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李西台笔意，试使东坡复为之，未必及此。",[47,23,24,25,27,26,48,7,49,50,51,52,53,54],"高清","纸","雨","云","寒","夜","乌","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5142f6a2af64f24798e0cf80caebeccb.jpg","纸本","横34.2厘米，纵18.9厘米","书法精选",[58],452,6,{"id":63,"slug":64,"title":65,"dynasty":66,"author":67,"museum":20,"description":68,"tags":69,"thumbUrl":84,"material":85,"size":86,"collection":87,"collections":88,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":40},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767","富春山居图-无用师卷","元","黄公望","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[47,70,71,25,26,72,73,29,30,74,7,75,76,77,78,79,80,81,82,83],"国画","书画","皴法","山水","树木","山峦","小桥","渔舟","沙洲","孤石","茅屋","云雾","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg","绢本","横636.9公分，高33公分","山水画精选",[87,89],"水墨画精选",349,2,{"id":93,"slug":94,"title":95,"dynasty":18,"author":96,"museum":20,"description":97,"tags":98,"thumbUrl":102,"material":85,"size":36,"collection":103,"collections":104,"showCount":105,"zanCount":106,"manualWeight":11,"mainColor":107},218922,"han-jiang-du-diao-tu-fan-kuan-218922","寒江独钓图","范宽","枯树虬枝如铁，在寒风中伸展筋骨，枝桠间似凝着霜雪的清冷。江面浩渺无垠，水波敛去喧嚣，只留一片沉静褐调，将天地空旷铺展到极致。孤舟一叶，钓者独倚，身影与舟楫融入江天，仿佛与自然达成无声默契。笔触简练却含深意，线条勾勒景物骨韵，色调晕染冬日萧寒。没有繁复铺陈，仅以极简元素，便营造出“天地一孤舟”的寂寥与超脱——那是文人心中对宁静的向往，是喧嚣外的片刻澄明，千年后仍能让观者触摸到穿透时光的静谧安然。",[47,70,26,99,73,29,100,101,72,7],"扇面","蓑笠","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ef92a86d76f6756a5cc670fe8e2a88.jpg","宋画精选",[103],256,1,"795548",{"id":109,"slug":110,"title":111,"dynasty":66,"author":112,"museum":113,"description":114,"tags":115,"thumbUrl":121,"material":85,"size":122,"collection":58,"collections":123,"showCount":124,"zanCount":125,"manualWeight":11,"mainColor":40},220848,"du-fu-qiu-xing-ba-shou-zhao-meng-fu-220848","杜甫秋兴八首","赵孟頫","上海博物馆","此卷书杜甫秋兴八首。款署：“此诗是吾四十年前所书，今人观之未 必以为吾书也。子昂重题。至治二年(1322)正月十七日。”据此知该卷 书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[47,25,23,24,29,116,28,117,7,32,118,119,120,27],"夕阳","秋风","花","树林","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米",[58],161,3,{"id":127,"slug":128,"title":129,"dynasty":18,"author":130,"museum":131,"description":132,"tags":133,"thumbUrl":136,"material":137,"size":138,"collection":103,"collections":139,"showCount":140,"zanCount":91,"manualWeight":11,"mainColor":40},218561,"chi-bi-tu-yang-shi-xian-218561","赤壁图","杨士贤","波士顿美术馆","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[47,70,71,25,26,134,72,73,29,28,7,135,74,23,24,27],"设色","风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","绢本,设色","30.9x128.8cm",[103,87],103,{"id":142,"slug":143,"title":144,"dynasty":18,"author":145,"museum":146,"description":147,"tags":148,"thumbUrl":151,"material":152,"size":153,"collection":103,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":40},221664,"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷","夏圭","美国大都会艺术博物馆","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 