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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。",[23,24,64,25,7,26,27,29,30,31,32,65,66,67,33,36,68,69,70,71,72,73,74,40,75,76,43,77],"书画","船","马","牛","店铺","桥梁","城墙","车","河流","码头","货船","商贩","房屋","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米","宋画精选",[81,83],"水墨画精选",8462,106,{"id":87,"slug":88,"title":89,"dynasty":18,"author":19,"museum":90,"description":91,"tags":92,"thumbUrl":100,"material":101,"size":102,"collection":103,"collections":104,"showCount":105,"zanCount":106,"manualWeight":54,"mainColor":107},228451,"han-gong-chun-xiao-tu-quan-juan-chou-ying-228451","汉宫春晓图全卷","台北故宫博物院","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,64,25,26,27,7,29,93,30,39,33,94,95,96,97,98,99],"美人","山石","花鸟","孔雀","栏杆","屏风","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd722d077e75673c4e2d4185ed0fe78d.jpg","绢","纵30.6cm，横574.1cm","",[],4769,63,"BDBDBD",{"id":109,"slug":110,"title":111,"dynasty":18,"author":19,"museum":112,"description":113,"tags":114,"thumbUrl":124,"material":47,"size":125,"collection":49,"collections":126,"showCount":127,"zanCount":128,"manualWeight":54,"mainColor":55},216362,"xi-xiang-ji-tu-ye-chou-ying-216362","西厢记图页","美国弗利尔美术馆","清人绘，款仇英",[24,26,27,7,29,39,33,115,97,116,117,118,38,119,120,121,122,123],"芭蕉","石桌","藤蔓","假山石","仕女","文人","屋顶","围墙","石台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73073efbf2fef3fc9d47804d1d4a0e8.jpg","18.5*38",[49,51],2008,11,{"id":130,"slug":131,"title":132,"dynasty":133,"author":134,"museum":61,"description":135,"tags":136,"thumbUrl":140,"material":141,"size":142,"collection":143,"collections":144,"showCount":145,"zanCount":146,"manualWeight":54,"mainColor":55},222795,"yong-zheng-shi-er-yue-ling-yuan-ming-yuan-xing-le-tu-zhi-san-yue-shang-tao-lang-shi-ning-222795","雍正十二月令圆明园行乐图之三月赏桃","清","郎世宁","雍正十二月行乐图轴是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季12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”。从描绘的景物判断，表现的对象应为圆明园。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12幅行乐图展现了其在圆明园生活的各个场景，也表现了12个月的不同节令风俗。\n该幅为其中的三月赏桃",[23,24,27,26,7,29,30,137,138,33,139],"山水","桃花","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feca8fa167788554a7fc5800090ce37.jpg","绢本，设色","纵188.2厘米，横102.2厘米","花鸟画精选",[143,51],1764,14,{"id":148,"slug":149,"title":150,"dynasty":59,"author":151,"museum":152,"description":153,"tags":154,"thumbUrl":157,"material":158,"size":159,"collection":81,"collections":160,"showCount":161,"zanCount":162,"manualWeight":54,"mainColor":55},221339,"rui-he-tu-zhao-ji-221339","瑞鹤图","赵佶","辽宁省博物馆","《瑞鹤图》描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。\n《瑞鹤图》，其不仅具神性的光辉与君主的华贵，也有仙音袅袅、高雅灵动之感。一方面，皇宫殿宇端端正正置于画面下方，均衡对称，留出三分之二湛蓝天空，正大光远，大气天成，颇具皇家风范。围绕殿宇的祥云打破屋宇水平线，稳重端庄的画面于是气韵流转，一派天趣。另一方面，仙鹤有表明志向高洁、品德高尚之意。停留在屋顶上的两只仙鹤，袅袅婷婷，以静寓动，与空中缭绕的鹤群相呼应，款款生姿。整个画面又多了一分高洁隽雅、飘逸灵秀之气。",[23,24,64,25,27,7,26,155,156,30],"楷书","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef20e4191bb4faf39fae804720c95f29.jpg","绢本设色","纵51厘米，横138.2厘米",[81,143],1376,23,{"id":164,"slug":165,"title":166,"dynasty":18,"author":19,"museum":90,"description":167,"tags":168,"thumbUrl":172,"material":47,"size":173,"collection":174,"collections":175,"showCount":176,"zanCount":128,"manualWeight":54,"mainColor":55},216757,"shang-lin-tu-juan-chou-ying-216757","上林图卷","这卷书也在台北故宫，有一个类似的形象。它似乎比第一幅好，只是皴笔更简略一些",[23,24,64,25,169,27,26,7,137,29,30,33,72,170,94,171],"青绿","宫殿","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166b13b5b6a049210ce9da368f29e43b.jpg","44.8x1208","山水画精选",[174],1347,{"id":178,"slug":179,"title":180,"dynasty":18,"author":181,"museum":182,"description":183,"tags":184,"thumbUrl":190,"material":191,"size":192,"collection":174,"collections":193,"showCount":194,"zanCount":195,"manualWeight":54,"mainColor":107},220067,"hu-qiu-shi-er-jing-tu-ce-shen-zhou-220067","虎丘十二景图册","沈周","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,24,185,27,7,186,137,30,187,31,32,188,29,33,189],"水墨","册","塔","孤舟","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c6ccf4bdda3ae45520cc37a3415a38.jpg","纸本","31.1×40.2cmx12",[174],1160,9,{"id":197,"slug":198,"title":199,"dynasty":133,"author":200,"museum":201,"description":202,"tags":203,"thumbUrl":204,"material":47,"size":205,"collection":174,"collections":206,"showCount":207,"zanCount":208,"manualWeight":54,"mainColor":55},214434,"xiu-yuan-tu-wang-yun-214434","休园图","王云","旅顺博物馆","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,64,25,27,26,7,137,29,30,31,33,94,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c816996f71e8cca2630cc96ce0c65.jpg","纵54厘米，横129.5厘米",[174],1111,6,{"id":210,"slug":211,"title":212,"dynasty":18,"author":19,"museum":90,"description":213,"tags":214,"thumbUrl":218,"material":47,"size":102,"collection":49,"collections":219,"showCount":220,"zanCount":221,"manualWeight":54,"mainColor":107},219968,"han-gong-chun-xiao-tu-chou-ying-219968","汉宫春晓图","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。\n《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,64,25,26,27,7,29,93,30,215,156,33,216,97,217,98],"孤石","花卉","台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ef02bc84e372303950e1dc284071d3.jpg",[49],977,17,{"id":223,"slug":224,"title":17,"dynasty":59,"author":60,"museum":61,"description":62,"tags":225,"thumbUrl":227,"material":158,"size":228,"collection":81,"collections":229,"showCount":230,"zanCount":208,"manualWeight":54,"mainColor":55},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,25,7,27,226,26,29,30,31,32,35,36,34,33,37,67,66,38,44,43,39,75,40],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","宽24.8厘米、长528.7厘米",[81,49,51],858,{"id":232,"slug":233,"title":234,"dynasty":18,"author":235,"museum":236,"description":237,"tags":238,"thumbUrl":245,"material":47,"size":246,"collection":49,"collections":247,"showCount":248,"zanCount":249,"manualWeight":54,"mainColor":55},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 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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。",[24,27,26,7,276,137,30,277,156,278,94,29,279],"行乐图","松树","池塘","中式园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa170ee7ea987eca05f818f0474a20d1.jpg",[49,51],568,3,{"id":285,"slug":286,"title":287,"dynasty":59,"author":273,"museum":236,"description":288,"tags":289,"thumbUrl":291,"material":47,"size":292,"collection":81,"collections":293,"showCount":294,"zanCount":11,"manualWeight":54,"mainColor":55},214257,"yu-yuan-shi-chao-tu-yi-ming-214257","御苑市朝图","御苑市朝图是一幅作者不详的宋代画作。这幅画作描绘了宋朝的市场生活。\n\n在这幅画作中，画家巧妙地捕捉了宋朝的市场生活的繁华景象。他用浓墨重彩的画法，勾勒出了市场的熙熙攘攘的场面。他还用细腻的线条勾勒出了市场中出售各种商品的商贩，让人感受到了宋朝市场的繁荣景象。\n\n此外，画家在这幅画作中还描绘了市场周围的景色。他用色彩丰富的画法，描绘了市场周围的山川和河流。这些景色与市场的繁华场面形成了鲜明的对比，让人感受到了自然与人类活动的和谐\n共存。\n\n总之，御苑市朝图是一幅精美的画作，描绘了宋朝的市场生活。它让我们感受到了宋朝市场的繁荣景象，也让我们感受到了宋朝文化的魅力。",[23,257,24,64,290,7,27,137,30,33],"立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672f72d901c08686f814955355d9dcad.jpg","107x52",[81],518,{"id":296,"slug":297,"title":298,"dynasty":18,"author":19,"museum":90,"description":299,"tags":300,"thumbUrl":302,"material":303,"size":304,"collection":174,"collections":305,"showCount":306,"zanCount":307,"manualWeight":54,"mainColor":107},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。",[24,26,27,169,7,137,30,94,33,38,301,240],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纸本,设色","纵 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公分",[174],501,5,{"id":309,"slug":310,"title":311,"dynasty":18,"author":19,"museum":312,"description":313,"tags":314,"thumbUrl":316,"material":47,"size":317,"collection":49,"collections":318,"showCount":319,"zanCount":11,"manualWeight":54,"mainColor":107},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","美国克利夫兰艺术博物馆","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,25,64,26,27,7,137,29,30,189,31,32,315,33,94,39,95],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[49],497,{"id":321,"slug":322,"title":323,"dynasty":59,"author":324,"museum":325,"description":326,"tags":327,"thumbUrl":331,"material":47,"size":332,"collection":81,"collections":333,"showCount":334,"zanCount":335,"manualWeight":54,"mainColor":107},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","马远","私人收藏","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。",[23,257,24,64,186,7,27,328,137,30,277,329,94,33,330,189],"皴法","远山","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[81,174],397,2,{"id":337,"slug":338,"title":339,"dynasty":59,"author":340,"museum":90,"description":341,"tags":342,"thumbUrl":344,"material":47,"size":345,"collection":174,"collections":346,"showCount":347,"zanCount":335,"manualWeight":54,"mainColor":107},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","仙山楼阁图","赵伯驹","这幅仙山仙阁的画作，色彩鲜艳，白云在山腰盘旋，显得格外高雅。这幅画是由黄君璧捐赠的。",[23,24,64,290,169,27,26,7,137,30,33,330,343],"书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[174],388,{"id":349,"slug":350,"title":351,"dynasty":18,"author":19,"museum":352,"description":353,"tags":354,"thumbUrl":356,"material":47,"size":103,"collection":49,"collections":357,"showCount":358,"zanCount":208,"manualWeight":54,"mainColor":55},219568,"yan-le-tu-chou-ying-219568","宴乐图","大英博物馆","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,24,64,25,26,27,7,29,30,33,94,66,189,39,156,355],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[49,51],384,{"id":360,"slug":361,"title":362,"dynasty":133,"author":363,"museum":90,"description":364,"tags":365,"thumbUrl":370,"material":47,"size":371,"collection":49,"collections":372,"showCount":373,"zanCount":307,"manualWeight":54,"mainColor":107},216951,"zhong-qiu-jia-qing-tu-zhang-ting-yan-216951","中秋佳庆图","张廷彦","这幅画描绘了一个亭子，仆人们忙着送盒子里的食物，皇帝和皇后在露台上与大臣和音乐家们一起欣赏秋月。这幅画的风格似乎受到了明代宫廷绘画的启发，但笔触有些稀疏。",[257,24,7,27,29,30,189,366,367,368,369],"露台","印章","中秋赏月","宫廷佳庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a0e35fc35d7564a8cd3792e88ea71f.jpg","134.5x65.4",[49],377,{"id":375,"slug":376,"title":377,"dynasty":18,"author":19,"museum":325,"description":378,"tags":379,"thumbUrl":384,"material":47,"size":385,"collection":49,"collections":386,"showCount":387,"zanCount":208,"manualWeight":54,"mainColor":55},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,24,64,186,26,27,7,169,137,29,30,189,32,188,31,156,380,381,382,383,93,215],"老树","夕阳","明月","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[49],376,{"id":389,"slug":390,"title":391,"dynasty":59,"author":60,"museum":236,"description":392,"tags":393,"thumbUrl":396,"material":103,"size":103,"collection":103,"collections":397,"showCount":398,"zanCount":283,"manualWeight":54,"mainColor":55},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,64,25,7,26,394,29,30,31,32,65,66,67,33,36,34,71,395,72,76,73,40],"白描","轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],368,{"id":400,"slug":401,"title":402,"dynasty":18,"author":19,"museum":90,"description":403,"tags":404,"thumbUrl":405,"material":406,"size":407,"collection":174,"collections":408,"showCount":409,"zanCount":307,"manualWeight":54,"mainColor":107},222196,"xian-shan-lou-ge-tu-zhou-chou-ying-222196","仙山楼阁图轴","仇英此图即脱胎于南宋“院体”，又兼容文人画之长，具雅逸之致。\n画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。特写的景致，劲遒的松枝，坚峭的山石，劲利的用笔，以及小斧劈皴等，都存“院体”遗规。\n而构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和，色调明快。\n如杨翰在《扫石轩画谈》中所评：“笔笔皆如铁丝，有起有止，有韵有情，亦多疏散之气，如唐人小楷、令人探索无尽。”\n画面上方楷书为陆师道所提，乃明代官员，师承文徵明，严整恭谨的概述与仇英的画面配合的相得益彰。",[23,24,64,290,7,26,27,137,30,94,33,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc6047fc5802e4c930601cc55e6e5e9.jpg","白纸本","110.5x42.1",[174,51],351,{"id":411,"slug":412,"title":413,"dynasty":133,"author":414,"museum":352,"description":415,"tags":416,"thumbUrl":425,"material":47,"size":103,"collection":49,"collections":426,"showCount":427,"zanCount":428,"manualWeight":54,"mainColor":107},218432,"wan-guo-lai-chao-ban-hua-wang-jun-fu-218432","万国来朝版画","王君甫","祥云缭绕的宫殿之下，万国使者簇拥而至，构成喧腾热闹的朝贺图景。不同服饰的人物或携奇珍、或奏乐舞，神态各异却皆含恭谨；瑞兽与祥云交织，添几分祥瑞之气。线条工细流畅，设色明艳雅致，凝清代外交盛况于一纸。画面层次丰富而错落有致，人物繁而不乱，每处细节——使者的异域衣冠、手中珍玩器物，皆藏对盛世的期许与民间巧思。这幅图景不仅描摹外邦来朝盛景，更折射当时大国气象与文化自信，尽显传统版画的精湛技艺与深厚底蕴，让往昔荣光在纸间流转生辉。",[23,257,24,417,418,27,26,7,29,30,419,420,156,421,99,422,423,424],"版画","木刻","祥云","车驾","仪仗","服饰","异兽","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351671075a325173ad4852fd1aab53ec.jpg",[49],336,7,{"id":430,"slug":431,"title":17,"dynasty":133,"author":432,"museum":90,"description":433,"tags":434,"thumbUrl":441,"material":442,"size":443,"collection":49,"collections":444,"showCount":445,"zanCount":307,"manualWeight":54,"mainColor":55},222686,"qing-ming-shang-he-tu-sun-hu-222686","孙祜","此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n“清院本”《清明上河图》开卷是远山、宽阔河面，柳林田畦、童手挑夫，比“明本”娶亲队伍，人数更多，色彩更鲜艳，场面也更热闹。“清院本”戏台上下也比“明本”规模大，用木柱基座搭建的席棚戏台上，演员表演认真，观众在蒙蒙细雨中翘首欣赏，观众身份不同，神态也各异。一片早春田园欢乐景象。离席台稍远处：文人模样男子站在高凳上，拈须而观，仆人高举雨伞为他遮雨；河畔船夫坐在船头船顶观看；女子足不出户却携子爬到屋顶远看；树上、戏台支架杆上及台后都有观众，凝神而视。河面拉船纤夫、赶猪牵牛放羊倌、骑驴抬轿推车赶车者，挑夫贩夫、打铁卖茶，好个热闹。\n在去“虹桥”的河两岸，人流不息。河北侧的禁军演武场，旌旗招展，骑兵飞奔，比“明本”更壮观。“清院本”的“虹桥”是一座石材拱桥，桥上和桥头的地面有明显的石料接缝。河面大船行驶，“虹桥”右侧停泊着正装卸的商船，左侧有高悬龙旗的官船。桥上两边排列着四十多个前后带沿边的店铺，比“明本”数量更多更整齐有序。桥头，吃喝的、说书的、看相的、修脚的、议价的，形象生动。临近城门，还有女子在走索表演。\n接下来是城楼，“清院本”的城楼，和“明本”城楼格局相似，都绘有长长城墙，不似“宋本”只有城楼没有城墙。“清院本”城楼为重檐歇山，加腰檐和擎檐柱，红柱、绿沿、黑瓦，雕梁画栋，城墙也比“明本”更宽。“清院本”“明本”的入城门比较相似，陆门和水门并列，均有瓮城。\n“清院本”的城内，有成片房屋建筑，路北首处房屋和“明本”相同，都是公所衙门。“清院本”和“明本”画面在城内“U”字形处，都有显赫的府邸，“明本”是“学士”“世登两府”，“清院本”则是“圣书”“状元及第”。“清院本”府邸，牌楼后是三进宅院，还有一座观波楼和一座桥亭，长堤横跨湖塘。庭院中楼台、亭桥、水榭环湖而建，园内假山、湖石藤萝架、绿树、桃花融合相配，别具一格。比“明本”更显富贵。\n“明本”和“清院本”与染坊相邻处，都绘有一座富丽堂皇的院落建筑，“明本”是高大粉墙、楼阁长廊、雕梁画栋。“清院本”是“虎皮”石墙、庭院深处有灰砖高楼、顶部塔形装饰物，似乎带有阿拉伯风格；湖水碧波荡漾、卷棚歇山顶楼阁、各色亭阁、游廊环绕、假山耸立、嘉木成林、桃花盛开、仕女荡秋千；院墙东门外有马夫、轿夫等待主顾。如此豪华之建筑，尽显主人地位不凡。\n城内街道上人声鼎沸，多种车辆络绎不绝。各行商贩神态各异。另外，出现“宋本”和“明本”只有药店诊所，“清院本”出现古医科的分支的咒禁科诊所。“清院本”还增添了踏青、表演、戏剧、猴戏、特技、擂台等明清时代的特殊风俗，画面较“宋本”和“明本”更加丰富多彩。\n画作至接近皇家御苑处是一码头，这是“宋本”“明本”所没有的。\n清院本清明上河图是按照各朝的仿本、集各家所长之作品，再加上明清时代特殊风俗，如踏青、表演等等娱乐活动，因此增加了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，画的事物繁多，虽然失去了宋代古制，却是研究明清之际社会风俗不可缺的材料。\n由于西洋画风的影响，街道房舍，均以透视原理作画，并有西式建筑列置其中。此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n作品以长卷形式，采用散点透视构图法，生动记录了清初中国城市生活的面貌。虽然并不是宋朝原作，但一定程度上也反映了明清时期人们的生活，具有很高的历史价值和艺术价值。\n全画使用了除花鸟画以外的许多画科的技法，如人物马用工笔设色、山水树石系用青绿曲法、建筑舟船用界田法、浮云流水用白描曲法，总的来看，该图属于工笔画。画家们用局部近似焦点透视、整体属于散点透视的取景方法展现了18世纪的以苏州城为主要特色的城市风貌该图的总体布局系陈枚的思路，十分紧凑，全无拖沓之嫌，画中高潮送起，将动态的高潮与静态的高潮巧妙地结合起来，一浪高过一浪，即充满节奏感、又戒除单调重复，富有戏剧性的艺术变化。如最早的动态小高潮是前段的娶亲活动，之后的静态小高湖是看戏活动。画中最热闹的大高潮是中段虹桥上下的人物与车船的活动，最清幽的静态大高潮是最后一段的皇家御苑。各高潮之间的过渡段均起到了视觉衔接、防止审美疲劳的作用。全卷宛如一曲交响乐，从曲调悠扬到渐渐亢奋，最后进入庄重和优雅的境界。\n全卷设色独具风格，色彩在柔和中显得主富而统用色较为简明，用笔颜具特色，润在天水，浓在林木，重在山石，红在木柱，鲜在佳丽，明在人物，艳在春色，稳在建筑。这是清宫院体高头大卷人物画风的基本特性。\n此画卷布局疏密、近远、简繁相间。全图对复杂的生活作了集中、生动的概括、以简练的笔法动静结合，再现了当时的汴京风貌，是艺术性与真实性的高度融合，为建筑、交通、车船制造、商业、饮食、医药、服饰、民俗等学科研究提供了可靠依据。在艺术手法上，画面以俯视角度摄取景物，场面宏伟，而众多人物、建筑等的安排有条不紊，结构严谨，人物形象生动传神。它有界画工整准确的优点，又充分发挥了半工半写人物画生动活泼的长处。此画卷用笔熟练，界画桥梁屋宇以及人物，无不精妙。设色用赭笔微加匀梁，自创新法而有雅澹之韵，为清院画中之佳作。",[23,26,27,7,25,435,29,30,31,32,35,33,76,41,37,436,437,34,40,72,69,39,38,438,439,440],"风俗","城郭","街道","自然景观","交通工具","市集场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba48e0062ff6d8804c1adc57bd629c2b.jpg","绢本","纵35．6厘米，横1152．8厘米",[49,51],333,{"id":447,"slug":448,"title":449,"dynasty":59,"author":273,"museum":312,"description":450,"tags":451,"thumbUrl":452,"material":453,"size":454,"collection":49,"collections":455,"showCount":456,"zanCount":457,"manualWeight":54,"mainColor":107},214982,"dao-zi-mo-bao-ren-wu-bai-miao-hua-yi-ming-214982","道子墨宝人物白描画","《道子墨宝》原作是一套古代民间画工制作道教壁画的白描画稿。画稿分三部分，第一部分描绘的是诸神朝谒；第二部分是阴曹地府中审判“罪犯”的景象，既所谓的“地狱变相图”；第三部分为搜山图。画稿伪托唐代画圣吴道子作，但从画稿的内容和画中人物的服饰等细节可以断定它不可能是唐代的作品。这套册页原无题，多达五十开的册页，每幅原作右上部位都有用白粉写的简化字符编号，表示一至五十，显然是民间画师用的稿本。",[23,24,64,257,394,7,29,30,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874f90d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代画中种种不同的建筑形象，加以组合…… 从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[23,24,26,27,7,137,30,94,330,33,31,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[174,51],226,{"id":556,"slug":557,"title":558,"dynasty":18,"author":19,"museum":112,"description":113,"tags":559,"thumbUrl":562,"material":47,"size":125,"collection":103,"collections":563,"showCount":554,"zanCount":54,"manualWeight":54,"mainColor":55},216358,"xi-xiang-ji-tu-ye-8-chou-ying-216358","西厢记图页-8",[24,26,27,7,29,93,560,33,94,217,97,561],"竹子","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5046b988d6bf229c2bd14e1dcebb96ed.jpg",[],{"id":565,"slug":566,"title":567,"dynasty":18,"author":19,"museum":90,"description":568,"tags":569,"thumbUrl":572,"material":47,"size":103,"collection":49,"collections":573,"showCount":574,"zanCount":335,"manualWeight":54,"mainColor":55},219367,"yi-zhu-tu-chou-ying-219367","移竹图","竹影婆娑间，数人合力抬竹、培土，动作连贯如活；池畔亭榭半掩，莲叶浮波，士人或俯身打理，或凭栏远眺，笔墨细腻处见生活真趣。设色温润古雅，青绿点缀山石，赭黄晕染土地，墨色浓淡层叠出林木深幽。移竹之雅事，既显文人爱竹之癖，亦藏生活劳作之态，以工笔之精融自然与人文于一卷，动静相宜。画面层次分明，上段林泉移竹见生机，下段亭池闲居显雅致，细节中藏匠心，尽显明代文人生活的诗意与烟火气。",[24,26,27,169,7,29,560,33,570,464,94,30,571,39,32],"荷塘","廊榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7039905c000f406bb6ce231d79361d8a.jpg",[49,51,174],222,{"id":576,"slug":577,"title":578,"dynasty":18,"author":19,"museum":112,"description":113,"tags":579,"thumbUrl":582,"material":47,"size":125,"collection":103,"collections":583,"showCount":584,"zanCount":54,"manualWeight":54,"mainColor":55},216361,"xi-xiang-ji-tu-ye-3-chou-ying-216361","西厢记图页-3",[24,26,27,7,580,29,93,581,30,33,464,278,97,39],"册页","男子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8160bed9793b09c0f8860270b639bc52.jpg",[],218,{"id":586,"slug":587,"title":588,"dynasty":488,"author":589,"museum":325,"description":590,"tags":591,"thumbUrl":593,"material":442,"size":594,"collection":103,"collections":595,"showCount":596,"zanCount":54,"manualWeight":54,"mainColor":55},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","王维","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，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”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,24,64,25,27,169,7,26,137,30,31,29,94,33,38,592],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","纵194.5cm，横60.5cm",[],214,{"id":598,"slug":599,"title":600,"dynasty":133,"author":200,"museum":201,"description":202,"tags":601,"thumbUrl":602,"material":47,"size":205,"collection":103,"collections":603,"showCount":604,"zanCount":11,"manualWeight":54,"mainColor":55},214431,"xiu-yuan-tu-4-wang-yun-214431","休园图-4",[23,24,27,7,26,30,33,94,382,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a073b1ae9a5267aafce1e667ff03c94.jpg",[],210,{"id":606,"slug":607,"title":608,"dynasty":488,"author":609,"museum":90,"description":610,"tags":611,"thumbUrl":613,"material":47,"size":614,"collection":174,"collections":615,"showCount":616,"zanCount":11,"manualWeight":54,"mainColor":55},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","李昭道","李昭道（675年－758年），字希俊，陇西成纪 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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,257,24,64,25,28,7,26,27,137,30,31,32,188,189,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 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原图共六幅，画有黔娄先生、楚狂接舆、老莱子、王仲孺、于陵子和梁伯鸾，但前五幅已佚失，仅剩下描绘梁鸿与孟光的这幅。该画作集山水、人物、建筑画为一体，手法准确精细。",[23,257,24,64,290,7,185,29,137,30,838,33,916],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f627c639ff7d85295cabc0114452119.jpg",[],130,{"id":921,"slug":922,"title":212,"dynasty":59,"author":340,"museum":90,"description":923,"tags":924,"thumbUrl":925,"material":47,"size":103,"collection":81,"collections":926,"showCount":919,"zanCount":54,"manualWeight":54,"mainColor":759},219942,"han-gong-chun-xiao-tu-zhao-bo-ju-219942","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,24,7,27,169,26,137,30,189,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ccd5ae19644bbac9117abbd0f0ff532.jpg",[81],{"id":928,"slug":929,"title":930,"dynasty":912,"author":931,"museum":90,"description":932,"tags":933,"thumbUrl":936,"material":47,"size":937,"collection":49,"collections":938,"showCount":939,"zanCount":335,"manualWeight":54,"mainColor":107},218751,"shui-xie-kan-fu-tu-zhou-wen-ju-218751","水榭看凫图","周文矩","亭子的窗户敞开，帘子高高卷起，内部装饰着水波纹的座屏，座屏的边缘是红色的悬卷金花，这是宋代的一种时尚。两张方凳并排放置，凳子是用棕色藤条编织的，脚是如意形状。另一边是一张单剖面和双剖面的方桌，上面覆盖着白色披肩，摆放着金铜香炉和书籍。湖中有鸭子和海凫相互嬉戏，自然景观丰富。水榭旁有桃花、竹子和柳树等植物，还有一个覆盖着河边花草树木的私人大厅和亭子。露台的边上是水边的栏杆，女士从那里惊讶地看着这一幕。",[23,24,64,27,26,7,29,93,934,189,33,935,32,97],"水榭","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6128558cce10db8152fce876cb20fb95.jpg","24.5x26.7厘米",[49],129,{"id":941,"slug":942,"title":943,"dynasty":59,"author":273,"museum":90,"description":944,"tags":945,"thumbUrl":948,"material":47,"size":949,"collection":81,"collections":950,"showCount":951,"zanCount":11,"manualWeight":54,"mainColor":55},218801,"tao-li-yuan-tu-yi-ming-218801","桃李园图","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭亭台，有渔人在溪边垂钓，无所谓岁月。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它看起来更像是吴镇或其流派的画家的作品。",[23,24,257,27,7,26,328,137,30,189,29,277,946,947,94,33],"桃","李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a3b07bae6cc5546e3f59ca75ecae6e.jpg","19.7x24.3",[81],128,{"id":953,"slug":954,"title":955,"dynasty":18,"author":19,"museum":90,"description":956,"tags":957,"thumbUrl":958,"material":47,"size":959,"collection":49,"collections":960,"showCount":951,"zanCount":283,"manualWeight":54,"mainColor":55},218532,"guan-bang-tu-chou-ying-218532","观榜图","明清时代之考试主要分三级，初级为院试，及格者通称生员，亦称秀才。二级为乡试，中者为举人，榜首称解元。最高一级为会试，举人均可参加，中者称贡士，榜首称会元。贡士得入殿廷由皇帝面试，殿试成绩最高者为状元，次名称榜眼，三名称探花。画中观榜人潮汹涌，高中者兴奋地登马而去，落榜首，则满脸沮丧，由人搀扶，颓然而返。",[23,24,64,25,26,27,7,29,30,31,33,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee18be5368280214a5e995327e5a302.jpg","34.4x638",[49],{"id":962,"slug":963,"title":964,"dynasty":18,"author":19,"museum":90,"description":965,"tags":966,"thumbUrl":968,"material":47,"size":969,"collection":49,"collections":970,"showCount":971,"zanCount":283,"manualWeight":54,"mainColor":55},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[23,24,257,64,26,27,7,29,30,137,33,156,967,32],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 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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。",[1007,849,27,7,29,30,1008],"壁画","殿堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748644ad0fd67b6179cedd9df594a9ea.jpg",[],121,{"id":1013,"slug":1014,"title":719,"dynasty":133,"author":273,"museum":61,"description":274,"tags":1015,"thumbUrl":1019,"material":141,"size":142,"collection":103,"collections":1020,"showCount":1021,"zanCount":54,"manualWeight":54,"mainColor":55},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170",[257,24,64,290,26,27,7,137,30,189,1016,32,1017,138,33,29,39,329,1018],"廊","湖石","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg",[],119,{"id":1023,"slug":1024,"title":1025,"dynasty":133,"author":1026,"museum":236,"description":1027,"tags":1028,"thumbUrl":1029,"material":103,"size":103,"collection":49,"collections":1030,"showCount":1021,"zanCount":335,"manualWeight":54,"mainColor":107},234263,"ren-wu-gu-shi-ce-fan-xue-yi-234263","人物故事册","范雪仪","范雪仪〔清〕女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。\n康熙(1662-1722)间吴郡(今苏州)妇女善书画者甚多，范雪仪与傅德容两人才能最为突出，两人均擅人物画，范尤在傅上，为吴门女画家之翘首，所画内容多历史故事、神话传奇。所作用笔工细，线条流畅，神态生动，设色艳丽。传世作品有《张敞画眉图》《寿阳梅花妆图》《班昭续汉书图》《苏蕙织锦回文图》《木兰从军图》《公孙大娘舞剑器图》《白傅姬人试舞图》《秦女吹箫图》《裴航兰桥遇仙图》《交甫解佩图》及《月宫折桂图》扇、《采药图》扇，藏故宫博物院。",[23,26,27,7,29,93,30,700,896,39,97,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3ccc5f64642ebe7afbee730b09f5c1.jpg",[49,51],{"id":1032,"slug":1033,"title":1034,"dynasty":59,"author":1035,"museum":709,"description":1036,"tags":1037,"thumbUrl":1039,"material":103,"size":103,"collection":81,"collections":1040,"showCount":1021,"zanCount":11,"manualWeight":54,"mainColor":1041},203436,"bai-miao-dao-jun-xiang-tu-juan-song-ren-203436","白描道君像图卷","宋人","以白描技法绘就的画面，道君居于核心，神光笼罩下仪态端凝。侍从仙官列队环侍，衣纹线条细劲流畅，尽显飘逸之姿；虎、龙等神兽悄然伏立，为场景注入神圣威严。背景楼阁依界画之法构建，飞檐翘角细节毕现；林木扶疏，亭桥掩映，景致层层铺展却井然有序。整卷线条刚柔相济，或如铁线勾勒轮廓，或似游丝描绘衣袂，将宗教的肃穆与自然的清幽完美融合，尽显南宋书画的典雅韵致与精湛技艺。",[23,24,64,25,394,7,849,29,30,33,1038,137,419,815],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c346d69351d49d24311e155794dd04a.jpg",[81],"988264",{"id":1043,"slug":1044,"title":1045,"dynasty":59,"author":1046,"museum":236,"description":1047,"tags":1048,"thumbUrl":1051,"material":47,"size":1052,"collection":49,"collections":1053,"showCount":1054,"zanCount":307,"manualWeight":54,"mainColor":55},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","刘松年","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,26,27,25,712,343,7,29,30,39,33,94,97,217,1049,189,37,1050,477,277],"衣冠","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[49],117,{"id":1056,"slug":1057,"title":1058,"dynasty":59,"author":273,"museum":90,"description":1059,"tags":1060,"thumbUrl":1061,"material":47,"size":1062,"collection":81,"collections":1063,"showCount":1064,"zanCount":54,"manualWeight":54,"mainColor":107},218811,"jie-hua-lou-ge-2-yi-ming-218811","界画楼阁2","这幅画和另一幅亭子的边框画应该是同一个人在同一时间画的，但这幅画离建筑更近一些，这使它更富丽堂皇。在这幅山崖画中，笔触与马、夏相似，但有相同的魅力。",[24,64,7,186,27,30,137,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4826f7703c0edc976ee25967d7cb579d.jpg","23.9x26.1",[81],116,{"id":1066,"slug":1067,"title":1068,"dynasty":133,"author":1069,"museum":236,"description":1070,"tags":1071,"thumbUrl":1072,"material":103,"size":103,"collection":103,"collections":1073,"showCount":1074,"zanCount":457,"manualWeight":54,"mainColor":1075},229032,"yue-man-qing-you-tu-chen-mei-229032","月曼清游图","陈枚","《月曼清游图》册，清，陈枚绘，绢本，设色，共12开，每开纵7cm，横1.8cm。\n此画册落款“臣陈枚恭画”，钤“臣枚”印1方。\n每开均配有清代梁诗正的行草体墨题，款“乾隆岁在戊午秋九月朔臣梁诗正敬题”， 戊午为乾隆三年（178年）。\n钤清高宗弘历“乾隆御览之宝”、“古希天子”、“乐善堂图书记”等印共6方。\n《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”。\n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。\n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。\n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。\n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。\n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。\n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。\n图中的楼台房室建筑则采用西洋 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。\n此图册于乾隆三年（178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。\n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。\n这件雕有1人的牙雕精品被称作“百美图”。