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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》。",[24,26,54,28,30,142,128,35,7,143,31],"行书","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc0e8896205933dd0727840cc37da2b.jpg","纸本","",[40,148],"水墨画精选",85,{"id":151,"slug":152,"title":153,"dynasty":154,"author":155,"museum":156,"description":157,"tags":158,"thumbUrl":163,"material":164,"size":165,"collection":146,"collections":166,"showCount":167,"zanCount":86,"manualWeight":11,"mainColor":73},287308,"yu-tu-xiao-niao-tu-juan-qian-xuan-287308","玉兔小鸟图卷","元","钱选","藏地不详","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,24,159,29,28,160,57,36,161,7,162],"长卷","兔","花卉","草本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb81428e6f03395c30ef0e049ea155af.jpg","未知","Xcm*Xcm",[],79,{"id":169,"slug":170,"title":171,"dynasty":18,"author":172,"museum":20,"description":173,"tags":174,"thumbUrl":181,"material":182,"size":183,"collection":70,"collections":184,"showCount":167,"zanCount":185,"manualWeight":11,"mainColor":73},218783,"qiu-shan-tu-yi-ming-218783","秋山图","佚名","这幅关于山脉的画作从画板底部向上延伸，将纸张堆叠起来，在复杂而庞大的岩石中，随着溪流的流动，创造出山峦和沟壑的变化，并在现实和想象中创造出一种兴趣。山石像范宽的彩虹，寒林和枯枝的画法像郭熙的蟹爪法，而整体画风与《荆浩的匡庐》非常相似。",[23,24,25,111,30,54,31,175,176,177,62,66,7,178,179,180],"蟹爪法","山峦","沟壑","流水","屋舍","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcecae8ef9513b49779e89a829d40705.jpg","绢本,水墨","172.9x62.7",[70],3,{"id":187,"slug":188,"title":189,"dynasty":18,"author":190,"museum":20,"description":191,"tags":192,"thumbUrl":196,"material":197,"size":198,"collection":42,"collections":199,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":73},232619,"han-lin-ping-ye-tu-li-cheng-232619","寒林平野图","李成","北宋山水画主要承续五代荆浩、关仝的北方山水画系，由李成、范宽创立一代新风，传派繁衍。北宋时代，知名画家的人数仅从《图画见闻录》和《画继》两书来统计，就有386人之多。而李成的山水画以“气象萧疏，烟林清旷，毫锋颖脱，墨法精微”而著称，因而《宣和画谱》云：“凡称山水者，必以成为古今第一”。\n图绘萧瑟的隆冬平野中，长松亭立，林木薄疏，小丘起伏，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。此画李成用硬笔锐锋，在绢上勾画的松针，粗干细枝，土坡石廓，线条瘦硬坚韧，极具功力，即使不染墨，也神定气足。图中所绘树枝，无论粗细，均呈弧曲形，将线条的力度发挥到了最大程度。所以李成的画，仅用淡墨作少量的烘染，给人以一种秀润淡雅的享受。\n李成注重真实的山水写生，深谙透视画理，墨法变化微妙，风格清新，意韵精致。他的山水画不但表现出山川气象形势的变化，而且还特别强调了季节气候的特点，其中最突出的成就，是他创造了“寒林”的形象。\n另外，李成作画总是用墨不浓，轻淡如在烟雾里，显得缥缈幽清，史称李成“惜墨如金”。\n李成(919—967)，字咸熙，其先人为唐宗室，世居长安(今西安)。他出身贵族，有文学才能，性情旷达，聪颖多才，因世变抑郁不得志，而好饮酒与游历。善画山水以自娱。《宣和画谱》记述他的山水画说：“所画山林薮泽，平远险易，萦带曲折，飞流、危栈、断桥、绝涧、水石，风雨晦明，烟云雪雾之状，一皆吐其胸中，而写之笔下。”李成在继承前代成就的基础上，将山水画的表现内容和技巧，推向了纵深的发展，影响而及元、明、清。",[24,26,54,30,31,111,193,61,194,35,176,7,195],"枯树","平野","裸根","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcee0e7c9374961a654e3f9f6b89cc35.jpg","绢本水墨","纵137.8厘米，横69.2厘",[42],78,{"id":202,"slug":203,"title":204,"dynasty":106,"author":205,"museum":156,"description":206,"tags":207,"thumbUrl":212,"material":146,"size":146,"collection":70,"collections":213,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":44},239477,"shan-shui-zhou-kun-can-239477","山水轴","髡残","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,30,31,54,111,208,178,112,62,209,210,179,7,211,95],"小桥","云雾","人物","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[70,148],77,{"id":216,"slug":217,"title":218,"dynasty":106,"author":219,"museum":139,"description":220,"tags":221,"thumbUrl":234,"material":235,"size":236,"collection":146,"collections":237,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":44},233712,"yang-liu-yu-qin-tu-zhou-zhu-da-233712","杨柳浴禽图轴","朱耷","此图是朱耷80岁所作。