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皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[47,164,70,71,25,24,23,26,73,29,165,7,166,167],"名画","雪景","岸","天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm",[58],68,{"id":173,"slug":174,"title":175,"dynasty":18,"author":145,"museum":176,"description":177,"tags":178,"thumbUrl":182,"material":36,"size":36,"collection":36,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":40},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","藏地不详","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[47,70,71,25,26,72,24,27,73,29,179,180,74,181,30,7,100,101],"飞鸟","渔乐","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],62,{"id":186,"slug":187,"title":188,"dynasty":66,"author":112,"museum":20,"description":189,"tags":190,"thumbUrl":195,"material":56,"size":196,"collection":87,"collections":197,"showCount":198,"zanCount":11,"manualWeight":11,"mainColor":40},220889,"zhong-jiang-die-zhang-juan-zhao-meng-fu-220889","重江叠嶂卷","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。卷首仅存“嶂图”二字，余字残缺。",[70,71,25,26,72,73,7,150,191,74,192,193,194],"岩石","远山","近石","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f892218196d47fd9afe5964f960f54.jpg","该幅28.4x176.4公分；隔水一 11.3公分；引首 28.4x123.3公分；隔水二 10.1公分；隔水三 10.1公分；拖尾 28.4x474公分",[87,89],54,{"id":200,"slug":201,"title":202,"dynasty":203,"author":204,"museum":205,"description":206,"tags":207,"thumbUrl":211,"material":212,"size":213,"collection":87,"collections":214,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":40},219953,"xiao-jiang-feng-bian-tu-hong-ren-219953","晓江风便图","清","弘仁","安徽省博物馆","图绘自新安至扬州，由浦口练江入新安江壹线实景。前段写练江沿岸将军山诸山嵌岩峭峙，林木萧瑟之景。后段写新安江对岸晓雾迷蒙烟峦重叠，轻舟挂帆乘风的情景。笔墨线条遒缓，意境荒僻，不染尘垢。\n图尾自题“辛丑十壹月，伯炎居士将广陵之装，学人写晓江风便图以送，揆有数月之间，蹊桃初绽，瞻望旋旌。弘仁”。钤“弘仁”、“渐江”印。\n图后附吴羲行书、程守行书、许楚草书、石涛楷书跋各壹段。辛丑为清顺治十八年，公元1661年，作者时年52岁。款署“辛丑十一月”，另纸有渐江的好友吴羲、程宁、许楚跋语。吴、许二跋署年癸卯(康熙二年，公元1663年)，皆在渐江卒前数月。还有石涛丙子年(1696年)题跋，皆为研究渐江生平及其艺术的重要资料。",[47,70,25,26,73,72,29,208,209,149,30,7,192,210],"亭","枯树","近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6a2a3eed5925dfa7655939a663e8c.jpg","纸本,设色","纵28.5横43厘米",[87],45,{"id":217,"slug":218,"title":219,"dynasty":18,"author":220,"museum":113,"description":221,"tags":222,"thumbUrl":224,"material":134,"size":225,"collection":36,"collections":226,"showCount":227,"zanCount":11,"manualWeight":11,"mainColor":107},221376,"yan-jiang-die-zhang-tu-wang-shen-221376","烟江叠嶂图","王诜","《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[47,164,70,71,25,73,26,134,72,223,7,150,74,81],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],44,{"id":229,"slug":230,"title":231,"dynasty":232,"author":233,"museum":161,"description":234,"tags":235,"thumbUrl":241,"material":137,"size":242,"collection":87,"collections":243,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":107},220373,"jiang-ge-yuan-tiao-tu-wang-e-220373","江阁远眺图","明","王谔","此图为设色人物山水，大江水云渺茫，靠岸边殿阁一座，阁上一人面向江左眺望，面前方几上设花瓶、香炉、果盘，二童子侍立，屋内一童点烛，一童托盒走来。阁前水边，大石，芦苇，小船一艇，一人伏卧船中，石上苍松古柏，石后山崖杂树，烟雾迷濛。大江对岸，山峦，屋宇，庙塔，一座城门女墙环山，绕成圆形，岸边停泊大小船二十余只，远山隐现在云海间。