\n乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[26,27,7,93,29,781,896,367,422,30,561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e1bafcf4e74f158449349167ce92e.jpg",[],115,"F48FB1",{"id":1077,"slug":1078,"title":1079,"dynasty":133,"author":1080,"museum":236,"description":1081,"tags":1082,"thumbUrl":1084,"material":442,"size":594,"collection":174,"collections":1085,"showCount":1074,"zanCount":335,"manualWeight":54,"mainColor":55},224596,"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[23,257,24,64,7,26,27,137,30,94,33,330,170,1083],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg",[174],{"id":1087,"slug":1088,"title":1089,"dynasty":59,"author":273,"museum":90,"description":1090,"tags":1091,"thumbUrl":1095,"material":47,"size":1096,"collection":49,"collections":1097,"showCount":1098,"zanCount":335,"manualWeight":54,"mainColor":55},219215,"qi-xi-qi-qiao-tu-yi-ming-219215","七夕乞巧图","该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷",[24,64,25,26,27,7,29,189,30,33,94,39,97,480,1092,1093,1094,560],"坐具","石阶","古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58d9388e985a9f6a1f3b8c8fc737cb.jpg","29.6x149.2厘米",[49],110,{"id":1100,"slug":1101,"title":1102,"dynasty":643,"author":273,"museum":236,"description":1103,"tags":1104,"thumbUrl":1111,"material":787,"size":788,"collection":103,"collections":1112,"showCount":1113,"zanCount":335,"manualWeight":54,"mainColor":55},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[23,24,64,25,7,394,26,815,30,1105,65,29,1106,1107,1108,42,1109,1110],"桥","旗帜","水","宫殿式建筑","龙舟","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg",[],108,{"id":1115,"slug":1116,"title":1117,"dynasty":18,"author":273,"museum":236,"description":1118,"tags":1119,"thumbUrl":1121,"material":787,"size":788,"collection":103,"collections":1122,"showCount":1123,"zanCount":54,"manualWeight":54,"mainColor":759},228412,"wen-shu-pu-sa-zuo-xiang-yi-ming-228412","文殊菩萨坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,64,849,26,27,29,137,330,30,33,94,419,1120,169,7],"古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83145718fc035e6637afa89f6ad83dea.jpg",[],107,{"id":1125,"slug":1126,"title":1127,"dynasty":18,"author":181,"museum":182,"description":183,"tags":1128,"thumbUrl":1129,"material":191,"size":192,"collection":103,"collections":1130,"showCount":1123,"zanCount":11,"manualWeight":54,"mainColor":1075},220056,"hu-qiu-shi-er-jing-tu-ce-11-shen-zhou-220056","虎丘十二景图册-11",[23,24,185,7,186,328,137,30,31,29,33,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6682f58f7558d280563737b5c65e9a.jpg",[],{"id":1132,"slug":1133,"title":1134,"dynasty":912,"author":913,"museum":61,"description":1135,"tags":1136,"thumbUrl":1137,"material":79,"size":1138,"collection":174,"collections":1139,"showCount":1140,"zanCount":54,"manualWeight":54,"mainColor":107},221160,"gao-shi-tu-juan-wei-xian-221160","高士图卷","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。\n此图曾经宋周密《云烟过眼录》，明张丑《清河书画舫》、清孙承泽《庚子销夏记》、安岐《墨缘汇观》、《石渠宝笈·续编》、阮元《石渠随笔》等书著录，是一件递藏有绪、鉴定界公认的五代卫贤真迹。",[23,24,26,7,27,328,137,29,30,33,838,39,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd234cb19159b5ecad6fb82a14b63fd9.jpg","纵134.5厘米，横52.5厘米。",[174,83],105,{"id":1142,"slug":1143,"title":1144,"dynasty":488,"author":752,"museum":325,"description":1145,"tags":1146,"thumbUrl":1147,"material":442,"size":1148,"collection":174,"collections":1149,"showCount":1140,"zanCount":54,"manualWeight":54,"mainColor":55},221101,"jing-ji-rui-xue-tu-li-si-xun-221101","京畿瑞雪图","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”。",[23,169,27,7,137,30,33,94,782,156,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2334ec9cbe1a44a99cc3ae230e4e85.jpg","纵42.7cm，横45.2cm",[174,51],{"id":1151,"slug":1152,"title":1153,"dynasty":133,"author":1154,"museum":236,"description":1155,"tags":1156,"thumbUrl":1161,"material":787,"size":788,"collection":103,"collections":1162,"showCount":1163,"zanCount":11,"manualWeight":54,"mainColor":55},290321,"sui-chao-huan-qing-tu-zhou-yao-wen-han-290321","岁朝欢庆图轴","姚文瀚","姚文瀚（公元18世纪）清代画家。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。传世作品有《四序图》卷。",[257,24,290,27,26,7,29,30,45,1157,1158,155,367,1159,1160],"孩童","欢庆","岁朝","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf8387fdb8f15f8876fbb2dd7fcc6d29.jpg",[],104,{"id":1165,"slug":1166,"title":1167,"dynasty":59,"author":273,"museum":90,"description":1168,"tags":1169,"thumbUrl":1170,"material":47,"size":1171,"collection":81,"collections":1172,"showCount":1173,"zanCount":11,"manualWeight":54,"mainColor":107},218883,"xian-guan-nong-hua-tu-yi-ming-218883","仙馆秾花图","亭台楼阁错落有致，木构窗棂细密精巧，飞檐翘角带着宋式建筑的清雅韵味。阁内数人或对坐清谈，或凭栏远眺，衣袂轻扬间透着闲适散淡；阶下一人缓步小径，似在赏玩周遭景致。苍松倚石而立，枝叶遒劲，庭院间花木点缀，山石错落，笔墨细腻却不失灵动，悄然铺展宋人的雅致生活图景。画面静谧温润，细节处见匠心，仿佛能窥见千年前那方庭院里的悠然时光，尽显宋代文人雅士的生活意趣与审美追求。",[23,24,27,7,26,186,29,30,33,479,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973f9d56457127b7ab4280a85457e24c.jpg","26.4x27.2",[81],102,{"id":1175,"slug":1176,"title":1177,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":1178,"thumbUrl":1179,"material":787,"size":788,"collection":103,"collections":1180,"showCount":1181,"zanCount":11,"manualWeight":54,"mainColor":107},226309,"ku-yong-dao-bei-bi-yi-ming-226309","窟甬道北壁",[1007,849,27,29,7,394,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bae229258186b213039a695974608.jpg",[],101,{"id":1183,"slug":1184,"title":1185,"dynasty":133,"author":134,"museum":90,"description":1186,"tags":1187,"thumbUrl":1189,"material":158,"size":1190,"collection":174,"collections":1191,"showCount":1181,"zanCount":11,"manualWeight":54,"mainColor":1075},222764,"shi-er-yue-ling-tu-5-yue-lang-shi-ning-222764","十二月令图（5月）","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",[23,24,64,290,26,27,7,29,30,137,65,33,32,31,240,94,612,1188],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg","188.2*102.2cm",[174,51],{"id":1193,"slug":1194,"title":1195,"dynasty":133,"author":510,"museum":312,"description":1196,"tags":1197,"thumbUrl":1200,"material":47,"size":1201,"collection":174,"collections":1202,"showCount":1203,"zanCount":335,"manualWeight":54,"mainColor":55},219094,"shu-zhan-xing-lv-tu-yuan-yao-219094","蜀栈行旅图","层岩叠嶂间，栈道似银线盘绕绝壁，危石嶙峋欲倾，云雾如幔轻笼深谷。红叶点染崖侧，秋意暗生，却难消蜀道之险。行旅者负囊牵马，沿窄道缓行，身影虽微，步履之艰可见。袁耀以劲皴写山石肌理，界画栈道线条精准如铁，墨色浓淡相济，赭色晕染得宜。山川雄浑与行旅之微相融，既展自然伟力，又藏人间烟火。险峻中见生机，苍茫里显温情，尽现清代山水界画之精妙意趣。",[23,24,64,27,137,328,7,244,1198,29,66,33,330,383,1199],"栈道","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b289cc09c905080f6e7bad369ba016.jpg","186.7x255.3",[174],100,{"id":1205,"slug":1206,"title":1207,"dynasty":59,"author":632,"museum":90,"description":1208,"tags":1209,"thumbUrl":1211,"material":47,"size":1212,"collection":81,"collections":1213,"showCount":1203,"zanCount":54,"manualWeight":54,"mainColor":55},218974,"shui-dian-zhao-liang-tu-li-song-218974","水殿招凉图","画中有一道门，将湖水引入运河，流向宫廷花园。有顶的廊桥建在池塘和沼泽上，下面是底，上面是一排叉柱，柱子上有锅炉，锅炉之间有梁，这对研究宋代的桥梁和水闸是很有价值的资料。碑文上写着 李部长 几个字，从画风上看，应该是李松的作品。",[23,257,24,804,7,27,29,30,1210,32,477,39],"廊桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666a148dad7f30d97877d2b6a766c63a.jpg","24.5x25.4",[81],{"id":1215,"slug":1216,"title":1217,"dynasty":133,"author":1080,"museum":709,"description":1218,"tags":1219,"thumbUrl":1220,"material":47,"size":1221,"collection":174,"collections":1222,"showCount":1223,"zanCount":11,"manualWeight":54,"mainColor":55},218727,"shui-dian-chun-shen-tu-yuan-jiang-218727","水殿春深图","袁江字文涛，号岫泉。清代宫廷画家，专工山水楼阁界画。\u2028 袁的画法继承宋代宫廷画的风格，结实、工细，体积感强。并能把雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，既精细入微，又气势磅礴，有力地提高了“界画”的表现能力，被推为清代“界画”第一。",[24,64,290,7,27,26,30,170,33,94,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541a38c45bc135a29e893993570190f9.jpg","纵104厘米，横49.5厘米",[174,51],97,{"id":1225,"slug":1226,"title":1227,"dynasty":59,"author":273,"museum":90,"description":1228,"tags":1229,"thumbUrl":1231,"material":47,"size":1232,"collection":143,"collections":1233,"showCount":1234,"zanCount":335,"manualWeight":54,"mainColor":55},216214,"xi-ma-tu-yi-ming-216214","洗马图","洗马图是宋朝时期的一幅著名图画，其作者不详。这幅图展示了一群人在洗马，图中人物栩栩如生，每个人都有自己独特的表情和动作。洗马图被认为是中国古代绘画史上的杰作，其精细的绘画技巧和生动的人物造型吸引了许多观众的眼球。\n\n洗马图是在宋朝时期创作的，当时中国的绘画艺术正处于高峰期。在宋朝时期，绘画艺术得到了极大的发展，许多著名的绘画家都涌现出来，创作出了许多传世的杰作。洗马图就是其中的一例，其精细的绘画技巧和生动的人物造型使其成为了中国古代绘画史上的杰作。\n\n目前，洗马图被认为是中国古代艺术宝藏之一，并被收藏在台北故宫博物院之中。许多人都向往能够看到这幅珍贵的图画，并为其中的细节所惊叹。洗马图是中国古代艺术的杰作，值得我们去探究和珍视。",[24,64,257,26,27,29,66,700,7,1230],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b0938793c42dc54607d2778cc0ab9b.jpg","55x60.8cm",[143],96,{"id":1236,"slug":1237,"title":1238,"dynasty":133,"author":273,"museum":236,"description":1239,"tags":1240,"thumbUrl":1242,"material":47,"size":1243,"collection":49,"collections":1244,"showCount":1245,"zanCount":283,"manualWeight":54,"mainColor":55},218281,"ting-yuan-chun-se-tu-yi-ming-218281","庭苑春色图","画面铺展雅致庭苑景致，暖棕底色晕染时光温润。端坐的女子轻抱琵琶，指尖似凝住弦上余韵，眉眼神情专注而娴静；旁侧侍女俯身案前，动作轻柔如春风拂过，案上器物错落，笼中雀鸟似待和鸣。枝间梅花疏影横斜，点点春意悄然入画，与古朴陈设相映成趣。细腻笔触勾勒人物情态，器物细节精致传神，将春日庭苑里的闲适雅致娓娓道来，尽显古典生活的温婉诗意，仿佛能闻得弦音与花香交织，静享一段时光的从容。",[23,24,27,26,7,29,93,30,781,896,1241,39],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029dbcde4f6cb854e31576e88c28885e.jpg","24x24",[49],94,{"id":1247,"slug":1248,"title":1249,"dynasty":133,"author":1080,"museum":236,"description":1250,"tags":1251,"thumbUrl":1253,"material":787,"size":788,"collection":174,"collections":1254,"showCount":1255,"zanCount":54,"manualWeight":54,"mainColor":107},235658,"shan-shui-ping-yuan-jiang-235658","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,64,290,7,27,26,328,137,30,76,33,94,156,32,1252,67],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[174],93,{"id":1257,"slug":1258,"title":1259,"dynasty":133,"author":893,"museum":61,"description":1260,"tags":1261,"thumbUrl":1264,"material":141,"size":1265,"collection":49,"collections":1266,"showCount":1255,"zanCount":11,"manualWeight":54,"mainColor":55},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,24,64,25,27,26,7,137,29,30,32,35,33,189,31,1262,1263],"田野","城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[49,51],{"id":1268,"slug":1269,"title":1270,"dynasty":643,"author":1271,"museum":61,"description":1272,"tags":1273,"thumbUrl":1274,"material":158,"size":1275,"collection":174,"collections":1276,"showCount":1255,"zanCount":54,"manualWeight":54,"mainColor":55},220818,"guan-shan-xiao-si-tu-zhou-wang-meng-220818","关山箫寺图轴","王蒙","王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。\n他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。\n《画史绘要》中说：“王蒙山水师巨然，甚得用墨法”。",[23,24,64,290,137,27,328,7,244,30,32,33,1252,156,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1601b0cd43037b968c1bf32d6a8e7830.jpg","纵161.7cm，横56cm",[174,51],{"id":1278,"slug":1279,"title":1280,"dynasty":133,"author":1281,"museum":90,"description":1282,"tags":1283,"thumbUrl":1284,"material":47,"size":1285,"collection":49,"collections":1286,"showCount":1255,"zanCount":11,"manualWeight":54,"mainColor":759},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","仿宋院本金陵图","杨大章","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,64,25,27,26,28,7,29,30,31,32,33,66,67,76,437,41,35,240,70,40,68,72,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[49,51],{"id":1288,"slug":1289,"title":1290,"dynasty":133,"author":1069,"museum":236,"description":1291,"tags":1292,"thumbUrl":1293,"material":787,"size":788,"collection":103,"collections":1294,"showCount":1295,"zanCount":54,"manualWeight":54,"mainColor":107},288092,"yuan-ben-qing-ming-shang-he-tu-chen-mei-288092","院本清明上河图","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[24,7,25,26,27,30,189,277,29,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3f7497bacbc0ee63d999b8bc543f10.jpg",[],91,{"id":1297,"slug":1298,"title":1299,"dynasty":18,"author":19,"museum":1300,"description":1301,"tags":1302,"thumbUrl":1303,"material":141,"size":1304,"collection":174,"collections":1305,"showCount":1295,"zanCount":54,"manualWeight":54,"mainColor":55},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”。",[23,24,26,27,7,137,30,29,380,700,38,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b13a4847e9f398ceeef59dd35da828.jpg","21.5*21cm",[174,51],{"id":1307,"slug":1308,"title":1309,"dynasty":59,"author":324,"museum":90,"description":1310,"tags":1311,"thumbUrl":1312,"material":158,"size":1313,"collection":81,"collections":1314,"showCount":1295,"zanCount":54,"manualWeight":54,"mainColor":55},221514,"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","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。",[23,24,64,290,27,7,26,137,30,29,277,343,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[81,174,83],{"id":1316,"slug":1317,"title":1318,"dynasty":18,"author":19,"museum":352,"description":1319,"tags":1320,"thumbUrl":1322,"material":47,"size":1323,"collection":49,"collections":1324,"showCount":1295,"zanCount":54,"manualWeight":54,"mainColor":55},218359,"luo-han-tu-chou-ying-218359","罗汉图","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[23,25,26,27,7,849,29,967,1107,30,1321,94],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[49],{"id":1326,"slug":1327,"title":1328,"dynasty":643,"author":1329,"museum":709,"description":1330,"tags":1331,"thumbUrl":1332,"material":1333,"size":1334,"collection":174,"collections":1335,"showCount":1295,"zanCount":11,"manualWeight":54,"mainColor":55},215037,"teng-wang-ge-tu-san-ye-xia-yong-215037","滕王阁图散页","夏永","此图描绘了唐代洪州（今江西南昌）名胜滕王阁，此楼依山傍水，是登高远眺之佳处，与黄鹤楼、岳阳楼并称“江南三大名楼”，唐代诗人王勃曾作滕王阁序，留下“落霞与孤鹜齐飞，秋水共长天一色”的名句，使此楼垂名后世。",[257,24,64,7,185,30,137,188,94,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3937fc23fb0df816f2e1017fd0ca690c.jpg","绢本,水墨","纵25.5厘米 横26厘米",[174],{"id":1337,"slug":1338,"title":1339,"dynasty":59,"author":632,"museum":236,"description":1340,"tags":1341,"thumbUrl":1342,"material":47,"size":1343,"collection":51,"collections":1344,"showCount":1345,"zanCount":11,"manualWeight":54,"mainColor":55},218594,"lan-you-shang-tu-li-song-218594","阑游赏图","三个女人坐在一座偏远的山边的亭子里，在高大的树荫下，从栅栏上欣赏风景，而亭子外面的两个女仆则身材修长，姿态优美。该技术的特点是岩石上的小笔触，树木和远处的山丘都是农场画的特点。",[24,64,26,27,7,137,29,189,33,30,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd89ca87b97de7d9898441c2291b095a.jpg","22x20.6",[51],90,{"id":1347,"slug":1348,"title":1349,"dynasty":59,"author":730,"museum":90,"description":1350,"tags":1351,"thumbUrl":1352,"material":47,"size":1353,"collection":49,"collections":1354,"showCount":1355,"zanCount":283,"manualWeight":54,"mainColor":107},218795,"lan-ting-xi-yin-tu-guo-zhong-shu-218795","兰亭禊饮图","这幅画描绘的是永和九年的兰亭大典，小板上有三十多个学者在场，山峦起伏，茂林修竹，画工精细，原题为郭忠恕，但实际上更接近元代胡廷辉的风格。",[23,24,257,27,7,26,29,189,31,137,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767a47a8ddc517fcfb474984ffbf175b.jpg","22.1x23.2",[49],89,{"id":1357,"slug":1358,"title":1359,"dynasty":133,"author":1360,"museum":90,"description":1361,"tags":1362,"thumbUrl":1365,"material":453,"size":103,"collection":49,"collections":1366,"showCount":1355,"zanCount":11,"manualWeight":54,"mainColor":107},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。",[257,24,64,26,394,27,7,29,66,38,367,355,1363,1364],"古代人物","马球场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3def1caee6bc241053a237d8871f10.jpg",[49],{"id":1368,"slug":1369,"title":1370,"dynasty":133,"author":134,"museum":90,"description":1186,"tags":1371,"thumbUrl":1373,"material":158,"size":1190,"collection":174,"collections":1374,"showCount":1375,"zanCount":11,"manualWeight":54,"mainColor":55},222769,"shi-er-yue-ling-tu-zheng-yue-lang-shi-ning-222769","十二月令图（正月）",[23,24,27,26,7,29,30,39,94,33,38,1372],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7578701c0511c7e8d219ace0c798cee0.jpg",[174,51],88,{"id":1377,"slug":1378,"title":1379,"dynasty":59,"author":1046,"museum":90,"description":1380,"tags":1381,"thumbUrl":1382,"material":1383,"size":1384,"collection":81,"collections":1385,"showCount":1375,"zanCount":11,"manualWeight":54,"mainColor":55},221545,"yao-chi-xian-shou-tu-liu-song-nian-221545","瑶池献寿图","《瑶池献寿图》是南宋画家刘松年所创作，此图描绘了仙山楼阁的神仙世界，是当时上层社会的做寿喜庆场面。\n人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,24,26,27,328,7,137,29,30,277,94,33,330,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20358360b91c23dd09f3758afe3d4ad8.jpg","立轴 绢本 设色","纵198.7厘米，横109.1厘米",[81,49,51],{"id":1387,"slug":1388,"title":1389,"dynasty":488,"author":609,"museum":90,"description":1390,"tags":1391,"thumbUrl":1392,"material":442,"size":1393,"collection":174,"collections":1394,"showCount":1375,"zanCount":54,"manualWeight":54,"mainColor":55},221095,"long-chi-jing-du-tu-li-zhao-dao-221095","龙池竞渡图","大致在宋、元时期，涌现出了一批以反映园林建筑为主要题材的绘画作品，这种充满人文景观的建筑绘画作品，除了表现技巧上的成熟外，也营造出一种全新的绘画艺术形式，形成以楼图为主体、以山水为背景、以人物舟车为点缀的界画艺术",[23,24,64,804,169,27,7,137,30,31,188,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dff8d35255766cbed16cb1427c7429.jpg","28.5x29.7cm",[174,51],{"id":1396,"slug":1397,"title":1398,"dynasty":59,"author":1399,"museum":1400,"description":1401,"tags":1402,"thumbUrl":1403,"material":47,"size":1404,"collection":49,"collections":1405,"showCount":1406,"zanCount":335,"manualWeight":54,"mainColor":55},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","中兴瑞应图","萧照","天津博物馆","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,257,24,64,25,26,27,7,328,29,30,137,33,66,189,39,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[49],87,{"id":1408,"slug":1409,"title":1410,"dynasty":18,"author":19,"museum":112,"description":1411,"tags":1412,"thumbUrl":1413,"material":47,"size":103,"collection":174,"collections":1414,"showCount":1406,"zanCount":11,"manualWeight":54,"mainColor":55},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,64,290,26,27,137,7,29,30,66,189,33,94,32,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[174],{"id":1416,"slug":1417,"title":1418,"dynasty":59,"author":632,"museum":90,"description":1419,"tags":1420,"thumbUrl":1421,"material":47,"size":1422,"collection":81,"collections":1423,"showCount":1406,"zanCount":54,"manualWeight":54,"mainColor":55},218896,"song-wu-yan-bin-tu-li-song-218896","松坞延宾图","这幅画描绘了山中溪边的一个村庄，一个贵族把自己隐居起来，在家里建起了一些区域，当客人到来时，他们会用菜肴招待。这幅画是艺术家笔下的杰作，虽然它很饱满，但有一股清晰的水流在其中流淌。",[23,24,64,804,7,27,26,29,30,242,700,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af25e2e2d0263c374707240ac706ee.jpg","24.5x24.4",[81],{"id":1425,"slug":1426,"title":1427,"dynasty":912,"author":730,"museum":325,"description":1428,"tags":1429,"thumbUrl":1430,"material":47,"size":1431,"collection":174,"collections":1432,"showCount":1406,"zanCount":54,"manualWeight":54,"mainColor":55},217996,"bi-shu-gong-tu-guo-zhong-shu-217996","避暑宫图","这是现存的宋代绘画中少有的杰作，也是有史以来最高标准的界画之一。",[23,24,7,27,137,30,94,33,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F835da03f2af95dcf5be3dd4c03b0786a.jpg","174x102cm",[174],{"id":1434,"slug":1435,"title":1436,"dynasty":133,"author":1437,"museum":61,"description":1438,"tags":1439,"thumbUrl":1441,"material":141,"size":1442,"collection":49,"collections":1443,"showCount":1444,"zanCount":11,"manualWeight":54,"mainColor":55},222862,"shi-gong-ci-tu-ce-leng-mei-222862","十宫词图册","冷枚","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,26,27,7,712,367,29,30,815,1440,1107,477],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e2972b1c52918200e2cb77c491e77.jpg","纵33.1厘米，横29.3厘米",[49],85,{"id":1446,"slug":1447,"title":1448,"dynasty":133,"author":273,"museum":61,"description":1449,"tags":1450,"thumbUrl":1456,"material":47,"size":1457,"collection":49,"collections":1458,"showCount":1444,"zanCount":335,"manualWeight":54,"mainColor":55},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,26,27,7,25,29,170,421,1451,33,1452,217,1453,1454,1455,1106,43],"祭祀","草地","灯笼","队伍","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[49,51],{"id":1460,"slug":1461,"title":1462,"dynasty":133,"author":134,"museum":236,"description":1463,"tags":1464,"thumbUrl":1471,"material":103,"size":103,"collection":103,"collections":1472,"showCount":1473,"zanCount":283,"manualWeight":54,"mainColor":107},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。",[1465,26,7,1466,30,1467,623,33,94,1468,38,39,1469,97,1470],"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":1475,"slug":1476,"title":1477,"dynasty":59,"author":273,"museum":709,"description":1478,"tags":1479,"thumbUrl":1481,"material":158,"size":1482,"collection":81,"collections":1483,"showCount":1473,"zanCount":11,"manualWeight":54,"mainColor":55},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[23,257,24,64,25,7,26,27,29,30,32,71,65,33,69,1480],"劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","纵55.4厘米横124.1厘米",[81,51],{"id":1485,"slug":1486,"title":1487,"dynasty":133,"author":510,"museum":61,"description":549,"tags":1488,"thumbUrl":1490,"material":141,"size":552,"collection":103,"collections":1491,"showCount":1492,"zanCount":54,"manualWeight":54,"mainColor":55},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴",[24,64,290,7,27,26,137,30,240,330,33,94,31,301,1489],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg",[],83,{"id":1494,"slug":1495,"title":679,"dynasty":59,"author":60,"museum":236,"description":1496,"tags":1497,"thumbUrl":1499,"material":103,"size":103,"collection":103,"collections":1500,"showCount":1492,"zanCount":54,"manualWeight":54,"mainColor":55},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","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。",[23,257,24,64,7,26,27,30,69,35,29,721,33,38,170,1498],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],{"id":1502,"slug":1503,"title":487,"dynasty":59,"author":273,"museum":236,"description":1504,"tags":1505,"thumbUrl":1506,"material":47,"size":103,"collection":81,"collections":1507,"showCount":1492,"zanCount":54,"manualWeight":54,"mainColor":55},218582,"gong-yuan-tu-yi-ming-218582","飞檐翘角隐于松柳荫翳间，回廊曲折勾连亭榭深院。素衣宫人缓步庭阶，衣袂轻扬似携春风漫行。古绢底色晕染时光温润，笔墨细腻勾勒宋式雅致：柳枝垂丝如梳，松针攒簇似绣，格子窗棂映出廊下幽影，石畔苔痕晕开清寂氛围。构图疏密得宜，动静相谐——建筑的规整与草木的生机相映，人物的闲步与庭院的静谧相融，将宫苑深处的雍容闲寂悄然铺展，如一卷慢启的宋时清梦，每一处细节都藏着时光沉淀的温婉与考究。",[257,24,64,7,27,29,30,189,33,94,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb239ee50763d90f5622390b38b842e66.jpg",[81],{"id":1509,"slug":1510,"title":1511,"dynasty":643,"author":1512,"museum":20,"description":1513,"tags":1514,"thumbUrl":1519,"material":47,"size":1520,"collection":49,"collections":1521,"showCount":1492,"zanCount":54,"manualWeight":54,"mainColor":55},218312,"ying-xi-tu-han-cheng-218312","婴戏图","韩晟","这幅画描绘了一个农场，许多孩子在玩耍，四个孩子在玩滑梯，一个亭子在下棋和读书，院子里有一个骑士和一只蚂蚱。嬉戏打闹，无可否认地表达了孩子们的活泼、快乐、童真和美丽的外表。",[24,64,27,26,7,29,1157,30,189,39,33,1515,1516,1517,1518],"盆栽","桌椅","玩具","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189fe2b51b76e3feedecd63c68921ed.jpg","139.4x76.2",[49],{"id":1523,"slug":1524,"title":1525,"dynasty":18,"author":235,"museum":236,"description":237,"tags":1526,"thumbUrl":1529,"material":47,"size":1530,"collection":49,"collections":1531,"showCount":1492,"zanCount":283,"manualWeight":54,"mainColor":55},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)",[23,24,25,27,26,7,29,30,31,32,137,33,170,94,216,35,1527,39,97,217,1106,1528,189],"火焰","建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[49],{"id":1533,"slug":1534,"title":1535,"dynasty":59,"author":730,"museum":236,"description":1536,"tags":1537,"thumbUrl":1538,"material":103,"size":103,"collection":103,"collections":1539,"showCount":1540,"zanCount":54,"manualWeight":54,"mainColor":55},227513,"ming-huang-bi-shu-gong-tu-zhou-guo-zhong-shu-227513","明皇避暑宫图轴","《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。",[23,24,64,290,7,26,27,137,30,38,33,94,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc3db0ed91249e6e8c0490e405536b5.jpg",[],82,{"id":1542,"slug":1543,"title":1544,"dynasty":59,"author":324,"museum":1545,"description":1546,"tags":1547,"thumbUrl":1548,"material":158,"size":1549,"collection":81,"collections":1550,"showCount":1540,"zanCount":54,"manualWeight":54,"mainColor":107},221668,"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","美国波士顿博物馆","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[23,24,64,257,27,7,137,30,189,967,33,244,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[81,174],{"id":1552,"slug":1553,"title":1554,"dynasty":133,"author":510,"museum":352,"description":1555,"tags":1556,"thumbUrl":1557,"material":47,"size":1558,"collection":174,"collections":1559,"showCount":1540,"zanCount":54,"manualWeight":54,"mainColor":55},219757,"ni-guo-xi-pan-che-tu-yuan-yao-219757","拟郭熙盘车图","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。\n工画山水、楼阁、界画。画风工整、华丽，与袁江相似。其精品有胜于袁江者。偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。约活动于乾隆中期。不仅青绿工整山水，楼阁作品有名，其所画花鸟，也甚佳。流传作品比袁江多。而且往往是大幅。所画《观瀑图》、《秋江楼观图》等，无论布局，渲染，以至点景人物，都很精致。留有《阿房宫图》及《骊山避暑十二景图》大幅精美作品。《骊山避暑十二景图》现藏于日本。",[24,64,137,7,328,28,27,29,30,383,189,66,71,94,33,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2dbf03592ab1c501d619c8407e8f510.jpg","纵29横47.80厘米",[174],{"id":1561,"slug":1562,"title":1563,"dynasty":133,"author":273,"museum":236,"description":1564,"tags":1565,"thumbUrl":1567,"material":103,"size":103,"collection":103,"collections":1568,"showCount":1569,"zanCount":335,"manualWeight":54,"mainColor":55},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。",[23,257,24,64,290,26,27,7,29,30,31,32,137,33,216,189,1093,97,1566,38,39,1372],"春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],81,{"id":1571,"slug":1572,"title":1573,"dynasty":133,"author":1080,"museum":352,"description":1574,"tags":1575,"thumbUrl":1576,"material":47,"size":1577,"collection":174,"collections":1578,"showCount":1569,"zanCount":54,"manualWeight":54,"mainColor":55},220076,"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[23,24,64,257,7,27,26,30,137,31,33,94,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[174],{"id":1580,"slug":1581,"title":1582,"dynasty":59,"author":1583,"museum":1584,"description":1585,"tags":1586,"thumbUrl":1591,"material":442,"size":1592,"collection":81,"collections":1593,"showCount":1594,"zanCount":54,"manualWeight":54,"mainColor":55},221612,"can-zhi-tu-juan-liang-kai-221612","蚕织图卷","梁楷","黑龙江省博物馆","图描绘江浙一带的蚕织户自“腊月浴蚕”到“下机入箱”为止的养蚕、织帛的整个生产过程。该卷由二十四个场面组成，用长房贯穿，每个场面下有楷书小字，注明内容。全卷场面宏大，共绘七十四人，翁媪长幼，皆服宋装。图中人物的神态举止，惟妙惟肖，桑树、户牖、几席、蚕具、织具等，富有写真写实之风。",[23,24,25,26,27,7,29,1587,1588,39,76,33,1480,185,1589,1590],"织机","蚕桑","日用具","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5708c7869732c0eddc83d2007b004137.jpg","27.5x513",[81,49,51],79,{"id":1596,"slug":1597,"title":1598,"dynasty":133,"author":254,"museum":20,"description":1599,"tags":1600,"thumbUrl":1604,"material":47,"size":1605,"collection":174,"collections":1606,"showCount":1594,"zanCount":54,"manualWeight":54,"mainColor":107},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。",[23,24,64,25,26,27,7,72,1601,244,721,38,29,35,33,240,1106,241,1602,1603],"堤坝","岸滩","水利工程","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bc9f5a94b12c79923f595bc701a8c2.jpg","68.8x1096.17cm",[174],{"id":1608,"slug":1609,"title":1610,"dynasty":59,"author":1611,"museum":236,"description":1612,"tags":1613,"thumbUrl":1615,"material":47,"size":103,"collection":174,"collections":1616,"showCount":1594,"zanCount":11,"manualWeight":54,"mainColor":107},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-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信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[23,1614,64,25,849,7,27,29,137,30,31,32,66,1321,156,33,330,39],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[174],{"id":1618,"slug":1619,"title":1620,"dynasty":133,"author":510,"museum":61,"description":1621,"tags":1622,"thumbUrl":1623,"material":141,"size":1624,"collection":174,"collections":1625,"showCount":1626,"zanCount":54,"manualWeight":54,"mainColor":55},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,27,7,26,137,277,30,189,35,94,330,721,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[174,51],78,{"id":1628,"slug":1629,"title":1630,"dynasty":18,"author":181,"museum":709,"description":1631,"tags":1632,"thumbUrl":1636,"material":158,"size":1637,"collection":174,"collections":1638,"showCount":1626,"zanCount":54,"manualWeight":54,"mainColor":107},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,257,24,64,186,1633,27,185,328,7,26,1634,30,33,29,1635],"山水画","写意","诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[174],{"id":1640,"slug":1641,"title":1642,"dynasty":133,"author":1643,"museum":61,"description":1644,"tags":1645,"thumbUrl":1650,"material":141,"size":1651,"collection":49,"collections":1652,"showCount":1653,"zanCount":11,"manualWeight":54,"mainColor":107},238124,"kang-xi-nan-xun-tu-juan-wang-hui-238124","康熙南巡图卷","王翚","康熙皇帝是清朝入关以后的第二代皇帝，在位期间，为了解民情，视察河防，尤其是为平息江南地区民众的反清情绪，从康熙二十三年（1684年）到康熙四十六年（1707年）间，曾经有过6次南巡的盛举。