风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[24,30,54,95,222,64,35,36,223,7,224,62,225,226,227,228,229,230,231,232,233],"杨柳","水墨写意","孤鸟","枝条","墨笔","写意花鸟","水墨花鸟","山石禽鸟","杨柳枝条","浴禽","水墨山石","写意禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323d4fc355eb966f9589caed04ec16f5.jpg","纸本，墨笔","纵119厘米，横58.4厘米",[],74,{"id":240,"slug":241,"title":242,"dynasty":91,"author":92,"museum":243,"description":244,"tags":245,"thumbUrl":252,"material":38,"size":253,"collection":40,"collections":254,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":256},218962,"xue-jing-shui-qin-tu-lin-liang-218962","雪景水禽图","私人收藏","寒林雪意笼于纸面，枯枝以枯笔焦墨写出，如铁骨横斜，墨色浓淡交织间见苍劲之态。几只水禽错落分布：枝头者羽翼覆雪，绒毛细腻处见工致；石上者昂首远眺，身姿灵动似欲振翅。留白隐作积雪，清寂中藏生机。笔墨兼工带写，禽鸟形神毕肖，背景枯枝竹丛则写意挥洒，墨韵淋漓。寒冬萧瑟却未失活力，于荒寒中见生命意趣，尽显对自然的细致观察与笔墨掌控力，是冬日花鸟题材中的妙品。",[24,246,30,247,248,66,7,56,35,249,250,251],"花鸟画","兼工带写","雪景","竹丛","清寂","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48a378a33ce7744cfbe4f86a39a9d8d6.jpg","142.5x55.5cm",[40],73,"37474F",{"id":258,"slug":259,"title":260,"dynasty":18,"author":261,"museum":20,"description":262,"tags":263,"thumbUrl":269,"material":270,"size":271,"collection":42,"collections":272,"showCount":274,"zanCount":86,"manualWeight":11,"mainColor":73},221549,"luo-han-tu-1-liu-song-nian-221549","罗汉图1","刘松年","该图画一罗汉，长眉深目，头角峥嵘，伏倚枯枝。旁绘一小僧展衣接受树上猿猴献果。该图描绘工丽精当，笔法劲秀。背景设色以墨为主。层层渲染，纯净明丽。人物则以敷彩为主，墨染为辅，对比明媚雅致",[23,25,24,264,265,29,28,266,267,268,7],"宗教","人物画","罗汉","僧人","猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a28b401aad44e929fc003a7cb38ace.jpg","绢本","纵117公分，横55.8公分",[42,40,273],"设色画精选",71,{"id":276,"slug":277,"title":278,"dynasty":106,"author":279,"museum":156,"description":280,"tags":281,"thumbUrl":284,"material":146,"size":146,"collection":146,"collections":285,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":44},230133,"yu-yu-liu-se-tu-hong-ren-230133","雨余柳色图","弘仁","《雨余柳色图》是 僧侣画家 的国画作品。\n该画为立轴，纸本墨笔，纵84.4厘米，横45.厘米，现藏于 。\n《雨余柳色图》奥境奇辟，缅邈幽深，峰峦俊逸，水渚错落，林木萧疏，江水辽阔，远山浮动。\n全幅以山、坡为主，图右缀有几株垂柳，一座小小木桥；图左设有几栋屋宇，远处画一道流水。\n此画笔墨苍劲整洁，以细笔为主，兼用侧锋，并用乾笔皴擦，有秀逸清幽之气。\n弘仁（161--1664）[清]僧。\n明诸生，甲申后为僧，号渐江，一号无智，人称梅花古衲，俗姓江，名韬，字六奇，后改名舫，字鸥盟， 人。\n少孤贫，性癖，以铅椠养母。\n一日负米行三十里，不逮期，欲赴练江死。\n母殡后不婚不宦。\n明亡后清兵进逼 时，曾参加反清复明斗争，后于 落发为僧，法名弘仁，字无智，号 ，又号梅花古衲，数年后重返故里，一心研习画学。\n游 之幔亭，皈依报亲寺古航师为圆顶焉。",[24,25,26,54,30,31,111,282,208,283,35,7],"柳树","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8413b0a13127d754377e4b83368527.jpg",[],60,{"id":288,"slug":289,"title":290,"dynasty":49,"author":291,"museum":20,"description":292,"tags":293,"thumbUrl":296,"material":38,"size":297,"collection":40,"collections":298,"showCount":299,"zanCount":86,"manualWeight":11,"mainColor":44},219212,"gu-mu-jin-jiu-tu-tang-xi-ya-219212","古木锦鸠图","唐希雅","苍劲棘枝斜逸，锋芒暗藏的枝桠间，一只锦鸠悠然栖息。羽色层次细腻，翠绿覆背，褐羽衬胸，翅间赭红轻点，尾羽沉黑如墨，连绒羽的柔润质感都被精心晕染。它昂首敛翅，眼神澄澈，与枯枝嶙峋形成动静相宜的对照。素净绢底衬得禽鸟鲜活、枝干古拙。