\n描绘楼阁吸取了南宋院体状物精微的写实风格而更加纤巧富丽，树石山崖取马远大斧劈皴法，水纹以墨线勾描，画法工细。",[47,164,70,71,236,134,72,7,237,192,238,239,240,181,74,208],"山水画","楼阁","松树","船只","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4c9f65db6578d2b8f3b0006690a99f.jpg","纵143.2厘米，横229厘米",[87],42,{"id":246,"slug":247,"title":248,"dynasty":66,"author":249,"museum":20,"description":250,"tags":251,"thumbUrl":258,"material":35,"size":259,"collection":87,"collections":260,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":107},221836,"han-jiang-lu-yan-zhou-wang-yuan-221836","寒江芦雁轴","王渊","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[47,70,71,252,253,134,26,254,255,7,256,257,179],"立轴","工笔","芦雁","芦苇","石头","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg","149.7x62.7公分、全幅 90公分",[87,89],41,{"id":263,"slug":264,"title":265,"dynasty":66,"author":266,"museum":161,"description":267,"tags":268,"thumbUrl":271,"material":56,"size":272,"collection":36,"collections":273,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":107},233875,"xue-jiang-yu-ting-tu-juan-yao-ting-mei-233875","雪江渔艇图卷","姚廷美","《雪江渔艇图》描绘冬天雪景，寒江两岸的景色，突出了冬天平远雪景。\n整幅画画法宗北宋 而又略参南宋技法，用笔苍润，疏简秀逸，意境清远。\n《雪江渔艇图》描绘了一江两岸之冬天平远雪景。\n近处枯木寒林参天，枝干虬曲多姿，枝头多呈鹰爪、鹿角状，江边平岸上有一草舍，宽阔浩淼的江面有点点渔舟出没。",[70,26,25,73,269,101,29,180,27,72,7,270,208],"枯藤","雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],34,{"id":276,"slug":277,"title":278,"dynasty":232,"author":279,"museum":176,"description":280,"tags":281,"thumbUrl":287,"material":36,"size":36,"collection":36,"collections":288,"showCount":289,"zanCount":125,"manualWeight":11,"mainColor":107},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[47,70,134,73,72,32,149,101,269,282,29,191,283,284,7,285,286],"水","村舍","风雨","船","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],31,{"id":291,"slug":292,"title":293,"dynasty":203,"author":294,"museum":176,"description":295,"tags":296,"thumbUrl":304,"material":305,"size":306,"collection":36,"collections":307,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":107},239875,"wang-duo-wu-lv-shi-zhou-wang-duo-239875","王铎五律诗轴","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[23,252,24,297,27,298,7,299,270,300,301,302,303],"墨","烟","枫","鸥鹭","南","客","乡音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059b7c2ff452e2bcd629055f590f95a5.jpg","未知","Xcm*Xcm",[],24,{"id":310,"slug":311,"title":312,"dynasty":18,"author":313,"museum":176,"description":314,"tags":315,"thumbUrl":318,"material":36,"size":36,"collection":36,"collections":319,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":40},227549,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-227549","仿郭忠恕雪霁江行图","佚名","长于界画的河南籍画家郭忠恕，以纯以墨线描绘两艘冒雪前行、满载货物的船只。画中不但表现了对船体正确结构的兴趣，也呈现出船夫们多样的活动情态，可藉此图想见五代宋初北方界画达到的艺术水平。",[47,70,71,25,316,253,134,73,237,285,7,317,23,24,27],"界画","帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],20,{"id":322,"slug":323,"title":324,"dynasty":18,"author":325,"museum":176,"description":326,"tags":327,"thumbUrl":329,"material":36,"size":36,"collection":36,"collections":330,"showCount":331,"zanCount":11,"manualWeight":11,"mainColor":107},227800,"yan-jiang-fan-ying-tu-xia-sen-227800","烟江帆影图","夏森","此作用淡墨晕染出空濛烟江，远山清瘦，隐在漫卷的雾霭中，只露出错落峰尖，虚实间揉碎了天地边界，将江南烟雨的柔婉朦胧铺展开来。近岸林木简笔勾勒，与烟岚相融，愈发衬出江天的空寂辽远。