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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[41,23,7,27,54,55,56,57,26],"设色","工笔","飞鸟","春花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3419b0daa27ad6da934e8775bd43d751.jpg",[],52,{"id":62,"slug":63,"title":64,"dynasty":18,"author":19,"museum":20,"description":21,"tags":65,"thumbUrl":67,"material":31,"size":32,"collection":33,"collections":68,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":36},288503,"hua-jing-xin-zhu-da-288503","花镜心",[41,23,42,24,29,27,66,43,7],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50301a88975470b059a690f4e7e4b83.jpg",[],{"id":70,"slug":71,"title":72,"dynasty":73,"author":74,"museum":20,"description":75,"tags":76,"thumbUrl":10,"material":33,"size":33,"collection":33,"collections":83,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":85},227511,"qiu-ting-ying-xi-tu-jing-xin-su-han-chen-227511","秋庭婴戏图镜心","宋","苏汉臣","以前每逛国内一些博物馆，古玩店铺，诸多载体如绢纸本的画、玉器、瓷器上，你总能看到许多幼童、小少年在室内或庭院或郊外耍闹、游戏。而一番梳理下来，你能发现，历史上宋、明、清朝代，婴戏图尤其多。宋代多显现在存世的画幅、瓷器、玉器上。北宋五大名窑及更多地方窑口，均单色釉，少图案。南宋龙泉窑碗内偶见婴戏图形，北方磁州窑的罐、枕上，多有或钓鱼或卧躺的婴儿图。明代的绘画尤其是明中期宣德特别是正德、嘉靖时期的瓷器上，婴戏图逐渐风行，小孩子蹴鞠图十分常见。客观原因是因为无论是明朝繁盛的青花，还是后来发明的五彩，对“婴戏图”再现更容易。清代的图画、瓷器的青花粉彩、玉器上，或“百子图”或“三娘教子图”或“庭院婴戏图”等，更已普遍化。传统文化伦理中，福禄寿三星，“福”即是寄望多子，“多子多福”，故历朝历代也将这种寄望显现在不同的艺术载体上。宋、明、清“婴戏图”相对更多，与这几个时代的商品经济、俗世文化的发达及瓷器玉器家具等工艺技术的升级换代有关。窃以为，还有一个隐藏原因：与其时帝王子嗣的夭折过多、稀薄有关。",[77,23,42,7,55,54,78,79,80,81,82],"名画","人物","竹","石","器","婴戏",[],45,"795548",{"id":87,"slug":88,"title":89,"dynasty":18,"author":51,"museum":20,"description":52,"tags":90,"thumbUrl":97,"material":31,"size":32,"collection":33,"collections":98,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":36},290512,"fang-mei-dao-ren-bi-yi-shan-shui-tu-jing-xin-ren-yi-290512","仿梅道人笔意山水图镜心",[41,77,23,42,24,91,92,93,94,95,78,96,28,26,7],"山水","皴法","山石","流水","树木","临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b242dc98ba13ddac83e86adb8a5c7d6.jpg",[],16,{"id":101,"slug":102,"title":103,"dynasty":18,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":108,"material":33,"size":33,"collection":33,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":36},230283,"wu-yan-pai-lv-jing-xin-zhu-da-230283","五言排律镜心","此作用笔枯润交糅，线条瘦劲老辣，凝练如铁。字距错落排布，行气舒朗连贯，虚实相生间晕开疏淡孤高的底色。\n点画简括却力透纸背，牵丝映带里尽显萧散雅逸，既有晋人行书的灵动意趣，又将沉郁心绪藏在起落转合中。笔墨间浸透着清冷遗世的风骨，把孤高心性与书法意境相融，每一处转折都暗合幽远禅意，以极简形质承载苍劲沉凝的精神内核，尽显以心驭笔的绝妙文人书意。",[41,28,106,107,24,26,7],"行书","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10294bcc5f79ea0c65b25270013a64a0.jpg",[],15,{"id":112,"slug":113,"title":114,"dynasty":18,"author":115,"museum":20,"description":116,"tags":117,"thumbUrl":119,"material":31,"size":32,"collection":33,"collections":120,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":36},232826,"jiao-wen-jiang-yi-zhi-zhai-jing-xin-yi-bing-shou-232826","较文讲艺之斋镜心","伊秉绶","伊秉绶（1754-1815），字组似，号墨卿，晚号默庵，清代书法家，福建汀州府宁化县人，故人又称“伊汀州”。