笔墨工细却不板滞，线条劲挺中含柔婉，将生灵生机与古木风骨融于方寸，尽显五代花鸟写生的精妙神韵，藏着天地静美与盎然生机。",[23,24,25,27,36,29,28,294,295,7],"古木","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188bf758524620865734d70b114afc3e.jpg","24.7x26.1cm",[40],56,{"id":301,"slug":302,"title":303,"dynasty":18,"author":304,"museum":156,"description":305,"tags":306,"thumbUrl":309,"material":145,"size":310,"collection":40,"collections":311,"showCount":312,"zanCount":72,"manualWeight":11,"mainColor":73},218549,"an-chun-tu-li-an-zhong-218549","鹌鹑图","李安忠","画面分上下两帧，各绘一只鹌鹑，姿态迥异却各得神韵。上方鹌鹑低头探向草丛，羽翅纹理细密如织，绒毛质感似触手可及；下方鹌鹑昂首而立，目光警觉，尾羽舒展间尽显灵动。背景以疏淡笔墨勾出枯苇、细枝，与鹌鹑的工致刻画形成对比，清雅中透着野趣。绢本设色温润古朴，禽鸟的鲜活与环境的萧瑟相映，既见宋代院体画的精致写实，又藏自然生机的悄然流动，尽显宋人观物入微的审美意趣。",[25,24,26,29,28,36,64,307,308,7],"鹌鹑","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3b3fb868cf2e335d61dbfc6fae97c5.jpg","23x25",[40],54,{"id":314,"slug":315,"title":316,"dynasty":49,"author":317,"museum":20,"description":318,"tags":319,"thumbUrl":322,"material":146,"size":146,"collection":146,"collections":323,"showCount":324,"zanCount":86,"manualWeight":11,"mainColor":73},227260,"shan-zhe-ji-que-tu-huang-ju-cai-227260","山鹧棘雀图","黄居寀","《山鹧棘雀图》是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,29,28,36,57,35,113,320,295,7,321],"岩石","荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e4895995ba64cb331932d19a89e33a.jpg",[],51,{"id":326,"slug":327,"title":328,"dynasty":18,"author":329,"museum":156,"description":330,"tags":331,"thumbUrl":333,"material":146,"size":146,"collection":146,"collections":334,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":73},227714,"wu-niao-tu-mu-xi-227714","乌鸟图","牧溪","牧溪的作品在日本的地位非常高，很多画友们形容他在国内的名气不怎么大。那是因为他的大部分作品流传到了日本，所以他的绘画在日本的艺术界堪称神作。\n\n好的作品流传到了国外，在国内与众多古代画家相比自然就不占优势了，所以牧溪在国内感觉不怎么受待见。\n但真正研究古画的人，看过了牧溪的作品之后形容他的艺术绘画成就超过了八大山人，八大山人朱耷的作品甚至有可能是模仿了牧溪。\n\n南宋牧溪的作品有多牛？下面我们一起来欣赏一下这一张被美国克里夫兰艺术博物馆珍藏着的《乌鸟》图。\n这一张作品的绘画还是一如既往的牧溪的绘画风格，简单而且不多用笔，画法也是十分的简单。但作品经过了几百年之后，大家看到了牧溪的作品真的是称赞不绝于口。\n\n南宋牧溪的这幅神作：画鸟不画其首，笔墨又飒又寂寥！\n先不评画，很多人看到了这一张作品之后，看到了画中那一只“无头”乌鸟之后留言：为构图真的是绝了，牧溪当时是怎么画出来的，很想知道他在什么样的环境之下创作出来的。\n\n这笔法，真的是又飒又寂寥！有些作品真的是凭意境取胜，别不服古人，现代人真的很难画出来。\n\n不知道大家看这一张牧溪的小鸟图感觉怎么样，真可以说是国画艺术的天花板了吧。画面中乌鸟不见其首，很明显是躲在了自己的翅膀之下，它懒得起飞，整个意境感很强。\n\n本来作品就够寂寥了，再加上作品的右下边有大面积的留白，画面更显得空寂了。这构图，随笔点墨而成，意思简单，不费妆缀。\n\n绘画的细节可以说是质朴到了极点，不该多的东西一样也不多，该少的东西也不会偷懒不画。简单的笔墨，但牧溪的作品给人一种素，空寂，清高雅致的感觉，相信文人墨客都喜欢这一类的作品吧。",[24,26,30,95,36,57,332,7],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fa3546d9a7f85189bc229558c77b1b.jpg",[],47,{"id":337,"slug":338,"title":339,"dynasty":18,"author":304,"museum":20,"description":340,"tags":341,"thumbUrl":343,"material":38,"size":344,"collection":42,"collections":345,"showCount":346,"zanCount":86,"manualWeight":11,"mainColor":73},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[23,25,24,26,54,29,28,36,57,35,308,342,7,295],"花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[42,40,273],46,{"id":348,"slug":349,"title":350,"dynasty":351,"author":352,"museum":156,"description":353,"tags":354,"thumbUrl":370,"material":164,"size":165,"collection":371,"collections":372,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":44},225905,"blue-house-in-the-outskirts-of-giverny-mo-nai-225905","Blue House in the Outskirts of Giverny","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[355,356,357,358,359,360,112,361,362,363,364,365,7,366,367,368,369],"印象派","点彩","外光写生","色彩晕染","蓝色房屋","田野","远山","河流","天空","草地","乡村","弯曲河流","朦胧山峦","绿色田野","淡色天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3294145284cb1d8c7332d4ea315245.jpg","油画精选",[371],37,{"id":375,"slug":376,"title":377,"dynasty":106,"author":378,"museum":156,"description":379,"tags":380,"thumbUrl":383,"material":146,"size":146,"collection":146,"collections":384,"showCount":385,"zanCount":11,"manualWeight":11,"mainColor":73},224186,"hua-niao-cao-chong-tu-ba-05-hua-yan-224186","花鸟草虫图八-05","华嵒","这幅花鸟图以画眉为主体，画师以细腻笔触丝写出禽鸟绒羽，蓬松柔润，画眉抬首引颈，俨然正引吭啼鸣，灵动楚楚。