每次南巡，皇帝一行从京师出发，时而车骑，时而舟船，一直抵达浙江的绍兴。出巡活动浩浩荡荡，兴师动众，地方官员迎来送往，花费惊人。《红楼梦》作者曹雪芹的祖父曹寅当时任江宁织造，曾数次接驾。曹雪芹在小说中借凤姐之口说：“说起当年太祖皇帝仿舜巡的故事，比一部书还热闹……只预备接驾一次，把银子花的像淌海水似的！”可见其豪华排场。\n在康熙二十八年（1689年）第二次南巡结束后，根据皇帝的命令，由曹寅之弟曹筌任“《南巡图》监画”，征召画家开始绘制《康熙南巡图》。该图共十二巨卷，详细描绘了整个南巡过程。十二卷图现已不复完整，尚存九卷，第一、第九、第十、第十一、第十二卷藏于北京故宫博物院；第二、第四卷现藏法国巴黎的吉美博物馆；第三、第七卷现藏美国纽约的大都会艺术博物馆。\n《康熙南巡图》十二卷是由著名画家王翚领衔主绘的，参与绘制的画家还有冷枚、王云、杨晋等，全图历时六年方告完成。",[27,26,7,29,30,170,66,1646,1106,33,70,437,39,1528,421,1647,1648,669,1649],"队列","骑兵","步兵","门楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edf3f1428ff622207f310b8322c2e7d.jpg","纵67.8厘米，横1400至2600厘米",[49,51],77,{"id":1655,"slug":1656,"title":1657,"dynasty":18,"author":19,"museum":61,"description":1658,"tags":1659,"thumbUrl":1660,"material":141,"size":1661,"collection":103,"collections":1662,"showCount":1663,"zanCount":54,"manualWeight":54,"mainColor":107},222187,"ren-wu-gu-shi-tu-chui-xiao-yin-feng-chou-ying-222187","人物故事图-吹箫引凤","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。",[23,24,26,27,7,29,93,30,137,156,815,967,33,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f759dfb5ab9012ad81e69f828566888.jpg","每开纵41.4厘米，横33.8厘米",[],76,{"id":1665,"slug":1666,"title":719,"dynasty":133,"author":273,"museum":236,"description":1667,"tags":1668,"thumbUrl":1669,"material":787,"size":788,"collection":103,"collections":1670,"showCount":1671,"zanCount":54,"manualWeight":54,"mainColor":107},230348,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-230348","水岸楼台层叠错落，奇石流泉蜿蜒在庭院间。近舍里宾朋凭栏谈笑，空场间人群簇立，围观高架旁的杂艺演出。远景烟波轻笼水乡，屋舍连片沿水岸铺展，拱桥上行人摩肩接踵，新梅缀枝，漫染融融春意。\n\n整作工笔细腻温婉，以淡彩晕染出雅致底色，将苑囿闲情与江南市井的喧闹烟火相融，疏密有致的构图里，铺陈出春日佳节松弛鲜活的盛景，尽揽雅致祥和的岁时意趣。",[24,27,26,7,29,30,189,31,32,33,781,39,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2627069d8464d638cd4130d2f3b07cf.jpg",[],75,{"id":1673,"slug":1674,"title":1675,"dynasty":133,"author":764,"museum":201,"description":765,"tags":1676,"thumbUrl":1679,"material":442,"size":771,"collection":103,"collections":1680,"showCount":1671,"zanCount":54,"manualWeight":54,"mainColor":107},230109,"hong-lou-meng-190-sun-wen-230109","红楼梦190",[24,26,27,1677,29,66,1678,30,524,39,7,355],"清代","马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371fd944c59868ac77daf0417c1ff2a6.jpg",[],{"id":1682,"slug":1683,"title":1684,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":1685,"thumbUrl":1686,"material":787,"size":788,"collection":103,"collections":1687,"showCount":1671,"zanCount":11,"manualWeight":54,"mainColor":55},226216,"ku-zhu-shi-xi-bi-yi-ming-226216","窟主室西壁",[257,1007,849,7,27,29,30,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc239266b541c9c02b59870053dd1a161.jpg",[],{"id":1689,"slug":1690,"title":1691,"dynasty":133,"author":1692,"museum":20,"description":1693,"tags":1694,"thumbUrl":1698,"material":303,"size":1699,"collection":49,"collections":1700,"showCount":1671,"zanCount":54,"manualWeight":54,"main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诣坛）","手卷中钜细靡遗地绘出迤逦的随员行列、声势壮盛的仪仗、采桑的命妇、盛装端坐观礼的皇后，画风精细工整，设色明丽。皇后的形象虽小，但一丝不茍，宛如肖像画般具有个人特性，与郎世宁所绘〈高宗帝后像〉中的皇后像十分接近，当为有所凭据而作，而且很可能是出自郎世宁之手。本院同时也收藏有孝贤皇后亲手为乾隆绣作的荷包，表示连位尊权贵的皇后都不能免於女红的训练。",[23,24,64,25,26,27,7,29,30,33,31,39,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa035dbde6b9f77803cb1de96015f22ca.jpg","51x762.8",[49],{"id":1711,"slug":1712,"title":1713,"dynasty":59,"author":730,"museum":90,"description":1714,"tags":1715,"thumbUrl":1719,"material":787,"size":788,"collection":103,"collections":1720,"showCount":1721,"zanCount":54,"manualWeight":54,"mainColor":55},288287,"xue-ji-jiang-xing-tu-guo-zhong-shu-288287","雪霁江行图","本图描绘雪霁以后两艘巨型楼船在江边行进，船的结构与船上的物件描写详尽而严谨，还穿插水手及一些人物的活动，情节生动。无数印，上方有宋徽宗赵佶题“雪霁江行图，郭忠恕真迹”10字。据考证，该图原为长卷，后被割裂，本图为原长卷中之一段。",[7,24,257,394,185,1716,188,1717,1718,367],"江景","雪霁","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa564b7f5e15418354a7fa5524a71c9fd.jpg",[],74,{"id":1723,"slug":1724,"title":1725,"dynasty":59,"author":273,"museum":90,"description":1726,"tags":1727,"thumbUrl":1728,"material":47,"size":1729,"collection":81,"collections":1730,"showCount":1721,"zanCount":54,"manualWeight":54,"mainColor":107},218809,"jie-hua-lou-ge-1-yi-ming-218809","界画楼阁1","这幅画描绘了一个山间别墅的庭院，有雕花栏杆和奇花异木，这应该是一个富裕家庭的家。这座建筑的风格与署名为马麟的亭子相似，这幅画可以追溯到南宋时期。",[23,24,64,186,7,27,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f6e3d094caae67171695fac9a80a22.jpg","23.7x26.4",[81],{"id":1732,"slug":1733,"title":1734,"dynasty":643,"author":1329,"museum":20,"description":1735,"tags":1736,"thumbUrl":1737,"material":1333,"size":1738,"collection":174,"collections":1739,"showCount":1721,"zanCount":54,"manualWeight":54,"mainColor":55},218718,"huang-lou-fu-tu-xia-yong-218718","黄楼赋图","这幅画宽度仅有二十多厘米，却无比精细的描画了整个黄楼，窗边饮酒赋诗的文人。用蝇头小楷写了苏辙的千字文“黄楼赋”。还有驾鹤西游的神仙。",[23,24,64,7,394,185,30,137,156,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6345fb2b38d0c73179bba1049f675384.jpg","20.6x26.7cm",[174,83],{"id":1741,"slug":1742,"title":1743,"dynasty":133,"author":1069,"museum":90,"description":1291,"tags":1744,"thumbUrl":1745,"material":787,"size":788,"collection":103,"collections":1746,"showCount":1747,"zanCount":54,"manualWeight":54,"mainColor":55},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷",[23,257,24,25,26,27,29,30,36,69,37,33,226,539,34,40,66,668,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg",[],73,{"id":1749,"slug":1750,"title":1751,"dynasty":488,"author":609,"museum":236,"description":1752,"tags":1753,"thumbUrl":1754,"material":103,"size":103,"collection":103,"collections":1755,"showCount":1747,"zanCount":54,"manualWeight":54,"mainColor":55},227243,"gong-dian-tu-ye-li-zhao-dao-227243","宫殿图页","大小李将军：李思训、李昭道\n\n李思训 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其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[23,24,7,804,394,27,30,137,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a4943b845226bb520d7033519a172d.jpg","绢本，墨笔","纵24.4厘米，横26.2厘米",[174,83],65,{"id":1918,"slug":1919,"title":1920,"dynasty":133,"author":510,"museum":61,"description":1921,"tags":1922,"thumbUrl":1924,"material":47,"size":1925,"collection":174,"collections":1926,"showCount":1916,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,24,64,7,27,26,137,30,33,72,38,35,1923],"田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a1efb12e3fe0448aa90a94d80be4ee.jpg","纵165.2厘米，横262.8厘米",[174],{"id":1928,"slug":1929,"title":1930,"dynasty":59,"author":1931,"museum":1932,"description":1933,"tags":1934,"thumbUrl":1935,"material":47,"size":1936,"collection":49,"collections":1937,"showCount":1938,"zanCount":283,"manualWeight":54,"mainColor":759},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。",[23,257,24,64,849,7,27,29,94,330,38,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg","111.5x53.1",[49],64,{"id":1940,"slug":1941,"title":1942,"dynasty":133,"author":134,"museum":90,"description":1186,"tags":1943,"thumbUrl":1944,"material":158,"size":1190,"collection":174,"collections":1945,"showCount":106,"zanCount":54,"manualWeight":54,"mainColor":1075},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）",[23,257,24,26,27,7,137,30,29,39,94,33,781],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg",[174,51],{"id":1947,"slug":1948,"title":1949,"dynasty":18,"author":1950,"museum":90,"description":1951,"tags":1952,"thumbUrl":1953,"material":1954,"size":1955,"collection":174,"collections":1956,"showCount":106,"zanCount":54,"manualWeight":54,"mainColor":55},222605,"xue-xi-tu-lan-ying-222605","雪溪图","蓝瑛","蓝瑛擅长山水、花卉、兰石，师法宋元名家，早年主要得力于黄公望，作品清 简秀润，韩昴在《图绘宝鉴续纂》中说他：“画从黄子久（即黄公望），入门而醒悟。”中年自立门庭，上窥晋、唐、两宋，遍摹元代诸家笔法，集取优长,由此入门，始能各极变化。不但取法郭熙、李唐及马、夏，而且对二米、云山也精心研究过。对黄公望的画悉心尤力。当代前辈沈周的画也热心师效。加之漫游南北涉猎既广，眼界自宽，故落笔纵横奇古，风格秀润。他的画风是从多方面变代出来的。晚年作品渐趋苍劲疏宕。画风又有多种面貌，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。晚年他的笔法益苍劲，颇类沈周。他兼工人物、花鸟、兰竹、俱得古人三昧。他虽力追古法，但能融会贯通，自成风范，对以后的明末清初绘画影响很大。",[23,24,27,7,137,30,188,524,94,32,782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186dde280fbc8429c16567c2833ffe8a.jpg","绫本","27×38",[174,51],{"id":1958,"slug":1959,"title":1960,"dynasty":133,"author":510,"museum":61,"description":1961,"tags":1962,"thumbUrl":1963,"material":47,"size":1964,"collection":174,"collections":1965,"showCount":106,"zanCount":11,"manualWeight":54,"mainColor":55},219092,"shan-zhuang-qiu-ren-tu-yuan-yao-219092","山庄秋稔图","此图描绘山庄秋天的景色。村舍环绕于绿色山树中，茅庐内村人闲适，近处一牧童放牛于缓坡之上；远山高耸，突兀奇绝，烟云缭绕。设色青绿，构思精巧，结构准确，层次分明，显现出作者精于刻画的写实功力。",[24,27,7,26,328,137,30,94,33,29,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8916945174cef62eec1b5b888a7cedde.jpg","纵182.5厘米，横96.8厘米",[174],{"id":1967,"slug":1968,"title":1969,"dynasty":643,"author":680,"museum":90,"description":1970,"tags":1971,"thumbUrl":1973,"material":442,"size":1974,"collection":174,"collections":1975,"showCount":1976,"zanCount":54,"manualWeight":54,"mainColor":55},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,257,24,64,25,7,394,27,29,30,815,65,1107,33,1972,367],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[174,83],62,{"id":1978,"slug":1979,"title":1980,"dynasty":643,"author":680,"museum":20,"description":1981,"tags":1982,"thumbUrl":1983,"material":47,"size":1984,"collection":49,"collections":1985,"showCount":1976,"zanCount":11,"manualWeight":54,"mainColor":55},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,64,25,7,26,27,29,30,33,94,32,189,31,343,712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[49,51],{"id":1987,"slug":1988,"title":1989,"dynasty":59,"author":273,"museum":90,"description":1990,"tags":1991,"thumbUrl":1994,"material":47,"size":1995,"collection":81,"collections":1996,"showCount":1976,"zanCount":11,"manualWeight":54,"mainColor":107},218855,"he-ting-ting-yu-tu-yi-ming-218855","荷亭听雨图","这幅画描绘了一个荷花亭，主人躺在沙发上看荷花、听雨声，而一个童仆拿着小提琴在桥头的花下姗姗来迟，抱头鼠窜，而一只受惊的鸟儿则飞上了天空。这幅画与刘松年的风格相似，笔触厚实而坚定，画感引人入胜。",[23,257,24,27,7,26,189,1992,33,30,1993],"荷","雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4871b40e4780da845cf4f472108e38a.jpg","23.2x24.4",[81,49],{"id":1998,"slug":1999,"title":2000,"dynasty":643,"author":680,"museum":236,"description":1970,"tags":2001,"thumbUrl":2003,"material":787,"size":788,"collection":103,"collections":2004,"showCount":2005,"zanCount":11,"manualWeight":54,"mainColor":55},287337,"long-zhou-jing-du-tu-juan-wang-zhen-peng-287337","龙舟竞渡图卷",[23,257,24,25,7,169,27,137,30,1109,29,72,2002],"龙舟竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d38c779987285d7530e29b1984cd1b.jpg",[],61,{"id":2007,"slug":2008,"title":719,"dynasty":133,"author":273,"museum":61,"description":274,"tags":2009,"thumbUrl":2013,"material":141,"size":142,"collection":103,"collections":2014,"showCount":2005,"zanCount":54,"manualWeight":54,"mainColor":55},236168,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236168",[24,26,27,7,328,137,30,29,315,94,32,156,39,38,33,622,2010,2011,97,76,2012],"石桥","人物活动","竹丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c3e8128a600870ae2951e88c5416b8.jpg",[],{"id":2016,"slug":2017,"title":2018,"dynasty":133,"author":764,"museum":201,"description":765,"tags":2019,"thumbUrl":2020,"material":442,"size":771,"collection":103,"collections":2021,"showCount":2005,"zanCount":11,"manualWeight":54,"mainColor":55},230108,"hong-lou-meng-189-sun-wen-230108","红楼梦189",[24,26,27,7,29,93,30,33,39,767,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756da37c1938489cc2f2aab0645c8766.jpg",[],{"id":2023,"slug":2024,"title":2025,"dynasty":643,"author":273,"museum":236,"description":2026,"tags":2027,"thumbUrl":2028,"material":103,"size":103,"collection":103,"collections":2029,"showCount":2005,"zanCount":11,"manualWeight":54,"mainColor":55},228206,"gong-nv-you-yuan-tu-li-zhou-yi-ming-228206","宫女游园图立轴","以青绿晕染出苍润苑囿，层叠亭台随山势铺展，界画工致严整，朱红飞檐掩映在古松奇石间。\n高台上仕女凭栏远眺，廊庑间宫人行止悠然，或低语相伴，或缓步行游，素衣翩跹打破殿宇的厚重沉静。\n设色古雅柔和，山石松枝的沉郁底色，衬得仕女身姿愈发轻盈灵秀，将深宫之中片刻偷闲的游园意趣晕染在绢素之上，藏着深闺里难得的松弛意态，古韵内敛悠长。",[23,24,290,27,26,7,29,93,30,137,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2765d101e95a8b69919d662341f6dace.jpg",[],{"id":2031,"slug":2032,"title":1177,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":2033,"thumbUrl":2034,"material":787,"size":788,"collection":103,"collections":2035,"showCount":2005,"zanCount":11,"manualWeight":54,"mainColor":55},226175,"ku-yong-dao-bei-bi-yi-ming-226175",[1007,27,29,355,849,7,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07dac132f05fefabb70d0f8300e753.jpg",[],{"id":2037,"slug":2038,"title":2039,"dynasty":133,"author":1080,"museum":236,"description":2040,"tags":2041,"thumbUrl":2045,"material":103,"size":103,"collection":103,"collections":2046,"showCount":2005,"zanCount":54,"manualWeight":54,"mainColor":107},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","《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。",[23,257,24,64,7,26,27,137,30,782,1105,33,38,39,94,2042,1120,2043,2044,240,623],"长廊","积雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":2048,"slug":2049,"title":2050,"dynasty":133,"author":134,"museum":90,"description":1186,"tags":2051,"thumbUrl":2053,"material":158,"size":1190,"collection":174,"collections":2054,"showCount":2005,"zanCount":54,"manualWeight":54,"mainColor":55},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[23,257,24,26,27,7,1466,29,30,137,2052,33,39,76,217,97,94,1762,38,2011],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[174,51],{"id":2056,"slug":2057,"title":2058,"dynasty":643,"author":2059,"museum":236,"description":2060,"tags":2061,"thumbUrl":2062,"material":191,"size":2063,"collection":174,"collections":2064,"showCount":2005,"zanCount":54,"manualWeight":54,"mainColor":55},220850,"lou-ge-ting-tai-tu-zhao-meng-fu-220850","楼阁亭台图","赵孟頫","赵孟頫绘画，山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。力主变革南宋院体格调，自谓“作画贵有古意，若无古意，虽工无益”，遥追五代、北宋法度，论者谓：“有唐人之致去其纤；有北宋人之雄去其犷。”开创了元代新画风。 交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。能诗文，风格和婉。兼工篆刻，以“圆朱文”著称。",[23,24,64,7,26,185,30,240,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[174,83],{"id":2066,"slug":2067,"title":2068,"dynasty":133,"author":363,"museum":61,"description":2069,"tags":2070,"thumbUrl":2071,"material":141,"size":2072,"collection":51,"collections":2073,"showCount":2074,"zanCount":54,"manualWeight":54,"mainColor":107},238228,"hong-li-xing-le-tu-zhou-zhang-ting-yan-238228","弘历行乐图轴","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。",[24,64,290,27,26,7,1677,29,30,33,39,612,38,2011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238dc91c650fc7be74daa9b715d2f6b8.jpg","纵119.1厘米，横213厘米",[51],59,{"id":2076,"slug":2077,"title":2078,"dynasty":133,"author":764,"museum":201,"description":765,"tags":2079,"thumbUrl":2082,"material":442,"size":771,"collection":103,"collections":2083,"showCount":2074,"zanCount":54,"manualWeight":54,"mainColor":107},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188",[24,64,27,26,7,29,30,31,32,189,138,94,97,39,33,622,478,2080,2081],"圆窗","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg",[],{"id":2085,"slug":2086,"title":2087,"dynasty":133,"author":2088,"museum":90,"description":2089,"tags":2090,"thumbUrl":2091,"material":406,"size":2092,"collection":174,"collections":2093,"showCount":2074,"zanCount":54,"manualWeight":54,"mainColor":107},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","董邦达","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,24,64,25,27,137,328,7,367,30,31,32,33,94,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[174],{"id":2095,"slug":2096,"title":2097,"dynasty":18,"author":19,"museum":61,"description":2098,"tags":2099,"thumbUrl":2101,"material":141,"size":2102,"collection":174,"collections":2103,"showCount":2074,"zanCount":335,"manualWeight":54,"mainColor":55},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[23,257,24,64,290,26,27,7,29,93,119,30,39,1241,700,2100],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[174,51],{"id":2105,"slug":2106,"title":2107,"dynasty":59,"author":273,"museum":236,"description":2108,"tags":2109,"thumbUrl":2110,"material":47,"size":2111,"collection":49,"collections":2112,"showCount":2074,"zanCount":335,"manualWeight":54,"mainColor":55},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。",[24,257,27,7,26,29,30,31,33,94,38,419,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cd80077892a3a20c59217572e0e60d9.jpg","35x56.5",[49],{"id":2114,"slug":2115,"title":2116,"dynasty":133,"author":273,"museum":61,"description":2117,"tags":2118,"thumbUrl":2121,"material":103,"size":2122,"collection":103,"collections":2123,"showCount":2124,"zanCount":54,"manualWeight":54,"mainColor":107},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。",[24,27,26,7,290,137,29,30,189,33,782,39,1093,97,94,38,2043,2119,2120],"行乐","宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],58,{"id":2126,"slug":2127,"title":2128,"dynasty":133,"author":510,"museum":61,"description":2129,"tags":2130,"thumbUrl":2131,"material":141,"size":2132,"collection":174,"collections":2133,"showCount":2134,"zanCount":54,"manualWeight":54,"mainColor":107},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。",[24,7,27,26,328,137,30,94,33,72,188,38,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2cab51c3f5a3bcd636d980beb75aed.jpg","纵202.3厘米，横118.5厘米",[174,51],57,{"id":2136,"slug":2137,"title":2138,"dynasty":133,"author":273,"museum":61,"description":2139,"tags":2140,"thumbUrl":2143,"material":141,"size":2144,"collection":49,"collections":2145,"showCount":2134,"zanCount":11,"manualWeight":54,"mainColor":55},236161,"qing-ren-wan-guo-lai-chao-tu-zhou-yi-ming-236161","清人万国来朝图轴","此画描绘的是藩属及外国使臣到紫禁城朝贺的场面。作者以鸟瞰的角度从太和门前的两个青铜狮子画起，将紫禁城中的主要建筑一一收入画幅，近大远小，主次分明，层次丰富，在大雪的银装素裹之下，整个场面宏伟壮观。",[257,24,64,7,27,29,30,170,782,2141,2142],"大象","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3007a2fd17c1d62f37b42bee59db909.jpg","纵299cm，横207cm",[49,51],{"id":2147,"slug":2148,"title":2149,"dynasty":643,"author":2150,"museum":90,"description":2151,"tags":2152,"thumbUrl":2167,"material":2168,"size":2169,"collection":174,"collections":2170,"showCount":2134,"zanCount":11,"manualWeight":54,"mainColor":55},231383,"qing-jiang-chun-xiao-tu-wu-zhen-231383","清江春晓图","吴镇","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。 ‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[24,1633,185,2153,1634,7,328,2154,329,2155,2156,2157,2158,2159,2160,2161,277,2162,2163,2164,29,2165,2166],"渴笔皴法","高山","瀑布","山泉","亭台楼阁","房舍","木桥","清江","扁舟","丛林","山谷","江心岛","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米",[174],{"id":2172,"slug":2173,"title":2174,"dynasty":133,"author":1069,"museum":236,"description":2175,"tags":2176,"thumbUrl":2177,"material":103,"size":103,"collection":103,"collections":2178,"showCount":2134,"zanCount":11,"manualWeight":54,"mainColor":107},229034,"shan-shui-lou-ge-tu-ce-chen-mei-229034","山水楼阁图册","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。",[24,7,27,26,186,367,137,30,31,33,94,38,39,330,329,524,1093,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":2180,"slug":2181,"title":2182,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":2183,"thumbUrl":2184,"material":787,"size":788,"collection":103,"collections":2185,"showCount":2134,"zanCount":335,"manualWeight":54,"mainColor":55},226285,"ku-zhu-shi-nan-bi-yi-ming-226285","窟主室南壁",[1007,849,27,7,26,29,30,137,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573bae825e97fe194a68b5e2a3d28eb3.jpg",[],{"id":2187,"slug":2188,"title":2189,"dynasty":59,"author":1778,"museum":90,"description":2190,"tags":2191,"thumbUrl":2192,"material":442,"size":2193,"collection":174,"collections":2194,"showCount":2134,"zanCount":54,"manualWeight":54,"mainColor":107},221187,"bing-zhu-ye-you-tu-ma-lin-221187","秉烛夜游图","朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[24,257,26,27,7,30,29,33,382,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578e2ffd01bb31fc19a9ed719b2041d1.jpg","24.8 x 25.2公分",[174,83],{"id":2196,"slug":2197,"title":2198,"dynasty":133,"author":1437,"museum":236,"description":2199,"tags":2200,"thumbUrl":2206,"material":103,"size":103,"collection":103,"collections":2207,"showCount":2208,"zanCount":11,"manualWeight":54,"mainColor":107},230145,"yang-zheng-tu-ce-quan-shi-ye-leng-mei-230145","养正图册全十页","《冷枚养正图册》是清代画家冷枚创作的一幅绢本设色画。\n《冷枚养正图册又称《圣功图》，是带有启蒙教育性质的作品，明清两代均有绘制。\n此套册页共1开，画面内容皆为历代贤明君主的故事。\n每开对题均有张若蔼书写对应故事情节的文字。\n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。\n署款：“臣冷枚敬画。\n”钤“臣冷枚”印。\n此册虽为人物画，但作为背景的楼阁宫阙占有相当的比重，不难看出西方技法对画家的影响。\n建筑物的画法适当借用了 ，并力图在设色上用晕染的深浅表现构件的明暗关系，突出建筑的立体感。\n从作品整体看，构图、线条、色彩并没有摆脱明代画家仇英的设色界画系统，画面带有较多的装饰色彩和平面感觉，在表现建筑的体积感和建筑材料的质感上尚显不足。\n冷枚，生卒年不洋，约生活十公元17世纪后期至18世纪前期，字吉臣，号令门画史，胶州（今属山东）人。\n曾经跟随康熙时宫廷画家焦秉贞学俩，约丁康熙中期进入宫廷供职，直至乾隆七年尚在。\n擅长画人物、什女及山水，面风工整、细致，色彩较浓丽，具有装饰性。\n画法得力曲面写生，上中带写，白康熙到乾隆末，糅合中两技法之画风在画院内颇为盛行，而且影响到民间艺术，冷枚为此技弦之积极推行者。\n传世作品有《避馨山庄图》等。",[580,24,158,989,7,26,2201,2202,2203,2204,33,343,2205],"晕染","历史故事画","贤君故事","茅屋","启蒙教育","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99c5bbc18613ed7885de8cc288a9d11.jpg",[],56,{"id":2210,"slug":2211,"title":311,"dynasty":18,"author":19,"museum":236,"description":2212,"tags":2213,"thumbUrl":2215,"material":787,"size":788,"collection":103,"collections":2216,"showCount":2208,"zanCount":11,"manualWeight":54,"mainColor":107},228455,"du-le-yuan-tu-chou-ying-228455","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[23,24,64,25,27,26,7,29,30,31,32,189,33,560,94,39,97,2214],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],{"id":2218,"slug":2219,"title":2220,"dynasty":18,"author":273,"museum":236,"description":2221,"tags":2222,"thumbUrl":2223,"material":158,"size":2224,"collection":174,"collections":2225,"showCount":2208,"zanCount":54,"manualWeight":54,"mainColor":55},223460,"shan-shui-lou-ge-tu-ye-yi-ming-223460","山水楼阁图页","图中绘高山峻岭，山石陡峭，树木葱郁，群山中有一楼阁，作为画中心，色彩不同于高山树木的墨绿，采用偏黄绘画，具有中国建筑特色，极为突出",[23,24,64,186,7,185,27,137,30,33,94,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae4ea4a3f42436225874305e3ba8ce.jpg","40X43",[174,83],{"id":2227,"slug":2228,"title":2229,"dynasty":133,"author":134,"museum":90,"description":1186,"tags":2230,"thumbUrl":2231,"material":158,"size":1190,"collection":174,"collections":2232,"showCount":2208,"zanCount":335,"manualWeight":54,"mainColor":107},222767,"shi-er-yue-ling-tu-8-yue-lang-shi-ning-222767","十二月令图（8月）",[23,24,64,26,27,7,29,30,33,94,39,189,216,97,1093,122,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9d2819dab19c67c4bf7cfb5fc58f1a.jpg",[174,51],{"id":2234,"slug":2235,"title":2236,"dynasty":133,"author":2088,"museum":90,"description":2237,"tags":2238,"thumbUrl":2240,"material":303,"size":2241,"collection":103,"collections":2242,"showCount":2208,"zanCount":54,"manualWeight":54,"mainColor":107},218726,"yu-hua-yuan-gu-bai-tu-dong-bang-da-218726","御花园古柏图","乾隆吟成古柏行，命董邦达作图。工笔界画摛藻堂，殿宇结构严谨，色彩华丽，似是内廷供奉所作。古柏则以写意笔趣画成，这才是董氏之笔。",[24,64,7,27,137,30,2239,328],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9fbe8158fef5a7328b02c3d23c2004.jpg","194.2x111.5cm",[],{"id":2244,"slug":2245,"title":2246,"dynasty":59,"author":2247,"museum":236,"description":2248,"tags":2249,"thumbUrl":2251,"material":787,"size":788,"collection":103,"collections":2252,"showCount":2253,"zanCount":54,"manualWeight":54,"mainColor":107},289444,"gao-shi-guan-hua-tu-xia-gui-289444","高士观花图","夏圭","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， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[804,24,185,1633,7,328,277,30,137,29,2250,1083,329],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff727011fb484f5d3322b69ceb8e8e28c.jpg",[],55,{"id":2255,"slug":2256,"title":2257,"dynasty":912,"author":931,"museum":236,"description":2258,"tags":2259,"thumbUrl":2262,"material":787,"size":788,"collection":103,"collections":2263,"showCount":2253,"zanCount":11,"manualWeight":54,"mainColor":107},287396,"shi-nv-yu-tu-tu-ye-zhou-wen-ju-287396","仕女玉兔图页","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,24,257,804,26,27,2260,93,2261,30,33,7],"仕女画","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a2c3d32ca970cdb9e4de407e67b73b.jpg",[],{"id":2265,"slug":2266,"title":2267,"dynasty":133,"author":1154,"museum":61,"description":2268,"tags":2269,"thumbUrl":2270,"material":141,"size":2271,"collection":103,"collections":2272,"showCount":2253,"zanCount":54,"manualWeight":54,"mainColor":55},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","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。",[23,24,25,27,26,7,29,30,137,33,464,42,39,94,240,278,301,38,623,2214,1188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],{"id":2274,"slug":2275,"title":2276,"dynasty":133,"author":273,"museum":236,"description":2277,"tags":2278,"thumbUrl":2279,"material":103,"size":103,"collection":103,"collections":2280,"showCount":2253,"zanCount":11,"manualWeight":54,"mainColor":55},230305,"fang-han-gong-chun-xiao-tu-yi-ming-230305","仿汉宫春晓图","此作铺展深宫春日盛景，亭台楼阁勾描工致，柳石花木晕染雅致，将宫苑春意揉进朱廊翠荫里。仕女们或临窗研墨、凭栏观戏，或蹴鞠扑蝶、闲庭信步，娇柔百态鲜活灵动，把深院中的松弛雅兴尽数铺陈。设色明丽柔婉，线条秀润细腻，复刻出原作的绮靡雅致，将宫廷日常的闲逸温婉晕染绢上，让旧日宫苑的春日烟火气扑面而来，尽显古典仕女画的柔美韵致与院体工笔的精妙意趣。",[24,64,25,257,26,27,7,28,29,93,30,39,33,94,97,217,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6489682bcd338587262df0a3fe163436.jpg",[],{"id":2282,"slug":2283,"title":2284,"dynasty":18,"author":19,"museum":236,"description":2285,"tags":2286,"thumbUrl":2287,"material":103,"size":103,"collection":103,"collections":2288,"showCount":2253,"zanCount":54,"manualWeight":54,"mainColor":55},228432,"guan-yin-xiang-li-zhou-chou-ying-228432","观音像立轴","此作用铁线白描写就，观音安坐高榻之上，衣褶线条细劲匀停，如流云舒卷，将纱衣轻柔垂坠之态尽皆铺展。菩萨面容温婉沉静，宝相端严，身旁童子神态稚拙恭谨，烘托出清和肃穆的禅意。\n\n右上方题跋与造像相映成趣，画幅下方浅绘乘蛟逐月，笔意简淡空灵，衬出佛界的幽远高渺。整作未施丹青，却凭借精妙线法勾勒出丰盈神态与物象质感，褪去浓丽浮华，尽显白描素净洗练之美，将观音的慈悲静定，融于每一缕流转的线条之中，清寂中自含庄严禅韵。",[23,290,849,26,394,7,29,815,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe329623b759309ed5ef59a72ea6029c0.jpg",[],{"id":2290,"slug":2291,"title":2292,"dynasty":488,"author":752,"museum":61,"description":1145,"tags":2293,"thumbUrl":2294,"material":442,"size":2295,"collection":174,"collections":2296,"showCount":2253,"zanCount":54,"manualWeight":54,"mainColor":107},221100,"jiu-cheng-bi-shu-tu-ye-li-si-xun-221100","九成避暑图页",[23,24,169,27,137,7,30,244,33,38,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2acc632af78cc169721bcff835e47cd6.jpg","纵28.5厘米，横31.6厘米",[174,51],{"id":2298,"slug":2299,"title":2300,"dynasty":18,"author":273,"museum":325,"description":2301,"tags":2302,"thumbUrl":2305,"material":47,"size":103,"collection":174,"collections":2306,"showCount":2253,"zanCount":54,"manualWeight":54,"mainColor":55},217977,"wang-chuan-tu-yi-ming-217977","辋川图","辋川图采用了中国传统的山水画风格，画面中展示了辽河流域的山峦、河流、村庄和城市。