”的艺术效果。",[23,24,109,183,328,26,27,90,30,7,34,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd607f74f9590044dbe2c25f94a50f5f.jpg","40.1x41厘米",[49,51],50,{"id":1443,"slug":1444,"title":1445,"dynasty":18,"author":1424,"museum":1446,"description":1447,"tags":1448,"thumbUrl":1449,"material":240,"size":1450,"collection":97,"collections":1451,"showCount":1452,"zanCount":11,"manualWeight":11,"mainColor":101},218089,"shan-shui-tu-lu-zhi-218089","山水图","金贝尔艺术博物馆","陆治的山水图以其细腻的线条、精细的绘制技巧和浓郁的气韵而闻名。他对自然的描绘十分精确，能够将山川、河流、草木、云彩和其他自然元素都表现得十分逼真。他的作品中常常会出现山峰突出的场景，比如《凌云图》中的高峰，以及《雁荡图》中的荡秋千的山峰。\n\n陆治还善于表现水的流动，他的作品中常常会出现河流奔流的场景。他还会把水和山结合起来，比如在《凌云图》中就有悬崖峭壁上流出的小溪，以及《雁荡图》中的湖泊和山峰的结合。\n\n总的来说，陆治的山水图以其精细的绘制技巧和浓郁的气韵而闻名，是明朝山水画的巅峰之作。",[23,24,472,87,86,91,34,163,7,92,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76928577a7dc880899d9fd527dc9dd1.jpg","139x69.9cm",[97],49,{"id":1454,"slug":1455,"title":1456,"dynasty":178,"author":646,"museum":159,"description":1457,"tags":1458,"thumbUrl":1459,"material":306,"size":306,"collection":306,"collections":1460,"showCount":1461,"zanCount":259,"manualWeight":11,"mainColor":54},230300,"wan-guo-lai-chao-tu-yi-ming-230300","万国来朝图","《万国来朝图》是清代宫廷佚名画家创作的绢本设色画，现藏于 。\n《万国来朝图》，将万国来朝使团朝贡的场景绘于画面，场面宏大十分热闹。\n画面显示，每到元旦朝贺庆典，各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见；充分展示出宫廷建筑群的宏伟壮观和天朝大国、万国来朝的盛世气派。\n《万国来朝图》包含了远西诸国（荷兰、英吉利、法兰西）、周边诸国（日本、朝鲜、安南），而荷兰、英吉利、法兰西又都是带口子边的，在贬低他国的同时直接反映了清朝以天朝上国自居的自大心态。\n该画作在大雪银装素裹下更加庄严雄伟；太和殿前皇家侍卫身着华服、排列整齐，文武百官肃立静候待命；乾隆帝安闲地坐在后宫屋檐下靠椅上喝茶休憩，准备前往太和殿接见各国使臣；后宫人物众多，女眷们身着吉服三五成群或闲聊、或看热闹，孩子们兴高采烈的或嬉戏、或放鞭炮，太监宫女们各司其位或忙碌于元旦准备工作、或穿梭于庭院回廊；各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见。\n队伍前面有一只经过精心装扮的高大威猛的大象显得神气十足，大象上坐着一人正与同伴交谈着什么。\n画面将万国来朝的宾客们巧妙地安排在画幅四分之一处的右下角，延展出画外仍有众多宾客，场面宏大十分热闹。\n在我国历史上，历朝历代的元旦同样是宫廷最为重要的节日之一。\n具体到大清王朝紫禁城里的元旦，从本质上讲与民间并无二致，只是多了份典礼式的庄严和肃穆，活动多以规模宏大盛典形式表现。\n收藏的几幅由清代宫廷画家绘制的《万国来朝图》，就是对紫禁城内元旦朝贺活动的形象记录。\n赏析这些画作，可以使我们对当年位居九五之尊的皇帝如何过元旦，获得一些感性认识。\n据专家考证，为了宏扬清朝政府的威德，展现“四夷宾服、万国来朝”的繁荣景象，在乾隆帝授意下，宫廷画家们先后创作了多幅向清国朝贺、歌功颂德的绘画，作品之间只是在细节上略微有所不同。\n从画面中可以看出，元旦朝贺庆典是在紫禁城内举行，作者以鸟瞰的角度全景式构图，运用传统工笔界画的表现技法，大胆地通过对个别宫殿适当挪位、变换角度、压缩，通过宏观和微观将主要建筑和场景尽量容纳其中，展示出宫廷建筑群的宏伟壮观和皇家气派、将不同时间段来朝使团朝贡的场景绘于画面，集中表达兴盛之意。\n纵观整体画面，层次丰富、主次分明，准确传神地将各种元素巧妙地组合，将数以百计的人物安排得恰到好处、刻画得细腻入；整幅画作呈现出祥和的景象，淋漓尽致地营造出乾隆年间紫禁城元旦朝贺庆典的热闹场景，给观者强烈的艺术感染力、留下深刻印象。",[23,24,26,27,28,30,31,164,39,34,635,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aff9949ab70c37e5214da467c0091b5.jpg",[],48,{"id":1463,"slug":1464,"title":1465,"dynasty":426,"author":646,"museum":1401,"description":1402,"tags":1466,"thumbUrl":1467,"material":566,"size":567,"collection":306,"collections":1468,"showCount":1461,"zanCount":259,"manualWeight":11,"mainColor":54},226283,"ku-zhu-shi-bei-bi-yi-ming-226283","窟主室北壁",[24,109,183,1404,1106,28,27,30,31,90,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20a829b1e7a26c782be3b06a09edbd8.jpg",[],{"id":1470,"slug":1471,"title":1472,"dynasty":178,"author":668,"museum":704,"description":1473,"tags":1474,"thumbUrl":1477,"material":206,"size":1478,"collection":49,"collections":1479,"showCount":1461,"zanCount":259,"manualWeight":11,"mainColor":54},222875,"xue-yan-tu-leng-mei-222875","雪艳图","冷枚，清代宫廷画家，大约生于1669年，卒于1742年。字吉臣，号金门画史，山东胶州人，焦秉贞弟子。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼",[24,109,110,1317,26,27,30,220,1475,1476,91,7],"侍女","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f985d1b3640c0897853b0e606f7428.jpg","60cmx105cm",[49],{"id":1481,"slug":1482,"title":1483,"dynasty":81,"author":646,"museum":704,"description":1484,"tags":1485,"thumbUrl":1488,"material":47,"size":1489,"collection":97,"collections":1490,"showCount":1461,"zanCount":259,"manualWeight":11,"mainColor":1068},219185,"qiu-shan-xiao-si-tu-yi-ming-219185","秋山萧寺图","本图开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致，诗意盎人。",[23,24,109,25,90,86,87,27,390,34,168,1486,7,1487,112,271],"小船","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1a563b0831e9d4722ca61818753b6.jpg","41.7x237.2",[97],{"id":1492,"slug":1493,"title":1494,"dynasty":178,"author":646,"museum":159,"description":1495,"tags":1496,"thumbUrl":1501,"material":240,"size":306,"collection":97,"collections":1502,"showCount":1461,"zanCount":11,"manualWeight":11,"mainColor":101},215861,"xi-yang-jian-wen-tu-hui-shan-shui-juan-yi-ming-215861","西洋见闻图绘-山水卷","长卷铺展，海天一色间山峦错落，岛屿星罗。水墨晕染的峰峦间，藏着红瓦聚落、挺拔灯塔，中西帆船往来于碧波之上，帆影点点。传统散点透视下，异域风光与东方笔墨相融——苍劲的树木、层叠的山石是中式山水的韵致，而港口的布局、船只的形制又带着西洋印记。淡蓝的水色衬着赭黄的山岗，清润雅致中，流动着海上贸易的鲜活气息。这幅作品以东方视角记录异域见闻，既是笔墨的诗意表达，亦是中西文化碰撞的视觉见证，于舒展的画卷里，藏着时代的风物与交流的温度。",[23,24,25,27,26,90,855,36,7,34,1497,1498,1257,691,1499,114,113,285,1500,977],"灯塔","港口","海面","海岸线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ed23f974fe4e3f09f3a7e2f129b61d.jpg",[97],{"id":1504,"slug":1505,"title":1506,"dynasty":178,"author":1270,"museum":704,"description":1507,"tags":1508,"thumbUrl":1510,"material":206,"size":1511,"collection":306,"collections":1512,"showCount":1513,"zanCount":11,"manualWeight":11,"mainColor":54},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[23,28,26,27,90,31,270,34,91,1509,32,39,7,271],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 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厘米",[],46,{"id":1515,"slug":1516,"title":1517,"dynasty":426,"author":646,"museum":1401,"description":1402,"tags":1518,"thumbUrl":1525,"material":566,"size":567,"collection":306,"collections":1526,"showCount":1513,"zanCount":259,"manualWeight":11,"mainColor":54},226348,"ku-zhu-shi-bei-pi-yi-ming-226348","窟主室北披",[1404,1106,27,26,1519,30,1405,1406,378,1303,7,1520,1521,1522,1523,1524],"唐代","几何纹样","瑞兽","装饰图案","线条细腻","色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dee5749a1bb0bce30056a627f7997a2.jpg",[],{"id":1528,"slug":1529,"title":1530,"dynasty":178,"author":794,"museum":159,"description":1531,"tags":1532,"thumbUrl":1534,"material":306,"size":306,"collection":306,"collections":1535,"showCount":1536,"zanCount":259,"manualWeight":11,"mainColor":54},229018,"song-shan-cao-tang-tu-li-zhou-wang-hui-229018","嵩山草堂图立轴","此作以高远、深远之法铺展画面，主峰奇崛巍峨，层岩叠嶂间流泉隐现，尽显山川雄浑苍劲。苍松虬曲盘桓，枝叶繁茂掩映山居草堂，山道萦回穿梭林麓，藏露有度。山脚烟岚轻笼水渚，村居错落生息，晕染出幽寂的林下栖居意趣。\n笔墨糅合南北二宗意趣，干笔皴擦勾勒山石肌理，苔点攒簇皴染，朴拙厚重中不失秀润灵韵，将山野林泉的隐逸雅致与山川壮美联为一体，尽显林泉幽居的清逸意境。",[23,24,109,110,27,87,90,91,34,253,405,7,1533,531],"竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537957a672adead014ed280a86cc9ac3.jpg",[],45,{"id":1538,"slug":1539,"title":1540,"dynasty":178,"author":794,"museum":159,"description":1541,"tags":1542,"thumbUrl":1547,"material":306,"size":306,"collection":306,"collections":1548,"showCount":1536,"zanCount":259,"manualWeight":11,"mainColor":54},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,1543,27,87,86,26,1544,114,93,1545,163,34,91,285,112,1546,7,92],"清代山水画","传统山水技法","白云","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],{"id":1550,"slug":1551,"title":1552,"dynasty":178,"author":215,"museum":216,"description":217,"tags":1553,"thumbUrl":1560,"material":206,"size":229,"collection":306,"collections":1561,"showCount":1536,"zanCount":11,"manualWeight":11,"mainColor":101},223071,"hong-lou-meng-57-sun-wen-223071","红楼梦57",[23,24,26,27,25,30,146,7,34,39,808,1554,1555,1556,163,70,253,1557,1558,1559,45],"场景画","古代服饰","户外场景","古典建筑","群像","鞍马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7449b7a68c5da3b640620fef4f209e9.jpg",[],{"id":1563,"slug":1564,"title":1565,"dynasty":178,"author":1566,"museum":159,"description":1567,"tags":1568,"thumbUrl":1570,"material":566,"size":567,"collection":306,"collections":1571,"showCount":1572,"zanCount":11,"manualWeight":11,"mainColor":101},235284,"ren-wu-gu-shi-ce-fan-xue-yi-235284","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。",[24,109,204,27,26,30,31,39,954,63,220,7,392,1569],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4969cf7e7182473f0293efe286f13572.jpg",[],44,{"id":1574,"slug":1575,"title":1576,"dynasty":81,"author":1013,"museum":159,"description":1577,"tags":1578,"thumbUrl":1580,"material":306,"size":306,"collection":306,"collections":1581,"showCount":1572,"zanCount":259,"manualWeight":11,"mainColor":54},227818,"chun-you-fu-shi-tu-juan-ma-yuan-227818","春游赋诗图卷","《春游赋诗图·溪山无尽图》是216年中信出版集团、中信出版社出版的图书，作者是马远。\n《春游赋诗图》描绘乡间春景：枝头萌绿，万象更新，柳条飘拂，新竹摇曳，溪水潺湲，小桥连岸。\n路上有驮物的驴马，水中有渔归的小舟，但在廊前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,109,25,26,87,30,34,32,33,91,7,146,1123,1579,253,506,168,978],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],{"id":1583,"slug":1584,"title":1585,"dynasty":178,"author":364,"museum":141,"description":1586,"tags":1587,"thumbUrl":1588,"material":728,"size":1589,"collection":97,"collections":1590,"showCount":1572,"zanCount":11,"manualWeight":11,"mainColor":54},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[23,24,109,110,28,27,26,87,90,31,32,91,34,112,30,238,7,113,114,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[97,51],{"id":1592,"slug":1593,"title":1594,"dynasty":18,"author":1595,"museum":159,"description":1596,"tags":1597,"thumbUrl":1598,"material":566,"size":567,"collection":306,"collections":1599,"showCount":1600,"zanCount":11,"manualWeight":11,"mainColor":101},228497,"shi-hu-yuan-xiao-tu-li-shi-da-228497","石湖元宵图","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[23,183,24,86,27,26,28,30,31,32,270,445,33,39,34,7,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d224efb8b4d7931ad464765d30dc4d.jpg",[],43,{"id":1602,"slug":1603,"title":1604,"dynasty":178,"author":1605,"museum":1606,"description":1607,"tags":1608,"thumbUrl":1611,"material":95,"size":1612,"collection":97,"collections":1613,"showCount":1600,"zanCount":259,"manualWeight":11,"mainColor":101},220098,"zong-qing-qiu-he-tu-xiao-yun-cong-220098","纵情丘壑图","萧云从","洛杉矶博物馆","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[23,24,109,25,86,87,90,91,34,285,36,271,1609,253,1610,112,978,7,30],"近水","丘壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[97],{"id":1615,"slug":1616,"title":1617,"dynasty":18,"author":1618,"museum":483,"description":1619,"tags":1620,"thumbUrl":1622,"material":240,"size":1623,"collection":97,"collections":1624,"showCount":1600,"zanCount":11,"manualWeight":11,"mainColor":101},217878,"zhou-li-yuan-shang-kuan-shen-ce-hu-yu-kun-217878","周栎园上款什册","胡玉昆","层岩叠嶂以劲挺线条勾勒，皴擦间显山石嶙峋之态；山间林木疏朗，掩映幽径，远处峰岫隐现，留白处生悠远之境。左侧题跋笔意洒脱，文句含蕴哲思，诗画交融间，墨色与心境共生。山石的刚健与林木的清逸相映，题跋的禅意与山水的空灵相契，尽显传统文人画诗书画印一体的雅韵，传递出静观自然、叩问本心的清雅情怀。笔锋流转处，既有山水的雄浑气象，又藏文人的细腻思致，于尺幅间铺展一幅融视觉与心境于一体的雅致画卷。",[183,24,109,86,87,354,88,90,1003,269,34,7,1621],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e4408ed38bf72fc6032dc84cddd4e5.jpg","24.7x32.3cm",[97],{"id":1626,"slug":1627,"title":1628,"dynasty":178,"author":794,"museum":159,"description":1629,"tags":1630,"thumbUrl":1631,"material":566,"size":567,"collection":306,"collections":1632,"showCount":1633,"zanCount":11,"manualWeight":11,"mainColor":101},235229,"fang-dong-ju-song-yue-tu-zhou-wang-hui-235229","仿董巨嵩岳图轴","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,472,110,86,87,29,390,269,253,34,92,93,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7312c6d75e4c03872d13ce1a4136a20.jpg",[],42,{"id":1635,"slug":1636,"title":1637,"dynasty":178,"author":215,"museum":216,"description":217,"tags":1638,"thumbUrl":1640,"material":206,"size":229,"collection":306,"collections":1641,"showCount":1633,"zanCount":11,"manualWeight":11,"mainColor":101},223078,"hong-lou-meng-64-sun-wen-223078","红楼梦64",[23,1317,26,27,30,31,39,34,91,458,1639,69,1318,302,7],"门窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f6af9ab7a5efed7373e5af0719d36f.jpg",[],{"id":1643,"slug":1644,"title":1645,"dynasty":178,"author":1646,"museum":141,"description":1647,"tags":1648,"thumbUrl":1649,"material":1650,"size":1651,"collection":97,"collections":1652,"showCount":1653,"zanCount":11,"manualWeight":11,"mainColor":101},236111,"pan-shan-bie-shu-zhou-zhang-zong-cang-236111","盘山别墅轴","张宗苍","位于盘山的静寄山庄，是乾隆朝“法皇祖避暑山庄之例”而修建的。乾隆皇帝学仿康熙皇帝，仿照避暑山庄，在现在的天津蓟县盘山南麓营建了属于自己的皇家园林，位于京城以东80余公里之外，是乾隆帝朝谒东陵的必经之地。静寄山庄也叫盘山行宫，于乾隆九年（1744）开始兴建，至乾隆十九年（1754）竣工，是清代鼎盛期著名的皇家园林之一，也是在京城以外仅次于避暑山庄的第二大皇家行宫园林。乾隆朝多位宫廷画家、词臣画家甚至乾隆皇帝本人，都描绘过这里。",[183,24,109,110,86,87,90,33,91,34,7,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cfa4cf9fbe519c088dfe3a6254fc08.jpg","纸本墨笔","162×93.5厘米",[97,276],41,{"id":1655,"slug":1656,"title":1657,"dynasty":81,"author":1658,"museum":159,"description":1659,"tags":1660,"thumbUrl":1662,"material":206,"size":1663,"collection":306,"collections":1664,"showCount":1653,"zanCount":11,"manualWeight":11,"mainColor":54},232875,"guan-shan-xing-lv-tu-juan-liu-song-nian-232875","关山行旅图卷","刘松年","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[23,183,24,109,25,90,87,27,114,31,34,270,748,40,506,91,253,93,1661,1487,7],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac782a163ae7808c98a9f752060c3b4.jpg","34.3x307厘米",[],{"id":1666,"slug":1667,"title":1668,"dynasty":553,"author":554,"museum":159,"description":555,"tags":1669,"thumbUrl":1674,"material":566,"size":567,"collection":568,"collections":1675,"showCount":1653,"zanCount":11,"manualWeight":11,"mainColor":1676},225947,"houses-of-parliament-effect-of-sunlight-in-the-fog-1900-1901-mo-nai-225947","Houses of Parliament, Effect of Sunlight in the Fog, 1900-1901",[557,1670,1671,1672,562,31,563,692,7,564,688,1673],"光影效果","色彩晕染","雾景","色彩融合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfadf56f96ba11ffa23db97cd2991f0.jpg",[568],"F48FB1",{"id":1678,"slug":1679,"title":1680,"dynasty":18,"author":1681,"museum":106,"description":1682,"tags":1683,"thumbUrl":1690,"material":1691,"size":1692,"collection":97,"collections":1693,"showCount":1653,"zanCount":11,"manualWeight":11,"mainColor":54},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","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。",[23,24,27,87,90,34,91,270,285,33,7,93,166,1684,1610,774,1685,531,1686,1687,1688,1689],"峰峦","山居","苔点","淡赭","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","纸本，水墨","74.1×161.7cm",[97,276],{"id":1695,"slug":1696,"title":1697,"dynasty":178,"author":1133,"museum":141,"description":1698,"tags":1699,"thumbUrl":1704,"material":1705,"size":1706,"collection":97,"collections":1707,"showCount":1653,"zanCount":11,"manualWeight":11,"mainColor":101},220372,"song-he-ming-qin-tu-wu-li-220372","松壑鸣琴图","本图为吴历中年之作，自识：“忆予与天球学琴於山民陈先生，不觉二十馀年矣。予欲写松壑呜琴图以寄意，常苦少暇。今从客归，久雨初晴，仅得古人形似并题七言：'琴声忆学鸟声圆，辛苦同君二十年。今日听松与涧瀑，高山流水不须弦。甲寅年小春廿日延陵渔山子吴历’。”下钤“吴历”、“家在桃溪深处”二印。",[23,24,109,110,86,87,90,166,91,7,1700,1701,34,30,93,114,112,39,955,1686,1702,1703],"小路","山谷","笔法","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[97],{"id":1709,"slug":1710,"title":1711,"dynasty":178,"author":1712,"museum":141,"description":1713,"tags":1714,"thumbUrl":1715,"material":149,"size":1716,"collection":306,"collections":1717,"showCount":1718,"zanCount":259,"manualWeight":11,"mainColor":101},236157,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236157","冷枚养正图书合册","张若霭","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[24,26,27,204,30,164,7,39,34,1284,63,1124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c260827de0b7445380a8694a8650e49.jpg","纵三二·二厘米 横四二·三厘米",[],40,{"id":1720,"slug":1721,"title":1722,"dynasty":178,"author":646,"museum":141,"description":1723,"tags":1724,"thumbUrl":1729,"material":508,"size":1730,"collection":49,"collections":1731,"showCount":1718,"zanCount":11,"manualWeight":11,"mainColor":101},233063,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233063","平定回疆剿擒逆裔战图册","本幅设色共十页，引首道光书“纉武绥边”，每开题记，又书平定回疆记事。尾纸曹振镰，文字王鼎等跋。",[26,27,28,204,30,31,39,489,1725,1305,808,1726,1727,7,165,1728],"队列","军事场景","清代风格","陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3c1bd6080b18f3b23595b0a6c873bc.jpg","纵55.3cm，横90.3cm",[49,51],{"id":1733,"slug":1734,"title":1735,"dynasty":249,"author":1736,"museum":20,"description":1737,"tags":1738,"thumbUrl":1740,"material":1691,"size":1741,"collection":97,"collections":1742,"showCount":1718,"zanCount":259,"manualWeight":11,"mainColor":54},221812,"xue-shan-xing-lv-tu-yao-ting-mei-221812","雪山行旅图","姚廷美","绘山峦层叠，幽谷深邃，山中楼台隐现，树木耸立，枝杈横生，树叶凋零，似到深秋或隆冬季节；山脚溪水聚集成河，河面如镜，一桥横跨两岸，桥上二人骑马而过，此番行旅给沉闷的山中带来生气。 此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[23,24,472,87,27,504,91,506,7,32,1739,34,43,285],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","98.1× 54cm",[97,51],{"id":1744,"slug":1745,"title":1746,"dynasty":178,"author":794,"museum":441,"description":1747,"tags":1748,"thumbUrl":1751,"material":240,"size":1752,"collection":97,"collections":1753,"showCount":1718,"zanCount":259,"manualWeight":11,"mainColor":54},219912,"ceng-luan-qiu-ji-tu-wang-hui-219912","层峦秋霁图","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[24,472,27,87,1749,1003,34,93,91,1750,112,7],"层峦","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","142x66.1cm",[97],{"id":1755,"slug":1756,"title":1757,"dynasty":18,"author":1758,"museum":127,"description":1759,"tags":1760,"thumbUrl":1761,"material":240,"size":1762,"collection":97,"collections":1763,"showCount":1764,"zanCount":11,"manualWeight":11,"mainColor":101},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","文伯仁","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[23,24,27,26,89,90,725,390,391,7,34,855,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[97],39,{"id":1766,"slug":1767,"title":1035,"dynasty":264,"author":415,"museum":1036,"description":1037,"tags":1768,"thumbUrl":1769,"material":306,"size":306,"collection":306,"collections":1770,"showCount":1764,"zanCount":11,"manualWeight":11,"mainColor":54},227597,"xi-shan-lan-re-tu-ju-ran-227597",[23,24,109,90,110,86,87,390,34,1487,93,7,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac38e11a74525e15e53089cd141edb.jpg",[],{"id":1772,"slug":1773,"title":1774,"dynasty":553,"author":554,"museum":159,"description":555,"tags":1775,"thumbUrl":1778,"material":566,"size":567,"collection":568,"collections":1779,"showCount":1764,"zanCount":11,"manualWeight":11,"mainColor":101},226054,"the-cathedral-in-the-mist-1894-mo-nai-226054","The Cathedral in the Mist, 1894",[557,558,1776,1777,1063,7],"教堂","雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0b3b027be094910b25b32d3674e188.jpg",[568],{"id":1781,"slug":1782,"title":1783,"dynasty":178,"author":646,"museum":127,"description":1784,"tags":1785,"thumbUrl":1787,"material":306,"size":306,"collection":49,"collections":1788,"showCount":1764,"zanCount":259,"manualWeight":11,"mainColor":54},223410,"ma-zu-qi-ji-yi-ming-223410","妈祖奇迹","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,109,26,27,30,34,91,7,238,977,1786],"船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c2fadc1572fad66eb39c5b51f5f0e9.jpg",[49,51],{"id":1790,"slug":1791,"title":1792,"dynasty":18,"author":1793,"museum":127,"description":1794,"tags":1795,"thumbUrl":1796,"material":306,"size":1797,"collection":97,"collections":1798,"showCount":1764,"zanCount":11,"manualWeight":11,"mainColor":101},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[23,24,109,204,27,86,90,87,32,33,506,253,1533,91,7,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[97,51],{"id":1800,"slug":1801,"title":1802,"dynasty":249,"author":1803,"museum":127,"description":1804,"tags":1805,"thumbUrl":1806,"material":1691,"size":1807,"collection":97,"collections":1808,"showCount":1764,"zanCount":320,"manualWeight":11,"mainColor":101},221915,"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,24,109,110,86,87,90,92,34,7,269,112,88,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[97,276],{"id":1810,"slug":1811,"title":1812,"dynasty":178,"author":1813,"museum":159,"description":1814,"tags":1815,"thumbUrl":1818,"material":508,"size":306,"collection":97,"collections":1819,"showCount":1764,"zanCount":11,"manualWeight":11,"mainColor":54},221004,"du-shu-le-zhi-tu-yun-shou-ping-221004","读书乐志图","恽寿平","自从恽南田以高逸的山书画和寓意的没骨花卉写生画问世后，追随者众多。常州画派就是在这种审美风尚的趋引下，自然形成的的。",[23,1816,86,87,90,1817,445,7,221,89],"扇面","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbc2d65fab42a70cd08850963b499af.jpg",[97,276],{"id":1821,"slug":1822,"title":1823,"dynasty":178,"author":1824,"museum":141,"description":1825,"tags":1826,"thumbUrl":1829,"material":1830,"size":1831,"collection":306,"collections":1832,"showCount":1833,"zanCount":259,"manualWeight":11,"mainColor":101},233917,"yun-dong-liu-quan-tu-zhou-kun-can-233917","云洞流泉图轴","髡残","此图作于髡残53岁时。表现的是他晚年居地南京城郊牛首祖堂山幽栖寺一带的景致。本幅自题诗：“端居兴未索，觅径恣幽讨。沿流戛琴瑟，穿云进窈窕。源深即平旷，巘杂入霞表。泉响弥清乱，白石净如扫。兴到足忘疲，岭高溪更绕。前瞻峰如削，参差岩岫巧。吾虽忽凌虚，玩松步缥缈。憩危物如遗，宅幽僧占少。吾欲饵灵砂，巢居此中老。”此图尺幅不大，但具有宏伟壮阔的气势，构图严谨，虚实互衬，繁密的山石、林木与空疏的云、水、天构成疏密明暗的变化。运笔施墨张驰有度，粗犷娴熟，浓淡墨相宜，干湿笔相生，全图一气呵成，意境幽邃高远。此幅堪称髡残的精品佳作。",[24,109,110,90,87,86,27,725,1827,1828,253,31,91,34,564,92,1684,7,113],"洞","流泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62778fcf1da11e7c4313da023f47a86a.jpg","纸本，设色","纵110.3厘米，横30.8厘米",[],38,{"id":1835,"slug":1836,"title":1837,"dynasty":178,"author":646,"museum":159,"description":1838,"tags":1839,"thumbUrl":1840,"material":306,"size":306,"collection":765,"collections":1841,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":54},228932,"qing-yuan-ben-qin-can-tu-juan-xian-jian-yi-ming-228932","清院本亲蚕图卷 献茧","水岸错落萦回，古木蓊郁成荫，苍劲虬枝与素白繁花相互衬映，朱栏屋舍半隐林间，雅致内敛。