枯瘦枝桠以淡墨写出，间杂残红野果，设色清妍冷峭，晕染出秋深烟寒的幽寂氛围。\n\n左侧题诗与画面相映成趣，书画交融，将晚秋荒寒之境与禽鸟的缱绻情态相融，笔致秀逸空灵，尽显清隽雅致的意趣。画师将写生之真与写意之美糅合，寥寥数笔便勾勒出残秋里生机未泯的幽微景致，晕染出深秋独有的怅惘诗意。",[23,24,26,381,28,36,295,7,382,95,247],"册","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7826f0cacf91bbca0594c3e632a037.jpg",[],35,{"id":387,"slug":388,"title":389,"dynasty":154,"author":390,"museum":391,"description":392,"tags":393,"thumbUrl":396,"material":38,"size":397,"collection":40,"collections":398,"showCount":385,"zanCount":11,"manualWeight":11,"mainColor":73},219086,"liu-xia-cang-lu-tu-zhao-yong-219086","柳下苍鹭图","赵雍","耶鲁大学艺术博物馆","古梅树浓密，枝头红梅，花开锦绣。 三只白鹭站在粗杆上，昂首挺胸； 发芽的柳条垂下几根，沐浴着春风，像一堵绿墙一样在两边摆动； 小鸟躲在里面，拿着柳条在秋千上荡秋千，或者栖息在春天里，互相欣赏。",[24,25,26,54,29,28,36,282,394,395,57,7],"鹭","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e32fdc6ff622340002106f04ee40b3a.jpg","231.1x101.9cm",[40],{"id":400,"slug":401,"title":402,"dynasty":18,"author":172,"museum":156,"description":403,"tags":404,"thumbUrl":407,"material":146,"size":146,"collection":146,"collections":408,"showCount":409,"zanCount":86,"manualWeight":11,"mainColor":73},223673,"shuang-bai-shan-niao-tu-ye-yi-ming-223673","霜柏山鸟图页","以枯淡笔墨写出秋枝残叶，霜色晕染叶边，萧索清冷弥散画面。四只山雀神态各异，翎毛以细笔丝缕晕染，绒羽蓬松柔润，憨态尽显。两只依偎私语，似在暖语避寒，余下一只侧首远眺，野趣盎然。萧寒秋景衬出雀鸟的鲜活暖意，动静相生，以极简留白托出幽远秋意，将深秋野逸之趣藏于尺幅之中，于细处见生机，淡墨轻岚间尽显雅致空灵的闲淡意趣。",[23,24,25,381,29,28,36,57,7,405,406],"叶","柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c4e91371693346bb84b2253b0048ca2.jpg",[],33,{"id":411,"slug":412,"title":413,"dynasty":91,"author":414,"museum":20,"description":415,"tags":416,"thumbUrl":418,"material":38,"size":419,"collection":273,"collections":420,"showCount":421,"zanCount":11,"manualWeight":11,"mainColor":73},219356,"xun-mei-tu-zhou-zhu-duan-219356","寻梅图轴","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,26,54,417,28,31,111,33,210,61,62,112,208,7],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adaba5994f15c5c5b21bc71be0d1b10.jpg","208.3x124.5",[273],31,{"id":423,"slug":424,"title":425,"dynasty":106,"author":378,"museum":156,"description":426,"tags":427,"thumbUrl":430,"material":146,"size":146,"collection":146,"collections":431,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":44},230167,"ba-ge-song-shu-tu-hua-yan-230167","八哥松鼠图","此作用笔兼工带写，冬日枯枝横斜，两只八哥相偎私语，墨色翎毛纤毫毕现，亲昵柔婉之态呼之欲出。下方松鼠曳着蓬松长尾，圆目灵动憨态可掬，驻足枝上似正侧目探看。\n\n淡墨晕染危石枯藤，飘零残叶点染出清寂冬意，留白空灵疏朗，将荒寒萧索的氛围铺陈开来。却以小生灵的鲜活暖意破了冷寂，静中藏动，虚实相生。软毛的蓬松温软、翎羽的油亮劲挺、枯木的苍劲淡远相映成趣，把冬日荒林间的盎然生趣刻画得精妙入微，尽显灵秀雅致的笔墨意趣。",[23,24,26,54,28,36,428,35,57,7,429,30,29],"兽","落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c918a99a17b3d55a87fe514827c97c0.jpg",[],28,{"id":434,"slug":435,"title":436,"dynasty":154,"author":437,"museum":139,"description":438,"tags":439,"thumbUrl":443,"material":444,"size":445,"collection":40,"collections":446,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":73},221822,"ying-gui-tu-zhang-shun-zi-221822","鹰桧图","张舜咨","此图是由雪界翁、张师夔两位画家合作绘制而成。