画中还有许多人物，展示了当时这一地区的生活方式和文化。\n\n辋川图因其精美的绘画技巧和对历史文化的精准再现而闻名，是中国山水画史上的珍贵艺术品。目前，辋川图被认为是中国古代山水画的杰作，具有极高的艺术价值和文化意义。",[23,257,24,25,1633,7,27,244,32,30,33,29,188,2303,2304],"村落","亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d11196376a0cf5547e83905727dc07.jpg",[174],{"id":2308,"slug":2309,"title":2310,"dynasty":133,"author":273,"museum":61,"description":2311,"tags":2312,"thumbUrl":2313,"material":2314,"size":2315,"collection":49,"collections":2316,"showCount":2317,"zanCount":54,"manualWeight":54,"mainColor":107},236179,"hong-li-sui-chao-xing-le-tu-xiang-yi-ming-236179","弘历岁朝行乐图像","暖阁里主仆围聚，主人逗弄怀中幼童，满堂融融暖意弥散。阶下有人持笛奏乐、孩童嬉闹，檐下案头陈设瓶花清供，雅趣横生。近旁苍松虬劲古朴，崖石覆雪添了冬日清寒，远景烟霭轻笼，亭台隐没云间，冷暖景致相映成趣。\n\n整幅工笔妍丽细腻，将皇家岁朝的闲温情致，与园林雅致意趣揉合一处，把佳节天伦之乐绘得鲜活动人，尽显华贵静谧的宫廷年味图景。",[24,257,26,27,7,29,30,277,94,39,1157,99,422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cf7690222da77f1a730090ee748426.jpg","绢本 ，设色","纵384cm，横160.3cm",[49,51],53,{"id":2319,"slug":2320,"title":2321,"dynasty":133,"author":2322,"museum":236,"description":2323,"tags":2324,"thumbUrl":2326,"material":103,"size":103,"collection":103,"collections":2327,"showCount":2317,"zanCount":11,"manualWeight":54,"mainColor":55},230191,"chun-shan-ting-ruan-tu-lv-huan-cheng-230191","春山听阮图","吕焕成","《春山听阮图》是清代画家吕焕成创作的一幅绢本设色画。\n关于清代画家 ，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,24,64,290,169,27,26,7,137,29,30,277,94,32,2325,138],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":2329,"slug":2330,"title":2182,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":2331,"thumbUrl":2332,"material":787,"size":788,"collection":103,"collections":2333,"showCount":2317,"zanCount":54,"manualWeight":54,"mainColor":55},226166,"ku-zhu-shi-nan-bi-yi-ming-226166",[1007,849,7,27,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273402eec4cc4462b478a2ee087690bf.jpg",[],{"id":2335,"slug":2336,"title":2337,"dynasty":59,"author":730,"museum":90,"description":731,"tags":2338,"thumbUrl":2339,"material":158,"size":2340,"collection":81,"collections":2341,"showCount":2317,"zanCount":54,"manualWeight":54,"mainColor":55},221296,"jin-men-ying-zhao-zhou-guo-zhong-shu-221296","金门应诏轴",[23,24,64,7,290,27,26,29,30,315,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[81,49,51],{"id":2343,"slug":2344,"title":2345,"dynasty":643,"author":273,"museum":2346,"description":2347,"tags":2348,"thumbUrl":2349,"material":47,"size":2350,"collection":174,"collections":2351,"showCount":2317,"zanCount":54,"manualWeight":54,"mainColor":55},215145,"xi-shan-lou-ge-tu-yi-ming-215145","溪山楼阁图","重庆市博物馆","溪山楼阁图是一幅中国古代山水画，作者佚名，来自元朝（1271-1368年）。这幅画以其精美的画风和丰富的山水景观而闻名，是一件珍贵的艺术瑰宝。\n\n在这幅画中，作者以逼真的笔触和精细的构图技巧，勾勒出了一座位于山谷中的楼阁。楼阁的四周环绕着秀美的山水景观，山峦起伏，溪流潺潺，树木葱茏，给人以清新的视觉享受。\n\n在这幅画中，作者还融入了许多寓意深刻的元素，如山间的松柏、荷花池塘、仙人掌等都被视为吉祥物，象征着幸福、长寿、繁荣等。\n\n总的来说，溪山楼阁图是一幅精美的山水画作品，充分展现了中国古代画家对自然美景的热爱和描绘技巧。",[257,24,27,7,169,137,30,33,32,94,330,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fc87bbefb1be97892e5282dfcc31c1.jpg","27.5x26.4cm",[174],{"id":2353,"slug":2354,"title":2355,"dynasty":133,"author":273,"museum":236,"description":2356,"tags":2357,"thumbUrl":2359,"material":787,"size":788,"collection":103,"collections":2360,"showCount":2361,"zanCount":54,"manualWeight":54,"mainColor":55},289741,"hua-yuan-hua-shi-er-yue-ling-tu-ba-yue-tu-zhou-yi-ming-289741","画院画十二月令图八月图轴","仲秋园池盛景跃然绢上，水岸亭台层叠错落，高阁凌水而建，文人雅士凭栏游赏，或把盏叙谈，或极目远眺，尽得清秋舒展意趣。下方庭院间，棕榈奇石点缀雅致园景，廊下有人对坐弈棋，仆从往来奔走备事，将官宦世家的闲适日常铺陈开来。\n\n水面澹澹漾开，远岸林木疏朗，暮色初升晕染天际，把八月的闲雅氛围揉入边角细节。全作工笔细腻，设色清隽雅致，将仲秋游园的松弛意趣藏在人物情态里，把园林精巧意趣与太平岁月的悠然融于一体，尽显古典雅致的世家闲情。",[24,290,27,26,7,29,30,189,32,33,382,39,94,1321,2358],"游乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcb28d920a01f8e8712b428cf940c7e.jpg",[],51,{"id":2363,"slug":2364,"title":2365,"dynasty":133,"author":764,"museum":236,"description":2366,"tags":2367,"thumbUrl":2372,"material":787,"size":788,"collection":103,"collections":2373,"showCount":2361,"zanCount":54,"manualWeight":54,"mainColor":55},288380,"gui-fei-yan-yan-ti-da-guan-yuan-sun-wen-288380","贵妃筵宴题大观园","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。",[23,24,26,27,7,257,29,119,30,2368,2369,2370,2371],"筵宴","大观园","红楼梦","贵族生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ac5e634ebe9b97a635313684b905c6.jpg",[],{"id":2375,"slug":2376,"title":2377,"dynasty":488,"author":609,"museum":236,"description":2378,"tags":2379,"thumbUrl":2380,"material":787,"size":788,"collection":103,"collections":2381,"showCount":2361,"zanCount":54,"manualWeight":54,"mainColor":55},288262,"hu-ting-you-qi-tu-li-zhao-dao-288262","湖亭游骑图","李家画山水，构图复杂而巧妙。常以均匀的细笔画出山石树木轮廓，再填染赭石、石青、石绿等浓重的颜色。还常再加上泥金的线条，衬在山石轮廓线的内侧，特别显出金碧辉煌的感觉。后人称为“青绿”山水，为“北宗”所主。这一幅是属于李家山水法，画幅右下角有“李昭道画”的落款。",[23,24,169,27,137,7,30,31,189,29,66,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa461a3188e9dc97ebe9f0559f0d8fe9c.jpg",[],{"id":2383,"slug":2384,"title":2385,"dynasty":59,"author":632,"museum":1300,"description":2386,"tags":2387,"thumbUrl":2389,"material":2390,"size":2391,"collection":81,"collections":2392,"showCount":2361,"zanCount":11,"manualWeight":54,"mainColor":55},221494,"long-gu-che-tu-li-song-221494","龙骨车图","李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》、《水殿招凉图》，《观潮图》、《西湖图》、《仙山瑶涛图》，《骷髅幻戏图》、《观灯图》、《柳塘聚禽图》、《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,26,27,7,2388,67,29,896],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a05840e2dc8620ab8a0852363b3faea.jpg","绢本墨画淡彩","25.626.4cm",[81,49,83],{"id":2394,"slug":2395,"title":2396,"dynasty":59,"author":632,"museum":90,"description":2397,"tags":2398,"thumbUrl":2400,"material":406,"size":2401,"collection":81,"collections":2402,"showCount":2361,"zanCount":54,"manualWeight":54,"mainColor":55},221489,"yue-ye-kan-chao-tu-li-song-221489","月夜看潮图","这幅「月夜看潮」图，所画即南宋时临安(今浙江杭州)中秋夜观海潮的情形。高悬的明月下，浪潮卷涌成一直线地奔驰而来;江畔华美的平台阁楼上，隐约可见有人穿梭、呼指着。整个画面没有拥塞的车水马龙、也没有激情喧闹的人海，取而代之的是远山江帆、月影银涛，一幕祥和而又没有纷扰的景致。",[23,24,27,7,137,30,188,382,33,2399,367],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe131ee4ef3a1bf68a965799b0b4a1826.jpg","纵22.3厘米，横22厘米",[81,174,51],{"id":2404,"slug":2405,"title":2406,"dynasty":59,"author":2407,"museum":236,"description":2408,"tags":2409,"thumbUrl":2411,"material":787,"size":788,"collection":103,"collections":2412,"showCount":2413,"zanCount":11,"manualWeight":54,"mainColor":55},287580,"qing-luan-xiao-si-tu-tiao-se-ban-li-cheng-287580","晴峦萧寺图（调色版）","李成","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[257,24,290,185,328,137,7,30,31,32,524,94,2155,2410],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe32453f235b0bbb4ac2f9aaa3730c96.jpg",[],50,{"id":2415,"slug":2416,"title":2417,"dynasty":133,"author":1080,"museum":236,"description":2418,"tags":2419,"thumbUrl":2425,"material":103,"size":103,"collection":103,"collections":2426,"showCount":2413,"zanCount":54,"manualWeight":54,"mainColor":55},235977,"peng-lai-xian-dao-tu-zhou-yuan-jiang-235977","蓬莱仙岛图轴","《蓬莱仙岛图》是清代袁江创作的绢本设色画。\n本幅题：“蓬莱仙岛，戊子凃月邗上袁江画”，钤“袁江之印”、“文涛”印2方。\n“蓬莱仙岛”是中国古代神话传说中的“海上神山”，岛上的宫殿建筑全用黄金白银盖成，奇花异草、珍禽怪兽不计其数，更是藏有“不死之药”。\n此图就是袁江以这些古代神话传说为题材，加上自己的艺术想象而构思创作的仙山仙境。\n作者在描绘这座海上仙山时，着重突出了云烟缭绕的仙境氛围，精美细致的楼阁、雄奇伟岸的山石与烟涛微茫的大海烘托出画家理想的生活境界，令人悠然神往。\n袁江（约 1671—1746年以后），字文涛，江都（今江苏扬州）人。\n擅画山水楼阁。\n早年师法仇英，中年时曾得无名氏画谱，技艺大进。\n其界画在清代被推为第一。",[24,7,26,27,442,2420,2421,30,94,2422,2423,137,2424],"蓬莱仙岛","仙境","云海","大海","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7046a2be5c72aa6e5af46b7e932afdb.jpg",[],{"id":2428,"slug":2429,"title":2430,"dynasty":133,"author":273,"museum":236,"description":2431,"tags":2432,"thumbUrl":2434,"material":103,"size":103,"collection":103,"collections":2435,"showCount":2413,"zanCount":54,"manualWeight":54,"mainColor":55},235450,"yuan-jiang-guan-chao-tu-zhou-yi-ming-235450","袁江观潮图轴","危崖高阁凌然峙立，丹彩飞檐映着崖畔缤纷花树，丹紫错落晕开秋意。浩渺江面潮波翻涌如堆雪，樯帆随浪远近浮沉。远山隐在烟霭暮色里，晕出空蒙柔曼的天际。\n\n画作笔法工致精丽，山石皴擦硬朗苍劲，楼阁界画严整工细，设色温雅柔和，赭色晕染铺就江天色调，将钱江大潮的浩荡雄阔与秋江暮色的朦胧诗意相融，尽显山海楼阁的壮美景致与观潮的旷远意趣。",[24,7,27,26,137,30,188,838,33,2399,330,329,2433,35],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c6d3fc428d12a5c9a98e0c3595ceb.jpg",[],{"id":2437,"slug":2438,"title":2439,"dynasty":488,"author":752,"museum":61,"description":2440,"tags":2441,"thumbUrl":2442,"material":141,"size":2443,"collection":103,"collections":2444,"showCount":2413,"zanCount":54,"manualWeight":54,"mainColor":55},233221,"gong-yuan-tu-juan-li-si-xun-233221","宫苑图卷","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。",[23,169,27,7,26,25,137,30,29,31,32,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f27739550c87b246fdfc42c398a96ff.jpg","纵23.9厘米，横77.2厘米",[],{"id":2446,"slug":2447,"title":2448,"dynasty":643,"author":680,"museum":236,"description":2449,"tags":2450,"thumbUrl":2451,"material":442,"size":2452,"collection":103,"collections":2453,"showCount":2413,"zanCount":54,"manualWeight":54,"mainColor":55},232904,"peng-lai-bi-shu-tu-juan-wang-zhen-peng-232904","蓬莱避暑图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。\n温州历史上曾出过不少著名画家，而有作品流传至今的，当首推元代的王振鹏。王振鹏，字朋梅，号孤云处士，被誉为“元代界画第一人”。有关王振鹏史实最原始的资料，是与他同时代的著名学者虞集所撰的《王知州墓志铭》。这篇写于元奉定四年（1327）的文章是虞集应王振鹏之请为其父所作。其父名由，字在之。所谓知州衔乃是王振鹏艺贵显之后由元仁宗追赠。因其父35岁离世，无事迹可陈述，故全文主要在称述王振鹏艺事。所以虽为王由墓志，实为王振鹏立传。从中得知仁宗尚为太子时，王振鹏就因画艺超群而受赏识，并赐号孤云处士。于延祐元年三月迁为秘书监典籍。累官数处，至治时为廪给令，佩金符，拜千户，总海运于江阴、常熟间。这大致勾勒出他一生的轮廓。",[23,24,64,25,7,27,26,169,29,30,31,32,188,189,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91bcae19f54291adfcc4eb057b517fa.jpg","39.8×327.3厘米",[],{"id":2455,"slug":2456,"title":2457,"dynasty":59,"author":632,"museum":236,"description":2458,"tags":2459,"thumbUrl":2460,"material":103,"size":103,"collection":103,"collections":2461,"showCount":2413,"zanCount":54,"manualWeight":54,"mainColor":55},227742,"lou-ge-tu-li-song-227742","楼阁图","李嵩(1166—1243)，宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190—1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。如《明皇斗鸡图》《花篮图》；有白描淡色之风俗画，如《货郎图》；也有水墨渲染之山水画，如《西湖图》等。\n\n传世作品有嘉定四年（1211）作《货郎图》卷、《花篮图》页、《骷髅幻戏图》轴藏故宫博物院；《西湖图》卷藏上海博物馆；《听阮图》、《夜月看湖图》及传为李嵩的山水小品画《水殿招凉图》等藏台北故宫博物院。传世作品还有《椿溪渡牛图》、《服田图》、《采莲图》和《观潮图》等，题材后世论画者题其画说：“李师最识农家趣”。\n\n李嵩的风俗画更为知名，他画过许多表现下层社会生活的农村生活风俗画，把劳动人民的生活作为审美对象来描绘，这在中国古代美术发展史上有着重要的意义。 其《货郎图》有多种本子存世，以故宫博物院收藏的一卷为最佳。此画描写一挑担货郎在乡村被孩童围住的情景，充满浓厚的乡土气息。藏于故宫博物院的《骷髅幻戏图》轴，人物表情甚佳，衣纹丁头鼠尾，多用直线，细而有力。",[24,64,7,26,27,137,30,700,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee79b8cdce1dc5eed5659beb992a37f.jpg",[],{"id":2463,"slug":2464,"title":2465,"dynasty":133,"author":2466,"museum":2467,"description":2468,"tags":2469,"thumbUrl":2470,"material":47,"size":103,"collection":174,"collections":2471,"showCount":2413,"zanCount":54,"manualWeight":54,"mainColor":107},216904,"qian-long-nan-xun-zhu-bi-tu-ye-ce-qian-wei-cheng-216904","乾隆南巡驻跸图页册","钱维城","大英图书馆","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[23,24,64,186,7,27,26,30,137,33,189,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdded9f524bd90de54bf710ce3491c184.jpg",[174],{"id":2473,"slug":2474,"title":2475,"dynasty":59,"author":340,"museum":236,"description":2476,"tags":2477,"thumbUrl":2478,"material":103,"size":103,"collection":103,"collections":2479,"showCount":2480,"zanCount":54,"manualWeight":54,"mainColor":55},227955,"gu-gong-tu-ce-zhao-bo-ju-227955","故宫图册","此作以青绿晕染层叠丘壑，色调古雅厚重，界画楼阁精工严整，飞檐斗拱分毫毕现，尽显宫苑富丽堂皇。云气缭绕于台榭林麓之间，虚实相生，让恢宏楼宇掩映得灵动缥缈，消解了建筑的刻板厚重。\n\n山道间行旅策蹇徐行，板桥卧于溪上，潺潺流水隐于其间，鲜活点缀为静谧宫晕开几分林泉雅趣。画作糅合院体山水的精工法度与青绿设色的古艳雅致，将皇家苑囿的恢宏气度，与林泉丘壑的清逸空濛相融，尽显工丽秀雅的宋画风韵。",[23,24,169,27,7,26,137,30,31,29,33,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd9ee1df76dc0919e8b19de41238e03.jpg",[],49,{"id":2482,"slug":2483,"title":2484,"dynasty":133,"author":254,"museum":152,"description":255,"tags":2485,"thumbUrl":2486,"material":264,"size":265,"collection":103,"collections":2487,"showCount":2480,"zanCount":54,"manualWeight":54,"mainColor":55},222818,"gu-su-fan-hua-tu-di-er-duan-xu-yang-222818","姑苏繁华图第二段",[23,24,64,25,26,27,7,29,30,31,32,189,33,76,70,36,40,258,35,34,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13854b780c9cb3ed4dddfbf1c538ccc.jpg",[],{"id":2489,"slug":2490,"title":1389,"dynasty":643,"author":680,"museum":236,"description":1970,"tags":2491,"thumbUrl":2493,"material":787,"size":788,"collection":103,"collections":2494,"showCount":2495,"zanCount":54,"manualWeight":54,"mainColor":55},287305,"long-chi-jing-du-tu-wang-zhen-peng-287305",[23,257,24,25,7,185,30,31,32,1109,29,367,343,1972,2492],"宫廷园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d18a1215d8f0edb9c0cf295fdfa17c.jpg",[],48,{"id":2497,"slug":2498,"title":2499,"dynasty":643,"author":1329,"museum":236,"description":2500,"tags":2501,"thumbUrl":2502,"material":787,"size":788,"collection":103,"collections":2503,"showCount":2495,"zanCount":54,"manualWeight":54,"mainColor":55},283627,"huang-he-lou-tu-xia-yong-283627","黄鹤楼图","夏永，精界画，特别擅长宫殿楼阁界画，师法王振鹏。所作《滕王阁图》《黄鹤楼图》《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。《花间笑语》云：“细若蚊睫，侔于鬼工。”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。元至正七年（1347）作岳阳楼图。以发绣滕王阁、黄鹤楼图，细若蚊睫，侔於鬼工。按明远作品存世有滕王阁图、岳阳楼图两斗方见唐五代宋元名迹，界画精细，上细书滕王阁赋、岳阳楼记，正若花间笑语所云：“细若蚊陡，侔於鬼工。”或亦以此而误为发绣，待考。摘自《花间笑语、君台观左右帐记》。",[24,257,7,30,137,156,367,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14867724a60ccf59905f53199d147be.jpg",[],{"id":2505,"slug":2506,"title":2507,"dynasty":133,"author":273,"museum":236,"description":2508,"tags":2509,"thumbUrl":2510,"material":103,"size":103,"collection":103,"collections":2511,"showCount":2495,"zanCount":11,"manualWeight":54,"mainColor":55},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。",[23,24,26,27,7,29,30,170,39,33,782,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aff9949ab70c37e5214da467c0091b5.jpg",[],{"id":2513,"slug":2514,"title":1003,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":2515,"thumbUrl":2516,"material":787,"size":788,"collection":103,"collections":2517,"showCount":2495,"zanCount":11,"manualWeight":54,"mainColor":55},226283,"ku-zhu-shi-bei-bi-yi-ming-226283",[24,64,257,1007,849,7,27,29,30,137,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20a829b1e7a26c782be3b06a09edbd8.jpg",[],{"id":2519,"slug":2520,"title":2521,"dynasty":133,"author":764,"museum":201,"description":765,"tags":2522,"thumbUrl":2527,"material":442,"size":771,"collection":103,"collections":2528,"showCount":2495,"zanCount":54,"manualWeight":54,"mainColor":55},223075,"hong-lou-meng-61-sun-wen-223075","红楼梦61",[23,24,26,27,7,29,137,782,30,39,33,122,76,93,99,1516,2523,2524,2525,2526],"红楼梦题材","室内场景","陈设","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce8b0c32c96d9c86a13f94caf067894.jpg",[],{"id":2530,"slug":2531,"title":2532,"dynasty":643,"author":2533,"museum":2534,"description":2535,"tags":2536,"thumbUrl":2537,"material":47,"size":2538,"collection":174,"collections":2539,"showCount":2495,"zanCount":54,"manualWeight":54,"mainColor":55},220084,"lou-ge-shan-shui-tu-sun-jun-ze-220084","楼阁山水图","孙君泽","日本静嘉堂文库","孙君泽（生卒年不详），元代画家，生活在14世纪，杭州人。工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。孙君泽的山水是在继承和吸收了马、夏的画法的基础上加以发展和创造，进而形成自己风格的。",[23,24,64,137,7,27,328,29,30,277,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91562f156e7a92824fb05acd2a8fa7a.jpg","135×76.5",[174],{"id":2541,"slug":2542,"title":2543,"dynasty":59,"author":273,"museum":90,"description":2544,"tags":2545,"thumbUrl":2547,"material":185,"size":2548,"collection":83,"collections":2549,"showCount":2495,"zanCount":54,"manualWeight":54,"mainColor":55},219335,"bu-hua-shan-shui-zhou-yi-ming-219335","布画山水轴","层峦叠嶂间烟岚轻笼，山川晕染出深浅有致的层次。屋宇错落隐于林泉，与苍松翠柏相映成趣，溪流蜿蜒穿石而过，似有潺潺水声入耳。笔墨皴擦点染，既勾勒出山石的嶙峋肌理，又晕染出草木的丰茂姿态，线条劲挺中藏柔婉，墨色浓淡间见章法。画面兼具深远与平远之妙，雄浑处显山川气象，清幽处露林泉雅致，尽现宋代山水对自然意趣的深刻捕捉。观者仿佛踏入画中，静谧间感受天地悠然，细节处品味笔墨匠心，沉醉于这融情于景的古典意境里。",[24,31,32,137,2546,1107,700,30,185,290,26,442,7,239],"山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c9b0b1bac61df1c2e78bb1a666c33c.jpg","155x136.2",[83],{"id":2551,"slug":2552,"title":2553,"dynasty":133,"author":510,"museum":61,"description":2554,"tags":2555,"thumbUrl":2557,"material":47,"size":2558,"collection":174,"collections":2559,"showCount":2495,"zanCount":11,"manualWeight":54,"mainColor":55},219142,"yang-zhou-si-jing-tu-wan-song-die-cui-yuan-yao-219142","扬州四景图-万松叠翠","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[24,27,7,26,137,2546,277,30,721,2556,330,33,189],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a93c9e40d1b6c3cd9ff1febf520eea.jpg","纵57厘米，横66.1厘米",[174],{"id":2561,"slug":2562,"title":2563,"dynasty":133,"author":273,"museum":2564,"description":2565,"tags":2566,"thumbUrl":2567,"material":47,"size":103,"collection":174,"collections":2568,"showCount":2495,"zanCount":11,"manualWeight":54,"mainColor":55},216004,"di-jian-tu-shuo-cai-hui-ben-yi-ming-216004","帝鉴图说彩绘本","法国国家图书馆","轩敞的亭榭下，石阶层层延伸。上层人物或踞坐或侍立，衣饰色彩浓淡相宜；下层侍从手捧托盘拾级而上，步履从容。阶前执械的卫士身姿挺拔，添了几分庄重。画面左角树木葱郁，那株被红栏围绕的乔木尤为醒目；右侧松枝虬劲，石畔草木葳蕤。整幅画色调明润，线条细腻：飞檐的弧度、栏杆的纹理、人物的衣袂褶皱，皆刻画入微。既见建筑的精巧布局，又显人物的鲜活情态，仿佛将一段旧时的仪典场景凝于尺幅之间，静述着时光里的从容与雅致。",[24,27,26,7,29,30,189,700,97,217,671,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe85a418ab9a1753597cb0514a6e23.jpg",[174],{"id":2570,"slug":2571,"title":1477,"dynasty":912,"author":273,"museum":236,"description":2572,"tags":2573,"thumbUrl":2574,"material":787,"size":788,"collection":103,"collections":2575,"showCount":2576,"zanCount":11,"manualWeight":54,"mainColor":55},288513,"zha-kou-pan-che-tu-yi-ming-288513","整幅画作定格了一处临水官营作坊的日常盛景。临水高阁水磨飞转，匠人或持具分拣粮料，或俯身装卸漕粮，各司其职、鲜活生动。水面上舟楫往来渡运，岸边车马络绎穿梭，高耸的木构支架与严整的亭台楼阁相互映衬，满溢着烟火蒸腾的劳作气息。\n画作以工细写实的笔触写尽百态，界画严整精准，衣纹简劲利落，设色古雅苍润，将漕粮加工转运的民生图景娓娓铺展，兼具极高审美价值与纪实史料价值。",[23,257,24,64,7,27,29,30,31,32,1440,71,896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf861c5bac94907fe27a1b5a71d408b.jpg",[],47,{"id":2578,"slug":2579,"title":2580,"dynasty":59,"author":1046,"museum":236,"description":2581,"tags":2582,"thumbUrl":2585,"material":787,"size":788,"collection":103,"collections":2586,"showCount":2576,"zanCount":283,"manualWeight":54,"mainColor":107},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,24,804,64,27,26,7,137,277,30,343,712,367,2583,2584],"秋景","读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],{"id":2588,"slug":2589,"title":2590,"dynasty":133,"author":273,"museum":236,"description":2591,"tags":2592,"thumbUrl":2594,"material":787,"size":788,"collection":103,"collections":2595,"showCount":2576,"zanCount":11,"manualWeight":54,"mainColor":55},288060,"nao-long-zhou-yi-ming-288060","闹龙舟","这幅长卷以工细笔触铺展春日盛景，澄澈水面上龙舟竞渡，旌旗猎猎，健儿挥桨劈波，舟身彩饰繁丽，竞渡喧嚷似能破纸而出。\n\n沿岸屋舍层叠，酒肆楼宇间人影攒动，仕民凭栏观赛，谈笑晏晏。远山含烟、花树初绽，将江南漕岸的烟火气晕开。创作者以院体画的精细，把官民同游的节庆嬉乐定格，静雅的楼台春景搭配喧腾的水上赛事，一动一静里尽显升平风华，将水乡春日的繁庶鲜活凝固为永恒。",[23,24,25,27,26,7,29,30,1109,32,138,240,44,2593,742,137],"节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4dd7b62edc4a1b662b9720f4671ce87.jpg",[],{"id":2597,"slug":2598,"title":2599,"dynasty":133,"author":2600,"museum":61,"description":2601,"tags":2602,"thumbUrl":2603,"material":141,"size":2604,"collection":174,"collections":2605,"showCount":2576,"zanCount":54,"manualWeight":54,"mainColor":55},238666,"shan-shui-lou-ge-tu-zhou-shen-yuan-238666","山水楼阁图轴","沈源","受“海西法”影响的新型建筑画在清代宫廷内曾经十分盛行，当时称为“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“于阴阳远近，不差锱黍。…… 布影由阔而狭，以三角量之。画宫室与墙壁，令人几欲走进”的立体效果。从此幅沈源的作品中可以看到“线法画”的痕迹，虽然由于受到中国审美传统的限制，画面中西洋绘画的一些效果在一定程度上有所淡化，但是与传统的建筑画相比，此时的画家表现三维景物的能力确实有了相当大的提高。",[24,64,290,7,27,137,30,189,33,29,26,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d809bb2714a20a923bebe202091254.jpg","纵135厘米，横74.8厘米",[174],{"id":2607,"slug":2608,"title":2609,"dynasty":133,"author":764,"museum":201,"description":765,"tags":2610,"thumbUrl":2611,"material":442,"size":771,"collection":103,"collections":2612,"showCount":2576,"zanCount":54,"manualWeight":54,"mainColor":107},230105,"hong-lou-meng-186-sun-wen-230105","红楼梦186",[24,64,26,27,7,29,93,30,39,33,524,277,94,97,622,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4501237256ff4155c35bcd53221f87ba.jpg",[],{"id":2614,"slug":2615,"title":17,"dynasty":133,"author":2600,"museum":90,"description":2616,"tags":2617,"thumbUrl":2619,"material":406,"size":2620,"collection":83,"collections":2621,"showCount":2576,"zanCount":54,"manualWeight":54,"mainColor":107},224351,"qing-ming-shang-he-tu-shen-yuan-224351","此画以水墨为主，在用色上，只用赭色稍加勾染，充满清新淡雅之味。在画法上，明显借鉴了当时传入宫廷的西洋“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“布影由阔而狭，以三角量之”的立体效果。虽然受中国审美传统的限制，这种画法在图中有所淡化，但与传统的建筑画相比，三维景物的表现能力确实有了相当大的提高。",[23,257,24,25,185,27,7,30,2618,29,33,44],"街巷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856157ebafdded9d3904ea94b7eb62d2.jpg","34.8×1185.9厘米",[83],{"id":2623,"slug":2624,"title":2625,"dynasty":59,"author":730,"museum":2626,"description":2627,"tags":2628,"thumbUrl":2631,"material":47,"size":2632,"collection":81,"collections":2633,"showCount":2576,"zanCount":54,"manualWeight":54,"mainColor":55},220095,"liu-long-gu-che-guo-zhong-shu-220095","柳龙骨车","日本东京国立博物馆","描绘我国传统的农具＂牛转翻车＂，写实地再现了龙骨车（翻车）的构造，为研究我国农业史、技术史提供了宝贵资料。此图收录于东京国立博物馆收藏的唐绘手鉴《笔耕园》中。\n翻车是一种古代中国劳动人民发明的用于排水灌溉的机械，也是世界上出现最早、使用最久的水车，因为其形状犹如“龙骨”，故又名“龙骨车”或“龙骨水车”。有时候也泛称为“水车”。\n用牛拽转的水车，称为“牛转翻车”，有的是借流水的力量推动，称为“水转翻车”。“牛转翻车”俗称“牛车”，是以牛为动力来拽动转盘，通过轮齿带动龙骨链刮水板，将水刮起的灌溉农具。",[23,59,24,64,7,27,2629,700,32,2630],"柳","龙骨车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b462fa439b75c775dabdb35d1a7d7.jpg","24.5×26.8",[81],{"id":2635,"slug":2636,"title":2637,"dynasty":643,"author":2638,"museum":90,"description":2639,"tags":2640,"thumbUrl":2641,"material":47,"size":2642,"collection":174,"collections":2643,"showCount":2576,"zanCount":11,"manualWeight":54,"mainColor":55},218462,"shan-shui-tu-tang-di-218462","山水图","唐棣","岩石被涂成了小绿，而特写中通往房子的楼梯被涂上了边框，这是一种干净整洁的技术。桌椅的轮子上涂有红色的朱砂，与石头的绿色相映成趣，给人一种古老而优雅的感觉。",[23,24,257,137,169,27,29,30,380,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb9e8dcf01ecc2b0641455fe02e2a43.jpg","114x57.5",[174],{"id":2645,"slug":2646,"title":2647,"dynasty":133,"author":1080,"museum":709,"description":2648,"tags":2649,"thumbUrl":2650,"material":442,"size":2651,"collection":103,"collections":2652,"showCount":2653,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,7,26,27,137,30,189,33,94,1083,31,39,38,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 51.5 厘米，横 254.5 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绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。曾作《秦王独猎图》。画作有《海岸图》、《摘瓜图》等六件，著录于《宣和画谱》。传世作品有《春山行旅图》轴，图录于《故宫名画三百种》；《明皇幸蜀图》卷，现藏台北故宫博物院。",[23,24,25,169,27,7,26,137,30,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81db047a39ded106ecbb49adcb1c8b56.jpg",[],44,{"id":2733,"slug":2734,"title":2735,"dynasty":133,"author":510,"museum":61,"description":2736,"tags":2737,"thumbUrl":2738,"material":141,"size":2739,"collection":174,"collections":2740,"showCount":2731,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,24,64,290,7,27,26,328,137,30,31,94,33,330,29,301,38,171,244,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[174,51],{"id":2742,"slug":2743,"title":2744,"dynasty":59,"author":2745,"museum":90,"description":2746,"tags":2747,"thumbUrl":2748,"material":47,"size":2749,"collection":81,"collections":2750,"showCount":2731,"zanCount":54,"manualWeight":54,"mainColor":107},218951,"jie-ge-yi-chun-tu-wang-shen-218951","杰阁媐春图","王诜","这幅画描绘了一栋山坡建筑的一个角落，楼上有两个女人在看围栏，而一个女人在下层的走廊上走着，后面跟着一个女仆。身材高大而修长。担架的使用和树木、山石的笔法与《景德镇四库全书》相似，疑为北宋作品，无题款，原署名王僧杰伊春。",[23,24,257,186,7,27,137,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0c7f409af54da8ac9c4eeee02c02cd.jpg","22.5x21.7",[81],{"id":2752,"slug":2753,"title":212,"dynasty":59,"author":340,"museum":236,"description":923,"tags":2754,"thumbUrl":2755,"material":787,"size":788,"collection":103,"collections":2756,"showCount":2757,"zanCount":54,"manualWeight":54,"mainColor":55},290088,"han-gong-chun-xiao-tu-zhao-bo-ju-290088",[257,24,7,26,27,30,137,170,33,330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa88892b34b877788f8b89fdee5cdd3a.jpg",[],43,{"id":2759,"slug":2760,"title":2761,"dynasty":59,"author":2745,"museum":236,"description":2762,"tags":2763,"thumbUrl":2765,"material":787,"size":788,"collection":103,"collections":2766,"showCount":2757,"zanCount":54,"manualWeight":54,"mainColor":55},288984,"shui-xie-pin-cha-tu-wang-shen-288984","水榭品茶图","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[24,7,27,30,33,934,2764],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9de261968b3aafb1721ccab27894f4.jpg",[],{"id":2768,"slug":2769,"title":2770,"dynasty":18,"author":2771,"museum":236,"description":2772,"tags":2773,"thumbUrl":2774,"material":787,"size":788,"collection":103,"collections":2775,"showCount":2757,"zanCount":54,"manualWeight":54,"mainColor":107},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。",[23,257,24,185,27,26,7,29,30,31,189,380,32,39,33,38,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d224efb8b4d7931ad464765d30dc4d.jpg",[],{"id":2777,"slug":2778,"title":2779,"dynasty":643,"author":273,"museum":236,"description":2780,"tags":2781,"thumbUrl":2782,"material":103,"size":103,"collection":103,"collections":2783,"showCount":2757,"zanCount":11,"manualWeight":54,"mainColor":55},228212,"hang-zhou-xi-hu-tu-yi-ming-228212","杭州西湖图","以团扇形制铺陈湖山胜概，石青石绿晕染峰峦，古绢底色沉厚，衬得青绿明妍雅致，勾勒出峭拔崖嶂与层叠林木。亭台楼阁依山面水排布，飞檐斗拱精工细绘，尽显江南苑囿的雅致规整。湖面开阔淡远，长桥卧波隐现其间，远山含黛晕出空濛烟岚。\n\n构图虚实相生，繁复界画楼宇与清旷湖山相映，既见对实景的精细摹写，又以淡墨轻岚烘托出西湖柔婉清远的诗意氛围，带着元代青绿山水的复古意趣，将城湖揽胜的雅致图景凝缩尺幅，尽展江南名湖的从容雅致，藏着古人对湖山胜景的倾心描摹。",[23,24,64,169,27,137,7,30,31,32,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a00903c88ee41eed7d372b81389a0b5.jpg",[],{"id":2785,"slug":2786,"title":2787,"dynasty":133,"author":273,"museum":236,"description":2788,"tags":2789,"thumbUrl":2790,"material":103,"size":103,"collection":51,"collections":2791,"showCount":2792,"zanCount":54,"manualWeight":54,"mainColor":55},239527,"qian-long-guan-kong-que-kai-ping-tie-luo-yi-ming-239527","乾隆观孔雀开屏贴落","《乾隆观孔雀开屏贴落》是清代佚名创作的绢本设色画。\n这是一幅表现乾隆皇帝宫廷生活的巨幅作品，曾张贴于圆明园某殿内。\n图中乾隆端坐在亭台之上，闲适地观赏庭院中一对美丽的孔雀。\n此画虽无作者款识，但从技法和水平分析，人物肖像、两只孔雀和建筑的主要部分应出自郎世宁之手。\n其中楼阁的描绘无论前后、远近，大小的比例关系均适当，将西洋绘画的透视原则把握得恰到好处，具有强烈的空间感和纵深层次。\n由于篇幅宏大，描绘真实，使人有身临其境之感。\n正是由于郎世宁等西洋传教士画师的到来，使中国传统的楼阁画发生了变化，最终促使清代宫廷建筑绘画“中西合璧”的画风形成。",[257,24,64,26,27,7,30,29,96,94,33,39,32,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b7e348cc7f93d2fc0fa76bd64ebef5.jpg",[51],42,{"id":2794,"slug":2795,"title":2796,"dynasty":133,"author":1069,"museum":61,"description":2797,"tags":2798,"thumbUrl":2799,"material":141,"size":2800,"collection":174,"collections":2801,"showCount":2792,"zanCount":11,"manualWeight":54,"mainColor":107},234289,"shan-shui-lou-ge-ce-chen-mei-234289","山水楼阁册","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[24,257,186,7,27,137,30,712,367,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d31cd400a8dc8e30ee5eedf5bda6150.jpg","纵31厘米，横25.3厘米",[174,51],{"id":2803,"slug":2804,"title":2805,"dynasty":133,"author":273,"museum":236,"description":2806,"tags":2807,"thumbUrl":2809,"material":103,"size":103,"collection":103,"collections":2810,"showCount":2811,"zanCount":54,"manualWeight":54,"mainColor":107},223658,"jin-ping-mei-cha-tu-yi-ming-223658","金瓶梅插图","此作为工笔重彩长卷，以分段式构图铺展桥段，院宅厅堂错落排布，人物疏密有致。匠者细绘雕栏花窗、瓶炉陈设，精准还原世家起居样貌，衣袂纹饰鲜妍工丽，各有章法。