左下角孤舟凌波，渔人悠然棹行，寥寥数笔便点染出江上行旅的幽寂况味。\n\n全幅以留白衬出水天长阔，笔简意足，将静穆禅意藏在烟波里，把江上一瞬的清寂之美定格，淡远含蓄，尽显山水空濛悠远的诗意。",[47,70,71,164,99,26,73,29,7,149,81,328,27],"帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf554147c093468663cf70503980f95.jpg",[],19,{"id":333,"slug":334,"title":335,"dynasty":18,"author":336,"museum":161,"description":337,"tags":338,"thumbUrl":355,"material":56,"size":356,"collection":58,"collections":357,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":40},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[47,24,23,25,339,27,32,282,50,270,340,208,341,342,343,344,345,7,346,347,348,349,350,135,351,352,353,354],"墨迹","月","石","林","菊","兰","桂","秋","冬","芙蓉","舟","松","海","溪","竹","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[58],18,{"id":360,"slug":361,"title":362,"dynasty":203,"author":363,"museum":176,"description":364,"tags":365,"thumbUrl":371,"material":372,"size":373,"collection":58,"collections":374,"showCount":375,"zanCount":11,"manualWeight":11,"mainColor":376},224438,"yong-luo-hua-qi-lv-shi-wu-zhang-he-shao-ji-224438","咏落花七律十五章","何绍基","同治四年（乙丑，1865年）春书于苏州。\n何绍基的行草书融篆、隶于一炉，骏发雄强，独具面貌。\n他的篆书，中锋用笔，并能掺入隶笔，而带行草笔势，自成一格。",[47,23,24,25,366,367,7,368,49,340,135,32,50,282,208,349,369,370],"落花","春","酒","柳","桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99b11b1e1294d79f91b13adc0f6273.jpg","行草","横30厘米，纵181厘米",[58],15,"F48FB1",{"id":378,"slug":379,"title":380,"dynasty":232,"author":381,"museum":382,"description":383,"tags":384,"thumbUrl":385,"material":386,"size":387,"collection":36,"collections":388,"showCount":375,"zanCount":11,"manualWeight":11,"mainColor":36},220735,"yan-jiang-die-zhang-tu-ba-wen-bo-ren-220735","烟江叠嶂图跋","文伯仁","香港中文大学文物馆","此小楷题跋笔致清劲秀雅，结体匀整端稳。书者追念原作笔墨逸趣，慨叹辗转得见真迹的幸然，盛赞原作笔意苍茫浑朴，以精妙水墨晕染出烟江层峦的空濛之致，将山川灵秀收于尺幅之间。\n\n字里行间藏着得见真迹的珍视，把寻获佳作的欣喜与对原作风神的倾慕娓娓道来。笔墨文辞相融，既为画作添上一段流传佳话，又以隽雅书迹衬合原作山水意境，尽显文人清雅意趣与鉴藏情怀，书画相映，让这份古雅意韵更添悠长。",[70,71,24,26,134,73,7,75,81,27,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3032ad22be1f88d0afc7499004d1d852.jpg","设色,纸本","22 × 31.7厘米",[],{"id":390,"slug":391,"title":392,"dynasty":18,"author":393,"museum":176,"description":394,"tags":395,"thumbUrl":397,"material":36,"size":36,"collection":36,"collections":398,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":107},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","李东","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[47,70,71,396,26,73,270,7,209,54,29,180,72,181],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],14,{"id":401,"slug":402,"title":403,"dynasty":203,"author":404,"museum":176,"description":405,"tags":406,"thumbUrl":411,"material":305,"size":306,"collection":36,"collections":412,"showCount":413,"zanCount":11,"manualWeight":11,"mainColor":40},240410,"deng-shi-ru-xin-zhou-shi-zhou-deng-shi-ru-240410","邓石如新洲诗轴","邓石如","邓石如 1743-1805。安徽怀宁人。单名邓琰，字石如，因避讳以字行，又字顽伯、号完白山人、完白山民、古浣、古浣子、游笈道人，又有凤水渔长、龙山樵长、顽道人。斋堂为铁砚山房。布衣。少好篆刻，为寿州寿春书院诸生，後客梅鏐府，因得纵观历代吉金石刻，徠用洎功頭樤八年，遂工四体书。篆法以二李为宗，而纵横阖辟之妙则得之史籀，稍参隶意，杀锋以取劲折，分书则遒丽淳质，变化不可方物，结体极严整而浑融天迹。