图绘山石间一株古桧，枝干挺劲，枯枝与新叶相映成趣。老干横斜，一只苍鹰昂首挺立其上，双目炯然，脚爪锋利，紧抓树枝，给人以坚如磐石、临危不惧之感。图中苍鹰以工笔重彩法写出，刻画细腻，笔笔精到，具有宋代院体花鸟画遗风。古桧山石完全用写意风格的画法，出自张舜咨手笔，画风略显粗犷，然颇具气势。苍鹰与山石、古桧虽出自不同人的手笔，但配合默契，毫无突兀、不协调之感，极具特色。",[23,24,25,26,54,28,29,96,440,441,7,35,442],"桧树","古树","丛草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f781d4069309ad9530fe25a1c35bbcd.jpg","绢本，设色","纵147.3厘米，横96.8厘米",[40,273],{"id":448,"slug":449,"title":450,"dynasty":91,"author":172,"museum":451,"description":452,"tags":453,"thumbUrl":454,"material":38,"size":455,"collection":40,"collections":456,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":73},218984,"ku-zhi-han-que-tu-yi-ming-218984","枯枝寒雀图","美国弗利尔美术馆","这幅画描绘了一只长尾小鸟站在一根枯枝上，羽毛蓬松，脖子略显萎缩，眼神略显呆滞，迎着寒风，周围是光秃秃的树枝和散落的树叶，一副荒凉的场景。",[24,26,36,7,57,29,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30e7b258206ffc7c6e1012de8dece2a.jpg","17.8x22.4cm",[40],27,{"id":459,"slug":460,"title":461,"dynasty":106,"author":172,"museum":243,"description":462,"tags":463,"thumbUrl":464,"material":182,"size":465,"collection":70,"collections":466,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":73},217868,"wan-ya-gui-chao-tu-yi-ming-217868","万鸦归巢图","万鸦归巢图被认为是一件杰出的艺术品，它的画面表现力极强，能够很好地展现出乌鸦的自然姿态和生动的情感。画中的乌鸦们振翅高飞，翅膀展开，看起来十分活泼，而背景中的巢穴更是精致入微，画家用极为细腻的笔法勾勒出了巢穴的细节，使得画面更加逼真。\n\n此外，画家还运用了鲜艳的颜色，使得整幅画面更加生动。画中的乌鸦们以黑色为主色调，但是画家运用了不同的色彩，让乌鸦看起来更加丰富。而背景中的巢穴则用了深蓝色来表现，与乌鸦的黑色形成鲜明的对比。\n\n总的来说，万鸦归巢图是一幅充满生机和艺术气息的画作，画家通过精湛的绘画技巧和运用色彩的巧妙，将乌鸦的自然姿态和生动的情感展现得淋漓尽致。",[24,28,54,29,57,61,62,178,7,111,36,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1b19db856e2814e964798fc097cea7.jpg","156.7x67.3cm",[70],{"id":468,"slug":469,"title":470,"dynasty":154,"author":471,"museum":156,"description":472,"tags":473,"thumbUrl":476,"material":146,"size":146,"collection":146,"collections":477,"showCount":478,"zanCount":86,"manualWeight":11,"mainColor":73},228033,"xie-qin-fang-you-tu-luo-zhi-chuan-228033","携琴访友图","罗稚川","此作用平远之景铺陈开卷，近岸古木虬结遒劲，枯枝如铁爪横斜，以劲健笔法勾勒出老树历经风霜的沧桑古拙，苔点错落晕染，更添斑驳质感。寒溪萦回浅滩，碎石错落，淡墨轻皴坡岸，尽显清寂荒寒。远景浅墨晕出山峦平沙，层层推远，寥寥数笔便将郊野冬日的空阔淡宕铺展开来。\n\n全作用笔简劲老辣，干笔皴擦尽显枯木苍劲，墨色浓淡相生，于简淡萧疏间营造出幽远孤清的意境，尽显尚简重意的审美意趣，寄寓着林下幽人超尘出俗的襟怀。",[24,30,31,54,193,62,111,61,7,474,475,226],"远岫","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0822ab22276624f46ebb1f67121fe5.jpg",[],26,{"id":480,"slug":481,"title":482,"dynasty":18,"author":483,"museum":156,"description":484,"tags":485,"thumbUrl":487,"material":146,"size":146,"collection":146,"collections":488,"showCount":478,"zanCount":86,"manualWeight":11,"mainColor":73},227613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（1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[24,26,27,29,28,544,35,7,36],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ddf6b69090b1f2e7a17e0250ffe73b.jpg",[],15,{"id":549,"slug":550,"title":551,"dynasty":49,"author":172,"museum":156,"description":552,"tags":553,"thumbUrl":555,"material":146,"size":146,"collection":146,"collections":556,"showCount":547,"zanCount":11,"manualWeight":11,"mainColor":73},227268,"xing-hu-tu-li-zhou-yi-ming-227268","醒虎图立轴","这幅水墨虎作，以淡墨晕染勾勒尽显写意妙趣。