左侧人物衣袂端整，正依礼徐行，暗合亲蚕仪典的肃穆庄重。\n\n整幅设色雅致柔和，工细写实。画师以精微笔触绘就林木的疏密层次，淡彩晕染出郊苑春日的温润静谧，将亲蚕礼的礼制深意融于幽阒雅致的园景间。既尽显宫廷院画的精谨考究，又于静谧景致里铺陈出古雅典正的氛围，让仪礼的庄重与苑囿的恬澹相融共生。",[24,25,27,26,30,34,7,710,1509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa2e1fd7862ef0f7939adee4b190d2.jpg",[765,97],{"id":1843,"slug":1844,"title":1845,"dynasty":553,"author":891,"museum":159,"description":892,"tags":1846,"thumbUrl":1858,"material":566,"size":567,"collection":568,"collections":1859,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":54},225745,"field-with-flowers-near-arles-1888-fan-gao-225745","Field with Flowers near Arles 1888",[183,558,1847,1848,1849,894,1850,1851,1852,34,7,692,710,1853,1854,1855,1856,1857],"厚涂","笔触奔放","色彩鲜明","田野","花田","鸢尾花","蓝色花朵","黄色田野","绿色植物","远处村落","灰绿天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff988daf1ea44d4e2547ee09167ba6043.jpg",[568],{"id":1861,"slug":1862,"title":1863,"dynasty":178,"author":1864,"museum":141,"description":1865,"tags":1866,"thumbUrl":1867,"material":1137,"size":1868,"collection":97,"collections":1869,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":54},223103,"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","董邦达","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[23,24,109,90,86,87,91,34,92,270,7,89,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[97,276],{"id":1871,"slug":1872,"title":1873,"dynasty":178,"author":215,"museum":216,"description":217,"tags":1874,"thumbUrl":1875,"material":206,"size":229,"collection":306,"collections":1876,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":54},223074,"hong-lou-meng-60-sun-wen-223074","红楼梦60",[23,24,183,26,27,30,67,31,32,90,458,221,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc778f30d6320cf2226001639f7dbc7e6.jpg",[],{"id":1878,"slug":1879,"title":1880,"dynasty":18,"author":646,"museum":141,"description":1881,"tags":1882,"thumbUrl":1884,"material":47,"size":1885,"collection":49,"collections":1886,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":54},219204,"zhu-zhan-ji-dou-an-chun-tu-yi-ming-219204","朱瞻基斗鹌鹑图","图中所绘为明宣宗朱瞻基在御园观看斗鹌鹑的情景。画面上朱瞻基居中端坐，周围有宦官、侍从和童仆服侍。方桌上置一方形围墙，两名宦官正在斗弄圈中的鹌鹑，旁边的侍从捧着笼子，其中是备用的鹌鹑。民间游戏以“斗蟋蟀”、“斗鸡”比较常用，此图别开生面地让后人见识了明代“斗鹌鹑”的场景。实际上朱瞻基最喜好的只是斗蟋蟀，其偏爱的程度或者让他得了个“促织（蟋蟀的俗称）天子”的称号。\n此图是对明代帝王宫廷生活的具象描绘。明代宫廷的记实题材绘画留存并不很多，主角为宣宗朱瞻基的也有体现其出行游猎的《行乐图》和体现宫廷文体活动的《宫中行乐图》。",[23,24,109,27,26,30,253,62,7,1883,1621],"斗鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4991c6089f0912291e903a8de50ea8e2.jpg","纵67厘米，横71 厘米",[49],{"id":1888,"slug":1889,"title":1890,"dynasty":178,"author":1368,"museum":159,"description":1891,"tags":1892,"thumbUrl":1893,"material":566,"size":567,"collection":49,"collections":1894,"showCount":1895,"zanCount":11,"manualWeight":11,"mainColor":101},234937,"yue-man-qing-you-ce-chen-mei-234937","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,109,204,27,26,30,31,33,63,34,91,39,224,7,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b64d9f8816d7446b826324b78143f92.jpg",[49,51],37,{"id":1897,"slug":1898,"title":1899,"dynasty":18,"author":1900,"museum":141,"description":1901,"tags":1902,"thumbUrl":1904,"material":1905,"size":1906,"collection":306,"collections":1907,"showCount":1895,"zanCount":11,"manualWeight":11,"mainColor":101},233789,"cha-ju-shi-yong-tu-wen-zheng-ming-233789","茶具十咏图","文徴明","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏•茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。",[24,109,110,86,90,34,7,378,88,87,1903],"细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F078ace09b71a9b7aa104d7a634ed1d23.jpg","纸本，墨笔","纵136.1厘米，横26.8厘米",[],{"id":1909,"slug":1910,"title":1911,"dynasty":178,"author":646,"museum":159,"description":1912,"tags":1913,"thumbUrl":1914,"material":47,"size":306,"collection":306,"collections":1915,"showCount":1895,"zanCount":11,"manualWeight":11,"mainColor":54},216712,"hong-lou-meng-fu-tu-ce-12-yi-ming-216712","红楼梦赋图册-12","柳丝轻垂如帘，将内外景致温柔分隔。室外女子衣袂轻扬，或低语或凝眸，衣色淡雅如春日烟霞；栏杆旁草色萌新，山石间点缀细花，尽是闺中闲静之态。室内帐幔层叠，朱红与素白交织出朦胧暖意，卧榻人影隐约，似含一缕慵懒或幽思。笔墨细腻处，人物神态温婉流转，陈设精巧如真——案上器物、窗边棂格，皆藏着古典生活的雅致余韵。整幅画晕染着红楼特有的幽微情致，似将一段闺阁闲情定格，让观者窥见旧时光里的细腻光影，心绪也随那轻垂的柳丝，坠入这绢素间的温柔梦境。",[23,24,27,26,204,30,220,7,34,39,1569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c66a7352a3be6cd1b31ff1a6fead007.jpg",[],{"id":1917,"slug":1918,"title":1919,"dynasty":426,"author":646,"museum":1401,"description":1402,"tags":1920,"thumbUrl":1923,"material":566,"size":567,"collection":306,"collections":1924,"showCount":1925,"zanCount":259,"manualWeight":11,"mainColor":1068},226208,"ku-zhu-shi-dong-bi-yi-ming-226208","窟主室东壁",[1404,1106,27,26,30,31,808,1921,7,1558,1922],"唐代风格","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca7ce3df90bf739387683632798ad93.jpg",[],36,{"id":1927,"slug":1928,"title":1929,"dynasty":553,"author":891,"museum":159,"description":892,"tags":1930,"thumbUrl":1939,"material":566,"size":567,"collection":568,"collections":1940,"showCount":1925,"zanCount":11,"manualWeight":11,"mainColor":54},225819,"small-pear-tree-in-blossom-april-fan-gao-225819","Small pear tree in blossom (April - 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屋排列有致，几人正在屋内饮酒清谈。大概是秋冬时节，叶木已然飘零，庭院显得寂静而空旷。筱园建于康熙末年，位于二十四桥畔，滨湖而筑，凿池引水，修亭筑榭。春有芍药夏有荷，秋有桂花冬有梅，栽松种竹，可谓四时之景俱佳。",[24,27,28,86,31,506,91,39,30,34,7,2017,459],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c31561ded939c6e30f1f594790ca72.jpg",[97],{"id":2021,"slug":2022,"title":2023,"dynasty":249,"author":2024,"museum":127,"description":2025,"tags":2026,"thumbUrl":2028,"material":2029,"size":2030,"collection":97,"collections":2031,"showCount":1990,"zanCount":11,"manualWeight":11,"mainColor":54},218725,"bao-jin-jing-du-tu-wang-zhen-peng-218725","宝津竞渡图","王振鹏","界笔如丝，勾勒出楼阁层叠错落，飞檐翘角似振翅欲飞，梁柱间精巧纹饰尽显匠心底蕴。水面上龙舟竞渡，旌旗猎猎，舟中人群攒动——或击鼓助威，或挥桨逐浪，浪花翻涌间满是喧腾热闹。整幅画以细腻线条铺陈，将宋代汴京宝津楼前的端午盛景凝于绢素，既有界画的严谨工整，又不失动态的鲜活灵动，仿佛鼓点与欢呼交织耳畔，昔日都城的繁华气象跃然眼前。",[24,109,25,28,355,30,31,32,33,2027,34,7,27],"龙舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda29ce46bd5c86dc803d1bc684f736b8.jpg","绢本,水墨","36.6x183.4cm",[97],{"id":2033,"slug":2034,"title":2035,"dynasty":178,"author":2036,"museum":127,"description":2037,"tags":2038,"thumbUrl":2039,"material":1137,"size":306,"collection":306,"collections":2040,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":101},224243,"ren-wu-shan-shui-li-zhou-gai-qi-224243","人物山水立轴","改琦","此作用淡墨写就庭院闲景，挺秀蕉树阔叶舒展，晕染出夏末清阴。茅舍半敞，幽人凭窗静坐，似在细听雨打蕉叶。泼墨点染山石苍润古朴，留白铺陈出空寂悠然的氛围。\n\n画面左上题诗与图景相映，诗画合璧，将文人幽居闲情寄寓其中。笔墨简淡秀雅，摒去浓艳敷色，尽显萧疏幽淡的意境，把江南文人心底的闲雅愁绪与林下之乐融为一体，淡墨轻岚间，漫溢出静谧安闲的书卷清气。",[23,24,86,110,26,30,90,62,221,7,832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720732020f05546e4858289f093d2153.jpg",[],33,{"id":2043,"slug":2044,"title":2045,"dynasty":178,"author":215,"museum":216,"description":217,"tags":2046,"thumbUrl":2047,"material":206,"size":229,"collection":306,"collections":2048,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":101},223076,"hong-lou-meng-62-sun-wen-223076","红楼梦62",[23,24,26,27,30,220,31,39,392,302,70,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa024d565d65c37ad592a2469e81be2d3.jpg",[],{"id":2050,"slug":2051,"title":2052,"dynasty":178,"author":215,"museum":216,"description":217,"tags":2053,"thumbUrl":2055,"material":206,"size":229,"collection":306,"collections":2056,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":101},223072,"hong-lou-meng-58-sun-wen-223072","红楼梦58",[23,24,26,27,30,31,39,458,34,90,1977,7,2054],"场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb184dc5ce3cbcae551dd90810e0a89.jpg",[],{"id":2058,"slug":2059,"title":2060,"dynasty":81,"author":2061,"museum":141,"description":2062,"tags":2063,"thumbUrl":2067,"material":2068,"size":2069,"collection":306,"collections":2070,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":54},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","夏圭","《梧竹溪堂图》为一山水小品。此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。\n此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[23,183,24,109,2064,328,86,87,90,39,2065,458,2066,91,33,457,34,7,1049],"册页","梧树","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","绢本墨笔","纵23厘米，横26厘米",[],{"id":2072,"slug":2073,"title":2074,"dynasty":18,"author":2075,"museum":159,"description":2076,"tags":2077,"thumbUrl":2078,"material":306,"size":2079,"collection":306,"collections":2080,"showCount":2081,"zanCount":259,"manualWeight":11,"mainColor":54},231948,"tao-yuan-tu-shi-rui-231948","桃源图","石锐","石锐（？－15世纪），字以明，钱塘（今浙江省杭州市）人，明代宫廷画家。宣德年间（1426年－1435年）进入宫廷，在仁智殿担任待诏，1469年仍活跃于画院。其画得盛懋之法，备极华整。金碧山水、界画楼台及人物，皆傅色鲜明温润，尤擅长画青绿与金碧山水，名著于时。",[23,24,472,27,87,91,34,7,33,1977,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f18009ef0602e849b71eadcf06a50f.jpg","24.7x22.15 厘米",[],32,{"id":2083,"slug":2084,"title":2085,"dynasty":426,"author":646,"museum":1401,"description":1402,"tags":2086,"thumbUrl":2094,"material":566,"size":567,"collection":306,"collections":2095,"showCount":2081,"zanCount":259,"manualWeight":11,"mainColor":101},226183,"ku-zhu-shi-nan-pi-yi-ming-226183","窟主室南披",[1519,1404,1106,27,26,2087,30,90,31,34,163,1407,2088,7,2089,2090,1558,111,2091,2092,2093],"线描","波浪纹","供养人","佛像","彩绘","勾勒","填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aa03b4a0dba7372ea34789086e63b7d.jpg",[],{"id":2097,"slug":2098,"title":2099,"dynasty":553,"author":554,"museum":159,"description":555,"tags":2100,"thumbUrl":2115,"material":566,"size":567,"collection":568,"collections":2116,"showCount":2081,"zanCount":11,"manualWeight":11,"mainColor":101},226020,"saint-lazare-station-exterior-view-1877-1-mo-nai-226020","Saint-Lazare Station, Exterior View, 1877 1",[557,558,1063,2101,2102,2103,2104,2105,165,7,2106,2107,2108,2109,2110,711,2111,2112,2113,2114],"色彩","笔触","火车站","铁轨","蒸汽","顶棚","列车","站台","烟雾","金属结构","城市景观","工业场景","室外光线","瞬间光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e8cebda616b5cf81092a71273f0dc63.jpg",[568],{"id":2118,"slug":2119,"title":2120,"dynasty":553,"author":554,"museum":159,"description":555,"tags":2121,"thumbUrl":2122,"material":566,"size":567,"collection":568,"collections":2123,"showCount":2081,"zanCount":259,"manualWeight":11,"mainColor":54},225959,"irises-in-monets-garden-1899-1900-mo-nai-225959","Irises in Monets garden, 1899-1900",[183,558,557,1852,693,531,65,7,954,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad68cdfaca5d06bfe7baa750a293d8c0.jpg",[568],{"id":2125,"slug":2126,"title":2127,"dynasty":178,"author":2128,"museum":141,"description":2129,"tags":2130,"thumbUrl":2133,"material":306,"size":306,"collection":97,"collections":2134,"showCount":2135,"zanCount":11,"manualWeight":11,"mainColor":101},239229,"guan-shan-xing-lv-zhou-zhou-hao-239229","关山行旅轴","周颢","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯；湖北美术学院教师。\n工书画，尤精竹刻。行书师法苏轼，跌宕奇伟，自成风格。山水画早年学王翚，笔墨秀润。又善临摹，仿王蒙最工，人物画也很精妙。擅长画竹，兴酣落笔，风枝或雨叶栩栩如生。尤其以画法施之刻竹，合南北宗为一体。技艺闻名乡里，所刻山水、人物、丛竹，用刀如用笔，不必假借他人稿本。除了擅长以阴刻搭配浅浮雕技法来雕刻纹饰，尤擅长采用阴刻技法雕得相当深陷，再在深陷部位依据纹饰的需要浅雕局部纹饰，名为“陷地深刻”。这种深刻技艺，始于朱松邻，至周颢集大成。传世作品以笔筒和臂搁为主。其竹刻以阴刻技法展现绘画中的“南宗山水”最具特色，与“三朱”的刻竹面目大不相同。金元钰称誉周颢在竹人中，好像杜甫在盛唐诗人中的地位一样，首屈一指。",[24,109,110,86,87,90,91,34,30,7,2131,1739,1109,2132,1661,238],"山路","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[97,276],31,{"id":2137,"slug":2138,"title":2139,"dynasty":178,"author":2140,"museum":141,"description":2141,"tags":2142,"thumbUrl":2146,"material":728,"size":2147,"collection":306,"collections":2148,"showCount":2135,"zanCount":11,"manualWeight":11,"mainColor":101},236139,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236139","历朝贤后故事图","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[24,109,26,27,28,30,67,31,131,62,39,2143,63,2144,7,331,2145,1284],"台地","古装人物","廊柱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb3c692d9bd63ff00c7b99a6b8f1f1c.jpg","纵30.8厘米，横37.4厘米",[],{"id":2150,"slug":2151,"title":2152,"dynasty":178,"author":1270,"museum":159,"description":2153,"tags":2154,"thumbUrl":2155,"material":306,"size":306,"collection":306,"collections":2156,"showCount":2135,"zanCount":11,"manualWeight":11,"mainColor":54},230294,"gui-lin-qiu-yue-tu-yuan-jiang-230294","桂林秋月图","界画亦名宫室，主要以建筑物、舟车之类为表现题材，所画对象要求准确、工整，一丝不苟，过去画诀有“山水打头，界画打底”之说，宋郭思说：“画屋木者，折算无亏，笔画勾壮，深远透空，一去百斜”。\n画界画历代不乏高手，唐末有尹继昭及他的学生卫贤等，元夏永、明仇英皆是界画高手。\n到了清代，袁江、袁耀父子擅画界画，虽技艺超群，但不为时人所重。\n至近代在山西太原尉氏家中，发现大量“二袁”作品，声名始震。\n袁耀“露台秋月图”纵18、横142.5厘米，胡佩衡旧藏，此画绘中秋宫苑赏月情景，一轮明月当空，万籁俱寂，宫殿在树木中或露或隐，山石玲珑剔透，诗情画意跃然纸上，此意趣决非一般画匠所能为。\n袁耀字昭道，江都（今扬州）人。\n生卒年不详，创作年代约在1747年至1778年之间。",[23,24,109,28,27,26,90,31,444,34,114,30,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],{"id":2158,"slug":2159,"title":2160,"dynasty":178,"author":1864,"museum":127,"description":2161,"tags":2162,"thumbUrl":2164,"material":240,"size":2165,"collection":97,"collections":2166,"showCount":2135,"zanCount":11,"manualWeight":11,"mainColor":101},218430,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-218430","柳浪闻莺御题轴","院藏董邦达（1699 —1769）绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[24,110,86,27,90,270,32,34,7,87,89,88,354,2163],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8329ccaab65d8759d05b7f651894a0.jpg","126.9x66.8cm",[97],{"id":2168,"slug":2169,"title":2170,"dynasty":249,"author":402,"museum":127,"description":2171,"tags":2172,"thumbUrl":2173,"material":95,"size":2174,"collection":306,"collections":2175,"showCount":2135,"zanCount":11,"manualWeight":11,"mainColor":54},218120,"hua-xi-yu-yin-tu-er-wang-meng-218120","花溪渔隐图(二)","此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟𫖯「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟𫖯。王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[23,24,183,109,110,86,90,87,1123,33,91,34,7,1146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7477d3604d6b77be3506773dcad374b3.jpg","129x58.3cm",[],{"id":2177,"slug":2178,"title":2179,"dynasty":178,"author":2180,"museum":141,"description":2181,"tags":2182,"thumbUrl":2184,"material":306,"size":306,"collection":97,"collections":2185,"showCount":2186,"zanCount":11,"manualWeight":11,"mainColor":54},236747,"hua-wang-shi-lu-xiang-zhou-zhang-zhu-236747","画王士禄像轴","张翥","张翥字运南，号北林，江苏常熟人，生卒年不详。善画山水、人物、肖像，山水师同乡吴山（南阳），沉郁苍老，馓有气韵。人物写真师法曾鲸，形象逼肖，用笔流畅，秀媚古雅。雍正十年（1732）郡守周某欲绘《贫民图》入告。传世作品有康熙二年癸卯（1663）作《王士禄像》轴，画左上角有冒襄题像赞，现藏故宫博物院。能诗，著有《北林小集》。",[24,109,110,27,26,30,34,7,726,2183,1569],"桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9354997c8a95fe93096ae2a9e2a5a2be.jpg",[97,51,836],30,{"id":2188,"slug":2189,"title":2190,"dynasty":553,"author":554,"museum":159,"description":555,"tags":2191,"thumbUrl":2197,"material":566,"size":567,"collection":568,"collections":2198,"showCount":2186,"zanCount":11,"manualWeight":11,"mainColor":101},226025,"san-giorgio-maggiore-at-dusk-1908-mo-nai-226025","San Giorgio Maggiore at Dusk, 1908",[183,557,1671,688,2192,2193,562,7,2194,1259,692,1509,2195,2196],"笔触表现","黄昏","塔楼","霞光","色彩并置","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30551a1562a1c380d8bba485399bb7b6.jpg",[568],{"id":2200,"slug":2201,"title":2202,"dynasty":178,"author":2203,"museum":159,"description":2204,"tags":2205,"thumbUrl":2206,"material":306,"size":306,"collection":306,"collections":2207,"showCount":2186,"zanCount":11,"manualWeight":11,"mainColor":101},224540,"re-he-xing-gong-quan-tu-guan-nian-ci-224540","热河行宫全图","管念慈","采用全景鸟瞰视角，将行宫城池与环伺群山铺陈于卷间，界画工致严整，山林皴染苍劲古拙。规整的朱红宫墙楼宇，错落嵌入层峦叠翠之间，山道逶迤串联起星罗棋布的山野梵宇行宫。\n\n整体疏密相宜，既细致还原了行宫的恢弘规制与山水格局，又晕染出塞北离宫融于山野林泉的清旷意趣，色彩沉雅厚重，细节入微，是兼具纪实地理价值与传统工笔审美意韵的佳作。",[23,24,25,27,28,26,90,31,164,492,1487,114,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbd962cf16f4ca63b56ed8d350b757a.jpg",[],{"id":2209,"slug":2210,"title":2211,"dynasty":178,"author":215,"museum":216,"description":217,"tags":2212,"thumbUrl":2213,"material":206,"size":229,"collection":306,"collections":2214,"showCount":2186,"zanCount":11,"manualWeight":11,"mainColor":54},222923,"hong-lou-meng-48-sun-wen-222923","红楼梦48",[23,24,26,27,28,31,90,34,270,39,7,1110,285,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bf32fa601630c2c88d88ceaaa1c981.jpg",[],{"id":2216,"slug":2217,"title":2218,"dynasty":18,"author":2219,"museum":127,"description":2220,"tags":2221,"thumbUrl":2222,"material":2223,"size":2224,"collection":97,"collections":2225,"showCount":2186,"zanCount":11,"manualWeight":11,"mainColor":54},222462,"fu-kan-ji-liu-tu-zhou-wang-shi-chang-222462","俯瞰激流图轴","王世昌","王世昌（约1462－1531以后），明代画家，为山东人。我们无法确知他是否担任过宫廷画家。他擅长于大幅的山水人物画，风格温润典雅，颇具诗意。传世有〈大幅山水〉、〈俯瞰激流〉等作。俯瞰激流图 主题描绘春季来临时的山谷中，文人与农夫活动的状况。画中央平坦的坡陀上，是一位俯观涓涓流水、若有所思的文士。他身后的策杖文士，则与随侍携琴童仆，同时回望着登向高岗的荷担农夫，传达着他们与农夫交谈后，目送农人前往工作地点的情形，似与〈归去来辞〉的内容若合符节，由此可知，此画与文学的密切关系。画中前后景交接处，以留白作为云气，使画面显得迷离不定；而山石部分则以浓墨与淡色烘染，营造物体朦胧、置身云雾间的视觉效果，刻意增加空间的层次，这是让画中充满诗意气氛，经常运用的方法之一。",[23,24,27,87,90,30,1817,445,269,33,7,1621,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b92e5bce953bcc5c616e2f21d9d65af.jpg","绢本浅设色","33x53",[97,51],{"id":2227,"slug":2228,"title":2229,"dynasty":2230,"author":2231,"museum":2232,"description":2233,"tags":2234,"thumbUrl":2237,"material":306,"size":306,"collection":306,"collections":2238,"showCount":2186,"zanCount":11,"manualWeight":11,"mainColor":101},220532,"e-mei-gu-si-xu-bei-hong-220532","峨眉古寺","民国","徐悲鸿","龙美术馆西岸馆","以浓墨绘就古松，笔力沉厚雄健，虬干舒展撑立画面，松枝层叠苍劲，尽显山林古木的莽然生机。粉墙黛瓦的古寺悄然隐于林间，浅赭淡彩晕染院墙，门洞幽邃，自带沉静禅意。墙侧暖黄枝叶轻缀，暖调破了水墨的冷寂，晕出融融秋意。远景以淡墨轻染山影，留白铺就空濛悠远的意境，将古寺藏于深翠的清幽禅意尽数铺展。画作融写实工稳与写意空灵于一体，利落笔墨勾勒物象形神，晕染烘托山野静穆之气，揉合林泉古寺的灵秀空寂与山野生机，清雅旷远，尽显蜀中林麓的悠然意趣。",[24,109,86,27,2235,166,34,7,2236],"寺","红墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6592e9399c044a5524ca479a7e15116d.jpg",[],{"id":2240,"slug":2241,"title":2242,"dynasty":81,"author":2243,"museum":159,"description":2244,"tags":2245,"thumbUrl":2247,"material":306,"size":306,"collection":306,"collections":2248,"showCount":2249,"zanCount":259,"manualWeight":11,"mainColor":54},227768,"shan-shui-ye-li-tang-227768","山水页","李唐","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,109,183,86,87,2064,90,31,1123,34,91,1509,36,7,271,2246,695,506,1108],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],29,{"id":2251,"slug":2252,"title":1465,"dynasty":426,"author":646,"museum":1401,"description":1402,"tags":2253,"thumbUrl":2256,"material":566,"size":567,"collection":306,"collections":2257,"showCount":2249,"zanCount":11,"manualWeight":11,"mainColor":54},226255,"ku-zhu-shi-bei-bi-yi-ming-226255",[1404,1106,28,111,26,27,31,30,7,1921,39,2254,2255],"线条细致","重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e4df82c3c5730ef11493dbfa891d8e.jpg",[],{"id":2259,"slug":2260,"title":2261,"dynasty":178,"author":2262,"museum":159,"description":2263,"tags":2264,"thumbUrl":2265,"material":306,"size":306,"collection":306,"collections":2266,"showCount":2249,"zanCount":320,"manualWeight":11,"mainColor":54},224116,"ping-ding-tai-wan-zhan-tu-qian-long-224116","平定台湾战图","乾隆","《平定台湾战图册之清音阁凯宴将士》是清代佚名创作的纸本设色画。\n画幅上部乾隆皇帝御题诗，款识：“赐凯旋将军福康安、参赞海兰察等宴，即席成什。\n乾隆戊申孟秋御笔。\n”钤“古希天子”朱文方印、“犹日孜孜”白文方印、“太上皇帝”朱文方印。\n清内府鉴藏印“三希堂精鉴玺”朱文印、“宜子孙”白文印。\n引首钤“乾隆鉴赏”白文圆印。\n“戊申”为乾隆五十三年（1788年），乾隆皇帝时年78岁。\n图绘乾隆皇帝在河北承德避暑山庄的清音阁款待平台有功的福康安、海兰察等将领，君臣一道观吉祥戏的庆贺场景。\n清音阁与紫禁城内畅音阁大戏台的建造形制一样，共分福、禄、寿三层。\n这三层可以同时出现人物、鬼怪、神仙，从而给人更为全面、强烈的视觉感受。\n此图具有极强的真实感，画家以工整细腻的笔法一丝不苟地刻画人物与建筑。\n虽然人物众多，各个小仅寸许，但是造型比例准确，衣冠穿戴合乎典制，乾隆皇帝等重要人物不失肖像画的特征，具有重要的历史价值。\n乾隆五十一年（1786年），居台湾的福建籍天地会首领林爽文率众起义，反抗清政府驻台腐败的吏治。\n乾隆皇帝面对如火如荼的起义，从乾隆五十二年（1787年）始，多次遣兵派将赴台镇压，同时命钦差大臣福康安督办军务。\n清军在有勇有谋的福康安指挥下，仰仗与天地会党敌对的台湾各地“义民乡勇”的密切配合，终于扭转了处处被动挨打的局面，先后拘捕了起义军领袖林爽文、庄大田等人。\n乾隆皇帝于镇压起义后，有针对性地采取了一些措施，如在乾隆五十三年（1788年）批准了经大学士、九卿议覆，福康安上奏的《清查台湾积弊酌筹善后事宜》章程十六条，以严明台湾吏治、加强管理，从此，清政府对台湾的统治进入了一个新的阶段。\n为了纪念平定台湾的胜利，乾隆皇帝命宫廷画家按照每打一次大的战役，画一本战图册的惯例，创作一套纪实性的《平定台湾战图册》。\n此图册从乾隆五十二年十月二十八日，将军福康安统兵进发台湾开始，至乾隆五十三年乾隆皇帝在避暑山庄款待得胜而归的将士止，表现了解嘉义之围、大埔林战役、斗六门战役、大里栰战役、集集埔等大大小小的战役十余起，形象地记录了镇压林爽文起义的经过。",[23,24,109,27,26,28,25,30,31,39,34,1284,977,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],{"id":2268,"slug":2269,"title":2270,"dynasty":178,"author":215,"museum":216,"description":217,"tags":2271,"thumbUrl":2272,"material":206,"size":229,"collection":306,"collections":2273,"showCount":2249,"zanCount":11,"manualWeight":11,"mainColor":101},223070,"hong-lou-meng-56-sun-wen-223070","红楼梦56",[23,24,109,26,27,111,30,1064,146,32,33,90,34,31,43,113,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa186e96779f40e9867ffeb1c4651429c.jpg",[],{"id":2275,"slug":2276,"title":2277,"dynasty":178,"author":215,"museum":216,"description":217,"tags":2278,"thumbUrl":2280,"material":206,"size":229,"collection":306,"collections":2281,"showCount":2249,"zanCount":11,"manualWeight":11,"mainColor":101},223064,"hong-lou-meng-50-sun-wen-223064","红楼梦50",[23,26,27,28,30,31,1977,39,63,458,220,91,34,2279,1922,7,459],"窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc423ebba504eb711cbd7c6339c40a038.jpg",[],{"id":2283,"slug":2284,"title":2285,"dynasty":18,"author":2286,"museum":127,"description":2287,"tags":2288,"thumbUrl":2290,"material":47,"size":306,"collection":97,"collections":2291,"showCount":2249,"zanCount":11,"manualWeight":11,"mainColor":101},214617,"shui-cheng-tu-ce-tai-cang-qian-gu-214617","水程图册-太仓","钱谷","钱穀（1718-1778）是一位著名的中国古代地理学家和旅行家。他在明朝末期，著有著名的旅行记录作品《水程图册》。《水程图册》是一部珍贵的历史文献，记录了钱穀旅行时所见到的各种河流、港口、城市、商路等信息。其中，太仓章节是钱穀对太仓的描述。\n\n太仓是位于今天的江苏省的一座古城，历史悠久，是明朝时期的重要港口和商路要地。