篆刻初宗二汉，後以小篆入印，刀法圆转苍。",[23,252,407,7,340,317,408,409,410,50,282,135,27],"隶书","沙","城","木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5fd049f5e081db1b2468fc63d1e1b9.jpg",[],12,{"id":415,"slug":416,"title":417,"dynasty":203,"author":418,"museum":20,"description":419,"tags":420,"thumbUrl":425,"material":56,"size":426,"collection":58,"collections":427,"showCount":428,"zanCount":11,"manualWeight":11,"mainColor":40},240710,"shi-juan-liu-yong-240710","诗卷","刘墉","本幅为刘墉书写杜甫诗句之手卷，书于水红色、钩金花的纸张上，十分别致。起始的一首诗题名为“缚鸡行”，叙述小仆绑着鸡要到市中去卖，引起了诗人对人、鸡、虫三者间的一些感概，内容颇有意趣。至于在书法方面，圆润婉转的字体，看似柔软无骨，实际上却是将劲道隐藏于丰厚的外貌中，相当的内敛，前人评论刘墉的书法为棉里裹针，应即此意了。",[47,23,24,25,27,28,73,7,421,422,423,424,135,52,50,118],"梅花","菊花","星","火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb205c3850b765c4e2b6b30fd470f7041.jpg","金笺22.5x232cm",[58],11,{"id":430,"slug":431,"title":432,"dynasty":232,"author":433,"museum":176,"description":434,"tags":435,"thumbUrl":441,"material":305,"size":306,"collection":36,"collections":442,"showCount":443,"zanCount":11,"manualWeight":11,"mainColor":40},240667,"zhuan-shu-chun-jiang-qu-shi-zhou-wang-qi-shu-240667","篆书春江曲诗轴","汪启淑","汪启淑（1728-1799）字秀峰，号讱庵，一字慎仪。自称“印癖先生”。清著名藏书家、金石学家、篆刻家安徽歙县人，居于杭州。家以经商致富，遂捐官为工部都水司郎中，迁至兵部郎中。喜交友，与厉鹗、杭世骏、朱樟结“南屏诗社”。嗜古代印章，曾搜罗周代、秦代迄宋、元、明各朝印章数万钮。又精纂刻，在巨珠上刻篆文，以补诸品中所未备。",[436,23,252,27,7,135,437,423,438,439,440,298,300,49,50],"篆书","浪","杨花","雾","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2886693bfc35e9ee748bceda1b07557.jpg",[],9,{"id":445,"slug":446,"title":447,"dynasty":203,"author":448,"museum":176,"description":449,"tags":450,"thumbUrl":458,"material":305,"size":306,"collection":36,"collections":459,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":40},241364,"gu-shi-she-jiang-ping-wang-yun-241364","古诗涉江屏","王云","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。",[23,451,252,348,452,29,453,454,7,455,456,457],"楷书","美人","白露","秋花","箫管","怀人","愁郁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e08cda56e32701bf708d9dc98d2c16d.jpg",[],8,{"id":462,"slug":463,"title":464,"dynasty":203,"author":465,"museum":176,"description":466,"tags":467,"thumbUrl":469,"material":305,"size":306,"collection":36,"collections":470,"showCount":460,"zanCount":11,"manualWeight":11,"mainColor":40},240429,"kang-you-wei-shi-zhou-kang-you-wei-240429","康有为诗轴","康有为","康有为（1858年3月19日—1927年3月31日），原名祖诒，字广厦，号长素，又号明夷、更甡、西樵山人、游存叟、天游化人，广东省广州府南海县丹灶苏村人，人称康南海，中国晚清时期重要的政治家、思想家、教育家，资产阶级改良主义的代表人物。康有为出生于封建官僚家庭，光绪五年（1879年）开始接触西方文化。光绪十四年（1888年），康有为再一次到北京参加顺天乡试，借机第一次上书光绪帝请求变法，受阻未上达。光绪十七年（1891年）后在广州设立万木草堂，收徒讲学。光绪二十一年（1895年）得知《马关条约》签订，联合1300多名举人上万言书，即“公车上书”。",[23,24,252,27,468,7,440,340,50],"青松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07ed06526316ea47f5ea9522c0a6edd.jpg",[],{"id":472,"slug":473,"title":474,"dynasty":203,"author":475,"museum":176,"description":476,"tags":477,"thumbUrl":478,"material":305,"size":306,"collection":36,"collections":479,"showCount":480,"zanCount":11,"manualWeight":11,"mainColor":481},241399,"bai-hua-zhou-chun-qing-qi-jue-zhou-ruan-yuan-241399","白花洲春晴七绝轴","阮元","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[23,24,252,27,134,7,409,135,282,298,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc7ecaab75e3b90d8efb1dc2be883d5.jpg",[],7,"FF9800",{"id":483,"slug":484,"title":485,"dynasty":232,"author":486,"museum":176,"description":487,"tags":488,"thumbUrl":491,"material":305,"size":306,"collection":36,"collections":492,"showCount":480,"zanCount":11,"manualWeight":11,"mainColor":40},239177,"xue-jiang-chui-diao-zhou-jiang-ai-239177","雪江垂钓轴","蒋霭","蒋蔼，1621-1644，明。