作者以灵动劲挺的墨线写出虎身毛发丝缕，浓淡墨色铺陈区分肌肉起伏，褪去猛虎惯常的凶戾张扬，将其初醒时慵懒松弛之态刻画入微，沉静姿态下暗蕴百兽之王的沉凝威严。\n画面边角缀以枯折枝桠与寒草，晕染出荒萧寒寂的氛围，与卧虎的静穆融为一体。整作不施重彩，凭藉古绢底色与水墨层次营造出古雅沉静的意境，简淡笔墨间暗藏雄浑气韵。",[23,24,26,54,30,554,428,7],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd03bfdd9f3579aa0c7a5c1ea73e975.jpg",[],{"id":558,"slug":559,"title":560,"dynasty":18,"author":19,"museum":156,"description":561,"tags":562,"thumbUrl":564,"material":164,"size":165,"collection":146,"collections":565,"showCount":566,"zanCount":11,"manualWeight":11,"mainColor":73},289229,"han-zhi-shuang-que-tu-ma-yuan-289229","寒枝双鹊图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[25,24,27,36,29,7,57,62,563],"清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7287e190573d7da521bd0f0cbe226cd.jpg",[],14,{"id":568,"slug":569,"title":570,"dynasty":106,"author":571,"museum":156,"description":572,"tags":573,"thumbUrl":576,"material":146,"size":146,"collection":70,"collections":577,"showCount":566,"zanCount":11,"manualWeight":11,"mainColor":44},238009,"shan-shui-ce-lu-zun-shu-238009","山水册","陆遵书","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[24,30,31,381,111,283,62,112,178,361,574,575,209,531,7],"近石","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F591c692a53110aba3d0f7ed31649a34e.jpg",[70,148],{"id":579,"slug":580,"title":581,"dynasty":106,"author":378,"museum":156,"description":582,"tags":583,"thumbUrl":584,"material":164,"size":165,"collection":146,"collections":585,"showCount":566,"zanCount":11,"manualWeight":11,"mainColor":44},235389,"hua-niao-tu-ce-hua-yan-235389","花鸟图册","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,26,381,28,36,295,342,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4724964af8175a5c1b0cbce108d96bbb.jpg",[],{"id":587,"slug":588,"title":589,"dynasty":91,"author":590,"museum":156,"description":591,"tags":592,"thumbUrl":595,"material":164,"size":165,"collection":146,"collections":596,"showCount":597,"zanCount":86,"manualWeight":11,"mainColor":44},239412,"qiu-lin-li-zhang-tu-zhou-sun-zhi-239412","秋林藜杖图轴","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[24,26,54,30,111,31,593,62,210,208,361,112,7,594,209],"秋林","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f73c7d36a9cd4d75b5cc1f1c0fb19b9.jpg",[],13,{"id":599,"slug":600,"title":601,"dynasty":106,"author":602,"museum":156,"description":603,"tags":604,"thumbUrl":608,"material":609,"size":610,"collection":146,"collections":611,"showCount":597,"zanCount":11,"manualWeight":11,"mainColor":44},234717,"fang-gu-shan-shui-ce-wang-hui-234717","仿古山水册","王翚","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,26,381,30,31,605,111,61,606,32,361,7,62,59,607,128],"临摹","亭","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg","纸本，水墨","25.6厘米，横：20.5厘米",[],{"id":613,"slug":614,"title":615,"dynasty":351,"author":352,"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in the Snow, the Locomotive, 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此画绘北方清旷萧森之景，这种寒林平野的主题是由北宋李成所创，但图中坡石皴染和树木枝桠的布置已有郭熙的影响，人物画法精练传神，是北宋风格。因此此图就算不出于郭熙，也是时代相去不远之作。