画面将宴饮雅聚、弈棋闲叙、私会密谈的不同氛围烘托得当，人物神态灵动鲜活，或揖礼叙话，或缱绻依偎，皆细腻传神。青绿、朱红配色明快雅致，兼具界画的工整写实与人物画的气韵生动，把世情日常与深宅韵致相融，尽显清代工笔世俗画的精湛功力，让文字故事具象为可触摸的古典图景。",[23,24,25,27,26,7,29,30,39,33,464,2808,98,97,1515,94,93,99],"家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a55519b64b307f10e86240af72bfc4.jpg",[],41,{"id":2813,"slug":2814,"title":2815,"dynasty":59,"author":273,"museum":90,"description":2816,"tags":2817,"thumbUrl":2818,"material":47,"size":2819,"collection":81,"collections":2820,"showCount":2811,"zanCount":335,"manualWeight":54,"mainColor":55},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,64,25,27,26,7,155,29,30,170,137,33,39,217,1106,94,670,421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[81],{"id":2822,"slug":2823,"title":2824,"dynasty":59,"author":273,"museum":2825,"description":2826,"tags":2827,"thumbUrl":2828,"material":47,"size":2829,"collection":49,"collections":2830,"showCount":2811,"zanCount":11,"manualWeight":54,"mainColor":55},218461,"gao-shi-guan-shui-tu-yi-ming-218461","高士观水图","圣路易斯艺术博物馆","凭栏者凝眸向水，衣袂轻垂似与波痕共息。亭榭半掩于疏枝间，木构纹理隐现岁月静穆。秃枝如笔，蘸着空濛天色，在绢上勾勒清寂骨线；水面无波，却载千般思绪，与观者目光遥遥相契。通篇不着艳色，墨线浓淡交错，留白虚实相生，铺展文人心中丘壑——非喧嚣山水，是心与自然对语的片刻安宁。笔意简淡却藏深致，枯枝的疏朗、亭台的稳静、高士的凝思，织就一幅含蓄的精神图景，让千载后的目光，仍能触到那份清寂中的悠远。",[23,24,185,394,7,580,29,30,32,524,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea1f9bda4c7207655fc3e8783405b61.jpg","21.6x24.6cm",[49],{"id":2832,"slug":2833,"title":2834,"dynasty":643,"author":273,"museum":709,"description":2835,"tags":2836,"thumbUrl":2837,"material":47,"size":2838,"collection":174,"collections":2839,"showCount":2811,"zanCount":11,"manualWeight":54,"mainColor":55},218205,"guang-han-gong-tu-yi-ming-218205","广寒宫图","广寒宫图是一幅来自中国元朝时期的著名绘画作品，作者佚名。它描绘了广寒宫的景象，广寒宫是中国古代皇宫的一部分，位于北京的城内，是皇帝和皇后居住的地方。\n\n这幅画的风格具有浓厚的中国传统特色，使用了鲜艳的色彩和精细的线条来描绘出广寒宫的建筑物和景观。画中的建筑物包括皇宫的宫殿、庙宇和院落，景观包括花园、池塘和树木。\n\n广寒宫图还描绘了当时皇帝和皇后的生活，展示了他们的日常活动，如游览、观赏歌舞表演等。这幅画作出现在中国元朝时期，当时的皇帝是元世祖，他在位期间推行了著名的文化复兴运动，使得艺术、文学和学术得到了极大的发展。广寒宫图也反映了这一时期的艺术特点，是中国元朝时期艺术发展的重要见证。",[24,257,64,290,7,27,30,382],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f95b3c5c0f8d9489dcbed3fb582630.jpg","75.6x62.1cm",[174],{"id":2841,"slug":2842,"title":2843,"dynasty":59,"author":2844,"museum":236,"description":2845,"tags":2846,"thumbUrl":2847,"material":787,"size":788,"collection":103,"collections":2848,"showCount":2849,"zanCount":54,"manualWeight":54,"mainColor":107},289869,"shi-yong-tu-zhang-xian-289869","十咏图","张先","张先（990—1078），字子野，乌程（今浙江湖州）人。北宋词人。婉约派代表人物。天圣八年（公元1030）进士。历任宿州掾、吴江知县、嘉禾（今浙江嘉兴）判官。皇祐二年（1050），晏殊知永兴军（今陕西西安），辟为通判。后以屯田员外郎知渝州，又知虢州。以尝知安陆，故人称“张安陆”。治平元年（1064）以尚书都官郎中致仕，元丰元年病逝，年八十八岁。",[23,257,24,64,25,7,27,137,30,2304,32,244,343,712,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6ee46a4d67fb75fc131910fa6d3ee0.jpg",[],40,{"id":2851,"slug":2852,"title":2853,"dynasty":59,"author":324,"museum":236,"description":2684,"tags":2854,"thumbUrl":2857,"material":787,"size":788,"collection":103,"collections":2858,"showCount":2849,"zanCount":54,"manualWeight":54,"mainColor":55},289344,"gu-song-lou-ge-tu-ma-yuan-289344","古松楼阁图",[804,24,64,7,185,328,2855,30,137,2856],"古松","萧疏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feecdcd1b7f2e5df3f39c8f2645afbde3.jpg",[],{"id":2860,"slug":2861,"title":2862,"dynasty":133,"author":273,"museum":61,"description":2863,"tags":2864,"thumbUrl":2867,"material":191,"size":2868,"collection":49,"collections":2869,"showCount":2849,"zanCount":54,"manualWeight":54,"mainColor":107},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。",[26,27,7,186,29,30,39,421,1646,99,355,2865,2866,38,241,2525],"军事场景","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3c1bd6080b18f3b23595b0a6c873bc.jpg","纵55.3cm，横90.3cm",[49,51],{"id":2871,"slug":2872,"title":2182,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":2873,"thumbUrl":2874,"material":787,"size":788,"collection":103,"collections":2875,"showCount":2849,"zanCount":54,"manualWeight":54,"mainColor":55},226257,"ku-zhu-shi-nan-bi-yi-ming-226257",[1007,849,7,27,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61a31524d9551efc2b1c49e046b63e3e.jpg",[],{"id":2877,"slug":2878,"title":2879,"dynasty":18,"author":19,"museum":709,"description":2880,"tags":2881,"thumbUrl":2882,"material":141,"size":2883,"collection":174,"collections":2884,"showCount":2849,"zanCount":283,"manualWeight":54,"mainColor":55},222214,"su-hui-hui-wen-kai-xuan-shi-chou-ying-222214","苏惠回文凯旋诗","回文诗，也写作“爱情诗”“回环诗”。它是汉语特有的一种使用词序回环往复的修辞方法，文体上称之为“回文体”。唐代上官仪说，“诗有八对”，其七曰“回文对”，“情新因意得，意得逐情新”，用的就是这种措词方法。充分展示并利用了汉语以单音节语素为主和以语序为重要语法手段这两大特点，读来回环往复，绵延无尽，给人以荡气回肠，意兴盎然的美感。回文的形式在晋代以后就很盛行，而且在多种文体中被采用。人们用这种手法造句、写诗、填词、度曲，便分别称为回文诗，回文词和回文曲。虽然不乏游戏之作，却也颇见遣词造句的功力。",[23,257,24,64,25,26,27,7,29,93,66,33,30,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[174,51],{"id":2886,"slug":2887,"title":2888,"dynasty":643,"author":1329,"museum":61,"description":2889,"tags":2890,"thumbUrl":2891,"material":1913,"size":2892,"collection":174,"collections":2893,"showCount":2849,"zanCount":11,"manualWeight":54,"mainColor":55},221819,"feng-le-lou-tu-xia-yong-221819","丰乐楼图","作者采用对角构图法，用水墨界画殿阁山水，线条纤如毫发，背景远山平缓润泽，开阔的水面与依依杨柳恰到好处地交待出建筑处于江南的环境。展观其作品，方寸之间微入毫芒，画家再现了宏大建筑的整体和细部，技艺精湛超凡，令人叹服。\n此幅构图之用笔与故宫藏夏永另几幅界画作品如出一辙。丰乐楼为为南宋都城临安著名的大酒楼之一。地处涌金门外西湖岸边。作品所取材的“丰乐楼”早已不存，夏永极度写实的画风以及右上以“小如蚁目”的蝇头小楷题写的31行“十里挲平丰乐楼”长题，无疑成为今天了解这座在宋代杭州曾颇有声名的楼阁的重要史料。"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于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,24,64,25,7,27,26,29,30,137,33,44,3202,436,2618,170,187,40,39,329],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],35,{"id":3207,"slug":3208,"title":3209,"dynasty":643,"author":680,"museum":236,"description":3210,"tags":3211,"thumbUrl":3212,"material":103,"size":103,"collection":103,"collections":3213,"showCount":3205,"zanCount":54,"manualWeight":54,"mainColor":55},228051,"da-ming-gong-tu-juan-wang-zhen-peng-228051","大明宫图卷","图绘楼台魏巍，湖水环绕，拱桥横跨，一巨大的龙舟领衔，众多小龙舟奋力竞渡夺标的生动情景。\n场面宏大壮观，人、船众多，旌旗招展，鼓乐齐奏，一片观乐紧张气氛。\n全画用笔工整严谨，楼台、龙舟俯仰曲折，细入毫端，人物虽小，然各尽其态，引人入胜。\n【名称】元王振鹏金明夺锦图卷 【规格】该幅 2.124.1公分；隔水一 1.公分；隔水二 1.7公分 【收藏】 主题与关键字：春景、名胜、龙舟、宫殿、桥、池水、奇石、官员（臣）、侍从（侍女、童仆）、百姓、表演者、杂耍艺人、松、竹、杨柳、柏、庭院、栏杆、鸟笼、旗、秋千 录入：石渠宝笈初编（养心殿），下册，15页；故宫书画录（卷八），第四册，8页；故宫书画图录，第十七册，211-214页。\n王振鹏：元永嘉（今浙江温州）人。\n官至漕运千户。\n界画极工致，仁宗眷爱之，赐号孤云处士。\n运笔和墨，豪分缕析，左右高下，俯仰曲折，方员平直，曲尽其体，而神气飞动，不为法拘。\n虽入纤细，而格力超腾，非院中人所能。\n元季界画可为第一，不在郭恕先之下， 、 辈殆不如也。\n尝为大明宫图、金明池夺标图、大安阁图、水亭图等，世称绝品。",[23,24,257,25,7,394,30,137,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c596cd513646736bb7dfa23a00cbc29.jpg",[],{"id":3215,"slug":3216,"title":3217,"dynasty":59,"author":273,"museum":90,"description":3218,"tags":3219,"thumbUrl":3220,"material":47,"size":3221,"collection":174,"collections":3222,"showCount":3205,"zanCount":11,"manualWeight":54,"mainColor":107},219040,"shui-xuan-hua-xie-tu-yi-ming-219040","水轩花榭图","露台建在岩石上，有一个开放的亭子，下面是一片树林。一条走廊半藏在绿色景观中，其另一端通向两个大厅堂。建筑物的主要部分被小心翼翼地放在画的下半部分，这样，[上半部分]的白色空间就变得更加宽广，而背景是月亮的天空，则非常遥远！。这是南宋微型山水画中典型的空间表达方式。画中的建筑画得很精致，具有逼真写实的艺术风格。画中的人物都有宋人纤细的体态，摆放祭品和攀登亭子可能是官家在仲夏夜的活动写照。",[23,24,804,27,7,26,30,189,277,97,94,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c80f01916371f7568e1b5d290868c0.jpg","24.8x25.8",[174],{"id":3224,"slug":3225,"title":2457,"dynasty":643,"author":1329,"museum":236,"description":3226,"tags":3227,"thumbUrl":3228,"material":103,"size":103,"collection":103,"collections":3229,"showCount":3230,"zanCount":11,"manualWeight":54,"mainColor":55},228068,"lou-ge-tu-xia-yong-228068","这幅团扇界画依山构宇，层叠楼阁沿山势铺展，朱漆廊柱配青釉瓦当，飞檐翘角凌然欲飞，界笔走线匀细挺括，将台榭回廊的错落层次勾勒得分毫毕现，尽显楼阁的巍峨明丽。\n\n青绿山水晕染雅致，石色清润，和明艳楼宇相映成趣，晕出缥缈出尘的仙山意境。下方江岸点缀行人舟楫，鲜活烟火气融入清寂山境，动静相生，整幅画面繁而不乱。画师以精微笔触，将界画的工整雅致和山水的空灵柔和相融，在尺幅团扇间铺展出一方兼具逸趣与精工的世外天地，尽显传统界画的独特意韵。",[23,24,26,7,169,27,137,30,29,189,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7acd25e761741b7385067a14721df4.jpg",[],34,{"id":3232,"slug":3233,"title":3234,"dynasty":59,"author":2994,"museum":236,"description":3235,"tags":3236,"thumbUrl":3237,"material":103,"size":103,"collection":103,"collections":3238,"showCount":3230,"zanCount":11,"manualWeight":54,"mainColor":107},227607,"lan-ting-xiu-xi-tu-li-gong-lin-227607","兰亭修禊图","《李公麟兰亭修禊图》是宋朝李公麟创作的人物画，再现了当年王羲之等人雅集之状，现被私人收藏。",[23,257,24,64,27,7,137,29,30,189,33,94,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c442252580f8eabaa25ca0afe38259.jpg",[],{"id":3240,"slug":3241,"title":3242,"dynasty":133,"author":3243,"museum":236,"description":3244,"tags":3245,"thumbUrl":3246,"material":103,"size":103,"collection":103,"collections":3247,"showCount":3230,"zanCount":54,"manualWeight":54,"mainColor":55},224339,"guan-bang-tu-juan-liang-xiang-224339","观榜图卷","梁亯","画面铺展乡野村居的鲜活日常，黛瓦村舍错落排布，临河的敞轩里有人闲坐观景，石拱桥畔有人凭栏眺望。山道间行人三两，或驻足热切交谈，或信步缓行，晕染出放榜后的松弛氛围。\n\n青绿点染坡岸古木，苍枝翠叶间生机盎然，工细的界画勾勒出民居的质朴规整，衣袂飘举的人物鲜活灵动。没有宫墙下的喧嚷拥挤，转而描摹乡邻间传递喜报、私语闲谈的烟火日常，将士林放榜后乡里的起落心绪融在淡雅的设色之中，笔底尽是平淡又真切的世情暖意，复刻出旧时乡野间的鲜活世相。",[23,24,64,25,27,26,7,29,30,31,33,156,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17a44f425b0d90604d33eb2089636e.jpg",[],{"id":3249,"slug":3250,"title":3251,"dynasty":133,"author":764,"museum":201,"description":765,"tags":3252,"thumbUrl":3253,"material":442,"size":771,"collection":103,"collections":3254,"showCount":3230,"zanCount":54,"manualWeight":54,"mainColor":107},223060,"hong-lou-meng-46-sun-wen-223060","红楼梦46",[23,24,64,186,26,27,7,29,66,30,137,33,31,76,477,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1253286b5330bfb421905cfde8ccfc2.jpg",[],{"id":3256,"slug":3257,"title":3258,"dynasty":18,"author":3259,"museum":236,"description":3260,"tags":3261,"thumbUrl":3262,"material":141,"size":3263,"collection":174,"collections":3264,"showCount":3230,"zanCount":54,"manualWeight":54,"mainColor":55},222163,"qi-ma-you-shan-tu-liu-yan-222163","骑马游山图","刘琰","图绘崇山峻岭中一座高楼映入眼帘，飞檐立柱，高大宏伟；屋前树木葱郁，繁花开放，一位红衣男子骑马停步赏景！此幅图的山脉绿树画法很具特色，与同时代画家蓝瑛有相似之处。",[23,24,27,26,7,137,29,66,30,33,94,1252,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0f2a66c07d9c664105cdc11e6d8c1b.jpg","纵49cm，横67cm",[174,83],{"id":3266,"slug":3267,"title":3268,"dynasty":59,"author":3269,"museum":61,"description":3270,"tags":3271,"thumbUrl":3272,"material":158,"size":3273,"collection":174,"collections":3274,"showCount":3230,"zanCount":54,"manualWeight":54,"mainColor":107},221216,"song-he-ceng-lou-tu-ye-zhang-dun-li-221216","松壑层楼图页","张敦礼","張敦禮 ，熙寧元年選尚英宗女祁國長公主，授左衞將軍、駙馬都尉，遷密州觀察使。元祐初，疏言：“變法易令，始於王安石，成於蔡確。近者退確進司馬光，以臣觀之，所得多矣。”進武勝軍留後。",[23,24,257,186,27,328,7,343,367,137,242,30,33,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38201b375c0d8926df9611e75942c0b.jpg","25X29厘米",[174,51],{"id":3276,"slug":3277,"title":3278,"dynasty":133,"author":1692,"museum":20,"description":1693,"tags":3279,"thumbUrl":1698,"material":303,"size":103,"collection":174,"collections":3281,"showCount":3230,"zanCount":54,"manualWeight":54,"mainColor":107},219712,"xiao-yuan-yin-jiu-tu-luo-pin-219712","筱园饮酒图",[24,27,7,185,30,524,94,39,29,33,38,3280,623],"淡彩",[174],{"id":3283,"slug":3284,"title":3285,"dynasty":643,"author":680,"museum":90,"description":3286,"tags":3287,"thumbUrl":3288,"material":1333,"size":3289,"collection":174,"collections":3290,"showCount":3230,"zanCount":54,"manualWeight":54,"mainColor":55},218725,"bao-jin-jing-du-tu-wang-zhen-peng-218725","宝津竞渡图","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。",[24,64,25,7,394,29,30,31,32,1109,33,38,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda29ce46bd5c86dc803d1bc684f736b8.jpg","36.6x183.4cm",[174],{"id":3292,"slug":3293,"title":2457,"dynasty":643,"author":273,"museum":152,"description":3294,"tags":3295,"thumbUrl":3296,"material":47,"size":3297,"collection":174,"collections":3298,"showCount":3230,"zanCount":54,"manualWeight":54,"mainColor":55},218210,"lou-ge-tu-yi-ming-218210","楼阁图是元朝时期的一种著名绘画风格。它以其栩栩如生的再现自然风光和精细的内部装饰而闻名。\n\n元朝，又被称作“大元”，是中国历史上继北宋之后的第一个多民族、多语言的王朝。它的建立标志着中国进入了封建制的最后一个阶段。元朝的建立者是蒙古族公主忽必烈，忽必烈是在其父亲蒙哥汗的帮助下统一了全国，并于1271年建立了元朝。\n\n楼阁图是元朝时期的一种流行的绘画风格。这种绘画风格的特点是对山水风光的再现以及对宫殿、院落、楼阁等建筑物的精细描绘。楼阁图通常是以山水为背景，描绘出宏伟的宫殿、庄严的寺庙、雄伟的城池等景象。它的画风细腻、精巧，注重细节，给人以视觉上的享受。",[24,257,27,7,30,137,33,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029c4d5225d5f29d73cf189d792af37d.jpg","25.3x21.7cm",[174],{"id":3300,"slug":3301,"title":3302,"dynasty":643,"author":273,"museum":709,"description":3303,"tags":3304,"thumbUrl":3305,"material":47,"size":3306,"collection":174,"collections":3307,"showCount":3230,"zanCount":54,"manualWeight":54,"mainColor":55},215144,"xuan-pu-chun-shen-tu-yi-ming-215144","悬圃春深图","悬圃春深图是一幅元朝（1271-1368）时期的图画，作者佚名。这幅图展示了一个人站在悬圃之上，俯视着春天的景色。悬圃是一种古老的中国园林建筑，通常是一个圆形的小建筑，用来观赏周围的景色。在这幅图中，悬圃上的人可以看到树木芽生，花儿开放，鸟儿欢快地唱歌。这幅图捕捉了春天带来的生机勃勃的气息，是一幅生动而优美的作品。",[24,7,27,169,804,30,137,33,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d3510d20cfcdbf5cc710910d3669f7d.jpg","26x27.8cm",[174],{"id":3309,"slug":3310,"title":3311,"dynasty":59,"author":3312,"museum":90,"description":3313,"tags":3314,"thumbUrl":3315,"material":1333,"size":3316,"collection":103,"collections":3317,"showCount":3318,"zanCount":54,"manualWeight":54,"mainColor":55},290866,"peng-lai-xian-hui-zhou-zhao-da-heng-290866","蓬莱仙会轴","赵大亨","与卫松曾同为赵伯驹、赵伯骕家仆，侍候赵氏兄弟作画，生卒年不详。",[24,257,7,1633,27,30,277,244,29,2424,2421],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a7a3f49e465910b9499299b136f5e0.jpg","54.2x86.4",[],33,{"id":3320,"slug":3321,"title":3322,"dynasty":59,"author":1778,"museum":236,"description":3323,"tags":3324,"thumbUrl":3326,"material":787,"size":788,"collection":103,"collections":3327,"showCount":3318,"zanCount":54,"manualWeight":54,"mainColor":55},288970,"song-feng-lou-guan-tu-ma-lin-288970","松风楼观图","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[257,24,1633,7,27,26,30,277,3325,137],"雨天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb4382d26e8d220766465beb138783c.jpg",[],{"id":3329,"slug":3330,"title":3331,"dynasty":59,"author":1046,"museum":90,"description":3332,"tags":3333,"thumbUrl":3334,"material":191,"size":3335,"collection":103,"collections":3336,"showCount":3318,"zanCount":11,"manualWeight":54,"mainColor":55},232782,"yang-zheng-tu-juan-er-liu-song-nian-232782","养正图卷二","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,64,25,26,27,7,343,29,30,137,66,189,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d948e2a41c077a21b8977f8e4dfb8a.jpg","30*386.55厘米",[],{"id":3338,"slug":3339,"title":1003,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":3340,"thumbUrl":3341,"material":787,"size":788,"collection":103,"collections":3342,"showCount":3318,"zanCount":54,"manualWeight":54,"mainColor":55},226180,"ku-zhu-shi-bei-bi-yi-ming-226180",[1007,849,27,26,7,29,30,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70beb22e29e23cd0b13946f36b81143.jpg",[],{"id":3344,"slug":3345,"title":3346,"dynasty":59,"author":1046,"museum":61,"description":3347,"tags":3348,"thumbUrl":3349,"material":158,"size":3350,"collection":103,"collections":3351,"showCount":3318,"zanCount":54,"manualWeight":54,"mainColor":107},221547,"shan-guan-du-shu-tu-liu-song-nian-221547","山馆读书图","《山馆读书图》描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,24,64,26,27,7,137,30,277,29,39,33,315,343,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234be9e86cbf67a38bc347e7b4419eed.jpg","24.3×24cm",[],{"id":3353,"slug":3354,"title":3355,"dynasty":59,"author":2745,"museum":61,"description":3356,"tags":3357,"thumbUrl":3358,"material":158,"size":3359,"collection":174,"collections":3360,"showCount":3318,"zanCount":54,"manualWeight":54,"mainColor":107},221215,"fei-ge-yan-feng-tu-ye-wang-shen-221215","飞阁延风图页","此图原载《四朝选藻册》。图绘二位仕女，佇立楼台远眺，一位站立桌旁泛览古玩，其态悠闲自在。楼前古松葱茏，亭楼隐隐可见。作者用严谨、缜密的界画作楼台，细笔勾松针，笔法娴熟劲健，设色鲜艳和谐。裱边旧题签「王詵飞阁延风」。但从画风对比分析，与王詵风格不同，故改为无名氏作。画中无款，钤二印(一半印)不可辨。对开有清高宗弘历题诗，钤「八征耄念之宝」、「太上皇帝之宝」、「自强不息」等印。曾经清内府收藏，不见著录。",[23,24,64,186,7,27,30,33,29,712,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddda2be2d8bd08b99a15bda9153a6936.jpg","纵26、横23.5厘米",[174,51],{"id":3362,"slug":3363,"title":3364,"dynasty":18,"author":3365,"museum":90,"description":3366,"tags":3367,"thumbUrl":3369,"material":47,"size":3370,"collection":174,"collections":3371,"showCount":3318,"zanCount":54,"manualWeight":54,"mainColor":55},219255,"rui-xue-ning-dong-tu-wang-e-219255","瑞雪凝冬图","王谔","高山巨石以及山下的庭院和山上的寺庙都由硬笔画出，冷峭逼人。山下远水高阔，船帆点点，落墨不多衬托了整幅绘画的冷寒的意境。",[23,24,1633,27,26,7,2546,3368,33,30,72,29],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dea2d2d24f34262242f7d5fcc48b26e.jpg","139.6厘米* 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这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[23,24,64,137,27,7,328,189,33,30,94,721,2325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg",[174],{"id":3381,"slug":3382,"title":1544,"dynasty":59,"author":324,"museum":236,"description":2684,"tags":3383,"thumbUrl":3385,"material":787,"size":788,"collection":103,"collections":3386,"showCount":3387,"zanCount":11,"manualWeight":54,"mainColor":55},289379,"diao-tai-wang-yun-tu-ma-yuan-289379",[24,1633,7,185,328,30,3384,329,330,33,367],"高台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c98950ab3cd210300a80beee13ca05.jpg",[],32,{"id":3389,"slug":3390,"title":698,"dynasty":133,"author":2600,"museum":236,"description":3391,"tags":3392,"thumbUrl":3393,"material":787,"size":788,"collection":103,"collections":3394,"showCount":3387,"zanCount":54,"manualWeight":54,"mainColor":107},287873,"qing-ming-shang-he-tu-juan-shen-yuan-287873","沈源[清]字恰亭，上海人。精科医，工铁笔，善画兰。代表作有《海上墨林》。",[257,24,64,25,26,27,7,29,30,259,437,33,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c46e55aac8d937ca2cfc4e29bcce68.jpg",[],{"id":3396,"slug":3397,"title":1025,"dynasty":133,"author":1026,"museum":236,"description":3398,"tags":3399,"thumbUrl":3400,"material":787,"size":788,"collection":103,"collections":3401,"showCount":3387,"zanCount":11,"manualWeight":54,"mainColor":107},235282,"ren-wu-gu-shi-ce-fan-xue-yi-235282","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,27,26,7,29,30,156,33,330,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652a5897903630ea1f074609fb94805f.jpg",[],{"id":3403,"slug":3404,"title":3096,"dynasty":133,"author":510,"museum":236,"description":3405,"tags":3406,"thumbUrl":3407,"material":103,"size":103,"collection":103,"collections":3408,"showCount":3387,"zanCount":54,"manualWeight":54,"mainColor":55},230157,"jiu-cheng-gong-tu-yuan-yao-230157","画作取高远、平远兼融的构图，上部巨岩拔地凌天，淡墨晕染出缭绕云气，晕开虚渺空濛的高远之境。山腰层楼叠宇依岩临渊，界画笔法工细匀整，飞檐翘角尽显宫阙的雄丽精巧。\n\n近景苍松虬曲蓊郁，临水方亭伴岸而立，板桥卧波轻连汀渚，淡墨铺陈出水岸的悠远空寂。山石兼工带写，斧劈皴间晕染烟岚，墨色干湿浓淡铺陈出山水层次虚实，将人工匠造融于天地山水间，尽显楼阁山水的明秀壮逸，把宫苑恢宏与山水灵秀相融，意境清逸悠长。",[23,24,290,7,27,137,30,189,94,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29d96974242735cfd79368fbee845cd.jpg",[],{"id":3410,"slug":3411,"title":3412,"dynasty":643,"author":3413,"museum":236,"description":3414,"tags":3415,"thumbUrl":3416,"material":103,"size":103,"collection":103,"collections":3417,"showCount":3387,"zanCount":54,"manualWeight":54,"mainColor":55},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","陈汝言","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,24,64,25,169,27,137,30,31,32,277,94,330,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":3419,"slug":3420,"title":1909,"dynasty":643,"author":1329,"museum":90,"description":3421,"tags":3422,"thumbUrl":3423,"material":101,"size":1914,"collection":103,"collections":3424,"showCount":3387,"zanCount":54,"manualWeight":54,"mainColor":55},228071,"yue-yang-lou-tu-xia-yong-228071","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何着笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[24,257,64,7,394,30,137,29,94,33,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a48c01606623521039e6e1df769255.jpg",[],{"id":3426,"slug":3427,"title":3428,"dynasty":59,"author":3429,"museum":236,"description":3430,"tags":3431,"thumbUrl":3432,"material":103,"size":103,"collection":103,"collections":3433,"showCount":3387,"zanCount":54,"manualWeight":54,"mainColor":55},227684,"hu-shan-chun-xiao-tu-chen-qing-bo-227684","湖山春晓图","陈清波","《湖山春晓图》页，南宋，陈清波绘，绢本，设色，纵25厘米，横26.7厘米。\n\n本幅款署：“乙未陈清波。”钤收藏印“庞莱臣珍藏宋元真迹”一方。庞元济《虚斋名画录》著录。\n\n此页以平远之法绘春山平湖。湖堤一边是掩映在绿树丛中的深院崇楼，湖对岸小路上一人骑马远行，执鞭回望崇楼，二仆负伞荷担相随，湖阔天高，远山一带。画中人物是踏青，是出行，是省亲，是远宦，耐人寻味。楼阁虽以粗笔画出，但飞檐户牖洗练而不失准确。简括明了的线条、大片空白的院体格式与清新淡雅的色调使画面在含蓄蕴藉之中充满了春天的明媚。",[23,24,804,27,137,30,33,29,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8ca390799c21fee010089df993fbc2.jpg",[],{"id":3435,"slug":3436,"title":3437,"dynasty":643,"author":273,"museum":61,"description":3438,"tags":3439,"thumbUrl":3440,"material":1913,"size":3441,"collection":81,"collections":3442,"showCount":3387,"zanCount":54,"manualWeight":54,"mainColor":759},223534,"jiang-shan-lou-ge-tu-zhou-yi-ming-223534","江山楼阁图轴","元代建筑画在继承两宋院体已臻成熟的工整精细的造型手段之基础上，借助元代所盛行的水墨画技法及北宋李公麟一路的白描技法，把建筑画逐步推向纯界画的境界。此幅虽仍将殿宇楼阁融入山重水复的自然景致中，但作者着力刻画的是建筑本体，山水配景已不复重要，楼宇的描绘细入微芒，建筑画状物精微的写实性达到了极致。",[23,24,64,257,290,7,328,27,137,30,94,33,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdadd7deefa1971227219d82aff1e53a.jpg","纵162厘米，横92.5厘米",[81,174,83],{"id":3444,"slug":3445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出版的图书，作者是袁江，袁耀。\n袁江（约1671—1746年以后），字文涛，江都（今江苏扬州）人，擅长画山水楼阁，初学明中期【吴门四家】之一仇英的画法，中年时得一无名氏画稿，之后画艺大进。\n其界画在清代被推为第一。\n袁江存世作品较多，多在国内收藏，也有一些流到海外。\n袁江是我国绘画史上有影响画家，宫廷画家，转工山水楼阁界画。\n在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。\n当时还有他的侄子袁耀同齐名。\n他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。\n他擅画山水、楼台、师法宋人。\n山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。\n他的绘画素材多为古代宫苑，尤长于界画。\n天津市文管处收有一幅《瞻园图卷》，表现南京的园林建筑；上海博物馆藏有一幅《东园图卷》；北京文物局收有《骊山避暑图轴》，表现想象中的仙境；南京博物院藏有《海山三山图轴》，也描绘了想象中的仙境和古代建筑，瑰丽壮观，富有意境。\n其侄（一说为子）袁耀，字昭道，山水楼阁传其家法。\n袁耀（生卒年未详），清朝画家，字昭道，江都（今江苏扬州）人，袁江之子，生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。\n擅界画，风格与其父极为近似。\n工画山水、楼阁、界画。\n画风工整、华丽，与袁江相似。\n其精品有胜于袁江者。\n偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。\n约活动于乾隆中期。\n上卷 画舫冲烟图 松亭纳凉图 春雷起蛰图 峨嵋雪霁图 桐阴消夏图 独坐看山图 骊山避暑图 江天暮雪图 寒食归宁图 猫雀图 水殿柳风图 汉宫秋月图 松柏齐年图 东山别墅图 溪山行旅图 梁园飞雪图 天香书屋图 山水人物图 绿野堂图 春雷起蛰龙图 郭汾阳富贵寿考图 仙山楼阁图 白云红树图 湖庄春晓图 渔浦晚归图 松风流水图 风雪归人图 秋林暮霭图 重阳风雨图 槛外长江图 海屋沾筹图 秋郊来骑图 下卷",[24,257,7,290,137,30,2421,3478,26,27],"避暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151db4c056ec8268fc389d385cc75777.jpg",[],{"id":3482,"slug":3483,"title":3484,"dynasty":133,"author":1080,"museum":236,"description":3485,"tags":3486,"thumbUrl":3487,"material":103,"size":103,"collection":103,"collections":3488,"showCount":3471,"zanCount":54,"manualWeight":54,"mainColor":55},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。",[23,24,64,7,27,26,137,30,382,33,244,29,39,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],{"id":3490,"slug":3491,"title":1003,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":3492,"thumbUrl":3493,"material":787,"size":788,"collection":103,"collections":3494,"showCount":3471,"zanCount":54,"manualWeight":54,"mainColor":107},226210,"ku-zhu-shi-bei-bi-yi-ming-226210",[1007,849,7,26,27,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8e84853f753592b0dd1a9c531e463a.jpg",[],{"id":3496,"slug":3497,"title":3498,"dynasty":133,"author":3499,"museum":236,"description":3500,"tags":3501,"thumbUrl":3504,"material":103,"size":103,"collection":103,"collections":3505,"showCount":3471,"zanCount":54,"manualWeight":54,"mainColor":107},224157,"hua-gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-224157","画高宗御笔秋花诗轴","张若霭","将对自然的喜爱带入生活，呈现在庭园中，成为小中现大的世界，正是本幅主体。\n作于乾隆十一年（1746）秋七月，画内廷台阁花园景致。\n台阁以界画绘制，具透视感。\n但与花卉相较却偏小，并不合真实比例，应是为强调群芳争妍的盛况而做此安排。\n园中鸡冠、秋葵、雁来红、菊、红蓼、凤仙等怒放，一片缤纷灿烂，展现明媚秋色。\n【名称】清 张若霭 画高宗御笔秋花诗 【年代】清代 【简介】台北故宫博物院。\n张若霭（171-1746），字晴岚，号景采，又号炼雪道人、晴岚居士，蕴真阁，梅花纳，炼雪道人，藕得书屋，佳梦轩等。\n安徽桐城人。\n张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。\n雍正十一 年（172年）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房。\n官至礼部尚书。\n曾参与《石渠宝笈》的编辑工作，乾隆十一年（1746年）随帝西巡，因病回京，不久卒。\n谥文僖。\n有《岁寒三友图》、《仿王元章疏影寒香图》传世。\n张若霭善书，工画花竹、禽虫，深得王糓祥、周之冕笔意。",[23,24,27,26,7,30,32,3502,560,139,3503,33],"秋花","瓦顶建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63628092ed57c5738e2fb917c30694a2.jpg",[],{"id":3507,"slug":3508,"title":3509,"dynasty":133,"author":3510,"museum":236,"description":3511,"tags":3512,"thumbUrl":3514,"material":787,"size":788,"collection":103,"collections":3515,"showCount":3471,"zanCount":54,"manualWeight":54,"mainColor":107},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[23,24,64,290,27,26,169,7,137,30,189,33,94,32,560,1845,3513,39,2010],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":3517,"slug":3518,"title":3519,"dynasty":133,"author":510,"museum":61,"description":1621,"tags":3520,"thumbUrl":3521,"material":141,"size":1624,"collection":103,"collections":3522,"showCount":3471,"zanCount":54,"manualWeight":54,"mainColor":55},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月",[23,257,24,64,137,7,27,26,30,382,33,239,72,330,477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg",[],{"id":3524,"slug":3525,"title":3526,"dynasty":133,"author":764,"museum":201,"description":765,"tags":3527,"thumbUrl":3530,"material":442,"size":771,"collection":103,"collections":3531,"showCount":3471,"zanCount":54,"manualWeight":54,"mainColor":55},223068,"hong-lou-meng-54-sun-wen-223068","红楼梦54",[23,26,27,7,29,30,31,315,781,189,3368,97,3528,3529],"伞","窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173a90b3a55ee52d258dbd1f30861e2f.jpg",[],{"id":3533,"slug":3534,"title":3535,"dynasty":133,"author":764,"museum":201,"description":765,"tags":3536,"thumbUrl":3538,"material":442,"size":771,"collection":103,"collections":3539,"showCount":3471,"zanCount":54,"manualWeight":54,"mainColor":107},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163",[23,24,26,27,7,29,30,39,97,98,137,33,612,1516,3154,355,3537,343],"聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg",[],{"id":3541,"slug":3542,"title":3543,"dynasty":133,"author":764,"museum":201,"description":765,"tags":3544,"thumbUrl":3545,"material":442,"size":771,"collection":103,"collections":3546,"showCount":3471,"zanCount":54,"manualWeight":54,"mainColor":55},223013,"hong-lou-meng-138-sun-wen-223013","红楼梦138",[23,24,26,27,7,29,93,30,39,1094,1515,885,623,2523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94fa31ab783364ada8a4dabfa58909e.jpg",[],{"id":3548,"slug":3549,"title":3550,"dynasty":18,"author":273,"museum":90,"description":3551,"tags":3552,"thumbUrl":3553,"material":47,"size":3554,"collection":51,"collections":3555,"showCount":3471,"zanCount":11,"manualWeight":54,"mainColor":55},219350,"wang-hai-lou-tu-zhou-yi-ming-219350","望海楼图轴","画中楼阁矗立于城墙之上，下瞰大江，群客登临宴饮。屋内文人三五成群，有些持卷观赏，有些凭窗眺远。本幅用界工整，青绿设色已略剥落，然屋宇脊顶之蛤白勾勒线条仍鲜明如故，使楼台轮廓分外醒目。此图签题虽定为「望海楼图」，然根据绘画内容看来，整个建筑群组面城临江， 居高临下，江边还有大型的雀舫龙舟，非常接近唐代文人王勃于〈藤王阁序〉中所描写的场景，或可定为藤王阁图。",[24,257,290,7,26,27,30,29,137,66,65,33,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedfd8e3692883f0a750fcbb48cfd87f.jpg","159.8x93.2",[51],{"id":3557,"slug":3558,"title":2457,"dynasty":59,"author":3559,"museum":236,"description":3560,"tags":3561,"thumbUrl":3562,"material":787,"size":788,"collection":103,"collections":3563,"showCount":3564,"zanCount":54,"manualWeight":54,"mainColor":55},288458,"lou-ge-tu-xia-ming-yuan-288458","夏明远","此作为典型宋代界画，以精工笔触勾勒层叠楼阁，依山就势排布，飞檐斗拱细节毕现，尽显营造规制之美。青绿设色沉稳雅致，山石皴染兼施，既衬出山峦雄浑底色，又将楼宇精巧凸显。