字志和，华亭（今上海市松江）人，一作虞山（今江苏常熟）人。天启、崇祯（1621-1644）时人。善画山水学沈士充，苍劲多用渴笔。规摹唐、宋皆能神合。陈继儒题其画卷云：“自唐、宋、元名家，皆撮其精微，染于毫端，岂惟气吞时流，即董宗伯，（其昌）见之，几下卫夫人之叹。”",[70,252,26,72,73,270,7,489,29,100,209,181,237,286,490],"垂钓","桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9314a07a8eab17dffa04b2d87984a968.jpg",[],{"id":494,"slug":495,"title":496,"dynasty":203,"author":497,"museum":176,"description":498,"tags":499,"thumbUrl":504,"material":505,"size":506,"collection":58,"collections":507,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":40},240325,"shi-zhou-wang-you-dun-240325","诗轴","汪由敦","释文：\n霭霭龙旂色，琅琅木铎音。数行宽大诏，四海发生心。晹谷宾初日，清台告协风。愿如风有信，长与日俱中。草木渐知春，萌芽处处新。从今八千岁，合抱是灵椿。瑞日明天仗，仙云拥寿山。猗兰春昼永，金母在人间。苏轼春帖子词。臣汪由敦敬临。",[203,23,24,252,27,116,500,501,7,29,502,503],"晚云","秋水","沙鸥","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5c4eb178bc28afd071cefe6aed3481.jpg","纸本，楷书","纵115.5cm，横59.7cm",[58],{"id":509,"slug":510,"title":511,"dynasty":203,"author":512,"museum":176,"description":513,"tags":514,"thumbUrl":516,"material":36,"size":36,"collection":36,"collections":517,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":40},230879,"qiu-jiang-wan-du-ye-yao-zhong-bao-230879","秋江晚渡页","姚钟葆","淡墨晕开烟水空蒙，江畔秋树斜出，赭色点染丹黄，将晚秋霜色尽揽枝梢。垂条轻曳，晕出松弛疏淡的野趣。\n\n扁舟泊于浅渚，舟上幽人兀坐，隐入澄澈江天，不着一笔写愁，却将秋江岑寂全然铺陈。留白处尽是悠悠晚意，仿佛可闻欸乃橹声，随晚风漫过江心。\n\n笔墨简淡清灵，以少胜多，把羁旅闲愁化作静穆秋意，文题与淡墨秋景相融，晕开独有的空濛诗意，尽显幽远萧散的林下风致。",[70,26,134,396,72,29,515,179,149,7,116,346],"人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398701c4b5e7ea6c7f53c677cdf4ea49.jpg",[],{"id":519,"slug":520,"title":496,"dynasty":203,"author":521,"museum":176,"description":522,"tags":523,"thumbUrl":527,"material":56,"size":36,"collection":58,"collections":528,"showCount":529,"zanCount":11,"manualWeight":11,"mainColor":40},241078,"shi-zhou-fang-xun-241078","方薰","方薰(1736—1799)，字兰士，一字懒儒，号兰坻、兰如、兰生、长青、樗庵，别署语儿乡农，浙江石门（今属桐乡）布衣。槑子。性高逸狷介，朴野如山僧。诗、书、画并妙，写生尤工，与钱塘奚冈（字铁生，西泠八家之一）齐名，世称浙西两高士，称“方奚”。一时能手，无出二人之上。阮元评其画说：“深得宋元人秘法。”陈希濂则说：“兰士作画，繁不重，简不略，厚在神，秀在骨，高旷之气，突过时辈。”作品有《山静居诗稿》《山静居词稿》《题画诗》《山静居画论》。",[71,252,24,23,27,524,50,525,7,351,526,270,135,340,118,282,298,341],"寒山","湖山","峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a37ec1aed7712c705ad5c860ddd550.jpg",[58],5,{"id":531,"slug":532,"title":533,"dynasty":203,"author":534,"museum":176,"description":535,"tags":536,"thumbUrl":538,"material":56,"size":36,"collection":58,"collections":539,"showCount":540,"zanCount":11,"manualWeight":11,"mainColor":40},240112,"shi-ye-wang-shi-zhen-240112","诗页","王士祯","王士禎（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字貽上，號阮亭，又號漁洋山人，世稱王漁洋。山東新城（今山東桓台縣）人。清初詩人、文學家、詩詞理論家。 [1]\n王士禎為清順治十五年（1658年）進士，康熙四十三年（1704年）官至刑部尚書，頗有政聲。諡文簡。\n王士禎在實踐“神韻説”，取得卓著詩文成果的同時，還能突破正統文壇和文人偏見，重視和高度評價小説、戲曲、民歌等通俗文學、文體。