右侧飞雁一行，笔调单薄，与全图气韵不合，可能是后人所补。",[24,26,30,31,111,332,61,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50b96fc4e45788828c7ba9d17162640.jpg","轴","该幅42.2x49.2公分；全幅66.5公分",[],10,{"id":663,"slug":664,"title":665,"dynasty":18,"author":304,"museum":156,"description":666,"tags":667,"thumbUrl":670,"material":164,"size":165,"collection":146,"collections":671,"showCount":672,"zanCount":11,"manualWeight":11,"mainColor":73},289130,"xue-an-han-ya-tu-li-an-zhong-289130","雪岸寒鸦图","画中，几棵古木参天，树木虬屈，乱藤攀援。坡石苍润，主峰凸兀，气整伟峻。土坡用笔卷动如风，枯木则中峰勾勒，寒木风骨，平正势奇，枯枝多变，壮如屈铁，气韵深厚。悬崖旷野间，寒鸦或枝头落，或成群飞舞，空中盘旋。仿佛寒鸦群的呜鸣声在山谷间回荡着，忽远忽近。气象萧疏，烟林清旷，峰峦深厚，势伏雄强。",[23,25,24,54,29,36,57,193,248,668,669,7],"寒鸦","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac83e55ae0a4db7c4acc2daacf9038dd.jpg",[],9,{"id":674,"slug":675,"title":676,"dynasty":18,"author":172,"museum":156,"description":677,"tags":678,"thumbUrl":681,"material":146,"size":146,"collection":146,"collections":682,"showCount":683,"zanCount":11,"manualWeight":11,"mainColor":73},227932,"xue-ting-shui-qin-tu-yi-ming-227932","雪汀水禽图","此作以淡墨晕染萧寒冬境，水岸枯木虬曲苍劲，瘦削枝桠凌冽舒展，数只禽鸟缩羽栖息枝头，将冬日瑟缩畏寒之态尽显。右上一双水禽振翅掠空，破静谧成动静相生之趣。\n画家以留白晕染暗喻薄雪覆汀，设色简淡清润，笔触凝练细腻，枯枝的苍古、水禽灵动神态皆跃然绢上。尺幅之间铺陈出荒寒清远的意趣，尽显冬日郊野空寂冷逸，将冬汀荒萧寒疏之美藏于方寸，余韵悠悠。",[23,24,25,27,29,30,28,193,57,56,679,35,680,7,248],"雪地","汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],8,{"id":685,"slug":686,"title":687,"dynasty":351,"author":352,"museum":156,"description":353,"tags":688,"thumbUrl":690,"material":164,"size":165,"collection":371,"collections":691,"showCount":683,"zanCount":11,"manualWeight":11,"mainColor":44},226110,"the-road-to-the-farm-saint-simeon-in-winter-1867-mo-nai-226110","The 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集于枯棘上，姿势各异，神态如生。\n枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。\n画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。\n文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。\n此图原载《宋人集绘册》。\n图绘家雀五只栖止于枯棘上，右下侧衬以双钩翠竹。\n五只 的神态，刻画极为精工。\n麻雀窃窃私语的神情，欲飞未飞的动态，以及它们茸茸的羽毛，圆而有神的眼睛，描绘得栩栩如生，使人感到如闻其声，如入其境。\n图中竹页用双钩，然后用花青、汁绿渲染，竹竿用白描，荆棘以一笔出之。\n小鸟勾出轮廓后用细笔丝出羽毛，具有毛茸茸的质感。\n此图无作者宽印，钤「宋荦审定」一印。\n本幅无款。\n鉴藏印钤“宋荦审定”。\n裱边题签：“宋人画霜篠寒雏”。\n经清代收藏家宋荦鉴藏，见《石渠宝笈三编》著录。",[23,25,24,29,28,36,295,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa796d5d8ac8e342dc30faa9a1bfe80fb.jpg",[],7,{"id":718,"slug":719,"title":720,"dynasty":91,"author":721,"museum":156,"description":722,"tags":723,"thumbUrl":725,"material":164,"size":165,"collection":146,"collections":726,"showCount":727,"zanCount":11,"manualWeight":11,"mainColor":73},237807,"ju-an-tu-shan-ye-yu-qiao-zhi-237807","居安图扇页","郁乔枝","[明]万历（一五七三至一六二o）年间人",[24,27,29,28,36,295,724,7,62],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7bd409584fe4325aa36b41ba897bce.jpg",[],6,{"id":729,"slug":730,"title":731,"dynasty":106,"author":732,"museum":139,"description":733,"tags":734,"thumbUrl":744,"material":521,"size":745,"collection":146,"collections":746,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":44},232891,"yan-ju-luo-han-xiang-zhou-jin-ting-biao-232891","岩居罗汉像轴","金廷标","图中罗汉眉目清秀，披发，戴耳环，臂腕佩钏、镯，着袒右式袈裟，自在坐，手捧如意，系模仿了菩萨的形象。罗汉、童子衣纹分别运用了蚯蚓纹、钉头鼠尾描，造型工整，设色清雅。