\n\n画中人物往来台阁间，步履鲜活，为冷硬的建筑图景注入灵动烟火气，将苑囿盛景与林泉雅趣相融，让工整界画跳出匠气，兼具人文温度与山水意境，尽显宋代院体界画的极致造诣。",[23,24,257,804,7,27,169,30,137,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6ebf14b882f038a3aeada2bcbbf735.jpg",[],30,{"id":3566,"slug":3567,"title":3568,"dynasty":3569,"author":3570,"museum":236,"description":3571,"tags":3572,"thumbUrl":3573,"material":787,"size":788,"collection":103,"collections":3574,"showCount":3564,"zanCount":54,"manualWeight":54,"mainColor":55},230589,"jiang-hu-shi-dai-lou-ge-shan-shui-tu-ping-feng-12-kai-chi-da-ya-230589","江户时代楼阁山水图屏风12开","不详","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,64,98,27,7,137,30,29,31,33,94,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20545c3e86b58644149fb020c8ccf4e8.jpg",[],{"id":3576,"slug":3577,"title":3578,"dynasty":59,"author":1046,"museum":236,"description":3579,"tags":3580,"thumbUrl":3581,"material":103,"size":103,"collection":103,"collections":3582,"showCount":3564,"zanCount":54,"manualWeight":54,"mainColor":55},227805,"can-shi-tu-liu-song-nian-227805","蚕事图","整作以全景式铺陈桑蚕劳作日常，分构两处空间。左侧棚下匠人各司其职，抽丝、分拣有条不紊；右侧窗内，闺中女眷闲坐观览，将劳作与闲憩相映成趣，右上角民夫搬运蚕茧，更添烟火劳顿之气。\n\n画作以淡墨白描绘就，线条清雅柔和，屋舍瓦楞、林木枝桠皆刻画入微，人物神态鲜活自然。将江南蚕织农家的日常图景如实铺展，平和质朴间尽现宋代田园的生活真味，把风俗烟火融于清淡笔墨中，尽显写实风俗画的雅致意趣，藏着宋时江南的悠悠烟火意。",[24,64,257,26,27,7,25,29,76,33,1588,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e367156bf61318f3d34559af6f02c1.jpg",[],{"id":3584,"slug":3585,"title":2182,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":3586,"thumbUrl":3587,"material":787,"size":788,"collection":103,"collections":3588,"showCount":3564,"zanCount":54,"manualWeight":54,"mainColor":55},226301,"ku-zhu-shi-nan-bi-yi-ming-226301",[1007,849,27,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3944c48e054a5917054f6a7ff42361af.jpg",[],{"id":3590,"slug":3591,"title":3018,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":3592,"thumbUrl":3595,"material":787,"size":788,"collection":103,"collections":3596,"showCount":3564,"zanCount":11,"manualWeight":54,"mainColor":759},226281,"ku-zhu-shi-dong-bi-yi-ming-226281",[1007,849,27,26,7,29,30,3593,3594],"飞天","佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb79a40eade0d428c56208f99ef58bd.jpg",[],{"id":3598,"slug":3599,"title":3600,"dynasty":133,"author":3601,"museum":236,"description":3602,"tags":3603,"thumbUrl":3604,"material":103,"size":103,"collection":103,"collections":3605,"showCount":3564,"zanCount":54,"manualWeight":54,"mainColor":107},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。",[23,24,25,27,7,26,137,30,170,70,2410,244,33,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbd962cf16f4ca63b56ed8d350b757a.jpg",[],{"id":3607,"slug":3608,"title":3609,"dynasty":133,"author":764,"museum":201,"description":765,"tags":3610,"thumbUrl":3612,"material":442,"size":771,"collection":103,"collections":3613,"showCount":3564,"zanCount":54,"manualWeight":54,"mainColor":55},222923,"hong-lou-meng-48-sun-wen-222923","红楼梦48",[23,24,26,27,7,30,137,33,189,39,38,3611,76,2325],"绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bf32fa601630c2c88d88ceaaa1c981.jpg",[],{"id":3615,"slug":3616,"title":3617,"dynasty":59,"author":273,"museum":3163,"description":3618,"tags":3619,"thumbUrl":3620,"material":47,"size":3621,"collection":174,"collections":3622,"showCount":3564,"zanCount":54,"manualWeight":54,"mainColor":107},218634,"zhang-song-lou-tai-tu-yi-ming-218634","长松楼台图","长松倚崖而立，虬干如铁，松针密簇，苍劲中藏秀逸之态。山间楼阁隐于林麓，飞檐翘角，廊柱分明，尽显匠作之精。远山层叠，云雾轻萦，墨色由近及远渐淡，留白处意蕴悠长。近景山石皴法细腻，纹理毕现；远景写意晕染，天地清旷。笔墨刚柔相济：树石之劲健与云雾之轻柔相映，楼台之工整与山水之雄浑相衬。画面静谧悠远，似有松涛穿林，山风拂檐，将宋时文人对自然的眷恋凝于尺幅。虽为小品却含大气象，尽显“天人合一”的审美意趣，笔墨间藏着宋画独有的清旷与雅致，观之如临幽境，忘尘俗之扰。",[23,24,64,804,27,7,137,277,30,94,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d5aa0817149a9d7ed920480d9f97cf.jpg","24.8x23.5",[174],{"id":3624,"slug":3625,"title":3626,"dynasty":18,"author":19,"museum":236,"description":3627,"tags":3628,"thumbUrl":3629,"material":787,"size":788,"collection":103,"collections":3630,"showCount":3631,"zanCount":54,"manualWeight":54,"mainColor":55},290868,"zhou-jin-tang-zhou-chou-ying-290868","昼锦堂轴","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[257,24,290,169,27,26,7,137,29,30,277,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e9aebcd712fe1da73003fe9d86eb96.jpg",[],29,{"id":3633,"slug":3634,"title":1832,"dynasty":643,"author":1329,"museum":236,"description":2500,"tags":3635,"thumbUrl":3639,"material":787,"size":788,"collection":103,"collections":3640,"showCount":3631,"zanCount":54,"manualWeight":54,"mainColor":55},288341,"lv-dong-bin-guo-yue-yang-lou-tu-xia-yong-288341",[24,257,7,185,30,244,3636,3637,3638],"岳阳楼","吕洞宾","道教神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9430d5d84e56f6bcf030407da1ce84.jpg",[],{"id":3642,"slug":3643,"title":1003,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":3644,"thumbUrl":3648,"material":787,"size":788,"collection":103,"collections":3649,"showCount":3631,"zanCount":54,"manualWeight":54,"mainColor":55},226255,"ku-zhu-shi-bei-bi-yi-ming-226255",[1007,849,7,169,26,27,30,29,38,3645,39,3646,3647],"唐代风格","线条细致","重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e4df82c3c5730ef11493dbfa891d8e.jpg",[],{"id":3651,"slug":3652,"title":3653,"dynasty":133,"author":1080,"museum":236,"description":3654,"tags":3655,"thumbUrl":3656,"material":103,"size":103,"collection":103,"collections":3657,"showCount":3631,"zanCount":54,"manualWeight":54,"mainColor":55},224595,"zhu-bao-song-mao-tu-ping-yuan-jiang-224595","竹苞松茂图屏","《袁江竹苞松茂图屏》是清代袁江创作的一幅画。\n本幅题：“竹苞松茂，癸卯二月邗上袁江画”，钤“袁江之印”、“字文涛”印2方。\n袁江的界画楼阁无论大幅小幅，无不制作精工，尤其是精心绘制的通景屏，景物连贯一体，气势宏伟。\n此幅12条通景屏描绘作者理想中的仙山、楼阁、屋宇为长松茂竹所环抱，将雄伟壮阔的青绿山水与富丽堂皇的楼阁建筑恰到好处地融为一体，既精细入微，又大气磅礴，极大地提高了传统界画的表现能力和艺术感染力。",[23,24,7,27,26,137,30,33,94,330,39,1105,35,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59156e4ca8c6cc344953a9422e597f54.jpg",[],{"id":3659,"slug":3660,"title":3661,"dynasty":133,"author":986,"museum":236,"description":3662,"tags":3663,"thumbUrl":3664,"material":103,"size":103,"collection":103,"collections":3665,"showCount":3631,"zanCount":335,"manualWeight":54,"mainColor":55},224116,"ping-ding-tai-wan-zhan-tu-qian-long-224116","平定台湾战图","《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。",[23,24,64,27,26,7,25,29,30,39,33,217,1106,241,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],{"id":3667,"slug":3668,"title":3669,"dynasty":133,"author":764,"museum":201,"description":765,"tags":3670,"thumbUrl":3672,"material":442,"size":771,"collection":103,"collections":3673,"showCount":3631,"zanCount":54,"manualWeight":54,"mainColor":107},223064,"hong-lou-meng-50-sun-wen-223064","红楼梦50",[23,26,27,7,29,30,138,39,97,560,93,94,33,3671,422,38,623],"窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc423ebba504eb711cbd7c6339c40a038.jpg",[],{"id":3675,"slug":3676,"title":3677,"dynasty":488,"author":752,"museum":236,"description":3678,"tags":3679,"thumbUrl":3680,"material":787,"size":788,"collection":103,"collections":3681,"showCount":3682,"zanCount":54,"manualWeight":54,"mainColor":107},289989,"jiu-cheng-bi-shu-tu-li-si-xun-289989","九成避暑图","此幅为清宫旧藏，是故宫博物院庋藏的几幅时代较早、传为唐人的绘画作品之一。乾隆题诗中有“九成琼殿叠，百道玉泉翻”句，认为此图写九成宫。事实上，画面描绘的是贵族出行和游乐的场面，繁密富丽，充满亭台殿阁，其间人物、鞍马、舟车往来。画法虽具大小李将军“金碧山水”传派的特点，实为南宋画家所作。",[23,24,64,804,7,169,27,30,137,712,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa673409a6781dd2bfe14d84ac4d4aefb.jpg",[],28,{"id":3684,"slug":3685,"title":212,"dynasty":59,"author":340,"museum":236,"description":923,"tags":3686,"thumbUrl":3687,"material":787,"size":788,"collection":103,"collections":3688,"showCount":3682,"zanCount":54,"manualWeight":54,"mainColor":55},289877,"han-gong-chun-xiao-tu-zhao-bo-ju-289877",[24,257,7,26,30,137,170,1566,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b53dbdb8bc0d4900b483762f21aecf.jpg",[],{"id":3690,"slug":3691,"title":3692,"dynasty":643,"author":1329,"museum":236,"description":3693,"tags":3694,"thumbUrl":3695,"material":103,"size":103,"collection":103,"collections":3696,"showCount":3682,"zanCount":54,"manualWeight":54,"mainColor":107},228072,"teng-wang-ge-tu-ye-xia-yong-228072","滕王阁图页","此作以铁线白描界画楼宇，依山临江的名楼层叠错落，飞檐翘角、榫卯结构皆毫厘毕现，廊庑间人物往来顾盼，鲜活灵动，将楼阁巍峨工致描摹入微。\n\n江面上扁舟随波浮沉，远山澹澹晕开，简淡山水与精工楼宇相映，在尺幅之中铺展出宏阔雅致的胜景。整幅工细却不板滞，白描线条劲挺匀净，既复刻出名楼的壮伟形制，又晕染出江南水畔的清灵意韵，将登临名楼的雅致意趣凝于方寸之间，尽显界画的极致工巧，藏着对江南胜景的隽永追慕。",[23,24,257,7,186,394,185,30,137,188,700,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a4378908f12da247e608b1311e041d.jpg",[],{"id":3698,"slug":3699,"title":3700,"dynasty":59,"author":3312,"museum":236,"description":3701,"tags":3702,"thumbUrl":3704,"material":103,"size":103,"collection":103,"collections":3705,"showCount":3682,"zanCount":54,"manualWeight":54,"mainColor":55},228030,"wei-sheng-huang-hun-tu-zhao-da-heng-228030","薇省黄昏图","暮色漫过深宅庭院，丹红与素白的花影缀在枝桠，晕开柔暖朦胧的晚意。敞轩之内，一人斜卧假寐，将白日倦怠揉进黄昏里。屋宇木构刻画清雅工细，层叠的瓦檐晕染出松弛闲散的日常氛围。远景青绿山影轻笼在烟岚里，与院内花木相映，将宅邸晕成一方避世的静谧天地。\n\n整幅设色温雅柔润，工细笔意里带着写意的松弛，把黄昏庭院慵懒闲散的氛围感烘托至极，将宋人的闲雅私居之美定格，尽显慢煮时光的雅致意趣，晕开淡淡的温柔余韵。",[23,24,804,27,7,3703,33,137,381],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180cc436741e61cb1c56a0bdb9f2ef67.jpg",[],{"id":3707,"slug":3708,"title":2439,"dynasty":488,"author":273,"museum":61,"description":3709,"tags":3710,"thumbUrl":3711,"material":158,"size":3712,"collection":103,"collections":3713,"showCount":3682,"zanCount":54,"manualWeight":54,"mainColor":55},223442,"gong-yuan-tu-juan-yi-ming-223442","绘皇家园林景致。远处山峦起伏，林木葱郁，河道萦回，楼、阁、亭、台、廊、桥星罗棋布，气派宏大雄伟，富丽堂皇。画中游人悠闲风雅又热闹欢快，虽然熙熙攘攘，却如人间仙境。体现了唐代宫廷及贵族阶层悠闲而奢华的生活。此画可能为南宋时期所绘。",[23,24,64,25,7,27,26,30,137,29,189,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F477ef8865840f821a8da02c867a064c2.jpg","24.54*291.85",[],{"id":3715,"slug":3716,"title":3717,"dynasty":133,"author":764,"museum":201,"description":765,"tags":3718,"thumbUrl":3720,"material":442,"size":771,"collection":103,"collections":3721,"showCount":3682,"zanCount":54,"manualWeight":54,"mainColor":107},222877,"hong-lou-meng-2-sun-wen-222877","红楼梦2",[23,24,26,27,7,189,30,29,93,3719,478,3467,97,39,33,139],"芭蕉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06983d53be2cd078301c222dda3eab3b.jpg",[],{"id":3723,"slug":3724,"title":3725,"dynasty":59,"author":3726,"museum":90,"description":3727,"tags":3728,"thumbUrl":3729,"material":47,"size":3730,"collection":174,"collections":3731,"showCount":3682,"zanCount":54,"manualWeight":54,"mainColor":107},218865,"liu-feng-shui-ge-tu-zhu-guang-pu-218865","柳风水阁图","朱光普","朱光普擅长画农业场景，但这幅富贵人家的亭台楼阁画却有着不同的风格。",[23,24,64,804,27,7,30,477,137,244,33,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41187d0e63f2f801bb2dcdc087263985.jpg","23.1x24.5",[174],{"id":3733,"slug":3734,"title":3735,"dynasty":133,"author":1437,"museum":352,"description":3736,"tags":3737,"thumbUrl":3738,"material":47,"size":3739,"collection":103,"collections":3740,"showCount":3682,"zanCount":54,"manualWeight":54,"mainColor":107},218327,"shen-xian-gu-shi-tu-ce-9-leng-mei-218327","神仙故事图册-9","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,27,26,7,186,849,29,30,156,137,33,215,189,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e1457eaaddd10b6f13f3b0b2af97fe3.jpg","38x42",[],{"id":3742,"slug":3743,"title":3744,"dynasty":18,"author":19,"museum":236,"description":3192,"tags":3745,"thumbUrl":3747,"material":47,"size":103,"collection":103,"collections":3748,"showCount":3682,"zanCount":54,"manualWeight":54,"mainColor":55},216283,"er-shi-si-xiao-tu-8-chou-ying-216283","二十四孝图-8",[24,257,64,26,27,29,7,355,896,3746],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F671633696b7bd530b11888df938236ef.jpg",[],{"id":3750,"slug":3751,"title":3752,"dynasty":18,"author":19,"museum":236,"description":3192,"tags":3753,"thumbUrl":3754,"material":47,"size":103,"collection":103,"collections":3755,"showCount":3682,"zanCount":54,"manualWeight":54,"mainColor":55},216270,"er-shi-si-xiao-tu-22-chou-ying-216270","二十四孝图-22",[24,64,27,26,7,29,30,215,115,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1cb5e8e85cc64280fee746fd49e6162.jpg",[],{"id":3757,"slug":3758,"title":2396,"dynasty":59,"author":632,"museum":236,"description":3759,"tags":3760,"thumbUrl":3762,"material":787,"size":788,"collection":103,"collections":3763,"showCount":3764,"zanCount":54,"manualWeight":54,"mainColor":107},285065,"yue-ye-kan-chao-tu-li-song-285065","该画作描绘了宋时临安（今浙江杭州）中秋夜观海潮的情形，是一幅情景精致的杰作。",[23,804,24,257,7,27,30,188,2399,137,3761,524,367],"月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12505dfe1c558e14579ad3df9e7fede5.jpg",[],27,{"id":3766,"slug":3767,"title":3768,"dynasty":133,"author":3769,"museum":236,"description":3770,"tags":3771,"thumbUrl":3772,"material":103,"size":103,"collection":174,"collections":3773,"showCount":3764,"zanCount":54,"manualWeight":54,"mainColor":107},238246,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[24,64,186,27,7,137,30,33,188,69,367,712,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[174,51],{"id":3775,"slug":3776,"title":3777,"dynasty":133,"author":3778,"museum":236,"description":3779,"tags":3780,"thumbUrl":3781,"material":141,"size":103,"collection":49,"collections":3782,"showCount":3764,"zanCount":11,"manualWeight":54,"mainColor":55},234319,"jiu-ru-zhi-ji-ce-wang-gai-234319","九如治迹册","王概","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。\n王概（生卒年未详），最初名“匄”（发音：gai），可以写为“改”，也可以写为“丐”，字东郭，又字安节，浙江秀水（今嘉兴）人。一直以来居住于江宁（今江苏南京）。王概从龚贤(1618—1689)学山水画，用墨浓重，善作大幅及松石等。\n王概曾应李渔之婿沈因伯之请，与其兄王耆，其弟王臬在沈因伯保存的明末画家李流芳原有四十三幅画稿的基础上，补绘完成《芥子园画传》，后经李渔的帮助，刻印出版。\n王概兄弟皆笃行嗜古，旁及诗、画，擅名于时。一生专心艺事，不入仕途，以卖画为生。山水学龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”与当时名流汤燕生、李渔、程邃、孔尚任、周亮工等交往。",[24,186,27,26,7,137,29,30,31,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06918a767082105822cbcaec82eed402.jpg",[49],{"id":3784,"slug":3785,"title":3786,"dynasty":488,"author":752,"museum":61,"description":3787,"tags":3788,"thumbUrl":3789,"material":141,"size":3790,"collection":103,"collections":3791,"showCount":3764,"zanCount":54,"manualWeight":54,"mainColor":107},233807,"jing-ji-rui-xue-tu-wan-shan-li-si-xun-233807","京畿瑞雪图纨扇","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。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，而且目前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。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。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。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”。",[804,24,64,257,169,7,27,137,30,782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ee61859bd068c3c6b8fd3ba0b72f1f.jpg","纵42.7厘米，横45.2厘米",[],{"id":3793,"slug":3794,"title":3795,"dynasty":133,"author":273,"museum":90,"description":3796,"tags":3797,"thumbUrl":3799,"material":406,"size":3800,"collection":103,"collections":3801,"showCount":3764,"zanCount":11,"manualWeight":54,"mainColor":55},223555,"qing-qian-long-xiu-yun-shan-lou-ge-zhou-yi-ming-223555","清乾隆绣云山楼阁轴","此图由乾隆绘制，民间艺人绣于锦帛上。图绘仙境中金色云朵光芒耀眼，画面顶端楼宇飞檐翘壁，气势恢宏；从山底到达山顶的台阶数以千级，在山中蜿蜒向上；画上题：道洽三登",[23,1677,3798,290,7,27,137,30,189,277,1093,94],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ea82acf26ee7a9c9b7346c798aedd8.jpg","246.5x50.4cm",[],{"id":3803,"slug":3804,"title":3805,"dynasty":133,"author":764,"museum":201,"description":765,"tags":3806,"thumbUrl":3807,"material":442,"size":771,"collection":103,"collections":3808,"showCount":3764,"zanCount":54,"manualWeight":54,"mainColor":55},223063,"hong-lou-meng-49-sun-wen-223063","红楼梦49",[23,257,24,64,25,26,27,7,29,30,39,33,121,97,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0005ec926a0d206e783104f1a358f952.jpg",[],{"id":3810,"slug":3811,"title":3812,"dynasty":59,"author":340,"museum":90,"description":3813,"tags":3814,"thumbUrl":3815,"material":47,"size":3816,"collection":103,"collections":3817,"showCount":3764,"zanCount":54,"manualWeight":54,"mainColor":55},221673,"a-ge-tu-zhou-zhao-bo-ju-221673","阿阁图轴","这幅画佛盤膝坐毡上说法，下方海神身披弓剑跪地合掌参拜。前置海神奉献的聚宝盆。几上瓶中有烟，将说法内容显现于后，作云中的宫阙。但因绢色陈旧，不容易看清楚。全幅人物勾画圆劲，著色明净沉静，神采不减于新画。",[23,24,257,169,7,27,26,30,137,156,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a4900b271346803958202ba89e9f1.jpg","73.3x55.6",[],{"id":3819,"slug":3820,"title":3821,"dynasty":133,"author":3822,"museum":152,"description":3823,"tags":3824,"thumbUrl":3825,"material":3826,"size":3827,"collection":174,"collections":3828,"showCount":3764,"zanCount":54,"manualWeight":54,"mainColor":55},220980,"qing-chuan-lan-sheng-tu-yun-shou-ping-220980","晴川揽胜图","恽寿平","此图中所绘楼阁、山峦、丛林、江舟，乃武汉江岸黄鹤楼一带的胜景。\n画面构成右边以直线为主，林木直干密植，山峰耸立突兀，形成密不透风的格局，左边以横线描绘沙渚平波，空阔无际，左右对比大疏大密，别具新格。\n其运笔灵活洒脱，用墨浓淡相宜，层次分明。\n此图远处崇山之巅陡峰高耸入云，险峻奇峭；山腰间巉岩如屏，叠叠重重，山腰的平坡处隐现耸立的楼阁，丛树杂木掩映半边。\n近景山脚下为坡石冈埠，间植杂树林木，形成一片绿荫，画面左侧中景为水上民居，座落着村落和数间屋宁、曲折的河岸处，停泊为数众多的渔船，船上桅杆林立，也有几艘小舟横卧河心，不见人影，说明狂风暴雨接将来临，渔民暂避家憩息。",[23,24,64,290,27,328,7,137,30,33,524,94,32,329,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b2663bec907781942b77938278c47c.jpg","绫本设色","纵112厘米，横39.1厘米",[174,51],{"id":3830,"slug":3831,"title":3832,"dynasty":643,"author":273,"museum":709,"description":3833,"tags":3834,"thumbUrl":3836,"material":47,"size":3837,"collection":174,"collections":3838,"showCount":3764,"zanCount":54,"manualWeight":54,"mainColor":55},218216,"bi-wu-ting-xie-tu-yi-ming-218216","碧梧亭榭图","这幅画描绘的是一座美丽的亭子和榭廊，位于一片茂密的森林之中。亭子呈方形，由木构建筑搭建而成，四周环绕着一圈小山丘。亭子上方是一座榭廊，榭廊的栏杆由许多小木棍组成，看上去十分精致。\n\n在亭子的中心有一个圆形的池塘，池塘周围种满了许多花草，荷花、菊花、牡丹等各种鲜艳的花朵相互辉映，颜色鲜艳夺目。在池塘中央有一只小鸟儿正在游泳，一群小鸭子在岸边嬉戏。\n\n整幅画非常美丽，构图巧妙，色彩鲜艳，是一幅非常优秀的画作。它所描绘的这座亭子和榭廊，是人们在繁忙的城市生活中的一片净土，是人们放松身心的好去处。它也是一幅富有意境的画作，让人感受到自然的和谐与宁静。",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靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。",[23,24,64,186,27,7,29,30,39,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be219b172713f662084b76898f483ec.jpg","30.2x31.8",[49,51],{"id":4210,"slug":4211,"title":4212,"dynasty":59,"author":4213,"museum":90,"description":4214,"tags":4215,"thumbUrl":4216,"material":47,"size":4217,"collection":51,"collections":4218,"showCount":4042,"zanCount":54,"manualWeight":54,"mainColor":107},218874,"shui-xie-he-xiang-tu-ma-yong-zhong-218874","水榭荷香图","马永忠","这幅画描绘了一座水上宫殿，高耸入云，周围是垂柳树，岩石和宫殿的边框用青绿涂抹。",[23,24,64,27,7,186,30,464,1107,33,35,189,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6285e4bd1b8792b86fd7d346f2b0a86c.jpg","25.3x31.1",[51],{"id":4220,"slug":4221,"title":4222,"dynasty":59,"author":273,"museum":312,"description":450,"tags":4223,"thumbUrl":4224,"material":453,"size":454,"collection":103,"collections":4225,"showCount":4042,"zanCount":54,"manualWeight":54,"mainColor":107},214954,"dao-zi-mo-bao-ren-wu-bai-miao-hua-30-yi-ming-214954","道子墨宝人物白描画-30",[23,24,64,394,849,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82969bd7619304e9982352574fd890f1.jpg",[],{"id":4227,"slug":4228,"title":4229,"dynasty":18,"author":273,"museum":236,"description":4230,"tags":4231,"thumbUrl":4232,"material":787,"size":788,"collection":103,"collections":4233,"showCount":162,"zanCount":54,"manualWeight":54,"mainColor":55},290807,"xi-yuan-ya-ji-zhou-yi-ming-290807","西园雅集轴","此作以全景铺展雅集盛景，远景层峦用淡墨晕染，山势逶迤清旷，衬出郊野幽远底色。庭园内回廊错落，松石茂林点缀其间，芭蕉苍松分置各处，晕染出雅致的林泉氛围。\n画中人物各得其所：亭下围坐清谈，池畔展卷品赏，林间挥毫题咏，衣袂舒展，神态悠然生动，尽得文人士子从容风流。设色调和古雅，绢本沉郁底色托出工细笔致，将雅集的闲情逸致融于山水亭台之间，笔致工丽却不失灵韵，复刻出千古流传的林下雅会，尽显文心雅致与古典意趣。",[257,24,290,27,26,7,29,30,137,315,189,623,4133,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0294fa54610df6db4182742c6ecb128a.jpg",[],{"id":4235,"slug":4236,"title":4237,"dynasty":133,"author":254,"museum":236,"description":4238,"tags":4239,"thumbUrl":4241,"material":787,"size":788,"collection":103,"collections":4242,"showCount":162,"zanCount":54,"manualWeight":54,"mainColor":107},290381,"ri-yue-he-bi-wu-xing-lian-zhu-tu-juan-xu-yang-290381","日月合璧五星联珠图卷","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[23,24,25,26,27,7,2142,29,30,66,1678,437,41,421,670,4240],"城市街景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59433c653041cba0a9aeef66af3a88ba.jpg",[],{"id":4244,"slug":4245,"title":4246,"dynasty":643,"author":680,"museum":236,"description":4247,"tags":4248,"thumbUrl":4250,"material":787,"size":788,"collection":103,"collections":4251,"showCount":162,"zanCount":11,"manualWeight":54,"mainColor":107},287784,"yang-zheng-tu-juan-wang-zhen-peng-287784","养正图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[23,24,25,64,7,26,27,29,30,39,2142,343,712,4249,155],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac150d266bb48de0451eab13aac2dc0.jpg",[],{"id":4253,"slug":4254,"title":4255,"dynasty":133,"author":4256,"museum":236,"description":4257,"tags":4258,"thumbUrl":4259,"material":103,"size":103,"collection":174,"collections":4260,"showCount":162,"zanCount":54,"manualWeight":54,"mainColor":107},237564,"hua-fen-yong-xiao-shi-shi-ce-wang-fu-237564","画分咏小石诗册","王凫","此作以开合之景铺展山居雅趣，高岭卧石隐于浅草疏林，溪谷蜿蜒穿林而过，将画面裁为丘山与雅居两处景致。坡岸林间，士人围坐清谈，草亭之内宾主对坐酬唱，右侧层叠楼阁依岩而建，有人凭栏远眺。设色淡雅清和，赭石晕染山峦，花青点染林木，笔致秀润细腻，将文人士子幽居雅集的闲逸尽数铺陈。整体氛围安恬静穆，林下风流与山居幽趣相融，将江南山居的清旷雅致凝于尺幅之间，藏着文人栖居林泉的浮生雅事，尽显丘林雅韵。",[24,64,186,27,7,26,137,189,30,31,32,29,33,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3599c8cb93fc6d7c7fb6bd6e4a8dcf3c.jpg",[174,51,4136],{"id":4262,"slug":4263,"title":4264,"dynasty":18,"author":273,"museum":236,"description":4265,"tags":4266,"thumbUrl":4267,"material":103,"size":103,"collection":103,"collections":4268,"showCount":162,"zanCount":54,"manualWeight":54,"mainColor":55},234495,"song-yuan-ming-hua-ce-ming-ren-shan-shui-lou-ge-ye-yi-ming-234495","宋元明画册-明人山水楼阁页","画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和、色调明快。",[24,27,7,137,30,33,94,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c7c138c7ec5fbae641dc96dc938520.jpg",[],{"id":4270,"slug":4271,"title":4272,"dynasty":133,"author":273,"museum":236,"description":4273,"tags":4274,"thumbUrl":4278,"material":787,"size":788,"collection":103,"collections":4279,"showCount":162,"zanCount":54,"manualWeight":54,"mainColor":55},234414,"wu-liang-shou-fu-ji-le-shi-jie-tang-ka-yi-ming-234414","无量寿佛极乐世界唐卡","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。",[4275,849,27,26,7,29,30,419,4276,4277],"唐卡","莲花","宗教人物","https:\u002F\u002Foss.chuangqi.s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夏永创作的绢本墨笔画，现藏于美国波士顿美术馆。\n该图描绘中国名胜滕王阁的形势景色，画上并以细微楷写唐代王勃《滕王阁序》，用笔极为精细而不失矩度，堪称界画绝品。\n滕王阁位于江西 城外，唐高祖为其子 洪州刺史所建，元婴后封滕王故得名。\n此图用俯瞰法，视点高，同时显示多景的场面，已从纯粹描绘建筑物变成与自然环境结合的风景画面。\n高台之下，江坡浩渺，鱼舟往来，高低错落的楼阁亭台,殿内文士雅集，颇有园林趣味。\n如此规模的绘画景点，作者竟然在楼阁台基旁还描绘了陈设的精美古盆和盆景，一只高足束腰敞口渣斗式古盆，栽培着一棵 ，陈设在高阁空荡平台的中间。\n由此也可证实，当时社会时尚和作者艺术生活与美学观念的倾向。\n此图采用册页形式，取景重心偏置于画幅边角，以墨笔白描法表现著名楼阁。\n夏永擅画界画，喜绘滕王阁、岳阳楼、黄鹤楼，颇合营造规模，能迎合士夫趣味，画风对后世影响很大。\n此图用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n夏永（公元14世纪中）， 画家，字明远，钱塘（今浙江杭州）人，生卒年不详。\n擅长宫殿楼阁界画，师法王振鹏。\n所作《滕王阁图》、《 图》、《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n《花间笑语》云：“细若蚊睫，侔于鬼工。\n”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。\n传世作品有至正七年（147）作《岳阳楼图》册页，绢本，墨笔，纵25厘米，横26厘米，图右上书范仲淹《岳阳楼记》全文，款署“至正七年四月二十日，钱塘夏永明远画并题”；《丰乐楼图》册页，绢本，墨笔，纵25.8厘米，横25.8厘米，图中有夏永微楷书“十里挲平丰乐楼”长题，未署款，钤有“夏明远印”一方，现均藏故宫博物院；《岳阳楼图》页和《黄鹤楼图》页，尺寸相同，绢本，设色，纵27.厘米，横27.6厘米，藏 ；《滕王阁图》册页藏上海博物馆；《楼阁山水图》册页，绢本，设色，纵21.5厘米，横26.1厘米，藏美国高居翰教授景元斋。",[23,24,64,7,394,30,188,137,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e076c91b09ebf8640c247633824730.jpg",[],{"id":4303,"slug":4304,"title":4305,"dynasty":59,"author":273,"museum":61,"description":4306,"tags":4307,"thumbUrl":4308,"material":442,"size":4309,"collection":81,"collections":4310,"showCount":162,"zanCount":54,"manualWeight":54,"mainColor":55},223470,"zheng-ren-xiao-fa-tu-yi-ming-223470","征人晓发图","此为南宋民间风俗画。 茂密的山林中，树木葱郁，远处的树荫下有三间小屋。 农夫在他身后嬉戏，一头驴子站在角落里，扭头看主人忙碌。 远郊一家三口客栈的生活即将浮出水面，形象刻画。",[23,24,257,26,27,7,29,66,76,700,94,383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf409b97531dc0d89d051eddaf8a0f4d.jpg","51x68",[81],{"id":4312,"slug":4313,"title":4314,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4315,"thumbUrl":4317,"material":442,"size":771,"collection":103,"collections":4318,"showCount":162,"zanCount":54,"manualWeight":54,"mainColor":107},223034,"hong-lou-meng-159-sun-wen-223034","红楼梦159",[23,24,26,27,7,29,30,115,39,722,422,4316],"桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbe80f58a5cddf6da26b9a07b002371.jpg",[],{"id":4320,"slug":4321,"title":4322,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4323,"thumbUrl":4327,"material":442,"size":771,"collection":103,"collections":4328,"showCount":162,"zanCount":54,"manualWeight":54,"mainColor":107},223031,"hong-lou-meng-156-sun-wen-223031","红楼梦156",[23,257,24,64,25,26,27,7,29,30,1453,1516,97,216,4324,4325,561,4326],"古典服饰","传统建筑","聚会场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa653142b82fe372c69258835ddd281d8.jpg",[],{"id":4330,"slug":4331,"title":4332,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4333,"thumbUrl":4334,"material":442,"size":771,"collection":103,"collections":4335,"showCount":162,"zanCount":54,"manualWeight":54,"mainColor":55},223030,"hong-lou-meng-155-sun-wen-223030","红楼梦155",[23,26,27,7,29,30,137,315,33,39,97,3529,217,422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff333b78bc458b864fa110eb261e62863.jpg",[],{"id":4337,"slug":4338,"title":4339,"dynasty":643,"author":680,"museum":325,"description":4340,"tags":4341,"thumbUrl":4342,"material":1333,"size":103,"collection":174,"collections":4343,"showCount":162,"zanCount":54,"manualWeight":54,"mainColor":55},220094,"jin-biao-tu-wang-zhen-peng-220094","锦标图","该画作描绘了北宋宫廷金明池的龙舟竞渡活动，一方面显示夺标争锦之意，另一方面又有君民同乐的太平盛世意涵。",[23,257,24,64,25,7,27,29,30,31,32,1440,815,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6c7809bff9a5428579d2095a8cda8f.jpg",[174],{"id":4345,"slug":4346,"title":4347,"dynasty":59,"author":273,"museum":4348,"description":4349,"tags":4350,"thumbUrl":4351,"material":47,"size":103,"collection":174,"collections":4352,"showCount":162,"zanCount":54,"manualWeight":54,"mainColor":55},219919,"xue-yuan-tu-yi-ming-219919","雪园图","香港中文大学文物馆","以俯瞰视角铺展冬园景致，枯木寒竹环伺素瓦厅堂，朱红廊桥蜿蜒于池畔，暖艳色调破开绢底沉郁的萧寒。远山以淡墨晕染，空濛悠远，不着一笔画雪，却借萧索枝桠、冷寂苔阶衬出隆冬清寒。\n\n屋宇勾勒工整流丽，与山水的写意晕染相融，将园林的规整雅致与冬景的荒淡清寂揉合一处，藏着宋人冬日静居园中的闲淡心境，把隆冬里的幽居意趣晕染在方寸纨扇之上。",[23,24,64,804,7,27,30,31,524,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa442b5ebc3c18eafd18163b69ed18bd3.jpg",[174],{"id":4354,"slug":4355,"title":4356,"dynasty":59,"author":273,"museum":236,"description":4357,"tags":4358,"thumbUrl":4360,"material":787,"size":788,"collection":103,"collections":4361,"showCount":4362,"zanCount":54,"manualWeight":54,"mainColor":55},289958,"he-ting-xiao-xia-tu-yi-ming-289958","荷亭消夏图","以淡墨晕染远山，将夏意空濛铺陈开来，水汽裹挟着氤氲绿意浸满绢素。近岸古松虬劲苍郁，枝桠斜探如擎盖，为画面撑起沉稳骨架。临水亭台飞檐翘角，静立在松荫柳色间，似将溽暑隔绝在外，只留一襟荷风、满耳蝉鸣。\n\n笔墨简淡清润，山石以淡赭晕染兼短笔皴擦，写出夏山的温润松软；柳树以湿笔点叶，带着雨后的鲜灵润泽。留白处恍若十里平湖，虚渺间让观画人恍可涉水凭栏，偷取半日幽凉。整幅画未刻意描摹夏景喧嚣，只以亭台松柳、烟水云山，把夏日慵闲散淡揉进笔墨里，藏着宋人雅致从容，一帧小景盛满江南盛夏清寂诗意。",[257,24,1633,7,185,27,189,30,1094,137,4359,2250,328,367],"夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc18535677b22b77b6786af0a3a74489.jpg",[],22,{"id":4364,"slug":4365,"title":4366,"dynasty":59,"author":3269,"museum":236,"description":4367,"tags":4368,"thumbUrl":4369,"material":787,"size":788,"collection":103,"collections":4370,"showCount":4362,"zanCount":54,"manualWeight":54,"mainColor":107},289842,"song-he-ceng-lou-tu-zhang-dun-li-289842","松壑层楼图","熙宁元年选尚英宗女祁国长公主，授左卫将军、驸马都尉，迁密州观察使。元祐初，疏言：“变法易令，始于王安石，成于蔡确。近者退确进司马光，以臣观之，所得多矣。”