乾隆四十四年举人，乾隆五十四年进士，师戴联奎，历任刑部主事，后擢员外郎。\n嘉庆四年任惠州知府，因与其直属长官、两广总督吉庆发生争执，被谪戍军台，昭雪后又升为扬州知府，1802年（嘉庆七年），伊秉绶54岁时，因父病死，去官奉棺回乡，扬州数万市民洒泪送别。62岁病逝后，扬州人为仰慕其遗德，在当地“三贤祠”（祀欧阳修、苏轼、王士祯三人之祠）中并祀伊秉绶，改称“四贤祠”。在任期间，以“廉吏善政”著称。\n伊秉绶喜绘画、治印，亦有诗集传世。工书，尤精篆隶，精秀古媚。其书超绝古格，使清季书法，放一异彩。隶书尤放纵飘逸，自成高古博大气象，与邓石如并称大家。",[41,18,28,118,26,7],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca004c8cfc1dcb906c4369487e6d160.jpg",[],13,{"id":123,"slug":124,"title":125,"dynasty":18,"author":126,"museum":20,"description":127,"tags":128,"thumbUrl":132,"material":31,"size":32,"collection":33,"collections":133,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":85},290488,"zhuan-shu-wu-yan-lian-jing-xin-wu-chang-shuo-290488","篆书五言联镜心","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,42,28,129,130,7,131],"对联","篆书","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2737cc12be3d723f4ecca0204fbdb2.jpg",[],11,{"id":136,"slug":137,"title":138,"dynasty":18,"author":139,"museum":20,"description":140,"tags":141,"thumbUrl":142,"material":143,"size":33,"collection":33,"collections":144,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":36},232682,"shu-fa-jing-xin-zi-pian-hong-yi-fa-shi-232682","书法镜心字片","弘一法师","李叔同（1880—1942），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。",[41,28,106,26,7,24,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5154017fbfcfd27fad10c3f3d930f62f.jpg","纸本",[],9,{"id":147,"slug":148,"title":149,"dynasty":18,"author":150,"museum":20,"description":151,"tags":152,"thumbUrl":154,"material":31,"size":32,"collection":33,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":36},290222,"shu-fa-jing-xin-qing-dao-ren-290222","书法镜心","清道人","此作用笔取法北碑，线条朴拙厚重，起收方折劲挺自带金石质感。结体宽博开张，字势错落舒展，章法疏朗空灵，字间顾盼生姿，将魏碑雄强筋骨与帖学温润意韵相融，整体气息沉雄静穆，尽显高古庙堂之风。\n\n笔墨凝练沉稳力透纸背，书写时笔力遒劲，将北碑朴茂厚重诠释得淋漓尽致，于端严之中暗含灵动，尽显书家不俗的笔力与襟怀，是碑学书法极具代表性的佳作。",[41,28,7,153,26],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0d546dba72f4099853f7dda78ed8ebf.jpg",[],6,{"id":158,"slug":159,"title":160,"dynasty":18,"author":161,"museum":20,"description":162,"tags":163,"thumbUrl":170,"material":31,"size":32,"collection":33,"collections":171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":85},273089,"lan-di-xiu-xi-zhi-ai-e-tu-jing-xin-yi-ming-273089","蓝地绣羲之爱鹅图镜心","佚名","此作以深蓝为底，晕染出幽远沉静的底色，流云舒展留白，铺就出淡逸空濛的意境。苍松蟠曲古拙，细密针脚勾勒出鳞皴纹理与舒展松针，尽显古木苍劲。\n\n画面之中，雅士负手而立，凝神望向稚童与白鹅，神态温雅悠然，将爱鹅的文人情思藏于眉目之间。旁侧仙草棕榈错落，祥云缭绕如幻，衬出几分仙逸雅致。整幅绣作工致细腻，针脚起落间晕染出草木灵韵、人物情态，将文人雅趣融于精工绣色里，尽显清隽古雅的古典意蕴。",[164,165,7,54,78,166,167,168,169,42],"刺绣","布料","松树","棕榈","鹅","羲之爱鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559ec28e8866659d01a19ec013f65c3.jpg",[],1777535729424]