《秘殿珠林三编》著录。",[23,24,28,29,264,210,111,35,112,320,128,735,736,737,738,7,739,740,741,742,743,54],"侍童","袈裟","溪流","山洞","苔草","腕钏","法器","小和尚","坐姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc582b7bb574e8613ec65f5335044ec6a.jpg","纵99.5厘米，横53.2厘米",[],5,{"id":749,"slug":750,"title":751,"dynasty":91,"author":172,"museum":156,"description":752,"tags":753,"thumbUrl":755,"material":146,"size":146,"collection":146,"collections":756,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":73},228776,"lin-xi-xian-tiao-tu-yi-ming-228776","临溪闲眺图","此作用笔苍润兼具，以淡墨晕染远山，虚影朦胧融于空濛雾气，将天地寥廓的悠远意境缓缓铺展。近岸古木虬枝错盘，枯梢与繁叶互生，浓墨点染层叠木叶，沉郁间尽显苍劲生机。\n\n溪面空阔无波，渔人收舟立岸，简笔勾勒的身影意态悠然，静眺林泉烟景。整幅以水墨皴擦晕染相融，以极简物象铺陈出山林幽居的散淡意趣，萧疏野逸间藏着出世闲雅的山居况味，观之便如身临幽寂林泉，涤去尘俗喧嚣。",[23,24,417,54,31,28,112,7,62,754,210],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177849b6e577db11274d711ecbe88233.jpg",[],{"id":758,"slug":759,"title":760,"dynasty":106,"author":761,"museum":156,"description":762,"tags":763,"thumbUrl":764,"material":164,"size":165,"collection":146,"collections":765,"showCount":185,"zanCount":11,"manualWeight":11,"mainColor":44},290077,"nan-quan-xiao-niao-tu-li-zhou-zhang-yu-290077","南泉小鸟图立轴","张敔","张敔yǔ （1734—1803）字虎人，又字茝园，一字芷园，亦作芷沅，号雪鸿，又号木者（一作木香），晚号止止道人，先世安徽桐城人，迁江宁（今南京），籍山东历城。乾隆二十七年（1762）举人，官湖北房县知县。以冒籍事去职，遂遍海内。天资高迈，为人疏放不羁。工诗。卒年七十。",[23,25,24,26,54,30,36,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e09fb64148f6cda20cc3f66015d753.jpg",[],{"id":767,"slug":768,"title":570,"dynasty":106,"author":769,"museum":156,"description":770,"tags":771,"thumbUrl":772,"material":146,"size":146,"collection":146,"collections":773,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},235945,"shan-shui-ce-qi-zhi-jia-235945","祁豸佳","此作用极简淡墨铺陈丘林野景，坡岸之上古松斜欹，杂木荒寒，枝桠错落间尽现初冬萧索意趣。远山以干笔淡皴轻勾，墨色晕染出空濛清旷的幽远意境，留白处尽显山水疏朗空寂之态。\n\n左幅行书题跋笔致秀逸舒展，与画面的清简格调浑然相融，书画相映，衬出文人雅逸的林下之风。全作用笔简净含蓄，以清冷淡远的笔墨勾勒出冲淡冷寂的山水意韵，尽显文人画中萧散淡远的审美意趣。",[24,26,381,30,31,142,128,111,112,35,208,606,62,7,61,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabfe5cbbdc3931077709f5f8b72cba5a.jpg",[],{"id":775,"slug":776,"title":777,"dynasty":106,"author":778,"museum":156,"description":779,"tags":780,"thumbUrl":782,"material":164,"size":165,"collection":146,"collections":783,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":44},239181,"hua-hui-ren-wu-ce-chen-zi-239181","花卉人物册","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[24,26,381,142,30,29,128,781,7,127],"蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0acb97b5060f0aaa329dfcf1382d0be3.jpg",[],{"id":785,"slug":786,"title":570,"dynasty":106,"author":787,"museum":156,"description":788,"tags":789,"thumbUrl":791,"material":146,"size":146,"collection":146,"collections":792,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":44},238309,"shan-shui-ce-dong-bang-da-238309","董邦达","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[25,24,26,111,30,31,790,606,61,62,208,7,209,128],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f3c94ef9e0372f203acbe93ec24bd5.jpg",[],{"id":794,"slug":795,"title":796,"dynasty":106,"author":797,"museum":156,"description":798,"tags":799,"thumbUrl":800,"material":164,"size":165,"collection":146,"collections":801,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},239393,"za-hua-ce-zhu-xiao-chun-239393","杂画册","朱孝纯","朱孝纯（1729～1784）益州书画录附录误作朱纯孝。字子颍，号思堂，一号海愚，人呼戟髯。隶奉天汉军正红旗，东海（今山东郯城西）人。",[24,30,381,31,61,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae62d0a81cb5244158390efd2509c49f.jpg",[],1777535707844]