进武胜军留后。",[23,24,64,7,137,30,277,27,343,712,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ca23e05a4be037ccdf9ee69a4cddc8.jpg",[],{"id":4372,"slug":4373,"title":4374,"dynasty":59,"author":4375,"museum":236,"description":4376,"tags":4377,"thumbUrl":4379,"material":787,"size":788,"collection":103,"collections":4380,"showCount":4362,"zanCount":11,"manualWeight":54,"mainColor":55},289561,"xiao-jing-tu-qing-da-fu-zhang-di-si-ma-he-zhi-289561","孝经图-卿大夫章第四","马和之","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[257,24,64,186,27,29,30,7,343,155,4378],"儒家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59de6ccc4183cd5bffa173b2eea10d0b.jpg",[],{"id":4382,"slug":4383,"title":1025,"dynasty":133,"author":1026,"museum":236,"description":4384,"tags":4385,"thumbUrl":4386,"material":103,"size":103,"collection":103,"collections":4387,"showCount":4362,"zanCount":54,"manualWeight":54,"mainColor":107},235276,"ren-wu-gu-shi-ce-fan-xue-yi-235276","此作以工笔重彩绘就庭院闲景，朱红廊柱配青绿松柳，设色明丽古雅。界画工细精准，楼阁栏楯分毫毕现，衬出院邸的规整雅致。画面中凭榻而坐的主人与环侍仕女情态各别，仕女衣袂轻扬，眉目柔婉温婉，将深闺雅宴的慵闲日常铺陈开来。笔致秀润细腻，人物神态灵动传神，把世家宅邸的松弛闲逸氛围烘托恰到好处，藏着古典闺阁的雅致意趣，是工笔人物叙事中的精巧佳构。",[186,26,27,7,29,93,30,189,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F838d87f548eb8bee324572f09d18b51d.jpg",[],{"id":4389,"slug":4390,"title":4391,"dynasty":133,"author":273,"museum":236,"description":4392,"tags":4393,"thumbUrl":4394,"material":103,"size":103,"collection":103,"collections":4395,"showCount":4362,"zanCount":335,"manualWeight":54,"mainColor":55},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。",[23,24,27,26,7,29,30,33,94,36,34,39,66,241,38,121,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],{"id":4397,"slug":4398,"title":1436,"dynasty":133,"author":1437,"museum":236,"description":4399,"tags":4400,"thumbUrl":4401,"material":103,"size":103,"collection":103,"collections":4402,"showCount":4362,"zanCount":54,"manualWeight":54,"mainColor":55},230146,"shi-gong-ci-tu-ce-leng-mei-230146","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 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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。",[23,24,64,25,27,7,26,849,30,31,32,189,137,33,94,1518,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":4795,"slug":4796,"title":4797,"dynasty":133,"author":2466,"museum":236,"description":4798,"tags":4799,"thumbUrl":4800,"material":103,"size":103,"collection":103,"collections":4801,"showCount":4746,"zanCount":54,"manualWeight":54,"mainColor":107},228938,"qian-long-nan-xun-zhu-bi-tu-qian-wei-cheng-228938","乾隆南巡驻跸图","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。",[23,24,64,7,27,26,30,137,33,38,39,94,2214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd542b499186cbae634efac97536fa24b.jpg",[],{"id":4803,"slug":4804,"title":4805,"dynasty":59,"author":1399,"museum":236,"description":4806,"tags":4807,"thumbUrl":4808,"material":103,"size":103,"collection":103,"collections":4809,"showCount":4746,"zanCount":54,"manualWeight":54,"mainColor":107},227976,"zhong-xing-rui-ying-tu-juan-xiao-zhao-227976","中兴瑞应图卷","《临萧照中兴瑞应图卷》是明代画家 创作的一幅绢本设色画。\n此幅为仇英的摹古之作。\n仇英中年以后，曾先后在大收藏家周凤来和项元汴家客居近2年，得以广泛观摩宋、元名迹，摹古技艺精深。\n《中兴瑞应图》卷为南宋萧照所作，取宋高宗赵构即位前的种种瑞应传说为内容，根据曹勋辑“瑞应诸事”所写赞文描绘而成，是一幅歌颂赵构重建王朝的作品。\n此卷现存四段：一、占卜。\n徽、钦二帝被俘后，显仁皇后在行殿用棋占卜，兆告康王继位，众皆庆贺。\n二、渡河。\n一骑陷落冰际，惟赵构得免。\n三、授衣。\n萝黄袍加身。\n四、射兔。\n高宗戎装骑驰，箭中白兔。\n原作共12段，曾藏于项元汴家，仇英因此得到观摩机会。\n卷末署有“吴郡仇英实父谨摹”款，钤“实父”、“十洲”二印。\n引首有董其昌书“仇英临宋萧照《高宗瑞应图》其昌”。\n后幅有董其昌、秦松龄、尹绳孙、许之渐、黄家舒、吴伟业六家题记。\n经项元汴、梁清标、耿信公等鉴藏。\n全画用笔粗重，设色妍丽，构图平远，既有宋画古拙雄劲的特色，又有文人画的韵致，不愧为仇英摹古精作。\n此卷临本共4段，用笔粗健，设色精细，图中建筑的比例、形象、风格以及细部都极其忠实于原作，再现了萧照绘画的神髓，可谓“下真迹一等”。\n也有古建筑研究专家认为仇英的楼阁画只是在临摹宋画时才有出色的表现，而其自己的创作则逊色一筹。\n仇英（1494-1561），江苏太仓人，居苏州，出身低微，初为漆丁，后改学画，初从师周臣，结交文征明、祝允明、唐寅等文人画家，对其提高文艺修养和画艺起了很大的作用。\n他还曾在收藏家项元汴家作画，遍观项氏所藏历代法书名画，并加以临摹，潜心钻研，终成一代名家。\n仇英擅人物、山水、走兽、界画，亦精于临摹，均技艺精湛。\n其山水师法赵伯驹、赵伯辅，作青绿山水，山石勾勒，皴染细密，色彩浓丽明雅，境界宏大繁复。",[23,24,64,25,27,26,7,29,30,33,39,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a11517bb5e9b3c0c974e033db1daa83.jpg",[],{"id":4811,"slug":4812,"title":4813,"dynasty":59,"author":1399,"museum":236,"description":4814,"tags":4815,"thumbUrl":4819,"material":103,"size":103,"collection":103,"collections":4820,"showCount":4746,"zanCount":54,"manualWeight":54,"mainColor":55},227703,"shan-yao-lou-guan-tu-xiao-zhao-227703","山腰楼观图","《山腰楼观图》是宋代画家萧照创作的一幅绢本水墨画，现收藏于台北故宫博物院。\n\n此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,257,24,64,1633,7,328,27,94,33,4816,188,2155,4817,30,329,4818],"江河","峭壁","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":4822,"slug":4823,"title":339,"dynasty":59,"author":273,"museum":152,"description":4824,"tags":4825,"thumbUrl":4826,"material":158,"size":4827,"collection":103,"collections":4828,"showCount":4746,"zanCount":54,"manualWeight":54,"mainColor":55},223351,"xian-shan-lou-ge-tu-yi-ming-223351","此图重彩画楼阁、奇峰、云树、仙人跨鹤。清代梁清标题签定为赵伯驹之作,但从画面的画法用笔和构图立意来看,却不似赵氏风格,应是民间画师的作品。图上钤有“黔宁王子王孙孙永宝之印”和梁清标等的收藏印章。《石渠宝芨》著录。",[23,24,27,7,137,30,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9837224f5d06f3d417ca69cec1f10beb.jpg","纵26厘米横27厘米",[],{"id":4830,"slug":4831,"title":4832,"dynasty":133,"author":510,"museum":61,"description":1621,"tags":4833,"thumbUrl":4834,"material":141,"size":1624,"collection":103,"collections":4835,"showCount":4746,"zanCount":54,"manualWeight":54,"mainColor":55},223286,"shan-shui-si-tiao-ping-yang-zhou-si-jing-ping-gang-yan-xue-yuan-yao-223286","山水四条屏-扬州四景-平岗艳雪",[23,24,64,27,26,7,137,189,31,781,3368,94,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F909e836a0258d68f302808fe9b398499.jpg",[],{"id":4837,"slug":4838,"title":4839,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4840,"thumbUrl":4841,"material":442,"size":771,"collection":103,"collections":4842,"showCount":4746,"zanCount":54,"manualWeight":54,"mainColor":107},223044,"hong-lou-meng-169-sun-wen-223044","红楼梦169",[23,24,26,27,7,1677,29,30,39,115,97,3466,3647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb909f1c9bff1f55e71f375d4921777f1.jpg",[],{"id":4844,"slug":4845,"title":4846,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4847,"thumbUrl":4848,"material":442,"size":771,"collection":103,"collections":4849,"showCount":4746,"zanCount":54,"manualWeight":54,"mainColor":55},223043,"hong-lou-meng-168-sun-wen-223043","红楼梦168",[23,26,27,7,29,30,32,33,94,31,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41abc7f44aa86979aad1c46d2d31962f.jpg",[],{"id":4851,"slug":4852,"title":4853,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4854,"thumbUrl":4861,"material":442,"size":771,"collection":103,"collections":4862,"showCount":4746,"zanCount":54,"manualWeight":54,"mainColor":1075},223011,"hong-lou-meng-136-sun-wen-223011","红楼梦136",[23,26,27,7,30,29,39,33,4855,4856,38,1677,4153,4857,4858,4859,4860],"红墙","琉璃瓦","庭院场景","人物群像","青绿树木","黄色屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccad1db767fc7371940285a08b007fd.jpg",[],{"id":4864,"slug":4865,"title":4866,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4867,"thumbUrl":4868,"material":442,"size":771,"collection":103,"collections":4869,"showCount":4746,"zanCount":54,"manualWeight":54,"mainColor":107},222982,"hong-lou-meng-107-sun-wen-222982","红楼梦107",[23,26,27,7,29,30,33,39,94,422,561,97,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11e1d6d81cbf31d96a5ec7d1bbf6211.jpg",[],{"id":4871,"slug":4872,"title":4873,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4874,"thumbUrl":4875,"material":442,"size":771,"collection":103,"collections":4876,"showCount":4746,"zanCount":54,"manualWeight":54,"mainColor":55},222965,"hong-lou-meng-90-sun-wen-222965","红楼梦90",[23,133,24,26,27,7,169,29,30,137,277,39,97,94,33,2042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2625fcd8834888bd949f168e4dcd3ba.jpg",[],{"id":4878,"slug":4879,"title":4880,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4881,"thumbUrl":4882,"material":442,"size":771,"collection":103,"collections":4883,"showCount":4746,"zanCount":54,"manualWeight":54,"mainColor":107},222953,"hong-lou-meng-78-sun-wen-222953","红楼梦78",[23,26,27,7,29,30,31,33,39,93,189,76,97,1093,3611,422,623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13e859bbe3be51184fcf4d9dec58bd.jpg",[],{"id":4885,"slug":4886,"title":4887,"dynasty":18,"author":4888,"museum":152,"description":4889,"tags":4890,"thumbUrl":4891,"material":4892,"size":4893,"collection":103,"collections":4894,"showCount":4746,"zanCount":11,"manualWeight":54,"mainColor":55},222078,"hu-fu-chun-qing-tu-xie-shi-chen-222078","虎阜春晴图","谢时臣","《明谢时臣虎阜春晴图》是明代画家谢时臣的作品，此画虚实结合，层次分明，笔墨稳健，湿墨渲染，衬托出江南春日胜迹的润郁宜人之色。此图为作者晚年对虎丘写生之作。\n谢时臣的作品笔法酣畅，墨色稳健，气势恢弘，与他同时期的吴门画派诸家的画则气格相对狭小，这更显出谢时臣绘画的魄力之大。但是，如果把他的作品和沈周、文徵明的作品做一比较，就会发现他的作品略显匠气。正如清代姜绍书在《无声诗史》中对谢时臣画的评价：“长卷巨幛，纵横自如，气势有余，韵秀不足。”\n《虎阜春晴》的布局来看，此图既有王蒙层峦叠嶂、构图紧密的绘画特点，又有谢时臣自己的绘画特征。曲折的山间小路和弯曲的流水给画面平添了无限的意趣。这样，欣赏者的目光就可以随之缓缓上移。远处江面开阔，云气缭绕。画面轻灵生动，意境开阔，于大幅之中透露出精致、典雅的格调。\n《图绘宝鉴续纂》称谢时臣的山水画“人物点缀，极其潇洒”。点景人物虽然只是山水画的点缀，不是独立的一种艺术表现形式，但它作为一种特殊的情感表现载体，赋予了山水画更多的思想色彩。它是山水画中必不可少的组成部分，常常具有“点睛”的作用。能否表现好点景人物，是衡量画家艺术水平高低的一个重要因素。由《虎阜春晴》来看，谢时臣不愧为绘制点景人物的能手。全图有近三十个点景人物，虽寥寥数笔，但都神态毕现、栩栩如生。譬如，近景船头有一人，手捧杂物，双腿微曲，正等船靠岸。画家把他等船的专注神情很好地刻画出来。更让人叫绝的是，画家仅用两笔就把远景舟船中的艄公和船客生动地表现出来。",[23,24,185,328,7,290,137,30,31,32,188,189,29,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5a2216ff13e70d6b7a9c5d0713dc22.jpg","纸本、设色","纵162.4厘米，横39.2厘米",[],{"id":4896,"slug":4897,"title":339,"dynasty":59,"author":273,"museum":236,"description":4898,"tags":4899,"thumbUrl":4900,"material":787,"size":788,"collection":103,"collections":4901,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":107},290482,"xian-shan-lou-ge-tu-yi-ming-290482","这幅团扇小品以青绿设色晕染山峦，石青石绿的古雅色调与赭色底交融，柔和沉静。楼阁层叠倚山而建，飞檐隐于翠微之间，山坳里流云漫出，将近景的苍松平洲与远景淡墨晕开的远山轻隔，虚实相生间晕染出缥缈仙气。方寸团扇之内，铺展出阔远山水意境，把仙乡的出尘清远融于雅致的宋韵山水之中，静穆淡远的氛围里，尽显寄情林泉、追寻栖居仙乡的意趣。",[23,24,257,804,169,27,7,137,30,1846],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1540e302f2eec408890a643c6a16249f.jpg",[],18,{"id":4904,"slug":4905,"title":212,"dynasty":59,"author":340,"museum":236,"description":923,"tags":4906,"thumbUrl":4907,"material":787,"size":788,"collection":103,"collections":4908,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":55},290066,"han-gong-chun-xiao-tu-zhao-bo-ju-290066",[257,24,7,26,30,137,491,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce9135c18a8b6a33abd63b47c88d18be.jpg",[],{"id":4910,"slug":4911,"title":4912,"dynasty":59,"author":273,"museum":90,"description":4913,"tags":4914,"thumbUrl":4916,"material":47,"size":4917,"collection":103,"collections":4918,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":55},289746,"bai-yue-tu-zhou-yi-ming-289746","拜月图轴","此作用景虚实相映，远景以淡墨晕染烟山柳岸，汀洲朦胧清寂，将秋夜空濛尽数铺展；近景精绘通透水榭，界画工致，檐角翩然飞举。廊下仕女整衣拜月，侍从恭立一旁，案上古瓶陈设雅致，线条勾勒细腻入微，将闺中拜月的温婉祈愿藏于笔底。整体设色调和古雅，淡烟浅墨晕开月夜宁和氛围，工丽间不失清逸，把日常的闺中雅事融于山水清景，尽显雅致幽柔的韵致，暗合含蓄内敛的审美意趣。",[257,24,290,7,27,29,30,189,4915],"拜月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e0efaba291f5e557266429a43d1d9f.jpg","103.8x48",[],{"id":4920,"slug":4921,"title":4922,"dynasty":59,"author":273,"museum":90,"description":4923,"tags":4924,"thumbUrl":4925,"material":47,"size":103,"collection":103,"collections":4926,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":55},231053,"zhe-kan-tu-yi-ming-231053","折槛图","《却坐图》是宋代佚名画家创作的绢本设色画，现藏于 。\n该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。\n”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。\n该画侧重表现矛盾化解过程中人物微妙的心理变化。\n此幅描绘的是西汉文帝时袁盎谏止宠妃慎夫人与帝、后并坐的故事。\n图中人物处于画面的中心，汉文帝等七人在画面的右侧，金瓜卫十在左侧，袁盎在文帝与金瓜卫士之间，离观者最近。\n在右侧七人中，文帝居中坐在宝座上，表情严肃，右手按膝，左手扶椅，胸前佩方心曲领，着通天冠服，长须垂胸；在皇帝左首圆墩上坐着慎夫人低头沉默，微露不悦，显得很不自在；四位宫女立于文帝身后，一位矮小的侍女，靠近慎夫人，她们都静立聆听，目睹现场；皇宫卫士，满腮长须，横眉怒目，两脚分叉，手执金瓜兵器，威风显赫，等待下旨，执行公务，袁盎弓背弯腰，两手举笏，作面奏君王状，神情坚定执着，但面向外，躬身上奏，坚毅庄重，神色坦然，看来已陈述完毕，任凭皇上处置。\n此事发生在上林苑中，院墙高筑，墙外茫茫一片田野和水面，院墙内一株大树靠右边拔地挺直而上，和中间的两棵参天大树，枝叶互相穿插，叶茂枝繁，形成了天然凉棚。\n太阳隔着云层雾气光线忽明忽暗，树叶在雾色中时隐时现、人群背后一排直立的假山石、棕榈树、仙鹤点缀着，画面的右下角还有丛竹、野草及深色太湖石。\n《却坐图》是历史故事画。\n说的是汉文帝时慎夫人僭坐故事：宠妃慎夫人坐在皇帝身边。\n她的举动违反了封建社会的礼仪，坐到了应属皇后的位置上。\n袁盎站出来当面进谏，谓帝既有后，不当容许其妃僭坐后位。\n文帝和慎夫人对他的直言进谏当时颇为恼怒，但还是接受了，并且给了袁盎一些赏赐以鼓励忠直。\n选择该故事作为题材，用意在于宣传封建纲常，赞扬敢于直言上谏、冒死维护君王统治利益的忠臣义士，是典型的院画题材。\n图中文帝坐于有奇花茂树、秀石珍禽的皇家苑囿中，袁盎上前俯身面谏，神情坚毅，文帝微露愠色，皇后坐于其侧低头不语，慎夫人站起身来面带不悦，一武士持的威严，同时也衬托出袁盎置生死于不顾，犯颜直谏的忠臣形象。\n从图中可以看到作者对现场中各类人物的外形，表情，到内心世界的刻画是非常成功的，而且对主要人物文帝、袁盎、金瓜卫士的内在联系及相互呼应交代得很清楚，如文帝的宽容大度，卫土的暴戾心理和袁盎忠直不惧的义胆，其以卫士的凶猛形貌象征皇帝手中的至高权力，相比之下，虽然袁盎处于软弱无力的地位，却显示了在这种特定场合中最有力量，而且作者将盎放在显要的位置，对他的形象刻画更富魅力，对袁盎敢于冒犯“圣上”的勇气极尽赞喻，图中要遣责的对象是慎夫人，安排在很不重要的位置上，侧面描绘成敢怒而不敢言的愧羞样子，连同她的诗人也是比其他宫女要矮小。\n该图不仅在人物位置经营上成功，而且布景也有其用意，文帝身后有高树一排，自立的假山石，仙鹤等景，而袁盎身旁的是就地长出的丛竹、小草与深色玲珑的太湖石等等。\n表示了作者章法布局有韵致，遵循院画的审美标准，而造诣颇高。\n中国美术研究院研究员王鲁豫：《却坐图》整个画风都接近于《 》，表现了南宋院体人物故事画的高度水平。\n218年1月4日，“国宝再现—书画菁华特展”在台北故宫博物院北部院区第一展览区21室开幕，《却坐图》在其中展出。",[23,257,24,64,290,26,27,7,29,30,277,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b0cdfb2193e1f81f95c31e32cf2c7d.jpg",[],{"id":4928,"slug":4929,"title":1003,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":4930,"thumbUrl":4931,"material":787,"size":788,"collection":103,"collections":4932,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":55},226456,"ku-zhu-shi-bei-bi-yi-ming-226456",[1007,849,7,27,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeea4432cc34b7e8ddc27922505e3a14.jpg",[],{"id":4934,"slug":4935,"title":1003,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":4936,"thumbUrl":4937,"material":787,"size":788,"collection":103,"collections":4938,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":759},226244,"ku-zhu-shi-bei-bi-yi-ming-226244",[1007,849,27,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c559cc80ef2fdd111a6701fe4728226.jpg",[],{"id":4940,"slug":4941,"title":4942,"dynasty":133,"author":3769,"museum":236,"description":4943,"tags":4944,"thumbUrl":4947,"material":158,"size":4948,"collection":174,"collections":4949,"showCount":4902,"zanCount":11,"manualWeight":54,"mainColor":107},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,257,24,64,27,7,367,137,30,187,31,32,33,94,4945,4946,43,97],"岛屿","园林建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[174,51],{"id":4951,"slug":4952,"title":4953,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4954,"thumbUrl":4955,"material":442,"size":771,"collection":103,"collections":4956,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":55},223048,"hong-lou-meng-173-sun-wen-223048","红楼梦173",[23,26,27,7,29,30,39,33,97,94,767,98,422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa24ebf169298a599f6c858be834d3e46.jpg",[],{"id":4958,"slug":4959,"title":4960,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4961,"thumbUrl":4962,"material":442,"size":771,"collection":103,"collections":4963,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":107},223016,"hong-lou-meng-141-sun-wen-223016","红楼梦141",[23,24,27,26,7,137,29,30,138,477,33,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84111c7cf762139844514a25f574e26.jpg",[],{"id":4965,"slug":4966,"title":4967,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4968,"thumbUrl":4969,"material":442,"size":771,"collection":103,"collections":4970,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":55},223006,"hong-lou-meng-131-sun-wen-223006","红楼梦131",[23,24,64,26,27,7,29,30,39,33,94,216,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66779d2b4c3b4247ab7fa10a43a0b2.jpg",[],{"id":4972,"slug":4973,"title":4974,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4975,"thumbUrl":4978,"material":442,"size":771,"collection":103,"collections":4979,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":107},223005,"hong-lou-meng-130-sun-wen-223005","红楼梦130",[23,24,26,27,169,25,2370,29,93,30,31,4976,115,623,240,32,7,4977],"仙鹤","珍禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5977ba55925ddfb890fab98b4c30ea9.jpg",[],{"id":4981,"slug":4982,"title":4983,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4984,"thumbUrl":4985,"material":442,"size":771,"collection":103,"collections":4986,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":107},222966,"hong-lou-meng-91-sun-wen-222966","红楼梦91",[23,24,64,25,27,26,7,29,1105,32,33,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb39e4fc09e1e3bc62862b5c2e0b2c8.jpg",[],{"id":4988,"slug":4989,"title":4990,"dynasty":133,"author":764,"museum":201,"description":765,"tags":4991,"thumbUrl":4994,"material":442,"size":771,"collection":103,"collections":4995,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":55},222943,"hong-lou-meng-68-sun-wen-222943","红楼梦68",[23,26,27,7,29,2524,2808,216,99,343,4145,4992,4316,4993,1453,1515],"书架","凳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c32ce07b23c9a117289cfb2e75eaa4a.jpg",[],{"id":4997,"slug":4998,"title":4999,"dynasty":133,"author":764,"museum":201,"description":765,"tags":5000,"thumbUrl":5010,"material":442,"size":771,"collection":103,"collections":5011,"showCount":4902,"zanCount":54,"manualWeight":54,"mainColor":107},222932,"hong-lou-meng-57-sun-wen-222932","红楼梦57",[23,26,27,7,29,5001,1516,5002,5003,94,216,98,5004,355,896,561,5005,5006,5007,5008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为绘画开启了类似寄情寓性的功能。",[23,257,24,64,804,27,26,7,29,66,33,30,383,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":5818,"slug":5819,"title":5820,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":5821,"thumbUrl":5822,"material":787,"size":788,"collection":103,"collections":5823,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":55},226495,"ku-zhu-shi-nan-pi-yi-ming-226495","窟主室南披",[1007,849,7,27,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ecd09e5896a3e0f1abe6ae7a73eff9b.jpg",[],{"id":5825,"slug":5826,"title":1684,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":5827,"thumbUrl":5828,"material":787,"size":788,"collection":103,"collections":5829,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":55},226240,"ku-zhu-shi-xi-bi-yi-ming-226240",[1007,849,27,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b44f3ccfe854e97e66e883d8f569ec9.jpg",[],{"id":5831,"slug":5832,"title":1003,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":5833,"thumbUrl":5834,"material":787,"size":788,"collection":103,"collections":5835,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":55},226225,"ku-zhu-shi-bei-bi-yi-ming-226225",[1007,849,27,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd94ad151ca285a2d772e96990c5656.jpg",[],{"id":5837,"slug":5838,"title":5839,"dynasty":643,"author":273,"museum":236,"description":5840,"tags":5841,"thumbUrl":5842,"material":103,"size":103,"collection":103,"collections":5843,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":55},223626,"he-ting-dui-yi-tu-ye-yi-ming-223626","荷亭对弈图页","《荷亭对弈图页》是元代画家佚名创作的一幅绢本设色画，现收藏在故宫博物院。\n本幅无作者款识。\n收藏印钤“庞莱臣珍藏宋元真迹”、“项墨林父秘笈之印”二方。\n图中描绘 边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐，不知是弈后的疲惫小憩还是战前的养精蓄神；又有三 ，一执扇，一伏案，一取水，整幅意境悠闲雅淡 此画将青绿山水与界笔楼阁有机结合，是南宋院画楼阁小品的沿展，只是风格更加清新活泼。\n此页旧题签“赵伯骕荷亭对弈”，实为元人所作。",[23,257,24,64,186,27,7,26,29,30,189,1992,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea73aea37bb0f5cf60b79d0bc39c0e2.jpg",[],{"id":5845,"slug":5846,"title":5683,"dynasty":133,"author":1360,"museum":90,"description":5847,"tags":5848,"thumbUrl":5851,"material":103,"size":5852,"collection":103,"collections":5853,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":107},223247,"ji-le-shi-jie-ding-guan-peng-223247","丁观鹏(？-1771后)， 清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物，尤擅仙佛、神像，以宋人为法，不尚奇诡，学明代丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。\n丁观鹏曾与弟弟观鹤同供奉于南熏殿。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》。",[23,24,26,27,5849,5850,7,3020,5683,3594,29,30,464],"描金","宗教画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1315eb66f2c58f05c6831040a5c918.jpg","横60x纵119cm",[],{"id":5855,"slug":5856,"title":5857,"dynasty":133,"author":764,"museum":201,"description":765,"tags":5858,"thumbUrl":5859,"material":442,"size":771,"collection":103,"collections":5860,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":55},222984,"hong-lou-meng-109-sun-wen-222984","红楼梦109",[23,24,26,27,7,29,4145,33,1516,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858eab4cec4a5f22c722e84f1f2a69c0.jpg",[],{"id":5862,"slug":5863,"title":3251,"dynasty":133,"author":764,"museum":201,"description":765,"tags":5864,"thumbUrl":5865,"material":442,"size":771,"collection":103,"collections":5866,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":107},222921,"hong-lou-meng-46-sun-wen-222921",[23,26,27,7,29,93,30,31,33,115,39,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f68ca4c6fa9ab7880091059a4ab8cc1.jpg",[],{"id":5868,"slug":5869,"title":5870,"dynasty":133,"author":764,"museum":201,"description":765,"tags":5871,"thumbUrl":5872,"material":442,"size":771,"collection":103,"collections":5873,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":107},222907,"hong-lou-meng-32-sun-wen-222907","红楼梦32",[23,24,64,26,27,7,29,30,39,315,700,94,2525,93,76,3467,2524,4187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e9f1d82d6ef78a2bca3d92337f7fb.jpg",[],{"id":5875,"slug":5876,"title":5877,"dynasty":133,"author":764,"museum":201,"description":765,"tags":5878,"thumbUrl":5879,"material":442,"size":771,"collection":103,"collections":5880,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":107},222887,"hong-lou-meng-12-sun-wen-222887","红楼梦12",[23,1677,26,27,7,29,30,39,33,45,767,5734,4549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93316b2f943f9790c60e28115b7951e.jpg",[],{"id":5882,"slug":5883,"title":5884,"dynasty":59,"author":5885,"museum":90,"description":5886,"tags":5887,"thumbUrl":5888,"material":47,"size":5889,"collection":174,"collections":5890,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":107},218873,"shan-shui-tu-su-di-chun-xiao-ma-yuan-zhong-218873","山水图-苏堤春晓","马元忠","画面中，西湖边的苏澳路景象逼真，断桥和三座鱼舱清晰可见，湖壁上的游客画面虽小，却很生动。马元忠的画史没有记载，他对苏堤在南宋时期的面貌进行了宝贵的描绘。",[23,24,64,186,7,185,27,137,30,31,188,33,329,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f9048532902657b0f71f4a712b0075.jpg","23.6x25.8",[174],{"id":5892,"slug":5893,"title":5894,"dynasty":133,"author":273,"museum":2564,"description":5895,"tags":5896,"thumbUrl":5897,"material":191,"size":103,"collection":103,"collections":5898,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":759},216866,"xi-xiang-ji-tu-ce-18-yi-ming-216866","西厢记图册-18","亭榭隐于繁枝间，青瓦层叠如鳞，木栏绕阶映水，几分清幽漫溢画间。二人立于亭前，一俯身似低语，一垂眸含温婉，衣袂轻扬处，西厢旧梦的缱绻悄然流转。石畔蓝花点缀，树影婆娑覆檐，笔墨勾勒细腻，瓦当、枝叶皆见工致；设色淡雅温润，青绿与素白相映，恰如古典情愫的含蓄。画面以景托情，将才子佳人的脉脉温情融于园林小景，每一处细节都藏着故事的余韵，让观者于尺幅间触摸到那段西厢佳话的雅致与缠绵。笔墨工致处见匠心，淡彩晕染中显韵致，将古典爱情的含蓄与园林景致的清幽凝于方寸，尽显中式美学的温婉与深情。",[24,64,186,26,27,7,29,189,33,94,97,93,896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0544b5586ecc1a77e8fc5d4a7640a633.jpg",[],{"id":5900,"slug":5901,"title":5902,"dynasty":133,"author":273,"museum":2564,"description":5903,"tags":5904,"thumbUrl":5905,"material":191,"size":103,"collection":103,"collections":5906,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":759},216860,"xi-xiang-ji-tu-ce-14-yi-ming-216860","西厢记图册-14","画面铺展一方雅致庭院，朱红栏杆蜿蜒勾连亭台，古树荫蔽下，山石错落生姿，几丛花草点缀其间，愈显清幽。人物衣袂轻扬，一立一跪间藏着西厢故事的婉转心事——站立者身姿温婉，似在俯身相询；跪拜者手持物件，神情恳切。工笔设色细腻，衣纹线条流畅，青绿草木与朱红栏杆相映成趣，将古典园林的静谧与人物互动的张力巧妙融合，仿佛能窥见西厢记中那段缠绵故事的一隅，笔墨间尽是对古典情韵的细腻描摹。",[24,64,186,27,7,29,30,32,215,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F720652a38329f92eef957d18fe25b055.jpg",[],{"id":5908,"slug":5909,"title":5910,"dynasty":18,"author":5911,"museum":236,"description":5912,"tags":5913,"thumbUrl":5914,"material":303,"size":103,"collection":103,"collections":5915,"showCount":249,"zanCount":54,"manualWeight":54,"mainColor":107},216348,"xi-xiang-ji-cha-ye-6-min-qi-ji-216348","西厢记插页-6","闵齐伋","亭阁为框，圈定西厢故事的一隅。人物情态毕现：或垂首凝思，或侧耳倾听，或跪呈物件，似正演绎书中某个细腻瞬间。青绿飘带如流泉绕阁，金饰顶檐添雅致华贵，淡彩晕染出明画特有的温润。线条婉转细腻，将人物衣袂的柔、神情的幽，皆凝于笔端。每一处装饰、每一个姿态，都藏着西厢的婉转心事，让观者于静帧中，触到古典爱情的脉脉余温。画面以雅致之姿，定格了文字外的情愫流转，似能听见书页间的喟叹，将西厢的幽微心事，凝作这帧静美的视觉诗篇。",[18,418,27,7,186,29,93,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f18475ac0929c41b31c25511bd792f5.jpg",[],{"id":5917,"slug":5918,"title":5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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。”",[24,64,290,7,26,27,30,170,137,33,38,94,39,5303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],{"id":6001,"slug":6002,"title":6003,"dynasty":59,"author":273,"museum":236,"description":6004,"tags":6005,"thumbUrl":6007,"material":103,"size":103,"collection":103,"collections":6008,"showCount":5935,"zanCount":54,"manualWeight":54,"mainColor":55},227885,"shui-cun-lou-ge-tu-ye-yi-ming-227885","水村楼阁图页","此作以平远之法铺陈水村之景，水墨晕染间漫开烟霭濛濛的空寂氛围。近岸浅滩林木错落，村阁隐于繁荫之中，扁舟系于汀渚，渔人偶见，野趣自生。远景山峦在淡墨晕染里渐隐于烟岚，虚实相生，尽显江南水乡湿润清润的暮色闲情。笔墨简淡松灵，不刻意雕琢细节，以氤氲水墨烘托出悠远超脱的隐逸意趣，将水村的静谧安闲融在烟水空濛之中，尽显山水小品尚简尚意的审美意趣，观之如身临水乡，忘却尘俗喧嚣。",[23,24,64,185,27,137,7,186,328,30,33,32,2303,329,330,6006],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":6010,"slug":6011,"title":6012,"dynasty":59,"author":273,"museum":236,"description":6013,"tags":6014,"thumbUrl":6015,"material":103,"size":103,"collection":103,"collections":6016,"showCount":5935,"zanCount":54,"manualWeight":54,"mainColor":107},223642,"peng-ying-xian-guan-tu-yi-ming-223642","蓬瀛仙馆图","此作以界画笔法层叠绘出仙山楼阁，殿宇廊庑排布严整精巧，错落掩映于深林茂树之间，汀岸临水铺展，烟波轻笼，晕染出缥缈出尘的世外氛围。\n\n整幅设色古雅沉静，线条工致秀挺，将想象中的仙乡胜境具象呈现，带着宋画特有的含蓄清远。搭配题诗呼应画境，把环山临水的清隽意趣与可望不可即的幽邃雅致相融，观之恍若踏入蓬阆，暂别俗世喧嚣，神游这片清幽仙境。",[23,24,64,804,7,27,30,189,137,712,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9ee517b14027e7e9f1d81a16ef3f7f.jpg",[],{"id":6018,"slug":6019,"title":6020,"dynasty":59,"author":273,"museum":61,"description":6021,"tags":6022,"thumbUrl":6023,"material":141,"size":6024,"collection":81,"collections":6025,"showCount":5935,"zanCount":54,"manualWeight":54,"mainColor":107},223453,"ceng-lou-chun-tiao-tu-ye-yi-ming-223453","层楼春眺图页","此图崇楼纯以细笔勾勒，玲珑空透，远山春意烂漫，却在明丽中带有淡淡的清寂。层楼上一妇人携侍女凭栏远眺碧波中的归帆，虽然描绘的主体是没有生命的建筑物，但整幅画面却分明透露出一丝“春怨”的气息，表现出南宋楼阁画家在借物言情方面的高超技艺。",[23,24,64,804,7,27,137,30,33,38,712,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf1d7841e69e6edab7521ad57407fbd3.jpg","纵23.7cm，横26.4",[81],{"id":6027,"slug":6028,"title":6029,"dynasty":133,"author":893,"museum":61,"description":6030,"tags":6031,"thumbUrl":6033,"material":103,"size":6034,"collection":103,"collections":6035,"showCount":5935,"zanCount":54,"manualWeight":54,"mainColor":107},223216,"geng-zhi-tu-ce-jiao-bing-zhen-223216","耕织图册","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,64,580,26,27,7,29,1587,76,139,6032,1480],"纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bac5db85afd5f566ac05862b663b2ad.jpg","34.7cm×27.7cm",[],{"id":6037,"slug":6038,"title":6039,"dynasty":133,"author":764,"museum":201,"description":765,"tags":6040,"thumbUrl":6041,"material":442,"size":771,"collection":103,"collections":6042,"showCount":5935,"zanCount":54,"manualWeight":54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tion":103,"collections":6121,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},235667,"yuan-yao-shan-shui-ping-ping-liu-yong-pu-yi-ming-235667","袁耀山水屏-平流湧瀑","此作撷取江南水居之景，远景山峦轻笼烟霭，晕染出空濛悠远之致。山巅双松挺秀如盖，与朱栏山亭相映，山畔飞瀑叠落如碎玉，汇入清溪沿着山涧蜿蜒淌向平湖。\n\n左岸幽轩藏于繁荫翠幄间，与山亭遥遥对坐，凭栏便可尽览天光水色。平湖波平如镜，数艘渔舟静泊水面，将水畔栖居的闲静意趣晕染开来。