他的主要成就在詩文創作與理論方面，但在小説、戲曲、民歌、書畫、藏書、史論等方面所取得的成就亦不容忽視。",[24,23,27,26,73,237,50,49,270,537,101,7,409,282],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[58],4,{"id":542,"slug":543,"title":544,"dynasty":232,"author":545,"museum":176,"description":546,"tags":547,"thumbUrl":549,"material":305,"size":306,"collection":36,"collections":550,"showCount":540,"zanCount":11,"manualWeight":11,"mainColor":107},237811,"jiang-gan-li-ma-shan-ye-ma-yi-237811","江干立马扇页","马逸","马逸，字南坪，晚号陔南，清代江苏常熟人。",[70,71,99,26,72,73,515,548,7,76,74,29],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf2dc4217e38e19041df8f18b637a45.jpg",[],{"id":552,"slug":553,"title":554,"dynasty":18,"author":313,"museum":176,"description":555,"tags":556,"thumbUrl":557,"material":305,"size":306,"collection":36,"collections":558,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":40},289955,"jiang-cheng-tu-yi-ming-289955","江城图","画面以苍褐设色晕染江天暮色，江岸楼阁层檐叠瓦、雄峙沉稳，飞檐翘角尽显宋式营造的雅致工巧。江涛翻涌间商船缓行，波痕皴擦细腻生动，衬出水岸楼宇的巍峨厚重。左侧题笔行书朴拙苍劲，书画相映成趣。整体笔触凝练写实，将江城楼观的壮伟与江行的悠然融于一卷，晕染出沉郁苍润的古典意境，藏着旧时水岸的澹澹烟火余韵，尽显写实山水的精妙意趣。",[47,70,71,316,237,7,239,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fcf6120e1d9a97e9eacda93b55b2984.jpg",[],{"id":560,"slug":561,"title":562,"dynasty":203,"author":563,"museum":176,"description":564,"tags":565,"thumbUrl":571,"material":56,"size":36,"collection":58,"collections":572,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":40},241395,"qi-jue-zhou-tu-zhuo-241395","七绝轴","屠倬","屠倬（1781—1828），清代官吏、诗人、篆刻家。字孟昭，号琴邬，晚号潜园老人，浙江诸暨紫岩乡六十都（今诸暨市店口镇琴隖村）人，寄居钱塘。 一作钱塘（今浙江杭州）人。嘉庆十三年进士。知江苏仪征县，在任五年，除盐枭，清疑案，劝民纺织。道光初擢九江知府，以疾辞。工诗古文，诗与郭麔齐名。有《是程堂诗文集》。",[23,24,252,566,567,568,569,117,570,7,27],"青山","塔","江岸","人家","钟鼓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028578950f49074aacd012260e132db8.jpg",[58],{"id":574,"slug":575,"title":576,"dynasty":203,"author":577,"museum":176,"description":578,"tags":579,"thumbUrl":581,"material":305,"size":306,"collection":36,"collections":582,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":40},241038,"qi-lv-zhou-fa-ruo-zhen-241038","七律轴","法若真","法若真（1613－1691）字汉儒，号黄山、黄石，祖籍济南，先祖于明朝景泰年间任职胶州，法氏后人遂定居胶州城里，以为故里。 法若真父亲法寰学识渊博，尤爱好研究经史，对《四书》、《春秋》颇有见解，著作很多，声名一时，他辞官职返乡，在城南怡云岭设学馆，以授徒讲学为业，在胶州造就了大批有用之才。",[23,252,24,26,27,7,537,118,351,526,580],"馬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf3b01a8998f7e9c0096c9510231ca6.jpg",[],{"id":584,"slug":585,"title":417,"dynasty":203,"author":586,"museum":176,"description":587,"tags":588,"thumbUrl":591,"material":56,"size":36,"collection":58,"collections":592,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":40},240707,"shi-juan-zhou-shao-xing-240707","周绍行","此作用狂草挥就，笔墨跌宕恣肆，线条枯湿浓淡变幻万千，提按顿挫间尽展随性意气。字形大小错落、欹正相生，字势连绵缠绕如惊蛇走虺，满纸氤氲着淋漓云烟。\n\n行气舒张贯通毫无滞碍，将胸中豪情尽数倾泻笔端，纵逸挥洒处带着不羁文人气韵。