钱穀在《水程图册》中对太仓的描述非常详细，包括了太仓的地理位置、交通情况、港口设施、商业情况等。他提到，太仓港口设施完善，有多条航道，船只可以在港内停泊。太仓是一个重要的商路要地，有丰富的商品流通，包括铜器、茶叶、香料、木材等。太仓还有许多古迹和名胜古迹，例如著名的太仓大堤。\n\n《水程图册》是一部重要的古代地理学著作，其中的太仓章节是对太仓的珍贵记录，为我们了解明朝时期太仓的历史、地理、经济、文化等方面提供了宝贵的参考资料。",[24,109,204,86,27,32,33,1123,285,34,90,89,2289,7,1262,1486,271,492],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc90d1740797b3391febe2b0c80bee24.jpg",[97],{"id":2293,"slug":2294,"title":2295,"dynasty":18,"author":1595,"museum":159,"description":2296,"tags":2297,"thumbUrl":2300,"material":306,"size":306,"collection":306,"collections":2301,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":101},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,109,110,27,26,87,30,2298,32,33,506,285,39,40,2299,91,34,168,7,543],"村舍","孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],28,{"id":2304,"slug":2305,"title":2306,"dynasty":18,"author":19,"museum":159,"description":2307,"tags":2308,"thumbUrl":2309,"material":566,"size":567,"collection":306,"collections":2310,"showCount":2302,"zanCount":259,"manualWeight":11,"mainColor":54},228441,"lan-ting-tu-shan-mian-chou-ying-228441","兰亭图扇面","画面中山涧溪流缓缓而下，蜿蜒成“曲水”。兰亭近溪旁。这里视野开阔，亭内一文人高士临亭边而坐，或许凝望远方，正在观赏优雅的景色；或许正在等待前方一仆童抱琴而来，然后抚琴一曲……给人留下无限的遐想。画面中部还有两孩童在溪边嬉戏，一只仙鹤正低头饮水，溪边奇石伫立、松柳掩映，形成了人与自然和谐相处、景色娴雅幽淡的佳境。",[23,1816,26,27,90,30,270,392,726,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aded3c25f9fd7875b0ba71f943ccab5.jpg",[],{"id":2312,"slug":2313,"title":2314,"dynasty":553,"author":891,"museum":159,"description":892,"tags":2315,"thumbUrl":2320,"material":566,"size":567,"collection":568,"collections":2321,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":101},225723,"boulevard-de-clichy-march-april-fan-gao-225723","Boulevard de Clichy (March - April )",[558,894,1847,2102,287,7,40,34,692,2316,2317,1064,2318,2319],"路灯","城市街景","楼房","冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c33cd5cc8e029f0ab4e4770fe74a78d.jpg",[568],{"id":2323,"slug":2324,"title":2325,"dynasty":178,"author":2326,"museum":159,"description":2327,"tags":2328,"thumbUrl":2330,"material":306,"size":306,"collection":306,"collections":2331,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":101},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","渐江","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,109,25,86,27,87,29,89,88,90,31,34,253,506,33,1123,270,2289,2329,271,1609,7,32,30],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":2333,"slug":2334,"title":2335,"dynasty":18,"author":2336,"museum":127,"description":2337,"tags":2338,"thumbUrl":2339,"material":95,"size":2340,"collection":97,"collections":2341,"showCount":2302,"zanCount":259,"manualWeight":11,"mainColor":101},222182,"qing-bai-xuan-tu-zhou-liu-jue-222182","清白轩图轴","刘珏","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。\n刘珏[jué]为官清正，浙江甫田县丞督赋侵吞渔税，被告以“黄金二百两”委托亲戚向他行贿，他正愁缺少证据，便以此为突破口，查明了赋税被侵吞的真相。无锡有个贪官因受贿事发，托人送来500两银子，求他去向办案人说情。刘珏严拒，并对来人说：“不亟去，当讯之于官！”\n刘廷美为刑部主事居京师，与徐武功、刘原博诸公为诗友，每相过，必谈论达旦。尝岁除，原博邀之守岁，廷美因挟所藏钟馗画像求题，原博遂援笔大书一诗于上。明旦持归，县之中堂。京师每正旦，主人皆出贺，惟置白纸簿并笔研于几，贺客至，书其名，无迎送也。是日朝罢，刘定之、黄廷臣两学士首至，见此诗，各摘簿一叶录之去。朝士继至者，皆摘录之。顷间，簿已尽矣。廷美晚回，索簿阅贺客以图往报，家人告其故。明日，复置一簿，亦如之。中书舍人金本清戏谓廷美曰：“此钟馗乃耗纸鬼也。”一时京师传为奇事。原博诗曰：“长空糊云夜风起，不忿成群跳狂鬼。倒提三尺黄河水，血洒莲花舞秋水。飞萤负火明月羞，栎窠影黑啼鸺枭。绿袍乌帽逞行事，磔脑刳肠天亦愁。中有巨妖诛未得，盍驾飙轮驱霹雳。如何袖手便忘机，回首东方又生白。”\n刘完庵薄于仕宦，年五十遂解组，时有宪臣索题《牧牛图》，为赋诗曰：“牧子驱牛去若飞，免教风雨湿蓑衣。回头笑指桃林外，多少牧牛人未归。”宪臣亦感泣挂冠去。\n成化初，琼台邢公宥为苏守，以梅华求题，廷美赋绝句云：“岁寒相见在天涯，玉色珠光带露华。笑杀玄都狂道士，种桃何不种梅华？”邢公得诗甚喜。后邢公以郡中久荒，陂荡起税，民心颇怨，有投诗刺之者曰：“量尽山田与水田，只留沧海与青天。渔舟若过间洲渚，为报沙鸥莫浪眠。”邢公闻之，以为廷美所作，衔之。或劝往白，廷美曰：“彼奈我何？”后廷美卒，邢公吊祭皆不往，人多非之。",[23,24,110,86,87,90,270,32,33,34,91,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931c328fef461048547689cfaea32c14.jpg","纵92.7厘米横35.4厘米",[97],{"id":2343,"slug":2344,"title":2345,"dynasty":178,"author":646,"museum":159,"description":2346,"tags":2347,"thumbUrl":2353,"material":566,"size":567,"collection":306,"collections":2354,"showCount":2355,"zanCount":11,"manualWeight":11,"mainColor":101},234447,"e-mi-tuo-fo-ji-le-shi-jie-tang-ka-yi-ming-234447","阿弥陀佛极乐世界唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[2348,1106,26,27,2255,30,31,1303,2349,1405,90,7,2350,2351,491,1406,2352],"唐卡","莲花","菩萨","罗汉","莲花池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1547b88b586a795e0d8869e0cdf7e3a.jpg",[],27,{"id":2357,"slug":2358,"title":2359,"dynasty":178,"author":1133,"museum":159,"description":2360,"tags":2361,"thumbUrl":2362,"material":566,"size":567,"collection":306,"collections":2363,"showCount":2355,"zanCount":11,"manualWeight":11,"mainColor":54},230137,"qiu-song-qiao-bi-tu-wu-li-230137","虬松峭壁图","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,110,86,87,89,90,253,1108,91,31,33,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2360df74dde1940bb17a7183928f6ea7.jpg",[],{"id":2365,"slug":2366,"title":2367,"dynasty":18,"author":19,"museum":159,"description":2368,"tags":2369,"thumbUrl":2370,"material":47,"size":306,"collection":306,"collections":2371,"showCount":2355,"zanCount":259,"manualWeight":11,"mainColor":54},216274,"er-shi-si-xiao-tu-18-chou-ying-216274","二十四孝图-18","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[24,109,26,27,30,146,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d752214768a911ab09d086c8940496.jpg",[],{"id":2373,"slug":2374,"title":2139,"dynasty":178,"author":2140,"museum":141,"description":2141,"tags":2375,"thumbUrl":2377,"material":728,"size":2147,"collection":306,"collections":2378,"showCount":2379,"zanCount":259,"manualWeight":11,"mainColor":1676},236138,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236138",[24,26,27,28,30,166,131,91,7,1284,2376],"柱子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281cc1533ed68f4f0470adea60d8e21.jpg",[],26,{"id":2381,"slug":2382,"title":2383,"dynasty":178,"author":454,"museum":159,"description":2384,"tags":2385,"thumbUrl":2386,"material":306,"size":306,"collection":306,"collections":2387,"showCount":2379,"zanCount":259,"manualWeight":11,"mainColor":54},230995,"xiu-yuan-tu-wang-yun-230995","休园图","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[24,109,27,26,28,30,31,302,34,672,32,671,457,39,91,7,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],{"id":2389,"slug":2390,"title":2391,"dynasty":553,"author":554,"museum":159,"description":555,"tags":2392,"thumbUrl":2395,"material":566,"size":567,"collection":568,"collections":2396,"showCount":2379,"zanCount":11,"manualWeight":11,"mainColor":101},225906,"breakup-of-ice-1880-mo-nai-225906","Breakup of Ice, 1880",[557,558,1063,2101,2102,2393,2394,506,36,691,692,1285,1509,7,1259],"河面","冰块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f2f52b5a37d62b467b2a2ee5539161d.jpg",[568],{"id":2398,"slug":2399,"title":2400,"dynasty":178,"author":1646,"museum":127,"description":2401,"tags":2402,"thumbUrl":2403,"material":508,"size":2404,"collection":97,"collections":2405,"showCount":2379,"zanCount":11,"manualWeight":11,"mainColor":101},224265,"hua-shan-shui-zhou-zhang-zong-cang-224265","画山水轴","《石渠宝笈》所录画作数量，张宗苍名列第一，其上多有乾隆皇帝题诗。此作原本贴于品茗茶舍「试泉悦性山房」壁上。乾隆皇帝认为其画风清峻，可与元代倪瓒和黄公望的作品相匹敌，幅上多则乾隆皇帝御题，其中更提到过去观看张宗苍作画的回忆，并在拳石留白处书一「神」字，显示对此作的高度评价。",[24,109,110,86,87,88,89,90,91,34,93,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0364f6d1ae9eda5d1b76368b4cb7d3ba.jpg","138.1x64.3",[97],{"id":2407,"slug":2408,"title":2409,"dynasty":178,"author":646,"museum":159,"description":2410,"tags":2411,"thumbUrl":2414,"material":306,"size":2415,"collection":306,"collections":2416,"showCount":2379,"zanCount":11,"manualWeight":11,"mainColor":54},223331,"san-shan-wu-yuan-tu-yi-ming-223331","三山五园图","在北京西郊的西山脚下，有一片泉泽遍野，群峰叠翠的地方，从公元11世纪起，这里就开始营建皇家园林，到800年后清朝结束时，园林总面积达到了1000多公顷。在这些皇家园林中，最著名的就要数“三山五园”了。\n“三山五园”中的三山是指香山、玉泉山和万寿山。这三座山上分别有静宜园、静明园、清漪园，再加上东边的畅春园和圆明园，就是所谓的五园。如此集中的皇家园林为世所罕见。这主要还是得力于这里优美的自然环境，以及北京作为京城的人文优势。\n在北京的西北郊，素有神京右臂之称的西山，峰峦连绵，自南趋北，余脉在香山的部位兜转而东，远远拱列于北京的西北面。在它的腹心地带，两座小山岗双双平地突起，这就是玉泉山和万寿山。它们附近泉水丰沛，湖泊密布，形成有如江南的优美自然景观，这在华北地区是不多见的。\n早在辽、金时期，香山、玉泉山就有了皇家行宫别苑的建置。但金、元、明三代的主要精力都放在在修建北京的城池和城内的皇宫。这里真正成为皇家独占的宫廷园囿，还是清王朝兴起以后的事。\n清朝的皇帝们十分热衷于园林的建设，尤其是康熙、雍正、乾隆三朝，基本奠定了京城皇家园林的建设格局和规模，“三山五园”就是其中的核心部分。\n三山五园中建造最早的是畅春园，它于康熙二十九年（即公元1691年）建成，位于今天的北京大学一带，是在明代私家园林的旧址上修建的。今天我们在北京大学的校园里，还依稀可以找到一些旧日园林的痕迹。",[23,27,28,26,90,31,33,459,7,2412,2413],"湖泊","山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf339820c8e9c1373d7b74bcee1b035e.jpg","51x88",[],{"id":2418,"slug":2419,"title":2420,"dynasty":178,"author":215,"museum":216,"description":217,"tags":2421,"thumbUrl":2426,"material":206,"size":229,"collection":306,"collections":2427,"showCount":2379,"zanCount":11,"manualWeight":11,"mainColor":101},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[23,183,24,109,26,27,163,31,30,391,672,674,2422,34,63,271,7,39,2423,301,91,709,2424,2425],"湖面","水榭","平台","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],{"id":2429,"slug":2430,"title":2431,"dynasty":18,"author":2432,"museum":216,"description":2433,"tags":2434,"thumbUrl":2436,"material":47,"size":2437,"collection":97,"collections":2438,"showCount":2379,"zanCount":11,"manualWeight":11,"mainColor":54},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[23,183,24,109,25,86,90,87,390,92,2435,34,7,112,269,33],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[97],{"id":2440,"slug":2441,"title":2442,"dynasty":553,"author":2443,"museum":159,"description":2444,"tags":2445,"thumbUrl":2446,"material":566,"size":567,"collection":306,"collections":2447,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":101},231735,"shan-shui-ren-wu-juan-xia-bu-ji-tong-231735","山水人物卷(下部)","吉通","德川吉通（1689年—1713年），德川御三家之一的尾张藩第四代藩主。是第三代藩主德川纲诚的九男，母亲侧室坂崎氏。乳名是薮太郎、吉郎、五郎太。字子中。官职从三位权中纳言。",[23,24,109,25,27,26,28,30,31,90,34,39,7,63,1244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a280d4f710ef9cf58d529163770ed3.jpg",[],25,{"id":2450,"slug":2451,"title":2452,"dynasty":178,"author":646,"museum":141,"description":2453,"tags":2454,"thumbUrl":2455,"material":2091,"size":2456,"collection":306,"collections":2457,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":101},223383,"nan-yue-quan-tu-yi-ming-223383","南岳全图","《南岳全图》正是以充分表现南岳秀美景色为宗旨，采用了中国传统的山水画画法，以水平方向自右向左形象生动地描绘了长沙省城、湘潭县城、衡山县城、衡州府城等省府县城池，以及寺庙名胜、古塔古木、江中行船等景色。全图色彩淡雅别致，绘制精美细腻，形象生动逼真，使人有如身临其境之感。这是现存已为数不多的南岳图中的一幅不可多得的地图。",[23,24,27,25,87,90,1003,34,7,36,168,112,2329,270,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e02d4a14616d856e621cceee56f519.jpg","纵32厘米，横210厘米",[],{"id":2459,"slug":2460,"title":2461,"dynasty":18,"author":2462,"museum":2463,"description":2464,"tags":2465,"thumbUrl":2466,"material":2467,"size":2468,"collection":306,"collections":2469,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":306},220726,"chong-shan-shui-xie-tu-li-zai-220726","崇山水榭图","李在","香港中文大学文物馆","李在，字以政，福建莆田人。明宣德时被征召入宫，与谢环、倪端、石锐、戴进等绘画名手同为仁智殿待诏。东京国立博物馆现藏《破墨山水图》上有日本室町时代画圣画僧雪舟的自赞，谓曾入明朝向当时极具声望的李在学习设色与破墨之法，可见李在画名曾远播东洋。\n\n此幅山水为李在将南、北宋绘画传统融会于一体的成果。近景右侧的蟹爪树向左方斜出，下有一策杖行人与童子步上木桥，似引导观者进入画中的理想世界。后方主山向上蜿蜒攀升，深具北宋巨障山水的体量感，但位置稍偏于画面右侧，将画幅左侧让给河流、远山，层层后退，表现山水的深远感。画中各种人物活动，清晰可见，中心山腰处有两名行人头戴斗笠，手持拐杖，由山后转出，随山径而下；中景处有两名文士造访山间凉亭，亭前则有童子洒扫；山脚处则有一人于水榭中读书。人物比例显得略大，但更拉近了观者与画面的距离，为画作带来亲密感与活泼生机。此外，此画的建构模式，例如充满动势的主山、中景处雾气蒸腾的松林、前景的蟹爪树、各式点景人物等，亦见于李在的其他作品，例如《山庄高逸图》与《山村图》。惟此《崇山水榭图》的皴染更为湿润，山石上骚动的卷云皴近乎隐没于墨染之中，并不明显，而中景右侧的两棵劲挺松树，则接近南宋的松树样式，于李在的传世立轴中较为少见。",[23,24,86,87,110,90,7,32,34,30,33,91,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3089547ba99e8fe6ce6a1d45917564c.jpg","水墨,设色,绢本,立轴","画心：124.3×59.4厘米 装裱：239.2×77.5厘米",[],{"id":2471,"slug":2472,"title":2473,"dynasty":18,"author":2474,"museum":159,"description":2475,"tags":2476,"thumbUrl":2479,"material":306,"size":306,"collection":306,"collections":2480,"showCount":2481,"zanCount":11,"manualWeight":11,"mainColor":101},239519,"wei-jing-ting-zuo-shang-ju-tu-zhou-hou-mao-gong-239519","为敬亭作赏菊图轴","侯懋功","此作用笔秀雅简淡，设色清和柔润。画面截取庭院一隅，嶙峋湖石旁修竹猗猗，枯木与青松错立，衬出秋日萧疏意韵。敞轩之内宾主对坐晤谈，侍童静立随侧，案上盆菊绽蕊，将文人雅集赏菊的悠然兴味尽数铺展。画面留白得当，以淡赭晕染地面屋舍，墨色勾勒林木湖石，清逸之中尽显文人酬酢的雅致氛围，将秋日闲居雅聚的诗意缓缓晕开。",[1621,24,109,110,27,26,30,2477,392,726,7,2478,89,131],"菊","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe62c6d48dcb99d669074a6f241fa5154.jpg",[],24,{"id":2483,"slug":2484,"title":2485,"dynasty":178,"author":2486,"museum":141,"description":2487,"tags":2488,"thumbUrl":2489,"material":1830,"size":2490,"collection":306,"collections":2491,"showCount":2481,"zanCount":11,"manualWeight":11,"mainColor":101},233794,"zi-lang-xian-guan-tu-zhou-qian-du-233794","紫琅仙馆图轴","钱杜","《紫琅仙馆图》原为赵孟頫所作，钱杜曾于京城见过真迹，后为友人月樵先生背临而成。根据该图所题款识可知此图作于清嘉庆二十四年（1819年），作者时年56岁。20余年后（道光二十二年，1842年），此图为梅盦主人所得，又延请钱杜在画上重题一则。\n《紫琅仙馆图》画面意境清幽萧疏，气氛安逸，表现了文人理想化的幽居生活。作者通过对文人高雅清幽的生活环境的描写，来反映他们的生活理想和人品情操。此图虽源于赵氏原作，但用笔细密工整，人物、楼宇刻划精微，古拙之中见灵秀之气，此则是钱氏自家的特点。其构图形式与着色则带有吴门画派的特点，尤其有文徵明“细笔”画法的影响。",[24,110,27,90,31,32,30,34,87,26,89,88,91,7,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756d04cdbae0e571becc2aae1f06cd9f.jpg","纵132厘米，横27.1厘米",[],{"id":2493,"slug":2494,"title":2495,"dynasty":553,"author":554,"museum":159,"description":555,"tags":2496,"thumbUrl":2499,"material":566,"size":567,"collection":568,"collections":2500,"showCount":2481,"zanCount":11,"manualWeight":11,"mainColor":54},226093,"the-port-at-argenteuil-1872-mo-nai-226093","The Port at Argenteuil, 1872",[557,558,560,1256,2497,1700,34,710,30,168,36,1257,562,2498,692,7,563,559,1255],"堤岸","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2728ccad7694cf240bd131badab46f68.jpg",[568],{"id":2502,"slug":2503,"title":2504,"dynasty":426,"author":646,"museum":2505,"description":2506,"tags":2507,"thumbUrl":2511,"material":2512,"size":306,"collection":306,"collections":2513,"showCount":2481,"zanCount":11,"manualWeight":11,"mainColor":54},217283,"jiang-mo-bian-dun-huang-tu-juan-6-yi-ming-217283","降魔变·敦煌图卷-6","法国国家图书馆","画面如叙事长卷徐徐展开：左畔树下群贤毕集，衣袂轻扬间神态恭谨，似在凝神聆听；中段帐幔低垂，魔众袒腹鼓噪或蹙眉挣扎，张力暗涌；右方护法神金甲耀目，怒目圆睁，足下祥云与魔焰交织，威严毕露。线条行云流水，勾勒人物喜怒哀乐；设色古朴淡雅，赭墨交织着岁月痕迹。魔众狰狞、护法刚正、信徒虔诚，三者对比鲜明，将降魔典故的冲突与神圣感渲染得淋漓尽致，尽显敦煌艺术的灵动气韵与厚重底蕴。",[1401,1519,27,355,25,1106,30,34,1177,2508,2509,2510,1922,7],"僧侣","武士","鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05415e527171ea8c27af2cf1bec6c77.jpg","设色,拓本",[],{"id":2515,"slug":2516,"title":2517,"dynasty":178,"author":2518,"museum":159,"description":2519,"tags":2520,"thumbUrl":2521,"material":566,"size":567,"collection":49,"collections":2522,"showCount":2523,"zanCount":11,"manualWeight":11,"mainColor":101},238544,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238544","陈书画历代帝王道统图钱陈群书赞合册","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,109,204,27,26,30,354,88,89,34,91,1284,165,1922,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1bf6b2c65b651b60c09fe8353699f2.jpg",[49,51],23,{"id":2525,"slug":2526,"title":2527,"dynasty":18,"author":599,"museum":159,"description":2528,"tags":2529,"thumbUrl":2530,"material":306,"size":306,"collection":306,"collections":2531,"showCount":2523,"zanCount":11,"manualWeight":11,"mainColor":101},228826,"liang-jiang-ming-sheng-tu-ce-shen-zhou-228826","两江名胜图册","此作用笔兼工带写，右侧苍松掩映下的官式院落界画工细严整，层叠峰峦以披麻皴晕染，墨色苍润厚重，山间云霞淡晕铺陈，烘托出空蒙出尘的仙气，将林泉雅致与山峦雄浑相融。\n\n左侧题跋行书舒展苍劲，诗画合璧，以文衬景。整体将实景胜迹的肃穆雅致，与文人写意的空灵悠远结合，兼具院体画的工致细腻与文人画的简逸意趣，铺陈出江南丘林的沉静大气，寄寓文人林泉高致的审美意趣，尽显山水胜景的意境之美。",[24,109,204,27,90,28,31,34,91,7,39,112,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9e80b34b0e5224393097d95fc097fe6.jpg",[],{"id":2533,"slug":2534,"title":2535,"dynasty":178,"author":2536,"museum":159,"description":2537,"tags":2538,"thumbUrl":2539,"material":306,"size":306,"collection":306,"collections":2540,"showCount":2541,"zanCount":259,"manualWeight":11,"mainColor":54},235832,"qiu-shan-cao-tang-tu-zhou-wu-hong-235832","秋山草堂图轴","吴宏","此作用淡墨皴擦写层叠秋山，崖峦渐远晕出空濛秋韵。近畔枯木虬曲苍劲，苍松卓然挺立于茅舍之侧，篱径萦回板桥通幽，溪岸渔舟横斜，静穆山居秋景宛然眼前。枯笔短皴勾勒山石质感，淡赭轻敷晕染秋意，简淡笔墨见出苍浑朴拙。右上角题诗衬景，诗画相融，将秋日山野萧疏安闲的意趣尽显，暗合文人幽居丘壑、寄情林泉的雅逸襟怀。",[24,109,110,86,27,87,90,34,506,253,32,33,91,7,405,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7717b800d6cee60d4bf59a3f525be6ec.jpg",[],22,{"id":2543,"slug":2544,"title":2545,"dynasty":178,"author":988,"museum":159,"description":2546,"tags":2547,"thumbUrl":2549,"material":306,"size":2550,"collection":306,"collections":2551,"showCount":2541,"zanCount":11,"manualWeight":11,"mainColor":101},231514,"fang-ni-zan-she-se-qiu-shan-tu-wang-yuan-qi-231514","仿倪瓒设色秋山图","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[23,24,27,90,29,87,89,2548,34,91,32,7,562,749,221],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcdb306f6f1c438ff6380f1ec5787a6.jpg","95.9×50.6 厘米",[],{"id":2553,"slug":2554,"title":2555,"dynasty":178,"author":646,"museum":159,"description":2556,"tags":2557,"thumbUrl":2558,"material":306,"size":306,"collection":306,"collections":2559,"showCount":2541,"zanCount":320,"manualWeight":11,"mainColor":54},230326,"tai-ping-fan-hua-ba-tu-ping-yi-ming-230326","太平繁华八图屏","此作截取升平盛景的两段切面，上部郊山林木蓊郁，台阁错落，游人雅聚嬉游，尽显郊野行乐闲趣；下部市井商铺鳞次栉比，彩楼牌坊高耸，行人摩肩接踵，百业攒动喧嚷。全景构图铺陈开烟火日常，工细设色复刻俗世百态，将山野清趣与闾巷喧嚣相融，把盛世之下的黎民安乐描摹得鲜活生动，让太平年间的人间烟火跃然绢上，藏着最鲜活的世俗温情与蓬勃生机。",[23,24,27,26,28,30,31,34,91,37,35,39,146,165,7,69,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],{"id":2561,"slug":2562,"title":2563,"dynasty":18,"author":1605,"museum":159,"description":2564,"tags":2565,"thumbUrl":2566,"material":306,"size":306,"collection":306,"collections":2567,"showCount":2541,"zanCount":11,"manualWeight":11,"mainColor":101},228967,"shan-shui-ce-ye-xiao-yun-cong-228967","山水册页","这幅山水取高远、平远二法构景，右侧危崖层叠耸峙，以细劲皴笔刻绘山石嶙峋肌理，古松倚崛崖而生，姿态苍劲奇逸。左侧江流逶迤，洲渚之上林木错落，村居隐于坡岸林麓，野意悠然自生。\n\n设色清浅柔和，以赭石晕染山峦，墨色点苔绘木，淡润雅致间尽显清和。整体意境萧疏旷远，兼具皖南山水的灵秀，又饱含文人隐逸丘壑的静穆意趣，笔致秀雅工丽，将山水自然之美与林下幽居的雅怀相融，观之便如身临幽寂林泉，心神涤荡。",[24,109,183,204,86,27,87,90,91,34,33,1123,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fb76240c525618fdf974dbb6774f96.jpg",[],{"id":2569,"slug":2570,"title":2571,"dynasty":426,"author":646,"museum":1401,"description":1402,"tags":2572,"thumbUrl":2574,"material":566,"size":567,"collection":306,"collections":2575,"showCount":2541,"zanCount":11,"manualWeight":11,"mainColor":54},226264,"ku-qian-shi-xi-bi-yi-ming-226264","窟前室西壁",[1404,1921,27,2087,1106,30,7,2573,2091],"洞窟壁面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cca2f940be9b58dc2046582fab3d92.jpg",[],{"id":2577,"slug":2578,"title":2579,"dynasty":178,"author":794,"museum":159,"description":2580,"tags":2581,"thumbUrl":2582,"material":306,"size":306,"collection":306,"collections":2583,"showCount":2541,"zanCount":11,"manualWeight":11,"mainColor":101},224453,"fu-chun-da-ling-tu-wang-hui-224453","富春大岭图","此作用高远、深远法铺陈丘壑，以云气留白切割层峦，将大岭的雄秀与幽深次第铺展。以干笔披麻皴写山石，兼施浅绛淡赭晕染，复刻元人苍润笔意，又糅合宋人丘壑的繁复精细。\n\n层岩间林泉迂曲，村居掩映于深林，林木疏密错落，枯荣相济，静穆萧散的山居意趣盈满纸面。师法富春古意却自出机杼，笔底既有山野的苍茫清旷，又带着秀整雅致的文人心韵，尽显林泉高致。",[23,24,109,110,27,90,87,1003,112,34,93,269,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185770931e69346f81a2ed45e421ddf6.jpg",[],{"id":2585,"slug":2586,"title":2587,"dynasty":81,"author":375,"museum":127,"description":2588,"tags":2589,"thumbUrl":2591,"material":86,"size":2592,"collection":306,"collections":2593,"showCount":2541,"zanCount":11,"manualWeight":11,"mainColor":101},221674,"feng-yan-zhan-juan-zhao-bo-ju-221674","风檐展卷","画中的建筑物——敞轩，即所谓的「界画」。古代的风景画或人物画中有建筑物的构图，依赖界尺将建筑物的飞檐、楼阁、楹椽等画得唯肖唯妙，这种有直线的画，称为「界画」。其实界画极难，如非高手绝难胜任。界画是用千万条长短、横直和弯曲的线条交织画成，繁复单调，又不容有一笔差错。如何把呆版的线条绘成生动的画面，就是绘界画最困难之处。",[23,183,24,109,27,26,2590,89,90,270,30,166,34,7],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b511f6b89d3f3ff1e22db0037b5b729.jpg","24.9x26.7",[],{"id":2595,"slug":2596,"title":2597,"dynasty":178,"author":646,"museum":127,"description":2598,"tags":2599,"thumbUrl":2600,"material":47,"size":306,"collection":49,"collections":2601,"showCount":2541,"zanCount":11,"manualWeight":11,"mainColor":101},219596,"wan-nian-bu-lao-ce-sheng-xiang-ba-yuan-yi-ming-219596","万年不老册-圣相八元","此作分上下两段，上部以缠枝花卉环绕题字区域，碧绫为底墨字清隽，雅致沉静，烘托出古雅的文韵氛围。下部工笔绘就殿宇朝会小景，界画工致规整，朱红台栏与苍松翠色相衬，设色调和明丽。\n\n画中人物衣冠俨然，阶上二人低语，廊下众人肃立候见，举止从容端方，尽显朝堂仪制的庄重平和。笔触细腻柔和，树石晕染层次自然，衣褶线条舒朗流畅，将古典朝会的温婉肃穆悉数铺展，带着精工雅致的传统院画特质，于方寸间尽显静谧古雅的叙事意趣。",[24,109,204,27,26,30,34,7,2424,1284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396c7d9317e9fb030f5c555392c786d5.jpg",[49],{"id":2603,"slug":2604,"title":2605,"dynasty":249,"author":646,"museum":704,"description":2606,"tags":2607,"thumbUrl":2608,"material":47,"size":2609,"collection":97,"collections":2610,"showCount":2541,"zanCount":259,"manualWeight":11,"mainColor":54},218192,"shan-dian-shang-chun-tu-yi-ming-218192","山殿赏春图","《山殿赏春图》是一幅典型的元朝时期山水画作品，作者是佚名。这幅画描绘了一座位于山间的小山殿，山殿周围群山环绕，远处是一片茂密的森林。山殿前有一道小溪流过，溪边有许多花草树木。画中还有许多小鸟在欢快地飞翔，整幅画充满了春天的气息。\n\n《山殿赏春图》的画风浓郁，笔画细腻，色彩丰富，整幅画给人以舒适、宁静、平和的感觉。这幅画是元朝时期山水画中的杰作，具有很高的艺术价值。\n\n元朝时期的山水画在中国画史上占有重要的地位，它不仅体现了元朝时期艺术家的高超技艺，还反映了元朝时期社会的文化氛围。《山殿赏春图》是元朝山水画中的经典之作，值得我们珍视和欣赏。",[24,1816,27,28,90,31,32,30,34,39,238,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311780d392276a45c48f87622c8ca437.jpg","27.5x28.6cm",[97],{"id":2612,"slug":2613,"title":2614,"dynasty":178,"author":1000,"museum":159,"description":2615,"tags":2616,"thumbUrl":2618,"material":566,"size":567,"collection":306,"collections":2619,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":101},237969,"hong-ren-qiu-feng-shan-hong-ren-237969","弘仁秋枫扇","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[24,1816,86,87,90,2617,30,7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流亡的皇帝屏风","金箔为底晕开朦胧暖光，淡墨细绘出浩渺水岸，层层水纹带着澹澹涟漪，铺陈开幽寂江景。