\n\n画作工写相兼，山石皴擦苍润生姿，林木晕染清润秀雅，设色轻淡柔和，将园林雅致与山水野趣相融，铺展出江南水畔悠然世外的栖居图景，尽显清雅闲逸的诗意氛围。",[257,24,27,328,7,137,30,32,188,189,31,2155,33,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a11aea2d5863fd9ee7ef32eededec.jpg",[],{"id":6123,"slug":6124,"title":6125,"dynasty":59,"author":273,"museum":61,"description":6126,"tags":6127,"thumbUrl":6129,"material":6130,"size":6131,"collection":103,"collections":6132,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":107},233014,"shen-tang-qin-qu-tu-ye-yi-ming-233014","深堂琴趣图页","远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。这在宋诗、宋词和宋画中留有许多经典的范例。如从刘松年的《四景山水图》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。音乐，求其意境，要有共鸣、幽远方妙。《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。庭石上又有青松一株，遥承琴声，而成风如松。环境与音乐布局协和生发，绝无滞碍。主人弹琴，恰好面东，而门对南，空间方位甚为有序。如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。这些看似细微之处，正可见宋人对画中空间风水的深刻认知。画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。",[1230,24,186,27,7,26,137,30,33,39,6128,97,215,367],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be54f010dc1e0bed94db829cee44280.jpg","绢本、设色","纵23.6厘米，横24.9厘米",[],{"id":6134,"slug":6135,"title":6136,"dynasty":59,"author":273,"museum":236,"description":6137,"tags":6138,"thumbUrl":6139,"material":103,"size":103,"collection":103,"collections":6140,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[23,257,24,64,804,7,26,27,137,189,33,29,30,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde8b70cacf16880e6a0c9d4be81a8c.jpg",[],{"id":6142,"slug":6143,"title":6144,"dynasty":59,"author":273,"museum":236,"description":6145,"tags":6146,"thumbUrl":6148,"material":103,"size":103,"collection":103,"collections":6149,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},227862,"zao-qiu-ye-po-tu-yi-ming-227862","早秋夜泊图","此作用细腻铁线描勾勒两艘泊船，舱室回廊、高耸桅杆皆刻画入微，淡赭轻敷点缀舱间细节，古拙雅致。远景水榭楼台隐在朦胧夜色间，烟水空濛晕染开早秋清寒。\n画面以小景写幽情，将旅人行舟暂歇的安然揉进静谧江色里，写实中带着诗意澹远，尽显宋人体察日常的雅致笔力，把初秋江上夜泊的清寂况味铺陈开来，淡而不寡，静中藏着羁旅安然的意趣。",[23,24,64,7,27,26,65,30,1107,137,6147],"早秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9709ec5d8d3f68db6c128de0f7e73a9.jpg",[],{"id":6151,"slug":6152,"title":5292,"dynasty":59,"author":632,"museum":236,"description":6153,"tags":6154,"thumbUrl":6155,"material":103,"size":103,"collection":103,"collections":6156,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},227738,"shen-pin-tu-li-song-227738","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,257,64,804,7,27,26,137,30,29,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4d68682181dca7241b159da51e2ccc.jpg",[],{"id":6158,"slug":6159,"title":6160,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":6161,"thumbUrl":6163,"material":787,"size":788,"collection":103,"collections":6164,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},226161,"ku-zhu-shi-zao-jing-yi-ming-226161","窟主室藻井",[1007,849,7,27,4276,6162],"藻井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F737421567df874852ef64d217faad00d.jpg",[],{"id":6166,"slug":6167,"title":6168,"dynasty":133,"author":6169,"museum":236,"description":6170,"tags":6171,"thumbUrl":6173,"material":103,"size":103,"collection":103,"collections":6174,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},224268,"fang-fan-zhong-li-fei-quan-zhan-dao-tu-zhao-cheng-224268","仿范中立飞泉栈道图","赵澄","画作以雄奇主峰撑起画面骨架，山石皴刻硬朗厚重，遍覆蓊郁林木，尽显苍浑朴拙之气。山谷间云气氤氲，将上下景致晕出空濛层次，飞泉隐于林间，栈道盘绕崖壁，楼阁依险而建，既衬出山势的崔嵬险峻，也勾勒出山居的幽邃雅趣。笔墨追摹北派山水的雄浑风骨，沉雅的设色晕染开古厚氛围，把山野间的浩荡大气与林泉间的静谧隐逸相融，让观者仿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除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[257,24,64,25,7,27,29,30,31,32,39,33,94,367,343,2583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F045d0a536847ac969e6804bdb1446c39.jpg",[],{"id":6249,"slug":6250,"title":3437,"dynasty":643,"author":273,"museum":236,"description":5089,"tags":6251,"thumbUrl":6252,"material":787,"size":788,"collection":103,"collections":6253,"showCount":268,"zanCount":54,"manualWeight":54,"mainColor":55},289992,"jiang-shan-lou-ge-tu-zhou-yi-ming-289992",[23,24,290,7,185,137,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a38b8a141b2cce64d08eed5474a9edf.jpg",[],{"id":6255,"slug":6256,"title":6257,"dynasty":133,"author":2466,"museum":236,"description":6258,"tags":6259,"thumbUrl":6260,"material":787,"size":788,"collection":103,"collections":6261,"showCount":268,"zanCount":54,"manualWeight":54,"mainColor":107},287997,"qian-long-nan-xun-zhu-bi-tu-ye-23-zhen-qian-wei-cheng-287997","乾隆南巡驻跸图页23帧","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,24,64,257,186,7,27,30,189,2410,137,33,31,2142,343,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b7085194310691b6fae5dae96603ea.jpg",[],{"id":6263,"slug":6264,"title":5103,"dynasty":133,"author":273,"museum":236,"description":6265,"tags":6266,"thumbUrl":6270,"material":787,"size":788,"collection":103,"collections":6271,"showCount":268,"zanCount":54,"manualWeight":54,"mainColor":107},238873,"tong-zhi-da-hun-cai-peng-tu-zhou-yi-ming-238873","这幅界画以俯瞰视角铺陈画面，朱红配明黄，色调华丽庄重，尽显皇家仪典的华贵气场。工整细致地还原大婚彩棚的层层规制，从宫门到亭台殿宇，空间递进严整有序，亭台斗拱、殿内陈设都刻画入微，连行道草木也排布齐整划一。它将临时搭建的庆典彩棚描摹得如同真实宫殿，精准复刻出清代大婚的礼制空间风貌，尽显绘制者精湛的界画功底，也为后世留存下宫廷婚典的鲜活形制。",[1677,290,27,7,26,30,189,33,6267,6268,39,6269],"宫墙","门","大婚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66851a2485dbbdb1b0c9c8c270fcd8e9.jpg",[],{"id":6273,"slug":6274,"title":5964,"dynasty":133,"author":6275,"museum":61,"description":6276,"tags":6277,"thumbUrl":6280,"material":6281,"size":103,"collection":103,"collections":6282,"showCount":268,"zanCount":54,"manualWeight":54,"mainColor":107},237190,"shan-shui-ce-sun-yi-237190","孙逸","孙逸(1604—约1658) 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lor":107},231771,"wang-gu-feng-su-hua-hui-juan-er-yi-ming-231771","往古风俗画绘卷二","这幅界画工致清雅，以全景铺陈开古旧坊巷。屋舍排布错落严整，飞甍黛瓦、朱栏庭阶皆勾勒细致，尽显传统营造之美。街巷间人物往来熙攘，或市井贸迁，或闲庭信步，百态日常跃然绢素，将往昔烟火气揉进细腻笔触中。\n\n庭园里点缀枯荣花木，四时意趣藏于巷陌深处，设色柔淡雅致，晕开平和温润的古意，引观者踏入旧时光景，触摸千年前鲜活的人间烟火，静赏古早世风的悠然质感。",[23,24,25,27,26,7,226,29,30,39,76,33,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1967de1077b0f92bda1d523e3423430.jpg",[],{"id":6440,"slug":6441,"title":6442,"dynasty":3569,"author":273,"museum":236,"description":6443,"tags":6444,"thumbUrl":6446,"material":787,"size":788,"collection":103,"collections":6447,"showCount":195,"zanCount":11,"manualWeight":54,"mainColor":55},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。",[23,849,7,27,4177,30,38,6445,290],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae48eafbef300dc3e20709d2afdb6183.jpg",[],{"id":6449,"slug":6450,"title":6451,"dynasty":18,"author":273,"museum":236,"description":6452,"tags":6453,"thumbUrl":6454,"material":103,"size":103,"collection":103,"collections":6455,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":55},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,24,25,27,26,7,29,30,33,477,94,39,156,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":6457,"slug":6458,"title":6459,"dynasty":18,"author":273,"museum":236,"description":6460,"tags":6461,"thumbUrl":6463,"material":103,"size":103,"collection":103,"collections":6464,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":55},228777,"yun-shan-lou-ge-tu-yi-ming-228777","云山楼阁图","淡墨晕开烟霭，留白晕出覆雪层峦，远山如冰棱浮于昏褐天际，将冬日萧寒缓缓铺展。近岸楼台层叠飞檐，斗拱栏楯勾勒精工，丹红暖调破开冷寂，与素裹林木相映成趣。水面空蒙如镜，将天地昏茫融于一色，远近虚实相生，把江楼清旷藏进朦胧烟岚。笔触简淡却意韵悠长，工写兼济，将冷峭冬意与楼阁的沉稳雅致相融，尽显萧寒之中的静谧古雅，恍若让人踏入了一阕清寂悠远的冬日江楼旧梦。",[23,24,64,804,27,7,137,30,6462,94,33,330],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb59895a5da6a6f6e2388d9f2e68579a.jpg",[],{"id":6466,"slug":6467,"title":6468,"dynasty":59,"author":273,"museum":90,"description":6469,"tags":6470,"thumbUrl":6471,"material":406,"size":103,"collection":103,"collections":6472,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":55},227915,"jing-bian-tu-yi-ming-227915","经变图","经变画是用画像来解释某部佛经的思想内容。经变画，即经变，亦称变或变相，佛画种类之一，广言之，凡依据佛经绘制之画，皆可称为“变”。敦煌经变画则通常指将某一部甚至某几部有关佛经之主要内容组织成首尾完整、主次分明的大画。敦煌经变内容丰富，形式多样，除了佛经内容外，大量的社会生活内容在经变画中得到生动的体现。许多经变画技巧高超，堪称艺术珍品。\n经变在南朝时即已出现，据唐张彦远《历代名画记》，南朝宋袁倩画有“维摩诘变”，梁时儒童画有“宝积经变”。莫高窟有经变三十三种，持续时间长的有西方净土变、东方药师变、弥勒经变、法华经变、维摩诘经变，数量最多的是东方药师变",[23,24,64,25,849,7,27,29,30,31,156,815,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eabb8213f047d2339b24ab44d915d50.jpg",[],{"id":6474,"slug":6475,"title":6476,"dynasty":59,"author":273,"museum":236,"description":6477,"tags":6478,"thumbUrl":6479,"material":103,"size":103,"collection":103,"collections":6480,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":55},227888,"jiang-shan-dian-ge-tu-ye-yi-ming-227888","江山殿阁图页","此作为典型的宋代界画小品，以界尺精工勾绘殿阁重楼，层台叠宇错落排布，朱栏墨瓦细节毕现，梁柱斗拱的规制严整入微，尽显苑囿楼宇的雍容富丽。一侧江天浩渺，淡墨晕染的远山轻描淡写，与工整严谨的殿阁形成虚实对照。\n\n几株垂柳轻曳，点景人物凭栏伫立，为森严的楼阁增添几分灵动生气。咫尺扇面之内，将人工匠造的规整与山水的清远空灵相融，于方寸间铺展出阔大悠远的意境，尽显院体绘画的精湛造诣。",[23,24,804,7,27,137,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6bf586b9279ce366a700cdf11fca25.jpg",[],{"id":6482,"slug":6483,"title":2182,"dynasty":488,"author":273,"museum":1004,"description":1005,"tags":6484,"thumbUrl":6485,"material":787,"size":788,"collection":103,"collections":6486,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":55},226227,"ku-zhu-shi-nan-bi-yi-ming-226227",[1007,849,27,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc3b343d9b0b14cf4002687263b3196c.jpg",[],{"id":6488,"slug":6489,"title":6490,"dynasty":133,"author":273,"museum":90,"description":6491,"tags":6492,"thumbUrl":6493,"material":6281,"size":6494,"collection":103,"collections":6495,"showCount":195,"zanCount":11,"manualWeight":54,"mainColor":55},223450,"shou-yan-tu-ping-12-yi-ming-223450","寿宴图屏12","太监们都身着官帽，衣冠楚楚。 所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 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[1]\n钱允治（1541~？），字功甫，好书一如其父。钱曾《读书敏求记》说：功甫老屋三间，藏书充栋。白曰检书，必秉烛，缘梯上下。所藏多人间罕见之本。《列朝诗传》则称：年八十余，隆冬病疡，映日钞书，薄暮不止。功甫殁，无子，其遗书皆散去。自是吴中文献无可访问，先辈读书种子绝矣。\n二、[清]字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当钱第一。晚年名益重，求书者巵尝满。《三冈识略、江苏诗徽、画家知希录》\n三、[清]号龙泓，浙江萧山人。善山水，不拘於绳墨而气格自高，其疏纵处近学罗牧，深郁处远师黄吾野。《越画见闻》。\n四、清各州县官署名主办钱粮、赋税、会计的幕僚。俗称钱谷师爷，亦称钱粮师爷。\n张复[明]（一四0三至一四九0）道士。字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[24,185,186,137,72,1263,259,6955,239,33,156,7],"城楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fabe384c3582a29de017a39cc4327e.jpg","25.1x38.4公分厘米",[],{"id":6960,"slug":6961,"title":6962,"dynasty":488,"author":273,"museum":236,"description":6963,"tags":6964,"thumbUrl":6967,"material":103,"size":103,"collection":103,"collections":6968,"showCount":428,"zanCount":54,"manualWeight":54,"mainColor":759},221131,"fa-hua-jing-huang-jin-zhuang-shi-ge-xian-yi-ming-221131","法华经黄金装饰格线","幽蓝绀纸作底，沉穆如古潭秋水。泥金勾绘的格线齐整如阡陌，将卷面裁作匀净方寸，泥金佛偈排布其中，笔意端雅秀润。\n\n金彩虽经年月晕染暗哑，却依旧在幽深色底上泛着柔和光晕，把宗教的虔敬凝入每一处细致填金里。庄严华贵间带着独有的端雅气韵，将信仰与匠心揉合在规整卷面中，尽显工艺的极致考究，是禅意与工巧相融的传世佳品。",[3949,343,155,7,849,6965,6966],"典籍","金器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824fee8a13025ad588bbada8b0a22826.jpg",[],{"id":6970,"slug":6971,"title":6972,"dynasty":18,"author":19,"museum":709,"description":6515,"tags":6973,"thumbUrl":6974,"material":47,"size":6518,"collection":103,"collections":6975,"showCount":428,"zanCount":54,"manualWeight":54,"mainColor":55},219765,"lin-song-ren-hua-ce-13-chou-ying-219765","临宋人画册-13",[24,64,186,804,28,27,29,66,7,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F462b99ebafe1a8fc7b0a0a8893b005c2.jpg",[],{"id":6977,"slug":6978,"title":6979,"dynasty":59,"author":6980,"museum":6981,"description":6982,"tags":6983,"thumbUrl":6984,"material":47,"size":6985,"collection":103,"collections":6986,"showCount":428,"zanCount":54,"manualWeight":54,"mainColor":55},219024,"shi-wang-tu-3-lu-xin-zhong-219024","十王图-3","陆信忠","奈良国立博物馆","此十王图即十殿阎罗各一幅的每一个都被描绘成魔王带领着一群来自阴间的官员，他们坐在椅子上审查罪行，狱卒、待审的死者和被判处死刑的人在他们面前接受各种惩罚。精确的具象形式和生动的色彩使其具有强烈而敏感的表现力，是卢新中画派的杰作。",[23,24,64,849,26,27,29,7,1321,896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adf3d7967603fe801fcb7c5bfab9a26.jpg","85.9x50.8",[],{"id":6988,"slug":6989,"title":6990,"dynasty":133,"author":2466,"museum":2467,"description":2468,"tags":6991,"thumbUrl":6992,"material":47,"size":103,"collection":103,"collections":6993,"showCount":428,"zanCount":54,"manualWeight":54,"mainColor":107},216897,"qian-long-nan-xun-zhu-bi-tu-ye-7-qian-wei-cheng-216897","乾隆南巡驻跸图页-7",[23,257,24,64,186,27,7,328,30,33,137,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac9bd0faad99414a6c5a64d0cb44e46.jpg",[],{"id":6995,"slug":6996,"title":6997,"dynasty":133,"author":2466,"museum":2467,"description":2468,"tags":6998,"thumbUrl":6999,"material":47,"size":103,"collection":103,"collections":7000,"showCount":428,"zanCount":54,"manualWeight":54,"mainColor":107},216893,"qian-long-nan-xun-zhu-bi-tu-ye-13-qian-wei-cheng-216893","乾隆南巡驻跸图页-13",[23,24,27,7,26,186,328,137,30,189,33,277,1528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2863ced8cf924989f8045ad66f6daa.jpg",[],{"id":7002,"slug":7003,"title":7004,"dynasty":18,"author":5911,"museum":236,"description":7005,"tags":7006,"thumbUrl":7007,"material":303,"size":103,"collection":103,"collections":7008,"showCount":428,"zanCount":54,"manualWeight":54,"mainColor":107},216343,"xi-xiang-ji-cha-ye-9-min-qi-ji-216343","西厢记插页-9","淡彩晕染的云气如流岚漫卷，墨线勾勒的峰峦叠嶂间，楼阁错落依山势铺展。左侧飞檐翘角的亭台隐于林麓，右侧峭壁上的楼宇凭高临远，山间小径蜿蜒，隐约有人影穿行。线描细腻灵动，淡彩清雅脱俗，山水与建筑相映成趣，既含文人画的写意韵致，又藏话本插图的叙事张力。云气的流动感打破空间滞重，将西厢故事的幽微情愫隐于层峦叠嶂间，引人循着笔墨脉络，探寻那藏在山水里的古典意趣，仿佛能听见风过亭台时，西厢的私语仍在耳畔流转。",[24,394,27,7,137,30,29,66,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc021bf7c06076aecf5b135123626678a.jpg",[],{"id":7010,"slug":7011,"title":7012,"dynasty":18,"author":7013,"museum":709,"description":7014,"tags":7015,"thumbUrl":7016,"material":103,"size":103,"collection":174,"collections":7017,"showCount":428,"zanCount":54,"manualWeight":54,"mainColor":7018},203170,"du-fu-shi-yi-tu-ce-song-mao-jin-203170","杜甫诗意图册","宋懋晋","画面远处楼阁隐现于轻烟薄雾间，近处茅舍依林筑立，几株树木姿态各异，或葱郁或疏朗，小径蜿蜒似引观者入幽境。笔墨清逸淡雅，设色温润，界画勾勒楼阁规整有致，树木以点染与皴擦结合，尽显文人山水的诗意雅致，将杜诗中的幽寂之境化为可视图景，意境悠远，引人遐思。",[24,185,27,7,137,30,380,186,64,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917be57b32ab40cf54a9e6ab7eebb0d0.jpg",[174],"b0ab99",{"id":7020,"slug":7021,"title":7022,"dynasty":133,"author":7023,"museum":709,"description":7024,"tags":7025,"thumbUrl":7026,"material":103,"size":103,"collection":174,"collections":7027,"showCount":428,"zanCount":11,"manualWeight":54,"mainColor":7028},201921,"han-gong-yi-jiao-tu-zhou-qian-du-201921","汉宫一角图轴","钱杜","画面以淡逸设色晕染山水景致，远山皴染结合显浑厚苍劲，近景楼阁以界画技法精绘，檐角纹饰细致入微。枯树虬枝间栖有飞鸟，动静相衬添生机。笔墨兼具工细与写意，自然山水与人文建筑相融，营造出清幽静谧的古典意境，尽显文人画的雅致韵致。",[24,27,137,30,156,524,328,7,26,64,257,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3298ad366a51a16666d133653276aa4b.jpg",[174],"bfaf98",{"id":7030,"slug":7031,"title":7032,"dynast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to John Carter--Drawing Room of Lea Castle, Looking West","整体是哥特复兴风格的雅致厅堂，层次错落的雕花藻井以青绿描金点缀，晕开复古华贵的底色。墙面拱壁龛柱搭配浮雕人像，庄重典雅之余带着复古仪式感。壁炉居于视觉中心，上方古典画作与对称排布的软包座椅相互呼应，边桌鎏金摆件柔和了建筑的冷硬肌理，铺陈出旧日宅邸的闲适氛围。\n水彩晕染柔和细腻，精准勾勒每一处雕花肌理，将中世纪复古形制与室内陈设的柔美融合，仿若将鎏金岁月凝于纸面，尽显古典宅邸的精致雍容，让人好似窥见旧日厅堂里衣香鬓影的松弛光景。",[8406,7,27,5504,2524,4153,7481,8407,8408],"水彩画","座椅","挂画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdffd9fcd1e4b98c5eb7752208451339.jpg",[],{"id":8412,"slug":8413,"title":8414,"dynasty":3569,"author":273,"museum":236,"description":8415,"tags":8416,"thumbUrl":8419,"material":787,"size":788,"collection":103,"collections":8420,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":107},289470,"carlo-galli-bibiena-foreshortening-of-a-library-yi-ming-289470","Carlo Galli Bibiena--Foreshortening of a Library","这幅透视图以精妙的短缩技法，将古典建筑与藏书空间融为一体，涡卷柱头的柱式与层叠拱顶，同排排书脊错落交织，模糊了建筑构件与书架的边界，打造出宛如迷宫的书之圣殿。\n\n利落精细的线条勾勒出穹顶弧度与空间纵深，明暗晕染区分出结构层次，让光影顺着拱券流淌，赋予这方空间肃穆又华丽的巴洛克气质，仿佛踏入其中便会被无垠书海裹挟，尽显复古奇幻的藏书秘境氛围。",[7,394,6720,8417,4153,30,8418],"图书馆","素描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe909e0862682b80e6958f5fefc5e2731.jpg",[],{"id":8422,"slug":8423,"title":8424,"dynasty":3569,"author":273,"museum":236,"description":8425,"tags":8426,"thumbUrl":8432,"material":787,"size":788,"collection":103,"collections":8433,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":107},289089,"jean-jacques-lequeu-section-and-plan-of-the-small-dining-room2-yi-ming-289089","Jean Jacques Lequeu--Section and Plan of the Small Dining Room2","这幅新古典主义室内设计图，以对称构图尽显庄重雅致。立面中央设拱形壁龛，古典女雕像成为视觉焦点，两侧木门对称排布，檐下饰带以茛苕纹与人面浮雕点缀，将古典符号融于餐室设计，暗合贵族审美意趣。\n\n下方平面图呼应立面，细致呈现壁龛基座细节，让设计逻辑完整自洽。绘图以淡墨排线晕染光影，清晰区分石材肌理与立面层次，既饱含艺术美感，又兼具工程实用性，淋漓尽致展现了法式宅邸对古典美学的追慕，将礼制秩序与优雅格调藏于每一处细节之中。",[7,8427,8428,8429,767,8430,8418,7482,8431],"建筑设计","室内空间","雕像","手绘","餐厅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7c2499a582e26bbff8bb7fb9333202.jpg",[],{"id":8435,"slug":8436,"title":8437,"dynasty":3569,"author":273,"museum":236,"description":8438,"tags":8439,"thumbUrl":8443,"material":787,"size":788,"collection":103,"collections":8444,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":1075},289086,"jean-laurent-legeay-architectural-fantasy-yi-ming-289086","Jean Laurent Legeay--Architectural 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"tags":8528,"thumbUrl":8529,"material":103,"size":103,"collection":103,"collections":8530,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":107},238597,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238597","这幅画作以全景式构图铺陈受降阅兵的盛大场景，营帐错落规整，甲士阵列肃然齐整，静立的旌旗衬出得胜后的庄严威仪。远景层峦逶迤，烘托出场地开阔宏阔的气势。左上方题满诗文，为画面赋予纪功表彰之意。\n\n画师以精细工稳的线描，细致勾勒将士衣甲细节、营寨规制，如实复刻平叛凯旋后的受捷场面，笔意肃穆沉稳，将军功盛典的恢弘厚重淋漓尽致展现而出，堪称清代纪实战图的典型之作，留存下得胜盛典图景，承载着宣功纪威的内核。",[24,26,7,27,186,29,137,33,30,66,1106,3060,38,2704],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffadcc1c8dbb89126211b877fe6d7c6fd.jpg",[],{"id":8532,"slug":8533,"title":8066,"dynasty":133,"author":273,"museum":236,"description":8534,"tags":8535,"thumbUrl":8537,"material":103,"size":103,"collection":103,"collections":8538,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":107},238592,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238592","这幅作品以全景构图铺展山地战场，层叠山峦间碉楼错落排布，将川西要塞的险峻地势尽致展现。线条精细冷峻，如实复刻战事实景：清军将士攀崖仰攻，碉楼内守军严阵对峙，河谷旁营寨规整罗列，每一处人物动作皆清晰分明，把攻坚厮杀的紧张感凝于纸面。整体笔触写实克制，带着纪实铜版画的独特质感，既还原了平叛战事的宏大致酷，也兼具珍贵的历史纪实价值，让百年前的战地烽烟历历在目。",[24,26,328,7,185,186,137,29,94,8521,2704,72,33,3060,8536],"战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc70c97c8c3be3a707c50de4b9874fc6c.jpg",[],{"id":8540,"slug":8541,"title":8066,"dynasty":133,"author":273,"museum":236,"description":8542,"tags":8543,"thumbUrl":8544,"material":103,"size":103,"collection":103,"collections":8545,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":107},238591,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238591","本作以全景式构图铺展战地实景，苍劲皴笔绘就层叠山峦，尽显川西山地的崎岖冷峻。山间错落排布碉楼工事，壁垒森严，还原征伐阵地的险峻格局。河谷山道间兵勇奔突厮杀，动态跃然纸上，将战地的肃杀紧张凝于笔端。\n\n左侧题字以工整小楷记述战事细节，图文相辅，既是纪实绘卷，亦是军功纪实的载体。笔墨克制肃穆，以冷峻写实的笔触复刻铁血战事，兼具纪实史料价值与古典绘画的厚重质感，将征伐过往定格为纸面史痕。",[24,26,328,7,137,30,29,66,8069,94,33,43,8521,1528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F260fa1acbd54f8d4ec982a429c25fdd6.jpg",[],{"id":8547,"slug":8548,"title":3777,"dynasty":133,"author":3778,"museum":236,"description":7834,"tags":8549,"thumbUrl":8550,"material":787,"size":788,"collection":103,"collections":8551,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":107},236946,"jiu-ru-zhi-ji-ce-wang-gai-236946",[24,64,186,27,7,29,30,39,33,343,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F846d4fb822e3d381654bb52ef81d93cc.jpg",[],{"id":8553,"slug":8554,"title":3777,"dynasty":133,"author":3778,"museum":236,"description":7834,"tags":8555,"thumbUrl":8556,"material":787,"size":788,"collection":103,"collections":8557,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":107},236944,"jiu-ru-zhi-ji-ce-wang-gai-236944",[24,257,186,7,27,29,30,66,691,343,155,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138f5ab3783cc65a625c58cc6cc2fb05.jpg",[],{"id":8559,"slug":8560,"title":6911,"dynasty":59,"author":273,"museum":61,"description":8561,"tags":8562,"thumbUrl":8563,"material":442,"size":8564,"collection":103,"collections":8565,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":107},234025,"shan-yao-lou-guan-tu-ye-yi-ming-234025","山水画至宋代进入了全盛时期，百花齐放，名家竞起。正如元代汤垕在《画鉴》中所说：“唐画山水，至宋始备。”山水画的许多表现方法都发轫于宋代，创造这些画法的名家大师们都成了后世争相效仿的典范。宋代山水画成了人们心目中一座永远无法逾越的高峰。而山水小品画则可看作是宋代山水画发展中百家争鸣的一个缩影，从中也能看出宋代山水画的众多源流。\n魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。\n唐代的水墨山水画尚处在发展阶段，并不能做到笔墨兼济。吴道子、项容、王维、张璪、王墨等人都使用了水墨来表现山水风光，他们在画法上各具特色，开启了后世水墨画的先声。直到五代十国时期，荆浩的出现才打破了笔墨之间的藩篱，他创造性地在山水画中使用了“皴法”，真正地做到了笔墨兼济的理想状态，并将自己的绘画心得记录下来，写成了《笔法记》一书。荆浩的弟子关仝继承其衣钵，后有出蓝之誉，与其师并称“荆关”。与此同时，南唐的董源在表现南方烟雨空濛的景色上独具面貌。其弟子巨然在“短披麻皴”的基础上发展出“长披麻皴”，画史将师徒二人称为“董巨”。至此，山水画中影响后世最为深远的两大流派已然形成，这也标志着中国山水画由此走向了成熟。\n北宋时期山水画迎来了历史性的高峰，其空前的成就堪称“百代标程”。北宋初年，山水流派出现了所谓“三家鼎峙”的局面，关仝、李成、范宽被画史誉为“北宋三大家”。其中关仝、李成乃至北宋中后期的郭熙、王诜都继承了荆浩“卷云皴”的画法流派，如山水小品中的《山店风帘图》《青山白云图》《风雨归舟图》《春江帆饱图》即属此种风格。范宽则在荆浩“斧劈皴”的基础上稍变其趣，独创“豆瓣皴”，如《云关雪栈图》《雪山萧寺图》都属范宽画派风格。北宋时期，并非所有的画家都钟情于描绘雄伟壮丽的宏阔之景，如惠崇、赵令穰便是以描绘湖山小景而著称，由此也开创了南宋山水小景之先河。山水小品中的《橙黄橘绿图》《秋塘图》《柳溪春色图》都是这类风格的典型作品。\n伴随着王朝更迭，赵宋南渡，山水画的风格面貌也发生了非常大的转变，其最为显著的特征就是南宋一改北宋山水画全景式的宏大构图，代之以空灵雅致的边角式构图。这是南北山河地貌的差异造成的：描绘的对象发生了改变，画家们的画法自然也会随之改变。这种画风上的变革却常常被后世附会为画家们用画作中的“残山剩水”寄托对故土的哀思，更以此去劝诫君王莫要偏安一隅。然而，正是南宋时期对山水画独特的审美追求造就了山水小品画空前繁荣，现存的宋代山水小品画也大多创作于这一时期。\n南宋时期山水画的主流是李唐画派。李唐的山水画早年师法荆浩、范宽，多以“小斧劈皴法”为主，晚年一变古法而创“大斧劈皴法”。小品画中署款李嵩所作的《赤壁赋图》、旧题为刘松年所作的《秋窗读书图》、旧题为燕文贵所作的《层楼春眺图》都属于受李唐早期“小斧劈皴”画法风格影响的典型作品。或许是江南的烟雨朦胧，加之其年逾古稀后的放达，李唐一改早年严谨且略带刻画的刚劲笔致，变为粗犷简阔的“大斧劈皴法”；用墨上也十分大胆，变“惜墨如金”为“水墨淋漓”。这种风格影响了其后众多名家，与李唐并称“南宋四大家”的马远、夏圭的山水画正是在李唐晚年画风影响下发展出来的。李唐画派正是在马远、夏圭的推动下极大地影响了其后绘画的发展，这也使得马、夏的画风堪称是南宋山水画的代名词。",[24,804,185,328,7,343,367,137,30,826,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e2993d2fd93e9d4f6b8f0edca7e429.jpg","22.6×23.7cm",[],{"id":8567,"slug":8568,"title":8569,"dynasty":3569,"author":8570,"museum":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他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[849,29,30,7,394,8418,8452],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa165a11a10bbf4488cccd2013e23fcc.jpg",[],{"id":8576,"slug":8577,"title":8578,"dynasty":3569,"author":8570,"museum":236,"description":8571,"tags":8579,"thumbUrl":8585,"material":787,"size":788,"collection":103,"collections":8586,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":107},232425,"he-er-bai-yin-84-he-er-bai-yin-232425","荷尔拜因84",[849,7,394,990,29,30,8580,8581,217,437,8582,39,8583,97,8584,3883],"城堡","拱门","动物","塔楼","墙壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf593b43034d1ee032c98776d862784.jpg",[],{"id":8588,"slug":8589,"title":8590,"dynasty":3569,"author":273,"museum":236,"description":8591,"tags":8592,"thumbUrl":8595,"material":787,"size":788,"collection":103,"collections":8596,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":107},231713,"lian-cang-shi-dai-man-you-shang-ren-chuan-hua-juan-jia-juan-yi-ming-231713","镰仓时代 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[6627,9092,9093,3909,29,30,31,32,9094,1241,137,240,33,9095,7],"雕漆","剔红","莲瓣","携琴访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a607a99de92ff953b39f15ffa49293a.jpg",[],{"id":9099,"slug":9100,"title":3057,"dynasty":133,"author":273,"museum":236,"description":9101,"tags":9102,"thumbUrl":9103,"material":787,"size":788,"collection":103,"collections":9104,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":1075},238659,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238659","全景式铺陈开苗疆山地战场，以类铜版画的刚劲线条勾勒层峦沟壑，工细写实。左侧屯城壁垒森严，甲士整列森然，山间林莽中潜行的兵卒还原出山地作战的险仄。\n诗画合璧，以笔锋刀痕凝固行军攻坚、收抚诸苗的跌宕战事。线条冷峻利落，既刻画了关山征伐的肃杀，也带出战后初定的秩序感，将平叛绥边的全过程藏于重山隘路间，以静态画面留存下那段铁血征伐的过往，兼具纪实史学价值与叙事性绘画的表现力。",[257,24,64,186,26,185,328,7,137,29,66,436,33,94,156],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F410597fad851068ed990732209ec7e4e.jpg",[],{"id":9106,"slug":9107,"title":3057,"dynasty":133,"author":273,"museum":236,"description":9108,"tags":9109,"thumbUrl":9110,"material":787,"size":788,"collection":103,"collections":9111,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":107},238641,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238641","远景层叠峰峦铺展出辽远开阔的战地格局，近景聚焦激烈的攻城攻坚场面。清军或涉水架梯、或纵马弯弓仰攻，守军凭城据守反击，人马排布错落有致，将短兵相接的紧张凶险尽数铺陈。\n\n创作者以铜版蚀刻技法入画，线条锐利精细，山石林木的皴刻兼具写实质感与传统山水章法，光影明暗层次分明，既还原了战地细节的纪实性，又以细腻刻画渲染出冷兵器战场的肃杀之气，将战事的激烈瞬间定格于纸面，兼具历史记录价值与艺术表现力。",[1677,24,64,186,26,7,328,394,185,367,29,66,137,8069,30,32,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246dbd65781bab34de8097fdbd0e8f22.jpg",[],{"id":9113,"slug":9114,"title":9115,"dynasty":133,"author":273,"museum":236,"description":9116,"tags":9117,"thumbUrl":9118,"material":103,"size":103,"collection":103,"collections":9119,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":1075},238639,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238639","平定安南战图册","整幅作品以细密线描铺陈朝典盛景，楼宇围合出规整仪式场域，主次错落层次分明。阶下百官垂手肃立，使节团恭谨入朝，殿宇之上庄严肃穆，将觐见受封的盛大场面铺展眼前。\n\n作者以写实笔触细致勾勒建筑层叠飞檐与雕栏回廊，复刻清代官式建筑精巧规制；又以疏密有致的线条排布人物阵列，烘托典礼的森严威仪，于方寸间尽显皇家礼制的庄重气派，如实复刻这场外交盛典的恢弘场面，带着纪实叙事的厚重质感。",[26,7,186,29,30,39,217,33,670,3060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d067155002f4f0c3fe8179770c9d27.jpg",[],{"id":9121,"slug":9122,"title":9123,"dynasty":133,"author":273,"museum":236,"description":9124,"tags":9125,"thumbUrl":9126,"material":787,"size":788,"collection":103,"collections":9127,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":107},238624,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238624","平定台湾战图册","这幅作品以工笔白描铺陈海战实景，翻卷海波如层叠怒涛，将澎湖列岛的雄峙险隘尽现纸上。清军水师阵列严整，战船破浪衔行，与据守岛礁的敌军形成剑拔弩张的对峙之势。苍劲题款呼应画面叙事，把收复征程的铁血况味凝于笔端。\n\n线条劲挺细腻，既摹画出浪涛奔涌的磅礴动感，亦精细勾勒出战船甲械的繁复细节，将将士悍勇与海战肃杀交融。凭精妙界画工法还原金戈铁马的征战过往，融纪实叙事与笔墨意趣，尽显历史厚重与艺术造诣。",[26,394,7,186,137,29,35,6944,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2de59f5aec9e58737ec78612449f8b9.jpg",[],{"id":9129,"slug":9130,"title":6861,"dynasty":133,"author":6862,"museum":236,"description":6863,"tags":9131,"thumbUrl":9132,"material":787,"size":788,"collection":103,"collections":9133,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":107},238549,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238549",[24,64,186,26,27,7,29,30,367,712,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d638594cd38dd389d5bf1e7d6710680.jpg",[],{"id":9135,"slug":9136,"title":9137,"dynasty":133,"author":273,"museum":236,"description":9138,"tags":9139,"thumbUrl":9140,"material":787,"size":788,"collection":103,"collections":9141,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":55},236260,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236260","避暑山庄图励宗万书诗成扇","此扇以泥金为底，浅施色彩绘就山居幽境。屋舍错落隐于葱郁林木间，山石皴法秀雅，远山以淡墨晕染，铺展出清寂安闲的避夏佳处，笔墨温婉内敛，将林泉高致藏于盈尺扇面之中。泥金底色衬得画面更显古雅华贵，搭配匀净打磨的素竹扇骨，棕黑扇骨沉稳雅致，书画相映，尽显旧时文人幽居避暑的闲适意趣，是兼具赏玩与陈设价值的文房雅物。",[804,24,64,137,30,27,328,7,33,94,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d585ad04f1218e6a79592ffbbd5ad6.jpg",[],{"id":9143,"slug":9144,"title":9137,"dynasty":133,"author":273,"museum":236,"description":9145,"tags":9146,"thumbUrl":9147,"material":787,"size":788,"collection":103,"collections":9148,"showCount":54,"zanCount":54,"manualWeight":54,"mainColor":55},236244,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236244","此扇以泥金笺为地，自带华贵雅致底色。画面绘林苑一隅，重檐楼宇静处方庭，佳木环绕、远山逶迤。笔墨秀润细腻，敷色淡逸沉稳，将苑囿的清寂消暑意韵尽显，石隐木葱，处处透着山居夏凉的疏闲意境。\n\n书画合璧，笔墨兼具写实精巧与写意澹远，将苑林清幽揉入尺幅扇间，尽显传统扇面的隽永意趣，是兼具观赏与把玩价值的佳制。",[1677,24,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