枯笔苍茫与浓墨厚重相映，时而奔放驰骋时而萦回转合，字字连绵却不失章法，视觉张力强烈，将草书抒情写意的特质发挥到极致，尽显书写时的酣畅快意，是极具个性的抒情书法佳构。",[47,23,25,24,589,27,7,340,135,346,52,590,353,350,118,368,349,32,282,50,49,270,354,344,343],"草书","梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5d7c59fb8156f7154249e96fd8df63.jpg",[58],{"id":594,"slug":595,"title":596,"dynasty":203,"author":597,"museum":176,"description":598,"tags":599,"thumbUrl":601,"material":305,"size":306,"collection":36,"collections":602,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":40},237450,"wu-gu-xiang-yan-jiang-die-zhang-shan-mian-wu-gu-xiang-237450","吴穀祥烟江叠嶂扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[70,99,26,73,72,32,7,74,192,600,240],"近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c531e154b9bf2679f66c603c5a461dd.jpg",[],{"id":604,"slug":605,"title":606,"dynasty":203,"author":607,"museum":176,"description":608,"tags":609,"thumbUrl":622,"material":305,"size":306,"collection":36,"collections":623,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":40},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[23,252,24,27,282,353,118,340,610,341,611,343,32,135,410,344,369,612,613,614,7,349,270,116,615,149,616,617,618,619,620,621],"鸟","露","杜","雁","桥","孤云","苔","黄","绿","钩","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":625,"slug":626,"title":417,"dynasty":232,"author":627,"museum":176,"description":628,"tags":629,"thumbUrl":631,"material":305,"size":306,"collection":36,"collections":632,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":107},240629,"shi-juan-wu-wei-yi-240629","吴惟一","此作以草书挥就，整卷行气贯通，字势顾盼牵丝萦绕，尽得草书抒情之妙。笔墨枯湿浓淡交叠变幻，提按顿挫间带着肆意放达的意气，线条飞动缠绕却不失章法，字字相衔、行行呼应，如行云流水般舒卷自如。\n\n既有狂草的颠逸遗韵，又自出机杼，将诗中的心绪藏入挥毫的起落之中。通篇带着疏朗萧散的古意，把文人的疏放襟怀尽数铺展在卷上，笔墨节奏随着心绪起伏，观之如随作者共赴诗中情境，尽览挥毫时的酣畅快意，尽显明代草书抒情写意的独特风神。",[47,23,25,24,26,7,340,349,630,32,282,29,27],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5dc16988a655910f7fdeeb3c330cd9c.jpg",[],{"id":634,"slug":635,"title":496,"dynasty":232,"author":636,"museum":176,"description":637,"tags":638,"thumbUrl":641,"material":305,"size":306,"collection":36,"collections":642,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":107},240592,"shi-zhou-cao-hua-chun-240592","曹化淳","曹化淳，字如，号止虚子，家境寒微，十二三岁左右入宫，诗文书画，无一不精，深受司礼太监王安赏识。后入信王府陪侍五皇孙朱由检，极受宠信。",[639,71,23,252,24,26,27,7,32,640,440],"明代","孤帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d32b882b8e201a89db6aece77993448.jpg",[],{"id":644,"slug":645,"title":646,"dynasty":203,"author":647,"museum":176,"description":648,"tags":649,"thumbUrl":657,"material":305,"size":306,"collection":36,"collections":658,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":40},241509,"qi-lv-shi-zhou-chen-bao-chen-241509","七律诗轴","陈宝琛","陈宝琛（1848—1935年），字伯潜，号弢庵、陶庵、听水老人，福州闽县螺洲（今福建省福州市仓山区螺洲镇）人。晚清大臣、学者，刑部尚书陈若霖曾孙。\n同治七年（1868年），考中进士，授翰林院庶吉士历任编修、翰林侍讲。直言敢谏，连同张之洞、张佩纶、宝廷成为“枢廷四谏官”，出任江西学政，累迁内阁学士、礼部侍郎。中法战争后，推举的唐炯、徐延投办事不力，坐罪降职。回乡赋闲，发展家乡教育事业。宣统元年（1909年），调入京城，充任礼学馆总裁、内阁弼德院顾问大臣、正红旗汉军副都统，成为宣统帝溥仪的师傅，监修《德宗实录》。工书法，学黄庭坚，又擅画松。",[23,252,24,27,650,566,7,651,652,653,654,655,656],"黄菊","橘","蛙","鸿","宿草","新墳","尊酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92de7a0e72a59414ef3c9c2999945e96.jpg",[],{"id":660,"slug":661,"title":533,"dynasty":232,"author":662,"museum":176,"description":663,"tags":664,"thumbUrl":668,"material":305,"size":306,"collection":36,"collections":669,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor"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