左岸孤客彳亍，衣袂似随江风微扬，满溢羁旅怅惘。右畔水榭依水而立，灼灼桃枝缀着浅淡花意，晕开零落暖意，和空阔江天的萧寂形成温柔的对照。\n水墨冷寂被金箔柔光轻轻中和，将沉郁藏在清雅笔意间，留白里晕开澹澹愁思，以侘寂幽玄的笔致，把漂泊况味融在烟暮色中，在极简构图里铺陈出含蓄悠长的诗意。",[23,183,24,109,2627,86,27,2628,87,90,30,7,34,269,168,2629],"屏风","金碧","开花植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcce2a562d3507c088b54444c8a8b0f.jpg",[],{"id":2633,"slug":2634,"title":2635,"dynasty":18,"author":2636,"museum":159,"description":2637,"tags":2638,"thumbUrl":2639,"material":306,"size":306,"collection":306,"collections":2640,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":54},228758,"guan-hua-tu-zhang-lu-228758","观画图","张路","这幅画作以巨松浓墨开篇，衬出山居小屋错落野趣。画面群像鲜活灵动：扶案老者凝目观画，村汉孩童攒头探看，窗内女子隔帘偷觑，各有神态，将乡野小民观画时的好奇热忱尽数铺展。\n\n笔意承袭浙派写意，线条粗粝劲健，衣纹顿挫利落，墨色浓淡铺陈拉开远近层次。以简括布景衬出盎然烟火，粗笔间藏着细腻情思，寥寥数笔便把俗世片刻的鲜活意趣定格，尽显明代人物画世俗化的鲜活风貌，将山野日常的闲适与观画时的热闹相融，质朴又传神。",[23,24,109,86,27,355,30,7,34,458,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ac9c01422f9d12f5cf20f72d77ee8d.jpg",[],{"id":2642,"slug":2643,"title":2644,"dynasty":553,"author":554,"museum":159,"description":555,"tags":2645,"thumbUrl":2649,"material":566,"size":567,"collection":568,"collections":2650,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":101},226115,"the-seine-at-bougival-in-the-evening-1870-mo-nai-226115","The Seine at Bougival in the Evening, 1870",[558,557,688,168,2646,1486,7,34,710,2647,2193,1671,2648],"晚霞","水面倒影","笔触灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce56a972635315838112f6d9f26c2f8d.jpg",[568],{"id":2652,"slug":2653,"title":2654,"dynasty":81,"author":646,"museum":159,"description":2655,"tags":2656,"thumbUrl":2657,"material":566,"size":567,"collection":306,"collections":2658,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":54},223621,"hu-jia-shi-ba-pai-quan-juan-yuan-pai-yi-ming-223621","胡笳十八拍全卷（原拍）","所谓“胡茄十八拍”，是指蔡琰谱写的茄谱及歌词的总称。明胡笳十八拍图卷为明中期摹本。无款印， 图中人物勾写严谨，神情如生。",[23,24,25,26,27,30,146,7,90,977,88,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b0162d600dbddb17ec2ee4e429f3fbf.jpg",[],{"id":2660,"slug":2661,"title":2662,"dynasty":178,"author":646,"museum":2663,"description":2664,"tags":2665,"thumbUrl":2666,"material":206,"size":2667,"collection":306,"collections":2668,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":54},223467,"guang-zhou-cheng-zhu-jiang-tan-jing-tu-1-yi-ming-223467","广州城珠江滩景图1","大英图书馆","广州珠江江滩水运及岸边建筑之景",[23,25,27,26,33,36,7,977,185,271,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f82929b09229b6b39367371aa46380.jpg","75×800厘米",[],{"id":2670,"slug":2671,"title":2672,"dynasty":178,"author":215,"museum":216,"description":217,"tags":2673,"thumbUrl":2674,"material":206,"size":229,"collection":306,"collections":2675,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":101},222912,"hong-lou-meng-37-sun-wen-222912","红楼梦37",[23,26,27,28,30,220,39,131,90,7,270,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44dc558540f4d6b844829f7415cf33b0.jpg",[],{"id":2677,"slug":2678,"title":1445,"dynasty":18,"author":2679,"museum":704,"description":2680,"tags":2681,"thumbUrl":2682,"material":255,"size":2683,"collection":306,"collections":2684,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":101},222377,"shan-shui-tu-bian-wen-yu-222377","卞文瑜","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,1816,90,87,86,27,91,34,7,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd45f49317fea0c08e05b689921eab9.jpg","纵23.7厘米横29.3厘米",[],{"id":2686,"slug":2687,"title":2688,"dynasty":18,"author":646,"museum":2689,"description":2690,"tags":2691,"thumbUrl":2692,"material":2029,"size":306,"collection":97,"collections":2693,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":54},219897,"jun-ling-tu-yi-ming-219897","峻岭图","费城艺术博物馆","危峰拔地直插烟岚，苔痕皴染崖壁，凭添苍古荒寒之意。山巅与幽谷间云气漫漶，虚实相生衬出峰峦巍峨雄浑。下方虬松横斜出枝，蟠曲如游龙，苍劲松针攒簇，尽现山野老松的疏狂之姿。\n\n山麓茅亭敞轩，高士偃卧假寐，篱舍隐于浅渚林泉间，枯木荒坡错落排布，淡墨晕染出空寂萧散的汀岸野趣。全作用笔兼具勾勒皴擦，水墨干湿浓淡层叠铺陈，将山水的宏阔与林下幽居的静穆相融，尽显林泉高致的隐逸意趣，于尺幅间铺展出文人心底旷远高逸的林下襟怀。",[24,109,110,86,90,253,91,34,7,30,270,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaeb6304a00605300597860cc5dd69c6.jpg",[97],{"id":2695,"slug":2696,"title":2697,"dynasty":81,"author":646,"museum":127,"description":2698,"tags":2699,"thumbUrl":2701,"material":47,"size":2702,"collection":97,"collections":2703,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":101},218705,"xue-xi-gu-si-tu-yi-ming-218705","雪溪古寺图","这幅画描绘了一个山村和一座耸立在深雪中的山谷中的古寺，一个骑驴的和尚与一个拿着雨伞的仆人一起走在雪地里。这幅画的尺寸很小，是郭熙风格的典范，画中的小屋和小刺沏是程式化的，可能是元明时期的作品。",[23,24,109,86,87,90,473,2700,91,34,93,7,635],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b70cfa37a2e0c165015de0b7e5d2a2.jpg","24.5x25",[97],{"id":2705,"slug":2706,"title":2707,"dynasty":178,"author":646,"museum":127,"description":2708,"tags":2709,"thumbUrl":2710,"material":47,"size":306,"collection":306,"collections":2711,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":101},215192,"sheng-ping-le-shi-tu-ce-7-yi-ming-215192","升平乐事图册-7","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[24,204,26,27,30,253,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9afbca9057d013d2344091e267bac83f.jpg",[],{"id":2713,"slug":2714,"title":2715,"dynasty":178,"author":2716,"museum":159,"description":2717,"tags":2718,"thumbUrl":2719,"material":306,"size":306,"collection":765,"collections":2720,"showCount":2721,"zanCount":11,"manualWeight":11,"mainColor":54},239076,"jie-bao-tu-zhou-yin-shi-239076","捷报图轴","殷湜","此作以工笔绘就春日山居佳音之景。青绿晕染山石，皴擦间见苍润厚重，古木虬枝缀满白花，融融春意浸透林泉。宅邸回廊婉转延伸，窗内雅士围坐展卷，似正传阅捷报，庭中仆役步履轻捷，将得喜的雀跃藏于悠然日常。左下角策蹇缓行的旅人，让幽邃园林添了几分灵动生趣。全景构图将世俗喜事融入文人山居的清雅意趣，无张扬喜色，只在松弛闲雅的氛围里暗传佳音带来的慰藉与欣喜，细腻写实中尽显古典楼阁山水的清远意境，把日常雅事与俗世快意相融，晕染出平和又暗含暖意的春日图景。",[24,109,110,27,26,87,28,90,31,32,33,34,30,91,7,1977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ce2d50abd7cdef7a350dd0aac9c8e0.jpg",[765,51],20,{"id":2723,"slug":2724,"title":2725,"dynasty":178,"author":2726,"museum":159,"description":2727,"tags":2728,"thumbUrl":2729,"material":306,"size":306,"collection":306,"collections":273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天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,109,25,27,28,26,1106,31,32,33,270,90,34,91,709,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":2846,"slug":2847,"title":2848,"dynasty":178,"author":2849,"museum":159,"description":2850,"tags":2851,"thumbUrl":2852,"material":306,"size":306,"collection":306,"collections":2853,"showCount":2807,"zanCount":11,"manualWeight":11,"mainColor":101},228938,"qian-long-nan-xun-zhu-bi-tu-qian-wei-cheng-228938","乾隆南巡驻跸图","钱维城","此作用鸟瞰全景式构图，将山林梵宫驻跸地铺展于绢面。界画工细严整，殿宇层叠排布对称规整，朱红标识清晰点明殿内陈设，精准勾勒出建筑形制，尽显驻跸行馆的严整规制。\n\n周遭林木苍秀错落，淡墨轻赭晕染丘壑，将人工营造融于山野清境之中。整体设色古雅沉静，笔触精细柔和，既详实记录了驻跸之所的全貌，又以山水画意晕染出江南林泉的幽谧雅韵，是纪实性与文人画意趣相融的精品，尽显山林行宫的清雅格局。",[23,24,109,28,27,26,31,90,34,7,39,91,832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd542b499186cbae634efac97536fa24b.jpg",[],{"id":2855,"slug":2856,"title":2857,"dynasty":553,"author":554,"museum":159,"description":555,"tags":2858,"thumbUrl":2863,"material":566,"size":567,"collection":568,"collections":2864,"showCount":2807,"zanCount":11,"manualWeight":11,"mainColor":101},226124,"the-thames-below-westminster-1871-mo-nai-226124","The Thames below Westminster, 1871",[557,688,1671,1256,2859,2114,168,2860,7,2861,185,2862,564,30,288,692,562],"户外写生","钟楼","蒸汽船","水面波光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2fb9e1255edae92c7fe290796b70f79.jpg",[568],{"id":2866,"slug":2867,"title":2868,"dynasty":553,"author":554,"museum":159,"description":555,"tags":2869,"thumbUrl":2873,"material":566,"size":567,"collection":568,"collections":2874,"showCount":2807,"zanCount":11,"manualWeight":11,"mainColor":101},225944,"hotel-des-roches-noires-trouville-1870-mo-nai-225944","Hotel des Roches Noires, Trouville, 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“有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[24,109,204,86,27,87,34,7,91,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81f0cd86aef5b2cadbeb5c25aee7d72.jpg",[97,51],{"id":3177,"slug":3178,"title":2139,"dynasty":178,"author":2140,"museum":141,"description":2141,"tags":3179,"thumbUrl":3180,"material":728,"size":2147,"collection":306,"collections":3181,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":54},236137,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236137",[24,27,26,30,34,1064,91,7,1569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85497fe316f8c11e9550b2671035e9b8.jpg",[],{"id":3183,"slug":3184,"title":3185,"dynasty":18,"author":3186,"museum":159,"description":3187,"tags":3188,"thumbUrl":3189,"material":306,"size":306,"collection":306,"collections":3190,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":101},235593,"hua-wang-bai-gu-ban-ji-an-tu-zhou-wen-jia-235593","画王百穀半偈庵图轴","文嘉","《王百谷半偈庵图》是明代画家 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。\n该图绘明代王百谷所居地半偈庵景色，院落中有湖石、青竹、松木等，石旁立有小石碑，晥门外有2人相立而谈。\n此图笔秀润简淡，构图巧妙别致。\n此画的构图和景物比较简洁，画有工日谷寓所——半偈庵，庭院中立有一湖，造型奇特，玲珑剔透。\n又有数棵树木，枝叶疏散，后有屋舍二间，陈设简陋，前后排列，前房供佛，后房中一榻一几，有一位上人独坐于床榻上，双日凝视，若有所思，屋子左侧有一束修竹，枝叶茂盛，近景有一道围墙，山间有一门楼，围墙两侧的右侧一树，左侧为一棕树。\n墙外有二人对话，一位作拱手状，一位持有策杖，姿态悠闲自在。\n此情此景，足以反映当时文人墨客优雅的生活环境及他们的志趣，王百谷半偈庵就是文人士大夫们所追求的优雅生活的写照。\n全图其画景物和作者自题识及王穉登等诗几乎各占一半，上诗、下图，相配十分得体。\n此画是文嘉7岁的作品，描绘当时文人王穉登所居半偈庵景色。\n王穉登（155—1612），字伯谷，也作百谷，长洲人，少时即以善作诗文著称，长而骏发，名满吴会，善书法，诸体兼备，文徵明没后，风雅归之穉登。\n全图用笔相当简练，湖石和竹树基本上继承了家学的传统，画法近学文徵明，远受元朝画家的影响，疏淡中蕴含秀润，树木用干笔勾皴后，用细墨点叶。\n用笔颇为老峭，加上构图过分简洁，使画面的意境稍嫌疏落之感。\n但由于画幅上面有文嘉的长段题识，起到了弥补此画构图的疏落之嫌…上诗塘又有王穉登录顾孟先、沈少卿宿半偈庵诗、这些自题识和王穉登题诗，为此画增色颇多，成为此画重要的组成部分。\n文嘉（151—158），明代画家，字休承，号义水，长洲（今江苏苏州）人，文徵明次子。\n官和州学正，继承家学，工小楷，擅画山水，笔法清脱，颇近倪瓒，着色山水，具幽澹之致，间仿卫蒙皴染，亦颇秀润，兼作花卉。\n精于鉴别古书画。\n传世作品有《赤壁夜游图》、《秋塘红藕图》、《沧山渔笛图》、《临董源溪山行旅图》轴，并著有《钤山堂书画记》。",[24,109,110,86,354,88,31,131,392,221,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b4680056f3221272054815ba8098c4.jpg",[],{"id":3192,"slug":3193,"title":3194,"dynasty":178,"author":1984,"museum":141,"description":3195,"tags":3196,"thumbUrl":3197,"material":3198,"size":3199,"collection":306,"collections":3200,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":101},234701,"fang-mei-dao-ren-shan-shui-zhou-wang-jian-234701","仿梅道人山水轴","王鉴（1598年—1677年），字玄照，后改字园照，元照，号湘碧，又号香庵主。明末清初著名画家。江苏太仓人，出生于以衣冠诗书著称的太仓王氏家族。崇祯六年（公元1633年）举人，后仕至廉州太守，故称“王廉州”。王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。",[24,110,86,87,29,90,390,391,32,34,285,91,168,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f0d9e69ecf5b32522f0cc3f34bc390.jpg","纸本 墨笔","78.1cmx42.6cm",[],{"id":3202,"slug":3203,"title":3204,"dynasty":178,"author":610,"museum":159,"description":3205,"tags":3206,"thumbUrl":3207,"material":508,"size":3208,"collection":306,"collections":3209,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":101},233383,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233383","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,109,86,87,204,90,32,33,91,30,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a2cb0bf3c261545bb9cb2f6d60a55a.jpg","纵24.6cm横17.6cm",[],{"id":3211,"slug":3212,"title":3213,"dynasty":249,"author":3214,"museum":127,"description":3215,"tags":3216,"thumbUrl":3218,"material":508,"size":3219,"collection":306,"collections":3220,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":54},232252,"qiao-mu-gao-zhai-tu-zhao-meng-xu-232252","乔木高斋图","赵孟吁","在元代文人画家笔下，画的内容仅仅只是载体了，重要的是画上寄托的情感。他们追求“逸笔草草，不求形似”，目的是抒写“胸中逸气”；追求笔墨趣味，以笔墨的形式与结构来表达绘画者自己的主观精神境界。",[24,27,26,87,445,253,30,7,3217,221,39],"石墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff809b42c21c90b2a4b015928f355643c.jpg","102.4x51.3公分",[],{"id":3222,"slug":3223,"title":3224,"dynasty":249,"author":646,"museum":159,"description":3225,"tags":3226,"thumbUrl":3229,"material":306,"size":306,"collection":306,"collections":3230,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":54},230922,"jiang-cheng-ye-po-tu-yi-ming-230922","江城夜泊图","此作用淡墨晕染出夜色江天，远山隐在朦胧烟霭之中，虚渺苍茫，将夜的空寂晕染开来。江面舟船错落排布，屋舍、桅杆细节宛然，朴拙写实又不失写意松弛。淡墨轻扫江面，微波暗藏，静中藏动。\n\n没有星月铺陈，却处处浸着夜的宁谧，泊舟暂歇的安然藏在错落舟楫之间，带着元画特有的简淡萧散气质。寥寥笔墨便将羁旅的淡寂揉入江南夜色，仿佛能听见细浪拍舷，触到晚风裹着的水汽凉意，以简驭繁，把江城夜色的柔静与行旅安闲融成清寂悠远的诗画意境。",[24,1816,86,87,90,36,3227,7,3228],"桅杆","江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79119bd59edd2dd5c8ff285ff75b5330.jpg",[],{"id":3232,"slug":3233,"title":3234,"dynasty":178,"author":646,"museum":159,"description":3235,"tags":3236,"thumbUrl":3241,"material":566,"size":567,"collection":3242,"collections":3243,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":54},229215,"qian-long-yao-fa-lang-cai-deng-huo-sheng-ping-wan-yi-ming-229215","乾隆窑 珐瑯彩灯火升平碗","清高宗在位时(公元1736〜1795年）的官窑。所产的瓷器，突出的特点是能把许多不同品种、不同火度的釉料用于一器之上。在仿古瓷及各种色釉器方面，品种也很多。乾隆窑瓷器釉较康、雍时期略显粗糙，一为乳白粉釉，一为略带青色的白釉。器型种类繁多，并出现了一些新奇的制品，如用瓷土制造的像生瓷，制作精巧，艺术价值很高。乾隆窑瓷器的纹饰，讲究画得规矩，所画多仿名家笔意，并开始有仿西洋的画法。颜色釉方面，以茶叶末釉烧得最为成功，并利用茶叶末加以变化的古铜釉，十分巧妙地反映出铜器的色泽、锈斑，制出仿铜器的作品。",[1317,3237,3238,3239,27,30,31,7,39,3240,165],"珐琅彩","陶瓷","珐琅器","灯火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cda5708b377d0fefe569225c350c5c.jpg","瓷器精选",[3242],{"id":3245,"slug":3246,"title":3247,"dynasty":553,"author":646,"museum":159,"description":2907,"tags":3248,"thumbUrl":3250,"material":566,"size":567,"collection":306,"collections":3251,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":1068},225313,"fu-shi-hui-48-yi-ming-225313","浮世绘48",[2909,3249,27,26,30,220,31,270,458,34,91,7,3060],"漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac7ff525e9b9ad13515af96fc67cf3c4.jpg",[],{"id":3253,"slug":3254,"title":3255,"dynasty":178,"author":215,"museum":216,"description":217,"tags":3256,"thumbUrl":3259,"material":206,"size":229,"collection":306,"collections":3260,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":101},223033,"hong-lou-meng-158-sun-wen-223033","红楼梦158",[23,24,26,27,30,31,39,62,34,91,3257,3258,7,1049],"衣饰","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95da0a239408be4d822e166ee9bfda17.jpg",[],{"id":3262,"slug":3263,"title":3264,"dynasty":178,"author":215,"museum":216,"description":217,"tags":3265,"thumbUrl":3267,"material":206,"size":229,"collection":306,"collections":3268,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":101},222950,"hong-lou-meng-75-sun-wen-222950","红楼梦75",[23,183,24,109,26,27,28,2425,30,31,131,392,39,3266,32,1305,809,223,7,1728],"墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ae5891d7111947785f13e20a7aff27.jpg",[],{"id":3270,"slug":3271,"title":3272,"dynasty":178,"author":1984,"museum":704,"description":3273,"tags":3274,"thumbUrl":3275,"material":240,"size":3276,"collection":306,"collections":3277,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":101},216967,"fang-song-yuan-shan-shui-ce-11-wang-jian-216967","仿宋元山水册-11","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,109,86,29,87,2899,90,34,91,112,7,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12cc379bfe0f6d2c425b876799af556f.jpg","纵55.4厘米，横36.0厘米",[],{"id":3279,"slug":3280,"title":3281,"dynasty":178,"author":646,"museum":159,"description":3282,"tags":3283,"thumbUrl":3284,"material":47,"size":306,"collection":306,"collections":3285,"showCount":121,"zanCount":259,"manualWeight":11,"mainColor":54},216696,"hong-lou-meng-fu-tu-ce-26-yi-ming-216696","红楼梦赋图册-26","冰裂纹窗棂半敞，漏进满院清光。倚坐的仕女衣袂叠着红绿，似将春日揉进罗裳；伫立的身影拢着蓝衫，凝望着阶前花事。阶下小婢轻抬的手，若要接住风里絮语，石畔粉花与苍苔，又把庭院衬得愈发动人。窗棂纹路、案上陈设、树影婆娑，皆浸着红楼闺阁的雅致含蓄。人物间无声互动藏着未言心事，让静谧场景漫出淡淡怅惘。笔墨凝住小说里的温柔幽微，如旧梦一缕，在庭院光影里缓缓流淌，道尽红楼赋中未说尽的温柔与怅惘。",[23,183,24,109,204,27,26,30,220,39,331,66,1284,2279,1922,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F403425bb470fe631e98a1bd1da06e90b.jpg",[],{"id":3287,"slug":3288,"title":3289,"dynasty":178,"author":179,"museum":159,"description":3290,"tags":3291,"thumbUrl":3292,"material":306,"size":306,"collection":306,"collections":3293,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":54},238208,"duan-yang-gu-shi-ce-xu-yang-238208","端阳故事册","《端阳故事图之赐枭羹》是清代徐扬创作的绢本设色画册，共八开。\n此为第二开，名《赐枭羹》，题：“汉令郡国贡枭为羹赐官以恶鸟，故食之。\n”",[183,24,109,204,26,27,30,301,39,1318,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207aece91c855086232fb366672d1ea1.jpg",[],{"id":3295,"slug":3296,"title":2975,"dynasty":178,"author":3297,"museum":159,"description":3298,"tags":3299,"thumbUrl":3301,"material":306,"size":306,"collection":97,"collections":3302,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},238009,"shan-shui-ce-lu-zun-shu-238009","陆遵书","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[24,86,87,204,90,31,91,34,33,271,1094,7,112,1262,3300],"枯枝","https:\u002F\u002Foss.chuangqi.st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的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,25,86,26,90,635,168,36,34,7,378,32,1111,1850,924,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纵39.3cm 横198.4cm",[],{"id":3341,"slug":3342,"title":2975,"dynasty":249,"author":759,"museum":141,"description":3343,"tags":3344,"thumbUrl":3345,"material":1830,"size":3346,"collection":306,"collections":3347,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":54},233177,"shan-shui-ce-cao-zhi-bai-233177","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,109,204,86,87,90,390,392,7,271,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c56a42fde601ecf5f7dd11e23e93b3.jpg","纵33.1cm，横27.4cm",[],{"id":3349,"slug":3350,"title":3351,"dynasty":18,"author":3352,"museum":127,"description":3353,"tags":3354,"thumbUrl":3355,"material":508,"size":3356,"collection":97,"collections":3357,"showCount":100,"zanCount":259,"manualWeight":11,"mainColor":101},231414,"bai-yue-tu-leng-qian-231414","白岳图","冷谦","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[24,109,110,86,90,87,91,34,32,33,7,89,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[97],{"id":3359,"slug":3360,"title":3361,"dynasty":553,"author":558,"museum":159,"description":3362,"tags":3363,"thumbUrl":3368,"material":566,"size":567,"collection":306,"collections":3369,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":54},230598,"la-anunciaci-n-you-hua-230598","La-Anunciación","神性的光晕自左上角铺陈而下，鎏金天光里伸出神之手，一道光束破空穿透葱郁林野，将天国的启示引渡向尘世。\n\n林间草木丰茂，柑橘缀满枝头，棕榈舒展阔叶，细腻笔触晕开满溢生机。天使敛翼俯身，神态恭谨低垂，亚当夏娃居于画下，懵懂的神情里藏着未觉的命运波澜。\n\n柔和的色调消解了宗教叙事的厚重，金箔柔光与青翠绿意交融，将天启的肃穆融于伊甸的宁谧静雅，把神圣瞬间定格在静谧林间，静穆中暗涌着命运流转的张力。",[558,27,1106,30,3364,378,34,1049,3365,7,2376,3366,3367],"天使","果实","光线","翅膀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b9e6f3b8816a416fecae111668883b.jpg",[],{"id":3371,"slug":3372,"title":3373,"dynasty":18,"author":1424,"museum":159,"description":3374,"tags":3375,"thumbUrl":3376,"material":566,"size":567,"collection":306,"collections":3377,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},228311,"tian-chi-wan-tiao-tu-lu-zhi-228311","天池晚眺图","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,24,109,25,90,27,87,114,34,7,354,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed16a02709d4880a243cf9b576eb41.jpg",[],{"id":3379,"slug":3380,"title":1445,"dynasty":249,"author":3381,"museum":159,"description":3382,"tags":3383,"thumbUrl":3384,"material":306,"size":306,"collection":306,"collections":3385,"showCount":100,"zanCount":259,"manualWeight":11,"mainColor":54},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[23,24,109,1816,86,27,90,87,32,33,34,91,112,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":3387,"slug":3388,"title":1919,"dynasty":426,"author":646,"museum":1401,"description":1402,"tags":3389,"thumbUrl":3395,"material":566,"size":567,"collection":306,"collections":3396,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":54},226371,"ku-zhu-shi-dong-bi-yi-ming-226371",[1404,1106,27,30,1405,7,2087,1921,3390,1558,1522,3391,2091,3392,3393,3394],"佛教题材","传统技法","神佛形象","天宫楼阁","伎乐天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37b4066fc77d0166c89a0da9e2e1fd.jpg",[],{"id":3398,"slug":3399,"title":3400,"dynasty":553,"author":891,"museum":159,"description":892,"tags":3401,"thumbUrl":3406,"material":566,"size":567,"collection":568,"collections":3407,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":54},225752,"gartenlokal-la-guinguette-auf-dem-montmartre-fan-gao-225752","Gartenlokal 'La Guinguette' auf dem Montmartre",[558,894,3402,3403,30,34,7,3404,3405,2194],"木桌","长凳","街灯","露天茶座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29eab7ce618b242b7fdf1d3035f5b5b2.jpg",[568],{"id":3409,"slug":3410,"title":3411,"dynasty":553,"author":646,"museum":159,"description":3412,"tags":3413,"thumbUrl":3416,"material":306,"size":306,"collection":306,"collections":3417,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},225383,"fu-shi-hui-140-yi-ming-225383","浮世绘140","这幅作品定格了春日亭台宴游的闲雅片刻，亭台木构拉展出通透纵深感，前景盛放的白花衬起融融春意，远景溪岸蜿蜒、山樱初绽晕染出淡远的春日山水底色。\n\n四位仕女情态各有韵致，接引的侍女温婉颔首，登阶的佳人柔躯微倾，带着初见春景的娇怯，凭栏远眺的少女托腮出神，抱琴静坐的仕女娴静悠然。和服纹样繁丽精巧，格纹、云纹与繁花纹样交织，将江户女性的柔美雅致尽数铺展。笔触舒展秀雅，设色调和清丽，把和风春日里的慵懒闲情晕染开来，尽显描摹世俗风物的诗意美感。",[2909,3414,27,30,220,3060,33,34,7,63,1284,3415],"木刻","和服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f420ee1cf6a3866d8c47396fe8bfea.jpg",[],{"id":3419,"slug":3420,"title":3421,"dynasty":178,"author":3422,"museum":159,"description":3423,"tags":3424,"thumbUrl":3425,"material":508,"size":306,"collection":306,"collections":3426,"showCount":100,"zanCount":259,"manualWeight":11,"mainColor":101},223135,"shi-wan-tu-ce-shan-mian-2-ren-xiong-223135","十万图册-扇面2","任熊","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。\n任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，堪与陈洪绶并驾。人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。曾有《于越先贤传》、《剑侠传》、《列仙酒牌》等画曾刻印行世，\n传世作品有《十万图册》十页、《姚燮诗意图册》《自画像》轴等，现藏故宫博物院；咸丰五年（1855）作《四梅图》轴藏中国美术馆；《为姚梅伯作人物册》二十页、《洛神图》轴、《范湖草堂图》卷藏上海博物馆；《丁文蔚像》轴藏浙江省博物馆；《少康像》册页藏南京市博物馆；《瑶宫秋扇图》轴藏南京博物院；《四季花卉图》卷藏辽宁省博物馆；《人物图册》藏广州美术馆。",[23,24,1816,86,87,90,390,726,131,32,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff813e453a30df81524c4b73358b23be.jpg",[],{"id":3428,"slug":3429,"title":3430,"dynasty":178,"author":215,"museum":216,"description":217,"tags":3431,"thumbUrl":3432,"material":206,"size":229,"collection":306,"collections":3433,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":54},222977,"hong-lou-meng-102-sun-wen-222977","红楼梦102",[23,26,27,28,30,31,39,62,458,34,220,222,67,3009,7,1110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f29d4f96bae2ac203a1e271aaabb89e.jpg",[],{"id":3435,"slug":3436,"title":3437,"dynasty":178,"author":215,"museum":216,"description":217,"tags":3438,"thumbUrl":3441,"material":206,"size":229,"collection":306,"collections":3442,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":54},222908,"hong-lou-meng-33-sun-wen-222908","红楼梦33",[23,26,27,28,30,31,39,34,91,63,3439,1475,3440,457,238,1110,7,1922],"匾额","公子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0de6690162cf3adb8de884b97b8e03.jpg",[],{"id":3444,"slug":3445,"title":3446,"dynasty":178,"author":215,"museum":216,"description":217,"tags":3447,"thumbUrl":3448,"material":206,"size":229,"collection":306,"collections":3449,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},222899,"hong-lou-meng-24-sun-wen-222899","红楼梦24",[23,24,27,26,109,30,90,32,33,34,1977,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26aecca502b1ecebd2dad0237257b786.jpg",[],{"id":3451,"slug":3452,"title":3453,"dynasty":178,"author":794,"museum":483,"description":3454,"tags":3455,"thumbUrl":3456,"material":240,"size":3457,"collection":306,"collections":3458,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},217215,"fang-gu-shan-shui-shi-er-kai-san-wang-hui-217215","仿古山水十二开(三)","此册王翚仿古十二开",[24,109,90,204,87,86,2899,390,725,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04522294cd60b6e3d11f297483de6e7.jpg","25x35.4cm",[],{"id":3460,"slug":3461,"title":3462,"dynasty":178,"author":3463,"museum":428,"description":3464,"tags":3465,"thumbUrl":3466,"material":95,"size":3467,"collection":97,"collections":3468,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},217014,"ruan-yuan-yi-shi-shi-jing-tu-ce-wang-yun-217014","阮元遗事十景图册","汪鋆","阮元遗事十景图册是清朝时期汪鋆的一部作品。汪鋆（1735-1815年）是一位著名的清代画家，他的作品主要描绘人物、山水、花鸟等题材。阮元遗事十景图册是一部十幅图册，每幅图画都是汪鋆根据阮元的遗事描绘的人物和景象。阮元是一位著名的文学家，他的作品富有感染力，深受读者喜爱。汪鋆的这部作品通过艺术手法，将阮元的遗事生动地呈现在读者面前。",[24,109,204,86,27,87,88,89,90,7,506,91,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42d8d58ef2babc1245f84f09d811166.jpg","27.9x33cm",[97],{"id":3470,"slug":3471,"title":3472,"dynasty":18,"author":1348,"museum":127,"description":3473,"tags":3474,"thumbUrl":3476,"material":240,"size":3477,"collection":306,"collections":3478,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},216093,"tai-ping-le-shi-tu-ce-3-dai-jin-216093","太平乐事图册-3","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平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线条如铁线银钩，刚柔相济。画面铺陈宗教故事场景，神佛、力士、鬼怪等群像错落，神态各异：或怒目执兵，或从容布道，衣袂飘举间尽显动态韵律。核心揭钵处结构紧凑，冲突感暗蕴，周围人物排布层次分明，背景树木山石以简洁皴法衬出，虚实相生。虽无设色，却凭精准线条勾勒服饰纹理、兵器细节，繁而不乱，气韵生动，尽显元代白描人物画的精湛技艺，细节处见匠心，是宗教题材与白描技法结合的经典之作。",[23,24,25,355,1106,30,1304,34,91,2912,1303,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7abaea60018e5534e2d30ee714ba48c3.jpg",[49],"8f6a38",{"id":3559,"slug":3560,"title":3561,"dynasty":18,"author":1758,"museum":704,"description":3562,"tags":3563,"thumbUrl":10,"material":306,"size":306,"collection":97,"collections":3566,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":3567},203430,"qiu-pu-song-bie-tu-juan-wen-bo-ren-203430","秋浦送别图卷","画面铺展秋浦江天，烟波浩渺间岛屿错落，林木葱茏处隐现亭台。近岸孤舟待发，船帆轻扬，岸边人物揖别，意韵缱绻。远景山峦层叠，云雾氤氲，水色天光交融成一派清旷。笔墨细腻处见工致，山石皴法显肌理，树木点染得法，设色淡雅温润。卷后行书题跋流畅，与画风相得益彰，尽显雅致风神。整卷以景衬情，将送别之怅惘藏于山水幽远，读来如临其境，怅然若失。",[23,24,109,25,27,26,87,88,354,90,1123,31,34,33,30,270,3564,562,36,7,3565],"岸边景物","题字",[97],"c0b095",{"id":3569,"slug":3570,"title":3033,"dynasty":81,"author":2243,"museum":159,"description":3571,"tags":3572,"thumbUrl":3576,"material":566,"size":567,"collection":306,"collections":3577,"showCount":3578,"zanCount":11,"manualWeight":11,"mainColor":54},288369,"jin-wen-gong-fu-guo-tu-li-tang-288369","此《晋文公复国图》卷为宋代画家李唐绘。全图分为六段，描绘了晋文公（重耳）被他父亲放逐在外十九年，最后回国即位的故事，每段左题据传为宋高宗赵构手书的《左传》中相关章节，卷末有乔篑成、石岩、吴宽等人的跋。此卷现藏于大都会艺术博物馆。",[23,183,24,109,25,3573,3574,355,27,38,7,774,3575],"人物画","历史画","晋文公复国事件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd91db8876f688881b3c4cf82766bb82.jpg",[],12,{"id":3580,"slug":3581,"title":3582,"dynasty":178,"author":3297,"museum":159,"description":3583,"tags":3584,"thumbUrl":3585,"material":306,"size":306,"collection":306,"collections":3586,"showCount":3578,"zanCount":11,"manualWeight":11,"mainColor":101},238273,"song-he-ming-quan-tu-zhou-lu-zun-shu-238273","松鹤鸣泉图轴","此作用全景式布局铺展山林胜境，山峦层叠延绵，以细密温婉的皴笔写尽岩壑肌理，苍松林立挺拔，松针刻画劲挺细致，尽显古松郁然深秀之姿。\n山居茅舍错落隐于林麓溪畔，飞泉流于山谷之间，似能闻声。淡墨晕染出清润空蒙的山林气韵，将幽寂清旷的林下雅境铺陈眼前。整画笔法秀雅工致，以静穆的笔调写就林泉幽居之趣，尽显文人山水萧散淡远的隐逸意致，藏着画者寄情林泉的山居雅怀。",[24,110,86,87,90,166,390,33,7,34,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21312d10a315f6756d858f716f06e8a2.jpg",[],{"id":3588,"slug":3589,"title":3590,"dynasty":18,"author":3591,"museum":159,"description":3592,"tags":3593,"thumbUrl":3594,"material":306,"size":306,"collection":306,"collections":3595,"showCount":3578,"zanCount":11,"manualWeight":11,"mainColor":101},235839,"yu-nv-tan-tu-ye-zhu-lang-235839","玉女潭图页","朱朗","此作用笔温润雅致，右侧幽谷深潭静卧山坳，苍岩皴笔朴拙苍劲，潭水以淡墨晕染出澄澈空濛之态。临潭水榭半隐于松荫翠色中，隐约有人凭栏观览，将林泉雅意收于咫尺画幅。\n\n左侧题咏行书笔致清逸舒展，诗画相映，衬出潭水的仙灵意境。整幅工写兼施，将江南山水的温婉秀润与文人幽居雅兴相融，以细腻笔墨勾勒出涤净尘俗的林泉胜境，尽显寄情山水的抒情意趣。",[24,109,27,90,354,87,89,270,34,33,91,7,112,531,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa612ad865fbda0ae6c6443e63e8c7ad5.jpg",[],{"id":3597,"slug":3598,"title":3599,"dynasty":178,"author":646,"museum":141,"description":3600,"tags":3601,"thumbUrl":3605,"material":1830,"size":3606,"collection":306,"collections":3607,"showCount":3578,"zanCount":11,"manualWeight":11,"mainColor":101},233043,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233043","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[183,24,109,204,27,26,30,90,3602,977,2912,7,34,269,3603,3604,2910],"战马","丘陵","军队","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be05ec6ab04eff3cb82e85ab4fc6c0.jpg","长55.6厘米，宽91.1厘米",[],{"id":3609,"slug":3610,"title":3611,"dynasty":249,"author":3612,"museum":127,"description":3613,"tags":3614,"thumbUrl":3616,"material":206,"size":3617,"collection":306,"collections":3618,"showCount":3578,"zanCount":259,"manualWeight":11,"mainColor":54},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","李容瑾","此图分为殿阁区和水面区两部分，景色各异，作者采用鸟瞰式的构图，将殿阁和水面貌一一展现。刻画得非常具体细致，画面的右侧为殿阁区，以直线、横线、斜线绘成了一组优美的宏伟的建筑群：用笔严谨，刻画精到细密，一丝不苟。\n画面上，宫苑殿阁依山傍水而建，描绘了三重天井。由左下角十字歇山顶的桥亭，沿山径进入画面第一重天井，左侧围以曲折的长廊，廊外水面上构筑一重檐歇山顶的凉亭。再向上进入画面第二重天井，左右两侧均以悬崖削壁为天然屏幛。第三重天井中建一高峻的台基，台面上矗立着一座巍峨的双层楼阁，上层为重檐十字歇山顶，下层檐的左、右、前方各出一歇山抱厦。\n汉代宫苑早于汉高祖、萧相国时，即有营建。当时之未央宫，因龙首山制前殿，建东阙、北阙、武库、太仓等，周围二十八里，台殿池苑无数，宫成后常为朝见之所。王莽末年毁于兵火。如班固的《西都赋》、张衡的《西京赋》中，有关于汉代宫苑盛况的详尽描述，此轴则以绘画的形式展现了汉苑的宏丽气象。\n全画取近乎长方形的构图，殿阁占去画面的三分之二，整个汉苑图，宫阙巍峨，连甍矗栋，雕栏回廊，殿阁缛丽重深，周围树木耸峙，掩映成趣。在这一建筑群的高处，遥望远处，为烟波浩渺的水面，碧波万顷，气象万千；直到很远的地方与起伏的小山相接。凉亭临水，江水泊岸，楼台掩映，楼台亭阁生辉；近处植有松柏，林木翁翳，花竹摇艳，移步换影，处处秀丽迷人的景色；遥望远处，山山水水，美不胜收。其殿阁楼台等建筑物，其严谨笔直的线条与苍松崖石的穿插姿态相映，更显出楼阁的气势非凡。精湛的笔墨则再现了汉苑特有的风釆。\n图中的建筑从群体的布局组合到单体的结构装饰，都不是道地的汉时规范，而是宋以后的形制，例如鸱尾和脊兽的处理就是明证。但画家将历史和现实、景和情、势和意，通过惨淡的经营、创造的意匠，实现了统一。\n此图界画工整，折算精确，游规矩准绳之内而不为所窘。此图景物恢弘，气魄博大。树石画法承北宋郭熙，多作双勾夹叶，用笔粗壮放达，与郭熙《窠石平远图》相一致。但与郭熙不同，《汉苑图》纯用夹叶树，满山遍冈，葳蕤郁茂，增添了画面豪华郁丽的氛围。近境坡石从卷云皴化出，圆润流畅，清空跌宕；遥山旷荡，杂树暝漾，神韵独绝。\n中国美术学院艺术人文学院教授毛建波：汉代国家统一，国力殷实，都城、宫殿、苑囿、礼制建筑和陵墓等，十分兴盛。汉代苑囿规模惊人，作为游乐之所，苑囿里的宫殿常于中轴对称之外有更多自由灵活的处理，这种情形在《汉苑图》中有很好的体现。\n北宋内府《宣和画谱·宫室叙论》：“画者取此（指宫室）而备之形容，岂徒为是台榭、户牖之壮观者哉？虽一点一笔，必求诸绳矩，比他画为难工。”",[24,109,110,28,26,27,31,164,90,34,7,91,39,3615],"古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],{"id":3620,"slug":3621,"title":3622,"dynasty":426,"author":646,"museum":159,"description":3623,"tags":3624,"thumbUrl":3626,"material":306,"size":306,"collection":306,"collections":3627,"showCount":3578,"zanCount":11,"manualWeight":11,"mainColor":54},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 唐 佚名 《降魔变文》 】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[23,24,109,25,1106,27,26,355,30,1304,579,378,34,91,3625,7],"帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":3629,"slug":3630,"title":3631,"dynasty":553,"author":554,"museum":159,"description":555,"tags":3632,"thumbUrl":3637,"material":566,"size":567,"collection":568,"collections":3638,"showCount":3578,"zanCount":11,"manualWeight":11,"mainColor":54},226071,"the-gadren-at-giverny-1927-mo-nai-226071","The Gadren at Giverny, 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x 475.6 cm",[],{"id":3698,"slug":3699,"title":3700,"dynasty":553,"author":3701,"museum":159,"description":3702,"tags":3703,"thumbUrl":3705,"material":566,"size":567,"collection":306,"collections":3706,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":101},230986,"wen-quan-tu-hua-ge-chuan-guo-zhen-230986","温泉の図.画","歌川国貞","这幅浮世绘以雅致对称构图定格汤屋门头，暖黄木构搭配朱红瓦顶，晕开江户市井的融融暖意。靛蓝暖帘舒展留白，大笔题字苍劲醒目，缠枝白花柔化了文字的刚硬，素净间漾开治愈的烟火气。云纹雕饰的木栏雅致柔婉，垂挂的灯笼静立檐下，没有缭乱的笔墨，只用克制配色勾勒出汤屋松弛治愈的氛围，将旧时代里泡汤休憩的闲适日常凝于纸面，把日式旅宿的温柔雅致定格为永恒的风物剪影。",[2909,3414,27,31,1476,3704,7,904],"灯笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5115d9d942024d18752df21625dc31e6.jpg",[],{"id":3708,"slug":3709,"title":3710,"dynasty":553,"author":646,"museum":159,"description":2907,"tags":3711,"thumbUrl":3718,"material":566,"size":567,"collection":306,"collections":3719,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":101},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125",[2909,3414,27,92,34,91,33,30,7,2132,1509,3712,1049,3713,1244,3714,289,3715,3716,3717],"浴场场景","山石景观","传统建筑","彩色版画","线条勾勒","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg",[],{"id":3721,"slug":3722,"title":1517,"dynasty":426,"author":646,"museum":1401,"description":1402,"tags":3723,"thumbUrl":3725,"material":566,"size":567,"collection":306,"collections":3726,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":54},226493,"ku-zhu-shi-bei-pi-yi-ming-226493",[1404,1401,3724,1106,30,7,90,1558],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10719d10eae3525aced2fd54cdc7c866.jpg",[],{"id":3728,"slug":3729,"title":3730,"dynasty":553,"author":554,"museum":159,"description":555,"tags":3731,"thumbUrl":3736,"material":566,"size":567,"collection":568,"collections":3737,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":54},226051,"the-bridge-at-argenteuil-1874-mo-nai-226051","The Bridge at Argenteuil, 1874",[557,1063,2101,2102,2647,168,36,3227,3732,2194,3733,692,2498,7,3734,3735,289],"石拱桥","树林","1874","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F221d7867ff2d1bca89f685ab2d4e3019.jpg",[568],{"id":3739,"slug":3740,"title":3741,"dynasty":553,"author":554,"museum":159,"description":555,"tags":3742,"thumbUrl":3747,"material":566,"size":567,"collection":568,"collections":3748,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":54},225950,"houses-of-parliament-stormy-sky-1903-mo-nai-225950","Houses of Parliament, Stormy Sky, 1903",[183,557,558,3743,1671,2648,7,2194,562,692,2498,3744,3745,3746,561,2111],"光影变幻","水波","风云变幻","光线捕捉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2488e5e1e821531604ec8f592b9b8ff.jpg",[568],{"id":3750,"slug":3751,"title":3752,"dynasty":553,"author":891,"museum":159,"description":892,"tags":3753,"thumbUrl":3755,"material":566,"size":567,"collection":568,"collections":3756,"showCount":76,"zanCount":259,"manualWeight":11,"mainColor":54},225854,"the-vicarage-at-nuenen-september-october-fan-gao-225854","The vicarage at Nuenen (September - October )",[558,1847,2102,285,34,30,711,692,3141,3754,7,39],"秋季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F081efa7ec6917abf9d54d1198a31c8d3.jpg",[568],{"id":3758,"slug":3759,"title":3760,"dynasty":553,"author":646,"museum":159,"description":3761,"tags":3762,"thumbUrl":3766,"material":306,"size":306,"collection":306,"collections":3767,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":101},225331,"fu-shi-hui-84-yi-ming-225331","浮世绘84","这幅作品以吉野春樱为幕，漫山粉樱如云似霰，将山寺鸟居晕开在柔粉花雾间，青蓝海色托衬花簇愈显明丽柔媚。\n\n山径之上脚夫负货疾行，驮马缓蹄徐走，饱满行囊、利落行装尽现江户行旅日常。画面以写意花潮铺就底色，用工笔勾勒人物建筑的利落轮廓，撞色鲜亮柔和，揉合和风诗意与俗世烟火，将烂漫春景的雅致与民间行旅的鲜活交织一处，静美春山藏着蓬勃市井暖意，尽显浮世绘风景与风俗相融的独特韵味。",[2909,27,3414,30,146,3763,2131,7,3764,34,3765],"樱花","鸟居","大海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1651aecdaef3306c4a5d34ffa1dd2dad.jpg",[],{"id":3769,"slug":3770,"title":3771,"dynasty":178,"author":805,"museum":159,"description":3772,"tags":3773,"thumbUrl":3775,"material":566,"size":567,"collection":306,"collections":3776,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":101},239359,"lu-bu-tu-juan-ding-guan-peng-239359","卤簿图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,183,24,109,25,26,27,30,489,977,2912,3774,38,7],"礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98560f45893d959e7176c71fab282a.jpg",[],{"id":3778,"slug":3779,"title":2801,"dynasty":178,"author":3780,"museum":159,"description":3781,"tags":3782,"thumbUrl":3784,"material":566,"size":567,"collection":306,"collections":3785,"showCount":196,"zanCount":259,"manualWeight":11,"mainColor":101},235117,"shan-shui-shan-mian-huang-yuan-jie-235117","黄媛介","黄媛介，字皆令，浙江嘉兴人，出身儒士之家，生活于明清鼎革之际，在世俗、女德与生计的多重挤压下，或鬻书画，或师闺塾，在风云幻化的江南大地上为养家糊口而羁旅转徙，与名卿士大夫、与名媛闺秀交往酬唱，用诗、词、赋的文学样式及山水花卉的绘形写神，淋漓尽致地释放着心灵的感悟，入木三分地抒写着人生感慨。有着金闺兔苑才的黄媛介，其创作独特的社会价值与艺术魅力将咏絮才女谢道韫开创的林下风推向高峰，既彰显着承前启后的因素，也催发着女性意识的觉醒，影响绵远。",[183,24,109,1816,3783,86,87,90,392,7,89],"金笺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91474d58e35571bd28c6edbbbb7ef528.jpg",[],{"id":3787,"slug":3788,"title":3789,"dynasty":18,"author":3790,"museum":159,"description":3791,"tags":3792,"thumbUrl":3793,"material":306,"size":306,"collection":306,"collections":3794,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":54},235091,"xi-shan-tu-yong-juan-chen-yi-235091","西山图咏卷","陈沂","此作以两幅并置铺展双重意趣。左幅层岩叠嶂，以短健皴笔勾勒山石嶙峋肌理，古木虬枝错落崖间，山道蜿蜒向幽，山居隐于林峦间，尽显高旷幽寂的林下栖居之美。\n\n右幅以淡墨晕染烟霭，远山如浅黛浮沉雾中，近岸松林参差列植，虚实相生间铺展秋江平远的清疏空阔。笔墨苍秀并济，将山之沉郁与江之空濛相融，尽显寄情林泉的文人雅逸襟怀。",[24,25,86,87,90,390,726,392,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf3165f1773a184dc5208aeba3af1a9.jpg",[],{"id":3796,"slug":3797,"title":3798,"dynasty":178,"author":646,"museum":159,"description":2346,"tags":3799,"thumbUrl":3802,"material":566,"size":567,"collection":306,"collections":3803,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":54},234446,"da-lai-la-ma-yuan-liu-sang-jie-gong-ba-tang-ka-yi-ming-234446","达赖喇嘛源流——桑结贡巴唐卡",[2348,1106,1317,27,26,90,31,30,954,1303,3800,33,378,3801,7,1049],"火焰","护法像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8e2f08a901fdb378793604111aff49.jpg",[],{"id":3805,"slug":3806,"title":3807,"dynasty":553,"author":3808,"museum":159,"description":3809,"tags":3810,"thumbUrl":3811,"material":566,"size":567,"collection":306,"collections":3812,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":101},231663,"shan-shui-shi-yi-tu-juan-ge-chuan-guang-zhong-231663","山水诗意图卷","歌川広重","远景富士山隐在烟霭之中，淡墨晕开水天，浅赭岸渚衔着空蒙烟波，扁舟孤悬，漾开幽远空寂。近湾村落黛瓦层叠，苍松与秋红林木错落相偎，暖调砂岸揉入冷色烟水，将乡居温软与湖山清旷相融。\n\n整体用色清润柔和，以淡彩晕开暮烟朦胧氛围，简淡线条精准勾勒山水层次，把幽玄意趣藏在平远构图中。将秋郊湖村的安闲与远山清寂揉为一处，将寻常乡野晕作一阙淡远秋歌，静穆里漫着松弛悠然的秋意。",[23,183,2909,25,27,472,90,253,285,2289,1509,271,855,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],{"id":3814,"slug":3815,"title":3816,"dynasty":553,"author":3817,"museum":159,"description":3818,"tags":3819,"thumbUrl":3820,"material":566,"size":567,"collection":306,"collections":3821,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":101},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,109,25,27,26,28,1106,88,2956,354,30,31,32,33,146,1304,90,270,378,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":3823,"slug":3824,"title":3825,"dynasty":553,"author":554,"museum":159,"description":555,"tags":3826,"thumbUrl":3830,"material":566,"size":567,"collection":568,"collections":3831,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":1068},225949,"houses-of-parliament-reflection-of-the-thames-1900-01-mo-nai-225949","Houses of Parliament, Reflection of the Thames, 1900-01",[557,560,3827,1256,3828,168,7,2647,112,1123,3744,692,3829],"色彩叠加","朦胧","光影反射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab85cd2ddec6bd1df0182ed4e56a120.jpg",[568],{"id":3833,"slug":3834,"title":3835,"dynasty":178,"author":646,"museum":159,"description":3836,"tags":3837,"thumbUrl":3838,"material":306,"size":306,"collection":306,"collections":3839,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":101},223529,"wu-yi-shan-shi-ba-jing-tu-4-yi-ming-223529","武夷山十八景图4","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,109,86,27,87,204,90,91,34,1123,168,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79a72c1f010c0336116e7055b3e0ee3f.jpg",[],{"id":3841,"slug":3842,"title":3843,"dynasty":178,"author":3844,"museum":1036,"description":3845,"tags":3846,"thumbUrl":3849,"material":728,"size":3850,"collection":306,"collections":3851,"showCount":196,"zanCount":259,"manualWeight":11,"mainColor":101},223278,"jiu-ri-xing-an-wen-yan-tu-ye-fang-lin-223278","九日行庵文燕图","叶芳林","图绘马氏兄弟在行庵会友雅集的情景。行庵在扬州天宁寺西隅，由马曰琯、马曰璐兄弟出资购买，画中的马氏兄弟及其他众人肖像神态各具，生动传神。字震初，工写照，清代画家。",[23,24,27,26,25,30,34,131,726,2183,3847,7,1305,3848],"椅","文人聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d6478ad0ffff033a22b32c4f9f801c.jpg","31.7＊201cm",[],{"id":3853,"slug":3854,"title":3855,"dynasty":2230,"author":3856,"museum":2232,"description":3857,"tags":3858,"thumbUrl":3859,"material":306,"size":306,"collection":306,"collections":3860,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":101},220457,"kun-ming-jie-jing-guan-liang-220457","昆明街景","关良","关良，字良公，广东番禺人。长于中国画、油画。1917年入日本川端画学校学习油画，1918-1923年于太平洋美术学校学习油画。1923年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[183,24,109,86,27,2756,30,3059,34,287,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46653a26d8fca591187cb0ccb297f684.jpg",[],{"id":3862,"slug":3863,"title":3864,"dynasty":178,"author":3865,"museum":428,"description":3866,"tags":3867,"thumbUrl":3868,"material":95,"size":306,"collection":306,"collections":3869,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":101},214495,"shui-mo-tu-ce-8-zheng-min-214495","水墨图册-8","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[23,24,109,204,86,354,87,90,390,34,2289,7,168,271,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7b6c70420fc5555a1206f12d623238.jpg",[],{"id":3871,"slug":3872,"title":3873,"dynasty":18,"author":3874,"museum":159,"description":3875,"tags":3876,"thumbUrl":3877,"material":566,"size":567,"collection":306,"collections":3878,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":101},237967,"shan-shui-shan-ye-sun-zhi-237967","山水扇页","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[24,109,1816,90,86,87,390,391,392,506,32,1123,393,33,7,271,2246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b5fb35dd83eb1ff533e6308387920.jpg",[],9,{"id":3881,"slug":3882,"title":3883,"dynasty":18,"author":3884,"museum":159,"description":3885,"tags":3886,"thumbUrl":3887,"material":306,"size":306,"collection":306,"collections":3888,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":101},236024,"ren-wu-tu-ce-mo-shi-he-zhou-fa-wen-nan-shou-mao-weng-236024","人物图册－摹失和州法","文柟寿茂翁","此作以淡墨轻色铺陈园林幽境，陂岸蜿蜒，修竹掩映水榭，塘间清寂空阔。持杖老者缓行于岸侧，衣袂飘然，似乘闲寻幽，将林泉漫步的安闲意趣晕染开来。\n\n画面留白疏朗，笔致松秀简淡，以极简笔墨勾勒出清旷雅致的隐逸氛围。搭配左侧行书题诗，诗书合璧，尽显文雅。整体淡远冲和，将文人寄情山水、耽于丘园的雅怀融于尺幅间，意韵悠长，尽显文人画抒情寄兴的悠然风貌。",[24,109,204,27,86,29,354,30,131,7,531,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74c819dd7ff3bc5f315bc7c0fcf5cac.jpg",[],{"id":3890,"slug":3891,"title":3892,"dynasty":178,"author":1984,"museum":159,"description":2985,"tags":3893,"thumbUrl":3894,"material":566,"size":567,"collection":306,"collections":3895,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":101},235341,"fang-gu-shu-hua-ce-wang-jian-235341","仿古书画册",[183,24,109,204,86,90,34,91,87,89,88,531,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6a5ad5c33b451d9f6cc18c8e380981.jpg",[],{"id":3897,"slug":3898,"title":3899,"dynasty":178,"author":794,"museum":159,"description":1629,"tags":3900,"thumbUrl":3901,"material":566,"size":567,"collection":306,"collections":3902,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":101},234961,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234961","王翚仿古山水册",[24,109,86,87,2899,204,90,34,91,32,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc97e93ee3df5c5120d255db227d823f.jpg",[],{"id":3904,"slug":3905,"title":3906,"dynasty":426,"author":646,"museum":141,"description":3907,"tags":3908,"thumbUrl":3910,"material":149,"size":3911,"collection":306,"collections":3912,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":54},234037,"gong-yuan-tu-yi-ming-234037","宫苑图","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网巾水纹，辉煌明丽，富有装饰性。此卷为吴瀛先生于1947年“倾囊得之”，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[24,109,1519,27,28,26,31,164,90,34,39,163,7,3909],"宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656bb14724eeca487c029c4fb834fec9.jpg","纵23.9厘米，横77.2厘米",[],{"id":3914,"slug":3915,"title":3916,"dynasty":18,"author":19,"museum":141,"description":3917,"tags":3918,"thumbUrl":3919,"material":728,"size":3920,"collection":306,"collections":3921,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":1676},233762,"ren-wu-gu-shi-ce-9-chou-ying-233762","人物故事册9","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[183,24,109,204,26,27,90,30,162,146,34,7,89,2255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff150a0f18d24abd56a8a4f1dc7a0f2.jpg","纵41.4厘米，横33.8厘米",[],{"id":3923,"slug":3924,"title":3925,"dynasty":553,"author":3926,"museum":159,"description":3927,"tags":3928,"thumbUrl":3929,"material":566,"size":567,"collection":306,"collections":3930,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":54},231720,"ri-ben-lian-cang-shi-dai-di-qi-juan-juan-ben-fa-yan-yuan-yi-231720","日本镰仓时代 第七卷绢本","法眼圆伊","这幅绘卷诗画合璧，河川乡野铺展为鲜活舞台，左侧楼阁雅集、河滨行旅络绎，右侧町外农舍间，田垄劳作、涉水救难的日常图景一一铺陈，尽显俗世百态。\n\n古雅沉郁的绢本底色上，朴拙生动的线条勾勒出鲜活的世相烟火气，中段的和歌文书串联起浮生情爱与幽微思绪，将市井悲欢、乡野闲情与文学意趣交织，让画面叙事与文字共情融为一体，带着旧物的岁月温度，静静诉说着中古日常的细腻况味。",[23,206,25,27,26,30,90,168,288,7,146,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726c0e520b1bd318e1fa83179658cdaf.jpg",[],{"id":3932,"slug":3933,"title":3934,"dynasty":178,"author":794,"museum":127,"description":3935,"tags":3936,"thumbUrl":3937,"material":1137,"size":3938,"collection":306,"collections":3939,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":54},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[183,24,109,29,87,86,27,90,504,91,34,7,635,506,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":3941,"slug":3942,"title":3943,"dynasty":553,"author":646,"museum":159,"description":3944,"tags":3945,"thumbUrl":3947,"material":566,"size":567,"collection":306,"collections":3948,"showCount":3879,"zanCount":259,"manualWeight":11,"mainColor":54},230837,"cai-hui-san-jie-jiu-di-zhi-tu-yi-ming-230837","彩绘三界九地之图","以层叠佛塔为骨，将抽象的佛教宇宙观具象铺展。朱墨敷色标注界域，图文互证解读诸天与地界奥义。上部天界楼宇错落，标注诸天境域，演绎空寂梵天；中层佛塔层层递进，楼宇渐次铺陈，诠释世间修行的阶位；下部以虬龙缠绕阎浮提，水波晕染出幽冥地宫，勾勒出地下冥府的幽渺。\n\n古拙线条晕开岁月痕迹，质朴设色带着民间绘卷的厚重质感，将虚无的宗教寰宇，转化为可观可感的视觉长卷，藏着千年前对天地、修行与幽冥的终极遐想。",[23,1106,28,27,2091,31,7,3946,110],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae48eafbef300dc3e20709d2afdb6183.jpg",[],{"id":3950,"slug":3951,"title":3952,"dynasty":553,"author":3953,"museum":159,"description":3954,"tags":3955,"thumbUrl":3957,"material":566,"size":567,"collection":306,"collections":3958,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":54},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,109,183,110,87,86,27,90,390,392,269,7,271,3956,531,34],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":3960,"slug":3961,"title":3962,"dynasty":249,"author":646,"museum":127,"description":3963,"tags":3964,"thumbUrl":3965,"material":1137,"size":306,"collection":306,"collections":3966,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":54},228199,"si-xiao-tu-juan-yi-ming-228199","四孝图卷","《四孝圖》描繪故事四則，以圖文相間的方式表達。第一則述王武子之妻割股作羹湯，治癒婆母寒疾；第二則述三國陸績因其母好食橘，乃於進謁袁術席間，懷橘以奉母；第三則述晉王祥為母病中思食鯉魚於冬月，而至江上卧冰求鯉；第四則述後漢曹娥之父溺斃江中不得屍靈，至娥投江，三日後方抱父屍出。是皆孝心感人之事蹟，卷末並附李居敬四孝圖序，論孝之精義。通幅人物，以勻稱之線條為主，細挺而有力。",[23,24,109,25,26,27,88,89,30,34,91,391,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43a9f92db263f1582800ca70cba44fa.jpg",[],{"id":3968,"slug":3969,"title":3970,"dynasty":553,"author":554,"museum":159,"description":555,"tags":3971,"thumbUrl":3975,"material":566,"size":567,"collection":568,"collections":3976,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":54},226140,"vetheuil-in-winter-1878-79-mo-nai-226140","Vetheuil in Winter, 1878-79",[557,558,560,3972,3973,635,562,2394,1486,30,7,1776,3974,1259,692],"短促笔触","冬天","小镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbe28e90f7f7dc0b6f9149c678905be.jpg",[568],{"id":3978,"slug":3979,"title":3980,"dynasty":553,"author":554,"museum":159,"description":555,"tags":3981,"thumbUrl":3982,"material":566,"size":567,"collection":568,"collections":3983,"showCount":3879,"zanCount":259,"manualWeight":11,"mainColor":101},226117,"the-seine-at-vetheuil-3-1879-mo-nai-226117","The Seine at Vetheuil 3, 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1864",[558,557,688,1255,3989,1776,34,43,7,692,710,711,3990,3991,1556],"笔触自然","绿树","小教堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07c708aa1a213c55859624f70d7d71.jpg",[568],{"id":3995,"slug":3996,"title":3997,"dynasty":553,"author":554,"museum":159,"description":555,"tags":3998,"thumbUrl":4002,"material":566,"size":567,"collection":568,"collections":4003,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":54},226053,"the-bridge-under-repair-1871-1872-mo-nai-226053","The Bridge under Repair, 1871-1872",[557,559,688,3999,2648,288,4000,168,1259,2105,7,34,562,4001],"色彩表现","脚手架","维修场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ac063d2eb11f913532d6effd9b7c0.jpg",[568],{"id":4005,"slug":4006,"title":4007,"dynasty":553,"author":554,"museum":159,"description":555,"tags":4008,"thumbUrl":4010,"material":566,"size":567,"collection":568,"collections":4011,"showCount":3879,"zanCount":11,"manualWeight":11,"mainColor":54},226021,"saint-lazare-station-exterior-view-1877-mo-nai-226021","Saint-Lazare Station, Exterior View, 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nt":4073,"zanCount":11,"manualWeight":11,"mainColor":101},234797,"shan-shui-ce-dong-bang-da-234797","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,86,87,204,90,34,393,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2cbd2f9a840d4ee8c3bb84f2bf2aad.jpg",[],{"id":4143,"slug":4144,"title":4145,"dynasty":178,"author":646,"museum":159,"description":2346,"tags":4146,"thumbUrl":4147,"material":566,"size":567,"collection":306,"collections":4148,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":101},234445,"da-lai-la-ma-yuan-liu-suo-nan-jia-cuo-tang-ka-yi-ming-234445","达赖喇嘛源流——索南嘉措唐卡",[2348,1106,27,26,30,31,1303,90,954,1406,7,692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4816ebf61e9bb5fdf6c7242e79b02e5.jpg",[],{"id":4150,"slug":4151,"title":4152,"dynasty":178,"author":646,"museum":159,"description":4153,"tags":4154,"thumbUrl":4156,"material":566,"size":567,"collection":306,"collections":4157,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":4158},234428,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234428","清人文殊菩萨像轴","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[183,24,109,110,1106,27,26,30,31,34,954,1303,7,91,4155],"彩墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212e4bb9df045f93e18c15cd56566f61.jpg",[],"FDD835",{"id":4160,"slug":4161,"title":4162,"dynasty":178,"author":4163,"museum":141,"description":4164,"tags":4165,"thumbUrl":4166,"material":1969,"size":4167,"collection":306,"collections":4168,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":1676},233398,"shan-shui-ren-wu-ce-jin-nong-233398","山水人物册","金农","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,109,204,86,88,354,355,30,445,7,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1660b2f6bf892603d6fcab8ae26a966d.jpg","纵24.3厘米，横31.2厘米",[],{"id":4170,"slug":4171,"title":4172,"dynasty":553,"author":4173,"museum":159,"description":4174,"tags":4175,"thumbUrl":4182,"material":566,"size":567,"collection":306,"collections":4183,"showCount":4073,"zanCount":259,"manualWeight":11,"mainColor":54},231725,"jiang-hu-shi-dai-ge-wu-ji-ping-feng-tu-di-yi-ping-ling-chuan-shi-xuan-231725","江户时代 歌舞伎屏风图 第一屏","菱川师宣","菱川师宣是江户时代的浮世绘画家。有「浮世绘之祖」之称。菱川师宣最为知名的作品是见返り美人図。此外，他也画过很多春画。在他的故乡千叶县锯南町有菱川师宣记念馆。",[23,2909,27,26,28,4176,30,31,4177,4178,977,1922,4179,4180,7,4181],"金箔","舞台","观众","歌舞伎表演","多人物","表演场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447eaee44b2e9c77a4fcb2a749970472.jpg",[],{"id":4185,"slug":4186,"title":4187,"dynasty":553,"author":646,"museum":159,"description":4188,"tags":4189,"thumbUrl":4190,"material":566,"size":567,"collection":306,"collections":4191,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":101},231632,"lian-cang-shi-dai-ma-yi-cao-zhi-hua-juan-yi-ming-231632","镰仓时代 马医草纸画卷","此绘卷图文共生，一半是工笔晕染的本草写生，叶脉舒展、敷色清润，将药草形貌细腻还原；另一半以古雅铁线描勾勒和风古俗场景，人物衣袂翩跹，殿宇车马拙朴雅致，尽得古意。\n\n题跋与绘境交织，将本草物语与民俗轶事相融，既有博物图鉴的写实谨严，又带着古绘卷独有的雅致松弛。泛黄纸页晕开岁月的温度，清雅朴拙之间，尽显东洋中古绘卷的悠然意韵。",[109,25,27,30,146,1049,7,88,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682563a8668f46d15365053274079789.jpg",[],{"id":4193,"slug":4194,"title":1400,"dynasty":426,"author":646,"museum":1401,"description":1402,"tags":4195,"thumbUrl":4197,"material":566,"size":567,"collection":306,"collections":4198,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":54},226491,"ku-zhu-shi-dong-pi-yi-ming-226491",[1404,1106,27,28,30,31,2087,26,7,4196],"佛教元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193b1af253d8eeca13ddbd8bfe5ebff0.jpg",[],{"id":4200,"slug":4201,"title":4202,"dynasty":553,"author":554,"museum":159,"description":555,"tags":4203,"thumbUrl":4205,"material":566,"size":567,"collection":568,"collections":4206,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":54},226126,"the-tuileries-study-1876-mo-nai-226126","The Tuileries. Study, 1876",[557,558,560,1671,4204,34,710,7,692,564,30,531,1049],"朦胧质感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad0b93ae7d80f2f293399ebebc0b45d.jpg",[568],{"id":4208,"slug":4209,"title":4210,"dynasty":553,"author":554,"museum":159,"description":555,"tags":4211,"thumbUrl":4212,"material":566,"size":567,"collection":568,"collections":4213,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":101},226122,"the-thames-at-westminster-1871-mo-nai-226122","The Thames at Westminster, 1871",[558,557,1063,1672,2102,168,7,36,185,30,288,692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b1f9bfeebe7fc2d67634f2e50675ac0.jpg",[568],{"id":4215,"slug":4216,"title":4217,"dynasty":553,"author":554,"museum":159,"description":555,"tags":4218,"thumbUrl":4219,"material":566,"size":567,"collection":568,"collections":4220,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":101},226119,"the-small-arm-of-the-seine-at-argenteuil-1872-mo-nai-226119","The Small Arm of the Seine at Argenteuil, 1872",[557,558,1063,2101,168,1262,710,506,30,2647,692,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3733f67bd35072bb9486cb255434c1f8.jpg",[568],{"id":4222,"slug":4223,"title":4224,"dynasty":553,"author":554,"museum":159,"description":555,"tags":4225,"thumbUrl":4226,"material":566,"size":567,"collection":568,"collections":4227,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":101},226108,"the-riverbank-at-lavacourt-snow-1879-mo-nai-226108","The Riverbank at Lavacourt, Snow, 1879",[557,558,635,1262,506,40,271,168,43,7,692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c01a42ecdc836eccc81841cf39acb80.jpg",[568],{"id":4229,"slug":4230,"title":4231,"dynasty":553,"author":554,"museum":159,"description":555,"tags":4232,"thumbUrl":4233,"material":566,"size":567,"collection":568,"collections":4234,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":54},226099,"the-promenade-at-argenteuil-02-1872-mo-nai-226099","The Promenade at Argenteuil 02, 1872",[558,557,4017,1063,168,34,1700,7,692,710,30,2109,1259,562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e665035f6282e2a502290c2d6608b0f.jpg",[568],{"id":4236,"slug":4237,"title":4238,"dynasty":553,"author":554,"museum":159,"description":555,"tags":4239,"thumbUrl":4243,"material":566,"size":567,"collection":568,"collections":4244,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":54},226084,"the-moreno-garden-at-bordighera-1884-mo-nai-226084","The Moreno Garden at Bordighera, 1884",[557,558,560,1524,693,7,4240,531,34,4241,1049,2194,4242,559,2648],"棕榈树","蓝天","热带植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731e5057ee7651a0d5fe115cbd3200c9.jpg",[568],{"id":4246,"slug":4247,"title":4248,"dynasty":553,"author":554,"museum":159,"description":555,"tags":4249,"thumbUrl":4251,"material":566,"size":567,"collection":568,"collections":4252,"showCount":4073,"zanCount":11,"manualWeight":11,"mainColor":54},226059,"the-church-at-ve-theuil-snow-1878-1879-mo-nai-226059","The Church at Vétheuil, Snow, 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（1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,109,204,86,87,2899,90,390,392,1123,7,168,393],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e91f0bc7b811b87878217c1b5bff2b.jpg",[],{"id":4326,"slug":4327,"title":4328,"dynasty":18,"author":646,"museum":159,"description":4329,"tags":4330,"thumbUrl":4331,"material":566,"size":567,"collection":306,"collections":4332,"showCount":4291,"zanCount":11,"manualWeight":11,"mainColor":101},236816,"song-xu-fen-yuan-shu-wu-shan-ye-yi-ming-236816","宋旭汾源书屋扇页","此帧水墨山水以平远糅合深远之法布局，近岸松石苍劲，古木虬枝错列，浓墨点苔晕染苍润生机，板桥柴扉隐于林麓，野意自生。中渚水光澹澹，田畴、村居错落山脚，恍见幽居闲逸之态。远景山峦以干笔皴擦，墨色由浓渐淡，层层递远，晕开山野空寂氛围。\n\n笔墨兼具元人简淡意趣与明画沉静格调，借扇面弧形章法排布丘壑，于局促尺幅间铺展阔远山水意境，写尽林泉高致，暗合文人寄情烟霞、幽居忘世的隐逸襟怀。",[24,109,1816,86,87,90,34,32,33,91,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058a0ef23ae07da656da6988eb92e19f.jpg",[],{"id":4334,"slug":4335,"title":4336,"dynasty":18,"author":4337,"museum":159,"description":4338,"tags":4339,"thumbUrl":4341,"material":566,"size":567,"collection":306,"collections":4342,"showCount":4291,"zanCount":11,"manualWeight":11,"mainColor":54},236291,"fang-wang-meng-shan-shui-shan-yao-yun-zai-236291","仿王蒙山水扇","姚允在","姚允在，字简叔，会稽（今浙江绍兴）人。善山水，学荆、关，﹝荆浩、关仝﹞笔墨道劲，﹝应系笔墨遒劲之讹﹞思致不凡。",[1816,29,4340,87,90,91,34,7,89],"水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01f4a4f099e8450f7693a514ab0e1cb4.jpg",[],{"id":4344,"slug":4345,"title":4346,"dynasty":178,"author":646,"museum":159,"description":4347,"tags":4348,"thumbUrl":4349,"material":306,"size":306,"collection":306,"collections":4350,"showCount":4291,"zanCount":259,"manualWeight":11,"mainColor":54},235709,"zou-zhe-shan-shui-tu-zhou-yi-ming-235709","邹喆山水图轴","此作取高远开合之景，左上危崖巉岩，笔墨挺劲勾勒出山峦硬朗骨相，古松虬曲扎根崖壁，枝叶舒展有凌云之姿。中景山居藏于林麓间，窗内人影对坐，为清冷山林晕开一缕烟火暖意。烟岚留白柔化层叠丘壑，将近溪、村居、远山林亭晕连成浑然整体，虚实相生。近滩乱石错落，清溪缓流，扁舟系于浅濑，野趣悠然。\n\n皴法融披麻与斧劈意趣，山石简练，林木点染疏密合宜，淡墨晕出山雾空濛，兼收北派雄健与南宗温润，将林泉幽居的隐逸清趣，藏于烟霞丘壑之中。",[24,110,27,87,90,91,34,285,33,31,506,253,271,1094,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ca0839c65b0165554e6b938fbdc82b.jpg",[],{"id":4352,"slug":4353,"title":4354,"dynasty":178,"author":281,"museum":141,"description":4355,"tags":4356,"thumbUrl":4357,"material":117,"size":4358,"collection":306,"collections":4359,"showCount":4291,"zanCount":11,"manualWeight":11,"mainColor":101},234920,"xue-jing-gu-shi-ce-sun-hu-234920","雪景故事册","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,27,28,354,204,166,726,7,473,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33422e4fdcf258ccf5abd99d41ac2fe6.jpg","纵31．5厘米 横25．6厘米",[],{"id":4361,"slug":4362,"title":4354,"dynasty":178,"author":281,"museum":141,"description":4355,"tags":4363,"thumbUrl":4365,"material":117,"size":4358,"collection":306,"collections":4366,"showCount":4291,"zanCount":11,"manualWeight":11,"mainColor":101},234919,"xue-jing-gu-shi-ce-sun-hu-234919",[183,24,109,204,27,28,354,89,635,31,4364,39,30,7,473,164],"宫墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71cf8c9099429fce141eb9764cf468e.jpg",[],{"id":4368,"slug":4369,"title":1376,"dynasty":81,"author":646,"museum":159,"description":4370,"tags":4371,"thumbUrl":4372,"material":306,"size":306,"collection":306,"collections":4373,"showCount":4291,"zanCount":11,"manualWeight":11,"mainColor":54},233765,"shan-shui-tu-ye-yi-ming-233765","本幅墨笔画荔枝，柿子树二枝，上方自题“庚子元旦即兴”诗一首，款“右进作一首侑以荔柿图，奉吾宿田老兄新春一笑，周再拜”钤“启南”朱方印一。右下方收藏印“绍庭审定”等二方。\n沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[24,1816,27,87,90,392,7,91,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7cd2f464622e9175f7f283010efb0f.jpg",[],{"id":4375,"slug":4376,"title":4377,"dynasty":553,"author":646,"museum":159,"description":4378,"tags":4379,"thumbUrl":4380,"material":566,"size":567,"collection":306,"collections":4381,"showCount":4291,"zanCount":11,"manualWeight":11,"mainColor":54},231733,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-yi-ping-yi-ming-231733","江户时代 洛中洛外图屏风-一屏","以泥金为底晕染华贵底色，亭台楼阁错落隐于苍松翠色间，朱黛屋宇精致工丽，尽显雅致格调。整卷铺陈城邑百态：贩夫牵车穿梭街巷，雅客围坐厅堂宴饮，车马往来络绎，将市井烟火与士族闲趣交织一处。界画严整写实，屋宇建制分毫毕现，小人物亦形神兼具，把彼时城邑的鲜活世态揉入疏密错落的构图中，是复刻往昔日常、窥见旧时人情的绝佳风物长卷。",[23,27,28,26,2627,30,31,34,146,39,69,253,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c69ce062142cb26af04ff392936794.jpg",[],{"id":4383,"slug":4384,"title":4385,"dynasty":553,"author":4386,"museum":159,"description":4387,"tags":4388,"thumbUrl":4389,"material":566,"size":567,"collection":306,"collections":4390,"showCount":4291,"zanCount":11,"manualWeight":11,"mainColor":101},230489,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-yi-ping-yun-gu-deng-yan-230489","安土桃山 山水图屏风-第一屏","云谷等颜","云谷等颜（1547～1618）画家。初学狩野派，后学雪舟水墨画。",[23,24,109,86,87,90,392,253,7,221,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959bfd52b542f4f8e07d6bd3acfd9022.jpg",[],{"id":4392,"slug":4393,"title":4394,"dynasty":553,"author":554,"museum":159,"description":555,"tags":4395,"thumbUrl":4399,"material":566,"size":567,"collection":568,"collections":4400,"showCount":4291,"zanCount":11,"manualWeight":11,"mainColor":101},226105,"the-railway-station-at-argenteuil-1872-mo-nai-226105","The Railway Station at Argenteuil, 1872",[183,558,557,560,1848,2103,2104,4396,2105,692,4397,271,4398,7,43],"火车","云层","电线杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bbb11e8ff3bfdc66da1395ef186d2e.jpg",[568],{"id":4402,"slug":4403,"title":4404,"dynasty":553,"author":646,"museum":159,"description":4405,"tags":4406,"thumbUrl":4408,"material":306,"size":306,"collection":306,"collections":4409,"showCount":4291,"zanCount":11,"manualWeight":11,"mainColor":101},225419,"fu-shi-hui-177-yi-ming-225419","浮世绘177","青灰调晕染出水天色的冬日清寂，白雪匀覆在屋舍松枝，将暖棕的木构檐角衬得愈发温软。天地水色融成一片朦胧，消弭了边界感。渡头灯柱静立，晕开隐约暖意，与满目的清寒轻轻呼应。水面小舟载着渔人缓行，破开镜面似的水波，为这片静穆添上一缕鲜活烟火气。\n\n简净线条勾勒出村落错落轮廓，留白的积雪将天地铺陈得疏朗开阔。笔触把雪后渔村的安闲清冷揉开，将冬夜初霁的恬然定格，晕开独属水岸的侘寂温柔。",[2909,3414,635,7,562,4407,30,34],"小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b5f934e7e3a2f276cbaddfb8719b9a8.jpg",[],{"id":4411,"slug":4412,"title":4413,"dynasty":178,"author":2849,"museum":2663,"description":4040,"tags":4414,"thumbUrl":4415,"material":47,"size":306,"collection":306,"collections":4416,"showCount":4291,"zanCount":11,"manualWeight":11,"mainColor":101},216902,"qian-long-nan-xun-zhu-bi-tu-ye-2-qian-wei-cheng-216902","乾隆南巡驻跸图页-2",[23,24,109,27,90,87,204,114,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3090a9c9a39518f50fa130af3619f7e1.jpg",[],{"id":4418,"slug":4419,"title":4295,"dynasty":178,"author":1864,"museum":159,"description":4420,"tags":4421,"thumbUrl":4422,"material":306,"size":306,"collection":306,"collections":4423,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},238723,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238723","此作用淡墨轻皴绘就郊野别景，林烟轻笼山居古宅，古木扶疏间宾主执手话别，牵马车夫静立车旁，将饯别缱绻融入清寂山野。\n\n干笔勾勒山石林木，淡墨晕染出烟岚空濛，画面留白悠然，衬出离情悠远绵长。右侧题诗与图景呼应，诗画合璧，将诗作伤别意涵具象化。画风清逸雅致，以景托情，文人诗意与水墨笔意相融，淡远疏朗间尽显古典抒情的含蓄温婉。",[24,109,204,86,355,354,88,90,30,146,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0c7bc1ebeff09d73e3effaf5f99bf5.jpg",[],{"id":4425,"slug":4426,"title":4427,"dynasty":178,"author":4428,"museum":141,"description":4429,"tags":4430,"thumbUrl":4431,"material":1830,"size":306,"collection":306,"collections":4432,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":54},236828,"fang-gu-shan-shui-ce-zhao-cheng-236828","仿古山水册","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,2899,90,27,87,390,726,34,112,31,7,113,114,1108,531,2424,694,431,1274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0183adf33d938618193370ec0d4adcb1.jpg",[],{"id":4434,"slug":4435,"title":2975,"dynasty":178,"author":988,"museum":159,"description":4436,"tags":4437,"thumbUrl":4438,"material":306,"size":306,"collection":306,"collections":4439,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},236053,"shan-shui-ce-wang-yuan-qi-236053","此作画境苍浑又不失空灵，层叠危崖以干笔皴擦堆叠，尽显岩体质地的沉厚苍古。留白作云气截断山巅，虚实相映间，让雄奇峰峦晕开缥缈仙气。\n\n山坳隐见村居台榭，古木错落盘虬，山道萦回转绕，将山居野趣悄然藏于丘壑间。山脚流泉蜿蜒，行人策杖徐行，为静穆山景晕开一丝烟火暖意。\n\n全画以渴墨勾勒为主，笔力苍劲老辣，墨色干湿浓淡交错，于繁密皴染里透出清朗层次，融北地山川雄浑与江南林麓秀润为一体，于尺幅间铺展出林泉高致，尽显沉静内敛的文人雅意。",[24,109,86,90,87,204,91,34,7,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc4c239c22466b2f1563a77ead16298.jpg",[],{"id":4441,"slug":4442,"title":1890,"dynasty":178,"author":1368,"museum":159,"description":1891,"tags":4443,"thumbUrl":4444,"material":566,"size":567,"collection":306,"collections":4445,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},234941,"yue-man-qing-you-ce-chen-mei-234941",[183,24,109,204,27,26,30,39,34,91,7,954,304,1305,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165fae7853190aefa81cf1629b495a6f.jpg",[],{"id":4447,"slug":4448,"title":4449,"dynasty":18,"author":4450,"museum":159,"description":4451,"tags":4452,"thumbUrl":4453,"material":306,"size":306,"collection":306,"collections":4454,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},234223,"du-qiong-meng-xuan-tang-tu-juan-du-qiong-234223","杜琼梦萱堂图卷","杜琼","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[23,24,109,25,86,90,87,88,354,89,270,34,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b3528e3fa7f667927b9d355b3593ba.jpg",[],{"id":4456,"slug":4457,"title":4458,"dynasty":178,"author":4459,"museum":141,"description":4460,"tags":4461,"thumbUrl":4462,"material":508,"size":306,"collection":306,"collections":4463,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":54},234140,"shi-shu-hua-he-juan-huang-yi-234140","诗书画合卷","黄易","故宫博物院藏有黄易的一纸《诗书画合卷》，在《诗书画合卷》中黄易分别临习了王羲之的《黄庭经》和《东方朔画像赞》。此二作虽为临习作品，黄易却对原作进行了大胆改变，这种改变可以说是以钟繇来冲破“二王”。首先，他临王羲之楷书中带有些许钟繇的字势特点。他将王羲之楷书结体的纵向取势变为横向取势，并在某些笔画上参入隶书笔意，特别是捺画夸张和舒展得更为明显，以隶书的波挑来调节楷书的板滞。其次，黄易改王羲之楷书的疏朗宽阔为茂密紧凑，不管是行距还是字距都远小于原作，使章法更为葱郁。再次，此作在略微增加线条厚度的同时，又增加了不少起笔和收笔的出锋，这就使作品厚重之中更具有灵动感和活泼的情趣。",[23,24,109,25,88,86,87,90,392,726,7,354,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2594a0466d2bc6670524a74ac93c1c2d.jpg",[],{"id":4465,"slug":4466,"title":4467,"dynasty":553,"author":4468,"museum":159,"description":4469,"tags":4470,"thumbUrl":4473,"material":306,"size":306,"collection":306,"collections":4474,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":54},231723,"jiang-hu-shi-dai-che-zheng-tu-ping-feng-shou-ye-shan-le-231723","江户时代 车争图屏风","狩野山乐","采用全景俯览构图，暖棕底色晕开沉郁底色，三驾町车静立在混乱核心，成为喧嚣风暴的锚点。白衣与褐衣人群短兵相接，扭打推搡的肢体动态被精准捕捉，呼喝厮打的嚣攘仿佛冲破纸面。远景门楼有人凭栏窥望，近景苍松与町家围挡框住街巷乱斗，将狂放的冲突收束在市井日常的框架里。\n\n笔触简劲写意，以色块区分阵营，用利落的线条勾勒奔突的动线，把民间械斗的粗粝张力尽数渲染，将市井里炽热又野性的烟火瞬间，凝为永恒的视觉记忆。",[23,2627,27,28,30,1569,253,7,4471,4472],"争斗","日本画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc34d08daf1ecda4368dc93d8a81ee4f.jpg",[],{"id":4476,"slug":4477,"title":4478,"dynasty":553,"author":646,"museum":159,"description":4479,"tags":4480,"thumbUrl":4482,"material":566,"size":567,"collection":306,"collections":4483,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},231710,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-xing-fu-si-juan-yi-ming-231710","镰仓时代 天狗草纸画卷-兴福寺卷","以长卷铺陈三段意趣：左侧殿廷肃穆，武士执戈列阵，殿内贵人正襟；山间翠色里，天狗隐于林麓，流露幽异怪谈氛围。中段水岸清浅，灵鹿闲踱于滩涂，晕染出静谧禅意。末段殿宇层叠，万人攒动的朝会盛景繁而不乱。设色清雅古拙，线条细腻遒劲，将幽异轶闻与俗世仪典相融，带着古朴的和风叙事质感，尽显中古绘卷的悠长余韵。",[23,25,27,26,30,2509,4481,31,32,1304,1125,253,168,710,7,90,88,4098,165,164,34],"贵族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5ff943224bbd2319aac4fc855c4db1.jpg",[],{"id":4485,"slug":4486,"title":4487,"dynasty":426,"author":646,"museum":1401,"description":1402,"tags":4488,"thumbUrl":4489,"material":566,"size":567,"collection":306,"collections":4490,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},226421,"ku-yong-dao-nan-bi-yi-ming-226421","窟甬道南壁",[1404,1106,27,30,7,2087],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e28a3e9a23e26c658117860537ea3ab.jpg",[],{"id":4492,"slug":4493,"title":4494,"dynasty":553,"author":554,"museum":159,"description":555,"tags":4495,"thumbUrl":4498,"material":566,"size":567,"collection":568,"collections":4499,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":54},226074,"the-havre-museum-1873-mo-nai-226074","The Havre Museum, 1873",[557,558,559,1498,1257,7,562,4496,1486,30,4497],"波纹","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22fea6ddf1d25eef8ccf5ff0b5d9c18.jpg",[568],{"id":4501,"slug":4502,"title":4503,"dynasty":553,"author":891,"museum":159,"description":892,"tags":4504,"thumbUrl":4507,"material":566,"size":567,"collection":568,"collections":4508,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":54},225871,"vue-de-lasile-et-de-la-chapelle-de-saint-re-my-fan-gao-225871","Vue de lasile et de la Chapelle de Saint Rémy",[558,1847,2102,894,1850,1776,34,7,692,4505,4506],"干草堆","麦浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91b227fc97dc3321ad4d31bcc210024.jpg",[568],{"id":4510,"slug":4511,"title":4512,"dynasty":553,"author":646,"museum":159,"description":4513,"tags":4514,"thumbUrl":4516,"material":306,"size":306,"collection":306,"collections":4517,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},225429,"fu-shi-hui-187-yi-ming-225429","浮世绘187","画面以熙攘的桥头集市铺展开篇，贩夫走卒、相扑力士往来穿梭，推搡笑闹间将市井的鲜活烟火尽数铺陈。暖调天色晕染下，远景富士山静立，柔缓山巅裹着拂晓微光，与桥面上鼎沸的喧嚣形成动与静的绝妙对照。\n\n利落的线条勾画出町屋飞檐、河道舟楫，蓝棕底色晕开沉静暖意，将庶民生计的蓬勃鲜活与山海远景的清寂安然揉为一体，把旧时光里寻常一日的热络日常，凝在这一方画纸之上。",[2909,3414,27,30,288,7,4515,378,562,36,44],"富士山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0669401aca924e5de194d56108d74d.jpg",[],{"id":4519,"slug":4520,"title":4521,"dynasty":553,"author":646,"museum":159,"description":4522,"tags":4523,"thumbUrl":4528,"material":306,"size":306,"collection":306,"collections":4529,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},225428,"fu-shi-hui-186-yi-ming-225428","浮世绘186","淡晕米黄铺就朦胧天色，墨色薄云舒卷柔化天际。开阔水面漾着细微波纹，大小舟楫错落排布，撑篙渔夫俯身控船，带网渔船缓行，远帆静泊，尽显漕运烟火日常。\n\n两岸町屋鳞次栉比，木构白墙衬着暖红阶台，右侧埠头栈台尽显临河商贸的繁茂。整体用色克制雅致，朱红与石青点缀屋舍栏槛，淡墨勾线清隽凝练，将水岸松弛鲜活的日常定格，带着日式版画独有的温润烟火气，静述着旧时河畔的熙攘安闲。",[2909,3414,27,168,36,288,7,30,34,1262,4524,4525,3227,185,42,4526,4527,44],"渔船","渔网","船夫","水乡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6986e11ff27deb142a6863bca6f1452d.jpg",[],{"id":4531,"slug":4532,"title":4533,"dynasty":178,"author":4534,"museum":159,"description":4535,"tags":4536,"thumbUrl":4537,"material":306,"size":306,"collection":306,"collections":4538,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},224280,"shan-shui-hua-hui-ce-shi-er-fu-shan-224280","山水花卉冊(十二)","傅山","此作用笔简淡稚拙，以浅赭轻晕山峦，敷色清和柔润。近滩板桥轻横，浅渚疏林错落；中景红墙环绕，古寺隐现于茂林之间，城郭拱门洞开，晕开几分烟火清寂；远景峰峦平缓朦胧，晕染出空濛山意。全画无繁复皴擦，以简淡线条勾勒出幽寂山居，将林泉隐逸的萧散意趣融于尺幅之中。笔墨空灵简净，褪去雕琢之态，尽显超然出尘的林下之风，藏着寄情丘壑的文人雅怀，整体氛围静谧冲淡，意蕴悠远绵长。",[23,24,109,204,27,90,87,390,392,31,32,33,89,285,34,562,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ed8a4cf428d9d61c7bc6b9cfbed48.jpg",[],{"id":4540,"slug":4541,"title":4542,"dynasty":178,"author":4534,"museum":159,"description":4543,"tags":4544,"thumbUrl":4545,"material":306,"size":306,"collection":306,"collections":4546,"showCount":136,"zanCount":259,"manualWeight":11,"mainColor":101},224272,"shan-shui-hua-hui-ce-san-fu-shan-224272","山水花卉冊(三)","此作用淡墨轻晕出层叠丘峦，留白铺陈出浩渺河川，近隅山居错落隐于浅坡之间，尽写荒寒清寂的郊野暮色。笔墨简率随性，舍去繁复皴擦，以清浅赭石晕染山骨，线条苍劲松脱，尽显疏朗之致。右上角行书题跋笔意舒展，书画相映，文气盎然。画师以简淡之墨写旅途中的日暮河居，将胸中山林丘壑落于纸上，清冷空濛的意境里藏着孤高疏放的文人襟怀，淡岚轻烟间，把羁旅所见化作文雅悠远的沉静天地。",[23,24,109,204,86,87,90,112,91,7,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86ff22e5320f10bfd5c660fa5f159a5.jpg",[],{"id":4548,"slug":4549,"title":4550,"dynasty":178,"author":3422,"museum":704,"description":4551,"tags":4552,"thumbUrl":4553,"material":508,"size":4554,"collection":306,"collections":4555,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},219824,"ren-wu-ce-ye-11-ren-xiong-219824","人物册页-11","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[24,27,204,26,30,34,7,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d1a5db23fcd52c1c0a82e953e22f62.jpg","27.2x34.3厘米",[],{"id":4557,"slug":4558,"title":4559,"dynasty":18,"author":4560,"museum":106,"description":4561,"tags":4562,"thumbUrl":4563,"material":240,"size":4564,"collection":306,"collections":4565,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":54},219063,"xiao-xiang-ba-jing-ce-7-zhang-fu-219063","潇湘八景册-7","张复","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,24,183,204,27,86,90,635,506,253,7,1486,30,146,91,562,2498,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01daf9f4924b8c67e1bb62c82f7033f4.jpg","30x33厘米",[],{"id":4567,"slug":4568,"title":4569,"dynasty":178,"author":2849,"museum":2663,"description":4040,"tags":4570,"thumbUrl":4571,"material":47,"size":306,"collection":306,"collections":4572,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},216889,"qian-long-nan-xun-zhu-bi-tu-ye-14-qian-wei-cheng-216889","乾隆南巡驻跸图页-14",[23,24,109,204,27,28,31,459,34,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3db681baf56f2ac4940660782e3f42e.jpg",[],{"id":4574,"slug":4575,"title":4576,"dynasty":178,"author":818,"museum":159,"description":4274,"tags":4577,"thumbUrl":4581,"material":86,"size":306,"collection":306,"collections":4582,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},216830,"zhan-zheng-tong-ban-hua-17-lang-shi-ning-216830","战争铜版画-17",[878,1061,4578,1062,4579,90,114,7,4580,285,30,2911],"线条精细","战争","堡垒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca8f8f316d4d6bb459922e9ed48502bb.jpg",[],{"id":4584,"slug":4585,"title":4586,"dynasty":18,"author":19,"museum":127,"description":4587,"tags":4588,"thumbUrl":4590,"material":47,"size":4591,"collection":306,"collections":4592,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":101},214907,"di-wang-dao-tong-wan-nian-tu-ce-5-chou-ying-214907","帝王道统万年图册-5","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等",[23,24,26,27,30,146,28,7,1284,63,808,4589,204],"宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b8c3e982c362e82e9e8920f78e88f8.jpg","32.5*32.6",[],{"id":4594,"slug":4595,"title":4596,"dynasty":18,"author":4597,"museum":704,"description":4598,"tags":4599,"thumbUrl":4600,"material":306,"size":306,"collection":97,"collections":4601,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":4602},201487,"ju-you-wu-tong-tu-zhou-ding-yun-peng-201487","桔柚梧桐图轴","丁云鹏","画面层叠铺展，远山如黛，连绵起伏间晕染着淡墨的朦胧；近水蜿蜒，波光轻漾映着两岸错落的林木。几座小桥横跨河面，连接起葱郁景致——梧桐枝繁叶茂，柚树（或类桔柚的林木）点缀其间，绿意盎然。岸边屋舍隐现，远处红亭静立，一叶扁舟在水中轻荡，添了几分闲适。笔触细腻工致，设色雅致清新，山石以皴法勾勒纹理，树木枝叶描绘精工，整体意境清幽淡远，尽显江南水乡的温婉诗意，仿佛能嗅到林间草木气息，听到流水潺潺之声。",[24,110,26,27,87,90,32,33,1123,270,34,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2828d72a158560f3d7671df2948dc8.jpg",[97],"afa083",{"id":4604,"slug":4605,"title":2975,"dynasty":178,"author":4606,"museum":159,"description":4607,"tags":4608,"thumbUrl":4610,"material":306,"size":306,"collection":306,"collections":4611,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":54},239004,"shan-shui-ce-li-dong-239004","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,27,90,204,87,270,1123,34,114,7,33,168,4609,31],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf7dc16989e5cd6fd06d50edd6ecd70c.jpg",[],{"id":4613,"slug":4614,"title":4615,"dynasty":178,"author":4616,"museum":159,"description":4617,"tags":4618,"thumbUrl":4619,"material":566,"size":567,"collection":306,"collections":4620,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":101},238511,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238511","巡行纪程诗画册","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[24,109,204,27,90,88,354,114,34,7,1509,43,113,2289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102ed131b207df3bf16b5cd7ca0ee261.jpg",[],{"id":4622,"slug":4623,"title":4624,"dynasty":178,"author":4459,"museum":159,"description":4625,"tags":4626,"thumbUrl":4627,"material":566,"size":567,"collection":306,"collections":4628,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":101},237717,"wu-sheng-shi-yi-tu-ce-huang-yi-237717","无声诗意图册","黄易（1744 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像》。此图画于乾隆十八年(1753)，为程兆熊写真图。程兆熊(1717—1764)是扬州当时的文化名流，其字孟飞，号香南，工诗词，书画俱佳。乾隆 时寓居扬州仪征桐华庵，故号桐华庵主。李斗《扬州画舫录》中对其评道：“扬州名园甲第、榜署屏障，金石碑版之文，皆赖之。”丁皋画的程兆熊像所占幅面很 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首领。\n作者为了烘染画面吉庆安祥的气氛，画面的三分之一处，绘制了正乘祥云而来的佛国使者，他们正在为此次重大的法事祝福。\n全图以鲜艳的朱红、闪亮的金黄、明快的翠绿等亮丽的色彩为主色调，其丰富多彩并具有装饰性的设色，令庄严静穆的场景增添了几分皇家富贵之气。\n土尔扈特部是厄鲁特蒙古四部之一。\n他们主营牧业兼及农业，原居住塔尔巴哈台及额尔齐斯河中游以西，17世纪年代，西迁至额济勒河（今俄罗斯伏尔加河）下游居住。\n乾隆三十六年（1771年），土尔扈特人不堪沙皇俄国压迫，在汗王渥巴锡率领下举族东返，归附清廷。\n对于土尔扈特部的回归，清政府十分重视，时年61岁的乾隆皇帝对他们热情款待，特地安排他们与自己在新建的万法归一殿内听高僧讲佛法。\n万法归一殿是河北承德普陀宗乘庙内的重要建筑物，乾隆皇帝希望在所统辖的辽阔疆域内，各个民族都因拥有共同的信念而团结一致，万法归一。",[183,24,27,26,28,1106,30,31,90,5096,5097,1558,7,34],"云彩","殿堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56821dbb3af0bd580b897c1be4ec502f.jpg","长163.8cm，宽110.8cm",[],{"id":5102,"slug":5103,"title":5104,"dynasty":553,"author":5105,"museum":159,"description":5106,"tags":5107,"thumbUrl":5119,"material":566,"size":567,"collection":306,"collections":5120,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":54},232367,"he-er-bai-yin-26-he-er-bai-yin-232367","荷尔拜因26","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 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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。",[23,24,109,1106,27,26,30,91,34,954,7,378,1305,5551,269],"背光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3ff9044a8d766a04e933b1773dd242.jpg",[],{"id":5555,"slug":5556,"title":5557,"dynasty":178,"author":3463,"museum":428,"description":3464,"tags":5558,"thumbUrl":5559,"material":240,"size":3467,"collection":306,"collections":5560,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":101},217013,"ruan-yuan-yi-shi-shi-jing-tu-ce-2-wang-yun-217013","阮元遗事十景图册-2",[24,109,204,27,86,26,131,392,7,221,89,531,832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb94257423282e8468e199f742fb12f4.jpg",[],{"id":5562,"slug":5563,"title":5564,"dynasty":178,"author":818,"museum":159,"description":4274,"tags":5565,"thumbUrl":5566,"material":86,"size":306,"collection":306,"collections":5567,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":101},216808,"zhan-zheng-tong-ban-hua-32-lang-shi-ning-216808","战争铜版画-32",[1317,878,1061,30,3604,7,31,34,1284,489,5370,4276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05720621f51df751cadbb155a44b4435.jpg",[],{"id":5569,"slug":5570,"title":5571,"dynasty":178,"author":818,"museum":159,"description":4274,"tags":5572,"thumbUrl":5573,"material":86,"size":306,"collection":306,"collections":5574,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":101},216790,"zhan-zheng-tong-ban-hua-51-lang-shi-ning-216790","战争铜版画-51",[878,30,146,90,34,7,2912,91,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc8b5bac3bf423c4b122982fe82ce10.jpg",[],{"id":5576,"slug":5577,"title":5578,"dynasty":178,"author":818,"museum":159,"description":4274,"tags":5579,"thumbUrl":5581,"material":86,"size":306,"collection":306,"collections":5582,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":101},216783,"zhan-zheng-tong-ban-hua-62-lang-shi-ning-216783","战争铜版画-62",[878,1061,4579,90,34,30,146,4580,43,269,168,114,3326,3604,3602,5580,7],"地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24fbbda1901a463b6beb4e00ff37d35a.jpg",[],{"id":5584,"slug":5585,"title":5586,"dynasty":178,"author":646,"museum":2505,"description":5587,"tags":5588,"thumbUrl":5589,"material":47,"size":306,"collection":306,"collections":5590,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":54},215997,"di-jian-tu-shuo-cai-hui-ben-8-yi-ming-215997","帝鉴图说彩绘本-8","层叠的殿宇依山而建，朱红廊柱与青绿瓦当相映，蓝檐翘角衬着淡赭底色，晕染出古雅的宫廷气韵。上层殿堂内，端坐者似正凝思或训诫，侍从恭立两侧；下层松枝掩映，有人于水畔小亭对谈，或执卷沉思，动静相宜。画作以细腻笔触勾勒人物情态，明快设色铺陈场景，将历史典故转化为直观可感的画面，既见宫廷叙事的规整，又含生活气息的灵动，让帝王鉴戒的深意随笔墨流转，尽显传统彩绘本的艺术表现力与教化巧思。",[24,27,28,30,31,90,253,39,1284,34,710,7,63,2424,955,2145,1639,1244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf7e366d9b7df0bc26401b4d5e0e5107.jpg",[],{"id":5592,"slug":5593,"title":5594,"dynasty":178,"author":646,"museum":2505,"description":5595,"tags":5596,"thumbUrl":5597,"material":47,"size":306,"collection":306,"collections":5598,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":54},215985,"di-jian-tu-shuo-cai-hui-ben-24-yi-ming-215985","帝鉴图说彩绘本-24","飞檐翘角的亭榭立于高台，红柱朱栏衬着雅致彩饰，案前人物或静立或围坐，神态从容间似在进行一场庄重交流。石阶蜿蜒连接上下，苍劲松枝斜出，与下层亭角相映成趣，添了几分古雅清韵。画面以细腻工笔描摹建筑细节，人物衣纹流畅宛然，色调柔和和谐，将旧时场景凝于绢素之上。既有宫廷的规整气象，又含传统绘画的清幽韵致，仿佛能透过绢帛窥见彼时的从容与肃穆，每一处线条与色彩都藏着对往昔场景的细腻还原。",[24,27,26,28,30,31,253,1284,1317,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb1aa10c2f5d16276fc75627d2408c.jpg",[],{"id":5600,"slug":5601,"title":5602,"dynasty":178,"author":646,"museum":2505,"description":5603,"tags":5604,"thumbUrl":5605,"material":47,"size":306,"collection":306,"collections":5606,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":54},215983,"di-jian-tu-shuo-cai-hui-ben-22-yi-ming-215983","帝鉴图说彩绘本-22","青绿山峦层叠如染，松枝虬劲托着淡粉花影，庭院瓦舍半掩于树色间。院中人或凭案凝思，或缓步低语，衣袂轻扬间藏着文人意趣；坡上队伍衣甲鲜明，旌旗微展，似正踏过春山奔赴某处。色彩明丽却不艳俗，线条细腻勾画出人物情态与景物肌理，整幅画如一卷徐徐展开的旧梦，将历史场景凝在笔端。既有山水的悠然雅致，又藏着叙事的含蓄张力，仿佛能透过画纸听见那时的风声与低语，让人忍不住探知那段被时光定格的往事。",[24,27,26,111,30,31,90,34,39,7,91,253,285,3143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79869c761f6c8bf617a46f9ec95e19a.jpg",[],{"id":5608,"slug":5609,"title":5610,"dynasty":178,"author":646,"museum":2505,"description":5611,"tags":5612,"thumbUrl":5613,"material":47,"size":306,"collection":306,"collections":5614,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":54},215960,"di-jian-tu-shuo-cai-hui-ben-46-yi-ming-215960","帝鉴图说彩绘本-46","庭院深深，红墙黛瓦勾勒出古雅的宫苑格局，青绿树木点缀其间，添了几分生机。阶前廊下，身着各色服饰的人物或立或聚，神态从容，似在进行一场关乎治世的对话。设色明丽却不失雅致，朱红的门牖、青蓝的衣袍、赭黄的檐角，色彩搭配和谐自然。栏杆的纹饰、枝叶的脉络、衣褶的流转，皆以细腻笔触勾勒，见绘者巧思。画面以具象场景承载历史典故，将帝王治世的智慧融入鲜活的视觉叙事，在工笔的细腻与彩绘的鲜活间，传递出传统教化与艺术美感的交融。",[24,109,204,27,26,28,30,31,39,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35106b11b054f02a25844c7baf94f8d.jpg",[],{"id":5616,"slug":5617,"title":5618,"dynasty":178,"author":646,"museum":2505,"description":5619,"tags":5620,"thumbUrl":5621,"material":47,"size":306,"collection":306,"collections":5622,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":54},215949,"di-jian-tu-shuo-cai-hui-ben-56-yi-ming-215949","帝鉴图说彩绘本-56","江河为轴，铺展出水陆交融的生动画卷。水面帆影点点，彩饰船只静泊或缓行，舱内人影绰绰，似在闲谈眺望；岸边山峦起伏，草木蓊郁，亭台依水而立，柳丝轻拂下人群聚集，神态闲逸。色彩清雅鲜活，青绿山峦、赭黄岸坡与朱红船饰交织，晕染古雅质感。画面动静相宜，既有水乡的悠然静谧，又有舟楫往来的生活气息，仿佛能听见江风掠帆的轻响，窥见古代江畔日常图景，尽显人文与自然的和谐之美，引人沉醉于这份跨越时空的恬淡鲜活。",[24,27,26,204,30,31,90,36,1257,34,579,977,978,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b0db53c1577621f6d6df0944493b9a3.jpg",[],{"id":5624,"slug":5625,"title":5626,"dynasty":178,"author":5627,"museum":5628,"description":5629,"tags":5630,"thumbUrl":5633,"material":86,"size":306,"collection":306,"collections":5634,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":54},215639,"yu-zhi-geng-zhi-tu-15-kang-xi-215639","御制耕织图-15","康熙","哈佛艺术博物馆","素笺之上，线描细腻如缕，铺展耕织的烟火长卷。纺车咿呀轻转，素丝穿梭于指尖，织者专注的眉眼凝在线端；田埂边犁锄翻动，农夫躬身的身影嵌进垄间光影。枝叶扶疏掩着错落农舍，溪水流淌绕舍而过，草木含露带润。每道线条皆藏生活温度：织机的木纹、农具的肌理、人物的神态，尽得质朴鲜活。既显劳作本真，又融对农桑的深挚关切，让古朴农耕画卷，在笔墨里晕开岁月的温润与生机。",[23,24,109,204,355,26,30,34,7,4749,1165,5631,5632],"耕作","纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb732e1884e1cd35e1b6e94d8d688aa.jpg",[],{"id":5636,"slug":5637,"title":5638,"dynasty":553,"author":646,"museum":159,"description":5639,"tags":5640,"thumbUrl":5643,"material":566,"size":567,"collection":306,"collections":5644,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":101},289536,"attributed-to-ubaldo-gandolfi-decapitation-of-saint-james-the-greater-yi-ming-289536","Attributed to Ubaldo Gandolfi--Decapitation of Saint James the Greater","棕墨晕染的纸面之上，殉道时刻的庄严被定格。前景里圣徒舒展臂膀，在天使的环绕之中，从容直面死亡，肌肉贲张的侩子手正举刀落向他的颈项，侧旁的士兵漠然旁观。\n\n上方云气翻涌盘旋，簇拥着天使们自天国降临，急切前来接引殉道者的灵魂。利落遒劲的线条勾勒出衣袍褶皱，带着极强的动感张力，明暗晕染铺陈开凡世与天国的层次对比，将殉难的悲壮与神性升遐的神圣感相融，笔触里浸着浓郁的戏剧感染力，把信仰的坚毅传递得淋漓尽致。",[1106,30,3364,7,355,5108,5641,5642],"圣经故事","圣雅各斩首","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a47acf5439866b3ad92ab9d052042ba.jpg",[],{"id":5646,"slug":5647,"title":5648,"dynasty":553,"author":646,"museum":159,"description":5649,"tags":5650,"thumbUrl":5654,"material":566,"size":567,"collection":306,"collections":5655,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":101},289496,"bernard-van-orley-the-resurrection-yi-ming-289496","Bernard van Orley--The 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Julius","整体严整对称，线条利落凝练，勾勒出庄重静穆的纪念性空间。顶部穹顶光晕裹挟圣母子，晕染出神圣氛围感，两侧立像身姿典雅，稳稳承托上层神域氛围。中层以陵墓瓮棺为核心，环绕的天使烘托出追思的哀荣感，角落拟人坐像沉敛肃穆，铺陈出厚重的纪念氛围。下层壁龛与浮雕细节繁丽却不失克制，将人文意趣与神性纪念精妙糅合，用精准笔触平衡建筑秩序感与雕塑张力，尽显肃穆典雅的古典美学底蕴。",[355,1106,30,7,5673,4927,5674],"陵墓","设计稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69c3d86d775b12d16e8a2d02ce04fd7.jpg",[],{"id":5678,"slug":5679,"title":5680,"dynasty":553,"author":646,"museum":159,"description":5681,"tags":5682,"thumbUrl":5685,"material":566,"size":567,"collection":306,"collections":5686,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":101},289272,"pierre-luc-charles-ciceri-drawing-for-wagner-s-le-vaisseau-fantome-yi-ming-289272","Pierre Luc Charles Ciceri--Drawing for Wagner's Le Vaisseau Fantome","淡墨晕开氤氲水汽，将巨帆古船幽困在逼仄砖石港巷之间。船体仿佛刚从浓雾深处撞入现世，砖石建筑的冷硬线条框住了这团游荡的魅影，更衬出帆船的虚幻漂浮感。\n\n细腻排线勾勒帆布褶皱，写实笔触却烘托出诡谲氛围，水面倒影虚淡朦胧，彻底消弭现实边界，仿佛这艘幽灵船下一秒便会遁入雾气。浪漫主义的怪诞诗意揉进古典写实技法，把航海传说里漂泊百年的孤寂与惊悚具象于画纸，阴郁又带着旧时代传说的独特美感，将舞台的戏剧张力凝在这方寸稿纸之上。",[5108,2017,5662,1257,5683,7,5684],"幽灵船","奇幻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeae5a3b1ccdf44f1aa24a97bc40ac1.jpg",[],{"id":5688,"slug":5689,"title":5690,"dynasty":553,"author":646,"museum":159,"description":5691,"tags":5692,"thumbUrl":5697,"material":566,"size":567,"collection":306,"collections":5698,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":101},289270,"pietro-jacopo-palmieri-trompe-l-oeil-exercise-prints-on-a-table-top-yi-ming-289270","Pietro Jacopo Palmieri--Trompe-l'Oeil Exercise Prints on a Table Top","这是一幅巧思盎然的错视佳作，将凌乱堆叠的速写稿铺陈于桌面之上，虚实交融模糊了画内画外的边界。\n小幅速写各有乾坤：戴羽饰的异域男子神情桀骜，鞍马奔踏带着旷野的风，旅人彳亍、水乡小镇晕开静谧烟火，每一页都封存着鲜活的采风日常。\n画稿看似随意摊放，带着刚被翻阅搁置的松弛感，仿佛能窥见画师方才辍笔的模样，将零散的灵感碎片定格成充满生活温度的创作一隅，尽显古典手绘的精妙意趣。",[5108,5693,5694,30,146,7,508,1061,5695,5696],"速写","错视画","风景","市井场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb75bb43ce9bc25a1738131ad9e5540.jpg",[],{"id":5700,"slug":5701,"title":5702,"dynasty":553,"author":646,"museum":159,"description":5703,"tags":5704,"thumbUrl":5705,"material":566,"size":567,"collection":306,"collections":5706,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":101},289153,"gregorio-de-ferrari-study-for-emperor-heraclius-carrying-yi-ming-289153","Gregorio de' Ferrari--Study for Emperor Heraclius Carrying","以棕褐淡彩铺陈晕染，灵动线条与明暗层次交织，将政教凯旋的宏大叙事凝于椭圆构图中。左侧牛车雄健奔跃，扈从呼喝簇拥，动感扑面而来；右侧圣物被浩荡人群庄重抬举，浮空天使翩然而降，勾连起神圣天国与俗世庆典。卷涡饰边收拢场面，疏密排布张弛有度，潦草的草稿笔触不减分毫磅礴气魄，让这场盛典的狂热庄严跃然纸面，古典史诗般的雄浑张力尽显其中。",[5108,3574,5114,30,145,3364,5398,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49dce7aacb5e2f655e1fc2334119c6a9.jpg",[],{"id":5708,"slug":5709,"title":5710,"dynasty":553,"author":646,"museum":159,"description":5711,"tags":5712,"thumbUrl":5717,"material":566,"size":567,"collection":306,"collections":5718,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":54},289102,"jean-de-mosthe-ne-dugourc-figures-in-a-garden-yi-ming-289102","Jean Démosthène Dugourc--Figures in a Garden","澄澈云空晕开柔淡天光，将这片乡野园林晕染成松弛的闲雅梦境。左侧半木构小屋朴拙可爱，园丁推着独轮车与廊下绅士低语，将劳作揉进日常松弛里。\n\n围栏分隔出两处天地，露台淑女们凭栏慵坐，衣袂舒展如同揉碎的月光，把贵族式闲散融在花木清芬之间。草木枝叶晕染出深浅层次，风穿过树梢，将烟火气与优雅温柔衔接，把旧日乡居的悠然日常，定格成一首舒缓的田园小诗，处处漫溢出松弛慵懒的旧时光气息。",[558,693,30,5713,34,709,5714,5715,5716,7,3735],"木屋","家犬","晴空","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3def321d26b1c2e1bf8d13c4dade06a.jpg",[],{"id":5720,"slug":5721,"title":5722,"dynasty":553,"author":646,"museum":159,"description":5723,"tags":5724,"thumbUrl":5727,"material":566,"size":567,"collection":306,"collections":5728,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":101},289017,"luigi-vanvitelli-manuscript-page-with-a-project-for-a-fountain-yi-ming-289017","Luigi Vanvitelli--Manuscript page with a Project for a Fountain","这张手稿以钢笔淡墨铺陈构思，线条松弛却精准勾勒出一座大型水景喷泉。环形主水池搭配层叠水台，台座错落排布着古典人像与装饰灯柱，斜倚的雕塑舒展自然，巴洛克式华丽呼之欲出。背景的建筑轮廓以淡墨晕染，朦胧间拉开空间纵深，潦草排线带着即兴构思的鲜活温度。草稿随性却藏着精巧考量，将造园美学与雕塑装饰相融，设计师推敲方案的灵动思绪跃然纸上，未完成的留白里，满是这件水景装置的宏伟浪漫构想，古典雅致的氛围感透过薄纸扑面而来。",[5108,5725,5726,880,7,882,459],"手绘","草图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d7ed8884a784ed5fa42366a5cf6954.jpg",[],{"id":5730,"slug":5731,"title":5732,"dynasty":553,"author":646,"museum":159,"description":5733,"tags":5734,"thumbUrl":5737,"material":566,"size":567,"collection":306,"collections":5738,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":101},288888,"giovanni-battista-tiepolo-illustration-for-a-book-scene-of-men-disposing-yi-ming-288888","Giovanni Battista Tiepolo--Illustration for a Book Scene of Men Disposing","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[5108,30,5735,7,5736],"男性","暴力场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63eb1f6d2296680e143e58500f41b27b.jpg",[],{"id":5740,"slug":5741,"title":5742,"dynasty":553,"author":646,"museum":159,"description":5733,"tags":5743,"thumbUrl":5747,"material":566,"size":567,"collection":306,"collections":5748,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":101},288877,"giovanni-battista-tiepolo-illustration-for-a-book-surrender-of-the-keys-of-a-city-to-an-emperor-yi-ming-288877","Giovanni Battista Tiepolo--Illustration for a Book Surrender of the Keys of a City to an Emperor",[5108,3574,30,146,492,5744,5745,5746,7],"木桥","献城","军事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29cd05bbffee687c21d00b7f53af1735.jpg",[],{"id":5750,"slug":5751,"title":5752,"dynasty":553,"author":646,"museum":159,"description":5753,"tags":5754,"thumbUrl":5757,"material":566,"size":567,"collection":306,"collections":5758,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":101},288818,"perino-del-vaga-saint-peter-and-saint-john-healing-a-cripple-yi-ming-288818","Perino del Vaga--Saint Peter and Saint John Healing a Cripple","这幅速写以奔放灵动的线条铺陈神迹场景。枯瘦的瘫者跪伏伸手，姿态满含祈盼，使徒挺拔舒展，衣褶线条苍劲跌宕，将神圣的悲悯张力拉满。建筑拱门将空间收拢，依靠排线层次区分光影虚实，让神迹氛围愈发肃穆。\n\n粗粝笔触裹挟情绪流动，省略精细描摹，却把瘫者的卑微、使徒的庄严烘托得淋漓尽致。潦草中带着极强的叙事感，仿佛下一秒便有治愈的神迹降临，以最简练的线条，定格下信仰救赎的瞬间力量，尽显速写捕捉情绪与场景的独到魅力。",[5108,355,5651,3573,5755,5756,7],"圣徒","神迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcce3dcf4f0457b6a8581357d9ffc025.jpg",[],{"id":5760,"slug":5761,"title":5762,"dynasty":553,"author":646,"museum":159,"description":5763,"tags":5764,"thumbUrl":5766,"material":566,"size":567,"collection":306,"collections":5767,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":101},288785,"pierre-puget-design-for-a-tabernacle-yi-ming-288785","Pierre Puget--Design for a Tabernacle","这幅设计稿带着浓郁的巴洛克张力，顶部十字架锚定神圣内核，涡卷状雕饰缠绕出华丽韵律，将建筑与雕塑精妙融合。\n\n中央圣龛被灵动翻飞的天使与健硕的古典人像簇拥，云团中迸绽的线条模拟圣光，烘托出庄严神性。排线细腻的素描技法精准铺陈明暗层次，让石材的厚重与人体的柔润呼之欲出，古典人文意趣与宗教肃穆感相融，每一处细节都在平衡仪式感与装饰性，仿佛能窥见这座圣体柜落成后，在光影下流淌的灵动气韵。",[1106,355,5108,3364,5398,5653,1304,7,5765],"宗教器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff116b934f26d5d792d208483d4e0fdc4.jpg",[],{"id":5769,"slug":5770,"title":5771,"dynasty":553,"author":646,"museum":159,"description":5772,"tags":5773,"thumbUrl":5776,"material":566,"size":567,"collection":306,"collections":5777,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":101},288724,"valentin-lefebvre-david-chooses-three-days-of-pestilence-yi-ming-288724","Valentin Lefebvre--David Chooses Three Days of 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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。",[6352,5802,27,90,30,34,7,36,168,6353,6354],"玉石","蝙蝠","夔龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bee0fa3c0c2e3f4a02d5bf8b93be53.jpg",[],{"id":6358,"slug":6359,"title":6360,"dynasty":178,"author":646,"museum":159,"description":6361,"tags":6362,"thumbUrl":6363,"material":566,"size":567,"collection":306,"collections":6364,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},245821,"yin-fa-lang-chang-fang-pan-yi-ming-245821","银珐琅长方盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[6292,3239,27,4927,30,90,253,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65273d8dd62db357be183f1069b023ec.jpg",[],{"id":6366,"slug":6367,"title":6368,"dynasty":178,"author":646,"museum":159,"description":6369,"tags":6370,"thumbUrl":6371,"material":306,"size":306,"collection":306,"collections":6372,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},238894,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238894","董诰春华集庆册","此作为诗画合璧小品，上下两帧各成意境。上帧枯木虬枝错落，溪岸浅滩之上，幽人闲坐濯饮，淡赭敷色晕染出料峭早春的清寂疏朗，笔墨简淡却藏悠远况味。\n\n下帧晕染春山浅黛，村居隐于茂林之间，田埂蜿蜒，将春日郊野的融融生机铺展开来。右侧行书秀润端雅，诗句衬景，诗画相映，把春日郊居的闲逸雅兴凝于尺幅，尽显含蓄隽永的文人情致。",[24,109,204,27,90,34,32,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88f7b4bca5c328139aed7647428847b.jpg",[],{"id":6374,"slug":6375,"title":5335,"dynasty":178,"author":646,"museum":159,"description":6376,"tags":6377,"thumbUrl":6378,"material":306,"size":306,"collection":306,"collections":6379,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},238657,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238657","以全景构图铺展整场战事，左侧阵列齐整的兵马摧锋直前，山麓间短兵相接，奔逃的溃军匍匐在泥泞沟壑，厮杀的张力扑面而来。村寨浓烟翻涌，火光吞噬屋舍，兵燹过后的残破尽显眼前。左侧题满细密小字，以文字补叙战事经纬，将视觉冲击与纪实叙事相融。\n全作用劲挺刚硬的铁线白描勾勒山石甲胄，线条精准刻画出战场的肃杀冷冽，不着一色却自带冷峻压迫感，将平叛战事的残酷与浩荡全然铺陈，是兼备纪实性与艺术性的战争叙事佳作。",[24,109,183,204,26,355,86,30,146,90,34,7,91,168,2910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968a66be7cec2d0f554f352127f1b16d.jpg",[],{"id":6381,"slug":6382,"title":5335,"dynasty":178,"author":646,"museum":159,"description":6383,"tags":6384,"thumbUrl":6385,"material":306,"size":306,"collection":306,"collections":6386,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},238650,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238650","全景式构图铺展平叛战事，山峦河谷间清军分路挺进，炮火硝烟腾起于密林隘口，河桥处短兵相接人马奔突，远景大营与层叠山境烘托出磅礴战事规模。作者以精细线刻技法，复刻战地肃杀张力，山石林木皴刻入微，将士甲胄阵型排布分毫毕现，将平叛战事的宏阔与惨烈凝于尺幅。画作融合纪实性与艺术表现力，以西式铜版画写实笔法，将这场平叛的铁血征程跃然纸上，尽显战争纪实版画的独特质感。",[26,355,87,30,90,34,168,288,114,2934,7,112,3604,2910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9741823415bd26d59844915cd4218c3.jpg",[],{"id":6388,"slug":6389,"title":5335,"dynasty":178,"author":646,"museum":159,"description":6390,"tags":6391,"thumbUrl":6392,"material":306,"size":306,"collection":306,"collections":6393,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1676},238649,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238649","以全景式构图铺展这场战事，层叠山峦环围出厮杀战场，苍劲线条勾勒出山野村寨，将烽烟肃杀的氛围尽数烘托。\n画面里兵马缠斗不休，有人奔溃逃窜，有人死战不退，檐角边硝烟暗涌，远景的兵卒动向、近前的搏杀细节皆刻画入微，将平疆战事的壮烈紧张全然还原。右上角题诗呼应此战功勋，让纪实叙事染上沉郁厚重的史诗感，既以精妙的线条功力展现古典绘事章法，又留存下详实的战事细节，兼具审美价值与史料意义，将边陲平叛的铁血过往凝于尺幅之间。",[26,355,87,3414,204,30,146,90,34,7,91,43,285,2910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cdcdce13eafa566f486359db7dcdf3.jpg",[],{"id":6395,"slug":6396,"title":5335,"dynasty":178,"author":646,"museum":159,"description":6397,"tags":6398,"thumbUrl":6399,"material":306,"size":306,"collection":306,"collections":6400,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},238644,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238644","以全景式构图铺展山地平叛战事，左侧崇山峻岭间，清军沿险道衔枚疾进，烟焰翻涌，还原出攻坚破隘的激烈战况；右侧营寨严整肃静，军士待命整装，动静对照烘托出战事的紧绷氛围。\n刀刻笔触锐利写实，山石皴擦尽显崖壁崎岖，人物排布错落有序，将山地行军的艰险展露无遗。右上角题诗呼应画面，纪实感拉满，既复刻出平叛过程的运筹进击，凸显清军悍勇严明的军容，也以冷峻细腻的工艺，留存下边疆战事的鲜活细节，兼具艺术表现力与史料价值。",[24,26,87,86,204,90,30,146,390,392,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c34fa9510c6abfe09b536f33497d35.jpg",[],{"id":6402,"slug":6403,"title":3599,"dynasty":178,"author":646,"museum":159,"description":6404,"tags":6405,"thumbUrl":6406,"material":306,"size":306,"collection":306,"collections":6407,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},238634,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238634","全景式铺展山地战事，层叠峰峦间，清军列阵攻坚，藤牌开路、水师呼应，番众凭隘顽抗，攻守之势跃然纸上。铜版画技法让山石林木写实逼真，军士厮杀的悍勇、阵前调度的严整皆被精细捕捉，每处细节都在还原战役的激烈壮烈。右上角题诗与画面呼应，以纪实笔触复刻平叛瞬间，将战事的紧张肃杀尽数定格，兼具纪实性与艺术性，是清代战史的鲜活注脚，尽显纪实版画的独特表现力。",[24,109,204,26,87,90,30,146,91,34,7,3604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b1b22678af262c9a68cf68eedb19ae.jpg",[],{"id":6409,"slug":6410,"title":3599,"dynasty":178,"author":646,"museum":159,"description":6411,"tags":6412,"thumbUrl":6413,"material":566,"size":567,"collection":306,"collections":6414,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1676},238627,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238627","全景式铺陈战场，以淡墨白描勾勒山地攻防实景。层叠山峦间壁垒严整，清军将士穿梭奔袭，攻克隘口的紧张战况跃然纸上，山石林木皴擦细致，还原出闽南山地的崎岖地貌。右上题诗纪事，诗画相映，将平叛的军功战绩融于笔端。笔触劲挺写实，既复刻出征伐的肃杀氛围，也承载着纪实史料的厚重，让这场战事以静态画面留存下鲜活的征伐细节，兼具叙事性与历史价值。",[26,355,87,204,90,30,31,34,91,43,7,146,168,2910,2911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d9420428d3341bfb9113d2fcc2db90.jpg",[],{"id":6416,"slug":6417,"title":5264,"dynasty":178,"author":646,"museum":159,"description":6418,"tags":6419,"thumbUrl":6420,"material":566,"size":567,"collection":306,"collections":6421,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},238612,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238612","这幅版画以全景式铺陈还原受降盛景，前景中军帐庄重肃穆，甲士环列如林，军纪森然尽显无遗。中景处受降部众与严整清军阵列形成鲜明对照，旌旗猎猎舒展，将仪式的威严烘托到极致。远山层峦静立开阔河谷间，为这场军功盛典晕染出雄浑苍茫的底色。\n\n创作者以精谨写实的笔触，雕琢出礼制细节与场域氛围，将平定金川后的高光时刻定格，融纪实的厚重与版画的凝练于一体，让战功赫赫的王朝荣光凝于尺幅之间。",[3414,26,30,90,114,34,977,3604,7,3625,1725,488,5437,1850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b252ce8f1ee1fe90098ec72626e700.jpg",[],{"id":6423,"slug":6424,"title":2975,"dynasty":178,"author":6425,"museum":127,"description":6426,"tags":6427,"thumbUrl":6428,"material":27,"size":6429,"collection":306,"collections":6430,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},238260,"shan-shui-ce-zhang-yan-238260","张演","此作以淡彩铺陈山居幽境，近景苍松虬劲，翠色蓊郁，掩映白墙黛瓦的屋舍，庭院芳草凝碧，顽石错落，一派安谧雅致。侧旁山溪潺湲，有人负物缓行，野趣自生。\n\n远景危崖高耸，皴笔兼工带写，苍劲中见秀润，留白晕出山岚空濛，虚实相生间尽显山川浑厚之态。整体清和淡雅，构图疏密得宜，将幽栖林泉的闲适诗意融于尺幅，笔意温婉秀雅，仿佛可揽松风溪声，消解俗尘烦扰，尽显文人寄情山水的林下意趣。",[24,27,90,87,253,31,91,271,39,34,531,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feade0e6f75720fba4da3807932282adc.jpg","37.1x31.7",[],{"id":6432,"slug":6433,"title":2975,"dynasty":178,"author":6434,"museum":159,"description":6435,"tags":6436,"thumbUrl":6437,"material":306,"size":306,"collection":306,"collections":6438,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},237898,"shan-shui-ce-cheng-hui-hao-237898","程徽灏","此作用笔枯劲老辣，以焦墨勾勒山石轮廓，简括皴擦尽显嶙峋肌理。近崖怪石崚嶒，间杂虬木寒枝；中渚村居错落，隐于淡墨林峦间；远山逶迤简淡，留白作水，晕出空濛冷寂之境。\n\n笔墨弃绝繁复晕染，独取荒萧之致，画作左上题识欹宕错落，书意与画境相融相生。整幅淡去工巧雕琢，以极简意趣铺陈冬日山居幽绝，把林泉间冷清远逸的况味藏在枯笔淡墨中，直抒静穆淡远的襟怀，于简澹中见苍茫气象。",[24,109,204,86,87,354,90,91,34,506,7,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F037b9f877b056cad51061cdf5ac74bd2.jpg",[],{"id":6440,"slug":6441,"title":6442,"dynasty":178,"author":646,"museum":159,"description":6443,"tags":6444,"thumbUrl":6445,"material":566,"size":567,"collection":306,"collections":6446,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236257,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236257","避暑山庄图励宗万书诗成扇","此作为泥金扇面，自带华贵雅润底色，平畴铺展间远山衔翠，浅赭晕染山峦，墨笔点簇林木苍秀错落，将林泉夏景铺陈于方寸之间。笔触清润柔和，以写实之态描摹苑囿平林野趣，层次疏朗分明，无繁复皴法，却将避暑林泉的悠然凉意晕染开来。整体意境清和淡远，咫尺扇面尽揽山野闲趣，藏着消夏的恬然意趣，尽显传统文人寄情林泉的雅致情怀。",[24,109,1816,90,34,7,27,87,354,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df8e9d7d12ef6b84177b24d50652aae.jpg",[],{"id":6448,"slug":6449,"title":6442,"dynasty":178,"author":646,"museum":159,"description":6450,"tags":6451,"thumbUrl":6452,"material":566,"size":567,"collection":306,"collections":6453,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236254,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236254","此作为泥金扇面，以青绿浅绛设色绘水畔名园。层叠楼阁依偎碧波，隐于繁花茂林之中，丹粉花树、靛青枝叶与赭石山石相映，色彩明丽和谐。远山以淡墨晕染，晕开空濛悠远之境，疏密布局得当，将幽居消暑的静雅意趣娓娓铺陈。\n\n书画合璧，一面绘景，一面题诗，尽显文人雅赏之韵。棕竹扇骨肌理细腻，包浆温润，古意盎然，是兼具审美与收藏价值的风雅旧物，尽显旧时清夏闲赏的悠然意致。",[24,109,1816,27,90,31,34,91,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F574532c10d36c9b98500beb5028c48e3.jpg",[],{"id":6455,"slug":6456,"title":6442,"dynasty":178,"author":646,"museum":159,"description":6457,"tags":6458,"thumbUrl":6460,"material":566,"size":567,"collection":306,"collections":6461,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236253,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236253","此作为泥金扇面，浅设色绘山居胜景。暖调金底晕出雅致基调，远山层峦叠翠，林木蓊郁苍润，屋舍错落排布在林畔水滨，将山居夏凉的清旷意境收于盈尺之间，工细写实中透着文人山水的悠然意趣。诗画合璧，景致与诗书相映成趣，将园林胜景的静穆清和融于扇中，尽显清代扇画诗书画一体的雅致格调，笔墨工致细腻，晕染柔和自然，带着夏日山居的沁人凉意，是兼具观赏与收藏价值的扇画佳制。",[24,109,1816,27,90,87,354,6459,7,114,34],"山庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167b80713ade90382ad76f2bf6e6a4d3.jpg",[],{"id":6463,"slug":6464,"title":6442,"dynasty":178,"author":646,"museum":159,"description":6465,"tags":6466,"thumbUrl":6467,"material":566,"size":567,"collection":306,"collections":6468,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236251,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236251","泥金笺底自带华贵沉稳，浅绛晕染出平林远岫之致。近岸林木苍郁，坡岸逶迤着衔起水泽幽光，远山以淡墨轻扫层叠铺展，将夏日林泉的清旷闲逸晕开。笔墨简淡秀雅，不刻意求工，却把幽寂安宁的林泉高致烘托尽致。黝黑莹润的扇骨与金底山水相映，雅致古朴，将避暑的悠然意态藏于开合之间，尽显文人清赏的雅韵风骨。",[1816,24,109,27,87,90,7,34,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9ee76ef6b97b54ef2db5d64d8d8c8a.jpg",[],{"id":6470,"slug":6471,"title":6442,"dynasty":178,"author":646,"museum":159,"description":6472,"tags":6473,"thumbUrl":6474,"material":566,"size":567,"collection":306,"collections":6475,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236250,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236250","这帧金笺扇面以浅绛设色绘就山居消暑之景，远山层峦披黛，淡墨勾勒皴擦出空濛清旷的天际。近林木蓊郁苍润，深浅墨色点染出繁叶错落生机，素朴屋舍隐于浓荫之下，不见人迹却满溢幽寂闲适的消暑意趣。\n\n笔墨清隽柔和，泥金底色衬得画面古雅温润，晕染出山林间静穆凉意，尽显传统山水小品悠然淡远的格调，藏着夏日山居松弛安然的氛围感。",[1816,27,90,31,34,114,88,87,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0142746b271b5d66491bfb420705662a.jpg",[],{"id":6477,"slug":6478,"title":6442,"dynasty":178,"author":646,"museum":159,"description":6479,"tags":6480,"thumbUrl":6481,"material":566,"size":567,"collection":306,"collections":6482,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236237,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236237","此作为泥金折扇，取平远法绘消暑湖山。近岸林木蓊郁，以浓淡墨色点簇枝叶，翠色鲜活。林间草堂隐现，暗合幽居避暑的闲逸意涵。远景山峦以淡赭轻勾浅染，留白铺作水泽汀洲，层层推演出辽远空阔的湖山胜致。泥金底纸晕染出古雅华贵的质感，笔墨清润简淡，温婉雅致的色调衬出林泉高致的悠然意境，于尺幅扇面收纳千里湖山，尽显清寂出尘的林下雅趣。",[1816,27,90,114,34,7,88,354,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f75d35e0925af32c1b7463e5b9ce46.jpg",[],{"id":6484,"slug":6485,"title":6442,"dynasty":178,"author":646,"museum":159,"description":6486,"tags":6487,"thumbUrl":6488,"material":566,"size":567,"collection":306,"collections":6489,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236234,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236234","此作为泥金笺设色山水，以工细笔触绘就林泉行宫之景。楼阁排布错落雅致，界画严整工丽，屋舍隐于葱郁林木间，青绿淡染山峦，流云轻笼远岫，将林泉消暑的清幽闲雅晕染开来。泥金底色衬得设色愈发古雅华贵，笔墨温婉细腻，将园林的静谧雅致尽数铺陈。整幅扇面与配书诗章相映成趣，融山水之秀、匠艺之精于盈尺之间，尽显清隽沉静的雅致意趣，是兼具观赏与收藏价值的成扇佳制。",[24,109,1816,27,28,90,31,34,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb635dcf4eccd529ebb97bb063765782f.jpg",[],{"id":6491,"slug":6492,"title":6442,"dynasty":178,"author":646,"museum":159,"description":6493,"tags":6494,"thumbUrl":6495,"material":566,"size":567,"collection":306,"collections":6496,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236231,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236231","泥金笺底晕开夏时湖山，淡墨轻勾远山轮廓，晕染出氤氲空蒙的暑日烟岚。近岸林木葱郁苍润，掩映着临水茅庐，静立湖滨，似藏着幽居纳凉的闲雅意趣。设色清柔雅致，浅赭铺陈山峦，翠色点染茂林，与泥金底色相衬，自带古雅华贵的质感。构图疏密有致，远近层次分明，将水岸消暑的静谧闲淡收于咫尺扇间，把文人寄情林泉的隐逸意趣融于笔墨，方寸之间尽显山水雅韵，自带沉静悠然的消暑氛围。",[1816,24,109,27,26,90,31,34,7,168,88,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc3c58cc2fcc4cd18228e0256819d91.jpg",[],{"id":6498,"slug":6499,"title":6500,"dynasty":178,"author":6501,"museum":159,"description":6502,"tags":6503,"thumbUrl":6504,"material":566,"size":567,"collection":306,"collections":6505,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236229,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236229","避暑山庄三十六景图书诗成扇","王际华","王际华（1717—1776），字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。\n字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。乾隆十年一甲三名进士，授编修。十三年，大考翰詹，擢侍读学士、上书房行走。广东旧设两学政，十五年，以侍读程岩督广韶学政，际华督肇高学政，旋用岩议裁并，以忧归。服除，起原官。三迁至侍郎，历工、刑、兵、户、吏诸部。在兵部，疏言：“武乡会试旧例，外场挑双好、单好、合式三类入内场，双、单好列东号，合式列西号。不肖者见列西号，知不能幸中，纷纷求出。即有归号，终日喧哗。请嗣后武乡会试，但挑双、单好，毋更挑合式。”在吏部，疏请在京文武官吏议处，及各部会议外省文武官吏议处，当分别定限，皆如所议。三十四年，迁礼部尚书。三十八年，加太子少傅，调户部尚书。四十一年，卒，赠太子太保，谥文庄。赐其子朝梧内阁中书，官至山东兖沂曹道。",[24,1816,88,27,87,90,390,392,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1b4da77fdeddd88c2429b00422c904.jpg",[],{"id":6507,"slug":6508,"title":6500,"dynasty":178,"author":6501,"museum":159,"description":6502,"tags":6509,"thumbUrl":6518,"material":566,"size":567,"collection":306,"collections":6519,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236228,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236228",[24,109,1816,27,87,90,34,7,163,91,774,4340,6510,6511,289,6512,1727,6513,6514,6515,6516,6517,3152],"传统山水","风景名胜","人文建筑","山水小品","扇面书画","诗画结合","写意山水","山水皴染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfbd7054811584b6ba19a28888a8ba4b.jpg",[],{"id":6521,"slug":6522,"title":6500,"dynasty":178,"author":6501,"museum":159,"description":6502,"tags":6523,"thumbUrl":6524,"material":566,"size":567,"collection":306,"collections":6525,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236227,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236227",[24,109,1816,27,87,90,34,32,7,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e9cad4df8ccd173640d6876a9bfd05.jpg",[],{"id":6527,"slug":6528,"title":6500,"dynasty":178,"author":6501,"museum":159,"description":6502,"tags":6529,"thumbUrl":6530,"material":566,"size":567,"collection":306,"collections":6531,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236225,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236225",[1816,24,27,90,392,390,7,87,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3b9b20131366ec49e50a04552b2af0.jpg",[],{"id":6533,"slug":6534,"title":6500,"dynasty":178,"author":6501,"museum":159,"description":6502,"tags":6535,"thumbUrl":6536,"material":566,"size":567,"collection":306,"collections":6537,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1068},236224,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236224",[24,109,1816,27,87,90,34,7,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d427cc7bcec89ba38fd3ab0d9af990e.jpg",[]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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。",[18,24,109,204,3414,27,28,1569,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff616476ce2359b7183d851f8a6a90af4.jpg",[],{"id":6590,"slug":6591,"title":5354,"dynasty":178,"author":646,"museum":141,"description":5355,"tags":6592,"thumbUrl":6594,"material":508,"size":5343,"collection":306,"collections":6595,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},233076,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233076",[183,24,109,27,26,30,146,90,34,3625,977,114,7,6593],"战场景象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc242bcbeabe68142c71f02e235c2a13.jpg",[],{"id":6597,"slug":6598,"title":6599,"dynasty":178,"author":6600,"museum":159,"description":6601,"tags":6602,"thumbUrl":6605,"material":566,"size":567,"collection":306,"collections":6606,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":101},229728,"cao-su-gong-yu-zhi-geng-zhi-tu-shi-da-qi-mo-cao-su-gong-229728","曹素功 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